Date: Sun, 12 Nov 95 11:12 MEZ
From: roland kalus 

Hi Folks, here we are again. Today this doc deals with alternatives to usual modes we all tend to use too much. I will try to give some ideas on approaching this chord to scale relationship a bit easier. Not everything in this chapter is totaly new and even some things derive from musicians I listen to.

O.K lets go on ...... Now we try to say goodby to the mixolydian mode usually used to build lines over a dom7-chord. Lets say we pick A7 in a blues-situation, that means we are in the key of C and the mixolydian-scale starting with the note G would fit perfectly. As a little reminder here is the mixo-scale starting on the 12th fret..

---------------------------------12--13--15---------------
---------------12---13---15-------------------------------
--12---14-------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------

Here we have that outside-lick of last week again.... 
some A-melodic-minor color is added:

-----14---16---12-----------------------------------------
---------------------12---15--13---12---------------------
---------------------------------------13-----14----------
-----------------------------------------13---------------
----------------------------------------------------------
----------------------------------------------------------

Important is that the outside-notes leads inside again, here we go back to the note A. This line features and underlines the notes Gb,Ab and Eb which gives your C tonality an optional #9, an #11 and an extra 7. Sounds not bad when you get a bit more used to it. Remember that rhythmic phrasing is the key to good lines, so stress the inside-notes a bit more. The optional notes color the chord you are playing over. It is the same if you play an C-maj7 or an A-min7 or A7. They fit... believe it.

If you just add the f# to your G-mixo-scale you get that favourit BeBop-Scale the guys in the 40 and 50th invented. It looks like this and adds more chromatical character to the mixo-mode:

---------------------------------12--13-14-15-------------
---------------12---13---15-------------------------------
--12---14-------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------

Try this line made out of the bebob-scale:

---12-15--12-14--13--12------12---------------------------
-------------------------15------13--15~b~17--------------
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------

Another one with lots of chromatic (and a Fmaj9/#11 arpreggio
in the beginning:

-----------------------17--16-----------------------------
---------------15--18---------18---15--16--17-------------
-------14--16---------------------------------------------
---15-----------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------

Almost the same line an octave lower and with even more chromatic at
the end..... if you play this one real fast and good phrased its a 
spectacular killer....

----------------------------------------------------------
-----------------------------------------15-14-13-12-13---
--------------------14-13-------------12------------------
------------12--15--------15-12-13-14---------------------
-----12--14-----------------------------------------------
--11------------------------------------------------------

The combination of arpreggios and chromatic is a wonderful mean to get
out of this boring scale-playing.. try this one and listen to Larry Carltons
Solo on Steely Dan "Kid Charlemagne" , you should find lots of this kind..

--------------------------------8-------------------------
------------------------8-9-10----8b10--------------------
--------------7-------9-----------------------------------
--------7-8-9----9-10-------------------------------------
--7-10----------------------------------------------------
----------------------------------------------------------


Use this diminished arpreggios and sweep them fast to the 
upper c-note and bend to d:

------------11HO14------------14HO17-------------17HO20b22-
---------13----------------16-----------------19-----------
--11HO14------------14HO17-------------17HO20--------------
-----------------------------------------------------------
-----------------------------------------------------------
-----------------------------------------------------------

So far so good. More in the next edition, experiment with the ideas and make your own...try to break rules, use your ears and (hopefully) your taste. Not everything must be explained,try to explain things by yourself (Why do this diminished arps fit so well??!??), you will learn a lot by this. Don't chew again and again the same boring stuff. Listen to the good muscians - and there are a lots of them.  Analyse them but dont copy them all your live. Don't try to be the fastest, try to be the most musicaly!!!


See you...

Roland Kalus

100760,2773