F# Melodic Minor Scale
- Notes
- F# G# A B C# D# F
- Degrees
- 1 2 b3 4 5 6 7
Character
The natural minor with both the 6th and 7th raised. It fills in the awkward wide interval that the harmonic minor created by lifting the 6th as well.
The dominant V survives that change, so you get both the decisive resolution and smooth motion.
Classical practice uses this form ascending only, reverting to natural minor on the way down. Jazz uses it as a single scale regardless of direction — hence the name jazz minor.
Its modes are raw material for jazz harmony. Start on the fourth note and you have the Lydian dominant; start on the seventh and you have the altered scale.
Diatonic chords in this key
Seventh chords built on each scale note, using only notes from the scale. These do not clash with one another, so they are the reference set when you build a progression.
| Degree | Position | Chord |
|---|---|---|
| 1 | imaj7 | F#m(maj7) |
| 2 | ii7 | G#m7 |
| b3 | III+maj7 | Amaj7♯5 |
| 4 | IV7 | B7 |
| 5 | V7 | C#7 |
| 6 | vi°7 | D#m7♭5 |
| 7 | vii°7 | Fm7♭5 |
Practice
A minor-major seventh sits on the first degree. An unfamiliar sound, but it is the home chord of this scale.
Both the IV and the V are dominant sevenths. Moving between those two chords while playing this scale puts its character in your hand.
You can also see it as a major scale with the third lowered a half step. Seen that way it is one note away from a shape you know.