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. You can utilize the melodic minor scale over major, minor and dominant chords equally well, so there are many applications from learning just this one scale. It feels to me that it works, but I lack any formal view of the neatest approach to deal with this progression. This note, the major 7th, is the tension that you’ll have to resolve when applying melodic minor to iim7 chords in your solos. The Lydian dominant scale is one of the modes of the melodic minor scale. 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. This interval will cause a bit of tension over a Im7 chord, so you’ll have to play with it in your solos to see how you want to handle that tension in your lines. But first, let’s look at how to build a melodic minor scale from an interval standpoint. For example, the only reason an FMaj9#11 (F A C E G B) cannot be a G13 (G B D F A E) is because the FMaj7 contains a ‘C’, which is an unavailable tension or avoid note from the point of view (POV) of the G7. That is, the CmMaj7 chord (C, E♭, G, B) can be used as a voicing for any chord in the key of C melodic minor just by changing the bass note. I first came across modes as a fumbling teenage guitar player in about 1971. D Melodic Minor Scale Key Signature. And in minor the raised and flattened 9’s of the V fit naturally in the root scale. Trying to apply this type of thinking to the Melodic Minor scale and its modes is perplexing. After logging in you can close it and return to this page. Hence its common use in the “blues”. Aeolian: “Simply, Sad” – this mood will bring tears out of most people with a healthy heart. Used by every major jazz guitarist in their solos to color minor-family chords, the melodic minor scale is an essential sound to have under your fingers as you continue to the next stage in your development. Gary taught me that rather than seeing modes as scales beginning at sequential notes on the mother scale (e.g. In this case, it is okay to do. In Classical music, you play the ‘true’ melodic minor scale ascending and the natural minor scale descending. Good intro to melodic minor scales. Phrygian definitely shifts the mood to the realm of another world, not scary but definitely displaced. 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 standard “Solar.”, THE JAZZ GUITAR CHORD DICTIONARY (FREE eBOOK). Phrygian: “Mystical” – it seems that the flat 2 in this mode kicks one out of reality and into the realm of the spiritual. The net result of the insights borrowed from Frank and Gary, coupled with a little bit of my own imagination has led me to understand the major modes (moods) as follows: Lydian: “Party happy” (credit to Frank) – this mood feels like a whole bunch of people having a hell of a good time together. Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian), consider them in descending order of brightness to darkness (Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian and Locrian, all played in the mother key). So, a 5th-less FMaj9#11 = a 5th-less G13. It is the stock standard “tearjerker” mood (sorry, mode). 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.

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