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Edited to sum up what I like to share for those who might benefit from it :
1) When it comes to name that modes, I just want to share what might be my personal way to relate the modes of the melodic minor strictly to the normal church modes. In my mind it so obvious. It so simple, but it is the hardest challenge to explain it.
I fully respect other ways of naming these modes; eg lydian dominant etc.
In my example where I use Dm minor scale (as a pendant to the dorian) it is the same C# note that change every normal church mode into the "jazz" church modes.
2 ) One thing is to name them or put them all in one system. Another thing is how to approach the melodic minor when you play. Like many others, I prefer to transpose from the root of the chord type I play eg:
C#7 alt > think up a ½ step= Dm melodic minor.
In that way I actually don´t care about the the different names, Im only thinking Melodic Minor “transposed” into the necessary step, either down or up.
To get a tool to understand it all, please play:
X53200 = Dm6/9 chord( D melodic minor)
variation for understanding:
x53220 = Dm#7,9
keep the first chord ringing and except for the Dm6/9, play the roots on the 6 or 5. string
Now to the modes and "transpose" :
Dorian #7 ............. Dm6/9 (melodic minor)
[Think D melodicMinor as a root, no transpose ]
Frygian #6 ............... E sus 7 (b9)
[Think D melodicMinor down a perfect 2 from E]
Lydian #5................. F major7 #11,#5
[Think D melodicMinor up a perfect 6 from F]
Mixolydian #4 .......... G13 (#11) (normally called Lydian dominant ,or Lydian b7 )
[Think D melodicMinor up a 5 from G ]
Aolean #3 ................ A9 (b5) Think Child Is Born: Amaj7 to Dm6/9 with A in bass
[Think D melodicMinor up a 4 from A]
Locrian #2 ............... Bm7b5 (11)
[Think D melodicMinor up a perfect 3 from B]
Ionian #1 ................. C#7 (#9, b13) ( normally called Altered scale)
[Think D melodicMinor up a ½ step from C#]
As showed, in every mode you just play D melodic minor, even though the name of the scale changes after which mode it is.
Also you can play upperstructure triads cadenza stuff over
Dm G A
or Dm G7 A7
Example: Play Fmaj7 as a Shell chord (no 5th) and play strictly triad patterns G A G A
Same goes with all the other chords types with roots shown above.
Cheers UffeLast edited by Uffe Steen; 11-13-2015 at 05:45 PM. Reason: A summary
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11-05-2015 08:58 AM
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Uffe's melodic minor mode names are a little eccentric.
More common
Jazz Minor Melodic Minor
Dorian b2
Lydian #5 Lydian Augmented
Lydian Dominant
Mixolydian b6
Aeolian b5 Locrian #2
Altered Scale
See Jazz Guitar Online lesson
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I get lost in the names. I just call them the <N>th mode of melodic minor. Some, like the Altered Scale are common enough for me to remember, but Aeolian b5 Locrian #2?
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That's two alternative names, not one.
Originally Posted by BigDaddyLoveHandles
Locrian natural 2 is the one I know for that mode. I can remember that better than I can remember which number mode it is. I just know it fits m7b5 chords and allows a major 9th instead of a b9. (Not that I ever use it....)
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Originally Posted by Stuart Elliott
He-he. Yes it may seem eccentric ;-)
Im not attempting to change the usual names of the modes,
but for me the common names for the scales has no logical order.
Its more like a kind of pet name that are easy to remember, and thats fine, as they are not wrong.
I just wanted to reveal a way of looking at it, that relates to the old church modes.Last edited by Uffe Steen; 11-06-2015 at 05:31 AM.
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At least the names describe their construction.
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I believe the most used, or useful, ones are
1st mode: Jazz minor (Melodic Minor) over II chord
4th mode: Lydian dominant over 7#11 chord
7th mode: Altered scale over altered V chord
just my .02
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I'd agree except I'd say 1st mode over the tonic! (Or is that what you meant? I can't think how it would fit a "II" chord...) Originally Posted by bluemusic4us
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I think you are right about that, and the names sure are the common ones, but there are players who also like to use a melodic minor mode on a Originally Posted by bluemusic4us
major 7
minor7b5
or sus4b9
and its possible and sounds great.Last edited by Uffe Steen; 11-06-2015 at 05:39 AM.
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Yes when the tonic is a minor chord. But when over a II chord it gives that nice maj7 passing tone. Originally Posted by JonR
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Do you mean like F melodic minor over G7sus4b9? Originally Posted by Uffe Steen
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I like that, too. I find myself adding both the m7 and M7 notes often enough that they get equal weight. I don't know if I'd call it an octotonic scale, or what. Originally Posted by bluemusic4us
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Just happened by and saw this thread. I was working on Melodic Minor a lot a couple months ago and what I found fun to do is grab a fake book, find a tune with lots of changes, and improvise using melodic minor on every chord nothing else.
Forces you to really know the modes of the MelMi and have your phasing/articulation together to make some of those notes that rub a lot work. Remember Jazz rule #1 There are no wrong notes, only bad articulation.
Till next time take it easy everyone.
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^^^ Interesting exercise. What did you do over tonic major chords?
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I use the 3rd mode the Major one with a #4,#5 guess it'd be called Lydian #5. So the #5 is the rub that have to handle carefully. Guess you could say it's in same neighborhood as the Harmonic Major, it would have a natural 5 and b6 and in same 'hood as the Bebop Major which adds the #5 along with natural 5 and 6.
It's a fun exercise and discover Melodic Minor a Swiss Army knife of a scale.Last edited by docbop; 11-07-2015 at 06:08 PM.
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Yes ! Same for the triads in sequences up and down: (Fm), Bb, C, over G7sus4b9 Originally Posted by BigDaddyLoveHandles
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