F#mmaj9 guitar chord — root mapping, fingerings, arpeggios, triads, pentatonic, scales

In jazz practice, melodic minor is a minor scale with natural 6th and 7th degrees, used the same way ascending and descending. Its tonic m(maj7) combines a minor 3rd with a major 7th, while the natural 6th separates it from harmonic minor. The scale is used over m(maj7), in modern minor harmony, and as the source of important modes such as Lydian Dominant, Locrian Natural 2 and Altered.

Melodic Minor is a minor scale with natural 6th and 7th degrees. It differs from natural minor by raising b6 to 6 and b7 to 7, and from harmonic minor only by using a natural 6th instead of b6. The minor 3rd preserves the minor quality, the major 7th creates the leading-tone motion 7–1, and the natural 6 removes the augmented 2nd between the 6th and 7th degrees found in harmonic minor. Its characteristic sound comes from combining the minor 3rd b3 with the major 6 and 7. The tonic seventh chord is m(maj7).

1 — tonic: the tonal center and the root of the minor i triad and minor-major seventh chord i(maj7).

2 — major 2nd / 9th: the root of the minor ii chord; over the tonic minor chord it functions as a 9.

b3—minor 3rd: establishes the scale’s minor quality, belongs to i and i(maj7), and serves as the root of the augmented bIII+ chord.

4 — perfect 4th / 11th: the root of the major IV chord; over the tonic chord it functions as an 11.

5 — dominant: a stable tone of the tonic minor chord and the root of the major V and dominant seventh V7 chords.

6 — major 6th / 13th: distinguishes Melodic Minor from Harmonic Minor and Aeolian, belongs to ii, IV, and vi°, and can function as a 13 over the tonic.

7 — major 7th / leading tone: lies a semitone below the tonic, belongs to i(maj7), V, and V7, serves as the root of vii°, and tends to rise to 1.

Harmonizing the scale in triads produces:

i—minor; ii — minor; bIII+ — augmented; IV — major; V — major; vi° — diminished; vii° — diminished.

The diatonic seventh chords are i(maj7), ii7, bIIImaj7#5, IV7, V7, viø7, and viiø7.

The principal harmonic markers are the tonic i(maj7) chord, the major IV and V chords, and the simultaneous presence of the natural 6 and leading tone 7. The IV chord becomes major because of the natural 6th, while V becomes major because of the major 7th.

Both IV7 and V7 have the structure of dominant seventh chords. V7 has conventional dominant function and resolves to i. IV7 is not the dominant of the tonic; in jazz chord-scale theory it is associated with the fourth mode of Melodic Minor, Lydian Dominant.

In a classical minor key, these chords are not necessarily treated as the harmonization of one permanently fixed scale. Natural and raised forms of the 6th and 7th degrees are selected according to melodic direction and harmonic function.

In C Melodic Minor, the triads are Cm Dm Ebaug F G Adim Bdim; the seventh chords are Cm(maj7) Dm7 Ebmaj7#5 F7 G7 Am7b5 Bm7b5.

In classical theory, the formula 1 2 b3 4 5 6 7 represents the ascending form of melodic minor. The natural 6 and 7 create the smooth stepwise motion 5–6–7–1 without the augmented 2nd found in harmonic minor. When descending, the natural minor form is traditionally common: 1 b7 b6 5 4 b3 2 1. This rule describes the standard pedagogical form of the scale, but in actual music the choice of scale degrees depends on the specific melody and harmony rather than direction alone.

In jazz, Melodic Minor, also called Jazz Melodic Minor, is normally treated as the fixed scale 1 2 b3 4 5 6 7 in both directions. It is used over an m(maj7) chord because degrees 1 b3 5 7 exactly match its chord tones. For example, C Melodic Minor corresponds to Cm(maj7).

The scale may also be used over m6 and m6/9 chords when the harmony supports the natural 6 and 7. Over m6/9, the major 7th generally functions as a passing or directed tone because the chord itself does not contain it.

The derived modes of Melodic Minor are particularly important. They are used over maj7#5, 7#11, 7b13, m7b5 chords with a natural 9, and altered dominant seventh chords. In each case, the relevant mode is placed on the root of the current chord rather than treating the original Melodic Minor tonic as the center.

Its closest related scale is Harmonic Minor, 1 2 b3 4 5 b6 7. It differs only in the 6th degree. The natural 6 in Melodic Minor removes the augmented 2nd between b6 and 7.

Aeolian, or natural minor, has the formula 1 2 b3 4 5 b6 b7 and differs in both upper degrees. Dorian has the formula 1 2 b3 4 5 6 b7 and differs only in the 7th degree. Ionian has the formula 1 2 3 4 5 6 7 and uses a major 3rd instead of b3.

The seven modes of Melodic Minor are:

1 — Melodic Minor: 1 2 b3 4 5 6 7;

2 — Dorian b2: 1 b2 b3 4 5 6 b7;

3 — Lydian Augmented: 1 2 3 #4 #5 6 7;

4 — Lydian Dominant: 1 2 3 #4 5 6 b7;

5 — Mixolydian b6: 1 2 3 4 5 b6 b7;

6 — Locrian ♮2: 1 2 b3 4 b5 b6 b7;

7 — Altered, or Super Locrian: 1 b2 b3 b4 b5 b6 b7. In jazz chord-scale notation, its pitches are commonly reinterpreted as 1 b9 #9 3 b5 #5 b7.

The names of the second, fifth, and seventh modes vary between theoretical systems.

Over m(maj7), begin with the chord tones 1 b3 5 7. The minor 3rd establishes the minor quality, while the major 7th distinguishes the scale from Dorian and Aeolian. To emphasize Melodic Minor, use figures such as b3–4–5–6–7, 5–6–7–1, 1–7–6–5, and 7–1.

The natural 6 functions as the 13 and combines with the major 7 to form the scale’s defining upper structure. Over m(maj7), both degrees may be treated as structural tones when supported by the harmony. Over m6 or m6/9, emphasize 1 b3 5 6 and treat 7 more carefully as a passing tone or semitone approach to the tonic.

Degree 2 functions as the 9, while 4 functions as the 11. They identify the tonic chord less clearly than b3, 6, and 7, so phrases can resolve from them into 1 b3 5 7.

In a classical melodic context, the ascending motion 5–6–7–1 is characteristic. In descending lines, either natural 6 and 7 or lowered b6 and b7 may be used when required by the particular melody or harmony. The scale form should not be changed mechanically every time the line changes direction.

When using the derived modes, follow the root and quality of the current chord. For example, the fourth mode is used over 7#11, the sixth over m7b5 with a natural 9, and the seventh over 7alt. In these cases, the relevant chord tones become the targets rather than the tonic of the original Melodic Minor scale.

Melodic Minor is a minor scale with natural 6th and 7th degrees: 1 2 b3 4 5 6 7. The minor 3rd preserves the minor foundation, the natural 6 provides smooth motion toward the leading tone, and 7 resolves toward the tonic and produces the m(maj7) chord. In the classical tradition, this formula is primarily associated with ascending melodic motion, while natural minor is commonly used when descending. In jazz, it functions as a fixed scale in both directions and serves as the parent collection for important modes used over maj7#5, 7#11, m7b5, and altered dominant chords.