David rasmusse 2012-04-03 16:23:02
I am reading Mark Levine’s “The Jazz Theory Book”, and Arnie Berle’s
“Chords And Progressions For Jazz And Popular Guitar”. Reading the
section in Levine’s book about melodic minor harmony, I would like to
know some fingerings for the chords that comes from harmonizing the
melodic minor scale. The “alt” chord, for instance.
There is an excercise in Berle’s book where you play the harmonized
major scale several places on the finger board. But since Berle’s book
doesn’t mention melodic minor harmony, there is to such excercise for
Tomlippinc 2012-04-04 13:45:15
3>There is an excercise in Berle’s book where you play the harmonized
the short answer is, take all that major scale stuff and lower the third, and
you’ll have the same thing with melodic minor.
With that said, the 3rd mode, which forms a maj7#5 chord, is very important.
You can use the IIImaj7#5 from melodic minor as the upper structure for any
chord from the sclale. For example, take C melodic minor (C, D, Eb, F, G, A,
B). The III chord is Ebmaj7#5. To get voicings for the different chords from
C melodic minor, use Ebmaj7#5 as the upper structure and put each note of the
scale below as a bass note;
ect. For the VII chord, typically represtented as B7 with any or all
alterations of #9, b9, b13(#5), and #11(b5), if you use Ebmaj7#5 as the upper
structure, you’ll get a doubled B. Try changing the B in the Ebmaj7#5 voicing
to an A (which is like Ebmaj7b5) for a better voicing on that one.
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Joey goldstein 2012-04-05 16:23:55
I don’t know either of those books. But if you want to translate close
voiced chords (span an less than an octave) that are playable on piano
to guitar you usually need to spread the notes out by dropping one or
more of the notes down one octave while the top note, the melody,
remains in place.
C Eb G B
G C Eb B
C Eb G A
G C Eb A
D F A C
A D F C
Eb G B D
B Eb G D
F A C Eb
C F A Eb
G B D F
D G B F
A C Eb G
Eb A C G
B D F A
F B D A
B Eb(D#) F A
F B D# A
B D# G(Fx) A
G B D# A
The preceeding chords are called “drop 2” voicings because the 2nd voice
from the top has been dropped down 1 octave. Many close voiced piano
chords can be translated to the guitar by dropping the 2nd voice down 1 octave.
joegold AT sympatico DOT ca
Jurupari 2012-04-06 13:38:42
no, that’s just the major from 6, called Aeolian mode or relative minor
Harmonic Minor was just flatted
Just some ‘minor’ gear slippage…:o) that’s melodic minor, major scale with
flat third (or raised root, but that’s another can o’ worms)
Harmonic minor intervals can be created from the major scale by sharping the
5th tone. If you want the root of hm at the bottom, start with the sixth tone,
like for C,
sharp G and start on A.
As subs for a dominant chord though, this is just a sophistry. think of the
entire scale as being components of the dominant chord you’re subbing, then the
scalar structure becomes substructure of the instant seventh chord.
When played from the roots, there is a constant relationship between the
melodic minor and harmonic minor scales that is usable. Know them in harmony,
with the melody minor scale on the bottom and the harmony minor scale a major
third above that.
That way you can mix major and minor 2-5 components as desired.
Louis m. pecor 2012-04-13 05:55:02
Got it, Ken. Nice comparison. Thanks very much.
– My views are my own.