Tim Lerch - Melodic Minor Harmony Lesson
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- čas přidán 28. 08. 2024
- In this lesson I demonstrate how chords derived from Melodic Minor can be used to substitute for a V7 chord. There is a PDF of these examples available at my website timlerch.com/ make a small donation and I'll email you the link.
Best guitar teacher on the internet. Thanks a lot.
This is one of those "eye-openers" that goes a long way. Most excellent, thanks!
This lesson reminds me of the late great Ted Green's approach to harmony. Mr.Lerch must have been a disciple of Ted's, good stuff,thanks for sharing.The tele sounds amazing.
I agree Cy... I had Ted Greene's "Chord Chemistry" and it opened my eyes to inversions, different voicings, putting the 3rd,5th, 7th in the bass, substitutions, rich chord progressions, altered chords... Yes TED was the man, and I thank God for men like Tim and others who keep his legacy "ALIVE".." NEVER STOP LEARNING"
THANKS Tim for that lesson. The Melodic Minor sounds so......
BEAUTIFUL, EXOTIC, MYSTERIOUS, and RICH all at the same time!!! LOVE THAT SOUND!! You know it amazes me that there are only 12 notes in western music, but it's the WAY you put them together that makes the difference. Some people get stuck, stagnant, or complacent in they're playing... just being used to playing what they can, and not stretching out trying to learn more... Experiment and reach a little further. They choose to remain in their comfort zone, not wanting to expand and hear new things!!! ALLAN HOLDSWORTH comes to mind!! He wrote a book called "Just for the Curious"... it deals with his non-traditional open-minded approach to guitar playing. "FANTASTIC STUFF"!!!! Yes Tim, we really appreciate you presenting this Melodic Minor Material. It makes you want to devote an hour or so towards seriously sitting down and studying how this music, the theory of Music really works ... And all it can do is make us better.... once again, THANKS AGAIN. 🎼🎶🎵
Thanks for an outstanding lesson, Tim. I've been feeling stuck in a rut on the ii-V7-I progression and this lesson gave me some great alternatives. I just sent you a $10 donation using the Donate link on your website. Keep up the great work!
Great lesson Tim! Good to be reminded of the alternate uses for the harmonised melodic minor. Thank you.
Thank you Mr. Tim, one of the best lesson I have ever attended
Thanks for showing me the beautiful usage of this scale - it really opened up many alternatives and many new soundscapes - thanks again!
Great lesson - thank you for sharing your knowledge and generosity!
Glad you like it Jim, I enjoy your playing very much.
I really appreciate that Tim -and I enjoy your beautiful playing. Thank you!
Great to see the mutual respect and admiration between two of my favourite Tele players. Fantastic lesson Tim...these sounds unlocked some of the mystery of Lenny Breau's harmonic approach for me.
Jeff Bridges teaches jazz guitar? Absolutely smashing, Tim. Thanks for this!
Glad you enjoyed it
Spruced up my view of the melodic minor ! Merci Tim
Thank you Tim!
A great way to broaden oppotunities on the neck! you explain it really well timothy! thanks
Thank you Timothy, i am self taught and melodic minor sounds very strange to my ear since ever. So it was always difficult learn and understand it. You are actually make it more easy for me now.
Thanx for the great lesson. I've used the EmM7 a lot in this context before and tried using the other chords but never in a 2 5 1 context before. I really hear the difference this way. Thank you.
This is an incredible lesson. I watch a lot of yt videos and I have never seen a tutorial cover using chords derived from Melodic Minor as a substitution for the V7. I love learning new things, so I clicked the notification bell. Thank you so much!
beside Ted you get the most amazing Jazz Tone out of a Tele Tim! You're my regular Jazz inspiration beside all the Rock and Prog stuff I play
This one blew my mind!
I've never studied any jazz beyond jazz-blues, so I found the premise itself mind-blowing. And then the beauty of the sounds...wow! Who knew that knowing this scale and it's modes would someday prove so useful?! Thank you.
Wow. I'm just a nobody, but, yeah, great lesson. I've been looking at this stuff for years but great examples in this. I actually had faith you'd bring something new (to me, at least) to this topic, and was amply rewarded. Thanks, Tim, for your encyclopaedic knowledge and also the warmth you bring to your videos.
I just figured out that, if we think in C major (chord scale), the four chord would be Fmaj7 (F, A, C, E) and if we flat the fifth of the chord, the C note, the C note becomes a B, which is still part of the C major scale (C, D, E, F, G, A, B), and the chord becomes Fmaj7b5 (F lydian sound for ppl who like modes).
I can't wait to play around with the concept that you just explained!
E melodic minor = E, F#, G, A, B, C#, Eb - so it contains Eb7 (Eb, G, Bb, C#), well the Bb doesn't fit but it is the five of the chord and can be omitted (altered dominant) so I suppose this is why you can use this scale and it's chords as a substitution.
Thanks! I don't have Facebook but I often watch your stuff here on youtube. Always great demos and interesting lessons. Thanks for taking the time and doing this, it's much appreciated!
Mind. Blown. Again! This lesson is just amazing! I’ve never thought to substitute with the chords from the harmonized melodic minor scale ... so many wonderful ideas for songs here! Thank you thank you Mr Lerch!
Thanks a lot Tim. I 've just discovered your video after watcing a commentary in Adam Levy's "Dig Ted Green video. The beautiful chords you infer as substitutes for a V7 are great. You open superb hamonic perspectives.
Tim, your sound is great. I love it really.
Really nice and useful info. Thanks again, Tim.
Thanks again so much Tim. Some of these chord voicings take me right back to Ted Greene's first book. How to find voicings on the same string set etc......I really like the Bbm7 - B7 - Abmaj7 example. I turned it into a II-V-I-VI just by moving the C bass of the Abmaj7 chord to an F (keeping the other notes the same) which then becomes Fm9. Just a little example of how thinking in chords is for me more musical than running up and down scales. Classic Ted Greene stuff as well!
Great Lesson Tim. You get a sweet tone from that tele!
Great lesson🎉
Such a wonderful lesson, thank you for sharing!
Wonderful lesson, Tim!
thank you sr.
Ok I finally got around to writing up the chord grids for this lesson. for a small donation I'll send it to you go to timlerch.com/ to make a donation and I'll send it right out.
Ok so I don’t have my guitar 🎸 with but I watched and listened to this post anyway and it sounds like the chords would work on “Polka Dots and Moon Beams” or something like that!! This post is very inspirational!!!
You are a very knowledgeable player. I think the Melodic Minor Is maybe the best scale ever . Using the chords sounds a little force to me. However music Is subjective. Great lesson. Great playing. Thanks so much.
Thanks for new insights.
just discovered your channel and I love it! this explains why Emaj7 and Amaj7 also feel like they want to go back to Abmaj7. if you look at that F#m as dorian, they're the I and IV! and of course Amaj7 is the same as F#m with a 9 in it. :-)
Fantastic lesson man,, ty
Amazing, thanks a lot!
Great lesson! At least someone who knows what he is doing. And that sound ... just wow. I think I'll take the flat everything :-D
What a wonderful lesson... thank you!
thanks Tim, very nicely teached...should do more cause you got the way how to teach 👌
Great lesson Tim. Thanks from Barcelona.
What a great lesson! Thanks, Tim
b11 hurts my brain a bit, but I guess on a minor7b5 chord it would be equivalent to getting major 3rd as well as the minor third. Interesting though that you can't call it a third due to the fact that the 3rd is spoken for in the scale.
awesome material, clear explanation, thanks !
so good
Very good lesson!
bulls eye ! - thanks its very inspirational
Thanks Maestro!
Why didnt I think of subbing the altered for the V chord before? Thanks for opening new doors in my playing
Awesome !!!
Wow! Thanks a lot
Hat's off to you! Your playing is beautiful. Thanks!
oldsyphilitic por
Porsche’s for sale
This is The Key that unlocked the musical universe
Excellent stuff Tim 👍
Great...!!! Could you show the chords, please... make it visible on notes...
Sorry I’m so late to this awesome lesson. One question - why does the E melodic minor work so well over Eb7? Is there a principle there that I missed? Sounds awesome!
Eb7 has the notes Eb G Bb and Db. Play E melodic minor over it will give the sound of Eb altered which is the 7th mode of melodic minor. If its easier to think about just play Eb altered but for his chording he’s thinking of E melodic minor. Notes are E F# (G) A B (C#/Db) (D#/Eb)
This is great but its breaking my brain lol. Essentially, you are saying that in Ab, I can replace the V7 (Eb7) by a chord or mode of E melodic minor (F# min7, A7, B7, C# half dim, etc)? Keep up the great work :)
When I was 10 I was round at my friends house and I saw my first guitar. My friends brother was playing a cherry red Gibson 355 and copying Wes Montgomery. I'm now 69 ansd I bought a yellow Tele like Tim. I can do open chords and barre chords. So whats the next step. Help.......
This wonderfull lesson remebered me to the also wonderfull Ted Greene.
How to perfectly combined melodic minor scale with harmonic minor scale.....key, position...?
Great lesson
Great lesson. Cheers
great
so cool...thanks again !
Hey Tim. Just discovered some of your stuff here. Greatness, and thank you. Does your knowledge and helpfulness come in liquid form so that I can pour it into my coffee each morning?
Great video. One question, can I use these voicings, substitutions, on a band context if I dont play the bass note of the chords?
ok so if this concept works for your 5 dom7 chord does that also mean that if you have another chord with another of the melodic minor modes that usually you might use to play a line CAN ALSO execute this method where you can play any chord from the mode you are using to play lines over that chord
???????????
example: I have an A7 chord that I layer the A mix b6 mode over as a melody line BUT NOW I can replace that A7 with ANY of the chords from the A mix. b6 mode?????
Yes, this concept “works” on all Melodic Minor derived chords. Try it out and see if your ears like it.
Hi Tim, I'm a little bit confused... If the E7alt is the V chord then the scale notes and resulting chords would come from the 7th mode (superlocrian) of the F melodic minor scale wouldn't they? But it seems you're using chords from the E melodic minor scale here instead of F. Is that correct?
I’m playing in the “key of A flat” so the V7 is E flat, hence the melodic minor in question is E melodic minor.
@@TimLerchGuitar Ah! Sorry, my mistake... Thanks for clearing that up.
How do you come up with those inversions so fast? I find that I move up to a different note and get confused - - for example, when moving to use the third as the lowest note, do I put the 7th or 5th next?
A systematic approach to inversions in necessary so as to eliminate guess work. I don't think its reasonable to expect that you will be able to just grab an inversion on the fly unless you have systematically worked them out in advance. your Idea about an inversion lesson is a good one . keep your eye out for one in the near future, thanks Mac.
thanks... (giving). Nice lesson. There are no Thanksgiving songs?
Thanks Tim! This is what i was looking for! Using this scale in a harmonic way. What do you think about altering the II and I chord with Melodic Minor chords? Thanks !! Cheers from Argentina!
Great lesson:)
so are you saying that I can use any triad from the melodic minor I am using as the 5 chord?
Yes, tria or four part chord, any voicing actually, some will be more altdom7 sounding but they all work as you can hear in the video.
@2:53 where does Bbmin came from if E melodic minor is the key? i dont understand. thanks.
Michael Siaotong I am applying E melodic minor to Eb7, the V7 of the key of Ab major. Bbmin7 is the ii chord in that key. So the basic progression is Bbmin7 Eb7 Abmaj7. This lesson is about E Melodic minor being applied to the Eb7.
thank you very much sir!
hi @ 4:04 is it a ii-v-I at Eb? and subtituting its v7 with that F#simthing? heheh thnaks sir.
THANKYOU SIR!
great lesson ted, what are those pickups?
Those are Lollar Charlie Christian pickups.
Why from E melodic minor?? why not from Eb melodic minor if we are in Ab major?
Eb7 altered is the 7th degree of E melodic minor
is over altered scale
Great lesson! So the concept behind this is that u change that Eb dominant into E melodic minor coz Eb is 7th mode - altered of melodic minor?
Whoopty Doo Yep, Larry Carlton is a huge of this, he says thinking in altered itself can be confusing whereas thinking of the Melodic Minor a half step up makes things easier
Can a similar approach be used when playing the melodic minor scale over non resolving dominants?
Conal H yes
@@TimLerchGuitar Thanks Tim. I keep revisiting this lesson cause it's so good. A real gem!
Guitar voice is somewhat reminiscent of a vibraphone at times.
The dude abides
Is there a smarter guitar player on the planet?
IronDrummerDFW ted
Flat 11. Hehehe
Thank you Tim!