chord/scale reference manual - lonoke elementary … · dominant chord scales chord 2nd 3rd chord...

Changes Chord/Scale Reference Manual

By Larry Ross Norred, ASCAP

Spell Chords and Chord Scales in Any Key Major Chords

Minor Chords

Dominant Chords

Spell Advanced Scales and Modes in Any Key

54 Common Tone Chord Substitutions for Any Melody Note

Frequently Asked Questions

Contact Larry at:

larrynorred@centurytel.net changes@centurytel.net

Copyright © 2004 Larry Ross Norred International Copyright Secured Made in the U.S.A.

All Rights Reserved

Major Chord Scales

Chord (3)=3rd Optional 2nd 3rd Chord Scale Scale Choice Scale Choice Scale Symbol Page No. Degrees Page No. Degrees Page No. Degrees

Major Triad 6 1-2-3-4-5-6-7 66 1-2-3-#4-5-6-7 100 1-2-3-4-5-#5-6-7 (add9) 7 1-2-3-4-5-6-7 66 1-2-3-#4-5-6-7 100 1-2-3-4-5-#5-6-7 sus2 8 1-2-(3)-4-5-6-7 88 2-4-5-6-1 sus 9 1-2-(3)-4-5-6-7 88 2-4-5-6-1 4 10 1-b2-b3-4-b5-b6-b7-7 69 1-b2-b3-4-b5-b6-b7 77 1-b2-b3-b4-b5-b6-b7 5 (no3rd) 11 1-2-(3)-4-5-6-7 88 2-4-5-6-1 (b5) 12 1-2-3-4-b5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 + or aug. 13 1-2-3-4-#5-6-7 78 1-#2-3-5-#5-7 105 1-2-3-#4-#5-#6 6/9 14 1-2-3-4-5-6-7 66 1-2-3-#4-5-6-7 100 1-2-3-4-5-#5-6-7 ma7(b5) 15 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 ma9(#11) 16 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 ma7 17 1-2-3-#4-5-6-7 80 1-2-3-4-5-6-7 100 1-2-3-4-5-#5-6-7 ma9 18 1-2-3-#4-5-6-7 80 1-2-3-4-5-6-7 100 1-2-3-4-5-#5-6-7 ma13 19 1-2-3-#4-5-6-7 80 1-2-3-4-5-6-7 100 1-2-3-4-5-#5-6-7 ma7+ 20 1-2-3-4-#5-6-7 78 1-#2-3-5-#5-7 100 1-2-3-4-5-#5-6-7 ma9+ 21 1-2-3-4-#5-6-7 73 1-2-3-#4-#5-6-7 100 1-2-3-4-5-#5-6-7 ma13(#11) 22 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6 II/I (D/C) 123 1-2-3-#4-5-6-7 89 7-2-3-#4-6 92 7-1-3-#4-6

Minor Chord Scales

Chord 2nd 3rd

Chord Scale Scale Choice Scale Choice Scale

Symbol Page No. Degrees Page No. Degrees Page No. Degrees Minor Triad 23 1-2-b3-4-5-6-b7 82 1-2-b3-4-5-6-7 87 1-b3-4-5-b7 mi(add9) 24 1-2-b3-4-5-6-b7 82 1-2-b3-4-5-6-7 87 1-b3-4-5-b7 mi6/9 25 1-2-b3-4-5-6-b7 82 1-2-b3-4-5-6-7 87 1-b3-4-5-b7 o7 (dim.) 26 1-2-b3-4-#4-#5-6-7 72 1-2-b3-#4-5-6-7 106 1-2-b3-4-#4-#5-6-7 mi7(b5) 27 1-b2-b3-4-b5-b6-b7 76 1-2-b3-4-b5-b6-b7 69 1-b2-b3-4-b5-b6-b7 mi7 28 1-2-b3-4-5-6-b7 101 1-2-b3-3-4-5-6-b7 87 1-b3-4-5-b7 mi9 29 1-2-b3-4-5-6-b7 101 1-2-b3-3-4-5-6-b7 87 1-b3-4-5-b7 mi11 30 1-2-b3-4-5-6-b7 101 1-2-b3-3-4-5-6-b7 87 1-b3-4-5-b7 mi13 31 1-2-b3-4-5-6-b7 101 1-2-b3-3-4-5-6-b7 87 1-b3-4-5-b7 mi(ma7) 32 1-2-b3-4-5-6-7 81 1--2-b3-4-5-b6-7 mi9(ma7) 33 1-2-b3-4-5-6-7 81 1--2-b3-4-5-b6-7 ii7/V (Gmi7/C) 34 1-2-3-4-5-6-b7 90 1-2-4-5-b7 mi7(b9) 35 1-b2-b3-4-5-6-b7 65 1-b2-b3-4-5-b6-b7 70 1-b2-b3-4-5-6-b7

Copyright ©2001 Larry Ross Norred 2

Dominant Chord Scales Chord 2nd 3rd

Chord Scale Scale Choice Scale Choice Scale Symbol Page No. Degrees Page No. Degrees Page No. Degrees

7 36 1-2-3-4-5-6-b7 74 1-2-3-#4-5-6-b7 102 1-2-3-4-5-6-b7-7 7sus 37 1-2-3-4-5-6-b7 90 1-2-4-5-b7 9 38 1-2-3-4-5-6-b7 74 1-2-3-#4-5-6-b7 102 1-2-3-4-5-6-b7-7 9sus 39 1-2-3-4-5-6-b7 90 1-2-4-5-b7 11 40 1-2-3-4-5-6-b7 74 1-2-3-#4-5-6-b7 102 1-2-3-4-5-6-b7-7 13 41 1-2-3-4-5-6-b7 74 1-2-3-#4-5-6-b7 102 1-2-3-4-5-6-b7-7 IV/V (F/G) 42 1-2-3-4-5-6-b7 90 1-2-4-5-b7 7(b5) 43 1-2-3-4-b5-6-b7 74 1-2-3-#4-5-6-b7 105 1-2-3-#4-#5-#6 9(b5) 44 1-2-3-4-b5-6-b7 74 1-2-3-#4-5-6-b7 105 1-2-3-#4-#5-#6 ii7/V (Gmi7/C) 45 1-2-3-4-5-6-b7 90 1-2-4-5-b7 9(#11) 46 1-2-3-#4-5-6-b7 105 1-2-3-#4-#5-#6 96 1-b3-4-#4--5-b7 13(#11) 47 1-2-3-#4-5-6-b7 105 1-2-3-#4-#5-#6 96 1-b3-4-#4--5-b7 7(b9) 48 1-b2-3-4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 107 1-b2-b3-3-#4-5-6-b7 11(b9) 49 1-b2-3-4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 107 1-b2-b3-3-#4-5-6-b7 13(b9) 50 1-b2-3-4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 107 1-b2-b3-3-#4-5-6-b7 7(#9) 51 1-#2-3-4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 96 1-b3-4-#4--5-b7 13(#9) 52 1-#2-3-4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 96 1-b3-4-#4--5-b7 7(#9b9) 53 1-b2-b3-4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 107 1-b2-b3-3-#4-5-6-b7 7(b9b5) 54 1-b2-3-4-b5-6-b7 77 1-b2-b3-b4-b5-b6-b7 107 1-b2-b3-3-#4-5-6-b7 7+ 55 1-2-3-4-#5-6-b7 105 1-2-3-#4-#5-#6 9+ 56 1-2-3-4-#5-6-b7 105 1-2-3-#4-#5-#6 7+(#9) 57 1-#2-3-4-#5-6-b7 77 1-b2-b3-b4-b5-b6-b7 105 1-2-3-#4-#5-#6 7+(b9) 58 1-b2-3-4-#5-6-b7 77 1-b2-b3-b4-b5-b6-b7 13(#11b9) 59 1-b2-3-#4-5-6-b7 77 1-b2-b3-b4-b5-b6-b7 alt 60 1-b2-3-4-b5-6-b7 77 1-b2-b3-b4-b5-b6-b7 7sus(b9) 61 1-b2-3-4-5-6-b7 70 1-b2-b3-4-5-6-b7 65 1-b2-b3-4-5-b6-b7 phryg 62 1-b2-b3-4-5-b6-b7 70 1-b2-b3-4-5-6-b7 71 1-b2-3-4-5-b6-b7

Copyright ©2001 Larry Ross Norred 3

Advanced Scales Scale Name Typical Usage Page Scale Degrees

Traditional Modes

IONIAN major triad 63 1 - 2 - 3 - 4 - 5 - 6 - 7 DORIAN mi7 64 1 - 2 - b3 - 4 - 5 - 6 - b7

PHRYGIAN mi7(b9) 65 1 - b2 - b3 - 4 - 5 - b6 - b7 LYDIAN ma7 66 1 - 2 - 3 - #4 - 5 - 6 - 7 MIXOLYDIAN 7 (dom.7th) 67 1 - 2 - 3 - 4 - 5 - 6 - b7 AEOLIAN mi7 68 1 - 2 - b3 - 4 - 5 - b6 - b7

LOCRIAN mi7(b5) 69 1 - b2 - b3 - 4 - b5 - b6 - b7

Special Modes

PHRYGIAN #6 7sus(b9) 70 1 - b2 - b3 - 4 - 5 - 6 - b7 SPANISH PHRYGIAN 7(b9) 71 1 - b2 - 3 - 4 - 5 - b6 - b7 LYDIAN DIMINISHED o7 (dim.7th) 72 1 - 2 - b3 - #4 - 5 - 6 - 7

LYDIAN AUGMENTED ma7+ 73 1 - 2 - 3 - #4 - #5 - 6 - 7 LYDIAN DOMINANT 7(b5) 74 1 - 2 - 3 - #4 - 5 - 6 - b7 MIXOLYDIAN b6 7+ 75 1 - 2 - 3 - 4 - 5 - b6 - b7 LOCRIAN #2 mi7(b5) 76 1 - 2 - b3 - 4 - b5 - b6 - b7

SUPER LOCRIAN 7(b9b5) 77 1 - b2 - b3 - b4 - b5 - b6 - b7 AUGMENTED ma7+ 78 1 - #2 - 3 - 5 - #5 - 7 HINDU ma7+ 79 1 - 2 - 3 - 4 - 5 - b6 - 7

Key Based Scales

MAJOR major triad 80 1 - 2 - 3 - 4 - 5 - 6 - 7

HARMONIC MINOR mi(ma7) 81 1 - 2 - b3 - 4 - 5 - b6 - 7 ASCENDING MELODIC MINOR mi6 82 1 - 2 - b3 - 4 - 5 - 6 - 7 DESCENDING MELODIC MINOR mi7 83 1 - 2 - b3 - 4 - 5 - b6 - b7

NATURAL MINOR mi7 84 1 - 2 - b3 - 4 - 5 - b6 - b7 5TH MODE MINOR dom.V7 in minor 85 1 - 2 - 3 - 4 - 5 - b6 - b7

5-Note Scales

MAJOR PENTATONIC 6/9 86 1 - 2 - 3 - 5 - 6

MINOR PENTATONIC mi7 87 1 - b3 - 4 - 5 - b7 MINOR PENTATONIC ON THE 2ND sus2 88 2 - 4 - 5 - 6 - 1 MINOR PENTATONIC ON THE 7TH ma13(#11) 89 7 - 2 - 3 - #4 - 6 SUSPENDED PENTATONIC ii7/V (Gmi7/C) 90 1 – 2 – 4 – 5 – b7

JAPANESE IN SEN mi7(b9) 91 1 - b2 - 4 - 5 - b7 IN SEN ON THE 7TH II/I (D/C) 92 7 - 1 - 3 - #4 - 6 IN SEN - 2ND MODE ma9(#11) 93 1 - 3 - #4 - 6 - 7 IN SEN - 4TH MODE mi7(b5) 94 1 - b3 - 4 - b5 - b7

IN SEN - 5TH MODE mi6 95 1 - 2 - b3 - 5 - 6

Synthetic or Derived Scales

STANDARD BLUES 7(#9) or 9 96 1 - b3 - 4 - #4 - 5 - b7 MAJOR BLUES 7(#9) or 9 97 1 - 2 - #2 - 3 - 5 - 6 MINOR BLUES 7(#9) or 9 98 1 - b3 - 4 - #4 - 5 - b7

HARMONIC MAJOR ma7+ 99 1 - 2 - 3 - 4 - 5 - b6 - 7 MAJOR BEBOP ma7 100 1 - 2 - 3 - 4 - 5 - #5 - 6 - 7 MINOR BEBOP mi7 101 1 - 2 - b3 - 3 - 4 - 5 - 6 - b7 DOMINANT BEBOP 7 102 1 - 2 - 3 - 4 - 5 - 6 - b7 - 7

ALTERED 7(b9b5) 103 1 - b2 - b3 - b4 - b5 - b6 - b7 DIMINISHED WHOLE TONE 7+(#9b9) 104 1 - b2 - b3 - b4 - b5 - b6 - b7

Symmetrical Scales

WHOLE TONE 7+ 105 1 - 2 - 3 - #4 - #5 - #6

WHOLE-HALF DIMINISHED o (dim.triad) 106 1 - 2 - b3 - 4 - #4 - #5 - 6 - 7 HALF-WHOLE DIMINISHED 7(#9) or 7(b9) 107 1 - b2 - b3 - 3 - #4 - 5 - 6 - b7

Copyright ©2001 Larry Ross Norred 4

Common Tone Chord Substitutions

Common Tone * Page C 108

C# 109

Db 110

D 111

Eb 112

E 113

F 114

F# 115

Gb 116

G 117

Ab 118

A 119

Bb 120

B 121

Cb 122

* Each page displays 54 different chords that contain the common tone listed.

APPENDIX - A

Frequently Asked Questions about how to use the Changes HANDBOOK 124

ORDER FORM for the Printed Version (three ring binder punched) 125

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