CHORD SCALES

A chord scale is a linear rendering of a complex chord — an extended chord structure,

with tensions and non-chord tones arrayed within an octave.

Chord scales come in two broad categories:

1. The diatonic result of melodic/harmonic activity in a clearly de ned key

2. Chromatic variations and alternate choices for the same situations

In tonal (key-related) music, chord scales are implied even if not all seven notes of the
scale are sounded. Diatonic chord scales are inherent even in a two-part texture consisting of
just melody and bass. Context, harmonic stress, melodic cadences, and more combine to
create a context that allows our ears to ll in the “missing’ notes.

The notes in a chord scale are labeled to clarify their role in the harmonic moment:

1. Chord Tones: they are given, and re ect whether the chord is major, minor, diminished,
etc. They are shown as open note heads labeled 1, 3, 5 and 7 (for a Maj7 chord) or 1, 4, 5
and b7 (7sus4), etc.

2. Available Tensions: extensions of the basic chord that sound acceptable in a voicing.
They are represented by open note heads and are labeled as compound intervals to re ect
their status as acceptable extensions of the chord. Depending on the chord, they might be
T9, Tb9, or T#9; T11 or T#11; T13 or Tb13.

3. Harmonic Avoid Notes: notes that are diatonic to the key and are necessary to complete
the scale but do not sound stylistically acceptable when sustained against the basic chord.
It is labeled “S” (for “scale degree”) and a number shows its relation to the root of the
chord, for example S4, Sb2 or Sb6. The “scale degree” designation marks them as
auxiliary members of the scalar unit but not acceptable extensions of the basic chord.

(Taken from “The Berklee Book of Jazz Harmony” by Joe Mulholland and Tom Hojnacki)
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 CHORD SCALES FOR DIATONIC 7TH CHORDS IN A MAJOR KEY

All examples are in the Key of C Major.

Tonic (IM7 - Cmaj7) - take Ionian mode

Supertonic (ii7 - Dm7) - take Dorian mode

Mediant (iii7 - Em7) - take Phrygian mode

Subdominant (IVM7 - Fmaj7) - take Lydian mode

Dominant (V7 - G7) - take Mixolydian mode

Submediant (vi7 - Am7) - take Aeolian mode

Leading Tone (vii7b5 - Bm7b5) - take Locrian mode

 CHORD SCALES FOR CHORD TYPES AND THEIR FUNCTIONS IN MAJOR KEYS

1. MAJOR 7TH/MAJOR 6TH CHORDS (Ex. CM7, C6)

a) I (tonic) - take Ionian mode

b) IV (subdominant) - take Lydian mode
c) as modal interchange (MI) bII, bVi or bVII - take Lydian mode

2. MINOR 7TH CHORDS (Ex. Cm7)

a) ii (supertonic) - take Dorian mode

b) iii (mediant) - take Phrygian mode
c) vi (submediant) - take Aeolian mode
d) as the related II of V/- or subV/- -take Dorian mode
e) as MI chord iv or v - take Dorian mode

3. HALF-DIMINISHED 7TH CHORDS (Ex. Cm7b5)

a) vii7b5 (leading tone) - take Locrian mode

b) as related II of V/- or subV/- -take Locrian mode
c) as MI chord #iv7b5 - take Locrian mode

4. FULLY DIMINISHED 7TH CHORDS (Ex. Cdim7)

a) o7/- - take Symmetrical Diminished/Octatonic scale

b) biiio7 - take Symmetrical Diminished/Octatonic scale

Symmetrical diminished/octatonic scale: W-H-W-H-W-H-W

5. SUS4 CHORDS (Ex. C7sus4)

- take Mixolydian mode (avoid S3)

 6. DOMINANT 7TH CHORDS (Ex. G7)

a) V (dominant) - the following are several options

- take Mixolydian mode (avoid S4)
- take Mixolydian mode plus chosen tension notes: T9, Tb9,
T#9, T#11, T13, Tb13 (avoid if 5 is present)
- take Whole Tone scale

Whole Tone scale: W-W-W-W-W-W

- take Altered Dominant scale

Altered Dominant scale: H-W-H-W-W-W-W

- take Symmetrical Dominant scale

Symmetrical Dominant scale: H-W-H-W-H-W-H-W

b) V/- - take Mixolydian mode (if resolving to a major chord, for example, V/V)
- take Mixolydian b9, b13 scale (if resolving to a minor chord, for example, V/ii)

Mixolydian b9, b13 scale

c) subV/- - take Lydian b7 scale (a.k.a. Lydian Dominant scale)

Lydian b7 scale

 CHORD SCALES FOR CHORD TYPES AND THEIR FUNCTIONS IN MINOR KEYS

1. I chords

a) i7 - take Aeolian mode

b) i6/iM7 - take Melodic Minor scale

2. II chords

a) ii7b5 - take Locrian mode

b) ii7 - take Dorian mode

3. III chords

a) bIII7 - take Ionian mode

b) bIIIM7 - Lydian #5 scale

4. IV chords

a) iv7 - take Dorian mode

b) IV7 - take Lydian b5 scale

5. V chords

a) v7 - take Phrygian mode

b) V7b9 - take Mixolydian b9, b13 scale
c) V9 - Mixolydian 9, b13 scale

6. VI chords

a) bVIM7 - take Lydian mode

b) vi7b5 - Locrian 9

7. VII chords

a) bVII7 - take Mixolydian mode

b) viio7 - take Mixolydian b9, b13 scale