What scale is this progression???

[KatherineE1959]

I'm helping a friend with a piece he's writing and I can't figure out the scale.

Emaj [2 bars] -> F#maj [transition] Gmaj [2 bars] [4 times]
C [2 bars]
Am [2 bars]
Dm [2 bars]
B7 [2 bars]
[repeat]

E Aeolian [EF# A BC D E] makes the most sense as it has all the right notes but the A isn't a minor.

Any ideas would be appreciated
Thanks!

[Bryan T]

You're going to have to pull from a few scales for this progression.

I basically see the progression as being in the key of A minor, but you'll need to be careful on the B7 chord. The B7 is acting as a secondary dominant to the E chord. Be sure to play D# on the B7 and you should be fine. (I'm ignoring the F# chord, as it is just a passing chord.)

If I was thinking in terms of scales, I would work off of an A minor scale for the majority of the progression. I'd work off of A harmonic minor off of the E (to get the G# note for the E chord). And I'd make sure I added the D# on the B7 chord.

Fundamentally, I would approach this progression by playing chord tones and extensions, rather than trying to find a scale that fits, but that is a whole other ball of wax.

[DupleMeter]

You have a few things going on here:

The first section is what is known as "Constant Structure Chords" in theory terms. IOW, the same chord type (maj7 in this case) played in sequence. These types of progressions tend to be non-key related (non-functional harmony in theory terms). The notes that the chord outline are:

Emaj7: E G# B D#
F#maj7: F# A# C# E# (enharmonic spelling of an F - but it's E# in this context)
Gmaj7: G B D F#

Notice the discrepancy between each chord pair. The Emaj7 to the F#maj7: the E from that Emaj7 is not really available for the F#maj7. Then the Gmaj7 has the G natural - which is not part of either of the first 2. The G# is hinted at as part of the F#maj7 - unless a b9 (G) were in the melody there - it's probably not available. In general the rule is: tensions are available on a chord if they are a maj9th (an octave and a 2nd) above a chord tone. of course, the rule is broken very often...especially when the melody dictates otherwise.

This is where you probably want to go chord scale by chord scale. I'd play a bebop scale based on the root of each chord (except the F#maj7 because you indicate it's used in as a passing chord (I assume 1 beat?).

So, I'd play:

Emaj7: E F# G# A A# B C# D# (adding the #4 (A#) to a major scale)
F#maj7: don't switch scales yet, just don't hit an E natural, alter the previous scale to make the E an E#.
Gmaj7: G A B C C# D E F# (again, add the #4 (C#))

Then, playing through the next section it sound like it's in C to my ears. That B7 is the secondary dominant V7 of III - but it's going unresolved back to the C. Up to that point it's just Rhythm Changes (I VI- II- V7)...it just fakes you out by not going to the V7 (G7 in this key) and dropping in the B7 (V7/III).

Technically the B7 should get a mixolydian scale (B C# D# E F# G# A) - but you could also get away with simply altering the C scale to accommodate the chord tones (C D# E F# G A B).

So - that's my take on the progression. Hope it helps and wasn't too heady.

[Bryan T]

Originally Posted by DupleMeter

IOW, the same chord type (maj7 in this case) played in sequence.

Why did you conclude that they are maj7 chords?

[Howard Klepper]

I would say this tune begins in E major (use E major scale = E Ionian if you like mode names), then goes to G major (use G major; probably best to ignore the passing F# for soloing purposes), then to C major (try G7 on the last beat or two of the G major part; the move to C maj will be stronger. When soloing here you can drop the F# to an F to signal this change to G7.). The Am and Dm are VI and II chords in C major. Then the B7 is the dominant in Emajor and is modulating back to E major.

So, I'd use three different major scales: E, G, and C, and within the C part, use the aeolian and dorian modes to emphasize the Am and Dm chords, and on the B7 go to Emajor with an emphasis on the mixolydian mode. The D# and the A are the most important notes to hit while on B7.

[DupleMeter]

Originally Posted by Bryan T

Why did you conclude that they are maj7 chords?

you know - she wrote Emaj...and I read Emaj7. You're right. I play a lot of jazz - I just see 7s everywhere

I still say key of C.

But the first part is now E (V7/VI with no 7, but assumed) F# (passing) to G (the V chord). So, that puts all of this firmly in C - except that passing F# - so just watch out because that has an F# A# & C# altering the C major scale.

The rest is still just Rhythm Changes with a deceptive resolution (that B7).