The jazz scales can be thought of in the same way as modes: a set of
scales starting on different degrees of an underlying scale that use only
the notes of that scale. In the case of 'standard' modes the underlying
scale is the Ionian or major scale.
The jazz scales are based on an underlying ascending melodic minor scale
which can also be thought of as a rising major scale but with the third
degree lowered (or flattened). As with the 'standard' modes, each scale
starts on a different degree of the ascending melodic minor scale. Unlike
the 'classical' melodic minor scale, the jazz scales (and modes) remains the
same when played up or down.
| Jazz Scales based on the C Melodic
Minor |
| D Dorian 2b (Dorian Flat 2): |
D Eb F G A B C D |
STTTTST |
| Eb Lydian augmented (Lydian 5# or Lydian Sharp 5): |
Eb F G A B C D Eb |
TTTTSTS |
| F Lydian 7b (Mixolydian 4# or Mixolydian Sharp 4): |
F G A B C D Eb F |
TTTSTST |
| G Mixolydian 6b (Mixolydian Flat 6): |
G A B C D Eb F G |
TTSTSTT |
| A Aeolian 5b (Minor 5b or Minor Flat 5): |
A B C D Eb F G A |
TSTSTTT |
B Superlocrian
(Locrian 4b, Locrian Flat 4 or Diminished Whole Tone): |
B C D Eb F G A B |
STSTTTT |
| C Hypoionian (Melodic Minor): |
C D Eb F G A B C |
TSTTTTS |
Shown below, the G minor jazz melodic minor scale.
Various chords may be used to support this scale.
The important thing to remember is that, in jazz, chords and scales are
considered equivalent. The wide use of harmonic extensions offers many more
close relations between scales and chords than in a harmony based only on
the standard triads with the addition of the occasional seventh.
Jazz is a broad term with many sub-categories and fusion styles. Maybe it
would be more accurate to apply the name to the type of audience it attracts
rather than the type of music being played. Jazz harmony often chooses as
its foundation a 12-bar blues.
Here is an example of simple 12-bar blues:
4
4 |
C |
F |
C |
C |
F |
F |
C |
C |
G7 |
F |
C |
G7 |
This can be harmonised using the main major modes, the scales you get
when you play the same note row (for example, the scale of C major),
and start in on a different note (when played from D to D, you
get the Dorian Mode). The major modes in a harmonised C major scale
are shown below.
| Chord |
Start/End Note |
Mode |
Tonality |
Played over |
| 1 |
C to C |
Ionian |
Major |
Major or M7 chord |
| 2 |
D to D |
Dorian |
Minor |
Minor or m7 |
| 3 |
E to E |
Phrigian |
Minor |
Minor |
| 4 |
F to F |
Lydian |
Major |
Maj7 |
| 5 |
G to G |
Mixolydian |
Major |
Dominant 7, 13 or 9 |
| 6 |
A to A |
Aeolian |
Minor |
Minor |
| 7 |
B to B |
Locrian |
Minor7b5 |
m7b5 or diminished |
From the choice of chord one picks a particular scale, and vice versa;
this mutual association gives jazz harmony chords and scales not found in
other styles of music. We offer a jazz 12-bar to give an idea of what is
possible.
4
4 |
Bb13 |
Eb9 |
Bb13 |
Fm9 Bbalt |
Eb9 |
Edim |
Dm7 |
G7b9 |
Cm7 |
F7#9 |
Bb9 G7 |
Cm7 G7#9 |
The above modes can also be derived from melodic minor
scales.
One particularly interesting example is the seventh mode of the
melodic minor scale, one that starts and ends on the seventh note of the
scale (for example, with C melodic minor, we play from B to B,
the superlocrian mode). Its distinctive sound is heard in many jazz
pieces and is main use is over an altered dominant seventh chord. For
example, in the sequence above, it would be used on the last, G7#9,
chord, and also the two G7b9 and F7#9 chords. In each case
respectively, we use G superlocrian and F superlocrian.
Applying the scales to the appropriate chords, and we produce the required
harmony.
4
4 |
Bb Mixolydian |
Eb Mixolydian |
Bb Mixolydian |
F Dorian
Bb Superlocrian |
Eb Mixolydian |
E Diminished |
D Dorian |
G Superlocrian |
C Dorian |
F Superlocrian |
Bb Mixolydian
G Mixolydian |
C Dorian
G Superlocrian |
Summarising
the Lydian scales which are so important in jazz.
| Lydian scales |
| Lydian scale (or mode) |
major scale with a raised fourth |
| scale that borrows the major key signature from a perfect fourth
below or a perfect fifth above |
| Lydian augmented scale |
major scale with raised fourth and fifth degrees |
| Lydian scale with a raised fifth degree |
| scale that borrows the ascending form of the melodic minor scale
from a minor third below or a major sixth above |
Mixture scale
also called
Lydian b7, Mixolydian #4, Lydian-Mixolydian, Mixolydian-Lydian, Lydian
Dominant |
major scale with raised fourth and lowered seventh degrees |
| Lydian scale with a lowered seventh degree |
| Mixolydian scale with a raised fourth degree |
| scale that borrows the ascending form of the melodic minor scale
from a perfect fourth below or a perfect fifth above |
| Synthetic Mixture #5 scale |
major scale with raised fourth and fifth degrees along with a
lowered seventh |
| Lydian scale with raised fifth and lowered seventh degrees |
| Lydian augmented scale with a lowered seventh degree |
| Mixture scale with a raised fifth degree |