Added: 3 years ago
From: martyfs74
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  • aaaaaaaaaa. great bonus at the end! you can tell you really like what you're doin! good job!

  • Good stuff!

  • Nice to see you cut loose....

    Ol' blues Dawg...

  • 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.

  • 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...

  • if it sounds good...then it is good

  • u help me nothing, but u help Us EverySingleThing of Jazz. GBU, brother.

  • dude i wish you were in the uk so i could get lessons off you

  • 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.

  • 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!!!

  • you ARE a jazz guitar master !!

  • Of course this is really helpful!!!! 5*

  • Great!

  • not a master ? really quite a master !!! great lesson and great application of this scale !

  • 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.

  • Excellent work ! Thank you Marty. I like the way you simplify explanations. Really helpful and some hip licks. Great !

  • ...you re a jazz guitar master.

  • Fucking tasty. Great player.

  • wow!!!!!

  • 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!!!

  • why would the four chord be a D7.. why wouldnt it me a D maj 7

  • '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)

  • 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#)

  • oh thanx for the info bro

  • In a blues context the 4 chord is a 7 chord. Normally it would be a d maj 7 though.

  • in a dominant blues?

    no it's a D7

    blues changes key constantly

  • 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.

  • What scale are you playing on the V chord?

  • cool!

  • Is that a Collins Guitar?

  • it's a "Heritage" guitar made in the original Gibson factory in Kalamazoo.

  • 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.

  • 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

    He is using the melodic minor wrong. There is a difference between the descending and the ascending from of Melodic minor.

  • @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 I agree but in jazz descending mel. minor is often used with the 4th skipped.

  • @kankoutra how do you figure that?

  • Comment removed

  • @MrMusicgenius I suppose the person who made the comment would care that it's irrelevant. 

  • its the guy from rockongoodpeople

  • you are incredible!

  • The half-step anticipation really sounds good with the lydian dominant. Thanks for a great lesson.

  • Yeah this is what i'm looking for!!!!!

    Toby

  • nice Mr. T ending by the way! lol

  • lydian dominant was always a kinda not-know-how to-put-this-to-work scale...This video got me "unscrambled" again:)

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