The chords created by harmonizing the melodic minor scale differ slightly depending on whether you are ascending or descending. In this response, I’ll provide the chords for both the ascending and descending versions of the melodic minor scale.

Ascending Melodic Minor Scale (A-B-C-D-E-F#-G#):

• Starting with A, we add a third above (C) and another third above that (E), resulting in the A minor chord (A-C-E).
• Moving to B, we get the B minor chord (B-D-F#).
• For C, we have the C augmented chord (C-E-G#).
• D provides the D major chord (D-F#-A).
• E gives us the E major chord (E-G#-B).
• F# offers the F# diminished chord (F#-A-C).
• Finally, G# produces the G# diminished chord (G#-B-D).

Descending Melodic Minor Scale (A-G-F-E-D-C-B):

When descending, the melodic minor scale typically uses the natural minor scale, also known as the Aeolian mode. Therefore, the chords created by harmonizing the descending melodic minor scale are the same as the harmonized natural minor scale. Using the A natural minor scale as an example, the chords would be:

• A minor (A-C-E)
• B diminished (B-D-F)
• C major (C-E-G)
• D minor (D-F-A)
• E minor (E-G-B)
• F major (F-A-C)
• G major (G-B-D)

These are the chords derived from harmonizing the ascending and descending versions of the melodic minor scale. They provide a harmonic foundation for compositions and can be used to create chord progressions within the context of the melodic minor tonality.

To harmonize the harmonic minor scale, we can follow the same process of stacking thirds as we did with the major scale. Here are the chords created by harmonizing the harmonic minor scale:

Taking the A harmonic minor scale (A-B-C-D-E-F-G#) as an example, we’ll stack thirds on each note:

• Starting with A, we add a third above (C) and another third above that (E), resulting in the A minor chord (A-C-E).
• Moving to B, we repeat the process, resulting in the B diminished chord (B-D-F).
• For C, we get the C augmented chord (C-E-G#).
• D gives us the D minor chord (D-F-A).
• E produces the E major chord (E-G#-B).
• F yields the F major chord (F-A-C).
• Finally, G# (raised seventh note in the harmonic minor scale) provides the G# diminished chord (G#-B-D).

These chords derived from the A harmonic minor scale are the harmonized chords of that scale. They can be used to create chord progressions and provide a harmonic framework within the context of the harmonic minor tonality.

A harmonized scale refers to the process of creating chords by stacking intervals from a particular scale. It involves building chords by using the notes of a scale as the foundation. By harmonizing a scale, you can determine which chords naturally occur within that scale and use them to create chord progressions and harmonies in music.

To harmonize a scale, you typically take each note of the scale and stack thirds on top of it. This means that for each note, you add a third above it, and then another third above that. The result is a series of chords that complement the notes of the scale.

For example, let’s take the C major scale (C-D-E-F-G-A-B) as an example. To harmonize this scale, you would stack thirds on each note:

• Starting with C, you add a third above (E) and another third above that (G), resulting in the C major chord (C-E-G).
• Moving to D, you repeat the process, resulting in the D minor chord (D-F-A).
• Continuing this pattern for each note of the scale, you would get the following chords:
  • E minor (E-G-B)
  • F major (F-A-C)
  • G major (G-B-D)
  • A minor (A-C-E)
  • B diminished (B-D-F)

These chords derived from the C major scale are the harmonized chords of that scale. They can be used to create chord progressions and provide a harmonic framework for melodies and compositions.

Harmonizing a scale allows you to understand the chords that naturally fit within a particular key, enabling you to create harmonies and establish tonal centers in your music.

The Fender Telecaster guitar is highly regarded by many musicians and enthusiasts, but it’s important to note that opinions on the “best” guitar can vary based on personal preferences and musical styles. However, there are several reasons why the Fender Telecaster is often celebrated as an iconic and influential instrument:

1. Pioneering Design: The Telecaster was introduced in 1950 and was one of the world’s first commercially successful solid-body electric guitars. Its design, created by Leo Fender, revolutionized the guitar industry and set the stage for future electric guitar developments. The simplicity of its shape and construction allowed for ease of mass production while providing a versatile platform for musicians.
2. Versatility: The Telecaster’s design features two single-coil pickups that deliver a distinct tone known for its clarity, twang, and brightness. This tonal characteristic has made the Telecaster suitable for a wide range of musical genres, including country, rock, blues, pop, and more. You will even see jazz players using telecasters occasionally. Jazz players rarely use solid body electric guitars with the telecaster being the exception. Many artists from different genres have utilized the Telecaster’s versatility, which has contributed to its reputation.
3. Durability and Reliability: The Telecaster’s robust build quality and reliability are notable characteristics. Its solid-body construction makes it less prone to feedback and more resistant to damage compared to hollow-body or semi-hollow guitars. The simplicity of its design also means fewer components that can malfunction, making it a reliable workhorse for many players.
4. Influence on Music History: The Telecaster has been played by numerous influential guitarists across various genres, cementing its place in music history. Legends like Keith Richards, James Burton, Bruce Springsteen, and Jeff Beck have all made significant contributions to popular music using the Telecaster. The guitar’s presence on iconic recordings has further solidified its reputation and impact on the music industry.
5. Customization Options: Fender offers a wide range of Telecaster models with different specifications and configurations, allowing players to find a version that suits their individual preferences. Additionally, the Telecaster’s design has inspired countless aftermarket modifications, including different pickups, wiring options, and hardware upgrades. This versatility in customization has attracted many players looking to tailor the instrument to their specific needs.

While the Fender Telecaster is highly regarded, it’s important to remember that the “best” guitar is subjective and can vary based on personal taste, playing style, and musical genre. Many other guitar models from different manufacturers also have their own unique strengths and qualities that make them highly sought after by musicians. Ultimately, the choice of a guitar should be based on what feels and sounds best to the individual player.

The difference between a Major 7 (Maj7) chord and a Dominant 7 (dom7) chord lies in the intervals that make up each chord.

1. Major 7 (Maj7) Chord: A Major 7 chord is built by combining a major triad (root, major third, perfect fifth) with a major seventh interval. In other words, it consists of the root, major third, perfect fifth, and major seventh of the corresponding major scale. For example, in the key of C, a C Major 7 chord would include the notes C, E, G, and B, since those are the root, major third, perfect fifth, and major seventh of the C major scale. The Major 7 chord has a bright and lush sound, often associated with jazz and sophisticated harmonies.
2. Dominant 7 (dom7) Chord: A Dominant 7 chord is built by combining a major triad (root, major third, perfect fifth) with a minor seventh interval. It consists of the root, major third, perfect fifth, and minor seventh of the corresponding major scale. For example, in the key of C, a C Dominant 7 chord would include the notes C, E, G, and B♭, since those are the root, major third, perfect fifth, and minor seventh of the C major scale. The Dominant 7 chord has a strong and tense sound, commonly used in blues, rock, and other genres.

In summary:

• Major 7 (Maj7) chord has a major triad with a major seventh interval, resulting in a rich and lush sound.
• Dominant 7 (dom7) chord has a major triad with a minor seventh interval, giving it a strong and tense sound.

It’s worth noting that in traditional functional harmony, the Dominant 7 chord often serves as a dominant function, resolving to the tonic chord, while the Major 7 chord is more often used for color and as a tonic or subdominant function. However, these chords can also be used creatively and outside of their traditional harmonic roles in various musical contexts.

Let’s break down the difference between sus2 add9 and sus9 chords.

1. Sus2 Chord: A sus2 chord is a suspended chord that replaces the third of a major or minor triad with the second scale degree. In other words, it removes the third and adds the second note of the scale. For example, in the key of C, a C major triad consists of the notes C, E, and G. To create a Csus2 chord, you replace the E (the third) with the D (the second), resulting in the notes C, D, and G.
2. Add9 Chord: An add9 chord is an extended chord that adds the ninth scale degree to a basic triad. It retains the third of the chord and adds the ninth. For instance, using the example of a C major triad, you would include the ninth scale degree, which is the note D, to create a Cadd9 chord. So the notes of a Cadd9 chord are C, E, G, and D.
3. Sus9 Chord: A sus9 chord combines elements of both sus2 and add9 chords. It replaces the third of a major or minor triad with the second scale degree and adds the ninth. So, in the key of C, a Csus9 chord would consist of the notes C, D, and G as in a sus2 chord, but it also adds the ninth scale degree, which is the note E. Therefore, the Csus9 chord includes the notes C, D, E, and G.

To summarize:

• Sus2 chord replaces the third with the second, omitting the ninth.
• Add9 chord retains the third and adds the ninth.
• Sus9 chord replaces the third with the second and adds the ninth.

It’s worth noting that the actual voicing and inversion of these chords can vary, and different musicians might interpret them differently. However, the general principles mentioned above describe their basic construction.

There will be a casual recital featuring my students and a mini concert on Saturday, June 24, 2023.  It will be hosted by our new band, The Sound Hounds. The band consist of two men, George Dowdy, Roy Pena, and myself. They were my students when they were kids.  It is such a joy to be making music with them. This will be our premiere performance. 

Where? Outdoors at Uptown Park 310 E Main St, Humble, TX 77338

When? 7 PM Saturday, June 24, 2023

What should I bring? Lawn chairs, drinks, friends, and family

What is the cost? Free

How can I help? Tell your friends

Blues Riffs

After learning scales the next step is how to use them. I have a goal of creating 100 short blues riff videos using the blues scale. I have done 35 as of today. Below you will find a playlist containing all of the videos. To access the playlist click on the hamburger menu on the top right of the video below:

As always, let me know if you have any questions.

Enjoy your summer!

Brian Turner

Are you looking for entertainment for your event?

THE SOUND HOUNDS

The Greatest Songs Of The 20th Century

A band that defies labels. A culture medley of Rock, Vintage Swing, Surf, Rockabilly, Country, Celtic, Mexican, Italian, Blues, Gypsy Jazz… you never know whats coming next.

Contact Brian For bookings: 281.386.6982

Greek modes, also known as the Greek scales or the church modes, are a set of musical scales or modes that originated in ancient Greece. They served as the foundation for Western classical music and continue to be used in various genres, including jazz, rock, and folk.

The Greek modes are based on the concept of starting on different degrees of the diatonic scale (a seven-note scale) and creating a unique pattern of whole steps (W) and half steps (H). Each mode has its own distinctive sound and character. Here are the names of the Greek modes and their corresponding starting degrees:

1. Ionian mode (Major scale): Starts on the first degree of the diatonic scale.
2. Dorian mode: Starts on the second degree.
3. Phrygian mode: Starts on the third degree.
4. Lydian mode: Starts on the fourth degree.
5. Mixolydian mode: Starts on the fifth degree.
6. Aeolian mode (Natural minor scale): Starts on the sixth degree.
7. Locrian mode: Starts on the seventh degree.

Each mode has its own unique pattern of intervals, which can be described using whole steps (W) and half steps (H). The Ionian mode, for example, follows the pattern W-W-H-W-W-W-H, which corresponds to the major scale. The Dorian mode follows the pattern W-H-W-W-W-H-W, and so on.

These modes have been utilized in various musical traditions over the centuries, with composers and musicians exploring their distinct characteristics and utilizing them for different moods, melodies, and harmonies. They offer a diverse range of tonalities and can provide a rich and unique musical language when employed creatively.

The melodic minor scale is another variation of the natural minor scale, but with a different pattern for ascending and descending melodies. It is used in various musical genres, including classical, jazz, and fusion, and it offers a unique sound and expressive possibilities.

The melodic minor scale follows a different pattern of intervals when ascending and descending. The ascending melodic minor scale is formed by raising both the sixth and seventh degrees of the natural minor scale. The formula for the ascending melodic minor scale is as follows:

1 – 2 – ♭3 – 4 – 5 – 6 – 7 – 1

For example, in the key of A minor, the ascending A melodic minor scale would be:

A – B – C – D – E – F♯ – G♯ – A

On the other hand, when descending, the melodic minor scale reverts back to the natural minor scale, following the same pattern as the descending natural minor scale:

1 – 2 – ♭3 – 4 – 5 – ♭6 – ♭7 – 1

For example, in the key of A minor, the descending A melodic minor scale would be:

A – G – F – E – D – C – B – A

The use of the melodic minor scale allows for more flexibility in melodic and harmonic possibilities, as the raised sixth and seventh degrees provide additional color and tension. It is often used to create melodic lines, improvisations, and harmonies in minor keys, offering a richer and more versatile musical palette.