Shortbook of the Month:"The Book of Altered II"
Extensions & Dimensions
Extensions & Dimensions
"a Dead C Scrawls excavation... ya dig?!"
This month's Shortbook™, “The Book of Altered II - Extensions & Dimensions”, is the follow-up and natural extension of the previous “Book of Altered”; its main focus being the so called “ACE” ii-V7-i formula, which refers to the letter names of the trio of applicable Melodic Minor Scales, and is once again featured and expanded upon (ACE in your FACE).
The “ACE” acronym, refers specifically to the ii-V7-i cadence in E minor, and is the only Melodic Minor grouping that actually spells a recognizable word. Note, however, that each grouping contains the letter names which make up a particular minor triad, with the final letter being that of the tonic minor key. This can be a useful shortcut in determining which pertinent Melodic Minor keys work together as “ACEs”.
The “ACE” acronym, refers specifically to the ii-V7-i cadence in E minor, and is the only Melodic Minor grouping that actually spells a recognizable word. Note, however, that each grouping contains the letter names which make up a particular minor triad, with the final letter being that of the tonic minor key. This can be a useful shortcut in determining which pertinent Melodic Minor keys work together as “ACEs”.
Presented in "The Book of Altered II" is a baker's dozen of Melodic Minor “altered” sequences which connect around the Cycle of Fifths. Each of the one or two measure sequences contains the complete collection of melodic material from that particular Melodic Minor key, as in the example below.
Ex. 1
Ex. 1
As in "Book 1", here's an example of a minor "ACE" ii-V7-i, each chord starting from a common tone (F, in this case).
Ex. 2
Ex. 2
More "ACE in your FACE". Presented as a continuous scale sequence, broken up with triplets and rests.
Ex. 3
Ex. 3
The bVI7-V7-i sequences in each key expands upon the concept found in Book I, in that the basic material used for the sequences here is a Melodic Minor derivation – the Pentatonic b6.
The Penta b6 is, as labeled, a Major Pentatonic with a flatted sixth degree (G-A-B-D-Eb) and falls under the category of “altered Pentatonic”. Since Melodic Minor is already an “altered” Major scale (with a flatted 3rd degree), a G Penta b6 is formed as follows:
G-A-B-C-D-Eb-F = C Melodic Minor (from its 5th scale degree) = G Pentatonic b6 (in bold). Eb is the note that has, in each case, been “altered”.
bVI7 = Ab7#11 = Eb Melodic Minor = Bb Pentatonic b6 (Bb-C-D-F-Gb) (7 9 #11 13)
V7 = G7alt = Ab Melodic Minor = Eb Pentatonic b6 (Eb-F-G-Bb-B).
As there are no “avoid notes” in Melodic Minor, all derived melodic and harmonic material is interchangeable within that particular Melodic Minor key. Unlike the Maj Pentatonic, which has no tritone, the resulting tritone contained in the Penta b6 allows it to work well on altered dominant chords (7 #9 b13).
Ex. 4
The Penta b6 is, as labeled, a Major Pentatonic with a flatted sixth degree (G-A-B-D-Eb) and falls under the category of “altered Pentatonic”. Since Melodic Minor is already an “altered” Major scale (with a flatted 3rd degree), a G Penta b6 is formed as follows:
G-A-B-C-D-Eb-F = C Melodic Minor (from its 5th scale degree) = G Pentatonic b6 (in bold). Eb is the note that has, in each case, been “altered”.
bVI7 = Ab7#11 = Eb Melodic Minor = Bb Pentatonic b6 (Bb-C-D-F-Gb) (7 9 #11 13)
V7 = G7alt = Ab Melodic Minor = Eb Pentatonic b6 (Eb-F-G-Bb-B).
As there are no “avoid notes” in Melodic Minor, all derived melodic and harmonic material is interchangeable within that particular Melodic Minor key. Unlike the Maj Pentatonic, which has no tritone, the resulting tritone contained in the Penta b6 allows it to work well on altered dominant chords (7 #9 b13).
Ex. 4
Also presented here is the concept of resolving a V7alt to a tonic Major 7+5 chord, building it from the 3rd degree of Melodic Minor (Lydian Augmented).
The I Maj7+5 chord (C-E-G#-B) is often used as a substitution for the more common tonic Maj7 or Maj7#11. In the case of the C Maj7+5 in the example below, its parent scale - A Melodic Minor - contains the #11 (F#), as well the +5.
Ex. 5
The I Maj7+5 chord (C-E-G#-B) is often used as a substitution for the more common tonic Maj7 or Maj7#11. In the case of the C Maj7+5 in the example below, its parent scale - A Melodic Minor - contains the #11 (F#), as well the +5.
Ex. 5
The practical and study material contained in "The Book of Altered II - Extensions & Dimensions" goes "hand in hand & arm in arm" with the material in "The Book of Altered". With both hands and arms ready and willing, some deep digging is bound to happen.
View a few sample pages
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B. Stern
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