Formula
- Degrees: 1 2 b3 4 5 6 7.
- Steps: W H W W W W H (2 1 2 2 2 2 1 semitones).
- On C: C D Eb F G A B. On A: A B C D E F# G#. On D: D E F G A B C#.
Trick: it is the major scale with a lowered third, or natural minor with raised 6th and 7th.
“Classical” and “jazz” melodic minor
- In classical theory the melodic minor is different ascending and descending: it rises with raised 6th and 7th (A B C D E F# G# A) to avoid the augmented 2nd of harmonic minor and to reach the tonic with the leading tone; it descends as natural minor (A G F E D C B A), because the raised notes no longer need to rise.
- In jazz (melodic minor ascending, “jazz minor”) the ascending form is used in both directions, as a scale in its own right with seven widely used modes.
Characteristic note and color
The combination of b3 + major 6th + major 7th: a minor with a “major” upper part. Color: a sophisticated, mysterious, cinematic minor, less dark than Aeolian. The tonic chord is m(maj7) or m6, never m7.
Diatonic chords (C melodic minor)
| Degree | Triad | Seventh |
|---|---|---|
| i | Cm | Cm(maj7) |
| ii | Dm | Dm7 |
| bIII+ | Eb+ | Ebmaj7#5 |
| IV | F | F7 |
| V | G | G7 |
| vi° | A° | Aø7 |
| vii° | B° | Bø7 |
Peculiarities: two dominant chords (IV7 and V7), two half-diminished chords (vi and vii), one maj7#5. There are no strong avoid notes: every degree of the scale can sit over its own chord, which is why jazz players love it.
The seven modes
| Mode | Formula | On C | Main use |
|---|---|---|---|
| 1. Melodic minor | 1 2 b3 4 5 6 7 | C D Eb F G A B | minor tonic m(maj7), m6 |
| 2. Dorian b2 | 1 b2 b3 4 5 6 b7 | C Db Eb F G A Bb | sus4(b9), “Phrygian ♮6” |
| 3. Lydian augmented | 1 2 3 #4 #5 6 7 | C D E F# G# A B | maj7#5 |
| 4. Lydian dominant | 1 2 3 #4 5 6 b7 | C D E F# G A Bb | 7#11, non-resolving dominants |
| 5. Mixolydian b6 | 1 2 3 4 5 b6 b7 | C D E F G Ab Bb | 7(b13) with natural 9 |
| 6. Locrian #2 | 1 2 b3 4 b5 b6 b7 | C D Eb F Gb Ab Bb | ø7 (half-diminished) |
| 7. Super Locrian (altered) | 1 b2 #2 3 b5 b6 b7 | C Db D# E Gb Ab Bb | 7alt |
In the family: C melodic minor contains D Dorian b2, Eb Lydian augmented, F Lydian dominant, G Mixolydian b6, A Locrian #2, B altered. Each has a dedicated card.
Use in genres
- Classical: ascending scales in minor passages (Bach, Mozart, Beethoven) and melodic lines that rise to the tonic with raised 6 and 7.
- Jazz: minor tonic (Cm6, Cm(maj7)), modes derived over almost all altered chords and over ø7.
- Pop and rock: the minor line cliché (Am – Am(maj7) – Am7 – Am6) drops a voice from 1 to 7 to b7 to 6: the first two steps are “melodic”.
- Film: the m(maj7) color is tied to espionage and mystery (the “Bond chord”).
Example songs
- “My Funny Valentine” (Rodgers and Hart): Cm – Cm(maj7) – Cm7 – Cm6, a line cliché that runs through the melodic minor.
- “Stairway to Heaven” (Led Zeppelin), intro: the chromatic descent A – G# – G – F# under Am, with G# and F# evoking the melodic minor.
- James Bond theme (Monty Norman / John Barry): the chromatic voice B – C – C# – C over Em and the final Em(maj9).
Common mistakes
- Playing melodic minor over an m7 chord of a tonal progression (Dm7 in C major): the major 7th (C#) clashes with the chord's C.
- Confusing the classical form (descending natural) with the jazz one.
- Using the V7 with the major 13th thinking of the tonic's melodic minor: it is fine, but also consider harmonic minor (b13) for a darker color.
Exercise
- Play Cm(maj7) – F7 – Cm6 – G7 and improvise using only C D Eb F G A B.
- Write a line cliché in D minor (Dm – Dm(maj7) – Dm7 – Dm6) on a pad with the chromatic voice in evidence.
- Compose a phrase that rises with the melodic form and descends with the natural form, in the classical manner.
Connections
Major scale and minor scales; Dorian b2; Lydian augmented; Lydian dominant; Mixolydian b6; Locrian #2; Super Locrian (altered); Chord-scale theory.