Over the years I've worked on playing these structures as ascending, descending, and alternating between the two. I didn't do all the work for you, but I think you will get the gist of it pretty quickly. 8 I've outlined a few different practice patterns for this scale. You can obviously play the notes together or separately using different rhythms and string patterns. The previous examples show these dyads and chords lined up and down the neck.
If you haven't seen a m(maj7) chord before, it's simply a minor triad with a natural 7 on top.
Here, the harmonic pattern is a bit more complicated: Cm(maj7)–Dm7–Ebmaj7(#5)–F7–G7–Am7b5–Bm7b5. 5, I wrote out voicings for the chords with roots on the 5th and 6th strings.
What's next? Why, seventh chords of course! In Ex. Playing through these triads a few times will also help outline the brightness of the scale. The resulting harmonic pattern is Cm–Dm–Ebaug–F–G–Adim–Bdim. This linear view of the triads helps me see how each one is related to one another. Check out that run of major thirds in the middle-that is the sound of the jazz melodic minor. I jumped down the octave when needed, but playing through these will help give you a more horizontal view of the scale. 3, I've systematically mapped out all the diatonic thirds across five different adjacent string sets. Essentially, figure out what's there, and then figure out how you're going to use it. The better your understanding of the harmony of the scale, the easier it will be to compose and improvise with it. This is an easy way to get the sound of the scale under your fingers and in your ears.Īfter learning how a scale is built, the next step is to dig into the diatonic thirds, triads, and seventh chords it creates. 2 provides you with four common two-octave melodic minor scale patterns. It has a bright sound due to the four consecutive whole-steps in the top half of the scale and is used primarily in jazz to create altered dominant seventh chords and modes that you can't get from the major scale system. Other ways to wrap you brain around it could be a simple major scale with a b3 or natural minor with raised 6 and 7 scale degrees. In the key of C that would give us C–D–Eb–F–G–A–B or 1–2–b3–4–5–6–7 as shown in Ex. It is constructed with a W–H–W–W–W–W sequence of whole-steps (W) and half-steps (H). The ascending melodic minor scale is one of the three traditional minor scales.
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