Modal development
of the minor melodic scale
The most common use of the minor melodic scale is in the modal scales. Infact, these divide the scale in seven smaller scales, each with a well-defined harmonization role, especially in jazz or modern music. To understand how the modal scales are built, you need to refer to the appropriate section, observing the development of the minor melodic scale in the theory section. It is taken for granted that you are very familiar with the theory of the modal development of the minor melodic scale.
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We will now breifly summarize what are the seven modal scales that come from the harmonization of the minor melodic scale, seen here in the chart. And we can also favor one mode in particular, which comes from the VII°. Infact, this mode originates from the superlocrian scale, one of the most common in modern improvisation and harmonization. Every mode has its harmonic role, but the superlocrian (which is the VII° of the minor melodic scale) is of vital importance, equivalent to the most classical modes that come from the modal development of the major scale. |
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Consider, as an example, the minor melodic scale in C, developed in its seven modes. The last of these, as you known, is the B note, and the succession of notes therefore has this sequence:
B - C - D - Eb - F - G - A - B
As always, to understand a scale its important to know the relationship between the succession of notes of that scale and the major scale, where the root is obviously the same in both scales. We will compare the superlocrian scale in B (at left) with the major scale in B (at right).
As you can see the difference between the two scales is enormous. But this is not the point. What we need to understand is their construction, and mostly the relationship of the grades of the notes that make up these two scales, in order to analyze their correlations through the use of the intervals. Therefore observing the grades of the major scale, its easy to understand how these are adapted to the superlocrian scale.
In the superlocrian scale almost all the degress are flat, therefore lowered by a half step.
For example: if in the major scale the C# note is a II°, in the superlocrian it becomes II°b (C# lowered by a half step, which is C); or in the major scale, the F# note is a V°, in the superlocrian it becomes V°b. Note that the IV° (E note) in the major scale is also lowered a half step (IVb°: Eb note). This is also intended as III° major. Another particularity of the superlocrian scale is that it has both third grades (minor and major).
It is therefore very important to consider the superlocrian scale as its own scale, with a root and the relative grades, just as all the modal scales should be. We therefore need to say in this case that you can think of the minor melodic scale starting with the seventh grade, given its proximity to the root: it is surely more simple. The choice is yours.
Now we need to work on this scale, mostly to understand how and where to use it.
You can say the rule is this: the superlocrian scale can be played on altered dominant chords. Remaining in the root of the scale used up to now (B superlocrian), we can use it for example on the following chords: B7#5, B7b5, B7#9, B7b9, B7#11, B7alt. If you look at the following scheme you can understand why.
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It's useful to start from the structure of the B chord, composed of the B, D# and F# notes, to which the VII°b (A note) is added, in order to form the dominant B7 chord, made up of the B, D#, F# and A notes. To a dominant chord we can add other grades: we can therefore enrich the chord using the C# (IX°), the E (XI°) and the G# (XIII°) notes. These grades, besides those already mentioned (V°), can be altered and therefore we can find a IX°#, which is the C# note (IX°) raised a half step, and therefore C## (inharmonic of D, which is the same note), or the V°b, which is the V° (F#) lowered a half step, which is the F note. |
Ex. 1
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It's time to practice on the superlocrian scale, and using the tonal schemes described up to now, we can observe the first phrase written in the chord of B7#5. You can see the notes that make up the phrase: you can see and hear how these mix with the chord, creating a certain tension that is fundamental for the phrase to be "logical" on a chord that however is already tense. |
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Ex. 2
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We should consider something else. In example N° 1, the part played was seen in B7#5. Let's do an experiment, altering the dominant chord in another way and playing over the same phrase. The resulting sound will change in relation to the chord, but always in a logical way, and will sometimes adapt to new chords. |
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Ex. 1
Lets now see how to organize a phrase in the superlocrian scale within a harmonic jazz sequence. In this case we use a sequence of chords in the main root in which the B7 chord starts, that is placed on the fifth level of E major. We will use in order the II°, V°, I° e VI°, that, harmonizing the root of E fairly simply, gives us F#m7, B7#5, Emaj7 and C#m7 respectively.
In the score below you can see the use of the superlocrian scale where the melodic line works on the altered dominant chord (in this case B7#5). The sequence of notes has been added in an increasing way in order to raise the sound of the scale as much as possible.
Looking at the melodic line in other chords we can see the use of a minor triad of F# on the chord of F#m7 (first measure). Or the use of a bluesy passage on the chord of Emaj7, highlighted by the chromaticism of the G and G# notes about half way through the third measure. Finally, in the last measure, again the use of a minor triad, this time C# on the chord of Cm#7.
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We conclude this first part by offering you a complete solo thats improvised using the base chorus just analized, obviously based on our superlocrian scale. Furthermore, you can also play and experiment with your improvisations using your own dedicated base. |
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