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Scales Syllabus PDF

This document provides an overview of 18 commonly used scales in jazz and their associated chord qualities. It lists the scales under major quality, minor quality, dominant, and diminished categories. For each scale, it shows the scale pattern and indicates the chord tones (R, 3, 5, etc.) and approach notes that should be used mainly as passing tones.

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248 views2 pages

Scales Syllabus PDF

This document provides an overview of 18 commonly used scales in jazz and their associated chord qualities. It lists the scales under major quality, minor quality, dominant, and diminished categories. For each scale, it shows the scale pattern and indicates the chord tones (R, 3, 5, etc.) and approach notes that should be used mainly as passing tones.

Uploaded by

jcvflo3616
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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CHORD / SCALES

Below are 18 commonly used scales in jazz, along with their afliated chord qualities. It is important to remember that a scale is simply a series of notes consisting of chord tones and notes that connect them. The three kinds of notes in a scale or a line are: 1) Chord tones (R,3, 5, 6 or 7) 2) Extensions (9, b9, #9, 11, #11, b13, 13, or ext notes on diminished) 3) Approach notes , which are appropriate diatonic connecting tones, but have a strong tendency to resolve (up or down) and should be used mainly as passing tones or embellishments. They are indicated by an " A ."

MAJOR QUALITY
IONIAN (MAJOR)

&

C Ma 9

LYDIAN

#w w & w w w w

C M a 9 ( # 11 )

w w w w w

w
R

w
9

w w
3 3

w #w

w
5

w
6

w
7

LYDIAN AUGMENTED

MINOR QUALITY
AEOLIAN (NATURAL MINOR)

& #w w w w

C Ma 7 ( # 5 )

w
R

w
9

#11

w w

w
7 7

w
R

w w
9 9

#11

#w
11

#5

#w

w & bbw w w w w b w & b w w w w w & bw w w w

Cmi 9

b3

w
R

bw bw bw bw
3 3 b3

w w w
5 5 5

bw
A*

bw
b7

C mi 11

DORIAN

w
R

w w w bw
A 9 9

11

w
11

w bw
A

bw
b7 7

C m9 7

HARMONIC MINOR

w
6

MELODIC MINOR

w w & bw w w w &

C mi 9

11

w
C 7 s us 4 ( b 9 )

w w

w
6

PHRYGIAN

w bbw w w

Cm i 7

( )

bw w w ww

bw

11

bw
A

bw

b7

DOMINANT
MIXOLYDIAN

&

C 1 3 s us 4

LYDIAN DOMINANT

#w w w b & w w w w

w b ww w w w
C 13

(#11 )

w w
R

w
9

A*

w
3

sus4

w
#11

w w w bw
b5 5 5

13

w
13

b7

bw
b7

5TH MODE HARMONIC MINOR

bC w( ) w & bbw w w
7 b9 b13

w
3

#w w
3

bw bw bw bw
13 b7 b7

b9

ALTERED (DIM W T or SUPERLOCRIAN)

bbbbw ww & #w w w w &

w
R

bw
b9

w
#9

bw bw

b13

C 7a l t .

b13/#5

b7

WHOLE TONE

DOMINANT DIMINISHED

HALF-DIMINISHED
LOCRIAN

w # w w b w b w & w w
C7

w #bw w w w

# C 9 ( 5)

w
R

bw w bw
b9 9

bw w bw
b3 #9 3

nw #w nw
3 #11

( b1 9 3)

w w
R R

#w w bw
b5 5

#5

&

bbbw w w w
C m9

b C mi 7 ( 5)

#w
11

#11

bw bw
b7

b7

LOCRIAN #2

w & bbbw w w w & &

( b 5)

w
R

bw
9

bw
b3

b6

bw
b6

11

2ND MODE HARMONIC MINOR

DIMINISHED
DIMINISHED

bbbw w w w

b C mi 7 ( 5)

w
R

w
A

bw
b3

bw bw
b5 b5

b5

bw
A

bw bw
b7 ext

b7

11

b ww w w b w b w w w

C 7 R

w w

bw
ext b3

bw bw
ext

w
bb7

bw

ext

bw

nw

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