Melodic Minor Courses Online? or Favorite Book Must Have

[equenda]

Im not sure if this is the correct Forum for the question listed.

I have seen a few video type courses offered on Instagram.

Im mainly a blues, funk player,
However, I like the harmony that I hear when players go to the IV chord and going back to the I

Im looking to get more harmony out of the MM and apply it to tunes that I play to throw a little Spice in the mix.
I really dig Robben Ford, (I know he uses Dim a lot,, that will be next)


Looking to break down The harmony of it and everything that goes with it. Then apply on solos

There are books out there,,,( if there is a book that is a must have, Im open to that as well) but I prefer something with video.

Thank you for any info.

Corbin

Ciao Corbin.
I know what I'm going to say next is not shared by many guitarists: don't waste time with harmonic and melodic minor scales.
My experience and that of many guitarists I know is that after studying harmonic and melodic minor scales for many hours, they have only increased the confusion in their heads and their way of improvising has remained the same.
But it is also true that many professional musicians know and know how to use harmonic and melodic minor scales very well.

My advice is: for now try using major arpeggios to create tension on the dominant chords.
The image I attach comes from my method "Melodic Improvisation For Jazz Guitar" and I think it explains the matter well.



Other times on this Forum many have told me that I was wrong. Maybe they are right but I suggest you try the path I recommended for a few hours and then evaluate whether FOR YOU it is better to study all the fingerings of the scales and arpeggios derived from the harmonic and melodic minor scales.

Ettore

[pamosmusic]

Ciao Corbin.
I know what I'm going to say next is not shared by many guitarists: don't waste time with harmonic and melodic minor scales.
My experience and that of many guitarists I know is that after studying harmonic and melodic minor scales for many hours, they have only increased the confusion in their heads and their way of improvising has remained the same.
But it is also true that many professional musicians know and know how to use harmonic and melodic minor scales very well.

My advice is: for now try using major arpeggios to create tension on the dominant chords.
The image I attach comes from my method "Melodic Improvisation For Jazz Guitar" and I think it explains the matter well.



Other times on this Forum many have told me that I was wrong. Maybe they are right but I suggest you try the path I recommended for a few hours and then evaluate whether FOR YOU it is better to study all the fingerings of the scales and arpeggios derived from the harmonic and melodic minor scales.

Ettore

I'm not going to say I disagree with in spirit -- usually it's a good move to get every bit of interesting material you can out of the thing you know before moving onto the thing you don't know yet.

I'm curious though why you went with Db major over C7 and not a Gb7 scale (B major) ... that one also differs from Db melodic minor by only one note:

Gb Ab Bb *Cb* Db Eb Fb Gb
Gb Ab Bb *C* Db Eb Fb Gb

That would get you the "altered" thing rather well, with the additional advantage of containing the third and seventh of C7 (the Db major scale does not).

It would also open up some useful approximations of the harmonic minor (Eb7) and the diminished scale (A7) sounds by way of the ole diminished substitution.

I'd also note that -- with all the advantages of moving around all your major scale vocabulary -- the dominant sound you can't really get is that 9(#11) A Train type sound.

[AllanAllen]

My experience and that of many guitarists I know is that after studying harmonic and melodic minor scales for many hours, they have only increased the confusion in their heads and their way of improvising has remained the same.

I feel seen.

[wolflen]

The C#/D in the scale is what gives it its characteristic sound, without the D, it becomes a G7b5 - a different sound and application. Plus the natural 5th (D) is the b5 of the Abm7b5 and the b9th of Db7, its relative V7 (the b5 substitutes). If you're going to be that choosy about the notes you play, there's no point in thinking in terms of scales at all, better to think in terms of chord tones - chords over chords.

Yes..chord tones..use scales as a chord tone map rather than..well..a scale..chord (triad) pairs their arps can be very tasty ways to outline melodic fragments
and the vanilla ii-V trick.

The MM is a great source of improv ideas..if you don't think of it as a scale. The approach to it "all the chords are the same" does take a bit
of study to see how to apply this thinking but with some determination the light becomes a bit brighter.

[rpjazzguitar]

The C#/D in the scale is what gives it its characteristic sound, without the D, it becomes a G7b5 - a different sound and application. Plus the natural 5th (D) is the b5 of the Abm7b5 and the b9th of Db7, its relative V7 (the b5 substitutes). If you're going to be that choosy about the notes you play, there's no point in thinking in terms of scales at all, better to think in terms of chord tones - chords over chords.

I'm not recommending this to anyone else, but here's how I think about it.

When I see G7#11, I'm not thinking "how can I get a melodic minor sound?". It doesn't occur to me that I need to play both the D and the C# against G7#11. The sound I actually want to hear is G7b5.

Now, if the chord was Dminmaj7, I would probably play both C# and D. So, apparently, now that I think about what I actually do, I don't treat Dminmaj7 and G7#11 as exactly the same thing, despite Mark Levine's dictum that all melodic minor chords are the same chord. Not that I disagree in principle. Just that I don't do it.

Rather, I'm thinking, "the chord tones are G B C# F, the background is Cmajor (if that's the case in the tune) and I want the sound of G7b5". And, I'm thinking I get that sound from lowering the D to C#. I could think "the background is Dmelmin", and that actually might be a better way in the long run, but I don't usually do that.

All that said, your point about chord tones and chord over chord is, in fact, much closer to what I actually do than thinking about melodic minor.

Which brings me to another point in this thread. Melodic minor can be confusing. Sometimes, I wish I'd learned it that way from the beginning. Some kind of approach that taught that all melodic minor chords are the same. Instead of learning all these chords as different things and then trying to connect them years later.

How do you approach learning that Dm6 can be thought of as 6 different chords (Esusb9, Fmaj7#5 .... C#alt) and get that organized in your mind? And, for comping, that any cluster of notes from the melodic minor scale might become another useful chord (noting that you won't like them all)?

As an example of the issue, I picked a fourth voicing and moved it up through the melodic minor scale. It results in a number of grips, which then have to be learned on different string sets and connected to however you're going to think about them in a harmonic context. And, that's only one of a near infinite number of possibilities for the starting voicing (which you then move through the scale). I ended up with a couple of useful voicings that I know how to apply and, sadly, better in some keys than others. So, I'm okay if it's Fmelmin, but I have to think too much for, say, Dbmelmin.

It's the usual problem of jazz combinatorics. Too many cases. It can be overwhelming. Which is why I think approaching it one sound at a time may be best.

[AllanAllen]

The approach to it "all the chords are the same" does take a bit of study to see how to apply this thinking but with some determination the light becomes a bit brighter.

That's a book/course I'd like to see.

[pamosmusic]

That's a book/course I'd like to see.

Just find one of the arpeggios you can grab easily …

Maybe Eb+ … it’s got the Eb and B both which is nice because those are the notes that give a lot of the chords their color.

Make some lines with it and then know that it is an effective upper structure for every chord in the harmony …

F7#11 … so that’s augmented off the b7
Cm(maj7) … so that augment off the b3
B7alt … so that’s augmented off the 3
Am9(b5) … so that’s augmented off the b5

You could do the same thing with a seventh chord arpeggio you like … +maj7, m(maj7), and 7(b5) are all good ones.

Could also be something like rp’s m(add9).

Major scale harmony doesn’t really work that way … and it’s super useful because some of those arpeggios are kind of weird on the guitar. So you can pick one you like and just live with it for a month or something

[rpjazzguitar]

For those who haven't tried this, I'll offer a suggestion.

Take a tune that goes from Imaj to IV7#11. Say, two bars of Fmaj7 to two bars of Bb7#11. I use Rapaz De Bem.

Now, instead of playing your usual Bb7#11, substitute any chord from Fmelmin. Bass notes stay the same.

So, instead of Bb7#11, play Fminmaj7, or Gsusb9, or Abmaj7#5 or C7b13 or Dm7b5 or Ealt.

Any voicing you like. What I think you'll find is that they all work. You'll like some better than others.

I think you can select a group of notes from Fmelmin at random and they'll probably work.

Then, start with xx0111. Fm6. Now move it up through the melodic minor scale. In case this is not clear, here's the method. Start with that voicing and then move each note to the next note from Fmelmin on that string. So, the open D moves to E. The Ab moves to Bb. The C moves to D and the F moves to G. That gives you xx2333. Now move that one to the next one. You get xx3554. Next one up is xx5766. And so on.

Now plug every one of them into the Bb7#11 in the song. They'll all work. You'll like some more than others.

Now, in a digression, let's look at the Fmaj7. Suppose you voice it in fourths. You start with xx0011. And, you move that one up through the major scale. Then, you substitute a few of those voicings into that Fmaj7 in the song. There are some potential clashes (the Bb) but I'm guessing you won't notice them much as long as you don't lean on them.

Now, for the 8 beats of Fmaj7, you've got plenty of different voicings. And, for the 8 beats of Bb7#11, you've also got plenty of voicings. You can make a nice little melodic statement with the highest note of each chord -- and your comping gets very cool, IMO. Lots of movement.

[Mick-7]

The best and most worked out system for hearing and thinking about upper structures I’ve come across is Stefon Harris’s in which the upper structures become the consonant notes and the base chord tones often become dissonant. So if I put an E triad on a D7 chord, the note A (5) actually sounds dissonant. It’s the G# (#4) that will sound consonant - if the ear is conditioned into hearing the upper structure.

I can't think of an example of that on the guitar, and the 5th (B) of the E triad with the 7th (C) of D7 is another source of dissonance. Can you cite a guitar voicing that illustrates your point?

I'm curious though why you went with Db major over C7 and not a Gb7 scale (B major) ... that one also differs from Db melodic minor by only one note:

Gb Ab Bb *Cb* Db Eb Fb Gb
Gb Ab Bb *C* Db Eb Fb Gb

I presume he wants to avoid the major 7th (B) over C7, however, better to just add that note to the Db Major scale, or add the note C to the Gb Major scale, same thing, an 8 note scale.

[pamosmusic]

I can't think of an example of that on the guitar, and the 5th (B) of the E triad with the 7th (C) of D7 is another source of dissonance. Can you cite a guitar voicing that illustrates your point?

Play E major with a b2 over a G7 chord and F doesn’t feel like a chord tone, the F feels like it wants to pull down toward the E and E feels like home base.

Theyd call E “melodic” do… as opposed to actual do which would be the root of the prevailing harmony or key center or whatever.

Its something that’s more illustrative of how melodies work than how voicings work.

Check out Jordan Klemons. He studied w Stefon at NYU and has spent a solid decade adapting this stuff for guitar.

[equenda]

I presume he wants to avoid the major 7th (B) over C7, however, better to just add that note to the Db Major scale, or add the note C to the Gb Major scale, same thing, an 8 note scale.

Yes. To my ear the major 7th over the dominant chord does not sound good.
As you can read in the image I posted previously the major scale played an half step above the root of the dominant chord (Db Major scale over C7 chord) contains the note F which is the perfect 11th of the C7.
We all know that the Db melodic minor scale would be a BETTER choice because it contains the note Fb which is the major 3rd of the C7.
Another useful scale is the G melodic minor which contains the b5, the 9th and the 13th of the C7 chord.

This is the theory which is 100% correct.

Then there is the real life and you have to understand if you want to become a professional Musician or try to play well (and have fun) without going crazy.

Anyway if you want to try them the book by Don Mock "Melodic Minor Revealed" and the one by Mike Stern "Altered Scale Soloing" are really excellent.

Ettore

[AllanAllen]

For those who haven't tried this, I'll offer a suggestion.

Take a tune that goes from Imaj to IV7#11. Say, two bars of Fmaj7 to two bars of Bb7#11. I use Rapaz De Bem.

Now, instead of playing your usual Bb7#11, substitute any chord from Fmelmin. Bass notes stay the same.

So, instead of Bb7#11, play Fminmaj7, or Gsusb9, or Abmaj7#5 or C7b13 or Dm7b5 or Ealt.

Any voicing you like. What I think you'll find is that they all work. You'll like some better than others.

I think you can select a group of notes from Fmelmin at random and they'll probably work.

Then, start with xx0111. Fm6. Now move it up through the melodic minor scale. In case this is not clear, here's the method. Start with that voicing and then move each note to the next note from Fmelmin on that string. So, the open D moves to E. The Ab moves to Bb. The C moves to D and the F moves to G. That gives you xx2333. Now move that one to the next one. You get xx3554. Next one up is xx5766. And so on.

Now plug every one of them into the Bb7#11 in the song. They'll all work. You'll like some more than others.

Now, in a digression, let's look at the Fmaj7. Suppose you voice it in fourths. You start with xx0011. And, you move that one up through the major scale. Then, you substitute a few of those voicings into that Fmaj7 in the song. There are some potential clashes (the Bb) but I'm guessing you won't notice them much as long as you don't lean on them.

Now, for the 8 beats of Fmaj7, you've got plenty of different voicings. And, for the 8 beats of Bb7#11, you've also got plenty of voicings. You can make a nice little melodic statement with the highest note of each chord -- and your comping gets very cool, IMO. Lots of movement.

I can’t wait to work this out in my little chord charts.

[rpjazzguitar]

I can’t wait to work this out in my little chord charts.

Samba De Orfeo starts with two bars of Cmaj. The next chord (which lasts for about a beat) is one I usually play as xx7887. Then there's Em7 A7b9 to Dm7.

Let's focus on xx7887. Suppose I call it a rootless F7#11. That can be viewed as coming from Cmelmin. So, I know the notes, and they're all supposed to be good (all white keys but flat the E).

Pick some of those notes at random and see if they work in place of xx7887. I just tried x3344x and thought it worked. Then x6546x, picked at random, and it also worked, at least arguably. I thought x x 10 12 12 11 also worked. I probably wouldn't play them behind the head, but I might consider them during spaces left in a solo.

I also could have called xx7887 a B7b13. That could be viewed as part of Emelmin. I picked some voices at random. Generally a little further outside, but not impossible.

[rpjazzguitar]

I can’t wait to work this out in my little chord charts.

Try, along the way, playing the following against Bb7#11.

xx3554, xx5766 and then xx6988.

To get back to F you could move just one note to get xx7988.

Or start with xx7988 and just move the A to Ab while wiggling the pinkie to get D and C on the high E string. Possibilities are endless, but on the positive side, they aren't hard to find and all you need is a couple you like.

[corbeano]

Dude!!! This sounds so cool. the triad thing helps a lot, I like that you can just use a little niblet instead of trying to force the whole scale down their throat going to the four chords, I learn a lot transcribing... I should check the Miles stuff. I will check out the rest too.. thank you!!!!
So much info from you all,,, what a gold mine!!!!

My advice with so called melodic minor harmony is - start with useful colourful triads rather than the whole scale. These are triads that have the cool notes. This tends to sound better, at least at first. There's a lot of notes in a seven note scale and playing all of them can get a bit much.

So, for instance, an F# triad (b9, b5, b7) on the C7 chord for the altered sound, an E triad (9, 13, #11) on the D7 for lydian dominant - this kind of thing.

Another thing you should pick up is that often the melodic minor option is one note different from the standard diatonic option.

For example, on a D7 chord it's the G# (#4/#11) that marks out the lydian dominant from the regular mixolydian. Get used to singing that note over the given chord, and when you play on that chord really go for that note. It will get the sound in your head.

Be patient. It takes a while to internalise. Be on the look out for these things in solos.

I'm sure someone can recommend a course, I'm not really a course or book guy TBH. I just get an idea and then work with it in my own way. I have books on my shelf, but I've never been able to work through one in a structured way.... It's all out there in the music, honestly, if I know what an idea is and I hear one of my favourite players using it, that makes more impact to me.

There's also the triad pair concept - when you alternate two triads to get (most) of a given scale. Robben Ford definitely used triad pair stuff when he was with Miles (probably after too, but I've only transcribed Robben with Miles).

[AllanAllen]

Try, along the way, playing the following against Bb7#11.

xx3554, xx5766 and then xx6988.

To get back to F you could move just one note to get xx7988.

Or start with xx7988 and just move the A to Ab while wiggling the pinkie to get D and C on the high E string. Possibilities are endless, but on the positive side, they aren't hard to find and all you need is a couple you like.

Beautiful stuff man, I hear some of that freedom Barney has on Julie Is Her Name. Thanks.

[corbeano]

wow! thanks

Better link, inlcudes online video instead of DVD - https://www.melbay.com/Products/2077...r-mastery.aspx

Here is the TOC:
Pentatonics and Arpeggios
Substitution Using Triads
Picking
Pick and Fingers Technique
John Stowell - Jazz Mastery Volume II
C7 + C# Melodic Minor
One Whole Tone Below
C7 - F Melodic Minor a 4th Above > b6 added
C7 - G Melodic Minor a 5th Above > 9 #11 added
John Stowell - Jazz Mastery Volume III
Using Major Triads to Extend Dominant 7th Chord
Dominant 7th chords
Major 7th Chords

[Christian Miller]

The vid is out

[rpjazzguitar]

Beautiful stuff man, I hear some of that freedom Barney has on Julie Is Her Name. Thanks.

These chords come from picking a voicing within a melodic minor scale and then moving it up through the scale.

So, for example, if you start with Fm6 xx0111 and move it up you get 7 different chords. According to Mark Levine, in Jazz Theory, these are all the same chord. And, sure enough, when you try it in Rapaz De Bem (or similar) you can hear that they all work.

Of course, you don't have to start with Fm6. You could start with xx0011 (or anything else using notes that are in Fmelmin). I mention xx0011 because it's a stack of 4ths. You get 7 voicings (some of the grips repeat) all of which are the same chord, useful and sound good.

How you get all this organized in your mind for soloing is a big question. I don't have a good answer. Suppose you have a tune where you've subbed in a Gsusb9 chord somewhere. Now, that chord can be seen as from Fmelmin. And, that gives you the entire family of Fmelmin chords as options. Too many options. So, I end up back at trying to learn one usage at a time.

Or, you see C#7b13 in a chart. How quickly can you figure out which melodic minor it's from and what your options are for comping and soloing?

I guess you have to pick tunes that have this kind of harmony and then slow the backing track down to where you can think and then run it in 12 keys (or more to drill the enharmonic equivalents). But, I'm open to suggestions for better ways to think about this stuff.

My impression is that some truly great players have worked out the 7 voicings for a number of starting-chords and have it all under their fingers, available for instant use.

So, I've just written a single post sort of recommending an endless amount of work. I apologize. I usually hate posts like this.

[wolflen]

These chords come from picking a voicing within a melodic minor scale and then moving it up through the scale.

My impression is that some truly great players have worked out the 7 voicings for a number of starting-chords and have it all under their fingers, available for instant use.

So, I've just written a single post sort of recommending an endless amount of work. I apologize. I usually hate posts like this.

Yes it is ALOT of work...Playing "fusion' style for years I found the MM to be a useful tool as it opens up many options.

I use the the chords iiimima7 thru viimi7b5 as jump points .. remember its fusion..so its a modal orientation, but it can be use in standard tonality.

Using C melmin as the working scale and the target (ending) chord is AbM7#11

I use the G triad and use pairs of G F- F Eb -C Bb...Aug chords G B Eb and their arps, chords and scales...hexatonic scales give a nice ambiguous feel

the IV7 and V7 FMA and GMA again triad pairs..using lydian dom and mixo scales..and altered..now with this aspect you can apply
yet another MM scale if its F7alt then GbMM and for the G7alt-AbMM

this kind of thinking is keeping the sound of the changing scale forms relative to each other

The ivmi7b5 and viimi7b5..I think of them as dom 9th chords..so they are now F9 and G9 alot of diminished thinking over them as
I alter their function to 7#9 ..now this also opens them up to their multi function as B and Db 7b13b9 chords

So I think of the last four chords as dominants that can be altered a whole step apart..and yes lets throw in the Whole tone scale to spice it up a notch...

so as you can see there is a wealth of possible ways to use the MM .. again this takes a lot of study to make it work in an improv setting

[AllanAllen]

These chords come from picking a voicing within a melodic minor scale and then moving it up through the scale.

So, for example, if you start with Fm6 xx0111 and move it up you get 7 different chords. According to Mark Levine, in Jazz Theory, these are all the same chord. And, sure enough, when you try it in Rapaz De Bem (or similar) you can hear that they all work.

Of course, you don't have to start with Fm6. You could start with xx0011 (or anything else using notes that are in Fmelmin). I mention xx0011 because it's a stack of 4ths. You get 7 voicings (some of the grips repeat) all of which are the same chord, useful and sound good.

How you get all this organized in your mind for soloing is a big question. I don't have a good answer. Suppose you have a tune where you've subbed in a Gsusb9 chord somewhere. Now, that chord can be seen as from Fmelmin. And, that gives you the entire family of Fmelmin chords as options. Too many options. So, I end up back at trying to learn one usage at a time.

Or, you see C#7b13 in a chart. How quickly can you figure out which melodic minor it's from and what your options are for comping and soloing?

I guess you have to pick tunes that have this kind of harmony and then slow the backing track down to where you can think and then run it in 12 keys (or more to drill the enharmonic equivalents). But, I'm open to suggestions for better ways to think about this stuff.

My impression is that some truly great players have worked out the 7 voicings for a number of starting-chords and have it all under their fingers, available for instant use.

So, I've just written a single post sort of recommending an endless amount of work. I apologize. I usually hate posts like this.

My plan is to move these grips through the MM scale, and make a little chart.

xx0011
x5556x

One key at first to get my head around it. After I have the chart I'll modify the awkward ones so they're all easy grips and sub them into comping as much as I can. Take it from there. Honestly, this alone is 2 days of charting and at least a week of time on the guitar. So, maybe I'll use one of these grips at my next gig on the 20th. Slow and steady.

[rpjazzguitar]

My plan is to move these grips through the MM scale, and make a little chart.

xx0011
x5556x

One key at first to get my head around it. After I have the chart I'll modify the awkward ones so they're all easy grips and sub them into comping as much as I can. Take it from there. Honestly, this alone is 2 days of charting and at least a week of time on the guitar. So, maybe I'll use one of these grips at my next gig on the 20th. Slow and steady.

I'd be interested in discussing applications. I don't think I've even scratched the surface and I don't have a view about the most efficient way to proceed.

So far, I've tried to learn the stacked fourth starting point in 12 keys, which means 7x12 chords, with lots of duplicate grips.
I say tried, because I'm better at Cm, Dm, Fm, Gm, Am than the rest. To do it for C#m I have to call a long drum solo while I do the mental arithmetic.

And, even for the ones I know pretty well, I may not be quick enough at the applications. For example, if I see G7b13, I have to think, "oh, maybe I can use C melmin". Then, I have to stop and think "how?". If I'm soloing I think "white keys but Eb". But, if I'm comping I have to think of which grips I know from Cmelmin, which note I want on top and how to get there. Lots of possibilities and I don't know the vast majority of them in any usable way. And, they don't all sound equally pleasing. And, at the same time, I know other ways to sub for G7b13 (eg. tritone and pinkie wiggling) which compete for brain space.

On other hand, if I'm playing 8 beats of Cmaj7, I can move among all the fourth-stack voicings at will. I know those. And, it turns out that they'll work over both tonic and dominant (with a little adjustment by ear and keeping things moving).

Oddly enough, for the major scale I don't pay much attention to the individual chord names of the 7 chords of the harmonized scale. I think it's because I learned them from Warren Nunes, who taught "there are two type of chords, tonic and dominant" and assigned the chords of the harmonized major scale to one category or the other -- and used them completely interchangeably within a category. Learning them that way decades ago, I now think, made it easier to use them now. I can imagine that there are more comprehensive systems which might produce more sophisticated results, but there's a lot to be said for simplicity.

I learned the melodic minor scale mostly from Mark Levine's book. Seven names, all the same chord. 12 keys. Doesn't sound that complicated when I say it that way, but it does seem to be.

[AllanAllen]

Easier than I thought to write this up. I’ll probably transpose to F and then use this over our Caravan C7b9 intro vamp for starters. Since I know it’s a big long comp and the trumpet likes to stretch out.

Here’s a clip of me trying it on Caravan.

[Mick-7]

A long time ago I found it was useful to combine scales. The attached file includes triad chord voicings for a combo of the harmonic and melodic minor scales.

b). Combined D Melodic & Harmonic Minor scale chord forms. [Scale is: D-E-F-G-A-Bb-B-C#].
Over Db7 supplies all altered tones plus 6th (13th). Can also play over: G7, Em7b5/ A7/ Dm(#7), et. al.

Chords: I = Dm6/#7/9; II = Em6/7 & Em7b5(b9/13); III = FM7b5/#5 (13);
IV = Gm6/7/9, Gm7b5, G7(#9/#11) & G9(#11/13); V = A7(b9/b13) & A9(#5);
bVI = BbM6/7, Bbm6/#7, Bbdim.7 & Bbdim.#7; VI = Bm7b5 & Bdim.#7;
VII = C#m7b5(b9), C#dim.7 & C#7b5/#5 (b9/#9/13).

[AllanAllen]

A long time ago I found it was useful to combine scales. The attached file includes triad chord voicings for a combo of the harmonic and melodic minor scales.

That’s information overload for me. I’m learning with horse blinders on these days. I can only take in so much