Let’s review the scales we’ve already met. We’ll base them all on C. Obviously there are 12 versions of them. The scales that you probably would have known before this course started are C major do, re, me, fa, sol, la, ti, do. We’re going to call it the Ionian scale or the Ionian mode. Then we have the harmonic minor
where you flatten the third and flatten the sixth.
Then you have the melodic minor ascending
where you flatten the third only. Then the melodic minor descending
which if we think of as a scale,
it’s from the bottom up, so to speak, the flattened third, the flattened sixth and the flattened seventh. In fact it’s E flat major
rooted on C - rooted on the sixth. So it’s a mode of a major scale.
Diminished scale: tone, semitone, tone, semitone, tone, semitone, tone, semitone.
The whole tone scale, we go up in tones: tone, tone, tone, tone, tone, tone. So those are probably scales that you knew about before our jazz course. Let’s look at the scales we have met since. First of all, the 3 blues scales. The American blues scale root, minor (flattened) third, fourth, flattened fifth, fifth, flattened seventh, octave.
Then the seventh scale, where we just take - if we like to relate things to the major scale - we take the major scale and just flatten the seventh.
It’s actually a mode of F major. It’s the fifth mode. If you take the fifth mode of a scale it’s called the Mixolydian mode.
The full blues scale, which is the Ionian mode - easy with the major seventh - with the 3 blues notes: the flattened third, the flattened fifth and the flattened seventh. Then our minor scale - the one that we use most of all -
the so-called Dorian mode for C minor7: flatten the third and flatten the seventh of the Ionian scale.
In fact, as you know, it’s B flat major
rooted on on the second note of the scale. That’s called the Dorian mode. Then our half diminished - the one that you’ll find most references - is a mode of D flat major - the seventh mode - the so-called Locian mode. So it’s D flat major rooted on C
Half-diminished, of course, has got the flattened third, the flattened fifth and the flattened seventh. It also has the flattened ninth in it and the flattened sixth. Then the one I prefer - which is when you naturalise D, so you get this scale
and what it consists of is the sixth mode of E flat melodic minor ascending. If you take E flat major and just flatten the third and you root it on C
then it becomes the sixth mode of E flat melodic minor ascending. You get something which is called the Locrian sharp 2.
Right, C flat9 scale: so C7 with a flattened ninth, as we saw before, is just a diminished scale or a mode of a diminished scale. It’s C sharp diminished or D flat diminished
The we saw the major/minor seventh scale - that’s where you have a minor seventh (third) but you have the natural seventh - C minor with a natural seventh. It’s just the only note that’s flattened is the third. That’s major. That, of course, is just the melodic minor ascending - obviously C melodic minor ascending. Finally, the altered scale which goes semitone, tone, semitone, tone, tone, tone, tone is the seventh mode of D flat melodic minor ascending. You take D flat major
you take it’s minor and now you root it on C.
It starts off like a diminished, but then it’s last bit of the scale is whole tone. Right, so those are all the scales we’ve met to date.