Major Chords and Major Scales

13th(=6th)

11th(=4th)

9th(=2nd)

7th

5th

3rd

1 Root

Reading up from the chord root, this chart allows the construction of all major chords. As an example in the first column reading up from the root C, we find all of the tones in the C Major scale. Note that the ninth, eleventh and thirteenth are also the second, fourth and sixth tones. To master these scales, one should practise alternating notes in the C scale, CM6, CM7 and CM9. All of these patterns start with major triads and add the 6th, 7th or 9th. These can be played as chords or as individual notes to help develop dexterity in the major scales of all keys. If playing these scales on a keyboard, the Db and F# scales should become just as fluid and routine as the C major scale. By doing a little work, one can master the dexterity needed to play in various keys. There is no shortcut here though, and unless you want everything in life to be transposed into C, F and G it is best to put the hours in and get better at the scales "with the black keys".

Once the major scales, major triads and major intervals have been mastered in all keys, it will be time to go onto the next step which will be the minor scales. We will then look into diminished and augmented chords and then get into more complex things such as modes. As a sneak preview, a mode is the complete circulation of a scale beginning and completed on any one of its tones. So the mode has a specific relationship to a key. There are seven modes used in improvisation: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. For example, the Ionian Mode is the same as the associated major scale. As we see, a more in depth study of theory is really necessary to build a proper foundation for jazz improvisation. A good book can go along way toward familiarizing oneself with the theory and open the door to appreciation and better improvisation.