THE SCALE B by Leigh
Powers Published throughout the world by PROFESS IONAL MUSIC PRODUCTS, INC. 14731-E FRANKLIN AVENUE TUSTIN, CALIFORNIA 92680
© Copyright 1979 Music Research, Inc . ALL RIGHTS RESERVED . This book, or any part thereof may not be reproduced in any manner, or stored by any electronic storage retrieval system of any kind without writfen permission of the publisher. International Copyright Secured. Printed in the United States of America.
ACKNOWLEDGEMENTS
Graphic Design-Music Research Inc., Agoura, Ca. Writing Typing and Transcribing- 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. Muckle for 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
TABLE OF CONTENTS
INTRODUCTION ..... ........ .. . .... . ..... .. .. .... . . . .. ..... . . .... . ........ . ... . ... . ............... . 3 Special Features of this Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The Seven Fingerings For Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 _T he Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 The Major 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 Plain Mi7b5 Scale ..... . ...... .. ..... . . . .......... .. ... . . . .. . ... . ... .... . ..... ..... . .. .. .. .. .... ... 26 The H.M. 2 Scale ..... .. .. .. . ........ ... . .... ... .... ... ... . .... .. .. . .. . ....... .. . . ...... . . ... . . ... .. . . 27 The JM 6 Scale . . . .... .. .. . .... . ... .. . ...... .. .. . .... . ........... ... ......... .. ..... . . .. . ....... . .... .28 The Lochrian Scale ........ . .. . .......... . ... . . .. ... .. ....... .. ... . . .... . ......... . ....... ... . ..... . ...29 A Review . . . . .. . .... . .. ..... .. . ............... . . . . . .... .. . .... . .... .. .. ..... .. .. ... .... . . ......... .. 30
THE SCALE BOOK INTRODUCTION Scales are the building blocks of melody and harmony; the competent musician requires fluency in a variety of scales, as well as the understanding of the relationship of scale construction to harmon y. Musicians and m usic 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 rmation 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 location the most important and useful scales and their fingerings (for the guitarist). These scales appear here in standard music notation , fo r all instruments, and also in standard box diagram illustration, for the guitar. We hope you find this volume useful throughout your years of musical interest; we would also enjoy hearing any comments you might make concerning this book, the material in it and its presentation. Thank you for your continued interest in Professional Music Products. The Author
SPECIAL FEATURES OF THE SCALE BOOK Each scale will be shown in twelve keys in standard musical notation. In the guitar illustrations each scale will be shown in one key only, but in seven "static" fingerings involving no position shifts for the left hand . 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 recommended fingering. Because guitarists seem to be an opinionated and argumentative lot of growling "louts" we decided to give each, for the price of this book, the opportunity to express his own ideas about the fingerings of scales and to "correct" us if he chooses.
HOW TO PRACTICE SCALES ON THE GUITAR 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 commercial. 5. Ignore the preceding steps because they are not your cup of cocoa and because you prefer an intellectual approach. Study the guitar for years with every local guru-guitarist you can find. Learn everyone's tricks and then go get a master's degree in harmony at music school. Become an authoritative speaker, perhaps a charming and witty afterdinner 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 you, use magic. 6. Look at your hands. Discover that you have five fingers, the guitar has 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 n umber on each finger, and using your subjective concept of pretty hand shapes, develop and practice interesting visual patterns. Be careful not to listen while you play, but devise a cute name for your system (like The Artful 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 attitudes you could adopt concerning scale st udy. To learn scales is not hard, it isn't boring, it isn'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. Don'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 scales. 2. Practice new scales carefully, slowly-you can make any number of mistakes playing fast, so practice slowly. Give attention to clean intonation and smooth rhythm. 3. Learn all the fingerings of each scale . Sooner or later, if you really want to be a good player, you will. Don't learn just the rock scales, and don'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 learn three fingerings for each scale before coming back to the rest. You might concentrate on rock but give ample attention to the other scales as well. Having a plan and following it will eliminate your frustrations by allowing you to compare your accomplishments with your goals. Many students who can't accurately 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" w hen they haven't. A plan will allow you to see whether or not you are attaining your goal.
3
4. Be musical, even at practice ("zzzzzzz ... "). Don't sleep through your practices. Be creative, sing your scales as you play them (many gui ta rists vocalize solos as they play them). Harmonize your scales. Play them with different picking sequences and in different rhythms. M ove them up or down a fret every time you repeat them; p lay them on the fifteen th fret. Play them only descending; use them to play melodic patterns and sequences. 5. Use these scales in musical situations. WHY STUDY SCALES? 1. For technical skill-Through scale stud y you will increase your strength in both hands, and you will improve your
muscular control and coordination of both ha nds together. 2. For instrumental facility-Scale studies should take you all over your instrument, assuring that you master difficult 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 improvising and reading. Scale knowledge will be a strong tool for you in composing, arranging, conducting, copying, etc. You will also date more frequently and in general be more popular with all your friends. THE ORIGIN OF OUR SCALE NAMES If you've looked down the Table of Contents, you're probably wondering what some of these scale names mean. Some of the names are the "official" names, others are p opula r nicknames that describe the scale, while the rest are names popularized by Leon White in his book, Modern Im provising-A Guide to Jazz Scale So/oing.In each lesson, I'll describe the origin of the scale n ame briefly .
THE SEVEN FINGERINGS FOR GUITAR The fingerings we prefer are shown complete at the beginning of each lesson; we show seven fingerings for each scale. These fingerings cover the entire fingerboard for any key and without an y 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 able 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 never further than two frets removed from its neighbors. 2. For every scale the lowest root will lie in seven different positions on the bass strings of the guitar. Three positions find this root on the E string, three on the A string, and one on the D string. The particular typ e of scale determines wh ich left hand fingers are employed, but in all scales the fingers that play the root in the three E string positions are the same fingers that play the root in the three A string positions, and the first finger always plays the lowest scale roo~ 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 note and a different note as its highest reachable note.
OUR SYSTEM OF NOTATION FOR GUITAR
Below are diagrams indicating how the s~ale fingerings will be notated for guitar.
654321 Fret
~
E m ADm GBE---------·_. ,,.,.._.
1F
3G
__.--
Each finger has bee n assigned a number .The number of that finge r will appear inside the circle showing where to place it.
.,.,. ..,. _.,
On each diagram a circle will be placed where you should place your fingers to play .
Using the C Major Scale, we have illustra ted below how t he seven fingerings for one scale interlock with each other. Each box shows a different fingering for the C Major Scale, and each fingering has different notes that can be reached at the limits of t.he fingering.
c
We'll repeat the above illustration for you in the key of G Major to move the fingerings down the neck. It'll give you a new perspective.
4
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 fingeri ng. (Our system does not omit the pentatonics, 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 stretches. These scale fingerings are thus useful for note reading as well as for improvising. Shown below are the seven ma jor scale fingerings we've 6. Each fingering corresponds to a familiar chord shape. 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 the 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 seven different arpeggios located "inside" that fingering. The arpeggios are the most important and fundamental ones- the "seventh chords" that can be built from each Scale E A D G B E E A D G B E E A D G B E E A D G B E Degree. CF
C major scale
r-:-±~~-r-'"(
Fma7 arp.
CF
CF
F
Cma7 arp.
G7 arp. '-F+¥~'t"''f"
Ami7 arp.
Although we've used only one C Major Scale fingering in this 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'p eggios we've found here. We'll repea t this process from a differe nt C Major Scale fi ngering just to show you this more clearly(and to tease you a bit). D C
Fma7 arp.
Arpeggios are a major tool in improvising, an important technical drill, and excellent ear training, but a th orough study of them requires 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 a rpeggios indirec tly. You'll have no wasted effort mentally or technically. EXTRAS FOUND IN THIS BOOK Along the way you'll. find extra information about scales and how they relate to music. Following is a brief list of these extras and what they mean. Chords-When chords are shown with a scale, we've done so because that scale is so popular that the chords are used together in progressions, to create tonality. The major scale is a good example of this~ We frequently use the chords built from notes 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 you learn first. They're the easiest.
5
THE MAJOR SCALE Scale formula from Root C: C D E F G A B C
Triads in Scale} C Seventh chords in Scale}C MA7 Sixth chords in ScaleJ C6
Dmi
Emi
F
G
Ami
Bdm
Dmi7
Emi7
F MA7
G7
Ami7
Bmin7b5
F6
G6
Dmi6
THE MAJOR SCALE IN MUSIC NOTATION
~1 1
n ~ JJ n I ;-33 J A J
II~ JJ :n EL rJ I naB J II
n U rE I Er U n J @•b JJ J 2 n n a J J n J
II~~ J3 JJ u G I £J JJ f":JJ
~ • iJ
u u u ~ r 1 rr r r Ef J
11'~#
1
I 11
II
II The guitar fingerings : 0
= Lowest Root
I
Try playing the C major scale over these progressions :
1) 3)
Dmi7
G7
Cma7
Cma7
Ill !
I ll/
Ill/
Ill/
Emi7
A mi7
Dmi7
G7
Ill!
I ll!
Ill/
Ill/
2)
Ami
Ill/
6
G
= 1 beat or strum
F
Ill/ Ill/
F
G
Ill
I
THE MAJOR PENTA TONIC SCALE c
Scale formula from Root C:
E 3
D 2
R
G 5
A 6 (13)
(9)
This scale is called the Major Pentatonic because 1) The interval from C to E is a major third, and helps to spell the chord C major, found in this scale (CEG ); 2 ) "Penta 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 spelling (See the "D " note above) the numerals are there to indicate tha t the note has two functions or titles in the scale and its chords.
c
D
1
2
E 3
F 4
G
A
B
c
5
6
7
8
D 9
E
F
G
A
10
11
12
13
As you can see, the D note is both the 2nd note, and the 9th note of the C Major Scale. The A note is both the sixth and the thirteenth. You should keep this piece of info stored away for later use. Please note: 1) that this scale is like the C major scale except that it's missing the 4th -F, and the 7th-B . 2) This scale spells a chord w hen all of the notes are sounded together. The chord is called C 6/ 9. C E G A D
1
i
3
5
6
THE MAJOR PENTATONIC SCALE IN MUSIC NOTATION
@i j: J j J~
I
i!
-
J F I FJ J J J
~· i J J1 F F
Ir
c: r r f
F
~
I E F jJ
cr r ~
J
II~# Jf J J1
f r
I fJ JJ
J
II~## r t
F f
I
,J
f IEFr~j ;;j
r1
II~## 3 £J J ] F
r
I ###1# J 1 JJ J
r
J~J
9
~
j
II
J] d
I
j I E F r~ :J
I
J? ~ J ) j
t1
I
I f J J1 J I II
0
7
=
Lowest Root
THE MIXOLYO IAN SCALE F A Bb c G b7 4 5 3 6 In the C Mixolydian Scale we're calling the Bb note a b7. Why? Because we're comparing this C mixolydian scale to the 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 their notes are measured and described . Scale form ula from Root C: C
D
1
2
E
THE MIXOLYDIAN SCALE IN MUSIC NOTATION
!§~ J:
n JJ•r: I•R J3 ,;g ~
II$ • ·.a E ~~u lbU E1 J) ~
I I
II
II The guitar fingerings: 0
= Lowest Root
\
~~·~~~~~
~~mm;~~~~
lllllliiiiEil Try playing the C mixolydian sca,le in the following progressions:
1)
C
C
F
1 / 11 Ill! /Ill
BD
2)
Ill/
C7
G7
C7
C7
/Ill /Ill Ill/ 1 /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
THE MINOR PENTA TONIC SCALE Bb c b7 Here you can see that we're calling Eb a b3 because in the C Major scale the third no te is E. This scale is called the Minor Pentatonic because C Eb G Bb spells a C mi 7 chord, and the scale contains 5 different notes. Scale formula from Root C:
C 1
Eb
F
b3
4
G 5
THE MINOR PENTATONIC SCALE IN MUSIC NOTATION
II
II
r
II
4 II
II The guitar fingerings: 0
= Lowest Roo t
Try the A minor pentatonic scale over these progressions: 1) Ami7 09 Ami7 D9 2) Ami7 Dmi7
Ill/ /Ill /Ill /Ill
/Ill
Ill/
Ami7
Ami7
3)A7#9
F
Ill /
/Ill
Ill/
II
Does the A minor pentatonic resemble the C major pentatonic in any way??
9
G
II
THE BLUES SCALE Scale formula from Root C: C 1
F 4
F#
#4 bs
G 5
Bb b7
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, and is of major importance in r ock, blues, and jazz improvising. The guitar fingerings require a little jockeying around and all seven are not "required" for that reason.
THE BLUES SCALE IN MUSIC NOTATION
II
II
4
II
II
~~ .~~ .mm~~
~ TirllT ~~~tm!T ~ (
.
•
I
•• ••• • • • • Play the A blues scale with the progression examples shown for the dorian and minor pentatonic scales.
10
THE DORIAN SCALE Scale form ula from Root C:
C 1
D
Eb
F
2
b3
4
A 6
G 5
Bb
c
b7
This "scale" is really the major scale started from the second degree. That's a cute fact that might he lp you finge r the scale, but will confuse you if you try improvising and tra nsp osing at the same time. (C dorian = Bb major)
THE DORIAN SCALE IN MUSIC NOTATION
II
II The guitar fingerings: 0
= Lowest Root
Try the A dorian scale over these progressions : 1) A7''9 E G 2) Ami7 09
/Ill
II
II 11
/Ill
Ill/
IMPROVISING WITH SCALES WE'VE SEEN SO FAR So far all of the scales we've seen belong together 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 improvising. The major scale and the major Pentatonic scale can be used interchangeably because the major Pentatonic is actually 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 Mixolydian scale have only one difference-the 7th (inC Major the 7 is B; inC Mixolydian, the 7 is Bb). This is a big difference in sound!! (Compare the scales and play all the examples.) We have a similar situation in the minor scale area. The minor Pentatonic scale is inside the Dorian scale and the Blues scale. If you'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 the major scale spend 450 weeks playing solos that always start on the 07 note (the B note in the C major scale). To hear the mixolydian scale, start 10,751 solos with 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 your head full of the minor Pentatonic scale, move to the Dorian and start all your solos and licks 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 notes #4 - 5. That's the sound there. You can combine major and minor scale sounds by playing the b3 note (from minor) and then the C3 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 scales that may be used. It's up to you to experiment and listen to each. #1)
Dm7
t II·
rr[] • Z/JF
G7
Cma7
#2)
Cma7 ZI/1 •
7
1. C Major scale 2. C Major Pentatonic
#3)
D
G7
F
ill= 1111 jtJJJ jll/1 lllll :II
Irz rr I v"rrn I u //·11 7 0
Am
C
1. C Major scale 2. C Major Pentatonic
c
D
#4)
G
Ill·
til= /h'/ I tt/} l tm I Ill/ =II
Am7 017
· 1/V
--
Am7
D9
D9
707
I l/IJ nrz I VIJ
1
T/7•11
I TIJT·
IIII .I 11 ·1 IIJfl 1. D Mixolydian _,.. ---... ___...,.. -... __,...
__,..
2. D Major Pentatonic - - -- -- - -
-+-
· rrv
1. 2. 3. 4. 5. 6.
c nrz
7/IJ
c on
7/J/
c
/177
7/LI
1 . A Minor Pentatonic 2. A Blues scale 3. A Dorian -+-
F
I hTO
c
F
c
c
F
G
I//}] jtl/1 1/U/ I lfl} I qo I 7 V
C Major scale [kind of plain sounding] -C Major Pentatonic [a bit of country rock] C Mixolydian [country-rock/blues feeiL.. C Minor Pentatonic ("bluesey"] C Blues scale ["bluesier"] _ _ _ C Dorian (jazz-blues feel] _ _ :._..
#6)
D7 +9
D7 + 9
nTJI DJJO ruJOII
/TIT
F
fll= //// IIIII
I
,{o Vii
c
G
1
7777·!1
TILl •
.I 11fl 1. D Minor Pentatonic _ 2. D Blues scale -
12
3. D Dorian -
~
___.....
THE LYO IAN SCALE The Lydian Scale is an unusual scale in that its only alteration is a #4 (b5). It has 07! The only chords whose spellings coincide with this scale are: Major 7 b5 (Major 7#11) Major 9b5 (major 9#11) Major 13 ~ 11
Scale formula from Root C: C D E F# 1 2 3 #4 bS
9
#11
c
B
A 6 13
G 5
7
THE LYDIAN SCALE IN MUSIC NOTATION
'~ 1 JJiJ J l J1 I fJ J,J R 1 11* J HP rL U I cr r!f R J II
, •••• c::r tl u r:J 1cr nr
uJ
11*b~ -.rJ ;rp JJ n 1n J,a n J 11
$No ;:J JiJ t:E FE I iJ J1J n J II#~~~~~ iJ JiJ U U I EEEtJ' n J II The guitar fingerings: 0
=
Lowest Root
mm.~~mm . . ~~~ ~~mm;mm~~mm
&$1!1!11111'! !. '
.
I
C1
G
/Ill
•
...
Ill!
C Major Scale
G- 3~ Ill/ CMajor
•
•
•
•
I
•
I
Ebr
Dmi7
G7
/Ill
/Ill
/Ill
Eb Lydian G
!Ill
3mm
I
•
•
I
I
I
I
I
!Ill
Il l/
·§m
AD Lydian
G7
I III
3~
t:ttf:tj
C major scale
13
•
/Ill
Ami7 arp .
Abr
I
C9 '11
Am7
C Major
I
CLydian
•
•
I
G1
Ill/
I
I
•
•
I
•
Gr Ill/
G Major
The more you play the Lydian Scale the more natural the scale becomes to your ear . For many playe rs the Lydian is a preferred choice to the Major Scale .They might use the Lydian anywhere a Major Scale could be used.
THE NATURAL MINOR SCALE Scale formula from Root C} C Triads found in the Scale} Cmi
Eb
F
G
Ab
Bb
Ddim
Eb
Fmi
Gmi
Ab
Bb
Fmi7
Gmi7
Abma7
Bbmra7
Dmin7b5 Ebma7
Seventh chords found in the Scale} Cmi7
c
D
This scale is really the major scale started from the sixth degree. That is, A natural minor equals C major. The question is, does that knowledge do you any good? What about key signatures? Does A na tural m inor have the same key signature as C major? If it does, how could you tell which scale/tonality you are playing in?
THE NATURAL MINOR SCALE IN MUSIC NOTATION
~y""~.a J) JJ D JJ I JJ J ) f) J II~" JJ D tl r1 IEE U [) J I
~~ fJ
n U r CI EE U
fJ J I • f3 J J u r r I FJ J J [J J II
~
cr fJ
llr ; J JJ
IE
rU A J I
II
...•.....••..•.... !lila lliliiiiBEiiB l
l
I
I
Try this scale over these progressions: 1) Ami7 Ami7 Dmi7 Dmi7
/Ill'
Ill/
/Ill
1
--
.
I
· --
F
l
I
I
I
I
I
l
-
G
/Ill Ill/ /Ill
Ami7
Ami7
Ill/
!Ill
14
2)
Ami7
G
Fma7
Fma7
/Ill
Ill!
Ill!
Ill/
THE HARMONIC MINOR SCALE Scale formula from Root C:
c
Triads found in} the Scale "Seventh" chords } found in the Scale
Eb b3
D 2
1
F 4
Ab b6
G 5
B 7
c
Cmi
Ddim
Eb+
Fmi
G
Ab
Bdim
Cmi!ma7
Dmin7b5
Ebma7#5
Fmi7
G7
Abma7
Bdi m7
THE HARMONIC MINOR SCALE IN MUSIC NOtA TION
'~ J M :il M D I ~~ J kq J 1 1 J #U
rb:
11
f £ I Er r:1•R J II II II
The best progressio n to help you get used to this scales "new" sound is shown below in two keys . 1) Dmi7b5 G7(b9) Cmi Cmi 2) Bmi7b5 E7 (b9) Ami Ami
Ill/
Ill/
Ill/
Ill/
Ill/
CHarm. Minor
Ill!
A Harm . Minor
15
Ill!
!Ill
THE MELODIC MINOR (JAZZ MINOR) Scale fo rmula fr om Root C:
c
D
G
A
2
Eb b3
F
1
4
5
6
B 7
Dmi
Eb+
F
G
A d im
Bdim
Dmi7
Ebma7#5
F7
G7
Ami7b5
Bmi7b5
Triads in the Scale}cmi Seventh chords in the Scale~Cmi/ ma7
THE MELODIC MINOR (JAZZ MINOR) IN MUSIC NOTATION
~1 1 ~.n JJ JJ I fJ
JJ.n J
II~ J Jo:JJ S E " f I U:
u•R J II
~ • iJ o:J U FJ I EFU ,£3 J I ;t J J1J J u g I iJ J JqfJ J I
~·· :fJoJ J JJ / Z I TJ J
II II ' . '
~~~~~~~
~~·~~. ~ ,~~ .
.
••••••• "
.
- ;
'
This progression should help you get the sound of this scale . P lay C melodic minor over the cha nges. Dmi7 G7it 5 Cmi(6) C mi (6)
/Ill
/Ill
Ill/ 16
Il l/
THE H.M. 5 SCALE Scale fo rm ula from Roo t C:
C 1
E 3
Db b2 b9
F
G
4 11
5
Ab b6 #5
Bb b7
c
HM5 refers to the fact that this scale was "crea ted" by playing the Harmonic Mino r Scale (H M) from the fifth degree instead of the first, thus rearranging the sequence of intervals. The HM5 is in effec t a "mode" of the Harmonic M inor Scale.
THE H.M. 5 SCALE IN MUSIC NOTATION
'~
;,n J JoMJ l·i2l 3J JJ J
$•'&• tttr n clr"r r 1"L"E FI @ J $•'&•• g;;:u aat&a &&J n 'iJJ 1
I ~ M n c'" 1ff 11C'r U IIJ J 1
11¢bE
:ot? n JlJsH I~;n J -v J
11~~~,~# ~J n
ar ~u 1~ c1r u JiJ J
II
1:
Th;s scale is the first scale we're showing you that should be applied to one chord,i. e . you're go ing to have to change scales as the chords change . Fma7 2) A mi7 D7b9 1) G mi7 C7 b9 Fma7 Gmi7 Cll b9 Fma7 Fma7
/Ill
Ill/
F Maj.
C H.M.5 F Maj.
Ill!
Ill/
Ill! GMaj.
Ill!
II I I
Ill/
Ill!
DH.M.5
FMaj.
CH.M.5
FMaj.
17
Ill/
THE OVERTONE DOMINANT SCALE Scale formula from Root C:
C
0
E
F#
G
A
1
2
3
#4 #11
5
6
9
Bb b7
c
13
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 DOMINANT SCALE IN MUSIC NOT A TION
~t J JJ~ J MJ l•fJJ@ A J 1 1 J H~ U 1U 11U E!r JJ J I
$• n •@ tr bG IbE r QF iJ J
II##
~·b _,;IJ 1J JJ~>JJ l•iJ J~J
II~## @
!) J
J J J,J u 1U IqiJ J,J iJ J Uqi'J i EF r~ 9
UJ
I I
II
This scale can be used with dominant family chords, especially 9#11 and 13 #11, where it sounds rich and full . Play the example below as illustrated. Gmi7 C9#11 Fma7 Fma7
Ill/
Ill/
Ill/
F Maj.
COver. Dom.
F Maj.
18
/Ill
THE ALTERED DOMINANT SCALE Scale fo rmula from Root C:
C 1
Db b2 b9
Eb b3
Fb b4 3
#9
Gb
Ab
#11 b5
b6
Bb b7
c
#5
The Altered Dominant Scale gets its name from the fac t that it contains all of the altera tions a dom inant 7th chord can have- b9, 119 , b5 #5.
'i
THE ALTERED DOMINANT SCALE IN MUSIC NOTATION
JoM p~nM1 1•fiM 3.JUJ J I ~ I&J oJ iJ 'E 'r 1f'J I1E"E ~U ofS J II
$• ;;a oJ qJ •er 'r r 1t 'r •rs- •4J J II~# ;,a qJ#~ •ttr •r; I•&l&J J~4J J 1
:!
p
J
t& ~ 4;w:&J q ~ &RJ !ziJ
g
~
1&4J &J 1b;p J
c~r gr yp c:·~ ~ 3r- r s~c e~cbFJ get ~
# .# #
11
1
OJ
I 11
'.•~. JoM .a•er ~Fll t:r•o dS j II~~#· J~J IJ iJ ·dr lrJ I1E'PCJliD H
'''•'gr•ntctrbrr- l'r'c'T:!•@f J lleb~:M 1J #JdiMJ 1qiiJqJ JqJP:J 1 '····· jJ &JqJ•ttt •a I•lil.J J&J;J l l~~i·##J!N #J s@r sr F I'PHJ I@ J II J
This scale can be played, with care , over 7b5, 7 115 , 9b5, 9 115 , 7b9 , 7 tt 9 , 7b9b5 , 7b9 tt5 and 7tt 9 tt5 chords. You can a lso play it over a plain dominant 7 chord and add a lot of "spice" Gmi7 C7b9n5(etc.) Fmaj7 Fmaj7
/Ill
Ill/
Ill/
F Maj.
C Alt. Dam.
F Maj.
19
Ill/
THE W HOLE TONE SCALE Scale formula from Root C:
C 1
F# #4 #11
E
D 2
3
9
G# #5
A# (Bb) #6 b7
C
OK, the origin of the name of this scale isn't so difficult, I'll admit. The distance between each note and its neighbor notes is a .. . w hole tone .. . How many different whole tone scales are there rea lly? Three, four? Does the scale repeat every few frets?
THE WHOLE TONE SCALE IN MUSIC NOT A TION
tr J J J~Prp r ,~.
J J J q a~ ftJ r
~-b" j J JO§E!t
r
i•&M J • •
ltz 1fJ~J .. .., JJ I
II~ J J :Jfii=at F I~Pr~t;r J J I
..
I -.,;-
FtW;J 2 J ;
9
r;:'
~
l
[c
. ..
II r:';
b•
r#rvD f
D ~~ · ~ : •'
@
IGL;LFCJ
F
J
lcf#r¢g J j
II
II
II
C Whole Tone = D = E = F*' = Gtt = A# Whole Tone Scales. Cll Whole Tone= Dll = E# (F)= G = A = B Whole Tone Scales. The Whole Tone Scale works well over dom. 71t5 and dom. 9#5 chords. Gmi7 C91t5 Fma 7 Fma7
/ Ill
Il l /
F Maj.
C Whole Tone
Ill/ F Maj. 20
/Ill
THE HALF-WHOLE SCALE Scale formula from Root C:
C 1
Db b9
Eb #9
E 3
F# #11
G 5
bs
A 6 13
B
c
7
And yes, this scale is made by alternating half steps and whole steps between the no tes. (Measure 'em if you don't believe me .... ) T his scale also contains 8 different tones ins tead of 7, w hich does turn the fingering around a little bit.
THE HALF-WHOLE SCALE IN MUSIC NOTATION
~· M&JqJ&Ccbu I"E'rtrb4J J II~B ;;JqJ;J&ttc&~ r I&JiJ&J J ~m
'@" -it>J&JqJ&fiM J l&ffl&J )&ffl: J
D
II~## c•r!t¥"t1r 1r r 19PC"CJ!et J I
4•"~>J&MJ•ttc"rl I"Cr•t:r•ffi j ll~u#'JqJ;JiJf3r 1 g I'OPr:rdil J II
ij •"&•er vlttrtrtr"c •c•n •cr J
11~h##hJ #J q;AJE.JJ l~;ow qJ J1orp 3 1
This scale can be played over 7b9 , 13b9, 1311 11 , 7119, 7115, 7115b5, 911 11 , and 7b9b5 chords. (It's another spicy choice for plain domina nt 7 chords too.) Fma7 Gmi7 C7b9(etc .) Fma7
/Ill
Ill/
/Ill
FMaj.
C Half-whole
F Maj .
21
/Ill
THE WHOLE-HALF SCALE Scale formula from Root C:
C 1
0
Eb
F
F#
G#
A
B
2
b3 #9
4
#4
#5
6
7
9
c
#11
OK. This is the scale you just saw, started wi th the who le step first. ... I'll admit that . How many different versions of this scale are there really? Does it repeat every two frets? Every three or four?
THE WHOLE-HALF SCALE IN MUSIC NOTATION
i i jJ>JqJ•~ 3iJ I #0 SoJ J.J&al i:
0
1 1 M•JiJ•er E1f I l 1f rrtrU I .. I
~
I
~
#
b t
:Fg~
b.
@p 'JP&J qJ &~J W&3 1~9 j ]&f]&JJ I ~ I B@rgEJ C1r Et I
I
U 'E rs(11 " I
~ .~., J&MJ•ttr rtf I E"E g••B.JJ I .. ll'b~J~J,J•ar r1r I Clr EJ•B=JQ I d
This scale is also known as the Diminished Scale because it contains the notes found in a diminished 7th chord: 1, b3, b5, bb7 (6) . C 0 7 = Eb 0 7 = Gb 0 7 = A 0 7 CH0 7 = E 0 7 = G 0 7 = Bb 0 7 D 0 7 = F 0 7 = Ab 0 7 = 8 ° 7
This scale fingering definitely requires some shifts , and the scale is used well over diminished chords. 1) Bma7 C0 7 C# mi7 f #7 2) Cma7 CH 0 7 Omi7 G7
Ill/
Ill/
Ill/
B Maj .
C Dim.
B Maj .
/Ill
22
Ill/
/Ill
C Maj.
C# Dim . C Maj.
Ill/
Ill/
THE JM 5 SCALE Scale formula from Root C:
C 1
D
E
F
2
3
4 11
9
G 5
Ab b6 #5
Bb b7
c
JM5 refers to the fact that this scale was "created" by playing the Jazz Minor Scale from the fifth degree of the scale instead of the first. thus rearranging the sequence of intervals. T he JM5 is in effect a "mode" of the Jazz Minor Scale.
THE JM 5 SCALE IN MUSIC NOTATION
~i J J n i&JoJl I•JJiL 3 n J I I~ JJ n F 1Ff I'L 'L U JJ J 1
1
'"
I
II
II
This scale can be used over 7#5 and 9115 chords , a nd contains few other a lterations. GMi7
C9115
Fma7
Fma7
I I II
Ill/
/Ill
Ill/
CJ.M.S
FMaj.
FMaj.
:23
THE HM 4 SCALE Scale formula from Root C:
C 1
D 2
Eb b3 #9
F# #4 #11
G 5
A 6 13
Bb b7
c
HM4 refers to the fact that this scale was "created" by playing the Harmonic Mino r Scale (HM) from the fourth degree instead of the first, thus rearranging the sequence of intervals. The HM4 is in effect a "mode" of the Harm onic Minor Scale.
THE HM 4 SCALE IN MUSIC NOTA TION
II II II
II II
Once again, we have a scale that contains only two alterations, and functio ns with dominant chords; 7119 , 7b5 , 7119b5, 1311 11, and 9b5. C7tt9tt5 Gmi7 Fma7 Fma7
I ll /
Ill /
I II I
FMaj.
CHM4
FMaj.
24
I I II
THE JM 2 SCALE Scale formula from Root C:
c 1 1
Db b2 b9
Eb b3 #9
F 4 11
G 5 5
A 6 13
Bb b7 b7
c
JM2 refers to the fact that this scale was "created" by playing the Jazz Minor (JM} from the second degree instead of the fi rst, thus rearranging the sequence of intervals. The JM2 scale is in effect a "mode" of the ,Jazz Minor Scale.
THE JM 2 SCALE IN MUSIC NOTATION
.n ; M ;~ I~LJ 3 MEJ
J&J
II~ J1,Jon
r r1EI Iqc r rpiiJ J
II
II
II II
The scale can be played ove r the following chords C7b9 , Gll b9, C13b9 and C7#9 . As before yo u can a lso play the scale over plain Dominant chords (not containing these altered sounds). Proceed as before. Gmi7 C7b9 Fma7 Fma7
Ill/
/I ll
/Ill
F Maj.
C JM2
FMaj .
Ill/ 25
THE PLAIN Mi7b5 SCALE (So called because the only alterations to the scale are the notes that spell a M7b5- lb3b5b7 .) Scale formula from Root C:
C
D
Eb
1
2
b3
F 4
Gb bs
A 6
Bb
C
b7
THE PLAIN Mi7b5 SCALE IN MUSIC NOTATION
II II II
This scale works with the mi7b5 chord best of all. Try the example below . 1)
Cmi7b5
F7
Ill/
/Ill
C "Plain"
Bb Maj.
Bbma7
Bbma7
/Ill
/Ill
2)
Cmi7b5
F7
Bbmi7b5
Eb 7
Ill/
/Ill
/Ill
Ill/
C "Plain"
26
F Mix . Bb "Plain"
Eb Mix.
THE H.M. 2 SCALE Scale formula from Root C:
C 1
Db
Eb
F
Gb
b2 b9
b3 #9
4 11
b5 #11
A 6
Bb b7 b7
c
HM2 refers to the fact tha t this scale was "created" b y play ing the Harmonic Minor Scale (HM ) from the second degree of the scale instead of the first, thus rearranging the sequence of intervals. T he HM2 scale is in effect a "mode" of the Ha rm onic Minor Scale.
THE H.M. 2 SCALE IN MUSIC NOTATION II
II
II II
Once again th is scale works with mi7b5 chords, bu t it contains more alterations. (This is my fa vorite.) Cmi7b5
Ill/ C HM2
F7
Bbma7
Bbma7
/Ill
Ill/
/Ill
Bb Maj.
27
..
THE JM 6. SCALE Scale formula from Root C:
D 2 9
C 1
Eb
F
b3
4
Gb b5
Ab b6
Bb b7
c
JM6 refers to the fact that this scale was "created" by playing the Jazz Minor Scale from t he sixth degree of the scale instead of the first, thus rearranging the sequence of intervals. The JM6 scale is in effect a "mode" of t he Jazz M inor Scale.
THE SCALE IN MUSIC NOTATION
~ a 1 JoJ:::.;~~:.n
~ • fJ .n "@r "r
I diM
Ml 1
r I 'Pf"jp£J J 1
11#
J Jo:ISl•r•r1fi 11E"c•rpR J
11~~
a qJ J~~rr ~a 11M&J 01 ~n J
a
11
11
~ iJ &J Jo:J oJJ I&J;j oJ hfJ J I ';; CJ ~a !'dE l:f I E~C 11CFtJ J I 9
1 •'
9
~~~~~- J J•JJl•ty:tJ 11ECfjliJ j d II
II
Another sound for mi7b5 chords - this time the scale contains a b6(11'5) as well. Cmi7b5
Ill/ C JM6
F7
Bbma7
Bbma7
Ill/
Ill/
/Ill
Bb Maj .
28
THE LOCHRIAN SCALE Scale formula from Root C:
c
Db b2 b9
1 1
Triads in the Scale}Cdim Seventh cnords in the Scale}Cmi7b5
Eb b3 #9
Gb b5
F 4 11
#11
Ab b6 #5
Bb b7 b7
Db
Ebmi
Fmi
Gb
Ab
Bbmi
Dbma7
Ebmi7
Fmi7
Gbma7
Ab7
Bbmi7
c
Db6 Ebmi6 Gb6 Ab6 "Sixth" chords in the scale} B Lochrian has the same notes as C major. I just wanted to let you know.
THE LOCHRIAN SCALE IN MUSIC NOT ATION 1 1
i $ JoJ .n•J .J .n l•h:J.J Mp J
II~ J~>J•nr•r fi llL 'r~r_p~ J
1
11
II II
This mode of the Major Scale contains the most a lteratio ns you can have over a mi7b5 chord . This is getting "farther out" when the mi7b5 chord is behaving as a ii chord . Cmi7b5 F7 Bbma7 Bbma7
Ill/ C Lochrian
Ill/
/Ill
Bb Major
29
Ill/
The following table shows scales that might be played over a chord . For each chord the re are several possible scales. Each scale contains a slightly diffe rent total g rouping of scale sounds. Compa re each of the scales to the chord.
= Altered Dominant
JM7
C7b9
C7 t~ 9
C R
Db b9
c c c c c c c
Db Db Db Db Db Db Db
G
E 3
c
Bb b7
5
E
F
G
A
E
F
Eb Eb Eb Eb Eb
F F F F Fb
G G G Gb Gb Gb
Ab A Ab A Ab Ab
Bb Bb Bb Bb Bb Bb Bb
c c c
C13b9 Scale HMNS JM2 Phrygian HM2 Lochrian JM7
c c c c
C
D
C
D
C
Db
C
D
C
Db Db Db Db Db
C C
C 7b5
C R
(9b5) [9#11) (13#11) E Gb 3 bS
C
D
E
FN
G
C Bb b7 A
Bb
D
E
R
9 Db
3 Eb Eb Eb Eb
C
C
D
C
Db Db
C
c Db Db Db Db
Eb Eb Eb Eb
GN
Fb
Gb Gb Gb Gb
F F Fb E
Gb bS Gb Gb Gb FN
F F
A Ab Ab Ab
Bb b7 Bb Bb Bb
Eb Eb Eb Eb Eb Eb Eb Eb Eb
F F F Fll F F
F F Fb
Bb b7
G
5 G G G G Gb G Gb Gb Gb
A Ab A A Ab Ab A Ab Ab
Bb Bb Bb Bb Bb Bb Bb Bb Bb
Gil b5
Bb b7 Bb Bb Bb Bb Bb Bb Bb Bb
C C
Dorian Aeolian JM2 HM4 JM6 Phrygian HM2 Lochrian JM7
C
C C
c c c D
c
JM4
C
HM2 JM6 Lochrian JM7
C
c c
E
R
3
c c c c c c c c
Whole Tone
C
C D Db D D Db D Db Db
E E Eb Eb Eb E Eb Eb
F F
G
F F
Gb
F
G
Ab Ab Ab Ab Ab
F#
GN Gb Gb
Ab Ab
F Fb
G
G
C
JM5 HM5 Aeolian JM6 Phrygian Whole Tone Lochrian JM7
C
C C
C C
C C
C7b9N5
E 3
R
c c c c
FN bS F
DN/ Eb #9
[9#5)
:9bsJ [9Nl1J
C
E 3
A Ab Ab G
Bb b7 Bb Bb Bb A
Db b9 C C C Bb
C
HM2 Lochrian JM7 lf2 Whole
C
E
G11
R
3
#5
Bb b7
Ab Ab Ab Ab
Bb Bb Bb Bb
C
C C C
Db Db Db Db
E Eb Eb Eb
F
G
F F
G Gb Gb
Fb
Db b9
C
HM5 Phrygian Lochrian JM7
C C C
C1119N5 E
c c c c c c
D D Db Db Db Db
Eb Eb Eb Eb Eb Eb
Gb
FN F F F Fb E
DN/ Eb
G
A
Gb Gb Gb Gb FN
Ab A Ab Ab G
Bb Bb Bb Bb Bb A
C C C C C Bb
c
HM4 JM6 HM2 Lochrian JM7 1h Whole
c
c
D D
E Eb b3/ N9 Eb N9/ b3
c
Db b9 D
c
D
E
c
D
c
Db b9
Eb b3/ N9 Eb N9/ b3
E
F F
G G
A A
F
G
FN Nll/ bS F
G
Ab b6/ N5 A
G
A
F
G
F 4
Gb b5/ Nll
Ab #5/ b6 Ab b6 / N5
8 Bb b7 Bb
B 7 Bb b7 Bb b7 Bb b7
E
Gt~
R
3
115
Bb b7
Ab Ab Ab Ab Ab
Bb Bb Bb Bb Bb
c c c c c
The Major Scale and Its modes.
c
c D Db
D Db Db
Eb Eb Eb Eb Eb
F F F F Fb
c c
C Major Scale Dorian
c
Phrygian
C'
Lydian
c
Mixolydian
c
Aeolian
c
Loehr!an
30
G G Gb Gb Gb
DN/ Eb
119
c c c c c
Aeolian Phrygian JM6 Lochrian JM7
1. Harmonic Minor Scale and its modes.
c
D
c
Db b9 D
c
Eb &3/ #9 Eb b3/ #9 E
c
D
c
Db b9
c
Dll
E
c
#9 Db b9
Eb b3/#9
Eb b3/ #9 E
F
G
F
Gb b5
F F# #ll/ b5 F
Ab b6/ #5 A
Gt~
A
#5 G
A
G
B 7 Bb b7 B 7 Bb b7 Bb b7 B 7 Bbb 6
Ab b6/ #5 A
Ft~ G #ll/b5 Fb Ab Gb 3 b5/#ll b6/#5
c
C Harmonic Minor
c
HM2
c
HM3
c
HM4
c
HM5
c
HM6
c
HM7
_C
C Melodic Minor
c
JM2
c
JM3
c
JM4
c
JM5
c
JM6
c
JM7
2. Melodic Minor Scale and its modes .
c
D
c c
Db b9 D
Eb b3 Eb b3/#9 E
c
D
E
c
D
E
c
D
c
Db b9
Eb b3/#9 Eb #9/ b3
F
G
A
F
G
A
G# #5 G
A
F# Nll/ bS F# #ll F F Fb 3
A
Ab b6/#5 Gb Ab b5/#ll bb/#5 Gb Ab b5/ #ll #5/ b6 G
B 7 Bb b7 B 7 Bb b7 Bb b7 Bb b7 Bb b7
Possible chords:
·8·8·8·8·8· C7b5
C7N5
C7b9
C7N5b5
w. 811 311 311 3ml /ftD 3mm C7N9N5b5
C7N9b5
amm 8tmi C7b9
Cl3b9
C7b9b5
:miD C7b9b5
31
C7#9#5
C7#9#5b5
Cl3Nll
C7N5b5
3~
3~
