Modes of the Melodic Minor scale


This lesson presupposes an undertanding of modes ( of the major scale).

If, you do not understand modes already, please take the time to look through the lessons at:
http://simianmoon.com/snglstringtheory/scales/modes1.html
http://simianmoon.com/snglstringtheory/scales/modes2.html
http://simianmoon.com/snglstringtheory/scales/modes3.html http://simianmoon.com/snglstringtheory/scales/harmmodes.html

This lesson on modes is in three parts.

Part one consists of a general review of scales, a definition of modes, a derivation of the modes of the melodic minor scale, and other pertinant information used in parts 2, and 3.

Part two covers a brief analysis of the modes individually, fretboard maps, associated chords, etc.

Part three gives some applications of these modes.

PART ONE

Recall that we defined a scale as:
a group of notes within an octave (and any octaves of those notes) usually played one at a time.

We can describe (define) a scale in any of these ways:
- by letters (representing specific pitches)
- by numbers (representing specific intervals)
- by step pattern (describing intervals from note to note)

We now define a mode (of a scale) as a scale within a family of scales that are related by their step patterns (and therefore also by their specific pitches).

Let's just jump in...

Recall that The melodic minor scale has the following step pattern: W-1/2-W-W-W-W-1/2, intervals 1,2,b3,4,5,6,7, and with root on C, the notes C-D-bE-F-G-A-B-C.

We can derive the modes of a scale by using its step pattern. We do this by moving the first step of a step pattern to the end, and repeating until we return to the first scale we started with.

We now derive the modes of the melodic minor scale (melodic minor scale = W-1/2-W-W-W-W-1/2).

W-1/2-W-W-W-W-1/2 = melodic minor scale
1/2-W-W-W-W-1/2-W = javanese
W-W-W-W-1/2-W-1/2 = lydian augment
W-W-W-1/2-W-1/2-W = overtone
W-W-1/2-W-1/2-W-W = hindu
W-1/2-W-1/2-W-W-W = locrian nat 2
1/2-W-1/2-W-W-W-W = Super Locrian

* Alternate names for these scales follow below under the specific scales. (Some people just use 2nd mode of the melodic minor, etc.)

Now taking these step patterns and (with the help of a transposition chart if necessary) turning them into an intervallic notation (numbers), we have:

melodic minor scale = 1,2,b3,4,5,6,7
javanese = 1,b2,b3,4,5,6,b7
lydian augment = 1,2,3,#4,#5,6,7
overtone = 1,2,3,#4,5,6,b7
hindu = 1,2,3,4,5,b6,b7
locrian nat 2 = 1,2,b3,4,b5,b6,b7
Super Locrian = 1,b2,b3,b4,b5,b6,b7

We define a major scale as a scale containing the notes
(intervals) 1,3,5.
(In other words, using the notes in the scale we can construct a major chord off the root note)

We define a minor scale as a scale containing the notes
(intervals) 1,b3,5.
(In other words, using the notes in the scale we can construct a minor chord off the root note)

We define a diminished scale as a scale containing the notes
(intervals) 1,b3,b5.
(In other words, using the notes in the scale we can construct a diminished chord off the root note)

We define an augmented scale as a scale containing the notes
(intervals) 1,3,#5.
(In other words, using the notes in the scale we can construct an augmented chord off the root note)

Comparing the above definitions with the scales (modes), we see that overtone and Hindu are major scales. melodic minor, and javanese are minor scales. Locrian nat.2, and Super Locrian are diminished scales. Lydian Augment is an augmented scale.

Recall, that we can harmonize chords from the melodic minor scale. we did this by stacking thirds to get the following chords:
in triads: i-ii-bIII+-IV-V-vio-viio
in 7th chords: imaj7-ii7-bIIImaj7#5-IV7-V7-vi7b5-vii7b5
in 9th chords: imaj9-ii7b9-bIIImaj9#5-IV9-V9-vi9b5-vii7b9b5
in 11th chords: imaj11-ii11b9-bIIImaj#11#5-IV9#11-V11-vi11b5-vii7b11b9b5
in 13th chords: imaj13-ii13b9-bIIImaj13#11#5-IV13#11-V11b13-vi11b13b5-vii7b13b11b9b5

In a similar proceedure to finding the modes from the step pattern, we can find the chords harmonized from the modes. the general proceedure is to move the first chord to the end of the list, and then renumber all the chords using the numbers/ intervals for the respective mode.

Here's an example: (going from melodic minor chords to javanese chords )
Melodic minor chords: i-ii-bIII+-IV-V-vio-viio
first move the first chord to the end,
ii-bIII+-IV-V-vio-viio-i
Renumber the chords using the numbers from Javanese (Javanese = 1,b2,b3,4,5,6,b7),
i-bII+-bIII-IV-vo-vio-bvii
These are the chords for the 2nd mode of the melodnic minor scale. We can continue doing this to find the chords for the other modes (I'll leave it up to you to derive the chords from mode to mode, in case you need proof).

Before discussing each mode, we'll consider an alternate (though more frequently seen) way of viewing modes.

Consider starting the harmonic minor scale on A, we can define the modes this way:
A-B-C-D-E-F#-G#-A = A-Melodic minor
B-C-D-E-F#-G#-A-B = B-Javanese
C-D-E-F#-G#-A-B-C = C-Lydian Augment
D-E-F#-G#-A-B-C-D = D-Overtone
E-F#-G#-A-B-C-D-E = E-Hindu
F#-G#-A-B-C-D-E-F# = F#-Locrian nat 2
G#-A-B-C-D-E-F#-G# = G#-Super Locrian

We find the following chords by stacking thirds for Melodic minor:
in triads: Am-Bm-C+-D-E-F#o-G#o
in 7th chords: Am/maj7-Bm7-Cmaj7#5-D7-E7-F#m7b5-G#m7b5
in 9th chords: Am/maj9-Bm7b9-Cmaj9#5-D9-E9-F#m9b5-G#m7b9b5
in 11th chords: Am/maj11-Bm11b9-Cmaj9#11#5-D9#11-E11-F#m11b5-G#m7b11b9b5
in 13th chords: Am/maj11-Bm13b9-Cmaj13#11#5-D13#11-E11b13-F#m11b13b5-G#m7b13b11b9b5

We can consider the above (2 paragraphs) to be in the form of relative modes (analagous to relative major and minor, see major scale's lesson). Whereas the previous examples could be seen as parallel modes (all starting from a common 1).

So from relative modes we gain a sense of how the modes progress through a key (in what order they follow one another). We can also get that from the step pattern. From parallel modes we gain an understanding of the different mood the mode brings us.

It is much easier to hear the differences between modes when playing them in parallel (from the same root note) then when playing them relative (in same key).

And last, we recall that we can create progressions from groups of chords. We can create modal progressions (progressions that come out of /go with the mode) out of chords from the mode.

Modes of the Melodic minor scale, pt.2

We now consider each mode:

MELODIC MINOR

|-1|--|-2|b3|--|-4|--|-5|--|-6|--|-7|-1|
|-5|--|-6|--|-7|-1|--|-2|b3|--|-4|--|-5|
|b3|--|-4|--|-5|--|-6|--|-7|-1|--|-2|b3|
|--|-7|-1|--|-2|b3|--|-4|--|-5|--|-6|--|
|-4|--|-5|--|-6|--|-7|-1|--|-2|b3|--|-4|
|-1|--|-2|b3|--|-4|--|-5|--|-6|--|-7|-1|

melodic minor scale "E-shape" (root note on the 6th string)

|-7-|-1-|---|-2-|b3-|
|---|-5-|---|-6-|---|
|-2-|b3-|---|-4-|---|
|-6-|---|-7-|-1-|---|
|---|-4-|---|-5-|---|
|-7-|-1-|---|-2-|b3-|

melodic minor scale "A-shape" (root note on the 5th string)

|---|-5-|---|-6-|---|
|---|-2-|b3-|---|-4-|
|-6-|---|-7-|-1-|---|
|---|-4-|---|-5-|---|
|-7-|-1-|---|-2-|b3-|
|---|-5-|---|-6-|---|

I've previously described the melodic minor scale in detail (see last lesson). The the melodic minor scale is heard in classical and jazz musics. It's step pattern is W-1/2-W-W-W-W-1/2. We can represent its intervals as 1,2,b3,4,5,6,7. We can see it is a minor scale (contains the notes 1,b3,5). With the root note on C, it is the notes C-D-Eb-F-G-A-B-C. Some also lists the melodic minor scale as the jazz scale.

We associate the following chords with the harmonic minor scale:
in triads: i-ii-bIII+-IV-V-vio-viio
in 7th chords: imaj7-ii7-bIIImaj7#5-IV7-V7-vi7b5-vii7b5
in 9th chords: imaj9-ii7b9-bIIImaj9#5-IV9-V9-vi9b5-vii7b9b5
in 11th chords: imaj11-ii11b9-bIIImaj#11#5-IV9#11-V11-vi11b5-vii7b11b9b5
in 13th chords: imaj13-ii13b9-bIIImaj13#11#5-IV13#11-V11b13-vi11b13b5-vii7b13b11b9b5

We can create progressions from these chords. we should include the i chord, and it should be the chord which the progression wants to resolve to (this is true of all modal progressions, replacing i with the appropriate one chord).

The most common melodic minor progression is i-IV.

Javanese

|-1|b2|--|b3|--|-4|--|-5|--|-6|b7|--|-1|
|-5|--|-6|b7|--|-1|b2|--|b3|--|-4|--|-5|
|b3|--|-4|--|-5|--|-6|b7|--|-1|b2|--|b3|
|b7|--|-1|b2|--|b3|--|-4|--|-5|--|-6|b7|
|-4|--|-5|--|-6|b7|--|-1|b2|--|b3|--|-4|
|-1|b2|--|b3|--|-4|--|-5|--|-6|b7|--|-1|

Javanese "E-shape" (root note on the 6th string)

|-1-|b2-|---|b3-|---|
|-5-|---|-6-|b7-|---|
|b3-|---|-4-|---|---|
|b7-|---|-1-|b2-|---|
|-4-|---|-5-|---|-6-|
|-1-|b2-|---|b3-|---|

Javanese "A-shape" (root note on the 5th string)

|-5-|---|-6-|b7-|---|
|---|b3-|---|-4-|---|
|b7-|---|-1-|b2-|---|
|-4-|---|-5-|---|-6-|
|-1-|b2-|---|b3-|---|
|-5-|---|-6-|b7-|---|

Javanese is the 2nd mode of the melodic minor scale. The javanese mode is very rarely heard. In the key of C, it would be the notes: B-C-D-E-F#-G#-A-B (with strongest emphasis on the B note). Its step pattern is 1/2-W-W-W-W-1/2-W. We can represent its intervals as 1,b2,b3,4,5,6,b7. We can see it is a minor scale (contains the notes 1,b3,5). Some also lists the javanese scale as the phrygian nat6.

We associate the following chords with the javanese mode:
triads: i-bII+-bIII-IV-vo-vio-bvii
7th chords: i7-bIImaj7#5-bIII7-IV7-vm7b5-vii7b5-bviimaj7
9th chords: i7b9-bIImaj9#5-bIII9-IV7-vm9b5-vi7b9b5-bviimaj9
11th chords: i11b9-bIImaj9#11#5-bIII9#11-IV11-vm11b5-vi7b11b9b5-bviimaj11
13th chords: i13b9-bIImaj13#11#5-bIII13#11-IV11b13-vmaj11b13b5-vi7b13b11b9b5-bviimaj13

LYDIAN AUGMENT

|-1|--|-2|--|-3|--|#4|--|#5|-6|--|-7|-1|
|--|#5|-6|--|-7|-1|--|-2|--|-3|--|#4|--|
|--|-3|--|#4|--|#5|-6|--|-7|-1|--|-2|--|
|--|-7|-1|--|-2|--|-3|--|#4|--|#5|-6|--|
|--|#4|--|#5|-6|--|-7|-1|--|-2|--|-3|--|
|-1|--|-2|--|-3|--|#4|--|#5|-6|--|-7|-1|

Lydian Augment "E-shape" (root note on the 6th string)

|-7-|-1-|---|-2-|---|
|#4-|---|#5-|-6-|---|
|-2-|---|-3-|---|---|
|-6-|---|-7-|-1-|---|
|-3-|---|#4-|---|#5-|
|-7-|-1-|---|-2-|---|

Lydian Augment "A-shape" (root note on the 5th string)

|#4-|---|#5-|-6-|---|
|---|-2-|---|-3-|---|
|-6-|---|-7-|-1-|---|
|-3-|---|#4-|---|#5-|
|-7-|-1-|---|-2-|---|
|#4-|---|#5-|-6-|---|

The Lydian Augment is the 3rd mode of the melodic minor scale. In the key of C, it would be the notes: F#-G#-A-B-C-D-E-F# (with strongest emphasis on the F# note). Its step pattern is W-W-W-W-1/2-W-1/2. We can represent its intervals as 1,2,3,#4,#5,6,7. We can see it is an augmented scale (contains the notes 1,3,#5).Some also lists the Lydian Augment scale as the Lydian #5.

We associate the following chords with the Lydian Augment mode:
triads: I+-II-III-#iv-#vo-vi-vii
7th chords: Imaj7#5-II7-III7-#ivm7b5-#v7b5-vimaj7-vii7
9th chords: Imaj9#5-II9-III7-#ivm9b5-#v7b9b5-vimaj9-vii7b9
11th chords: Imaj11#5-II9#11-III11-#ivm11b5-#v7b11b9b5-vimaj11-vii11b9
13th chords: Imaj13#5-II13#11-III11b13-#ivm11b13b5-#v7b13b11b9b5-vimaj13-vii13b9

Overtone

|-1|--|-2|--|-3|--|#4|-5|--|-6|b7|--|-1|
|-5|--|-6|b7|--|-1|--|-2|--|-3|--|#4|-5|
|--|-3|--|#4|-5|--|-6|b7|--|-1|--|-2|--|
|b7|--|-1|--|-2|--|-3|--|#4|-5|--|-6|b7|
|--|#4|-5|--|-6|b7|--|-1|--|-2|--|-3|--|
|-1|--|-2|--|-3|--|#4|-5|--|-6|b7|--|-1|

Overtone mode "E-shape" (root note on the 6th string)

|---|-1-|---|-2-|---|
|---|-5-|---|-6-|b7-|
|-2-|---|-3-|---|#4-|
|-6-|b7-|---|-1-|---|
|-3-|---|#4-|-5-|---|
|---|-1-|---|-2-|---|

Overtone mode "A-shape" (root note on the 5th string)

|#4-|-5-|---|-6-|b7-|
|---|-2-|---|-3-|---|
|-6-|b7-|---|-1-|---|
|-3-|---|#4-|-5-|---|
|---|-1-|---|-2-|---|
|#4-|-5-|---|-6-|b7-|

The Overtone mode is the 4th mode of the melodiic minor scale. In the key of C, it would be the notes: D-E-F#-G#-A-B-C-D (with strongest emphasis on the D note). Its step pattern is W-W-W-1/2-W-1/2-W. We can represent its intervals as 1,2,3,#4,5,6,b7. We can see it is a major scale (contains the notes 1,3,5). Some also lists the Overtone scale as the Lydian b7 scale.

We associate the following chords with the Overtone mode:
triads: I-II-iiio-#ivo-v-vi-bVII+
7th chords: I7-II7-iiim7b5-#iv7b5-vmaj7-vi7-bVIImaj7#5
9th chords: I9-II7-iiim9b5-#iv7b9b5-vmaj9-vi7b9-bVIImaj9#5
11th chords: I9#11-II11-iiim11b5-#iv7b11b9b5-vmaj11-vi11b9-bVIImaj9#11#5
13th chords: I13#11-II11b13-iiim11b13b5-#iv7b13b11b9b5-vmaj13-vi13b9-bVIImaj13#11#5

Hindu

|-1|--|-2|--|-3|-4|--|-5|b6|--|b7|--|-1|
|-5|b6|--|b7|--|-1|--|-2|--|-3|-4|--|-5|
|--|-3|-4|--|-5|b6|--|b7|--|-1|--|-2|--|
|b7|--|-1|--|-2|--|-3|-4|--|-5|b6|--|b7|
|-4|--|-5|b6|--|b7|--|-1|--|-2|--|-3|-4|
|-1|--|-2|--|-3|-4|--|-5|b6|--|b7|--|-1|

Hindu "E-shape" (root note on the 6th string)

|---|-1-|---|-2-|---|
|---|-5-|b6-|---|b7-|
|-2-|---|-3-|-4-|---|
|---|b7-|---|-1-|---|
|-3-|-4-|---|-5-|b6-|
|---|-1-|---|-2-|---|

Hindu "A-shape" (root note on the 5th string)

|---|-5-|b6-|---|b7-|
|---|-2-|---|-3-|-4-|
|---|b7-|---|-1-|---|
|-3-|-4-|---|-5-|b6-|
|---|-1-|---|-2-|---|
|---|-5-|b6-|---|b7-|

The Hindu mode is the 5th mode of the melodicic minor scale. In the key of C, it would be the notes: E-#F-G#-A-B-C-D-E (with strongest emphasis on the E note). Its step pattern is W-W-1/2-W-1/2-W-W. We can represent its intervals as 1,2,3,4,5,b6,b7. We can see it is a major scale (contains the notes 1,3,5). Some also lists the Hindu scale as the Mixolydian b6 scale.

We associate the following chords with the Spanish Major mode:
triads: I-iio-iiio-iv-v-VI+-bVII
7th chords: I7-iim7b5-iii7b5-ivmaj7-v7-VImaj7#5-bVII7
9th chords: I7-iim9b5-iii7b9b5-ivmaj9-v7b9-VImaj9#5-bVII9
11th chords: I11-iim11b5-iii7b11b9b5-ivmaj11-v11b9-VImaj9#11#5-bVII9#11
13th chords: I11b13-iim11b13b5-iii7b13b11b9b5-ivmaj13-v13b9-VImaj13#11#5-bVII13#11

Locrian nat.2

|-1-|---|-2-|b3-|b4-|---|b5-|---|b6-|---|b7-|---|-1-|
|---|b6-|---|b7-|---|-1-|---|-2-|b3-|b4-|---|b5-|---|
|b3-|b4-|---|b5-|---|b6-|---|b7-|---|-1-|---|-2-|b3-|
|b7-|---|-1-|---|-2-|b3-|b4-|---|b5-|---|b6-|---|b7-|
|-4-|b5-|---|b6-|---|b7-|---|-1-|---|-2-|b3-|b4-|---|
|-1-|---|-2-|b3-|b4-|---|b5-|---|b6-|---|b7-|---|-1-|

Locrian nat.2 "E-shape" (root note on the 6th string)

|-1-|---|-2-|b3-|---|
|---|b6-|---|b7-|---|
|b3-|---|-4-|b5-|---|
|b7-|---|-1-|---|-2-|
|-4-|b5-|---|b6-|---|
|-1-|---|-2-|b3-|---|

Locrian nat.2 "A-shape" (root note on the 5th string)

|---|b6-|---|b7-|---|
|---|b3-|---|-4-|b5-|
|b7-|---|-1-|---|-2-|
|-4-|b5-|---|b6-|---|
|-1-|---|-2-|b3-|---|
|---|b6-|---|b7-|---|

The locrian nat.2 mode is the 6th mode of the melodic minor scale. In the key of C, it would be the notes: F#-G#-A-B-C-D-E-F# (with strongest emphasis on the F# note). Its step pattern is W-1/2-W-1/2-W-W-W. We can represent its intervals as 1,2,b3,4,b5,b6,b7. We can see it is a diminished scale (contains the notes 1,b3,b5). Some also lists the Locrian nat.2 scale as the Aeolian b5 scale.

We associate the following chords with the Locrian nat.2 mode:
triads: io-iio-biii-iv-bV+-bVI-bVII
7th chords: im7b5-ii7b5-biiimaj7-iv7-bVmaj7#5-bVI7-bVII7
9th chords: im9b5-ii7b9b5-biiimaj9-iv7b9-bVmaj9#5-bVI9-bVII9
11th chords: im11b5-ii7b11b9b5-biiimaj11-iv11b9-bVmaj9#11#5-bVI9#11-bVII11
13th chords: im11b13b5-ii7b13b11b9b5-biiimaj13-iv13b9-bVmaj13#11#5-bVI13#11-bVII11b13

Super Locrian

|-1-|b2-|---|b3-|b4-|---|b5-|---|b6-|---|b7-|---|-1-|
|---|b6-|---|b7-|---|-1-|b2-|---|b3-|b4-|---|b5-|---|
|b3-|b4-|---|b5-|---|b6-|---|b7-|---|-1-|b2-|---|b3-|
|b7-|---|-1-|b2-|---|b3-|b4-|---|b5-|---|b6-|---|b7-|
|-4-|b5-|---|b6-|---|b7-|---|-1-|b2-|---|b3-|b4-|---|
|-1-|b2-|---|b3-|b4-|---|b5-|---|b6-|---|b7-|---|-1-|

Super locrian "E-shape" (root note on the 6th string)

|-1-|b2-|---|b3-|---|
|---|b6-|---|b7-|---|
|b3-|---|-4-|b5-|---|
|b7-|---|-1-|b2-|---|
|-4-|b5-|---|b6-|---|
|-1-|b2-|---|b3-|---|

Super locrian "A-shape" (root note on the 5th string)

|---|b6-|---|b7-|---|
|---|b3-|---|-4-|b5-|
|b7-|---|-1-|b2-|---|
|-4-|b5-|---|b6-|---|
|-1-|b2-|---|b3-|---|
|---|b6-|---|b7-|---|

The Super Locrian mode is the 7th mode of the melodic minor scale. In the key of C, it would be the notes: G#-A-B-C-D-E-F#-G (with strongest emphasis on the G note). Its step pattern is 1/2-W-1/2-W-W-W-W. We can represent its intervals as 1,b2,b3,b4,b5,b6,b7. We can see it is a diminished scale (contains the notes 1,b3,b5). Some also lists the Super Locrian scale as the Locrian b4 scale.

We associate the following chords with the Super Locrian mode:
triads: io-bii-biii-bIV+-bV-bVI-bviio
7th chords: i7b5-biimaj7-biii7-bIVmaj7#5-bV7-bVI7-bviim7b5
9th chords: i7b9b5-biimaj9-biii7b9-bIVmaj9#5-bV9-bVI9-bviim9b5
11th chords: i7b11b9b5-biimaj11-biii11b9-bIVmaj9#11#5-bV9#11-bVI11-bviim11b5
13th chords: i7b13b11b9b5-biimaj13-biii13b9-bIVmaj13#11#5-bV13#11-bVI11b13-bviim11b13b5

Modes of the Melodic minor scale, pt.3

CREATING MODAL PROGRESSIONS

Taking the chords from a mode, we can create progressions from them. We can use these progressions to solo over and/or compose songs with.

ex. From Melodic Minor we could take the two chords i,IV and create a vamp i-IV to solo over in i-Melodic Minor.

This is a good way to practice playing the modes, creating melodies with a specific mode, train your ears to sound, and build up a knowledge of specific progressions that go with the specific modes. looking for a good place to use such knowledge? You could analyze songs you know (turn chords from letters into numbers, so C-F = I-IV) and then find scales/modes that would go with the progressions. You could find new songs with a TAB search of some kind (try www.harmony-central.com for TAB or maybe www.tabcrawler.com).
Or, if you're the least bit into jazz, I fully recommend picking up a copy of "The Real Book" (old or new editions). - no, I don't get any kickbacks from them, it's a standard book used by most jazz musicians.

Speaking of jazz for a moment. One of the most common applications is to think of modes and individual chords in a context. That is to say that there is a relationship between the chord and scale and they use that in choosing a scale to solo with over the changes. They simplest approach (after looking at the key, and playing that major scale) is to look at the particular chord, and play a corresponding scale. So for example over a Gm/maj7 chord, you could/would play G-melodic minor (over imaj7 play i-harmonic minor). You would do this chord by chord.
Sometimes for one chord, there are several possibilities. It comes down to experimentation to figure out which sounds better in a given moment (sometimes analyzing other chords around the chord can give further context/clues, but right now we're considering the school of thought which looks at only one chord at a time).So here are some chord/scale correspondances with these modes and the modes of the harmonic minor scale and modes of the major scale:

CHORD    -    TYPE OF SCALE TO USE

major         use ionian, lydian, mixolydian, Spanish Major, Lydian #9,
		  overtone, hindu
7             use mixolydian, Spanish Major, overtone, hindu
maj7          use ionian or lydian, Lydian #9
7/11          use mixolydian, spanish major, overtone
7/#11         Use Overtone
maj7/#11      use lydian, lydian #9
maj7/11       use ionian
9	      use mixolydian, overtone, hindu
7b9	      use Spanish major
maj9	      Use ionian, lydian
maj7#9	      Use Lydian #9
11            Use mixolydian, hindu
9#11          Use Overtone

minor         use aeolian, dorian, phrygian, harmonic minor, dorian #4,
		  melodic minor, javanese
m7            use aeolian, dorian, phrygian, dorian #4, javanese
m/maj7	      Use harmonic minor, melodic minor
m9            use aeolian, dorian , dorian #4
m/maj9	      use harmonic minor, melodic minor
m7b9          use phrygian, javanese
m11	      use aeolian, Dorian
m9#11	      use Dorian #4
m11b9	      use phrygian, javanese
m/maj11	      use harmonic minor, melodic minor

o             use locrian, locrian nat.6, altered dominant bb7,
		  Super Locrian, locrian nat.2
m7b5          use locrian, locrian nat.6, Super Locrian, locrian nat.2
o7	      use altered dominant bb7

+	      Use Ionian#5, Lydian Augment
maj7#5	      Use Ionian #5, Lydian Augment
maj9#5	      Use Ionian #5, lydian Augment

Some related directions from here:
1.) Seeing how a chord shape fits in a scale shape (or a scale shape fits around a chord shape), and how that relates to their intervals.
2.) looking at a single chord with a relative mode.
3.) looking at larger sections of chords for context (looking at progressions).
4.) Considering parallel movement of intervals or chord voicings within a mode.

Ideas 1 and 2 were discussed in modes of the harmonic minor scale (see link at beginning of lesson).

3.) Consider A-melodic minor giving rise to the chords:
Am/maj7-Bm7-Cmaj7#5-D7-E7-F#m7b5-G#m7b5
Given the progression Am-D7 or D7-E7, we could play A-melodic minor (over i-IV7 play i-mel.min., over I7-II7 play v-mel.min.)
Larger progressions which are less ambiguous can be addressed the same way. say over:
Am/maj7-Bm7-Cmaj7#5-D7, play A-melodic minor
Am/maj7-Bm7b5-Cmaj7#5-Dm7, play A-harmonic minor
Am7-Bm7b5-Cmaj7-Dm7, play A-minor (A-aeolian)

4.) Consider the above progression (i/maj7-ii7-bIIImaj7#5-IV7) in Dm using parallel motion.

|-------------|
|--6-8-10-12--|
|--6-7--9-10--|
|--7-9-11-12--|
|--5-7--8-10--|
|-------------|

We might consider the movement of intervals within the scale's context. Here is an example of 3rd with a root drone in the overtone scale (lydian b7), with root D.

I-II-iiio-#ivo-v-vi-bVII+ in D (3rds)

|--2---4---5---7----8---10---12---14--|
|--3---5---7---9---10---12---13---15--|
|-------------------------------------|
|-------------------------------------|
|-------------------------------------|
|-------------------------------------|

Selecting 3rd from list and appling d-drone

|--2---4---5---7---5---4---5---2--|
|--3---5---7---9---7---5---7---3--|
|---------------------------------|
|----0---0---0---0---0---0---0----|
|---------------------------------|
|---------------------------------|

Similarly the Javanese scale in A in 6ths
i13b9-bIImaj13#11#5-bIII13#11-IV11b13-vmaj11b13b5-vi7b13b11b9b5-bviimaj13

|--2-3-5-6-8-10-12-14--|
|----------------------|
|--2-3-5-7-9-11-12-14--|
|----------------------|
|----------------------|
|----------------------|

Again rearranging to make something besides the scale out of the intervals.

|-14-10-12-8-|-8-10-6-8-5-|-5-8-5-5-3-0-0-|-2-|
|------------|------------|---------------|---|
|-14-11-12-9-|-9-11-7-9-5-|-5-9-5-5-3-0-0-|-2-|
|------------|------------|---------------|---|
|------------|------------|---------------|---|
|------------|------------|---------------|---|

The next lesson is Intro to theory.

Peace,
Christopher Roberts
snglstringtheory@aol.com


How do I change all those numbers to letters (for notes, chords, etc.)? Here's a transposition chart simianmoon.com/snglstringtheory/guitar/8theory3.html

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Last updated January 16, 2003
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