Melodic Minor: One Of The Most Useful Scales In Jazz

In the intricate world of jazz, where improvisation reigns supreme, musicians turn to a countless number of tools to aid in their expression. Among these tools, the melodic minor scale emerges as a versatile and nuanced palette that adds a distinctive flair to jazz improvisation.

In this blog post, we will discuss what this scale is and why it is so useful in the realm of jazz improvisation.

What Is The Melodic Minor Scale?

The melodic minor scale is a modification of the natural minor scale, specifically altering the sixth and seventh degrees. The basic structure of the melodic minor scale is as follows:

1. Root
2. Whole step (major second)
3. Half step (minor third)
4. Whole step (perfect fourth)
5. Whole step (perfect fifth)
6. Whole step (major sixth)
7. Whole step (major seventh)
8. Octave

An interesting feature of the melodic minor scale lies in its treatment of the sixth and seventh degrees in classical idioms. While ascending, these degrees are raised, creating a major sixth and major seventh, respectively. When descending, the scale typically reverts to the natural minor form, with a minor sixth and minor seventh.

In jazz, however, the scale is played the same way ascending and descending. Remember this

Melodic Minor Modes

Just like any other scale, the melodic minor scale has modes. (learn more about modes HERE) These are:

1. Melodic Minor:
   • Same as the ascending form of the melodic minor scale: 1, 2, ♭3, 4, 5, 6, 7, 8.
2. Dorian ♭2:
   • Also known as the Dorian ♭9.
   • Intervals: 1, ♭2, ♭3, 4, 5, 6, ♭7, 8.
3. Lydian Augmented:
   • Intervals: 1, 2, 3, ♯4, 5, 6, 7, 8.
   • Also referred to as the Lydian ♯5.
4. Lydian Dominant:
   • Intervals: 1, 2, 3, ♯4, 5, 6, ♭7, 8.
   • Often used in dominant seventh chords.
5. Mixolydian ♭6:
   • Also known as the Hindu scale.
   • Intervals: 1, 2, 3, 4, 5, ♭6, ♭7, 8.
6. Aeolian ♭5:
   • Also known as the Locrian ♮2.
   • Intervals: 1, 2, ♭3, 4, ♭5, ♭6, ♭7, 8.
7. Super Locrian (Altered):
   • Also known as the altered scale or diminished whole tone scale.
   • Intervals: 1, ♭2, ♭3, ♭4, ♭5, ♭6, ♭7, 8.

Although all the modes of this scale are used in the context of improvisation, the ones that musicians make use of the most are: Melodic minor (1), lydian augmented (4), lydian dominant (5), half diminished (6) and super locrian/altered (7).

Melodic Minor Mode (1)

This mode of the scale is the parent scale, and is useful for improvising over minor 6th chords and minor major 7th chords.

Lydian Augmented Mode (3)

The primary application of the Lydian Augmented mode is over major seventh chords with a sharp 5. For instance, if you encounter a Cmaj7#5 chord, you can use the C Lydian Augmented scale. The ♯4 (augmented fourth) creates a unique and colorful sound, adding tension to the chord.

The Lydian Augmented mode can also be applied to augmented major 7th chords. For example, if you have a chord progression featuring an augmented major 7th chord like Cmaj7♯5, you can use the C Lydian Augmented scale to emphasize the augmented quality.

In some cases, the Lydian Augmented mode can be used over dominant seventh chords with a sharp 5 (e.g., C7#5). The augmented fourth creates tension and an interesting contrast with the dominant quality, offering a unique color to your improvisation.

Lydian Dominant Mode (4)

The primary application of the Lydian Dominant mode is over dominant seventh chords. For example, if you encounter a C7 chord, you can use the C Lydian Dominant scale. The ♯4 (augmented fourth) introduces a tritone, creating tension and a strong leading tone to the root of the next chord.

The Lydian Dominant mode is also well-suited for dominant seventh chords with a ♯11. For instance, if you have a C7♯11 chord, the C Lydian Dominant scale aligns with the chord tones and adds a heightened, jazzy flavor to your improvisation.

Lastly, the Lydian Dominant scale can be used over altered dominant chords (chords with ♭5, ♯5, ♭9, or ♯9 alterations). For example, over a C7♭9 chord, the C Lydian Dominant scale aligns with the altered tensions, providing a platform for expressive and tension-filled improvisation.

Half Diminished/Locrian b2 (6)

Similar to the locrian mode from major scale modes, with the exception of a b2. This mode is used over half-diminished chords, and most musicians prefer the sound of the b2 compared to the natural 2 of the regular Locrian mode.

Super Locrian/Altered Mode (7)

The primary and most common use of the altered scale is over altered dominant seventh chords (e.g., 7♭9, 7♭5, 7♯9, 7♯5). For instance, if you have a C7♭9 chord, you can use the C Altered Scale. The scale incorporates all the alterations typically found in altered dominant chords, providing a tense and dissonant sound.

The Altered Scale can be applied to dominant seventh chords with a ♯11. If you encounter a C7♯11 chord, the C Altered Scale aligns with the chord tones and introduces additional tension through the altered intervals.

The Altered Scale can also be used over diminished whole tone chords, which are symmetrical chords often found in jazz. In this context, the scale adds a layer of tension and complements the structure of the diminished whole tone chord.

Why Is The Melodic Minor Scale So Useful?

The melodic minor scale stands as a cornerstone in the glossary of jazz improvisation, offering an essential toolkit for musicians navigating the harmonic terrain of jazz. This scale is a linchpin in handling altered dominant chords, allowing musicians to effortlessly weave tension and release into their solos.

The melodic minor scale’s compatibility with both minor and major tonalities enables jazz musicians to seamlessly traverse intricate harmonic progressions, making it an indispensable asset for creating sophisticated and nuanced improvisations.

Conclusion

In conclusion, the journey through the melodic minor scale in the context of jazz improvisation reveals a musical landscape that is both intricate and expressive. As we’ve explored its dual nature, versatility, and historical significance, it becomes evident that the melodic minor scale is more than just a collection of notes—it’s a gateway to a world of sonic possibilities.

Its unique intervals, particularly the raised sixth and seventh degrees, empower jazz musicians to navigate through the complexities of altered dominants, seamlessly integrate with diverse tonalities, and infuse their improvisations with emotion and sophistication. The scale’s role in jazz is not merely technical; it is a bridge connecting the theoretical foundations of music to the artistry of jazz expression.