Tag Archives: melodic minor

Lydian Dominant – 10 Licks – What is the Best Arpeggio?

This video is going over 10 Lydian Dominant Guitar Licks each one with a different arpeggio that you can add to your own vocabulary. I will also first cover what common chord progressions have Lydian Dominant chords, and some solid Lydian b7 chord voicings.

Some of the arpeggios that I cover are sus4 triads, quartal harmony and some non diatonic melodic minor arpeggios. There are many great options for getting some new sounds over these chords.

Lydian Dominant Scale

The first thing to cover is what the Lydian Dominant scale is. All the examples in this article are using a G7(#11). The scale is a mode of the melodic minor scale found on the IV. This means that G lydian b7 is D melodic minor from G to G. The scale is shown here below:

3 Lydian Dominant Progressions

There are three common lydian dominant progressions. The Tritone Substitute, the backdoor dominant and the V of V in a major key.

Below all three are shown.

First the G7 is the tritone substitue of Db7 in a II V I in Gb major. 

The second example in that line is a IV bVII I in A major where G7 is the backdoor dominant or bVII.

G7(#11) Chord Voicings

Below are some common and playable voicings for a G7(#11) that all fit in the G Lydian b7 sound.

Lick 1 – DmMaj7 Arpeggio

The first example is using the minor melodic connection by using a DmMaj7 arpeggio in the line. This also fits with the context since it is a G7 that is resolving as a backdoor dominant up to Amaj7. The arpeggio on the Amaj7 is the top part of a Herbie Hancock Arpeggio

Lick 2 – F augmented Triad

The F augmented triad is also an integral part of the G lydian b7 or D melodic minor. In this example the G7 is again resolving to Amaj7 and the F augmented arpeggio is used in the 2nd half of the bar.

Lick 3 – Fmaj7(#5) arpeggio

This example is using the G7 as a tritone substitute in a II V I in Gb major.

The G7 line is a combination of two arpeggios, first the Bø which is the arpeggio from the 3rd of the G7. This nicely leads into an Fmaj7(#5) arpeggio that really spells out the extensions of the G lydian dominant with the #11(C#) and 13(E)

Lick 4 – A7 arpeggio

This example is a longer line on a G7 resolving as a backdoor dominant back to Amaj7.

The first part of the G7 line is really build around a Dm triad arpeggio and this is followed by two arpeggios first a descending A7 and then an ascending Bø that resolves to the maj7th(G#) of Amaj7.

Lick 5 – Gsus(#4)

If you explore the diatonic sus4 triads in D melodic minor you will come across this great sounding arpeggio: Gsus#4. This sound is very distinct and as you can hear it is a great candidate for a G lydian b7 sound.

The example starts with a chromatic enclosure, then a Dm melody and from there continues with a Gsus(#4) arpeggio resolving to Amaj7.

Lick 6 –  A(add9) or A major Coltrane Pattern

The first part of this line is an Fmaj(#5) followed by a Dm melodic scale run. From here it continues with an A Coltrane Pattern that is repeated in the octave and finally resolves to the 7th(/F) of Gbmaj7.

Lick 7 – G7(b5)

The G7(b5) arpeggio is a clear candidate for the Lydian sound since the arpeggio is contains the #11 (or b5). Notice how G7(b5) is not strictly a diatonic arpeggio in D melodic minor.

In this example I am using G7 as a tritone substitute in Gb major again.

The G7b5 is played as a pattern and the entire bar is filled up by this pattern.

Lick 8 – A7(#5)

The A7(#5) is one of my favourite arpeggios in melodic minor, and in fact there are two dom7th(#5) arpeggios in there.

This example is using a IV bVII I progression in A major where the G7 is the bVII.  The entire line on the G7 is taken up with an ascending A7(#5) arpeggio and resolves via the F down to the 5th(E) of Amaj7.

Lick 9 – C#7(#5)

The other Dom7(#5) arpeggio is the C#7(#5). In this example I amusing that in a line where the G7 is a tritone substitute for Db7 in Gb major. 

Again the arpeggio is clear enough to be the only thing I am using on the G7.

Lick 10 – G major b5

The forgotten triad or G major b5 is also a good arpeggio to get the Lydian b7 sound across. In this example I am combining it with first a Dm triad then the G(b5) arpeggio and then I resolve that to an Amaj7.

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Altered Scale – 3 Great Pentatonic Solutions (Easy And Powerful)

Finding good ideas for using The altered scale can be difficult and often we end up just running the scale and not really making any interesting melodies.

In this video I will go over 3 pentatonic scales you can use when improvising over an altered dominant which is a great way to get some strong and interesting melodic ideas. Pentatonic scales are a great and easy to use resource on the guitar and as you will see you can do a lot with them.

The Sound of Pentatonic Scale in Modern Jazz

I really like to use pentatonic scales in my playing to get some more modern sounding ideas, which is also where the pentatonic scale is mostly used, but it is overall a very effective tool.

Connecting to the basic G Altered Scale

G7 altered is the same as Ab melodic minor:

Ab Bb B Db Eb F G Ab

We have one straight minor pentatonic scale:

Bbm – Bb Db Eb F Ab Bb

That’s what I am using here in this next example.

In example 2 I am first playing the scale as a 2nd position minor pentatonic.  I also use another way which is to play it in a 3-1 pattern.  This has 3 notes on one string , 1 note on the next etc. That is written in the 2nd 2 bars of example 2 here below.

Next lick another type of pentatonic scale that works really well for melodic minor sounds and especially the Altered scale. I will also go over some useful exercises to combine legato and picking for playing fast in the pentatonic scale.

The altered lick using Bbm pentatonic

Here below is the lick using the Bbm pentatonic scale. The first part is just runing up the basic scale position. in the 2nd bar I use 2 different 3 note per string patterns and then resolve to the G on Cmaj7. The line is closed with a small fragment from an Em pentatonic.

Abm6 Pentatonic

Abm6 pentatonic is a very good choice for a pentatonic scale in the altered scale. In fact it is great fro most chords you come across in melodic minor.

Abm6 pentatonic: Ab B Db Eb F Ab 

You can play that like this:

Connecting it to the tritone substitute

You can also look at it the scale as a Db7(9): Db F Ab B Eb which is how I am using it here.

Ab B Db Eb F re-ordered is Db F Ab B Eb

which is a Db7(9) arpeggio.

The example here below starts with a Db7 arpeggio and ending on the 9th in the 2nd bar two octaves higher. From here it resolves to the 9th on Cmaj7 and ends with a short lick on the Cmaj7.

Mixing legato and picking

This lick relies on mixing legato and picking. I find that those two are really cornerstones in my playing and it makes sense to have exercises where you mix them so that you can solve problems for your right hand with legato.

Here below I included an example of an exercise like this using the Abm6  pentatonic.

Let’s have a look at a more exotic but also effective pentatonic scale for altered dominants, some economy picking and how an E7sus4 chord works great on a Cmaj7.

The Eb major b6 pentatonic

This is the Eb major (b6) pentatonic scale: Eb F G Bb B Eb

It is  a great scale to spell out the sound of  melodic minor because it has the augmented triad from B included.

Constructing the scale

Since we are using the scale over a G7 altered it makes sense to connect it to a Cm pentatonic scale. You can construct the scale by taking a Cm pentatonic replace the C with a B. That makes it easier to find fingerings:

Major b6 pentatonic scale example with economy picking

The example using this scale is making use of an economy picking pattern in the first bar. I am using the economy picking to play the 3 note patterns in bar one branching into bar 2.  From there it starts with a small scale pattern resolving to the 3rd(E) of Cmaj7.

The arpeggio on the Cmaj7 is an E7sus4 which works great for that sound. It is also a part of the Em pentatonic scale I am using on that chrord.

Using pentatonic scales in Jazz

The way I work with pentatonics is mostly to get a different sound than the standard blues phrasing, they work great for some open sounds and different melodies. How do you work with pentatonics? Leave a comment and be sure to also check out the ideas that are discussed in the comments because often there is a lot of interesting information being shared.

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Altered Scale – 3 pentatonic scales

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the 3 jazz scales you need to know

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Jazz Scales can seem like a million options that you all need to learn in all positions and all chords, but there is a way to approach this that is a little easier than trying to learn all jazz scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

My Approach to Jazz Scales – Learn from the songs you play

In this video I am going to take a practical look at the chord progressions you will encounter and what scales over what chords you are going to need. I am also going to discuss how you apply the scales to the chords and practice in a more general way towards being able to use a scale over any of it’s diatonic chords.
 
Hope you like it!

List of content: 

0:00 Intro — a myriad of Jazz Scales

0:20 Practice efficiently

0:50 Finding the scales by looking at the progressions

0:59 The Major II V I Cadence: Dm7 G7 Cmaj7

1:15 The II V I and the other diatonic chords

1:44 The Major scale it’s all you need from So What to Giant Steps.

1:57 The Minor II V I Cadence: Bø E7(b9) Am6

2:09 Adding Harmonic minor and Melodic minor

2:34 Secondary dominants and cadences

2:51 Secondary cadence to IV in C major

3:07 Secondary cadence to III in C major

3:27 IV minor variations

4:26 Diminished Chords the two types

4:40 Dominant diminished chord

5:04 Subdominant diminished chord

5:44 What is covered so far

6:06 The tritone substitute: Dm7 Db7 Cmaj7

6:23 The Backdoor dominant: Fmaj7 Bb7 Cmaj7

6:48 Double diminished or German Augmented 6th: Fmaj7 Ab7 Cmaj7

7:23 Cadences with other dominant choices: Altered and Harmonic minor

8:11 The three scales and where we need them — cutting away what we don’t need.

8:55 Getting this into your practice routine!

9:12 Scale practice suggestions and knowing the scales

9:40 Example of what works and what doesn’t work when improvising over an Fmaj7 in C major

10:59 The Bonus from practicing like this!

11:20 Learning the rest of the scales

11:58 Do you work with this system or do you have a better one?

12:36 Like the video? Check out my Patreon Page!

My secret arpeggio and 3 places I use it!

Sometimes it is great to look beyond the diatonic arpeggios for some rich or more colorful sounding arpeggios.

This video is about one of these arpeggios that I really use a lot for melodic minor, altered or Lydian dominant sounds.

https://www.youtube.com/watch?v=lXowsZvR3Mk

Finding the arpeggios

Usually we find arpeggios by stacking 3rds in a scale, but in some cases we can get some really great sounds by building chords in other ways.

The arpeggio I want to talk about in this lesson is the dom7th(#5) arpeggio. The A7(#5) is shown here below:

Where does the dom7th(#5) chord belong?

There are a few places where you can construct this arpeggio.

It is of course found in the whole tone scale, and a can be constructed in both harmonic major and minor.

In this lesson I will focus on it in the context of melodic minor. Purely because that is where I use it the most.

The dom7th(#5) can be found in two places in the melodic minor scale.

If we take the A7(#5) as an example then it can be found on the 5th degree of D melodic minor:

And also on the 7th degree of Bb melodic minor:

Using the arpeggio

If we look at the A7(#5): A C# F G  then it is worth noticing that it is in fact an A augmented triad and an A.

The fac that the augmented triad is a part of the arpeggio is probably one of the reasons why it is so useful for a lot of different chords in melodic minor. The augmented triad sound is a big part of the melodic minor sound. Just think of an DmMaj7 where the upper part of the chord is an augmented triad.

The Altered dominant

When using the arpeggio on an altered dominant we have two options.

The altered dominant in this case is a Db7alt. The two dom7(#5) arpeggios we have available are then A7(#5) and C#7(#5) (or Db)

In this example I am using the A7(#5). If we relate the A7 arpeggio to a Db root we get: A(b13) C#(root) F(3rd) G(b5). So there is a lot of color in the arpeggio.

The Abm7 line is a descending Bmaj7 sweep arpeggio followed by a small turn with a leading note on before the root.

On the Db7alt the line is really just the A7(#5) arpeggio adding a B to resolve to the 3rd of Gbmaj7 in bar 3.

Tonic minor

In the second example I am using the line on a tonic minor chord. The A7(#5) related to D would be: A(5), C#(Maj7), F(3rd), G(11).

The first bar is really just a simple Dm line with a leading note under the root. The 2nd bar is coming from the A7(#5) arpeggio that finally resolves to the 9th(E) of Dm6 (or DmMAj7)

Lydian Dominant

The Lydian dominant example is using a IV IVm progression in F major. In this case it is in fact II bVII I that is being used, but the main idea is of course subdominant, subdominant minor to tonic.

The line on the Gm7 is first encircling the root of the chord and then ascending a Gm7 arpeggio with an added A. 

The Eb7 bar is first the A7(#5) arpeggio followed by Bb and C to resolve to the 3rd(A) of Fmaj7. The ending is tagget with a small pentatonic turn.

Make you own lines with these arpeggios

The examples I went over here are of course only a glimpse at a quite vast amount of options available with this arpeggio.

The best way to get this arpeggio in to your playing is to use it in different situations in songs that you already know so that you can explore the sound of the arpeggio. 

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My secret arpeggio and 3 places i use it!

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Minor II V I options – Melodic Minor, Phrygian Chords and Tritone Substitutions

The minor II V I can be a difficult chord progression to play on and have a varied vocabulary on. In this video I am going to go over how you can approach it in several different ways with Phrygian Chords, Melodic minor and Tritone Substitutions.

In the video I will demonstrate the different Minor II V I approaches and talk about how to use them both in terms of comping, voicing choices et and also soloing and arpeggios.

I also talk a bit about what will fit with the melody of a piece.

 

Content of the video:

 

0:14 Minor II V I The Progression in this video

 

0:42 Basic II V I – Demonstration

1:03 Scales, Voicings, extensions

2:31 Arpeggios for a m7b5 chord

 

4:33 Locrian natural 2/ Locrian #2 – Demonstration

4:54 Melodic minor for m7b5

5:15 Chord voicings for m9(b5)

5:54 How does it fit the melody?

6:48 Arpeggios from Melodic minor

 

7:50 Tritone sub – Demonstration

8:12 Using a Tritone sub dom7th instead of the IIm7b5

8:26 The progression with these chords

8:56 When does it fit the melody?

9:41 Voicing Options and considerations

9:57 The bonus Blue note!

 

11:51 Phrygian Chord – Demonstration

12:10 What is a Phrygian Chord

13:19 Comping a Phrygian sound

14:06 Soloing on a Phrygian Chord

14:36 How you can use them and where

 

14:55 Tritone II V – Demonstration

15:17 Tritone substitution of the entire cadence

16:23 Strategies for soloing over a tritone sub

 

17:27 Borrowing II from Major – Demonstration

17:49 How it works – modal interchange

18:13 Using the brighter sounding II chord

19:34 Voicing considerations

19:56 Soloing over the borrowed II chord

20:43 Do you have a great reharmonization or scale choice for a minor II V I?

 

21:26 Like the videos? Support me on Patreon!

Pentatonic Scale for Altered Chords – Modern Melodic Minor Secrets

The Pentatonic scale is one of the first things we learn. And since it is something we are very familiar with and we can use this to change it a bit and use it for other chord sounds like Altered Dominants or other melodic minor sounds. In this lesson I am going to show you a simple way to make a great pentatonic scale for altered chords and demonstrate how to learn and how to use it.

Creating the Pentatonic scale

I came up with this scale by playing a C minor pentatonic scale and then changing the C to a B. This is shown in example 1, first the C minor and then the B Lydian Augmented pentatonic scale.

As you can see in this example we can easily use that we already know 5 positions of pentatonic scales and that it is easy to “alter” the root so that we make them into or new pentatonic scale.

The Melodic Minor Connection

It is important to also notice that this scale, or 5 note set of notes. Is also a subset of the Ab melodic minor scale:

Melodic minor:       Ab Bb B Db Eb F G Ab Ab Bb

Altered pentatonic:          B        Eb F G            Bb B

This tells us that it is a part of the Ab melodic minor/ G Altered scale and we can also see that it is a good fit for the G7 with an F and a B in there.

Learning The Altered Dom7th Pentatonic Scale

Since the scale is layed out in 2 notes per string patterns across the neck, just like our normal pentatonic scales we can use some of the same exercises to get used to playing the scale

Here are a few excerpts:

The pentatonic scale in groups of 3 notes

The scale in groups of 4 notes:

Finding the chords in the scale

It is important to also have some of the structures under control in the scale. The place you probably want to start is to create some diatonic chords. In Example 5 I have stacked diatonic “3rds” which as you may know yields a lot of quartal harmony.

This exercise is shown here below:

The chords that we get from this are:

  • G7alt Quartal Voicing
  • Eb augmented triad
  • F Quartal Voicing
  • G7 Shell voicing
  • Eb Maj triad (2nd inv)

All of them are quite useful as upper-structures on a G7 altered.

Using the scale as a melody

To demonstrate the way this pentatonic scale works in the context of a II V I I have made three examples.

The first example starts with a pattern of an Fmaj7 (the arpeggio from the 3rd of Dm7). The arepggio is played in a 1 5 3 7 pattern. The line continues with a descending scale run.

On the G7alt the line is simply an ascending run up the scale that is then finally resolved to the 9th(D).

The fact that the pentatonic scale is a bit unusual in the construction makes it possible to get away with using it as a melody in the most basic form as a sort of enriched arpeggio.  

Putting some diatonic chords to use

The 2nd example starts with a Dm7 descending arpeggio. From here it continues with a short scale run. 

On the G7alt the melody is first the G7(#9) quartal voicing and then a Eb augmented triad in inversion.

The line resolves to the 3rd(E) of Cmaj7.

The upper-structure triad

This example makes use of the Eb major triad as an upper structure on the G7alt.

The opening on the Dm7 line is constructed first from an F major triad followed by an Am pentatonic scale fragment. On the G7alt the line is an embellishment of an Eb root position triad followed by a small scale run that resolves to the 3rd of Cmaj7.

Working with these altered or modified pentatonic scales

When you work on using this pentatonic scale it is useful to try to tap into some of all the things you already have in your system with normal pentatonics. There is a lot of tips and ideas already explored on guitar in several styles using pentatonic scales after all. 

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Pentatonic Scales – Melodic Minor – Altered Scale

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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7 Jazz Scales for Cmaj7 – Vital Guide to Modern Jazz Guitar Sounds

 
What jazz scales you use over a chord tells you something about the sound of what you play in terms of extensions and alterations. In this video I am demonstrating the sound of 7 scales that you can put to use over a Cmaj7 type chord. Ranging from the good old major scale to a few atonal and more exotic scale choices. A big chunk of what is available in Jazz Theory I guess 🙂
 
For each scale I also give some suggestions for what arpeggios or pentatonic scales might be useful for that sound.
 

List of content:
0:08 Intro
1:32 Major Scale Improvisation
1:53 Major Scale, extensions and arpeggios
3:28 Lydian Improvisation
4:04 Lydian Scale, Target notes, extensions, pentatonic scales
5:18 Lydian #9 Improvisation
5:38 Lydian #9, sound, chord construction, arpeggios and triad pairs
7:55 Lydian Augmented Improvisation
8:24 Lydian Augmented Scale, Special Pentatonic, Cmaj7#5 and arpeggios
10:55 Don’t Study modes Rant!
12:18 Augmented Scale Solo
12:43 Augmented Scale, construction and Triad sets
15:53 Messiaen Mode Improvisation
16:26 Messiaen Mode: Construction, arpeggios, Minor Fragments
21:56 Lydian Augmented #9
22:38 How to find scales for a chord?
23:29 Lydian Augmented #9 – Arpeggios, triad pairs and ideas
25:48 Practicing using these scales – Target or Defining notes of the sound
27:27 Did I leave out any Scale options?

Things you NEED to know in Melodic minor

Melodic minor is a key sound when it comes to modern and traditional jazz guitar. In this lesson I will map out some of the basic and more advanced arpeggios and triads contained in the scale. These structures are also the material I use for the 3 melodic minor jazz licks included in the video. 

The Scale

The melodic minor scale is constructed as a minor scale with a major 6th and 7th.

This gives us the construction in the key of A:

1 2 b3 4 5 6   7   8

A B C D E F# G# A

A position of this scale can be seen in the example below:

Of course if you really want to dig into the scale you probalby wnat to check it out in all positions on the neck.

Basic Arpeggio Content

Diatonic Triads

The first structure you want to check out is probably the diatonic triads. Triads are constructed in the scale by stacking thirds. The beginring of this exercise is shown in example 2 below:

It is important to realize that along the way you will be better off also knowing what each diatonic triad is and what notes it contains. This will help finding places you can use it and relate it to other chords where it may be a good upper-structure.

To shortly list the diatonic triads:

I – Am

II – Bm

III – C augmented

IV – D

V – E

VI – F#dim

VII – G#dim

Diatonic 7th chords

The next logical step is to check out the  7th chords. These are really just the triads with one extra note and also essential structures for understanding the harmony related to the scale in the from that it is used in a jazz context.

An excerpt of this exercise is shown in the example below:


Here’s a list of the chords:

I – AmMaj7

II – Bm7

III – CMaj7#5

IV – D7

V – E7

VI – F#m7(b5)

VII – G#m7(b5)

Advanced arpeggio structures

Quartal Harmony and Arpeggios

Besides the 3rds based structures that are covered here above it is also possible to start looking into some of the other possibilities contained in the scale.

A very important structure in modern jazz since John Coltrane is the Quartal Arpeggio. In the example below I have written out the quartal arpeggios played along the neck on the middle string set. This way of playing the is quite easy and a good way to connect the different positions.

A more difficult but equally important exercise is to work this out in the scale position. This is shown in the exercise below.

Diatonic Sus4 triads

The sus4 triads are closel related to the quartal arpeggios , just like the quintal arpeggios. In fact stacks of fourths can be seen as an inversion of a sus4 triad.

The diatonic sus4 triads of Amelodic minor are shown below. First as a melodic exercise along the neck and then as chords.

The sus4 triads in A melodic minor are:

Asus4

Bsus4

C(#5)sus#4

Dsus#4

Esus4

F#dim(sus4)

G#dim(susb4)

Some of these triads may have peculiar names, but as you shall see in the melodic minor licks they do have some interesting sounds that we can use.

Diatonic Spread Triads

Spread or open-voiced triads are extremely useful for adding larger intervals into your lines. One reason is that it can be difficult to have larger intervals and still make coherent melodies, and using a structure as strong as a triad really helps with this.

In this segment I have written out the spread-triads along the neck in all three inversions. I find this a good practical way to work on them. You should also consider how great they are as alternate picking exercises, since they contain a lot of string skips and are useful fro string skipping and precision with alternate picking.

Spread triads in position

As I have mentioned with the other exercises it also often very useful to check them out in a scale position. This will help you have a better overview of both the scale in general and the position that you play it in.

Below is the root position spread triads in the position that I am using for this lesson. Consider these exercises more something you do for knowing the notes of the triads and where these notes are found in this position. It probably is not very practical as any type of speed or dexterity exercise.

Melodic Minor Guitar Licks

The last part of the lesson is 3 examples of melodic minor licks using the different structures and devices I have presented in this lesson as exercises.

Diatonic Sus4 triads and Diatonic 7th arpeggios 

The first example starts with two sus4 triads: Esus4 and Dsus#4. It then continues with an AmMaj7 arpeggio and ends on the major 6th(F#).

Spread triads and triad pairs

The second example is using an open-voiced or spread triad. In this case a first inversion A minor triad. The part that follows is making use of a D and E majr triad pair which takes it up to an high E where it via a small scale run resolves to the 9th(B) of Am.

Quartal Arpeggios and Open-voiced Triads

The final example is using some stacks of 4ths. As I mention in the video, the construction of the melodic minor scale yields a few peculiar quartal arpeggios. In this line the first example is two quartal arpeggios, though the first one is actually also a G#7 shell voicing. The G#7 shell is followed by a quartal arpeggio from E. Then follows a small scale run build around an Am triad and the final part of the line is an E major root position spread triad. The line ends on the major 6th: F#.

Scale practice thoughts

Keep in mind that it is much more useful for you to keep working on knowing your scales better and trying to use the things you practice in them than trying to be able to play these exercises fast. After all we practice exercises to become better at making music and if we don’t practice making music with the material from the exercises it is going to become either empty knowledge or things that we never really learned, 

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Things you Need to know in Melodic minor

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Lydian Dominant Licks – The Best Modern Arpeggios and Structures

In the Lydian dominant sound you can access a lot of cool sounds and you can put it to use in modal situations, blues, tritone subs and IV minor chords. This video will give you some new ideas and non diatonic arpeggio structures to add to your Lydian dominant ideas. I will use 3 Lydian Dominant Guitar Licks to demonstrate how great the arpeggios work in the context of this sound!

You can use the Lydian Dominant Scale as refreshing and surprising sounds besides the fact that you need for some of the chord progressions you will keep running into in jazz standards and originals.

The Scale and the chord

All the examples in this lesson are using an A7(#11) as the Lydian dominant. The Lydian dominant scale that goes with this chord is the 4th degree of the E melodic minor scale as shown here below:

The first Lydian dominant example – The Gmaj7(b5)

The first example is using two non diatonic arpeggios and a triad pair.

The diatonic arpeggios in E melodic minor are EmMaj7, F#m7, Gmaj7(#5) A7, B7, C#m7b5 and D#m7(b5). Basically the arpeggios you get by stacking 3rds in the scale.

But besides those you can also construct other chords in the scale. One of those is the Gmaj7(b5) which is what I use as the first 4 notes of this example. From there it continues with another non diatonic arpeggio: the A7(b5). After this I continue with a very common triad pair with A and B major triads. This is a very common triad pair to use for melodic minor. The triads are played in 2nd inversion.

Crazy arpeggio ideas – Drop2 and diatonic sus4 arpeggios

The first arpeggio in the second example is using a Drop2 version of the A7(b5) arpeggio. The line continues with a Bsus4 triad.

The combination of Bsus4 and A7(b5) voicing works as one large arpeggio structure. If you want to learn more of this approach you can do so here: Crazy Arpeggios

From the Bsus4 arpeggio the melody continues by moving up to the next diatonic sus4 triad: Asus#4.

The last part of the line is coming out of a G augmented triad idea.

Using them as Tritone dominants or as an altered chord

The previous example resolves to a D#, which you can directly interpret as an Eb, the 5th in Abmaj7. It is important to keep in mind that these lines can be used as tritone dominants or altered scale ideas as well.

Sweeping maj7#5 arpeggios and add some Quartal ideas!

A great arpeggio for the Lydian dominant sound is the maj7#5 arpeggio. For an A7(#11) this is a Gmaj7#5, which I am using as the opening statement in the 3rd example. From here the line continues with an F#m7 arpeggio. 

The 2nd bar is combining two Quartal arpeggios. First from G that you might recognize as an A7(13) chord. From here it continues with the one from C#. Together these two spell out an A7(9,13) sound.

The line ends on a D#. This is also an example of a line that would make a great Eb7alt or tritone guitar lick.

Summing it up

I hope you can use these ideas with some non diatonic arpeggios and quartal arpeggio ideas to expand on your own Lydian dominant vocabulary!

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Lydian Dominant licks

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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5 Great ways to use a minMaj7 arpeggio

The minMaj7 arpeggio is a beautiful Minor sound that most of us probably associate with the Tonic minor chord in Melodic minor. You can however use it in a lot of other places as I will go over here today!

In this video I am going to take a minMaj7 arpeggio and show you how you can use it in 5 different contexts on different chords. All the examples are using chord progressions from well know standards so that you have a place where you can put it to use right away!

1. The minMaj on a Tonic Minor chord

The first example is using the minMaj7 arpeggio in the most basic way: On the Tonic minor chord. The example I am using is the first three bars of Solar, a reharmonized or embellished minor blues progression.

The line is starting with the CmMaj7 arpeggio and then really highlighting the maj7. From there it makes a small descending melody and skips up to the 9th(D). In the second bar it is again emphasizing the maj7th(B) and making a clear transition to Gm7 by walking up to the 3rd(Bb)

2. Locrian ♮2

The Locrian Natural 2, or somtimes called the Locrian #2 sound, is a half diminished chord with a ♮9. In this example I am using the first 3 bars of the famous jazz standard Stella By Starlight.

Since Locrian ♮2 is a melodic minor chord this is basically the melodic minor version of a half diminished sound. Since the m7b5 chord is an Em7b5, the corresponding melodic minor scale is G melodic minor and 

Again the line starts with the G minMaj7 arpeggio, and the target note is the maj7(F#) which is then here the ♮9 over the Em7b5. The next part of the line is another upperstructure that works well for the Locrian ♮2 sound: The major triad on the 7th of the chord, which here is a D major triad.

On the A7 the line consists of a C#dim melody with some approach notes. The line resolves to the 9th of Cm7.

3. Lydian Dominant

One of the most common places to apply melodic minor is on the Lydian dominants. Any dominant that doesn’t resolve a 4th up or a 5th down we can make into a Lydian b7 chord.

The example I am using here is from the standard Take The A Train where I am using the minMaj7 arpeggio on the D7 which is a V of V. The melodic minor scale that goes along with this  D7 is the A melodic minor.

The line on the Cmaj7 is some relatively simple C7 or C major pentatonic melodies which then moves to the D7 with a chromatic approach.

On the D7 I start the line with the A minMaj7 arpeggio. The line continues by chaining the AminMaj7 arpeggio together with an F#m7b5 arpeggio (which is the arpeggio from the 3rd of D7). The 2nd bar of the line is using a small scale run with an enclosure that finally resolves to the 5th(A) of Dm7.

4. The Altered Dominant

The other dominant that we often use from the melodic minor scale is the altered dominant. The example I am using here is a II V I in the key of C with the altered domiant G7. G7 altered scale is the same scale as Ab melodic minor so the arpeggio is in this case an AbminMaj7 arpeggio.

The line starts with a Dm pentatonic melody with a skip from the 5th to the root. From here it uses a descending Am 1 3 4 5 pattern. 

On the G7alt the line starts with the Ab minMaj7 arpeggio. From the G it continues with a Fm7(b5) arpeggio that then resolves to the 9th(D) of Cmaj7.

5. Dorian #4

Dorian #4 is the 4th mode of Harmonic minor, so this is the only example that is not coming out of the melodic minor sound. 

The Dorian #4 sound is a m7 chord with a 9,#11 and a 13. In this case I am using the first four bars of a Cm blues, and that means that the it’s the G harmonic minor scale and the G minMaj7 arpeggios.

Essentially the sound we could use to describe this sound with could be a chord consisting of a D major triad over a Cm7, since the extensions 9,#11,13 spell out a D triad in C.

In the example I first state the Cm7 sound in the beginning. The first two bars are coming out of an embellished Ebmaj7 arpeggio which is the arpeggio from the 3rd of Cm7.

in Bar 3 I start using the #4 sound. In this case this is done with the GmMaj7 arpeggio. First the G is encircled with A and F# and then the arpeggio is played ascending. The final notes in the bar extend the arpeggio by using the 7th and two more notes to form a 1st inversion D major triad.

In the 4th bar the line transitions into C7 to move on to Fm7. The line here is using F harmonic minor and the melody is based around an E diminished arpeggio with an added scale run.

Effective practice!

For anything we practice it is important that we make sure to check out where it can be applied. Any arpeggio is going to fit on a substantial number of chords and therefore it is important to spend time working on this aspect of exploring an arpeggio as well.

I hope you can use the material I covered here in your own lines and put the minMaj7 to use in some new contexts in your guitar solos!

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You can also download the PDF of my examples here:

5 Great ways to use a minMaj7 arpeggio

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.