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8/16/2019 The Scale Book
http://slidepdf.com/reader/full/the-scale-book 1/34
8/16/2019 The Scale Book
http://slidepdf.com/reader/full/the-scale-book 2/34
THE
SC
L
by
Leigh
owers
Publi
shed
throughout the world by
PROFESSIONAL MUSIC PRODUCTS INC.
14731 E FRANKLIN AVENUE
TUSTIN CALIFORNIA 92680
© Copyright 1979 Music Research Inc .
ALL RIGHTS RESERVED.
Th s
book
or any
part thereof may not be r
eproduced
in any
mann
er
or
stored by any electronic storage retri
eva
l system of any kind without
writfen permission of the publisher. International Copyright
Secured.
Printed in the United States of
Amer
ica.
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ACKNOWLEDGEMENTS
Graphic Design-Music Research Inc. Agoura Ca.
Writing Typing and Transcr ing- Secretarial
Services
Thousand Oaks
Ca.
Copying- Copymat Thousand
Oaks Ca.
Velox Reductions/ Reproductions Four Star
Printing
Thousand
Oaks Ca.
Cover Design Leon White
Cover Photo Processing- Marc
Schreibman GP
Color
Labs.
Graphic Coordination and Design-Brent
Block and
R Muck
le f
or
Music Research Inc. Agoura
Ca.
Typeset The
Composing Room Costa Mesa
Ca.
Music Notation Stan Sheldon
Leigh Powers
appears
through the courtesy of Breeman Enterprise
LTD. Toronto
Canada
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T BLE OF CONTENTS
INTRODUCTION . . . . .
. . . . . . . 3
Special Features of this Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
The Seven Fingerings For Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
_The Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
The
Ma
jor Pentatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
The Mixolydian Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
The Minor Pentatonic Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The
Blues Scale . . .
. . .
. . .
. . . . . . . .
.
10
The
Dorian Scale .
.
. . .
.
.
. .
11
A Review . .
.
.
12
The Lydian Scale .
. . .
. . . .
. . .
. 13
The Natural Minor Scale . .
.
. . . .
. 14
The Harmonic Minor Scale . . . . . . . 15
The Melodic Minor Jazz Minor . . . . . . . . . . .16
The H.M. 5 Scale .
.
.
.
. . . .
17
The Overtone Dominant Scale . . .
. . . 18
The Altered Dominant Scale . .
. .
. . .
. .
. 19
The
Whole Tone Scale .
.
. .
. .
.
.
. . . .
.
. . .
20
The Half-Whole Scale . . . . . . . .
. 21
The Whole-Half Scale . . . .
22
The
JM 5 Scale .
.
.
.
. . .
. .
. .
23
The
HM
4 Scale . . . .
.
. . . . . 24
The JM 2 Scale . .
_ . .
. . . 25
The PlainMi7b Scale .
. . . . . .
. . .
.
26
The H.M. 2 Scale . . . . . . . . . . . . . 27
The JM 6 Scale . . . . . . . . . . . . .28
The
Lochrian Scale .
.
.
. .
. .
.
.
.
.
29
A Review . . . . . . . . . . . . . . . .
30
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THE SC LE
OOK
INTRODU TION
Scales are the building blocks of
melody
and harmony; the
competent
musician requires fluency in a
variet
y of
scales, as well as the
understanding
of the relationship of scale construction to
ha
rmony. Musicians and music
students,regardless of specialization
of
study or instrument, may take a number of useful approaches to the study
of
scales and scale applications. But there
are
so
many
popular styles of music today, and so
many
levels of student
understanding
and
teacher attitudes, that there has arisen the
demand
for a source
of
useful scale info
rma
t ion
without
a stylistic or methodology bias. A simple, inexpensive reference on the subject, directed to all musicians, is needed.
The Scale
Book
is this reference
work.
In it, we
have
gathered into a single
loca
tion the most im
portant
and useful
scales and their fingerings (for the guitarist). These scales appear
here
in standard music
notat
ion , for all instruments
and
also in
standard box diagram
illustration,
for
the guitar.
We hope
you
find this volume useful throughout
your
years of musical in terest; we would
also
enjoy hearing any
comments
you
might make
concerning
this
book,
the material in it and its presentation.
Thank you
for your con
tinued
interest in Professional
Music Products.
The Author
SPECI L FE TURES OF THE SC LE BOOK
Each scale will be
shown
in twelve keys in standard musical
notation.
In the
guita
r illustrations each scale will be
shown in one key only,
but
in seven "static" fingerings
involving no
position shifts for the left
ha
nd . Each of these
fingerings is completely closed (uses
no open
string), so
that
a
transposition
to any other
key can
easily be effected
by
"slide of hand.
In
addition, for
each scale there will be
provided
a special
guitar
illustration of the
note
location
without
a recom
mended
fingering. Because guitarists seem to be
an
opinionated and
argumen
ta tive
lo
t of growling "
louts
" we
decided
to give each, for the price of this book, the opportunity to express his own ideas about the finger ings of scales and to
"correct" us if he chooses.
HOW TO PR CTICE SC LES
ON
THE GUIT R
1. Have a positive attitude.
2.
Get
plenty of rest and eat a hearty
breakfast.
3.
Work
out with weights
and
run two miles daily.
4. Agree with
everyone
you meet that the only way to learn scales is to practice fingerings eleven hours a day
for
2.716 years-all the while frowning, complaining, and looking for a short cut
by
which yo u can master the study
during a television
commercia
l.
5. Ignore the preceding
steps
because they are not
your
cup
of cocoa
and because you prefer
an
intellectual approach.
Study
the
guitar for yea
rs
with every
local
guru-guitarist you can
find. Learn ever
yone's
tricks a
nd
then
go get
a
ma ster's degree in
harmony
at music school. Become
an
authoritative speaker, perhaps a charming
and
witty after
dinner guest speaker
at
the homes
of
local friends of musicians. Finally, sit
down and
learn
your
scales. Should this
intellectual approach become too dry and mechanical for
yo u
, use magic.
6. Look at your
hands.
Discover that you have five fingers , the
gu
itar ha s six strings and there are seven
notes in
the
major scale .
Draw
a
picture
of
your
guitar
and
paint different frets
and
strings different colors. Paint a numb er on
each finger, and using your subjective concept of pretty hand shapes,
develop
and practice interesting visual
pat
terns.
e
careful not
to
listen while you play,
but
devise a cute name for
your system
(like Th e rtful Scales,
Shlonic Scales,
or
Triadic Equivalents
and
go into
business for yourself. Then sit down and play yo
ur
scales.
QUESTION:
Why
did we write the preceding paragraphs?
ANSWER: To alert you
to
the damaging mental at titudes
you
could
adop
t concerning scale st
ud
y.
To
learn scales is
not hard, it i
sn't boring
, it i
sn'
t a major part of your life. Don't
make
it these things Don't be
impatient
, don't assume
that
you won't appreciate it or that you
won't
understand it because it 's
new.
Do n't r ush,
and
don' t overdo scale
study
-
but
do give it a fair,
honest
effort.
You can do these things:
1. Spend fifteen
good
minutes
every
day
on sca
les.
2. Practice
new
scales carefully, slowly
ou can make any number of
mis
takes
playing fast, so practice slowly. Give
attention to clean
intonation
and smooth rhythm.
3. Learn all the fingerings of each
sca
le . Sooner
or
later, if
you
really want to be a
good
player, you will. Don't learn
just the
rock
scales, and do n 't
learn
just
two
or three fingerings for
each
scale. You'll need the rest for guitar
fluency.
Have
a plan (no, thanks, I just
had
one). You might le
arn
three fingerings f
or
each scale before coming
back to
the rest. You might
concentrate
on ro
ck
but
give ample a
tt
enti
on
to the other scales as well. Having a p
lan
and
following it will eliminate
your
frustrations
by
allowing you
to
compare
your
accomplishments with
your
goals.
Many students who can't
accurate
ly
gauge
their progress are often dissatisfied and feel they
are
"
not good
enough ,"
when in fact , they have improved measurably.
Others
are sure they have gotten it all together" when they
haven't.
A plan will allow you to see whether or
not
you are attaining your goal.
3
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4.
Be
musical , even
at
practice ( zzzzzzz ). Don 't sleep
thr
ough
your pr
actices.
Be
creative, sing your scales as
you
pl
ay
them
many
guita rists vocalize s
olo
s
as
they play them
. Harm
onize your scales. Play them with different
picking sequences and in different rhythms. Move them up or down a fret every time yo u repeat them; play them
on the fifteen th fret. Play them
on
ly descending;
u
se
them to play melodic patterns and sequences.
5. Use these scales in musical situations.
WHY STUDY SCALES?
1 For techni
ca
l skill
Through
scale study
you
will increase
you
r strength in both hands, and
you
will improve
your
muscular co ntrol and coordination of both hands together.
2. For instrumental
facility
Scale studies should take you all over your instrument, assuring that
yo
u master dif
ficult registers, locations and movements.
3. For peace of
mind
- You will play with confidence,
you
will
play
more musically. Your improved abilities to
hear
and
play will reflect in better
impr
ov ising
and
reading. Scale knowledge w
ill
be a strong tool for
yo
u in composing,
arran
ging, conducting, copying, etc. You will al
so
date
more
frequently and in general
be
more
popular
with all
your
friends.
THE ORIGIN OF OUR SCALE NAMES
If yo
u've looked
down
the
Ta
ble
of Co
ntents, you're probably wondering what some
of
these scale
names
mean.
Some of the names are the official names, others are popular nicknames tha t describe the scale, while t
he
rest are
names popularized by Leon White in his book,
Modern Im provisi
ng A
Guide to
azz
Scale
So/oing.In each lesson,
I'll describe the origin of the scale name
br i
efly.
THE SEVEN FINGERINGS FOR GUITAR
Th
e fingerings we
pr
efer
are shown
complete
at
the beginning
of
each lesson; we show seven fingerings for each
scale. T
he
se fingerings cover the entire fingerboa
rd for
any key and
without
any gaps. The guitarist needs maximum
utility and flexibility in his fingering options for a musical reason: Rather than play only what musical things are easily
performed, he must be
ab
le to make
what sounds good
comfortable to play.
These Things Are True For Our Fingering System:
1. The entire fingerboard is covered in a series of positions, each
one
nev
er
further
than two
frets removed from its
neig
hb
ors.
2. For every scale the lowest root will lie in seven different positions on the bass strings of the guitar. Th ree positions
find this
root on the E string, three on the A string,
and
one on the D string.
The
particular
ty
pe of scale determines
which left
hand
fingers are employed, but in all scales the fingers that pl
ay
the root in the three E string positions
are the same fingers that play the root in the t
hr
ee A string positions,
and
the first finger always plays the lowest
scale when it is fo
und
on the D string.
3. Each of the seven fingerings
for
any scale has a different note as its lowest reachable no te and a different
note as
its
highest reachable note.
OUR SYSTEM OF
NOTATION
FOR GUITAR
Below are diagrams indicating how the fingerings will be no
tated
for guitar.
Fret
65432
Emm DG
E
·_
1 F
__.--
,,.,.._.
3G
. . .
.. .
_.
Each
fi
n
ger has
On each
diag
ram a circle will be placed where you should
be
en assigned a number The number
of that finger will
appea
r inside the
circle showing where to place it.
place
your fingers to play .
Using the C
Major
Scale, we have illustrated below how the seven fingerings for one scal
interlock with each other. Each
box
shows a different fingering for the C
Major
Scale
We
'll repeat the above illustration for you in the key
of G Major to move the
fi
ngerings down the neck.
It' ll give you a new perspective.
and each fingering
ha
s different notes t
hat
can
be
reached at the limits of
t.he fingering.
c
4
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E A 12;E A ;F, F:
~ ~ ~
This one system is consistent for every kind of scale we have tried. Any kind of scale-major , minor, altered,
modal,
whatever
- can be played from any one location, and there
are
seven positions in which to play any scale.
Furthermore, every pentatonic scale we
have found
in jazz,
rock
and country music can be found within a larger,
seven-note scale, and so can its fingering.
(Ou
r system does
not
omit the pentat
on
ics, our Western European
musical heritage is based on a system of seven
-note
scales. All
common
five note scales are subject to this system .
5.
There are
no left hand position shifts for
any
of the seven fingerings, but some
st
retches. These scale fingerings
are
thu
s useful for
note
reading as well as for improvising.
6. Each fingering correspo
nds
to a familiar chord shape. Shown below are the seven ma jor scale fingerings we ve
mentioned earlier, and a chord form that coincides with the physical shape of each scale.
D G B E
7. Each scale fingering contains
an
arpeggio for each
chord
in
th
e key
of
the scale. (For example, each of the seven
fingerings
of
a C major scale contains seven arpeggios
one
for each of the seven chords built from the scale tones.)
Shown below is one of the C Major Scale fingerings and se
ven
different arpeggios located inside that fingering.
The
arpeggios
are
the
most
impor
tant and
fundamental on
es
- the seventh chords
that
can be built from each Scale
Degree.
E A D G B E E A D G B E E A D G B E E A D G B E
F F F F
C
major
scale
r - : - ± ~ ~ - r - ' (
Fma7
arp.
Cma7
arp.
G7
arp
¥ ~ ' t ' ' f
Ami7
ar p.
Although we've used only one C Major Scale fingering in th is example, we could repeat the process for each of the
seven different C Major Scale fingerings. Inside each of the seven C Major Scale finge rings we would find the seven ar
'peggios we've
found
here.
We
'll repea t this process from a different C Major Scale
fi
ngering j
ust
to
show
you this
more
clearly(and to tease you a
bit
).
D C
Fma7
arp
Arpeggios
are
a major
tool
in improv ising, an
important
technical drill,
and
excellent
ear
training,
bu
t a th orough
s
tudy of
them r
eq
uires more space than we have here
(but can
be found in o ther PMP books). However, I
want you
to
know
now, while you re studying scales,
that you
are also studying arpeggios indirec tl
y.
You'll have no wasted effort
mentally or technically. EXTRAS FOUND IN THIS BOOK
Along
the way
yo u
'
ll
.find extra information about scales
and
how they relate to music. Following is a br ief list of
these extras
and
what they
mean
.
Chords-When
chords are shown
with
a sca le , we
v
e
done
so because that scale is so popul
ar
that the chords
are
used together in progressions, to create tonality. The major scale is a good example of We frequently use the
chords
bu
ilt from not
es
of the major scale to
make
song progressions. The chords are shown so you
can
learn to
recognize them
together that
is,
you can
see
that
they come from the same scale.
Fingerings- Fingerings
marked
with an asterisk(*) are the ones I recommend yo u learn first. They're the easiest.
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THE
M JOR SC LE
Sca le formula from Root C: C D E F G A B C
Triads in Scale} C Dmi
Emi
F
G Am i
Bdm
Seventh chords in Scale}C MA7 Dmi7
Em i7
F MA7
G
Ami7
Bmin7b5
Sixth chords in ScaleJ C6 Dmi6 F6 G6
THE M JOR SC LE IN MUSIC NOT TION
~ n JJ n I ; 33 J
A
J I I ~ JJ
:n
L
rJ
In a J I
~ • iJ n U rE I
Er
U n J
I I ~ ~
J3
JJ u
G I £J
JJ
f :JJ I
@
JJ
J
2
n
n
1
a
J
J
n
J
1 1 ' ~
u
u
u
r
1
r
r
r
r
Ef
J
1
The guitar fingerings:
=
Lowest Root
Try playing
t
he
C ma jor scale over these
progres
sions:
I = 1 beat or strum
1 Dmi7 G7 Cma7 Cma7 2
m
i G F F
Ill
I ll/
Ill/
Ill/ Ill/
Ill/ Ill/ Ill
3 Emi7 Ami7 Dm i7 G7
Ill I
ll
Ill/ Ill/
6
G
I
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THE MAJOR PENTA TONIC SCALE
Scale
formula
from
Root C:
c
R
D
2
9)
E
3
G
5
A
6
13)
This scale is called the
Major Pentatonic
because
1)
The
interva
l from C to E is a m jor
third
, and
helps
to spell th
chord C major, found in this scale (CEG ; 2) Pe nta tonic comes from Greek / Latin penta
meaning
five There are five
notes in
this scale.
When two numerals
are shown under a letter in the scale spe lling (See the D note above) the
numerals
are there to
indicate
th
at
the note has
two
function
s
or
titles in the scale and its chords.
c
1
D
2
E
3
F
4
G
5
A
6
B
7
c
8
D
9
E
10
F
11
G
12
A
13
As you can see, the D note is both the 2nd
note,
nd the 9th
note
of
the C Major Scale. The A
note
is both the sixth nd
the thirteenth. You
should
keep this piece of info
stored away
for later use.
Please note: 1)
that
this scale is like the C m jor sca le except that it's missing the
4t
h
-F
and the
7th-B
.
spells a
chord
w hen all of the
notes
are soun
ded
together.
The chord
is
called
C 6/ 9. C E G
1 3 5
THE MAJOR PENTATONIC SCALE IN MUSIC NOT TION
2) This scal
A D
6 9
i
-
i
~
@ j
J j J
F I FJ
J r
c r r
f F
I E
F j
j
·
J J
1
F F
I
c
r r
J
J
I I ~
f
r
~ J
J
]
I
J
f
J
d
I f J J
I I ~
r
r
1
F
f
I
E
F
~
j
J
I I ~ £
J
]
F
r
J
)
j
t
f
I F r ~ j
;;j
1
#
J
1
J
r
I
f
J
1
J
0
=
Lowest Root
7
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THE MIXOL
YO
I N SC LE
Scale formula from Root C: C D
2
E
3
F
4
G
5
A
6
Bb
b7
c
In the C Mixolydian Scale we re ca lling the Bb note a b7 Why? Because
we
re comparing this C mixolydian scale to t
C
major
scale.
In
the
major
scale the seventh
note
is B. Here it
s
lowered (flatted) to
Bb
Hence the description
b7
We will
do
this
throughout
the
book
.
The major
scale
and
its notes
are
the ruler
by
which all
other
scales
and
th
no tes are measured nd described .
THE MIXOLYDI N SC LE IN MUSIC NOT TION
§ ~
J: n
JJ•r:
•R
J3
,;g
II
•
· a
E
~
lbU
E
J
The
guitar fingerings: 0
=
Lowest Root \
~ ~ ~ ~ ~ ~ ~
~ ~ m m ~ ~ ~ ~
l l l l l l i i i i i l
Try playing the C mixolydian sca,le in the following progressions:
1) C C F BD
2)
C7 G7 C7 C7
11
Il l /Ill Il l/ /Ill /Ill Ill/
11
Here, play the scales as shown, and play the chords slowly .
A7
07
G7 C7
Ill/ /Ill Ill/ /Ill
A mix . D mix. G mix. C mix.
8
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THE
MINOR
PENT
TONIC
SC LE
Scale
formula
from Root C:
C
b
F
1
b 4
G
5
b
b7
c
Here
you can
see
that
we re
ca
lling Eb a
b
because in the
C Majo
r scale the third no
te
is
E
This
scale is called the
Minor Pentaton
ic because C
b
G
b
spells a C mi
7 chord
,
and
the scale contains 5 differen
notes.
THE MINOR PENT TONIC SC LE IN MUSIC NOT TION
r
4
The
guitar fingerings:
0 =
Lowest Root
Try
the
A minor pentatonic scale over these progressions:
1 Ami7 09 Ami7 D9 2 Ami7 Dmi7 Ami7 Ami7
I l l I l l I l l I l l I l l I l l I l l I l l
Does the A minor pentatonic resemble
the
C major pentatonic in any way??
9
3)A7 9
F
I l l
II
G
II
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THE BLUES SC LE
Scale formula from
Root
C C
F
4
F
#4
bs
G
5
Bb
b
As you can see, the Blues Scale is really just the minor pentatonic scale with another note added, the H4 This one note
adds an interesting and powerful sound however, a
nd
is
of major
importance in rock, blues, and jazz improvising.
The
guitar fingerings require a little jockeying around and all seven are not
r
equired f
or
th
at
reason.
THE BLUES SC LE IN MUSIC NOT TION
m m ~ ~
irll
~ ~ ~ t m T
. • I
•
•
Play the A blues scale with the progression examples shown for the dorian and minor pentatonic scales.
10
4
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THE
DORI N
SC LE
Scale form ula from Root C: C
1
D
2
Eb
b
F
4
G
5
A
6
Bb
b7
c
Th is scale is really the
ma
jor scale started from the second
degree
That's a cute
fa
ct
that
might help you
fing
scale, but will confuse you
if
you try improvising
and
transposi
ng
at the same time. C dorian = Bb
THE DORI N SC LE IN MUSIC NOT TION
The guitar fingerings: 0 = Lowest
Root
Try
th
e A dorian scale
ove
r t
hese progressions
:
1 A7 9 E G
2
Ami7 09
Ill Ill Ill
11
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IMPROVISING WITH SCALES WE'VE SEEN SO FAR
So far
all of the
sca
l
es we've seen belong to
get
her in
a single
group.
The
special
qualification
these scales
have
is
this. EACH OF THESE SCALES MAY BE PLAYED
OVER
AN ENTIRE
PROGRESSION. YOU
DO NOT
HAVE
TO
CHANGE SCALES WHEN
YOU
CHANGE CHORDS. The examples
below
will illustrate this
more
clearly. Before
we
see
those
examples, however, I'd like
to
discuss briefly the scale similarities
and
how
they
effect
impr
ovising.
The
major
scale and the major Pentatonic scale can be used interchangeably because the
major
Pentatonic is actual
ly
inside the
major
scale. (See Examples 1-2. )
The
major
Pentatonic can also be used instead of the Mixolydian (examples 5-6). The
major
scale and Mixol
ydian
scale
hav
e
on
ly
one difference the 7th
( inC
Major
the 7 is B; inC Mixolydian,
th
e 7 is Bb .
This
is a
bi
g difference
in
sound (Compare the scales and
play
all the examples.)
We have a similar situation in the
minor sca
le area.
The minor
Pentatonic scale is inside the Dorian scale and
the
Blues scale.
f
yo u
'll
look at
the examples you'll
see
how
the
scales
can
be
used.
EMPHASIZING THE DIFFERENCE
IN
SCALES is the key to learning the special sounds each scale contains. To
hear
t
he major
scale
spend
450 weeks
playing
solos
that always start
on the
07 note
(the B
not
e
in
the C
major
scale).
To
hear the mixolydian
scale, start
10
,751 solos
wit
h the b7
note (a
Bb
note
in a C
Mixolydian
scale).
TIP (About
15 %, if service is
good): Try building
licks and solos in
both
these scales
starting
7
to
3, 3
to
7, b7 to 3 or 3
to
b7.
In
the
minor
scale area .
Once
you've bored
yo u
r head full
of
the
minor Pentatonic
scale, move
to
the
Dorian
and
start
all your
solos
and li
cks on
the 9
(D
is the
9th
note
inC Dorian)
or the 6
(A
is the
6th
note
inC Dorian)
you'll
get
a
very smooth,
jazzy
sound. Then
take the blues scale and start solos
with
the no tes #4 - 5. That's the sound there.
You
can comb
ine
major
and
minor scale sounds
by
playing the b3 no t
e
(from minor
)
and then
the
C note.
Shown below are sample progressions
and the
scales
that
you might use over each
of
the progressions . As you can see, some
progressions have several
sca
les that may be used. It's
up to
you
to
experiment and listen
to
each.
#1) Dm7
G7 Cma7
Cma7
#2) C Am F
G7
I· r r
] I
7
0
7
I
n
I
u
·11
Z J F
rz rr
v
rr
ZI 1
•
ill jtJJJ j l l /1 l l l l l II
1. C Major
scale
1. C Major scale
2. C Major Pentatonic 2. C Major
Pentatonic
3) D
D
c G
#4) Am7
D9 Am7
D9
til
/h /
I tt } l
tm
I
Ill/
II
Ill·
17
I
nrz
I
7 7
1
1 V l I J
V I J
I
T/7•11
IJT·
D Mixolydian
_,..
---... ___...,.. - . . .
__,...
__,..
1. A Minor
Pentatonic
-
2. D Major Pentatonic
2.
A Blues scale
3. A Dorian
c c
c
F
F
c c
G
F
c c
· r rv
nrz
7 I J
on
7 J
/ 177
7/LI
I hTO I }] jtl/1 1/U/ I l f l} I qo I
nTJ ruJO
V T I T
DJJO
.I
11
·1
IIJfl
. C Major
scale
[kind
of
plain sounding]
2. C Major
Pentatonic
[a bit
of country
rock]
3. C Mixolydian [country-rock/blues feeiL..
4. C Minor Pentatonic
(
bluesey"]
5. C Blues scale
[ b
luesier"] _ _ _
#6) D7 +9 D7 + 9
F
G
fll
I
{
o 1
7777·
1
ii TILl
•
6. C Dorian (jazz-blu
es
feel] _ _ :._..
.I 11fl
1. D Minor Pentatonic _
2.
D Blues
sca
le - -
12
3 D Dorian -
___
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THE LYO IAN
SC LE
The
Lydian Scale is an
unusual
scale in that its only Scale formula fr
om
R
oot
C:
alteration
is a #4 b5). It has 07 The only chords whose C D E F
spellings coincide
with
this
scale
are: Major
7
b5 1 2 3 #4 bS
(Major 7#11) Major
9b5
(majo r 9#11) Major
13 11 9
11
THE LYDIAN SCALE IN MUSIC NOTATION
G
5
A
6
13
B
7
~
1 JJiJ
l
J1
I
fJ J,J R
1
11 J
HP rL
U
I
cr r f R J
, ••••
c r
tl
u r J 1
c
nr u J 1 1 b ~
-.rJ
;rp n 1n J,a n J
No ;:J JiJ
t E FE I
iJ
J1J n
J I ~ ~ ~ ~ ~
i
JiJ U U
I
E
E
tJ
n
J
The guitar fingerings: 0 = Lowest
Root
m m ~ ~ m m ..
~ m m ; m m ~ ~ m m
&$1 1 11111'
. I • • • • • I • I I • • I I I I I I I • • • I I I • • I
G
C1
Ebr Dmi7 G7
/Ill Ill
/Ill
/Ill
/Ill
...
C Major Sca le Eb Lydian C Major
G
~
G
3mm
Abr
·§m
ll/
Ill
Il l/
CMa
jor
AD
Lyd i
an
Am7
Ill
Ami7 arp .
C9 11
/Ill
CLydian
G1
Ill/
G Major
r
Ill/
G7
I I I I t ttf tj
C major scale
13
Th
e more you play the Lydian Scale the
m
na tur al the scale becomes to your
ea
r . For m
play
e rs the Lydian is a preferred choice to
Major Scale .
They
might use the Lydian
anyw
a
Major
Scale could be used.
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THE NATURAL MINOR SCALE
Scale
formula
from Root
C}
C
D
Eb F
G
Ab
Bb
c
Triads found in the Scale} Cmi
Ddim b
Fmi Gmi
Ab
Bb
Seventh chords
found
in the Scale} Cmi7
Dmin7b
Ebma Fmi7
Gmi7
Abma7
Bbmra7
This
scale is really the
major
scale
started from
the sixth degree.
That
is A
na tural
mi
no
r equals C
ma
jor.
The
questi
is does
that
knowledge
do you any
good?
What about
key signatures? Does A
na
tural m
ino
r
have
the same k
si
gnature
as C major? If it
does how
could
you
tell which
scale/tonality you
are playing in?
TH NATURAL MINOR SCALE IN MUSIC
NOT TION
~ y ~ . a
J JJ
JJ
IJJ J
f ) J
I I ~ JJ t r IEE U
[
J
fJ n U
r
CI U fJ J •
f3
J J
u
r r IFJ J
J
[ J J
llr
; J cr
fJ
I
r U
l i l a
..•.....••..•....
l
I I
I l
I I I I I
l
. -- · -
l l i l i i i i Eii
Try this scale over these progressions:
1
Ami7
Ami7 Dmi7 Dmi7 F G Ami7
Ami7 2 Am
i7 G
Fma7 Fm
/Ill' Ill/
/Ill
/Ill Ill/ /Ill Ill/ Ill
/Ill
Ill Ill Il
4
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THE H RMONIC MINOR SC LE
Sca le formula
from
Root
C c
D
b F
G
Ab B
c
1 2 b3 4 5 b6
7
Triads found in}
the Scale
Cmi Ddim
Eb
Fmi
G
A b
Bdim
Seventh chords }
fou
nd
in the Scale
Cmi ma7
Dmin7b5
Ebma7 5
Fmi7
G7
Abma7
Bdim7
THE
H RMON
I
MINOR SC LE IN MUSIC Ot TION
~
JM il
M
I
Jkq J
1
J
U rb: f£
IE
r
r: •R J
The best progression to help you get u
sed
to t
hi
s scales "new"
sound is
shown below
in two
keys .
1) Dmi7b5 G7(b9) Cmi Cmi 2) Bmi7b5 E7 (b9) Am i Ami
Ill/ Ill/
Ill/
Ill/ Ill/
Ill
Ill Ill
CHarm. Minor
A Harm . inor
15
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THE MELODIC
MINOR
JAZZ MINOR)
Scale fo
rmula
from Root C:
c
D b F G A B
1
2
b3
4
5
6 7
Triads
in the
Scale}cmi Dm
i
Eb+
F G A dim Bdim
Seve
nth chords
in the
S c a l e ~ m i
m a 7
Dm
i7
Ebma7 5
F7
G Am
i7b5 Bmi7b5
THE MELODIC MINOR
J
ZZ MINOR) IN MUSIC NOT TION
~ 1 n JJ JJ I fJ
JJ.n
J J Jo:JJ SE f I U u•R
J
~ •
iJo:J U
FJ
I E
F
U ,£3
J ;t
J
J
J
Ju
g I iJ
J JqfJ J
· · :fJoJ J
JJ
/ Z I T J<Jon_ f]G U t I ECF
t
J
.
.
. - ; '
This pr ogression should help you get the
so
und of th is scale . P lay C melod ic mi
no
r over the changes.
Dmi7 G
it
5 Cmi (
6)
Cmi 6)
Ill Ill Ill Il
l
16
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THE
H M
5 SCALE
Scale fo rmula from Root
C:
C
1
Db
b2
b
E
3
F
4
11
G
5
Ab Bb
b6 b7
#5
c
HM5 refers
to
the fact
th
at this scale was crea ted by playing the Harmonic Minor Scale (HM) from the fif
th
degre
instead of the first, thus rea rranging the sequ en
ce
of intervals. The HM5 is in effec t a mode of the Harmo nic M in
o
Scale.
THE H M 5 SC LE IN MUSIC NOTATION
~ ;,n
J
JoMJ l·i l
3J
JJ
J
Mn c'
1
1
1
C r U IIJ J
$
'&• tttr
n clr r r 1
L E FI
@ J bE
ot?n JlJsH
I
n J
-v
J
$
'&••g;; u a
at
a 1&&J n
iJJ 11
~ ~ , ~ ~ J n
ar
u
1
cru
JiJ
J
Th;s scal e is
the
first scale we re showing you that should be appli
ed
to one
chord e .
you re going to h
ave
to
change
as the c hords cha nge .
1) Gmi7 C b9 F
ma
7 Fma7
/ I l l I l l / I l l
I l l /
F Maj C
H M 5
F
Maj
2) Ami7
I l l
GMaj
D7
b9
I l l
DH M 5
Gm
i7
I
FMaj
b9
I l l /
CH M 5
Fma7
I l l
FMaj
Fma7
I l l /
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THE OVERTONE
DOMIN N
T SC LE
Scale formula from Root C: C
1
0
2
9
E
3
F G
4 5
11
A
6
13
b
b
c
The
overtone
dominant
scale is derived from playing
the
melodic minor scale from
the
4th
degree
.
We might want
to call it
Melodic
minor
#4 , but
it
has
an even
stronger
identifying
element than
that.
The notes
in this scale
approximate
the
natural overtone series.
THE OVERTONE DOMIN NT SC LE IN MUSIC NOT TION
~
J
~
J
MJ
l•fJJ@
J
1
J
~
U
1
U
1
1
U
E r
JJ
J
n •@
tr
b
I r
Q
iJ
J II
J
JJ J
u
1
U IqiJ JJ iJ J
~ · b
_ ;IJ
1
J
J ~ J J
l•iJ
)
J
I I ~
@ Uqi J
i
9
EF r ~
U J
This scale
can be
used with
dominant
family chords, especially
9#11 and 13 11,
where
it sounds
rich
and full
. Play
example below as illustrated.
Gmi7
C9 11
Fma7 Fma7
Ill
Ill Ill Ill
F
Maj
COver. F Maj.
Dom.
18
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THE ALTERED DOMIN NT SCALE
Scale
fo
rmula fr
om
Root C: C
Db Eb
Fb Gb b b c
1
b2 b3
b
#11 b6
b7
b #9
3 b5
#5
The Altered Dominant Scale gets its name from the fac t that it contains a ll of the alterations a domina
nt
7th chord
can
ha
ve
- b9,
9 b5 #5.
THE ALTERED DOMINANT SCALE IN MUSIC NOTATION
i
JoM
p
n
1 • f i M
3
J
UJ
J
I J
oJ
iJ
'E
'r
1
f J
I
1
E E
~ U
of
J
$ ;a
oJ
qJ
•er
1
r
r1 r•s- •4J
J
;,a
qJ
•ttr•
r
I
&l&J J
4 J
J
: p
J
g .# 3r r s ~ e ~
b
t ;w: J
RJ
ziJ
1 4J
J 1b;p
J
11 #c r r
c:·
- 1
c
cFJ get
O
. • ~ . JoM .a•er F l l
t:r•o
dS j I I ~ ~ · J J
IJ
iJ
·
dr lrJ I E PCJliD
H
• gr•
nt
ctr
b
l
'r'c'T: •@f J l e b ~ : M J J d i M J
1
iiJqJ
JqJP:J
' · · · · ·
j
&J
q
J•tt
t
•a
I
lil.J
J
&
;J
J
l ~ ~ i · # # J N
J
s@r
sr
F
I
P
HJ
I@
J
s
ca
le can be play
ed,
with c
ar
e ,
over
7b5 , 7 5 9b5, 9 5 7b9 7 tt9
7b9b5
7b9 tt5 and 7 tt 9 tt5 chords. You
ca
n
y
it
over a plain dominant 7 chord and add a lot of spic
e
Gm i7
C7b9
n5(etc.) Fmaj7 Fmaj7
Ill
Ill Ill Ill
F Maj C Alt Dam F Maj
9
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THE WHOLE TON SCALE
Scale formula from Root C: C
1
D
2
9
E
3
F# G#
A )
C
#4 #5 #6
#11 b
OK, the origin of the name of this scale isn't so difficult, I'll admit. The distance between each note and its neig
hb
or
notes is a . whole tone . How many different w hole tone scales are there rea lly? Three, four? Does the scale rep
eat
every few fret s?
THE WHOLE TON SCALE IN MUSIC NOT
TI
ON
t
J
~ P r p
r
i• M
J • •
J
J
:Jfii=at
F
I ~ P r ~ t r
J
J
~ .
a ~ f t J
1 f J ~ J
..
l b•
f
IGL LFCJ J
J
J
r
J
J
r;:
c
r#rvD
F
..
..,
-. ;-
~ b
I
FtW J
..
j
J
JO§E t
r
J
;
II
r:';
D
:
lcf r¢g
J
j
• @
C Whole
Tone
= D = E = F* = G = A# Whole Tone Scales.Cll Whole Tone= Dll = E (F)= G = A = B
Who
le
Tone
Sca
The Whole Tone Scale works well
ove
r
dom.
7
5
and
dom.
9#5 chords.
Gm i7
C9
5
Fma7
Fma7
I l l
I l l I l l
I l l
F Maj. C Whole F Maj.
Tone
20
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THE HALF WHOLE SCALE
Scale formula from Root C: C
1
Db
Eb
b9 9
E F# G
3 11 5
s
A
6
13
B
7
c
And yes, this scale is made by alternating half steps and whole steps between the
no
tes. (Measure 'em if
yo
u don t
believe me T his scale also contains 8 different tones instead of
7,
whi
ch
does turn the fingering around a little bit.
THE HALF WHOLE SCALE IN MUSIC
NOT TION
·
M JqJ Ccbu
I E'rtrb4J J I I ~ B ; ; J q J ; J t t c ~ r I JiJ J
~ m D
-it>J JqJ fiM
J
l ffl J
)&ffl: J
I I ~
c•r t¥"t
1
r
1
r
r
1
PC"CJ et
J
I Cr•t:r•ffi j l l ~ u ' J q J ; J i J f 3 r I'OPr:rdil J
&•ervlttrtrtr c •c•n
•cr
J
1 ~ h
h J #J q;AJ JJ l ~ ; o w
qJ
J
1
orp
3
s scale can be played over 7b9, 13b9,
13
11 ,
7
9
7 5, 7115b5,
9
and 7b9b5 chords. (It's another spicy cho
plain dominant 7 chords too.)
Gmi7
Ill
FMaj.
C7b9(etc .) Fma7
Ill Ill
C Half-whole F Maj.
21
Fma7
Ill
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THE WHOLE HALF SCALE
Scale
formula from Root C:
C
1
0
2
9
Eb
b3
9
F
4
F
G
#4 #5
11
A
6
B
7
c
OK. Th
is is
th
e
sca
le
yo
u
ju
st saw, started wi
th
the whole step first. I'll
admit that
.
Ho
w
many
different
version
s
o
this
scale
are there
rea lly? Does it repeat every tw o frets? Every th ree
or
four?
THE WHOLE HALF SCALE IN MUSIC
NOT TION
i
i
J J q J •
3iJ
I
0
SoJ
J.J&al
0
1
M• i •er
E
1
f
I
l
1
f
r
rtr
I
..
i: I
#
b t
b.
: F g ~ I
@
' J P J
~ J W 1 9 j
] f] JJ
I IIB
rgEJ
C
1
r
E I
E rs 11
~ . ~ .
J MJ•ttr rtf
I E g••B JJ I
. l l b ~ J ~ J , J • a r r
1
r
Clr
EJ•B=JQ Id
This scale is also known as
Diminis
hed
Scale because it co
tains the notes found in a dim
ished 7th chord: 1, b3, b5
bb7 6) .
C
0
7 =
Eb
= Gb
0
7 = A
CH
7 = E
0
7 = G
0
7 =
Bb
D
0
7 = F
0
7 = Ab
0
7 = 8
This scale fingering defin
it
ely requires so me shifts , and the scale
is
used well over diminished chords.
1)
Bma7 C
0
7 C mi7 f 7 2)
Cma7
CH
Omi7
G7
Ill Ill Ill Ill Ill Ill Ill Ill
B Maj . C Dim. B Maj. C Maj . C Dim . C Maj.
22
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THE JM
SC LE
Scale
formula from
R
oot
C: C
1
D
2
9
E
3
F
4
G b
Bb
5 b6
b7
#5
c
JM5 refers
to
the fact t
hat
this scale was created
by play
ing the Jazz Mi
nor
Scale
from
the fifth degree of the scale
inste
ad
of the first. thus
rearranging
the seque
nc
e of intervals. T he JM5 is in effect a
m
od e of the Jazz
Minor
Scale.
THE
JM
SCALE IN MUSIC NOT TION
~ J Jn i JoJl
I
•JJiL
3
n
J
n
F'
1
Ff I L
1
L U
J
This scale can be used over
7#5
and
9
chords , a nd contains few other a
lt
erations.
GMi7
FMaj.
C9 5
Fm
a7
I l l I l l
CJ.M.S
FM aj.
:23
Fma7
Ill
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THE
HM SC LE
Scale formula from
Root C:
C
1
D
2
b F
b3 #4
#9 #11
G
5
A
Bb
c
6
b7
13
HM4 refers to the fact that th is scale was created by
playing
the
Harmo
nic Minor Scale (HM ) from the fourth
degree instead
of
the first, thus rearranging the sequence of intervals.
The
HM4
is
in effe
ct
a
m
ode
of
the Ha
rm
onic
Minor Scale.
THE
M
SCALE IN MUSIC NOTATION
Once
again, we
have
a scale
tha
t con tains only
two
alterations, and functions with domi
nan
t chords;
7
9
7b5 ,
7
13
11
and
9b5.
Gmi7
I
FMaj.
C7
tt
9
tt
5
CHM4
4
Fma7
I I
FMaj.
Fma7
I I
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c
1
1
THE JM
SC LE
Db Eb
b b3
b9 9
Sca
le
formu
la
from Root C
F
4
11
G
5
5
A
6
13
b
b7
b7
c
JM2 refers to the fact that th is scale
was
created by playing the Jazz Mi
nor
JM} from the second degree instead of
th
e first,
thus
r
ea r
ranging the
sequ
e
nce
of
in
t
erva
ls.
The
JM2
sca
le
is
in
effect a
mode
of the
,Jazz
Minor
Scale.
THE
JM
SCALE IN MUSIC
OT
ATI
O
J&J n ;M I L
ME
J J1
on r
r
1
E I c r rpiiJ J
The scale can be played over the following chords C7b9, G b9,C13b9 and C7#9 . As before yo u can a lso play the
scale over plain Dominant cho
rds not
containing these altered sounds). Proceed as before.
Gmi7
C7b9 Fma7
Fma7
Ill ll Ill Ill
F Maj.
C JM2
FMaj.
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THE PLAIN Mi7b SCALE
(So called because the only alterations to the scale are the notes
tha
t spell a M7b5
lb3b5b7
.
Scale formula from Root
C:
C
1
D Eb
2 b3
F Gb A b C
4
bs
6 b7
TH
PLAIN Mi7b SCALE IN MUSIC NOTATION
This sca le works with
the
mi7b5 chord best of all. Try
the
example below .
1 Cmi7b5 F7 Bbma7
Bbma7
Ill Ill Ill Ill
C Plain
Bb
Maj.
6
2
Cmi7b5 F7 Bbmi7b5 Eb7
Il l
Ill Ill Ill
C
P
lain F Mix . Bb Plain Eb Mix.
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THE
H M
2 SCALE
Scale formula from Root C: C
1
Db
b
b b3
b9
#9
F Gb
4 b
11 #11
A
6
b
b7
b7
c
HM2 refers
to
the fact
th
a t
th
is scalewas
c
reated by play ing the Harmonic Minor Scale (HM ) from the second
degree of the scale
in
stead of the first, th us
rearra
nging the
seque
nce of intervals. T he
HM2
scale is in effect a
mode
of the Ha rmon ic Minor Scale.
TH
H M 2 SCALE IN MUSIC NOTATION
Once again
th
is
scale works with
mi7b5 chords
, bu t
it cont
ains
more alterations
(This is
my
favorite.)
Cmi7b5 F7
Bbma7
Bbma7
I l l I l l I l l I l l
C
HM
b Maj
7
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THE
JM
6
SC LE
Scale
formu
la from Root C: C
1
D
2
9
b
b3
F Gb Ab Bb
4
b5 b6
b
c
JM6 refers to the fact that this scale was created by pl
ay
ing the Jazz Minor Scale from the sixth degree of the
sc
ale
instead of the first, thus re
arranging
the sequence of interva ls. The JM6 scale is
in
effect a mode of the J
az
z M inor
Scale.
THE
SC LE IN MUSIC NOT TION
~ o J : : : ; ~ ~ : n Id i Ml
11
J
Jo:ISl•r
•r
1
fi
1
1
E c•rpR J
~
• fJ
.n @r r r I
1
'Pf j
p£J
J 11
a
a
J
J ~ r r ~ 11M
&J
01 ~ n J
~
•
1
'
iJ
J
J
o J
oJJ
I
J;j
oJ
hf
J
';;
J
dE
9
l
:f
I
E
11
C
F
tJ
J
J
J•JJl•ty:tJ 1
1
ECfj liJ j d
Anoth
er so
und
for mi7b5 ch
ords
- this time the scale
conta
ins a b6( 5)
as
well.
Cmi7b5
F7
B
bma7 Bbma
7
I l l I l l I l l
I l l
C 6
b
Maj.
28
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THE LOCHRI N SC LE
Scale
formula from
Root
C:
c
Db
Eb F Gb Ab
Bb
c
1
b
b3
4
b5 b6 b7
1
b9
#9
11 #11 #5 b7
Triads in the Scale}Cdim Db Ebmi Fmi
Gb Ab Bbmi
nth cnords in the Scale}
Cmi7b5
Dbma7
Ebmi7
Fmi7
Gbma7
Ab
Bbmi7
th chords
in
the
scale}
Db6
Ebmi6 Gb6
Ab6
B Lochrian has the
same
notes as C major. I just wanted to let
you
know .
THE LOCHRI N SC LE IN MUSIC
NOT T ON
JoJ n•J
1
J n l•h:J J Mp
J
J ~ > J • n r • r
f i
r ~ r _ p ~ J
mode of the Major Scale contains the most a ltera
ti
ons
yo
u can have over a mi7b
ch
ord . Th
is
is getting farther o
the mi7b chord is behaving as a chord .
i7b F7 Bbma7 Bbma7
Ill Ill Ill Ill
C
Lo
chri
an
Bb Major
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The following
table shows
scales that
might
be pl
ayed
over a chord . For each cho
rd th
e re
ar
e se
ver l
possible
sc les Each scale c
ontains
a slightly diffe re
nt
total grouping of sca le sounds C
om
pa re
each
of
th
e scales
to the
chord . JM7 =
Altered Dominant
C7b9
C
Db
E
R b9
G
5
Bb
b7
c
c
c
c
c
c
c
Db E F
Db
E F
Db Eb F
Db
Eb
F
Db
Eb
F
Db
Eb
F
Db
Eb
Fb
G A
Bb
G Ab Bb
c
c
c
c
c
c
c
C13b9 Sc
ale
HMNS
G A
Bb
G Ab Bb
Gb
A Bb
Gb Ab Bb
Gb
Ab
Bb
7b5 (9b5 ) [9#11) (13#11)
C E Gb Bb
R bS b7
C D E
N
G A
Bb
:9bsJ[
9Nl J
c
JM2
Phrygian
HM2
Lochrian
JM7
JM4
C D E N
GN
Bb
C
b7
Whole Tone
R 9
bS
C Db Eb F
Gb
Gb
A
Bb
C
Ab Bb C
HM2
JM6
Lochrian
JM7
C D Eb F
C Db Eb F
Gb Ab
Gb
c
c
Db Eb Fb
Ab
Bb
c
R
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
E
3
Gb
Bb
Db
bS b7 b9
Db
Eb
F
Db
Eb F
Db
Eb
Fb
Db
Eb
E
Gb A Bb C HM2
Gb Ab Bb C Lochrian
Gb Ab Bb C JM7
N G A
Bb
C
l
f
Whol
e
E
D
Eb N
D
Eb
F
Db Eb F
Db
Eb
F
Gb
G A
Bb
C
Gb Ab Bb C
Gb
A Bb C
Gb Ab
Bb C
Gb Ab Bb C
DN/
Eb
Db
Eb
Fb
Db
Eb
E
FN
G A
Bb
c
The Major Scale
and Its
modes
D
D
Db
b9
D
D
D
Db
b9
E
Eb
b3/ N9
Eb
N9/
b3
E
E
Eb
b3 /
N9
Eb
N9
/ b3
F
F
F
N
Nll / bS
F
F
F
4
G
G
G
G
G
G
Gb
b5/
Nll
A
A
Ab
b6
/ N5
A
A
Ab
#5/ b6
Ab
b6 /
N5
HM4
JM6
HM2
Lochrian
JM7
1
h
Whole
8
Bb
b7
Bb
B
7
Bb
b7
Bb
b7
Bb
b7
c
c
c
C'
c
c
c
30
c
E
DN
/
Eb
3 #9
C D
Eb
C D
Eb
C
Db
Eb
C D
Eb
C
Db
Eb
C
Db Eb
C
Db Eb
C Db
Eb
C
Db
Eb
[9#5)
C E
R
F
F
F
Fll
F
F
F
F
Fb
c
c
c
c
c
c
c
c
D E F
Db E F
D
Eb
F
D Eb F
Db
Eb
F
D E F
Db Eb F
Db Eb Fb
C7b9N5
C E
R
C Db E F
C
Db Eb
F
C
Db
Eb
F
C Db
Eb Fb
9N
c
R
c
c
c
c
c
E
3
D Eb
Db Eb
D Eb
Db
Eb
Db
Eb
F
F
F
F
Fb
C Major Scale
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Loehr
an
G
5
Bb
b7
G
G
G
G
A
A
A
Bb
C
Ab
Bb
C
Bb
C
Bb
C
Bb
C
b Ab
G Ab Bb
Gb
A Bb
Gb Ab
Bb
Gb Ab
Bb
Gil Bb
b5
b7
c
c
c
D
G
Ab Bb
C
G Ab
Bb
C
G
Ab
Bb
C
Gb Ab Bb C
G Ab
Bb
C
GN
Bb
C
Gb Ab Bb C
Gb Ab
Bb
C
G
Bb
#5
b7
G Ab
Bb
C
G
Ab
Bb C
Gb
Ab Bb
C
Gb Ab
Bb
C
Bb
5 b7
G Ab Bb
G Ab Bb
Gb Ab Bb
Gb Ab
Bb
Gb
Ab
Bb
c
c
c
c
c
Db
b9
Dorian
Aeolian
JM2
HM4
JM6
Phrygian
HM2
Lochrian
JM7
JM5
HM5
Aeolian
JM6
Phrygian
Whole
T
Lochrian
JM7
HM5
Phrygian
Lochrian
JM7
DN
/
Eb
9
Aeolian
Phrygian
JM6
Lochrian
JM7
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1.
Harmonic
Minor Scale and its modes.
c
D Eb
F
G
Ab B c
C
Harmonic Minor
3/
9 b6
/
5
7
c Db
Eb F
Gb
A Bb
c
HM2
b9
b3
/
9 b5 b7
c D E F
G t ~
A B
c
HM3
5
7
c
D Eb
F
G
A Bb
c
HM4
b3
/
9
l l /
b5 b7
c Db
E F G Ab Bb
c
HM5
b9 b6
/
5
b7
c
ll
E G A B
c
HM6
9
ll/b5 7
c Db
Eb
Fb
Gb
Ab
Bbb HM7
b9
b3/ 9 3 b5/ ll b6/ 5
6
2.
Melodic
Minor Scale and its
modes
.
c
D Eb F
G A
B
_C
C Melodic Minor
b3
7
c Db Eb F
G
A Bb
c JM2
b9 b3/ 9 b7
c
D E
F
G
A B
c
JM3
Nll/ bS
5
7
c
D E
F
G
A
Bb c JM4
ll
b7
c
D F
G
Ab
Bb c JM5
b6/ 5
b7
c
D
Eb
F
Gb
Ab Bb
c
JM6
b3/ 9 b5/ ll bb/ 5
b7
c
Db Eb Fb Gb Ab
Bb
c
JM7
b9 9
/
b3
3
b5
/ ll
5
/
b6 b7
Possible chords:
C7b5
C7N5
C7b9
C7
N5b5
· · · · · ·
C7N9N5b5 C7N9b5 C7b9b5 C7 9 5 C7 9 5b5
811 311 311 3ml
/ftD
C7b9
Cl3b9
C7b9b5 Cl3Nll C7N5b5
amm 8tmi
miD
~ ~
31
w.
mm
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