The Jazz Guitar Chord Dictionary
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  1. #51
    I don't have the answer to that yet either (needing hours and hours for this), but one thing is that Lucky says in the book to STOP after only the first three lines until they become a part of your playing.

    So maybe the secret is to break down the goals into smaller ones...

    To draw a parallel (not improv related), the only real progress I feel that I've made recently is in being able to take a lead sheet and (slowly!) hack together a chord melody, and, after looking at a lot of material, it was only due to finally working my way through Chord Melody Assembly Line that I reached this point. I think the difference to other materials is that it deliberately sets very specific and limited goals. Obviously not to teach the ideal of chord melody playing, but just as a "feasible" jumping off point towards expanding your chord voicings, reharm, other devices, etc.

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  3. #52

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    The more I learn the more I throw out rules. You can go nuts if you’re constantly trying to analyze what is academically correct. I’ve reduced my thinking to knowing your tonal center where you’re starting a line. Be aware of where you need to be when you pause or land on the target chord. The landing note is preferably a chord tone but can be an upper structure extension of the chord. How you navigate from your starting point to your landing note is up to you. In other words, anything goes, as long as you resolve to the correct harmony of your target chord.

    Of course your ear likes to hear phrases that are melodic. So you don’t want to just play random notes. Think of a shape such as ascending or descending to approach your target note. Assuming you’re starting your line in D Dorian, you can purposely play a couple notes that are not part of that scale. Using your example of a flatted 6 will create a bit of tension til you reach your target note.

    A good way to practice this is to loop 2 chords. Using the first chord to define your tonal center to start your line. Along the way, play a couple of notes not part your starting scale as you approach and finally land on a chord tone of your target chord.

    Take it slow to work out your lines. Pretty soon you ears will open up to notes that’s not part of the scale. Your phrasing with conviction will make the line sound right, especially upon reaching your target note that resolves your line to the destination Harmony.

    Good luck and have fun with it.

    So to answer your question, can one play non Dorian over a 2 chord. The answer is yes. You start with Dorian then morph it into whatever you like, as long as you resolve correctly.

  4. #53

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    Quote Originally Posted by M-ster
    Your question is not clear, but if you're talking about the ii chord in a typical minor ii - V - i, then your observation is correct: it does not take Dorian. It would normally be Locrian (if you're trying to describe it modally).

    So, in your A minor example, ii - V - i is Bm7b5 - E7 - Am. Bm7b5 would take B, C, D, E, F, G, A, B. The notes of the A minor scale.

    I'm sure you'll get 10,000 more responses. Brace yourself.
    If you want the real minor sound you probably want to use an F# and a G# in the scale. The A minor scale you describe is Aeolian, it's not really a key centre unless you're playing something modal and the tune implies an Aeolian sound.

    As a result if you're talking about using modes, the mode would be B Dorian (b9) B C D E F# G# A for the Bm7b5. Or you could also use D meloidc minor for Bm7b5 as the chord Dm6 and Bm7b5 is the same chord.