The II-V-I progression (sometimes called 2-5-1) is one of the most commonly found progressions in jazz music.  This article will discuss two variations of the II-V-I progression: the major version, and the melodic minor version.

But first, let’s first take a look at a stripped down version of the II-V-I progression…
 

The Basic II-V-I

In the key of C, the basic version of the II-V-I progression would simply be:

ii       V       I
Dm       G       C

This form of the progression will work in virtually every form of music from classical to pop.  But to make it better suit the style of jazz… let’s look at adding chord extensions to the progression.

Extensions for the II-V-I

To get a jazzier feel it is essential to harmonize sevenths onto the basic II-V-I progression.  This is commonly done in one of two ways:

1. with major tonality
2. with melodic minor tonality

Major Tonality II-V-I Extensions

To add extensions to a II-V-I in the key of C major we simply harmonize the appropriate seventh of the scale, which results in the following:

iim7       V7       IΔ
Dm7        G7       CΔ

The progression will always have the following pattern:

1. minor seventh chord
2. dominant seventh chord
3. major seventh chord

Melodic Minor Tonality II-V-I Extensions

Another way to jazz up the basic II-V-I progression is to apply chord extensions using the melodic minor scale.  A progression using this method usually contains the following sequence of chord types:

1. half-diminished chord
2. altered chord
3. minor-major chord

If you analyze this you’ll notice that these chords are not from the same scale.  They are in fact from three different scales.

Let’s take a closer look at this.  Using a tonal center of C we would end up with the following set of chords:

Dø       G7alt       CmΔ7

Here’s a list of scales to use over this progression:

• D half-diminished scale (F melodic minor / locrian ♯2) is used over the Dø chord
• G altered scale (A♭ melodic minor / locrian b4) is used over the G7alt chord
• C melodic minor is used over the CmΔ7 chord

These scales were chosen because each of the chords is derived from them.  For example, C melodic minor is as follows:

C - D - Eb - F - G - A - B

…and a C minor-major seventh is:

C - Eb - G - B

Additionally, F melodic minor is as follows:

F - Gb - Ab - Bb - C - D - E

…and a D half diminished chord is:

D - F - Ab - C

…and so forth.

Improvising over II-V-I Progressions

Now that each of the types of progressions have been discussed, here’s some backing tracks to improvise over.

Major II-V-I

Here’s an example of a swing jazz style II-V-I progression in the key of E that goes as follows:

F#m        B7       EΔ

A basic approach to improvising over this would be to use E major or C♯ minor over the entire progression.  However, a more advanced way to attack it would be to dissect each chord and apply the appropriate mode of E major.  For example…

F# Dorian       B Mixolydian       E Major
F#m             B7                 EΔ

While it is true that each of these modes contains the same notes, it is technically better to think in terms of modes.

Melodic Minor II-V-I

Here’s an example of a II-V-I progression using melodic minor harmony.  The chords are as follows:

Dø        G7alt       CmΔ7

I have two different backing tracks for this one.  The first one is a bit of a jazz funk thing, and the second one is slower and more dark.  For both of them I tried to make the chord changes a bit slower than normal to make the scale switches easier.

Once again you would use the following scales:

F melodic minor       Ab melodic minor       C melodic minor
Dø                    G7alt                  CmΔ7

If you want to think in terms of modes you’d use the following:

D half-diminished scale       G altered scale       C melodic minor
Dø                            G7alt                 CmΔ7

In case you missed, it the above two sets of scales are both equivalent.  For example, the D half-diminished scale has the same notes as the F melodic minor scale, and the G altered scale has the same notes as the A♭ melodic minor scale.

To assist you in improvising, here’s some guitar scale diagrams for each of the scales:

Melodic Minor Scale:

Half-Diminished Scale:

Altered Scale:

*

*

So there’s a a basic rundown on II-V-I progressions. I hope this was informative, and feel free to leave any questions or comments you may have.

If you are unfamiliar with the technicalities of musical intervals, I recommend you read this article before continuing.

Determining Note Letters from Intervals

There’s a lot of ways to do this, but the easiest way is probably just to determine the notes relative to the major scale.

Let’s say we have the following intervals:

1 - b3 - 5 - b7

Now, if we want to find the chord that follows that formula and has a root of F, what we need do is first determine the F major scale:

F - G - A - Bb - C - D - E

Now keeping in mind that the formula for the major scale is…

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

…we can simply pull notes with the same interval numbers as in the formula from the F major scale, and alter them based on the formula’s accidentals.  If that sounds confusing it should make more sense with an example:

The first note should be obvious, F.  The second note in the formula is a ♭3 or minor third, but the F major scale we’re using has a major third (in F Major this note is A).  Since we need a minor third all we do is lower the A by one semitone to arrive at A♭.  If the formula had called for a ♯3, then we would have used A♯, because an augmented third is one semitone above a major third.

Continuing this we arrive at the perfect fifth (5), which is a C.  Finally, the minor seventh (♭7) is E♭.

So the final chord is:

F - Ab - C - Eb

Determining Intervals From Note Letters

Now let’s look at the opposite direction.  Let’s say you came up with the following chord:

B - D# - F# - G#

…and needed to determine its intervals (most likely to determine what type of chord it is).

You could do this by doing the exact opposite of what I described in previous section, or I think there’s an easier way…  Simply count the number of semitones between each note and the root, and then apply the information in the table to the right.  Please note that this method will only work right if the chord is in its root inversion.  If not you will end up with incorrect intervals.

So using our example, our root B would be 1.  The next note, D♯ is 4 semitones above B, which means that it is a Major third.  Next, F♯ is 7 semitones above B, which means that it is a Perfect 5th.  Finally, G♯ is 9 semitones above B, which means that it is a Major 6th.

So we have the following intervals:

1 - 3 - 5 - 6

…and we can now determine the type of chord type, which in this case happens to be a Major 6th chord.  If you’re looking for a reference of chord types and intervals, you might want to check this out.
 
 
 

DADGAD Tuning

DADGAD (Sometimes called Open Sus4) is a really interesting alternate tuning for the guitar.  It was made famous by the British folk gutiarist Davey Graham, who used it extensively.  Jimmy Page is another figure who popularized the tuning by using it on the epic Led Zeppelin tune “Kashmir”.

I’ve been using this tuning a lot lately–and while it’s interesting one to improvise blindly in–sometimes it helps to know how to get certain chord types and scales.  For that reason I’ve created this post as a reference for anyone who needs the same information.

To arrive at DADGAD tuning, simply tune the high and low E-strings down 1 step to D, and tune the B string down 1 step to A.

Common Chord Shapes

Common Scales

Major Scale	Formula: 1-2-3-4-5-6-7
Natural Minor Scale	Formula: 1-2-♭3-4-5-♭6-♭7
Pentatonic Minor Scale	Formula: 1-♭3-4-5-♭7
Blues Scale	Formula: 1-♭3-4-♭5-5-♭7

Diatonic Modes

Ionian Mode	Formula: 1-2-3-4-5-6-7
Dorian Mode	Formula: 1-2-♭3-4-5-6-♭7
Phrygian Mode	Formula: 1-♭2-♭3-4-5-♭6-♭7
Lydian Mode	Formula: 1-2-3-♯4-5-6-7
Mixolydian Mode	Formula: 1-2-3-4-5-6-♭7
Aeolian Mode	Formula: 1-2-♭3-4-5-♭6-♭7
Locrian Mode	Formula: 1-♭2-♭3-4-♭5-♭6-♭7

Aeolian Variants

Harmonic Minor	Formula: 1-2-♭3-4-5-♭6-7
Melodic Minor	Formula: 1-2-♭3-4-5-6-7

In response to this, I developed an exercise that focuses on the alternate speed picking of 16th notes.  It mostly utilizes the index, ring, and little fingers, but notes with a * can be played with the middle finger if you want to incorporate some variety.  Having said that, play it the way that’s most comfortable to  you.
 
 
 
 
Anyway, here’s the pattern:

So basically, you keep repeating this, and every time it repeats the tempo increases by 5 bpm.  The goal is to slowly guide you up to higher speeds.  You don’t have to stop playing and reset a metronome.  Hopefully over time you’ll be able to get further in the track without error.  And if you’re Gilbert, you can probably go right up to the 200 bpm finale playing 32nds.

Download Backing Tracks

As I mentioned, the backing track starts at 70 bpm, and moves up to an insane 200 bpm (in increments of 5 bpm when the pattern repeats, which is every 3 bars).

I have two tracks–both are the same, but one has a voice that tells you what tempo you’re at.  If you’re like me, you’ll always be wondering what bpm you’re at, which can make you lose focus of your playing.  With the voice in the track, you don’t have to think about that, and can focus entirely on your playing.

• DOWNLOAD: Without Spoken Tempo
• DOWNLOAD: With Spoken Tempo

Chord Reference Section

Since this post is extremely long, I’ve created this index. Click a link to be brought directly to a specific chord. Note: entries that are not linked are still being created, check back soon.

Standard Chords:

Altered Chords:

Major Chord

The major chord is one of the most common and versatile chords. Its major third and perfect fifth give it a bright resolved sounding characteristic.

Formula:	1-3-5
Intervals:	root, major third, perfect fifth
Notations:	Major, Maj, Ma, M, Δ
Example:
Major Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Major Scale, Ionian Mode Pentatonic Major Scale Lydian Mode Mixolydian Mode Phrygian Dominant (Phrygian ♯3) Harmonic Major (Ionain ♭6) Additional Scales (Click to expand) Acoustic Scale Augmented Fifth Scale Augmented Scale Bartok Scale Byzantine Scale Chinese 8-Tone Scale Chinese Scale Dominant Bebop Scale Dorian Bebop Scale Double Harmonic Scale Galician Scale Gypsy Scale Half-Whole Scale Hindu Scale Hungarian Major Scale Ionian add ♭9 Istrian Scale Jewish (Freygish) Scale Lydian ♯2 Lydian Augmented Bebop Scale Lydian Dominant (Lydian ♭7) Lydian Minor Bebop Scale Lydiocrian Mode Lydionian Mode Major Bebop Scale Melodic Major Minor Bebop Scale Minor Bebop Scale Mixionian Mode Mixodorian Mode Mixolydian add ♭9 Scale Mixolydian ♭2 Mixolydian ♭6 Mixolydian Blues Scale Mongolian Scale Overtone Scale Phrygian ♭4 Phrygian Bebop Scale Spanish Gypsy Scale Tritone Scale

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Minor Chord

The minor chord differs from the major chord in that it has a minor third. This minor third is what makes the chord sound “sad” in relation to a major chord.

Formula:	1-♭3-5
Intervals:	root, minor third, perfect fifth
Notations:	minor, min, mi, m
Example:
Minor Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Natural Minor Scale (Aeolian Mode) Pentatonic Minor Scale Blues Minor Scale Harmonic Minor Scale (Aeolian ♯7) Melodic Minor (Ionian ♭3) Dorian Mode Phrygian Mode Additional Scales (Click to expand) Aeolian Mode Algerian Scale Augmented Scale Balinese Scale Blues Major Scale Dorian ♯4 Dorian ♭2 Dorian Bebop Scale Dorian Blues Scale Dorian Melodic Bebop Scale Doriolian Mode Double Phrygian Bebop Scale Ethiopian Scale Half-Whole Scale Harmonic Minor Bebop Scale Hawaiian Scale Hirajoshi Scale Hungarian Gypsy Scale Hungarian Major Scale Hungarian Minor Scale Istrian Scale Javanese Scale Lydian ♯2 Lydian ♭3 Lydian Minor Bebop Scale Melodic Major Minor Bebop Scale Melodic Minor Bebop Scale Minor Bebop Scale Minor Gypsy Scale Mixodorian Mode Mohammedan Scale Neapolitan Major Scale Neapolitan Minor Scale Pelog Scale Phrygian ♭4 Phrygian Bebop Scale Phrygiolian Mode Phrygiolocrian Mode Ukrainian Minor

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Diminished Chord

A diminished chord is like a minor chord, but with a diminished fifth. The diminished fifth gives it an unresolved, and sometimes eerie or ominous feel.

Formula:	1-♭3-♭5
Intervals:	root, minor third, diminished fifth
Notations:	diminished, dimin, dim, °
Example:
Diminished Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Locrian Mode Blues Major Scale Blues Minor Scale Super Locrian (Locrian ♭4) Half Diminished Scale (Locrian ♯2) Spanish 8-Tone Scale Additional Scales (Click to expand) Aeolian ♭1 Algerian Scale Altered Dominant Scale Altered Scale Diminished Augmented Scale Diminished Major Bebop Scale Dorian ♯4 Dorian ♭5 Dorian Blues Scale Double Locrian Bebop Scale Half-Whole Scale Hungarian Gypsy Scale Hungarian Major Scale Hungarian Minor Scale Istrian Scale Locrian ♯6 Locrian ♭7 Locrian Diminished Bebop Scale Locrydian Mode Lydian #2 Lydian ♭3 Lydian Minor Bebop Scale Minor Gypsy Scale Mixolydian ♯1 Phrygiolocrian Mode Ukrainian Minor Whole-Half Scale

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Augmented Chord

The minor chord differs from the major chord in that it has a minor third. This minor third is what makes the chord sound “sad” in relation to a major chord.

Formula:	1-3-♯5
Intervals:	root, major third, augmented fifth
Notations:	augmented, aug, +
Example:
Augmented Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Ionian Augmented (Ionian ♯5) Phrygian Dominant (Phrygian ♯3) Lydian Augmented (Lydian ♯5) Hindu Scale (Mixolydian ♭6) Harmonic Major (Ionian ♭6) Additional Scales (Click to expand) Aeolian ♭1 Altered Dominant Scale Altered Scale Arabian Scale Augmented Fifth Scale Augmented Scale Byzantine Scale Diminished Augmented Scale Diminished Major Bebop Scale Double Harmonic Scale Enigmatic Scale Hindu Scale Jewish (Freygish) Scale Leading Whole Tone Scale Lydian Augmented Bebop Scale Major Bebop Scale Major Locrian Scale Melodic Major Minor Bebop Scale Mixolydian ♯1 Persian Scale Phrygian ♭4 Phrygian Bebop Scale Spanish 8-Tone Scale Spanish Gypsy Scale Super Locrian (Locrian ♭4) Whole Tone Scale

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Major 6th Chord

Major sixth chords are simply a major triad with an added sixth above. A major sixth chord is enharmonically equivalent to a minor seventh chord with its root starting on the 6th. For example: CMaj6 (C-E-G-A) = Amin7 (A-C-E-G). So they are simply inversions (specifically CMaj6 is the first inversion of Amin7). It is my opinion that major sixth chords sound “Hawaiian”. This could be due to the fact that a lot of dobros and table steel guitars used in Hawaiian music are tuned to open sixth tunings like for example, Open C6 (CEGACE).

Formula:	1-3-5-6
Intervals:	root, minor third, perfect fifth, major sixth
Notations:	Major 6, Maj6, M6, 6M, Δ6, 6
Example:
Major 6th Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Major Scale Pentatonic Major Scale Ionian Mode Mixolydian Mode Additional Scales (Click to expand) Acoustic Scale Augmented Fifth Scale Bartok Scale Chinese 8-Tone Scale Chinese Scale Dominant Bebop Scale Dorian Bebop Scale Galician Scale Gypsy Scale Half-Whole Scale Hungarian Major Scale Ionian add ♭9 Lydian ♯2 Lydian Augmented Bebop Scale Lydian Dominant (Lydian ♭7) Lydian Minor Bebop Scale Lydian Mode Lydiocrian Mode Lydionian Mode Major Bebop Scale Minor Bebop Scale Mixionian Mode Mixodorian Mode Mixolydian add ♭9 Scale Mixolydian ♭2 Mixolydian Blues Scale Mongolian Scale Overtone Scale

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Minor 6th Chord

A minor sixth chord is like a major sixth, but with an underlying minor chord, and an added sixth.

Formula:	1-♭3-5
Intervals:	root, minor third, perfect fifth, major sixth
Notations:	minor 6, min6, m6
Example:
Minor 6th Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Melodic Minor Scale (Ionian ♭3) Blues Major Scale Dorian Mode Additional Scales (Click to expand) Dorian ♯4 Dorian ♭2 Dorian Bebop Scale Dorian Blues Scale Dorian Melodic Bebop Scale Doriolian Mode Double Phrygian Bebop Scale Half-Whole Scale Hawaiian Scale Hungarian Major Scale Javanese Scale Lydian ♯2 Lydian ♭3 Lydian Minor Bebop Scale Melodic Minor Bebop Scale Minor Bebop Scale Mixodorian Mode Neapolitan Major Scale Ukrainian Minor

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Major 7th Chord

Major seventh chords add a major seventh interval on top of a major chord. They are popular in jazz music.

Formula:	1-3-5-7
Intervals:	root, minor third, perfect fifth, major seventh
Notations:	Major 7, Maj7, M7, 7M, Δ7
Example:
Major 7th Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Major Scale (Ionian Mode) Lydian Mode Additional Scales (Click to expand) Augmented Fifth Scale Augmented Scale Byzantine Scale Chinese 8-Tone Scale Dominant Bebop Scale Double Harmonic Scale Galician Scale Ionian add ♭9 Harmonic Major (Ionian ♭6) Lydian ♯2 Lydian Augmented Bebop Scale Lydian Minor Bebop Scale Lydiocrian Mode Lydionian Mode Major Bebop Scale Mixionian Mode

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Minor 7th Chord

A minor seventh takes a minor chord, and adds a minor seventh. The first inversion of a minor seventh is enharmonic to a major sixth chord. For example: Cmin7 is C-Eb-G-Bb, and taking the first inversion we get Eb Maj6 (Eb-G-Bb-C).

Formula:	1-♭3-5-♭7
Intervals:	root, minor third, perfect fifth, minor seventh mod-12: 0, 3, 7, 10
Notations:	minor 7, min7, m7
Example:
Minor 7th Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Natural Minor Scale (Aeolian Mode) Pentatonic Minor Scale Blues Minor Scale Dorian Mode Phrygian Mode Additional Scales (Click to expand) Dorian ♯4 Dorian ♭2 Dorian Bebop Scale Dorian Blues Scale Dorian Melodic Bebop Scale Doriolian Mode Double Phrygian Bebop Scale Ethiopian Scale Half-Whole Scale Harmonic Minor Bebop Scale Hungarian Major Scale Javanese Scale Melodic Major Minor Bebop Scale Minor Bebop Scale Minor Gypsy Scale Mixodorian Mode Pelog Scale Phrygian ♭4 Phrygian Bebop Scale Phrygiolian Mode Phrygiolocrian Mode Ukrainian Minor

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Dominant 7th Chord

A dominant seventh (formerly called a major-minor seventh) is a major chord, with a minor seventh. Dominant seventh chords were the first sevenths to occur regularly in western classical music. They are also popular in the blues and jazz.

Formula:	1-3-5-♭7
Intervals:	root, major third, perfect fifth, minor seventh mod-12: 0, 4, 7, 10
Notations:	dominant 7, dom7, 7
Example:
Dominant 7th Guitar Chord Shapes:
Compatible Scales:	Mixolydian Mode Phrygian #3 (Phrygian Dominant) Lydian b7 (Lydian Dominant) Mixolydian b6 (Hindu Scale) Phrygian b4 Mixolydian b2 Bartok Scale Spanish Scale Gypsy Scale Hindu Scale Jewish Scale Hungarian Major Scale Overtone Scale

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Minor-Major 7th Chord

A minor-major seventh is an interesting seventh variation. Essentially it is a minor triad, with an added major seventh, which gives it it’s name “minor-major seventh”. It occurs naturally in the harmonic scale at the first degree. Because harmonic minor has a major seventh, the resulting tonic seventh chord is a minor-major seventh. In jazz the melodic or harmonic minor scales are commonly used over this chord. The last chord in the James Bond theme is a minor-major seventh. Another song I can think of that uses a minor major seventh is Pink Floyd’s “Us and Them” (third chord in the opening section).

Formula:	1-♭3-5-7
Intervals:	root, minor third, perfect fifth, major seventh mod-12: 0, 3, 7, 11
Notations:	min(maj7), m(Maj7), m/M7
Example:
Minor-Major 7th Guitar Chord Shapes:
Compatible Scales:	Harmonic Minor Scale Melodic Minor Scale Aeolian #7 (Harmonic Minor) Lydian #2 Ionian b3 (Melodic Minor) Lydian b3 Algerian Scale Hawaiian Scale Hungarian Minor Scale Mohammedan Scale Neapolitan Minor Scale Neapolitan Major Scale

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Half-Diminished 7th Chord

A half-diminished seventh chord is essentially a diminished triad with a minor seventh. It can be thought of as a minor seventh chord with a flat fifth, which is why they are sometimes notated “m7(♭5)”. You would think that the notation would be “dim7″, but that technically means that the seventh should be diminished (♭7), which is why the term “half-diminished” was created. In the Ionian mode, a half-diminished seventh naturally occurs at the seventh degree.

Formula:	1-♭3-♭5-♭7
Intervals:	root, minor third, diminished fifth, minor seventh mod-12: 0, 3, 6, 10
Notations:	m7(♭5), Ø
Example:
Half-Diminished Guitar Chord Shapes:
Compatible Scales:	Locrian Mode Locrian #6 Dorian #4 Locrian #2 Locrian b4 (Super Locrian) Dorian b5 Hungarian Gypsy Scale Hungarian Major Scale

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Diminished 7th Chord

A diminished seventh chord takes a diminished triad, and adds a diminished seventh (enharmonic to a major sixth). All four notes are a minor third apart.

Formula:	1-♭3-♭5-♭♭7
Intervals:	root, minor third, diminished fifth, diminished seventh mod-12: 0, 3, 6, 9
Notations:	diminished 7, dim7, °7
Example:
Diminished 7th Guitar Chord Shapes:
Compatible Scales:	Locrian #6 Dorian #4 Lydian #2 Mixolydian #1 Dorian b5 Lydian b3 Aeolian b1 Locrian b7 Hungarian Major Scale

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Augmented Major 7th Chord

An augmented major seventh chord has an augmented triad with a major seventh. It comes from the third mode of the melodic minor scale. C melodic minor would be C-D-E-F♯-G♯-A-B, and so the tonic seventh chord would be C-E-G♯-B, which is an augmented major seventh chord.

Formula:	1-3-♯5-7
Intervals:	root, major third, augmented fifth, major seventh mod-12: 0, 4, 8, 11
Notations:	Maj7(♯5), Maj+7, Δ+7
Example:
Augmented Major 7th Guitar Chord Shapes:
Compatible Scales:	Ionian #5 Lydian #5 Ionian b6 (Harmonic Major) Aeolian b1 Byzantine Scale Enigmatic Scale Leading Whole Tone Scale Persian Scale

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Augmented 7th Chord

An augmented seventh chord can be thought of as an augmented triad with a minor seventh. The root tone is optional when playing this chord. Augmented seventh chords usually resolve to the chord a perfect fourth above. For example, C7(♯5) would resolve to F major.

Formula:	1-3-♯5-♭7
Intervals:	root, major third, augmented fifth, minor seventh mod-12: 0, 4, 8, 10
Notations:	C7(♯5), C7+, C7aug, C7+5, C+7, Caug7
Example:
Augmented 7th Guitar Chord Shapes:
Compatible Scales:	Phrygian #3 (Phrygian Dominant) Mixolydian b6 (Hindu Scale) Locrian b4 (Super Locrian) Phrygian b4 Arabian Scale Enigmatic Scale Spanish Scale Hindu Scale Jewish Scale Leading Whole Tone Scale

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Major 9th Chord

A major ninth chord takes a major seventh chord, and adds a major ninth.

Formula:	1-3-5-7-9
Intervals:	root, major third, perfect fifth, major seventh, major ninth mod-12: 0, 4, 7, 11, 14
Notations:	Major 9, Maj9, M9, 9M, Δ9
Example:
Major 9th Guitar Chord Shapes:
Compatible Scales:	Major Scale Ionian Mode (Major) Lydian Mode Ionian b6 (Harmonic Major)

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Minor 9th Chord

A minor ninth is simply a minor seventh with an added major ninth.

Formula:	1-♭3-5-♭7-9
Intervals:	root, minor third, perfect fifth, minor seventh, major ninth mod-12: 0, 3, 8, 10, 14
Notations:	minor 9, min9, m9
Example:
Minor 9th Guitar Chord Shapes:
Compatible Scales:	Minor Scale Dorian Mode Aeolian Mode (Natural Minor) Dorian #4 Ethiopian Scale Hungarian Gypsy Scale

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Dominant 9th Chord

A dominant ninth takes a dominant seventh and adds a major ninth.

Formula:	1-3-5-♭7-9
Intervals:	root, major third, perfect fifth, minor seventh, major ninth mod-12: 0, 4, 7, 10, 14
Notations:	dominant 9, dom 9, 9
Example:
Dominant 9th Guitar Chord Shapes:
Compatible Scales:	Mixolydian Mode Lydian b7 (Lydian Dominant) Mixolydian b6 (Hindu Scale) Bartok Scale Hindu Scale Overtone Scale

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Minor-Major 9th Chord

Adding a ninth to a minor-major 7th chord will create a minor-major 9th chord.

Formula:	1-♭3-5-7-9
Intervals:	root, minor third, perfect fifth, major seventh, major ninth mod-12: 0, 3, 7, 11, 14
Notations:	min(maj9), m(Maj9), m/M9
Example:
Minor-Major 9th Guitar Chord Shapes:
Compatible Scales:	Harmonic Minor Scale Melodic Minor Scale Aeolian #7 (Harmonic Minor) Ionian b3 (Melodic Minor) Lydian b3 Algerian Scale Hawaiian Scale Hungarian Minor Scale Mohammedan Scale

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Major 11th Chord

A major 11th chord adds a perfect eleventh interval on top of a major ninth chord. It isn’t a particularly popular chord due to a dissonant minor ninth interval between the perfect eleventh and major third. Because of this dissonance, it is common to omit certain notes from the chord. The only required notes are the root, third, seventh, and eleventh.

Formula:	1-3-5-7-9-11
Intervals:	root, major third, perfect fifth, major seventh, major ninth, perfect 11th mod-12: 0, 4, 7, 11, 14, 16
Notations:	Major 11, Maj11, M11, 11M, Δ11
Example:
Major 11th Guitar Chord Shapes:	The following shapes omit the 5th and 9th:
Compatible Scales:	Major Scale Ionian Mode (Major) Ionian b6 (Harmonic Major)

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Minor 11th Chord

A minor eleventh chord is formed by taking a minor ninth, and adding a perfect eleventh.

Formula:	1-♭3-5-♭7-9-11
Intervals:	root, minor third, perfect fifth, minor seventh, major ninth, perfect eleventh mod-12: 0, 3, 8, 10, 14, 16
Notations:	minor 11, min11, m11
Example:
Minor 11th Guitar Chord Shapes:	The following voicings omit the 5th and 9th:
Compatible Scales:	Minor Scale Dorian Mode Aeolian Mode (Natural Minor) Ethiopian Scale

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Dominant 11th Chord

A dominant eleventh chord is formed by taking a dominant ninth and adding a perfect eleventh.

Formula:	1-3-5-♭7-9-11
Intervals:	root, major third, perfect fifth, minor seventh, major ninth, perfect eleventh
Notations:	11
Example:
Dominant 11th Guitar Chord Shapes:	The following voicing omits the 5th and 9th:
Compatible Scales:	Mixolydian Mode Mixolydian b6 (Hindu Scale) Hindu Scale

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Minor-Major 11th Chord

A minor-major 11th chord is simply a minor-major 7th with an added 9th and 11th.

Formula:	1-♭3-5-7-9-11
Intervals:	root, minor third, perfect fifth, major seventh, major ninth, perfect eleventh
Notations:	min(maj11), m(Maj11), m/M11
Example:
Minor-Major 11th Guitar Chord Shapes:	The following voicings omit the 5th and 9th: The following voicing is easy to play, but the 11th is very low in the chord:
Compatible Scales:	Harmonic Minor Scale Melodic Minor Scale Aeolian #7 (Harmonic Minor) Ionian b3 (Melodic Minor) Hawaiian Scale Mohammedan Scale

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Major 13th Chord

A major 13th chord is formed by adding a major 13th to a major 11th chord.  The interesting thing about this chord is that it is basically the entire Major scale built into one chord.

Formula:	1-3-5-7-9-11-13
Intervals:	root, major third, perfect fifth, major seventh, major ninth, perfect eleventh, major thirteenth
Notations:	Major 13, Maj13, M13, 13M, Δ13
Example:
Major 13th Guitar Chord Shapes:	The following voicing omits the 5th and 11th: The following voicings omit the 5th, 9th and 11th:
Compatible Scales:	Recommended Scales Major Scale, Ionian Mode

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Minor 13th Chord

A minor 13th is a minor seventh with an added major ninth, perfect eleventh, and major thirteenth.   A minor 13th chord is basically the entire Dorian mode in one chord.

Formula:	1-♭3-5-♭7-9-11-13
Intervals:	root, minor third, perfect fifth, minor seventh, major ninth, perfect eleventh, major thirteenth
Notations:	minor 13, min13, m13
Example:
Minor-Major 13th Guitar Chord Shapes:
Compatible Scales:	Recommended Scales Dorian Mode

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Dominant 13th Chord

The dominant 13th chord is is basically the entire Mixolydian mode in one chord.  It can also be thought of as a dominant seventh with an added major ninth, perfect eleventh, and major thirteenth.

Formula:	1-3-5-♭7-9-11-13
Intervals:	root, major third, perfect fifth, minor seventh, major ninth, perfect eleventh, major thirteenth
Notations:	13
Example:
Minor-Major 13th Guitar Chord Shapes:	No 5th No 5th, No 9th, No 11th
Compatible Scales:	Recommended Scales Mixolydian Mode

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Minor-Major 13th Chord

A minor-major 13th chord can be thought of as a major 13th chord with a minor third.  It could also be thought of as a minor triad with a major seventh, ninth, eleventh and thirteenth.  The interesting thing about this chord is that it is the entire melodic minor scale in one chord.

Formula:	1-♭3-5-7-9-11-13
Intervals:	root, minor third, perfect fifth, major seventh, major ninth, perfect eleventh, major thirteenth
Notations:	min(maj13), m(Maj13), m/M13
Example:
Minor-Major 13th Guitar Chord Shapes:	No 5th No 5th, No 9th
Compatible Scales:	Recommended Scales Melodic Minor Scale (Ionian b3)

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Major Flat-5 Chord

The major flat-5 chord is basically a major triad, but with a diminished fifth instead of a perfect fifth.  This change is subtle, but provides a result that sounds ominous and urgent.  This chord would best be used with the Lydian mode.

Formula:	1-3-♭5
Intervals:	root, major third, diminished fifth
Notations:	Major(♭5), Maj(♭5), M(♭5), ♭5
Example:
Major Flat-5 Guitar Chord Shapes:	All Intervals
Compatible Scales:	Recommended Scales Lydian Mode Additional Scales (Click to expand) Acoustic Scale Aeolian b1 Altered Dominant Scale Altered Scale Arabian Scale Bartok Scale Diminished Augmented Scale Diminished Major Bebop Scale Enigmatic Scale Half-Whole Scale Hungarian Major Scale Istrian Scale Leading Whole Tone Scale Locrian b4 (Super Locrian) Lydian #2 Lydian Augmented (Lydian #5) Lydian Augmented Bebop Scale Lydian Dominant (Lydian b7) Lydian Minor Bebop Scale Lydiocrian Mode Lydionian Mode Major Locrian Scale Mixolydian #1 Mixolydian Blues Scale Oriental Scale Overtone Scale Persian Scale Prometheus Scale Spanish 8-Tone Scale Tritone Scale Whole Tone Scale

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Major 7th Flat-5 Chord

The Maj7(♭5) chord is a major seventh chord with a diminished fifth.  Curiously, it is very similar to the Maj7(♯11) chord.  This is because an augmented eleventh (which can be thought of as augmented fourth) is enharmonically equivalent to a diminished fifth.  So if you think of the diminished fifth in the Maj7(♭5) chord as an augmented eleventh, you end up with basically the same thing as a Maj7(♯11), with the only difference being the absence of the fifth (which is not required anyway).

Formula:	1-3-♭5-7
Intervals:	root, major third, diminished fifth, major seventh
Notations:	Maj7(♭5), M7(♭5)
Example:
Major Flat-5 Guitar Chord Shapes:	All Intervals
Compatible Scales:	Recommended Scales Lydian Mode Additional Scales (Click to expand) Aeolian ♭1 Diminished Augmented Scale Diminished Major Bebop Scale Enigmatic Scale Leading Whole Tone Lydian ♯2 Lydian Augmented (Lydian ♯5) Lydian Augmented Bebop Scale Lydian Minor Bebop Scale Lydiocrian Mode Lydionian Mode Persian Scale

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Dominant 7♯9 (Hendrix Chord)

The dominant 7♯9 chord is commonly referred to as the “Hendrix Chord” because of its use in the songs “Purple Haze” and “Foxey Lady”.  This chord is essentially a dominant 7th with an augmented ninth interval on top.

Pentatonic minor and blues scales will work best over this chord.  You could alternate between the minor pentatonic built on the root, and the minor pentatonic a semitone above the root.  Another scale worth trying is the half-whole scale, which is sometimes referred to as the “reversed diminished scale”.

Formula:	1-3-5-♭7-♯9
Intervals:	root, major third, perfect fifth, minor seventh, augmented ninth
Notations:	7♯9
Example:
Dominant 7♯9 Guitar Chord Shapes:	No 5th
Compatible Scales:	Recommended Scales Half-Whole Scale Pentatonic Minor Scale Additional Scales (Click to expand) Altered Dominant Scale Altered Scale Blues Scale Diminished Major Bebop Scale Dorian Bebop Scale Hungarian Major Scale Locrian ♭4 (Super Locrian) Melodic Major Minor Bebop Scale Minor Bebop Scale Mixodorian Mode Phrygian ♭4 Phrygian Bebop Scale Spanish 8-Tone Scale

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C Harmonic Minor

There are two common ways to alter the natural minor scale (aeolian mode).  One of these ways is the harmonic minor scale.  The harmonic minor scale is simply the natural minor scale with a raised seventh degree.  For this reason it is sometimes called the Aeolian ♯7 mode.

Additionally, you could also think of the harmonic minor scale as a major scale with a flattened third and sixth.  Flattening the seventh would reduce it to the natural minor scale.

Here’s the formula:

1    2   b3    4    5   b6    7    1
T   2M   3m    4    5   6m   7M    T
  W    H    W    W    H    A    H

So for example, using C as the root we’d get:

C - D - Eb - F - G - Ab - B

Harmonic Minor Guitar Scale Shape

Harmonic Minor Chords

Here’s a chart of chords available with the harmonic major scale:

An Example

Here’s an example of what the harmonic minor scale sounds like. This entire piece is in B Harmonic minor.

C Harmonic Major

The harmonic major scale is an interesting way to spice up the major scale. It is enharmonically related to the harmonic minor scale, which gives it a similar mood.

You can think of it as a major scale with a minor sixth. A more technical name would be Ionian ♭6, or Ionian ♭13.

Here’s the formula:

1    2   3     4    5   b6    7    1
T   2M   3M    4    5   6m   7M    T
  W    H    W    W    H    A    H

So for example, using C as the root we’d get:

C - D - E - F - G - Ab - B

Harmonic Major Guitar Scale Shape

Harmonic Major Chords

Here’s a chart with some of the more common chords available using harmonic major:

Sample Chord Progression

A really simple and cool chord progression to use with harmonic major is as follows:

I - iv

In C, we would have:

C - Fm

This progression is especially effective with harmonic major because we are so used to hearing I-IV in standard major tonalities.  However, because harmonic minor has a flattened 6th, the iv now becomes minor (the 3rd in the iv is the same as the 6th of the scale).  This essentially helps to capture the defining note of harmonic major in a dramatic way.

An Example

Here’s a practical example of what the harmonic major scale sounds like. The first 27 seconds of this piece is in C Harmonic Major. In case you’re interested, the rest of the piece moves through A Natural minor, A Harmonic minor, C Lydian mode, and C Major.

When used properly, the musical modes open the door to vast tonal possibilities and are capable of inducing unique and exotic moods. But it’s not as simple as just starting the scale on a different note–most of what causes a mood’s unique characteristics is the underlying chord structure. I’ll talk more about this in the latter section of this article.

Same Intervals, Different Starting Point

As I mentioned earlier, each of the seven modes we will discuss here will be formed from the diatonic scale, which is:

W - W - h - W - W - W - h

Now to derive the seven diatonic modes we just start each on a different note:

Ionian (Major)    W - W - h - W - W - W - h
Dorian                W - h - W - W - W - h - W
Phrygian                  h - W - W - W - h - W - W
Lydian                        W - W - W - h - W - W - h
Mixolydian                        W - W - h - W - W - h - W
Aeolian (Natural Minor)               W - h - W - W - h - W - W
Locrian                                   h - W - W - h - W - W - W

So say we wanted to find C Ionian, we would first take the intervals for the Ionian mode:

Ionian              W - W - h - W - W - W - h

…and apply them starting with C as our root:

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

If we do the same thing for A Aeolian we get:

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

If you notice C Ionian, and A Aeolian have the same notes. This is because each mode has a set of relative modes that have the same notes, but in different orders. For example: C Ionian = D Dorian = E Phrygian = F Lydian = G Mixolydian = A Aeolian = B Locrian. An easy way to remember the order of the modes is this mnemonic: I Don’t Particularly Like Modes A Lot.

In the next sections I’ll present each of the diatonic modes:

• Ionian Mode
• Dorian Mode
• Phrygian Mode
• Lydian Mode
• Mixolydian Mode
• Aeolian Mode
• Locrian Mode

After discussing each I’ll tie in how to apply them musically.

Ionian Mode (Major Scale)

The Ionian mode is the technical name for the major scale. It has a very bright, happy, and resolved feeling to it.

Formula:	1-2-3-4-5-6-7
Intervals:	W-W-h-W-W-W-h
Notable Chords:	Triad: Major Defining Chords: Maj7
Notable Compositions:	Happy Birthday To You Twinkle Twinkle Little Star
Example:	C Ionian Mode
Movable Scale Shape:

Dorian Mode

The Dorian mode has the potential to sound soulful or bluesy depending on how it is applied.

Formula:	1-2-♭3-4-5-6-♭7
Intervals:	W-h-W-W-W-h-W
Notable Chords:	Triad: minor Defining Chords: m7
Notable Compositions:	Light My Fire – The Doors Born To Be Wild – Steppenwolf Halo Theme
Example:	C Dorian Mode
Movable Scale Shape:

Phrygian Mode

The Phrygian mode has a Middle-Eastern or Spanish mood. It is commonly used in flamenco music, and is sometimes referred to as the “Spanish” mode.

Formula:	1-♭2-♭3-4-5-♭6-♭7
Intervals:	h-W-W-W-h-W-W
Notable Chords:	Triad: minor Defining Chords: sus4(♭9)
Notable Compositions:	White Rabbit – Jefferson Airplane Not to Touch the Earth – The Doors
Example:	C Phrygian Mode
Movable Scale Shape:

Lydian Mode

The Lydian mode is very similar to the Ionian mode, but with a sharpened fourth. This interval gives Lydian its dreamy and spaced out feel.

Formula:	1-2-3-♯4-5-6-7
Intervals:	W-W-W-h-W-W-h
Notable Chords:	Triad: Major Defining Chords: Maj7(♯11)
Notable Compositions:	Flying in a Blue Dream – Joe Satriani Simpsons Theme
Example	C Lydian Mode
Movable Scale Shape:

Mixolydian Mode

The Mixolydian mode is cabaple of sounding funky or folky, depending on how you use it. It has been used on a huge number of popular songs from the ’60s and ’70s.

Formula:	1-2-3-4-5-6-♭7
Intervals:	W-W-h-W-W-h-W
Notable Chords:	Triad: Major Defining Chords: dom7 sus4
Notable Compositions:	Dear Prudence – The Beatles Norwegian Wood – The Beatles The Wreck of the Edmund Fitzgerald – Gordon Lightfoot Sweet Home Alabama – Lynyrd Skynkyrd Satisfaction – The Rolling Stones
Example:	C Mixolydian Mode
Movable Scale Shape:

Aeolian Mode (Natural Minor Scale)

The Aeolian mode is the same as the natural minor scale. It has a dark and sad mood to it. It also has the potential to sound tough and “mean” when used in heavy rock songs.

Formula:	1-2-♭3-4-5-♭6-♭7
Intervals:	W-h-W-W-h-W-W
Notable Chords:	Triad: minor Defining Chords: m(♭6)
Notable Compositions:	Achilles Last Stand (Guitar Solo) – Led Zeppelin The Ants Go Marhcing In
Example:	C Aeolian Mode
Movable Scale Shape:

Locrian Mode

The Locrian mode is easily the strangest of the seven diatonic modes. It was originally just a hypothetical mode. Similar to the Phrygian mode, the Locrian mode has a Spanish vibe to it, but with a much darker and more unresolved quality. It isn’t a very practical mode because of the fact that its triad is diminished, which is very hard to resolve to.

Formula:	1-♭2-♭3-4-♭5-♭6-♭7
Intervals:	h-W-W-h-W-W-W
Notable Chords:	Triad: diminished Defining Chords: min7(♭5)
Notable Compositions:	Jeux – Debussy Three Fantastic Dances – Dmitri Shostakovich
Example:	C Locrian Mode
Movable Scale Shape:

How to Use the Modes

When applying the modes you have three options:

• Relative Approach
• Pitch-Axis Theory
• Mixed Approach

Relative Approach

The most common way to apply the modes is to use a relative approach. This is useful when you want to stay in one mode for the entire progression. Take a look at the following chart:

All you have to do is pick chords that are within the mode you want to stay in, and find some way to imply the tonic chord. So if we wanted to write a progression in C Lydian, we would do something like the following:

C Lydian
CMaj7(#11)      Amin            Dmaj7           GMaj9

This method should work, however you run the risk of resolving to the related major or minor scale.  This idea is grounds for an entire new article that could get very theoretical, so I’ll leave it at that, and introduce the next method:

Pitch-Axis Theory

The next way to apply the modes is pitch-axis theory, which is simply keeping the same root note for the entire chord progression, but altering the chord types. Each chord is chosen carefully to reflect a specific mode which is played when that chord occurs. This is possible because certain chords imply certain modes.

Here’s a useful chart of which chords can be found in each of the seven diatonic modes:

So let’s make a progression using pitch-axis theory:

C IONIAN      C LYDIAN      C MIXOLYDIAN
CMaj11        CMaj7(#11)    C11

C AEOLIAN     C Dorian      C PHRYGIAN
Cmin11        Cmin13        Cmin11(b9)

Mixed Approach

The final way to apply the modes is to combine the previous two methods in what I’ll call the “mixed approach” for lack of a better term.

To do this you would basically write a progression using the relative approach, but change modes for each chord as you would using pitch-axis theory. Here’s an example:

C IONIAN      A DORIAN        G MIXOLYDIAN
CMaj11        Amin13          G7

In summary, The trick is to find chordal intervals that are unique to the mode you’re trying to imply.

Another interesting thing to note is that sometimes more than one mode can be used over a chord. In the above example if we change the Amin13 chord to an Amin7 chord, we would be able to play A Dorian, A Phrygian, or A Aeolian over that chord.

The major7♯11 chord is the same thing as a major 7 chord, with the only difference being that a sharpened 11th is added to the top of the chord.

Movable Guitar Chord Shapes

Scales/Modes To Use:

Lydian	Formula: 1-2-3-♯4-5-6-7
Lydian Bebop	Formula: 1-2-3-♯4-5-♭6-6-7
Lydian ♯2	Formula: 1-♯2-3-♯4-5-6-7

Also Try:

• Playing leads based on the maj7 arpeggio (1-3-5-7)
• Use the minor pentatonic built on the note a semitone below the root of the chord — this is really cool sounding.

*

As I stated in my first article, I highly recommend that you use a metronome when you go through these exercises.  This is extremely important, as it will help you to synchronize the timing between your left and right hands.  Start with a slow tempo, like say 80bpm, and then gradually increase it as you master each exercise.

Exercise Five — Simple Warm Up (Variation A)

This exercise is a variation of the “simple warm up” exercise from my first article.  The only difference is that each of the four left hand notes are played on a different string.

.

Repeat the same pattern, this time starting at fret 2.

Again, repeat the same pattern, but this time start at the third fret.  Continue this all the way up the fretboard.

Exercise Six — Simple Warm Up (Variation B)

This is another warm up on the “simple warm up” exercise.  Figure 6B is where it gets interesting.  The downward movement and string changes will help improve your muscle memory of the fretboard.

Exercise Seven — String Skipping

This exercise will help with string skipping.  You could also use this to practice your economy picking by ignoring the picking notation.  Figures 7B and 7C show the pattern as it repeats one fret higher.

Figure 7D is an inverse version of the pattern.

After bar 24, repeat the entire exercise starting one fret higher.  Continue this all the way up the fretboard.