jazz minor scale

{{Short description|Ascending form of the melodic minor scale}}

{{Infobox musical scale

| name = Ascending melodic minor scale

| first_pitch = C

| second_pitch = D

| third_pitch = minor third

| fourth_pitch = F

| fifth_pitch = G

| sixth_pitch = A

| seventh_pitch = B

| pitch_classes = 7

| modes = I, II, III, IV, V, VI, VII

| Forte number = 7-34

| complement = 5-34

}}

The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz{{Citation needed|date=April 2024}}, although it may be found in other types of music as well. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale.Overthrow, David and Ferguson, Tim (2007). The Total Jazz Bassist, p.41. {{ISBN|978-0-7390-4311-0}}. It can also be derived from the diatonic Dorian mode with a major seventh.

: {

\override Score.TimeSignature #'stencil = ##f

\relative c' {

\clef treble \time 7/4

a4^\markup { Jazz minor scale on A } b c d e fis gis a2 }

}

Thus, the jazz minor scale can be represented by the following notation:

:1, 2, {{music|b}}3, 4, 5, 6, 7, 8

The intervals between the notes of the jazz minor scale follow the sequence below:

: whole, half, whole, whole, whole, whole, half

Jazz theory

The scale may be considered to originate in the use of extensions beginning with the seventh in jazz and thus the necessity to, "chromatically raise the diatonic 7th to create a stable, tonic sound," rather than use a minor seventh chord, associated with ii, for tonic.Berg, Shelly (2005). Alfred's Essentials of Jazz Theory, Book 3, p.90. {{ISBN|978-0-7390-3089-9}}.

The jazz minor scale contains all of the altered notes of the dominant seventh chord whose root is a semitone below the scale's tonic: "In other words to find the correct jazz minor scale for any dominant 7th chord simply use the scale whose tonic note is a half step higher than the root of the chord."Berle, Arnie (1983). How to Create and Develop a Jazz Sax Solo, p.78. {{ISBN|978-1-56222-088-4}}. For example, the G7 chord and A{{music|b}} jazz minor scale: the A{{music|b}} scale contains the root, third, seventh, and the four most common alterations of G7. This scale may be used to resolve to C in the progression G7–C (over G7, which need not be notated G7{{music|b}}5{{music|#}}5{{music|b}}9{{music|#}}9).

{{multiple image

| align = center

|image1 = Jazz minor scale on Ab.png

|width1 = 275

|caption1 = Jazz minor scale on A{{music|b}} with notes related to G7 chord alterations. {{audio|Jazz minor scale on Ab.mid|Play}}

|image2 = Ab jazz minor scale (G7) resolving to C.png

|width2 = 275

|caption2 = A{{music|b}} jazz minor scale over G7 resolving to C. {{audio|Ab jazz minor scale (G7) resolving to C.mid|Play}}

}}

It is used over a minor major seventh chord.Arnold, Bruce E. (2001). Music Theory Workbook for Guitar: Scale Construction, p.12. {{ISBN|978-1-890944-53-7}}. See: chord-scale system. The scale also easily allows diatonic chord progressions, for example a I−vi−ii−V progression:

:

width="60px"| {{!}}: C-∆7width="60px"| A-7(♭5)width="60px"| {{!}} D-7width="60px"| G7(♭13)| :{{!}}{{audio|Jazz minor scale diatonic chord progression.mid|Play}}

Chord structure

= Triad qualities =

The triads built on each scale degree follow a distinct pattern. The roman numeral analysis is shown below.

: {

\override Score.TimeSignature #'stencil = ##f

\relative c' {

\clef treble \time 7/1 \hide Staff.TimeSignature

1_\markup I-

_\markup II-

_\markup ♭III+

_\markup IV

_\markup V

_\markup VI°

_\markup VII°

}

}

= Seventh chord qualities =

The seventh chords built on each scale degree follow a distinct pattern. The roman numeral analysis is shown below.

: {

\override Score.TimeSignature #'stencil = ##f

\relative c' {

\clef treble \time 1/2 \hide Staff.TimeSignature

1_\markup I-∆7

_\markup II-7

_\markup ♭III∆7(+)

_\markup IV7

_\markup V7

_\markup VI-7(♭5)

_\markup VII-7(♭5)

}

}

Modes of jazz minor scale

{{see also|Mode (music)}}

The jazz minor scale, like the diatonic scale, has seven modes. These modes are derived by treating a different note as the tonic.

class="wikitable"

! Name(s)

! Tonic relative
to jazz minor scale

! Interval sequence

! Scale with only E{{music|flat}}

! Scale on C

Jazz minor

| I

| align="center" | W–H–W–W–W–W–H

| C–D–E{{music|flat}}–F–G–A–B

| C–D–E{{music|flat}}–F–G–A–B

Dorian ♭2 scale or Phrygian {{music|natural}}6

| II

| align="center" | H–W–W–W–W–H–W

| D–E{{music|flat}}–F–G–A–B–C

| C–D{{music|flat}}–E{{music|flat}}–F–G–A–B{{music|flat}}

Lydian augmented

| ♭III

| align="center" | W–W–W–W–H–W–H

| E{{music|flat}}–F–G–A–B–C–D

| C–D–E–F{{music|sharp}}–G{{music|sharp}}–A–B

Acoustic scale, Lydian dominant, Mixolydian {{music|sharp}}4, or Overtone

| IV

| align="center" | W–W–W–H–W–H–W

| F–G–A–B–C–D–E{{music|flat}}

| C–D–E–F{{music|sharp}}–G–A–B{{music|flat}}

Aeolian dominant, Mixolydian {{music|flat}}6, Descending melodic major, or Hindu

| V

| align="center" | W–W–H–W–H–W–W

| G–A–B–C–D–E{{music|flat}}–F

| C–D–E–F–G–A{{music|flat}}–B{{music|flat}}

Half-diminished, Locrian {{music|natural}}2, or Aeolian {{music|flat}}5

| VI

| align="center" | W–H–W–H–W–W–W

| A–B–C–D–E{{music|flat}}–F–G

|C–D–E{{music|flat}}–F–G{{music|flat}}–A{{music|flat}}–B{{music|flat}}

Altered scale, Super Locrian, or Altered dominant scale

| VII

| align="center" | H–W–H–W–W–W–W

| B–C–D–E{{music|flat}}–F–G–A

| {{nowrap|C–D{{music|flat}}–E{{music|flat}}–F{{music|flat}}–G{{music|flat}}–A{{music|flat}}–B{{music|flat}}}}

The names of these scales are variations of the names used for some of the modes of the diatonic major scale, for example the Phrygian {{music|sharp}}6, the second mode of the melodic minor, is named so because it is the same as the Phrygian mode of the major scale with a major sixth.

= Relationship to diatonic modes =

Each mode of the jazz minor scale can be considered to be related to two diatonic modes, with one note of the diatonic mode either sharped or flatted according to the table below, which is arranged in fifths.

class="wikitable"

! Mode

! Sharped diatonic

! Flatted diatonic

Jazz minor

| Dorian {{music|sharp}}7

| Ionian {{music|flat}}3

Dorian ♭2 scale

| Phrygian {{music|sharp}}6

| Dorian {{music|flat}}2

Lydian augmented

| Lydian {{music|#}}5

| Phrygian {{music|flat}}1

Acoustic

| Mixolydian {{music|sharp}}4

| Lydian {{music|flat}}7

Aeolian dominant

| Aeolian {{music|sharp}}3

| Mixolydian {{music|flat}}6

Half-diminished

| Locrian {{music|sharp}}2

| Aeolian {{music|flat}}5

Altered

| Ionian {{music|sharp}}1

| Locrian {{music|flat}}4

=Intervals from tonic=

Each mode of the jazz minor scale features different intervals of notes from the tonic according to the table below, which is arranged in order of brightness.

class="wikitable" style="text-align: center"

! rowspan="2"| Mode

colspan="8" | Intervals with respect to the tonic
style="width: 5em"| unison

! style="width: 5em"| second

! style="width: 5em"| third

! style="width: 5em"| fourth

! style="width: 5em"| fifth

! style="width: 5em"| sixth

! style="width: 5em"| seventh

! style="width: 5em"| octave

style="text-align: left"| Lydian augmented

| rowspan="7"| perfect

| rowspan="4"| major

| rowspan="2"| major

| rowspan="2"| augmented

| rowspan="1"| augmented

| rowspan="3"| major

| rowspan="1"| major

| rowspan="7"| perfect

style="text-align: left"| Acoustic

| rowspan="4" | perfect || rowspan="1"| minor

style="text-align: left"| Jazz minor

| rowspan="1"| minor || rowspan="4"| perfect || rowspan="1"| major

style="text-align: left"| Aeolian dominant

| rowspan="1"| major || rowspan="1" | minor || rowspan="4"| minor

style="text-align: left"| Dorian ♭2 scale

| rowspan="1" | minor || rowspan="3"| minor || rowspan="1" | major

style="text-align: left"| Half-diminished

| rowspan="1" | major || rowspan="2" | diminished || rowspan="2" | minor

style="text-align: left"| Altered

| rowspan="1" | minor || rowspan="1"| diminished

See also

References

{{reflist}}

Further reading

  • R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW

{{Scales}}

Category:Heptatonic scales

Category:Hemitonic scales

Category:Tritonic scales