Jazz Chords/Scales Reference Chart By Mark Feezell - Generally, any chord symbol represents a SCALE (or scales) that works with that chord. - Think scale/chord, not just chord - Scales are Listed from most common to least common choice (approx.) for each chord symbol. - Primary chord tones (root, 3rd, 5th, 7th)=open noteheads. "Handle with care" dissonances=square noteheads. - IMPORTANT Maj,3 = Major scale, mode 3 (start on note 3 of major; e.g. EFGABCDE) min,2 = Melodic minor ascending, mode 2 (=start on note 2 of asc. mel. minor). Use ascending melodic minor form when descending also. Chord symbol not listed? Remember: 9=2, 11=4, 13=6; #4=b5=#11, b9=b2, #5==b13 7th chord=9th chord=11th chord=13th chord. C#=Db; D#=Eb; E=Fb; E#=F; F#=Gb; G#=Ab; A#=Bb; B=Cb; B#=C For slash chords, look for the pitch to the right of the slash first, then the left. ^ = Major triad, major seventh (Maj7 or M7) 7 = Major triad, minor seventh (Dominant 7th or Dom7) -^ = Minor triad, major seventh -7 = Minor triad, minor seventh (Min7) Ø = Diminished triad, minor seventh (half-diminished) º = Diminished triad, diminished seventh (fully-diminished) Still can't find it? Look for the scale with the same root, triad type, 7th quality, and altered notes. FOR MAXIMUM BENEFIT, CONSIDER UPGRADING TO THE JAZZ CHORDS/SCALES ENCYCLOPEDIA The encyclopedia allows you to reference all of these scales in EVERY key, arranged as a series of interlocking IV-V-I or II-V-I progressions. An associated INDEX lets you look up any chord symbol, including ANY slash notation combination Get it TODAY at www.drfeezell.com. If you teach, send all your students to DRFEEZELL.COM to purchase it today. They'll be glad you did, and so will you
Major tonic function chords (function as local tonic chords) 1-Ionian/Major=Maj,1 C^ 2-Maj. pentatonic C maj. triad (no 7th) 3-Blues Use blues over any chord where it sounds good, but don't overdo it. C^ 4-Major bebop=maj,1 w/#5 Harmonic major=maj,1 w/; Uncommon #5 Minor tonic function 1-Minor-major=min,1 C-^ 5-augmented scale=maj w/#2, No 4, #2 (no 4) 2-Bebop melodic minor OR Bebop minor no. 2=min,1 w/#5 Predominant function (II/IV/VI) chords (lead to dominant function chords) C-7 or Eb/C II in major CØ or CØ7 or Db/C II in minor mode C^#4 or D/C IV function C^#5 or C^#4#5 or E/C C- 1-Dorian=Maj,2 1-Locrian/half-diminished=Maj,7 =Phyrgian w/b5; use for b9 Lydian=Maj,4 or Maj,1 w/#4 2-Minor pentatonic 2-Bebop=Locrian w/b5 use for b9 #5 3-Bebop dorian/bebop minor =Dorian w/b3 3 b5 b3 3 3-Half-diminished #2 or Locrian #2 #2 (or 2) - use for 9 Useful b/c no "handle with care" note; b2 is a "handle with care" dissonance Lydian augmented=lydian w/#5 Aeolian=Maj,6 VI function, Often use dorian instead, or subsistute V/II
Dominant function chords (function locally as dominants to other chords) C7 C7#5 1-Mixolydian=Maj,5 or Maj,1 w/b7 4 is a "handle with care" dissonance Whole tone 7 7#5 2-Major pentatonic C 3-Bebop dominant=maj,1 w/b7 7 b7 7 C7#11 C7b9 or C/Db or A/C C7alt or F#/C C7 or F-^7/C Lydian dominant 1-Aebersold's "Spanish" or "Jewish" Scale b2 b7 Altered OR dim. whole tone=min,7 (enh.) b9 #9 #11 Aebersold's "Hindu" scale b13 2-HW diminished h w h w h OR HW octatonic; susb9 7b9 w Alt b/c has all possible alterations 7 7#5 C7sus Csusb9 or Db/C Cº or Cº7 or or B/C 1-Mixolydian=Maj,5 or Maj,1 w/b7 (no "handle with care" note) 1-Phrygian=Maj,3 susb9 7b9 Use for R.H. voicing Whole-Half (WH) diminished (also called octatonic) 2-Maj. pent., 2 2-Mode 2, minor w h Alternates whole steps and half steps (tones and semitones) Sub. for V7 Maj. 3rd below (=Ab7 here) Use for 6
Tonic Predominant Dominant Jazz Chord/Scale Types All based on major, melodic minor, whole tone, or diminished scales Copyright 2004 by Mark Feezell. All Rights Reserved. Slash notation? Function Symbol Alternate symbols Parent scale/mode Mode names/usage notes (if applicable) [Capitalized pitch name], M, Maj, 7, 9, Major, mode 1 Ionian 4=avoid note 11, 13, Maj7, Maj 9, Maj 11, Maj 13, Major Pent., mode 1 Major Pentatonic Can use on M triad (not us. 7) I Maj 6/9, Ma7, M7, etc. Altered major, mode 1 Major Bebop = Major w/ 5#5 Minor, mode 1 Minor-major =asc. melodic minor; No avoid note I (minor) - -( 7), -9( 7), -11( 7), mi( 7), etc. Altered minor, mode 1 Bebop mel. minor = Mel. minor w/ 5#5 II (in major mode) -7 -, m, min, -6, -9, -11, -13, -6/9, min7, mi7, etc. m3 / root F/D = D-7 Major, mode 2 Major Pentatonic, mode 5 Dorian Minor Pentatonic e.g. for A-7 can use C pent. Major, mode 5, w/ 3 3 Bebop Dorian =Major w/ 3 3 LOCRIAN or Bebop: all have b9(=b2) Locrian or half-diminished b9=avoid note; Major, mode 7 locrian #2 (below) has M9; phrygian has P5 II Ø o r -7(b5b9), -11b9b5, mi7b5b9, mi11b5b9 m2 / root (in minor Major, mode 7, w/ 5 5 Bebop = Locrian w 5 5 Ø 7 F/E = E Ø mode) LOCRIAN #2: mi7(b5), mi9(b5), mi11(b5), Half-dim. #2 or Locrian #2-7(b5), -9(b5), -11(b5) Minor, mode 6 Locrian w/#2, so useful b/c NO avoid note IV #4 #4, 7#4, 7b5, 9#4, 9b5, 6/9#4, 6/9#4, M2 / root 13#4, Ma7#4, Ma7b5, Maj7#4, #11, etc. G/F = F #4 Major, mode 4 Lydian IV? #5 9(#5), 7(#5), +( 7), +( 9), Aug, M3 / root Ma7(#5), Ma9(#5) G/Eb = Eb #5 Minor, mode 3 Lydian augmented No avoid note VI - Major, mode 6 Aeolian Often use dorian instead, or sub. V/II V Sub. for V m3 7 Dom7, Mm7 Major, mode 5 Major Pent., mode 1 Mixolydian 4=avoid note Major pentatonic Altered major, mode 1 Bebop Dominant = Major w/ 7 7 7#5 +7, 7+, +9, 9(#5), Aug Whole tone Whole tone Only 2 transpositions; don t overuse 7#11 7(b5), 7(#11), 9(b5), 9(#11), 13(#11) Minor, mode 4 Lydian dominant No avoid note 7b9 7alt 7 7sus susb9 º o r º7 13(b5), 7#9, 13(#9), º7b9, -6/9(#11), mi6/9(#11), mi13(#11), -13(#11) alt, 7(b9b13), +7(b9), 7(#9b13), 7(b9,b5), 7(#9,b5), 7(#9b9), 7(#11#9), 13(b9b5), 7(#9#5), 7(#11#9), 7+9 7 sus, sus4, sus9, 7sus4, sus2 7susb9, sus4b9, 7sus4b9, susb9, etc. For, use Phrygian. For 6, use mode 2 mel. minor. dim, dim7, º7(#9), º( 7), dim( 7), - 9( 7#11), mi9( 7#11), m3 / root OR root / m2 E/G = G/Ab = G7b9 A4 / root F#/C = C7alt Diminished (=octatonic) Half-Whole; Only 3 total Minor, mode 7 hw diminished Ex: C-Db-Eb-E-F#-G-A-Bb-C susb9 7b9 Altered scale Ex: C-Db-D#-E-F#-G#-Bb-C P4-7 / root C- 7/G = G7 Minor, mode 5 Aebersold s Hindu scale NOTE: 7 7#5 Major, mode 5 Mixolydian No avoid note Major Pent., mode 2 Major pentatonic M2 lower e.g. for Dsus7 can use C pentatonic m2 / root Major, mode 3 Phrygian R.H. EFABD (12457); susb9 7b9 F/E = Esusb9 Minor, mode 2 Mode 2, minor =Phryg. with raised 6; susb9 b9 m2 / root C#/D = Dº7 Diminished (=octatonic), Whole-half; Only 3 total wh diminished Ex: C-D-Eb-F-F#-G#-A-B-C; Only 3 total Substitute for V chord m3
Notes: This chart tells you what scales/modes will most commonly be played over a given chord symbol. For example, the most common scale played over a 7 chord (Mm7) is a mode built on the fifth step of the major scale. So, G7 usually uses the notes GABCDEFG, since G is the fifth step of the C major scale (major, mode 5). Think SCALE or scale/chord more than chord. Major, mode 7 means a major scale pattern beginning on the 7 th scale degree (e.g. BCDEFGAB). Minor, mode 2 means a melodic minor scale pattern beginning on the 2 nd scale degree (e.g. DEbFGABCD = 2 nd mode, C harmonic minor). Minor uses the pitches of the ascending melodic minor form going up AND down. The descending melodic minor from classical music is the same as Aeolian for this chart. Variant scale possibilities for each chord symbol are listed from the most common to most unusual for each chord symbol. In this chart, slash chords are always Major chord/bass Pitch, e.g. F/D means an F major chord over a D in the bass Avoid notes are strong dissonances that must be used with care. Function is the local harmonic function: a local II, a local IV, a local V, or a local I (Major or minor). Chord quality is not distinguished by upper or lower case roman numerals. The blues scale for the appropriate key can be used on Maj, 7, -, -7, or anywhere else it sounds good. Usually, #4=b5=#11=b12; #9=b2; #5=#12==b13; 7 th chord=9 th chord=11 th chord=13 th chord. One exception is 7 7#5. ALT chord/scale: Called Altered scale or diminished whole-tone scale b/c first part is h-w-h-w and last part is w-w-w. Has every possible alteration of a V7: b9, #9, b5 (=#4), #5 (=b13). The other notes, 1, 3, and 7, are necessary for a dom.7. Ex: C-Db-D#-E-F#-G#-Bb-C