This Jazz Piano Tutorial is about the scales you can use over a dominant chord with a tritone substitution. One of the most common chord substitutions in Jazz is the Tritone Tritone Substitution. This is a way of substituting Dominant 7 chords. So a G7 would become a Db7 the root note is a tritone away!. They wor" because the guide tones #rd $ 7th! are the same in both chords. G7 % G & D ' Db7 % Db ' (b & Ordinarily over a ))*+*) in , -aor you would ust im/rovise using the , -aor scale0 or the e1uivalent modes. &ut what if the chord /rogression was 234 a bar of G7 and 234 a bar of Db75 Or if someone was com/ing and you didn6t "now which chord they were going to /lay5 Db -iolydian doesn6t 1uite fit over the G7 chord8 and G -iolydian doesn6t 1uite fit over the Db7 chord 9ou have a number of o/tions when im/rovising over G7 and3or Db7: * Play G -iolydian but avoid the , * , is an avoid note for G7 and Db7 ; so ust omit it * Scales that fit over G7 and Db7 * ( G (ltered Scale * (>( Db ?ydian Dominant * D melodic minor % D = ' G ( & ,@Db! * (>( Db (ltered Scale * (>( G ?ydian Dominant
Tritone Substitution & Scales )ntroduction One of the most common Chord Substitutions in Jazz is the Tritone Substitution. This is a way of substituting +7 chords. So a G7 would become a D ♭7 the root note is a tritone away!. They wor" because the Guide Tones #rd Tones #rd $ 7th! are the same in both chords.
G7 % G B D F
D♭7 % D♭ F (♭ B
Tritone Substitution and Scales Ordinarily0 you would ust use the , -aor Scale or e1uivalent modes! to im/rovise over a ))* +*) in ,0 as shown in ,hord Progression @2 below.
ii ii
V7
I
Chord Progression #1
Dm7
G7
CMaj7
Scales
D Dorian
G Mixolydian
C Ionian
Key
C Major
Chord Progression #2
Dm7
D
CMaj7
Scales
D Dorian
D♭ Mi Mixloydian
C Ionian
Key
C Major
G♭ Ma Major
C Major
Chord Progression #3
Dm7
G7 - D
CMaj7
Scales
D Dorian
?
7
7
C Ionian
&ut what if you were to tritone substitute the G7 to D ♭70 li"e in ,hord Progression @4 above5 Then you cannot generally! use the G -iolydian mode over the D ♭7 because it contains the note , which is a natural 7th from the /oint of view of the D ♭7!. 9ou 9ou could0 however0 /lay the D♭ -iolydian mode G ♭ -aor!.
G -iolydian , -aor! % G ( & C D = '
D♭ -iolydian G ♭ -aor! % D ♭ =♭ ' G
(♭ &♭ ,♭
&ut what if the chord /rogression was 234 a bar of G7 and 234 a bar of D ♭70 li"e in ,hord Progression @# above5 Or what if someone was Acom/ing Acom/ing and and you didn6t "now which chord they were going to /lay5
D♭ -iolydian doesn6t 1uite fit over the G7 chord8 and
G -iolydian doesn6t 1uite fit over the D ♭7 chord
(nd changing changing scales scales for 234 234 a bar0 bar0 es/ecia es/ecially lly at a 1uic" 1uic" tem/o0 tem/o0 can be be challenging challenging and and unnecessarily com/le.
Play G -iolydian but avoid the ,
ii ii
V7
I
Chord Progression #1
Dm7
G7
CMaj7
Scales
D Dorian
G Mixolydian
C Ionian
Key
C Major
Chord Progression #2
Dm7
D
CMaj7
Scales
D Dorian
D♭ Mi Mixloydian
C Ionian
Key
C Major
G♭ Ma Major
C Major
Chord Progression #3
Dm7
G7 - D
CMaj7
Scales
D Dorian
?
7
7
C Ionian
&ut what if you were to tritone substitute the G7 to D ♭70 li"e in ,hord Progression @4 above5 Then you cannot generally! use the G -iolydian mode over the D ♭7 because it contains the note , which is a natural 7th from the /oint of view of the D ♭7!. 9ou 9ou could0 however0 /lay the D♭ -iolydian mode G ♭ -aor!.
G -iolydian , -aor! % G ( & C D = '
D♭ -iolydian G ♭ -aor! % D ♭ =♭ ' G
(♭ &♭ ,♭
&ut what if the chord /rogression was 234 a bar of G7 and 234 a bar of D ♭70 li"e in ,hord Progression @# above5 Or what if someone was Acom/ing Acom/ing and and you didn6t "now which chord they were going to /lay5
D♭ -iolydian doesn6t 1uite fit over the G7 chord8 and
G -iolydian doesn6t 1uite fit over the D ♭7 chord
(nd changing changing scales scales for 234 234 a bar0 bar0 es/ecia es/ecially lly at a 1uic" 1uic" tem/o0 tem/o0 can be be challenging challenging and and unnecessarily com/le.
Play G -iolydian but avoid the ,
o
, is an avoid note for G7 and D ♭7 ; so ust omit it
Scales that fit over G7 and D ♭7 o
o
Dominant Diminished Scale % Scale % G (♭ &♭ & D♭ D = '
o
o
(♭ melodic minor % % (♭ &♭ ,♭ D♭ =♭ ' G
(>( G Altered Scale
(>( D
Lydian Dominant
D melodic minor % D = ' G ( & ,@
(>( D
(>( G Lydian Dominant
Altered Scale
So now it doesn6t matter whether the accom/animent /lays a G7 or a D ♭70 because the above scales wor" well over both chords.
-iscellaneous Dominant 'acts ( few more interest /oints about about tritone tritone substitution: substitution:
( +7♭B ,hord is its own tritone substitution o
Dm7
G7
5 % G & D ♭ ' % D
7
5 % D♭ ' G &
Rootless Voicings of Dominant ,hords include the: #rd0 7th0 Cth $ 2#th we will discuss rootless voicings a voicings a future lesson! o
ootless G7 % ' ( & =
o
ootless G7@C ♭2# % ootless D ♭7 % ' (@ & = ♭
9ou will often see Tritone Substituted !VAs o
o
The /ossible combinations and /ermutations are listed below G7
CMaj7
A♭m7
D♭7
CMaj7
Dm7
D♭7
CMaj7
A♭m7
G7
CMaj7
G -iolydian , -aor! % G ( & C D = '
D♭ -iolydian G ♭ -aor! % D ♭ =♭ ' G
(♭ &♭ ,♭
TAKE THE G MIXOLYDIAN AND FLAT THE 5 TH, OR SHARP THE 4 TH AND YOU GET THE D MELODIC MINOR OR THE G LYDYAN DOMINAT TAKE THE Db MIXOLYDIAN AND SHARP THE 4 TH AND YOU GET THE LYDYAN DOMINAT OR G ALTERED
Diminished Scale Theory Willie Myette
Diminished scale theory is usually seen as a dense and confusing topic that is reserved for advanced theory and harmony classes at the university level. Many advanced masterclasses have featured some of the world’s greatest musicians talking about how to apply the diminished scale to improvisation and composition. And while diminished scale theory can be a very deep eld of study, many students appreciate having a basic understanding of what the diminished scale is and how it is used in music. o in this article, we’ll get you started with an introduction to diminished scale theory.
Diminished cale !heory" What is the Diminished cale# !he diminished scale has a few di$erent names, including the octatonic scale and the half% whole scale, but they’re all the same scale. We’ll discuss each brie&y. !he diminished scale can be created by stacking two diminished 'th chords a half%step apart on top of one another"
(otice that the scale has eight uni)ue notes, thus the name octatonic *which literally means eight tones+. !he term half%whole scale- refers to the fact that the scale is built by alternating half%steps and whole%steps. tarting on /,’ the scale moves up a half%step, then a whole%step, then half, then whole, etc. !here are really only 0 diminished scales 1 /, /2, and D. When we build the scale starting on D2 we get the same scale as the / diminished scale, as it is 3ust an inversion of the / diminished scale. !he same is true for the other remaining starting notes.
Diminished cale !heory" 4ow 5s 5t 6sed# 7k, this is where things can start to get8 advanced. !he diminished scale has an incredible amount of theory built into 3ust eight notes. We are only scratching the surface with what we’re going to discuss below, but what you’re about to learn is perhaps the most important part of diminished scale theory and the reason it has so many applications and harmonic potential. 9emember that every 'th chord has a set of guide tones, which refer to the 0rd and 'th of the chord. :uide tones are important because they give a chord its quality 1 ma3or, minor, dominant. 5n dominant chords, the 0rd and 'th are a tritone away *an interval of a diminished ;th or augmented ?et’s nd those tritone sets and their corresponding dominant chords in a / diminished scale" @.
/ and 2 B D' chord
C.
D2 and A B ' chord
0.
/2 and : B A' chord
<.
E and b B /' chord Fou might be saying, hey, that’s only < dominant chords. Fou said there were =. What gives#9emember that every dominant chord has a tritone substitution> When you consider the tritone subs for each dominant chord you get the following"
@.
/ and 2 B D' and Ab' chord
C.
D2 and A B ' and ' chord
0.
/2 and : B A' and Eb' chord
<.
E and b B /' and 2' chord Also remember that every dominant chord can resolve to its 5’ chord. o consider the harmonic G7WE9 inherent in the diminished scale because it has the ability to allow you to resolve to = di$erent 5’ chords. A ma3or scale really only has one *or two at most+ dominant chords inherent in the scale.
Understanding Tritone Substitution For some reason the term “Tritone Substuon” makes some musicians freeze up with terror. While tritone substuon sounds like a tricky concept at rst it!s actually not that complicated. "et!s start with a basic understandin# of tritone substuons and then we!ll #et more specic and di# deeper throu#hout this arcle. For more on how to solo o$er a tritone substuon you can $isit my other arcle.
What is a tritone substitution? A tritone substuon occurs when you substute one chord for another chord with a root a tritone (6 half-steps up or down) away. This is not a terribly complicated denion and it allows for more possibilies than the typical tritone sub.
%ou can chan#e the &uality between the two chords 'for e(ample )b*a+, as a sub for -, or keep it the same 'for e(ample substun# an )b, chord instead of a -, chord which occurs in Well You Needn’t and The Girl from Ipanema.
In pracce tritone substuons most oen substute a DOI!A!" chord for another DOI!A!" chord a tritone away# but this doesn$t necessarily ha%e to be the case. /n #eneral it doesn!t ma0er what the &ualies of the two chords are and the 1rd and ,ths don!t necessarily need to be in$erse of each other thou#h they 1rds and ,ths W/"" be in$erse when both the ori#inal chord and the tritone sub are dominant. /!ll co$er the concept of in$erse 1rds and ,ths more later in the arcle. For now +ust take note that in$erse tritone 1rds and ,ths only occur when both chords are dominant. "et!s start by e(aminin# the most common place where tritone substuons typically appears.
"he most common e&le of a tritone sub is to substute the ' chord in a maor *ey 'it can occur in a minor key also. 2 34*/525T b//, chord is the most common tritone substuon for the 6, chord althou#h the tritone sub doesn!t necessarily ha$e to be dominant. They are both dominant chords in this stereotypical e(ample of a tritone sub. '/t!s somewhat similar to the “5eapolitan chord” in classical music theory but with the addion of a ,th to the chord most commonly a dominant ,th 'b,. The “5eapolitan chord” also normally appears in rst in$ersion unlike the tritone sub. For an e(ample of the standard tritone sub consider7
Standard Tritone Sub Dmin +alt ,ma
%s
Dmin Db ,ma
The rst ii868/ 'the rst two measures is a re#ular ii86,8/ whereas the second pro#ression 'the last two measures contains a tritone substuon in place of 6,. The 9nd chord in the 9nd e(ample the 3b, is the tritone substuon a tritone away from the ), '6, for which it is a substute. The numbers of each chord tone are wri0en by each note to help make it clear what is happenin#. 5oce that the 1rd and the ,th actually switch places between the ii and the 6 chords in the re#ular ii868/ in the $oice leadin# '1 , 1 and , 1 , e(ample because the root mo$es around in :ths and ;ths. /n the 9nd e(ample the root mo$ement mo$es chromacally and so the $oice leadin# doesn!t in$ol$e 1rds resol$in# to ,ths or ,ths resol$in# to 1rds. To further e(plain the concept of in$erse 1rds and ,ths between the ori#inal 6, chord and the tritone sub b//, chord noce the 1rd and ,th of the 3b, 'F and < thou#ht it!s technically a -b. / wrote it as a < instead of a -b to make it easier to read and to demonstrate the similarity are +ust in$erse of the ,th and 1rd of the ), 'F and <. 1 becomes , and , becomes 1. The concept of the in$erse 1rds and ,ths between the ori#inal dominant chord and the substuted dominant chord is o=en is the rst thin# people learn about tritone substuon. oth chords must be dominant in order for the rds and ths to be in%erse of each other. >emember that the most common tritone substuons in$ol$e two dominant chords#
neither the ori#inal chord nor the sub has to be dominant in order for a tritone sub to be present. The tritone substuon can chan/e 0ualies from the chord it is substun#. The 3b, in the e(ample abo$e can be chan#ed to a 3bma+, or a 3bmin, as in the followin# e(amples7
The 6, is indisputably the most common chord for which you can substute a tritone sub. @owe$er there are other chords that are re#ularly substuted. The $i chord ii chord and iii chord are o=en replaced by tritone subs and other chords can be replaced by a tritone subs as well. We ha$e already considered the tritone substuon of the 6,. "et!s consider the followin# some diAerent chord pro#ression e(amples that use tritone substuons in other $arious harmonic locaons.
Tritone sub of vimin7 or VI7 1a Ab +min , %ou can nd these chan#es in A Foggy Day. The 2b, can best be understood as the tritone substuon for the 6/, chord '3,.
Tritone Sub of ii Ab + ,min
This pro#ression 'b6/ 6, i occurs in Soly As In a orning Sunrise in bar B and bar 19 'althou#h it can really be substuted for 25% of the 3min,'b; ii chords in that minor tune. 2lsoC
Aba + ,a This pro#ression is one of the 1 main ways to approach the minor ii86 that resol$es to a *2D4> / chord '3min,'b; ), -*a+, in Night and Day. -laricaon7 you won!t nd this pro#ression on our chart on "DS. 4ur chart has 3min,'b; ), -*a+, because this is the funcon of the minor ii86 resol$in# to the ma+or / chord. There are three common sets chan#es that occur in Night and Day! 3min,'b; ), -*a+, 'minor ii86 resol$in# to a *a+or /. /n our $iew this set of chan#es best represents the funcon of the chords. 2b*a+, ), -*a+, 'b6/*a+, 6, /*a+, with the b6/*a+, as a sub for a half8 diminished ii. 2nd FmE ), -*a+, 'b$iminE 6, -*a+,. The FmE has e(actly the same notes as the 3min,'b; +ust with a diAerent root Night and Day is a uni&ue tune because e$en the rst chord of the piece has no consensus /t is #enerally interpreted in those three ways by diAerently players. The rst chord can be a ii half8diminished chord a i$minE chord or a b6/*a+, chord. /t!s a #ood idea to clarify which chan#es you want to use on that tune with the rest of musicians on the bandstand
Tritone Sub of iii b Ab + This pro#ression occurs in the tune Do"y # and somethin# similar occurs $an occur in There Is No Greater %o&e in the third bar as a tritone sub for the 3min, 'dependin# on which chart or recordin# you consult. The b6// chord 2b, can be understood as the tritone sub of the iii chord 3m, or 3,. 2lsoC
,a b A This pro#ression is from bars 1 and : of Yard'ird Suite. The
Tritone Substitution Using Multiple Tritone Subs ,a 2ba Aba Dba or ,a 2b Ab Db These chord chan#es can be seen in the last two bars of the Tadd 3ameron composion %ady (ird. This set of chan#es uses a tritone sub for e$ery chord of the / $i ii 6 pro#ression e(cept for the / chord. The b/// is a sub fo the $i chord the b6/ is a sub for the ii and the b// is a sub for the 6, chord. This set of chan#es is known as the “Tadd 3ameron turnaround.” @opefully this helps shed some li#ht upon the concept of tritone substuon. Stay tuned tomorrow for the 9nd arcle in our tritone substuon series.
Using Scales to Approach Tritone Substitution Heep in mind that no scale is a cure8all for your +azz $ocabulary ailments. Scales are like words. %ou can!t learn a lan#ua#e by learnin# a few wordsI you must learn sentence structure #rammar synta( etc. Scales help you know which note choices sound consonant with a #i$en chord chan#e but they can be used incorrectly +ust as words can be used incorrectly. 2 healthy dose of listenin# and transcribin# can help you to sound authenc when you solo. Dazz lan#ua#e doesn!t come from a scale but scales are sll important.
For this reason there has been a mo$ement amon# some +azz musicians to speak more about “pitch collecons” than scales. Whate$er Joats their boat. / think that “pitch collecon” makes it easy to con+ure up a mental picture of someone soloin# usin# a #roup of notes rather than runnin# scales so maybe the term is helpful. @owe$er many people will ha$e no idea what you are talkin# about if you say “pitch collecon” and so / prefer to use the term “scale” instead. "ook the K3F on the Scales 2pproach to Tritone Substuon detailin# se$eral diAerent harmonic instances in which you can use tritone substuon alon# with a correspondin# scales for each chord chan#e7 5oce that7
The Lydian Dominant scale (1, 2, 3, !, ", #, b$, %& can be used 'or dominant tritone substitutions (eg )b$ and )b Lydian Dominant& The Lydian scale (1, 2, 3, !, ", #, $, %& can be used 'or ma*or $ tritone substitutions (eg )bma*$ and )b Lydian&
The only ma+or , tritone subs in the handout are shown in the Tadd 3ameron Turnaround 6ersion L9 but that parcular chord pro#ression has 1 diAerent ma+or ,th tritone sub chords that can all use a "ydian scale based on the diAerent roots as shown. / hope this handout helps
" +a -hord Substitutions .ou /eed to 0no 4ne of the prominent characteriscs of +azz music is its rich harmonic lan#ua#e. 5ot only does +azz ulize the full spectrum of diatonic harmonic mo$ement it includes modal harmony and also a slew of substuons. /t!s important for musicians studyin# +azz to know some of the common +azz chord pro#ressions that you will encounter in +azz standards.
/t!s important to note that the $e chord substuons are taken in the conte(t of a chord pro#ression and not indi$idual chords themsel$es. Today!s lesson is borrowed from our Ja#ship e
1. iii Replaces the I /n +azz you will o=en see the iii chord replacin# the / chord. For e(ample in the key of - a ,ma is replaced by and 2min. The common chord pro#ression you will see this happen in is the /8$i8ii86. This would be -ma+,82min,83min,8),.
/t!s important to note that in this e(ample the $i chord has been made into a dominant , chord '6/. This is a common pracce in +azz and creates more $oice leadin#. There you #o a li0le bonus This brin#s us into the ne(t oneC
2. #i Diminishe Replaces the VI /f you turn the 6/ chord into a dominant , chord rather than its diatonically correct minor , form you open up some possibilies. 4ne of those is replacin# 6/ with a diminished , chord.
5ow / don!t want to #o too much into the theory behind this. 3iminished theory is a whole lesson unto itself so / would encoura#e you to check out this lesson for more on this. @ere!s the conte(t7 a /86/8ii86 which in the key of - is -ma+,82,83min,8),. When we replace a Li diminished for the 6/ it becomes -ma+,8-Ldim,83min, ),.
"hin* of it this way4 a dominant , can be altered 'bQLQ bR1 LRR. /f we were to make the 6/ chord into a dominant,'bQ chord it would share all of the important notes e(cept the bass note of the chord with the -Ldim,.
!. Tritone Substitution We!$e wri0en a lot about tritone substuon on "earn Dazz Standards and we won!t #o o$er all of them in this lesson. "et!s instead focus on the most typical e(ample. First oA for those who are new to this concept what is tritone substuonN A tritone substuon occurs whenever a chord is being substuted or replaced by another chord with a root a tritone interval away. Example: G7 is replaced by Db7.
2 tritone is an inter$al of three whole tones between two notes. %ou can also think of it as a b; or a L: away from any #i$en note. 4ne of the most common tritone subs is "ritone 5ub of '. /n the conte(t of a ii868/ chord pro#ression '3min,8),8-ma+, you would replace the ), with the dominant , chord a tritone away7 3b,.
". IIViiiVI Turnaroun to a iiVI Today / am includin# in the denion of “substuon” as anythin# that pro$ides an opon outside of the possible ori#inal chan#es. 2 turnaround is anythin# that brin#s you back to the / chord. 4ur rst e(ample iii86/8 ii86 is a turnaround headin# back to the / chord. 2 /86/8ii86 is a turnaround because it is cyclin# back to the / chord.
$. %hromatic iiV&s
This is a $ery common substuonadd8on so pay a0enon. Take a look at this common ii868/ pro#ression7
Dazz musicians will somemes opt to create e$en more harmonic mo$ement by takin# the Rst bar and addin# a ii86 a half8step up from the ori#inal ii86. They will then push o$er the ori#inal ii chord into the second bar #i$in# each chord two beats each.
5ow there are e$en more chan#es to impro$ise o$er and connect to each other. Kre0y cool ri#htN )i$e some of these chord substuons a try. )o throu#h some +azz standards that you already know well and see where you can apply these. This is #reat pracce. 2nd the ne(t me you #o to a +am session +am with a friend or play a #i# keep your ears open for these possible substuons.
The 1# Most mportant Scales in +a ere is a list of the 76 most important scales for a33 impro%isaon and the harmonic conte&ts in which they can be used for impro%isaon. While we do not
want to sound like we are playin# scales when we impro$ise it is ne$ertheless $ery important to know what notes will be consonant with each chord which is why chordscale theory is so important. %ou sll ha$e to study the lan#ua#e and $ocabulary of +azz in order to know how to appropriately apply these scales in your impro$isaon /t is really a lifeme of study tryin# to connually absorb this informaon into your playin# in musically sasfyin# ways and yet these concepts can be learned rather &uickly. %ou can easily di#est this informaon intellectually but then spend the ne(t ten or more years learnin# how to apply these concepts 5ote7 We ha$e included a chord e(ample for each scale. 2s much as possible we tried to keep e$erythin# related to - ma+or to show where these scales can be used in relaon to the -ma+or2minor key center. This is an imperfect system but hopefully it will be instruc$e. / ha$e also linked some of these concept to a correspondin# -hord Workout play alon# to help you in your &uest to apply these scales to your impro$isin# @appy praccin#
1$ The Medie4al -hurch Modes 7. Ionian (aor scale) 789:6; < ,ma Th ma+or scale is consonant o$er ma+or chords. For e(ample a - ma+or scale corresponds with a - ma+or chord.
8. Dorian inor scale 78b9:6b; < Dmin
The dorian minor scale as a b1 natural E and b,. /t is the most commonly used minor scale for impro$isaon in +azz music. /t works o$er any ii chord but it can also be used for other minor chords such as the iii chord and the $i chord.
. =hry/ian inor scale 7b8b9:b6b; < 2min or +(b>)sus 4f the $e types of minor scales '3orian Khry#ian 2eolian5atural *inor @armonic *inor and *elodic *inor the Khry#ian mode is ar#uably one of the two least common minor scales for +azz impro$isaon alon# with harmonic minor. G$en thou#h dorian melodic minor and e$en aeolian are probably more common the Khry#ian mode is sll useful in at least two conte(ts7
The Khry#ian scale works o$er a iii chord 'Gmin, in the key of - works with G Khyr#ian
Khry#ian minor can also be used o$er a 6, chord if the 6, chord is suspended and has a bQ. For instance in a ),'bQsus to -min, pro#ression a ) Khry#ian 'same key center as Gb ma+or 1 Jats works well. This conte(t is discussed in much further detail in the Dazz Kiano
9. ?ydian aor 78@9:6; < 1ma or ,ma(@9) The "ydian *ode works well o$er any ma+,L: ma+,b; or ma+,LRR chord. The most ob$ious e(ample is as /6 chord 'e.#. F ma+or in the key of - but the lydian mode can also work well o$er a / chord. The "ydian scale is the bri#htest of all the church modes and has a disnct modern Ja$or o$er a / chord due to the non8diatonic 'in the conte(t of a / chord L: chord tone.
:. i&olydian (Dominant) 789:6b; < + The *i(olydian mode is the most basic scale for impro$isin# o$er a 6, chord. %ou can also use the altered scale the half8whole diminished scale whole8tone or e$en Khry#ian o$er a 6, chord but each diAerent scale implies diAerent alteraons and
diAerent scales will work be0er in diAerent musical conte(ts. 4=en there is more than one acceptable choice for impro$isin# o$er a 6, chord.
6. Aeoian (!atural inor) 78b9:b6b; < Amin (Dorian is more common) /t seems that natural minor should be the preferred choice for minor chords but most players default to usin# 3orian o$er a minor chord due to the rela$e consonance of the natural E from the 3orian scale $ersus the rela$e dissonance of the bE from the 5atural *inor scale. %ou can choose to use 3orian o$er a $i chord althou#h 5atural *inor is usually an acceptable choice also for a $i chord or a minor i chord.
. ?ocrian (alf-Diminished) 7b8b9b:b6b; < min(b:) The e(oc locrian scale is the darkest most dissonant mode of the ma+or scale. /t works well o$er a half8diminished chord 'also known as a min,'b; chord. When approachin# a half8diminished chord some players like to sharpen the b9 from the "ocrian mode to a natural 9. /f you raise the b9 to a natural 9 this new scale is called the “"ocrian L9” 'that!s “sharp” 9 not “number” 9 mode which is actually the Eth mode of melodic minor harmony. This scale is R9b1:b;bEb,B and the natural 9 diAers from the "ocrian mode. /f you keep the b9 of the "ocrian scale this is the ,th mode of the ma+or scale. /t!s useful to place "ocrian and "ocrian L9 into the same cate#ory of scale as they can both be used to na$i#ate a half8cate#ory7
.: ?ocrian @8 < 78b9b:b6b; < min(b:)
Scales #' an #( are t)o variations upon the iminishe scale. ;. alf-hole Diminished (Dominant-Diminished) (Dominant-Diminis hed) 7b8b@9:6 7b8b@9:6b; b; < +7(b>)
up of alternan/ half-steps and whole-steps# but you can start with either a halfstep or a whole-step. For more informaon on diminished scales you can $isit my other arcle on the Secrets of the 3iminished Scale or learn some diminished licks. The half8whole diminished scale can be referred to as dominant diminished because it works well o$er a dominant R1'bQ chord. The half8whole half8whole diminished diminished is made up of the inter$als @W@W@W@W '@half8step Wwhole8step
>. alfalf-hole hole Diminished Diminished (Diminished-diminished) (Diminished-diminished) 78b9@9@:6; 78b9@9@:6; < ,@dim /f you start a diminished scale with a whole8step it become W@W@W@W@. This mode of the diminished scale works well o$er a diminished chord.
7B. Altered 5cale 7b8b@9b 7b8b@9b6b; 6b; < +(@>b7) or +alt# A(@>b7) or Aalt The altered scale is actually the ,th mode of of melodic minor. /t works works #reat o$er an altered chord ',LQbR1 or ,alt ,alt which implies ,'bQLQLRRbR1 'that!s way too lon# which is why we shorten it to ,alt. This scale has many names includin# “Super8"ocrian”” “3iminished8Whole8Tone” “Super8"ocrian “3iminished8Whole8Tone” or e$en the “3im8Wit” scale / prefer the term “2ltered” “2ltered” for 1 reasons7 it!s shorter less inmidan# for ine(perien ine(perienced ced players and most importantly it reminds us that we need 2"" of the : possibly alteraons to a dominant chord7 bQ LQ LRR and bR1. %ou can thus spell the scale7 RbQLQ1LRRbR1B RbQLQ1LRRbR 1B
6ibraphonist )ary
77. hole-"one 5cale 78@9b6b; < +b7 The whole8tone scale only has E notes 'the ,th note would be the doubled root in the top octa$e. /t is enrely made up of whole8steps whole8steps77 WWWWWW. This scale implies a natural Q a LRR a bR1 and of course course a b,. /t works well o$er a ,bR1 chord as lon# as there is a 52T?>2" Q and not a bQ or LQ.
78. lues 5cale 7#b#9# 7#b#9#@9Cb:#:# @9Cb:#:#b#; b#; and inor =enatonic =enatonic (minus @9Cb:) < , The blues scale is one of the rst scales that many +azz musicians musician s are tau#ht. While / ha$e some reser$aons reser$aons about about this scale and / ha$e made up the “*i(o83orian
7. ?ydian Dominant 78@9:6b; < D@77 or 1@77 "ydian implies a L:. 3ominant implies a b,. /f you put them to#ether you ha$e the fourth mode of the melodic minor scale This scale works well o$er a dominant //, or a dominant /6, chord a b//, tritone sub or any R1'LRR chord. /t works #reat o$er the second chord in Take the 28Train althou#h 28Train althou#h many players choose to use whole8tone ideas instead of lydian8dominant.
1!1# Are 5ebop Scales ith a -hromatic -h romatic 6assing Tones
/f you add an e(tra chromac passin# tone to a ma+or dorian or mi(olydian scale you #et a bebop scale While bebop musicians technically put the chromac notes in other places and it sounded +ust ne in recor recordin#s din#s +azz theorists ha$e codied the bebop scales into somethin# more concrete placin# the chromac passin# tone between E and ; 'ma+or bebop scales and B and b, 'dominant and minor bebop scales. The bebop scales are primarily descendin# scales and so /!$e listed the numbers backwards to reJect the descendin# nature of these scales.
79. aor ebop ;6b6:9 ;6b6:987 87 < ,ma %ou can use the ma+or bebop scale with any ma+or chord. The chromac passin# tone is placed between E and ;. With any of these bebop scales the idea is to use the chromac note as a chromac passin# tone and not to stop on the chromac note for too lon#.
7:. inor ebop ;b6:9b ;b6:9b87 87 < Amin# Dmin# or 2min The minor bebop scale has a chromac between B and b,. /t works well o$er a minor chord. >emember to use the chromacism in the scale when impro$isin# and to use the natural ,th as a passin# tone.
76. i&olydian ebop ;b6:987 < + The mi(olydian bebop scale is the &uintessenal bebop scale. /t has a chromac passin# tone between B and b, and it works the best o$er an unaltered dominant chord. / hope that these scales will help you in your &uest to become a be0er impro$iser 3on!t for#et to follow the links and use the chord pro#ression workout play alon#s They are $ery helpful.
The 7Secret8 Scale to Unloc9 2"1 -hord 6rogressions *ost of the me //868/!s are tau#ht as a set of discrete modes or as a collecon of related modes deri$ed from a sin#le parent scale. We!re told the //8, chord corresponds to a 3orian minor scale the 6, a *i(olydian dominant scale and the /'ma+, either a "ydian or /onian scale. 4r on the other hand we o=en hear that you can treat the whole //868/ as essenally one scale all based oA of the /onian 'ma+or mode played from the root of the / chord. 2lthou#h these are somemes useful approaches and can oAer a $ery basic framework to help no$ice +azzers #et started with impro$isaon / think there are e$en be0er ways to conceptualize //868/!s re#ardin# specic scale choices. /!$e already brieJy del$ed into bebop scales here on the "DS site before and in this post / want to talk about another lesser known or “secret” scale7 the harmonic maor
scale. /n my e(perience rela$ely few +azzers talk about or teach this scale but it is possibly the sin#le best scale to use if you want a simple and concise tool to help you start #eneran# bebop $ocabulary o$er //868/!s. 2nd it works for both ma+or and minor //86!s 'details on that below
1irstly# what is the harmonic maor scale /t!s essenally like a harmonic minor scale e(cept it has a natural 'not a Ja0ed 1rd scale de#ree as you would assume for any scale labeled “ma+or.” /n other words it!s a ma+or scale with a Ja0ed E th de#ree. - harmonic ma+or is spelled7 -838G8F8)8 2b8<8-.
@ere it is notated7
To understand the deri$aon of the harmonic ma+or we ha$e to brieJy e(plain where harmonic minor scales come from. The “harmonic” label comes from the fact that in the lan#ua#e of Western “classical” music theory the harmonic minor scale has all of the elements necessary for #eneran# tonality i.e. tonal chords and harmonic pro#ressions. For tonality to be funconal melodically and harmonically you ha$e to ha$e a leadin# tone For tonality to be funconal melodically and harmonically you ha$e to ha$e a leadin# tone as the , th scale de#ree 'the , th note of the scale has to be a ma+or ,th abo$e the root or a half8step below the tonic U howe$er you want to $isualize it. This is because in the briefest and simplest terms possible tonality is essenally dened by the 6,8/ cadenal relaonship which li$es and dies on the resoluon of the “tension” inherent in the tritone. The tritone e(ists between the 1 rd and ,th of the 6, chord 'think < and F for ), in the key of - ma+or. The , th of the 6, chord 'the : th de#ree of the tonic / chord resol$es down V step to the 1 rd of the tonic / chord and the 1 rd of the 6, chord 'the , th of the tonic / chord resol$es up V step to the tonic 'root. These relaonships U the 68/ mo$ement in the bass and the resoluon of the “tense” tritone which is embedded in the 6, chord U is the denin# theorecal feature that makes tonality work in “classical” theory.
@ere!s what / mean in notaon7
So what this means is that to #enerate common pracce funconal tonal harmony you can!t rely only the 3orian Khry#ian or 2eolian 'also called “natural” or “pure” minor modes which are all minor modes with Ja0ed ,ths 'because they don!t ha$e that all8important leadin# tone. The other primary opon for a minor scale U the “melodic” minor U has the re&uisite leadin# tone but it has a natural E th which means the /6 chord would be ma+or and this doesn!t work with strict “classical” harmony norms U in the minor mode the “i” and “i$” chords should both be minor. So to compromise and account for all of these factors “classical” music theorists somemes use the harmonic minor scale when e(plainin# the deri$aon and construcon of minor8key tonal harmony. The harmonic scale has a Ja0ed 1 rd and Ethrela$e to the ma+or mode U so you #et the minor 1 rd 'necessary for any minor scale the Ja0ed E th 'necessary for the minor “i$” chord and the leadin# tone 'necessary for the 6,8/ resoluon. The harmonic ma+or is essenally a theorecal oAshoot of the harmonic minor U it!s +ust the harmonic minor mo$ed into “ma+or land.” The harmonic ma+or is perfect for #eneran# hip //868/ lines because it has the bQ of the 6, chord embedded in it and it allows you to simplify the enre //868/ into one sin#le reduc$e scale. /n addion to simplifyin# the way you think about
/n addion to simplifyin# the way you think about a //868/ the harmonic ma+or automacally liberates you from that o=en droll “church mode” sound and #ets you playin# a hip “e(oc” soundin# scale.
O*# so how do you use the harmonic maor scale /t!s unbelie$ably simple U for a ma+or //86 you simply play the harmonic ma+or scale built oA of the root of the tonic or root of the / chord U so for a //868/ in - ma+or play a - harmonic ma+or scale. For a minor //868/ you use the harmonic ma+or scale built oA of the rela$e ma+or key '- ma+or is 2 minor!s rela$e ma+or so use - harmonic ma+or for the key of 2 minor. 4r another way to think about it is to build the harmonic ma+or scale oA of the minor 1rd of the tonicroot of the minor //868/ '2 minor!s 1 rd scale de#ree is - so a#ain use - harmonic ma+or for a minor //868/ in the key of 2 minor. /n the minor mode the rela$e harmonic ma+or scale #ets you the natural 1 rd LQ and bQ on the 6, chord which works #reat for a 6, with any alteraons. @ere are a couple of e(amples of //868/ lines in ma+or and minor usin# the harmonic ma+or scale 'note how in many cases you can play the e"a$t same line for both the ma+or //868/ and its rela$e minor //868/ U and it works #reat7
/ hope you nd this helpful and inspirin# and / hope you feel empowered to #o out and pracce and e(plore the harmonic ma+or scale
HARMONIC MINOR
Alternative names Aeolian major 7, Melodic Minor fla !, Mohammedan It starts !rom t"e firs #rade o! "armonic minor scale NATURAL MINOR
C
D
Eb
F
G
Ab
HARMONIC MINOR
C
D
Eb
F
G
Ab
Bb
C B
C
Structure 2122131 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or '$h )(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm"maj7, Cm$$ Cm%"maj7, Cm$%, Cm"&!, Cm$"&13 %n"armonic c"ord simbols Cm"#', Cm$"#'
LOCRIAN #6
Alternative names (ocrian shar) ! It starts !rom t"e second #rade o! "armonic minor scale Structure 1221312 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
h(+. d')'%'h"d
Co)*+"$" chord&
C"ord simbols Cm7"&', Cm7"&' &%, C*$ C*"&%
IONIAN AUGMENTED
Alternative names Ionian shar) ' It starts !rom t"e hird #rade o! "armonic minor scale Structure 2213121 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
)(-or "!"%$h '$h (/0)"%$"d #1h
Co)*+"$" chord&
C"ord simbols C+, C+"maj7, C$+$ C%+"maj7, C$"#', Cmaj7"#'
ROMANIAN
Alternative names Dorian shar) , Dorian #11, Mishe&erah It starts !rom t"e fo.rh #rade o! "armonic minor scale Structure 2131212 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm7, Cm%$ Cm7"#11, Cm%"#11, Cm13"#11
%n"armonic c"ord simbols Cm7"&', C*
PHRYGIAN DOMINANT
Alternative names Mi/ol0dian fla % fla 13, Phr0gian Major, alan, )anish Gi)s0, Ahaa 4a&ah, Mi/ol0dian &2 &! It starts !rom t"e fifh #rade o! "armonic minor scale PHRYGIAN
C
Db
PHRYGIAN DOMINANT
C
Db
Eb E
F
G
Ab
Bb
C
F
G
Ab
Bb
C
Structure 1312122 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
do)'%(%$
Co)*+"$" chord&
C"ord simbols C, C7, C7"&%$ C7"&% &13 %n"armonic c"ord simbols C7"#', C7"#' &%
LYDIAN #2
Alternative names (0dian shar) 2 It starts !rom t"e si/h #rade o! "armonic minor scale Structure 3121221
chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
)(-or "!"%$h
Co)*+"$" chord&
C"ord simbols C, Cmaj7, C$, Cmaj7"#% #11 %n"armonic c"ord simbols Cm$, Cm$"&', C$"&'
ULTRALOCRIAN
Alternative names Diminished , .)erlocrian &&7 seenh #rade o! "armonic minor scale It starts !rom t"e seenh #rade Structure 1212213 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
d')'%'h"d
C"ord simbols Cdim, C5, C57
JAZZ MINOR
Alternative names Melodic Minor Ascending, Minor Major, Modern Minor, Ionian fla 3, Dorian maj7, I)oionian$ I)oionian$ Dorian major 7 firs #rade o! melodic minor scale It starts !rom t"e firs #rade
T"e name Minor name Minor Major is is because t"is mode starts lie a minor mode an ends lie a major one' NATURAL MINOR
C
D
Eb
F
G Ab
HARMONIC MINOR
C
D
Eb
F
G Ab
MELODIC MINOR
C
D
Eb
F
G
Bb
A
C B
C
B
C
Structure 2122221 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or '$h )(-or "!"%$h
Co)*+"$" chord&
Cm!$ Cm$, Cm%"maj7, Cm$%, Cm!6% C"ord simbols Cm, Cm"maj7, Cm!$
DORIAN b9
Alternative names Dorian fla %, Phr0gian shar) !, aanese second #rade o! melodic minor scale It starts !rom t"e second #rade Structure 1222212 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or "!"%$h
Co)*+"$" chord&
Cm7"&%$ Cm11"&%, Cm13"&% C"ord simbols Cm, Cm7, Cm7"&%$ %n"armonic c"ord simbols Cs.s"&%
LYDIAN AUGMENTED
Alternative names (0dian shar) ' hird #rade o! melodic minor scale It starts !rom t"e hird #rade Structure 2222121 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
)(-or "!"%$h '$h (/0)"%$"d #1h
Co)*+"$" chord&
C$+$ C%+"maj7, C$"#', Cmaj7"#'$ Cmaj7"#'$ C$"#' #11 C"ord simbols C+, C+"maj7, C$+$
LYDIAN DOMINANT
Alternative names 8erone, (0dian fla 7, Mi/ol0dian shar) 11, Mi/ol0dian # It starts !rom t"e fo.rh #rade fo.rh #rade o! melodic minor scale Structure 2221212 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
do)'%(%$
Co)*+"$" chord&
C"ord simbols C, C7, C%$ C7"#11, C%"#11, C13"#11 %n"armonic c"ord simbols C7"&'
MIXOLYDIAN b13
Alternative names Mi/ol0dian fla !, 9ind., Aeolian shar) 3, Aeolian Dominan, 9ind.san It starts !rom t"e fifh #rade o! melodic minor scale Structure 2212122 As (e can see !rom t"e structure$ t"is is a )alindromic mode chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
do)'%(%$
Co)*+"$" chord&
C"ord simbols C, C7, C%$ C7"&13, C%"&13, Cs.s, C7s.s$ C%s.s %n"armonic c"ord simbols C7"#'
SEMILOCRIAN
Alternative names (ocrian na.ral 2, 9alf Diminished, Aeolian fla ', (ocrian #2
It starts !rom t"e si/h #rade o! melodic minor scale Structure 2121222 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
h(+. d')'%'h"d
Co)*+"$" chord&
C"ord simbols Cm7"&', C*, Cm%"&', C*%
SUPERLOCRIAN
Alternative names Alered, 4ael, Diminished :hole-one, (ocrian fla It starts !rom t"e seenh #rade o! melodic minor scale T"e name Diminished Whole-tone is because t"is mode starts lie a diminis"ed mode an ends lie a ("ole*tone one' Structure 1212222 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
h(+. d')'%'h"d
;nharmonic iner)reaion<
chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
do)'%(%$ '$h (/0)"%$"d #1h
Co)*+"$" chord&
%n"armonic c"ord simbols C7al, C7"&', C7"#', C+7, C7"&' &%, C7"#' #%, C7"&% #% #11 &13,
"#otic Scales ( scale is merely a series of tones that lie between octaves. ThatEs not too much different than the definition of a chord. The main difference0 however0 is that a scale re/resents the foundation of a /iece of music. ( chord is essentially the harmonization of a scale. The term eotic as it a//lies to musical scales is a very relative term. Fsually0 when /eo/le refer to a scale as being eotic they mean it is not commonly used. This may or may not be the case. )t is difficult categorize scales because there are so many varieties according to number of tones0 interval0 and geogra/hic origins.
There are many different scale choices for each chord. The /rinci/le here is the same as with the Diatonic scale. Scales that have the same notes as the chord can be /layed over the given chord. The scales listed here are grou/ed according to the chord function that they match. =ach scale is matched with a chord as indicated to the right. The /airing of chord and scale is only one of several that can be made. Fse this as a beginning /oint then e/lore /airings of your own.
These scales above have a major scale sound to them because they all have seven tones and a major third and a major seventh interval, same as the Diatonic scale.
These seven-tone dominant scales above are similar to the Mixolydian mode which has a major third and flatted seventh interval. The Mixolydian mode is the common scale to play over dominant chords. These modes all share a dissonances that allows them to be played with reat effect over dominant !th chords. These scales can also be played over many altered dominants.
These scales above have a minor scale sound to them because they have seven tones and a minor third interval alon with a perfect fifth. All of these chords can be play over minor chords, however, some have a flatted seventh interval which ma"es them ood to play over minor !th chords. The other scales have a major seventh interval which means these scales could be played over minor#maj!$ chords. %ecause the min#maj!$ chord has a dissonant sound playin an exotic chord on top of them can be done very effectively.
Five-tone scales li"e the ones above have an open, airy sound to them. This is because of the lare intervals between the notes. &ften these scales will lac" either a third or seventh interval or both. Tonally they are very flexible. 'n some cases you can play them over suspended chords. 'n other cases you can play them over major or minor chords. Many five-tone scales
sound (apanese-li"e and are often called that indiscriminately. ')ve attemped to ma"e a distinction here and apply the more specific name to them.
Six-tone scales can function li"e seven tone scales. Try the scales over the chords indicated here.
Eight-tone scales have a lot of notes in them. The bebop scales were developed by ja** musicians so the chord tones could be played on each beat of the measure while other non-chords tones, used as passin notes, could be played on the offbeat. +ith eiht tones to the scale, and eiht beats to the measure, each beat has a tone to o with it. Different bebop scales were developed to play over chords with different harmonic functions. The panish iht Tone scale was developed by ephardic (ews in pain in the Middle Aes. 't)s a reat scale for le*mer music.
HARMONIC MAJOR
Alternative names Ionian fla ! It starts !rom t"e firs #rade o! "armonic major scale HARMONIC MINOR
C
D
HARMONIC MA2OR
C
D
Structure 2212131
Eb E
F
G
Ab
B
C
F
G
Ab
B
C
chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
)(-or "!"%$h
Co)*+"$" chord&
C"ord simbols C, C"maj7, C$$ C%"maj7, C$%, C$"&!, C$"&13 %n"armonic c"ord simbols C$"#', Cmaj7"#', C$%"#'
DORIAN b5
Alternative names (ocrian shar) 2 shar) !, Dorian fla ' It starts !rom t"e second #rade o! "armonic major scale Structure 2121312 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
h(+. d')'%'h"d
Co)*+"$" chord&
C"ord simbols Cm7"&', Cm%"&', C*$ C*%
PHRYGIAN b4
Alternative names Phr0gian fla , .)erlocrian na.ral ', .)er)hr0gian
It starts !rom t"e hird #rade o! "armonic major scale Structure 1213122 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or "!"%$h
;nharmonic iner)reaion<
chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
do)'%(%$
%n"armonic c"ord simbols C7, C7"#', C7"&% #% &13
LYDIAN b3
Alternative names (0dian fla 3, a== Minor shar) , a== Minor #11, (0dian Diminished It starts !rom t"e fo.rh #rade o! "armonic major scale Structure 2131221 chord o!"r #r$ %o$"&
Tr'(d&
S"!"%$h chord&
)'%or
)'%or '$h )(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm"maj7, Cm$%$ Cm$"#11 %n"armonic c"ord simbols Cm$"&'
MIXOLYDIAN b9
Alternative names Mi/ol0dian fla 2 It starts !rom t"e fifh #rade o! "armonic major scale Structure 1312212 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
do)'%(%$
Co)*+"$" chord&
C"ord simbols C, C7, C7"&%$ C13"&%
LYDIAN AUGMENTED #2
Alternative names (0dian shar) 2 shar) ' It starts !rom t"e si/h #rade o! "armonic major scale
Structure 3122121 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
)(-or "!"%$h '$h (/0)"%$"d #1h
Co)*+"$" chord&
C"ord simbols C+, Cmaj7"#', C$"#', Cmaj7"#' #% #11 %n"armonic c"ord simbols C$"&', Cm$"&'
LOCRIAN bb7
Alternative names (ocrian diminished 7 It starts !rom t"e seenh #rade o! "armonic major scale Structure 1221213 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
d')'%'h"d
C"ord simbols Cdim, C5, C57
NEAPOLITAN MINOR
Alternative names >ea)olian Major fla !, 9armonic Minor fla 2, Phr0gian maj7
It starts !rom t"e firs #rade o! nea)olitan scale NEAPOLITAN
C
Db
Eb
F
G
NEAPOLITAN MINOR
C
Db
Eb
F
G
A Ab
Structure 1222131 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or '$h )(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm"maj7, Cm$"&% &13 %n"armonic c"ord simbols Cm$"#'
LYDIAN #6
Alternative names (0dian shar) ! It starts !rom t"e second #rade o! nea)olitan scale Structure 2221311 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
)(-or "!"%$h
Co)*+"$" chord&
C"ord simbols C$, Cmaj7, Cmaj7"#11
B
C
B
C
%n"armonic c"ord simbols C$"&', C7, C7"&'
MIXOLYDIAN AUGMENTED
Alternative names Mi/ol0dian shar) ' It starts !rom t"e hird #rade o! nea)olitan scale Structure 2213112 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
do)'%(%$ '$h (/0)"%$"d #1h
Co)*+"$" chord&
C"ord simbols C7"#', C+7, C7"#'
HUNGARIAN GIPSY
Alternative names Aeolian shar) It starts !rom t"e fo.rh #rade o! nea)olitan scale Structure 2131122 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm7, Cm7"#11 &13 %n"armonic c"ord simbols Cm7"&', Cm7"#'
LOCRIAN DOMINANT
Alternative names (ocrian shar) 3, 8rienal fla !, Mi/ol0dian fla ' fla % fla 13, Mi/ol0dian &2 &' &! It starts !rom t"e fifh #rade o! nea)olitan scale Structure 1311222 chord o!"r #r$ %o$"& S"!"%$h chord&
Co)*+"$" chord&
do)'%(%$ '$h d')'%'h"d #1h
C"ord simbols C7"&', C7"&' &%, C7"&' &% &13 %n"armonic c"ord simbols C7"#'
IONIAN #2
Alternative names Ionian shar) 2 It starts !rom t"e si/h #rade o! nea)olitan scale
Structure 3112221 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
)(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cmaj7, C$, C$"#% %n"armonic c"ord symbols Cm$
ULTRALOCRIAN bb3
It starts !rom t"e seenh #rade o! nea)olitan scale Structure 1122213 ;nharmonic iner)reaion<
NEAPOLITAN
Alternative names >ea)olian Major, a== Minor fla 2 It starts !rom t"e firs #rade o! nea)olitan scale Structure 1222221 As (e can see !rom t"e structure$ t"is is a )alindromic mode chord o!"r #r$ %o$"&
Tr'(d&
S"!"%$h chord&
)'%or
)'%or '$h )(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm"maj7, Cm$"&%
LEADING HOLE!TONE
Alternative names (0dian A.gmened shar) !, (0dian shar) ' shar) ! It starts !rom t"e second #rade o! nea)olitan scale Structure 2222211 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
)(-or "!"%$h '$h (/0)"%$"d #1h
Co)*+"$" chord&
C"ord simbols C$+, Cmaj7"#', Cmaj7"#' #11 %n"armonic c"ord simbols C7"#'
LYDIAN AUGMENTED DOMINANT
Alternative names (0dian shar) ' fla7, Mi/ol0dian shar) ' shar) 11, Mi/ol0dian # #' It starts !rom t"e hird #rade o! nea)olitan scale
Structure 2222112 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
do)'%(%$ '$h (/0)"%$"d #1h
Co)*+"$" chord&
C"ord simbols C7"#', C+7, C7"#' #11 %n"armonic c"ord simbols C7"&'
LYDIAN DOMINANT b6
Alternative names (0dian fla ! fla 7, Mi/ol0dian shar) 11 fla 13, Mi/ol0dian # &!, (0dian Minor It starts !rom t"e fo.rh #rade o! nea)olitan scale Structure 2221122 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
do)'%(%$
Co)*+"$" chord&
C"ord simbols C7, C7"#11 &13 %n"armonic c"ord simbols C7"&', C7"#'
MAJOR LOCRIAN
Alternative names Mi/ol0dian fla ' fla !, Mi/ol0dian &' &13, (ocrian shar) 2 shar) 3, Ara&ian It starts !rom t"e fifh #rade o! nea)olitan scale Structure 2211222 chord o!"r #r$ %o$"& S"!"%$h chord&
Co)*+"$" chord&
do)'%(%$ '$h d')'%'h"d #1h
C"ord simbols C7"&', C%"&', C7"&' &13, C%"&' &13 %n"armonic c"ord simbols C7"#'
SEMILOCRIAN b4
Alternative names (ocrian na.ral 2 fla , emilocrian fla It starts !rom t"e si/h #rade o! nea)olitan scale Structure 2112222 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
d')'%'h"d
h(+. d')'%'h"d
;nharmonic iner)reaion<
chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
Co)*+"$" chord&
(/0)"%$"d
do)'%(%$ '$h (/0)"%$"d #1h
%n"armonic c"ord simbols C7"#' #11, C7"#' % #% #11, C7"&'
SUPERLOCRIAN bb3
It starts !rom t"e seenh #rade o! nea)olitan scale Structure 1122222 ;nharmonic iner)reaion<
chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
do)'%(%$ '$h (/0)"%$"d #1h
Co)*+"$" chord&
%n"armonic c"ord simbols C7"#' #11, C7"&', C7"#' &% % #11
COMPARATI"E TALE
bet(een +ea)olitan scale and ,"ole*Tone scale WHOLE-TONE (Db) NEAPOLITAN
Db
Eb
F
G
A
B
C Db
Eb
F
G
A
B
C
bet(een ,"ole*Tone scale and t"e rest o! modes !rom +ea)olitan scale WHOLE-TONE (C)
C
D
E
F#
G#
A#
C
-%ADI+G ,./-%*T/+%
C
D
E
F3
G3
A3 B
C
C
D
E
F3
G3 A Bb
LYDIAN DOMINANT b
C
D
E
F3 G Ab
MA2OR LOCRIAN
C
D
E
F Gb
SEMILOCRIAN b4
C
D D3 E
SUPERLOCRIAN bb
C Db D
LYDIAN AUGMENTED DOMINANT
E
C
Bb
C
Ab
Bb
C
Gb
Ab
Bb
C
Gb
Ab
Bb
C
DOULE HARMONIC MAJOR
Alternative names Ionian fla 2 fla !, Do.&le 9armonic, i=anine, Major Gi)s0, Charhargah
It starts !rom t"e firs #rade o! double "armonic scale MA2OR
C
D
E
F
G
HARMONIC MA2OR
C
D
E
F
G
DOUBLE HARMONIC
C
E
F
G
Db
A
B
C
Ab
B
C
Ab
B
C
Structure 1312131 As (e can see !rom t"e structure$ t"is is a )alindromic mode chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
)(-or "!"%$h
Co)*+"$" chord&
C"ord simbols C, Cmaj7, C$$ C$"&! &% %n"armonic c"ord simbols C$"#', Cmaj7"#' T"is mode (ors (ell even on dominant c"ords
LYDIAN #2 #6
Alternative names (0dian shar) 2 shar) ! It starts !rom t"e second #rade o! double "armonic scale Structure 3121311 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)(-or
)(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cmaj7, C$, C$"#11$ C$"#! #% #11 %n"armonic c"ord simbols C7, Cm7, C*$ C7"&', C$"&'
ULTRAPHRYGIAN
Alternative names Phr0gian & &&7, ?lralocrian na.ral ' It starts !rom t"e hird #rade o! double "armonic scale Structure 1213113 chord o!"r #r$ %o$"& Tr'(d& )'%or
;nharmonic iner)reaion<
chord o!"r #r$ %o$"& Tr'(d& )(-or
HUNGARIAN MINOR
Alternative names 9armonic Minor shar) , (0dian fla 3 fla !, Do.&le 9armonic Minor, Algerian, Minor Gi)s0 It starts !rom t"e fo.rh #rade o! double "armonic scale HARMONIC MINOR DOUBLE HARMONIC MINOR
C
D
Eb
C
D
Eb
F
G Ab
F3 G
Ab
B
C
B
C
Structure 2131131 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
)'%or
)'%or '$h )(-or "!"%$h
Co)*+"$" chord&
C"ord simbols Cm, Cm"maj7, Cm$%$ Cm$"#11 %n"armonic c"ord simbols Cm$"&', Cm$"#'
ORIENTAL
Alternative names Mi/ol0dian fla ' fla %, Mi/ol0dian &2 &' It starts !rom t"e fifh #rade o! double "armonic scale Structure 1311312 chord o!"r #r$ %o$"& S"!"%$h chord&
Co)*+"$" chord&
do)'%(%$
C"ord simbols C7, C7"&', C7"&' &%
IONIAN AUGMENTED #2
Alternative names Ionian shar) 2 shar) ' It starts !rom t"e si/h #rade o! double "armonic scale Structure 3113121 chord o!"r #r$ %o$"& Tr'(d&
S"!"%$h chord&
(/0)"%$"d
)(-or "!"%$h '$h (/0)"%$"d #1h
Co)*+"$" chord&
C"ord simbols C+, Cmaj7"#', C$"#', Cmaj7"#' #% %n"armonic c"ord simbols Cm$"#'
LOCRIAN bb3 bb7
It starts !rom t"e seenh #rade o! double "armonic scale Structure 1131213
;nharmonic iner)reaion<
&arry arrisEs Sith Diminished Scale Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his "personal scale". t produces a !ery cool ja sound #y a $uite unexpected means.
%he scale is in fact just a major scale with an added #& or , so it's spelled like this
1 2 3 4 5 b6 6 7 C D E F G G# A B
*ore exotically, you could think of this as Harmonic *ajor with an added natural &. +ou may think this is per!erse, since the other way is clearly simpler, #ut in fact that #& contri#utes a !ery strong Harmonic *ajor sound. +ou can find full guitar fingerings for this scale on page - of the current !ersion of /cale and 0rpeggio 1esources 22 if it's not there, search for the inter!al map "t, t, s, t, s, s, t, s" and you'll find it. Howe!er, he explains it in a $uite different way, noticing that a co!er of the scale is gi!en #y the 3& and Bdim4 arpeggios
C E G A + B D F G#
%his is what call a "disjoint co!er" #ecause the two parts share no common notes. 0dding a note to the major scale is $uite easy, of course, #ut it will tend to lead you to play in a scalar, stepwise way5 this way of thinking encourages you to see the underlying chord as the 3& arpeggio and the tension notes as the Bdim4, which is easy to find in relation to it. +ou can, of course, use this on any *aj4 type of harmony as well as on chords explicitly written with a &. /o one way to think of this is "6n a *aj4 type of chord, play the diminished arpeggio #uilt on the , 7, or 4. Being a pianist, though, Barry shows us a #it more when he mo!es to thinking of it in terms of chords. %o start with, he points out that it contains the dominant 4 chord of the relati!e minor as well as the major keys, which makes for strong chord
su#stitutions like 8420m4 su##ing for 3&, and ena#les us to construct chord2scales like these (notice the different chord $ualities that #ecome a!aila#le)
C6 Dm7b5 Em7 FMaj7 G7 Abdim7 Am7 Bdim7 C6 C6 Dm7 Em7 FmMaj7 G7b9 Ab+ AmMaj7 Bm6 C6
He also !ery $uickly mo!es on to another, related scale o#tained #y flattening the third of the scale
1 2 b3 4 5 b6 6 7 C D Eb F G G# A B
%his time we can think of this as a *elodic *inor with an added or #&, or as a Harmonic *inor with an added natural &. 0gain we ha!e an alternati!e perspecti!e pro!ided #y a disjoint co!er the m& arpeggio plus the same dim4 we used #efore. /o this rule suggests that we can use this dim4 superimposition idea o!er minor chords as well as major9 +ou can find full guitar fingerings for this scale on page - of the current !ersion of /cale and 0rpeggio 1esources 22 if it's not there, search for the inter!al map "t, s, t, t, s, s, t, s" and you'll find it. %here's a #it more in the !ideo a#out using chords #orrowed from these scales, #ut the specific !oicings are $uite pianistic 22 listen, play along and see if you can de!ise your own chord su# ideas using these scales, as well as using them for melodic interest in your solos.
he maor bebo/ scale has been in common "nowledge for decades. ) have outlined the tonic3dominant )-aH iiDim! /olarity in an earlier blog -arch0 4I24!. So chec" that out and you6ll see a few eam/les of some ideas for e/anding u/on that idea. O>0 then comes &arry arris a well "nown azz /iano3educator! who instructs us with some mysterious sounding0 but not necessarily roc"et*science0 ideas for the bebo/ scale. The scale: in , maor: , D = ' G G@ ( & ,.
'or starters0 most azz /layers these days will study the scale*tone sevenths of at least four or five different scale ty/es0 so most are familiar with /laying scale*tone sevenths for eam/le0 in maor scales in a ste/* wise root motion as in , maor:
,-a7 Dmi7 =mi7 '-a7 G7 (mi7 &mi7bB! ,-a7 and learning the modes that are often associated with those chords. chanced u/on a youtube video of &arry arris wor"ing with astonished! students and he did a similar thing ece/t he /layed them over the bebo/ maor scale.
otice there are eight scale*tone sevenths chords as o//osed to seven in a maor scale. (lso notice that there are two mi7bB! chords in the bebo/ maor scale.
&arry arris /layed them as triads over a bass note which are outlined below:
CMa7
Dmi7(b5) Emi11
FdimMa7
G9sus4 G#/AbdimMa7 AmiMa7 Bmi7(b5)
The triads numerator! over the bass notes can be inverted giving a greater range.
ow are these used5 They can be used much the same way as the ,H3Ddim method. There is the same /olarity evident with &6s a//roach i.e. tonic dominant toggling. The ece/tion to this would be the +7susK or '3G in our eam/le. )t6s not a tonic chord but it is an unresolved dominant so it can function also as an unresolved tonic in a way. Once this is loo"ed at the net ste/ /erha/s! could be to l earn the associated modes of the maor bebo/ scale. They will be the same as in a maor scale ece/t for the added @B3bH. & 1uotes the bridge to -y 'unny +alentine as an eam/le where this might be usedLit sounds fantasticM &ut why is it so hard to learn in all "eys and in all forms5
