tag:blogger.com,1999:blog-13630144.post113610049466860068..comments2023-12-04T09:29:06.375-08:00Comments on Casa Valdez Studios: John Stowell's Jazz guitar mastery book is here!David Carlos Valdezhttp://www.blogger.com/profile/02338319345488366328noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-13630144.post-1136273889815742692006-01-02T23:38:00.000-08:002006-01-02T23:38:00.000-08:00For practical application in improvisation it's an...For practical application in improvisation it's an easy way to calculate the correct chord scale quickly. The modes of the Melodic Minor scale also do not have the same type of key relationship as the modes of the Major Scale do. For example a B7 altered dominant scale is more related to the key of E Major than C Melodic Minor. If we relate everything we can back to the Melodic Minor then we can use take advantage of our familiarity with this simple scale. At Berklee they don't even bother to tell you that the altered dominant scale is a mode of the melodic minor. This is because they don't want you thinking in terms of another key. They would rather have you learn alt dom scales as: root,b9,#9,3,#11,b13,b7. It is much easier to think in terms of melodic minor but the downside is that sometimes you lose track of how each note is actually functioning in relation to the chord.David Carlos Valdezhttps://www.blogger.com/profile/02338319345488366328noreply@blogger.comtag:blogger.com,1999:blog-13630144.post-1136201287268888282006-01-02T03:28:00.000-08:002006-01-02T03:28:00.000-08:00Hey, are you guys forced to refer to the modes of ...Hey, are you guys forced to refer to the modes of the Melodic Minor the way you do because not all of them have standardized names? or is that the way you guys actually prefer it (always referring to what would be the root of the 1st mode)?Brian Bergehttps://www.blogger.com/profile/06384560910054322713noreply@blogger.com