Diatonic Secondary dominant

Related II

Modal interchange

Substitute dominant

Extended dominant

Substitute Extended dominant

Diatonic scales

Diatonically related scales

Dorian (except

dual funcition

use diatonic

scale

From PARALLEL Mode that chord

is from

Lydian b7 (as a mode of the altered scale)

Mixolydian Lydian b7

I maj7 Major

II-7 Dorian III-7 Phrygian IVmaj7 Lydian V7 Mixolydian

VI-7 Aeolian VII-7b5 locrian V7/II Mixo b13 or

mixo b9,#9, b13

V7/III mixo b9,#9, b13

V7/IV Mixo V7/V Mixo V7/VI mixo b9,#9, b13 Alt.7 Altered scale

bIImaj7 Lydian bIIImaj7 Lydian bVImaj7 Lydian bVIImaj7 Lydian

#IV-7b5 locrian bVI7 Lydian b7 bVII7 Lydian b7 or

mixolydian

I-7 Dorian or Aeolian or Phrygian

IV-7 Dorian IV7 Lydian b7

I-6 Melodic Minor or Dorian

I-maj7 Melodic or Harmonic Minor

I7 Mixo, blues, mixolydian #9

II-7b5 locrian III-7b5 locrian V-7 Dorian

subV7/II Lydian b7 subV7/III Lydian b7 subV7/IV Lydian b7 subV7/V Lydian b7

subV7/VI Lydian b7

Ascending diminished Descending and aux. diminished Diatonically related diminished scales Enharmonic to ascending dimished

A few things to keep in mind: Diatonic chords use diatonic scales. Notes a whole step above chord tones are tensions (except for 13 on II-7). Notes a half step above are tensions. Secondary dominants are RELATED to diatonic chords: their tensions are all diatonic pitches. The scales for modal interchange chords come from whatever parallel mode they are “borrowed” from. There are more choices of scales for given chord types. These are hopefully the most diatonically related.

Chord

diatonic Scale tensions I Maj7 Ionian 9, 13

II-7 Dorian 9,11

III-7 Phrygian 11

IV Maj7 Lydian 9, #11, 13

V7 Mixolydian 9, 13

VI-7 Aeolian 9,11

VII-7b5 Locrian 11,b13

sec. dom V/II Mixolydian b13 9,b13

V/III Mixolydian b9,#9,b13 b9,#9,b13

V/IV Mixolydian 9,13

V/V Mixolydian 9,13

V/VI Mixolydian b9,#9,b13 b9,#9,b13

Modal Interchange bII, bIII, bVI, bVII Maj7

Lydian 9, #11, 13

#IV-7b5, II-7b5

Locrian 11,b13

bVI7, IV7 Lydian b7 9, #11, 13

bVII7 Lydian b7 Mixolydian (in minor)

9, #11, 13 9,13

I-7, IV-7,V-7 Dorian

Extended dom diatonic root, cycle 5 root motion

Mixolydian 9, 13

rel. II-7 all (except dual function) Dorian 9,11

Altered dom (ALT) all Altered scale

1,b9,#9,3,b5,b13,b7 (mode found on 7th degree of melodic minor)

b9,#9, #11 (or b5)b13

substitute sec. & ext. dom (resolution down a half step)

all Lydian b7 9, #11, 13

II-7b5 Scale tensions

all Related II-vb5 and #IV-7b5

Locrian 11,b13

Tonic Minor chords I-7 Dorian, aeolian or phrygian Depends on scale

I-6 Dorian or melodic minor Depends on scale

I-maj7 harmonic or melodic minor Depends on scale

I7

Tonic sounding I No dominant resolution Mixolydian

“blues” (minor penatonic) Mixolydian #9

9,13 #9,13

IV7

Sub dominant No dominant resolution Lydian b7

Mixolydian “blues” (minor pentatonic)

Depends on scale