List of Diatonic Chords?

[memyselfandus]

Anyone have a nice Printable pdf or list of all the Diatonic
Chords of the common scales?

Major/nat minor/melodic/harmonic ect ect

I am looking something nice that I can print out for students
for tomorrow morning...and also have something online
for when the dog eats it..

I have a few drawn up but I am looking for a more complete list quick

[m78w]

Gary Keller has a great book called the "jazz chord/scale handbook" It's only a few bucks and you can buy it on all the big online sites. He outlines each chord/scale in great detail with cool examples.

In the meantime here's a list to help you out.

Major

1 Maj7
2 m7(nat 6)
3 m7(b9)
4 maj7(#11)
5 7
6 m7(b6)
7 m7b5

Melodic Minor

1 mMaj7
2 7sus(b9)
3 maj7#5
4 7(#11)
5 7(b13)
6 m7b5(nat 9)
7 7(b9,#9,b5,#5)

Harmonic Minor

1 mMaj7 (b6)
2 m7b5(b9, nat 13)
3 maj7#5
4 m7(#11)
5 7 (b9, b13)
6 maj7(#9, #11)
7 dim7

For the harmonic minor scales only the 1st and 5th modes are really used in jazz. The others are just filler most of the time.

MW

[memyselfandus]

Thank you so much for writing this out for me!

I do have the same thing written out but now I can have people access
it online if they misplace it or whatever..

I really need to finish mine so I have a listing by each key also.

Thank you again!

[Jake Hanlon]

Well there are plenty of interesting applications of Harm Minor in Jazz. Chick Corea is particularily interested in mode 6 as well as M7#9#11 chords appearing in plenty of modern jazz compositions with people like Kenny Wheeler and Kurt Rosenwinkel just to suggest a few popular ones. However, Harmonic Minor isn't the most used parent scale . I happen tohink mode 4 is of great interest .

Harmonic Major is an extremely interesting harmonic series as well

[memyselfandus]

Very cool stuff

[jack_gvr]

Well there are plenty of interesting applications of Harm Minor in Jazz. Chick Corea is particularily interested in mode 6 as well as M7#9#11 chords appearing in plenty of modern jazz compositions with people like Kenny Wheeler and Kurt Rosenwinkel just to suggest a few popular ones. However, Harmonic Minor isn't the most used parent scale . I happen tohink mode 4 is of great interest .

Harmonic Major is an extremely interesting harmonic series as well

By Harmonic Major do you mean Major with flatted sixth? I have not explored this series of chords other than to use the harmonic device of flatting the four chord's third (IV major, iv minor, bVII dom7, I Major) but the series is obviously interesting and I should look at it this morning!

(deleted bit here - edit)

My favorite way to practice the chord series' derived from scales is to do 2 octave 7th chord arpeggios - 8 notes up plus the 2nd octave note, and back - on each note of the scale, then come back and do the three inversions. Lately I found myself finally able to think through the Hungarian minor (harm minor with raised 4th) -
1 m(M7), 2 Dom b5, 3 M7#5, 4 ?dim w/dim 2nd? (but looks like inversion of IV dom 7), 5 M7, 6 M7, 7 m6.
This has been a little brain twister to do without writing everything down.

[JohnW400]

The ii chord in the harmonic minor is mi7b5. the ii chord in the melodic minor is a mi7. I believe Matt is showing tha extensions and common usage of each.

The Hungarian minor is a pain because of the #4,5 , b6 chromaticism. As you've seen by the iv chord. ''What is it? " Try doing 13 chord arpeggios on that one (a c e g# b d# f a). But it has a nice Spanish/eastern/Arabic kind of sound. I usually think of this one as a substitute for the spanish phrygian.

The Harmonic Minor is a good scale. Mick Goodrick used to do a column for Guitar Player magazine. He covered this scale in detail in one of his columns. This scale yeilds a wonderful mi/maj 7th with a lydian flavor (4th mode) as well as 13b9 (5th mode) and a 7#9 b13 as well off the (3rd mode.) The 2nd mode is a dorian b5. nice scale .

[m78w]

Yeah I think you mis read the harmonic minor ii chord, it says m7b5, the ii in a melodic minor is commonly used as the susb9 chord.

If you're in A melodic minor the 2 chord is B7susb9 or

B D F# A C E G#


So you have both the b9, C, and the #9, D, so an even more specific chord symbol would be B13sus(b9,#9)

MW

[Stringbean]

Major

1 Maj7
2 m7(nat 6)
3 m7(b9)
4 maj7(#11)
5 7
6 m7(b6)
7 m7b5


MW

Whoa, those sound good, thanks.

[jack_gvr]

Yeah I think you mis read the harmonic minor ii chord, it says m7b5, the ii in a melodic minor is commonly used as the susb9 chord.

If you're in A melodic minor the 2 chord is B7susb9 or
B D F# A C E G#

So you have both the b9, C, and the #9, D, so an even more specific chord symbol would be B13sus(b9,#9)

MW

Sorry, you're right, m78w, I misread your post above. Yes, you wrote m7b5 for the ii in the harmonic minor. It's the melodic minor ii chord that I find confusing. (I would find "7susb9" confusing in either context, I guess. Sorry I didn't read and reply more carefully.) Anyway, it seems to me that a straight minor seventh (i.e., Bm7 in key of Am) is more specific and more common than "7susb9"... would you really use this extended version with the flat 9th C natural in practice? (or do you consider it just a theoretical example?) Yes, that's what's derived from the scale... and adding the 11th and/or 13th is no problem, but the C natural is pretty crunchy.

[m78w]

The only reason the 7susb9 symbol is used is because the b9, an #9, are more commonly found on 7th chords than they are on m7 chords. By doing so it helps us apply the scale to a more practical situation. By that I mean that I wouldn't see Cm7 and play Bb melodic minor, just too weird for most contexts, but if I say C7 I would play Bb melodic minor, gives it a nice crunchy sound.

MW

[jack_gvr]

The only reason the 7susb9 symbol is used is because the b9, an #9, are more commonly found on 7th chords than they are on m7 chords. By doing so it helps us apply the scale to a more practical situation. By that I mean that I wouldn't see Cm7 and play Bb melodic minor, just too weird for most contexts, but if I say C7 I would play Bb melodic minor, gives it a nice crunchy sound.

MW

Thanks Matt, I'm following you now. I would probably do something simpler, but at least I understand what you're saying.

[m78w]

yeah that's a long shot choice over a dominant chord, but it could happen.

Here's a list of scales used over 7th chords, mostly from the Keller book, in order of preference. This is only for 7th chords, where you want to change the tonal quality yourself, not say if the chord is 7b9 as that woulld be a specific scale.

1) 5th mode major (with or without Bebop note added)
2) 4th mode melodic
3) 7th mode melodic
4) 5th mode harmonic
5) half/whole diminished
6) Whole tone
7) 5th mode melodic
8) Tritone Scale
9) 2nd mode melodic
10) 3rd mode major

MW

[jack_gvr]

...
Here's a list of scales used over 7th chords...

8) Tritone Scale
...

MW

Matt, what's a tritone scale? Thanks -

[Stringbean]

I got a question too:
What do the parenthesis signify?
For example: m7(nat 6)
As a ii chord, I'm fingering R 7 b3 6, maybe?

[m78w]

The tri-tone scale is built out of two major triads a tri-tone apart, so the C tri-tone scale is C and F# triads, or C E G F# A# C#

or in order

C Db E Gb G Bb

the parenthesis help distinguish the minor chords from eachother. The dorian minor has a major 6th, that gives is the dorian minor sound. The Aeolian has a b6 which gives it it's sound, and the phrygian has the b2 which gives it it's sound.

It also helps in choosing a scale for blowing.

Dorian sounds the brightest, then we add a flat, the 6th, so Aeolian is a little darker sounding, then we add a second flat, the 2nd, so Phrygian is the darkest sounding of the three modes.

MW

[jack_gvr]

The tri-tone scale is built out of two major triads a tri-tone apart, so the C tri-tone scale is C and F# triads, or C E G F# A# C#
or in order
C Db E Gb G Bb

MW

So goes with C7b9 or Gb7b9, flat fifths optional. Thanks! I'll have to play with that.

[m78w]

Yeah I like to through it in over a maj7 chord as well when I want an "inside-outside" sound.

MW

[memyselfandus]

Is there a Online list of all the Diatonic Chords of the Maj/minor scales
in Every key that people can look at by chance?

[JohnW400]

It's been my experience that it's better to figure out what they are and write themout then to memorize a chart. I would recommend that you do that. Once you learn how to do it for the major scale, you'll have the skill to figure out the chords in any scale system.

[memyselfandus]

It is for someone else

I agree with you

[Stringbean]

Dorian sounds the brightest, then we add a flat, the 6th, so Aeolian is a little darker sounding, then we add a second flat, the 2nd, so Phrygian is the darkest sounding of the three modes.

MW

MW, That single sentence lesson, really nailed down some stuff for me. Grouping those 3 modes together, seems obvious now, but I never progressed them like that before.

Do you have a similar way of illustrating the other modes?

MS

[m78w]

sure, here's a list of the major modes from brightest to darkest, that is adding 1 flat to change the mode.

Lydian (#4)
Ionian (none)
Mixolydian (b7)
Dorian (b3,b7)
Aeolian (b3, b6, b7)
Phrygian (b2, b3, b6, b7)
Locrian (b2, b3, b5, b6, b7)

So if you want to play a "bright" major sound use Lydian versus the darker sounding Ionian. And for minor you have three choices ranging from the brightest, Dorian, to the darkest Locrian.

MW

[Holmes Monaco]

m78w, how did you come up with the alterations in your first post in this thread? am i right to assume that any alteration can work as long as its a note from within the scale?

[m78w]

Those alterations come from the extensions, 9-11-13, of the scale. As well they are the most "common" uses of those modes, for instance 7th mode of melodic minor when spelled 1357 is a m7b5 chord, but is more commonly used as a 7alt chord.

MW