6 Easy Steps For Unraveling The Mystery Of

Improvisation

I

Major Scales and Diatonic Chords

I

C

G

D

A

E

B

F#

C#

F

B b

E b

A b

D b

G b

C b

Ionian

I I

D

A

E

B

F#

C#

G#

D#

G

C

F

B b

E b

A b

D b

Dorian

I I I

E

B

F#

C#

G#

D#

A#

E#

A

D

G

C

F

B b

E b

Phrygian

IV

F

C

G

D

A

E

B

F#

B b

E b

A b

D b

G b

C b

F b

Lydian

V

G

D

A

E

B

F#

C#

G#

C

F

B b

E b

A b

D b

G b

Mixolydian

VI

A

E

B

F#

C#

G#

D#

A#

D

G

C

F

B b

E b

A b

Aeolian

VII

B

F#

C#

G#

D#

A#

E#

B#

E

A

D

G

C

F

B b

Locrian

VIII [I]

C

G

D

A

E

B

F#

C#

F

B b

E b

A b

D b

G b

C b

Ionian

The large chart lays out for youall notes in all major keys. The“Ws” and “½s” across the toprepresent the intervals betweeneach of the notes—whole stepsand half steps. The Romannumerals represent the degreesof the scales. For example, the

third degree of C major is E.The Greek words across thebottom are the names of themodes that begin on eachdegree. That is, if you wantedto play in the F Lydian mode,you’d use the notes of the Cmajor scale, but treat F as the

root. The two charts at thebottom show the chord quality(major, minor, diminished,etc.) that results from buildingchords on each of the scaledegrees.

W W 1⁄2 W W W 1⁄2

Diatonic 7th Chords• Major 7: I, IV• (Dominant) 7: V• Minor 7: II, III, VI• Minor 7 (b5): VII

Diatonic Triads• Major: I, IV, V• Minor: II, III, VI• Diminished: VII

II

When using these formulas,always start with the majorscale of the prevailing chord orscale. Say you’re trying to fig-ure out the notes in a D minor9th chord. The chart belowspecifies 1 (the root, “D” in thiscase), b3, 5, b7, and 9. The nextnote after the root we need is aflatted third. Find the D majorscale on the previous page.Under the Roman numeral IIIon the chart you’ll find thethird of the D major scale—F#.Since the chord calls for a flat-ted third, we need to lower thisnote a half step, to F. You can

find the rest of the notes thesame way—for the fifth andflatted seventh, look under “V”to get “A”, and under “VII” toget “C#”—remember to flatthis to “C”. For the ninth, youneed to go beyond the firstoctave—since “VIII” is the samenote as “I,” “IX” (if it was there)would be the same as “II”.The ninth we need then, is “E.”You can build scales the sameway—find the major scale withthe root you need, and fill inother notes according to thechart in appendix III, flattingand sharping where necessary.

The Formula Method for Chords and Scales

Minor Family of ChordsMinor

Minor add 9

Minor 6

Minor 6/9

Minor 7

Minor 9

Minor 11

1

1

1

1

1

1

1

b3

b3

b3

b3

b3

b3

b3

5

5

5

5

5

5

5

9

6

6

b7

b7

b7

9

9

9 11

Other Chord Types“5” (power chord)

sus 2

sus 4

add 9 sus 4

Minor 7 (b5)

Diminished 7th

Augmented

*b b7=6 (enharmonic equivalent)

1

1

1

1

1

1

1

5

2

4

4

b3

b3

3

5

5

5

b5

b5

#5

9

b7

bb7*

Major Family of Chords(Maj)

(Maj) add 9

(Maj) 6

(Maj) 6/9

Maj 7

Maj 9

Maj 13 (Maj 7/6/9)

Maj 7/6

1

1

1

1

1

1

1

1

3

3

3

3

3

3

3

3

5

5

5

5

5

5

5

5

9

6

6

7

7

7

6

9

9

9

7

13

Dominant Family of Chords(Dom) 7

(Dom) 7/6

(Dom) 9

(Dom) 13

(Dom) 7 sus 4

(Dom) 7/6sus4

(Dom) 9sus4 or 11

(Dom) 13sus4

1

1

1

1

1

1

1

1

3

3

3

3

4

4

4

4

5

5

5

5

5

5

5

5

b7

6

b7

b7

b7

6

b7

b7

b7

9

9

b7

9

9

13

13

III

Scale Formulas

Ionian (Major Scale)

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Major Pentatonic

Minor Pentatonic

Blues

Blues Composite

Harmonic Minor

Phrygian Dominant

Melodic Minor

Lydian Augmented

Overtone (Lydian b7)

Mixolydian b6 (Aeolian Major)

Super Locrian (Altered Dominant)

Half Step/Whole Step Diminished

Whole Step/Half Step Diminished

Whole Tone

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

2

2

b2

2

2

2

b2

2

2

2

b2

2

2

2

2

b2

b2

2

2

3

b3

b3

3

3

b3

b3

3

b3

b3

b3 3

b3

3

b3

3

3

3

b3

b3 3

b3

3

4

4

4

#4

4

4

4

4

4 #4

4 #4

4

4

4

#4

#4

4

b4

#4

4 #4

#4

5

5

5

5

5

5

b5

5

5

5

5

5

5

5

#5

5

5

b5

5

#5

#5

6

6

b6

6

6

b6

b6

6

6

b6

b6

6

6

6

b6

b6

6

6

7

b7

b7

7

b7

b7

b7

b7

b7

b7

7

b7

7

7

b7

b7

b7

b7

7

b7

*

*Mixolydian b6 is not illustratedin the Scale Formula Diagrams.To form this scale, take theMixolydian mode and flatthe sixth.

IV

Tonal Colors

1

5

3

b7

b3 (#9)

6 (13)

2 (9)

4 (11)#4 (b5)

7

b6 (#5)

b2 (b9)

Strongest tone (Root)

Very strong (e.g. Power chords are Root-Fifth)

Strong Major sound

Brings out the Blues sound (Dominant sound)

Brings out Minor sound—also acts as a blue note against Dominant 7 harmony.

The b3 wants to resolve to the 3

Not as strong as previous tones

Jazzy, not as strong as previous tones

Sus4 sound, resolves to 3.

Blue note, sinister sound, wants to resolve to 5 or down to 4 for Blues sound

Pretty, Major 7 sound, tends to resolve upward to 1

Weak tone, resolves down to 5 or up to b7

Tension tone, resolves down to 1

Parent Scale Concept

Ionian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Overtone

Phrygian Dominant

Pretty, Major sound—“Do, Re, Mi” etc.

Jazzy Minor sound

Spanish Flamenco sound

Bright Major sound

Bluesy Major sound

Darker Minor sound

Very dark Minor 7b5 sound

Bright Dominant 7 sound

Spanish Flamenco sound

Modes are “offspring” of the major scale, which is the “parent.”Ex. 1: D Dorian contains the same notes as the C major scale.

It can be thought of as a C major scale played from D to D.Ex. 2: Ab Lydian is an Eb major scale played from Ab to Ab.Ex. 3: The parent of B Mixolydian is E major.

Each mode has a color. Learn to hear these colors:

In many situations, you can mix modes for more colors. Forexample: over Dominant 7 chords in blues, you can use bothDorian and Mixolydian, or Blues Composite, which contains theDorian and Mixolydian notes. Finally, remember that whateverexists in the parent scale (chords, clusters, Pentatonic sub-scales,etc.) also exists in the offspring modes. Examine these and tryall of the possibilities.

Strive to hear each of these tones against all harmonic situations:

V

LydianIonian (Major Scale)

Major Pentatonic Minor Pentatonic

These diagrams are all in G.You can transpose them toother keys by moving the root(the “1”) to the note you need,and moving everything elserelative to that. For example, ifyou wanted to play in B b, you’dmove everything up three frets.The notes on the E and Astrings are shown in the tab inappendix VIII to help you findthe roots you need.

Scale Formula Fretboard Diagrams

6 2 5 1 3 6

7 3 6 2 71 4 5 1

7 32 5 1 4 6 2

3 6 2 5 7 34 1 4

7 3 65 1 4 2 5

76 2 5 1 3 6

46 2 5 1 3 6

7 3 6 2 #4 71 5 1

#4 7 32 5 1 6 2

3 6 2 5 7 31

#4 7 3 6 #45 1 2 5

#4 76 2 5 1 3 6

#4

6 2 5 1 3 6

3 6 21 5 1

32 5 1 6 2

3 6 2 5 31

3 65 1 2 5

6 2 5 1 3 6

5 1

%7 %3 4 %7

1 4 %7 %3 5 1

5 1 4

54 %7 %3 1 4

5 1 4 %7 5

%3

5 1

%3 %7 %3

VI

Dorian

PhrygianAeolian (Natural Minor)

Locrian Mixolydian

Blues

2 5 1

21 4 %7 %3 5 1

%6

2 5 1 4 2

%3 %6 %7 %32 5

4 %7 %3 %6 1 4

5 1 4 %7 2 5

%6 %3 %6

2 5 1

%7 %3 %6 4 %75 1

%7 %3 %6 %2 4 %7

1 4 %7 %3 5 1

%2 %6 %25 1 4

54 %7 %3 %6 1 4

%2

5 1 4 %7 5%6 %2 %3 %6

5 1

%3 %6 %2 %7 %3

1

%5

1 4 %7 %3 1%2 %5 %6 %2

1 4

%3 %6 %2 %5 %7 %3

4 %7 %3 %6 1 4

%6 %2 %51 4 %7

%6 %2 %5 %3 %6

1

%7 %3 %6 %2 4 %76 2 5 1 3 6

%7 4 %7

1 4 %7 5 1

3 6 2

32 5 1 4 6 2

3 6 2 5 34 %7 1 4

3 6

5 1 4 %7 5

6 2 5 1 3 6

%7

5 1

#4%7 %3 4 %7

1 4 %7 %3 5 1

#45 1 4

54 %7 %3 1 4

#4 #45 1 4 %7 5

#4 %35 1

%3 #4 %7 %3

6 2 5 1 6

6 21 4 %7 %3 5 1

2 5 1 4 6 2

%3 %7 %36 2 5

4 %7 %3 1 4

65 1 4 %7 2 5

%3

6 2 5 1 6

%7 %3 4 %7

VII

Blues Composite

Melodic MinorPhrygian Dominant

Super Locrian Half/Whole Diminished

Overtone

5 1 3

31 4 %7 5 1

%2 3 %6 %2

5 1 4

%6 %2 %73 5 34 %7 %6 1 4

3 %25 1 4 %7 5

%6 %2 %6

5 1 3

%7 %6 %2 4 %76 2 5 1 6

%3 4

7 6 2 7

1 4 %3 5 17

2 5 1 4 6 2

6 2 5 74 %3 1 4

7 6

5 1 4 2 57 %3

6 2 5 1 6

%3 %3

1 %4

%4 %5

1 %7 %3 1%2 %5 %4 %6 %2

1

%3 %6 %2 %5 %7 %3

%4 %4

%7 %3 %6 1

%5 %4 %2 %51 %7

%6 %2 %5 %3 %6

1 %4

%7 %3 %6 %2 %76 5 1 3 6%7 %3 %2 %7

1 %7 %3 5 1

3 6 #4

%2 #4 3 %2

5 1 6

3 6 5 3

%7 %3 1#4 3 6 %2 #45 1 %7 5

%2 #4 %3

6 5 1 3 6

%3 %2 #4 %7 %3

6 2 5 1 3 6

3 6 2 #4%7 %7

1 %7 5 1

#4 32 5 1 6 2

3 6 2 5 3

%7 1

#4 3 6 #45 1 %7 2 5

#46 2 5 1 3 6

#4 %7

6 2 5 1 3 6

3 6 2 #4

#4 3

1 4 %7 %3 5 1

2 5 1 4 6 2

%3 #4 %7 %33 6 2 5 34 %7 %3 1 4

#4 3 6 #45 1 4 %7 2 5

#4 %3

6 2 5 1 3 6

%7 %3 4 %7

VIII

1 2 3 4 5 6 7 8 9 10 11 12E F F≥/G≤ A A≥/B≤ B C C≥/D≤ D D≥/E≤ EG0

G≥/A≤

1 2 3 4 5 6 7 8 9 10 11 12F F≥/G≤A A≥/B≤ B C C≥/D≤ D D≥/E≤ E G

0G≥/A≤ A

Whole Tone

Harmonic MinorLydian Augmented

Notes on E and A Strings

Whole/Half Diminished

6 2 1 3 6

7 3 6 2 #4 71 1

2 1 6 2#4 7 3 #5

#5 #4

3 6 2 7 3#5 1

#4 7 3 6 #4

1 2#5 #4 7 #56 2 1 3 6

#52 5 1%3 %6 4

7 2 7

1 4 %3 5 17 %6

2 5 1 4 2

2 5 74 %3 %6 1 4

75 1 4 2 5

%6 7 %3 %62 5 1

%3 %6 %3

6 2 1 6

7 6 2 #4 7%3 #5 4

1 4 %3 1

#4 7 #52 1 4 6 2

6 2 74 %3 #5 1 4

#4 7 6 #41 4 2

#5 #4 7 %3 #56 2 1 6

%3 #5 #4 %3

2 1 3

3 2 #4

#4 3 #5

1 %7 1

2 1 2

#5 #4 %73 2 3

%7 #5 1

#4 3 #41 %7 2

#5 #4 #5

2 1 3

%7 #5 %7