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Topic: C6 pockets for altered dominant soloing |
Don McClellan
From:
California/Thailand
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Posted 25 Mar 2009 1:13 pm |
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I've been trying to learn to really play "outside" sounds on my B6th neck by using among other things, the Jazz Melodic Minor scale up a minor 2nd from the root of the dominant chord. I've found some good pockets for this scale that make it a little easier to use.
In the key of C I'm using the Ab melodic minor scale over the G7th (5 chord). The notes of the melodic minor scale can be found in bunches on the 6th neck. I'll speak in C6th terms. By engaging pedal 6 you can play every note on frets 8 and 10 from string 2 down to string 10. At fret 1 you can play every string from 1 down to 9 using no pedals. At fret 3 if you raise or lower your A string(s) you can play every string. At fret 4 you can play every string if you engage pedal 8 and knee lever C to B. At fret 11 you can use pedal 5 and play any note from top to bottom.
Please add whatever information you can to this. I need all the help I can get to unravel this mystery. I'm tiered of my playing being so predictable. Thanks, Don |
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 25 Mar 2009 1:24 pm
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Sorry to drift off topic but we're waiting for you here:
http://bb.steelguitarforum.com/viewtopic.php?t=153902
unless you sold both of them! 
Dave
_________________
Dave Zirbel-
Sierra S-10 (Built by Ross Shafer),ZB, Fender 400 guitars, various tube and SS amps |
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Jim Robbins
From:
Ontario, Canada
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Posted 25 Mar 2009 1:49 pm
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Ab maj with a sharp 4 (which is really Eb maj)to an Ab ascending melodic minor works for a ii half dim - V progression. Ab maj 7 # 11 to Ab min maj 7 does the same thing chordally. (Also just Ab maj 7 to Ab min maj 7 gives the same subdom - dom feel but if someone's playing D in the bass the Eb in the Ab maj 7 might not sound too good.) It works because the C - Cb in the move from Ab maj to min is enharmonically C- B which is the most important change between a ii and a V, and you avoid the Gb/F# which would destroy the V dom 7 sound.
The original chords to "Night and Day" use the Ab maj 7 - G7 as a subdom - dom progression with a minor flavour but jazzers tend to replace the Ab maj 7 with a D half dim.
It's a super easy way to sound cool, because if you know where V is it isn't far to bVI. I use it on six string a lot but don't get the chance too much on steel. |
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Ian Kerr
From:
Queensland, Australia
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Posted 25 Mar 2009 10:54 pm
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I too have just been looking at the melodic minor scale which can be produced on the C6 th neck by pressing either pedal 6 or pedal 5 and trying to come up with a pattern to remember the altered chords.
Both pedal 5 and pedal 6 each produce separately in different places the same melodic minor scale nicely laid out over a spacing of two frets.Using the example Don used [on the C6th neck a chord progression say G alt. to C ] for the G alt. chord first go to the G chord on fret 7 then come up one fret higher to fret 8 and press pedal 6.The G alt. scale is now neatly and conveniently laid out on fret 8 and fret 10.After playing notes or the altered chords here I could resolve back to fret 7 for C if I'm thinking C home base fret 7 root C on string 9.
Pedal 5 essentially does the same job as pedal 6 only three frets higher up.So using pedal 5 the G alt. position is now on fret 11 and fret 13 across all strings.So if I'm now thinking C home base is fret 12 with C root on string 10 (or 7) after playing G7#5 or G7#5b9 on fret 11 or G7b5#9 on fret 13 I could resolve to C on fret 12.It depends on what I'm thinking of as home base to decide on pedal 5 or pedal 6.
Here's another example .I'm in key G home base fret 7 root G on string 10 (or 7).So for D7b5#9 I come up to string 8 press down pedal 5 , play , then resolve back to fret 7.This is similar to the tri-tone substitution using no pedals.Also pedals 5 and 6 pressed together as well as making a diminished 7th. chord , make a G7b9 chord on frets 2,5,8,11. So from these frets you could resolve back to C.
Finally , this melodic minor scale,as well as being useful for altered chords , is the scale for m7b5 type chords.So e.g. Em7b5 go to fret 7 for Em7 then press pedal 6 to get the b5 . The scale/chords to play is now on frets 7 and 9. OR go to fret 10 ,
press pedal 5 and play frets 10/12.
There's a lot of stuff in just those two pedals. |
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Danny Bates
From:
Fresno, CA. USA
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Posted 26 Mar 2009 3:29 am
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Maybe this can help simplify things for others reading this thread...
C major scale:
C D E F G A B C
C mixolydian scale:
C D E F G A Bb C
(flat the 7)
C lydian scale:
C D E F# G A B C
(sharp the 4)
C melodic minor scale:
C D Eb F G A B C
(flat the 3)
B altered scale:
B C D Eb F G A B
(these are the same notes as the C melodic minor scale) |
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