Triads and seventh chords of the Melodic Minor scale and their practical applications over altered dominants and two-five-ones.

Take your comping and chord soloing to the next level by utilizing the harmonized Melodic Minor scale. In this class you’ll receive examples to practice resolving altered dominant sounds through the use of these rich chordal textures. Many of these chord forms are familiar to many guitarists though we’ll be stringing together chords to create a refreshing chain of altered dominant sounds and lead them to satisfying resolutions. This really breaks a player out of habitual chord patterns and licks to create fresh and interesting new patterns. The goal of this class is to firmly establish this concept in your ears and mind and, most importantly, to get it under your fingers so it becomes second nature!

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Class Content

Harmonized Triads and Seventh Chords of the Melodic Minor Scale
Harmonized Triads and Seventh Chords of the Melodic Minor Scale 01:08:00

Course Reviews


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  1. Triads and Seventh Chords of the Melodic Minor Scale


    Excellent exploration of how the chords of the melodic minor scale can have practical use and pleasing sounds.

    by Dane Clarke
  2. 5

    Brilliant. Once again Steve manages, in just 90 minutes, to unlock a whole world of sounds that will keep you thinking, hearing, practicing and improvising for years. Shame that the title might suggest some sort of dry presentation. Far from it, Steve’s clear explanation and extremely musical examples (7 pages of them!) clearly show the harmonic potential of the Melodic Minor scale within the context of II V I progressions and simple cadences. Steve’s application of these principles never sounds contrived, thanks to a very musical sense of voiceleading you’d normally expect from the most accomplished piano players, but rarely hear from guitarists.

    As always, the material presented can easily be connected with Steve’s other classes (how about applying Van Eps’s triad motion studies to run Inner Lines inside the Triads from the Mel Minor?). And also, although the materials are presented within the context of straight ahead ii v cadences, the material breathes new life when applied to more contemporary ECM-inspired tunes where you have to figure out something to play over 8 bars of C#Maj7#5 or B/G. Thank you Steve!

    by Nico Sabatini
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