& MODFS

By Misha v. Stefanuk

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4 567

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2003 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

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Table of Contents
eface •..•.••.•..••....•..•..•..•.•••••.•••..•.••.•..••••.•.••......••••..••••.•.•••••••••.•.•.•.•••.••..••••.•••.•...••...••••••..••.•......• 5 edits ales: Diatonic Scales
Major Minor Natural Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Ionian (Major) Dorian Phrygian Lydian Mixolydian Aeolian (Natural Minor) Locrian Ionian (Major) Lydian Mixolydian Natural Minor Harmoic Minor Melodic Minor Locrian Lydian Minor Lydian Dominant Neapolitan Major Harmonic Major Super Locrian Major Locrian Double Harmonic OvertonelLydian Dominant Neapolitan Major Neapolitan Minor Lydian Minor

5 6
6 6 6 6 6 6 7 7 7 7 7 7 7 8 8 8 8 8 8 9 9 9 9 9 9 9 10 10 10 10 10

ales: Pentatonic Scales
Major Pentatonic Minor Pentatonic

10
11 11

ales: Symmetrical Scales
Chromatic Whole-Tone " Half-Whole & Whole-Half ...................................................................................................................•..

11
11 11 11

ales: Exotic Scales
Spanish Hungarian Major Hungarian Minor Indian, Iranian or Gypsy Balinese Arabian Persian Oriental 2

12
12 12 12 12 12 12 13 13

Japanese Pentatonic Japanese Japanese Second Mode Japanese Fourth Mode

13 13 13 13

Scales: Composer Scales
Prometheus Neapolitan Prometheus

13
13 13

Scales: Jazz Scales
Bebop Major Bebop Minor Bebop Dominant Blues (Minor Blues) Major Blues Pentatonic Blues Jazz Minor

15
15 15 15 15 15 15 15

Polytonaiity Using Scales with Chords Alternating scales Practical Use of Scales
Use of Scale Patterns

16 16 18 20
20

Scale Chords Practical Use of Scales All Scales by Key
Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key Key ofC of Db ofD ofEb ofE ofF of Gb ofG of Ab of A ofBb ofB of C of Db ofD ofEb of E ofG of Ab of A ofBb of B

24 25 29
29 31 33 35 37 39 41 43 45 47 49 51

Scale Library by Chord:

55
55 59 63 67 71 83 87 91 95 99

~~~ ~~:#'::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~~

About the Author

103

3

4 .

Credits I want to thank my wife Evan Marie Dozier-Stefanuk for her help in writing this book. Frank Mantooth. Urij Kozirev. More notes can be played simultaneously on the piano than on any other instrument. Greg Yasinitsky. This book deals with scales that can be played on the piano. chords and scales are used together to create improvised lines. My intention in writing this book is to create something I would like to have and use myself. Charles Argersinger. Larisa Pashanova and Dmitry Blum. Jeff Kirk. I would also like to mention the names of my teachers: John Arnn.Preface The piano is a unique instrument. In Jazz music. 5 .

the minor scale has three: natural minor. harmonic minor md melodic minor. The most common scales used in today's jazz music are major and minor scales: Major Minor ~J J J J J J r IJ J ~J J J ~J ~r I While the major scale has only one common form. Natural Minor Harmonic Minor The ascending form of the melodic minor scale differs from the descending: Ascending Melodic Minor Descending Melodic Minor ~J J d J J J r I r ~rd J Jd J I 6 .Scales: Diatonic Scales A succession of notes usually a minor or major second apart in ascending or descending order is called a scale.

which are very useful for creating melodic lines: Ionian (Major) 4J J J J J Jr Dorian rrJJJJJJI 4JJJJJrrrrrJJJJJI Phrygian 'J J J J Lydian rrrFrrrJJJJ I 'J J J r F r F r r r F r J J JI Mixolydian 'J J rrrFrFrErFr J JI Aeolian (Natural Minor) 'JJJJJJJJJJJJJJJI Locrian 'J J J J J J J r J J J J J J J I 7 .Scales built from the white keys of the piano create a system of diatonic scales.

Three scales (major scale itself and two diatonic scales) have clearly identifiable major scale character: Ionian (Major) ~J J J J J J F r F J J J J J J I Lydian ~ J J J fiJ J J F Mixolydian r F J J fiJ J J J I ~ J J J J J J ~F r ~F J J J J J J I Five scales (three forms of minor scale and two diatonic scales) have minor scale character: Natural Minor Harmonic Minor ~ J J d J J &J F Melodic Minor r Fd J J d J J I ~ J J d J J J F r ~Fd J J d J J I 8 .

Built on the half diminished chord. Harmonic major. J &J d J j d F r F &J Harmonic Major j j Jd d J I J j 'J J j J jd F r F &J JJI Super Locrian Major Locrian 9 . Super Locrian and major Locrian scales: Lydian Minor Lydian Dominant Neapolitan Major .The scale consisting of white notes built on B is based on the diminished triad and is called Locrian. it does not show major or minor character: Locrian 'J J J jJj JFJ jJjJ J JI There are six scales that are altered forms of the diatonic scales: Lydian minor and Lydian dominant. Neapolitan major.

Double harmonic and overtone scales use more complex alteration: Double Harmonic ~ J &J J J J d r r r &J J J J ~J J I Overtone (also Lydian Dominant) The following scales use alteration of an already altered scale: Neapolitan Major ~ J ~J d J J J Neapolitan Minor rrr J J Jdd J I 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: 10 .

There are two forms of this scale called major Pentatonic or minor Pentatonic depending on the inversion of the scale: Major Pentatonic

JJJJ ~J
Minor Pentatonic

r

JJJJ J J ~J J

~J ~J J J

~r r ~r J

Scales: Symmetrical Scales
The scale consisting of all the notes of the well-tempered system is called a chromatic scale:

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 Rirnsky-Korsakov scales. Half- Whole Scale Whole-Half Scale

~ J#J~Jj~JJJ~rrrJj~JjddqJII JJ~J#j~JIJ+rrJddqJdqJJ
11

I

lcales: Exotic Scales
This group consists of scales from different cultures. Spanish

~ J &J d qJ J d &J ~rr~r d 2 qJ d &4 J I d ~ J #4 J #4 J J ~rr~rJ J #2 qJ #4 J q
Hungarian Minor Hungarian Major

~ J J~J#2 JbJ
Indian, Iranian or Gypsy

r r rbJ
r

J#2~J 4

J

~ J d J 2 J bJ
Balinese

r r rd

J 4 J &J J I

~ J &4 d J bJ
Arabian

bJ J d d J I

~J J

j

J d d ~rr ~rd d J J J J I

12

Persian

Oriental

4a &J J J ~r F ~r J J &J J 4a J J J r F r J J J J J #J J r F r J #J J J 4a 4ad Jd~F r~Fd Jd a
Japanese Japanese Second Mode Japanese Fourth Mode

Japanese Pentatonic

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

who devised a system of scales that ! calls "modes of limited transposition.JgJKJgJ#F8J"JgJ"J#J~1 'J 'J Diminished First Transposition (Whole-Half) 3 ~J J ~J &J gJ r F r Diminished Second Transposition (Half-Whole) J ~J J J I . ~ #3 J #J J J #J Dr #F Dr fiJ gJ qJ #J qJ fiJ (.t I Diminished Third Transposition (Half-Whole) J J J &J ~r qr #F r #F -r ~r d JJJ 14 . J J J#JuJRJ F#J1J#J J 3 J I ~#J. Augmented First Transposition Augmented Second Transposition . And a fourth transposition of the diminished scale would also ~enharmonic ally equal to the original." 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 enharmonic ally equal to the original scale.Bela Bartok started the use of polymodality: the use of two different scales in two hands at the same time: DMajor D~Major DMajor CMajor G Major C Major The most prolific creator of scales is French composer Olivier Messiaen.

Scales: Jazz Scales There are a number of scales that derived directly from jazz or became very typical for jazz: Bebop Major @ J J J a J uJ J r r r J J qJ a J J J I Bebop Minor Bebop Dominant Blues (Minor Blues) Major Blues 'J J ~J J J J Pentatonic Blues r J J J aJ qJ J J I 'J d a J Jazz Minor ~r r r a JJI ~J Jd a J J r r r J J ad J J I 15 .

-' . In the following example . Double Harmonic. ~ IJf t.. For example.. Harmonic major.: I I " . "1111: Using Scales with Chords Each chord structure limits the number of possible scales.'. Mixolydian alt6... ""'_ • ~ I I . " v_ fl . Augmented.he chord D7b5b9 calls for two scales: D major and Ab major and the resulting scale contains notes from both scales: .J ~ ~~ ""'_. the following scales are possible with the simple major chord triad: major. _. Indian. major Pentatonic. - " ~ l:~. - I _. Lydian minor. fl. Overtone.:. and major Blues: 16 . Gypsy. Bebop major. Bebop minor. Japanese. ~ I T _.. Mixolydian. Lydian. Lydian Dominant.Polytonality The use of polytonality can result in use of scales built from more than one scale.

Overtone and Bebop dominant have a clear dominant character: Mixolydian Lydian Dominant Mixolydian alt6 . . 3#J aJ J F I However. 3 J 3 J &J F F I. 2 J#3 J&J~F F I.. Mixolydian. 3 J 3 J &J~F F I Lydian Minor Harmonic Major Overtone . Lydian minor.hF F I Augmented Major Pentatonic Gypsy . J J #3 J J F F I. &3 J 3 J &J ~F~r F I Indian Japanese Bebop Major . 3 a 3 J J~rqF F I 17 . 3 J #3 J . j 3 J r F I. . #3 J J &J F F I. 2 J #2 J J ~F F I.J gJ r F I Bebop minor Bebop Dominant Major Blues . J a 3 a I. . 2 a J J J ~r F I. Lydian Dominant. &3 J 3 J &J F F I. . . 3 J#3 J J~F F I. . 2 J J J &J~F F I Lydian minor Overtone Bebop Dominant ~. 3 J #3 J d ~F F I. 3 J 3 J J~Fqr F I. &J J 3 J ~J r F I. J J 3 J J ~F F I Double Harmonic Lydian Dominant Mixolydian alt6 . J J #3 J J ~F F I.Major Lydian Mixolydian . 3~a~a 3 a J~r F I. 3 J J J F I. Myxolydian alt 6. J J 3 J J F F I.

Harmonic major and Bebop major. Lydian Harmonic Major Bebop Major @ J 3 a#3 a J r r I J 3 J J ad r r I J 3 J J a&JgJ r r I Major Pentatonic Major Blues ~ J 3 a a J r r I J 3#3 a a J r I Alternating scales Usually. However.Augmented. the major scale itself is replaced by Lydian due to the preferred sound of the augmented 4th. as well as major Pentatonic and major Blues. major Pentatonic. 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 . Gypsy. could also be used with major chords. Indian and Japanese scales will have very characteristic sound that may not be ideal: Augmented Major Pentatonic Gypsy @ J #3 J J d r r I J 3 J J J r I J &3 J 3 J d ~r qr r I Indian Japanese Double Harmonic (also Gypsy) @ J &3 J 3 J d r r I J J 3 J F r I J &3 J 3 J d r r I Usually.

J. Lydian Dominant ~ Mixolydian alt 6 r L" _"':"___ . ..-I .-1 .~ - .'~ .---'_"':" -T . ___ _"':" v~ .. _I'" -f9 :J 19-_ :J -& I.. '1 I -I I I -v- ..~ r---& ~ Overtone .. I..." ....-1 II -I~"- - I • .. TI l_ -'- --- I • .- 11 -. • r-... ~.- C7 ... . 100.- Lydian _l TI .. r_a --L l)'~~JL . ... . - Sometimes the progression of the scale development can bring more tension to the sustained chord. -'..-. ..._ I I--~ ..I. r " ~ " lJ I..... I. 19 . .po . -. -. loa ~ . .- .. c.. -... -. _ __ -. ~. _j.. I . and create an additional upper structure: Major I ) ) f ." ~ i'-& _I.I . .. ~ fl iIf' n L .. I.... - . t... - .. 1 T Bebop Minor 3 ..... I "'-& . I _l1-'"-_'~ .- v_.. c.. " J-_h....... ~ ...•• C..~ 1---& #... .. fl I 100.. .....--~_~o L :1_ I.. r-- (To ..~ I.-I . 100...- I _"':" .1 1J IlL IlL IlL "-...-'---- _- • . I ...-I • "'-~" .' I.. .. ..".... r ... -& I.-I --. ... I C7 -& I...J IJ II L....The same tool is very effective on dominant structures: Bebop Dominant I ) t J "" " ~ . -& I. L :J - Lydian Minor I f' _ 3 ~ 100.

---.. ~ "'- _ r- - - - 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 scale instead of many different scales._. In the following example... E Phrygian scale iecomes D Dorian and then F Lydian: - r. _.llractical 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 . ~jJ I ill J J J ' f ~'i Sometimes the same scale can be used on top of changing chords. That might make the choice of the scale more precise but also makes the creating of the melodic line much easier: 20 ..._ .. - rrr-_ 3 I • ..

•. ••• TI _...Some scales are designed to fit an extended chord progression.0._ .. 1.-I Li"ll __ I'"" I J~_ ~ ---I'"" l..._bb~_ C -~ ~ I _a.l_'LI_ C ... ~b~ F . . " I. " .-I 1 I __ .. - bb~ ~ J I'"" __t!o ___ I - - . This is an example of using the blues scale over the blues progression: Blues Scale f) t J I '- ) ) t tJ "'" l)' r... I'"" _ I _ I'"" J~_ ~ C " . I ..... = Patterns built from the scale help to create a more developed melodic line: 'C J J J J j J J :l j J 3 J I CE PI I '[ c E r J J j:l IJ JJ JJ3r 21 .:""" ~_:::: -G & ""IT F bb~ c . ...f_ _I'"" ~_ 1041'"" I ~--"I'"" --.J I 1 I - 1.. r.

J J ] J 'r E E f E f If [ rrJJJJI r I Three note scale patterns: '{~ J J J J j J J J I fJ J J ErE rFJJJJ I J JJJJ~~ Four note scale patterns: 'e jJ 3 J J J J J IE F [J E F [f I '[ r rrrrrrI J JJj~ J I 22 .Two note scale patterns: '{~1 J ~ J J J J I j J J J C F r f OJ I .

I I J • .. 1 E 1[ E [ 3 1 E~ 123 [j~ 1 1 123 132 13 221 321 32 123 13 12 23 . . if J J J J J 1 J J J i J 3 1 E Et 2 3 3 2 L! E r.~-' -.... A three-note pattern has six different forms: ..J 3 ~ J ~ 2 ~ 3 IJ Ij 2 ~ 3 J IJ 2 3 J ~ 3 ~ 2 J 2 J J J I~ 3 2 J F Combining these forms creates lines that are hardly identifiable as a note pattern: .... 1 2 3 3 2 1 3 2 3 2 3 IJ J FJ 2 1 2 3 322 3 2 1 J 3 J J J J J J JJP .. J J J J tJ J J iJ J J [ rr r c [ ri r r I. [ IT.. 1 2 3 2 3 2 323 2 3 The polyrythmic combination of a three note pattern with 4/4 meter: ...-I I • 3 3 2 1 32 13 123 2 121 33 123 123 2 I 231 1 2 23 .Patterns offer a number of combinations that can be mixed together.-..

... @j Mixolydian ~ ~j i ~ ~ ~ This also can be done with seventh chords: Mixolydian . •• . I I .. In the following example all chords are based on the mixolydian scale....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..... ...t- _ t- -.. r- .. Quartal structures always sound very modern: Mixolydian This process leads to creating quasi-modal structure.. ~ ~ ~ J . which can enhance the overall sound of the piece: Mixolydian 3 fl 3' ".v U " '" • .. r-".-I _ r- --• I I -t- ~ .. f7 '::J 1- ~ ':J ~n -_... ~:~ ~"' "' ~ ':J ~ . .........-1 v_ . • .. I..~ 24 .-~ t- ~ • ~ - .

Practical Use of Scales Practical knowledge of scales is absolutely essential for the improvising musician. Division of the scale in two. and accenting the first note in the group.Jd J r Mixolydian V V I II Division of the scale in two with accents following the bossa nova rhythm: 'B 3 J J lad J r Mixolydian V V V J I rr ErG V E~rrid J J J J j 25 V V V II . Here are some practical suggestions for practicing scales.rCfr~Errl Mixolydian V tfEtErjrRr~rthJJI : II Division of the scale in swing two with a light accent on the second note in the group: 'B 3 J J J f. and then the second: Mixolydian 3JJJi1dJI Division of the scale in three and accenting the first note in the group: Mixolydian V V V V '(~ 3 J J J JJ~JJ I r rr EJ Err riG WE! J j J J I Division of the scale in four and accenting the first note in the group: V V V V V V V v' V & II 'B lojJDdJ.

.... "_b~ I 26 .-_ ....I _ V V V I~.~ V ~~ I .. r~ fl U " ~ . V f- V ..I V -& • ..~ VI. ---. (~3 J J J J J J J I Jd J J l FE1 I d j J J J j J J I Combining of the three note pattern and swinging eights accents: V V V V V V V V V V V V & II 'B ] j J J J J J J I ~JJ J J J J J J I J J J~JJ J J J I Mixolydian V V V V V V V V V & II Pattern based on the more developed melodic line: Mixolydian '{~ ] J J J Jd J J I L F f.. V ill... hold the same chord. V I - _ 1 _r" l V J V .Combining swinging eights and triplets: II 3 Next step in practicing scales is building of the patterns from the scale: Mixolydian ....~111 V _ V .~~ .. I £-.~V .~E F r F I Jd ] J J J Jd I : Mixolydian V V V V II The left hand can copy the right hand. ~- V• V V . or built alternative chord structure on the mateial from the same scale: .I ..I V I - -•V ~ V .._~V ~ . ." ....

.- V V V I 11>. u ft ~ V I._..Mixolydian .... -.." t ~ J) I tJ IJ .vr- J ""-- - • ~ • ~ P"JI & ==: h.. . • .1"10 Mixolydian .a. ~~ ~ '-" - _11>" v_ _ r- V V•V I V V ._ - I. .~.• _. _V V I - - V V & • . -. . .. . .a I..1 V I • v- r- r- V - V _v V.... ... -._.. •• I. 27 ..--.. ".• V .. .r-. . . It also shows artistic personality and is one of the keys to develop a personal style. _. . . Practicing scales is a great work out. I.--. __ t:... and the use of a metronome or a drum machine is highly recommended.. V V I I .~~:-.. Making choices in the using of scales utilizes knowledge.. ~ Note: it is very important to keep a steady tempo when practicing scales. If . ... V I -11> V v- c. It develops freedom of choices for building the melodic line. ".. I .V k_ J ..~ L>o..~ ~. • r-...-V 11>_ r--..t-:: t-. r-. r-.__.... _ -.. and it improves the pianist's technique. "- -_ -".a r- I - . I.. experience and taste. . ..a" I.- ~.P"iII -' . L I -".~ ._.

28 .

Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 29 . Gypsy.Scales KeyofC Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic.

Scales KeyofC Major Pentatonic Suspended Pentatonic Whole-Tone Diminished. Whole-Half Diminished. bJ J #2 Neapolitan EiJ Prometheus Prometheus Bebop Major Bebop Minor Bebop Dominant Blues Major Blues Pentatonic Blues. Minor Pentatonic 30 . J J #2 ~ I. Half-Whole Spanish Hungarian Minor Balinese ~n a~fi3~u1mn~fi3u 1m O~D~u I Arabian Persian Oriental Japanese Pentatonic Japanese 2-Mode Japanese 4-Mode ~tJ Japanese J pa J c:J I.

Gypsy. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 31 .Scales Key of D~ or C# Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic.

Whole-Half Diminished. Minor Pentatonic 32 . 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.Scales Key of Db or C# Major Pentatonic Suspended Pentatonic Whole-Tone Diminished.

Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished Mixolydian Alt 6 Locrian Sharp 2 Neapolltan 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 33 .Scales KeyofD Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Gypsy.

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.Scales Key ofD Major Pentatonic Suspended Pentatonic Whole-Tone Diminished. Whole-Half Diminished. Minor Pentatonic 34 .

Gypsy. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 .Scales Key ofEb Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic.

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. Whole-Half Diminished.Scales Key ofE~ Major Pentatonic Suspended Pentatonic Whole-Tone Diminished. Minor Pentatonic 36 .

Gypsy. Lydian Dominant Indian or Iranian Lydian Augmented Lydian Diminished 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 37 .Scales KeyofE Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic.

Half-Whole Spanish Hungarian Minor Balinese Arabian Persian Oriental I~ J J n E J IJ • iJ t Jt iJ IE -J J Japanese 4-Mode c J· F Neapolitan Japanese Pentatonic Japanese 2-Mode l~tiJ Japanese n #C J IJ #2 #J Prometheus #( F IJ Prometheus Bebop Major Bebop Minor Bebop Dominant n Blues Major Blues Pentatonic Blues. Whole-Half Diminished. Minor Pentatonic C-J 38 .Scales KeyofE Major Pentatonic Suspended Pentatonic Whole-Tone Diminished.

Gypsy.Scales Key ofF Ionian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 Major Pentatonic 39 .

Minor Pentatonic 40 .J ~c:J Japanese E r ii] Prometheus n c tr if Q Prometheus n (tF Neapolitan Bebop Major Bebop Minor Bebop Dominant Blues Major Blues Pentatonic Blues.. Half-Whole Spanish Hungarian Minor Balinese Arabian Persian Oriental 'F J Q ~c:J br r I~J J CJ1 r .Scales Key ofF Suspended Pentatonic Whole-Tone Diminished. Whole-Half Diminished.J " I~ Q J ~t2ff I'r r Japanese Pentatonic Japanese 2-Mode Japanese 4-Mode .

Scales Key of G~ or F# Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Gypsy. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 41 .

Whole-Half Diminished.Scales Key of G~ or F# Major Pentatonic Suspended Pentatonic Whole-Tone Diminished. Minor Pentatonic 42 . 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.

Scales KeyofG Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Gypsy. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 43 .

Q 1*0 Japanese c::r E J • 1J71 #( J #C • j • 1f1J IJ 13 Prometheus ELl t1f Neapolitan E J • Japanese Pentatonic Japanese 2-Mode Japanese 4-Mode r #C J • Prometheus tJ1r r J ~ r #r Bebop Major Bebop Minor Bebop Dominant Blues Major Blues Pentatonic Blues. Half-Whole Spanish Hungarian Minor Balinese Arabian Persian Oriental 1*. Minor Pentatonic 44 .Scales KeyofG Major Pentatonic Suspended Pentatonic Whole-Tone Diminished. Whole-Half Diminished.

Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 45 . Gypsy.Scales Key of A~ or G# Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic.

Scales Key of A~ or G# Major Pentatonic Suspended Pentatonic Whole-Tone 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. Whole-Half Diminished. Minor Pentatonic 46 .

0113#:. Gypsy.$ :fiJ D 1m m~DD IJjJ#1'1 m t Overtone Diminished Whole-Tone Augmented .Scales Key of A Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 t'n#i1 5-Mode Melodic Minor n . 47 .

Minor Pentatonic .. Whole-Half Diminished.z P 48 J #3 Ir] F ~ JJ3 Pentatonic Blues. 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 I~\t] J #3 J--J IJ Blues J Major Blues #J .Scales Key of A Major Pentatonic Suspended Pentatonic Whole-Tone Diminished.

Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 49 .Scales Key of B~ or A# Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Gypsy.

Half-Whole Spanish Hungarian Minor Balinese Arabian Persian Oriental I Japanese Pentatonic . Whole-Half Diminished.Scales Key of B! or A# Major Pentatonic Suspended Pentatonic Whole-Tone Diminished... J JiJ I Japanese 4-Mode ~ 1J5J Japanese 2-Mode Japanese Prometheus Prometheus Neapolitan Bebop Major Bebop Minor Bebop Dominant Blues Major Blues Pentatonic Blues. Minor Pentatonic 50 ...

Scales KeyofB Ionian Dorian Phrigian Lydian Mixolydian Aeolian Locrian Phrigian 6 Double Harmonic. Indian or Iranian Lydian Dominant Lydian Augmented Lydian Diminished 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 51 . Gypsy.

Minor Pentatonic 52 . Whole-Half Diminished.Scales Key ofB Major Pentatonic Suspended Pentatonic Whole-Tone 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.

53 .

54 .

Gypsy.Scale by Chord Key ofC In D iJ1 U In Ji3 n ulm D m ul C Ionian Lydian Double Harmonic. Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues 1m D 10 U IJ1 SID U I Pentatonic Blues Minor Pentatonic Double Harmonic. Indian or Iranian Lydian Augmented 55 . Indian or Iranian I'll n 10 u liP MbA p Augmented In n e:J In fJ u I Japanese Phrigian Harmonic Major Major Pentatonic In~Dn~O'Im~Dm~u I Bebop Major Cm Dorian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished.

A u In ro ro I Major Pentatonic Japanese 2-Mode Prometheus Bebop Dominant Major Blues Bebop Major 56 . Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished.Scale by Chord Key ofC Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished. Half-Whole Hungarian Minor 111 n D Japanese 4-Mode Blues C6 Ionian uI 1~i1 Lydian ro D u In n rJ 1:r1. Whole-Half Diminished.

0 57 £jJ to I. Half-Whole Bebop Minor Blues I. ~3 a #J Jill Prometheus Neapolitan Prometheus . Indian or Iranian ~dt I. Gypsy. Minor Pentatonic j ~u C? Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor I' n fiJ a Overtone j ~uI.Scale by Chord KeyofC Cm? Dorian Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished. 3 J J a Pentatonic Blues.. S d ~J #f J fiJ I Diminished Half-Whole I. ~3 a J a Q Double Harmonic. 1 fiJ fa ~ Whole-Tone I.

Scale by Chord KeyofC Bebop Minor Bebop Dominant Blues Major Blues C+7 Diminished Whole-Tone Major Locrian Whole-Tone Spanish Cm7~5) Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues Lydian Diminished Diminished Whole-Half Diminished Half-Whole 58 .

Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major D~m Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished.Scale by Chord Key of Db or C# D~ Ionian Lydian Double Harmonic. Indian or Iranian Lydian Augmented 59 . Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic D~+ Double Harmonic. Gypsy.

Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished. Half-Whole Hungarian Minor l~fQ !Sl. Whole-Half Diminished.m Japanese 4-Mode Blues Dbs Ionian aI Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 60 .Scale by Chord Key of D~ or C# Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished.

Minor Pentatonic Db? Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic. Indian or Iranian Prometheus Prometheus Neapolitan 61 . Half-Whole Bebop Minor Blues Pentatonic Blues. Gypsy.Scale by Chord Key of D~ or C# Dbm? Dorian Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished.

Scale by Chord Key of D~ or C# Bebop Minor Bebop Dominant Blues Major Blues Diminished Whole-Tone Major Locrian Whole-Tone Spanish I~#i D~m7~5) 1#4 J Locrian fiE £1 Elf I#J n3 J @ J Locrian Sharp 2 ) tJF Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues D~o7 Lydian Diminished Diminished Whole-Half Diminished Half-Whole 62 .

Indian or Iranian Lydian Augmented 63 . Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic.Scale by Chord Key ofD o Ionian Lydian Double Harmonic. Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese In J1 n U 1m J1 10 U I Bebop Major Om Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Gypsy.

Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished.Scale by Chord Key of D Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished. Whole-Half Diminished. Half-Whole Hungarian Minor Japanese 4-Mode Blues D6 Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 64 .

Gypsy.J A U IfQ [J fiJ U I Dm7 Dorian Phrigian l~fJ .J . Indian or Iranian Prometheus Prometheus Neapolitan 65 .3 Aeolian ro U liS .Scale by Chord KeyofD I.3 J9 U Pentatonic Blues. Half-Whole Bebop Minor Blues If3 ~. Minor Pentatonic D7 Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic.I Diminished.3 A U IEJ~a f) Phrigyan 6 Descending Melodic Minor m .

Scale by Chord KeyofD Bebop Minor Bebop Dominant Blues Major Blues D+7 Diminished Whole-Tone Major Locrian Whole-Tone Spanish Dm7(bS) Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Lydian Diminished Diminished Whole-Half Diminished Half-Whole 66 .

Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Gypsy. Gypsy.Scale by Chord Key of Eb or D# Ionian Lydian Double Harmonic. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic. Indian or Iranian Lydian Augmented 67 .

Scale by Chord Key of E~ or D# Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished. Whole-Half Diminished. Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished. Half-Whole Hungarian Minor I~nm~U &1 Japanese 4-Mode Blues Ebs Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 68 .

Scale by Chord Key of E~ or D# Dorian Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished. Indian or Iranian Prometheus Prometheus Neapolitan 69 . Half-Whole Bebop Minor Blues Pentatonic Blues. Minor Pentatonic Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic. Gypsy.

Scale by Chord Key of E~ or D# Bebop Minor Bebop Dominant Blues Major Blues Diminished Whole-Tone Major Locrian Whole-Tone Spanish Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues Lydian Diminished Diminished Whole-Half Diminished Half-Whole 70 .

Indian or Iranian Lydian Augmented 71 .SID UIU InlH Harmonic Major Augmented t!t ~ Iw. Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic. Gypsy.HDc1lw nlU I Major Pentatonic Japanese Bebop Major Em Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Indian or Iranian I.Scale by Chord KeyofE E Ionian Lydian Double Harmonic.

Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished. Half-Whole Hungarian Minor Japanese 4-Mode Blues E6 Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 72 . Whole-Half Diminished.Scale by Chord Key of E Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished.

Half-Whole Bebop Minor Blues .Scale by Chord \ Key ofE IJ P em? Dorian m t1 (J In j"3 U U I Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished. Minor Pentatonic E? Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic. Gypsy. ClF. Indian or Iranian Prometheus Prometheus Neapolitan 73 .EJ Pentatonic Blues.

Scale by Chord KeyofE Bebop Minor Bebop Dominant Blues Major Blues E+7 Diminished Whole-Tone Major Locrian Whole-Tone Spanish I A J ] ~U (1 I Locrian ro J J ~U (J Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues Lydian Diminished Diminished Whole-Half Diminished Half-Whole 74 .

Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic. Indian or Iranian Lydian Augmented 75 .Scale by Chord Key ofF 1ft] F Ionian is a U IJJ onu ulm Lydian ffl dt U I Double Harmonic. Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major Fm Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Gypsy.

Half-Whole Hungarian Minor In Japanese 4-Mode Blues F6 Ionian to a Ell Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 76 . Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished. Whole-Half Diminished.Scale by Chord Key of F Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished.

Scale by Chord

Key ofF

Fm7

Dorian

Phrigian

Aeolian

Phrigyan 6

Descending Melodic Minor

Diminished, Half-Whole

Bebop Minor

Blues

Pentatonic Blues, Minor Pentatonic

F7

Mixolydian

Lydian Dominant

Mixolydian Alt 6

Lydian Minor

Overtone

Whole-Tone

Diminished Half-Whole

Double Harmonic, Gypsy, Indian or Iranian

Prometheus

Prometheus Neapolitan

77

Scale by Chord

Key ofF

Bebop Minor

Bebop Dominant

Blues

Major Blues

F+7

Diminished Whole-Tone

Major Locrian

Whole-Tone

Spanish

Fm7(bS)

Locrian

Locrian Sharp 2

Super Locrian

Diminished Whole-Tone

Diminished Half-Whole

Japanese 4-Mode

Blues

Lydian Diminished

Diminished Whole-Half

Diminished Half-Whole

78

Scale by Chord

Key of G~or F#

Ionian

Lydian

Double Harmonic, Gypsy, Indian or Iranian

Harmonic Major

Augmented

Major Pentatonic

Japanese

Bebop Major

Dorian

Phrigian

Aeolian

Phrygian 6

Neapolitan Major

Neapolitan Minor

Harmonic Minor

Ascending Melodic Minor

Descending Melodic Minor

Minor Pentatonic

Diminished, Half-Whole

Hungarian Minor

Bebop Minor

Blues

Pentatonic Blues Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Lydian Augmented

79

Half-Whole Hungarian Minor Japanese 4-Mode Blues Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 80 .dr I I#JJ .JO El c!r l#fihC!r ' clr·p I#JiJftcJ U I Whole-Tone Diminished Whole-Tone Augmented Diminished. Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished. Whole-Half Diminished.Scale by Chord Key of G~ or F# 1~#JiJftn Major Locrian u.

Gypsy. Half-Whole Bebop Minor Blues Pentatonic Blues. Minor Pentatonic Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic. Indian or Iranian Prometheus Prometheus Neapolitan 81 .Scale by Chord Key of G~ or F# Dorian Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished.

Scale by Chord Key of G~ or F# Bebop Minor Bebop Dominant Blues Major Blues Diminished Whole-Tone Major Locrian Whole-Tone Spanish Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues Lydian Diminished Diminished Whole-Half Diminished Half-Whole 82 .

Gypsy. Indian or Iranian Lydian Augmented 83 . Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic .Scale by Chord KeyofG G Ionian Lydian Double Harmonic. Double Harmonic. Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major Gm Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished.

Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished.Scale by Chord Key of G Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished. Whole-Half Diminished. Half-Whole Hungarian Minor Japanese 4-Mode Blues G6 Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 84 .

Half-Whole Bebop Minor Blues IJ Pentatonic Blues.Scale by Chord KeyofG 1m &u [J C1. Minor Pentatonic G7 =1 j U (J == · E.IJ Q Gm7 Dorian Phrigian &u [1 CJ Aeolian Phrigyan 6 Descending Melodic Minor Diminished. Indian or Iranian Prometheus Prometheus Neapolitan 85 . Gypsy.d Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic.

Scale by Chord KeyofG Bebop Minor Bebop Dominant Blues EJi'l Major Blues Diminished Whole-Tone Major Locrian Whole-Tone Spanish Gm?(bs) Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole l.pO ( ~r E J • .oJ . 1~~1i GO? Japanese 4-Mode Lydian Diminished Diminished Whole-Half Diminished Half-Whole 86 .pO Blues t1f C ..

Scale by Chord Key of A~ or G# Ionian Lydian Double Harmonic. Indian or Iranian Lydian Augmented 87 . Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic. Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Gypsy.

Whole-Half Diminished. Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished.Scale by Chord Key of A~ or G# Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished. Half-Whole Hungarian Minor Japanese 4-Mode Blues A~ Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 88 .

Indian or Iranian Prometheus Prometheus Neapolitan 89 .Scale by Chord Key of A~ or G# Dorian Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished. Half-Whole Bebop Minor Blues Pentatonic Blues. Gypsy. Minor Pentatonic Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic.

Scale by Chord Key of A~ or G# Bebop Minor Bebop Dominant Blues Major Blues Diminished Whole-Tone Major Locrian Whole-Tone Spanish Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues Lydian Diminished Diminished Whole-Half Diminished Half-Whole 90 .

Scale by Chord Key of A A Ionian Lydian Double Harmonic. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic. Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major Am Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Gypsy. Indian or Iranian Lydian Augmented 91 . Gypsy.

Half-Whole Hungarian Minor Japanese 4-Mode Blues A6 Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 92 .Scale by Chord Keyof A Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished. Whole-Half Diminished. Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished.

-0 #J J J Mixolydian P J ] Pentatonic Blues. Half-Whole Blues l~rJ F" ~ JJ ) 1 #if A7 I.Scale by Chord Key of A Am7 Dorian Phrigian I~n Aeolian n n n IIP."9 ro a Phrigyan 6 Bebop Minor 18 A f1 n Descending Melodic Minor 1 Diminished. Gypsy. Indian or Iranian Prometheus Prometheus Neapolitan 93 . Minor Pentatonic Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic.

Scale by Chord Key of A Bebop Minor Bebop Dominant Blues I~J J J #J J #J I#it Major Blues A+7 IJ W J bJ ~J J JJ Diminished Whole-Tone Major Locrian Whole-Tone Spanish Am7(~5) Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Lydian Diminished Diminished Whole-Half Diminished Half-Whole 94 .

Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major B~m Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished. Gypsy. Indian or Iranian Lydian Augmented 95 . Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic B~+ Double Harmonic.Scale by Chord Key of B~ or A# B~ Ionian Lydian Double Harmonic.

Half-Whole Hungarian Minor n n ~:J Japanese 4-Mode ~J ~ Blues bY sle Ionian I~4 A A is Ib:J 9.Scale by Chord or Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished.0 I~J "1 ~:J Lydian Major Pentatonic n 10 I 9 n m I ~J Prometheus Major Blues Japanese 2-Mode Bebop Major Bebop Dominant 96 .1 . Whole-Half Diminished. Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 I~~~J~J~JIDbJO 1W1~jJ~Jiil IbJi:J&JIJ m IgJ~n JO jJ I Diminished Whole Tone Diminished.

Indian or Iranian Prometheus Prometheus Neapolitan 97 . Gypsy. Half-Whole Bebop Minor Blues Pentatonic Blues.Scale by Chord Key of B~ or A# Bbm7 Dorian Phrigian Aeolian Phrigyan 6 Descending Melodic Minor Diminished. Minor Pentatonic Bb7 Mixolydian Lydian Dominant Mixolydian Alt 6 Lydian Minor Overtone Whole-Tone Diminished Half-Whole Double Harmonic.

Scale by Chord Key of B~ or A# Bebop Minor Bebop Dominant Blues Major Blues B~+7 Diminished Whole-Tone Major Locrian Whole-Tone Spanish Locrian Locrian Sharp 2 Super Locrian Diminished Whole-Tone Diminished Half-Whole Japanese 4-Mode Blues B~o7 Lydian Diminished Diminished Whole-Half Diminished Half-Whole 98 .

Indian or Iranian Lydian Augmented 99 . Gypsy. Gypsy. Half-Whole Hungarian Minor Bebop Minor Blues Pentatonic Blues Minor Pentatonic Double Harmonic.Scale by Chord KeyofB B Ionian Lydian Double Harmonic. Indian or Iranian Harmonic Major Augmented Major Pentatonic Japanese Bebop Major Bm Dorian Phrigian Aeolian Phrygian 6 Neapolitan Major Neapolitan Minor Harmonic Minor Ascending Melodic Minor Descending Melodic Minor Minor Pentatonic Diminished.

Whole-Half Spanish Persian Bebop Major Locrian Lydian Diminished Locrian Sharp 2 Diminished Whole Tone Diminished. Whole-Half Diminished. Half-Whole Hungarian Minor Japanese 4-Mode Blues B6 Ionian Lydian Major Pentatonic Japanese 2-Mode Prometheus Bebop Major Bebop Dominant Major Blues 100 .Scale by Chord Key of B Major Locrian Diminished Whole-Tone Augmented Whole-Tone Diminished.

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