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Barry Harris Half Step Concepts

by Lucien LaMotte
Dominant 7th chords:

• For descending scale lines beginning on the 1 3 5 or b7 add a half step between the root
and b7 (Bebop Dominant).
Ex. G7 – G F # F E D C B A G, B A G F # F E D C B, D C B A G F # F E D, F E D C B A G F# F

• For descending scale lines beginning on the 2nd 4th or 6th add no half steps (Mixolydian
Mode)
Ex. G7 – A G F E D C B A G, C B A G F E D C B, E D C B A G F E D

• For descending scale lines beginning on the 2nd 4th or 6th add two half steps between the
2nd and root, root and b7
Ex. G7 - A Ab G F# F E D C B, C B A Ab G F# F E D, E D C B A Ab G F# F

• For descending scale lines beginning on the 1 3 5 or b7 add three half steps between the
3rd and 2nd, 2nd and root, root and b7.
Ex. G7 – G F# F E D C B Bb A Ab G F# F, B Bb A Ab G F# F E D, D C B Bb A Ab G F# F E D, F E D
C B Bb A Ab G F# F

The addition of the chromatic notes keeps the chord tones on the strong beats.

Dominant 7th chord’s four arpeggios:

• Dominant 7th arpeggio from the root – 1 3 5 b7 (Ex. G7 – G B D F)
• Minor 7b5 arpeggio from the 3rd – 9 11 b13 R (Ex. G7 = Bm7b5 – B D F A)
• Minor 7 arpeggio from the 5th – 5 b7 9 11 (Ex. G7 = Dm7 – D F A C)
• Major 7 arpeggio from the b7 – b7 9 11 13 (Ex. G7 = Fmaj7 – F A C E)

Play the ascending arpeggios into the descending scale lines. Resolve the arpeggios down or up
or down into the scale tones. Extend the arpeggios by extending the arpeggio another third and
resolve up or down to a scale tone.

• Dominant 7th arpeggio from the root – 1 3 5 b7 (Ex. G7 – G B D F)

Ex. G7 arpeggio from the root resolving down a step to the 6th, add no half steps – G B D F E D C
BAGFED

Ex. G7 arpeggio from the root resolving down a step to the 6th, add two half steps between the
2nd and root, root and b7 – G B D F E D C B A Ab G F# F
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Ex. G7 arpeggio from the root resolving up a step to the Root, add a half step between the root
and b7 – G B D F G F# F E D C B A G

Ex. G7 arpeggio from the root resolving up a step to the Root, add three half steps between the
3rd and 2nd, 2nd and root, root and b7 – G B D F G F# F E D C B Bb A Ab G F# F

Ex. G7 arpeggio from the root resolving up another third to the 9th, add no half steps – G B D F A
GFEDCBAG

Ex. G7 arpeggio from the root resolving up another third to the 9th, add two half steps between
the 2nd and root, root and b7 – G B D F A Ab G F# F E D C B

• Minor 7b5 arpeggio from the third – 9 11 b13 R (Ex. G7 = Am7b5 – A C Eb G)

Ex. Bm7b5 arpeggio from the third of the G7 resolving down a step to the root, add a half step
between the root and b7 – B D F A G F# F E D C B A G

Ex. Bm7b5 arpeggio from the third of the G7 resolving down a step to the root, add three half
steps between the 3rd and 2nd, 2nd and root, root and b7 – B D F A G F# F E D C B Bb A Ab G

Ex. Bm7b5 arpeggio from the 3rd of the G7 resolving up a step to the 3rd, add half step between
the root and b7 – B D F A B A G F# F E D C B A G

Ex. Bm7b5 arpeggio from the 3rd of the G7 resolving up a step to the 3rd, add three half steps
between the 3rd and 2nd, 2nd and root, root and b7 – B D F A B Bb A Ab G F# F E D C B

Ex. Bm7b5 arpeggio from the 3rd of the G7 resolving up another 3rd to the 4th degree, add no
half steps – B D F A C B A G F E D C B A G

Ex. Bm7b5 arpeggio from the 3rd of the G7 resolving up another 3rd to the 4th degree, add two
half steps between the 2nd and root, root and b7 – B D F A C B A Ab G F# F E D C B

• Minor 7 arpeggio from the 5th – 5 b7 9 11 (Ex. G7 = Cm7 – C Eb G Bb)

Ex. Dm7 arpeggio from the 5th of the G7 resolving down a step to the 3rd, add a half step
between the root and b7 – D F A C B A G F# F E D C B

Ex. Dm7 arpeggio from the 5th of the G7 resolving down a step to the 3rd, add three half steps
between the 3rd and 2nd, 2nd and root, root and b7 – D F A C B Bb A Ab G F# F E D
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Ex. Dm7 arpeggio from the 5th of the G7 resolving up a step to the 5th, add half step between
the root and b7 – D F A C D C B A G F# F E D

Ex. Dm7 arpeggio from the 5th of the G7 resolving up a step to the 5th, add three half steps
between the 3rd and 2nd, 2nd and root, root and b7 – D F A C D C B Bb A Ab G F# F

Ex. Dm7 arpeggio from the 5th of the G7 resolving up another 3rd to the 6th degree, add no half
steps – D F A C D C B A G F E D

Ex. Dm7 arpeggio from the 5th of the G7 resolving up another 3rd to the 6th degree, add two half
steps between the 2nd and root, root and b7 – D F A C D B A Ab G F# F E D

• Major 7 arpeggio from the b7 – b7 9 11 13 (Ex. G7 = Fmaj7 – F A C E)

Ex. Fmaj7 arpeggio from the b7th of the G7 resolving down a step to the 5th, add a half step
between the root and b7 – F A C E D C B A G F# F E D

Ex. Fmaj7 arpeggio from the b7th of the G7 resolving down a step to the 5th, add three half steps
between the 3rd and 2nd, 2nd and root, root and b7 – F A C E D C B Bb A Ab G F# F

Ex. Fma7 arpeggio from the b7th of the G7 resolving up a step to the 7th, add half step between
the root and b7 – F A C E F E D C B A G F# F

Ex. Fma7 arpeggio from the b7th of the G7 resolving up a step to the 7th, add three half steps
between the 3rd and 2nd, 2nd and root, root and b7 – F A C E F E D C B Bb A Ab G F# F

Ex. Fmaj7 arpeggio from the b7th of the G7 resolving up another 3rd to the root, add a half step
between the root and b7 – F A C E G F# F E D C B A G

Ex. Fmaj7 arpeggio from the b7th of the G7 resolving up another 3rd to the root, add three half
steps between the 3rd and 2nd, 2nd and root, root and b7 – F A C E G F# F E D C B A Ab G F# F

When playing over a ii-V, Barry Harris only thinks about the V chord.
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Family of Four Dominants

The concept is based around the Diminished 7th chord. Take any note of the Diminished 7th
chord and it becomes the root of a Dominant 7th chord. The Diminished 7th chord will yield four
Dominant 7th chords.
The roots of those Dominant 7th chords form a Diminished 7th a half step below the original
Diminished 7th chord.
All the roots together form a Diminished scale – 1b2b33#456b7

Ex. B°7 = B D F Ab – Lower the B to Bb = Bb7 (Bb D F Ab), Lower the D to Db = Db7 (Db F Ab Cb),
Lower the F to E = E7 (E G# B D), Lower the Ab to G = G7 (G B D F).
The roots of the four Dominant 7th chords are Bb Db Fb/E G/Abb = Bb°7, Db°7, E°7 and G°7.
Diminished 7th scale – BbBDbDEFGAb

These Dominant 7th chords (Family of Dominants) are related through the Diminished 7th chord.
They can be substituted for one another or superimpose them over one another as chord
voicings, arpeggios or scale lines.

The related Dominant 7ths function as the V7 of the Major key, the V7 of the Relative Minor,
The bV7 tritone sub of V7 in the Major key, and the bVII7 of the Major key (the backdoor
Dominant). The bVII7 is also the triton substitution in the Relative Minor.
The bVII7 can also be thought of as V7 in the Parallel Minor’s Relative Major.

G7 = V7 in C
E7 = V7 in Am
Db7 = bV7 tritone sub of G7 in C
Bb7 = bVII7 in C, or the bV7 tritone sub in Am.
Bb7 = V7 in Eb, the Relative Major of Cminor (The Parallel Minor or CMajor)

• Superimposed Dominant 7th chord from the b3rd of the Dominant 7th – (#9 5 b7 b9)
Ex. Bb7 over G7 = Bb D F Ab
• Superimposed Dominant 7th chord from the b5th of the Dominant 7th – (b5 b7 b9 3)
Ex. Db7 over G7 = Db F Ab Cb/B
• Superimposed Dominant 7th chord from the 6th of the Dominant 7th – (13 b9 3 5)
Ex. E7 over G7 = E G# B D

When playing of a ii7-V7-Imaj7 Barry Harris just thinks of the V7 chord over the ii7, or thinks of
the V7 chord over the ii7 and then thinks of a Family of Dominants substitution over the V7.
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ii7-V7-Imaj7 in Cmajor = Dm7-G7-Cmajor7

• Over the ii7 chord use minor7 arpeggio starting from the 5th of the V7 and resolve down
a half step to the 3rd of the Dominant 7th chord. Then use the chromatic concept for
descending scale lines beginning on the 1 3 5 or b7 add three half steps between the 3rd
and 2nd, 2nd and root, root and b7.

Ex. Play Dm7 – D F A C and resolve down a step to 3rd of the G7 chord then descend using the
chromatic rules adding half steps between the 3rd and 2nd, 2nd and root, root and b7.
D F A C B Bb A Ab G F# F E D C B A G

• Over the ii7 chord use the major7 arpeggio starting from the b7th of the V7 and resolve
down a half step to the 5th of the Dominant 7th chord. Then use the chromatic concept
for descending scale lines beginning on the 1 3 5 or b7 add three half steps between the
3rd and 2nd, 2nd and root, root and b7.

Ex. Play Fmaj7 – F A C E and resolve down a step to 5th of the G7 chord then descend using the
chromatic rules adding half steps between the 3rd and 2nd, 2nd and root, root and b7.
F A C E D C B Bb A Ab G F# F E D C B

• Over the ii7 chord use minor7 arpeggio starting from the 5th of the V7 chord and add
another 3rd extension arriving at the 6th of the Dominant 7th chord before descending
with the chromatic concept for descending scale lines beginning on the 2nd 4th or 6th add
no half steps (Mixolydian Mode). Then use the bV7 tritone substitute Dominant 7th
beginning on the b3rd of the V7 chord. The line will begin on the b6th of the bV7 chord,
use the chromatic concept of using half steps between the 2nd and root, and root and
b7.

Ex. Play Dm7 – D F A C and add another 3rd to E, then descend the scale with no chromatic
tones D C B. On the G7 chord think of the bV7 substitute, Db7, beginning on the 6th of the Db7
chord. Descend through the scale and add two chromatic tones between the 2nd and root, root
and b7th, Bb Ab Gb F Eb D Db C B.
D F A C E D C B Bb Ab Gb F Eb D Db C B

• Over the ii7 chord use the maj7 arpeggio starting from the b7th of the V7 chord and add
another 3rd extension up to root of the Dominant 7th chord. Then use the chromatic
concept for descending scale lines beginning on the 1 3 5 or b7 add a half step between
root and b7. Arrive at the 5th of the Dominant 7th chord and think of the bVII7 (backdoor
Dominant). Descend using the chromatic concept thinking on the bVII7 chord from the
3rd, add a half step between the root and b7. Resolve up to the 3rd of the Imaj7 chord.
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Ex. Play Fmaj7 – F A C E and add another 3rd up to the root of the G7 chord then descend using
the chromatic rules adding a half step between the root and b7, G F# F E. Arrive at the 5th (D)
and think of this as the 3rd of Bb7. Use the chromatic rule of adding a half step between the
root and b7. D C Bb A Ab.
F A C E G F# F E D C Bb A Ab G F Eb E

• Over the ii7 chord use major7 arpeggio starting from the b7th of the V7 chord and add
another 3rd extension up to root of the Dominant 7th chord. Then use the chromatic
concept for descending scale lines beginning on the 1 3 5 or b7 add a half step between
root and b7. Arrive at the 5th of the Dominant 7th chord and think of the Dominant from
the 6th (Tritone sub of the relative minor. Descend using the chromatic concept thinking
on the VI7 chord from the b7th, add three chromatic tones between the 3rd and 2nd, 2nd
and root, root and b7. Resolve down to the 3rd of the Imaj7 chord.

Ex. Play Fmaj7 – F A C E and add another 3rd up to the root of the G7 chord then descend using
the chromatic rules adding a half step root and b7, G F# F E. Arrive at the 5th (D) and think of
this as the b7th of E7. Use the chromatic rule of adding a half step between the 3rd and 2nd, 2nd
and root, root and b7. D C# B A G# G F# F E.
F A C E G F# F E D C# B A G# G F# F E

• Over the ii7 chord use minor7 arpeggio starting from the 5th and of the V7 chord add
another 3rd extension arriving at the 6th of the Dominant 7th chord before descending
with the chromatic concept for descending scale lines beginning on the 2nd 4th or 6th add
no half steps (Mixolydian Mode). Then use the bVII7 Backdoor Dominant 7th beginning
on the b3rd of the V7 chord, which is the root of the bVII7 chord. Descend through the
bVII7 arpeggio. Then beginning descending on the bV7 tritone sub arpeggio with octave
displacement on the 5th of the chord, resolve to the 5th and 3rd of the Imajor7 chord.

Ex. Play Dm7 – D F A C and add another 3rd up to 6th of the G7 chord, then descend using no
chromatic tones to the 3rd of G7. Use the bVII7 backdoor dominant Bb7 chord beginning on the
root and descend the arpeggio Bb Ab F D. Then think of the bV7 tritone sub starting on the root
and descend the arpeggio Db Cb, use octave displacement up the 5th of the chord and descend
to the 3rd, F. Resolve using the 5th and 3rd of the Imaj7 chord G and E.
D F A C E D C B Bb Ab F D Db Cb Ab F G E
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• Over the ii7 chord use major7 arpeggio starting from the 7th of the Dominant 7th chord
and ascend to the 6th of the V7 chord. Then descend the scale to the 2nd. Descend the
VI7 arpeggio beginning on the 3rd of the chord. The 5th of the bVI7 Dominant is the b7th
of the triton sub Dominant. Ascend the bV7 tritone sub arpeggio to its 5th and resolve
using the 5th of the Imajor7 chord.

Ex. Play Fmaj7 – F A C E then descend the scale using no chromatic tones. Arrive at the 2nd (A).
Use the descending arpeggio of the VI7, E7, over the V7 (G7) chord. The 5th of the VI7 chord is
the b7th of bV7 tritone sub. Ascend the bV7 tritone to its 5th then resolve and resolve using the
5th of the Imajor7 chord.
F A C E D C B A G# E D B Db F Ab F G E

• Over the ii7 chord use the scale beginning on the 4th of the Dominant 7th chord and
descending with chromatic notes between 2nd and root, root and b7th to the 5th. Then
over the V7 chord use the bVII7 and bV7 chords starting on the 3rd of the dominant
substitutes. Ascend the bVII7 from its 3rd using a m7b5 arpeggio, then ascend the bV7
from its 3rd using a m7b5 arpeggio. Resolve to the Ima7 on the root.

Ex. Play the descending Dominant scale beginning on C down to D adding chromatic notes, C B
A Ab G F# F E D. Then ascend a Dm7b5 arpeggio beginning on its root, D F Ab C. Then ascend an
Fm7b5 arpeggio beginning on its root F Ab C Eb. Resolve to C.

The same vocabulary works over minor iim7b5-V7-im7.

• Over the iim7b5 use the Relative Major’s Dominant. The iim7b5 is the arpeggio starting
on the 3rd of the Dominant 7th chord in the Relative Major Key.

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the
root of G7, descend the scale adding a chromatic note between the root and b7. G F# F E D C B
AG

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the
root of G7, descend the scale adding three chromatic notes between the 3rd and 2nd, 2nd and
root, root and b7. G F# F E D C B Bb A Ab G F# F

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 2nd
of G7, descend the scale adding no chromatic notes. A G F E D C B A G
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Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 3rd
of G7, descend the scale adding chromatic notes between the root and b7. B A G F F# E D C B.

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 3rd
of G7, descend the scale adding three chromatic notes between the 3rd and 2nd, 2nd and root,
root and b7. B Bb A Ab G F F# E D

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 4th
of G7, descend the scale adding no chromatic notes. C B A G F E D C B

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 4th
of G7, descend the scale adding chromatic notes between the 2nd and root, root and b7. C B A
Ab G F# F E D

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 5th
of G7, descend the scale adding chromatic notes between the root and b7. D C B A G F# F E D

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 5th
of G7, descend the scale adding three chromatic notes between the 3rd and 2nd, 2nd and root,
root and b7. D C B Bb A Ab G F# F E D C B

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 6th
of G7, descend the scale adding no chromatic notes. E D C B A G F E D

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the 6th
of G7, descend the scale adding chromatic notes between the 2nd and root, root and b7. E D C B
A Ab G F# F

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the b7
of G7, descend the scale adding a chromatic note between the root and b7. F E D C B A G F# F

Ex. Play G7 over Bm7b5 in the key of Aminor, and use the chromatic rules. Starting from the b7
of G7, descend the scale adding three chromatic notes between the 3rd and 2nd, 2nd and root,
root and b7. F E D C B Bb A Ab G F# F E D

Also begin with the arpeggios for the V7 chord over the iim7b5. Dominant7, minor7b5, minor7
and major7 from the root, 3rd, 5th and b7th of the Dominant.
Add the arpeggios for the G7 over Bm7b5 and play the same lines. G7, Bm7b5, Dm7, Fmaj7.
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• Over the minor iim7b5-V7-im7. Use the Relative Major’s V7 over the iim7b5 and then
play the V7 chord of the minor tonic, then resolve to the minor tonic.
Descend the scale down to the 2nd beginning on the root of Relative Major’s V7 adding a
chromatic tone between root and b7. Then descend from the 3rd of the V7 and add
chromatic tones between 3rd and 2nd, 2nd and root. Arpeggiate up the V7 chord and
resolve to the minor b3 to 1.

Ex. Play G7 over the Bm7b5 and then use E7 into Aminor.
G F# F E D C B A G# G F# F E G# B D C A

• Over the minor iim7b5-V7-im7. Use the Relative Major’s V7 over the iim7b5 and the V7
chord resolving to the minor tonic.
Use an ascending minor7 arpeggio from the 5th of the Relative Major’s V7 and then
resolve down a 2nd to the 3rd of chord. Descend scale down to the 3rd adding three
chromatic notes between 3rd and 2nd, 2nd and root, root and b7. Ascend the V7 chord in
minor then resolve b3 on the minor tonic.

Ex. Play Dm7 – D F A C over Bm7b5, resolve down to B (the third of G7). Descend the scale B Bb
A Ab G F# F E D C B. Arpeggiate up the E7 chord D E and then resolve on the b3rd (C) of Aminor.
D F A C B Bb A Ab G F# F E D C B D E C

• Over the minor iim7b5-V7-im7. Use the Relative Major’s V7 over the iim7b5 and the V7
chord resolving to the minor tonic. Use the bVII7 backdoor Dominant over the V7 in the
minor key.
Descend the scale beginning on the 6th adding two chromatic tones between 2nd and
root, root and b7. Then arpeggiate up using the bVII7 starting from its 5th, jump up to
the 3rd down to the root, then add a chromatic note between root and b7. Jump up to
the 5th then down to the 3rd then root. Resolve 5 to b3 on the tonic minor.

Ex. Play G7 scale descending from E, E D C B A Ab G F# F. The F is the 5th of Bb7. Jump up to D
then down to Bb, add a chromatic note root to b7, Bb A Ab. Jump up to F then down to D. Play
E to C to resolve on the tonic minor chord.
E D C B A Ab G F# F D Bb A Ab F D E C

• Over the minor iim7b5-V7-im7. Use the Relative Major’s V7 over the iim7b5 and the V7
chord resolving to the minor tonic. Use the minor7b5 chords from the 3rd of both the
bVII7 backdoor Dominant and bV7 tritone sub.
Descend the scale beginning on the 4th and adding two chromatic tones between 2nd
and root, root and b7. Then arpeggiate up the minor7b5 arpeggio beginning on the 3rd
of the bVII7. Then arpeggiate up the minor7b5 arpeggio beginning on the 3rd of the bV7.
Resolve 5 to b3 on the tonic minor.
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Ex. Play the scale descending from C and add chromatic notes, C B A Ab G F# F E, then
arpeggiate up Dm7b5 – D F Ab C, then arpeggiate up Fm7b5 – F Ab Cb Eb, resolve E to C.
C B A Ab G F# F E D F Ab C F Ab Cb Eb E C

Major Tonic chords:

• For descending scale lines beginning on the 1 3 5 6 or 7 add a half step between the 6th
and the 5th (Bebop Major).
Ex. Cmaj7 –C B A Ab G F E D C, E D C B A Ab G F E, G F E D C B A G# G, A Ab G F E D C B A, B A Ab
GFEDCB

• For descending scale lines beginning on the 2nd or 4th add no half steps (Ionian Mode)
Ex. Cmaj7 –D C B A G F E D C, F E D C B A G F E, A G F E D C B A G

• For descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps between
the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half steps
between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put
half step between the 7th and 6th, 6th and 5th.
Ex. Cmaj7 - D Db C B A Ab G F E, F E D Db C B A Ab G, A Ab G F E D Db C B, B A Ab G F E D Db C,
B A G F E Eb D Db C, B Bb A Ab G F E D C

• For descending scale lines beginning on the 1 3 5 6 add three half steps between the 3rd
and 2nd, 2nd and root, 6th and 5th.
Ex. Cmaj7 – C B A Ab G F E Eb D C, E Eb D Db C B A Ab G, G F E Eb D Db C B A Ab G F E, A Ab G F E
Eb D Db C

The addition of the chromatic notes keeps the chord tones on the strong beats.

Ascending from any scale tone then descending, use the chromatic rule for the note you start
the ascension from.

• From the Root

Ex. Cmaj7 starting on 1 then up to the 2nd and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D C B A Ab G F E
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Ex. Cmaj7 starting on 1 then up to the 2nd and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D C B A Ab G F E Eb D Db C

Ex. Cmaj7 starting on 1 then up to the 3rd and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D E D C B A Ab G F E

Ex. Cmaj7 starting on 1 then up to the 3nd and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D E C B A Ab G F E Eb D Db C or C D E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on 1 then up to the 4th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D E F E D C B A Ab G F E

Ex. Cmaj7 starting on 1 then up to the 4th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D E F E C B A Ab G F E Eb D Db C or C D E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on 1 then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D E F G F E D C B A Ab G

Ex. Cmaj7 starting on 1 then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D E F G F E D C B A Ab G F E Eb D Db C or C D E F G F E Eb D Db C B A Ab G

Ex. Cmaj7 starting on 1 then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D E F G A G F E D C B A Ab G

Ex. Cmaj7 starting on 1 then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D E F G A G F E Eb D Db C B A Ab G

Ex. Cmaj7 starting on 1 then up to the 7th and back down. Use the chromatic rule starting for
lines on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D E F G A B A G F E D C B A Ab G

Ex. Cmaj7 starting on 1 then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D E F G A B A G F E Eb D Db C B A Ab G
 12

Ex. Cmaj7 starting on 1 then up to 8 and back down. Use the chromatic rule for lines beginning
on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
C D E F G A B C B A G F E D C B A Ab G F E D C

Ex. Cmaj7 starting on 1 then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
C D E F G A B C B A G F E Eb D Db C B A Ab G

• From the 2nd

Ex. Cmaj7 starting on the 2nd then up to the 3rd and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). D E D C B A G F E

Ex. Cmaj7 starting on the 2nd then up to the 3rd and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. D E
D Db C B A Ab G

Ex. Cmaj7 starting on the 2nd then up to the 4th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode) D E F E D C B A G

Ex. Cmaj7 starting on the 2nd then up to the 4th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. D E F
E D Db C B A Ab G F E

Ex. Cmaj7 starting on the 2nd then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). D E F G F E D C B A G

Ex. Cmaj7 starting on the 2nd then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. D E F
G F E D Db C B A Ab G

Ex. Cmaj7 starting on the 2nd then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode).
DEFGAGFEDCBAGFEDC

Ex. Cmaj7 starting on the 2nd then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. D E F
G A G F E D Db C B A Ab G F E

Ex. Cmaj7 starting on the 2nd then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode).
DEFGABAGFEDCBAGFEDC
 13

Ex. Cmaj7 starting on the 2nd then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. D E F
G A B A G F E D Db C B A Ab G

Ex. Cmaj7 starting on the 2nd then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode).
D E F G A B C B A G F E D C B A G F E D C or D E F G A B C B A G F E D C B

Ex. Cmaj7 starting on the 2nd then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
D E F G A B C B A G F E D Db C B A Ab G

• From the 3rd

Ex. Cmaj7 starting on the 3rd then up to the 4th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F E D C B A Ab G

Ex. Cmaj7 starting on the 3rd then up to the 4th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F E Eb D Db C B A or E F E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on the 3rd then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F G F E D C B A Ab G F E

Ex. Cmaj7 starting on the 3rd then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F G F E Eb D Db C B A or E F G F E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on the 3rd then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F G A G F E D C B A Ab G F E

Ex. Cmaj7 starting on the 3rd then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F G A G F E Eb D Db C B A or E F G A G F E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on the 3rd then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F G A B A G F E D C B A Ab G F E
 14

Ex. Cmaj7 starting on the 3rd then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F G A B A G F E Eb D Db C B A or E F G A B A G F E Eb D Db C B A Ab G

Ex. Cmaj7 starting on the 3rd then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F G A B C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 3rd then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F G A B C B A G F E Eb D Db C B A

Ex. Cmaj7 starting on the 3rd then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F G A B C D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 3rd then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F G A B C D C B A G F E Eb D Db C B A, E F G A B C D C B A G F E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on the 3rd then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
E F G A B C D E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 3rd then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
E F G A B C D E D C B A G F E Eb D Db C B A, E F G A B C D E D C B A G F E Eb D Db C B A Ab G F E
or E F G A B C D E D C B A G F E Eb D Db C B A Ab G

• From the 4th

Ex. Cmaj7 starting on the 4th then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). F G F E D C B A G F E

Ex. Cmaj7 starting on the 4th then up to the 5th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G F E D Db C B A Ab G F E

Ex. Cmaj7 starting on the 4th then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). F G A G F E D C B A G F E
 15

Ex. Cmaj7 starting on the 4th then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G A G F E D Db C B A Ab G

Ex. Cmaj7 starting on the 4th then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). F G A B A G F E D C B A G F E

Ex. Cmaj7 starting on the 4th then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G A B A G F E D Db C B A Ab G F E

Ex. Cmaj7 starting on the 4th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). F G A B C B A G F E D C B A G F E

Ex. Cmaj7 starting on the 4th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G A B C B A G F E D Db C B A Ab G

Ex. Cmaj7 starting on the 4th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). F G A B C D C B A G F E D C B A G F E

Ex. Cmaj7 starting on the 4th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G A B C D C B A G F E D Db C B A Ab G F E

Ex. Cmaj7 starting on the 4th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode).
FGABCDEDCBAGFEDCB

Ex. Cmaj7 starting on the 4th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G A B C D E D C B A G F E D Db C B A Ab G F E D C

Ex. Cmaj7 starting on the 4th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 2nd or 4th add no half steps (Ionian Mode).
FGABCDEFEDCBAGFEDC

Ex. Cmaj7 starting on the 4th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th.
F G A B C D E F E D C B A G F E D Db C B A Ab G F E
 16

• From the 5th

Ex. Cmaj7 starting on the 5th then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A G F E D C B A Ab G F E

Ex. Cmaj7 starting on the 5th then up to the 6th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A G F E Eb D Db C B A or G A G F E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on the 5th then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 5th then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A B A G F E Eb D Db C B A Ab G F E or G A B A G F E Eb D Db C B A Ab G F E D C

Ex. Cmaj7 starting on the 5th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A B C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 5th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A B C B A G F E Eb D Db C B A Ab G F E or G A B C B A G F E Eb D Db C B A Ab G F E D Db C

Ex. Cmaj7 starting on the 5th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A B C D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 5th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A B C D C B A G F E Eb D Db C B A Ab G F E or
G A B C D C B A G F E Eb D Db C B A Ab G F E D Db C

Ex. Cmaj7 starting on the 5th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A B C D E D C B A G F E D C B A Ab G
 17

Ex. Cmaj7 starting on the 5th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A B C D E D C B A G F E Eb D Db C B A Ab G F E or
G A B C D E D C B A G F E Eb D Db C B A Ab G F E D C

Ex. Cmaj7 starting on the 5th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A B C D E F E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 5th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A B C D E F E D C B A G F E Eb D Db C B A Ab G F E or
G A B C D E F E D C B A G F E Eb D Db C B A Ab G F E D Db C

Ex. Cmaj7 starting on the 5th then up to the 12th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
G A B C D E F G F E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 5th then up to the 12th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
G A B C D E F G F E D C B A G F E Eb D Db C B A Ab G F E or
G A B C D E F G F E D C B A G F E Eb D Db C B A Ab G F E Eb D Db C

• From the 6th

Ex. Cmaj7 starting on the 6th then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B A Ab G F E D C

Ex. Cmaj7 starting on the 6th then up to the 7th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B A Ab G F E Eb D Db C B A Ab G F E

Ex. Cmaj7 starting on the 6th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B C B A Ab G F E D C B A Ab G F E

Ex. Cmaj7 starting on the 6th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B C B A Ab G F E Eb D Db C B A Ab G
 18

Ex. Cmaj7 starting on the 6th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B C D C B A Ab G F E D C B A Ab G

Ex. Cmaj7 starting on the 6th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B C D C B A Ab G F E Eb D Db C

Ex. Cmaj7 starting on the 6th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B C D E D C B A Ab G F E D C B A

Ex. Cmaj7 starting on the 6th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B C D E D C B A Ab G F E Eb D Db C

Ex. Cmaj7 starting on the 6th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B C D E F E D C B A Ab G F E D C B A

Ex. Cmaj7 starting on the 6th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B C D E F E D C B A Ab G F E Eb D Db C

Ex. Cmaj7 starting on the 6th then up to the 12th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B C D E F G F E D C B A Ab G F E

Ex. Cmaj7 starting on the 6th then up to the 12th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B C D E F G F E D C B A Ab G F E Eb D Db C

Ex. Cmaj7 starting on the 6th then up to the 13th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
A B C D E F G A G F E D C B A Ab G F E

Ex. Cmaj7 starting on the 6th then up to the 13th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd, 2nd and root, 6th and 5th.
A B C D E F G A G F E D C B A Ab G F E Eb D Db C or A B C D E F G A G F E Eb D Db C B A Ab G
 19

• From the 7th

Ex. Cmaj7 starting on the 7th then up to the 8th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
B C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 7th up to the 8th. Use the chromatic rule for lines beginning on the 2nd
4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. For descending from the
7th scale degree, put half steps between the 3rd and 2nd, 2nd and root. Or, for descending from
the 7th scale degree, put half step between the 7th and 6th, 6th and 5th.
B C B Bb A Ab G F E

Ex. Cmaj7 starting on the 7th then up to the 9th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
B C D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 7th up to the 9th. Use the chromatic rule for lines beginning on the 2nd
4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. For descending from the
7th scale degree, put half steps between the 3rd and 2nd, 2nd and root. Or, for descending from
the 7th scale degree, put half step between the 7th and 6th, 6th and 5th.
B C D C B Bb A Ab G F E D C or B C D Db C B A Ab G

Ex. Cmaj7 starting on the 7th then up to the 10th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
B C D E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 7th up to the 10th. Use the chromatic rule for lines beginning on the 2nd
4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. For descending from the
7th scale degree, put half steps between the 3rd and 2nd, 2nd and root. Or, for descending from
the 7th scale degree, put half step between the 7th and 6th, 6th and 5th.
B C D E D C B A Ab G F E D Db C or B C D E D C B Bb A Ab G F E

Ex. Cmaj7 starting on the 7th then up to the 11th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
B C D E F E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 7th up to the 11th. Use the chromatic rule for lines beginning on the 2nd
4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. For descending from the
7th scale degree, put half steps between the 3rd and 2nd, 2nd and root. Or, for descending from
the 7th scale degree, put half step between the 7th and 6th, 6th and 5th.
B C D E F E D C B A Ab G F E D Db C or B C D E F E D C B Bb A Ab G F E D C
 20

Ex. Cmaj7 starting on the 7th then up to the 12th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
B C D E F G F E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 7th up to the 12th. Use the chromatic rule for lines beginning on the 2nd
4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. For descending from the
7th scale degree, put half steps between the 3rd and 2nd, 2nd and root. Or, for descending from
the 7th scale degree, put half step between the 7th and 6th, 6th and 5th.
B C D E F G F E D C B Bb A Ab G F E D C

Ex. Cmaj7 starting on the 7th then up to the 13th and back down. Use the chromatic rule for lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major).
B C D E F G A G F E D C B A G F E D C B A Ab G

Ex. Cmaj7 starting on the 7th up to the 13th. Use the chromatic rule for lines beginning on the 2nd
4th 6th or 7th add two half steps between the 2nd and root, 6th and 5th. For descending from the
7th scale degree, put half steps between the 3rd and 2nd, 2nd and root. Or, for descending from
the 7th scale degree, put half step between the 7th and 6th, 6th and 5th.
B C D E F G A G F E D C B Bb A Ab G F E D C or B C D E F G A G F E D Db C B A Ab G

Lines that skip up a third and resolving down a second – Use the chromatic rule for the note
you resolve to.

Ex. Cmaj7 skipping from the root to the 3rd and resolving down to the 2nd. Use the chromatic
rule for descending scale lines beginning on the 2nd or 4th add no half steps (Ionian Mode).
CEDCBAGFE

Ex. Cmaj7 skipping from the root to the 3rd and resolving down to the 2nd. Use the chromatic
rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps between the
2nd and root, 6th and 5th.
C E D Db C B A Ab G

Ex. Cmaj7 skipping from the 2nd to the 4th and resolving down to the 3rd. Use the chromatic rule
for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between the 6th and the
5th (Bebop Major).
D F E D C B A Ab G

Ex. Cmaj7 skipping from the 2nd to the 4th and resolving down to the 3rd. Use the chromatic rule
for descending scale lines beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd,
2nd and root, 6th and 5th.
D F E Eb D Db C B A Ab G F E
 21

Ex. Cmaj7 skipping from the 3rd to the 5th and resolving down to the 4th. Use the chromatic rule
for descending scale lines beginning on the 2nd or 4th add no half steps (Ionian Mode).
EGFEDCBAGFE

Ex. Cmaj7 skipping from the 3rd to the 5th and resolving down to the 4th. Use the chromatic rule
for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd
and root, 6th and 5th.
E G F E D Db C B A Ab G F E

Ex. Cmaj7 skipping from the 4th to the 6th and resolving down to the 5th. Use the chromatic rule
for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between the 6th and the
5th (Bebop Major).
F A G F E D C B A Ab G

Ex. Cmaj7 skipping from the 4th to the 6th and resolving down to the 5th. Use the chromatic rule
for descending scale lines beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd,
2nd and root, 6th and 5th.
F A G F E Eb D Db C B A Ab G

Ex. Cmaj7 skipping from the 5th to the 7th and resolving down to the 6th. Use the chromatic rule
for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between the 6th and the
5th (Bebop Major).
G B A Ab G F E D C

Ex. Cmaj7 skipping from the 5th to the 7th and resolving down to the 6th. Use the chromatic rule
for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd
and root, 6th and 5th.
G B A G F E D Db C B A Ab G

Ex. Cmaj7 skipping from the 5th to the 7th and resolving down to the 6th. Use the chromatic rule
for descending scale lines beginning on the 1 3 5 6 add three half steps between the 3rd and 2nd,
2nd and root, 6th and 5th.
G B A Ab G F E Eb D Db C B A Ab G

Ex. Cmaj7 skipping from the 6th to the root and resolving down to the 7th. Use the chromatic
rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps between the
2nd and root, 6th and 5th.
A C B A Ab G F E D Db C B A Ab G
 22

Ex. Cmaj7 skipping from the 6th to the root and resolving down to the 7th. Use the chromatic
rule for lines beginning on the 2nd 4th 6th or 7th add two half steps between the 2nd and root, 6th
and 5th. For descending from the 7th scale degree, put half steps between the 3rd and 2nd, 2nd
and root. Or, for descending from the 7th scale degree, put half step between the 7th and 6th, 6th
and 5th.
A C B Bb A Ab G F E D C B A Ab G

For lines beginning with a triad arpeggio and resolving down a second – Use the chromatic
rule for the note you start from or the note you resolve to. Either the root or 3rd of the triad.

Ex. Cmaj7 – arpeggiate the triad from the root up to the 5th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between
the 6th and the 5th (Bebop Major). C E G F E D C B A Ab G F E

Ex. Cmaj7 – arpeggiate the triad from the root up to the 5th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 add three half steps between
the 3rd and 2nd, 2nd and root, 6th and 5th. C E G F E Eb D Db C B A Ab G

Ex. Cmaj7 – arpeggiate the triad from the 2nd to the 6th and then descend the scale.For
descending scale lines beginning on the 2nd or 4th add no half steps (Ionian Mode).
DFAGFEDCBAGFE

Ex. Cmaj7 – arpeggiate the triad from the 2nd to the 6th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps
between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half steps
between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put half
step between the 7th and 6th, 6th and 5th. D F A G F E D Db C B A Ab G F E

Ex. Cmaj7 – arpeggiate the triad from the 3rd up to 7th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between
the 6th and the 5th (Bebop Major). E G B A G F E D C B A Ab G

Ex. Cmaj7 – arpeggiate the triad from the the 3rd up to 7th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 add three half steps between
the 3rd and 2nd, 2nd and root, 6th and 5th. E G B A G F E Eb D Db C B A Ab G F E

Ex. Cmaj7 – arpeggiate the triad from the 4th to the 8th and then descend the scale. For
descending scale lines beginning on the 2nd or 4th add no half steps (Ionian Mode).
FACBAGFEDCBAGFEDC
 23

Ex. Cmaj7 – arpeggiate the triad from the 4th to the 8th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps
between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half steps
between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put half
step between the 7th and 6th, 6th and 5th. F A C B A G F E D Db C B A Ab G F E

Ex. Cmaj7 – arpeggiate the triad from the 4th to the 8th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 add three half steps between
the 3rd and 2nd, 2nd and root, 6th and 5th. F A C B A Ab G F E Eb D Db C B A Ab G

Ex. Cmaj7 – arpeggiate the triad from the 5th up to the 9th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between
the 6th and the 5th (Bebop Major). G B D C B A F E D C B A Ab G F E

Ex. Cmaj7 – arpeggiate the triad from the 5th to the 9th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 add three half steps between
the 3rd and 2nd, 2nd and root, 6th and 5th. G B D C B A G F E Eb D Db C B A Ab G

Ex. Cmaj7 – arpeggiate the triad from the 5th to the 9th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps
between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half steps
between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put half
step between the 7th and 6th, 6th and 5th. G B D C B A Ab G F E D Db C or
G B D C B A G F E Eb D Db C or G B D C B Bb A Ab G F E D C

Ex. Cmaj7 – arpeggiate the triad from the 6th up to the 10th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step between
the 6th and the 5th (Bebop Major). A C E D C B A Ab G F E D C

Ex. Cmaj7 – arpeggiate the triad from the 6th to the 10th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 add three half steps between
the 3rd and 2nd, 2nd and root, 6th and 5th. A C E D C B A Ab G F E Eb D Db C

Ex. Cmaj7 – arpeggiate the triad from the 7th to the 11th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half steps
between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half steps
between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put half
step between the 7th and 6th, 6th and 5th. B D F E D C B Bb A
 24

Ex. Cmaj7 – arpeggiate the triad from the 7th to the 11th and then descend the scale. Use the
chromatic rule for descending scale lines beginning on the 1 3 5 6 add three half steps between
the 3rd and 2nd, 2nd and root, 6th and 5th. B D F E D Db C B A Ab G F E Eb D Db C

Lines that arpeggiate up a 7th chord and resolve down a second – Use the chromatic rule for
the note of resolution.

Ex. Cmaj7 – arpeggiate the 7th chord from the root up to the 7th and then resolve to the 6th. Use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step
between the 6th and the 5th (Bebop Major). C E G B A Ab G F E D C B A Ab G F E

Ex. Cmaj7 – arpeggiate the 7th chord from the root up to the 7th and then resolve to the 6th. Use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add three half steps
between the 3rd and 2nd, 2nd and root, 6th and 5th. C E G B A Ab G F E Eb D Db C B A Ab G

Ex. Cmaj7 – arpeggiate the 7th chord from the 2nd up to the 8th and then resolve to the 7th. Use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step
between the 6th and the 5th (Bebop Major). D F A C B A Ab G F E D C B A G F E

Ex. Cmaj7 – arpeggiate the 7th chord from the 2nd up to the 8th and then resolve to the 7th. Use
the chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half
steps between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half
steps between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put
half step between the 7th and 6th, 6th and 5th. D F A C B A Ab G F E D Db C or
D F A C B Bb A Ab G F E D C B A Ab G

Ex. Cmaj7 – arpeggiate the 7th chord from the 2nd up to the 8th and then resolve to the 7th. Use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add three half steps
between the 3rd and 2nd, 2nd and root, 6th and 5th. D F A C B A G F E Eb D Db C B A Ab G

Ex. Cmaj7 – arpeggiate the 7th chord from the 3rd up to the 9th and then resolve to the root. Use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step
between the 6th and the 5th (Bebop Major). E G B D C B A Ab G F E D C B A Ab G

Ex. Cmaj7 – arpeggiate the 7th chord from the 3rd up to the 9th and then resolve to the root. Use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add three half steps
between the 3rd and 2nd, 2nd and root, 6th and 5th. E G B D C B A Ab G F E Eb D Db C B A Ab G

Cmaj7 – arpeggiate the 7th chord from the 4th up to the 10th and then resolve to the 9th. Use the
chromatic rule for descending scale lines beginning on the 2nd or 4th add no half steps (Ionian
Mode). F A C E D C B A G F E
 25

Ex. Cmaj7 – arpeggiate the 7th chord from the 4th up to the 10th and then resolve to the 9th. Use
the chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half
steps between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half
steps between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put
half step between the 7th and 6th, 6th and 5th. F A C E D C B A Ab G F E D Db C or
F A C E D Db C B A Ab G F E D C B A

Ex. Cmaj7 – arpeggiate the 7th chord from the 5th up to the 11th and then resolve to the 10th.
Use the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step
between the 6th and the 5th (Bebop Major). G B D F E D C B A Ab G F E D C B A

Ex. Cmaj7 – arpeggiate the 7th chord from the 5th up to the 11th and then resolve to the 10th.
Use the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add three half
steps between the 3rd and 2nd, 2nd and root, 6th and 5th. G B D F E Eb D Db C B A Ab G F E D C

Cmaj7 – arpeggiate the 7th chord from the 6th up to the 12th and then resolve to the 11th. Use
the chromatic rule for descending scale lines beginning on the 2nd or 4th add no half steps
(Ionian Mode). A C E G F E D C B A G F E D C B A

Ex. Cmaj7 – arpeggiate the 7th chord from the 6th up to the 12th and then resolve to the 11th.
Use the chromatic rule for descending scale lines beginning on the 2nd 4th 6th or 7th add two half
steps between the 2nd and root, 6th and 5th. For descending from the 7th scale degree, put half
steps between the 3rd and 2nd, 2nd and root. Or, for descending from the 7th scale degree, put
half step between the 7th and 6th, 6th and 5th. A C E G F E D Db C B A Ab G F E D C

Ex. Cmaj7 – arpeggiate the 7th chord from the 7th up to the 13th and then resolve to the 12th.
Use the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add a half step
between the 6th and the 5th (Bebop Major). B D F A G F E D C B A Ab G F E D C

Ex. Cmaj7 – arpeggiate the 7th chord from the 7th up to the 13th and then resolve to the 12th.
Use the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add three half
steps between the 3rd and 2nd, 2nd and root, 6th and 5th. B D F A G E Eb D Db C B A Ab G F E

For longer lines, typically two measures, sometimes it is necessary to change chromatic rules in
the middle of the line to ensure the chord tone lands on the beat. On the downbeat of the
second measure apply the new chromatic rule beginning from that note.

Ex. Cmaj7 – Descending from the 4th. Use the chromatic rule for descending scale lines
beginning on the 2nd or 4th add no half steps (Ionian Mode). In the second measure use the
chromatic rule for beginning from the 3rd. Use the chromatic rule for descending scale lines
beginning on the 1 3 5 6 or 7 add a half step between the 6th and the 5th (Bebop Major), or use
the chromatic rule for descending scale lines beginning on the 1 3 5 6 or 7 add three half steps
between the 3rd and 2nd, 2nd and root, 6th and 5th.
F E D C B A G F E D C B A Ab G F E, F E D C B A G F E Eb D Db C B A Ab G
 26

Apply the chromatic rules related to which note starts on the beat, chord tone or non-chord
tone.

Pivoting with 7th chord arpeggios – Begin the line with the first note of the arpeggio up an
octave.

All the concepts for the Imaj7 will also work for the iii7 and vi7 chords.

Minor Tonic chords:

• For descending scale lines beginning on the Root ascend a whole step then descend
using the harmonic minor scale.
Ex. C-6, C-maj7 – C D B Ab G F Eb D C

• For descending scale lines beginning on the 2nd add no half steps (Harmonic Minor) or
add a half step between the 2nd and root, then use the previous rule of ascending a
whole step then descend using the harmonic minor scale
Ex. C-6, C-maj7 – D C B Ab G F Eb D C, D Db C D B Ab G F Eb

• For descending scale lines beginning on the 3rd descend to the tonic then add the whole
step up to the 2nd then descend the scale or ascend to the next scale degree then add a
chromatic tone between the 2nd and root.
Ex. C-6, C-maj7 – Eb D C D B Ab G F Eb D C, Eb F D Db C D B Ab G F Eb D C

• For descending scale lines beginning on the 4th add no half steps (Harmonic Minor) or
add a half step between the 2nd and root, then use the previous rule of ascending a
whole step then descend using the harmonic minor scale
Ex. C-6, C-maj7 – F Eb D C B Ab G F Eb, F Eb D Db C D B Ab G F Eb D C

• For descending scale lines beginning on the 5th descend the scale to the root then back
to the 2nd as in rule #1 or add a half step between the 2nd and root as in rule #4.
Ex. C-6, C-maj7 – G F Eb D C D B Ab G F Eb D C, G F Eb F D Db C D B Ab G F Eb

• For descending scale lines beginning on the 6th add no half steps (Harmonic Minor) or
add a half step between the 2nd and root then use the previous rule of ascending a
whole step above the root.
Ex. C-6, C-maj7 – Ab G F Eb D C B Ab G, Ab G F Eb D Db C D B Ab G F Eb

• For descending scale lines beginning on the 7th descend the scale to the root then use
the previous rule or ascending to the second or descend to 3rd and then ascend to the
next scale degree then add a chromatic tone between the 2nd and root.
Ex. C-6, C-maj7 – B Ab G F Eb D C D B Ab G F Eb, B Ab G F Eb F D Db C D B Ab G F Eb D C
 27

These same rules apply to playing over the V7 chord in minor and resolving to the tonic. You
can also use these same rules resolving V7 to I in a major key.

Ex. G7 to Cmaj7 – C D B Ab G F Eb D C D E D C
Ex. G7 to Cmaj7 – D C B Ab G F Eb D C D E D C, D Db C D B Ab G F E F G F E
Ex. G7 to Cmaj7 – Eb D C D B Ab G F E F G F E, Eb F D Db C D B Ab G F E D C
Ex. G7 to Cmaj7 – F Eb D C B Ab G F E F G F E, F Eb D Db C D B Ab G F E D C
Ex. G7 to Cmaj7 – G F Eb D C D B Ab G F E D C, G F Eb F D Db C D B A G F E
Ex. G7 to Cmaj7 – Ab G F Eb D C B Ab G F E D C, Ab G F Eb D Db C D B A G F E D C B D C
Ex. G7 to Cmaj7 – B Ab G F Eb D C D B A G F E Eb D Db C, B Ab G F Eb D C D B Bb A Ab G F E D C
Ex. G7 to Cmaj7 – B Ab G F Eb D C D B A Ab G F E D Db C, B Ab G F Eb F D Db C

The addition of the chromatic notes keeps the chord tones on the strong beats.

Run up and down the harmonic minor scale using the rule for whichever note you start from

• Starting from the root, ascend a whole step then descend using the harmonic minor
scale.

Ex. C-6, C-maj7 – up to the 2nd, C D C D B Ab G F Eb

Ex. C-6, C-maj7 – up to the 3rd, C D Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 4th, C D Eb F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 5th, C D Eb F G F Eb D C D B Ab G F Eb D C
Ex. C-6, C-maj7 – up to the 6th, C D Eb F G Ab G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 7th, C D Eb F G Ab B Ab G F Eb D C D B Ab G

• Starting from the 2nd, For descending scale lines beginning on the 2nd add no half steps
(Harmonic Minor) or add a half step between the 2nd and root, then use the previous
rule of ascending a whole step then descend using the harmonic minor scale

Ex. C-6, C-maj7 – up to the 3rd, no half steps D Eb D C B Ab G F Eb

Ex. C-6, C-maj7 – up to the 3rd, with half steps D Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 4th, no half steps D Eb F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 4th, with half steps D Eb F Eb D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 5th, no half steps D Eb F G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 – up to the 5th, with half steps D Eb F G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 6th, no half steps D Eb F G Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 6th, with half steps D Eb F G Ab G F Eb D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 7th, no half steps D Eb F G Ab B Ab G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 – up to the 7th, with half steps D Eb F G Ab B Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, no half steps D Eb F G Ab B C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 8th, with half steps D Eb F G Ab B C B Ab G F Eb D Db C D B Ab G F Eb
 28

• For descending scale lines beginning on the 3rd descend to the tonic then add the whole
step up to the 2nd then descend the scale or ascend to the next scale degree then add a
chromatic tone between the 2nd and root.

Ex. C-6, C-maj7 – up to the 4th, no half steps Eb F Eb D C D B Ab G

Ex. C-6, C-maj7 – up to the 4th, with half steps Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 5th, no half steps Eb F G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 5th, with half steps Eb F G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 6th, no half steps Eb F G Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 6th, with half steps Eb F G Ab G F Eb F D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 7th, no half steps Eb F G Ab B Ab G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 7th, with half steps Eb F G Ab B Ab G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, no half steps Eb F G Ab B C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, with half steps Eb F G Ab B C B Ab G F Eb F D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 9th, no half steps Eb F G Ab B C D C B Ab G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 9th, with half steps Eb F G Ab B C D C B Ab G F Eb F D Db C D B Ab G

• For descending scale lines beginning on the 4th add no half steps (Harmonic Minor) or
add a half step between the 2nd and root, then use the previous rule of ascending a
whole step then descend using the harmonic minor scale

Ex. C-6, C-maj7 – up to the 5th, no half steps F G F Eb D C B Ab G F Eb

Ex. C-6, C-maj7 – up to the 5th, with half steps F G F Eb D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 6th, no half steps F G Ab G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 – up to the 6th, with half steps F G Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 7th, no half steps F G Ab B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 7th, with half steps F G Ab B Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, no half steps F G Ab B C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 8th, with half steps F G Ab B C B Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 9th, no half steps F G Ab B C D C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 9th, with half steps F G Ab B C D C B Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 10th, no half steps F G Ab B C D Eb D C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 10th, with half steps F G Ab B C D Eb D C B Ab G F Eb D Db C D B Ab G

• For descending scale lines beginning on the 5th descend the scale to the root then back
to the 2nd as in rule #1 or add a half step between the 2nd and root as in rule #4.

Ex. C-6, C-maj7 – up to the 6th, no half steps G Ab G F Eb D C D B Ab G F Eb

Ex. C-6, C-maj7 – up to the 6th, with half steps G Ab G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 7th, no half steps G Ab B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 7th, with half steps G Ab B Ab G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, no half steps G Ab B C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, with half steps G Ab B C B Ab G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 9th, no half steps G Ab B C D C B Ab G F Eb D C D B Ab G
 29

Ex. C-6, C-maj7 – up to the 9th, with half steps G Ab B C D C B Ab G F Eb F D Db C D B Ab G

Ex. C-6, C-maj7 – up to the 10th, no half steps G Ab B C D Eb D C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 10th, with half steps G Ab B C D Eb D C B Ab G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 11th, no half steps G Ab B C D Eb F Eb D C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 11th, with half steps G Ab B C D Eb F Eb D C B Ab G F Eb F D Db C D B
Ab G

• For descending scale lines beginning on the 6th add no half steps (Harmonic Minor) or
add a half step between the 2nd and root then use the previous rule of ascending a
whole step above the root.

Ex. C-6, C-maj7 – up to the 7th, no half steps Ab B Ab G F Eb D C B Ab G F Eb

Ex. C-6, C-maj7 – up to the 7th, with half steps Ab B Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 8th, no half steps Ab B C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 8th, with half steps Ab B C B Ab G F Eb D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 9th, no half steps Ab B C D C B Ab G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 – up to the 9th, with half steps Ab B C D C B Ab G F Eb D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 10th, no half steps Ab B C D Eb D C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 – up to the 10th, with half steps Ab B C D Eb D C B Ab G F Eb D Db C D B Ab G F
Eb
Ex. C-6, C-maj7 – up to the 11th, no half steps Ab B C D Eb F Eb D C B Ab G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 – up to the 11th, with half steps Ab B C D Eb F Eb D C B Ab G F Eb D Db C D B Ab
G F Eb D C
Ex. C-6, C-maj7 – up to the 12th, no half steps Ab B C D Eb F G F Eb D C B Ab G F Eb D C B Ab G F
Eb D C
Ex. C-6, C-maj7 – up to the 12th, with half steps Ab B C D Eb F G F Eb D C B Ab G F Eb D Db C D B
Ab G F Eb

• For descending scale lines beginning on the 7th descend the scale to the root then use
the previous rule or ascending to the second or descend to 3rd and then ascend to the
next scale degree then add a chromatic tone between the 2nd and root.

Ex. C-6, C-maj7 – up to the 8th, no half steps B C B Ab G F Eb D C D B Ab G F Eb D C

Ex. C-6, C-maj7 – up to the 8th, with half steps B C B Ab G F Eb F D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 9th, no half steps B C D C B Ab G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 9th, with half steps B C D C B Ab G F Eb F D Db C D B Ab G
Ex. C-6, C-maj7 – up to the 10th, no half steps B C D Eb D C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – up to the 10th, with half steps B C D Eb D C B Ab G F Eb F D Db C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 11th, no half steps B C D Eb F Eb D C B Ab G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 – up to the 11th, with half steps B C D Eb F Eb D C B Ab G F Eb F D Db C D C B Ab
G F Eb D C
Ex. C-6, C-maj7 – up to the 12th, no half steps B C D Eb F G F Eb D C B Ab G F Eb D C D B Ab G F
Eb D C
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Ex. C-6, C-maj7 – up to the 12th, with half steps B C D Eb F G F Eb D C B Ab G F Eb F D Db C D B

Ab G F Eb
Ex. C-6, C-maj7 – up to the 13th, no half steps B C D Eb F G Ab G F Eb D C B Ab G F Eb D C D B Ab
G F Eb
Ex. C-6, C-maj7 – up to the 13th, with half steps B C D Eb F G Ab G F Eb D C B Ab G F Eb F D Db C
D B Ab G F Eb D C

Arpeggiating the Diatonic Triads

• Arpeggiating the tonic triad from the Root

Ex. C-6, C-maj7 – with no half steps C Eb G F Eb D C D B Ab G F Eb D C
Ex. C-6, C-maj7 – with half steps C Eb G F Eb F D Db C D B Ab G

• Arpeggiating the tonic triad from the 2nd

Ex. C-6, C-maj7 or G7 – with no half steps D F Ab G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 or G7 – with half steps D F Ab G F Eb D Db C D B Ab G

• Arpeggiating the tonic triad from the 3rd

Ex. C-6, C-maj7 – with no half steps Eb G B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 – with half steps Eb G B Ab G F Eb F D Db C D B Ab G

• Arpeggiating the tonic triad from the 4th

Ex. C-6, C-maj7 or G7 – with no half step F Ab C B Ab G F Eb D C B Ab G
Ex. C-6, C-maj7 or G7 – with half steps F Ab C B Ab G F Eb D Db C D B Ab G

• Arpeggiating the tonic triad from the 5th

Ex. C-6, C-maj7 or G7 – with no half step G B D C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 or G7 – with half steps G B D C B Ab G F Eb F D Db C D B Ab G

• Arpeggiating the tonic triad from the 6th

Ex. C-6, C-maj7 or G7 – with no half step Ab C Eb D C B Ab G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 or G7 – with half steps Ab C Eb D C B Ab G F Eb D Db C D B Ab G

• Arpeggiating the tonic triad from the 7th

Ex. C-6, C-maj7 or G7 – with no half step B D F Eb D C B Ab G F Eb D C D B Ab G
Ex. C-6, C-maj7 or G7 – with half steps B D F Eb D Db C D B Ab G F Eb D C D B

Arpeggiating the Seventh Chords

• Arpeggiating the tonic seventh chord from the Root. Use the rule starting from the 6th.
Ex. C-6, C-maj7 – with no half steps C Eb G B Ab G F Eb D C B Ab G F Eb D C
Ex. C-6, C-maj7 – with half steps C Eb G B Ab G F Eb D Db C D B Ab G F Eb
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• Arpeggiating the tonic triad from the 2nd. Use the rule starting from the 7th.
Ex. C-6, C-maj7 or G7 – with no half steps D F Ab C B Ab G F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 or G7 – with half steps D F Ab C B Ab G F Eb F D Db C D B Ab G

• Arpeggiating the tonic triad from the 3rd. Use the rule starting from the root.
Ex. C-6, C-maj7 or G7 – with no half steps Eb G B D C D B Ab G F Eb D C D B Ab G

• Arpeggiating the tonic triad from the 4th. Use the rule starting from the 2nd.
Ex. C-6, C-maj7 or G7 – with no half step F Ab C Eb D C B Ab G F Eb D C
Ex. C-6, C-maj7 or G7 – with half steps F Ab C Eb D Db C D B Ab G F Eb F D Db C

• Arpeggiating the tonic triad from the 5th. Use the rule starting from the 3rd.
Ex. C-6, C-maj7 or G7 – with no half step G B D F Eb D C D B Ab G F Eb
Ex. C-6, C-maj7 or G7 – with half steps G B D F Eb F D Db C D B Ab G F Eb D C

• Arpeggiating the tonic triad from the 6th. Use the rule starting from the 4th.
Ex. C-6, C-maj7 or G7 – with no half step Ab C Eb G F Eb D C B Ab G F Eb
Ex. C-6, C-maj7 or G7 – with half steps Ab C Eb G F Eb D Db C D B Ab G F Eb D C

• Arpeggiating the tonic triad from the 7th. Use the rule starting from the 5th.
Ex. C-6, C-maj7 or G7 – with no half step B D F Ab G F Eb D C D B Ab G F Eb D C
Ex. C-6, C-maj7 or G7 – with half steps B D F Ab G F Eb F D Db C D B Ab G F Eb