GUITAR THEORY

Using the Melodic Minor Scale

http://www.youtube.com/watch?v=9x39WqDrW-k
By Andrew Wasson
Visit: www.creativeguitarstudio.com

SECTION ONE:
Harmony & Scale Overview of Melodic Minor...
CLASSICAL Vs. JAZZ THEORY WHEN USING MELODIC MINOR:
The Melodic Minor Scale is generally defined using the Classical music theory approach of showing
Melodic Minor ascending and the Natural Minor descending. It is important to keep in mind that it’s
use classically does not define it’s overall use in general. For example; in Jazz theory we apply
Melodic Minor as a scale unto itself, (both ascending and descending), using only the notes found in
the Melodic Minor. Thus, in Jazz circles, Melodic Minor is often referred to as the, “Jazz Minor.”

When using melodic minor to create progressions and melodies, I have to state that, on it’s own, this
scale can be somewhat difficult to create contemporary sounding songs from. However, that said, I
do have some suggestions in thisMelodic Minor
handout to help Scaleprogressions and melodies with it.
with creating

Analyzing the Melodic Minor (Jazz Minor) scale and it’s harmony.

Scale:

& œ œ œ œ œ
œ œ b œ
C, D, Eb, F, G, A, B, C
Melodic
b
Minor Harmony
1, 2, 3, 4, 5, 6, 7, 8

Harmony:

œœ œœœ
mi, mi, aug, ma, ma, dim, dim, mi

œ œ œ
œ b œ
œ
& b œœœ œœœ œœ œœ œ œ œ
Cm, Dm, Eb+, F, G, Ao, Bo, Cm

© Creative Guitar Studio 2012

 Using the Melodic Minor Scale
Page (2)

SECTION TWO:
Creating Melodies with Melodic Minor Scale...
One of the issues with Melodic Minor is that it can be difficult to make melodies with.
To help with getting melodic ideas rolling along as quickly as possible, I’d like to begin
my first examples with a unique melodic minor pentatonic concept I use with the
students here at Creative Guitar. This idea works around taking a five-note group from
the melodic minor scale and using it as a way to get melodies started from within the
unique color of Melodic Minor.
This Pentatonic is quite unique, since within it’s first octave, I apply the major 7th
interval, but in it’s second octave run, I substitute the Ma7th for a Major 6th. Try building
other patterns of this unique pentatonic around the neck. Once you begin working on
using it for the creation of melody, I think you’ll really dig it.

Example P#1). “B Melodic Minor – Pentatonic,” placed in the 7 fingerboard position.

A Example #1). th

V
gV gV V V V V V
= 92

V
I 44 P V V gV e V f V V V V eV
gV V V V
1 A
Example #1).

V V U
gV gV V7 10 V7 V V V
= 92

I
T 4
4
V gV eV fV V V V V eV
gV V V V
V V U
1
7 9 9 7
A 7 9 9 7
8 9 9 8
B 7 9 9 7
7 10 7 10 7 10 7 (7)
T 7 9 9 7
A 7 9 9 7
8 9 9 8
BBExample #2). 7 9 9 7

gV gV V V V V e V
7 10 10 7 (7)

I e V f V V V Minor
Example
5

V V V
#2). gV “B Melodic gV
– Pentatonic,”
V
placed in the 2nd fingerboard position.
V V gV V V U
gV
B Example #2).

V gV gV V V
I V g V eV fV V V V eV
gV V V V
V V gV gV V V U
5
2 4 2
T 3 5 5 3
A 3 4 4 3
2 4 4 2
B 2 5 2 4 2 5 2 2 (2)
T 3 5 5 3 4 2 4
A 3 4 4 3
2 4 4 2
2 5 #3a).
CBExample No Major 7th Tone 5 2 #3b). With Major
D Example 2 7th Tone
(2)

gV gV V V gV gV gV V V gV
4 2 4

9
I V gV V V V V
C Example #3a). No Major 7th Tone
V eV fV V V V
D Example #3b). With Major 7th Tone
gV gV V V gV gV gV V V gV
9
I
T 9 7
V gV V V V V 9 7
V eV fV V V V
A 9 7 6 7 9 7 6 7
9 6 9 9 8 9
B
T 9P 7 P sl. P 9 P7 P sl. P
A 9 7 6 7 9 7 6 7
9 6 9 9 8 9
EBExample #4). Targeting the b3rd & 5th degrees

gVV VV gVV VV V & 5th degrees

V V
P P sl. P P 2012 P sl. P

V
© Creative Guitar Studio
13
I u
E Example #4). Targeting the b3rd
u gV W
gV V V V V V
 7 10 7
T 7 9 9 7
A 7 9 9 7
8 9 9 8
B 7 9 9 7
7 10 Using the Melodic Minor Scale 10 7 (7)
Page (3)
B Example #2).

V gV gV V V V V e V
SECTION TWO cont...
I V V gV e V f V V gV V V V
V gV gV V V U
5

V V V #3a and 3b, I have another2situation

V Vexamples
gV gIn V V T V V eV 4 2 I’m using that deals with either
gV major
2 4 V V V
3 5 5 3
applying or leaving out that 7th degree. Check4 these out.
U
A 3 4 3
4 2
B 2 5 5 2 2 (2)
4 2 4
7 10 7
7 Example
9 #3a).
9 7
9 No Major
7 7th interval present.
9 #3a).
C Example 8 No Major 7th Tone D Example #3b). With Major 7th Tone
gV gV V V gV10 7 gV gV V V gV
9 7

V V V V V V eV fV V V V
(7)
9
I gV
gV gV V V V V e V
gV AV
T 9 7 9 7
V V gV V V 9 7 6
U9
7 9 7 6 7

gVP sl.
9 6 9 8 9
B
P P P P sl. P
2 4 2
5 3
4 3 E Example #4). Targeting the b3rd & 5th degrees

g5V 2 have
4 V 2 V4 V
4 2
V as ex.
V #3a, but with the Maj. 7 added.
V gV V V I V V
And, below we basically the2 same (2)
lick th

u u
13
gV W
Example #3b). With the Major 7th interval included.
D Example #3b). With Major 7th Tone
gV 23gV V V 22gV
V V V V V e4V f V 5V V (5)V
T 3
A 4
B

9 7
7 9 Connecting
F Example #5). 7 6 7 the neck
multiple patterns across
9 9 8 9

16
I PV V gPV sl.V gV PV V gV V V gV gV e V V V
degrees

V V V
Performance Notes:
T 3 7 7 7

u gV W B
Melodic Minor can
A be 4
challenging
4 to create4
6
melodies 7 9
and 6
harmonies 8 with. It’s minor 3rd degree mixed
with all of it’s upper tones being essentially
5 4 5 a major scale, can make the tonal color somewhat difficult
sl.
to create melodies that sound common to contemporary music. However, through study and practice
5 (5) 3
at applying this scale, it can end up offering Generated
some using
very cool ideas.
the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
4

tterns across the neck

gV V V gV gV e V V V

© Creative Guitar Studio 2012

7 7 7
6 7 9 6
8

sl.
 T V 7 9 9 7
V gV gV V V U
A 7 9 9 7
8 9 9 8
B 7 9 2 4 2 9 7
T 7 10 3 5 5 3 10 7 (7)
3 4 4 3
A 2 Using
4 the Melodic Minor 4Scale
2
B 2 5 5 2 2 (2)
B Example #2). Page (4) 4 2 4

V gV gV V V V V e V
I V V gV e V f V V
5 C Example #3a). No Major 7th Tone
gV VgV V V
gV gV V V gV gV gVV gV gVV VV e V f V U V V V
D Example #3b). With Major 7th Tone

V gV V V V V
SECTION TWO cont...
9
I
2 4 2
T 3 5 5 3
In example #4,AI have a2 phrase
4
3 4 that is targeting into4 two
3
4
of my
2
favorite resolution tones
T 9 7 rd th 9 5 72
from Melodic Minor,
B 2 the
5
9Minor
7 6 3 and the perfect
7 5 . 94 72 46
2 (2)
7
A 9 6 9 9 8 9
B
Example #4). CBExample
Melodic P beginning off of a Minor 3rd Pand Perfect 5Pth7thdyad.
#3a). Minor lick
P PNo Major
sl. 7th Tone P sl.
D Example #3b). With Major Tone

gV gV Targeting the b3rd & 5th degrees

V V gV V tone, gV gV
(F#).
V V gV V e V f V V V V
gV V V V V
th
Resolution occurs into the perfect 5
I
E Example #4).

gV VV gVV VV V
9

V V
13
I V u u
V
gV W
T 9 7 9 7
A 9 7 6 7 9 7 6 7
2 2 9 6 9 9 8 9
T
B 3 2 5 (5) 3
A 4
P P sl. P 4 P P sl. P
B
E Example #4). Targeting the b3rd & 5th degrees

gVV #5).
areVV excellent
gVV VV V for starting
V orV finishing
V off your licks, lines or runs when using
I
V ggetting
V W Va handle
Connecting multiple patterns across the neck
NOTE: b3, and13 5th tones
u
F Example

V in the early u days when you’re

gV V V gjust V gV e V
I V gV
Melodic Minor, (especially on Melodic Minor).
16
2 V2 gV V V
T 3 2
(5) 3 5
A 4
4
T
B 3 7 7 7
4 6 7 9 6
Example #5). This
A example
4 uses several
4 patterns of Melodic
8 Minor in an along the
B 5 4 5
neck fashion.
F Example #5). Connecting multiple patterns across thesl.neck

16
I V V gV V gV V V gV V V gV gV e V V V
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

T 3 7 7 7
A 4 6 7 9 6
4 4 8
B 5 4 5
sl.

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

© Creative Guitar Studio 2012

 Using the Melodic Minor Scale
Page (5) - Video Opening Guitar Jam
P = 107
A Section

b ` b Fb
V e V
A m7 5 F sus4

gW
Bm D+ Bm E

P V gV W gV gV V V gV V V V gV
1
I 44 V V gV V gV V V gV V
z gV V u u

T 3 7 9 7 12 11
A 4 6 7 7 9 9 7 6 7 9 11
4 4 8
B 5 4 5

b ` b b
sl. P P sl. H

V gV V gV V V V V V gV V
Bm D+ Bm E A m7 5 F sus4 F

V gV V V V gV V e V gV
5
I V V V gV V W e V gV V V gV W
3

T 12 14 15 14 7 9 7
A 11 11 11 11 11 13 11 11 11 7 9 6 7 9
12 14 12 11 9 8 9 8
B
H P H H

TG
B Section
b b To Coda

W V eV V V W V eV f V gV V V V
F F

gV V V V gV V V
G

9
I gV u u V V gV

T 8 11 8 7 8 11 12 7 7
A 9 7 6 9 9 7 7 6
9 8
B

C Section (optional Gtr Solo)

b ` b Fb

gV V gV W
Bm D+ Bm E A m7 5 F sus4

P V gV W gV gV V V gV V V V
13
I V V gV V gV V V gV V
z gV V u u

T 3 7 9 7 12 11
A 4 6 7 7 9 9 7 6 7 9 11
4 4 8
B 5 4 5
sl. P P sl. H

b ` b bD.S. al Coda S Fine

gV
V gV V V V V V gUUUU
Bm D+ E A m7 5 F sus4 F Bm

V gV V V V gV V V V gV V gV gV V W e V gV V V gV W
17
I gV V V gUU
3

7
T 12 14 15 14 7 9 7 7
A 11 11 11 11 11 13 11 11 11 7 9 6 7 9 7
12 14 12 11 9 8 9 8 9
B 9
H P H H
7

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

“Creativity is the end result of all true learning.”

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© Creative Guitar Studio 2012