How Many Minor Scales Are There? Learn These 3 Scales!

James Melton
July 23, 2025

GOOD FOR

Are you confused about minor scales and how to use them when improvising? If you are used to guessing and hoping what you play works (fingers crossed), then this article is for you!

I’ll go over the three types of minor scales and their applications in improvisation. We’ll also learn about the minor modes embedded within these minor scales.

By the end of this article, you’ll not only know all three main minor scales and the important minor modes embedded within them, but you’ll be well on your way to using them too!

Also, if you want to improve your improvisation skills and take your scale playing to the next level, check out the Learn Jazz Standards Inner Circle.

The Inner Circle helps you master jazz language and music theory!

Want to improve in 30 days or less? Check out what the Inner Circle offers.

Now, on to minor scales and how to use them…

Table of Contents

How Many Minor Scales Are There?

In music theory, there are three minor scales—

The natural minor scale
The melodic minor scale
The harmonic minor scale

But you’ll soon see that these parent scales contain other minor scales within them. Before getting into minor scale modes, let’s learn what makes a minor scale a minor scale!

**What Makes A Minor Scale Minor?**

To qualify as a minor scale, the third scale degree must be a minor third away from the root note, or tonic note.

A natural minor is spelled like so:

A, B, C, D, E, F, G, A
1, 2, 3, 4, 5, 6, 7, 1

The distance between A and C is a minor third interval. This property makes this scale minor. All the other notes can shift around, and it would still be a minor scale. If that third note were a C#, we would have a major third and, therefore, some kind of major scale. Make sense?

The only difference between major and minor scales is that third note! Minor scales have a minor third interval between the first and third scale degrees. Major scales have a major third interval between the first and third scale degrees.

For more on musical intervals, check out our guide to musical intervals.

We’ve established three types of minor scales (which we’ll explore in greater detail below); however, we can build even more minor scales from these three parent scales.

How, you might ask? Remember, the only factor that determines whether a scale is major or minor is the third scale degree. Therefore, certain modes of the three parent minor scales are also themselves minor scales.

What Are Scale Modes?

A scale is a sequence of pitches that repeat. For example, here is an A natural minor scale spelled out across three octaves:

A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A

However, we don’t have to start on A. If we played the same sequence of notes but started on B, the scale’s character would change, even though the sequence would be the same.

A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A
B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B

This is the concept behind musical modes. Each parent scale contains six other scales derived from each note in the parent scale. Remember that the most important difference between major and minor scales is the third note in the sequence.

Looking at the scale above, B-C-D-E-F-G-A-B, the third note is a minor third away from the root. Therefore, this Locrian scale (one of the modes of the natural minor scale and major scale) is also a minor scale.

Check out this article for more information on scale modes.

Three Minor Scales… And Their Modes

Even though there are three minor scales, each with its own modes, there are technically more than three minor scales you can use to solo. As an improviser, it’s your job to know which minor scale works well over any particular chord.

Some minor scales we’ll review have more than one use or function. However, each minor scale has at least one specific use that we will cover.

Let’s start with the natural minor scale and all the minor modes you can build from it.

1. The Natural Minor Scale (Aeolian Scale) and Relative Major and Minor Keys

The natural minor scale is the parent scale for diatonic minor keys.

It is also one of the seven modes of the major scale and is derived from the major scale’s sixth scale degree. Let’s briefly discuss the relationship between relative major and minor keys and the relationship between the major scale and the minor scale.

If you’ve heard of relative major and relative minor, you’ll know that diatonic major and minor key signatures are related. Here’s how:

We’ll use the relative major key of C and the relative minor key of A- to demonstrate.

C-D-E-F-G-A-B-C
A-B-C-D-E-F-G-A

C Major Scale and Chords

Here are the chords in the relative major key of C:

I. C
ii. D-
iii. E-
IV. F
V. G
vi. A-
vii°. Bdim

Chords in the key of C major notated on the staff in in tabulature

A Natural Minor Scale and Chords

Here are the chords in the Key of A minor:

i. A-
ii°. Bdim
III. C
iv. D-
v. E-
VI. F
VII. G

Minor Scales: A minor natural scale harmonized; minor key

Both A minor and C major are built from the same sequence of notes and share the same key signature.

The only difference is what you count as the root note.

In an A natural minor scale, we count “A” as the root note (and “C” as the third note). In C major, “C” is the root note (and “A” is the sixth note).

When we are in the key of A minor, the C major scale is its third mode. Vice versa, A natural minor (Aeolian scale) is the sixth mode of C major.

Relative Keys vs. Parallel Keys

Because of this relationship, we say the C major and A minor are relative major and minor keys.

The relative major scale shares the same key signature (and the same notes) as its minor counterpart. This is different than parallel keys, which do not share the same key signature. Instead, parallel keys share the same root note, but the sequence and scale formulas are different.

C major’s parallel minor is C minor.
A minor’s parallel major is A major.

To learn more about relative minor keys (and parallel minor and parallel major keys), check out this article on parallel and relative minor.

The Aeolian Minor Scale

Now it’s time to provide some specifics about Aeolian minor. Here’s what you need to know:

Scale formula (in half and whole steps): W-H-W-W-H-W-W
Scale Degrees: Rt., M2, m3, P4, P5, m6, m7
Spelled (in A-): A-B-C-D-E-F-G

Minor Scales: A natural minor scale on piano and guitar; minor key

As we discussed, the Aeolian scale is derived from the sixth degree in major keys. In minor keys, the Aeolian scale is the first scale degree.

For more on the Aeolian mode or natural minor scales, check out our article on the Aeolian scale.

Regarding improvisation, the Aeolian scale works well over minor chords that function as the vi chord (major keys) or the i chord (minor keys).

However, if you tried to play an Aeolian scale over the ii chord in a diatonic ii-V-I progression, something wouldn’t sound right because you’d be playing outside the minor key signature. This is because the Aeolian minor scale is built from the sixth scale degree, not the second scale degree.

To accurately depict the harmony of a ii chord, you’ll need to use a mode of the natural minor scale.

Specifically, you need to use the Dorian scale.

Dorian Mode (Dorian Minor Scale)

In major keys, Dorian is built from the second scale degree of the major scale. In minor key signatures, it is the fourth scale degree.

The Dorian minor scale is very similar to the natural minor scale. It’s nearly the same pattern, with one key difference. Compared to the natural minor scale, all scale degrees are the same except for the sixth scale degree.

Let’s stick with A minor for the comparison.

A natural minor intervals are:

Rt: A
M2: B
m3: C
P4: D
P5: E
m6: F
m7: G

A Dorian scale intervals are:

Rt: A
M2: B
m3: C
P4: D
P5: E
M6: F#
m7: G

Here’s the scale breakdown:

Scale formula (in whole and half steps): W-H-W-W-W-H-W
Scale Degrees: Rt., M2, m3, P4, P5, M6, m7
Spelled from A (Key of G major or E minor): A-B-C-D-E-F#-G

Minor Scales: A Dorian Minor Scale on Guitar and Piano

When should you use the Dorian mode in improvisation? If you improvise on a jazz tune in the key of G or E- and you encounter an A- chord, you’d want to choose the Dorian mode over the natural minor scale because it has an F#, just like the key signatures.

For more information, check out our article on the Dorian scale.

Phrygian Mode (Phrygian Minor Scale)

The Phrygian minor scale is another major scale mode. It is derived from the third scale degree of major keys and the fifth scale degree of relative minor keys. Phrygian scales have one key difference compared to natural minor scales—a flat second scale degree.

Here are the scale degrees for an A Phrygian scale (the difference is in bold):

Rt. A
m2: Bb
m3: C
P4: D
P5: E
m6: F
m7: G

Here’s the scale breakdown:

Scale formula: H-W-W-W-H-W-W
Scale Degrees: Rt., m2, m3, P4, P5, m6, m7
Spelled from A (Key of F major or D minor): A-Bb-C-D-E-F-G

Minor Scales A Phrygian scale on Piano and guitar

When improvising over diatonic chord progressions, the Phrygian scale is typically used for iii chords (in major keys) or v chords (in minor keys). However, the v chord in minor keys is often changed to a V7 chord in many chord progressions to create a stronger pull to the tonic note.

In cases like this, Phrygian minor will still work over an altered V7 chord (b9 and #9), but you’ll also have other improvisational options.

Check out this article for more on the Phrygian mode.

Locrian Mode (Locrian Minor Scale)

Another diatonic minor mode we need to talk about is the Locrian minor scale. In major keys, it is derived from the 7th scale degree. In minor keys, it is built from the second scale degree.

When you compare Locrian to natural minor scales, you’ll notice two differences—a flat second and fifth scale degree!

Here are the scale degrees for A Locrian:

Rt: A
m2: Bb
m3: C
P4: D
TT(b5): Eb
m6: F
m7: G

Here’s the scale breakdown:

Scale formula: H-W-W-H-W-W-W
Scale Degrees: Rt., m2, m3, P4, TT (b5), m6, m7
Spelled from A (Key of Bb major or G minor): A-Bb-C-D-Eb-F-G

Minor Scales: A Phrygian scale on Piano and guitar

So, where should you use the Locrian minor scale? The minor iiø-V-i progression is prevalent in jazz music, and jazz musicians often play Locrian minor over the iiø chord.

Check out this article for more on the Locrian scale and this article for more on minor chord progressions.

Minor Pentatonic Scale

I want to include the minor pentatonic scale in our list of minor scales because pentatonic scales have wider applications due to their greater ambiguity. Pentatonic scales have less information than the standard seven-note scales.

Because there is less information, these minor scales can be used more freely in improvisation.

Think about it—in the scales we’ve discussed so far, the 2nd and 6th scale degrees were the notes most likely to change between different minor scales. Minor pentatonic scales cut out the 2nd and 6th scale degrees.

That means minor pentatonic scales work over diatonic ii chords, iii chords, and vi chords in major keys, as well as diatonic vi chords, v chords, and i chords in minor keys. The only diatonic chords they don’t work over are those with a b5—the viiø chord (major keys) and iiø chord (minor keys).

Here are the scale degrees for the A minor pentatonic scale:

Rt: A
m3: C
P4: D
P5: E
m7: G

A minor pentatonic scale on piano and guitar

Recall the relationship between relative minor and major key signatures. This applies to minor and major scales and, by extension, the minor and major pentatonic scales.

A Minor Pentatonic Scale:

A-C-D-E-G-A

C Major Pentatonic Scale:

C-D-E-G-A-C

BEFORE YOU CONTINUE...

If you struggle to play amazing jazz solos and want to learn the secret strategies the pros are using to improvise, our free guide will get you on the right track.

2. Melodic Minor Scale

The next minor scale we need to discuss is the melodic minor scale.

In classical music, melodic minor scales have two forms: an ascending and a descending form. We’ll explain both forms, but for improvisational purposes, jazz musicians only use the ascending melodic minor scale form (for reasons you’ll soon see).

Ascending and Descending Melodic Minor Scale

The ascending melodic minor scale starts out like a regular Aeolian minor scale. However, the sixth and seventh notes are raised one half step. Instead of a minor sixth and minor seventh interval, you have a major sixth note and a major seventh note.

The last half looks a lot like the major scale. When comparing major scales with melodic minor scales, they are identical except for that third note. Melodic minor scales have a minor third, and major scales have a major third. Everything else is the same.

The descending melodic minor scale has all the same notes as the descending natural minor scale—minor sixth and minor seventh intervals. This is why we don’t really “use it.” We’d opt to play a natural minor scale if the harmony required it.

Ascending and Desceding Melodic Minor Forms

Taken together, the ascending and descending forms brighten melodies on the way up and darken them on the way down. But, with jazz improvisation, it’s easier to think of them as two separate scales. From now on, when we refer to melodic minor, we’ll refer to the ascending form.

Here are the scale degrees:

Rt.
M2
m3
P4
P5
M6
M7

Here’s the scale breakdown:

Scale formula: W-H-W-W-W-W-H
Scale Degrees: Rt., M2, m3, P4, P5, M6, M7
Spelled from A: A-B-C-D-E-F#–G#

Melodic minor scale on piano and guitar

When we harmonize the melodic minor scale in thirds, we get a harmonic minor chord scale, which has some beautiful non-diatonic (not found in the major scale) chords:

A-(maj7)
Cmaj7#5

A melodic minor harmonized in thirds on the staff and on gutiar

In jazz improvisation, the melodic minor scale has useful modes for various altered chords. However, some are more useful than others. The most useful are bolded below!

1. Melodic Minor Scale: Works over Minor(maj7) chords
2. Dorian Flat 2: can work over the iii chord if resolving to a II chord.
3. Lydian Augmented: works well over maj7#5 chords
4. Lydian Dominant: works well over dominant #11 (b5) chords
5. Mixolydian Flat 6: works well over dominant b13 chords
6. Locrian Natural 2: works over iiø chords in a minor iiø-V-i
7. Super Locrian or Altered Scale: really useful over alt7 chords!

Want to learn the melodic minor scale modes and use them to improve your jazz solos?

Check out our article on the melodic minor scale for more information.

3. Harmonic Minor Scale

The harmonic minor scale is the last entry in our list of minor scales. This is another unique minor scale with its own modes and chords. Its unique characteristic is the minor third interval between its sixth and seventh scale degrees.

The harmonic minor scale has a minor sixth and a major seventh. In other words, the harmonic minor scale raises the 7th scale degree while keeping a minor sixth. This puts a minor third interval in its scale step formula:

W-H-W-W-H-m3-H

Its scale degrees are:

Rt.
M2
m3
P4
P5
m6
M7

Spelled from A, the harmonic minor scale would be:

A-B-C-D-E-F–G#-A

A Harmonic Minor scale on guitar and piano

When compared to melodic minor scales, harmonic minor scales have one additional non-diatonic chord:

A-(maj7)
Cmaj7#5
G#dim7

A Harmonic minor chord scale harmonized and shown on the staff and guitar.

Here are the modes of the harmonic minor scale:

1. Aeolian Natural 7: works over minor(maj7) chords.
2. Locrian ♮6: can work over the iiø chord in a minor iiø-V-I
3. Ionian #5: works well over maj7#5 chords
4. Altered Dorian: this scale works over the iv chord in harmonic chord progressions.
5. Phrygian Dominant: works well over dominant b9 chords
6. Lydian #2: this scale works over the VI chord in harmonic minor chord progressions
7. Super-Locrian bb7: works well over dim7 chords.

Want to learn the modes of harmonic minor?

Check out our article on the Harmonic Minor Scale for more!

How To Use These Different Minor Scales and Their Modes

Guitar performing live

image source: Wikimedia Commons

How do you know when to use the natural minor scale over the harmonic or melodic minor scale? How do you know which mode is most appropriate for each passing chord?

What notes you should play depends on several factors!

What is the harmony of the moment?
What kind of instruments are you playing with?
If there is a chord player, what variations, alterations, or extensions of harmony is he or she implying?

These questions will help you narrow down which minor scale you should choose. Let’s go through each point in greater detail.

What is The Harmony of the Moment?

The easiest and most foolproof way to choose the correct minor scale depends entirely on the harmony of the moment. What do I mean by harmony of the moment? I mean literally what chord is happening at any given point in a chord progression.

Jazz tunes often remain in one tonal center for a certain length of time. They may change tonal centers quickly, like the tune “Giant Steps,” or they may sit in one tonal center for a long time. Knowing what kind of tune you are dealing with helps you determine your strategy.

If the entire chord progression sits within one key, you don’t need to think in terms of “what scale do I need chord to chord?” As long as you pull from modes within the parent key, you’ll be set. The changes will tell you what scale you should use.

Here is a scale map for the key of C major. Each mode is listed over its associated chord. Minor scales are boxed off in purple.

Scale Map for the chords in C major

If your progression is in the key of C, you could use this scale map to decide which scales are appropriate. Look at the scale map for the following chord progression (I-vi-ii-V-iii-vi-ii-V). All the chords come from the key of C major. Minor scales are boxed off in purple.

Scale map for chord progression (I-vi-ii-V-iii-vi-ii-V)

All these modes, however, are essentially the same scale. When improvising, you could just as easily think about creating melodies in the key of C without worrying about which mode fits over which chord. That kind of thinking can impede the creative process.

The previous example featured a single tonal center spanning eight bars. What about when the tonal center changes rapidly? In the following examples, we’ll move through four tonal centers in 8 bars.

Scale Map Over Shifting Tonal Centers

Blue: C Major
Red: Eb Major
Green: G Major
Brown: Bb Major

When moving through changes this fast, it’s easier to think in terms of tonal centers rather than individual scales.

For example, when in the key of G, I think “A Dorian” despite also moving through a D7 chord. Why? Because A Dorian and D Mixolydian are essentially the same scale. They share the same parent scale—G major (Ionian).

I chose the Dorian scale because the associated chord was functioning as a ii chord. The Dorian mode is built from the second scale degree, which is where the ii chord comes from.

However, playing scales through the changes is not the same as improvising! Scale maps are good exercises that can help prepare you for improvisation, but they certainly won’t sound like the record!

You’ll need more than scales to improvise effectively. Think of scales like oil paints—they are a means to an end. Merely having paint doesn’t make you a good painter. Likewise, simply knowing scales won’t make you a great player, although you need to know them to play effectively.

You’ll also need to be familiar with the elements of jazz language.

Check out this article if you want to learn the basics of jazz language, and this article for more on essential jazz scales.

What Kind of Instruments Are You Playing With?

Also consider the instrumentation! If you are a guitar player and you are playing with bass and drums, you have more options than if you were also playing with a piano player who was setting up the harmony for you.

If you are playing solo, then you have the ultimate freedom of expression. For example, you can intentionally choose to pull from harmonic minor even if the tune is usually rooted in a natural minor pitch environment.

What Variations, Alterations, or Extensions of Harmony is the Chord Player Implying?

Listening is another significant factor in determining which scales to use. If you’ve spent time developing your ear, then your ear will tell you precisely what you need to do. Being able to identify different types of chords is an essential skill for jazz musicians.

If you haven’t considered ear training before, this video will help you get started!

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If at any point you wish to be completely deleted from our databases, whether it be as a newsletter subscriber or an account holder on learnjazzstandards.com, you have the complete right to do so.

Contact us, and we will ensure your data is cleared from our system.

Data Control Contact

If you ever wish to reach out to us regarding the use of your data, we are reachable at [email protected]. Additionally, you can use our contact page, to reach out any time.

In short, your information is safe with us, and we greatly value your trust.

Thanks for using Learn Jazz Standards!

Terms of Use

Welcome to LearnJazzStandards.com!

We’ve created this page so that you (and any visitor to LearnJazzStandards.com) will understand the terms and conditions that govern your use of this website.

If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy comprise our (LearnJazzStandards.com’s) entire relationship with you.

Exclusion of Liability

The content found on any page of this website is for your general information and use only, and it is subject to change without notice.

Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose.

You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law.

Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.

Indemnity

By accessing our website, you agree to indemnify and hold us harmless from all claims, actions, damages, costs and expenses including legal fees arising from or in connection with your use of our website.

Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions.

All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com.

In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense.

Thanks, and enjoy LearnJazzStandards.com!

Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

14 Day 100% Money Back Guarantee

This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

Learn Jazz Standards Messaging Terms & Conditions

Effective Date: October 02, 2020

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]