Modes of the Melodic Minor Scale III: Soloing

Each of the seven modes of the melodic minor scale has a particular application when it comes to soloing:

  • The melodic minor scale is used to solo over minor and minor, major seventh chords with the same root notes.
  • The Dorian b2 scale is used to solo over minor and minor seventh chords with the same root notes.
  • The Lydian #5 scale is used to solo over augmented triads and major seventh, sharp five chords with the same root notes.
  • The Lydian b7 and Mixolydian b6 scales are used to solo over major triads and dominant seventh chords with the same root notes.
  • The Locrian #2 and altered scales are used to solo over diminished triads and minor seventh, flat five chords with the same root notes.

This post will take us through the process of identifying the modal scale or scales that are compatible with any given chord. It will also provide instruction on how to play the scale or scales on a guitar using the relative and parallel approaches.

Soloing: The Relative Approach

To solo using the relative approach to modes, look at the chord you want to solo over and:

  1. Choose a modal scale compatible with the chord.
  2. Relate that scale to the melodic minor scale from which it is derived.
  3. Use that melodic minor scale fingering to solo, but emphasize the root note of the modal scale and chord you are soloing over.

Solo Over an A7 Chord

To solo over an A7 chord, we could use an A Lydian dominant scale or an A Mixolydian b6 scale.

The Lydian Dominant scale is the better choice, so we will use that scale.

A Lydian Dominant Scale

To solo over an A7 chord using an A Lydian dominant scale, we need to determine the melodic minor scale from which the A Lydian dominant scale is derived.

A Lydian dominant scale is based on the fourth degree of a melodic minor scale, so we need to ask ourselves in which melodic minor scale is A the fourth note or in which harmonized melodic minor scale is A7 the IV chord?

A is the fourth note and A7 is the IV chord in a harmonized E melodic minor scale.

To use an A Lydian dominant scale over an A7 chord:

  • Use an E melodic minor scale (fig.1a).
  • Emphasize A’s in your solo (fig.1b).

Fig.1

Solo Over an A#m7(b5) Chord

To solo over an A#m7(b5) chord, we could use an A# Locrian #2 scale or an A# altered scale.

The altered scale is the better choice so we will utilize that scale.

A# Altered Scale

To solo over an A#m7(b5) chord using an A# altered scale, we need to determine the melodic minor scale from which the A# altered scale is derived.

An altered scale is based on the seventh degree of a melodic minor scale, so we need to ask ourselves in which melodic minor scale is A# the seventh note or in which harmonized melodic minor scale is A#m7(b5) the vii chord?

A# is the seventh note and A#m7(b5) is the vii chord in a harmonized B melodic minor scale.

To use an A# altered scale over an A#m7(b5) chord:

  • Use a B melodic minor scale (fig.2a).
  • Emphasize A#’s in your solo (fig.2b).

Fig.2

Solo Over an Fmaj7(#5) Chord

To solo over an Fmaj7(#5) chord, we could use a Lydian augmented scale.

F Lydian Augmented Scale

To solo over an Fmaj7(#5) chord using an F Lydian augmented scale, we need to determine the melodic minor scale from which the F Lydian augmented scale is derived.

A Lydian augmented scale is based on the third degree of a melodic minor scale, so we need to ask ourselves in which melodic minor scale is F the third note or in which harmonized melodic minor scale is Fmaj7(#5) the bIII+ chord?

F is the third note and Fmaj7(#5) is the bIII+ chord in a harmonized D melodic minor scale.

To use an F Lydian augmented scale over an Fmaj7(#5) chord:

  • Use a D melodic minor scale (fig.3a).
  • Emphasize F’s in your solo (fig.3b).

Fig.3

Soloing: The Parallel Approach

To solo using the parallel approach to modes, look at the chord you want to solo over and:

  1. Choose a modal scale compatible with the chord.
  2. Use a modal scale fingering to solo over the chord.

Note: You could also play the corresponding major scale mode and alter the appropriate note for the modal scale you want to use but memorizing a modal scale fingering is by far easier.

I will use the same examples as above to illustrate the parallel approach to soloing.

Solo Over an A7 Chord

To solo over an A7 chord, we could use an A Lydian b7 (or Lydian dominant) scale.

A common fingering for a Lydian dominant scale is shown in fig.4a.

To play an A Lydian dominant scale, start the pattern on the sixth string, fifth fret (fig.4b).

Fig.4

Solo Over an A#m7(b5) Chord

To solo over an A#m7(b5) chord, we could use an A# altered scale.

A common fingering for an altered scale is shown in fig.5a.

To play an A# altered scale, start the pattern on the sixth string, sixth fret (fig.5b).

Fig.5

Solo Over an Fmaj7(#5) Chord

To solo over an Fmaj7(#5) chord, we could use an F Lydian #5 (or Lydian augmented) scale.

A common fingering for a Lydian augmented scale is shown in fig.6a.

To play an F Lydian augmented scale start the pattern on the sixth string, 13th fret (fig.6b).

Fig.6

Related Posts

Related posts include: