The Book of Altered II - Extensions & Dimensions
Altering your Melodic Minor consciousness
"The Book of Altered II - Extensions & Dimensions" (77 pages)
“The Book of Altered II- Extensions & Dimensions" is the follow-up and expansion of the first “Book of Altered” (available here), the main focus of which was the usage of material from three different Melodic Minor systems within a typical minor ii-V7-i cadence. The so named “ACE” ii-V7-i formula, which refers to the letter names of the trio of Melodic Minor Scales, is once again featured here (ACE in your FACE).
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. 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).
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 above, its parent scale, A Melodic Minor, contains the #11 (F#), as well the +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 first "The Book of Altered". With both "hands and arms" available, one can dig much deeper!
Bobby Stern
“The Book of Altered II- Extensions & Dimensions" is the follow-up and expansion of the first “Book of Altered” (available here), the main focus of which was the usage of material from three different Melodic Minor systems within a typical minor ii-V7-i cadence. The so named “ACE” ii-V7-i formula, which refers to the letter names of the trio of Melodic Minor Scales, is once again featured here (ACE in your FACE).
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. 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).
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 above, its parent scale, A Melodic Minor, contains the #11 (F#), as well the +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 first "The Book of Altered". With both "hands and arms" available, one can dig much deeper!
Bobby Stern