Melodic Minor Part 3: Triad over bass realisations

Continuing analysis from the previous post, we'll start off with triads off the 5th of the chord.

Gmin/C - Cmin7(9) no 3rd
Adim/D - D7(b9) no 3rd, Dmin7(b9) modal voicing
Bdim/Eb - EbMaj7(#5)9 no 3rd
Cmin/F - F7(9) no 3rd
Dmin/G - G7(9) no 3rd
Ebaug/A - A-7(b5) no 3rd
F/B - Altered-dominant type hybrid voicing, B7(b5,b9) no 3rd

Looking at this list, basically there are 5 kinds of resultant hybrid chords (hybrid chords are triad over bass without 3rds)

1. Minor Triad on 5th/Root - occurs on 1st,4th and 5th degrees of the scale
2. Major Triad on b5/Root - occurs on 7th degree
3. Dim Triad on #5/Root - occurs on b3rd degree
4. Dim Triad on 5/Root - occurs on 2nd degree
4. Aug Triad on b5/Root - occurs on 6th degree

Also worth noting is that the first type in the list has two realisations in the chord scale which is as a min7(9) chord with no 3rd or as a dom7(9) chord with no 3rd.

Another thing worth highlighting is how Adim/D which occurs on the D Dorian(b2) mode is a possible dominant b9 voicing, though it may be alternately be used in the diatonic modal context of the scale as a modal dorian(b2) chord.

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Some possible exercises to explore these chords may be to:

1. play them diatonically in all keys (or in many keys)
2. Create chord progessions using them, or plug them into tunes
3. Use them as chords for comping in tunes one already knows.

In the next post, I will explore the triads over the 7th/b7th degrees of the melodic minor scale.

Till then, play on!