Major Scale Harmony

(Main chords: Cmaj7, Dm7, Esusb9, Fmaj7(#4), G7, Gsus, Amb6, B)

Ionian mode: Cmaj7 (Major 7th chord) (I) Avoid note: 4th / 11th (beboppers raised this and it became a lydian mode in another key) Dorian mode: Dm7 (Minor 7th chord) (II) Phrygian mode: Esusb9 (V) The phrygian mode is usually played, not over a minor 7th chord, but over a susb9 chord. b9 Sus chords are often played in place of sus chords, dominant 7th chords, and II-V progressions. The second mode of the melodic minor scale can also be used over a susb9 chord. Lydian mode: Fmaj7(#4) (Major 7th#4 chord) (IV) Mixolydian mode (the dominant scale): G7 (Dominant 7th chord) (V) Avoid note: 4th / 11th (beboppers often raised the 4th on a dominant chord and it became a melodic minor scale) Gsus (V) A V chord in which the 4th doesn't sound like an avoid note A sus chord is like a II-V progression contained in one chord (Dm7/g) Aeolian mode: Amb6 or Dm/a When the 5th of a minor chord moves up a half step, the resulting minorb6 chord is a very effective place to play the aeolian mode. Aeolian chords are rarely played. They are sometimes played in a I-VI-II-V or III-VI-II-V progression. In pratice, jazz musicians play the VI chords as a dominant chord. ! Locrian mode: B (Bm7b5) Avoid note: b9 You can play the locrian scale over this, but also the harmonic minor scale, which has no avoid note.