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Jazz Studies With Bill Harrison: Lesson 9 – Using Melodic Minor on the ii/V/i

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The last two lessons I’ve presented in Bass Musician Magazine have hopefully made it clear that you can use the harmonic minor scale for the ii/V/i cadence. One of the benefits of harmonic minor is that you can use the same scale form for all three chords, the same way that we use the major scale to play through the major ii/V/I.

Click to Download: Using the Melodic Minor

As your ears grow more sophisticated, it’s very likely that you’ll want to expand your harmonic/melodic palette to include some of the sounds that musicians have made part of the jazz language in the last few decades. One of the most interesting devices you can learn to use is the melodic minor scale.

Construct melodic minor by simply flatting the third degree of the major scale. Another way to think of it is as a minor scale with both a major 6th and major 7th. * So D melodic minor (to be consistent with the key of our last two lessons) is spelled D E F G A B C#. (Fig. 1) This scale has a lot of cool applications on a variety of chord types, including some altered dominants and the wily M7#5. But let’s stick to our main task, using the sound of the melodic minor on the minor ii/V/i cadence.

Here’s the chord progression: E-7(b5) / A7alt / D-(M7) It turns out that only the tonic chord (spelled D F A C#) exists within the D melodic minor scale. Neither of the other two chords can be extracted from that scale (there’s no Bb, for one thing). If we really want to use melodic minor as our harmonic basis for this progression, we will have to figure out which melodic minor scale contains each of these chords.

If we were still using the major scale system, E-7(b5) (E G Bb D) would shout locrian, the 7th mode in the key of F: E F G A Bb C D.  Do you see how the scale tones fill in the missing spaces between the chord tones? By making one small change in these “in-between” notes we’ll be able to generate a melodic minor sound that embraces E-7(b5). If we raise the F natural one half step to F#, we create this scale; E F# G A Bb C D. With some quick calculating, we can see that this “locrian #2” scale is the 6th mode of G melodic minor. (Fig. 2)

What about this A7alt chord? The designation “alt” is short for altered, and it generally translates to any dominant chord containing both the 5th and 9th degrees altered (b5 and/or #5 AND b9 and/or #9). These sounds are quite common in contemporary jazz, and our old friend mixolydian doesn’t work at all with these altered intervals. Melodic minor to the rescue!

Let’s construct a dominant type scale that includes ALL those altered 5ths and 9ths starting on the root A (keeping in mind that dominant chords are defined by the combination of M3 and m7):

A Bb C C# Eb F G (root, b9, #9, M3, b5, #5, m7). This scale is a thing of beauty. The first half alternates between half and whole steps while the second half contains all whole steps. This scale goes by a few names, most commonly the altered or diminished/whole tone scale. This scale is also the 7th mode of the Bb melodic minor. (Fig. 3)

So the chord/scale matchups for this ii/V/i go like this:

E-7(b5) – G melodic minor.

A7alt – Bb melodic minor.

D-(M7) – D melodic minor.

But what does this mean for us when we’re constructing walking bass lines? As long as you have at least 4 beats for each chord you can make good use of some of the spiced up flavors of the melodic minor. The F# from the G melodic minor is a delightful passing tone on the E-7(b5), for instance. The presence of the altered 5ths and 9ths on the A7alt are also noteworthy (pun intended). And the inclusion of the B natural on the D-(M7) is a welcome change from Bb, the flatted 6th.  See Fig. 4 for some examples of walking lines that use the colors of the melodic minor.

The uses of melodic minor are well documented in recordings and books. Check out pianist Mark Levine’s excellent Jazz Theory in this regard. Start incorporating these sounds into your lines and you will discover some pathways through these changes that might not occur to you otherwise.

* Note that the only difference between natural, melodic, harmonic and dorian minor scales is whether the 6th and 7th degrees of each scale are major or minor.

 

Bass Videos

Interview With K3 Sisters Band

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Interview With K3 Sisters Band

K3 Sisters Band Interview…

It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.

Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music,  music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.

Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.

Here is the K3 Sisters Band!

Photo, Bruce Ray Productions

Follow Online:

k3sistersband.com/
TikTok
YouTube
Instagram
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Bass Player Health

What is a Pinched Nerve? with Dr. Randy Kertz

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Dr Randal Kertz - Bass Player Health - Oct 2022

What is a Pinched Nerve?

In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.

Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!

The Bassist’s Complete Guide to Injury Management, Prevention & Better Health

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @colibriguitars @adamovicbasses @brooksbassguitars @lecomptebass @mgbassguitars @mauriziouberbasses @jcrluthier @biarnel @officialibanezguitars @chris_seldon_guitars

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Gear News

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

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New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
 
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.

Product Specification-

Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg

For more info please visit www.ashdownmusic.com

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Gear News

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary

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30th Anniversary Limited Edition SansAmp Bass Driver DI

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…

The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

Anticipated Availability:  May/June 2024

For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/

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