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    Three Scales Complete

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    sirtricche
    The document discusses three scales that are important for jazz music: the major scale, jazz minor scale, and diminished scale. It explains how each scale is used, including which chords they are commonly associated with. It also discusses related modes of the scales. As an example, it shows how these scales can be applied to the chord changes of "Blue Bossa", illustrating tonal centers, chord substitutions, and scale choices for each chord. The goal is to teach musicians the relationships between chords and scales, and how to apply different scales in a musical way over chord progressions.

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    Download as PDF, TXT or read online from Scribd

    Three Scales Complete

    Uploaded by

    sirtricche
    137 views5 pages
    The document discusses three scales that are important for jazz music: the major scale, jazz minor scale, and diminished scale. It explains how each scale is used, including which chords they are commonly associated with. It also discusses related modes of the scales. As an example, it shows how these scales can be applied to the chord changes of "Blue Bossa", illustrating tonal centers, chord substitutions, and scale choices for each chord. The goal is to teach musicians the relationships between chords and scales, and how to apply different scales in a musical way over chord progressions.

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    Three Scales Complete

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    The document discusses three scales that are important for jazz music: the major scale, jazz minor scale, and diminished scale. It explains how each scale is used, including which chords they are commonly associated with. It also discusses related modes of the scales. As an example, it shows how these scales can be applied to the chord changes of "Blue Bossa", illustrating tonal centers, chord substitutions, and scale choices for each chord. The goal is to teach musicians the relationships between chords and scales, and how to apply different scales in a musical way over chord progressions.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    137 views5 pages

    Three Scales Complete

    Uploaded by

    sirtricche
    The document discusses three scales that are important for jazz music: the major scale, jazz minor scale, and diminished scale. It explains how each scale is used, including which chords they are commonly associated with. It also discusses related modes of the scales. As an example, it shows how these scales can be applied to the chord changes of "Blue Bossa", illustrating tonal centers, chord substitutions, and scale choices for each chord. The goal is to teach musicians the relationships between chords and scales, and how to apply different scales in a musical way over chord progressions.

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    You are on page 1of 5

    The Three Scales That Changed My Life

    Mike Dana, Jazz Studies Director, Fresno City College


    mike.dana@fresnocitycollege.edu

    Major Scale
    o Tonal center (what key am I in? aka key of the moment, tonality)
    ! Often established by ii V
    7
    I progressions
    o Modes: most useful are
    ! Mixolydian (starts on 5
    th
    , used for basic dominant 7 chords)
    ! Dorian (starts on 2
    nd
    , used for minor 7 chords)
    Works well for random minor 7 chords
    Use for the ii of the ii V
    7
    I progression
    ! Aeolian (starts on 6
    th
    ; used for minor 7 chords
    Works well for songs in minor keys, like Blue Bossa)
    ! Lydian (starts on 4
    th
    , used for non-tonic major 7 chords
    The #4 sound is characteristic of this mode
    Jazz Minor Scale (aka melodic minor ascending): 1 2 b3 4 5 6 7 8
    o Used for tonic minor chords with 6, maj. 7, or 9 (or combinations of these)
    o Modes: most useful are
    ! Lydian Dominant: starts on 4
    th
    , used for dom. 7 chords with 9, #11, or 13
    ! Altered Dominant: starts on 7
    th
    , used for dom. 7 chords with # and/or b 5 and/or 9.
    Aka Super Locrian, diminished whole-tone
    ! Locrian natural 9: starts on 6
    th
    , used for min. 7 b5 (aka half diminished) chords
    Diminished Scale
    o Series of whole- and half-steps; used for diminished chords
    o When played as a series of half- and whole-steps: dominant 9-tone scale
    ! Used for dom. 7 chords with b9, #9, #11, or 13 (or combination of these)
    Final thoughts
    o You really do need a system (doesnt have to be mine though!)
    o Learn to identify the sound/color/feel/vibe of each scale/mode.
    o Work out the arpeggios that go with each scale/mode also.
    o You MUST know the relationship between chords and scales.
    o Dig into jazz tunes and find ways to apply these.
    o Think NOTES, not just patterns. VISUALIZE where the notes are on the staff.
    o I know it seems like a lot, but once you mastei these, you'll have an excellent jazz vocabulaiy!
    Major Scale and Related Mode Fingerings
    Mike Dana, Fresno City College















    R
    6
    R
    R
    R R
    R
    R
    R
    R
    R R
    R
    R
    2
    2
    2
    2
    2
    2
    2
    2
    2
    2
    2
    3
    3
    3
    3
    3
    3
    3
    3
    3
    2
    3
    3
    4
    4
    4
    4
    4
    4
    3
    4
    4
    4
    4
    4
    5
    5 5
    5 5
    5
    5
    5
    5
    5
    5
    5
    6 6
    6
    6
    6
    6
    6
    6
    6
    6
    6
    Major scale starts from R
    Dorian starts from 2
    Phrygian starts from 3
    Lydian starts from 4
    Mixolydian starts from 5
    Aeolian starts from 6
    Locrian starts from 7
    7
    7
    7 7
    7
    7
    7
    7
    7 7
    7
    7
    Jazz Minor Scale and Related Mode Fingerings
    Mike Dana, Fresno City College






















    R
    6
    R
    R
    R
    R R
    R
    2
    2
    2
    2
    2
    2 2
    2
    b3
    b3
    4
    4 4
    4
    4
    4 4
    5
    5
    5
    5
    5
    5
    5 6
    6
    6 6
    6
    Jazz minor starts from R
    Lydian aug. starts from b3
    Lydian dom. starts from 4
    Locrian nat. 9 starts from 6
    Altered dom. starts from 7
    7
    7
    7
    7 7
    7

    b3
    4
    b3 b3 b3
    b3 b3
    R
    R
    R
    R
    R
    2
    2
    2
    2 4
    4
    4
    5
    5
    5 5
    5
    6
    6
    6
    6
    6
    7
    7
    7
    7
    b3
    b3
    7
    b3
    6
    b3
    4
    7
    7
    Diminished/Dominant 9-Tone Scale
    Mike Dana, Fresno City College























    Related minor 3rds
    C Eb Gb/F# A
    C#/Db E G Bb
    D F Ab/G# B
    In position Up the neck [LH = 1-1-3-4]
    Starting on gives you
    whole- half steps, for the
    diminished scale.

    Use this for dim. 7 chords.
    Starting on gives you half -
    whole steps, for the dominant
    9-tone scale.

    Use this for dominant 7 chords
    that contain b9, #9, #11, 13, or
    any combination of these.
    ANY can be considered the
    root of a diminished chord.
    Likewise, ANY can be
    considered the root of a
    dominant chord.

    This means that, every 3 frets
    (minor 3
    rd
    ) the fingering pattern
    repeats itself. It also means you
    must memorize which minor
    3rds go together (see below.)
    Some players like this
    betteronly one position
    shift.

    Applying Tonal Center and Chord/Scale Substitutions to "Blue Bossa"



    5 C jm (Db jm) F jm F jm (Ab jm) C jm
    4 C jm C alt dom F jm D loc nat 9 G alt C jm
    3 Cm 6/9 C7(#5#9) Fm 6/9 Dm7(b5) G7(b9) Cm 6/9
    2 Tonal center is Cmits relative major is Eb major
    1 Cm7 Fm7 Dm7(b5) G7(b9) Cm7
    1 2 3 4 5 6 7 8



    5 (A jm) (F jm) (Ab jm) C jm (Ab jm)
    4 Eb dorian Ab alt dom Db lydian D loc nat 9 G alt C jm Db lyd dom
    3 Ebm7 Ab7 (#5b9) Db MA7 (#11) Dm7(b5) G7(b9) Cm 6/9 Db13 (#11)
    2 ii V I in Db major back to Cm (rel. Eb major)
    1 Ebm7 Ab7 Db MA7 Dm7(b5) G7(b9) Cm7 G7(b9)
    9 10 11 12 13 14 15 16


    5= Jazz minor scales that can be substituted
    4= More advanced scales, based on the substitue changes
    3= Substitute chord changes
    2=
    Simplest approach, using major tonal centers
    only
    1= Basic (original) changes

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