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Scale Shapes w/ Embedded Voicings

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Voicing Modes

Voicing Modes - 3rd edition

Revised, updated & expanded
Etudes in standard notation & TAB

© Copyright 2016, 2017, 2019 by

Noel Johnston

All Rights Reserved

Third Edition
First Printing: September, 2016
Second Edition: December, 2017
Third Edition: March, 2019

Front cover and other image credits: Adobe Stock images and Noel Johnston
Constellation: Cassiopeia
Chord shape: (All-purpose F Melodic Minor voicing) Ab Maj7#5#11 but works with various other
roots in F Melodic Minor; E7alt, B b 7#11, etc. (and it also works over C Harmonic-Major)

Thanks:
To my wife and kids for letting me take the time to do this.
To my friends, Mark Cuthbertson, Mark Lettieri and Dan Haerle for giving suggestions and feedback.
To Emanuel Schmidt for catching some typos.
To my students at the University of North Texas and Lone Star Music Academy on whom I have inflicted many of these ideas.
To √2
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Contents

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Functional vs Modal voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

British food, French food, Indian food

Adaptable modal voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

1, b 2, 4, 5 “Phrygian” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Phrygian Etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1, 2, 5, b 6 “Aeolian" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Aeolian Etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Modal Mothers, Modal Mothers Etude 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
1, 3, 6, 7 “Magic 6th” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Magic 6th Etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Modal becoming functional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Tonal thoughts, Hidden tonalities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Diminished Etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Harmony of the Blues, Five Blues Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Diatonic Substitution: Tune examples for advanced bracketing & modal reharmonization . . . . . . . . . . . . 62
Stella by Starlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
All the Things You Are . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Giant Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Modal Mothers Etude 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Blue Bossa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Reference Material (pg 78):

Melodic voicings (functional & modal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Major 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Dom 7 (Mixolydian) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Minor 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Minor 7(b 5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Dom 7 (Alt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Dom 7 (Lydian-Dominant) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Dom 7 V sus (modal Mixolydian) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Modes with relatives, 7-position scale shapes w/ voicings embedded . . . . . . . . . . . . . . . . . . . . . . . 94

7 Major modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
7 Harmonic Minor modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
7 Melodic Minor modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Other scales, ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Double Harmonic/Hungarian Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Harmonic Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
(Brahms) Lullaby in Harmonic Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Symmetrical Scales:
Whole-Half Diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Half-Whole Diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Whole-Tone Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Augmented Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
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Voicing Modes

Fundamental sound surrounded by its related sounds

i. F Melodic Minor

G Phrygian 6
Gm
Gsus
Gm7
Gm6
Gsus(b9)

E Superlocrian A Lydian 5
E° Ab+
E+ Ab∆7 ( 5)
Eø7 Ab∆7 5 11
E7 (no 5)
Ab6 (no 5th)
E7alt
Ab∆6 (no 5th)
E7( 9 5) F Melodic Minor
E7( 9 5) Fm
Fm∆7
Fm∆9
Fm6

D Locrian 2
B Lydian-Dominant
D°
Dø7 Bb
Dø9 Bb7
Bb7(#11)
C Aeolian-Major Bb9
(Mixolydian 6)
Bb13
C
Csus
C+
C7
C7( 6)
C7sus
Csus( 6)
Csus2( 6)

How to interpret the mode/chord boxes:

Scale Name
F Lydian 9
Tertian triad F
Fm, F°
Other triads (non-tertian or
F∆7
enharmonic equivalent)
F∆7(9),
Tertian 7th chord F∆7(911)
F6
Tertian extended chords F6∆7(no 5th) “magic 6th”

F°7
Modal, other non-tertian, or
extended enharmonic equivalent voicings

(inversions are also voicings, and are often great options, but are not listed in these chord boxes)
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Introduction

Introduction.

Modes are often at first understood in relation to a parent scale. While this can be helpful as a starting point
and for developing muscle memory, in practice it doesn’t always point the player to the right chord tones in
relation to the sound. In other words, it doesn’t help make the changes.

To use modes to make the changes, one must be able to relate the scale shape to a chord voicing - a chord
voicing that outlines the essential few tones in a sea of seven notes. These voicings can vary depending on the
amount of color desired. The color desired is dependent on musical style/genre, and whether or not the chord
is functional in a progression or static in its modality.
These essential tones are not always 1,3,5,7 (tertian harmony - stacked in 3rds).

While most chords in jazz and improv-based music are expressed in one of four tertian-voicing archetypes
(Major, Minor, Dominant, or Diminished) — this is a false tetrachotomy. There are more than four.

To capture some other sounds that many composers intend, especially in compositions written in the last 50
years (and in Classical music, 150 years) one must add a few other archetypes. While those indicated in this
book are not exhaustive, they will open your ears to other ways of expressing harmony while still staying true
to the key center.

While exploring other ways to voice the modes, keep in mind that these are not just for comping and soloing.
Feel free to use them as a starting point for composition and reharmonization. The use of “pivot voicings”
instead of just pivot chords can open up your understanding of harmonic relationships in multiple ways.

Enjoy exploring.

-Noel

P. S. This book is way more fun if you use a looper pedal.

Second edition notes: Typo corrections, clarifications, TAB added to all edudes
Third edition notes: Additional etudes, expanded modal subs section, added blues chapter

More more info, charts, videos, and free web app: http://noeljohnston.com/voicingmodes.php

Now go eat before you turn the page...

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Voicing Modes

Triads and basic 7th chords

•Everything on the plate is nutritionally “functional”

•Flavoring/spices/sauce is mostly unimportant
•The ‘staple’ is the essence of the dish.

•Every note is functional - each note has harmonic purpose & direction.
•Harmonic gravity (tension/resolution tendencies)
•3rds (maybe 5ths) & 7ths make up the essence of the sound

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Functional vs Modal Voicings

Extended chords
& idiomatic Jazz voicings

•While the protein & starch (”functional” food) may make up the foundation
of the the dish, the flavoring/spices/sauce is also essential to the recipe.
•The ‘staples’ with the extra stuff on top make up the essence of the dish.

•Notes in the lower register are functional

•Harmonic gravity (tension/resolution tendency) is somewhat important
•The addition of one or more upper extensions (color tones, flavor notes)
such as 9th, 11th, 13th, #11 are essential.

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Voicing Modes

Modal Voicings

•The recipe starts with the spices.

•Flavoring/spices/sauce is the foundation.
•The choice or omission of a ‘staple’ is irrelevant to the essence of the dish.

•Every voicing note is for flavor.

•Hidden or no harmonic gravity, can vamp or stay on one sound.
•Non-functional - does not obey tension/resolution tendencies.
•3rd & 7th not necessary because upper extensions/color tones
make up the essence of the sound.

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Functional vs Modal Voicings

Some different VOICING ARCHETYPES and their essence (fundamental characteristics)

Functional:

Major: 3rd, 7th

Minor: b3rd, 5th
Dominant: 3rd, b7th
Diminished: b3rd, b 5th

Non-Functional:

Sus: 2nd, 5th / 4th, 5th

Phrygian: b2nd, 4th
Aeolian: 2nd, b 6th

What's in a name?

Some scales can have more than one name, but differences in name can evoke different properties. In other words, a name
can hint at a certain way to voice a sound. One may be more interesting/useful than the other depending on the context.
Take these examples:

•Example 1
5th-mode Melodic Minor. Interval structure: W-W-1/2-W-1/2-W-W (1, 2, 3, 4, 5, b 6, b7).
It can be voiced and named these two ways:

Mixolydian b6 -- evokes a Dominant voicing: 1, 3, 5, b7 with a b13 ("French food" voicing)

Aeolian-Major -- evokes a non-functional, Aeolian voicing: 1, 2, 5, b6 but with a major 3rd ("Indian food" voicing)

•Example 2
2nd-mode Melodic Minor. Interval structure: 1/2-W-W-W-W-1/2-W (1, b2, b3, 4, 5, 6, b7).
It can be voiced and named these two ways:

Dorian b2 -- evokes a minor voicing: 1, b3, 5, b7 with a b2 ("French food" voicing)

Phrygian n6 -- evokes a non-functional, Phrygian voicing: 1, b2, 4, 5 but with a n6 ("Indian food" voicing)

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Voicing Modes

Phrygian
•Phrygian, the 3rd mode of the major scale, has the interval structure:
1/2 - W - W - W - 1/2 - W - W (1 - b2 - b3 - 4 - 5 - b 6 - b7)

•Phrygian can be voiced functionally or modally.

•When voiced in 3rds (tertian harmony), it spells a minor triad, or a minor-7th chord. Extended tertian chords in
this mode are not common.

•Functionally, A iii can substitute for a I chord (1st inversion I chords are not true iii chords), and iii chords in a
progression are often changed to be secondary dominants - altered (raised 3rd) to give stronger harmonic gravity
to the vi; When resolving from iii to vi the 3rd is often raised (making a leading tone to the root of vi) making a
III → vi progression. Phrygian with a n3 is known as “Phrygian-Dominant” or “Spanish Phrygian.”

•With traditional tertian chord nomenclature, the MODAL Phrygian sound can be written in a variety of ways
such as Fm triad ←→ Gm over G bass (cadence or triad pair over a static bass note), or these slash chords or
change-bass chords:
Ab∆7 #11/G, Fm6/G, B b13/G, or D07/G.
See Wayne Shorter's "Witch Hunt" (Last 4 bars), and John Coltrane's "Naima" (bridge)

•MODAL Phrygian can be thought of as an "indian food" voicing. Where the bass note is the actual root of the
sound (not an inversion), and without the 3rd or 7th which are non-essential in Phrygian. (Also, without the b 6 -
an essential Aeolian tone - because it threatens to sound more like a 1st inversion I chord than a true Phrygian)
If we assign 1, b2, 4, 5 as the essential tones, Gsus(b2) expresses that interval structure - leaving open the potential
for many more types of “Phrygian” with the addition of different types of 3rds, 6ths, & 7ths.

•The following pages contain some different types of Phrygian (& their relatives) and also some shapes for voicing
the essence of modal Phrygian. As you will see, multiple possibilities can result from assigning 1, b2, 4, 5 as the
essential tones.

“Essential Phrygian” - made up of 1, b2, 4, 5

Voic

www
& b ww
w
ww
w
& bw
Nerdy Phrygian trivia:

ww
•Phrygian (3rd-major scale) in retrograde is a Major Scale (makes major keys a 3rd away actually ‘related’)

w
&b w
•Phrygian-Dominant in retrograde is a Harmonic Major Scale.
•Phrygian n6 in retrograde is a Melodic Minor scale.
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Phrygian

Essential Phrygian
Gsus(b9)

“Essence” of non-functional Phrygian: 1, b2, 4, 5

(These notes make up the SHELL VOICING and the basic arpeggio)

The non-essential tones are: b3 or ∆3

(these notes are the color tones or upper extensions) b6 or ∆6
b7 or ∆7

With those variables, there are 8 possible combinations:

b3 b6 b7 *
∆3 b6 b7 *
b3 ∆6 b7 *
b3 b6 ∆7

∆3 b6 ∆7 *

∆3 ∆6 b7 *
b3 ∆6 ∆7

∆3 ∆6 ∆7
(* indicates sounds that are less obscure and more 'useful' than the others)

Here are those 5 useful sounds that fit this Phrygian voicing:

1, b2, b3, 4, 5, b6, b7 (Basic Phrygian - 3rd mode of the Major Scale)
1, b2, ∆3, 4, 5, b6, b7 (Phrygian-Dominant / Spanish Phrygian - 5th mode Harmonic Minor)
1, b2, b3, 4, 5, ∆6, b7 (Phrygian n6 / Dorian b2 - 2nd mode Melodic Minor)
1, b2, ∆3, 4, 5, b6, ∆7 (Double Harmonic Major - 5th mode Hungarian Minor / Double-Harmonic Minor)
1, b2, ∆3, 4, 5, ∆6, b7 (Mixolydian b2 / Phrygian-Dom ( n6) - 5th mode of Harmonic Major)

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Voicing Modes

iii. G Phrygian V. G Phrygian-Dominant

A Lydian 9
A Lydian
Ab
Ab, Ab2
Abm, Ab°
Ab∆7, Ab∆9 Ab∆7
Ab∆7(#11) Ab∆7(9)
Ab6 Ab∆7(9#11)
Ab∆6 Ab6
Ab6∆7 “magic 6th”

F Dorian B Mixolydian Ab°7

F Dorian 4 B Superlocrian 7
Fm Bb, Bb2, Bbsus Fm B°
Fsus Bb7 F° B+
Fm7, Fm9 Bb9, Bb13 Fm7 B°7
Fm11 Bb7sus Fø7 B6 (no 5th)
Fm6 G Phrygian Bb9sus F°7
Gm Bb13sus G Phrygian-Dominant
Gsus G
Gm7 G+
Gsus(b9) G7
G7( 9)
Gsus( 9) “phrygian”

C Aeolian
E Major (Ionian)
Cm
Eb, Eb2, Ebsus Csus
Eb∆7 Cm7 E Ionian 5 C Harmonic Minor
Eb∆9 Cm
Cm9 Eb+
Eb6
D Locrian Cm∆7
Csus2(b6) Eb∆7( 5)
D° Cm∆9
Eb6 (no 5th)
Dø7 Csus2( 6) “aeolian”
Eb6∆7 “magic 6th” D Locrian 6
D°
Dø7
D°7

ii. G Phrygian6 I. G Double Harmonic Major

(5th mode Hungarian Minor)

A Lydian 5
A Lydian 96
Ab+
A
Ab∆7 ( 5)
F°°
A m, A
5 11
Ab∆7 A ∆7, A ∆7( 9), A ∆7( 11)
Ab6 (no 5th) A 7, A 7( 9), A 7( 11)
Ab∆6 (no 5th) A m∆7, A m7
F Locrian 3 7 A m7b5, A °∆7 B Ultralocrian 5
B Lydian-Dominant F sus2b5 (“bb3”) A 7(∆7) (Phrygian b4 bb7)
F Melodic Minor
F °bb3 (G#7/F#) Bm
Fm Bb
F sus2 6 ( 5) (D7b5/F#) B, B+
Fm∆7 Bb7
F sus 6 2 (G/F#) Bm6
Fm∆9 Bb7(#11)
B6
Bb9
Fm6 G Phrygian6 B°7( 6/ 5)
Bb13
Gm G Dbl-Harm Major
Gsus G
Gm7 G+, Gsus
Gm6 G∆7
Gsus(b9) G∆7#5
G∆7( 6) “Herbie”
C Aeolian-Major
Gsus( 9) “Phrygian”
(Mixolydian 6)
E Ionian 5 2 Gsus( 6)
E Superlocrian C C Dbl-Harm Minor
E +
E° Csus Cm
E ∆7(5)
E+ C+ C°
Eø7 C7 E ∆7(95) Cm∆7, Cm∆9
E7 (no 5) C7( 6) E 6 (no 5th) C°∆7
E7alt E ∆6 (no 5) “Magic 6” Csus2( 6) “Aeolian”
C7sus
E7( 9 5) E sus ( 6) (no 5)
Csus( 6)
E7( 9 5) D Locrian2 E °7( 6/5)
Csus2( 6)
D° D Mixolydian 5 9
Dø7 D(b5)
Dø9 D7 (no 5)
D7(b5), B7(b9 b5)
D6 (no 5th)
D13 (no 5)
D13(b9)

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Phrygian

V. G Mixolydian 2

A Lydian-Aug2
A +
A °
A ∆7( 5), A ∆7( 5 9)
Larger size modal relative diagrams are in the reference section
A ∆7( 5 11), A ∆7( 9 11) of this book starting pg. 94.
A ∆6 (no 5) “Magic 6”

A °7, A °∆7
For interactive modal relative diagrams, download the "Voicing
A °7( 6/ 5)
F Melodic Minor 4 Modes" iOS app, or check out the "Voicing Modes" web app at
B Locrian 7
(Lydian Minor) http://noeljohnston.com/voicingmodes.php
B°
Fm
B °7
Fsus2, F°
Fm∆7, Fm∆9 B°7( 6/ 5)
F°7, F°∆7
G Mixolydian 2
(Phrygian-Dominant 6)

G
Gsus
G7, G7( 9),
G13( 9)
Gsus( 9) “Phrygian” C Harmonic Major
(Ionian 6)
G6
E Altered 5 C
(Phrygian 4) Csus, Csus2, C+
C∆7, C∆9
Em
C∆7( 6) “Herbie”
E, E+
Em7 Csus2( 6) “Aeolian”
E7, E7( 9) Csus( 6), C∆7( 5)

E7( 9), E7( 5)

D Locrian 2 6
Em7(5) (C2/E)
(Dorian 5)

D°
Dø, Dø9
D°7
D9sus (no 5th)

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Voicing Modes

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Phrygian

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Voicing Modes

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Phrygian

•This etude uses mostly Phrygian voicings.

•Keys used: A Phrygian (F Major), A Phrygian n 6 (G Melodic Minor), A Phrygian-Dominant (D Harmonic Minor)
•Measures 9-12 should be thought of as F Phrygian-Dominant n 6 (Bb Harmonic Major).
 

Phrygian Etude #1 Noel Johnston

    
  


             
 

    


    

 

 
     
 



  

   

    
    

           
   


       
    
                
 

      
   
   
  
    

         
            
        
                  


               
                 
  
          
        
     

            

        
  
          
     

      

     

     
   

   
          
     
     
   
  

13
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes
•This etude uses the "essence" of G-Phrygian (1, b2, 4, 5) as the only common thread throughout the various key centers used.
•It uses chords from Eb Major (G Phrygian), F Melodic Minor (G Phrygian n 6), and C Harmonic Minor (G Phrygian-Dominant).
•This one can be played chord-melody style (rubato or in time).

Phrygian Etude #2
•Also, try recording the changes in a looper and hear how G-phrygian arpeggios will sound through the changes.

Phrygian Etude #2 Noel

NoelJohnston
Johnston

œ bœ œ œ. bœ œ œ œ. bœ œ
œ œ œ bœ
& 44 Œ ‰ œj b œ œ œ J œ œ ˙ œ œ b œ œ œ J
3 ~ 3

( )
3 3

B b9sus B b 9 #11 A b 7(6)± Ab 7

o o
4
B 7

&4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
3 4
T 4
5 5 7
8 9 8 8
7
9 8
7 5
3 3
4
8
7 7
8 7
A 6 5 6 6 5 3 5 5 5 6 3 6
B 6 6
3
4 4 7

œ œ œ œ œ ˙ ‰̇ œ . œ ˙ œ œ
& bœ J bœ œ ˙ bœ ‰ œ œ œ œ b œœ b œœœ
3 3

J œ bœ œ œ œ
3

F m/G C/G F m/G C D

ø E
ø
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
6 6 8 5 5 6 3 5 6 8
5 5 5 5 5 7
6 6 8 5 5 6 5 6 5 6 8
3 5 5 7
3 3 3 3 4

b œœ .. n œœ ˙˙ œ˙ œ œ ˙ Œ œ ˙˙ . œ
3

bœ œ œ
& œœ .. J ‰ b œœ ˙˙ # ˙˙˙ œ ˙ b ˙œ œ œ œ b˙
J b˙ ˙
#
()
3

Eb± 5 Eb 6
ø
3

F m(4) G/A b E 7 #9 D

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
7 8 10 10 10 8 8
11 9 8 9 8 8 8 8 4
10 7 7 5 5 5 7
10 6 6 9 6 6
8 7 6 5

U
œ œ
œ b˙ ww bœ œ b œœ œ œ œ
U
w œb œ œ
& Œ̇˙ œ w b ˙w ˙˙ ˙ œ œ œ œ
w b www œbœ œ
œ
3
w ˙ bw ww
C m(∆9) B 7
o B 6(no5) Cm G/B Ab6 G sus(b 9)

& ’ ’ ’ ’ ’’’’ ’ ’ ’ ’ ’’’’ ’’’’ |

7 3 8 10 15
4 6 8 3 3 8 9
7 7 8 8 8 7 5 5 4 5 5 5 7
5 6 5 5 3 6 5 6
3 3
7 8 7 4 3
14
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Phrygian

For performance examples: http://noeljohnston.com/voicingmodes.php

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Voicing Modes

Aeolian

•Aeolian can be voiced as a functional or modal voicing, and it is very common as a functional minor chord,
however...

•The following pages contain a suggested voicing for MODAL Aeolian and the multiple possibilities that can
result from assigning 1, 2, 5, b 6 as the essential tones.

•“Essential Aeolian” voicing (1, 2, 5, b 6)

•This “Essential Aeolian” voicing (1, 2, 5, b 6) has the same interval structure as the “Essential Phrygian” voicing (1, b2, 4, 5)
but with a different root. You may think of it as an inversion of Phrygian, but it resonates differently.

Nerdy Aeolian trivia:

•Aeolian (6th mode Major scale) in retrograde is a Mixolydian scale.

n
•Harmonic Minor in retrograde is Phrygian-Dominant 6 / Mixolydian b2
•Aeolian-Major in retrograde is the SAME (Aeolian-Major).

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Transaction ID: 8N56757822671680J

Aeolian

Essential Aeolian
Gsus2(b6)

“Essence” of non-functional Aeolian: 1, 2, 5, b6.

(These notes make up the SHELL VOICING and the basic arpeggio)

The non-essential tones are: b3 or ∆3

4 or #4
(these notes are the color tones or upper extensions)

b7 or ∆7

With those variables, there are 8 possible combinations:

b3 4 b7 *
∆3 4 b7 *
b3 #4 b7
b3 4 ∆7 *

∆3 4 ∆7 *

∆3 #4 b7
b3 #4 ∆7 *

∆3 #4 ∆7
(* indicates sounds that are less obscure and more ‘useful’ than the others)

Here are those 5 useful sounds that fit this Aeolian voicing:

1, 2, b3, 4, 5, b 6, b7 (Basic Aeolian - 6th mode of the Major Scale)

1, 2, ∆3, 4, 5, b 6, b7 (Aeolian Major / Mixolydian b 6 - 5th mode Melodic Minor)
1, 2, b3, 4, 5, b 6, ∆7 (Harmonic Minor)
1, 2, ∆3, 4, 5, b 6, ∆7 (Harmonic Major)
1, 2, b3, #4, 5, b 6, ∆7 (Hungarian Minor, aka Double Harmonic Minor)

17
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Transaction ID: 8N56757822671680J

Voicing Modes

vi. G Aeolian V. G Aeolian-Major

(G Mixolydian 6)

A Locrian
A° A Locrian2
Aø7 A°
Aø7

B Major (Ionian) Aø9

F Mixolydian
Bb, Bb2, Bbsus F Lydian-Dominant B Superlocrian
F, F2, Fsus
F
F7 Bb∆7 B°
F7
F9, F13 Bb∆9 B+
F7(#11)
F7sus Bb6 Bø7
F9
B7 (no 5)
F9sus F13 G Aeolian-Major
G Aeolian (Mixolydian 6)
B7alt
F13sus B7( 9 5)
Gm
G
Gsus B7( 9 5)
Gsus
Gm7 G+
Gm9 G7
Gsus2(b6) G7( 6)
G7sus
Gsus( 6)
E Lydian C Dorian E Lydian 5
Gsus2( 6)
Cm C Melodic Minor
Eb, Eb2 Eb+
Csus Cm
Eb∆7, Eb∆9 Eb∆7 ( 5)
Cm7, Cm9 Cm∆7
Eb∆7(#11) Eb∆7 5 11 Cm∆9
Cm11
Eb6
D Phrygian Cm6 Eb6 (no 5th) Cm6
Eb∆6
Dm Eb∆6 (no 5th)
D Phrygian6
Dsus
Dm
Dm7
Dsus
Dsus(b9)
Dm7
Dm6
Dsus(b9)

i. G Harmonic Minor I. G Harmonic Major

A Locrian 2 6
A Locrian6
(Dorian 5)
A°
Aø7 A°
Aø, Aø9
A°7
A°7
B Ionian 5 A9sus (no 5th)
F Superlocrian 7
F° Bb+
FLocrian 7 B Altered 5
F+ Bb∆7( 5)
(Phrygian 4)
Bb6 (no 5th) F#°
F°7
Bb6∆7 F#°7 Bm
F6 (no 5th) “magic 6th”
F#°7( 6/ 5) B, B+
Bm7
G Harmonic Minor G Harmonic Major
B7, B7( 9)
Gm (Ionian 6)
B7( 9), B7( 5)
Gm∆7 G
Bm7(5) (G2/B)
Gm∆9 Gsus, Gsus2, G+
Gsus2( 6) “aeolian”
G∆7, G∆9
E Lydian 9 G∆7( 6) “Herbie”
Gsus2( 6) “Aeolian”
Eb C Dorian 4
Gsus( 6), G∆7( 5)
Ebm, Eb° Cm
Eb∆7
C°
E Lydian-Aug2
Eb∆7(9) E + C Melodic Minor 4
Cm7
Eb∆7(9#11)
Cø7 E ° (Lydian Minor)
Eb6
C°7 E ∆7( 5), E ∆7( 5 9) Cm
Eb6∆7 “magic 6th”
D Phrygian-Dominant E ∆7( 5 11), E ∆7( 9 11) Csus2, C°
Eb°7
D E ∆6 (no 5) “Magic 6” Cm∆7, Cm∆9
D+
E °7, E °∆7
D Mixolydian 2 C°7, C°∆7
D7
E °7( 6/ 5) (Phrygian-Dominant 6)
D7( 9)
D
Dsus( 9) “phrygian”
Dsus
D7, D7( 9), D13( 9)
Dsus( 9) “Phrygian”
D6

18
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Aeolian

i. G Double Harmonic Minor

(Hungarian Minor, Harmonic Minor #4)

A Mixolydian 5 9
A(b5)
A7 (no 5)
A7(b5), A7(b9 b5)
A6 (no 5th)
A13 (no 5)
Larger size modal relative diagrams are in the reference section
A13(b9)
of this book starting pg. 94.
FUltralocrian 5 B Ionian 5 2
(Phrygian b4 bb7) B + For interactive modal relative diagrams, download the "Voicing
F#m
F#, F#+
B ∆7(5) Modes" iOS app, or check out the "Voicing Modes" web app at
B ∆7(95)
F#m6 http://noeljohnston.com/voicingmodes.php
B 6 (no 5th)
F#6
F#°7( 6/ 5) G Dbl-Harm Minor B ∆6 (no 5) “Magic 6”

Am B sus ( 6) (no 5)
A°
B °7( 6/5)
Am∆7, Am∆9
A°∆7
Asus2( 6) “Aeolian”

C Locrian 3 7
E Lydian 96
C sus2b5 (“bb3”)
E
C °bb3 (D#7/C#)
E m, E ° C sus2 6 ( 5) (A7b5/C#)
E ∆7, E ∆7( 9), E ∆7( 11)
D Dbl-Harm Major C sus 6 2 (D/C#)
E 7, E 7( 9), E 7( 11)
D
E m∆7, E m7
D+, Dsus
E m7b5, E °∆7 D∆7
E 7(∆7) D∆7#5
D∆7( 6) “Herbie”
Dsus( 9) “Phrygian”
Dsus( 6)

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Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Aeolian

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Aeolian

•This etude should be played chord-melody style

•It only uses one parent scale - Hungarian Minor (also known as Double Harmonic Minor or Harmonic Minor #4). Asus(b6) is used often.
•As an experiment, record the chord changes in a looper and improvise using A Aeolian arpeggios.
•See the reference section for Hungarian Minor scale shapes, & modal relatives with voicing options.

Aeolian Etude #1 Noel Johnston

Aeolian Etude #1 Noel Johnston

Afro-Cuban/Swing {m q = c 120}

Asus2 (b 6) ()
B7 b 5 Asus2 (b 6)
#±
j j C 5
j
‰ œœœ ˙˙˙ ‰˙ œœ ˙˙˙
œ œ ˙˙
3

& 44 Œ ‰ œ œ # œ ˙˙˙ Œ ‰ #œ œœ ˙
3

˙. .
˙. œ œ ˙. œ ˙. œ œ w
0 0
T 0
2 2
4 4
2
0
2 4
5
A 3 3 3 3 6
B 0 0 2 2 0 0 3

B7 b5 () # ± F/E b
# ± ±# 11/E E ±7 ±7
C 5 C 5/E
œ. œœ . F /E œœœ ..
‰ œœœ ... ‰ # œœœ ...
Am F

& ‰ œœœ ... ‰ # œœœ ... ‰ # œœœ ... ‰ œœ .. ‰ # # œœ ... ‰ œ ..

œ. œ bœ. œ œ.
œ. œ œ. œ
J J J œ. œ œ. œ œ. œ ˙
J J J J
5

1 4 5 6 9 10 12 13
2 2 4 5 5 9 9 10
2 3 6 7 9 9 13 14
0 0 2 2 3 3 6 6 8 11 12
0 0 0 0 0 0 0

Asus2 (b 6) B (b 5) G #/A A m(∆9)/G # F7(∆7 ) # ± F 7/E b

œ œ #œ œ
E 5
œ j œ œ
3

œœœ œ œ œ
3

œ #œ # # œœœ œ œ œ # ˙ œ œ œ b n œœœ j b œ n œ œ # # œœ N œœ
# œœ b œœ
& œ J œœ œ
9
3
3
Str. 8ths ˙ Str. 8ths 3
3

12 12 11 8 8 7 5 5
12 12 12 9 9 5 5 5 9 6
14 14 10 8 8 5 8 8 8 5
15 15 13 10 10 6 6 7 7 10 7
12 0 8 7 6

Asus2 (b 6) ±# 11 Asus2 (b 6)
# ±
U U
C6 F C 9
œœ rit. œœ ˙˙˙ U " œ œ # œœœœ
& œ
œ œ œ gg
gg ˙˙ œ œ œ œ œ
12 œ #œ œ œ œ œ
freely

0 0 0
10 5 0 0 0 0
9 4 2 2 8
7 3 3 3 9
0 3 3 2 0
8 7 4 1 0 8

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Transaction ID: 8N56757822671680J

Voicing Modes

•This etude uses modal Aeolian arpeggios (1, 2, 5, b 6) with some slight variations through various aeolian sounds.
•The "aeol" chord symbols indicate sus2(b 6).
•The key centers used here are the same as the tune "Cherokee."

AeolianEtude
Aeolian Etude #2
#2 Noel Johnston
Noel Johnston

B b aeol n3
bœ
4 œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ bœ œ
G aeol C aeol

&4 œ œ bœ bœ
œ

6 8 6
T 7 8 7 5 7
8 9 8
7 5
8 9 8
7 5 7
8 9 7
7
A 5 7 7 5 7 8
B 9 5

±7 D b aeol n3
œ œ œ œ bœ
D aeol n3
œ œ œ b œC aeol
œ œ œ bœ œ bœ œ
# œ
G aeol C aeol G aeol
œ b œ bœ œ œ œ bœ ∫œ œ bœ
&œ œ œ
œ #œ
5

8 10 8
8 7 10 11 9 8 9 8
7 8 8 7 7 9 8 7 8 7
5 7 7 8 7 6 7 6
5 9 6

B b aeol n3
œ bœ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ
G aeol C aeol
œ bœ œ œ œ œ œ bœ bœ
&œ œ œ œ œ
œ
9

6 8 6
8 9 8 8 9 8 8 9 7
7 8 7 5 7 7 5 7 5 7 7
5 7 7 5 7 8
9 5

D aeol n3 œ bœ œ œ œ œ œ
G aeol

œ œ œ #œ œ bœ
G aeol
œ b œ bœ œ œ bœ œ bœ œ œ œ
&œ œ œ
œ #œ bœ œ
13 œ
10 11 10
8 7 10 11 10 8 10 8
7 8 8 7 7 9 8 7 8 7
5 7 7 8 7 5
5 9 6 5
3

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Aeolian

F #aeol
G #aeol
# œ #œ œ #œ œ œ Nœ #œ œ #œ
#œ œ # œ #œ #œ œ #œ #œ œ
&‰ # œ œ #œ #œ ‰ #œ œ œ œ
17 #œ #œ
11 12 16 12 11 10 14 10 9
9 11 9 7
8 9 7 6 6
6 8 6 4 6 6 4
6 7
4 6

œ œ œ œ œ D aeolb œ œ œ œ
œ œ #œ
E aeol G aeol
œ œ bœ
&‰ œ œ # œ œ ‰ œ œ bœ
œ œ œ
œ œ œ
21 œ #œ
7 8 12 8 7 6 10 6 5
5 7 5
4 5 7
2 4 8 7 5
2 3 6 5 5 6
0 2 3 5

b n
œ bœ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ
G aeol C aeol B aeol 3
œ b œ œ œ œ œ œ bœ bœ
&œ œ œ œ œ
œ
25

6 8 6
8 9 8 8 9 8 8 9 7
7 8 7 5 7 7 5 7 5 7 7
5 7 7 5 7 8
9 5

D aeol n3 œ bœ œ œ œ œ œ
G aeol

œ œ œ # œ œ bœ
G aeol
œ b œ bœ œ œ bœ œ bœ œ œ œ
&œ œ œ
œ #œ œ
29
œ
10 11 10
8 7 10 11 10 8 10 8
7 8 8 7 7 9 8 7 8 7
5 7 7 8 7 5
5 9 5
3

For performance examples: http://noeljohnston.com/voicingmodes.php

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

"Modal Mothers"

Try this: Find the tonality/key center and use the 1- b2-4-5 / 1-3- #4-7 / 1-2-5- b6 / 1-4- b5- b7 interval set
appropriate to the key center and try it with various voicings related to that key.

For example, "Modal Mothers" in a major key would be 3-4-6-7 relative to the parent key. A V7 chord
providing the context (Mixolydian) it would yield 6- b7-2-3 relative to that sound:
Here's an F7 chord in the key of B b

F7
œ bœ œ œ
4
&4 œ b œ œ œ œ bœ œ
bœ œ œ œ œ bw

10 11 10
T 7 8
8 10 10 8
8 7
A 7 7
B 6 10 10 6

Modal Mothers in melodic minor would be 2- b3-5-6 relative to the parent key. A IV7 (in melodic minor) chord
providing the context (Lydian-Dominant) would, just like Mixolydian, yield a 6- b7-2-3 sound:
Here's an F7 chord in the key of C melodic minor:

F7
œ œ œ
4
&4 œ œ œ bœ œ œ bœ œ
œ œ bœ
œ bœ w

10
T 10 10
A 12 13
12 12
13 12
B 10 11
10 12 12 10
11 10

Modal Mothers in harmonic minor would be 1-2-5- b6 relative to the parent key. A V7 (in harmonic minor) chord
providing the context (Phrygian-Dominant) would yield a 1- b2-4-5 sound:
Here's an F7 chord in the key of B b harmonic minor:

œ bœ bœ œ
F7
4 œ œ bœ bœ œ bœ bœ œ
&4 œ œ bœ
b œ
w
8
T 10 11
11 11
11 10
A 8 10 10 8
B 8
8 9 9 8
8

Let's take a look at another chord in melodic minor.

Modal Mothers in melodic minor would be 2- b3-5-6 relative to the parent key. A VII7 (in melodic minor) chord
providing the context (Fully Altered, aka Superlocrian) would yield a #9-3- #5- b7 sound:
Here's an F7 chord in the key of E melodic minor:

F7

&4
4 # œ œ #œ bœ #œ
œ #œ bœ
#œ œ #œ
œ #œ bœ
bœ #œ
w
5
T 6 8
9 9
8 6
A 6 7 7 6
B 5 9
6 6
9 5

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Transaction ID: 8N56757822671680J

Voicing Modes

You may have noticed that the "Essential Phrygian" and "Essential Aeolian" structure is related as they are inversions of
each other. There are two other inversions, the 1-3-#4-7 (Lydian) and the 1-4-b5-b7 (Locrian).
These 4 Modal Mothers fit in many tonalities. You can use this intervallic structure on related chords.

"Modal-Mothers" Etude: Sweet Georgia Brown

using the 1- b2-4-5 / 1-3- #4-7 / 1-2-5- b6 / 1-4- b5- b7 interval set appropriate to the key center
6- b7-2-3 if mixolydian or Lyd-dom, 1- b2-4-5 if Phryg-dom, #9-3- #5- b7 if Altered (etc)

œ œ bœ œ œ œ bœ œ œ bœ œ œ œ bœ
F7
4
&4
œ b œ œ œ œ œ b œ œ œ œ
bœ œ œ œ bœ œ œ œ

10 11 10 10 11 10
T 8 10 10 8 8 10 10 8
A 7
7 8 8 7
7 7
7 8 8 7
7
B 6 10 10 6 10 10

b7
œ bœ œ œ bœ œ
B
œ œ bœ œ œ bœ œ œ bœ œ œ bœ
& œ œ œ bœ œ œ œ bœ œ
œ œ œ œ œ

8 8
T 7
8 9 9 8
7 7
8 9 9 8
7
A 10 10 10 10
B 8 10
10 11 11 10
10 8 10
10 11 11 10
10

b7
œ œ œ œ œ œ
E
œ b œ œ œ bœ œ œ œ b œ œ œ bœ œ œ
& bœ œ œ œ bœ œ
œ œ bœ œ œ bœ

8 8
T 8 8 8 8
A 10 11
10 10
11 10 10 11
10 10
11 10
B 8 9
8 10 10 8
9 8 9
8 10 10 8
9

b b b
bœ bœ œ œ œ œ œ œ
A maj G mi7( 5) C 7( 9)
b œ b œ œ œ œ œ bœ œ œ
& bœ b œ œ œ œ bœ bœ œ œ œ œ œ nœ œ œ bœ
œ œœ œ nœ

8
T 8 10 8 7 8
9 11 9 8 9 8
10
A 10 11 10 9 10 11 10
B 8 9 8 7 8 11 13 11 10 11
11 13 11 10 11 10 8
9
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Buyer: Damir Tanic (damirtanic@gmail.com)
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"Modal Mothers"

F7
œ œ bœ œ œ œ œ bœ œ œ
bœ œ œ bœ œ œ bœ œ œ bœ œ
& bœ œ œ œ œ bœ œ œ œ œ œ

10 11 10 10 11 10
T 7 8
8 10 10 8
8 7 7 8
8 10 10 8
8 7
A 7 7 7 7
B 6 10 10 6 10 10

b7
œ bœ œ œ bœ œ
B
œ œ bœ œ œ bœ œ œ bœ œ œ bœ
& œ œ œ bœ œ œ œ œ bœ œ œ œ
œ œ

8 8
T 7
8 9 9 8
7 7
8 9 9 8
7
A 10 10 10 10
B 8 10
10 11 11 10
10 8 10
10 11 11 10
10

b 7 (b 9) b 7 (b 9)
F mi
œ œ
G mi7( 5) C F mi
œ œ
G mi7( 5) C
œ bœ œ œ œ bœ œ œ bœ œ œ œ bœ œ
& œ bœ œ œ œ œ bœ œ bœ œ œ œ œ bœ

8 8
T 10
8 8
10 10
8 8
10
A 10 11 11 10 10 11 11 10
B 8 9
8 10 10 8
9 8 9
8 10 10 8
9

(G phryg-dom because of the

b2 and n4 in the melody)

b7 #7 b7 b7 b
A G7 F F7 B
œ œ bœ E A maj
œ bœ œ œ œ œ bœ œ
& œ œ bœ œ #œ œ #œ # œ œ œ bœ
œ œ œ ˙
œ bœ bœ
10 8
T 8 10 9 8
A 5 6
5
6 8
7 8 10
11 10
B 1 2
1 3 5 6 7 10 8
9 8 3
3

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Buyer: Damir Tanic (damirtanic@gmail.com)
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Voicing Modes

The "Magic 6th" Voicing

Gsus(b2)
1

b2
What is the “Magic 6th”4 Voicing?
1
•It’s a Major 7th voicing with an added 6th, but no 5th.
3 5 7
•It’s a 1st inversion of a minor add2 chord, but tends to resonate as a root-position major sound, especially in a
lower register.
•The name Magic 6th is made up, but it is an extremely flavorful and adaptable voicing.
•Even though it has a 3rd and a 7th, it is not exactly a tertian voicing.
•This Magic 6th voicing (1, 3, 6, 7), other than the root, uses the notes left out of the Phrygian voicing (1, b2, 4, 5)
•Descending from the 7, it is the Cry Me A River lick.
Gsus2(b6)
•It has both functional and modal qualities (can be used in a progression or as a static sound) depending on
context. 5

b6

The following pages contain chord and arpeggio shapes for the “Magic 6th” voicing (1, 3, 6, 7) and the multiple
possibilities that can result from1 assigning those essential tones.
3 5 7

F6∆7 (no 5th) "Magic 6th"

3

5 7 9

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The "Magic 6th"

The "Magic 6th" ?????????

F6∆7 (no 5th) <or> Dm(add2)/F

“Essence” of this voicing: 1, ∆3, ∆6, ∆7.

(These notes make up the SHELL VOICING and the basic arpeggio)

The non-essential tones are: 2 or # 2

4 or # 4
(these notes are the color tones or upper extensions)

5 or #5

With those variables, there are 8 possible combinations:

2 4 5 *
#2 4 5
2 #4 5*
2 4 #5 *
#2 4 #5 *
#2 #4 5*
2 #4 #5 *
#2 #4 #5 *
(* indicates sounds that are less obscure and more ‘useful’ than the others)

Here are those 7 useful sounds that fit this voicing:

1, 2, 3, 4, 5, 6, 7 (Major Scale - Ionian)

1, 2, 3, # 4, 5, 6, 7 (Lydian - 4th mode of Major Scale)
1, 2, 3, 4, # 5, 6, 7 (Ionian #5 - 3rd mode of Harmonic Minor)
1, # 2, 3, 4, # 5, 6, 7 (Ionian #5 #2 - 3rd mode Hungarian Minor / Double Harmonic minor)
1, # 2, 3, # 4, 5, 6, 7 (Lydian #9 - 6th mode of Harmonic Minor)
1, 2, 3, # 4, # 5, 6, 7 (Lydian-Augmented - 3rd mode of Melodic Minor)
1, # 2, 3, # 4, # 5, 6, 7 (Lydian #9 #5 - 6th mode of Harmonic Major)
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Voicing Modes

I. F Major (Ionian) IV. F Lydian

G Dorian G Mixolydian
Gm G, G2, Gsus
Gsus G7
Gm7, Gm9 G9, G13
Gm11 G7sus
Gm6 G9sus
G13sus
A Phrygian
E Locrian Am E Phrygian A Aeolian
E° Asus Em Am
Eø7
Am7 Esus Asus
Asus(b9) Em7 Am7
Esus(b9) Am9
Asus2(b6)
F Major (Ionian) F Lydian
F, F2, Fsus F, F2
F∆7 F∆7, F∆9
F∆9 F∆7(#11)
F6 F6
F∆6

D Aeolian B Lydian B Locrian

D Dorian
Dm B°
Bb, Bb2 Dm
Dsus Bø7
Bb∆7, Bb∆9 Dsus
Dm7
Bb∆7(#11) Dm7, Dm9
Dm9
C Mixolydian Bb6 Dm11
Dsus2(b6)
C, C2, Csus Bb∆6 Dm6
C7 C Major (Ionian)
C9, C13 C, C2, Csus
C7sus C∆7
C9sus C∆9
C13sus C6

III. F Ionian5 III. F Ionian 5 2

G Dorian 4
Gm G Locrian 3 7
G° G sus2b5 (“bb3”)
Gm7
G °bb3 (A#7/G#)
Gø7
G sus2 6 ( 5) (E7b5/G#)
G°7
G sus 6 2 (A /G#)
E Locrian6 A Phrygian-Dominant
E Mixolydian 5 9 A Dbl-Harm Major
E° A
A+ E(b5) A
Eø7
A7 E7 (no 5) A+, Asus
E°7
A7( 9) E7(b5), E7(b9 b5) A∆7
Asus( 9) “phrygian”
E6 (no 5th) A∆7#5
E13 (no 5)
A∆7( 6) “Herbie”
E13(b9)
F Ionian 5 Asus( 9) “Phrygian”
F Ionian 5 2 Asus( 6)
F+
F+
F∆7( 5)
F∆7(5)
F6 (no 5th)
F∆7(95)
F∆6 “magic 6th”
F6 (no 5th)
B Lydian 9
F∆6 (no 5) “Magic 6”
D Harmonic Minor Bb Fsus ( 6) (no 5)
Dm
Bbm, Bb°
F°7( 6/5)
Dm∆7 Bb∆7
Dm∆9 Bb∆7(9) B Lydian 96
D Dbl-Harm Minor
Dsus2( 6) “aeolian” Bb∆7(9#11)
Dm B
Bb6
D° B m, B °
Bb6∆7 “magic 6th”
Dm∆7, Dm∆9 B ∆7, B ∆7( 9), B ∆7( 11)
C Superlocrian 7 Bb°7
D°∆7
B 7, B 7( 9), B 7( 11)
C° Dsus2( 6) “Aeolian”
CUltralocrian 5 B m∆7, B m7
C+
(Phrygian b4 bb7) B m7b5, B °∆7
C°7
C#m B 7(∆7)
C6 (no 5th)
C#, C#+
C#m6
C#6
C#°7( 6/ 5)

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

The "Magic 6th"

VI. F Lydian 9 III. F Lydian 5

G# Superlocrian 7 G Lydian-Dominant
G#° G
G#+ G7
G#°7 G7(#11)
G#6 (no 5th) G9
G13

A Harmonic Minor A Aeolian-Major

E Phrygian-Dominant E Phrygian 6
Am (Mixolydian 6)
E Em
E+ Am∆7 A
Am∆9 Esus
Asus
E7 F Lydian 9 Em7
Asus2( 6) “aeolian” A+
E7( 9)
F Em6 A7
Esus( 9) “phrygian”
F Lydian 5
Fm, F° Esus(b9) A7( 6)
F+
F∆7 A7sus
F∆7(9), F∆7 ( 5)
Asus( 6)
F∆7(911) F∆7 5 11 Asus2( 6)
F6 F6 (no 5th)
F6∆7(no 5th) “magic 6th” F∆6 (no 5th)
F°7
D Dorian 4
Dm D Melodic Minor B Locrian 2
D° B Locrian6 Dm B°
Dm7 B° Dm∆7 Bø7
Dø7 Bø7 Dm∆9 Bø9
D°7 B°7
C Ionian 5 Dm6
C Superlocrian
C+
C °
C∆7( 5)
C +
C6 (no 5th) C ø7
C∆6 “magic 6th”
C 7 (no 5)
C 7alt
C 7( 9 5)
C 7( 9 5)

VI. F Lydian-Aug 2

G Locrian 7
G#°
G#°7
G#°7( 6/ 5) A Harmonic Major
E Mixolydian 2 (Ionian 6)

(Phrygian-Dominant 6) A
Asus, Asus2, A+
E
Esus A∆7, A∆9
E7, E7( 9), E13( 9) A∆7( 6) “Herbie”
Esus( 9) “Phrygian” Asus2( 6) “Aeolian”
F Lydian-Aug 2
E6 Asus( 6), A∆7( 5)
F+
F°
F∆7( 5), F∆7( 5 9)

F∆7( 5 11), F∆7( 9 11)

F∆6 (no 5) “Magic 6”

Larger size modal relative diagrams are in the reference section
F°7, F°∆7 of this book starting pg. 94.
F°7( 6/ 5)

B Locrian 2 6 For interactive modal relative diagrams, download the "Voicing

D Melodic Minor 4
(Lydian Minor)
(Dorian 5)
Modes" iOS app, or check out the "Voicing Modes" web app at
Dm
B° http://noeljohnston.com/voicingmodes.php
Bø, Bø9
Dsus2, D° B°7
Dm∆7, Dm∆9 B9sus (no 5th)
D°7, D°∆7 C Altered 5
(Phrygian 4)

Cm
C, C+
Cm7
C7, C7 ( 9)

C7 ( 9), C7 ( 5)
Cm7 (5) (A2/C )

33
Buyer: Damir Tanic (damirtanic@gmail.com)
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Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

The "Magic 6th"

35
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Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

The "Magic 6th"

This page intentionally left (almost) blank

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Voicing Modes

•This one sticks to only 1-3-6-7 voicings. Both chords and lines.
•The chord shapes and lines are supposed to mirror each other on the same place on the neck (and are suggested fingerings/positions -
feel free to come up with your own sustained arrangement). I call this the "Jim Hall Method" - where lines and chords are conceived in
the same part of the brain. As with the other etudes, try to think of these lines as voicings instead of just single-line 'shred' arpeggios.
Guitar as a hybrid line/chord instrument is unique in this way.

Magic 6th Etude #1

•The tune, harmonically, only uses three key centers: B, G, & Eb. (Giant Steps) The Magic 6th voicing works on the I & IV chords of
each key. See page 68-73 for more Giant Steps modal reharmonization examples for comping over this etude.
Noel Johnston

Magic 6th Etude #1 Noel Johnston

o œ4
#œ #œ
œ œ œ œ œ œ œ œo # œ3 œ
2 4 4 4

4 œ œ œ
1 1

œ œ
4

œ œ
2 1 1 4 1 1

&4 #œ œ b œ œ bœ œ œ # œ œo o
œ œ œ
3 8 3 0 12
T 8
9 12 10
9
0
5
3 3
5 0
0
11
8
A 6 10 2 5 5 5 4
B 7 3
2 6 6 7

B ±7(6) C ±7(6) G ±7(6) E b ±7(6) G ±7(6) œ.

# ˙˙ ˙˙˙ ˙ w ˙ # œœ ..
4 # ˙ ˙˙ ˙˙˙ www
& 4 #˙ b˙ w # ˙˙˙˙ ‰
˙ ˙˙
7 3 0 12
T 9
8
10
9 4
3
5
0
0
8
11
A 6 10 2 5 4
B 7
2
3
6 7

# œ4 œ œ4 b œ # œ4 # œ 2 2
œ œ 3 œ œ œ œ œ œ #œ #œ #œ œ œ1
bœ œ #œ #œ bœ œ
& #œ œ #œ bœ œ œ œ
2 1 2

14 12 10 15 11 16 11 3
12 13 13 15 12 11 6
12 12 13 8 5
13 9 8 3 5 6
11 6 3

B ±7(6)
7 6 4

G ±7(6) E b ±7(6) ˙˙
#˙
˙˙ ˙˙ # ## ˙˙˙ ˙˙
˙˙ A b ±7(6)
b ˙˙ b ˙˙ # ˙˙ #˙ ˙˙
& ˙ # # ˙˙ ˙˙ b ˙˙
˙ b ˙˙
14 10 15 16 3
12 13 15 16 6
12 12 12 15 8 0 5
13 13 13 6 3 6
14 6 3
7 4

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

The "Magic 6th"

œ4 œ œ1 œ #œ
œ œ bœ œ œ œ œ œ œ #œ # œ # œ # œ œ3 œ
4

œ
3

& bœ œ œ œ œ #œ œ œ #œ
2

9 œ œ
3 8 7 2 4 6
10 5 4 9
5 7 8 8 9 4 6 8
5 10 9 7 2 4 5 6
6 7 2 7
8 3

E b ±7(6) C ±7(6) G ±7(6) E ±7(6) B ±7(6)

w ˙˙˙ #˙ œ # œœ .
& b www ˙ ˙˙ ˙˙
# ˙˙
˙˙ # # # ˙˙˙ œœœ œ ..
˙ ˙ œ
˙ J
7 2 4 6
8 10 5 4 9
5 9 2 4 6 8
5 10 9 2 5 6
6 7 7
8 3

œ œ #œ #œ
# œ1 # œ4 œ œ œ œ4 œ œ b œ œ #œ œ œ œ œ
2 2

œ1 # œ4 # œ
& #œ œ #œ bœ œ œ œ bœ b œ1 œ
1 1

13

4 8 7 6 6
6 8 8 9 9
8 4 5 10 7 8 8 8
8 6 5 6 10 9
6 8 6 10
7 6 4 8

B ±7(6) A b ±7(6) E b ±7(6) B ±7(6)

ww # # # www
# ## wwww ww w w
& w b ww
bw
4 8 6
4 6 8 9
4 5 7 8
8 3 5 9
6
4

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

•This one uses mostly "Magic 6th" (1-3-6-7) voicings appropriate for the key centers of the tune, Alone Together.
•Key centers used in order of appearance: F major, D harmonic minor, Bb major, G harmonic minor, A major, D major, F harmonic
major, C major, F melodic minor.
Magic 6th Etude #2 Noel Johnston
Magic 6th Etude #2
Noel Johnston

F ±7(6) B b ±7(6) F ±7(6)

ww
F
˙ w ww ˙
#5 - 6

4 w bœ nœ ˙ w œ ˙
& 4 ww w w œ œœ ˙˙
bw
10 5
T 10
9
10 10
6 7
8
7
5
7
A 7 5 7
B 8 8
6
8

B b ±7(6) E b ±7(6) G b6(no5) G b o 7 Gm E b ±7(6)

w ˙ ˙
& w ˙˙ œ bœ œ bœ œ œ œ ww
bw b ˙˙ ˙ w b ww
5 b˙ w
3
8 3 1 3
7 5 5 3 2 3 2 3 5
5 5 1 0 5
6 6
6 2 3

A ±7(6) D ±7(6) F ±7(6) B b ±7(6) F ±7(6)

œ œ œ œ œ œ œ œ
# œ #œ œ œ œ œ œ bœ œ œ œ
& #œ œ œ œ
9 œ
12 10
7 12 10 15 15 10
6 11 9 14 14 10
4 9 7 12 15 14
8 13
5 10

#5
F ±7(6) F± G ±7(6) D ±7(6)
œ œ œ #œ œ
œ œ œ #œ œ œ #œ œ
& œ œ œ #œ ‰
œ # œ œ .
œ .
12 œ œ
5 9 7
.
.
5 5 5 7 7
7 6 4 7 6
7 7 4 5 9 0
8 7
3 7

40
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

The "Magic 6th"

# 11
B b ±7(6) E b ±# 9 E b ±7(6) B b ±7(6)
www ww
# www www
& w b ww
bw b ww b ww
15

5 5 5 10
8 7 8 10
7 7 7 7
5 5 5 8
6 6
6

#
D b ±7(6) D bdim±7/A B bdim±7/A F ±7(6) B b ±7(6) F ±7(6) F ± 5/C #
˙˙ b ˙˙ ˙
w
& b b wwww b ˙˙ b ˙˙ ˙˙˙ ˙˙
˙ ˙˙ ˙
˙
˙ ˙ # ˙˙
19
˙ ˙ b˙ ˙
1 12 9 5
1 13 10 5 8 3 5
3 12 9 7 7 2 2
3 11 8 7 5 0 3
4 0 0 8 4
6 1

F ±7(6) B b ±7(6) F ±7(6)

ww
F

w ˙ w ww ˙ w
bœ nœ ˙ œ ˙
#5 - 6

& ww w w œ œœ ˙˙
23
bw
10 5
10 10 10 8 5
9 6 7 7 7
7 5 7
8 8 8
6

#
C ±7(6) A b ±7(6) Bb o7 B b6(no5) F ±7(6) F ± 5/E
www ˙ # w
˙˙ b œ˙ nœ www ww
& w
(12th fret harm.)

w b˙
˙ b˙ w ·
27

7 5
10 6 5 14
9 5 6 7 7 10
7 3 5 7 14
8
8 4 6 12

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Buyer: Damir Tanic (damirtanic@gmail.com)
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Voicing Modes

Magic 6th Etude #3 (Countdown)

Using 1-3-6-7 on the I and/or IV of the Major tonalities, and on the III of the Melodic Minor tonalities

G 6J(omit5) E 6J(omit5) C 6J(omit5) D 6J(omit5) D 6J(omit5)

b b b
8 6 8 9

bœ bœ bœ bœ œ bœ #œ
&4
4 œ œ œ œ œ
œ œ bœ b œ b œ bœ bœ nœ œ #œ Œ
œ b œ œ
3

bœ
œ œ œ
Keys: D Major . . . . . . . B b Major . . . . . . . . . . . . . . . . . . . . . . . G b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . B b Melodic Minor . . . . . D Major . . . . . . . . . . . . . . . . . . . . .|
3 6 9 14
T 3 3 3 9 9 12
A 2 5
5 5
5 8 9
8 8
9 8 10 12
11

B 0 3
2 6
9
8

D 6J(omit5)
b
6 J(omit5) b6J(omit5)
F 10
D 6 E 6J(omit5) F 6J(omit5)
8 9

œ œ œ œ bœ
œ œ bœ bœ œ bœ œ #œ #œ #œ œ œ œ Œ
& #œ œ #œ #œ œ œ œ
#œ œ œ nœ
Keys: C Major . . . . . . . . . A b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|
12 10 8 6 4 5
T 10
10
11
10
6
6
4
6 2
3 5
A 11 10 6 2 3
B 7 6 4
4 1 5
5

B 6J(omit5)
b
5 C 6J(omit5)
b D 6J(omit5) 5
B 6J(omit5)
b
5
6

bœ bœ bœ bœ bœ # œ œ #œ œ bœ œ œ
& œ œ bœ bœ bœ œ #œ œ œ bœ œ
œ œ
bœ œ œ #œ bœ œ œ
Keys: B b Major . . . . . . . . . G b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . B b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|
6 7 6 7 9 10 6 5
T 9 9 7 8
A 5 7 9
8 8
9
6 7 7
8 7 5
B 6
5 5 9 5
6 5 3

E 6J(omit5) D 6J(omit5)
b b
D 6J(omit5) B 6J(omit5)
b 6 8
7 5

œ œ œ œ œ œ bœ œ
& # œ œ #œ #œ œ œ bœ œ œ œ œ b œ bœ œ bœ
œ bœ
œ bœ œ b œ
#œ œ #œ
Keys: D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B b Melodic Minor . . . . . . . . . . . . . . . . .|
2 5 8 10 8
T 4
2
7
8
7 8
8 11
10
A 4 5 7 8 10 11 10 8
B 2
2 4 5
6
5 6 10 8
9

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

The "Magic 6th"

For performance examples: http://noeljohnston.com/voicingmodes.php

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Transaction ID: 8N56757822671680J

Voicing Modes

Modal Becoming Functional

Enharmonic equivalence
Some sounds, when “modally voiced” (with upper extensions in the lower register) can actually become
functional. In other words, some modes contain 2nds, 4ths, or 6ths which are enharmonically equivalent to
intervals that make up common sounding triads and seventh chords.
Some enharmonically equivalent intervals (written differently, but the sound is the same pitch on an equal
tempered instrument):
# 2 = b 3
b 4 = n  3
# 4 = b 5
#  5 = b 6
n  6 = b b 7

Chord examples:

•Example 1: F Lydian #9 (6th mode of A harmonic Minor):

1, # 2, 3, # 4, 5, 6, 7

1-3-5 triad is an F Major triad

1-# 2-5 is “Fsus # 2” which is enharmonically equivalent to an F Minor triad.

1-# 2-# 4 is “Fsus # 4 add # 2 (no 5th)” which is enharmonically equivalent to an F0 triad

Similarly,

1-3-5-7 is F∆7

1-# 2-5-7 “F∆7sus#2” (who wants to read that?!) is enharmonically equivalent to an Fm∆7

1-# 2-# 4-7 “Fsus#4∆7 add#2 no 5th” (boo!) is enharmonically equivalent to an F0∆7

1-# 2-# 4-6 “F6sus#4#2 no 5th” (yikes!) is enharmonically equivalent to an F07

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Modal Becoming Functional

•Example 2: Super Locrian/Altered (7th mode of Melodic Minor):

1, b 2, b 3, b 4, bv 5, b 6, b 7

When voiced in 3rds, it is a Half-Diminished chord: 1, b 3, b 5, b 7

BUT... if you voice the b 4 as foundational, it’s perceived as a n 3rd - and against the b 7 it makes the dissonant
tritone - the most common way to voice this sound is actually a DOMINANT 7th sound:

This scale is typically thought of as 1, b 9, # 9, n 3, b 5, # 5, b 7 (“Fully Altered”)

•Example 3: Altered b b 7 / "Ultralocrian" (7th mode of Harmonic Minor):

1, b 2, b 3, b 4, b 5, b 6, b b 7

When voiced in 3rds, it is a Fully-Diminished chord: 1, b 3, b 5, b b 7

BUT... if you voice the b 4 as foundational, it’s perceived it as a n 3rd - making it a major voicing - and the b b 7
then sounds like a n 6 making the voicing like a MAJOR 6th sound:

With that in mind, check out these 8 different diminished flavors of Harmonic Minor and Harmonic Major:

45
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Transaction ID: 8N56757822671680J

Voicing Modes

46
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Diminished

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Just to let those variations sink in a bit more, check out this very guitaristic fingering of these various diminished
sounds. Compare them to the symmetrical diminished.
Some of these sounds are very useable in the context of blues licks.

Diminished idea #1
°7 arpeggio on B & D strings, with flavor notes on G-string

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Transaction ID: 8N56757822671680J

Diminished

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

50
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Diminished

Option Anxiety:
There are 11 possible diminished sounds (four harmonic minor, four harmonic major, two symmetrical diminished, and also blues)
and an additional 5 tonal sounds if only a diminished triad is required.
Is it any wonder that people freak out when they see a diminished chord?

Things to consider when you see a diminished chord (or any chord, for that matter):
• Is it possible that you can treat the diminished chord as part of a specific tonality (instead of automatically playing diminished scale
stuff on it)?
• Is it more appropriate to think of it as part of a cadence in one tonality, or as an isolated sound among shifting tonalities?
• Do you find it easier when thinking of it in a tonal context to improvise longer, or more musical phrases?
• Is it more interesting to your ear one way or the other (tonal vs non-tonal)?
• Do you leave space on diminished chords? Is it because you want to, or because you know you won't like what you'll play?
• Is it really only a passing chord? Is it an "old fashioned" sound?
• Sometimes the diminished chord can be substituted for another tension chord (dom 7) based on the next chord, but many times it is
not really the sound the composer intended (For example, the b3º and parallel diminished: biiiº & iº7-->IΔ )
• There's no right way all the time, but there's something special about sticking to a tonality for more than just one chord.

"Chromaticism destroys tonality"

-Dan Haerle

"But, wait! Maybe it doesn't. Maybe it just adds intrigue and clouds everything in mystery!"
-Dan Haerle

Hidden tonalities disguised by simple chords:

See if you can figure out ONE TONALITY that fits each of these chord progression examples. Keep in mind there can be some mystery
in each chord - instead of a colorful chord revealing a lot of notes at once (a "jazz chord"), the tonality of the sound can be disguised
amongst simple chords, thus revealing the tonality only in the full context of the progression. This simple-chord concept works well
in non-jazz styles because simple chords (like triads) are familiar to people's ears, allowing other aspects of the music (such as melody,
texture and timbre) to be the focal point:

1. D # º7 A/E
2. D º7 A
3. D D º7 A(no 5th)
4. B bº (triad) A b//C/ C B bº/D b A b//C/ E  b
5. Dm C # º7 B bº7 B b Δ7
6. C *E b 6 (no 5th) G6 (no 5th) B
7. A b E b m D b m G b
8. C # 6 (no 5th) Dm B bº7 B b 6 F 6 (no 5th) A 7/C/C #
9. E b/2C/ /G F/A D b 6 (no 5th)
10. B b 6 (no 5th) D 6 (no 5th) F #
11. F F7/E b Am/E E
12. B b m A b 6 (no 5th) Gm (no 5th) E 6 (no 5th)

*The "6(no 5th)" chord is really a 1st inversion minor triad, but it can be savored as kind of major.

1. A Lydian#9 (6 of C# Harmonic Minor), A Blues, or 1/2-W diminished 7. A b Mixolydian b6 "Aeolian Major" (5 of Db Melodic Minor)
2. A Harmonic Major 8. D Harmonic Minor
3. A Ionian #5 (3 of F# Harmonic Minor) 9. B b Melodic Minor
4. Ab Mixolydian b6 / "Aeolian Major" (5 of Db Melodic Minor), A Harmonic Major or Bb Blues 10. B Harmonic Minor
5. B b Lydian #9 (6 of D Harmonic Minor) 11. F Lyd #2#6 (6 of A Hungarian Minor)
6. C Lydian #9 (6 of E Harmonic Minor), or C Lyd #9#6 (6 of Hungarian Minor) 12. B b Dorian #4 (4 of F Harmonic Minor), or B b Blues

51
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

•This one descends diatonically through three key centers: A Harmonic Minor, Db Harmonic Minor, and F Harmonic Major) savoring
each of the 4 modes in each key where a diminished chord can be played. (The vii, vi, iv, & ii)

Diminished Etude #1
•The differences in each diminished chord should be understood here as having a tonal context. (i.e. They are not symmetrical diminished
sounds so, whole-half, or half-whole diminished scales are incorrect here)
•Rhythmically, it references a triplet-feel with a 5:3 polyrhythm. 3 in the bass, 5 in the chords. Noel Johnston

Diminished Etude #1 Noel Johnston

ob
G # 7 ( 6) o F ±7(6)
œœ ‰ œœ. œœ ‰ -œœ
Am F 7
œ œœ ‰ œœ œœ ‰ œœ œœ œœ œ œ œ
3 3 3 3

& 45 œœ œœ œœ ‰ œœ
3 3

# œœœ œœ ‰ œœ œœ ‰ œœ
3 3

œ. œ œ. œ. œ œ- œ œ. œ œ. œ œ. œ. œ. œ- œ œ. œ. œ. œ
œ. # œ. œ œ œ. œ œ œ. œ œ 3
0
T 5
5
5
5
5
5
5
5
5
5
5
4
5
4
5
4
5
4
5
4
0
1
0
1
0
1
0
1
0
1
3
2
3
2
3
2
3
2 2
3
A 2 2 2 2 2 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0
B 5 5 5 4 4 4 1 1 1 1 1 1

o ø o C 6(no5)

œœ. - œœ. - œœ ‰ œœ. - œœ ‰ œœ. œœ œ œ œ

D m7 D 7 B 7
œ œœ ‰ œœ ‰ œœœ œ œœ ‰ œœ ‰ œœœ œœ œœ ‰ œœœ œ
3 3 3 3 B 7 3 3 3 3

& œœœ œ. œ œ. b b œœ œ. œ œ. œ œ. œ œ. b œœ œ. œ œ. n œ
. œ œ œ. œ œ œ. œ œ œ. œ œ 3
5

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 10
5 5 5 5 5 4 4 4 4 4 7 7 7 7 7 7 7 7 7 9 9
7 7 7 7 7 6 6 6 6 6 7 7 7 7 7 6 6 6 6 7
5 5 5 5 5 5
7 7 7 7 7 8

Dbm o b o A ±7(6)
. œœ. œœ. œœ. -œœ . œœ. -œ A 7
b b œœ b b œœ œœ œœ œœ ‰ œœ.
3

œœ ‰ œœ. œœ ‰ -œœ # # œœ œœ œ œ# œ
3
C 7 ( 6) 3 3

‰ œœ b b œœœ
3 3

& b b œœ œ‰œœ œœ‰ œ œ œ. ‰ œ œ. œ. œ œ. œ # œ œ. œ œ. œ

œ œ œ œ. œ œ œ. œ œ 3
9
3 3
4
9 9 9 9 9 9 9 9 9 9 4 4 4 4 4 7 7 7 7 7
9 9 9 9 9 8 8 8 8 8 5 5 5 5 5 6 6 6 6 6
6 6 6 6 6 7 7 7 7 7 4 4 4 4 4 4 4 4 4 4
9 9 9 8 8 8 5 5 5 5 5 5

F # m6 F# 7 o ø D# 7 D# 7 o
#œ
œœ ‰ œœ. œœ ‰ -œœ N # œœ œœ‰ œœ.
E 6(no5)

œœ œœ ‰ œœ # # œœœ œœ # œ# œ
3 3 3 3

& ## œœœ œœ ‰ œœ œœ ‰ œœ œ œœ ‰
3 3 3 3

b œœ œ. œ œ. œ œ œ œ œ. œ# œ
œ. œ œ. œ- œ. œ œ œ #œ œ œ # œ. . œ
13 # œ. œ. œ # œ. œ. .œ - . 3

9
2 2 2 2 2 1 1 1 1 1 7 7 7 7 7 7 7 7 7 9
2 2 2 2 2 2 2 2 2 2 6 6 6 6 6 5 5 5 5 8
1 1 1 1 1 1 1 1 1 1 7 7 7 7 7 7 7 7 7 6
6 6 6 6 6 7
2 2 2 2 2 2

52
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Diminished

o. b o -œ Dbb ±œ.7(6)
œœ. œœ. œœ. œ. -œ œ œœ. œœ. œœ. -œ Db 7
œœ. œœ œœœ
. œœ. œœœ. œœ. œ œ œ
œœœ ‰œœœ bb œœœ œœ œœ œœ
3
E 7 ( 6) 3

œ œ œ b œœ
F sus2(b6)
b œ œ‰ œ œœ ‰ œœ œœ ‰ œ bœ œ. ‰ œ. ‰ œ‰ œ œ œ
& œ œ œ œ œ œ bœ œ œ bœ œ œ 3
17
3 3 3 3 3 3
8 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 11 11 11 11 11
10 10 10 10 10 6 6 6 6 6 9 9 9 9 9 10 10 10 10 10
11 11 11 11 11 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 7 7 7
9 9 9 9 9 9

B b m6 Bb 7 o ø 3 o F/A

œœ ‰ œœ. œœ ‰-œœ œœ ‰ œœ. œœ ‰ -œœ

G 7
b œœ b b œœ œœ ‰ œœ œœ œ œœ
3 3 3 3 G 7

b b œœœ œœœ ‰ œœœ œœ ‰ œœœ b b b œœœ

3 3 3

& œ œ. œ œ. œ œ œ. œ œ. œ œ. œ. œ. œ. n œ
b œ. œ œ b œ. œ œ œ. . œ . œ - œ. œ Nœ 3
21

6 6 6 6 6 5 5 5 5 5 2 2 2 2 2 2 2 2 2 6
6 6 6 6 6 6 6 6 6 6 3 3 3 3 3 3 3 3 3 5 5
5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 2 2 2 2 3
6 6 6 6 6 6 3 3 3 3 3 5

A ±7 (
b6 )

œ œ œ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ
3 3 3 3 3

& # # œœœ œœœ œœœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ

25
œ œ œ œ œ œ œ œ œ œ œ œ
0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0

53
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes
•Like Diminished Etude #1, this one descends diatonically through three key centers: A harmonic minor, Db harmonic minor, and F harmonic
major)
•The differences in each diminished chord should be understood here as having a tonal context. (i.e. They are not symmetrical diminished
sounds so, whole-half, or half-whole diminished scales are incorrect here)
Diminished Etude #2
•The melodic ideas over each chord here are licks/ideas/devices related by key center, so they work over the diminished chords in context.
•Tonal diminished chords, context correctly understood (as vii, vi, iv, or ii) will open up your creative options beyond diminishedNoel
arpeggios &
Johnston
diminished scales.

Diminished Etude #2 Noel Johnston

F ±7(6)
G # o7 ( 6) F o7 œ œ œ œ œ1 œ4 œ œ 1 4
b œ
q = 120

œœœœ œ
# œ œœ œ œœœ ‰ 3 3 œ œ # œ œ œ œ1 œ4 œ œ
1 4

œ
Am
5 ‰3 œ œ œ œ ‰ œ œœ œœ
3

œœ œœœ 3 œœœ
3

&4
3 3

œ œ œ œ œ
3
3
3 œ œ Eœphrygian arp 3
œ 3
A aeolian arp
3 3 3 3

F triad w chromatic lower neighbor

3 3
3

5 5 5 13 13 8 8
T 5
9 9 9
5 24
56 6 5
4 9 10
10 12 17 17 17 12 12 10 10 6 6 1
13 13 9 9 4
A 79 9 2 3 79
B 5 7 8
7
0 1
0 2
5 7
78

o ø œ œ œ œ œ B 7œ œ œ œ # œ √ o
#œ œ œ œ œ œ œ œ œ œ œ œœœ
C 6(no5)
œ œ
œ œ #œ œ œœ œœœ œœ œ œ œ œ œ# œ # œ
D m7 D 7 B 7

œ œ œ œ œ œ œ J
3

& #œ œ œ œ œ #œ
3

3 3 3 3 3 3 3 3 3 3 3 3
5 3 3 3 3
Altered pentatonic idea up the neck (1, b3, b4, b5, bb7 of G#)
13 16 19 20 19 20 191617
1 3 6 9 6 9 12 13 12 9 12 13 12 13 15 13 15 13 13 15
4 2 1 2 1 4 5 7 10 10 10 13 16 1316
6 3 6 9 6 9 10 9 10 10 9 1012

Dbm
(√) œ œ œ b œ œ œ C o7 (b 6)œ œ o A ±7(6)
#œ œ 3 3
bœ œ œ œ œ œ œ bœ œ #œ # œ
A 7

œ œ b œ œœ ‰ œ # œ# œ œ œ œ œ œ œ ‰œ# œ# œ# œ œœ
3

& # œ# œ œ œ# œ# œ
3 3 3 3

œ œ bœ œ#œ
9
3 3
3
3
3
3
3 œ 3
3
3 3 #œ
Ab, C, E Augmented arps A 'magic 6th' arp E 'magic 6th' arp
16 2016 1612 12 8 4 4 9 4
17 13 9 7 7 4 4
17 13 9 6 6 6 6
18 14 10 4 67 7646 6 6
1915 15 11 117 4 7 7 6 4
8 4 0 5 4

F # m6 #œ o
F# 7 D# 7 ø D# 7 o
œ#œ # œ œ œ œ œ # œ œ œ œ œ # œ# œ œ œ œ # œ œ
E 6(no5)
#œ œ # œ œ œ œ # œ œ
& # œ# œ œ# œ# œ œ œ œ œ
3

œ# œ œ œ œ#œ œ
3

j œ
œ œ# œ 3
3 3 3 3

#œ œ œ œ
13
3
3
3 3 3
D# min blues lick
3 3
3 #œ 3
3 3 #œ œ
D# half-dim arp F# half-dim arp
5 9 14 11 2 5 2 2
7 14 10 5 5 5 5
6 8 1411 1314 1413 11 1311 25 52 5 5 2
7 13 13 13 11 2 4 4 2 4
4 6 9 12 11 3 3
2 5 5 2 0

54
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Diminished

ob o
Db 7 D b ±7(6)
j œ œ œ œ bœ œ œ œ œ œbœ œ œ œ œ
F sus2(b6) E 7 ( 6)
b œ œ œ œ œ œ
œœ œ œ œbœœ œ œ œ œœ œ œœ b œ œ b
œ œ bœ œ œ œ œbœ œœ œ œ œ
3

& œœ œ œœbœ
3 3 3 3 3
3

œ 3 3
J 3 3 3
3 3 3 3
17 3 3 3 3
F Harmonic-Major: E, G, Bb, Db diminished idea w/ color-tones on the G-string.

2 5 25 2 2 5 8 5 8 5 5 8 11 8 11 8
2 3 32 3 2 3 2 2 5 6 6 5 6 5 6 5 5 9 10 10
5 2 5 5 5 2 5 8 5 8 8 8 5 8 11 8 11

ø o o
B b m6 b œ œ Bb 7 b œ œ œ œ b œ b œ œ œ œ F/A
G 7

œ
œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ
œ œb œ J œ œ œ œ œ b œ œ œ œ œ œœ œ œ
G 7

& J J
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
21 3

8 11 14 1114 11 11 14 17 14 17 14 14
9 10 9 10 9 9 1214 1412 1412 14 12 12 14 15 15 14 15 14 15 14 14
11 11 8 11141114 14 14 11 14171417 17 1714 17

y b
œ œ œ œ œ œ œ œ œ œ œ œ
A 7 ( 6)

# # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
& œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
25 3 3 3 3 3

12 12 12 12 12 12 12 12 12 12 12 12
14 14 14 14 14 14 14 14 14 14 14 14
13 13 13 13 13 13 13 13 13 13 13 13
15 15 15 15 15 15 15 15 15 15 15 15
12 12 12 12 12 12 12 12 12 12 12 12

For performance examples: http://noeljohnston.com/voicingmodes.php

55
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Harmony of the Blues*

(Blues in a 12-tone environment)

Blues is not necessarily major or minor, but can be either, both (held in tension at the same time) or something else entirely. Even though
traditional western harmony, (with its major-or-minor-key dichotomy) has a tougher time explaining it, blues is a tonality with multiple
different flavors.
The tension of the b3 vs the 3, and the b5 vs the 5 are some of its various defining sounds, yet this can't easily be expressed chordally.

Unless one is talking about the chords in a blues progression, the blues is uniquely melodic in nature. This because its intervals don't neatly
fit into the equal-tempered system of intonation, and why i'm a little hesitant to suggest a chordal structure using it.
However, while the human voice and some instruments are capable of achieving the "in-between" notes, we make music in a 12-tone
environment alongside others who are confined to this equal-tempered system. The adaptation of the blues to this environment is one of
the most important roots of jazz.
So I'll go ahead and talk about the commonly taught BLUES SCALES and how they can be voiced:

The blues scale (aka "minor blues scale") has the interval structure: 1, b3, 4, b5/ #4, 5, b7
The major blues scale has the interval structure: 1, 2, b3, 3, 5, 6 (having the same interval structure as the minor blues starting on the b3)

If you take the intervals from BOTH scales starting from the same root, you get a magical HYBRID BLUES scale:
1, 2, b3, 3, 4, #4/ b5, 5, 6, b7

(minor blues: 1, b3, 4, #4/ b5, 5, b7) (major blues: 1, 2, b3, 3, 5, 6) "hybrid" blues scale: 1, 2, b3, 3, 4, #4/ b5, 5, 6, b7

& b œ b œ n œ œ bœ bœ b œ n œ œ œ bœ b œ n œ b œ n œ œ œ bœ bœ
bœ bœ œ bœ œ

The blues sound is not tied to a specific chord quality, but it's most often associated with dominant 7th chords, however...
FUN FACT: This 9-note scale contains a LOT of different CHORDS:

b b b b b b7 b7 b b
B B min B` B sus B sus 2 B (shell) B B min7(shell) B min7

b ww b www
& ww
bw b b www b b b www b b www b www bw bw b bb www b bb wwww

b6 b b b b b9 b7 b7(ad d 4) b9
B B min6 B min7 ( 5) B `7 B B sus B B sus

b www b b www w b b www

& www
bw
ww
b b ww b b bb wwww b b ∫b wwww bw bw b bb www bw

b7(#9) b7(b5) b7(#11) b9 (#11) b13 b13 (#11) b2 b b

B B B B B B B B min9 ( 5)
bw w w
& b # www b ww b www b www b www b www www w
bw bw bw bw bw bw bw b b bb wwww

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Harmony of the Blues

Another fun fact: The hybrid blues scale contains the notes of these FIVE tonal scales:
(100% correct - all 7 notes are one of the 9 hybrid blues scale notes)

Mixolydian

& œ œ bœ bœ
bœ œ œ bœ (V of E b Major)
↑ ↑ ↓↑

Dorian

& œ œ bœ bœ
bœ œ bœ bœ (ii of A b Major) ↓ ↑ ↓↑

Dorian #4

& œ œ bœ bœ ↓ ↓↑ ↓↑
bœ Nœ
(iv of F Harmonic Minor)
bœ œ

Lydian-Dominant

& œ œ bœ bœ ↑ ↓↑ ↓↑
bœ œ œ œ (iv of F Melodic Minor)

Locrian n2 n6
bœ ↓ ↓ ↓↑
& bœ bœ bœ œ bœ (ii of A b Harmonic Major)
bœ œ

(Extra nerdy section)

Remember the modal mother patterns (such as the 1- b2-4-5 "Essential Phrygian" set)? Let's see if that fits anywhere in the interval structure of the 9-note
Hybrid Blues scale.
(Yep. It does. In Three places!)

& w w bœ bœ
w bw nœ bœ nœ
on the 2
bœ
This will have a Dorian flavor.
Will fit in the 2nd and 3rd examples above

& œ œ bw bw
œ bœ nœ bw nw
This will have a Locrian flavor.

bw
on the 4 Will fit in the 5th example above

& w bœ nw bœ nœ œ w bw bœ
bœ
on the 6 This will have a Dominant flavor.
Will fit in the 1st and 4th examples above

*Big Disclaimer: This stuff is NOT blues. It's how you play the notes that matters

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Voicing Modes

(Extra Extra nerdy section)

OK, check this out: Here is something that could be called the tritone blues hexatonic scale but should really be called six really important blues notes. If we take these
notes as a kind of blues essence (especially making use of the bent blue notes between the b3 and 3, and the b5 and 5), we can discover some additional sounds that
become useable in blues.

1 b3 - 3 b5 - 5 b7

& bœ nœ bœ
bœ bœ nœ
↓ ↑ ↓ ↑ ↑

(These two contain all 6 of the above, but have one "forbidden" note according to the 9-note Hybrid-Blues scale)

1/2-Whole diminished (almost right - forbidden note = b2) Lydian #2 #6 -VI of Hungarian minor (almost right - forbidden note = ∆7)

& œ œ œ bœ œ œ #œ œ bœ
bœ nœ bœ nœ bœ #œ œ
1 b3 - 3 b5 - 5 b7 1 b3 - 3 b5 - 5 b7

More almost right sounds to try:

Lydian #2 -VI of Harmonic minor Altered n5 - III of Harmonic Major Tritone Scale
(5 out of 6, 1 forbidden note = ∆7) (5 out of 6, 2 forbidden = b2, b6) (5 out of 6, 1 forbidden = b2)

& œ œ œ bœ œ bœ bœ bœ œ #œ bœ
bœ #œ œ œ bœ bœ bœ ∫œ bœ nœ œ œ
1 b3 - 3 b5 - 5 1 b3 - 3 5 b7 b5 - 5 b7
1 3

Hungarian minor Lydian-minor - iv of Harmonic Major Lydian - IV of Major

(4 out of 6, 2 forbidden = b6, ∆7) (4 out of 6, 1 forbidden = ∆7) (4 out of 6, 1 forbidden = ∆7)

& œ bœ œ bœ œ œ œ bœ œ œ œ bœ
b œ œ b bœ œb bœ œ bœ œ bœ œ œ œ
1 3 5 - 5 1 b3 b5 - 5 1 3 b5 - 5

Honorable mention: These three almost right tonalities contain the 'sass' of min7 b5

Locrian n6 - ii of Harmonic minor Locrian n2 - vi of Melodic minor Altered/Superlocrian - vii of Melodic minor
(4 out of 6, 1 forbidden = b2) (4 out of 6, 1 forbidden = b6) (5 out of 6, 2 forbidden = b2, b6/ #5)

&
b œ b œ b œ bœ œ bœ bœ œ b œ b œ bœ bœ bœ bœ b œ b œ ∫ œ bœ bœ bœ bœ
bœ bœ bœ
1 b3 b5 b7 1 b3 b5 b7 1 b3 - 3 b5 b7

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Harmony of the Blues

Five Blues Sounds

Here are 5 different flavors of blues. 5 different tonalities imbedded in the hybrid blues scale. Changing tonalities can be shocking at first,
(like drinking orange juice right after brushing your teeth) so feel free to spend more time in each sound to get used to it.
This collection of blues licks is all over B b (looper recommended)

B b Pedal
4
& 4 bœ
j
‰ œ Ó bœ
j
‰ œ Ó bœ
j
‰ œ Ó bœ
j
‰ œ Œ ‰ œ
b œ. œ b œ. œ b œ. œ b œ. œ J

T . . . .
A 8 8 8 8 8 8 8 8 8
B 6 6 6 6 6 6 6 6

B b dominant blues (mixolydian)

b œ b œœ œœ œœ œ œ j j
bœ bœ n œœ b œ b œ
& bœ nœ œ bœ bœ nœ œ bœ ‰ œ Ó bœ ‰ œ Œ ‰ œ
J
b œ. œ b œ. œ

T 6 7
6 6
9
6
8
6
6 8
8
6
6
6
7
. .
A 8 6 8 8 8 8 8 8
B 8 6 4 5
6 6 6 6

B b dorian blues
œ b œ œ œ œ œ œ b œ b œ œ b œ œ œ œr b œ. œ œ
œ œ œ b œ œ œ œ œ b œ œ
& b œ b œ œ œ œ œ œ b œ œ œ œ b œ b œœ ‰ bœ
r b œ. œ b œ œr b œ œ
œ
œ . œ bœ
3 3

. .
T 6 6 6 8 9 9 9 9 8 6 8
6 9
8
6
6 89 8 6 .
A 6
8
6
8
6
8
8
8
10 10 10 10
11 11 11 11
8
8
6
6
3 56 5 3
3 56 5 3
B 1

B b dorian #4 blues
. j j œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ bœ œ œ
& bœ ‰ œ Ó bœ ‰ œ Œ
bœ b œ. œ 3
3

T . . 6 6 6 6 9 6 6
3 3 9 9 9 9 9 6 9 6 6
A 8 8 8 8
B 1
6 6

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Voicing Modes

B b dorian #4 blues (cont.)

b œ
œ œ
œ œ œ
œ b œ œ œ œ œ œ œ œ bœ œ œ bœ 1 1 œ œ œ bœ bœ œ
1 1

œ ‰J
3

& bœ bœ œ œ œ œ œ œ œ bœ œ ‰ b œ œ œ œ œ œ bœ œ œ œ bœ bœ œ œ bœ
3

bœ bœ J œ

T 6 6 5 6
6 6 5 6 3
2 5 6 5 2
3 6
5 8 9 8 5
6 6 9
8 9 11 9
A 6 8 6 6 6 6 5 6 2 3 3 2 5 6 6 5 6 8
B 8 8 7 8 7
9
7
6 6

full

œ bœ œ œ œ bœ œ œ œ bœ
r
1/2

bœ bœ œ œ œ œ b œ œ bœ bœ bœ œ œ
bœ

œ œ bœ bœ bœ œ b œœ
& bœ œ œ
3 3 3 3 bœ
full

9 12 15 (15) 13 13 16
T 11 9
12 9 12
9 11 18 (17) 14
15
14
13 15 13
6
6
A 15 14 11 5
B 13 13 13
6

B b lydian-dominant blues
j j ˙ œ œ œ œ
b œ œœ ˙.
r
& bœ ‰ œ Ó bœ ‰ œ Ó b ˙˙ ...
œ
œ ˙.
b œ. œ b œ. œ b˙ . 3

T . . 5
7
68 5 8 5 8
A 8 8 8 8 6 68 5
B 6 6 6 6 6

œœ œr œœ œœ
1/2 1/2

bœ bœ œ bœ œ nœ œ bœ bœ bœ œ œ
1/2 1/2
r r r
œœœœ #œ #œ
œ Œ
#œ

& œ bœ œ
œœœ œ ‰ b Jœ n œ ≈bœ œ œ
bœ bœ bœ 3 3 3
3 1/2
1/2 1/2 1/2

6 9 11 9 13 13 12
T 6 5
7 5 6 7
9 11 11
10
9 14 14 11
10
A 6 5 14
B 8 7 5
8 6 4 6
11 15

œ œ bœ œ œ œ. œ bœ
œ bœ œ œ œ œ œ œ
œ œ bœ b œœ œœ œœœ œ œœ œ w
r
≈ œ œ
œ œ bœ œ œ Œ
œ
& œ
bœ œ œ w
bœ
6 3

12 15 16 15 12 12 8
T 12 13
13 13
13 12
9
9 7 7
68
57
8
7
6
5
5 6 5
A 10 6 6 68 8 6 5 6 5
B 11 7
8 6 6

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Harmony of the Blues

B b locrian n2 n 6 blues
j j bw b w
& bœ ‰ œ Ó bœ ‰ œ Ó b b ww b b b www
b œ. œ b œ. œ bw
F 6J(omit5)
b b b
B mi7( 5)
T . . 5
6
4
6
A 8 8 8 8 6 6
B 6 6 6 6 6
7

b . bœ bœ bœ bœ œ œ bœ
w b b ˙˙˙ .. bœ b œ b œ bœ
b b b www b ˙. ‰ j bœ bœ bœ bœ bœ bœ bœ bœ
3

& bœ
b b
3 3

B º (4)
b
B mi9 ( 5)
8 11 11 16 12 12 12
T 5 9 11 16 16
A 6
6
9
8 13 14
13 15
14
13

B 11 12
11 13 13 16

bœ
bœ bœ bœ œ œœœ œ bœ
bœ bœ œ œ œ œ œ œ œ
& Œ bœ œ bœ œ œ bœ bœ œ bœ œ bœ œ œ œ œ œ ‰ b œœ œœ Œ
3
bœ œ bœ bœ bœ J

12 16 9 6 9 6 6
T 14
A 15 15 9 6 9 6
8
9 9 6
8 6
6
8 6 8 8 6 6
6
5
B 7 7 6 7 6
9
7 6
9 6 4 6

bœ bœ œ bœ bœ
bœ bœ bœ œ œ bœ bœ œ œ bœ œ œ bœ œ b b œœ œ œ
3

b œ œb œ b œ œ œ œ
3

b œ
3

& œ œ œ
3 3

bœ bœ œ œ bœ bœ œ
3 œ
11 9 8 6
T 9 6
9 8 5 5 5 11 11 11
A 8 5
8 8
8
8 9 9 8 9 8
11 8 11 8 1 2
3
2 1
B 10 10 4 1
3
4

j j j
& j bœ ‰ œ Ó bœ ‰ œ Ó bœ ‰ œ Ó
3

œ bœ ˙. b œ. œ b œ. œ b œ. œ

. . .
3
T
A 8 8 8 8 8 8
B 3
1
6 6 6 6 6 6

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Voicing Modes

Diatonic Reharmonization

What is Diatonic Reharmonization?

Simply put, it is the changing of a chord for another chord in the same key. Once you have found the
tonality* of a particular chord (which the composer consciously intended or not), then you can substitute
that chord for another chord in the same tonality. For example, if you are in the key of C Major** you can
use any of these chord-voicing options (you can use this concept for diatonic soloing ideas and arpeggios,
too). Diatonic reharmonization in C major can include any of these***:

(I) (ii) (iii) (IV) (V) (vi) (vii)

C Dm Em F G Am Bº
Csus Dsus Esus Fsus2 Gsus Asus BØ7
Csus2 Dsus2 Em7 F(add2) Gsus2 Asus2 BØ7 (add11)
C(add2) Dm(add2) Em7(4) F∆7 G(add2) Am(add2) Bm7(4)(no5)
C∆7 Dm7 Em( 6) b F∆9 G7 Am7 Bm7(# 5)
C∆9 Dm9 Em7(# 5) F∆7(#11) G9 Am9
C 6/9 Dm11 Esus( 2) b F∆13(#11) G11 Am11
C∆13 Dm7(4) F6 G13 Am7(4)
C6 Dm6 F6 7(ⁿº5) ∆ G7sus Am(b6)
C6∆7(ⁿº5) F 6/9 G6 Am7(# 5)
G9sus Asus2(b6)
G13sus
G 6/9
(Some of the above can also be thought of as inversions)

Here are some inversions:

Am/C Bº/D C/E Dm/F Em/G F/A G/B

F/C G/D Am/E Bº/F C/G Dm/A Em/B
Am7/C (C6) BØ7/D (Dm6) C∆7/E (Em(b 6)) Dm7/F (F6) Em7/G (G6) F∆7/A (Am(b 6)) G7/B
F∆7/C G7/D Am7/E BØ7/F C∆7/G Dm7/A Em7/B
Dm7/C Em7/D F∆7/E G7/F Am7/G BØ7/A C∆7/B
G/C (C∆9(ⁿº3)) G7(4)/D Dm7/E C/F (F∆9(ⁿº3)) F/G (G9sus) G13/A F/B
Am2/C (C6 7(ⁿº5)) C2/E (Em7( 5)) Dm2/F (F6 7(ⁿº5)) F2/A (Am7( 5)) G2/B (Bm7(#5))
∆ # ∆ #

etc.

*Not just major key & relative minor, tonality can be Major, Harmonic Minor, Melodic Minor, Harmonic Major, Hungarian Minor,
or even symmetrical or synthetic sounds.

**For example, Dm7 - G7 - C∆7 (clearly a passage in C Major)

***Many of the non-inversion options are listed in the "chord-bubble" diagrams throughout this book. (Not only in Major, but also
in Harmonic Minor, Melodic Minor, Harmonic Major, and Double-Harmonic, aka Hungarian Minor)
The chord-bubble diagrams are also available, in any key, in Major, Harmonic Minor, and Melodic Minor via the iOS app, "Voicing
Modes" - available at the Apple app store.
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Diatonic Subs

Standard Tune Examples

Following are some tune examples with reharmonized changes - the reharmonizations follow a strict
adherence to the key center the composer intended - they are diatonic substitutions.
Not only can you use diatonic subs to change the accompaniment (one type of reharmonization), you
can use them to gain new ideas for soloing over the original chord changes (“Bracketing” or “Modal
Bracketing”)

Reducing the changes to it’s key center is called “Bracketing”* and it’s often how beginning improvis-
ers learn to solo. Changing it to other key-center related changes could be thought of as “Advanced
Bracketing.” Assuming you already know and hear how to make the changes, advanced bracketing
can expand your vocabulary and idea pallette over a variety of tunes.**

There are two chord-melody arrangements:

1. Stella By Starlight (diatonic/modal substitutions)
2. All The Things You Are (diatonic/modal substitutions)

Chord changes only, with diatonic/modal substitution options:

1. Giant Steps
2. Blue Bossa

It helps to play these with a loop pedal to fully grasp the sounds.

Some words of caution:

1. When soloing with this concept, be sure to make the real changes if the situation calls for it.
2. When comping, be sure to play the real changes if the situation calls for it...
Which is almost always.

(The first rule of comping: "Do no harm.")

*For a primer on "Bracketing," See Dan Haerle's book, "The Jazz Language."
**George Russell's 1953 jazz theory work, "Lydian Chromatic Concept of Tonal Organization" favors the Lydian equivalent of
any given harmony (except Harmonic Minor). The "Advanced Bracketing" technique here is similar, in that it relates sounds
to the parent scale, but doesn't favor Lydian - it allows all seven related sounds equally.

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Voicing Modes

Stella By Starlight (modal sub changes)

Music by Victor Young (1944)
Arrangement: Noel Johnston

A @/C
b
B ma7(#11) E
b7(#11) F 7sus 13
F sus
b b7
A @6 9b
B sus
b
G ma7(#5)
5 5 6 3 3 3 2

4 bœ w œ œ œ bœ w ˙ w œ œ œ œ
&4 Œ œ bw ˙ Œ œ

b #
B ma9 F ma7(#5)/C DÈ(4) D bma7(#5) b7
G @6
(b 9)
13
F sus 9
C sus C 7sus 13
C sus C mi11
3 2 5 4 6 8 8 6 8

œ. œ ˙ œ bœ œ œ œ ˙ œ bœ œ. œ ˙ ˙
bœ œ œ bœ ˙ ˙ ˙ J
& J Œ Œ œ

b
G 7( 13) G 7sus
(b 9) b
G ma7(#5) G aeol
3 3 2

bw œ bœ œ œ w œ b œ œ œ3 bœ
& bœ w œ œ bœ œ w ˙ Œ

F aeol @
G mi9 F mi7
b
E sus 2
(b 6) b
E mi7
b
A 7sus
(b 9)
F 2/A
8 8 6 6 4 4 5

w œ œ œ bœ w ˙ bw œ bœ œ œ
Œ œ
w
& ∑

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Diatonic Subs

How to pick modal substitutions:

The process of Diatonic/Modal reharmonization starts with figuring out the most correct sound the composer
intended (or matching typical/conventional changes), and then substituting the chord for another tonally-related
chord (another sound in the same key).

Let's take the bridge in Stella By Starlight as an example:

G 7(#5) C mi11
b
A 7(#11)
b
B ma9
3 3 3 5

bw œ bœ œ œ w œ b œ œ œ3 b œ w bœ
& œ œ bœ œ w ˙ Œ

Typical/conventional interpretation is:

|| G Phrygian-Dominant | C Aeolian | A b Lydian-Dominant | B b Ionian ||
(not fully-altered, because of the n5 in the melody) (More 1m sounding than Dorian)

This interpretation yields these key centers/parent scales:

|| C Harmonic Minor | E b Major | E b Melodic Minor | B b Major ||

Our choices then become any chords in these sounds (Just mix & match - pick a cool bassline or pedal tone
and the amount of chordal color desired. Of course you want to make sure the melody sounds good with
your choices:

1. || C Harmonic Minor | E b Ionian | E b Melodic Minor | B b Major ||

2. || D Locrian n6 | F Dorian | F Phrygian n6 | C Dorian ||

3. || E b Ionian #5 | G Phrygian | G b Lydian-Augmented | D Phrygian ||

4. || F Dorian #4 | A b Lydian | A b Lydian-Dominant | E b Lydian ||

5. || G Phrygian-Dominant | B b Mixolydian | B b Mixolydian b6 | F Mixolydian ||

6. || A b Lydian #2 | C Aeolian | C Locrian n2 | G Aeolian ||

7. || B Altered bb7 | D Locrian | D Altered | A Locrian ||

For performance examples: http://noeljohnston.com/voicingmodes.php

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Voicing Modes

All the Things You Are (modal sub changes)

Music by Jerome Kern (1939)
Arrangement: Noel Johnston
Key: A b C
b9
E sus D
b lyd
F aeol D mi9 G 2/B
6 8 6 6 6

b˙. œ ˙
4 bw bœ œ œ œ œ œ œ œ œ œ œ ˙ œ }œw w
&4

Eb E b Mel.Min G
b9 aeol b
B sus C D |7 A lyd C |9 G 2/B
4 3 3 3 3 2

b˙. œ
&
bw bœ œ œ œ œ œ ˙ œ œ œ œ œ œ œ bœ œ œ }
œw Œ œ
œ

G Harm. Min. * (or E Harm-Maj)

(G) or C Mel.Min. G G E Harm.Min E D b Mel.Min
9 7(b 9) 13 (b 9)
D sus D sus D sus B phryg B 7sus 13
B sus E ma7(#5)
8 8 5 7 7 7 7

œ. œ ˙ œ w œ œ œ. œ ˙ œ #w w
&
J Œ œ bœ Œ œ J Œ œ œ

D b Mel.Min Ab Ab
Ab
C Harm.Min
b9
E sus F aeol G |7 E ma7(#5) F aeol
b
E ma7(#5) 9
E sus
b D
b lyd
6 8 2 4 8 6 6 8

bw b˙. bœ
œœœœ œ˙ œ w
b˙. bœ
˙ b œ œ ˙ ˙ bw
b˙. bœ bœ œ œ œ œ œ bœ œ
&

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Diatonic Subs

* Most of the time, the tonality the composer intended is very clear and bracketing the correct key center
is easy. Sometimes it's a struggle.
A little note about that section at the end of the bridge:

This is a "minor ii-V to major I" progression and can be interpreted several ways.
b
F #m7( b5)
ii0 B7( b9) V7( 9) EMaj I∆
1. vii of G major V of E Harmonic Minor I of E Major
2. ii of E Harmonic Minor V of E Harmonic Minor I of E Major
3. vii of G Major VII of C Melodic Minor I of E Major
4. ii of E Harmonic Major V of E Harmonic Major I of E Harmonic Major (avoid maj 6)
5. vi of A Melodic Minor ii of A Melodic Minor (sus, avoid 3rd) V of A Melodic Minor (avoid maj 6 and maj7)

#
F mi7( 5)
b b
B 7( 9) E ma7
10 1 7

œ. œ ˙ œ #w w
& J Œ œ œ

Which one is the most correct? Context context context (Historical, Musical, Situational)

What did the composer intend? (Cole Porter may have loved option 4 above, but he didn't write this tune)
What kinds of sounds did Jerome Kern write?
What do the great recordings have?
What does the chart say?
Is the chart right?
Does the melody allow a more advanced interpretation?
What sounds good?
Who are you playing with?
What is the band expecting you to play?
What is the audience expecting you to play?
Is it ok to not do that?
Is the band sensitive enough to hear/accompany you if you play the less common interpretation?
Maybe the more advanced way IS easier.
Are you good enough to play it convincingly?

Delivering tonality to an audience is an art.

You see how a looper pedal is really handy here?

For performance examples: http://noeljohnston.com/voicingmodes.php

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Voicing Modes

Giant Steps (original changes, and modal relatives)

Giant Steps John Coltrane
Composed by John Coltrane, 1959

GJ B !7 E !J
Original Changes

BJ D7 Amin7 D7
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

GJ B !7 E !J F #7 BJ Fmin7 B !7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E !J Amin7 D7 GJ C #min7 F #7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

BJ Fmin7 B !7 E !J C #min7 F #7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E!
Parent Keys: I chords (Ionian)

B G G
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E! B E!
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

G B
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E! B
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Diatonic Subs

Giant Steps (diatonic modal substitutions)

Giant Steps - modal subs John Coltrane

C #Ü AÜ
ii chords (Dorian)

FÜ AÜ
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

FÜ C #Ü FÜ
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

AÜ C #Ü
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

FÜ C #Ü
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

D #Y B Y
iii chords (Phrygian)

GY BY
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

GY D #Y GY
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

BY D #Y
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

GY D #Y
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Transaction ID: 8N56757822671680J

Voicing Modes

Giant Steps (diatonic modal substitutions)

Giant Steps - modal subs John Coltrane

A !N
IV chords (Lydian)

EN CN CN
44
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !N EN A !N
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

CN EN
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !N EN
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

F #; B !;
V chords (Mixolydian)

D; D;
44
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B !; F #; B !;
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

D; F #;
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B !; F #;
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
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Transaction ID: 8N56757822671680J

Diatonic Subs

Giant Steps (diatonic modal substitutions)

Giant Steps - modal subs John Coltrane

F #[ D[ B ![
V (sus) chords (Mixolydian)

D[
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B ![ F #[ B ![
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

D[ F #[
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B ![ F #[
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

vi chords (Aeolian)

G #sus2 ( ! 6 ) E sus2 ( ! 6 ) C sus2 ( ! 6 ) E sus2 ( ! 6 )

( F#13/G#)

4
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C sus2 ( ! 6 ) G #sus2 ( ! 6 ) C sus2 ( ! 6 )

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E sus2 ( ! 6 ) G #sus2 ( ! 6 )
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C sus2 ( ! 6 ) G #sus2 ( ! 6 )
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
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Transaction ID: 8N56757822671680J

Voicing Modes

Giant Steps - modal subs

Giant Steps (diatonic modal substitutions)
John Coltrane

A #º F #º F #º
vii chords (Locrian)

Dº
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Dº A #º Dº
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

F #º A #º
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Dº A #º
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Mixed Modes

G #sus2 ( ! 6 ) AÜ B ![ BY
( F#13/G#)

44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C sus2 ( ! 6 ) C #Ü Dº
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !N CN EN
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !N G #sus2 ( ! 6 )
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Transaction ID: 8N56757822671680J

Diatonic Subs

Try this "Modal Mothers" example with ANY of the previous Giant Steps chordal examples.
Does it sound like it makes the changes?

"Modal Mothers" Etude: Giant Steps

using the 1- b2-4-5 / 1-3- #4-7 / 1-2-5- b6 / 1-4- b5- b7 interval set appropriate to the key center
"Phrygian" / "Lydian" / "Aeolian" / "Locrian"

Options: B = D # Phr, E Lyd, G # Aeol, A # Loc

G = B Phry, C Lyd, E Aeol, F # Loc
E b = G Phry, A b Lyd, C Aeol, D Loc

4 # œ œ œ bœ œ # œ œ œ
&4 # œ œ œ œ œ œ bœ œ
# œ œ œ œ
œ œ œ œ œ bœ œ œ œ
#œ #œ #œ
Keys: B Major . . . . . . . . . . G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . E b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G Major . . . . . . . . . . . . . . . . . . . . . . .|
7 8 4 7 12
T 5 7 8 7
A 4
4 5 7 5
6 5 9 10
9

B 4 6
6 7 3 7 5
8 4 8
5 7 9

œ #œ œ œ #œ #œ #œ
œ œ bœ œ œ œ bœ œ #œ #œ bœ œ œ œ bœ
& œ #œ œ #œ œ œ œ
#œ œ œ
Keys: (G Major) . . . . . . E b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . B Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E b Major . . . . . . . . . . . . . . . . . . . . . .|

7 8 10 11 6
T 7
9 7
8 9 9
9 8 7
8 9
A 10 10 8 6 10
B 10 11 7 6
6
6 7
8 10
10 11

œ bœ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ #œ œ #œ œ œ
#œ # œ œ #œ #œ
& #œ œ #œ
œ œ #œ
Keys: (E b Major) . . . . . . . . . . . . . . . . . . . . . . . G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|

8 10 8 8 12 8
T 9 8 9 8 12 12 12 11
A 7
9 10
9 11 11 9 11
13 14
13

B 8 12
9
11 12
11 13

#œ #œ œ œ œ œ œ
#œ œ œ œ bœ œ œ b œ œ œ #œ #œ #œ
œ œ bœ œ œ #œ #œ
& œ bœ œ #œ
Keys: (B Major) . . . . . . . . . . . . . . . . . . . . . . . . . . E b Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .|
œ
11 12 11 15 11
T 11
13
11
13
15 13
13 12 12 13
13 15 11
13
A 14 12 12 14 13
B 15 11
15
11 15 13 11
0

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Blue Bossa - modal subs

Blue Bossa (original changes, and modal relatives)
Kenny Dorham

Original Changes Composed by Kenny Dorham, 1963

4 Cmin7 Fmin7
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Dº Gï Cmin7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E !min7 A !7 D !J
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Dº Gï Cmin7 Dº Gï
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Modal subs with F pedal

44 Fmin6
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Fª9 Fmin6
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

FY
(F phrygian)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Fmin6 Fª9 Fmin6 Fª9

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Diatonic Subs

Blue Bossa - modal subs

Blue Bossa (diatonic modal substitutions) Kenny Dorham

Modal subs with G & Gb pedal

44 G’ Y
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
(G phrygian)

G¡ GY
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

G !N
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

GY G¡ GY G¡
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Modal subs with Ab pedal

A !N
44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !minJ A !N
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A ![
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !N A !minJ A !N A !minJ
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Blue Bossa - modal subs

Blue Bossa (diatonic modal substitutions) Kenny Dorham

B ![
Modal subs with Bb pedal

4
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B !Y B ![
(B b phrygian n6)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B !sus2 ( ! 6 )
(B b aeolian)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

B ![ B !Y B ![ B !Y
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E !J
Modal subs with Eb pedal

44 ’ ’ ’ ’
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A !min/E ! E !J
(E b aeolian-major)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E !min6
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

E !J A !min/E ! E !J A !min/E !
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Diatonic Subs

Blue Bossa - modal subs

Blue Bossa (diatonic modal substitutions) Kenny Dorham

Mixed Modes

44 Fmin6 GY A !N B ![
(G Phrygian)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C sus2 ( ! 6 ) D !ö Dº E !K
( C Aeolian)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

G !N A ![ B !sus2 ( ! 6 )
( B b Aeolian)

FY
(F Phrygian)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C sus2 ( ! 6 ) D !ö Dº E !K Fª9
( C Aeolian)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Reference Material

1. Sample Melodic Voicings:

Functional voicings with melodies up/down the E and B strings.

In the following Melodic Voicing examples, every note in any given modal sound is harmonized with an
idiomatic standard-jazz era chord voicing. Of course, there are many more options than these listed here so
feel free to come up with your own harmonized scales. These are just some of my favorites.

Note: Sometimes there is a shape that aims “down the neck” and another option aiming “up the neck” - You
may find the these options helpful depending on where you are on the neck.

•Practice these in multiple keys and practice them until they can be done quickly and without hesitation.
•Play these with the melody in mind. Make it beautiful.

2. Seven-position scale shapes with voicings embedded in them.

This is to help muscle-memory practice of scale shapes with easy access to harmonic context. You will notice
a lot of overlapping information (the same seven shapes 7 times, for example) but the embedded chord shape
will vary. Again, the embedded voicings here are just a suggestion. There are many more options possible than
the ones I have listed.

To fully digest the sound of the mode you are playing, try these options:
•Play the chord shape, then play the scale up and down.
•Practice improvising around the scale shape, making sure to emphasize/accent the chord tones.
•Play the chord shape, emphasizing a melody in the shape, and continue an idea from that note.

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Melodic Voicings

How to read the shapes:

Melodic Voicings:

Indicates a Dominant (9th)

with a 3rd in the melody on
the B-string.

(no fret numbers are given

as they are meant to be
ada
adaptable)

Scale Shape with

voicings embedded:

Scale tones numbered in relation

to F Mixolydian. Many chord
shapes are possible in this
shape, but the F9 is outlined.

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Voicing Modes

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Transaction ID: 8N56757822671680J

Melodic Voicings

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Voicing Modes

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Melodic Voicings

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Voicing Modes

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Melodic Voicings

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Voicing Modes

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Melodic Voicings

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Voicing Modes

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Melodic Voicings

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Voicing Modes

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Melodic Voicings

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Voicing Modes

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Transaction ID: 8N56757822671680J

Melodic Voicings

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Voicing Modes

I. F Major (Ionian)

G Dorian
Gm
Gsus
Gm7, Gm9
Gm11
Gm6

A Phrygian
E Locrian
Am
E° Asus
Eø7
Am7
Asus(b9)

F Major (Ionian)
F, F2, Fsus
F∆7
F∆9
F6

D Aeolian B Lydian
Dm
Bb, Bb2
Dsus
Bb∆7, Bb∆9
Dm7
Bb∆7(#11)
Dm9
C Mixolydian Bb6
Dsus2(b6)
C, C2, Csus Bb∆6
C7
C9, C13
C7sus
C9sus
C13sus

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Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

ii. F Dorian

G Phrygian
Gm
Gsus
Gm7
Gsus(b9)

A Lydian
E Major (Ionian)
Ab, Ab2
Eb, Eb2, Ebsus
Ab∆7, Ab∆9
Eb∆7
Eb∆9 Ab∆7(#11)

Eb6 F Dorian Ab6

Fm Ab∆6
Fsus
Fm7, Fm9
Fm11
Fm6

B Mixolydian
D Locrian Bb, Bb2, Bbsus
D° Bb7
Dø7 Bb9, Bb13
Bb7sus
Bb9sus
C Aeolian Bb13sus
Cm
Csus
Cm7
Cm9
Csus2(b6)

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

iii. F Phrygian

G Lydian
Gb, Gb2
Gb∆7, Gb∆9
Gb∆7(#11)
Gb6
Gb∆6

E Dorian A Mixolydian
Ab, Ab2, Absus
Ebm
Ab7
Ebsus
Ab9, Ab13
Ebm7, Ebm9
Ab7sus
Ebm11
F Phrygian Ab9sus
Ebm6
Fm Ab13sus
Fsus
Fm7
Fsus(b9)

B Aeolian
D Major (Ionian)
Bbm
Db, Db2, Dbsus
Bbsus
Db∆7
Bbm7
Db∆9
Bbm9
Db6
C Locrian
Bbsus2(b6)
C°
Cø7

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

IV. F Lydian

G Mixolydian
G, G2, Gsus
G7
G9, G13
G7sus
G9sus
G13sus

E Phrygian A Aeolian
Em Am
Esus Asus
Em7 Am7
Esus(b9) Am9
Asus2(b6)
F Lydian
F, F2
F∆7, F∆9
F∆7(#11)
F6
F∆6

B Locrian
D Dorian
B°
Dm
Bø7
Dsus
Dm7, Dm9
Dm11
Dm6
C Major (Ionian)
C, C2, Csus
C∆7
C∆9
C6

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

V. F Mixolydian

G Aeolian
Gm
Gsus
Gm7
Gm9
Gsus2(b6)
E Lydian
Eb, Eb2
A Locrian
Eb∆7, Eb∆9 A°
Aø7
Eb∆7(#11)
Eb6
Eb∆6 F Mixolydian
F, F2, Fsus
F7
F9, CF13
F7sus
F9sus
F13sus

D Phrygian
Dm B Major (Ionian)
Dsus Bb, Bb2, Bbsus
Dm7
Bb∆7
Dsus(b9)
Bb∆9
Bb6
C Dorian
Cm
Csus
Cm7, Cm9
Cm11
Cm6

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

vi. F Aeolian

G Locrian
G°
Gø7

A Major (Ionian)
E Mixolydian
Ab, Ab2, Absus
Eb, F2, Ebsus
Ab∆7
Eb7
Ab∆9
Eb9, Eb13
Ab6
Eb7sus
Eb9sus F Aeolian
Eb13sus Fm
Fsus
Fm7
Fm9
Fsus2(b6)

D Lydian B Dorian
Bbm
Db, Db2
Bbsus
Db∆7, Db∆9
Bbm7, Bbm9
Db∆7(#11)
C Phrygian Bbm11
Db6
Cm Bbm6
Db∆6
Csus
Cm7
Csus(b9)

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

vii. F Locrian

G Major (Ionian)
Gb, Gb2, Gbsus
Gb∆7
Gb∆9
Gb6
E Aeolian A Dorian
Ebm Abm
Ebsus
Absus
Ebm7
Abm7, Abm9
Ebm9
Abm11
Ebsus2(b6)
Abm6
F Locrian
F°
Fø7

D Mixolydian B Phrygian
Db, Db2, Dbsus Bbm
Db7 Bbsus
Db9, Db13 Bbm7
Db7sus Bbsus(b9)
Db9sus C Lydian
Db13sus
Cb, Cb2
Cb∆7, Cb∆9
Cb∆7(#11)
Cb6
Cb∆6

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Scale Shapes w/ Embedded Voicings

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Scale Shapes w/ Embedded Voicings

i. F Harmonic Minor

G Locrian 6
G°
Gø7
G°7

E Superlocrian 7 A Ionian 5
E° Ab+
E+ Ab∆7( 5)
E°7
Ab6 (no 5th)
E6 (no 5th)
Ab∆6 “magic 6th”

F Harmonic Minor
Fm
Fm∆7
Fm∆9
Fsus2( 6) “aeolian”

B Dorian 4
D Lydian 9
Bbm
Db
Bb°
Dbm, Db°
Bbm7
Db∆7
Bbø7
Db∆7(9)
Bb°7
Db∆7(9#11)
Db6
Db6∆7 “magic 6th”
C Phrygian-Dominant
Db°7 C
C+
C7
C7( 9)
Csus( 9) “phrygian”

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Voicing Modes

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

ii. F Locrian6

G Ionian 5
Gb+
Gb∆7( 5)
Gb6 (no 5th)
Gb∆6 “magic 6th”

A Dorian 4
E Harmonic Minor
Abm
Ebm Ab°
Ebm∆7 Abm7
Ebm∆9 Abø7
Ebsus2( 6) “aeolian” Ab°7

F Locrian 6
F°
Fø7
F°7

D Superlocrian 7 B Phrygian-Dominant
D°
Bb
D+
Bb+
D°7
Bb7
D6 (no 5th)
Bb7( 9)
C Lydian 9
Bbsus( 9) “phrygian”
Cb
Cbm, Cb°
Cb∆7
Cb∆7(9)
Cb∆7(9#11)
Cb6
Cb6∆7 “magic 6th”
Cb°7

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Scale Shapes w/ Embedded Voicings

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Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

III. F Ionian5

G Dorian 4
Gm
G°
Gm7
Gø7
G°7

E Locrian 6 A Phrygian-Dominant
E° A
A+
Eø7
A7
E°7
A7( 9)
Asus( 9) “phrygian”

F Ionian 5
F+
F∆7( 5)
F6 (no 5th)
F∆6 “magic 6th”

B Lydian 9
D Harmonic Minor Bb
Dm
Bbm, Bb°
Dm∆7 Bb∆7
Dm∆9 Bb∆7(9)
Dsus2( 6) “aeolian” Bb∆7(9#11)
Bb6
Bb6∆7 “magic 6th”

C Superlocrian 7 Bb°7

C°
C+
C°7
C6 (no 5th)

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Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

iv. F Dorian 4

G Phrygian-Dominant
G
G+
G7
G7( 9)
Gsus( 9) “phrygian”

A Lydian 9
E Ionian 5 Ab
Eb+ Abm, Ab°
Ab∆7
Eb∆7( 5)
Ab∆7(9)
Eb6 (no 5th)
Ab∆7(9#11)
Eb∆6 “magic 6th”
Ab6
Ab6∆7 “magic 6th”
F Dorian 4
Ab°7
Fm
F°
Fm7
Fø7
F°7

D Locrian 6 B Superlocrian 7
D° B°
Dø7 B+
B°7
D°7
B6 (no 5th)

C Harmonic Minor
Cm
Cm∆7
Cm∆9
Csus2( 6) “aeolian”

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

V. F Phrygian-Dominant

G Lydian 9
Gb
Gbm, Gb°
Gb∆7
Gb∆7(9)
Gb∆7(9#11)
Gb6
Gb6∆7 “magic 6th”

E Dorian 4 Gb°7
A Superlocrian 7
Ebm A°
Eb° A+
Ebm7 A°7
Ebø7 A6 (no 5th)
Eb°7
F Phrygian-Dominant
F
F+
F7
F7( 9)
Fsus( 9) “phrygian”

D Ionian 5 B Harmonic Minor

Bbm
Db+
Db∆7( 5) Bbm∆7
Bbm∆9
Db6 (no 5th)
Bbsus2( 6) “aeolian”
Db∆6 “magic 6th” C Locrian6
C°
Cø7
C°7

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

VI. F Lydian 9

G# Superlocrian 7
G#°
G#+
G#°7
G#6 (no 5th)

A Harmonic Minor
E Phrygian-Dominant
Am
E
E+ Am∆7
Am∆9
E7 F Lydian 9
Asus2( 6) “aeolian”
E7( 9)
F
Esus( 9) “phrygian”
Fm, F°
F∆7
F∆7(9),
F∆7(911)
F6
F6∆7(no 5th) “magic 6th”

F°7
D Dorian 4
Dm
D° B Locrian 6
Dm7 B°
Dø7 Bø7
D°7 B°7
C Ionian 5
C+
C∆7( 5)
C6 (no 5th)
C∆6 “magic 6th”

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

vii. G Superlocrian 7
(G “Ultralocrian”/Altered 7)

A Harmonic Minor
Abm

Abm∆7
F Lydian 9 Abm∆9
Absus2( 6) “aeolian”
Fb
Fbm, Fb°
Fb∆7 B Locrian 6
Fb∆7(9)
Bb°
Fb∆7(9#11)
Bbø7
Fb6
Bb°7
Fb6∆7 “magic 6th”
Fb°7

G Superlocrian 7
G°
G+
G°7
G6 (no 5th)

C Ionian 5
E Phrygian-Dominant Cb+
Cb∆7( 5)
Eb
Eb+ Cb6 (no 5th)
Eb7 Cb6∆7 “magic 6th”

Eb7( 9)
Ebsus( 9) “phrygian” D Dorian 4
Dbm
Db°
Dbm7
Dbø7
Db°7

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

i. F Melodic Minor

G Phrygian6
Gm
Gsus
Gm7
Gm6
Gsus(b9)

E Superlocrian A Lydian 5
E° Ab+
E+ Ab∆7 ( 5)
Eø7 Ab∆7 5 11
E7 (no 5)
Ab6 (no 5th)
E7alt
Ab∆6 (no 5th)
E7( 9 5) F Melodic Minor
E7( 9 5) Fm
Fm∆7
Fm∆9
Fm6

D Locrian2
B Lydian-Dominant
D°
Dø7 Bb
Dø9 Bb7
Bb7(#11)
C Aeolian-Major Bb9
(Mixolydian 6)
Bb13
C
Csus
C+
C7
C7( 6)
C7sus
Csus( 6)
Csus2( 6)

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

138
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

ii. F Phrygian6

G Lydian 5
Gb+
Gb∆7 ( 5)

Gb∆7 5 11
Gb6 (no 5th)
Gb∆6 (no 5th)
A Lydian-Dominant
E Melodic Minor
Ab
Ebm
Ab7
Ebm∆7
Ab7(#11)
Ebm∆9
Ab9
Ebm6 F Phrygian 6
Ab13
Fm
Fsus
Fm7
Fm6
Fsus(b9)

D Superlocrian B Aeolian-Major
D° (Mixolydian 6)
D+ Bb
Dø7 Bbsus
D7 (no 5) Bb+
D7alt Bb7
D7( 9 5)
Bb7( 6)
D7( 9 5)
Bb7sus
C Locrian 2
Bbsus( 6)
C° Bbsus2( 6)
Cø7
Cø9

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

140
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

III. F Lydian5

G Lydian-Dominant
G
G7
G7(#11)
G9
G13

E Phrygian 6 A Aeolian-Major
(Mixolydian 6)
Em
A
Esus
Asus
Em7 A+
Em6 A7
F Lydian 5
Esus(b9) A7( 6)
F+
A7sus
F∆7 ( 5)
Asus( 6)
F∆7 5 11 Asus2( 6)
F6 (no 5th)
F∆6 (no 5th)

D Melodic Minor B Locrian 2

Dm B°
Dm∆7 Bø7
Dm∆9 Bø9
Dm6
C Superlocrian
C °
C +
C ø7
C 7 (no 5)
C 7alt
C 7( 9 5)
C 7( 9 5)

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

IV. F Lydian-Dominant

G Aeolian-Major
(Mixolydian 6)
G
Gsus
G+
G7
G7( 6)
G7sus
Gsus( 6)
E Lydian 5 A Locrian 2
Gsus2( 6)
Eb+ A°
Eb∆7 ( 5) Aø7
Aø9
Eb∆7 5 11
Eb6 (no 5th)
Eb∆6 (no 5th)
F Lydian-Dominant
F
F7
F7(#11)
F9
F13

B Superlocrian
D Phrygian 6 B°
Dm B+
Dsus Bø7
Dm7 B7 (no 5)
Dm6 B7alt
Dsus(b9) B7( 9 5)
C Melodic Minor
B7( 9 5)
Cm
Cm∆7
Cm∆9
Cm6

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

146
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

147
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

V. F Aeolian-Major
(F Mixolydian 6)

G Locrian 2
G°
Gø7
Gø9

E Lydian-Dominant
A Superlocrian
Eb A°
Eb7 A+
Eb7(#11) Aø7
Eb9 A7 (no 5)
F Aeolian-Major
Eb13 A7alt
(Mixolydian 6)
A7( 9 5)
F
A7( 9 5)
Fsus
F+
F7
F7( 6)
F7sus
Fsus( 6)
Fsus2( 6)
D Lydian 5
Db+
B Melodic Minor
Db∆7 ( 5) Bbm
Bbm∆7
Db∆7 5 11
Bbm∆9
Db6 (no 5th)
Bbm6
Db∆6 (no 5th)
C Phrygian 6
Cm
Csus
Cm7
Cm6
Csus(b9)

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

149
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

150
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

vi. F Locrian2

G Superlocrian
G°
G+
Gø7
G7 (no 5)
G7alt
G7( 9 5)
G7( 9 5)

A Melodic Minor
E Aeolian-Major
Abm
(Mixolydian 6)
Abm∆7
Eb
Abm∆9
Ebsus
Abm6
Eb+
Eb7
F Locrian2
Eb7( 6)
Fb°
Eb7sus
Fbø7
Ebsus( 6)
Fbø9
Ebsus2( 6)

D Lydian-Dominant B Phrygian6
Bbm
Db
Bbsus
Db7
Bbm7
Db7(#11)
C Lydian 5 Bbm6
Db9
Cb+ Bbsus(b9)
Db13
Cb∆7 ( 5)

Cb∆7 5 11
Cb6 (no 5th)
Cb∆6 (no 5th)

151
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

152
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

153
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

vii. F Superlocrian

G Melodic Minor
Gbm
Gbm∆7
Gbm∆9
Gbm6

E Locrian 2 A Phrygian 6
Eb° Abm
Ebø7 Absus
Ebø9 Abm7
Abm6
Absus(b9)

F Superlocrian
F°
F+
Fø7
F7 (no 5)
F7alt
F7( 9 5)
D Aeolian-Major F7( 9 5)
(Mixolydian 6)
B Lydian 5
Db
Bbb+
Dbsus
Db+ Bbb∆7 ( 5)
Db7 Bbb∆7 5 11
Db7( 6)
Bbb6 (no 5th)
Db7sus
Bbb∆6 (no 5th)
Dbsus( 6) C Lydian-Dominant
Dbsus2( 6) Cb
Cb7
Cb7(#11)
Cb9
Cb13

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Scale Shapes w/ Embedded Voicings

155
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

156
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

Other Scales

1. Hungarian Minor
(aka Harmonic Minor # 4, or Double-Harmonic Minor)
w/ “cool shapes”

2. Harmonic Major
(Ionian b 6)
w/ “cool shapes”
Adapted melody and reharmonization of Brahms' Lullaby

(Symmetrical Scales)
3. Whole-Half Diminished
4. Half-Whole Diminished
5. Whole-Tone Scale
6. Augmented Scale

157
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

i. A Double Harmonic Minor

(Hungarian Minor, Harmonic Minor #4)

B Mixolydian 5 9
B(b5)
B7 (no 5)
B7(b5), B7(b9 b5)
B6 (no 5th)
B13 (no 5)
B13(b9)

G Ultralocrian 5 C Ionian 5 2
(Phrygian b4 bb7) C+
G#m C∆7(5)
G#, G#+ C∆7(95)
G#m6
C6 (no 5th)
G#6
C∆6 (no 5)
G#°7( 6/ 5) A Dbl-Harm Minor “Magic 6”

Am Csus ( 6) (no 5)
A° C°7( 6/5)
Am∆7, Am∆9
A°∆7
Asus2( 6) “Aeolian”

D Locrian 3 7
F Lydian 9 6
D sus2b5 (“bb3”)
F
D °bb3 (F7/Eb)
Fm, F°
F∆7, F∆7( 9), F∆7( 11) D sus2 6 ( 5) (B7b5/D#)

F7, F7( 9), F7( 11)

E Dbl-Harm Major D sus 6 2 (E/D#)
E
Fm∆7, Fm7
E+, Esus
Fm7b5, F°∆7
E∆7
F7(∆7)
E∆7#5
Tunes/Bits that use these
E∆7( 6) “Herbie” sounds:
Nardis (lots of these sounds)
Esus( 9) “Phrygian” Misirlou (5th mode)
Esus( 6) Epistrophy (5 <-> 6)
Windows (5 <-> 6)
Harry Potter Theme (diatonic)
Nica’s Dream (lick on 1m)

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

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Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

160
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

Cool shapes - Hungarian Minor

161
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

I. A Harmonic Major

B Locrian 2 6
(Dorian 5)

B°
Bø, Bø9
B°7
B9sus (no 5th)

GLocrian 7 C Altered 5
(Phrygian 4)
G#°
G#°7 Cm
G#°7( 6/ 5) C, C+
A Harmonic Major Cm7
(Ionian 6) C7, C7 ( 9)

A C7 ( 9), C7 ( 5)
Asus, Asus2, A+ Cm7 (5) (A2/C )
A∆7, A∆9
A∆7( 6) “Herbie”
Asus2( 6) “Aeolian”
Asus( 6), A∆7( 5)

F Lydian-Aug 2
D Melodic Minor 4
F+
(Lydian Minor)
F°
F∆7( 5), F∆7( 5 9) Dm
F∆7( 5 11), F∆7( 9 11) Dsus2, D°
F∆6 (no 5) “Magic 6”
Dm∆7, Dm∆9
E Mixolydian 2 D°7, D°∆7
F°7, F°∆7
(Phrygian-Dominant 6)
F°7( 6/ 5)
E
Esus
E7, E7( 9), E13( 9)
Esus( 9) “Phrygian”
E6

162
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

163
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

164
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

Cool shapes - Harmonic Major

165
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Lullaby in Harmonic Major

Original melody by Brahms
ã80 (freely, rubato ballad) b arr: Noel Johnston
F 13 ( 9)

œ bœ œ œ
4
intro:
bœ bœ œ Aœ œ bœ œ U
w 3
bœ œ w œ œ
&4 œ bœ bœ œ bœ œ Aœ b ww 4
œ œ w
13 11 10 8 1
T 11 8
11 10 7
10 8 7 5
3
2
A 10 7 8 7 4 4
B 9 6
8 5 1

b b b b b
E ` (J)
b ( b 6)
B maj7( 6) A `7 E min B ma7/D B 2/D
4 8 8 6 5

j
3 ˙ ˙˙ œ œ b b œœ œœ .. A œ b œœ
& 4 # ˙˙˙ œ œ
#˙ b b œœ œ. b œœ b œœœ œ œ
b ˙ ˙ œ. œ
4

1
T 3
2
3 3 6
5
3 6 11
11
10
10
7 7
7
6
5 5 7
A 4 4 8 8 7 8
B 1
5 11 10
6 5

F 7(ad d 4) G 6J(omit5)
b b b
E ` (J) G ` (J)
7
F sus D 7(#9)
8 4 4 4 8 6

b˙ œ œ b ˙˙˙
œ œ
œ œ b œœœ b œ œœ b b œœ b bb ˙˙˙˙ bœ œ œ œ œ œ
& b ˙˙ b˙ # œœ n œ b ˙ b œ œ bœ bœ
8
bœ bœ
5 6 1
T 4 4 6 7 6 10 6 4 4
A 8
8
5 7 7
7
5 5
4
5
4
8
8
8
8 1 3 4
3 3 3 3

B 8 6 5 8 9
2
1

166
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

b b b b
B 2/D C |7 D 7(#9) G ma7 (#5) C |7 D 7(#9) E ` (J) D min B /D
10 7 4 4 6 2 3

b ˙˙
b b b œœœ œ # ˙˙ œ b b b œœœ
œœ # œœ ˙.
& ˙˙ # ˙˙ n b œœ œ # œœ b œœ ˙.
œ bœ œ œ
œ bœ œ
13

1
T 11 7 6 3 4 6 7
A 10
10
8
8 8
5
4
3
3
3 3
4
5
4
7
7
2 3 3 3

B 10 8
5
2
3 5 6 5

b ( b 6) b 7 (b 9) b (b 9) b
C min7(omit5) B ma7 (#5) D 7(#9) A `7 G ma7 (#5) F sus B /F F sus B /F
8 6 4 4

U
b bb ˙˙˙ # œœ œ ˙˙ œ b b b œœœ œ œœœ
U
& œ # ˙œ n b œœ œ œ b·
˙ bœ œ bœ ˙ œ b ˙˙˙ ... 5th str. harm.
17

T
O
11 7 6 3 4 3 1
A 8
8
7
7
7 5
4
3
3
3 3
4 3
3
4 0
B 8 6
5
5 2 1 1
1
1
13

167
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Whole-1/2 Diminished Scale

1-2- 3-4- 5-5-6-7

C - D - D/E - F - F/G - G/A -A-B

C Diminished scale
C°
C°7
B 1/2-whole D 1/2-whole
B°, Bm, B C°∆7 D°, Dm, D
B°7 C° ( 6) D°7
B6 D6
B7, B7( 9), D7, D7( 9),
B7( 9), B7( 11) D7( 9), D7( 11)
B13( 9) D13( 9)

A Diminished scale E Diminished scale

A° E °
A°7 E °7
A°∆7
E °∆7
A° ( 6)
E ° ( 6)

G 1/2-whole F 1/2-whole
F°, Fm, F
G °, Gm, G
F°7
G °7 F6
G6 F7, F7( 9),
G7, G7 ( 9),
G Diminished scale F7( 9), F7( 11)
G7 ( 9), G7 ( 11) F13( 9)
G °
G13 ( 9)
G °7
G °∆7

G ° ( 6)

168
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

169
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

1/2-Whole Diminished Scale

1 - 2 -2 - 3 -4 - 5 - 6 - 7
D - D/E - F - F/G - G/A -A-B-C

D 1/2-whole
D°, Dm, D
D°7
D6

C Diminished scale
D7, D7( 9), E Diminished scale
D7( 9), D7( 11)
C° E °
D13( 9)
C°7 E °7
C°∆7 E °∆7
C° ( 6) E ° ( 6)

B 1/2-whole F 1/2-whole
B°, Bm, B F°, Fm, F
B°7 F°7
F6
B6
F7, F7( 9),
B7, B7( 9),
F7( 9), F7( 11)
B7( 9), B7( 11)
F13( 9)
B13( 9)

A Diminished scale G Diminished scale

A° G °
A°7 G °7
A°∆7
G °∆7
A° ( 6) G 1/2-whole
G ° ( 6)
G °, Gm, G
G °7
G6
G7, G7 ( 9),
G7 ( 9), G7 ( 11)
G13 ( 9)

170
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

171
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Whole-Tone Scale

1 - 2 - 3 -4 -5 -6 ( 7)
G - A - B - C- D- E (F)

G Whole-Tone
G+
G7( 5)
G9( 5)

F Whole-Tone A Whole-Tone
F+ A+
F7( 5) A7( 5)
F9( 5) A9( 5)

D Whole-Tone B Whole-Tone
D + B+
D 7( 5) B7( 5)

D 9( 5) B9( 5)

C Whole-Tone
C +
C 7( 5)
C 9( 5)

172
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

173
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

A Augmented Scale
(A - C - C/D - E - F - G)

A Augmented Scale
Am
A, A+
Am∆7
A∆7, A∆7#5, A∆7#9
A∆7#9#5
A∆7( 6) “Herbie”

G (6th mode) C (2nd mode)

C+
G#+
C6 (no 5th)
G#6 (no 5th)
Csus ( 6) (no 5)
G#sus ( 6) (no 5)

F Augmented Scale D Augmented Scale

Fm
Dbm
F, F+
Db, Db+
Fm∆7
Dbm∆7
F∆7, F∆7#5, F∆7#9
Db∆7, Db∆7#5, Db∆7#9
F∆7#9#5
Db∆7#9#5
F∆7( 6) “Herbie”
Db∆7( 6) “Herbie”
E (4th mode)
E+
E6 (no 5th)
Esus ( 6) (no 5)

Tunes/Bits that use these

sounds:
Herbie, Dolphin Dance
Oliver Nelson: Stolen Moments
Giant Steps “Cheat scale”
Star Wars: Imperial March

174
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Other Scales

175
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Notes

176
Buyer: Damir Tanic (damirtanic@gmail.com)
Transaction ID: 8N56757822671680J

Voicing Modes

Notes

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