The Jazz Guitar Chord Dictionary
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  1. #1

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    Hi, first post here. I learned guitar on my own at the very beginning, played many years without knowing much theory. Then I went to college studying guitar.

    Before I went there, the natural minor scale was just a scale started from the 6th of the major scale. And I had been thinking that way for too long so when we first started the minor scale, I didn't memorize b3, b6 and b7, I just kept using my own way to play it. The the modes, of course I still used the way I felt natural, related them all to major scale, and tried to remember which is the special note. To me, dorian was 2, 3, 4, 5, 6, 7, 1, 2. The 7th of the major scale was the raised 6th of the dorian. And lydian was 4, 5, 6, 7, 1, 2, 3, 4. You get the idea. But then the professor told me that I needed to memorize them independently, so that I could see every degree to the root of the mode. Then I started over, man that was hard. My brain always brought me back to major scale when I heard the notes.

    Anyways, I practiced a lot so now I can do either way, but I always feel comfortable when thinking major scale. So I always wanna know you guys who learned jazz guitar in the first place, how did you practice modes? And when you're improvising, do you relate it to major scale, or just the mode?

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  3. #2

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    Professors aren't necessarily players, and abstract theory doesn't necessarily become practical. What you've been doing should be adequate; too much thinking should be avoided. Scale practice, modal or otherwise, is good for coordination, but not very musical in improvising. Try arpeggios as a break from modes, most jazz is harmonic, not modal.

  4. #3

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    The way that you have absorbed the modes essentially as an inversion of the major scale is described as "derivative".

    The other way that your professor is referencing is called "parallel", being able to know any mode from a common root.

    To get from where you are to a "parallel" understanding, I suggest the following:

    Make 12 cards, one with each note, combining enharmonics when appropriate (ex. Gb/F#, Eb/D#) Each day, test yourself on naming a given diatonic interval class.

    b2 / 2
    b3 / 3
    4 / #4 / b4
    b5 / 5 / #5
    b6 / 6
    b7 / 7

    Once you can easily name intervals, figuring out parallel modal thinking will be far easier.

    Next step would be to easily find all of these intervals on the guitar. Each interval has two viable ways (shapes) to be played on guitar between all strings in 4th tuning relationship. The major 3rd tuning between G-B of course yields a different result whenever it is part of the equation.

    Absorbing the data of these two preliminary steps will make finding modal structures far easier.
    This or a similar approach builds foundation from the ground up which is more secure in my opinion than trying to memorize shapes by rote.

  5. #4

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    Quote Originally Posted by maxone8
    Hi, first post here. I learned guitar on my own at the very beginning, played many years without knowing much theory. Then I went to college studying guitar.

    Before I went there, the natural minor scale was just a scale started from the 6th of the major scale. And I had been thinking that way for too long so when we first started the minor scale, I didn't memorize b3, b6 and b7, I just kept using my own way to play it. The the modes, of course I still used the way I felt natural, related them all to major scale, and tried to remember which is the special note. To me, dorian was 2, 3, 4, 5, 6, 7, 1, 2. The 7th of the major scale was the raised 6th of the dorian. And lydian was 4, 5, 6, 7, 1, 2, 3, 4. You get the idea. But then the professor told me that I needed to memorize them independently, so that I could see every degree to the root of the mode. Then I started over, man that was hard. My brain always brought me back to major scale when I heard the notes.

    Anyways, I practiced a lot so now I can do either way, but I always feel comfortable when thinking major scale. So I always wanna know you guys who learned jazz guitar in the first place, how did you practice modes? And when you're improvising, do you relate it to major scale, or just the mode?

  6. #5

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    I generally convert everything into major, dominant or minor for straightahead jazz. Very old school, but flexible.

    Dominant/mixolydian is extremely useful, so worth have aside from major.

    but I would convert a Dorian vamp into dominant using ii V, a IIm7b5 chord into a IV minor and so on.

    Its not the only way. Some players insist on always hearing things from the root, and it’s probably good to practice the distinctive emphasis of each mode within the scale from that perspective without backing or drones, so you can really get the sound in your ears. Start with the 1 and work your way up to the 13th via 3rd, 5th etc, adding a note each time.

    So some players will think of playing, for instance B locrian over G7, because of the emphasis. Other players tend to think of all those sounds folded into the scale; in this case G mixolydian.

    Its probably the same amount of work, differently framed.

    So, not sure if that helps haha.

  7. #6

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    I learned major and natural minor scales before I ever heard of modes.

    There is a famous story that Joe Pass learned about modes from a student, well after Joe was a famous player.

    My approach is largely based on awareness of chord tones and tonal center. So if the chord is a G7 and the tonal center is Cmajor, I end up doing about the same thing as someone who is thinking G mixo.

    I think about chord tones first, so I'm likely to emphasize them, which, as I understand it, is the reason that some prefer to think Gmixo and not Cmajor. I In practice, it doesn't make much difference to me -- I'm going to adjust things by ear anyway as I attempt to make melody in a solo.

    The OP's question is about the value of learning modes as individual entities rather than as derivatives of something else. So, D dorian is its own thing, not just a piece of Cmajor. It seems to me that if you know the chord tones and the tonal center, you're pretty much there.

    One last point. This approach is based on knowing, instantly, the notes of the chords you use in every key. Also, the notes of every tonal center you use. I suspect, without being sure, that many players don't know this stuff cold and, instead, use pattern based approaches. Not a criticism. They can sound great. But, I couldn't do it that way.

  8. #7

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    Quote Originally Posted by maxone8
    ...the professor told me that I needed to memorize them independently, so that I could see...
    Maybe a better way to say it would be...


    "...the professor told me that I needed to internalize them independently, so that I could hear..."


    If you use the major scale as the basis from which and through which you conceive, derive, construct, and play everything else, what you are really doing is trying to hear and think about something that is neither in the music nor what you want to play (e.g., major scale or chord) and applying formulaic manipulations in order to hear and think what actually is in the music and what you actually do want to hear and play (e.g., Lydian Dominant or 13th chord).


    That process is tedious, enharmonically clumsy, promotes reliance on slow verbal strategies, and comprises the imposition of a transformation, conversion, or modification process operation where what is not in the music and not what you want to play is changed into what actually is in the music and actually what you do want to play.


    Hearing internally and independently offers the direct path: You hear the actual music and what you actually want to play.

  9. #8

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    I think questions about how to approach modes do not make much sense without first establishing the player's approach to jazz language and soloing concepts. Also I think it'll be helpful if the question placed in the context of a concrete progression.

    Let's keep it simple and take the Bb blues. One approach to playing the changes is to target notes. Suppose you're going to the second chord from the first and targeting the 3rd of the Eb7 (G).

    How do you think about this if you always take the major scale as your reference? Target the 7th of Ab major? Or do you think of chord tones of a chord and the associated scale in a compartmentalized way? ie when you think about the 3rd of Eb7, you think about the arpeggio, but if you play a scalar run you think Ab starting from the 5th? Are these totally separate?

  10. #9

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    Well, when improvising I tend to think of the chord a lot....

    BUT you asked - Memorization?

    Drills build memorization:
    1. Play 1-2-3 octave modes in isolation (3 octaves is optional for some modes, manage your time)
    2. Play 1 octave modes diatonically in position up and down
    3. Same as #2 except play along the neck, from same starting string, from all starting strings 6,5,4,3.
    4. Same as #3 except in two octaves (starting strings 6,5)

    Then see what you really know:
    1. Write an order of modes/scales that is not diatonic (a more random order, or slightly more random order, like a flash card or pop quiz)
    2. From the same starting tone/note on the same starting string, play each mode for one octave. Each mode should start with either the 1rst or 2nd finger, or the 3rd or 4th finger, depending on your preferred fingering system.
    3. Practice this for all starting strings, and at least two starting fingers, per the above.

    A practical variation on this is to use mode groups as opposed to purely random modes/scales (major sounding modes, minor sounding modes, dominant sounding modes, etc).

    Granted, this is a music major type of drill and is a lot of work. For one example, Berklee has progressively difficult pop quizzes for 8 semesters, and that applies to arpeggios and chords too, not just scales.

  11. #10

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    The major and natural minor scales are modes of a continuum of intervals. There is no beginning or end.

    Memorising modes is very trying. Playing them is much easier and more fun. This week, I am playing Lydian. Next week, I will choose another.
    Last edited by Litterick; 06-30-2021 at 07:19 PM.

  12. #11

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    I wondered if it would be easier if one relates each mode to a chord symbol.

    Cmaj13
    Dm13
    Em11b9b13
    Fmaj13#11
    G13
    Am7b13
    Bm7b5b9b13 (not sure about this one)

    Frankly, I don't think it's easier.

    Or, if you related the chord to the tonal center. This is how I do it, I think.

    C in Cmajor
    Dm7 in Cmajor
    Em7 in Cmajor
    etc.

    It has a characteristic that is simultaneously a disadvantage and an advantage. It's that the basis of it is to know the notes in all the chords and scales in every key.

    That's a disadvantage because it's a lot to learn and it doesn't facilitate speed as easily as practicing patterns.

    It's an advantage because you don't need to learn patterns and then try to break out of them. All you need to know is which notes you want and where they are.

    In practice, I think that knowing the chord tones, the extensions and the tensions -- and picking a couple things by ear, just works.

  13. #12

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    A more modest approach to what I posted above would be to do something like the following:

    Pick your few favorite two octave fingerings of a scale, such as Mixolydian, across all 6 strings. Add the dominant bebop and altered scale in the same locations. Play those alternating between all three.

    then do the same for Ionian, major bebop, Lydian.

    then do the same for Dorian, aeolian, locrian, minor bebop.

    then build from there.........
    Last edited by Donplaysguitar; 06-30-2021 at 10:18 PM.

  14. #13

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    I agree with the idea of the mode as thought of as parallel to the major scale as a a reference. In other words, I think of each mode as related to its own chord sound. Dorian for minor 7th. Lydian for major 7th when I hear that sound. Etc...

    I drilled each mode into my head back in my bass playing days and during college. Now I only really use... Dorian, mixoloydian, locrian and Lydian. I personally don't find much use for Phrygian and aeolian. Then of course there are the modes of melodic and harmonic minor, a whole world I've not explored extensively yet...

    i also agree that arpeggios are far are far more important in jazz and really any improvisation that's based on harmonies.

  15. #14

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    Quote Originally Posted by rpjazzguitar
    I wondered if it would be easier if one relates each mode to a chord symbol.

    Cmaj13
    Dm13
    Em11b9b13
    Fmaj13#11
    G13
    Am7b13
    Bm7b5b9b13 (not sure about this one)

    Frankly, I don't think it's easier.

    Or, if you related the chord to the tonal center. This is how I do it, I think.

    C in Cmajor
    Dm7 in Cmajor
    Em7 in Cmajor
    etc.

    It has a characteristic that is simultaneously a disadvantage and an advantage. It's that the basis of it is to know the notes in all the chords and scales in every key.

    That's a disadvantage because it's a lot to learn and it doesn't facilitate speed as easily as practicing patterns.

    It's an advantage because you don't need to learn patterns and then try to break out of them. All you need to know is which notes you want and where they are.

    In practice, I think that knowing the chord tones, the extensions and the tensions -- and picking a couple things by ear, just works.
    Oi, that’s my talking point! :-D

    Well actually my talking point goes a step further and I think we should call the chord and scale the same name.

    For instance, the Cmaj13#11 scale.

    Saying Cmaj13#11 comes from the C Lydian is unnecessary nomenclature, requiring memorisation of further terms and their relationship to chord symbols. this doesn’t actually add anything. There is no knowledge gained by knowing C Lydian, because it is the same pitch set (albeit differently ordered.) all you’ve done is a learn a new name without learning anything actually new.

    Since it is a central tenet of chord scale theory that chords and scales are two sides of the same coin, I’d argue that you’d cut down a lot of work by just calling the scale the same thing as a chord. Calling it a scale means ordering it in steps rather than thirds.

    Call it a Cmaj13#11 scale and the chordal application and ordering of the pitch set are exactly specified without the need for further flowery nomenclature.

    So the main bit of info that you need from CST what extensions go with the base chord, but you could even teach that with upper structure triad pairs, allowable extensions (ie not avoid notes), or something… anyway… in practice everyone learns the names, so it’s neither here nor there really.

    In practical teaching terms I do tend to prefer terms for scales that connect to the chord; so Dominant instead of mixolydian, Major not Ionian, Natural Minor not Aeolian and so on.

    Lydian Dominant and Altered are decent names from this philosophy. Locrian #2 and Mixolydian b6 less so.
    Last edited by Christian Miller; 07-01-2021 at 06:22 AM.

  16. #15

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    How did you memorize/practice modes?

    Repetition. Slow at first, apply them to tunes, then off you go. Repetition and familiarity.

  17. #16

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    Yea so you already know and understand Ionian mode, right. There are functional and melodic guidelines that create general harmonic and melodic rules... how notes and chords react in musical contexts, tunes or whatever your playing.

    Those guidelines of how notes react and which notes control the reactions are designed according to Ionian Mode.

    You can probable use same note collections starting or having different root as reference.... Cmaj or Ionian scale and chords derived from that scale .... then use "D" as starting note. D Dorian... etc...

    The difference between just starting a scale on a different note and having modal concepts is changing the organization of which notes control the rules in musical contexts... tunes or whatever your playing.

    It sounds like you really need more basic Ionian understandings and general skills before really getting into Modal Concepts.

    Maybe get into Diatonic Functional Substitution concepts. (from maj or Ionian guidelines)

    You understand Relative..relationships..... Borowwing, that Amin relationship with Cmaj. Those are Diatonic Tonic Functional Relationships. The other D.T.F.R. is Emin.

    So a general rule of thumb.... The chord or scale... a Diatonic 3rd above or below has the same diatonic function. Simple version.... can be used as a substitution.

    Key of Cmaj

    Cmaj7, Ionian.....Subs... down a Diatonic 3rd, A-7 Aeolian. Up a Diatonic 3rd, E-7 Phrygian'

    D-7 Dorian.........subs.... down D. 3rd, B-7b5 Locrian. Up a 3rd, Fmaj. Lydian...

    Just keep going

    The point is... your learning to play and use scales, arpeggios, chords, licks etc... What your calling the different Modes or starting a scale on different degree with a Musical Reference, a musical system of organization to help you memorize and use when performing.

    It can be complicated, and yea theory etc... can be useless... and most guitarist just aren't that good in general..... but it's not from actually understanding music. That gets into different BS.

  18. #17

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    If I had to put my finger on one thing, I would say that in the pure modal thing, which some people teach, everything is taken from the bass.

    So if you play a mode of C major starting on E, that is E Phrygian, while less modal people would think of that as being third inversion C, or chord iii in C or whatever.

    If that's the way you view it and are being taught, it makes a lot of sense to map major scales as a series of modes. This is what I did right at the start, so I still kind of look on a G major scale pattern starting on the B in 7th position as 'B Phrygian' even to this day (I later abandoned modes in favour of chord tone approaches for about a decade but that's another story.) This is just force of habit.

    There's lots of ways of going about it. I've got a lot of mileage out of doing one octave scales because they are super convenient for changes oriented music; they are also capable of being joined into larger fretboard structures.


    You might also want to check out Mick Goodrick's thoughts on modes in the Advancing Guitarist. He points out two main ways of looking at modes/scales

    Parallel
    Everything is taken from the root pretty much;
    we link
    C7#11 to C lydian dominant
    G7b9b13 to G mixolydian b9b13 or G altered scale
    Bm9b5 to B locrian #2
    and so on

    - You learn a bunch of scales but the application is dead simple. You just apply the relevant scale to the chord (this would be made even simpler with the suggestion I made above; the chord IS the scale, and the 'theory' bit of chord scale theory is greatly reduced and streamlined, anyhoo no-one cares haha.)

    I think of this as a bit of Berklee thing, and I think of this as Chord Scale Theory proper? I think Adam Rogers and Kurt Rosenwinkel look at it this way.

    Derivative (I call it Relative in the video)
    We look to the parent scale related to whatever mode or voicing we are using. Levine references this in the Jazz Theory Book and Jazz Piano Book IIRC; it also, with variations in the scales and terminology, the way Barry Harris teaches. Allan Holdsworth also appears to have viewed it this way (but he had more scales haha.)

    So C7#11 takes G melodic minor
    G7alt takes Ab melodic minor
    Bm9b5 takes D melodic minor
    And so on

    - You only learn maybe three or four scales (I use major, dominant and 'true' minor (sort of melodic minor) with symmetrical scales for colour, for example), but you learn a bunch of applications.

    Incidentally I don't really see this approach as Chord Scale Theory at all really - I view it more as the traditional way it was done, with subs and relationships. Viewing m7b5 as an inversion of m6, II-V relations, tritone subs, that type of thing. People may or may not use CST terms (Barry has his terms, and Allan used little symbols), but the process is the same.

    Both have value, I sort of flip between the two;

    the latter is extremely useful for maximising the usefulness of material. A line that sounds great on a D minor chord, will also sound great on G7, Db7alt, Bm7b5, Fmaj7#5 and E7b9sus4, for example.

    If you have a good voicing structure you can apply in loads of different settings by understanding how the same scale can be used in a gazillion ways. If it's something like x 3 5 4 3 x (major9omit3) it could be even more flexible. Modern players like Lage Lund and Ben Monder take this kind of thing a long way.

    To do the same thing with a parallel concept, you'll need to alter the notes in the line or voicing appropriate to the mode or tonality. I actually do this as a basic exercise with voicings and scale fingerings.

    So, I suppose, do both? Obviously it can be more complex than this, but its a good way of thinking about it.
    Last edited by Christian Miller; 07-01-2021 at 05:18 PM.

  19. #18

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    One of my teachers referred to the pitch collections by the chord name. So it's a "G7#11 scale". It may not sound as cool as G Lyd Dominant, but it's the same pool of notes.

    When you get to minor chords, there's ambiguity. Dm7 -- in C? Bb? F? But, it's never struck me as a problem requiring a complicated solution. Are you going to play E or Eb? B or Bb? Is it too much to simply make those choices by ear?

    Apparently, Christian and I see this similarly, at least to some degree.

    As far as extensions go, the consonant extensions on a major chord are in the maj13, like Cmaj13 has all the white keys. That's seven notes. There are five left. Since it's a major chord, you probably don't want the b7 or the b3. Since you have the natural 9, you probably don't want the b9. The only remaining notes are #11 and #5. The #11 is usually going to work and the #5 will make it sound like it's a different harmonic function (to my ear).

    And, when I say "you probably don't want", all that means is that if you're going to play that note, you need to be sure that the line sounds good -- it won't be automatic like playing a natural 9 against a maj7. If you lean on the 11th, you may change the sound of the chord enough to confuse its function.

    Consonant extensions on a dominant chord can be derived similarly. C13 gives you 5 notes. You probably don't want the natural 7 or the b3 (although you may want the #9, which is the same note an octave higher). All the other notes can work. They're alterations of the 5 and 9.

    That was a little long winded, but it comes down to thinking in 13th chords and, mostly, altered 5th and 9ths. And, you can specify which ones by using chord names, like C13#11 or Cm13.

    One advantage is that you can change one note without having to think about a completely different sounding name. It's cumbersome (at least until the nomenclature becomes second nature) to think lydian dominant vs mixolydian because you changed one note. Why use language that's counterintuitive?

    Now, I'm sure a better theorist will have an explanation.

    And, I also agree that the key is to know how to apply the knowledge to different harmonic situations, as Christian described.

    For that, it's helpful, I think, to recognize that all melodic minor chords are the same chord (per Levine).

    It's helpful to use Warren Nunes' teaching that there are two types of chords, tonic and dominant.

    So, Cmaj7=Em7=Am7. (maybe Gmaj7#11 can be added to this group).

    And, Dm7=Fmaj7=G7=Am7=Bm7b5.

    Also, tritone subs. G7=Db7. And, those can be embellished with different extensions. So, you might try Abm7, Bmaj7, Db7 and Ebm7 Fm7b5 (Warren's subs for Db7).

    So, by thinking about Levine (on melodic minor), Nunes (two types of chords) and using tritone subs -- you have a multitude of choices.

    Then, you pick a tune and try things.
    Last edited by rpjazzguitar; 07-01-2021 at 01:59 PM.

  20. #19

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    Pianists may conceive of multiple complex vocabulary relationships among melody and harmony under a unitary concept like "two flats"... while most guitarists don't read music and don't know what notes they play. "Two flats" is their excuse for being late.

  21. #20

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    How did you memorize/practice modes?-screen-shot-2021-07-01-5-35-19-pm-png

    Here are your three best friends...just move them around.

  22. #21

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    I really don't think this is a complex theory thing per se. The theory you need is a very small amount. I could write everything you need to know intellectually about harmony to play jazz on a side of paper, but I don't think that makes it easy. The work is always in the application in music....

    For instance, you can combine all II/V, tritone, rel major/minor and m7b5/m6 relationships into this single relationship:

    G7<-->Bm7b5<-->Dm6/7<-->Fma7(#11)

    We imply the appropriate scales - maybe think of them as all belonging to G mixolydian or D dorian or something. This is also called 'the family of four' by Sheryl Bailey, and you may notice the root notes are all chord tones of G7.*

    Now, the D melodic minor version, which differs by one note, C# instead of C, and adds in the chord on that root.**

    G7#11<-->Bm9b5<-->C#7alt<-->Dm(maj7)<-->Fma7#5(#11)

    (We can also add E7sus4b9 to both of these BTW.)

    Not much info, right? No need for a theory book.

    However: to master the use of all these options and the complete internalisation of them in every key and situation takes a lot of work and practice. That's why the application side of the derivative/relative approach lies. When talking about this (to me) extremely simple concept in lesson 1, I have noticed that often, the student's eyeballs roll back in their skull, they emit a high keening sound. We spend the next few years learning how to use the bloody thing.

    For instance, the Barry Harris thing of converting a m7b5 chord into dominant (I think David Baker does this also); you learn its G9<-->Bm7b5, for instance, a major third thing. Then you have to crunch through a tune converting all the m7b5 chords into dominants. So Dm7b5 G7b9 Cm is actually Bb7 Bo7 Cm, and so on.

    An extreme example of this is Pat Martino's minor conversion idea. Which is basically the relation I have above, but you turn everything into a minor chord. I suppose you then choose which minor sound to use by ear. The Barry Greene chart elsewhere on JGO has a similar concept to what I've put up above.

    ----

    *
    (By the way the character of these chords vary quite a bit if you use B or C; which are the classic avoid notes on Dm7 and G7 respectively; the B defines the resolving/dominant sound, and the C offers a more floating, suspended sound.)

    **One thing I'll always emphasise is that it seems to me in the classic recorded music these two things - D melodic minor and G dominant/D dorian are basically conjoined. There's not a hard border between them, and if players want what jazz educators today call 'melodic minor harmony' they'll just feature that specific note. A good, clear example is the opening scale of Chelsea Bridge, Bb dorian until it leans on the major seventh. It all relates as well to classic minor line cliches like 1-7-b7-6 that you find often in minor key swing and bop lines like Groovin' High on II-V's as well as I minor chords.

    Last edited by Christian Miller; 07-01-2021 at 06:07 PM.

  23. #22

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    Well, the mind and body obviously work together so conceptualizing the material is important (theory),

    BUT

    concept and fingers are too different things. Meaning, you have to play them, not just think about them. You have to burn them in with good old fashioned repitition/drilling.

    And that goes for scales/chords/arpeggios that we already know, as well as those we are just learning.

    Right or wrong?

  24. #23

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    When I started learning scales it soon became apparent it was all about where the half steps fell. In the major scale they fall between the 3rd and 4th and the 7th and Tonic. In minor scale they fall between 2nd and 3rd and the 6th and 7th. I then learned about Modes with in a scale which is starting the scale off a different note other then the tonic. Why they named them is beyond me they could just as well say C off 2 instead of Dorian. And if you are using minor scale the minor 2 is another term I dont really get because the tonic and the 2nd are always a whole note apart as is the 4th and 5th and the 5th to 6th. and that is in any key only the half steps move on the 3rd and the 7th. Its all about where the half steps fall. Unless you are playing the minor blues scale which has the half step bunched up from the 4th to 4# to 5th and the scale also dose not have a 2nd or 6th note So if I was playing blues in E it is E,G,A,A#,B,D six notes to its scale. E minor E,F#,G,A,B,C#,D. And Then I practice The pattern in any key Linear and box. And I will also do it off a note other then the Tonic/Modes. And like I have (heard How do I get to Carnegie Hall)

  25. #24
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  26. #25

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    maxone8 His question...

    "Anyways, I practiced a lot so now I can do either way, but I always feel comfortable when thinking major scale. So I always wanna know you guys who learned jazz guitar in the first place, how did you practice modes? And when you're improvising, do you relate it to major scale, or just the mode?"


    As you can see most relate to major scale. We tend to call this the Vanilla approach. Nothing wrong with this approach. But there is much more... But it does take skills, you need to get past the thinking part... to knowing.

    I like thinking major as reference... but I also like using other references, modal is one possible source for organizational reference that lead to different results when creating and developing musical relationships.

    If you are looking for skills ...using modes, Play tunes you know in different modes. 1st with same harmonic organization as you know... the Major or vanilla approach. Play Maj. tunes in Minor and Minor tunes in Maj. Then try using different versions of maj and minor... the different modes.

    You probable know some blues tunes.... play one that is in maj. Like Sandu or Billies... something harmonically simple

    When you play too many gigs or just playing tunes... it's a fun game. Helps the thinking to become knowing. And you'll quickly see how your technical skills are.

    There is a balance between learning theory and getting your technical skills together.