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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
