A real mental workout here...but I'm on board. This lesson really brings to light a whole new range of tonal colors that go beyond the major pentatonic and minor pentatonic. It's kind of like meeting extended family members.
First of all-cool stuff! Rick is assuming you already understand Melodic Minor Harmony and it's functions. That's actually a big explanation most of the commenters here need. Can be found lots of places. Learn your Melodic Minor Scales in root position. The 7th and 4th modes of the scale yield two very important Altered Dominant Scales used in improvisation. The 7th mode is the Altered Dominant Scale (R, b9, #9, 3, b5, #5, b7 ) and the 4th mode is Lydian Dominant. (Myxolydian Mode with a b5). The first Mode is good for altered Dominant Scales except when combined with 13. The second mode is great for Dom 7 or Dom 9, 13 chords with #11/b5. Anyway-if this is over your head, go back and learn Major Scale Harmony first. Peace and Music, y'all.
question or maybe an argument of semantics....IF we were talking about the 4th mode of C melodic minor....ie F dom 7th....wouldnt that be a Mixolydian mode with a #4...not a b5 ???....if i were to spell that it would be F-G-A-B-C-D-Eb...a natural F Mixolydian(key of Bb) would naturally have a Bb in it....from where i sit u wouldnt spell the scale with 2 C notes....ie - F-G-A-Cb(b5)-C-D-Eb .....not trying to be combative...but i was always taught to use enharmonic spelling.....same with the Altered Dom Scale....(R-b2-b3-b4-b5-b6-b7)....but anyway...thanks for the explanation...he had me lost till i read yer post
@@rudiekazu Technically you are correct, semantically. But if you look at fake book charts for tunes you will see the same chord F7#11, or F9#11 often written as F7b5. If you are a player, you can’t be hung up on the semantics, you just have to be loose about it and play the right scale automatically. You can quibble about what to call the note later (Cb, B, Larry, Moe, Curley...) So I would tell students, be ready for it, because not everyone making a chart is a professor...also, chords aren’t always named just from one scale they are derived from. Sometimes, someone just wants the b5 in the chord. But the scale might still be F Lydian dominant. Could also play the whole tone scale. Or a minor maj7 arpeggio. Or a g augmented triad. Just trying to get a sound. And you are also correct: C Melodic Minor yields F7#11.
@@mellodc like i said...wasnt trying to be combative...or say you were wrong....just wanted to know if i was missing something...i understand when we get into upper extensions it gets fuzzy...normally i can follow along with Rick...but this vid threw me till i read yer post...i very rarely get into the F9#11 stuff...very dissident sounding ...to me anyway...i'm mostly fingerstyle acoustic...smooth jazz and basic pop/rock...i will have to go back and watch the vid again ...cause the whole pentatonic thing had me scratchin my head a bit...Ive worked on Whole Half scales and Melodic and Harmonic minors starting on different scale positions ect...but unfortunately for me never Pentatonics from any of these...thanks again ...its a good day...i can say i learned something
i noticed one thing after re-reading your post concerning the F7#11 or F7b5....i can automatically see a F7 chord in my mind...all i gotta do is flat my 5...or a Fminor7 b5 and sharp my 3...i would have to say on the fly...a much easier visual...because the notes/chord tones are already in the chord...as opposed to thinking about the #4 scale degree and then adding that into the chord.....theres a method behind the madness for sure
its just amazing, that people like nick, and many others,are taking the time to share their unbelievable vast knowledge,I believe that utube will change the music world, forever, in such an incredible way.............
I’ve been struggling with the melodic minor scale for a few years now. I think this video is just what I need. A lot of times when I’m playing modes of the major scale, I simplify them by thinking of a pentatonic scale and then adding color notes to the pentatonic scale to create the mode. I never thought of applying the same concept to the melodic minor scale. I need to get a pen and paper out and see how it would apply to the the harmonic minor scale
Subscribed... bam! This is exactly the sort of framework I've been looking for as I shift from messing with minor 6 scales & diminished scales. A lot of other 'melodic minor' videos just show noodling over a minor chord. I think the beauty of these chords is the tension they create before resolving somewhere.
After watching this video a few times and drawing some fingerboard diagrams of these scales on graph paper, I realized that on the fifth degree of melodic minor scale, that’s where the Mb6 pentatonic is, and on the 6th degree of the melodic minor scale, that’s where the mb5 pentatonic is. This video is sick. I’m going to keep practicing and making connections . Rick beato you go a little fast some times but you are the man . Can’t wait to get your book
Utterly brilliant video Rick; Thank you! I've loved playing with exotic scales and their derivative Pentatonics for years. This video clarified a lot though. Heres one "I discovered myself" whilst playing some AL di Meola muted type solos: From: A Harmonic Minor (a b c d e f g# a)==> My Al di Penta: Ab B D E F Ab. Works of course over the Scale TOne CHords of A Harm Minor: Emaj Fmaj7#11 Gmaj Am - like any flamenco run. Try playing that Penta run in 7/8 over a 4/4 rhythm - it repeats eventually: D-B-Ab-E-D-B-Ab - REPEAT. Other nice Pentas: (u did this one I think): A-C-D-Eb-G-A Also Ive heard this called Mixolydian Penta or Indian Penta scale: A-C#-D-E-G-A - very Indian Beatles, early Mahavishnu even Jan Hammer & JEff Beck used a lot; And the Iwato mode of the Hirajoshi from Japan: A-Bb-D-Eb-G-A, and the Chinese version of that: A-Bb-D-E-G-A Thanks Rick; your work is always really helpful AND Useful and cool!
LOVE your vids. Just a friendly suggestion after reading some comments. It's probably easier for students to understand if everything is explained out of ONE melodic minor scale, i.e. F Melodic Minor produces C Major b6 Pent (1 2 3 5 b6) starting from F's 5th (C). This C Major b6 Pent idea can be played over all chords the F Melodic Minor scale/mode produces (as stated). F Melodic Minor also produces D Minor b5 Pent (1 3 4 b5 b7), starting from F's 6th (D) and can be played over all the same chords produced from F Melodic Minor. (These Pentatonics will sound more interesting over some chords than others to most students.) This is all still a bit technical but really can't be completely avoided. This is the way I explain the more complex things in my book (lots of charts and diagrams to help of course) and it does seem to work for students. Again...Love the channel.
Yo, Rick, just joined the Beato Club. This opened my phone, tvs on how to acceess. I have only had the modem, andphone for years. Also ipad. Today is first time I could use the tv for music. Watched you new access to me on how to practice. It has opened my mind to a game plan for reclaiming music. Sing witl my Bach and think about intervals. Wanted voice lessons. This Bach will allow me to study chords and intervals. This should help my ear. This window is some thing I needed for years. But I am here now. Had desired to get a music education degree. For physical reasons the college campus it too much. You let me study at home. Just did techniqut on piano sang intervals with piano practice. Moved to guitar. I may need a hand surgeon to liposuction my left hand finger pads. Trouble touching just one note. By the time I tuned. My fingers were sore. 15 to 30 min a day on all these things will take up time which I needed. It will energise me and heal my heart. Do you know Mark Knopfler? He writes incredible song? I have seen him. I can try to transcribe a song of his. My guitar practice will give me a time of singing by transposing songs to my vocal range 2 octaves from c3 to c5. I made a booj of the songs I loved. Tended toward folk esp English, Irish and Appalachian. I also an alto in church. This will help me. Once wrote a flute obligato solo for a hymn. I hope to find it in my old staff book in my cabinet. Will add flute and uke. I was so depressed how much my skills had gone but 50 years is a log time. This will be medicine for my mind(much needed ). I care for hospice patients and need happy things. Tried to pick out grandsons favorite song. He enjoys music. Perhaps I can teach him. What a vista! Have a big dose of bipolar and adhd. Instead of sleeping I will be energised to get up and going. I cannot Thank you enough. You will get tired of my emails. HahHah. Have you seen Jamie Dupuis on Utube. He is amazing. If you get this please respond. Trying to open the device doors. Tough with some miles on the finger etc.
This is more than anyone could ask for..I have gone back to the woodshed, since I am now doing music full time .. Thank you Rick for giving us so much and never tiring from the help and knowledge, you provide...
Well, I’ve got a lot better ways to spend my time than trying to reason with people in TH-cam comments, but here goes LOL. You can take three paths with this video. 1) say you suck and go back to Sweet Home Alabama. 2) Blame Rick for making a shitty video. 3) rewind, pause, slow down, etc., all these things we can easily do with the video, and be a much better musician in a few weeks to months. If you’re in category one, I can’t really blame you, I don’t have a problem with wanting to keep things simple, jazz isn’t for everyone. You don’t need this scale to play in a cover band at a sports bar or street fair. In fact, you shouldn’t bring this scale to your sports bar or street fair gig. Unless you live on the hippest street on earth I suppose. Category two is the saddest of all categories: sour grapes. You likely have a solid understanding of elementary theory, but you don’t want to spend the time drilling down into the wealth of information in this video, because it’s intimidating. One gem of a comment says, “I’m four minutes in and you haven’t even explained the concepts, just some scales.“ What’s the hurry dude? Are you suggesting 4 minutes should be enough to teach all the scales AND concepts of melodic minor pentatonics? Well, you might think you’re suggesting that, but what you’re actually exclaiming publicly is, you needed to make an excuse to make this video go away. But it won’t go away… It will never go away… The knowledge is there, and you’re not willing to put in the work to obtain it. Category 3? Join the club. I graduated with honors from a rigorous university jazz program, I have been a professional musician (mostly pop styles, not a ton of jazz) for over 20 years, and tutor grad level students in theory, and this video blew my mind. I did learn all the melodic minor modes back in college, but this concept of these pentatonic scales kind of being the glue between diverse tonalities derived from a parent melodic minor scale, is truly eye opening. I estimate with regular practice I could assimilate this into my regular playing in 6 months, so considering I won’t practice it regularly, maybe a year ;) At any rate, this video holds an incredible wealth of information, if you don’t get it, don’t shoot the messenger.
Nick, honestly, most people in TH-cam comments are drooling bottom feeders and make one realize we have an enormous population of mentally adolescent adults with internet access and nothing better to do but make ridiculous comments instead of contributing to an intelligent discussion. As I was watching Rick's video I realized there were actually people who 'disliked' the video, but I could not imagine why they did - one thing you'll notice is a lot of people aren't thinking for themselves but pretty much repeating in different words what other negative comments state. Obviously Rick's a very talented and highly academic musician, and that statement does not rely on one's opinion, its simply objectively true, not a subjective or arbitrary opinion from a member of the lay community.
Iam Absolutely, there are plenty of acts that incorporate jazz tonalities into pop music, Steely Dan and Santana come to mind immediately. You could easily use melodic minor on Yesterday by the Beatles. One thing to note though, is even if you know how to use melodic minor, if you do it too much, you end up sounding like a jazz player at the wrong gig :) finding balance is important. One perfect example of balance is George Benson’s legendary recorded performance of On Broadway. Most of the solo is blues scale, but there are a few passages of straight up bebop licks that make you understand this is no average guitar player. He could play bebop all day, at the highest level, but he picks his spots, because he’s entertaining a pop crowd. That’s not an example of melodic minor, just illustrating the concept of balance.
Nick Weiss thanks Nick! Yes that’s so true. Recently in my guitar studies, I realised that it’s like adding salt and pepper to taste when appropriate. So yeah exactly true, too much is too much. Thanks for that example. I love George Benson! What a legend.
Alrighty then. I've been using altered pentatonics over triads to imply more complicated chords. Now I'll try to compose in melodic minor to match the harmony to the scales more closely. Thanks Rick. This will be fun!
very cool, we touched on this when i was studying jazz 20 years ago so it is great getting a reminder about this sort of stuff because i forgot a lot of it 😉👍
Great lesson for intermediate or advanced Jazz guitar students. The rest of us can learn that altering one note in a pentatonic scale can add color and interest. Just experiment with different chords under it and what sounds good to your ear.
Yet another video from Rick that I need to save to my favourites list, then keep watching it over and over again until it all makes sense. I love Rick's videos, but sometimes I hate the fact that I love them. I'm sure that there are other things that I need to do, but they will have to wait.
Hi Rick. You're a great inspiration to many people. Listening to your videos is like taking a Music Theory class with the Masters, of which you are one. You could have shaken hands with Bach himself, and believe me my friend, I don't say that of many people, even Mozart (whom I don't appreciate, because he never managed to get past I- IV- V). The world needs more people like you. If I'm allowed I would like to point out a slight error @9:17. The Eb melodic minor scale should end with an Eb and not an E natural. Things are complicated enough already, haha. I'll carry on watching. I thoroughly enjoy your most interactive videos. I'm an accordionist, and our poor instrument has NO proper literature; we constantly have to refer to other instruments. That's why your stuff is like caviar to me. God bless.
Hey man, thanks for existing and being so cool as to share this gold mine of knowledge with us mortals. This really goes to show one can never learn enough 😊
Daym..man! Speechless..A lifetime is no where near enough to learn that stuff..brain feels like scrambled eggs..Thanks though for that sublime knowledge.. Getting on it slowly..one step at a time...
Mcleroy1967 nah man dont do it. I understand you prolly meant it as a joke. But, These type of moments will come time after time again in your guitar journey. So, its better to not be demoralized by them, and let them inspire or fire you for more hard work!
One I love to use is the Mi-Ma7 pentatonic (R - b3 - 4 - 5 - Ma7) half a step above an altered chord, i.e. Ab Mi-Ma 7 pentatonic over G Alt. Yields b9 - Ma3 - #11 - b13 - R relative to the G Alt chord. Thanks as always for the awesome videos, Rick. :)
If it were over an Ab minor chord, it would be harmonic minor, correct. See my original comment. It would be played over the G alt chord, yielding b9, Ma3, #11, b13 and root of G...
Awesome great lesson a lot easier for me to memorise and actually use these pentatonic shapes rather than all the melodic minor scale shapes.. thanks 🙏
I am subscribed to your videos even though I don't understand any of what you are saying. Occasionally watching during my studies to see how far I'm coming along
Great lesson. I'm excited to try these scales in all keys on my piano. Rick, at 9:09 in video the F Melodic Minor Scale is missing a flat (b) sign on the 4. It should be Bb not B. You say B as well but I think you realised at the time. Thanks.
Hey Rick! :-) We mentioned from a different channel that I had a lesson coming up that was inspired by your original Pentatonics of Melodic Minor Lesson - well it's now live on this channel called "The Pentatonics You DON'T Know" Thanks again for opening our eyes to new possibilities - we've found SO much inspiration and possibility in these new altered pentatonics. All the best from a currently Wet and Grey UK!
One weird but practical way to think about this- what makes these two pent scales unique, is the half step in them. And the half step is the same between both versions in any given key. It really is, try it. So if you can figure out where that half step belongs in whatever iteration of Mel minor you’re using or superimposing, these patterns are just 2 different ways of filling the gaps around that half step.
Also, if you flat the minor 3rd of the min b5 pent, you’re left with root, maj2, 4, b5, b7- which is the second mode of the major b6 pent. They’re just 1 half step different from each other.
This concept is for playing over the specific chords of MM The other thing you can do is play over common blues rock by making blues patterns out of MM dorian b2. Has the common minor pentatonic in it , then lydian dominant , outlines the next position etc My favorite thing is to make blues patterns by playing half whole diminished over MM Example the V mode of Mel Minor is Melodic Major aka Mixolydian b 6 , the W 1/2 diminished falls over it giving you all the blue notes to minor pentatonic blues I then do that with all the scales Dorian b 2 is also known as the phrygian natural 6 ( works good on purple haze!) The odd thing about it is the way 1/2 W diminished falls over it Just like major mode iii phrygian , you start 1/2 w a half step up from the root , the passin tones can give you the regular dorian shape or a mixolydian shape , the key doesn't change because of the diminished ladder is relative to ii , you could also modulate to V. So on and so fourth I learned most of these things from trumpeter Willie Thomas at jazz everyone
Thanks Rick! Super helpful. I believe I came across this video awhile back but wasn’t fully ready yet, but I’ve been cramming a lot and practicing and this is now very understandable and we all like pentatonic scales, right. Really liked the video with the pentatonic ideas for 2-5-1s.
Took a while to learn that regardles of a major or minor chord or mode, I can do intervalic-wise pentatonic runs based either on major-pent. or minor-pent. intervals. Play minor-pent. like over "any mode", it becomes the arpeggio + 4th. If I do the major pent. over "any mode", I get, the arpeggio + 2nd + 6th and no 7th. Such a lotta fun, but hey that should be secret.
Oh My wow.. I never came across these,, I heavily abuse all Melodic minor modes and symmetrical scales in my jazz improv I also use sort of a bepob minor pentatonic alot. 1, b3 . nat 3 , 4 , b5 m Nat 5 m b7 ,nat 7, 8. just for fun. but never came across these.. Thank you. Rick you never fail to amaze me. I certainly have something new to work on this week .
The one I had learned was 1 2 b3 5 6....that way, you don't have an added layer of abstraction ( like over G7#5, play Eb major 6 Pent instead of Ab Melodic Minor, you would just play Ab Minor 6 Pent over the chord.) But maybe that's not getting the best flavor of the chord - I'll analyze 'em all when I get home from work! Thanks Rick!
This lesson is actually fascinating. BUT because it's talking about the melodic minor than it's best to get to know the scale and it's modes ... Pretty complexed but it's all about cool sounds
A lot of the comments are about not understanding any of this but to be fair there is no introduction to the Melodic Minor scale in this particular video. Once you understand what that is (its actually major with a b3 so 1 2 b3 4 5 6 7) then from there everything is a linear process of deducting chords from that scale. Its beyond rudimentary theory but its not infinitely hard to grasp once you put it to paper and try to play it on your instrument
So cool! But I wonder if it's easier to think of E7 (#9, #5) pentatonic since we don't usually hear a ton of C major add 9 (b6) chords...but altered chords are everywhere😊
I will say, if I hadnt just learned about the melodic minor modes this wouldve sounded like rocket science, Id really recommend learning and memorizing those modes!
Same here! After following Rick for sometime, it is obvious he caters more to folks already very good at theory or attended Berklee.! This man is awesome but a bit too advanced for my taste. I bought the Beato book and starting to read it. It is also challenging by the way...
So you want him to 'dumb it down' then? I mean, come on, there are plenty of videos for morons on TH-cam. Its great that we finally have someone that is willing to offer you a free Berklee musical education. And what do you folks do? Complain its too hard? GTFO!
@sheltomo You again. Am I getting defensive? Let me see, it has been a while since I last looked at these messages. You are making a whole bunch of unjustified assumptions about who I am and what I know and don't know - never a good thing. Do you know how I grew up? You certainly imply that you do. These guys are saying it will take them YEARS to learn this stuff - I mean, even if you moved very slowly, and I mean, maybe an hour a week, you might take a year to learn a few pentatonic scales but I think you would have to seriously try at that. What I am saying is not to exaggerate here. Anyone can do this stuff - it might take some effort but nothing worth doing is easy at all. In fact, I have stated a few times that I haven't been playing long at all. Im very green. I just think a lot of people are speaking in a defeatist way about learning something that isn't that bad. Should I not encourage them to do otherwise? If I can do this, they can. No excuses.
At 9.06 Fm melodic minor pentatonic is represented by F G Ab B C D E F but in fact this is is the fourth mode of C harmonic major scale as known as Lydian b3. Fm melodic minor is F G Ab Bb C D E F. So C Major pentatonic b6 works on both. Cool!!!
I prefer to thing in the C minor pentatonic scale as derived from the E major pentatonic, so I don't have to thing in different scales. What changes the perception is where you put the root note and how you build your melodies and chords. I'm not an expert like Rick yet, I may have a wrong way to think in this.
Hey don't forget about the regular major pentatonic that resides a perfect fourth above the root note of the melodic minor scale. For example, if your referenced melodic minor scale is D melodic minor, then the chord in it major 7th position, C#7+9, can be played with G major pentatonic... 🤘😇
what would do wonders for you Rick in videos like these is the EHX Freeze pedal, you could hit a chord have it sustain indefinitely while you play a scale, then next chord etc, you're probably familiar with the pedal but just sayin...
Cortexturizer I do that with my Ditto looper. The reason I like doing it that way is you can stop the chord before hitting the button to stop recording and give it a “pulse.”
![Demonstrating The Modes of Harmonic Minor [MUSIC THEORY / SCALES]](http://i.ytimg.com/vi/qk8uobP4uJE/mqdefault.jpg)
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A real mental workout here...but I'm on board. This lesson really brings to light a whole new range of tonal colors that go beyond the major pentatonic and minor pentatonic. It's kind of like meeting extended family members.
I think I’ll comeback to this video in ten years, when I’m ready. I feel like the janitor who’s just walked into a university lecture!!!
I AM a janitor and I get this lol!
I wasn't being condescending, I was being self deprecating.
First of all-cool stuff! Rick is assuming you already understand Melodic Minor Harmony and it's functions. That's actually a big explanation most of the commenters here need. Can be found lots of places. Learn your Melodic Minor Scales in root position. The 7th and 4th modes of the scale yield two very important Altered Dominant Scales used in improvisation. The 7th mode is the Altered Dominant Scale (R, b9, #9, 3, b5, #5, b7 ) and the 4th mode is Lydian Dominant. (Myxolydian Mode with a b5). The first Mode is good for altered Dominant Scales except when combined with 13. The second mode is great for Dom 7 or Dom 9, 13 chords with #11/b5. Anyway-if this is over your head, go back and learn Major Scale Harmony first. Peace and Music, y'all.
mellodc thank you!
question or maybe an argument of semantics....IF we were talking about the 4th mode of C melodic minor....ie F dom 7th....wouldnt that be a Mixolydian mode with a #4...not a b5 ???....if i were to spell that it would be F-G-A-B-C-D-Eb...a natural F Mixolydian(key of Bb) would naturally have a Bb in it....from where i sit u wouldnt spell the scale with 2 C notes....ie - F-G-A-Cb(b5)-C-D-Eb .....not trying to be combative...but i was always taught to use enharmonic spelling.....same with the Altered Dom Scale....(R-b2-b3-b4-b5-b6-b7)....but anyway...thanks for the explanation...he had me lost till i read yer post
@@rudiekazu Technically you are correct, semantically. But if you look at fake book charts for tunes you will see the same chord F7#11, or F9#11 often written as F7b5. If you are a player, you can’t be hung up on the semantics, you just have to be loose about it and play the right scale automatically. You can quibble about what to call the note later (Cb, B, Larry, Moe, Curley...) So I would tell students, be ready for it, because not everyone making a chart is a professor...also, chords aren’t always named just from one scale they are derived from. Sometimes, someone just wants the b5 in the chord. But the scale might still be F Lydian dominant. Could also play the whole tone scale. Or a minor maj7 arpeggio. Or a g augmented triad. Just trying to get a sound. And you are also correct: C Melodic Minor yields F7#11.
@@mellodc like i said...wasnt trying to be combative...or say you were wrong....just wanted to know if i was missing something...i understand when we get into upper extensions it gets fuzzy...normally i can follow along with Rick...but this vid threw me till i read yer post...i very rarely get into the F9#11 stuff...very dissident sounding ...to me anyway...i'm mostly fingerstyle acoustic...smooth jazz and basic pop/rock...i will have to go back and watch the vid again ...cause the whole pentatonic thing had me scratchin my head a bit...Ive worked on Whole Half scales and Melodic and Harmonic minors starting on different scale positions ect...but unfortunately for me never Pentatonics from any of these...thanks again ...its a good day...i can say i learned something
i noticed one thing after re-reading your post concerning the F7#11 or F7b5....i can automatically see a F7 chord in my mind...all i gotta do is flat my 5...or a Fminor7 b5 and sharp my 3...i would have to say on the fly...a much easier visual...because the notes/chord tones are already in the chord...as opposed to thinking about the #4 scale degree and then adding that into the chord.....theres a method behind the madness for sure
its just amazing, that people like nick, and many others,are taking the time to share their unbelievable vast knowledge,I believe that utube will change the music world, forever, in such an incredible way.............
I’ve been struggling with the melodic minor scale for a few years now. I think this video is just what I need. A lot of times when I’m playing modes of the major scale, I simplify them by thinking of a pentatonic scale and then adding color notes to the pentatonic scale to create the mode. I never thought of applying the same concept to the melodic minor scale. I need to get a pen and paper out and see how it would apply to the the harmonic minor scale
Not only that it forces you into thinking more creatively rather than just playing the scale up and down over the appropriate chords.
Subscribed... bam! This is exactly the sort of framework I've been looking for as I shift from messing with minor 6 scales & diminished scales. A lot of other 'melodic minor' videos just show noodling over a minor chord. I think the beauty of these chords is the tension they create before resolving somewhere.
This must be how my grandma feels with her smart phone
I agree 100 percent. Smaller chunks maybe next time? I don’t need to know every feature of the phone at once and I’m fact that’s counterproductive.
😂👏👏👏
I’m going to master Greek first, then give this a try.
After watching this video a few times and drawing some fingerboard diagrams of these scales on graph paper, I realized that on the fifth degree of melodic minor scale, that’s where the Mb6 pentatonic is, and on the 6th degree of the melodic minor scale, that’s where the mb5 pentatonic is. This video is sick. I’m going to keep practicing and making connections . Rick beato you go a little fast some times but you are the man . Can’t wait to get your book
Sir, thank you for all the information you share, youtube definitely needs more people like you, peace.
Utterly brilliant video Rick; Thank you! I've loved playing with exotic scales and their derivative Pentatonics for years. This video clarified a lot though.
Heres one "I discovered myself" whilst playing some AL di Meola muted type solos:
From: A Harmonic Minor (a b c d e f g# a)==> My Al di Penta: Ab B D E F Ab. Works of course over the Scale TOne CHords of A Harm Minor: Emaj Fmaj7#11 Gmaj Am - like any flamenco run. Try playing that Penta run in 7/8 over a 4/4 rhythm - it repeats eventually: D-B-Ab-E-D-B-Ab - REPEAT.
Other nice Pentas: (u did this one I think): A-C-D-Eb-G-A
Also Ive heard this called Mixolydian Penta or Indian Penta scale: A-C#-D-E-G-A - very Indian Beatles, early Mahavishnu even Jan Hammer & JEff Beck used a lot; And the Iwato mode of the Hirajoshi from Japan: A-Bb-D-Eb-G-A, and the Chinese version of that: A-Bb-D-E-G-A
Thanks Rick; your work is always really helpful AND Useful and cool!
LOVE your vids. Just a friendly suggestion after reading some comments. It's probably easier for students to understand if everything is explained out of ONE melodic minor scale, i.e. F Melodic Minor produces C Major b6 Pent (1 2 3 5 b6) starting from F's 5th (C). This C Major b6 Pent idea can be played over all chords the F Melodic Minor scale/mode produces (as stated). F Melodic Minor also produces D Minor b5 Pent (1 3 4 b5 b7), starting from F's 6th (D) and can be played over all the same chords produced from F Melodic Minor. (These Pentatonics will sound more interesting over some chords than others to most students.) This is all still a bit technical but really can't be completely avoided. This is the way I explain the more complex things in my book (lots of charts and diagrams to help of course) and it does seem to work for students. Again...Love the channel.
Yo, Rick, just joined the Beato Club. This opened my phone, tvs on how to acceess. I have only had the modem, andphone for years. Also ipad. Today is first time I could use the tv for music. Watched you new access to me on how to practice. It has opened my mind to a game plan for reclaiming music. Sing witl my Bach and think about intervals. Wanted voice lessons. This Bach will allow me to study chords and intervals. This should help my ear. This window is some thing I needed for years. But I am here now. Had desired to get a music education degree. For physical reasons the college campus it too much. You let me study at home. Just did techniqut on piano sang intervals with piano practice. Moved to guitar. I may need a hand surgeon to liposuction my left hand finger pads. Trouble touching just one note. By the time I tuned. My fingers were sore. 15 to 30 min a day on all these things will take up time which I needed. It will energise me and heal my heart. Do you know Mark Knopfler? He writes incredible song? I have seen him. I can try to transcribe a song of his. My guitar practice will give me a time of singing by transposing songs to my vocal range 2 octaves from c3 to c5. I made a booj of the songs I loved. Tended toward folk esp English, Irish and Appalachian. I also an alto in church. This will help me. Once wrote a flute obligato solo for a hymn. I hope to find it in my old staff book in my cabinet. Will add flute and uke. I was so depressed how much my skills had gone but 50 years is a log time. This will be medicine for my mind(much needed ). I care for hospice patients and need happy things. Tried to pick out grandsons favorite song. He enjoys music. Perhaps I can teach him. What a vista! Have a big dose of bipolar and adhd. Instead of sleeping I will be energised to get up and going. I cannot Thank you enough. You will get tired of my emails. HahHah. Have you seen Jamie Dupuis on Utube. He is amazing. If you get this please respond. Trying to open the device doors. Tough with some miles on the finger etc.
This is more than anyone could ask for..I have gone back to the woodshed, since I am now doing music full time .. Thank you Rick for giving us so much and never tiring from the help and knowledge, you provide...
Well, I’ve got a lot better ways to spend my time than trying to reason with people in TH-cam comments, but here goes LOL. You can take three paths with this video. 1) say you suck and go back to Sweet Home Alabama. 2) Blame Rick for making a shitty video. 3) rewind, pause, slow down, etc., all these things we can easily do with the video, and be a much better musician in a few weeks to months.
If you’re in category one, I can’t really blame you, I don’t have a problem with wanting to keep things simple, jazz isn’t for everyone. You don’t need this scale to play in a cover band at a sports bar or street fair. In fact, you shouldn’t bring this scale to your sports bar or street fair gig. Unless you live on the hippest street on earth I suppose.
Category two is the saddest of all categories: sour grapes. You likely have a solid understanding of elementary theory, but you don’t want to spend the time drilling down into the wealth of information in this video, because it’s intimidating. One gem of a comment says, “I’m four minutes in and you haven’t even explained the concepts, just some scales.“ What’s the hurry dude? Are you suggesting 4 minutes should be enough to teach all the scales AND concepts of melodic minor pentatonics? Well, you might think you’re suggesting that, but what you’re actually exclaiming publicly is, you needed to make an excuse to make this video go away. But it won’t go away… It will never go away… The knowledge is there, and you’re not willing to put in the work to obtain it.
Category 3? Join the club. I graduated with honors from a rigorous university jazz program, I have been a professional musician (mostly pop styles, not a ton of jazz) for over 20 years, and tutor grad level students in theory, and this video blew my mind. I did learn all the melodic minor modes back in college, but this concept of these pentatonic scales kind of being the glue between diverse tonalities derived from a parent melodic minor scale, is truly eye opening. I estimate with regular practice I could assimilate this into my regular playing in 6 months, so considering I won’t practice it regularly, maybe a year ;)
At any rate, this video holds an incredible wealth of information, if you don’t get it, don’t shoot the messenger.
Nick, can this concept be used to generate musical ideas for genres other than jazz? Say blues or rock?
Nick, honestly, most people in TH-cam comments are drooling bottom feeders and make one realize we have an enormous population of mentally adolescent adults with internet access and nothing better to do but make ridiculous comments instead of contributing to an intelligent discussion. As I was watching Rick's video I realized there were actually people who 'disliked' the video, but I could not imagine why they did - one thing you'll notice is a lot of people aren't thinking for themselves but pretty much repeating in different words what other negative comments state. Obviously Rick's a very talented and highly academic musician, and that statement does not rely on one's opinion, its simply objectively true, not a subjective or arbitrary opinion from a member of the lay community.
Justin Sindorf lol the good old saying applies “haters gonna hate” and it’s best to ignore them 😂✌️
Iam Absolutely, there are plenty of acts that incorporate jazz tonalities into pop music, Steely Dan and Santana come to mind immediately. You could easily use melodic minor on Yesterday by the Beatles. One thing to note though, is even if you know how to use melodic minor, if you do it too much, you end up sounding like a jazz player at the wrong gig :) finding balance is important. One perfect example of balance is George Benson’s legendary recorded performance of On Broadway. Most of the solo is blues scale, but there are a few passages of straight up bebop licks that make you understand this is no average guitar player. He could play bebop all day, at the highest level, but he picks his spots, because he’s entertaining a pop crowd. That’s not an example of melodic minor, just illustrating the concept of balance.
Nick Weiss thanks Nick! Yes that’s so true. Recently in my guitar studies, I realised that it’s like adding salt and pepper to taste when appropriate. So yeah exactly true, too much is too much. Thanks for that example. I love George Benson! What a legend.
Alrighty then. I've been using altered pentatonics over triads to imply more complicated chords. Now I'll try to compose in melodic minor to match the harmony to the scales more closely. Thanks Rick. This will be fun!
very cool, we touched on this when i was studying jazz 20 years ago so it is great getting a reminder about this sort of stuff because i forgot a lot of it 😉👍
Really cool stuff and shown in a way that can open up musical paths that were unbeknownst to me. Great lesson! Thanks for sharing your talents
Great lesson for intermediate or advanced Jazz guitar students. The rest of us can learn that altering one note in a pentatonic scale can add color and interest. Just experiment with different chords under it and what sounds good to your ear.
Remember that time you played man in the box?
That was awesome.
I'm an Alice in Chains worshipper but what relevance does this comment have to the video? NONE
How simple, yet advanced... and effective! Who knew? Nice one!
Yet another video from Rick that I need to save to my favourites list, then keep watching it over and over again until it all makes sense. I love Rick's videos, but sometimes I hate the fact that I love them. I'm sure that there are other things that I need to do, but they will have to wait.
my head just exploded, i will return to this video over and over again. Its priceless!
Love your videos!!! I need to sit down with a teacher and get this stuff engraved in my heart.
Thank you,
B
The Carol Burnette Show theme song jumped out at me when Mr. Beatto illustrated the first scale with the b6. Very cool stuff for the ear. Many thanks.
Hi Rick. You're a great inspiration to many people. Listening to your videos is like taking a Music Theory class with the Masters, of which you are one. You could have shaken hands with Bach himself, and believe me my friend, I don't say that of many people, even Mozart (whom I don't appreciate, because he never managed to get past I- IV- V). The world needs more people like you. If I'm allowed I would like to point out a slight error @9:17. The Eb melodic minor scale should end with an Eb and not an E natural. Things are complicated enough already, haha. I'll carry on watching. I thoroughly enjoy your most interactive videos. I'm an accordionist, and our poor instrument has NO proper literature; we constantly have to refer to other instruments. That's why your stuff is like caviar to me. God bless.
Hey man, thanks for existing and being so cool as to share this gold mine of knowledge with us mortals. This really goes to show one can never learn enough 😊
Love playing with these scales. They sound so colourful 😍 thanks for the video.
Daym..man! Speechless..A lifetime is no where near enough to learn that stuff..brain feels like scrambled eggs..Thanks though for that sublime knowledge.. Getting on it slowly..one step at a time...
C# Major pentatonic over G7 works also well to get some alterations:-) Thanks Rick for the inspiring tutorials! U are Great!
Fantastic Rick, this video will change my playing concept, my thinking, etc. You are one of the best teachers! Keep on posting. Thank you.
I suddenly have a bunch of guitars for sale.
dont do it , just learn the melodic minor scale. I like it better than the harmonic minor.
Mcleroy1967 nah man dont do it. I understand you prolly meant it as a joke. But, These type of moments will come time after time again in your guitar journey. So, its better to not be demoralized by them, and let them inspire or fire you for more hard work!
Lol, and I’m not just typing that. I really did.
where’s satan when you need him to sell your soul
Hahah killed me
really great lesson Rick, like all of them...thanks so much for your selfless sharing of your goldmine of knowledge my friend.
Wow I’ve been searching for these sounds for awhile!! Now time to practice 🤘🏼
One I love to use is the Mi-Ma7 pentatonic (R - b3 - 4 - 5 - Ma7) half a step above an altered chord, i.e. Ab Mi-Ma 7 pentatonic over G Alt. Yields b9 - Ma3 - #11 - b13 - R relative to the G Alt chord.
Thanks as always for the awesome videos, Rick. :)
Isn't that just the harmonic minor? The half a step above an altered chord tip is very interesting.
If it were over an Ab minor chord, it would be harmonic minor, correct. See my original comment. It would be played over the G alt chord, yielding b9, Ma3, #11, b13 and root of G...
Thanks for the tip. I never thought of using a pentatonic scale over an altered chord before.
@@mjazzguitar Bb pent is the bomb.
rick, thank you for providing this amazing online resource. seriously, thank you.
great lesson Rick already coming up with cool lines without thinking about it too hard
Astounding! Never even heard of these pentatonic scales, not even in a jazz scales book I have (of which I requested a refund after this video)
Awesome great lesson a lot easier for me to memorise and actually use these pentatonic shapes rather than all the melodic minor scale shapes.. thanks 🙏
Very informative and soo inspiring! Never thought much of Pentatonics in Melodic Minor until today. Thank you so much for sharing this, Rick!
I am subscribed to your videos even though I don't understand any of what you are saying. Occasionally watching during my studies to see how far I'm coming along
This is perhaps the most eye-opening lesson in my life after 10 years of playing.
ok, ok...
10 yrs? for me its 25yrs! lol..
@@tonyedwards4067 ok, ok..
Thank you so much (!!!!!) Rick Beato! You have just prove that it is possible learning an old dog sit!
Great lesson. I'm excited to try these scales in all keys on my piano. Rick, at 9:09 in video the F Melodic Minor Scale is missing a flat (b) sign on the 4. It should be Bb not B. You say B as well but I think you realised at the time. Thanks.
Whole concept in 5 seg. 1:25-1:30. And rest is development. You are monster teacher!
Hey Rick! :-) We mentioned from a different channel that I had a lesson coming up that was inspired by your original Pentatonics of Melodic Minor Lesson - well it's now live on this channel called "The Pentatonics You DON'T Know"
Thanks again for opening our eyes to new possibilities - we've found SO much inspiration and possibility in these new altered pentatonics.
All the best from a currently Wet and Grey UK!
I finally understand what F melodic minor is now. Thanks Rick!!!
One weird but practical way to think about this- what makes these two pent scales unique, is the half step in them. And the half step is the same between both versions in any given key. It really is, try it. So if you can figure out where that half step belongs in whatever iteration of Mel minor you’re using or superimposing, these patterns are just 2 different ways of filling the gaps around that half step.
Also, if you flat the minor 3rd of the min b5 pent, you’re left with root, maj2, 4, b5, b7- which is the second mode of the major b6 pent. They’re just 1 half step different from each other.
Great video!Trying to wrap my head around these useful scales..Thanks!
This concept is for playing over the specific chords of MM
The other thing you can do is play over common blues rock by making blues patterns out of MM
dorian b2. Has the common minor pentatonic in it , then lydian dominant , outlines the next position etc
My favorite thing is to make blues patterns by playing half whole diminished over MM
Example the V mode of Mel Minor is Melodic Major aka Mixolydian b 6 , the W 1/2 diminished falls over it giving you all the blue notes to minor pentatonic blues
I then do that with all the scales
Dorian b 2 is also known as the phrygian natural 6 ( works good on purple haze!)
The odd thing about it is the way 1/2 W diminished falls over it
Just like major mode iii phrygian , you start 1/2 w a half step up from the root , the passin tones can give you the regular dorian shape or a mixolydian shape , the key doesn't change because of the diminished ladder is relative to ii , you could also modulate to V.
So on and so fourth
I learned most of these things from trumpeter Willie Thomas at jazz everyone
Thanks for the tips. This is a lesson in itself. Sounds rather like you ought to be Rick's assistant, not student!
This got me whacked! Rick Beato and Jens Larsen knows their stuff!
Great video! you should do a studio tour or something to show everything you have going on around there.
Thanks Rick! Super helpful. I believe I came across this video awhile back but wasn’t fully ready yet, but I’ve been cramming a lot and practicing and this is now very understandable and we all like pentatonic scales, right. Really liked the video with the pentatonic ideas for 2-5-1s.
Awesome on many levels. A simple concept that's very effective. Thanks rick will be applying this
Sweet substitution, easy with a little edge. Thanks alot
Excelente vídeo para estudiar 📖 Saludos desde Chile! 🇨🇱
Thank you, Rick!
Took a while to learn that regardles of a major or minor chord or mode, I can do intervalic-wise pentatonic runs based either on major-pent. or minor-pent. intervals. Play minor-pent. like over "any mode", it becomes the arpeggio + 4th. If I do the major pent. over "any mode", I get, the arpeggio + 2nd + 6th and no 7th. Such a lotta fun, but hey that should be secret.
Excellent lesson! Thank you very much Maestro
Oh My wow.. I never came across these,, I heavily abuse all Melodic minor modes and symmetrical scales in my jazz improv I also use sort of a bepob minor pentatonic alot. 1, b3 . nat 3 , 4 , b5 m Nat 5 m b7 ,nat 7, 8. just for fun. but never came across these.. Thank you. Rick you never fail to amaze me. I certainly have something new to work on this week .
The one I had learned was 1 2 b3 5 6....that way, you don't have an added layer of abstraction ( like over G7#5, play Eb major 6 Pent instead of Ab Melodic Minor, you would just play Ab Minor 6 Pent over the chord.) But maybe that's not getting the best flavor of the chord - I'll analyze 'em all when I get home from work! Thanks Rick!
This lesson is actually fascinating. BUT because it's talking about the melodic minor than it's best to get to know the scale and it's modes ... Pretty complexed but it's all about cool sounds
This is awesome Rick! Thank you. Gives us two versatile scales that work on all chords in melodic minor harmony!
Just tried watching this with subtitles....
"Hi, I'm Rigby Otto!!"
🤣🤣🤣🤣🤣
Probably Eleanor's father ?
How can I get rid of subtitles?
A lot of the comments are about not understanding any of this but to be fair there is no introduction to the Melodic Minor scale in this particular video. Once you understand what that is (its actually major with a b3 so 1 2 b3 4 5 6 7) then from there everything is a linear process of deducting chords from that scale. Its beyond rudimentary theory but its not infinitely hard to grasp once you put it to paper and try to play it on your instrument
muchísimas gracias por toda la información que nos regalas maestro, increíble labor!
The minor pentatonic b5 I was taught as the major b3. Although it’s the same thing, thinking about it as a minor b5 seems much easier.
i feel like i'm sitting there with you. love your train of thought
I also there was a mistake in the octave of the Eb melodic minor scale. However these are dump details. Really thanks for this wonderfull free lesson.
Thank you , a really good class for sure - its advance stuff you need a good background to follow eveything
Rick Beato, making the world better one mode at a time!!!
oh yeah the secret sauce right here. OMG WHY HAS THIS ONLY SHOWN UP IN MY FEED TODAY!!!! 4 years later LOL
I made it to 1:52. I'll do the rest "tomorrow".
Awesome as always. Also, I wish I had bought one of those guitars when they were available. Very cool. Killer value too.
most of the things flew over my head!
Great video thanks rick it would be helpful if we could get some tab diagrams on the screen though its a bit tough to jist follow your fingers.
Great lessons Rick. Thanks!
So cool! But I wonder if it's easier to think of E7 (#9, #5) pentatonic since we don't usually hear a ton of
C major add 9 (b6) chords...but altered chords are everywhere😊
Rick, love these videos, what a great resource.. thanks!
I'm getting a D# migraine trying to grasp all this !
No bro...I am Having A# Migraine😂
Hello from Nashville !! Thanks for the help man !
Im sure this was a great video, just wish Inderstood past the 45 sec mark. Lol.
No kidding... the ideas that he rattles off in a few minutes will take me literally months-years to fully get into my playing.
I will say, if I hadnt just learned about the melodic minor modes this wouldve sounded like rocket science, Id really recommend learning and memorizing those modes!
Same here! After following Rick for sometime, it is obvious he caters more to folks already very good at theory or attended Berklee.! This man is awesome but a bit too advanced for my taste. I bought the Beato book and starting to read it. It is also challenging by the way...
So you want him to 'dumb it down' then? I mean, come on, there are plenty of videos for morons on TH-cam. Its great that we finally have someone that is willing to offer you a free Berklee musical education. And what do you folks do? Complain its too hard? GTFO!
@sheltomo You again. Am I getting defensive? Let me see, it has been a while since I last looked at these messages. You are making a whole bunch of unjustified assumptions about who I am and what I know and don't know - never a good thing. Do you know how I grew up? You certainly imply that you do. These guys are saying it will take them YEARS to learn this stuff - I mean, even if you moved very slowly, and I mean, maybe an hour a week, you might take a year to learn a few pentatonic scales but I think you would have to seriously try at that. What I am saying is not to exaggerate here. Anyone can do this stuff - it might take some effort but nothing worth doing is easy at all. In fact, I have stated a few times that I haven't been playing long at all. Im very green. I just think a lot of people are speaking in a defeatist way about learning something that isn't that bad. Should I not encourage them to do otherwise? If I can do this, they can. No excuses.
you taught me something today
Rick these videos are blowing my god-damn mind. Thanks.
This is sooo helpful, Rick! Thanks for sharing.
Do you know "Louie Louie"?
At 9.06 Fm melodic minor pentatonic is represented by F G Ab B C D E F but in fact this is is the fourth mode of C harmonic major scale as known as Lydian b3. Fm melodic minor is F G Ab Bb C D E F. So C Major pentatonic b6 works on both. Cool!!!
Rick such a great lesson love you tons
Welp….I definitely need to work up to this. Back to- Rick's Jazz for Rockers video!
dude you r a beast .. i only know major & minor ... thanx for the info. tons of info.
I prefer to thing in the C minor pentatonic scale as derived from the E major pentatonic, so I don't have to thing in different scales. What changes the perception is where you put the root note and how you build your melodies and chords. I'm not an expert like Rick yet, I may have a wrong way to think in this.
Hey don't forget about the regular major pentatonic that resides a perfect fourth above the root note of the melodic minor scale. For example, if your referenced melodic minor scale is D melodic minor, then the chord in it major 7th position, C#7+9, can be played with G major pentatonic... 🤘😇
Wow, I was feeling all Ionian before I watched three minutes of this and I became Locrian. Halfway through I posted all my guitars on EBay.
what would do wonders for you Rick in videos like these is the EHX Freeze pedal, you could hit a chord have it sustain indefinitely while you play a scale, then next chord etc, you're probably familiar with the pedal but just sayin...
Cortexturizer I do that with my Ditto looper. The reason I like doing it that way is you can stop the chord before hitting the button to stop recording and give it a “pulse.”
Absolutely love your channel! So helpful and informative!
Cool stuff - I dig the mb5 scale
Awesome info thanks so much!
It's an incredible video.. Very unique
Just play the fifth degree like A melodic minor E major b6 pent wow nice
Great material here