Transposed Modes of the Melodic Minor With C as Parent key.

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Below are the Modes of the Melodic Minor Ascending Scale:

Mode of the Ascending Melodic Minor Scale

This is all good and well but what happens when we want to transpose them or employ them with a different parent key. 

The ANSWER= count down from the Tonic note of the new parent key. So, for example we will take C. So, if it’s the second mode then count down a 2nd and use that melodic minor scale [Bb Melodic Minor] or if it’s the 4th mode then count down a 4th [G Melodic Minor Scale] etc.

Let’s look at the melodic minor modes transposed to a new parent key of C:

C Melodic Minor “Ascending”. Note: 1st half of the scale is minor whilst the second half is major.

C Melodic Minor Scale
C melodic “Jazz” Minor

The C melodic Minor 2nd Mode transposed with C as the parent key root note. We now have “Dorian b2” this being the same as Bb melodic minor but starting on the parent key root note of C.

2 Octaves Notation and Tablature:

DORIAN b2 MELODIC MINOR MODE

The 3rd Mode: Starting from the parent key root note of C this becomes C Lydian Augmented. We have the F# for the Lydian and the G# that augments/raises up the 5th note. This is also A Melodic Minor.

F# for Lydian and G# for augmented

2 Octaves Notation and Tablature:

LYDIAN AUGMENTED MODE

The 4th mode. We have the F# making Lydian and the Bb as the flattened 7th. [Starting on G this will make the G Melodic Minor Scale].

2 Octaves Notation and Tablature:

LYDIAN b7 MODE

The 5th Mode. Notice the Ab note creating the flattened 6th. Also we have the flattened 7th with the Bb note for the Mixolydian. This mode is also the same as the F Melodic Minor scale.

2 Octaves Notation and Tablature:

MIXOLYDIAN b6 MODE

The 6th Mode. This mode has a raised 2nd with the D natural note. This is also the same as the Eb Melodic Minor Scale.

2 Octaves Notation and Tablature:

LOCRIAN #2 MODE

The 7th Mode. Notice that the F note is flattened [or E natural]. This is the same as Db Melodic Minor Scale.

2 Octaves Notation and Tablature:

SUPER LOCRIAN MODE

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Altered Scale Jazz Fusion Guitar Concepts [John Mclaughlin lick]

Video Lesson/Performance of lick:

Music/Tab. The chord sequence is Dm7b5 G7″Altered” resolving to C major 7th

John Mclaughlin Jazz fusion altered scale guitar lick

The key to joining all of this together fluently is to break each four note grouping into tetrachords, learning a group at a time.

Tetrachords: Breaking the improvised line down into easy to learn chunks

VARIATION With an A flat Pentatonic shape replacing A flat minor/Major Arpeggio for the flat 5 substitution.

John Mclaughlin Jazz fusion altered scale guitar lick “Variation”.

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2 Short Bebop Jazz Guitar Lines [Breakdown]

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Bebop jazz Lick/line No1

Bebop Jazz guitar Line

Notice the off-beat set up and triplet figure that pushes the line along. This is a typical bebop phrasing technique. These simple little rhythmic figures are very common but give good command to jazz bebop phrasing.

Bebop off-beat and triplet figure for good rhythmical jazz phrasing

Jazz bebop line/lick No2

Jazz guitar Bebop Line

Notice the 8th note and the two 16th notes that propel the line along for a great swinging feel.

Bebop Jazz line

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Major Modal Guitar Ideas

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Modal Major Scale ideas for guitar video

F major 7th idea

Modal superimposition idea from the major modes

2 Modal Extension Ideas

Modal extension ideas of the major modes

Arpeggio line descending from the Major modes

Modal Descending Arpeggio line

Ascending Modal idea

Major Modal Ascending Idea

Pentatonic Simple Guitar fingering idea

Modal Guitar Pentatonic Idea

F Major 7th Ascending Arpeggio Idea

F Major 7th Modal Arpeggio Idea

MODES OF THE MAJOR SCALE DIAGRAM: With Transpositions in C

Modes of the major scale diagram
Modes of the major scale diagram

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John Mclaughlin Guitar Scale Concept:

John Mclaughlin Guitar Scale/Concept for left hand fingering and right hand alternate picking

Notice that the scale concept consists of crossing the strings with the “SAME” fingering every time making it easy to remember and play.

John Mclaughlin Guitar Scale alternate picking

Notation and Tab:

Start on a “Down” stroke with the plectrum and alternate pick strictly “Down up Down up” etc.

Alternate Picking John Mclaughlin Guitar Scale Concept

This fingering for the fretting guitar hand is a repetitive pattern. It’s the same pattern crossing the strings with the same finger ascending and descending. It employs strict alternate picking with the plectrum. It is a concept that John Mclaughlin employs a lot in various forms. It is heard in it’s bare form a lot in the early “Shakti” recordings/live performances.

Although this is just a short lesson, there is wealth of information in that simple scale and fingering. It can easily be employed with fourths and chromaticism.

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John Mclaughlin “QUICK” Lick #1

Today we will take a look at a John Mclaughlin jazz fusion acoustic guitar lick in the style of the “Belo Herozonte” C.D/LP.

It consists of a “Pentatonic scale” and an “Arpeggio” fingering.

John Mclaughlin Quick Lick #1

alternate picking John Mclaughlin guitar lesson
“Belo Herozonte” John Mclaughlin style guitar lick #1

Notice the 2 finger Pentatonic ascending shape and the Arpeggio Descending shape

Shakti John Mclaughlin guitar lick lesson
“Pentatonic” 2 finger guitar shape and “Arpeggio” shape

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