Melodic Minor Complete Tom Lippincott

Part 1: theory
In classical music, the melodic minor scale is typically played one way ascending and a different
way descending. The descending version corresponds to the natural minor scale.

Example 1: Traditional melodic minor scale, ascending

&4 œ
4
œ œ œ œ
œ bœ œ
R §9 b3 §11 5 §13 §7 r

Example 2: Traditional melodic minor scale, descending (same as natural minor)

& œ bœ bœ œ œ bœ œ œ
R b7 b6 5 §11 b3 §9 r

In jazz, the classical method is abandoned, and the scale is performed the same way descending as
it is ascending because the scale is harmonized to form I, II, III, IV, V, VI, and VII chords. If all the
notes of both the ascending and descending versions were used to generate harmonies, there would
be several consecutive half steps, and much mayhem would ensue. So, jazz musicians have to
become comfortable with the scale, melodically and harmonically, as a seven note scale containing
only the notes R, §9, b3, §11, 5, §13, and §7. It's worth noting that the scale is like a natural minor
scale but with §6 and §7 or, alternately, like a major scale with a b3.

The major and harmonic minor scales are normally associated with major and minor key centers.
Thus, if a composition is in the key of C major, the C major scale is typically used to form melodies
and harmonies. The C major scale can be considered the "native" scale to that key. In jazz, the
melodic minor scale is generaly used in a different manner altogether. Tunes written in the "key of
C melodic minor," where chords derived are from the "native" scale do not exist in common practice.
Instead, harmonies derived from the melodic minor scale are more typically used in place of the
normal harmonies used in major or minor key centers but in a more arbitrary way. The melodic
minor harmonies are most often used in isolation as substitute sounds for the more basic harmonies
in a major or minor key. This is one of the ways that jazz performers, arrangers, and composers
create the interesting and rich-sounding harmonies that the jazz style is known for. The technique
of substitution can be, and often is, used by a soloist or a comper spontaneously in real time without
advance discussion with the other performers.

To begin making use of the melodic minor scale as a device for reharmonizing chords from major
and minor keys, it's first necessary to become familiar with the ascending, or "jazz," melodic minor
version of the scale and the basic harmonies that are derived from each mode.

Example 3 lists the seven modes of the C "jazz" melodic minor scale. First, each mode is listed
with the notes in ascending order with each note's function listed below (chord tones of R, 3, 5,
and 7, and upper extensions/color tones of 9, 11, and 13). After that, the basic four note seventh
chord and its commonly used chord symbol are shown.
2
Tom Lippincott
Example 3: Melodic minor modes

The first mode, often conveniently called "melodic minor," is probably the most straightforward in
its usage. It is commonly used as a substitute sound for tonic minor chords. Thus, in a II V I
progression in C minor (D-7b5, G7, C-7), the C melodic minor scale could be used over the I
chord as an alternative sound to the basic natural or harmonic minor. Note that the player would,
in most cases, only use the C melodic minor over the I chord. The A§ in the melodic minor scale
would clash with the Ab in the D-7b5 chord. Part of what makes this technique effective is that the
player would change from one sound to another as the chords change, creating more complexity
and, therefore, hopefully a more interesting sounding melodic line.

scale/mode name(s) and Roman numeral resulting basic seventh chord

I: Melodic minor C-/^
& œ œ œ œ œ w
œ bœ œ bw
w
w
R §9 b3 §11 5 §13 §7 r
The second mode, usually called "Phrygian natural 6th" because of its similarity to the Phrygian
scale, is typically only used in a less traditional modal context. This technique will be discussed
below.

II: Phrygian §6 D-7

œ œ œ œ w
w
& œ bœ œ œ w
w
R b9 b3 §11 5 §13 b7 r

The Lydian augmented scale forms an interesting-sounding chord, the augmented major
seventh—an augmented triad with a major seventh. This sound can be used as a substitute
sound for a major seventh chord, usually the I or the IV chord in a major key. This technique
can cause a fairly radical change in the sound and mood, and therefore, care should be taken
when using it. More specifically, the augmented major seventh sound was rarely, if ever, used
in jazz before the 1960s or so, and using this sound in a more traditional context may sound out
of place. A soloist or comper using this sound on a major seventh chord in the context of, for
example, a II V I progression in the key of Eb would usually only "switch" to the sound over the I
chord. In this example, then, a soloist might improvise over the II and the V portion of the
progression (Fm7 and Bb7) using more conventional vocabulary and then change over to the Eb
Lydian augmented sound over the I chord.

III: Lydian augmented, Lydian #5 Eb^#5

œ œ œ bœ w
& bœ œ œ œ bnw
w
w
R §9 §3 #11 #5 §13 §7 r
 Tom Lippincott 3

After the first mode, the Lydian dominant sound is probably the next most straightforward in its
usage. The harmonized scale yields a dominant seventh chord, plus the upper extensions/color
tones of §9, #11, and §13. This sound differs by only one note from the basic Mixolydian mode,
and so the Lydian dominant scale can be used fairly easily and successfully anywhere that a
Mixolydian sound is normally used (for example, the V chord in a major II V I progression). In
the above case, in a II V I progression in the key of Bb major, a soloist or comper could switch
over to the above scale/sound for the V chord. The Lydian dominant sound is also particularly
effective for dominant seventh chords that are not used as V chords. This will be discussed in
depth below. One very popular use of this mode is on dominant II chords in a major key.
Typical examples are the second chord of "Take the 'A' Train," as well as the second chord of
"Girl from Ipanema."

IV: Lydian b7, Lydian Dominant, Mixolydian #11 F7

œ œ œ bœ œ bw
w
& œ œ œ w
w
R §9 §3 #11 5 §13 b7 r

The fifth mode, Mixolydian b6, is another one that is most often used in a modal context, as
discussed below. The sound could be used on a V dominant seventh chord in major or minor
but tends to sound somewhat dated and specific to a particular stylistic period in the early
twentieth century with its distinctive §9/b13 color tones. For an example, think of the opening V
chord for "It Had to Be You" as it's often played at society dances.

V: Mixolydian b6, Aeolian §3

œ
G7
œ œ œ bœ œ w
w
w
& œ œ w
R §9 §3 §11 5 b13/b6 b7 r

Locrian §9 (sometimes written as §2) is a colorful and useful sound for half diminished chords. In
fact, the natural 9th in the scale eliminates the normal dissonance associated with the standard
Locrian sound, which has a flatted ninth So, in this case, the melodic minor "substitute" sound
is, in some ways, less dissonant and more stable than the standard Locrian or even the second
mode of harmonic minor. In the above case, the sound could be inserted in a II V I progression
in G minor (Am7b5, D7, Gm7) over the II chord. Occasionally, even in a major key, a half
diminished chord will be used as a II (Am7b5, D7, Gmaj7). In this case, the Locrian §9 sound is
even more fitting, since the §9, B, will become the §3 of the Gmaj7 chord.

VI: Locrian §9, Locrian §2

œ œ AØ
w
œ œ œ bœ œ bw
w
& œ w
R §9 b3 §11 b5 b13 b7 r
4
Tom Lippincott

The seventh mode is the strangest of all in its "natural" state. We end up with a half diminished
chord with extensions/color tones of b9, b11, and b13. Notice that, enharmonically speaking, a
b11 is the same thing as a §3! So even though, on paper, this looks like a half diminished chord,
our ear is going to hear that it has a major third.

œ œ œ BØ
w
œ w
VII
œ œ bœ w
& œ w
R b9 b3 b11 b5 b13 b7 r
We can reconcile the problem by switching the third and the b11 and calling the Eb the §3 and
the D§ a #9. We can also call the b5 a #11. Here's what we end up with:

VII: Altered, Superlocrian, Diminished Whole Tone

œ œ œ B7alt
w
œ œ #œ #œ #w
& œ w
R b9 #9 §3 #11 b13 b7 r
Now, we have something that makes a little more sense to our ear—a dominant seventh chord
with no 5th but with four color tones: b9, #9, #11, and b13. Notice that the accidentals for Eb and
F have been changed to their enharmonic sharp equivalents to fit the name of their functions
better. With all these "altered" color tones, we end up with a very tense-sounding dominant
seventh chord. As it turns out, a tense sound fits a dominant seventh chord quite well when it's
being used as a V chord. After all, the V chord's function is to sound unresolved, like it needs to
go somewhere else. With all those tense-sounding color tones, the B7 chord really sounds like
it needs to resolve to an E chord. It can resolve to an E major or an E minor; it doesn't really
matter. What does matter is that, with all that extra tension, the resolution is going to sound
even more satisfying than a "vanilla" V to I. Jazz musicians have used this sound to great effect
since the bebop era; in fact, of all of the melodic minor mode uses, this one is probably the most
important and the most common.

In order to begin to effectively use these sounds in context, the player needs to be as fluent as
possible with the jazz melodic minor scale. It's also important to understand the use of each of
the modes, the chord type, and the upper extensions for each. However, one interesting thing
about the melodic minor scale, which is unlike the major or harmonic minor scale, is that there
aren't really any tension points built into the scale. If you play each of the chords listed above
for each mode, and play through each note of the mode against that chord, you'll notice that
each note sounds pretty good. For this reason, there is a little more flexibility with the notes of
the melodic minor scale than with many other sounds; as long as you're playing one or more of
the right seven notes over the right chord, you pretty much can't go wrong. On one hand, this
fact can make the scale a little easier to get a handle on, but on the other hand, it can be
tempting to mindlessly run up and down the scale without regard to how each note relates to
the chord, since all the notes tend to sound equally good. With this note of caution in mind, we
will move on to finding a shortcut for figuring out which melodic minor scale/mode to use when.
Rather than thinking of each mode as a separate entity unto itself, many players find it useful to
associate the parent melodic minor scale with all seven of the different modes. So, whether
you're playing over Cm/maj7, B7alt, or F7#11, you just need to know "C melodic minor," rather
than thinking of C melodic minor, B altered, or F Lydian dominant for each chord.
 Tom Lippincott
5
Example 4 below presents a system for remembering which melodic minor scale goes with
which mode or chord. This can useful in real world situations where the player knows the chord
but not necessarily which melodic minor mode to use.

Example 4: Melodic minor mode usage shortcuts

Melodic minor chord/mode "shortcut" for parent scale

C-/^ melodic minor from root

& bw
w œ œ œ œ
w
w œ œ bœ œ
I m/maj7 R 9 b3 11 5 13 §7 R

D-7 (phrygian §6) melodic minor from a whole step below

& w
w
w œ œ œ œ œ
w œ œ bœ
II m7 b7 R b9 b3(#9) 11(sus4) 5 §6(§13) b7

Eb^#5
w
melodic minor from a minor 3rd below (relative minor)
& bnw
w œ œ œ œ œ
w œ œ bœ
III maj7#5 13 §7 R 9 §3 #11 #5 13

F7 (Lydian Dominant) melodic minor from the 5th (power chord)

bw
& w
w
w œ œ bœ œ œ œ œ œ
IV7 13 b7 R 9 3 11 5
5

G7
w
(mixo. b6)
melodic minor from the 4th (11th)
& w
w
w œ œ bœ œ œ œ œ œ
V7 11 5 b6 b7 R 9 3 11

AØ
bw
melodic minor from the b3
w
& w
w
œ œ bœ œ œ œ œ œ
VI half dim.
b3 11 b5 b13 b7 R 9 b3

B7alt
w melodic minor a half step up from root
& #w
w
œ œ bœ œ œ œ œ œ
VII7 b9
b9 #9 §3 #11 b13 b7 R
6 Tom Lippincott
In the preceding example, then, even though there are seven different chords, the approach is
to think C melodic minor over each one. With "melodic minor from x" thinking, it becomes
easier to transfer this idea to other keys. For example, to figure out which scale to play over an
F#7alt chord, just think "melodic minor up a half step," which, in this case, is G melodic minor.
To figure out which scale to play over D7 if you want a Lydian dominant sound, think melodic
minor from the 5th (of D7), or A melodic minor.

Again, the above technique can be a great shortcut to learning to use the different melodic
minor sounds, but musicians should not use that technique as an excuse to never bother
becoming intimately familiar with the chord tones involved in each mode. This is partially why
the chord tones for each mode are listed by function; C is the root of C melodic minor but
becomes the b7 of D Phrygian §6 and so forth.

The next "short cut" also involves parallel thinking for all seven modes. As mentioned earlier,
there are no real significant tension points built into the scale; all seven notes will sound
consonant over any of the seven diatonic chords. However, there is one "magic" set of four
notes that can very effectively be used to imply the sound of the entire scale—the four notes of
the IIImaj7#5 chord. In our example key of C melodic minor, that would be Ebmaj7#5. If we use
those four notes as an upper structure and put each of the seven notes of the scale under it as
a bass note, we actually get great chord voicings for each of the seven diatonic melodic minor
chords:
Example 5: Augmented major seventh upper structure usage shortcuts

C-/^
w
D Phryg.§6 Eb^#5
w w
F7#11
w
GwMixo.b6 AØ(§9)
w
B7alt
w
bw
w
w bw
w
w bw
w
w bw
w
w bw
w
w bw
w
w bw
w
w
& w w bw
w w w w
Eb^#5/C Eb^#5/D Eb^#5/Eb Eb^#5/F Eb^#5/G Eb^#5/A Eb^#5/B

Notice that for modes II and V, the chord symbol contains an abbreviation of the mode name
rather than the "basic" seventh chord symbol. This is due to the typical "modal" usage of these
two sounds. This will be discussed in more detail below.

For comping instruments, the IIImaj7#5 upper structure can be used to good effect for chord
voicings. For soloists, the IIImaj7#5 chord can be arpeggiated for a similar effect. For example,
to get a good distillation of an F Lydian dominant sound over an F7 chord, try arpeggiating the
Ebmaj7#5 chord. The same type of thinking as in the previous example could be used to begin
to get comfortable with which arpeggio to use with which chord:

I-/∆ maj7#5 arpeggio from b3 of chord

II Phryg.§6 maj7#5 arpeggio from b9 of chord
III∆#5 maj7#5 arpeggio from root of chord
IV Lydian dom. maj7#5 arpeggio from b7 of chord
V Mixo.b6 maj7#5 arpeggio from b6 of chord
VI half dim. maj7#5 arpeggio from b5 of chord
VII alt. dom. maj7#5 arpeggio from §3rd of chord
 Tom Lippincott 7

For example, for a C-/∆ chord, play a maj7#5 arpeggio from the b3 of the chord (Ebmaj7#5). For
an Ab Lydian dominant chord, play a maj7#5 arpeggio from the b7 of the chord, or Gbmaj7#5.

Tritone Substitution and the Lydian Dominant and Altered Sounds

Another important concept is that of tritone substitution between the altered dominant mode and
the Lydian dominant mode. In the example in C melodic minor, the Lydian dominant mode is F,
and the altered dominant mode is B. It is presumed that the reader is already familiar with the
basic concept of tritone substitution. Notice that, since the F Lydian dominant and B altered
modes are exactly a tritone apart, and they both form dominant seventh chords, they will both
share the same 3rd and 7th, although the 3rd of F7 will be the 7th of B7 and vice versa. Note
also that the Eb has been changed to a D# on the B7 chord since it's being used as a major
third. The two notes sound the same to the ear, however.

Example 6: Tritone substitution between the IV and VII modes

B7 F7
#w
wb73 bw
wb7
&
wR wR
3

Therefore, in a II V I progression in E, the B altered sound could be used over the V chord, but
the F Lydian dominant sound could also be used in its place. The parent scale for either
harmony would be C melodic minor, and furthermore, Ebmaj7#5 could be used quite effectively
as an upper structure for a chord voicing or arpeggiated by a soloist to imply either or both
sounds. At this point, the only difference between the B altered sound and the F Lydian
dominant sound is going to be which note the bass player chooses to play.

An example of a tune with the tritone substitution Lydian dominant sound built into it would be
Dizzy Gillespie's A Night in Tunisia. The tune is in D minor and begins with an Eb7#11 chord
progressing to a D minor chord. Eb7#11 implies Lydian dominant; the parent scale would be Bb
melodic minor. The 7th, or altered mode, in Bb melodic minor would be A. Using the above
idea, an A7alt sound could be sustituted for the Eb7#11 sound. If the bass player played an A
instead of an Eb as a bass note, and the chord instrument still continued to play the Eb7#11
chord, the A7 altered sound would result. Such is the close relationship between the two
sounds.

The "Modal" Modes—II and V

As mentioned before, the 2nd and 5th mode of melodic minor are rarely used in their more
traditional manner. The second mode of C melodic minor is rarely used over a D-7 chord, and
the fifth mode of C melodic minor is rarely used over a G7 chord. However, if we go to the
IIImaj7#5 upper structure idea, we get some interesting sounds for those two modes. Example
7 at the top of page 8 shows the two upper-structure-plus-bass-notes for modes II and V again.
8 Tom Lippincott

Example 7: Upper structure plus bass note voicings for modes II and V

Eb^#5/D (or D phryg.§6) Eb^#5/G (or G mixo.b6)

w w
& bw
w
ww & bw
w
w
w
Notice that most of the other upper-structure-plus-bass-note chords sound more or less like the
basic seventh chord but with one or more color tones. In the case of the chords in example 7,
however, an "exotic" sound is the result. The first chord doesn't really sound like any kind of D-7
chord, and the second chord doesn't sound much like a G7. It would be possible to use these
sounds in a tonal context, but the sounds would be, again, relatively exotic. In the case of
Ebmaj7#5/D, since there's a b9 (Eb) included in the chord as well as an 11th (G), this sound is
often used in place of a dominant 7 suspended chord. The flatted ninth gives an extra element
of tension. So, in the above case, the Ebmaj7#5/D chord could be used in place of a D7 or
D7sus chord and resolve to a G major chord. In the case of the Ebmaj7#5/G chord, we end up
with, essentially, a G major triad with an added flat sixth (Eb). This sound is sometimes used in
place of a major I chord.

Another possibility for these more exotic sounds is in a modal context. In this case, the chords
are taken out of their normal "functional" use and applied somewhat more randomly to achieve
a more coloristic, static effect (as opposed to the more traditional tension-to-resolution effect of
tonal music). For example, an entire composition might be based on one sound, Phrygian §6, or
several other similar types of chords moving in non-traditional ways.

The Minor IV to I Progression and the Lydian Dominant Sound

After the V to I progression, possibly the most common progression in most standards and jazz
tunes is the minor IV to I progression. In a major key, the tension produced by playing the IV
chord as minor (often just after a regular major IV chord) and resolving to I major can be almost
as satisfying a resolution as a V to I. Also, the F melodic minor scale gives the smoothest voice
leading between the F-6 sound and the home key of C major as compared with other F minor
scales like natural minor.
Example 8: Basic IV - minor IV - I progression found in many standards
F6 F-6 C

°
& ˙˙˙ b ˙˙˙ w
w
w
w
˙ ˙
IV major IV minor I major
F Lydian/C major F melodic minor C major

¢⁄
1 1 1
2 1 0
0 0 2
3
1 1
 Tom Lippincott 9

From about the 1950s onward, many jazz musicians began to substitute the IV minor chord with
a bVII Lydian dominant chord. Notice that the parent scale of the Lydian dominant would still be
melodic minor based on the minor IV chord. Thus, in C major, the older style IV, IV minor, I
progression would be changed to the one below in example 9. Notice that the F-6 and the
Bb9#11 chords contain three of the same notes and sound quite similar in the context of the
progression. The upper structure stays virtually the same, but the bass movement becomes
more interesting.

Example 9: Using VII Lydian dominant in place of IV minor

F^ B¨9#11 C^

°
& ˙˙˙ b ˙˙˙˙ w
w
w
w
˙ b˙ w
IV major bVII Lyd. dom. I major
F Lydian/C major F mel. minor/Bb Lyd. dom. C major
0 0

¢⁄
1 1 0
2 1 0
2 0 2
1 3
1

One additional way of conceptualizing the melodic minor scale is worth mentioning. In addition
to the scale's similiarity to major and natural minor scales, it is also quite similar in structure to
the Dorian, or second mode, of the major scale. Example 10 shows a D Dorian scale, from the
key of C major.

Example 10: D Dorian scale (second mode of C major scale)

& œ œ œ œ œ œ
œ œ
R 9 b3 11 5 13 b7 R

In order to make this into a D melodic minor scale, all we need to do is raise the seventh degree
by a half step, giving us what might be called "Dorian sharp seventh." In this case the "sharp"
seventh is actually a natural seventh, but it's been raised a half step from its "natural" state.

Example 11: D "Dorian sharp seventh"

& œ œ œ œ #œ œ
œ œ
R 9 b3 11 5 13 #7 R
[§7]
 Tom Lippincott
10

Now, if we simply use the other six mode names from C major, but change the C to C# in each,
we get an internally consistent group of mode names as shown in example 12. Notice how
many of the mode names turn out to be the same as, or close to, common practice names.
Example 12: Other mode names based on "Dorian sharp seventh" concept

II: Phrygian #6
œ #œ œ œ
& œ œ œ œ
R b9 b3 §11 5 #6 b7 r
[§6]

III: Lydian #5
œ #œ œ œ œ
& œ œ œ
R §9 §3 #11 #5 §13 §7 r

IV: Mixolydian #4
#œ œ œ œ œ
& œ œ œ
R §9 §3 #4 5 §13 b7 r

V: Aeolian #3
œ œ œ œ œ
& œ œ #œ
R §9 #3 §11 5 b13/b6 b7 r
[§3]

VI: Locrian #2
œ œ œ œ œ
& œ #œ œ
R #2 b3 §11 b5 b13 b7 r
[§9]

The only mode that is a little strange using this method is, once again, the seventh mode which
becomes "Ionian sharp one."
VII: Ionian #1
œ œ œ œ #œ
œ œ
& #œ
#R b9 #9 §3 #11 b13 b7 r
 Tom Lippincott
11

As mentioned earlier, because the melodic minor modes tend to be used as substitute sounds
for standard major and minor key harmonies, and also because the melodic minor scale doesn't
have any obvious tension points, one can easily be lulled into using a "cut and paste" approach,
plugging in the appropriate scale over a certain chord and ending there. Keep in mind that jazz
improvisation involves much more than just simply plugging in a particular scale at a certain
time. In order to effectively use the melodic minor modes, one must also have mastered the
basics of constructing effective melodies, voice leading from chord to chord, and the other
idiomatic elements of the jazz style. Becoming fluent with the melodic minor scale, and learning
where to use it, is only one small part of learning to be an effective jazz improviser. It is strongly
suggested that, before an aspiring jazz musician attempts to master the intricacies of the
melodic minor modes, he or she should have a solid background in areas like improvising with a
good swing feel, using idiomatic shading devices, improvising effectively on chord tones and
guide tones, and using approach and target notes.

Also, less experienced musicians sometimes get confused about the use of substitute
harmonies in jazz improvisation. Experienced jazz soloists and/or compers will be constantly
editing and amending the music they are playing on the fly, based on interaction with the other
members of the group and/or their own mood and taste. If you are soloing over a II V I and the
comping instrument is playing "vanilla" chord changes, that doesn't automatically mean you
can't utilize melodic minor sounds or other reharmonization techniques. If the melodic line you
play is strong enough to stand on its own, it will transcend any momentary dissonances or
"wrong notes" that may happen because the pianist played a natural 9th and you played a
flatted 9th. Don't be afraid to experiment, have fun, and try new sounds. This idea doesn't
need to be restricted to the practice room or the rehearsal hall. With a little experience, you can
learn to experiment, try new sounds, and even have fun while you are performing for an
audience. In fact, that sense of joyful experimentation is an important part of the jazz tradition.

The following are some examples of uses of the different melodic minor modes as they might be
applied in real situations.

Example 13: Mode I: C melodic minor over I minor

Standard
G7 C-7
° DØ œ œ œ b œ œ œ nœ bœ œ bœ œ bœ œ Ó
& ‰ œj œ b œ œ ‰ J bœ œ bœ œ œ œ bœ bœ œ
C natural minor

¢⁄
6 6 8
5 8 7 5 4 5 8 8 5 5
6 6 5 5 6 8 8
5 8 6 8
12 Tom Lippincott

With melodic minor

G7 C-7
° ‰ j
DØ
œ œ ‰ œ œ b œ œ œ nœ nœ œ b œ œ b œ œ nœ œ Ó
& œ œ b œ J b œ œ bœ œ œ œ nœ
C melodic minor

¢⁄
6 6 8
5 8 7 5 4 5 8 8 5 5
6 6 5 5 7 9 9
5 8 6 8

Example 14: Mode II: D Phrygian §6 over V7sus

Standard
D7sus G^
° #œ œ œ œ
& œ œ #œ œ w
D Mixolydian

¢⁄
7 5
7 4
7 5 4
7 5

With phrygian §6
G^
°
D7sus (Implies D7susb9§13)
nœ bœ œ œ œ
& œ nœ bœ w
D Phrygian §6
(2nd mode of C melodic minor)

¢⁄
6 4
7 4
7 5 3
6 5

Example 15: Mode III: Eb Lydian #5 (third mode of C melodic minor) over I major
Standard

F-7 B¨7 E¨^

° œ œ œ œ b œ œ œ bœ œ ˙
& Ó b œ nœ b œ œ œ b œ œ Œ ‰ œj œ b œ œ b œ ‰ J
3
Eb major (Ionian)
3 6

¢⁄
3 6 3 4 6 3
5 3
8 7 6 5 5
8 6 5 5 6
 Tom Lippincott 13

With Lydian #5

œ œ b œ œ œ<n> œ ‰ œ ˙
F-7 Bb7 Eb^
°
& Ó b œ nœ b œ œ œ œ b œ Œ ‰ j <n> œ œ
œ œ œ bœ œ J
3
Eb Lydian #5
(third mode of C melodic minor)
3 7

¢⁄
3 6 3 4 6 3
5 4
8 7 6 5 5
8 6 5 5 6

Example 16: Mode IV: F Lydian dominant over V7, bII7, and bVII7
16a: Over V7
Standard
F7 ("Cry Me a River" lick) B¨^
°
œ bœ œ bœ œ ˙
œ œ bœ œ œ œ
&
3
F Mixolydian

10 6 5

¢⁄
8 6
8 7 7
10 8

With lydian dominant

F7 Bb^
°
œ nœ œ bœ œ ˙
œ œ œ œ
& bœ œ
3
F Lydian dominant
(4th mode C melodic minor)
10 7 5

¢⁄
8 6
8 7 7
10 8

16b: Over bII7 (tritone sub for V)

Standard

F7 E^ (or E-7)
°
œ bœ œ bœ œ œ œ w
&
3
F Mixolydian
10 6

¢⁄
8
8 7
10 9
14 Tom Lippincott
With lydian dominant
F7 E^ (or E-7)
°
œ nœ œ bœ œ
& œ œ w
3
F Lydian dominant
(4th mode C melodic minor)
10 7

¢⁄
8
8 7
10 9

16c: Over bVII7 (sub for IV minor)

Standard

bF7 <b> œ
G^
(sub for Cm)
œ
° bœ œ œ œ œ bœ w
&
F Mixolydian
(C Dorian)
11 6 10 8 6

¢⁄
10 8
8 7

With lydian dominant

bF7
œ <n> œ
G^
° nœ œ œ œ œ bœ w
&
F Lydian dominant
(4th mode C melodic minor)
11 7 10 8 7

¢⁄
10 8
8 7

Example 17: Mode V: G Mixolydian b6 over I∆

Standard
A-7 D7 G^
° j œ #œ œ
& œ bœ œ
œ œ œ ‰ œ œ œ œ œ œ w
G major (Ionian)

¢⁄
7 5
7 6 5 4 4 7 7 5 4
7 5 7
7
 Tom Lippincott 15
With Mixolydian b6

A-7 D7 G^
° j nœ b œ
& œ bœ œ œ œ œ œ œ
œ œ œ ‰ œ œ w
G Mixolydian b6
(5th mode C melodic minor)

¢⁄
6 4
7 6 5 4 4 7 7 5 4
7 5 7
7

Example 18: Mode VI: A Locrian §2 over IIø in major and minor
18a: in major
Standard
AØ D7 œ G^
° œ b œ œ bœ œ œ bœ œ # œ œ œ
‰ J œ œ w
& ‰ J ‰ J
3
A Locrian
(Bb major)
6 10 8 6

¢⁄
8 10 8 7
8 9 7
10 10 9

With Locrian §2
AØ D7 œ G^
° œ b œ œ nœ œ œ nœ œ # œ œ ‰ œJ œ œ w
& ‰ J ‰ J
3
A Locrian §2
(6th mode of C melodic minor)
7 10 8 7

¢⁄
8 10 8 7
8 9 7
10 10 9

18b: in minor
Standard
AØ D7b9 œ G-7
° œ b œ œ œ bœ œ
œ bœ # œ bœ ‰ œ œ bœ w
& ‰ J ‰ J J
3
A Locrian
(Bb major)
6 10 8 6

¢⁄
8 10 8 7
8 8 7
10 10 8
 Tom Lippincott
16
With Locrian §2
AØ D7b9 œ G-7
° b œ œ nœ œ œ nœ œ # œ b œ
& ‰ œ ‰ J ‰ œJ œ b œ w
J 3
A Locrian §2
(6th mode of C melodic minor)
7 10 8 7

¢⁄
8 10 8 7
8 8 7
10 10 8

Example 19: Mode VII: B altered over V7 in major and minor

19a: in major
Standard
F#-7 B7 E^
° j #œ œ #œ œ œ #œ #œ œ œ #œ #œ
& ‰ œ œ œ #œ w
3
B Mixolydian
(E major)
4 7 5 4

¢⁄
5 7 5 4
6 6 4
7 7 6

With altered
F#-7 B7 E^
° j #œ œ #œ œ œ #œ #œ nœ b œ œ œ
& ‰ œ œ œ #œ w
3
B altered
(7th mode of C melodic minor)
4 7 5 4

¢⁄
5 7 6 4
6 7 5 4
7 7 6

19b: in minor
Standard
F#Ø B7b9 E-7
° j œ œ œ œ œ œ #œ œ œ #œ œ
& ‰ œ œ œ œ w
3
E harmonic minor
3 7 5 3

¢⁄
5 7 5 4
5 5 4
7 7 5
 Tom Lippincott 17
With altered
F#Ø B7b9 E-7
° j œ œ œ œ œ œ #œ nœ b œ œ œ
& ‰ œ œ œ œ w
3
B altered
(7th mode of C melodic minor)
3 7 5 3

¢⁄
5 7 6 4
5 7 5 4
7 7 5

Example 20: combination of F# Locrian §2 and B altered over IIø - V7 in major and minor
20a: in major

F#Ø B7alt E^
°
*
œ œ œ #œ œ bœ œ œ œ œ œ œ
& #œ #œ œ œ w
3
F# Locrian §2 B altered
(6th mode of A melodic minor) (7th mode of C melodic minor)

¢⁄
5 7 8 4 6 4
4 5 7 5 7 5 4
4 6 7 7

20b: in minor

F#Ø B7alt E-7

°
*
œ œ œ #œ œ bœ œ œ œ œ œ œ
& #œ #œ œ œ w
3
F# Locrian §2 B altered
(6th mode of A melodic minor) (7th mode of C melodic minor)

¢⁄
5 7 8 4 6 4
4 5 7 5 7 5 4
4 6 7 7

*The "B7alt" chord symbol indicates to both the comper and the soloist that the altered scale is
to be used. The comper could play the basic shell voicing of R, 3, b7 plus any combination of
the altered upper extensions of b9, #9, #11, and b13. Although jazz musicians will often play the
altered sound on the spur of the moment over any V7 chord, sometimes the arranger or
composer will specifically want that sound and will, in that case, indicate it with the "alt" chord
symbol.
18 Tom Lippincott
Example 21: use of the augmented major seventh upper structure over a II V I in minor

F#Ø B7alt #œ
E-^
œ
°
œ œœ #œ œ œ
œ œ #œ œ bœ œ œ ‰ J #œ œ #œ w
& Œ ‰ œ
J 3 3
C+∆(III chord Eb+∆(III chord G+∆(III chord
of A melodic minor) of C melodic minor) of E melodic minor)
14 11

¢⁄
12 15 12 12
13 12 12 11 12
14 13 12 13 13
14 15

Notice that, in the above example, the three melodic minor scales used are A, C, and E. The
root of the second scale is a minor third higher than the first, and the root of the third scale is a
major third higher than the second. Therefore, one could play an idea from A melodic minor,
repeat the idea a minor third higher, and then repeat the idea a major third above that and get
the correct scale for each chord. One could also use the identical concept with the augmented
major seventh upper structures which have the same intervallic relationship (up a minor third,
then up a major third). This is a shortcut which can produce boring, predictable, and unmusical
results if relied upon too much but can be an easy way for a guitarist to begin to incorporate
these concepts quickly and hear the results right away. Exampe 22 gives three different easy
fingerings for augmented major seventh arpeggios

Example 22: three easy arpeggio shapes for Eb+∆

10fr
7fr
3fr

° ° °
œ œ ˙ œ œ ˙
& œ bœ œ œ ˙ & œ bœ & œ bœ
7 10 10

¢⁄ ¢⁄ ¢⁄
3 8 12
4 7 8 12
5 12 13
5 6

The phrase from example 21 is shown below, revised to use the second fingering from example
22 for all three augmented major seventh arpeggios.
Example 23: applying the minor third/major third concept

F#Ø B7alt E-^

° œ # œ œ œ œ œ bœ œ # œ œ #œ œ œ
#œ œ #œ
& Œ ‰ œ œ œ ‰ J w
J 3 3
4 7 10 7 14 11

¢⁄
5 8 12
4 5 8 7 8 12 11 12
13