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Chapter 7 - Chord-Scale Relationships

The document discusses chord-scale relationships and provides charts of popular 3, 4, and 5 note chords as well as suggested chord scales for improvisation. It notes that scales can have alternative names and provides examples of alternative names for some of the chord-scales.

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Zenón Deviagge
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174 views1 page

Chapter 7 - Chord-Scale Relationships

The document discusses chord-scale relationships and provides charts of popular 3, 4, and 5 note chords as well as suggested chord scales for improvisation. It notes that scales can have alternative names and provides examples of alternative names for some of the chord-scales.

Uploaded by

Zenón Deviagge
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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118

BASS RIYAZ The Practice Workbook For Mastery Of The 4, 5, And 6-string Electric Bass Guitar.
119
Chapter 7 - Chord-Scale Relationships
Figure 7-1: Chart of 3-, 4-, and 5-note chords
CHAPTER SEVEN:
CHORD-SCALE RELATIONSHIPS
A chord-scale is a scale that suits a particular chord. Making chord-to-scale relationships in your
mind quickly is an important part of improvisation - whether it be a bass line, a melody or a chord voic-
ing. Chord-scales therefore are not just theoretically useful; they need to be absorbed into the subcon-
scious and technically mastered in order to be applied successfully in practical situations. Chapters 8
(Motivic Development) and 10 (Ear Training) offer some strategies that further address this goal. For
further reading on chord-scales, there are plenty of theory and aural books which focus on the topic.
(See the Bibliography.)
Figure 7-1 is a chart of 3-, 4-, and 5-note chords. There are 38 popular chords listed. This should
serve as a handy reference for how the six main triad types are built into 4- and 5-note chords.
Note that sometimes these chords also go by different names. For example Dom.7 (#5) is also
called Aug.7 or even +7 occasionally. Chords built on the Maj.b5 triad type may often treat the b5 as
a #4. Though these notes are enharmonically equivalent, they may require different scale treatments.
This is because 7-note scales require one note per degree, meaning a #4 leaves the option for a perfect
(natural) 5th degree, whereas a b5 does not.
I have suggested chord-scales for these popular chords in Figure 7-2. These scales are not
exhaustive, but are a recommended starting point. For example, the phyrgian mode could be applied
to a Min.7 chord. I have just suggested a maximum of three effective alternative scales per chord. Of
course, the use of modes, scales with less than seven notes, synthetic scales, and chromaticism makes
for a large range of choices in reality.
I should also point out that scales, like chords, can also go by different names. Here are some of
the alternative names for the chord-scales used in this figure:
ALTERNATIVE NAMES FOR CHORD-SCALES
Chord Scale Modal Name Alternative Name
Spanish Gypsy harmonic minor mode 5
Altered melodic minor mode 7
locrian 2 melodic minor mode 6
locrian 6 harmonic minor mode 2
lydian b7 melodic minor mode 4 lydian dominant
lydian #5 melodic minor mode 3 lydian augmented
ionian #5 harmonic minor mode 3

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