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 V7 I progressions

o Modes: most useful are

!

Mixolydian (starts on 5th, used for basic dominant 7 chords)

Dorian (starts on 2nd, used for minor 7 chords)

Works well for random minor 7 chords

Use for the ii of the ii V7 I progression

Aeolian (starts on 6th; used for minor 7 chords

Lydian (starts on 4th, used for non-tonic major 7 chords

Works well for songs in minor keys, like Blue Bossa)

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 4th, used for dom. 7 chords with 9, #11, or 13

Altered Dominant: starts on 7th, used for dom. 7 chords with # and/or b 5 and/or 9.

Aka Super Locrian, diminished whole-tone

Locrian natural 9: starts on 6th, 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.
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Major Scale and Related Mode Fingerings

Mike Dana, Fresno City College

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

Jazz Minor Scale and Related Mode Fingerings

Mike Dana, Fresno City College

b3

b3

b3

b3

b3

b3

b3

b3

b3

b3

b3

b3

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

Diminished/Dominant 9-Tone Scale

Mike Dana, Fresno City College
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.

Some players like this

betteronly one position
shift.

This means that, every 3 frets

(minor 3rd) the fingering pattern
repeats itself. It also means you
must memorize which minor
3rds go together (see below.)

C
C#/Db
D

Related minor 3rds

Eb
Gb/F#
E
G
F
Ab/G#

A
Bb
B

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

5
4
3
2
1

C jm
C jm
Cm 6/9
Cm7
1

5
4
3
2
1

(Db jm)
C alt dom
C7(#5#9)

(A jm)
Eb dorian
Ab alt dom
Ebm7
Ab7 (#5b9)
ii V I in Db major
Ebm7
Ab7
9
10

F jm
F jm
F jm
D loc nat 9
Fm 6/9
Dm7(b5)
Tonal center is Cmits relative major
Fm7
Dm7(b5)
3
4
5

(F jm)
Db lydian
D loc nat 9
Db MA7 (#11) Dm7(b5)
Db MA7
11

Dm7(b5)
12
13

5= Jazz minor scales that can be substituted

4= More advanced scales, based on the substitue changes
3= Substitute chord changes
Simplest approach, using major tonal centers
2= only
1= Basic (original) changes

(Ab jm)
G alt
G7(b9)
is Eb major
G7(b9)
Cm7
6
7

C jm
C jm
Cm 6/9

(Ab jm)
C jm
(Ab jm)
G alt
C jm
Db lyd dom
G7(b9)
Cm 6/9
Db13 (#11)
back to Cm (rel. Eb major)
G7(b9)
Cm7
G7(b9)
14
15
16