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Jazz Guitar Lessons: Modes Of The Melodic Minor Scale

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I want to take a moment to talk about
the use of the melodic
minor scale in the way
that I call the jazz melodic minor scale.
Remember the classical version is
different going down than it is going up,
but in our version.
As we learned it when we learned the minor
scales, is the same up and down.
Now, I just wanna briefly remind
you that when we did the modes,
the modes were scales that were created
just by starting a scale on another note
of the same scale and going to that note.
So just to refresh your memory in C.
If you start a scale on C it's just the C
major scale, but
if you start the same scale starting on D
you get the Dorian mode,
the D Dorian mode.
Well the melodic minor
scale has modes of its own.
They're not called Aeolian or
Phrygian, or anything like that.
But they might have a taste
of that in their name.
And they're very important in jazz
because they provide you with
tensions automatically in the scale.
So let's look at
the A melodic minor scale.
I'm doing it in the second position with
my second finger on the fifth fret, Okay?
If I start that scale, I'm gonna in a,
in an interesting place.
If I start it on the seventh degree,
in other words, same position.
But start the same notes from my first
finger in that position
It has a very different sound.
I'll do that one more time
It becomes what a lot of
people call the altered scale.
So when you have a chord where you
have a lot of flatted, tension.
So for example, this is now an A-flat
scale, because I'm, even though it's
A melodic minor, I'm starting it
from A-flat, right, or G-sharp.
If I play G-sharp minor, and in this case.
Added the flat 13 and
the flat nine and even the flat five
all the tensions are altered.
So the flat five is like a sharp 11 okay?
So we have the sharp nine,
sharp 11 and flat 13.
Well that scale,
the A melodic minor scale
starting from G sharp
has all those notes in it.
And it becomes,
in effect the altered scale.
That's a very very cool scale to use.
And I'll call that what the tensions are.
It also has a flat nine I forgot,
forgot to mention that.
So it has almost every altered
tension that you can put that sharp
nine and flat nine.
You remember from Donna Lee.
Bird uses that flat nine,
sharp nine combination quite a bit.
So route, flat nine, sharp nine.
The regular third because it's
a dominant scale, remember.
So it has to have a major third,
the flat nine is like a minor third.
So it's got the major third,
the sharp 11, the flat 13, the seven,
you gotta have a seven because it'
a dominant chord, and then one again.
And that's all off of
the A melodic minor scale.
It's quite, quite a rich scale and
something that I really
suggest you hone in on.
I'll talk more about this and
add lessons about this later.
Because there are other
modes that come from,
from this, same scale being
started from a different place.
One very important one,
for example, is what, and
it's borrowed from a mode,
is the Lydian flat seventh scale.
Wow, what does that mean?
Well, if you take this same scale, and
you start it on the fourth
degree Yoyu get a Lydian scale.
Remember the Lydian scale
had the sharp 11th.
And that's a really key note here.
And if you flat the seventh,
you get a chord scale that you
can play over the sharp 11 chord.
Kind of has that
that pow sound, like from the old Batman.
anyway, that chord
it's a very common chord in jazz.
So, I'm gonna take
the A melodic minor scale
and I'm gonna start it from D and go to D.
And you get the Lydian scale
with the flat seven
instead of normal Lydian scale would be,
and that's major scale.
This time it has a flat seven
play that with me.
I'll play it real slow.
so, those were
a couple of the modes from
the melodic minor scale.
For now, we'll leave it at just those two,
but if you can find some others from that
same scale and, and
the way that they might be used.
Please, make a video of it and send it in,
and we'll discuss it for sure.