IV. | MELODIC MINOR SCALE EXERCISES IELODIC MINOR SCALE & MODES Melodic minor is used quite differently in jazz than in traditional Western art music. Melodic minor and its modes are used as a way of coloring the existing major/minor framework and as a palette for creat- ing new music not based on the major/minor system. Each of the modes of melodic minor has a unique sound and each is linked to a particular chord sound. Chords can be built in thirds off each of the scale notes. ‘The common names of the seven modes of melodic minor are: Melodic Minor Dorian 62 Lydian Augmented Lydian Dominant, Lydian 67 Mixolydian b6 Locrian #2 Superlocrian, Altered, Diminished whole-tone NOaWaeNe There are two ways to define any mode: by its relationship to a single scale; and by its relationship re- lated to a single pitch or root. Both ways are shown in the following examples. ‘The seven melodic minor modes shown in relation to C melodic minor scale: 6 4 L The seven melodic minor modes shown in relation to G melodic minor scale. Bach is paired with its re- lated chord symbol and voicing: 1st mode: C Melodic Minor. Cm™7 2d Mode: D Dorian fat 2 Aap Comprebensive Tecbnigue for Jazz Musicians)Chapter 4 Melodic Minor Scale Exercises 4h mode: F Lydian Dominant FH 4rd mode: E> Lydian Augmented Ebmai7h5 abe 2 ops Sth mode: G Mixolydian flat 6 (6th mode: A Loctian #2 bs, fo inode: 8Supotoian ARLE pat 7 . The seven modes related to the pitch C. Each is paired with its related chord symbol and voicing: Ist mode: C Melodic Minor. Cm™8i7 2nd Mode: Dorian flat 2 corte 5rd mode: Lycian Augmented Cmay#5 4th mode; Lydian Dominant cotSih mode: Mixolyian far CSP Sih mode: tocrian #2 cor rn mode sipetocnn Rent be ‘The following examples are excerpts from improvisations that include melodic material derived from melodic minor modes. Remember that when an artist plays melodic patterns, they may not be thinking of any scales or modes. I do not presume to tell you what these artists were thinking when they played. One can draw useful conclusions about the content after the fact. Sometimes a melodic pattern will not include all the notes of the scale, but the remaining pitches can often be deduced. The same is true for any mode or scale. We would assume that Amazing Grace is derived from the major scale, even though two significant tones are missing: the fourth and the seventh, How can we deduce that? Sing the melody and afterwards sing the fourth degree of the key. Is it a raised fourth indicating lydian? No, probably not. Sing the seventh degree. I doubt anyone hears the lowered seventh degree naturally. 7th MODE: SUPERLOCRIAN/ALTERED/DIMINISHED WHOLE TONE ‘The seventh mode may be one of the most used modes. It is often superimposed over dominant chords leading to major or minor tonic chords. A common motive that can be derived from the seventh mode is a #9-b9-R-7 pattern. The 7th usually resolves to the third of the following major or minor chord. The next three examples are from Tom Harrell followed by one from Randy Brecker and McCoy Tyner. #9-b9-R-7 PATTERN #9-69-R-7 pattem to major 7 cma +#9-b9-R-7 pattern to minor Ary Dm7