#1
I know a good amount about chord formation, but since you play this scale different descending than you do ascending, how do you construct the chords? I based the chords off of the ascending and got:
i min
ii min
iii aug
iv maj
v maj
vi dim
vii dim

anyone? What do you do!
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#2
Word of advice: It's called the melodic minor scale for a reason. Trying to build progressions with it is pointless, as its tonal center is ridiculously ambiguous. If you want to construct chords, use the harmonic minor scale (hence the name)
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#3
Quote by sacamano79
I know a good amount about chord formation, but since you play this scale different descending than you do ascending, how do you construct the chords? I based the chords off of the ascending and got:
i min
ii min
iii aug
iv maj
v maj
vi dim
vii dim

anyone? What do you do!


Firstly learn your history of the melodic minor, and then depending on the context you will know what to do. Before the times of jazz the melodic minor was used for melody only, hence the name. The chords used would be based on the harmonic minor, which is also aptly named because it was used for harmony.

The jazz minor is the same as the melodic minor, only with the descending version containing the raised leading tone and submediant degrees. The jazz minor uses the chords you have listed, with the ascending melodic minor for both ascending and descending, thus also eliminating your problem.
#4
so construct the chords off the harmonic scale then play the mel minor over it?
Gibson SG Standard
Ibanez S2170FB
Peavey JSX
Marshall 1960A
TEXAS A&M
#6
Quote by bangoodcharlote
Can you elabortate on that please, Arch? You can give a simple answer for the TS, but don't be afraid to give me some more complex stuff.


Obviously, you know that the harmonic minor was created to give the minor scale a stronger resolution by creating a major dominant chord. The problem was that the resulting augmented second interval was considered dissonant, and so the use of the scale was limited largely to the creation of harmony rather than melody (hence the name). It's my understanding that the melodic minor scale was created to do away with the augmented second found in harmonic minor, which they accomplished by raising the sixth degree as well. The scale then became used principally in the creation of melodies (hence melodic minor). The reason it isn't used to construct chord progressions is because the scale is ridiculously ambiguous. Establishing any sort of key with it is like trying trying to establish a tonal center with the locrian mode, and would defeat the purpose of even having a harmonic minor scale.

I'm not entirely sure if my history is correct (someone correct me if it's not), but I do know that writing chord progressions with the melodic minor scale generally isn't "done"
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#7
Quote by bangoodcharlote
Can you elabortate on that please, Arch? You can give a simple answer for the TS, but don't be afraid to give me some more complex stuff.


My post was somewhat of an elaboration. It would seem pretty self explanatory with what I said.
#9
Quote by bangoodcharlote
I was posting when you posted that and never saw it. Your post and Archeo's clear this up a lot. Thanks.


Ahhh, and I was posting as Archeo was posting his.

To Archeo, I think your history is correct, but if I do believe that some jazz has made use of chords from the Jazz minor. However, I am unsure whether or not they are borrowed chords or not.
#10
^Just look at the alt chord. It's the VII chord in the melodic minor scale, but it virtually never functions that way.

The big exception (though it can be explained in multiple ways) is the ii-V-i progression, which can be viewed as totally melodic minor. But, like I said it can be explained in multiple ways and I do not disagree with Archeo at all.
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