question about theory!!

[vejiita]

can you give me the notes of the



c major scale- c, d, e, f, g, a, b, c

c minor scale-

c pentatonic scale-

c blues scale-

c major triad- c, e, g

c minor triad- c, e#, g

c major 7 triad-

c minor 7 triad-

c dominant 7-

c minor 7 flat 5-

[choubix]

http://www.jazzguitar.be/guitar_chord_finder.html

you can get all the scales + intervals on this chord finder.

hope this will help.

[MattyCakes]

all the minor scale is... is the 6th degree of the major scale, so in theory would would be playing an A major scale, which is ABCDEFGA

[eelblack2]

Originally Posted by vejiita

can you give me the notes of the



c major scale- C, D, E, F, G, A, B, C

c minor scale- C, D, Eb, F, G, Ab, Bb, C (Difference to Major lowered 3rd, 6th, and 7th)

c pentatonic scale Major - C, D, E, G, A
A pentatonic scale minor - A, C, D, E, G

c blues scale- (Depends on your historical level of correctness, but most guitar players simply add the flat5 to Major Pentatonic) (The true/traditional blues scale is much more complicated than that but lets keep it simple)

c major triad- c, e, g

c minor triad- c, e#, g (Not Correct - Harmonic spelling C, Eb, G)

c major 7 triad- (No such thing unless you omit the 5th - 4 note chord spelled C, E, G, B)

c minor 7 triad- (Same deal as above - 4 note chord spelled C, Eb, G, Bb)

c dominant 7- (C, E, G, Bb) (Major triad with a lowered 7th degree on top)

c minor 7 flat 5- (C, Eb, Gb, Bb)

Corrections/answers made above.

[The Euphor]

C pentatonic scale minor - C. Eb, F, G, Bb

I beg to differ. There is no such thing as "one" pentatonic major/minor scale. As long as the thirds are major/minor (and the intervals are two minor thirds and three seconds) you have several options - and they all are pentatonic.

[vejiita]

thanks!!

[eelblack2]

Originally Posted by The Euphor

C pentatonic scale minor - C. Eb, F, G, Bb

I beg to differ. There is no such thing as "one" pentatonic major/minor scale. As long as the thirds are major/minor (and the intervals are two minor thirds and three seconds) you have several options - and they all are pentatonic.

Agreed, I was speaking in precise major/relative minor terms because it sounds like that is something the original poster needs to get a grasp of. My background is purely traditional classical theory as opposed to modern or jazz style theory, so I will always err on the side of non-harmonic ambiguity.

I corrected the mispost on the relative minor to C major pentatonic. I meant "A" in my head but I forgot to backspace over the original poster's "C".

[GurraSj]

Dont forget this one, the Harmonic Minor, its a killer

A harmonic minor: A, B, C, D, E, F, G#

[Smitty]

Also, can't forget two very important jazz scales. That is, if you care.
Melodic Minor (ascending; descending is just the natural minor scale)
C-D-Eb-F-G-A-B-C
Half/Whole scale
C-Db-Eb-E-F#-G-A-Bb-C

Explore with those and you'll have loads of fun.
smitty

[markyperfection]

Originally Posted by GurraSj

Dont forget this one, the Harmonic Minor, its a killer

A harmonic minor: A, B, C, D, E, F, G#

spoken like a true shredder!

[Meedlyx10]

Originally Posted by Smitty

Melodic Minor (ascending; descending is just the natural minor scale)

That only holds true in classical/compositional contexts. When used for soloing/improv it's just as you posted it regardless of the direction of the line and is generally referred as "real" melodic minor to differentiate.

[Smitty]

Originally Posted by Meedlyx10

That only holds true in classical/compositional contexts. When used for soloing/improv it's just as you posted it regardless of the direction of the line and is generally referred as "real" melodic minor to differentiate.

Good point. In classical, the leading tone almost always means a return to the tonic, and the raised sixth is used to smooth out this transition. But also, in classical, once you reach the tonic, a descent down the natural minor scale is common. Thus the dual scale sorta thing.
But yes, in jazz, all you really use is the ascending part, and really you're just playing the dorian, using the raised seventh as a passing tone or a grace note, to start a phrase.
smitty