Jambole.com – for Guitarists

The melodic minor scale differs from the Major Scale by just 1 note (the flat 3rd), and the Harmonic Minor scale by 1 note (the flat 6th).

My old music teacher explained it thus. If we start with the Natural Minor Scale (Aka, Aeolean Mode). Then we give the tonic a leading note, by sharpening the 7th, we end up with the Harmonic Minor Scale. If we adjust the position of the 6th as we have a Minor 3rd between the 6th and 7th tones in the Harmonic Minor, we end up with the Melodic Minor.

Here’s the harmonic structure laid out against a major scale.

So lets lay this scale out with 3 notes per string, for Guitarists.

This is a real jazz players scale. In this particular mode we have the Minor Major 7th sounds.

Another classic mode is known by the names of Overtone Dominant Scale, or Lydian Dominant Scale. This is based on the 4th note of the Melodic Minor.

This scale is characterized by the #4 and b7 notes, as shown below.

Here’s the scale, written out in all positions with 3 notes per string.

There are some interesting altered dominant sounds to be investigated in this scale, around that #11/ b5 tone in the midst of it.

Finally, one last mode I’d draw your attention to is the Super Locrian Scale. This is based on the 7th note of the Melodic Minor Scale.

Here are the intervals.

And the scale mapped out for the guitar, with 3 notes per string.

If you ever play music with “Alt” chords in it, then this is the mode to use, as it contains the #5 and b5, the b7 as well as the #9 and b9.

Definitely one for the Jazzers. I’m not aware of anyone in Rock music using something like this, though I’d love to hear of examples.

Now you know what the Melodic Minor Scale is about, why don’t you try jamming with it? Here’s a fun little Jam Track that should get you going.

Enjoy.