the 5th of the chord. In Fig. 4, we want
to highlight the sound of an F7 chord, but
also hit some cool extensions such as the 9
and #11. The 5th of F7 is C, so the C jazz
melodic minor works great here.
Another choice for dominant chords
is to play off the 4th degree of the scale.
We have a G7 chord in Fig. 5, and when
we use our C jazz melodic minor scale it
highlights the
13 of the chord, giving it
a more tense, altered sound. Mental note:
Try this application out over the V chord
in a minor II-V7 progression.
We are now going to progress into full
In classical music circles,
this form of the melodic
minor is only used when
the scale ascends, with the
natural minor (off the same
root) used for descending
phrases. Most modern
musicians, especially in jazz,
stick to using the melodic
minor scale both for
ascending and descending.
altered-chord mode. Over the B7alt chord
in Fig. 6, we’ll play a jazz melodic minor
scale that starts a half-step above the root.
We hit all the extensions here (
9, #9, #11,
13) making the resolution note (E% or D#,
the 3rd of the chord) even more important.
Finally, we don’t want to leave out
the half-diminished—or m7
5—chords.
When faced with one of these, start your
scale on the %3rd. We keep our C jazz
melodic minor scale going over the Am7
5
chord in Fig. 7. Again, a great scale choice
for the IIm chord in a minor II-V.
You may also be familiar with the
modes of the melodic minor scale or
have heard about them in passing. They
are definitely worth investigating, but
beyond the scope of this lesson. However,
if you want to begin to improvise with
the sound of the jazz melodic minor scale,
start to experiment with the rules we’ve
just covered. Apply the examples I have
shown here to your own improvisations,
and you’ll start to notice your jazz vocabulary expanding by leaps and bounds!
44 &
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