I thought that this would be a fun way to get everyone thinking. Come on guys, who's game?



So, what's YOUR favorite fingering for Melodic Minor?


If you've played with this scale before, you probably have a way you prefer. If not, then stick around. It's a very cool and useful tool. You may just get something new to work with!

I don't really have a "trick" fingering for it, for me it's about what chords to play it over. Easy example: D7b5 = A mel.min. (2nd chord of "take the A train")

I will do this 'four on a string/three on a string' thing ...
"A" mel.min. :
6th string, frets - 4,5,7,8
5th string, frets - 5,7,9
4th string, frets - 6,7,9,10
3rd string, frets - 7,9,11 ... then keep going on the 2nd and 1st strings.
Actually, I would never do that lick in A-train but it's a good fusion or even metal pattern.

Cool! I'll have to try that. It's a favorite tune, of mine. And I haven't played it in a looong time. I need to dust it off, and spruce it up.

I'm not "quick" enough in my thinking, to apply this scale to single measures yet. At least, not "on the fly". I'm still getting used to the sounds. But, that's a concrete use that will be fun to apply.

You're always kicking my @$$ with this stuff!!!! But, I'm working on it.


Thanks, Bro.

Melodic Minor was only 1 freakin' note different, than the good old Major scale (Ionian). But, everything from the harmony to even the fingerings was just killing me. So, here's how I tackled it.

Any tips you guys have, would be greatly appreciated.



-|----------------------------------5--8--|-----------------------------------
-|---------------------------5--8---------|-----------------------------------
-|--------------------5--7----------------|-----------------------------------
-|--------------5--7----------------------|-----------------------------------
-|--------5--7----------------------------|-----------------------------------
-|--5--8----------------------------------|-----------------------------------
First, I compared it to a very familiar, C/Am Pentatonic "shape".

-|--------------------------------------------5--7--8--|----------------------
-|-----------------------------------5--6--8-----------|----------------------
-|--------------------------4--5--7--------------------|----------------------
-|--------------------5--7-----------------------------|----------------------
-|-----------5--7--8-----------------------------------|----------------------
-|--5--7--8--------------------------------------------|----------------------
Also, I compared it to the full C Major/A minor scale, in the same "shape".

-|----------------------------------------------------------------------------
-|----------------------------------------------------------------------------
-|----------------------------------------------------------------------------
-|----------------------------------------------------------------------------
-|----------------------------------------------------------------------------
-|----------------------------------------------------------------------------
The basic, physical difference = The note "E" is flatted (Eb).

-|--------------------------------5--8--|-------------------------------------
-|--------------------------4--8--------|-------------------------------------
-|--------------------5--7--------------|-------------------------------------
-|--------------5--7--------------------|-------------------------------------
-|--------5--6--------------------------|-------------------------------------
-|--5--8--------------------------------|-------------------------------------
So I just started with the easier Pentatonic fingering, flatting the "E".

-|--3----|-----8---------|----------------------------------------------------
-|--4----|-----8---------|----------------------------------------------------
-|--4----|-----8---------|----------------------------------------------------
-|--5----|-----9---------|----------------------------------------------------
-|--3----|-----10--------|----------------------------------------------------
-|-------|-----8---------|----------------------------------------------------
Then I practiced playing phrases, that landed on a CmM7 chord.

-|--5h8p5---------------3--|------------------3---------------------------|---
-|--------8--4----------4--|--------------4v--4---------------4v----------|---
-|--------------/7--5v--4--|--------5--7------4---------5--7------/7--5v--|---
-|----------------------5--|--5h-7------------5--5--7---------------------|---
-|----------------------3--|------------------3---------------------------|---
-|-------------------------|----------------------------------------------|---
Like these.

i'll contribute..

///getting aquainted with melodic minor/////

using melodic minor against a dominant chord.

for this, we can use G7.

against a G7 you can use these melodic minor scales:
C, Ab, or D melodic minor. (based off of the 11, the b9, or the 5 of the G7 chord)

If you play a C melodic minor scale against a G7 chord here are you basic tones:
R, 3, 5, b7, 9, 11, b13

If you play a D melodic minor scale against a G7 chord here are your basic tones:
R, 3, 5, b7, 9, #11, 13'

If you play an Ab melodic minor scale against a G7 chord, here are your basic tones:
R, 3, b5, b7, b9 and #9, #11, and b13 (same as the #5).

try these out improvising on a blues in G. some of these tones are kind of "ear openers."

yo swain! i hear you on this.. it took me a long time to get it down.. for me, getting the fingerings under my fingers (wha?) took a while... a great exercise i did (as given to me by kurt rosenwinkel)-

play 3 notes per string starting on the root of the scale on the low e string (choose any key you want).. when you get to the last note of the high e string, slide up 1/2 step (1 fret) and then come back down in the scale up a half step (for example, if you start on G you would go up the G melodic minor scale all the way to the Bb on the high e string- then slide up a half step (to B), and come back down the Ab melodic minor scale, when you hit Ab, slide up a 1/2 step and go back up the A melodic minor scale..) keep going as far up the neck as you can, when you get to the top of your guitar, slide down a half step instead of up, then go all the way back down the neck to where you started. it forces you to start seeing the "shape" of the scale- the guitar grimoire books have these all written out if you need a visual reference, but really, it is just a way to memorize modes of any scale visually(and it works fast.)

then you pick the next note of the scale A- go up the G melodic minor scale starting from A (on the low E string) 3 notes per string- same shiz.. all the way up and down the neck as far as you can go, then do the same thing, but when you get to the top of the high e string, slide down a half step each time, back to wherever you started- then you've memorized the 2nd mode of the melodic minor scale

you have to do this for every note of the scale (7 times in all) this is a process i call coding the instrument- you have to be able to see the whole scale up and down the fretboard, then you get to "choose" what notes you want to play instead of grabbing any old lick..

i would also suggest doing this same exercise for the major scales, harmonic minor scales, wholetone scales, and harmonic major scales.. each one gets easier the more you do it (and if you haven't done this- start with the major scale first...)

hope this helps..

and i should add to the above that once you get this "map" you can choose any three or four notes and they will all work over any chord associated with melodic minor scale- there is no avoid note like the major scale has.

Excellent stuff, there. Thanks!

I will try "coding" some scales, soon. It seems like a similar exercise to the Scott Henderson single string exercise I use.

there's a really funny frank gambale video- like an exercise video, where you just play scales along with him for about an hour straight.. it's intense, but works.. and he's got the workout video setup with girls toting guitars.. it's pretty funny (and at the same time useful)... all parallel scales, but also helps for the same goal..

Yeah, I've seen that one. He is a "Ladies' Man"! LOL

Okay, I've got some C Melodic Minor Triads, here. All played on the D G and B strings. All of the Roots are on the B string.



C Melodic Minor Triads on the D, G, and B Strings

--------------------------------------------------------|-|-------------------
-1--------3-------4-----6------8-----10--------12-------|-|-------------------
-0--------2-------4-----5------7-----8---------10-------|-|-------------------
-1--------3-------5-----7------9-----10--------12-------|-|-------------------
--------------------------------------------------------|-|-------------------
--------------------------------------------------------|-|-------------------
Cm/Eb Dm/F Eb+/G F/A G/B Adim/C Bdim/D

Wanna use these to make a chord progression? Using only these?

What type of rhythm, etc.?

Let's get this party started!

I'll take a whack at that :

| D-/F Eb+/G | Adim/C G/B |

| D-/F Eb+/G | C-/Eb F/A ||

It's a little "classical" sounding. I also like putting an F# (the 7th) in the "A" diminished voicing. Technically 'not' in the key, but a pretty common alteration.

I'm working with your progression right now. Hopefully I'll have something to add, real soon.

Is there a particular type of rhythm you're hearing?

No real 'rhythm' per se, but I was playing it as a fairly slow tempo ... or medium slow. Do whatever you feel. The ball's in your court now.

I haven't dropped the ball. I'm just getting around to it, now. It's a tricky change, to get a feeling for. It'll be interesting, to see what I can come up with.

Thought I should post an update, so you knew that I hadn't forgotten.

You can't force the muse. She comes when she wants.

Here's some new m.m. improv ideas i've been messing with ...

Mel.min. up a 4th over dom 7th or 9th chords. Ex; C9 = F mel.min.
It works best over a 'static' jam. The Ab can be a little jarring at first.

Mel. min. down a whole step over dom 13b9 chords functioning as a V7 to 'generally' major I chord. Ex; G13b9 - Cmaj7 ... use F mel.min. over the G, then resolve to something C majorish.

Using mel.min a whole step down is also a semi-common way to approach static dominant, 7#9, and minor 7th jams.

Here's another "Quick And Dirty" Melodic Minor sound:

Try playing a Minor Pentatonic scale, off of the b3rd. of a Dominant Chord.

EX: Over D7, try playing Fm Pentatonic.

D7 = D F# A C (E G B)

Fm Pent. = F Ab Bb C Eb F

What I realized, was the differences between D Dominant (Mixolydian), and Eb Melodic Minor.

Since playing Mel. Min. a 1/2 step above the V chord, is a common use for this scale, I just looked for the differences between the "proper" scale/arpeggio (Mixolydian/13th. chord), and the Mel. Min. a 1/2 step up.

Eb Melodic Minor = Eb F Gb Ab Bb C D Eb
D Mixolydian = D E F# G A B C D

So, the only real differences are Eb F Ab Bb

(The Gb is an Enharmonic Equivilent to F#)

Fm Pentatonic contains these new "Tensions", plus one more "Consonant" note, the C, in a very comfortable and familiar setting.

Fm Pent. = F Ab Bb C Eb F

I'll try to post some TAB, soon.

Anyway, if any of you guys decide to give it a try, let me know how it worked for you.

You found the "quick and dirty" Stern/Scofield secret.
If you go a m3rd in the OTHER direction (down to B - the country/major box) you'll obviously get some nice 'color' notes too. Most notably the maj.3rd and the 6th and the 9th. So now you've got 3 "box" patterns all a m3 apart - inside, bluesy and outside (go one more to Ab for even more inside/outside tones).

For a "m7b5" chord, play Dorian up a m3rd.
Dm7b5 = F Dorian, which is outlined by an F minor/pentatonic "box" pattern. (You can also use F mel.min.)

The "minor 3rd up OR down" substitution method is one of those things that you'll find works for almost ALL altered 7th chords, including diminished, as well as alt. minor chords (m7b5) and alt. major chords (maj.7#11, maj.7b6)

A lot of the standard "I'm gonna play OUT" things that you hear in the better guitar players and most horn and piano players is them playing licks or patterns NOT in 1/2 step movement, but in m3rd movement. You'll always come back around after 4 patterns - very symmetrical. And on guitar, very visual too.

Man! How do you get a handle on all of this?!?

I'm still working on the last couple of your posts. I need an 8th. day, for each week! LOL