A great deal of modern jazz harmony arises from the modes of the ascending form of the melodic minor scale, also known as the Jazz Melodic Minor Scale. This scale is essentially a diatonic major scale with a lowered third, for example C–D–E♭–F–G–A–B–C. As with any other scale, the modes are derived from playing the scale from different root notes, causing a series of jazz scales to emerge.
Subjects(s): Theory • Jazz • Scale • Melodic
A great deal of modern jazz harmony arises from the modes of the ascending form of the melodic minor scale, also known as the Jazz Melodic Minor Scale. This scale is essentially a diatonic major scale with a lowered third, for example C–D–E♭–F–G–A–B–C. As with any other scale, the modes are derived from playing the scale from different root notes, causing a series of jazz scales to emerge.
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Ascending Melodic Minor • [ 1, 2, ♭3, 4, 5, 6, 7 ]
Phrygian ♮6 or Dorian ♭2 • [ 1,♭2,♭3, 4, 5, 6, ♭7 ]
Lydian Augmented or Lydian ♯5 • [ 1, 2, 3,♯4,♯5, 6, 7 ]
Lydian Dominant [ Lydian ♭7 ] or Mixolydian ♯4 • [ 1, 2, 3,♯4, 5, 6, ♭7 ].
As the Mixolydian scale is one of the essential the Six Essential Scales and a better reference scale to simple sharp the fourth (♯4).
Mixolydian ♭6 (or simply fifth mode
) • [ 1, 2, 3, 4, 5, ♭6, ♭7 ]
Locrian ♮2 (also known as half-diminished
> scale) • [ 1, 2,♭3, 4, ♭5, ♭6, ♭7 ]
Super Locrian (also altered dominant scale
, or altered scale
) • [ 1, ♭2, ♭3, ♭4, ♭5, ♭6, ♭7 ]
One thing to notice these are simply variations of the existing essential scales that every jazz player should already as part of their foundation.
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