Jazz Metal. Melodic Minor Licks

Melodic minor lessonIf you’ve been following our series of articles devoted to the melodic minor scale and its modes, these examples shouldn’t be too difficult to understand. However, most of them will present technical difficulties when played at full tempo. In this lesson, we’re going to conclude our recent series on the modes of melodic minor by looking at how I use some of these scales in my music. Before getting started, though, we should summarise some of the things that we have learned about the melodic minor modes in general. Purely for the sake of convenience, we are once again going to take a look at C melodic minor and its modes, as this particular scale has only one flat (Eb): (more…)

Melodic Minor Modes. Superlocrian Scale

Pat Martino. Superlocrian scale To play over this progression, you will have to learn how to shift convincingly between one scale and another throughout. We look at ways of using the seventh mode of melodic minor over functional dominant chords. In previous articles (Modal Study. The Lydian Scale Flat 7, Modal Soloing Locrian Nat 2 Scale, Jazz Waltz. Lydian Sharp Five Scale) going back some time now, we’ve been studying the various modes of melodic minor. This time, (do we hear a sigh of relief?) we are going to take a close-up look at the final mode in our series, Superlocrian. The last lesson is Jazz Metal. Melodic Minor Licks. For the sake of convenience, we’ve been focusing on C melodic minor, as it has only one flat note: (more…)

Modal Study. The Lydian Scale Flat 7

The Lydian Scale Flat 7 LessonWe continue the exploration of all things modal, this time looking at mode IV of melodic minor F Lydian b7, is only one note away from F Mixolydian. As usual, all the various scale patterns are written out so, whatever your level, you shouldn’t have any problem playing along to the backing track. We’re now near the end of our current series of articles on melodic minor. We’ve looked at modes I, II, III, V and VI, and in this lesson it’s the turn of mode IV, Lydian b7. Previous lesson was Locrian Nat 2 Scale. To keep things as simple as possible, we’ve been concentrating on the modes of C melodic minor as this scale has only one flat note: as you can see, it’s really like C major scale but with a minor 3rd: (more…)

One String Songs (Exercises). Working Out

One String Songs and ExercisesIn this lesson we demonstrate some invaluable technique-building exercises to boost your picking prowess and fingering finesse. These exercises and single string guitar songs can be beneficial for players of any standard -just make sure that you start at a metronome speed which reflects your technical ability and expect to improve gradually. Your patience will be rewarded. If you’ve already listened to the ten audio examples, you’ll have noticed that they all have something of a “Flight Of The Bumblebee” sound to them. (more…)

Modal Soloing. Locrian Nat 2 Scale

Modal Soloing. Locrian Nat 2 ScaleIn this current series of articles, such as Lydian Sharp Five Scale, Mixolydian Flat 6 we’ve seen how modes enable us to see the notes of a scale from different perspectives. As you can see, A Locrian nat 2 has the same notes as C melodic minor, but it’s viewed as an A scale so, here, the notes of an Am7b5 arpeggio are considered to be the strongest (A, C, Eb and G). As the name of this scale suggests, there is only one note different from Locrian: a major scale mode (the seventh), which is used over half-diminished chords. (more…)

Taking The Lead. Pentatonic Solo

Taking The Lead. Pentatonic Solo lessonIn this lesson we examine how you can apply the five shapes from lesson Get Connected. Pentatonic Scale Positions in a slightly different context… The backing track accompanying lesson pentatonic excursion was considerate enough to stay in the key of A minor throughout so, whichever pentatonic position you were using, all you had to do to round off a phrase effectively was to find the nearest root note (in that example, A). An identical approach would get you through certain simple chord progressions, for instance, the classic minor blues progression (using the chords Am, Dm and Em) can actually be tackled using Am pentatonic throughout. (more…)

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