The melodic minor scale offers seven modes, each with its own character. Some sound warm and lyrical, while others create tension that works well in jazz, fusion, film music, and contemporary songwriting.
What is the melodic minor scale?
The melodic minor scale is a minor scale with a raised sixth and seventh:
1 – 2 – ♭3 – 4 – 5 – 6 – 7
In C, the notes are:
C – D – E♭ – F – G – A – B
A simple way to build it is to take a major scale and lower its third. C major contains E; C melodic minor contains E♭.
There are two common approaches to melodic minor:
- In classical teaching, the scale usually uses the raised sixth and seventh when ascending, then returns to the natural minor form when descending.
- In jazz and contemporary theory, the same melodic minor notes are used in both directions.
The modes in this article follow the second approach.
How do melodic minor modes work?
Each mode uses the notes of the melodic minor scale but treats a different note as the tonal centre.
For example, C melodic minor begins on C. Its second mode begins on D, its third on E♭, and so on.
However, simply starting a scale on a different note does not necessarily make the music sound modal. The melody, bass, and accompanying harmony need to establish that note as the centre.
Here are the seven modes of C melodic minor:
| Degree | Mode | Notes |
|---|---|---|
| 1 | C melodic minor | C – D – E♭ – F – G – A – B |
| 2 | D Dorian ♭2 | D – E♭ – F – G – A – B – C |
| 3 | E♭ Lydian augmented | E♭ – F – G – A – B – C – D |
| 4 | F Lydian dominant | F – G – A – B – C – D – E♭ |
| 5 | G Mixolydian ♭6 | G – A – B – C – D – E♭ – F |
| 6 | A Locrian ♮2 | A – B – C – D – E♭ – F – G |
| 7 | B altered | B – C – D – E♭ – F – G – A |
1. Melodic minor
Formula: 1 – 2 – ♭3 – 4 – 5 – 6 – 7
Common chord: minor-major seventh, such as Cm(maj7)
The first mode combines a minor third with a major sixth and major seventh. This gives it a minor character without the darker sixth found in natural minor.
In C, the E♭ establishes the minor sound, while A and B give the scale a brighter, more unsettled quality.
It is useful for:
- Minor-key melodies with a sophisticated or dramatic character.
- Minor-major seventh chords.
- Minor sixth chords.
Try playing a C minor chord while moving the melody between G, A, B, and C. The upper notes reveal the scale’s distinctive sound.
2. Dorian ♭2
Formula: 1 – ♭2 – ♭3 – 4 – 5 – 6 – ♭7
Common chord: minor seventh
Dorian ♭2 is a Dorian scale with a lowered second. It is also called Phrygian ♮6, because it resembles Phrygian with a raised sixth.
The lowered second creates tension close to the root, while the natural sixth keeps the sound from becoming as dark as ordinary Phrygian.
In D Dorian ♭2, the defining notes are E♭ and B.
This mode can work over a minor pedal or a carefully voiced minor-seventh chord. The ♭2 is a strong colour, so it is worth using deliberately rather than treating it as a neutral resting note.
3. Lydian augmented
Formula: 1 – 2 – 3 – ♯4 – ♯5 – 6 – 7
Common chord: major seventh with an augmented fifth
Lydian augmented takes the bright sound of Lydian and raises the fifth.
For E♭ Lydian augmented:
- A is the raised fourth.
- B is the raised fifth.
These notes create a floating, dreamlike sound with less stability than a conventional major scale.
The mode fits an E♭maj7♯5 chord and can be useful for atmospheric passages, cinematic textures, or melodies that need a sense of wonder.
4. Lydian dominant
Formula: 1 – 2 – 3 – ♯4 – 5 – 6 – ♭7
Common chord: dominant seventh with a raised eleventh
Lydian dominant combines the raised fourth of Lydian with the lowered seventh of Mixolydian.
In F, its notes are:
F – G – A – B – C – D – E♭
The combination of B and E♭ gives an F7 chord an open but slightly restless colour. The raised fourth is often called a ♯11 when discussed as a chord extension.
This mode is especially useful over F7♯11 and dominant chords that function as colourful destinations rather than straightforward tension leading to a tonic.
5. Mixolydian ♭6
Formula: 1 – 2 – 3 – 4 – 5 – ♭6 – ♭7
Common chord: dominant seventh with a lowered thirteenth
Mixolydian ♭6 sounds like a dominant scale with a darker twist. It is also known as Aeolian dominant.
In G, the characteristic note is E♭, the lowered sixth. Over a G7 chord, that note is usually described as a ♭13.
The major third keeps the harmony dominant, while the lowered sixth introduces a minor-key colour.
It can work well over dominant chords leading into minor harmony. For example, try using it over G7 resolving to Cm.
6. Locrian ♮2
Formula: 1 – 2 – ♭3 – 4 – ♭5 – ♭6 – ♭7
Common chord: half-diminished seventh, written m7♭5
Locrian ♮2 is the Locrian mode with a natural second instead of a lowered second.
In A, it fits the chord:
Am7♭5: A – C – E♭ – G
The natural second, B, adds a more open colour than the B♭ found in ordinary A Locrian.
This mode is a common choice for half-diminished chords in minor-key progressions. Try it over Am7♭5 in:
Am7♭5 – D7 – Gm
7. Altered scale
Formula: 1 – ♭2 – ♯2 – 3 – ♭5 – ♯5 – ♭7
Common chord: altered dominant seventh
The altered scale is also called Super Locrian. It supplies a dominant chord with several tension notes:
♭9, ♯9, ♭5, and ♯5
B altered uses the notes of C melodic minor. In the modal spelling, one of those notes is E♭; over a B dominant chord, it functions as D♯, the major third.
This mode creates strong tension and is particularly effective before a resolution. For example:
B7alt – Em
A practical shortcut is to play melodic minor one semitone above the dominant chord’s root:
- B7alt → C melodic minor
- G7alt → A♭ melodic minor
- D7alt → E♭ melodic minor
How to practise melodic minor modes
Start with one mode rather than trying to learn all seven at once.
- Hold the root in the bass. Use a sustained note, drone, or simple chord.
- Play short phrases. Avoid only running the scale up and down.
- Highlight the characteristic notes. For Lydian dominant, focus on the ♯4 and ♭7.
- Listen to where phrases feel settled. Some notes provide rest; others create movement.
Finally, compare modes from the same root. Playing C Dorian beside C Dorian ♭2 makes the effect of the lowered second much easier to hear.
The melodic minor modes are most useful when their individual colours become familiar. Once you can recognise those colours, they become practical choices for shaping melodies and harmony, not just seven more scales to memorise.
