The Scale Book

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THE

SC

L

by

Leigh

owers

Publi

shed

throughout the world by

PROFESSIONAL MUSIC PRODUCTS INC.

14731 E FRANKLIN AVENUE

TUSTIN CALIFORNIA 92680

© Copyright 1979 Music Research Inc .

ALL RIGHTS RESERVED.

Th s

book

or any

part thereof may not be r

eproduced

in any

mann

er

or

stored by any electronic storage retri

eva

l system of any kind without

writfen permission of the publisher. International Copyright

Secured.

Printed in the United States of

Amer

ica.



ACKNOWLEDGEMENTS

Graphic Design-Music Research Inc. Agoura Ca.

Writing Typing and Transcr ing- Secretarial

Services

Thousand Oaks

Ca.

Copying- Copymat Thousand

Oaks Ca.

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Printing

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Oaks Ca.

Cover Design Leon White

Cover Photo Processing- Marc

Schreibman GP

Color

Labs.

Graphic Coordination and Design-Brent

Block and

R Muck

le f

or

Music Research Inc. Agoura

Ca.

Typeset The

Composing Room Costa Mesa

Ca.

Music Notation Stan Sheldon

Leigh Powers

appears

through the courtesy of Breeman Enterprise

LTD. Toronto

Canada



T BLE OF CONTENTS

INTRODUCTION . . . . .

. . . . . . . 3

Special Features of this Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

The Seven Fingerings For Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

_The Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

The

Ma

jor Pentatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The Mixolydian Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

The Minor Pentatonic Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

The

Blues Scale . . .

. . .

. . .

. . . . . . . .

.

10

The

Dorian Scale .

.

. . .

.

.

. .

11

A Review . .

.

.

12

The Lydian Scale .

. . .

. . . .

. . .

. 13

The Natural Minor Scale . .

.

. . . .

. 14

The Harmonic Minor Scale . . . . . . . 15

The Melodic Minor Jazz Minor . . . . . . . . . . .16

The H.M. 5 Scale .

.

.

.

. . . .

17

The Overtone Dominant Scale . . .

. . . 18

The Altered Dominant Scale . .

. .

. . .

. .

. 19

The

Whole Tone Scale .

.

. .

. .

.

.

. . . .

.

. . .

20

The Half-Whole Scale . . . . . . . .

. 21

The Whole-Half Scale . . . .

22

The

JM 5 Scale .

.

.

.

. . .

. .

. .

23

The

HM

4 Scale . . . .

.

. . . . . 24

The JM 2 Scale . .

_ . .

. . . 25

The PlainMi7b Scale .

. . . . . .

. . .

.

26

The H.M. 2 Scale . . . . . . . . . . . . . 27

The JM 6 Scale . . . . . . . . . . . . .28

The

Lochrian Scale .

.

.

. .

. .

.

.

.

.

29

A Review . . . . . . . . . . . . . . . .

30



THE SC LE

OOK

INTRODU TION

Scales are the building blocks of

melody

and harmony; the

competent

musician requires fluency in a

variet

y of

scales, as well as the

understanding

of the relationship of scale construction to

ha

rmony. Musicians and music

students,regardless of specialization

of

study or instrument, may take a number of useful approaches to the study

of

scales and scale applications. But there

are

so

many

popular styles of music today, and so

many

levels of student

understanding

and

teacher attitudes, that there has arisen the

demand

for a source

of

useful scale info

rma

t ion

without

a stylistic or methodology bias. A simple, inexpensive reference on the subject, directed to all musicians, is needed.

The Scale

Book

is this reference

work.

In it, we

have

gathered into a single

loca

tion the most im

portant

and useful

scales and their fingerings (for the guitarist). These scales appear

here

in standard music

notat

ion , for all instruments

and

also in

standard box diagram

illustration,

for

the guitar.

We hope

you

find this volume useful throughout

your

years of musical in terest; we would

also

enjoy hearing any

comments

you

might make

concerning

this

book,

the material in it and its presentation.

Thank you

for your con

tinued

interest in Professional

Music Products.

The Author

SPECI L FE TURES OF THE SC LE BOOK

Each scale will be

shown

in twelve keys in standard musical

notation.

In the

guita

r illustrations each scale will be

shown in one key only,

but

in seven "static" fingerings

involving no

position shifts for the left

ha

nd . Each of these

fingerings is completely closed (uses

no open

string), so

that

a

transposition

to any other

key can

easily be effected

by

"slide of hand.

In

addition, for

each scale there will be

provided

a special

guitar

illustration of the

note

location

without

a recom

mended

fingering. Because guitarists seem to be

an

opinionated and

argumen

ta tive

lo

t of growling "

louts

" we

decided

to give each, for the price of this book, the opportunity to express his own ideas about the finger ings of scales and to

"correct" us if he chooses.

HOW TO PR CTICE SC LES

ON

THE GUIT R

1. Have a positive attitude.

2.

Get

plenty of rest and eat a hearty

breakfast.

3.

Work

out with weights

and

run two miles daily.

4. Agree with

everyone

you meet that the only way to learn scales is to practice fingerings eleven hours a day

for

2.716 years-all the while frowning, complaining, and looking for a short cut

by

which yo u can master the study

during a television

commercia

l.

5. Ignore the preceding

steps

because they are not

your

cup

of cocoa

and because you prefer

an

intellectual approach.

Study

the

guitar for yea

rs

with every

local

guru-guitarist you can

find. Learn ever

yone's

tricks a

nd

then

go get

a

ma ster's degree in

harmony

at music school. Become

an

authoritative speaker, perhaps a charming

and

witty after

dinner guest speaker

at

the homes

of

local friends of musicians. Finally, sit

down and

learn

your

scales. Should this

intellectual approach become too dry and mechanical for

yo u

, use magic.

6. Look at your

hands.

Discover that you have five fingers , the

gu

itar ha s six strings and there are seven

notes in

the

major scale .

Draw

a

picture

of

your

guitar

and

paint different frets

and

strings different colors. Paint a numb er on

each finger, and using your subjective concept of pretty hand shapes,

develop

and practice interesting visual

pat

terns.

e

careful not

to

listen while you play,

but

devise a cute name for

your system

(like Th e rtful Scales,

Shlonic Scales,

or

Triadic Equivalents

and

go into

business for yourself. Then sit down and play yo

ur

scales.

QUESTION:

Why

did we write the preceding paragraphs?

ANSWER: To alert you

to

the damaging mental at titudes

you

could

adop

t concerning scale st

ud

y.

To

learn scales is

not hard, it i

sn't boring

, it i

sn'

t a major part of your life. Don't

make

it these things Don't be

impatient

, don't assume

that

you won't appreciate it or that you

won't

understand it because it 's

new.

Do n't r ush,

and

don' t overdo scale

study

-

but

do give it a fair,

honest

effort.

You can do these things:

1. Spend fifteen

good

minutes

every

day

on sca

les.

2. Practice

new

scales carefully, slowly

ou can make any number of

mis

takes

playing fast, so practice slowly. Give

attention to clean

intonation

and smooth rhythm.

3. Learn all the fingerings of each

sca

le . Sooner

or

later, if

you

really want to be a

good

player, you will. Don't learn

just the

rock

scales, and do n 't

learn

just

two

or three fingerings for

each

scale. You'll need the rest for guitar

fluency.

Have

a plan (no, thanks, I just

had

one). You might le

arn

three fingerings f

or

each scale before coming

back to

the rest. You might

concentrate

on ro

ck

but

give ample a

tt

enti

on

to the other scales as well. Having a p

lan

and

following it will eliminate

your

frustrations

by

allowing you

to

compare

your

accomplishments with

your

goals.

Many students who can't

accurate

ly

gauge

their progress are often dissatisfied and feel they

are

"

not good

enough ,"

when in fact , they have improved measurably.

Others

are sure they have gotten it all together" when they

haven't.

A plan will allow you to see whether or

not

you are attaining your goal.

3



4.

Be

musical , even

at

practice ( zzzzzzz ). Don 't sleep

thr

ough

your pr

actices.

Be

creative, sing your scales as

you

pl

ay

them

many

guita rists vocalize s

olo

s

as

they play them

. Harm

onize your scales. Play them with different

picking sequences and in different rhythms. Move them up or down a fret every time yo u repeat them; play them

on the fifteen th fret. Play them

on

ly descending;

u

se

them to play melodic patterns and sequences.

5. Use these scales in musical situations.

WHY STUDY SCALES?

1 For techni

ca

l skill

Through

scale study

you

will increase

you

r strength in both hands, and

you

will improve

your

muscular co ntrol and coordination of both hands together.

2. For instrumental

facility

Scale studies should take you all over your instrument, assuring that

yo

u master dif

ficult registers, locations and movements.

3. For peace of

mind

- You will play with confidence,

you

will

play

more musically. Your improved abilities to

hear

and

play will reflect in better

impr

ov ising

and

reading. Scale knowledge w

ill

be a strong tool for

yo

u in composing,

arran

ging, conducting, copying, etc. You will al

so

date

more

frequently and in general

be

more

popular

with all

your

friends.

THE ORIGIN OF OUR SCALE NAMES

If yo

u've looked

down

the

Ta

ble

of Co

ntents, you're probably wondering what some

of

these scale

names

mean.

Some of the names are the official names, others are popular nicknames tha t describe the scale, while t

he

rest are

names popularized by Leon White in his book,

Modern Im provisi

ng A

Guide to

azz

Scale

So/oing.In each lesson,

I'll describe the origin of the scale name

br i

efly.

THE SEVEN FINGERINGS FOR GUITAR

Th

e fingerings we

pr

efer

are shown

complete

at

the beginning

of

each lesson; we show seven fingerings for each

scale. T

he

se fingerings cover the entire fingerboa

rd for

any key and

without

any gaps. The guitarist needs maximum

utility and flexibility in his fingering options for a musical reason: Rather than play only what musical things are easily

performed, he must be

ab

le to make

what sounds good

comfortable to play.

These Things Are True For Our Fingering System:

1. The entire fingerboard is covered in a series of positions, each

one

nev

er

further

than two

frets removed from its

neig

hb

ors.

2. For every scale the lowest root will lie in seven different positions on the bass strings of the guitar. Th ree positions

find this

root on the E string, three on the A string,

and

one on the D string.

The

particular

ty

pe of scale determines

which left

hand

fingers are employed, but in all scales the fingers that pl

ay

the root in the three E string positions

are the same fingers that play the root in the t

hr

ee A string positions,

and

the first finger always plays the lowest

scale when it is fo

und

on the D string.

3. Each of the seven fingerings

for

any scale has a different note as its lowest reachable no te and a different

note as

its

highest reachable note.

OUR SYSTEM OF

NOTATION

FOR GUITAR

Below are diagrams indicating how the fingerings will be no

tated

for guitar.

Fret

65432

Emm DG

E

·_

1 F

__.--

,,.,.._.

3G

. . .

.. .

_.

Each

fi

n

ger has

On each

diag

ram a circle will be placed where you should

be

en assigned a number The number

of that finger will

appea

r inside the

circle showing where to place it.

place

your fingers to play .

Using the C

Major

Scale, we have illustrated below how the seven fingerings for one scal

interlock with each other. Each

box

shows a different fingering for the C

Major

Scale

We

'll repeat the above illustration for you in the key

of G Major to move the

fi

ngerings down the neck.

It' ll give you a new perspective.

and each fingering

ha

s different notes t

hat

can

be

reached at the limits of

t.he fingering.

c

4



E A 12;E A ;F, F:

~ ~ ~

This one system is consistent for every kind of scale we have tried. Any kind of scale-major , minor, altered,

modal,

whatever

- can be played from any one location, and there

are

seven positions in which to play any scale.

Furthermore, every pentatonic scale we

have found

in jazz,

rock

and country music can be found within a larger,

seven-note scale, and so can its fingering.

(Ou

r system does

not

omit the pentat

on

ics, our Western European

musical heritage is based on a system of seven

-note

scales. All

common

five note scales are subject to this system .

5.

There are

no left hand position shifts for

any

of the seven fingerings, but some

st

retches. These scale fingerings

are

thu

s useful for

note

reading as well as for improvising.

6. Each fingering correspo

nds

to a familiar chord shape. Shown below are the seven ma jor scale fingerings we ve

mentioned earlier, and a chord form that coincides with the physical shape of each scale.

D G B E

7. Each scale fingering contains

an

arpeggio for each

chord

in

th

e key

of

the scale. (For example, each of the seven

fingerings

of

a C major scale contains seven arpeggios

one

for each of the seven chords built from the scale tones.)

Shown below is one of the C Major Scale fingerings and se

ven

different arpeggios located inside that fingering.

The

arpeggios

are

the

most

impor

tant and

fundamental on

es

- the seventh chords

that

can be built from each Scale

Degree.

E A D G B E E A D G B E E A D G B E E A D G B E

F F F F

C

major

scale

r - : - ± ~ ~ - r - ' (

Fma7

arp.

Cma7

arp.

G7

arp

¥ ~ ' t ' ' f

Ami7

ar p.

Although we've used only one C Major Scale fingering in th is example, we could repeat the process for each of the

seven different C Major Scale fingerings. Inside each of the seven C Major Scale finge rings we would find the seven ar

'peggios we've

found

here.

We

'll repea t this process from a different C Major Scale

fi

ngering j

ust

to

show

you this

more

clearly(and to tease you a

bit

).

D C

Fma7

arp

Arpeggios

are

a major

tool

in improv ising, an

important

technical drill,

and

excellent

ear

training,

bu

t a th orough

s

tudy of

them r

eq

uires more space than we have here

(but can

be found in o ther PMP books). However, I

want you

to

know

now, while you re studying scales,

that you

are also studying arpeggios indirec tl

y.

You'll have no wasted effort

mentally or technically. EXTRAS FOUND IN THIS BOOK

Along

the way

yo u

'

ll

.find extra information about scales

and

how they relate to music. Following is a br ief list of

these extras

and

what they

mean

.

Chords-When

chords are shown

with

a sca le , we

v

e

done

so because that scale is so popul

ar

that the chords

are

used together in progressions, to create tonality. The major scale is a good example of We frequently use the

chords

bu

ilt from not

es

of the major scale to

make

song progressions. The chords are shown so you

can

learn to

recognize them

together that

is,

you can

see

that

they come from the same scale.

Fingerings- Fingerings

marked

with an asterisk(*) are the ones I recommend yo u learn first. They're the easiest.



THE

M JOR SC LE

Sca le formula from Root C: C D E F G A B C

Triads in Scale} C Dmi

Emi

F

G Am i

Bdm

Seventh chords in Scale}C MA7 Dmi7

Em i7

F MA7

G

Ami7

Bmin7b5

Sixth chords in ScaleJ C6 Dmi6 F6 G6

THE M JOR SC LE IN MUSIC NOT TION

~ n JJ n I ; 33 J

A

J I I ~ JJ

:n

L

rJ

In a J I

~ • iJ n U rE I

Er

U n J

I I ~ ~

J3

JJ u

G I £J

JJ

f :JJ I

@

JJ

J

2

n

n

1

a

J

J

n

J

1 1 ' ~

u

u

u

r

1

r

r

r

r

Ef

J

1

The guitar fingerings:

=

Lowest Root

Try playing

t

he

C ma jor scale over these

progres

sions:

I = 1 beat or strum

1 Dmi7 G7 Cma7 Cma7 2

m

i G F F

Ill

I ll/

Ill/

Ill/ Ill/

Ill/ Ill/ Ill

3 Emi7 Ami7 Dm i7 G7

Ill I

ll

Ill/ Ill/

6

G

I



THE MAJOR PENTA TONIC SCALE

Scale

formula

from

Root C:

c

R

D

2

9)

E

3

G

5

A

6

13)

This scale is called the

Major Pentatonic

because

1)

The

interva

l from C to E is a m jor

third

, and

helps

to spell th

chord C major, found in this scale (CEG ; 2) Pe nta tonic comes from Greek / Latin penta

meaning

five There are five

notes in

this scale.

When two numerals

are shown under a letter in the scale spe lling (See the D note above) the

numerals

are there to

indicate

th

at

the note has

two

function

s

or

titles in the scale and its chords.

c

1

D

2

E

3

F

4

G

5

A

6

B

7

c

8

D

9

E

10

F

11

G

12

A

13

As you can see, the D note is both the 2nd

note,

nd the 9th

note

of

the C Major Scale. The A

note

is both the sixth nd

the thirteenth. You

should

keep this piece of info

stored away

for later use.

Please note: 1)

that

this scale is like the C m jor sca le except that it's missing the

4t

h

-F

and the

7th-B

.

spells a

chord

w hen all of the

notes

are soun

ded

together.

The chord

is

called

C 6/ 9. C E G

1 3 5

THE MAJOR PENTATONIC SCALE IN MUSIC NOT TION

2) This scal

A D

6 9

i

-

i

~

@ j

J j J

F I FJ

J r

c r r

f F

I E

F j

j

·

J J

1

F F

I

c

r r

J

J

I I ~

f

r

~ J

J

]

I

J

f

J

d

I f J J

I I ~

r

r

1

F

f

I

E

F

~

j

J

I I ~ £

J

]

F

r

J

)

j

t

f

I F r ~ j

;;j

1

#

J

1

J

r

I

f

J

1

J

0

=

Lowest Root

7



THE MIXOL

YO

I N SC LE

Scale formula from Root C: C D

2

E

3

F

4

G

5

A

6

Bb

b7

c

In the C Mixolydian Scale we re ca lling the Bb note a b7 Why? Because

we

re comparing this C mixolydian scale to t

C

major

scale.

In

the

major

scale the seventh

note

is B. Here it

s

lowered (flatted) to

Bb

Hence the description

b7

We will

do

this

throughout

the

book

.

The major

scale

and

its notes

are

the ruler

by

which all

other

scales

and

th

no tes are measured nd described .

THE MIXOLYDI N SC LE IN MUSIC NOT TION

§ ~

J: n

JJ•r:

•R

J3

,;g

II

•

· a

E

~

lbU

E

J

The

guitar fingerings: 0

=

Lowest Root \

~ ~ ~ ~ ~ ~ ~

~ ~ m m ~ ~ ~ ~

l l l l l l i i i i i l

Try playing the C mixolydian sca,le in the following progressions:

1) C C F BD

2)

C7 G7 C7 C7

11

Il l /Ill Il l/ /Ill /Ill Ill/

11

Here, play the scales as shown, and play the chords slowly .

A7

07

G7 C7

Ill/ /Ill Ill/ /Ill

A mix . D mix. G mix. C mix.

8



THE

MINOR

PENT

TONIC

SC LE

Scale

formula

from Root C:

C

b

F

1

b 4

G

5

b

b7

c

Here

you can

see

that

we re

ca

lling Eb a

b

because in the

C Majo

r scale the third no

te

is

E

This

scale is called the

Minor Pentaton

ic because C

b

G

b

spells a C mi

7 chord

,

and

the scale contains 5 differen

notes.

THE MINOR PENT TONIC SC LE IN MUSIC NOT TION

r

4

The

guitar fingerings:

0 =

Lowest Root

Try

the

A minor pentatonic scale over these progressions:

1 Ami7 09 Ami7 D9 2 Ami7 Dmi7 Ami7 Ami7

I l l I l l I l l I l l I l l I l l I l l I l l

Does the A minor pentatonic resemble

the

C major pentatonic in any way??

9

3)A7 9

F

I l l

II

G

II



THE BLUES SC LE

Scale formula from

Root

C C

F

4

F

#4

bs

G

5

Bb

b

As you can see, the Blues Scale is really just the minor pentatonic scale with another note added, the H4 This one note

adds an interesting and powerful sound however, a

nd

is

of major

importance in rock, blues, and jazz improvising.

The

guitar fingerings require a little jockeying around and all seven are not

r

equired f

or

th

at

reason.

THE BLUES SC LE IN MUSIC NOT TION

m m ~ ~

irll

~ ~ ~ t m T

. • I

•

•

Play the A blues scale with the progression examples shown for the dorian and minor pentatonic scales.

10

4



THE

DORI N

SC LE

Scale form ula from Root C: C

1

D

2

Eb

b

F

4

G

5

A

6

Bb

b7

c

Th is scale is really the

ma

jor scale started from the second

degree

That's a cute

fa

ct

that

might help you

fing

scale, but will confuse you

if

you try improvising

and

transposi

ng

at the same time. C dorian = Bb

THE DORI N SC LE IN MUSIC NOT TION

The guitar fingerings: 0 = Lowest

Root

Try

th

e A dorian scale

ove

r t

hese progressions

:

1 A7 9 E G

2

Ami7 09

Ill Ill Ill

11



IMPROVISING WITH SCALES WE'VE SEEN SO FAR

So far

all of the

sca

l

es we've seen belong to

get

her in

a single

group.

The

special

qualification

these scales

have

is

this. EACH OF THESE SCALES MAY BE PLAYED

OVER

AN ENTIRE

PROGRESSION. YOU

DO NOT

HAVE

TO

CHANGE SCALES WHEN

YOU

CHANGE CHORDS. The examples

below

will illustrate this

more

clearly. Before

we

see

those

examples, however, I'd like

to

discuss briefly the scale similarities

and

how

they

effect

impr

ovising.

The

major

scale and the major Pentatonic scale can be used interchangeably because the

major

Pentatonic is actual

ly

inside the

major

scale. (See Examples 1-2. )

The

major

Pentatonic can also be used instead of the Mixolydian (examples 5-6). The

major

scale and Mixol

ydian

scale

hav

e

on

ly

one difference the 7th

( inC

Major

the 7 is B; inC Mixolydian,

th

e 7 is Bb .

This

is a

bi

g difference

in

sound (Compare the scales and

play

all the examples.)

We have a similar situation in the

minor sca

le area.

The minor

Pentatonic scale is inside the Dorian scale and

the

Blues scale.

f

yo u

'll

look at

the examples you'll

see

how

the

scales

can

be

used.

EMPHASIZING THE DIFFERENCE

IN

SCALES is the key to learning the special sounds each scale contains. To

hear

t

he major

scale

spend

450 weeks

playing

solos

that always start

on the

07 note

(the B

not

e

in

the C

major

scale).

To

hear the mixolydian

scale, start

10

,751 solos

wit

h the b7

note (a

Bb

note

in a C

Mixolydian

scale).

TIP (About

15 %, if service is

good): Try building

licks and solos in

both

these scales

starting

7

to

3, 3

to

7, b7 to 3 or 3

to

b7.

In

the

minor

scale area .

Once

you've bored

yo u

r head full

of

the

minor Pentatonic

scale, move

to

the

Dorian

and

start

all your

solos

and li

cks on

the 9

(D

is the

9th

note

inC Dorian)

or the 6

(A

is the

6th

note

inC Dorian)

you'll

get

a

very smooth,

jazzy

sound. Then

take the blues scale and start solos

with

the no tes #4 - 5. That's the sound there.

You

can comb

ine

major

and

minor scale sounds

by

playing the b3 no t

e

(from minor

)

and then

the

C note.

Shown below are sample progressions

and the

scales

that

you might use over each

of

the progressions . As you can see, some

progressions have several

sca

les that may be used. It's

up to

you

to

experiment and listen

to

each.

#1) Dm7

G7 Cma7

Cma7

#2) C Am F

G7

I· r r

] I

7

0

7

I

n

I

u

·11

Z J F

rz rr

v

rr

ZI 1

•

ill jtJJJ j l l /1 l l l l l II

1. C Major

scale

1. C Major scale

2. C Major Pentatonic 2. C Major

Pentatonic

3) D

D

c G

#4) Am7

D9 Am7

D9

til

/h /

I tt } l

tm

I

Ill/

II

Ill·

17

I

nrz

I

7 7

1

1 V l I J

V I J

I

T/7•11

IJT·

D Mixolydian

_,..

---... ___...,.. - . . .

__,...

__,..

1. A Minor

Pentatonic

-

2. D Major Pentatonic

2.

A Blues scale

3. A Dorian

c c

c

F

F

c c

G

F

c c

· r rv

nrz

7 I J

on

7 J

/ 177

7/LI

I hTO I }] jtl/1 1/U/ I l f l} I qo I

nTJ ruJO

V T I T

DJJO

.I

11

·1

IIJfl

. C Major

scale

[kind

of

plain sounding]

2. C Major

Pentatonic

[a bit

of country

rock]

3. C Mixolydian [country-rock/blues feeiL..

4. C Minor Pentatonic

(

bluesey"]

5. C Blues scale

[ b

luesier"] _ _ _

#6) D7 +9 D7 + 9

F

G

fll

I

{

o 1

7777·

1

ii TILl

•

6. C Dorian (jazz-blu

es

feel] _ _ :._..

.I 11fl

1. D Minor Pentatonic _

2.

D Blues

sca

le - -

12

3 D Dorian -

___



THE LYO IAN

SC LE

The

Lydian Scale is an

unusual

scale in that its only Scale formula fr

om

R

oot

C:

alteration

is a #4 b5). It has 07 The only chords whose C D E F

spellings coincide

with

this

scale

are: Major

7

b5 1 2 3 #4 bS

(Major 7#11) Major

9b5

(majo r 9#11) Major

13 11 9

11

THE LYDIAN SCALE IN MUSIC NOTATION

G

5

A

6

13

B

7

~

1 JJiJ

l

J1

I

fJ J,J R

1

11 J

HP rL

U

I

cr r f R J

, ••••

c r

tl

u r J 1

c

nr u J 1 1 b ~

-.rJ

;rp n 1n J,a n J

No ;:J JiJ

t E FE I

iJ

J1J n

J I ~ ~ ~ ~ ~

i

JiJ U U

I

E

E

tJ

n

J

The guitar fingerings: 0 = Lowest

Root

m m ~ ~ m m ..

~ m m ; m m ~ ~ m m

&$1 1 11111'

. I • • • • • I • I I • • I I I I I I I • • • I I I • • I

G

C1

Ebr Dmi7 G7

/Ill Ill

/Ill

/Ill

/Ill

...

C Major Sca le Eb Lydian C Major

G

~

G

3mm

Abr

·§m

ll/

Ill

Il l/

CMa

jor

AD

Lyd i

an

Am7

Ill

Ami7 arp .

C9 11

/Ill

CLydian

G1

Ill/

G Major

r

Ill/

G7

I I I I t ttf tj

C major scale

13

Th

e more you play the Lydian Scale the

m

na tur al the scale becomes to your

ea

r . For m

play

e rs the Lydian is a preferred choice to

Major Scale .

They

might use the Lydian

anyw

a

Major

Scale could be used.



THE NATURAL MINOR SCALE

Scale

formula

from Root

C}

C

D

Eb F

G

Ab

Bb

c

Triads found in the Scale} Cmi

Ddim b

Fmi Gmi

Ab

Bb

Seventh chords

found

in the Scale} Cmi7

Dmin7b

Ebma Fmi7

Gmi7

Abma7

Bbmra7

This

scale is really the

major

scale

started from

the sixth degree.

That

is A

na tural

mi

no

r equals C

ma

jor.

The

questi

is does

that

knowledge

do you any

good?

What about

key signatures? Does A

na

tural m

ino

r

have

the same k

si

gnature

as C major? If it

does how

could

you

tell which

scale/tonality you

are playing in?

TH NATURAL MINOR SCALE IN MUSIC

NOT TION

~ y ~ . a

J JJ

JJ

IJJ J

f ) J

I I ~ JJ t r IEE U

[

J

fJ n U

r

CI U fJ J •

f3

J J

u

r r IFJ J

J

[ J J

llr

; J cr

fJ

I

r U

l i l a

..•.....••..•....

l

I I

I l

I I I I I

l

. -- · -

l l i l i i i i Eii

Try this scale over these progressions:

1

Ami7

Ami7 Dmi7 Dmi7 F G Ami7

Ami7 2 Am

i7 G

Fma7 Fm

/Ill' Ill/

/Ill

/Ill Ill/ /Ill Ill/ Ill

/Ill

Ill Ill Il

4



THE H RMONIC MINOR SC LE

Sca le formula

from

Root

C c

D

b F

G

Ab B

c

1 2 b3 4 5 b6

7

Triads found in}

the Scale

Cmi Ddim

Eb

Fmi

G

A b

Bdim

Seventh chords }

fou

nd

in the Scale

Cmi ma7

Dmin7b5

Ebma7 5

Fmi7

G7

Abma7

Bdim7

THE

H RMON

I

MINOR SC LE IN MUSIC Ot TION

~

JM il

M

I

Jkq J

1

J

U rb: f£

IE

r

r: •R J

The best progression to help you get u

sed

to t

hi

s scales "new"

sound is

shown below

in two

keys .

1) Dmi7b5 G7(b9) Cmi Cmi 2) Bmi7b5 E7 (b9) Am i Ami

Ill/ Ill/

Ill/

Ill/ Ill/

Ill

Ill Ill

CHarm. Minor

A Harm . inor

15



THE MELODIC

MINOR

JAZZ MINOR)

Scale fo

rmula

from Root C:

c

D b F G A B

1

2

b3

4

5

6 7

Triads

in the

Scale}cmi Dm

i

Eb+

F G A dim Bdim

Seve

nth chords

in the

S c a l e ~ m i

m a 7

Dm

i7

Ebma7 5

F7

G Am

i7b5 Bmi7b5

THE MELODIC MINOR

J

ZZ MINOR) IN MUSIC NOT TION

~ 1 n JJ JJ I fJ

JJ.n

J J Jo:JJ SE f I U u•R

J

~ •

iJo:J U

FJ

I E

F

U ,£3

J ;t

J

J

J

Ju

g I iJ

J JqfJ J

· · :fJoJ J

JJ

/ Z I T J<Jon_ f]G U t I ECF

t

J

.

.

. - ; '

This pr ogression should help you get the

so

und of th is scale . P lay C melod ic mi

no

r over the changes.

Dmi7 G

it

5 Cmi (

6)

Cmi 6)

Ill Ill Ill Il

l

16



THE

H M

5 SCALE

Scale fo rmula from Root

C:

C

1

Db

b2

b

E

3

F

4

11

G

5

Ab Bb

b6 b7

#5

c

HM5 refers

to

the fact

th

at this scale was crea ted by playing the Harmonic Minor Scale (HM) from the fif

th

degre

instead of the first, thus rea rranging the sequ en

ce

of intervals. The HM5 is in effec t a mode of the Harmo nic M in

o

Scale.

THE H M 5 SC LE IN MUSIC NOTATION

~ ;,n

J

JoMJ l·i l

3J

JJ

J

Mn c'

1

1

1

C r U IIJ J

$

'&• tttr

n clr r r 1

L E FI

@ J bE

ot?n JlJsH

I

n J

-v

J

$

'&••g;; u a

at

a 1&&J n

iJJ 11

~ ~ , ~ ~ J n

ar

u

1

cru

JiJ

J

Th;s scal e is

the

first scale we re showing you that should be appli

ed

to one

chord e .

you re going to h

ave

to

change

as the c hords cha nge .

1) Gmi7 C b9 F

ma

7 Fma7

/ I l l I l l / I l l

I l l /

F Maj C

H M 5

F

Maj

2) Ami7

I l l

GMaj

D7

b9

I l l

DH M 5

Gm

i7

I

FMaj

b9

I l l /

CH M 5

Fma7

I l l

FMaj

Fma7

I l l /



THE OVERTONE

DOMIN N

T SC LE

Scale formula from Root C: C

1

0

2

9

E

3

F G

4 5

11

A

6

13

b

b

c

The

overtone

dominant

scale is derived from playing

the

melodic minor scale from

the

4th

degree

.

We might want

to call it

Melodic

minor

#4 , but

it

has

an even

stronger

identifying

element than

that.

The notes

in this scale

approximate

the

natural overtone series.

THE OVERTONE DOMIN NT SC LE IN MUSIC NOT TION

~

J

~

J

MJ

l•fJJ@

J

1

J

~

U

1

U

1

1

U

E r

JJ

J

n •@

tr

b

I r

Q

iJ

J II

J

JJ J

u

1

U IqiJ JJ iJ J

~ · b

_ ;IJ

1

J

J ~ J J

l•iJ

)

J

I I ~

@ Uqi J

i

9

EF r ~

U J

This scale

can be

used with

dominant

family chords, especially

9#11 and 13 11,

where

it sounds

rich

and full

. Play

example below as illustrated.

Gmi7

C9 11

Fma7 Fma7

Ill

Ill Ill Ill

F

Maj

COver. F Maj.

Dom.

18



THE ALTERED DOMIN NT SCALE

Scale

fo

rmula fr

om

Root C: C

Db Eb

Fb Gb b b c

1

b2 b3

b

#11 b6

b7

b #9

3 b5

#5

The Altered Dominant Scale gets its name from the fac t that it contains a ll of the alterations a domina

nt

7th chord

can

ha

ve

- b9,

9 b5 #5.

THE ALTERED DOMINANT SCALE IN MUSIC NOTATION

i

JoM

p

n

1 • f i M

3

J

UJ

J

I J

oJ

iJ

'E

'r

1

f J

I

1

E E

~ U

of

J

$ ;a

oJ

qJ

•er

1

r

r1 r•s- •4J

J

;,a

qJ

•ttr•

r

I

&l&J J

4 J

J

: p

J

g .# 3r r s ~ e ~

b

t ;w: J

RJ

ziJ

1 4J

J 1b;p

J

11 #c r r

c:·

- 1

c

cFJ get

O

. • ~ . JoM .a•er F l l

t:r•o

dS j I I ~ ~ · J J

IJ

iJ

·

dr lrJ I E PCJliD

H

• gr•

nt

ctr

b

l

'r'c'T: •@f J l e b ~ : M J J d i M J

1

iiJqJ

JqJP:J

' · · · · ·

j

&J

q

J•tt

t

•a

I

lil.J

J

&

;J

J

l ~ ~ i · # # J N

J

s@r

sr

F

I

P

HJ

I@

J

s

ca

le can be play

ed,

with c

ar

e ,

over

7b5 , 7 5 9b5, 9 5 7b9 7 tt9

7b9b5

7b9 tt5 and 7 tt 9 tt5 chords. You

ca

n

y

it

over a plain dominant 7 chord and add a lot of spic

e

Gm i7

C7b9

n5(etc.) Fmaj7 Fmaj7

Ill

Ill Ill Ill

F Maj C Alt Dam F Maj

9



THE WHOLE TON SCALE


1

D

2

9

E

3

F# G#

A )

C

#4 #5 #6

#11 b

OK, the origin of the name of this scale isn't so difficult, I'll admit. The distance between each note and its neig

hb

or

notes is a . whole tone . How many different w hole tone scales are there rea lly? Three, four? Does the scale rep

eat

every few fret s?

THE WHOLE TON SCALE IN MUSIC NOT

TI

ON

t

J

~ P r p

r

i• M

J • •

J

J

:Jfii=at

F

I ~ P r ~ t r

J

J

~ .

a ~ f t J

1 f J ~ J

..

l b•

f

IGL LFCJ J

J

J

r

J

J

r;:

c

r#rvD

F

..

..,

-. ;-

~ b

I

FtW J

..

j

J

JO§E t

r

J

;

II

r:';

D

:

lcf r¢g

J

j

• @

C Whole

Tone

= D = E = F* = G = A# Whole Tone Scales.Cll Whole Tone= Dll = E (F)= G = A = B

Who

le

Tone

Sca

The Whole Tone Scale works well

ove

r

dom.

7

5

and

dom.

9#5 chords.

Gm i7

C9

5

Fma7

Fma7

I l l

I l l I l l

I l l

F Maj. C Whole F Maj.

Tone

20



THE HALF WHOLE SCALE


1

Db

Eb

b9 9

E F# G

3 11 5

s

A

6

13

B

7

c

And yes, this scale is made by alternating half steps and whole steps between the

no

tes. (Measure 'em if

yo

u don t

believe me T his scale also contains 8 different tones instead of

7,

whi

ch

does turn the fingering around a little bit.

THE HALF WHOLE SCALE IN MUSIC

NOT TION

·

M JqJ Ccbu

I E'rtrb4J J I I ~ B ; ; J q J ; J t t c ~ r I JiJ J

~ m D

-it>J JqJ fiM

J

l ffl J

)&ffl: J

I I ~

c•r t¥"t

1

r

1

r

r

1

PC"CJ et

J

I Cr•t:r•ffi j l l ~ u ' J q J ; J i J f 3 r I'OPr:rdil J

&•ervlttrtrtr c •c•n

•cr

J

1 ~ h

h J #J q;AJ JJ l ~ ; o w

qJ

J

1

orp

3

s scale can be played over 7b9, 13b9,

13

11 ,

7

9

7 5, 7115b5,

9

and 7b9b5 chords. (It's another spicy cho

plain dominant 7 chords too.)

Gmi7

Ill

FMaj.

C7b9(etc .) Fma7

Ill Ill

C Half-whole F Maj.

21

Fma7

Ill



THE WHOLE HALF SCALE

Scale

formula from Root C:

C

1

0

2

9

Eb

b3

9

F

4

F

G

#4 #5

11

A

6

B

7

c

OK. Th

is is

th

e

sca

le

yo

u

ju

st saw, started wi

th

the whole step first. I'll

admit that

.

Ho

w

many

different

version

s

o

this

scale

are there

rea lly? Does it repeat every tw o frets? Every th ree

or

four?

THE WHOLE HALF SCALE IN MUSIC

NOT TION

i

i

J J q J •

3iJ

I

0

SoJ

J.J&al

0

1

M• i •er

E

1

f

I

l

1

f

r

rtr

I

..

i: I

#

b t

b.

: F g ~ I

@

' J P J

~ J W 1 9 j

] f] JJ

I IIB

rgEJ

C

1

r

E I

E rs 11

~ . ~ .

J MJ•ttr rtf

I E g••B JJ I

. l l b ~ J ~ J , J • a r r

1

r

Clr

EJ•B=JQ Id

This scale is also known as

Diminis

hed

Scale because it co

tains the notes found in a dim

ished 7th chord: 1, b3, b5

bb7 6) .

C

0

7 =

Eb

= Gb

0

7 = A

CH

7 = E

0

7 = G

0

7 =

Bb

D

0

7 = F

0

7 = Ab

0

7 = 8

This scale fingering defin

it

ely requires so me shifts , and the scale

is

used well over diminished chords.

1)

Bma7 C

0

7 C mi7 f 7 2)

Cma7

CH

Omi7

G7

Ill Ill Ill Ill Ill Ill Ill Ill

B Maj . C Dim. B Maj. C Maj . C Dim . C Maj.

22



THE JM

SC LE

Scale

formula from

R

oot

C: C

1

D

2

9

E

3

F

4

G b

Bb

5 b6

b7

#5

c

JM5 refers

to

the fact t

hat

this scale was created

by play

ing the Jazz Mi

nor

Scale

from

the fifth degree of the scale

inste

ad

of the first. thus

rearranging

the seque

nc

e of intervals. T he JM5 is in effect a

m

od e of the Jazz

Minor

Scale.

THE

JM

SCALE IN MUSIC NOT TION

~ J Jn i JoJl

I

•JJiL

3

n

J

n

F'

1

Ff I L

1

L U

J

This scale can be used over

7#5

and

9

chords , a nd contains few other a

lt

erations.

GMi7

FMaj.

C9 5

Fm

a7

I l l I l l

CJ.M.S

FM aj.

:23

Fma7

Ill



THE

HM SC LE

Scale formula from

Root C:

C

1

D

2

b F

b3 #4

#9 #11

G

5

A

Bb

c

6

b7

13

HM4 refers to the fact that th is scale was created by

playing

the

Harmo

nic Minor Scale (HM ) from the fourth

degree instead

of

the first, thus rearranging the sequence of intervals.

The

HM4

is

in effe

ct

a

m

ode

of

the Ha

rm

onic

Minor Scale.

THE

M

SCALE IN MUSIC NOTATION

Once

again, we

have

a scale

tha

t con tains only

two

alterations, and functions with domi

nan

t chords;

7

9

7b5 ,

7

13

11

and

9b5.

Gmi7

I

FMaj.

C7

tt

9

tt

5

CHM4

4

Fma7

I I

FMaj.

Fma7

I I



c

1

1

THE JM

SC LE

Db Eb

b b3

b9 9

Sca

le

formu

la

from Root C

F

4

11

G

5

5

A

6

13

b

b7

b7

c

JM2 refers to the fact that th is scale

was

created by playing the Jazz Mi

nor

JM} from the second degree instead of

th

e first,

thus

r

ea r

ranging the

sequ

e

nce

of

in

t

erva

ls.

The

JM2

sca

le

is

in

effect a

mode

of the

,Jazz

Minor

Scale.

THE

JM

SCALE IN MUSIC

OT

ATI

O

J&J n ;M I L

ME

J J1

on r

r

1

E I c r rpiiJ J

The scale can be played over the following chords C7b9, G b9,C13b9 and C7#9 . As before yo u can a lso play the

scale over plain Dominant cho

rds not

containing these altered sounds). Proceed as before.

Gmi7

C7b9 Fma7

Fma7

Ill ll Ill Ill

F Maj.

C JM2

FMaj.



THE PLAIN Mi7b SCALE

(So called because the only alterations to the scale are the notes

tha

t spell a M7b5

lb3b5b7

.

Scale formula from Root

C:

C

1

D Eb

2 b3

F Gb A b C

4

bs

6 b7

TH

PLAIN Mi7b SCALE IN MUSIC NOTATION

This sca le works with

the

mi7b5 chord best of all. Try

the

example below .

1 Cmi7b5 F7 Bbma7

Bbma7

Ill Ill Ill Ill

C Plain

Bb

Maj.

6

2

Cmi7b5 F7 Bbmi7b5 Eb7

Il l

Ill Ill Ill

C

P

lain F Mix . Bb Plain Eb Mix.



THE

H M

2 SCALE


1

Db

b

b b3

b9

#9

F Gb

4 b

11 #11

A

6

b

b7

b7

c

HM2 refers

to

the fact

th

a t

th

is scalewas

c

reated by play ing the Harmonic Minor Scale (HM ) from the second

degree of the scale

in

stead of the first, th us

rearra

nging the

seque

nce of intervals. T he

HM2

scale is in effect a

mode

of the Ha rmon ic Minor Scale.

TH

H M 2 SCALE IN MUSIC NOTATION

Once again

th

is

scale works with

mi7b5 chords

, bu t

it cont

ains

more alterations

(This is

my

favorite.)

Cmi7b5 F7

Bbma7

Bbma7

I l l I l l I l l I l l

C

HM

b Maj

7



THE

JM

6

SC LE

Scale

formu

la from Root C: C

1

D

2

9

b

b3

F Gb Ab Bb

4

b5 b6

b

c

JM6 refers to the fact that this scale was created by pl

ay

ing the Jazz Minor Scale from the sixth degree of the

sc

ale

instead of the first, thus re

arranging

the sequence of interva ls. The JM6 scale is

in

effect a mode of the J

az

z M inor

Scale.

THE

SC LE IN MUSIC NOT TION

~ o J : : : ; ~ ~ : n Id i Ml

11

J

Jo:ISl•r

•r

1

fi

1

1

E c•rpR J

~

• fJ

.n @r r r I

1

'Pf j

p£J

J 11

a

a

J

J ~ r r ~ 11M

&J

01 ~ n J

~

•

1

'

iJ

J

J

o J

oJJ

I

J;j

oJ

hf

J

';;

J

dE

9

l

:f

I

E

11

C

F

tJ

J

J

J•JJl•ty:tJ 1

1

ECfj liJ j d

Anoth

er so

und

for mi7b5 ch

ords

- this time the scale

conta

ins a b6( 5)

as

well.

Cmi7b5

F7

B

bma7 Bbma

7

I l l I l l I l l

I l l

C 6

b

Maj.

28



THE LOCHRI N SC LE

Scale

formula from

Root

C:

c

Db

Eb F Gb Ab

Bb

c

1

b

b3

4

b5 b6 b7

1

b9

#9

11 #11 #5 b7

Triads in the Scale}Cdim Db Ebmi Fmi

Gb Ab Bbmi

nth cnords in the Scale}

Cmi7b5

Dbma7

Ebmi7

Fmi7

Gbma7

Ab

Bbmi7

th chords

in

the

scale}

Db6

Ebmi6 Gb6

Ab6

B Lochrian has the

same

notes as C major. I just wanted to let

you

know .

THE LOCHRI N SC LE IN MUSIC

NOT T ON

JoJ n•J

1

J n l•h:J J Mp

J

J ~ > J • n r • r

f i

r ~ r _ p ~ J

mode of the Major Scale contains the most a ltera

ti

ons

yo

u can have over a mi7b

ch

ord . Th

is

is getting farther o

the mi7b chord is behaving as a chord .

i7b F7 Bbma7 Bbma7

Ill Ill Ill Ill

C

Lo

chri

an

Bb Major



The following

table shows

scales that

might

be pl

ayed

over a chord . For each cho

rd th

e re

ar

e se

ver l

possible

sc les Each scale c

ontains

a slightly diffe re

nt

total grouping of sca le sounds C

om

pa re

each

of

th

e scales

to the

chord . JM7 =

Altered Dominant

C7b9

C

Db

E

R b9

G

5

Bb

b7

c

c

c

c

c

c

c

Db E F

Db

E F

Db Eb F

Db

Eb

F

Db

Eb

F

Db

Eb

F

Db

Eb

Fb

G A

Bb

G Ab Bb

c

c

c

c

c

c

c

C13b9 Sc

ale

HMNS

G A

Bb

G Ab Bb

Gb

A Bb

Gb Ab Bb

Gb

Ab

Bb

7b5 (9b5 ) [9#11) (13#11)

C E Gb Bb

R bS b7

C D E

N

G A

Bb

:9bsJ[

9Nl J

c

JM2

Phrygian

HM2

Lochrian

JM7

JM4

C D E N

GN

Bb

C

b7

Whole Tone

R 9

bS

C Db Eb F

Gb

Gb

A

Bb

C

Ab Bb C

HM2

JM6

Lochrian

JM7

C D Eb F

C Db Eb F

Gb Ab

Gb

c

c

Db Eb Fb

Ab

Bb

c

R

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

E

3

Gb

Bb

Db

bS b7 b9

Db

Eb

F

Db

Eb F

Db

Eb

Fb

Db

Eb

E

Gb A Bb C HM2

Gb Ab Bb C Lochrian

Gb Ab Bb C JM7

N G A

Bb

C

l

f

Whol

e

E

D

Eb N

D

Eb

F

Db Eb F

Db

Eb

F

Gb

G A

Bb

C

Gb Ab Bb C

Gb

A Bb C

Gb Ab

Bb C

Gb Ab Bb C

DN/

Eb

Db

Eb

Fb

Db

Eb

E

FN

G A

Bb

c

The Major Scale

and Its

modes

D

D

Db

b9

D

D

D

Db

b9

E

Eb

b3/ N9

Eb

N9/

b3

E

E

Eb

b3 /

N9

Eb

N9

/ b3

F

F

F

N

Nll / bS

F

F

F

4

G

G

G

G

G

G

Gb

b5/

Nll

A

A

Ab

b6

/ N5

A

A

Ab

#5/ b6

Ab

b6 /

N5

HM4

JM6

HM2

Lochrian

JM7

1

h

Whole

8

Bb

b7

Bb

B

7

Bb

b7

Bb

b7

Bb

b7

c

c

c

C'

c

c

c

30

c

E

DN

/

Eb

3 #9

C D

Eb

C D

Eb

C

Db

Eb

C D

Eb

C

Db

Eb

C

Db Eb

C

Db Eb

C Db

Eb

C

Db

Eb

[9#5)

C E

R

F

F

F

Fll

F

F

F

F

Fb

c

c

c

c

c

c

c

c

D E F

Db E F

D

Eb

F

D Eb F

Db

Eb

F

D E F

Db Eb F

Db Eb Fb

C7b9N5

C E

R

C Db E F

C

Db Eb

F

C

Db

Eb

F

C Db

Eb Fb

9N

c

R

c

c

c

c

c

E

3

D Eb

Db Eb

D Eb

Db

Eb

Db

Eb

F

F

F

F

Fb

C Major Scale

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Loehr

an

G

5

Bb

b7

G

G

G

G

A

A

A

Bb

C

Ab

Bb

C

Bb

C

Bb

C

Bb

C

b Ab

G Ab Bb

Gb

A Bb

Gb Ab

Bb

Gb Ab

Bb

Gil Bb

b5

b7

c

c

c

D

G

Ab Bb

C

G Ab

Bb

C

G

Ab

Bb

C

Gb Ab Bb C

G Ab

Bb

C

GN

Bb

C

Gb Ab Bb C

Gb Ab

Bb

C

G

Bb

#5

b7

G Ab

Bb

C

G

Ab

Bb C

Gb

Ab Bb

C

Gb Ab

Bb

C

Bb

5 b7

G Ab Bb

G Ab Bb

Gb Ab Bb

Gb Ab

Bb

Gb

Ab

Bb

c

c

c

c

c

Db

b9

Dorian

Aeolian

JM2

HM4

JM6

Phrygian

HM2

Lochrian

JM7

JM5

HM5

Aeolian

JM6

Phrygian

Whole

T

Lochrian

JM7

HM5

Phrygian

Lochrian

JM7

DN

/

Eb

9

Aeolian

Phrygian

JM6

Lochrian

JM7



1.

Harmonic

Minor Scale and its modes.

c

D Eb

F

G

Ab B c

C

Harmonic Minor

3/

9 b6

/

5

7

c Db

Eb F

Gb

A Bb

c

HM2

b9

b3

/

9 b5 b7

c D E F

G t ~

A B

c

HM3

5

7

c

D Eb

F

G

A Bb

c

HM4

b3

/

9

l l /

b5 b7

c Db

E F G Ab Bb

c

HM5

b9 b6

/

5

b7

c

ll

E G A B

c

HM6

9

ll/b5 7

c Db

Eb

Fb

Gb

Ab

Bbb HM7

b9

b3/ 9 3 b5/ ll b6/ 5

6

2.

Melodic

Minor Scale and its

modes

.

c

D Eb F

G A

B

_C

C Melodic Minor

b3

7

c Db Eb F

G

A Bb

c JM2

b9 b3/ 9 b7

c

D E

F

G

A B

c

JM3

Nll/ bS

5

7

c

D E

F

G

A

Bb c JM4

ll

b7

c

D F

G

Ab

Bb c JM5

b6/ 5

b7

c

D

Eb

F

Gb

Ab Bb

c

JM6

b3/ 9 b5/ ll bb/ 5

b7

c

Db Eb Fb Gb Ab

Bb

c

JM7

b9 9

/

b3

3

b5

/ ll

5

/

b6 b7

Possible chords:

C7b5

C7N5

C7b9

C7

N5b5

· · · · · ·

C7N9N5b5 C7N9b5 C7b9b5 C7 9 5 C7 9 5b5

811 311 311 3ml

/ftD

C7b9

Cl3b9

C7b9b5 Cl3Nll C7N5b5

amm 8tmi

miD

~ ~

31

w.

mm



Documents

The Scale Book