http://www.websitetoolbox.com/tool/post/lwhite1000/vpost?id=2339432

Page 1 are all ii-V-i in Dm
Page 2 are all ii-V-i in Ebm

The chord grid fret numbers are where there "would be" a root if you were playing one. Some of the chords have a root in the bass but most do not.

Printed, thanks.

I haven't had the chance to mess with these, yet. BUT......



I DID get a great new way to access the Melodic Minor, using the m7b5 arps.

Using the 2 m7b5 arps, found a whole step apart in the scale, is a really easy way to work out some phrases.

EX:

In C Melodic Minor (C D Eb F G A B) I realized ther were 2 m7b5 arps. Am7b5, and Bm7b5.

These sound great, over the B7 in an E Blues tune.

Cool. I never thought about that before(?)

I just tied this idea into Corleone's "Up a 6th." with a m7b5 idea.

The Am7b5 is up a 6th., or down a m3rd. like Klasaine was saying.

"... or, it's m7b5 down a m3rd. And I never really thought about using it that way before but it works beautifully. The minor 3rd motion thing never ceases to amaze me."

So, if you take all of your "Up a 6th.", or "Down a m3rd." phrases and move them up a whole step, you'll be accessing the same concept.

EX: To get the Melodic Minor 1/2 up from the V chord, in an E Blues.

Playing the Am7b5 ideas over B7 and also playing Bm7b5 phrases over B7.

The easy tip for this: Just take your IV and V chords, and play m7b5 arpeggios from the same Roots.

The 2 arps make for some pretty cool, symmetrical shapes. I've been using the symmetry, to help me play lines that are more angular.
So now, I'm going to work some more at finding new ways to use it. It's been pretty versatile, so far. I think I'll look at playing these ideas over more chord types.

"Angular" is a good description. Over dominant chords, try peppering the m7b5 arps with whole tone, chromatic, lydian dominant, augmented, and diminished ideas. As you know, the great thing about dominant chords is that most any note can be a "right" note, if it's delivered with conviction.

quote:

Originally posted by E-D Ray Swain:
...up a 6th., or down a m3rd. like Klasaine was saying.

"... or, it's m7b5 down a m3rd. And I never really thought about using it that way before but it works beautifully. The minor 3rd motion thing never ceases to amaze me."

D'oh. It appears that I remain employed by The Department of Redundancy Department. Counting backwards was never a forte' of mine. It still blows my mind that a major third interval inverted creates a minor sixth interval, and vice-versa. In a nutshell, what KL said.