Each chord/scale symbol (C7, C—, C∆+4, etc.) represents a series of tones which the improvisor can use when
improvising or soloing. These series of tones have traditionally been called scales. The scales listed here are the
ones I most often hear musicians play. I have listed the Scale Syllabus in the key of C Concert so you can have
a frame of reference and can compare the similarities and differences between the various chords/scales.
This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which may be used over
any chord - major, minor, dominant 7th, half-diminished, diminished and suspended 4. Western music, especially
jazz and pop, uses major, dominant 7th, Dorian minor and Blues scales and chords more than any other. Scales
and chords used less often are the half-diminished, diminished and suspended 4. If we agree on these five chord/
scale families as being the most predominant, then we can set up categories and list substitute scales beneath
each heading ... see the Scale Syllabus page. You should also check out Volume 26 "The Scale Syllabus" for
more help with scales.
Each category begins with the scale most closely resembling the chord/scale symbol given to the left. The scales
are arranged according to the degree of dissonance they produce in relation to the basic chord/scale sound.
Scales near the top of each category will sound mild or consonant. Scale choices further down the list will become increasingly tense or dissonant. Each player is urged to start with the scales at the top and with practice
and experimentation gradually work his way down the list to the more dissonant or tension-producing scales. You
should work with a new scale sound on your instrument until your ears and fingers become comfortable with all
the tones in the scale. Also try singing the scale with your voice. Improvise with your voice over the scale you are
learning and then reproduce on your instrument what your voice has created.
Music is made of tension and release. Scale tones produce either tension or relaxation. The improvisor's ability
to control the amount and frequency of tension and release will, in large measure, determine whether he is successful in communicating to the listener. Remember - you, the player, are also a listener! Read Volume 1 JAZZ:
How To Play And Improvise for a more detailed explanation of tension and release in melodic development.
Any of the various practice procedures and patterns listed in Volumes 1, 2, 3, 21, 24 or 84 can be applied to any of
the scale choices listed in this Scale Syllabus. Needless to say, any scale you want to learn should be transposed
and practiced in all twelve keys. The column on whole and half step construction I have listed for each scale on
For additional information on scale substitution, I recommend Scales for Jazz Improvisation by Dan Haerle,
Jazz Improvisation by David Baker, Patterns for Jazz (Treble-Clef or Bass Clef) and Complete Method for
Jazz Improvisation by Jerry Coker, and Repository of Scales & Melodic Patterns by Yusef Lateef. These
books are available from your favorite music source or visit www.jazzbooks.com for more information.
Several Play-A-Long sets offer you an opportunity to practice the various scales in all twelve keys. They are:
Vol. 24 Major & Minor; Vol. 84 Dominant 7th Workout; Vol.21 Gettin’ It Together; and Vol.16 Turnarounds,
Cycles & II/V7’s. You might also check out the Play-A-Longs which have tunes in all keys: Vol. 42 Blues In All
Keys; Vol. 47 Rhythm In All Keys; Vol. 57 Minor Blues In All Keys; and two more volumes, Vol. 67 Tune Up
and Vol. 68 Giant Steps - each has several classic tunes in all twelve keys.
Scales and chords are the backbone of our music and the better you equip yourself, the more fun you will have
CHORD/SCALE SYMBOL SCALE NAME WHOLE & HALF STEP SCALE IN KEY OF C BASIC CHORD
CONSTRUCTION IN KEY OF C
C Major W W H W W W H C D E F G A B C C E G B D
C7 Dominant 7th (Mixolydian) W W H W W H W C D E F G A B∫ C C E G B∫ D
C— Minor (Dorian) W H W W W H W C D E∫ F G A B∫ C C E∫ G B∫ D
CØ Half Diminished (Locrian) H W W H W W W C D∫ E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫
C
° Diminished (8 tone scale) W H W H W H W H C D E∫ F G∫ A∫ A B C C E∫ G∫ A (B∫∫)
5. DIMINISHED SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES IN KEY OF C
C
° Diminished (8 tone scale) W H W H W H W H C D E∫ F G∫ A∫ A B C C E∫ G∫ A
4. HALF DIMINISHED SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
SCALE CHOICES IN KEY OF C
CØ Half Diminished (Locrian) H W W H W W W C D∫ E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫
CØß2 (CØ9) Half Diminished #2 (Locrian #2) W H W H W W W C D E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫ D
CØ (with or without ß2) Bebop Scale H W W H H H W W C D∫ E∫ F G∫ G A∫ B∫ C C E∫ G∫ B∫
3. MINOR SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES* IN KEY Of C
C— or C—7 Minor (Dorian) W H W W W H W C D E∫ F G A B∫ C C E∫ G B∫ D
C— or C—7 Pentatonic (Minor Pentatonic) —3 W W —3 W C E∫ F G B∫ C C E∫ G B∫ D
C— or C—7 Bebop (Minor) W H H H W W H W C D E∫ E F G A B∫ C C E∫ G B∫ D
C—∆ (maj. 7th) Melodic Minor (ascending) W H W W W W H C D E∫ F G A B C C E∫ G B D
C— or C—6 or C— Bebop Minor No. 2 W H W W H H W H C D E∫ F G Gß A B C C E∫ G B D
C— or C—7 Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E∫ G B∫ D
C—∆ (∫6 & maj. 7th) Harmonic Minor W H W W H —3 H C D E∫ F G A∫ B C C E∫ G B D
C— or C—7 Diminished (begin with W step) W H W H W H W H C D E∫ F Fß Gß A B C C E∫ G B D
C— or C—∫9∫6 Phrygian H W W W H W W C D∫ E∫ F G A∫ B∫ C C E∫ G B∫
C— or C—∫6 Pure or Natural Minor, Aeolian W H W W H W W C D E∫ F G A∫ B∫ C C E∫ G B∫ D
2. DOMINANT 7th SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
SCALE CHOICES IN KEY OF C
C7 Dominant 7th W W H W W H W C D E F G A B∫ C C E G B∫ D
C7 Major Pentatonic W W —3 W —3 C D E G A C C E G B∫ D
C7 Bebop (Dominant) W W H W W H H H C D E F G A B∫ B C C E G B∫ D
C7∫9 Spanish or Jewish scale H —3 H W H W W C D∫ E F G A∫ B∫ C C E G B∫ (D∫)
C7+4 Lydian Dominant W W W H W H W C D E Fß G A B∫ C C E G B∫ D
C7∫6 Hindu W W H W H W W C D E F G A∫ B∫ C C E G B∫ D
C7+ (has ß4 & ß5) Whole Tone (6 tone scale) W W W W W W C D E Fß Gß B∫ C C E Gß B∫ D
C7∫9 (also has ß9 & ß4) Diminished (begin with H step) H W H W H W H W C D∫ Dß E Fß G A B∫ C C E G B∫ D∫ (Dß)
C7+9 (also has ∫9, ß4, ß5) Diminished Whole Tone H W H W W W W C D∫ Dß E Fß Gß B∫ C C E Gß B∫ Dß (D∫)
C7 Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E G B∫ D (Dß)
DOMINANT 7th
SUSPENDED 4th
C7 sus 4 Dom. 7th scale but don’t emphasize the third W W H W W H W C D E F G A B∫ C C F G B∫ D
C7 sus 4 Major Pentatonic built on ∫7 W W —3 W —3 B∫ C D F G B∫ C F G B∫ D
C7 sus 4 Bebop Scale W W H W W H H H C D E F G A B∫ B C C F G B∫ D
CHOICES IN KEY OF C
C∆ (Can be written C) Major (don’t emphasize the 4th) W W H W W W H C D E F G A B C C E G B D
C Major Pentatonic W W —3 W —3 C D E G A C C E G B
C∆+4 Lydian (major scale with +4) W W W H W W H C D E Fß G A B C C E G B D
C∆ Bebop (Major) W W H W H H W H C D E F G Gß A B C C E G B D
C∆∫6 Harmonic Major W W H W H —3 H C D E F G A∫ B C C E G B D
C∆+5, +4 Lydian Augmented W W W W H W H C D E Fß Gß A B C C E Gß B D
C Augmented —3 H —3 H —3 H C Dß E G A∫ B C C E G B D
C 6th Mode of Harmonic Minor —3 H W H W W H C Dß E Fß G A B C C E G B D
C Diminished (begin with H step) H W H W H W H W C D∫ Dß E Fß G A B∫ C C E G B D
C Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E G B D
LEGEND: H = Half Step, W = Whole Step.; ∆ = Major 7th; + or ß = raise H; ∫ or - = lower H; Ø = Half-diminished; —3 = 3H (Minor Third)
THE SCALE SYLLABUS
FIVE BASIC
CATEGORIES
MAY BE
WRITTEN
G-/C
NOTES: 1) The above chord symbol guide is my system of notation. I feel it best represents the sounds I hear in jazz.
Players should be aware that each chord symbol represents a series of tones called a scale. 2) Even though a C7+9 would appear
to have only a raised 9th, it also has a ∫9, +4 and +5. The entire C7+9 scale looks like: Root, ∫9, +9, 3rd, +4, +5, ∫7 & root (C, D∫,
Dß, E, Fß, Gß, B∫, C). My chord symbol C7+9 is therefore an abbreviation, while the complete name of this scale is Diminished
Whole Tone (sometimes called Super Locrian or Altered Scale). Similarly, C7∫9 also appears to have only one altered tone (∫9) but
it actually has three: ∫9, +9 and +4. The entire scale looks like: Root, ∫9, +9, 3rd, +4, 5th, 6th, ∫7 & root (C, D∫, Dß, E, Fß, G, A, B∫,
C). This is called a Diminished scale and my chord symbol abbreviation is C7∫9. 3) All scales under the Dominant 7th category are
scales that embellish the basic Dominant 7th sound. Some scales provide much more tension than the basic dominant 7th sound
and require practice and patience to grasp the essence of their meaning. I encourage you to work with Volume 3 “The 11-V7-1
Progression” since it emphasizes Diminished and Diminished Whole Tone scales and chords. 4) In category #3, MINOR SCALE
CHOICES, the PURE MINOR scale choice is not used very often. I have found the order of preference to be Dorian, Bebop, Melodic,
The triangle symbol can be useful for major7 (Δ or Δ7) when in a hurry, but be careful as it can sometimes look like a badly drawn o)
The capital M for major 7 can also be confused for lower case m.
C major 7 Cmaj7 Cma7 CΔ or CΔ7 CM7
C minor 7 Cm7 Cmin7 C-7
C minor major 7 Cm maj7 Cmin ma7 C - Δ7 C -
C half diminished Cø7 Cm7 b5 Cmin7 b5
C diminished (7) Co (7) C dim (7)
C7 C7
C9 C9
C11 C11 Gm7/C
C7 suspended 4th C7 sus4
C13 C13
C7 augmented C7 + C7 aug C7+5
C7 flat 5th C7 b5 C7 -5
C7 #11 C7 #11 C7 +11
C7 flat 9th C7 b9 C7 -9
C7 sharpened 9th C7 #9 C7 +9
C7 flat 10th C7 b10 C7 -10
C7 flat 9th flat 13th C7 b9 b13 C7 alt
C7 flat 10th flat 13th C7 b10 b13 C7 alt
C13 sharp 11th C13 #11 C13 +11
Notes ... Go to http://www.8notes.com to get more practical veiw of all my lesson and notes ..
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