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