The melodic minor scale is a variation of the natural minor scale, but with a twist: it raises the 6th and 7th degrees when you’re going up the scale. It’s a handy addition to your musical toolkit if you want to move beyond the usual major scale sounds, especially if you’re interested in jazz.
In classical music, the ascending and descending forms of the melodic minor scale are different. But in jazz, musicians often use just one form (with the natural 6th and 7th) for both ascending and descending passages.
This article will break down how to build the melodic minor scale, how to use it, and explore its different modes.
Construction and Formula
The melodic minor scale has a slightly different construction depending on whether you’re ascending or descending the scale.
Ascending Melodic Minor Scale
To build an ascending melodic minor scale, start with the natural minor scale and raise the sixth and seventh scale degrees by a half step.
For example, the A melodic minor scale is:
A – B – C – D – E – F# – G# – A
Descending Melodic Minor Scale
To build a descending melodic minor scale, simply descend using the natural minor scale.
For example, the descending A melodic minor scale is:
A – G – F – E – D – C – B – A
Intervallic Construction
The intervals from the root of the ascending melodic minor scale are:
- Major second
- Minor third
- Perfect fourth
- Perfect fifth
- Major sixth
- Major seventh
Melodic Minor vs. Other Minor Scales
The melodic minor scale isn’t the only minor scale out there. Here’s a quick look at how it differs from the natural and harmonic minor scales:
- Natural Minor: This scale lowers the 3rd, 6th, and 7th degrees compared to a major scale. What’s neat is that it stays the same whether you’re going up (ascending) or down (descending).
- Harmonic Minor: Like the natural minor, the harmonic minor lowers the 3rd and 6th. However, it raises the 7th. This creates a unique sound because of the augmented second interval.
- Melodic Minor: This is where things get interesting. The melodic minor only raises the 6th and 7th degrees when you’re going up the scale (ascending). When you come back down (descending), it’s the same as the natural minor.
How do jazz and classical composers use the melodic minor scale?
Classical composers tend to stick to the strict ascending and descending forms of the melodic minor scale. They often use it to soften the harsh sound of the augmented second interval that shows up in the harmonic minor scale when a melody approaches the tonic.
Jazz musicians are more likely to use the ascending form of the melodic minor—with its raised 6th and 7th—in both ascending and descending melodies. This gives the music a smoother, more melodic quality. Using the raised 6th and 7th degrees of the scale is a hallmark of the melodic minor sound.
Modes of the Melodic Minor Scale
Just as you can derive different modes from the major scale by starting on a different scale degree, you can also create modes from the melodic minor scale.
Each of these modes has its own unique sound and characteristic intervals. Here’s a quick rundown of each of the melodic minor modes:
- 1st Mode: Melodic Minor (Root Position). This is just the ascending melodic minor scale as you learned it.
- 2nd Mode: Dorian b2. This mode is similar to the Dorian mode, but with a lowered second.
- 3rd Mode: Lydian Augmented. Think of this as the Lydian mode with a raised 5th. It works well over maj7(#5) chords.
- 4th Mode: Lydian Dominant. This is the Lydian mode with a lowered 7th. It’s often used over dominant chords with a #11.
- 5th Mode: Mixolydian b6. This mode is the same as Mixolydian, but with a lowered 6th.
- 6th Mode: Locrian Natural 2. This mode is the same as Locrian, but with a raised 2nd.
- 7th Mode: Super Locrian (Altered Scale). This mode is Locrian with a lowered 4th and a lowered 7th. It’s useful over altered dominant chords.
Understanding these modes can open up a lot of possibilities for improvisation and composition. Experiment with each one and see how they sound in different musical contexts!
Using Melodic Minor Scales in Jazz Improvisation
Jazz musicians frequently use melodic minor scales and their modes to add color to their improvisations. Here are some common applications:
- Melodic Minor over minor(maj7) chords: The melodic minor scale sounds great over minor(maj7) chords. You can hear this in tunes like “Autumn Leaves” and Miles Davis’s “Solar.”
- Lydian Augmented over maj7(#5) chords: The Lydian augmented mode works well over maj7(#5) chords. A good example is Wayne Shorter’s tune “Iris.”
- Lydian Dominant over dominant chords with a #11: Use the Lydian dominant mode over dominant chords with a raised 11th.
- Super Locrian/Altered Scale over altered dominant chords: The Super Locrian mode, also known as the altered scale, is perfect for altered dominant chords.
Conclusion
The melodic minor scale, with its unique ascending and descending forms, offers a wide range of harmonic and melodic possibilities for songwriters and instrumentalists. Understanding its modes unlocks even greater potential for both improvisation and composition.
Like any scale, the more you practice the melodic minor scale, the more fluent you’ll become. To truly master its application, practice the scale and its modes in all 12 keys. You’ll soon find yourself using its distinctive sound in your own music.