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II. DORIAN SCALE - 1, 2, b3, 4, 5, 6, b7 extensions (9, 11, 13) Minor 7 Chord!
III. PHRYGIAN SCALE - 1, b2, b3, 4, 5, b6, b7 extensions (b9, 11, b13)
Minor 7 Chord
VII.LOCRIAN SCALE - 1, b2, b3, 4, b5, b6, b7 extensions (b9, 11, b13) Minor
7b5 Chord
Remember - b9 intervals sound BAD and are generally to be avoided in all but Dominant 7th
chords. b13 intervals are okay, if the 5th of the chord has been removed, avoiding a semitone
clash between the 5th and b6th/b13th. The more extensions you add to the chord, the denser the
harmony sounds. Generally, guitar players choose one or two extensions but must omit other
notes in order to be able to play the chord.
Melodic Minor Modes
I. MELODIC MINOR SCALE - 1, 2, b3, 4, 5, 6, 7 extensions (9, 11, 13)
min/Maj7 Chord
VI. LOCRIAN nat9 SCALE - 1, 2, b3, 4, b5, b6, b7 extensions (9, 11, b13)
Minor 7b5 Chord
VII. ALTERED SCALE - 1, b2, b3, b4, b5, b6, b7 extensions (b9, #9, b5, #5)
Altered Dominant 7 Chord
The altered dominant scale, also known as the Superlocrian scale is rewritten as 1, b9, #9, 3, b5, #5, b7 to
describe a Dominant 7th chord (1, 3, b7) with four altered tension notes ( b9, #9, b5, #5).
b2 becomes b9
b3 becomes #9
b4 becomes 3
b6 becomes #5
The most commonly used melodic minor modes are mode I - Melodic Minor, mode III - Lydian
Augmented, mode IV - Lydian Dominant and mode VII - Altered. The others are used but far less
often in standard harmonic repertoire.
Diminished Scale
HALF WHOLE DIMINSHED SCALE - 1, b2, b3, 3, b5, 5, 6, 7 extensions (b9,
#9, b5/#11 and 13)
Dominant 7th chord with a b9, #9, b5/#11 and 13
b2 becomes b9
b3 becomes #9