Members ugly steeple fear Posted February 11, 2005 Members Share Posted February 11, 2005 I've started studying this scale. Anyone have any jazz solos that aren't incredibley difficult but illustrate this scale? or Licks? or transcriptions? Link to comment Share on other sites More sharing options...
Members edeltorus Posted February 11, 2005 Members Share Posted February 11, 2005 Good question.. I tried to explore melodic minor myself and played around with it, but it does not speak to me. It seems I'm not able to create any melodies with it and I don't know where to look further.. Link to comment Share on other sites More sharing options...
Members lazaraga Posted February 11, 2005 Members Share Posted February 11, 2005 melodic minor is a valuable scale for jazz. i use the 4th and 7th mode all the time. 4th mode= lydian dominant (1 9 3 #11 5 13 7) 7th mode= altered dominant (1 b9 #9 3 #11 #5 7) i also use the scale voiced in 4ths for some chords. Link to comment Share on other sites More sharing options...
Poparad Posted February 11, 2005 Share Posted February 11, 2005 Good place to look for licks and ideas is always Joe Pass. He had a huge bag of tricks, and melodic minor was a big part of that. His lines usually aren't too hard to transcribe (aside from his solo playing) and there are a lot of books out there with transcriptions of his stuff already. The use of meldoic minor is so ubiquitous in post bop jazz that you can listen to almost any soloist and find examples of it easily in their playing. Link to comment Share on other sites More sharing options...
Members ugly steeple fear Posted February 12, 2005 Author Members Share Posted February 12, 2005 I have the orange Joe Pass method book, and am studying solos from that. Are there any specific solos you can tell me of? Link to comment Share on other sites More sharing options...
Members Terje Posted February 13, 2005 Members Share Posted February 13, 2005 Originally posted by lazaraga i also use the scale voiced in 4ths for some chords. Hey, can you give me an example of that? Over a ii-V-I progression for instance (in the key of your choice), and what if you used only three notes for each chord. How would you do it? Link to comment Share on other sites More sharing options...
Poparad Posted February 13, 2005 Share Posted February 13, 2005 Originally posted by jkaz I have the orange Joe Pass method book, and am studying solos from that. Are there any specific solos you can tell me of? I don't have that book, so I couldn't say, but just look for the dominant 7th chords and see if he's using lydian dominant or altered over them. Link to comment Share on other sites More sharing options...
Members Auggie Doggie Posted February 13, 2005 Members Share Posted February 13, 2005 Originally posted by edeltorus Good question.. I tried to explore melodic minor myself and played around with it, but it does not speak to me. It seems I'm not able to create any melodies with it and I don't know where to look further.. When I first learned of melodic minor (ascending form, aka 'jazz minor'), I had little use for it in that context as well. Oddly enough, the 'melodic' minor scale was anything but! So, I took the opposite approach, and built chords from the melodic minor scale, and would come up with progressions based on them. Suddenly, the melodic applications instantly came into focus. So, you may wish to try that as well. Link to comment Share on other sites More sharing options...
Members lazaraga Posted February 14, 2005 Members Share Posted February 14, 2005 Originally posted by Terje Hey, can you give me an example of that? Over a ii-V-I progression for instance (in the key of your choice), and what if you used only three notes for each chord. How would you do it? i'm sure you could figure it out yourself. i've used it to harmonize some subsituted chords, but mainly i use it over dominant chords. i really like the lydian b7 harmonized in 4ths. there's some surprises in there. especially when you have 4 voices going. D lyd b7 in 4ths F# G# A B C D E F# C D E F# G# A B C G# A B C D E F# G# D E F# G# A B C D look what happens on the 4th degree of the scale. for altered dominants, start on the 4th degree of the lyd b7. peace edit-that came out kind of messy, sorry. it's really not hard at all to do on your own. and well worth it. Link to comment Share on other sites More sharing options...
Members Terje Posted February 14, 2005 Members Share Posted February 14, 2005 Originally posted by lazaraga edit-that came out kind of messy, sorry. it's really not hard at all to do on your own. and well worth it. Yeah, it did come out rather messy. But when I quoted you I could see it as you had intended it. OK, one initial question, some of those chords look like stacked 5ths to me. Is that right? I suppose I could figure it out myself. Some of those vocings I have tried (just three notes at a time though... ). I'm a little confused thinking about it right now. It's late, I need to sleep. Link to comment Share on other sites More sharing options...
Members lazaraga Posted February 15, 2005 Members Share Posted February 15, 2005 Originally posted by Terje OK, one initial question, some of those chords look like stacked 5ths to me. Is that right? yeah they're inverted 5ths, aka 4ths;) the chord i like from melodic minor is built off the 7th degree in 4ths. so in A melodic minor, that would be G# C F# B. also known as your ol' 7#9 chord. to me it's kinda neat how the 7#9 chord can be contextualized in different ways, and it being a quartal voicing of melodic minor is one of those ways. peace Link to comment Share on other sites More sharing options...
Members Terje Posted February 15, 2005 Members Share Posted February 15, 2005 Originally posted by lazaraga yeah they're inverted 5ths, aka 4ths;) Yes, of course. I read them from the top to the bottom only. so in A melodic minor, that would be G# C F# B. also known as your ol' 7#9 chord. I play a part of that voicing (I've got only three strings, remember), the C F# B part. I'd normally think of that as a D7 with a 6th on top (whatever you call that) or Ab7#9. You've given me a new way to think of this voicing, thanks. Link to comment Share on other sites More sharing options...
Members lazaraga Posted February 15, 2005 Members Share Posted February 15, 2005 Originally posted by Terje Yes, of course. I read them from the top to the bottom only. I play a part of that voicing (I've got only three strings, remember), the C F# B part. I'd normally think of that as a D7 with a 6th on top (whatever you call that) or Ab7#9. You've given me a new way to think of this voicing, thanks. Ab 7#9= G# 7#9 try singing the 4th voice (only half kidding;) ) peace Link to comment Share on other sites More sharing options...
Members Terje Posted February 15, 2005 Members Share Posted February 15, 2005 Originally posted by lazaraga Ab 7#9= G# 7#9 Ah, I thought the voicing was related to A minor or something... I see what you mean now though, and it's pretty clear in writing too... well, then I knew that one from before. try singing the 4th voice (only half kidding;) ) peace Link to comment Share on other sites More sharing options...
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