Inner Urge Performance

Tom Quayle
Transcribed by Levi Clay
EADGCF
1=F
2=C
F#m7b5 Fmaj7#11

1 2 3 4

6 (6) 6 11 11
9
9 9 9

Emaj7#11
5 6 7 8

9 6
7 7 2 2
7 7 4 4 5
5 5

Dbmaj7#11
9 10 11 12

5 2
3 3
5 5 3 8
6 5 3 6 3 6

Emaj7#11
13 14 15 16

5 10 7 5 6 7
5 10 6 (6) 8 8 6 8 9
8

Dbmaj7#11 Dmaj7#11 Bmaj7#11 Cmaj7#11

17 18 19 20

(7) 4 6 4
8 5 8 4 (4) 4 6 8 7 4 4 7
6 4 4 7
7 6 (6)

1/8
 Amaj7#11 Bb7#11 Gmaj7#11 F#m7b5
21 22 23 24

3 7 3 5 6 5 4 4 6 4 9 7
5 7 4 5 6
6 3 5 7
7 6

Fmaj7#11
3
25 26 27 3 28

3 3
3 3

6 7 11 14
9 6 7 8 6 4 7 9
5 4 4 6 9 6 7 9 9 10
7 4 6 7 6 6 9 6 7 9
7 5 7 9

3 Ebmaj7#11
29 30 31 32

3 3
3

(14) 11
12 7 9 7 5 9 5 (5) 5
14 12 10 9 8 6 7 8 7
10
12 10 8 7

Dbmaj7#11
33 34 35 36

7 8 10 8 7
5 7 10 7 8 10 10 9 8 6
8 5 5 8 8
6 8 6 6 6 8 10
8 6 8 10

3
3
37 38 39

3 3 3 3
3 3 3
3

5
5 8 5 6 7 8 7 5 5 8 7
5 8 5 5 8 5 6 8 8 5 5 8 5 6 8
6 6 6 8
8 6 8

2/8
 Emaj7#11 Dbmaj7#11 Dmaj7#11
3 3 3 3 3
40 3 41 42

3 3
3 3 3 3

6 4 5 6 10 6 8
6 4 6 4 5 8 5 6 8 6 6 6 9 6 7 9
6 6 4 6 8 6 6 7 9
7 4 6 8

Bmaj7#11 Cmaj7#11 Amaj7#11

43 44 45

3 3 3
3 3 3 3
3 3
7 3

6 8 9 10 11 10 9 8 8
10 10 8 6 8 6 7 11 7 9 11 11 8 9 11 9
8 8 6 7 9 11
9 6 7 9 9 10

Bb7#11 Gmaj7#11 F#m7b5

3
3
46 47 48

3 3 3 3 3 3

7
8 9 10 11 11 10 9 7 9 7 7 7 9 11 12
10 10 7 8 9 9 9
10 7 9 10

Fmaj7#11

49 50 51 52

11 13 14 (14) 11
11 12 14 11
9 11 12 14
9 10 12

Ebmaj7#11
53 54 55 56

9
7 4 (4) 7
4 5 3
2 5 2 3 5
6

3/8
 3 3 3
3 3 3 3
57 58 59

3 3

5
6 7 8 7 5 5 7
5 8 8 5 5 8 5 6 7 7 7 10 7 8 10
5 6 6 8 8 6 8 10

Dbmaj7#11 3
3 3
60 61 62

3
3 3
3

7 10 7 10 7
8 8 3
10 7 8 10 X 6 5 4 5
6 3 6
8 6 4 3 4

Emaj7#11 Dbmaj7#11 Dmaj7#11

63 64 65 66

3 5 3
4 1 4 6 4
6 5 3 6 3 6 6 4 4
6 3 3 4 2 4 7 4 6 7
4 6

Bmaj7#11 Cmaj7#11 Amaj7#11 Bb7#11

67 68 69 70

6 9 6 7 8 7 6
6 7 9 6 7 8 7 5
6 8 8 5 7 9 7 5
9 6 8 9 6 5
8 5 6

Gmaj7#11 F#m7b5
3
71 72 73 74

3 3 3

6 6 4 9 6 9 (9) 6
9 9 6
4 7 4 5 (5) 9 7 9 9 7
4 5 7 9 7 9
7 9 7

4/8
 Fmaj7#11

3 3 3 3
75 76 77

3
3 3 3

7
7 7 12 7 10 12 10
7 7 10 7 8 9 9 10
7 8 10 8 10 12
10 7 7 8

Ebmaj7#11

78 79 80

3
3 3
3 3

9 11 14 12 9 14 9 14 (9)
9 14 9 12 14
10 12
12 10 10 12 14

Dbmaj7#11
81 82 83 84

9
12 12
12 8 12 7 6 5 6 5
10 10 (10)
10 5 8 (8) 4

3 3 3 3 3
3 3
85 3 86 3 87

3 5
6 3 5 8 5 6 8 6 6 6 10 6 8
4 6 4 4 4 8 4 6 8 8 6 6 8 10
4 4 6 8

Emaj7#11 Dbmaj7#11 Dmaj7#11

3 3
3
88 89 90

3 3 3 3
3 3 3 3
3

7 10 7
8 8 8 8 11 8 9 10
6 6 11 6 8 10 10 8 8 8 11 8 9 11
9 8 8 11 8 9 11
9 6 9 11

5/8
 Bmaj7#11 Cmaj7#11 Amaj7#11
91 92 93

3
3 3
3 3 3 3

8
11 10 8 7 7 11 9 8 9 8
11 8 8 11 8 9 (9) 9 9 9
9 11 10 7 9 10 11 9 7

Bb7#11 Gmaj7#11 F#m7b5

94 95 96 97

6 4
4 4 6 6 4
7 5 4 7 4 5 6 7 6 5 5 4
6

Fmaj7#11
98 99 100 101

4
5 7 5 4 4 7 4 5 (5) 5
7 7 4 5 6 7 5 2 5 2
3

Ebmaj7#11 3
102 103 104 105 3

3 3

5
5 7
2 5 3 5 2 3 5 7 7 8
1 2 0 3 0 4 0 5 3 3 5
5 3 3 5 6

3 3 Dbmaj7#11
3
106 107 108

3
3 3
3 3 3 3
3 3

9 5 9 5
7 5 7 5 5
7 7 7 8 8 7 5 5 8 5 6 8 6 6
8 5 5 8 5 6 8 8 6 6 8
6 8

6/8
 3
109 110 111

3 3
3 3

10 15 17 17 18
10 12
8 8 10 13 13 15
10 10 10
11 8 11 13

Emaj7#11 Dbmaj7#11 Dmaj7#11 Bmaj7#11

112 113 114 115

(18) 15 17 (17) 16 13 13 10
15 13 10

Cmaj7#11 Amaj7#11 Bb7#11 Gmaj7#11

116 117 118 119

11 6 8 7 5 4
6 6 5 7 5 6 7 6 4
9 7 7 4
5

F#m7b5
120 121 122 123

4 5 6 5 4
4 6 7 7 4 5 6 5 4
4 5 6 7 7 6 5 4
7 7 4 4 7 6 5 7
5 7

Fmaj7#11
124 125 126 127

7
7 10
2 2 4 5 5 (5) 7 10 10
5 8 10 10
5 8 10

Ebmaj7#11
128 129 130 131

9 12
9 10 12 9 12
12 7 10
12 7 10 6

7/8
 Dbmaj7#11 3 3 3
132 133 134 3 135 3

8 5
6 8 7 6 8 5 3
(6) 6 6 3 6 3 4 5 5 5 8
8 6 4 3 4 6 6 4 6 8

Emaj7#11 Dbmaj7#11 Dmaj7#11

3 3 3 3
136 137 3 138

3 3
3 3 3 3 3

5 6 9 6 8
4 5 8 5 6 8 6 6 9 6 7 9
4 6 8 8 7 6 4 6 4 6 8 6 8 9
7 7 4 6 8

Bmaj7#11 Cmaj7#11 Amaj7#11

3 3 3
139 140 141

3 3
3 3 3 3
3 3 3

6
10 10 8 6 8 6 8
8 8 6 7 7 12 7 9 11 11 10 9 8 9 8
9 6 7 9 9 9 11 11 8
10 7 10 12

Bb7#11 Gmaj7#11 F#m7b5

142 143 144

3 3
3 3 3
3 3 3

9 11 9 11 9
8 12 8 9 12 11 9 11 9
9 12 9 10 12 11 11 11 9 11 12
10 12

etc
145 146 147

13 11 11 9 9 7
9 11 7 9

8/8
Visualising the Fretboard
Part 1 - Learning Intervals
Notes in brackets represent the note I'm visualising from
4ths Tuning

EADGCF
1=F
2=C
Ascending to b3 Descending to b3
47:22 - Visualising the Am7 arpeggio
1 2

5 5
(7) (7) (7) 10 (7) 10 (7) (7) (7) (7)
3 3
8 8

Ascending to 5th Descending to 5th

3 4

4 4
9 9
(7) (7) (7) (7) (7) (7) (7) (7)
7 7 7 7

Ascending to b7 Descending to b7
5 6

7 7 7 7
(7) (7) (7) (7) (7) 5 (7) 5 (7) (7)
10 10

R b3 5 b7 R b3 5 b7 R b7 5 b3 R b3 5 R
7 8

7 4 7 9
5 9 5 9
7 7 7 5 7 10
7
8

b7 5 R b3 5 R 5 b3 R b7 R 5 b7
9 10

7 4
2 5 2
2 2 5
3 7
5 3 5

Copyright www.tomquayle.co.uk 2015 1/4

All Rights Reserved - International Copyright Secured
 R b3 4/11 5 b7 R b3 4/11 5 b7 R b3
01:10:10 A Min Pentatonic Visualisation
11 12 13

7 (9) 12
7 9
5 (7) 10
3 5 7
(5)

4/11 5 b7 R b3 4/11 5 R b3 4/11 5

01:11:32

14 15 16

full

9 11 14 (16) 19 21 21
(21)
(14) (2) 5 7 9
(7)

b7 R b3 4/11 5 b7 Ascending to 2
01:33:47 - Using Intervals to Learn the Major Scale
17 18 19

7 9 11 14
7 (9)
(14)
2 2
(5) 7 (5) 7 (5) (5)

Ascending to 2 Descending to 2 Ascending to 3

20 21 22

4 4
(7) 9 (7) 9 (7) (7) (7) (7) (7) (7)
4 4
7 7 7 7 (5) (5) (5) 9 (5) 9

Descending to 3 Ascending to 4/11

Ascending to 3
23 24 25

6 6 (2) (2) 7 7
(7) (7) (7) 11 (7) 11 (7) (7) (7) (7)
4 4 4 4 5 5
(5) (5)

Copyright www.tomquayle.co.uk 2015 2/4

All Rights Reserved - International Copyright Secured
 Descending to 4/11 Ascending to 5 Ascending to 5
26 27 28

4 4
9 9
(7) (7) (7) (7) 2 2 (7) (7) (7) (7)
5 5 7 7
10 10 (5) (5) (5) (5)

Descending to 5 Ascending to 6 Ascending to 6

29 30 31

(9) (9) 6 6
9 9 11 11
(7) (7) 4 4 (7) (7) (7) (7)
7 7 9 9
(5) (5) (5) (5)

Ascending to 6 Ascending to 7 Descending to 7

32 33 34

(7) 4 (7) 4 (7) (7) 6 6 6 6 (7) 6 (7) 6

9 9
(5) (5) (5) (5) (5) 4 (5) 4

Descending to 7 etc 7 2/9 3 5 7 6/13 R 7

01:36:09 Finding Pathways Through the Scale
35 36 37

3
(9) (9) 8
13 13 4 6 9 (2)
(7) (7) (7) 6 4
11 11

4/11 3 5 R 2/9 3 4/11 5 6/13 7 R 3

38 39 40

2 1 4
2 4 6 7 9 11 13 14
(7) 11
(12)

4/11 5 R 2/9 3 5 R 5 4/11 3 R 6/13

41 42 43

8 11
(9) 11 9
9 7 6
12 14 (7) 7 4

Copyright www.tomquayle.co.uk 2015 3/4

All Rights Reserved - International Copyright Secured
 4/11 5 3 7 R R 4/11 5 b3
01:39:53 Visualising the A Dorian Scale
44 45 46

7 9 5
(7)
5 7 4
(5) 4 5

R 5 4/11 b3 R 5 6/13 b3 R b7 6/13 4/11

47 48 49

4 2
(2) 5 2
2 4
3 5
(5) 3 2

5 b7 R b3 4/11 5 6/13 b7 R b3 2/9 R

50 51 52

6 7 9
7 9 5 4
5 (7) 10 7
7

Copyright www.tomquayle.co.uk 2015 4/4

All Rights Reserved - International Copyright Secured

Hey guys and thanks so much for
checking out this tutorial. I’ve put a great
deal of work into producing this for you,
so I hope you find it useful and
enlightening. I’ve split the tutorial into
two sections, the first dealing with pure
fretboard visualisation based on learning
and recognising interval shapes and the
second dealing with applying this
information to changes based playing. A
very important point to make is that this
is NOT a harmony lesson and I will not
be teaching you chord scale
relationships or jazz harmony - this is
beyond the remit of this particular tutorial
and I recommend that, if your harmony is
lacking, you check out my ‘Jazz
Harmony & Playing Over Changes’
‘Soloing Over Dominant 7ths’ and
‘Diminished Scale Theory’ lessons or
that you get hold of a copy of Mark
Levine’s ‘Jazz Theory’ book.
The system of visualisation that I
demonstrate throughout this lesson is
based on looking at the smallest
possible pieces of information on the
fretboard - intervals based on scale
degrees. Rather than looking at large
VISUALISING THE FRETBOARD
scale and arpeggio shapes across up to
six strings that are hard to manipulate,
we’ll be looking at intervals from a given
root note and visualising no more than
an octave at a time. This makes the
process of visualisation far more
manageable and easier to manipulate,
especially when dealing with complex
chord changes. This system came about
for me because of the tuning I use,
where all of the strings are tuned so that
there is a 4th interval between them.
This creates a symmetrical fretboard
where any given interval shape is the
same regardless of which strings it is
played between. I began to realise how
efficient it was to see the fretboard in this
manner, using small chunks of
information that are much easier for the
brain to manage and keep track of,
rather than seeing large shapes that are
harder to manipulate. All of our intervals
will be visualised from a given root note
and it’s important what we mean by
intervals here.
In this tutorial we’ll be using the term
interval to refer to each of the notes
within a given scale. In a major scale for
example we have seven notes - the
Root, 2nd, 3rd, 4th, 5th, 6th and 7th. We
will be referring to each of these notes
by the scale’s formula so that Dorian for
example would be Root, 2, b3, 4, 5, 6,
b7 and Lydian would be Root, 2, 3,
#4, 5, 6, 7 etc. When I refer to the 2 or
2nd I’m referring to the 2nd degree of the
scale and we can ascend from the root
note or decent from the root note to that
interval. In this way, if I say ‘descend to
the 2 or 2nd’ I mean descend to the 2nd
degree of the scale, rather than
descending down the interval of a 2nd
from the root note.
After teaching many students this way
for some time I began to realise that this
system was just as useful in standard
tuning, where the shapes of the interval
differ depending on which strings you
are playing them between. Essentially,
because of the major 3rd interval
between the G and B strings of the
guitar, any interval shape you learn
between the lowest four strings will need
to be changed slightly once you place it
between the D and B, G and B or G and
E strings to compensate for the tuning.
Since none of the intervals we will be
visualising cross over more than three
strings you don’t need to worry about
intervals between the D and E or A and
B strings.
The rule is that if your interval shape
ascends from the D to B, G to B or G to
the high E strings you will need to move
the upper note of the interval UP one fret
on the neck to fit the tuning. If the
interval descends from the B to D, B to G
or high E to G then you need to move
the lower note of the interval down a fret.
This means that, in standard tuning, you
have a bit more work to do than
someone playing in 4th tuning, where a
particular interval shape is the same no
matter which strings you play it between.
This is more than achievable and whilst
this interval based method is not a short
cut to being able to visualise the
fretboard, it gives you the most flexible
manner for ‘seeing’ harmony on the
neck. All of the intervals are written out in
standard tuning in the ‘Interval Diagrams’
folder with the intervals divided into
Chord Tones and Extensions. For those
in 4th’s tuning you simply need to learn
the intervals on the lowest four strings
and these will be the same an all six
strings.
In the second section of this lesson we’ll faster and faster at this process over
be applying this visualisation method to many hours of practice.
three sets of chord changes from the
tunes, Autumn Leaves, Spain and Inner I wish you all the best with your playing
Urge. It’s very important to understand and with this method of visualisation.
that in each of the examples I give that I Thanks again for purchasing this tutorial
am always locating all of the intervals/ and for all your support.
scale degrees that I play in reference to
the nearest root note. In the All the best,
accompanying TAB I refer to this
reference note as the ‘Visualisation Note’ Tom
or V.N.
Finally, I have provided you with a
complete transcription of an improvised
solo over the tune Inner Urge that gives
you some real world applications of this
visualisation process over a pretty
complex set of chord changes.
There are basic backing tracks for the
three tunes, although initially I highly
recommend working through each of the
exercises and ideas of the tutorial
without the time pressure that these
tracks provide. The absolute mantra of
this tutorial is that you can only work at
the speed your brain wants to work at
and therefore you need to allow your
brain the time to figure out where the
required harmony is on the fretboard.
Working without time constraints will
allow your brain time to figure out where
the notes are and you will gradually get
SCALE FORMULAS – These are the most common scale types that I use
Major Scale Modes

I. MAJOR SCALE - 1, 2, 3, 4, 5, 6, 7 extensions (9, 11, 13)

Major 7 Chord

II. DORIAN SCALE - 1, 2, b3, 4, 5, 6, b7 extensions (9, 11, 13) Minor 7 Chord!

III. PHRYGIAN SCALE - 1, b2, b3, 4, 5, b6, b7 extensions (b9, 11, b13)
Minor 7 Chord

IV. LYDIAN SCALE - 1, 2, 3, #4, 5, 6, 7 extensions (9, #11, 13)

Major 7 Chord

V. MIXOLYDIAN SCALE - 1, 2, 3, 4, 5, 6, b7 extensions (9, 11, 13)

Dominant 7 Chord

VI. AEOLIAN SCALE - 1, 2, b3, 4, 5, b6, b7 extensions (9, 11, b13)

Minor 7 Chord

VII.LOCRIAN SCALE - 1, b2, b3, 4, b5, b6, b7 extensions (b9, 11, b13) Minor
7b5 Chord

Remember - b9 intervals sound BAD and are generally to be avoided in all but Dominant 7th
chords. b13 intervals are okay, if the 5th of the chord has been removed, avoiding a semitone
clash between the 5th and b6th/b13th. The more extensions you add to the chord, the denser the
harmony sounds. Generally, guitar players choose one or two extensions but must omit other
notes in order to be able to play the chord.
Melodic Minor Modes
I. MELODIC MINOR SCALE - 1, 2, b3, 4, 5, 6, 7 extensions (9, 11, 13)
min/Maj7 Chord

II. DORIAN b2 SCALE - 1, b2, b3, 4, 5, 6, b7 extensions (b9, 11, 13)

Dominant 7sus4b9 Chord
The Dorian b2 scale is used to create a resolving dominant chord - in this case a 7sus4b9 or 13sus4b9
chord. Even though the scale contains a b3 interval we still call the chord a dominant and replace the b3rd
with the 4th, thus creating a dominant chord with a suspended 4th. The resulting chord is always used as a
resolving dominant or V chord with a b9 extension - hence the name Dominant 7sus4b9. An example
progression might be G7sus4b9 to Cmaj7, instead of the normal, basic G7 to Cmaj7.!

III. LYDIAN #5 SCALE - 1, 2, 3, #4, #5, 6, 7 extensions (9, #11,13)

Major 7#5 Chord
Also called ‘Lydian Augmented’ Scale

IV. LYDIAN b7 SCALE - 1, 2, 3, #4, 5, 6, b7 extensions (9, #11, 13)

Dominant 7#11 Chord
Also called ‘Lydian Dominant’ Scale

V. MIXOLYDIAN b6 SCALE - 1, 2, 3, 4, 5, b6, b7 extensions (9, 11, b13)

Dominant 7 Chord - very rarely used

VI. LOCRIAN nat9 SCALE - 1, 2, b3, 4, b5, b6, b7 extensions (9, 11, b13)
Minor 7b5 Chord

VII. ALTERED SCALE - 1, b2, b3, b4, b5, b6, b7 extensions (b9, #9, b5, #5)
Altered Dominant 7 Chord
The altered dominant scale, also known as the ‘Superlocrian’ scale is rewritten as 1, b9, #9, 3, b5, #5, b7 to
describe a Dominant 7th chord (1, 3, b7) with four altered tension notes ( b9, #9, b5, #5).

b2 becomes b9
b3 becomes #9
b4 becomes 3
b6 becomes #5

The most commonly used melodic minor modes are mode I - Melodic Minor, mode III - Lydian
Augmented, mode IV - Lydian Dominant and mode VII - Altered. The others are used but far less
often in standard harmonic repertoire.
Diminished Scale
HALF WHOLE DIMINSHED SCALE - 1, b2, b3, 3, b5, 5, 6, 7 extensions (b9,
#9, b5/#11 and 13)
Dominant 7th chord with a b9, #9, b5/#11 and 13
b2 becomes b9
b3 becomes #9

Whole Tone Scale

WHOLE TONE SCALE - 1, 2, 3, #4/b5/#11, #5/b6/b13, b7 extensions (9,
#11/b5/b13)
Dominant 7th chord with a 9, #11/b5 and #5
Visualising the Fretboard
Part 1 - Learning Intervals
Notes in brackets represent the note I'm visualising from
Standard tuning

Ascending to b3 Descending to b3
47:22 - Visualising the Am7 arpeggio
1 2

5 5
(7) (7) (7) 10 (7) 10 (7) (7) (7) (7)
3 3
8 8

Ascending to 5th Descending to 5th

3 4

5 5
9 9
(7) (7) (7) (7) (7) (7) (7) (7)
7 7 7 7

Ascending to b7 Descending to b7
5 6

8 8 8 8
(7) (7) (7) (7) (7) 5 (7) 5 (7) (7)
10 10

R b3 5 b7 R b3 5 b7 R b7 5 b3 R b3 5 R
7 8

8 5 8 10
5 9 5 9
7 7 7 5 7 10
7
8

b7 5 R b3 5 R 5 b3 R b7 R 5 b7
9 10

8 5
2 5 2
2 2 5
3 7
5 3 5

Copyright www.tomquayle.co.uk 2015 1/4

All Rights Reserved - International Copyright Secured
 R b3 4/11 5 b7 R b3 4/11 5 b7 R b3
01:10:10 A Min Pentatonic Visualisation
11 12 13

8 (10) 13
7 9
5 (7) 10
3 5 7
(5)

4/11 5 b7 R b3 4/11 5 R b3 4/11 5

01:11:32

14 15 16

full

10 12 15 (17) 20 22 22
(22)
(14) (2) 5 7 9
(7)

b7 R b3 4/11 5 b7 Ascending to 2
01:33:47 - Using Intervals to Learn the Major Scale
17 18 19

8 10 12 15
8 (10)
(14)
2 2
(5) 7 (5) 7 (5) (5)

Ascending to 2 Descending to 2 Ascending to 3

20 21 22

4 4
(7) 9 (7) 9 (7) (7) (7) (7) (7) (7)
4 4
7 7 7 7 (5) (5) (5) 9 (5) 9

Descending to 3 Ascending to 4/11

Ascending to 3
23 24 25

6 6 (2) (2) 7 7
(7) (7) (7) 11 (7) 11 (7) (7) (7) (7)
4 4 4 4 5 5
(5) (5)

Copyright www.tomquayle.co.uk 2015 2/4

All Rights Reserved - International Copyright Secured
 Descending to 4/11 Ascending to 5 Ascending to 5
26 27 28

5 5
9 9
(7) (7) (7) (7) 2 2 (7) (7) (7) (7)
5 5 7 7
10 10 (5) (5) (5) (5)

Descending to 5 Ascending to 6 Ascending to 6

29 30 31

(10) (10) 7 7
9 9 11 11
(7) (7) 4 4 (7) (7) (7) (7)
7 7 9 9
(5) (5) (5) (5)

Ascending to 6 Ascending to 7 Descending to 7

32 33 34

(7) 4 (7) 4 (7) (7) 6 6 6 6 (7) 6 (7) 6

9 9
(5) (5) (5) (5) (5) 4 (5) 4

Descending to 7 etc 7 2/9 3 5 7 6/13 R 7

01:36:09 Finding Pathways Through the Scale
35 36 37

4
(10) (10) 9
13 13 4 6 9 (2)
(7) (7) (7) 6 4
11 11

4/11 3 5 R 2/9 3 4/11 5 6/13 7 R 3

38 39 40

3 2 5
2 4 6 7 9 11 13 14
(7) 11
(12)

4/11 5 R 2/9 3 5 R 5 4/11 3 R 6/13

41 42 43

9 12
(10) 12 10
9 7 6
12 14 (7) 7 4

Copyright www.tomquayle.co.uk 2015 3/4

All Rights Reserved - International Copyright Secured
 4/11 5 3 7 R R 4/11 5 b3
01:39:53 Visualising the A Dorian Scale
44 45 46

7 9 5
(7)
5 7 4
(5) 4 5

R 5 4/11 b3 R 5 6/13 b3 R b7 6/13 4/11

47 48 49

5 3
(2) 5 2
2 4
3 5
(5) 3 2

5 b7 R b3 4/11 5 6/13 b7 R b3 2/9 R

50 51 52

7 8 10
7 9 5 4
5 (7) 10 7
7

Copyright www.tomquayle.co.uk 2015 4/4

All Rights Reserved - International Copyright Secured