Chord/Scale Reference Chart
|
|
- Alaina Cannon
- 6 years ago
- Views:
Transcription
1 Chord/Scale Reference Chart Tommaso Zillio Legend Colors Major (M ) Minor (m) Dominant (M7) (Semi)Diminished ( or ø) Augmented (M+) Pages, Rows and Columns Every page contains the harmonizations for every diatonic, minor melodic and minor harmonic mode constructed starting from the same note (first page: C; second page C#, etc.). The first seven rows are the diatonic modes i.e. the modes of the major scale; the second seven rows are the modes of the melodic minor scale and the last seven the modes of the harmonic minor scale. The first column is the name of the scale (i.e. in the first page we have in order C Ionian, C Dorian, C phrygian etc...). The second column contain the symbol of the chord constructed on the first note of the scale; the third column contains the symbol of the chord constructed on the second note of the scale, etc. The last column contains the parent scale of the mode; for instance the parent scale of C lydian is G Ionian (equivalently E Aeolian); the parent scale of C Lydian Augmented is A Melodic Minor and the parent scale of C Phrygian Dominant is F Harmonic Minor. Chord Symbols Chords are divided in 5 principal groups: Major, Dominant, Minor, (semi)diminished and Augmented. The color in which chords are printed depend on their group. Here is the formula for every chord: Chord Symbol Formula Example in C Major M maj7 C E G B Dominant M (5 ) 7 C E G (G ) B Minor m C E G (half)diminished or ø C E G Augmented M maj7 C E G B Major chords are major triads that support a maj7 ( ). Dominant chords are chords that support both a major third and a minor 7 (indicated simply with 7). Usually this chords are built on major triads, but in one case (superlocrian scale/ altered chord, more on this later) the chord support a raised/diminished fifth. Minor chords can support either a minor 7 (indicated simply by 7) or a maj 7 (indicated by ) depending on the scale they are constructed on: this is indicated for every chord. Augmented chords can support only a maj 7 (if they support a 7 they are considered Dominant). Diminished chords (1 3 5 dim7, in C: C E G A) are indicated with, half-diminished chord ( , in C: C E G B ) with ø. 1
2 What s the altered chord? It is just a shorthand notation I found in some jazz score for the chord built over the superlocrian scale. I found it convenient and decided to use it here. This notation let you decide the exact chord you want to play among many possibilities. The chord you use should have a major third and a minor 7th (i.e. it should be a dominant chord), but: it should include either a raised 5th or a diminished 5th it may optionally include a 9 or a 9 it may optionally include a 11 For instance, valid altered chords are C7/5+, C7/5dim, C7/ 9 (no5) (this one is very cool and used a lot in blues - it is sometimes called Hendrix 9th ), C7/5+ 9, etc. Possible Uses Find which chords to use given a scale: choose the tonality (for instance E) and go to this page, then choose the scale/mode (for instance melodic minor) and look the right row. This row will tell you which chords you can use (in our example: Em maj7, F m 7, G 5+ maj7, A7, B7, C dim, D altered 7). Find the scale from a chord sequence: you have the following chord sequence: Gm C F Dm. Go to the page for G: there are seven rows that begin with Gm. Only four of them contains also a C (two of them contains a Cm, one a C dim). Of these four, only one contains an F (it contains also a Dm): G Dorian. Now, look at the last column: you ll find that the parent scale is F major (Ionian) or D minor (Aeolian). Find some possible scales to play over a chord: Wanna know what you can play over an Am? Go to the page for A, and look all the rows that begins with an Am. In principle, you can play all these scales on an Am (i.e. you can play an A Dorian, Phrygian, Aeolian, Melodic Minor, Dorian 2, Harmonic Minor, or Dorian 4). Every scale has a different sound, and it may sound terrible or beautiful depending on the overall harmony of your song: try them and let your ear be your guide. Remember that you can also mix scales, and sometimes you can also do something completely different (for instance in blues you can play a minor pentatonic over a major chord!). Don t be afraid to experiment. Find some possible substitution for a chord: Say you have some boring progression like B E F (B major scale) and you want to spice it up. look at the page for B, first row. Instead of B you may play a B add11 (i.e. a B chord to which you add an 11th : B D F E) - notice that the 11 is marked in the cell for B. Instead of E play an exotic E maj7/6, and instead of F play a F sus4 (i.e. without 3rd but with a 4th: F B C ). How does it sounds like? Well, check the beginning of Always with me, always with you of Joe Satriani: this is exactly what he plays! (with the right inversions, of course). Now I can see a question in your eyes: how do I know which substitution to use? Experiment, my friend, experiment... Basic Pitch Axis: Another technique (used also in the aforementioned Satriani s song) is used to compose song sections different-but-not-too-much from previous sections. Let s take the same progression as before: B E F (B major scale). Now choose another scale on the same page, for instance B minor. Now, mark the chord in the first scale (first row) and look up the correspondent chords (same column) in the second scale you choosed (the minor scale, 6th row). Your progression becomes: Bm Em F. This sound similar enough to the progression before to have it included in the same song, but different enough not to bore you. In a sense you have minorized your major chord progression, but you can apply this procedure between any two scales you like. Some ideas: 1) take a famous song you like and rewrite it completely using another scale (national anthems are good - they are mostly in major and sound really funny in minor). 2) Compose a sequence in which instead of changing chord you change the mode of the chord. Example: Am9 A7 Amaj7/ 11. On the first chord play A minor, on the second play a Mixolydian, on the third play A Lydian. 3) Choose 2 scales on the same page and compose a chord sequence using chords from both scales. 2
3 The most important thing to remember: don t be afraid to break the rules if your ear say so. This chart is intended to be something that take you closer to the sky, not a weight to take you down. c 2008 Tommaso Zillio - All Rights Reserved. 3
4 Tonality: C Ionian C M D m7 E m7 F M G M7 A m7 B ø C I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 A A Dorian C m7 D m7 D /E M F M7 G m7 A ø A /B M A /B I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 G A Phrygian C m7 C /D M D /E M7 F m7 G ø G /A M A /B m7 G /A I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 F A Lydian C M D M7 E m7 F /G ø G M A m7 B m7 G I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 E A Mixolydian C M7 D m7 E ø F M G m7 A m7 A /B M F I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 D A Aeolian C m7 D ø D /E M F m7 G m7 G /A M A /B M7 D /E I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 C A Locrian C ø C /D M D /E m7 F m7 F /G M G /A M7 A /B m7 C /D I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 A /B A Melodic C m D m7 D /E M+ F M7 G M7 A ø B M7 C M Dorian 2 C m7 C /D M+ D /E M7 F M7 G ø A M7 A /B m A /B M Lyd. Aug. C M+ D M7 E M7 F /G ø G /A M7 A m B m7 A M Lyd. Dom. C M7 D M7 E ø F /G M7 G m A m7 A /B M+ G M Aeol. Dom. C M7 D ø E M7 F m G m7 G /A M+ A /B M7 F M Locrian 2 C ø D M7 D /E m F m7 F /G M+ G /A M7 A /B M7 D /E M Superlocr. C M7 C /D m D /E m7 E M+ F /G M7 G /A M7 A /B ø C /D M Harmonic C m D ø D /E M+ F m7 G M7 G /A M B C H Locrian 6 C ø C /D M+ D /E m7 F M7 F /G M A A /B m A /B H Ion. Aug. C M+ D m7 E M7 F M G /A A m B ø A H Dorian 4 C m7 D M7 D /E M F /G G m A ø A /B M+ G H Phr. Dom. C M7 C /D M E F m G ø G /A M+ A /B m7 F H Lydian 2 C M D /E E m F /G ø G M+ A m7 B M7 E H Altered 7 C C /D m D /E ø E M+ F /G m7 G /A M7 A M C /D H 4
5 Tonality: C /D Ionian C /D M D /E m7 F m7 F /G M G /A M7 A /B m7 C ø C /D I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 A /B A Dorian C /D m7 D /E m7 E M F /G M7 G /A m7 A /B ø B M B I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 G /A A Phrygian C /D m7 D M E M7 F /G m7 G /A ø A M B m7 A I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 F /G A Lydian C /D M D /E M7 F m7 G ø G /A M A /B m7 C m7 G /A I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 F A Mixolydian C /D M7 D /E m7 F ø F /G M G /A m7 A /B m7 B M F /G I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 D /E A Aeolian C /D m7 D /E ø E M F /G m7 G /A m7 A M B M7 E I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 C /D A Locrian C /D ø D M E m7 F /G m7 G M A M7 B m7 D I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 B A Melodic C /D m D /E m7 E M+ F /G M7 G /A M7 A /B ø C M7 C /D M Dorian 2 C /D m7 D M+ E M7 F /G M7 G /A ø A /B M7 B m B M Lyd. Aug. C /D M+ D /E M7 F M7 G ø A M7 A /B m C m7 A /B M Lyd. Dom. C /D M7 D /E M7 F ø G M7 G /A m A /B m7 B M+ G /A M Aeol. Dom. C /D M7 D /E ø F M7 F /G m G /A m7 A M+ B M7 F /G M Locrian 2 C /D ø D /E M7 E m F /G m7 G M+ A M7 B M7 E M Superlocr. C /D M7 D m E m7 F M+ G M7 A M7 B ø D M Harmonic C /D m D /E ø E M+ F /G m7 G /A M7 A M C C /D H Locrian 6 C /D ø D M+ E m7 F /G M7 G M A /B B m B H Ion. Aug. C /D M+ D /E m7 F M7 F /G M A A /B m C ø A /B H Dorian 4 C /D m7 D /E M7 E M G G /A m A /B ø B M+ G /A H Phr. Dom. C /D M7 D M F F /G m G /A ø A M+ B m7 F /G H Lydian 2 C /D M E F m G ø G /A M+ A /B m7 C M7 F H Altered 7 C /D D m E ø F M+ G m7 A M7 A /B M D H 5
6 Tonality: D Ionian D M E m7 F /G m7 G M A M7 B m7 C /D ø D I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 B A Dorian D m7 E m7 F M G M7 A m7 B ø C M C I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 A A Phrygian D m7 D /E M F M7 G m7 A ø A /B M C m7 A /B I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 G A Lydian D M E M7 F /G m7 G /A ø A M B m7 C /D m7 A I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 F /G A Mixolydian D M7 E m7 F /G ø G M A m7 B m7 C M G I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 E A Aeolian D m7 E ø F M G m7 A m7 A /B M C M7 F I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 D A Locrian D ø D /E M F m7 G m7 G /A M A /B M7 C m7 D /E I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 C A Melodic D m E m7 F M+ G M7 A M7 B ø C /D M7 D M Dorian 2 D m7 D /E M+ F M7 G M7 A ø B M7 C m C M Lyd. Aug. D M+ E M7 F /G M7 G /A ø A /B M7 B m C /D m7 B M Lyd. Dom. D M7 E M7 F /G ø G /A M7 A m B m7 C M+ A M Aeol. Dom. D M7 E ø F /G M7 G m A m7 A /B M+ C M7 G M Locrian 2 D ø E M7 F m G m7 G /A M+ A /B M7 C M7 F M Superlocr. D M7 D /E m F m7 F /G M+ G /A M7 A /B M7 C ø D /E M Harmonic D m E ø F M+ G m7 A M7 A /B M C /D D H Locrian 6 D ø D /E M+ F m7 G M7 G /A M B C m C H Ion. Aug. D M+ E m7 F /G M7 G M A /B B m C /D ø B H Dorian 4 D m7 E M7 F M G /A A m B ø C M+ A H Phr. Dom. D M7 D /E M F /G G m A ø A /B M+ C m7 G H Lydian 2 D M F F /G m G /A ø A M+ B m7 C /D M7 F /G H Altered 7 D D /E m F ø F /G M+ G /A m7 A /B M7 B M D /E H 6
7 Tonality: D /E Ionian D /E M F m7 G m7 G /A M A /B M7 C m7 D ø D /E I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 C A Dorian D /E m7 F m7 F /G M G /A M7 A /B m7 C ø C /D M C /D I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 A /B A Phrygian D /E m7 E M F /G M7 G /A m7 A /B ø B M C /D m7 B I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 G /A A Lydian D /E M F M7 G m7 A ø A /B M C m7 D m7 A /B I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 G A Mixolydian D /E M7 F m7 G ø G /A M A /B m7 C m7 C /D M G /A I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 F A Aeolian D /E m7 F ø F /G M G /A m7 A /B m7 B M C /D M7 F /G I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 D /E A Locrian D /E ø E M F /G m7 G /A m7 A M B M7 C /D m7 E I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 C /D A Melodic D /E m F m7 F /G M+ G /A M7 A /B M7 C ø D M7 D /E M Dorian 2 D /E m7 E M+ F /G M7 G /A M7 A /B ø C M7 C /D m C /D M Lyd. Aug. D /E M+ F M7 G M7 A ø B M7 C m D m7 C M Lyd. Dom. D /E M7 F M7 G ø A M7 A /B m C m7 C /D M+ A /B M Aeol. Dom. D /E M7 F ø G M7 G /A m A /B m7 B M+ C /D M7 G /A M Locrian 2 D /E ø F M7 F /G m G /A m7 A M+ B M7 C /D M7 F /G M Superlocr. D /E M7 E m F /G m7 G M+ A M7 B M7 C /D ø E M Harmonic D /E m F ø F /G M+ G /A m7 A /B M7 B M D D /E H Locrian 6 D /E ø E M+ F /G m7 G /A M7 A M C C /D m C /D H Ion. Aug. D /E M+ F m7 G M7 G /A M B C m D ø C H Dorian 4 D /E m7 F M7 F /G M A A /B m C ø C /D M+ A /B H Phr. Dom. D /E M7 E M G G /A m A /B ø B M+ C /D m7 G /A H Lydian 2 D /E M F /G G m A ø A /B M+ C m7 D M7 G H Altered 7 D /E E m F /G ø G M+ A m7 B M7 C M E H 7
8 Tonality: E Ionian E M F /G m7 G /A m7 A M B M7 C /D m7 D /E ø E I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 C /D A Dorian E m7 F /G m7 G M A M7 B m7 C /D ø D M D I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 B A Phrygian E m7 F M G M7 A m7 B ø C M D m7 C I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 A A Lydian E M F /G M7 G /A m7 A /B ø B M C /D m7 D /E m7 B I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 G /A A Mixolydian E M7 F /G m7 G /A ø A M B m7 C /D m7 D M A I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 F /G A Aeolian E m7 F /G ø G M A m7 B m7 C M D M7 G I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 E A Locrian E ø F M G m7 A m7 A /B M C M7 D m7 F I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 D A Melodic E m F /G m7 G M+ A M7 B M7 C /D ø D /E M7 E M Dorian 2 E m7 F M+ G M7 A M7 B ø C /D M7 D m D M Lyd. Aug. E M+ F /G M7 G /A M7 A /B ø C M7 C /D m D /E m7 C /D M Lyd. Dom. E M7 F /G M7 G /A ø A /B M7 B m C /D m7 D M+ B M Aeol. Dom. E M7 F /G ø G /A M7 A m B m7 C M+ D M7 A M Locrian 2 E ø F /G M7 G m A m7 A /B M+ C M7 D M7 G M Superlocr. E M7 F m G m7 G /A M+ A /B M7 C M7 D ø F M Harmonic E m F /G ø G M+ A m7 B M7 C M D /E E H Locrian 6 E ø F M+ G m7 A M7 A /B M C /D D m D H Ion. Aug. E M+ F /G m7 G /A M7 A M C C /D m D /E ø C /D H Dorian 4 E m7 F /G M7 G M A /B B m C /D ø D M+ B H Phr. Dom. E M7 F M G /A A m B ø C M+ D m7 A H Lydian 2 E M G G /A m A /B ø B M+ C /D m7 D /E M7 G /A H Altered 7 E F m G ø G /A M+ A /B m7 C M7 C /D M F H 8
9 Tonality: F Ionian F M G m7 A m7 A /B M C M7 D m7 E ø F I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 D A Dorian F m7 G m7 G /A M A /B M7 C m7 D ø D /E M D /E I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 C A Phrygian F m7 F /G M G /A M7 A /B m7 C ø C /D M D /E m7 C /D I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 A /B A Lydian F M G M7 A m7 B ø C M D m7 E m7 C I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 A A Mixolydian F M7 G m7 A ø A /B M C m7 D m7 D /E M A /B I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 G A Aeolian F m7 G ø G /A M A /B m7 C m7 C /D M D /E M7 G /A I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 F A Locrian F ø F /G M G /A m7 A /B m7 B M C /D M7 D /E m7 F /G I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 D /E A Melodic F m G m7 G /A M+ A /B M7 C M7 D ø E M7 F M Dorian 2 F m7 F /G M+ G /A M7 A /B M7 C ø D M7 D /E m D /E M Lyd. Aug. F M+ G M7 A M7 B ø C /D M7 D m E m7 D M Lyd. Dom. F M7 G M7 A ø B M7 C m D m7 D /E M+ C M Aeol. Dom. F M7 G ø A M7 A /B m C m7 C /D M+ D /E M7 A /B M Locrian 2 F ø G M7 G /A m A /B m7 B M+ C /D M7 D /E M7 G /A M Superlocr. F M7 F /G m G /A m7 A M+ B M7 C /D M7 D /E ø F /G M Harmonic F m G ø G /A M+ A /B m7 C M7 C /D M E F H Locrian 6 F ø F /G M+ G /A m7 A /B M7 B M D D /E m D /E H Ion. Aug. F M+ G m7 A M7 A /B M C /D D m E ø D H Dorian 4 F m7 G M7 G /A M B C m D ø D /E M+ C H Phr. Dom. F M7 F /G M A A /B m C ø C /D M+ D /E m7 A /B H Lydian 2 F M G /A A m B ø C M+ D m7 E M7 A H Altered 7 F F /G m G /A ø A M+ B m7 C /D M7 D M F /G H 9
10 Tonality: F /G Ionian F /G M G /A m7 A /B m7 B M C /D M7 D /E m7 F ø F /G I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 D /E A Dorian F /G m7 G /A m7 A M B M7 C /D m7 D /E ø E M E I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 C /D A Phrygian F /G m7 G M A M7 B m7 C /D ø D M E m7 D I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 B A Lydian F /G M G /A M7 A /B m7 C ø C /D M D /E m7 F m7 C /D I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 A /B A Mixolydian F /G M7 G /A m7 A /B ø B M C /D m7 D /E m7 E M B I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 G /A A Aeolian F /G m7 G /A ø A M B m7 C /D m7 D M E M7 A I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 F /G A Locrian F /G ø G M A m7 B m7 C M D M7 E m7 G I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 E A Melodic F /G m G /A m7 A M+ B M7 C /D M7 D /E ø F M7 F /G M Dorian 2 F /G m7 G M+ A M7 B M7 C /D ø D /E M7 E m E M Lyd. Aug. F /G M+ G /A M7 A /B M7 C ø D M7 D /E m F m7 D /E M Lyd. Dom. F /G M7 G /A M7 A /B ø C M7 C /D m D /E m7 E M+ C /D M Aeol. Dom. F /G M7 G /A ø A /B M7 B m C /D m7 D M+ E M7 B M Locrian 2 F /G ø G /A M7 A m B m7 C M+ D M7 E M7 A M Superlocr. F /G M7 G m A m7 A /B M+ C M7 D M7 E ø G M Harmonic F /G m G /A ø A M+ B m7 C /D M7 D M F F /G H Locrian 6 F /G ø G M+ A m7 B M7 C M D /E E m E H Ion. Aug. F /G M+ G /A m7 A /B M7 B M D D /E m F ø D /E H Dorian 4 F /G m7 G /A M7 A M C C /D m D /E ø E M+ C /D H Phr. Dom. F /G M7 G M A /B B m C /D ø D M+ E m7 B H Lydian 2 F /G M A A /B m C ø C /D M+ D /E m7 F M7 A /B H Altered 7 F /G G m A ø A /B M+ C m7 D M7 D /E M G H 10
11 Tonality: G Ionian G M A m7 B m7 C M D M7 E m7 F /G ø G I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 E A Dorian G m7 A m7 A /B M C M7 D m7 E ø F M F I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 D A Phrygian G m7 G /A M A /B M7 C m7 D ø D /E M F m7 D /E I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 C A Lydian G M A M7 B m7 C /D ø D M E m7 F /G m7 D I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 B A Mixolydian G M7 A m7 B ø C M D m7 E m7 F M C I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 A A Aeolian G m7 A ø A /B M C m7 D m7 D /E M F M7 A /B I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 G A Locrian G ø G /A M A /B m7 C m7 C /D M D /E M7 F m7 G /A I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 F A Melodic G m A m7 A /B M+ C M7 D M7 E ø F /G M7 G M Dorian 2 G m7 G /A M+ A /B M7 C M7 D ø E M7 F m F M Lyd. Aug. G M+ A M7 B M7 C /D ø D /E M7 E m F /G m7 E M Lyd. Dom. G M7 A M7 B ø C /D M7 D m E m7 F M+ D M Aeol. Dom. G M7 A ø B M7 C m D m7 D /E M+ F M7 C M Locrian 2 G ø A M7 A /B m C m7 C /D M+ D /E M7 F M7 A /B M Superlocr. G M7 G /A m A /B m7 B M+ C /D M7 D /E M7 F ø G /A M Harmonic G m A ø A /B M+ C m7 D M7 D /E M F /G G H Locrian 6 G ø G /A M+ A /B m7 C M7 C /D M E F m F H Ion. Aug. G M+ A m7 B M7 C M D /E E m F /G ø E H Dorian 4 G m7 A M7 A /B M C /D D m E ø F M+ D H Phr. Dom. G M7 G /A M B C m D ø D /E M+ F m7 C H Lydian 2 G M A /B B m C /D ø D M+ E m7 F /G M7 B H Altered 7 G G /A m A /B ø B M+ C /D m7 D /E M7 E M G /A H 11
12 Tonality: G /A Ionian G /A M A /B m7 C m7 C /D M D /E M7 F m7 G ø G /A I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 F A Dorian G /A m7 A /B m7 B M C /D M7 D /E m7 F ø F /G M F /G I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 D /E A Phrygian G /A m7 A M B M7 C /D m7 D /E ø E M F /G m7 E I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 C /D A Lydian G /A M A /B M7 C m7 D ø D /E M F m7 G m7 D /E I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 C A Mixolydian G /A M7 A /B m7 C ø C /D M D /E m7 F m7 F /G M C /D I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 A /B A Aeolian G /A m7 A /B ø B M C /D m7 D /E m7 E M F /G M7 B I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 G /A A Locrian G /A ø A M B m7 C /D m7 D M E M7 F /G m7 A I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 F /G A Melodic G /A m A /B m7 B M+ C /D M7 D /E M7 F ø G M7 G /A M Dorian 2 G /A m7 A M+ B M7 C /D M7 D /E ø F M7 F /G m F /G M Lyd. Aug. G /A M+ A /B M7 C M7 D ø E M7 F m G m7 F M Lyd. Dom. G /A M7 A /B M7 C ø D M7 D /E m F m7 F /G M+ D /E M Aeol. Dom. G /A M7 A /B ø C M7 C /D m D /E m7 E M+ F /G M7 C /D M Locrian 2 G /A ø A /B M7 B m C /D m7 D M+ E M7 F /G M7 B M Superlocr. G /A M7 A m B m7 C M+ D M7 E M7 F /G ø A M Harmonic G /A m A /B ø B M+ C /D m7 D /E M7 E M G G /A H Locrian 6 G /A ø A M+ B m7 C /D M7 D M F F /G m F /G H Ion. Aug. G /A M+ A /B m7 C M7 C /D M E F m G ø F H Dorian 4 G /A m7 A /B M7 B M D D /E m F ø F /G M+ D /E H Phr. Dom. G /A M7 A M C C /D m D /E ø E M+ F /G m7 C /D H Lydian 2 G /A M B C m D ø D /E M+ F m7 G M7 C H Altered 7 G /A A m B ø C M+ D m7 E M7 F M A H 12
13 Tonality: A Ionian A M B m7 C /D m7 D M E M7 F /G m7 G /A ø A I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 F /G A Dorian A m7 B m7 C M D M7 E m7 F /G ø G M G I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 E A Phrygian A m7 A /B M C M7 D m7 E ø F M G m7 F I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 D A Lydian A M B M7 C /D m7 D /E ø E M F /G m7 G /A m7 E I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 C /D A Mixolydian A M7 B m7 C /D ø D M E m7 F /G m7 G M D I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 B A Aeolian A m7 B ø C M D m7 E m7 F M G M7 C I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 A A Locrian A ø A /B M C m7 D m7 D /E M F M7 G m7 A /B I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 G A Melodic A m B m7 C M+ D M7 E M7 F /G ø G /A M7 A M Dorian 2 A m7 A /B M+ C M7 D M7 E ø F /G M7 G m G M Lyd. Aug. A M+ B M7 C /D M7 D /E ø F M7 F /G m G /A m7 F /G M Lyd. Dom. A M7 B M7 C /D ø D /E M7 E m F /G m7 G M+ E M Aeol. Dom. A M7 B ø C /D M7 D m E m7 F M+ G M7 D M Locrian 2 A ø B M7 C m D m7 D /E M+ F M7 G M7 C M Superlocr. A M7 A /B m C m7 C /D M+ D /E M7 F M7 G ø A /B M Harmonic A m B ø C M+ D m7 E M7 F M G /A A H Locrian 6 A ø A /B M+ C m7 D M7 D /E M F /G G m G H Ion. Aug. A M+ B m7 C /D M7 D M F F /G m G /A ø F /G H Dorian 4 A m7 B M7 C M D /E E m F /G ø G M+ E H Phr. Dom. A M7 A /B M C /D D m E ø F M+ G m7 D H Lydian 2 A M C C /D m D /E ø E M+ F /G m7 G /A M7 C /D H Altered 7 A A /B m C ø C /D M+ D /E m7 F M7 F /G M A /B H 13
14 Tonality: A /B Ionian A /B M C m7 D m7 D /E M F M7 G m7 A ø A /B I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 G A Dorian A /B m7 C m7 C /D M D /E M7 F m7 G ø G /A M G /A I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 F A Phrygian A /B m7 B M C /D M7 D /E m7 F ø F /G M G /A m7 F /G I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 D /E A Lydian A /B M C M7 D m7 E ø F M G m7 A m7 F I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 D A Mixolydian A /B M7 C m7 D ø D /E M F m7 G m7 G /A M D /E I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 C A Aeolian A /B m7 C ø C /D M D /E m7 F m7 F /G M G /A M7 C /D I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 A /B A Locrian A /B ø B M C /D m7 D /E m7 E M F /G M7 G /A m7 B I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 G /A A Melodic A /B m C m7 C /D M+ D /E M7 F M7 G ø A M7 A /B M Dorian 2 A /B m7 B M+ C /D M7 D /E M7 F ø G M7 G /A m G /A M Lyd. Aug. A /B M+ C M7 D M7 E ø F /G M7 G m A m7 G M Lyd. Dom. A /B M7 C M7 D ø E M7 F m G m7 G /A M+ F M Aeol. Dom. A /B M7 C ø D M7 D /E m F m7 F /G M+ G /A M7 D /E M Locrian 2 A /B ø C M7 C /D m D /E m7 E M+ F /G M7 G /A M7 C /D M Superlocr. A /B M7 B m C /D m7 D M+ E M7 F /G M7 G /A ø B M Harmonic A /B m C ø C /D M+ D /E m7 F M7 F /G M A A /B H Locrian 6 A /B ø B M+ C /D m7 D /E M7 E M G G /A m G /A H Ion. Aug. A /B M+ C m7 D M7 D /E M F /G G m A ø G H Dorian 4 A /B m7 C M7 C /D M E F m G ø G /A M+ F H Phr. Dom. A /B M7 B M D D /E m F ø F /G M+ G /A m7 D /E H Lydian 2 A /B M C /D D m E ø F M+ G m7 A M7 D H Altered 7 A /B B m C /D ø D M+ E m7 F /G M7 G M B H 14
15 Tonality: B Ionian B M C /D m7 D /E m7 E M F /G M7 G /A m7 A /B ø B I 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 G /A A Dorian B m7 C /D m7 D M E M7 F /G m7 G /A ø A M A I 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 F /G A Phrygian B m7 C M D M7 E m7 F /G ø G M A m7 G I 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 E A Lydian B M C /D M7 D /E m7 F ø F /G M G /A m7 A /B m7 F /G I 9/ 11/13 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 D /E A Mixolydian B M7 C /D m7 D /E ø E M F /G m7 G /A m7 A M E I 9/11/13 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 C /D A Aeolian B m7 C /D ø D M E m7 F /G m7 G M A M7 D I 9/11/ 13 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 B A Locrian B ø C M D m7 E m7 F M G M7 A m7 C I 9/11/ 13 9/11/13 9/11/13 9/11/ 13 9/ 11/13 9/11/13 9/11/ 13 A A Melodic B m C /D m7 D M+ E M7 F /G M7 G /A ø A /B M7 B M Dorian 2 B m7 C M+ D M7 E M7 F /G ø G /A M7 A m A M Lyd. Aug. B M+ C /D M7 D /E M7 F ø G M7 G /A m A /B m7 G /A M Lyd. Dom. B M7 C /D M7 D /E ø F M7 F /G m G /A m7 A M+ F /G M Aeol. Dom. B M7 C /D ø D /E M7 E m F /G m7 G M+ A M7 E M Locrian 2 B ø C /D M7 D m E m7 F M+ G M7 A M7 D M Superlocr. B M7 C m D m7 D /E M+ F M7 G M7 A ø C M Harmonic B m C /D ø D M+ E m7 F /G M7 G M A /B B H Locrian 6 B ø C M+ D m7 E M7 F M G /A A m A H Ion. Aug. B M+ C /D m7 D /E M7 E M G G /A m A /B ø G /A H Dorian 4 B m7 C /D M7 D M F F /G m G /A ø A M+ F /G H Phr. Dom. B M7 C M D /E E m F /G ø G M+ A m7 E H Lydian 2 B M D D /E m F ø F /G M+ G /A m7 A /B M7 D /E H Altered 7 B C m D ø D /E M+ F m7 G M7 G /A M C H 15
fretboard topologies 1,117 scales and modes for guitar players by Nicholas Puryear
fretboard topologies 1,117 scales and modes for guitar players by Nicholas Puryear ersion 1.04 rev120403 Copyright 2010 Nicholas Puryear All rights reserved. www.fretboardtopologies.com This book was composed
More informationButton Box FOR TURNTABLE
Button Box FOR TURNTABLE Overview 2 Connections 3 Basic Functions 4 Advanced Functions 5 Reset Keys To C4 5 Changing Scales 5-6 Bu#on Box 1 OVERVIEW The Button Box will allow any midi capable turntable
More informationPULSE. Table of Contents
Table of Contents WELCOME... 4 INSTALLATION & SETUP... 4 OVERVIEW... 4 USER INTERFACE... 5 SECTION 1 - EXPORT & EDIT... 6 SECTION 2 - SEQUENCER & CONTROL... 7 SECTION 3 - PRESETS... 8 SECTION 4 - SETTINGS
More informationUsers guide. EarMaster School 5 EarMaster Pro 5
Users guide EarMaster School 5 EarMaster Pro 5 Copyright 2000-2009 EarMaster Aps, Egå Havvej 21, DK-8250 Egaa, Denmark This document is protected by copyright law. It may only be reproduced and distributed
More informationUSB / MIDI / CV KEYBOARD CONTROLLER
USB / MIDI / CV KEYBOARD CONTROLLER 1. MAX49 2. AC 3. USB 4. CD (Vyzex AKAI CONNECT ) 5. DVD (Ableton Live Lite Akai Edition) 6. () AC () () () () 1. CD CD 2. : Windows : CD Vyzex installer (.exe) Mac:
More informationJohn O Gallagher. Twelve-Tone Improvisation A Method for Using Tone Rows in Jazz
John O Gallagher Telve-Tone Improvisation A Method for Using Tone Ros in Jazz John O Gallagher Telve-Tone Improvisation A Method for Using Tone Ros in Jazz 2013 y advance music International copyright
More informationExcel Simulations - 1
Excel Simulations - [] We are going to look at a number of ways Excel can be used to create worksheet simulations that help students visualize concepts. The first type of simulation we will create will
More information_CH17_525_10/31/06 CAL 101
1-59863-307-4_CH17_525_10/31/06 17 One advantage that SONAR has over any other music-sequencing product I ve worked with is that it enables the user to extend its functionality. If you find yourself in
More informationInteractive Music Instruction with Java Objects Paul E. Dworak College of Music University of North Texas Denton, TX 76203
Interactive Music Instruction with Java Objects Paul E. Dworak College of Music University of North Texas Denton, TX 76203 When microcomputers became available for computer based instruction in the early
More informationAUCS / TR9113 Preliminary report on the design of a constraint-based musical planner.
AUCS / TR9113 Preliminary report on the design of a constraint-based musical planner. Simon Holland Friday, 24 May, 1991 Department of Computing Science University of Aberdeen King's College Old Aberdeen,
More informationMintySynth Software Manual v. 4.2
MintySynth Software Manual v. 4.2 mintysynth.com info@mintysynth.com Contents Introduction I. Demo Song and Live Mode a. Demo Song b. Tempo c. Swing d. Waveform e. Duration f. Envelope II. III. IV. Photocell
More informationSelect the Points You ll Use. Tech Assignment: Find a Quadratic Function for College Costs
In this technology assignment, you will find a quadratic function that passes through three of the points on each of the scatter plots you created in an earlier technology assignment. You will need the
More informationA note for note transcription of Rick Margitza performing Cry Me A River
A note for note transcription of Rick Margitza performing From the Peter Protschka CD Twilight Jamoree (Live At The Bird's Eye Basel) Transcried y Charles McNeal A few words aout this transcription I've
More informationUSER MANUAL. Copyright 2018 AutoTonic e.u. by Clemens Slama, Vienna
USER MANUAL www.autotonic.net office@autotonic.net Copyright 2018 AutoTonic e.u. by Clemens Slama, Vienna Notices Modal MIDI Transposer Screenshots and product images included in this manual may differ
More informationCreating a Box-and-Whisker Graph in Excel: Step One: Step Two:
Creating a Box-and-Whisker Graph in Excel: It s not as simple as selecting Box and Whisker from the Chart Wizard. But if you ve made a few graphs in Excel before, it s not that complicated to convince
More informationHow Do I Choose Which Type of Graph to Use?
How Do I Choose Which Type of Graph to Use? When to Use...... a Line graph. Line graphs are used to track changes over short and long periods of time. When smaller changes exist, line graphs are better
More informationCurriculum Guidebook: Music Gr PK Gr K Gr 1 Gr 2 Gr 3 Gr 4 Gr 5 Gr 6 Gr 7 Gr 8
PK K 1 2 3 4 5 6 7 8 Elements of Music 014 Differentiates rhythm and beat X X X X X X 021 Distinguishes high and low registers X X X X 022 Distinguishes loud and soft dynamics X X X X X 023 Distinguishes
More informationWhat is a Fraction? Fractions. One Way To Remember Numerator = North / 16. Example. What Fraction is Shaded? 9/16/16. Fraction = Part of a Whole
// Fractions Pages What is a Fraction? Fraction Part of a Whole Top Number? Bottom Number? Page Numerator tells how many parts you have Denominator tells how many parts are in the whole Note: the fraction
More informationName: Tutor s
Name: Tutor s Email: Bring a couple, just in case! Necessary Equipment: Black Pen Pencil Rubber Pencil Sharpener Scientific Calculator Ruler Protractor (Pair of) Compasses 018 AQA Exam Dates Paper 1 4
More informationExercise 6 - Addressing a Message
Exercise 6 - Addressing a Message All e-mail messages have to include an address for an e-mail to be delivered, just as a normal letter has to have a house address. An e-mail address is made up of: a user
More informationAero RhythmTrak. Quick Guide. The Operation Manual can be downloaded from the ZOOM website (www.zoom.co.jp/) ZOOM CORPORATION
Aero RhythmTrak A Quick Guide The Operation Manual can be downloaded from the ZOOM website (www.zoom.co.jp/). 2017 ZOOM CORPORATION Copying or reprinting this manual in part or in whole without permission
More informationSAMLab Tip Sheet #5 Creating Graphs
Creating Graphs The purpose of this tip sheet is to provide a basic demonstration of how to create graphs with Excel. Excel can generate a wide variety of graphs, but we will use only two as primary examples.
More informationMaking Tables and Graphs with Excel. The Basics
Making Tables and Graphs with Excel The Basics Where do my IV and DV go? Just like you would create a data table on paper, your IV goes in the leftmost column and your DV goes to the right of the IV Enter
More informationSAMLab Handout #5 Creating Graphs
Creating Graphs The purpose of this tip sheet is to provide a basic demonstration of how to create graphs with Excel. Excel can generate a wide variety of graphs, but we will use only two as primary examples.
More informationIn math, the rate of change is called the slope and is often described by the ratio rise
Chapter 3 Equations of Lines Sec. Slope The idea of slope is used quite often in our lives, however outside of school, it goes by different names. People involved in home construction might talk about
More informationTable of Laplace Transforms
Table of Laplace Transforms 1 1 2 3 4, p > -1 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 Heaviside Function 27 28. Dirac Delta Function 29 30. 31 32. 1 33 34. 35 36. 37 Laplace Transforms
More informationDepending on the computer you find yourself in front of, here s what you ll need to do to open SPSS.
1 SPSS 11.5 for Windows Introductory Assignment Material covered: Opening an existing SPSS data file, creating new data files, generating frequency distributions and descriptive statistics, obtaining printouts
More informationLow-dimensional musical pitch and chord spaces
Low-dimensional musical pitch and chord spaces Jordan Lenchitz Indiana University December 7th, 2015 Jordan Lenchitz (Indiana University) Low-dim l pitch and chord spaces December 7th, 2015 1 / 28 Outline
More informationMA 1128: Lecture 02 1/22/2018
MA 1128: Lecture 02 1/22/2018 Exponents Scientific Notation 1 Exponents Exponents are used to indicate how many copies of a number are to be multiplied together. For example, I like to deal with the signs
More informationMathematics. Name: Class: Transforming Life chances
Mathematics Name: Class: Transforming Life chances Children first- Aspire- Challenge- Achieve Aspire: To be the best I can be in everything that I try to do. To use the adults and resources available both
More informationEXCEL SKILLS. Selecting Cells: Step 1: Click and drag to select the cells you want.
Selecting Cells: Step 1: Click and drag to select the cells you want. Naming Cells: Viewlet available Step 2: To select different cells that are not next to each other, hold down as you click and
More informationmaxwerk - Copyright Amanda Pehlke Published by RedMoon Music - RedMoon's maxwerk
RedMoon's maxwerk ~ mad scientist's music composing tool ~ Version 8 Users' Guide Revised June 6, 2009 Application and documentation by Çikira -- Amanda Pehlke Copyright 2000-2009 All rights reserved RedMoon
More informationSection 1.5 Transformation of Functions
Section 1.5 Transformation of Functions 61 Section 1.5 Transformation of Functions Often when given a problem, we try to model the scenario using mathematics in the form of words, tables, graphs and equations
More informationSection 1.5 Transformation of Functions
6 Chapter 1 Section 1.5 Transformation of Functions Often when given a problem, we try to model the scenario using mathematics in the form of words, tables, graphs and equations in order to explain or
More informationBiostatistics and Design of Experiments Prof. Mukesh Doble Department of Biotechnology Indian Institute of Technology, Madras
Biostatistics and Design of Experiments Prof. Mukesh Doble Department of Biotechnology Indian Institute of Technology, Madras Lecture - 37 Other Designs/Second Order Designs Welcome to the course on Biostatistics
More informationHere is the data collected.
Introduction to Scientific Analysis of Data Using Spreadsheets. Computer spreadsheets are very powerful tools that are widely used in Business, Science, and Engineering to perform calculations and record,
More informationInequalities and you 3
Inequalities and you 3 NAME: This worksheet will provide practice for solving absolute value, polynomial, and rational inequalities. We will also work on understanding why the procedures work. We will
More informationChapter 3 Transformations of Graphs and Data
Chapter 3 Transformations of Graphs and Data 3.1 Graphs of Parent Functions Parent Function the simplest equation of a particular type of function o Ex: Quadratic Function: y = x 2 There are EIGHT important
More informationSomeone else might choose to describe the closet by determining how many square tiles it would take to cover the floor. 6 ft.
Areas Rectangles One way to describe the size of a room is by naming its dimensions. So a room that measures 12 ft. by 10 ft. could be described by saying its a 12 by 10 foot room. In fact, that is how
More informationMain Features. 8 Assignable Knobs Deliver Real-time Control of Your Musical Software
Table of Contents Main Features... 3 Preparation... 4 Using a Wireless Connection... 4 Using a USB Connection... 5 Software setup... 6 Functions and Operation of Controls... 7 Keyboard... 8 Touchpad...
More informationAge & Stage Structure: Elephant Model
POPULATION MODELS Age & Stage Structure: Elephant Model Terri Donovan recorded: January, 2010 Today we're going to be building an age-structured model for the elephant population. And this will be the
More information5 R1 The one green in the same place so either of these could be green.
Page: 1 of 20 1 R1 Now. Maybe what we should do is write out the cases that work. We wrote out one of them really very clearly here. [R1 takes out some papers.] Right? You did the one here um where you
More informationPush. Figure A4.1 Push.
Push Figure A4.1 Push. Push is a hardware controller designed by Ableton and Akai to drive Live s Session View. Simply connect the Push unit using the provided USB cable to your computer and off you go.
More informationMIS 0855 Data Science (Section 006) Fall 2017 In-Class Exercise (Day 18) Finding Bad Data in Excel
MIS 0855 Data Science (Section 006) Fall 2017 In-Class Exercise (Day 18) Finding Bad Data in Excel Objective: Find and fix a data set with incorrect values Learning Outcomes: Use Excel to identify incorrect
More informationHere are some of the more basic curves that we ll need to know how to do as well as limits on the parameter if they are required.
1 of 10 23/07/2016 05:15 Paul's Online Math Notes Calculus III (Notes) / Line Integrals / Line Integrals - Part I Problems] [Notes] [Practice Problems] [Assignment Calculus III - Notes Line Integrals Part
More informationTechnology Assignment: Scatter Plots
The goal of this assignment is to create a scatter plot of a set of data. You could do this with any two columns of data, but for demonstration purposes we ll work with the data in the table below. You
More informationAlgebra 2 Semester 1 (#2221)
Instructional Materials for WCSD Math Common Finals The Instructional Materials are for student and teacher use and are aligned to the 2016-2017 Course Guides for the following course: Algebra 2 Semester
More informationy 1 ) 2 Mathematically, we write {(x, y)/! y = 1 } is the graph of a parabola with 4c x2 focus F(0, C) and directrix with equation y = c.
Ch. 10 Graphing Parabola Parabolas A parabola is a set of points P whose distance from a fixed point, called the focus, is equal to the perpendicular distance from P to a line, called the directrix. Since
More informationPyramid Sequencer User Guide. Squarp Instruments
Pyramid Sequencer User Guide Squarp Instruments Manual based on PyraOS version V 1.0 Transcribed from Squarp Instrument s original HTML to L A T E X by Juan Pumarino. Edited and revised by Ryan Gallagher
More informationSibelius: Tips for Working Effectively
ASME 2011 Sibelius: Tips for Working Effectively Katie Wardrobe Midnight Music Navigation and score view... 4 Useful score navigation shortcuts...4 Panorama view...4 Best friends... 4 Escape...4 Undo...4
More informationClergy and Chancery, Parish and School Staff. Tom Hardy, Director, Office of Information Technology
Memo Date: July 11, 2016 To: From: Re: Clergy and Chancery, Parish and School Staff Tom Hardy, Director, Office of Information Technology How to Use Sparklines in Excel Have you ever had a worksheet of
More informationLecture Transcript While and Do While Statements in C++
Lecture Transcript While and Do While Statements in C++ Hello and welcome back. In this lecture we are going to look at the while and do...while iteration statements in C++. Here is a quick recap of some
More information(Refer Slide Time: 00:23)
In this session, we will learn about one more fundamental data type in C. So, far we have seen ints and floats. Ints are supposed to represent integers and floats are supposed to represent real numbers.
More informationPyramid Sequencer User Guide. Squarp Instruments
Pyramid Sequencer User Guide Squarp Instruments Manual based on PyraOS version V 2.0 Transcribed from Squarp Instrument s original HTML to L A T E X by Juan Pumarino. Edited and revised by Ryan Gallagher
More informationPyramid Sequencer User Guide. Squarp Instruments
Pyramid Sequencer User Guide Squarp Instruments Manual based on PyraOS version V 3.0 Transcribed from Squarp Instrument s original HTML to L A T E X by Juan Pumarino. Edited and revised by Ryan Gallagher
More informationControl Blocks (Live, Loop, Touch) Creator Manual
Control Blocks (Live, Loop, Touch) Creator Manual 1 Introduction Control Blocks (Live, Loop, Touch) 2 Glossary of Selected BLOCKS Terms 3 Start 3.1 What are Control Blocks? 3.2 System Requirements 3.3
More informationMeet the Cast. The Cosmic Defenders: Gobo, Fabu, and Pele The Cosmic Defenders are transdimensional
Meet the Cast Mitch A computer science student who loves to make cool programs, he s passionate about movies and art, too! Mitch is an all-around good guy. The Cosmic Defenders: Gobo, Fabu, and Pele The
More informationIntroduction. Playing with the Medusa won t turn you to stone, but don t be surprised if you find yourself frozen in front of it, playing for hours.
Owner s Manual Contents Introduction... 3 Quick Start... 4 Schematic Diagram... 5 Manual... 6 Overview... 6 The Synthesizer... 7 1. The Oscillators... 7 2. The Filter... 8 3. The Envelopes... 8 4. The
More information2. Periodic functions have a repeating pattern called a cycle. Some examples from real-life that have repeating patterns might include:
GRADE 2 APPLIED SINUSOIDAL FUNCTIONS CLASS NOTES Introduction. To date we have studied several functions : Function linear General Equation y = mx + b Graph; Diagram Usage; Occurence quadratic y =ax 2
More informationCS125 : Introduction to Computer Science. Lecture Notes #40 Advanced Sorting Analysis. c 2005, 2004 Jason Zych
CS125 : Introduction to Computer Science Lecture Notes #40 Advanced Sorting Analysis c 2005, 2004 Jason Zych 1 Lecture 40 : Advanced Sorting Analysis Mergesort can be described in this manner: Analyzing
More information1. Fill in the right hand side of the following equation by taking the derivative: (x sin x) =
7.1 What is x cos x? 1. Fill in the right hand side of the following equation by taking the derivative: (x sin x = 2. Integrate both sides of the equation. Instructor: When instructing students to integrate
More informationAero RhythmTrak Operation Manual
Aero RhythmTrak A Operation Manual 2017 ZOOM CORPORATION Copying or reprinting this manual in part or in whole without permission is prohibited. Contents Usage and Safety Precautions...3 Introduction...6
More informationMATLAB TUTORIAL WORKSHEET
MATLAB TUTORIAL WORKSHEET What is MATLAB? Software package used for computation High-level programming language with easy to use interactive environment Access MATLAB at Tufts here: https://it.tufts.edu/sw-matlabstudent
More informationUser Guide Version 1.0.0
obotic ean C R E A T I V E User Guide Version 1.0.0 Contents Introduction... 3 Getting Started... 4 Loading a Combinator Patch... 5 The Front Panel... 6 On/Off... 6 The Display... 6 Reset... 7 Keys...
More informationSection 7D Systems of Linear Equations
Section 7D Systems of Linear Equations Companies often look at more than one equation of a line when analyzing how their business is doing. For example a company might look at a cost equation and a profit
More informationToday s top story: Graphs, graphs, graphs! When and how to use them appropriately. For the appropriate scoop, let s go to Sally Newwwwwsworth!
Appropriate Graphs MA6611 Activity Introduction Today s top story: Graphs, graphs, graphs! When and how to use them appropriately. For the appropriate scoop, let s go to Sally Newwwwwsworth! Direct Instruction
More informationIntroduction to Excel Workshop
Introduction to Excel Workshop Empirical Reasoning Center June 6, 2016 1 Important Terminology 1. Rows are identified by numbers. 2. Columns are identified by letters. 3. Cells are identified by the row-column
More informationWHOLE NUMBER AND DECIMAL OPERATIONS
WHOLE NUMBER AND DECIMAL OPERATIONS Whole Number Place Value : 5,854,902 = Ten thousands thousands millions Hundred thousands Ten thousands Adding & Subtracting Decimals : Line up the decimals vertically.
More informationA secret of bees 1 MODELLING EXERCISE. (by Thilo Gross)
A secret of bees 1 Bees have interesting family trees. A male bee, a so-called drone (D) only has one parent, who is a queen (Q). A queen has two parents, a queen and a drone. So a drone has only one parent,
More informationGLY Geostatistics Fall Lecture 2 Introduction to the Basics of MATLAB. Command Window & Environment
GLY 6932 - Geostatistics Fall 2011 Lecture 2 Introduction to the Basics of MATLAB MATLAB is a contraction of Matrix Laboratory, and as you'll soon see, matrices are fundamental to everything in the MATLAB
More informationVLOOKUP() takes three mandatory parameters and one default/optional parameter:
Excel Lesson: Table Lookup Functions Topics Covered: VLookup() [Look across] HLookup() [Look down] Lookup() [Look almost anywhere] Related Functions (a list) We will not be examining all forms of these
More informationLearn a lot beyond the conventional VLOOKUP
The Ultimate Guide Learn a lot beyond the conventional VLOOKUP Hey there, Howdy? =IF ( you are first timer at Goodly, Then a very warm welcome here, Else for all my regular folks you know I love you :D
More informationFilter and PivotTables in Excel
Filter and PivotTables in Excel FILTERING With filters in Excel you can quickly collapse your spreadsheet to find records meeting specific criteria. A lot of reporters use filter to cut their data down
More informationExcel for Algebra 1 Lesson 5: The Solver
Excel for Algebra 1 Lesson 5: The Solver OK, what s The Solver? Speaking very informally, the Solver is like Goal Seek on steroids. It s a lot more powerful, but it s also more challenging to control.
More informationAssignment 10 Solutions Due May 1, start of class. Physics 122, sections and 8101 Laura Lising
Physics 122, sections 502-4 and 8101 Laura Lising Assignment 10 Solutions Due May 1, start of class 1) Revisiting the last question from the problem set before. Suppose you have a flashlight or a laser
More information2. Use elementary row operations to rewrite the augmented matrix in a simpler form (i.e., one whose solutions are easy to find).
Section. Gaussian Elimination Our main focus in this section is on a detailed discussion of a method for solving systems of equations. In the last section, we saw that the general procedure for solving
More informationFitting It In Here s how this chapter fits in to the book as a whole...
Using the Designer Congratulations. You ve now written a real Entity Framework application. A pretty simple one, I grant you, and you re unlikely to build many applications that only need a couple of loops
More informationSpam. Time: five years from now Place: England
Spam Time: five years from now Place: England Oh no! said Joe Turner. When I go on the computer, all I get is spam email that nobody wants. It s all from people who are trying to sell you things. Email
More information(Refer Slide Time: 02:59)
Numerical Methods and Programming P. B. Sunil Kumar Department of Physics Indian Institute of Technology, Madras Lecture - 7 Error propagation and stability Last class we discussed about the representation
More informationWhy Use Graphs? Test Grade. Time Sleeping (Hrs) Time Sleeping (Hrs) Test Grade
Analyzing Graphs Why Use Graphs? It has once been said that a picture is worth a thousand words. This is very true in science. In science we deal with numbers, some times a great many numbers. These numbers,
More information(Refer Slide Time: 01.26)
Data Structures and Algorithms Dr. Naveen Garg Department of Computer Science and Engineering Indian Institute of Technology, Delhi Lecture # 22 Why Sorting? Today we are going to be looking at sorting.
More informationBuilding a Waterfall Chart in Excel
July 29, 2015 Building a Waterfall Chart in Excel Also known as a bridge chart Introduction A Waterfall chart is a special type of Excel column chart which is utilized to highlight how a value starting
More informationBUILDING A WATERFALL CHART IN EXCEL
July 27, 2015 BUILDING A WATERFALL CHART IN EXCEL Also known as a bridge chart INTRODUCTION A Waterfall chart is a special type of Excel column chart which is utilized to highlight how a value starting
More information2.2 Limit of a Function and Limit Laws
Limit of a Function and Limit Laws Section Notes Page Let s look at the graph y What is y()? That s right, its undefined, but what if we wanted to find the y value the graph is approaching as we get close
More informationBasic Computer Skills: An Overview
Basic Computer Skills: An Overview Proficiency in the use of computers and common software packages is essential to completing technical tasks and in communicating results. The basic skills required include:
More information6.1 Evaluate Roots and Rational Exponents
VOCABULARY:. Evaluate Roots and Rational Exponents Radical: We know radicals as square roots. But really, radicals can be used to express any root: 0 8, 8, Index: The index tells us exactly what type of
More informationDivisibility Rules and Their Explanations
Divisibility Rules and Their Explanations Increase Your Number Sense These divisibility rules apply to determining the divisibility of a positive integer (1, 2, 3, ) by another positive integer or 0 (although
More informationHOW DOES A SEARCH ENGINE WORK?
HOW DOES A SEARCH ENGINE WORK? Hector says... Hi there! Did you know that the World Wide Web is made up of over a trillion web pages? That s more information than you d find in a really big library and
More informationCourse Description Manual
Course Description Manual Revised May, 2018 for Creating and Publishing Course Descriptions or Course Outlines. Adapted from chapter 6 of MarkBook s Reference Manual. by Rob Hedges 6-8 CREATING A COURSE
More informationTrombone players produce different pitches partly by varying the length of a tube.
Trombone players produce different pitches partly by varying the length of a tube. 7 Variables A variable is a connection between a name and a value.* That sounds simple enough, but some complexities arise
More information1. MS EXCEL. a. Charts/Graphs
1. MS EXCEL 3 tips to make your week easier! (MS Excel) In this guide we will be focusing on some of the unknown and well known features of Microsoft Excel. There are very few people, if any at all, on
More informationArcMap Online Tutorial Sarah Pierce How to map in ArcMap Online using the Fresh Prince of Bel Air as an example
Fall GARP ArcMap Online Tutorial Sarah Pierce How to map in ArcMap Online using the Fresh Prince of Bel Air as an example Westfield State University Let s say you ve never used ArcGIS before and your professor
More informationAn introduction to plotting data
An introduction to plotting data Eric D. Black California Institute of Technology February 25, 2014 1 Introduction Plotting data is one of the essential skills every scientist must have. We use it on a
More informationHKALE 2012 ASL Computer Applications Paper 2 Disscussion forum system
HKALE 2012 ASL Computer Applications Paper 2 Disscussion forum system Yan Chai Hospital Lim Por Yen Secondary School 7A(3) Chu Chun Kit CONTENT PAGE 1. Content Page P.1 2. Schedule P.2 3. Objective P.3-4
More information) 2 + (y 2. x 1. y c x2 = y
Graphing Parabola Parabolas A parabola is a set of points P whose distance from a fixed point, called the focus, is equal to the perpendicular distance from P to a line, called the directrix. Since this
More informationDecisions, Decisions. Testing, testing C H A P T E R 7
C H A P T E R 7 In the first few chapters, we saw some of the basic building blocks of a program. We can now make a program with input, processing, and output. We can even make our input and output a little
More informationA PREGROUP GRAMMAR FOR CHORD SEQUENCES
A PREGROUP GRAMMAR FOR CHORD SEQUENCES LIRMM/CNRS 161, rue ADA 34000 Montpellier France terrat@lirmm.fr Richard G. TERRAT & IRCAM 1, Place Igor Stravinsky 75004 Paris France terrat@ircam.fr ABSTRACT In
More informationDecision Management Community
Decision Management Community Challenge Jan-2016 INTRO I was happy to see a large number of submissions to the challenge. Just to make things clear, I did not start the challenge and I did not pick the
More informationOrbBasic Lesson 1 Goto and Variables: Student Guide
OrbBasic Lesson 1 Goto and Variables: Student Guide Sphero MacroLab is a really cool app to give the Sphero commands, but it s limited in what it can do. You give it a list of commands and it starts at
More informationOpen a new Excel workbook and look for the Standard Toolbar.
This activity shows how to use a spreadsheet to draw line graphs. Open a new Excel workbook and look for the Standard Toolbar. If it is not there, left click on View then Toolbars, then Standard to make
More information