Overall Rating: 4.2 (of 5)
Hey there axe-slingers. Its that time again, time to delve in the world of jazz improvisation. This time we're going to have a twist to our usually dorian minor, mixolydian, and major lines.
We're going to take a page out of the Pat Martino, Emily Remler, Larry Coryell, Jimmy Bruno book of soloing and look into what is called: MINOR CONVERSION. I have attempted to get a definitive definition on this term but I have yet to see it in music books/dictionaries. If anyone has an up to date version that has a definition then please share it with us fellow wholenoters. How the minor conversion works is that you convert all chords and their perspective scales/arpeggios to a minor keys. In the case of the examples we'll be converting to the melodic minor. The minor scales/chords/arpeggios has always been described as being "dark" which gives it a bit of tension or sonority that makes for interesting sounds when played against a typical I-vi-ii-V chord progression, ii-V-I's, or even the "blues". I've stated in a previous lesson, on the harmonic minor scale, how using this scale can give one's playing interesting sounds, but toss in a little minor conversion theory and now your ears will be "popping". In the past, I never quite understood how Pat Martino's playing seemed so "depressing", "somber", "dark", if you will, but looking at his video and shutting myself in my woodshed and working it out, now I have something new in my arsenal. One thing to remember in the course of this lesson, when melodic minor is mentioned, it is in reference to the "JAZZ MELODIC" minor scale. The difference between the jazz melodic minor and the melodic minor is, the jazz melodic ascends and descends with the same notes. The "classical" melodic minor ascends with the raised 6th and 7th but descends with the "natural minor" scale.