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W

e will address the many options o chord scales used in improvisation

along with the criteria or choosinga specic scale over a chord. In thisarticle, we’ll look at more conventional chordscale options listed according to chord types. Auture issue will address more advanced scaleoptions such as cross-reerenced scales, use o parent scales, and synthetic scales along with various application techniques. Te concept o chord scales is an important topic since many improvisational techniques such as the use o Upper Structure riads, Four-Note Groupings,Intervallic Playing, and Pentatonics are chord-scale based.

CHORD SCALE CHARTTe ollowing chart contains the various

chord scales that are available based upon spe-cic chord type.

Major 7Ionian: 1 2 3 4 5 6 7Ionian ( 2): 1 2 3 4 5 6 7Lydian: 1 2 3 4 5 6 7Lydian ( 2): 1 2 3 4 5 6 7

Major 7 5Lydian Augmented: 1 2 3 4 5 6 7Lydian Augmented ( 2): 1 2 3 4 5 6 7

Symmetrical Augmented: 1 2 3 5 5 7Symmetrical Augmented ( 4): 1 2 3 4 5 5 7Bebop: 1 2 3 4 5 5 6 7Ionian ( 2) Bebop: 1 2 3 4 5 5 6 7

Minor 6Melodic Minor: 1 2  3 4 5 6 7

Minor 7Dorian: 1 2 3 4 5 6 7Aeolian: 1 2 3 4 5 6 7Phrygian: 1 2 3 4 5 6 7

Minor Major 7

Melodic Minor: 1 2 3 4 5 6 7Harmonic Minor: 1 2 3 4 5 6 7

Minor 7 5Locrian: 1 2 3 4 5 6 7Locrian (Natural 2): 1 2 3 4 5 6 7Locrian (Natural 2 and 6): 1 2 3 4 5 6 7 1

Dominant 7Mixolydian: 1 2 3 4 5 6 7Mixolydian ( 2, 2): 1 2 2 3 4 5 6 7Mixolydian ( 6): 1 2 3 4 5 6 7Lydian 7: 1 2 3 4 5 6 7 

Chord Scale TheoryBy Ed Saindon

 Altered (with natural 4 and 5): 1 2 2 3 4 5 67

Altered (Diminished Whole one): 1 2 2 3 4( 5) 6 7Symmetrical Diminished (H/W): 1 2 2 3 45 6 7 Whole one 1 2 3 4 ( 5) 5 ( 6) 7

Dominant 7 sus 4Mixolydian: 1 2 3 4 5 6 7Mixolydian ( 2, 2): 1 2 2 3 4 5 6 7Mixolydian ( 6): 1 2 3 4 5 6 7Altered (with natural 4 and 5): 1 2 2 3 4 5 67

Diminished 7

Symmetrical Diminished (W/H): 1 2 3 4 56 6 7

Te scales listed above are some o the many options that can be used or improvisation. Teimproviser should have a solid grasp o thesescales in all keys. In addition, the improvisershould also know which tensions are associated with each given chord scale. For example, aLydian 7 scale on a Dom 7 will include ten-sions 9, 11, and 13.

BEBOP SCALESTe improviser can also add a chromatic

approach note to many o the above scales,thereby creating an eight-note scale. Te theory behind the added chromatic note is that itallows one to sound chord tones on the down-beats and passing notes on the upbeats whileplaying eighth-note based lines. Here are theoptions or adding the chromatic note:

For Maj 7 chords, add 5 (line will outline aMaj 6)

For Min 6 chords, add 5For Dom 7/Dom 7 sus chords, add natural 7For Min 7/Min 7 5 chords, add natural 7For example, C Lydian Bebop would be: 1 2

3 4 5 5 6 7

C Mixolydian Bebop would be: 1 2 3 4 5 6 77

CHOOSING CHORD SCALESIn choosing a specic chord scale or a type

o chord, it helps to narrow down the importantdiferences between each scale in the specicchord category. For example, with a Major 7chord, the diference between Ionian and Lyd-ian is a natural 4 versus a 4. With that in mind,here is a chart that takes into account thosescale diferences in each chord-type category.

Major 74 or 4? 2 or 2?

Minor 76 or 6? I 6, 2 or 2?

Dominant 72 or 2, 2? 4 or 4? 6 or 6?

Minor 7 52 or 2? 6 or 6?

Choosing chord scales can be very subjec-tive, and most oten it is up to the improviserin terms o what colors one wishes to sound when improvising. For example, on a Minor 7,

a Dorian scale will be brighter than a Phrygianscale. Many times, there is not a right or wrongchoice. Also, the improviser might choose di-erent scale options or certain chords on eachsuccessive chorus. Even urther, the improvisermight use several scale options or the samechord duration.

However, there are several actors and spe-cic criteria to address when choosing chordscales. One method is choosing chord scalesaccording to chord unction. Tis method works well or compositions with more conventionalharmony such as standards rom the GreatAmerican Songbook, Jobim’s Brazilian compo-

sitions, pop tunes, etc. In general, or composi-tions with conventional harmony, the generalintent is to keep the chord scales diatonic to theoverall tonality o the composition. Here aresome examples in a major key tonality.

Diatonic Chord FunctionI Major 7 IonianII Minor 7 DorianIII Minor 7 PhrygianIV Major 7 LydianV7 MixolydianVI Minor 7 AeolianVII –7 5 Locrian

Non-Diatonic Chord FunctionV7 o V7 Lydian 7Substitute Dominant 7 Lydian 7II Major 7, III Major 7, VI Major 7, VII

Major 7 LydianVI7, VII 7 Lydian 7

IV – 6 Melodic MinorIV –7 5 Locrian

NON-CONVENTIONAL HARMONYFor contemporary compositions that eature

more non-conventional harmony, the ollow-

7/28/2019 Chord Scale Theory Article

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ing inormation will be helpul in determiningchord scales.

Basically, when we are choosing chord scales, we already know most o the notes in the scale.Since we know the scale will contain 1, 3, 5,and 7 o the chord, we need to determine whichadditional notes would be good choices orpassing notes. When choosing the chord scaleor each given chord, there are basically threethings to look at:

1. Te Melody: For example, i the melody included a 4 on a Major 7, the scale would bea Lydian. I the melody included a 6 and anatural 2 on a Minor 7, the best choice wouldbe an Aeolian scale. Please note: i a note in themelody is a chromatic approach to a chord toneand is not held or very long, that note shouldnot be used as criteria in choosing the chordscale. Many times, the melody may not giveany clues in determining the best chord scalechoice.

2. Te Previous Chord Scale: Tis is the mostimportant actor in choosing the best chordscale. In essence, we are trying to retain any 

notes rom one chord scale to the next succes-sive chord scale. For example, i we are goingrom a C–7 with an Aeolian scale to an A 7chord, the most likely choice would be an ALydian 7 scale. Te reasoning would be as ol-lows: the C Aeolian scale contains a B , D, andF, which are respectively the notes 2, 4 and 6 inthe A Lydian 7 chord scale.

3. Te Following Chord: Tis is especially important in choosing scales or a Dom 7chord. A dominant chord generally sets up thesound o the next chord. For this reason, welook at the ollowing chord in the case o a V7cadence. For example, a Dom 7 resolving to a

Minor 7 generally takes some type o an alteredscale. Te corresponding altered tensions, 9, 9,and 13, set up the minor sound o the ollow-ing Minor 6/Minor 7 chord.

 Tis discussion on choosing chord scales isonly a general guideline. As mentioned, therecan be many efective choices in the selectiono chords scales or a given chord. For exampleon a Maj 7 chord, a Lydian 2 scale wouldbe a good choice i you wanted to sound anunconventional tension in the line such as the9. Similarly, a Locrian Natural 2 and 6 scale

 would be a good choice i you wanted to soundthe Natural 13 on a Minor 7 5 chord. You are

encouraged to try out all o the many scale op-tions and experiment with how they sound ona given chord in the context o a progression orcomposition.

Ed Saindon has been on the aculty o BerkleeCollege o Music since 1976. He has developedthe Fulcrum Grip, a our-mallet grip or vibra-phone and marimba that utilizes the ngers andulcrum points. For more articles, Ed’s Youube videos and audio downloads as well as an inter-active eature called Shopalk (which addressesthe Fulcrum Grip), visit Ed’s website at www.

edsaindon.com. I you have questions regardingthis article, eel ree to e-mail Ed at esaindon@berklee.edu. PN