A Question To Matt About Melodic Minor Modes |
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Feb 7 2013, 08:45 PM
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Hey, since the mode thing has been addressed, I use slightly different chord symbols for some modes but they're all in the ballpark, I can talk about learning them.
I think the key is to relate them to scales you already know, so I always relate them to major modes. MM 1 to me is Ionian b3, so I can take any Ionian mode I know, flat the 3rd and I have a fingering for MM 1. I can do this for all the modes thinking about them as such. Ionian b3 Dorian b2 Phrygian b1 Lydian b7 Mixolydian b6 Aeolian b5 Locrian b4 That way I don't have to start from scratch to learn MM modes, I just have to adjust the major modes I already know. This worked for me and has worked really well with my students from all different backgrounds. For the 3rd mode, I like to use that Arpeggio over a m7 chord to make it a mMaj9. So, if I had Cm7 in a chart, I might play Ebmaj7#5 to give it a rootless CmMaj9 sound, same for the chord voicing in a rhythm context. If anyone wants to read about this approach in more detail, here are a couple of links to check out. http://www.mattwarnockguitar.com/modes-of-...eir-application http://www.mattwarnockguitar.com/melodic-m...gios-and-chords Great topic! -------------------- |
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Feb 9 2013, 10:06 AM
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QUOTE (Jonas Tamas @ Feb 7 2013, 11:34 AM)  Hi David, thanks a lot for your post and for the detailed chord and scale info! Yes, Dorian b2 sounds quite differently as the "regular" dorian scale. I even call Dor b2 as a Phrygian 6#, because it tells more about its mood. Personally, which mode of your favorite? My guess would be super locrian. What were your experiences back then when you started learning and applying these scales? How quickly did you learnd them, and what method would you suggest for practicing them? No problem, always up for a discussion on mel minor harmony! Ah my favourite, really tough, probably super locrian yeah, or maybe lydian dominant since I do use that a lot too. In fact here's a video I recorded yesterday where I'm basically just working on resolving lines (some of which are mel minor based, some are augmented/diminished/harmonic major etc): Youtube Well I studied with Tom Quayle for a long time, and he's a big user of the mel minor modes, so that helped a lot. Obviously it took a while, and I'm still working on them now as you can see from the video. But one cool thing that I do a lot is create a totally random chord scheme in Band-In-A-Box full of mel minor specific chords and try to improvise freely over it. Really difficult to be melodic over a nonsensical progression.  QUOTE (The Professor @ Feb 7 2013, 07:45 PM) Hey, since the mode thing has been addressed, I use slightly different chord symbols for some modes but they're all in the ballpark, I can talk about learning them. I think the key is to relate them to scales you already know, so I always relate them to major modes. MM 1 to me is Ionian b3, so I can take any Ionian mode I know, flat the 3rd and I have a fingering for MM 1. I can do this for all the modes thinking about them as such. Ionian b3 Dorian b2 Phrygian b1 Lydian b7 Mixolydian b6 Aeolian b5 Locrian b4 That way I don't have to start from scratch to learn MM modes, I just have to adjust the major modes I already know. This worked for me and has worked really well with my students from all different backgrounds. For the 3rd mode, I like to use that Arpeggio over a m7 chord to make it a mMaj9. So, if I had Cm7 in a chart, I might play Ebmaj7#5 to give it a rootless CmMaj9 sound, same for the chord voicing in a rhythm context. If anyone wants to read about this approach in more detail, here are a couple of links to check out. http://www.mattwarnockguitar.com/modes-of-...eir-application http://www.mattwarnockguitar.com/melodic-m...gios-and-chords Great topic! Ah that's really interesting Prof, I've always viewed mel minor as a dorian scale with #7, since it seems more related to be (despite both only being one note away), and I'd be more inclined to use the mel minor in a dorian type of context than an Ionian. But that's just me! Some cool links there, thanks for that. A couple of visualisation concepts that I'd used in the past: Mel minor = two parallel dom7 arpeggios combined - E.g C mel minor = F7+G7 combined Super locrian is basically a major scale with a sharpened root |
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Feb 9 2013, 10:55 AM
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QUOTE (The Professor @ Feb 7 2013, 07:45 PM) Hey, since the mode thing has been addressed, I use slightly different chord symbols for some modes but they're all in the ballpark, I can talk about learning them. I think the key is to relate them to scales you already know, so I always relate them to major modes. MM 1 to me is Ionian b3, so I can take any Ionian mode I know, flat the 3rd and I have a fingering for MM 1. I can do this for all the modes thinking about them as such. Ionian b3 Dorian b2 Phrygian b1 Lydian b7 Mixolydian b6 Aeolian b5 Locrian b4 That way I don't have to start from scratch to learn MM modes, I just have to adjust the major modes I already know. This worked for me and has worked really well with my students from all different backgrounds. For the 3rd mode, I like to use that Arpeggio over a m7 chord to make it a mMaj9. So, if I had Cm7 in a chart, I might play Ebmaj7#5 to give it a rootless CmMaj9 sound, same for the chord voicing in a rhythm context. If anyone wants to read about this approach in more detail, here are a couple of links to check out. http://www.mattwarnockguitar.com/modes-of-...eir-application http://www.mattwarnockguitar.com/melodic-m...gios-and-chords Great topic! Thanks so much Matt! I've never thought of the lydian augmented as "Phrygian b1", so it is a very useful info for me, and for the other GMC members. The suggested links are awesome - again. Your page seems to be one of the best resources, with all that accumulated and well-structured knowledge! Thanks again:) QUOTE (David.C.Bond @ Feb 9 2013, 09:06 AM) No problem, always up for a discussion on mel minor harmony! Ah my favourite, really tough, probably super locrian yeah, or maybe lydian dominant since I do use that a lot too. In fact here's a video I recorded yesterday where I'm basically just working on resolving lines (some of which are mel minor based, some are augmented/diminished/harmonic major etc): Youtube Well I studied with Tom Quayle for a long time, and he's a big user of the mel minor modes, so that helped a lot. Obviously it took a while, and I'm still working on them now as you can see from the video. But one cool thing that I do a lot is create a totally random chord scheme in Band-In-A-Box full of mel minor specific chords and try to improvise freely over it. Really difficult to be melodic over a nonsensical progression. A couple of visualisation concepts that I'd used in the past: Mel minor = two parallel dom7 arpeggios combined - E.g C mel minor = F7+G7 combined Super locrian is basically a major scale with a sharpened root Hi David, I was gonna ask you about Tom Quayle, because you both live in Leeds. He is one of the most exciting players nowadays, and a great guy too. It's cool that you were able to work together with him. Thanks a lot for the video link, I'll check it out right away. Question to both David and Matt: Are you willing to play my "one scale - one adjective" game, mentioned in the topic opener? So for each mel minor scale, write the first adjective that jumps into your mind. It can be a really good method for us GMC readers to become familiar with these scales. |
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