
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!
On our season two finale, the country legend details his lead-guitar tricks on one of his biggest hits.
Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It’s the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there’ll be some tears of joy, too, because on this season two closer, Chris Shiflett talks with one of country music’s greatest players: Vince Gill.
Gill’s illustrious solo career speaks for itself, and he’s played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even replaced Glenn Frey in the Eagles after Frey’s death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 Fender Telecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992.
Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn’t love shredders, and why you never want to be the best player during a studio session.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.