Preparing to Play in All Keys®

Step #9:  Learning all the Major Scales.

Start now playing all the Major Scales.  Play them with two hands, up-and-down, without thinking.  The scales should be totally effortless.  Make sure you know the sharps and flats in every key.  Know all the notes in every scale.

Step #10: Playing Diatonic Improv in All Keys.

In this step, we are using the skills developed in the White Key Exercise and playing in all keys.  It is suggested that you start with the easiest key for you.  Then, once you master that key, move on to the "next easiest key".

Let's say you are playing in the key of G major.  Take a look at the scale.  Play it up and down.  Notice the F sharps.

Eventually work your way through ALL the keys and scales.

Step #11:  Learning the Major Scale Modes from the Bottom Note.

When we learn the Major Scale Modes from the "jazz perspective", we have to learn the modes from the bottom note.  For instance, when we learn a scale we usually learn and play it from the bottom note.  A C Major Scale usually is played from C to C.

If we learn the Lydian Mode (4-4), we have the option to learn it from the fourth degree of the scale.  That would be from F to F (of the C Major Scale).

But, I'm suggesting that instead you learn the Lydian Mode from the bottom note (in this case it is C).  This means that the mode would in reality be a G Major Scale starting on the bottom note of C.  This would appear to be a C Major Scale with a sharp fourth degree (F#).

Why do we do this?  We do this because we learn modes which "attach" themselves to chords.  In this way we can translate all chords into modes.

Learning the Major Scale Modes from the Bottom Note

Ionian Mode (Major Scale) 1-1
Lydian Mode 4-4 (#4)
Mixolydian Mode 5-5 (b7)
Dorian Mode 2-2 (b3, 7)
Aeolian Mode 6-6 (b3, 6, 7)
Phrygian Mode 3-3 (b2, 3, 6, 7)
Locrian Mode 7-7 (b2, 3, 5, 6, 7)

Step 12:  Learning the Melodic Minor Scale Modes from the Bottom Note.

There are many scales that we can learn the modes from the bottom note.  On of the most popular jazz scales is the Melodic Minor Scale.  Learning the Melodic Minor Scale is easy.  Just play a Major Scale and flat the third degree.  This makes it sound minor.

In classical music theory, the scale goes up with the flatted third and major seventh.  But, it comes down flatting the 7th and 6th degrees.  This gives the scale one sound on the way up and a different sound on the way down (it's the Aeolian Mode).  We don't do this in jazz because we want to identify a specific sound with a specific chord.

For instance, if you are playing a Minor/Major Seventh Chord, the appropriate scale or mode does not exist in the Major Scale.  It does exist, though, in the Melodic Minor Scale (1-1).

Learn all of the modes of the Melodic Minor Scale starting from the bottom note.

Learning the Melodic Minor Scale Modes from the Bottom Note

Melodic Minor Scale (1-1) (b3)
Dorian b2 (2-2) (b2, 3, 7)
Lydian Augmented (3-3) (#4, & 5)
Lydian Mixolydian (4-4) (#4 & b7)
Mixolydian b6 (5-5) (b6, 7)
Aeolian b5 (6-6) (b3, 5, 6, 7)
Alt (Locrian b4) (7-7) (b2, 3, 4, 5, 6, 7)

Step #13:  Learning the Harmonic Minor Scale Modes from the Bottom Note.

The Harmonic Minor Scale has a flat 3 and flat 6.  It works very well with a minor/major 7th.  It is also used when you are playing two-five-one progressions in minor.

Step #14:  Learning the Diminished Scale.

The Diminished Seventh Chord is made up of minor thirds.  It is an "equal-distant" chord.  You can create two equal-distant scales from this chord:  the Half/Whole and the Whole/Half Diminished Scale.  This scale works when you are playing any Diminished Chord or a dominant seventh with a flatted 9.

There are only three Diminished Scales:  C, C# and D.