Tailor Made - A Simple Melodic Minor V7-I Resolution
Since the publication of "The Melodic Minor Handbook: A Jazz Player's Perspective" (Aebersold Books) in 2006, there's been a plethora of online text and video information on the subject of Minor scale harmony in general, lumping the three main minor types (Natural, Harmonic and Melodic) together in one bunch.
Although much has been written in the pages of this website - focusing on Melodic Minor harmony in particular - it seems that there's still a good deal of confusion in the minds of many improvisers of every level - including professionals.
So while I don't profess to be on a crusade to stamp out the flames of Melodic Minor unfamiliarity, I'm hoping, nevertheless, to be able to clear up a few ambiguities.
Although much has been written in the pages of this website - focusing on Melodic Minor harmony in particular - it seems that there's still a good deal of confusion in the minds of many improvisers of every level - including professionals.
So while I don't profess to be on a crusade to stamp out the flames of Melodic Minor unfamiliarity, I'm hoping, nevertheless, to be able to clear up a few ambiguities.
It all starts with the Major Scale matrix - a collection of 6 consecutive Perfect 5ths.
F-C-G-D-A-E-B = C-D-E-F-G-A-B = the 7-tone C Major Scale
It´s important to understand then, the difference between the Major and Melodic Minor scales - which on the surface seems to be minor (pun intended). For example, while the C Major scale contains a Maj 3rd (E), C Melodic Minor has a minor 3rd (Eb). No surprises there!
C Major: C-D-E-F-G-A-B
C Melodic Minor: C-D-Eb-F-G-A-B
Upon closer inspection, we see that simply lowering the 3rd scale degree of the Major scale by a half step changes the entire scale and interval structure - altering it into something with a completely different set of tensions and implied resolutions.
Zeroing in on C Melodic Minor even further, we discover that scale tones Eb thru B make up 5 of the 6 notes of a Whole Tone Scale. If we take A thru F, we have 6 of the 8 notes of a Whole/ Half Tone Diminished Scale. Because of this combination, aspects of Melodic Minor are sometimes referred to as the Diminshed/ Whole Tone Scale.
I believe a large part of misunderstanding Melodic Minor harmony stems from mistakenly approaching it in terms of Major Scale harmony, its modes and key centers - which we all learn first.
The Major Scale harmonic system contains a single tritone (F - B in C Major, for example), which is the core element of the dominant to tonic (V - I) resolution - possibly the most important aspect in traditional Western harmony. The presence of this tritone creates a so-called "avoid note" (the 4th scale degree held against a Major chord), which was traditionally considered to be an unwanted dissonance, rubbing against the Major 3rd (E, in this case), where it needed to resolve.
By lowering the Maj 3rd, the Melodic Minor system now contains two tritones (Eb - A & F - B in C Melodic Minor), and has no such "avoid note" dissonance. This means that any note or group of notes need not be avoided. More importantly, it means that the strong tension and release mechanism of the tritone, inherent in Major Scale harmony, is considerably weakened in Melodic Minor - enough so, that it frees up the improviser to start or end a phrase on virtually any point in the scale.
The notation graphic below shows a V7alt - I cadence resolution (C7alt - F Maj7). Unsurprisingly, the scale of choice for the C7alt is C# (Db) Melodic Minor. If we were to start the scale on C, its seventh scale step, we'd have what is commonly referred to as the C Altered Scale, which is the seventh mode of C# (Db) Melodic Minor.
F-C-G-D-A-E-B = C-D-E-F-G-A-B = the 7-tone C Major Scale
It´s important to understand then, the difference between the Major and Melodic Minor scales - which on the surface seems to be minor (pun intended). For example, while the C Major scale contains a Maj 3rd (E), C Melodic Minor has a minor 3rd (Eb). No surprises there!
C Major: C-D-E-F-G-A-B
C Melodic Minor: C-D-Eb-F-G-A-B
Upon closer inspection, we see that simply lowering the 3rd scale degree of the Major scale by a half step changes the entire scale and interval structure - altering it into something with a completely different set of tensions and implied resolutions.
Zeroing in on C Melodic Minor even further, we discover that scale tones Eb thru B make up 5 of the 6 notes of a Whole Tone Scale. If we take A thru F, we have 6 of the 8 notes of a Whole/ Half Tone Diminished Scale. Because of this combination, aspects of Melodic Minor are sometimes referred to as the Diminshed/ Whole Tone Scale.
I believe a large part of misunderstanding Melodic Minor harmony stems from mistakenly approaching it in terms of Major Scale harmony, its modes and key centers - which we all learn first.
The Major Scale harmonic system contains a single tritone (F - B in C Major, for example), which is the core element of the dominant to tonic (V - I) resolution - possibly the most important aspect in traditional Western harmony. The presence of this tritone creates a so-called "avoid note" (the 4th scale degree held against a Major chord), which was traditionally considered to be an unwanted dissonance, rubbing against the Major 3rd (E, in this case), where it needed to resolve.
By lowering the Maj 3rd, the Melodic Minor system now contains two tritones (Eb - A & F - B in C Melodic Minor), and has no such "avoid note" dissonance. This means that any note or group of notes need not be avoided. More importantly, it means that the strong tension and release mechanism of the tritone, inherent in Major Scale harmony, is considerably weakened in Melodic Minor - enough so, that it frees up the improviser to start or end a phrase on virtually any point in the scale.
The notation graphic below shows a V7alt - I cadence resolution (C7alt - F Maj7). Unsurprisingly, the scale of choice for the C7alt is C# (Db) Melodic Minor. If we were to start the scale on C, its seventh scale step, we'd have what is commonly referred to as the C Altered Scale, which is the seventh mode of C# (Db) Melodic Minor.
In the first measure of this example, over a C7alt (V7), a pair of 1-2-3-5 "digital patterns" are employed, starting on the first and fourth scale degrees of the C# Melodic Minor scale - outlining C# minor & F# Maj triads.
In measure #2, G# Maj & C# minor (up an octave) are used in the same fashion. Thus, a melodic line is created based on the i, IV & V triads of C# Melodic Minor. The numbers under each note indicate its part in each chord. Being a dominant chord, C7alt contains the root (C), Maj 3rd (E) and flat 7th (A# or Bb). The other four tones - b9, #9, b5 (#11) & b13 - are altered from the Major scale derived Mixolydian mode, built on the 5th degree of C Major - G Mixolydian, in this case.
A neat resolution to F Maj7 (I) takes place in measures 3 & 4, as the last G# (b13 of C7alt) in measure #2 resolves down a half step to G natural (9 of F Maj 7), the first note in measure #3. The notes in these last 2 bars make up a C Maj Pentatonic Scale (over F).
In measure #2, G# Maj & C# minor (up an octave) are used in the same fashion. Thus, a melodic line is created based on the i, IV & V triads of C# Melodic Minor. The numbers under each note indicate its part in each chord. Being a dominant chord, C7alt contains the root (C), Maj 3rd (E) and flat 7th (A# or Bb). The other four tones - b9, #9, b5 (#11) & b13 - are altered from the Major scale derived Mixolydian mode, built on the 5th degree of C Major - G Mixolydian, in this case.
A neat resolution to F Maj7 (I) takes place in measures 3 & 4, as the last G# (b13 of C7alt) in measure #2 resolves down a half step to G natural (9 of F Maj 7), the first note in measure #3. The notes in these last 2 bars make up a C Maj Pentatonic Scale (over F).
Listen
In dominant to tonic (V7-I) situations such as this, thinking Major Scale harmony (in which Mixolydian plays a "dominant" role), considerably slows down the thought process. The necessity of having to identify each individual dominant chord extension and then altering it is tedious, to say the least.
On the other hand, facility with the Melodic Minor scale in all "keys", eliminates this burden, as it contains the root, 3rd & b7, as well as all four previously mentioned altered dominant chord extensions. It's been pre-digested and contains all the vitamins you'll need.
Also, thinking in terms of the "altered scale" vs. Melodic Minor is pointless. The altered scale is the 7th mode of Melodic Minor - not the other way around. Know your Melodic Minor scales and keys and you'll know your altered scales. The same holds true for the other 6 Melodic Minor modes, as their interchangeability is the key.
The exception to this might be, in most cases, a purely modal situation - where a particular mode of Melodic Minor (i.e., Lydian Augmented, Dorian b2, etc.) is called for over several measures.
The take-away: Melodic Minor is "tailor made" to make your lines hip, colorful and more interesting.
Wear it well!
On the other hand, facility with the Melodic Minor scale in all "keys", eliminates this burden, as it contains the root, 3rd & b7, as well as all four previously mentioned altered dominant chord extensions. It's been pre-digested and contains all the vitamins you'll need.
Also, thinking in terms of the "altered scale" vs. Melodic Minor is pointless. The altered scale is the 7th mode of Melodic Minor - not the other way around. Know your Melodic Minor scales and keys and you'll know your altered scales. The same holds true for the other 6 Melodic Minor modes, as their interchangeability is the key.
The exception to this might be, in most cases, a purely modal situation - where a particular mode of Melodic Minor (i.e., Lydian Augmented, Dorian b2, etc.) is called for over several measures.
The take-away: Melodic Minor is "tailor made" to make your lines hip, colorful and more interesting.
Wear it well!
B. Stern
Related:
Hey! You've Got an ACE up Your Sleeve!
Shortbook of the Month: The Book of Altered
Got the Digits? - Melodic Minor i-V7 Digital Patterns
Hey! You've Got an ACE up Your Sleeve!
Shortbook of the Month: The Book of Altered
Got the Digits? - Melodic Minor i-V7 Digital Patterns
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