Six-Tone Scales

Part 5: Core Melody back to contents

• Add to Pentatonic or Delete From Heptatonic

• Major Pentatonic Add Four
• Minor Pentatonic Add Two
• Mixolydian No Six
• Phrygian Dominant No Flat Six
• Minor Pentatonic Add Flat Two
• Locrian No Flat Six
• Whole Tone Scale
• Augmented Scale

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page 2 Six-Tone Scales Part 5: Core Melody back to contents

Six-tone scales may also be called hexatonic scales.

ADD TO PENTATONIC
OR DELETE FROM HEPTATONIC
Numbered in Relation to the Major Scale
Some of these six-tone scales are more easily conceived in terms of a pentatonic scale, others more easily
conceived in terms of a seven-tone (heptatonic scale). Regardless, the tones should be numbered after
a major scale named after the tone center of the six tone scale.
The C Mixolydian no six six-tone scale has the formula “1-2-3-4-5-b7”, indicating those numbered
tones of a C major scale. The “b7” inidicats the flatted seventh “Bb” note of of C Mixolydian.

A Pentatonic Scale with an Added Note

“Minor pentatonic add two” is usually a better way to conceive “1-2-b3-4-5-b7”. If are more familiar
with Dorian and Aeolian mode than with minor pentatonic, you may want to conceive it as Dorian no
six or Aeolian no six. The only difference between Dorian and Aeolian is that Dorian has a natural six
and Aeolian has a flatted six, so without the “six”, they are the same.

A Heptatonic (Seven-Tone) Scale with a Note Deleted

“1-2-3-4-5-6” can be either “major pentatonic add four” or “major scale no seven”. “1-b2-3-4-5-b7” is
best conceived as “Phrygian dominant no six” (or Mixolydian flat two, no six). Phrygian dominant is
“1-b2-3-4-5-b6-b7” and Mixolydian flat two is “1-b2-3-4-5-6-b7”.

Use the More Familiar Context or Both

The C major pentatonic add four six-tone scale has the formula “1-2-3-4-5-6”, indicating those numbered
tones of a C major scale. It could also be conceived as a C major scale with no seven. If you are
more familiar with the major pentatonic fingering used in the fretboard area you are playing “C major
pentatonic add four”, think in terms of adding “four” to the C major pentatonic scale. If you are more
familiar with the seven-tone C major scale in the fretboard area you are playing, think in terms of “C
major scale no seven.” It may be a toss-up and either would work.
Mixolydian, no six could also be conceived as a dominant 7/11 pentatonic with an added two or a a
ninth arpeggio with all the tones in the same octave (with the ninth as a “two”).

©2021 Jim Gleason. All Rights Reserved.

back to contents Part 5: Core Melody Six-Tone Scales page 3

MAJOR PENTATONIC ADD FOUR

“1-2-3-4-5-6” could be called “major pentatonic add four”, “major scale no seven” or “Mixolydian no
seven”. It is shown all three ways below with the “1-2-3-4-5-6” scale in the top row, then the other three
scales it can be derived from below.

black and gray backgrounds

Triad tones have a black background. The remaining pentatonic tones have a gray background. The
added “4” has no colored background.
E form D form C form A form G form

1-2-3-4-5-6 3 6 2 3 3 6 2 5 3 3 6 6 2 5 1 3 6
major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 4
add four 3 3 6 3 6 2
2 5 1 4 6 2 3 6 2 5 3 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
4 1 4 4
3 (3)

major pentatonic 3 6 2 3 3 6 2 5 3 3 6 6 2 5 1 3 6
1 5 1 2 5 1 6 2 1 5 1 2 5
3 3 6 3 6 2
2 5 1 6 2 3 6 2 5 3 5 1 2 5 6 2 5 1 3 6 1 5 1
1
3

major scale 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 6 2 5 1 3 6
1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 4
7 3 7 3 6 7 7 3 6 2 7
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
4 1 4 4 7
3 (7) (3)

Mixolydian scale 3 6 2 3 3 6 2 5 3 3 6 2 6 2 5 1 3 6
1 4 b7 5 1 2 5 1 4 6 2 4 b7 1 4 1 4 b7 5 1 b7 4 b7
3 b7 3 6 3 3 6 2
2 5 1 4 6 2 3 6 2 5 3 5 1 4 b7 2 5 2 5 1 4 6 2 1 4 b7 5 1
b7 4 b7 1 4 b7
3 3

©2021 Jim Gleason. All Rights Reserved.

page 4 Six-Tone Scales Part 5: Core Melody back to contents

MINOR PENTATONIC ADD TWO

“1-2-b3-4-5-b7” could be called “minor pentatonic add two”, “Dorian no six” or “Aeolian no six”. It is
shown all three ways below with the “1-2-b3-4-5-b7” scale in the top row, then the other three scales it
can be derived from below.

black and gray backgrounds

Triad tones have a black background. The remaining pentatonic tones have a gray background. The
added “2” has no colored background.
E form D form C form A form G form

1-2-b3-4-5-b7 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
minor pentatonic 1 4 b7 b3 5 1 b3 b7 b3 4 b7 b3 1 4 b3 b7 b3 4 b7
add two 2 5 2 5 1 2
2 5 1 4 2 4 b7 b3 1 4 5 1 4 b7 2 5 b7 b3 4 b7 1 4 b7 b3 5 1
b3 b7 b3 b3
(2) 5

minor pentatonic 1 4 b7 b3 5 1 5 1 4 5 5 1 4 b7 5 5 1
b3 b7 b3 4 b7 b3 1 4 b3 b7 b3 4 b7
5 1 4 5 5 1
b3 b7 b3 4 b7 b3 1 4 5 1 4 b7 5 b7 b3 4 b7 1 4 b7 b3 5 1
b3
5

Dorian mode 6 2 2 5 1 4 6 2 6 2 5 6 6 2 5 1 6
1 4 b7 b3 5 1 b3 b7 b3 4 b7 b3 1 4 5 1 4 b7 2 5 b7 b3 4 b7
6 2 5 6 b3 6 2
2 5 1 4 6 2 4 b7 b3 1 4 5 1 4 b7 2 5 6 2 5 1 6 1 4 b7 b3 5 1
b3 b7 b3 b3 b7 b3 4 b7
(6) (2) (6)

Aeolian mode 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
b6 2 5 2 5 1 2
2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
b3 b6 b7 b3 b6 b3 b6 b6
(2) (2) (5)

©2021 Jim Gleason. All Rights Reserved.

back to contents Part 5: Core Melody Six-Tone Scales page 5

MIXOLYDIAN NO SIX
“1-2-3-4-5-b7” could be called “Mixolydian no six”, “dominant seven/eleven penatonic add 2” or “ninth
arpeggio”. It is shown all three ways below with the “1-2-3-4-5-b7” scale in the top row, then the other
two scales and the ninth arpeggio it can be derived from below.

black and gray backgrounds

Triad tones have a black background. The remaining pentatonic tones have a gray background. The
added “2” has no colored background.
E form D form C form A form G form

1-2-3-4-5-b7 3 2 2 5 1 4 2 2 5 (3) (3) 2 5 1 3

dominant 7/11 1 4 b7 5 1 b7 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
pentatonic add 3 3 2 5 3 3 3 2
two 2 5 1 4 2 4 b7 1 4 5 1 4 b7 2 5 2 5 1 3 1 4 b7 5 1
b7 3 b7 4 b7 (3)
(3) (2) 3 5 3 3

dominant 7/11 (3) 5 1 4 5 (3) (3) 5 1 3

pentatonic 1 4 b7 5 1 1 4 5 1 4 b7 5
b7 4 b7 b7 4 b7
3 3 5 3 3 3
5 1 4 4 b7 1 4 5 1 4 b7 5 5 1 3 1 4 b7 5 1
b7 3 b7 4 b7 (3)
3 3 5 3 3

Mixolydian mode (3) 6 2 (3) 3 6 2 5 3 (3) 6 6 2 5 1 (3) 6

1 4 b7 (b3) 5 1 2 5 1 4 6 2 4 b7 (b3) 1 4 5 1 4 b7 2 5 b7 (b3) 4 b7
3 (b3) b7 (b3) 3 6 (b3) 3 6 2
2 5 1 4 6 2 3 6 2 5 3 5 1 4 b7 2 5 6 2 5 1 3 6 1 4 b7 (b3) 5 1
(b3) b7 (b3) 4 b7 (b3) 1 4 (b3) b7 (b3) 4 b7 3
3 (6) (2) 3 3 (3) 3 (6)

ninth arpeggio b7 2 5 1 4 6 2 3 6 5 3 5 1 4 b7 2 5 6 2 5 1 3 6
black is the triad 3 6 2 b7 4 b7 1 4 b7 4 b7
“2” and “7” in gray 1 4 b7 5 1 3 6 2 5 3 3 6 6 2 5 1 3 6 3 6 2
are the remaining 3 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7 1 4 b7 5 1
ninth arpeggio 2 5 1 4 6 2 3 3 6
tones b7 5 2
3

©2021 Jim Gleason. All Rights Reserved.

page 6 Six-Tone Scales Part 5: Core Melody back to contents

PHRYGIAN DOMINANT NO FLAT SIX

“1-b2-3-4-b5-b7” could be called “dominant 7/11 pentatonic add flat two” or “Phrygian dominant no
flat six””. It is shown both ways below with the “1-2-3-4-b5-b7” scale in the top row, then the other two
scales it can be derived from below.

black and gray backgrounds

Triad tones have a black background in all the scales. For dominant 7/11 and dominant 711 add
flat two, the remaining pentatonic tones have a gray background and the added “b2” has no colored
background. For Phrygian dominant scale, the “b7” and “b2” tones in gray complete a 7b9 chord (1-3-
5-b7-b9).

E form D form C form A form G form

1-b2-3-4-5-b7 (3) 5 1 4 5 (3) (3) b2

dominant 7/11 1 4 b7 5 1 b2 b7 4 b7 1 4 5 1 4 b7 5 5 1 3
pentatonic add b2 3 b2 3 5 3 3 b2 b2 b7 b2 4 b7
flat two 5 1 4 4 b7 1 4 5 1 4 b7 5 5 1 3 3
b2 b7 3 b2 b2 b7 b2 4 b7 1 4 b7 5 1
3 3 5 3 3 b2

dominant 7/11 (3) 5 1 4 5 (3) (3) 5 1 3

pentatonic 1 4 b7 5 1 1 4 5 1 4 b7 5
b7 4 b7 b7 4 b7
3 3 5 3 3 3
5 1 4 4 b7 1 4 5 1 4 b7 5 5 1 3 1 4 b7 5 1
b7 3 b7 4 b7 (3)
3 3 5 3 3

Phrygian 3 b2 3 b6 b2 3 5 3 3 5 1 3
dominant scale 1 4 b7 5 1 5 1 4 4 b7 b6 1 4 5 1 4 b7 5 b7 b6 b2 4 b7
b2 3 b6 b2 b6 b2 b7 3 b2 b6 b2 b6 3
5 1 4 3 5 3 5 1 4 b7 5 5 1 3 1 4 b7 5 1
b6 b2 b7 4 b7 (b6) 1 4 b6 b2 b6 b7 b6 b2 4 b7 b2 (3) b6 b2
(3)
(3) 3 (3) (b2) (5) (3) (1)

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back to contents Part 5: Core Melody Six-Tone Scales page 7

MINOR PENTATONIC ADD FLAT TWO

“1-b2-b3-4-5-b7” could be called “minor pentatonic add flat two” or “Phrygian no flat six”. It is shown
both ways below with the “1-b2-b3-4-5-b7” scale in the top row, then the other three scales it can be
derived from below.

black and gray backgrounds

Triad tones have a black background. The remaining pentatonic tones have a gray background. The
added “2” has no colored background.
E form D form C form A form G form

1-2-b3-4-5-b7 1 4 b7 b3 5 1 b2 (b2) 5 5 1 4 b7 5 b2
minor pentatonic b2 b2 5 1 4 4 b7 b3 1 4 b2 b3 5 1
add two 5 1 4 b3 b2 b7 b3 b2 5 1 b7 b3 4 b7
b3 b2 b7 b3 5 5 1 4 b7 5 b7 b3 b2 4 b7
4 b7 b3 1 4 b2 b3 1 4 b7 b3 5 1
b2 b2
5

minor pentatonic 1 4 b7 b3 5 1 5 1 4 5 5 1 4 b7 5 5 1
b3 b7 b3 4 b7 b3 1 4 b3 b7 b3 4 b7
5 1 4 5 5 1
b3 b7 b3 4 b7 b3 1 4 5 1 4 b7 5 b7 b3 4 b7 1 4 b7 b3 5 1
b3
5

Phrygian mode 1 4 b7 b3 5 1 2 5 1 4 5 5 1 4 b7 5 5 1
b2 b6 b2 b3 b6 b2 b7 b3 4 b7 b3 b6 1 4 b6 b2 b3 b6 b7 b3 b6 b2 4 b7
5 1 4 5 b2 5 1
b3 b6 b2 b7 b3 4 b7 b3 b6 1 4 5 1 4 b7 5 b7 b3 b6 b2 4 b7 1 4 b7 b3 5 1
b2 b6 b2 b3 b6 b2 b6 b2

©2021 Jim Gleason. All Rights Reserved.

page 8 Six-Tone Scales Part 5: Core Melody back to contents

LOCRIAN NO FLAT SIX

“1-b2-b3-4-b5-b7” could be called “minor pentatonic flat five add flat two” or “Locrian no six””. It is
shown both ways below with the “1-2-b3-4-b5-b7” scale in the top row, then the other two scales it can
be derived from below.

black and gray backgrounds

Triad tones have a black background. The remaining pentatonic tones have a gray background. The
added “b2” has no colored background.
E form D form C form A form G form

1-b2-b3-4-b5-b7 1 4 b7 b3 1 b2 b5 4 b7 b3 1 4 b5 (b5) 1
minor pentatonic b2 b5 b2 1 4 b5 b2 b5 1 4 b7 b7 b3 b2 4 b7
flat five add flat 1 4 b3 b2 b5 b7 b3 1 4 b7 b2 b5 b3 b5
two b3 b2 b5 b7 b3 b2 b5 b3 1 1 4 b7 b3 5 1
4 b7 b3 1 4 b7 b3 b2 4 b7 b2 b5 b2
b2 b5 b5

minor pentatonic 1 4 b7 b3 1 b5 4 b7 b3 1 4 b5 (b5) (b5)

flat five b5 1 4 b5 b5 1 4 b7 1
1 4 b3 b5 b7 b3 1 4 b7 b5 b3 b7 b3 4 b7
b3 b5 b7 b3 b5 b3 1 b5
4 b7 b3 1 4 b7 b3 4 b7 1 4 b7 b3 5 1
b5 b5 b5

Locrian mode (b5) 1 4 4 b7 b3 b6 1 4 b5 b5 1

1 4 b7 b3 1 b3 b6 b2 b5 b7 b3 b5 b2 b5 1 4 b7 b7 b3 b2 4 b7
b2 b5 b6 b2 1 4 b7 b6 b2 b5 b3 b6 b5
1 4 4 b7 b3 b6 1 4 b6 b2 b5 b3 b6 1 1 4 b7 b3 1
b3 b6 b2 b5 b7 b3 b5 b2 b5 b7 b3 b6 b2 4 b7 b2 b5 b6 b2
(b5) (1)

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back to contents Part 5: Core Melody Six-Tone Scales page 9

WHOLE TONE SCALE

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page 10 Six-Tone Scales Part 5: Core Melody back to contents

AUGMENTED SCALE

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back to contents Part 5: Core Melody Six-Tone Scales page 11

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page 12 Six-Tone Scales Part 5: Core Melody back to contents

©2021 Jim Gleason. All Rights Reserved.