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Scale Formula Reference Guide

The document outlines various scale formulas and their associated chord types. It discusses the major scale and its modes, including the Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian scales. It also covers the melodic minor modes, diminished scale, whole tone scale and their resulting dominant 7th chord structures. Common extensions for each scale and warnings about avoiding certain intervals like b9 are provided.

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803 views3 pages

Scale Formula Reference Guide

The document outlines various scale formulas and their associated chord types. It discusses the major scale and its modes, including the Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian scales. It also covers the melodic minor modes, diminished scale, whole tone scale and their resulting dominant 7th chord structures. Common extensions for each scale and warnings about avoiding certain intervals like b9 are provided.

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locomotivetrack
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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SCALE FORMULAS These are the most common scale types that I use

Major Scale Modes

I. MAJOR SCALE - 1, 2, 3, 4, 5, 6, 7 extensions (9, 11, 13)


Major 7 Chord

II. DORIAN SCALE - 1, 2, b3, 4, 5, 6, b7 extensions (9, 11, 13) Minor 7 Chord!

III. PHRYGIAN SCALE - 1, b2, b3, 4, 5, b6, b7 extensions (b9, 11, b13)
Minor 7 Chord

IV. LYDIAN SCALE - 1, 2, 3, #4, 5, 6, 7 extensions (9, #11, 13)


Major 7 Chord

V. MIXOLYDIAN SCALE - 1, 2, 3, 4, 5, 6, b7 extensions (9, 11, 13)


Dominant 7 Chord

VI. AEOLIAN SCALE - 1, 2, b3, 4, 5, b6, b7 extensions (9, 11, b13)


Minor 7 Chord

VII.LOCRIAN SCALE - 1, b2, b3, 4, b5, b6, b7 extensions (b9, 11, b13) Minor
7b5 Chord

Remember - b9 intervals sound BAD and are generally to be avoided in all but Dominant 7th
chords. b13 intervals are okay, if the 5th of the chord has been removed, avoiding a semitone
clash between the 5th and b6th/b13th. The more extensions you add to the chord, the denser the
harmony sounds. Generally, guitar players choose one or two extensions but must omit other
notes in order to be able to play the chord.
Melodic Minor Modes
I. MELODIC MINOR SCALE - 1, 2, b3, 4, 5, 6, 7 extensions (9, 11, 13)
min/Maj7 Chord

II. DORIAN b2 SCALE - 1, b2, b3, 4, 5, 6, b7 extensions (b9, 11, 13)


Dominant 7sus4b9 Chord
The Dorian b2 scale is used to create a resolving dominant chord - in this case a 7sus4b9 or 13sus4b9
chord. Even though the scale contains a b3 interval we still call the chord a dominant and replace the b3rd
with the 4th, thus creating a dominant chord with a suspended 4th. The resulting chord is always used as a
resolving dominant or V chord with a b9 extension - hence the name Dominant 7sus4b9. An example
progression might be G7sus4b9 to Cmaj7, instead of the normal, basic G7 to Cmaj7.!

III. LYDIAN #5 SCALE - 1, 2, 3, #4, #5, 6, 7 extensions (9, #11,13)


Major 7#5 Chord
Also called Lydian Augmented Scale

IV. LYDIAN b7 SCALE - 1, 2, 3, #4, 5, 6, b7 extensions (9, #11, 13)


Dominant 7#11 Chord
Also called Lydian Dominant Scale

V. MIXOLYDIAN b6 SCALE - 1, 2, 3, 4, 5, b6, b7 extensions (9, 11, b13)


Dominant 7 Chord - very rarely used

VI. LOCRIAN nat9 SCALE - 1, 2, b3, 4, b5, b6, b7 extensions (9, 11, b13)
Minor 7b5 Chord

VII. ALTERED SCALE - 1, b2, b3, b4, b5, b6, b7 extensions (b9, #9, b5, #5)
Altered Dominant 7 Chord
The altered dominant scale, also known as the Superlocrian scale is rewritten as 1, b9, #9, 3, b5, #5, b7 to
describe a Dominant 7th chord (1, 3, b7) with four altered tension notes ( b9, #9, b5, #5).

b2 becomes b9
b3 becomes #9
b4 becomes 3
b6 becomes #5

The most commonly used melodic minor modes are mode I - Melodic Minor, mode III - Lydian
Augmented, mode IV - Lydian Dominant and mode VII - Altered. The others are used but far less
often in standard harmonic repertoire.
Diminished Scale
HALF WHOLE DIMINSHED SCALE - 1, b2, b3, 3, b5, 5, 6, 7 extensions (b9,
#9, b5/#11 and 13)
Dominant 7th chord with a b9, #9, b5/#11 and 13
b2 becomes b9
b3 becomes #9

Whole Tone Scale


WHOLE TONE SCALE - 1, 2, 3, #4/b5/#11, #5/b6/b13, b7 extensions (9,
#11/b5/b13)
Dominant 7th chord with a 9, #11/b5 and #5

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