{"id":7520,"date":"2018-04-29T21:41:49","date_gmt":"2018-04-29T19:41:49","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=7520"},"modified":"2026-02-28T23:00:30","modified_gmt":"2026-02-28T22:00:30","slug":"melodic-minor-modes","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/melodic-minor-modes\/","title":{"rendered":"Modes Of The Melodic Minor Scale For Guitar"},"content":{"rendered":"

The melodic minor scale is one of the most useful scales in jazz. It\u2019s the foundation for several important modes that are used over dominant, minor, and altered chords.<\/p>\n

In this lesson, you\u2019ll learn the 7 modes of the melodic minor scale, how they look on the guitar, and how to use them in your solos.<\/p>\n

All examples are shown with an A root so you can clearly hear the differences between the modes, and each one includes a sample lick to put the sound into context.<\/p>\n

If you\u2019re new to modes, make sure you first learn the modes of the major scale<\/a>. And if you\u2019re looking for a practical introduction to when and how to use the melodic minor scale in jazz, check out our separate lesson How to Use the Melodic Minor Scale<\/a>.<\/p>\n

 <\/p>\n<\/span><\/span>\n

 <\/p>\n

What Is the Melodic Minor Scale?<\/h2>\n

The melodic minor scale is a minor scale with a raised 6th and 7th degree.<\/p><\/blockquote>\n

In classical music, the scale is played differently ascending and descending, but in jazz it is played the same in both directions.<\/p>\n

For example, A melodic minor contains the notes:<\/p>\n

A – B – C – D – E – F# – G#<\/p>\n

Compared to the natural minor scale, the 6th and 7th are raised. Compared to the harmonic minor scale<\/a>, only the 6th is different.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n
A Melodic Minor Scale<\/th>\nA<\/td>\nB<\/td>\nC<\/td>\nD<\/td>\nE<\/td>\nF#<\/td>\nG#<\/td>\n<\/tr>\n
<\/th>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\n6<\/td>\n7<\/td>\n<\/tr>\n
A Harmonic Minor Scale<\/th>\nA<\/td>\nB<\/td>\nC<\/td>\nD<\/td>\nE<\/td>\nF<\/td>\nG#<\/td>\n<\/tr>\n
<\/th>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\nb6<\/td>\n7<\/td>\n<\/tr>\n
A Natural Minor Scale<\/th>\nA<\/td>\nB<\/td>\nC<\/td>\nD<\/td>\nE<\/td>\nF<\/td>\nG<\/td>\n<\/tr>\n
<\/th>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\nb6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

This change in interval structure gives the melodic minor scale a brighter, more modern sound and makes it especially useful in jazz harmony and improvisation.<\/p>\n

 <\/p>\n

What are modes?<\/strong><\/h2>\n

A mode is a scale that is built from the same notes as another scale, but starting on a different note. Changing the starting note creates a different sound, even though the notes are the same.<\/p><\/blockquote>\n

For example, if you take the melodic minor scale and begin on each of its seven notes, you get seven different modes. Each mode has its own interval structure and characteristic sound, even though they all contain the same notes.<\/p>\n

On the guitar, this means you can use the same group of notes over different chords and create very different harmonic colors depending on which note feels like the tonal center.<\/p>\n

 <\/p>\n

The 7 Modes of the Melodic Minor Scale<\/h2>\n

Here’s a list of the 7 modes of the melodic minor scale. The most commonly used modes in jazz are bold<\/strong>, the other are more “exotic” and appear less often.<\/p>\n

    \n
  1. Melodic minor scale (jazz minor scale)<\/strong><\/li>\n
  2. Dorian b2 (Phrygian #6)<\/li>\n
  3. Lydian augmented<\/li>\n
  4. Lydian dominant (overtone scale)<\/strong><\/li>\n
  5. Mixolydian b6<\/li>\n
  6. Aeolian b5 (Locrian #2)<\/li>\n
  7. Altered scale (Super Locrian)<\/strong><\/li>\n<\/ol>\n

     <\/p>\n

    1. A Melodic Minor Scale<\/h3>\n

    Other Names<\/strong>: Jazz Minor Scale
    \nUse On<\/strong>: minor chords, min\/maj7 chords<\/p>\n

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

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"A<\/p>\n

     <\/p>\n

    This melodic minor scale lick is based on a Wes Montgomery idea<\/a> that brings to mind the classic solos of this legendary player.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"melodic<\/p>\n

     <\/p>\n

    2. A Dorian b2 Scale<\/h3>\n

    Other Names<\/strong>: Phrygian #6
    \nUse On<\/strong>: b9sus4 chords<\/p>\n

     <\/p>\n\n\n\n\n
    A Dorian b2 Scale<\/th>\nA<\/td>\nBb<\/td>\nC<\/td>\nD<\/td>\nE<\/td>\nF#<\/td>\nG<\/td>\n<\/tr>\n
    Formula<\/th>\n1<\/td>\nb2<\/td>\nb3<\/td>\n4<\/td>\n5<\/td>\n6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"A<\/p>\n

    Here, you will play a line that uses an extended Bb note (the b9) to emphasize that color tone over the underlying chord.<\/p>\n

    When applying lesser-used modes such as this one, it’s always a good idea to emphasize the characteristic note to make it sound intentional and not like a mistake in your lines.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"melodic<\/p>\n

     <\/p>\n

    3. A Lydian Augmented Scale<\/h3>\n

    Other Names<\/strong>: Lydian #5 scale
    \nUse On<\/strong>: maj7#5 chords<\/p>\n

     <\/p>\n\n\n\n\n
    A Lydian #5 Scale<\/th>\nA<\/td>\nB<\/td>\nC#<\/td>\nD#<\/td>\nE#<\/td>\nF#<\/td>\nG#<\/td>\n<\/tr>\n
    Formula<\/th>\n1<\/td>\n2<\/td>\n3<\/td>\n#4<\/td>\n#5<\/td>\n6<\/td>\n7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"A<\/p>\n

    Here you will use a triplet rhythm, as well as start the line on the #5 of the underlying chord, both common ways to apply this scale to a soloing situation.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"melodic<\/p>\n

     <\/p>\n

    4. A Lydian Dominant Scale<\/h3>\n

    Other Names<\/strong>: Lydian b7, Overtone scale
    \nUse On<\/strong>: dominant 7(#11) chords (also see Tritone Chord Substitution<\/a>)<\/p>\n

     <\/p>\n\n\n\n\n
    A Lydian Dominant Scale<\/th>\nA<\/td>\nB<\/td>\nC#<\/td>\nD#<\/td>\nE<\/td>\nF#<\/td>\nG<\/td>\n<\/tr>\n
    Formula<\/th>\n1<\/td>\n2<\/td>\n3<\/td>\n#4<\/td>\n5<\/td>\n6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"A<\/p>\n

    Here is a lick inspired by the playing of pianist McCoy Tyner, and uses a few leaps and an enclosure of the C# note to add color to the phrase.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"melodic<\/p>\n

     <\/p>\n

    5. A Mixolydian b6 Scale<\/h3>\n

    Other Names<\/strong>: Mixolydian b13 scale, Hindu scale
    \nUse <\/strong>On: dominant 7b13 chords<\/p>\n

     <\/p>\n\n\n\n\n
    A Mixolydian b6 Scale<\/th>\nA<\/td>\nB<\/td>\nC#<\/td>\nD<\/td>\nE<\/td>\nF<\/td>\nG<\/td>\n<\/tr>\n
    Formula<\/th>\n1<\/td>\n2<\/td>\n3<\/td>\n4<\/td>\n5<\/td>\nb6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"A<\/p>\n

    In this lick, you’ll use a rhythm pattern<\/a> to work your way through the scale. Sometimes something as simple as a rhythmic motive can create a good level of interest in your soloing lines.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"melodic<\/p>\n

     <\/p>\n

    6.\u00a0A Aeolian b5<\/h3>\n

    Other Names<\/strong>: Locrian \u266e2 scale, half diminished scale
    \nUse On<\/strong>: m7b5 chords<\/p>\n

     <\/p>\n\n\n\n\n
    A Aeolian b5 Scale<\/th>\nA<\/td>\nB<\/td>\nC<\/td>\nD<\/td>\nEb<\/td>\nF<\/td>\nG<\/td>\n<\/tr>\n
    Formula<\/th>\n1<\/td>\n2<\/td>\nb3<\/td>\n4<\/td>\nb5<\/td>\nb6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    \"A<\/p>\n

    In this Aeolian b5 lick you will focus on the Am9b5 arpeggio<\/a> as you climb up and down that shape to create this line.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

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    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"melodic<\/p>\n

     <\/p>\n

    7.\u00a0A Altered Scale<\/h3>\n

    Other Names<\/strong>: Super Locrian scale, Locrian b4 scale, Diminished Wholetone
    \nUse On<\/strong>: dominant chords<\/a> with altered tensions, also see The Altered Scale<\/a><\/p>\n

     <\/p>\n\n\n\n\n
    A Altered Scale<\/th>\nA<\/td>\nBb<\/td>\nC<\/td>\nDb<\/td>\nEb<\/td>\nF<\/td>\nG<\/td>\n<\/tr>\n
    Formula<\/th>\n1<\/td>\nb2<\/td>\nb3<\/td>\nb4<\/td>\nb5<\/td>\nb6<\/td>\nb7<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"A<\/p>\n

    The final lick in this lesson is based on the playing of\u00a0jazz guitar master Pat Martino<\/a>, and focuses on the BbmMaj7 arpeggio that is diatonic to the scale.<\/p>\n

     <\/p>\n

    Listen & Play Along<\/i><\/p>\n

    \n\t
    \n\t\t
    \n\t\t\t
    <\/div>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
    <\/div>\n\t\t\t\t\t<\/div>\n\t\t
    <\/div>\n\t<\/div>\n\t
    \n\t\t
    \n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t\t
    <\/div>\n\t\t\t
    \n\t\t\t\t
    <\/div>\n\t\t\t<\/div>\n\t\t\t
    <\/div>\n\t\t<\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    <\/div>\n\t\t
    \n\t\t\t
    <\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t
    \n\t\t
    <\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

    \"melodic<\/p>\n \n

    \n

    More Guitar Scale Lessons<\/h3>\n
      \n
    1. 7 Essential Jazz Guitar Scales for Beginners<\/a><\/li>\n
    2. The Minor Blues Scale<\/a><\/li>\n
    3. The Major Blues Scale<\/a><\/li>\n
    4. The Dominant Bebop Scale<\/a><\/li>\n
    5. The Harmonic Minor Scale<\/a><\/li>\n
    6. The Diminished Scale<\/a><\/li>\n
    7. The Whole Tone Scale<\/a><\/li>\n
    8. Exotic Guitar Scales<\/a><\/li>\n<\/ol>\n<\/div>\n

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

      The melodic minor scale is one of the most useful scales in jazz. It\u2019s the foundation for several important modes that are used over dominant, minor, and altered chords. In this lesson, you\u2019ll learn the 7 modes of the melodic minor scale, how they look on the guitar, and how to use them in your […]<\/p>\n","protected":false},"author":15,"featured_media":7528,"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-7520","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\/7520","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\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=7520"}],"version-history":[{"count":4,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/7520\/revisions"}],"predecessor-version":[{"id":18970,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/7520\/revisions\/18970"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/7528"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=7520"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=7520"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=7520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}