Book of Bass Scale - Ed Rogers

CONTENTS
IONIAN b5 MODES 28-29

INTRODUCTION 6 IONIAN b5
THE FRETBOARD 6 DORIAN b4
NOTES OF THE FRETBOARD 7 PHRYGIAN bb3
WHAT ARE SCALES 8 LYDIAN B2
CREATING SCALES METHOD 1 8 SUPER LYDIAN AUGMENTED
CREATING SCALES METHOD 2 9 AEOLIANT bb7
BOX SHAPES 10 LOCRIAN bb6
READING THE SCALES 13
USING THEMAJOR SCALE PATTERN 14 PENTATONIC BOX SHAPES 29-30
WHAT ARE MODES 15 MINOR
CHORCD CONSTRUCTION 15 MAJOR
HOW THIS BOOK WORKS 16 EGYPTIAN
HOW TO PRACTICE SCALES 17 MAN GONG
BLUES MAJOR
MAJOR SCALE MODES 20-21
IONIAN BLUES BOX SHAPES 31-32
DORIAN SHAPE 1
PHRYGIAN SHAPE 2
LYDIAN SHAPE 3
MIXOLYDIAN SHAPE 5
AEOLIAN SHAPE 5
LOCRIAN SHAPE 6
HARMONIC MAJOR MODES 22-23 WHOLE TONE SCALE 33-34

HARMONIC MAJOR
DORIAN b5 CHROMATIC SCALE 33-34
PHRYGIAN b4
LYDIAN b3 AUGMENTED SCALE MODES 33-34
MIXOLYDIAN b9 AUGMENTED
LYDIAN AUGMENTED #2 AUGMENTED INVERSE
LOCRIAN bb7
HARMONIC MINOR MODES 24-25 TRITONE SCALE MODES 35-36

HARMONIC MINOR TRITONE
LOCRIAN #6 MODE 2
IONIAN #5 MODE 3
DORIAN #4
PHRYGIAN #3
LYDIAN #2
MIXOLYDIAN #R
MELODIC MINOR MODES 26-27 PERSIAN SCALE MODES 30-41

MELODIC MINOR PERSIAN
DORIAN b2 IONIAN #2 #6
LYDIAN AUGMENTED CHROMATIC PHRYGIAN INVERSE
LYDIAN b7 TODI
MIXOLYDIAN b6 CHROMATIC MIXOLYDIAN INVERSE
LOCRIAN #2 CHROMACTI HYPODORIAN INVERSE
SUPER LOCRIAN CHROMATIC HYPOPHRYGIAN INVERSE
EDWARD ROGERS 1 THE BOOK OF BASS SCALES

hUNGARIAN MAJOR MODES 42-43 NEAPOLITAN MINOR MODES 52-53
HUNGARIAN MAJOR NEAPOLITAN MINOR
ALT bb6 bb7 LYDIAN #6
LOCRIAN NATURAL 2 7 MIXOLYDIAN #5
ALT NATURAL 6 AEOLIAN #4
MELODIC AUGMENTED LOCRIAN NAT 3
DORIAN b2 #4 IONIAN #2
LYDIAN AUGMENTED #3 ULTRA LOCRIAN bb3
HUNGARIAN MINOR MODES 44-45 DHENUKA SCALE MODES 54-55

HUNGARIAN MINOR DHENUKA
ORIENTAL IONIAN #5 #6
IONIAN AUGMENTED #2 DORIAN AUGMENTED #4
LOCRIAN bb3 bb7 PHRYGIAN NAT 3 #4
DOUBLE HARMONIC MAJOR LYDIAN #2 #3
LYDIAN #2 #6 ULTRA LOCRIAN NAT 2
ALT NATURAL 5 bb7 CHROMATIC MIXOLYDIAN b4
ENIGMATIC MAJOR MODES 46-47 SAMBAH SCALE MODES 56-57

ENIGMATIC MAJOR SAMBAH
CHR HYPOPHRYGIAN ##4 ##5 LOCRIAN bb3
LYDIAN b6 bb7 RAGA SUPRADHIPAM
ARABIAN bb6 LYDIAN AUGMENTED #2 #6
AEOLIAN b4 bb5 MALINI
LOCRIAN bb3 bb4 MELA LATANGI
IONIAN b2 bb3 IONIAN b5 b7
ENIGMATIC MINOR MODES 48-49 BLUES MODIFIED MODES 58-59

ENIGMATIC MINOR BLUES MODIFIED
CHROMATIC MIXOLYDIAN INVERSE ##5 RAVEL bb5
CHROMATIC HYPODORIAN INVERSE ##4 JAZZ MINOR b4
CHROMATIC HYPODORIAN INVERSE 3 DORIAN b2 bb3
ARABIAN #2 7 LYDIAN AUGMENTED b2
CHROMATIC DORIAN bb4 bb5 SUPER LYDIAN AUGMENTED ##4
CHROMATIC DORIAN 7 HINDU bb7
NEAPOLITAN MAJOR MODES 50-51 VERDIS ENIGMATIC MODES 60-61

NEAPOLITAN MAJOR VERDIS ENGIMATC
LYDIAN #5 #6 CHROMATIC PHRYGIAN ##4 ##5
MIXOLYDIAN #5 #11 MELA DHAVALAM BARI
MIXOLYDIAN #11 b13 CHROMATIC HYPOPHRYGIAN b6
ARABIAN PERSIAN #2 bb7
LOCRIAN NAT 2 b4 LOCRIAN bb3 bb4 bb6
SUPERLOCRIAN bb3 CHROMATIC MIXOLYDIAN 6 7

COMPOSITE II MODES 62-63 LOCRIAN NATURAL 7 MODES 72-73
COMPOSITE II LOCRIAN NAT 7
MODE 2 IONIAN #6
MODE 3 DORIAN AUGMENTED
MODE 4 PHRYGIAN #4
CHROMATIC LYDIAN LYDIAN #3
CHROMATIC PHRYGIAN DOMINANT #2
MODE 7 ALTERED ALTERED
BEBOP SCALE MODES 64-65 8 TONE SPANISH SCALE MODES 74-75

BEBOP MAJOR 8 TONE SPANISH
DORIAN BLUES BEBOP IONIAN MINOR
BEBOP PHRYGIAN BEBOP DOUBLE DORIAN
BEBOP LYDIAN MINOR LYDIAN AUGMENTED + b9
MIXOLYDIAN + b9 BEBOP PHRYGIAN DIMINISHED
BEBOP DIMINISHED MINOR BEBOP LYDIAN DOMINANT
BEBOP HARMONIC MINOR BEBOP MIXOLYDIAN AUG
BEBOP LOCRIAN DIMINISHED AEOLIAN BLUES
BEBOP DOMINANT SCALE MODES 66-67 HIRAJOSHI SCALE MODES 76-77

BEBOP DOMINANT HIRAJOSHI
BEBOP MINOR IWATO
BEBOP LOCRIAN + 5 HIDOLITA
LYDIONIAN JAPANESE PENTATONIC
MIXODORIAN RAGA MALASHRI
PHRYGIOLIAN
LYDIOCRIAN
LOCRYDIAN
BEBOP DORIAN SCALE MODES 68-69 PELOG SCALE MODES 78-79

MODE 2 PELOG
MODE 3 RAGA VAIJAYANTI
MODE 4 RAGA KHARMAJI DURGA
MODE 5 MODE 4
MODE 6 IONIAN PENTATONIC
MODE 7
MODE 8
BEBOP LOCRIAN NAT 2 MODES 70-71 DOMINANT SUS SCALE MODES 80-81
BEBOP LOCRIAN NAT 2 DOMINANT SUS
MODE 2 PHRYGIAN HEXATONIC
MODE 3 SCOTTISH HEXATONIC
MODE 4 MINOR HEXATONIC
MODE 5 RITSU
MODE 6 LYDIAN HEXATONIC
MODE 7
MODE 8

KUMOI SCALE MODES 82-83
KUMOI
IN SEN
RAGA HINDOL
HAN KUMOI
RAGA JAYAKAUNS
PROMETHEUS SCALE MODES 84-85

PROMETHEUS
MODE 2
MODE 3
MODE 4
MODE 5
MODE 6
DOMINANT PENTATONIC MODES 86-87

DOMINANT PENTATONIC
CHAIO
RAGA HARIKAUNS
MODE 4
KUNG

INTRODUCTION
Welcome to the Book of Bass scales, a book that does exactly what it says on the front cover!! This
book has been put together to help fellow bass players learn the fingering patterns for a range of
different scales from the many styles of music around the world. Through months of searching
through books, the internet and sharing knowledge with fellow bass players, I have managed to
collect a huge collection of scales which are all found within this book. This book will be a reference
for all bass players.
THE FRETBOARD
The Fretboard is the name we give to the collection of metal strips that run perpendicular to the
strings along the neck of most stringed instruments. These metal strips (frets) separate out the 12
musical notes. The open strings (played without holding the strings down at any frets) are the first
note of each string (B,E,A,D,G or E,A,D,G). The first fret is the second; the second fret is the third and
so on up until the 11th. The 12th fret is an octave (same pitch but higher) above the string tuning.
The 13th fret is an octave above the 1st, 14th is an octave above the 2nd and so on. Below is an
example of the diagrams that you will see throughout this book. The diagram is called a Fretboard
diagram and is used to represent the Fretboard of the bass. These diagrams are used to show the
finger patterns for scales.

NOTES OF THE FRETBOARD
So now we know what a fretboard diagram looks like, we can put the 12 musical notes in place on it.
From this we can start to examIne the relationships between the strings. Figure 1 shows the
fretboard diagram with the string names, Figure 2 shows the notes found at each fret of each string
and Figure 3 shows the fret numbers.
FIG 1
FIG 2
FIG 3
As you can see, the note on the 5th fret of a string is the same as the open string above. This is
because the bass guitar is tuned to the 5th fret of the string below meaning that the bass is a
perfectly symmetrical instrument. The 5th fret and the above open string share the same note pitch
at the same frequency which means they are exactly the same note. Additionally, you can find the
pitch of any note in a different place if you move up a string and back 5 frets or down a string and
forward 5 frets. For example, the note at the 10th fret of the B string is the same note as that found
on the 5th fret of the E string or the open A string.

WHAT ARE SCALES
A scale is an ascending or descending group of notes played one after the next between any note
and its octave.
CREATING SCALES METHOD 1

TONES AND SEMITONES
One of the ways we can create scales is through intervals known as Tones and Semitones. Let’s look
at the length of these intervals. For simplicity, I have coloured coded the intervals so that you can
see how they work on our Fretboard below.
- Semitone (1) – Play the fret next to the note currently being played
- Tone (2) – Miss a fret then play the next (equal to 2 semitones)
- Tri-tone (3) – Miss two frets then play the next (equal to 3 semitones)
- Double Tone (4) – Miss three frets then play the next (equal to 2 Tones/4 Semitones)
So that we can better understand these intervals, let’s take a look at the structure of the major scale.
The interval pattern of the Major Scale is as follows:
- TONE, TONE, SEMITONE, TONE, TONE, TONE, SEMITONE or T-T-S-T-T-T-S
In our diagram below, the root and octave notes have been coloured in purple just highlight the start
and end of the scale. The first note in any scale is known as the root (R). The first purple circle is our
first note, so from there we move a Tone (miss a fret play a fret), followed by another tone, then a
semitone (play next fret) and so on until we reach the octave (which is where our scale ends).

CREATING SCALES METHOD 2
INTERVALS
Ever note between the root and its octave has a name. These are known as intervals. In the table
and diagram below you will see the different interval names and where they are in relation to the
root on the fret board. I have also shown the interval positions for the alternative scale. You will
notice that the alternate intervals are all up a string and back five frets towards the head, all except
the root and the intervals above the root. Furthermore, as you get onto more exotic scales you will
note intervals such as 9th, 11th, 13th, etc. The 9th is another name for the second as it is an octave
above the 2nd. The 11th is another name for the 4th and the 13th is another name for the 6th, etc.
Basically you just add 7 to your interval to get the same interval an octave up.
Interval Name Alternate Name Alternate symbol

R Root
b2 Flat 2nd/Sharp Root Minor 2nd m2
2 2nd Major 2nd M2
b3/#2 Flat 3rd Sharp 2nd Minor 3rd m3
3 3rd Major 3rd M3
P4 Perfect 4th
b5/#4 Flat 5th/Sharp 4th Diminished 5th /augmented 4th Dim 5 /Aug 4
P5 Perfect 5th
b6/#5 Flat 6th/Sharp 5th Minor 6th /Augmented 5th m6 /Aug 5
6 6th Major 6th M6
b7/#6 Flat 7th /Sharp 6th Minor 7th m7
7 7th Major 7th M7

BOX SHAPES
Box shapes are essentially a box with a maximum width of 6 frets that a scale can be fully played
inside. We play scales in box shapes as all the notes fall under a single area that our hands can
quickly move about in. The diagrams below show how a major scale fits into a box shape (remember
if we want to find a note on the string below then we move up 5 frets and down a string). The first
diagram shows the major scale within the 6 fret box shape. In the second image we have selected
the top two notes. In the third image we have moved these two notes down a string by following the
5 fret rule. In this image we have also selected all the notes on the second string of the scale. In the
final image we have moved these notes down again. This gives us the same scale across a single
string.
So now try playing the top image and then the bottom image. Which is easier to play? Now you see
why we play in box shapes.

READING THE SCALES
At this point I am assuming that you know that apart from the open string and first four frets of the
lowest string every note can be played in at least two different places. So let’s explore the diagrams
within this book. Figure 4 shows the Major Scale in one possible pattern; Figure 5 shows how we
change the first pattern to make the second and Figure 6 shows the second pattern. The Red circles
are the Root and Octave; the black circles are the other notes in the scales
FIG 4
FIG 5
FIG 6

We can then change this again to get a third pattern seen below. Figure 7 shows the second pattern
that we created above, Figure 8 shows how we can move the notes to create another pattern and
Figure 9 is the third pattern
FIG 7
FIG 8
FIG 9

USING THE MAJOR SCALE PATTERN
In the diagram below you will see four fretboards (2 without notes and 2 with), each with the major
scale pattern on. Starting on the 1st fret of the E string (Fig 10) we can see that the the notes of the F
Major scale are: F, G, A, Bb, C, D, E
If we then move the pattern to the 3rd fret of the B string then we get the notes of the D Major scale
(Fig 11). Basically this means that I can place the major scale pattern anywhere on the fretboard and
we get the major scale of the root note we pick.
FIG 10
FIG 11
The next diagram is the same as the one we have just seen but with a two octave scale. On these
diagrams I have made the root note and octaves blue, the first scale red and the second scale yellow.
If you look at the notes in the red scale (pattern 1), you will notice that they are identical to the ones
in the yellow scale (pattern 2).

WHAT ARE MODES?
So now that we know how to build the major scale, what would happen if we were to alter the order
of the intervals? Well firstly let’s give some names to the different notes of the scale. One common
way of expressing a note from a scale is to call it a “degree”. For example, the 2nd note of a scale is
the 2nd degree, the 6th note of a scale is the 6th degree. You may also find them under names such as
Tonic, Submediant, Mediant, etc. The table below shows the different names for the different notes
of a scale.
NOTE NAME 1 NAME 2

ROOT ROOT/1ST DEGREE TONIC
2ND NOTE 2ND DEGREE SUPERTONIC
3RD NOTE 3RD DEGREE MEDIANT
4TH NOTE 4TH DEGREE SUBDOMINANT
5TH NOTE 5TH DEGREE DOMINANT
6TH NOTE 6TH DEGREE SUBMEDIANT
7TH NOTE 7TH DEGREE LEADING TONE
The Major Scale can be said to be built off the TONIC with a pattern of tones and semitones: T-T-S-T-
T-T-S. If we were to build the scale from the SUPERTONIC then we would have a different scale. By
starting from the SUPERTONIC we discard the first Tone of the interval pattern and instead add it to
the end changing the pattern.
T-T-S-T-T-T-S = T-S-T-T-T-S-T
This pattern is known as the Dorian Scale. Similarly if we were to start the pattern from the
SUBDOMIANT (4th note) then we would remove the first three intervals of the pattern and add them
to the end giving us a scale known as the Lydian Scale.
T-T-S-T-T-T-S = T-T-T-S-T-T-S
The table below shows the names of the scale built off the different intervals of the Major Scale, as
well as the interval structure and an example of the notes from the key of C. Figure 12 is a visual
representation of what we have been discussing
MAJOR SCALE DORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN LOCRIAN

T-T-S-T-T-T-S T-S-T-T-T-S-T S-T-T-T-S-T-T T-T-T-S-T-T-S T-T-S-T-T-S-T T-S-T-T-S-T-T S-T-T-S-T-T-T
C-D-E-F-G-A-B D-E-F-G-A-B-C E-F-G-A-B-C-D F-G-A-B-C-D-E G-A-B-C-D-E-F A-B-C-D-E-F-G B-C-D-E-F-G-A
FIG 12

CHORD CONSTUCTION
You will notice next to every traditional western scale (7 notes) there is a scale type name such as
major, minor, diminished, etc. These tell you exactly what type of scale they are and the chord types
to play them over. To determine what type a scale is we look at the Root-3rd-5th-7th. In the diagrams
below you will see all scale types plus how they are made up. The exotic scales have been excluded
from this to avoid unnecessary confusion.
Major
R-3-5-7
Minor
R-b3-5-b7
Dominant
R-3-5-b7
Diminished
R-b3-b5-b7
Augmented
R-3-#5-7

HOW THIS BOOK WORKS
The scales throughout the book are laid out in a two page format. Each left page will have a scale
followed by its modes. The fret board diagram next to each of these scales will show the finger
pattern to play the scale through two octaves (first octave in blue, second octave in green). In
addition to this, the left page will:
- show how the scale is created in intervals
- show how it is created in tones and semitones
- show the name of each mode plus alternate names
Each right page will have the

same scales with another
fret board diagram. This
second diagram will show an
alternative finger pattern for
the first octave whilst the
second octave will be one of
the two patterns on the left
page. The idea behind this is
to show the different finger
patterns for each scale
allowing any bass player to
be able to find their way
around the fret board
quicker.
It is also important to note

that these scales have been written on a 5 string bass with B,E,A,D,G tuning (standard tuning where
each string is tuned to the fifth fret of the string below) because you can write out a perfect two
octave scale. This is for convenience more than anything so those of you with a traditional 4 string
bass need not worry. Simply remove the top line of each scale and you have the scale across the four
strings. It is also important to note that you only need 3 strings to play a scale within a box shape so
don’t panic about not having a 5 string bass. Additionally, these are patterns so the major scale
pattern works for all 12 musical keys. This makes learning the scales a much easier task.
So now that we know how to make up the 3 positions, let’s take a quick look at the major scale as It
appears in the book. As you can see from the diagram below, the two octaves are made up of
pattern 1 up to the first octave and pattern 2 for the second. You can also see what intervals it uses,
its pattern of tones and semitones, the Chord that is played over it and an alternate name.

HOW TO PRACTICE SCALES
Let’s now have a quick look at how to practice scales. To begin with I suggest practicing the scales
ascending and then descending so that you can get used to the finger patterns. Try practicing the
three patterns through one octave and then move up to two once you can do them without
thinking.
Another good way of learning and practicing scales is to play them in intervals. For example, the
scale you see below is the major scale played in thirds. This means that after every note you play a
third. I shall highlight the 3rds in this pattern: Root – 3rd – 2nd – 4th – 3rd – 5th – 4th – 6th etc. To
simplify this play the Root of your scale. This is our first note (1). Now count up two notes and play
the 3rd note of the scale (3). Now play the 2nd note of the scale (we shall call this number 1 again).
Now count up two notes and play the 4th note of the scale (this is the 3rd interval from the 2nd note of
the scale). Now continue this pattern up until you reach the octave of the scale.
This method of practicing scales can be done all the way up to 7th intervals. I have provided the
major scale in 3rds and 4ths both ascending and descending. I suggest getting some paper and
working out the patterns for the scales yourselves.

WESTERN
SCALES

MAJOR SCALE MODES
Ionian R-2-3-P4-P5-6-7
(Major Scale) 2-2-1-2-2-2-1
Major
Dorian R-2-b3-P4-P5-6-b7
2-1-2-2-2-1-2
Minor
Phrygian R-b2-b3-P4-P5-b6-b7
1-2-2-2-1-2-2
Minor
Lydian R-2-3-#4-P5-6-7
2-2-2-1-2-2-1
Major
Mixolydian R-2-3-P4-P5-6-b7
2-2-1-2-2-1-2
Dominant
Aeolian R-2-b3-P4-P5-b6-b7
(Minor Scale) 2-1-2-2-1-2-2
Minor
Locrian R-b2-b3-P4-b5-b6-b7
1-2-2-1-2-2-2
Diminished

MAJOR SCALE MODES – ALTERNATIVE
Ionian
(Major Scale)
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
(Minor Scale)
Locrian

HARMONIC MAJOR SCALE MODES
Harmonic Major R-2-3-P4-P5-b6-7

(Ionian b6) 2-2-1-2-1-3-1
Major
Dorian b5 R-2-b3-P4-b5-6-b7
2-1-2-1-3-1-2
Diminished
Phrygian b4 R-b2-b3-b4-P5-b6-b7
1-2-1-3-1-2-2
Minor
Lydian b3 R-2-b3-#4-P5-6-7
2-1-3-1-2-2-1
Minor
Mixolydian b9 R-b2-3-P4-P5-6-b7
(Mixolydian b2) 1-3-1-2-2-1-2
Dominant
Lydian Augmented #2 R-#2-3-#4-#5-6-7

(#2 + #5) 3-1-2-2-1-2-1
Augmented
Locrian bb7 R-b2-b3-P4-b5-b6-bb7

(Locrian Diminished 7) 1-2-2-1-2-1-3
Diminished

HARMONIC MAJOR SCALE MODES – ALTERNATIVE
Harmonic Major
(Ionian b6)
Dorian b5
Phrygian b4
Lydian b3
Mixolydian b9
(Mixolydian b2)
Lydian Augmented #2
(#2 + #5)
Locrian bb7
(Locrian Diminished 7)

HARMONIC MINOR SCALE MODES
Harmonic Minor R-2-b3-P4-P5-b6-7

(Aeolian #7) 2-1-2-2-1-3-1
Minor
Locrian #6 R-b2-b3-P4-b5-6-b7
1-2-2-1-3-1-2
Diminished
Ionian #5 R-2-3-P4-#5-6-7
(Ionian Augmented) 2-2-1-3-1-2-1
Augmented
Dorian #4 R-2-b3-#4-P5-6-b7
(Romanian) 2-1-3-1-2-1-2
Minor
Phrygian #3 R-b2-3-P4-P5-b6-b7
(Spanish Gypsy) 1-3-1-2-1-2-2
Dominant
Lydian #2 R-#2-3-#4-P5-6-7
3-1-2-1-2-2-1
Major
Mixolydian #R #R-2-3-P4-P5-6-b7
(Ultra Locrian) 1-2-1-2-2-1-3
Diminished

HARMONIC MINOR SCALE MODES – ALTERNATIVE
Harmonic Minor
(Aeolian #7)
Locrian #6
Ionian #5
(Ionian Augmented)
Dorian #4
(Romanian)
Phrygian #3
(Spanish Gypsy)
Lydian #2
Mixolydian #R
(Ultra Locrian)

MELODIC MINOR SCALE MODES
Melodic Minor R-2-b3-P4-P5-6-7

(Ionian b3) 2-1-2-2-2-2-1
Minor
Dorian b2 R-b2-b3-P4-P5-6-b7
1-2-2-2-2-1-2
Minor
Lydian Augmented R-2-3-#4-#5-6-7

(Phrygian b1) 2-2-2-2-1-2-1
Augmented
Lydian b7 R-2-3-#4-P5-6-b7
(Overtone) 2-2-2-1-2-1-2
Dominant
Mixolydian b6 R-2-3-P4-P5-b6-b7
(Hindu) 2-2-1-2-1-2-2
Dominant
Locrian #2 R-2-b3-P4-b5-b6-b7
(Aeolian b5) 2-1-2-1-2-2-2
Diminished
Super Locrian R-b2-b3-b4-b5-b6-b7

(Altered) 1-2-1-2-2-2-2
Diminished

MELODIC MINOR SCALE MODES – ALTERNATIVE
Melodic Minor
(Ionian b3)
Dorian b2
Lydian Augmented
(Phrygian b1)
Lydian b7
(Overtone)
Mixolydian b6
(Hindu)
Locrian #2
(Aeolian b5)
Super Locrian
(Altered)

IONIAN B5 MODES
Ionian b5 R-2-3-P4-b5-6-7
2-2-1-1-3-2-1
Diminished
Dorian b4 R-2-b3-b4-P5-6-b7
2-1-1-3-2-1-2
Minor
Phrygian bb3 R-b2-bb3-P4-P5-b6-b7

1-1-3-2-1-2-2
Minor
Lydian b2 R-b2-3-#4-P5-6-7
1-3-2-1-2-2-1
Major
Super Lydian Augmented R-#2-P4-#4-#5-b7-7

3-2-1-2-2-1-1
Diminished
Aeolian bb7 R-2-b3-P4-P5-b6-bb7

2-1-2-2-1-1-3
Minor
Locrian bb6 R-b2-b3-P4-b5-bb6-b7

1-2-2-1-1-3-2
Diminished

IONIAN B5 MODES – ALTERNATIVE
Ionian b5
Dorian b4
Phrygian bb3
Lydian b2
Super Lydian Augmented
Aeolian bb7
Locrian bb6

PENTATONIC BOX SHAPES
Shape 1 R-b3-P4-P5-b7
(Minor) 3-2-2-3-2
Shape 2 R-2-3-P5-6
(Major/Mongolian) 2-2-3-2-3
Shape 3 R-2-P4-P5-b7
(Egyptian) 2-3-2-3-2
(Suspended Pentatonic)
Shape 4 R-b3-P4-b6-b7
(Man Gong) 3-2-3-2-2
(Blues Minor)
Shape 5 R-2-P4-P5-6
(Ritusen) 2-3-2-2-3
(Blues Major)

PENTATONIC BOX SHAPES – ALTERNATIVE
Shape 1
(Minor)
Shape 2
(Major/Mongolian)
Shape 3
(Egyptian)
(Suspended Pentatonic)
Shape 4
(Man Gong)
(Blues Minor)
Shape 5
(Ritusen)
(Blues Major)

BLUES BOX SHAPES
Shape 1 R-b3-P4-b5-P5-b7
(Minor) 3-2-1-1-3-2
Shape 2 R-2-b3-3-P5-6
(Major) 2-1-1-3-2-3
(Blues Dorian Hexatonic)
Shape 3 R-b2-2-P4-P5-b7
1-1-3-2-3-2
Shape 4 R-b2-3-#4-6-7
1-3-2-3-2-1
Shape 5 R-b3-P4-b6-b7-7
3-2-3-2-1-1
Shape 6 R-2-P4-P5-b6-6
2-3-2-1-1-3

BLUES BOX SHAPES – ALTERNATIVE
Shape 1
(Minor)
Shape 2
(Major)
(Blues Dorian Hexatonic)
Shape 3
Shape 4
Shape 5
Shape 6

WHOLE TONE SCALE
Whole Tone Scale R-2-3-#4-#5-b7
2-2-2-2-2-2
CHROMATIC SCALE
Chromatic R-b2-2-b3-3-P4-b5-P5-b6-6-b7-7
1-1-1-1-1-1-1-1-1-1-1-1
AUGMENTED SCALE MODES

Augmented R-#2-3-P5-b6-7
3-1-3-1-3-1
Augmented Inverse R-b2-3-P4-#5-6

1-3-1-3-1-3
DIMINISHED SCALE MODES
Whole-Half Diminished R-2-b3-P4-b5-#5-6-7

2-1-2-1-2-1-2-1
Half-Whole Diminished R-b2-b3-b4-b5-P5-6-b7

(Octatonic) 1-2-1-2-1-2-1-2

WHOLE TONE SCALE - ALTERNATIVE
Whole Tone Scale
CHROMATIC SCALE - ALTERNATIVE

Augmented
AUGMENTED SCALE MODES - ALTERNATIVE

Augmented
Augmented Inverse
DIMINISHED SCALE MODES - ALTERNATIVE
Whole-Half Diminished
Half-Whole Diminished
(Octatonic)

TRITONE SCALE MODES
Tritone R-b2-3-#4-P5-b7
1-3-2-1-3-2
Mode 2 R-b3-P4-b5-6-7
3-2-1-3-2-1
Mode 3 R-2-b3-#4-#5-6
2-1-3-2-1-3

TRITONE SCALE MODES - ALTERNATIVE
Tritone
Mode 2
Mode 3

EXOTIC
SCALES

PERSIAN SCALE MODES
Persian R-b2-3-P4-b5-b6-7
1-3-1-1-2-3-1
Ionian #2 #6 R-#2-3-P4-P5-#6-7
3-1-1-2-3-1-1
Chromatic Phrygian R-b2-bb3-b4-P5-b6-bb7

Inverse 1-1-2-3-1-1-3
Todi R-b2-b3-#4-P5-b6-7
1-2-3-1-1-3-1
Chromatic Mixolydian R-2-#3-#4-P5-#6-7

Inverse 2-3-1-1-3-1-1
Chromatic Hypodorian R-#2-3-P4-#5-6-b7

Inverse 3-1-1-3-1-1-2
Chromatic Hypophrygian R-b2-bb3-P4-b5-bb6-bb7

Inverse 1-1-3-1-1-2-3

PERSIAN SCALE MODES – ALTERNATIVE
Persian
Ionian #2 #6
Chromatic Phrygian
Inverse
Todi
Chromatic Mixolydian
Inverse
Chromatic Hypodorian
Inverse
Chromatic Hypophrygian
Inverse

HUNGARIAN MAJOR MODES
Hungarian Major R-#2-3-#4-P5-6-b7

3-1-2-1-2-1-2
Alt bb6 bb7 R-b2-b3-b4-b5-bb6-bb7

1-2-1-2-1-2-3
Locrian Natural 2 7 R-2-b3-P4-b5-b6-7

(Harmonic Minor b5) 2-1-2-1-2-3-1
Alt Natural 6 R-b2-b3-b4-b5-6-b7

(Superlocrian #6) 1-2-1-2-3-1-2
Melodic Augmented R-2-b3-P4-#5-6-7

(Jazz Minor #5) 2-1-2-3-1-2-1
Dorian b2 #4 R-b2-b3-#4-P5-6-b7
1-2-3-1-2-1-2
Lydian Augmented #3 R-2-#3-#4-#5-6-7

2-3-1-2-1-2-1

HUNGARIAN MAJOR MODES – ALTERNATIVE
Hungarian Major
Alt bb6 bb7
Locrian Natural 2+7

(Harmonic Minor b5)
Alt Natural 6
(Superlocrian #6)
Melodic Augmented
(Jazz Minor #5)
Dorian b2 #4
Lydian Augmented #3

HUNGARIAN MINOR MODES
Hungarian Minor R-2-b3-#4-P5-b6-7

(Algerian) 2-1-3-1-1-3-1
Oriental R-b2-3-P4-b5-6-b7
1-3-1-1-3-1-2
Ionian Augmented #2 R-#2-3-P4-#5-6-7

3-1-1-3-1-2-1
Locrian bb3 bb7 R-b2-bb3-P4-b5-b6-bb7

1-1-3-1-2-1-3
Double Harmonic R-b2-3-P4-P5-b6-7

Major 1-3-1-2-1-3-1
Lydian #2 #6 R-#2-3-#4-P5-#6-7
3-1-2-1-3-1-1
Alt Natural 5 bb7 R-b2-b3-b4-P5-b6-bb7

1-2-1-3-1-1-3

HUNGARIAN MINOR MODES – ALTERNATIVE
Hungarian Minor
(Algerian)
Oriental
Ionian Augmented #2
Locrian bb3 bb7
Double Harmonic Major
Lydian #2 #6
Alt Natural 5 bb7

ENIGMATIC MAJOR MODES
Enigmatic Major R-b2-3-#4-#5-#6-7

1-3-2-2-2-1-1
Chr Hypophrygian R-#2-#3-##4-##5-#6-7

##4 ##5 3-2-2-2-1-1-1
Lydian b6 bb7 R-2-3-#4-P5-b6-bb7

2-2-2-1-1-1-3
Arabian bb6 R-2-3-P4-b5-bb6-b7

2-2-1-1-1-3-2
Aeolian b4 bb5 R-2-b3-b4-bb5-b6-b7

2-1-1-1-3-2-2
Locrian bb3 bb4 R-b2-bb3-bb4-b5-b6-b7

1-1-1-3-2-2-2
Ionian b2 bb3 R-b2-bb3-P4-P5-6-7

1-1-3-2-2-2-1

ENIGMATIC MAJOR MODES – ALTERNATIVE
Enigmatic Major
Chr Hypophrygian ##4 ##5
Lydian b6 bb7
Arabian bb6
Aeolian b4 bb5
Locrian bb3 bb4
Ionian b2 bb3

ENIGMATIC MINOR MODES
Enigmatic Minor R-b2-b3-#4-P5-#6-7

1-2-3-1-3-1-1
Chromatic Mixolydian R-2-#3-#4-##5-#6-7

Inverse ##5 2-3-1-3-1-1-1
Chromatic Hypodorian R-#2-3-##4-#5-6-b7

Inverse ##4 3-1-3-1-1-1-2
Chromatic Hypodorian R-b2-3-P4-b5-bb6-bb7

Inverse 3 1-3-1-1-1-2-3
Arabian #2 7 R-#2-3-P4-b5-b6-7
3-1-1-1-2-3-1
Chromatic Dorian R-b2-bb3-bb4-bb5-b6-bb7

bb4 bb5 1-1-1-2-3-1-3
Chromatic Dorian 7 R-b2-bb3-b4-P5-b6-7

1-1-2-3-1-3-1

ENIGMATIC MINOR MODES – ALTERNATIVE
Enigmatic Minor
Chromatic Mixolydian
Inverse ##5
Inverse ##4
Inverse 3
Arabian #2 7
Chromatic Dorian
bb4 bb5
Chromatic Dorian 7

NEAPOLITAN MAJOR MODES
Neapolitan Major R-b2-b3-P4-P5-6-7

1-2-2-2-2-2-1
Lydian #5 #6 R-2-3-#4-#5-#6-7
(Leading Whole Tone) 2-2-2-2-2-1-1
Mixolydian #5 #11
(Lydian dominant R-2-3-#4-#5-6-b7
Augmented) 2-2-2-2-1-1-2
Mixolydian #11 b13 R-2-3-#4-P5-b6-b7

(Lydian b6 b7) 2-2-2-1-1-2-2
(Lydian Minor)
Arabian R-2-3-P4-b5-b6-b7
(Major Locrian) 2-2-1-1-2-2-2
Locrian Nat 2 b4 R-2-b3-b4-b5-b6-b7

(Half Diminished b4) 2-1-1-2-2-2-2
Superlocrian bb3 R-b2-bb3-b4-b5-b6-b7

1-1-2-2-2-2-2

NEAPOLITAN MAJOR MODES – ALTERNATIVE
Neapolitan Major
Lydian #5 #6
(Leading Whole Tone)
Mixolydian #5 #11
(Lydian dominant
Augmented)
Mixolydian #11 b13

(Lydian b6 b7)
(Lydian Minor)
Arabian
(Major Locrian)
Locrian Nat 2 b4
(Half Diminished b4)
Superlocrian bb3

NEAPOLITAN MINOR MODES
Neapolitan Minor R-b2-b3-P4-P5-b6-7

1-2-2-2-1-3-1
Lydian #6 R-2-3-#4-P5-#6-7
2-2-2-1-3-1-1
Mixolydian #5 R-2-3-P4-#5-6-b7
(Mixolydian 2-2-1-3-1-1-2
Augmented)
Aeolian #4 R-2-b3-#4-P5-b6-b7
(Hungarian Gypsy) 2-1-3-1-1-2-2
Locrian Nat 3 R-b2-3-P4-b5-b6-b7

(Locrian Dominant) 1-3-1-1-2-2-2
Ionian #2 R-#2-3-P4-P5-6-7
3-1-1-2-2-2-1
Ultra Locrian bb3 R-b2-bb3-b4-b5-b6-bb7

1-1-2-2-2-1-3

NEAPOLITAN MINOR MODES – ALTERNATIVE
Neapolitan Minor
Lydian #6
Mixolydian #5
(Mixolydian Augmented)
Aeolian #4
(Hungarian Gypsy)
Locrian Nat 3
(Locrian Dominant)
Ionian #2
Ultra Locrian bb3

DHENUKA SCALE MODES
Dhenuka R-b2-b3-P4-b5-6-7
1-2-2-1-3-2-1
Ionian #5 #6 R-2-3-P4-#5-#6-7
2-2-1-3-2-1-1
Dorian Augmented #4 R-2-b3-#4-#5-6-b7

2-1-3-2-1-1-2
Phrygian Nat 3 #4 R-b2-3-#4-P5-b6-b7

1-3-2-1-1-2-2
Lydian #2 #3 R-#2-#3-#4-P5-6-7
3-2-1-1-2-2-1
Ultra Locrian Nat 2 R-2-b3-b4-b5-b6-bb7

2-1-1-2-2-1-3
Chromatic Mixolydian R-b2-bb3-b4-b5-bb6-b7

b4 1-1-2-2-1-3-2

DHENUKA SCALE MODES – ALTERNATIVE
Dhenuka
Ionian #5 #6
Dorian Augmented #4
Phrygian Nat 3 #4
Lydian #2 #3
Ultra Locrian Nat 2
Chromatic Mixolydian b4

SAMBAH SCALE MODES
Sambah R-2-b3-b4-P5-b6-b7
2-1-1-3-1-2-2
Locrian bb3 R-b2-bb3-P4-b5-b6-b7

1-1-3-1-2-2-2
Raga Supradhipam R-b2-3-P4-P5-6-7

(Ionian b2) 1-3-1-2-2-2-1
Lydian augmented R-#2-3-#4-#5-#6-7

#2 #6 3-1-2-2-2-1-1
Malini R-b2-b3-P4-P5-b6-bb7
1-2-2-2-1-1-3
Mela Latangi R-2-3-#4-P5-b6-7

2-2-2-1-1-3-1
Ionian b5 b7 R-2-3-P4-b5-6-b7
2-2-1-1-3-1-2

SAMBAH SCALE MODES – ALTERNATIVE
Sambah
Locrian bb3
Raga Supradhipam
(Ionian b2)
Lydian augmented #2 #6
Malini
Mela Latangi
Ionian b5 b7

BLUES MODIFIED SCALE MODES
Blues Modified R-2-b3-P4-b5-bb6-b7

2-1-2-1-1-3-2
Ravel bb5 R-b2-b3-b4-bb5-b6-b7

1-2-1-1-3-2-2
Jazz Minor b4 R-2-b3-b4-P5-6-7

2-1-1-3-2-2-1
Dorian b2 bb3 R-b2-bb3-P4-P5-6-b7

1-1-3-2-2-1-2
Lydian Augmented b2 R-b2-3-#4-#5-6-7

1-3-2-2-1-2-1
Super Lydian R-#2-#3-##4-#5-#6-7

Augmented ##4 3-2-2-1-2-1-1
Hindu bb7 R-2-3-P4-P5-b6-bb7

2-2-1-2-1-1-3

BLUES MODIFIED SCALE MODES – ALTERNATIVE
Blues Modified
Ravel bb5
Jazz Minor b4
Dorian b2 bb3
Lydian Augmented b2
Super Lydian Augmented ##4
Hindu bb7

VERDIS ENIGMATIC SCALE MODES
Verdis Enigmatic R-b2-3-P4-#5-#6-7

1-3-1-3-2-1-1
Chromatic Phrygian R-#2-3-##4-##5-#6-7

##4 ##5 3-1-3-2-1-1-1
Mela Dhavalam Bari R-b2-3-#4-P5-b6-bb7

1-3-2-1-1-1-3
Chromatic R-#2-#3-#4-P5-b6-7
Hypophrygian b6 3-2-1-1-1-3-1
Persian #2 bb7 R-2-b3-b4-bb5-b6-bb7

2-1-1-1-3-1-3
Locrian bb3 bb4 bb6 R-b2-bb3-bb4-b5-bb6-b7

1-1-1-3-1-3-2
Chromatic Mixolydian R-b2-bb3-P4-b5-6-7

67 1-1-3-1-3-2-1

VERDIS ENIGMATIC SCALE MODES – ALTERNATIVE
Verdis Enigmatic
Chromatic Phrygian ##4 ##5
Mela Dhavalam Bari
Chromatic Hypophrygian b6
Persian #2 bb7
Locrian bb3 bb4 bb6
Chromatic Mixolydian 6 7

COMPOSITE II MODES
Composite II R-b2-3-#4-P5-b6-7
1-3-2-1-1-3-1
Mode 2 R-#2-#3-#4-P5-#6-7
3-2-1-1-3-1-1
Mode 3 R-2-b3-b4-P5-b6-bb7
2-1-1-3-1-1-3
Mode 4 R-b2-bb3-P4-b5-bb6-b7
1-1-3-1-1-3-2
Chromatic Lydian R-b2-3-P4-b5-6-7

1-3-1-1-3-2-1
Chromatic Phrygian R-#2-3-P4-#5-#6-7

3-1-1-3-2-1-1
Mode 7 R-b2-bb3-P4-P5-b6-bb7
1-1-3-2-1-1-3

COMPOSITE II MODES – ALTERNATIVE
Composite II
Mode 2
Mode 3
Mode 4
Chromatic Lydian
Chromatic Phrygian
Mode 7

BEBOP SCALE MODES
Bebop Major R-2-3-P4-P5-b6-6-7

2-2-1-2-1-1-2-1
Dorian Blues R-2-b3-P4-b5-P5-6-b7

2-1-2-1-1-2-1-2
Bebop Phrygian R-b2-b3-3-P4-P5-b6-7

1-2-1-1-2-1-2-2
Bebop Lydian Minor R-2-b3-b4-#4-P5-6-7

2-1-1-2-1-2-2-1
Mixolydian + b9 R-b2-2-3-P4-P5-6-b7
1-1-2-1-2-2-1-2
Bebop Diminished R-b2-b3-3-#4-#5-6-7

Minor 1-2-1-2-2-1-2-1
Bebop Harmonic Minor R-2-b3-P4-P5-b6-b7-7

(Raga Suha) 2-1-2-2-1-2-1-1
Bebop Locrian R-b2-b3-P4-b5-b6-6-b7

Diminished 1-2-2-1-2-1-1-2

BEBOP SCALE MODES – ALTERNATIVE
Bebop Major
Dorian Blues
Bebop Phrygian
Bebop Lydian Minor
Mixolydian + b9
Bebop Diminished
Minor
Bebop Harmonic Minor

(Raga Suha)
Bebop Locrian
Diminished

BEBOP DOMINANT SCALE MODES
Bebop Dominant R-2-3-P4-P5-6-b7-7

(Mixolydian + 7) 2-2-1-2-2-1-1-1
Bebop Minor R-2-b3-P4-P5-b6-6-b7

(Aeolian + 6) 2-1-2-2-1-1-1-2
Bebop Locrian +5 R-b2-b3-P4-b5-P5-b6-b7

(Locrian + 5) 1-2-2-1-1-1-2-2
Lydionian R-2-3-P4-b5-P5-6-7
(Ionian + #4) 2-2-1-1-1-2-2-1
Mixodorian R-2-b3-3-P4-P5-6-b7
(Dorian + 3) 2-1-1-1-2-2-1-2
Phrygiolian R-b2-2-b3-P4-P5-b6-b7
(Phrygian + 2) 1-1-1-2-2-1-2-2
Lydiocrian R-b2-2-3-#4-P5-6-7
(Lydian + b2) 1-1-2-2-1-2-2-1
Locrydian R-b2-b3-P4-b5-b6-b7-7
(Locrian + 7) 1-2-2-1-2-2-1-1

BEBOP DOMINANT SCALE MODES – ALTERNATIVE
Bebop Dominant
(Mixolydian + 7)
Bebop Minor
(Aeolian + 6)
Bebop Locrian +5
(Locrian + 5)
Lydionian
(Ionian + #4)
Mixodorian
(Dorian + 3)
Phrygiolian
(Phrygian + 2)
Lydiocrian
(Lydian + b2)
Locrydian
(Locrian + 7)

BEBOP DORIAN SCALE MODES
Bebop Dorian R-2-#2-3-P4-P5-6-b7

2-1-1-1-2-2-1-2
Mode 2 R-b2-2-b3-3-P4-P5-b6-b7
1-1-1-2-2-1-2-2
Mode 3 R-b2-2-3-#4-P5-6-7
1-1-2-2-1-2-2-1
Mode 4 R-b2-b3-P4-b5-b6-b7-7
1-2-2-1-2-2-1-1
Mode 5 R-2-3-P4-P5-6-b7-7
2-2-1-2-2-1-1-1
Mode 6 R-2-b3-P4-P5-b6-6-b7
2-1-2-2-1-1-1-2
Mode 7 R-b2-b3-P4-#4-P5-b6-b7
1-2-2-1-1-1-2-2
Mode 8 R-2-3-P4-#4-P5-6-7
2-2-1-1-1-2-2-1

BEBOP DORIAN SCALE MODES – ALTERNATIVE
Bebop Dorian
Mode 2
Mode 3
Mode 4
Mode 5
Mode 6
Mode 7
Mode 8

BEBOP LOCRIAN NAT 2 SCALE MODES
Bebop Locrian natural 2 R-2-b3-P4-b5-b6-b7-7

2-1-2-1-2-2-1-1
Mode 2 R-b2-b3-3-#4-#5-6-b7
1-2-1-2-2-1-1-2
Mode 3 R-2-b3-P4-P5-#5-6-7
2-1-2-2-1-1-2-1
Mode 4 R-b2-b3-P4-#4-P5-6-b7
1-2-2-1-1-2-1-2
Mode 5 R-2-3-P4-b5-#5-6-7
2-2-1-1-2-1-2-1
Mode 6 R-2-b3-3-#4-P5-6-b7
2-1-1-2-1-2-1-2
Mode 7 R-b2-2-3-P4-P5-b6-b7
1-1-2-1-2-1-2-2
Mode 8 R-b2-b3-3-#4-P5-6-7
1-2-1-2-1-2-2-1

BEBOP LOCRIAN N2 SCALE MODES – ALTERNATIVE
Bebop Locrian Natural 2
Mode 2
Mode 3
Mode 4
Mode 5
Mode 6
Mode 7
Mode 8

LOCRIAN NATURAL 7 MODES
Locrian Nat 7 R-b2-b3-P4-b5-b6-7

1-2-2-1-2-3-1
Ionian #6 R-2-3-P4-P5-#6-7
2-2-1-2-3-1-1
Dorian Augmented R-2-b3-P4-#5-6-b7

2-1-2-3-1-1-2
Phrygian #4 R-b2-b3-#4-P5-b6-b7
1-2-3-1-1-2-2
Lydian #3 R-2-#3-#4-P5-6-7
2-3-1-1-2-2-1
Dominant #2 R-#2-3-P4-P5-6-b7
3-1-1-2-2-1-2
Altered Altered R-b2-bb3-3-b5-bb6-bb7

1-1-2-2-1-2-3

LOCRIAN NAT 7 MODES – ALTERNATIVE
Locrian Nat 7
Ionian #6
Dorian Augmented
Phrygian #4
Lydian #3
Dominant #2
Altered Altered

8 TONE SPANISH SCALE MODES
8 Tone Spanish R-b2-b3-3-P4-b5-b6-b7

1-2-1-1-1-2-2-2
Bebop Ionian Minor R-2-#2-3-P4-P5-6-7

2-1-1-1-2-2-2-1
Bebop Double Dorian R-b2-2-b3-P4-P5-6-b7

(Adonai Malakh) 1-1-1-2-2-2-1-2
Lydian Augmented + b9 R-b2-2-3-#4-#5-6-7

1-1-2-2-2-1-2-1
Bebop Phrygian R-b2-b3-P4-P5-b6-b7-7

Diminished 1-2-2-2-1-2-1-1
Bebop Lydian Dominant R-2-3-#4-P5-6-b7-7

2-2-2-1-2-1-1-1
Bebop Mixolydian Aug R-2-3-P4-P5-#5-6-b7

2-2-1-2-1-1-1-2
Aeolian Blues R-2-b3-P4-#4-P5-b6-b7

2-1-2-1-1-1-2-2

8 TONE SPANISH SCALE MODES – ALTERNATIVE
8 Tone Spanish
Bebop Ionian Minor
Bebop Double Dorian

(Adonai Malakh)
Lydian Augmented + b9
Bebop Phrygian Diminished
Bebop Lydian Dominant
Bebop Mixolydian Aug
Aeolian Blues

HIRAJOSHI SCALE MODES
Hirajoshi R-2-b3-P5-b6
2-1-4-1-4
Iwato R-b2-P4-b5-b7
1-4-1-4-2
Hindolita R-3-P4-6-7
(Raga Bhinna Shadja) 4-1-4-2-1
Japanese Pentatonic R-b2-P4-P5-b6

1-4-2-1-4
Raga Malashri R-3-#4-P5-7

4-2-1-4-1

HIROJOSHI SCALE MODES – ALTERNATIVE
Hirajoshi
Iwato
Hindolita
(Raga Bhinna Shadja)
Japanese Pentatonic
Raga Malashri

PELOG SCALE MODES
Pelog Scale R-b2-b3-P5-b6

(Balinese) 1-2-4-1-4
Raga Vaijayanti R-2-#4-P5-7

2-4-1-4-1
Raga Khamaji Durga R-3-P4-6-b7

4-1-4-1-2
Mode 4 R-b2-P4-b5-b6
1-4-1-2-4
Ionian Pentatonic R-3-P4-P5-7

(Raga Gambhiranata) 4-1-2-4-1

PELOG SCALE MODES – ALTERNATIVE
Pelog Scale
(Balinese)
Raga Vaijayanti
Raga Khamaji Durga
Mode 4
Ionian Pentatonic
(Rage Gambhiranata)

DOMINANT SUS SCALE MODES
Dominant sus R-2-P4-P5-6-b7

2-3-2-2-1-2
Phrygian Hexatonic R-b3-P4-P5-b6-b7

3-2-2-1-2-2
Scottish Hexatonic R-2-3-P4-P5-6

2-2-1-2-2-3
Minor Hexatonic R-2-b3-P4-P5-b7

2-1-2-2-3-2
Ritsu R-b2-b3-P4-b6-b7
1-2-2-3-2-2
Lydian Hexatonic R-2-3-P5-6-7

2-2-3-2-2-1

DOMINANT SUS SCALE MODES – ALTERNATIVE
Dominant sus
Phrygian Hexatonic
Scottish Hexatonic
Minor Hexatonic
Ritsu
Lydian Hexatonic

KUMOI SCALE MODES
Kumoi R-2-b3-P5-6
2-1-4-2-3
In Sen R-b2-P4-P5-b7
1-4-2-3-2
Raga Hindol R-3-#4-6-7

4-2-3-2-1
Han Kumoi R-2-P4-P5-b6

2-3-2-1-4
Raga Jayakauns R-b3-P4-b5-b7

3-2-1-4-2

KUMOI SCALE MODES – ALTERNATIVE
Kumoi
In Sen
Raga Hindol
Han Kumoi
Raga Jayakauns

PROMETHEUS SCALE MODES
Prometheus R-2-3-#4-6-b7
2-2-2-3-1-2
Mode 2 R-2-3-P5-b6-b7
2-2-3-1-2-2
Mode 3 R-2-P4-b5-b6-b7
2-3-1-2-2-2
Mode 4 R-#2-3-#4-#5-b7
3-1-2-2-2-2
Mode 5 R-b2-b3-P4-P5-6
1-2-2-2-2-3
Mode 6 R-2-3-#4-#5-7
2-2-2-2-3-1

PROMETHEUS SCALE MODES – ALTERNATIVE
Prometheus
Mode 2
Mode 3
Mode 4
Mode 5
Mode 6

DOMINANT PENTATONIC MODES
Dominant Pentatonic R-2-3-P5-b7

2-2-3-3-2
Chaio R-2-P4-#5-b7
2-3-3-2-2
Raga Harikauns R-b3-#4-#5-b7

3-3-2-2-2
Mode 4 R-b3-P4-P5-6
3-2-2-2-3
Kung R-2-3-#4-6
2-2-2-3-3

DOMINANT PENTATONIC MODES – ALTERNATIVE
Dominant Pentatonic
Chaio
Raga Harikauns
Mode 4
Kung

Book of Bass Scale - Ed Rogers

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Book of Bass Scale - Ed Rogers

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CONTENTS

IONIAN b5 MODES 28-29

HARMONIC MAJOR MODES 22-23 WHOLE TONE SCALE 33-34

HARMONIC MINOR MODES 24-25 TRITONE SCALE MODES 35-36

MELODIC MINOR MODES 26-27 PERSIAN SCALE MODES 30-41

EDWARD ROGERS 1 THE BOOK OF BASS SCALES

HUNGARIAN MINOR MODES 44-45 DHENUKA SCALE MODES 54-55

ENIGMATIC MAJOR MODES 46-47 SAMBAH SCALE MODES 56-57

ENIGMATIC MINOR MODES 48-49 BLUES MODIFIED MODES 58-59

NEAPOLITAN MAJOR MODES 50-51 VERDIS ENIGMATIC MODES 60-61

EDWARD ROGERS 2 THE BOOK OF BASS SCALES

BEBOP SCALE MODES 64-65 8 TONE SPANISH SCALE MODES 74-75

BEBOP DOMINANT SCALE MODES 66-67 HIRAJOSHI SCALE MODES 76-77

BEBOP DORIAN SCALE MODES 68-69 PELOG SCALE MODES 78-79

EDWARD ROGERS 3 THE BOOK OF BASS SCALES

PROMETHEUS SCALE MODES 84-85

DOMINANT PENTATONIC MODES 86-87

EDWARD ROGERS 4 THE BOOK OF BASS SCALES

EDWARD ROGERS 5 THE BOOK OF BASS SCALES

EDWARD ROGERS 6 THE BOOK OF BASS SCALES

CREATING SCALES METHOD 1

EDWARD ROGERS 7 THE BOOK OF BASS SCALES

Interval Name Alternate Name Alternate symbol

EDWARD ROGERS 8 THE BOOK OF BASS SCALES

EDWARD ROGERS 9 THE BOOK OF BASS SCALES

EDWARD ROGERS 10 THE BOOK OF BASS SCALES

EDWARD ROGERS 11 THE BOOK OF BASS SCALES

EDWARD ROGERS 12 THE BOOK OF BASS SCALES

NOTE NAME 1 NAME 2

MAJOR SCALE DORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN LOCRIAN

EDWARD ROGERS 13 THE BOOK OF BASS SCALES

EDWARD ROGERS 14 THE BOOK OF BASS SCALES

Each right page will have the

It is also important to note

EDWARD ROGERS 15 THE BOOK OF BASS SCALES

EDWARD ROGERS 16 THE BOOK OF BASS SCALES

EDWARD ROGERS 18 THE BOOK OF BASS SCALES

EDWARD ROGERS 19 THE BOOK OF BASS SCALES

EDWARD ROGERS 20 THE BOOK OF BASS SCALES

Harmonic Major R-2-3-P4-P5-b6-7

Lydian Augmented #2 R-#2-3-#4-#5-6-7

Locrian bb7 R-b2-b3-P4-b5-b6-bb7

EDWARD ROGERS 21 THE BOOK OF BASS SCALES

EDWARD ROGERS 22 THE BOOK OF BASS SCALES

Harmonic Minor R-2-b3-P4-P5-b6-7

EDWARD ROGERS 23 THE BOOK OF BASS SCALES

EDWARD ROGERS 24 THE BOOK OF BASS SCALES

Melodic Minor R-2-b3-P4-P5-6-7

Lydian Augmented R-2-3-#4-#5-6-7

Super Locrian R-b2-b3-b4-b5-b6-b7

EDWARD ROGERS 25 THE BOOK OF BASS SCALES

EDWARD ROGERS 26 THE BOOK OF BASS SCALES

Phrygian bb3 R-b2-bb3-P4-P5-b6-b7

Super Lydian Augmented R-#2-P4-#4-#5-b7-7

Aeolian bb7 R-2-b3-P4-P5-b6-bb7

Locrian bb6 R-b2-b3-P4-b5-bb6-b7

EDWARD ROGERS 27 THE BOOK OF BASS SCALES

Super Lydian Augmented

EDWARD ROGERS 28 THE BOOK OF BASS SCALES

EDWARD ROGERS 29 THE BOOK OF BASS SCALES

EDWARD ROGERS 30 THE BOOK OF BASS SCALES

EDWARD ROGERS 31 THE BOOK OF BASS SCALES

EDWARD ROGERS 32 THE BOOK OF BASS SCALES