| Modes | I,II,III,IV,V,VI,VII |
|---|---|
| Component pitches | |
| C,D,E♭,F,G,A,B | |
| Qualities | |
| Number ofpitch classes | 7 |
| Forte number | 7-34 |
| Complement | 5-34 |
Thejazz minor scale orascending melodic minor scale is a derivative of themelodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used injazz[citation needed], although it may be found in other types of music as well. It may be derived from themajor scale with aminor third,[1] making it asynthetic scale, and features adominant seventh chord on the fifth degree (V) like theharmonic minor scale.[2] It can also be derived from the diatonicDorian mode with amajor seventh.
Thus, the jazz minor scale can be represented by the following notation:
The intervals between the notes of the jazz minor scale follow the sequence below:
Or in short:
WHWWWWH
The scale may be considered to originate in the use ofextensions 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 aminor seventh chord, associated with ii, for tonic.[3]
The jazz minor scale contains all of thealtered notes of thedominant seventh chord whoseroot is asemitone below the scale'stonic: "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."[1] For example, the G7 chord and A♭ jazz minor scale: the A♭ 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♭5♯5♭9♯9).[1]
It is used over aminor major seventh chord.[4] See:chord-scale system. The scale also easily allows diatonic chord progressions, for example aI−vi−ii−V progression:[4]
The triads built on each scale degree follow a distinct pattern. Theroman numeral analysis is shown below.
The seventh chords built on each scale degree follow a distinct pattern. Theroman numeral analysis is shown below.
The jazz minor scale, like thediatonic scale, has seven modes. These modes are derived by treating a different note as thetonic.
| Name(s) | Tonic relative to jazz minor scale | Interval sequence | Scale with only E♭ | Scale on C |
|---|---|---|---|---|
| Jazz minor | I | W–H–W–W–W–W–H | C–D–E♭–F–G–A–B | C–D–E♭–F–G–A–B |
| Dorian♭2 or Phrygian♮6 | II | H–W–W–W–W–H–W | D–E♭–F–G–A–B–C | C–D♭–E♭–F–G–A–B♭ |
| Lydian augmented | ♭III | W–W–W–W–H–W–H | E♭–F–G–A–B–C–D | C–D–E–F♯–G♯–A–B |
| Acoustic scale, Lydian dominant, Mixolydian♯4, or Overtone | IV | W–W–W–H–W–H–W | F–G–A–B–C–D–E♭ | C–D–E–F♯–G–A–B♭ |
| Aeolian dominant, Mixolydian♭6, Descending melodic major, or Hindu | V | W–W–H–W–H–W–W | G–A–B–C–D–E♭–F | C–D–E–F–G–A♭–B♭ |
| Half-diminished, Locrian♮2, or Aeolian♭5 | VI | W–H–W–H–W–W–W | A–B–C–D–E♭–F–G | C–D–E♭–F–G♭–A♭–B♭ |
| Altered scale, Super Locrian, or Altered dominant scale | VII | H–W–H–W–W–W–W | B–C–D–E♭–F–G–A | C–D♭–E♭–F♭–G♭–A♭–B♭ |
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♯6, the second mode of the melodic minor, is named so because it is the same as the Phrygian mode of themajor scale with a major sixth.
Each mode of the jazz minor scale can be considered to be related to twodiatonic modes, with one note of the diatonic mode eithersharped orflatted according to the table below, which is arranged in fifths.
| Mode | Sharped diatonic | Flatted diatonic |
|---|---|---|
| Jazz minor | Dorian♯7 | Ionian♭3 |
| Dorian♭2 | Phrygian♯6 | Dorian♭2 |
| Lydian augmented | Lydian♯5 | Phrygian♭1 |
| Acoustic | Mixolydian♯4 | Lydian♭7 |
| Aeolian dominant | Aeolian♯3 | Mixolydian♭6 |
| Half-diminished | Locrian♯2 | Aeolian♭5 |
| Altered | Ionian♯1 | Locrian♭4 |
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.
| Mode | Intervals with respect to the tonic | |||||||
|---|---|---|---|---|---|---|---|---|
| unison | second | third | fourth | fifth | sixth | seventh | octave | |
| Lydian augmented | perfect | major | major | augmented | augmented | major | major | perfect |
| Acoustic | perfect | minor | ||||||
| Jazz minor | minor | perfect | major | |||||
| Aeolian dominant | major | minor | minor | |||||
| Dorian♭2 | minor | minor | major | |||||
| Half-diminished | major | diminished | minor | |||||
| Altered | minor | diminished | ||||||
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