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This lesson will show you some of the most commonly used jazz guitar scales, although keep in mind you shouldn't necessarily be limited to using these scales. Jazz is an experimental genre and guitarists are constantly exploring new scales (and modifying old ones) for improvisation.
Each scale below is shown in its first position box pattern, but you can learn how to "unbox" these scales in their individual lessons. I'll also note the associated chord type for each scale so you have some idea of when to use them.
Remember, learning scales is just one part of jazz guitar, but it is a crucial part, as a lot of your playing time will be spent on lead improvisation. For now, just get to know the basic interval structure and flavour of these scales. Each one offers its own unique sound...
In the diagrams below, take a look at how the intervals/tones correspond with those in the associated chord. For example, Lydian is suited to maj7#11 chords because of it's #4 tone (4 is technically the same as 11 in music theory).
Characterised by the major 7th (7) added to the major triad (1, 3, 5).
The #4 (#11) gives Lydian its distinctive flavour over major 7th chords (1, 3, 5, 7).
The basic dominant scale (1, 3, 5, b7).
Characterised by its major 6th (6) over minor 7th chords (1, b3, 5, b7)
Now, as well as functioning as individual scales, modes also work over chord sequences. To fully understand this concept (in fact, a lot of jazz requires a good deal of prerequisite theory) you need to understand the diatonic chord scale and how it connects with the 7 modes of the major scale.
For example, Dorian is associated with the ii (2) chord (because it's the 2nd mode) and will therefore work over the ii V I (2 5 1) turnaround common in jazz.
Notice how the names of some of these scales refer to modes of the major scale (e.g. Dorian, Mixolydian) but with slight alterations (e.g. Dorian b2) that make significant differences to the scale's overal sound...
The Dorian mode with an altered flat 2nd. Generally used as an alternative to Phrygian minor.
Remember the 13th is the same as the 6th, so we're looking for a flat 6th (b6) over flat 13th chords...
The only difference between this scale and the other natural half diminished scale - Locrian - is the major 2nd instead of the minor 2nd.
Like in blues, this flat 5th scale is typically used over minor key progressions over the minor tonic chord position (e.g. If the progression was Em / Am / B7, the E blues scale might be used).
You can also add an extra tone to major pentatonic to give it more of a jazzy/bluesy flavour. Essentially, we're adding a chromatic minor 3rd to major pentatonic. In the context of a major key progression (e.g. I IV V), the minor 3rd will often resolve quickly down to the 2nd or up to the major 3rd...
In jazz, combinations of major and minor pentatonic blues scales will be used in the same lead passages.
Holding the major 3rd over a minor chord, for example, will sound dissonant, but if you pass over it quickly, as part of a larger phrase, it'll fall into context. This chromatic phrasing is a large part of jazz's distinctive sound.
Ionian with an added flat 5th.
Mixolydian with an added major 7th.
Dorian with an added major 3rd.
Remember, this is a minor scale used in a minor context, so don't dwell on the major 3rd. Use it as a passing tone...
I hope you found this lesson useful! For a more comprehensive guide to jazz guitar, I highly recommend JamPlay's jazz series. They take you through all the important techniques and theory with HD video and several pro tutors.
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Jazz Guitar Scales
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This lesson will show you some of the most commonly used jazz guitar scales, although keep in mind you shouldn't necessarily be limited to using these scales. Jazz is an experimental genre and guitarists are constantly exploring new scales (and modifying old ones) for improvisation.
Each scale below is shown in its first position box pattern, but you can learn how to "unbox" these scales in their individual lessons. I'll also note the associated chord type for each scale so you have some idea of when to use them.
Remember, learning scales is just one part of jazz guitar, but it is a crucial part, as a lot of your playing time will be spent on lead improvisation. For now, just get to know the basic interval structure and flavour of these scales. Each one offers its own unique sound...
Basic modal jazz guitar scales
These are your standard improvisation scales over major, minor and diminished chords.In the diagrams below, take a look at how the intervals/tones correspond with those in the associated chord. For example, Lydian is suited to maj7#11 chords because of it's #4 tone (4 is technically the same as 11 in music theory).
Ionian/Major Scale
Play over: Major 7th chords (e.g. C Major over Cmaj7)Characterised by the major 7th (7) added to the major triad (1, 3, 5).
Lydian
Play over: Major 7th (Sharp 11th) chords (e.g. C Lydian over Cmaj7#11)The #4 (#11) gives Lydian its distinctive flavour over major 7th chords (1, 3, 5, 7).
Mixolydian
Play over: Dominant 7th chords (e.g. C Mixolydian over C7)The basic dominant scale (1, 3, 5, b7).
Dorian
Play over: Minor 7th / Minor 6th chords (e.g. C Dorian over Cm7 / Cm6)Characterised by its major 6th (6) over minor 7th chords (1, b3, 5, b7)
Locrian
Play over: Half Diminished chords (e.g. C Locrian over Cm7b5)Now, as well as functioning as individual scales, modes also work over chord sequences. To fully understand this concept (in fact, a lot of jazz requires a good deal of prerequisite theory) you need to understand the diatonic chord scale and how it connects with the 7 modes of the major scale.
For example, Dorian is associated with the ii (2) chord (because it's the 2nd mode) and will therefore work over the ii V I (2 5 1) turnaround common in jazz.
Melodic minor jazz guitar scales
The melodic minor scale also has its own modal system, producing 7 of its own modes/scales, each one rooted on a degree of the scale. These derived scales have qualities that are well suited to those tense, altered jazz chords.Notice how the names of some of these scales refer to modes of the major scale (e.g. Dorian, Mixolydian) but with slight alterations (e.g. Dorian b2) that make significant differences to the scale's overal sound...
Melodic Minor
Play over: Minor Major 7th / Minor 6th chords (e.g. C Melodic Minor over CmM7 / Cm6)Dorian b2
Play over: Suspended 4th, Flat 9th chords (e.g. C Dorian b2 over C7sus4/b9)The Dorian mode with an altered flat 2nd. Generally used as an alternative to Phrygian minor.
Lydian Augmented
Play over: Major 7th, Augmented 5th chords (e.g. C Lydian Augmented over Cmaj7#5)Lydian Dominant
Play over: Dominant 7th, Sharp 11th chords (e.g. C Lydian Dominant over C7#11)Mixolydian b6
Play over: Dominant 7th, Flat 13th chords (e.g. C Mixolydian b6 over C7b13)Remember the 13th is the same as the 6th, so we're looking for a flat 6th (b6) over flat 13th chords...
Half Diminished
Play over: Half Diminished chords (e.g. C Half Diminished over Cm7b5)The only difference between this scale and the other natural half diminished scale - Locrian - is the major 2nd instead of the minor 2nd.
Altered Scale
Play over: Dominant 7th, Sharp 9th, Flat 13th chords (e.g. C Altered over C7#9b13)Blues jazz guitar scales
Blues and jazz are connected both stylistically and in their application of harmony. Adding the flat 5th (b5) to minor pentatonic gives us what is often called the "blues scale"...Like in blues, this flat 5th scale is typically used over minor key progressions over the minor tonic chord position (e.g. If the progression was Em / Am / B7, the E blues scale might be used).
You can also add an extra tone to major pentatonic to give it more of a jazzy/bluesy flavour. Essentially, we're adding a chromatic minor 3rd to major pentatonic. In the context of a major key progression (e.g. I IV V), the minor 3rd will often resolve quickly down to the 2nd or up to the major 3rd...
In jazz, combinations of major and minor pentatonic blues scales will be used in the same lead passages.
Bebop jazz guitar scales
Bebop scales add chromatic "passing tones" to standard 7 note scales. You'll also often hear the bass following these chromatic passages. Passing tones should be glanced over rather than emphasised/held. See them as the path between the starting and destination notes of a phrase.Holding the major 3rd over a minor chord, for example, will sound dissonant, but if you pass over it quickly, as part of a larger phrase, it'll fall into context. This chromatic phrasing is a large part of jazz's distinctive sound.
Bebop Major scale
Play over: Major 7th chordsIonian with an added flat 5th.
Bebop Dominant scale
Play over: Dominant 7th chordsMixolydian with an added major 7th.
Bebop Dorian scale
Play over: Minor 6th chordsDorian with an added major 3rd.
Remember, this is a minor scale used in a minor context, so don't dwell on the major 3rd. Use it as a passing tone...
Whole Tone jazz guitar scale
The whole tone scale is so-called because it consists entirely of whole step intervals. It's used to colour augmented 7th chords (e.g. Caug7 / C7#5)...Diminished jazz guitar scale
This is an eight note (octatonic) scale that works over diminished 7th (e.g. Cdim7) chords. It's characterised by its repetitive interval pattern (W H W H W H W H)...I hope you found this lesson useful! For a more comprehensive guide to jazz guitar, I highly recommend JamPlay's jazz series. They take you through all the important techniques and theory with HD video and several pro tutors.
Was this lesson helpful? Please let others know, cheers...
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