Melodic Minor Harmony and Modes
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The Jazz Melodic Minor scale is a minor scale with a major 6th and major 7th. Unlike the melodic minor scale you may already know, the 6th and 7th are not altered depending on direction. Here is A melodic minor scale with its diatonic 7th chords. We'll then look at its 7 modes and character chords and their use. A melodic minor (A, B, C, D, E, F#, G#)
&
#w
#˙
˙
˙
˙
˙
R
˙
I
IIm7
¨IIImaj7(©5)
IV7
V7
VIm7(¨5)
VIIm7(¨5)
Bm7
Cmaj7(©5)
D7
E7
F©m7(¨5)
G©m7(¨5) or G©7alt
Am(maj7)
& #˙˙ ˙˙
2
#˙˙˙ ˙
b3
#˙˙˙ ˙
4
˙ #˙˙˙
5
˙ #˙˙˙
6
˙˙ #˙˙
7
#˙˙ #˙˙
VII7alt
˙˙˙˙
*
*Chord VII has two possible spellings, we'll see why later
You'll notice that there are 3 possible dominant chords that emerge from the melodic minor. By extending the chords we can compare them.
IV7(©11) D7(©11)
w w w & #w w w
V7(9/¨13)
wE7(9/¨13) #w w #w w w
V7alt G©7alt = G©7(¨5/¨9/©9/¨13)
#w w #w w
Melodies and harmonic progressions based entirely on the melodic minor are quite rare, rather particular modes and chords are borrowed from the melodic minor and used in a variety of contexts.
©2011 Milton Mermikides
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Modes and Character Chords of the Melodic Minor. Mode I: The Melodic Minor
The melodic minor scale is used melodically (e.g. Autumn serenade) and improvisationally over a minor chord particularly in a jazz context. The minor (maj 7) is sometimes used in place of a minor chord (usually as the I chord), to create a mysterious quality. Often, but not always it is used as an ending chord to create a different colour to the minor triad or minor 7 chord. A‹(Œ„Š7)
E/Am
A‹(Œ„Š9)
#w w w w w
& #w w w w
#w w E major w w wA minor
The above shows the minor(maj7) chord and it's common extension minor(maj9). The latter may be constructed with the use of polychord (the superimposition of 2 distinct chords) in this case: E/Am. Examples of the min(maj7) and variants may be found as ending chords in 'spy' and jazz tunes (Eva Cassidy-Autumn Leaves) or as part of the form (1st chords of Solar - Miles Davis (Cm(maj7) and It's Probably Me - Sting (Em(maj9) to Em69))
Mode II: Dorian (b9) "Phrygadorian"
&
˙
R
b˙
b2
˙
b3
˙ 4
˙ 5
#˙ 6
w
b7
The 2nd mode of melodic minor may be seen as a Dorian scale with a minor 2nd or a Phyrgian scale with a major scale - and is sometimes called 'phrygadorian'. It's rather rare but there are examples when something sufficiently surreal is required Everything In Its Right Place - Radiohead has C Dorian b9 moments on its 'chorus'. Pentatonic versions of the mode can also appear in blues e.g. (R,b9,b3,5.b7)
©2011 Milton Mermikides
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Mode III: Lydian (#5) "Augmented Lydian"
& ˙
#4
3
2
R
#˙
#˙
˙
˙
#5
˙
w
6
7
The 3rd mode of melodic minor comes out as a Lydian with a raised 5th, quite an ear opener of a mode. Its most common application comes from its character chord the maj7(#5) which is not too unusual particularly in contemporary jazz. It can be used in place over a maj7 chord as a spicy alternative so long as it doesn't interfere with the melody. Here's the chord, with a common extension and an upper-structure spelling. CŒ„Š7(#5)
E/C
Cmaj7(#5/#11)
#w w #w w w w
& #w w w w
#w w w w E major
Mode IV: Lydian (b7) "Lydian Dominant"
&
˙
R
˙ 2
˙ 3
#˙
#4
#˙
#5
˙ 6
Mode IV is perhaps the most used melodic minor mode- The Lydian scale with a flattened 7th (Lydian dominant), it has a very distinctive character - the Simpsons being an excellent example in terms of both melody and harmony. Furthermore the characteristic chord of the mode (Dominant7(#11)) is often used when a 'floating' quality is wanted on a dominant chord. This usually happens on the IV7(#11) the bVII7(#11) and on tritone substitutions (eg sub V7(#11)/I etc.)
©2011 Milton Mermikides
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Mode V: Mixolydian (b13)
&
˙
R
˙ 2
˙
˙
4
3
˙
b˙
5
b6
bw b7
Mode V has an unusual quality and there are examples of its use in contemporary jazz, and in a pentatonic and hexatonic form, some music from Africa. It's character chord - the Dominant9(b13) is quite scrunchy and used compositionally in some jazz standards and some contemporary players like John Scofield. Mode VI: Locrian (nat2)
&
˙
R
˙ 2
˙
˙
4
3
˙ 5
#˙
b6
#w
b7
Mode VI the Aeolian b5 or Locrian nat 2 is most often used over min7(b5) in a jazz context or in sophisticated metal. Its character min9(b5) is also used in contemporary jazz.
Mode VII: Altered (Superlocrian)
&
˙
R
b˙
b2
b˙
b3
b˙
b4=3
b˙
b5
b˙ b6
bw b7
Mode VII is an important mode of the melodic minor. Notice that every scale degree is flattened (R, b2, b3, b4, b5, b6, b7). It is sometimes called the superlocrian, but most often refered to as 'Altered'. Although it is technically a minor scale (b3) the flattened 4th is enharmonically equivalent to a major 3rd, so this together with the flattened 7th makes it a dominant scale - the most dissonant dominant scale imaginable. It includes all the funky tensions: (b9/#9/b5/b6) while maintaing the root and the 3 and b7 of a dominant 7th chord. It is played over a dominant chord (usually in jazz) and it's character chord (7(b9/#9/b5/b13)) is usually abbreviated to alt 7 (or 7 alt). C7b5(b9/#9/b13) or C7alt.
©2011 Milton Mermikides
bw b #ww &b b w w w w
