Académique Documents
Professionnel Documents
Culture Documents
, rnlCXS aS-SS
t":! Pete Callard nears the end of his leisu rely strol
through the modes of the melodic minor scale
I
as an outside sound over m7 chords
alongside Dorian and melodic minor
(Example 2). Or it could substitute for
Phrygian, with thebznd ard maj6th giving
with mode two, otherwise known as Dorian b2... us an il]leresl ing mix of Phrygian and
^-a Doriar (Lrample 3). But it would be nice to
find a place that Dorian b2 will truly fit.
Okay, well remember that the two
intervals that set it apat from any other -
arethebzndand maj6th (inA, the notes
Bb and F#). That means to really pin down
the sound ofDorian bz we need to find a
chord or sequence that highlights these
intewals. If we simply add them to an Am7
chord we getAm4bg (Example 4),
although I rather like the faintly flamenco
approach of moving from Am7 to Bbaug/A
(Example 5). When it comes to chord
sequences, a few which workwell for A
Dorianbz are:
Am7 - C7 - D7 (Example 6)
Am7 - D/A - Gm/A - D / A(Ex z)
Am7- F#m7bS - C7 - EmZbS (Ex 8)
Next month we'll be concluding this
particular series with some ideas for
getting the Dorian b2 scale into your
playing more quickly, by adapting ideas
from different players to erpandyour
soloingvocabulary. I hope you'llioin me
forarousing send- off! E
TBACK REcoRD 77re modes ofMelodicnho? are widely us8d in lazz, s0 our listening rooommendations could oncompass many things. Some
players worth chockinEout includeJohn ilclaughlin (Trio livcAtTie noyal Festiyal llall), Pat l{etheny (ousstions & Answep), Pat Martino ([ive
At Yoshi's) and,rohn Scofield (Blue Matt0r),
Dorian [2 Dorian b2
(3 notes per string shape) (CAGED shape)
Am7
This example demonstrates A Dorian b2 used as an 'outside' sound alongside A Dorian and A melodic minor over an Am7 chord.
d ll+' -n It+'-'
Here we compare the sound ofA Dorian b2 and A Phrygian over an A 6th in Dorian b2 (Phrygian has a b6th), making it an jnteresting mix
Phrygian vamp. The only difference between the two scales is the maj between Dorian and Phrygian. A Phrygian is shown below:
Here we have two voicings - Am7 followed by Bb aug over A that couple of areas ofthe neck.
between them highlight the component parts ofthe scale, played in a
B[,aug/A
cl
lTt
t
Following on from Examples 4 and 5, the remaining three examples the harmonised A Dorian b2 scale.
feature chord sequences that specifically work for Dorian b2, taken from
Am7
Em7r5