Scales


Ionian b2 scale: two weeks on

So it's a week since my last post on the subject and two since I started working on this scale with some seriousness. The patterns and sounds are becoming quite familiar now and my main job this week was to find modal applications over different chord qualities. This is an important step in integrating a new sound into your real-world playing rather than just noodling over drones or vamps.

Ionian b2 scale: one week on

The scale I'm focusing on first is the Superaugmented natural 3. I'd got the CAGED shapes down, meaning I could find the notes of the scale relative to the underlying augmented arpeggio. This week's task was to join these up and be able to play the scale freely all over the fingerboard in any key.

Working on the Ionian b2 Scale Group

I've spent a little of my practice time over the last two weeks looking at the Ionian b2 scale and some of its modes. I thought it might be useful to post something here about the approach I've taken so far and how I aim to continue the learning process this week.

Pentatonic Hypermodes

I've been experimenting with hypermodes for a while now and thought I'd share both the theory and a practical application here.

How To Find Chords In Scales

A very common question from students is how we can tell which chords as "in key with" a particular scale. This came up today on /r/guitarlessons so I thought it might be worth a quick post.

CompMe: A "Metronome Plus" For Modal Practice

I've been practicing quartal voicings today and ended up knocking together a little tool to help me do so. It's a kind of "modal metronome" and I thought it might be worth sharing here.

Learn Diminished Licks From A Trumpet Player

Just wanted to pass on a quick recommendation of jazztrumpetlicks.com, a trumpet site by Greg "Sweets" London. Yes, I know, it's a trumpet site; well, we can learn from players of all instruments, and there are some very cool ideas here in "lick" form.

Taking a Modal Approach to Epistrophy

I've been revisiting some old jazz tunes lately and, yet again, remembered how hard Monk's tune Epistrophy makes you think. In this post I'm going to describe some approaches that try to avoid "running the changes" and instead find scales that "work" over whole sections of the tune.

Adventures in Side-Slipping, Part 1

I first heard about a technique called "side-slipping" in David Liebman's inspirational book A Chromatic Approach to Jazz Harmony and Melody. My recent interest in the coscale relationship led me back to it, since both involve, at least initially, working with "scales" that have no root notes.

Harmonic Minor Modes: The Lydian #2

We've started working on the Harmonic Minor modes, and today we'll take a look at the Lydian #2. The main application for this scale is over a major seventh type of chord. Assuming you know your Major scale modes then you already have two ways to play over this type of harmony: the Major itself and the Lydian. Neither of these, though, is all that exciting.