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Melodic Minor Modes - Page 7

by Chris Tarry
 
Pages: 1 · 2 · 3 · 4 · 5 · 6 · 7
 
Well, you have arrived at the last and possibly the most common sound used from the melodic minor scale.

Playing our C melodic minor scale from B to B gives us the classic altered scale. It goes with a B7(b9,#9,#11,b13) chord! Wow, check that out! The common look to this chord symbol is B7alt.

Great, I know my melodic minor modes! What does this mean!

Well, melodic minor harmony is considered to be a very JAZZY sound for lack of a better term. When you hear instructors here at Active Bass talk about altering a V7 chord they are talking about taking a standard V7 chord and playing an altered scale over it to imply the sound of a B7alt.

Because melodic minor harmony has no avoid notes all of these scales and chords are virtually interchangeable. Playing a B altered scale over a B7 is the same as playing an F lydian b7 over a B7.

I like to think of melodic minor harmony as this special color of paints you can use when the primary ones get a little borring. Jazz muscians typically BORROW certain chords from melodic minor to spice up the more standard harmonies.

I hope this helps and isn't to confusing. Just remember there is only a one note difference between a good ol' C Major scale and the new and improved C melodic minor scale...the Eb!

Wow, 7 lesson pages for one note. It must be a pretty special note!

Enjoy!

 
 
 
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