MA7

Scales Major Tonality

Ionian Lydian Lydian 2 t.

m7
Aeolian Phrygian Dorian

m7( 5)
3 6 7
Locrian

Dom7
Mixolydian

Start at 1 5 2 2 4

Minor Pentatonic

Major Lydian Lydian 2 t.

2, 3, 6 7 4

Dorian

1, 2, 5

Locrian

3, 4, 7

Mixolydian 1, 2, 5, 6 2, 5: avoid note 4th

Melodic Minor

Lydian Aug.

Melodic Minor Locrian 2 Mixed up t.

1 3 5

Locrian 2

Lydian Aug. Lydian Dom.

4 5

Harmonic Minor W/H Diminished H/W Diminished Whole Tone

Harmonic Minor

5, 6, 7 t.

Diminished

Diminished

2, 7 t.

Lydian Dom. 5 t. 1

Arpeggios maj7
Major Lydian

1 5

Aeolian

m7
Aeolian

m7 5
Lydian

Dorian Locrian 2

6 1

Locrian

Mixolydian Lydian Dom.

3 4

m(maj9)
Lydian Aug.

Melodic Minor

1
Locrian 2

1 3

Lydian Aug. Lydian Dom.

4 5

7
Locrian 2

Triads maj
Major Lydian Lydian Aug.

1, 4, 5 2 3

Dorian Melodic Minor 7, 5 t.

3, 4, 7 5 2, 7

Locrian Locrian 2

5, 5 7

Lydian Dom.

+
Lydian Aug.

1, 3, 5

Melodic Minor

3, 5, 7

Locrian 2

2, 5, 7

Lydian Dom.

2, 5, 7

Locrian 2

2005 Alexander Teinum <ateinum@broadpark.no>

Last updated: 05.06.2005 (mm.dd.yyyy)

7( 5)
Scales Major Tonality Start at

13alt.

Dom7(sus)
Mixolydian

sus( 9)
Phrygian

Minor Pentatonic
Altered

1, 4, 7 3

Mixolydian

2, 5

Melodic Minor

Altered

Dorian 2

Phrygian 6

Harmonic Minor W/H Diminished H/W Diminished Whole Tone

Diminished

95 1 Avoid chords with 9 or 9

Arpeggios maj7
Mixolydian

m7

m7 5
Altered

Phrygian

m(maj9)
Altered

Dorian 2

Phrygian 6

7
Diminished

2, 3, 5, 7

Triads maj
Altered

Diminished

1, 3, 5, 6

Mixolydian

4, 7

+
Augmented

1, 3, 5

Diminished

2, 3, 5, 7

2005 Alexander Teinum <ateinum@broadpark.no>

Last updated: 05.06.2005 (mm.dd.yyyy)

What did I just see?

It's a table of scales, arpeggios and triads to play over different chords commonly found in jazz and fusion. The information is gathered from various sources: Scott Henderson's video Jazz Fusion , the book Guitar Lessons With The Greats , John Scofield's video On Improvisation , the tables from Scott Lerner's website, various other websites and a little research on my own. and I thought I'd like to share it with other guitarists out there.

Playing in lydian Let's try it out by playing a C lydian scale over a C major chord. This table utilizes parallel thinking, so you simply play a major scale starting at the fifth of the chord's root note. A fifth away from C is C D E F yup G. This means that you should play G major over the C major chord. Don't get confused by paralell thinking and deriving from a major scale. You're moving the major scale itself around, not deriving from a major scale.

Some useful tips - You'll get far if you occationally find new ideas to work on in the table, and use a week or so to digest it. You don't need to learn everything in one day. - Know where the root is in the major scale patterns. Start with the one you know best. For me, it's the major pattern starting on the low E string on the second finger. The second octave starts from the fourth finger on the fourth string. - When you see 7 in the table, you could play the major scale up a flat seventh, but it's probably easier to move down a whole step. - Get my two other tables too: the circle (or shall we say table?) of fifths and the table of the melodic minor harmony. - The table looks yummy printed with a 1200 dpi laser printer. Crisp'N'Clear. Try that!

t. There's an abbreviation that you should be aware of, and that's t. for tonality. I've used it to describe sounds that are variations on well known scales and such.

Suggestions/feedback Please drop me an e-mail if there's anything that could be improved.

2005 Alexander Teinum <ateinum@broadpark.no>

Last updated: 05.06.2005 (mm.dd.yyyy)