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Transcript of Adam Kadmon - The Keyboard Grimoire for Piano & Guitar
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A omplete Guide for the Guitarist and Keyboardist
Produced by
i ~ ~
for
65 Bleecker Street. New York, NY 10012
Copyright 996 by Carl Fischer, Inc.
All Rights Assigned to Carl Fischer,
LLC.
International Copyright Secured
All rights reserved including performingrights.
WARN ING This publication is prote cted by Copyright law To photocopy or reproduce by
any method 1s an infringement of the Copyright law Anyone who reproduces copyrighted
matter is subject to su bstantial penalties and assessments lor each infringement.
Printed in the U
A
ISBN 0-8258-2679-9
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ONTENTS
HOW TO USE THE SCALE SECTION 1
THE BUILDING BLOCKS OF MUSIC 2
CALES AND MODES
5
MODES AND RELATIVE SCALES 8
PATTERNS AND FINGERINGS 9
INTERVALSAND INSTRUMENT 12
. 5. 6. 8TONE
SCALES
3
7 TONE SCALES
MAJOR 24
MELODIC MINOR 32
HARMONIC MINOR 34
HARMONIC MAJOR 36
HUNGARIAN MINOR 38
UNGARIAN MAJOR 40
NEAPOLITAN MINOR 42
EAPOLITAN MAJOR 44
ENIGMATIC MINOR 46
ENIGMATIC 48
COMPOSITE
50
IONIAN b5 2
LOCRIANb7 54
PERSIAN 56
TONE SCALES
MINOR PENTATONIC (BLUES SCALE) 58
KUMOI 60
HIROJOSHI 2
TONE SCALES
WHOLE TONE 64
AUGMENTED 66
PELOG
8
DOMINANT SUS 70
8 TONE SCALES
DIMINISHED 72
8TONE SPANISH 74
BEBOP LOCRIAN b2 76
BEBOP DOMINANT 78
BEBOP DORIAN 80
BEBOP MAJOR 82
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ONTENTScontinued
HOW TO USE THE
CHORD SECTION ...................
................
HORDS N MING
OLYCHORDS
SL SHCHORDS
SUBSTITUTIONS
........................
........................
OMP TIBILITY
INVERSIONS .............................
RPEGGIOS ..............................
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
LT
(b5 $9) 158
LT
(b5 b9) 160
LT ($5 b9) .................................... 162
LT
( 5
à ....................................
164
6 NOTE CHORDS:
11
-1 1
$11
7
NOTE CHORDS:
13 .................................................... 182
-13 .................................................. 184
..............................................
3 11 186
-13 11
.............................................
188
A13 190
A1
192
~ 1 3 ~ 1 1 194
A13^11 196
..........
UMERIC ANALYSIS SCALES 198
UMERIC ANALYSIS CHORDS 200
................
OLYCHORD FORMULAS 202
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HOW
TO USE THE SCALE SECTION
The first section of this book deals with scales. The scales are divided into
7
tone, 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 l
I V v
VI VII
.. .- .
SCALEIMODE CHORDCH RT
V MIXOLYDI N 7 9 11 13
VI AEOUAN 0
11
VII LOCRUN
V
NUMERIC
SCALEIMODECH RT
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.
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THE
BUILDING BLOCKS O F MUSIC
Music is sound. But for now imagine that it is a set of 12equal blocks (fig. 2). The distance from
one block to the next block is a half-step. From block 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 and sharps .The distance from block to the st mpty 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
he 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
n essence: Flat a major et a minor
Sharp a major et an augmented
Flat a minor et a diminished Sharp a perfect et an augmented
Flat a perfect et 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 2ndThere are 3 blocks in a major 2nd
(fig. 5 , but the distance from the
2
to the
3
is also a major
d
fig. 6).
6g 5 fig
6
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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
BLOCKS- MINOR2ND
...................................................................(
STEP)
3 BLOCKS = MAJO R 2 ..................................................1 WHOLE STEP)
4 BLOCKS = MINOR 3 .......................................................14 STEPS)
5 BLOCKS = MAJOR 3
......................................
2 WHOLE STEPS)
1 4 6 BLOCKS
=
PERFE CT 4TH ..........................................24 STEPS)
....................
b 7 BLOCKS = DIMINISH ED 5TH 3 WHOLE STEPS)
................................
5
8
BLOCKS = PER FECT STH (3k STE PS)
b6
9
BLOCKS
=
MINOR 6TH
.....(
4 WHOLE STEPS)
.........................
6 10 BLOCKS = MA JOR 6TH (44 ST EP S)
..........
b7
11
BLOCKS = MINOR 7TH (5 WHO LE STEPS)
.................
12 BLOCKS
=
MA JOR 7TH ( 5 t STEPS )
Now let s look at all the individual components of the major scale in building block breakdown
(fig.
8).
MAJOR 2ND......
MAJO R 3RD .... 2 WHOLE STEPS)
PERFE CT 4TH .............
5 PER FECT 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 relation-
ship between the intervals themselves.
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Fig. 9 clearly shows us the distance of the intervals from the intervals. For instance, from the
major 2nd o the major
rd
s a major 2ndor a whole step. From the
rd
o the
th
s a minor 2ndor a
half-step, etc.
121 13141 151 161 171
MAJOR 2 4 . ............. 1 WHOLE STEP)
INOR
2NQ
................
MAJOR 2ND
1
WHOLE STEP)
MAJOR
2NQ
MAJOR 2NQ
...............
fig
n studying the altered intervals, many of them wi per and in theory, but
sonically, they are the s g. 10).
fig 1
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 rdis the same as the augmented 2nd, he
diminished 5th s the same as the augmented 4th, he minor 6th s the same as the augmented
Sh
and the minor 7th s the same as the augmeted 6th.
n the next example, the diminished 7th a double-flat 7 ) s the same as the major 6th
n
sound;
although in theory, they also are two very different intervals (fig. 11).
fig
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
c n
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.
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SC LES ND 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
st 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
st
mode.
The I1 mode of any scale is based upon the 2nd one 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).
1
1
For the V mode, the becomes the 1, the 6 becomes the 2, etc. fig. 16)
3
3
1
1
For the VI mode the 6 becomes the 1, the 7 becomes the 2, etc. fig. 17).
4
4
1
b3
b
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
1
4
b3
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 hat is the tone which you
now designate as
1.
6
6
4
3
1
5
4
3
7
7
4
b3
6
5
4
3
fig
8
1
1
6
5
4
3
b7
b6
5
4
1
fig
3
7
6
5
4
b7
6
5
b
3
fig 4
3
1
7
b6
5
7
6
b3
4
4
fig 5
1
b7
6
b7
fig
17
4
5
5
3
fig
6
7
b5
6
6
4
3
1
7
7
b6
5
4
b7
6
3
7
6
4
7
5 6 7
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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
I
Ill
IV
v
VI
V
MIXOLYD 4 1 2 3 4 5 6 b7
AEOLIAN 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 dou le
fl ts 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
ENIGMATIC 1
b2 84 95 96 7 1 b2 94 95 86 7
MODE2
92 93 4 ~5 96 7
ll
MODE
3
94 5 b6
?
V
MODE4
3
4 b5 B6 7
V
MODE5
2 b3 b4 lk5 b6 b7
.
VI
MODE6
1 b2 lk3 b4 5 b6
b7
V
MODE
7
t
b2 h3 4
5
6 7
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 n this text.
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As you study the numeric formulas for each scale or mode, there is a simple 4-Step system
which will help you n understanding how the tones become flats or sharps. The three examples
in fig. 19demonstrate 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
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 m ajor scale pattern
1 b2
I
b3
4
5 b6 b7
4 ADD J /
symbols when needed
ENIGMATIC MODE
I
1
MARK
where the tone falls
?2 ?3 ?4 ?5
? ?7
2
NUMBER tone positions:
1-7
2 3 4
-
5
ç
7 3
COMPARE to m ajor scale pattern
2 3
94 5
b6 *7
4 ADD b /
9
symbols when needed
fig 2
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MO DES ND REL TIVE SC LES
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
ode 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 Major with the root
note shifted to the
G
The modes of the Major scale are mapped out
for your convenience.
MODE GENERATOR
CH RT
DORIAN 7
9
PHRYGIAN
V LYDIAN A 111
V MIXOLYDUN 7 9 11 13
V
fig
QUICK MODE GENERATOR C HART
K Y
MODE
I
I
I
V
^ V VI I
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
3
fig
3
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P TTERNS
ND
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
MODEOEHEMTon
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
:
:.....:.;.,.. . ~b ~ c à ‡ / D ~ b b
[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.
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T
=THUMB I = index finger
=
middle finger R
=
ring finger, either hand
C
D b
MAJOR
D
MAJOR
D
MAJOR
Eb
MAJOR
E
MAJOR
F
MAJOR
F
* MAJOR
F
G
MAJOR
I
I I
F$ /G
MAJOR
*
The Left Hand Fing erings vary slightly from a ccepted traditional fingerings. The L.H. R ule
Of
Thumb
method is designe d to give the guitarist instant access for seq uencing .
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THUMB
I index finger M middle finger R = ring finger, either ha nd
MAJOR
MAJOR
Bb
MAJOR
B Cb
MAJOR
MAJOR
xception
to th
Rule
nigmatic
Key
o
fig 6
The Le ft Hand Fing erings vary slightly from acce pted traditional fingerings. The L.H. Rule Of Thum b
metho d is designed to give the guitarist instant access for seque ncing.
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INTERV LS ND INSTRUM ENT
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 INDIC TOR CH RT
fl t
sharp
fig 8
2
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7 5 6
&
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 tone scale into a penta-
tonic. Whereas 7 tone scales are fingered in
3
& 4 note
groups, pentatonics are fingered with 2 &
3
note groups.
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 ndicates ones
to
bePlayed-
The Augmented scale:
*
Is he most common of
ail scales listed.
PENTATONIC SCALE
FORMULA CHART
The tones or numbers
left are generic
meanin the could be
either
b
h
Ex b2 Ã
$2 2
2
The
X
indicates
delated scale tones.
All combinations
with
alterations would make
9
such charts.
Step
1
Pick any
7
tone
scale or mode.
tep
2 Delete
ny
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 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 3
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 SC LE FORMULAS
.
The
X
along
with
the numbers indicates tones
to
be
played
e scales Half-Whole Diminished: I W
Whole-Half Diminished:
W
are the most common
diminished.
fig 31
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OWTO 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
DOMINANTt V HARMONGUANH
DOUBLED
HINDU-V MELODIC
QIANt3
-
V HARMONIC MINOR
AN
I
VI HARMONIC MINOR
HARMONIC MAJOR
. .
-
IARMONIC
-
V HUNGARIAN MINOR
4
I6
-
VI HUNGARIAN MINOR
15 7 VIIHUNQARIAN MINOR
HUNGARIAN MAJOR
.
8 IINWOLKAN MINOR
VI NEAPOLKAN MINOR
OR
NNEAPOLITAN MAJOR
UATIC MINOR MODE Ill
qIQMATIC MODE Ill
IIQMATIC MODE N
COMPOS~E1
MPOSIE I1MODE 111
.YDIAN
12
-N ONIANÈ
ONIAN
16
- IILOCRWH7
MINAKT
12-
VI LOCRIANU7
PERSIAN MODE 1
PENTATONIC I1MINOR PENTATONIC
AUGMENTED
PELOQMODE VI
DOMINANT BUS MODE Ill
M MAJOR)
im
Every chord in the polychord section has a page which translates polychord formulas into slash-
chords 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.
basic understanding of chord mathematics is necessary to derive the utmost benefit of this
book.
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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.
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 7thchord would be 1 - 3 - -
7
Using the building blocks format compare the Major scale, the Major chord, and the Major 7th
chord (fig. 33 .
Major
Scale
fig
Major
Chord
Major
7th
CHORD NAMING SYSTEM
n 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.
3
3
DENOTES
STATUS OF
5
5
same
b
extra
b
RESULT
6
NAME
MINOR
AUGMENTED
DIMINISHED
DELTA
DOMINANT
HALF DIMINISHED
DIMINISHED
7TH
EXAMPLE
AND
FORMULA
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As you study the umeric
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
i
1
and 13thare actually a 2nd,4th,and 6th espectively using the every other note process
(fig. 35).
fig
5
Before we continue let's analyze the naming of the larger chords. What we have in fig. 36 is
some kind of 13thchord. 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 7thchord. The tells us to raise the
th
a half-step, as
in 1
sharp: and the 1 3 ~ ~s flat. The chord is
n E
flat delta augmented, flat 13. Study the names of the
chords
in
relationship to the formulas in the numeric chord charts,
NUMERIC
FORMUL
...............................
..... ....... ......
fig
6
Comparing the diagrams of the C Major scale and the
CAI3
in fig. 37 we can see that the 9th,
1
th nd 13thare actually a 2nd,4th, and 6thas both diagrams are identical. So, the C I3 chord
is in reality the same as the C Major scale. Using the
2nd
th,and of the second octave gives
the chord a different texture nd a new realm of exploration.
fig 7
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POLY HORDS
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 imply 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 8
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 9
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
rom
the root, we see that the tones are the tones of our desired chord.
1
381
fig 4
herefore 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 .
t looks like this: fig. 41 and fig.
42.
You could also place the
Major triad on the 2nd, ince the 2nd s also a 9th fig. 43 and fig. 44). The result would also be the
sape.
13 ' 1
ROOT
I I I I
fig
40
A+
1 3
t5
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
ROOT I 2=9 4= 1 6=13
POLYCHORD FORMULA
on7\
TONE
9
The formula for polychords
is depicted in the chart, fig.
45. fig 45
5
1
13''' 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.
11
I I I
M 1 3 5 fig 43 1 3 Ã ˆ l =- M fig
44
b
13
3
3
5
5 9
11
13
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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 mathe-
matical 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 trans-
la tes in to when using
pitch.
If is the tone we place
the root of our formula on,
in this case the
A9
hen
the tone of the synthesis
fo rmula immedia te 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
C
C A g = G C
Gg 46
fig 47
This means that you play an â hord over a tone or a
G
major chord over the
C
Both of
these are equivalent to he A9 Fig. 48 is another slashchord example using theA1
1.
C
D E
F
A
B
C
D E F
1 3
5 7
9
11
I
-b9
All =
I
1
I
I
5 7 b9 = E b9 C
7
All
=
I I I I
5
1
5
b7
= Q 7 / C
A11
=
I I
3
b5 = B O C
fig
48
18
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Let s take a A 3 and find a polychord formula (fig. 49) then convert it to a slashchord formula.
E
G
B
D
F
A
1
3
5
7
11
13
t
CAI3
=
Ba
A 3
=
1 b3 b5
b
SLASHCHORD POLYCHORD
fig
9
The slashchord formula for the polychord above is
BO
C Start by playing a
B0
which would
be
a
1 3 5
7
Without moving the BO play it over a C note. Let s analyze what the
BO ingering becomes on a C A I 3 interval map.
What was a
1
on the
BO
nterval map is now the
7
on the
C A I 3
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
9 th
(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 C A I3 interval map.
fig 5
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 13thand you don t have a 13th nyour voicing, you do not have a 13th
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SU STITUTIONS
fig 5
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 ^ 1ou 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 12keys. 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 111 ,and 13%
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COMP TIBILITY
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 s ide 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
SCALE1MODE CHORD CHART
IONIAN
DORIAN
PHRYGIAN
Iv
LYDIAN Z \ 8
MIXOLYDIAN
7
9
11 13
V
AEOLIAN 7 9
11
MI
LOCRIAN
can use.
fig 5
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
¡
and the Minor
9 '
(-7 and
-9)
do not work with the Locrian, but the half-
diminished does (fig. 56).
fig
4
ORIAN
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.
AEOLIA
1
M MAJOR CHORD)
=
1 3 5
b3
fig 55
I I
1 - 7 1 1 1 3 7 The same chords ( 7 and 9 ) also fit
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. Til l then, you have the Chord
Derivative Charts and the Scale/Mode Chord Charts to help you.
4
5
3
4
5
b6
5 6
b7
6
b7
1
b7
1
2
b3
4
5 b6
b7
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INV RSIONS
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
inversion of the chord (fig. 58 .
Major
scale 2 3 4 6 2 4 5 6 7
Major
Chord 3 5
st
Inversion
3
5
2nd
Inversion 5
fig
8
We duplicate the demonstration again using a
A
chord which has notes
in
it, fig. 59.
Major
Scale
2 3
4
6 2 4 6
A
st
Inversion
2nd
Inversion
1
3rd
Inversion 7 3
fig 9
CA
st
Inversion
2nd
Inversion
3rd
Inversion
The chord inversions in the
key of
C
are demonstrated on the
keyboard in fig.
60
to the left.
fig
60
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RPEGGIOS
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.
n example of a basic triad arpeggio is demonstrated in figure 61.
st rt nd
here here
fig 6
An example of a
7
tone arpeggio is demonstrated in figure 62 below.
l
tart
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.
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MAJOR
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS Iv v V VII
SCALE MODE CHORD CHART
LOCRIAN
Iv
v
V
NUM ERIC SCALE MOD E CHART
GUITAR
PATTERNS
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXOLYDIAN
AEOLIAN
I
V
v
V
V
6
M,A ,A
-7 9
-7
A 9,
'
7 9 11 13
7
9
1
1
BASS
PATTERNS
1 3
4
5
6
7 1
2 3 4
5
I
I
Iv
V
V
V
24
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXOLYD
AEOLIAN
LOCRIAN
1
b7
b6
2
b7
1
1
2
1
3
2
1
4
5
b3
b2
6
4
b
6
5
4
2
1
7
6
5
2
1
4
b
b2
5
4
b3
6
5
4
1 7
b6
b5
b
7
b6
b7
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M JOR
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DORI N
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PHRYGI N
IT
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LYDI N
II
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MIXOLYDI N
T T
T T
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EOLI N
s r
TI
BIT
TI ll
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LOCRI N
ll
II
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KEYBOARD PATTERNS
I
I l l
A
VII
/D
D
GUITAR
PATTERNS
BASS
PATTERNS
I
I
I
IV
v
VI
VI I
BIC
b
BIC
b
c
C W
D
SCALE I ODE CHORD CHART
I
MELODIC MINOR
I
DORIAN b2
I
IV LYDIAN DOMINANT
HINDU
7H3, 7+
I
VII SUPER LOCRIAN ALT
NUMERIC SCALE I ODE CHART
1
2 3 4 5 6 7
1
2 3 4
5
6 7
ll
V
V
V
LYD AUG
LYD DOM
HINDU
LOCRIAN
b2
SUPERLOC
2
3
3
2
1
4
ˆ
$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
b5 b6 b7
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MELODI MINOR
T T
T T
D l l l I l l D1
1@1 l@
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KEYBOARD PATTERNS
I I V V V I VII
SCALE
/
MODE
-
CHORD CHART
HARMONIC MINOR
-A
6
I V
DORIAN 4
,
-7,
-6,
9, '9, 9 I
V
PHRYGIAN MAJOR
,7,7+, 7b9
V I ALT b b5, o , '7
GUITAR
PATTERNS
BASS
PATTERNS
I
I I
I
IV
v
V I
VII
NUMERIC SCALE
/
MODE CHART
v
V I
VII
HRYG 3
LYDIAN
3 92
ALT ~7 1
b2
b3
b4
b5
b6
Ã
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H RMONIC MINOR
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GUITAR
PATTERNS
BASS
PATTERNS
EYBOARD PATTERNS
Ill IV v
V
v
V
V
SCALE MODE CHORD CHART
HARMONIC MAJOR
A, A+,Asus2,ASUS b6
DORIAN b5
Iv LYDIAN b3
V
DOMINANT
b2
VI
LYDI N
UGMENTED 2
A+, A+.Ab5
VII LOCRIAN 7 O
NUMERIC SCALE MODE CHART
3 5
6 1
2
3
5 6
I
I
IV
v
VI
VII
36
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H RMONIC M JOR
T T T T
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GUITAR
PATTERNS
KEYBOARD PATTERNS
I
VII
ID
BASS
PATTERNS
I
I
I
I
IV
v
VI
VII
6
SCALE
/
MODE - CHORD CHART
HUNGARIAN MINOR
ORIENTAL
IONIAN
AUGMENTED
$2
LOCRIAN È È
DOUBLE HARMONIC
L A N
7, -7, yb5,A A,A , Ab5
ALT
1 5
È
NUMERIC SCALE MODE CHART
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HUNG RI N MINOR
T TT
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GUITAR
PATTERNS
BASS
PATTERNS
SCALE MODE - CHORD CHART
ALT
H6 H7
ALT
h6
MELODIC
AUGMENTED
I V I
DORIAN b2 4
LYDIAN
I I1
AUGMENTEDtK3
A* (NO 35)
I
I1
I11
IV
v
VI
VII
NUME RIC SCALE
/
MODE CHART
1
2 3 4 5 6 7
1
2 3 4 5 7
I]
I V
V
40
HUNGAR
MAJOR
A L T ~ ~
7
LOCRIAN
112
7
ALT
MELODIC
AUG
DORIAN
t 34
LYDIAN
AUG 3
1
7
b6
4
b5
4
b3
2
2
7
3
b2
1
2
1
3 5
6
85
84
3
7
b6
b5
b4
b3
b2
1
4
b3
2
1
b7
6
5
4
b7
7
b7
5 6
7
5
b4
b3
b2
1
6
b5
4
b3
2
1
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HUNG RI N M JOR
T T
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KEYBOARD PATTERNS
I IV
v
VI
FÃ IG
F Eb
CÈIDbBlC Bb
G
FVGb
E
D c BICb
Ab
G
F
Eb
CÃ ID
C
SCALE
/
MODE - CHORD CHART
VII
;< Dbl
LYD IAN 96
A,
,Ab5 b5)sus4,, 1
v
LOCRIAN
I
DOMINANT
AUGMENTED
GUITAR
PATTERNS
7 s u s , 7 s u s 2
VI
I
I I
I
I V
v
V I
V I I
BASS
PATTERNS
IONIAN 9
NUMERIC SCALE
/
MODE CHART
A,
A S U S ,
-A,6, -6
1
2 3 4 5 6
7
1 2 3 4 6
I V
V
V I
VI
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
7
6
4
3
b2
1 b2
1
b3
b7
1'6
5
b4
4
b7
6
b5
5
b6
b3
2
1
b6
Ã
4
3
1
7
4
3
2
1
b6
5
4
b3
b2
7
96
5
4
3
1
Ã
1
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NE POLIT N MINOR
I
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KEYBOARD PATTERNS
I I IV v VI VII
SCALE
/
MOD E CHORD CHART
LYDIAN DOMINANT
AUGMENTED
V LYDIAN MINOR
7, 7 , 7b5, sus2,
, 11, b13
V
MAJOR LOCRIAN
ALT h2
ALT
H3
GUITAR
PATTERNS
I
I
I
I
V
v
V I
VII
BASS
PATTERNS
NUMERIC SCALE MODE CHART
1 2
3
4 5 6 7 1
2
3 4 5 6
V
V I
VI
LYDIAN
AUG
6
LYD TOM
AUG
LYDIAN
MINOR
MAJOR
LOCRIAN
ALT12
ALT
t
b2 b3l b 2
1
1
2
3 4
1
2 3
1
2
1
4
3
1
7
b7
6
95
94
6
4
b3
b2
2
7
96
95
5
94
3
b7
b6
b5
b4
H3
b6
6
b7
b
7
b6
b5
b4
b7
b6
b5
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NE POLIT N M JOR
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ENIGM TIC MINOR
T T
T T
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ENIGM TIC QUICK
MODE GENERATOR
CHART
KEYBOARD PATTERNS
I I V
V
V
VII
F
E C /Db B/Cb A F /Gb
F / G b F D C
Bb
Ab
G
F /Gb Eb C /DbB/Cb A Ab
A b G E D C B b A
SCALE MODE CHORD CHART
NUMERIC SCALE MODE CHART
GUITAR
PATTERNS
I
I
I
V
v
V
VII
BASS
PATTERNS
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ENIGM TIC
T T
T T
T T
T T
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COMPOSITE
QUICK MODE GENERATOR CHART
V I V
GUITAR
PATTERNS
BASS
PATTERNS
KEYBOARD PATTERNS
I I I I I I I I
I i l l I
I
I I
I
V
v
VI
V
SCALE MODE CHORD CHART
MODE 2
v MODE
5
NUMERIC SCALE MOD E CHART
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 ~ U S ~
111
COMPOSII
MODE2
MODE 3
1
7
b6
b5
4
3
b2
I V
MODE^ 1
b2
b2
b3
b2
1
V
V I
V I I
b2
1
3
92
4
3
92
1
H6
b5
4
Ã
7
3
MODE^
MODE6
MODE^
4
3
b7
6
5
4
1
4
b3
5
4
7
6
5
b4
7
6
5
7
b6
b6
96
b7
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OMPOSITE
I
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IONIAN b
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LOCR I AN U
QUICK MODE GENERATOR CHART
VII
GUITAR
PATTERNS
BASS
PATTERNS
I
I
I
I V
v
V
VII
6
SCALE
/
MODE - CHORD CHART
I
LOCRIAN
ll7
A O -A+
IONIAN
96
A,
7,
A sU s 2 , 7^s2 9, 1 1
DORIAN AUG
S U S ~
I V
PHYRGIAN 4 -7
A L T A L T
6
NUME RIC SCALE
/
MODE CHART
1
2
3
4
5 6 7
1 2
3
4 5
b2
5
4
b3
3
L b 3
1
b3
V I
V
I
[V
V
b7
1-6
1
OMINANT
2
ALTALT
4
b5
4
b2
1
IONIAN
86
DORIAN
AUG
PHRYGIAN
4
LYDIAN 3
1
5
1 b2
? 3
b4
b5
6
5
4
b3
2
5
b5
b6
7
7
7
?6
7
6
85
84
83
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LOCRI N h
T T
ll
T T
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PERSI N QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I I IV
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
SCALE / MODE CHORD CHART
PERSIAN
b5 Ab
MODE
A
-7 9, 1
V l MODE 7
sus2 sus
v
V I
NUMERIC SCALE
/
MODE CHART
GUITAR
PATTERNS
MODE 5
MODE 6
v
V I
VII
S U S ~ , US Asus2sus
+
,7+
BASS
PATTERNS
1 2
3
4 5 6 7 1 2 3 4 5 6 7
7
V
V
b2
*7
b6
5
4
1
7
b6
5
È
3
PERSIAN
MODE2
MODE 3
MODE^
MODE5
MODE6
3
7
$6
$5
4
7
6
b6
5
b4
b3
2
1
1
7
$6
5
$4
$3
2
3
2
1
I ?
1
b5
b7
b6
3
b2
1
b5
4
H3
b2
1
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PERSI N
I
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GUIT R B SS
P TTERNS P TTERNS
KEYBO RD P TTERNS
SCALE MODE - CHORD CHART
MODE
5
sus2
sus
T h e M i n o r P e n t a t o n ic i s t h e m o s t
common pentatonic scale. The Minor
Pentatonic can be interspe rsed with the
Dorian, Phyrgian, and Aeo lian of the
Major scale), because the tone s of the
Minor Pentatonic are contained in all 3
modes, as well as other scales.
NUMERIC SCALE MODE CHART
7
S U S ~
, 6
S U S ~
US
Q
I v
MINOR PENTATONIC
MAJOR PENTATONIC
MODE
3
MODE 4
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MINOR PENT TONIC
T T
T T
T T
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KUMOI
QUICK
MODE GENERATOR CHART
GUITAR BASS
PATTERNS PATTERNS
KEYBOARD PATTERNS
I I Ill
IV
v
SCALE / MODE - CHORD CHART
~~
ODE 3
The Kumoi can b e used in place of the
Melodic.
IV
mode of the Harmonic Maior.
KUMOI
MODE 4
-
-6
sus2
as we lla s any scale that contains the
same notes as the Kumoi.
sus2 sus
I
MODE 2
MODE 5
sus 7sUs
NUMERIC SCALE MOD E CHART
1
4
5
6 7
1
4 5
7
I
I
I
IV
MODES
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KUMO
T T
ur
T T
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HIROJOSHI
KEYBOARD PATTERNS
QUICK MODE GENERATOR CHART
I
I I IV
v
GUITAR
PATTERNS
BASS
PATTERNS
SCALE
/
MODE
-
CHORD CHART
I V
M O D E 4
SUS
The Hiro joshi can be use d in p lace of
the Harmonic Minor and the Hungarian
those tones.
Minor, as well as any scale that conta ins
MODE
NUMER IC SCALE / MODE CHART
HIROJOSHI
Q3
v
36
MODE
5
1
3
5
6 7
1 2
3 4 5 6
7
A b
Ill
IV
HIROJOSHI
MODE^
MODE
MODE^
MODE5
1
1
b7
1 b2 4
3
b3
b2
b3
7
5
4
5
4
b6
5
6
b5
b6
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IROJOS I
ll
ll
Dl
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WHOLE TONE
QUICK
MODE GENERATOR CHART
GUITAR
PATTERN
BASS
PATTERN
Ab FÃ /G E
A G F
Bb Ab
FÃ IG
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 hasno modes.
I t a ls o h a s o n l y
2
f i nger ing
patterns which repeat:
C = D = E
=
F /Gb = A ^ = Bb
C / D b = E b = F = G = A = B / C b
V WHOLETONE
V
WHOLETONE
NUMERIC SCALE MODE CHART
1 3 5 6
7 1
2
3
4 5
6 7
1
IV
v
VI
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
WHOLE
TONE
$6
Ã
5
JÃ
3
96
Ã5
$4
3
2
Ã6
5
$4
1
6
5
2
1
96
2
1
Ã5
4
2
1
4
3
1
)t6
5
JÃ
3
1
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WHOL
TON
Ill
T T
T
Ill
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AUGMENTED QUICK MODE
GENERATOR
CHART
SCALE
/
MODE - CHORD CHART
AUGMENTED A, A , A,
-
b6
I MODE 2 , 6
AUGMENTED A,
\
-A,
-b6
Iv MODE 2
,6
AUGMENTED A,
,
A,
6
GUITAR
PATTERNS
SYMMETRICAL
PATTERNS
REPEAT
1 2 1 2 ETC.
BASS
PATTERNS
SYliimerfHGAi.
PATTERNS
REPEAT
1.2 1.2 ETC.
T h e A u g m e n t e d s c a l e
i s
symmetrical, i t
has
only 2
modes.
A l s o , t h e r e a r e o n l y 4
f i nge r i ng pa t t e r ns w h i ch
repeat:
C = E = A b
C /Db
=
F = A
D
=
F /Gb= Bb
E b = G = B
NUMERIC SCALE
/
MODE CHART
1 2 3 4 5 6 7 1 2 3 4 5 6 7
I
ffl
V
V
VI
AUG
MODE^
AUG
6
b6
MODE2
AUG
MODE^
1 9 3 5 b6 7
1 b2 5 6
tt2
1
3
b2
1
5
$2
1'6
4
7
$5
5
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UGMENTED
T T
T T
T T
T T
T T
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PELoG
QUICK MODE GENER TOR CH RT
GUITAR
PATTERNS
BASS
PATTERNS
SC LE / MODE CHORD CH RT
PELOG
3 6
b6 -
MODE
I I
MODE 2
-A - S U S ~A0
I
I
NUMERIC SC LE / MODE CH RT
I v MODE 4
v
V
A
MODE 5
MODE 6
1
2
3
4 5 6
1
2
3
4 5 6
11
A
1 6,us
I
Ill
V
V
V
68
PELOG
MODE2
MO E
3
MODE4
MODE^
MODE^
7
6
05
4
b7
6
b5
1
b6
5
b3
2
1
b2
1
b7
b6
b4
b
b2
1
7
1
b2
1
5
04
02
b6
5
4
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P LOG
I
TIT
TIT
TI
TIT
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DOMINANT
SUS
QUICK MO E GENERATOR CHART
Ill IV VI
SCALE
/
MODE - CHORD CHART
DOMINANTSUS
S U S ~
US
Q 3 9
GUITAR
PATTERNS
I v
v
V
BASS
PATTERNS
NUME RIC SCALE MODE CHART
MO DE 2
MODE
3
MODE 4
MODE
5
MODE 6
36,
-7 s u s
Q3,
1 1
6
S U S ~
SUS 9 1 1 1 3
-7 S U S ~
US
9 9,
1 1
Q3, b9 09
1 1 b 1 3
6,
A u s 2 9 1 3
1 2 3 4 5
6
7 1 2 3 4
5
6 7
I
I V
V
V I
DOMINANT
sus
MODE^
MODE
3
MODE^
MODE^
MODE6
1
b7
5
4
b3
2
1
6
4
3
b7
b6
4
b3
1
b7:
6
7
5
4
2
1
6
3
2
1
b7
b6
4
b3
b2
1
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DOMIN NT
SUS
T T
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DIMINISHED
QUICK
MODE GENERATOR CHART
KEYBO RD P TTERNS
I I IV
SCALE ODE - CHORD CHART
WHOLE HALF
DIMINISHED
HALF - WHOLE
DIMINISHED
a
O
-7 O7
WHOLE-HALF 07
DIMINISHED
WHOLE - HALF
DIMINISHED
HALF
-
WHOLE
DIMINISHED ,O -7 O7
WHOLE HALF
vll
DIMINISHED
VIII HALF - WHOLE
DIMINISHED
v
VI VII VIII
C B b G
2ÈIDbBlC
Bb
Ab
D
C
BICb
A
Eb
CÃ ID
C Bb
E
D
C /Db B/Cl
The Diminished scale only h as two
modes which repe at: the W hole-
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, Ã I
b and A have
the sam e fingering patterns.
NUMERIC SCALE ODE CHART
GUIT R
P TTERNS
SYMMETRICAL
PATTERNS
REPEAT
1 2.1 2 ETC.
B SS
P TTERNS
SYMMETRICAL
PATTERNS
REPEAT
1 2 1 2 ETC.
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WHO LE HALF DIMINISHED
ll
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8 TONE
SP NISH
QUICK
MODE GENERATOR CHART
KEYBOARD PATTERNS I v v VI VII VIII
C B/Cb
A Ab
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
SCALE MODE
-
CHORD CHART
MODE 2
MODE 3
I V
MODE 4
MODE 5
VIII
V
VII
NUMERIC SCALE MODE CHART
GUITAR
PATTERNS
MODE
6
MODE
I
I
I
I V
v
V
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
MO E
2
MODE
MODE
4
MODE5
MODE 6
MO E
7
MO E8
-
1 b2
1
7
6
$5
5
$4
3
2
b3
1
4
2
b2
1
2 b 3 3 4
b2
1
b7
6
b6
4
b3
b5
b3
2
b2
7
b7
6
5
4
1
b6
5
4
3
b3
7
b7
b6
b5
b7
6
5
S4
4
2
1
3
2
1
7
6
5
b7
b6
b7
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TONE SPANISH
c
Ctf Db
T T
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VII VIII
SCALE / MODE
-
CHORD CHART
I
MODE 7
v
V I
VIII
BEBOP LOCRIAN h2
MODE
8
AO @
9, b13
MODE
2
MODE 3
MODE 4
MODE 5
MODE 6
NUME RIC SCALE / MODE CHART
b9, $9,
1
1 3 3 , 13
-A
-b6, -6 ,
-9
9
-6 , -7, 1'9, $9 , 11, $11, 13
7^5 7 + , 11, $11, b13, 13
6, -6, 7, 7 , 9 , 9, 9, 1 1, 3
GUITAR
PATTERNS
I
I
I
IV
VI
VII
VIII
BASS
PATTERNS
1
2
3 4 5
6 7 1 2 3 4
I1
I V
V
V I
V I I
MODE^
V MODE8 1 b2
7
6
b6
tÃ
b7
6
5
b5
BEBOP
L O C R I A N ~ ~
MODE^
MODE 3
MODE^
MO DE S
MODE^
5
3 3 94
b
6
5
1
7
6
6
b3
b2
1
b7
b7
4
b3
2
1
5
b6
4
4
b3
2
1
b5
b3
b2
6
b7
$5
5
4
3
2
7
6
b6
b5
4
b3
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BEBOP LOCRI N h
T T
ll
T T
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B E B O P D O M I N N T
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I I I IV v VI VII VIII
SCALE / MODE CHORD CHART
BEBOP DOMINANT
A
, 7 , S U S ~ ,US, 9 ,1 1 ,1 3
BEBOPMINOR
BEBOP LOCRIAN
ADD 5
GUITAR
PATTERNS
3 6 , -6, -7 , sus2, sus, 9, $9,-11 , bl3 , 13
v
VI
VIII
VII
MODE 8
MODE 5
MODE 6
NUMERIC SCALE
/
MODE CHART
-6 , 6 , -7 , 7 , S U S ~ ,US, , $9, 11, 13
-6 , -7 , sus2, sus, b9, 9, 11, b13
MODE
7
VI
VII
A , A b5 ,6, S U S ~ ,9,9
VII I
BASS
PATTERNS
1
2 3 4 5 6 7
1
2 3 4
2 3
4
5
E, g[
1 1 2
b3 4
BEBOP
LOC
dd
5
1
b2
b3 4 b5 5 b6
I V MODE^
1 3 4 1 ' 5 5 6 7
V
MODE5 1
2 b 3 3 4 5
6
b71
V I MODE 1 b2 2 b3 4 5 b6 b7
V I I
V
MODE^
MODE
8
1
b 2 2
b2
3
b3
4
4
5
b5
6
b6
b7 7
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BEBOP DOMIN NT
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B E B O P D O R I A N
QUICK MODE GENERATOR CHART
KEYBOARD PATTERNS
I
I I IV
v
VI VII VIII
SCALE MO DE CHORD CHART
1
BEBOP DORIAN
MODE
3
A 6,9, <h 1, b13, 13
V II I
MO ES
o , a , b9, 9, 11, b13
NUME RIC SCALE MODE CHART
GUITAR
PATTERNS
I
I
I V
v
V I
V I I
V I I I
BASS
PATTERNS
2 3
4 5
6
7 2
3
4 5
6
7
I
I
Ill
IV
v
VI
VII
V
MODE 6
MODE 7
MODE
8
b2
b6
5
4
2
b2
6
5
b
2
b2
7
7
4
b
b5
4
3
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BEBOP DORI N
T T
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E OP MAJOR
QUICK MODE GENERATOR CHART
KEYBO RD P TTERNS I v
v
VI VII VIII
A
F E D C /Db c Bb
Bb Ab
FtfIGb F
Eb
D
CÈIDbBlC
BICb FÈIG Eb D C
SCALE ODE - CHORD CHART
I
BEBOP MAJOR
I MODE
MODE
4
MODE
v
MODE
6
V l MODE
VIII MODE
8
NUMERIC SCALE ODE CHART
GUIT R
P TTERBS
B SS
P TTERNS
I
I I
I
V
v
VI
VII
VIII
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BEBOP M JOR
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M MAJOR CHOR D)
LYDIAN DOMINANT IV MELODIC
HINDU V MELODIC
PHRYGIAN h V HARMONIC MINOR
1
1
1 b
4
4
b6
b6
6 b7
b7
b7
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MAJOR)
^
TIT
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MINOR)
DORI N = I M JOR
PHRYGI N
=
III M JOR
EOLI N
=
V M JOR
MELODIC
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MINOR)
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sus2 SUSPENDED 2)
LYDIAN b I V HARMONIC MAJOR
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SUS (SUSPENDED FOURTH)
PHRYGIAN
= I
MAJOR
ENIGMATIC MODE
IV
1 I 2 I 3 4 b 5 ~ 6 I I b 7 I
COMPOSITE
I
MODE
I
1 2 $ 3
COMPOSITE
I
MODE
IV
1 b2 b3 4
COMPOSITE
I
MODE
VII
1 b2 b3 4
ENIGMATIC MODE
VII
PHRYGIAN
b3 =I
IONIAN
b5 1 I b 2 I b 3 I I 4
LYDIAN $3=
V
LOCRIAN 17
DOMINANT $2
= VI
LOCRIAN 17 1 2 3 4
PERSIAN MODE
I $ 2 3 4
PERSIAN MODE
V
b2
PERSIAN MODE
VII
4 b5 b6 b7
b3 7
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T T
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b5
PLATED
FIFTH
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DIMINISHED)
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DIMINISHED)
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AUGMENTED)
ALT
k b
=V NEAPOLITAN MINOR
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AUGMENTED)
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b6 FLATED SIXTH)
HARMO NIC MAJOR
PH RY GIAN b4 = HI HARMO NIC MAJOR
DOUBLE HA RM ON IC V HUNGARIAN MINOR 1
b
ALT h5 b7 = VII HUNGARIAN MINOR
LYDIAN MINOR = V NEAPOLITAN MAJOR
3
ENIGMATIC MINOR MODE III
ENIGMATIC MINOR MODE V I I
ENIGMATIC MODE III
COMPOSITE
COMPOSITE MODE I
PERSIAN MODE
AUGMENTED
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m r
T T
r
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6 MINOR
FL TED SIXTH)
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ll
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MAJOR
SIXTH
BEBOP MAJOR MODE
V
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T T
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6 MINOR
SIXTH)
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DIMINISHED SEV ENTH)
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T T
T T
r
T T
T T
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Q 3) QUARTAL
or
DOUBLE FOURTH)
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Quartal or ouble
th
T T
r
n
T T
^
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7
DOMINANT)
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T T
T T
T T
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-7 MINOR SEVENTH)
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T T
fir
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7sus2 DOMINANT sus2)
DORIAN
I
MAJOR b3 4
AEOLIAN
V I
MAJOR
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7 S U S DOMINANT SUS)
DORIAN b = MELODIC
HINDU = V MELOI3IC
3
5 b6
PHRYGIAN h = V HARMONIC MINOR 3 5 b6
DOMINANT
b =
V HARMON IC MAJOR
b 3 5 6
ENIGMAl7C MODE V
3
b5
b
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HALF-DIMINISHED)
BEBOP LOCRIAN 12
8
TONE SPANISH MODE V
BEBOP MAJOR MODE V
1 2
b
4
b b
7
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HALF-DIMINISHED)
ST
- ? I
T T
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7 DOMINANT AUGMENTED)
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tf
b
I
b
BIT
T T
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(DELTA)
LYDIAN =
IV
MAJOR
LYDIAN
2
VI HARM ONIC MINOR
HARMONIC MAJOR
DOUBLE HARMONIC =V HUNGARIAN MINOR
LYDIAN
96 92
= VI HUNGARIAN MINOR
LYDIAN 6= NEAPOLITAN MINOR
IONIAN
2
VI NEAPOLITAN MINOR
1
ENIGMATIC MINOR MODE
VII
1
COMPOSITE 1
LYDIAN
1 2=
V IONIAN b
1
IONIAN 6=
I
LOCRIAN h7
1
PERSIAN MODE
HIROJOSHI MODE
V
AUGMENTED
PELOG MODE VI
DOMINANT SUS MODE
V I
8 TONE SPANISH MODE
1 1
8 TONE SPANISH MODE VI
1
BEBOP LOCRIAN >2 MODE
VIII
1
BEBOP DOMINANT 1
BEBOP DOM INANT MODE IV
BEBOP DOMINANT MODE
VII
1
BEBOP DORIAN MODE HI
BEBOP DORIAN MODE VII
BEBOP MAJOR
BEBOP MAJOR MODE IV
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DELTA)
II
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A
MINOR DELTA)
LYDIAN 92 VI HARMONIC MINOR 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
IONIAN 2
VI
NEAPOLITAN MINOR 1 2
4
NEAPOLITAN MAJOR 1 b2 b3
ENIGMATIC MINOR 1 N'21 Ib31
ENIGMATIC MO DE
1 82 9
COMPOSITE MODE
I
1 2 9
PERSIAN MODE I 1 1 I i 2 3 1 4
PERSIAN MODE IV 1 b2 b
AUGMENTED 1 2 3
PELOG MODE 1 2 b 3 1
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Asus DELTA
sus2)
HARMONIC MINOR
1 b3 4
b6
7
HARMONIC MAJOR
1
3 4 5
b6
7
LYDIAN b3
= V
HARMONIC MAJOR
1 b3 Ã 6 7
HUNGARIAN MINOR
1 2 b3
à 5 b6 7
LYDIAN
6
=
I
NEAPOLITAN MINOR
1 1 1 2 I 3 lÈ4
lÈ6
ENIGMATIC MINOR MO DE
VII 1 b2 H3 b4 5 b6 7
ENIGMATIC MODE
VL 1 b2 Ã 4
5
6
7
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ASUS
DELTA S
U
S)
7
PERSIAN MODE I
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ll
II
sl m
I
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Ab
DELTA FLAT
5)
ENIGMATIC
COMPOSITE
I
BEBOP DORIAN MODE VIII
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ll
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O(DELTA DIMINISHED)
AO 1
b5
7
ENIGMATIC MINOR
BEBOP LOCRIAN4 MODE
V I
BEBOP DOMINANT MODE VI
BEBOP DORIAN MODE VI
BEBOP MAJOR MOD E IV
BEBOP MAJOR MODE
VI
1
1
b
b2
b2
b2
2
1'3
b3
b3
b3
b3
3
3
3
4
1'5
4
34
5
5
b6
5
5
6
6
6
b7
Ã
7
7
7
7
7
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ff
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A DELTA AUGM ENTED)
LYDIAN AUGMENTED
= III
MELODIC
i
IONIAN 5 HARMONIC MINOR
1
HARMO NIC MAJOR 1
LYD IAN AU GME NTED Ã
= VI
HARMO NIC MAJOR 1
IONIAN AUGMENTED 2 = HUNGARIAN MINOR
DOUBLE HARMONIC =V HUNGAR IAN MINOR
LYDIAN AUGMENTED 6 NEAPOLITAN MAJOR
1
ENIGMATIC MINOR MODE V 1
ENIGMATIC MINOR MOD E VII
1
ENIGMATIC 1
COMPOSITE II 1 1
COMPOSITE MODE
VI
PERSIAN
AUGMENTED 1
PELOG MODE
IV
1
PELOG MODE VI
TONE SPANISH MODE
IV
BEBOP DORIAN MODE VI 1
B EB OP M AJOR I 1
BEBOP MAJOR MODE VI 1
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ll T T
m t
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-A MINOR DELTA AUGMENTED)
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T T
T T
ir
ll
lir
5
I
Iff
T T
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=
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 D l1 = C / D
D#7 or Eb7 = o 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 G I1 = F I G
G#7 or Ab7
=
C0
/
GÃ G#11 or Ab11
=
F # / G #
A7
=
C Ã ˆ 0 / A H = G / A
A#7 or Bb7
=
D O / A #
AÃ1 or Bb l l = G # A #
B7
or
Cb7
=
D # / B B11
or
Cb l l
=
A / B
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II
T T T T
BIT
T T
T T
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C-9 = EbA/C c-9 = G- / c
CÃ - r Db-9
=
E A CÃ CÃ - r Db-9 = G -
1
CÃ
D-9
=
F A / D D-9
=
A- D
DÃ - r Eb-9 = F A D DÃ - r Eb-9 = A - DÃ
E-9 = G A / E
E-9 = B- E
F-9 = GÈA/
F-9 = C- F
FÃ -
r Gb-9 = FÃ Fit-9 r Gb-9
=
CÃ Fit
G-9
=
AÈAI G-9 = D- / G
GÃ - r Ab-9
=
B A / GÃ GS-9 r Ab-9 = D - GÃ
A-9
=
CA/A A-9
=
E - / A
A -9 r Bb-9
=
C A A
A -9 r Bb-9
=
F- A
B-9 r Cb-9 = DA B
B-9 r Cb-9
=
Fit- B
C-7 = Eb/C C-11
=
Bb/C
(3-7 r Db-7
=
E CÃ C -11 r Db-11
=
BlCÃ
D-7 = F / D D-11 = C / D
DÃ - r Eb-7 = FÃ
DÃ
DÃ -1 r Eb-11
=
CÃ
Dit
E-7 =
G / E
E-11 = D I E
F-7 = GÃ F
F-11 = DÈ/
FÃ - r Gb-7 = A Fit FÃ -1 r Gb-11 = E / F
G*7 = A4 / G G-11 = F I G
Gf-7 r Ab-7
=
B GÃ GÃ -1 r Ab-11
=
FÃ /G
A-7 = CIA A-11 = G / A
AÃ - r Bb-7
=
CÃ /A
A -11 r Bb-11 = G AÃ
B-7
r
Cb-7
=
D / B B-11
r
0 - 1 1
=
A / B
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SU STITUTIONS
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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
=
C o G
A7 = C O / A
7 or Bb7 = D O / A
B7 or Cb7
=
D O / B
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CA9 = E V 7 / C C A 9 = G / C
CÈA or DbA9 = F-7 / C C A9 or DbA9 = G C
DA9 = F -7 D DA9 = A I D
DÈA or EbA9 = (3-7 / DS DÈA or EbA9 = A
/
D
EA9 = G - 7 1E
EA9 = B / E
FA9 = A - 7 / F
FA9 = C / F
F A 9 or G bA9
=
A -7 F
ÃA
or GbA9 = C
/
it
G A 9 = B - 7 / G G A 9 = D I G
GSA9 or AbA9 = C-7 / G G
A
or AbA9 = D / G
AA9
=
C -71A AA9
=
E / A
ASA9 or BbA9 = D-7 / A AÃ ˆAgo BbA9
=
F / A
BA9 or CbA9 = D -7
BA9
or
CbA9
=
Fit /
C A
=
E - / C C A I 1
=
B b / 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 = G f - / E
EA1-1
=
D l E
F A = A - / F
FA11 = D / F
FÈ or GbA = A -
/
F FBA-1-1or GbA-11 = E / F
G A
=
B - / G G A l 1
=
F I G
GÈ or AbA = C-/G GttA-11 or AbA-11 = F G
= CÈ-/ AA11 = G / A
AÈ or BbA = D-
/
A
ASA1-1 or B b A l l = G A
B A
or
CbA
=
DÈ - / BAA1
or
CbAH
=
A / B
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G A9 D I G
SUBSTITUTIONS SUBSTITUTIONS
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SU STITUTIONS
C11È
C 11*9 or Db
l l à ˆ
Dl189
D l à § or Eb l l à ˆ
E11ç
F11È
F 11È or Gb11È
GI189
G 11^ or Ab11È
A11ç
A 11Ã or Bb
à ˆ
B l l ~ g r Cb 1
9
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ll
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LT b5
9)
8/10/2019 Adam Kadmon - The Keyboard Grimoire for Piano & Guitar
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LT b5
9)
T T
T T
8/10/2019 Adam Kadmon - The Keyboard Grimoire for Piano & Guitar
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ALT b5 b9)
SUBSTITUTIONS
cALT
=
~ 6 b 5 c
C ALT
or
DbALT
=
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 ALT
or
GbALT
=
~ 6 b 5
p
GALT
=
~ 6 b 5 G
Q ALT or AbALT
=
~ 6 b 5G
AALT
=
~ 6 ^ 5A
A ALT
or
BbALT
=
~ 6 b 5A
BALT
or
C
bALT
=
~ $ 6 1 - 5
B
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LT
b5
b9
T T
T T
ll
SIT
T T
T T
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ALT
È
b9)
SUBSTITUTIONS SUBSTITUTIONS
C A L T
C A L T
or
DbALT
D A L T
DOALT or EbALT
E A L T
F A L T
F A L T or GbALT
QALT
G A L T
or
AbALT
AALT
ABALT or BbALT
BALT
or
CbALT
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LT ( 5
b9)
T T
I
T T
ll
I
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ALT
( 5 9)
Ab
ALT =
3 b5 7
sus2
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. GbALT =
GALT =
G ALT or AbALT =
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LT ( 5 9)
M
T T
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SU STITUTIONS SU STITUTIONS
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SUBSTITUTIONS
C-7 = E b / 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 -7 or Gb-7 = A FÃ
G-7 = A G
Gfl-7 or Ab-7 = 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
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s r
T T T T T T
it
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I RI
tf Db
T T T T
T T T T
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C- 1 =
EbAÈ
/
C
C-$11 = G - A / C
C-S11
=
Bb+ C
C -$11 or Db-$11= E A N / - I 1or Db-$11= B + / C
D311 FA 9 D D311 = A - A I D
D-È1
= C+ D
D - I 1
or
Eb- I1 F A 9 D DÈ- I
or
Eb-$11= AS -A / 8-41 1
or
Eb-$1
=
C + D
E-$11= G A O E
E-Ã 11 = B - A E
E311
=
D+ E
F-tf11 = G AÈ F
F311 = D + F
F -$11
or
Gb-$11= AAç9 F -$11
or
Gb- I1 E+
I F
G- 11 = A A ^ G
G-$11 = F + / G
GiÈ-$1 or Ab-$11= BAg9 G - I1 or Ab-$11 = F + G
A 3 1 1 = CA'9 A
A- 11 = E - A A
A-$11
=
G+ A
A t 8 1 1 or Bb-$11= CÃAÃ Bb - 11= F - A / A A M 1 1 or Bb-$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
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T T T TT
T T
IT
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CAI1
=
B O / C
A11 or DbA-11
=
C O / C
DA-11
=
Fit-1.9 D DA11
=
C)tO/D
DKA11
or
EbA11 = D O / D
EA11
=
G -b9 E EA-11
=
DÃ E
FA11 = A-b9/F FA11 = E O / F
FÈA-1 or G
bA11
= Fo FÃ
GA11 = B-b9 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
C A = E-/C CA9
=
G/C
CÈ or DbA = F- C CSA9 or DbA9
=
G C
DA = F - D DA9
=
A I D
DÈ or EbA = G- ID D A9 or EbA9 = A DÃ
E A =
G<f-1
EA9
=
B / E
F A
=
Am/
FA9 = C / F
FÈ or GbA
=
A - F F4A9 or GbA9
=
CÃ FÃ
G A = B-/G GA9 = D I G
GÈ or AbA
=
C- /GÃ GÃ A or AbA9
=
D GÃ
= C -/ A AA9
=
E / A
AÈ or BbA = D- A
AÈA or BbA9 = F A
B A
or
CbA
=
DÈ-/ BA9
or
CbA9
=
F B
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TI
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SU STITUTIONS
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T T
TI
S T
TIT
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SU STITUTIONS
CAÈ1
=
G A / C A 1
=
B-
C
CtAÈ1 or DbA^ll = GÈ CÈAÃ
1
or DbAsl l = C- CÃ
DAu11
=
A A / D D A ^ l
=
C # - I D
D # A # l l or EbA'l l
=
AKA / D# ÈAÈ or EbAu1 D- D#
EAu11 = B A E
EAUl
1
= DÃ E
F A ' l l
=
C A I F
FAÈ l
=
E / F
F# Au l l or G
bAu11 =
CSA F
GAÈ1
=
D A / G G A ^ 1
=
FÈ
/
G
G# Aà ˆl or AbAÈl
=
DÈ
/
G GÈAÈ or AbAÈ
=
G- GS
AAu11
=
E A I A
M u 1 1
=
G # - / A
AÈA 1 or BbA^
1 =
F A A# AÈAÈ or B
bAU11 =
A- AX
BAÈ1 or CbA-11
= A - /
B
SU STITUTIONS
C A
CÈ or DbA
D A
DÈ or EbA
E A
F A
FÈ or GbA
G A
GÈ or AbA
A A
AÈ or Bb A
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T T
T T
T T
T
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SUBSTITUTIONS
< SUBSTITUTIONS
C - A
=
E b / C
C - A or Db-A =
E
/
C
D - A
=
F / D
D - Aor Eb-A
=
F D
E - A
=
G / E
F - A
=
G / F
F - A or Gb-A
= / F
G - A
=
A / G
GK-A or
Ab-A
= /
G
A - A
=
C I A
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T T T T
T T
ar
mar
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C13
=
E011b9/C C13
=
G-9 C13
=
B b A / C
C#13
or
Dbl3
=
F011b9 C# C #l 3
or
Dbl3 = G#-9 C
C#13 or Db13
=
B A / C #
D l3
=
F# 11 '-9/ D D13
=
A - 9 / D
D13
=
C A I D
D # l 3
or
Eb13
=
G011b9/D# D#13
or
Eb13 = A # - 9 1
D#
D # l 3
or
Ebl3
=
C # A D#
El3
=
G#011b9 /E
E l3
=
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# FÃ 1 or Gbl3
=
C#-9 F# F# l3 or Gb13
=
E A / F #
G13
=
B O 1 l ^ / G G I 3 = D-9 / G G13
=
F A / G
G#13 or Abl3
=
C O l b9 / G# G# l 3 or Abl3
=
D#-9 # 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 # l 3 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 # C Ã ˆ l or Dbl l
=
B / C #
D9
=
A - I D D l 1 = 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 G I 1
=
F I G
G#9
or
Ab9
=
D -
G# GÈI
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
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SUBSTITUTIONS
C-13 = B b A l C
C -13 r Db-13
=
B A I C
D-13
=
C A I D
D -13 r Eb-13
=
C A
E-13
=
D A I E
F-13
=
D A l F
A-13
=
E - 9 l A
rl
A-13 = G A I A
G-
G -
A
1 D
A -
B
c- 1 F
C -
D - I G
D -
E- / A
F-
F -
I SUBSTITUTIONS
B b l C
B l C
C I D
C
D I E
D
E
F I G
F
G I A
G
A I B
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SUBSTITUTIONS
G - I C
G l C
A I D
A
B I E
C
C
D I G
D
E I A
SUBSTITUTIONS
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SU STITUTIONS SU STITUTIONS
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a
T
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SU STITUTIONS
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13 13
C A ) i i i o rD b A Ã § i= F-11 C
13
DAÃ I = F -11 D
13 13
DSA tf ii or EbA if i i = G-11 IDS
13
E A Ã ˆGP11
E
3 3
DAÇI
=
A A 9 / D DAÈ = Ctt-7 D
13 13 13
3
D A t i i or EbA8ii = AllA9/ D
DtfA81i or E b A i i= D - 7 / D
13
3
EAÃ I = B A g / E
EAKI DÈ- E
13
13
FA811 = C A 9 / F
FA811 = E-7 F
13 13
F Att11or GbAx11= C A g / F
FHA
or GbA n= F-7 FÃ
13
13
GAii11 = D A g / G
GAÈ = FS-7 G
SU STITUTIONS
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13 $9 13
D - A $11= FA+$ i i /
D - A $11
=
A A 9 /
D
13 13 $9 13 13
DÈ-A I r
E
b-A I FÈA+$/
DÈ-Aà 1
or
Eb-A
I
1
=
AÈA
/ DÃ
13 99 13
E - A $11
=
GA+$i i E
E T A$11
=
B A 9
/
E
13 $9 13
F-A $1i= GÈA+$ F
F-A $11
=
C A 9 /
13 $9 13 13
~ Ã ˆ - A Ã § ~ ib - A 11
= A A + Ã § i i
FÈ- d1 orG b-A $11
=
C A 9 /
13 D9 13
G - A $11
=
AÈA+$ i
G - A 811= D A g / G
13 13 $9 13 13
i à ˆ - A i t r Ab'A $11
=
BA+ i i /
GÈ- $11or Ab-A $11= DÈA
/
GÃ
$9 13
A - A
=
C A +
1 A - A
$11
=
E A 9
/ A
13 13 $9 13 13
M-A
$11 or
B
b A $1I C A + ~ I
AÈ-AI 1 or B b-A $11
=
F A 9
/ A
SU STITUTIONS
C-9
=
G / C
13
C - A $11
= B-7 /
C
13 13
CÈ -Ai 1 or D b- A $11= C-7 / C
13
D - A $11
= CÃ - / D
13 13
DÈ-A or Eb-A $11
=
D-7 /
DÃ
13
E - A $11
=
D -7 E
13
F - A $1I
-7 / F
13 13
FÃ - $11 or
G
b- A $11= F-7
/
FÃ
13
G - A $ If = FÈ- / G
13 13
$11 o rA b-A l l = G-7 /GÃ
13
A - A i t i i =
GÈ-7 /
13
B - A or Cb-A iiAH-7
/ B
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NUMERIC ANALYSIS OF SCALES
ALT
o
1 b2lt3 b4 b5 b6
b7
ENIGMATICMINOR
1
b2 b3
$4 5 96 7
LOCRIAN
MELODIC
DORI NÈ
LYDIAN
AUG
MODE 5 1
92 3 b5 b6 7
MODE
6 1
b2 lt3 t 5
b6 H7
1
1
1
LYDIANb
DOMINANTQ
LYDIAN AUG 2
L O C R I A N H ~
MODE
5
1 b2
3 4 b5 6 7
MODE 6
1 $2 3
4
45 96 7
b2
b2
1
1
1
HUNGARIAN MINOR
ORIENT L
2
b2
b2
1
1
MELODICAUG
DORIAN t 2 ~ 4
LYDIAN AUG 3
b3
2 b 3
b3
b2
2
2
1
1
3
b3
$2
b3
2
b2
b3
b3
4
4
3
b3
4
$3
4 b 5
94
3 4
4
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
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NUMERIC N LYSIS
OF
SC LES
continued
MODE 1 1 1 1 2 1 3 1 4 l 5 1 186171
ALT
ALT
PERSIAN
1
1
MODE3
MODE4
MAJOR PENT
1 2
MODE6
MODE
7
MODE
4
lb31 1 4 1 1 ~ 5 1b71
b2
b2
1
1
1
1
tt3
b2
b2
MODE
3
MODE
4
MODE
5
~ ~
MODE
3
b7
b2
PBLOG
MODE
b4
3
H3
2 b3 5 b6
1
1
1
H3
1
1
MODE
4
MODE 5
MODE 6
4
b3
2
DOMINANTSUS
MODE
MODE
3
92
b2
1
1
1
MODE4
MODE
b5
b5
MODE
4
MODE5
b4
b3
1
1
1
MODE
7
MODE 6
E OPLOCRIAN
4
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
6
7
6
b7
b7
5
3
6
*7
6 b 7
b7
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
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NUMERIC N LYSIS OF CHORDS
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NUMERIC N LYSIS OF CHORDS continued
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POLYCHORD FORMUL S
NINTHS
ELEVENTHS