Changes

Chord/Scale Reference Manual
By Larry Ross Norred, ASCAP

Spell Chords and Chord Scales in Any Key
Major Chords Minor Chords Dominant Chords

Spell Advanced Scales and Modes in Any Key 54 Common Tone Chord Substitutions for Any Melody Note Frequently Asked Questions
Contact Larry at: larrynorred@centurytel.net changes@centurytel.net

Copyright © 2004 Larry Ross Norred International Copyright Secured Made in the U.S.A. All Rights Reserved

Major Chord Scales
Chord Symbol Major Triad (add9) sus2 sus 4 5 (no3rd) (b5) + or aug. 6/9 ma7(b5) ma9(#11) ma7 ma9 ma13 ma7+ ma9+ ma13(#11) II/I (D/C) Chord 2nd 3rd (3)=3rd Optional Scale Scale Choice Scale Choice Scale Degrees Page No. Degrees Page No. Degrees Page No. 1-2-3-4-5-6-7 66 1-2-3-#4-5-6-7 100 1-2-3-4-5-#5-6-7 6 7 1-2-3-4-5-6-7 66 1-2-3-#4-5-6-7 100 1-2-3-4-5-#5-6-7 8 1-2-(3)-4-5-6-7 88 2-4-5-6-1 9 1-2-(3)-4-5-6-7 88 2-4-5-6-1 10 1-b2-b3-4-b5-b6-b7-7 69 1-b2-b3-4-b5-b6-b7 77 1-b2-b3-b4-b5-b6-b7 11 1-2-(3)-4-5-6-7 88 2-4-5-6-1 12 1-2-3-4-b5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 13 1-2-3-4-#5-6-7 78 1-#2-3-5-#5-7 105 1-2-3-#4-#5-#6 14 1-2-3-4-5-6-7 66 1-2-3-#4-5-6-7 100 1-2-3-4-5-#5-6-7 15 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 16 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 17 1-2-3-#4-5-6-7 80 1-2-3-4-5-6-7 100 1-2-3-4-5-#5-6-7 18 1-2-3-#4-5-6-7 80 1-2-3-4-5-6-7 100 1-2-3-4-5-#5-6-7 19 1-2-3-#4-5-6-7 80 1-2-3-4-5-6-7 100 1-2-3-4-5-#5-6-7 20 1-2-3-4-#5-6-7 78 1-#2-3-5-#5-7 100 1-2-3-4-5-#5-6-7 21 1-2-3-4-#5-6-7 73 1-2-3-#4-#5-6-7 100 1-2-3-4-5-#5-6-7 22 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 123 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6

Minor Chord Scales
Chord Chord Scale Symbol Page No. Minor Triad 23 mi(add9) 24 mi6/9 25 o7 (dim.) 26 mi7(b5) 27 mi7 28 mi9 29 mi11 30 mi13 31 mi(ma7) 32 mi9(ma7) 33 ii7/V (Gmi7/C) 34 mi7(b9) 35 Scale Degrees 1-2-b3-4-5-6-b7 1-2-b3-4-5-6-b7 1-2-b3-4-5-6-b7 1-2-b3-4-#4-#5-6-7 1-b2-b3-4-b5-b6-b7 1-2-b3-4-5-6-b7 1-2-b3-4-5-6-b7 1-2-b3-4-5-6-b7 1-2-b3-4-5-6-b7 1-2-b3-4-5-6-7 1-2-b3-4-5-6-7 1-2-3-4-5-6-b7 1-b2-b3-4-5-6-b7 2nd Choice Page No. 82 82 82 72 76 101 101 101 101 81 81 90 65 Scale Degrees 1-2-b3-4-5-6-7 1-2-b3-4-5-6-7 1-2-b3-4-5-6-7 1-2-b3-#4-5-6-7 1-2-b3-4-b5-b6-b7 1-2-b3-3-4-5-6-b7 1-2-b3-3-4-5-6-b7 1-2-b3-3-4-5-6-b7 1-2-b3-3-4-5-6-b7 1--2-b3-4-5-b6-7 1--2-b3-4-5-b6-7 1-2-4-5-b7 1-b2-b3-4-5-b6-b7 3rd Choice Scale Page No. Degrees 87 1-b3-4-5-b7 87 1-b3-4-5-b7 87 1-b3-4-5-b7 106 1-2-b3-4-#4-#5-6-7 69 1-b2-b3-4-b5-b6-b7 87 1-b3-4-5-b7 87 1-b3-4-5-b7 87 1-b3-4-5-b7 87 1-b3-4-5-b7

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Dominant Chord Scales
Chord Chord Scale Symbol Page No. 7 36 7sus 37 9 38 9sus 39 11 40 13 41 IV/V (F/G) 42 7(b5) 43 9(b5) 44 ii7/V (Gmi7/C) 45 9(#11) 46 13(#11) 47 7(b9) 48 11(b9) 49 13(b9) 50 7(#9) 51 13(#9) 52 7(#9b9) 53 7(b9b5) 54 7+ 55 9+ 56 7+(#9) 57 7+(b9) 58 13(#11b9) 59 alt 60 7sus(b9) 61 phryg 62 Scale Degrees 1-2-3-4-5-6-b7 1-2-3-4-5-6-b7 1-2-3-4-5-6-b7 1-2-3-4-5-6-b7 1-2-3-4-5-6-b7 1-2-3-4-5-6-b7 1-2-3-4-5-6-b7 1-2-3-4-b5-6-b7 1-2-3-4-b5-6-b7 1-2-3-4-5-6-b7 1-2-3-#4-5-6-b7 1-2-3-#4-5-6-b7 1-b2-3-4-5-6-b7 1-b2-3-4-5-6-b7 1-b2-3-4-5-6-b7 1-#2-3-4-5-6-b7 1-#2-3-4-5-6-b7 1-b2-b3-4-5-6-b7 1-b2-3-4-b5-6-b7 1-2-3-4-#5-6-b7 1-2-3-4-#5-6-b7 1-#2-3-4-#5-6-b7 1-b2-3-4-#5-6-b7 1-b2-3-#4-5-6-b7 1-b2-3-4-b5-6-b7 1-b2-3-4-5-6-b7 1-b2-b3-4-5-b6-b7 2nd Choice Page No. 74 90 74 90 74 74 90 74 74 90 105 105 77 77 77 77 77 77 77 105 105 77 77 77 77 70 70 Scale Degrees 1-2-3-#4-5-6-b7 1-2-4-5-b7 1-2-3-#4-5-6-b7 1-2-4-5-b7 1-2-3-#4-5-6-b7 1-2-3-#4-5-6-b7 1-2-4-5-b7 1-2-3-#4-5-6-b7 1-2-3-#4-5-6-b7 1-2-4-5-b7 1-2-3-#4-#5-#6 1-2-3-#4-#5-#6 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-2-3-#4-#5-#6 1-2-3-#4-#5-#6 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-b4-b5-b6-b7 1-b2-b3-4-5-6-b7 1-b2-b3-4-5-6-b7 3rd Choice Page No. 102 102 102 102 105 105 96 96 107 107 107 96 96 107 107 Scale Degrees 1-2-3-4-5-6-b7-7 1-2-3-4-5-6-b7-7 1-2-3-4-5-6-b7-7 1-2-3-4-5-6-b7-7 1-2-3-#4-#5-#6 1-2-3-#4-#5-#6 1-b3-4-#4--5-b7 1-b3-4-#4--5-b7 1-b2-b3-3-#4-5-6-b7 1-b2-b3-3-#4-5-6-b7 1-b2-b3-3-#4-5-6-b7 1-b3-4-#4--5-b7 1-b3-4-#4--5-b7 1-b2-b3-3-#4-5-6-b7 1-b2-b3-3-#4-5-6-b7

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4 .5 .Advanced Scales Scale Name Typical Usage major triad mi7 mi7(b9) ma7 7 (dom.b5 .b7 1-2-3-5-6 1 .4 .b6 .b7 1 .4 .b6 .7 1-2-3-4-5-6-7 1 .b3 .2 .6 1 – 2 – 4 – 5 – b7 1 .b7 .5 .4 .b2 .4 .5 .b7 1 .b6 .6 1 .5 .#4 .2 .6 .5 .4 .5 .4 .5 .2 .#4 .7 1 .b5 .b6 .b7 1 .5 .b3 .2 .#2 .b3 .3 .3 .2 .7 1 .#4 .3 .5 .3 .#5 .b3 .5 .3 .6 .b6 .b7 1 .#6 1 .b6 .2 .4 .7 1 .#5 .b2 .2 .2 .#5 .6 .2 .b3 .4 .b2 .b6 .triad) 7(#9) or 7(b9) Page 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 Scale Degrees 1-2-3-4-5-6-7 1 .b3 .#4 .2 .b7 1 .4 .2 .b5 .5 .2 .#4 .5 .#4 .b7 1 .b6 .7th) mi7 mi7(b5) 7sus(b9) 7(b9) o7 (dim.b4 .4 .b2 .b7 1 .2 .3 .7 1 .b7 1 .b6 .2 .#2 .b3 .5 .#5 .6 1 .7 1 .5 .5 .6 .4 .b2 .#4 .2 .b5 .b5 .b7 2-4-5-6-1 7 .6 .5 .3 .5 .6 .b2 .6 .2 .3 .5 .5 .b2 .b7 1 .b6 .7 1 .b2 .#4 .2 .4TH MODE IN SEN .b3 .b4 .3 .4 .b7 1 .b6 .3 .7 1 .#5 .b6 .b3 .b6 .6 .b7 7 .2 .b7 1 .6 .5 .6 .7 1 .2 .4 .b2 .4 .2ND MODE IN SEN .5 .3 .b7 1 .3 .b3 .V7 in minor 6/9 mi7 sus2 ma13(#11) ii7/V (Gmi7/C) mi7(b9) II/I (D/C) ma9(#11) mi7(b5) mi6 7(#9) or 9 7(#9) or 9 7(#9) or 9 ma7+ ma7 mi7 7 7(b9b5) 7+(#9b9) 7+ o (dim.b3 .b3 .#4 .b3 .7 1 .2 .4 .4 .b7 1 .3 .b3 .2 .b3 .4 .3 .7th) ma7+ 7(b5) 7+ mi7(b5) 7(b9b5) ma7+ ma7+ major triad mi(ma7) mi6 mi7 mi7 dom.b7 Traditional Modes IONIAN DORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN LOCRIAN Special Modes PHRYGIAN #6 SPANISH PHRYGIAN LYDIAN DIMINISHED LYDIAN AUGMENTED LYDIAN DOMINANT MIXOLYDIAN b6 LOCRIAN #2 SUPER LOCRIAN AUGMENTED HINDU Key Based Scales MAJOR HARMONIC MINOR ASCENDING MELODIC MINOR DESCENDING MELODIC MINOR NATURAL MINOR 5TH MODE MINOR 5-Note Scales MAJOR PENTATONIC MINOR PENTATONIC MINOR PENTATONIC ON THE 2ND MINOR PENTATONIC ON THE 7TH SUSPENDED PENTATONIC JAPANESE IN SEN IN SEN ON THE 7TH IN SEN .b3 .6 .4 .b3 .b7 1 .7 1 .1 .5 .5 .4 .4 .2 .7 1 .b7 1 .2 .4 .b7 1 .6 .5 .3 .b3 .b7 1 .4 .3 .b3 .3 .5 .b7 1 .b3 .#4 .4 .b3 .#4 .2 .b7 1 .3 .5 .5 .5TH MODE Synthetic or Derived Scales STANDARD BLUES MAJOR BLUES MINOR BLUES HARMONIC MAJOR MAJOR BEBOP MINOR BEBOP DOMINANT BEBOP ALTERED DIMINISHED WHOLE TONE Symmetrical Scales WHOLE TONE WHOLE-HALF DIMINISHED HALF-WHOLE DIMINISHED Copyright ©2001 Larry Ross Norred 4 .b4 .3 .4 .5 .b3 .6 .6 1 .6 .b6 .#4 .b5 .b6 .

A Frequently Asked Questions about how to use the Changes HANDBOOK ORDER FORM for the Printed Version (three ring binder punched) 124 125 Copyright ©2001 Larry Ross Norred 5 .Common Tone Chord Substitutions Common Tone C C# Db D Eb E F F# Gb G Ab A Bb B Cb * Page 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 * Each page displays 54 different chords that contain the common tone listed. APPENDIX .

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How can I use the Changes as a Jazz Ensemble Teacher? · · · Use the Chord Scale Charts to work all the solos you have. Turn to the page indicated in the chord scale column to see the correct chord spelling. I need a different chord instead of a plain C7 under this melody note. How do I find what notes are in the Phrygian mode? · · · Turn to the Advanced Scale/Mode Chart on page 4. What chords can I place under the “C” melody note? · · · Turn to the Chord Substitution Chart on page 5.Copyright © 2001 Larry Ross Norred Page 124 . The chords on the first line are not “preferred”. Select one of the 54 chord types from the chart. All the answers include the scales in both bass and treble clef. Select one of the 54 chord types from the chart. How can I use the Chord Substitute Speller when I’m working on a chart? When you run into a harmonically static spot that needs just the right set of changes to fill in the time. You can choose a Mode for the whole passage and print off a worksheet for the student to practice in all keys. How can I use the Chord Scale or the Advanced Scale Speller when I’m working on a chart? Use the charts to find what notes of the scale will reflect that chord or scale’s modality. Most chords have 2nd and 3rd choice scales indicated in their respective columns. look on page 5 for the pitch you need to harmonize. then check the speller for each chord’s chord scale. Try different chords until you find just the right one. Use those notes to create backgrounds. Turn to the page indicated by the chart and you will see 54 different Common Tone Chord substitutions for the pitch you chose to harmonize. The chords are arranged in a random order to encourage you to try different solutions to each arranging problem. When you need to write background figures during a solo or within the chart. they just happen to fall on the first line. You can send harmonic rhythm players home with a Chord Substitution Sheet as necessary to encourage them to experiment with different chord voicings and types.FREQUENTLY ASKED QUESTIONS How do I find the right notes to play against a mi7 chord? · · · · Turn to the Chord Scale Chart on page 2 or 3. How do I find what notes are in any type of chord? · · · Turn to the Chord Scale Chart on page 2 or 3. Turn to the page indicated in the chord scale column to see the correct chord scale. Write out a blank lead sheet with chord symbols. then go to the page indicated by the chart. Changes . Select one of the pitches from the chart. you can be sure of the notes that will fit and maintain the sound of that chord or scale. Turn to the page indicated by the chart. Select one of the 45 scale/mode types from the chart.

per copy for a 3-Ring punched copy of Changes for your library. State Zip ___________________________________________________ Changes .Copyright © 2001 Larry Ross Norred Page 125 . Remember you may only copy pages from this book under the “fair use” provision of the U.S. Copyright law. I will ship it as soon as possible after your check has cleared. Any wholesale copying and unauthorized duplication of this book is a violation of the law and we will take whatever remedy that the law will allow. Please allow 2 weeks for delivery.S. This format allows you to lay the book flat for use on a music stand/rack and makes it very easy to remove pages for easy copying for classroom use.net and I’ll send you the book immediately.ORDER FORM Mail a personal check or money order for $40 U. State Zip ___________________________________________________ Quantity ________________________________________________________ Check Amount Enclosed__________________________________________ YOUR SHIPPING ADDRESS (if different from above) : Name___________________________________________________________ Address_________________________________________________________ _________________________________________________________________ City. YOUR ADDRESS: Name___________________________________________________________ Address_________________________________________________________ _________________________________________________________________ City. AR 72454 If you would like to pay by using the PayPal online credit card processing program simply pay me at my web e-mail address lnorred@piggott. MAIL YOUR CHECK or MONEY ORDER TO: LARRY NORRED 710 EAST SUNDANCE DRIVE PIGGOTT.

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