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In Pt. 1, we saw how M.M. was created from of the ribs of a Major scale by simply dropping the Maj. 3rd a half step, and in the process, changing the interval relationships (and therefore the tensions) within the scale itself. The sound of MM is now darker and more mysterious than Major, due mainly to the added whole tone (creating an augmented triad, Eb-G-B), and the diatonic presence of two diminished triads (A-C-Eb & B-D-F), meaning that our new scale now possesses two tritones (A-Eb & B-F).
Besides the tritones, we also notice that our new scale now contains 4 perfect fourths (C-F, D-G, G-C, A-C), and one diminished fourth (B-Eb) which sounds and functions as a Major 3rd and is one of the defining intervals of the MM scale (more on that later).
Besides the tritones, we also notice that our new scale now contains 4 perfect fourths (C-F, D-G, G-C, A-C), and one diminished fourth (B-Eb) which sounds and functions as a Major 3rd and is one of the defining intervals of the MM scale (more on that later).
Becoming as intimately familiar with the basic scales, modes and 7th chords of Melodic Minor harmony in all keys, as one is (or should be) familiar with the Major scales, modes and 7th chords, can make an enormous difference in the scope of one's improvisational color palette. This close familiarity with MM as an "altered reality" of Major, will foster a creative, fresh vocabulary.
If you haven't downloaded the basic C Melodic Minor scale chart from Part 1, you can do so here.
If you haven't downloaded the basic C Melodic Minor scale chart from Part 1, you can do so here.
 | You can also download the Melodic Minor tonic (i) mode, laid out in all 12 keys. Owning a copy of "The Melodic Minor Handbook", by Bobby Stern would be an excellent idea at this point. Stay tuned for Pt. 3, as the "Slick Stuff" from MM starts to slowly make it's way to these pages! B. Stern |  Click for larger image |
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