re ‘" FOR GUITAR AND ALL MELODY INSTRUMENTSTHE SCALE BOOK y Leigh Powers Published throughout the world by PROFESSIONAL MUSIC PRODUCTS, INC 14731 FRANKLIN AVENUE ‘TUSTIN, CALIFORNIA 92680 © Copyright 1979 Musie Research, Ine. ALL RIGHTS RESERVED. This book, or any part thereo! may not be reproduced in any manner, or siored by any electronic storage retrieval system of any kind without waitfen permission ofthe publisher. Intemational Capyright Secured Printed in the United States of AmericaACKNOWLEDGEMENTS Graphic Design Music Research Ine., Agoura, Ca Writing Typing andi Transcribing —Sccretarial Services, Thousand Oaks, Ca. Copying—Copymat, Thousand Oaks, Ca. Velox Reductions/Reproductions—Four Star Printing, Thousand Oaks, Ca Cover Design—Leon White Cover Pitot» Processing—Marc Schretbman, GP Color Labs Graphic Coordination and Design—Brent Block and R. Muckle for Music Research [nc., Agoura, Ca. Typeset —The Composing Room, Costa Mess, Ca. Music Notation—Stan Sheldon Leigh Powers appears through the courtesy of Breeman Enterprise LTD., Toronto, CanadaTABLE OF CONTENTS ‘The Lochrian Seale INTRODUCTION . S Special Features of this Book . 3 ‘The Seven Fingerings For Guitar. . 4 ‘The Major Scale .. . ‘ 2 : 2 6 ‘The Major Pentatonic Seale....... 7 ‘The Mixclydian Seale 8 ‘The Minor Pentatonic Scale. foe we The Blues Scale cos : 3 an The Dorian Scale... . te AReview mE - . = “cosa iment, cB The Lydian Seale... eneeaaysrees ror prenareaeceelis The Natural Minor Seale a ‘The Harmonic Minor Seale sevvosneey . ot reerenect ‘The Melodic Minor (Jazz Minor). 16 The HM. 3Scale : z 7 The Overtone Dominant Scale. 18 ‘The Altered Dominant Scale . on The Whole Tone Scale ‘The Half-Whole Seale... 20.0.6... ese cee neeeeee . were . 4 ‘The Whole-Helf Scale a: ~ 22 ‘The JM 5 Seale. . wees = is 23 The HM 4 Scale. 2a The M2 Seale... .....:eeeeeeeee 25 The Plain Mi7b5 Scale 6 The H.M. 2 Scale ....... 0.5 a The JM 6 Scale. . Ps 28 29 30 ARovIW cece : . cee cetteTHE SCALE BOOK INTRODUCTION Scales are the building blocks of melody and harmony; the competent musician requires fluency in a variety of scales, ay well as the understanding of the relationship of scale construction to harmeny. Musicians and music stuclents, regardless of specialization of stedy or instrument, may take 2 number of useful approaches to the study of scales and scale applications. But there are so. many popular styles of music today, and so many levels of student understanding and teacher attitudes, that there has arisen the demand for a source of useful scale information without a stylistic or methodology bias. A simple, inexpensive reference on the subject, directed to all musicians, is needed. The Scale Book is this reference work. In it, we have gathered into a single location the most important and useful scales and their fingerings (forthe guitaris:), These scales appear here in standard music notation, for ll instruments, and also in standard box diagram illustration, for the guitar. ‘We hope you find this volume useful throughout your years of musical interest; we would also enjoy hearing any comments you might make concerning this book, the material in it and its presentation. Thank you for your con- tinued interest in Professional Music Products. The Author SPECIAL FEATURES OF THE SCALE BOOK Each scale will be shown in twelve keys in standard musical notation. In the guitar illustrations each scale will be shown in one key ory, but in seven “static” fingerings involving no position shifts for the left hand, Each of these fingerings is completely closed (uses no open string), so that a transposition to any other key can easily be effected by “slide of hand.” In addition, for each scale there will be provided a special guitar illustration of the note location without a recom- mended fingering. Because guitarists seem to be an opinionated and argumentative lot of groueling,“louts” we decided to give each, for the price of this book, the opperlunity to express his own ideas about the fingerings of scales and to ‘correct’ us if he chooses HOW TO PRACTICE SCALES ON THE GUITAR 1. Have a positive attitude. 2. Get plenty of rest and eat a hearty breakfast 3, Work out with weights and ran tero miles daily, 4. Agree with everyone you meet that the only way to learn scales is 10 practice fingerings eleven hours a day for 2.716 yeaxs—all the while frowning, complaining, and looking for a short cut by which you can master the stucly Guring a television commercial. Ignore the preceding steps because they are not your cup of cocoa and because you prefer an intellectual approach, Study the guitar for years with every local guru-guitarist you can find. Learn everyone's tricks and then go get a master's degree in harmony at music school. Become an authoritative speaker. perhaps a charming and witty after- Ginter guest speaker at the homes of local friends of musicians, Finally, sit down and kearn your scales. Should this intellectual approach become too dry and mechanical for you, use magic. Look at your hands, Discover that you have five fingers, the guiler hes six strings and there are seven notes in the major scale. Draw a picture of your guitar and paint cifferent frets and strings different colors. Paint a number on each finger, and using your subjective concept of pretty hand shapes, develop and practice interesting visual pat- terns, Be careful not to listen while you play, but devise a cute name for your system (like The Ariful Seales, Shlonic Scales, or Triadic Equivalents) and go into business for yourself. Then sit down and play your scales, QUESTION: Why did we write the preceding paragraphs? ANSWER: To alert you to the damaging mental attitudes you could adopt concerning scale study. To learn scales is not hard, it isn’t boring, it isn’t a major part of your life, Dor’t make il these things! Don’t be impatient, don’t assume that you wont appreciate it or that you won't understand it because it's new. Dor’t rush, and don't overdo scale stucly—but do give it a fair, honest effort. ‘You can do these things: 1. Spend fifteen good minutes every day on scales. 2, Practice new scales carefully, slowly —you can make any number of mistakes playing fast, so practice slowly. Give attention to clean intonation and smooth chythm, 3. Learn all the fingerings ol each scale, Sooner or later, if you really want to be a good player, you will, Don't learn Just the rock scales, and don’t Iearn just two or three fingerings for each ecale, You'll need the rest tor guitar fluency. Have a plan (no, thanks, Ijust had one). You might learn three fingerings for each scale before coming back to the rest. You might concentrate on rock but give ample altention to the other scales 2s well. Having a plan and following it will climinate your frustrations by allowing you to compare your accomplishments with your goals Many students who can't accurately gauge their progress are often dissatisfied and feel they are “not good enough, wher in fact, they have improved measurably. Others are sure they have “gotten it all together” wien they haven't, A plan will allow you to see whether or not you are attaining your goal. 34, Be musical, even at practice ("2222222 ..."). Don't sleep through your practices. Be creative, sing your scales as you play ther (many guitarists vocalize solos as they play them). Harmonize your scales. Play them with different picking sequences and in different rhythms. Move them up or down a fret every time you repeat ther; play them. fon the fifteenth fret. Play them only descending; use them to play melodic patterns and secuences. 5, Use these scales in musical situations. WHY STUDY SCALES? 1, For technical skill—Through scale study you will increase your strength in both hands, and you will improve your muscular control and coezdination of both hands together 2, For instrumental facility—Scale studies should take you all over your instrument, assuring. that you master dif ficult registers, locations and movements 3. For peace of mind—You will play with confidence. you will play more musically. Your improved abilities to hear and play will elect in better improvising and reading. Seale knowledge will be strong tool for you in composing, arranging, conducting, copying, etc. You will also date more frequently and in general be more popular with all vou friends THE ORIGIN OF OUR SCALE NAMES. If you've looked down the Table of Contents, you'xe probably wondering what some of these scale names mean. Some of the names are the “official” names, others are popular nicknames that describe the scale, while the rest are names popularized by Leon White in his book, Modern Improvising—A Guide to Jazz Scale Soloing.tn each lesson, il describe the origin of the scale name briefly ‘THE SEVEN FINGERINGS FOR GUITAR ‘The fingerings we prefer are shown complete at the beginning of each lesson: we show seven fingerings for each scale. These fingerings cover the entire fingerboard for any key and without any gaps. The guitarist needs maximum “utility and flexibility in his fingering options for a musical reason; Rather than play only what musical things are easily performed, he must be able to make taiat cownds good comfortable t play. ‘Those Things Are True For Our Fingering System: 1. The entire fingerboard is covered in a series of positions, each one never further than two frets removed from its neighbors. 2. For every scale the lowest root will ie in seven different positions on the bass strings of the guitar, Three positions find this root on the E string, three on the-A string, and one on the D string, The particular type of scale determines which lef hand fingers aze employed, but in all scales the fingers that play the root in the three E string positions are the same fingers that play the roo! in the three A string positions, and the fist finger always plays the lowest scale roo! when it it fourd on the D string. 3. Each of the seven fingerings for any scale has a different note as its lowest reachable note and a different note as its Nihes eschable pote. ui SYSTEM OF NOTATION FOR GUITAR Below are diagrams indicating how the scale fingerings will be notated for guitar. 654321 a _~ Each fingerhes 3 been assigned a number The number \ of that finger will appear inside the On each diagram a circle will be placed where you should Giele showing where to pace i place your fingers to play. gapose fancee Using the C Major Scale, we have illustrated below how the seven fingerings for one scale interlock with each other. Each box shows a different fingering for the C Major Seale, 3 CEFT SE and each fingering has different notes that can be reached at the limits of the fingering POI sAbgc TA TA = ND TOOT seh ) stp et oe Oi eeecEAD wOCKEERD woeTRTS vpabe st We'll repeat the above illustration for you in the key ‘of G Major to move the fingerings down the neck ell give you @ new perspective.EaAvGue Le 7 GTS sie * 31 “PLOT » ® bey I ey ss : EE see annus “Teor? “ES? This one system is consistent for every Kind of scale we have tried Any kite of scale—major. minor. altered, modal, whatever can be played from any one location, and there are seven positions in which to play any scale. Furthermore, every pentatonic scale we have found in jazz. rock and country masic can be found within a larger. coven note seale, and s9 can its fingering, [Our system does not omit the pentatonies, our Western European musical heritage is based on a system of sever-note scales. All common five note scales are subject to this system.) 5. There are no lelt hand position shifts for any of the seven fingerings, but some stretches. These scale fingerings are thus useful for note reading as well as for improvising ‘9. Each fingering corresponds to a familiar chord shape. Shown below are the seven major seale fingerings we've mentioned earlier, and a chord form that coincides with the physical shape of each scale 5D COS Zh Sb » ERD OGD ® TAINO ED TOTS «AT OO ei MOE h G GIG GCmmIOG) BOTT [ ELLs BIO Oil OOD EE CHT) woes | barra cw 17. Each scale Fingering: contains an arpesgio for each chord in the key of the scale. (For exatnple, each of the seven fingerings of a C major scale contains seven arpesgios—one for each of the seven chords built from the scale tones.) Shown below is one of the C Major Scale fingerings and seven different arpeggios located “inside” that fingering. The arpeggios arc the most important and funcamentel ones—the “seventh chords” that cam be built from each Seale Deer tees oe aban e Aarne ena else ‘ETT ee sy ee C1 . a Cmajor CRN | cma aca Em [Sis scale” epee Si aoe ap. Sete 2 e | SAREE EET pabege Lavoe OTe opthe Fma7 BETS | G7 (rx ap. CCRT De arp. ECP CIS ave. jamm olml Although we've used only one C Major Scale fingering in this example, we could repeat the process fer each of the senen different C Major Scale fingerings. Insicle act of the seven C Major Seale fingerings we would find the seven ar~ extios we've Found here. Well repeat this process from a different C Major Sele fingering just to show you this more clearly(and to tease you a bit). oil x OIEKAG, ack iS or oe LT Cteett Cot aoe Fma7 eS 7 | Ami7 £7 Bmi ap. 1 EMS Te amp. EAS Tao ear. "EET z © aH oe ete “Hae Arpeggios are a major tool in improvising.an important technical drill, and excellent ear training, but a thorough study of them requires more space than we have here (but can be found in other PMP books), However, Lwant you to know now, while you re studving scales that you are also studying arpeggios indirectly. You'l have no wasted effort mentally or technically. EXTRAS FOUND IN THIS BOOK ans siBRICEA SRLS) By 7b 7 e Along the way you'll find extra information about scales and how they relate te music, Following, is a brief list of these extras and what they mean, Chords—When chords are chown with a ecale, we've done co bacause that scale is ¢0 popular that the chords are used together in progressions, to create tonality. The major scale is a good example of this. We frequently use the ‘chords built from notes of the major scale to make song progressions. The chords are shown so you can learn to recognize them together—that is, you can see that they come from the same scale Fingorings—Fingerings marked with an asterisk (*) are the ones I recommend you learn first. They're the easiest. 5THE MAJOR SCALE Seale formula from Root C: CDEF G ABC Triads in Scale} C Dmi Emi F G Ami Bdm Seventh chordsin Scale}C MA7 Diz Emi7 FMAZ or Ami? Bmin7o5 Sixth chords in Scale} C6 Dmié Fo fer THE MAJOR SCALE IN MUSIC NOTATION — = eee 7 & SS SSS (SE SS ea / = Lbeat or strum Try playing the C major scale ove: these progressions: om Dm G7 Cme7 cma? 2) Ami SG FG PTY S114 itl dtd ie 3) Emi7 Ami? Dmi7— G7 Wit VINE FEED EATHE MAJOR PENTATONIC SCALE Scale formula from Root C: C oD EF GA R 2 3 si 6 eo 3) This scale is called the Major Pentatonic because 1) The interval {rom € to E is a major third, and helps to spell the chord C major, found in this scale (CEG); 2) “Pentatonic” comes from Greek/Latin “penta” méaning five. There are five roles in this scale When two numerals are shown under a letter in the scale spelling (See the “D” note above) the numerals are there to indicate that the note has favo functions or titles in the scale and its chords © D FE F G A 8B C D £E F GA 1092 3 4 5 6 7 8 9 B HM 2B B ‘As you can see, the D note is both the 2nd note, and the 9th note of the C Major Scale. The A note is both the sixth and the thirteenth. You should keep this piece of info stored away for later use Please note; 1) that this scale is like the C major scale except that it’s missing the 4th—F. and the 7th—B. 2} This scale spells a chord when all of the notes are sounded together. The chord iscalledC 6. COE OG) AOD 1 3 5 6 9 THE MAJOR PENTATONIC SCALE IN MUSIC NOTATION. * & SS SSS SS ® oe S ——— —— eats ‘Try playing the C major pentatonic scale over the same progrossions shown with the major scale. 1 = Lowest RootTHE MIXOLYDIAN SCALE Scale formulafromRootC:C DF FO CG AB 1 2 3 4 5 6 Inthe C Mixolydian Scale we're calling the Bb note a b7. Why? Because we're comparing this C mixolydian scale to the CC major scale. In the major scale che seventh note is B. Here it’ lowered (Flatted) to Bb. Hence the description b7, We will do this throughout the book. The major scale and its notes are the ruler by which all other scales and their notes are measured and described THE MIXOLYDIAN SCALE IN MUSIC NOTATION aa Try playing the C mixolydian se bec c oF the following progressions: 2 C7 G7. CT CT Ci FETE ft htE ChE MEE CELE TELE Here, play the scales as shown, and play the chords slowly, AT D7 G7 c7 ATE UAE TALE TG Amix, Dmix, Gmix, CmixTHE MINOR PENTATONIC SCALE Scale formula from Root G:C mm oF G Bb oC 1 4 5 87 Here you can soe that we're calling Eb a b3 because in the C Major seale the thied note is E. This scale is called the Minor Pentatonic because C Eb G Bb spells a C mi 7 chord, and the scale contains 5 different THE MINOR PENTATONIC SCALE IN MUSIC NOTATION — dee Sone Serre ee The guitar fingerings: 1 = Lowest Root Try the A minor pentatonic scale over these progressions: 2) Am? D9 Ami D9 2) Ami? —-Dmi7_—Ami7_— Ami7 PUPE ELIE GLEE VET CIEL ELE PPTL AND tiff Ph Gt Does the A minor pentatonic resemble the C major pentatonic in any way? 3Am#9 FGTHE BLUES SCALE Scale formula from Root: CED FH GB 1 6 4 5 BF #9 bs As you can see, the Blues Scale is resily just the minor pentatonic scale with another note added, the #4, This one note adds an interesting and powerful sound however, and is of major importance in rock, blues, and jazz improvising, ‘The guitar fingerings require a little jockeying around and all seven are not “required” for that reason, THE BLUES SCALE IN MUSIC NOTATION Play the A blues scale with zhe progression examples shown for the dorian and minor pentatonic scales.THE DORIAN SCALE Scale formula from Root: CDH EGA HS 1 2 bo 4 5 6 BF This “scale” is really the major scale started from the second degree. That's a cute fact that might help you finger the scale, but will confuse you if you tty improvising and wansposing at the same time, (C doran = Bb major) THE DORIAN SCALE IN MUSIC NOTATION , ee Seas = tt FS ee be * TOS e & SS Se The guitar fingerings: [2 = Lowest Root Try the A dorian seale over these pro y avo ECG 2) Ami Atte dh Eh ae aIMPROVISING WITH SCALES WE'VE SEEN SO FAR So far all of the scales we've scen belong together in a single group. The special qualification these scales have is this. EACH OF THESE SCALES MAY BE PLAYED OVER AN ENTIRE PROGRESSION. YOU DO NOT HAVE TO CHANGE SCALES WHEN YOU CHANGE CHORDS. The examples below will illustrate this more clearly. Before swe see those examples, however, Id like to discuss briefly the scale similarities and how they effect improvising. ‘The major scale and the major Pentatonic scale can be used interchangeably because the major Pentatonic is actual- ly inside the major scale. (See Examples 1-2.) ‘The major Pentatonic can also be used instead of the Mixolydian (examples 5-6). The major scale and Mixolydian scalehave only one difference—the 7th in C Major the 7isB; in C Mixolydian, the 7 is Bb). This isa big difference insoundt! (Compare the scales and play all the examples.) We have a similar situation in the minor scale area. The minor Fentatonic scale is inside the Dorian scale and the Blues scale. If you'll look at the examples you'll see how the scales can be used. EMPHASIZING THE DIFFERENCE IN SCALES is the key to learning the special sounds each scale contains. To hear the major scale spend 450 weeks playing solos that always start on the 27 note (the B note in the C major scale). To hear the mixolydian scale, start 10.751 solos with the b7 note (a Bb note in a C Mixolydian scale), TIP (About 15%; if service is good): Try building licks and solos in both these scales starting 7 to 3, 3 to 7,67 10 3 or 3 to b7, Tn the minor scale area... Once you've bored your head full of the minor Pentatonic scale, move to the Dorian and start all your solos and licks on the 9 (D is the 9th note in C Dorian) or the 6 (A is the 6th note in C Dorian) you'll get a very smooth, jazzy sound. Then take the blues scale and start solos with the notes #4 - 5. That's the sound there. You can combine major and minor scale sounds by playing the b3 note (from minor) and then the £3 note Shown below ate sample progressions and the scales that you might use over each of the progressions. As you can see, some progressions have several scales that may be used, It's up (0 you to experiment and listen to each #1) Dm? Gr cma? Cmar wc Am F cr EERE ®) D o F t-te NO Mehdan — TAMinor Penttonie: “See 2 DMajorPentatomie = 2 ABMerecate soe 2 1. CMajor ea kind plan sounding) = eee 2. CMajorPontatome [ahi ol couneyrock] >t 4. CMtolyeian icourtr-ock/otuesteell— > TD 4 CMinor Penatonie "blesey™ 5 CBluesseale('Mueier TT Ccdeaniazdberte! SS TTT ITTHE LYDIAN SCALE Scale formula irom Root C: “The Lydian Seale is an unusual seale in that its only D oF ow G alteration is a #4 (b5). It has Q7! The only chords whose c A spellings coincide with this scale are: Major 7 65 T 2 3 bs 5 6 7 (Major 7411) Major 985 (major 9*11) Major 13 811 13 THE LYDIAN SCALE IN MUSIC NOTATION 9 #11 The Lydian Seale is very useful ir playing over Major chords occuring out of the Key. Try the following examples: o Bt pat? Ant oa or or WH. WW) tat itt Ga vr i va —— ES Chee ‘or CMajerSeale——-EbLydien cmajor Ami7am. Clydian — GMa) ce e ae. ici The more you play the Lydian Scale the more iat at Ht cnr We at ws ‘ae natural the scale becomes to your ear, For many + players the Lydian is a preferred choice to the CMajor ADLydian ‘C major scale Major Scale. They might use the Lydiananywhere ‘a Major Scale could be used 13THE NATURAL MINOR SCALE Scale formula from Root C} C D Eb F G Ab Bo c Triads found in the Scale} Cmi Ddim EB Fri Gai Ab Bb Seventh chords found inthe Scale} Cri? Dinin?b5 Ebma? Fi? Gmi7_ Abma7 This scale is really the major scale started from the sixth degree. That is, Anatural minor equals C major. The question is, does that knowledge do you any good? What about key signatures’ Does Aratural minor have the same key signature as C major? If it Coes, how could you tell which scale/tonality you are playing in? THE NATURAL MINOR SCALE IN MUSIC NOTATION 4 == poet > 2 Ss fee. Soe ‘Try this scale aver these progressions 1 Ami7 Ami? Dmi7 mF G Am? Ami? 2 Am? GC Fa? Fma7 CHEE TTL PERE PPPS TEDL AEDT FA ER DEE Hitt LAE FLEE PEED MTHE HARMONIC MINOR SCALE Scale formula fromRootC: CD RF GB a 2 6 4 5 te 7 Teiads fourd iny the Scale Cmi Daim Eb+ Fmi G Ab Beim “Seventh” chords found in the Scale} Cmi/ma7 Dminzbs Eomazts Fiz a Abmay —— Bdim7 THE HARMONIC MINOR SCALE IN MUSIC NOTATION. ‘The best progression to help you get used to this scales “new” sound s shown below in two keys, Db Dmi75 G79) Cm Cm 2) Bmi7bS —-F7/b9) AM Ami ea ttl Geel POEL ATEL PELE ESDP C Harm. Minor Allann, MinorTHE MELODIC MINOR (JAZZ MINOR) Seale formula trom Root C: c D Eb F G A B 1 2 63 4 5 6 7 “Triads inthe Scala}Cmi Dm e+ F sc Adm Baim Seventhchordsinthe Scale{Cmiima7 — Dmiz. Ehma7e@S FF o Ami7bs — Bmi765 THE MELODIC MINOR (JAZZ MINOR) IN MUSIC NOTATION ato rs. fa at eet = baie — - - Gieert Crew ft qoieretter IE Pee a meet This progression should help you get the sound of thisscale. Play C melodic minor over the changes. Dmi? G7#5 — Cmif6)_— Cmit6) HEL FALE GATE PE 16THE H.M. 5 SCALE Scale formula from RootC: C -Db EE FOG Ab Bee 1 2 3 4 5 be 7 be n 45 HIMS refers to the fact that this scale was “creates!” by playing the Harmonic Minor instead of the first, thus rearranging the sequence of intervals. The HMS is in effect Scale. IM) from the fifth degree " of the Harmonic Minor THE H.M. 5 SCALE IN MUSIC NOTATION Se he eft bp bao a aaa This scale is the first scale we're showing you that should be applied to one chord,t.e, you're going to have to charge seales as the chords change 1) Gm C769 Ema? Fimal 2 Ami? D7b9— Gmi7_ C1189 Fma7_— Fema? “ULE thet thet tei sere Ptip bb Ait tfee TLEP F Maj. CH.M.5 F Maj, Smal vis FMal. CAMS F MajTHE OVERTONE DOMINANT SCALE Scaleformula from Root: C DEH GA BH 1 2 3 M 5 6 w& 9 #11 1B The overtone dominant scale is derived from playing the melodic minor scale from the 4th degree. We might want to call it "Melodic minor #4", but it has an even stronger identifying element than that. The notes in this scale approximate the natural evertone series. THE OVERTONE DOMINANT SCALE IN MUSIC NOTATION This scale can be used with dominant family chords, especially 911 and 13#11, where it sounds rich and full. Play the example below as illustrated Gmi7— C9811 Fa? Fma dtit ted te tNPt AEE FMai. COver. FMajTHE ALTERED DOMINANT SCALE Seale formula from Root: Cb Eh Fh Gb A BH 1 BR bk HLT be 3S The Altered Dominant Scale gets its name from the fact that it contains all of the alterations a dominant 7th chord can have—b9, 9, b5 4. THE ALTERED DOMINANT SCALE IN MUSIC NOTATION a — Seperate et =. a —Spege terete eben | eee i ie | of - Gb eS seins mee Se > This scale can be played, with care, over 755, 75, play it over a plain dominant 7 chord and add a lot of Gmi?— C7b9%8\etc.) — Fmaj?— Fnaj? ah ttl Ath bet FMaj. CAh.Dom. — F Maj, 965, 7b9, 769, 7965, 7b9+5 and 7#945 chords. You can alsoTHE WHOLE TONE SCALE Scale formula from Rect C cD EE FR GH ARB) C I 2 3 4 mS Hb 9 #0 a OK, the origin of the name of this scale isn’t so difficult, I" admit. ‘The distance between each note and its neighbor notes i¢ a... whole tone... How many different whole every few frets? tone seales are there really? Three, four? Does the scale repeat THE WHOLE TONE SCALE IN MUSIC NCTATION CWhole Tone = D = E = FF Jhole Tone = D* = E*( ‘The Whole Tone Seale works well over dom. 7#5 and dom. 9% chords, Fma7 Fma7 felt tbtG F Maj '=B Whole Tone Scales, Gmi7 co Udit SEEE FMaj, — CWhole ToTHE HALF-WHOLE SCALE Scale formula from Root: C Db OE FH GG Boo 1 bo #3 ES 7 bs And yes, this scale is made by slternating half steps and whole steps between the not believe me. . . .) This scale also contains 8 different tones instead of 7, which does turn the Aeasure ‘em if you don't fering around a little bit THE HALF-WHOLE SCALE IN MUSIC NOTATION ‘This scale can be played over 769, 139, 13*11, 7#9, 7#5, 72688, 9F11, and 7965 chords, {Its another spicy choice for plain dominant 7 chords too.) Gmi7 CT69¢ete. Fma7 Fmaz tary TNE sith ttt E Maj CHalt-whole —F Maj aTHE WHOLE-HALF SCALE Scale formula from RootC: CD = F FRE GH A BC 1 2 mb 4 #6 #8 6 7 9 9 1 OK. This is the scale you just save, started with the whole step first. . . . ll admit that. How many different versions of this scale are there really? Does it repeat every two frets? Every three or four? THE WHOLE-HALF SCALE IN MUSIC NOTATION, erga y Tan Gis pieieip TR rp | eas a This scale is also known as the ae ey] Diminished Scale because con: “ tains the notes found in a dimin. ” SU ep shed 7th chord: 1, 63, 65. Slit] 66766) c7 Eb°7 Gb°7 = AT #97 = E97 = G°7 = Bb°7 De7 = Fe7 = Ab°7 = B°7 This scale fingering definitely requires some shifts, ard the scale is used well over diminished chords, 1) Bma? C Cri? F+7 2) Cma? #97 Dimi? G7 tied fdtt fast bad MIE GATE GT ALE BMa. CDim. BMaj Maj, C# Dim. C Mai 2THE JM 5 SCALE Scale formula from RoatC: C DE FG Abo Bb 2 3 4 5 be OF 9 1 4S IMS refers to the fact that this scale was “created by playing the Jazz Minor Seale from the fifth degree of the scale snstead of the first. thus rearranging the sequence of intervals, The JMS ie in effect a “mode” of the Jazz Minor Scale. THE JM 5 SCALE IN MUSIC NOTATION This scale can be used over 7#5 and 9* chords, and contains few other alterations. GMT C95 Fina? Fa? dhe TEL TEL TAA FMa. CU.M.5 EMailTHE HM 4 SCALE Scale formula from KootC: C =D Bb FRG A Bb 1 2 bs #45 6 ob #9 HII 13 HIM4 refers to the fact that this scale .d" by playing the Harmonic Minor S egree inctead of the first, thus rearrangi rence of intervals. The HMA is in effect a "mode" of the Harmonic Minor Seale — 2 perete ee ‘Once again, we have a seale that contains only two alterations, and functons with dominant chords; 7#9, 765, 7965, 1311, and 965. Gmi7 C7495 Fimaz Fina? Vid FEEL a iti F Maj CHM F Maj.THE JM2 SCALE Scale formula from Root C: Cc Db & PF G A BB ¢ 1 2 bo 5 6 47 1 6 OB JM2 refers to the fact that this ccale was “created” by playing the azz Minor (JM) from the second degree instead of the first, thus rearranging the sequence of intervals, ‘The JM2 scale is in effect 2 “mode” of the Jazz Minar Scale THE JM 2 SCALE IN MUSIC NOTATION 9 and C749. As before you can alsa play the ‘The seale can be played over the following chords C79, G11b9, s}. Proceed as betore seale over plain Dominant chords inot containing these altered so Gmi7 C769 Ema? Fine? “tt diet tehi POL F Ma Cc IM2 F Maj. aTHE PLAIN Mi7bs SCALE {So called because the only alterations to the scale are the notes that spell a M7b5 ~ 1b365b7.) Scale formula from Root: CD bb F Gh A BOC 1 2 6 4 BS 6 b THE PLAIN Mi765 SCALE IN MUSIC NOTATION SS ea ae yy bead), This scale works with the mi765 chord best of all. Try the example bolow 1) Cmize5 F7— Boma? Boma? 2) CmitbS F7— Bbmi?b5 Eb? Ct Litt TELE TENE LUE UAE ELEE TSE “Plain” Bb Maj C*Plain” Mix. Bb “Plain” Eb Mix 26THE H.M. 2 SCALE Scale formula from Root: © Db Eb FO Gb ABS ee bo #0 7 HM2 refers to the fact that t degree of the scale instead of the of the Harmonic Minor Scale. lewas created” by playing the Harmonic Minor Scale (HM) fram the second | thus rearranging the sequence of intervals. The HM2 scale is in effect a “mode” THE H.M. 2 SCALE IN MUSIC NOTATION Once again this scale works with mi7b5 chords, but it contains more alerotions. (This is my favorite mies F7 ba? Bbma7 (tif AEE FAYE wait CHM2 Bb MajTHE JM 6 SCALE Gb Ak Bb Eb OF bs 67 Scale formula fromRootC: CD 1 2 & 4 9 IMG cefers to the fact that this scale was “created” by playing the Jazz Minor Scale from the sixth degree of the scale instead of the first, thus rearranging the sequence of intervals. The [Mé scale is in effect a "mode" of the Jazz Minor Scale, THE SCALE IN MUSIC NOTATION Another sourd for mi766 chords — this time the scale contains a b6(*5) as well FT Bbma7 Boma sist tid WT Bb MajTHE LOCHRIAN SCALE Scale formula irom Root: C DE Eb =F Gb Ab Bb OC 1 B&BS 1 rr ee a a Triads inthe Scale}Cdim Db Eomi Fmi = GB Ab Bbmi Seventh cnords in the Scale}Cmi7o5 Dbma? Ebmiz Fmi7_— Ghma7 AL? bmi "Sixth" chords in the scale} Db6e Fbmi6 hs Ab6 B Lochrian has the same notes as C major. I just wanted to let you know THE LOCHRIAN SCALE IN MUSIC NOTATION This mode of the Major Scale contains the most alterations you can have over a mi7b5 chard. This is getting “farther out” when the mi7b5 chord is behaving as aii chord, C75 F7 Bbma? Bbma7 (tii tthe fate litt Cochran Bb Major 29‘The following table shows scales that might be played over a chord. For cach chord there are several possible scales. Each scale contains a slig aM C1369 Seale HM 45 M2 Phrygian HM2 Lochrian IMT Ma Whole Tone fie Ime Lochrian aMT De/Eb chord, CTbd © Db E G Bb R 9 3 5 b7 c Db E F G A Bb ¢ © Db E F G Ab BC C Db EF G & Bb C © Db Eb F G Ab Bb C Cc Db Eb F Gb A Bb C C Db Eb F Gb Ab Bb C © Db Eb Fb Gb Ab Bb C ‘TS (965) [911] (13011) c E Gb Bb R 3 bs o7 cop E FG A we 905] [9411] c DE F Ge BC Bo 3 (BS b7 C Dm F GA Bc Cc D Eb F Gb Ab Bb C C Db Eb F Gb Ab c C Db Eb Fo Gb Ab ab C € E Go Bb R 3 bs by C Db Eb F Gb A BBC Cc Db Eb F Gb Ab Bh C © Db Eb Fb Gb Ab Bb C © Db FRE Fr G A Bi cr965 c E ob cD BF G A Bbc CD &b F Gb Ab Bb OC C Db ED F Gb A Bb C C Db Eb OF Gb Ab Bb Cc Db Eb Fb Gb Ab Bb C Cc Db Eb E F* G A Bt The Major Seale and its modes. c D ¥ 6G c D Eb F G bao co om mm F 6 7 19/3 c D E Fe G 1/5 c op & F 6 c D Eb F G v3/e9 cp Bb oF & bo 9/DS BS /ell © a A Ab 6/85 A a Ab 5 /b6 Ab 6/5 M2 Lochrian aM? ¥%4 Whole Hma aM6 HM2 Lochrian M7 Whole Bb wT Bb Bb b7 Bb b7 Bb 87 cg 9 c R c DE Cc Db Eb Cc Db Eb C Db Eb cr9e5 Deb Db Eb D Eb Db Eb Db Eb coand CE DWEb 3 gama pps game aan Fb Major Scale Dorian Phrygian Lydian Mixcijdian Aeolian Lochrian, Gb Gb Gb Gb Gb Ab Ab Ge “6 Ab Ab Ab Ab G 5 Ab Ab Ab Ab Ab 8 ee BSeeeee Bb v7 Bb Bb Bo Bb Bb Bb Bb Bb Bb gaaaanaen poennace en0e concn ly different toral grouping of scale sounds. Compare each of the scales to the ‘= Altered Dominant Dorian Aeolian dM2 HMa M6 Phrygian HM2 Lochrian IMT IMS HMS5 Aeolian JMe Phrygian ‘Whole Tone Lochrian MT Db b9 MS Phrygian Lochrian dM? De/ED ” Aeolian Phrygian aM6 Lochrian aM?1. Harmonie Minor Seale and its modes. cD Fb F 6 Ab BCC Harmante Minor 3/49 bows 7 © Dh Eb FG} ABM bo b3y9 bs b7 © bp £ FG aA Bc Ms 8 it cD & Ff G A B CHM 3/29 H11/b5 eT cp & F G Ab Bo Cc HMB bo bee WT co oD F fF G A B CHM ” ALS 7 © Db EF GAB GH by bey 3 Syl boys 8 2, Melodic Minor Seale and its modes. cD & F ~6 A BC CMélodic Minor bs 7 © Db & F G A B Came be Baye or c Dp EE fF GF A BC M3 AIS 5 7 Cc oD F&F Fe G A Be ¢ JMa al v7 © Dp £ FG Ab Bo Cc UMS 6/05 BI Cc DF F Gb Ab Bh M6 3/49 bS/all bb/es 67 © Db Eb FD Gb AS Bh CMT bs 9/32 OS/elL 5/6 BT Possible chords: C5 cs ons cr rod cress ae ia ‘ ay , ° 4 or % cr C7955 70508 cross res, creses0s owns I cra ac 3 cisby ‘ee C7455 q a eAlso From PMP foe meet pe ee es betheteiee eaten rien aay Beebe cepa et - aes Fn a aa ru S F De ree ears reenter a ae OP aleve me 7 P.O, Box 163, Tustin CA