Understand uncommon chord names

Besides the categories listed above plus major and minor that are listed
elsewhere you may turn into some additional chords. To help you
figure out rare chords the following examples with explanations will
hopefully guide you.

CMin7 - alternative chord symbol for C minor seventh.

Gdom7 - alternative chord symbol for G dominant seventh.
E△ - alternative chord symbol for E major.
A° - alternative chord symbol for A diminished.
Aø - alternative chord symbol for A half-diminished.
F(#5) - alternative chord name for F augmented.
Fno3 - F major with no third.
E/G# - inverted E chord with G sharp as the bass note.
E7/B - inverted E seventh chord with a B as the bass note.
C/D - C major with D as bass note.
F/E - F major with E as bass note.
C6/9 - C six-nine chord, usually written with the 6 and 9 in small
letters over and under each other. Could also be written C6add9.
Abmaj7(#11) - A flat major seventh sharp eleventh chord.
Dmaj9(add13) - alternative chord name for Dmaj13.
B#9b5 - B sharp ninth flat fifth.
A#9#5 - A sharp ninth sharp fifth.
D-7 - D minor seventh (minus are sometimes used for minor).
D-9 - D minor ninth.
D-11 - D minor eleventh.
C/C - This indicates a C major with a duplicated root on a lower
octave.
Cm/C - This indicates a C minor with a duplicated root on a lower
octave.
 C Major Chord: C – E – G
Major chords
Major chords are the most common chords for the piano and other
instruments. The major chord names are written in sole letters like C,
D, E and so forth; otherwise, the abbreviation for major in chord
names is maj. Besides the main chord category, there are also Major
7th chords (maj7), Major 9th chords (maj9) and Major 6th chords (6)
among others.
Formula and steps
See diagrams of Major chords:

C major D major E major F major G major A major B major A good way to minimize the memorizing are to learn formulas. The
formula for a minor chord is 1 - 3 - 5, which refers to the major scale
See also graphic overview of major chords in common keys › degrees.

Theory
A major triad includes three notes and these can be referred to as the
root, major third and perfect fifth. To explain it in plain English, this
means that the notes in the chord are the first, the third and the fifth
notes in the related scale.
We can compare the C Major Scale with the C Major Chord:
C Major Scale: C – D – E – F – G – A – B
You could also learn by steps. From the 1st note go four half steps to
the right to reach the 2nd note, and from the 2nd note go three steps to
the right to reach the 3rd note.
Make use of
How and when to use major triads? Since these are the most common
of all chords, they are used in various music genres and in all kinds of
situations. Major chords can be used exclusively in shorter sequences
whereas longer sequences in general also include minor chords.

Chord sequences that shows how major chords can be utilized:

1. C F G
2. C Em F G
3. C F Am G

In roman numerals*:

1. I IV V
2. I iii IV V
3. I IV vi V

* Roman numerals describe chord intervals that can be used the same
way in all keys. See a table over major keys including roman
numerals.
Other major chords
Let us continue with major 7 chords that are built by adding the
seventh note in the related scale.
Comparing the C Major Scale with the C Major 7 Chord:
C Major Scale: C – D – E – F – G – A – B
C Major 7 Chord: C – E – G – B
There are also Major 6th chords with the sixth note in the scale added
to a triad. These are, however written without the abbreviation “maj”
and sometimes this category is called added 6th.
Comparing the C Major Scale with C6:
C Major Scale: C – D – E – F – G – A – B
C6 Chord: C – E – G – A
The idea is the same for major 9 chords in which the ninth note is
added. The C Major 9 chord accordingly look like this: C – E – G – B
– D. This chord category is somewhat unusual and there are no
diagrams of these chords on the site so far.
Although rather unusual, an additional group to know about is Major
ninth (maj9). This chord is built by adding a major ninth to a major
seventh chord. Maj9 not to be confused with the dominant 9th.
Comparing the C Major Scale with Cmaj9:
C Major Scale: C – D – E – F – G – A – B
C Major 9 Chord: C – E – G – B – D
Also to mention is maj9#11
Cmaj9#11: C – E – G – B – D – F#
Even less common is the Major thirteenth (maj13), built by adding a
13th. This chord includes seven notes, but to make it more practical
some notes (the least important for the chord color, which especially
include the eleventh) are normally left out. Maj13 not to be confused
with the dominant 13th.
Comparing the C Major Scale with Cmaj13:
C Major Scale: C – D – E – F – G – A – B
C Major 13 Chord: C – E – G – B – D – A
To mention is also maj13#11:
Cmaj13#11: C – E – G – B – D – F# – A
See links above or use the search box for diagrams (some of the less
common categories are not presented).
Alternative chord symbols
Besides the major chord symbol that is presented on this site, you may
find alternatives, including the following instead of C:
CMaj (relative common symbol there “Maj” is written out as the
abbreviation for major)
C△ (the triangle is sometimes used in piano sheets as a symbol for
major)
CM (here a capital letter is being used for “major”, which are not
recommended due to the possible confusing with a “minor” symbol)
CM7 or C△7 are alternative chord names used instead for Cmaj7 (the
triangle is sometimes also used in piano sheets as a single symbol for
major seventh).
CM9 or C△9 are alternative chord names used instead for Cmaj9,
CM11 or C△11 are alternative chord names used instead for Cmaj11
and CM13 or C△13 are alternative chord names used instead for
Cmaj13.

CM6 is an alternative chord name sometimes used instead for C6.

Additionally, C13, which is an extended chord, could be written

Cmaj9(add13).
 A Minor Chord: A – C – E
Minor chords
Minor chords are the most common next to major. Then you alter
major and minor chords you hear differences in the quality of sound.
The major chords sound somewhat neutral whilst the minor chords
give a kind of depressing feeling. Besides the main chord, there are
also Minor 7th chords (m7), Minor 9th chords (m9) and Minor 6th
chords (m6). Hence, the abbreviation for minor in chord names is m,
but also min as in Cmin and Cmin7 are used.
The difference between the Minor and Major chord is the second note.
The minor third changes to a major third.
See diagrams of minor chords:
We can compare the C Minor with the C Major:
A minor B minor C minor D minor E minor F minor G minor
C Minor Chord: C – Eb – G
See also graphic overview of minor chords in common keys ›
C Major Chord: C – E – G

Theory Formula and steps

A minor triad includes three notes and these can be referred to as the A good way to minimize the memorizing is to learn formulas. The
root, minor third and perfect fifth. It can also be referred to the first, formula for a minor chord is 1 - b3 - 5, which refers to the major scale
the third and the fifth notes in the related scale. degrees.

We can compare the A Minor Scale with the A Minor Chord: You could also learn by steps. From the 1st note go three half steps to
the right to the 2nd note, and from the 2nd note go four steps to the
A Minor Scale: A – B – C – D – E – F – G right to the 3rd note.

Make use of
How and when to use minor triads? These are among the most
common of all chords and used in various music genres and situations.
Minor chords are normally used together with major chords in
different combinations.

Chord sequences that shows how major chords can be utilized:

1. Am Em F G
2. Em C D G triad with an added major third.
3. Dm G C
There is even another group, called Minor ninth (m9). This chord is
In roman numerals*: built by adding a major ninth to a minor seventh chord.

1. i v VI VII Comparing the A Minor Scale with the A Minor 9th Chord:
2. i VI VII III
3. i IV VII A Minor Scale: A – B – C – D – E – F – G
A Minor 9 Chord: A – C – E – G – B
* Roman numerals describe chord intervals that can be used the same
way in all keys. See a table over minor keys including roman With an alternative chord name that is seldom used Cm9 could be
numerals. written C-9.

Other minor chords All chords that have been mentioned can be seen as diagrams on this
site.
As mentioned earlier, there are more groups of minor chords. The
most common among these are Minor 7th.

Comparing the A Minor Scale with the A Minor 7th Chord:

A Minor Scale: A – B – C – D – E – F – G
A Minor 7 Chord: A – C – E – G

With an alternative chord name that is seldom used Cm7 could be

written C-7.

The Minor 6th chord is consequently built by adding a sixth note. This
is actually the same note that are added to a Major 6th (this chord is
sometimes referred to as Minor Major 6th) and that mean that the A
Minor 6 Chord doesn't incorporate with its relative scale:

Comparing the A Minor Scale with the A Minor 6th Chord:

A Minor Scale: A – B – C – D – E – F – G
A Minor 6 Chord: A – C – E – F#

Because of this odd feature, the Minor 6th are often treated as an add6
chord. Regardless of names, the important part is that it is a minor
Seventh chords
Seventh Chords are common and can be found in six variants. The three
most common are Dominant Seventh chords (7), Major Seventh chords
(maj7) and Minor Seventh chords (m7). Three less common variants are
Minor Major Seventh (mM7), Dim Seventh (dim7), Augmented Seventh
(aug7).
Cmaj7: C – E – G – B
See diagrams of seventh chords:

C7 D7 E7 F7 G7 A7 B7

Cmaj7 Dmaj7 Emaj7 Fmaj7 Gmaj7 Amaj7 Bmaj7

Cm7 Dm7 Em7 Fm7 Gm7 Am7 Bm7

Cm7b5 Dm7b5 Em7b5 Fm7b5 Gm7b5 Am7b5 Bm7b5

Dominant 7th

Theory
The seventh chords have in common that the seventh note in a scale is
added to a triad (a three-note chord), making it a four-note chord (also
called a tetrachord).
We can compare the different seventh chords with C as root note:
C7: C – E – G – Bb
The name "dominant" refer to the fifth degree of the diatonic scale and
it is called dominant because it is most weighty besides the tonic (the
root of the scale). The most common dominant chord is a dominant
seventh in which a minor seventh is added to a triad major. A less
common alternative chord name for C7 is Cdom7 (dom stands for
dominant). The seventh chord belongs also to the group of extended
chords. Note that the fifth sometimes are omitted when these chords
are inverted. A slight dissonance could be heard in 7th chords because
one of the notes, the seventh, is not included in the same key as the
root note.

Major 7th

Major 7th is constructed by adding the seventh tone in the scale to a

major triad.

Cm7: C – Eb – G – Bb
Minor 7th

Minor 7th is constructed by adding a minor seventh tone in the scale to

a minor triad. Similar to the 7th chord, a slight dissonance could be
heard in minor 7th chords because one of the notes, the seventh, is not
included in the same key as the root note.

Make use of
Caug7: C – E – G# – A#
How and when to use seventh chords? Seventh chords are common in
many music styles, but especially in blues (major 7th not included) and
jazz.

Chord sequences that shows how 7th chords can be utilized:

1. C7 F7 C7 G7 F7 C7
2. C7 F7 C7 Dm7 G7 F7 C7
3. C7 F7 C7 A7 Dm7 G7 C7 CmM7: C – Eb – G – B
4. Dm7 G7 Cmaj7
(Typical blues and jazz progressions.)

Minor 7b5

Minor 7th flat 5 has a lowered fifth. This chord group is also known as
half-diminished.

Additional seventh chords

For more variations of seventh chords, see Altered chords.
Here are the other three groups of seventh chords, with examples in
the note of C:

Cdim7: C – Eb – Gb – A
Extended chords C9: C – E – G – Bb – D

Seventh, ninth, eleventh and thirteenth chords are all extended chords
and are named so because they are extended with one or more thirds.
The most common extended chord is the dominant seventh, in which a
minor seventh is added to a major triad. A seventh dominant chord is
extended with a minor third to build a ninth chord, a ninth chord is
extended with a minor third to build an eleventh chord and, finally, an
eleventh chord is extended with a major third to build a thirteenth
chord.
C11: C – E – G – Bb – D – F
See diagrams of extended chords:

C7 D7 E7 F7 G7 A7 B7

C9 D9 E9 F9 G9 A9 B9

C11 D11 E11 F11 G11 A11 B11

C13 D13 E13 F13 G13 A13 B13 C13: C – E – G – Bb – D – F – A

Theory
As mentioned above, there are several categories of extended chords.
The numeric figures indicate the interval (or scale distance) from the
root note to the last note.

We can compare the C7 chord with C9, C11 and C13: So how do you play a chord with six or more notes? The answer is that
you omit one or more notes and in many cases play the chord inverted
C7: C – E – G – Bb (i.e. rearrange the order of notes in the chord). You could use both
hands and play all notes, but there is a risk for dissonance playing up
to seven notes together. Instead, it's common to play them as
polychords, in a chord-over-chord structure (see examples below).
Omitted notes in extended chords
7th: For the 7th chord it is not necessary to omit any notes, but it is
possible to omit the fifth. A C7 with notes that could be omitted in
parentheses would therefore look like: C – E – (G) – Bb.
9th: The most standard procedure for the 9th chord is to omit the fifth.
A C9 with notes that could be omitted in parentheses would therefore
look like: C – E – (G) – Bb – D.
11th: Concerning the 11th chord the third is most often excluded. A
C11 with notes that could be omitted in parentheses would therefore
look like: C – (E) – G – Bb – D – F.
13th: For the 13th chord the most common way is to exclude the fifth,
ninth, and eleventh notes. A C13 with notes that could be omitted in
parentheses would therefore look like: C – E – (G) – Bb – (D) – (F) –
A.
How and when to use extended chords? 9th, 11th and 13th chords are
often used as substitutions for regular triads, seventh chords and other
extended chords. This is a standard approach in jazz. There are no
specific rules in which ways substitutions can be made as long as they
keep the same root note: C7 could be substituted for C9, A9 could be
substituted for A11 and B11 could be substituted for B13 et cetera.
Other extended chords
There are other extended chords such as 7b5 and 7#9. Some of these
could be found in the altered chords overview.

More specific information and images can be found on the pages with
chords for different notes, see links above.

Polychord voicings exemples

C11: Left hand playing the notes E - G - Bb and right hand playing Bb
- D - F.
C13: Left hand playing the notes E - Bb - D and right hand playing A -
D - G.
C13: Left hand playing the notes B - E - A and right hand playing C -
E - A.

The root is sometimes left out, implying that there is a bass player
involved taking care of that note.

Alternative chord names

Besides the most ordinary chord symbols or names, alternatives can

occur. C9 could also be written Cdom9. In the same style could C11
and C13 also be written Cdom11 and Cdom13 respectively.

Make use of
Sus chords
”Sus” stands for suspension and what happens in these chords are that
the third (the second note) are being replaced with either a major
second or a perfect four. Then it is replaced with a major second the
chord name is sus2, and then it is replaced with a perfect fourth the
chord name is sus4. There are also extended suspended chords.
Csus4: C – F – G
See diagrams of sus chords:

C sus D sus E sus F sus G sus A sus B sus

C7 sus D7 sus E7 sus F7 sus G7 sus A7 sus B7 sus

C9 sus D9 sus E9 sus F9 sus G9 sus A9 sus B9 sus

Theory Formulas
As mentioned above, there are several categories of suspended chords,
but in most cases it is either a sus2 or a sus4. The formulas are 1 - 2 - 5 (sus2) and 1 - 4 - 5 (sus4).

Comparing the C major Chord with Csus2 and Csus4: Other sus chords

C: C – E – G Beside the common sus2 and sus4 chords there are more categories. A
seventh or a ninth chord, for example, could be suspended.

Let us compare a C7 chord with C7 sus chords:

C7: C – E – G – Bb
C7sus2: C – D – G – Bb
C7sus4: C – F – G – Bb

Let us also compare a C9 chord with a C9sus4 chord:

Csus2: C – D – G
C9: C – E – G – Bb – D
C9sus4: C – F – G – Bb – D
Among these extended suspended chords, the ninth suspended chord
are the least common. C9sus4 is more commonly known as C11 (to be
exact, it is an inverted C11 without a major third).

Alternative chord names

Besides the standard sus4/sus2 names, the annotation C4, D4, E4 and
so forth can occur and often together with C3, D3, E3 and so forth
(meaning a sequence from sus to major).
Dim chords
“Dim” stands for diminished and what happens in these chords is that
all tones besides the root are flattened. There are both the diminished
triads, the diminished seventh and the half-diminished seventh. In the
triad, the third and fifth tones are flattened one semi-step. In the
diminished seventh (dim7), a minor third is added to the dim triad.
Dim chords are quite uncommon and are mainly used for a transition
between two chords that don't have an obvious connection.
See diagrams of dim chords:
C dim D dim E dim F dim G dim A dim B dim
C dim7 D dim7 E dim7 F dim7 G dim7 A dim7 B dim7
C half-dim7 D half-dim7 E half-dim7 F half-dim7 G half-dim7 A half-
dim7 B half-dim7
Theory
Besides the already mentioned categories, you should know also know
of the half-diminished seventh chord. This chord is identical to the
diminished seventh except for the seventh note that is flat instead for
double flat (it could also be seen as a minor seventh with a lowered
fifth). The half-diminished is more commonly written as m7b5 or
m7(b5).
Comparing the Major Chord with different diminished chords:
C: C – E – G
Cdim: C – Eb – Gb
Cdim7: C – Eb – Gb – A (Bbb)
C half-diminished 7: C – Eb – Gb – Bb
The B double flat (Bbb) in Cdim7 is used since the last tone is
theoretically a major sixth.
Formula and steps
The formula for the dim triad chord is 1 - b3 - b5. There are three half
steps to the 2nd note and three half steps to the 3rd.
Alternative chord symbols
Besides the dim chord symbol that is presented above, you may also
find the alternative degree symbol (°), as in C°, being used
occasionally. Half-diminished seventh chord could also be written
with a symbol (ø), as in Cø.
Make use of
And the most important part: how and when to use diminished chords?
One of the most common ways is to use them as passing chords.
Passing chord can be seen as “in-between chords”, in other words:
chords to land on for a short while to create some tension between
chords with stronger relationship with the key.
Chord sequences that shows how dim chords can be utilized:
1. C Ebdim G7
2. G Bbdim D7
(The intervals are the same: I biii° V7.)
Examples including dim7:
1. Cmaj7 Dbdim7 Dm7
2. Emaj7 Fdim7 F#m7
(The intervals are the same: Imaj7 bii°7 ii7.)
Examples including half-diminished:
1. Am7 Bm7b5 E7
2. Em7 F#m7b5 B7
(The intervals are the same: i7 iiø7 V7.)
Aug chords Alternative chord symbols

“Aug” stands for augmented and in a triad augmented chord there is the
root and two major thirds. These chords are quite uncommon and their
function is mostly to be placed between two chords that lack distinct
relationship.
See diagrams of aug chords:
C aug D aug E aug F aug G aug A aug B aug
C aug7 D aug7 E aug7 F aug7 G aug7 A aug7 B aug7
Theory
An aug chord will often sound dissonant. The reason is that one of the
three notes in the triad is not included in the same key as the root note.
Gaug, for example, consist of the notes G, B and D#, among which
only G and B are part of the G major scale.
There are two categories of augmented chords.
Besides the aug chord symbol that is presented on this site, you may
find the alternative plus symbol (+), as in C+, also being used
occasionally. A third symbol that occurs less commonly is C(#5)
instead for Caug ("#5" indicates that the fifth is sharpened).
Make use of
And the most important part: how and when to use augmented chords?
They are often used as passing notes, meaning that they are placed
between two chords that have stronger relationship with the key. One
way is to create a feeling of movement by a small shift from the tonic
chord to an aug version of it and when go one half-step up from its
major fifth and use that as the root for the next chord. This can be seen
below in both sequences.
Chord sequences that shows how aug chords can be utilized:
1. C Caug Am
2. G Gaug Em
(The intervals are the same: I I+ vi.)

Comparing the C Major Chord with Caug and Caug7:

C: C – E – G
Caug: C – E – G#
Caug7: C – E – G# - A#

The only difference between the C major and C augmented triads is

that the fifth is raised, or augmented, one semi-step. The augmented
seventh chord adds a minor seventh. It is, however, not as common to
write these chords aug7 as +7 or 7#5 (even the less correct 7+ occur).

Formula and steps

The formula for the aug chord is 1 - 3 - #5. There are four half steps to
the 2nd note and four half steps to the 3rd.
 Cadd11: C – E – G – F
Add chords Cadd4: C – E – F – G

Added tone chords are major triads with an extra note added. They are
abbreviated "add" and there are mainly two types: add9 and add2
(there are also the less common add11 and add4). In the add9 the ninth
tone in the scale is added and for the add2 the second tone in the scale
is added.
See diagrams of add chords*:
C add D add E add F add G add A add B add
In other words: add11 and add4 includes the same notes, but with
different order. The eleventh is the same note as the fourth, but
reaching into the next octave.
Much less common are minor add chords. A comparison between a
regular C minor chord and a minor added chord would look like:
Cm: C – Eb – G
Cmadd9: C – Eb – G – D

C add11 D add11 E add11 F add11 G add11 A add11 B add11
* To avoid too high information density, only naturals are listed. You
can easily reach, for example C#add or Dbadd, by first click on "C
add" and when click on to the next chord.
It should also be mentioned that add6 exists and are played by the
same principles as explained above. This variant are, however, very
rare. Also, 6add9 exist, but are more commonly written 6/9.

Theory
Some theory of this chord category are presented here.

Comparing the C Major Chord with the two main types of added
chords:

C: C – E – G
Cadd9: C – E – G – D
Cadd2: C – D – E – G

As you may notice it is actually the same tone that is added to the C
Major, but in different octaves.Some theory of this chord category are
presented here.

Comparing the C Major Chord with the less common add11 and add4:

C: C – E – G
 C7: C – E – G – Bb
Altered chords C7-9 (C7b9): C – E – G – Bb – Db
C7+9 (C7#9): C – E – G – Bb – D#
Altered chords are a special category of chords that - as the name
implies - alter other chords. There are, for example, altered dominant The names of these chords are C dominant seventh, sharp ninth and C
seventh chords with a flattened or a sharp fifth: 7-5 and 7+5. dominant seventh, flat ninth. C7-9 and C7+9 could also be written
C7b9 and C7#9 respectively.
See diagrams of altered chords:
Comparing with a third group of altered seventh chords.
C7-5 D7-5 E7-5 F7-5 G7-5 A7-5 B7-5
C7: C – E – G – Bb
C7+5 D7+5 E7+5 F7+5 G7+5 A7+5 B7+5 C7+11 (C7#11): C – E – G – Bb – F#

C7-9 D7-9 E7-9 F7-9 G7-9 A7-9 B7-9 The name of this chord is C dominant seventh, eleventh sharp ninth (a
correspondent C dominant seventh, eleventh flat ninth do not exist).
C7+9 D7+9 E7+9 F7+9 G7+9 A7+9 B7+9 C7+11 could also be written C7#11.

C7#11 D7#11 E7#11 F7#11 G7#11 A7#11 B7#11 Other altered chords

Theory Finally, lets look at some less common categories.

Theory of this chord category are presented here. Altered ninth and thirteenth chords.

We can compare a normal dominant seventh chord with altered C9#11: C – E – G – Bb – D – F#

dominant chords in the note of C: C13b9: C – E – G – Bb – Db – F – A
C13#11: C – E – G – Bb – D – F# – A
C7: C – E – G – Bb
C7-5 (C7b5): C – E – Gb – Bb Continued reading: Altered chord on Wikipedia
C7+5 (C7#5): C – E – G# – Bb

Concerning chord names, instead of minus (-), flat (b) are sometimes
used and instead of plus (+), sharp (#) are sometime used. Therefore,
C7-5 and C7b5 is the same chord and C7+5 and C7#5 is the same
chord. Note also that C7+5 contains the same notes as Caug7.

Comparing a normal dominant seventh chord with another pair of

altered chords.
Piano Major Scales Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

Piano Major Scales are the most important scales: firstly because they E Major
are very common and, secondly, because they are fundamental to your
understanding of keys. If you hear someone mention that a piano
sonata by the composer and pianist Franz Schubert is played in A
Major this means that it depends on the A scale. It is also common that
piano pieces are named like A Minor – this accordingly refers to a
minor scale.

Here we will focus on major scales. You can scroll down and see Notes: E, F#, G#, A, B, C#, D#, E
illustrations of all major scales, further down you will see an overview Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
with all the notes and the intervals, semi-tones and finally the formula Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
of the major scale. This theory helps you learn the concepts and
memorizing it easier. See also major scales exercises and arpeggios. F Major
C Major

Notes: F, G, A, Bb, C, D, E, F
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Notes: C, D, E, F, G, A, B, C Fingerings (RH): 1, 2, 3, 4, 1, 2, 3, 4
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 G Major
D Major

Notes: G, A, B, C, D, E, F#, G
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Notes: D, E, F#, G, A, B, C#, D Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
A Major

Notes: Eb, F, G, Ab, Bb, C, D, Eb

Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 3, 1, 2, 3, 4, 1, 2, 3
Notes: A, B, C#, D, E, F#, G#, A
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 F# /Gb Major
B Major

Notes: F#, G#, A#, B, C#, D#, F, F#

Fingerings (LH): 4, 3, 2, 1, 3, 2, 1, 4
Fingerings (RH): 2, 3, 4, 1, 2, 3, 1, 2
Notes: B, C#, D#, E, F#, G#, A#, B
Fingerings (LH): 4, 3, 2, 1, 4, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 G# / Ab Major
C# / Db Major

Notes: Ab, Bb, C, Db, Eb, F, G, Ab

Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3
Notes: Db, Eb, F, Gb, Ab, Bb, C, Db
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 2, 3, 1, 2, 3, 4, 1, 2 A# / Bb Major
D# / Eb Major
Notes: Bb, C, D, Eb, F, G, A, Bb
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Fingerings (RH): 4, 1, 2, 3, 1, 2, 3, 4

An easy way to start improvising on the piano is to play major scales

together with the chords that use the same notes. To explain further: you
can for example play chords like C, Em, F, G together with the C major scale.
Preferable you play the chords with your left hand and notes from the scale
with your right (more on improvisation).

Two another examples: chords in the scale of F major would be F, Gm, Am,
Bb, C, Dm, Edim and chords in the scale of G major would be G, Am, Bm, C,
D, Em, F#dim.

Another interesting thing is that different major scales have their own
"sounds". For example, C is suitable for ballads and Eb will sound a bit like
Bach.
Piano Minor Scales
Contrary to the major scale there are not one but three minor scales, which
all will be presented to you. The three groups of minor scales are:
Notes: A#, C, C#, D#, F, F#, G#, A#
 The natural minor (see below) Fingerings (LH): 2, 1, 3, 2, 1, 4, 3, 2
 The melodic Fingerings (RH): 2, 1, 2, 3, 1, 2, 3, 4
 The harmonic

The natural minor scale is often referred to as the minor scale. This B Minor
scale can sometimes confuse people because it is in a way identical to
the major scale. The A minor scales include exactly the same notes as
the C major scale which makes them relative keys (read more about
this further down the page). See also arpeggios.

Natural Minor Scales Notes: B, C#, D, E, F#, G, A, B

Fingerings (LH): 4, 3, 2, 1, 4, 3, 2, 1
Here are pictures and notes of scales. Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

A Minor C Minor

Notes: A, B, C, D, E, F, G, A Notes: C, D, Eb, F, G, Ab, Bb, C

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

A# / Bb Minor C# / Db Minor
Notes: C#, D#, E, F#, G#, A, B, C# Notes: E, F#, G, A, B, C, D, E
Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

D Minor F Minor

Notes: D, E, F, G, A, Bb, C, D Notes: F, G, Ab, Bb, C, Db, Eb, F

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 4, 1, 2, 3, 4

D# / Eb Minor F# / Gb Minor

Notes: D#, F, F#, G#, A#, B, C#, D# Notes: F#, G#, A, B, C#, D, E, F#
Fingerings (LH): 2, 1, 4, 3, 2, 1, 3, 2 Fingerings (LH): 4, 3, 2, 1, 3, 2, 1, 4
Fingerings (RH): 3, 1, 2, 3, 4, 1, 2, 3 Fingerings (RH): 2, 3, 1, 2, 3, 1, 2, 3

E Minor G Minor
Notes: G, A, Bb, C, D, Eb, F, G
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

G# / Ab Minor

Notes: G#, A#, B, C#, D#, E, F#, G#

Fingerings (LH): 3, 2, 1, 3, 2, 1, 3, 2
Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3
Melodic Minor Scales
The melodic minor scale differs from the natural minor scale due the
sixth and seventh notes are raised a semi-step, and therefore no longer
mirror the major scale. This scale is also some kind of peculiar since it Notes (ascending): B, C#, D, E, F#, G#, A#, B
is sometimes played differently ascending and descending. Notes (descending): B, C#, D, E, F#, G, A, B

Classic music: When you go up the scale you are using the melodic
minor scale, but when you move down the scale you are using the C
natural minor scale. For the melodic scale in A, it will look like this:
Ascending: A, B, C, D, E, F#, G#, A
Descending: A, G, F, E, D, C, B, A
Jazz: The sixth and seventh notes are always raised and therefore
exactly as the pictures below illustrate.

Notes (ascending): C, D, Eb, F, G, A, B, C

A Notes (descending): C, D, Eb, F, G, Ab, Bb, C

C# / Db

Notes (ascending): A, B, C, D, E, F#, G#, A

Notes (descending): A, B, C, D, E, F, G, A

Notes (ascending): C#, Eb, E, F#, G#, A#, C, C#

A# / Bb Notes (descending): C#, Eb, E, F#, G#, A, B, C#

Notes (ascending): A#, C, C#, Eb, F, G, A, A#

Notes (descending): A#, C, C#, Eb, F, F#, G#, A#

B
Notes (ascending): D, E, F, G, A, B, C#, D Notes (ascending): F, G, Ab, Bb, C, D, E, F
Notes (descending): D, E, F, G, A, Bb, C, D Notes (descending): F, G, Ab, Bb, C, Db, Eb, F

D# / Eb F# / Gb

Notes (ascending): D#, F, F#, G#, A#, C, D, D# Notes (ascending): F#, G#, A, B, C#, Eb, F, F#
Notes (descending): D#, F, F#, G#, A#, B, C#, D# Notes (descending): F#, G#, A, B, C#, D, E, F#

E G

Notes (ascending): E, F#, G, A, B, C#, D#, E Notes (ascending): G, A, Bb, C, D, E, F#, G

Notes (descending): E, F#, G, A, B, C, D, E Notes (descending): G, A, Bb, C, D, Eb, F, G

F G# / Ab
Notes (ascending): G#, A#, B, C#, Eb, F, G, G#
Notes (descending): G#, A#, B, C#, Eb, E, F#, G#
Harmonic Minor Scales
The harmonic minor scale is one of three minor scales. The other two
are the natural minor and the melodic minor. The sound of the
harmonic scale is characterized by the music of the Middle East. Notes: B, C#, D, E, F#, G, A#, B
Fingerings (LH): 4, 3, 2, 1, 4, 3, 2, 1
The harmonic minor differs from the natural minor with a sharpened Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
seventh note, and this minor scale is consequently not played in the
same way as the relative major scale.
C
A

Notes: C, D, Eb, F, G, Ab, B, C

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Notes: A, B, C, D, E, F, G#, A Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5
C# / Db
A# / Bb

Notes: C#, D#, E, F#, G#, A, C, C#

Fingerings (LH): 3, 2, 1, 4, 3, 2, 1, 3
Notes: A#, C, C#, D#, F, F#, A, A# Fingerings (RH): 3, 4, 1, 2, 3, 1, 2, 3
Fingerings (LH): 2, 1, 3, 2, 1, 4, 3, 2
Fingerings (RH): 2, 1, 2, 3, 1, 2, 3, 4
D
B
Notes: D, E, F, G, A, Bb, C#, D Notes: F, G, Ab, Bb, C, Db, E, F
Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 4, 1, 2, 3, 4

D# / Eb F# / Gb

Notes: D#, F, F#, G#, A#, B, D, D# Notes: F#, G#, A, B, C#, D, F, F#

Fingerings (LH): 2, 1, 4, 3, 2, 1, 3, 2 Fingerings (LH): 4, 3, 2, 1, 3, 2, 1, 4
Fingerings (RH): 3, 1, 2, 3, 4, 1, 2, 3 Fingerings (RH): 2, 3, 1, 2, 3, 1, 2, 3

E G

Notes: E, F#, G, A, B, C, D#, E Notes: G, A, Bb, C, D, Eb, F#, G

Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1 Fingerings (LH): 5, 4, 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5 Fingerings (RH): 1, 2, 3, 1, 2, 3, 4, 5

F G# / Ab
Notes: G#, A#, B, C#, D#, E, G, G#
Fingerings (LH): 3, 2, 1, 3, 2, 1, 3, 2
Fingerings (RH): 2, 3, 1, 2, 3, 1, 2, 3
Piano Pentatonic Scales Dm
The pentatonic scale is frequently used in lots of popular music styles.
There are both pentatonic major and minor – the minor more often
used in this case. Note that A minor pentatonic has identical notes as C
major pentatonic but in another order, D minor pentatonic has the
same notes as F major pentatonic and so it goes. Knowing this will
make it easier for you to memorize the scales. Notes: D, F, G, A, C, D
Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3
Minor Pentatonic Scales
Here are pictures and notes of the minor pentatonic scales. These D#m / Ebm
scales are very common in many styles, but not least in pop and rock
music. See also Major Pentatonic Scales.

Cm
Notes: D#, F#, G#, A#, C#, D#
Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3

Notes: C, Eb, F, G, Bb, C Em

Fingerings (LH): 1, 3, 2, 1, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3

C#m / Dbm
Notes: E, G, A, B, D, E
Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 1, 2, 3, 1, 2, 3

Notes: C#, E, F#, G#, B, C# Fm

Fingerings (LH): 2, 1, 3, 2, 1, 2
Fingerings (RH): 2, 1, 2, 3, 1, 2
Notes: F, Ab, Bb, C, Eb, F Notes: G#, B, C#, D#, F#, G#
Fingerings (LH): 4, 3, 2, 1, 2, 1 Fingerings (LH): 2, 1, 5, 4, 3, 2
Fingerings (RH): 1, 2, 3, 1, 2, 3 Fingerings (RH): 2, 1, 2, 3, 4, 5

F#m / Gbm Am

Notes: F#, A, B, C#, E, F# Notes: A, C, D, E, G, A

Fingerings (LH): 3, 2, 1, 2, 1, 3 Fingerings (LH): 3, 2, 1, 3, 2, 1
Fingerings (RH): 2, 1, 2, 3, 1, 2 Fingerings (RH): 1, 2, 3, 1, 2, 3

Gm A#m / Bbm

Notes: G, Bb, C, D, F, G Notes: A#, C#, D#, E#, G#, A#

Fingerings (LH): 1, 3, 2, 1, 2, 1 Fingerings (LH): 4, 3, 2, 1, 4, 3
Fingerings (RH): 1, 2, 1, 2, 3, 1 Fingerings (RH): 2, 3, 4, 1, 2, 3

G#m / Abm Bm
Notes: B, D, E, F#, A, B Notes: C#, D#, F, G#, A#, C#
Fingerings (LH): 3, 2, 1, 3, 2, 1 Fingerings (LH): 3, 2, 1, 4, 3, 2
Fingerings (RH): 2, 1, 2, 3, 1, 2 Fingerings (RH): 2, 3, 1, 2, 3, 4

Major Pentatonic Scales

This five-note scale is similar to the major scale but with the 4th and
7th degrees removed. Major pentatonic scales are especially common
in traditional folk music, county and gospel. Here are pictures and
notes of the major pentatonic scales. Notes: D, E, F#, A, B, D
Fingerings (LH): 2, 1, 3, 2, 1, 2
Fingerings (RH): 1, 2, 3, 1, 2, 4
C
D# / Eb

Notes: C, D, E, G, A, C
Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 1, 2, 3, 1, 2, 3 Notes: D#, F, G, A#, C, D#
Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 2, 1, 2, 3, 1, 2
C# / Db
E
Notes: E, F#, G#, B, C#, E Notes: G, A, B, D, E, G
Fingerings (LH): 4, 3, 2, 1, 2, 1 Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 1, 2, 3, 1, 2, 3 Fingerings (RH): 1, 2, 3, 1, 2, 4

F G# / Ab

Notes: F, G, A, C, D, F Notes: G#, A#, C, D#, F, G#

Fingerings (LH): 3, 2, 1, 2, 1, 3 Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 1, 2, 3, 1, 2, 4 Fingerings (RH): 3, 2, 1, 2, 1, 3

F# / Gb A

Notes: F#, G#, A#, C#, D#, F# Notes: A, B, C#, E, F#, A

Fingerings (LH): 3, 2, 1, 3, 2, 1 Fingerings (LH): 2, 1, 2, 1, 3, 2
Fingerings (RH): 1, 2, 3, 1, 2, 3 Fingerings (RH): 1, 2, 3, 1, 2, 1

G A# / Bb
Notes: A#, C, D, F, G, A#
Fingerings (LH): 3, 2, 1, 2, 1, 3
Fingerings (RH): 3, 1, 2, 1, 2, 3

Notes: B, C#, D#, F#, G#,B

Fingerings (LH): 1, 5, 4, 3, 2, 1
Fingerings (RH): 1, 2, 3, 4, 5, 1

Improvising with the Pentatonic Scale

The Pentatonic Scale is a flexible scale for improvising and apart from
the standard way, which is combining a scale with chords in the same
key, you could also be outside the key. By "being outside the key"
means that you don't necessarily play chords and scale that belongs to
the same key. For example, you could play G Major Pentatonic over a
C Major chord or E Minor Pentatonic over an A Minor chord.
Blues Scales for Piano Dm Pentatonic Blues
Adding a ”blue note” to the regular Pentatonic scale gives the
Pentatonic Blues Scale. These scales are for obvious reasons perfect
when playing blues on the piano. The "Major Blues Scale" is some
less common than the "Minor Blues Scale", and therefore we start with
minor and you find the major by scrolling down.
Notes: D, F, G, G#, A, C, D
The blues originate from a mix of different sources in music, so there
is no satisfying explanation in theoretical terms about this scale. But D#m / Ebm Pentatonic Blues
the most important thing is of course how it sounds when you are
using it. Try these scales below and you will hear the blues!

Minor Blues Scales

Here are pictures and notes of the minor pentatonic blues scales. See
also Major Blues Scales. Notes: D#, F#, G#, A, A#, C#, D#

Cm Pentatonic Blues Em Pentatonic Blues

Notes: C, Eb, F, F#, G, Bb, C Notes: E, G, A, A#, B, D, E

C#m / Dbm Pentatonic Blues Fm Pentatonic Blues

Notes: C#, E, F#, G, G#, B, C# Notes: F, Ab, Bb, B, C, Eb, F

F#m / Gbm Pentatonic Blues A#m / Bbm Pentatonic Blues

Notes: F#, A, B, C, C#, E, F# Notes: A#, C#, D#, E, E#, G#, A#

Gm Pentatonic Blues Bm Pentatonic Blues

Notes: G, Bb, C, C#, D, F, G Notes: B, D, E, F, F#, A, B

G#m / Abm Pentatonic Blues Theory and tips for improvisation

The pentatonic blues scale is built upon three dominant chords. For
example, in the case of C pentatonic the three chords are C7 – F7 –
G7. We can see the relationship when comparing the notes in the
scale:

 C, Eb, F, F#, G, Bb, C

Notes: G#, B, C#, D, D#, F#, G#
with the notes in the three chords:
Am Pentatonic Blues
 (C7) C, E, G, Bb – (F7) F A C Eb – (G7) G B D F

There is a close correlation as you can see.

So how can you improvise on the piano with blues scales? Learning
these scales will be great tools for improvising in the musical style of
Notes: A, C, D, D#, E, G, A blues (these scales are also used in jazz improvisation). A tip is to use
the left hand for a chord and play the notes of the scale with the right.
You can then combine a C blues scale with C7, F7 and G7 chords. In
the same way you can combine a G blues scale with the chords G7, C7
and D7. The same intervals can be used in different keys.

You can also improvise blues in minor. A nice combination are the
chords Am7, Dm7 and E7 together with the A pentatonic blues scale. Notes: D, E, F, F#, A, B, D
Further reading: 12-bar blues.
D# / Eb Pentatonic Major Blues

Major Blues Scales

Here are pictures and notes of the major pentatonic blues scales.

Notes: D#, F, F#, G, A#, C, D#

C Pentatonic Major Blues
E Pentatonic Major Blues

Notes: C, D, Eb, E, G, A, C

Notes: E, F#, G, G#, B, C#, E

C# / Db Pentatonic Major Blues
F Pentatonic Major Blues

Notes: C#, D#, E, F, G#, A#, C#

Notes: F, G, Ab, A, C, D, F
D Pentatonic Major Blues
F# / Gb Pentatonic Major Blues
Notes: F#, G#, A, A#, C#, D#, F# Notes: A#, C, C#, D, F, G, A#

G Pentatonic Major Blues B Pentatonic Major Blues

Notes: G, A, Bb, B, D, E, G Notes: B, C#, D, D#, F#, G#, B

G# / Ab Pentatonic Major Blues

Notes: G#, A#, B, C, D#, F, G#

A Pentatonic Major Blues

Notes: A, B, C, C#, E, F#, A

A# / Bb Pentatonic Major Blues

12-bar blues Over this 12-bar blues, you could play the Em Pentatonic Blues scale.

12-bar blues is an extremely common structure when playing blues. To
perform a 12-bar blues you play, as the name implies, twelve bars in a given
pattern. There are plenty of patterns to use and here you get a look at some
of the most standard.
A 12-bar blues are commonly written out by the chords that are used,
but you can also combine these with scales.
A standard 12-bar blues
(1) E7 / / / - (2) E7 / / / - (3) E7 / / / - (4) E7 / / / -
(5) A7 / / / - (6) A7 / / / - (7) E7 / / / - (8) E7 / / / -
(9) B7 / / / - (10) A7 / / / - (11) E7 / / / - (12) E7 / / /
As already told there are endless ways to vary the twelve bars (it must
not necessarily be twelve bars – the 16-bar blues is also popular), but
this is only an introduction. One essential thing however is the
turnaround.
12-bar blues with turnaround
(1) E7 / / / - (2) E7 / / / - (3) E7 / / / - (4) E7 / / / -
(5) A7 / / / - (6) A7 / / / - (7) E7 / / / - (8) E7 / / / -
(9) B7 / / / - (10) A7 / / / - (11) E7 / / / - (12) / B7 / /
The novelties are only at the end: in the eleventh bar you start playing
five measures for the same chords and then change chord for the last
three.

You have probably already guessed that the slashes (/) means
repeating of the chord and that the hyphens (-) divide the bars. The
numbers are just to illustrate the order of bars.
Playing a scale over the 12-bar blues
A 12-bar jazz-blues
(1) C7 / / / - (2) F7 / / / - (3) C7 / / / - (4) C7 / / / -
(5) F7 / / / - (6) F7 / / / - (7) C7 / / / - (8) A7 / / / -
(9) Dm7 / / / - (10) G7 / / / - (11) Em7 / / / - (12) Dm7 / G7 /

Preferably, you could play scales over the chords. You can either play In this last example, some extra sophistication and complexity was
one scale over all bars or change scale as the chord change. Part of the added to the 12 bar blues structure and as a result we got a
method is to play the root tones from the involved chords with extra combination of blues and jazz.
empathize on the same time the actual chord is being played. You need
to develop your ear for this. For an easy start, try to play the E
Pentatonic Major Blues scale over the 12-bar blues displayed above (if
you don't have anyone what can accompany you with the chords,
search on the internet for "backing tracks in E blues").

12-bar blues in minor

(1) Em / / / - (2) Em / / / - (3) Em / / / - (4) Em / / / -
(5) Am / / / - (6) Am / / / - (7) Em / / / - (8) Em / / / -
(9) B7 / / / - (10) Am / / / - (11) Em / / / - (12) Em / / /
Jazz scales and improvisation just variations of major scales but start on another degree. Therefore, if
you know the major scales you have an easy job to memorize the
modal scale.
There is not a single group of scales that can be called jazz scales – a
jazz pianist uses lots of different scales. But still there are typical For example, if we take the C major scale and play this in the Dorian
scales used in jazz and here is an overview. mode, what happens is that the notes remain the same, but the starting
point is altered. So C - D - E - F - G - A - B can change to D - E - F -
This guide will include Bebop Scales, The Modal Scales and Jazz G - A - B - C and become Dorian.
Minor Scales.
Let’s look at a complete overview of the modus of C major:
Useful scales:
Ionian: The tonic is still C.
Bebop Scales – great for soloing or improvising in jazz. Dorian: The tonic change to D.
Super Locrian Scales – common for modern jazz. Phrygian: The tonic change to E.
Nine Tone Scales – another scale sometimes used for jazz Lydian: The tonic change to F.
improvising. Mixolydian: The tonic change to G.
Aeolian: The tonic change to A (this is identical with the A minor
scale).
The Modal Scales Locrian: The tonic change to B.
The modal scales (often referred to as just modes) were once
What is all this good for you may ask? Why don't stick to the regular
discovered in Ancient Greece. In modern days the modal scales are major scales? It is true that the notes are the same in modes as in major
frequently used in jazz improvisation. Are you interested in playing scales, but not the order and that makes a big difference. It is the
jazz, the modal scales are of great importance. changed order that gives them a unique sound quality that is caused by
a different root note.
Here are the modal scales in the standard order:
So how can we use the modes? The modes become useful when you
 Ionian
for example are playing a scale over a chord and don't want the regular
 Dorian
major sound. In many music styles it will sound wrong using major
 Phrygian
scales over chords. You may instead use the Dorian mode and
 Lydian
suddenly you have a different sound. Some modes (Ionian, Lydian and
 Mixolydian
 Aeolian
Mixolydian) will sound good with major chords and some (Dorian,
 Locrian Phrygian, Aeolian and Locrian) will sound good with minor chords.

In theory the modal scales are more like keys or modus (‘interval’ in Jazz Minor Scales
Latin), but we will use either "scales" or "modes" as terms. The modal
scales will probably feel kind of complicated in the beginning since The “Jazz Minor Scale” is a melodic minor scale, but without any
they differ a bit from typical scales. But the thing is: they are really change of notes when descending, see Melodic Minor.
The Jazz Minor is often used as a replacement for other minor scales
in jazz.
Bebop Scales
The bebop scales are mostly used in jazz. You will probably notice the
close relationship between the bebop scale and the major scale. The
only difference is one extra note and this can be compared with the Notes: C#, D#, F, F#, G#, G, A#, C, C#
blue note added to a pentatonic to get a blues scale. Although we don’t
call it a blue note but a passing tone. As the pictures below show, the
passing note can be found between the 5th and 6th note in the scale. D
The Bebop Major scales can be used for improvising/soloing in jazz.
The most straightforward approach is to play a scale with the same
root note as the key in the jazz tune.

Perhaps you also notice that it is a sort of merge between the Natural
Minor and Harmonic Minor regarding their relative major scales. For Notes: D, E, F#, G, A, A#, B, C#, D
example C Major Bebop Scale includes the same notes as in both A
Natural Minor and A Harmonic Minor. D# /Eb
Bebop Major Scales
Here are pictures and notes of the major bebop scale. See also Minor
Bebop Scales.

C Notes: D#, F, G, G#, A#, B, C, D, D#

Notes: C, D, E, F, G, G#, A, B, C

C# / Db Notes: E, F#, G#, A, B, C, C#, D#, E

F
Notes: F, G, A, Bb, C, Db, D, E, F Notes: A, B, C#, D, E, F, F#, G#, A

F# / Gb A# / Bb

Notes: F#, G#, A#, B, C#, D, D#, F, F# Notes: A#, C, D, Eb, F, F#, G, A, A#

G B

Notes: G, A, B, C, D, D#, E, F#, G Notes: B, C#, D#, E, F#, G, G#, A#, B

G# / Ab Bebop Minor Scales

Here are pictures and notes of the minor bebop scale.

Cm

Notes: G#, A#, C, C#, D#, E, F, G, G#

A
Notes: C, D, Eb, E, F, G, A, Bb, C Notes: E, Gb, G, Ab, A, B, Db, D, E

C#m / Dbm Fm

Notes: C#, D#, E, F, F#, G#, A#, B, C# Notes: F, G, Ab, A, Bb, C, D, Eb, F

Dm F#m / Gbm

Notes: D, E, F, Gb, G, A, B, C, D Notes: F#, G#, A, A#, B, C#, D#, E, F#

D#m / Ebm Gm

Notes: D#, F, F#, G, G#, A#, C, C#, D# Notes: G, A, Bb, B, C, D, E, F, G

Em G#m / Abm
 Additional scales

In addition, there are two other variations of the bebop scale: Bebop
Dominant and Bebop Dorian. The interval for Bebop Dominant is 1, 2,
3, 4, 5, 6, 7b, 7 (with the passing note between the 7th and the root),
Notes: G#, A#, B, C, C#, D#, F, F#, G# which is the same as Mixolydian with one extra note. Bebop Dorian
has one extra flat, the third note, and the interval is 1, 2, 3b, 4, 5, 6, 7b,
7. All these scales are great tools for learning to play jazz.
Am

Notes: A, B, C, Db, D, E, Gb, G, A

A#m / Bbm

Notes: A#, C, C#, D, D#, F, G, G#, A#

Bm

Notes: B, C#, D, D#, E, F#, G#, A, B

Super Locrian Scales
Super Locrian or Altered Scale is built on the Locrian Scale and is
particularly used in modern jazz. The scaled is typically used together
with altered dominant seventh chords, such as 7b9 and 7#9. A third Notes: D, Eb, F, Gb, Ab, A#, C, D
name for this scale is Diminished Whole Tone. This scale is also the
same as the seventh mode of the Melodic Minor.
D# /Eb
The scale is often called Altered Scale since five of seven notes have
been altered in comparison to the normal notes in the major key. The
scale includes for example a minor seventh which is characteristic for
seventh dominant chords. It has also a major third plus both
diminished and augmented fifths, which are typical ingredients in
altered seventh chords (the scale consist actually of tones that could be
found in every possible altered dominant 7th chord). Notes: D#, E, F#, G, A, B, C#, D#

C E

Notes: C, Db, D#, E, Gb, G#, Bb, C Notes: E, F, G, G#, A#, C, D, E

C# / Db F

Notes: C#, D, E, F, G, A, B, C# Notes: F, Gb, G#, A, B, C#, D#, F

D F# / Gb
Notes: F#, G, A, A#, C, D, E, F# Notes: A#, B, C#, D, E, F#, G#, A#

G B

Notes: G, Ab, A#, B, Db, D#, F, G Notes: B, C, D, Eb, F, G, A, B

G# / Ab

Notes: G#, A, B, C, D, E, F#, G#

Notes: A, Bb, C, C#, D#, F, G, A

A# / Bb
Nine Tone Scales
The Nine Tone Scales are somewhat uncommon with nine notes. It
reminds of the Augmented Scale, and we can see a similarity
comparing C Augmented Scale and C Nine Tone Scale, which both Notes: D, E, F, F#, G#, A, A#, B, C#, D
include Eb and G#.

Because of the many notes that are included, there are numerous D# /Eb
possibilities to play chords over these scales, which, for example, can
be used in jazz.

C
Notes: Eb, F, F#, G, A, A#, B, C, D, Eb

E
Notes: C, D, Eb, E, F#, G, G#, A, B, C

C# / Db
Notes: E, F#, G, G#, A#, B, C, C#, Eb, E

F
Notes: C#, Eb, E, F, G, G#, A, A#, C, C#

D
Notes: F, G, G#, A, B, C, C#, D, E, F

F# / Gb
Notes: F#, G#, A, A#, C, C#, D, Eb, F, F# Notes: A#, C, C#, D, E, F, F#, G, A, A#

G B

Notes: G, A, A#, B, C#, D, Eb, E, F#, G Notes: B, C#, D, Eb, F, F#, G, G#, A#, B

G# / Ab

Notes: G#, A#, B, C, D, Eb, E, F, G, G#

Notes: A, B, C, C#, Eb, E, F, F#, G#, A

A# / Bb