Possible Minor ii-V-i Scales
Besides hitting the roots at the right time, the main occupation of bassists is to create inspired melodies or bass lines. You know that roots, arpeggios (broken chords), and scales all play a huge role in the development of these lines. You've looked at complex arpeggios and roots (including root substitutions), but you haven't yet taken a truly thorough survey of the appropriate scales to use with these complex chords.
First, take a look at the scales that are consonant with minor ii-V-i progressions. Start with the ii chord. So far, you know that the ii chord is minor with a flatted fifth, a dominant seventh, and often a major ninth. If you extend the chord all the way to the thirteenth, even observing the i's natural minor scale, you'll get a natural eleven and a flatted thirteen. These notes, when added to the ii chord, produce a scale most commonly recognized as a melodic minor scale. The problem is that it is not the melodic minor of the given chord but, rather, the melodic minor scale whose root and name is found a minor third above. When this is the case, the term
You've encountered modes throughout this book. However, in cases where the modes are not derived from major, diatonic scales (like Ionian or Dorian), these modes may be called new names depending on the starting point of the scale. This occurs only when you start on a scale degree other than the tonic. For example, when using the melodic minor as a mode, you might say, “the sixth, second, or third mode of the melodic minor.” It all depends on the starting pitch.
When looking at the notes derived from the extended ii chord (but using primarily a major ninth), you will see that a scale is formed. The scale associated with this chord is a melodic minor. Again, it is not the melodic minor scale of the ii chord itself. Instead, it is the melodic minor scale of the pitch located a minor third above the ii chord.
There is another way to look at this too. On the sixth scale degree of this melodic minor, you'll find the actual root of the given ii chord. For example, if you have a Dm7 5 or ii chord, you are playing the sixth mode of the F melodic minor scale.
Admittedly, the formal name of the proper scale may not really make a difference if you are soloing since you can simply play the F melodic minor inverted or excepted in any manner you choose. However, it may become important when starting your bass
However, in many cases, bassists choose to ascend to the V chord without observing the major second that is part of the sixth mode of the melodic minor scale. Instead, they simply follow the key signature (which produces a minor second) when ascending the bass line. Funny enough, each bass line option may produce an equally compelling result when walking to the V chord, yet this may not be true in solo situations. When soloing, the melodic minor is usually the preferred scale. Figure 18-6 lets you hear both options and decide for yourself.
At the end of the day, it is usually okay to use the notes from the key's natural minor over the ii chord. This is a usable but more basic approach. It's also great to use the modal melodic minor. Not sure what to use? Ultimately, trust your ears. Thankfully, these two scales really do exhaust the list of what to play over ii chords in a minor key.
Figure 18-6.
Walking to the V chord using the natural minor and modal melodic minor
TTS=Tritone Substitution
Figure 18-7.
F melodic minor and the sixth mode of F melodic minor
When the natural minor and melodic minor scales begin on different scale degrees, other names are sometimes used. For instance, the natural minor beginning on the second scale degree, or ii chord, may also be called a
For the rest of the chords in the minor ii-V-i series, the formula is simpler. When it comes to the altered V chord, which is common in minor keys, the formula is simple: play the melodic minor one half step (one fret) above the name of the V chord itself. It doesn't matter if the chord uses a flat nine or sharp nine. This melodic minor (also known as the super Locrian or “diminished whole tone) works equally well on sharp nine or flatted nine V chords. There are a few other options, however.
When using a V chord that contains a flat nine and a natural thirteen, the optimal scale is a diminished (octatonic) scale. In this case, the diminished scale must move in a half-step-to-whole-step manner. (This applies to both major and minor keys.) A less common but very emotionally compelling version of a V chord is found in major keys more than in minor ones, yet it is actually related more closely to the minor key. This is known as the V79(sus4) or phrygian chord.
When navigating over this chord, you will play the melodic minor scale located a whole step below the letter name of this distinctive V chord. This scale is officially known as the phrygian sharp six. In the extremely rare case of having a natural ninth but an augmented fifth, you can use a scale known as the whole tone scale. This scale simply ascends in whole steps only (every other fret). Figure 18-8 shows an example of each scale paired up with the appropriate chord symbol.
Lastly, it's time to dissect the minor i chord. The most consonant scale you can use here is the melodic minor of its very own name. That makes it the easiest chord in the minor key pantheon. In fact, you may be pleased to know that there is no modal melodic minor to even deal with! Chord symbols such as Cmin(maj7), Cm6/9, and C-, all will work well with C melodic minor scale as their accompaniment. The most common changeup here is the regular minor seventh chord. In this case, the Dorian mode of the chord usually works best. This mode is the same as the natural minor of the
Figure 18-8.
Four types of altered V chords
Note: there are generally several other names for each scale.
Figure 18-9.
Various minor i chords with accompanying scales
chord itself but with a raised sixth scale degree. Another much less common chord is a minor i with a flat sixth (for example, Am 6). Here the natural minor of the chord name works extremely well. Figure 18-9 illuminates these possibilities.
