Jazz Guitar Lesson 2 Melodic Minor Modes (1 of 2)

Part one of a two part lesson on the modes of the melodic minor scale and how they're used over common jazz chords and progressions. Recommended for those who already know their major scale modes and the basic functions of jazz progressions. (iim7 V7 Imaj7, etc)

Category:

Music

Tags:

• jazz
• guitar
• lessons
• melodic
• minor
• improvisation
• solos
• altered
• scale
• overtone
• dominant
• modes
• geoff
• stockton
• instruction

[closetome]

you spend the first 5 mintues talking about nothing of any use, why get into something meaty straight away like how we can actually solo with it

[geoffstockton]

@closetome How about you don't bother telling me how to conduct my lessons and post some of your own if you don't like mine? I know I personally don't waste my time telling people how they should conduct their youtube videos, which is great because it allows me more time to be productive because I don't have to waste time putting others down. If you think the first 5 minutes contain info of no particular use, that's your problem. About 11 thousand other people haven't shared your complaint.

[geoffstockton]

@closetome I'm assuming you're one of the six thousand who didn't bother to watch part 2 of this lesson.

[rock4ever812]

8:56 I can think of one possible voicing for a D#11(13) starting on the A string and going up: D G# C F# B (A5 D6 G5 B7 E7). You could also use the same voicing starting on the 6th string (E10 A11 D10 G11 B12). It's cumbersome, but it's there.

[geoffstockton]

@rock4ever812 Hey, good call.  Don't know why I hadn't thought of that! It's a little cumbersome but I've definitely seen worse. Plus: if you're playing with a bass player you could always drop the bass note and leave it to the bassist. Then it's just the classic 7#9 Hendrix chord voicing against the tritone in the bass. Thanks for pointing that out!

[stevieo78]

These lessons are extremely accessible, setting them apart from the majority of jazz lessons on the use of scales.

[lekremyelsew]

@xOnimpulsex One more for clarity XD. When modulating in a song to a different relative mode, you just start from a different note in the scale, the key signature stays the same (hence the same interval pattern). When going from natural minor to harmonic minor you use a chromatic inflection (raising the 7th) and therefore changing the key signature (and inherently the overall pattern). Same for the raised 6th from harmonic to melodic minor.

[lekremyelsew]

@xOnimpulsex As for the modal question, major scale and its relative modes are set apart from others by a unique pattern of whole and half steps (WWHWWWH). Every mode of the major scale contains this pattern, the difference in modes is where you start. The harmonic and melodic minor scales each have a different pattern of intervals (starting at a different root note does not change the overall pattern). So the natural, harmonic and melodic minor scales each have their own set of 7 unique modes.

[lekremyelsew]

@xOnimpulsex Starting from the natural minor scale, composers liked to raise the 7th to a major because it creates a V7 (dominant) chord which resolves very well to the I, which made the harmonic minor scale. When creating melodies with this scale, there was an awkward augment second between the 6th and the 7th. They didn't didn't like the way it sounded, especially in the "dissonance is for the devil" period of time. So they raised the 6th too which got rid of that augmented interval.

[xOnimpulsex]

where is the melodic minor scale derived from? Like, diatontically from the major scale, where do you arrive at the melodic minor scale or is it outside diationic? also if it is from the diationic harmony, can you harmonize every mode there is? and then how do you know what to play over what? .....thats a lot i know haha. anyone out there that can help with these please

[Eradicateify]

@closetome

Mark Levine The jazz theory book

[closetome]

Do you reccomend any books to get to learn jazz harmony? Thankyou

[danlovesnan]

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?

[TheHappyFaceBoxMan]

That guitar sounds beautiful, almost like a nylon string guitar