Are you ever confused about which minor scale you should use when improvising? If you are used to guessing and hoping what you play works (fingers crossed), then this article is designed for you.
When trying to decide which minor scale is right for the moment, you need to consider a few things, including:
- What kind of minor chord are you playing over?
- Where are you in the chord progression?
- Is the chord progression diatonic or non-diatonic?
These questions help you determine which minor scale is best. This article will discuss many different types of minor scales and when to use them! It’s not as complicated as it might seem at first glance!
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Now, on to minor scales!
Table of Contents
How Many Minor Scales Are There?
In music theory, there are three minor scalesāthe natural minor scale, the melodic minor scale, and the harmonic minor scale. However, upon closer inspection, we can build even more minor scales from these three parent scales.
How, you might ask? Well, each scale also has its own modes.
What Are Scale Modes?
A scale is a sequence of pitches that repeat. For example, here is an A natural minor scale spelled out across three octaves:
- A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A
However, we don’t have to start on A. If we played the same sequence of notes but counted B as our starting note, the scale’s character would change, even though the sequence would be the same.
- A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A
- B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B
This is the concept behind musical modes. Each parent scale contains six other scales derived from each note in the parent scale.
Three Minor Scales… And Their Modes
Even though there are three minor scales, each with its own modes, there are technically more than three minor scales. As an improviser, it’s your job to know which minor scale works well over any particular chord.
Some minor scales we’ll review have more than one use or function. However, each minor scale has at least one specific use.
Let’s start with the natural minor scale and all the minor modes you can build from it.
1. Natural Minor Scale (Aeolian Scale)
The natural minor scale is the parent scale for diatonic minor keys. Also, it is one of the seven modes of the major scale derived from the major scale’s sixth scale degree.
If you’ve heard of relative major and relative minor, you’ll know that diatonic major and minor keys are related. Here’s how:
We’ll use the relative major key of C and the relative minor key of A- to demonstrate.
- C-D-E-F-G-A-B-C
- A-B-C-D-E-F-G-A
Here are the chords in the key of C major:
- I. C
- ii. D-
- iii. E-
- IV. F
- V. G
- vi. A-
- viiĀ°. Bdim
Here are the chords in the Key of A minor:
- i. A-
- iiĀ°. Bdim
- III. C
- iv. D-
- v. E-
- VI. F
- VII. G
Both A minor and C major are built from the same sequence of notes. The key difference is what you count as the root note. In A minor, we count “A” as the root note (and “C” as the third note). In C major, “C” is the root note (and “A” is the sixth note).
When we are in the key of A minor, the C major scale is its third mode. Vice versa, the A natural minor scale (Aeolian scale) is the sixth mode of C major.
Because of this relationship, we say the C major and A minor are relative major and minor keys.
Now it’s time to provide some specifics about the Aeolian minor scale. Here’s what you need to know:
- Scale formula: W-H-W-W-H-W-W
- Scale Degrees: Rt., M2, m3, P4, P5, m6, m7
- Spelled (in A-): A-B-C-D-E-F-G
As we discussed, the Aeolian scale is derived from the sixth degree in major keys. In minor keys, the Aeolian scale is the first scale degree.
Regarding improvisation, the Aeolian scale works well over minor chords that function as the vi chord (major keys) or the i chord (minor keys).
However, if you tried to play an Aeolian scale over the ii chord in a diatonic ii-V-I progression, something wouldn’t sound right because you’d be playing outside the key signature. This is because the Aeolian minor scale is built from the sixth scale degree, not the second scale degree.
To accurately depict the harmony of a ii chord, you’ll need to use a mode of the natural minor scale.
Specifically, you need to use the Dorian minor scale.
Dorian Mode (Dorian Minor Scale)
The Dorian minor scale is very similar to the natural minor scale. In major keys, Dorian is built from the second scale degree. In minor keys, it is the fourth scale degree.
Compared to the natural minor scale, all scale degrees are the same except for the sixth scale degree.
Let’s stick with A minor for the comparison.
The A natural minor scale intervals are:
- Rt: A
- M2: B
- m3: C
- P4: D
- P5: E
- m6: F
- m7: G
The A Dorian minor scale intervals are:
- Rt: A
- M2: B
- m3: C
- P4: D
- P5: E
- M6: F#
- m7: G
Here’s the scale breakdown:
- Scale formula: W-H-W-W-W-H-W
- Scale Degrees: Rt., M2, m3, P4, P5, M6, m7
- Spelled from A (Key of G major or E minor): A-B-C-D-E-F#-G
When should you use the Dorian mode in improvisation? If you improvise on a jazz tune in the key of G or E- and you encounter an A- chord, you’d want to choose the Dorian mode over the natural minor scale because it has an F#, just like the key signatures.
Check out our article on the Dorian scale for more information.
Phrygian Mode (Phrygian Minor Scale)
The Phrygian minor scale is another major scale mode. It is derived from the third scale degree of major keys and the fifth scale degree of relative minor keys. Phrygian scales have one key difference compared to natural minor scalesāa flat second scale degree.
Here are the scale degrees for an A Phrygian scale (the difference is in bold):
- Rt. A
- m2: Bb
- m3: C
- P4: D
- P5: E
- m6: F
- m7: G
Here’s the scale breakdown:
- Scale formula: H-W-W-W-H-W-W
- Scale Degrees: Rt., m2, m3, P4, P5, m6, m7
- Spelled from A (Key of F major or D minor): A-Bb-C-D-E-F-G
When improvising over diatonic chord progressions, the Phrygian scale is intended for iii chords (major keys) or v chords (minor keys). However, the v chord in minor keys is often changed to a V7 chord in many chord progressions to create a greater pull to the tonic note.
In cases like this, Phrygian minor will still work over an altered V7 chord (b9 and #9), but you’ll also have other improvisational options.
Locrian Mode (Locrian Minor Scale)
Another diatonic minor mode we need to talk about is the Locrian minor scale. In major keys, it is derived from the 7th scale degree. In minor keys, it is built from the second scale degree.
When you compare Locrian to natural minor scales, you’ll notice two differencesāa flat second and fifth scale degree!
Here are the scale degrees for A Locrian:
- Rt: A
- m2: Bb
- m3: C
- P4: D
- TT(b5): Eb
- m6: F
- m7: G
Here’s the scale breakdown:
- Scale formula: H-W-W-H-W-W-W
- Scale Degrees: Rt., m2, m3, P4, TT (b5), m6, m7
- Spelled from A (Key of Bb major or G minor): A-Bb-C-D-Eb-F-G
So, where should you use the Locrian minor scale? The minor iiĆø-V-i progression is extremely common in jazz music, and jazz musicians often play Locrian minor over the iiĆø chord.
Minor Pentatonic Scale
I want to include the minor pentatonic scale in our list of minor scales because pentatonic scales have wider applications due to their greater ambiguity. Pentatonic scales have less information than the standard seven-note scales.
Because there is less information, these minor scales can be used in more places improvisationally.
Think about itāin the scales we’ve discussed so far, the 2nd and 6th scale degrees were the notes most likely to change between different minor scales. Minor pentatonic scales cut out the 2nd and 6th scale degrees.
That means minor pentatonic scales work over diatonic ii chords, iii chords, and vi chords in major keys and diatonic vi chords, v chords, and i chords in minor keys. The only diatonic chords they don’t work over are those with a b5āthe viiĆø chord (major keys) and iiĆø chord (minor keys).
Here are the scale degrees for the A minor pentatonic scale:
- Rt: A
- m3: C
- P4: D
- P5: E
- m7: G
BEFORE YOU CONTINUE...
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2. Melodic Minor Scale
The next minor scale we need to discuss is the melodic minor scale. In classical music, melodic minor scales have two formsāan ascending form and a descending form. We’ll explain both forms, but for improvisational purposes, jazz musicians only use the ascending melodic minor scale form (for reasons you’ll soon see).
Ascending and Descending Melodic Minor Scale
The ascending melodic minor scale starts out like a regular Aeolian minor scale. However, the sixth and seventh notes are raised one half step. Instead of a minor sixth and minor seventh interval, you have a major sixth note and a major seventh note.
The last half looks a lot like the major scale.
The descending melodic minor scale has all the same notes as the descending natural minor scaleāminor sixth and minor seventh intervals. This is why we don’t really “use it.” We’d play natural minor if the harmony requires it.
Taken together, the ascending and descending forms brighten melodies on the way up and darken them on the way down. But, with jazz improvisation, it’s easier to think of them as two separate scales. From now on, when we refer to melodic minor, we’ll refer to the ascending form.
Here are the scale degrees:
- Rt.
- M2
- m3
- P4
- P5
- M6
- M7
Here’s the scale breakdown:
- Scale formula: W-H-W-W-W-W-H
- Scale Degrees: Rt., M2, m3, P4, P5, M6, M7
- Spelled from A: A-B-C-D-E-F#–G#
When we harmonize the melodic minor scale in thirds, we get a harmonic minor chord scale, which has some beautiful non-diatonic (not found in the major scale) chords:
- A-(maj7)
- Cmaj7#5
In jazz improvisation, the melodic minor scale has useful modes for various altered chords. However, some are more useful than others. The most useful are bolded below!
- 1. Melodic Minor Scale: Works over Minor(maj7) chords
- 2. Dorian Flat 2: can work over the iii chord if resolving to a II chord.
- 3. Lydian Augmented: works well over maj7#5 chords
- 4. Lydian Dominant: works well over dominant #11 (b5) chords
- 5. Mixolydian Flat 6: works well over dominant b13 chords
- 6. Locrian Natural 2: works over iiĆø chords in a minor iiĆø-V-i
- 7. Super Locrian or Altered Scale: really useful over alt7 chords!
Want to learn the melodic minor scale modes and use them to improve your jazz solos?
Check out our article on the melodic minor scale for more information.
3. Harmonic Minor Scale
The harmonic minor scale is the last entry in our list of minor scales. This is another unique minor scale with its own modes and chords. Its unique characteristic is the minor third interval between its sixth and seventh scale degrees.
The harmonic minor scale has a minor sixth and a major seventh. This puts a minor third interval in its scale step formula:
- W-H-W-W-H-m3-H
Its scale degrees are:
- Rt.
- M2
- m3
- P4
- P5
- m6
- M7
Spelled from A, the harmonic minor scale would be:
- A-B-C-D-E-F–G#-A
When compared to melodic minor scales, harmonic minor scales have one additional non-diatonic chord:
- A-(maj7)
- Cmaj7#5
- G#dim7
Here are the modes of the harmonic minor scale:
- 1. Aeolian Natural 7: works over minor(maj7) chords.
- 2. Locrian ā®6: can work over the iiĆø chord in a minor iiĆø-V-I
- 3. Ionian #5: works well over maj7#5 chords
- 4. Altered Dorian: this scale works over the iv chord in harmonic chord progressions.
- 5. Phrygian Dominant: works well over dominant b9 chords
- 6. Lydian #2: this scale works over the VI chord in harmonic minor chord progressions
- 7. Super-Locrian bb7: works well over dim7 chords.
Want to learn the modes of harmonic minor?
Check out our article on the Harmonic Minor Scale for more!
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