Melodic Minor Scale Harmony

The ‘Jazz’ Melodic Minor Scale differs slightly from the classical form as it retains the same
intervallic structure both ascending and descending. (The classical scale has a lowered 6th and
7th degree in the descending form). This scale is very popular with jazz composers and
improvisers and many compositions employ both a functional and modal use of the scale. (n.b.
the parent scale can also been viewed as a major scale with a lowered or minor third.)

The scale is constructed by placing a tone (whole-tone) between a minor and a major
tetrachord. The scale contains two tritones, which are located between the third and sixth
degrees and the fourth and seventh degrees.

As a result of this, the parent scale produces three dominant chord/scales: Lydian b7,
Mixolydian b6 and Super Locrian (or ‘altered’ scale)

(The melodic minor scale is illustrated below from a tonic pitch of C.)

The ‘Jazz’ Melodic Minor Scale

The Melodic Minor scale also generates seven distinct modes, each of which is constructed
over one octave. These modes directly correspond to the harmonic structures (triads, seventh
chords etc.) built on each degree of the parent minor scale.

One of the most significant factors to note with the ‘Jazz’ Melodic Minor scale is that it can
support interchangeable voicings and melodic lines. The scale is constructed in such a way that
any harmonic structure or melodic line can be employed as (or played over) any one of the
seven modes.

Modal Names

To distinguish one mode from another within the scale, titles are associated with each one
although unlike the major scale, there isn’t universal agreement on these.

The modal scales from the Melodic Minor scale are usually named as follows:

• Ionian Minor (I) (also Ionian b3 or Dorian §7)

• Dorian b2 (II) (also Phrygian § 6)
• Lydian Augmented (III) (also Lydian #5)
• Lydian b7 (IV) (also Lydian Dominant)
• Mixolydian b6 (V) (also Aeolian §3)
• Locrian b2 (VI) (also Locrian § 9)
• Super Locrian (VII) (also ‘Altered’ Scale or Dim-W/Tone)

(For a more detailed explanation of each mode’s characteristics please read the following
summary).
Summary of the Modes

The following summary provides a brief overview of each of the melodic minor scale modes
and provides some sample voicings both in a functional and modal setting.

Some of the modes are extremely common and appear in many compositions and
arrangements, others are less prevalent and are only employed occasionally.

In certain functional situations, modal voicings can be employed to enrich the harmony and
this is a common feature of contemporary piano/guitar vocabulary.

[The musical example below illustrates all the modes of the melodic minor scale, beginning on the first degree of the
scale (i.e. Ionian Minor, Dorian b2, Lydian Augmented, Lydian Dominant, Mixolydian b6, Locrian (nat.2),
and Super Locrian modes]

Ionian Minor Mode

The Ionian Minor mode is the parent melodic minor scale constructed from the tonic pitch. It
is associated with Minor/major7th (mΔ7) chords or tonic functioning minor family chords such
as those found in many jazz standards and Latin compositions.

• Ionian Minor Scale formula: R, 2, b3, 4, 5, 6, 7

Dorian b2 Mode

The Dorian b2 (minor) mode is constructed from the second degree of the parent minor scale
and is characterised by a b2, b3 and b7. It is found in both functional and modal settings
although is more common in the latter.

In a functional setting the chord usually appears as a replacement for a dominant seventh flat-
nine chord or precedes the same chord type.

• Dorian b2 Scale formula: R, b2, b3, 4, 5, 6, b7

Lydian Augmented Mode

The Lydian Augmented mode is constructed from the third degree of the parent minor scale
and is characterised by a #4, #5 and major 7th.

This mode is quite common in contemporary jazz harmony and voicings for the Lydian
Augmented (Lydian#5) chord generally do not discriminate between modal and functional
usage.

In a functional situation, the augmented major seventh chord can be substituted for a major
seventh or major seventh #11 chord

(n.b. The augmented major seventh chord was popular with classical composers such as
Prokofiev and Bartok)

• Lydian Augmented Scale formula: R, 2, 3, #4, #5, 6, 7

Lydian Dominant (b7) Mode

The Lydian b7 mode is constructed from the fourth degree of the parent minor scale and is
characterised by a #4 and b7. This mode is commonly employed in both functional and modal
situations. In a functional setting this mode usually appears as a secondary dominant (II7) or
tritone substitution for V7. It can also be found as bVII resolving back to I.

In addition, any tonic functioning dominant seventh can be interpreted as a Lydian Dominant
chord, such as in a Blues progression.

The Lydian Dominant chord is rarely used as a V7 chord as it lacks the tension offered by
altered dominants or diminished forms of the dominant chord.

• Lydian b7 Scale formula: R, 2, 3, #4, 5, 6, b7

Mixolydian b6 Mode

The Mixolydian b6 mode is constructed from the fifth degree of the parent minor scale and is
associated with a dominant7 b6 chord. This mode is used less commonly than other melodic
minor modes but can be found is some well-known jazz compositions, such as Herbie
Hancock’s ‘Dolphin Dance’.

In a functional or modal situation the Mixolydian b6 chord can be employed as a substitute for
a dominant 7th sus4 chord. It can also act as a dominant seventh resolving to a major seventh
with the same root.

• Mixolydian b6 Scale formula: R, 2, 3, 4, 5, b6, b7

Locrian (nat.2) Mode

The Locrian (nat 2) mode is commonly found in functional situations and is often used as an
alternative for VIIm7b5. The chord can also appear in mixed modal or combined harmonic
schemes.
The natural 9th (2nd) adds stability to the otherwise unstable Locrian tonality. Locrian (nat 2)
voicings are generally not specific to functional or modal applications. Provided that the natural
ninth does not clash with a given melody note the chord can be used as a substitute for any
minor seventh flat 5 chord in a functional progression.

• Locrian (nat 2) formula: R, 2, b3, 4, b5, b6, b7

Super Locrian (‘altered’) Mode

The Super Locrian mode is constructed from the seventh degree of the parent minor scale and
is also known as the ‘Altered Scale’ or ‘Diminished Whole-Tone Scale’. It is the modal scale
that offers all the possible alterations of the dominant seventh chord.

It is important to note that the diatonic seventh chord constructed from the seventh degree of
the parent scale is a minor seventh flat five chord, which has to be revoiced into a dominant
seventh chord.

The scale is frequently employed in functional harmony to add tension to V7. The altered form
of the dominant seventh chord was popularised by musicians of the bebop era and is still a
fundamental part of modern jazz harmony.

Due to the tension implied within the mode the use of the altered scale is not common in pure
modal harmonic schemes.

Super Locrian Scale formula: R, b2, b3, b4(3), b5, b6, b7

Triads from the ‘Jazz’ Melodic Minor Scale

Illustrated below are the primary triads generated from the ‘Jazz’ Melodic Minor scale, up to
(and including) the repetition of the tonic triad at the first octave. The examples below are all
illustrated in close-position voicings for ease of reading, however it is important to be familiar
with these triads in all their inversions (i.e. root position, first inversion, second inversion etc...)
and voicings.

These triads can be further expanded (by the addition of an additional diatonic pitch) into
four-note structures and presented as ‘seventh’ chords, i.e. min7th, Δ7, min7thb5 (ø) etc..)

Primary Seventh Chords from the ‘Jazz’ Melodic Minor Scale

The illustration below documents the diatonic seventh chords generated by the ‘Jazz’ Melodic
Minor Scale all of which are in common use within Jazz, Latin and contemporary music
composition.

Upper Structure Voicings

The common upper structure for creating modal chord voicings is the augmented major
seventh chord, which occurs on the third degree of the scale.