Scribd Logo
Upload

Welcome to Scribd!

  • 42 views

    Melodic Minor Modes

    Uploaded by

    hsl2013
    The document discusses using melodic minor modes in a minor blues progression. It presents four examples of melodic minor scales played over chords: E melodic minor over an Em9 chord, A melodic minor over an Am7 chord, C lydian dominant over a C9 chord, and B altered over a B7 chord. It explains that these modes will sound a bit 'out' compared to more typical minor and blues scales but can help take the progression in a different direction.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd

    Melodic Minor Modes

    Uploaded by

    hsl2013
    42 views2 pages
    The document discusses using melodic minor modes in a minor blues progression. It presents four examples of melodic minor scales played over chords: E melodic minor over an Em9 chord, A melodic minor over an Am7 chord, C lydian dominant over a C9 chord, and B altered over a B7 chord. It explains that these modes will sound a bit 'out' compared to more typical minor and blues scales but can help take the progression in a different direction.

    Original Description:

    Melodic Minor Modes

    Copyright

    © © All Rights Reserved

    Available Formats

    DOCX, PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The document discusses using melodic minor modes in a minor blues progression. It presents four examples of melodic minor scales played over chords: E melodic minor over an Em9 chord, A melodic minor over an Am7 chord, C lydian dominant over a C9 chord, and B altered over a B7 chord. It explains that these modes will sound a bit 'out' compared to more typical minor and blues scales but can help take the progression in a different direction.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    42 views2 pages

    Melodic Minor Modes

    Uploaded by

    hsl2013
    The document discusses using melodic minor modes in a minor blues progression. It presents four examples of melodic minor scales played over chords: E melodic minor over an Em9 chord, A melodic minor over an Am7 chord, C lydian dominant over a C9 chord, and B altered over a B7 chord. It explains that these modes will sound a bit 'out' compared to more typical minor and blues scales but can help take the progression in a different direction.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    You are on page 1of 2

    Melodic Minor Modes

    by Brett Garsed (14 Apr 09)

    The scales

    I thought I'd present a few ideas for a minor blues progression using
    melodic minor modes. All of this will be familiar for jazz guitarists, but it
    may be a good way for a few rockers to spice up their blues playing.
    I've used a minor blues in E with a similar progression to such tunes as
    "The Thrill Is Gone" or "Still Got The Blues" as an example, but you'll
    also find this progression in many jazz standards, as well such as "Mr.
    PC" by John Coltrane. I'll be using E melodic minor, A melodic minor, C
    lydian dominant and B altered.

    First up, I wanted to clearly show the sound of each melodic minor
    mode accompanied by its most appropriate chord, so Ex.1 is E melodic
    minor (1,2,b3,4,5,6,7 - so it's like a major scale with a minor third),
    played right over the top of a min/maj chord (or the "James Bond
    chord"), which is a minor chord with a major 7 interval.

    Click HERE to hear Brett play this example

    In Ex.2 you'll hear the A melodic minor scale played over an A min/maj
    chord and of course it's the same formula as Ex. 1.

    Click HERE to hear Brett play this example

    Ex.3 is the C Lydian dominant mode (1,2,3,#4,5,6,b7) played over a


    C7#11 chord:

    Click HERE to hear Brett play this example

    And lastly, Ex.4 is a B altered scale (1,b2,b3,b4,b5,b6,b7) played over a


    B7#9 chord (or the "Hendrix chord"). You know you've really made it
    when you get a chord named after you!

    Click HERE to hear Brett play this example

    In the minor blues progression, I'll be using Em9, Am7, C9 and B7


    chords, so these modes will sound a little "out", and for good reason, as
    there are indeed notes contained within these scales that are not in the
    chords, but it's a great way to take a regular blues in a different
    direction and also create a different kind of tension.
    To get an idea of how out these modes sound, compare them to E and A
    Dorian, which would be very inside for the Em9 and Am7 and also C
    Mixolydian (for the C9 chord) and B minor pentatonic or Phrygian major,
    which would be very inside for the B7 chord.

    You might also like