In part 1 of this post we looked at the diatonic chords derived from the Melodic Minor scale.  We can also look at the modes of the Melodic Minor by creating scales that start on each of the notes:

A Melodic Minor – A  B  C  D  E  F#  G#
Use over major and minor chords

B Dorian b2 – B  C  D  E  F#  G#  A
Use over b9sus4 chords

C Lydian #5 – C  D  E  F#  G#  A  B
Use over maj7#5 chords

D Lydian Dominant – D  E  F#  G#  A  B  C
Use over 7#11 chords and tritone substitutions

E Midolydian b6 – E  F#  G#  A  B  C  D
Use over 7b13 chords

F# Aeolian b5 – F#  G#  A  B  C  D  E
Use over m7b5 chords

G# Altered (aka Super Locrian or Diminished Wholetone)
User over altered dominant chords (ie. #5, b5, #9, b9, etc)

For the most part you’ll notice that these are all altered dominant chords of some sort.  So try mixing them up that way and see what happens.  Another cool trick is to use the Melodic Minor a half step (one fret) higher than the root of your dominant chord.  For example use Bb Melodic over an A7 chord.

How to practice these… You might be thinking, “But I rarely run across some of these chords and when I do, I won’t think of playing this way.”  The solution is to write some chords progressions for yourself that use these chords and start blowing over them.  Even just a two chord vamp will go a long way to helping you internalize these sounds and have them ready when you need them.

And the beauty of the guitar is that all our patterns are moveable.  So make sure you move all these scales and ideas into different keys in different parts of the neck.

Phil Johnson
http://www.GetHotOnElectricGuitar.com <– Get your free report and be a better guitarist!

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