| | Ionian (Major) |
| The major scale is associated with a ma7 chord. In the key of C the C ma7 chord (a.k.a. Cmaj7 or CM7) is "C E G B." These notes identify the 7 chord built upon the tonic of the C major scale; the C major scale is appropriate for improvising over it in the simplest case.
From the chord-is-the-scale point of view, the I chord of the C major scale is actually C ma7 (2 4 6), that is, a major seventh chord with the 2, 4, and 6 (a.k.a., 9, 11, and 13). Stacking another third from C major on top ("C E G B D") yields Cma9. Stacking another third adds the 11, but because the F is dissonant it is rarely used. Adding another third gives a Cma13. But "C ma7" is shorthand for them all.
See also the Lydian Mode, where the dissonant 4th/11th is raised to resolve dissonance.
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| | | Dorian |
| The Dorian mode is built on the second degree of a major scale, using the same notes as that major scale. Therefore, its sequence of intervals would be w-h-w-w-w-h-w, i.e., the major scale's intervals shifted to the right by one.
Ex.: The D Dorian scale is built from the notes of the C major scale, starting onthe 2nd degree: "D, E, F, G, A, B, C".
From the chord-is-the-scale point of view, the I chord of the D Dorian scale is actually Dmi7 (2 4 6), that is, a minor seventh chord with the 2, 4, and 6 ( a.k.a., 9, 11, and 13) - Called the "dorian chord", shorthand Dmi7. Stacking 3rds on the minor seventh chord obtain Dm9, Dm11 and Dm13, still implying Dorian mode. |
| | | Phrygian |
| The Phrygian mode is the mode based on the third degree of the major scale. Its interval sequence is h-w-w-w-h-w-w; the Ionian (major) shifted to the right by two intervals. In the key of C (no sharps or flats), Phrygian starts on E: "E, F, G, A, B, C, D".
Similar to the minor scale, except that the second step in the Phrygian mode is lowered by a half step. The Phrygian mode can be used with a minor seventh chord. When the Phrygian mode is played the result is somewhat Spanish.
From the chord-is-the-scale point of view, the I chord of the E Phrygian scale is Esus(b9). An E mi7 with a b2, 4, and b6 chord can be found here as well, but the mi7 name has been applied to the dorian chord. (see Dorian mode). |
| | | Lydian |
| The Lydian mode is based on the fourth degree of the major scale, interval sequence w-w-w-h-w-w-h; the Ionian (major) shifted to the right by three intervals. In the key of C (no sharps or flats), Lydian starts on F: "F, G, A, B, C, D, E".
Like the major scale with a raised fourth degree, it is a strong alternative to the major scale over a ma7 chord: In the major scale, the fourth is dissonant. Lydian provides a raised fourth degree and no dissonance, a.k.a. 'avoid note'.
When a ma7 chord is played, you can choose between the major and Lydian scales. From the chord-is-the-scale point of view, the I chord of the F Lydian scale is F ma7(#4). (i.e., has 2, #4, and 6)
See: The Lydian Chromatic Concept (http://www.georgerussell.com/).
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| | | Mixolydian |
| The Mixolydian mode is based on the fifth degree of the major scale; its interval sequence is w-w-h-w-w-h-w, the Ionian (major) shifted right by four intervals. In the key of C (no sharps or flats), Mixolydian starts on G: "G, A, B, C, D, E, F". The seventh is lowered a half step compared to the major scale, an interval of the dominant seventh; play this mode over the dominant seventh chord.
As with the major scale, the fourth degree is an avoid note except when a ‘suspended’ version of the seventh chord is used or an eleventh chord.
From the chord-is-the-scale point of view, any chord simply noted as a 7 chord (dom7) can be played as a 9 chord, 11 chord, or 13 chord with no alterations (i.e., no #5, b5, #9, b9). |
| | | Aeolian (Minor) |
| The Aeolian Mode is based on the sixth degree of the major scale, and its interval sequence is w-h-w-w-h-w-w. It is also known as natural minor.
From the chord-is-the-scale point of view, the I chord of the A Aeolian scale is actually A mi7 with a 2, 4, and b6, a.k.a., 9, 11, and b13. Because the mi7 chord implies a natural 2, 4, and 6, the Aeolian chord is Ami7(b6). |
| | | Locrian |
| The Locrian mode is based on the seventh degree of the major scale, and its interval sequence is h-w-w-h-w-w-w. In the key of C (no sharps or flats), Locrian starts on B: "B, C, D, E, F, G, A". The seventh chord built on this scale is a half diminished seventh chord, or mi7(b5) (minor seven flat five).
A good substitute for Locrian mode on a half diminished chord is Locrian #2, from Melodic Minor harmony. (See Locrian #2) |
| | | Pentatonic Minor |
| The two basic Pentatonic scales are the Major and the Minor Pentatonic scales. These are scales with intervals limited to whole steps and minor thirds. A Major Pentatonic scale in C contains "C, D, E, G, A", and a C Minor Pentatonic scale contains "C, Eb, F, G, Bb". These scales are a subset of seven tone scales, and can be used effectively in many contexts; a lowest-common-denominator solution for the improviser.
Repositioning the major or minor Pentatonic is powerful. For example, The 7alt and m7(b5) occur on the 7th degree of melodic minor: Play melodic minor a half step up from the root of the chord. The minor pentatonic scale is a subset of melodic minor starting on the 2nd degree. (2, 4, 5, 6, 1)
So for a 7alt or m7(b5) play a minor pentatonic starting a step and a half up from the root of the chord. |
| | | Pentatonic Major |
| The two basic Pentatonic scales are the Major and the Minor Pentatonic scales. These are scales with intervals limited to whole steps and minor thirds. A Major Pentatonic scale in C contains "C, D, E, G, A", and a C Minor Pentatonic scale contains "C, Eb, F, G, Bb". These scales are a subset of seven tone scales, and can be used effectively in many contexts; a lowest-common-denominator solution for the improviser.
Repositioning the major or minor Pentatonic is powerful. For example, The 7alt and m7(b5) occur on the 7th degree of melodic minor: Play melodic minor a half step up from the root of the chord. The minor pentatonic scale is a subset of melodic minor starting on the 2nd degree. (2, 4, 5, 6, 1)
So for a 7alt or m7(b5) play a minor pentatonic starting a step and a half up from the root of the chord. |
| | | Harmonic Minor |
| The natural minor scale fifth degree produces a minor seventh chord. A dominant seventh chord at the fifth degree of the scale would provide more movement and opportunity for stronger resolution.
By raising the seventh degree of the natural minor scale we get the Harmonic Minor Scale, which gives us the desired dominant seventh chord at the fifth degree, and a minor raised seventh at the root.
(The Melodic Minor Scale provides that, too, plus it eliminates the augmented second interval between the sixth and seventh degrees. See Melodic Minor.)
From a chord-is-the-scale point of view, Harmonic Minor does not fit a particular chord - There is always at least one dissonant note. This is why many improvisers will only play fragments of the scale, or substitute Melodic Minor. |
| | | Harmonic Major |
| Like Harmonic Minor, Harmonic Major has a raised 7th degree and a flatted 6th, but the 3rd is major. It is identical to the major scale with a flatted 6th degree.
Because the notes of the scale comprise a ma7(2 4 b6) the signature chord for this scale can be described as a ma7(b6) chord. It sometimes substitutes for a ma7 chord. |
| | | Lydian Diminished |
| | Lydian Diminished is the 4th mode of Harmonic Major. Its intervals are w-h-wh-h-w-w-h. |
| | | Ascending Melodic Minor ('Jazz Minor') |
| The powerful Melodic Minor scale. On its own it has a dark and exotic sound, yet it only differs from the major scale in that it has a minor third. The scale also contains wonderful symmetries: 6 intervals of a perfect fourth, and one tritone can be found. Also, it embodies 4 consecutive whole step intervals (like a wholetone scale) and a whole-half-whole-half sequence (like a diminished scale). The result is component chords built on its scale degrees providing strong dominant 7 alterations as well as other colorful substitutions.
The notes comprise a mi(2 4 6 ma7): The signature chord of is the mi(ma7) chord. For more important information, see also the modes of the Melodic Minor scale: Lydian Augmented, Lydian Dominant, "Fifth Mode", Phrygian #6 (a.k.a. Locrian #2, half-diminished), and the ubiquitous Altered scale (a.k.a. diminished whole-tone, Super Locrian). |
| | | Super Locrian (Altered Scale) |
| The Altered Scale is the 7th mode of Melodic Minor, and is a uniquely powerful scale in improvising. It contains a b9, #9, #11, and b13, altered in every possible way. Basically there are no 'avoid notes' in Melodic Minor, and all chords from Melodic Minor harmony are interchangeable.
Given an Alt chord, play the Altered scale over it. Because it's the 7th mode of Melodic Minor, and there are no 'avoid notes', you can simply play Melodic Minor a half step up from the root of the Alt chord. |
| | | Overtone (Lydian Augmented) |
| The Lydian Augmented scale is the third mode of the Melodic Minor Scale, with the interval set w-w-w-w-h-w-h.
The name 'Lydian' implies a raised 4th degree, and 'augmented' implies a raised 5th degree. Relative to 'A' Melodic Minor, Lydian augmented would start on C: "C, D, E, F#, G#, A, B". When a ma7(#5) is played, the Lydian Augmented scale is appropriate. (The ma7(#5) chord can thought of as a major triad with the b6 in the bottom.) Because it's the 3rd mode of Melodic Minor, and there are no 'avoid notes', you can simply play Melodic Minor a sixth up from the root of the ma7(#5) chord. |
| | | Hungarian Major |
| | (Description coming soon.) |
| | | Hungarian Minor |
| | Hungarian Minor is similar to harmonic minor, but gets its very distinctive sound with two intervals of a minor 3rd, one between the third and fourth degree of the scale, and one between the sixth and seventh degree. The Oriental and Double Harmonic scales are modes of the Hungarian Minor scale. These scales contain strong leading tones, but are harmonically problematic - Perhaps the signature chord is a mi9(ma7#11b13)! |
| | | Oriental |
| | The Oriental scale is the 2nd mode of the Hungarian Minor scale. It has two intervals of a minor 3rd, one between the second and third degree of the scale, and one between the fifth and sixth degree. This scale is harmonically problematic - Perhaps the signature chord is a sus13(b5b9)! |
| | | Double Harmonic |
| | The Double Harmonic scale is the 5th mode of the Hungarian Minor scale. It has two intervals of a minor 3rd, one between the second and third degree of the scale, and one between the sixth and seventh degree. The result is a very exotic sound with strong leading tones; however, this scale is harmonically problematic - The signature chord might theoretically contain (sus)ma7(#5b9b13)! |
| | | Neapolitan Minor |
| | (Description coming soon.) |
| | | Neapolitan Major |
| | Neapolitan Major closely resembles Whole Tone with its 5 consecutive whole steps, and is identical to Melodic Minor and the major scale in its second tetrachord. It yields many altered dominant 7 chords, and a mi(ma7) can be built on its first degree, similar to Melodic Minor. Major Locrian, Lydian Minor, and Leading Whole Tone are modes of Neapolitan Major. |
| | | Major Locrian |
| | This is the fourth mode of Neapolitan Major. See Neapolitan Major. |
| | | Lydian Minor |
| | This is the fifth mode of Neapolitan Major. See Neapolitan Major. |
| | | Leading Whole Tone |
| | This is the seventh mode of Neapolitan Major. See Neapolitan Major. |
| | | Enigmatic |
| | (Description coming soon.) |
| | | Whole Tone (Augmented Scale) |
| The Whole Tone Scale has only six notes, each a whole step apart. There are only two Whole Tone Scales.
The first, third and fifth degrees make up an augmented triad, and that makes the Whole Tone Scale an easy, economical way to play over augmented chords and chords containing strong tritones.
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| | | Classical Diminished Scale |
| | There are two diminished scales, the Half-Whole-Half (or Half-Whole) and Whole-Half-Whole (or Whole-Half), used to play diminished seventh chords and a variety of altered dominant chords. |
| | | Symmetric (Half-Whole-Half Scale, 'Diminished Bop Scale') |
| | There are two diminished scales, the Half-Whole-Half (or Half-Whole) and Whole-Half-Whole (or Whole-Half), used to play diminished seventh chords and a variety of altered dominant chords. |
| | | Phrygian #6 |
| | Lacking a universally accepted name, the second mode of the Melodic Minor Scale is characterized by the intervals set, h-w-w-w-w-h-w. As a mode of 'A' Melodic Minor, the notes would be "B, C, D, E, F#, G#, A". As the name implies, this is the same as Phrygian mode with a raised sixth degree. Use this mode over a sus(b9) chord as asubstitute for Phrygian mode. Because it's the 2nd mode of Melodic Minor, and there are no 'avoid notes', you can simply play Melodic Minor a seventh up from the root of the sus(b9) chord. |
| | | Lydian Dominant |
| The fourth mode of the Melodic Minor Scale, with the interval set w-w-w-h-w-h-w, is often called the Lydian Dominant, resembling the major scale with a raised fourth (like Lydian mode) and a lowered seventh (like Mixolydian mode).
From an A Melodic Minor perspective, Lydian Dominant starts on D: "D, E, F#, G#, A, B, C". Mixolydian mode is used with a dominant seventh chord, and the fourth step is considered an ‘avoid’ note. The Lydian Dominant scale raises the fourth, eliminating the ‘avoid’ note, and generally works well on a dominant seven chord.
The signature chord of the Lydian Dominant scale is the 7(#11) chord. Because it's the 4th mode of Melodic Minor, and there are no 'avoid notes', you can simply play Melodic Minor a fifth up from the root of the 7(#11) chord. |
| | | Freygish |
| | The fifth mode of Harmonic Minor. |
| | | Adonai Malakh |
| | Jewish mode. |
| | | Ahavoh Rabboh (Freygish) |
| | Jewish mode. |
| | | Magen Abot |
| | Jewish mode. |
| | | Fifth Mode |
| | The 5th mode of Melodic Minor is rarely used, and doesn't have a universally accepted name. Its signature chord would be a 7(b13). Because it's the 5th mode of Melodic Minor, and there are no 'avoid notes', you can simply play Melodic Minor a fourth up from the root of the 7(b13) chord. When two dominant 7 chords occur a whole step apart, Fifth Mode of Melodic Minor may be appropriate on the root of the upper dominant 7 chord. |
| | | Locrian #2 |
| | The 6th mode of Melodic Minor is called Locrian #2, or the Half Diminished scale. It is identical to Locrian Mode (7th mode of the major scale) except the 9th degree is raised. Play Locrian #2 over a mi7(b5) chord as a substitute for Locrian mode. Because it's the 6th mode of Melodic Minor, and there are no 'avoid notes', you can simply play Melodic Minor a 3rd up from the root of the mi7(b5) chord. |
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