7 notes · a ♯4 and a ♯5 together · the 3rd mode of the melodic minor scale
The third mode of melodic minor: a major scale with both the fourth and the fifth raised. It is the scale of the maj7♯5 chord, which is what a major triad sounds like with a bass note a major third below it.
Heard in: Over a maj7♯5; Wayne Shorter, Duke Pearson, the bridge of a modal ballad.
The whole scale. Choose a chord below and this row will show which of these notes it uses.
Take every other note of the scale and you have a chord. Do it from each degree in turn and you have the key. Each row below is that stack, and the letters in it say what each scale note becomes in that chord — so the B of the scale is the 3rd of one chord, the 5th of another and the root of a third. Choose a row to see it on the neck.
| Degree | Chord | G 1 | A 2 | B 3 | C# ♯4 | D# ♯5 | E 6 | F# 7 |
|---|---|---|---|---|---|---|---|---|
| I+ | Gmaj7#5 | R | · | 3 | · | 5 | · | 7 |
| II | A7 | 7 | R | · | 3 | · | 5 | · |
| III | B7 | · | 7 | R | · | 3 | · | 5 |
| ♯iv° | C#m7b5 | 5 | · | 7 | R | · | 3 | · |
| ♯v° | D#m7b5 | · | 5 | · | 7 | R | · | 3 |
| vi | EmMaj7 | 3 | · | 5 | · | 7 | R | · |
| vii | F#m7 | · | 3 | · | 5 | · | 7 | R |
Every note of the scale appears in four of these chords, and every chord shares three of its four notes with the chord a third away from it. That overlap is why one can be substituted for another.
The chords on G whose every note this scale contains, biggest first. The largest of them is the one that pins the scale down: over Gmaj7b5 there is nothing in G lydian augmented that can sound wrong.
Same notes, different home. Which one you are in is decided by the chord underneath, not by the notes.
Every scale on every root is on the scale index, and every chord on the chord index. Where the shapes and the theory come from is on the about page.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.