What chords to use for that Scale

Presented with a scale or mode, the question is: ‘What chord goes with that scale/mode?’
Similarly, ‘What scale/mode goes with that chord?’

Since Euler’s Tonnetz (Tone Map) is structured on how chords are built, it seems an obvious way to
solve these questions.

What chord goes with that scale/mode?

The major and minor scales have set chords associated with them.
i.e. Major: I ii iii IV V vi viiø
and Minor: III iv v VI VII i iiø

This sequence (of M, m & ø) is consistent for all the modes.

For example, Dorian: VII i ii III IV v viø

In other words, if a chord fits into a scale, it will also fit into all the modes: just at a different
interval.

On the Tone Map, the Major scale looks like this:

Ionian ( I )

#6 #3 #7

#4 #1 #5 #2

2 6 3 7 #4

b7 4 1 5 2 6

b2 b6 b3 b7 4
Intervals 2, 4 & 6 are duplicated to show the
general flow of the scale, and to assist in
b4 b1 b5 b2 identifying chord patterns.

bb6 bb3 bb7

So we can see all the chords that are embedded in the Major scale:
1 Maj M7 M9 6 6/9 Sus2 Sus4
2 Min m7 m9 m6 Sus2 Sus4
3 Min m7 m7b9 Sus4
4 Maj M7 M9 6 6/9 Sus2
5 Maj 7 9 6 6/9 11 13 Sus2 Sus4
6 Min m7 m9 Sus2 Sus4
7 mb5 (ø) m7b5 (øb7)
Let’s look at some other scales:

Melodic Minor
Chords embedded in the Melodic Minor scale.
#6 #3 #7
1 Min m+7 m6 Sus2 Sus4
#4 #1 #5 #2 2 Min m7 m6 m7b9 Sus4
b3 Aug (M#5) M7#5
2 6 3 7 #4 4 Maj 7 9 6 6/9 Sus2
5 Maj 7 9 11 Aug (M#5) Sus2 Sus4
b7 4 1 5 2 6 6 mb5 (ø) m7b5 (øb7)
7 mb5 (ø) m7b5 (øb7) Aug (M#5)
b2 b6 b3 b7 4
Contains augmented and half-diminished
b4 b1 b5 b2 chords.

bb6 bb3 bb7

Harmonic Minor Chords embedded in the Harmonic Minor scale.

#6 #3 #7 1 Min m+7 Sus2 Sus4
2 Dim m7b5 (øb7)
#4 #1 #5 #2 b3 Aug (M#5) M7#5
4 Min m7 m9 Dim m7b5 (øb7) m6
2 6 3 7 #4 Sus2
5 Maj 7 Aug (M#5) 7-9 Sus4
b7 4 1 5 2 6 b6 Maj M7 6 Mb5 M7b5
Dim Min m+7 m6
7 Dim Aug (M#5) Mb5
b2 b6 b3 b7 4
Contains augmented and diminished chords.
b4 b1 b5 b2
(Duplicates highlighted for emphasis.)
bb6 bb3 bb7
Note the creation of diminished chords within this
scale, compared with the Melodic Minor having
half-diminished, with just one note change.

Note how ‘busy’ it is around the b6M triad: hence the

large number of associated major and minor chords.

I’ve taken some common scales, but this can be done for any scale.
Hungarian Gypsy Scale Chords embedded in the Hungarian Gypsy scale.

#6 #3 #7 1 Min m7 m9 mb5 (ø)

m7b5 (øb7) Sus2
#4 #1 #5 #2 2 Aug (M#5)
b3 Maj M7 6 Min m6 m+7 Sus4
2 6 3 7 #4 #4 Aug (M#5)
5 Min m+7 Sus4
b6 Maj M7 7 9 M9 Mb5 M7b5 7b5
b7 4 1 5 2 6 Sus2
b7 Aug (M#5)
b2 b6 b3 b7 4
(Duplicates on map highlight the augmented chords.)
b4 b1 b5 b2
Hungarian Gypsy scale = Minor scale with
bb6 bb3 bb7 a sharpened 4. Again note the dramatic chord
differences wrt the Minor scale.

Similar to the b6 of the Harmonic minor, here the b3 interval contains both major and minor
chords.
What scale/mode goes with that chord?

Above we fitted chord shapes into a scale map.

Here we reverse that. i.e. see which scales/modes a specific chord will fit into.

Using the scale examples used above we can map where any given chord will fit.
If a chord fits into the scale map, the root of the chord (1) will indicate the interval that chord
belongs to.

Example: The Dm6 chord.

m6 #6 #3 #7
Over the Major scale we see that the m6 chord fits over the #4 #1 #5 #2
second interval. We can safely use Dm6 in the scale of
C Major. D Dorian mode would play comfortably here 2 6 3 7 #4
(being the 2nd degree of C Major). We can’t use m6 anywhere
else (it doesn’t fit anywhere else). b7 4 1 5 2 6

We also then know, for Dm6 the A Minor scale can be used b2 b6 b3 b7 4
(being the relative minor of C Major).
b4 b1 b5 b2
Over the Melodic Minor scale m6 will fit over the first and
bb6 bb3 bb7
second intervals. It doesn’t fit anywhere else in this scale.
i.e. Melodic Minor or Dorian b2 (2nd degree of MM)
can be used over a m6 chord.

Cm6 and Dm6 is found within the C Melodic Minor scale.

Dm6 and Em6 is within the D Melodic Minor scale.
Or rephrased, a Dm6 is found in C and D Melodic Minor.

Over the Harmonic Minor scale, m6 will fit over the 4th and 6th intervals (the 4 and b6).
i.e. Dorian #4 (4th degree of HM) or Lydian #2 (6th degree of HM) can be used over m6 chord.

Dm6 and Fm6 is within the A Harmonic Minor scale.

Bm6 and Dm6 is within the F# Harmonic Minor scale.
So, for Dm6 we can use A or F# Harmonic Minor.

And, of course, you can use the Hungarian Gypsy scale for m6.

Summary: For Dm6 we can use (among others) C Major, A Minor, C or D Melodic Minor,
A or F# Harmonic Minor. (And, of course, B Hungarian Gypsy)

The m6 chord is also found in the Blues scale, and in plentiful supply in the Diminished scale.

Since the m7b5 chord creates the same pattern as m6, but with a different root note, it will also fit
into the scales mentioned above. The difference is that the 6th of the m6 is the root of the m7b5.
e.g. We see that the m7b5 can be played over the root note of the Hungarian gypsy scale.