CD INCLUDED
The
MELODIC
GUITARIST
Method
A Comprehensive Guide for the Advancing Guitarist
Theory Used in Jazz and Fusion Styles
Understanding Chord / Scale Relationships
Creative Uses For Pentatonic Scales
Virtual Sequencer CD For Practicing
Modes Made Simple
by
James Woodward
Table of Contents
Chromatic Scale 6
Intervals 7
The major scale 8
Playing the major scale 9
Getting to know the major scale 13
Triads 19
Major triads 19
Minor triads 23
Diminished triads 26
Augmented triads 27
Chords 28
Major seventh chord 29
Minor seventh chord 32
Dominant seventh chord 35
Diminished seventh chord 38
Diminished scales 40
Diatonic chords 43
Diatonic chords in all keys 46
Modes 47
Mixolydian scale 48
Dorian scale 52
Aeolian scale 55
Lydian scale 58
Phrygian scale 60
Locrian scale 62
Avoid notes 63
Pentatonic scales 63
Minor pentatonic scale 65
Major pentatonic scale 68
V pentatonic scales 69
Rhythmic displacement 72
Virtual sequencer 74
Virtual sequencer programming 75
Melodic minor scale 76
Melodic minor diatonic chords 79
Sixth mode of melodic minor scale 81
Altered dominant scale 83
Altered chord 84
Fretboard intervals 88
Major chord extensions 91
Minor chord extensions 92
Dominant chord extensions 93
Superimposing pentatonic scales 94
Key centres 95
Melodic analysis 97
Scientic guitarist 98
Scale summary 100
3
Melodic Minor Scale
The Altered Chord
The altered chord is known commonly by the
chord symbol 7alt.
These are the possible alterations we can apply
to a dominant chord while still retaining the
dominant chord structure - 1 3 b7
b
9 #
9
#11 (flattening the 11th would give us the 3rd)
b
5 #
5
b
7 (raising the 7th would change the chord type)
Dominant scale 1 2 3 4 5 6 b
7
Dominant 7th chord 1 3 5 b
7
Altered scale 1 b
9 #
9 3 #
11 #
5 b
7
(enharmonic spelling) b
5 b
13
An altered chord may contain any or all of these
alterations.
For example, C7b9#9#11b13 is a little confusing
to read so we will use C7alt.
It is up to the player to decide which alterations
will be used depending on the desired sound.
C Dominant scale C D E F G A Bb
C7 chord C E G Bb
C7 Altered scale C C# D# E F# G# A#
(enharmonic spelling) Db Eb Gb Ab Bb
This is still confusing to look at and even
more confusing to try to play. Let's nd some
shortcut methods to play the altered chord.
84
Melodic Minor Scale
As with the mleodic minor scale, we will look for
common triads and chords.
C Altered dominant scale C C# D# E F# G# A#
(enharmonic spelling) Db Eb Gb Ab Bb
C#minor triad C# E G#
D#minor triad D# F# A#
C or E augmented triad C E G#
F# major triad C# F# A#
G# major triad C D# G#
A# diminished triad C# E A#
Six common triads exist within the altered
dominant scale.
There also exists ve common chord structures
and a pentatonic scale.
C Altered dominant scale C C# D# E F# G# A#
D# minor 7th chord C# D# F# A#
D# minor pentatonic C# D# F# G#
F#7 chord C# E F# A#
G#7 chord C D# F# G#
Cm7b5 C Eb Gb Bb
Bbm7b5 Db Fb Ab Bb
In short : To get an altered dominant sound :
Build a minor triad from the b9 or #9
Build a major triad from the #11 or #5
Build an augmented triad from the root or 3rd
Build a diminshed triad from the b7
Build a minor 7th chord from the #9
Build a minor pentatonic scale from the #9
Build a dominant 7th chord from the #11 or #5
Build a minor 7b5 chord from the root or b7
85
Melodic Minor Scale
B7alt (using notes from C melodic minor)
4
4
44 3 5 3 7 5
4
7
5 4 7
2 5 3 6 5 6
5 7 5 8 7
4 6 4 8 6 8
5 7
B7alt (using C minor and D minor triads)
4
4
B7alt (using F major and G major triads)
4
4
86
THE
MELODIC
GUITARIST
METHOD
BY
JAMES WOODWARD
