(R-3-6-7) over a Dom7 chordby Fabrizio Brusca

Here I harmonize the Melodic minor scale with a custom voicing R-3-6-7.

I choose F and Db (see next page) melodic minor scales over the C7Alt:

F melodic minor scale voicings

Custom Voicing = C7 color

1.Bbadd9/D = C7 (11) no 5th

2.Cadd9/E = C add9

3.FminMaj7 (13) no 5th = C11(#5,13)

4.Gmin7 (13) no 5th = C7 (11) no root

5. AbMaj7 (13) no 5th = C5sus4 (b13)

6. Bb7 (13) no 5th = C7sus2 (b13)

7. C7 (#5)

4-Note Custom Voicings over a Dom7 chord (by Fabrizio Brusca)

(R-3-6-7) over a Dom7 chordby Fabrizio Brusca

Db melodic minor scale voicings

1. DbminMaj7 (13) no 5th = C7 (b9)

2. Ebm7 (13) no 5th = Csus (b5, b9, #9)

3. Fb Maj7 (13) no 5th = C (#5, b9, #9) no root

4. Gb7 (13) no 5th = C7 (b5, #9) no root

5. Ab7 (#5) = C (b5, b13)

6. Gbadd9/Bb = C7sus (b5, b9, b13) no root

7. Abadd9/C

4-Note Custom Voicings over a Dom7 chord (by Fabrizio Brusca)

(R-3-6-7) over a Dom7 chordby Fabrizio Brusca

� of �1 1

F melodic minor

scale paired with the

Db melodic minor

scale.

4-Note Custom Voicings over a Dom7 chord (by Fabrizio Brusca)

(R-3-6-7) over a Dom7 chordby Fabrizio Brusca

� of �1 1

To resolve on FMaj7#5 (as IMaj) I use the same

custom voicings harmonizing the D melodic minor scale

(see Group 3)

1. Aadd9/C# =

FMaj7(#11, #5) 2. DminMaj7 (13) no 5th = Fsus (6, #11, #5)

3. Emin7 (13) no 5th = FMaj7#5 (no 3rd* and root)

4. FMaj7 (13) no 5th 5. G7 (13) no 5th = FMaj9b5 (no 3rd*)

6. A7 (#5) = Fadd9#5 7. Gadd9/B = Fadd9b5 (13)

*Implied

4-Note Custom Voicings over a Dom7 chord (by Fabrizio Brusca)

(R-3-6-7) over a Dom7 chordby Fabrizio Brusca

4-Note Custom Voicings over a Dom7 chord (by Fabrizio Brusca)

The F, Db and D melodic minor scales shown together on the three different layers.

OBSERVATION

When we resolve from C7Alt to FMaj7 the same voicing moves 1/2 step up through the fretboard (from Db to D melodic minor scale by parallel motion). Instead, if we resolve to FMaj7 moving downwise we get different voice motions (oblique motion).

SOME PRACTICE

1.Play the minMa7 (13) voicing diatonically through the melodic minor scale in 1 key. 1b.Play it in the next 2 keys.

2.Play up & down the fretboard combining the white and blue voicings or one of them with the green one.

3.Apply these motions on chord progressions. For example 1 voicing per beat (a and b) and after 1 voicing per 2 beats.

a) | C7 | F || Yellow Blue

b) | C7 | F || Red Blue

c) | C7 | F || Yellow Red Blue

(R-3-6-7) over a Dom7 chordby Fabrizio Brusca

4-Note Custom Voicings over a Dom7 chord (by Fabrizio Brusca)

“CROSSING MOTION VOICINGS” exercise

A way to create a more colorful and

unpredictable comping line is by playing an harmonized scale that is

the result of Db and F melodic minor combination, created by

the alternation of the two scale chords. Not all the voicing

connections are going to sound interesting or strong harmonically,

anyway is good to spend some time and see how your ear responds. Most

of them are meant to be used melodically. There are many ways to

cross voicings, it depends what’s our musical goal in the end.

GOALS By experimenting with the previous and similar exercises you will be able

to: develop a natural and deeper sense of voice-

leading and ability to hear and use more sounds/colors on a dom7 chord.

- stretch your ‘aural space’.