Welcome to the Jazz Theory Page

This site contains supplemental information for the Rowan theory courses Jazz
Theory III and Jazz Theory IV.

Topics:
Overview
Diatonic 7th Chords
Chord Extension Chart
Chord Substitution Chart
Blues Scales
Pentatonic Scales
Modes of the Major Scale
Chord Scale Chart
Diminished Scales
For more information contact:
Robert Rawlins, Ph.D
Assistant Professor and Coordinator of Music Theory
Rowan University
(856) 256-4500 ext. 3764
e-mail rawlinsr@rowan.edu

Diatonic 7th Chords

Major Diatonic 7th Chords

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Minor Diatonic 7th Chords

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Chord Extensions
Jazz harmonies rarely use triads. Chords are generally extended by adding notes that
increase a chord's richness and dissonance without altering its function. These added
notes are called extensions, upper structures, or tensions.
While strict rules do not govern the choice of notes that may be added to triadic
harmony, common practice provides definite guidelines. The following suggestions
are intended to apply to bebop or "straight-ahead" jazz harmony. By no means does
this list exhaust all of the possibilities, but it provides a good starting point.
Major triad
add 6 and 9
add major 7 and 13
add #11 to either of above for extra dissonance
Minor seventh (functioning as IIm7)
add 9
add 11 and/or 13 to above for extra dissonance
Minor triad (functioning as Im)
add 6 and 9
add major 7
add 9 and/or 13 to above for extra dissonance
Dominant 7th (functioning as V7)
add 9 and possibly 13
add b9 and possibly b13
add #11 to either of above for extra dissonance
In short, you can add anything except 11 and major 7 to a V7
Diminished 7th
okay by itself, but you can add a whole step above any chord tone

diminished chord extensions do not usually receive numbers

Sus4

add b7 and possibly 9 and 13

Aug triad
add b7 and possibly 9
add #11 and/or 13 for extra dissonance
Minor7(b5)
add (natural) 9
add (natural) 13 for extra dissonance

These are the most common chord types. Keep in mind that a little dissonance can go
a long way, and that diminished sevenths or minor 7(b5) chords may be dissonant
enough in context without upper extensions.

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Chord Substitution Chart

The following methods may be used for chord substitution. Some will affect the
underlying harmonic structure very little and may be incorporated by the soloist
without rhythm section support. Others are more drastic and call for a significant
restructuring of the harmonic progression of the tune.
Diatonic
I, IIIm, and VIm interchange
IIm and IV interchange
V7 and VIIo interchange
Tritone Substitution
bII7 for V7
(because they share the same tritone)
Added IIm7-V7s
can precede any chord
can be in series
can mix with tritone substitutions
Chord Quality
root and function remain

dominant for minor or major (or vice versa)

first chord of blues is an example
Tadd Dameron turnaround (Cmaj7-Ebmaj7-Abmaj7-Dbmaj7) is a chord
quality sub for a series of tritone subs (for a cycle of fifths)

Sidestepping
play same chord or sequence a half-step higher, then back
usually done on repeated IIm7-V7s
can also sidestep a major 3rd below or minor 3rd above
Minor 3rd Dominant Cycle
all dominant 7ths one or more minor 3rds away may be interchanged
so we have 3 "sets" of dominant 7ths:
C7, Eb7, Gb7, A7
Db7, E7, G7, Bb7
D7, F7, Ab7, B7
Diminished 7th built on 3rd of V7(b9)
for example, A7(b9) and C#o7 are interchangeable
Borrowed Chords
diatonic chords can be borrowed from the parallel minor
for example, IIm7(b5) for IIm7, IVm for IV, etc.
Embellishing Diminished 7th
the tonic chord is temporarily replaced by a o7 build on the same root.
must resolve to tonic
example: Dm7-G7-Co7-Cmaj7
occasionally applied to dominant chords
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Blues Scales
The common blues scale represented in example 1 below is only one of many options for playing a
blues scale. Any scale that combines a major scale with the flatted 3rd, flatted7th, and possibly the
flatted 5th, can function as a blues scale. Several possibilities are listed below. Click on the scale
heading to hear it.

Blues Scale #1

Blues Scale #2

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Blues Scale #3

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Blues Scale #4

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Blues Scale #5

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Blues Scale #6

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Blues Scale #7

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Blues Scale #8

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Blues Scale #9

Blues Scale #10

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Blues Scale #11

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Pentatonic Scales
Many five-note scales can be created. The following are those which are most frequently used in jazz
improvisation.

Major Pentatonic

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Minor Pentatonic

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Pentatonic b6

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Pentatonic b2

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Pentatonic b3

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Pentatonic b5

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Mixolydian Pentatonic
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Phrygian Pentatonic

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Diminished Pentatonic
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Whole Tone Pentatonic

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Modes of the Major Scale

Ionian Mode

Dorian Mode

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Phrygian Mode

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Lydian Mode

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Mixolydian Mode

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Aeolian

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Locrian Mode

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Chord Scale Chart

This chart includes only the most common chord types and some suggested chord
scales. Many possibilities have been left out. Among others, scales that derive from
the melodic minor are not included. Instead, essential constructions that could be
derived from this scale are described in other ways (specifically, the altered scale and
the Lydian b7). My intention was to avoid the possible confusion that could result
from an excess of information.
Be aware that some chord scales provide a more accurate fit than others. This does not
necessarily mean they are a better choice, but implies that some chord scales contain
mostly or only chord tones and extensions. Other scales may contain "avoid" notes
which must resolve in the context of the line.

The choice of scale will often imply certain extensions. This does not mean that a
scale cannot be played unless the chord symbol calls for the exact extensions that the
scale would provide, but it does mean that the improviser should avoid possible
conflicts. For example, if a chord symbol calls for a C7(b9), a C whole tone scale

would not be a wise choice. But if the symbol is not specific (such as C7), then the
improviser is free to choose from chord scales with various implications.
Major 7th
major scale
Lydian mode
Pentatonic scale, especially on scale degrees 1, 2, and 5
bebop major scale (descending)
Minor 7th
Dorian mode
natural minor scale
Dominant 7th
Mixolydian mode
Lydian b7 mode
altered scale
diminished scale starting on b7
whole tone scale
bebop dominant scale (descending)
Minor 6/9
melodic minor scale
Dorian mode
Sus 4

Mixolydian mode (3rd is avoid note)

pentatonic scale built on scale degree 4 or b7

Minor 7(b5)
Locrian (2 is avoid note)
Locrian #2
diminished scale
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Diminished Scales
Diminished Scale
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Inverted Diminished Scale

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