Melodic Minor (Ascending)

The melodic minor is divided into two different scales. In order to accommodate for the whole step from the seventh step to the tonic in the natural minor, the seventh step was raised resulting in the harmonic minor. But in the harmonic minor the sixth step and the seventh is one and a semi tone apart. In order to avoid this leap, the melodic minor was introduced with two layouts: one that lowered the seventh step back transforming the scale back to a natural minor. This is called the descending melodic minor. And one that raised the sixth step, this is called the ascending melodic minor. Here we are exploring the ascending.

I Ascending Melodic Minor

The first mode in melodic minor resembles the Dorian mode with a raised seventh step. The scale is

a b c f e f\s g\s

As guitar tabs

1:b1,c1,d1; 2:f#1,g#1,a1; 3:c1,d1,e1; 4:g#1,a1,b1; 5:d1,e1,f#1; 6:a1,b1,c1;

As with the Dorian mode this is a minor. But here we have a raised seventh step matching the seventh of a major scale. In the key of A this chord is noted Am^{\maj7}. This kind of chord is called a minor major chord.

II Phrygian #6

The second mode in the key of a

a b^{\b} c d e f^{\s} g

As guitar tabs

1:bb1,c1,d1; 2:f#1,g1,a1; 3:c1,d1,e1; 4:g1,a1,bb1; 5:d1,e1,f#1; 6:a1,bb1,c1;

This functions as a minor seventh chord. But with a raised sixth compared to a natural minor. Thus this scale fits on top of a minor 6 chord.

III Lydian Augmented

The third mode in the key of a

a b c^{\s} e^{\b} f f^{\s} g^{\s} a

As guitar tabs

1:b1,c#1,eb1; 2:f#1,g#1,a1; 3:c#1,eb1,f1; 4:g#1,a1,b1; 5:eb1,f1,f#1; 6:a1,b1,c#1;

This functions as a major seventh chord, but with a raised fifth making it augmented noted as Aaug^{\maj} with the arpeggio

a c^{\s} f g^{\s}

IV Lydian Dominant

In the key of a

a b c^{\s} e^{\b} e f^{\s} g

As guitar tabs

1:b1,c#1,eb1; 2:f#1,g1,a1; 3:c#1,eb1,e1; 4:g1,a1,b1; 5:eb1,e1,f#1; 6:a1,b1,c#1;

Which functions as a dominant seventh chord, in the key of a we get A^{7}

V Mixolydian b6

In the key of a

a b c^{\s} d e f g

As guitar tabs

1:b1,c#1,d1; 2:f1,g1,a1; 3:c#1,d1,e1; 4:g1,a1,b1; 5:d1,e1,f1; 6:a1,b1,c#1;

Again we have a dominant seventh, that is A^{7}

VI Locrian #2

In the key of a

a b c d e^{\b} f g

As guitar tabs

1:b1,c1,d1; 2:f1,g1,a1; 3:c1,d1,eb1; 4:g1,a1,b1; 5:d1,eb1,f1; 6:a1,b1,c1;

This functions as a half diminished, that is A^{\dim}

VII Super Locrian

In the key of a

a b^{\b} c c^{\s} e^{\b} f g

As guitar tabs

1:bb1,c1,c#1; 2:f1,g1,a1; 3:c1,c#1,eb1; 4:g1,a1,bb1; 5:c#1,eb1,f1; 6:a1,bb1,c1;

This functions as a diminsished seventh chord, that is A^{o7}