A Complete Guide for the Guitarist and Keyboardist
i
Produced by for
L w.
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65 Bleecker Street. New York, NY 10012
Copyright @ 1996 by Carl Fischer, Inc. All Rights Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved including performing rights. WARNING! This publication is protected by Copyright law To photocopy or reproduce by any method 1s an infringement of the Copyright law Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments lor each infringement. Printed in the U S A
ISBN 0-8258-2679-9
CONTENTS HOW TO USE THE SCALE SECTION .................................................................. 1 THE BUILDING BLOCKS OF MUSIC ..................................................................... 2 SCALES AND MODES ........................................................................................... 5 MODES AND RELATIVE SCALES ...................................... .....:.............................. 8 PATTERNS AND FINGERINGS .............................................................................. 9 INTERVALSAND INSTRUMENT ............................................................................12 7. 5. 6. & 8 T O N E SCALES ..................................................................................... 13 7 TONE SCALES MAJOR ..................................................................................................................... 24 MELODIC MINOR .................................................................................................... 32 HARMONIC MINOR ................................................................................................34 HARMONIC MAJOR ................................................................................................36 HUNGARIAN MINOR .............................................................................................. 38 HUNGARIAN MAJOR ...... .......................................................... 40 NEAPOLITAN MINOR ............................................................................................42 NEAPOLITAN MAJOR .......................................................................................... 44 ENIGMATIC MINOR ................................................................................................ 46 ............................................................................. 48 ENIGMATIC ........................ ....................................................................... 50 COMPOSITE 11 ................... IONIAN b5 ................................................................................................................52 LOCRIANb7 ............................................................................................................. 54 PERSIAN ................................................................................................................ 56
5 TONE SCALES MINOR PENTATONIC (BLUES SCALE) .............................................................. 58 KUMOI .................................................................................................................... 60 HIROJOSHI .............................................................................................................62 6 TONE SCALES WHOLE TONE .........................................................................................................64 AUGMENTED .......................................................................................................... 66 68 PELOG ..................................................................................................................... DOMINANT SUS .....................................................................................................70 8 TONE SCALES DIMINISHED ...........................................................................................................72 8TONE SPANISH ................................................................................................... 74 BEBOP LOCRIAN b2 .............................................................................................. 76 BEBOP DOMINANT ................................................................................................ 78 BEBOP DORIAN ..................................................................................................... 80 BEBOP MAJOR ...................................................................................................... 82
CONTENTS continued HOW TO USE THE CHORD SECTION ................... CHORDS & NAMING ................ POLYCHORDS .......................... SLASHCHORDS ......................... SUBSTITUTIONS........................ COMPATIBILITY ........................ INVERSIONS ............................. ARPEGGIOS .............................. 3 & 4 NOTE CHORDS:
sus
5 NOTE CHORDS: 9 .................................................... 140 -9 .................................................... 142 b9 ....................................................144 Ç .................................................... 146 A9 .................................................. 148 -A9 ................................................. 150 A b 9 ................................................ 152 -Ab9 ................................................ 154 AÈ ................................................. 156 ALT (b5 $9) .................................... 158 ALT (b5 b9) .................................... 160 ALT ($5 b9) .................................... 162 ALT ($5È9 .................................... 164
.............................................. 6 NOTE CHORDS: 11 .................................................... -1 1 .................................................. $11 ..................................................
7 NOTE CHORDS: 13 .................................................... 182 -13 .................................................. 184 13#11 .............................................. 186 -13#11 ............................................. 188 A13 ................................................. 190 -A13 ................................................ 192 ~ 1 3 ~ 1............................................ 1 194 -A13^11 ........................................... 196
NUMERIC ANALYSIS SCALES .......... 198 NUMERIC ANALYSIS CHORDS ........ 200 POLYCHORD FORMULAS ................ 202
HOW TO USE THE SCALE SECTION The first section of this book deals with scales. The scales are divided into 7 tone, 5 tone, 6 tone, and 8 tone groups. Each scale consists of a title page and an interval map page depicting that particular scale's usage in all 12 keys. Diagrams are used for visualization instead of notation. Each title page contains various charts. The charts are your tools in analyzing modes, compatible chords, keyboard fingerings, and modal generation charts. Guitar and bass fingering patterns are also included.
TITLE PAGE -"c.."-..,-*m.
-..-..-"".
I
11 El I V
v
VI VII
SCALEIMODE- CHORDCHART
V
MIXOLYDIAN
7 9 11 13
VI
AEOUAN
7 -0 11
VII
LOCRUN
9
VII
NUMERIC SCALEIMODE CHART
NUMERIC SCALE / MODE CHART Before we start with the scales, we will show you how each section of the title page works. The first section we will explain is the Numeric Scale /Mode chart at the bottom of the page (fig. 1). The Scalernode - Chord Chart will be discussed in the Chord Section.
THE BUILDING BLOCKS OF MUSIC Music is sound. But for now imagine that it is a set of 12 equal blocks (fig. 2). The distance from one block to the next block is a half-step. From block 1 to block 2 is a half-step, from 8 to block 9 is a half-step, etc..
fig.3
fig.2
7 of these 12 tones or blocks have been given positions of "major" importance (fig. 3). Looking at the diagram we only see 7 numbers, but there are still 12 tones or blocks. The empty blocks are reserved for flats b and sharps # . The distance from block 1 to the lstempty block is still a half-step. The blocks that are numbered are the tones that make up the Major scale. The various combinations of half-steps are called intervals. Basically, an interval is the distance between 2 tones. The names of the intervals are then divided into 2 sets: the majors and the perfects. The majors are 2,3,6, and 7 ;the perfects are 1,4,5, and 8. 1 would be a unison, such as 2 instruments playing the same note. An 8 would be the octave. Altering the intervals with flats or sharps changes them from major and perfect into minor, diminished, and augmented (fig. 4).
fig.4
In essence:
Flat a major - get a minor Flat a minor - get a diminished * Flat a perfect - get a diminished
Sharp a major - get an augmented Sharp a perfect - get an augmented
The entire set of major and perfect intervals are called diatonic intervals. Let's look at an easy way for memorizing interval distances by counting the amount of blocks. There are 12 building blocks within the major scale. Therefore, an interval has to consist of so many building blocks. We'll demonstrate first with a major 2nd.There are 3 blocks in a major 2nd (fig. 5), but the distance from the 2 to the 3 is also a major Pd(fig. 6).
6g.5
fig.6
Fig. 7 is a complete chart of intervals showing you a breakdown in building block format. Also observe, the chart tells you how many half- and whole steps make up each interval.
1 BLOCK = UNISON .............................................................................. (0 STEPS)
[TI
I 1 1
1
...................................................................(+STEP) BLOCKS = MAJOR 2" .................................................. (1 WHOLE STEP) 4 BLOCKS = MINOR 3" ....................................................... (14 STEPS) 5 BLOCKS = MAJOR 3" ......................................(2 WHOLE STEPS) 4 6 BLOCKS = PERFECT 4TH ..........................................(24 STEPS) b5 7 BLOCKS = DIMINISHED 5TH ....................(3 WHOLE STEPS) 5 8 BLOCKS = PERFECT STH ................................(3k STEPS)
2 BLOCKS3
1
1 1
MINOR2ND
b6
1
9 BLOCKS = MINOR 6TH
1
.........................(44 STEPS) MINOR 7TH..........(5 WHOLE STEPS)
10 BLOCKS = MAJOR 6TH
6
1
....................( 4 WHOLE STEPS)
11 BLOCKS =
b7
7
1
I
12 BLOCKS = MAJOR 7TH .................(5t STEPS)
Now let's look at all the individual components of the major scale in building block breakdown (fig. 8).
MAJOR 2ND...... MAJOR 3RD
....(2 WHOLE STEPS)
PERFECT 4TH ............. 5
PERFECT STH ............(34 STEPS)
1
MAJOR STH................(4k STEPS)
1
...... MAJOR 7TH ................. (54 STEPS)
We can clearly see here the individual intervals. We have a 2nd,3rd,4th,Sh, 6th,and 7th.With the block diagram we can also see exactly how many steps make up each interval. Using the same building block breakdown method, we can also analyze the intervallic relationship between the intervals themselves.
Fig. 9 clearly shows us the distance of the intervals from the intervals. For instance, from the major 2ndto the major 3rdis a major 2ndor a whole step. From the 3rdto the 4this a minor 2ndor a half-step, etc.
1 1
121
13141
151
161
171 .
...... .
.
MAJOR 2'4' .,..............(1 WHOLE STEP) MINOR 2NQ ...............................
.
................( 1 WHOLE STEP) .............. ....... MAJOR 2NQ ............... 'MAJOR 2ND MAJOR 2NQ
fig.9
In studying the altered intervals, many of them wi sonically, they are the s g. 10).
per and in theory, but
fig. 10 Notice the numbers to the right of each set above are different between the upper and the lower, yet each has the same number of blocks. The minor 3rdis the same as the augmented 2nd,the diminished 5this the same as the augmented 4th,the minor 6this the same as the augmented Sh, and the minor 7this the same as the augmeted 6th.
In the next example, the diminished 7th(a double-flat 7&)is the same as the major 6thin sound; although in theory, they also are two very different intervals (fig. 11).
fig. 11 The complete group of intervals which make up the scale, in this case the Major scale, can be theoretically repeated infinitely in both directions; although, in practice there are only so many octaves the human ear can hear (fig. 12).
This is the mathematics of music theory. It is important that you memorize the numerics behind the building blocks, in order to form a solid foundation for your musical creations.
SCALES AND MODES A scale is a sequence of tones comprised of varying intervals. Modes can be described as scales based upon the tones of the main scale. The Major scale has 7 modes, because it has 7 tones. The lst mode of any modal system is the scale itself. For many scales, the individual modes have been given names because they are used as scales themselves. The modes of the Major scale are the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The Major scale is the Ionian mode (Major scale = Ionian) . Of all the scales, the Major is the only one that has a different name for the lst mode. The I1 mode of any scale is based upon the 2ndtone of the main scale, in this case the Major scale. A mode uses the exact tones of the main scale; however, what was a 2 becomes a 1, what was a 3 becomes a 2, etc. (fig. 13). 1
2
3
4
5
6
7
1
1
2
b3
4
5
6
b7
2
3
4
5
6
7
fig. 13
The process then continues for the other modes. For the 111 mode, the 3 becomes the 1, the 4 becomes the 2, etc. (fig. 14). 1
2
3
4
5
6
7
1
2
1
b2
b3
4
5
b6
b7
3
4
5
6
7
fig. 14
For the IV mode, the 4 becomes the 1, the 5 becomes the 2, etc. (fig. 15). 1
2
3
4
5
6
7
1
2
3
1
2
3
$4 5
6
7
4
5
6
7
fig. 15
For the V mode, the 5 becomes the 1, the 6 becomes the 2, etc. (fig. 16) 1
2
3
4
5
6
7
1
2
3
4
1
2
3
4
5
6
b7
5
6
7
fig. 16
For the VI mode the 6 becomes the 1, the 7 becomes the 2, etc. (fig. 17).
1
2
b3
4
5
b6
b7
fig. 17
For the VII, mode, the 7 becomes the 1, the 1 becomes the 2, the 2 becomes the 3, etc. (fig. 18). 1
fig. 18
2
3
4
5
6
7
1
2
3
4
5
6
1
b2
b3
4
b5
b6
b7
7
As you can see in all of the examples above, every mode has 7 tones; however, it has some kind of a 2, some kind of a 3, some kind of a 4, etc.. In other words, though you are using the same tones, the numeric value changes when you shift the tone center - that is the tone which you now designate as 1.
At the bottom of the title page of each scale, the relative relationship of each mode to the main scale is graphed out for you along with the numeric formula for each mode (fig. 19).
NUMERIC SCALE / MODE CHART
I I1 Ill
IV
v
MIXOLYD.
VI
AEOLIAN
VII
LOCRIAN
4
1
2
3
4
5
6
b7
4
1
2
b3
4
5
b6
b7
f
1 b2
b3
4
b5
b6
b7
fig. 19
In the case of some of the exotic scales in this book, you weird combinations Also note some for the numeric anaysis of the modes such as double flats and do of the modes don't have names, they are merely called mode 11, mode 111, etc. (fig. 20).
.
NUMERIC SCALE / MODE CHART
I
ENIGMATIC
11
MODE2
Ill
1 1
b2
3 3
A
1
A
MODE 3
--
IV
MODE4
V VI
MODE5 MODE6
VII
MODE 7
2
--
5
4
6
7
95
96
92
93
#4
~5 96
1
2
3
--
-.
A b2
1 1
84
A
1
7 7
3
84
95
2 b2
-------
3 3
4
5 94
95
94
5
b6 ?7
3
4
b5 B6
7
2
b3 b4 lk5
b6
b7
1
b2 lk3 b4
b5
b6
b7
1 b2 h3
4
5
6
t 86
7 7
6 86
7
1
7
fig.20 The numbers above the graph will always be the Major scale numbers, so you can see how the new scale and its modes relate to the Major scale. There is actually only 1 scale, the Major scale and its modes. All other scales can be thought of as derived modes which also have modes. This may be a bit confusing at first, but an interesting thought to ponder. For the sake of simplicity, they will be called "scales" in this text.
As you study the numeric formulas for each scale or mode, there is a simple 4-Step system which will help you in understanding how the tones become flats or sharps. The three examples in fig. 19 demonstrate the application of this 4-Step rule. When you compare your tones to the Major, the number of boxes to the left or right of the original tone decides whether standard flats and sharps or double flats and sharps - are used. 1box over is a standard, 2 boxes is a double (fig. 21).
THE 4-STEPS: MARK where the tone falls NUMER tone positions: 1-7 COMPARE to major scale pattern ADD b / 9 symbols when needed
PHRYGIAN X
X
X
X
1 ?2
?3
?4
?5 ?6
1
ç--
4
5
X
4-2
1 1 1 b2 I
1 b3 1
1 4 1
X
+=
6
1 5 1 b6 1
X
1) MARK where the tone falls
?7
2) NUMBER tone positions: 1-7
3) COMPARE to major scale pattern
+-7
1 b7 1
1 4) ADD !J / 8 symbols when needed
ENIGMATIC MODE I11 X
X
X
X
?2
?3
?4 ?5 ?6 ?7
2
3
2
3
4 -+ 5
X
X
1) MARK where the tone falls
6--
ç-
2) NUMBER tone positions: 1-7 7
3) COMPARE to major scale pattern 4) ADD b / 9 symbols when needed
94 5 b6 *7
fig.21
1
MODES AND RELATIVE SCALES MODE GENERATOR CHART
Scales and modes are the foundation of your composition and improvisation. Modes are treated as scales. Just as we can change the pitch of the main scale, in order to play in one of the 12 keys, the same concept or principle can be used when using a mode. The mode generator chart of each title page will show you the main scale equivalent for each mode (fig. 22).
c
The concept and principles behind The Quick Mode Generator Chart are the same regardless of what instrument you play. The letters in column I indicate the pitch of the starting point. In other words it tells you what key you are in. The other columns tell you what key the relative scale is in. Column I also denotes the key for the keyboard patterns to the left.
0
1
DORIAN
1
-7 -9
m
PHRYGIAN
7
IV
LYDIAN
A 111
V
7 9 11 13
MIXOLYDUN
VII
Let's demonstrate this below with a G Mixolydian (fig. 23). The Mixolydian is the V mode of the Major scale. Beneath column I we go down to the G, because that will be our starting pitch or key. Over to where it meets column V we come to a C, therefore, if we are playing a G Mixolydian we are actually playing a C Major with the root note shifted to the G .
fig.22 QUICK MODE GENERATOR CHART KEY
I
The modes of the Major scale are mapped out for your convenience.
f
Step 1 Place left finger on desired key in column I. Step 2 Place right finger on column of desired mode (in roman numerals at the top).
Step 3 Run fingers across and down until they meet. The point where they meet is the relative scale.
It's as simple as 1 - 2 - 3 ! fig.23
MODE
I1
I11 I V (^ V I VII
PATTERNS AND FINGERING On every title page, you will find a set of right handed keyboard patterns. The key follows, designated by column I of the Quick Mode Generator Chart (fig. 24). The patterns do not always start on the root note, because of the keyboard's design. On the interval maps white circles represent the notes in the scale. Numbers inside the circles are the intervals. Scales are fingered by breaking them up into 2 , 3 , and 4 note groups. How we devide up the groups is based on a system we will call the "Rule Of Thumb" method.
PATTERN
KEY MODE OEHEMTon CH*HT
............................................... .. .. .. .. ..
..
..
.. .. .. .. ..
;.............. ..!..:..:::..:..:.:::.;-. ..:..;,....!,-....,...-........................................... i..: ....:........ : ; 5i-i ; : ' : :.....:.;.,.. . . . . . F 1 ~b ~ c à ‡ / DC~ 1 Bb 1 Ab [FI/Q< .................................. ................................ J.......J .......J........ .a
fig.24
The "Rule Of Thumb": thumb always plays a white key. Visually inspect the interval map and see where groups are naturally formed. Right and left hand thumb-patterns work in opposite directions, due to the position of the thumbs. The thumb plays the first tone and the remaining fingers fall automatically into place (fig. 25).
LEFT HAND
THUMB-PATTERNS
RIGHT HAND +
I = Index finger M = middle finger R = ring finger, either hand
THUMB-PATTERNS
...........................................................................................................................................................................................................................
HOW TO CONNECT THUMB-PATTERNS
fig.25
Learn each hand separately before putting them together. Remember fingerings don't always start on the root note. To play more than an octave repeat the process. To complete an octave for the right hand use the consecutive finger; for the left hand start with the prior finger. The following pages show the remaining keys of the Major scale fingered with the "Rule of Thumb". By studying these pages you will be able to apply this method to finger any scale.
T =THUMB
I = index finger
M = middle finger
R = ring finger, either hand
C# /Db MAJOR
D MAJOR
*
D MAJOR
Eb MAJOR
E MAJOR
F MAJOR
*
F MAJOR
F#1 G MAJOR
I
I
I
I
I
I
F $ /G MAJOR
*
The Left Hand Fingerings vary slightly from accepted traditional fingerings. The L.H. Rule Of Thumb method is designed to give the guitarist instant access for sequencing.
T
MAJOR
*
=THUMB
I = index finger
M = middle finger
R = ring finger, either hand
1
A MAJOR
Bb MAJOR
B I Cb MAJOR
G
MAJOR
Exception to the Rule: Enigmatic Key of D
fig.26
*
The Left Hand Fingerings vary slightly from accepted traditional fingerings. The L.H. Rule Of Thumb method is designed to give the guitarist instant access for sequencing.
INTERVALS AND INSTRUMENT Now that we've learned about intervals, the building blocks of music, let's see how they tie into our instrument. We are going to take two octaves of the intervals which make up the Major scale and see how they match up to the keyboard in the key of C. The blocks which form the Major scale align with the "white" keys (fig. 27).
To change keys shift the pitch of the starting note, in other words shift the mathematical formula to the appropriate pitch or key. In this case the formula is the Major scale. On the Interval Map pages the numbers in the white circle show you the numerics (1,2,3,4,5,6,7) for all 12 keys. The key is stated next to each keyboard digaram. It will benefit you greatly to memorize the numerics of all 12 keys. Until then we have laid each key out for use as a reference tool. Pitches never change, as can be seen in the Pitch Indicator Chart below (fig. 28). I
PITCH INDICATOR CHART
sharp t
flat b
fig.28
12
-
7 , 5 , 6 ,& 8 TONE SCALES 7 tone scales are the basis for all scales.
PENTATONIC SCALE FORMULA CHART The tones or numbers left are "generic" meanin the could be either b h. Ex. b2 È $2 "2 2 The X indicates delated scale tones. All combinations with alterations would make 96 such charts.
A 5 tone scale, otherwise known as a pentatonic scale, is a 7 tone scale with 2 tones omitted. By a process of elimination, 15 pentatonics can be derived from any 7 tone scale. Fig. 29 turns any 7 tone scale into a pentatonic. Whereas 7 tone scales are fingered in 3 & 4 note groups, pentatonics are fingered with 2 & 3 note groups.
?
Step 1
Step 2
6 tone scales are 7 tone scales with 1 tone omitted. Their fingering is 3 & 3 or 2 & 4 note groups.
t
Pick any 7 tone scale or mode. Delete any 2 tones.
x x x
x x x
AUGMENTED SCALE FORMULAS
fig. 29
The most popular 6 tone scales would be the Whole- Tone and the Augmented Scale. Fig. 30 presents a method for creating augmented scale formulas based upon the Augmented Chord: 1 - b3 - 85. 3 tones are added to the chord, making 6 tone scales. Add 1 tone to a 7 tone scale to make an 8 tone scale. Use 4 & 4 note groups or 2,3, &3 note groups. During the bebop era popular 8 tone scales were named bebop scales.
DIMINISHED
-
SCALE FORMULAS
The X along with the numbers indicates tones to be PlayedThe Augmented scale: * Is the most common of ail scales listed.
fig. 30
Similar to fig. 30, fig. 31 creates diminished scales from the diminished chord: 1 - b3 - b5 - b7. 4 other tones are then added to the original 4, making 8 tone scales.
.
The X along with the numbers indicates tones to be played. e scales Half-Whole Diminished: H I W & Whole-Half Diminished:W I H are the most common diminished.
fig. 31
HOW TO USE THE CHORD SECTION The chord section is divided into chord groups. The groups are 3 tone, 4 tone, and polychords (5, 6, and 7 tone chords). Each 3 and 4 tone chord consists of a chord derivative page and an interval map page (fig. 32). The interval maps are set up the same as in the scale section.
INTERVAL MAP
CHORD DERIVATIVE CHART
. M (MAJOR)
c dim
-
HINDU V MELODIC QIANt3 V HARMONIC MINOR AN I 2 - V I HARMONIC MINOR HARMONIC MAJOR . .- - .... . ........... DOMINANT t2 - V HARMONGUANH
-
-
DOUBLEDIARMONIC V HUNGARIAN MINOR
-
4' I 6 I 2 VI HUNGARIAN MINOR 15*7
-
VIIHUNQARIAN MINOR
HUNGARIAN MAJOR . 8
-
.-
IIN W O L K A N MINOR
Z VI NEAPOLKAN MINOR OR
-
N NEAPOLITAN MAJOR
UATIC MINOR MODE Ill qIQMATIC MODE Ill 'IIQMATIC MODE N COMPOS~EI1 MPOSIE I1MODE 111
-
N IONIAN È
.YDIAN 12
ONIAN 16 IILOCRWH7 MINAKT 12 VI LOCRIANU7 PERSIAN MODE I1
-
PENTATONIC I1MINOR PENTATONIC AUGMENTED PELOQMODE VI DOMINANT BUS MODE Ill
Every chord in the polychord section has a page which translates polychord formulas into slashchords readily usable for all 12 keys plus the usual interval map page. The charts are your tools. in analyzing how chord voicings are derived and how they work.
A basic understanding of chord mathematics is necessary to derive the utmost benefit of this book.
CHORDS We have already studied intervals. An interval is the distance between 2 tones. Therefore, let's define a chord. A chord is 2 or more intervals played simultaneously.
A basic chord "formula" for building chords is to use every other tone of the scale you are in. For example, a Major chord would consist of 1 - 3 - 5. A Major 7thchord would be 1 - 3 - 5 - 7. Using the building blocks format compare the Major scale, the Major chord, and the Major 7th chord (fig. 33). Major Scale Major Chord Major 7th
2
, ,
3
4
5
3
5
3
5
6
7
I 7
fig.33
CHORD NAMING SYSTEM In order to fully understand the numeric formulas, you first have to understand the chord naming system in this text. Certain rules or guidelines help the musician when communicating with other musicians. Once you fully understand music theory, you'll understand all naming systems. We feel that the system in this book is the most effecient ifusedp~apes'7y-
In the chart (fig. 34) there are 7 symbols. The 7 symbols are used to denote the status of specific tones within the chord. The flat and sharp symbols are used when altering any other tones. Some systems will use - and + as flats and sharps. Although this is not incorrect, we have found it more systematic to use them as represented in the chart below. Memorize these symbols and the tones they represent, as they will be your best friends when dealing with chords. RESULT
DENOTES STATUS OF
same b b
extra b
NAME
MINOR AUGMENTED DIMINISHED DELTA DOMINANT HALF-DIMINISHED DIMINISHED 7TH
EXAMPLE AND FORMULA
As you study the Numeric Analyis Chord Charts at the back of this book, notice some of the lar er chords have 6 or 7 tones. Using two octaves of the Major scale, we can see that a 9th,an 11Si,and 13thare actually a 2nd,4th,and 6threspectively using the every other note process (fig. 35).
fig.35 Before we continue let's analyze the naming of the larger chords. What we have in fig. 36 is some kind of 13thchord. The letter tells us what pitch the " 1" (root note) of our formula is on. The A (delta) tells us that it's a Major 7thchord. The + tells us to raise the Stha half-step, as in 1 sharp: and the 1 3 is~flat. ~ The chord is an E flat delta augmented, flat 13. Study the names of the chords in relationship to the formulas in the numeric chord charts,
NUMERIC FORMULA
............................... .....-........--......
fig.36 Comparing the diagrams of the C Major scale and the CAI3 in fig. 37 we can see that the 9th, 1lth,and 13thare actually a 2nd,4th,and 6thas both diagrams are identical. So, the CAI 3 chord of the second octave gives is in reality the same as the C Major scale. Using the 2nd,4th,and the chord a different texture - and a new realm of exploration.
fig.37
POLYCHORDS Playing the larger chords can be cumbersome sometimes. The way to simulate large chords is with polychords. In other words, use several smaller chords to make one big chord. The word bbpolychord"simply defined is more than one chord combined to make one complex chord. Let's look at a 1 3" chord with building blocks (fig. 38).
fig. 38 Now let's look at 1 possible polychord formula (there could be several) and analyze the equation. To the left of the equal sign is the chord name. On the right side of the equal sign it tells us to play a delta augmented over the root at the flated 7th (fig. 39).
1
A+ fig. 39
Let's see what this chord represents (fig. 40): 13"'
1 11
5
3
t ROOT
fig. 40
A+
b7
9
$11
13
I
I
I
I
1
3
)t 5
7
Placing the 1 of our A+(delta augmented) at the dominant 7thfrom the root, we see that the tones are the tones of our desired chord. 1381 1 -fig.41 Therefore we have simulated our 13"'. Now let's look at the same 9 chord except with a different polychord formula. The capital M is a Major triad over the root at the 9&.It looks like this: fig. 41 and fig. 42. You could also place the Major triad on the 2nd,since the 2ndis also a 9th(fig. 43 and fig. 44). The result would also be the sape.
-
t ROOT
1
ROOT I 13'''
1
fig. 42 #4=#11
2=9
M
b7
I
I
I
1
3
5
The bass player will usually play the root note, while the keyboard or guitar will play the 3 or 4 tone chord at the appropriate interval. The formula for polychords is depicted in the chart, fig. 45.
I
I
1
3
5
9
$11
13
6=13
5
3
11
M
I
1 3 Ã ˆ l =-
fig. 43
POLYCHORD FORMULA
M
fig. 44
0
^on7\,, TONE
fig. 45
ThePolychord Formulas chart at the back of this book does not contain every possible combination of polychords, but there is more than sufficient data to get you started.
SLASHCHORDS Another way of looking at the larger chords is by a method known as slashchords. A slashchord receives its name from the slash symbol used between the root and the chord. An example is By applying the Polychord Formula (fig. 45) we will demonstrate the mathematical synthesis of the A9 and A1 1. The A9 can be broken down into two different polychord formulas as shown in fig. 46. Let's see what this translates i n t o when using pitch.
Gg. 46
If C is the tone we place the root of our formula on, in this case the A9 , then the tone of the synthesis formula immediately below would start on an E and on a G. Therefore the slashchords for the formulas in fig. 47 would be:
CA9 = E-7 1 C CAg=G/C
fig.47 This means that you play an â ‚ chord over a C tone or a G major chord over the C. Both of these are equivalent to the A9. Fig. 48 is another slashchord example using the A1 1.
C
D
1
-b9 All = -
E
G
F
B
A
C
D
E
F
3
5
7
9
11
I
I
1
I
I
b3
5
b7
b9
I
I
I
I
1
3
5
b7
I
I
I
b3
b5
3
7 All = 5
A11 =
0
-
fig.48
18
= E-b9 /
C
=Q7/C
=BO/C
Let's take a A13 and find a polychord formula (fig. 49) then convert it to a slashchord formula. C
E
G
B
D
F
A
1
3
5
7
9
11
13
0
CAI3 = Ba / C SLASHCHORD
A13 = -
7
I
I
b3
1
t
b5
I
b7
POLYCHORD
fig.49 The slashchord formula for the polychord above is BO1 C . Start by playing a B0 which would be a 1- b3 - b5 - b7 . Without moving the BO play it over a C note. Let's analyze what the BOfingering becomes on a CAI3 interval map. What was a 1 on the BOinterval map is now the 7 on the C A I 3 interval map. What was b5 now becomes the 11 and what was the b7on the B0 is now the 13th,what was the b3 is now the 9th (fig. 50).
IÑb3-b5-b
starting on B...
played over a Cbecomes a 7-
9-1 1-13
which is a CA13.
Compare this to the CAI3 interval map.
fig. 50 For your convenience we have taken every complex chord, translated them into polychord formulas and slashchords in all 12 keys. Any combination of notes from the interval maps will give you the desired chord. Just remember, if you want to play a 13thand you don't have a 13thinyour voicing, you do not have a 13th.
SUBSTITUTIONS
fig. 51 The chart above (fig. 5 1) is a graphic building block representation of how substitutions are derived. By now you should be quite familiar with how to figure out the polychord formulas for the chart above. What the chart above is telling you in slashchord form is that in place of a ~ l 3 ^ 1you could play: C<' or CF or E - A or E- or G +
Anv one of the above mentioned chords will work over the ~ 1 3 " (fig. 52'). That is the secret to themystery of substitutions. However some may find this still a bit tricky to understand. All you have to do is use the interval map of the appropiate chord you want to play, use any 3,4, or 5 note combination on that map, and you will have that chord or one of it's substitutions. The companion page opposite the interval map presents all the polychord formulas and the formulas translated to slashchords in all 12 keys. Below that there are two substitution charts for each chord, also in all 12 keys. The two charts do not represent all the possible substitutions due to lack of space, however the interval maps do. Any combination you chose will fit. Remember whether you are doing chord solos or playing with a band you can play with or without the root. If you are playing with a band the bass player usually gets the root. Smaller chords can also be extended into 9th5,1 111",and 13%
COMPATIBILITY Now that we have covered chords and chord naming, let's return to the Scale/ Mode- Chord Compatibility Chart, located on the title page of each new scale (fig. 53).
SCALE1MODE
I
-
CHORD CHART
IONIAN
11
DORIAN PHRYGIAN
The roman numerals on the left side of the chart tell you the mode you are in. Next is the name of the mode, where applicable. On the right half are the chords that fit or match that mode. In other words, compatible chords you can use.
Iv
LYDIAN
v
MIXOLYDIAN
VI
AEOLIAN
MI
LOCRIAN
Z-\
811
9
7 -7
11
-9
13 -11
0
fig.53
Taking the Dorian, let's see how this works (fig. 54). DORIAN 1
I
2
b3
4
I
5
I
6
b7
1
I
2
b3
4
5
6
I
b7
A
fig.54
Comparing it in this way we see that all the tones in the '7 and 9 chords are in the scale, or in this case, mode. AEOLIA
1
2 b3
I
I
1 - 7 1 1 1
I
4
5 b6
b7
I
I
1
2 b3
1 1 b3 1 1 1 1 5 1 1 1 b7 1 I
I
I
4
5 b6
b7
1
fig. 55
The same chords ( 7 and 9 ) also fit the Aeolian, fig. 55.
However, the Minor 7¡ and the Minor 9"' (-7 and -9) do not work with the Locrian, but the halfdiminished does (fig. 56).
Now let's examine the Chord Derivative Charts in the chord section (fig. 57). The numeric formula of the chord is highlighted in gray so you can visualize how each scale contains the numeric formula of the chord. The formula for the chord is listed above the chart. M (MAJOR CHORD) = 1
3
5
fig. 57 As you become more familiar with the mathematics or numerics behind scales, modes, and chords, compatibility will become an automatic response. Till then, you have the Chord Derivative Charts and the Scale/Mode - Chord Charts to help you.
INVERSIONS We ask you to recall now the chapter entitled "Scales and Modes". Basically the lowest note for each mode was bounced up an octave, therefore, modes are inversions of scales. The same concept applies to chord inversions. Taking a Major chord, we'll take the lower note and bounce it up- an octave, creating the lst inversion of the chord (fig. 58). 7
Major scale
2
Major Chord 1st Inversion
3
4
5
6
7
1
3
5
3
5
1
5
1
2nd Inversion
3
2
4
5
6
7
1
3
fig.58
We duplicate the demonstration again using a A chord which has 4 notes in it, fig. 59. Major Scale
1
A 11 1 st
Inversion 2nd Inversion 3rd Inversion
2
3
4
5
6
3
7
1
7
1
3
7
1
3
2
4
5
6
7
" 1 1 1 5
5
fig.59
CA
The A chord inversions in the key of C are demonstrated on the keyboard in fig. 60 to the left.
1st Inversion
2nd Inversion 3rd Inversion
fig. 60
ARPEGGIOS People constantly ask about arpeggios, as though arpeggios are some ancient mystical secret. Arpeggios are actually quite simple. An arpeggio is nothing more than a "chopped up" chord. In other words, rather than one simultaneous strike on the keyboard play - - the notes in sequence: from low to high and or high to low.
An example of a basic triad arpeggio is demonstrated in figure 61.
c start here
-
t
end here
fig. 61
An example of a 7 tone arpeggio is demonstrated in figure 62 below.
1
la t
start here
fig.62
This concludes our study of scales and chords. We have given you the basics in harmony and theory, now you are ready to delve into this unique reference volume. To lay a proper foundation, we recommend beginners start with the Major scale. We invite all keyboardists to embark on their own quest through the astounding world of music.
MAJOR
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
11
v
Iv
111
VI
VII
GUITAR
BASS
PATTERNS
PATTERNS
I II
I11
IV
v
SCALE 1 MODE - CHORD CHART
I
IONIAN
M,A,A'
11
DORIAN
-7,-9
111 Iv
PHRYGIAN
-7
LYDIAN
A ,A9,A"'
v
MIXOLYDIAN
7, 9,11,13
VI
AEOLIAN
VI
VII
7 , 9 ,-11
LOCRIAN NUMERIC SCALE 1 MODE CHART
1
IONIAN
I1
DORIAN
I11
PHRYGIAN
Iv
LYDIAN
1
2
3
4
5
6
7
1
2
3
4
5
6
1
2
3
4
5
6
7
1
2
3
4
5
6
1
2
b3
4
5
6 b7
1
b2
b3
4
5
b6
b7
2
3 2
3
4
5
6 1-7
1
2 b3
4
5
b6
-
1
b3
4
b5
b6
1
P
V
MIXOLYD
VI
AEOLIAN
VII
LOCRIAN
1
-
24
b2
b7
b7
7
MAJOR
DORIAN
PHRYGIAN
BIT
LYDIAN
I I !
MIXOLYDIAN
TIT
TIT
AEOLIAN
sir TIE
'BIT TIE Ill
LOCRIAN
Ill
I I !
I
KEYBOARD PATTERNS
I1
Ill
VII
GUITAR PATTERNS
BASS PATTERNS
-
C#/DI
A
-
I
D BICb
I1
I11 BIC b
c
IV
C Wb
D
v
SCALE IMODE - CHORD CHART
I1I I 11 I I IV 1
MELODIC MINOR DORIAN b2
LYDIAN DOMINANT HINDU
I VII I
SUPER LOCRIAN
I I VI
I I
7H3, 7+
VII
1
ALT NUMERIC SCALE IMODE CHART
1
Ill IV
2
LYD AUG
3
1
4
5
6
7
1
2
3
$4
È
6
3
2
$4 5 -6 1-7 3 4 5 b6
1
2
b3
4
b5
b6
b7
1
b2
b3 b4
b5
b6
LYD DOM
-
V
HINDU
VI
LOCRIAN b2
I
SUPERLOC
2
3
4
5
6
---------7
----
1
7
b7 -
L
b7
MELODIC MINOR
TIT
TIT
I I
(Dl
l@l@I@l
I
l(D1
1@10l@
KEYBOARD PATTERNS
I
I1
111
IV
V
VI
GUITAR PATTERNS
VII
BASS PATTERNS
I
II
I11
IV
v
SCALE / MODE - CHORD CHART
11I
HARMONIC MINOR
1
1
-A, 96
VI
1
IV
I
1V 1
DORIAN $4 PHRYGIAN MAJOR
I V1I I
ALT b7
1
1
I
, -7, -6,"9, '9, -9
1
+ ,7,7+, 7b9
I
VII
1
b5, o , '7 NUMERIC SCALE / MODE CHART
v
PHRYG. $3
VI
LYDIAN32
VII
ALT ~7
I
92 3
1 1 I
1 b2
b3 b4
b5
b6 È
HARMONIC MINOR
I
KEYBOARD PATTERNS
Ill
v
IV
GUITAR
BASS
PATTERNS
PATTERNS
IV
v
SCALE / MODE - CHORD CHART
1
1 HARMONIC MAJOR 1
A, A+,Asus2,ASUS, b6
DORIAN b5
VI
Iv
1
LYDIAN b3
V
1
DOMINANT b2
VI
LYDIAN AUGMENTED $2
VII
LOCRIAN *7
A+,-A+.Ab5 0
VII
.O 7
NUMERIC SCALE / MODE CHART 1
2
3
4
5
7
6
I I1
I11 IV
v VI VII 36
1
2
3
4
5
6
/
HARMONIC MAJOR
TIT
TIT
KEYBOARD PATTERNS
I
I1
VII -
GUITAR
BASS PATTERNS
PATTERNS
:#ID b
I
II
I11
IV
SCALE / MODE - CHORD CHART HUNGARIAN MINOR
v
I
ORIENTAL IONIAN AUGMENTED $2
LOCRIAN È È DOUBLE HARMONIC L A N6 2
I
VI
1
I I
7, -7,f , yb5,A,-A,A', Ab5
ALT 1)5È
VII
NUMERIC SCALE / MODE CHART
6
HUNGARIAN MINOR
TIT
TIT
GUITAR
BASS
PATTERNS
PATTERNS
I
I1
I11
IV
v
SCALE 1 MODE - CHORD CHART
ALT H6 H7
VI ALT h6
1 1 I VI I I 'I1 I
MELODIC AUGMENTED
I I
DORIAN b2 $4 LYDIAN AUGMENTEDtK3
'
A*'
VII (NO 3 5 )
NUMERIC SCALE / MODE CHART
1
HUNGAR MAJOR
I]
A L T 17 ~ ~
111
LOCRIAN 112 117
IV
ALT&
V
MELODIC AUG
VI
DORIAN t2 34
LYDIAN AUG $3
1 1
2
$2 3
$4 5
6 6 b7
1 b2
b3 b4
b5 b6
7
2
b3
4 b5
b6
7
1
b2
b3 b4
b5
6
1
2 b3
4
85 6
3
1
4
5
7
1 1
2
3 $2 3
4
5 $4 5
6
6 b7
b7
7
-
------1 b2
b3
84 5
6
1
2
S3 $4
$5 6
40
b7
7
7
HUNGARIAN MAJOR
TIT
I
KEYBOARD PATTERNS
I1
111
v
IV
VI
GUITAR PATTERNS
VII
;
BASS PATTERNS
I
II FÈIG
F
G
FVGb
E
D
Ab
G
F
Eb CÈID
Eb CÈIDbBlC
c
Bb
I11
BICb
C
IV
v
SCALE / MODE - CHORD CHART
1
LYDIAN 96
1
I
I11
(A, 7, Ab5,7b5)sus4, 9, $11
I
DOMINANT AUGMENTED
1v 1
LOCRIAN O
VI
IONIAN 92
VI
7+sus, 7+sus2
1 A, A S U S , -A, 6, -6
VII
NUMERIC SCALE / MODE CHART
1 1
LYDIAN $6
111
DOMINANT AUG
IV
HUNGAR GYPSY
V
LOCRIAN 13
VI
IONIAN $2
VI
A L T Ã ~7 ˆ
1
3
2
1 NEAPOL MINOR
4
5
6
7
1
3
2
4
5
4
5 b6
b2
b3
4
5
b6
7
1 b2
1
2
3
$4 5
96
7
1
2
3
4
$5 6 b7
1
2
b3
$4 5
b6
b7
1
b2
3
4
b5
1'6
b7
1
È
3
4
5
6
7
b4
b5
b6 È
1 b2 H3
b3
6
7 7
NEAPOLITAN MINOR
BIB
I
KEYBOARD PATTERNS
I1
111
v
IV
VI
GUITAR
VII
BASS PATTERNS
PATTERNS
I
II
I11
IV
v
SCALE / MODE - CHORD CHART
1 1 1 IV 1 1V 1
LYDIAN DOMINANT AUGMENTED
LYDIAN MINOR MAJOR LOCRIAN
1 1 1
VI 7, 7*, 7b5,7sus2, 9, $11, b13
ALT h2
VII
ALT H3 NUMERIC SCALE 1 MODE CHART 1
1
1lb2
11
LYDIAN AUG $6
111
LYD TOM AUG
1V
LYDIAN MINOR MAJOR LOCRIAN
VI
ALT12
VI
ALT ts
3
2 1
b3
4
5
6
7
1
4
5
6
7
1
2 b2
3 b3
4
5
6
4
5
6
94 -2 -7 3 -96 95 -94 1 2 3 95 6 b7 1
7
-
2
3
04
5 b6
b7
1
2
3
4
b5
b6
b7
1
2
b3 b4
b5
b6
b7
1
b2 H3
b4
b5
b6
1
b7
1
NEAPOLITAN MAJOR
BASS
GUITAR PATTERNS
VII
PATTERNS
;#ID b
D Eb
E F D
BlCb
Bb
G
^/G b
Eb
C
BICb
Ab
G
Ab A Bb
IV
BIC b
c
v
SCALE / MODE - CHORD CHART
I
1
I
ENIGMATIC MINOR MODE 2
VI
MODE 3
I
Iv
I
sus, 6,-6
MODE 4 MODE 5
1
SUS~ (NO 5)
MODE 6
VII
MODE 7 NUMERIC SCALE / MODE CHART 1
1
ENIGMATIC MINOR
I1
MODE^
111
MODE 3
IV
MODE^
V
MODE^
VI
MODE%
VII
MODE^
j
3
2
5
4
6
7
1
7
1 b2
3
2
4
5
b2
b3
84
1
2
83 84
~5 86
7
1
82
3
x4 85
6
1
b2
3
4
b5 H6
È
1
È
3
4
b5
b6
7
1 b2 È È
H5
b6 H7
b4
5 b6
5
86
1
b3
84
5
86
b7
b2 H>3
7
7
ENIGMATIC MINOR
TIT
TIT
ENIGMATIC KEYBOARD PATTERNS
QUICKMODE GENERATOR CHART
I
I1
I11
IV
V
VII
VI
GUITAR PATTERNS
BASS PATTERNS
I
I1 F
E C#/Db B/Cb
A
G
F#/Gb
D
Bb
Ab
G
A
Ab
F#/GbF
G
C
F#/Gb Eb C#/DbB/Cb
A b G
E
D
C
B
b
I11
A
IV
SCALE / MODE - CHORD CHART
v VI
VII NUMERIC SCALE / MODE CHART
ENIGMATIC
TIT
TIT
TIT TIT
COMPOSITE 11
QUICK MODE GENERATOR CHART
VI
KEYBOARD PATTERNS I
I
I
I
,
,
I
I
, I
, I
I
I
i
l
l
1
GUITAR
VII
BASS PATTERNS
PATTERNS
I
I
II
I11
IV
v
SCALE / MODE - CHORD CHART
MODE 2
VI
Iv I
MODE 5
VI
MODE 6
A+, -A+
MODE 7
S U S ~S , US~
VII
VII
NUMERIC SCALE I MODE CHART
I
COMPOSII
1 2 1 b2
11
MODE2
1
111
MODE 3
-
IV
MODE^
V
MODE^
VI
MODE6
VII
MODE^
4
5
6
7
3
3
$4 5
b6
7
1 2 1 b2
92
$3 $4 5
96
7
2 b3 b4 5 b6 *7 -------1 b2 b3 4 b5 H6 1
b2 1
3 3
4
5 $4 5
6 b6
b7
4
b5
6
92 3
4
#5
7 $6 7
1 b2 Ã ˆ
4
5 b6 b7
3
7 7
COMPOSITE I1
IONIAN b5
LOCRIAN U'
QUICK MODE GENERATOR CHART GUITAR PATTERNS
VII
BASS PATTERNS
I
I1
I11
IV
v
SCALE / MODE - CHORD CHART
I 11
LOCRIAN ll7
A O , -A+
IONIAN 96
A, 7, A s U s 2 , 7^s2, 9, 1 1
111
DORIAN AUG
1 IV I
VI
SUS~+
PHYRGIAN $4
1
ALTALT
1
0
1
, -7
VII
6 NUMERIC SCALE / MODE CHART
1
1 I
IONIAN 86
111
DORIAN AUG
[V
PHRYGIAN
V VI
VII
$4
LYDIAN $3
DOMINANT $2
ALTALT
3
1
b3
4 b5
b6
2
3 4
5
$6 7
-
1 L
5
1 2 3 1 b2 b3
7 7
2
4
6
4 4 b5
5
6 b6
4 (85 6 b7 ------
b 3 1 b2
-
1
b3
84
2
83 $4 5
---
5 1-6 6
7----
1
1 b2 ?3
7
7 --
-
5
6
b4
b5 ?6
b7
tt 7
LOCRIAN h7
TIT
Ill TIT
PERSIAN
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I
I1
I11
IV
v
A
Ab
F
E
Eb C#/Db Bb
Bb
A
F#/Gb
F
E
D
BICb
B/Cb
Bb
G
F#/G~ F
Eb
C
VI
GUITAR PATTERNS
VII
v
SCALE / MODE - CHORD CHART
1 1I
PERSIAN
1
b5, Ab5
1
MODE 2
1
A,7, -7, $9,11
11
1
BASS PATTERNS
1
~
VI v
MODE 5
VI
MODE 6
1 V1l 1
S U S ~ SUS, ,
Asus2, Asus
+ ,7+
1
MODE 7
VII
I
sus2, sus NUMERIC SCALE / MODE CHART
I
PERSIAN
1 2 1 I,?
11
MODE2
1
111
MODE 3
IV
MODE^
V
MODE5
VI
MODE6
3
4
3
4
b5
$2 3
4
1
7
1
b6
7
1 b2
5
$6 7
b2 H3
b4
5
b2
b3
$4 5
b6
7
1
2
$3 È
5
$6 7
1
#2 3
4
$5 6
1
5
6
2
3
3
4 4
5 b5
b6 *7
b7
6 b6
7 7
PERSIAN
BIB
GUITAR PATTERNS
BASS PATTERNS
KEYBOARD PATTERNS
SCALE / MODE - CHORD CHART
I
MINOR PENTATONIC
11
MAJOR PENTATONIC
111
MODE 3
S U S ~ SUS ,
Iv
MODE 4
Q3
MODE 5
sus2, sus
-7
S U S ~ M, ,
6
The Minor Pentatonic i s the most common pentatonic scale. The Minor Pentatonic can be interspersed with the Dorian, Phyrgian, and Aeolian (of the Major scale), because the tones of the Minor Pentatonic are contained in all 3 modes, as well as other scales.
NUMERIC SCALE 1 MODE CHART
MINOR PENTATONIC
TIT
TIT
TIT
KUMOI
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
I1
IV
Ill
v
GUITAR PATTERNS
BASS PATTERNS
SCALE / MODE - CHORD CHART
1
1
1
I
I1
The Kumoi can be used in place of the Melodic. IV mode of the Harmonic Maior. as wellas any scale that contains the same notes as the Kumoi.
- , -6, sus2
KUMOI I
sus, 7sUs
MODE 2
1 1~~1
MODE 3
sus2, sus
MODE 4 MODE 5
NUMERIC SCALE 1 MODE CHART 1
I I1 I11 IV V
MODES
1
2
3
4
5
6
7
1
2
3
4
5
6
7
KUMOI
TIT
urn TIT
HIROJOSHI
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
I1
I11
IV
v
GUITAR PATTERNS
BASS PATTERNS
SCALE / MODE - CHORD CHART HIROJOSHI
, 36
1
MODE 2
Q3
I IV I
MODE4
I 11
v
I
The Hirojoshi can be used in place of the Harmonic Minor and the Hungarian Minor, as well as any scale that contains those tones.
I
SUS
A,Ab5
MODE 5
NUMERIC SCALE / MODE CHART
1
HIROJOSHI
11
MODE^
Ill
MODE 3
IV
MODE^
V
MODE5
1 1
3
2
4
6
7
2 b3
5 5
b6
1 1
1
4
b5
b7
b2
1
--
6
3
2
2 b3
b2
4
5
-
1
3
5 5
6
b6
7
-
1
4
$4
----5 b6
7
HIROJOSHI
Ill
Ill (Dl
I
WHOLE TONE
QUICK MODE GENERATOR CHART GUITAR PATTERN
Ab FÈ/G
E
A
G
F
Bb
Ab FÈIG
G
A
BICb
BASS PATTERN
SYMMETRICAL PATTERN REPEATS
BIC b
SCALE / MODE - CHORD CHART Due to the symmetrical nature of the Whole Tone scale, it has no modes.
WHOLE TONE WHOLE TONE
1V 1 1 VI 1
It also has only 2 fingering patterns which repeat: C = D = E = F#/Gb= A ^ = Bb C#/Db=Eb=F=G=A=B/Cb
+
WHOLE TONE
WHOLETONE
1
WHOLETONE
NUMERIC SCALE / MODE CHART
1
WHOLE TONE
11
WHOLE TONE
111
WHOLE TONE
IV
WHOLE TONE
v
WHOLE TONE
VI
WHOLE TONE
1
2
1
2
3 3
1
2 1
6
5
4
#4
7
1
2
3
4
5
5
)t 6
3
$4
$5
96
2
3
JÈ
Ã5
$6
1
2
3
$4
JÃ 5
Ã6
1
2
3
JÈ
$5
$6
1
2
3
$4
$5
)Ã
6
96
7
WHOLE TONE
" I l l
TIT
w
TIT @@@@
" I l l
AUGMENTED
QUICK MODE GENERATOR CHART GUITAR PATTERNS
BASS PATTERNS
SYMMETRICAL PATTERNS REPEAT 1,2,1,2 ETC.
SYliimerfHGAi. PATTERNS REPEAT 1.2,1.2 ETC.
SCALE / MODE - CHORD CHART
1 1 I 1
1 I11 111 1 IvI 1
1V 1
1 1 1 1
AUGMENTED MODE 2 AUGMENTED MODE 2
1
AUGMENTED
1 1 1 1
A, A+,-A, - b6 ,6+ A, A\ -A, -b6 +
+
,6+
The Augmented scale is symmetrical, it has only 2 modes. Also, t h e r e a r e only 4 fingering patterns which repeat: C=E=Ab C#/Db = F = A D = F#/Gb= Bb Eb=G=B
1
A,A+, -A, 36
NUMERIC SCALE / MODE CHART 1
I
AUG
1
MODE^
ffl
AUG
V I
MODE2
V
AUG
VI
MODE^
1
2
tt2 3
5 5
1'6
7
b2
3
4
$5 6
1
$2 3
5
b6
7
1
92
3
5 b6
7
3
#5 6
3 1
4
6
7
1
1 b2
2
3
4
4
5
6
7
AUGMENTED
TIT
TIT
TIT
TIT
TIT
PELoG
QUICK MODE GENERATOR CHART GUITAR PATTERNS
BASS PATTERNS
SCALE / MODE - CHORD CHART
I
PELOG
I I
11
3 6 , b6, -
I
-A, - , S U S ~ A0 ,
MODE 2 MODE 3
I I
I
MODE 4
A+
v
MODE 5
11
VI
MODE 6
A, 1'6,sus
Iv
NUMERIC SCALE / MODE CHART
I
PELOG
11 .
MODE2
Ill
MODE 3
IV V VI
MODE4
MODE^ MODE^
1 2 1 b2 1
3 4 b3 b4
5
2
b3
04 5
7
1
b2
3
6
1
--
7
6
1
3
2
4
5
5 b6 4
02 3 1 b2 1
68
b7
05 6
7
4
b5
b6 b7
3
4
5 b6
7
6
7
PELOG
BIB
TIT TIE
TIT TIT
DOMINANT SUS
QUICK MODE GENERATOR CHART
Ill
v
IV
GUITAR PATTERNS
VI
BASS PATTERNS
SCALE / MODE - CHORD CHART
111
DOMINANTSUS
1
1
11
MODE 2
111
MODE 3
6,
Iv
MODE 4
-7, S U S ~ SUS, , 9, #9, 1 1
v
MODE 5
Q3, b9,09, 1 1 , b13
VI
MODE 6
6, A,s u s 2 , 9 , 1 3
S U S ~ SUS, , Q3,9 36, -7, sus, Q3, 1 1 SUS~ , SUS,
9,11, 13
NUMERIC SCALE 1 MODE CHART
7
5
6
2
4
5
6
1
b3
4
5 b6
1
2
3
4
5
6
1
2
b3
4
5
b7
4
b6
b7:
5
6
2
1
3
1
1
11
MODE^
I11
MODE 3
IV
MODE^
V
MODE^
1 b2
b3
VI
MODE6
1
2
sus
2
3
4
5
4
1 DOMINANT
6
b7 b7
3
7
7
DOMINANT SUS
TIT
DIMINISHED
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
I1
I11
IV
v
VI
VII
C B b A 2ÈIDbBlC
D
C
Eb CÈID E
1 ^ 1
SCALE IMODE - CHORD CHART WHOLE - HALF
11
1
111
1
DIMINISHED
HALF - WHOLE DIMINISHED WHOLE-HALF DIMINISHED
1
!a O -7,O7 I
07,~0
0
WHOLE - HALF DIMINISHED
1 vll r 1 VIII 1
WHOLE - HALF DIMINISHED HALF - WHOLE DIMINISHED
*,O
1
G
Bb
Ab
BICb
A
C
Bb
GUITAR PATTERNS
SYMMETRICAL PATTERNS REPEAT 1,2.1,2 ETC.
BASS PATTERNS
D C#/Db B/Cl
The Diminished scale only has two modes which repeat: the WholeHalf and the Half-Whole.
Ã
9
HALF - WHOLE DIMINISHED
VIII
, -7,O7
Keyboard patterns above are for the Half-Whole Diminished. Patterns on next page are for the Whole-Half Diminished. Also note the fingering patterns repeat every third key. In other words: C, Eb, FÈI b, and A have the same fingering patterns.
NUMERIC SCALE IMODE CHART
SYMMETRICAL PATTERNS REPEAT 1,2,1,2 ETC.
WHOLE - HALF DIMINISHED
Ill
8 TONE SPANISH KEYBOARD PATTERNS
QUICK MODE GENERATOR CHART
I
11
111
Iv
v
C
B/Cb
A
Ab
G
Bb
A
C#/Db C
D
C#/DbB/Cb
D
Eb
C
VI
VII
VIII
FSIGb
E
D
Ab
G
F
Eb
Bb
A
Ab FttiGb
BICb
6b
A
GUITAR PATTERNS
BASS PATTCTHB
I
E
I1
F
G
I11
IV
v SCALE / MODE - CHORD CHART
VI
MODE 2 MODE 3
IV
I
I
MODE 4
VII
MODE 5
VI
MODE 6
7,A, 6,9, $11, 13
VII VIII
MODE 7
7, b6,9, 11, 1'13, 13
VIII
1 1 SPANISH
1 2 1 b2
MODE 2
1
8-TONE
,--------------
MODE 3 MODE 4 MODE 5
MODE 6
MODE 7 MODE 8
3
4
b3 3
4
NUMERIC SCALE / MODE CHART 5 6 7 1 2 b7 b5 b6
3
4
5
2 b 3 3 4
5
6
7
b2 2
b3
4
5
6
1 b2 2
3
S4
$5 6
7
1 b2 -
b3
4
5
b7 7
1
2
3
$4 5
6
b7 7
1
2
3
4
5
b6 6
b7
1
2
b3
4
b5 5
b6
1
6
b7 b6
b7
7
TONE SPANISH
c Ctf / Db
TIT
VII
GUITAR PATTERNS
VIII
BASS PATTERNS
I I1 I11 IV
v SCALE / MODE - CHORD CHART BEBOP LOCRIAN h2
AO,@, '9, b13
11
MODE 2
b9, $9, $1 1 3 3 , 13
111
MODE 3
-A, -b6, -6, -9,$9
Jv
MODE 4
, -6, -7, 1'9, $9, 11, $11, 13
v
MODE 5
VI
MODE 6
I
VI
-
-
7^5, 7
VII
+9, 11, $11, b13, 13
6, -6, 7, 7 , 9 , 9, #9,#11,13
MODE 7
1 VIII 1 1
I
BEBOP L O C R I A N ~1 ~
I1
MODE^
111
MODE 3
IV
MODE^
V
MODES
VI
MODE^
VII
MODE^
VIII
MODE8
VIII
MODE 8
3
2
2 b3 1
4 4
NUMERIC SCALE / MODE CHART 5 6 7 1 2 b7 7 b5 b6
3
4
b2
b3 3
$4
$5 6
1
2
b3
4
5
b6 6
7
1
b2
b3
4
b5 5
6
1
2
3
4
b6 6
7
1
2 b3 3
5
6
b7
b5
tÈ
b7
-1 b2 b3 3
b7
5 b6 b7 -
94- 5
6
7
BEBOP LOCRIAN h2
TIT
Ill
TIT
BEBOP DOMINANT
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
11 I 11 1
BEBOP DOMINANT
1
IV
v
VI
VII
GUITAR PATTERNS
VIII
BASS PATTERNS
E,!g[
111 IV
BEBOP LOC add 5
MODE^
A,6,7, S U S ~SUS, , 9,11,13 3 6 , -6, -7, sus2, sus, 9, $9,-11, bl3, 13
1
MODE 5
-6, 6, -7, 7, S U S ~ SUS, , 9, $9, 11, 13
MODE 6
-6, -7, sus2, sus, b9, 9, 11, b13
MODE 7
A , Ab5,6, S U S ~b9,9 ,
VII
VIII NUMERIC SCALE / MODE CHART 5 6 7 1 2 5
3 3
4 4
11
2
b3
4
1 b2
b3
4
2
3 4 1 ' 5 5
6
7
1
2 b 3 3 4
5
6
1 b2 2
b3
4
5
b22
3
#4 5
6
7
1 b2
b3
4
b6
b7 7
1
b5 5
3
4
MODE5
VI
MODE%
VII
MODE^
V111
MODE 8
-
2 2
I
-
b6
.
Â
V
VI
1
MODE 8
1
11
1
BEBOPMINOR
v
1
I11
SCALE / MODE - CHORD CHART
BEBOP LOCRIAN ADD 5
VI VII VIII
I1
b71 b6
b5
1 b7
1
1
BEBOP DOMINANT
BEBOP DORIAN
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
I1
I11
IV
v
VI
VII
GUITAR PATTERNS
VIII
BASS PATTERNS
I
I1 I11 IV
v 111 1
111
SCALE / MODE - CHORD CHART BEBOP DORIAN
I
1 1
MODE 3
VI
I
A,b6,9,
VII
1 VIII 1
1
MODES 1
2
3
4
VIII
1
o , a , b9, $9,$11, b13 NUMERIC SCALE / MODE CHART 5 6 7 1 2
3
4
5
7
6
I I1 Ill IV
v VI
MODE 6
VII
VIII
b2 2
b3
4
b5
b6
b7
MODE 7
1 b2 2
3
4
5
6
7
MODE 8
1
$4
$5
6
1
b2
b3 3
,
7
BEBOP DORIAN
TIT
BEBOP MAJOR
QUICK MODE GENERATOR CHART
I
KEYBOARD PATTERNS
11
111
Iv
v
VI
VII
VIII
GUITAR PATTERBS
BASS PATTERNS
I II I11
c
IV
A
G
Bb
Ab FtfIGb F
Eb
D CÈIDbBlC
G
E
Eb
BICb
A
F
E
FÈIG
D C#/Db
D
Bb
C
v
SCALE IMODE - CHORD CHART
I 1
1 I1
I 1
BEBOP MAJOR
VI
MODE 2
MODE 4
VII
MODE 5
1
v1
I
1 V1l I VIII 1
MODE 6 MODE 7
VIII
MODE 8 NUMERIC SCALE IMODE CHART
6
BEBOP MAJOR
M (MAJOR CHORD)
LYDIAN DOMINANT = IV MELODIC
1
2
3
HINDU = V MELODIC
1
2
3
4
5 b6
b7
PHRYGIAN h3 = V HARMONIC MINOR
1
3
4
5 b6
b7
b2
$4 5
6
b7
M (MAJOR)
^K TIT
- (MINOR)
DORIAN = I1 MAJOR
111
PHRYGIAN = III MAJOR AEOLIAN = V I MAJOR MELODIC
1 11
- (MINOR)
sus2 (SUSPENDED 2)
LYDIAN b3 = I V HARMONIC MAJOR
SUS (SUSPENDED FOURTH)
PHRYGIAN = I11 MAJOR
ENIGMATIC MODE IV
I 2
I
I 3 I 4 I b 5 ~ 6 I
1 b2 b3
ENIGMATIC MODE VII
4
COMPOSITE I1 MODE I1
1
COMPOSITE I1 MODE IV
1
b2 b3
4
COMPOSITE I1 MODE VII
1
b2 b3
4
PHRYGIAN b3 =I11 IONIAN b5
1
I
1
1
#2
Ib2Ib3I
5
I 6
$3
I
I 4
LYDIAN $3 = V LOCRIAN 17 DOMINANT $2 = VI LOCRIAN 17
1
#
PERSIAN MODE I1
1
-
#2 3 4 $2 3 4
-
PERSIAN MODE V PERSIAN MODE VII
4
b5 b6
I
Ib7I
b7
7
m TIT m
b5 (PLATED FIFTH)
O
(DIMINISHED)
(DIMINISHED)
+
1
(AUGMENTED)
ALT k 3 b7 = VII NEAPOLITAN MINOR
+ (AUGMENTED)
b6 (FLATED SIXTH)
HARMONIC MAJOR PHRYGIAN b4 = HI HARMONIC MAJOR
1
DOUBLE HARMONIC-V HUNGARIAN MINOR
I 1 1 b2 1 1 1 3
ALT h5 b7 = VII HUNGARIAN MINOR
1
LYDIAN MINOR = IV NEAPOLITAN MAJOR ENIGMATIC MINOR MODE III ENIGMATIC MINOR MODE V I I ENIGMATIC MODE III COMPOSITE II
1 1 1
COMPOSITE II MODE I11 PERSIAN MODE 111 AUGMENTED
I 11 1 2 1 13
mar
m TIT
rn
3 6 (MINOR FLATED SIXTH)
Ill
6 (MAJOR SIXTH)
BEBOP MAJOR MODE I V
TIT
-6 (MINOR SIXTH)
Ill
TIT
7 (DIMINISHED SEVENTH)
TIT
TIT
rn TBT
TIT
m
Q(3)
(QUARTAL or DOUBLE FOURTH)
Quartal or Double 4th
TIT TIT
rn m an ^11
7 (DOMINANT)
TIT TBT
TIT
-7 (MINOR SEVENTH)
TIT
w Tfir
7sus2
DORIAN = I1 MAJOR
AEOLIAN = V I MAJOR
(DOMINANT sus2) 1
2
b3
4
5
6
7SUS
(DOMINANT SUS)
DORIAN b2 = II MELODIC HINDU = V MELOI3IC
I
2
PHRYGIAN h3 = V HARMONIC MINOR DOMINANT b2 = V HARMONIC MAJOR ENIGMAl7C MODE IV
I b2 I
2
3
4
5
b6
3
4
5
b6
3
4
5
3
4
b5 b 6
6
7b5
(DOMINANT FLAT 5) 3
BEBOP DORIAN MODE I V
b7
(HALF-DIMINISHED)
8 TONE SPANISH MODE VIII
BEBOP LOCRIAN 12
BEBOP MAJOR MODE VIII
1
2
b3
4
b5 5 b6
b7
(HALF-DIMINISHED)
1ST -?!I
TIT
7+ (DOMINANT AUGMENTED)
c
ctf I Db D
BIB Ab
"BIT
TIT
A
(DELTA)
LYDIAN = IV MAJOR LYDIAN $2= VI HARMONIC MINOR HARMONIC MAJOR DOUBLE HARMONIC = V HUNGARIAN MINOR
11
LYDIAN 96 92 = VI HUNGARIAN MINOR LYDIAN $6 = 11 NEAPOLITAN MINOR
11
IONIAN $2= VI NEAPOLITAN MINOR
1
ENIGMATIC MINOR MODE VII
1
COMPOSITE 11
1
LYDIAN 1.2 = IV IONIAN b5
1
IONIAN $6 = I1 LOCRIAN h7
1
PERSIAN MODE 11 HIROJOSHI MODE V AUGMENTED PELOG MODE VI DOMINANT SUS MODE V I 8 TONE SPANISH MODE 11
11
8 TONE SPANISH MODE VI
1
BEBOP LOCRIAN >2. MODE VIII
1
BEBOP DOMINANT
1
BEBOP DOMINANT MODE IV
1
BEBOP DOMINANT MODE VII
1
BEBOP DORIAN MODE HI
1
BEBOP DORIAN MODE VII BEBOP MAJOR BEBOP MAJOR MODE IV
A
(DELTA)
I I !
-A(MINOR DELTA)
1
LYDIAN 92 = VI HARMONIC MINOR
1 1
LYDIAN b3 =IV HARMONIC MAJOR
1
2
53
HUNGARIAN MINOR
1
2
53
LYDIAN 96 92 = VI HUNGARIAN MINOR
1
NEAPOLITAN MINOR
1
IONIAN $2 = VI NEAPOLITAN MINOR NEAPOLITAN MAJOR ENIGMATIC MINOR
\S231
$2 3 b3
4
1
$2 3
4
1 b2
b3
4
1
b2
N'21
Ib31
1
ENIGMATIC MODE 11
1
82
93
COMPOSITE H MODE I1
1
$2
93
PERSIAN MODE I1
1 1
PERSIAN MODE IV
1
AUGMENTED
1
PELOG MODE 11
1 1
1 b2
Ii2314
b3 $2 3 12b31
1
Asus* (DELTA sus2)
HARMONIC MINOR
1
2
HARMONIC MAJOR
1
2
LYDIAN b3 = IV HARMONIC MAJOR
1
2
b3
È
5
HUNGARIAN MINOR
1
2
b3
È
5
LYDIAN $6 = I1 NEAPOLITAN MINOR
11
I
12
ENIGMATIC MINOR MODE VII
1
b2 H3
ENIGMATIC MODE VLI
1
b2 Ã ˆ
b3 3
I
I 3
4
5
b6
7
4
5
b6
7
1
lÈ4, 5 5
b4 4
5
7
6
7
b6
1 1,
lÈ6 7 , 7 I
b6 6
7
ASUS
(D ELTA S US) 4
PERSIAN MODE I1
5
7
Ill
I I ;
slim
BIB
Ab5 (DELTA FLAT 5)
1
ENIGMATIC COMPOSITE I1
BEBOP DORIAN MODE VIII
Ill
AO (DELTA DIMINISHED) AO =
1
b5
7
ENIGMATIC MINOR
BEBOP LOCRIAN 42 MODE VHI
1 b2
BEBOP DOMINANT MODE VIH
1
BEBOP DORIAN MODE VIH
b2
1
BEBOP MAJOR MODE V I
1
2 b2
4
6
7
1'5
b6
b7 7
b3 3
$4
Ã5
È 7
b3 3
34 5
b3 3
H
b3
1 b2
BEBOP MAJOR MODE I V
$4 5
1'3 3
6
7
$5 6
7
Iff
^
A+ (DELTA AUGMENTED) LYDIAN AUGMENTED = III MELODIC
1
IONIAN $5= III HARMONIC MINOR
1
HARMONIC MAJOR
1
LYDIAN AUGMENTED È = VI HARMONIC MAJOR
I1
IONIAN AUGMENTED (2 = III HUNGARIAN MINOR
1
DOUBLE HARMONIC = V HUNGARIAN MINOR
1
LYDIAN AUGMENTED $6= II NEAPOLITAN MAJOR
1
ENIGMATIC MINOR MODE V
1
ENIGMATIC MINOR MODE VII
1
ENIGMATIC
1
COMPOSITE II
1
1 i'
11
COMPOSITE 11 MODE VI
1
PERSIAN
1
AUGMENTED
1
PELOG MODE IV
1
PELOG MODE VI
1
8 TONE SPANISH MODE IV
1
BEBOP DORIAN MODE VIE
1
BEBOP MAJOR BEBOP MAJOR MODE VI
I 1
1
Ill
TIT
mat
-A+(MINOR DELTA AUGMENTED)
TIT TIT
air Ill
lir 15 B I B Iff! 7
3
TIT
SUBSTITUTIONS
C7 = C#7 or Db7 =
EO/C FO/C#
=
G-/C
=
GWCS
=
A-ID
=
AS - / D#
=
B-/E
=
C-IF
=
C# - / F#
=
D-/G
=
D9-/G#
=
E-/A
=
F- / A #
=
F#-/B
SUBSTITUTIONS
C^
=
Bb/C B/C# C/D C# / D#
D7 =
F#O/D
C#11 or Dbl1 = Dl1 =
D#7 or Eb7 =
Go/ DÃ
DÈ1 or Eb11 =
E7 = G V / E
E" = F11 =
F7 = AO/ F FÈ or Gb7 =
A#' / F#
FÈ1 or G U l
=
G7 =
BO/G
GI1 =
G#7 or Ab7 =
C0 / GÃ
G#11 or Ab11 =
A7 =
CÈ0/
A#7 or Bb7 = B7 or Cb7 =
DIE D# / F E/F# FIG F#/G#
AH
=
G/A
DO/A#
AÈ1 or Bbll
=
G# / A #
D#/B
B11 or Cbll
=
A/B
I I ! TIT
TIT
'BIT
TIT
TIT
C-9
=
EbA/C
c-9
=
G- / c
CÈ- or Db-9
=
E A / CÃ
CÈ- or Db-9
=
G#-1CÃ
D-9
=
FA/D
D-9
=
A- / D
DÈ- or Eb-9
=
F # A/ D#
DÈ- or Eb-9
=
A#-/ DÃ
E-9
=
GA/ E
E-9
=
B- / E
F-9
=
GÈA/
F-9
=
C- / F
FÈ- or Gb-9
=
AA / FÃ
Fit-9 or Gb-9
=
CÈ / Fit
G-9
=
AÈAI
G-9
=
D- / G
GÈ- or Ab-9
=
B A / GÃ
GS-9 or Ab-9
=
D#-/ GÃ
A-9
=
CA/A
A-9
=
E-/A
A#-9or Bb-9
=
C # A/ A#
A#-9 or Bb-9
=
F- / A#
B-9 or Cb-9
=
DA/ B
B-9 or Cb-9
=
Fit- / B
C-7
=
Eb/C
C-11 =
Bb/C
(3-7 or Db-7
=
E / CÃ
C#-11 or Db-11 =
BlCÃ
D-7
=
F/D
DÈ- or Eb-7
=
FÃ / DÃ
E-7
=
G/E
F-7
=
GÃ I F
FÈ- or Gb-7
=
A / Fit
F-11 = FÈ-1 or Gb-11 =
G*7
=
A4 / G
G-11 =
Gf-7 or Ab-7
=
B / GÃ
GÈ-1 or Ab-11 =
A-7
=
CIA
AÈ- or Bb-7
=
CÃ / A #
A#-11 or Bb-11 = G#/ AÃ
B-7 or Cb-7
=
D/B
B-11 or 0 - 1 1 =
D-11 = DÈ-1 or Eb-11 = E-11 =
A-11 =
C/D Cà / Dit DIE DÈ/ E/F# FIG Fà / G # G/A
A/B
- .. --
SUBSTITUTIONS
,
SUBSTITUTIONS
C7 = C#70r Db7 = D7 =
EO/C FO/C# F#O I D
D#7 or Eb7 =
Go / D#
E7 =
G#O / E
F7 = A0 / F F#7 or Gb7 = A#'/ F# G7 =
BO/G
G#7 or Ab7
=
Co / G#
A7
=
C#O / A
#7
or Bb7 =
B7 or Cb7
=
DO/A# D#O/B
CA9
=
EV7/C
CA9
=
G/C
CÈA or DbA9
=
F-7 / C#
C#A9 or DbA9
=
G#/ C#
DA9
=
F#-7/ D
DA9
=
AID
DÈA or EbA9
=
(3-7 / DS
DÈA or EbA9
=
A# / D#
EA9
=
G#-71E
EA9
=
B/E
FA9
=
A-7/F
FA9
=
C/F
F#A9 or GbA9
=
A#-7/ F#
FÃ A9 or GbA9
=
C# / Fit
GA9
=
B-7/G
GA9
=
DIG
GSA9 or AbA9
=
C-7 / G#
G#A9 or AbA9
=
D#/ G#
AA9
=
C#-71A
AA9
=
E/A
ASA9 or BbA9
=
D-7 / A#
AÈAgo BbA9
=
F/A#
BA9 or CbA9
=
D#-7/ B
BA9 or CbA9
=
Fit / 6
CA =
E-/C
CAI1 =
Bb/C B / C#
C # A or DbA =
F- / C#
CXA-ll or DbAH =
DA =
F#-/ D
DA11 =
C/D
EA1-1 =
DlE
D # A or EbA = G- / D# EA =
Gf-/ E
FA = A-/F FÈ or GbA = A#- / F# GA = GÈ or AbA =
AA
=
B-/G C-/G# CÈ-/
AÈ or BbA =
D- / A#
B A or CbA =
DÈ-/
FA11 = FBA-1-1or GbA-11 = GAl1 = GttA-11 or AbA-11 = AA11 = ASA1-1 or BbAll
=
BAA1 or CbAH =
D#/F E/F# FIG F#/ G# G/A G#/ A # A/B
G-A9
SUBSTITUTIONS
=
SUBSTITUTIONS
DIG
SUBSTITUTIONS
C11È
=
C# 11*9 or Db l l à ˆ
=
Dl189
=
D# l l à § or Eb l l à ˆ
=
E11ç
=
F11È
=
F#11È or Gb11È
=
GI189
=
G#11^ or Ab11È
=
A11ç A# 11È or Bb l
=
lÈ
=
B l l ~ gor Cb 1l * 9
=
Ill
ALT (b5 $9)
ALT (b5 $9)
TIT TIT
ALT (b5 b9)
SUBSTITUTIONS
c
=
~6b5
=
F6b5
=
~ # 6 b /5 D
or EbALT
=
~ 6 b /5 D#
EALT
=
~ # 6 ^/ 5E
FALT
=
~ 6 b /5 F
or G bALT
=
~ # 6 b /5 p#
GALT
=
~ 6 b /5 G
or AbALT
=
~ 6 b /5 G#
AALT
=
~ # 6 ^/ 5A
A#ALT
or BbALT
=
~ 6 b /5 A#
BALT
or C bALT
=
~ $ 6 1 - /5 B
cALT C#ALT
or D bALT DALT
D#ALT
F#ALT
Q#ALT
/ C)t
ALT (b5 b9)
TIT
TIT
Ill 'SIT TIT
TIT
ALT (È b9)
SUBSTITUTIONS
SUBSTITUTIONS
C#ALT
DOALT
F#ALT
G#ALT
or or
or or
CALT
=
DbALT
=
DALT
=
EbALT
=
EALT
=
FALT
=
GbALT
=
QALT
=
AbALT
=
AALT
=
ABALT
or
BbALT
=
BALT
or
CbALT
=
ALT ($5 b9)
TIT
" I "
TIT
Ill BIB
ALT ($5$9)
Ab5
I
ALT = -
3
I
sus2 ALT = -
C#ALT
D#ALT
F#ALT
G#ALT
A#ALT
I
I
I
3
b5
7
I
I
I
CALT
=
CALT
=
or DbALT
=
C#ALT or DbALT
=
DALT
=
DALT
=
EbALT
=
D#ALT or EbALT
=
EALT
=
EALT
=
FALT
=
FALT
=
GbALT
=
F#ALT or. G bALT
=
GALT
=
GALT
=
AbALT
=
G#ALT or AbALT
=
AALT
=
BbALT
=
or
or or or
ALT ($5$9)
M TIT
SUBSTITUTIONS
I
SUBSTITUTIONS
SUBSTITUTIONS
SUBSTITUTIONS
C-7 =
Eb/C
C#-7 or Db-7 =
E/C#
D-7 = DÈ- or Eb-7 =
F/D Fit / D#
- 7 =
G/E
F-7 =
G# / F
F#-7 or Gb-7 = A / FÃ G-7 =
A# / G
Gfl-7 or Ab-7 =
B / G#
A-7 = A#-7 or Bb-7 = B-7 or Cb-7 =
CIA C#/A# D/B
C-9
=
G-/C
sir TIT
TIT
TIT
Tit
C
BIB
RIB
Ctf I Db
TIT
TIT
TIT
TIT
C-#11 = EbAÈ / C
C-$11 = G - A / C
C#-$11 or Db-$11= E A N / D311 = FA#9/ D D#-#I1 or Eb-#I1= F#A#9/ D E-$11 = G A O / E
C-S11 = Bb+ / C #-#I1 or Db-$11= B+ / C #
D311 = A - A I D DÈ-#I or Eb-$11 = AS-A/
D-È1 = C+ / D 8-411 or Eb-$11 = C#+/ D#
E-Ã11 = B-A / E
E311 = D+ / E
F-tf11 = G#AÈ / F
F311 = D#+/ F
F#-$11 or Gb-$11 = AAç9
F#-$11or Gb-#I1 = E+ I F #
G-#11 = A#A^ / G
G-$11 = F + / G
GiÈ-$1 or Ab-$11 = BAg9 / G A31 1 = CA'9 / A At81 1 or Bb-$11= CÈAà /
#-#I1 or Ab-$11 = F#+/ G # A-#11 = E-A / A Bb-#11= F - A / A #
A-$11 = G+ / A A M 1 1 or Bb-$11 = G#+/ A #
cif
C#-9 or Db-9
=
GO- /
D-9
=
A- / D
D#-9 or Eb-9
=
A#- / D#
E-9
=
B- / E
F-9
=
C- / F
F#-9 or Gb-9
=
CO- / Fit
G-9
=
D-/G
G#-9 or Ab-9
=
D#-/ G#
A-9
=
E-/A
A#-9 or Bb-9
=
F- / A#
B-9 or Cb-9
=
F#-/B
TIT
TIT
TIT
TIT
"IT
CAI1 = B O / C #A11 or
DA-11 = Fit-1.91 D
DbA-11 = C O / C # DA11 = C ) t O / D
DKA11 or EbA11 = D O / D # EA11 = G#-b9/ E
EA-11 = DÈ 1 E
FA11 = A-b9/F
FA11 = E O / F FÈA-1 or GbA11 = Fo/ FÃ
GA11 = B-b9 /
G
GA-11 = D 7 / G
GAIA = F#O/ G
AA11 = E7/A
AA11 = GÈO/ AXA11 or BbA11 = AO/ A#
BA11 or CbAll = D#-b9/B
CA
=
E-/C
CÈ or DbA
=
DA
BA11 or CbAll = F # 7 / B
BAA1 or CbAll = A#O/B
CA9
=
G/C
F- / C#
CSA9 or DbA9
=
G#/ C#
=
F#-/ D
DA9
=
AID
DÈ or EbA
=
G-ID#
D#A9 or EbA9
=
A# / DÃ
EA
=
G
EA9
=
B/E
FA
=
A m /F
FA9
=
C/F
FÈ or GbA
=
A#- / F#
F4A9 or GbA9
=
CÃ / FÃ
GA
=
B-/G
GA9
=
DIG
GÈ or AbA
=
C- /GÃ
GÈA or AbA9
=
D#1 GÃ
AA
=
C#-/A
AA9
=
E/A
AÈ or BbA
=
D- / A#
AÈA or BbA9
=
F / A#
B A or CbA
=
DÈ-/
BA9 or CbA9
=
F#/ B
TI-
SUBSTITUTIONS
TIT SIT
TIT
TIE
CAÈ1 = G A / CtAÈ1 or D bA^ll = GÈ /
CA"
B- / C
CÈAÃ1 or DbAsll = C- / CÃ
DAu11 = A A / D D # A # l l or EbA'll = AKA/ D#
1=
DA^l = C#-ID ÈAÈ
or EbAu 1 = D- / D#
EAu11 = B A / E
EAUl 1 = DÈ / E
FA'll = C A I F
FAÈl = E - / F
F#Aull or G bAu11 = CSA / F G A ^ 1 = FÈ / G
GAÈ1 = D A / G G#AÈl or AbAÈl = DÈ / G
GÈAÈ or AbAÈ = G- / GS
AAu11 = E A I A AÈA 1 or BbA^ 1 = F A / A#
Mu11 =
G#-/A
AÈAÈ or B bAU11 = A- / AX BAÈ1 or CbA-11 = A # - / B
I
SUBSTITUTIONS
II
SUBSTITUTIONS
CA CÈ or DbA DA DÈ or EbA EA FA FÈ or GbA GA GÈ or AbA AA AÈ or BbA
TIT
TIT
TIT
TIT
SUBSTITUTIONS
1 <4
SUBSTITUTIONS
C-A
=
Eb/C
C # - A or Db-A
=
E / C#
D-A
=
F/D
D # - Aor Eb-A
=
F# D#
E-A
=
G/E
F-A
=
G#/F
F # - A or Gb-A
=
A / F#
G-A
=
A#/G
GK-A or Ab-A
=
B / G#
A-A
=
CIA
TIT Tar
TIT TIT
"mar
C13 = E011b9/C C#13 or Dbl3 = F011b9 / C# Dl3 = F#"11'-9/D D#l3 or Eb13 = G011b9/D#
C13 = G-9 IC
C13 = B b A / C
C#l3 or Dbl3 = G#-9/ C
C#13 or Db13 = B A / C #
D13 = A - 9 / D
D13 = C A I D
D#13 or Eb13 = A#-91D#
D#l3 or Ebl3 = C # A/ D#
El3 = G#011b9/E
El3 = B-9 / E
E13 = D A I E
F13 = A011b9/F
F13 = C-9 / F
F13 = D # A / F
F#13 or Gb13 = A#011b9/ F# G13 = B O 1 l ^ / G
FÈ1 or Gbl3 = C#-9/ F#
F#l3 or Gb13 = E A / F #
GI3 = D-9 / G
G#13 or Abl3 = C O 1 l b9 / G#
G#l3 or Abl3
A13 = C#011b9/A
A13
G13 = F A / G
= D#-9IG# =
G#13 or Abl3
E-9/A
A13
A#13 or Bbl3 = D011b9/A#
A#l3 or Bbl3 = F - 9 / A #
B13 or Cb13 = D#011b9/B
B13 or Cbl3 = F # - 9 / B
= F # A / G# =
A#l3 or Bb13 = G # A / A # B13 or Cbl3
= AA/B
SUBSTITUTIONS
C9 = C#9 or Db9 = D9 = D#9 or Eb9 =
G-/C G#-/C# A-ID A#-/ D#
E9 =
B- / E
F9 =
C-IF
F#9 or Gb9 = G9 =
C#-/ Ftt D-/G
G#9 or Ab9
=
D#- / G#
A9
=
E-/A
AÈ or Bb9 =
F- / A #
B9 or Cb9 =
F#-/B
GAIA
C11 = CÈl or Dbll
=
Dl1 = D # l l or Ebl1 = Ell
=
F11 = F # l l or Gbl1 = GI1 =
Bb/C B/C# C/ D C# / D# D/ E D#/F E / F# FIG
GÈI or AH1
=
F# / G#
All
=
G/A
A # l l or Bbl1 =
G#/A#
C-13 = B b A l C C#-13 or Db-13 = B A I C # D-13 = C A I D D#-13 or Eb-13 = C # AID# E-13 = D A I E F-13 = D # A l F
A-13 = E - 9 l A
1 :I
SUBSTITUTIONS
rl
A-13 = G A I A
SUBSTITUTIONS
G- IC
BblC
G#-IC#
BlC#
A- 1 D
CID
A#- ID#
C# ID#
B- IE
DIE
c- 1 F
D# IF
C#-IF#
E IF#
D-IG
FIG
D#-IG#
F#IG#
E- / A
GIA
F- IA#
G# IA#
F#-IB
AIB
t
SUBSTITUTIONS
G-IC G# - l C # AID
A# ID# BIE C IF C# IF# DIG D# IG#
EIA
SUBSTITUTIONS
SUBSTITUTIONS
SUBSTITUTIONS
TIT @@@a
1
SUBSTITUTIONS
TIT
TIT TIT
13
13
C#A)iiiorDbAçi= F-11 / C# 13
DAÈI 13
13
13
DSAtfii or EbAifii = G-11 IDS
13
DAÇI = AA9/ D
= F#-11/ D 13
13
D # A t i i or EbA8ii = AllA9/ D
DAÈ I = Ctt-7 / D 13
13
DtfA81i or EbA#ii= D - 7 / D #
13
13
13
EAKI i = DÈ- / E
EAÈI = B A g / E
E A Ã =ˆGP11 1 E
13
13
FA811 = E-7 / F
FA811 = CA9/ F 13
13
F#Att11or GbAx11 = C # A g / F
FHA
or G bA
13
13
GAÈ I = FS-7 / G
GAii11 = D A g / G
SUBSTITUTIONS
H
SUBSTITUTIONS
Cff1 Db
D
TIE
Ill
HIT
TIT
13 D - A $11= 13
$9
F A + $ i i /D
13
$9
13
99
13
$9
DÈ-A Ior Eb-A d I= FÈA+$ I/
E-A $11= G A + $ i /i E F-A $1i = GÈA+$I/ F 13 ~ à ˆ - A à §~~bi - A$11= A
$9
A+çii
13 D9 G - A $11= AÈA+$i/ 13 13 $9 i à ˆ - A i tor Ab'A $11 = B A + # i i / $9
A-A 13
= C A +$11/ 13
$9
M-A$11 or Bb"A $1I= C#A+~I 1/
13
D - A $11= A A 9 / D 13 13 DÈ-Aà 1 or E b - A #I 1 = AÈA
/ DÃ
13
ETA$11= B A 9 / E 13
F-A $11= C A 9 / 13 13 FÈ- d 1 o r G b - A $11= C # A 9 / 13 G - A 811 = D A g / G 13 13 GÈ- $11or Ab-A $11 = DÈA
/ GÃ
13
A - A $11= E A 9 / A
13 C - A $11 = B-7 / C 13 13 CÈ-Ai 1or D b - A $11 = C - 7 / C# 13 D - A $11 = CÈ- / D 13 13 DÈ-A#1 or E b - A $11 = D - 7 / Dà 13 E - A $11= D # - 7 / E 13 F - A $1I= E-7 / F 13 13 FÈ- $11 or G b - A $11= F-7 / Fà 13 G - A $ I f = FÈ- / G 13 13 $11 o r A b - A # l l = G - 7 / G à 13 A - A i t i i = GÈ-7/
13 13 AÈ-AI 1 or B b - A $11 = F A 9 / A# B-A
SUBSTITUTIONS
C-9
=
G/C
or
13
C b - A #ii = AH-7 / B
TIT
TIT
TIT
HUB
NUMERIC ANALYSIS OF SCALES
LOCRIAN MELODIC DORIANÈ
LYDIAN AUG
1 b2 b7 b6 b3 4b5 1 7 5 6 4 2b3 1 b2 5 6 b7 b3 4 1 94 7 956 2 3
ALT o ENIGMATICMINOR
MODE 5 MODE 6
LYDIAN b3
DOMINANTQ LYDIAN AUG $2 LOCRIANH~
HUNGARIAN MINOR ORIENTAL
1 2 1 b2 1 1 b2 1 2 1 b2
LYDIAN AUG $3
b7 96 7
1 92 3 4 b5 1 b2 lt3 M t5
b6 b6 H7
7
3 4 b5 $2 3 4
6
7 96 7
7 6 945 5 6b7 3 4 94 $5 6 $2 3 7 b6 It7 4 b5 b3 . 94 5 b6 b3 7 3 4 b5 6 b7
MODE 6
DORIAN t 2 ~ 4
b5 b6 $4 5
b3
MODE 5
MELODICAUG
1 b2lt3 b4 1 b2 b3
1 2 b3 1 b2 b3 1 2
7 95 6 94 5 6 b7 7 $5 6 $3 #4 4
1 b2 1
45
NUMERIC ANALYSIS OF SCALES continued
ALT ALT PERSIAN
1 b2 tt3 b4 tt7 b5 *6 1 b2 7 b6 3 4 b5 1 1 1 I 1 # 2 1 3 1 4 1l 5 1 I 1 8 6 1 7 1 1 b2 H3 b4 5 b6 b7 1 b2 94 5 b6 b3 7
1
MODE 2
MODE 3 MODE 4
1
1
1
1
1
1
1
1
1
1
MODE 4 MODE 5
1
BEBOP LOCRIAN 42
1 1 1
2 3 4 5b66b7 2 b3 4 b5 5 b6 b7 4 b5 2 b3 b7 7 b6
MODE 3
1
4 5b66 7 4 b5 5 6 b7
MODE 7 MODE 6
1 92 3 4 95 6 b7 1 b2 H3 4 b5 H6 I47
MODE 6 MODE 7
MODE 4
1
MAJOR PENT
1 11 121 1
MODE 4
I
1 1 1
MODE 3 MODE 4 MODE 5
MODE 2 1
1
2
1
1
1
7
6 5 b6 b7
1 b2 MODE 6 b7 4 -3 -5 b6 -------2 -bMODE 7 1b22 3 7 6 1945
5 1-6 94 5 1
1
~
1
7
1
~
1
3 6 b7 MODE 3
MODE 4 MODE 5 MODE 6
DOMINANTSUS
MODE 2 MODE 3 MODE 4 MODE s
21'3 1 b2 b3
1
5 b6
b3 b4 2 b3 1
1 ~ 5 1lb71
4 4 b5
b3 2 b3
1
I
b5
3
1 b2
PBLOG
lb31 1 4 1
1b22 3 94 7 956 1 b2 b7 7 b3 4 5 b6
1 $2 3 7 95 6 1 b2 4 b5 b6 *7 1 3 4 7 5b6 1 2 4 6b7 5 1 b3 4 5 b6 b7 1 2 6 3 4 5 1 2b3 b7 4 5 1 b2 b3 b7 4 b6
NUMERIC ANALYSIS OF CHORDS
NUMERIC ANALYSIS OF CHORDS continued
POLYCHORD FORMULAS NINTHS
ELEVENTHS
THIRTEENTHS
ALTS ALT =
Asus21-5
3 M
OR-
b5
OR
fino5
5
OR
Rb5
OR
OR-
3
fisus2 1'5
3 42 -
95
