Melodic Minor Scale Attleboro MA

Here is the way to mix the Dorian mode withthe melodic minor scale. If you know the formulas for these scales, youwill notice that there is only one note difference between them. Read on for more detailed information in the following article.

Raymond L.
(877) 231-8505
Alanita Drive
Taunton, MA
Subjects
Music Theory, Music Performance, Guitar, Songwriting
Ages Taught
5 to 99
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I am very strong in teaching Jazz/Blues and Rock guitar. I feel it is important to know beginning to intermediate music theory. I would recommend going as far as possible. I am very strong on basic reading ability along with tablature reading. This of course depends on the style the student is interested in. My methods depend on the students experience and age. Generally I always leave half of the lesson for whatever the student wants help with. The other half is going through my curriculum.
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Community College of RI - Jazz Studies - 2007-2010 (not complete) Community College of RI - General Studies - 2007-2010 (not complete)
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George Chapman
73 Stagecoach Road
Holliston, MA
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Banjo, Guitar, Stand Up Bass
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Folk - Country - Bluegrass
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Beginner, Intermediate
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$40
Years of Experience
30 Years

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Daniel K.
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Massachusetts Avenue
Boston, MA
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Music Recording, Music Theory, Guitar, Trumpet, Percussion
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5 to 99
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My own developed style. I developed a curriculum as a final graduating project while a student at Berklee College of Music. Before this method, I used the same method that was taught to me from my first guitar teacher, Erik Upton.
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Berklee College of Music - Professional Music/ Guitar Principal - 01/2003 - 08/2006 (Bachelor's degree received) University of North Carolina at Greensboro - Music Education/Trumpet Principal - 08/1997 - 08/1999 (not complete)
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45 Franklin Street None
Somerville, MA
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Drums, Guitar, Piano, Voice
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$70
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28 Years

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Cameron S.
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Chiswick Rd
Brighton, MA
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Music Theory, Guitar, Bass Guitar, Songwriting, Music Recording
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12 to 99
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I concentrate on ear training, improvisation, and explore styles ranging from pop, alternative, rock, prog, and blues, to metal, funk, and folk etc. I do not sight read. Rather, I work with the student with theory and arrangement conventions to really understand the music. This intern, greatly sharpens their musical ear and helps them to learn music much faster because they understand how it is put together; why and how it works, etc.
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State university of new york at purchase. - Music, with a concentration in studio production - august 2003 - July 2007 (Bachelor's degree received)
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Raymond L.
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East Ave.
Warwick, RI
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5 to 99
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I am very strong in teaching Jazz/Blues and Rock guitar. I feel it is important to know beginning to intermediate music theory. I would recommend going as far as possible. I am very strong on basic reading ability along with tablature reading. This of course depends on the style the student is interested in. My methods depend on the students experience and age. Generally I always leave half of the lesson for whatever the student wants help with. The other half is going through my curriculum.
Education
Community College of RI - Jazz Studies - 2007-2010 (not complete) Community College of RI - General Studies - 2007-2010 (not complete)
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TakeLessons Music Teacher

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Daniel W.
(877) 231-8505
Browne St.
Brookline, MA
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Songwriting, Guitar
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5 to 99
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acoustic guitar and electric. Chordal strumming, arpeggiating, soloing. My acoustic style is a mixture of folk and blues, and my electric is rock and blues.
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Bp. Connolly H.S. - - 1984-86 (High School diploma received) New York Univ. - Economics - 1987-91 (Bachelor's degree received) N.E. Institute of Art - Audio Production - 2004-05 (Associate degree received)
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Jonathan B.
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Terminal St
Charlestown, MA
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Guitar, Music Theory
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1 to 99
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Guitar: beg to inter Rock, jazz, folk, blues. Classical and flamenco can be taught at a beginner's level only.
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Brandeis University - Sociology/Music - August 2002 - May 2006 (Bachelor's degree received)
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Dylan F.
(877) 231-8505
Broadway
Cambridge, MA
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Guitar, Music Theory
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7 to 99
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Guitar, music theory, ear training Rock, jazz/blues, folk
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Berklee College of Music - Music Production and Engineering - Fall 2003-Spring 2007
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Ryan T.
(877) 231-8505
Massachusetts Ave
Boston, MA
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Music Performance, Music Theory, Guitar, Music Recording, Classical Guitar
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5 to 99
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I specialize in Beginning to Intermediate Guitar (acoustic and electric), Music Theory, and Songwriting Techniques. I am also familiar with and prepared to teach beginning Voice and Recording techniques.
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Berklee College of Music - Guitar, Music Education - 2008-present (not complete) Mt. Si High School - Gen Ed and Music - 2003-2007 (High School diploma received)
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Blending the Dorian Mode with the Melodic Minor Scale

IN THIS LESSON WE’LL EXPLORE A QUICK way to mix the Dorian mode withthe melodic minor scale. If you know the formulas for these scales, youwill notice that there is only one note difference between them. TheDorian formula is 1, 2, b3, 4, 5, 6, b7 and the melodic minor scaleformula is 1, 2, b3, 4, 5, 6, 7. The only difference is the 7th degree.

Here are some basic fingering patterns for each.

Ex. 1a is a three-note-per-string A Dorian pattern starting on the sixth string. Ex. 1b is an A melodic minor scale starting from the same spot, and Ex. 1c is a pattern mixing the two scales. Notice the Es that are doubled on the second and third strings—this adds a neat effect. These patterns work in all keys, so you’ll want to learn them all over the neck.

http://www.guitarplayer.com/uploadedImages/guitarplayer/Lessons/GP0909_Lessons_Metal_Ex-1.jpg

Ex. 2 is a phrase based off A melodic minor (A, B, C, D, E, F# , G# ) and A Dorian (A, B, C, D, E, F# , G). You’ll have to stretch your fingers a little for this one, so you might want to follow the suggested fingerings. (Check out the cool doubled Es that we talked about in bar 2.)

http://www.guitarplayer.com/uploadedImages/guitarplayer/Lessons/GP0909_Lessons_Metal_Ex-2.jpg

The phrase in Ex. 3 is also in the key of A, and has a classical vibe for the first couple of bars. The last bar has a bluesy feel because of the added natural 6th. The first two bars can be from the A harmonic minor scale (A, B, C, D, E, F, G# ) as well as the A melodic minor. The harmonic minor scale is similar to the melodic minor scale, just the 6 is different, with the melodic minor sporting a natural 6th as opposed to the harmonic minor’s flatted 6th. You will notice a chromatic passing tone between the G and A in the last bar.

http://www.guitarplayer.com/uploadedImages/guitarplayer/Lessons/GP0909_Lessons_Metal_Ex-3.jpg

Ex. 4 is a shred lick using this concept. This one is also in the key of A and is a great picking exercise. There is some string skipping in this lick, which can be tricky. Be sure both hands are in sync and gradually build up speed.

http://www.guitarplayer.com/uploadedImages/guitarplayer/Lessons/GP0909_Lessons_Metal_Ex-4.jpg

Ex. 5 moves across the neck very quickly using arpeggios from the melodic minor scale. The very top of the line starts off with an Am/maj7 arpeggio—A, C, E, G# —alternating with the G natural from the Dorian mode. Bar 2 kicks off with some slippery two-string arpeggios: G# m7b5, F# m7b5, and E7.

http://www.guitarplayer.com/uploadedImages/guitarplayer/Lessons/GP0909_Lessons_Metal_Ex-5.jpg

Ex. 6 uses an uncommon three-string arpeggio. The pattern is mainly 1, b3, b7 and 1, 2, b7, alternating off different degrees from both scales (except the very first beat of the line which is 1, b3, 6). The picking pattern I use is down, down up, but feel free to experiment.

http://www.guitarplayer.com/uploadedImages/guitarplayer/Lessons/GP0909_Lessons_Metal_Ex-6.jpg

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