Melodic Minor Scale Mastic NY

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.

Michael Belajonas
146 Terrace Road
Bayport, NY
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$55
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25 Years

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Jose G. M.
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SUNY
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Classical, pop, reggae, acoustic, electrical guitar. Musicianship ( Music theory & sight singing) Music history.
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SUNY Stony Brook - Classical Guitar Performance - 2009-2010 (not complete) Conservatory of Music PR - Classical Guitar - 2004-2009 (Bachelor's degree received)
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Matt B.
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W. 171 Street,
New York, NY
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Music Performance, Music Theory, Bass Guitar, Guitar, Classical Guitar
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1 to 99
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Stylistically, I am generally more focused in jazz styles. However, as a teacher and guitar player, I am well versed in several styles commonly associated with the instrument, including; rock & roll, classical, folk, jazz, bluegrass, country, etc. Within each style that I teach, depending on the desired goal of the student, I couple the lessons with at very least a foundational approach to music theory as it relates to the style being taught.
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Samuels Path
Miller Place, NY
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I am well-versed in the Suzuki, Strictly String, Muller-Rusch, and Essential Elements methods. I find it helpful and insightful to include both classical and contemporary/pop music. In addition, I am constantly coming up with unique activities and lessons of my own that I think will benefit the student.
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I have been teaching rock music mostly when it comes to playing. I try to involve music theory in everything I teach as well. My songwriting lessons are very involved in theory.
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Mark V.
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I have experience with many styles of guitar-playing, including jazz, classical, rock, and folk. Most of my performances have been in classical and jazz styles, though I have spent many summers playing acoustic guitar for camp fires. Professionally, I am a sound designer for theater, putting to use my training in music theory and composition. I have also composed original music for two full-length theatrical productions, as well as conducted an ensemble of eight musicians for one of those pro…
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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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