Adam Kadmon - The Keyboard Grimoire for Piano & Guitar

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A omplete Guide for the Guitarist and Keyboardist

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Copyright 996 by Carl Fischer, Inc.

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LLC.

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Printed in the U

A

ISBN 0-8258-2679-9





ONTENTS

HOW TO USE THE SCALE SECTION 1

THE BUILDING BLOCKS OF MUSIC 2

CALES AND MODES

5

MODES AND RELATIVE SCALES 8

PATTERNS AND FINGERINGS 9

INTERVALSAND INSTRUMENT 12

. 5. 6. 8TONE

SCALES

3

7 TONE SCALES

MAJOR 24

MELODIC MINOR 32

HARMONIC MINOR 34

HARMONIC MAJOR 36

HUNGARIAN MINOR 38

UNGARIAN MAJOR 40

NEAPOLITAN MINOR 42

EAPOLITAN MAJOR 44

ENIGMATIC MINOR 46

ENIGMATIC 48

COMPOSITE

50

IONIAN b5 2

LOCRIANb7 54

PERSIAN 56

TONE SCALES

MINOR PENTATONIC (BLUES SCALE) 58

KUMOI 60

HIROJOSHI 2

TONE SCALES

WHOLE TONE 64

AUGMENTED 66

PELOG

8

DOMINANT SUS 70

8 TONE SCALES

DIMINISHED 72

8TONE SPANISH 74

BEBOP LOCRIAN b2 76

BEBOP DOMINANT 78

BEBOP DORIAN 80

BEBOP MAJOR 82



ONTENTScontinued

HOW TO USE THE

CHORD SECTION ...................

................

HORDS N MING

OLYCHORDS

SL SHCHORDS

SUBSTITUTIONS

........................

........................

OMP TIBILITY

INVERSIONS .............................

RPEGGIOS ..............................

4

NOTE CHORDS:

sus

..............................................

5 NOTE CHORDS:

9

....................................................

140

-9 142

b9 144

Ã‡ 146

A9 .................................................. 148

A9 ................................................. 150

Ab9 ................................................ 152

-Ab9 ................................................154

AÃˆ 156

LT

(b5 $9) 158

LT

(b5 b9) 160

LT ($5 b9) .................................... 162

LT

( 5

Ã ....................................

164

6 NOTE CHORDS:

11

-1 1

$11

7

NOTE CHORDS:

13 .................................................... 182

-13 .................................................. 184

..............................................

3 11 186

-13 11

.............................................

188

A13 190

A1

192

~ 1 3 ~ 1 1 194

A13^11 196

..........

UMERIC ANALYSIS SCALES 198

UMERIC ANALYSIS CHORDS 200

................

OLYCHORD FORMULAS 202



HOW

TO USE THE SCALE SECTION

The first section of this book deals with scales. The scales are divided into

7

tone, tone, 6 tone,

and 8 tone groups. Each scale consists of a title page and an interval map page depicting that

particular scale s usage in all

12

keys. Diagrams are used for visualization instead of notation.

Each title page contains various charts. The charts are your tools in analyzing modes, compatible

chords, keyboard fingerings, and modal generation charts. Guitar and bass fingering patterns are

also included.

TITLE PAGE

- c. - -*m.

I l

I V v

VI VII

.. .- .

SCALEIMODE CHORDCH RT

V MIXOLYDI N 7 9 11 13

VI AEOUAN 0

11

VII LOCRUN

V

NUMERIC

SCALEIMODECH RT

NUMERIC SCALE

/

MODE CHART

Before we start with the scales, we will show you how each section of the title page works. The

first section we will explain is the

Numeric Scale

Mode chart at the bottom of the page fig.

1).

The Scalernode - Chord Chart will be discussed in the Chord Section.



THE

BUILDING BLOCKS O F MUSIC

Music is sound. But for now imagine that it is a set of 12equal blocks (fig. 2). The distance from

one block to the next block is a half-step. From block to block 2 is a half-step, from

8

to block

9

is a half-step, etc..

fig

2

fig

3

7 of these 12 tones or blocks have been given positions of major importance (fig. 3). Looking

at the diagram we only see 7 numbers, but there are still 12 tones or blocks. The empty blocks

are reserved for flats and sharps .The distance from block to the st mpty block is still a

half-step. The blocks that are numbered are the tones that make up the Major scale.

The various combinations of half-steps are called intervals. Basically, an interval is the distance

between 2 tones. The names of the intervals are then divided into 2 sets: the majors and the

perfects. The majors are 2,3 ,6 , and

7

he perfects are 1 ,4 ,5 , and 8

1

would be a unison, such

as

2

instruments playing the same note. An 8 would be the octave. Altering the intervals with

flats or sharps changes them from major and perfect into minor, diminished,and augmented

(fig.

4).

fig

4

n essence: Flat a major et a minor

Sharp a major et an augmented

Flat a minor et a diminished Sharp a perfect et an augmented

Flat a perfect et a diminished

The entire set of major and perfect intervals are called diatonic intervals.

Let's look at an easy way for memorizing interval distances by counting the amount of blocks.

There are 12 building blocks within the major scale. Therefore, an interval has to consist of so

many building blocks. We'll demonstrate first with a major 2ndThere are 3 blocks in a major 2nd

(fig. 5 , but the distance from the

2

to the

3

is also a major

d

fig. 6).

6g 5 fig

6



Fig. 7 is a complete chart of intervals showing you a breakdown in building block format. Also

observe, the chart tells you how many half- and whole steps make up each interval.

[TI

1

BLOCK

=

UNISON

..............................................................................

0

STEPS)

I

BLOCKS- MINOR2ND

...................................................................(

STEP)

3 BLOCKS = MAJO R 2 ..................................................1 WHOLE STEP)

4 BLOCKS = MINOR 3 .......................................................14 STEPS)

5 BLOCKS = MAJOR 3

......................................

2 WHOLE STEPS)

1 4 6 BLOCKS

=

PERFE CT 4TH ..........................................24 STEPS)

....................

b 7 BLOCKS = DIMINISH ED 5TH 3 WHOLE STEPS)

................................

5

8

BLOCKS = PER FECT STH (3k STE PS)

b6

9

BLOCKS

=

MINOR 6TH

.....(

4 WHOLE STEPS)

.........................

6 10 BLOCKS = MA JOR 6TH (44 ST EP S)

..........

b7

11

BLOCKS = MINOR 7TH (5 WHO LE STEPS)

.................

12 BLOCKS

=

MA JOR 7TH ( 5 t STEPS )

Now let s look at all the individual components of the major scale in building block breakdown

(fig.

8).

MAJOR 2ND......

MAJO R 3RD .... 2 WHOLE STEPS)

PERFE CT 4TH .............

5 PER FECT STH ............ 34 STEPS)

1 MAJOR STH

............... 4k

STEPS)

1

......

MAJOR

7TH

.................

(54 STEPS)

We can clearly see here the individual intervals. We have a 2nd,3rd,4th,Sh,6th, and 7th.With the

block diagram we can also see exactly how many steps make up each interval.

Using the same building block breakdown method, we can also analyze the intervallic relation-

ship between the intervals themselves.



Fig. 9 clearly shows us the distance of the intervals from the intervals. For instance, from the

major 2nd o the major

rd

s a major 2ndor a whole step. From the

rd

o the

th

s a minor 2ndor a

half-step, etc.

121 13141 151 161 171

MAJOR 2 4 . ............. 1 WHOLE STEP)

INOR

2NQ

................

MAJOR 2ND

1

WHOLE STEP)

MAJOR

2NQ

MAJOR 2NQ

...............

fig

n studying the altered intervals, many of them wi per and in theory, but

sonically, they are the s g. 10).

fig 1

Notice the numbers to the right of each set above are different between the upper and the lower,

yet each has the same number of blocks. The minor rdis the same as the augmented 2nd, he

diminished 5th s the same as the augmented 4th, he minor 6th s the same as the augmented

Sh

and the minor 7th s the same as the augmeted 6th.

n the next example, the diminished 7th a double-flat 7 ) s the same as the major 6th

n

sound;

although in theory, they also are two very different intervals (fig. 11).

fig

The complete group of intervals which make up the scale, in this case the Major scale, can be

theoretically repeated infinitely in both directions; although, in practice there are only so many

octaves the human ear

c n

hear (fig. 12).

This is the mathematics of music theory. It is important that you memorize the numerics behind

the building blocks, in order to form a solid foundation for your musical creations.



SC LES ND MODES

A scale is a sequence of tones comprised of varying intervals. Modes can be described as scales

based upon the tones of the main scale. The Major scale has 7 modes, because it has 7 tones. The

st mode of any modal system is the scale itself. For many scales, the individual modes have

been given names because they are used as scales themselves.

The modes of the Major scale are the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian,

and Locrian. The Major scale is the Ionian mode Major scale Ionian) Of all the scales, the

Major is the only one that has a different name for the

st

mode.

The I1 mode of any scale is based upon the 2nd one of the main scale, in this case the Major

scale. A mode uses the exact tones of the main scale; however, what was a 2 becomes a 1, what

was a 3 becomes a 2, etc. fig. 13).

The process then continues for the other modes. For the 111 mode, the 3 becomes the 1, the 4

becomes the 2, etc. fig. 14).

1

For the IV mode, the 4 becomes the 1, the 5 becomes the 2, etc. fig. 15).

1

1

For the V mode, the becomes the 1, the 6 becomes the 2, etc. fig. 16)

3

3

1

1

For the VI mode the 6 becomes the 1, the 7 becomes the 2, etc. fig. 17).

4

4

1

b3

b

1

For the VII, mode, the

7

becomes the 1, the 1 becomes the 2, the 2 becomes the 3, etc. fig.

18).

5

5

3

1

4

b3

1

As you can see in all of the examples above, every mode has 7 tones; however, it has some kind

of a 2, some kind of a 3, some kind of a 4, etc.. In other words, though you are using the same

tones, the numeric value changes when you shift the tone center hat is the tone which you

now designate as

1.

6

6

4

3

1

5

4

3

7

7

4

b3

6

5

4

3

fig

8

1

1

6

5

4

3

b7

b6

5

4

1

fig

3

7

6

5

4

b7

6

5

b

3

fig 4

3

1

7

b6

5

7

6

b3

4

4

fig 5

1

b7

6

b7

fig

17

4

5

5

3

fig

6

7

b5

6

6

4

3

1

7

7

b6

5

4

b7

6

3

7

6

4

7

5 6 7



At the bottom of the title page of each scale, the relative relationship of each mode to the main

scale is graphed out for you along with the numeric formula for each mode (fig. 19).

NUMERIC SCALE / MODE CHART

I

I

Ill

IV

v

VI

V

MIXOLYD 4 1 2 3 4 5 6 b7

AEOLIAN 1 2 b3 4 5 b6 b7

LOCRIAN

f

1 b2 b3 4 b5 b6 b7

fig 19

In

the case of some of the exotic scales in this book, you weird combinations

for the numeric anaysis of the modes such as dou le

fl ts and

do

Also note some

of the modes don't have names, they are merely called mode 11 mode 111 etc. (fig.

20).

NUMERIC SCALE / MODE CHART

1

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

7

ENIGMATIC 1

b2 84 95 96 7 1 b2 94 95 86 7

MODE2

92 93 4 ~5 96 7

ll

MODE

3

94 5 b6

?

V

MODE4

3

4 b5 B6 7

V

MODE5

2 b3 b4 lk5 b6 b7

.

VI

MODE6

1 b2 lk3 b4 5 b6

b7

V

MODE

7

t

b2 h3 4

5

6 7

1

b2 3 84 95 86 7

fig 20

The numbers above the graph will always be the Major scale numbers, so you can see how the

new scale and its modes relate to the Major scale.

There is actually only 1 scale, the Major scale and its modes. All other scales can be thought of

as derived modes which also have modes. This may be a bit confusing at first, but

an

interesting

thought to ponder. For the sake of simplicity, they will be called scales n this text.



As you study the numeric formulas for each scale or mode, there is a simple 4-Step system

which will help you n understanding how the tones become flats or sharps. The three examples

in fig. 19demonstrate the application of this 4-Step rule. When you compare your tones to the

Major, the number of boxes to the left or right of the original tone decides whether standard flats

and sharps or double flats and sharps are used.

1

box over is a standard,

2

boxes is a double

fig. 21 .

THE 4-STEPS:

MARK where the tone falls

NUMER tone positions:

1-7

COMPARE to major scale pattern

ADD b

/

9

symbols when needed

PHRYGIAN

X

X X

X

1

MARK

where the tone falls

1 ?2 ?3 ?4 ?5 ?6 ?7 2

NUMBER tone positions:

1-7

1

4 2

Ã§-- 4

5

= 6 +-7

3 COMPARE to m ajor scale pattern

1 b2

I

b3

4

5 b6 b7

4 ADD J /

symbols when needed

ENIGMATIC MODE

I

1

MARK

where the tone falls

?2 ?3 ?4 ?5

? ?7

2

NUMBER tone positions:

1-7

2 3 4

-

5

Ã§

7 3

COMPARE to m ajor scale pattern

2 3

94 5

b6 *7

4 ADD b /

9

symbols when needed

fig 2



MO DES ND REL TIVE SC LES

Scales and modes are the foundation of your

composition and improvisation. Modes are

treated as scales. Just as we can change the

pitch of the main scale, in order to play in one

of the 12 keys, the same concept or principle

can be used when using a mode. The mode

generator chart of each title page will show

you the main scale equivalent for each mode

(fig. 22).

The concept and principles behind The

Quick

ode Generator

Chart

are the same regard-

less of what instrument you play.

The letters

in

column

I

indicate the pitch of the

starting point. In other words it tells you what

key you are in. The other columns tell you

what key the relative scale is in. Column I also

denotes the key for the keyboard patterns to the

left.

Let s demonstrate this below with a G Mixo-

lydian (fig. 23). The Mixolydian is the

V

mode

of the Major scale.

Beneath column I we go down to the G,

because that will be our starting pitch or key.

Over to where it meets column

V

we come to

a

C, therefore, if we are playing a G Mixolydian

we are actually playing a Major with the root

note shifted to the

G

The modes of the Major scale are mapped out

for your convenience.

MODE GENERATOR

CH RT

DORIAN 7

9

PHRYGIAN

V LYDIAN A 111

V MIXOLYDUN 7 9 11 13

V

fig

QUICK MODE GENERATOR C HART

K Y

MODE

I

I

I

V

^ V VI I

Step 1

Place left finger on desired key in

f

column I

Step

2 Place right finger on column of

desired mode in roman numerals

at the top).

Step

3

Run fingers across and down until

they meet.

The point where they meet is the relative

scale.

It s as

simple

as

1

3

fig

3



P TTERNS

ND

FINGERING

On every title page, you will find a set of right

PATTERN KEY

handed keyboard patterns. The key follows,

designated by column

I

of the Quick Mode

MODEOEHEMTon

CH HT

Generator Chart (fig.

24).

The patterns do not

always start on the root note, because of the

keyboard's design.

On the interval maps white circles represent the

notes in the scale. Numbers inside the circles are

...............................................

the intervals. Scales are fingered by breaking them

up into 2 3 and

4

note groups. How we devide up

;.. ..:..:::..:..:.:::.;..:..;.. ........................................

i..:....:

.......

.............

-.

.

,-... ..-...

:

; 5 i i

; :

a

the groups is based on a system we will call the

:

:.....:.;.,.. . ~b ~ c Ã ‡ / D ~ b b

[FI Q<

................................

.......

.......

........

Rule Of Thumb method.

.................................. J

J J

fig.

24

The Rule

Of

Thumb : thumb

always plays a

white

key.

Visually inspect the interval map

and see where groups are naturally formed. Right and left hand thumb-patterns work in opposite

directions, due to the position of the thumbs. The thumb plays the first tone and the remaining

fingers fall automatically into place (fig.

25).

LEFT

HAND RIGHT HAND

...........................................................................................................................................................................................................................

HOW TO CONNECT THUMB-PATTERNS

THUMB PATTERNS

I = Index finger

M = middle finger

R = ring finger

either hand

THUMB PATTERNS

fig.

25

Learn each hand separately before putting them together. Remember fingerings don't always

start on the root note. To play more than an

octave repeat the process. To complete an octave for

the right hand use the consecutive finger; for the left hand start with the prior finger.

The following pages show the remaining keys of the Major scale fingered with the Rule of

Thumb . By studying these pages you will be able to apply this method to finger any scale.



T

=THUMB I = index finger

=

middle finger R

=

ring finger, either hand

C

D b

MAJOR

D

MAJOR

D

MAJOR

Eb

MAJOR

E

MAJOR

F

MAJOR

F

* MAJOR

F

G

MAJOR

I

I I

F$ /G

MAJOR

*

The Left Hand Fing erings vary slightly from a ccepted traditional fingerings. The L.H. R ule

Of

Thumb

method is designe d to give the guitarist instant access for seq uencing .



THUMB

I index finger M middle finger R = ring finger, either ha nd

MAJOR

MAJOR

Bb

MAJOR

B Cb

MAJOR

MAJOR

xception

to th

Rule

nigmatic

Key

o

fig 6

The Le ft Hand Fing erings vary slightly from acce pted traditional fingerings. The L.H. Rule Of Thum b

metho d is designed to give the guitarist instant access for seque ncing.



INTERV LS ND INSTRUM ENT

Now that we've learned about intervals, the building blocks of music, let's see how they tie into

our instrument. We are going to take two octaves of the intervals which make up the Major scale

and see how they match up to the keyboard in the key of C. The blocks which form the Major

scale align with the white keys (fig. 27).

To change keys shift the pitch of the starting note, in other words shift the mathematical formula

to the appropriate pitch or key. In this case the formula is the Major scale.

On the Interval Map pages the numbers in the white circle show you the numerics (1,2,3,4,5,6,7)

for all 12 keys. The key is stated next to each keyboard digaram. It will benefit you greatly to

memorize the numerics of all 12 keys. Until then we have laid each key out for use as a reference

tool.

Pitches never change, as can be seen in the Pitch Indicator Chart below (fig. 28).

I

PITCH INDIC TOR CH RT

fl t

sharp

fig 8

2



7 5 6

&

TONE SCALES

7 tone scales are the basis for all scales.

A

5 tone scale, otherwise known as a pentatonic scale, is

a

7

tone scale with

2

tones omitted. By a process of

elimination, 15 pentatonics can be derived from any

7

tone scale. Fig. 29 turns any tone scale into a penta-

tonic. Whereas 7 tone scales are fingered in

3

& 4 note

groups, pentatonics are fingered with 2 &

3

note groups.

tone scales

are 7

tone scales with

1

tone omitted. Their

fingering is

3

&

3

or 2 4 note groups.

AUGMENTED SCALE

FORMULAS

The

X

along

with

the numbers ndicates ones

to

bePlayed-

The Augmented scale:

*

Is he most common of

ail scales listed.

PENTATONIC SCALE

FORMULA CHART

The tones or numbers

left are generic

meanin the could be

either

b

h

Ex b2 Ã

$2 2

2

The

X

indicates

delated scale tones.

All combinations

with

alterations would make

9

such charts.

Step

1

Pick any

7

tone

scale or mode.

tep

2 Delete

ny

2

tones.

x x

x

x

x x

fig 29

The most popular 6 tone scales would be the Whole- Tone

and the Augmented Scale. Fig.

30

presents a method for

creating augmented scale formulas based upon the

Augmented Chord: 1 - b3 -

85

3 tones are added to the

chord, making tone scales.

Add 1 tone to a

7

tone scale to make

an

8 tone scale. Use

4

& 4

note groups or 2,3, 3 note groups. During the bebop

era popular 8 tone scales were named bebop scales.

fig 3

Similar to fig. 30 fig. 31 creates diminished scales

from the diminished chord:

1 b3

b5 b7. 4

other

tones are then added to the original

4

making 8 tone

scales.

DIMINISHED SC LE FORMULAS

.

The

X

along

with

the numbers indicates tones

to

be

played

e scales Half-Whole Diminished: I W

Whole-Half Diminished:

W

are the most common

diminished.

fig 31



OWTO USE THE CHORD SECTION

The chord section is divided into chord groups. The groups are

3

tone,

4

tone, and polychords 5,

6, and

7

tone chords). Each 3 and 4 tone chord consists of a chord derivative page and an interval

map page fig. 32). The interval maps are set up the same as in the scale section.

CHORD DERIVATIVE CHART

INTERVAL

MAP

DOMINANTt V HARMONGUANH

DOUBLED

HINDU-V MELODIC

QIANt3

-

V HARMONIC MINOR

AN

I

VI HARMONIC MINOR

HARMONIC MAJOR

. .

-

IARMONIC

-

V HUNGARIAN MINOR

4

I6

-

VI HUNGARIAN MINOR

15 7 VIIHUNQARIAN MINOR

HUNGARIAN MAJOR

.

8 IINWOLKAN MINOR

VI NEAPOLKAN MINOR

OR

NNEAPOLITAN MAJOR

UATIC MINOR MODE Ill

qIQMATIC MODE Ill

IIQMATIC MODE N

COMPOS~E1

MPOSIE I1MODE 111

.YDIAN

12

-N ONIANÃˆ

ONIAN

16

- IILOCRWH7

MINAKT

12-

VI LOCRIANU7

PERSIAN MODE 1

PENTATONIC I1MINOR PENTATONIC

AUGMENTED

PELOQMODE VI

DOMINANT BUS MODE Ill

M MAJOR)

im

Every chord in the polychord section has a page which translates polychord formulas into slash-

chords readily usable for all

12

keys plus the usual interval map page. The charts are your tools.

in

analyzing how chord voicings are derived

and

how they work.

basic understanding of chord mathematics is necessary to derive the utmost benefit of this

book.



CHORDS

We have already studied intervals. An interval is the distance between

2

tones. Therefore, let's

define a chord.

A

chord is

2

or more intervals played simultaneously.

basic chord formula for building chords is to use every other tone of the scale you are in.

For example, a Major chord would consist of 1 3 5. A Major 7thchord would be 1 - 3 - -

7

Using the building blocks format compare the Major scale, the Major chord, and the Major 7th

chord (fig. 33 .

Major

Scale

fig

Major

Chord

Major

7th

CHORD NAMING SYSTEM

n order to fully understand the numeric formulas, you first have to understand the chord naming

system in this text. Certain rules or guidelines help the musician when communicating with other

musicians. Once you fully understand music theory, you'll understand all naming systems. We

feel that the system

in

this book is the most effecient ifusedp~apes 7y-

,

,

In

the chart (fig.

34)

there are

7

symbols. The 7 symbols are used to denote the status of specific

tones within the chord. The flat and sharp symbols are used when altering any other tones. Some

systems will use - and as flats and sharps. Although this is not incorrect, we have found it more

systematic to use them as represented in the chart below. Memorize these symbols and the tones

they represent, as they will be your best friends when dealing with chords.

3

3

DENOTES

STATUS OF

5

5

same

b

extra

b

RESULT

6

NAME

MINOR

AUGMENTED

DIMINISHED

DELTA

DOMINANT

HALF DIMINISHED

DIMINISHED

7TH

EXAMPLE

AND

FORMULA



As you study the umeric

Analyis

Chord Charts at the back of this book, notice some of the

lar er chords have 6 or 7 tones. Using two octaves of the Major scale, we can see that a 9th,an

i

1

and 13thare actually a 2nd,4th,and 6th espectively using the every other note process

(fig. 35).

fig

5

Before we continue let's analyze the naming of the larger chords. What we have in fig. 36 is

some kind of 13thchord. The letter tells us what pitch the 1 (root note) of our formula is on.

The A (delta) tells us that it's a Major 7thchord. The tells us to raise the

th

a half-step, as

in 1

sharp: and the 1 3 ~ ~s flat. The chord is

n E

flat delta augmented, flat 13. Study the names of the

chords

in

relationship to the formulas in the numeric chord charts,

NUMERIC

FORMUL

...............................

..... ....... ......

fig

6

Comparing the diagrams of the C Major scale and the

CAI3

in fig. 37 we can see that the 9th,

1

th nd 13thare actually a 2nd,4th, and 6thas both diagrams are identical. So, the C I3 chord

is in reality the same as the C Major scale. Using the

2nd

th,and of the second octave gives

the chord a different texture nd a new realm of exploration.

fig 7



POLY HORDS

Playing the larger chords can be cumbersome sometimes. The way to simulate large chords is

with polychords. In other words, use several smaller chords to make one big chord. The word

bbpolychord imply defined is more than one chord combined to make one complex chord. Let's

look at a

1

3

chord with building blocks (fig.

38).

fig 8

Now let's look at 1 possible polychord formula (there could be

several) and analyze the equation. To the left of the equal sign is the

chord name. On the right side of the equal sign it tells us to play a

A

fig 9

delta augmented over the root at the flated 7th (fig.

39).

Let's see what this chord represents (fig. 40):

Placing the 1 of our A delta augmented) at the dominant

7th

rom

the root, we see that the tones are the tones of our desired chord.

1

381

fig 4

herefore we have simulated our

13 '.

Now let's look at the same

chord except with a different polychord formula. The capital M is a

9

Major triad over the root at the

9 .

t looks like this: fig. 41 and fig.

42.

You could also place the

Major triad on the 2nd, ince the 2nd s also a 9th fig. 43 and fig. 44). The result would also be the

sape.

13 ' 1

ROOT

I I I I

fig

40

A+

1 3

t5

ROOT

fig 42

I

I I

The bass player will usually

play the root note, while the

keyboard or guitar will play

the 3 or 4 tone chord at the

appropriate interval.

3

ROOT I 2=9 4= 1 6=13

POLYCHORD FORMULA

on7\

TONE

9

The formula for polychords

is depicted in the chart, fig.

45. fig 45

5

1

13''' 11

ThePolychord Formulas chart at the back of this book does not contain every possible

combination of polychords, but there is more than sufficient data to get you started.

11

I I I

M 1 3 5 fig 43 1 3 Ã ˆ l =- M fig

44

b

13

3

3

5

5 9

11

13



SLASHCHORDS

Another way of looking at the larger chords is by a method known as slashchords. A slashchord

receives its name from the slash symbol used between the root and the chord. An example is

By applying the Polychord

Formula (fig. 45) we will

demonstrate the mathe-

matical synthesis of the

A9 and A1

1

The A9 can

be broken down into two

d i f f e r e n t p o l y c h o r d

formulas as shown in fig.

46.

Let s see what this trans-

la tes in to when using

pitch.

If is the tone we place

the root of our formula on,

in this case the

A9

hen

the tone of the synthesis

fo rmula immedia te ly

below would start on an E

and on a G Therefore the

s l a s h c h o r d s f o r t h e

formulas in fig.

47

would

be:

CA9

=

E 7

C

C A g = G C

Gg 46

fig 47

This means that you play an â hord over a tone or a

G

major chord over the

C

Both of

these are equivalent to he A9 Fig. 48 is another slashchord example using theA1

1.

C

D E

F

A

B

C

D E F

1 3

5 7

9

11

I

-b9

All =

I

1

I

I

5 7 b9 = E b9 C

7

All

=

I I I I

5

1

5

b7

= Q 7 / C

A11

=

I I

3

b5 = B O C

fig

48

18



Let s take a A 3 and find a polychord formula (fig. 49) then convert it to a slashchord formula.

E

G

B

D

F

A

1

3

5

7

11

13

t

CAI3

=

Ba

A 3

=

1 b3 b5

b

SLASHCHORD POLYCHORD

fig

9

The slashchord formula for the polychord above is

BO

C Start by playing a

B0

which would

be

a

1 3 5

7

Without moving the BO play it over a C note. Let s analyze what the

BO ingering becomes on a C A I 3 interval map.

What was a

1

on the

BO

nterval map is now the

7

on the

C A I 3

interval map. What was b5 now

becomes the 11 and what was the b7on the B0 is now the 13th,what was the b3 is now the

9 th

(fig. 50 .

IÃ‘b3-b5-b starting on B...

played over a Cbecomes

a 7

9 1 1 13 which is a CA13.

Compare this to the C A I3 interval map.

fig 5

For your convenience we have taken every complex chord, translated them into polychord

formulas and slashchords in all 12 keys.

Any combination of notes from the interval maps will give you the desired chord. Just remember,

if

you want to play a 13thand you don t have a 13th nyour voicing, you do not have a 13th



SU STITUTIONS

fig 5

The chart above (fig.

5

1) is a graphic building block representation of how substitutions are

derived. By now you should be quite familiar with how to figure out the polychord formulas for

the chart above. What the chart above is telling you in slashchord form is that in place of a

~ l 3 ^ 1ou could play: C<

or

CF

or

E A

or E or

G

Anv one of the above mentioned chords will work over the ~ 1 3 fig. 52 That is the secret to

.

themystery of substitutions. However some may find this still a bit tricky to understand. All you

have to do is use the interval map of the appropiate chord you want to play, use any 3, 4 , or

5

note combination on that map, and you will have that chord or one of it's substitutions.

The companion page opposite the interval map presents all the polychord formulas and the

formulas translated to slashchords in all 12 keys. Below that there are two substitution charts for

each chord, also in all 12keys. The two charts do not represent all the possible substitutions due

to lack of space, however the interval maps do. Any combination you chose will fit.

Remember whether you are doing chord solos or playing with a band you can play with or

without the root. If

you are playing with a band the bass player usually gets the root.

Smaller chords can also be extended into 9th5 111 ,and 13%



COMP TIBILITY

Now that we have covered chords and chord

naming, let s return to the Scale/ Mode- Chord

Compatibility Chart, located on the title page

of each new scale (fig. 53).

The roman numerals on the left s ide of the

chart tell you the mode you are in. Next is the

name of the mode, where applicable. On the

right half are the chords that fit or match that

mode. In other words, compatible chords you

SCALE1MODE CHORD CHART

IONIAN

DORIAN

PHRYGIAN

Iv

LYDIAN Z \ 8

MIXOLYDIAN

7

9

11 13

V

AEOLIAN 7 9

11

MI

LOCRIAN

can use.

fig 5

Taking the Dorian, let s see how this works (fig. 54).

Comparing it

in

this way we see that

all

the tones in the 7 and

9

chords are in

the scale, or in this case, mode.

However, the Minor

Â¡

and the Minor

9 '

(-7 and

-9)

do not work with the Locrian, but the half-

diminished does (fig. 56).

fig

4

ORIAN

Now let s examine the Chord Derivative Charts in the chord section (fig. 57). The numeric

formula of the chord is highlighted in gray so you can visualize how each scale contains the

numeric formula of the chord. The formula for the chord is listed above the chart.

AEOLIA

1

M MAJOR CHORD)

=

1 3 5

b3

fig 55

I I

1 - 7 1 1 1 3 7 The same chords ( 7 and 9 ) also fit

I I I

the Aeolian, fig. 55.

4

fig 57

b3

2

As you become more familiar with the mathematics or numerics behind scales, modes, and

chords, compatibility will become an automatic response. Til l then, you have the Chord

Derivative Charts and the Scale/Mode Chord Charts to help you.

4

5

3

4

5

b6

5 6

b7

6

b7

1

b7

1

2

b3

4

5 b6

b7



INV RSIONS

We ask you to recall now the chapter entitled Scales and Modes . Basically the lowest note for

each mode was bounced up an octave, therefore, modes are inversions of scales. The same

concept applies to chord inversions.

Taking a Major chord, we'll take the lower note and bounce it up an octave, creating the

lst

inversion of the chord (fig. 58 .

Major

scale 2 3 4 6 2 4 5 6 7

Major

Chord 3 5

st

Inversion

3

5

2nd

Inversion 5

fig

8

We duplicate the demonstration again using a

A

chord which has notes

in

it, fig. 59.

Major

Scale

2 3

4

6 2 4 6

A

st

Inversion

2nd

Inversion

1

3rd

Inversion 7 3

fig 9

CA

st

Inversion

2nd

Inversion

3rd

Inversion

The chord inversions in the

key of

C

are demonstrated on the

keyboard in fig.

60

to the left.

fig

60



RPEGGIOS

People constantly ask about arpeggios, as though arpeggios are some ancient mystical secret.

Arpeggios are actually quite simple. An arpeggio is nothing more than a chopped up chord. In

other words, rather than one simultaneous strike on the keyboard play the notes in sequence:

from low to high and or high to low.

n example of a basic triad arpeggio is demonstrated in figure 61.

st rt nd

here here

fig 6

An example of a

7

tone arpeggio is demonstrated in figure 62 below.

l

tart

here

fig

62

This concludes our study of scales and chords. We have given you the basics in harmony and

theory, now you are ready to delve into this unique reference volume. To lay a proper foundation,

we recommend beginners start with the Major scale.

We invite all keyboardists to embark on their own quest through the astounding world of music.



MAJOR

QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS Iv v V VII

SCALE MODE CHORD CHART

LOCRIAN

Iv

v

V

NUM ERIC SCALE MOD E CHART

GUITAR

PATTERNS

IONIAN

DORIAN

PHRYGIAN

LYDIAN

MIXOLYDIAN

AEOLIAN

I

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v

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-7

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7 9 11 13

7

9

1

1

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PATTERNS

1 3

4

5

6

7 1

2 3 4

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I

Iv

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DORIAN

PHRYGIAN

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MIXOLYD

AEOLIAN

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b7

b6

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b7

1

1

2

1

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b3

b2

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7

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I I V V V I VII

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HARMONIC MINOR

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DORIAN 4

,

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9, '9, 9 I

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PHRYGIAN MAJOR

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v

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PATTERNS

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PATTERNS

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V

v

V

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HARMONIC MAJOR

A, A+,Asus2,ASUS b6

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Iv LYDIAN b3

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DOMINANT

b2

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NUMERIC SCALE MODE CHART

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6 1

2

3

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I

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v

VI

VII

36



H RMONIC M JOR

T T T T



GUITAR

PATTERNS

KEYBOARD PATTERNS

I

VII

ID

BASS

PATTERNS

I

I

I

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IV

v

VI

VII

6

SCALE

/

MODE - CHORD CHART

HUNGARIAN MINOR

ORIENTAL

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AUGMENTED

$2

LOCRIAN Ãˆ Ãˆ

DOUBLE HARMONIC

L A N

7, -7, yb5,A A,A , Ab5

ALT

1 5

Ãˆ




HUNG RI N MINOR

T TT



GUITAR

PATTERNS

BASS

PATTERNS

SCALE MODE - CHORD CHART

ALT

H6 H7

ALT

h6

MELODIC

AUGMENTED

I V I

DORIAN b2 4

LYDIAN

I I1

AUGMENTEDtK3

A* (NO 35)

I

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v

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/

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1

2 3 4 5 6 7

1

2 3 4 5 7

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HUNGAR

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7

LOCRIAN

112

7

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AUG

DORIAN

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LYDIAN

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1

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b6

4

b5

4

b3

2

2

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3

b2

1

2

1

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6

85

84

3

7

b6

b5

b4

b3

b2

1

4

b3

2

1

b7

6

5

4

b7

7

b7

5 6

7

5

b4

b3

b2

1

6

b5

4

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2

1



HUNG RI N M JOR

T T



KEYBOARD PATTERNS

I IV

v

VI

FÃ IG

F Eb

CÃÎDbBlC Bb

G

FVGb

E

D c BICb

Ab

G

F

Eb

CÃ ID

C

SCALE

/

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;< Dbl

LYD IAN 96

A,

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v

LOCRIAN

I

DOMINANT

AUGMENTED

GUITAR

PATTERNS

7 s u s , 7 s u s 2

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I

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v

V I

V I I

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PATTERNS

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NUMERIC SCALE

/

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A,

A S U S ,

-A,6, -6

1

2 3 4 5 6

7

1 2 3 4 6

I V

V

V I

VI

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MINOR

LYDIAN

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DOMINANT

AUG

HUNGAR

GYPSY

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13

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7

b2

b7

b6

b5

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H3

1

7

6

4

3

b2

1 b2

1

b3

b7

1'6

5

b4

4

b7

6

b5

5

b6

b3

2

1

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4

3

1

7

4

3

2

1

b6

5

4

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b2

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1



NE POLIT N MINOR

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KEYBOARD PATTERNS

I I IV v VI VII

SCALE

/

MOD E CHORD CHART

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AUGMENTED

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7, 7 , 7b5, sus2,

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V

MAJOR LOCRIAN

ALT h2

ALT

H3

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I

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v

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PATTERNS


1 2

3

4 5 6 7 1

2

3 4 5 6

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AUG

LYDIAN

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t

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1

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1

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b2

2

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95

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b7

b6

b5

b4

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b6

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b7

b

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b6

b5

b4

b7

b6

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NE POLIT N M JOR





ENIGM TIC MINOR

T T

T T



ENIGM TIC QUICK

MODE GENERATOR

CHART

KEYBOARD PATTERNS

I I V

V

V

VII

F

E C /Db B/Cb A F /Gb

F / G b F D C

Bb

Ab

G

F /Gb Eb C /DbB/Cb A Ab

A b G E D C B b A



GUITAR

PATTERNS

I

I

I

V

v

V

VII

BASS

PATTERNS



ENIGM TIC

T T

T T

T T

T T



COMPOSITE


V I V

GUITAR

PATTERNS

BASS

PATTERNS

KEYBOARD PATTERNS

I I I I I I I I

I i l l I

I

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I

V

v

VI

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MODE 2

v MODE

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NUMERIC SCALE MOD E CHART

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V I I

MODE 6

MODE 7

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

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1

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KEYBOARD PATTERNS

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A Ab

F E

Eb

C /Db

Bb

Bb

A

F /Gb F E

D BICb

B/Cb

Bb G

F / G ~F Eb C

SCALE / MODE CHORD CHART

PERSIAN

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MODE

A

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V l MODE 7

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v

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MODE CHART

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MODE 6

v

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SCALE MODE - CHORD CHART

MODE

5

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sus

T h e M i n o r P e n t a t o n ic i s t h e m o s t

common pentatonic scale. The Minor

Pentatonic can be interspe rsed with the

Dorian, Phyrgian, and Aeo lian of the

Major scale), because the tone s of the

Minor Pentatonic are contained in all 3

modes, as well as other scales.


7

S U S ~

, 6

S U S ~

US

Q

I v

MINOR PENTATONIC

MAJOR PENTATONIC

MODE

3

MODE 4



MINOR PENT TONIC

T T

T T

T T



KUMOI

QUICK

MODE GENERATOR CHART

GUITAR BASS

PATTERNS PATTERNS

KEYBOARD PATTERNS

I I Ill

IV

v

SCALE / MODE - CHORD CHART

~~

ODE 3

The Kumoi can b e used in place of the

Melodic.

IV

mode of the Harmonic Maior.

KUMOI

MODE 4

-

-6

sus2

as we lla s any scale that contains the

same notes as the Kumoi.

sus2 sus

I

MODE 2

MODE 5

sus 7sUs

NUMERIC SCALE MOD E CHART

1

4

5

6 7

1

4 5

7

I

I

I

IV

MODES



KUMO

T T

ur

T T



HIROJOSHI

KEYBOARD PATTERNS


I

I I IV

v

GUITAR

PATTERNS

BASS

PATTERNS

SCALE

/

MODE

-

CHORD CHART

I V

M O D E 4

SUS

The Hiro joshi can be use d in p lace of

the Harmonic Minor and the Hungarian

those tones.

Minor, as well as any scale that conta ins

MODE

NUMER IC SCALE / MODE CHART

HIROJOSHI

Q3

v

36

MODE

5

1

3

5

6 7

1 2

3 4 5 6

7

A b

Ill

IV

HIROJOSHI

MODE^

MODE

MODE^

MODE5

1

1

b7

1 b2 4

3

b3

b2

b3

7

5

4

5

4

b6

5

6

b5

b6



IROJOS I

ll

ll

Dl



WHOLE TONE

QUICK


GUITAR

PATTERN

BASS

PATTERN

Ab FÃ /G E

A G F

Bb Ab

FÃ IG

BICb A G SYMMETRICAL

PATTERN

REPEATS

BIC b

SCALE MODE

-

CHORD CHART

WHOLE TONE

WHOLE TONE

WHOLE TONE

+

Due to the symmetrical nature

of the Whole Tone scale, it hasno modes.

I t a ls o h a s o n l y

2

f i nger ing

patterns which repeat:

C = D = E

=

F /Gb = A ^ = Bb

C / D b = E b = F = G = A = B / C b

V WHOLETONE

V

WHOLETONE


1 3 5 6

7 1

2

3

4 5

6 7

1

IV

v

VI

WHOLE

TONE

WHOLE

TONE

WHOLE

TONE

WHOLE

TONE

WHOLE

TONE

WHOLE

TONE

$6

Ã

5

JÃ

3

96

Ã5

$4

3

2

Ã6

5

$4

1

6

5

2

1

96

2

1

Ã5

4

2

1

4

3

1

)t6

5

JÃ

3

1



WHOL

TON

Ill

T T

T

Ill



AUGMENTED QUICK MODE

GENERATOR

CHART

SCALE

/

MODE - CHORD CHART

AUGMENTED A, A , A,

-

b6

I MODE 2 , 6

AUGMENTED A,

\

-A,

-b6

Iv MODE 2

,6

AUGMENTED A,

,

A,

6

GUITAR

PATTERNS

SYMMETRICAL

PATTERNS

REPEAT

1 2 1 2 ETC.

BASS

PATTERNS

SYliimerfHGAi.

PATTERNS

REPEAT

1.2 1.2 ETC.

T h e A u g m e n t e d s c a l e

i s

symmetrical, i t

has

only 2

modes.

A l s o , t h e r e a r e o n l y 4

f i nge r i ng pa t t e r ns w h i ch

repeat:

C = E = A b

C /Db

=

F = A

D

=

F /Gb= Bb

E b = G = B

NUMERIC SCALE

/

MODE CHART

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

I

ffl

V

V

VI

AUG

MODE^

AUG

6

b6

MODE2

AUG

MODE^

1 9 3 5 b6 7

1 b2 5 6

tt2

1

3

b2

1

5

$2

1'6

4

7

$5

5



UGMENTED

T T

T T

T T

T T

T T



PELoG

QUICK MODE GENER TOR CH RT

GUITAR

PATTERNS

BASS

PATTERNS

SC LE / MODE CHORD CH RT

PELOG

3 6

b6 -

MODE

I I

MODE 2

-A - S U S ~A0

I

I

NUMERIC SC LE / MODE CH RT

I v MODE 4

v

V

A

MODE 5

MODE 6

1

2

3

4 5 6

1

2

3

4 5 6

11

A

1 6,us

I

Ill

V

V

V

68

PELOG

MODE2

MO E

3

MODE4

MODE^

MODE^

7

6

05

4

b7

6

b5

1

b6

5

b3

2

1

b2

1

b7

b6

b4

b

b2

1

7

1

b2

1

5

04

02

b6

5

4



P LOG

I

TIT

TIT

TI

TIT



DOMINANT

SUS

QUICK MO E GENERATOR CHART

Ill IV VI

SCALE

/

MODE - CHORD CHART

DOMINANTSUS

S U S ~

US

Q 3 9

GUITAR

PATTERNS

I v

v

V

BASS

PATTERNS

NUME RIC SCALE MODE CHART

MO DE 2

MODE

3

MODE 4

MODE

5

MODE 6

36,

-7 s u s

Q3,

1 1

6

S U S ~

SUS 9 1 1 1 3

-7 S U S ~

US

9 9,

1 1

Q3, b9 09

1 1 b 1 3

6,

A u s 2 9 1 3

1 2 3 4 5

6

7 1 2 3 4

5

6 7

I

I V

V

V I

DOMINANT

sus

MODE^

MODE

3

MODE^

MODE^

MODE6

1

b7

5

4

b3

2

1

6

4

3

b7

b6

4

b3

1

b7:

6

7

5

4

2

1

6

3

2

1

b7

b6

4

b3

b2

1



DOMIN NT

SUS

T T



DIMINISHED

QUICK


KEYBO RD P TTERNS

I I IV

SCALE ODE - CHORD CHART

WHOLE HALF

DIMINISHED

HALF - WHOLE

DIMINISHED

a

O

-7 O7

WHOLE-HALF 07

DIMINISHED

WHOLE - HALF

DIMINISHED

HALF

-

WHOLE

DIMINISHED ,O -7 O7

WHOLE HALF

vll

DIMINISHED

VIII HALF - WHOLE

DIMINISHED

v

VI VII VIII

C B b G

2ÃÎDbBlC

Bb

Ab

D

C

BICb

A

Eb

CÃ ID

C Bb

E

D

C /Db B/Cl

The Diminished scale only h as two

modes which repe at: the W hole-

Half and the Half-Whole.

Keyboard patterns above are for

the Half-Whole Diminished.

Patterns on next page are for the

Whole-Half Diminished.

Also note the fingering patterns

repeat every third key. In other

words: C,

Eb, Ã I

b and A have

the sam e fingering patterns.

NUMERIC SCALE ODE CHART

GUIT R

P TTERNS

SYMMETRICAL

PATTERNS

REPEAT

1 2.1 2 ETC.

B SS

P TTERNS

SYMMETRICAL

PATTERNS

REPEAT

1 2 1 2 ETC.



WHO LE HALF DIMINISHED

ll



8 TONE

SP NISH

QUICK


KEYBOARD PATTERNS I v v VI VII VIII

C B/Cb

A Ab

FSIGb E

D

C /Db

C Bb A Ab G F Eb

D C /DbB/Cb

Bb A Ab FttiGb E

Eb D

C BICb

6b

A

G

F

SCALE MODE

-

CHORD CHART

MODE 2

MODE 3

I V

MODE 4

MODE 5

VIII

V

VII


GUITAR

PATTERNS

MODE

6

MODE

I

I

I

I V

v

V

VII

VIII

7,A , 6,9, 11, 13

7, b6,9, 11, 1'13, 13

BASS

PATTCTHB

1 2 3

4

5 6 7

1

2 3 4 5 6

7

8 TONE

SPANISH

MO E

2

MODE

MODE

4

MODE5

MODE 6

MO E

7

MO E8

-

1 b2

1

7

6

$5

5

$4

3

2

b3

1

4

2

b2

1

2 b 3 3 4

b2

1

b7

6

b6

4

b3

b5

b3

2

b2

7

b7

6

5

4

1

b6

5

4

3

b3

7

b7

b6

b5

b7

6

5

S4

4

2

1

3

2

1

7

6

5

b7

b6

b7



TONE SPANISH

c

Ctf Db

T T



VII VIII

SCALE / MODE

-

CHORD CHART

I

MODE 7

v

V I

VIII

BEBOP LOCRIAN h2

MODE

8

AO @

9, b13

MODE

2

MODE 3

MODE 4

MODE 5

MODE 6

NUME RIC SCALE / MODE CHART

b9, $9,

1

1 3 3 , 13

-A

-b6, -6 ,

-9

9

-6 , -7, 1'9, $9 , 11, $11, 13

7^5 7 + , 11, $11, b13, 13

6, -6, 7, 7 , 9 , 9, 9, 1 1, 3

GUITAR

PATTERNS

I

I

I

IV

VI

VII

VIII

BASS

PATTERNS

1

2

3 4 5

6 7 1 2 3 4

I1

I V

V

V I

V I I

MODE^

V MODE8 1 b2

7

6

b6

tÃ

b7

6

5

b5

BEBOP

L O C R I A N ~ ~

MODE^

MODE 3

MODE^

MO DE S

MODE^

5

3 3 94

b

6

5

1

7

6

6

b3

b2

1

b7

b7

4

b3

2

1

5

b6

4

4

b3

2

1

b5

b3

b2

6

b7

$5

5

4

3

2

7

6

b6

b5

4

b3



BEBOP LOCRI N h

T T

ll

T T



B E B O P D O M I N N T


KEYBOARD PATTERNS

I I I IV v VI VII VIII

SCALE / MODE CHORD CHART

BEBOP DOMINANT

A

, 7 , S U S ~ ,US, 9 ,1 1 ,1 3

BEBOPMINOR

BEBOP LOCRIAN

ADD 5

GUITAR

PATTERNS

3 6 , -6, -7 , sus2, sus, 9, $9,-11 , bl3 , 13

v

VI

VIII

VII

MODE 8

MODE 5

MODE 6

NUMERIC SCALE

/

MODE CHART

-6 , 6 , -7 , 7 , S U S ~ ,US, , $9, 11, 13

-6 , -7 , sus2, sus, b9, 9, 11, b13

MODE

7

VI

VII

A , A b5 ,6, S U S ~ ,9,9

VII I

BASS

PATTERNS

1

2 3 4 5 6 7

1

2 3 4

2 3

4

5

E, g[

1 1 2

b3 4

BEBOP

LOC

dd

5

1

b2

b3 4 b5 5 b6

I V MODE^

1 3 4 1 ' 5 5 6 7

V

MODE5 1

2 b 3 3 4 5

6

b71

V I MODE 1 b2 2 b3 4 5 b6 b7

V I I

V

MODE^

MODE

8

1

b 2 2

b2

3

b3

4

4

5

b5

6

b6

b7 7



BEBOP DOMIN NT



B E B O P D O R I A N


KEYBOARD PATTERNS

I

I I IV

v

VI VII VIII

SCALE MO DE CHORD CHART

1

BEBOP DORIAN

MODE

3

A 6,9, <h 1, b13, 13

V II I

MO ES

o , a , b9, 9, 11, b13

NUME RIC SCALE MODE CHART

GUITAR

PATTERNS

I

I

I V

v

V I

V I I

V I I I

BASS

PATTERNS

2 3

4 5

6

7 2

3

4 5

6

7

I

I

Ill

IV

v

VI

VII

V

MODE 6

MODE 7

MODE

8

b2

b6

5

4

2

b2

6

5

b

2

b2

7

7

4

b

b5

4

3



BEBOP DORI N

T T



E OP MAJOR


KEYBO RD P TTERNS I v

v

VI VII VIII

A

F E D C /Db c Bb

Bb Ab

FtfIGb F

Eb

D

CÃÎDbBlC

BICb FÃÎG Eb D C

SCALE ODE - CHORD CHART

I

BEBOP MAJOR

I MODE

MODE

4

MODE

v

MODE

6

V l MODE

VIII MODE

8

NUMERIC SCALE ODE CHART

GUIT R

P TTERBS

B SS

P TTERNS

I

I I

I

V

v

VI

VII

VIII



BEBOP M JOR



M MAJOR CHOR D)

LYDIAN DOMINANT IV MELODIC

HINDU V MELODIC

PHRYGIAN h V HARMONIC MINOR

1

1

1 b

4

4

b6

b6

6 b7

b7

b7



MAJOR)

^

TIT



MINOR)

DORI N = I M JOR

PHRYGI N

=

III M JOR

EOLI N

=

V M JOR

MELODIC



MINOR)



sus2 SUSPENDED 2)

LYDIAN b I V HARMONIC MAJOR





SUS (SUSPENDED FOURTH)

PHRYGIAN

= I

MAJOR

ENIGMATIC MODE

IV

1 I 2 I 3 4 b 5 ~ 6 I I b 7 I

COMPOSITE

I

MODE

I

1 2 $ 3

COMPOSITE

I

MODE

IV

1 b2 b3 4

COMPOSITE

I

MODE

VII

1 b2 b3 4

ENIGMATIC MODE

VII

PHRYGIAN

b3 =I

IONIAN

b5 1 I b 2 I b 3 I I 4

LYDIAN $3=

V

LOCRIAN 17

DOMINANT $2

= VI

LOCRIAN 17 1 2 3 4

PERSIAN MODE

I $ 2 3 4

PERSIAN MODE

V

b2

PERSIAN MODE

VII

4 b5 b6 b7

b3 7



T T



b5

PLATED

FIFTH





DIMINISHED)



DIMINISHED)



AUGMENTED)

ALT

k b

=V NEAPOLITAN MINOR



AUGMENTED)



b6 FLATED SIXTH)

HARMO NIC MAJOR

PH RY GIAN b4 = HI HARMO NIC MAJOR

DOUBLE HA RM ON IC V HUNGARIAN MINOR 1

b

ALT h5 b7 = VII HUNGARIAN MINOR

LYDIAN MINOR = V NEAPOLITAN MAJOR

3

ENIGMATIC MINOR MODE III

ENIGMATIC MINOR MODE V I I

ENIGMATIC MODE III

COMPOSITE

COMPOSITE MODE I

PERSIAN MODE

AUGMENTED



m r

T T

r



6 MINOR

FL TED SIXTH)



ll



MAJOR

SIXTH

BEBOP MAJOR MODE

V



T T



6 MINOR

SIXTH)





DIMINISHED SEV ENTH)



T T

T T

r

T T

T T



Q 3) QUARTAL

or

DOUBLE FOURTH)



Quartal or ouble

th

T T

r

n

T T

^



7

DOMINANT)



T T

T T

T T



-7 MINOR SEVENTH)



T T

fir



7sus2 DOMINANT sus2)

DORIAN

I

MAJOR b3 4

AEOLIAN

V I

MAJOR





7 S U S DOMINANT SUS)

DORIAN b = MELODIC

HINDU = V MELOI3IC

3

5 b6

PHRYGIAN h = V HARMONIC MINOR 3 5 b6

DOMINANT

b =

V HARMON IC MAJOR

b 3 5 6

ENIGMAl7C MODE V

3

b5

b









HALF-DIMINISHED)

BEBOP LOCRIAN 12

8

TONE SPANISH MODE V

BEBOP MAJOR MODE V

1 2

b

4

b b

7



HALF-DIMINISHED)

ST

- ? I

T T



7 DOMINANT AUGMENTED)



tf

b

I

b

BIT

T T



(DELTA)

LYDIAN =

IV

MAJOR

LYDIAN

2

VI HARM ONIC MINOR

HARMONIC MAJOR

DOUBLE HARMONIC =V HUNGARIAN MINOR

LYDIAN

96 92

= VI HUNGARIAN MINOR

LYDIAN 6= NEAPOLITAN MINOR

IONIAN

2

VI NEAPOLITAN MINOR

1

ENIGMATIC MINOR MODE

VII

1

COMPOSITE 1

LYDIAN

1 2=

V IONIAN b

1

IONIAN 6=

I

LOCRIAN h7

1

PERSIAN MODE

HIROJOSHI MODE

V

AUGMENTED

PELOG MODE VI

DOMINANT SUS MODE

V I

8 TONE SPANISH MODE

1 1

8 TONE SPANISH MODE VI

1

BEBOP LOCRIAN >2 MODE

VIII

1

BEBOP DOMINANT 1

BEBOP DOM INANT MODE IV

BEBOP DOMINANT MODE

VII

1

BEBOP DORIAN MODE HI

BEBOP DORIAN MODE VII

BEBOP MAJOR

BEBOP MAJOR MODE IV



DELTA)

II



A

MINOR DELTA)

LYDIAN 92 VI HARMONIC MINOR 1 1 \ S 2 3 1

LYDIAN b3 =IV HARMONIC MAJOR 1 2 53

HUNGARIAN MINOR

1 2 53

LYDIAN 96 92 VI HUNGARIAN MINOR 1 2 3

NEAPOLITAN MINOR 1 b2 b3

IONIAN 2

VI

NEAPOLITAN MINOR 1 2

4

NEAPOLITAN MAJOR 1 b2 b3

ENIGMATIC MINOR 1 N'21 Ib31

ENIGMATIC MO DE

1 82 9

COMPOSITE MODE

I

1 2 9

PERSIAN MODE I 1 1 I i 2 3 1 4

PERSIAN MODE IV 1 b2 b

AUGMENTED 1 2 3

PELOG MODE 1 2 b 3 1





Asus DELTA

sus2)

HARMONIC MINOR

1 b3 4

b6

7

HARMONIC MAJOR

1

3 4 5

b6

7

LYDIAN b3

= V

HARMONIC MAJOR

1 b3 Ã 6 7

HUNGARIAN MINOR

1 2 b3

Ã 5 b6 7

LYDIAN

6

=

I

NEAPOLITAN MINOR

1 1 1 2 I 3 lÃˆ4

lÃˆ6

ENIGMATIC MINOR MO DE

VII 1 b2 H3 b4 5 b6 7

ENIGMATIC MODE

VL 1 b2 Ã 4

5

6

7





ASUS

DELTA S

U

S)

7

PERSIAN MODE I



ll

II

sl m

I



Ab

DELTA FLAT

5)

ENIGMATIC

COMPOSITE

I

BEBOP DORIAN MODE VIII



ll



O(DELTA DIMINISHED)

AO 1

b5

7

ENIGMATIC MINOR

BEBOP LOCRIAN4 MODE

V I

BEBOP DOMINANT MODE VI

BEBOP DORIAN MODE VI

BEBOP MAJOR MOD E IV

BEBOP MAJOR MODE

VI

1

1

b

b2

b2

b2

2

1'3

b3

b3

b3

b3

3

3

3

4

1'5

4

34

5

5

b6

5

5

6

6

6

b7

Ã

7

7

7

7

7



ff



A DELTA AUGM ENTED)

LYDIAN AUGMENTED

= III

MELODIC

i

IONIAN 5 HARMONIC MINOR

1

HARMO NIC MAJOR 1

LYD IAN AU GME NTED Ã

= VI

HARMO NIC MAJOR 1

IONIAN AUGMENTED 2 = HUNGARIAN MINOR

DOUBLE HARMONIC =V HUNGAR IAN MINOR

LYDIAN AUGMENTED 6 NEAPOLITAN MAJOR

1

ENIGMATIC MINOR MODE V 1

ENIGMATIC MINOR MOD E VII

1

ENIGMATIC 1

COMPOSITE II 1 1

COMPOSITE MODE

VI

PERSIAN

AUGMENTED 1

PELOG MODE

IV

1

PELOG MODE VI

TONE SPANISH MODE

IV

BEBOP DORIAN MODE VI 1

B EB OP M AJOR I 1

BEBOP MAJOR MODE VI 1



ll T T

m t



-A MINOR DELTA AUGMENTED)



T T

T T

ir

ll

lir

5

I

Iff

T T



=

G - / C

=

G W C S

=

A - I D

AS

- /

D#

=

B - / E

=

C - I F

=

C# - / F#

=

D - / G

=

D 9 - / G #

=

E - / A

=

F- / A #

=

F # - / B

SUBSTITUTIONS SUBSTITUTIONS

C7

=

E O / C

C ^ = B b / C

C#7 or Db7

=

F O / C #

C#11 or Dbl1

=

B / C #

D7 = F # O /D D l1 = C / D

D#7 or Eb7 = o DÃ DÃ1 or Eb11

=

C# / D#

E7 G V / E

E

=

D I E

F7

=

AO F F11

=

D#

/

F

FÃ or Gb7

=

A#'

/ F

FÃ1 or G U l = E / F #

G7 = B O / G G I1 = F I G

G#7 or Ab7

=

C0

/

GÃ G#11 or Ab11

=

F # / G #

A7

=

C Ã ˆ 0 / A H = G / A

A#7 or Bb7

=

D O / A #

AÃ1 or Bb l l = G # A #

B7

or

Cb7

=

D # / B B11

or

Cb l l

=

A / B



II

T T T T

BIT

T T

T T



C-9 = EbA/C c-9 = G- / c

CÃ - r Db-9

=

E A CÃ CÃ - r Db-9 = G -

1

CÃ

D-9

=

F A / D D-9

=

A- D

DÃ - r Eb-9 = F A D DÃ - r Eb-9 = A - DÃ

E-9 = G A / E

E-9 = B- E

F-9 = GÃÂ/

F-9 = C- F

FÃ -

r Gb-9 = FÃ Fit-9 r Gb-9

=

CÃ Fit

G-9

=

AÃÂI G-9 = D- / G

GÃ - r Ab-9

=

B A / GÃ GS-9 r Ab-9 = D - GÃ

A-9

=

CA/A A-9

=

E - / A

A -9 r Bb-9

=

C A A

A -9 r Bb-9

=

F- A

B-9 r Cb-9 = DA B

B-9 r Cb-9

=

Fit- B

C-7 = Eb/C C-11

=

Bb/C

(3-7 r Db-7

=

E CÃ C -11 r Db-11

=

BlCÃ

D-7 = F / D D-11 = C / D

DÃ - r Eb-7 = FÃ

DÃ

DÃ -1 r Eb-11

=

CÃ

Dit

E-7 =

G / E

E-11 = D I E

F-7 = GÃ F

F-11 = DÃˆ/

FÃ - r Gb-7 = A Fit FÃ -1 r Gb-11 = E / F

G*7 = A4 / G G-11 = F I G

Gf-7 r Ab-7

=

B GÃ GÃ -1 r Ab-11

=

FÃ /G

A-7 = CIA A-11 = G / A

AÃ - r Bb-7

=

CÃ /A

A -11 r Bb-11 = G AÃ

B-7

r

Cb-7

=

D / B B-11

r

0 - 1 1

=

A / B





SU STITUTIONS





SUBSTITUTIONS

C7 = E O / C

C 70r Db7

=

F O / C

D7

=

F O I D

D 7 or Eb7 = Go D

E7

=

G O / E

F7 = A0 / F

F 7 or Gb7 = A ' / F

G7

=

B O / G

G 7 or Ab7

=

C o G

A7 = C O / A

7 or Bb7 = D O / A

B7 or Cb7

=

D O / B





CA9 = E V 7 / C C A 9 = G / C

CÃÂ or DbA9 = F-7 / C C A9 or DbA9 = G C

DA9 = F -7 D DA9 = A I D

DÃÂ or EbA9 = (3-7 / DS DÃÂ or EbA9 = A

/

D

EA9 = G - 7 1E

EA9 = B / E

FA9 = A - 7 / F

FA9 = C / F

F A 9 or G bA9

=

A -7 F

ÃA

or GbA9 = C

/

it

G A 9 = B - 7 / G G A 9 = D I G

GSA9 or AbA9 = C-7 / G G

A

or AbA9 = D / G

AA9

=

C -71A AA9

=

E / A

ASA9 or BbA9 = D-7 / A AÃ Âgo BbA9

=

F / A

BA9 or CbA9 = D -7

BA9

or

CbA9

=

Fit /

C A

=

E - / C C A I 1

=

B b / C

C A or DbA = F- / C CXA-ll or DbAH = B

/

C

D A = F - D DA11 = C / D

D A or EbA = G / D

E A = G f - / E

EA1-1

=

D l E

F A = A - / F

FA11 = D / F

FÃˆ or GbA = A -

/

F FBA-1-1or GbA-11 = E / F

G A

=

B - / G G A l 1

=

F I G

GÃˆ or AbA = C-/G GttA-11 or AbA-11 = F G

= CÃˆ-/ AA11 = G / A

AÃˆ or BbA = D-

/

A

ASA1-1 or B b A l l = G A

B A

or

CbA

=

DÃˆ - / BAA1

or

CbAH

=

A / B





G A9 D I G














SU STITUTIONS

C11Ãˆ

C 11*9 or Db

l l Ã ˆ

Dl189

D l Ã § or Eb l l Ã ˆ

E11Ã§

F11Ãˆ

F 11Ãˆ or Gb11Ãˆ

GI189

G 11^ or Ab11Ãˆ

A11Ã§

A 11Ã or Bb

Ã ˆ

B l l ~ g r Cb 1

9



ll



LT b5

9)



LT b5

9)

T T

T T



ALT b5 b9)

SUBSTITUTIONS

cALT

=

~ 6 b 5 c

C ALT

or

DbALT

=

F6b5 C)t

DALT

=

~ 6 b 5

D

D ALT

or

EbALT

=

~ 6 b 5

D

EALT

=

~ 6 ^ 5

E

FALT

=

~ 6 b 5

F ALT

or

GbALT

=

~ 6 b 5

p

GALT

=

~ 6 b 5 G

Q ALT or AbALT

=

~ 6 b 5G

AALT

=

~ 6 ^ 5A

A ALT

or

BbALT

=

~ 6 b 5A

BALT

or

C

bALT

=

~ $ 6 1 - 5

B



LT

b5

b9

T T

T T

ll

SIT

T T

T T



ALT

Ãˆ

b9)


C A L T

C A L T

or

DbALT

D A L T

DOALT or EbALT

E A L T

F A L T

F A L T or GbALT

QALT

G A L T

or

AbALT

AALT

ABALT or BbALT

BALT

or

CbALT



LT ( 5

b9)

T T

I

T T

ll

I



ALT

( 5 9)

Ab

ALT =

3 b5 7

sus2

ALT =

CALT =

C ALT or DbALT =

DALT =

D ALT or EbALT =

EALT =

FALT =

F ALT

or

GbALT =

GALT

=

G ALT

or

AbALT =

AALT =

A ALT

or

BbALT

=

CALT

=

C ALT or DbALT =

DALT

=

D ALT or EbALT

=

EALT =

FALT =

F

ALT or. GbALT =

GALT =

G ALT or AbALT =



LT ( 5 9)

M

T T



SU STITUTIONS SU STITUTIONS





SUBSTITUTIONS

C-7 = E b / C

C -7

or

Db-7

=

E / C

D-7 = F / D

DÃˆ- or Eb-7 = Fit D

- 7 = G / E

F-7

=

G

F -7 or Gb-7 = A FÃ

G-7 = A G

Gfl-7 or Ab-7 = G

A-7 = C I A

A -7 or Bb-7

=

C / A

B-7

or

Cb-7

=

D / B

SUBSTITUTIONS

C-9 = G - / C



s r

T T T T T T

it





I RI

tf Db

T T T T

T T T T



C- 1 =

EbAÃˆ

/

C

C-$11 = G - A / C

C-S11

=

Bb+ C

C -$11 or Db-$11= E A N / - I 1or Db-$11= B + / C

D311 FA 9 D D311 = A - A I D

D-Ãˆ1

= C+ D

D - I 1

or

Eb- I1 F A 9 D DÃˆ- I

or

Eb-$11= AS -A / 8-41 1

or

Eb-$1

=

C + D

E-$11= G A O E

E-Ã 11 = B - A E

E311

=

D+ E

F-tf11 = G AÃˆ F

F311 = D + F

F -$11

or

Gb-$11= AAÃ§9 F -$11

or

Gb- I1 E+

I F

G- 11 = A A ^ G

G-$11 = F + / G

GiÃˆ-$1 or Ab-$11= BAg9 G - I1 or Ab-$11 = F + G

A 3 1 1 = CA'9 A

A- 11 = E - A A

A-$11

=

G+ A

A t 8 1 1 or Bb-$11= CÃAÃ Bb - 11= F - A / A A M 1 1 or Bb-$1 = G + A

C -9 or Db-9 = GO-

cif

D-9

=

A- D

D -9

or

Eb-9 = A - D

E-9 = B- E

F-9 = C- F

F -9 or Gb-9 = CO- Fit

G-9 = D - / G

G -9

or

Ab-9 = D - G

A-9 = E - / A

A -9 or Bb-9 = F- A

B-9

or

Cb-9

=

F - / B



T T T TT

T T

IT



CAI1

=

B O / C

A11 or DbA-11

=

C O / C

DA-11

=

Fit-1.9 D DA11

=

C)tO/D

DKA11

or

EbA11 = D O / D

EA11

=

G -b9 E EA-11

=

DÃ E

FA11 = A-b9/F FA11 = E O / F

FÃÂ-1 or G

bA11

= Fo FÃ

GA11 = B-b9 GA-11

=

D7/G GAIA = F O G

AA11

=

E7/A AA11

=

GÃÔ/

AXA11 or B

bA11

= AO A

BA11 or CbAll

=

D -b9/B BA11 or CbAll

=

F 7/B BAA1 or CbAll = A O/B

C A = E-/C CA9

=

G/C

CÃˆ or DbA = F- C CSA9 or DbA9

=

G C

DA = F - D DA9

=

A I D

DÃˆ or EbA = G- ID D A9 or EbA9 = A DÃ

E A =

G<f-1

EA9

=

B / E

F A

=

Am/

FA9 = C / F

FÃˆ or GbA

=

A - F F4A9 or GbA9

=

CÃ FÃ

G A = B-/G GA9 = D I G

GÃˆ or AbA

=

C- /GÃ GÃ A or AbA9

=

D GÃ

= C -/ A AA9

=

E / A

AÃˆ or BbA = D- A

AÃÂ or BbA9 = F A

B A

or

CbA

=

DÃˆ-/ BA9

or

CbA9

=

F B



TI



SU STITUTIONS



T T

TI

S T

TIT



SU STITUTIONS

CAÃˆ1

=

G A / C A 1

=

B-

C

CtAÃˆ1 or DbA^ll = GÃˆ CÃÂÃ

1

or DbAsl l = C- CÃ

DAu11

=

A A / D D A ^ l

=

C # - I D

D # A # l l or EbA'l l

=

AKA / D# ÃÂÃˆ or EbAu1 D- D#

EAu11 = B A E

EAUl

1

= DÃ E

F A ' l l

=

C A I F

FAÃˆ l

=

E / F

F# Au l l or G

bAu11 =

CSA F

GAÃˆ1

=

D A / G G A ^ 1

=

FÃˆ

/

G

G# AÃ ˆl or AbAÃˆl

=

DÃˆ

/

G GÃÂÃˆ or AbAÃˆ

=

G- GS

AAu11

=

E A I A

M u 1 1

=

G # - / A

AÃÂ 1 or BbA^

1 =

F A A# AÃÂÃˆ or B

bAU11 =

A- AX

BAÃˆ1 or CbA-11

= A - /

B

SU STITUTIONS

C A

CÃˆ or DbA

D A

DÃˆ or EbA

E A

F A

FÃˆ or GbA

G A

GÃˆ or AbA

A A

AÃˆ or Bb A



T T

T T

T T

T



SUBSTITUTIONS

< SUBSTITUTIONS

C - A

=

E b / C

C - A or Db-A =

E

/

C

D - A

=

F / D

D - Aor Eb-A

=

F D

E - A

=

G / E

F - A

=

G / F

F - A or Gb-A

= / F

G - A

=

A / G

GK-A or

Ab-A

= /

G

A - A

=

C I A



T T T T

T T

ar

mar



C13

=

E011b9/C C13

=

G-9 C13

=

B b A / C

C#13

or

Dbl3

=

F011b9 C# C #l 3

or

Dbl3 = G#-9 C

C#13 or Db13

=

B A / C #

D l3

=

F# 11 '-9/ D D13

=

A - 9 / D

D13

=

C A I D

D # l 3

or

Eb13

=

G011b9/D# D#13

or

Eb13 = A # - 9 1

D#

D # l 3

or

Ebl3

=

C # A D#

El3

=

G#011b9 /E

E l3

=

B-9 E

E13

=

D A I E

F13

=

A011b9/F

F13

=

C-9 F

F13 D # A /F

F#13 or Gb13

=

A#011b9 F# FÃ 1 or Gbl3

=

C#-9 F# F# l3 or Gb13

=

E A / F #

G13

=

B O 1 l ^ / G G I 3 = D-9 / G G13

=

F A / G

G#13 or Abl3

=

C O l b9 / G# G# l 3 or Abl3

=

D#-9 # G#13 or Abl3

=

F # A G #

A13

=

C#011b9/A A13

=

E - 9 / A A13

=

G A I A

A#13 or Bbl3 D011b9/A#

A#l3 or Bbl3

=

F - 9 / A # A # l 3 or Bb13

=

G # A / A #

B13 or Cb13

=

D#011b9 /B

B13 or Cbl3

=

F#-9 /B B13 or Cbl3

=

A A / B

SUBSTITUTIONS

C9

=

G - / C C11

=

B b / C

C#9 or Db9

=

G # - / C # C Ã ˆ l or Dbl l

=

B / C #

D9

=

A - I D D l 1 = C D

D#9 or Eb9

=

A # - D # D # l l or Ebl1

=

C# D#

E9

=

B- E

E l l

=

D E

F9

=

C - I F

F11

=

D # / F

F#9 or Gb9

=

C#- Ftt F # l l or Gbl1

=

E F#

G9

=

D - / G G I 1

=

F I G

G#9

or

Ab9

=

D -

G# GÃÎ

or

AH1

=

F # G#

A9

=

E - / A A l l

=

G / A

AÃ or Bb9

=

F- / A # A # l l or Bbl1

=

G # / A #

B9

or

Cb9

=

F # - / B





SUBSTITUTIONS

C-13 = B b A l C

C -13 r Db-13

=

B A I C

D-13

=

C A I D

D -13 r Eb-13

=

C A

E-13

=

D A I E

F-13

=

D A l F

A-13

=

E - 9 l A

rl

A-13 = G A I A

G-

G -

A

1 D

A -

B

c- 1 F

C -

D - I G

D -

E- / A

F-

F -

I SUBSTITUTIONS

B b l C

B l C

C I D

C

D I E

D

E

F I G

F

G I A

G

A I B





SUBSTITUTIONS

G - I C

G l C

A I D

A

B I E

C

C

D I G

D

E I A

SUBSTITUTIONS









SU STITUTIONS SU STITUTIONS



a

T



SU STITUTIONS



T T

T

T T



13 13

C A ) i i i o rD b A Ã § i= F-11 C

13

DAÃ I = F -11 D

13 13

DSA tf ii or EbA if i i = G-11 IDS

13

E A Ã ˆGP11

E

3 3

DAÃ‡I

=

A A 9 / D DAÃˆ = Ctt-7 D

13 13 13

3

D A t i i or EbA8ii = AllA9/ D

DtfA81i or E b A i i= D - 7 / D

13

3

EAÃ I = B A g / E

EAKI DÃˆ- E

13

13

FA811 = C A 9 / F

FA811 = E-7 F

13 13

F Att11or GbAx11= C A g / F

FHA

or GbA n= F-7 FÃ

13

13

GAii11 = D A g / G

GAÃˆ = FS-7 G

SU STITUTIONS

H

SU STITUTIONS



ff b

TI

ll TIT

IT



13 $9 13

D - A $11= FA+$ i i /

D - A $11

=

A A 9 /

D

13 13 $9 13 13

DÃˆ-A I r

E

b-A I FÃÂ+$/

DÃˆ-AÃ 1

or

Eb-A

I

1

=

AÃÂ

/ DÃ

13 99 13

E - A $11

=

GA+$i i E

E T A$11

=

B A 9

/

E

13 $9 13

F-A $1i= GÃÂ+$ F

F-A $11

=

C A 9 /

13 $9 13 13

~ Ã ˆ - A Ã § ~ ib - A 11

= A A + Ã § i i

FÃˆ- d1 orG b-A $11

=

C A 9 /

13 D9 13

G - A $11

=

AÃÂ+$ i

G - A 811= D A g / G

13 13 $9 13 13

i Ã ˆ - A i t r Ab'A $11

=

BA+ i i /

GÃˆ- $11or Ab-A $11= DÃÂ

/

GÃ

$9 13

A - A

=

C A +

1 A - A

$11

=

E A 9

/ A

13 13 $9 13 13

M-A

$11 or

B

b A $1I C A + ~ I

AÃˆ-AI 1 or B b-A $11

=

F A 9

/ A

SU STITUTIONS

C-9

=

G / C

13

C - A $11

= B-7 /

C

13 13

CÃˆ -Ai 1 or D b- A $11= C-7 / C

13

D - A $11

= CÃ - / D

13 13

DÃˆ-A or Eb-A $11

=

D-7 /

DÃ

13

E - A $11

=

D -7 E

13

F - A $1I

-7 / F

13 13

FÃ - $11 or

G

b- A $11= F-7

/

FÃ

13

G - A $ If = FÃˆ- / G

13 13

$11 o rA b-A l l = G-7 /GÃ

13

A - A i t i i =

GÃˆ-7 /

13

B - A or Cb-A iiAH-7

/ B



T T

T

T T

HU



NUMERIC ANALYSIS OF SCALES

ALT

o

1 b2lt3 b4 b5 b6

b7

ENIGMATICMINOR

1

b2 b3

$4 5 96 7

LOCRIAN

MELODIC

DORI NÃˆ

LYDIAN

AUG

MODE 5 1

92 3 b5 b6 7

MODE

6 1

b2 lt3 t 5

b6 H7

1

1

1

LYDIANb

DOMINANTQ

LYDIAN AUG 2

L O C R I A N H ~

MODE

5

1 b2

3 4 b5 6 7

MODE 6

1 $2 3

4

45 96 7

b2

b2

1

1

1

HUNGARIAN MINOR

ORIENT L

2

b2

b2

1

1

MELODICAUG

DORIAN t 2 ~ 4

LYDIAN AUG 3

b3

2 b 3

b3

b2

2

2

1

1

3

b3

$2

b3

2

b2

b3

b3

4

4

3

b3

4

$3

4 b 5

94

3 4

4

94

4

5

5

9 4 5

94

b5

4

95

$5

5

b6

9 5 6

5

94

b5

6

6

6

6

6

$5

b6

5

b7

7

7

b7

b7

6

6

It7

b6

7

7

6 b 7

6

7

7

b7

7



NUMERIC N LYSIS

OF

SC LES

continued

MODE 1 1 1 1 2 1 3 1 4 l 5 1 186171

ALT

ALT

PERSIAN

1

1

MODE3

MODE4

MAJOR PENT

1 2

MODE6

MODE

7

MODE

4

lb31 1 4 1 1 ~ 5 1b71

b2

b2

1

1

1

1

tt3

b2

b2

MODE

3

MODE

4

MODE

5

~ ~

MODE

3

b7

b2

PBLOG

MODE

b4

3

H3

2 b3 5 b6

1

1

1

H3

1

1

MODE

4

MODE 5

MODE 6

4

b3

2

DOMINANTSUS

MODE

MODE

3

92

b2

1

1

1

MODE4

MODE

b5

b5

MODE

4

MODE5

b4

b3

1

1

1

MODE

7

MODE 6

E OPLOCRIAN

4

3

2

b2

1

1

*6

1

94

MODE

3

MODE

4

3

2

2

1

1

1

4

4

b3

b3

$2

b2

b6

1 b 2 2

b2

5

5

1

1

4

4

MODE 6

MODE

7

b3

2

2

2

b5

b4

3

2 b 3

b3

tt7

b3

b6

b6

b2

b5

b5

7

1

4

4

4

3 4

7

b3

b3

H6

94

4

3 4

4

4

3

b7

21 '3

b3

5

b2

1 b 2 2

1945

5

5

5

7

3 4

4

4

95

5

5

b5

5

4

4

4

b6

2

5

b6

b5

b5

6

I47

1-6

95

b6

5 b 6

b6

94

b7

b5

6

b3

6

7

6

b7

b7

5

3

6

*7

6 b 7

b7

5

b7

6

7

7

b6

b6

7

b7

9 5 6

b6

5 b 6 6

5 b 6 6 b 7

b7

6

7

7

b7

b7

7

b7

7



NUMERIC N LYSIS OF CHORDS



NUMERIC N LYSIS OF CHORDS continued



POLYCHORD FORMUL S

NINTHS

ELEVENTHS

Documents

Adam Kadmon - The Keyboard Grimoire for Piano & Guitar