RMM and harmonic pluralism

[joenovice]

I've been exposed to some wicked stuff lately. (I'm sure the regulars are hip to this but want to get a reaction.)

 

Harmonize the RMM scale and notice the full chord structure. Each of these chords can be fully substituted for the other.

 

Instead of Cmin(maj7) try playing an Ebmaj7(#5).

Instead of B7alt try playing a F7#11 .

 

It works for every chord and is even better as melodic material.

 

 

This is what I've been doing for the last year. Tension and Release.

[Jarardo]

What is the RMM scale?

 

And how do I harmonize it?

[joenovice]

Real Melodic Minor;

http://www.guitarplayer.com/story.asp?storycode=15365

 

The harmonized RMM scale is defined here;

http://en.wikipedia.org/wiki/Jazz_harmony

 

Read the GuitarPlayer article first.

 

Good Luck.... I've been working on mastering this scale for 6-7 years! Its deep water.

[gennation]

Also known as the Jazz Minor scale, and many still just call it the Melodic Minor scale. Essentially the ascending half of the Melodic Minor scale.

 

The scale played a half-step above a V7 chord covers all the "altered notes".

 

Joe's right, it's worth investigating and experimenting with the chords build from that scale.

 

I have some nice practice routines for the scales arpeggios. I should post them.

 

You can get some of the "hipper" altered sounds over a ii-V-I pretty easily by changing the V to a bVIm6 or a bII9 chord.

 

In C Major (Dm7-G7-Cmaj7), you'd use:

 

Dm7-Abm6-Cmaj7 and Dm7-Db9-Cmaj7

 

Both the Abm6 and Db9 are both chords build form the Ab Jazz Minor, which is the Jazz Minor scale a half step above the G7 that I was talking about.

 

You can build some pretty nice lines using just the arps of reach of those chords. Many times you can get "enough" just from that to create the tension and release that's common when using the Jazz Minor scale over the V7 chord.

 

I'll look at getting some of the arp exercises together. There are more ideas regarding this scale Playing Over the Changes sticky.

 

But, all of that is only one use for it...

 

Joe, lay some tips on us as to what you are working on specifically.

[joenovice]

I started with minor ii-V's.....

ie - Dmin7(b5)-G7(b9)

 

The first thing I started with was basic scale motion. Dmin7(b5) is diatonic to F RMM. G7b9 is diatonic to Ab RMM. So I practiced using scale chord moving from F RMM into Ab RMM and resolving into C minor (dorian, RMM, harmonic, natural).

 

After doing that for a while I started substituting diatonic chord arps from the RMM scales.

 

Dmin7(b5) subs are Fmin9(maj7), Gmin7 or Gsus7, Abmaj7(#5), Bb7(#11), C7(b13), E7alt

 

G7 subs are Abmin9(maj7), Bbmin7, Bmaj7(#5), Db7(#11), Eb7(b13), Fmin7(b5)

 

The really cool thing happens when you start doing subs for everything. ii-V-i in C minor becomes Abmaj7(#5) - Db7(#11) - Ebmaj7(#5)

 

Obviously these subs work for harmonic or melodic purposes. The most important thing to remember.... musicality! RMM scale and subs are used to create tension. It should be resolved at some point and needs some consonance to work at it's best.

 

Make sense?

[gennation]

 

Make sense?

 

 

100%.

 

The "Jazz Minor up a m3" for a m7b5 chord is a great tool. And then having a V7 follow it you get the double Jazz Minor whammy. I know exactly what you're talking about.

 

And, then of course sub'ing the chords built from each Jazz Minor scale. Yep great stuff.

 

You can even do the Picardy 3rd thing and end your minor ii-V with a Imaj7 chord instead of the Im7 chord, ala Night & Day.

 

Night and Day is fun because what most people play (in C) as Dm7b5-G7-Cmaj7 can be played a || Ebmaj7 | Dm7 G7 | Cmaj7 || or like the original version except in C, || Abmaj7 | Dm7 G7 | Cmaj7|| or plain old || Abmaj7 | G7 | Cmaj7 ||.

 

Now you can have the Jazz Minor influences for the IIm7b5 and the V7 as well as the Diatonic Eb Major influences (which can be dealt with almost Modally as Eb Ionian or Ab Lydian). And ala Stan Getz...use C Lydian for the resolving Cmaj7 chord. It's a wonderful tune for exploration. Plus you get Ab Lydian to Ab Jazz Minor, nice transition.

 

Nice music on your site Joe. Listening to it now. Great jazz tones going on.

[joenovice]

Thanks Mike... You DA Man! I need to do some new recordings. Those are getting old and don't really rep where I'm at today. Especially those recorded in 2004!

 

The tune I used the most to work these concepts out was Stella by Starlight. It is FULL of minor ii-V's!

[gennation]

Thanks Mike... You DA Man! I need to do some new recordings. Those are getting old and don't really rep where I'm at today. Especially those recorded in 2004! The tune I used the most to work these concepts out was Stella by Starlight. It is FULL of minor ii-V's!

 

 

They still sound good. Stella's a great one.