The keyboard grimoire a complete guide for the guitarist and keyboardist 1993

A Complete Guide for the Guitarist and Keyboardist

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ISBN 0-8258-2679-9

CONTENTS

HOW TO USE THE SCALE SECTION .................................................................. 1 THE BUILDING BLOCKS OF MUSIC ..................................................................... 2

........................................................................................... SCALES AND MODES 5 MODES AND RELATIVE SCALES ...................................... ..... : .............................. 8 PATTERNS AND FINGERINGS .............................................................................. 9 INTERVALSAND INSTRUMENT ............................................................................ 12

..................................................................................... 7. 5. 6. &8TONE SCALES 13

7 TONE SCALES MAJOR ..................................................................................................................... 24 MELODIC MINOR .................................................................................................... 32 HARMONIC MINOR ................................................................................................ 34 HARMONIC MAJOR ................................................................................................ 36 HUNGARIAN MINOR .............................................................................................. 38

...... HUNGARIAN MAJOR .......................................................... 40 NEAPOLITAN MINOR ............................................................................................ 42

............................. NEAPOLITAN MAJOR ............................................................. 44 ENIGMATIC MINOR ................................................................................................ 46 ENIGMATIC ........................ ............................................................................. 48 COMPOSITE 11 ................... ....................................................................... 50 IONIAN b5 ................................................................................................................ 52 LOCRIANb7 ............................................................................................................. 54 PERSIAN ................................................................................................................ 56

5 TONE SCALES MINOR PENTATONIC (BLUES SCALE) .............................................................. 58 KUMOI .................................................................................................................... 60 HIROJOSHI ............................................................................................................. 62

6 TONE SCALES WHOLE TONE ......................................................................................................... 64 AUGMENTED .......................................................................................................... 66 PELOG ..................................................................................................................... 68 DOMINANT SUS ..................................................................................................... 70

8 TONE SCALES DIMINISHED ........................................................................................................... 72 8TONE SPANISH ................................................................................................... 74 BEBOP LOCRIAN b2 .............................................................................................. 76 BEBOP DOMINANT ................................................................................................ 78 BEBOP DORIAN ..................................................................................................... 80 BEBOP MAJOR ...................................................................................................... 82

CONTENTS continued

HOW TO USE THE CHORD SECTION ...................

................ CHORDS & NAMING .......................... POLYCHORDS

SLASHCHORDS ......................... SUBSTITUTIONS ........................

........................ COMPATIBILITY INVERSIONS ............................. ARPEGGIOS ..............................

3 & 4 NOTE CHORDS:

sus ..............................................

5 NOTE CHORDS: 9 .................................................... 140 -9 .................................................... 142 b9 .................................................... 144 Ã‡ .................................................... 146 A9 .................................................. 148 -A9 ................................................. 150 Ab9 ................................................ 152 -Ab9 ................................................ 154 AÃˆ ................................................. 156 ALT (b5 $9) .................................... 158 ALT (b5 b9) .................................... 160 ALT ($5 b9) .................................... 162 ALT ($5 Ã 9 .................................... 164

6 NOTE CHORDS: 11 .................................................... -1 1 .................................................. $1 1 ..................................................

7 NOTE CHORDS: 13 .................................................... 182 -13 .................................................. 184

.............................................. 13#11 186 -13#11 ............................................. 188 A13 ................................................. 190

................................................ -A1 3 192 ~ 1 3 ~ 1 1 ............................................ 194

........................................... -A13^11 196

.......... NUMERIC ANALYSIS SCALES 198 ........ NUMERIC ANALYSIS CHORDS 200

................ POLYCHORD FORMULAS 202

HOW TO USE THE SCALE SECTION

The first section of this book deals with scales. The scales are divided into 7 tone, 5 tone, 6 tone, and 8 tone groups. Each scale consists of a title page and an interval map page depicting that particular scale's usage in all 12 keys. Diagrams are used for visualization instead of notation.

Each title page contains various charts. The charts are your tools in analyzing modes, compatible chords, keyboard fingerings, and modal generation charts. Guitar and bass fingering patterns are also included.

- -

TITLE PAGE

-"c.."-..,-*m.

I 11 El I V v VI VII -..-. .-"".

SCALEIMODE- CHORDCHART

V MIXOLYDIAN 7 9 11 13

VI AEOUAN 7 -0 11

VII LOCRUN VII

9

NUMERIC SCALEIMODE CHART

NUMERIC SCALE / MODE CHART

Before we start with the scales, we will show you how each section of the title page works. The first section we will explain is the Numeric Scale /Mode chart at the bottom of the page (fig. 1). The Scalernode - Chord Chart will be discussed in the Chord Section.

THE BUILDING BLOCKS OF MUSIC

Music is sound. But for now imagine that it is a set of 12 equal blocks (fig. 2). The distance from one block to the next block is a half-step. From block 1 to block 2 is a half-step, from 8 to block 9 is a half-step, etc..

fig. 2 fig. 3

7 of these 12 tones or blocks have been given positions of "major" importance (fig. 3). Looking at the diagram we only see 7 numbers, but there are still 12 tones or blocks. The empty blocks are reserved for flats b and sharps # . The distance from block 1 to the lst empty block is still a half-step. The blocks that are numbered are the tones that make up the Major scale.

The various combinations of half-steps are called intervals. Basically, an interval is the distance between 2 tones. The names of the intervals are then divided into 2 sets: the majors and the perfects. The majors are 2,3,6, and 7 ; the perfects are 1,4,5, and 8. 1 would be a unison, such as 2 instruments playing the same note. An 8 would be the octave. Altering the intervals with flats or sharps changes them from major and perfect into minor, diminished, and augmented (fig. 4).

fig. 4

In essence: Flat a major - get a minor Sharp a major - get an augmented Flat a minor - get a diminished Sharp a perfect - get an augmented

* Flat a perfect - get a diminished

The entire set of major and perfect intervals are called diatonic intervals.

Let's look at an easy way for memorizing interval distances by counting the amount of blocks. There are 12 building blocks within the major scale. Therefore, an interval has to consist of so many building blocks. We'll demonstrate first with a major 2nd. There are 3 blocks in a major 2nd (fig. 5), but the distance from the 2 to the 3 is also a major Pd (fig. 6).

6g.5 fig. 6

Fig. 7 is a complete chart of intervals showing you a breakdown in building block format. Also observe, the chart tells you how many half- and whole steps make up each interval.

[TI 1 BLOCK = UNISON .............................................................................. (0 STEPS)

I 1 2 BLOCKS- MINOR2ND ...................................................................( +STEP)

1 3 BLOCKS = MAJOR 2" .................................................. (1 WHOLE STEP)

1 4 BLOCKS = MINOR 3" ....................................................... (1 4 STEPS)

5 BLOCKS = MAJOR 3" ...................................... (2 WHOLE STEPS)

1 4 6 BLOCKS = PERFECT 4TH .......................................... (24 STEPS)

.................... 1 b5 7 BLOCKS = DIMINISHED 5TH (3 WHOLE STEPS)

................................ 1 5 8 BLOCKS = PERFECT STH (3k STEPS)

............... 1 b6 9 BLOCKS = MINOR 6TH .....( 4 WHOLE STEPS)

......................... 1 6 10 BLOCKS = MAJOR 6TH (44 STEPS)

.......... 1 b7 11 BLOCKS = MINOR 7TH (5 WHOLE STEPS)

................. 1 7 I 12 BLOCKS = MAJOR 7TH (5t STEPS)

Now let's look at all the individual components of the major scale in building block breakdown - (fig. 8).

MAJOR 2ND ...... MAJOR 3RD .... (2 WHOLE STEPS)

PERFECT 4TH ............. 5 PERFECT STH ............ (34 STEPS)

1 MAJOR STH ................ (4k STEPS)

1 ...... MAJOR 7TH ................. (54 STEPS)

We can clearly see here the individual intervals. We have a 2nd, 3rd, 4th, Sh, 6th, and 7th. With the block diagram we can also see exactly how many steps make up each interval.

Using the same building block breakdown method, we can also analyze the intervallic relationship between the intervals themselves.

Fig. 9 clearly shows us the distance of the intervals from the intervals. For instance, from the major 2nd to the major 3rd is a major 2nd or a whole step. From the 3rd to the 4th is a minor 2nd or a half-step, etc.

1 1 121 13141 151 161 171 . .

...... . . MAJOR 2'4' ., .............. ( 1 WHOLE STEP)

............................... MINOR 2NQ

................ 'MAJOR 2ND ( 1 WHOLE STEP) MAJOR 2NQ ..............

....... MAJOR 2NQ ...............

fig. 9

In studying the altered intervals, many of them wi per and in theory, but sonically, they are the s g. 10).

fig. 10

Notice the numbers to the right of each set above are different between the upper and the lower, yet each has the same number of blocks. The minor 3rd is the same as the augmented 2nd, the diminished 5th is the same as the augmented 4th, the minor 6th is the same as the augmented Sh, and the minor 7th is the same as the augmeted 6th.

In the next example, the diminished 7th (a double-flat 7&) is the same as the major 6th in sound; although in theory, they also are two very different intervals (fig. 11).

fig. 11

The complete group of intervals which make up the scale, in this case the Major scale, can be theoretically repeated infinitely in both directions; although, in practice there are only so many octaves the human ear can hear (fig. 12).

This is the mathematics of music theory. It is important that you memorize the numerics behind the building blocks, in order to form a solid foundation for your musical creations.

SCALES AND MODES

A scale is a sequence of tones comprised of varying intervals. Modes can be described as scales based upon the tones of the main scale. The Major scale has 7 modes, because it has 7 tones. The lst mode of any modal system is the scale itself. For many scales, the individual modes have been given names because they are used as scales themselves.

The modes of the Major scale are the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The Major scale is the Ionian mode (Major scale = Ionian) . Of all the scales, the Major is the only one that has a different name for the lst mode.

The I1 mode of any scale is based upon the 2nd tone of the main scale, in this case the Major scale. A mode uses the exact tones of the main scale; however, what was a 2 becomes a 1, what was a 3 becomes a 2, etc. (fig. 13).

The process then continues for the other modes. For the 111 mode, the 3 becomes the 1, the 4 becomes the 2, etc. (fig. 14).

1

For the IV mode, the 4 becomes the 1, the 5 becomes the 2, etc. (fig. 15).

2

1

1

For the V mode, the 5 becomes the 1, the 6 becomes the 2, etc. (fig. 16)

3

3 2

1

2

1

For the VI mode the 6 becomes the 1, the 7 becomes the 2, etc. (fig. 17).

4

4

2

1

b3

b2

1

For the VII, mode, the 7 becomes the 1, the 1 becomes the 2, the 2 becomes the 3, etc. (fig. 18).

5

5

3

2

1

4

b3

2

1

As you can see in all of the examples above, every mode has 7 tones; however, it has some kind of a 2, some kind of a 3, some kind of a 4, etc.. In other words, though you are using the same tones, the numeric value changes when you shift the tone center - that is the tone which you now designate as 1.

6

6

4

3

2

1

5

4

3

2

7

7

5

4

b3

2

6

5

$4

3

fig. 18

1

1

6

5

4

3

b7

b6

5

4

1

fig. 13

2

2

7

6

5

4

b7

6

5

b2

3

fig. 14

3

1

7

b6

5

7

6

b3

4

4

2

fig. 15

1

b7

6

b7

fig. 17

4

5

5

3

2

fig. 16

7

b5

6

6

4

3

1

7

7

b6

5

4

2

b7

6

5

3

7

6

4

7

5 6 7

At the bottom of the title page of each scale, the relative relationship of each mode to the main scale is graphed out for you along with the numeric formula for each mode (fig. 19).


I

I1

Ill

IV

v VI

VI I

MIXOLYD. 4 1 2 3 4 5 6 b7

AEOLIAN 4 1 2 b3 4 5 b6 b7

LOCRIAN f 1 b2 b3 4 b5 b6 b7

fig. 19

In the case of some of the exotic scales in this book, you weird combinations for the numeric anaysis of the modes such as double flats and do . Also note some of the modes don't have names, they are merely called mode 11, mode 111, etc. (fig. 20).


1 2 3 4 5 6 7 1 2 3 4 5 6 7 I ENIGMATIC 1 b2 3 84 95 96 7 1 b2 3 94 95 86 7

11 MODE2 A 1 92 93 #4 ~5 96 7

Ill MODE 3 A 1 2 3 94 5 b6 ?7 -- -- -------

IV MODE4 A 3 4 b5 B6 7

V MODE5 2 b3 b4 lk5 b6 b7 -- -.

VI MODE6 A 1 b2 lk3 b4 b 5 b6 b7

V I I MODE 7 t 1 b2 h3 4 5 6 7 1 1 b2 3 84 95 86 7

fig. 20

The numbers above the graph will always be the Major scale numbers, so you can see how the new scale and its modes relate to the Major scale.

There is actually only 1 scale, the Major scale and its modes. All other scales can be thought of as derived modes which also have modes. This may be a bit confusing at first, but an interesting thought to ponder. For the sake of simplicity, they will be called "scales" in this text.

As you study the numeric formulas for each scale or mode, there is a simple 4-Step system which will help you in understanding how the tones become flats or sharps. The three examples in fig. 19 demonstrate the application of this 4-Step rule. When you compare your tones to the Major, the number of boxes to the left or right of the original tone decides whether standard flats and sharps or double flats and sharps are used. 1 box over is a standard, 2 boxes is a double (fig. 21).

-

THE 4-STEPS: MARK where the tone falls NUMER tone positions: 1-7 COMPARE to major scale pattern ADD b / 9 symbols when needed

PHRYGIAN X X X X X X X 1) MARK where the tone falls

1 ?2 ?3 ?4 ?5 ?6 ?7 2) NUMBER tone positions: 1-7

1 4-2 Ã§-- 4 5 += 6 +-7 3) COMPARE to major scale pattern

1 1 1 b2 I 1 b3 1 1 4 1 1 5 1 b6 1 1 b7 1 1 4) ADD !J / 8 symbols when needed 1

ENIGMATIC MODE I11 X X X X X X 1) MARK where the tone falls

?2 ?3 ?4 ?5 ?6 ?7 2) NUMBER tone positions: 1-7

2 3 4 -+ 5 Ã§- 6-- 7 3) COMPARE to major scale pattern

2 3 94 5 b6 *7 4) ADD b / 9 symbols when needed

fig. 21

MODES AND RELATIVE SCALES

Scales and modes are the foundation of your composition and improvisation. Modes are treated as scales. Just as we can change the pitch of the main scale, in order to play in one of the 12 keys, the same concept or principle can be used when using a mode. The mode generator chart of each title page will show you the main scale equivalent for each mode (fig. 22).

The concept and principles behind The Quick Mode Generator Chart are the same regard- less of what instrument you play.

The letters in column I indicate the pitch of the starting point. In other words it tells you what key you are in. The other columns tell you what key the relative scale is in. Column I also denotes the key for the keyboard patterns to the left.

Let's demonstrate this below with a G Mixo- lydian (fig. 23). The Mixolydian is the V mode of the Major scale.

Beneath column I we go down to the G, because that will be our starting pitch or key. Over to where it meets column V we come to a C, therefore, if we are playing a G Mixolydian we are actually playing a C Major with the root note shifted to the G.

The modes of the Major scale are mapped out for your convenience.

MODE GENERATOR CHART

c

0 1 DORIAN 1 -7 -9

m PHRYGIAN 7

IV LYDIAN A 111

V MIXOLYDUN 7 9 11 13

VII

fig. 22

QUICK MODE GENERATOR CHART KEY MODE

I I1 I11 I V ( V I VII

Step 1 Place left finger on desired key in f column I . Step 2 Place right finger on column of

desired mode (in roman numerals at the top).

Step 3 Run fingers across and down until they meet.

The point where they meet is the relative scale.

It's as simple as 1 - 2 - 3 ! fig. 23

PATTERNS AND FINGERING

On every title page, you will find a set of right PATTERN KEY handed keyboard patterns. The key follows, designated by column I of the Quick Mode MODE OEHEMTon CH*HT

Generator Chart (fig. 24). The patterns do not always start on the root note, because of the keyboard's design.

On the interval maps white circles represent the . . . . . . notes in the scale. Numbers inside the circles are ............................................... . . . . . . . . . . . . the intervals. Scales are fingered by breaking them . . . . . .

up into 2 ,3 , and 4 note groups. How we devide up ;..!..:..:::..:..:.:::.;..:..;..! ........................................ i..: ....: ........ .............. -. , .. ,-. ... , ...-... : ; 5 i - i ; : . a ' the groups is based on a system we will call the : :.....:.;.,.. . . . . . . F 1 ~b ~ c Ã ‡ / D ~ C 1 B b 1 Ab [FI/Q< ................................ ....... ....... ........ "Rule Of Thumb" method. .................................. J J J

fig. 24

The "Rule Of Thumb": thumb always plays a white key. Visually inspect the interval map and see where groups are naturally formed. Right and left hand thumb-patterns work in opposite directions, due to the position of the thumbs. The thumb plays the first tone and the remaining fingers fall automatically into place (fig. 25).

LEFT HAND RIGHT HAND +

...........................................................................................................................................................................................................................

HOW TO CONNECT THUMB-PATTERNS

THUMB-PATTERNS I = Index finger M = middle finger R = ring finger, either hand THUMB-PATTERNS

fig. 25

Learn each hand separately before putting them together. Remember fingerings don't always start on the root note. To play more than an octave repeat the process. To complete an octave for the right hand use the consecutive finger; for the left hand start with the prior finger.

The following pages show the remaining keys of the Major scale fingered with the "Rule of Thumb". By studying these pages you will be able to apply this method to finger any scale.

T =THUMB I = index finger M = middle finger R = ring finger, either hand

C# /Db MAJOR

D MAJOR

D * MAJOR

Eb MAJOR

E MAJOR

F MAJOR

F * MAJOR

F# 1 G MAJOR

I I I I I I

F $ / G MAJOR

* The Left Hand Fingerings vary slightly from accepted traditional fingerings. The L.H. Rule Of Thumb method is designed to give the guitarist instant access for sequencing.

T =THUMB I = index finger M = middle finger R = ring finger, either hand

MAJOR 1

* A MAJOR

Bb MAJOR

B I Cb MAJOR

G MAJOR

Exception to the Rule: Enigmatic Key of D

fig. 26

* The Left Hand Fingerings vary slightly from accepted traditional fingerings. The L.H. Rule Of Thumb method is designed to give the guitarist instant access for sequencing.

INTERVALS AND INSTRUMENT

Now that we've learned about intervals, the building blocks of music, let's see how they tie into our instrument. We are going to take two octaves of the intervals which make up the Major scale and see how they match up to the keyboard in the key of C. The blocks which form the Major scale align with the "white" keys (fig. 27).

To change keys shift the pitch of the starting note, in other words shift the mathematical formula to the appropriate pitch or key. In this case the formula is the Major scale.

On the Interval Map pages the numbers in the white circle show you the numerics (1,2,3,4,5,6,7) for all 12 keys. The key is stated next to each keyboard digaram. It will benefit you greatly to memorize the numerics of all 12 keys. Until then we have laid each key out for use as a reference tool.

Pitches never change, as can be seen in the Pitch Indicator Chart below (fig. 28).

I

PITCH INDICATOR CHART

flat b sharp t -

fig. 28

12

7 , 5 , 6 , & 8 TONE SCALES

7 tone scales are the basis for all scales.

A 5 tone scale, otherwise known as a pentatonic scale, is a 7 tone scale with 2 tones omitted. By a process of elimination, 15 pentatonics can be derived from any 7 tone scale. Fig. 29 turns any 7 tone scale into a pentatonic. Whereas 7 tone scales are fingered in 3 & 4 note groups, pentatonics are fingered with 2 & 3 note groups.

6 tone scales are 7 tone scales with 1 tone omitted. Their fingering is 3 & 3 or 2 & 4 note groups.

AUGMENTED SCALE FORMULAS

The X along with the numbers indicates tones to be Played- - The Augmented scale: * Is the most common of ail scales listed.

PENTATONIC SCALE FORMULA CHART

The tones or numbers left are "generic" meanin the could be either ? b t h. Ex. b2 Ã $2 "2 2 The X indicates delated scale tones. All combinations with alterations would make 96 such charts.

Step 1 Pick any 7 tone scale or mode.

Step 2 Delete any 2 tones.

x x x x

x x

fig. 29

The most popular 6 tone scales would be the Whole- Tone and the Augmented Scale. Fig. 30 presents a method for creating augmented scale formulas based upon the Augmented Chord: 1 - b3 - 85. 3 tones are added to the chord, making 6 tone scales.

Add 1 tone to a 7 tone scale to make an 8 tone scale. Use 4 & 4 note groups or 2,3, &3 note groups. During the bebop era popular 8 tone scales were named bebop scales.

fig. 30

Similar to fig. 30, fig. 31 creates diminished scales from the diminished chord: 1 - b3 - b5 - b7. 4 other tones are then added to the original 4, making 8 tone scales.

DIMINISHED SCALE FORMULAS

. The X along with the numbers indicates tones to be played.

e scales Half-Whole Diminished: H I W & Whole-Half Diminished: W I H are the most common diminished.

fig. 31

HOW TO USE THE CHORD SECTION

The chord section is divided into chord groups. The groups are 3 tone, 4 tone, and polychords (5, 6, and 7 tone chords). Each 3 and 4 tone chord consists of a chord derivative page and an interval map page (fig. 32). The interval maps are set up the same as in the scale section.

CHORD DERIVATIVE CHART INTERVAL MAP

DOMINANT t2 - V HARMONGUANH

DOUBLED

HINDU - V MELODIC

QIANt3 - V HARMONIC MINOR

AN I 2 -VI HARMONIC MINOR

HARMONIC MAJOR . . - - . . . . . . . . . .. . . . . .. - IARMONIC - V HUNGARIAN MINOR

'4 I6 I 2 - VI HUNGARIAN MINOR

15*7 - VIIHUNQARIAN MINOR

HUNGARIAN MAJOR . .-

8 - II NWOLKAN MINOR

Z - VI NEAPOLKAN MINOR

OR - N NEAPOLITAN MAJOR

UATIC MINOR MODE Ill

qIQMATIC MODE Ill

'IIQMATIC MODE N

COMPOS~E I1

MPOSIE I1 MODE 111

.YDIAN 12 - N IONIAN Ã

ONIAN 16 - II LOCRWH7

MINAKT 12 - VI LOCRIANU7

PERSIAN MODE I1

PENTATONIC - I1 MINOR PENTATONIC

AUGMENTED

PELOQMODE VI

DOMINANT BUS MODE Ill

. M (MAJOR)

c

dim

Every chord in the polychord section has a page which translates polychord formulas into slashchords readily usable for all 12 keys plus the usual interval map page. The charts are your tools. in analyzing how chord voicings are derived and how they work.

A basic understanding of chord mathematics is necessary to derive the utmost benefit of this book.

CHORDS

We have already studied intervals. An interval is the distance between 2 tones. Therefore, let's define a chord. A chord is 2 or more intervals played simultaneously.

A basic chord "formula" for building chords is to use every other tone of the scale you are in. For example, a Major chord would consist of 1 - 3 - 5. A Major 7th chord would be 1 - 3 - 5 - 7.

Using the building blocks format compare the Major scale, the Major chord, and the Major 7th chord (fig. 33).

Major Scale

fig. 33

Major Chord

Major 7th

CHORD NAMING SYSTEM

2

In order to fully understand the numeric formulas, you first have to understand the chord naming system in this text. Certain rules or guidelines help the musician when communicating with other musicians. Once you fully understand music theory, you'll understand all naming systems. We feel that the system in this book is the most effecient ifusedp~apes'7y-

I 7

, ,

In the chart (fig. 34) there are 7 symbols. The 7 symbols are used to denote the status of specific tones within the chord. The flat and sharp symbols are used when altering any other tones. Some systems will use - and + as flats and sharps. Although this is not incorrect, we have found it more systematic to use them as represented in the chart below. Memorize these symbols and the tones

3

they represent, as they will be your best friends when dealing with chords.

3

3

DENOTES STATUS OF

5

5

same b b

extra b

4

RESULT

6 5

NAME

7

MINOR AUGMENTED DIMINISHED DELTA DOMINANT HALF-DIMINISHED DIMINISHED 7TH

EXAMPLE AND FORMULA

As you study the Numeric Analyis Chord Charts at the back of this book, notice some of the lar er chords have 6 or 7 tones. Using two octaves of the Major scale, we can see that a 9th, an Si 11 , and 13th are actually a 2nd, 4th, and 6th respectively using the every other note process (fig. 35).

fig. 35

Before we continue let's analyze the naming of the larger chords. What we have in fig. 36 is some kind of 13th chord. The letter tells us what pitch the " 1" (root note) of our formula is on. The A (delta) tells us that it's a Major 7th chord. The + tells us to raise the Sth a half-step, as in 1 sharp: and the 1 3 ~ ~ is flat. The chord is an E flat delta augmented, flat 13. Study the names of the chords in relationship to the formulas in the numeric chord charts,

NUMERIC FORMULA

............................... .....-.. ......--......

fig. 36

Comparing the diagrams of the C Major scale and the CAI3 in fig. 37 we can see that the 9th, 1 lth, and 13th are actually a 2nd, 4th, and 6th as both diagrams are identical. So, the CAI 3 chord is in reality the same as the C Major scale. Using the 2nd, 4th, and of the second octave gives the chord a different texture - and a new realm of exploration.

fig. 37

POLYCHORDS

Playing the larger chords can be cumbersome sometimes. The way to simulate large chords is with polychords. In other words, use several smaller chords to make one big chord. The word bbpolychord" simply defined is more than one chord combined to make one complex chord. Let's look at a 1 3" chord with building blocks (fig. 38).

fig. 38

Now let's look at 1 possible polychord formula (there could be several) and analyze the equation. To the left of the equal sign is the chord name. On the right side of the equal sign it tells us to play a

A+ fig. 39

delta augmented over the root at the flated 7th (fig. 39).

Let's see what this chord represents (fig. 40):

Placing the 1 of our A+ (delta augmented) at the dominant 7th from the root, we see that the tones are the tones of our desired chord. 1 381 1 - fig. 41 -- Therefore we have simulated our 13"'. Now let's look at the same chord except with a different polychord formula. The capital M is a 9 Major triad over the root at the 9&. It looks like this: fig. 41 and fig. 42. You could also place the Major triad on the 2nd, since the 2nd is also a 9th (fig. 43 and fig. 44). The result would also be the sape.

1 13"' 1 1 1 t ROOT

I I I I fig. 40 A+ 1 3 )t 5 7

t ROOT fig. 42

I I I

The bass player will usually play the root note, while the keyboard or guitar will play the 3 or 4 tone chord at the appropriate interval.

3

M

ROOT I 2=9 #4=# 1 1 6=13

POLYCHORD FORMULA on7\,, TONE

9

The formula for polychords is depicted in the chart, fig. 45. fig. 45

5

1

1 13''' 1 11

ThePolychord Formulas chart at the back of this book does not contain every possible combination of polychords, but there is more than sufficient data to get you started.

$1 1 b 7

I I I M 1 3 5 fig. 43 1 3 Ã ˆ l =- M fig. 44

0

b7

13

3

3

5

5 9 $1 1 13

SLASHCHORDS

Another way of looking at the larger chords is by a method known as slashchords. A slashchord receives its name from the slash symbol used between the root and the chord. An example is

By applying the Polychord Formula (fig. 45) we will demonstrate the mathematical synthesis of the A9 and A1 1. The A9 can be broken down into two d i f f e r e n t p o l y c h o r d formulas as shown in fig. 46.

Let's see what this translates in to when using pitch.

If C is the tone we place the root of our formula on, in this case the A9 , then the tone of the synthesis fo rmula immediate ly below would start on an E and on a G. Therefore the s l a s h c h o r d s f o r t h e formulas in fig. 47 would be:

CA9 = E-7 1 C CAg=G/C

Gg. 46

fig. 47

This means that you play an â ‚ chord over a C tone or a G major chord over the C. Both of these are equivalent to the A9. Fig. 48 is another slashchord example using the A1 1.

C D E F G A B C D E F

1 3 5 7 9 11

I -b9 All = -

I 1 I I 3 b 3 5 b 7 b9 = E-b9 / C

7 All = - I I I I

5 1 3 5 b7 = Q 7 / C

0 A11 = -

I I I b 3 b5 = B O / C

fig. 48

18

Let's take a A13 and find a polychord formula (fig. 49) then convert it to a slashchord formula.

C E G B D F A

1 3 5 7 9 11 13

0 I I t I CAI3 = Ba / C

A13 = - 7 1 b3 b5 b 7

SLASHCHORD POLYCHORD

fig. 49

The slashchord formula for the polychord above is BO 1 C . Start by playing a B0 which would be a 1 - b3 - b5 - b7 . Without moving the BO play it over a C note. Let's analyze what the BO fingering becomes on a CAI3 interval map.

What was a 1 on the BO interval map is now the 7 on the CAI3 interval map. What was b5 now becomes the 11 and what was the b7on the B0 is now the 13th, what was the b3 is now the 9th (fig. 50).

IÃ‘b3-b5-b starting on B...

played over a Cbecomes a 7- 9-1 1-13 which is a CA13.

Compare this to the CAI3 interval map.

fig. 50

For your convenience we have taken every complex chord, translated them into polychord formulas and slashchords in all 12 keys.

Any combination of notes from the interval maps will give you the desired chord. Just remember, if you want to play a 13th and you don't have a 13th inyour voicing, you do not have a 13th.

SUBSTITUTIONS

fig. 51

The chart above (fig. 5 1) is a graphic building block representation of how substitutions are derived. By now you should be quite familiar with how to figure out the polychord formulas for the chart above. What the chart above is telling you in slashchord form is that in place of a ~ l 3 ^ 1 you could play: C<' or CF or E-A or E- or G+

Anv one of the above mentioned chords will work over the ~ 1 3 " (fig. 52' That is the secret to ). themystery of substitutions. However some may find this still a bit tricky to understand. All you have to do is use the interval map of the appropiate chord you want to play, use any 3,4, or 5 note combination on that map, and you will have that chord or one of it's substitutions.

The companion page opposite the interval map presents all the polychord formulas and the formulas translated to slashchords in all 12 keys. Below that there are two substitution charts for each chord, also in all 12 keys. The two charts do not represent all the possible substitutions due to lack of space, however the interval maps do. Any combination you chose will fit.

Remember whether you are doing chord solos or playing with a band you can play with or without the root. If you are playing with a band the bass player usually gets the root.

Smaller chords can also be extended into 9th5, 1 111", and 13%

COMPATIBILITY

Now that we have covered chords and chord naming, let's return to the Scale/ Mode- Chord Compatibility Chart, located on the title page of each new scale (fig. 53).

The roman numerals on the left side of the chart tell you the mode you are in. Next is the name of the mode, where applicable. On the right half are the chords that fit or match that mode. In other words, compatible chords you

SCALE1 MODE - CHORD CHART

I IONIAN

11 DORIAN

PHRYGIAN

Iv LYDIAN Z-\ 811

v MIXOLYDIAN 7 9 11 13

V I AEOLIAN -7 -9 -11

MI LOCRIAN 0

can use. fig. 53

Taking the Dorian, let's see how this works (fig. 54).

Comparing it in this way we see that all the tones in the '7 and 9 chords are in the scale, or in this case, mode.

However, the Minor 7Â¡ and the Minor 9"' (-7 and -9) do not work with the Locrian, but the half- diminished does (fig. 56).

I I I I A I fig. 54 2 DORIAN

Now let's examine the Chord Derivative Charts in the chord section (fig. 57). The numeric formula of the chord is highlighted in gray so you can visualize how each scale contains the numeric formula of the chord. The formula for the chord is listed above the chart.

2 1

AEOLIA 1

M (MAJOR CHORD) = 1 3 5

b3

1 fig. 55 I I I I

1 - 7 1 1 1 1 1 b3 1 1 1 1 5 1 1 1 1 b7 The same chords ( 7 and 9 ) also fit I I I I the Aeolian, fig. 55.

4

fig. 57

b3

2

As you become more familiar with the mathematics or numerics behind scales, modes, and chords, compatibility will become an automatic response. Till then, you have the Chord Derivative Charts and the Scale/Mode - Chord Charts to help you.

4

5 b3

4 5

b6

5 6

b7

6 b7

1

b7 1

2 b3 4 5 b6 b7

INVERSIONS

We ask you to recall now the chapter entitled "Scales and Modes". Basically the lowest note for each mode was bounced up an octave, therefore, modes are inversions of scales. The same concept applies to chord inversions.

Taking a Major chord, we'll take the lower note and bounce it up an octave, creating the lst - 7

inversion of the chord (fig. 58).

Major scale 2 3 4 5 6 7 1 2 3 4 5 6 7

Major Chord 3 5 1st Inversion 3 5 1

2nd Inversion 5 1

1 3

fig. 58

We duplicate the demonstration again using a A chord which has 4 notes in it, fig. 59.

Major Scale 1 2 3 4 5 6 7 1 2 3 4 5 6 7

A 1 1

1 st Inversion

2nd Inversion

"1 1 1 5 7 1 3

3rd Inversion 7 1 3 5

fig. 59

CA

1 st Inversion

2nd Inversion

3rd Inversion

The A chord inversions in the key of C are demonstrated on the keyboard in fig. 60 to the left.

fig. 60

ARPEGGIOS

People constantly ask about arpeggios, as though arpeggios are some ancient mystical secret. Arpeggios are actually quite simple. An arpeggio is nothing more than a "chopped up" chord. In other words, rather than one simultaneous strike on the keyboard play the notes in sequence: - - from low to high and or high to low.

An example of a basic triad arpeggio is demonstrated in figure 61.

c start - t end here here

fig. 61

An example of a 7 tone arpeggio is demonstrated in figure 62 below.

1 la t start

here

fig. 62

This concludes our study of scales and chords. We have given you the basics in harmony and theory, now you are ready to delve into this unique reference volume. To lay a proper foundation, we recommend beginners start with the Major scale.

We invite all keyboardists to embark on their own quest through the astounding world of music.

MAJOR QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I 11 111 Iv v VI VII

SCALE 1 MODE - CHORD CHART

LOCRIAN

I

11

111

Iv

v V I

NUMERIC SCALE 1 MODE CHART

GUITAR

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DORIAN

PHRYGIAN

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MIXOLYDIAN

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I

I I

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-7, -9

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PATTERNS

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

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V I

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24

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DORIAN

PHRYGIAN

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MIXOLYD

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1

1

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1

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b3

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4

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3

6

5

4

2

1

7

6

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3

2

1

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b3

b2

5

4

b3

6

5

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b 7 - b6 b7

DORIAN

PHRYGIAN

BIT

LYDIAN

II!

MIXOLYDIAN

TIT

TIT

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sir TIE

'BIT TIE Ill

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KEYBOARD PATTERNS I I1 Ill

A

VII -

C#/D I -

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GUITAR PATTERNS

BASS PATTERNS

I

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BIC b

BIC b

c C W b

D

SCALE I MODE - CHORD CHART

I 1 I MELODIC MINOR I I 11 I DORIAN b2 I

I IV 1 LYDIAN DOMINANT I HINDU I 7H3, 7+

I VII I SUPER LOCRIAN 1 ALT

NUMERIC SCALE I MODE CHART

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

Ill

I V

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b5 b6 b7

MELODIC MINOR

TIT

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I I (D l l @ l @ I @ l I l(D1 1@10l@

KEYBOARD PATTERNS I I1 111 I V V V I VII

SCALE / MODE - CHORD CHART

1 1 I HARMONIC MINOR 1 -A, 9 6 1

1 I V I DORIAN $4 1 , -7, -6, "9, '9, -9 I 1 V 1 PHRYGIAN MAJOR 1 + ,7,7+, 7b9 1

I V1I I ALT b7 I b5, o , '7 1

GUITAR PATTERNS

BASS PATTERNS

I

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v

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VII


v V I

VII

- PHRYG. $3

LYDIAN 32 I 92 3 I

ALT ~7 1 b2 b3 b4 b5 b6 1 Ã 1

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GUITAR PATTERNS

BASS

PATTERNS KEYBOARD PATTERNS I Ill IV v

IV

v

V I

VII


1 1 HARMONIC MAJOR 1 A, A+, Asus2, ASUS, b6

DORIAN b5

Iv 1 LYDIAN b3

V 1 DOMINANT b2

VI LYDIAN AUGMENTED $2 A+, -A+. Ab5

VII LOCRIAN *7 0 . O 7


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

I I1

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ALT 1)5 Ã


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SCALE 1 MODE - CHORD CHART

ALT H6 H7

ALT h6

MELODIC 1 1 AUGMENTED

I V I I DORIAN b2 $4 I LYDIAN I 'I1 I AUGMENTEDtK3 I A*' ' (NO 35)

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VII


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

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A L T ~ ~ 17

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LYDIAN AUG $3

1

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$2

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$4

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$5 6 7

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KEYBOARD PATTERNS I I1 111 IV v VI

FÃIG F Eb CÃˆIDbBlC Bb

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LYDIAN 96 1 (A, 7, Ab5, 7b5)sus4, 9, $1 1

1 v 1 LOCRIAN O 1

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GUITAR

PATTERNS

7 + s u s , 7 + s u s 2

VI

I

I I

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v

V I

VII

BASS

PATTERNS

IONIAN 92


A, A S U S , -A, 6, -6

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

1

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111

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V

VI

VII

NEAPOL MINOR

LYDIAN $6

DOMINANT AUG

HUNGAR GYPSY

LOCRIAN 13

IONIAN $2

A L T Ã ˆ ~7

b2

b7

b6

b5

4

H3

1

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6

5

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b2

1 b2

1

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b4

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$4

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BIB

KEYBOARD PATTERNS I I1 111 IV v VI VII


1 1 LYDIAN DOMINANT 1 AUGMENTED

1 I V 1 LYDIAN MINOR 1 7, 7*, 7b5, 7sus2, 9, $1 1, b13

1 V 1 MAJOR LOCRIAN 1 ALT h2

ALT H3

GUITAR

PATTERNS

I

I I

I11

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v

V I

VII

BASS

PATTERNS


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

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111

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V I

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LYDIAN AUG $6

LYD TOM AUG

LYDIAN MINOR

MAJOR LOCRIAN

ALT12

ALT ts

1 b2 b3 1 l b 2

1

1 2 3 04

1 2 3

1 2

1

----------

4 b 3

2

1

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b7

6

95

94 6

5

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b3

b2

---

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3

2

7

96

95

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b6

b5

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H3 b6 1

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b7 1

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b 7

b6

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b6

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NEAPOLITAN MAJOR

VII

;#ID b

D

Eb

E

F

^/G b

G

Ab

A

Bb

BIC b

c

GUITAR

PATTERNS

BASS

PATTERNS

D BlCb Bb G

Eb C BICb Ab

I V

v

VI

VII


I 1 I ENIGMATIC MINOR

MODE 2

MODE 3

I Iv I MODE 4 sus, 6, -6

MODE 5

S U S ~ (NO 5) 1 MODE 6

MODE 7


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

I 1

111

I V

V

V I

V I I

ENIGMATIC MINOR

MODE^

MODE 3

MODE^

MODE^

MODE%

MODE^

1

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6

b5

4

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b2

j b2

b7

H6

b5

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H>3

b2

1

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b4

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84

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83

82

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b6

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~5

x4

3

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1

7

86

85

4

3

b2

1

ENIGMATIC MINOR

TIT

TIT

ENIGMATIC QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I I1 I11 I V V V I VII

F E C#/Db B/Cb A G F#/Gb

F # / G b F D C Bb Ab G

G F#/Gb Eb C#/DbB/Cb A Ab

A b G E D C B b A



GUITAR

PATTERNS

I

I1

I11

I V

v

V I

VII

BASS

PATTERNS

ENIGMATIC

TIT TIT

TIT

TIT

COMPOSITE 11 QUICK MODE GENERATOR CHART

V I VII GUITAR

PATTERNS BASS

PATTERNS KEYBOARD PATTERNS I I I I , , I I , I , I I I i l l 1 I

I

I I

I11

I V

v

VI

VII


MODE 2

I v I MODE 5


V I

V I I

MODE 6

MODE 7

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

A+, -A+

S U S ~ , S U S ~

I

11

111

COMPOSII

MODE2

MODE 3 --

1

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b6

b5

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b2 1

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MODE6

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$4

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$4

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$6

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b4

7 5 b6

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- 7

b6

b6 7

96

--------

b7

5

COMPOSITE I1

IONIAN b5

LOCRIAN U' QUICK MODE GENERATOR CHART

VII GUITAR

PATTERNS BASS

PATTERNS

I

I 1

I11

I V

v

V I

VII

6


I LOCRIAN ll7 A O , -A+

11 IONIAN 96 A, 7, A s U s 2 , 7^s2, 9, 1 1

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1 I V I PHYRGIAN $4 1 0 , -7 1

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1 2 3 4 5 6 7 1 2 3 4 5 b2 1

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b3 4

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b3

2

- 1

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VII

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1-6

1 DOMINANT $2

ALTALT

4

---

b5

4

b2

1

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DORIAN AUG

PHRYGIAN $4

LYDIAN $3 --

1

5

1 b2 ?3 b4

b5 b6

5

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b3

2 5

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b5

b6

7---- 6

7

7 -- b7

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tt 7

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$6

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84

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TIT

PERSIAN QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I I1 I11 I V v VI VII

A Ab F E Eb C#/Db Bb

Bb A F#/Gb F E D BICb

B/Cb Bb G F # / G ~ F Eb C


1 1 I PERSIAN 1 b5, Ab5 1 1 11 1 MODE 2 1 A, 7, -7, $9, 11 ~

1 V1l 1 MODE 7 1 sus2, sus I

v V I


GUITAR PATTERNS

MODE 5

MODE 6

v

V I

VII

S U S ~ , SUS, Asus2, Asus

+ ,7+

BASS PATTERNS

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

7 I

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V

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b6

5

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1

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b6

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MODE2

MODE 3

MODE^

MODE5

MODE6

3

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$5

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b6

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b4

b3

2

1

1 7

$6

5

$4

$3

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b7

b6 4

3

b2

1

b5

4

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PERSIAN

BIB

GUITAR BASS PATTERNS PATTERNS

KEYBOARD PATTERNS


MODE 5 sus2, sus

The Minor Pentatonic is the most common pentatonic scale. The Minor Pentatonic can be interspersed with the Dorian, Phyrgian, and Aeolian (of the Major scale), because the tones of the Minor Pentatonic are contained in all 3 modes, as well as other scales.


- 7

S U S ~ , M, 6

S U S ~ , SUS

Q3

I

11

111

Iv

MINOR PENTATONIC

MAJOR PENTATONIC

MODE 3

MODE 4

MINOR PENTATONIC

TIT

TIT

TIT

KUMOI QUICK MODE GENERATOR CHART GUITAR BASS

PATTERNS PATTERNS KEYBOARD PATTERNS I I1 Ill IV v


1 1~~1 MODE 3

The Kumoi can be used in place of the Melodic. IV mode of the Harmonic Maior. 1 1 KUMOI

MODE 4

- , -6, sus2 as wellas any scale that contains the same notes as the Kumoi.

I I

sus2, sus

I1 1 MODE 2

MODE 5

sus, 7sUs


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

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V MODES 1

KUMOI

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HIROJOSHI KEYBOARD PATTERNS

QUICK MODE GENERATOR CHART

I I1 I11 IV v GUITAR

PATTERNS BASS

PATTERNS


I IV I MODE4 I SUS I

The Hirojoshi can be used in place of the Harmonic Minor and the Hungarian I

those tones. Minor, as well as any scale that contains

11 1 MODE 2


HIROJOSHI

Q3

v

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MODE 5

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

A, Ab5

1

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IV

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MODE^

MODE 3

MODE^

MODE5

1 1

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----

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b3

b2

b3

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5

$4

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4

b6 ------ 5

5 b6

b5

b6

HIROJOSHI

Ill

Ill

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WHOLE TONE QUICK MODE GENERATOR CHART GUITAR

PATTERN BASS

PATTERN

Ab FÃ/G E

A G F

Bb Ab FÃIG

BICb A G SYMMETRICAL PATTERN REPEATS

BIC b


WHOLE TONE

WHOLE TONE

WHOLE TONE +

Due to the symmetrical nature of the Whole Tone scale, it has no modes.

I t also has only 2 fingering patterns which repeat: C = D = E = F#/Gb = A ^ = Bb C#/Db=Eb=F=G=A=B/Cb

1 V 1 WHOLETONE

1 V I 1 WHOLETONE 1


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

11

111

IV

v VI

WHOLE TONE

WHOLE TONE

WHOLE TONE

WHOLE TONE

WHOLE TONE

WHOLE TONE

$6

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$5

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$5

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"Ill TIT

w @ @ @ @ TIT "Ill

AUGMENTED QUICK MODE GENERATOR CHART


1 1 1 AUGMENTED 1 A, A+, -A, - b6 1 1 I1 1 MODE 2 1 + , 6 + 1 I 111 1 AUGMENTED 1 A, A\ -A, -b6 1 1 Iv I MODE 2 1 + ,6+ 1 1 V 1 AUGMENTED 1 A, A+, -A, 36 1

GUITAR PATTERNS

SYMMETRICAL PATTERNS

REPEAT 1,2,1,2 ETC.

BASS PATTERNS

SYliimerfHGAi. PATTERNS

REPEAT 1.2,1.2 ETC.

The Augmented scale is symmetrical, it has only 2 modes.

A lso , t h e r e a r e on ly 4 f ingering patterns which repeat: C = E = A b C#/Db = F = A D = F#/Gb = Bb E b = G = B


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

1

ffl

IV

V

VI

AUG

MODE^

AUG

6

b6 7

MODE2

AUG

MODE^

1

1 92 3 5 b6 7

1 b2 3 4 #5 6

tt2

1

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b2

1

5

3

$2

1'6

4

3

7

$5

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AUGMENTED

TIT TIT

TIT TIT

TIT

PELoG QUICK MODE GENERATOR CHART GUITAR

PATTERNS BASS

PATTERNS


PELOG I 36, b6, -

MODE 3

I I

11 I MODE 2 -A, - , S U S ~ , A0

I I


Iv I MODE 4

v V I

A+

MODE 5

MODE 6

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

11

A, 1'6, sus

I

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IV

V

VI

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MODE2

MODE 3

MODE4

MODE^

MODE^

7

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3

- b7

6

b5

4

1

7

b6

5

b3

2

1

b2

1

b7

b6

b4

b3

b2

1

7

-- 1 b2

1

5

04

3

02

b6

5

4

3

PELOG

BIB

TIT TIT TIE TIT

DOMINANT SUS QUICK MODE GENERATOR CHART

Ill IV v VI


1 1 1 DOMINANTSUS 1 S U S ~ , SUS, Q 3 , 9 1

GUITAR PATTERNS

11

111

Iv

v V I

BASS PATTERNS


MODE 2

MODE 3

MODE 4

MODE 5

MODE 6

36, -7, sus, Q3, 1 1

6 , S U S ~ , SUS, 9 , 1 1 , 1 3

-7, S U S ~ , SUS, 9, #9, 1 1

Q3, b9,09, 1 1 , b13

6, A, s u s 2 , 9 , 1 3

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

11

I11

I V

V

V I

DOMINANT sus

MODE^

MODE 3

MODE^

MODE^

MODE6

1

b7

5

4

b3

2

2

1

6

5

4

3

b7

b6

5

4

b3

1

b7:

6 7

5

4

2

1

6

5

3

2

1

b7

b6

4

b3

b2

1

DOMINANT SUS

TIT

DIMINISHED QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I I1 I11 IV

SCALE I MODE - CHORD CHART WHOLE - HALF 1 ^ 1 DIMINISHED

11 HALF - WHOLE DIMINISHED !a I O Ã -7,O7

WHOLE-HALF 1 0 07, ~0 1 111 1 DIMINISHED 9

WHOLE - HALF DIMINISHED

HALF - WHOLE DIMINISHED *,O , -7,O7

WHOLE - HALF 1 vll r DIMINISHED 1 1 VIII 1 HALF - WHOLE DIMINISHED

v VI VII VIII

C B b A G

2ÃˆIDbBlC Bb Ab

D C BICb A

Eb CÃ ID C Bb

E D C#/Db B/Cl

The Diminished scale only has two modes which repeat: the Whole- Half and the Half-Whole.

Keyboard patterns above are for the Half-Whole Diminished. Patterns on next page are for the Whole-Half Diminished.

Also note the fingering patterns repeat every third key. In other words: C, Eb, FÃ I b, and A have the same fingering patterns.


GUITAR

PATTERNS

SYMMETRICAL PATTERNS REPEAT

1,2.1,2 ETC.

BASS

PATTERNS

SYMMETRICAL PATTERNS REPEAT

1,2,1,2 ETC.

WHOLE - HALF DIMINISHED

Ill

8 TONE SPANISH QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I 11 111 I v v VI VII VIII C B/Cb A Ab G FSIGb E D

C#/Db C Bb A Ab G F Eb

D C#/DbB/Cb Bb A Ab FttiGb E

Eb D C BICb 6b A G F


MODE 2

MODE 3

IV I MODE 4

I MODE 5

1 VIII 1

V I

VII


GUITAR PATTERNS

MODE 6

MODE 7

I

I1

I11

I V

v

V I

VII

VIII

7,A, 6,9, $11, 13

7, b6,9, 11, 1'13, 13

BASS PATTCTHB

1 2 3 4 5 6 7 1 2 3 4 5 6 7 8-TONE

SPANISH

MODE 2

MODE 3

MODE 4

MODE 5

MODE 6

MODE 7

MODE 8

--------------,

1 b2

1 7

6

$5

5

$4

3

2

b3

1

4

2

b2

1 -

3

2 b 3 3 4

b2

1

b7

6

b6

5

4

b3

b5

b3

2

b2

7

b7

6

5

4

1

b6

5

4

3

b3 7

b7

b6

b5

b7

6

5

S 4

4

2

1

3

2

1

7

6

5

b7

b6 b7

TONE SPANISH

c

Ctf / Db

TIT

VII VIII


I

MODE 7

-

11

111

J v v V I

1 VIII 1

BEBOP LOCRIAN h2

MODE 8

AO,@, '9, b13

MODE 2

MODE 3

MODE 4

MODE 5

MODE 6


-

b9, $9, $1 1 3 3 , 13

-A, -b6, -6, -9, $9

, -6, -7, 1'9, $9, 11, $11, 13

7^5, 7 + 9, 11, $11, b13, 13

6, -6, 7, 7 , 9 , 9, #9,#11, 13

GUITAR PATTERNS

I

I1

I11

IV

v

VI

VII

VIII

BASS PATTERNS

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

I1

111

I V

V

V I

V I I MODE^

VIII MODE8 1 b2

7

6

b6

tÃ

b7

6

5

b5

3

BEBOP L O C R I A N ~ ~ 1

MODE^

MODE 3

MODE^

MODES

MODE^

5 --

b3 3 94-

b7

6

5

2

1

7

6

- b6 --

b3

b2

1

b7

b7

4

b3

2

1

5

b6

$4

4

b3

2

1

b5

3

b3

b2

1

6 7

b7

$5

5

4

3

2

7

6

b6

b5

4

b3

BEBOP LOCRIAN h2

TIT Ill

TIT

BEBOP DOMINANT QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I I1 I11 IV v VI VII VIII


1 1 I BEBOP DOMINANT 1 A, 6,7, S U S ~ , SUS, 9,11,13

1 1 1 BEBOPMINOR

BEBOP LOCRIAN ADD 5 1

GUITAR PATTERNS

36 , -6, -7, sus2, sus, 9, $9,-11, bl3, 13 1

v VI

1 VIII 1 VII

MODE 8

MODE 5

MODE 6


-6, 6, -7, 7, S U S ~ , SUS, 9, $9, 11, 13

-6, -7, sus2, sus, b9, 9, 11, b13

MODE 7

VI

VII

A , Ab5, 6, S U S ~ , b9,9 VIII

BASS PATTERNS

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

11 E,!g[ 1 1 2 b3 4 BEBOP 111 LOC add 5 1 b2 b3 4 b5 5 b6

I V MODE^ 1 2 3 4 1 ' 5 5 6 7 Â .

V MODE5 1 2 b 3 3 4 5 6 b71 1 VI MODE% 1 b2 2 b3 4 5 b6 b7

VI I

V111

MODE^

MODE 8

I

1

b 2 2

b2

3

b3

#4

4

5

b5

6

b6

7 1 1 b 7 7

BEBOP DOMINANT

BEBOP DORIAN QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I I1 I11 IV v VI VII VII I


1 1 1 BEBOP DORIAN 1

1 111 I MODE 3 1 A, b6,9, <h 1, b13, 13 I

1 VIII 1 MODES 1 o , a , b9, $9, $11, b13 1 NUMERIC SCALE / MODE CHART

GUITAR PATTERNS

I

I 1

I11

I V

v

V I

V I I

V I I I

BASS PATTERNS

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

I1

Ill

IV

v VI

VII

VIII

MODE 6

MODE 7

MODE 8

1 b2

1

b6

5

$4

2

b2

1

b 7

6

$5

b3

2

b2

7

6 , 7

4

3

b3

b5

4

3

BEBOP DORIAN

TIT

BEBOP MAJOR QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS I 11 111 I v v VI VII VIII

A G F E D C#/Db c Bb

Bb Ab FtfIGb F Eb D CÃˆIDbBlC

BICb A G FÃ IG E Eb D C

SCALE I MODE - CHORD CHART

I 1 I BEBOP MAJOR

1 I1 1 MODE 2

MODE 4

MODE 5

1 v1 I MODE 6

1 V1l I MODE 7

VIII 1 MODE 8


GUITAR PATTERBS

BASS PATTERNS

I

I I

I11

I V

v

VI

VII

VIII

6

BEBOP MAJOR

M (MAJOR CHORD)

LYDIAN DOMINANT = IV MELODIC

HINDU = V MELODIC

PHRYGIAN h3 = V HARMONIC MINOR

1

1

1 b2

2

2

3

3

3

4

4

$4 5

5

5

b6

b6

6 b7

b7

b7

M (MAJOR)

^K TIT

- (MINOR)

DORIAN = I1 MAJOR 111

PHRYGIAN = III MAJOR

AEOLIAN = VI MAJOR 1 1 1

MELODIC

- (MINOR)

sus2 (SUSPENDED 2)

LYDIAN b3 = I V HARMONIC MAJOR

SUS (SUSPENDED FOURTH)

PHRYGIAN = I11 MAJOR

ENIGMATIC MODE IV 1 I I 2 I I 3 I 4 I b 5 ~ 6 I I I b7 I I

COMPOSITE I1 MODE I1 1 # 2 $3

COMPOSITE I1 MODE IV 1 b2 b3 4

COMPOSITE I1 MODE VII 1 b2 b3 4

ENIGMATIC MODE VII

PHRYGIAN b3 =I11 IONIAN b5 1 Ib2 Ib3I I I 4

1 LYDIAN $3 = V LOCRIAN 17

1

DOMINANT $2 = VI LOCRIAN 17 1 #2 3 4 # - - -

PERSIAN MODE I1 1 $2 3 4

PERSIAN MODE V

b2

PERSIAN MODE VII 4 b5 b6 b7

b3 4 5 6 7

m TIT m

b5 (PLATED FIFTH)

O (DIMINISHED)

(DIMINISHED)

+ (AUGMENTED)

1 ALT k 3 b7 = VII NEAPOLITAN MINOR

+ (AUGMENTED)

b6 (FLATED SIXTH)

HARMONIC MAJOR

PHRYGIAN b4 = HI HARMONIC MAJOR

1 DOUBLE HARMONIC-V HUNGARIAN MINOR I 1 1 b2 1 1 1 3

ALT h5 b7 = VII HUNGARIAN MINOR

1 LYDIAN MINOR = IV NEAPOLITAN MAJOR I 1 1 1 2 1 1 3

ENIGMATIC MINOR MODE III

ENIGMATIC MINOR MODE V I I

ENIGMATIC MODE III

COMPOSITE II

1 COMPOSITE II MODE I11

1 PERSIAN MODE 111

1 AUGMENTED

mar

m TIT rn

3 6 (MINOR FLATED SIXTH)

6 (MAJOR SIXTH)

BEBOP MAJOR MODE I V

-6 (MINOR SIXTH)

Ill

TIT

7 (DIMINISHED SEVENTH)

TIT

TIT rn

TBT TIT m

Q(3) (QUARTAL or DOUBLE FOURTH)

Quartal or Double 4th

TIT rn an

TIT m 11

7 (DOMINANT)

TIT TBT

TIT

-7 (MINOR SEVENTH)

TIT w Tfir

7sus2 (DOMINANT sus2)

DORIAN = I1 MAJOR 1 2 b3 4 5 6

AEOLIAN = VI MAJOR

7SUS (DOMINANT SUS)

DORIAN b2 = II MELODIC

HINDU = V MELOI3IC I 2 3 4 5 b6

PHRYGIAN h3 = V HARMONIC MINOR 3 4 5 b6

DOMINANT b2 = V HARMONIC MAJOR I b2 3 4 5 6

ENIGMAl7C MODE IV I 2 3 4 b5 b 6

7b5 (DOMINANT FLAT 5)

3 b7

BEBOP DORIAN MODE IV

(HALF-DIMINISHED)

BEBOP LOCRIAN 12

8 TONE SPANISH MODE VIII

BEBOP MAJOR MODE VIII

1 2 b3 4 b5 5 b6 b 7

(HALF-DIMINISHED)

1ST - ? ! I TIT

7+ (DOMINANT AUGMENTED)

c

ctf I Db

D

BIB

Ab "BIT

TIT

A (DELTA)

LYDIAN = IV MAJOR

LYDIAN $2 = VI HARMONIC MINOR

HARMONIC MAJOR

DOUBLE HARMONIC = V HUNGARIAN MINOR 1 1

LYDIAN 96 92 = VI HUNGARIAN MINOR

LYDIAN $6 = 11 NEAPOLITAN MINOR 11

IONIAN $2 = VI NEAPOLITAN MINOR 1

ENIGMATIC MINOR MODE VII 1

COMPOSITE 11 1

LYDIAN 1.2 = IV IONIAN b5 1

IONIAN $6 = I1 LOCRIAN h7 1

PERSIAN MODE 11

HIROJOSHI MODE V

AUGMENTED

PELOG MODE VI

DOMINANT SUS MODE V I

8 TONE SPANISH MODE 11 1 1

8 TONE SPANISH MODE VI 1

BEBOP LOCRIAN >2. MODE VIII 1

BEBOP DOMINANT 1

BEBOP DOMINANT MODE IV 1

BEBOP DOMINANT MODE VII 1

BEBOP DORIAN MODE HI 1

BEBOP DORIAN MODE VII

BEBOP MAJOR

BEBOP MAJOR MODE IV

A (DELTA)

II!

-A (MINOR DELTA)

LYDIAN 92 = VI HARMONIC MINOR 1 1 1 \ S 2 3 1

LYDIAN b3 =IV HARMONIC MAJOR 1 2 53

HUNGARIAN MINOR 1 2 53

LYDIAN 96 92 = VI HUNGARIAN MINOR 1 $2 3

NEAPOLITAN MINOR 1 b2 b3 4

IONIAN $2 = VI NEAPOLITAN MINOR 1 $2 3 4

NEAPOLITAN MAJOR 1 b2 b3 4

ENIGMATIC MINOR 1 N'21 Ib31 1 ENIGMATIC MODE 11 1 82 93

COMPOSITE H MODE I1 1 $2 93

PERSIAN MODE I1 1 1 1 I i 2 3 1 4

PERSIAN MODE IV 1 b2 b3

AUGMENTED 1 $2 3

PELOG MODE 11 1 1 1 2 b 3 1 1

Asus* (DELTA sus2)

HARMONIC MINOR 1 2 b3 4 5 b6 7

HARMONIC MAJOR 1 2 3 4 5 b6 7

LYDIAN b3 = IV HARMONIC MAJOR 1 2 b3 Ã 5 6 7

HUNGARIAN MINOR 1 2 b3 Ã 5 b6 7

LYDIAN $6 = I1 NEAPOLITAN MINOR 1 1 I 1 2 I I 3 1 lÃˆ4 5 1 1 lÃˆ6 7 , , , I

ENIGMATIC MINOR MODE VII 1 b2 H3 b4 5 b6 7

ENIGMATIC MODE VLI 1 b2 Ã ˆ 4 5 6 7

ASUS (D E LTA S U S)

4 5 7

PERSIAN MODE I1

Ill

II;

slim

BIB

Ab5 (DELTA FLAT 5)

1 ENIGMATIC

COMPOSITE I1

BEBOP DORIAN MODE VIII

AO (DELTA DIMINISHED)

AO = 1 b5 7

ENIGMATIC MINOR

BEBOP LOCRIAN 42 MODE VHI

BEBOP DOMINANT MODE VIH

BEBOP DORIAN MODE VIH

BEBOP MAJOR MODE IV

BEBOP MAJOR MODE VI

1

1

1

1

1

b2

b2

b2

b2

2

1'3

b3

b3

b3

b3

3

3

3

3

4

$4

1'5

$4

34

H

5

5

b6

Ã 5

$5

6

6

6

b7

Ã

7

7

7

7

7

A+ (DELTA AUGMENTED)

LYDIAN AUGMENTED = III MELODIC 1 i' IONIAN $5 = III HARMONIC MINOR 1

HARMONIC MAJOR 1

1 LYDIAN AUGMENTED Ã = VI HARMONIC MAJOR I 1

IONIAN AUGMENTED (2 = III HUNGARIAN MINOR 1

DOUBLE HARMONIC = V HUNGARIAN MINOR 1

LYDIAN AUGMENTED $6 = II NEAPOLITAN MAJOR 1

ENIGMATIC MINOR MODE V 1

ENIGMATIC MINOR MODE VII 1

ENIGMATIC 1

COMPOSITE II 1 1

COMPOSITE 11 MODE VI 1

PERSIAN 1

AUGMENTED 1

PELOG MODE IV 1

PELOG MODE VI 1

8 TONE SPANISH MODE IV 1

BEBOP DORIAN MODE VIE 1

1 BEBOP MAJOR I 1

BEBOP MAJOR MODE VI 1

Ill TIT

mat

-A+ (MINOR DELTA AUGMENTED)

TIT TIT

air Ill

lir 15 B I B 7 3

Iff! TIT

= G - / C

= G W C S

= A - I D

= AS - / D#

= B - / E

= C - I F

= C# - / F#

= D - / G

= D 9 - / G #

= E - / A

= F- / A #

= F # - / B

SUBSTITUTIONS SUBSTITUTIONS

C7 = E O / C C^ = B b / C C#7 or Db7 = F O / C # C#11 or Dbl1 = B / C #

D7 = F#O/D Dl1 = C / D

D#7 or Eb7 = Go / DÃ DÃ1 or Eb11 = C# / D#

E7 = G V / E E" = D I E F7 = AO / F F11 = D# / F

FÃ or Gb7 = A#' / F# FÃ1 or G U l = E / F #

G7 = B O / G GI1 = F I G

G#7 or Ab7 = C0 / GÃ G#11 or Ab11 = F # / G #

A7 = CÃˆ0/ AH = G / A

A#7 or Bb7 = D O / A # AÃ1 or Bbll = G# / A # B7 or Cb7 = D # / B B11 or Cbll = A / B

II!

TIT TIT

'BIT

TIT

TIT

C-9 = EbA/C c -9 = G- / c

CÃ - or Db-9 = EA / CÃ CÃ - or Db-9 = G#- 1 CÃ

D-9 = F A / D D-9 = A- / D

DÃ - or Eb-9 = F#A / D# DÃ - or Eb-9 = A#- / DÃ

E-9 = G A / E E-9 = B- / E

F-9 = GÃˆA/ F-9 = C- / F

FÃ - or Gb-9 = AA / FÃ Fit-9 or Gb-9 = CÃ / Fit

G-9 = AÃˆAI G-9 = D- / G

GÃ - or Ab-9 = B A / GÃ GS-9 or Ab-9 = D#- / GÃ

A-9 = C A / A A-9 = E - / A

A#-9 or Bb-9 = C#A / A# A#-9 or Bb-9 = F- / A#

B-9 or Cb-9 = D A / B B-9 or Cb-9 = Fit- / B

C-7 = Eb/C C-11 = Bb/C

(3-7 or Db-7 = E / CÃ C#-11 or Db-11 = BlCÃ

D-7 = F / D D-11 = C / D

DÃ - or Eb-7 = FÃ / DÃ DÃ -1 or Eb-11 = CÃ / Dit

E-7 = G / E E-11 = D I E F-7 = GÃ I F F-11 = DÃˆ/

FÃ - or Gb-7 = A / Fit FÃ -1 or Gb-11 = E / F #

G*7 = A4 / G G-11 = F I G

Gf-7 or Ab-7 = B / GÃ GÃ -1 or Ab-11 = FÃ /G#

A-7 = C I A A-11 = G / A

AÃ - or Bb-7 = CÃ /A# A#-11 or Bb-11 = G# / AÃ B-7 or Cb-7 = D / B B-11 or 0 - 1 1 = A / B

- .. -- SUBSTITUTIONS

, SUBSTITUTIONS

C7 = E O / C

C#70r Db7 = F O / C #

D7 = F#O I D

D#7 or Eb7 = Go / D#

E7 = G#O / E

F7 = A0 / F

F#7 or Gb7 = A#'/ F#

G7 = B O / G

G#7 or Ab7 = Co / G#

A7 = C#O / A

#7 or Bb7 = D O / A #

B7 or Cb7 = D#O/B

CA9 = EV7 /C CA9 = G / C

CÃÂ or DbA9 = F-7 / C# C#A9 or DbA9 = G# / C#

DA9 = F#-7 / D DA9 = A I D

DÃÂ or EbA9 = (3-7 / DS DÃÂ or EbA9 = A# / D#

EA9 = G#-71 E EA9 = B / E

FA9 = A-7/F FA9 = C / F

F#A9 or G bA9 = A#-7 / F# FÃ A9 or GbA9 = C# / Fit

GA9 = B-7/G GA9 = D I G

GSA9 or AbA9 = C-7 / G# G# A9 or AbA9 = D# / G#

AA9 = C#-71A AA9 = E / A

ASA9 or BbA9 = D-7 / A# AÃÂgo BbA9 = F / A #

BA9 or CbA9 = D#-7 / B BA9 or CbA9 = Fit / 6

C A = E - / C CAI1 = Bb/C

C#A or DbA = F- / C# CXA-ll or DbAH = B / C#

D A = F#- / D DA11 = C / D

D#A or EbA = G- / D#

E A = Gf- / E EA1-1 = D l E F A = A - / F FA11 = D#/F

FÃˆ or GbA = A#- / F# FBA-1-1 or GbA-11 = E / F #

G A = B - / G GAl1 = F I G

GÃˆ or AbA = C- /G# GttA-11 or AbA-11 = F# / G#

AA = CÃˆ-/ AA11 = G / A

AÃˆ or BbA = D- / A# ASA1-1 or BbAll = G# /A# B A or CbA = DÃˆ-/ BAA1 or CbAH = A / B

G-A9 = D I G


SUBSTITUTIONS

C11Ã =

C# 11*9 or Db l l Ã ˆ =

Dl189 =

D# l l Ã § or Eb l l Ã ˆ =

E11Ã§ =

F11Ã =

F#11Ãˆ or Gb11Ã =

GI189 =

G#11^ or Ab11Ã =

A11Ã§ =

A# 11Ã or Bb l l Ã ˆ =

B l l ~ g or Cb 1 l * 9 =

ALT (b5 $9)

ALT (b5 $9)

TIT

TIT

ALT (b5 b9)

SUBSTITUTIONS

cALT = ~ 6 b 5 c C#ALT or D bALT = F6b5 / C)t

DALT = ~ # 6 b 5 / D

D#ALT or EbALT = ~ 6 b 5 / D#

EALT = ~ # 6 ^ 5 / E

FALT = ~ 6 b 5 / F

F#ALT or G bALT = ~ # 6 b 5 / p#

GALT = ~ 6 b 5 / G

Q#ALT or AbALT = ~ 6 b 5 / G#

AALT = ~ # 6 ^ 5 / A

A#ALT or BbALT = ~ 6 b 5 / A#

BALT or C bALT = ~ $ 6 1 - 5 / B

ALT (b5 b9)

TIT

TIT

Ill

'SIT TIT

TIT

ALT (Ã b9)


CALT =

C#ALT or DbALT =

DALT =

DOALT or EbALT =

EALT =

FALT =

F#ALT or GbALT =

QALT =

G#ALT or AbALT =

AALT =

ABALT or BbALT =

BALT or CbALT =

ALT ($5 b9)

TIT "I"

TIT

Ill BIB

ALT ($5 $9)

I Ab5

I I ALT = -

I I 3

3 b5 7

sus2 I I I

ALT = -

CALT =

C#ALT or DbALT =

DALT =

D#ALT or EbALT =

EALT =

FALT =

F#ALT or GbALT =

GALT =

G#ALT or AbALT =

AALT =

A#ALT or BbALT =

CALT =

C#ALT or DbALT =

DALT =

D#ALT or EbALT =

EALT =

FALT =

F# ALT or. G bALT =

GALT =

G#ALT or AbALT =

ALT ($5 $9)

M

TIT

SUBSTITUTIONS I SUBSTITUTIONS

SUBSTITUTIONS

C-7 = Eb/C

C#-7 or Db-7 = E / C #

D-7 = F / D

DÃ - or Eb-7 = Fit / D#

- 7 = G / E

F-7 = G# / F

F#-7 or Gb-7 = A / FÃ

G-7 = A# / G

Gfl-7 or Ab-7 = B / G#

A-7 = C I A

A#-7 or Bb-7 = C#/A#

B-7 or Cb-7 = D / B

SUBSTITUTIONS

C-9 = G - / C

sir TIT TIT TIT

Tit

BIB RIB C

Ctf I Db TIT TIT

TIT TIT

C-# 1 1 = E bAÃˆ / C C-$11 = G - A / C C-S11 = Bb+ / C

C#-$11 or Db-$11 = E A N / #-#I1 or Db-$11 = B+ /C#

D311 = FA#9 / D D311 = A - A I D D-Ãˆ1 = C+ / D

D#-#I1 or Eb-#I1 = F#A#9 / D DÃˆ-#I or Eb-$11 = AS-A/ 8-41 1 or Eb-$1 1 = C#+ / D#

E-$11 = GAO / E E-Ã 1 1 = B-A / E E311 = D+ / E

F-tf 1 1 = G#AÃˆ / F F311 = D#+ / F

F#-$11 or Gb-$11 = AAÃ§9 F#-$11 or Gb-#I1 = E+ I F #

G-# 1 1 = A#A^ / G G-$11 = F + / G

GiÃ -$1 or Ab-$11 = BAg9 / G #-#I1 or Ab-$11 = F#+ /G#

A31 1 = CA'9 / A A-# 1 1 = E-A / A A-$1 1 = G+ / A

At81 1 or Bb-$11 = CÃAÃ / Bb-#11 = F - A / A # AM1 1 or Bb-$1 1 = G#+ /A#

C#-9 or Db-9 = GO- / cif D-9 = A- / D

D#-9 or Eb-9 = A#- / D#

E-9 = B- / E

F-9 = C- / F

F#-9 or Gb-9 = CO- / Fit

G-9 = D - / G

G#-9 or Ab-9 = D#- / G#

A-9 = E - / A

A#-9 or Bb-9 = F- / A#

B-9 or Cb-9 = F # - / B

TIT TIT TIT

TIT "IT

CAI1 = B O / C

#A11 or DbA-11 = C O / C #

DA-11 = Fit-1.9 1 D DA11 = C) tO/D

DKA11 or EbA11 = D O / D #

EA11 = G#-b9 / E EA-11 = DÃ 1 E

FA11 = A-b9/F FA11 = E O / F

FÃÂ-1 or G bA11 = Fo / FÃ

GA11 = B-b9 / G GA-11 = D7/G GAIA = F#O / G

AA11 = E7/A AA11 = GÃÔ/

AXA11 or B bA11 = AO / A#

BA11 or CbAll = D#-b9/B BA11 or CbAll = F#7/B BAA1 or CbAll = A#O/B

C A = E - / C CA9 = G/C

CÃˆ or DbA = F- / C# CSA9 or DbA9 = G# / C#

D A = F#- / D DA9 = A I D

DÃˆ or EbA = G- ID# D#A9 or EbA9 = A# / DÃ

E A = G<f-1 E EA9 = B / E

F A = Am/ F FA9 = C / F

FÃˆ or GbA = A#- / F# F4A9 or GbA9 = CÃ / FÃ

G A = B - / G GA9 = D I G

GÃˆ or AbA = C- /GÃ GÃÂ or AbA9 = D# 1 GÃ

A A = C# - /A AA9 = E / A

AÃˆ or BbA = D- / A# AÃÂ or BbA9 = F / A#

B A or CbA = DÃˆ-/ BA9 or CbA9 = F# / B

SUBSTITUTIONS

TIT TIE

SIT

TIT

I SUBSTITUTIONS

CAÃˆ1 = G A / CA" 1 = B- / C

CtAÃˆ1 or D bA^ll = GÃˆ / CÃÂÃ 1 or DbAsll = C- / CÃ

DAu11 = A A / D D A ^ l = C # - I D

D # A # l l or EbA'll = AKA/ D# ÃÂÃˆ or EbAu 1 = D- / D#

EAu11 = B A / E EAUl 1 = DÃ / E

FA ' l l = C A I F FAÃˆl = E - / F

F#Aull or G bAu11 = CSA / F

GAÃˆ1 = D A / G GA^ 1 = FÃ / G

G#AÃˆl or AbAÃˆl = DÃˆ / G GÃÂÃˆ or AbAÃˆ = G- / GS

AAu11 = E A I A M u 1 1 = G # - / A

AÃÂ 1 or BbA^ 1 = F A / A# AÃÂÃˆ or B bAU11 = A- / AX

BAÃˆ1 or CbA-11 = A#- / B

I I SUBSTITUTIONS

C A

CÃˆ or DbA

D A

DÃˆ or EbA

E A

F A

FÃˆ or GbA

G A

GÃˆ or AbA

A A

AÃˆ or BbA

TIT

TIT TIT TIT

SUBSTITUTIONS 1 <4 SUBSTITUTIONS

C - A = Eb /C

C#-A or Db-A = E / C#

D-A = F / D

D#-A or Eb-A = F# D#

E-A = G / E

F - A = G # / F

F#-A or Gb-A = A / F#

G - A = A # / G

GK-A or Ab-A = B / G#

A-A = C I A

TIT TIT TIT Tar

"mar

C13 = E011b9/C C13 = G-9 I C C13 = B b A / C

C#13 or Dbl3 = F011b9 / C# C#l3 or Dbl3 = G#-9 / C C#13 or Db13 = B A / C #

Dl3 = F#"11'-9/D D13 = A - 9 / D D13 = C A I D

D#l3 or Eb13 = G011b9/D# D#13 or Eb13 = A#-91 D# D#l3 or Ebl3 = C # A / D#

El3 = G#011b9/E El3 = B-9 / E E13 = D A I E

F13 = A011b9/F F13 = C-9 / F F13 = D # A / F

F#13 or Gb13 = A#011b9 / F# FÃ1 or Gbl3 = C#-9 / F# F#l3 or Gb13 = E A / F #

G13 = B O 1 l ^ / G GI3 = D-9 / G G13 = F A / G

G#13 or Abl3 = C O l 1 b9 / G# G#l3 or Abl3 = D#-9 I G# G#13 or Abl3 = F # A / G#

A13 = C#011b9/A A13 = E - 9 / A A13 = G A I A

A#13 or Bbl3 = D011b9/A# A#l3 or Bbl3 = F-9 /A# A#l3 or Bb13 = G # A / A #

B13 or Cb13 = D#011b9/B B13 or Cbl3 = F # - 9 / B B13 or Cbl3 = A A / B

SUBSTITUTIONS

C9 = G - / C C11 = B b / C

C#9 or Db9 = G # - / C # CÃˆl or Dbll = B / C #

D9 = A - I D Dl1 = C / D

D#9 or Eb9 = A#- / D# D # l l or Ebl1 = C# / D#

E9 = B- / E E l l = D / E

F9 = C - I F F11 = D # / F

F#9 or Gb9 = C#- / Ftt F # l l or Gbl1 = E / F#

G9 = D - / G GI1 = F I G

G#9 or Ab9 = D#- / G# GÃˆI or AH1 = F# / G#

A9 = E - / A A l l = G / A

AÃ or Bb9 = F- / A # A # l l or Bbl1 = G # / A #

B9 or Cb9 = F # - / B

SUBSTITUTIONS

C-13 = B b A l C

C#-13 or Db-13 = B A I C #

D-13 = C A I D

D#-13 or Eb-13 = C # A I D#

E-13 = D A I E

F-13 = D # A l F

A-13 = E-9 lA rl A-13 = G A I A

G- I C

G#- I C#

A- 1 D

A#- I D#

B- I E

c- 1 F

C#- I F#

D - I G

D#- I G#

E- / A

F- I A#

F#- I B

1 :I SUBSTITUTIONS

Bb lC

B l C #

C I D

C# I D#

D I E

D# I F

E I F#

F I G

F# I G#

G I A

G# I A#

A I B

t SUBSTITUTIONS

G - I C

G# - l C #

A I D

A# I D#

B I E

C I F

C# I F#

D I G

D# I G#

E I A

SUBSTITUTIONS

@@@a TIT

1 SUBSTITUTIONS

TIT TIT

TIT

13 13 C#A)ii ior DbAÃ§i = F-11 / C#

13 DAÃI = F#-11 / D

13 13 DSAtfii or EbAifii = G-11 IDS

13 E A Ã ˆ = GP11 1 E

13 13 DAÃ‡I = AA9/ D DAÃ I = Ctt-7 / D

13 13 13 13 D # A t i i or EbA8ii = AllA9/ D DtfA81i or EbA#ii = D-7/D#

13 13 EAÃI = BAg/E EAKI i = DÃ - / E

13 13 FA811 = CA9/ F FA81 1 = E-7 / F

13 13 F#Att11 or GbAx11 = C#Ag/F FHA or G bA<n = F-7 / FÃ

13 13 GAii11 = DAg/G GAÃ I = FS-7 / G

SUBSTITUTIONS H SUBSTITUTIONS

Cff 1 Db

D

TIE

Ill TIT

HIT

13 $9 13 D - A $11 = FA+$ i i / D D-A $11 = A A 9 / D

13 13 $9 13 13 DÃˆ-A I or E b-A d I = FÃÂ+$ I/ DÃˆ-AÃ 1 or Eb-A #I 1 = AÃÂ / DÃ

13 99 13 E-A $11 = GA+$ i i / E ETA $11 = B A 9 / E

13 $9 13 F-A $1 i = GÃÂ+$ I / F F-A $11 = C A 9 /

13 $9 13 13 ~ Ã ˆ - A Ã § ~ i ~ b - A $11 = A A + Ã § i i FÃˆ- d1orGb-A $11 = C # A 9 /

13 D9 13 G - A $11 = AÃÂ+$i / G - A 811 = D A g / G

13 13 $9 13 13 i Ã ˆ - A i t or Ab'A $11 = BA+# i i / GÃˆ- $11 or Ab-A $1 1 = DÃÂ / GÃ

$9 13 A-A = CA+ $1 1 / A -A $11 = E A 9 / A

13 13 $9 13 13 M-A $1 1 or B b"A $1 I = C#A+~I 1 / AÃˆ-AI 1 or Bb-A $1 1 = F A 9 / A#

SUBSTITUTIONS

C-9 = G / C

13 C - A $1 1 = B-7 / C

13 13 CÃˆ-Ai 1 or Db-A $1 1 = C-7 / C#

13 D - A $1 1 = CÃ - / D

13 13 DÃˆ-A# 1 or E b-A $1 1 = D-7 / DÃ

13 E - A $11 = D#-7 / E

13 F - A $1 I= E-7 / F

13 13 FÃ - $1 1 or G b-A $1 1 = F-7 / FÃ

13 G-A $ I f = FÃˆ- / G

13 13 $11 o r A b - A # l l = G - 7 / G Ã

13 A - A i t i i = GÃˆ-7/

13 B - A or C b-A #ii = AH-7 / B

TIT TIT

TIT

HUB

NUMERIC ANALYSIS OF SCALES

ALT o 1 b2lt3 b4 b5 b6 b7 ENIGMATICMINOR 1 b2 b3 $4 5 96 7

LOCRIAN

MELODIC

DORIANÃˆ

LYDIAN AUG

MODE 5 1 92 3 4 b5 b6 7 MODE 6 1 b2 lt3 M t 5 b6 H7

1 1 1 1

LYDIAN b3

DOMINANTQ

LYDIAN AUG $2

LOCRIANH~

MODE 5 1 b2 3 4 b5 6 7 MODE 6 1 $2 3 4 45 96 7

b2

b2

1 1 1 1

HUNGARIAN MINOR

ORIENTAL

2

b2

b2 1 1

MELODICAUG

DORIAN t 2 ~ 4

LYDIAN AUG $3

b3 2 b 3

b3

2

b2

2

2

1 1 1

3

b3

$2

b3 2

b2 b3 b3

4 4

3

b3

4

$3

4 b 5

94

3 4

4

3

94 #4

5 5

9 4 5

94

b5

4

95

$5 5

b6

9 5 6

5

94 b5

6 6 6

6 6

$5 b6

5

b7 7

7

b7

b7

6

6 It7

b6

7

7

6 b 7

6

7

7

.

b7 7

NUMERIC ANALYSIS OF SCALES continued

1 1 1 1 1 1 1 1 1 1 1 1

MODE 2 1 1 1 I 1 # 2 1 3 1 4 l 1 5 1 I 186171

ALT ALT

PERSIAN

1 1

MODE 3

MODE 4

1 MAJOR PENT 1 1 1 1 2 1 1

MODE 6

MODE 7

MODE 4 I lb31 1 4 1 I 1 ~ 5 1 lb71 1

b2 b2

1 1

1 1

tt3

b2 b2

MODE 3

MODE 4

MODE 5

1 1 1 1 1 1 1 1 ~ 1 1 ~ 1

MODE 3 3 6 b7

b2

PBLOG

MODE 2

b4 3

H3

2 b3 5 b6

1 1 1

H3

1

1

MODE 4

MODE 5

MODE 6

4

b3

2

DOMINANTSUS

MODE 2

MODE 3

92

b2

1 1 1

MODE 4

MODE s

b5 b5

MODE 4

MODE 5

b4

b3

1 1 1

MODE 7

MODE 6

BEBOP LOCRIAN 42

3

2

b2

1 1

*6 1

94

MODE 3

MODE 4

3

2

2

1 1 1

4 4

b3 b3

$2

b2

b6 1 b 2 2

b2

5 5

1

1

4 4

MODE 6

MODE 7

b3

2 2 2

b5

b4

3

2 b 3 b3

tt7 b3

b6 b6

b2

b5

b5

7

1 4

4 4

3 4

7

b3 b3

H6

94

4 3 4

4 4

3

b7

21 '3 b3

5

b2 1 b 2 2 1945

5 5 5

7 3 4

4 4

95

5 5

b5

5

4

4 4

b6

2 5

b6

b5 b5

6 I47

1-6

95 b6

5 b 6

b6

94

b7

b5

6

b3 ------------- b6

7

6 b 7 b7

5

3

6 *7

6 b 7 b7

5

5

b7

6

7

7

b6 b6

7

b7

9 5 6 b6

5 b 6 6

5 b 6 6 b 7

b7

6

7 7

b7 b7 7

b7 7

NUMERIC ANALYSIS OF CHORDS

NUMERIC ANALYSIS OF CHORDS continued

POLYCHORD FORMULAS

NINTHS ELEVENTHS

ALTS

Asus21-5 fino5 fisus2 1'5 ALT = OR - 5 OR

3 3

M Rb5 O R - O R -

4 2 OR - b5 3 95

THIRTEENTHS

The keyboard grimoire a complete guide for the guitarist and keyboardist 1993

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Transcript of The keyboard grimoire a complete guide for the guitarist and keyboardist 1993