7th Chords for All Modes of Melodic Minor As Roman Numerals

How to Read The Chart?

Each chord presented in the table is one of the following 5 types of 7th chords:

• Dominant seventh
  formula: 1-3-5-b7 (R-M3-P5-m7)
• Minor major seventh
  formula: 1-b3-5-7 (R-m3-P5-M7)
• Minor seventh
  formula: 1-b3-5-b7 (R-m3-P5-m7)
• Half-diminished seventh (a.k.a. Minor seventh flat five)
  formula: 1-b3-b5-b7 (R-m3-d5-m7)
• Augmented major seventh
  formula: 1-3-#5-7 (R-M3-A5-M7)

The meaning of roman numerals and special symbols:

• An uppercase (large) roman number, e.g. IV, means that the triad component (the first 3 notes) of the chord is major. It is also in bold text for even more emphasis that it is major. A lowercase (small) roman number, e.g. vi, means that the triad component of the chord is minor and it does not use bold font formatting to make it easier distinguish it from the major
• maj7 in the superscript, e.g. I^maj7, means that a 4th note in the chord is a major 7th interval from the root. On the other hand 7 in the superscript without "maj" means that the 4th note in the chord is a minor 7th from the root
• Parenthesis such as (b5 or #5) indicates that the chord must be altered. In case of b5 the 5th degree of the chord (3rd note) must be flattened (lowered by 1 semitone). In case of #5 the 5th degree of the chord must be raised by 1 semitone
• A color-coded orange symbol b or # which precedes the roman numeral (e.g. bII) has no relation and meaning to the chord itself (you can completely ignore it if you wish or if you already know the root note for each chord) but it conveniently shows you as a bonus on which degree relative to the Major scale this chord must be constructed. So prefix-symbol tells you what note the chord should start at. E.g. bIII means that 3rd degree of the Major scale must be flattened and that flattened note is the first note for the chord which you use as a base to build all the rest chord intervals
• Alternative usage of these color-coded orange prefixes is to quickly extract the scale formula. To do this, focus on just the prefix and roman number, omitting all the rest, including the case of roman number. E.g., for Lydian Dominant we see I, II, iii, #iv, v, vi, bVII, so its degree formula relative to the Major scale is 1, 2, 3,#4, 5, 6, b7

How You Can Use This Chart

It has been designed with the following cases in mind but you are encouraged to find other uses as well and share them with the community

• It allows you to quickly look up a required diatonic chord on any degree of any mode of Melodic Minor scale.
• It’s a 2 in 1 poster meaning that it implicitly shows you the formula for all modes of the Melodic Minor scale which you can make use of when improvising a melody (instead of chords). Formulas are unobtrusively integrated into the table as prefixes to the roman numerals so you don’t have to look up another reference material to find the formula for a scale.
• It is a common table which is to be treated as a recipe for building both chords and scales. Knowing the formula you can play any scale and chord on any starting note. In other words, 1 table for all 12 roots (C, C#/Db, D, D#/Eb, etc.).
• It is useful when you explore modes and want to create a modal chord sequence to play a melody on top of.
• You can try these chords as an extension to the concept of Modal Interchange, i.e. increase the palette of possible chords to borrow from on top of the ones offered by modes of the Major scale. As long as the voice leading between a chord from this palette and your tonality of choice is smooth and you don't change the key center (i.e. don't modulate and don't tonicize), it may work.
• You get to know and understand the scale(s) better. For example, looking at the diagram you notice what kinds of 7th chords occur naturally in the scale and which don’t. If you are looking for a scale to contain Augmented Major seventh chord then you will see that a Major scale is not a good fit as it does not contain it, but a Melodic minor scale, on the other hand, does offer it.