Melodic Minor Scale and Its Modes Part Two

In our previous lesson about the melodic minor scale, (which can be found here) we treated two modes
  • The 1st degree mode which is the melodic minor
  • The 4th degree mode which is the lydian dominant
In this post, we will be discussing another mode of the melodic minor scale – The 3rd degree mode which is the Lyian Augumented Mode


In our previous lesson we learnt that our melodic scale structure is
R 2 b3 4 5 6 7 R
Now the lydian augumented scale starts off from the b3 of the melodic minor scale and ends at the b3 of the melodic minor scale. Therefore, we have
b3 4 5 6 7 R 2 b3
taking our b3 as our root position, this scale would be interpreted as
R 2 3 b5 b6 6 7 R

In the key of F, the F lydian augumented scale would be

F G A B Db D E F
Notice in this scale that we have a b5 (B) and a #5 (Db)
By using tertial harmony principle from the root, we would have this augumented triad –
F A Db


This scale is played over a dom7 #5 chord
And still in the key of F, an F dom7 #5 chord would be
F A C# D#


Let’s take a quick look at a 7-3-6 (C-F-A#) chord progression in the key of C#
This sounds really nice when played as a 3 to the 6 chord progression
NB: A real great idea or extension is when also you add the b9 to the chord, thereby having a Dom7 b9 #5 chord which would be:
F A C# D# F#
LH                  RH
C                     A# D# G# 7
F                     A C# D# F# 3
A#                  G# C# F 6
Now on the chord 3 play the right hand chord with your left hand thereby leaving out the root (F) – (rootless voicing), and play or improvise with the F lydian augumented scale as you transcend to the chord 6
Bass (Root)    LH                         RH
C                       A# D# G#
F                       A C# D# F#   (improvise with the F lydian augumented)
A#                    G# C# F 6
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