![]() |
|
Welcome to the Keep Music Alive! We are a music forum full of musicians and music lovers alike! You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. By joining our free community you will have access to post topics, communicate privately with other members (PM), upload your band's songs and get feedback, listen to other members' songs and offer your opinions, respond to polls, and access many other special features. Registration is fast, simple and absolutely free so please, join our community today! If you have any problems with the registration process or your account login, please contact us. |
|
|||||||
| Lessons and Helpful Information A forum for articles that help guitarists and bass players of all skill levels. |
| Tags: fusion , melodic minor |
![]() |
|
|
Thread Tools | Display Modes |
|
|
#1 |
|
Junior Member
Join Date: Feb 2007 Location: St Louis MO
Posts: 27
Thanks: 3 Thanked 8 Times in 5 Posts Rep Power: 46
|
Here are some tips on getting into the mind of Scott Henderson:
For starters: as much as you can convert things to melodic minor...do so.... D Dorian >> use D mel min >> Also think of it this way: Dorian >> use mel min from root of chord: (D = D) G7 >> use D mel min (also known as G Lydian Dominant) >> Also think of it this way: Dominant 7 >> use mel min from 5th of chord: (G = D) C#7#5b9 >> use D mel min (also known as C# Superlocrian) >> This is a tritone substitution of G7 >> Also think of it this way: Dom 7 alt (#5, b9, or #9) >> use mel min from half step above root of chord: (C# = D) Cmaj7 (or maj9) >> use A mel min >> This will produce, or imply a Maj7#5 harmony >> Also think of it this way: Maj7 (maj9) >> use mel min from the 6th of the chord: (C = A) OTHER MEL MIN TIPS: For dominant chords: Use mel min from the 4th of the chord: G7 >> use C mel minor For maj7 chords: Use mel min from the 4th of the chord: Cmaj7 >> use F mel minor Another tricksy tool, is the use of diminished and whole tone scales: Use half whole diminished scales for dominant chords: G7 >> use G Ab Bb B Db D E F G ...and whole half dim scales for minor chords: Cmin >> use C D Eb F F# G# A B C Tips for whole tone scales: Use them with Dominant 7 chords, from the root of the chord (implying a #4, #5): G7 >> use G whole tone G A B C# D# F And over minor chords (within Dorian), from the 5th of the chord D min7 >> use A whole tone A B C# D# F G TRIADS: Find "like triads" within the framework of ANY of the above and apply them liberally... ...for example: Major Triads within the diminished context: G half-whole dim = G B D --- Bb D F --- Db F Ab --- E G# B Minor Triads within the diminished context: G half-whole dim = G Bb D --- Bb Db F --- Db E Ab --- E G B NOW MIX THEM: G B D > Db E Ab > Bb D F > E G B > Db F Ab > G Bb D > E G# B > Bb Db F Listen to: Charlie Parker, Thelonious Monk, and Coltrane.......then: Jeff Beck, Weather Report, Hendrix, Stevie Ray and Michael Landau........then: Holdsworth, and Scofield ...more to come.... ....oh and GET HIS VIDEOs!!!!!! Peace, Scott |
|
|
|
| Sponsored Links | |
Advertisement |
|
![]() |
| Thread Tools | |
| Display Modes | |
|
|
Similar Threads
|
||||
| Thread | Thread Starter | Forum | Replies | Last Post |
| Awkward State Of Mind | Mycheaprecords | Music Showcase | 3 | 04-25-2009 03:58 PM |
| Scott Weiland Solo Tour | STPGurl | Tour Dates and Band News | 2 | 10-24-2008 01:30 PM |
| Scott Jarrett | bazzmann | Introductions | 4 | 01-27-2008 07:47 PM |
| > Getting into the mind of Scott Henderson |