Did you hear that? That is communication at its most basic.

Now, we can ignore the second mode of the Minor+Major 7 scale because it is not in common usage. As you can see from the graph, it is a perfectly good scale but there is no chord symbol in common usage that calls for it. While we are at it.

Let us look at the fifth mode of a Minor+Major 7 scale. Same story here, there is no commonly used chord symbol that calls for this scale either.

The second and fifth modes for the Minor+Major 7 scale are known as the “Lonely Modes”. They have no home, nobody uses them.

Actually, I just made up that lonely mode thing but it sounds pretty good, don’t you think?

Now, let us turn our attention to the third mode of the Minor+Major 7 scale. This is the Major 7# 5 scale. This scale sound became popular in the 1970’s. Although, it went shorter and some others used that during the mid 60’s.

Today, Bill McHenry calls it kind about girlfriend or boyfriend chord, I think so too. By that, I mean whenever somebody writes a tune for their girlfriend or boyfriend. They include at least one Major 7# 5 because it is just so pretty.

[Demonstration]

You here that? If that does not sound like your lovely girlfriend or sensitive boyfriend, you were born without a soul.

Here is a solo where chord progressions containing C Major #5 and Eb Major #5 chord.

[Demonstration]

Now, let us take a look at the fourth mode of a Minor+Major 7 scale. This is called a dominant 7# 4 scale. This is also called Lydian dominant scale by some people. Do not get me started on that, okay?

Now, sharpen the chords is a good option when they are doing or playing at the dominant 7 chord.

Now, here is a solo with a blues progression that we heard earlier, only this time, the solo is going to play a dominant 7# 4 scale over every chord.

[Demonstration]