Modern Music Theory Improvisation and Application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Hi Guys,
Here is a “Melodic minor” study sent to me by Mark Koch that you might find interesting and useful:
Bar 1:
Bar 2:
Bar 3:
Two Full Examples:
Arpeggios Part 2: Bar 1
Bar 2:
Bar 3:
Arpeggios Part 3:
Full Exercise:
Arpeggio/Scale Part 4:
Bar 1:
Bar 2 and 3:
Full Example Arpeggio/Scale:
Copyright Mark Koch 2004
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Please watch video above for detailed analysis:
Hi Guys,
Today a quick look at the Chords,Scale and Arpeggios of the A natural minor scale.
To begin with this scale is exactly the same as the C Major scale but starting on the 6th degree:
Chords of Major
Chords of A natural minor
Next we will play through and exploit and “Colour” the arpeggios of the scale:
A minor
B Diminished
C Major 7th
D minor
E minor
F Major
G Major
We will now descend in broken chords in groups of 4 notes.
Exploiting the arpeggios over different chords of the scale:
Here are a few examples of playing a different arpeggio over a different chord of the scale:
Scale ideas:
Here is a basic way of breaking up the scale by employing triplets:
First we will do this on one string:
Now we will cross all 6 strings:
This time we will employ 16th’s in 4 note groupings of “Tetrachords” creating a double time smooth pentatonic line.
We can change the Dominant [minor] chord in the A natural minor scale and make it Major:
With this in mind we realise that the G natural is now a G# and so we can employ the A Harmonic minor scale to play over it.
Here is a simple 2 finger fingering:
Now, let’s extend this:
We could also use the E7 Arpeggio:
Finally, we have a lick with an arpeggio [that also implies a triad pair] going to a pentatonic phrase:
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Please watch video above for in depth analysis:
Hi Guys,
Today, a quick look at exploiting the Em scale for John McLaughlin’s and Shakti’s composition “Lotus Feet”.
The key to making a solo sound interesting is to highlight the prominent notes of the scale: In this case it is the semitones F# G and B and C.
Here are the semitones ascending:
Here, they are descending:
Also, take into consideration that the F# note will make the Cmaj7 Lydian:
Now, let’s add one extra note to the semitones and create an imitated phrase going through the octaves.
Now, we will connect some scale to the semitones ascending:
Here we will connect three tetrachords in 3/4 creating a smooth pentatonic style line:
ARPEGGIOS FROM THE SCALE:
Another key component when improvising is to exploit the arpeggios within the scale:
Two arpeggios that work well for this composition are Em and Bm:
E minor:
Mixing the scale with the arpeggio also works really well.
PENTATONIC’S FROM THE SCALE:
It’s always a good idea to have a few pentatonic’s from the scale at hand:
Here we can manipulate the Em, Bm, and Am to good effect. Again we can make them more unique by adding the semitones:
Em Pentatonic:
Bm Pentatonic:
Am Pentatonic:
Now, lets connect two fragments together:
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