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The modes in the Natural series (shown in detail in Book I), and the chords that come from them, are as follows: Mode Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Associated Chord major7 (symbol, maj7) minor 7 (min7, m7, 7) m7 maj7 dominant 7 (symbol, 7) m7 minor 7 flat 5 (symbol m7b5 or 75) or half diminished (symbol )
I ii iii IV V7 vi vii
The 6th, or Aeolian Mode is the Natural Minor scale. The notes of the A Aeolian are shown below: A 1 B C 2 3 D 4 E F 5 6 G 7 A 1
The Melodic Minor scale is based on this Natural Minor scale. When used by Baroque and Classical composers the descending Aeolian Mode was left untouched. But when played in an ascending passage the 6th and 7th tones were raised, as shown here: A 1 B C 2 3 D 4 E 5 F# 6 G# A 7 1
Changing these notes gives us some really interesting harmonic possibilities, since many of the chords that are made from the modes within it are quite different from those made from the Natural series. The resulting modes and chords are shown below: Mode Melodic Minor Dorian Flat 2 Lydian Augmented Lydian Dominant Mixolydian Flat 6 Aeolian Flat 5 Super Locrian Associated Chord minor with a major 7th (symbol, min maj7) minor 7 augmented with major 7 (symbol + maj7) dominant 7 dominant 7 half diminished half diminished (or altered chord see page 7 for details)
What are modes for? Every tone contained in the scale or mode one is using affect the color, or flavor of the music. Playing these modes will both give guitarists a wider palate of flavors to use, but also allow them to taste more sounds, so that they can recognize them when these flavors come along in music they like and want to learn or emulate. So, in other words, if you practice these modes youll be able to: 1 play a greater variety of melodies and phrases. 2 develop your ear to be able to interpret more melodies and phrases. In Summary, if youve read Book I of this series you may notice some of the information is repeated, such as the Technique page. This is to ensure that each book can stand on its own. Some of the Natural Modes are referred to in this book though, so it is expected that the reader be familiar with them.
Technique
Playing scales and modes are to a musician what running is to an athlete. Its a great way to work on strength, speed, coordination and stamina. And a good way to warm up, when played slowly. Playing through the modes very slowly when you first pick up the guitar is a great way to relax, focus, and get the fingers ready for playing, as well as getting one in the right frame of mind for making music. Using the left hand properly and safely. its good to remember Ruffis 3 rules of intelligent technique: When at all possible... 1 When you skip a fret skip a finger. This first rule is most important because it prevents us from spreading the 2nd and 3rd fingers across more than 2 adjacent frets. 2 Never use the same finger twice in a row (unless shifting or sliding). 3 Never shift twice in a row. Of course, like every rule, these sometimes have to be broken. Thats why it says when at all possible.
1 1 2 3 4 4
The first finger may occasionally reach out of position to reach a note on the lower fret.
The fourth finger occasionally needs to reach out of the position to grab a not one fret higher.
1 2
The intervals are as follows: 1 1/2 1 1 1 1 1/2 In other words, the half steps are from 2 to 3, and from 7 to 1. This can be easily seen in the diagram to the right. You can play the mode entirely on one string starting from any fret, and it will be the Melodic Minor Scale. This mode is a minor mode with a major 7th. The flatted third gives it the minor sound, but the 7 is only a half step down from the root, or 1 which gives it a major 7th.
4 7
1
5
2 3
6
6 1 2
7
1 2 7 1
Typical chord progression for using the A Melodic Minor Mode: Am | E7 or Am maj7 | E7
1 4 2 7 1 3 5
1 4
4
7 3 1
2
Modal Guitarist Part II Melodic Minor Modes
6
copyright 2006 John Ruffi
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1
1 2 7
1 2
As the name says, this mode is like the Dorian Mode, but has a flat 2 as well, making it 2 1 a flat 7, 3 and 2 mode. Throughout this book all flatted or sharped degrees are in 2 comparison to the Ionian Mode, or Natural Major Scale. 3
1 2
4 1
1 4 4 7 1 5 4 2
1 7 2 7 6
1 4
5 6
5
5 3 6
1 2
6 7
5 2
5
1 2
Typical chord progression for using the 7 B Dorian b2 Mode: Bm | D or Bmin7 | D7+
2 1 3 2 6 5 2 1 5 4 1 7 4 3 4 6 5 6 7 1
1 2
7 1 1
1 2
4 5
3 6
1 1 2
1
7 5
2
1
1 6
4 5 7
2
2 This mode has a sharp 4 and 5. Sharping the 5 is what makes it an augmented mode.
1 3 6
3
1 2
2 3 3
1 4 7
1 3 5
1 4
7 3 1 4
1
3
2 5 1 2 6 4 6 7 3 2
1 5
5
6 4
5
6
4
7
5 6
1 2
2
6
7
1 2 6
2
1 2
Typical chord progression for using the C Lydian Augmented Mode: 7 C+ maj7 | F#m7 b5 or C+ maj7 | Amin maj7
4 7 3 5 1 4 5 6 2 1 1 4 5 1 4
1 2 7
1 2
7 13 6
4 1 2 5 7 3 4
1 2
7 1
1 6 1
2 3
1 5 1
3
4 7
1
3
1 4 2 5 3 6 2 7 1 4 7 3 5 6
1
4
1 4 2
5
7
43
2 6
4 3
6
1 2 4 5
1 2
1
5
7
1 2 5 6
1 2
3
6
6
1 2
2
6 7
1 2
6 7
1 4 7 1 5 1 1 2 1 1 4 1 1 1 1 1 3 7 3 5 6 1 1 1 1 1
1 2 1
1 4 2 1 1 3 6 5
4 5
3 6
2 1 3 2
4 5 5 1 7 2 4 3 4 6 7 6
1
2 3 1 6
11 1 1 1
2 3
2 again, just like 2 3 this 6 mode 2 has 5 the 7 flat 7 of Mixolydian with a1flat 1 Once the name says, 6 as well.
2 3 2
1 1
1 1 7
12 1 1 1 3
4
1 2
1 4 1 2
1 2
1
4 4
7 3 3
5 6
3 1
4 5
6 1 4 5 2
2
5 5
5 6
1 44 7
1 2
1 2
4 2 5 3
7 1
2
5 6
3
6 1 2 6 7 7 1
5 6 1 2 6 7
1 2
6 7
2 5 3 6
1 4 2
1 4
3 6
1 3
This mode has a flat 7, 3, 6, and 5. The chord tones (arpeggio) that come out of it 2 2 form a half diminished (symbol ) or what is also called a minor 7 flat 25 chord.
1 2
2 3
7 3
5 6 1 7
1 3
4 5
7 33 6 1
4 5
1 2
3 4 1
4 7 5 1
6
1 2
3 4
5 6
4 4 7
2 3
1 1
2
1 2
1 4
5
4 5 7
1 2 5 6
1 1
6 2
1 2
12 2
5 5 6
3
6 7 7
1
7
1 1
7 Typical chord progression for using the F# Aeolian b5 Mode: 1 F#m7b5 |2 G#m7b5 or F#m7b5 | Bm7 1 1
1
1 2
The Super Locrian is probably the most unusual sounding in this group of unusual sounding modes. All the tones, with the exception of the root, are This mode is 5 4 4 flatted. 7 2 2 2 1 also called the Altered Scale, and is commonly used as a subsitution for the Misolydian 2 Mode when 3 a more sound Mode 3 over the G7 6 exotic 2 7 is desired. Try a G Super 3 6 Locrian 2 chord in the progression G7 - C and youll see what i mean.
3
1 2
Playing a chord using all of the this scale will result in the altered chord. the 2 4 4 1 becomes a major 3. and 3 become the flat 9 and sharp 9, while the flatted 4 actualy 2 the flat 6 becomes 4 a sharp 5. The chord is notated as 7b5#5 b9#9 or 5 7-5+5-9+9, 1 or more simply 7alt. 2
1 1
5 4
1 notes 2in
1 2
3 4
3 6
1 1
2
5 6
4 1 2 5 1 3 6 2 5 7
1 1
3 4
for using the Typical chord progression 6 12 4 1 G# Super Locrian Mode: 2 7 7 G#7-5+5-9+9 | Am
3 6 2 5 7
6
7 7
1 1 1 1
1 1 1 1 1
1 1 1 1 1
1 1 1 1 1
1 1 1 1 1
7
1
The Arpeggios
Below are each of the seven modes weve just gone over. Here they are shown with the arpeggios highlighted. The roots (or 1s) are highlighted in red; all other arpeggio notes, or chord tones, are shown in blue. It is recommended that after playing the mode ascending and descending, you should play the corresponding arpeggio ascending and descending first without the 7th (1 3 5s only), and then with 1, 3, 5 and 7.
4 7
2 3
7 3
5 6
5 6
4 7
Extended Arpeggios
The preceding page shows each mode, with the 1, 3, 5 and 7 marked. But what about other chords, such as 9th chords, 11th chords, and so on? These are based on an extended arpeggio. If we continue numbering the notes up past the octave (8ve), which is merely the root note again, we find that 2 is also 9, 4 is also 11, and 6 is also 13. So a ninth chord is 1 3 5 7 and 9 (or 2). An 11th chord is 1 3 5 7 9 and 11 (1 3 5 7 2 4). When playing the extended chords on guitar its common to leave out some of the notes. The best notes to keep would be the 3 and 7, since they define whether the chord is a major 7th, dominant 7th, or minor 7th chord. For a C major ninth chord (C E G B D) the 1, 3, 7, 9 (C E B D) or 3, 5, 7, 9 (E G B D) can be played. By using the charts in the folllowing pages and becoming familiar with the arpeggios and their extended tones, the guitarist can have a hundred options for any and every chord.
10
11
12
13
14
15
16
Replacing the A and B with the note halfway between, a Bb, would transform tha above scale into a whole tone scale: Bb C D E F# G# Bb Whole Tone Scale
The Whole Tone Scale is completely symmetric. Any tone can be used as the starting point, or root, and the scale still has the same sound. Playing every other note as an arpeggio gives us the notes to create and augmented chord. Again, because this scale is symmetric, any tone can be used as the root. And the augmented arpeggio is symmetric as well: C major 3rd E major 3rd G# major 3rd C
Try using the Whole Tone Scale as a substitute for the Mixolydian, Altered Scale, or over any Dominant (symbol = 7) chord. Whole Tone Scale Below is a progression using an augmented chord:
C Ionian
C Whole Tone
F Lydian
F Melod Minor
||:
Cmaj7
C+
Fma7
Fm
||
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||:
Cmaj7
E7
||
||:
Cmaj7
Bb7
||
We can continue by using any of the C Major Modes in the same way: A Aeolian Bb Lydian Dom
||: ||:
Am7
G Mix
| |
Bb7
Bb Lydian Dom
|| ||
G7
Bb7
Here the Melodic Minor Mode is susbstituted in place of the Aeolian. The Major 7 in the C Melodic Minor is the same note as the 3 in the G Mixolydian.
G Mix
C Melodic Minor
||:
G7
Cmmaj7
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||
Substitutions Try the two modes below over the following: modes to use: progression: G Mix G Super Locrian
||:
G7
G Mixolydian
| |
G7
C Ionian
||
C Ionian
G Super Locrian
||: G7
Cmaj7
G7
Cmaj7 :
||
Try substituting Mix b6 and Lydian Dominant in any progression where the Mixolydian can be used. In the following progression Db7 and G7 are used interchangeably. Db Super Locrian has all the same notes as G Lydian Dominant. Db Super Loc C Ionian Db Super Loc C Ionian
||: Db7
D Aeol b5
| | |
Cmaj7
| | |
G7
| | |
C7
|| || ||
C Ionian
||: Dm7-5
D Locrian
G7
G Mix b6
Cmaj7
C Melodic Minor
||: Dm7-5
G7
Cmmaj7
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In Closing
Contained in this book is everything you need to know to become thoroughly familiarized with the Modes based on the Melodic Minor Scale. There are 4 books in this series: The Modal Guitarist Part I Modes from the Major Scale The Melodic Major or Natural Modes
The Modal Guitarist Part II The Melodic Minor Modes Modes from the Melodic Minor Scale
The Modal Guitarist Part III The Harmonic Minor Modes Modes from the Harmonic Minor Scale
The Modal Guitarist Part IV The Harmonic Major Modes Modes from the Harmonic Major Scale
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