~~ wi 7 7 PIANO SCALES & MODES By Misha V. Stefanuk 1234567890 (© 2003 BY MEL BAY PUBLICATIONS, INC, PACIFIC, MO 62060 ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED. 8M MADE ANO PRINTED INUSA. "No part otis pubicaton may be reproduced in whole or i par, sored a retieval sytem, or ansmited nay form ‘or by any means, electron, mecharical, photocopy. ecocing, or here, wut writen pormsson ofthe publisher Visit us on the Web at www.melbay.com — E-mail us at email@melbay.comTable of Contents edits ales: Diatonic Scales Major Min oF one Natural Minor. Harmonic Minot Ascending Melodic Minor .. Descending Melodic Minor... Jonian (Major) .. Dorian, Mixolydian Acolian (Natural Minor) Locriat Lydian Mixolydian Natural Minor Harmoic Minor. Melodic Minor Locrian... Lydian Minor Lydian Dominant Neapolitan Major Harmonic Major Super Locrian Major Locrian. Double Harmonic..... Overtone/Lydian Dominant Neapolitan Major Neapolitan Minor Lydian Minor ales: Pentatonic Scales .. Major Pentatonic Minor Pentatonic ales: Symmetrical Scales Chromatic... Whole-Tone Half-Whole & Whole-! ales: Exotic Scales Spanish... Hungarian Majo Hungarian Minor Indian, Iranian or Gypsy Balinese Arabian. Persian « Oriental.Japanese Pentatonic Japanese Japanese Second Mode .. Japanese Fourth Mode Scales: Composer Scales .. Prometheus. Neapolitan Prometheus . Scales: Jazz Scales Bebop Major. Bebop Minor Bebop Dominant Blues (Minor Blues). Major Blues .. Pentatonic Blue Jazz Minor Polytonality ... Using Scales with Chords . Alternating scales .. Practical Use of Scales Use of Scale Pattern: Scale Chords Practical Use of Scales ..... All Scales by Key .. Key of C Key of Db Key of D Key of Eb Key of E Key of F Key of G! Key of G Key of Ab Key of A Key of Bb .. Key of B Scale Library by Chord: Key of C Key of Db Key of D..... Key of E> Key of E Key of F.. Key of F# Key of G. Key of Ab Key of A. Key of Bb Key of B.. About the Author ...Preface The piano is @ 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 ale. The most common scales used in today’s jazz music are major and minor scales: Major Minor ‘While the major scale has only one common form, the minor scale has three: natural minor, harmonic minor ind melodic minor. Natural Minor Harmonic Minor The ascending form of the melodic minor scale differs from the descending: Ascending Melodic Minor Descending Melodic MinorScales built from the white keys of the piano create a system of diatonic scales, which are very useful for cre- ating melodic lines: Ionian (Major) Dorian Phrygian Lydian Mixolydian Aeolian (Natural Minor) LoerianThree scales (major scale itself and two diatonic scales) have clearly identifiable major scale character: Tonian (Major) Lydian Mixolydian Five scales (three forms of minor scale and two diatonic scales) have minor scale character: Natural Minor Harmonic Minor Se : ve Melodic Minor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: Loerian 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 Harmonic Major Super Locrian Major LocrianDouble harmonic and overtone scales use more complex alteration: Double Harmonic Overtone (also Lydian Dominant) The following scales use alteration of an already altered scale: Neapolitan Major ‘Neapolitan Minor 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: =e j fe 10There are two forms of this scale called major Pentatonic or minor Pentatonic depending on the inversion of the scale: Major Pentatonic Minor Pentatonic Scales: Symmetrical Scales The scale consisting of all the notes of the well-tempered system is called a chromatic scale: ae hee has abe ps 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 Rimsky-Korsakov scales. Half-Whole Scale Whole-Half Scale ulcales: Exotic Scales This group consists of scales from different cultures, Spanish Hungarian Major Qe reas Hungarian Minor Indian, Iranian or Gypsy i Balinese 12Persian Oriental Japanese Pentatonic Japanese Japanese Second Mode Japanese Fourth Mode be % bo = Om as 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: D Major Ds Major D 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 enharmonically equal to the original scale. And a fourth transposition of the diminished scale would also - enharmonically equal to the original. Augmented First Transposition ‘Augmented Second Transposition Diminished First Transposition (Whole-Half) Diminished Second Transposition (Half-Whole) Diminished Third Transposition (Half-Whole) z bo tee bea 4 ,Scales: Jazz Scales There are a number of scales that derived directly from jazz or became very typical for jazz: Bebop Major Bebop Minor Bebop Dominant Blues (Minor Blues) ‘Major Blues Pentatonic Blues Jazz Minor 15Polytonality ‘The use of polytonality can result in use of scales built from more than one scale. In the following example he chord D7)5}9 calls for two scales: D major and Ab major and the resulting scale contains notes from both scales: Using Scales with Chords Each chord structure limits the number of possible scales. For example, the following scales are possible with he 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 Double Harmonic Lydian Dominant Mixolydian alt6 Lydian Minor Harmonic Major Overtone ‘Augmented Major Pentatonic Gypsy Indian Japanese Bebop Major Bebop minor Bebop Dominant Major Blues However, Mixolydian, Lydian Dominant, Myxolydian alt 6, Lydian minor, Overtone and Bebop dominant have a clear dominant character: Mixolydian Lydian Dominant Mixolydian alt6 Lydian minor Overtone Bebop Dominant 7Augmented, major Pentatonic, Gypsy, Indian and Japanese scales will have very characteristic sound that may not be ideal: Augmented Major Pentatonic Gypsy Indian Japanese Double Harmonic (also Gypsy) 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 Major Pentatonic ‘Major Blues 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 Lydian Minor Overtone Bebop Minor 3 Sometimes the progression of the scale development can bring more tension to the sustained chord, and cre- ate an additional upper structure: Major Lydian 5 Lydian Dominant Mixolydian alt 6 19Practical 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 ‘Sometimes the same scale can be used on top of changing chords. In the following example, E Phrygian scale ecomes D Dorian and then F Lydian: 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 ale instead of many different scales, That might make the choice of the scale more precise but also makes the -reating of the melodic line much easier: Harmonie Major G7Some scales are designed to fit an extended chord progression, This is an example of using the blues scale over the blues progression: Blues Seale Patterns built from the scale help to create a more developed melodic line: 21‘Two note scale patterns: Three note scale patterns: Four note scale patterns: 22LL Patterns offer a number of combinations that can forms: be mixed together. A three-note pattern has six different The polyrythmic combination of a three note pattern with 4/4 meter: 2313213 22132132 31231312 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; Mixolydian This also can be done with seventh chords: colydian 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 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 viv Ye vy yt v Division of the scale in three and accenting the first note in the group: Mixolydian ' voy Vos v Division of the scale in four and accenting the first note in the group: Mixolydian Vv V Vv Vp, bev. V Division of the scale in swing two with a light accent on the second note in the group: Mixolydian vy vieyyy V VoVv_V Division of the scale in two with accents following the bossa nova rhythm: Mixolydian voy 7 v Vee 25‘Combining swinging eights and triplets: Mixolydian vo ve vy yy YE yay Next step in practicing scales is building of the patterns from the scale: Mixolydian viv Voy viv ey vy Combining of the three note pattern and swinging eights accents: Mixolydian V v y Pattern based on the more developed melodic line: een ay vov ‘The left hand can copy the right hand, hold the same chord, or built alternative chord structure on the mate- ial from the same scale: Sa 70 voy 26Mixolydian vv yy | 7 Mixolydian VV vv vey 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 fteedom of choices for building the melodic line. Making choices in the using of scales utilizes knowledge, experience and taste. It also shows artistic person- ality and is one of the keys to develop a personal style. 27SCALESScales Key of C lonian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic, Gypsy, Lydian Dominant Lydian Augmented Lydian Diminished Indian oF Iranian + Mixolydian Alt 6 Locrian Sharp 2 Neapolitan Major Neapolitan Minor Lydian Minor ‘Super Locrian Major Locrian Harmonic Major + Harmonic Minor ‘Ascending Melodie Minor Descending Melodic Minor Natural Minor 5-Mode Melodic Minor Overtone Diminished Whole-Tone ‘Augmented 29Scales Key of 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’ 30Scales Key of D+ or Ci lonian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic, Gypsy, Lydian Dominant Lydian Augmented Lydian Diminished Indian oF Iranian fe Mixolydian Alt 6 Locrian Sharp 2 Neapolitan Major Neapolitan Minor Lydian Minor Super Locrian Major Locrian Harmonic Major Harmonic Minor lic Minor Descending Melodic Minor Natural Minor 5-Mode Melodic Minor Overton 31Scales Key of D+ or C# Major Pentatonic ‘Suspended Pentatonic _ Whole-Tone Diminished, Whole-Halt le Diminished, Hatf-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 Key of D lonian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmoni Gypsy, Lydian Dominant Lydian Augmented Lydian Diminished Indian oF Iranian Mixolydian Alt 6 Locrian Sharp 2 Neapolitan Major Neapolitan Minor Lydian Minor ‘Super Locrian Major Locrian Harmonic Major Harmonic Minor ‘Ascending Melodic Minor Descending Melodie Minor Natural Minor 5-Mode Melodic Minor Overtone Diminished Whole-Tone ‘Augmented 33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:Scales Key of E} lonian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic, Gypsy, Lydian Dominant Lydian Augmented Lydian Diminished Indian or Iranian 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Major Pentatonic Suspended Pentatonic _ Whole-Tone Diminished, Whole-Half Diminished, Haif-Whole Spanish Hungarian Minor Balinese Arabian Persian Oriental Japanese Pentatonic Japanese 2-Mode Japanese 4-Mode = — z —— pa bo ——F = te = be Japanese Prometheus Prometheus Neapolitan Bebop Major Bebop Minor Bebop Dominant Blues Major Blues Pentatonic Blues, Minor Pentatonic 36