In this post, I would like to explain one of the basic ideas needed for composition and improvisation: the relationship between chords and scales. I will also briefly introduce how to read the “SCALE SYLLABUS” found in Jamey Aebersold’s materials.
Start with Just the First Line of the Scale Syllabus
To begin with, it is enough to look only at the very first line.CHORD/SCALE SYMBOL: C
SCALE NAME: Major
WHOLE & HALF STEP CONSTRUCTION: WWHWWWH
SCALE IN KEY OF C: C D E F G A B C
BASIC CHORD IN KEY OF C: C E G B D
Basic Usage
You can use this Scale Syllabus as a basic reference when creating melodies.For example, in the key of C, you first play the basic chord C E G B D.
Depending on the mood, B and D can be included or omitted.
Then, you create your melody using the scale C D E F G A B C.
In other words, the basic idea is very simple:
for the chord C E G (B D), choose melody notes from the scale C D E F G A B C.
However, being able to create a melody you truly like from this information alone requires practical experience. You need to play the notes and gradually internalize the sound.
Think of chords and scales as a set.
Whole Steps and Half Steps for Transposition
Whole steps and half steps describe the distance between notes.Two half steps make one whole step.
On a piano keyboard, adjacent notes (including black keys) are a half step apart, and notes separated by one key are a whole step apart.
On guitar, one fret is a half step, and two frets make a whole step.
In the Scale Syllabus, W means Whole step, and H means Half step.
If you memorize WWHWWWH for C Major, you can transpose it to any other key.
For example, if the root is D, you simply count out the same WWHWWWH pattern starting from D to get the D Major scale.
About the SCALE SYLLABUS
If you would like to study this more seriously, I recommend purchasing Jamey Aebersold’s materials and checking the actual SCALE SYLLABUS yourself.A good starting point is “Vol.1: How to Play Jazz and Improvise.”
Although this volume is mainly about improvisation, the basic ideas also apply to composition.
It covers not only major chord/scale relationships, but also many other chord and scale combinations.
Even when the chords become more complex, the basic reading method is still the same as with C Major.
Once you understand how to read C Major, the Scale Syllabus becomes a helpful guide for understanding many other chord-scale relationships.
Do Not Ignore the Basics
Recently, in the DTM world, people often focus on plugin usage, mixing, mastering, and AI tools.There is also a growing atmosphere—partly influenced by famous artists’ remarks—that suggests you can make music without understanding chords.
Of course, it is possible to create music without being able to explain every theoretical concept in words.
Still, I believe that the basic relationship between chords and scales is something you cannot easily avoid if you want to compose music well.
When I was in college, I joined a jazz club and often felt uncomfortable with performances that were called “improvisation” but sounded quite chaotic to me.
While searching for references at that time, I found Jamey Aebersold’s materials, and I remember being struck by the fact that the methodology had been clearly put into words.
I do not know what jazz clubs are like today.
However, if you ever find yourself thinking, “Something feels off,” the first step toward solving it is simply to look it up and study it.
In practice, notes outside the scale can sometimes sound cooler.
But that only works on top of a solid foundation.
So first, I recommend learning the basics through the SCALE SYLLABUS.