Let’s look at the modes within the minor tonality. I use “tonality” as opposed to “key,” because there are actually three minor scales for possible use on a I minor chord: natural, harmonic and melodic minor. Just like with the major scale, modes can be made from the notes of each of the three minor scales. There are seven modes of the major scale, but 21 come from the minor scales. I know what you’re thinking: Holy crap, how am I ever going to learn all these? Relax. Always remember that the chord tones are the foundation for our lines and solos, so when you understand chord symbols, you can create strong bass lines. Plus, some of these modes occur much more frequently than others, so by prioritizing you can work on the more important ones. I placed an asterisk next to the modes I encounter most frequently.
Perhaps you’ve noticed that the I chord in a minor key tune is often a triad, as opposed to a Im7 or Im6 chord. That’s because there are potentially three scales and three chords to color this basic triad. Ex. 1 shows the natural minor scale, then the minor scale with a major 7th (harmonic minor), and harmonic minor with a major 6th (melodic minor). (Formal theory dictates that the descending melodic minor is identical to the natural minor scale. Don’t worry about this, as it’s not relevant for our use.) When the major 6th and 7th are applied throughout the subsequent scales, we end up with the modes of the harmonic and melodic minor scales. Notice how often the parent chord is the same between modes, but the notes in the modes differ slightly. Awareness of this will prove useful in adding modern flavor to our lines and solos.
The melodic and harmonic minor scales are an essential component of modern jazz, and the chords they suggest offer a rich palette for exploration. In future articles I will present applications of these modes, but serious time in the ’shed is needed to learn this basic vocabulary. Get to it!
READER’S TIP
FROM GRAHAM56
I’m not that good at deliberately playing before or behind the beat. But in situations where I find myself playing ahead of the beat unintentionally, I find that physical posture helps.
To lay behind the beat (or pull yourself back on to it) you could lean your body back a little, perhaps with slightly bent knees. Adopt a lazy-eyed “Keef” persona. Imagine a half-smoked ciggie dangling out the side of your mouth. Roll your shoulders a little. Or to play in front of the beat, lean forward, bass neck pointing at the audience. Be punky and aggressive. Sounds like stupid head games I know, but it works for me.