Scales and modes
The complete scale vocabulary of jazz improvisation: the major modes, chord-scale theory and tensions, melodic minor and its modes, harmonic minor and harmonic major, the symmetric scales, and pentatonic superimposition.
- Build any mode of the major scale by parent-scale and parallel thinking, play it in three positions and match it to a chord
- Name the available tensions and avoid notes of every common chord type and apply chord-scale theory to a ii–V–I without letting it replace chord-tone thinking
- Play melodic minor and its four essential modes (Lydian dominant, altered, Locrian natural 2, Lydian augmented) and use them through a minor ii–V–i
- Use harmonic minor, Phrygian dominant and harmonic major where they actually belong
- Play the diminished and whole-tone scales from their symmetry and use their characteristic patterns over dim7, 7b9 and 7#5
- Superimpose major and minor pentatonics on every chord type, including the altered dominant, for a wide-interval modern sound
By this point in the course you can play the changes with chord tones, approach notes and guide-tone lines. This module adds the second layer: the scale that fits each chord, the tensions it offers, and the colours (Lydian, altered, diminished, whole tone, pentatonic superimposition) that distinguish an advanced improviser from a competent one. Every scale is presented three ways: as a formula verified by the engine, as a fretboard map in idiomatic positions, and as a short original line over the chord it belongs to. Use the scale finder alongside each lesson and the ear trainer to learn the sounds, not only the shapes. The lessons build on one another; take them in order and give each one at least a week of practice.