A Melodic Minor Scale: Notes, Chords, and How to Play It
The A melodic minor scale is the best starting point for learning the melodic minor sound. With only two sharps (F# and G#), it is closely related to the familiar A natural minor scale — differing by just two raised notes. This scale is a cornerstone of jazz improvisation and classical composition alike, offering a sophisticated, smooth minor quality that sits between the brightness of major and the darkness of natural minor.
What Makes the Melodic Minor Different?
The melodic minor scale can be thought of as a major scale with a flattened third — or, equivalently, a natural minor scale with its sixth and seventh degrees raised. This dual identity gives it a unique character: minor enough for emotional depth, but with the strong leading tone and smooth voice leading that natural minor lacks.
For a full comparison of all three minor scale types, see Minor Scales: Natural, Harmonic, and Melodic.
Notes of the A Melodic Minor Scale
The A melodic minor scale contains seven notes:
A – B – C – D – E – F# – G#
Starting from A, the scale follows the melodic minor interval pattern — W – H – W – W – W – W – H — and arrives back at A one octave higher. Compared to A natural minor (A–B–C–D–E–F–G), the sixth and seventh degrees are raised: F becomes F# and G becomes G#.
| Degree | Note | Interval from Root | Step to Next |
|---|---|---|---|
| 1 (Root) | A | Unison | Whole step |
| 2 | B | Major 2nd | Half step |
| 3 | C | Minor 3rd | Whole step |
| 4 | D | Perfect 4th | Whole step |
| 5 | E | Perfect 5th | Whole step |
| 6 | F# | Major 6th | Whole step |
| 7 | G# | Major 7th | Half step |
| 8 | A | Octave | – |
The half steps fall between B–C (degrees 2–3) and G#–A (degrees 7–8). The only difference from A major (A–B–C#–D–E–F#–G#) is the flattened third: C instead of C#. This is why the melodic minor is often described as “a major scale with a flat three.”
Classical vs Jazz Usage
In classical theory, the melodic minor descends differently — reverting to the natural minor form:
- Ascending: A – B – C – D – E – F# – G# – A
- Descending: A – G – F – E – D – C – B – A
The ascending form provides the leading tone (G#) for smooth resolution upward to the tonic, while the descending form relaxes back to natural minor. In jazz and contemporary music, the ascending form is used in both directions, treating the melodic minor as a consistent seven-note scale. This article focuses on the ascending (jazz) form, which is the version used in the Interactive Chord Finder.
A Melodic Minor on Piano
On the piano, A melodic minor starts on A and uses all the white keys except F and G, which become F# and G#. The pattern is straightforward: five white keys (A, B, C, D, E) followed by two black keys (F#, G#) before returning to A.
Right hand fingering (ascending): 1 – 2 – 3 – 1 – 2 – 3 – 4 – 5 (thumb crosses under after C, then fingers walk up to A)
Left hand fingering (ascending): 5 – 4 – 3 – 2 – 1 – 3 – 2 – 1 (after the thumb plays E, the third finger crosses over to F#)
Because only two notes differ from A natural minor, pianists who already know their natural minor scales can adapt quickly. Focus on the F# and G# — these two notes transform the entire character of the scale.
A Melodic Minor on Guitar
On guitar, the A melodic minor scale can be played in several positions. The most common starting point is the open/second position.
Open position (low to high):
| String | Fret | Note |
|---|---|---|
| 5th (A) | open | A |
| 5th (A) | 2 | B |
| 5th (A) | 3 | C |
| 4th (D) | open | D |
| 4th (D) | 2 | E |
| 4th (D) | 4 | F# |
| 3rd (G) | 1 | G# |
| 3rd (G) | 2 | A |
This pattern covers one octave from the open A string to A on the 3rd string. The stretch to the 4th fret for F# is the key technical challenge in this position.
Use the guitar fretboard view in the Interactive Chord Finder to see all positions at once.
Diatonic Chords in A Melodic Minor
Building chords from the melodic minor scale produces a distinctive set of qualities that differ significantly from both major and natural minor keys. Stacking thirds on each scale degree produces seven triads:
| Degree | Chord | Quality | Notes |
|---|---|---|---|
| i | Am | Minor | A – C – E |
| ii | Bm | Minor | B – D – F# |
| III+ | Caug | Augmented | C – E – G# |
| IV | D | Major | D – F# – A |
| V | E | Major | E – G# – B |
| vi° | F#dim | Diminished | F# – A – C |
| vii° | G#dim | Diminished | G# – B – D |
The pattern minor – minor – augmented – major – major – diminished – diminished is unique to the melodic minor. Notice the augmented III chord — a rare triad type that gives the melodic minor its distinctive harmonic colour. The two diminished triads on the sixth and seventh degrees also set this scale apart from natural minor, where those positions hold major and subtonic chords.
Seventh Chords
Adding a fourth note to each triad creates seventh chords with equally distinctive qualities. These voicings are essential in jazz:
| Degree | Chord | Quality | Notes |
|---|---|---|---|
| imMaj7 | Am(maj7) | Minor-major 7th | A – C – E – G# |
| ii7 | Bm7 | Minor 7th | B – D – F# – A |
| III+maj7 | Cmaj7#5 | Augmented major 7th | C – E – G# – B |
| IV7 | D7 | Dominant 7th | D – F# – A – C |
| V7 | E7 | Dominant 7th | E – G# – B – D |
| viø7 | F#m7b5 | Half-diminished | F# – A – C – E |
| viiø7 | G#m7b5 | Half-diminished | G# – B – D – F# |
The minor-major seventh chord (imMaj7) on the tonic is one of the most characteristic sounds in jazz — think of the James Bond theme or the opening of “Sting’s” arrangements. The two dominant seventh chords on IV and V are also notable: the IV7 chord is the basis of the Lydian dominant mode (built from the fourth degree of any melodic minor scale), and the V7 provides the standard dominant function.
Modes of the Melodic Minor
The melodic minor scale is the parent scale for several important modes used extensively in jazz:
| Mode | Starting Degree | Name | Character |
|---|---|---|---|
| 1st | A | Melodic minor | Smooth minor |
| 2nd | B | Dorian b2 | Dark, Phrygian-like |
| 3rd | C | Lydian augmented | Bright, expansive |
| 4th | D | Lydian dominant | Bright but bluesy |
| 5th | E | Mixolydian b6 | Bittersweet major |
| 6th | F# | Locrian #2 / Aeolian b5 | Dark, half-diminished |
| 7th | G# | Altered / Super Locrian | Tense, unstable |
The Lydian dominant (4th degree) is widely used over dominant seventh chords that do not resolve conventionally. The altered scale (7th degree) is perhaps the single most important jazz improvisation tool for playing over altered dominant chords (7#9, 7b13, etc.).
Common Chord Progressions in A Melodic Minor
These progressions showcase the melodic minor’s harmonic possibilities, particularly in jazz contexts:
| Progression | Chords | Used in |
|---|---|---|
| i – IV – V – i | Am – D – E – Am | Jazz, fusion |
| i – II – V – i | Am – Bm – E7 – Am | Jazz minor ii-V-i |
| i – ii – V – i | Am(maj7) – Bm7 – E7 – Am(maj7) | Jazz ballads |
| i – IV7 – viiø7 – III+ | Am – D7 – G#m7b5 – Caug | Modern jazz |
| i – iv – V7 – i | Am – Dm – E7 – Am | Classical minor |
The ii – V – i in melodic minor (Bm7 – E7 – Am(maj7)) is a fundamental jazz progression. Compared to the natural minor ii – V – i, the melodic minor version has a brighter, more resolved quality thanks to the raised sixth and seventh.
Relationship to Other Minor Scales
The three minor scales in A share five common notes and diverge on the sixth and seventh degrees:
| Scale | Notes | 6th | 7th |
|---|---|---|---|
| A natural minor | A–B–C–D–E–F–G | F (minor 6th) | G (minor 7th) |
| A harmonic minor | A–B–C–D–E–F–G# | F (minor 6th) | G# (major 7th) |
| A melodic minor | A–B–C–D–E–F#–G# | F# (major 6th) | G# (major 7th) |
The harmonic minor raises only the seventh, creating the augmented second (F to G#) that gives it an exotic sound. The melodic minor raises both the sixth and seventh, eliminating that gap for smoother voice leading. In practice, jazz musicians move freely between all three forms depending on the harmonic context.
Songs and Repertoire
The melodic minor sound appears across many styles:
- “Solar” – Miles Davis (jazz standard built on melodic minor harmony)
- “Dolphin Dance” – Herbie Hancock (extensive melodic minor usage)
- “Clair de Lune” – Debussy (classical melodic minor passages)
- “Sting” arrangements – frequently feature minor-major seventh sonorities
- Film scores – Hans Zimmer and John Williams regularly employ melodic minor for sophisticated emotional depth
Practice Tips
Compare with natural minor. Play A natural minor, then A melodic minor immediately after. The raised F# and G# create a dramatic shift in mood — learn to hear and feel this difference.
Practise the ascending form in both directions. Even if you are aware of the classical descending convention, jazz usage demands fluency with the ascending pattern going both up and down.
Play in thirds. Instead of A–B–C–D, play A–C, B–D, C–E, D–F# and so on. This reveals the interval structure and prepares you for chord construction.
Explore the modes. Once you are comfortable with the scale, start on each degree in turn. The Lydian dominant (starting on D) and the altered scale (starting on G#) are particularly rewarding.
Use a metronome. Start at 60–80 BPM with one note per beat. Melodic minor can feel unfamiliar under the fingers at first, so slow, deliberate practice builds confidence.
Try It Yourself
Open the Interactive Chord Finder, select A as the root and Melodic Minor (asc) as the scale. You will see every note highlighted on the piano keyboard or guitar fretboard, the step pattern visualised as intervals, and all diatonic chords laid out in a table — ready to play and explore.
For the complete list of scales in every key, see Scales for Piano and Guitar: The Complete Reference Guide.
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