The melodic minor scale uses formula 1-2-♭3-4-5-6-7 and differs from natural minor by raising ♭6 and ♭7 to 6 and 7.
Intervals from the tonic that build this scale step by step.
Diatonic chords on each degree of this scale.
Related modes that use the same notes with a different tonal center.
Explore scales that share many of the same notes and compare how their tonal center changes the sound.
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| Degree | Triad | Seventh | Extended | Scale | |
|---|---|---|---|---|---|
| I | |||||
| II | |||||
| III | |||||
| IV | |||||
| V | |||||
| VI | |||||
| VII |
The melodic minor scale is a minor system with a brighter upper structure than natural minor. In modern theory and jazz usage, it is most often treated as a single ascending form with raised 6 and 7. This gives it a flexible sound between minor color and major-leading-tone clarity.
Melodic minor follows the interval formula 1-2-♭3-4-5-6-7, with step pattern W-H-W-W-W-W-H. In A melodic minor, the notes are A-B-C-D-E-F♯-G♯. Compared with natural minor (1-2-♭3-4-5-♭6-♭7), the defining change is that ♭6 and ♭7 are raised to 6 and 7.
Classical practice often distinguishes ascending melodic minor from descending forms, while contemporary jazz and modal practice usually keeps this single form in both melodic and harmonic thinking.
Melodic minor is essential in jazz harmony because it supports several advanced modal colors and altered dominant sounds through its derived modes. It is also useful in composition when you want minor identity with stronger melodic pull and smoother voice-leading than pure natural minor.
Melodically, the raised 6 and 7 reduce the gap-heavy feel of natural minor and make upward lines more directed. Harmonically, it opens access to rich tensions while preserving a clear tonal center.
Practice melodic minor against natural minor on the same tonic, listening specifically to ♭6/♭7 versus 6/7. Then write short lines that highlight the contrast between minor third and major seventh to internalize its hybrid color.
For improvisation, map melodic minor to chord types and modal functions rather than treating it as an isolated fingering pattern. For composition, use it when you want minor tonality with stronger directional motion and expanded harmonic options.
| Interval | semitones | Note | ||
|---|---|---|---|---|
| 0 | C | |||
| 2 | D | |||
| 3 | E♭ | |||
| 5 | F | |||
| 7 | G | |||
| 9 | A | |||
| 11 | B |