{"id":2959,"date":"2015-11-28T16:47:40","date_gmt":"2015-11-28T15:47:40","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=2959"},"modified":"2024-11-26T14:19:34","modified_gmt":"2024-11-26T13:19:34","slug":"how-to-use-the-melodic-minor-scale","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/how-to-use-the-melodic-minor-scale\/","title":{"rendered":"How to Use the Melodic Minor Scale"},"content":{"rendered":"

The melodic minor scale is built of seven notes. It contains a minor third (b3) and major sixth (6), but also has a major seventh (7) which gives it a unique sound compared to other minor scales such as the Dorian mode. Outside of the major scale system, the melodic minor scale is the most important modal system in jazz.<\/span><\/p>\n

When first exploring melodic minor concepts in your studies, tackling the first mode, the melodic minor scale itself, is the best place to begin.<\/p>\n

Used by every major jazz guitarist in their solos to color minor-family chords<\/a>, the melodic minor scale is an essential sound to have under your fingers as you continue to the next stage in your development.<\/p>\n

In this lesson, you’ll learn how to use the melodic minor scale, how to finger this scale on the fretboard, and study a sample solo over the Miles Davis<\/a> standard “Solar.”<\/p>\n<\/span><\/span>\n

Melodic Minor Scale Fingerings<\/h2>\n

Before you begin applying the melodic minor scale to your soloing lines and phrases, here are two fingerings for this scale that you can learn on the guitar.<\/p>\n

But first, let’s look at how to build a melodic minor scale from an interval standpoint.<\/p>\n

A melodic minor scale contains the b3 interval, just like any minor based-mode, but it has a major 7th interval that gives it a unique sound compared to the Dorian mode.<\/p><\/blockquote>\n

Here is a chart that breaks down the interval pattern for both Dorian and melodic minor for comparison:<\/p>\n

 <\/p>\n\n\n\n\n\n\n
D Dorian<\/th>\nD<\/th>\nE<\/th>\nF<\/th>\nG<\/th>\nA<\/th>\nB<\/th>\nC<\/th>\n<\/tr>\n
<\/td>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\n6<\/td>\nb7<\/td>\n<\/tr>\n
D Melodic Minor<\/th>\nD<\/th>\nE<\/th>\nF<\/th>\nG<\/th>\nA<\/th>\nB<\/th>\nC#<\/th>\n<\/tr>\n
<\/td>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\n6<\/td>\n7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

After you’ve studied the interval structure for melodic minor, it’s time to take it to the fretboard.<\/p>\n

The first fingering begins with the root note on the 6th<\/sup> string and runs up the fretboard from there.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Moving on, here\u2019s a shifting pattern with the root note on the 5th<\/sup> string that you can practice and apply to your soloing lines and phrases.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

After you can play either of these fingerings, work them in multiple keys with a metronome, at various tempos from very slow to as fast as you can.<\/p>\n

Melodic Minor Scale Over Im7 Chords<\/h2>\n

Now that you know a few fingerings for the melodic minor scale, it\u2019s time to take it to your soloing practice routine.<\/p>\n

The first chord that you\u2019ll apply this scale to is the Im7 chord, often found at the end of a minor key ii V I chord progression<\/a>. When you apply the melodic minor scale to a Im7 chord, you\u2019ll be highlighting the major 7th<\/sup> interval against that chord.<\/p>\n

This interval will cause a bit of tension over a Im7 chord, so you\u2019ll have to play with it in your solos to see how you want to handle that tension in your lines. You can resolve that tension, or you can let it hang if you want.<\/p>\n

To help you take this concept to your soloing practice, here are three sample licks that you can learn and apply to your own jazz guitar solos. Start by learning each lick in the given key, then take them to other keys and tempos from that starting point. When you\u2019re ready, work on soloing over minor key ii V I changes and apply the melodic minor scale to the Im7 chord in that progression.<\/p>\n

To begin, this line uses a Wes Montgomery inspired phrase to bring the melodic minor scale to the Im7 chord in this progression.<\/p>\n

 <\/p>\n

Melodic Minor Lick 1<\/h3>\n

Listen & Play Along<\/i>
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 <\/p>\n

Melodic Minor Lick 2<\/h3>\n

The second line uses the C# note to create tension in both an enclosure<\/a> and parallel 3rds manner over the Dm7 chord.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Melodic Minor Lick 3<\/h3>\n

Moving on, here\u2019s a classic melodic minor lick over the Dm7 chord. If you dig this line, take it out of the lick and apply it to other situations in your solos.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Melodic Minor Scale Over iim7 Chords<\/h2>\n

The other common function for minor chords in jazz, beyond the Im7 chord, is the iim7 chord.<\/p>\n

This chord is found in countless tunes, from being entire sections in So What<\/a>, to being a part of the classic ii V I progression<\/a>, and everything in between.<\/p>\n

As well as using the Dorian mode<\/a> to solo over iim7 chords, you can add a bit of tension to this chord change using the melodic minor scale.<\/p>\n

When playing melodic minor over a iim7 chord, you\u2019ll highlight the same major 7th<\/sup> interval over that chord as you did with the Im7 chord. This note, the major 7th<\/sup>, is the tension that you\u2019ll have to resolve when applying melodic minor to iim7 chords in your solos.<\/p>\n

To help you apply this concept to your playing, here are a few sample licks that you can study that use melodic minor over the iim7 chord in a ii-V-I-VI progression.<\/p>\n

 <\/p>\n

Melodic Minor Lick 4<\/h3>\n

This first lick uses D melodic minor over the Dm7 chord, creating a bit of tension with the C# note that\u2019s then resolved into D in both instances.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Melodic Minor Lick 5<\/h3>\n

Moving on, the second lick features the same D melodic minor scale over Dm7.<\/p>\n

Once you can play both of these licks, in a few keys and at various tempos if possible, you can practice soloing over ii V I VI changes, using melodic minor over the iim7 chord.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Melodic Minor Scale Over iim7 V7 Chords<\/h2>\n

As well as soloing over iim7 chords with the melodic minor scale, you can continue to use that same scale over the V7 chord in a iim7-V7 chord progression.<\/p>\n

When doing so, you create a Lydian Dominant sound<\/a> over that V7 chord. The Lydian dominant scale is one of the modes of the melodic minor scale<\/a>.<\/p>\n

This is because if you\u2019re playing over a Dm7-G7 progression, D melodic minor produces the G Lydian dominant mode.<\/p>\n

G Lydian dominant uses the same notes as D melodic minor, just played from G to G.<\/p>\n

Here\u2019s a chart to help you visualize the D melodic minor scale over each chord:<\/p>\n

 <\/p>\n\n\n\n\n\n\n
D Melodic Minor<\/th>\nD<\/th>\nE<\/th>\nF<\/th>\nG<\/th>\nA<\/th>\nB<\/th>\nC#<\/th>\n<\/tr>\n
<\/td>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\n6<\/td>\n7<\/td>\n<\/tr>\n
G Lydian Dominant<\/th>\nG<\/th>\nA<\/th>\nB<\/th>\nC#<\/th>\nD<\/th>\nE<\/th>\nF<\/th>\n<\/tr>\n
<\/td>\n1<\/td>\n2<\/td>\n3<\/td>\n#4<\/td>\n5<\/td>\n6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

To help you take this concept to your soloing, here are a few sample lines that you can learn and apply to your improvisations.<\/p>\n

 <\/p>\n

Melodic Minor Lick 6<\/h3>\n

In this first line, you\u2019ll use a classic melodic minor phrase over Dm7, followed by another essential Lydian dominant line over G7.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Melodic Minor Lick 7<\/h3>\n

In the next line, you\u2019ll be running up and down a D melodic minor scale over both Dm7 and G7 in this ii-V-I-VI chord progression.<\/p>\n

Notice how the C# stands out over both chords, it adds a bit of tension that is then resolved as you continue through the line.<\/p>\n

This is the key to using melodic minor over ii V chords,<\/strong> that you resolve the tension that is created with this scale over each chord in the progression.<\/p>\n

 <\/p>\n

Listen & Play Along<\/i>
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 <\/p>\n

Solar Melodic Minor Scale Solo<\/h2>\n

To finish your study of the how to use the melodic minor scale, here\u2019s a sample solo over the Miles Davis tune Solar, using melodic minor over each iim7-V7, and Im7 chord.<\/p>\n

Work on the solo in chunks to make it easier to learn, four-bars<\/strong> at a time is a good way to break it up, before playing the solo as a whole.<\/p>\n

 <\/p>\n

Backing Track<\/i>
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\n\"How<\/a><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The melodic minor scale is built of seven notes. It contains a minor third (b3) and major sixth (6), but also has a major seventh (7) which gives it a unique sound compared to other minor scales such as the Dorian mode. Outside of the major scale system, the melodic minor scale is the most […]<\/p>\n","protected":false},"author":2,"featured_media":2960,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[39],"tags":[],"class_list":["post-2959","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guitar-scales"],"_links":{"self":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/2959","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=2959"}],"version-history":[{"count":0,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/2959\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/2960"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=2959"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=2959"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=2959"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}