I think this kind of thing provides a really solid starting reference.Īs you say, it's pretty different from a lot of common approaches to comping. Which will relate to the same ones I use with Dominant chords' That sounds great. I think maybe just the basic minor voicings. I'm sure there are European guitarist on this forum than can give more info on these approaches. European musicians have taken these concepts much further. It's really only been in the last 20 years that more modal concepts have been applied to the rest of the scales and modes. Melody and context etc.Īlways needs to be considered. By that I mean I can use all the chords constructed from the scale degrees of melodic minor and sub them as I want.
With basically the same functional value as the chord being used. And also use modal interchange for organization of where I pull blue notes etc.Īnd also use melodic minor as just one big chord with inversions.
I do with Melodic minor use in modal style. Basically don't perform in what I consider to be in a Jazz style. Blue notes are embellishments of some type etc.Īnd really don't use modal interchange. I usually use standard Maj/Min functional harmony. Anyway I don't create a functional organization based on that Mode in it's self. Locrian #13 or Min.7 b5 b9 Nat13 however we call the chord.generally just min.7b5. And then use the characteristic pitch of that mode. Say the 2nd mode of Harmonic Minor, ( Har. Which will relate to the same ones I use with Dominant chords' I don't usually use Harmonic minor. And I tend to use Dorian when relating to Melodic minor. There are different versions right, natural minor, which relates to Harmonic Minor when performing standards etc. Then again, is it maybe easier to start with basic minor tonalities, as opposed to applying the minors to major? So maybe I'll make up a minor version. I know it's probably somewhat contrived to limit to one type. If I had to guess, I would think that this approach might be a good bolt-on to what you've already done in the other post, though I don't really know enough to be sure.:-) What do you think about the minor applications in reference to your above 'scale degrees of G major example'? Is harmonic minor a better basic reference for simple dominant applications, or is melodic minor better for being more commonly used or broader application to major etc? And both with relationship to each chord.
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With examples of how to create movement using both Tonic Dominant, Tonic Subdominant. I think I have some vids of using Gmaj and chords built on each scale degree. Music theory worksheets - TONS of stuff here! The Barry Harris Harmonic Method for Guitar home title CD Included With Book.Īnd both with relationship to each chord. Lumpur jazz piano chord voicings jazz education worksheets jazz piano kelantan jazz theory easy barry harris harmonic method for guitar cancun spring break crime jazz. You jazz piano chords tab, Cancun spring break british A Closer Look. Melodic minor is generally used for the same but with more of a reference to Dorian and with more modal applications. I generally use basically same voicings with small changes for different Mal/Min chords, Harmonic min really is just used for creating major functional movement with Minor references. So should I go through this process with all basic changes, 27 chords from three minors, dim and whole tone etc.
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