toaz

A Complete Guide for the Guitarist and Keyboardist
Produced by
i L w. ~ ~
for
65 Bleecker Street. New York, NY 10012
Copyright @ 1996 by Carl Fischer, Inc.
All Rights Assigned to Carl Fischer, LLC.
International Copyright Secured.
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Printed in the U S A
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
Ç .................................................... 146
A9 .................................................. 148
-A9 ................................................. 150
Ab9 ................................................ 152
-Ab9 ................................................ 154
AÈ ................................................. 156
ALT (b5 $9) .................................... 158
ALT (b5 b9) .................................... 160
ALT ($5 b9) .................................... 162
ALT ($5 È9 .................................... 164
6 NOTE CHORDS:
11 ....................................................
-1 1 ..................................................
$1 1 ..................................................
7 NOTE CHORDS:
13 .................................................... 182
-13 .................................................. 184
13#11 .............................................. 186
-13#11 ............................................. 188
A13 ................................................. 190
-A13 ................................................ 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 IV v VI VII
SCALEIMODE- CHORDCHART
V MIXOLYDIAN 7 9 11 13
VI AEOUAN 7 -0 11
VII LOCRUN
9
VII
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
Flat a minor - get a diminished
Sharp a major - get an augmented
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" ....................................................... (14 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
sonically, they are the s g. 10).
per and in theory, but
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).
1
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
b3
4
5
6
b7
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
2
3
4
5
6
7
1
2
3
4
5
6
7
1
b2
b3
4
5
b6
b7
fig. 14
For the IV mode, the 4 becomes the 1, the 5 becomes the 2, etc. (fig. 15).
1
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
3
$4
5
6
7
fig. 15
For the V mode, the 5 becomes the 1, the 6 becomes the 2, etc. (fig. 16)
1
2
3
4
5
6
7
1
2
3
4
5
6
7
1
2
3
4
5
6
b7
fig. 16
For the VI mode the 6 becomes the 1, the 7 becomes the 2, etc. (fig. 17).
1 2 b3 4 5 b6 b7 fig. 17
For the VII, mode, the 7 becomes the 1, the 1 becomes the 2, the 2 becomes the 3, etc. (fig. 18).
1
2
3
4
5
6
7
1
2
3
4
5 6 7
fig. 18
1
b2
b3
4
b5
b6
b7
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.

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).
NUMERIC SCALE / MODE CHART
I
I1
Ill
IV
v
VI
VII
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).
NUMERIC SCALE / MODE CHART
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
VII 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 ç-- 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 ç- 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).
MODE
c
GENERATOR CHART
The concept and principles behind The Quick
Mode Generator Chart are the same regardless
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 Mixolydian
(fig. 23). The Mixolydian is the V mode
of the Major scale.
0 1 DORIAN 1 -7 -9
m PHRYGIAN 7
IV LYDIAN A 111
V MIXOLYDUN 7 9 11 13
VII
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.
KEY
fig. 22
QUICK MODE GENERATOR CHART
MODE
I I1 I11 IV (^ VI 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
handed keyboard patterns. The key follows,
designated by column I of the Quick Mode
Generator Chart (fig. 24). The patterns do not
always start on the root note, because of the
keyboard's design.
PATTERN
KEY
MODE OEHEMTon CH*HT
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..: ....:........
:
the groups is based on a system we will call the ; 5i-i ; : . a
: : .:.;.,. .
'
. . . . F 1 ~b ~cÇ/D~ C 1 Bb 1 Ab [FI/Q<
.................................. ................................ J ....... J ....... J ........
"Rule Of Thumb" method.
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 +
THUMB-PATTERNS
I = Index finger
M = middle finger
R = ring finger, either hand
THUMB-PATTERNS
...........................................................................................................................................................................................................................
HOW TO CONNECT 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
PENTATONIC SCALE
FORMULA CHART
x x
x x
x x
The tones or numbers
left are "generic"
meanin the could be
either ? b t h.
Ex. b2 È $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.
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.
DIMINISHED SCALE FORMULAS
The X along with the numbers indicates tones to
be Played-
- The Augmented scale: * Is the most common of
ail scales listed.
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.
. The X along with the numbers indicates tones to be
played.
e scales Half-Whole Diminished: H IW &
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
. M (MAJOR)
c
HINDU - V MELODIC
QIANt3 - V HARMONIC MINOR
AN I2 -VI HARMONIC MINOR
HARMONIC MAJOR
. .- - . . .. ... . .. -
DOMINANT t2 -V HARMONGUANH
DOUBLED IARMONIC - V HUNGARIAN MINOR
'4 I6 I2 - 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
dim
qIQMATIC MODE Ill
'IIQMATIC MODE N
COMPOS~E I1
MPOSIE I1 MODE 111
.YDIAN 12 N IONIAN È
ONIAN 16 - II LOCRWH7
MINAKT 12 - VI LOCRIANU7
PERSIAN MODE I1
PENTATONIC - I1 MINOR PENTATONIC
AUGMENTED
PELOQMODE VI
DOMINANT BUS MODE Ill
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
Major
Chord
Major
7th
,
,
2
3
3
3
4
5
5
5
6
7
I
7
fig. 33
CHORD NAMING SYSTEM
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-
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
they represent, as they will be your best friends when dealing with chords.
DENOTES
STATUS OF
RESULT
NAME
EXAMPLE AND
FORMULA
same
b
b
extra b
MINOR
AUGMENTED
DIMINISHED
DELTA
DOMINANT
HALF-DIMINISHED
DIMINISHED 7TH

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
11 Si , 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 13" 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
delta augmented over the root at the flated 7th (fig. 39).
A+ fig. 39
Let's see what this chord represents (fig. 40):
1 13"' 1 1 1
t
ROOT
I I I I
fig. 40 A+ 1 3 )t 5 7
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
9
is a
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 11
t ROOT
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
fig. 42
ROOT I 2=9 #4=# 11 6=13
3
M
9
--
I I I
POLYCHORD FORMULA
The formula for polychords
is depicted in the chart, fig.
45. fig. 45
5
b 7
I I I
M 1 3 5 fig. 43 13Èl =- M fig. 44
0
1
^on7\,,
TONE
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
5 b7
9 $1 1 13
3
13
5

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
different polychord
formulas as shown in fig.
46.
Let's see what this translates
into when using
pitch.
Gg. 46
If C is the tone we place
the root of our formula on,
in this case the A9 , then
the tone of the synthesis
formula immediately
below would start on an E
and on a G. Therefore the
slashchords for the
formulas in fig. 47 would
be:
CA9 = E-7 1 C
CAg=G/C
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
All = -
I
I 1 I I
-b9
3 b 3 5 b 7 b9 = E-b9 / C
7
5
All = -
I I I I
1 3 5 b7 =Q7/C
0
A11 = -
I I I
b 3 b5 =BO/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
CAI3 = Ba / C
SLASHCHORD
POLYCHORD
0 I I t I
A13 = - 7 1 b3 b5 b 7
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).
IÑb3-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
~l3^1 you could play: C<' or CF or E-A or E- or G+
Anv one of the above mentioned chords will work over the ~ 13" (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
can use.
I
IONIAN
11 DORIAN
PHRYGIAN
SCALE1 MODE - CHORD CHART
Iv LYDIAN Z-\ 811
v MIXOLYDIAN 7 9 11 13
VI AEOLIAN -7 -9 -11
MI LOCRIAN 0
fig.53
Taking the Dorian, let's see how this works (fig. 54).
DORIAN
2
4 5 2
5 6
1 b3
6 b7 1 b3 4
b7
I fig. 54
I I I I A
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.
AEOLIA 1
2 b3 4 5 b6 b7 1 2 b3 4 5 b6 b7
1 fig. 55
I I I I
5 1 1 1 b7 1
The same chords ( 7 and 9 ) also fit
I I I I the Aeolian, fig. 55.
1 - 7 1 1 1 1 1 b3 1 1 1 1
However, the Minor 7¡ and the Minor 9"' (-7 and -9) do not work with the Locrian, but the halfdiminished
does (fig. 56).
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.
M (MAJOR CHORD) = 1 3 5
fig. 57
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.

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
11
1 st
Inversion
2nd
Inversion
"1
1
5 7 1 3
3rd
Inversion 7 1 3 5
fig.59
CA
The A chord inversions in the
key of C are demonstrated on the
keyboard in fig. 60 to the left.
1 st
Inversion
2nd
Inversion
3rd
Inversion
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
here
t end
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.

P
MAJOR
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS I 11 111 Iv v VI VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I I
I11
IV
SCALE 1 MODE - CHORD CHART
v
I
11
111
Iv
v
VI
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXOLYDIAN
AEOLIAN
LOCRIAN
M,A,A'
-7,-9
-7
A, A9, A"'
7, 9,11,13
7, 9, -11
VI
VII
NUMERIC SCALE 1 MODE CHART
1
I1
I11
Iv
V
VI
VII
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXOLYD
AEOLIAN
LOCRIAN
1 2 3 4 5 6 7 1 2 3 4 5
1 2 3 4 5 6 7 1 2 3 4 5
1 2 b3 4 5 6 b7
1 b2 b3 4 5 b6 b7
1 2 3
1 2 3 4 5 6 1-7
1 2 b3 4 5 b6
-
b 7
-
1 b2 b3 4 b5 b6
6
6
b7
7
24

MAJOR

DORIAN

BIT
PHRYGIAN

LYDIAN
II!

MIXOLYDIAN
TIT
TIT

AEOLIAN
sir
TIE
'BIT
TIE Ill

LOCRIAN
Ill
II!

KEYBOARD PATTERNS
I I1 Ill
A
VII
-
C#/D I
-
D
GUITAR
PATTERNS
I
BASS
PATTERNS
BIC b
I1
I11
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
BIC b
c
CW b
D
IV
v
VI
VII
Ill
IV
V
VI
I
LYD AUG
NUMERIC SCALE I MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
LYD DOM
-----
HINDU
LOCRIAN b2
SUPERLOC
1 2
3
1
$4
3
----
2
1
È
$4
3
2
1
6 7
5
4
b3
b2
----------
6
--
5
4
b3
1-7
b6
b5
b4
b 7
-
b 6 b 7
L
b5 b6 b7

TIT
MELODIC MINOR
TIT
I I (Dl l@l@I@l I l(D1 1@10l@

KEYBOARD PATTERNS
I I1 111 IV V VI VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I I
I11
IV
SCALE / MODE - CHORD CHART
1 1 I HARMONIC MINOR 1 -A, 96 1
1 IV 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
v
VI
VII
NUMERIC SCALE / MODE CHART
v
VI
VII
-
PHRYG. $3
LYDIAN 32 I 92 3
ALT ~7 1 b2 b3 b4 b5 b6 1 È 1
I

HARMONIC MINOR

KEYBOARD PATTERNS
I Ill IV v
GUITAR
PATTERNS
BASS
PATTERNS
IV
SCALE / MODE - CHORD CHART
1 1 HARMONIC MAJOR 1 A, A+, Asus2, ASUS, b6
Iv 1
DORIAN b5
LYDIAN b3
V 1 DOMINANT b2
VI
LYDIAN
AUGMENTED $2
A+, -A+. Ab5
VII LOCRIAN *7 0 . O 7
v
VI
VII
NUMERIC SCALE / MODE CHART
I
I1
I11
IV
v
VI
VII
1 2 3 4 5 6 7 1 2 3 4 5 6 /
36

HARMONIC MAJOR
TIT
TIT

KEYBOARD PATTERNS
I I1 VII
-
:#ID b
GUITAR
PATTERNS
I
BASS
PATTERNS
I I
I11
IV
SCALE / MODE - CHORD CHART
HUNGARIAN MINOR I
v
ORIENTAL
IONIAN
AUGMENTED $2
LOCRIAN È È 1
DOUBLE HARMONIC I
I
L A N 6 2
I
7, -7, f , yb5, A, -A, A', Ab5
ALT 1)5 È
V I
VII
NUMERIC SCALE / MODE CHART
6

HUNGARIAN MINOR
TIT
TIT

GUITAR
PATTERNS
BASS
PATTERNS
I
I1
I11
IV
SCALE 1 MODE - CHORD CHART
v
ALT H6 H7
ALT h6
MELODIC
1 1 AUGMENTED
I VI I DORIAN b2 $4 I
LYDIAN
I 'I1 I AUGMENTEDtK3 I A*' ' (NO 35)
VI
VII
1
I]
111
IV
V
VI
HUNGAR
MAJOR
A L T 17 ~ ~
LOCRIAN
112 117
ALT&
MELODIC
AUG
DORIAN
t2 34
LYDIAN
AUG $3
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 $2 3 $4 5 6 b7 1 $2 3 $4 5 6 b7
1 b2 b3 b4 b5 b6 7
1 2 b3 4 b5 b6 7
1 b2 b3 b4 b5 6 b7
1 2 b3 4 85 6 7
-
1 b2 b3 84 5 6 b7
-------
1
2
S3
$4
$5 6 7
40

HUNGARIAN MAJOR
TIT

KEYBOARD PATTERNS
I I1 111 IV v VI
VII
;</Dbl
GUITAR
PATTERNS
I
BASS
PATTERNS
I I
FÈIG F Eb CÈIDbBlC Bb
G FVGb E D c BICb
I11
Ab G F Eb CÈID C
IV
SCALE / MODE - CHORD CHART
v
I
I11 1
DOMINANT
AUGMENTED
LYDIAN 96 1 (A,
I
7, Ab5, 7b5)sus4, 9, $1 1
7+sus, 7+sus2
VI
1 v 1 LOCRIAN O 1
VI
IONIAN 92
A, ASUS, -A, 6, -6
VII
1
1
111
IV
V
VI
VI
NEAPOL
MINOR
LYDIAN
$6
DOMINANT
AUG
HUNGAR
GYPSY
LOCRIAN
13
IONIAN $2
ALTÈ ~7
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 b2
1
b3
2
4
3
1 2
1
5 b6 7 1 b2 b3 4
$4 5 96 7
3 4 $5 6 b7
2
1
b3
b2
1
$4
3
È
1
5
4
3
b2
b6
b5
4
H3
b7
1'6
5
b4
b7
6
b5
5 b6 7
7
b6 È

NEAPOLITAN MINOR
BIB

KEYBOARD PATTERNS
I I1 111 IV v VI VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I I
I11
IV
SCALE / MODE - CHORD CHART
v
1 1 LYDIAN DOMINANT 1
AUGMENTED
1 IV 1 LYDIAN MINOR 1 7, 7*, 7b5,
1 V 1
MAJOR LOCRIAN 1
ALT h2
ALT H3
7sus2, 9, $1 1, b13
V I
VII
1
11
111
1V
VI
VI
LYDIAN
AUG $6
LYD TOM
AUG
LYDIAN
MINOR
MAJOR
LOCRIAN
ALT12
ALT ts
NUMERIC SCALE 1 MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6
1lb2
b 3 4 5 6 7 1 b2 b3 4 5 6 7
1
----------
2 3 94 95 96 7
1 2 3 94 95 6 b7
1 2 3 04 5
1 2 3 4
1 2
1
b3
b2
b6
b5
b4
---
b 7
b6 b7
b5 b6 b7
H3 b4 b5 b6 1
b7 1

NEAPOLITAN MAJOR

VII
;#ID b
D
Eb
E
F
GUITAR
PATTERNS
BASS
PATTERNS
D BlCb Bb G
Eb C BICb Ab
^/G b
G
Ab
A
I 1 I ENIGMATIC MINOR
MODE 2
SCALE / MODE - CHORD CHART
MODE 3
I Iv I MODE 4
sus, 6, -6
MODE 5
MODE 6
MODE 7
Bb
BIC b
c
SUS~ (NO 5) 1
I V
v
VI
VII
NUMERIC SCALE / MODE CHART
1
I1
111
ENIGMATIC
MINOR
MODE^
MODE 3
1 2 3 4 5 6 7 1 2 3 4 5
j b2 b3 84 5 86 7 1 b2 b3 84 5
1 2 83 84 ~5 86 7
1 82 3 x4 85 6 b7
86
7
IV
V
MODE^
MODE^
1
b2
1
3
È
4
3
b5
4
H6
b5
È
b6
7
VI
VII
MODE%
MODE^
1
b2
1
È
b2
È
H>3
H5
b4
b6
5
H7
b6
7

ENIGMATIC MINOR
TIT
TIT

ENIGMATIC
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I1 I11 IV V VI VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I1
F E C#/Db B/Cb A G F#/Gb
F#/GbF D C Bb Ab G
G F#/Gb Eb C#/DbB/Cb A Ab
I11
A b G E D C B b A
IV
SCALE / MODE - CHORD CHART
v
V I
VII
NUMERIC SCALE / MODE CHART

ENIGMATIC
TIT
TIT
TIT
TIT

COMPOSITE 11
KEYBOARD PATTERNS
I I I I , , I I ,I ,I I I i l l 1 I
QUICK MODE GENERATOR CHART
VI VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I I
I11
IV
SCALE / MODE - CHORD CHART
v
MODE 2
VI
I v I MODE 5
VI
VII
MODE 6
MODE 7
A+, -A+
SUS~, SUS~
VII
NUMERIC SCALE I MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
I COMPOSII 1 b2 3 $4 5 b6 7 1 b2 3 $4 5 b6 7
11 MODE2 1 92 $3 $4 5 96 7
111 MODE 3
--
2 b3 b4 5 b6 *7
--------
IV MODE^ 1 b2 b3 4 b5 H6 b7
V MODE^
1 b2 3 4 b5 6 7
-
VI MODE6
1 92 3 4
# 5 $6 7
VII MODE^
1 b2 È 4 5 b6 b7

COMPOSITE I1

IONIAN b5

LOCRIAN U'
QUICK MODE GENERATOR CHART
VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I1
I11
IV
SCALE / MODE - CHORD CHART
I LOCRIAN ll7 AO, -A+
11 IONIAN 96 A, 7, AsUs2, 7^s2, 9, 1 1
111 DORIAN AUG SUS~+
1 IV I PHYRGIAN $4 1 0 , -7 1
ALTALT 1 6
v
V I
VII
I1
111
[V
V
VI
VI
IONIAN 86
DORIAN
AUG
PHRYGIAN
$4
LYDIAN $3
--
DOMINANT
$2
ALTALT
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5
b3 4 b5 b6 7 1 b2 b3 4 b5 b6
1
2 3 4 5 $6 7
4 (85 6 b7
1 L b--------
3
1 b2 b3 84 5 1-6
-
-
1 2 83 $4 5 6
7----
1
5
1 b2 ?3 b4
7
-- -
6
b5
b7
?6 tt 7
6
7
---

LOCRIAN h7
TIT
Ill
TIT

PERSIAN
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I1 I11 IV v VI VII
GUITAR
PATTERNS
BASS
PATTERNS
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
SCALE / MODE - CHORD CHART
1 1 I PERSIAN 1 b5, Ab5 1
1 11 1 MODE 2 1 A, 7, -7, $9, 11 ~
v
VI
MODE 5
MODE 6
SUS~, SUS, Asus2, Asus
+ ,7+
1 V1l 1 MODE 7 1 sus2, sus I
v
VI
VII
I
11
111
IV
V
VI
PERSIAN
MODE2
MODE 3
MODE^
MODE5
MODE6
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 I,? 3 4 b5 b6 7
1 $2 3 4 5
1 b2
1
H3
b2
1
b4
b3
2
1
$6
5
1 b2 3 4 b5 b6 7
7
b6 *7
$4 5 b6 7
$3 È 5 $6 7
#2 3 4 $5 6 b7

PERSIAN
BIB

GUITAR
PATTERNS
BASS
PATTERNS
KEYBOARD PATTERNS
I
11
111
Iv
SCALE / MODE - CHORD CHART
MINOR PENTATONIC
MAJOR PENTATONIC
MODE 3
MODE 4
MODE 5
- 7
SUS~, M, 6
SUS~, SUS
Q3
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.
NUMERIC SCALE 1 MODE CHART

MINOR PENTATONIC
TIT
TIT
TIT

KUMOI
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I1 Ill IV v
GUITAR
PATTERNS
BASS
PATTERNS
1 1 KUMOI
I
I1 1 MODE 2
1 1~~1 MODE 3
SCALE / MODE - CHORD CHART
MODE 4
I
- , -6, sus2
sus, 7sUs
sus2, sus
The Kumoi can be used in place of the
Melodic. IV mode of the Harmonic Maior.
as wellas any scale that contains the
same notes as the Kumoi.
MODE 5
I
I1
I11
IV
V MODES 1
NUMERIC SCALE 1 MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7

KUMOI
TIT
urn
TIT

HIROJOSHI
KEYBOARD PATTERNS
QUICK MODE GENERATOR CHART
I I1 I11 IV v
GUITAR
PATTERNS
BASS
PATTERNS
I
SCALE / MODE - CHORD CHART
HIROJOSHI
, 36
11 1 MODE 2
Q3
The Hirojoshi can be used in place of
the Harmonic Minor and the Hungarian
Minor, as well as any scale that contains
those tones.
I IV I
MODE4 I SUS
I
v
MODE 5
A, Ab5
1
11
Ill
IV
V
HIROJOSHI
MODE^
MODE 3
MODE^
MODE5
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 2 b3
5 b6
1 2 b3
5 b6
1 b2
4 b5
b7
1
6
--
1 b2 4
---
----
1 3
7
5 b6
------
$4 5

HIROJOSHI
Ill
Ill
(Dl
I

WHOLE TONE
QUICK MODE GENERATOR CHART
GUITAR
PATTERN
BASS
PATTERN
Ab FÈ/G E
A G F
Bb Ab FÈIG
BICb A G SYMMETRICAL
PATTERN
REPEATS
BIC b
SCALE / MODE - CHORD CHART
WHOLE TONE
WHOLE TONE
WHOLE TONE +
Due to the symmetrical nature
of the Whole Tone scale, it has
no modes.
It 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 VI 1 WHOLETONE 1
1
11
111
IV
v
VI
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 2 3 #4
)t 6
)Ã 5
1 2 3 $4 $5 96
1 2 3
1 2
1
JÈ à 5
3 $4
2 3
1 2
$6
JÃ 5 Ã 6
JÈ $5 $6
3 $4 $5 96

WHOLE TONE
"Il TIT
w
TIT
@@@@
"Il

AUGMENTED
QUICK MODE GENERATOR CHART
GUITAR
PATTERNS
BASS
PATTERNS
SYMMETRICAL
PATTERNS
REPEAT
1,2,1,2 ETC.
SYliimerfHGAi.
PATTERNS
REPEAT
1.2,1.2 ETC.
SCALE / MODE - CHORD 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
The Augmented scale is
symmetrical, it has only 2
modes.
Also, there are only 4
fingering patterns which
repeat:
C=E=Ab
C#/Db = F = A
D = F#/Gb = Bb
Eb=G=B
I
1
ffl
IV
V
VI
AUG
MODE^
AUG
MODE2
AUG
MODE^
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 tt2 3 5 1'6 7
1 b2 3 4 $5 6
1 $2 3 5 b6 7
1 92 3 5 b6 7
1 b2 3 4 #5 6

AUGMENTED
TIT
TIT
TIT
TIT
TIT

PELoG
QUICK MODE GENERATOR CHART
GUITAR
PATTERNS
BASS
PATTERNS
SCALE / MODE - CHORD CHART
PELOG 36, b6, -
I
11 I MODE 2 -A, - , SUS~, A0
I
MODE 3
Iv I MODE 4
v
VI
MODE 5
MODE 6
I
A+
11
A, 1'6, sus
I
11 .
Ill
IV
V
VI
PELOG
MODE2
MODE 3
MODE4
MODE^
MODE^
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 b2 b3 b4 5 b6
1 2 b3 04 5
7
-
1 b2 3 4
6 b7
1 02 3
05 6 7
--
1 b2
4 b5 b6 b7
1
3
4
5
b6
7
68

PELOG
BIB
TIT
TIE
TIT
TIT

DOMINANT SUS
QUICK MODE GENERATOR CHART
Ill IV v VI
GUITAR
PATTERNS
BASS
PATTERNS
SCALE / MODE - CHORD CHART
1 1 1 DOMINANTSUS 1 SUS~,
11
111
Iv
v
VI
MODE 2
MODE 3
MODE 4
MODE 5
MODE 6
SUS, Q3,9 1
36, -7, sus, Q3, 11
6, SUS~ , SUS, 9,11, 13
-7, SUS~, SUS, 9, #9, 11
Q3, b9,09, 11, b13
6, A, sus2,9,13
1
11
I11
IV
V
VI
DOMINANT
sus
MODE^
MODE 3
MODE^
MODE^
MODE6
NUMERIC SCALE 1 MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 2 4 5 6
1 b3 4 5
1 2 3
1 2
1
b7
b6
4
b3
b2
b7
5
4
b3
6
5
4
b7
b6 b7:
1 2 3
5 6 7

DOMINANT SUS
TIT

DIMINISHED
KEYBOARD PATTERNS
I I1 I11 IV
QUICK MODE GENERATOR CHART
v VI VII VIII
GUITAR
PATTERNS
C B b A G
SYMMETRICAL
PATTERNS
REPEAT
1,2.1,2 ETC.
2ÈIDbBlC Bb Ab
D C BICb A
Eb CÈID C Bb
BASS
PATTERNS
E
D C#/Db B/Cl
SCALE I MODE - CHORD CHART
1 ^ 1 DIMINISHED
11
WHOLE - HALF
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
WHOLE - HALF
r vll DIMINISHED 1
1 VIII 1 HALF - WHOLE
DIMINISHED
*,O , -7,O7
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, FÈI b, and A have
the same fingering patterns.
NUMERIC SCALE I MODE CHART
SYMMETRICAL
PATTERNS
REPEAT
1,2,1,2 ETC.

Ill
WHOLE - HALF DIMINISHED

8 TONE SPANISH QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS I 11 111 Iv 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
GUITAR
PATTERNS
I
I1
BASS
PATTCTHB
I11
IV
MODE 2
MODE 3
SCALE / MODE - CHORD CHART
v
VI
IV I
MODE 4
VI
VII
1 VIII 1
8-TONE
SPANISH
MODE 2
MODE 3
MODE 4
MODE 5
MODE 6
MODE 7
MODE 8
I
MODE 5
MODE 6
MODE 7
7,A, 6,9, $11, 13
7, b6,9, 11, 1'13, 13
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 b2 b3 3 4 b5 b6 b7
1 2 b 3 3 4 5 6 7
1 b2 2 b3 4 5 6 b7
1 b2 2 3 S 4 $5 6 7
- 1 b2 b3 4 5 b6 b7 7
1 2 3 $4 5 6 b7 7
1 2 3 4 5 b6 6 b7
1 2 b3 4 b5 5 b6 b7
-,
VII
VIII

TONE SPANISH
c
Ctf / Db
TIT

VII
VIII
GUITAR
PATTERNS
BASS
PATTERNS
I
I1
I11
I
-
11
111
J v
v
VI
1 VIII 1
SCALE / MODE - CHORD CHART
BEBOP LOCRIAN h2 AO,@, '9, b13
MODE 2
MODE 3
MODE 4
MODE 5
MODE 6
MODE 7
MODE 8
b9, $9, $1 133, 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
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4
BEBOP
I LOCRIAN~~ 1 2 b3 4 b5 b6 b7 7
I1 MODE^
1 b2 b3 3 $4 $5 6 b7
111 MODE 3
1 2 b3 4 5 b6 6 7
IV MODE^
1 b2 b3 4 b5 5 6 b7
V MODES
1 2 3 4 b5 b6 6 7
VI MODE^
1 2 b3 3 tÈ 5 6
VII MODE^
5
--
VIII MODE8 1 b2 b3 3 94-
-
b7
b6
5
--
IV
v
VI
VII
VIII
-
b7
6 7

BEBOP LOCRIAN h2
TIT
Ill
TIT

BEBOP DOMINANT
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I1 I11 IV v VI VII VIII
GUITAR
PATTERNS
BASS
PATTERNS
SCALE / MODE - CHORD CHART
1 1 I BEBOP DOMINANT 1 A, 6,7, SUS~, SUS, 9,11,13
1 1 1 BEBOPMINOR
BEBOP LOCRIAN
ADD 5 1
36, -6, -7, sus2, sus, 9, $9,-11, bl3, 13 1
VI
v
VI
VII
1 VIII 1
MODE 5
MODE 6
MODE 7
MODE 8
-6, 6, -7, 7, SUS~, SUS, 9, $9, 11, 13
-6, -7, sus2, sus, b9, 9, 11, b13
A, Ab5, 6, SUS~, b9,9
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 - -
2 3 4 5
11 E,!g[ 11 2 b3 4
BEBOP
111 LOC add 5 1 b2 b3 4 b5 5 b6
IV MODE^ 1 2 3 4 1 ' 5 5 6 7
 .
V MODE5 1 2 b 3 3 4 5 6
b71 1
VI MODE% 1 b2 2 b3 4 5 b6 b7
VII
V111
MODE^
MODE 8
I
b22
1
b2
3
b3
#4
4
5
b5
6
b6
VII
VIII
7 1 1
b7 7

BEBOP DOMINANT

BEBOP DORIAN
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I1 I11 IV v VI VII VIII
GUITAR
PATTERNS
BASS
PATTERNS
I
I1
I11
IV
v
SCALE / MODE - CHORD CHART
1 1 1 BEBOP DORIAN 1
1 111 I MODE 3 1 A, b6,9, <h 1, b13, 13 I
VI
VII
I
I1
Ill
IV
v
VI
VII
VIII
1 VIII 1 MODES 1 o,a, b9, $9, $11, b13 1
MODE 6
MODE 7
MODE 8
NUMERIC SCALE / MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
1 b2
1
2
b2
1
b3
2
b2
4
3
b3
b5
4
3
b6
5
$4
b 7
6
$5
VIII
7
6 , 7

BEBOP DORIAN
TIT

BEBOP MAJOR
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS I 11 111 Iv v VI VII VIII
GUITAR
PATTERBS
BASS
PATTERNS
I
I I
I11
I 1 I BEBOP MAJOR
1 I1 1 MODE 2
A G F E D C#/Db c Bb
Bb Ab FtfIGb F Eb D CÈIDbBlC
BICb A G FÈIG E Eb D C
SCALE I MODE - CHORD CHART
IV
v
VI
MODE 4
MODE 5
1 v1 I MODE 6
1 V1l I MODE 7
VIII 1 MODE 8
NUMERIC SCALE I MODE CHART
VII
VIII
6

BEBOP MAJOR

M (MAJOR CHORD)
LYDIAN DOMINANT = IV MELODIC
1
2
3
$4 5
6 b7
HINDU = V MELODIC
1
2
3
4
5
b6
b7
PHRYGIAN h3 = V HARMONIC MINOR
1 b2
3
4
5
b6
b7

M (MAJOR)
^K
TIT

- (MINOR)
DORIAN = I1 MAJOR 111
PHRYGIAN = III MAJOR
AEOLIAN = VI MAJOR 1 11
MELODIC

- (MINOR)

LYDIAN b3 = IV HARMONIC MAJOR
sus2 (SUSPENDED 2)

# -
SUS (SUSPENDED FOURTH)
PHRYGIAN = I11 MAJOR
ENIGMATIC MODE IV 1 I I2 I I3 I 4 Ib5~6I I Ib7I I
ENIGMATIC MODE VII
1 b2 b3 4 5 6 7
COMPOSITE I1 MODE I1 1 # 2 $3
COMPOSITE I1 MODE IV 1 b2 b3 4
COMPOSITE I1 MODE VII 1 b2 b3 4
PHRYGIAN b3 =I11 IONIAN b5 1 Ib2Ib3I I I4
1 LYDIAN $3 = V LOCRIAN 17
DOMINANT $2 = VI LOCRIAN 17 1 #2 3 4
- -
PERSIAN MODE I1 1 $2 3 4
PERSIAN MODE V
PERSIAN MODE VII 4 b5 b6 b7

m
TIT
m

b5 (PLATED FIFTH)

O (DIMINISHED)

(DIMINISHED)

1 ALT k3 b7 = VII NEAPOLITAN MINOR
+ (AUGMENTED)

+ (AUGMENTED)

b6 (FLATED SIXTH)
HARMONIC MAJOR
1
1
PHRYGIAN b4 = HI HARMONIC MAJOR
DOUBLE HARMONIC-V HUNGARIAN MINOR I 1 1 b2 1 1 1 3
ALT h5 b7 = VII HUNGARIAN MINOR
LYDIAN MINOR = IV NEAPOLITAN MAJOR I 1 1 1 2 1 1 3
ENIGMATIC MINOR MODE III
ENIGMATIC MINOR MODE VII
ENIGMATIC MODE III
COMPOSITE II
1 COMPOSITE II MODE I11
1 PERSIAN MODE 111
1 AUGMENTED

mar
m
TIT
rn

36 (MINOR FLATED SIXTH)

Ill

BEBOP MAJOR MODE IV
6 (MAJOR SIXTH)

TIT

-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 b6

7b5 (DOMINANT FLAT 5)
3 b7
BEBOP DORIAN MODE IV

(HALF-DIMINISHED)
8 TONE SPANISH MODE VIII
BEBOP LOCRIAN 12
1 2 b3 4 b5 5 b6 b 7
BEBOP MAJOR MODE VIII

(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 VI
8 TONE SPANISH MODE 11 11
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 \S231
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 Ii2314
PERSIAN MODE IV 1 b2 b3
AUGMENTED 1 $2 3
PELOG MODE 11 1 1 12b31 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 È 5 6 7
HUNGARIAN MINOR 1 2 b3 È 5 b6 7
LYDIAN $6 = I1 NEAPOLITAN MINOR 11 I 12 I I3 1 lÈ4 5 1 1 lÈ6 7
, , , I
ENIGMATIC MINOR MODE VII 1 b2 H3 b4 5 b6 7
ENIGMATIC MODE VLI 1 b2 È 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

Ill

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
à 5
$5
6
6
6
b7
È
7
7
7
7
7

Iff
^

A+ (DELTA AUGMENTED)
LYDIAN AUGMENTED = III MELODIC 1 i'
IONIAN $5 = III HARMONIC MINOR 1
HARMONIC MAJOR 1
1 LYDIAN AUGMENTED È = 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 11
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 I1
BEBOP MAJOR MODE VI 1

Ill TIT
mat

-A+(MINOR DELTA AUGMENTED)

TIT
TIT
air
Ill
lir 15 BIB
7 3
Iff!
TIT

= G-/C
= GWCS
= A-ID
= AS - / D#
= B-/E
= C-IF
= C# - / F#
= D-/G
= D9-/G#
= E-/A
= F- /A#
= F#-/B
SUBSTITUTIONS
SUBSTITUTIONS
C7 = EO/C C^ = Bb/C
C#7 or Db7 = FO/C# C#11 or Dbl1 = B/C#
D7 = F#O/D Dl1 = C/D
D#7 or Eb7 = Go / Dà DÈ1 or Eb11 = C# / D#
E7 = GV/E E" = DIE
F7 = AO / F F11 = D# / F
FÈ or Gb7 = A#' / F# FÈ1 or GUl = E/F#
G7 = BO/G GI1 = FIG
G#7 or Ab7 = C0 / GÃ G#11 or Ab11 = F#/G#
A7 = CÈ0/ AH = G/A
A#7 or Bb7 = DO/A# AÈ1 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
CÈ- or Db-9 = EA / Cà CÈ- or Db-9 = G#- 1 CÃ
D-9 = FA/ D D-9 = A- / D
DÈ- or Eb-9 = F#A / D# DÈ- or Eb-9 = A#- / DÃ
E-9 = GA/ E E-9 = B- / E
F-9 = GÈA/ F-9 = C- / F
FÈ- or Gb-9 = AA / Fà Fit-9 or Gb-9 = CÈ / Fit
G-9 = AÈAI G-9 = D- /G
GÈ- or Ab-9 = BA/ Gà GS-9 or Ab-9 = D#- / GÃ
A-9 = CA/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 = DA / 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
DÈ- or Eb-7 = Fà / Dà DÈ-1 or Eb-11 = Cà / Dit
E-7 = G/E E-11 = DIE
F-7 = Gà I F F-11 = DÈ/
FÈ- or Gb-7 = A / Fit FÈ-1 or Gb-11 = E/F#
G*7 = A4 /G G-11 = FIG
Gf-7 or Ab-7 = B / Gà GÈ-1 or Ab-11 = Fà /G#
A-7 = CIA A-11 = G/A
AÈ- or Bb-7 = Cà /A# A#-11 or Bb-11 = G# / AÃ
B-7 or Cb-7 = D/B B-11 or 0-11 = A/B

- .. --
SUBSTITUTIONS

,
SUBSTITUTIONS
C7 = EO/C
C#70r Db7 = FO/C#
D7 = F#O ID
D#7 or Eb7 = Go / D#
E7 = G#O /E
F7 = A0 / F
F#7 or Gb7 = A#'/ F#
G7 = BO/G
G#7 or Ab7 = Co / G#
A7 = C#O /A
#7 or Bb7 = DO/A#
B7 or Cb7 = D#O/B

CA9 = EV7/C CA9 = G/C
CÈA or DbA9 = F-7 / C# C#A9 or DbA9 = G# / C#
DA9 = F#-7 / D DA9 = AID
DÈA or EbA9 = (3-7 / DS DÈA 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 = DIG
GSA9 or AbA9 = C-7 / G# G# A9 or AbA9 = D# / G#
AA9 = C#-71A AA9 = E/A
ASA9 or BbA9 = D-7 / A# AÈAgo BbA9 = F/A#
BA9 or CbA9
= D#-7 / B BA9 or CbA9 = Fit / 6
CA = E-/C CAI1 = Bb/C
C#A or DbA = F- / C# CXA-ll or DbAH = B / C#
DA = F#- / D DA11 = C/D
D#A or EbA = G- / D#
EA = Gf-/ E
FA = A-/F
FÈ or GbA = A#- / F#
GA = B-/G
EA1-1 = Dl E
FA11 = D#/F
FBA-1-1 or GbA-11 = E/F#
GAl1 = FIG
GÈ or AbA = C-/G# GttA-11 or AbA-11 = F# / G#
AA = CÈ-/ AA11 = G/A
AÈ or BbA = D- / A# ASA1-1 or BbAll = G# /A#
BA or CbA = DÈ-/
BAA1 or CbAH = A/B

G-A9
= DIG
SUBSTITUTIONS
SUBSTITUTIONS

SUBSTITUTIONS
C11È =
C# 11*9 or Db llÈ =
Dl189 =
D# l lç or Eb llÈ =
E11ç =
F11È =
F#11È or Gb11È =
GI189 =
G#11^ or Ab11È =
A11ç =
A# 11È or Bb l l à ˆ =
Bll~g or Cb 1 l*9 =

Ill

ALT (b5 $9)

ALT (b5 $9)
TIT
TIT

ALT (b5 b9)
SUBSTITUTIONS
cALT = ~6b5 c
C#ALT or D bALT = F6b5 / C)t
DALT = ~#6b5 / D
D#ALT or EbALT = ~6b5 / D#
EALT
F#ALT or G bALT
= ~#6^5 / E
FALT = ~6b5 / F
= ~#6b5 / p#
GALT = ~6b5 / G
Q#ALT or AbALT = ~6b5 / G#
AALT = ~#6^5 /A
A#ALT or BbALT = ~6b5 / A#
BALT or C bALT = ~$61-5 / B

ALT (b5 b9)
TIT
TIT
Ill
'SIT
TIT
TIT

ALT (È b9)
SUBSTITUTIONS
SUBSTITUTIONS
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)
ALT = -
I 3
I I I
Ab5
sus2
ALT = -
3 b5 7
I I I
I
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
DÈ- 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 = CIA
A#-7 or Bb-7 = C#/A#
B-7 or Cb-7 = D/B
SUBSTITUTIONS
C-9 = G-/C

sir
TIT TIT TIT
Tit

C
BIB
RIB
Ctf I Db TIT TIT
TIT
TIT

C-# 1 1 = E bAÈ / C C-$11 = G-A/ C C-S11 = Bb+ / C
C#-$11 or Db-$11 = EAN/
#-#I1 or Db-$11 = B+ /C#
D311 = FA#9 / D D311 = A-AID D-È1 = C+ / D
D#-#I1 or Eb-#I1 = F#A#9 / D DÈ-#I or Eb-$11 = AS-A/ 8-411 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#AÈ / F
F311 = D#+ / F
F#-$11 or Gb-$11 = AAç9 F#-$11 or Gb-#I1 = E+ I F#
G-# 1 1 = A#A^ / G
GiÈ-$1 or Ab-$11 = BAg9 / G
G-$11 = F+/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 = CÈAà / 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
"IT
TIT

CAI1 = BO/C
#A11 or DbA-11 = CO/C#
DA-11 = Fit-1.9 1 D
DA11 = C)tO/D
DKA11 or EbA11 = DO/D#
EA11 = G#-b9 / E
FA11 = A-b9/F
EA-11 = DÈ 1 E
FA11 = EO/F
FÈA-1 or G bA11 = Fo / FÃ
GA11 = B-b9 / G GA-11 = D7/G GAIA = F#O / G
AA11 = E7/A
AA11 = GÈO/
AXA11 or B bA11 = AO / A#
BA11 or CbAll = D#-b9/B BA11 or CbAll = F#7/B BAA1 or CbAll = A#O/B
CA = E-/C CA9 = G/C
CÈ or DbA = F- / C# CSA9 or DbA9 = G# / C#
DA = F#- / D DA9 = AID
DÈ or EbA = G-ID# D#A9 or EbA9 = A# / DÃ
EA
FA
= G<f-1 E EA9 = B/E
= Am/ F
FA9 = C/F
FÈ or GbA = A#- / F# F4A9 or GbA9 = Cà / FÃ
GA = B-/G GA9 = DIG
GÈ or AbA = C- /Gà GÈA or AbA9 = D# 1 GÃ
AA = C#-/A AA9 = E/A
AÈ or BbA = D- / A# AÈA or BbA9 = F / A#
BA or CbA = DÈ-/ BA9 or CbA9 = F# / B

TI-

SUBSTITUTIONS

TIT TIE
SIT
TIT

CAÈ1 = GA/
CtAÈ1 or D bA^ll = GÈ /
DAu11 = AA/D
CA" 1 = B- / C
CÈAà 1 or DbAsll = C- / CÃ
DA^l = C#-ID
D#A#ll or EbA'll = AKA/ D# ÈAÈ or EbAu 1 = D- / D#
EAu11 = BA / E
EAUl 1 = DÈ / E
FA'll = CAIF
FAÈl = E-/ F
F#Aull or G bAu11 = CSA / F
GAÈ1 = DA/G
G#AÈl or AbAÈl = DÈ / G
AAu11 = EAIA
AÈA 1 or BbA^ 1 = FA / A#
GA^ 1 = FÈ / G
GÈAÈ or AbAÈ = G- / GS
Mu11 = G#-/A
AÈAÈ or B bAU11 = A- / AX
BAÈ1 or CbA-11 = A#-/ B
I
SUBSTITUTIONS
I I
SUBSTITUTIONS
CA
CÈ or DbA
DA
DÈ or EbA
EA
FA
FÈ or GbA
GA
GÈ or AbA
AA
AÈ 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
F-A
= G/E
= G#/F
F#-A or Gb-A = A / F#
G-A
= A#/G
GK-A or Ab-A = B / G#
A-A
= CIA

TIT
Tar
TIT
TIT
"mar

C13 = E011b9/C C13 = G-9 I C C13 = BbA/C
C#13 or Dbl3 = F011b9 / C# C#l3 or Dbl3 = G#-9 / C C#13 or Db13 = BA/C#
Dl3 = F#"11'-9/D D13 = A-9/D D13 = CAI 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 = DAIE
F13 = A011b9/F F13 = C-9 / F F13 = D#A/ F
F#13 or Gb13 = A#011b9 / F# FÈ1 or Gbl3 = C#-9 / F# F#l3 or Gb13 = EA/F#
G13 = BO1l^/G GI3 = D-9 /G G13 = FA/ G
G#13 or Abl3 = COl 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 = GAIA
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 = AA/B
SUBSTITUTIONS
C9 = G-/C C11 = Bb/C
C#9 or Db9 = G#-/C# CÈl or Dbll = B/C#
D9 = A-ID Dl1 = C / D
D#9 or Eb9 = A#- / D# D#ll or Ebl1 = C# / D#
E9 = B- / E Ell = D / E
F9 = C-IF F11 = D#/F
F#9 or Gb9 = C#- / Ftt F#ll or Gbl1 = E / F#
G9 = D-/G GI1 = FIG
G#9 or Ab9 = D#- / G# GÈI or AH1 = F# / G#
A9 = E-/A All = G/A
AÈ or Bb9 = F- /A# A#ll or Bbl1 = G#/A#
B9 or Cb9 = F#-/B

C-13 = BbAlC
C#-13 or Db-13 = BAIC#
D-13 = CAID
D#-13 or Eb-13 = C#A I D#
E-13 = DAIE
F-13 = D#AlF
A-13 = E-9lA rl A-13 = GAIA
SUBSTITUTIONS
G- I C
G#- I C#
A- 1 D
A#- I D#
B- I E
c- 1 F
C#- I F#
D-IG
D#- I G#
E- /A
F- I A#
F#- I B
1 :I SUBSTITUTIONS
BblC
BlC#
CID
C# I D#
DIE
D# I F
E I F#
FIG
F# I G#
GIA
G# I A#
AIB

t
SUBSTITUTIONS
G-IC
G# - lC#
AID
A# I D#
BIE
C I F
C# I F#
DIG
D# I G#
EIA
SUBSTITUTIONS

SUBSTITUTIONS
SUBSTITUTIONS

TIT @@@a

1 SUBSTITUTIONS

TIT
TIT
TIT

13 13
C#A)iiior DbAçi = F-11 / C#
13
DAÈI = F#-11 / D
13 13
DSAtfii or EbAifii = G-11 IDS
13
E A Ã= ˆ GP11 1 E
13 13
DAÇI = AA9/ D
DAÈ I = Ctt-7 / D
13 13 13 13
D#Atii or EbA8ii = AllA9/ D DtfA81i or EbA#ii = D-7/D#
13 13
EAÈI = BAg/E EAKI i = DÈ- / 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
GAÈ I = FS-7 / G
SUBSTITUTIONS H SUBSTITUTIONS

Cff 1 Db
D
TIE
Ill
TIT
HIT

13 $9 13
D-A $11 = AA9/ D
D-A $11 = FA+$ii/ D
13 13 $9 13 13
DÈ-A I or E b-A d I = FÈA+$ I/ DÈ-Aà 1 or Eb-A #I 1 = AÈA / DÃ
13 99
E-A $11 = GA+$ii / E
13
ETA $11 = BA9 / E
13 $9 13
I
F-A $1 i = GÈA+$ / F F-A $11 = CA9/
13 $9 13 13
~È-Aç~i ~b-A
$11 = A A+çii FÈ- d1orGb-A $11 = C#A9/
13 D9 13
G-A $11 = AÈA+$i / G-A 811 = DAg/G
13 13 $9 13 13
iÈ-Ait
GÈ- $11 or Ab-A $1 1 = DÈA / GÃ
or Ab'A $11 = BA+#ii/
$9 13
A-A = CA+ $1 1 / A-A $11 = EA9 /A
13 13 $9 13 13
M-A $1 1 or B b"A $1 I = C#A+~I 1 / AÈ-AI 1 or Bb-A $1 1 = FA9 / A#
13
C-A $1 1 = B-7 / C
13 13
CÈ-Ai 1 or Db-A $1 1 = C-7 / C#
13
D-A $1 1 = CÈ- / D
13 13
DÈ-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
FÈ- $1 1 or G b-A $1 1 = F-7 / FÃ
13
G-A $If= FÈ- /G
13 13
$11 orAb-A#ll=G-7/GÃ
B-A
13
A-Aitii= GÈ-7/
13
or C b-A #ii = AH-7 / B
SUBSTITUTIONS
C-9 = G/C

TIT
TIT
TIT
HUB

NUMERIC ANALYSIS OF SCALES
LOCRIAN
MELODIC
DORIANÈ
LYDIAN AUG
1
1
1
1
b2
b2
b3
2b3
b3
2
3
4b5
4
4
94
5
5
b6
6
6
956
b7
b7
7
7
ALT o 1 b2lt3 b4 b5 b6 b7
ENIGMATICMINOR 1 b2 b3 $4 5 96 7
MODE 5 1 92 3 4 b5 b6 7
MODE 6 1 b2 lt3 M t5 b6 H7
LYDIAN b3
DOMINANTQ
LYDIAN AUG $2
LOCRIANH~
HUNGARIAN MINOR
ORIENTAL
1
1
1
1
1
1
b2
b2
b2
2
2
b3
$2
b3
b3
3 4
3
4
3 4
945
5
94
b5
94 5
b5
$5
b6
b6
6
6b7
6
It7
6
.
b7
7
7
7
MODE 5 1 b2 3 4 b5 6 7
MODE 6 1 $2 3 4 45 96 7
MELODICAUG
DORIAN t2~4
LYDIAN AUG $3
1
1
1
b2
2
2
b3
b3
4
$3
94
#4
5
95
$5
6
6
6
b7
7
7

NUMERIC ANALYSIS OF SCALES continued
ALT ALT 1 b2 tt3 b4 b5 *6 tt7
PERSIAN 1 b2 3 4 b5 b6 7
1 1 1 1 1 1 1 1 1 1 1 1
MODE 2 111 I 1#21314l 151 I 186171
MODE 3 1 b2 H3 b4 5 b6 b7
MODE 4 1 b2 b3 94 5 b6 7
MODE 6
MODE 7
1
1
92
b2 H3
1 MAJOR PENT 1 1 1 1 2 1 1
3
4
4
95
b5 H6
6
I47
b7
MODE 4
MODE 5
MODE 7
MODE 6
BEBOP LOCRIAN 42
MODE 3
MODE 4
1b22
1 b2
1
1
1
1
1
b2
2
2
2
b3
b3
b3
21'3
b3
3
4
3 4
4
4
4
4
94
b5
b5
b5
5
956
b6
5b66
5 6
b7
7
7
5b66b7
5 b6 b7
b6 b7 7
7
b7
MODE 4 I lb31 141 I 1~51 lb71 1
MODE 3
MODE 4
MODE 5
1
1
1
3 b5 6
2 4 5 b6
b3 4 b5
2 b3 5 b6
b7
7
1 b2 2 b3 4 5
1b22 3 1945
MODE 6
------------- b6
MODE 7
6
b7
7
PBLOG
1
1
MODE 2
31 1 1 1 1 1 1 1 ~ 1 1 ~ 1
MODE 6 b7
MODE 4
MODE 5
MODE 6
DOMINANTSUS
MODE 2
MODE 3
MODE 4
MODE s
1
1
1
1
1
1
1
1
b2
2
b3 b4
b3
94
$2 3
b2 4 b5
3 4
2 4
b3 4
2 3 4
2b3 4
b2 b3 4
5
5
1-6
95 6
b6 *7
5b6
5
5 b6
5
5
b6
7
7
7
6b7
b7
6
b 7
b7

NUMERIC ANALYSIS OF CHORDS

NUMERIC ANALYSIS OF CHORDS continued

POLYCHORD FORMULAS
NINTHS
ELEVENTHS
THIRTEENTHS
ALTS
Asus21-5 fino5 fisus2 1'5
ALT = OR - OR 5
3 3
M Rb5
42
OR- OR- OR -
b5 3 95