C major, C lydian, C major bebop, C major pentatonic, G dominant

Cmaj7, C , Cmaj9, C6, C

bebop, G major pentatonic, B Spanish phrygian
Cmaj7#11 C lydian, B in sen
Cmaj7#5 C lydian augmented, C major bebop
Minor Chords
C dorian, C natural minor, C minor pentatonic, Eb major bebop, F
Cm7, Cm6, Cm11, Cm13, Cm dominant bebop, Bb major bebop, C melodic minor, C blues, C
phrygian, C sus pentatonic, F major pentatonic
Cm-maj7, Cm6 C melodic minor, C harmonic minor, Eb major bebop, D in sen
Cm7b13, Cm7b6 C natural minor, Ab major pentatonic
Cm7b9, Cphrygian C phrygian, C phrygian #6, C Spanish phrygian, C in sen
Dominant Chords
C7, C9, C, C7sus, C9sus,
C mixolydian, C dominant bebop, C blues, C sus pentatonic, C major
C13sus, Csus, C11, C13, Bb/C,
pentatonic, F major bebop, F major pentatonic
Gm7/C
C7#11, C7b5 C lydian dominant
C7b9, C7b9b5, C7b5 C HW diminished, F harmonic minor, Ab Spanish phrygian
C7#5, C7+, C7aug, C7b13,
C whole tone, F melodic minor
C7b5
C7alt, C7#9, C7#9#5,
C altered, F harmonic minor, Ab major bebop
C7#9#5b9b5
F harmonic minor, C phrygian #6, C phrygian, C Spanish phrygian, C
C7susb9
in sen
Diminished & Half-Diminished Chords
C locrian, C locrian #2, Bb harmonic minor, Db major bebop, Ab
Cm7b5, Cø
dominant bebop
Cdim, Cdim7, Co, Co7 C WH diminished

"maj" (major) may also be abbreviated "Maj", "Ma", or "M"

"m" (minor) may also be abbreviated "mi", "min", or "-"
"#" (sharp), used as an alteration, may also be indicated "+"
"b" (flat), used as an alteration, may also be indicated "-"

When playing a progression in which all the chords come from a single key, it can be easy
and effective to simply use the scale of that key over the whole progression. Passing
tones may be always included as well; the major bebop scale of the I chord or the
dominant bebop of the V chord provide examples of this. When improvising over minor
key progressions, any of the harmonic, melodic, or natural minor scales can be used, as
can the major bebop scale of the relative major. You will find that many of the scale
choices listed above are simply applications of these principles. The chart is meant to
help you find additional harmonic color within specific chords in a progression, and to help
you organize your improvisation over modal chord progressions, in which the scales must
necessarily change with every chord.
To use the chart, find the row or rows containing the chord symbol in which you are
interested on the left side, and then check the right side of that row or rows to find the
corresponding scales. Within a row, the scales are generally listed from most typical to
least. If the chord is listed in more than one row, this generally indicates that it is
ambigous in some respect, and you will have to decide for yourself which set of scales is
more appropriate given the context.

Note that the chords are all listed with the root of C. When applying the chart to chords
with other roots, you should transpose the scales by the same interval as the chords. For
example, if the chord is Bb7susb9, then you should find the row containing C7susb9,
which lists the scales as F harmonic minor, C phrygian #6, and C phrygian, Since Bb is a
whole step below C, you should then tranpose each of the corresponding scales down a
whole step as well. This yields Eb harmonic minor, Bb phrygian #6, and Bb phrygian.