The relationship between chords and scales

[nuffink]

This is an attempt to show the relationship between chords and chord scales in jazz theory.
The notes of the chord are in yellow. The non-chord notes of the chord scales are in orange, these are used to extend the chord and in the melody played over the chord. The notes in white are not part of the chord scale.

C Db D Eb E F Gb G Ab A Bb B ...Cø (aka C Minor 7 Flat 5, C-7b5, C Half Diminshed)
C Db D Eb E F Gb G Ab A Bb B ...C Locrian
C Db D Eb E F Gb G Ab A Bb B ...C Locrian#2

C Db D Eb E F Gb G Ab A Bb B ...C-7 (aka C Minor 7)
C Db D Eb E F Gb G Ab A Bb B ...C Dorian
C Db D Eb E F Gb G Ab A Bb B ...C Phrygian
C Db D Eb E F Gb G Ab A Bb B ...C Aolian

C Db D Eb E F Gb G Ab A Bb B ...C7 (aka C Dominant 7)
C Db D Eb E F Gb G Ab A Bb B ...C Mixolydian
C Db D Eb E F F# G Ab A Bb B ...C Lydian Dominant Note: F# not Gb as there is already a G in the scale.

C Db D Eb E F Gb G Ab A Bb B ...CΔ (aka C Major 7)
C Db D Eb E F Gb G Ab A Bb B ...C Ionian
C Db D Eb E F F# G Ab A Bb B ...C Lydian Note: F# not Gb as there is already a G in the scale.

There are many more chord scales which can be played over these chord types. Particularly the dominant chord which due to it's own inherent dissonance can take almost any bunch of notes played over it without sounding off.

Note that I've used the term chord scale here rather than mode. Although all of these chord scales are modes of some scale or other and are named accordingly. Jazzers tend to use mode/scale interchangeably. This pisses off a lot of theorists.

Let me know if you see any typos.

[cheul]

Hmm it seems easier to grasp this time, I dig the layout you used here, it really reflects how you form chords on a keyboard (and besides, I always think in terms of semitones).

I only know about "classic modes", so Lydian Dominant and Locrian #2 add a new degree of complexity. I see which intervals change, but where do they originally come from ?

[chardin]

The "Scale Syllabus" from Jamey Aebersold might be helpful.

http://www.jazzbooks.com/miva/documents ... llabus.pdf

[nuffink]

Hmm it seems easier to grasp this time, I dig the layout you used here, it really reflects how you form chords on a keyboard (and besides, I always think in terms of semitones).

I only know about "classic modes", so Lydian Dominant and Locrian #2 add a new degree of complexity. I see which intervals change, but where do they originally come from ?

They're both from the Melodic Minor. The Lydian Dominant is built from the 4th degree and the Locrian#2 from the 6th. One reason that they're quite commonly used as substitutes for the diatonic modes is that neither contains a so caled "avoid note" (a non-chord note which is 1 semitone above a chord note). This is also why jazzers often play the dorian over minor chords even when the diatonically correct mode is the aolian or phrygian.
This rule of thumb (no minor 2nds above a chord note) is useful for building synthetic scales of your own. The rule is less important for building scales on dominant chords as the tritone dissonance inherent in those tends to mask the minor 2nd/minor 9th dissonance.

[hao nao]

nuffink, thanks for this

just the basic idea that the notes playable over a chord are the ones in the chord as well as the ones that could be used to extend the chord (octaves aside) really clarified something important for me

and it also helps for thinking the other way: i.e., for given melody notes and context, which chords could go well with those notes

[Signal chain]

Emm ... I'm sorry for my difficaulties understanding the subject:

yellow are the notes of the chord.

orange are notes that you can use in the scale for melodies.

white are notes outside the scale that normally you don't use but a jazz-player would, in order to have more notes, and they also sound good in he melody?

[nuffink]

Emm ... I'm sorry for my difficaulties understanding the subject:

yellow are the notes of the chord.

Yes.

orange are notes that you can use in the scale for melodies.

Yes, together with the (yellow) chord notes. They're also used to extend the chord (9ths, 13ths etc.)

white are notes outside the scale that normally you don't use but a jazz-player would, in order to have more notes, and they also sound good in he melody?

They probably don't sound too good in the melody, although they can be used with care (often as a passing tone).

[herodotus]

Thanks for this, nuffco.

The terminology of you jazzers has often been confusing to me, as it is similar to 'western' theory but obviously, and confoundingly, different (Locrian#2?? WTF is Locrian#2??)

This sort of thing is most illuminating.

[Km7]

Well done, congrats. I like to see things which are made precisely, with pleasure and good intentions.
Actually, there are some differences between classical and jazz theory and analysis, but also many similarities or just things which are called and approached differently.

[guitargeek9]

whats cool is from aeolian, interchange it to harmonic minor, and then learn the modes of harmonic minor. littlebit more difficult but its worth a try....good book: guitar grimoir (sp?) book 2 i think about chords and scales.

[Signal chain]

Thanks nuffink very kind of you to share ......

I'll try them out ....