Here are some tips on getting into the mind of Scott Henderson:
For starters: as much as you can convert things to melodic minor... do so....
D Dorian >> use D mel min>> Also think of it this way:
Dorian >> use mel min from root of chord:
(D = D)G7 >> use D mel min (also known as G Lydian Dominant)>> Also think of it this way:
Dominant 7 >> use mel min from 5th of chord:
(G = D)C#7#5b9 >> use D mel min (also known as C# Superlocrian)>> This is a tritone substitution of G7
>> Also think of it this way:
Dom 7 alt (#5, b9, or #9) >> use mel min from half step above root of chord:
(C# = D)Cmaj7 (or maj9) >> use A mel min>> This will produce, or imply a Maj7#5 harmony
>> Also think of it this way:
Maj7 (maj9) >> use mel min from the 6th of the chord:
(C = A)OTHER MEL MIN TIPS:
For dominant chords:Use mel min from the 4th of the chord:
G7 >> use C mel minor
For maj7 chords:Use mel min from the 4th of the chord:
Cmaj7 >> use F mel minor
Another tricksy tool, is the use of diminished and whole tone scales:Use half whole diminished scales for dominant chords:
G7 >> use G Ab Bb B Db D E F G
...and whole half dim scales for minor chords:
Cmin >> use C D Eb F F# G# A B C
Tips for whole tone scales:Use them with Dominant 7 chords, from the root of the chord
(implying a #4, #5):
G7 >> use G whole tone G A B C# D# F
And over minor chords (within Dorian), from the 5th of the chordD min7 >> use A whole tone A B C# D# F G
TRIADS:
Find "like triads" within the framework of ANY of the above and apply them liberally...
...for example:
Major Triads within the diminished context:G half-whole dim = G B D --- Bb D F --- Db F Ab --- E G# B
Minor Triads within the diminished context:G half-whole dim = G Bb D --- Bb Db F --- Db E Ab --- E G B
NOW MIX THEM:
G B D > Db E Ab > Bb D F > E G B > Db F Ab > G Bb D > E G# B > Bb Db F
Listen to: Charlie Parker, Thelonious Monk, and Coltrane... Then: Jeff Beck, Weather Report, Hendrix, Stevie Ray and Michael Landau... Then: Holdsworth, and Scofield.
...oh and find HIS VIDEOs on YouTube!
Here's a derivative and parallel breakdown on the MEL MIN modes:
DERIVATIVE THINKING
Modes derived from Melodic Minor:
From C:
C mel min:
C D Eb F G A BD dorian b2:
D Eb F G A B CEb Lydian Augmented:
Eb F G A B C DF Lydian dominant:
F G A B C D Eb G Mixolydian b6:
G A B C D Eb F A Locrian #2:
A B C D Eb F G B Diminished-whole-tone (Superlocrian):
B C D Eb F G A PARALLEL THINKING
CHORD ø7: mel min, from b3
CHORD ø7: dor b2, from 4
CHORD ø7: lyd aug, from b5
CHORD ø7: lyd dom, from b6
CHORD ø7: mix b6, from b7
CHORD ø7: loc#2, from root
CHORD ø7: superloc, from 2
CHORD 7 (alt): mel min, from b2
CHORD 7 (alt): dor b2, from #2
CHORD 7 (alt): lyd aug, from 3
CHORD 7 (alt): lyd dom, from #4
CHORD 7 (alt): mix b6, from #5
CHORD 7 (alt): loc#2, from b7
CHORD 7 (alt): superloc, from root
CHORD min/maj7: mel min, from root
CHORD min/maj7: dor b2, from 2
CHORD min/maj7: lyd aug, from b3
CHORD min/maj7: lyd dom, from 4
CHORD min/maj7: mix b6, from 5
CHORD min/maj7: loc#2, from 6
CHORD min/maj7: superloc, from 7
CHORD 7#4: mel min, from 5
CHORD 7#4: dor b2, from 6
CHORD 7#4: lyd aug, from b7
CHORD 7#4: lyd dom, from root
CHORD 7#4: mix b6, from 2
CHORD 7#4: loc#2, from 3
CHORD 7#4: superloc, from #4
CHORD maj7#5: mel min, from 6
CHORD maj7#5: dor b2, from 7
CHORD maj7#5: lyd aug, from root
CHORD maj7#5: lyd dom, from 2
CHORD maj7#5: mix b6, from 3
CHORD maj7#5: loc#2, from #4
CHORD maj7#5: superloc, from #5
For example:
on Cø7, play Eb mel min
on C7(alt), play Db mel min
on Cmin/maj7, play C mel min
on C7#4, play G mel min
CMaj7#5, play A mel min
Hope this helps,
Scott
anyway, good article, thanks