Demystifying the Modes of Melodic and Harmonic Minor for Jazz Guitarists
May 22, 2025Heads up! This lesson isn’t meant to be consumed passively on the subway or while driving. Grab your guitar—and maybe a pen and paper—because we’re going deep!
Why Minor Modes?
Many of us are quite comfortable with the modes of the major scale—Ionian, Dorian, Phrygian, and so on. But when it comes to melodic and harmonic minor scales, there are often noticeable gaps in understanding. In my teaching experience, I've found that students are familiar with chords and progressions in major keys but rarely get as far with minor keys. Today, we're here to change that.
Starting Point: The C Major Diatonic Chords
Let’s ground ourselves with something familiar. Play the diatonic chords from the C major scale using Drop 2 voicings:
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Cmaj7
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Dm7
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Em7
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Fmaj7
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G7
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Am7
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Bm7♭5
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Back to Cmaj7
Enter: The Melodic Minor Scale
Forget the classical “ascending/descending” versions of melodic minor. In jazz, we treat it the same going up and down.
C Melodic Minor Scale:
C – D – E♭ – F – G – A – B – C
Only one note (E♭) differs from the C major scale, but that small change has big consequences! It introduces a brand new sonic palette: seven new modes and seven new chord qualities.
Chord-by-Chord Breakdown in C Melodic Minor:
| Degree | Chord | Notes | Description |
|---|---|---|---|
| I | Cm(maj7) | C – E♭ – G – B | The “James Bond” chord |
| II | Dm7 | D – F – A – C | Same as in major |
| III | E♭maj7♯5 | E♭ – G – B – D | Lydian Augmented sound |
| IV | F7 | F – A – C – E♭ | Dominant with altered color |
| V | G7 | G – B – D – F | Can imply altered scale |
| VI | Am7♭5 | A – C – E♭ – G | Half-diminished |
| VII | Bm7♭5 | B – D – F – A | Half-diminished |
🎸 Pro Tip: Notice how F7 and G7 appear back-to-back—this is unique and opens doors to exotic progressions.
Now: C Harmonic Minor
C Harmonic Minor Scale:
C – D – E♭ – F – G – A♭ – B – C
This time we’re altering two notes from C major: E becomes E♭ and A becomes A♭.
Chord-by-Chord Breakdown in C Harmonic Minor:
| Degree | Chord | Notes | Description |
|---|---|---|---|
| I | Cm(maj7) | C – E♭ – G – B | Same as melodic minor |
| II | Dm7♭5 | D – F – A♭ – C | Half-diminished |
| III | E♭maj7♯5 | E♭ – G – B – D | Same as melodic minor |
| IV | Fm7 | F – A♭ – C – E♭ | Minor 7th chord |
| V | G7 | G – B – D – F | Strong dominant function |
| VI | A♭maj7 | A♭ – C – E♭ – G | Lush major seventh |
| VII | B°7 | B – D – F – A♭ | Fully diminished chord |
🎧 Listen for this sequence:
Fm7 → G7 → A♭maj7 — it has a beautifully haunting quality often heard in classical and jazz-influenced compositions.
Application Tips
Want a shortcut?
Soloing over Dm7♭5 → G7 → Cm(maj7)? Use C Harmonic Minor for instant access to rich, compelling note choices.
Practice Suggestion:
Try playing through each of the modes and chords listed above in C melodic minor and C harmonic minor. Get the fingerings under your hands and internalize the sound.
Theory Hack:
When analyzing tunes, ask yourself: Is this sound coming from the major scale, melodic minor, or harmonic minor? You’ll quickly realize that these three scales explain the vast majority of jazz harmony.
Final Thoughts
Melodic and harmonic minor modes aren’t just academic—they open up an expressive world full of unique textures and progressions. While only about 20–25% of jazz standards are in minor keys, learning to navigate these sounds gives you a major advantage.
Bonus Resource: Check out Barry Galbraith's Volume 2, which features études written in minor keys—perfect for getting the sound in your ears and under your fingers.
Thanks for tuning in!
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