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C Major Scale: C – D – E – F – G – A – B
Major chords
Major chords are the most common chords
for the piano and other instruments. The
major chord names are written in sole letters
like C, D, E and so forth; otherwise, the
abbreviation for major in chord names is
maj. Besides the main chord category, there
are also Major 7th chords (maj7), Major 9th
chords (maj9) and Major 6th chords (6)
among others.
See diagrams of Major chords:
C major D major E major F major G major
A major B major
See also graphic overview of major chords
in common keys ›
Theory
A major triad includes three notes and these
can be referred to as the root, major third
and perfect fifth. To explain it in plain
English, this means that the notes in the
chord are the first, the third and the fifth
notes in the related scale.
We can compare the C Major Scale with the
C Major Chord:
C Major Chord: C – E – G
Formula and steps
A good way to minimize the memorizing are
to learn formulas. The formula for a minor
chord is 1 - 3 - 5, which refers to the major
scale degrees.
You could also learn by steps. From the 1st
note go four half steps to the right to reach
the 2nd note, and from the 2nd note go three
steps to the right to reach the 3rd note.
Make use of
How and when to use major triads? Since
these are the most common of all chords,
they are used in various music genres and in
all kinds of situations. Major chords can be
used exclusively in shorter sequences
whereas longer sequences in general also
include minor chords.
Chord sequences that shows how major
chords can be utilized:
1. C F G
2. C Em F G
3. C F Am G
In roman numerals*:
1. I IV V
2. I iii IV V
3. I IV vi V
* Roman numerals describe chord intervals
that can be used the same way in all keys.
See a table over major keys including roman
numerals.
Other major chords
Let us continue with major 7 chords that are
built by adding the seventh note in the
related scale.
Comparing the C Major Scale with the C
Major 7 Chord:
C Major Scale: C – D – E – F – G – A – B
C Major 7 Chord: C – E – G – B
There are also Major 6th chords with the
sixth note in the scale added to a triad. These
are, however written without the
abbreviation “maj” and sometimes this
category is called added 6th.

Comparing the C Major Scale with C6:
C Major Scale: C – D – E – F – G – A – B
C6 Chord: C – E – G – A
The idea is the same for major 9 chords in
which the ninth note is added. The C Major
9 chord accordingly look like this: C – E – G
– B – D. This chord category is somewhat
unusual and there are no diagrams of these
chords on the site so far.
Although rather unusual, an additional group
to know about is Major ninth (maj9). This
chord is built by adding a major ninth to a
major seventh chord. Maj9 not to be
confused with the dominant 9th.
Comparing the C Major Scale with Cmaj9:
C Major Scale: C – D – E – F – G – A – B
C Major 9 Chord: C – E – G – B – D
Also to mention is maj9#11
Cmaj9#11: C – E – G – B – D – F#
Even less common is the Major thirteenth
(maj13), built by adding a 13th. This chord
includes seven notes, but to make it more
practical some notes (the least important for
the chord color, which especially include the
eleventh) are normally left out. Maj13 not to
be confused with the dominant 13th.
Comparing the C Major Scale with Cmaj13:
C Major Scale: C – D – E – F – G – A – B
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C Major 13 Chord: C – E – G – B – D – A CM6 is an alternative chord name
sometimes used instead for C6.
To mention is also maj13#11:
Cmaj13#11: C – E – G – B – D – F# – A Additionally, C13, which is an extended
chord, could be written Cmaj9(add13).
See links above or use the search box for
diagrams (some of the less common
categories are not presented).
Alternative chord symbols
Besides the major chord symbol that is
presented on this site, you may find
alternatives, including the following instead
of C:
CMaj (relative common symbol there “Maj”
is written out as the abbreviation for major)
C△ (the triangle is sometimes used in piano
sheets as a symbol for major)
CM (here a capital letter is being used for
“major”, which are not recommended due to
the possible confusing with a “minor”
symbol)
CM7 or C△7 are alternative chord names
used instead for Cmaj7 (the triangle is
sometimes also used in piano sheets as a
single symbol for major seventh).
CM9 or C△9 are alternative chord names
used instead for Cmaj9, CM11 or C△11 are
alternative chord names used instead for
Cmaj11 and CM13 or C△13 are alternative
chord names used instead for Cmaj13.

Minor chords
Minor chords are the most common next to
major. Then you alter major and minor
chords you hear differences in the quality of
sound. The major chords sound somewhat
neutral whilst the minor chords give a kind
of depressing feeling. Besides the main
chord, there are also Minor 7th chords (m7),
Minor 9th chords (m9) and Minor 6th
chords (m6). Hence, the abbreviation for
minor in chord names is m, but also min as
in Cmin and Cmin7 are used.
See diagrams of minor chords:
A minor B minor C minor D minor E minor
F minor G minor
See also graphic overview of minor chords
in common keys ›
Theory
A minor triad includes three notes and these
can be referred to as the root, minor third
and perfect fifth. It can also be referred to
the first, the third and the fifth notes in the
related scale.
We can compare the A Minor Scale with the
A Minor Chord:
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A Minor Scale: A – B – C – D – E – F – G
Make use of
How and when to use minor triads? These
are among the most common of all chords
and used in various music genres and
situations. Minor chords are normally used
together with major chords in different
A Minor Chord: A – C – E combinations.
Chord sequences that shows how major
chords can be utilized:
1. Am Em F G
2. Em C D G
The difference between the Minor and 3. Dm G C
Major chord is the second note. The minor
third changes to a major third. In roman numerals*:
1. i v VI VII
We can compare the C Minor with the C
2. i VI VII III
Major:
3. i IV VII
C Minor Chord: C – Eb – G
* Roman numerals describe chord intervals
C Major Chord: C – E – G
that can be used the same way in all keys.
See a table over minor keys including roman
Formula and steps
numerals.
A good way to minimize the memorizing is Other minor chords
to learn formulas. The formula for a minor
chord is 1 - b3 - 5, which refers to the major
As mentioned earlier, there are more groups
scale degrees.
of minor chords. The most common among
these are Minor 7th.
You could also learn by steps. From the 1st
note go three half steps to the right to the
Comparing the A Minor Scale with the A
2nd note, and from the 2nd note go four
Minor 7th Chord:
steps to the right to the 3rd note.
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A Minor Scale: A – B – C – D – E – F – G With an alternative chord name that is

A Minor 7 Chord: A – C – E – G seldom used Cm9 could be written C-9.

With an alternative chord name that is All chords that have been mentioned can be
seldom used Cm7 could be written C-7. seen as diagrams on this site.

The Minor 6th chord is consequently built

by adding a sixth note. This is actually the
same note that are added to a Major 6th (this
chord is sometimes referred to as Minor
Major 6th) and that mean that the A Minor 6
Chord doesn't incorporate with its relative
scale:

Comparing the A Minor Scale with the A

Minor 6th Chord:

A Minor Scale: A – B – C – D – E – F – G
A Minor 6 Chord: A – C – E – F#

Because of this odd feature, the Minor 6th

are often treated as an add6 chord.
Regardless of names, the important part is
that it is a minor triad with an added major
third.

There is even another group, called Minor

ninth (m9). This chord is built by adding a
major ninth to a minor seventh chord.

Comparing the A Minor Scale with the A

Minor 9th Chord:

A Minor Scale: A – B – C – D – E – F – G
A Minor 9 Chord: A – C – E – G – B

Seventh chords
Seventh Chords are common and can be found
in six variants. The three most common are
Dominant Seventh chords (7), Major Seventh
chords (maj7) and Minor Seventh chords (m7).
Three less common variants are Minor Major
Seventh (mM7), Dim Seventh (dim7),
Augmented Seventh (aug7).
See diagrams of seventh chords:
C7 D7 E7 F7 G7 A7 B7
Cmaj7 Dmaj7 Emaj7 Fmaj7 Gmaj7 Amaj7
Bmaj7
Cm7 Dm7 Em7 Fm7 Gm7 Am7 Bm7
Cm7b5 Dm7b5 Em7b5 Fm7b5 Gm7b5
Am7b5 Bm7b5
Theory
The seventh chords have in common that the
seventh note in a scale is added to a triad (a
three-note chord), making it a four-note
chord (also called a tetrachord).
We can compare the different seventh
chords with C as root note:
C7: C – E – G – Bb
Cm7: C – Eb – G – Bb
Cmaj7: C – E – G – B
Dominant 7th
The name "dominant" refer to the fifth
degree of the diatonic scale and it is called
dominant because it is most weighty besides
the tonic (the root of the scale). The most
common dominant chord is a dominant
seventh in which a minor seventh is added to
a triad major. A less common alternative
chord name for C7 is Cdom7 (dom stands
for dominant). The seventh chord belongs
also to the group of extended chords. Note
that the fifth sometimes are omitted when
these chords are inverted. A slight
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dissonance could be heard in 7th chords
because one of the notes, the seventh, is not
included in the same key as the root note.
Major 7th
Major 7th is constructed by adding the
seventh tone in the scale to a major triad.
Minor 7th
Minor 7th is constructed by adding a minor
seventh tone in the scale to a minor triad.
Similar to the 7th chord, a slight dissonance
could be heard in minor 7th chords because
one of the notes, the seventh, is not included
in the same key as the root note.
Make use of
How and when to use seventh chords?
Seventh chords are common in many music
styles, but especially in blues (major 7th not
included) and jazz.
Chord sequences that shows how 7th chords
can be utilized:
1. C7 F7 C7 G7 F7 C7
2. C7 F7 C7 Dm7 G7 F7 C7
3. C7 F7 C7 A7 Dm7 G7 C7
4. Dm7 G7 Cmaj7
(Typical blues and jazz progressions.)
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Minor 7b5

Minor 7th flat 5 has a lowered fifth. This

chord group is also known as half-
diminished.

Additional seventh chords

Here are the other three groups of seventh

chords, with examples in the note of C:

Cdim7: C – Eb – Gb – A

Caug7: C – E – G# – A#

CmM7: C – Eb – G – B

For more variations of seventh chords, see

Altered chords.

Extended chords
Seventh, ninth, eleventh and thirteenth
chords are all extended chords and are
named so because they are extended with
one or more thirds. The most common
extended chord is the dominant seventh, in
which a minor seventh is added to a major
triad. A seventh dominant chord is extended
with a minor third to build a ninth chord, a
ninth chord is extended with a minor third to
build an eleventh chord and, finally, an
eleventh chord is extended with a major
third to build a thirteenth chord.
See diagrams of extended chords:
C7 D7 E7 F7 G7 A7 B7
C9 D9 E9 F9 G9 A9 B9
C11 D11 E11 F11 G11 A11 B11
C13 D13 E13 F13 G13 A13 B13
Theory
As mentioned above, there are several
categories of extended chords. The numeric
figures indicate the interval (or scale
distance) from the root note to the last note.
We can compare the C7 chord with C9, C11
and C13:
C7: C – E – G – Bb
C9: C – E – G – Bb – D
C11: C – E – G – Bb – D – F
C13: C – E – G – Bb – D – F – A
So how do you play a chord with six or
more notes? The answer is that you omit one
or more notes and in many cases play the
chord inverted (i.e. rearrange the order of
notes in the chord). You could use both
hands and play all notes, but there is a risk
for dissonance playing up to seven notes
together. Instead, it's common to play them
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as polychords, in a chord-over-chord
structure (see examples below).
Omitted notes in extended chords
7th: For the 7th chord it is not necessary to
omit any notes, but it is possible to omit the
fifth. A C7 with notes that could be omitted
in parentheses would therefore look like: C
– E – (G) – Bb.
9th: The most standard procedure for the 9th
chord is to omit the fifth. A C9 with notes
that could be omitted in parentheses would
therefore look like: C – E – (G) – Bb – D.
11th: Concerning the 11th chord the third is
most often excluded. A C11 with notes that
could be omitted in parentheses would
therefore look like: C – (E) – G – Bb – D –
F.
13th: For the 13th chord the most common
way is to exclude the fifth, ninth, and
eleventh notes. A C13 with notes that could
be omitted in parentheses would therefore
look like: C – E – (G) – Bb – (D) – (F) – A.
More specific information and images can
be found on the pages with chords for
different notes, see links above.
Polychord voicings exemples
C11: Left hand playing the notes E - G - Bb
and right hand playing Bb - D - F.
C13: Left hand playing the notes E - Bb - D
and right hand playing A - D - G.
C13: Left hand playing the notes B - E - A
 Page 8

and right hand playing C - E - A.

The root is sometimes left out, implying that

there is a bass player involved taking care of
that note.

Alternative chord names

Besides the most ordinary chord symbols or

names, alternatives can occur. C9 could also
be written Cdom9. In the same style could
C11 and C13 also be written Cdom11 and
Cdom13 respectively.

Make use of
How and when to use extended chords? 9th,
11th and 13th chords are often used as
substitutions for regular triads, seventh
chords and other extended chords. This is a
standard approach in jazz. There are no
specific rules in which ways substitutions
can be made as long as they keep the same
root note: C7 could be substituted for C9,
A9 could be substituted for A11 and B11
could be substituted for B13 et cetera.

Other extended chords

There are other extended chords such as 7b5

and 7#9. Some of these could be found in
the altered chords overview.
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C: C – E – G
Sus chords C7: C – E – G – Bb
C7sus2: C – D – G – Bb
”Sus” stands for suspension and what C7sus4: C – F – G – Bb
happens in these chords are that the third
(the second note) are being replaced with Let us also compare a C9 chord with a
either a major second or a perfect four. Then C9sus4 chord:
it is replaced with a major second the chord
Csus2: C – D – G
name is sus2, and then it is replaced with a C9: C – E – G – Bb – D
perfect fourth the chord name is sus4. There C9sus4: C – F – G – Bb – D
are also extended suspended chords.
Among these extended suspended chords,
See diagrams of sus chords: the ninth suspended chord are the least
common. C9sus4 is more commonly known
C sus D sus E sus F sus G sus A sus B sus as C11 (to be exact, it is an inverted C11
Csus4: C – F – G without a major third).
C7 sus D7 sus E7 sus F7 sus G7 sus A7 sus
B7 sus Alternative chord names

C9 sus D9 sus E9 sus F9 sus G9 sus A9 sus
B9 sus
Theory
As mentioned above, there are several
categories of suspended chords, but in most
cases it is either a sus2 or a sus4.
Comparing the C major Chord with Csus2
and Csus4:
Besides the standard sus4/sus2 names, the
annotation C4, D4, E4 and so forth can
occur and often together with C3, D3, E3
Formulas and so forth (meaning a sequence from sus
to major).
The formulas are 1 - 2 - 5 (sus2) and 1 - 4 -
5 (sus4).
Other sus chords
Beside the common sus2 and sus4 chords
there are more categories. A seventh or a
ninth chord, for example, could be
suspended.

Let us compare a C7 chord with C7 sus

chords:

Dim chords
“Dim” stands for diminished and what
happens in these chords is that all tones
besides the root are flattened. There are both
the diminished triads, the diminished
seventh and the half-diminished seventh. In
the triad, the third and fifth tones are
flattened one semi-step. In the diminished
seventh (dim7), a minor third is added to the
dim triad. Dim chords are quite uncommon
and are mainly used for a transition between
two chords that don't have an obvious
connection.
See diagrams of dim chords:
C dim D dim E dim F dim G dim A dim B
dim
C dim7 D dim7 E dim7 F dim7 G dim7 A
dim7 B dim7
C half-dim7 D half-dim7 E half-dim7 F
half-dim7 G half-dim7 A half-dim7 B half-
dim7
Theory
Besides the already mentioned categories,
you should know also know of the half-
diminished seventh chord. This chord is
identical to the diminished seventh except
for the seventh note that is flat instead for
double flat (it could also be seen as a minor
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seventh with a lowered fifth). The half-
diminished is more commonly written as
Make use of
m7b5 or m7(b5).
And the most important part: how and when
to use diminished chords? One of the most
Comparing the Major Chord with different
common ways is to use them as passing
diminished chords:
chords. Passing chord can be seen as “in-
between chords”, in other words: chords to
C: C – E – G
land on for a short while to create some
Cdim: C – Eb – Gb
tension between chords with stronger
Cdim7: C – Eb – Gb – A (Bbb)
relationship with the key.
C half-diminished 7: C – Eb – Gb – Bb
Chord sequences that shows how dim chords
The B double flat (Bbb) in Cdim7 is used
can be utilized:
since the last tone is theoretically a major
sixth.
1. C Ebdim G7
2. G Bbdim D7
Formula and steps
(The intervals are the same: I biii° V7.)
The formula for the dim triad chord is 1 - b3 Examples including dim7:
- b5. There are three half steps to the 2nd
note and three half steps to the 3rd. 1. Cmaj7 Dbdim7 Dm7
2. Emaj7 Fdim7 F#m7
Alternative chord symbols (The intervals are the same: Imaj7 bii°7 ii7.)
Besides the dim chord symbol that is Examples including half-diminished:
presented above, you may also find the
alternative degree symbol (°), as in C°, 1. Am7 Bm7b5 E7
being used occasionally. Half-diminished 2. Em7 F#m7b5 B7
seventh chord could also be written with a (The intervals are the same: i7 iiø7 V7.)
symbol (ø), as in Cø.

Aug chords
“Aug” stands for augmented and in a triad
augmented chord there is the root and two
major thirds. These chords are quite uncommon
and their function is mostly to be placed
between two chords that lack distinct
relationship.
See diagrams of aug chords:
C aug D aug E aug F aug G aug A aug B
aug
C aug7 D aug7 E aug7 F aug7 G aug7 A
aug7 B aug7
Theory
An aug chord will often sound dissonant.
The reason is that one of the three notes in
the triad is not included in the same key as
the root note. Gaug, for example, consist of
the notes G, B and D#, among which only G
and B are part of the G major scale.
There are two categories of augmented
chords.
Comparing the C Major Chord with Caug
and Caug7:
C: C – E – G
Caug: C – E – G#
Caug7: C – E – G# - A#
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The only difference between the C major
and C augmented triads is that the fifth is
next chord. This can be seen below in both
sequences.
raised, or augmented, one semi-step. The
augmented seventh chord adds a minor Chord sequences that shows how aug chords
seventh. It is, however, not as common to can be utilized:
write these chords aug7 as +7 or 7#5 (even
the less correct 7+ occur). 1. C Caug Am
2. G Gaug Em
Formula and steps (The intervals are the same: I I+ vi.)
The formula for the aug chord is 1 - 3 - #5.
There are four half steps to the 2nd note and
four half steps to the 3rd.
Alternative chord symbols
Besides the aug chord symbol that is
presented on this site, you may find the
alternative plus symbol (+), as in C+, also
being used occasionally. A third symbol that
occurs less commonly is C(#5) instead for
Caug ("#5" indicates that the fifth is
sharpened).
Make use of
And the most important part: how and when
to use augmented chords? They are often
used as passing notes, meaning that they are
placed between two chords that have
stronger relationship with the key. One way
is to create a feeling of movement by a small
shift from the tonic chord to an aug version
of it and when go one half-step up from its
major fifth and use that as the root for the

Add chords
Added tone chords are major triads with an
extra note added. They are abbreviated
"add" and there are mainly two types: add9
and add2 (there are also the less common
add11 and add4). In the add9 the ninth tone
in the scale is added and for the add2 the
second tone in the scale is added.
See diagrams of add chords*:
C add D add E add F add G add A add B
add
C add11 D add11 E add11 F add11 G add11
A add11 B add11
* To avoid too high information density,
only naturals are listed. You can easily
reach, for example C#add or Dbadd, by first
click on "C add" and when click on to the
next chord.
Theory
Some theory of this chord category are
presented here.
Comparing the C Major Chord with the two
main types of added chords:
C: C – E – G
Cadd9: C – E – G – D
Cadd2: C – D – E – G
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As you may notice it is actually the same
tone that is added to the C Major, but in
different octaves.Some theory of this chord
category are presented here.
Comparing the C Major Chord with the less
common add11 and add4:
C: C – E – G
Cadd11: C – E – G – F
Cadd4: C – E – F – G
In other words: add11 and add4 includes the
same notes, but with different order. The
eleventh is the same note as the fourth, but
reaching into the next octave.
Much less common are minor add chords. A
comparison between a regular C minor
chord and a minor added chord would look
like:
Cm: C – Eb – G
Cmadd9: C – Eb – G – D
It should also be mentioned that add6 exists
and are played by the same principles as
explained above. This variant are, however,
very rare. Also, 6add9 exist, but are more
commonly written 6/9.

Altered chords
Altered chords are a special category of
chords that - as the name implies - alter
other chords. There are, for example, altered
dominant seventh chords with a flattened or
a sharp fifth: 7-5 and 7+5.
See diagrams of altered chords:
C7-5 D7-5 E7-5 F7-5 G7-5 A7-5 B7-5
C7+5 D7+5 E7+5 F7+5 G7+5 A7+5 B7+5
C7-9 D7-9 E7-9 F7-9 G7-9 A7-9 B7-9
C7+9 D7+9 E7+9 F7+9 G7+9 A7+9 B7+9
C7#11 D7#11 E7#11 F7#11 G7#11 A7#11
B7#11
Theory
Theory of this chord category are presented
here.
We can compare a normal dominant seventh
chord with altered dominant chords in the
note of C:
C7: C – E – G – Bb
C7-5 (C7b5): C – E – Gb – Bb
C7+5 (C7#5): C – E – G# – Bb
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Concerning chord names, instead of minus
(-), flat (b) are sometimes used and instead
Altered ninth and thirteenth chords.
of plus (+), sharp (#) are sometime used. C9#11: C – E – G – Bb – D – F#
Therefore, C7-5 and C7b5 is the same chord C13b9: C – E – G – Bb – Db – F – A
and C7+5 and C7#5 is the same chord. Note C13#11: C – E – G – Bb – D – F# – A
also that C7+5 contains the same notes as
Caug7. Continued reading: Altered chord on
Wikipedia
Comparing a normal dominant seventh
chord with another pair of altered chords.
C7: C – E – G – Bb
C7-9 (C7b9): C – E – G – Bb – Db
C7+9 (C7#9): C – E – G – Bb – D#
The names of these chords are C dominant
seventh, sharp ninth and C dominant
seventh, flat ninth. C7-9 and C7+9 could
also be written C7b9 and C7#9 respectively.
Comparing with a third group of altered
seventh chords.
C7: C – E – G – Bb
C7+11 (C7#11): C – E – G – Bb – F#
The name of this chord is C dominant
seventh, eleventh sharp ninth (a
correspondent C dominant seventh, eleventh
flat ninth do not exist). C7+11 could also be
written C7#11.
Other altered chords
Finally, lets look at some less common
categories.
 Page 14

Understand uncommon A#9#5 - A sharp ninth sharp fifth.

chord names
Besides the categories listed above plus
major and minor that are listed elsewhere
you may turn into some additional chords.
To help you figure out rare chords the
following examples with explanations will
hopefully guide you.
D-7 - D minor seventh (minus are
sometimes used for minor).
D-9 - D minor ninth.
D-11 - D minor eleventh.
C/C - This indicates a C major with a
duplicated root on a lower octave.
Cm/C - This indicates a C minor with a
duplicated root on a lower octave.

CMin7 - alternative chord symbol for C

minor seventh.
Gdom7 - alternative chord symbol for G
dominant seventh.
E△ - alternative chord symbol for E major.
A° - alternative chord symbol for A
diminished.
Aø - alternative chord symbol for A half-
diminished.
F(#5) - alternative chord name for F
augmented.
Fno3 - F major with no third.
E/G# - inverted E chord with G sharp as the
bass note.
E7/B - inverted E seventh chord with a B as
the bass note.
C/D - C major with D as bass note.
F/E - F major with E as bass note.
C6/9 - C six-nine chord, usually written with
the 6 and 9 in small letters over and under
each other. Could also be written C6add9.
Abmaj7(#11) - A flat major seventh sharp
eleventh chord.
Dmaj9(add13) - alternative chord name for
Dmaj13.
B#9b5 - B sharp ninth flat fifth.
 Page 15

Piano Major Scales C Major F Major

Piano Major Scales are the most important
scales: firstly because they are very common
and, secondly, because they are fundamental
to your understanding of keys. If you hear
someone mention that a piano sonata by the
composer and pianist Franz Schubert is Notes: C, D, E, F, G, A, B, C Notes: F, G, A, Bb, C, D, E, F
played in A Major this means that it depends Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
on the A scale. It is also common that piano Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 4, 1, 2, 3, 4
pieces are named like A Minor – this
accordingly refers to a minor scale. D Major G Major
Here we will focus on major scales. You can
scroll down and see illustrations of all major
scales, further down you will see an
overview with all the notes and the intervals,
semi-tones and finally the formula of the
major scale. This theory helps you learn the
Notes: D, E, F#, G, A, B, C#, D Notes: G, A, B, C, D, E, F#, G
concepts and memorizing it easier. See also
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
major scales exercises and arpeggios.
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

E Major A Major

Notes: E, F#, G#, A, B, C#, D#, E Notes: A, B, C#, D, E, F#, G#, A

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

B Major
Notes: B, C#, D#, E, F#, G#, A#, B
Fingerings (LH): 4, 3, 2, 1, 4, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
C# / Db Major
Notes: Db, Eb, F, Gb, Ab, Bb, C, Db
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 2, 3, 1, 2, 3, 4, 1, 2
D# / Eb Major
Notes: Eb, F, G, Ab, Bb, C, D, Eb
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 3, 1, 2, 3, 4, 1, 2, 3
F# /Gb Major
Notes: F#, G#, A#, B, C#, D#, F, F#
Fingerings (LH): 4, 3, 2, 1, 3, 2, 1, 4
Fingerings (RH): 2, 3, 4, 1, 2, 3, 1, 2
G# / Ab Major
Notes: Ab, Bb, C, Db, Eb, F, G, Ab
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3
A# / Bb Major
Notes: Bb, C, D, Eb, F, G, A, Bb
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 4, 1, 2, 3, 1, 2, 3, 4
Page 16
An easy way to start improvising on the piano is
to play major scales together with the chords
that use the same notes. To explain further: you
can for example play chords like C, Em, F, G
together with the C major scale. Preferable you
play the chords with your left hand and notes
from the scale with your right (more on
improvisation).
Two another examples: chords in the scale of F
major would be F, Gm, Am, Bb, C, Dm, Edim and
chords in the scale of G major would be G, Am,
Bm, C, D, Em, F#dim.
Another interesting thing is that different major
scales have their own "sounds". For example, C
is suitable for ballads and Eb will sound a bit like
Bach.
 Page 17

Piano Minor Scales A Minor C Minor

Contrary to the major scale there are not one
but three minor scales, which all will be
presented to you. The three groups of minor
scales are:

Notes: A, B, C, D, E, F, G, A Notes: C, D, Eb, F, G, Ab, Bb, C

 The natural minor (see below)
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
 The melodic
 The harmonic
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

The natural minor scale is often referred to A# / Bb Minor C# / Db Minor

as the minor scale. This scale can sometimes
confuse people because it is in a way
identical to the major scale. The A minor
scales include exactly the same notes as the
C major scale which makes them relative
keys (read more about this further down the
page). See also arpeggios. Notes: A#, C, C#, D#, F, F#, G#, A# Notes: C#, D#, E, F#, G#, A, B, C#
Fingerings (LH): 2, 1, 3, 2, 1, 4, 3, 2 Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Natural Minor Scales Fingerings (RH): 2, 1, 2, 3, 1, 2, 3, 4 Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3

Here are pictures and notes of scales. B Minor D Minor

Notes: B, C#, D, E, F#, G, A, B Notes: D, E, F, G, A, Bb, C, D

Fingerings (LH): 4, 3, 2, 1, 4, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
 Page 18

D# / Eb Minor F# / Gb Minor

Notes: D#, F, F#, G#, A#, B, C#, D# Notes: F#, G#, A, B, C#, D, E, F#
Fingerings (LH): 2, 1, 4, 3, 2, 1, 3, 2 Fingerings (LH): 4, 3, 2, 1, 3, 2, 1, 4
Fingerings (RH): 3, 1, 2, 3, 4, 1, 2, 3 Fingerings (RH): 2, 3, 1, 2, 3, 1, 2, 3

E Minor G Minor

Notes: E, F#, G, A, B, C, D, E Notes: G, A, Bb, C, D, Eb, F, G

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

F Minor G# / Ab Minor

Notes: F, G, Ab, Bb, C, Db, Eb, F Notes: G#, A#, B, C#, D#, E, F#, G#
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 3, 2, 1, 3, 2, 1, 3, 2
Fingerings (RH): 1, 2, 3, 4, 1, 2, 3, 4 Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3
 Page 19

Melodic Minor A C
Scales
The melodic minor scale differs from the
natural minor scale due the sixth and
seventh notes are raised a semi-step, and
therefore no longer mirror the major scale. Notes (ascending): A, B, C, D, E, F#, G#, A Notes (ascending): C, D, Eb, F, G, A, B, C
This scale is also some kind of peculiar Notes (descending): A, B, C, D, E, F, G, A Notes (descending): C, D, Eb, F, G, Ab, Bb,
since it is sometimes played differently C
ascending and descending. A# / Bb
C# / Db
Classic music: When you go up the scale
you are using the melodic minor scale, but
when you move down the scale you are
using the natural minor scale. For the
melodic scale in A, it will look like this:
Ascending: A, B, C, D, E, F#, G#, A
Notes (ascending): A#, C, C#, Eb, F, G, A,
Descending: A, G, F, E, D, C, B, A
A# Notes (ascending): C#, Eb, E, F#, G#, A#,
Jazz: The sixth and seventh notes are always
Notes (descending): A#, C, C#, Eb, F, F#, C, C#
raised and therefore exactly as the pictures
G#, A# Notes (descending): C#, Eb, E, F#, G#, A,
below illustrate.
B, C#
B
D

Notes (ascending): B, C#, D, E, F#, G#, A#,

B Notes (ascending): D, E, F, G, A, B, C#, D
Notes (descending): B, C#, D, E, F#, G, A, Notes (descending): D, E, F, G, A, Bb, C, D
B
 Page 20

D# / Eb F# / Gb

Notes (ascending): D#, F, F#, G#, A#, C, D, Notes (ascending): F#, G#, A, B, C#, Eb, F,
D# F#
Notes (descending): D#, F, F#, G#, A#, B, Notes (descending): F#, G#, A, B, C#, D, E,
C#, D# F#

E G

Notes (ascending): E, F#, G, A, B, C#, D#, Notes (ascending): G, A, Bb, C, D, E, F#, G

E Notes (descending): G, A, Bb, C, D, Eb, F,
Notes (descending): E, F#, G, A, B, C, D, E G

F G# / Ab

Notes (ascending): F, G, Ab, Bb, C, D, E, F Notes (ascending): G#, A#, B, C#, Eb, F, G,
Notes (descending): F, G, Ab, Bb, C, Db, G#
Eb, F Notes (descending): G#, A#, B, C#, Eb, E,
F#, G#
 Page 21

Harmonic Minor A C
Scales
The harmonic minor scale is one of three
minor scales. The other two are the natural
minor and the melodic minor. The sound of
the harmonic scale is characterized by the Notes: A, B, C, D, E, F, G#, A Notes: C, D, Eb, F, G, Ab, B, C
music of the Middle East. Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
The harmonic minor differs from the natural
minor with a sharpened seventh note, and A# / Bb C# / Db
this minor scale is consequently not played
in the same way as the relative major scale.

Notes: A#, C, C#, D#, F, F#, A, A# Notes: C#, D#, E, F#, G#, A, C, C#
Fingerings (LH): 2, 1, 3, 2, 1, 4, 3, 2 Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 2, 1, 2, 3, 1, 2, 3, 4 Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3

B D

Notes: B, C#, D, E, F#, G, A#, B Notes: D, E, F, G, A, Bb, C#, D

Fingerings (LH): 4, 3, 2, 1, 4, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
 Page 22

D# / Eb F# / Gb

Notes: D#, F, F#, G#, A#, B, D, D# Notes: F#, G#, A, B, C#, D, F, F#

Fingerings (LH): 2, 1, 4, 3, 2, 1, 3, 2 Fingerings (LH): 4, 3, 2, 1, 3, 2, 1, 4
Fingerings (RH): 3, 1, 2, 3, 4, 1, 2, 3 Fingerings (RH): 2, 3, 1, 2, 3, 1, 2, 3

E G

Notes: E, F#, G, A, B, C, D#, E Notes: G, A, Bb, C, D, Eb, F#, G

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

F G# / Ab

Notes: F, G, Ab, Bb, C, Db, E, F Notes: G#, A#, B, C#, D#, E, G, G#

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 3, 2, 1, 3, 2, 1, 3, 2
Fingerings (RH): 1, 2, 3, 4, 1, 2, 3, 4 Fingerings (RH): 2, 3, 1, 2, 3, 1, 2, 3
 Page 23

Piano Pentatonic Cm D#m / Ebm

Scales
The pentatonic scale is frequently used in
lots of popular music styles. There are both
pentatonic major and minor – the minor
more often used in this case. Note that A Notes: C, Eb, F, G, Bb, C Notes: D#, F#, G#, A#, C#, D#
minor pentatonic has identical notes as C Fingerings (LH): 1, 3, 2, 1, 2, 1 Fingerings (LH): 3, 2, 1, 3, 2, 1
major pentatonic but in another order, D Fingerings (RH): 1, 2, 3, 1, 2, 3 Fingerings (RH): 1, 2, 3, 1, 2, 3
minor pentatonic has the same notes as F
major pentatonic and so it goes. Knowing C#m / Dbm Em
this will make it easier for you to memorize
the scales.

Minor Pentatonic Scales

Here are pictures and notes of the minor
pentatonic scales. These scales are very
common in many styles, but not least in pop
and rock music. See also Major Pentatonic
Scales.
Notes: C#, E, F#, G#, B, C# Notes: E, G, A, B, D, E
Fingerings (LH): 2, 1, 3, 2, 1, 2 Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 2, 1, 2, 3, 1, 2 Fingerings (RH): 1, 2, 3, 1, 2, 3
Dm Fm

Notes: D, F, G, A, C, D Notes: F, Ab, Bb, C, Eb, F

Fingerings (LH): 3, 2, 1, 3, 2, 1 Fingerings (LH): 4, 3, 2, 1, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3 Fingerings (RH): 1, 2, 3, 1, 2, 3
 Page 24

F#m / Gbm Am

Notes: F#, A, B, C#, E, F# Notes: A, C, D, E, G, A

Fingerings (LH): 3, 2, 1, 2, 1, 3 Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 2, 1, 2, 3, 1, 2 Fingerings (RH): 1, 2, 3, 1, 2, 3

Gm A#m / Bbm

Notes: G, Bb, C, D, F, G Notes: A#, C#, D#, E#, G#, A#

Fingerings (LH): 1, 3, 2, 1, 2, 1 Fingerings (LH): 4, 3, 2, 1, 4, 3
Fingerings (RH): 1, 2, 1, 2, 3, 1 Fingerings (RH): 2, 3, 4, 1, 2, 3

G#m / Abm Bm

Notes: G#, B, C#, D#, F#, G# Notes: B, D, E, F#, A, B

Fingerings (LH): 2, 1, 5, 4, 3, 2 Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 2, 1, 2, 3, 4, 5 Fingerings (RH): 2, 1, 2, 3, 1, 2
 Page 25

Major Pentatonic Scales C D# / Eb

This five-note scale is similar to the major
scale but with the 4th and 7th degrees
removed. Major pentatonic scales are
especially common in traditional folk music,
county and gospel. Here are pictures and
notes of the major pentatonic scales. Notes: C, D, E, G, A, C Notes: D#, F, G, A#, C, D#
Fingerings (LH): 3, 2, 1, 2, 1, 3 Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 1, 2, 3, 1, 2, 3 Fingerings (RH): 2, 1, 2, 3, 1, 2

C# / Db E

Notes: C#, D#, F, G#, A#, C# Notes: E, F#, G#, B, C#, E

Fingerings (LH): 3, 2, 1, 4, 3, 2 Fingerings (LH): 4, 3, 2, 1, 2, 1
Fingerings (RH): 2, 3, 1, 2, 3, 4 Fingerings (RH): 1, 2, 3, 1, 2, 3

D F

Notes: D, E, F#, A, B, D Notes: F, G, A, C, D, F

Fingerings (LH): 2, 1, 3, 2, 1, 2 Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 1, 2, 3, 1, 2, 4 Fingerings (RH): 1, 2, 3, 1, 2, 4

F# / Gb
Notes: F#, G#, A#, C#, D#, F#
Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3
G A# / Bb
Notes: G, A, B, D, E, G
Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 1, 2, 3, 1, 2, 4
G# / Ab
Notes: G#, A#, C, D#, F, G#
Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 3, 2, 1, 2, 1, 3
Page 26
A Improvising with the Pentatonic Scale
The Pentatonic Scale is a flexible scale for
improvising and apart from the standard
way, which is combining a scale with chords
in the same key, you could also be outside
the key. By "being outside the key" means
that you don't necessarily play chords and
Notes: A, B, C#, E, F#, A scale that belongs to the same key. For
Fingerings (LH): 2, 1, 2, 1, 3, 2 example, you could play G Major Pentatonic
Fingerings (RH): 1, 2, 3, 1, 2, 1 over a C Major chord or E Minor
Pentatonic over an A Minor chord.
Notes: A#, C, D, F, G, A#
Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 3, 1, 2, 1, 2, 3
B
Notes: B, C#, D#, F#, G#,B
Fingerings (LH): 1, 5, 4, 3, 2, 1
Fingerings (RH): 1, 2, 3, 4, 5, 1
 Page 27

Blues Scales for Cm Pentatonic Blues D#m / Ebm Pentatonic

Blues
Piano
Adding a ”blue note” to the regular
Pentatonic scale gives the Pentatonic Blues
Scale. These scales are for obvious reasons
perfect when playing blues on the piano. Notes: C, Eb, F, F#, G, Bb, C
The "Major Blues Scale" is some less Notes: D#, F#, G#, A, A#, C#, D#
common than the "Minor Blues Scale", and C#m / Dbm Pentatonic
therefore we start with minor and you find
the major by scrolling down. Blues Em Pentatonic Blues
The blues originate from a mix of different
sources in music, so there is no satisfying
explanation in theoretical terms about this
scale. But the most important thing is of
course how it sounds when you are using it.
Try these scales below and you will hear the Notes: C#, E, F#, G, G#, B, C# Notes: E, G, A, A#, B, D, E
blues!
Dm Pentatonic Blues Fm Pentatonic Blues
Minor Blues Scales
Here are pictures and notes of the minor
pentatonic blues scales. See also Major
Blues Scales.

Notes: D, F, G, G#, A, C, D Notes: F, Ab, Bb, B, C, Eb, F


F#m / Gbm Pentatonic
Blues
Notes: F#, A, B, C, C#, E, F#
Gm Pentatonic Blues
Notes: G, Bb, C, C#, D, F, G
G#m / Abm Pentatonic
Blues
Notes: G#, B, C#, D, D#, F#, G#
Am Pentatonic Blues
Notes: A, C, D, D#, E, G, A
A#m / Bbm Pentatonic
Blues
Notes: A#, C#, D#, E, E#, G#, A#
Bm Pentatonic Blues
Notes: B, D, E, F, F#, A, B
Theory and tips for improvisation
The pentatonic blues scale is built upon
three dominant chords. For example, in the
case of C pentatonic the three chords are C7
Page 28
– F7 – G7. We can see the relationship when
comparing the notes in the scale:
 C, Eb, F, F#, G, Bb, C
with the notes in the three chords:
 (C7) C, E, G, Bb – (F7) F A C Eb – (G7) G B
DF
There is a close correlation as you can see.
So how can you improvise on the piano with
blues scales? Learning these scales will be
great tools for improvising in the musical
style of blues (these scales are also used in
jazz improvisation). A tip is to use the left
hand for a chord and play the notes of the
scale with the right. You can then combine a
C blues scale with C7, F7 and G7 chords. In
the same way you can combine a G blues
scale with the chords G7, C7 and D7. The
same intervals can be used in different keys.
You can also improvise blues in minor. A
nice combination are the chords Am7, Dm7
and E7 together with the A pentatonic blues
scale. Further reading: 12-bar blues.
 Page 29

Major Blues Scales C Pentatonic Major Blues D# / Eb Pentatonic Major

Here are pictures and notes of the major
Blues
pentatonic blues scales.

Notes: C, D, Eb, E, G, A, C
Notes: D#, F, F#, G, A#, C, D#
C# / Db Pentatonic Major
Blues E Pentatonic Major Blues

Notes: C#, D#, E, F, G#, A#, C# Notes: E, F#, G, G#, B, C#, E

D Pentatonic Major Blues F Pentatonic Major Blues

Notes: D, E, F, F#, A, B, D Notes: F, G, Ab, A, C, D, F

 Page 30

F# / Gb Pentatonic Major A Pentatonic Major Blues

Blues

Notes: A, B, C, C#, E, F#, A

Notes: F#, G#, A, A#, C#, D#, F#
A# / Bb Pentatonic Major
G Pentatonic Major Blues Blues

Notes: G, A, Bb, B, D, E, G Notes: A#, C, C#, D, F, G, A#

G# / Ab Pentatonic Major B Pentatonic Major Blues

Blues

Notes: B, C#, D, D#, F#, G#, B

Notes: G#, A#, B, C, D#, F, G#

12-bar blues
12-bar blues is an extremely common structure
when playing blues. To perform a 12-bar blues
you play, as the name implies, twelve bars in a
given pattern. There are plenty of patterns to
use and here you get a look at some of the most
standard.
A 12-bar blues are commonly written out by
the chords that are used, but you can also
combine these with scales.
A standard 12-bar blues
(1) E7 / / / - (2) E7 / / / - (3) E7 / / / - (4) E7 /
//-
(5) A7 / / / - (6) A7 / / / - (7) E7 / / / - (8) E7
///-
(9) B7 / / / - (10) A7 / / / - (11) E7 / / / - (12)
E7 / / /
You have probably already guessed that the
slashes (/) means repeating of the chord and
that the hyphens (-) divide the bars. The
numbers are just to illustrate the order of
bars.
Playing a scale over the 12-bar blues
Preferably, you could play scales over the
chords. You can either play one scale over
all bars or change scale as the chord change.
Part of the method is to play the root tones
from the involved chords with extra
Page 31
empathize on the same time the actual chord
is being played. You need to develop your The novelties are only at the end: in the
ear for this. For an easy start, try to play the eleventh bar you start playing five measures
E Pentatonic Major Blues scale over the 12- for the same chords and then change chord
bar blues displayed above (if you don't have for the last three.
anyone what can accompany you with the
chords, search on the internet for "backing
tracks in E blues").
A 12-bar jazz-blues
(1) C7 / / / - (2) F7 / / / - (3) C7 / / / - (4) C7 /
12-bar blues in minor //-
(5) F7 / / / - (6) F7 / / / - (7) C7 / / / - (8) A7 /
(1) Em / / / - (2) Em / / / - (3) Em / / / - (4) //-
Em / / / - (9) Dm7 / / / - (10) G7 / / / - (11) Em7 / / / -
(5) Am / / / - (6) Am / / / - (7) Em / / / - (8) (12) Dm7 / G7 /
Em / / / -
(9) B7 / / / - (10) Am / / / - (11) Em / / / - In this last example, some extra
(12) Em / / / sophistication and complexity was added to
the 12 bar blues structure and as a result we
Over this 12-bar blues, you could play the got a combination of blues and jazz.
Em Pentatonic Blues scale.
As already told there are endless ways to
vary the twelve bars (it must not necessarily
be twelve bars – the 16-bar blues is also
popular), but this is only an introduction.
One essential thing however is the
turnaround.
12-bar blues with turnaround
(1) E7 / / / - (2) E7 / / / - (3) E7 / / / - (4) E7 /
//-
(5) A7 / / / - (6) A7 / / / - (7) E7 / / / - (8) E7
///-
(9) B7 / / / - (10) A7 / / / - (11) E7 / / / - (12)
/ B7 / /

Jazz scales and
improvisation
There is not a single group of scales that can
be called jazz scales – a jazz pianist uses lots
of different scales. But still there are typical
scales used in jazz and here is an overview.
This guide will include Bebop Scales, The
Modal Scales and Jazz Minor Scales.
Useful scales:
Bebop Scales – great for soloing or
improvising in jazz.
Super Locrian Scales – common for modern
jazz.
Nine Tone Scales – another scale sometimes
used for jazz improvising.
The Modal Scales
The modal scales (often referred to as just
modes) were once discovered in Ancient
Greece. In modern days the modal scales are
frequently used in jazz improvisation. Are
you interested in playing jazz, the modal
scales are of great importance.
Here are the modal scales in the standard
order:
 Ionian
 Dorian

Phrygian
 Lydian

Mixolydian
 Aeolian
 Locrian
In theory the modal scales are more like
keys or modus (‘interval’ in Latin), but we
will use either "scales" or "modes" as terms.
The modal scales will probably feel kind of
complicated in the beginning since they
differ a bit from typical scales. But the thing
is: they are really just variations of major
scales but start on another degree. Therefore,
if you know the major scales you have an
easy job to memorize the modal scale.
For example, if we take the C major scale
and play this in the Dorian mode, what
happens is that the notes remain the same,
but the starting point is altered. So C - D - E
- F - G - A - B can change to D - E - F - G -
A - B - C and become Dorian.
Let’s look at a complete overview of the
modus of C major:
Ionian: The tonic is still C.
Dorian: The tonic change to D.
Phrygian: The tonic change to E.
Lydian: The tonic change to F.
Mixolydian: The tonic change to G.
Aeolian: The tonic change to A (this is
identical with the A minor scale).
Locrian: The tonic change to B.
What is all this good for you may ask? Why
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don't stick to the regular major scales? It is
true that the notes are the same in modes as
in major scales, but not the order and that
makes a big difference. It is the changed
order that gives them a unique sound quality
that is caused by a different root note.
So how can we use the modes? The modes
become useful when you for example are
playing a scale over a chord and don't want
the regular major sound. In many music
styles it will sound wrong using major scales
over chords. You may instead use the
Dorian mode and suddenly you have a
different sound. Some modes (Ionian,
Lydian and Mixolydian) will sound good
with major chords and some (Dorian,
Phrygian, Aeolian and Locrian) will sound
good with minor chords.
Jazz Minor Scales
The “Jazz Minor Scale” is a melodic minor
scale, but without any change of notes when
descending, see Melodic Minor.
The Jazz Minor is often used as a
replacement for other minor scales in jazz.
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Bebop Scales C D# /Eb

The bebop scales are mostly used in jazz.
You will probably notice the close
relationship between the bebop scale and the
major scale. The only difference is one extra
note and this can be compared with the blue
note added to a pentatonic to get a blues Notes: C, D, E, F, G, G#, A, B, C Notes: D#, F, G, G#, A#, B, C, D, D#
scale. Although we don’t call it a blue note
but a passing tone. As the pictures below C# / Db E
show, the passing note can be found
between the 5th and 6th note in the scale.

The Bebop Major scales can be used for

improvising/soloing in jazz. The most
straightforward approach is to play a scale
with the same root note as the key in the jazz
Notes: C#, D#, F, F#, G#, G, A#, C, C# Notes: E, F#, G#, A, B, C, C#, D#, E
tune.

Perhaps you also notice that it is a sort of D F

merge between the Natural Minor and
Harmonic Minor regarding their relative
major scales. For example C Major Bebop
Scale includes the same notes as in both A
Natural Minor and A Harmonic Minor.

Bebop Major Scales Notes: D, E, F#, G, A, A#, B, C#, D Notes: F, G, A, Bb, C, Db, D, E, F

Here are pictures and notes of the major

bebop scale. See also Minor Bebop Scales.
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F# / Gb A

Notes: F#, G#, A#, B, C#, D, D#, F, F# Notes: A, B, C#, D, E, F, F#, G#, A

G A# / Bb

Notes: G, A, B, C, D, D#, E, F#, G Notes: A#, C, D, Eb, F, F#, G, A, A#

G# / Ab B

Notes: G#, A#, C, C#, D#, E, F, G, G# Notes: B, C#, D#, E, F#, G, G#, A#, B
 Page 35

Bebop Minor Scales Cm D#m / Ebm

Here are pictures and notes of the minor
bebop scale.

Notes: C, D, Eb, E, F, G, A, Bb, C Notes: D#, F, F#, G, G#, A#, C, C#, D#

C#m / Dbm Em

Notes: C#, D#, E, F, F#, G#, A#, B, C# Notes: E, Gb, G, Ab, A, B, Db, D, E

Dm Fm

Notes: D, E, F, Gb, G, A, B, C, D Notes: F, G, Ab, A, Bb, C, D, Eb, F

 Page 36

F#m / Gbm Am

Additional scales

In addition, there are two other variations of

the bebop scale: Bebop Dominant and Bebop
Notes: F#, G#, A, A#, B, C#, D#, E, F# Notes: A, B, C, Db, D, E, Gb, G, A Dorian. The interval for Bebop Dominant is
1, 2, 3, 4, 5, 6, 7b, 7 (with the passing note
Gm A#m / Bbm between the 7th and the root), which is the
same as Mixolydian with one extra note.
Bebop Dorian has one extra flat, the third
note, and the interval is 1, 2, 3b, 4, 5, 6, 7b,
7. All these scales are great tools for
learning to play jazz.

Notes: G, A, Bb, B, C, D, E, F, G Notes: A#, C, C#, D, D#, F, G, G#, A#

G#m / Abm Bm

Notes: G#, A#, B, C, C#, D#, F, F#, G# Notes: B, C#, D, D#, E, F#, G#, A, B
 Page 37

Super Locrian C D# /Eb

Scales
Super Locrian or Altered Scale is built on
the Locrian Scale and is particularly used in
modern jazz. The scaled is typically used
together with altered dominant seventh Notes: C, Db, D#, E, Gb, G#, Bb, C Notes: D#, E, F#, G, A, B, C#, D#
chords, such as 7b9 and 7#9. A third name
for this scale is Diminished Whole Tone. C# / Db E
This scale is also the same as the seventh
mode of the Melodic Minor.

The scale is often called Altered Scale since

five of seven notes have been altered in
comparison to the normal notes in the major
key. The scale includes for example a minor
Notes: C#, D, E, F, G, A, B, C# Notes: E, F, G, G#, A#, C, D, E
seventh which is characteristic for seventh
dominant chords. It has also a major third
plus both diminished and augmented fifths, D F
which are typical ingredients in altered
seventh chords (the scale consist actually of
tones that could be found in every possible
altered dominant 7th chord).

Notes: D, Eb, F, Gb, Ab, A#, C, D Notes: F, Gb, G#, A, B, C#, D#, F
 Page 38

F# / Gb A

Notes: F#, G, A, A#, C, D, E, F# Notes: A, Bb, C, C#, D#, F, G, A

G A# / Bb

Notes: G, Ab, A#, B, Db, D#, F, G Notes: A#, B, C#, D, E, F#, G#, A#

G# / Ab B

Notes: G#, A, B, C, D, E, F#, G# Notes: B, C, D, Eb, F, G, A, B

 Page 39

Nine Tone Scales C D# /Eb

The Nine Tone Scales are somewhat
uncommon with nine notes. It reminds of the
Augmented Scale, and we can see a
similarity comparing C Augmented Scale
and C Nine Tone Scale, which both include
Eb and G#. Notes: C, D, Eb, E, F#, G, G#, A, B, C Notes: Eb, F, F#, G, A, A#, B, C, D, Eb

Because of the many notes that are included, C# / Db E

there are numerous possibilities to play
chords over these scales, which, for
example, can be used in jazz.

Notes: C#, Eb, E, F, G, G#, A, A#, C, C# Notes: E, F#, G, G#, A#, B, C, C#, Eb, E

D F

Notes: D, E, F, F#, G#, A, A#, B, C#, D Notes: F, G, G#, A, B, C, C#, D, E, F

 Page 40

F# / Gb A

Notes: F#, G#, A, A#, C, C#, D, Eb, F, F# Notes: A, B, C, C#, Eb, E, F, F#, G#, A

G A# / Bb

Notes: G, A, A#, B, C#, D, Eb, E, F#, G Notes: A#, C, C#, D, E, F, F#, G, A, A#

G# / Ab B

Notes: G#, A#, B, C, D, Eb, E, F, G, G# Notes: B, C#, D, Eb, F, F#, G, G#, A#, B