Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 51 to 98 of 98
  1. #51

    User Info Menu

    Back at the ranch. Yay! Good to see you again.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #52

    User Info Menu

    Quote Originally Posted by JonnyPac
    Thanks for the nice feedback and additional info/comments. I'm glad some of you dig it. Enjoy!
    Your video gave me a great picture of how Melodic Minor can be used in Jazz.

    I learned this scale a couple of years ago but was not creative enough to come up with any inspiring improvisation.

    It was kind of weird to me in that as you play through it from the root, you have this flatted third which hints at the sadness/somberness of the minor tonality, and then all of a sudden you climb up to a 6th and 7th, just as in the major scale, with all its "brightness/cheer" (which is how major tonality is often described).

    It seems to me this one of those scales that can allow you to express happiness and somberness, all in one line. This gives an improviser great flexibility in expressing themselves.

    Would you say this is an fair and accurate description of the MM scale?

  4. #53

    User Info Menu

    Good to hear and read about jazz guitar again... I'll try and make lots of video posts and motivate us all to get our playing together.
    AlsoRan... MM is simply one of the tools used by jazz players. Typically, MM is used more like Blue Notes and their influence on harmony and improvisation... as compared to deriving functional harmony from pitch collection and typical chord construction. Although there are plenty of examples of compositions and improvisation derived with traditional harmonic and melodic use. I'll make a new Video showing the differences of applications. What becomes somewhat more complicated is that... MM is usually used in context and simultaneously with other concepts.
    Your description is cool with me, the flexibility might be one of the keys to using in a jazz style...
    Reg

  5. #54

    User Info Menu

    Quote Originally Posted by Reg
    Good to hear and read about jazz guitar again... I'll try and make lots of video posts and motivate us all to get our playing together.
    AlsoRan... MM is simply one of the tools used by jazz players. Typically, MM is used more like Blue Notes and their influence on harmony and improvisation... as compared to deriving functional harmony from pitch collection and typical chord construction. Although there are plenty of examples of compositions and improvisation derived with traditional harmonic and melodic use. I'll make a new Video showing the differences of applications. What becomes somewhat more complicated is that... MM is usually used in context and simultaneously with other concepts.
    Your description is cool with me, the flexibility might be one of the keys to using in a jazz style...
    Reg
    I will be waiting for that video!

  6. #55

    User Info Menu

    Welcome back, Reg!

    wiz

  7. #56

    User Info Menu

    Quote Originally Posted by AlsoRan
    Your video gave me a great picture of how Melodic Minor can be used in Jazz.

    I learned this scale a couple of years ago but was not creative enough to come up with any inspiring improvisation.

    It was kind of weird to me in that as you play through it from the root, you have this flatted third which hints at the sadness/somberness of the minor tonality, and then all of a sudden you climb up to a 6th and 7th, just as in the major scale, with all its "brightness/cheer" (which is how major tonality is often described).

    It seems to me this one of those scales that can allow you to express happiness and somberness, all in one line. This gives an improviser great flexibility in expressing themselves.

    Would you say this is an fair and accurate description of the MM scale?
    Sure, I can dig that!

    Glad you got something out of the lesson.

  8. #57
    Nuff Said Guest
    Quote Originally Posted by Reg
    Good to hear and read about jazz guitar again... I'll try and make lots of video posts and motivate us all to get our playing together.
    AlsoRan... MM is simply one of the tools used by jazz players. Typically, MM is used more like Blue Notes and their influence on harmony and improvisation... as compared to deriving functional harmony from pitch collection and typical chord construction. Although there are plenty of examples of compositions and improvisation derived with traditional harmonic and melodic use. I'll make a new Video showing the differences of applications. What becomes somewhat more complicated is that... MM is usually used in context and simultaneously with other concepts.
    Your description is cool with me, the flexibility might be one of the keys to using in a jazz style...
    Reg
    Very glad you're back Reg, the insight in your posts is an inspiration to us all.

    More videos please. It's always a great pleasure to hear you play, because your playing is top notch.

    Thanks
    Nuff

  9. #58

    User Info Menu

    Quote Originally Posted by Nuff Said
    Very glad you're back Reg, the insight in your posts is an inspiration to us all. More videos please. It's always a great pleasure to hear you play, because your playing is top notch.
    +1 ... and then some ... Reg puts everything about this forum into proper perspective. When all's said & done, it comes down to playing I look at Reg's video and first think, "Why bother?" Then I come to my senses and think, "Wait! This is what's possible if you keep at it." Inspiring! (And you don't have to pay for these great little lessons ).

  10. #59

    User Info Menu

    Thanks... and yea, playing is the goal. Here's another example of using Melodic Minor on a Brecker Tune... Nothing Personal

    Thanks Reg

  11. #60

    User Info Menu

    Reg! Good to see you man. Love it.

  12. #61

    User Info Menu

    Cool JP...
    It's difficult to use MM modally... no avoid notes, and you can almost use any chord any time... almost like a one big chord all the time.
    Somewhat why in jazz we use MM concepts almost like blue note influenced harmony... we tend to use more as a influence as compared to in a modal style, (implying functional movement). And usually we use MM in combination with other concepts, usually blue notes etc... European jazz players like Martijn van Iterson are pretty good at using and composing using MM in that traditional European Classical tradition...
    Cool band, looks and sounds like fun...Reg

  13. #62

    User Info Menu

    Thanks, Reg! It's a fun group.

    Iterson is way cool with MM- From transcribing his licks I got a really good perspective on functional MM uses. He even uses Lydian Augmented as the I chord frequently, which sounds totally chilling.

  14. #63

    User Info Menu

    BTW- I just fully-revised my book and e-book. Anyone who wants an updated version send me a PM.

  15. #64

    User Info Menu

    Quote Originally Posted by Reg
    Thanks... and yea, playing is the goal. Here's another example of using Melodic Minor on a Brecker Tune... Nothing Personal

    Thanks Reg
    Nice, man. Nice.

  16. #65

    User Info Menu

    Quote Originally Posted by JonnyPac
    BTW- I just fully-revised my book and e-book. Anyone who wants an updated version send me a PM.
    Nice surprise, JP. Thanks a lot!

  17. #66

    User Info Menu

    Reg, I learn so much from your videos.
    Truly, thank you.

  18. #67

    User Info Menu

    Quote Originally Posted by Philco
    Reg, I learn so much from your videos.
    Truly, thank you.
    Hey... Thank you... really, that's why I try... I'll try and make another video example of how to use Melodic Minor as source and influence of playing in a Jazz Blues style, use of sub of subs and Modal Interchange. The difference between as compared to a rock or classical concept.
    Reg

  19. #68

    User Info Menu

    Updated the pages in posts #1 and #2 to the new 2012 revised versions.

  20. #69

    User Info Menu

    Thanks Jonny. Every time I look on this site, I see a thread and think: that it is the thread I have to work through. But this here really is the thread I need to work through! Hehe.

    But I am confused. How come there is no b3=F in the second chord, Cm69/D? Where did it go?

    Thanks.

  21. #70

    User Info Menu

    Cool- Thanks.

    The Eb is the b3 of Cm69/D. The "D" root is a Phrygian Sus b9 chord- sus means there is no F, but a G in its place. the one that gets debated too often. I'd focus on the other chords since they are more commonly used. The first mode, Lydian Augmented, Lydian Dominant, and ALT are the real popular ones. Locrian Natural 2nd is used a bit too.

  22. #71

    User Info Menu

    The 2nd mode of C MM can have an F BTW; it's not a tension to be avoided, etc.

  23. #72

    User Info Menu

    Now here is another very helpful take on Melodic minor.
    I love this guys playing and sense of melody.
    Check out his other videos on the same subject.
    This video just put it all in a nutshell for me.
    I love it when he said..
    "don't think of Ab melodic minor when you think of G altered chord.....that's just an extra thought process....
    Just think G altered scale"
    Then he plays with groove and melody and makes beautiful sense of it.
    Monster player who can put theory into action...


  24. #73

    User Info Menu

    Quote Originally Posted by Philco
    "don't think of Ab melodic minor when you think of G altered chord.....that's just an extra thought process....
    Dix is absolutely right. I have enjoyed his site and his approach for some time. He is a really nice guy to talk with as well...

  25. #74
    Nuff Said Guest
    Quote Originally Posted by brwnhornet59
    Dix is absolutely right. I have enjoyed his site and his approach for some time. He is a really nice guy to talk with as well...
    I agree, I got much more music out of learning each Melodic Minor Mode, than just learning the parent scale.

    Note: that "Dixon Nacey" sings the lines.

    Nuff
    Last edited by Nuff Said; 03-28-2012 at 10:20 AM. Reason: Sings the lines.

  26. #75

    User Info Menu

    Quote Originally Posted by Nuff Said
    I agree, I got much more music out of learning each Melodic Minor Mode, than just learning the parent scale.

    Note: that "Dixon Nacey" sings the lines.

    Nuff
    Man I wish my vocal range was larger. Even is falsetto I can only hit a B below top C.
    Bloody useless.
    When I sing an octave down it sounds like crap.

    Oh well, I guess you only get a certain quota of useable attributes during manufacture.

  27. #76

    User Info Menu

    Quote Originally Posted by JonnyPac
    Greetings y'all,
    I'm trowing a few pages of my book up here to add my 2 cents on the Melodic Minor Scale used in jazz and other contemporary (pop) genres. Beware: it is based on CST and has a few debatable Levine-isms in it, etc. I do not want to get a huge flaming debate going here, I want to share what works for me and my students with hopes that it will help others along their paths.

    Feel free to add additional information, examples, charts, videos, etc, but keep it constructive. I will delete the entire except if I get harassed personally. (BTW sorry I posted this in the wrong forum- I mean to post it in the Getting Started one!)

    Cheers,

    Jonathan Pac Cantin
    All image pages copyright 2012 (print use for private study

    That's great stuff, and I enjoyed it - but you're going to scare the crap out of many people and discourage them, - because you're making music theory look like quantum physics (my actual profession BTW) - and it's not - believe me. The truth is.... there isn't much to music theory at all - even though people want you to believe there is, for whatever reason (I have no idea).


    The Melodic Minor is nothing but a Relative (Natural) Minor with a raised 6th Degree and raised 7th Degree (leading tone).


    For example - take C minor (3 flats): C - D - Eb - F - G - Ab - Bb (3rd, 6th, and 7th flatted).


    Raised 7th Degree

    When you raise the 7th Degree, which is Bb (te), it becomes a B Natural (ti).

    • The 7 Chord (Bb Dominant) now becomes a B Diminished.


    What other chords in the scale are also altered by raising that same Bb (besides the 7 Chord)?

    • The 3rd of the 5 Chord (Gm7) is Bb and needs to be raised to B Natural (becoming a G Dominant).


    • The 5th of the 3 Chord (EbM7) is Bb and needs to be raised to B Natural (becoming an Eb Augmented M7).


    • The 7th of the 1 Chord (Cm7) is Bb and needs to be raised to B Natural (becoming a C Minor/Major 7).



    Raised 6th Degree

    When you raise the 6th Degree, which is Ab (le) it becomes A Natural (la).

    • The 6 Chord (AbM7) now becomes an A Half-Diminished.


    Again.... what chords are also altered by raising that same Ab?

    • The 3rd of the 4 Chord (Fm7) is Ab and needs to be raised to A Natural (becoming an F Dominant). Note: This Dominant IV Chord will sound like the Dominant V Chord in the key of the Subtonic (7th Degree).


    • The 5th of the 2 Chord (D Half-Diminished) is Ab and needs to be raised to A Natural (becoming a Dm7).


    • The 7th of the 7 Chord (B Diminished) is Ab and needs to be raised to A Natural (becoming a B Half Diminished).




    So, to summarize -


    • Raising the 7th Degree alters 1 note (Bb) in the 7, 5, 3, and 1 Chords


    • Raising the 6th Degree alters 1 note (Ab) in the 6, 4, 2, and 7 Chords.


    As far as embellishment, just follow the scale degrees. For example (in the same altered Cm key) - for 9ths, only the 2nd Degree (D-Eb) and the 7th Degree (B-C) have flatted 9ths (i.e. - flatted seconds). And so on.....

    That's all there is to it! So IMO, start actually playing more instead of overloading the gray matter with redundant, convoluted jargon that purposely makes the incredibly simple complicated.
    Last edited by BirdSong; 06-23-2013 at 02:06 AM.

  28. #77

    User Info Menu

    Quote Originally Posted by BirdSong
    start actually playing more instead of overloading the gray matter with redundant, convoluted jargon that purposely makes the incredibly simple complicated.
    Got anything better to contribute than drag up year and a half old posts to criticize?

  29. #78

    User Info Menu

    Quote Originally Posted by cosmic gumbo
    Got anything better to contribute than drag up year and a half old posts to criticize?
    After the time I took to write the meat of the post (other than what you quoted), that's the only paragraph you comment on? Coming from you CG, I'm not surprised.

    Besides, I didn't criticize the post, I personally complimented the post. But many younger musicians do get discouraged, and I wanted to help simplify. Others besides yourself read these posts to glean things from them, so I am just adding some things that may help someone out. The part of my post that you quoted was a general statement to us all, not to the person who made the post in question.

    I've read through many of your snarky posts and snide remarks here in this forum CG (even long before I actually joined) - and if you didn't have as many posts as you do, I would conclude that you were a forum troll that no one has bothered to deal with. I can only imagine the kind of music that comes from a heart such as yours. My guess is that it does little to soothe anyone's soul or bring any kind of joy to them - since the music someone creates is an extension of their own heart and soul.

  30. #79

    User Info Menu

    Hey BirdSong...

    Is that really it...that's all you see, hear and and understand about MM. Or are you saying anything else is just random ornamentation and relationships.

    I would relly enjoy hearing and seeing you play a few jazz tunes in a jazz style...

    Reg

  31. #80

    User Info Menu

    Bird Song, you explain one way to organize the technical information of what the chords and notes are in the melodic minor scale, that's a long ways away from how to put those chords and notes into practice.

    Also, to all, can we try really hard to avoid personal insults?

  32. #81

    User Info Menu

    Hey Jake... I'll try, sometimes I don't even know I'm insulting, really. But I'll issue a general apology to all those I've insulted. But sometimes a good insult works wonders...

    Getting back to MM basics, I was watching and listening to some of Dixon's videos, of which I totally dig... there are some breakdowns in his terminology and organizational concepts, but his feel is really cool. Some weird fingerings and techniques... but I like them, nice collection of vids.

    He's still seems to be basically using MM in maj/min functional harmony organization. MM as an ornamentation as compared to modal organizational concept. No right or wrong... good, bad etc... well I actually think playing is great, but there are different modal and tonal concepts that can be applied.

  33. #82

    User Info Menu

    I'm glad this thread popped up since I've been really trying to generate some new sounds with MM....I've always viewed and referenced it from the 1st mode and my ideas always sounded, well... Minor/Major 7thy....which is not bad, but it gets a little tiring on the ears....

    Anyway... I've gotten a lot more mileage by viewing/organinzing MM over an Alt Dom from the second mode.....basically I view it as a minor pentatonic a minor 3rd up from the root of the dominant.... then add flat 9, nat 6.....

    A7alt = C min pent with b9 & 6

    From this organizational/visual reference it's easier for me on the fly to find the notes anywhere (we're talking minor pentatonic easy), harmonize,...etc.. Add the flat 5 and you have all your minor pent/blues ideas available superimposed on the original chord....

    I've known about this "trick" for a few years, but I never organized myself to view MM exclusively from that perspective... but once I did the "sounds of the other modes all made sense"....or at least I could actually really hear them and then play accordingly, not just the one flavor I had been using.









  34. #83

    User Info Menu

    Quote Originally Posted by Reg
    Hey Jake... I'll try, sometimes I don't even know I'm insulting, really. But I'll issue a general apology to all those I've insulted. But sometimes a good insult works wonders...

    Getting back to MM basics, I was watching and listening to some of Dixon's videos, of which I totally dig... there are some breakdowns in his terminology and organizational concepts, but his feel is really cool. Some weird fingerings and techniques... but I like them, nice collection of vids.

    He's still seems to be basically using MM in maj/min functional harmony organization. MM as an ornamentation as compared to modal organizational concept. No right or wrong... good, bad etc... well I actually think playing is great, but there are different modal and tonal concepts that can be applied.
    Hi Reg, all your videos and discussions on MM really helped me a great deal. Actually seeing and hearing a player using the scale is extremely informative. Then I also fanatically studied all 5 of Dixon's videos and memorised the entire fretboard as per his method. Then I also worked on that blues vamp that he played using only MM and it sounded so cool.......he has a wicked groove going on......and so do you.

    I have also transcribed a lot of Martino solos and have a collection of his lines as played over altered dominant chords. They are Melodic Minor lines and have little to do with his minor conversion concept.......but that's another story.

    I reckon I have spent well over a year and a half on MM exclusively and the world has opened up for me.
    It's a big part of the sound that attracted me to this style of guitar.......and it was always a mystery.
    Not anymore!
    So a big thanks from me!

  35. #84

    User Info Menu

    Hey Philco... very cool. It's pretty hard for me to think of playing jazz without having access to MM world. Great to hear. I think I remember some of your vids... you already had some great playin and technique going on. Looking forward to hearing and seeing more.

    Hey djangoles... yea, that's a cool relationship, so your using the pentatonic pattern and sound and augmenting or embellishing the existing sound for a source to open the MM door? That is one of the very cool aspects of MM in jazz settings, there are no avoid notes or intervals... it's somewhat just being able to have an existing sound or concept and using that as an access point. And because of the two tri-tones, there can be a sub or alternate version, depending on original relationship.

    That also brings up the... find all the pentatonic patterns in all the scales game. One of Joe Henderson's approaches.
    Again method of creating relationships within existing somewhat tonal concepts to create access to different developments...

    That's how I basically hear and think all the time, multilayers of tonality. And as you mentioned, access to organized Blue notes. Throw in modal concepts and modal interchange and you have my approach to playing jazz pegged.

    Reg

  36. #85

    User Info Menu

    Personally, I think that it would be useful to have a thread in the "Lessons" section of this forum containing example uses of the Melodic Minor Modes. Slow sound examples at around 80bpm, so we all can hear the note choices.

    Good thread.
    Guy

  37. #86

    User Info Menu

    Quote Originally Posted by Reg

    Hey djangoles... yea, that's a cool relationship, so your using the pentatonic pattern and sound and augmenting or embellishing the existing sound for a source to open the MM door? That is one of the very cool aspects of MM in jazz settings, there are no avoid notes or intervals... it's somewhat just being able to have an existing sound or concept and using that as an access point. And because of the two tri-tones, there can be a sub or alternate version, depending on original relationship.

    That also brings up the... find all the pentatonic patterns in all the scales game. One of Joe Henderson's approaches.
    Again method of creating relationships within existing somewhat tonal concepts to create access to different developments...

    That's how I basically hear and think all the time, multilayers of tonality. And as you mentioned, access to organized Blue notes. Throw in modal concepts and modal interchange and you have my approach to playing jazz pegged.

    Reg
    Exactly...I look at it as "re-using the stuff I already have" haha....

    For me personally...

    thinking A7alt doesn't spark many ideas...at least nothing sounds like music to me...

    Bb MM does a little, but that's the sound that is already hypothetically happening.

    Cmin pentatonic/blues on the other hand with the 6 and b9 is something I can relate to easily all over the neck without thinking and like you said create different relationships....The big bonus for me is being able to see and play interesting sounding harmony over the original without resorting to running through stale inversions of MM....just sounds a little more organic to me and not forced because it's still basically a blues scale.

  38. #87

    User Info Menu

    Quote Originally Posted by djangoles
    For me personally...

    thinking A7alt doesn't spark many ideas...at least nothing sounds like music to me...

    I like how the Alt scale notes link to the tonic minor chord tones.
    Example: Galt to Cminor: F G Ab Bb B Db | Eb D Bb G

  39. #88

    User Info Menu

    You're implying the E7alt is really Gmin. and your playing the maj min modal interchange game. E7alt is sub for either;

    C7... from Fmaj or a mechanical function sub of G-6... E-7b5

    so either same tonal center (G)or a altered II V tonal area. as compared to embellishments.

    Another approach is implying the E7alt as a VI7 chord function... I have to split for gigs... I'll get into more details later tonight when i get home...
    Reg

  40. #89

    User Info Menu

    Quote Originally Posted by Reg
    So from the sound of sample... your implying the E7alt is really Gmin. and your playing the maj min modal interchange game. E7alt is sub for either;

    C7... from Fmaj or a mechanical function sub of G-6... E-7b5

    so either same tonal center (G)or a altered II V tonal area. as compared to embellishments.

    Another approach is implying the E7alt as a VI7 chord function... I have to split for gigs... I'll get into more details later tonight when i get home...
    Reg

    Yea it's a little ambiguous since it never resolved anywhere....

    I didn't really outline the Gmin-C9 (G-6 E-7b5) move much, but I'm aware that it's there as a possible move in this particular MM...(Correction... I forgot about the Bb to C chord stabs)

    The E7alt as VI7 (or plain old Bb) is probably closer to what I was thinking since some type of A is an obvious way to resolve both... or at least eventually it would go there.

    Of course all the Gmin stuff could be viewed as Bb, and knowing how simple I think that's probably how I would use it 99% of the time...

    but I'm always interested in seeing other approaches or ways to enhance it.

    I'll try to do something in context next...maybe in the morning.
    Last edited by djangoles; 06-25-2013 at 08:32 PM. Reason: Correction

  41. #90

    User Info Menu

    Quote Originally Posted by Julie647
    John Stowell has some interesting videos on melodic minor and its applications that I just ran into today
    I agree, that course is well worth getting. Interesting that he suggests using MM a tone below the alt chord as well as the usual positions.

    I stumbled across some nice phrases over a 7b9 chord the other day. I was trying to figure out why I could play a BbMM scale over a C7b9 and have it work so well. Then I remembered the Stowell video you mentioned where he suggested exactly that.

    Works a charm because it has the 5 b7 b9 11 13 of a C alt.
    ....and another little door opens.....

  42. #91

    User Info Menu

    So I played one of my older tunes at this gig earlier... the tune was called Jumpstart... simple groove tune that plays around with MM... The CD was released a couple years ago ... but here's a version from my youtube channel. Very rough but easy to see and hear another organized use of MM...

    I'll gladly contribute to a new thread or take over this one... anyway getting into applications of MM. Here's the Vid.

    Last edited by Reg; 06-26-2013 at 01:28 AM.

  43. #92

    User Info Menu

    Quote Originally Posted by Reg
    The CD was released a couple years ago ...

    What CD is that, is it available?

  44. #93

    User Info Menu

    I think it was called "Just The Beginning". I can send you the dig copy.

    Here are three tunes of mine that use MM approaches.
    "Jumpstart" from older CD and "Side Steppin" and "In Search Of Blue" from new CD coming out
    Attached Files Attached Files

  45. #94

    User Info Menu

    I've started a new thread for Melodic Minor mode examples here:

    https://www.jazzguitar.be/forum/jazzg...tml#post339131


    Thanks
    Guy
    Last edited by GuyBoden; 06-26-2013 at 05:23 AM.

  46. #95

    User Info Menu

    Quote Originally Posted by Philco
    I agree, that course is well worth getting. Interesting that he suggests using MM a tone below the alt chord as well as the usual positions.

    I stumbled across some nice phrases over a 7b9 chord the other day. I was trying to figure out why I could play a BbMM scale over a C7b9 and have it work so well. Then I remembered the Stowell video you mentioned where he suggested exactly that.

    Works a charm because it has the 5 b7 b9 11 13 of a C alt.
    ....and another little door opens.....

    Yea I forgot that to mention in a previous post that if you take the Whole step below the Dominant route....and play from second mode you get, well .... the Mutant Cmin Pentatonic Blues scale with b9 raised6.....or Dorian b9 Blues Scale, if that is more appropriate.....basically Cmin blues over C7..... I should have taken my 1st guitar teachers advice and just play blues over everything... lol

    Like I said before...I'm trying to simplify my thinking and it seems when I view it from that reference it just a little easier to experiment with, but I guess whatever works....

  47. #96

    User Info Menu

    Quote Originally Posted by Reg
    I think it was called "Just The Beginning". I can send you the dig copy.

    Here are three tunes of mine that use MM approaches.
    "Jumpstart" from older CD and "Side Steppin" and "In Search Of Blue" from new CD coming out
    Real nice reminds of many Tuesday "Guitar Nite" at the Baked Potato listening to Ritenour, Carlton, and others.

    Thanks

  48. #97

    User Info Menu

    Quote Originally Posted by djangoles
    Yea I forgot that to mention in a previous post that if you take the Whole step below the Dominant route....and play from second mode you get, well .... the Mutant Cmin Pentatonic Blues scale with b9 raised6.....or Dorian b9 Blues Scale, if that is more appropriate.....basically Cmin blues over C7..... I should have taken my 1st guitar teachers advice and just play blues over everything... lol

    Like I said before...I'm trying to simplify my thinking and it seems when I view it from that reference it just a little easier to experiment with, but I guess whatever works....

    It would be great if you could post a clip of your Melodic Minor Mode playing ideas on this thread:
    https://www.jazzguitar.be/forum/jazzg...tml#post339131

    Thanks
    Guy

  49. #98

    User Info Menu

    Hey thanks Doc... yea the spud... great hang, played there many times while I was in LA. Haven't been in a while. Those gigs are different now, hard to just drop in.

    Thanks for starting thread Guy. I'll get in slow-mo and try and break down some MM applications.

    Reg