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  • Applying The Altered Scale

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    JéssicaReis
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    The document discusses applying the altered scale by playing licks built from shapes introduced in a previous article. It recommends playing the licks over altered C7 chords or in a typical ii-V-I progression in the key of F to emphasize tension over dominant chords. It also suggests playing the licks over F#7 chords for a Lydian dominant sound or over Db minor chords for a melodic minor sound. The article provides guidance on incorporating altered scales into solos to create interesting melodic ideas.

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    Estudando aplicação das escalas com Greg Howe

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    Applying the Altered Scale

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    The document discusses applying the altered scale by playing licks built from shapes introduced in a previous article. It recommends playing the licks over altered C7 chords or in a typical ii-V-I progression in the key of F to emphasize tension over dominant chords. It also suggests playing the licks over F#7 chords for a Lydian dominant sound or over Db minor chords for a melodic minor sound. The article provides guidance on incorporating altered scales into solos to create interesting melodic ideas.

    Copyright:

    © All Rights Reserved
    Scarica in formato PDF, TXT o leggi online su Scribd
    Segnala contenuti inappropriati
    225 visualizzazioni2 pagine

    Applying The Altered Scale

    Caricato da

    JéssicaReis
    The document discusses applying the altered scale by playing licks built from shapes introduced in a previous article. It recommends playing the licks over altered C7 chords or in a typical ii-V-I progression in the key of F to emphasize tension over dominant chords. It also suggests playing the licks over F#7 chords for a Lydian dominant sound or over Db minor chords for a melodic minor sound. The article provides guidance on incorporating altered scales into solos to create interesting melodic ideas.

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    © All Rights Reserved
    Scarica in formato PDF, TXT o leggi online su Scribd
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    ApplyingtheAlteredScale
    GregHowe
    October20,2010
    Inmylastcolumn,Italkedaboutthealteredscaleandprovidedsomeshapesinordertohelpemphasizeand
    exaggeratethealteredsound.Thistimearound,weregoingtoelaborateonthoseideasbyplayinglicksbuilt
    fromsomeofthosepreviousshapes.
    Asyoumayrecall,CalteredisdirectlyrelatedtoDbmelodicminoritcontainstheexactsamenotesasDb
    melodicminor.ThereforealloftheseexamplescanbeusednotonlyinthecontextofCaltered,butalsointhe
    contextofanymoderelatedto,andincluding,Dbmelodicminor.
    Foranalteredsound,simplyplaytheselicksoveranykindofalteredC7chord.AsImentionedlasttime,you
    maywanttostartbyplayingoveraC7#5chord,sincethechorditselfisalteredandwillinitiallysoundvery
    complimentary.
    AnotherwaytousethisscaleeffectivelyisinatypicaliiVIchordprogression,which,inthiscase,wouldbein
    thekeyofF.AtypicalversionofthisprogressionwouldbeGm9(ii)toC7#5(V)toFmaj7(I).Remember,the
    ideaistobuildtensionoverthedominant7thchordandreleaseitovertheIchord.Withoutresolution,the
    tensionjustsoundsunfocusedandnotasmelodicasitcouldbe.
    ForaLydiandominantsound,tryplayingtheselicksoveranF#7chord.Indoingso,youwilleffectivelybe
    playingthenotesoftheF#Lydiandominantscale(F#G#A#B#C#D#E).Whenapplyingthelicksinthis
    manner,IpersonallygetthebestresultsbygoingbackandforthbetweenMixolydianandLydiandominant.For
    amelodicminorsound,simplyplaytheselicksoveraDbminorchord.
    Ifyoureunfamiliarwiththesoundofalteredscalesandchords,theseconceptswillhelpyougetoriented.There
    ismuch,muchmoretothissubject,butthisisagoodplacetostartgettingacquaintedwiththesoundofaltered
    licks.Wellseeyounexttime.

    GregHowe
    GregHowehasenjoyedasuccessfulrecordingcareersinceburstingontothescenein1988,andhistalentshave
    beensoughtafterbysomeofthebiggestnamesinthemusicentertainmentindustry,suchasMichaelJackson,
    JustinTimberlake,andEnriqueIglesias.

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