Fretboard Topologies - guitar scales and layouts

fretboard topologies 1,117 scales and modes for guitar players

by Nicholas Puryear

Version 1.04 rev120403

Copyright 2010 Nicholas Puryear

All rights reserved.

www.fretboardtopologies.com

This book was composed with Microsoft Word and OpenOffice Writer (free download at OpenOffice.org). Fretboard diagrams were created with the Table function in Word, and scale-note and chord-note dots were created and positioned with the drawing tool and cut-and-paste function in Writer. Permutations of intervallic structures were calculated at http://juliusdavies.ca/andre/permutations.html.

Copyright 2010 Nicholas Puryear. All rights reserved.

fretboard topologies 1,117 scales and modes for guitar players

Every five-note, six-note, and seven-note scale containing an interval no larger than a major third

266 harmonized 7-note scales with chords

Selected 8-note scales

by Nicholas Puryear

Version 1.04 rev120403 Copyright 2010 Nicholas Puryear

foreword

years ago as

my personal guitar and music notebook. Over time, it grew and evolved to its present

Fretboard Topologies boo

to compose, improvise, and explore the instrument. It provides a full accounting of 5-, 6-,

and 7-note scales containing intervals no larger than a major third and selected 8-note

scales, chiefly to account for the Bebop scales and the Diminished Scale.

PDF is the ideal format for this book. You can print out some or all of it, slap it in a 3-ring

binder, mark it up at will, and print clean replacement pages as needed.

guitar-playing friends you think might be interested.

Fretboard Topologies get it. Just click the Download tab at www.fretboardtopologies.com.

Donate tab at the website if you want to help support the effort. The

suggested contribution is $5, but all donations are gratefully accepted.

Lastly, I proofed this book carefully, but like doctors who treat themselves as patients,

authors make lousy proofreaders of their own work. I would be very grateful if you

report misprints, typos, or other errors to [email protected] so I can

correct them in subsequent versions.

contents

Introduction 1

Part 1 (generally useful scales)

Topology 5.1 (2,2,2,3,3) 6

Topology 7.1 (1,1,2,2,2,2,2) 9

Topology 7.2 (1,1,1,2,2,2,3) 17

Topology 7.3 (1,1,1,1,2,3,3) 59

Part 2 (somewhat less useful and in some cases downright useless scales)

Topology 5.2 (1,2,2,3,4) 91

Topology 5.3 (1,1,2,4,4) 104

Topology 5.4 (1,1,3,3,4) 111

Topology 6.1 (1,2,2,2,2,3) 118

Topology 6.2 (1,1,2,2,3,3) 124

Topology 6.3 (1,1,2,2,2,4) 141

Topology 6.4 (1,1,1,2,3,4) 152

Topology 6.5 (1,1,1,3,3,3) 173

Topology 6.6 (1,1,1,1,4,4) 178

Topology 6.7 (2,2,2,2,2,2) 182

Topology 7.4 (1,1,1,1,2,2,4) 184

Topology 7.5 (1,1,1,1,1,3,4) 200

Topology 8.1 (1,1,1,1,2,2,2,2) 207

Topology 8.2 (1,1,1,1,1,2,2,3) 218

Harmonized scale tones 240

Index of scales 279

Blank scale and chord forms 292

Appendix A: I-IV-V cycles of the Pentatonic Minor and its modes 295

Appendix B: One-note alterations of the Major Scale and its modes 298

introduction

This book is based on the concept of musical intervalthe sonic space between any two notes.

The fundamental interval in Western music is the half tone (or semitone), e.g., from C to Db.

Two half tones make up a whole tone, e.g., from C to Dd to D.

Three half tones make up a minor third, e.g., from C to Db to D to Eb.

Four half tones make up a major third, e.g., from C to Db to D to Eb to E natural.

Half tone, whole tone, minor third, and major third are the building blocks of the scales in this book.

Musical intervals can be represented by numbers:

1 = a half tone (the most basic unit; the smallest single step in the 12-tone chromatic scale)

2 = a whole tone (made up of 2 half tones)

3 = a minor third (made up of 3 half tones)

4 = a major third (made up of 4 half tones)

A scale can be shown as a series of numbers representing the sequence of intervals it comprises. No matter how many or how few notes are in a scale, the numbers representing the intervals in that scale must add up to 12.

For example, the C major scale, C D E F G A B C, contains only half tones (which can be represented by 1s) and whole tones (which can be represented by 2s) in this sequence: whole tone, whole tone, half tone, whole tone, whole tone, whole tone, half tone.

The intervallic structure is 2212221, and 2 + 2 + 1 + 2 + 2 + 2 + 1 = 12.

Every major scale, regardless of key, has the same intervallic structure, 2212221.

If you know the intervallic structure of a scale, any scale, you can create it in any key.

Mode or scale? A mode is a scale. When a scale is called a mode, its in reference to its parent scale. Using the C major scale as an example of a parent scale:

Starting and ending on the 1st note, C D E F G A B C, yields the C ionian mode: 2212221.

Starting and ending on the 2nd note, D E F G A B C D, yields the D dorian mode: 2122212.

Starting and ending on the 3rd note, E F G A B C D E, yields the E phrygian mode: 1222122.

Starting and ending on the 4th note, F G A B C D E F, yields the F lydian mode: 2221221.

Starting and ending on the 5th note, G A B C D E F G, yields the G mixolydian mode: 2212212.

Starting and ending on the 6th note, A B C D E F G A, yields the A aeolian mode: 2122122.

Starting and ending on the 7th note, B C D E F G A B, yields the B locrian mode: 1221222

If our example had been, say, the F major scale (F G A Bb C D E F), the modes generated would be G dorian, A phrygian, Bb lydian, C mixolydian, D aeolian, E locrian, and returning to F major (or F ionian).

In conventional Western music, the roles and relationships of the Major Scale and its modes are pretty much fixed, but outside that framework, any scale might be considered a parent scale generating a family of modes.

1

Why topologies?

Topology is a branch of mathematics concerned with, among other things, the deformation of objects in space. It has been said of topologists that they make no distinction between a coffee cup and a doughnutboth are 3-dimensional objects with one hole in them. In this book, I use topology as a metaphor and an organizing principle.

How so?

Well, what do the intervallic structures of the Major Scale and all its modes have in common? Regardless of the order of arrangement, each has the same topology. Each comprises two half tones and five whole tones. In our numeric nomenclature, thats two 1s and five 2s. As shown on the right, calculating all possible permutations of 1,1,2,2,2,2,2 yields 21 unique sequenceswhich can be seen as representing 21 seven-note scales containing no major or minor third, belonging to three families:

Seven unique sequences representing the Major Scale (2212221) and its six modes

Seven unique sequences representing the Melodic Minor Scale (2122221) and its six modes

Seven unique sequences representing the Neapolitan Major Scale (1222221) and its six modes

Note: Throughout this book, a numeric sequence separated by commas, e.g., 1,1,2,2,2,2,2, represents a topology, which generates permutations; the same numeric sequence without commas, i.e., 1122222, represents an individual scale, which generates a family of modes.

Whats in this book?

Seven-note (heptatonic) scales

Every permutation of combinations of seven intervals up to a major third the sum of which equals 12:

Topology 7.1 1,1,2,2,2,2,2 (7-note scales with no thirds)

Topology 7.2 1,1,1,2,2,2,3 (7-note scales with 1 minor third)

Topology 7.3 1,1,1,1,2,3,3 (7-note scales with 2 minor thirds)

Topology 7.4 1,1,1,1,2,2,4 (7-note scales with 1 major third)

Topology 7.5 1,1,1,1,1,3,4 (7-note scales with a minor and major third)

Topologies 7.17.3 comprise 266 unique scales and modes derived from 38 parent scales. These 266 scales are, for the most part, interesting and usefulnot only as scales, but also for the chords that can be generated by harmonizing each scale tone.

Topology 7.4 produced, in my opinion, only a few useful or interesting scales. Topology 7.5 comprises five half tones, a major third, and a minor third. Five consecutive half tones is half a chromatic scale. IMHO, a lot of the scales in topology 7.5 arent very useful or musically interesting, but Ive included them for the sake of providing a complete accounting. Plus I figure you can best judge for yourself whats useful or interesting to you.

2

Selected chords derived from 7-note scales

The first 38 parent scales in this book (topologies 7.17.3) are accompanied by a page of selected chords associated with each scale tone.

For simplicity and economy of space, all chord samples are named off the 6th string and tightly voiced. The chord forms do not identify fret by Roman numeral; I assume you know 8th fret 6th string is C; 10th fret 6th string is D; etc.

The selected chords are just a starting point. I leave the many possible inversions and transpositions to you. Theres a blank chord form in the back of the book that you can print out for that purpose.

As is the case throughout the book, all scale harmonizations are based on a tonic or root note of C.

Wherever the same chord form (e.g., m7+5) is associated with more than one note in the scale, Ive diagrammed the first instance and then noted the others in parentheses.

The other 7-note scales do not have a page of chord forms, nor do the 5-note, 6-note, and 8-note scales.

Six-note (hexatonic) scales

Every permutation of combinations of six intervals up to a major third the sum of which equals 12:

Topology 6.1 1,2,2,2,2,3 (6-note scales with 1 minor third)

Topology 6.2. 1,1,2,2,3,3 (6-note scales with 2 minor thirds)

Topology 6.3 1,1,2,2,2,4 (6-note scales with 1 major third)

Topology 6.4 1,1,1,2,3,4 (6-note scales with 1 minor and 1 major third)

Topology 6.5 1,1,1,3,3,3 (6-note scales with 3 minor thirds)

Topology 6.6 1,1,1,1,4,4 (6-note scales with 2 major thirds)

Topology 6.7 2,2,2,2,2,2 (the Whole Tone Scale)

Of the 6-note scales, only topologies 6.16.4 include a few useful or interesting scales. Quite a few of them are just ordinary pentatonic scales with an extra note or conventional 7-note scales with one note omitted.

Topology 6.5 includes the Augmented Scale (313131) and its one mode (131313). Topology 6.6 is included only to provide a complete accounting of possible 6-note scales. Topology 6.7 is the Whole Tone Scale.

Five-note (pentatonic) scales

Every permutation of combinations of five intervals up to a major third the sum of which equals 12, except 2,2,2,2,4 (Whole Tone Scale with one note missing):

Topology 5.1 2,2,2,3,3 (5-note scales with 2 minor thirds)

Topology 5.2 1,2,2,3,4 (5-note scales with 1 minor and 1 major third)

Topology 5.3 1,1,2,4,4 (5-note scales with 2 major thirds)

Topology 5.4 1,1,3,3,4 (5-note scales with 1 major and 2 minor thirds)

Topology 5.1 comprises two families of pentatonic scales (10 scales total). The first includes the pentatonic minor and its modesscales known to just about every rock and blues player on the planet. The second family includes the pentatonic lydian and its modes, which can add interest to solos when mixed with the pentatonic minor and its modes.

3

Topologies 5.2 and 5.3 include pentatonic scales that are redacted modes (e.g., the Phrygian mode with no 3rd and 6th scale tones; the Lydian mode with no 2nd and 5th scale tones). Topology 5.4 is included only to provide a full accounting of the possible 5-note scales.

Eight-note (octatonic) scales

Of the possible 8-note topologies, Ive included only two:

Topology 8.1 1,1,1,1,2,2,2,2 (8-note scales with no major or minor third)

Topology 8.2 1,1,1,1,1,2,2,3 (8-note scales with a minor third)

Topology 8.1 yields the Diminished scale (21212121) and the Bebop scales, which are conventional 7-note scales with an added note. At best, topology 8.2 yields some chromatically embellished pentatonics. Other possible 8-note topologies (e.g., 1,1,1,1,1,1,2,4 and 1,1,1,1,1,1,3,3) yield excessively chromatic scales and are not included.

Page layouts

Parent scales

Numbered parent scales are plotted the length of 24 frets in the key of C. I mapped out the parent scales and all their modes in Part 1, but in Part 2, I generally mapped out just the parent scale or the parent scale and a few modes. In many cases, choosing which scale in a family to use as the parent scale was arbitrary.

Modes on the parent-scale pages are plotted in the articulations easiest for me to play. I have relatively small hands, and I favor horizontal scale patterns across two octaves with 3-fret stretches. Scale diagrams throughout the book reflect that limitation. Feel free to come up with your own best articulations. The scale diagrams give no indication which finger should play which note. You should be able to work out your own best solutions.

Numbering of scales is according to the index of scales at the back of the book, which I used as a guide in its compilation.

A blank scales page is included at the end of the book.

Note on scale names: Many scales are known by more than one name. When I could find names for some of the more unusual scales, I used them. However, I made no effort to determine, for example, whether Hungarian Major is more standard nomenclature than Lydian dominant #2, Mixolydian #9 #11, Lydian #2 b7, or Mixolydian #2#4, though all refer to the same sequence of intervals (3121212). Nor did I research non-English scales names (Japanese, Indian, Balinese, etc).

Chords

The first thirty-eight 7-note parent scales (Part 1) include a selection of chords for each scale tone.

All of the selected chords are named off the 6th string and usually voiced as tightly as possible. These chords are

just a starting point, i.e., there are a lot of ways to make a C7 chord. I acknowledge that some of the chord names may be nonstandard, but thats the way I notate, understand, and use them. Wherever the same chord form (e.g., m7) is associated with more than one note in the scale, Ive shown the first instance and then noted the others in parentheses. Layouts of the 5-note, 6-note, and 8-note scales do not include chord forms; neither do the 7-note scales containing major thirds.

A blank chords page is included at the end of the book.

I hope you find this book useful. If you have any questions, comments, or suggestions, please feel free to email me at [email protected] or [email protected].

4

Part 1: Generally useful scales

Parent scales and all their modes are mapped in this section.

Seven-note scales include a selection of chords.

5

Topology 5.1 (2,2,2,3,3) 5-note scales with three whole tones and two minor thirds

6

1. Pentatonic Minor: 32232* I used the pentatonic minor as the parent scale of this family because I

think its the pattern most familiar to most guitar players.

2. Pentatonic Major 5. Ritusen

III

V

VII

VIII

X

3. Yo

XII

XV

XVII

XX 4. Man Gong

XXII

XXIV

* Intervallic structure, ie, the number of half-steps (semitones) between notes. Roman numerals = fret numbers.

7

6. Pentatonic Lydian: 22233* with a flatted 5th) Im sure there are many ways to use the pentatonic lydian (a name I

made up), but for a start, try it as a substitute for the 2nd degree of the pentatonic minor. For example, in a blues in A,where you might ordinarily use the A pentatonic minor, try interspersing C pentatonic lydian.

7. 22332 10. 32223

III

V

VII

VIII

X

8. 23322

XII

XV

XVII

XX 9. 33222

XXII

XXIV

* Intervallic structure, ie, the number of half-steps (semitones) between notes. Roman numerals = fret numbers.

8

Topology 7.1 (1,1,2,2,2,2,2) 7-note scales with two half tones and five whole tones

9

11. The Major Scale (Ionian Mode): 2212221*

12. Dorian 15. Mixolydian

III

V

VII

VIII

X 13. Phrygian 16. Aeolian

XII

XIII

XV

XVII

14. Lydian 17. Locrian

XX

XXII

XXIV

* Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Incorporates Pentatonic Minor 32232 Incorportes Pentatonic Lydian 22233

10

Selected C Major Scale chords (2212221)* C6 (F) C7 (F) C9 (F) C6/9 (F) D119 (G,A)

Dm6 Dm7 (E, A) Dm911 (A) Dm11 (E, A, B) Dm6/9

Em7+5 (A, B) Emb9 F+11 F+11b5 F7b5

G9 G11 G13 Bm7b5 Bm7b5b13

Bm7 (D, E, A)

*Chords named off the 6th string. Letters in parentheses = same chord form at that root. Single gray notes are optional. Play either note of a gray pair but probably not both.

11

18. Melodic Minor (Jazz Minor): 2122221*

19. Dorian b2 22. Mixolydian b6

III

V

VII

VIII

X

20. Lydian #5 23. Semilocrian

XII

XV

XVII

XX 21. Lydian b7 24. Superlocrian

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Incorporates pentatonic minor 32232 Incorportes lydian pentatonic 22233

12

Selected C Melodic Minor chords*** Cm6 (D) Cm6/9 C7+9 Dm7 Dmb9

Eb6/9 (F) Eb7b5 Eb7+5 F+11b5 (Eb) F+11

F9 (G) F13 F6/9 G11 G7+5

G119 (A) Am911 Am7b5 Am7b5b13 B7b9

B+9


13

25. Neapolitan Major: 1222221*

26. Leading Whole Tone 29. Major Locrian

III

V

VII

VIII

X

27. Lydian #5 b7 30. Semilocrian b4

XII

XV

XVII

XX 28. Lydian b6 b7 31. Superlocrian bb3

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Incorporates lydian pentatonic 22233

14

Selected C Neapolitan Major chords* Cm7 Cm6 Cmb9 Db9 (all but C) Db7b5

Db7+5 Db7b5 (all but C) Db7+5 (all but C) Eb6/9 F9

Am7b5 Am7b5b13 Am7+5 Am9 A+9

B7b9


15

[page intentionally blank]

16

Topology 7.2 (1,1,1,2,2,2,3) 7-note scales with three half tones, three whole tones, and one minor third

17

32. Neapolitan Minor: 1222131*

33. Lydian #6 36. Locrian #3

III

V

VII

VIII

X

34. Mixolydian #5 37. Ionian #2

XII

XV

XVII

XX 35. Hungarian Gypsy 38. Ultralocrian bb3

XXII

XXIV


18

Selected C Neapolitan Minor chords*

C7+9 Db7 (Ab) Db9 Db7b5 Eb9

Eb11 (G) Eb119 Eb13 Eb7+5 (G) Eb6/9 (B)

Fm7b5 Fm7b5b13 Fm7+5 G7b5 G7b9

Abm6 Ab7+9 B+11b5


19

39. Harmonic Major: 2212131*


III

V

VII

VIII

X

41. Phrygian b4 44. Lydian #2 #5

XII

XV

XVII

XX 42. Lydian b3 45. Locrian b7

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Incorporates pentatonic minor 32232

20

Selected C Harmonic Major chords* C C7 C7+5 C9 Dm6 (B)

Dm6/9 Dm7b5 D+11b5 D119 Dm11

Dm911 Em7 Em7+5 E+9 Fmb57 (Ab)

F7+9 Fm6 G7b9 G11 G13

Ab7b5 Ab7+9 Bm6+5 Dm7 (E)


21

46. Harmonic Minor: 2122131*

47. Locrian #6 50. Phrygian #3

III

V

VII

VIII

X

48. Ionian #5 51. Lydian #2

XII

XV

XVII

XX 49. Romanian 52. Ultralocrian

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers.

22

Selected C Harmonic Minor chords*

C7+9 Dm7 (F) Dm7b5 (F) Dm11 Dm6 (B)

D (F, Ab, B) Eb7 Eb6/9 F+11b5 F+11

Fm6 (Ab) Fm6/9 Fm7 G11 G7+5

Ab7 Ab7b5 Ab7+9 Ab6+9 (B) Bm6+5

Eb9


23

53. Hungarian Major: 3121212*

54. Superlocrian bb6bb7 57. Melodic minor #5

III

V

VII

VIII

X

55. Harmonic minor b5 58. Dorian b2#4

XII

XV

XVII

XX 56. Superlocrian #6 59. Lydian augmented #3

XXII

XXIV


24

Selected C Hungarian Major chords*

Cm6 (D#, A) Cm7 (A) Cm7b5 (F#, A) C+9 (F#) C (D, F#)

C13 (F#) C6+9 (D#, F#) C7b5 (F#) D#6 Em7b5

F#7b9 F#m6 (G) Gm6+5 Gm6/9 Amb9 (D#)

Bb+11b5


25

60. Phrygian #4: 1231122*

61. Lydian #3 64. Locrian #7

III

V

VII

VIII

X

62. Mixolydian #2 65. Ionian #6

XII

XV

XVII

XX 63. Aeolian #1 66. Dorian #5

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Incorporates pentatonic minor 32232 Incorporates lydian pentatonic 22233

26

Selected C Phrygian #4 chords* Cm7 Cm7b5 Cm7b5b13 Cmb9 Cm7+5

Db+11b5 (F#) Db+11 (F#) Ebm11 (Bb) Eb+9 Eb13

Ebm6 Eb6+9 F#6/9 Gm7b5 Ab9

Ab11 Ab119 Ab7 Bbm911 Bbm7

Bbm6 Bbm6+5 Bbm6/9


27

67. Ionian b2: 1312221*


III

V

VII

VIII

X

69. Phrygian b7 72. Aeolian b4

XII

XV

XVII

XX 70. Lydian b6 73. Locrian b3

XXII

XXIV


28

Selected C Ionian b2 chords* C7 (F) Db7 Db7b5 Db+9 (A) Db7b5 (G)

Db7+5 (A) Dbm7 (A) Dbm7b5b13 Db7 b5+9 Dbm7+5 (A)

Db7+9 Em6 Em6+5 Emb9 G9

G13 G+11b5 G119 G6/9 Am7

Am9


29

74. Lydian b2: 1321221*

75. Mixolydian b1 78. Ionian b5

III

V

VII

VIII

X

76. Aeolian b7 79. Dorian b4

XII

XV

XVII

XX 77. Locrian b6 80. Phrygian b3

XXII

XXIV


30

Selected C Lydian b2 chords* C7 C7b5 Dbm7 Dbm7b5 (F#) Dbm7b5b13

Dbm7+5 Em6/9 F#m7 (A) F#mb9 G6/9

G7 G+11b5 A9 A13 A6/9

Am6 (E) Am9 A+9 B119 Em6+5


31

81. Lydian b3#5: 2132121*

82. 1321212 85. 1212132

III

V

VII

VIII

X

83. 3212121 86. 2121321

XII

XV

XVII

XX 84. 2121213 87. 1213212

XXII

XXIV


32

Selected C Lydian b3#5 chords* C+11b5 (F#, A) Cmb57 (Eb, A) Cm6 (Eb, F#, A) Cm6+5 (Eb, F#) Cm6/9 (F#, A)

D7b5 (G#) D7b9 (G#, B) D13 (B) Eb (F#, A) G#m7 (B)

G#m7b5 G#+9 (B) Bmb9 Bm6 B6+9


33

88. Scala Enigmata: 1322211* Some sources show the F# as an F natural in the descending articulation of this scale.

89. 3222111 92. 2111322

III

V

VII

VIII

X

90. 2221113 93. 1113222

XII

XV

XVII

XX 91. 2211132 94. 1132221

XXII

XXIV


34

Selected C Scala Enigmata chords* C7b5 C7b5 (F#) C7+5 (G#) C7b9 Dbm6

Dbm11 (G#) Dbm7 E+11b5 E+11 E6/9

F#11 (G#) F#119 (G#) F#9 G#+9 G#m7+5 (A#)

G#m911 G#9 A#m7 A#m7b5 A#m7b5b13


35

95. 2122311*

96. 1223112 99. 3112122

III

V

VII

VIII

X

97. 2231121 100. 1121223

XII

XV

XVII

XX 98. 2311212 101. 1212231

XXII

XXIV


36

Selected C 2122311 chords* Cm7 (G) Cm911 Cm11 (D, G) C7+9 C119 (F)

Dm7+5 (G) Dm6 Dm6+5 Eb6 Eb7

Eb7+5 Eb6/9 (A#) Eb9 F+11 F+11b5

G11 G7+5 G+9 B7b5 B7+9

B7 b5+9

*Letters in parentheses = same chord form at that root. Single gray notes are optional. Play either note of a gray pair but probably not both.

37

102. 1231221*

103. 2312211 106. 2211231

III

V

VII

VIII

X

104. 3122112 107. 2112312

XII

XV

XVII

XX 105. 1221123 108. 1123122

XXII

XXIV


38

Selected C 1231221 chords* Cm7 Cm7b5 Cm6 (F#) Cmb9 (F#) C (Eb, F#, A)

Db119 Eb+9 (A) Ebm7b5 (A) Ebm7b5b13 Ebm7+5

Ebm6+5 Eb7b5 (A) Eb7+5 Eb6+9 (A) G7b5

G7+5 A9 Am6 Am9 Am6/9

B7b9 B9


39

109. 1321122*

110. 3211221 113. 1221321

III

V

VII

VIII

X

111. 2112213 114. 2213211

XII

XV

XVII

XX 112. 1122132 115. 2132112

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Supports Lydian Pentatonic 22233

40

Selected C 1321122 chords* C7b5 (F#) C7+5 (Ab) C7b9 (F#) Dbm6 Dbm7

Dbmb57 (G) Em6 (G, Bb) Em6+5 (Bb) Em6/9 (Bb) E+11b5

E6/9 E6+9 F#9 Ab9 Ab9

Ab11 Bbm7+5 Bbm9 Bbm7b5 Bbm7b5b13


41

116. 2211123*

117. 2111232 120. 1232211

III

V

VII

VIII

X

118. 1112322 121. 2322111

XII

XV

XVII

XX 119. 1123221 122. 3221112

XXII

XXIV

*Intervallic structure, ie, the number of half-steps (half tones) between notes. Roman numerals = fret numbers. Incorporates Pentatonic Minor 32232 Incoporates Pentatonic Lydian 22233

42

Selected C 2211123 chords* C6/9 (F) C6 C+11 C+11b5 D+9

D11 D119 (E, G) Dm7 (A) Dm11 (E, A) Em7+5 (Gb, A)

F7 Gbm7b5 Gbm7b5 Gbm7b5b13 Am6

Am6+5 Am7 (D)


43

123. 1222311*

124. 2223111 127. 3111222

III

V

VII

VIII

X

125. 2231112 128. 1112223

XII

XV

XVII

XX 126. 2311122 129. 1122231

XXII

XXIV


44

Selected C 1222311 chords* Cm7 Cm7 Cm11 (G) Cmb9 (A#) Db7b5 (B)

Db6/9 (Eb) Db7b5 Db9 (Eb) Db13 (Eb) Eb7+5 (G)

Eb6 Eb9 Eb6/9 F119 Gm7+5

G+9 Gm7b5 Gm7b5b13 A#m6 A#m6/9


45

130. 2112231*

131. 1122312 134. 2312112

III

V

VII

VIII

X

132. 1223121 135. 3121122

XII

XV

XVII

XX

133. 2231211 136. 1211223

XXII

XXIV


46

Selected C 2112231 chords* C7b5 C7b5+9 C7+9 D7b5 (G#) D9

D13 D7b9 Ebm6 (B) Ebm6+5 E7

E7+5 E9 (C) E7+5 (G#) E9 F#+11b5

F#119 G#m7 G#m7b5 G#m7b5b13 G#m7+5

G#+9 Bm6 Bmb9


47

137. 1112232*

138. 1122321 141. 2321112

III

V

VII

VIII

X

139. 1223211 142. 3211122

XII

XV

XVII

XX

140. 2232111 143. 2111223

XXII

XXIV


48

Selected C 1112232 chords* Cm7 (G) C119 (F) Cm911 Cmb9 Cm11 (D, G)

Db7 Db7b5 Db6/9 Db+11b5 Dm7

Dm7+5 (G) Eb6 (A#) Eb7 Eb9 Eb6/9

Gm7b5 Gm7b5b13 A#m6/9 A#6/9


49

144. 1211232*

145. 2112321 148. 2321211

III

V

VII

VIII

X

146. 1123212 149. 3212112

XII

XV

XVII

XX 147. 1232121 150. 2121123

XXII

XXIV


50

Selected C 1211232 chords*

C+9 Cm7 Cm11 (G) Cmb9 C11

C7b9 (Eb) Db (E, G, A#) Db6/9 Db7b5+9 Dbm6 (E, G)

Db7+9 Db+11b5 (A#) Db7b5 Eb6/9 Eb9

Em6+5 (G) F119 Gm7b5 Gm7+5 A#+11

A#m6 A#m6/9


51

151. 1121232*

152. 1212321 155. 2321121

III

V

VII

VIII

X

153. 2123211 156. 3211212

XII

XV

XVII

XX

154. 1232112 157. 2112123

XXII

XXIV


52

Selected C 1121232 chords* C9 C119 (D) C11 C7b9 Db (E, G, A#)

Db7b5+9 Dbm6 (E) Db7 Db7b5 Db7+9

Dm7 Dm7+5 Dm911 Dm11 (G) Em7b5 (G)

Em7b5b13 Gm6 (A#) A#6/9 A#m6/9


53

158. 2211213*

159. 2112132 162. 2132211

III

V

VII

VIII

X

160. 1121322 163. 1322112

XII

XV

XVII

XX 161. 1213221 164. 3221121

XXII

XXIV


54

Selected C 2211213 chords* C+11b5 C6/9 Dm7b5 (Gb) Dm7 Dm9 (Gb)

D+9 D7b5 (Ab) E7b9 (Ab) E11 E7+5 (Ab)

E11 E119 F6 F7 F7+9

F7+9 (A) Fm6 (A) Fmb9 Gbm7 Gbm7b5b13

Gbm7b5 Ab13 Am6+5


55

165. 2212113*

166. 2121132 169. 1132212

III

V

VII

VIII

X

167. 1211322 170. 1322121

XII

XV

XVII

XX 168. 2113221 171. 3221211

XXII

XXIV


56

Selected C 2212113 chords* C6/9 (F) C6 (F) Dm7 (A) Dm7b5 Dm11 (E, A)

Dm911 Em7 Em7+5 (A) E7b9 F9

Fm6/9 F7+9 (A) F7 F7+9 Ab7b5

Ab7+5


57

[page intentionally blank]

58

Topology 7.3 (1,1,1,1,2,3,3) 7-note scales with 4 half tones, 1 whole tone, and 2 minor thirds

59

172. Hungarian Minor: 2131131*

173. Oriental 176. Double harmonic

III

V

VII

VIII

X

174. Ionian augmented #2 177. Lydian #2 #6

XII

XV

XVII

XX 175. Locrian bb3 bb7 178. Ultraphrygian

XXII

XXIV


60

Selected C Hungarian Minor chords*

Cmb57 (Ab) Cm7 (Ab7+9) D7b5 (Ab) D11 D13

D7b9 Eb7 Eb7+5 (G) Eb7+9 (Ab) Ebm6 (B)

Ebm6+5 (B) F#+11b5 G7 (Ab) Abm7 Abm7b5

Ab+9 B6 B6+9 Bmb9


61

179. 1321131*

180. 3211311 183. 1311321

III

V

VII

VIII

X

181. 2113113 184. 3113211

XII

XV

XVII

XX 182. 1131132 185. 1132113

XXII

XXIV


62


C7 C7b5 (G) C7+5 Dbm7 Dbm7b5

Dbm7 Dbm7b5 Dbm11 (Ab) E6 E6+9

Em6 Em6+5 E6/9 Em6/9 F#119

Ab7+9 Abm7 Abm7+5 Ab7+5 Ab+9

*Letters in parentheses = same chord form at that root. Single gray notes are optional. Play either note of a gray pair but probably not both.

63

186. 1231131*

187. 2311311 190. 1311231

III

V

VII

VIII

X

188. 3113112 191. 3112311

XII

XV

XVII

XX 189. 1131123 192. 1123113

XXII

XXIV


64


Cm7 (Ab7+9) Cm7b5 Cmb9 Db119 Eb7+5

Ebm11 (Ab) Ebm6 Ebm6+5 Eb+9 (Ab) Eb11 (Ab)

Eb13 Ebm7+5 F#+11b5 F#+11 G7 (Ab)

G7b5 Abm7 Ab7 Ab7+9 B6

B6/9


65

193. 1111233*

194. 1112331 197. 2331111

III

V

VII

VIII

X

195. 1123311 198. 3311112

XII

XV

XVII

XX 196. 1233111 199. 3111123

XXII

XXIV


66

Selected C 1111233 chord

C 6/9 Cm6 (Eb, F#, A) Cm6/9 C (Eb, F#, A) C6+9 (A)

C+11b5 D7 D9 D7b9 D7

Ebm7 Ebm7b5 Ebmb57 E119 F#m6+5

F#m7 F#m7b5 F#m7b5b13 F#m7+5 A6


67

200. 1111323*

201. 1113231 204. 3231111

III

V

VII

VIII

X

202. 1132311 205. 2311113

XII

XV

XVII

XX 203. 1323111 206. 3111132

XXII

XXIV


68


C6 C 6/9 C6+9 Cm6 Cm6/9

Cmb9 Dbm b57 D119 Eb7 Eb7b5

Em6 Em6+5 Em7+5 Em11 (A) G+11

G+11b5 Am7 Am7b5 A7b5 A+9

A11


69

207. 1111332*

208. 1113321 211. 3321111

III

V

VII

VIII

X

209. 1133211 212. 3211113

XII

XV

XVII

XX 210. 1332111 213. 2111133

XXII

XXIV


70

Selected C 1111332 chords* Cmb9 Cm7 C9 C+9 C7b9 (Eb)

Dbm6 (E, G) Db (E, G, Bb) Dbm6/9 (Bb) Dbmb57 (E) Db+11b5 (Bb)

D119 Eb6 Eb7 Em6+5 (G) Em7

Em7b5 Em7b5b13 Em7+5 Bb6/9 Bb6+9


71

214. 1112133*

215. 1121331 218. 1331112

III

V

VII

VIII

X

216. 1213311 219. 3311121

XII

XV

XVII

XX 217. 21133111 220. 3111213

XXII

XXIV


72


Cm6 (Eb, Gb, A) Cm6/9 (Eb) C+11b5 (Eb) Db7 (D) Db7+5

Db9+5 Dmb9 D7+9 (Gbm7) Dm7 D7b9 (F)

D+9 D7 Ebm7 Ebm7b5 Ebmb57 (Gb)

Eb (Gb, A) F6 F6+5 (A) F7+5 Gbm6+5 (A)

A6+9


73

221. 1112313*

222. 1123131 225. 3131112

III

V

VII

VIII

X

223. 1231311 226. 1311123

XII

XV

XVII

XX 224. 2313111 227. 3111231

XXII

XXIV


74


Cm6 (F) Cm6+5 (F) Cm6/9 Db7 Db7+5

Db9+5 Dm7 (F) Dm7b5 Dm7 Dmb57 (A7b5+9)

Eb+11b5 F6 (G#) F6+5 F6+9 Fm7+5

F+9 F7+5 A7 A7b5 A7+5

A7+9


75

228. 1113123*

This scale lends itself more to vertical (up-down the neck) than horizontal (across the neck) articulation; you should feel free to develop patterns best suited to your own style of playing.

228. alternative 232. alternative

III

V

VII

VIII

X

XII

XV

XVII

XX 232. 1231113

XXII

XXIV


76


Cm6 (F#) Cmb9 (F#) Cm6/9 C (F#, A) C+11

C+11b5 D7b9 D11 (A) D7 Ebm7 (A)

Ebm7b5 (A) Eb7b5+9 Eb6+9 (A) Eb7b5 Eb+9 (A)

Ebm6 (F#,A) F#m6+5 Am11


77

235. 1113132*

236. 1131321 239. 1321113

III

V

VII

VIII

X

237. 1313211 240. 3211131

XII

XV

XVII

XX 238. 3132111 241. 2111313

XXII

XXIV


78


Cm7 (Eb) Cm7b5 Cmb9 D7+5 D7+5

Eb7+9 Ebm6 (Bb) Eb+9 Eb7+9 (Gm7) Eb7

Eb7+9 Eb6 (F#) Eb6+9 (Bb) Bb6+5 Bbm6/9

Bb6/9


79

242. 1113213

242. alternative 246. alternative

III

V

VII

VIII

X

XII

XV

XVII

XX 246. 2131113

XXII

XXIV


80


Cm6 (Eb, F#, A) Cm6+5 (F#) Cm6/9 (F#) C+11b5 (F#) D7

D7b5 (A) D7b9 (G#) D7b5 (G#) Ebm7 Ebm7b5

Ebmb57 (A) Ebm11 Eb (F#, A) F#+11 G#11

F#m6 A6+9 A7 A7+9


81

249. 1113312*

250. 1133121 253. 3121113

III

V

VII

VIII

X

251. 1331211 254. 1211133

XII

XV

XVII

XX 252. 3312111 255. 2111331

XXII

XXIV


82


Cm6 (Eb, F#, A) Cm6/9 Cm7 Cm7b5 (Eb) C+11b5

C (Eb, A) D7b9 D7+5 D7 D7+5 (Bb)

Ebm7 Ebm7b5 Ebm7 Ebm6 (F#) F#6

F#6+5 F#m6+5 F#6+9 (A) Bb7+9 Bb9


83

256. 1121133*

257. 1211331 260. 1331121

III

V

VII

VIII

X

258. 2113311 261. 3311211

XII

XV

XVII

XX 259. 1133112 262. 3112113

XXII

XXIV


84


C6/9 C+11b5 Db7 (F) Db7+5 (F) Db7+9

Dm7 (Gb) Dm7 (Gb) D9 D+9 D7 (F)

E119 Gbm7+5 Gbm7b5 Am6 Am6+5

A6+9 A6 A6+5


85

263. 3131121*

This scale lends itself more to vertical (up-down the neck) than horizontal (across the neck) articulation; you can develop patterns best suited to your own style of playing.

264. 1311213 269. 1313112

III

V

VII

VIII

X

266. 1121313

XII

XV

XVII

XX 268. 2131311

XXII

XXIV


86


C7 (E, G#) C7+5 (E, G#) C6+9 Cm6 Cm6+5

C7+9 (E, G#) E7 E7+9 (G#) Am7 G6/9

Am7 Am7b5 Am7b5 B7+5 B11


87

270. 1131312*

270. alternative 273. 1312113

III

V

VII

VIII

X

275. 1211313

XII

XV

XVII

XX

XXII

XXIV


88


C+11b5 C119 Db7 Db7+5 (D, Gb, Bb) D+9

Dm7 Dm7+5 D7 (Gb, Bb) Gb7+9 (Bb) Gb7b5+9

Gb7b5 Am6 Am6+5 A6+9


89

Part 2: somewhat less useful and in some cases downright useless scales

Parent scales are mapped the full length of 24 frets, but in many cases, I did not bother to plot

the individual modes.

90

Topology 5.2 (1,2,2,3,4) 5-note scales with one half tone, two whole tones, and a minor and a major third

91

277. 12234*

281. 41223

III

V

VII

VIII

X

XII

XV

XVII

XX 280. 34122

XXII

XXIV


92

282. 12243*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


93

287. 12324*

III

V

VII

VIII

X

XII

XV

XVII

XX 290. 24123

XXII

XXIV


94

292. 12342*

III

V

VII

VIII

X

XII

XV

XVII

XX 295. 42123

XXII

XXIV


95

297. 12423*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


96

302. 12432*

III

V

VII

VIII

X

XII

XV

XVII

XX 305. 32124

XXII

XXIV


97

307. 13224*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


98

312. 13242*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


99

317. 13422*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


100

322. 14223*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


101

327. 14232*

III

V

VII

VIII

X

XII

XV

XVII

XX 330. 32142

XXII

XXIV


102

332. 14322*

334. 32214

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


103

Topology 5.3 (1,1,2,4,4) 5-note scales with two half tones, one whole tone, and two major thirds

104

337. 11244*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


105

342. 11424*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


106

347. 11442*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


107

352. 12144*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


108

357. 12414*

III

V

VII

VIII

X

XII

XV

XVII

XX 360. 14124

XXII

XXIV


109

362. 14142*

364. 14214

III

V

VII

VIII

X

3

XII

XV

XVII

XX

XXII

XXIV


110

Topology 5.4 (1,1,3,3,4) 5-note scales with two half tones, two minor thirds, and one major third

111

367. 11334*

371. 41133

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


112

372. 11343*

III

V

VII

VIII

X

374. 34311

XII

XV

XVII

XX

XXII

XXIV


113

377. 11433*

III

V

VII

VIII

X

XII

XV

XVII

XX 380. 33114

XXII

XXIV


114

382. 13134*

III

V

VII

VIII

X

XII

XV

XVII

XX 385. 34131

XXII

XXIV


115

387. 13143*

391. 31314

III

V

VII

VIII

X

XII

XV

XVII

XX 390. 43131

XXII

XXIV


116

392. 13314*

393. 33141 396. 41331

III

V

VII

VIII

X

394. 31413

XII

XV

XVII

XX 395. 14133

XXII

XXIV


117

Topology 6.1 (1,2,2,2,2,3) 6-note scales with one half tone, four whole tones, and one minor third

118

397. 122223*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


119

403. 223212*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


120

409. 223221*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


121

415. 222123*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


122

421. 132222*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


123

Topology 6.2 (1,1,2,2,3,3) 6-note scales with two half tones, two whole tones, and two minor thirds

124

427. 112233*

431. 331122

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


125

433. 112323*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


126

439. 112332*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


127

445. 121233*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


128

451. 121323*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


129

457. 121332*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


130

463. 211323*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


131

469. 211332*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


132

475. 223113*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


133

481. 131223*

III

V

VII

VIII

X

XII

XV

XVII

XX

XXII

XXIV


134

487. 131232*

III

V

VII

VIII

Documents

Fretboard Topologies - guitar scales and layouts