Strictly speaking, the f melodic minor scale expresses a G7susb9 chord. The difference between these two scales is that G7b9 has 8 notes instead of 7 and that the G7b9 scale has the third of the chord, b, while the melodic minor does not and the G7b9 has a c- sharp while the f melodic minor scale has a c. Therefor, for G7b9, I use the F MELODIC MINOR SCALE. Personally and totally subjectively, I find that the melodic minor scale, in this use, projects a softer sound more feminine. I later discovered a sound more pleasing to me and that is derived from the melodic minor scale. This scale sounds fine over the G7b9 chord but it sounds a bit coarse for how I want to express myself. (Actually, you're not supposed to spell scales using flats and sharps together, but I've done this for the sake of expediency.) This scale has, in contrast to most other scales, 8 notes instead of 7. The scale should then contain these notes: It's built like this: start with g, go up a half-step to a-flat, go up a whole step to b-flat, go up a half-step to b, building according to this manner until you reach g again. This scale is also known as the half-whole and the whole-half scale. Traditionally, in order to improvise over the G7b9 chord, one uses the DIMINISHED SCALE. (Man, I hope that you're all still with me.) This means that b,d,f and a-flat are all G7b9 chords without the root, G. You can also look at these chords as being a ROOTLESS G7b9 chord. B,D,F and Ab diminished all contain the notes b,d,f and a-flat. This means that they all have the same notes. G7b9 contains the root (g), the major third (b), the perfect fifth (d), the dominant seventh (f) and the flatted 9 (a-flat). Right now, I want to explain how the sound of the V7b9 chord traditionally is expressed and how I use the melodic minor scale to express that sound. When I was studying, it took me quite a while to really comprehend the V7b9 chord, its use and its relationship to the diminished chord.
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