![]() So on the C minor, I’m playing this C minor at 9, or at 2, or kind of arpeggio, which is nicely symmetrical across the fret board, because you can move it up, The line on the F7 altered,consists of A major rising and F sharp sus triad, before it resolves to the 5 th of B flat. From the E flat I’m playing the diatonic arpeggio, that’s just an E flat major 7. And on the C minor, I’m playing this chromatic instruction of the 3 rd, so… The 2-5-1 is of course C minor 7, F 7 altered, B flat major 7. We’re going to stay pretty much in this area, we’re going to move a bit around, but around this area of the neck, and the altered scale will be this: The 2-5-1’s are all in the key of B flat, and that will be in this scale: The 1 st thing we need to look at is just to have some scales and put it all in a bit of tonal context. In this lesson, I’m going to give you a few examples of how you can make some 2-5-1 lines with altered dominance, and show you some structures that you can use when you’re making lines on altered dominance. One of the most important ones is of course the altered scale. I thought it would be a good idea to continue along with some modes of the melodic minor scale. In my previous lesson series, I was talking about the melodic minor scale, and I gave you some examples of the kind of lines you can make with the melodic minor scale on a tonic minor chord. Hi guys, in this lesson I’m going to give you some examples of how you’re going to apply the altered scales in 2-5-1 lines. If you want to download the examples for later study you can do so here:Īltered Scale Lines – part 1 Guitar Lesson Video Transcription If you want to really be good at using the scale you need to also be good at writing your own lines, since composing is like improvising only you can go back and fix the stuff that doesn’t sound good. I hope you can use the ideas and examples I presented here to make your own lines with the altered scale. The F7 alt line is first a triplet figure of a B major triad (which is why I’ve written F# and not Gb) and then a cliché F#m melody resolving to the 5th(F) f Bbmaj7. The 3rd example is using an Ebmaj7(9) arpeggio on the Cm7 and the a small scale run up to the b9 (Gb, written here as an F#) on the F7alt. ![]() The B7 resolves from Eb to the 3rd(D) of Bbmaj7. The B7 is of course also the tritone substitute of F7 which is why it works so well in this context. From there the line on the F7alt is again made by pairing two arpeggios, an F#m triad inversion and an inversion of B7 arpeggio. In the 2nd example the line on the Cm7 is a Cm add9 arpeggio that is very nice to use as a sort of symmetrical figure that can be moved every 2 sets of strings. On the F7alt the line is a combination of two arpeggios: Amaj7 shell voicing and a F#sus4 voicing, before it resolves to the 5th(F) of Bb. It then continues up a diatonic arpeggio from the 3rd of the chord: Ebmaj7. The first example starts off with one of the chromatic encircling patterns that I talked about in a previous lesson for Fundamental changes. My notation of the scale is a bit inconsistent because sometimes it is easier to think as an F7 with flats, and sometimes it is easier to think as an F# minor melodic, with F# minor triads and B7 arpeggios etc. One for the Bb major scale and another one for the F7 altered (which is the same as F# minor melodic). ![]() Let’s first look at two scale fingerings that we need. In this lesson all the examples are in the key of Bb and are around the 6th fret area of the guitar, though not strictly in a position. Since the altered scale is best understood in a tonal context I have chosen to make major II V I cadences and then use altered dominant chords on the V. A natural extension of this seems to be makein a series on one of the most used modes of the scale: the altered scale. In my previous lesson series on melodic minor scale licks I gave some you some tools and ideas for making lines over a tonic minor chord using the melodic minor scale.
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