Parent Key-Transposing Modes of Melodic Minor

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Here are the Melodic Minor modes “Transposed” with the note “C” as the Parent Key or Tonic.

Dorian b2 with C as Parent Key

Dorian b2 Mode

Dorian b2 Mode of the Melodic Minor Scale
Lydian Augmented Mode of the Melodic Minor Scale

Lydian Augmented Mode

Lydian Augmented Mode
Lydian b7 Mode

Lydian b7 Mode

Lydian b7 Mode
Mixolydian b6 Mode

Mixolydian b6 Mode

Mixolydian b6 Mode
Locrian #2 Mode

Locrian #2 Mode

Locrian #2 Mode
Super Locrian Mode of the Melodic Minor Scale

Super Locrian Mode

Super Locrian Mode
Modes of the Melodic Minor Scale

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Lydian Hyper Super Mega Lydian [Jacob Collier]Multi Octave Scales:

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The first idea is to join two different scales together.

Here we have the Lydian Dominant scale joined at the octave by the “SAME” tonic note C. It is joined by/with the Enigmatic scale.

Multi Octave Scale Lydian Dominant/Enigmatic

Notice the smooth transition of the two different scales into one extended multi octave scale.

Extended Scales Multi Octave Scales

Here is a two octave version of the Lydian dominant and Enigmatic scale [Multi octave scale] with Guitar Tablature.

Lydian Dominat/Enigmatic Multi Octave extended scale

Here are 3 Lick Lines made from the extended Lydian Dom/Enigmatic scale

Scale Lick 1 [Superimposition]

Lydian Dom/Enigmatic Multi Octave Scale Lick

Scale Lick 2: Chord to Scale

Multi Octave Scales Lick

Scale Lick 3: Superimposition

Superimposition Multi Octave Extended Scales Lydian Dom/ Enigmatic

SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier idea for a never ending scale. Each Lydian Tetrachord Resolves into the next one. This in turn seems to go on forever as it goes around the cycle of 5ths.

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths

Also: Notice that unlike the first extended scale this one doesn’t have a common tone at the octave. So we go from C to C# to D# etc

Multi Octave Scale Different Tonic notes at the Octave

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar with Tablature

SUPER-ULTRA-HYPER-MEGA-META Jacob Collier idea for Guitar

Here is a long piano version of the above that keeps ascending

Lydian SUPER-ULTRA-HYPER-MEGA-META Jacob Collier never ending scale
SUPER-ULTRA-HYPER-MEGA-META “Lydian” Jacob Collier Cycle of 5ths

This scale concept could also be looked at as being Mixolydian and a ModulatingScale.

We have A7-D E7-A B7-E F#7-B C#7-F# etc.

V-1 V-1 V-1 V-1 ETC.

Modulating Extended Jacob Collier Scale Concept

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Messiaen’s 5th Mode. Mode 5 [Non Transposed] Lesson

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Messiaen’s 5th Mode [of limited transposition] is well known for it’s semitones, two major 3rds and it’s tritone possibilities.

Messiaen Mode 5 [5th mode 6 transpositions]

Messiaen’s 5th mode [Non Transposed]

Messiaen Mode 5 [5th mode of limited transposition]

Messiaen’s 5th Mode Extended

Messiaen’s 5th mode extended

Making Scalic runs: Messiaen mode 5:

Descending

Descending Messiaen Mode 5

Ascending

Messiaen 5th mode Ascending

The next concept is to mirror the intervals and create an atonal sounding contrapuntal study. This is a great compositional device.

Messiaen 5th Mode Contrapuntal Etude “Mirroring” concept

Cross Picking/ Chordal Picking: Notice the use of Tritones.

Picking pattern = “Down Down Up”

Messiaen 5th mode Cross Picking

Cross Picking/ Chordal Picking: With an open G string.

Messiaen 5th mode Cross Picking/ Chordal Picking:

Messiaen 5th Mode: Scale to chord Imitation device.

Messiaen 5th Mode: Scale to Chord Imitation Compositional device.

Messiaen 5th mode: 3 octave scale imitation descending line

5th mode Messiaen Descending Run [Immitation]

Cross Picking part 2: Using 4 note tritone chords.

Picking pattern =”Down Down Down Up” Cross

Messiaen Mode 5 D D D U Cross Picking Tritone guitar
Messiaen Mode 5 Cross Picking Guitar Tritones

Notice the two open strings :

Open Strings Messiaen chords Mode 5 Guitar

Messiaen Mode 5 Cross Picking Guitar Tritones Open Strings

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Pierre Boulez Guitar Concepts; Atonality for improvisation and Composition

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In this blog/vlog we will look at applying the style of the Great French composer Pierre Boulez to the guitar.

The first example is a flat 5 or diminished 5th added to the perfect 5th. The use of intervals also employs augmentation #5 and the semitone.

Example 1

Boulez guitar improvisation and composition lesson

In the next example we employ wide intervals. This example exploits semitones and other intervals by creating wide intervallic shapes which create a fresh intervallic sound.

Boulez Guitar Music Concepts
Pierre Boulez Intervallic guitar composing

In the next example we employ “Cross Picking”. This is very similar to that taught by guitarist Robert Fripp in his guitar craft. This concept can also be found in some of the King Crimson recordings.

The concept is a very simple one that can be applied to execute some very odd/complex musical ideas on the guitar. The picking pattern with the guitar plectrum is:

“Down Down Up”

Example: D D U Repeated loop pattern.

Pierre Boulez Guitar Cross Picking Pattern

Basic D D U Cross Picking Pattern

Boulez Down Down Up Guitar Picking Pattern

The next two patterns employ Diminished and Augmented shapes in triplets with an open string.

Boulez guitarPicking pattern open string style

Another example with the open string concept

Boulez Open string cross picking guitar pattern

This last open string cross picking pattern is a mixture:

Boulez mixture guitar cross picking patterns

To Finish, we will employ a basic triplet pattern without any open strings.

Basic Boulez Guitar Pattern

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Pat Metheny Chords [Classic guitar sequence with pick]

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Pat Metheny Guitar Chords Lesson

In this short blog we will look at a classic Pat Metheny chord sequence. This is a simple skeletal but very melodic chord melody that blends in with the piano or keyboards/Synth. It is played simply with the guitar plectrum picking out the bass mid and treble melody note.

Pat Metheny Guitar Chords and classic melodic sequence

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Chordal Picking/Cross Picking Guitar Arpeggios Lesson 4/4 Time

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In this lesson we pick through some melodic arpeggiation. We do this by employing chordal picking/cross picking.

The picking pattern with the plectrum is,

Down Down Down

Up Up Up

Down Up

CrossPicking/Chordal Picking Arpeggio Guitar Loop

The above example is very useful to get the chordal/cross picking right hand guitar pattern down. It is just a loop that is brilliant to get a really confident 4/4 time in your picking hand.

The whole 4/4 Chordal/Cross picking melodic arpeggio pattern/piece.

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