Major cay el ‘Crake To build a major chord using half and whole steps, remember: root ~ 4 hall cite a ep Cua). salen c Sot Minor “Femes Mor hors areas” SSS incr eink ws varia a et epesttatacpe ye 03) ‘the fata, Cm Ser an Major seventh Fpesor Méfor seventh chords ae-pety delat, sestve, tough” ieee 02 {Mor 7 bua major seventh chord sg hl and whole steps, remember: SG Ts stops Salsa sep Ce 103) ssh ‘eerie rt Cma7 rose ‘mele eertone Minor seventh tor seven ors are“pensve. moody nospetve” Fomine inno To ba aor seventh cord wang hal and we step, remember SSeS tots thats Sal tp ge aoe m7 ie tense Seat net Dominant seventh Donan seventh chord aes ng. rong” Teron sot tein Ty puta dominant seventh cord wang hl and whole tos remember: Games todo halo ha sop e103) ne ous cr moter mins et sanee mse Major sixth Major at ond te “pasa” Fe Tota mat ching haan stp ener aa tot hl eps = Salsteps = 2halsep (gue 10). echt C6 seme Baan sonst apes Minor sixth A tors chon are dark. sensuous, rbled” Fie rior To bul amor sath chord sng hall and whole steps, remember: Mie oot Sha steps steps» Pal eps te 10) ‘senate Cm6 fame Suspended fourth ssp ourth chords ar “regal mart” Fue Cueto To 2 smpended fourth chord using hl and whole stops, member: coh f= Sal eps hal steps gue 108). ‘se Csus4 Ninth tt ae ey Fe to bull aint cord using lf nd whale step, rere: rok all PRGGR. steps ~ Shall steps» half steps To bulld a minor rth (see gure 10). t's jody Haba re aa eh ae sous tha 1.8. cs toate Minor ninth Fae Mri chord", compe i CT bls amino nth chord wang half and whole step, emer rook fink Mee’ peton + Sallstep Aha tps» hall steps gure 1010), Se Gms fai as Diminished mins chord ae “tk trai complex” tomer fete ps mts nal aspen Damn fa hal see ak see Pe ‘the fata Cdim ines wrt sien e —_Angmented a Co sft tad m angie chord wing la oly, ener ‘Seng too poston slates thal sep ge 02). wna Caug ‘tors Augented chords are“anttpatory, tl of movement Teen Minor 7, flat 5 /half-diminished Taner, Thee are erent nates fore same chord The chee fees, rv dete evn ‘oud mor seven ta th chord sng ta and whole top, Pouch ols Shasieps “tallest sepe (gu WD ay cee == cm/sIonian (major scale ) EE When you play seven ascending white keys starting with C, you get the lonta Faure6-5: mode (Figure 66). To butld an lontan scale on another note besides €, you inltalenah_use the wholestep(W), halfstep(H) pattern: WWHWWWH. sound Notice something familiar about this? You're right — this ts the same pattert soe titled to ulld major cates today ‘he major scale Dorian fgure 67 shows the D Dorian mode. To bulld a Dortan mode on another note Figure 67 awe 62 sides D, you would use the paltera WEWWWHN. ‘mog@ The Dortan mode ts most commonly heard in Celtic music and early American ‘no ZTH fol songs derived fom Irish melodies. Songs writen In Dorlan mode sound fancholy melancholy and soulful because the final note of the scale doesn't quite resolve sell so feels almost Ike a question lft unanswered ‘and ull ot biterswoot longing Phrygian "=== gure 68 shows the E Phrygian mode. To butld a Phrygian mode on another Fiure6&: note besides E, you would use the pattern HWWWEWW, Phrygian Most flamenco music fs written in the Phrygian mode, which has a bright, mmodo can_MiddleEastern sound to it that works well with folk and traditional ance sive your_mustc. Many modern composers and guitarists commonly use Phrygian ‘music abit modes with major scales (Instead of minor scales) because tt sounds brighter fexoti and less melancholle than the minor scale. sive Lydian EEE ure 6-9 shows the F Lydian mode. To bulld a Lydian mode on another note Figure 68: besides F, you would use the pattern WWWHWWH. ‘The Lydian ‘mode nas The Lydlan mode Is the complete opposite of the lonlan mode/major scale, something 01 feels as solid and bright as a major scale but the intervals are surprising ofasur- and unexpected. This is a popular mode among jazz musicians who enjoy besa. using a misture of major abd minor chord progression n inventive Ways, iy tot — Mixolydian WE cure 6-10 shows the G Mixolydian mode. To build a Mixolydtan mode on. Fie 6: another note besides G, you would use the pattern WWIIMWH, e Mixolydian rcolydian is similar to Lydian in the sense of having a major-scale feel with ‘mode is: minor intervals, and it's a great mode to work within to give a bluesy feel to often used your compositions. Mixalyciian mode Is another popular scale for solo must- forbes ‘clans looking for a counterpoint to the lonlan key of the song. and bluesy rock musieAeolian (natural minor) SEE Figure 6-11 shows the A Acollan mode. To bulld an Aeolian scale on another Fgure 6.11: other note, the pattera you'd use is WEWWHWW. The Aaotan mode can This should also look familar to you — it isthe whole-step, half-step pattern. ‘convey we use to bulld minor scales today. great sorrow, The intervals of Aeollan mode create the same feel as many modern blues. reget and. songs. Songs composed in Aeolian mode have a strong sense of sadness. The despair final note of an Aeolian scale feels resolved in a completely different sense ee than the final note ofthe fontan. If the Dorian mode reflects melancholy, the ‘Aeolian reflects despalr. Locrian MN Figure 6-12 shows the B Locrian mode. To bulld a Locrian scale on any other Figure 6-12: note, you would use the pattern HWWHWWH. ‘The Locran ‘mode Locrian mode is considered to be so unstable that most composers consider sounds abit it unworkable. There are few songs written Inthe Locrlan mode, which has twisted and led some music theorists to label ta “theoretical” mode. You find lt occa ‘wrong. sionally used In heavy metal. This mode exists because all seven notes of mmm the lontan scale could form It ina mathematical sense, but the relationship between intervals in the Locrian mode ts dificult or many composers to ‘work with. Music that is composed within this mode sounds unsettling, dis- turbing, and just alttle bit off Listen to the synthesizer melody at the begin- ning of Rush’s “Y¥Z" for an example, or try playing “Three Blind Mice” in a Locrian mode — tt sounds like incidental music from a Tod Browning fll, The Pentatonic Scale There Is one kind of scale that is farly common throughout the world — despite all the other musical diferences among various cultures. That would be the pentatonic seale, also called the fivesoned scale. One can refer to a ‘major pentatonic scale or a minor pentatonle scale, but the notes of the ‘major scale are shared with the relative minor key, For example, Figure 6-13 shows a G major pentatonle scale, and Figure 614 shows the pentatonic scale ofits relative minor, E minor. Figure 6-13: The pentatonic seals found al ovorthe word. Figure 6-16 Tha Eminor pentatonic scala, ralabveHarmonic and Melodic Minor Two commonly used scales that aren't listed tn the above modes and scales, are the harmontc minor and the melodic minor scales. These scales die {rom the natural mmor scale (Aeolian mode) — which s basically a scale taken directly from a relative major — In small, but important ways. Harmonic minor sharps the seventh note in the scale (Figure 6-15). This note brings the sealea ttle closer to the A major scale, but other notes in the scale prevent It from sounding too happy. Fir 6-15 The hamonie mer stalo contains 2 sharp, nike Anatral ‘The melodic minor scale has diferent notes when the scale ascends than it does when the scale descends Figute 616). ip 6.16 Amaodie aor seale ‘erent gongup fants coming ‘down,Double das (52 to 5) (Car Angiis (83 Concert ute (08 to ETL ess Clarinet (E220 ES) lugelbora (Ft C6) 1 Cae ae 3 Jassoon eta ¢ 8 Bh Trumpet (F*3%0 E5) French Hom i"2 0 Co Pecos ramet SEE Ae orchestral Harp wo Gt “Tene Sie Tene En) Alto te to CT) ils 02 A ass Fe (Et m EB) ‘isin (S287) Celi 2 a