Creating “Scales” from Scales Tetrachords [C melodic minor]

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Hi Guys,

The key to making scales from scales wether they be Triadic, Tetrachord, Pentatonic or Hexatonic is to highlight the key notes that give that scale its unique flavour/sound:

Below we can see this in the C melodic minor scale.

The crucial Eb note and B natural note against the C root note tells us that this is not major and that it has a specific vibe/atmosphere to it.

In this first example we will employ 3 notes and 2 notes for highlighting: This employs alternate picking starting on an upstroke:

This next example starts on a “Downstroke” and is even simpler. This is a simple 2 note fingering into a 2 note scale.

Now let’s create an ascending line:

HARMONIC MINOR

Next we will add an Ab and make 2 Tetrachord scales from C Harmonic minor and create a little run:

how-to-create-scales-tetrachords-example

This time we will ascend with the C Harmonic minor scale:

LASTLY

It’s also a good idea to play the key chord of a scale and then pluck the key note or notes that give that scale it’s unique flavour.

For example below is an F Maj7#11 chord that when you pluck the B natural it really stands out as Lydian:

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Breaking down Michael Brecker!

When looking at musical notation it can seem like random notes. But if we break down each group into 4 note groupings called “Tetrachords” or “CELLS” we can break down the music theory and play each group on our instrument.

We can then remember the “Sound and Shape” of each cell and then join them together. In turn we can then apply these cells to our own instrumental playing/improvisations.

FULL SOLO LINE/PHRASE

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [F Mixolydian]

jazz improvisation michael brecker outside solo

2nd Tetrachord=A flat Minor triad and 4th interval [or #11 #9 and #5]

3rd Tetrachord=Minor scale fragment with #11

4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor]

5th Tetrachord= C lYDIAN [mAJOR CELL]

6th Tetrachord =C LYDIAN/D MAJOR Pentatonic shape

7th Tetrachord=C minor arpeggio and finishes with a 4th interval landing on the F TONIC NOTE.

8th Tetrachord= F SCALE FRAGMENT

9th Tetrachord= F LYDIAN FLAT 7 CELL

10th Tetrachord = F SHARP 9 =VERY OUTSIDE SOUNDING

Lastly= Flat 6 for C minor

CONCLUSION:

In terms of fingering and musical application on our instruments learning shapes and “Connections” and breaking phrases down into 4 note cells [Tetrachords] is really useful because complex lines can be understood and learnt quickly.

In turn this gives us lots of patterns for improvisation and theoretical knowledge to improvise with as opposed to just playing scales and arpeggios.

If you found this easy then try and break this little solo down into” Hexatonic” scale application. You might find it really interesting!

Tag: hexatonics