#1
So I made a list for myself in case I get Alzheimer or any unfortunate something. Or just if I need a quick reference.

I need confirmation if I got everything right. The formula's on the net were written bad.

Like using the formulatic notes twice; For example they wrote "b3, 3" which imo is better if u write it "#2, b3" Since all the scale relate to the MAJOR scale and all modes have 7 notes.

I also wrote the chords I think work best for them (relating to what makes them different then a major scale mode over a particular chord)

Anyways here's the list

Feel free too "Steal" for own use;

Ionian (Major)	: 1, 2, 3, 4, 5, 6, 7		- Major7th
Dorian		: 1, 2, b3, 4, 5, 6, b7	        - Minor7th (M6) 
Phrygian	: 1, b2, b3, 4, 5, b6, b7	- Minor7th
Lydian		: 1, 2, 3, #4, 5, 6, 7		- Major7th (#11)
Mixolydian	: 1, 2, 3, 4, 5, 6, b7		- Dominant7th
Aeolian (Minor)	: 1, 2, b3, 4, 5, b6, b7	- Minor7th (m6)
Locrian 	: 1, b2, b3, 4, b5, b6, b7	- Half Dim.  (m7b5)

Harmonic Minor	        : 1, 2, b3, 4, 5, b6, 7		- Min/Maj7th (b6)
Locrian Natural 6th	: 1, b2, b3, 4, b5, 6, b7	- Half Dim.  (m7b5)
Ionian Augmented	: 1, 2, 3, 4, #5, 6, 7		- Major7th (#5)
Dorian #4		: 1, 2, b3, #4, 5, 6,b7		- Minor7th (#11)
Phrygian Dominant	: 1, b2, 3, 4, 5, b6, b7	- Dominant (b7, b9, b13)
Lydian #2		: 1, #2, 3, #4, 5, 6, 7		- Major7th (#9, #11)
Ultralocrian	        : 1, b2, b3, b4, 5, b6, bb7	- Diminished7th

Melodic Minor	: 1, 2, b3, 4, 5, 6, 7		- Min/Maj7th
Dorian b2	: 1, b2, b3, 4, 5, 6, b7	- Minor        (b9sus4)
Lydian #5	: 1, 2, 3, #4, #5, 6, 7		- Major7th  (#5)
Lydian Dominant	: 1, 2, 3, #4, 5, 6, b7		- Dominant (b7#11)
Mixolydian b6	: 1, 2, 3, 4, 5, b6, b7		- Dominant (b7b13)
Aeolian b5	: 1, 2, b3, 4, b5, b6, b7	- Half Dim.  (m7b5)
Altered 	: 1, b2, b3, b4, b5, b6, b7	- Dominant (Altered)

The "Re-incarnation of Plato" Award 2009
(most intelligent)
The "Good Samaritan" Award 2009 (most helpful)

[font="Palatino Linotype
Who's Andy Timmons??
Last edited by xxdarrenxx at Dec 19, 2008,
#2
I'd associate Phrygian with susb9 and not just m7.

You can't build a m6 chord from Aeolian, unless you mean a m7 chord with a minor 6, like m7b13, then that's fine.

I think you should probably write the associative chord of Phrygian Dominant as just 7b9.

Given the name is descriptive, I'm not saying calling the 6th mode of melodic minor Aeolian b5 is erroneous; I just think, given the chord we associate it with (m7b5) it makes more sense to call it Locrian 2, where the name Locrian already implies a half diminished chord, where as Aeolian doesn't.

On the subject of the altered scale, I just see no reason to spell it with a b3 or b4. You've associated every other scale with a chord that describes the scales intervals correctly as far as function goes, maj7#11 with Lydian, susb9 with Dorian b2 etc... yet you've written dominant for a scale that you're describing as having a b3 and b4. 1 - b2 - #2 - 3 - b5 - #5 - b7 is the way I'd always write it.
#3
Quote by Johnljones7443
I'd associate Phrygian with susb9 and not just m7.


Ah Yes agreed

Quote by Johnljones7443

You can't build a m6 chord from Aeolian, unless you mean a m7 chord with a minor 6, like m7b13, then that's fine.


I know; I just wrote that interval behind it to show it's difference to Dorian in Relation to C Major. (personal reminder)

Quote by Johnljones7443

I think you should probably write the associative chord of Phrygian Dominant as just 7b9.

Done
Quote by Johnljones7443

Given the name is descriptive, I'm not saying calling the 6th mode of melodic minor Aeolian b5 is erroneous; I just think, given the chord we associate it with (m7b5) it makes more sense to call it Locrian 2, where the name Locrian already implies a half diminished chord, where as Aeolian doesn't.

True, it does make more sense. But ye for me personally, because I learned minor scale first. Aeolian with a flat5 is a faster trigger for my head
Quote by Johnljones7443

On the subject of the altered scale, I just see no reason to spell it with a b3 or b4. You've associated every other scale with a chord that describes the scales intervals correctly as far as function goes, maj7#11 with Lydian, susb9 with Dorian b2 etc... yet you've written dominant for a scale that you're describing as having a b3 and b4. 1 - b2 - #2 - 3 - b5 - #5 - b7 is the way I'd always write it.


True, in ur sense it is more logic.

However If u relate the formula into notes u get: C, Db, D#, E, Gb, G#, Bb.

I believe I read it's not allowed to use the same note twice in that way^.

Yet again it helps my head, because it's major scale with every tension altered. (flat every note except root ofcourse) Which is easier for me to remember

Thx for checking the list

The "Re-incarnation of Plato" Award 2009
(most intelligent)
The "Good Samaritan" Award 2009 (most helpful)

[font="Palatino Linotype
Who's Andy Timmons??
#4
Good list

All the names are correct so I'll just assume all the formulas are correct too.

I wish our music theory had some conception of flattened and sharpened roots.
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.