This scale sounds awesome on dominant seventh chords. Alternatively, you can think of it as being like F Mixolydian with a raised fourth. The fourth mode of C melodic minor is like F Lydian mode with a flat (dominant) seventh. Two of the melodic minor modes are worth the effort, because they produce amazing sounds that work great for jazz and other harmonically adventurous music. All of these scales are just as weird as their parent, with daunting technical names to match. Just like the major scale, melodic minor has modes, new scales you get by starting and ending on notes other than the root. On the bright side, grappling with them will really help you learn the fretboard. A quick Google search will reveal many fingerings. The only way to make it easier is to not use all six strings. All of the fingerings require pinkie stretches and/or position shifts. Unfortunately, melodic minor is extremely annoying to play on guitar. In C melodic minor, the tritones are between F and B, and between E-flat and A. Melodic minor has two tritones, between its fourth and seventh notes, and also between its third and sixth. Major scale contains one tritone, between its fourth and seventh notes. Melodic minor also has more internal dissonance than the major scale and its modes. C D Eb F G - sounds minor G A B C - sounds major There’s a constant conflict between the bottom half of the scale and the top. The weirdness of melodic minor comes from the way it lives simultaneously in the minor and major key worlds. You can hear this chord in the first four bars of “Chelsea Bridge” by Billy Strayhorn: The tonic chord in C is Cm(maj7), sometimes called the major-minor chord: C Eb G B However, the chords and scales you get from it are exceptionally dark and peculiar. It’s just the major scale with a flat third. Melodic minor looks innocent enough on paper. The scale has the same symmetry if you write it on the circle of fifths too. Note that the scale is symmetrical along a line drawn through D-flat and G. It’s called the melodic minor scale, and if you want to push your playing or writing in a more adventurous, exotic and challenging direction, it’s a good one to have in your musical toolbox. For musical Jedi masters, there’s one more valuable minor scale. There’s also the blues scale, which sounds good in any key, major or minor.
The scale ascends as the bebop melodic minor and descends as the dominant bebop scale.My last post on minor keys covered the three scales you need for most situations in rock, pop, and film scores: natural minor, harmonic minor, and Dorian mode. The following variation of the Bebop Melodic Minor Scale uses the Major 3rd and the Minor 7th as passing tones. The Bebop Melodic Minor Scale – Variation The “Bebop” Melodic Minor Scale solves the rhythmic inconsistency of the regular jazz melodic minor scale by adding the minor 7th as a passing tone, both ascending and descending. (Refer to the video for examples) The Bebop Melodic Minor Scale This scale solves the rhythmic inconsistency of the Jazz melodic scale when playing over an octave.
The following variation of the Melodic Jazz Scale ascends as the Jazz Melodic Minor skipping the Root up to the 9th and then descends from the Root down. The “Jazz” Melodic Minor Scale ascends and descends using the major 7th. The “Classical” Melodic Minor Scale ascends using the major 7th and descends using the minor 7th. We call it the “Harmonic Minor” because it is a common foundation for harmonies (chords) used in a minor key.
The Harmonic Minor Scale has the same notes as the Natural Minor, except that we raise the seventh degree by one semitone. The Dorian minor scale derives from the II degree of the major scale. The Natural Minor is the scale that forms on the 6th degree of a Major key. There are several minor scales available all these scales have different functions melodically or harmonically. The scales on this article are written on Gm to be consistent with the video tutorial.
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