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Diatonic Secondary Related Modal Substitute dominant II interchange dominant Diatonic scales

I maj7 II-7 III-7 IVmaj7 V7 VI-7 VII-7b5 V7/II V7/III V7/IV V7/V V7/VI Alt.7 bIImaj7 bIIImaj7 bVImaj7 bVIImaj7 #IV-7b5 bVI7 bVII7 I-7 IV-7 IV7 I-6 I-maj7 I7 II-7b5 III-7b5 V-7 subV7/II subV7/III subV7/IV subV7/V subV7/VI

Diatonically related scales

Dorian (except dual funcition use diatonic scale

From PARALLEL Mode that chord is from

Lydian b7 (as a mode of the altered scale)

Major Dorian Phrygian Lydian Mixolydian Aeolian locrian Mixo b13 or mixo b9,#9, b13 mixo b9,#9, b13 Mixo Mixo mixo b9,#9, b13 Altered scale Lydian Lydian Lydian Lydian locrian Lydian b7 Lydian b7 or mixolydian Dorian or Aeolian or Phrygian Dorian Lydian b7 Melodic Minor or Dorian Melodic or Harmonic Minor Mixo, blues, mixolydian #9 locrian locrian Dorian Lydian b7 Lydian b7 Lydian b7 Lydian b7 Lydian b7

Extended dominant

Substitute Extended dominant

Mixolydian

Lydian b7

Ascending diminished

Descending and aux. diminished

Diatonically related diminished scales

Enharmonic to ascending dimished

A few things to keep in mind: Diatonic chords use diatonic scales. Notes a whole step above chord tones are tensions (except for 13 on II-7). Notes a half step above are tensions. Secondary dominants are RELATED to diatonic chords: their tensions are all diatonic pitches. The scales for modal interchange chords come from whatever parallel mode they are “borrowed” from. There are more choices of scales for given chord types. These are hopefully the most diatonically related.

Chord diatonic

I Maj7 II-7 III-7 IV Maj7 V7 VI-7 VII-7b5

Scale

tensions Ionian

9, 13

Dorian

9,11

Phrygian

11

Lydian

9, #11, 13

Mixolydian

9, 13

Aeolian

9,11

Locrian

11,b13

Mixolydian b13

9,b13

Mixolydian b9,#9,b13

b9,#9,b13

Mixolydian

9,13

Mixolydian

9,13

Mixolydian b9,#9,b13

b9,#9,b13

Lydian

9, #11, 13

Locrian

11,b13

Lydian b7

9, #11, 13

Lydian b7 Mixolydian (in minor) Dorian

9, #11, 13 9,13

Mixolydian

9, 13

Dorian

9,11

Altered scale 1,b9,#9,3,b5,b13,b7 (mode found on 7th degree of melodic minor)

b9,#9, #11 (or b5)b13

sec. dom

V/II V/III V/IV V/V V/VI Modal Interchange

bII, bIII, bVI, bVII Maj7 #IV-7b5, II-7b5 bVI7, IV7 bVII7 I-7, IV-7,V-7 Extended dom

diatonic root, cycle 5 root motion rel. II-7

all (except dual function) Altered dom (ALT)

all substitute sec. & ext. dom

all

(resolution down a half step) Lydian b7

9, #11, 13

II-7b5

all Related II-vb5 and #IV-7b5

Scale

tensions Locrian

11,b13

Dorian, aeolian or phrygian

Depends on scale

Dorian or melodic minor

Depends on scale

harmonic or melodic minor

Depends on scale

No dominant resolution Mixolydian “blues” (minor penatonic) Mixolydian #9

9,13 #9,13

No dominant resolution Lydian b7 Mixolydian “blues” (minor pentatonic)

Depends on scale

Tonic Minor chords

I-7 I-6 I-maj7 I7

Tonic sounding I IV7

Sub dominant