B note brings Dorian taste on a normal D phrygian.Į ♭ maj7 ♯5 (9, ♯11) chord (functions as a III+). The melodic minor scale is actually based on dorian mode, but its seventh is natural rather than flatted in normal dorian.Ĭm maj7 (9, 11, 13) or C minor 6 chords The B note (as maj7 note) distinguishes C dorian and C ascending melodic minor.ĭ 7sus ( ♭9, ♯9, 13) chord, with ♭2 as a non-chord tone producing a minor ninth. Super Locrian, Altered dominant scale, or altered scaleĬ 7 ( ♭9 or ♭9, ♯11, ♭13) chord (functions as a dominant with the fifth of the chord replaced by ♯11 or ♭13, may also be used to harmonize a vii ø chord in melodic minor) Locrian ♮2, Half-diminished, or AeolocrianĬm 7 ♭5 (9, 11, ♭13) (functions as a ii chord in the fifth mode of melodic minor) Mixolydian ♭6, Melodic major, fifth mode of Melodic minor, Hindu, or MyxaeolianĬ 7 (9, ♭13) chord (functions as a dominant with ♭13 as a non-chord tone or the fifth avoided in the chord voicing as they produce a minor ninth) Lydian dominant, Lydian ♭7, Acoustic scale, Mixolydian ♯4, Overtone, or LydomyxianĬ 7 (9, ♯11, 13) chord (functions as a dominant, secondary, or substitute dominant) Phrygian ♮6, Dorian ♭2, Assyrian, or PhrygidorianĬ 7sus ( ♭9, ♯9, 13) chord, with ♭2 as a non-chord tone producing a minor ninthĬ maj7 ♯5 (9, ♯11) chord (functions as a III+) Modes of the ascending melodic minor scale on CĬm maj7 (9, 11, 13) or Cm 6 chords (functions as i minor) Modes of the C major scale (White-note scales) Ionian is based on the 1st degree of the major scale, Dorian on the 2nd, Phrygian on the 3rd, etc. Prominent examples are the seven modes of the diatonic major scale and added-note scales.Ĭompare each of the modes to the major scale for clues as to the subtle differences between them. As modern techniques and musical constructions appear, jazz players find the ones they can put into compositions or use as material for melodic exploration. The number of scales available to improvising musicians continues to expand. ![]() Main article: Mode (music) § Modern modes Non-classical harmony just tells you which note in the scale to avoid (because it's really dissonant), meaning that all the others are okay. Classical treats all notes that don't belong to the chord (i.e., the triad) as potential dissonances to be resolved. can get a good sense of the difference between classical and non-classical harmony from looking at how they deal with dissonances. Avoid notes are often a minor second (or a minor ninth) above a chord tone or a perfect fourth above the root of the chord. For example, in major-key harmony the 4th, and thus the 11th, is an avoid note and is therefore either treated as a passing tone or is augmented (raised a semitone). This notion of "chord scale compatibility" marks a fundamental difference between jazz harmony and traditional classical practice.Īn avoid note is a note in a jazz scale that is considered, in jazz theory and practice, too dissonant to be played against the underlying chord, and so is either avoided or chromatically altered. In each case, the scale contains the chord tones G–B–D ♭–F and is said to be compatible with it. An improviser might then choose a scale containing these four notes, such as the G whole tone scale, the G octatonic scale, or a mode of either D or A ♭ melodic minor ascending. In jazz, a four-chord progression may use four different scales, often as the result of chordal alterations.įor instance, in C major, a jazz musician may alter the V chord, G 7 (G–B–D–F), with a flattened fifth, producing the chord G 7 ♭5 (G–B–D ♭–F). For example, a ii–V–I progression in C major will typically use only the notes of the C diatonic collection. In classical major-mode harmony, chords typically belong to the same scale. ![]() One important feature of jazz is what theorists call "the principles of chord-scale compatibility": the idea that a sequence of chords will generate a sequence of compatible scales.
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