The melodic minor scale ae In jazz this refers to the ascending form of this scale, which is like a ‘major scale with a b3, and is played in both directions. The classical descending form is referred to as the natural minor, or the Acolian mode. Let’s compare the chords generated by the melodic minor to those found in the harmonic and natural minors (Figs 10.11 and 10.12). Notice that the first — five notes of these three scales are the same — the difference lies in 6 and 7. Fig 10.3712): € melodic minor scale andthe chords constructed from it cm! Dm BMY FTG? ASB a7 voveow wi — toon The melodic minor is very important because many of its modes are found disguised as other scales, one of which is the altered scale: Fig 10.371: The seventh mode of C melodic minor Balt (altered scale) a [Although the VIl chord in the melodic minor scale is Bo, this scale best fits an altered dominant chord (B7alt), since it contains the major third, D# (same as Eb). ‘One way to find the notes of an altered scale is to think up a semitone from the root of the dominant chord, giving the relevant melodic minor (eg: for G7alt, think Ab melodic minor). To generate R235 patterns for the altered (or any other scale) it is not necessary to think in terms of four-note chords as in Fig 10.37(a) — triads are sufficient: Fig 10.38: Triads belonging to G altered scale Galt ce Am Bm BY DP EP r be bP: 9 9 ad R Memorise the result as follows: For any altered scale, there are: @ Diminished triads on R and 7 (tone apart) @ Augmented triad on 3 jnor triads onb9 and #9 (tone apart) {© Major triads onbS and 5 (rone apart) Notice that the two major triads a tone apart are the same ones we played in the right hand for altered dominant polychords (see Fig 9.3). By adding a second to each of the triads in Fig 10.38 (using only notes from the altered scale), you'll generate a set of R235 patterns that will work over G7alt, In the next section we'll apply this concept to all three chords in aminor H-V-I. 249