I

Major Scales and Diatonic Chords

I
C
G
D
A
E
B
F
#
C
#
F
B
b
E
b
A
b
D
b
G
b
C
b
Ionian
I I
D
A
E
B
F
#
C
#
G
#
D
#
G
C
F
B
b
E
b
A
b
D
b
Dorian
I I I
E
B
F
#
C
#
G
#
D
#
A
#
E
#
A
D
G
C
F
B
b
E
b
Phrygian
I V
F
C
G
D
A
E
B
F
#
B
b
E
b
A
b
D
b
G
b
C
b
F
b
Lydian
V
G
D
A
E
B
F
#
C
#
G
#
C
F
B
b
E
b
A
b
D
b
G
b
Mixolydian
VI
A
E
B
F
#
C
#
G
#
D
#
A
#
D
G
C
F
B
b
E
b
A
b
Aeolian
VII
B
F
#
C
#
G
#
D
#
A
#
E
#
B
#
E
A
D
G
C
F
B
b
Locrian
VIII [I]
C
G
D
A
E
B
F
#
C
#
F
B
b
E
b
A
b
D
b
G
b
C
b
Ionian
The large chart lays out for you
all notes in all major keys. The
Wsand sacross the top
represent the intervals between
each of the noteswhole steps
and half steps. The Roman
numerals represent the degrees
of the scales. For example, the
third degree of C major is E.
The Greek words across the
bottom are the names of the
modes that begin on each
degree. That is, if you wanted
to play in the F Lydian mode,
youd use the notes of the C
major scale, but treat F as the
root. The two charts at the
bottom show the chord quality
(major, minor, diminished,
etc.) that results from building
chords on each of the scale
degrees.
W W
1
2 W W W
1
2
Diatonic 7th Chords
Major 7: I, IV
(Dominant) 7: V
Minor 7: II, III, VI
Minor 7 (
b
5): VII
Diatonic Triads
Major: I, IV, V
Minor: II, III, VI
Diminished: VII
II
When using these formulas,
always start with the major
scaleof the prevailing chord or
scale. Say youre trying to g-
ure out the notes in a D minor
9th chord. The chart below
species 1 (the root,Din this
case),
b
3, 5,
b
7, and 9. The next
note after the root we need is a
atted third. Find the D major
scale on the previous page.
Under the Roman numeral III
on the chart youll nd the
third of the D major scaleF
#
.
Since the chord calls for a at-
ted third, we need to lower this
note a half step, to F. You can
nd the rest of the notes the
same wayfor the fth and
atted seventh, look under V
to get A, and under VIIto
get C
#
remember to at
this to C. For the ninth, you
need to go beyond the rst
octavesince VIIIis the same
note as I,IX(if it was there)
would be the same as II.
The ninth we need then, is E.
You can build scales the same
waynd the major scale with
the root you need, and ll in
other notes according to the
chart in appendix III, atting
and sharping where necessary.
The Formula Method for Chords and Scales
Minor Family of Chords
Minor
Minor add 9
Minor 6
Minor 6/9
Minor 7
Minor 9
Minor 11
1
1
1
1
1
1
1
b
3
b
3
b
3
b
3
b
3
b
3
b
3
5
5
5
5
5
5
5
9
6
6
b
7
b
7
b
7
9
9
9 11
Other Chord Types
5 (power chord)
sus 2
sus 4
add 9 sus 4
Minor 7 (
b
5)
Diminished 7th
Augmented
*
b b
7=6 (enharmonic equivalent)
1
1
1
1
1
1
1
5
2
4
4
b
3
b
3
3
5
5
5
b
5
b
5
#
5
9
b
7
bb
7
*
Major Family of Chords
(Maj)
(Maj) add 9
(Maj) 6
(Maj) 6/9
Maj 7
Maj 9
Maj 13 (Maj 7/6/9)
Maj 7/6
1
1
1
1
1
1
1
1
3
3
3
3
3
3
3
3
5
5
5
5
5
5
5
5
9
6
6
7
7
7
6
9
9
9
7
13
Dominant Family of Chords
(Dom) 7
(Dom) 7/6
(Dom) 9
(Dom) 13
(Dom) 7 sus 4
(Dom) 7/6sus4
(Dom) 9sus4 or 11
(Dom) 13sus4
1
1
1
1
1
1
1
1
3
3
3
3
4
4
4
4
5
5
5
5
5
5
5
5
b
7
6
b
7
b
7
b
7
6
b
7
b
7
b
7
9
9
b
7
9
9
13
13
III
Scale Formulas
Ionian (Major Scale)
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Major Pentatonic
Minor Pentatonic
Blues
Blues Composite
Harmonic Minor
Phrygian Dominant
Melodic Minor
Lydian Augmented
Overtone (Lydian
b
7)
Mixolydian
b
6 (Aeolian Major)
Super Locrian (Altered Dominant)
Half Step/Whole Step Diminished
Whole Step/Half Step Diminished
Whole Tone
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
b
2
2
2
2
b
2
2
2
2
b
2
2
2
2
2
b
2
b
2
2
2
3
b
3
b
3
3
3
b
3
b
3
3
b
3
b
3
b
3 3
b
3
3
b
3
3
3
3
b
3
b
3 3
b
3
3
4
4
4
#
4
4
4
4
4
4
#
4
4
#
4
4
4
4
#
4
#
4
4
b
4
#
4
4
#
4
#
4
5
5
5
5
5
5
b
5
5
5
5
5
5
5
5
#
5
5
5
b
5
5
#
5
#
5
6
6
b
6
6
6
b
6
b
6
6
6
b
6
b
6
6
6
6
b
6
b
6
6
6
7
b
7
b
7
7
b
7
b
7
b
7
b
7
b
7
b
7
7
b
7
7
7
b
7
b
7
b
7
b
7
7
b
7
*
* Mixolydian
b
6is not illustrated
in the Scale Formula Diagrams.
To form this scale, take the
Mixolydian mode and at
the sixth.
IV
Tonal Colors
1
5
3
b
7
b
3 (
#
9)
6 (13)
2 (9)
4 (11)
#
4 (
b
5)
7
b
6 (
#
5)
b
2 (
b
9)
Strongest tone (Root)
Very strong (e.g. Power chords are Root-Fifth)
Strong Major sound
Brings out the Blues sound (Dominant sound)
Brings out Minor soundalso acts as a blue note against Dominant 7 harmony.
The
b
3 wants to resolve to the 3
Not as strong as previous tones
Jazzy, not as strong as previous tones
Sus4 sound, resolves to 3.
Blue note, sinister sound, wants to resolve to 5 or down to 4 for Blues sound
Pretty, Major 7 sound, tends to resolve upward to 1
Weak tone, resolves down to 5 or up to
b
7
Tension tone, resolves down to 1
Parent Scale Concept
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Overtone
Phrygian Dominant
Pretty, Major soundDo, Re, Mi etc.
Jazzy Minor sound
Spanish Flamenco sound
Bright Major sound
Bluesy Major sound
Darker Minor sound
Very dark Minor 7
b
5 sound
Bright Dominant 7 sound
Spanish Flamenco sound
Modesare offspringof the major scale, which is the parent.
Ex. 1: D Dorian contains the same notes as the C major scale.
It can be thought of as a C major scale played from D to D.
Ex. 2: A
b
Lydian is an E
b
major scale played from A
b
to A
b
.
Ex. 3: The parent of B Mixolydian is E major.
Each mode has a color. Learn to hear these colors:
In many situations, you can mix modes for more colors. For
example: over Dominant 7 chords in blues, you can use both
Dorian and Mixolydian, or Blues Composite, which contains the
Dorian and Mixolydian notes. Finally, remember that whatever
exists in the parent scale (chords, clusters, Pentatonic sub-scales,
etc.) also exists in the offspring modes. Examine these and try
all of the possibilities.
Strive to hear each of these tones against all harmonic situations:
V
Lydian Ionian (Major Scale)
Major Pentatonic Minor Pentatonic
These diagrams are all in G.
You can transpose them to
other keys by moving the root
(the 1) to the note you need,
and moving everything else
relative to that. For example, if
you wanted to play in B
b
, youd
move everything up three frets.
The notes on the E and A
strings are shown in the tab in
appendixVIII to help you nd
the roots you need.
Scale Formula Fretboard Diagrams
6 2 5 1 3 6
7 3 6 2 7
1 4 5 1
7 3
2 5 1 4 6 2
3 6 2 5 7 3
4 1 4
7 3 6
5 1 4 2 5
7
6 2 5 1 3 6
4
6 2 5 1 3 6
7 3 6 2 #4 7
1 5 1
#4 7 3
2 5 1 6 2
3 6 2 5 7 3
1
#4 7 3 6 #4
5 1 2 5
#4 7
6 2 5 1 3 6
#4
6 2 5 1 3 6
3 6 2
1 5 1
3
2 5 1 6 2
3 6 2 5 3
1
3 6
5 1 2 5
6 2 5 1 3 6
5 1
%7 %3 4 %7
1 4 %7 %3 5 1
5 1 4
5
4 %7 %3 1 4
5 1 4 %7 5
%3
5 1
%3 %7 %3
VI
Dorian
Phrygian Aeolian (Natural Minor)
Locrian Mixolydian
Blues
2 5 1
2
1 4 %7 %3 5 1
%6
2 5 1 4 2
%3 %6 %7 %3
2 5
4 %7 %3 %6 1 4
5 1 4 %7 2 5
%6 %3 %6
2 5 1
%7 %3 %6 4 %7
5 1
%7 %3 %6 %2 4 %7
1 4 %7 %3 5 1
%2 %6 %2
5 1 4
5
4 %7 %3 %6 1 4
%2
5 1 4 %7 5
%6 %2 %3 %6
5 1
%3 %6 %2 %7 %3
1
%5
1 4 %7 %3 1
%2 %5 %6 %2
1 4
%3 %6 %2 %5 %7 %3
4 %7 %3 %6 1 4
%6 %2 %5
1 4 %7
%6 %2 %5 %3 %6
1
%7 %3 %6 %2 4 %7
6 2 5 1 3 6
%7 4 %7
1 4 %7 5 1
3 6 2
3
2 5 1 4 6 2
3 6 2 5 3
4 %7 1 4
3 6
5 1 4 %7 5
6 2 5 1 3 6
%7
5 1
#4
%7 %3 4 %7
1 4 %7 %3 5 1
#4
5 1 4
5
4 %7 %3 1 4
#4 #4
5 1 4 %7 5
#4 %3
5 1
%3 #4 %7 %3
6 2 5 1 6
6 2
1 4 %7 %3 5 1
2 5 1 4 6 2
%3 %7 %3
6 2 5
4 %7 %3 1 4
6
5 1 4 %7 2 5
%3
6 2 5 1 6
%7 %3 4 %7
VII
Blues Composite
Melodic Minor Phrygian Dominant
Super Locrian Half /Whole Diminished
Overtone
5 1 3
3
1 4 %7 5 1
%2 3 %6 %2
5 1 4
%6 %2 %7
3 5 3
4 %7 %6 1 4
3 %2
5 1 4 %7 5
%6 %2 %6
5 1 3
%7 %6 %2 4 %7
6 2 5 1 6
%3 4
7 6 2 7
1 4 %3 5 1
7
2 5 1 4 6 2
6 2 5 7
4 %3 1 4
7 6
5 1 4 2 5
7 %3
6 2 5 1 6
%3 %3
1 %4
%4 %5
1 %7 %3 1
%2 %5 %4 %6 %2
1
%3 %6 %2 %5 %7 %3
%4 %4
%7 %3 %6 1
%5 %4 %2 %5
1 %7
%6 %2 %5 %3 %6
1 %4
%7 %3 %6 %2 %7
6 5 1 3 6
%7 %3 %2 %7
1 %7 %3 5 1
3 6 #4
%2 #4 3 %2
5 1 6
3 6 5 3
%7 %3 1
#4 3 6 %2 #4
5 1 %7 5
%2 #4 %3
6 5 1 3 6
%3 %2 #4 %7 %3
6 2 5 1 3 6
3 6 2 #4
%7 %7
1 %7 5 1
#4 3
2 5 1 6 2
3 6 2 5 3
%7 1
#4 3 6 #4
5 1 %7 2 5
#4
6 2 5 1 3 6
#4 %7
6 2 5 1 3 6
3 6 2 #4
#4 3
1 4 %7 %3 5 1
2 5 1 4 6 2
%3 #4 %7 %3
3 6 2 5 3
4 %7 %3 1 4
#4 3 6 #4
5 1 4 %7 2 5
#4 %3
6 2 5 1 3 6
%7 %3 4 %7
VIII
1 2 3 4 5 6 7 8 9 10 11 12
E F F/G A A/B B C C/D D D/E E G
0
G/A
1 2 3 4 5 6 7 8 9 10 11 12
F F/G A A/B B C C/D D D/E E G
0
G/A A
Whole Tone
Harmonic Minor Lydian Augmented
Notes on E and A Strings
Whole/Half Diminished
6 2 1 3 6
7 3 6 2 #4 7
1 1
2 1 6 2
#4 7 3 #5
#5 #4
3 6 2 7 3
#5 1
#4 7 3 6 #4
1 2
#5 #4 7 #5
6 2 1 3 6
#5
2 5 1
%3 %6 4
7 2 7
1 4 %3 5 1
7 %6
2 5 1 4 2
2 5 7
4 %3 %6 1 4
7
5 1 4 2 5
%6 7 %3 %6
2 5 1
%3 %6 %3
6 2 1 6
7 6 2 #4 7
%3 #5 4
1 4 %3 1
#4 7 #5
2 1 4 6 2
6 2 7
4 %3 #5 1 4
#4 7 6 #4
1 4 2
#5 #4 7 %3 #5
6 2 1 6
%3 #5 #4 %3
2 1 3
3 2 #4
#4 3 #5
1 %7 1
2 1 2
#5 #4 %7
3 2 3
%7 #5 1
#4 3 #4
1 %7 2
#5 #4 #5
2 1 3
%7 #5 %7