Modes2

The Modal Guitarist Part II
Melodic Minor Modes

Modes From the Melodic Minor Scale
by John Ruffi
Modal Guitarist Part II Melodic Minor Modes
copyright 2006 John Ruffi

Melodic Minor Modes
Forward
After many years of studying, exploring and teaching guitar, Ive developed a system which communicates to the
student the modes and how they are used. But, most importantly, it shows where they come from and enables
the student to create modes and scales on-the-fly which is the ultimate goal of studying any kind of theory.
Part I & II contain all the 7 note modes which can be created using two intervals: half steps and whole steps,
without two adjacent half steps. All the modes have 7 degrees, and all in this group have 5 whole steps, or whole
tones and 2 half steps as intervals between the adjacent degrees. Since the half steps never occur twice in a row,
that means weve only got 2 possibilities for grouping the whole steps: a group of 2 and a group of 3, or a group
of 4 and a group of 1.
All the modes which can be made with one group each of 2 and 3 whole steps are called the Natural Modes, or
Melodic Major Modes. Those made with one group each of 4 and 1 whole steps are called the Melodic Minor
Modes not because they are all minor, but because they are derived from the ascending Melodic Minor Scale.
In Part II we explore the Melodic Minor Modes. The ascending Melodic Minor Scale is almost exactly like the
Natural Major Scale, with the exception of a flatted 3rd. Flatting the third changes the sound of any scale into a
minor or sad sound. As Ive stated earlier, all these modes arent necessarily minor. Theyre called the Melodic
Minor Modes because they come out of the Melodic Minor Scale.
The Melodic Minor Modes What are they?
The Melodic Minor Scale
The C major scale or C Ionian Mode is shown below. Notice that it begins and ends on C. The numbers below also
begin and end on 1.The higher 1 is the octave (symbol 8ve) of the root note (the lowest note). The half steps
within the following scale fall between the 3rd and 4th tone, and the 7th and 1st, or octave.
C
E F
B C
3 4
7 1
The modes in the Natural series (shown in detail in Book I), and the chords that come from them, are as follows:
I
ii
iii
IV
V7
vi
vii
Mode
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Associated Chord
major7 (symbol, maj7)
minor 7 (min7, m7, 7)
m7
maj7
dominant 7 (symbol, 7)
m7
minor 7 flat 5 (symbol m7b5 or 75) or half diminished (symbol )
The 6th, or Aeolian Mode is the Natural Minor scale. The notes of the A Aeolian are shown below:
A
B C
E F
2 3
5 6
The Melodic Minor scale is based on this Natural Minor scale. When used by Baroque and Classical composers the
descending Aeolian Mode was left untouched. But when played in an ascending passage the 6th and 7th tones
were raised, as shown here:
A
B C
F#
G# A
2 3
7 1
Changing these notes gives us some really interesting harmonic possibilities, since many of the chords that are
made from the modes within it are quite different from those made from the Natural series. The resulting modes
and chords are shown below:
i
ii
III+
IV7
V7
vi
vii
Mode
Melodic Minor
Dorian Flat 2
Lydian Augmented
Lydian Dominant
Mixolydian Flat 6
Aeolian Flat 5
Super Locrian
Associated Chord
minor with a major 7th (symbol, min maj7)
minor 7
augmented with major 7 (symbol + maj7)
dominant 7
dominant 7
half diminished
half diminished (or altered chord see page 7 for details)
What are modes for?

Every tone contained in the scale or mode one is using affect the color, or flavor of the music. Playing these
modes will both give guitarists a wider palate of flavors to use, but also allow them to taste more sounds, so
that they can recognize them when these flavors come along in music they like and want to learn or emulate. So,
in other words, if you practice these modes youll be able to:
1 play a greater variety of melodies and phrases.
2 develop your ear to be able to interpret more melodies and phrases.
In Summary, if youve read Book I of this series you may notice some of the information is repeated, such as the
Technique page. This is to ensure that each book can stand on its own. Some of the Natural Modes are referred
to in this book though, so it is expected that the reader be familiar with them.
Technique
Playing scales and modes are to a musician what running is to an athlete. Its a great way to work on strength,
speed, coordination and stamina. And a good way to warm up, when played slowly. Playing through the modes
very slowly when you first pick up the guitar is a great way to relax, focus, and get the fingers ready for playing,
as well as getting one in the right frame of mind for making music.
Using the left hand properly and safely.
its good to remember Ruffis 3 rules of intelligent technique:
When at all possible...
1 When you skip a fret skip a finger. This first rule is most important because it prevents us from spreading the
2nd and 3rd fingers across more than 2 adjacent frets.
2 Never use the same finger twice in a row (unless shifting or sliding).
3 Never shift twice in a row.
Of course, like every rule, these sometimes have to be broken. Thats why it says when at all possible.
The first finger may occasionally

reach out of position to reach a note
on the lower fret.
1
1
2
3
4
The fourth finger occasionally needs

to reach out of the position to grab
a not one fret higher.
Notation method in this book

In the charts in this book, the strings are shown as vertical lines, with the 6th string on the left. The frets are
shown as horizontal lines, with the top fret shown on the chart being closest to the nut.
The numbers denote the order the notes are to be played in the scale. These numbers also tell us where the roots
are (1), the other chord tones, or notes in the triad (3 and 5) and which note to add to make a 7th chord (the 7).
And, as you become more familiar with the modes youll begin to be able to identify the sounds of the tones by
these numbers. For example, a 6 always has a certain sound the can be very easily memorized, as can the other
degrees of the modes.
The Melodic Minor Modes

In this group of modes the guitarist will discover some more
interesting. combinations of notes, forming chords such as
diminished, augmented and minor/major.
1
2
The Melodic Minor Scale
The intervals are as follows:

1 1/2 1 1 1 1 1/2
In other words, the half steps are from 2 to 3, and from 7 to 1.
This can be easily seen in the diagram to the right. You can play
the mode entirely on one string starting from any fret, and it will
be the Melodic Minor Scale.
1
2
This mode is a minor mode with a major 7th. The flatted third
gives it the minor sound, but the 7 is only a half step down from
the root, or 1 which gives it a major 7th.
1
5
7
2
6
6
1
2
3
6
Typical chord progression for using the A Melodic Minor

Mode:
Am | E7 or Am maj7 | E7
1
7
1
4
1
2
7
4
2
6
1
72
As the name says, this mode is like the Dorian Mode, but has a flat 2 as well, making it
2
1
a flat 7, 3 and 2 mode. Throughout this book all flatted or sharped
degrees are in
2
comparison to the Ionian Mode, or Natural Major Scale.
3
1 4
4
5 2
5
5
4
6
71
7
4
1
5
4 1
1
2
1
2
Typical chord progression for using the

7 B Dorian b2 Mode:
Bm | D or Bmin7 | D7+
2
1
5
4
1
7
3
6
5
2
1
6
5
2
1
2
2
3
4
1
2
This mode has a sharp 4 and 5. Sharping the 5 is what makes it an augmented
mode.
1
6
1
2
7
1
III+ The Lydian Augmented

Mode
1
1
2
1
3
6
4
ii The Dorian b2 Mode
1
2
1
2
Typical chord progression for using the C Lydian Augmented Mode:

7
C+ maj7 | F#m7 b5 or C+ maj7 | Amin maj7
4
5
3
1
2
7 13
6
5
2
1
2
7
5
3
4
1
2
1
2
1
2
1
6
3
1
1
1
IV The Lydian
Dominant
Mode
2
This mode has the #4 of a Lydian, and the b7 of a Mixolydian.

2
1
2
1
5
6
1
2
1
2
3
6
5
2
13
1
6
71
34
23
67
1
1
2 again, just like 2the name says,

3 this6 mode
2 has
5 the
7 flat 7 of Mixolydian with a1flat 16
Once
as well.
1
4
7 3
1
2
7
1
2
4 2
5 3
11 1
12 1
1
2
6
1
71
2
1
2
1
2
1 3
4
4
1
1
2
5
6
6
7
Typical chord progression for using the E Mixolydian b6 Mode:

7
E7 | Am or E7 | D7
1
1
4
5
2
1
7
7
3 1
1 44
6
3
1
2
5
3
1
1
6
1
1
5
6 1Mode
V The
b6
5
7 Mixolydian
1
1
1
1
2
Typical chord progression for using the D Lydian Dominant Mode:

7
7
D7 | E7
1
1
4
7
3
5
1
1
1
2
1
2
4 3
1
2
7
2
2
1
2
6
5
43
7
4
1
4
1
5
6
4
1 3
1
1
vi The Aeolian
b5 Mode
This mode has a flat 7, 3, 6, and 5. The chord tones (arpeggio) that come out of it
2
form a half diminished
(symbol ) or what is2 also called a minor 7 flat 25 chord.
7
3
6
1
7 33
4
4
7
12
2
5
5
1 1
2
3
4
4
5
1
2
1
2
4
5
1
2
45
1 1
2
5
6
1
2
1
2
1
2
3
4
1
2
7
5
3
4
6
7
7
1
See page 19 for more uses of this mode.

1
for using the

Typical chord progression
6
12
4
1
G# Super Locrian
Mode:
2
7
7
G#7-5+5-9+9 | Am
3
Playing a chord using all of the

this scale will result in the altered chord. the 2
4
4
and 3 become the flat 9 and sharp 9, while the flatted 4 actualy1 becomes a major 3.
2
the flat 6 becomes
4 a sharp 5. The chord is notated as 7b5#5 b9#9 or
5 7-5+5-9+9,
1
or more simply
7alt.
2
1
1
notes 2in
1 4
The Super Locrian is probably the most unusual sounding in this group of unusual
sounding modes.5 All the tones,
with the exception of the root, are4 flatted.
This mode is
4
72
2
2
1
also called the Altered Scale, and is commonly used as a subsitution for the Misolydian
2
Mode when 3a more
sound
Mode
3 over the G7
6 exotic
2
7 is desired. Try a G Super
3
6 Locrian
2
chord in the progression G7 - C and youll see what i mean.
3
1
2
4
7
3 Locrian,
5
4
3
vii The Super
1
1or Altered Mode
1
1
1
3
7
Typical chord
progression
for using the F# Aeolian b5 Mode:
1
F#m7b5 |2 G#m7b5 or F#m7b5 | Bm7
1
1
2
2
7
1
2
1
2
4 1
1
6
1 3
7
The Arpeggios
Below are each of the seven modes weve just gone over. Here they are shown with the arpeggios highlighted.
The roots (or 1s) are highlighted in red; all other arpeggio notes, or chord tones, are shown in blue. It is
recommended that after playing the mode ascending and descending, you should play the corresponding
arpeggio ascending and descending first without the 7th (1 3 5s only), and then with 1, 3, 5 and 7.
7
2
i Melodic Minor
minor chord with a major 7th
min maj7
III+ Lydian Augmented

augmented with major 7th
ii Dorian
minor 7th arpeggio
1
V Mix flat 6
dominant 7th arpeggio
5
3
6
3
1
4
2
6
7
vii SuperLocrian
half diminished arpeggio
4
1
2
7
5
4
5
1
7
6
1
IV Lydian Dominant
dominant 7th arpeggio
5
6
2
7
vi Locrian Natural 2
minor 7th flat 5 (or half
diminished) arpeggio
1
4
2
5
Extended Arpeggios
The preceding page shows each mode, with the 1, 3, 5 and 7 marked. But what about other chords, such as 9th
chords, 11th chords, and so on? These are based on an extended arpeggio. If we continue numbering the notes
up past the octave (8ve), which is merely the root note again, we find that 2 is also 9, 4 is also 11, and 6 is also
13. So a ninth chord is 1 3 5 7 and 9 (or 2). An 11th chord is 1 3 5 7 9 and 11 (1 3 5 7 2 4).
When playing the extended chords on guitar its common to leave out some of the notes. The best notes to keep
would be the 3 and 7, since they define whether the chord is a major 7th, dominant 7th, or minor 7th chord. For
a C major ninth chord (C E G B D) the 1, 3, 7, 9 (C E B D) or 3, 5, 7, 9 (E G B D) can be played.
By using the charts in the folllowing pages and becoming familiar with the arpeggios and their extended tones,
the guitarist can have a hundred options for any and every chord.
Every Mode Within Every Other Mode

Thinking of the numbers while playing the modes is very important. This will help you to develop a sense of what
a major 3 sounds like compared to a minor 3, for example. As your ear develops youll probably realize that you
can hear the same note in a few ways:
Its number in relationship to the root of the chord over which its being played
Its number in relationship to the key in which that chord appears.
Its relationship to the tones in the chords before and after the chord being played.
Another important but obvious reason for learning how to play every mode within every other mode is this: any
mode can then be played at any position on the neck.
On the following pages it is shown how each mode can be played within the fingerings of the other 6 modes
that were shown earlier in this book. The arpeggios can also be played in this way as well. After connecting the
modes together so they belong to the same key, you will actually be able to play any mode on the entire neck of
the guitar - in every position, and on every string.
Here are explanations of the Melodic Minor mode fingerings as shown on the following page:
The Melod-Minor 6 - 1 This is the mode as seen on page 4. The root of the scale is played on the 6th string
with the first finger - hence the name Ionian 6 - 1.
Melod-Minor 6 - 2 Here the same mode is played one fret lower. The root is played by the 2nd finger on the
6th string, but the 7 below it is also shown, since its a part of the mode. Notice that this looks exactly like the
Super Locrian mode on page 7, but the numbers have changed.
All of the modes can be played in every position, either by using the above method, or by finding the root note
for any position. A chart of all the notes on the neck is included in book I of this series.
The Melodic Minor Mode in 7 Positions

This mode has a flat 3 in comparison to the Major Scale, or Ionian Mode. All other notes are unchanged from the
Ionian. The tones 1, 3 and five form a minor triad. When the seventh is added (1, 3, 5 and 7) the tones form a
minor chord with a major 7th. The symbol for this is min maj7.
Melod-Minor 6 - 1
6th string, 1st finger
1
7
2
Melod-Minor 6 - 2
6th string, 2 finger
Melod-Minor 6 - 4
6th string, 4th finger
3
7
1
6
4
2
3
7
5
7
2
3
7
Melod-Minor 5 - 1
6
3
7
6
4
2
3
7
5
3
7
7
1
10
6
4
2
3
6
4
6
4
Melod-Minor 4 - 1
3
3
6
4
7
Melod-Minor 5 - 4
7
6
Melod-Minor 5 -3
5th string, 3rd finger
2
3
7
1
The Dorian Flat 2 Mode in 7 Positions

This variation of Dorian has a flat 2, flat 3 and flat 7 in comparison to the Major Scale. The arpeggio forms a
minor 7th chord, and adding the 2 will result in a m7b9 chord.
Dorian b2 6 - 1
1
2
6
Dorian b2 6 - 3
7
6
1
Dorian b2 6 - 4
6
7
1
2
6
4
3
6
4
2
6
5
3
5
3
1
2
6
4
Dorian b2 4 - 1
3
11
2
5
1
6
3
5
Dorian b2 5 - 4
Dorian b2 5 - 3
5th string, third finger
7
6
1
Dorian b2 5 - 1
5th string, first finger
1
2
2
5
6
7
5
3
The Lydian Augmented Mode in 7 Positions

The Lyd-Aug Mode has sharped 4 and 5, when compared to the Major Scale. The tones 1, 3 and five form an
augmented triad, commonly represented by the + symbol.. When the seventh is added (1, 3, 5 and 7) the
tones form an augmented chord with a major 7th. The symbol for this is + maj7. Adding the 4 will give an
augmented major7 sharp11 chord.
Lyd-Aug 6 - 1
1
1
4
7
1
2
5
3
Lyd-Aug 6 - 2
6th string, 2nd finger
7
1
5
6
4
2
1
5
1
6
7
1
6
5
12
5
7
Lyd-Aug 4 - 1
1
4
2
5
2
4
Lyd-Aug 5 - 4
3
5
6
5
5
Lyd-Aug 5 - 1
2
4
Lyd-Aug 5 - 2
Lyd-Aug 6 - 4
1
4
1
4
The Lydian Dominant Mode in 7 Positions

The Lydian Dominant Mode has a sharp 4 and flat 7 in comparison to the Major Scale. The arpeggio is a
dominant seventh arpeggio. This mode is useful for 7 sharp eleven chords (7#11).
Lyd-Dom 6 - 1
1
7
4
5
3
6
4
Lyd-Dom 6 - 3
7
7
3
6
7
4
2
4
5
4
5
7
4
13
6
4
4
2
Lyd-Dom 4 - 1
3
1
3
7
3
7
4
Lyd-Dom 5 - 4
3
4
1
Lyd-Dom 5 - 1
6
7
4
6
7
3
Lyd-Dom 6 - 4
Lyd-Dom 5 - 2
3
1
7
4
3
1
The Mixolydian Flat 6 Mode in 7 Positions

The Mix b6 Mode has a flat 6 and 7, in comparison to the Major Scale. Using the 1, 3, 5, 7 and 6 will form a
seven flat13 (7b13, or 7-13) chord. Using the 1, 3, 6 (in place of the 5), and 7 will form an augmented 7th chord.
Mix b6 6 - 1
1
5
3
Mix b6 6 - 3
6
2
7
3
1
3
4
2
7
2
7
5
6
14
3
7
Mix b6 4 - 1
3
5
6
7
2
7
5
6
Mix b6 5 - 4
6
2
Mix b6 5 - 1
6
3
5
Mix b6 5 - 3
4
2
5
3
2
Mix b6 6 - 4
3
1
6
3
3
1
The Aeolian b5 Mode in 7 Positions

The Aeolian Flat 5 Mode has a flat 7, 3, 6 and 5 in comparison to the Major Scale. The arpeggio forms a m7b5
chord. Adding the 2 will form a m9b5 chord.
Aeol b5 6 - 1
1
5
2
3
1
6
4
5
Aeol b5 6 - 3
7
4
2
4
5
2
3
5
4
15
2
3
1
6
Aeol b5 4 - 1
4th 5string, 1st finger
3
1
6
4
5
3
6
2
4
5
1
Aeol b5 5 - 4
5
1
2
1
Aeol b5 5 - 1
6
1
5
2
Aeol b5 5 - 3
4
Aeol b5 6 - 4
4
5
2
4
The Super Locrian Mode in 7 Positions

The Super Locrian Mode has every note with the exception of the 1, or root, flatted in comparison to the Major
Scale. The 1,3, 5 and 7 form a m7b5 chord, but there are a few uses for this mode. If 1, 4, 5, 7 are used (4
instead of 3), a 7b5 chord is formed. If 1, 4, 6, 7 are used (4 and 6 in place of 3 and 5), a 7#5 chord is formed.
Super Locrian 6 - 1
4
1
2
7
5
1
3
Super Locrian 6 - 3
7
4
1
2
4
3
4
1
4
1
3
4
1
2
3
5
1
6
4
7
16
Super Locrian 4 - 1
4
7
5
1
2
7
Super Locrian 5 - 4
5
3
Super Locrian 5 - 1
7
5
Super Locrian 5 - 3
Super Locrian 6 - 4
1
1
3
4
5
7
The Whole Tone Scale

Playing every note in succession, using all the sharps and flats (or
accidentals) gives us the chromatic scale. The whole tone scale is a six
tone scale comprised of all whole tones in other words, every other
note of the chromatic scale.
The Chromatic Scale
Taking a look at the A Melodic Minor once again, we notice a long stretch
of whole tones from C to G#.
A
B C
F#
G# A
2 3
7 1
Replacing the A and B with the note halfway between, a Bb, would
transform tha above scale into a whole tone scale:
Bb
F#
G#
Bb
The Whole Tone Scale is completely symmetric. Any tone can be used as
the starting point, or root, and the scale still has the same sound.
Whole Tone Scale
Playing every other note as an arpeggio gives us the notes to create and
augmented chord. Again, because this scale is symmetric, any tone can be
used as the root. And the augmented arpeggio is symmetric as well:
C
E
major 3rd
G#
major 3rd
C
major 3rd
Try using the Whole Tone Scale as a substitute for the Mixolydian, Altered
Scale, or over any Dominant (symbol = 7) chord.
Whole Tone Scale
Below is a progression using an augmented chord:
C Ionian
||:
Cmaj7
C Whole Tone
C+
F Lydian
Fma7
F Melod Minor
Fm
17
||
Additional Chord Progressions

Combining the Natural Modes with the Melodic Minor Modes.
The Circle of Fifths in the key of C is shown in book I. But what if the song uses combinations of chords from
different keys? One could solo over the progression below using C Ionian and E Mixolydian. Three notes would
change in doing this. Using the modes below will cause only one note to change between the 2 chords. This gives
a softer, less drastic sound to the change, and gives us some really interesting harmonic sounds to work with: The
Cmajor 7 #11 chord (C major 7 with an F# in it) and the E 7 flat 13 chord (E7 with a C natural added to it). All of
the Melodic Minor Modes have a long stretch of whole steps in the case below, C - D - E - F# - G#. The whole
tone scale has an ethereal, unrestful sound to it. Try shifting into the E whole tone scale over the E7 chord, as well.
modes to use:
progression:
C Lydian
||:
Cmaj7
E Mix Flat 6
||
E7
Below is another softened chord change.

Bb Lydian Dom
C Ionian
||:
Cmaj7
||
Bb7
We can continue by using any of the C Major Modes in the same way:
A Aeolian
||:
Am7
Bb Lydian Dom
G Mix
||:
G7
||
Bb7
Bb Lydian Dom
||
Bb7
Here the Melodic Minor Mode is susbstituted in place of the Aeolian. The Major 7 in the C Melodic Minor is the
same note as the 3 in the G Mixolydian.
G Mix
||:
G7
C Melodic Minor
Cmmaj7
18
||
Substitutions
Try the two modes below over the following:
modes to use:
progression:
G Mix
||:
G Super Locrian
G7
G Mixolydian
||: G7
||
G7
C Ionian
G Super Locrian
Cmaj7
G7
C Ionian
||
Cmaj7 :
Try substituting Mix b6 and Lydian Dominant in any progression where the Mixolydian can be used.
In the following progression Db7 and G7 are used interchangeably. Db Super Locrian has all the same notes as
G Lydian Dominant.
Db Super Loc
||: Db7
C Ionian
|
|
D Locrian
||: Dm7-5
Cmaj7
G Mix (or Mix b6)
D Aeol b5
||: Dm7-5
Db Super Loc
G Mix b6
C7
||
C Ionian
G7
G7
C Ionian
Cmaj7
||
C Melodic Minor
G7
19
Cmmaj7
||
In Closing
Contained in this book is everything you need to know to become thoroughly familiarized with the Modes based
on the Melodic Minor Scale. There are 4 books in this series:
The Modal Guitarist Part I
Modes from the Major Scale
The Melodic Major or Natural Modes

The Melodic Minor Modes
Modes from the Melodic Minor Scale
The Modal Guitarist Part III The Harmonic Minor Modes

Modes from the Harmonic Minor Scale
The Modal Guitarist Part IV The Harmonic Major Modes

Modes from the Harmonic Major Scale
20

Modes2

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Modes2

Uploaded by

Copyright:

Available Formats

The Modal Guitarist Part II

Melodic Minor Modes

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Modal Guitarist Part II

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

What are modes for?

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The first finger may occasionally

The fourth finger occasionally needs

Notation method in this book

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Melodic Minor Modes

The Melodic Minor Scale

The intervals are as follows:

Typical chord progression for using the A Melodic Minor

Typical chord progression for using the

III+ The Lydian Augmented

ii The Dorian b2 Mode

Typical chord progression for using the C Lydian Augmented Mode:

copyright 2006 John Ruffi

This mode has the #4 of a Lydian, and the b7 of a Mixolydian.

2 again, just like 2the name says,

Typical chord progression for using the E Mixolydian b6 Mode:

Typical chord progression for using the D Lydian Dominant Mode:

Modal Guitarist Part II Melodic Minor Modes

See page 19 for more uses of this mode.

for using the

Playing a chord using all of the

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

III+ Lydian Augmented

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

Every Mode Within Every Other Mode

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Melodic Minor Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Dorian Flat 2 Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Lydian Augmented Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Lydian Dominant Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Mixolydian Flat 6 Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Aeolian b5 Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Super Locrian Mode in 7 Positions

Modal Guitarist Part II Melodic Minor Modes

copyright 2006 John Ruffi

The Whole Tone Scale

The Chromatic Scale