Achieving That Scott Henderson Style

author: Scott Jones date: 01/22/2013 category: soloing
rating: 6.3 / votes: 10 
Achieving That Scott Henderson Style
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 chord D 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 B
  • D dorian b2: D Eb F G A B C
  • Eb Lydian Augmented: Eb F G A B C D
  • F 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 7: mel min, from b3 CHORD 7: dor b2, from 4 CHORD 7: lyd aug, from b5 CHORD 7: lyd dom, from b6 CHORD 7: mix b6, from b7 CHORD 7: loc#2, from root CHORD 7: 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 C7, 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
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