Misha Stefanuk - Jazz Piano Scales and Modes

& MODFS
By Misha v. Stefanuk
123
e
4 567
890
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
Preface
The piano is a unique instrument. More notes can be played simultaneously on the piano than on any other instrument. In Jazz music, chords and scales are used together to create improvised lines. This book deals with scales that can be played on the piano. My intention in writing this book is to create something I would like to have and use myself.
Credits
I want to thank my wife Evan Marie Dozier-Stefanuk for her help in writing this book. I would also like to mention the names of my teachers: John Arnn, Jeff Kirk, Frank Mantooth, Charles Argersinger, Greg Yasinitsky, Urij Kozirev, Larisa Pashanova and Dmitry Blum.
Scales: Diatonic Scales

A succession of notes usually a minor or major second apart in ascending or descending order is called a scale, The most common scales used in today's jazz music are major and minor scales:
Major
Minor
~J J J J J J
IJ
J ~J J J ~J ~r I
While the major scale has only one common form, the minor scale has three: natural minor, harmonic minor
md melodic minor.
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
Scales built from the white keys of the piano create a system of diatonic scales, 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
'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
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
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
Fd J J d J J I
~ J J d J J J F r ~Fd J J d J J I
The scale consisting of white notes built on B is based on the diminished triad and is called Locrian. Built on the half diminished chord, 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, Harmonic major, Super Locrian and major Locrian scales: Lydian Minor
Lydian Dominant
Neapolitan Major
, J &J d J j d F r F &J
Harmonic Major
j j
Jd d J I
J
j
'J J
J jd F
F &J
JJI
Super Locrian
Major Locrian
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
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
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 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 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
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, who devised a system of scales that ! calls "modes of limited transposition." 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. And a fourth transposition of the diminished scale would also ~enharmonic ally equal to the original. Augmented First Transposition Augmented Second Transposition
, J J J#JuJRJ F#J1J#J J 3 J I ~#J.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
, ~ #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
#F -r ~r d
JJJ
14
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
J J J aJ qJ J
J
'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
Polytonality
The use of polytonality can result in use of scales built from more than one scale. In the following example .he chord D7b5b9 calls for two scales: D major and Ab major and the resulting scale contains notes from both
scales:
,
_,
~
IJf
t.J
~ ~~
""'_,
" v_
fl
,. -
_, fl.
""'_ • ~
I
I
.:;;';:
" .... ~ I
_, -
"
l:~.
-'
"1111:
Using Scales with Chords

Each chord structure limits the number of possible scales. For example, the following scales are possible with the simple major chord triad: major, Lydian, Mixolydian, Double Harmonic, Lydian Dominant, Mixolydian alt6, Lydian minor, Harmonic major, Overtone, Augmented, major Pentatonic, Gypsy, Indian, Japanese, Bebop major, Bebop minor, and major Blues:
16
Major
Lydian
Mixolydian
, ; J J 3 J J F F I; J J #3 J J F F I; J J 3 J J ~F F I
Double Harmonic Lydian Dominant Mixolydian alt6
, ; &3 J 3 J &J F F I; J J #3 J J ~F F I; 3 J 3 J &J~F F I

Lydian Minor Harmonic Major Overtone
, ; 3 J #3 J d ~F F I; 3 J 3 J &J F F I; 3 J #3 J .hF F I
Augmented Major Pentatonic Gypsy
, ; #3 J J &J F F I; 3 J J J F I; &3 J 3 J &J ~F~r F I

Indian Japanese Bebop Major
, ; &J J 3 J ~J r F I; j 3 J r F I; J a 3 a I,J gJ r F I
Bebop minor Bebop Dominant Major Blues
,;
3~a~a 3 a J~r F I; 3 J 3 J J~Fqr F I; 3#J aJ J F I
However, Mixolydian, Lydian Dominant, Myxolydian alt 6, Lydian minor, Overtone and Bebop dominant have a clear dominant character: Mixolydian Lydian Dominant Mixolydian alt6
, ; 2 a J J J ~r F I; 2 J #2 J J ~F F I; 2 J J J &J~F F I
Lydian minor Overtone Bebop Dominant
~; 2 J#3 J&J~F F I; 3 J#3 J J~F F I; 3 a 3 J J~rqF F I
17
Augmented, major Pentatonic, Gypsy, 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, the major scale itself is replaced by Lydian due to the preferred sound of the augmented 4th. However, Harmonic major and Bebop major, as well as major Pentatonic and major Blues, could also be used with major chords. 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, 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
The same tool is very effective on dominant structures: Bebop Dominant
I
)
t
J
"" " ~
, c.
fl
I
100.-1
II
-I~"-
• - ..
-'.
___ _"':" v~
..
L :J
Lydian Minor
I
f' _
3
~
100.-I ..-
_"':"
.-
11
-- -
C7
- •• C.
I
,.
-&
I.~
- ..
r
......
100._
I--~
..." ..."
i'-&
_I.' I.~
r---& ~
Overtone
,
~
fl iIf'
n
L ..
.-I
..
.- - ... 100..-1
...
1
T
Bebop Minor
3
- ..
-,..
-&
I.,
r--
(To
...".
~., .,
..
r_a
--L
l)'~~JL
..1
1J
IlL
IlL IlL
"-.,I., I.,
_l1-'"-_'~
...
.. .. - .,~
1---&
#.
loa
., .,
Sometimes the progression of the scale development can bring more tension to the sustained chord, and create an additional upper structure: Major
I )
)
f
, c. r
" ~
" lJ I.
'1
I
-I
-v-
...
...-
...;-
v_- .-I
--..
-,..
I
C7
-&
I.
_j,.-..po ..... _
__
-.
.-
Lydian
_l
TI
. .- -'----
_-
- ---'_"':"
-T
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r-;
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-f9
:J
19-_
:J
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I., I.,
;--~_~o
L :1_
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. .,.
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.,
Lydian Dominant
~
Mixolydian alt 6 r
L" _"':"___ .-I
• "'-~" .. -,I
,,
"
J-_h.
...
J.
t.J
IJ
II
L..
TI
l_
-'-
---
.. ., I
"'-&
,. -.. I.~ I.,
19
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. In the following example, E Phrygian scale iecomes D Dorian and then F Lydian:
r- _
- .---. -
rrr-_
- _....
_....
"'-
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. That might make the choice of the scale more precise but also makes the creating of the melodic line much easier:
20
Some scales are designed to fit an extended chord progression. This is an example of using the blues scale over the blues progression: Blues Scale
f)
'-
)
)
t
tJ
"'"
l)'
r.
., "
.-I
Li"ll __ I'""
J~_
---I'""
l.f_
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1041'""
~--"I'""
--- _bb~_
C
-~
~ I
_a.
"
I.. I'""
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I'""
J~_
" ,. r. - •.
I ,
~b~
F
..0.
1.l_'LI_
.,
bb~
~
J
I'""
__t!o ___
.-I 1
__ .....J
1.._
..
•••
TI
_.:"""
~_::::
-G
&
""IT
bb~
.......
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
r J J j:l
IJ
JJ JJ3r
21
Two note scale patterns:
'{~1 J ~ J J J J I j J J J C F r f
OJ
,J J ] J 'r
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
JJJJ~~
Four note scale patterns:
'e jJ 3 J J J J J IE F [J E F [f I
'[ r
rrrrrrI
JJj~
22
Patterns offer a number of combinations that can be mixed together. A three-note pattern has six different forms:
,J
3
~ 2
~ 3
IJ
Ij
2
~ 3
J IJ
2 3
J
~ 3
~ 2
J
2
J I~
3 2
J
F
Combining these forms creates lines that are hardly identifiable as a note pattern:
, if J J J J J 1 J J J i J 3 1 E Et
2 3
3 2
L! E r; [ IT;
1
2 3
3 2
IJ J FJ
2 1 2 3
322
J
3
J J J J J J JJP ,
1 2 3 2
3 2
323
The polyrythmic combination of a three note pattern with 4/4 meter:
, J J J J tJ J J iJ J J [ rr r c [ ri r r I,....~-' -- - - - -- . .. 1 E 1[ E [
3
E~
123
[j~ 1
1
123
132
13
221
321
32
123
13
12
23
,...
I
..-I
3 3 2 1
32
13
123
121
33
123
123
I 231
23
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. In the following example all chords are based on the mixolydian scale;
@j
Mixolydian
~j i
This also can be done with seventh chords: Mixolydian
Quartal structures always sound very modern: Mixolydian
This process leads to creating quasi-modal structure, which can enhance the overall sound of the piece: Mixolydian
3
fl
3' "- v
" '"
..
~ ~
...
r-"....
• ..,.-1
v_ .-I
r-
--•
-t-
.t-
t-
-..- ,.-~
t-
..
r-
...
I
,,,. I. •• ,
~:~
~"' "'
':J
.....
f7
'::J 1-
~
':J
~n -_.;;.
.....
.~
24
Practical Use of Scales

Practical knowledge of scales is absolutely essential for the improvising musician. Here are some practical suggestions for practicing scales. Division of the scale in two, and accenting the first note in the group, and then the second: Mixolydian
3JJJi1dJI
Division of the scale in three and accenting the first note in the group: Mixolydian
'(~ 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
&
II
'B lojJDdJ,rCfr~Errl
Mixolydian
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;Jd J r
Mixolydian
II
Division of the scale in two with accents following the bossa nova rhythm:
'B 3 J J lad J r
Mixolydian
rr
ErG
E~rrid J J J J j
25
II
Combining swinging eights and triplets:
II
3
Next step in practicing scales is building of the patterns from the scale: Mixolydian
, (~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:
&
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
&
II
Pattern based on the more developed melodic line: Mixolydian
'{~ ] J J J Jd J J I L F f;~E F r F I Jd ] J J J Jd I :
Mixolydian
II
The left hand can copy the right hand, hold the same chord, or built alternative chord structure on the mateial from the same scale:
, r~
fl
"
..
I
£-,.. ---..
.- -_
...I _
V
I~...I
.
V
I
-
_r"
V
J
," ...
~-
V• V
V
...I
-•V
~
V
...I
V
-&
- ~111
V _ V .~~
.. V
ill- ~ VI,.
f-
V ,._~V
.,.
"_b~
I 26
- - ~V
,,~
V
~~
Mixolydian
, , I. ," t
J)
I
tJ
IJ
.. -.. - .-
V
I
11>..1
V
I
•
v-
r-
r-
V _v
V.V
k_
.....
,....
V I
-11>
v-
c. ".
I
"-
-_ -".
.....-
~- _.--.. - _. •
r-. r-. r-.
If
- -V
11>_
r--.. __
t:.t-:: t-.
_V V
I
V
&
- - P"iII
-'
. -- _.. _- ~- --..__.. ....

.1"10
Mixolydian
, , u
ft
V
I.
,
V
I I
.•
.. - •
_- r-.. I.a. L
-". , •• I.
_ -.~ ~.~ - ~~:-. . -. . "..

~~ ~
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r-
V•V
V
.
.vr-
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&
==:
h.,,_
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I.a
I.a
r-
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L>o.
....... ~
Note: it is very important to keep a steady tempo when practicing scales, and the use of a metronome or a drum machine is highly recommended. Practicing scales is a great work out, and it improves the pianist's technique. It develops freedom of choices for building the melodic line. Making choices in the using of scales utilizes knowledge, experience and taste. It also shows artistic personality and is one of the keys to develop a personal style.
27
28
Scales
KeyofC
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
29
Scales
KeyofC
Major Pentatonic
Suspended
Pentatonic
Whole-Tone
Diminished, Whole-Half
Diminished,
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
pa
J c:J I;
J J #2
I;
bJ
J #2
Neapolitan
EiJ
Prometheus
Prometheus
Bebop Major
Bebop Minor
Bebop Dominant
Blues
Major Blues
Pentatonic Blues, Minor Pentatonic
30
Scales
Key of D~ or C#
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Descending Melodic Minor Natural Minor
Overtone
Augmented
31
Scales
Key of Db or C#
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
32
Scales
KeyofD
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Overtone
Augmented
33
Scales
Key ofD
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
34
Scales
Key ofEb
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Natural Minor
Overtone
Augmented
35
Scales
Key ofE~
Major 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
36
Scales
KeyofE
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
Double Harmonic, 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
Overtone
Augmented
37
Scales
KeyofE
Major Pentatonic
Suspended
Pentatonic
Whole-Tone
Diminished,
Half-Whole
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
I~ J J
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
IJ #2 #J
Prometheus
#( F IJ
Prometheus
Bebop Major
Bebop Minor
Bebop Dominant
n
Blues Major Blues Pentatonic Blues, Minor Pentatonic
C-J
38
Scales
Key ofF
Ionian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Natural Minor
Overtone
Augmented
Major Pentatonic
39
Scales
Key ofF
Suspended
Pentatonic
Whole-Tone
Diminished, Half-Whole
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
'F
J
Q ~c:J br r I~J J
CJ1
;J
"
I~ Q J
~t2ff I'r
Japanese Pentatonic
Japanese 2-Mode
Japanese 4-Mode
,;J ~c:J
Japanese
r ii]
Prometheus
c tr
if Q
Prometheus
n (tF
Neapolitan
Bebop Major
Bebop Minor
Bebop Dominant
Blues
Major Blues
40
Scales
Key of G~ or F#
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Overtone
Augmented
41
Scales
Key of G~ or F#
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
42
Scales
KeyofG
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Overtone
Augmented
43
Scales
KeyofG
Major Pentatonic
Whole-Tone
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
1*; Q 1*0
Japanese
c::r
1J71
#( J #C
•
1f1J
IJ 13
Prometheus
ELl
t1f
Neapolitan
Japanese Pentatonic
Japanese 2-Mode
Japanese 4-Mode
r #C
•
Prometheus
tJ1r r
r #r
Bebop Major
Bebop Minor
Bebop Dominant
Blues
Major Blues
44
Scales
Key of A~ or G#
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Natural Minor
Overtone
Augmented
45
Scales
Key of A~ or G#
Major Pentatonic
Whole-Tone
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
Japanese Pentatonic
Japanese 2-Mode
Japanese 4-Mode
Japanese
Prometheus
Bebop Major
Bebop Minor
Bebop Dominant
Blues
Major Blues
46
Scales
Key of A
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
t'n#i1
n ;0113#:.$ :fiJ D 1m m~DD IJjJ#1'1 m t

Overtone Diminished Whole-Tone Augmented .
47
Scales
Key of A
Major Pentatonic
Suspended Pentatonic Whole-Tone
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
Japanese Pentatonic
Japanese 2-Mode
Japanese 4-Mode
Japanese
Prometheus
Bebop Major
Bebop Minor
Bebop Dominant
I~\t] J #3 J--J IJ
Blues
Major Blues
#J
,.z
P
48
J #3
Ir]
JJ3
Scales
Key of B~ or A#
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Natural Minor
Overtone
Augmented
49
Scales
Key of B! or A#
Major Pentatonic
Whole-Tone
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
I
Japanese Pentatonic
.....
J JiJ
I
Japanese 4-Mode
1J5J
Japanese 2-Mode
Japanese
Prometheus
Bebop Major
Bebop Minor
Bebop Dominant
Blues
Major Blues
50
Scales
KeyofB
Ionian
Dorian
Phrigian
Lydian
Mixolydian
Aeolian
Locrian
Phrigian 6
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
Overtone
Diminished Whole-Tone Augmented
51
Scales
Key ofB
Major Pentatonic
Suspended
Pentatonic
Whole-Tone
Spanish
Hungarian Minor
Balinese
Arabian
Persian
Oriental
Japanese Pentatonic
Japanese 2-Mode
Japanese 4-Mode
Japanese
Prometheus
Bebop Major
Bebop Minor
Bebop Dominant
Blues
Major Blues
52
53
54
Scale by Chord
Key ofC
In D iJ1 U In Ji3 n ulm D m ul

C
Ionian Lydian Double Harmonic, Gypsy, 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
Minor Pentatonic
Diminished,
Half-Whole
Hungarian Minor
Bebop Minor
Blues
1m D 10 U IJ1 SID U I
Pentatonic Blues Minor Pentatonic Double Harmonic, Gypsy, Indian or Iranian Lydian Augmented
55
Scale by Chord
Key ofC
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Diminished Whole Tone
Hungarian Minor
111 n D
Japanese 4-Mode Blues C6 Ionian
uI
1~i1
Lydian
ro D u In n rJ 1:r1,A u In ro ro I
Major Pentatonic Japanese 2-Mode Prometheus Bebop Dominant Major Blues
Bebop Major
56
Scale by Chord
KeyofC
Cm?
Dorian
Phrigian
Aeolian
Phrigyan 6
Diminished,
Half-Whole
Bebop Minor
Blues
I; 3 J J a
~u
C?
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
I' n fiJ a
Overtone
~uI; 1 fiJ fa ~
Whole-Tone
I; S d ~J #f J fiJ I
Diminished Half-Whole
I,; ~3 a J a Q
~dt I;
0
57
£jJ to I; ~3 a #J Jill
Prometheus
Scale by Chord
KeyofC
Bebop Minor
Bebop Dominant
Blues
Major Blues
C+7
Major Locrian
Whole-Tone
Spanish
Cm7~5)
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
Lydian Diminished
Diminished Whole-Half
58
Scale by Chord
Key of Db or C#
D~
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
D~m
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Pentatonic Blues Minor Pentatonic
D~+
Lydian Augmented
59
Scale by Chord
Key of D~ or C#
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
l~fQ !Sl,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#
Dbm?
Dorian
Phrigian
Aeolian
Phrigyan 6
Descending
Melodic Minor
Diminished,
Half-Whole
Bebop Minor
Blues
Db?
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
61
Scale by Chord
Key of D~ or C#
Bebop Minor
Bebop Dominant
Blues
Major Blues
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
Japanese 4-Mode
Blues
D~o7
Lydian Diminished
62
Scale by Chord
Key ofD
Ionian
Lydian
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
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
63
Scale by Chord
Key of D
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
Japanese 4-Mode
Blues
D6
Ionian
Lydian
Major Pentatonic
Japanese 2-Mode
Prometheus
Bebop Major
Bebop Dominant
Major Blues
64
Scale by Chord
KeyofD
I;J ;J A U IfQ [J fiJ U I

Dm7 Dorian Phrigian
l~fJ ;3
Aeolian
ro
U liS ;3 A U IEJ~a f)
Phrigyan 6 Descending Melodic Minor
m ,I
Bebop Minor
Blues
If3 ~;3 J9 U
Pentatonic Blues, Minor Pentatonic D7 Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
65
Scale by Chord
KeyofD
Bebop Minor
Bebop Dominant
Blues
Major Blues
D+7
Major Locrian
Whole-Tone
Spanish
Dm7(bS)
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Lydian Diminished
66
Scale by Chord
Key of Eb or D#
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
67
Scale by Chord
Key of E~ or D#
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
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
Bebop Minor
Blues
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
69
Scale by Chord
Key of E~ or D#
Bebop Minor
Bebop Dominant
Blues
Major Blues
Major Locrian
Whole-Tone
Spanish
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
Lydian Diminished
70
Scale by Chord
KeyofE
Ionian
Lydian
I,SID UIU InlH

Harmonic Major Augmented
t!t ~
Iw.HDc1lw nlU I
Major Pentatonic Japanese
Bebop Major
Em
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
71
Scale by Chord
Key of E
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
Japanese 4-Mode
Blues
E6
Ionian
Lydian
Major Pentatonic
Japanese 2-Mode
Prometheus
Bebop Major
Bebop Dominant
Major Blues
72
Scale by Chord
\ Key ofE
IJ P
em?
Dorian
t1 (J
In j"3 U U I
Phrigian
Aeolian
Phrigyan 6
Descending
Melodic Minor
Bebop Minor
Blues
ClF.EJ
E?
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
73
Scale by Chord
KeyofE
Bebop Minor
Bebop Dominant
Blues
Major Blues
E+7
Major Locrian
Whole-Tone
Spanish
I A J ] ~U (1 I
Locrian
ro
J J ~U (J
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
Lydian Diminished
74
Scale by Chord
Key ofF
1ft]
F
Ionian
is a U IJJ onu ulm

Lydian
ffl
dt U I
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Fm
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Ascending
Melodic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
75
Scale by Chord
Key of F
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
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
Scale by Chord
Key ofF
Fm7
Dorian
Phrigian
Aeolian
Phrigyan 6
Bebop Minor
Blues
F7
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
77
Scale by Chord
Key ofF
Bebop Minor
Bebop Dominant
Blues
Major Blues
F+7
Major Locrian
Whole-Tone
Spanish
Fm7(bS)
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
Lydian Diminished
78
Scale by Chord
Key of G~or F#
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
79
Scale by Chord
Key of G~ or F#
1~#JiJftn
Major Locrian
u,dr
I
I#JJ ;JO El c!r l#fihC!r

'
clr·p
I#JiJftcJ U I
Whole-Tone
Augmented
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
Japanese 4-Mode
Blues
Ionian
Lydian
Major Pentatonic
Japanese 2-Mode
Prometheus
Bebop Major
Bebop Dominant
Major Blues
80
Scale by Chord
Key of G~ or F#
Dorian
Phrigian
Aeolian
Phrigyan 6
Descending
Melodic Minor
Bebop Minor
Blues
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
81
Scale by Chord
Key of G~ or F#
Bebop Minor
Bebop Dominant
Blues
Major Blues
Major Locrian
Whole-Tone
Spanish
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
Lydian Diminished
Diminished
Half-Whole
82
Scale by Chord
KeyofG
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Gm
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Ascending
Melodic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
. Double Harmonic, Gypsy, Indian or Iranian
Lydian Augmented
83
Scale by Chord
Key of G
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
Japanese 4-Mode
Blues
G6
Ionian
Lydian
Major Pentatonic
Japanese 2-Mode
Prometheus
Bebop Major
Bebop Dominant
Major Blues
84
Scale by Chord
KeyofG
1m &u [J C1- IJ Q
Gm7 Dorian Phrigian
&u [1 CJ
Aeolian
Phrigyan 6
Bebop Minor
Blues
IJ
Pentatonic Blues, Minor Pentatonic G7
=1 j
(J
== · E;d
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
85
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
l,pO
( ~r E
,pO
Blues
t1f
C ;oJ
,.
1~~1i
GO?
Japanese 4-Mode
Lydian Diminished
86
Scale by Chord
Key of A~ or G#
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
87
Scale by Chord
Key of A~ or G#
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
Japanese 4-Mode
Blues
A~
Ionian
Lydian
Major Pentatonic
Japanese 2-Mode
Prometheus
Bebop Major
Bebop Dominant
Major Blues
88
Scale by Chord
Key of A~ or G#
Dorian
Phrigian
Aeolian
Phrigyan 6
Bebop Minor
Blues
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
89
Scale by Chord
Key of A~ or G#
Bebop Minor
Bebop Dominant
Blues
Major Blues
Major Locrian
Whole-Tone
Spanish
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
Lydian Diminished
90
Scale by Chord
Key of A
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Am
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Ascending
Melodic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
91
Scale by Chord
Keyof A
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
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
Key of A
Am7
Dorian
Phrigian
I~n
Aeolian
n n n IIP;"9 ro a
Phrigyan 6 Bebop Minor
18 A f1 n
Blues
l~rJ
F"
JJ
)
1
#if
A7
I; -0 #J J J
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
93
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
JJ
Major Locrian
Whole-Tone
Spanish
Am7(~5)
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Lydian Diminished
94
Scale by Chord
Key of B~ or A#
B~
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
B~m
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
B~+
Lydian Augmented
95
Scale by Chord
or
Major Locrian
Augmented
Whole-Tone
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, Whole-Half Diminished, Half-Whole Hungarian Minor
~:J
Japanese 4-Mode
~J ~
Blues
bY
sle
Ionian
I~4 A A is Ib:J 9;1 ;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
Scale by Chord
Key of B~ or A#
Bbm7
Dorian
Phrigian
Aeolian
Phrigyan 6
Bebop Minor
Blues
Bb7
Mixolydian
Lydian Dominant
Mixolydian Alt 6
Lydian Minor
Overtone
Whole-Tone
Prometheus
Prometheus
Neapolitan
97
Scale by Chord
Key of B~ or A#
Bebop Minor
Bebop Dominant
Blues
Major Blues
B~+7
Major Locrian
Whole-Tone
Spanish
Locrian
Locrian Sharp 2
Super Locrian
Japanese 4-Mode
Blues
B~o7
Lydian Diminished
98
Scale by Chord
KeyofB
Ionian
Lydian
Harmonic Major
Augmented
Major Pentatonic
Japanese
Bebop Major
Bm
Dorian
Phrigian
Aeolian
Phrygian 6
Neapolitan Major
Neapolitan Minor
Harmonic Minor
Minor Pentatonic
Hungarian Minor
Bebop Minor
Blues
Lydian Augmented
99
Scale by Chord
Key of B
Major Locrian
Augmented
Whole-Tone
Spanish
Persian
Bebop Major
Locrian
Lydian Diminished
Locrian Sharp 2
Hungarian Minor
Japanese 4-Mode
Blues
B6
Ionian
Lydian
Major Pentatonic
Japanese 2-Mode
Prometheus
Bebop Major
Bebop Dominant
Major Blues
100

Misha Stefanuk - Jazz Piano Scales and Modes

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ales: Pentatonic Scales

ales: Symmetrical Scales

ales: Exotic Scales

Japanese Pentatonic Japanese Japanese Second Mode Japanese Fourth Mode

Scales: Composer Scales

Scales: Jazz Scales

Scale Chords Practical Use of Scales All Scales by Key

Scale Library by Chord:

About the Author

Scales: Diatonic Scales

Aeolian (Natural Minor)

Overtone (also Lydian Dominant)

Scales: Pentatonic Scales

Scales: Symmetrical Scales

The scale consisting of all whole steps is called a whole-tone scale:

lcales: Exotic Scales

~ 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

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

Scales: Composer Scales

, J J J#JuJRJ F#J1J#J J 3 J I ~#J.JgJKJgJ#F8J"JgJ"J#J~1

Diminished First Transposition (Whole-Half)

, ~ #3 J #J J J #J Dr #F Dr fiJ gJ qJ #J qJ fiJ (.t I

Scales: Jazz Scales

Blues (Minor Blues)

Using Scales with Chords

, ; &3 J 3 J &J F F I; J J #3 J J ~F F I; 3 J 3 J &J~F F I

, ; #3 J J &J F F I; 3 J J J F I; &3 J 3 J &J ~F~r F I

3~a~a 3 a J~r F I; 3 J 3 J J~Fqr F I; 3#J aJ J F I

~; 2 J#3 J&J~F F I; 3 J#3 J J~F F I; 3 a 3 J J~rqF F I

The same tool is very effective on dominant structures: Bebop Dominant

llractical Use of Scales

Two note scale patterns:

Three note scale patterns:

Four note scale patterns:

The polyrythmic combination of a three note pattern with 4/4 meter:

This also can be done with seventh chords: Mixolydian

Quartal structures always sound very modern: Mixolydian

Practical Use of Scales

'(~ 3 J J J JJ~JJ I r rr EJ Err riG WE! J j J J I

Combining swinging eights and triplets:

'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

Pattern based on the more developed melodic line: Mixolydian

. -- _.. _- ~- --..__.. ....

_ -.~ ~.~ - ~~:-. . -. . "..

Double Harmonic, Gypsy, Indian or Iranian

Ascending Melodic Minor

Descending Melodic Minor

5-Mode Melodic Minor

Pentatonic Blues, Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor

Pentatonic Blues, Minor Pentatonic

Double Harmonic, Gypsy, Indian or Iranian

Ascending Melodic Minor

Descending Melodic Minor Natural Minor

5-Mode Melodic Minor