B melodic minor scale

The ascending form follows the pattern: B to C♯ (whole), C♯ to D (half), D to E (whole), E to F♯ (whole), F♯ to G♯ (whole), G♯ to A♯ (whole), and A♯ to B (half). The descending form follows the natural minor scale: B to A (whole), A to G (whole), G to F♯ (half), F♯ to E (whole), E to D (whole), D to C♯ (half), and C♯ to B (whole). This duality creates a sophisticated melodic character that is both mysterious and refined.

B melodic minor is particularly effective in jazz and contemporary classical music, where its unique intervallic structure can create complex harmonic textures. In jazz contexts, the ascending form is often used in both directions, known as the "jazz minor" scale. The scale's raised sixth and seventh degrees in the ascending form provide a smooth melodic line while maintaining the minor quality through the flatted third. This makes it especially useful for creating advanced harmonic progressions and sophisticated melodic phrases. The scale's relationship to both B major and B natural minor provides rich possibilities for modal mixture and harmonic development, particularly in genres that emphasize harmonic complexity and melodic sophistication.