hello, I have a question. If I play a Cmelodic minor on a G7 it sounds good, but if I play a Gsharp melodic minor it doesn't..isn't it strange? I was playing the Ab melodicMinor thinking of the triton substitution G7/D7b (C#7)...Have you got any idea?
@danlovesnan playing a Cmelodic on a G7 chord creates a mixolydian b6 (the 5th mode of the melodic minor)sound over the G7 chord which is an alternative to the vanilla mixolydian scale.Now playing an Ab melodic minor over G7 creates an altered sound over the G7 chord (7th mode of the melodic minor chord).Personally,I think it is a cool sound if you want to go 'outside' before you resolve to the one which is C major.It will take some time for you to appreciate the sound.keep on experimenting.
nice lesson...practically speaking...but how can we understand how to use it unless we study the harmonization of its chords? I did it right now, and I have a more clear idea about how to use it.
how can I use these scales? I mean: if I am playing a G7 (dominant) do I use the minor melodic scale of C starting from G? As I do with the major scale? what If I am playing a Dmaj7? For me this is a new scale and cannot quite understand how to use this sound...
Cool video man, very useful! I think everyone should invest in a LOOP pedal, very useful tool for practicing. One question: For the altered scale, don't I need to alter the dominant chord E7#5 to use the F melodic minor over it? If I'm not mistaking, you left the 5th out of your E7 on purpose when you looped it.
thanks so much for this lesson? first person to really explain this well. everyone else was always just saying "yeah just play melodic minor" and i wasnt chord to play it over and all that. please do more lessons with these more advanced jazz/blues lessons. there are already enough blues lessons with just minor pentatonic. thanks again man!!!
d7 is actually d dominant 7, it is spelled d-a-F# c. D major 7 is d-a-f#-c#, completely different animal. And thank you for posting the lesson, while theoretically I know this stuff it is cool to see someone who is a few steps beyond my understanding demonstrating it, in other words exactly what I was looking for, so again thanks. Looking, as I'm sure you are to, to break out of the straight pentatonic/major/minor box. Pretty smart stuff here.
Hey man thanks for the lesson. I bet you never thought you would get so much grief for just trying to help people! You are a good player and people should respect the fact that this was a FREE lesson, jeez people?. post more lessons!!!
'caus the lydian dominant scale which is the fourth mode of melodic minor has an minor seventh not a major seventh (the definition of dominant as in lydian dominant is a scale or chord with a major third and minor seventh)
Blues doesn't really change keys at all. It simply uses diatonic harmonic forces as its basis. All the chords are still heard and function in relation to the I.
This is sort of irrelevant. The 9th is just an extension, and in a jazz context you just refer to the base harmony (7th), and any extension or alteration is at the discretion of the player.
@kankoutra In a classical context, perhaps. The concept of ascending/descending mel. minor is strictly one that relates back to common practice music theory, and is relevant in the context of smoothing the melodic line in a minor key. In jazz, it's played the same way up and down.
aaaaaaaaaa. great bonus at the end! you can tell you really like what you're doin! good job!
losburrakos 2 months ago
Good stuff!
consul1957 6 months ago
Nice to see you cut loose....
Ol' blues Dawg...
FlooferHunter 6 months ago
hello, I have a question. If I play a Cmelodic minor on a G7 it sounds good, but if I play a Gsharp melodic minor it doesn't..isn't it strange? I was playing the Ab melodicMinor thinking of the triton substitution G7/D7b (C#7)...Have you got any idea?
danlovesnan 11 months ago
@danlovesnan playing a Cmelodic on a G7 chord creates a mixolydian b6 (the 5th mode of the melodic minor)sound over the G7 chord which is an alternative to the vanilla mixolydian scale.Now playing an Ab melodic minor over G7 creates an altered sound over the G7 chord (7th mode of the melodic minor chord).Personally,I think it is a cool sound if you want to go 'outside' before you resolve to the one which is C major.It will take some time for you to appreciate the sound.keep on experimenting.
cobbinahj 2 months ago
nice lesson...practically speaking...but how can we understand how to use it unless we study the harmonization of its chords? I did it right now, and I have a more clear idea about how to use it.
danlovesnan 1 year ago
hello,
how can I use these scales? I mean: if I am playing a G7 (dominant) do I use the minor melodic scale of C starting from G? As I do with the major scale? what If I am playing a Dmaj7? For me this is a new scale and cannot quite understand how to use this sound...
danlovesnan 1 year ago
if it sounds good...then it is good
pinkdirt 1 year ago
u help me nothing, but u help Us EverySingleThing of Jazz. GBU, brother.
blackcoastify 1 year ago
dude i wish you were in the uk so i could get lessons off you
nikoly18 1 year ago
Yo Marty,
Cool video man, very useful! I think everyone should invest in a LOOP pedal, very useful tool for practicing. One question: For the altered scale, don't I need to alter the dominant chord E7#5 to use the F melodic minor over it? If I'm not mistaking, you left the 5th out of your E7 on purpose when you looped it.
Thanks for your advice.
riskotibor80 1 year ago
thanks so much for this lesson? first person to really explain this well. everyone else was always just saying "yeah just play melodic minor" and i wasnt chord to play it over and all that. please do more lessons with these more advanced jazz/blues lessons. there are already enough blues lessons with just minor pentatonic. thanks again man!!!
rixills 1 year ago
you ARE a jazz guitar master !!
TheMylesky 1 year ago
Of course this is really helpful!!!! 5*
sazsaz1010 2 years ago
Great!
silversilver1975 2 years ago
not a master ? really quite a master !!! great lesson and great application of this scale !
SpeedPickers 2 years ago 4
This has been flagged as spam show
cool stuff thank you
guitarforfree 2 years ago
d7 is actually d dominant 7, it is spelled d-a-F# c. D major 7 is d-a-f#-c#, completely different animal. And thank you for posting the lesson, while theoretically I know this stuff it is cool to see someone who is a few steps beyond my understanding demonstrating it, in other words exactly what I was looking for, so again thanks. Looking, as I'm sure you are to, to break out of the straight pentatonic/major/minor box. Pretty smart stuff here.
cm0220ster 2 years ago
Excellent work ! Thank you Marty. I like the way you simplify explanations. Really helpful and some hip licks. Great !
Olli4712 2 years ago
...you re a jazz guitar master.
kada2278 2 years ago
Fucking tasty. Great player.
Kjutte1 2 years ago
wow!!!!!
guitarzarecool 2 years ago
Hey man thanks for the lesson. I bet you never thought you would get so much grief for just trying to help people! You are a good player and people should respect the fact that this was a FREE lesson, jeez people?. post more lessons!!!
Paparexi 2 years ago
why would the four chord be a D7.. why wouldnt it me a D maj 7
ejcball247 2 years ago
'caus the lydian dominant scale which is the fourth mode of melodic minor has an minor seventh not a major seventh (the definition of dominant as in lydian dominant is a scale or chord with a major third and minor seventh)
en4sm8zn7g8 2 years ago
This comment has received too many negative votes show
well d7 is d maj 7
encounter50 2 years ago
not true. A d7 is a 1 3 5 b7, and a d major 7 consists of a 1 3 5 7. (In the key of D, a D7 is a D,F#,A,C, and a Dmaj7 is a D,F#,A and a C#)
chillriffer 2 years ago 2
oh thanx for the info bro
encounter50 2 years ago 2
In a blues context the 4 chord is a 7 chord. Normally it would be a d maj 7 though.
chillriffer 2 years ago
in a dominant blues?
no it's a D7
blues changes key constantly
stonehouse1 2 years ago
Blues doesn't really change keys at all. It simply uses diatonic harmonic forces as its basis. All the chords are still heard and function in relation to the I.
emixolydian 2 years ago
What scale are you playing on the V chord?
guytric007 2 years ago
cool!
guitarsports 2 years ago
Is that a Collins Guitar?
cookingnotes 2 years ago
it's a "Heritage" guitar made in the original Gibson factory in Kalamazoo.
jazzupjazz 2 years ago
This is a great video. Taught very well - keep in mind that 4 chord is D9, not D7 - B string 5th fret is " E " makes it a 9.
bluedream0808 2 years ago
This is sort of irrelevant. The 9th is just an extension, and in a jazz context you just refer to the base harmony (7th), and any extension or alteration is at the discretion of the player.
emixolydian 2 years ago 3
@emixolydian
He is using the melodic minor wrong. There is a difference between the descending and the ascending from of Melodic minor.
kankoutra 1 year ago
@kankoutra In a classical context, perhaps. The concept of ascending/descending mel. minor is strictly one that relates back to common practice music theory, and is relevant in the context of smoothing the melodic line in a minor key. In jazz, it's played the same way up and down.
emixolydian 1 year ago
@emixolydian I agree but in jazz descending mel. minor is often used with the 4th skipped.
kankoutra 1 year ago
@kankoutra how do you figure that?
emixolydian 1 year ago
Comment removed
MrMusicgenius 1 year ago
@MrMusicgenius I suppose the person who made the comment would care that it's irrelevant.
emixolydian 1 year ago
its the guy from rockongoodpeople
tylerdwells 3 years ago
you are incredible!
injenieus 3 years ago
The half-step anticipation really sounds good with the lydian dominant. Thanks for a great lesson.
ooconnor 3 years ago
Yeah this is what i'm looking for!!!!!
Toby
toby1kenobe 3 years ago 2
nice Mr. T ending by the way! lol
Orionsglare 3 years ago
lydian dominant was always a kinda not-know-how to-put-this-to-work scale...This video got me "unscrambled" again:)
Orionsglare 3 years ago