Hopefully you remember that rule 2 states that the Melodic can change Major to the parallel minor and rule 3 modulates to the minor key on degree 2 of the Major scale. Now we are going to learn how to combine the Melodic with the Harmonic minor as neither of these scales live in a vacuum by themselves.
In the first example below, C Major changes to C Melodic via rule 2 and then the A is flattened to create C Harmonic minor, resolving to the key of C minor.
Example 2 uses rule 3, changing to D Melodic before the 6th is flattened once again and resolving to the key of D minor.
Example 3 adds another element, a pedal bass on the Dominant throughout, even though the scales change key above it. It is a great way of creating tension, prolonging cadences and learning how to insert unusual notes into the key you are writing in.
The change from D Melodic to C Harmonic minor uses the implied method of modulating with the changes in brackets here being omitted:
D Melodic - [ C Major - C Melodic ] - C Harmonic minor.
There is also a change back through the circle of fifths from C Harmonic minor to F Harmonic minor, all over G creating the sound of G Phrygian Major to G Locrian natural 6 (mode II of F Harmonic minor).
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