Example2 Fast be bop phrasing
Remler’s second application for the ‘jazz’ melodic minor (R-2- 4-5-6-7) is to superimpose this scale a semitone higher than a functioning or
Bb7#5). resolving dominant 7th, such as in bar 2 (B melodic minor over When we consider these notes from the root of the intended 7th chord we get the following intervals: Root, #9th, 3rd, #5th,7th. This is commonly labelled as the Altered scale or the Superlocrian mode and
Bb you’ll hear it a lot in Emily’s playing (eg B melodic minor = Altered scale). The remaining content follows the chords with a selection of appropriate arpeggios and chord tones, so you can compare the note selection with the associated chord symbols to appreciate the explicit connections.