The melodic scale can be represented by these notes: c, d, e, f,
g, a, b. The melodic scale is proper, and, like the diatonic
scale, it is smooth with only two sizes of second (major and
minor second). This makes the scale particularly suitable for
melodic purposes, including improvisation. The two tonal scales
which can be derived from it are, however, amongst the least
effective and convincing at providing a tonic of all the tonal
scales. Two of the other modes of this scale are very familiar
in jazz circles as melodic modes used as the basis for
improvisation (or indeed composition) over dominant seventh type
chords. These two modes are usually called the lydian dominant
scale and altered scale. These two jazz modes and the two tonal
harmonic scales are listed below. They are all taken from the
same melodic scale (c, d, e, f, g, a, b) and the name of each
scale is listed next to its home note. It should be stressed
here that neither the lydian dominant scale nor the altered
scale has a tonic triad on its h