Scale #1 – C Ionian Scale<\/h3>\n
The C ionian scale:
\n
\n…consists of the same notes in the C major scale:
\n
\nThe C ionian scale:
\n
\n…is compatible with the C major seventh chord:
\n
\n…because the chord tones of the C major seventh chord are the first, third, fifth, and seventh tones of the C ionian scale.<\/p>\n
Scale #2 – E Phrygian Scale<\/h3>\n
The E phrygian scale:
\n
\n…can be used to improvise over the C major seventh chord:
\n
\n…because E:
\n
\n…is the third tone of the C major seventh chord:
\n
\nSo, if you’re searching for a scale that starts and ends on the third tone of the C major seventh chord, search no further, the E phrygian scale is a great option.<\/p>\n
Scale #3 – G Mixolydian Scale<\/h3>\n
The G mixolydian scale:
\n
\n…consists of all the white notes on the piano from G:
\n
\n…to G:
\n
\nOne of the reasons why the G mixolydian scale is a\u00a0 great option is because it starts and ends on the fifth tone of the C major seventh chord.<\/p>\n
Scale #4 – B Locrian Scale<\/h3>\n
The B locrian scale:
\n
\n…is another compatible scale for the C major seventh chord:
\n
\n…because it starts and ends on B:
\n
\n…which is the seventh tone of the C major seventh chord.<\/p>\n
Scale #5 – C Major Pentatonic Scale<\/h3>\n
The C major pentatonic scale:
\n
\n…is another amazing scale option for the C major seventh chord because it has no avoid note. In the C major scale:
\n
\n…there’s and avoid note (which is F):
\n
\n…which is not a scale tone in the C major pentatonic scale:
\n
\nThis makes the C major pentatonic scale a more useful scale option while improvising over the C major seventh chord.<\/p>\n
Scale #6 – F Major Pentatonic Scale<\/h3>\n
The\u00a0 F major pentatonic scale:
\n
\n…is the next scale option on the list.<\/p>\n
However, the F major pentatonic scale:
\n
\n…has an avoid note (F):
\n
\n…which is not a chord tone of the C major seventh chord:
\n
\nConsequently, the F major pentatonic scale should be used with subtlety.<\/p>\n
Scale #7 – G Major Pentatonic Scale<\/h3>\n
The G major pentatonic scale:
\n
\n…is another scale option most top players improvise over the C major seventh chord with.<\/p>\n
Its tones are the fifth (G):
\n
\n…thirteenth (A):
\n
\n…seventh (B):
\n
\n…ninth (D):
\n
\n…and third (E):
\n
\n…tones in the key of C major:
\n<\/p>\n
Scale #8 – C\u00a0 Lydian Scale<\/h3>\n
Using the C lydian scale:
\n
\n…over the C major seventh chord:
\n
\n…is one of the best scale options of most modern players. This is because in the C lydian scale:
\n
\n…the avoid note in the regular ionian scale (which is F):
\n
\n…is raised by a half-step (to F#):
\n<\/p>\n
Scale #9 – E Aeolian Scale<\/h3>\n
The E aeolian scale:
\n
\n…is one of the scale options for the C major seventh chord:
\n
\nThe E aeolian scale is considered to be unique because it starts and ends on the third tone of the C major seventh chord:
\n
\n…which is E:
\n
\nAdditionally, there’s also no avoid note (F):
\n
\n…in the E aeolian scale:<\/p>\n
Scale #10 – G Ionian Scale<\/h3>\n
The G ionian scale:
\n
\n…starts and ends on the fifth tone of the C major seventh chord:
\n
\n…which is G:
\n
\nThe G ionian scale is another compatible scale with the C major seventh chord that has no avoid note.<\/p>\n
Scale #11 – B Phrygian Scale<\/h3>\n
The B phrygian scale:
\n
\n…starts and ends on the seventh tone of the C major seventh chord:
\n
\n…which is B:
\n
\nHowever, unlike the B locrian scale we covered earlier (as scale #4):
\n
\n…the fifth tone of the B phrygian scale:
\n
\n…is F#:
\n
\n…and that eliminates the avoid note (F):
\n<\/p>\n
Scale #12 – D Major Pentatonic Scale<\/h3>\n
The D major pentatonic scale:
\n
\n…is one of the rare major pentatonic scale types that can be played over the C major seventh chord:
\n
\nThe third tone in the D major pentatonic scale:
\n
\n…which is F#:
\n
\n…bodes well for the C major seventh chord.<\/p>\n
Final Words<\/h2>\n
From the 12 scales we’ve covered in this lesson, I have no doubt that you’ll be able to improvise like never before.<\/p>\n
Shifting from one pentatonic scale to another, or from one modal scale to another with tons of tonal and rhythmic varieties would help you milk ecstasy out of the scales.<\/p>\n
Don’t forget to transpose the concept learned to other major seventh chords.<\/p>\n
All the best!<\/p>\n","protected":false},"excerpt":{"rendered":"
If you’re interested in learning the scales to improvise over the major seventh chord with, this lesson is for you.<\/p>\n","protected":false},"author":9,"featured_media":22553,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,1828,22,9,229],"tags":[2565,2566,2307,646,1313,2540],"class_list":["post-17371","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-improvisation","category-jazz-music","category-piano","category-scales-theory-piano","tag-ionian-scale","tag-locrian-scale","tag-major-pentatonic-scale","tag-major-seventh-chord","tag-mixolydian-scale","tag-phrygian-scale","post-wrapper","thrv_wrapper"],"yoast_head":"\n