** The chord tones for a C7#11 are 1,3,#4,7. The tensions are 9 and 13.

. The 5th can also be used as

an available note to form chords.
Major Chords
A Major chord has two scale possibilities: Major ( Ionian mode) and the Lydian mode.
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C major scale or Ionian mode is used for a C7 or C6 chord and has one avoid note which is F.
C Lydian scale is used for a C7#11 or C6#11 chord and has no avoid notes.
C Lydian Scale
C Major Scale
( )
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#

13
#11
9
7 5 3 1
The chord tones for a C Major 7 chord are 1,3,5,7,*
Chord Tones and Available Tensions
If we combine these two scales we have:
The available tensions for a C Major 7 chord are 9,#11,13. The avoid note is 4.

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* These scales can also be used for a C7sus4 chord see the dominant 7sus4 list on pages 135-136.
** The chord tones for a C-6 chord are 1,b3,5,6. The tensions are 9 and 11. The b7th can also be
used as an available note to form chords.
11
9
b7 5 b3 1
13
The available tensions for a C Minor 7 chord are 9,11,13. The avoid notes are b2 and b6.
The chord tones for a C Minor chord are 1,b3,5,b7**
If we combine these three scales we have:
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b

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b


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b


b
b

C Dorian scale is used for a C-7 or C-6 chord* and has no avoid notes.
C Dorian Scale
C Phrygian scale is used for a C-7 chord* and has two avoid notes which are Db and Ab.
C Phrygian Scale
C Aeolian scale is used for a C-7 chord* and has one avoid note which is Ab.
C Aeolian Scale
A Minor chord has three scale possibilities: Dorian, Phrygian and Aeolian modes.
Minor Chords
( )
( )
( )
Chord Tones and Available Tensions

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treble clef sig
staff
As can be seen in Example 2, each line and space corresponds to a different tone. If you
want to have pitches higher or lower than the 5 lines and four spaces you can extend the staff by us-
ing ledger lines. Ledger lines give you the ability to represent higher and lower pitches by extending
the staff; these extended pitches are called ledger line notes. (See Example 3)
If we extend this idea we run into trouble as can be seen in Example 4. When excessive
ledger lines are used, reading music becomes very difcult. To alleviate this problem other clefs
are employed to make reading these notes that are out of the treble clef's range easier. The note in
Example 4 would be found in the bass or F clef on the 2nd space. (See Example 5)
Example 6 shows where the notes fall in the bass clef. We will only use the treble clef in this
book but a basic understanding
bass clef sig
staff
This document will help the beginner understand some of the basic foundations of music
theory so that they may ll in any gaps that they may have as they work through the Totally Modal
Course. This tutorial is presented in simple language and hopefully will help to ll in any missing
information in your music theory knowledge.
Example 2 shows a series of lines and spaces which are employed to create a visual represen-
tation of sound. Each line and space corresponds to a pitch. Each pitch is given a name A, B, C, D,
E, F, or G. A clef sign is also used to designate what names each line and space will receive. The
reason for the many types of clefs will be explained momentarily. First let us look at the treble clef.
The treble clef places the note sequence in the order listed below. This complete system of lines and
spaces with a clef sign is called a staff.
Music theory and chord construction
Example 2
Example 3
Example 4
Example 5
Example 6

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1
Dominant Chords
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b

A Dominant chord has seven scale possibilities: Mixolydian, Lydian b7, Mixolydian b6, Altered,
Symmetrical Diminished, Whole Tone and Mixolydian b2,b6.
C Mixolydian scale is used for a C7* and has one avoid note which is F.
C Mixolydian Scale
C Lydian b7 scale is used for a C7#11 chord and no avoid notes.
C Lydian b7 Scale
C Mixolydian b6 scale is used for a C7b13 chord* and has one avoid note which is F.
C Mixolydian b6 Scale
C Altered scale is used for a C7b5 or C7#5 chord and has no avoid notes.
C Altered Scale
( )
( )
* These scales can also be used for a C7sus4 chord; see the dominant 7sus4 list on pages 135-136.

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#

If we combine these seven scales we have:
* These scales can also be used for a C7sus4 chord. The dominant 7sus4 list is on pages 135-136.
** The chord tones for a C7b5 chord are 1,3,b5,b7. The tensions are 9 and b13. The chord tones for
a C7#5 chord are 1,3,#5,b7. The tensions are 9 and #11. The 5th should not be used if you want to
retain the characteristic sound of this chord.
1
Dominant Chords continued
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#
#
b

C Whole Tone scale is used for a C7b5 or C7#5 chord and has no avoid notes.
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b

C Symmetrical Diminished scale is used for a C7 or C7b5 chord and has no avoid notes.
C Symmetrical Diminished Scale
C Whole Tone Scale
C Aeolian scale is used for a C7b13 chord* and has one avoid note which is F.
C Mixolydian b2,b6 Scale
( )
Chord Tones and Available Tensions
The chord tones for a C Dominant 7 chord are 1,3,5,b7**
The available tensions for a C Dominant 7 chord are b9, 9,#9,#11,b13,13. The avoid note is 4.
1
3 5 b7 b9 13
#5
or
b13
#11
9
#9

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1
**With other chord types these scales do have avoid notes.
***These scales are also used in other chord types.
Dominant 7sus4 Chords
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b

A Dominant 7sus4 chord has seven scale possibilities: Dorian, Phrygian, Mixolydian, Aeolian,
Dorian b2, Mixolydian b6, and Mixolydian b2,b6.
C Dorian scale is used for a C7sus4*** and has no avoid notes.
C Dorian Scale
C Phrygian Scale
C Mixolydian scale is used for a C7sus4 chord*** and has no avoid notes**.
C Mixolydian Scale
C Aeolian Scale
C Aeolian scale is used for a C7sus4 chord*** and has no avoid notes**.
C Phrygian scale is used for a C7sus4 chord ***and no avoid notes**.

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b
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b n
1
**With other chord types these scales do have avoid notes.
***These scales are also used in other chord types.
**With other chord types these scales do have avoid notes.
Dominant 7sus4 Chords continued...
C Mixolydian b6 scale is used for a C7sus4 chord*** and has no avoid notes.**
C Dorian b2 scale is used for a C7sus4 chord*** and has no avoid notes.**
C Dorian b2 Scale
C Mixolydian b6 Scale
C Aeolian scale is used for a C7sus4 chord*** and has no avoid notes.**
C Mixolydian b2,b6 Scale
b13
13 10
9 b9
b7 5 4
1
#9
The available tensions for a C Dominant 7sus4 chord are b9, 9,#9,10,b13,13. There is no avoid note.
The chord tones for a C Dominant 7sus4 chord are 1,4,5,b7,
Chord Tones and Available Tensions
If we combine these seven scales we have:

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Minor 7b5 Chords
A Minor 7b5 chord has two scale possibilities: Locrian and Locrian natural 2.
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b
5 b3 1
b7 9 11
b13
b bb bb
C Locrian natural 2 Scale
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C Locrian scale is used for a C-7b5 chord and has one avoid note Db.
C Locrian Scale
C Locrian natural scale is used for a C-7b5 chord and no avoid notes.
( )
Chord Tones and Available Tensions
The available tensions for a C Minor 7b5 chord are 9,11,b13. The avoid note is b9.
The chord tones for a C Minor 7b5 chord are 1,b3,b5,b7,
If we combine these two scales we have:

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#
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Diminished 7th Chords
A Diminished chord has one scale possibility which is Diminished.
C Diminished Scale
The available tensions for a C Diminished 7 chord are 9,11,b13,b15. There is no avoid note
The chord tones for a C Diminished 7 chord are 1,b3,b5,bb7,
1
b3 b5 bb7
9
11 b13 b15
C Diminished scale is used for a C7 chord* and has no avoid notes
Chord Tones and Available Tensions
* A diminished scale is only used for a I and #IV diminished chords. All other diminished chords
are Passing Diminished and use Passing Diminished scales. Passing diminished scales are formed
by taking the chord tones of the diminished scale and combining them with the chord tones of the
chord the diminished chord is resolving to. For example a C#7 chord resolving to D-7 would
contain the chord tones from C#7 (C#, E, G, Bb) and the chord tones of D-7 (D, F, A, C) so the
passing diminished scale would be C#, D, E, F, G, A, Bb, C. Below is a list of all passing dimin-
ished scales.
#1 Diminished 1,b2,b3,3,#4,#5,6,7
#2 Diminished 1,b2,b3,3,#4,#5,6,7
b3 Diminished 1,2,b3,3,#4,#5,6,7
3 Diminished 1,b2,b3,4,#4,#5,6,b7
#4 Diminished 1,2,b3,4,#4,#5,6,7 same as regular diminished scale
#5 Diminsihed 1,b2,b3,3,#4,#5,6,7
#6 Diminished 1,#1,2,b3,3,#4,5,6,7
These scales can be thought of from the root of the diminished chord or from their relationship to
the key they are found in. For example:
#1 Diminished is 1,b2,b3,3,#4,#5,6,7 from the chord but would be 1,#1,2,3,4,5,6,b7 in the key.
Either way works, I usually relate it to the key. The following is a list of the passing diminished
chords and their relationship to the key they are found.
#1 Diminished 1,b2,2,3,4,5,6,b7
#2 Diminished 1,2,b3,3,#4,5,6,7
b3 Diminished 1,2,b3,4,#4,5,6,7
3 Diminished 1,#1,2,3,4,5,6,b7
#4 Diminished 1,2,b3,4,#4,5,6,7 same as regular diminished scale
#5 Diminsihed 1,2,3,4,5,#5,6,7
#6 Diminished 1,#1,2,3,4,5,6,b7,7

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1
Minor Major 7 Chords
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A Minor Major 7 chord has two scale possibilities: Jazz Minor and Harmonic Minor.
C Jazz Minor scale is used for a C-7 chord and has no avoid notes.
C Jazz Minor Scale
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#

The available tensions for a C Minor Major 7 chord are 9,11,#11*,13. The avoid note is b6.
1 b3 5
7 9 11
#11
or
b5
13
The chord tones for a C Minor Major 7 chord are 1,b3,5,7,
If we combine these two scales we have:
Chord Tones and Available Tensions
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C Harmonic Minor Scale
C Harmonic Minor scale is used for a C-7 chord and one avoid note Ab.
( )
-7 chord is commonly substituted for a -7 chord. This is most commonly found when the -7 is the
one chord of the key.
* #11 is commonly added as an available tension even though it is not part of the jazz minor or the
harmonic minor scale.

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1 3
#5
7
9 #11
The available tensions for a C Major 7 chord are 9,#11. The avoid note is 6.
7#5 is commonly substituted for a 7 chord. This is most commonly found where the 7 is the one
chord of the key.
Major 7#5 Chords
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#
#



A Major 7#5 chord has one scale possibility which is Lydian #5
C Lydian #5 scale is used for a C7#5 chord* and has one avoid note which is A.
C Lydian #5 Scale
( )
The chord tones for a C Major 7#5 chord are 1,3,#5,7,
Chord Tones and Available Tensions

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The rst thing to do with the 19 modes is apply them to the keys they are traditionally associated. After
you get more familiar with the modes you can start to apply them in other situations. The following pages will
present you with all the possible applications of the 19 scales to all twelve key centers. By nding more uses
for the scales you already know you can expand your pallette of sound quickly. Keep in mind that you want
to hear the scale in relationship to the new key center and not just superimpose it. By actually hearing it in the
new key you will expand your ear and play more musical.
As you can see from the chart below Ive listed both harmonic (harm) and melodic (mel) possibilities.
If its a harmonic (harm) possibility then you can be used both as a chord and a melodic line. If the chord has
a mel after the chord name then there is one or more avoid notes so you can only use the notes in a melodic
situation or as a chord in a modal vamp.
Applying 19 Scales in 12 keys
How to use the charts
C: 1 2 b3 4 5 6 b7 -7 harm, 7 mel, 7sus4 harm
Db: 7 b2 2 3 b5 b6 6
D: b7 1 b2 b3 4 5 b6 -7 mel, 7 mel, 7sus4 harm
Eb: 6 7 1 2 3 b5 5 7#5 mel, 7 harm
E: b6 b7 7 b2 b3 4 b5
F: 5 6 b7 1 2 3 4 7 mel, 7sus4 harm
Gb: b5 b6 6 7 b2 b3 3
G: 4 5 b6 b7 1 2 b3 7 mel, 7sus4 harm
Ab: 3 b5 5 6 7 b2 2
A: b3 4 b5 b6 b7 1 b2 7 mel, -7b5 mel
Bb: 2 3 4 5 6 7 1 7#5 mel, 7 mel
B: b2 b3 3 b5 b6 b7 7
Dorian Mode
There are a couple of ways to use the information found in these charts. For instance, if you take the
Dorian Mode chart below you will realize take your can take a C Dorian Mode and play it over a F7sus4 chord.
We know this because we can look down to the 6th line of the chart and we see that F7sus4 is a possible chord
that we can use because a C Dorian Scale would be 5,6,b7,1,2,3 and 4 in the key of F. While it might be tempt-
ing to do this I think you should realize that its really better to know the C Dorian Scale as an F Mixolydian
Mode if you are hearing the F7sus4 chord in the key of F Mixolydian. What I really saying is think the way
you hear.
A better application of these charts would be to use them to tell what kind of scale you can play over a
group of chords or what chords you can put together to t over a melody to a song you are writing. Lets look
at those two applications.
Lets say you have a new song and the chords are:
Cminor for two measures
Eb major for one measure
F7sus4 for one measure
You can see in the Dorian Mode chart that all of these chords are present, therefore you can use a C
Dorian Mode as a melody. Remeber its best that you also hear the entire progression in C minor. Thats why I
made the C minor chord lasting long than the other chords so that you will most likely hear the progression in C
Dorian.
Another application would be if you want to write a song and need chords to a melody that you are
hearing. If all the notes in the melody are contained in a C Dorian Mode then you can pick any chords from the
chart below to harmonize your melody. Keep in mind that the mel chords could cause a problem with your
melody depending on whether your melody contains an avoid note.

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C: 1 2 3 4 5 6 7 7#5 mel, 7 mel
Db: 7 b2 b3 3 b5 b6 b7
D: b7 1 2 b3 4 5 6 -7 harm, 7 mel, 7sus4 harm
Eb: 6 7 b2 2 3 b5 b6
E: b6 b7 1 b2 b3 4 5 -7 mel, 7 mel, 7sus4 harm
F: 5 6 7 1 2 3 b5 7#5 mel, 7 harm
Gb: b5 b6 b7 7 b2 b3 4
G: 4 5 6 b7 1 2 3 7 mel, 7sus4 harm
Ab: 3 b5 b6 6 7 b2 b3
A: b3 4 5 b6 b7 1 2 7 mel, 7sus4 harm
Bb: 2 3 b5 5 6 7 b2
B: b2 b3 4 b5 b6 b7 1 7 mel, -7b5 mel
Major Scale (Ionian Mode)
Dorian Mode
C: 1 2 b3 4 5 6 b7 -7 harm, 7 mel, 7sus4 harm
Db: 7 b2 2 3 b5 b6 6
D: b7 1 b2 b3 4 5 b6 -7 mel, 7 mel, 7sus4 harm
Eb: 6 7 1 2 3 b5 5 7#5 mel, 7 harm
E: b6 b7 7 b2 b3 4 b5
F: 5 6 b7 1 2 3 4 7 mel, 7sus4 harm
Gb: b5 b6 6 7 b2 b3 3
G: 4 5 b6 b7 1 2 b3 7 mel, 7sus4 harm
Ab: 3 b5 5 6 7 b2 2
A: b3 4 b5 b6 b7 1 b2 7 mel, -7b5 mel
Bb: 2 3 4 5 6 7 1 7#5 mel, 7 mel
B: b2 b3 3 b5 b6 b7 7

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Phrygian Mode
C: 1 b2 b3 4 5 b6 b7 -7 mel, 7 mel, 7sus4 harm
Db: 7 1 2 3 b5 5 6 7#5 mel, 7 harm
D: b7 7 b2 b3 4 b5 b6
Eb: 6 b7 1 2 3 4 5 7 mel, 7sus4 harm
E: b6 6 7 b2 b3 3 b5
F: 5 b6 b7 1 2 b3 4 7 mel, 7sus4 harm
Gb: b5 5 6 7 b2 2 3
G: 4 b5 b6 b7 1 b2 b3 7 mel, -7b5 mel
Ab: 3 4 5 6 7 1 2 7#5 mel, 7 mel
A: b3 3 b5 b6 b7 7 b2
Bb: 2 b3 4 5 6 b7 1 -7 harm, 7 mel, 7sus4 harm
B: b2 2 3 b5 b6 6 7
Lydian Mode
C: 1 2 3 b5 5 6 7 7#5 mel, 7 harm
Db: 7 b2 b3 4 b5 b6 b7
D: b7 1 2 3 4 5 6 7 mel, 7sus4 harm
Eb: 6 7 b2 b3 3 b5 b6
E: b6 b7 1 2 b3 4 5 7 mel, 7sus4 harm
F: 5 6 7 b2 2 3 b5
Gb: b5 b6 b7 1 b2 b3 4 7 mel, -7b5 mel
G: 4 5 6 7 1 2 3 7#5 mel, 7 mel
Ab: 3 b5 b6 b7 7 b2 b3
A: b3 4 5 6 b7 1 2 -7 harm, 7 mel, 7sus4 harm
Bb: 2 3 b5 b6 6 7 b2
B: b2 b3 4 5 b6 b7 1 -7 mel, 7 mel, 7sus4 harm

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Mixolydian Mode
C: 1 2 3 4 5 6 b7 7 mel, 7sus4 harm
Db: 7 b2 b3 3 b5 b6 6
D: b7 1 2 b3 4 5 b6 7 mel, 7sus4 harm
Eb: 6 7 b2 2 3 b5 5
E: b6 b7 1 b2 b3 4 b5 7 mel, -7b5 mel
F: 5 6 7 1 2 3 4 7#5 mel, 7 mel
Gb: b5 b6 b7 7 b2 b3 3
G: 4 5 6 b7 1 2 b3 -7 harm, 7 mel, 7sus4 harm
Ab: 3 b5 b6 6 7 b2 2
A: b3 4 5 b6 b7 1 b2 -7 mel, 7 mel, 7sus4 harm
Bb: 2 3 b5 5 6 7 1 7#5 mel, 7 harm
B: b2 b3 4 b5 b6 b7 7
Aeolian Mode
C: 1 2 3 4 5 b6 b7 7 mel, 7sus4 harm
Db: 7 b2 b3 3 b5 5 6
D: b7 1 2 b3 4 b5 b6 -7b5 harm, 7 mel
Eb: 6 7 b2 2 3 4 5
E: b6 b7 1 b2 b3 3 b5 7 harm
F: 5 6 7 1 2 b3 4 min_maj7_harm
Gb: b5 b6 b7 7 b2 2 3
G: 4 5 6 b7 1 b2 b3 -7 mel, 7 mel, 7sus4 harm
Ab: 3 b5 b6 6 7 1 2 7#5 mel, 7#5 harm
A: b3 4 5 b6 b7 7 b2
Bb: 2 3 b5 5 6 b7 1 7 harm
B: b2 b3 4 b5 b6 6 7

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Locrian Mode
Jazz Minor Mode (Melodic Minor Ascending)
C: 1 2 b3 4 5 6 7 min_maj7_harm
Db: 7 b2 2 3 b5 b6 b7
D: b7 1 b2 b3 4 5 6 -7 mel, 7 mel, 7sus4 harm
Eb: 6 7 1 2 3 b5 b6 7#5 mel, 7#5 harm
E: b6 b7 7 b2 b3 4 5
F: 5 6 b7 1 2 3 b5 7 harm
Gb: b5 b6 6 7 b2 b3 4
G: 4 5 b6 b7 1 2 3 7 mel, 7sus4 harm
Ab: 3 b5 5 6 7 b2 b3
A: b3 4 b5 b6 b7 1 2 -7b5 harm, 7 mel
Bb: 2 3 4 5 6 7 b2
B: b2 b3 3 b5 b6 b7 1 7 harm
C: 1 b2 b3 4 b5 b6 b7 7 mel, -7b5 mel
Db: 7 1 2 3 4 5 6 7#5 mel, 7 mel
D: b7 7 b2 b3 3 b5 b6
Eb: 6 b7 1 2 b3 4 5 -7 harm, 7 mel, 7sus4 harm
E: b6 6 7 b2 2 3 b5
F: 5 b6 b7 1 b2 b3 4 -7 mel, 7 mel, 7sus4 harm
Gb: b5 5 6 7 1 2 3 7#5 mel, 7 harm
G: 4 b5 b6 b7 7 b2 b3
Ab: 3 4 5 6 b7 1 2 7 mel, 7sus4 harm
A: b3 3 b5 b6 6 7 b2
Bb: 2 b3 4 5 b6 b7 1 7 mel, 7sus4 harm
B: b2 2 3 b5 5 6 7

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Dorian b2 Mode
Lydian #5 Mode
C: 1 b2 b3 4 5 6 b7 -7 mel, 7 mel, 7sus4 harm
Db: 7 1 2 3 b5 b6 6 7#5 mel, 7#5 harm
D: b7 7 b2 b3 4 5 b6
Eb: 6 b7 1 2 3 b5 5 7 harm
E: b6 6 7 b2 b3 4 b5
F: 5 b6 b7 1 2 3 4 7 mel, 7sus4 harm
Gb: b5 5 6 7 b2 b3 3
G: 4 b5 b6 b7 1 2 b3 -7b5 harm, 7 mel
Ab: 3 4 5 6 7 b2 2
A: b3 3 b5 b6 b7 1 b2 7 harm
Bb: 2 b3 4 5 6 7 1 min_maj7_harm
B: b2 2 3 b5 b6 b7 7
C: 1 2 3 b5 b6 6 7 7#5 mel, 7#5 harm
Db: 7 b2 b3 4 5 b6 b7
D: b7 1 2 3 b5 5 6 7 harm
Eb: 6 7 b2 b3 4 b5 b6
E: b6 b7 1 2 3 4 5 7 mel, 7sus4 harm
F: 5 6 7 b2 b3 3 b5
Gb: b5 b6 b7 1 2 b3 4 -7b5 harm, 7 mel
G: 4 5 6 7 b2 2 3
Ab: 3 b5 b6 b7 1 b2 b3 7 harm
A: b3 4 5 6 7 1 2 min_maj7_harm
Bb: 2 3 b5 b6 b7 7 b2
B: b2 b3 4 5 6 b7 1 -7 mel, 7 mel, 7sus4 harm

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Lydian b7 Mode
Mixolydian b6 Mode
C: 1 2 3 b5 5 6 b7 7 harm
Db: 7 b2 b3 4 b5 b6 6
D: b7 1 2 3 4 5 b6 7 mel, 7sus4 harm
Eb: 6 7 b2 b3 3 b5 5
E: b6 b7 1 2 b3 4 b5 -7b5 harm, 7 mel
F: 5 6 7 b2 2 3 4
Gb: b5 b6 b7 1 b2 b3 3 7 harm
G: 4 5 6 7 1 2 b3 min_maj7_harm
Ab: 3 b5 b6 b7 7 b2 2
A: b3 4 5 6 b7 1 b2 -7 mel, 7 mel, 7sus4 harm
Bb: 2 3 b5 b6 6 7 1 7#5 mel, 7#5 harm
B: b2 b3 4 5 b6 b7 7
C: 1 2 3 4 5 b6 b7 7 mel, 7sus4 harm
Db: 7 b2 b3 3 b5 5 6
D: b7 1 2 b3 4 b5 b6 -7b5 harm, 7 mel
Eb: 6 7 b2 2 3 4 5
E: b6 b7 1 b2 b3 3 b5 7 harm
F: 5 6 7 1 2 b3 4 min_maj7_harm
Gb: b5 b6 b7 7 b2 2 3
G: 4 5 6 b7 1 b2 b3 -7 mel, 7 mel, 7sus4 harm
Ab: 3 b5 b6 6 7 1 2 7#5 mel, 7#5 harm
A: b3 4 5 b6 b7 7 b2
Bb: 2 3 b5 5 6 b7 1 7 harm
B: b2 b3 4 b5 b6 6 7

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Lorcrian Natural Two Mode
Altered Mode
C: 1 2 b3 4 b5 b6 b7 -7b5 harm, 7 mel
Db: 7 b2 2 3 4 5 6
D: b7 1 b2 b3 3 b5 b6 7 harm
Eb: 6 7 1 2 b3 4 5 min_maj7_harm
E: b6 b7 7 b2 2 3 b5
F: 5 6 b7 1 b2 b3 4 -7 mel, 7 mel, 7sus4 harm
Gb: b5 b6 6 7 1 2 3 7#5 mel, 7#5 harm
G: 4 5 b6 b7 7 b2 b3
Ab: 3 b5 5 6 b7 1 2 7 harm
A: b3 4 b5 b6 6 7 b2
Bb: 2 3 4 5 b6 b7 1 7 mel, 7sus4 harm
B: b2 b3 3 b5 5 6 7
C: 1 b2 b3 3 b5 b6 b7 7 harm
Db: 7 1 2 b3 4 5 6 min_maj7_harm
D: b7 7 b2 2 3 b5 b6
Eb: 6 b7 1 b2 b3 4 5 -7 mel, 7 mel, 7sus4 harm
E: b6 6 7 1 2 3 b5 7#5 mel, 7#5 harm
F: 5 b6 b7 7 b2 b3 4
Gb: b5 5 6 b7 1 2 3 7 harm
G: 4 b5 b6 6 7 b2 b3
Ab: 3 4 5 b6 b7 1 2 7 mel, 7sus4 harm
A: b3 3 b5 5 6 7 b2
Bb: 2 b3 4 b5 b6 b7 1 -7b5 harm, 7 mel
B: b2 2 3 4 5 6 7

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Diminished Mode
Diminished Symmetrical Mode
C: 1 b2 b3 3 b5 5 6 b7 7 harm
Db: 7 1 2 b3 4 b5 b6 6 7 harm, -7 mel
D: b7 7 b2 2 3 4 5 b6
Eb: 6 b7 1 b2 b3 3 b5 5 7 harm
E: b6 6 7 1 2 b3 4 b5 7 harm, -7 mel
F: 5 b6 b7 7 b2 2 3 4
Gb: b5 5 6 b7 1 b2 b3 3 7 harm
G: 4 b5 b6 6 7 1 2 b3 7 harm, -7 mel
Ab: 3 4 5 b6 b7 7 b2 2
A: b3 3 b5 5 6 b7 1 b2 7 harm
Bb: 2 b3 4 b5 b6 6 7 1 7 harm, -7 mel
B: b2 2 3 4 5 b6 b7 7
C: 1 2 b3 4 b5 b6 6 7 7 harm, -7 mel
Db: 7 b2 2 3 4 5 b6 b7
D: b7 1 b2 b3 3 b5 5 6 7 harm
Eb: 6 7 1 2 b3 4 b5 b6 7 harm, -7 mel
E: b6 b7 7 b2 2 3 4 5
F: 5 6 b7 1 b2 b3 3 b5 7 harm
Gb: b5 b6 6 7 1 2 b3 4 7 harm, -7 mel
G: 4 5 b6 b7 7 b2 2 3
Ab: 3 b5 5 6 b7 1 b2 b3 7 harm
A: b3 4 b5 b6 6 7 1 2 7 harm, -7 mel
Bb: 2 3 4 5 b6 b7 7 b2
B: b2 b3 3 b5 5 6 b7 1 7 harm

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Whole Tone Mode
Harmonic Minor Mode
C: 1 2 b3 3 4 5 b6 7
Db: 7 b2 2 b3 3 b5 5 b7
D: b7 1 b2 2 b3 4 b5 6 7 mel
Eb: 6 7 1 b2 2 3 4 b6
E: b6 b7 7 1 b2 b3 3 5
F: 5 6 b7 7 1 2 b3 b5
Gb: b5 b6 6 b7 7 b2 2 4
G: 4 5 b6 6 b7 1 b2 3 7 mel, 7sus4 harm
Ab: 3 b5 5 b6 6 7 1 b3
A: b3 4 b5 5 b6 b7 7 2
Bb: 2 3 4 b5 5 6 b7 b2 7 mel
B: b2 b3 3 4 b5 b6 6 1 7 mel
C: 1 2 3 b5 b6 b7 7 harm
Db: 7 b2 b3 4 5 6
D: b7 1 2 3 b5 b6 7 harm
Eb: 6 7 b2 b3 4 5
E: b6 b7 1 2 3 b5 7 harm
F: 5 6 7 b2 b3 4
Gb: b5 b6 b7 1 2 3 7 harm
G: 4 5 6 7 b2 b3
Ab: 3 b5 b6 b7 1 2 7 harm
A: b3 4 5 6 7 b2
Bb: 2 3 b5 b6 b7 1 7 harm
B: b2 b3 4 5 6 7

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Mixolydian b2 b6 Mode (5th Segree of Harmonic Minor Mode)
C: 1 b2 3 4 5 b6 b7 7 mel, 7sus4 harm
Db: 7 1 b3 3 b5 5 6
D: b7 7 2 b3 4 b5 b6
Eb: 6 b7 b2 2 3 4 5 7 mel, 7sus4 harm
E: b6 6 1 b2 b3 3 b5 7 harm
F: 5 b6 7 1 2 b3 4 -7 mel
Gb: b5 5 b7 7 b2 2 3
G: 4 b5 6 b7 1 b2 b3 7 mel
Ab: 3 4 b6 6 7 1 2 7#5 mel
A: b3 3 5 b6 b7 7 b2
Bb: 2 b3 b5 5 6 b7 1 7 harm
B: b2 2 4 b5 b6 6 7

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In addition to the Totally Modal CDRom I have some books that I think will help each student address
their weak points. These are workbook style books that require you to
Chord Workbook for Guitar Volume One
Each scale presented in Totally Modal has an associated chord that you can play to create jam tracks or
songs. If you want to create your own jam tracks or write your own tunes you will need to know the chords for
each scale. The book Chord Workbook for Guitar Volume One contains all these chords. It also contains 36
chord progressions that you can use to help you memorize each chord. Free downloadable MP3 les of these
chord progressions are also available at the muse-eek.com website.
You can nd out more about Chord Workbook for Guitar Volume One at:
http://www.muse-eek.com/books/chord1/lower.html
Learning music theory is sometimes very difcult for guitarists. Knowing all the notes on your instru-
ment and being able to see various scales and chords all over the fretboard is not an easy task. Theory Work-
book for Guitar Volume One is part of a series of books to help you overcome these problems. There are two
volumes in this series. Volume One teaches you all chords and where to nd them on the fretboard. The Theory
section of this book uses extremely simple language to explain the basics of music theory. The exercises require
the student to write out the problem or example using staff notation, and then to nd those notes on a guitar
fretboard diagram. This book takes the student through simple interval examples to highly complex chords, and
unlike any other workbook used in academia, the answers to all problems are found in the back of the book. All
theory is made to apply directly to the fretboard of the guitar, thus ingraining the information in both the head
and hands.
Think of music theory like a language. In order to master it you need to work with it. Theory Work-
book for Guitar Volume One does just that by making you ll in many exercises. You will feel a new found
understanding of not only your guitar but music theory in general when you nish this book.
You can nd out more about Theory Workbook for Guitar Volume One at:
http://www.muse-eek.com/books/mt/lower.html
Theory Workbook for Guitar Volume Two provides real hands-on application for 22 different scale
types. A theory section written in concise and easy to understand language prepares the student for all exercises.
Worksheets are given that quiz a student about scale construction using staff notation and guitar tablature. An-
swers are supplied in the back of the book enabling a student to work without a teacher.
You can nd out more about Theory Workbook for Guitar Volume One at:
http://www.muse-eek.com/books/mtwbforguit2/lower.html
Recommended Books and Practice Schedule

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Ear training is an extremely important thing to work on in conjunction with your scale work. The fol-
lowing two books we make a dramatic improvement in your ability to hear music and know what you are hear-
ing. The rst book I recommend is Ear Training One Note Complete. This book and 3 accompanying audio
CDs is a compilation containing all the information and CDs found in the following books: Ear Training One
Note Beginning, Ear Training One Note Intermediate and Ear Training One Note Advanced. The ear training
method presented is a highly effective way to dramatically improve relative pitch skills. While it has been used
with great success in classroom situations and in private study, it is equally rewarding and accessable for the self
taught musician. Study can be accomplished (and is actually recommended) during spare time such as driving to
work, riding on a train, or sitting in a waiting room. This compilation contains all three levels so that a student
can steadily and methodically improve their ability over time.
You can nd out more about Ear Training One Note Complete at:
http://www.muse-eek.com/books/ET_1_note_complete/lower.html
The second book I recommend is Fanatics Guide to Sight Singing and Ear Training. This book will
help you improve your improvisational and compositional ability through singing exercies. It will also dramati-
cally speed up your success with the Ear Training One Note Complete book. This book and CD present a
method for developing good pitch recognition through sight singing. This method differs from the myriad of
other sight singing books in that it develops the ability to identify and name all twelve pitches within a key cen-
ter. Through this method a student gains the ability to identify sound based on its relationship to a key and not
the relationship of one note to another i.e. interval training as commonly taught in many texts. All note group-
ings from one to six notes are presented giving the student a thesaurus of basic note combinations which devel-
ops sight singing and note recognition to a level unattainable before this Guides existence.
You can nd out more about Fanatics Guide to Sight Singing and Ear Training at:
http://www.muse-eek.com/books/fanaticsguide/lower.html
If you use the above aforementioned books in conjunction with Totally Modal you will ll in all the gaps you
have with scales. It will also help your understanding of music theory which will allow you to get more out of
each scale you know and make music much less confusing.
All information found in the Totally Modal CDRom and the recommended books should be part of an
approximate 2 year course of study where you practice one and 1/2 hours each day. You should divide your
time up as follows:
20 minutes playing one scale in as many positions as you can complete in 20 minutes. Think either note names
or degrees as you play each scale and alternate each day your concentration of either note names or degrees.
Spend one week on each scale and remember to use the jam tracks to improvise with each scale so that you get
to know the scale in a musical way.
20 minutes of chord work learning new chords or chord progressions.
10 minutes of music theory work from one of the aforementioned books
10 minutes singing from the Fanatics Guide to Sight Singing and Ear Training book.
30 minutes of jamming and having fun with your guitar.
Ear Training One Note Complete CD should be done 10X a day for 5 to 10 minutes. Do this while commut-
ting, taking a shower, eating lunch. Anywhere where you have a few minutes to improve your musicianship.

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