In the examples, I will also breakdown the way I am thinking and which arpeggios and melodic devices I use in the lines. When you work on using this pentatonic scale it is useful to try to tap into some of all the things you already have in your system with normal pentatonics. I have a few videos on this already: Triad Pairs – How To Use Them On a Minor Blues. In this example I am using G7 as a tritone substitute in Gb major again. https://jenslarsen.nl/sign-up-for-my-newsletter/, Sign up for my newsletter – Get the II V I Ebook, Melodic Minor – How to Make Beautiful Lines, Melodic Minor – The Things You Need to Know. The opening on the Dm7 line is constructed first from an F major triad followed by an Am pentatonic scale fragment. In Example 5 I have stacked diatonic “3rds” which as you may know yields a lot of quartal harmony. Super Locrian is often used in jazz over an Altered Dominant chord (b9, Together these two spell out an A7(9,13) sound. The modes of the Melodic Minor Scale are as follows: The modes provide us with easy starting points/roots/1’s that make it easy to build chords on each of the notes of the Melodic Minor Scale. The other Dom7(#5) arpeggio is the C#7(#5). I made a call on the en-harmonic spellings in the various keys in an attempt to make each mode easier on it’s own. As we have already learned, a Mode is a scale created by establishing a new root note within a pre-existing scale. Melodic Minor Mode 1. After this I continue with a very common triad pair with A and B major triads. In the example below I am using a Edim and D major triad pair over the Gm6 chord: A great aspect of Melodic minor is that the lines that fit one of the chords also mostly works over other sounds. Of course, I am using some of the arpeggios that you need to know to work with melodic minor, but there are also a few great options that most people don’t get around to mentioning because they are not considered a part of the diatonic arpeggio set. From the Bsus4 arpeggio the melody continues by moving up to the next diatonic sus4 triad: Asus#4. Let’s start with the diatonic triads, So here we have the diatonic harmony of the scale in Triads: Gm Am Bbaug C D Edim F#dim Gm, The diatonic 7th chords are: GmMaj7, Am7, Bbmaj7(#5), C7, D7, Eø, F#ø. In this video I am going to show you how to start using it, some of the things you can use to make lines and also how you can use it to get into some other great melodic minor sounds on other chords. The line continues with a descending scale run. One of the most flexible and useful parts of the of the sound of the scale is the augmented triad. Now we have a lot of material to improvise over a GmMaj7, you just need to figure out what to use. The Melodic Minor Scale & Its Modes. The first example is combining Bbmaj7(#5), Eø and a D major triad. If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: The PDF for this lesson is available through Patreon in the Patreon FB group. So with this primer, let’s get into the meat of this article! Leave a comment on the video or send me an e-mail. The previous example resolves to a D#, which you can directly interpret as an Eb, the 5th in Abmaj7. If you want to check out more Melodic Minor material in terms of triads and arpeggios then have a look at this article: Melodic Minor – The Things You Need to Know. It is important to also have some of the structures under control in the scale. If you want to go a step further into the Jazz / Fusion stuff and get your playing to the next level, the melodic minor scale and especially some of its modes are essential tools to know and master. To have a place to use this, maybe take Autumn Leaves in G minor. The forgotten triad or G major b5 is also a good arpeggio to get the Lydian b7 sound across. Join 700+ Other Jazz Guitarists Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup. To demonstrate the way this pentatonic scale works in the context of a II V I I have made three examples. table, below. In this video, I am going to show you some arpeggios that you can use that really nails the sound of these chords and adds some beautiful colors. Learn them as scales on their own and then you can bang them out exactly when and where you need them, without thinking of another scale first and then thinking of what interval to move that scale. That is the best way for me to improve my lessons and make them fit what you are searching for. There … The 2nd bar is mainly using some chromaticism and repeats the augmented triad in a higher octave. The modes of the Melodic Minor Scale are as follows: The modes provide us with easy starting points/roots/1’s that make it easy to build chords on each of the notes of the Melodic Minor Scale. In classical music, you use the melodic minor ascending and the natural minor descending. Since the scale is layed out in 2 notes per string patterns across the neck, just like our normal pentatonic scales we can use some of the same exercises to get used to playing the scale, The pentatonic scale in groups of 3 notes. The entire line on the G7 is taken up with an ascending A7(#5) arpeggio and resolves via the F down to the 5th(E) of Amaj7. Pentatonic Scales – Melodic Minor – Altered Scale. In this video, I am going to go over how you make some great Melodic Minor Licks. The melodic minor scale is one of the most useful scales in jazz. (Sheet music). There are two other minor scales, the harmonic minor and melodic minor, which are not represented by any of these modes.) The 2nd bar also contains a part made using leading notes for chord tones. If you want to learn how to use Melodic minor in the context of a minor blues then check out this lesson: Check out what you really need in Melodic minor: Diatonic chords, triads, and quartal arpeggios: Sign up to my Newsletter and I will send you a download link to the PDF: This video is going over 10 Lydian Dominant Guitar Licks each one with a different arpeggio that you can add to your own vocabulary. The Melodic Minor Scale & Its Modes. Lydian Dominant – 10 Licks – What is the Best Arpeggio? It is important to keep in mind that these lines can be used as tritone dominants or altered scale ideas as well. This is a very common triad pair to use for melodic minor. Twitter. The fact that the pentatonic scale is a bit unusual in the construction makes it possible to get away with using it as a melody in the most basic form as a sort of enriched arpeggio. To begin, let’s take a look at how you can alter one note from the Ionian mode to create the first mode of melodic minor, otherwise known as the melodic minor scale itself. This example is using the G7 as a tritone substitute in a II V I in Gb major. For the triads, you can use the same: Gm, Bbaug and Edim and the upper part of Bbmaj7(#5) which is a D major triad.

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