In this series of videos, Guitar World's Andy Aledort explores the classic Jimi Hendrix track "Freedom," as heard on The Cry of Love. After discussing Hendrix's tuning, Andy jumps into the intro, the verses and the solos.
For this blog, I would like to talk about applying the altered dominant scale over a dominant seventh chord in a minor chord progression. The altered dominant scale (sometimes referred to as super locrian) is the seventh mode of the melodic minor scale. It is a widely used favorite among jazz guitarist because of its eerie dissonant tension on the dominant chord creating a pleasant resolution to the tonic chord.
Practice tips from John Petrucci: Say to yourself, “During this hour I’m going to master this passage.” There’s nothing wrong with noodling—it can actually produce some of the best ideas—but you’ll get a lot more out of your practice time if you have an agenda.
While mixolydian, diminished, Lydian dominant and the altered scale are all fairly common choices when playing over 7th chords in various situations, there is one scale that is often overlooked, but that can add a freshness to your lines and take your playing in new directions at the same time.
There are four types of chords that are built from the major scale: major 7th's, minor 7th's, dominant 7th's and diminished. Each of those chords has its own construction, but their common thread is that they will be constructed from the first, third, fifth and seventh notes from their respective major scales. In short, the 1, 3, 5, 7.
Being assigned the ongoing mission of teaching a new crop of middle school students each year to play guitar on a beginner level in a group setting, I’ve had numerous opportunities to try various approaches to getting the kids to focus on learning to play the instrument without becoming bored or frustrated.
Taking techniques from different instruments and applying them to the guitar can open up a whole new approach to the instrument and add freshness to your playing and ideas. In this lesson, we will look at approaching the guitar in the style of a sitar and Indian mandolin. A sitar has many strings (up to 20, to be exact). Ironically, out of all of these strings, most of the time only one of them is used to do the actual playing.