Home | Back Issues | Other Mel Bay Sites | Purchase Bass Products
Modes - Jazz Minor Scale | Tune Your Ear to Hear the Changes | OK...Now what?
In search of the Perfect Custom Bass | The Search for My First Bass

Modes - Jazz Minor Scale

by Stefon Pizzuto

Hello again aspiring bassists! Welcome to my second article for Mel Bay's on-line webzine. In our last lesson, we discussed the origin and construction of the elusive modes of the harmonic minor scale. We learned that this particular set of modes was created by applying the concept of modality to the harmonic minor scale and also found there was a pattern hidden within these modes that allowed us to calculate the construction of each mode individually.

Our lesson this month takes us through a third set of modes that are used quite frequently in the jazz idiom - the modes of the jazz minor scale. Creating these modes will require us to apply the concepts we learned last time to a different scale - the jazz minor scale. Before we go through this set, let's first review jazz minor.

The jazz minor scale, sometimes referred to as jazz melodic minor, can most easily be created by lowering the third degree of the major scale. This means that the intervals comprising jazz minor are the root, major 2nd, minor 3rd, perfect 4th, perfect 5th, major 6th, major 7th, and octave. To play the jazz minor scale in the key of C, for example, play all natural notes from the root note C to the C octave but change the E to an Eb.

Once again, it is important that you understand the concept of modality and that you have a firm grasp on the modes of the major scale since we will be referring to them throughout this series. If you are having difficulty with either of these two, review them before proceeding with this section.

One of the first things you may notice about these modes is that, unlike the harmonic minor modes, all seven of them have names much like the major modes.

The first mode, which is simply the jazz minor scale, starts on the root of the scale and continues to the octave. In the key of C jazz minor, the first mode begins on the note C.

Dorian b2, the second mode, starts on the second degree, or major 2nd, of the jazz minor scale and follows through to the major 2nd above the octave. In the key of C jazz minor, Dorian b2 begins on the note D.

The third mode, Lydian Augmented, starts on the third degree, or minor 3rd, of the jazz minor scale and continues to the minor 3rd above the octave. In the key of C jazz minor, Lydian Augmented begins on the note Eb.

Lydian b7, the fourth mode, starts on the fourth degree, or perfect 4th, of the jazz minor scale and follows through to the perfect 4th above the octave. In the key of C jazz minor, Lydian b7 begins on the note F.

The fifth mode, Mixolydian b13, starts on the fifth degree, or perfect 5th, of the jazz minor scale and continues to the perfect 5th above the octave. In the key of C jazz minor, Mixolydian b13 begins on the note G.

Locrian #2, the sixth mode, starts on the sixth degree, or major 6th, of the jazz minor scale and follows through to the major 6th above the octave. In the key of C jazz minor, Locrian #2 begins on the note A.

The seventh, and final mode, the Altered Scale, starts on the seventh degree, or major 7th, of the jazz minor scale and continues to the major 7th above the octave. In the key of C jazz minor, the Altered Scale begins on the note B.

All of the modes in this series are constructed exactly as their names imply. However, much like the modes of harmonic minor, there is a separate pattern occurring throughout that makes their composition easier to remember: The first mode, jazz minor, is constructed like the Ionian mode (major scale) with a lowered 3rd. As you proceed through the series, move forward through the modes while going back in number. This means the second mode is constructed like Dorian with a lowered 2nd, the third mode is Phrygian with a lowered root (and octave), the fourth mode is Lydian with a lowered 7th, and so on.

The application of these modes is usually confined to the style of jazz, although there is certainly no rule stating they cannot be used elsewhere. The raised 6th and 7th degree of the scale create the type of minor tonality that is so characteristic of jazz. Play through these modes in all twelve keys like we did with the harmonic minor modes, listening to the sound of each scale as you progress through them.

Thank you again for taking this musical journey with us and please e-mail me through my website, www.stefonpizzuto.com, if you have any questions or comments. For those who wish to delve deeper into fretboard theory, check out my website. I hope everyone has enjoyed working through this study as much as I have enjoyed bringing it to you. Best of luck and keep practicing!

Stefon Pizzuto

---

Stefon Pizzuto is a teacher, author, session player, and accomplished sideman. Throughout his career he has studied with such well-know players as Michael Richmond, Gerald Veasley, Kjell Benner, and Vince Fay. In addition to private study, Stefon has earned a Bachelor's Degree from Temple University and a Master's Degree from New York University, both in Bass Performance. Stefon's endorsements include Acacia Instruments, Demeter Amplification, Bag End Speakers, Fodera Strings, SKB Cases, Raktrap Compartments, and Xwire Wireless Systems.

Stefon records and performs with the bands Simon Apple and Aztek Trip, having provided supporting sets for Billy Joel, Elton John, Bruce Springsteen, Kansas, Cheap Trick, Depeche Mode, Creed, Cher, Dishwalla, Dunkin Sheik, Tiffany, Rusted Root, The Philadelphia Eagles, The Philadelphia 76ers, and The Philadelphia Flyers. Along with teaching a full roster of private student every week, Stefon has recently begun giving on-line bass lessons to students around the world.