Melodic Minor Part 2: On Triads From The Melodic Minor Scale

I was thinking about what triad over bass combinations one could get in a mode and how Mick Goodrick came about them in his Almanac books. This was my thought process:

Take the first triad from C Melodic Minor:

C Minor

C Eb G

Over the different bass notes from the scale:

C Minor/C - C Minor triad in root position
C Minor/D - D7sus4(b9)no fifth or D dorian(b9) modal voicing or min triad from b7 of chord/root (7susb9, Mixo(b9), Phrygian Voicing)
C Minor/Eb - C Minor triad, first inversion
C Minor/F - F7(9) no 3rd, min triad from 5 of chord/root (Dorian/Mixo voicing)
C Minor/G - C Minor triad, second inversion
C Minor/A - Amin7(b5) chord (a 7th chord quality)
C Minor/B - Baug(b9), Altered voicing, Cmin/maj7 in 3rd inversion (7th chord quality)

Looking at the list, we can see that there are three standard triads (and inversions)

C Minor/C - C Minor triad in root position
C Minor/Eb - C Minor triad, first inversion
C Minor/G - C Minor triad, second inversion

Two 7th Chord qualities:

C Minor/A - Amin7(b5) chord (a 7th chord quality)
C Minor/B - Baug(b9), Altered voicing, Cmin/maj7 in 3rd inversion (7th chord quality)

And two hybrid chords (i.e triad over bass with no 3rd in voicing)

C Minor/D - D7sus4(b9)no fifth or D dorian(b9) modal voicing or min triad from b7 of chord/root (7susb9, Mixo(b9), Phrygian Voicing)
C Minor/F - F7(9) no 3rd, min triad from 5 of chord/root (Dorian/Mixo voicing)

This leads me to the assumption that the definite usable triad over bass combinations are triad from 5 of chord/root and triad over 7 or b7 of chord/root.

In the next post, I will examine the results of this in relation to each root from the Melodic Minor mode.