Db Ionian

Db Eb F Gb Ab Bb C

Let's face it. Using the notes in this order wouldn't sound that exceptional. However, I would still practice using this scale while holding Db-F-Ab-C with my left hand. In addition, its not the order that is important. You can start from a different note, which changes it to one of the modes above. You can end on a different note. And you can even skip notes. Remember the goal is to USE the scale to create MELODIES.

Db Pentatonic

Db Eb F Ab Bb

Ahhh the classic gospel go-to run. You NEED to know this one if you need to pull up something really quick over a Dbmaj7 chord and can't think of anything. I think it sounds better descending than ascending. And start on the 6 (the Bb). Trill up to the Bb from the Ab, with the 3rd finger on the Bb, come down the scale using 3-1-3-2-1-3-1-3-2-1 and so on... for a nice pentatonic flavor over that DbMaj7 chord

Db Lydian

Db Eb F G Ab Bb C

The classic Lydian Sound. George Russell would kill me for putting this one 3rd instead of 1st. If you are struggling to know when to use this then just think: EbMajor over DbMajor. Your ear will have to know when you need that voicing but it is pretty common. Anything you feel like playing an Ebmajor chord with Db as the root note then try this scale from ANY starting point.

ADVANCED

Db Lydian Augmented

Db Eb F G A Bb C

The 3rd mode of the melodic minor scale contains some unique sounds and voicings. But.. It is more than just a mode. It is a SOUND. I repeat. The Lydian Augmented scale is a sound. You can write a song using nothing but the notes in this scale. It is advanced because it needs to be studied in detail. In the Live Training we studied how Cory uses this mode in the song "yesterday" to come up with various voicings. 

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DbMaj7

Db-F-Ab-C

Ways to play it:

LH: 

The most common way to voice a Db Major chord. This is the first chord listed in the diatonic 7ths in the Key of Db. Keep in mind that you can use variations and inversions of this chord for slightly different textures. For instance: F-C-Db-is a great way to voice this chord

DbMaj9

Db-F-Ab-C-Eb

The DbMaj9 chord adds only one note to the Dbmaj7 chord. It adds an 'Eb.' This is why we call it the DbMaj9, because 'Eb' is the 9th note in the scale.

DbMaj#11

Db-F-Ab-C-Eb-G

This chord is one of the "brightest" chords you can use (along with the DbMaj13#11). It has a distinct Lydian sound.

Db6/9

Db Eb F Ab Bb

See "notes" for another way to voice this chord.

This Popular Jazz chord is actually just the Pentatonic Scale with the notes played harmonically (together) instead of melodically (on at a time). Use a combination of Inversions and Stacking to sound good. A popular way to play it is LH: Db-F-Bb   RH: Eb-Ab-Db *notes go from lowest to highest

Suspended Chords - Know the Sus Chords in Db, Memorize Them

Db9sus4

Db Gb B Eb

Alternate Voicings:

LH: Db Gb Ab   RH: B Eb Gb

LH: Db Ab Eb    RH: Gb B Eb Ab

A favorite common voicing among gospel musicians. It actually has multiple uses. For instance take the Db at the bottom of the original chord on the left and change it to an Ab and you have an Abmin7 chord. Take the Db at the bottom and move it up ONE octave and you have a BMaj(add2). Since it uses all notes from the B scale, you should have fun integrating it into your songs.

Db13Sus

Db Eb Gb Ab Bb B

Alternate Voicings

LH: Db Ab B   RH: Eb Gb Bb

The only difference with the Db13Sus over the Db9Sus4 voicing is the addition of the Bb. This is a full chord that you can get by just mashing a bunch of notes in the Db dorian scale (except the E)

Db Dorian

Db Eb E Gb Ab Bb B

The notes in the Dorian scale work well over any minor chord

Db E Gb G Ab B

The Blues scale is actually the Same as the Minor Pentatonic Scale with an Added G. Please note that the Blues scale is a flexible scale so although you an play it with a Minor chord it works with multiple chord types

Db Pentatonic Minor

Db  E Gb Ab  B

From Pent- meaning 5. This scale has 5 notes, just like the Db Major Pentatonic. Again this should be a go to scale for quick runs of that minor voicings. It sounds so good when you are able to execute quickly. So start slow and build up your speed.

Db Aeolian

Db Eb E Gb Ab A B

ADVANCED

Db Melodic Minor

Db Eb E Gb Ab Bb C 

A very important scale to know. The Melodic Minor Scale is a PARENT to several important modes: Lydian Dominant, Altered Dominant, Lydian Augmented, etc... You need to memorize this scale. 

Db Locrian 6

Db D E Gb G Bb B

You can use this with just a Db-B voicing.  Or a Minor 7th interval. 

Dbmin7

Db-E-Ab-B

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The standard voicing for a Dbmin7 chord 

Dbmin9

Db-E-Ab-B-Eb

Add an "Eb" to a Dbmin7.  This extended voicing is simply an Ab minor over a Db minor. 

Dbmin9(11)

Db E Ab B Eb Gb

Add an 'Eb' and a 'Gb' to a Dbmin7. 

Dbmin13(9,11) 

Db E Ab B Eb Gb Bb Db

Don't let all the notes fool you. The Dbmin13 is actually not a complicated chord. See it as an Ebminor on top and a Dbminor on bottom (Ebmin/Dbmin). 

Db Mixolydian

Db Eb F Gb Ab Bb B

You absolutely NEED to memorize this scale. It is not only the standard go to scale for a Dominant Chord but it also the foundation of the Dominant Bepop scale which Glenn Gibson and Mike Bereal use so much.

Ionian Augmented (Sean's)

A B C# D E F

This is my favorite scale to use over a Dominant. It has a double augmented second jump between the F and the A, It's different and you won't find many musicians using it. Also, consider using run fragments, part of the scale and changing to an Altered Dominant halfway through. There are a lot of combinations you can think of. Notice that I started on the A in the Right Hand. The Left Hand can play the TriTone F-B. Get Creative!

Whole-Tone Scale

Db Eb F G A B

Use this scale to resolve to a DbMaj chord. It can be used where you want a Db7b13 voicing. Ideally 

Db D E F G A B

ADVANCED Scales (Limited to Certain Extensions)

Lydian Dominant

Db Eb F G Ab Bb B

Use this over a Db7#11 chord. It's basically a DbMixolydian with a raised 4th.

Mixolydian b6

Db Eb F Gb Ab A B

More than just a scale! This is an entire structure. Let me say this if you hear something cool on a Youtube Video or MIDI File. Just check to see if this is the scale being used. Yes It can be used with a V7 (Ab-Gb) or just holding a Db as the root and it has multiple chord voicings and uses. Songs based off of this scale would be: The Promise (Andrae Crouch, Total Praise (Richard Smallwood), etc...

Dominant Diminished (Half-Whole Scale)

Db-D-E-F-G-Ab-Bb-B

For Advanced Musicians Only!! The dominant diminished scale is more than a scale it is a SOUND. Study the "sound" the notes make instead of studying the notes in order. Also notice that this scale contains 2 diminished 7 chords: Db-E-G-Bb and D-F-Ab-B as well as the Dominant chord: Db-F-Ab-B.... The scale uses 8 notes which emphasize the b9 #9 and #11. Use carefully!

F tritone or B tritone

Use this two note tritone in the left hand as a quick way to represent the Db7 voicing. In fact, rarely is a Dominant Chord played as listed above (Db-F-Ab-B), if you are playing a scale or melody with the right hand this would be the GO-TO voicing to play with your left hand.

Db13(no 5)

B-F-Bb-Db

The 13th no 5 chord is an important table chord to know for gospel music. Please see the video on Tye Tribbett's "sinking" for a full explanation.

Db9

Db-F-Ab-B-Eb

This is the first common extension of the Dominant Chord. The Ab is unnecessary if you need room. The 'Db' is unneccesary if you want to play it as a 'rootless' voicing

Db9#11

Db-F-Ab-B-Eb-G

Same as the prior chord but with an added #11 which is the G

Db9(13)#11

Db-F-Ab-B-Eb-G-Bb

Db-F-A-B-E

A cool way to voice a Db7 chord. Essentially a A Major over Db7. So you could literally play LH: Db-F-B      RH: A-Db-E for the same sound

Db7b9b5

Db-F-B-D-G

The TriTone Substitution. So if you are playing a Dominant Chord with the right hand, a dissonant voicing to add would be to access the sound of a Major Triad a "Tritone" interval away from the Root. Since means playing lines that have a distinct  GMajor or Db7. **You must remember not to use this chart literally but to allow the voicings to give ideas and suggestions for accessing various sounds. 

Db7b9#9

Db-F-B-D-E

This interesting voicing takes the 9th note, the Eb, and splits it up and down, playing the neighboring notes around it.

Db7#9b5

Db-F-B-Db-E-G

This has a sound that is very closely related to the half-diminished sound. Move the F down a half-step and the entire chord changes to a Db Half-Diminished voicing. This means that you need to be intentional when using this chord in order to achieve the sound you are looking for

Db7b9#9b5

Db-F-B-D-E-G

Db13b9

Db-B-D-F-Bb

One of Cory's favorites. He used this chord quality on the Intro of "Yesterday." It was an A13b9, but its is the quality that is important not the key. Side Note: If you want to use the chord the way Cory used it to lead to a Dbmajor then you need to play an Ab13b9, which is Ab-Gb-A-C-F (Please note that the Cory example is not in the key of Db so Dmajor & A13b9 will be replaced by Dbmajor & Ab13b9 respectively.)

Db7b9#5

Db-F-A- B-D

Essentially an Dminor Over Db

Db7 Altered

Db-F- B-D-E-G-A

The chord that is most "out there." Although it is a Dominant Voicing, it contains all of possible color tones and extensions of the Db7 chord. 

Db-D-E-Gb-G-A-B

The Locrian scale is the primary scale to improvise with over a Half-Diminished chord. The characteristics of this scale are the b2 and the b5. 

Db Locrian Nat.2

Db-Eb-E-Gb-G-A-B

The Locrian Nat. 2 scale is another scale to improvise with over a Half-Diminished chord. It is the same as the Locrian Scale except the the 2nd degree is natural instead of flat. Hence the name: Locrian Natural 2

Db Locrian Nat.6

Db-D-E-Gb-G-Bb-B

The Locrian Nat.  scale is another scale to improvise with over a Half-Diminished chord. It is the same as the Locrian Scale except the the 6th degree is natural instead of flat. 

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