pasobplate.blogg.se - Melodic minor scales with arpeggios

#MELODIC MINOR SCALES WITH ARPEGGIOS HOW TO#
#MELODIC MINOR SCALES WITH ARPEGGIOS PDF#
#MELODIC MINOR SCALES WITH ARPEGGIOS FREE#

Makes sense, right? Of course the goal for all of us is to reach a point where we can make all those scale sounds without thinking of them as scales at all, because we hear them in our minds and execute them naturally without any analytical effort. If you are trying to incorporate sounds like the altered (superlocrian) scale or the lydian dominant scale in your playing, don't learn them as modes of the melodic minor! Learn them as scales on their own and then you can bang them out exactly when and where you need them, without thinking of another scale first and then thinking of what interval to move that scale. It's part of the gobbledy-gook of jazz academia that gets in the way of music. The one-scale-fits-all approach is a shortsighted shortcut. Secondly, he won't be conceptualizing the harmony he is playing as a specific collection of pitches in relation to the chordal harmony (you only get that when you think of scales as reckoned from their roots, especially when you are starting out). First of all, just calculating the transposition will slow him down a bit. If I tell him to try taking that one melodic minor that he already knows and move it around in specified intervals, it's going to be a long time before he produces anything that sounds like music. In a one hour lesson I can have a competent student playing meaningful musical ideas with these minor ii-V-i scale sounds, but ONLY by having him learn three distinct one-octave versions of three separate scales as reckoned from their respective roots, in one overlapping position on his instrument. Grappling with the constantly moving harmonic situations you encounter in improvisation by considering the problem a matter of moving this scale up a minor third, or moving that scale up a half step, is actually HARDER than it is to just bite the bullet and learn the scale to superimpose over each chord and then commit that scale to muscle memory.

#MELODIC MINOR SCALES WITH ARPEGGIOS FREE#

Here's the problem: there's no such thing as a free lunch. They will actually be employing three different scales, but they will be seeking to accomplish it with a trick–employing one fingering that they already know, just shifting it around.

Telling people they can navigate the whole progression with "one scale" is not really true.

To me that is a more fundamentally sound and more immediately musical way to accomplish the same thing. Why not just learn fingerings for the Locrian Natural 2 Scale, then the Altered Scale, and finally the Melodic Minor Scale, and apply these scales to each passing chord in the minor ii-V-i?

#MELODIC MINOR SCALES WITH ARPEGGIOS PDF#

Stella by Starlight (click to view my post on melodic minor harmony in this song!)Įnjoy practicing this sound, transposing it to other 11 other keys, and incorporating this concept into your playing!Ĩ Melodic Minor Licks Over ii-V-i in D Minor pdf Whisper Not (various minor ii-V-i progressions in different keys) (first four chords are a minor ii-V-i, and it soon moves to a minor ii-V-i based on the four chord) Some example tunes you can use to practice this sound:Īlone Together.

A7=Bb melodic minor Bb C Db Eb F G A Bb.

Em7(b5)=G melodic minor G A Bb C D E F# G.

All of the licks are in D minor, and thus use: Here are 8 licks to help you understand how you might use melodic minor over a ii-7(b5)-V7-imin69 progression. We want to sound like we are playing JAZZ, not playing scales.

#MELODIC MINOR SCALES WITH ARPEGGIOS HOW TO#

This is a cool concept, but unless you have some examples, you may not quite know how to apply the concept adeptly.

Over the imin69, use the melodic minor scale based on the root.

Over the V7 chord, use a melodic minor scale up a half-step from the root.

Over the iim7(b5) chord, use a melodic minor scale up a minor third from the root.

Over a minor ii-V-i, the melodic minor sound is used thus: Jazz melodic minor soloing is a very hip sound. I will demonstrate both sounds over this next two-post series. Some musicians prefer the melodic minor sound, while others prefer using the harmonic minor sound. Soloing over a minor iim7b5-V7-i progression is often played with either melodic minor harmony or harmonic minor harmony.