HARMONIC MAJOR SCALE
HARMONIC MAJOR CHORD
DORIAN b5 MODE
DORIAN b5 CHORD
PHRYGIAN b4 MODE
PHRYGIAN b4 CHORD
LYDIAN b3 MODE
LYDIAN b3 CHORD
MIXOLYDIAN b2 MODE
MIXOLYDIAN b2 CHORD
LYDIAN #2/#5 MODE
LYDIAN #2/#5 CHORD
LOCRIAN bb7 MODE
LOCRIAN bb7 CHORD
H A R M M A J O R
I N D E X
E X O T I C A
G L O S S A R Y
E M A I L
T H E B A S I C I D E A
Chords may be built from any combination of notes within a scale, skipping or using consecutive tones. Triads employ the tonic (1st), skip the 2nd to add the 3rd, then skip the 4th to add the 5th. For extended chords, we can add 7ths, 9ths, 11ths, etc.
C H O R D F O R M S
Each mode contains exactly the same tones as its parent scale, so they will work over any progression built from it. NOTE: "5" chords (aka power chords), used widely in rock, consist only of the tonic and a perfect 5th.
E F G Ab B C D = E5
E F G Ab B C D = Em
E F G Ab B C D = Em7
E F G Ab B C D = E
E F G Ab B C D = E7
E F G Ab B C D = Eaug
E F G Ab B C D = E7#5
Beyond seven tones...
E F G Ab B C D E F = Em7b9
E F G Ab B C D E F = E7b9
E F G Ab B C D E F = E7#5b9
E F G Ab B C D E F G = E7#9
C H O R D D I A G R A M S
Here are a few positions on the fretboard for some of the aformentioned chords.