& MODFS

By Misha v. Stefanuk

123
e

4 567

890

2003 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

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Table of Contents
eface •..•.••.•..••....•..•..•..•.•••••.•••..•.••.•..••••.•.••......••••..••••.•.•••••••••.•.•.•.•••.••..••••.•••.•...••...••••••..••.•......• 5 edits ales: Diatonic Scales
Major Minor Natural Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Ionian (Major) Dorian Phrygian Lydian Mixolydian Aeolian (Natural Minor) Locrian Ionian (Major) Lydian Mixolydian Natural Minor Harmoic Minor Melodic Minor Locrian Lydian Minor Lydian Dominant Neapolitan Major Harmonic Major Super Locrian Major Locrian Double Harmonic OvertonelLydian Dominant Neapolitan Major Neapolitan Minor Lydian Minor

5 6
6 6 6 6 6 6 7 7 7 7 7 7 7 8 8 8 8 8 8 9 9 9 9 9 9 9 10 10 10 10 10

ales: Pentatonic Scales

Major Pentatonic Minor Pentatonic

10
11 11

ales: Symmetrical Scales

Chromatic Whole-Tone " Half-Whole & Whole-Half ...................................................................................................................•..

11
11 11 11

ales: Exotic Scales

Spanish Hungarian Major Hungarian Minor Indian, Iranian or Gypsy Balinese Arabian Persian Oriental 2

12
12 12 12 12 12 12 13 13

Japanese Pentatonic Japanese Japanese Second Mode Japanese Fourth Mode

13 13 13 13

Scales: Composer Scales

Prometheus Neapolitan Prometheus

13
13 13

Scales: Jazz Scales

Bebop Major Bebop Minor Bebop Dominant Blues (Minor Blues) Major Blues Pentatonic Blues Jazz Minor

15
15 15 15 15 15 15 15

Polytonaiity Using Scales with Chords Alternating scales Practical Use of Scales
Use of Scale Patterns

16 16 18 20
20

Scale Chords Practical Use of Scales All Scales by Key

Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key ofC of Db ofD ofEb ofE ofF of Gb ofG of Ab of A ofBb ofB of C of Db ofD ofEb of E ofG of Ab of A ofBb of B

24 25 29
29 31 33 35 37 39 41 43 45 47 49 51

Scale Library by Chord:

55
55 59 63 67 71 83 87 91 95 99

~~~ ~~:#'::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~~

About the Author

103

Preface
The piano is a unique instrument. More notes can be played simultaneously on the piano than on any other instrument. In Jazz music, chords and scales are used together to create improvised lines. This book deals with scales that can be played on the piano. My intention in writing this book is to create something I would like to have and use myself.

Credits
I want to thank my wife Evan Marie Dozier-Stefanuk for her help in writing this book. I would also like to mention the names of my teachers: John Arnn, Jeff Kirk, Frank Mantooth, Charles Argersinger, Greg Yasinitsky, Urij Kozirev, Larisa Pashanova and Dmitry Blum.

Scales: Diatonic Scales

A succession of notes usually a minor or major second apart in ascending or descending order is called a scale, The most common scales used in today's jazz music are major and minor scales:

Major

Minor

~J J J J J J

IJ

J ~J J J ~J ~r I

While the major scale has only one common form, the minor scale has three: natural minor, harmonic minor
md melodic minor.

Natural Minor

Harmonic Minor

The ascending form of the melodic minor scale differs from the descending: Ascending Melodic Minor Descending Melodic Minor

~J J d J J J

r I r ~rd

J Jd J I

Scales built from the white keys of the piano create a system of diatonic scales, which are very useful for creating melodic lines: Ionian (Major)

4J J J J J Jr
Dorian

rrJJJJJJI

4JJJJJrrrrrJJJJJI
Phrygian

'J J J J
Lydian

rrrFrrrJJJJ

'J J J r F r F r r r F r J J JI
Mixolydian

'J J

rrrFrFrErFr

J JI

Aeolian (Natural Minor)

'JJJJJJJJJJJJJJJI
Locrian

'J J J J J J J r J J J J J J J I

Three scales (major scale itself and two diatonic scales) have clearly identifiable major scale character: Ionian (Major)

~J J J J J J F r F J J J J J J I
Lydian

~ J J J fiJ J J F
Mixolydian

F J J fiJ J J J I

~ J J J J J J ~F r ~F J J J J J J I
Five scales (three forms of minor scale and two diatonic scales) have minor scale character: Natural Minor

Harmonic Minor

~ J J d J J &J F
Melodic Minor

Fd J J d J J I

~ J J d J J J F r ~Fd J J d J J I

The scale consisting of white notes built on B is based on the diminished triad and is called Locrian. Built on the half diminished chord, it does not show major or minor character: Locrian

'J J J

jJj

JFJ

jJjJ

J JI

There are six scales that are altered forms of the diatonic scales: Lydian minor and Lydian dominant, Neapolitan major, Harmonic major, Super Locrian and major Locrian scales: Lydian Minor

Lydian Dominant

Neapolitan Major

, J &J d J j d F r F &J
Harmonic Major

j j

Jd d J I
J
j

'J J

J jd F

F &J

JJI

Super Locrian

Major Locrian

Double harmonic and overtone scales use more complex alteration: Double Harmonic

~ J &J J J J d

r r r &J J J

J ~J J I

Overtone (also Lydian Dominant)

The following scales use alteration of an already altered scale: Neapolitan Major

~ J ~J d J J J
Neapolitan Minor

rrr

J J Jdd J I

Lydian Minor

Scales: Pentatonic Scales

Opposite to the diatonic scales consisting of all white notes, all black notes combined together form the pen:atonic scale:

10

There are two forms of this scale called major Pentatonic or minor Pentatonic depending on the inversion of the scale: Major Pentatonic

JJJJ ~J
Minor Pentatonic

JJJJ J J ~J J

~J ~J J J

~r r ~r J

Scales: Symmetrical Scales

The scale consisting of all the notes of the well-tempered system is called a chromatic scale:

The scale consisting of all whole steps is called a whole-tone scale:

Scales constructed of alternating whole steps and half-steps are called half-whole and whole-half scales. They are also known as diminished or Rirnsky-Korsakov scales. Half- Whole Scale Whole-Half Scale

~ J#J~Jj~JJJ~rrrJj~JjddqJII JJ~J#j~JIJ+rrJddqJdqJJ
11

lcales: Exotic Scales

This group consists of scales from different cultures. Spanish

~ J &J d qJ J d &J ~rr~r d 2 qJ d &4 J I d ~ J #4 J #4 J J ~rr~rJ J #2 qJ #4 J q

Hungarian Minor Hungarian Major

~ J J~J#2 JbJ
Indian, Iranian or Gypsy

r r rbJ
r

J#2~J 4

~ J d J 2 J bJ
Balinese

r r rd

J 4 J &J J I

~ J &4 d J bJ
Arabian

bJ J d d J I

~J J

J d d ~rr ~rd d J J J J I

12

Persian

Oriental

4a &J J J ~r F ~r J J &J J 4a J J J r F r J J J J J #J J r F r J #J J J 4a 4ad Jd~F r~Fd Jd a

Japanese Japanese Second Mode Japanese Fourth Mode

Japanese Pentatonic

Scales: Composer Scales

The process of composition has produced several scales not found in earlier music. Nicolai Rimsky-Korsakov was the first person to classify the whole tone scale. Alexander Scriabin was the creator of the Prometheus scale: Prometheus

Neapolitan Prometheus

13

Bela Bartok started the use of polymodality: the use of two different scales in two hands at the same time: DMajor D~Major DMajor

CMajor

G Major

C Major

The most prolific creator of scales is French composer Olivier Messiaen, who devised a system of scales that ! calls "modes of limited transposition." The first two are the whole-tone scale and the diminished scale with spectively two and three possible transpositions. A third transposition of the whole-tone scale would result in scale enharmonic ally equal to the original scale. And a fourth transposition of the diminished scale would also ~enharmonic ally equal to the original. Augmented First Transposition Augmented Second Transposition

, J J J#JuJRJ F#J1J#J J 3 J I ~#J.JgJKJgJ#F8J"JgJ"J#J~1

'J 'J

Diminished First Transposition (Whole-Half)

3 ~J J ~J &J gJ r F r
Diminished Second Transposition (Half-Whole)

J ~J J J

, ~ #3 J #J J J #J Dr #F Dr fiJ gJ qJ #J qJ fiJ (.t I

Diminished Third Transposition (Half-Whole)

J J J &J ~r qr #F

#F -r ~r d

JJJ

14

Scales: Jazz Scales

There are a number of scales that derived directly from jazz or became very typical for jazz: Bebop Major

@ J J J a J uJ J r r r J J qJ a J J J I
Bebop Minor

Bebop Dominant

Blues (Minor Blues)

Major Blues

'J J ~J J J J
Pentatonic Blues

J J J aJ qJ J
J

'J d a J
Jazz Minor

~r r r

a JJI

~J Jd a J J r r r J J ad J J I

15

Polytonality
The use of polytonality can result in use of scales built from more than one scale. In the following example .he chord D7b5b9 calls for two scales: D major and Ab major and the resulting scale contains notes from both

scales:

,
_,

~
IJf

t.J
~ ~~

""'_,
" v_

fl

,. -

_, fl.

""'_ • ~
I
I

.:;;';:

" .... ~ I

_, -

"

l:~.

-'

"1111:

Using Scales with Chords

Each chord structure limits the number of possible scales. For example, the following scales are possible with the simple major chord triad: major, Lydian, Mixolydian, Double Harmonic, Lydian Dominant, Mixolydian alt6, Lydian minor, Harmonic major, Overtone, Augmented, major Pentatonic, Gypsy, Indian, Japanese, Bebop major, Bebop minor, and major Blues:

16

Major

Lydian

Mixolydian

, ; J J 3 J J F F I; J J #3 J J F F I; J J 3 J J ~F F I
Double Harmonic Lydian Dominant Mixolydian alt6

, ; &3 J 3 J &J F F I; J J #3 J J ~F F I; 3 J 3 J &J~F F I

Lydian Minor Harmonic Major Overtone

, ; 3 J #3 J d ~F F I; 3 J 3 J &J F F I; 3 J #3 J .hF F I
Augmented Major Pentatonic Gypsy

, ; #3 J J &J F F I; 3 J J J F I; &3 J 3 J &J ~F~r F I

Indian Japanese Bebop Major

, ; &J J 3 J ~J r F I; j 3 J r F I; J a 3 a I,J gJ r F I
Bebop minor Bebop Dominant Major Blues

,;

3~a~a 3 a J~r F I; 3 J 3 J J~Fqr F I; 3#J aJ J F I

However, Mixolydian, Lydian Dominant, Myxolydian alt 6, Lydian minor, Overtone and Bebop dominant have a clear dominant character: Mixolydian Lydian Dominant Mixolydian alt6

, ; 2 a J J J ~r F I; 2 J #2 J J ~F F I; 2 J J J &J~F F I
Lydian minor Overtone Bebop Dominant

~; 2 J#3 J&J~F F I; 3 J#3 J J~F F I; 3 a 3 J J~rqF F I

17

Augmented, major Pentatonic, Gypsy, Indian and Japanese scales will have very characteristic sound that may not be ideal: Augmented Major Pentatonic Gypsy

@ J #3 J J d r r I J 3 J J J r I J &3 J 3 J d ~r qr r I
Indian Japanese Double Harmonic (also Gypsy)

@ J &3 J 3 J d r r I J J 3 J F r I J &3 J 3 J d r r I
Usually, the major scale itself is replaced by Lydian due to the preferred sound of the augmented 4th. However, Harmonic major and Bebop major, as well as major Pentatonic and major Blues, could also be used with major chords. Lydian Harmonic Major Bebop Major

@ J 3 a#3 a J r r I J 3 J J ad r r I J 3 J J a&JgJ r r I
Major Pentatonic Major Blues

~ J 3 a a J r r I J 3#3 a a J r I
Alternating scales
Usually, sustaining a simple chord for an extended period of time calls for the use of several different scales in order to bring variety and enhance the melodic development: Lydian Harmonic Major

18

The same tool is very effective on dominant structures: Bebop Dominant

I
)
t
J

"" " ~

, c.

fl

I
100.-1

II

-I~"-

• - ..
-'.

___ _"':" v~

..
L :J

Lydian Minor
I
f' _

3
~

100.-I ..-

_"':"

.-

11

-- -

C7
- •• C.
I

,.

-&
I.~

- ..
r

......

100._

I--~
..." ..."

i'-&
_I.' I.~

r---& ~

Overtone

,
~

fl iIf'
n
L ..

.-I

..

.- - ... 100..-1

...
1
T

Bebop Minor
3

- ..
-,..

-&
I.,

r--

(To

...".

~., .,

..

r_a

--L
l)'~~JL

..1

1J
IlL

IlL IlL

"-.,I., I.,

_l1-'"-_'~

...

.. .. - .,~

1---&

#.
loa

., .,

Sometimes the progression of the scale development can bring more tension to the sustained chord, and create an additional upper structure: Major

I )
)
f

, c. r
" ~
" lJ I.

'1

I
-I

-v-

...

...-

...;-

v_- .-I

--..
-,..
I

C7
-&
I.

_j,.-..po ..... _
__

-.
.-

Lydian
_l

TI

. .- -'----

_-

- ---'_"':"

-T

..
•

r-;

_I'"

-f9
:J

19-_
:J

-&
I., I.,

;--~_~o
L :1_

I.'~

. .,.

~,...

.,

Lydian Dominant
~

Mixolydian alt 6 r
L" _"':"___ .-I
• "'-~" .. -,I

,,
"

J-_h.

...
J.

t.J

IJ

II

L..
TI

l_

-'-

---

.. ., I

"'-&
,. -.. I.~ I.,

19

llractical Use of Scales

The simplest use of the scale is playing a part of the scale up or down:

The same scale can provide material for a very complex melodic line: Lydian Dominant

, ~jJ

I ill

J J J ' f ~'i

Sometimes the same scale can be used on top of changing chords. In the following example, E Phrygian scale iecomes D Dorian and then F Lydian:

r- _

- .---. -

rrr-_

- _....

_....

"'-

r-

It is possible to find a scale that can work for a number of chords so that the solo can be built on the same scale instead of many different scales. That might make the choice of the scale more precise but also makes the creating of the melodic line much easier:

20

Some scales are designed to fit an extended chord progression. This is an example of using the blues scale over the blues progression: Blues Scale
f)

'-

)
)
t

tJ

"'"
l)'

r.

., "

.-I

Li"ll __ I'""

J~_

---I'""

l.f_

_I'""

~_
1041'""

~--"I'""

--- _bb~_
C

-~

~ I

_a.

"

I.. I'""

_
I'""

J~_

" ,. r. - •.
I ,

~b~

F
..0.
1.l_'LI_

.,

bb~
~

J
I'""

__t!o ___

.-I 1

__ .....J

1.._
..

•••
TI

_.:"""

~_::::

-G
&
""IT

bb~

.......

Patterns built from the scale help to create a more developed melodic line:

'C J J J J j J J :l j J 3 J
I

CE

PI I

'[ c

r J J j:l

IJ

JJ JJ3r
21

Two note scale patterns:

'{~1 J ~ J J J J I j J J J C F r f
OJ

,J J ] J 'r
E

f E f If [

rrJJJJI
r
I

Three note scale patterns:

'{~ J J J J j J J J I fJ J J ErE

rFJJJJ

JJJJ~~

Four note scale patterns:

'e jJ 3 J J J J J IE F [J E F [f I
'[ r

rrrrrrI

JJj~

22

Patterns offer a number of combinations that can be mixed together. A three-note pattern has six different forms:

,J
3

~ 2

~ 3

IJ
Ij
2

~ 3

J IJ
2 3

J
~ 3

~ 2

J
2

J I~
3 2

J
F

Combining these forms creates lines that are hardly identifiable as a note pattern:

, if J J J J J 1 J J J i J 3 1 E Et
2 3
3 2

L! E r; [ IT;
1
2 3
3 2

IJ J FJ
2 1 2 3

322

J
3

J J J J J J JJP ,
1 2 3 2
3 2

323

The polyrythmic combination of a three note pattern with 4/4 meter:

, J J J J tJ J J iJ J J [ rr r c [ ri r r I,....~-' -- - - - -- . .. 1 E 1[ E [
3

E~
123

[j~ 1
1

123

132

13

221

321

32

123

13

12

23

,...
I

..-I

3 3 2 1

32

13

123

121

33

123

123

I 231

23

Scale Chords
Another approach to building a melodic line is to find out which chords belong to the scale and use them as substitutions on the basic chord structure. In the following example all chords are based on the mixolydian scale;

@j

Mixolydian

~j i

This also can be done with seventh chords: Mixolydian

Quartal structures always sound very modern: Mixolydian

This process leads to creating quasi-modal structure, which can enhance the overall sound of the piece: Mixolydian
3

fl
3' "- v

" '"

..
~ ~

...

r-"....
• ..,.-1
v_ .-I

r-

--•

-t-

.t-

t-

-..- ,.-~
t-

..

r-

...
I

,,,. I. •• ,

~:~
~"' "'

':J

.....

f7

'::J 1-

~
':J

~n -_.;;.

.....

.~

24

Practical Use of Scales

Practical knowledge of scales is absolutely essential for the improvising musician. Here are some practical suggestions for practicing scales. Division of the scale in two, and accenting the first note in the group, and then the second: Mixolydian

3JJJi1dJI
Division of the scale in three and accenting the first note in the group: Mixolydian

'(~ 3 J J J JJ~JJ I r rr EJ Err riG WE! J j J J I

Division of the scale in four and accenting the first note in the group:

v'

V
&

II

'B lojJDdJ,rCfr~Errl
Mixolydian

tfEtErjrRr~rthJJI :

II

Division of the scale in swing two with a light accent on the second note in the group:

'B 3 J J J f;Jd J r
Mixolydian

II

Division of the scale in two with accents following the bossa nova rhythm:

'B 3 J J lad J r
Mixolydian

rr

ErG

E~rrid J J J J j
25

II

Combining swinging eights and triplets:

II
3

Next step in practicing scales is building of the patterns from the scale: Mixolydian

, (~3 J J J J J J J I Jd J J l FE1 I d j J J J j J J I
Combining of the three note pattern and swinging eights accents:

&

II

'B ] j J J J J J J I ~JJ J J J J J J I J J J~JJ J J J I

Mixolydian

V
&

II

Pattern based on the more developed melodic line: Mixolydian

'{~ ] J J J Jd J J I L F f;~E F r F I Jd ] J J J Jd I :
Mixolydian

II

The left hand can copy the right hand, hold the same chord, or built alternative chord structure on the mateial from the same scale:

, r~

fl

"

..
I

£-,.. ---..

.- -_
...I _

V
I~...I
.

V
I
-

_r"

V
J

," ...

~-

V• V

V
...I

-•V
~

V
...I

V
-&

- ~111

V _ V .~~

.. V

ill- ~ VI,.

f-

V ,._~V

.,.

"_b~

I 26

- - ~V
,,~

V
~~

Mixolydian

, , I. ," t

J)
I

tJ

IJ

.. -.. - .-

V
I
11>..1

V
I
•

v-

r-

r-

V _v

V.V

k_

.....

,....

V I
-11>

v-

c. ".
I

"-

-_ -".

.....-

~- _.--.. - _. •
r-. r-. r-.
If

- -V
11>_

r--.. __
t:.t-:: t-.

_V V
I

V
&

- - P"iII

-'

. -- _.. _- ~- --..__.. ....

.1"10

Mixolydian

, , u
ft

V
I.
,

V
I I
.•

.. - •
_- r-.. I.a. L

-". , •• I.

_ -.~ ~.~ - ~~:-. . -. . "..

~~ ~
'-"

_11>" v_

_
r-

V•V

V
.

.vr-

""--

• ~ P"JI

&

==:

h.,,_

I.a"

I.a

I.a

r-

..~
L>o.

....... ~

Note: it is very important to keep a steady tempo when practicing scales, and the use of a metronome or a drum machine is highly recommended. Practicing scales is a great work out, and it improves the pianist's technique. It develops freedom of choices for building the melodic line. Making choices in the using of scales utilizes knowledge, experience and taste. It also shows artistic personality and is one of the keys to develop a personal style.

27

28

Scales

KeyofC

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

29

Scales

KeyofC

Major Pentatonic

Suspended

Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished,

Half-Whole

Spanish

Hungarian Minor

Balinese

~n a~fi3~u1mn~fi3u 1m O~D~u I
Arabian Persian Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

~tJ
Japanese

pa

J c:J I;

J J #2

I;

bJ

J #2
Neapolitan

EiJ

Prometheus

Prometheus

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

30

Scales

Key of D~ or C#

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

31

Scales

Key of Db or C#

Major Pentatonic

Suspended Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished,

Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus

Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

32

Scales

KeyofD

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolltan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

33

Scales

Key ofD

Major Pentatonic

Suspended

Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished,

Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus

Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

34

Scales

Key ofEb

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

35

Scales

Key ofE~

Major Pentatonic

Suspended Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished,

Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

36

Scales

KeyofE

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Lydian Dominant Indian or Iranian

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

37

Scales

KeyofE

Major Pentatonic

Suspended

Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished,

Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

I~ J J

E J IJ
•

iJ

t Jt
iJ

IE -J

J
Japanese 4-Mode

c J·
F
Neapolitan

Japanese Pentatonic

Japanese 2-Mode

l~tiJ
Japanese

n #C

IJ #2 #J
Prometheus

#( F IJ
Prometheus

Bebop Major

Bebop Minor

Bebop Dominant

n
Blues Major Blues Pentatonic Blues, Minor Pentatonic

C-J

38

Scales

Key ofF

Ionian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

Major Pentatonic

39

Scales

Key ofF

Suspended

Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished, Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

'F
J

Q ~c:J br r I~J J

CJ1

;J

"

I~ Q J

~t2ff I'r

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

,;J ~c:J
Japanese

r ii]
Prometheus

c tr

if Q
Prometheus

n (tF
Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

40

Scales

Key of G~ or F#

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

41

Scales

Key of G~ or F#

Major Pentatonic

Suspended

Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished,

Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus

Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

42

Scales

KeyofG

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

43

Scales

KeyofG

Major Pentatonic

Suspended Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished, Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

1*; Q 1*0
Japanese

c::r

1J71

#( J #C
•

1f1J
IJ 13
Prometheus

ELl
t1f
Neapolitan

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

r #C

•
Prometheus

tJ1r r

r #r

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

44

Scales

Key of A~ or G#

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

45

Scales

Key of A~ or G#

Major Pentatonic

Suspended Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished, Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

46

Scales

Key of A

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

t'n#i1

5-Mode Melodic Minor

n ;0113#:.$ :fiJ D 1m m~DD IJjJ#1'1 m t

Overtone Diminished Whole-Tone Augmented .

47

Scales

Key of A

Major Pentatonic

Suspended Pentatonic Whole-Tone

Diminished, Whole-Half

Diminished, Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

I~\t] J #3 J--J IJ
Blues

Major Blues

#J

,.z

P
48

J #3

Ir]

JJ3

Pentatonic Blues, Minor Pentatonic

Scales

Key of B~ or A#

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone

Augmented

49

Scales

Key of B! or A#

Major Pentatonic

Suspended Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished, Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

I
Japanese Pentatonic

.....

J JiJ

I
Japanese 4-Mode

1J5J

Japanese 2-Mode

Japanese

Prometheus

Prometheus Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

50

Scales

KeyofB

Ionian

Dorian

Phrigian

Lydian

Mixolydian

Aeolian

Locrian

Phrigian 6

Double Harmonic, Gypsy, Indian or Iranian

Lydian Dominant

Lydian Augmented

Lydian Diminished

Mixolydian Alt 6

Locrian Sharp 2

Neapolitan Major

Neapolitan Minor

Lydian Minor

Super Locrian

Major Locrian

Harmonic Major

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Overtone

Diminished Whole-Tone Augmented

51

Scales

Key ofB

Major Pentatonic

Suspended

Pentatonic

Whole-Tone

Diminished, Whole-Half

Diminished, Half-Whole

Spanish

Hungarian Minor

Balinese

Arabian

Persian

Oriental

Japanese Pentatonic

Japanese 2-Mode

Japanese 4-Mode

Japanese

Prometheus

Prometheus Neapolitan

Bebop Major

Bebop Minor

Bebop Dominant

Blues

Major Blues

Pentatonic Blues, Minor Pentatonic

52

53

54

Scale by Chord

Key ofC

In D iJ1 U In Ji3 n ulm D m ul

C
Ionian Lydian Double Harmonic, Gypsy, Indian or Iranian

I'll

n 10 u liP MbA p
Augmented

In

n e:J In fJ u I
Japanese Phrigian

Harmonic Major

Major Pentatonic

In~Dn~O'Im~Dm~u I
Bebop Major

Cm

Dorian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished,

Half-Whole

Hungarian Minor

Bebop Minor

Blues

1m D 10 U IJ1 SID U I
Pentatonic Blues Minor Pentatonic Double Harmonic, Gypsy, Indian or Iranian Lydian Augmented

55

Scale by Chord

Key ofC

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

111 n D
Japanese 4-Mode Blues C6 Ionian

uI

1~i1
Lydian

ro D u In n rJ 1:r1,A u In ro ro I
Major Pentatonic Japanese 2-Mode Prometheus Bebop Dominant Major Blues

Bebop Major

56

Scale by Chord

KeyofC

Cm?

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished,

Half-Whole

Bebop Minor

Blues

I; 3 J J a
Pentatonic Blues, Minor Pentatonic

~u

C?

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

I' n fiJ a
Overtone

~uI; 1 fiJ fa ~
Whole-Tone

I; S d ~J #f J fiJ I
Diminished Half-Whole

I,; ~3 a J a Q
Double Harmonic, Gypsy, Indian or Iranian

~dt I;

0
57

£jJ to I; ~3 a #J Jill
Prometheus Neapolitan

Prometheus

Scale by Chord

KeyofC

Bebop Minor

Bebop Dominant

Blues

Major Blues

C+7

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Cm7~5)

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

58

Scale by Chord

Key of Db or C#

D~

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

D~m

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

D~+

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

59

Scale by Chord

Key of D~ or C#

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

l~fQ !Sl,m
Japanese 4-Mode Blues Dbs Ionian

aI

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

60

Scale by Chord

Key of D~ or C#

Dbm?

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending

Melodic Minor

Diminished,

Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

Db?

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

61

Scale by Chord

Key of D~ or C#

Bebop Minor

Bebop Dominant

Blues

Major Blues

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

I~#i
D~m7~5)

1#4 J
Locrian

fiE

£1

Elf

I#J n3 J @ J
Locrian Sharp 2

tJF

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

D~o7

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

62

Scale by Chord

Key ofD

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

In J1 n U 1m J1 10 U I
Bebop Major

Om

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending

Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

63

Scale by Chord

Key of D

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

D6

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

64

Scale by Chord

KeyofD

I;J ;J A U IfQ [J fiJ U I

Dm7 Dorian Phrigian

l~fJ ;3
Aeolian

ro

U liS ;3 A U IEJ~a f)
Phrigyan 6 Descending Melodic Minor

m ,I

Diminished, Half-Whole

Bebop Minor

Blues

If3 ~;3 J9 U
Pentatonic Blues, Minor Pentatonic D7 Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

65

Scale by Chord

KeyofD

Bebop Minor

Bebop Dominant

Blues

Major Blues

D+7

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Dm7(bS)

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

66

Scale by Chord

Key of Eb or D#

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

67

Scale by Chord

Key of E~ or D#

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

I~nm~U &1
Japanese 4-Mode Blues

Ebs

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

68

Scale by Chord

Key of E~ or D#

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

69

Scale by Chord

Key of E~ or D#

Bebop Minor

Bebop Dominant

Blues

Major Blues

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

70

Scale by Chord

KeyofE

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

I,SID UIU InlH

Harmonic Major Augmented

t!t ~

Iw.HDc1lw nlU I
Major Pentatonic Japanese

Bebop Major

Em

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

71

Scale by Chord

Key of E

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

E6

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

72

Scale by Chord

\ Key ofE

IJ P
em?
Dorian

t1 (J

In j"3 U U I
Phrigian

Aeolian

Phrigyan 6

Descending

Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

ClF.EJ
Pentatonic Blues, Minor Pentatonic

E?

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

73

Scale by Chord

KeyofE

Bebop Minor

Bebop Dominant

Blues

Major Blues

E+7

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

I A J ] ~U (1 I
Locrian

ro

J J ~U (J

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

74

Scale by Chord

Key ofF

1ft]
F
Ionian

is a U IJJ onu ulm

Lydian

ffl

dt U I

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Fm

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending

Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

75

Scale by Chord

Key of F

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

In
Japanese 4-Mode Blues F6 Ionian

to a Ell

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

76

Scale by Chord

Key ofF

Fm7

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

F7

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus Neapolitan

77

Scale by Chord

Key ofF

Bebop Minor

Bebop Dominant

Blues

Major Blues

F+7

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Fm7(bS)

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

78

Scale by Chord

Key of G~or F#

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

79

Scale by Chord

Key of G~ or F#

1~#JiJftn
Major Locrian

u,dr
I

I#JJ ;JO El c!r l#fihC!r

'

clr·p

I#JiJftcJ U I
Whole-Tone

Diminished Whole-Tone

Augmented

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

80

Scale by Chord

Key of G~ or F#

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending

Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

81

Scale by Chord

Key of G~ or F#

Bebop Minor

Bebop Dominant

Blues

Major Blues

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished

Half-Whole

82

Scale by Chord

KeyofG

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Gm

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending

Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

. Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

83

Scale by Chord

Key of G

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

G6

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

84

Scale by Chord

KeyofG

1m &u [J C1- IJ Q
Gm7 Dorian Phrigian

&u [1 CJ

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

IJ
Pentatonic Blues, Minor Pentatonic G7

=1 j

(J

== · E;d

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

85

Scale by Chord

KeyofG

Bebop Minor

Bebop Dominant

Blues

EJi'l
Major Blues Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Gm?(bs)

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

l,pO

( ~r E

,pO
Blues

t1f

C ;oJ

,.

1~~1i
GO?

Japanese 4-Mode

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

86

Scale by Chord

Key of A~ or G#

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

87

Scale by Chord

Key of A~ or G#

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

A~

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

88

Scale by Chord

Key of A~ or G#

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

89

Scale by Chord

Key of A~ or G#

Bebop Minor

Bebop Dominant

Blues

Major Blues

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

90

Scale by Chord

Key of A

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Am

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending

Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

91

Scale by Chord

Keyof A

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

A6

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

92

Scale by Chord

Key of A

Am7

Dorian

Phrigian

I~n
Aeolian

n n n IIP;"9 ro a
Phrigyan 6 Bebop Minor

18 A f1 n
Descending Melodic Minor

Diminished, Half-Whole

Blues

l~rJ

F"

JJ

)
1

#if
A7

I; -0 #J J J
Mixolydian

Pentatonic Blues, Minor Pentatonic

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

93

Scale by Chord

Key of A

Bebop Minor

Bebop Dominant

Blues

I~J J J #J J #J I#it
Major Blues

A+7

IJ W J

bJ

~J

JJ

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Am7(~5)

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

94

Scale by Chord

Key of B~ or A#

B~

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

B~m

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

B~+

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

95

Scale by Chord

or

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

I~~~J~J~JIDbJO 1W1~jJ~Jiil IbJi:J&JIJ m IgJ~n JO jJ I

Diminished Whole Tone Diminished, Whole-Half Diminished, Half-Whole Hungarian Minor

~:J
Japanese 4-Mode

~J ~
Blues

bY

sle

Ionian

I~4 A A is Ib:J 9;1 ;0 I~J "1 ~:J

Lydian Major Pentatonic

n 10 I 9 n m I
~J
Prometheus Major Blues

Japanese 2-Mode

Bebop Major

Bebop Dominant

96

Scale by Chord

Key of B~ or A#

Bbm7

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

Bb7

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus

Neapolitan

97

Scale by Chord

Key of B~ or A#

Bebop Minor

Bebop Dominant

Blues

Major Blues

B~+7

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

B~o7

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

98

Scale by Chord

KeyofB

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Bm

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

99

Scale by Chord

Key of B

Major Locrian

Diminished Whole-Tone

Augmented

Whole-Tone

Diminished, Whole-Half

Spanish

Persian

Bebop Major

Locrian

Lydian Diminished

Locrian Sharp 2

Diminished Whole Tone

Diminished, Whole-Half

Diminished, Half-Whole

Hungarian Minor

Japanese 4-Mode

Blues

B6

Ionian

Lydian

Major Pentatonic

Japanese 2-Mode

Prometheus

Bebop Major

Bebop Dominant

Major Blues

100