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 I
I
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eufi[isfid an[ disai.huul worfi{ruidt 6y
I
th^L LE.NARD puBLtJHING GoRpoRATIoN I
7777 W. Bluemou'nd Rood
P.O, Box '138'19
Milwoukee. Wisconsin USA 532'13
4141774-3630 - Telex 26668 - Fc.x 4141774-3259 I
in aopration zuitft I
S OUR
PUOLICATIONS
C E
I
PO Bor lilJ
Cddo& Sginos Cddod
USA 8W
(303) 632 1dr9

I
i
@ 1986 5y Surtm J. Earta
I
Att riqhts rumtd. fu port of tfrk hooKmny 5e repro[ure/, snrd in aretrizaa[s1stmt, ortrarumitttl, inanyformor 6y
afly mrnflst e{rctronb rucfianita[, phoucapying, rearding, or otfienuise, utitfiout tfu prbr permission of Sourcz
?uhfitotbrs anl Suoen ll. Rarta. t
!
Li|rary of Congress Caabg Car[ l {umber 85-90044

IS',BNo-937589-oo-4

first Qintittg 1986

I I

Seon[ eining 1988

Pintd in tfu Llnitd Stutts of Amzri&

I
I
Ij
I
t
t
f
I
I
il
f
f
f
I Acknowledgements
I Special thanks to my wife |udi for all her kindness, support, and Iove that helped see
this project through.

I Also thanks to Myra Boitos, William Moore, Dave Brubeck, Billy Taylor, Clark
Terry, David Amram, Charles Marshall, Lou Marshall, Bruce Barta, Kim Stone, John
Smith, Catherine Lynn, Elaine Lipson, Glenn Collins, Susan Stern Hindman and to
t Doug Reid for his kindness and friendship.

I Cover art
- Glenn Collins

Author photo Myron Wood

-
I Music engraving
- Steve Barta

I Typesetting
- The Letter Setters
Colorado Springs, Colorado

t
E
b
r
b
F
I
I Foreword

I
I
If cleanliness is next to godliness, then you will want to get next to The
I Clean' concise, to the point information has alway, b."., the
musical growth' For me The source provides
source.
most help to me in my
scale and chord information

i
I
"o-pl"t" musical situations.
which is great for all instruments in all ..r"iiu"
improviser The Source will serve as a wonderful information manual
into new tu'nes, or playing on old ones. Enjo y The source for years
For the
when getting
to .o-,
",
I will.

I I(im Stone, bcssist, Spyro Gyra

I
Rare Silk
I fessica Williams

I
I
I
t
t INTRODUCTION
Improvisation is certainly not new, but improvisational ideas are growing and

t
changing, harmonically and texturally, at a very fast rate. Electronics have
definitely made their mark as far as helping to inspire new textures, which in turn
create new areas of musical thought and performance. At the other end of the
spectrum, people are, as always, exploring new areas in acoustic music and its

t endless possibilities.
The scales in this book represent a collection of contemporary and traditional
scales, which one can think of as "tools" of improvisation, Th" i.tior-ation in this
book is meant for anyone who is interested in learning new scales and chords to aid
them in their musical interest, whatever it may be.
Section One consists of various scales written in treble and bass clefs: two

I
octaves ascending and descending, with fingerings included for piano players. At
the top ofthe page for each new scale, it is laid out in one ascending octave intrder to
get an overview of that particular scale.
Included on the first page of each scale is a "Chord Choice," a list of chords one
F might use with the scale. Most of the chords referred to under "Chord Choice" are
shown in the key of C on page 78, under "General Chord Information," Only the main

I quality of the chords are given here, whereas altered chords, such as a major g b5, are
not included here. It is assumed that one will make the appropriate changls to alter a
chord with the information given on page 78.

I The reader should be aware that certain scales have more than one name. For
example, the Aeolian scale is also known as the Pure Minor, Natural Minor,
Ethiopian, and the Mohammedan. The various names are provided, where

I applicable, on the first page of that particular scale.

Section Two covers the various inversions and piano fingerings for the five

I seventh-chord qualities. The five qualities include the major seventh, dominant
seventh, minor seventh, half-diminished seventh, and diminished seventh. The
Source is not meant to be a "how to" music instructional book, but rather a source

I book of information with regard to scales, chords, and piano fingerings.

F
tI
I
f,
 n
-t
I t
I TABLE OF CONTENTS
;

il 1
il
SECTION ONE
Ionian (major)
Dorian IminorJ
Phrygian
- Scales .......... i
1
4
I
il Lydian 10
7

1
Mixolydian (dominant) ..
t
i
13

il
Aeolian
Locrian
Diminished (whole-step/half-stepJ...
Diminished (half-step/whole-step). . .
16
19
22 t
J
25
Wholetone ao

I Augmented. . . .
BIues
MajorPentatonic ....37
31
34

Minor Pentatonic .. .. 40 7
I Harmonic major
Harmonic minor
... . . 43
... . . 46
ll Melodic minor
LydianAugmented....
49
52
1
Lydian flal 7

I
55
Locrian sharp 2. 5B
lH Super Locrian 61

fl
Chromatic

SECTION TWO
Key of:
- Seventh Chord Inversions 65 t
lil C 66

i
Db 67 ;
D 68
t Eb
E
69
70
F

I
71
il Gb
G
72
/J
Ab 74

I
il A 75
Bb 76

iil
B 77
il GENERAL CHORD INFORMATION 7B
COMMON CHORD ABBREVIATIONS 79
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 Ionist
(n$or)

Chord Choice: Also known as:

Major 6 Major scale
Major 7
Major 69
Major 9

23 3

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Chord Choice:
Minor 6
Also known as:
Minor scale
J
Minor 7
Minor 69
d
Minor I
Minor 11
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Lyfian ;

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Chord Choice
Major 7 (bs)
Major 7

i
Major 9
Maior I (bsl

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I Chord Choice: AIso known as:
Dominant Z Dominant scale
I Dominant g
11 chord
13 sus chord
13 chord

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 ;

Aentisn \ I
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: Chord Choice: Also known as:
Minor 7 ($5) Pure Minor scale
Minor 7 Natural Minor scale
Minor 9 Ethiopian scale -l
Minor I t*5)

I
Mohammedan scale

I
;

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a' +' - | 20
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Chord Choice: Also known as:

Minor 7 (b5) Half-diminished scale
Minor 11 [b5)
 2s13 2la ;
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20
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I Chord Choice:
Diminished 7
Minor 7 (b5)
Also known as:
Auxiliary Diminished scale

I
Minor/Major 7 (b5)

I
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I Diminish'ed
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2' "
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I Eb Diminished

I
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t Ff Diminished

tF
F A Diminished r z \2 2-'^ t
5 2 "

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!
Cf, Diminished

t
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I
T
E G Diminished
-

E
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Bb Diminished

D Diminished

F Diminished

Ab Diminished r z l) 2 t a^
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B Diminished f,
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I Chord Choice:
Dominant 7 (is)
Dominant 7 (bg)
T Dominant 7 (gs) (bs)
13 (be) chord
13 (fe) chord

! 13 [be) [f11J chord

T
I
!I C Diminished

t
T
! Eb Diminished

t 25

I
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Ff Diminished
a r 2rl
1, 2t 3,
I
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3, t, o
I
l

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t1
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54
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g. I I
a r,.r3 j z.: lti -

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lilri
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;
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Cil Diminished
r 313
-, 1''" "
2,'a i
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l
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;

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zus
rr2j .l
123 r ]

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t ''z tri
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26

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D Diminished | ? j !,?", 32
"

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F Diminished

-{p Diminished

B Diminished

27
 WfwteTone

Chord Choice: AIso known as:

Dominant 7 (bS) Auxiliary Augmented scale
Dominant 7 tl1)

I
C Whole Tone
I
I
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D Whole Tone
t
a) '"1",
zl u2 ,1,
t
t
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2
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F# Whole Tone

Ab Whole Tone

I Bb Whole Tone

E
i
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ol' ^3 32 r c
2' " -t )t - t " 2

a) n-r-i , ,
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Eb Whole Tone

I
t
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G Whole Tone
I
F
F
F
A Whole Tone
I
T
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B Whole Tone

2"
3
3
rz I
4c
3

z rt-r\l 6
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Major 7 [15)

C Augmented o4 4g
l2r" t

Db Augmented
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t
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E Augmented F
F
t
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F Augmented
t
t
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t
F$ Augmented
T
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I
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I 3

I l3 2t | '2 g

3 3zl
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;

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I
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I
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 I
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Chord Choice:
Minor 6
Minor 69

I
Minor 7
Dominant 7
Dominant 7 (*g)

I
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34
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3,1 2: a:2 I

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4o
3. | '^3o t,:2 I 3^
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432

4o
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Chord Choice: AIso known as:
Major 6 Mongolian scale
Major 69 Chinese scale
Major 7
Major 7 (bs)
Major 9
Dominant 7
Dominant 9
Dominant I IbsJ
11 chord
;

t
13 sus chord
13 chord

I
t 2l z t^
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Chord Choice:
I
Minor 6
Minor 7
Minor 69
I
Minor 9
Minor L1 T

I
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3
3 3
?l ;

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I
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t
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;

t
t2
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?r
T
o 1r" 32
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^g4a 3 t
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a) I I

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a 1-+ liEi lzs
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5 5
T
T
t
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t ElaffiwnicMnlor
r
r
T
T Mode I
Chord
Choice
Chord
Choice
C Maj. z (*E) G Dom. 7 (bs)

Mode VI
D Dim. Ab Dim,
D Mi. 7 [b5) Ab Mi. (r7) [b5)
Mode III E. Dom. 7 Mode VII

ft E. Dom. 7 tils)
E. Dom, 7 (bs)
B Dim.

t' F Dim.
F Mi. tqTl tbsl

ft
ff
s
F
$

t
T
l 1a

l
J
 I
t
I
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1232
t
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ilo" 2l , "71

23 tzsz l3
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a)
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3 r-
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32
34
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t
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2

4 34 3
2l

12 al2l 32r
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r I 2 i- i > -t l 3

Q) 43
23 2
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43 2t 2
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F
312
s4?4 3213
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F

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345 4 3213
2-ta

t.

345 4 3213
z3r1 )2la
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o

II
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3 . -t
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I I 23
345 4 32
3 21

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a) 1,i "'
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I F-_
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1

f, 2 2g

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ra

3454 32

"," !) i; b
1 1),!," 2
F
f a) l.
n2l2 -.rl
T :i; *+t+ ,LLz: 4t

I t2l ^ t- J- 1- +- e F-_

lt 54 3 3

t
T
\
t* J
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EI-ffiMingrIV I
I
I
I
Mode I
Chord
Choice Mode V
Chord
Choice I
c Mi. 7 (\7) G Dom. 7 (bs)
G Dom. 7 ($5) (lg
I
I
Mode II Mode VI
D Dim. Ab Dim.
D Mi. 7 (b5) Ab Maj. 7

Mode III
Eb Maj. 7 (i5)
Mode VII
B Dim. I
F Dim. t
FMi.7
t
t
I
t
I
I
iI
I
t
B
;

fT ii, I I t z'a

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t tz31 '-o t ,

f
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t
T
T
t
t
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f ito

F
;

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T
f
f
 T
;

I
I
I
I
45 3213
T
t
3
T
o 41
231? ._F 21 4g
4\

I
7"'r 3 .,2-t
3 t
o 12
3213
t
T

1"2
T
o 12
3 ,4 5
3213 T
o 4l
2 "L, t
a^- -#+f
T
I
I
-t (1

t
T
/
;

i MeIofic.W
r
r
I
r Chord Choice:
Minor 6
Note:
This Melodic Minor scale is the same
Minor [!7) descending as it is ascending. Unlike
Minor 69 the classical Melodic Minor scale
Minor s (\7) whichis: Ascending _ 12 bg 4 S 6 7 1
- 1 bZ b6 S 4 bS 2
Descending

T
T
J
I
r
T
t
T
t 4g

T
t
Il
 o4
te 2 t s^
23|.

r2BA
11" "

z3 z

50
 31: 4 3^
ol2 -t l3

'Il. a I

=- tr A
32

3^
231: l g

t
l- -t
z .,3 ua

T
J A32T
3 . -t
^2a

F
f
fI

I
I 5.1

I
I

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 I'yffisnAttg@

Chord Choice:
Major 7 (15)
Major 7 (bs)
Major 7 [*5] (bs)
Major e [ils)
Major e (b5)
Major e (fsl tbbl

z3z
12 !z t T
a) lt
z l2
-r4
-1-^o 1t-

r r 13
4"a7-.l e
2 I
I
i? bI,-_ ,3 4 t

14 4

s45 I
I
3^
s 4' ?:

iI
a) r2u a2
z l4 | 2g
I
4 t 'r]tj t?*t e* i 2 34

sz I

I
52

t
4
ft
t
1232 l4o
o4
2, ",t + rrl

''
7i,
z.'a 11 -z

1232 l4D
23 r ztsl! tL' , " 2
1""
ir2
3 2tl

1232

t
4o
312: )'l

ft
T a t, 2ll
412 | 4g
rL ' I

l itt2
2'l

$
stzt
r312 :L,; 3^
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13

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t 432

t .r.)

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t:
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sa54 32
;

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ii''" I t ''z i I
I
I
I
z34s
t
r z 1j
21o
-e2
t
E

t
E

T
rzSz t
T
t
t
t
I
F
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il
54

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/
 I'yfinnDoM

Chord Choice:
Dominant 7 (bS) Also known as:
Dominant Z Overtone scale
Dominant 9 [bS) Lydian Flat Z
Dominant g
13 chord
13 (f11) chord

T 2 3u4 U
2

Q) 4a -1t z
] t23
4 1
1"4-o' €L
,n , 3,2 I I
2 ' ,b^+ ol b"-- I ,2
^

2 | ,'2
43

I
I
I
JJ
 ;

t
t
I
l4 B^a t
t
L-l

t
t
T
t
I
t
T
I
T
T
T

56
I
T
t
d
+
T
I
h
5
I

t r 2rs j
^ 3 4l
aI 21o

t
t ,' u 2

t
I 7 i", I 3 .,ll-t
,23

t
I

I
I
l 57

I
I
u
 T

Locrirrtt Sftsrp Tr.lvo t

I
I
I
Chord Choice: Also known as:
t
Minor 7 (b5)
Minor 7 (i5)
Minor I Ib5)
Minor I til5l
Half-diminished Sharp 2 scale
t
I
I
I
T

t
t
I
:

t
58
I
T
t
/
 231 zsls 2ts^
-a

irt

^, ii

t 12sl
234^3
2t",
; iza

T 43

ia3

il ar2l *:)
23 rzBz l3
iL ,ti:, I 3

T c 2
taB t
2

,32
T 43 lt -+? ?xtx Lz:: !2^3t

I g2 I

I ar22
rzSz 1o.
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r

T oal
I iro

II .) l,

I
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345 4 3^
312 .113
I
T

frf,l2 I tzi T

s45 a
T

T
sa5 4 3^.l
o312
zsaj 7lo"
T

ii, o
" o ii T

23 tl2l 4g T
z 3l 21 32

e) o11 t 2
2 3' t.; T
' n21 I olo h,L
ql;i: !rrr
2

T
2t

32 T
23 12 "t5t
,"a) + ,?)i" , T
I b,r-_ I
g212 34
I

n2l
o214
" -t-2 +ttl
.{- l-.t-.{- tt)2 3.
L- L 2 T
I n t-
32
T

I
 Sttper Locrisn

Chord Choice: Also known as:

Dominant 7 (#s) Diminished Whole Tone scale
Dominant 7 (bs) Pomeroy scale
Dominant z [fs) (be) Altered Dominant scale
Dominant z (ilsl tile) Ravel scale
Dominant Z Ib5] [f e]
Dominant 7 (bs) (bs)

I
t 61

I
 I
T
I
I
T
T
T
T
t2l-
ol
B4
3 ?,'" l;1, ',

g ', I I t -.tl
oTr
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L+zts" T

f,r
tr")
=:

gz I
#r
4g
23 I
z ou. :ibli Lz lul ",
a) a2l
"2 I

3 , ts21 LL+LL Li* t 23

g2 1 412

tl

t
I
+ 2313
t
2t
3 4l^ 4

I
t irn^" 3fl:1-
4l

t2a2 l4
t z,rsi7 -L- .d.2
1r,
i,r"
z l,rA

t2l2
4 I ,2 lt r
t t'^-1 r

t
t
;

I 3l 2u3
4r?r 4-
- ,L
Z I

I i "t 2

I z l'4

345 4

c4l
2,3,112 '.s2'^'- to g

t al2l

63

J
J
l
r-
I

I
Cfwoffi _l

I
I
t
I
o 1'- ovt
I 3 -r
212
_t

t
t
t
t
attsnftefngqffig
t
t
?'frt;i+! I z'a t
I
I
I
'r|'":l lr9 r,o r o I
I
.r

ti4

iI
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 Left ftffiil F"gfr* ftffid
t I
2 2 5 b b b
3 3 3 4 3 3
o D 2 2 2 2
I I I I

c maj. z

I I
2 2 5 D D
3 3 3 3 3
D D 2 2 2
I I I

C dom. 7
C dom. 7

I 1
2 b 4 D
3 3 3 3
2 2

t
D 2
I I I

I Cmi,7 Cmi.7

I
I 3
2
D

I
2
D
3
I
3
2
b

I C half-dim. 7 C half-dim. 7

I
I i)
3
2
t)
3
D
3

I
2 2
I I I

I Gb 07
co7 Eb"7 Ao7 EboT 07
Gb Ao7

66

t
I
 )

Db mai.7 Db mai.7

I I
2
I
2
D
3
4
3
5
3
D
s
;
2

I
3 3 4 2 2 2 2
D D D I I I I

Db dom. 7 Db dom. 7

D 4 b 5
3 3 3 3
2 2 2 2
I I I I

Cil mi. z C# mi. 7

li

ffir
D 4 b 5
3 3 3 3
T 2 2
I
2 2
I

T
C# half-dim. 7 C$ half-dim. z

;
fl
5 5 5 5
3 3 3 3
2 2 2 2
I I 1 I

c#"7 F,o7 Go7 BboT Cil"z F,o7 Go7 BroT

fi 67
;

#t

T
|
 Left ftffiil Rtgfrt ftffid
5 D b 5
3 3 3 3
2 2 2 2
I I I I

D maj. 7

5 D o D
3 3 3 3
2 2 2 2
I I I I

D dom. 7

1 I I D 5
2 2 D 5
2 3
3 3 3 4 3 3
D D
2 2 2 2
D I I I I

) ll,l. ,'
Dmi.7

I I I D if
2 2 5 4
2 3 3 3
3 3 3 3
2 2 2 2
5 b b I I I I

! raif-dim. 7 D half-dim. Z

I I I
2
o 5 5
2 2 3
3 3 3 3
3
b o 2 2 2
D 1 I I

AboT Bo7 Do7 F"7 AboT Bo7

 Left ftffiil Rtgfr* ftffiil I
I b
3
2

I
Eb maj.7 Eb maj.7

I
b
1
2
3
D
b
I
2
3
5
I
T
Eb dom. 7 Eb dom. 7
;

t
L' mr.'/ Eb mi.7 I
;

;
D$ half-dim. z Dil half-dim. z

T
Dil oz F il"2 Ao7 c"7 Di"z F$ oz Ao7 co7
$ ;
69

t
T
t1
{_l
 Left frsnd Rtgfrt ftffi{
E maj. 7
E maj. 7

E dom. Z
E dom, 7

Emi.7

F nalf-dim. Z
E half-dim. Z

Go7 BboT DboT 8"7 Go7 BboT DboT

{-
I
Left ftffiil Rltgfl* ftffiil I
2
3
I
2
3
I I
2
4
b
3
2
I
D
4
2
I
D
3
2
I
D
3
2
I
I
D D 5

I
F mai. 7 F maj. 7

I
I I t 5
3
4
3
D
3
D
3
I
2 2 2
3 3 4 2 2 2 2
I
D D D I I I
I
F dom. 7 F dom. 7
I
I
5 4 D D
3 3 3 3
2
I
2
I
2
I
2
I I
Fmi.7 Fmi.7
I
ri

il
I
I
I
I
I
F half-dim, Z F half-dim. 7

I
I I I I i) 5
3
5 5
3
I
F 2 2 2 2 3 3

t
3 2t 2 2
3 3 3 2
I r0 I I
t) b D 5
I

t GilOz Ro7 Do7 Fo7 G#o7 Bo7 Do7

71
I
1

I
 Left ftffiil Rtgflt ftffiil
D D
3 4
2 2
I I

_-v rnal . '/

Gb maj.7

I
2 D 1 D
3 3 3 3
5 2 2 2
I t I

:i dom.7
Ff, dom. z

b 4 D
3 b
3 3 3
2 2 2 t)
I 2
I I ++ I

:, -; -
Ff mi, z

D 4 b
3 5
3 3 3
2 2 2
I 2
I I I

F; half-dim. z
F# half-dim. 7

1 I I I
2t 2 2 t D D 5 i)
? 3b, 3
5
3
5
3
b
3
2
I
3
2
I
3
2
I
3
2
I

E. o-
Ao7 co7 EboT F# "r Ao7 co7 EboT
 I
Left hnttil Rtgfrtftffiil I
I
2
3
5
I
2
I
5
D
3
2
I
D
4
2
I
b
3
2
1
D
3
2
I
I
T
G maj. 7

I
1 t
D
3
D
3
I
I
2 2 2 2
3 4 t I
b D

G dom' 7
G dom. 7
I
I
t
i) i)
I 3 3
2 2 2
4 I I
D

Gmi.7 Gmi.7 I
t
2
I
4
4
3
2
I
I
I
D

G half-dim. 7
G half-dim. 7

I
2
1
D
3
2
I
3
il
I
I
G"z BboT DboT E"7 G"7 Bb "7 DboT Eo7
I
73
l
I
t
l! I
I
I
Left ftffid F.tgfrt ftffiil
I I I D D D b

i,, 2 2 2 3 4 3 3

I ,b 3
i)
3
D
A
D
2
1
2
I
2
I
2
I

I Ar maj. 7 Ab maj.7

I
I l? i,,,
I
2
3
b
I
2
3
b
b
I
2
4
D
D
3
2
I
4
3
2
I
D
3
2
1
D
3
2
I

I
I .1
1: lom. ./ Aa dom, 7

I D 4 5 o

I
3 3 3 3
2 2 2 2
I I I I

I ^.
-. _; 1
---1, / G$ mi
t-
++

I
I o
3
2
I
4
3
2
I
3
2
D

I
b
3
2
I

I #+

I -, -.aLf-dim. 7 G$ ha If-di m.7

I 5
3
D
3
b
3
5
3

I
2 2 2 2
I I I I

I Bo7 Do7 Fo7 Bo7 Do7

I
I
\
 I
LeIt ftffiil Rtgfrtftffiil I
D
3
D
I
5
3
5
3 I
I
2 2 2 2
I I I I

A maj. 7

I
5 5 5
I
I
D
3 3 3 3
2 2 2 2
I I I I

A dom. 7 A dom. 7
I
T
b 4 b b
3 3 3 3
2
I
2
I
2
I
2
1
T

Ami.7 Ami.7
T
t
D
3
2
4
3
2
D
3
2
4
3
, t
t
I I I 1

A half-dim. 7 A half-dim. 7

3
D
3
D 5
3
5
3
T
2 2 2 2
I I I I
T
Ao7 C"T EboT Fl "7 Ao7 C"7 EboT Ffi"z
T
/J

T
t
ll
 Left ftffi{ R;tgfrt ftffid
I I I I b
2 2 2 5 D 5
2 3 4
3 3 3 4 3 3
b D D
2 2 2 2
D I I I I

=-t ;naj. 7 Bb maj.7

I I I I
2 2 D 4 o 5
2 2 3
3 3 3 3 3 3
4 2
D D 5 2 2 2
o I I I I

-r -rlITl. 7
Bb dom. 7

I I I b
2 2 4 b 5
2 3

h 3 3 3 3 3
4 2
5 2 2 2
D 5 l I I I

t
t

::r :ll:,

I
,
Bb mi,7

I I

3n
++
I
2
3
I
2
3
I
2
4
D
3
2
3
4

2
D
3
D
3

I
b 5 2 2
D I I I I

I A$ half-dim. z

I D i) 5 5

I
3 3 3 3
2 2 2 2
I 1 I I

I B) t7 CI"z Eo7 G"7 Bb

07
C*"2 Eo7 Go7

I
I
 t
Left ftffiil F.tgfft ftffiil t
I
2
3
5
I
2
3
D
I
2
4
5
D
3
2
I
5
4
2
I
5
3
2
I
D
3
2
I I
B maj. 7 B maj. 7
I
T
5
3
2
I
4
3
2
t
5
3
2
I
D
3
2
I
t
T
B dom. 7 B dom. 7
t
I I 5 4 5 5
T
t
2 2 3 3 3 3
3 3 2 2 2 2
D 5 I I I I

Bmi.7 Bmi.7 t
I
I
2
3
D
I
2
3
5
I
2
3
D
1
2
4
D t
B half-dim. Z B half-dim. 7
t
t
I
2
3
t
2
3
I
2
3
I
2
3
5
3
2
5
3
2
D
3
2
5
3
2
t
I
i) 5 5 5 I I I 1

Bo7 D"7 Fo7 Gfi"z Bo7 Do7 Gil "z

t
t
t
rl
.i{.,i
I General Chord Information
t All the chord examples on this page are given in the key of C.

I
I Major
I Major 6 g

I
I Minor 6 Dominant I

I
I Major 7 Minor 9

t
I Dominant 7 11 chord

I
I Minor 7 C minor 11

t
I Half-diminished
t
7
13 chord

I
I Diminished 7
13 sus chord

I
T
 COMMON CHORD ABBREVIATIONS
all examples on this page are given in the key of C

C major triad C dominant 7

C Major C dom. 7
C Maj, C7
CM Cx
C ma, Cx7
C"
C C dominant 7 (suspendedf
C dom. 7 sus
L7 SUS
C minor triad
C minor C minor 7
C mi. Cmi. 7
c- Cm7
c-7
C augmented triad C half-diminished z
Q+
c67
Cmi. 7 (-5)
C diminished triad
C diminished 7
co
co7

C suspended triad C major 9

C sus C Maj. s
Cma, I
CM9
C major 6
C Maj. 6 C minor 9
Cma. 6 Cmi.9
CM6 c-9
C6
C dominant 9
C dom. 9
C minor 6 C9
Cmi, 6 Cx9
CmO
c-6 c11
c11
C major 7 c13
C Maj. c13
Cma. 7
CM7 C suspended tg
C7 C 13 sus

7g

lil
 T

In 1975, Steve Barta came to Colorado from

Minnesota, where he was educated in music
at Mankato State University, and began his
career as a pianist, composer, arranger,
recording artist and teacher. He is actively I
involved in writing, arranging and
producing music for individual artists, H
television. radio and film. Steve teaches
piano improvisation, and performs as a solo
artist as well as with his trio.