That’s why I designate the “most correct” mode names the way that I do, even though some mode names might seem counter-intuitive.įor example, it doesn’t make sense to have two different scales both called “Mixolydian” in the same system of modes. To avoid confusion, it doesn’t make sense to duplicate mode names, and the order of mode names for melodic minor should follow the same pattern as the major mode names. By correct, I simply mean the mode name that makes the most sense theoretically, not the name that is most commonly used to refer to a given mode. I’ll also tell you what I think is the most “correct” mode name. It’s important to know all the different “aliases” or nicknames that are used to refer to the same scale so that you’ll know which scales other jazz musicians are talking about. There is a lot of confusion over what to call the various modes derived from melodic minor, so I’ll give you multiple names for each scale. You can create modes based on this scale by playing the same melodic minor scale but starting on a different scale degree, just like you can with the major scale. Basically, a melodic minor scale is identical to a major scale except the third scale degree is lowered one half-step. To review, in the jazz context, a melodic minor scale is just the ascending version of the “classical” melodic minor scale. In this post, I’m going to make sure we have a firm grasp of the melodic minor scale and its modes and then we can look at examples of how melodic minor can be used in jazz improvisation. In addition to learning the major scale in all 12 keys and the 7 diatonic or “church” modes derived from the major scale, the melodic minor scale is one of the most important and useful scales for jazz improvisers to master.
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