The commonly used blues scale forms are changeable, and the chord theory is very different from the classical chord theory. Classical chord theory must be superimposed according to the three-dimensional relationship, while jazz music has no strict restrictions. . Specific knowledge can be found in some books about jazz music.
2. Of course, there are ascending and descending scales. Some scales have the same ascending and descending lines, while others have different ascending and descending lines. Melody major drops by 6 or 7 levels when descending, and recovers when ascending; Melody minor rises 6 or 7 levels when going up, and resumes when going down.
Now I will answer your supplementary question. . .
1 #2 3 4 #5 6 7 。 . . If the scale you say exists, then your understanding is correct. That is to say, in this case, #2 and #5 must be natural sounds in the scale, not inflections. Then, chords can exist in these seven levels respectively.
So far, we are talking about the size adjustment system. As for the pentatonic scale, the situation is different. The harmony theory attached to pentatonic scale is different from the major and minor tone system, so its chord composition is relatively complex, and it is not the usual three-dimensional structure to form chords. .
The existence of scales is actually just a mode expression, and the rising and falling can just show all the natural sounds in a certain key. However, in melody, the application form of scales is flexible and changeable, and generally the ascending and descending scales are not copied as they are. . Of course, sometimes it is for a special effect. But generally speaking, the sound level in music is basically the sound level presented by scales.
Hey, if you don't understand, please go on.