#67376  by Emoto
 Thu Oct 15, 2009 10:51 am
Am just starting to sort out the modes a bit (barely) and am wondering if anyone knows what mode Jerry used to use in this song for the Am7to G#o7 part?
 #67377  by strumminsix
 Thu Oct 15, 2009 11:01 am
Over the Am7 I hear an A Dorian. Then the Dim scale over the Go7
 #67380  by Emoto
 Thu Oct 15, 2009 11:19 am
strumminsix wrote:Over the Am7 I hear an A Dorian. Then the Dim scale over the Go7
So Locrian for that dim chord?
 #67415  by wisedyes
 Thu Oct 15, 2009 7:05 pm
Something to try over the G#dim chord: G#dim is the vii of A Harmonic minor, so you could play A dorian over the Amin7, and switch to one of the modes of A Harmonic minor for the G#dim. Personally, I would use the ii mode, which would be B locrian in this case ( the ii chord of A Harmonic minor is Bmin7b5 ).

Judicious use of the harmonic minor and it's modes will add instant Yngwie to your playing ( and that doesn't have to be a bad thing ). Just try not to play all 64th notes while striking rock-god poses. There is an excellent series of books by Don Mock ( an educator at GIT, and well known session ace and jazzman ) that covers the different minor scales and their applications, the one on harmonic minor is "Harmonic Minor Revealed!" I can't recommend this book enough if you are looking to instantly spice up your playing with some exotic sounds.
 #67562  by deadguise
 Sun Oct 18, 2009 4:38 pm
something like this...

 #81335  by tcsned
 Fri Jun 04, 2010 8:51 am
I usually center around the 4 notes in the diminished scale of the G#dim chord also tying them together with little chromatic runs that end on a chord tone. The chromatics are especially helpful if you don't want the big interval jumps in a diminished scale. Diminished scales are also really cool substitutes for when you are playing over a dominant 7th chord for a few bars (start the diminished scale on the 3rd of the chord) - it's good for creating tension in tunes that have a long jam over a dominant 7th (Shakedown C7 jam is a good one). I also like playing with a whole-tone scale in those instances. I like the lack of a tonal center in the three equidistant scales (whole tone, diminished, and augmented).