This lesson is similar to a study in triad pairs, however, in this melodic example, one of the 3 note cells is a sus (1,4,5) instead of a straight triad.
For an in depth look at a similar approach I highly recommend Mick Goodrick and Tim Miller’s new book Creative Chordal Harmony which you can order from Amazon here.
I enjoy constructing lines using note cells or sets, triad pairs or any other process that leads me to hear new ideas that I might not otherwise have discovered.
I’ve found that the triad and sus combination creates some unique melodic shapes while making the underlying structure a little less transparent than simply using 2 triads.
In this lesson we’ll be looking at the 4th mode of the Harmonic Major Scale (a major scale with a b6 degree). For more information on the harmonic major scale and it’s modes and uses you can help support this blog and purchase my bo0k on the topic.
The 4th mode is a nice scale which works over a minor/major 7th chord with a #11. In this case we’ll use the 4th mode of concert Ab Harmonic Major which is Db minor/major 7 #11.
These are the notes of the scale in concert: Db, Eb, Fb (or E), G, Ab, Bb, C, Db (1,2,b3,#4,5,6,maj7,1).