Chord Scales Essential System For Guitar

Chord Scales – Essential System for Guitar
mattwarnockguitar.com/chord-scales/
I think you agree that guitarists spend most of their time playing rhythm and chords in a
group setting.
Because of this, it’s essential to develop an understanding of chords, chord scales, and
chord progressions in your studies.
After learning chords, the most important next step is to run those shapes through chord
scales.
Chord scales are harmonized scales played in horizontal fashion across the fretboard.
Not only do chord scales expand your understanding of harmony, they provide a new
approach to playing over chord changes.
By working diatonic chord scales, you always have 7 shapes for each chord you play.
With each shape providing a different harmonic color over the underlying chord.
This opens up your fretboard and creates new avenues of exploration in your comping,
chord soloing, and chord melodies.
In this lesson, you learn to build and practice chord scales and how to use them to over
common chord progressions and chord qualities.
There are also two chord studies that apply chord scales to full songs in your playing.
So, grab your guitar, crank your amp, and dig into one of the most important harmonic
devices, chord scales.
Download Your FREE 84-Page PDF
Join 40,000 other guitarists who’ve benefited from this free guitar eBook.
Your Name
Your Email
100% privacy. Your email will never be shared
1/40
Chord Scales Sections (Click to Skip Down)
What Are Chord Scales
2/40
How to Practice Chord Scales
Dorian Chord Scales
Mixolydian Chord Scales
Lydian Dominant Chord Scales
Major Chord Scales
Lydian Chord Scales
Major ii V I Chord Scales
Watermelon Man Chords
Locrian Chord Scales
Phrygian Dominant Chord Scales
Melodic Minor Chord Scales
Minor ii V I Chord Scales
Blue Bossa Chord Scales
What Are Chord Scales
To begin, start by learning what chord scales are and how to build these harmonic
devices.
In their simplest form, chord scales can be defined as:
Chord scales are built by harmonizing any scale or mode across a bass string on the guitar.
Here’s an example of how to build a chord scales over theF major scale, in this case on
the 6th string.
The first step is to play the scale across one string, either the 6th, 5th, or 4th strings.
You can see how the F major scale sits on the 6th string in this example.
Click to hear chord scales 1
3/40
Then, harmonize those notes by adding diatonic chords on top of each scale note on that
single string.
That’s about it.
Here’s how that looks when you harmonize the F major scale on the 6th string using drop
3 chords.
As you see, each chord is in root position.
But, as you move forward, you apply any chord inversion to a chord scale in your guitar
practice routine.
You can use any chord type when harmonizing the single-string scale, and many
common guitar chords are applied to the examples below.
As well, when playing single-string scales, start on the lowest possible note to take
advantage of the entire fretboard when you harmonize that scale.
You see examples of this approach, starting on the lowest possible note on any string,
below.
If that seems difficult right now, not to worry.

4/40
The exercises below clear up any issues that arise when mixing chords and single-string
scales on guitar.
How to Practice Chord Scales
Now that you know what chord scales are, look at how to maximize your time in the
practice room.
Chord scales can be applied to any chord shape that you work on in your studies.
Example of common chord shapes are:
Barre Chords
Drop 2 Chords
Drop 3 Chords
Drop 2 & 4 Chords
To begin your studies, learn each example in the given key.
From there, work them in multiple keys to bring them to different areas of the fretboard.
As well, each chord scale example, except ii V I lines and tune studies, are written with a
half-note rhythm.
This is done to make it easy to get these shapes under your fingers in the beginning.
But, once you have any chord scale down, add different rhythms to your chord scale
exercises.
These rhythms include:
Quarter Notes
8th Notes
Triplet
Dotted Rhythms
5/40
Ties
Mixed Rhythms – e.g. Dotted Quarter + 8th Note
Once you’ve worked out the first three examples, use the ii V I backing tracks to jam
those chord scales in a musical situation.
As well, take any of these chord scales to a full tune, either one of the examples below or
another jazz standard that you know.
As you can see, there are a number of ways to practice chord scales beyond memorizing
shapes on the guitar.
The main goal of any of these exercises is to create and use chord scales in the
moment.
If you memorize chord scales, then you can play them back on the guitar.
But, if you learn how to build chord scales in the moment, you can apply them to any
chord, chord progression, or song in real time.
Building that skill takes time.
But, once you reach that point, you can confidently and accurately apply chord scales to
any musical situation.
And that’s when things become really fun.
Dorian Chord Scales
The first chord scale is built by harmonizing the Dorian scale.
In the examples below, you use Drop 3 chords from the 6th string to harmonize a D
Dorian scale.
But, also apply this chord scale to any key, chord type, or string set in your studies.
Before learning this chord scale, look at the chords in a harmonized Dorian scale.
6/40
Im7 – Dm7
iim7 – Em7
bIIImaj7 – Fmaj7
IV7 – G7
vm7 – Am7
vim7b5 – Bm7b5
bVIImaj7 – Cmaj7
As you can see, D Dorian contains the same chords as C major, but with different
Roman numerals as you build the chord scale from D, rather than C, in the C major
scale.
Here are those chords in root position.
As mentioned earlier, start any chord scale with the lowest possible chord in that key,
which is why this chord scale starts with Fmaj7, not Dm7.
After you learn this, or any, chord scale, put on the backing track and comp with any
shape in the D Dorian chord scale.
Dm7 Backing Track Dm7 Backing Track No Piano
Here’s the same Dorian chord scale written out with the first inversion of each chord.
7/40
In the next example, you play 2nd inversion drop 3 chords.
As you work inversions in your chord scales, visualize, or at least be able to find, the root
in those inversions to keep track of which chord you’re on during the chord scale.
The final Dorian example uses 3rd inversion drop 3 chords to harmonize the chord scale
from the 6th string.
When you can play all four variations, combine them in your comping and chord soloing.
8/40
Mixolydian Chord Scales
You now harmonize Mixolydian scales in your studies.
When doing so, you use the following chords, written in Roman numerals and in the key
of G Mixolydian.
I7 – G7
iim7 – Am7
iiim7b5 – Bm7b5
IVmaj7 – Cmaj7
vm7 – Dm7
vim7 – Em7
bVIImaj7 – Fmaj7
If you worked out the D Dorian chord scales already, you notice that these chords are the
same.
This is because D Dorian and G Mixolydian are both built from the parent C major scale.
Though they share the same chords, they have different functions, as you can see in the
Roman numeral analysis.
9/40
When learning chord scales, memorize the Roman numerals for each mode you
harmonize.
This allows you to quickly transpose any chord scale, as you can find the chords using
the Roman numerals in any key.
Here’s a root position G Mixolydian chord scale that uses drop 3 chords from the 5th
string.
G7 Backing Track G7 Backing Track No Piano
You now learn a G Mixolydian chord scale using first inversion drop 3 chords on the 5th
string.
Once you can play the first two inversions, play them back to back to hear how they
sound and sit on the fretboard.
Eventually you want to jump between inversions in your playing, so working this skill in
the woodshed is helpful.
10/40
Next you learn the second inversion G Mixolydian chord scale that uses drop 3 chords
Lastly, here’s the G Mixolydian chord scale using third inversion shapes on the fretboard.
After you can play one or more of these chord scales, put on a ii V backing track and
comp over those changes with the chord scales you learned up to this point.
This prepares you for the ii V I chord progression studies below.
11/40
Lydian Dominant Chord Scales
As well as using Mixolydian over 7th chords, a great second choice sound is Lydian
dominant.
When applying the Lydian dominant chord scale to 7th chords, you bring out the 7#11
sound.
Here are the chords you use when harmonizing any Lydian dominant scale.
I7 – G7
II7 – A7
iiim7b5 – Bm7b5
#ivm7b5 – C#m7b5
vmMaj7 – DmMaj7
vim7 – Em7
bVIImaj7#5 – Fmaj7#5
Notice that there are a few funky chords in there, such as mMaj7 and maj7#5.
This is because Lydian dominant is a mode of melodic minor, and both mMaj7 and
maj7#5 chords are diatonic to melodic minor.
12/40
Here’s a G Lydian dominant chord scale in root position, using drop 2 chords on the
middle four strings.
In the next example, you learn first inversion drop 2 chords on the middle four strings.
After you have a few Lydian dominant chord scales down, put on a G7 backing track and
move between the Mixolydian and lyd dom chords.
This gets your ears around the difference between these two scales, allowing you to
choose in the moment when it comes time to apply them to a jam.
13/40
Here’s the G Lydian dominant chord scale, built with second inversion drop 2 chords on
the middle string set.
The last Lydian dominant chord scale uses third inversion drop 2 chords to harmonize
the underlying G scale.
After you work these Lydian dominant chord scales, put on a Dm7-G7 backing track and
play D Dorian and G Lydian dominant chord scales over those changes.
14/40
Major Chord Scales
As you learn chord scales for the iim7 and V7 chords, it’s logical that you learn chord
scales for the Imaj7 chord.
When doing so, you have two options for modes, beginning with Ionian.
The second option is explored in the next section.
When harmonizing Ionian, otherwise called the major scale, you produce the following
Roman numerals.
Imaj7 – Cmaj7
iim7 – Dm7
iiim7 – Em7
IVmaj7 – Fmaj7
V7 – G7
vim7 – Am7
viim7b5 – Bm7b5
Again, these chords are the same as D Dorian and G Mixolydian, but they produce
different Roman numerals because of their interval structure.
Here’s a root position Cmaj7 chord scale on the top four strings, built with drop 2 chord
shapes.
As is always the case, put on the backing track and comp or chord solo with these chord
scales to take them further in your studies.
Cmaj7 Backing Track Cmaj7 Backing Track No Piano
15/40
The next example features a first inversion Cmaj7 chord scale, built with drop 2 chords
on the top-four strings.
You now work the second inversion Cmaj7 chord scale on the top-four strings using drop
2 chord shapes.
16/40
In this final example, you work out third-inversion drop 2 chords to build a Cmaj7 chord
scale.
After you work any of these Cmaj7 chord scales, skip down and jam over the ii V I
backing tracks in the ii V I section below.
Use the D Dorian, G Mixolydian or Lydian Dominant, and C Ionian chord scales to jam
over those changes.
Lydian Chord Scales
17/40
As was the case with 7 th chords, you have two choices for modes when it comes to
building maj7 chord scales.
The second choice to explore over maj7 chords is Lydian.
When applying the Lydian mode, you bring a maj7#11 sound in your comping and chord
soloing phrases.
Here are the chords that are sounded when you build a Lydian chord scale.
Imaj7 – Cmaj7
II7 – D7
iiim7 – Em7
#ivm7b5 – F#m7b5
Vmaj7 – Gmaj7
vim7 – Am7
viim7 – Bm7
Here’s a root position C Lydian chord scale built with Drop 3 chords from the 6th string.
In the next example, you use drop 3 chords in first inversion to build a C Lydian chord
scale.
After you’ve worked out a few Lydian examples, put on the Cmaj7 backing track and
move between C Ionian and C Lydian.
18/40
This gets your ears used to the differences between each maj7 scale, allowing you to
apply them to tunes with confidence.
The next example uses second inversion drop 3 chords to build a C Lydian chord scale
In the final example, you use drop 3 chords in 3rd inversion to build a C Lydian chord
scale from the 6 th string.
19/40
When you have a few of these chord scales under your fingers, skip ahead and jam over
the ii V I tracks below.
When doing so, use the following chord options for each change.
Dm7 – D Dorian
G7 – G Mixolydian
G7 – G Lydian Dominant
Cmaj7 – C Ionian
Cmaj7 – C Lydian
As you can see, even with just a handful of chord scales you can outline any ii V I with
confidence and creativity.
Major ii V I Chord Scales
20/40
Here are five examples of using chord scales to play over themajor ii V I chord
progression.
After learning these examples, take them to other keys in your studies.
As well, put the jam tracks on and comp and chord solo over Dm7-G7-Cmaj7 in your
studies.
Though the examples are played at a medium tempo, it can be tricky to get them up to
speed with the audio track.
So, go slow, use a metronome, and work the tempo up over time.
Each of these examples uses root-position chords to introduce you to these concepts
over a ii V I.
The tune studies expand those shapes and use inversions to take these ideas further in
your studies.
This first example uses the following chord scales.
Am7 = A Dorian
D7 = D Mixolydian
Gmaj7 = G Ionian
As you can see, these three chord scales use the same chords; they’re all from the G
major parent scale.
But, it’s the underlying chord that makes an F#m7b5 sound different when played over
Am7 compared to D7.
This is a good lesson to learn when studying jazz guitar.
The underlying harmony is what defines the sound of the shape you’re playing, not the
shape itself.
Major ii V I Backing Track G ii V I Backing Track No Piano
21/40
In the following example, you bring tension to the V7 chord as you use the following
chord scales.
Am7 = A Dorian
D7 = D Lydian Dominant
Gmaj7 = G Ionian
Notice the D7#11 sound created by the Lydian dominant brings out a sense of tension to
the second bar.
This tension is resolved to G Ionian in the following measure.
Using tension in your comping is perfectly cool; you just have to resolve that tension in
your playing.
22/40
In the following sample ii V I, you add a few drop 2 & 4 chords to the line.
You haven’t seen these shapes yet as they’re introduced in the next section.
So, this line is a taste of things to come in the article.
As well, you add tension to the Gmaj7 chord as you use the following chord scales.
Am7 = A Dorian
D7 = D Mixolydian
Gmaj7 = G Lydian
You may or may not like the sound of Lydian over a Imaj7 chord, it’s different for every
player.
Try it and see what you think.
If you dig it, use it in your playing.
If not, come back to it later to see if your ears change and warm to the sound of the
Imaj7#11 chord.
In this steady quarter-note example, you create tension over both the V7 and Imaj7
chords.
You do this by using the following chord scales.
23/40
Am7 = A Dorian
Gmaj7 = G Lydian
Again, these sounds may or may not be for you at this stage in the game.
But, they’re worth experimenting with to see how and where you want to use them if you
decide to adopt them into your harmonic language.
The last lick mixes drop 2 and drop 3 chords, as well as uses tension to create interest in
the line.
Often times you isolate one type of chord in your studies.
This is a great way to work on new shapes.
But, make sure you integrate those chords into your overall harmonic concept.
This line is an example of mixing various chord types as you build your vocabulary and
chord scale knowledge at the same time.
The chord scales used in this lick are.
Am7 = A Dorian
24/40
Gmaj7 = G Lydian
Once you work these sample lines, jam over the backing track and build your own lines
over these ii V I changes.
As well, write out phrases of your own, as this is helpful tool when working new concepts
such as chord scales.
Watermelon Man Chords
Now that you worked scales over single chords and a major ii V I progression, you can
take this concept to a full tune.
In this study, you apply chord scales to Watermelon Man as you mix drop 2, drop 3, and
drop 2 & 4 shapes over each chord in the progression.
Go slow with this study, learning it in four-bar phrases as you work through the 16-bar
etude.
From there, bring the phrases together to jam the study as a whole.
25/40
There’s also a Watermelon Man backing track (bass-drums) to practice this etude, and
comping in general, over this progression.
Watermelon Man Backing Track Watermelon Man Backing Track No Piano
26/40
27/40
Locrian Chord Scales
Now that you worked on major ii V I progressions, you can move on to minor ii V I’s.
The first chord scale in a minor key is based on the Locrian scale.
When building a Locrian chord scale, you create the following Roman numeral chords.
im7b5 – Bm7b5
bIImaj7 – Cmaj7
biiim7 – Dm7
ivm7 – Em7
bVmaj7 – Fmaj7
bVI7 – G7
bviim7 – Am7
Often times, comping over m7b5 chords involves running through inversions.
But, with the chord scale approach, you expand your m7b5 harmonic colors by adding
extensions over this common chord.
Here’s an example of drop 2 & 4 root position chords from the 6th string.
If you’re new to drop 2 & 4 chords, these shapes might pose a technical challenge for
your picking hand.
You have to play with hybrid picking, pick and fingers, or fingerstyle as strumming these
shapes can cause you to hit unwanted open strings.
Bm7b5 Backing Track Bm7b5 Backing Track No Piano
28/40
Here’s the B Locrian chord scale from the 6th string, built with drop 2 & 4 chords in first
inversion.
Here are 2nd inversion drop 2 & 4 chords used to build a B Locrian chord scale from the
6th string.
After working these inversions, mix them together as you comp over the backing tracks
in your jazz guitar studies.
29/40
The final Locrian example uses 3rd inversion drop 2 & 4 shapes from the 6th string in its
construction.
After learning these four inversions separately, play them back to back as you develop
your memory and harmonic practice routine.
Phrygian Dominant Chord Scales
30/40
With the iim7b5 chord scale under your belt, you apply chord scale techniques to the
V7alt chord.
If you studied 7alt chords before, you know that you have options when it comes to
choosing scales over that chord.
These scales include 3 common choices:
Altered Scale
Diminished Scale
Phrygian Dominant Scale
In this lesson, you explore the Phrygian dominant scale.
This scale is commonly heard in the soloing of Wes Montgomery, Joe Pass, and Johnny
Smith.
Because the altered scale is so popular, this expands your harmonic vocabulary beyond
that important scale.
When harmonizing Phrygian dominant scale, you produce the following chords.
I7 – E7
bIImaj7 – Fmaj7
iiidim7 – G#dim7
ivmMaj7 – AmMaj7
vm7b5 – Bm7b5
bVImaj7#5 – Cmaj7#5
bviim7 – Dm7
Here’s a root position E Phrygian dominant chord scale that is built with drop 2 chords on
the middle four strings.
E7b9 Backing Track E7b9 Backing Track No Piano
31/40
The second example moves to the first-inversion chord scale.
If you’re new to this sound, put on a 7th-chord backing track and comp between
Mixolydian and Phrygian dominant.
This might not be something you do in a jam, but it teaches your ears the difference
between each harmonized scale.
Hearing this difference allows you to add these chord scales into your playing with
confidence.
The next example features second inversion drop 2 chords used to build an E Phrygian
dominant chord scale on the middle four strings.
32/40
The final example moves on to 3rd inversion drop 2 chords when building an E Phrygian
dominant chord scale.
After you work these chord scales, put on a iim7b5 V7alt backing track and comp using
Locrian and Phrygian dominant chord scales.
This sets you up to move to the full ii V I minor progression.
33/40
Melodic Minor Chord Scales
The final chord scale is built by harmonizing melodic minor.
When doing so, you produce the following chords.
ImMaj7 – AmMaj7
iim7 – Bm7
bIIImaj7#5 – Cmaj7#5
IV7 – D7
V7 – E7
vim7b5 – F#m7b5
viim7b5 – G#m7b5
Here’s the root position melodic minor chord scale using drop 2 chords on the top four
strings.
As is the case with every chord scale, work it through other chord types and string sets
in your jazz guitar practice routine.
AmMaj7 Backing Track Am7 Backing Track No Piano
Here’s the A melodic minor chord scale written in first inversion on the top-four strings.
34/40
The next example brings second inversions as you expand on the melodic minor chord
scale.
After you work out melodic minor chord scales, put on a m7 backing track and switch
between Dorian and melodic minor.
This helps you hear the difference between these two harmonic devices when learning
how to play jazz guitar.
The final example features third inversion drop 2 chords on the top four strings.
35/40
Minor ii V I Chord Scales
To finish your study minor-key chord scales, you now bring them together over a minor ii
V I progression.
Each phrase is written in the key of D minor.
From there, work them in other keys around the fretboard, as well as write out minor ii V I
phrases of your own.
Often, writing lines is helpful when organizing your thoughts around a new concept.
From there, jam over the backing tracks using material you learned in this section of the
lesson.
Each line uses the following chords scales in their construction.
Em7b5 – E Locrian
A7alt – A Phrygian Dominant
Dm7 – D Melodic Minor
36/40
To begin, here’s a line on the top-four strings, using drop 2 chords to create a four bar
phrase in D minor.
Minor ii V I Backing Track Dm ii V I Backing Track No Piano
The next minor ii V I line uses drop 3 chord scales on various string sets to outline these
chord changes in the key of D minor.
37/40
In the next phrase, you use drop 3 and drop 2 & 4 shapes to create a D minor ii V I line.
In the next line, drop 2 chords are used to build a phrase on the middle and top-four
string sets.
To take things a further with this line, you introduce inversions to the phrase.
In this final ii V I line, you use drop 2 chords as you navigate this four-bar phrase.
38/40
As was the case with the previous lick, you use inversions as you outline these changes.
Blue Bossa Chord Scales
Here’s a chord etude written over the changes to Blue Bossa.
When working this Brazilian jazz song, you use a Samba rhythm.
As always, break this study into smaller phrases as you get the shapes and rhythms
under your fingers.
Then, when comfortable, bring the phrases together and play the study as a whole.
To help you practice these Blue Bossa chords, there’s a backing track below.
Blue Bossa Backing Track Blue Bossa Backing Track No Piano

39/40
40/40

Chord Scales Essential System For Guitar

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Chord Scales Essential System For Guitar

Caricato da

Copyright:

Chord Scales – Essential System for Guitar

Download Your FREE 84-Page PDF

100% privacy. Your email will never be shared

What Are Chord Scales

What Are Chord Scales

In their simplest form, chord scales can be defined as:

Click to hear chord scales 1

That’s about it.

As you see, each chord is in root position.

Click to hear chord scales 2

If that seems difficult right now, not to worry.

How to Practice Chord Scales

Example of common chord shapes are:

To begin your studies, learn each example in the given key.

These rhythms include:

Building that skill takes time.

And that’s when things become really fun.

Dorian Chord Scales

The first chord scale is built by harmonizing the Dorian scale.

Here are those chords in root position.

Dm7 Backing Track Dm7 Backing Track No Piano

Click to hear chord scales 3

Dm7 Backing Track Dm7 Backing Track No Piano

In the next example, you play 2nd inversion drop 3 chords.

Dm7 Backing Track Dm7 Backing Track No Piano

Click to hear chord scales 5

Dm7 Backing Track Dm7 Backing Track No Piano

Mixolydian Chord Scales

You now harmonize Mixolydian scales in your studies.

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 7

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 8

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 9

This prepares you for the ii V I chord progression studies below.

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 10

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 11

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 12

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 13

G7 Backing Track G7 Backing Track No Piano

Click to hear chord scales 14

The second option is explored in the next section.

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 15

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 16

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 17

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 18

Lydian Chord Scales

The second choice to explore over maj7 chords is Lydian.

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 19

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 20

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 21

Cmaj7 Backing Track Cmaj7 Backing Track No Piano

Click to hear chord scales 22

Major ii V I Chord Scales