Intermediate
Advanced
• Learn melodic minor scales
• Create melodic minor chord-voicing strategies
• Develop melodic minor melodic and harmonic vocabulary
First, take a look at Ex. 1, which is the chord progression for an A minor blues. I will be referring back to specific locations in this progression from time to time.
Why is the Melodic Minor Scale so Bright?
Melodic minor scales are built with a W–H–W–W–W–W–W–H step pattern—W is a whole-step (two frets) and H is a half-step (one fret). The A melodic minor scale is spelled A–B–C–D–E–F#–G#–A, or 1–2–b3–4–5–6–7–8 in scale tones. (In classical theory, the melodic minor scale has a separate formula for its ascending and descending forms. For our purposes—as is often the case in jazz—we’re using the ascending form for both directions, not the descending form, which would be the same as an A natural minor.)
It sounds bright because its structure yields an abundance of whole-steps in the upper part of the scale. Take a listen to Ex. 2 to hear how it sounds against an Am chord. You can use this scale anywhere you see an Am chord in Ex.1. Measures 1–3, measures 7–8, and measure 11.
Since this scale has a natural 7, or a leading tone, it makes the Am chord sound like tonic minor. Basically, this scale tells everyone, “Yo! We’re in the key of A minor!”
Consider the bVI chord—F7—in measure 9. This is an opportunity to use F Lydian Dominant, which is the fourth mode of the melodic minor scale system. It is built with a W–W–W–H–W–H–W step pattern, spelled F–G–A–B–C–D–Eb–F, and its scale tones are 1–2–3–#4–5–6–b7–8. When using this mode, you’re implying that your F7 chord has become an F7(#11). Since this scale is the fourth mode, the parent scale of F Lydian Dominant is C melodic minor. Listen to Ex. 3 and hear how the F Lydian Dominant mode sounds over an unaltered F7 chord.
Let’s talk about dominant function chords.
The actual V chord in the key of A minor is E7, and it’s found in measure 10. There is also a secondary dominant in measure 4. A7 is functioning as the V chord in the key of D minor and provides some forward motion, making it sound like you’re headed to a new key. The seventh mode of the melodic minor scale system is Super Locrian, and you use this mode to get a fully altered dominant chord sound. For E7, you play the E Super Locrian mode, which is built with a H–W–H–W–W–W–W–H step pattern, spelled E–F–G–Ab–Bb–C–D–E, and its scale tones are 1–b2–#2–3–b5–#5–b7–8. Using this mode over a dominant chord gives you both altered 9s and altered 5s, turning E7 into an E7alt chord.
The method is the same for A7, where you would use the A Super Locrian scale to achieve an altered dominant sound, creating more musical tension that can be resolved when you land on the tonic chord. Listen to Ex. 4 to hear each of these Super Locrian modes played over their corresponding unaltered dominant chords. Again, remember that the parent scale of E Super Locrian is F melodic minor, and the parent scale of A Super Locrian is Bb melodic minor.
So, what does this sound like when you put it all together?
Ex. 5 is one possible solo, blending traditional minor pentatonic sounds with the melodic minor scale. The lines are also not too heavy on altered sounds over the dominant chords.
Ex. 6 leans into the melodic minor scale and the altered sounds more, arriving at Ex. 7 which is more angular and rhythmic.
There are two paths to creating chord voicings for these altered sounds. One way is to take the unaltered seventh chord, find all your altered 9s, 5, and 11s, and adjust the shape. The other way is to simply use the min(maj7) chord of the parent scale. Take a look at Ex. 8 for some Drop 2 min(maj7) voicings and inversions. Substituting Amin(maj7) for Am or Am7 should be pretty straightforward, keeping in mind that a major seventh chord will sound kind of bright. For your F7(#11) sounds, use a Cmin(maj7) chord voicing, where C–Eb–G–B will sound like the 5, b7, 9, and #11 of F7.
To get the altered dominant sounds, play an Fmin(maj7) chord instead of E7, where F–Ab–C–E will sound like the b9, 3, #5, and root of your E7 chord. The same relationship holds for A7, where you would use a Bbmin(maj7) voicing to get an altered chord sound. In Ex.9, you can hear how these voices are working against a bass line.
There’s a lot to unpack here, especially if you’re not familiar with all the modes of the melodic minor scale system. Learn the modes, then start with simple, straightforward musical ideas. Just going up and down the mode will get these new sounds in your ear, and using traditional structures like thirds, triads, and arpeggios will give you something to play without feeling overwhelmed. Welcome to the bright side of the blues!
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.