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This is the third and final 1st edition book in the series. It contains the complete 33 variations to the classic 12-note Chromatic Scale. The potential here is to create 8, 9, 10, 11 and 12-note sequences with cadences you never even dreamed of previously.

This is a 1st edition book and contains a complete list of the 9 PentaTonic scales and their alterations. It gives you everything you ever wanted to know about penta-tonic scales and how to create Cadences in Chi, Yu, Pien-kung, Kung, Shang, Chiao and the Chien-chi Zones.

An ideal platform for advanced students of Jazz and Classical composition and improvisation.

This is a 1st edition book contains everything from the Ionian to the Locrian Modes all in one complete volume. You may never need to purchase another book on composition or improvisation for the rest of your life.

It is the Complete Handbook for all students who wish to be become proficient at everything Occidental (western) Diatonic music has to offer, regardless of your style, genre or instrument.

The Locrian has a lot to offer; it is only a half tone either away above and below the Tonic key; i.e. the Relative Minor is a half tone below and the Tonic Minor is a half tone above. Sweet!

If your intention is to learn all there is about the Locrian, this book will show you how to use the information when using it to create the improvised line.

Used in all forms of composition and improvisation such as jazz, rock, country, blues, rhythm & blues and latin.

Once the way was found for the Ionian (Tonic Major Key) and the Tonic Aeolian Minor to share the same Dominant 7, the other modes seemed to have got lost in the wake of the Classic era.
This book will show you how to make the best use of the information, past, present and future when playing in the Aeolian Mode to create the improvised line.

It lists the alterations ending with the 6th (Aeolian) note of a scale; creating Aeolian Cadences.

This is the most important mode to remember; it is the Dominant mode. If you thought that the natural was the only scale to produce a G7 then you’ll be delighted to know you can learn there are eight more. This means that there are nine possible ways of varying your opening statement without shifting from the original key.

miAim.com.au is the only site on the planet where you will find scales with one, two and three Dominants suitable for creating the improvised line.

The Lydian is called sub dominant because it lies just under the Dominant, the second most important mode after the Ionian, the Tonic key/note.

Today, in song writing and jazz improvisation, we tend to think of the Lydian as the ‘go to’ mode after you’ve made your opening music statement. This doesn’t have to be so. In this set of books you’ll learn how to ‘go to’ any mode.

Here the focus is on the Lydian and how to make the best use of the information using the Lydian to develop ideas for the improvised line.

Ideal for solo cadences used in Afro-American spirituals, blues, jazz, Latin, country
and contemporary improvisation.

While the Greeks thought of the Dorian mode as masculine, they thought the Phrygian mode was feminine; a bit effeminate. Early church music refers to the Phrygian as an angelic mode. History aside, this book is about how best to make use of the information using the Phrygian to develop ideas for the improvised line.
It lists the alterations ending with the 3rd (Phrygian) note of a scale; creating Phrygian Cadences.

Ideal for forming cadences in jazzrock, rock, country and country rock improvisation.

The Dorian was considered a masculine mode. In ancient Greece ‘masculine’ alluded to anything that was dominant, strong and forceful. This book  lists the alterations ending with the 2nd (Dorian) note of a scale; how best to create Dorian Cadences and develop ideas for the improvised line and creative composition.