THE FRANK GAMBALE TECHNIQUE BOOK I by FRANK GAMBALE CREDITS Music Editor... _..Wayne King Music Copy.. cues Frank Gambale, lain Scott Typesetting .Jdon Morgan Special thanks to Jon Morgan for countless hours of dedication to both tech books and to Craig Garfinkle for introducing Frank to Mark back in ‘85. ‘This book or pants hereof may not be reproduced oF Jransmitted in any form whatsoever without written permission from the publisher. Distributed by: & wy wuanieh 908, PUBLICATIONS WA EE nemesis Fah S30 ee ac see Cu Legato Publications Copyright © 1989 Mark Verney P.O, Box 247 Springwille, CA 93265 laternational Gopysight Secured. Printed in UIC. Alt rights reservedavideo by FRANK GAMBALE Frank explains and demonstrates his incredible Speed Picking technique and shows you how to use it in various scales and modes. He explains how to create shapes and picking patterns lo get you around the fretboard with lightning speed. Comes complete with exercise booklet written in tabulature and transcription notation. For the Intermediate/Advanced player. a DG) Available From Your Loca! Music Retailer HUSIC VIDEOSOLOING CONCEPT | break music down into six basic chord types, and their applicable scales (See Fig. 1). Then over each of the chord types | apply five soloing approaches for each applicable scale. The possibilities for soloing over these chords are, therefore, greatly expanded. This book covers the second and third approaches for chord type 4 and all approaches for chord types 5 and 6. CHORD TYPES APPROACHES (and applicable scales) 4 MINOR7 4a Dorian 1b Aeolian 1 SCALE* 2 MAJOR 7 (7 or 8 notes) 2a Major 2b Lydian 2 PENTATONICS & BLUES (5 & 6 not 3 UNALTERED DOMINANT 7 (6 &6 notes) 3a Mixolydian 3 ARPEGGIOS 3b Lydian b7 (4 notes) 4 ALTERED DOMINANT 7 4 TRIADS 4a Super Locrian (3 notes) 4b Diminished 1/2 / whole . 4c Phrygian major 5 INTERVALS (2 notes) § MINOR 7 (b5) 5a Locrian 5b Aeolian bS pa EEA EES 5c Locrian naté * Approaches 2 through 5 are 6 DIMINISHED derived from the applicable 6a Diminished whole / 1/2 scale chosen for soloing 6b Super Locrian naté approach 1. Fig. 1WU DOG EEUU UYUEEUYUU YY Yee ee on eT CD Tracking Information Song & Introduction Diminished % Whole Scale Examples 1-2 Example 3 Example 4 Example 5 E Phrygian Examples 1-2 Arpeggios Example 3 Triads Examples 4-5 Lowanna Street 10 Loctian Examples 1-2 11 Arpeggios Example 3 12. Triads & Intervals Examples 4-5 13 Aeolian Examples 1-2 14 Arpeggios & Triads Examples 3-5 15. Scales & Arps Examples 1-3 16 Triads & Intervals Examples 4-5 17 Beef Intolorable 18 Diminished Examples 1-2 19 Arpeggios Example 3 20 Triads & Intervals Examples 4-5 21 Mode Vil Harmonic Minor Examples 1-3 22 Arpeggios Example 3 23 Triads Examples 4-5 24 Cleo & Rebecca CawAaTawN=Chapter 4 Continued from Book One DL J E Now, I would like to mention some other scales and chords that don't fit the SUPER LOCRIAN (7th mode MELODIC MINOR) scale. There are two different scale choices depending on the character of the altered chord. These are: 1. The DIMINISHED 1/2 WHOLE SCALE. 2. MODE 5 OF THE HARMONIC MINOR SCALE. In this chapter we'll look at the Diminished 1/2 whole scale. The diminished scale is somelimes referred to as the symmetrical scale because its construction is always 1/2 steps and whole steps. ( whole, 1/2 whole, 1/2) or (1/2, whole, 1/2 whole etc. ). ‘The diminished scale beginning with a whole step is the scale used for straight diminished chords e. g- C dim. = C diminished scale ( whole, 1/2 whole, 1/2..-CD Eb FGb ADABC) For Altered Dominant chords we play the inversion of this scale, and compare it lo a C major scale. Cc MAJOR C DIM. DOM. wo ° 2 Be m mn = @ > 2 e 0 B & oe B a o gCEBUSUUEL VOU Y EU ee I Diagram #1 ‘ E Dim 1/2. Whole ‘thin this octave we see several 6 0G 3 by possibilities for chords. We can easily see the Peminant 7 (13.5 b7). If we use 135 b?, we are lell with b2, b3 and b5 and 6. The b2 and b3 are the ' game as b9 and #9 eg. in the key of C, the b2 and b3 i are the notes Db and Dif. Db is also the b9 of C and 9 05 by #9 Dif is also the #9 of C. In the key of C, the b5 = Fit d the 6 = A which is the 18 3 which is the same as #11 an same as 13 in the 2nd octave. s by #4 ® So the scale intervals for two oclaves are as follows: b 3 1B 9) {(b2b3) 3 (bs) 5(6) b7 be #9 HIT 13. 15 b. ys The DIMINISHED 1/2 WHOLE scale differs og bs #9 from the SUPER LOCRIAN ( Melodic Minor 7th mode ) by two notes. Knowing which they are and 31B 5 oO iB tuhat they sound like in a dominant 7 chord, will help you determine which scale to choose. The py # by | 6 two notes are the Natural 5 and 13 (6). 3 1B b So, an altered dominant chord, e. g- C769 with a 13, definitely belongs to the diminished 1/2 whole 5 scale. ‘The 13, or 6, is the note in an altered chord that confirms this scale choice. The natural 5 is V9 ne 3 0 more ambiguous because it is also part of the 5th mode of Harmonic minor (next chapter ) - ' So for all our examples of a Diminished ist 6 FE Dominant chord, we'll use a 13b9. Other options could be 1391 11, 13#9, or simply, C7b9 or C7. I 1 S will specify the chord for the examples.EXAMPLE 1. E DIMINISHED 4/2 WHOLE over E13b9¥ COU SECU UU VEU EEUU Foes wide ead PENTATONIC SCALES. AND THE DIMINISHED DOMINANTSCALE Pentatonics within this scale... well, there are Ro standard major or minor pentatonics within this scale. But ‘hat never stopped me, and it, as you will soon discover, vont stop you either. At this point, we have fe transgress the rules, which for me, was soon of the best ways to discover new things (a5 long as you don't hurt anybody #) - Let's make up some pentatonic scales. Here are some of the possibilities: 4, 1b3b5567 2 1935 7 3. 1b3b56b7 4. 1b235b7 5, 1b2b35b7 6. 1b2b3b56 7 {b23b5b7 ele, elC., eto. ------- There are lots of different 5 note scales ( pentatonics ), as you can see, None of these, however, conform to any standard pentatonic. But nevertheless, some of these hybrids sound very interesting indeed. For the examples here I've chosen numbers | and 4 EXAMPLE 2 (a) HYBRID PENTATONIC NO. 1 13 b5 5 b7 over E13b9EXAMPLE 2 (b) HYBRID PENTATONIC NO. 4 16235 b7 over E13b9 2 tEEE pate == + Le [io BAS —IUIO, | qo tt CAF age “fe aes * Note: EVERYTHING MINOR 3rd INTERVALS. IN PENTATONIC SCALE, TRY PLAYING STARTING ON "G" THEN "Bb" AND "Ci". SYMMETRICAL. ANOTHER TIP IS TO PLAY SEQUENCES IN “B" HYBRID PENTATONIC FOLLOWED BY A REASON THIS WORKS IS THAT 2 MINOR 3RD IN THIS SCALE CAN BE SHIFTED AND PLAYED IN OTHER WORDS, IF YOU HAVE AN “E" HYBRID THE SAME SHAPE SYMMETRICALLY, DON'T FORGET THAT THIS SCALE IS INTERVALS OF b5'S (TRITONE ) , eg. “Bb" HYBRID PENTATONIC. THE INTERVALS EQUAL ONE TRITONE. ARPEGGIOS IN THE 1/2 WHOLE DIMINISHED SCALE. 4 b2 b3 3 :bS 5 6 b7 Once again we see that there are many possible four note chord arpeggios available from this scale. Let's look at some of them. 1 1 b3 b5 b7 2 435 b7 3 1 b3 5 b7 4. 13 b5 b7 5 1356 6 1b35 6 = min 7b5 =dom7 =min7 = dom7b5 = maj6 = min6 {All these arpeggios can be played over E1Sb9, starting on either E, G, Bb, or C# (thanks to the powers of symmetry.) .CEC GOV UE UET EY VU VEE S Sy eee EXAMPLE 3. ARPEGGIOS 1-6 OVER EI3b9 win 9S dom T RIADS IN THE 1/2 WHOLE IMINISHED SCAI There are three triads available to us in this scale. ene ge Emin, and Edim triads to listen to over EI3b9. Don't forget, these This gives Emaj, ha G, Bb, or CH. triads can also begin wil 6EXAMPLE 4 (a-c) EMAJOR TRIAD OVER EI3b9 E MINOR TRIAD OVER EI3b9 E DIM. TRIAD OVER EI3b9 E mdy Ewin E dim EXAMPLE4(d)_ E, G, Bb, AND C# MAJOR TRIADS OVER E13b9 Tani Aree AA nv qonv annv Annv =-16- eee ees aE -ax— LB Fj xLG POW VY GEES Ie eee EXAMPLE 4(e) E, G, Bb, AND C# MINOR TRIADS OVER EI3b9 [e Ex Se ¢a— > # Sat eae ¢ mT 933 \e-te—|15 42: ae ae foot elt EB: EXAMPLE4(f) — E, G, Bb, AND C# DIM. TRIADS OVER EI3b9INTERVALS IN 1/2 WHOLE DIMINISHED Min 3rd, 3rd, b5, 5th, 6th are all available to us from the root of the scale and they can also be played symmetrically in minor 3rds and bsths, etc. Other intervals, such as 4ths and béths, are also available, however, not beginning ‘on the root of the scale. These intervals appear a 1/2 step above the root and then symmetrically in minor 3rds and bSths from there. Minor 3rds, bSths, and 6ths can be played parallel up and down the scale. EXAMPLES (a) MINOR 3RDS PARALLEL OVER EI3b9 aaa Ee = F EXAMPLES (b) bSTHS PARALLEL OVER EI3b9we OYUYUCUUU VU VY EEUU J ee OY Dew ed du EXAMPLE5(c) 6THS PARALLEL OVER EI3b9 EXAMPLE5(d) 4TUS IN MINOR 3RDS OVER EI3b9 EXAMPLE5(e) 6THS IN bSTHS OVER EI3b9HARMONIC MINOR OVER ALTERED DOMINANT CHORDS Dominant chords fall on the 5th degree of the Harmonic Minor scale. So, if we have an E7b9, A Harmonic Minor scale can be used. The notes of an A Harmonic Minor are: ABCDEF GH=12 6345 b67 It is very important learn the interval structure of the 5th mode of Harmonic Minor. ABCD E F G# beginningonE = EF GHABCD So to find out the interval structure of this 5th mode, standard, the major scale , and compare notes. EMAJOR = E F# GHA BCH DE=1234567 STH MODE AHARM MIN = EF Gf ABCD = 1b294 5 bé b7 * This mode will be referred t ‘The second octave of this mode reveals the upper extensions. EF GHABCDEFGEABC=1b23 45 bb b7 8 bo 10 11 DIS Now we can see the types of chords available. character, which leaves us with a b2, 4, and b6. b2 = b9. 4 = 11, b6 = #5 = b13. E Phrygian Major Over E7b9 scale to learn the mode from the root of the chord; and so we need to we must use our trusty old o from now on as the PHRYGIAN MAJOR SCALE. 1, 3, 5, b7 gives us our dominant 7 II ete tee EF iCC Ce SUE UY YUU I~ E Phrygian Major So now we need to figure which dominant chord is specifically a Phrygian Major chord. i 3 3 by Well, in the last approach we discovered that the diminished dominant chord with a natural 13 (6) was specifically diminished 1/2 whole scale. b > bb vy The combination of 1, 3, 5, b7 witha #5 is specifically Phrygian Major. In other words, the $ 3 totural 5 and #5 only occur together with this scale. oo b 74 $ Note also the absence of the #9. E7#9 would 9 be either Super Locrian or Diminished 1/2 Whole. Now this is all well and good in theory and yh on paper, but it is rare {0 hear the 5 and the #5 te 6 ¢ together in a voicing of a dominant chord; what 1S important is that you become familiar with the chords of the harmonized Harmonic Minor scale so 4 + ®@ B you will recognize a Harmonic Minor chord t 7 progression, e. g. Dmin7 E7b9 Amin ot Fmaj7 E79 Amin Another great way to determine which scale u oy ®@ is intended, and this is overlooked by a lot of 73 ig musicians, is to study the melody of the tune to discover what the composer intended. This, in my experience, is the best approach, especially when the gZ chords written are vague, like e. g. E7 to Amin. E7b9 chord. {0 ¢ by So for my music examples I have chosen an 12At this point, I'd like to give you examples of each of the three possibilities of altered dominant chords at work. EXAMPLE 1. SUPER LOCRIAN (MELODIC MINOR UP 1/2 STEP) In this example, the melody begins #9, 3, D7, #5, 3, #9, B9, B7, #9. You will notice that the only scale which incorporates the #5 and b5 and #9 and b9, is the Super Locrian. Eq Anct EXAMPLE 2, DIMINISHED 4/2. WHOLE ( DIMINISHED DOMINANT ) In this example, the melody is a 13, Root, 13, 3,5. This has to be Diminished 1/2 Whole because of the 13th and natural 5. ET Am 13GE UGC EUUU FV EEUU Fe Be ew EXAMPLE 3. PHRYGIAN MAJOR (MODE V HARMONIC MINOR) Tn this example the melody has the 5, #5, 5,3, b9, #5. This has to be Phrygian Major because it is the only altered scale which includes the #5 and natural 5. eT Am Now let's take a look at the harmonized scale chords found in the Harmonic Minor scale. AHARMONIC MINOR = A BC D E F Gh CHORD1 = ACE Gi = Amin (maj?) CHORD 2 = BD FA = Bmin7bS CHORD 3 = C E G# B = Cmaj7#5 CHORD4 =D FAC = Dmin7 CHORD 5 = E G# BD = E7 CHORD6 = FAC E_ = Fmaj7 CHORD 7 = G# B D F. = Gidim7 Amin (maj7), Bmin7, Cmaj7#5, Dmin7, E7, Fmaj7, Gitdim7 Pp IN PHR AN M Ks Once again we have a situation where there are no standard pentatonic scales. So once again, let's make up some of our own. To do this, we must Jook at the interval structure of the Phrygian Major scale. Phrygian Major = E F GH ABC D= 1 b2 345 b6 D7 14EXAMPLE 2 (a) - HYBRID 1 = 1 6235 b7 Lag {pg tO 1B 0 a a oo x Gq Ae Ese 37 EXAMPLE 2 (b) _ HYBRID? = 1 b2 45 b7 over E7b9 over E7b9 EXAMPLE 2 (c) - HYBRID3 = 1345 b7 et fete 15ae CU SSE EU ' uy VU UU TI ee eee 'S IN THED! Now weill listen to all the diatonic arpeggios from the Phrygian Major scale, and hear how they sound over an E7b9 chord. Using E as our root of the Phrygian Major scale, we'll listen to: E7 Fmaj7 Gitdim7 Amin7 Bmin7b5 Cmaj7#5 Dmin7. EXAMPLE 3 (a) E7 arp over E7b9 EXAMPLE 3 (b) — Finaj7 over E7b9 -e~ fF 16EXAMPLE 3 (c) G#dim7 over E769 EXAMPLE 3 (d) Amin (maj7) over E7b9 «f,” [Lie —49-| He 42 ae 3 13 3 | ——— } ean | EXAMPLE3 (e) Bmiin7b5 over E7b9 17CEG UTE CEO VEU SE See er SXAMPLE3 (f) Cmaji#5 over E7b9 Lt Ee F Fr ees =e CS CE oO 4 = S qe eS ty Lu = {A= CB = 7-8 EXAMPLE 3 (g) Doin? over E7b9 ot ~~ =F \ E I & 1o-G—75 +e zea AAR | ft te 18———_——— TRIADS FROM THEPHRYGIAN MAJOR In the A Harmonic minor scale there are two major triads. They are on the 5th and 6th degrees. E major and F major triads. Let's take a listen to each of these. EXAMPLE 4 (a) E MAJOR TRIAD OVER E7b7 EXAMPLE 4 (b) FE MAJOR TRIAD OVER E7b9 SSS = +E a aacEe DON'T FORGET THAT ALL THE DIATONIC TRIADS WORK WELL; ie, Amin, Bdim, Caug, Dmin, E, F, Gitdim. 19Woot Ne Ne ee ee, we get ee CUUD BOWER UUY VY VOUUU Ty ee ve ere EXAMPLE 4 (c) ALL DIATONIC TRIADS FROM E PURYGIAN MAJOR = otf STE 3 0. ?- a Ot qe eel? + Aig ee OF INTERVALS IN-THE PHRYGIAN MAJOR and 6ths work the best in this inconsistent scale. Let's listen. I have found that 3rds DIATONIC 3RDS IN PHRYGIAN MAJOR OVER E7b9 et te F eet & | EXAMPLE 5 (a) 40-—{2. 77ers peat Coes rT FS 6g ee qe DIATONIC 6THS IN PHRYGIAN MAJOR OVER E7b9 EXAMPLE 5 (b) 20 bowEND OF CHAPTER SUMMARY Now let's look back at all the altered chord scales and I will point out the approaches that I have found most useful. CHORD = E7#5b9 FORMULA SCALE CHOICE = E Super Locrian = 1 b2 b3 3 5 #5 b7 ‘same as F Melodic Minor - up @ 1/2 step. pe #9 #11 bIS PENTATONIC/BLUES = G Minor Pentatonic or Blues - up min 3rd ARPEGGIO = Dmin7b5 or Gitmaj7#5 - down whole step min7b5 and up a 3rd maj7#5 (This sinld also be visualized as down a 1/2 step from the 7 chord in a 5 to 1 chord progression; @. g., E79 10 Amin?, the Gitmaj7#5 arpeggio on the E7b9 chord has a root a 1/2 step from the soot of the chord to which it is leading.) TRIADS = Bb and C major - triads from the b5 and #5 of the chord. INTERVALS = 3rds or 6ths ( they are inversions of one another ). CHORD = EI3b9 FORMULA SCALE = Diminished 1/2 whole 1 b2 b3 3 b5 6 b7 from E G Bb or C# roots. powg #1113 PENTATONIC = Hybrid 1 b2 3.5 b7 fromE G Bb or C# Roots ARPEGGIOS = major 6 arps from E G Bb or C# roots. ‘TRIADS = CH major from the 6th degree of the chord. INTERVALS = Minor 3rds- CHORD = E7b9 FORMULA SCALE = E Phrygian Major 1 b2 3.45 b6 b7 b9 11 bI3 Mode 5 of A Harmonic minor. PENTATONIC = Hybrid 1345 b7. ARPEGGIO = C Major7#5 Major7#5 from the #5 of E. TRIADS = E and F major Root and up a 1/2 step INTERVALS = 3rds. 21SHE WUT EU UU VU EUU Su ee eee wot he I ERE! ITS : PROGRESSION 1. ‘A Dorian to E Super Locrian. Tk Amin7 I Ye 1 E7#5S#9 I Ye aL ! PROGRESSION 2. E Dorian to B 1/2 Whole Diminished. I: Emin7 I Ye I B13b9 I ve It PROGRESSION 3. C Dorian to D Phrygian Major. I: Cmin7 I Ye I D7b9 T Ye it COMBINATION PROGRESSIONS PROGRESSION 1. "NORTHBOURNE AVENUE" ‘A Dorian - D Lydianb? - F Lydian - E Super Locrian. Ik Amin7 I Ye 1 bg I Yo I 1 Fmaj7 I LE7HSbD9 oT % il PROGRESSION 2. E Dorian - A 1/2 Whole Dim. - D major - B Super Locrian. I: Emin7 1 % IAB I % 1 1 Dmaj7 I % B7HSbo 1 % PROGRESSION 3. C Acolian - G Phrygian Major or G Super Locrian - C Dorian - F Mixolydian - F 1/2 Whole Dim. - Bb Major - Eb Super Locrian - Ab Major - G Mixolydian - G Phrygian Major or G Super Locrian. IL Cmin7 1 Ye I G7b9 1 Ye I 1 Cmin7 1 % I Eb/F I F7b9 I I. Bbmaj7 1 % 1 Eb7#5#9 1 Ye I 1 Abmaj7 1 ve 1 F/G 1 G7b9 22“Lowanna Street" (Based On Progression #3) Ci v, gb 23SO GOGSS CSU UU VV EP PES SG ee =CHAPTERS HE MINO) HOR) ‘There are three main ways (0 treat the minor 75 chord. It could be the VII chord of the Major scale, or chord VI ‘of the Melodic Minor scale, or + chord II of the Harmonic Minor scale. During this chapter we'll discuss the differences between them. s @ by ‘The first type welll discuss is the min7b5 asa” 7 Vit chord Major, and our chord will be Dmin7b5. b6 bp be ba bg Dinin7b5 = chord VII of Eb Major = D LOCRIAN. 7 | LOCRIAN INTERVAL STRUCTURE FROM D 6 7 b b& bp & 67 compared to D major. D EDF G AD BDC = 102,09 4 05 PE De | 7 9 #9 11 #11 BIS y DEFEGABCH = 1234567 4 2 91113 p oS vee Eb Larmonized Major va Ebmaj? Fmin7 Gmin7 Abmaj7 Bb? min? Dmin7b5 ph b ts i 63 25Ce CCU EEUU YY EE EY ee re EXAMPLE 1. D Locrian Over Dinin7b5 Sete ee fe (Sa ee 6-10-41" xe et LE AT S—t ae 6-8 t PENTATONICS FROM D LOCRIAN OVER D MIN7bS Remember from our previous discovery that there are three minor pentatonics in any major scale located on the If, Ill, and VI degrees. Well we know that D Locrian is the same as Eb Major, then theoretically, the II, III, and VI of Eb will provide us with the roots of the three minor pentatonics. They are as follows: Over Dmin7bS we can play I, G, or C Minor Pentatonics. EXAMPLE2(a) F Min Pentatonic over Dinin7b5. “ b-9- b-e- Yoo ae SSS — Ez a = (ee B16 e858 — 26a EXAMPLE2(b) G Min Pentatonic over Dinin7b5. EXAMPLE2(c) C Min Pentatonic over Dmin7b5. 27ESBObOUCEC EEE SE ee i se ee ee ee ARPEGGIOS FROM D LOCRIAN OVER DMIN75 ‘The arpeggio possibilities for D Locrian will be derived from the Eb Major scale. Once again, the Tarmonized scale. Ebmaj7 Fmin? Gmin7 Abmaj?_ Bb7 . Cmin? Dmin7b5 Now we're going to listen to all of the seven diatonic arpeggios over Dmin7b5. Remember that not all these arps sound good, bul this is the approach we must take to find the ones that do sound good; and when you find one that sounds good, believe me, it’s obvious, so bear with me. *NOTE* There is a trick to making the not so good sounding arpeggios sound better, and that is by beginning and ending these arps with a chord tone. All the arpeggios will have at least one tone directly related to the chord, so start and end on that tone. Let's say you wanted to play a Gmin7 arp on the Dmin7b5. Dmin7b5 = D F Ab C. The Gmin7 = G Bb D F. Begin and end the Gmin? arp with one of the two available common chord tones, in this case either Dor F. EXAMPLE3 (a) Ebmaj7 arpeggio over Dmsin7b5 EXAMPLE3(b) Fmin7 arpeggio over Dinin7b5, . : HAL EXAMPLE3(c) Gmin7 arpeggio over Dunin7b5 & te BH ‘et 3 eeeeeefhH 13 EXAMPLE3(d) Abmaj7 arpeggio over Dinin7b5 iy pet Reel t —H--1S—tt i iz (o—2 = (312 43-6 i | -T— = tp —to—i EXAMPLE3(e) Bb7 arpeggio over Diin7b5 b.LEGO VU EEUU VEL Se EE Ue EXAMPLE3 (f) Cmiu7 arpeggio over Dinin7b5 Srey cx S §—It 48- eit ij EXAMPLE3(g) Dmrin7b5 arpeggio over Dinin7b5. fe S ff =a 5 = & (0-8-5 [= fo—— ae o-—7—-168 cet i 3--jo 30Let's take the three major triads from Eb Major and listen to them over Dmin7b5. They are as follows: 1 IV V triads from Eb = Eb Ab and Bb. EXAMPLE 4 (a) Eb Major triad over Dimin7b5 y EXAMPLE 4(b) Ab Major triad over Ditin7b5 31EXAMPLE 4(c) Bb Major triad over Dinin7b5 ie are Sess maa gu &—1e- -fe—-6 [ax x =t Ea ej : 8 e-e + Don't forget that all the diatonic triads from Eb Major are worth listening to. EXAMPLE 4(d) All diatonic triads from Eb Major over Duiin7b5: Ebmaj, Fmiu, Ginin, Abmaj, Bumaj, Cumin, Ddim. Pa (2 a xs C/ G/ a) Go sts = a 32INTE Let's take a listen to diatonic 3rds, 4ths, 5ths, and 6ths. EXAMPLE5 (a) Diatonic 3rds in D Locrian over Dmin7b5. O18 es is fesral} T- x CBO EXAMPLE5(b) — Diatonic 4ths in D Locrian over Dimin7b5. 33vee ee YEO EUY VY YE EE YH Ee YY fa we J EXAMPLE5(c) Diatonic 5ths in D Locrian over Dmin7b5. oy > oe —e Free = jot ws a" t 1012 AS tO? et Bs te es ie | EXAMPLE 5(d) Diatonic 6ths in D Locrian over Dmin7b5. ae eS & ———s SF SS = SUMMARY OF CHAPTER 5. DMIN7b5 AS CHORD VILMAJOR. CHORD = D MIN7bS FORMULAS SCALE = D Locrian 1 b2 3 4 bS b6 b7 te #911 #11 BIS PENTATONIC/BLUES = G Min Pent/Blues. Up a 4th from root. ARPEGGIOS = Dmin7bS arp from root TRIADS = Ab and Bb triads from b5 and #5 INTERVALS = 4ths 34 waltD.MIN7b5 AS VI CHORD MELODIC MINOR If we treat the minor7bS chord as the 6th mode of the melodic minor, then we'll be using the Aeolian b5 scale. ‘The interval structure of D Aeolian b5 compared to a D major scale will be as follows: Dmin7b5 = chord VI of F Melodic Minor F Melodic Minor = F G Ab Bo CDE D Major = DEFRGABCHD=1234567 D Aeolian b5 = D E F G Ab Bb C = 1 2 b3 4 b5 b6 b7 9 #9 11 #11 DIS EXAMPLE 1. D Aeolian b5 Over Ditin7b5 35Pe YU VE UE UU EU ee ee eS D Aeolian b5 “NOTE* Notice that the only difference between the Acolian b5 approach and the Locrian approach is one note. Let's compare: D AeolianbS = D EF G Ab BbC D Locrian = D Eb F G Ab Bb C ‘The only difference is the natural 2nd (9th ) in the Aeolian b5 or the b2nd (b9 ) in the Locrian. This might not seem like much of a difference theoretically; however, once you get used to it the natural 9 is a very pleasing and unusual note over the Minor7bS chord. PEI Ti FR THE D AEOLIAN. CAL VER Dmin7p: There is only one Minor pentatonic in the Melodic Minor scale. It occurs on the 2nd degree. Dmin7b5, = F melodic minor 2nd degree of F melodic minor is G So we find that G min Pentatonic is available to us from the D Aeolian b5 scale. However, you'll notice that it is the same Pentatonic that was available to us in the Locrian chapter. So the only route for us is the hybrid pentatonic once again. ‘The first that springs to my mind is a variation of the G min pentatonic; one that will include the only note that changed in this Aeolian b5 approach, namely, an E natural, which is the natural 2 (9) in D. G MIN PENT. = G Bb C DF Let's drop the D and make it an E. Were left withG Bb C E F. Let's name this Hybrid Pentatonic 1 36EXAMPLE2(a) HYBRID PENTATONIC 1 over Dmin7b5 e bt 9 ae Eee SS a = it K Fo OA 12A6—F 3-8 -16—81¢ 1o— 6 How about using the four notes of the Dmin7b5 chord and adding the natural 2nd (9). We'd have: DEF ADC = 1 2 b3 b5 b7 Let's name this Hybrid Pentatonic 2. EXAMPLE2(b) HYBRID PENTATONIC 2 over Dmin7b5 0 be tt t be (See ee qatale-8—q oe 16-7 7 cue {e213 tt 37