The Gypsy Minor scale Recall that we defined scale as: a group of notes within an octave (and any octaves of those notes) usually played one at a time. We can describe (define) a scale in any of these ways: - by letters (representing specific pitches) - by numbers (representing specific intervals) - by step pattern (describing intervals from note to note) So for example the major scale (ionian mode) can be described/ defined as/by: C-D-E-F-G-AB-C (in the key of C), 1,2,3,4,5,6,7, and W-W-1/2-W-W-W-1/2. We define a minor scale as a scale containing the notes (intervals) 1,b3,5. (In other words, using the notes in the scale we can construct a minor chord off the root note) From either gypsy minor scale = W-1/2-m3-1/2-1/2-m3-1/2, or A-Gyp.Minor = A-B-C-D#-EF-G#-A we can find the intervals (from the root note) to be 1,2,b3,#4,5,b6,7. Looking at the numbers, we can deduce that the gypsy minor scale is a minor scale (not THE minor scale everyone talks about - that would be the aeolian mode, but a minor scale nonethe-less). that is, it contains the notes 1,b3,5. We also note that it is similar to THE minor scale. The aeolian mode (THE minor scale) has the intervals 1,2,b3,4,5,b6,b7; and the Gypsy minor scale has the intervals 1,2,b3,#4,5,b6,7. So we could view the gypsy minor scale as an aeolian scale with a major seventh ( a major seventh in place of a minor seventh) and a raised fourth (augmented fourth in place of a perfect fourth). We also note that it is very similar to the harmonic minor scale. The harmonic minor scale has the intervals 1,2,b3,4,5,b6,7; and the Gypsy minor scale has the intervals 1,2,b3,#4,5,b6,7. So we could view the Gypsy minor scale as an Harmonic minor scale with an augmented fourth. We can use this idea as a stepping stone to learning the scale. If you already know the Harmonic minor scale, then you could play those patterns , replacing the 4 with the #4. This idea of thinking of one scale as being another scale with altered notes (e.g. ionianb7, lydianb7, etc.) or with missing notes (e.g. pentatonic major, etc.) occurs from time to time, and may give some perspective/context/comfort in learning new scales. So we could think of Gyp. min. as Harm.Min.#4, etc. if we wanted to. * Note: Due to the major seventh, we will not be able to substitute pent. min. for harm. min. with root on the same note (parallel scales) without running into dissonance between the sevenths. So lets look at some patterns (moveable shapes) with which we can play the gypsy minor scale.

|-1|--|-2|b3|--|--|#4|-5|b6|--|--|-7|-1| |-5|b6|--|--|-7|-1|--|-2|b3|--|--|#4|-5| |b3|--|--|#4|-5|b6|--|--|-7|-1|--|-2|b3| |--|-7|-1|--|-2|b3|--|--|#4|-5|b6|--|--| |--|#4|-5|b6|--|--|-7|-1|--|-2|b3|--|--| |-1|--|-2|b3|--|--|#4|-5|b6|--|--|-7|-1|

gypsy minor scale "E-shape" (root note on the 6th string) |-7-|-1-|---|-2-|b3-| |#4-|-5-|b6-|---|---| |-2-|b3-|---|---|---| |---|---|-7-|-1-|---| |---|---|#4-|-5-|b6-| |-7-|-1-|---|-2-|b3-|

gypsy minor scale "D-shape" (root note on the 4th string) |---|-2-|b3-|---|---|#4-| |---|---|---|-7-|-1-|---| |---|---|#4-|-5-|b6-|---| |-7-|-1-|---|-2-|b3-|---| |#4-|-5-|b6-|---|---|---| |---|-2-|b3-|---|---|---|

gypsy minor scale "C-shape" (root note on the 5th string) |---|---|#4-|-5-|b6-| |---|-1-|---|-2-|b3-| |-5-|b6-|---|---|-7-| |-2-|b3-|---|---|#4-| |---|---|-7-|-1-|---| |---|---|#4-|-5-|b6-|

gypsy minor scale "A-shape" (root note on the 5th string) |#4-|-5-|b6-|---|---| |---|-2-|b3-|---|---| |---|---|-7-|-1-|---| |---|---|#4-|-5-|---| |-7-|-1-|---|-2-|b3-| |#4-|-5-|b6-|---|---|

gypsy minor scale "G-shape" (root note on the 6th string) |---|---|-7-|-1-|---| |---|---|#4-|-5-|b6-| |-1-|---|-2-|b3-|---| |-5-|b6-|---|---|-7-| |-2-|b3-|---|---|#4-| |---|---|-7-|-1-|---|

We recall, that we can derive chords by harmonizing scales. We've previously harmonized the major scale in thirds to get triads, and seventh chords (see August 19th's, and august 16th's lessons)

two adjacent strings: Seperated by a P4 |---|#4-|-5-|b6-|---|---|-7-|-1-| |-1-|---|-2-|b3-|---|---|---|---|

seperated by a M3 |---|---|#4-|-5-|b6-|---|---|-7-|-1-| |-1-|---|-2-|b3-|---|---|---|---|---|

We found for the minor scale (aeolian mode) The following triads: i-iio-bIII-iv-v-bVI-bVII and for the harmonic minor scale i-iio-bIII+-iv-V-bVI-viio We can create "gypsy minor scale" progressions. Doing so will give us a framework to analyze songs, and find good opportunities to employ the harmonic minor scale. it's also good practice for songwriting, etc. We see above the following chords for gypsy minor: in triads: i-IIb5-bIII+-#ivosus2-V-bVI-vii in 7th chords: imaj7-II7b5-bIIImaj7#5-#ivo7sus2-Vmaj7-bVImaj7-viibb7 (vii6) in 9th chords: imaj9-II7b9b5-bIIImaj7#9#5-#ivo7b9sus2-Vmaj7b9-bVImaj7#9-viibb7b9 in 11th chords: imaj9#11-II11b9b5-bIIImaj11#9#5-#iv11b9b5sus2-Vmaj11b9bVImaj7#9#11-viibb7b11b9 in 13th chords: imaj9#11b13-II13b9b5-bIIImaj13#9#5-#iv11b9b13b5sus2-Vmaj11b13b9bVImaj13#11#9-viibb7b13b11b9 So we could take any of the chords in the above paragraph and create a gypsy minor progression out of it. We really should include some type of I chord (i, imaj7, imaj7sus#4, imaj9, etc.) and it should be the predominant chord in our progression, with a feeling of resolution when we come back to it. Take a minute to compare and contrast the chords from the harmonic minor, and gypsy minor scales. Harmonic minor = i-iio-bIII+-iv-V-bVI-viio Gypsy minor = i-IIb5-bIII+-#ivosus2-V-bVI-vii They share the following chords (triads) in common: i,bIII+,V,bVI. Creating a progression using only these chords would be slightly ambiguous, and could be interpreted as either gypsy minor or harmonic minor. In fact, such a progression would be a good one to record (or have a friend play) and solo over to uderstand the subtle differences between gypsy and harmonic minors (try switching from i-gyp.min. to i-harm.min. and back, etc. over such a progression and see what different moods are created). If on the other hand, you want to create a progression that has a more harmonic minor character, you should include at least one of the other 3 chords (IIb5,#ivosus2,vii) not found in harmonic minor.

Where/when does one usually decide to use gypsy minor? - some would use it over the imaj7 chord in the minor scale/key context (play i-harmonic minor over imaj7), or over imaj7b5 chord - over several chords that fit within a gypsy minor context (see above chords for harmonic minor). ex. over Am-B(b5)-Em (i-IIb5-V) you could play A-gypsy minor. - over a related modal progression, use the relative gypsy minor scale. Due to the slightly chromatic nature of the scale, we could employ other harmonization schemes to some advantage. For example, looking at chords built off the 1-chord (i, imaj7, etc.) we have the possibilities of 5,b5,and #5. So we can create chords like i,io,i+, imaj7b5, imaj7#5, etc. With the b3-chord the possibilities are choices among b3,3,4 leading to possibilities such as bIII+5sus4, biii+5, etc. The chromaticism also lends itself nicely to angular concepts. We can increase our familiarity by singing every note as we practice our scales/soloing. In previous lessons on scales i've given some basic pointers on starting to solo. Those things transfer here too. Just replace the scale in question with the gypsy minor scale (see lessons from May 24th, june 7th, july 5th, and august 2nd). Here are two more using gypsy minor: 1.)(1-7-5)-(2-8-b6)-(b3-9-7)-(#4-b10-8)-(5-#11-9)-(b6-12-b10-8) 2.) (1-2-b3-2)-(1-b3-#4-b3)-(1-#4-5-#4)-(1-5-b6-5)-(1-b6-7-b6)-(1-7-8-7)-8 Next weeks lesson is on the Modes of the Gypsy minor scale.

Modes of the Gypsy Minor scale

Recall that The gypsy minor scale has the following step pattern: W-1/2-m3-1/2-1/2-m3-1/2, intervals 1,2,b3,#4,5,b6,7, and with root on C, the notes C-D-bE-F#-G-bA-B-C. We can derive the modes of a scale by using its step pattern. We do this by moving the first step of a step pattern to the end, and repeating until we return to the first scale we started with. We now derive the modes of the gypsy minor scale (gypsy minor scale = W-1/2-m3-1/2-1/2-m3-1/2). W-1/2-m3-1/2-1/2-m3-1/2 = gypsy minor scale 1/2-m3-1/2-1/2-m3-1/2-W = oriental m3-1/2-1/2-m3-1/2-W-1/2 = 1/2-1/2-m3-1/2-W-1/2-m3 = 1/2-m3-1/2-W-1/2-m3-1/2 = byzantine m3-1/2-W-1/2-m3-1/2-1/2 = 1/2-W-1/2-m3-1/2-1/2-m3 = * Alternate names for these scales follow below under the specific scales. (Some people just use 2nd mode of the gypsy minor, etc.) Now taking these step patterns and (with the help of a transposition chart if necessary) turning them into an intervallic notation (numbers), we have: gypsy minor scale = 1,2,b3,#4,5,b6,7 oriental = 1,b2,3,4,b5,6,b7 = 1,#2,3,4,#5,6,7 = 1,b2,bb3,4,b5,b6,bb7 byzantine = 1,b2,3,4,5,b6,7 = 1,#2,3,#4,5,#6,7 = 1,b2,b3,b4,5,b6,bb7 We define a major scale as a scale containing the notes (intervals) 1,3,5. (In other words, using the notes in the scale we can construct a major chord off the root note) We define a minor scale as a scale containing the notes (intervals) 1,b3,5. (In other words, using the notes in the scale we can construct a minor chord off the root note) We define a diminished scale as a scale containing the notes (intervals) 1,b3,b5. (In other words, using the notes in the scale we can construct a diminished chord off the root note) We define an augmented scale as a scale containing the notes (intervals) 1,3,#5. (In other words, using the notes in the scale we can construct an augmented chord off the root note) Comparing the above definitions with the scales (modes), we see that Byzantine,and 6th mode are major scales. Gypsy minor, and 7th mode are minor scales. There are no diminished scales. 3rd mode is an augmented scale.

The oriental scale is majorb5, and the 4th mode has a root chord with the equivalent of a suspended 2nd and a diminished fifth. Recall, that we can harmonize chords from the gypsy minor scale. we did this by stacking thirds to get the following chords: in triads: i-IIb5-bIII+-#ivosus2-V-bVI-vii in 7th chords: imaj7-II7b5-bIIImaj7#5-#ivo7sus2-Vmaj7-bVImaj7-viibb7 (vii6) in 9th chords: imaj9-II7b9b5-bIIImaj7#9#5-#ivo7b9sus2-Vmaj7b9-bVImaj7#9-viibb7b9 in 11th chords: imaj9#11-II11b9b5-bIIImaj11#9#5-#iv11b9b5sus2-Vmaj11b9-bVImaj7#9#11-viibb7b11b9 in 13th chords: imaj9#11b13-II13b9b5-bIIImaj13#9#5-#iv11b9b13b5sus2-Vmaj11b13b9-bVImaj13#11#9viibb7b13b11b9 In a similar proceedure to finding the modes from the step pattern, we can find the chords harmonized from the modes. the general proceedure is to move the first chord to the end of the list, and then renumber all the chords using the numbers/ intervals for the respective mode. Before discussing each mode, we'll consider an alternate (though more frequently seen) way of viewing modes. Consider starting the gypsy minor scale on A, we can define the modes this way: A-B-C-D#-E-F-G#-A = A-Gypsy minor B-C-D#-E-F-G#-A-B = B-Oriental C-D#-E-F-G#-A-B-C = CD#-E-F-G#-A-B-C-D# = DE-F-G#-A-B-C-D#-E = E-Byzantine F-G#-A-B-C-D#-E-F = FG#-A-B-C-D#-E-F-G = G# We can consider the above (2 paragraphs) to be in the form of relative modes (analagous to relative major and minor, see major scale's lesson). Whereas the previous examples could be seen as parallel modes (all starting from a common 1). So from relative modes we gain a sense of how the modes progress through a key (in what order they follow one another). We can also get that from the step pattern. From parallel modes we gain an understanding of the different mood the mode brings us. It is much easier to hear the differences between modes when playing them in parallel (from the same root note) then when playing them relative (in same key). And last, we recall that we can create progressions from groups of chords. We can create modal progressions (progressions that come out of /go with the mode) out of chords from the mode. Modes of the Gypsy minor scale, pt.2 We now consider each mode: Gypsy MINOR |-1|--|-2|b3|--|--|#4|-5|b6|--|--|-7|-1| |-5|b6|--|--|-7|-1|--|-2|b3|--|--|#4|-5| |b3|--|--|#4|-5|b6|--|--|-7|-1|--|-2|b3| |--|-7|-1|--|-2|b3|--|--|#4|-5|b6|--|--| |--|#4|-5|b6|--|--|-7|-1|--|-2|b3|--|-4| |-1|--|-2|b3|--|--|#4|-5|b6|--|--|-7|-1|

Gypsy minor scale "E-shape" (root note on the 6th string) |-7-|-1-|---|-2-|b3-| |#4-|-5-|b6-|---|---| |-2-|b3-|---|---|---| |---|---|-7-|-1-|---| |---|---|#4-|-5-|b6-| |-7-|-1-|---|-2-|b3-| Gypsy minor scale "A-shape" (root note on the 5th string) |#4-|-5-|b6-|---|---| |---|-2-|b3-|---|---| |---|---|-7-|-1-|---| |---|---|#4-|-5-|b6-| |-7-|-1-|---|-2-|b3-| |#4-|-5-|b6-|---|---| I've previously described the Gypsy minor scale in detail (see last lesson). The gypsy minor scale is heard in forms of classical and folk musics. It's step pattern is W-1/2-m3-1/2-1/2-m3-1/2. We can represent its intervals as 1,2,b3,#4,5,b6,7. we can see it is a minor scale (contains the notes 1,b3,5). With the root note on C, it is the notes C-D-Eb-F#-G-Ab-B-C. Some also lists the gypsy minor as hungarian, hungarian minor, double harmonic minor, and hungarian gypsy minor. We associate the following chords with the gypsy minor scale: in triads: i-IIb5-bIII+-#ivosus2-V-bVI-vii in 7th chords: imaj7-II7b5-bIIImaj7#5-#ivo7sus2-Vmaj7-bVImaj7-viibb7 (vii6) in 9th chords: imaj9-II7b9b5-bIIImaj7#9#5-#ivo7b9sus2-Vmaj7b9-bVImaj7#9-viibb7b9 in 11th chords: imaj9#11-II11b9b5-bIIImaj11#9#5-#iv11b9b5sus2-Vmaj11b9-bVImaj7#9#11-viibb7b11b9 in 13th chords: imaj9#11b13-II13b9b5-bIIImaj13#9#5-#iv11b9b13b5sus2-Vmaj11b13b9-bVImaj13#11#9viibb7b13b11b9 We can create progressions from these chords. we should include the i chord, and it should be the chord which the progression wants to resolve to (this is true of all modal progressions, replacing i with the appropriate one chord). Oriental |-1|b2|--|--|-3|-4|b5|--|--|-6|b7|--|-1| |--|--|-6|b7|--|-1|b2|--|--|-3|-4|b5|--| |--|-3|-4|b5|--|--|-6|b7|--|-1|b2|--|b3| |b7|--|-1|b2|--|--|-3|-4|b5|--|--|-6|b7| |-4|b5|--|--|-6|b7|--|-1|b2|--|--|-3|-4| |-1|b2|--|--|-3|-4|b5|--|--|-6|b7|--|-1| Oriental "E-shape" (root note on the 6th string) |---|-1-|b2-|---|---| |---|---|---|-6-|b7-| |---|---|-3-|-4-|b5-| |-6-|b7-|---|-1-|b2-| |-3-|-4-|b5-|---|---| |---|-1-|b2-|---|---|

Oriental "A-shape" (root note on the 5th string) |---|---|---|-6-|b7-|---| |---|---|---|-3-|-4-|b5-| |-6-|b7-|---|-1-|b2-|---| |-3-|-4-|b5-|---|---|---| |---|-1-|b2-|---|---|---| |---|---|---|-6-|b7-|---| The oriental scale is the 2nd mode of the gypsy minor scale. The oriental scale is rarely heard. In the key of Am, it would be the notes: B-C-D#-E-F-G#-A-B (with strongest emphasis on the B note). Its step pattern is 1/2-m31/2-1/2-m3-1/2-W. We can represent its intervals as 1,b2,3,4,b5,6,b7. We can see it is a majorb5 scale (contains the notes 1,3,b5). Some also lists the Oriental scale as the 2nd mode of the gypsy minor scale. We associate the following chords with the oriental mode: in triads: Ib5-bII+-iiiosus2-IV-bV-vi-bvii in 7th chords: I7b5-bIImaj7#5-iiio7sus2-IVmaj7-bVmaj7-vibb7 (vi6)-bviimaj7 in 9th chords: I7b9b5-bIImaj7#9#5-iiio7b9sus2-IVmaj7b9-bVmaj7#9-vibb7b9-bviimaj9 in 11th chords: I11b9b5-bIImaj11#9#5-iii11b9b5sus2-IVmaj11b9-bVmaj7#9#11-vibb7b11b9-bviimaj9#11 in 13th chords: I13b9b5-bIImaj13#9#5-iii11b9b13b5sus2-IVmaj11b13b9-bVmaj13#11#9-vibb7b13b11b9bviimaj9#11b13 There aren't any common progressions for the oriental mode, as it is not used much. You can make up your own, but because of the tritone in the tonic chord (b5), there is a restless feel in the root chord that makes it tend to not feel resolved. 3rd mode of the gyp.min.scale, Ionian#5#9 |-1|--|--|#2|-3|-4|--|--|#5|-6|--|-7|-1| |--|#5|-6|--|-7|-1|--|--|#2|-3|-4|--|--| |#2|-3|-4|--|--|#5|-6|--|-7|-1|--|--|#2| |--|-7|-1|--|--|#2|-3|-4|--|--|#5|-6|--| |-4|--|--|#5|-6|--|-7|-1|--|--|#2|-3|--| |-1|--|--|#2|-3|-4|--|--|#5|-6|--|-7|-1| Ionian#5#9 "E-shape" (root note on the 6th string) |---|-7-|-1-|---|---|#2-| |---|---|---|#5-|-6-|---| |---|---|#2-|-3-|-4-|---| |#5-|-6-|---|-7-|-1-|---| |#2-|-3-|-4-|---|---|---| |---|-7-|-1-|---|---|---| Ionian#5#9 "A-shape" (root note on the 5th string) |---|---|---|#5-|-6-|---| |---|---|---|#2-|-3-|-4-| |#5-|-6-|---|-7-|-1-|---| |#2-|-3-|-4-|---|---|---| |---|-7-|-1-|---|---|---| |---|---|---|#5-|-6-|---|

The Ionian#5#9 is the 3rd mode of the gypsy minor scale. In the key of C, it would be the notes: F-G#-A-B-CD#-E-F (with strongest emphasis on the F note). Its step pattern is m3-1/2-1/2-m3-1/2-W-1/2. We can represent its intervals as 1,#2,3,4,#5,6,7. We can see it is an augmented scale (contains the notes 1,3,#5).Some also lists the Ionian #5#9 scale as the 3rd mode of the gyp.min. scale. We associate the following chords with the Ionian#5 mode: in triads: I+-#iiosus2-III-IV-#v-vi-VIIb5 in 7th chords: Imaj7#5-#iio7sus2-IIImaj7-IVmaj7-#vbb7 (#v6)-vimaj7-VII7b5 in 9th chords: Imaj7#9#5-#iio7b9sus2-IIImaj7b9-IVmaj7#9-#vbb7b9-vimaj9-VII7b9b5 in 11th chords: Imaj11#9#5-#ii11b9b5sus2-IIImaj11b9-IVmaj7#9#11-#vbb7b11b9-vimaj9#11-VII11b9b5 in 13th chords: Imaj13#9#5-#ii11b9b13b5sus2-IIImaj11b13b9-IVmaj13#11#9-#vbb7b13b11b9-vimaj9#11b13VII13b9b5 4th mode of gyp.min. |-1-|b2-|bb3|---|---|-4-|b5-|---|b6-|bb7|---|---|-1-| |---|b6-|bb7|---|---|-1-|b2-|bb3|---|---|-4-|b5-|---| |---|---|-4-|b5-|---|b6-|bb7|---|---|-1-|b2-|bb3|---| |---|---|-1-|b2-|bb3|---|---|-4-|b5-|---|b6-|bb7|---| |---|#4-|-5-|---|-6-|b7-|---|-1-|---|-2-|b3-|---|---| |-1-|b2-|bb3|---|---|-4-|b5-|---|b6-|bb7|---|---|-1-| 4th mode "E-shape" (root note on the 6th string) |---|-1-|b2-|bb3|---| |b5-|---|b6-|bb7|---| |bb3|---|---|-4-|b5-| |bb7|---|---|-1-|b2-| |---|-4-|b5-|---|b6-| |---|-1-|b2-|bb3|---| 4th mode "A-shape" (root note on the 5th string) |b5-|---|b6-|bb7|---| |---|bb3|---|---|-4-| |bb7|---|---|-1-|b2-| |---|-4-|b5-|---|b6-| |---|-1-|b2-|bb3|---| |b5-|---|b6-|bb7|---| The 4th mode is the 4th mode of the gypsy minor scale. In the key of C, it would be the notes: D#-E-F-G#-A-BC-D# (with strongest emphasis on the D# note). Its step pattern is 1/2-1/2-m3-1/2-W-1/2-m3. We can represent its intervals as 1,b2,bb3,4,b5,b6,bb7. We can see it is a different scale from many of the types we've encountered before (the root triad contains the notes 1,bb3,b5). We associate the following chords with the 4th mode: in triads: iosus2-bII-bbIII-iv-bv-bVIb5-bVII+ in 7th chords: io7sus2-bIImaj7-bbIIImaj7-ivbb7 (iv6)-bvmaj7-bVI7b5-bVIImaj7#5 in 9th chords: io7b9sus2-bIImaj7b9-bbIIImaj7#9-ivbb7b9-bvmaj9-bVI7b9b5-bVIImaj7#9#5 in 11th chords: i11b9b5sus2-bIImaj11b9-bbIIImaj7#9#11-ivbb7b11b9-bvmaj9#11-bVI11b9b5-bVIImaj11#9#5 in 13th chords: i11b9b13b5sus2-bIImaj11b13b9-bbIIImaj13#11#9-ivbb7b13b11b9-bvmaj9#11b13-bVI13b9b5bVIImaj13#9#5

Byzantine |-1|b2|--|--|-3|-4|--|-5|b6|--|--|-7|-1| |-5|b6|--|--|-7|-1|b2|--|--|-3|-4|--|-5| |--|-3|-4|--|-5|b6|--|--|-7|-1|b2|--|--| |--|-7|-1|b2|--|--|-3|-4|--|-5|b6|--|b7| |-4|--|-5|b6|--|--|-7|-1|b2|--|--|-3|-4| |-1|b2|--|--|-3|-4|--|-5|b6|--|--|-7|-1| Byzantine "E-shape" (root note on the 6th string) |-7-|-1-|b2-|---|---| |---|-5-|b6-|---|---| |---|---|-3-|-4-|---| |---|---|-7-|-1-|b2-| |-3-|-4-|---|-5-|b6-| |-7-|-1-|b2-|---|---| Byzantine "A-shape" (root note on the 5th string) |---|-5-|b6-|---|---| |---|---|---|-3-|-4-| |---|---|-7-|-1-|b2-| |-3-|-4-|---|-5-|b6-| |-7-|-1-|b2-|---|---| |---|-5-|b6-|---|---| The Byzantine mode is the 5th mode of the gypsy minor scale. In the key of C, it would be the notes: E-F-G#-AB-C-D#-E (with strongest emphasis on the E note). Its step pattern is 1/2-m3-1/2-W-1/2-m3-1/2. We can represent its intervals as 1,b2,3,4,5,b6,7. We can see it is a major scale (contains the notes 1,3,5). Some also lists the Spanish major scale as the Double Harmonic scale. We associate the following chords with the Byzantine mode: in triads: I-bII-iii-iv-Vb5-bVI+-viiosus2 in 7th chords: Imaj7-bIImaj7-iiibb7 (iii6)-ivmaj7-V7b5-bVImaj7#5-viio7sus2 in 9th chords: Imaj7b9-bIImaj7#9-iiibb7b9-ivmaj9-V7b9b5-bVImaj7#9#5-viio7b9sus2 in 11th chords: Imaj11b9-bIImaj7#9#11-iiibb7b11b9-ivmaj9#11-V11b9b5-bVImaj11#9#5-vii11b9b5sus2 in 13th chords: Imaj11b13b9-bIImaj13#11#9-iiibb7b13b11b9-ivmaj9#11b13-V13b9b5-bVImaj13#9#5vii11b9b13b5sus2 The most common Byzantine progression is I-bII. 6th mode of gyp.min. |-1|--|--|#2|-3|--|#4|-5|--|--|#6|-7|-1| |-5|--|--|#6|-7|-1|--|--|#2|-3|--|#4|-5| |#2|-3|--|#4|-5|--|--|#6|-7|-1|--|--|#2| |#6|-7|-1|--|--|#2|-3|--|#4|-5|--|--|#6| |--|#4|-5|--|--|#6|-7|-1|--|--|#2|-3|--| |-1|--|--|#2|-3|--|#4|-5|--|--|#6|-7|-1|

6th mode"E-shape" (root note on the 6th string) |#6-|-7-|-1-|---|---| |---|#4-|-5-|---|---| |---|---|#2-|-3-|---| |---|---|#6-|-7-|-1-| |#2-|-3-|---|#4-|-5-| |#6-|-7-|-1-|---|---| 6th mode"A-shape" (root note on the 5th string) |---|#4-|-5-|---|---| |---|---|---|#2-|-3-| |---|-6-|#6-|-7-|-1-| |#2-|-3-|---|#4-|-5-| |#6-|-7-|-1-|---|---| |---|#4-|-5-|---|---| The 6th mode of the gypsy minor scale. In the key of C, it would be the notes: F-G#-A-B-C-D#-E-F (with strongest emphasis on the F note). Its step pattern is m3-1/2-W-1/2-m3-1/2-1/2. We can represent its intervals as 1,#2,3,#4,5,#6,7. We can see it is a major scale (contains the notes 1,3,5). It could also be seen as a minor scale (1,#2,5), or a diminished scale (1,#2,#4), the #2 being enharmonic to the b3 and the #4 being enharmonic to the b5 in the system we are using. We associate the following chords with the 6th mode: in triads: I-#ii-iii-#IVb5-V+-#viosus2-VII in 7th chords: Imaj7-#iibb7 (#ii6)-iiimaj7-#IV7b5-Vmaj7#5-#vio7sus2-VIImaj7 in 9th chords: Imaj7#9-#iibb7b9-iiimaj9-#IV7b9b5-Vmaj7#9#5-#vio7b9sus2-VIImaj7b9 in 11th chords: Imaj7#9#11-#iibb7b11b9-iiimaj9#11-#IV11b9b5-Vmaj11#9#5-#vi11b9b5sus2-VIImaj11b9 in 13th chords: Imaj13#11#9-#iibb7b13b11b9-iiimaj9#11b13-#IV13b9b5-Vmaj13#9#5-#vi11b9b13b5sus2VIImaj11b13b9 We note that the #6 is enharmonic to the b7, so including that with the above info, We could replace the Imaj7 chord with one of the following: I7, imaj7, i7, i7b5, Imaj7b5, I7b5 imaj7b5. 7th mode of the gyp.min. |-1-|b2-|---|b3-|b4-|---|---|-5-|b6-|bb7|---|---|-1-| |-5-|b6-|bb7|---|---|-1-|b2-|---|b3-|b4-|---|---|-5-| |b3-|b4-|---|---|-5-|b6-|bb7|---|---|-1-|b2-|---|b3-| |---|---|-1-|b2-|---|b3-|b4-|---|---|-5-|b6-|bb7|---| |-4-|---|-5-|b6-|bb7|---|---|-1-|b2-|---|b3-|b4-|---| |-1-|b2-|---|b3-|b4-|---|---|-5-|b6-|bb7|---|---|-1-| 7th mode "E-shape" (root note on the 6th string) |-1-|b2-|---|b3-|---| |-5-|b6-|bb7|---|---| |b3-|---|-4-|---|---| |---|---|-1-|b2-|---| |-4-|---|-5-|b6-|bb7| |-1-|b2-|---|b3-|---|

7th mode "A-shape" (root note on the 5th string) |-5-|b6-|bb7|---|---| |---|b3-|---|-4-|---| |---|---|-1-|b2-|---| |-4-|---|-5-|b6-|bb7| |-1-|b2-|---|b3-|---| |-5-|b6-|bb7|---|---| The 7th mode of the gypsy minor scale. In the key of C, it would be the notes: G#-A-B-C-D#-E-F-G# (with strongest emphasis on the G# note). Its step pattern is 1/2-W-1/2-m3-1/2-1/2-m3. We can represent its intervals as 1,b2,b3,b4,5,b6,bb7. We can see it is a minor scale (contains the notes 1,3,b5). We associate the following chords with the 7th mode: in triads: i-bii-bIIIb5-IV+-vosus2-bVI-bbVII in 7th chords: ibb7 (i6)-biimaj7-bIII7b5-IVmaj7#5-vo7sus2-bVImaj7-bbVIImaj7 in 9th chords: ibb7b9-biimaj9-bIII7b9b5-IVmaj7#9#5-vo7b9sus2-bVImaj7b9-bbVIImaj7#9 in 11th chords: ibb7b11b9-biimaj9#11-bIII11b9b5-IVmaj11#9#5-v11b9b5sus2-bVImaj11b9-bbVIImaj7#9#11 in 13th chords: ibb7b13b11b9-biimaj9#11b13-bIII13b9b5-IVmaj13#9#5-v11b9b13b5sus2-bVImaj11b13b9bbVIImaj13#11#9 Modes of the Gypsy minor scale, pt.3 CREATING MODAL PROGRESSIONS Taking the chords from a mode, we can create progressions from them. We can use these progressions to solo over and/or compose songs with. ex. From Byzantine we could take the two chords I,bII,iii and create a vamp I-bII-iii-bII to solo over in IByzantine. This is a good way to practice playing the modes, creating melodies with a specific mode, train your ears to sound, and build up a knowledge of specific progressions that go with the specific modes. looking for a good place to use such knowledge? You could analyze songs you know (turn chords from letters into numbers, so C-F = I-IV) and then find scales/modes that would go with the progressions. You could find new songs with a TAB search of some kind (try www.harmony-central.com for TAB or maybe www.tabcrawler.com). Or, if you're the least bit into jazz, I fully recommend picking up a copy of "The Real Book" (old or new editions). - no, I don't get any kickbacks from them, it's a standard book used by most jazz musicians. Speaking of jazz for a moment. One of the most common applications is to think of modes and individual chords in a context. That is to say that there is a relationship between the chord and scale and they use that in choosing a scale to solo with over the changes. They simplest approach (after looking at the key, and playing that major scale) is to look at the particular chord, and play a corresponding scale. So for example over a Gm/maj7 chord, you could/would play G-harmonic minor (over imaj7 play i-harmonic minor). You would do this chord by chord. Sometimes for one chord, there are several possibilities. It comes down to experimentation to figure out which sounds better in a given moment (sometimes analyzing other chords around the chord can give further context/clues, but right now we're considering the school of thought which looks at only one chord at a time).So here are some chord/scale correspondances with these modes and the modes of the major scale:

CHORD

-

TYPE OF SCALE TO USE

major

use ionian, lydian, mixolydian, Spanish Major, Lydian #9, overtone, hindu, byzantine, 6th mod gyp min majorb5 use oriental, 6th mod gyp min 7 use mixolydian, Spanish Major, overtone, hindu, byzantine, 6th mod gyp min maj7 use ionian or lydian, Lydian #9, 6th mod gyp min 7b5 use oriental, 6th mod gyp min 7/11 use mixolydian, spanish major, overtone 7/#11 Use Overtone, 6th mod gyp min maj7/#11 use lydian, lydian #9, 6th mode gyp min maj7/11 use ionian 9 use mixolydian, overtone, hindu 7b9 use Spanish major 7b9b5 use oriental maj9 Use ionian, lydian maj7#9 Use Lydian #9, 6th mode gyp min maj7b9 use byzantine 11 Use mixolydian, hindu 9#11 Use Overtone 11b9b5 use oriental maj11b9 use byzantine maj7#9#11 use 6th mode gyp min minor mod gyp min m7 gyp min m/maj7 min m9 m/maj9 m7b9 m11 m9#11 m11b9 m/maj11 m/maj9#11 o

use aeolian, dorian, phrygian, harmonic minor, dorian #4, melodic minor, javanese, gypsy minor, 7th mod gyp min, 6th use aeolian, dorian, phrygian, dorian #4, javanese, 6th mod Use harmonic minor, melodic minor, gypsy minor, 6th mod gyp use use use use use use use use

aeolian, dorian , dorian #4 harmonic minor, melodic minor, gypsy minor phrygian, javanese aeolian, Dorian Dorian #4 phrygian, javanese harmonic minor, melodic minor gypsy minor

use locrian, locrian nat.6, altered dominant bb7, Super Locrian, locrian nat.2, 6th mod gyp min use locrian, locrian nat.6, Super Locrian, locrian nat.2, 6th

m7b5 mod gyp min o7

use altered dominant bb7

+ maj7#5 maj9#5 maj11#9#5

Use Use Use use

Ionian#5, Lydian Augment, Ionian#5#9 Ionian #5, Lydian Augment, Ionian#5#9 Ionian #5, lydian Augment Ionian#5#9

Some related directions from here: Let's consider some relative progressions from similar scales. Let's look at Ionian, Mixolydian, Spanish major, Hindu, and Byzantine. Triads formed: Ionian: I-ii-iii-IV-V-vi-viio Mixolydian: I-ii-iiio-IV-v-vi-bVII Spanish Major: I-bII-iiio-iv-vo-bVI+bvii Hindu: I-iio-iiio-iv-v-VI+-bVII Byzantine: I-bII-iii-iv-Vb5-bVI+-viiosus2 7th chords formed: Ionian: Imaj7-ii7-iii7-IVmaj7-V7-vi-vii7b5 Mixolydian: I7-ii7-iii7b5-IVmaj7-v7-vi7-bVIImaj7 Spanish Major: I7-bIImaj7-iiio7-ivmaj7-v7b5-bVImaj7#5-bvii7 Hindu: I7-iim7b5-iii7b5-ivmaj7-v7-VImaj7#5-bVII7 Byzantine: Imaj7-bIImaj7-iiibb7 (iii6)-ivmaj7-V7b5-bVImaj7#5-viio7sus2 Let's consider a 1-2-3 progression... From the above, we could have I-ii-iii, I-ii-iiio, I-bII-iiio, I-iio-iiio, or I-bII-iii. What if we created a progression like I-bII-ii-iii what would we use to solo over that? We could use Ionian, or Byzantine, or both. Likewise over I-bII-ii-iiio, we could use Mixolydian, or Spanish Major, Hindu will work as well. Looking at the same sort of thing in 7th chords: Imaj7-ii7-iii7, I7-ii7-iii7b5, I7-bIImaj7-iiio7, I7-iim7b5-iii7b5, Imaj7-bIImaj7-iiibb7(iii6) Suppose we had Imaj7-bIImaj7-iiio7 or I7-ii7-iiio7 we have the opportunity to try to play inside or try to play outside. To play inside we could switch scales when the chords are no longer in the scale we are using. so for instance with: Imaj7-bIImaj7-iiio7 we could play Byzantine over Imaj7-bIImaj7, and we could play Spanish major over bIImaj7-iiio. This would give some inside choices. For a slightly outside choice we could play either scale over all 3 chords. The sounds should work over 2 out of three chords and possibly have problems with the 3rd depending on how we chose to use them. The next lesson is on the whole tone scale and other symmetric scales. Peace, Christopher Roberts [email protected]

Last updated April 10, 2003 Copyright 2003, 2008. All rights reserved.