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One chord scale option for +7th chords is the whole tone scale: [1] C D E F♯ G♯ A♯/B♭ Play . Augmented dominant seventh (+7th) chord: C E G♯ B♭ Play . Jazz scale From Wikipedia, the free encyclopedia A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, wholetone, octatonic (or diminished), and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentiethcentury composers such as RimskyKorsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. [2] Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales. One important feature of jazz is what theorists call "the principles of chordscale compatibility": the idea that a sequence of chords will generate a sequence of compatible scales. In classical major mode harmony, chords typically belong to the same scale. (For example, a IiiVI progression in C major will typically use only the notes of the C diatonic collection.) In jazz, a fourchord progression may use four different scales, often as the result of chordal alterations. For instance, in C major, a jazz musician may alter the V chord GBDF with a flattened fifth, producing GBD♭F. An improviser might then choose a scale containing these four notes, such as G whole tone (GABC♯D♯F), G octatonic [or symmetric diminished] (GA♭B♭BC♯DEF), or a mode of either D or A♭ melodic minor ascending (GABC♯ DEF or GA♭B♭C♭D♭E♭F respectively). In each case the scale contains the chord tones GBD♭F and is said to be compatible with it. This notion of "chord scale compatibility" marks a fundamental difference between jazz harmony and traditional classical practice. An avoid note is a note in a jazz scale that is considered, in jazz theory and practice, too dissonant to be played against the underlying chord, and so is either avoided or chromatically altered. [3] For example, in majorkey harmony the fourth, and thus 11th, is an avoid note and thus either treated as a passing tone or augmented (raised a semitone). [4] Avoid notes are often a minor second (or a minor ninth) above a chord tone [5] or a perfect fourth above the root of the chord. [6] [One] can get a good sense of the difference between classical and nonclassical harmony from looking at how they deal with dissonances. Classical treats all notes that don't belong to the chord (i.e., the triad) as potential dissonances to be resolved. ... Nonclassical harmony just tells you which note in the scale to avoid ["what is sometimes called an avoid note"] (because it's really dissonant), meaning that all the others are okay. [6] Contents 1 Modes of the major scale 2 Bebop scales

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the scales for jazz

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  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 1/7

    Onechordscaleoptionfor+7thchordsisthewholetonescale:[1]

    CDEFGA/B Play.

    Augmenteddominantseventh(+7th)chord:CEGB Play.

    JazzscaleFromWikipedia,thefreeencyclopedia

    Ajazzscaleisanymusicalscaleusedinjazz.Many"jazzscales"arecommonscalesdrawnfromWesternEuropeanclassicalmusic,includingthediatonic,wholetone,octatonic(ordiminished),andthemodesoftheascendingmelodicminor.AllofthesescaleswerecommonlyusedbylatenineteenthandearlytwentiethcenturycomposerssuchasRimskyKorsakov,Debussy,RavelandStravinsky,ofteninwaysthatdirectlyanticipatejazzpractice.[2]Somejazzscales,suchasthebebopscales,addadditionalchromaticpassingtonestothefamiliardiatonicscales.

    Oneimportantfeatureofjazziswhattheoristscall"theprinciplesofchordscalecompatibility":theideathatasequenceofchordswillgenerateasequenceofcompatiblescales.Inclassicalmajormodeharmony,chordstypicallybelongtothesamescale.(Forexample,aIiiVIprogressioninCmajorwilltypicallyuseonlythenotesoftheCdiatoniccollection.)Injazz,afourchordprogressionmayusefourdifferentscales,oftenastheresultofchordalalterations.Forinstance,inCmajor,ajazzmusicianmayaltertheVchordGBDFwithaflattenedfifth,producingGBDF.Animprovisermightthenchooseascalecontainingthesefournotes,suchasGwholetone(GABCDF),Goctatonic[orsymmetricdiminished](GABBCDEF),oramodeofeitherDorAmelodicminorascending(GABCDEForGABCDEFrespectively).IneachcasethescalecontainsthechordtonesGBDFandissaidtobecompatiblewithit.Thisnotionof"chordscalecompatibility"marksafundamentaldifferencebetweenjazzharmonyandtraditionalclassicalpractice.

    Anavoidnoteisanoteinajazzscalethatisconsidered,injazztheoryandpractice,toodissonanttobeplayedagainsttheunderlyingchord,andsoiseitheravoidedorchromaticallyaltered.[3]Forexample,inmajorkeyharmonythefourth,andthus11th,isanavoidnoteandthuseithertreatedasapassingtoneoraugmented(raisedasemitone).[4]Avoidnotesareoftenaminorsecond(oraminorninth)aboveachordtone[5]oraperfectfourthabovetherootofthechord.[6]

    [One]cangetagoodsenseofthedifferencebetweenclassicalandnonclassicalharmonyfromlookingathowtheydealwithdissonances.Classicaltreatsallnotesthatdon'tbelongtothechord(i.e.,thetriad)aspotentialdissonancestoberesolved....Nonclassicalharmonyjusttellsyouwhichnoteinthescaletoavoid["whatissometimescalledanavoidnote"](becauseit'sreallydissonant),meaningthatalltheothersareokay.[6]

    Contents

    1Modesofthemajorscale2Bebopscales

  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 2/7

    Patternofwholeandhalfstepsinthemajorscale

    3Modesofthemelodicminorscale4Symmetricdiminished/Octatonicscale5Wholetonescale6Pentatonicscales7Bluesscale8Harmonicminorscale9Altereddominantscale10Sources11Furtherreading12Externallinks

    Modesofthemajorscale

    Thenumberofscalesavailabletoimprovisingmusicianscontinuestoexpand.Asmoderntechniquesandmusicalconstructionsappear,jazzplayersfindtheonestheycanputintocompositionsoruseasmaterialformelodicexploration.Prominentexamplesarethesevenmodesofthediatonicmajorscaleandaddednotescales.

    I Ionianmode CDEFGABC (associatedwithCMajor7chord)

    ii Dorianmode CDEFGABC (associatedwithC6orC713chord)

    iii Phrygianmode CDEFGABC (associatedwithCsus49)

    IV Lydianmode CDEFGABC (associatedwithCMaj711chord)

    V Mixolydianmode CDEFGABC (associatedwithC7chord)

    vi Aeolianmode CDEFGABC (associatedwithC713chord)

    vii Locrianmode CDEFGABC (associatedwithC75chord)

    Compareeachofthemodestothemajorscaleforcluesastothesubtledifferencesbetweenthem.Ionianisbasedonthe1stdegreeofthemajorscale,Dorianonthe2nd,Phrygianonthe3rd,etc.

    CIonian CDEFGABC (associatedwithCMajor7chord)

    DDorian DEFGABCD (associatedwithD6orD713chord)

    EPhrygian EFGABCDE (associatedwithEsus49chord)

    FLydian FGABCDEF (associatedwithFMaj711chord)GMixolydian GABCDEFG (associatedwithG7chord)

    AAeolian ABCDEFGA (associatedwithA713chord)

    BLocrian BCDEFGAB (associatedwithB75chord)

  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 3/7

    Amelodicminorascending Play.

    Bebopscales

    Bebopscalesaddasinglechromaticpassingtonetothe7notemajorscale(IonianandMixolydianmodes).Theaddedpassingtonecreatesan8tonescalethatfitsrhythmicallyevenlywithina4/4measureofeight8thnotes,thusmakingitusefulinpracticing.Whenan8thnotebebopscalerunstartsonthebeatfromachordtone(Root,3rd,5thor7th)theotherchordnoteswillalsofallonthebeats.Asaresultallofthe"nonchordtones"willfallontheupbeats(the"ands"whencounting"oneandtwoandthreeandfourand")andbecomepassingtones.

    Therearetwocommonlyusedtypesofbebopscales:

    Dominantbebopscale,whichaddstheraised7thtoMixolydian:Ascending:12345677(8)Descending:87665432(1)

    Majorbebopscale,whichadds5toIonian:12345567(8)

    NOTE:AdominantbebopscaleworkswelloveranentireiiV.

    Modesofthemelodicminorscale

    Agreatdealofmodernjazzharmonyarisesfromthemodesoftheascendingformofthemelodicminorscale,alsoknownasthejazzmelodicminorscale.[7](seejazzminorscale)Thisscaleisessentiallyadiatonicmajorscalewithaflattedthird,forexampleCDEFGABC.Aswithanyotherscale,themodesarederivedfromplayingthescalefromdifferentrootnotes,causingaseriesofjazzscalestoemerge.[7]

    ModesofCascendingmelodicminor:

    i ascendingmelodicminor T,2,3,4,5,6,7

    (associatedwithCmaj7orC6chords,functionsasaiminor)

    II Phrygian6(orDorian2) T,2,3,4,5,6,7

    (associatedwithC7sus9chord,functionsasadominant)

    III Lydianaugmented(Lydian5)T,2,3,4,5,6,7

    (associatedwithCmaj7+5chord,functionsasaI+)

    IV Lydiandominant(also,"Lydian7")(alsoknownasMixolydian4)

    T,2,3,4,5,6,7

    (associatedwithC711chord,functionsasadominantnotgoingtoI)

    V Mixolydian6(ormelodicmajororsimply"fifthmode")

    T,2,3,4,5,6,7

    (associatedwithC713chord,functionsasadominant)

    vi Locrian2(alsoknownas"halfdiminished"scale)T,2,3,4,5,6,7

    (associatedwithC75,whichfunctionsasaiichordinminor)

    VII SuperLocrian(also"altereddominantscale",or"alteredscale")T,2,3,4,5,6,7

    (associatedwithC7913chord,functionsasadominant)

  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 4/7

    DiminishedscalesonE,D,andD,ascending

    WholetonescaleonB Play:{B,D,E,F,G,A,B}.

    Itshouldbenotedthatthenamesofthesescalesarevariationsofthenamesusedforsomeofthemodesofthediatonicmajorscale,forexamplethePhrygianNatural6,thesecondmodeofthemelodicminor,isnamedsobecauseitisthesameasthePhrygianmodeofthemajorscaleexceptwitharaised(i.e.,6)sixth.

    Symmetricdiminished/Octatonicscale

    Therearetwotypesofsymmetricdiminishedscales.Thesescalesaresometimescalledoctatonicscalesbecausetheycontaineighttones.Theyarebasedonaseriesofalternatinghalfstepsandwholesteps.Onetypestartswithahalfstep(HWHWHWHW),andonestartswithawholestep(WHWHWHWH).

    Becauseoftherepetitionoftheintervalpatternafteronlytwonotes,eachnoteinthescalecanbearootinanothersymmetricdiminishedscale.Forexample,theCsymmetricdiminishedscaleofthehalfstepfirsttype,iscomposedwiththesamenotesasthehalfstepfirsttypeEscale,andthewholestepfirsttypeDscale:

    Csymmetric(half,whole)diminished Play:CDEEFGABC

    Esymmetric(half,whole)diminished:EEFGABCDE

    Dsymmetric(whole,half)diminished:DEEFGABCD

    Allthreearecomposedwiththesamegroupofnotes:CDEEFGABCDEEFGAB

    Infact,allsymmetricdiminishedscalesarecomposedwithonlythreegroupsofnotes.

    Wholetonescale

    Thewholetonescale,consistingexclusivelyofwholesteps,isoftenusedonV7+5chords(G7+forexample).

    Pentatonicscales

    Twopentatonicscalescommontojazzarethemajorpentatonicscaleandtheminorpentatonicscale.Theyarebothmodestoeachother,respectively.

    Themajorpentatonicscalebeginswithamajorscaleandomitsthefourthandtheseventhscaledegrees.TheCmajorscaleis(C,D,E,F,G,A,B),sotheCmajorpentatonicscaleis(C,D,E,G,A):

    Cmajorpentatonicscale Play.

  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 5/7

    Bluesscaleasminorpentatonicplusflat5th/sharp4th Play.

    Theminorpentatonicscaleusesthesamenotesasthemajorpentatonicscale,butbeginsonthesixthscaledegreeofthecorrespondingmajorscale.Continuingtheexampleabove,AisthesixthscaledegreeofCmajor,sotheAminorpentatonicscalewouldbe(A,C,D,E,G):

    Aminorpentatonicscale Play.

    Thenomenclature,"minorpentatonicscale,"minorisemployedinthesenseofrelativekey,asthediatonicAminorscaleistherelativeminorofthediatonicCmajorscale.

    Theminorpentatonicscalereplacesthe2ndscaledegreewithanaugmented4followedbythefifthandiscommonlyknownasabluesscale.

    Jazzimprovisers,particularlybassistandguitarist,usethesescalesinanumberofinterestingways.Forexample,overBbMaj7#11,onecanuseamajorpentatonicbasedonthe2ndscaledegreeofBb(CDEGA)toimply9,3,11,13,and7respectively.Similarly,overafullyalteredF#7chord,onecanusethesamemajorpentatonic,thistimebasedonthetritone(CDEGA)toimply5,13,7,9,and9.

    Bluesscale

    Bluesscalesalsocomeinmajorandminorvarieties.

    TheAminorbluesscaleisACDDEGAascendingorAGEEDCAdescending.Thedifferenceintheupanddownversionsisonlyinitsenharmonicspelling,i.e.EvsD.

    TheCmajorbluesscaleisCDDEGACascendingorCAGEEDCdescending.

    NotewellthattheCmajorbluesscaleanditsrelativeminor,theAminorbluesscale,bothcomprisethesamenotes.Theydifferonlyinwhichnoteisnominatedastheroot.

    Guitaristsoftenmixthemajorandminorpentatonicstogetheralongwiththebluesscale.Thedorianandmixolydianmodesaresimilartothiscombinationandtheycanalsobeusedinthesamecontext.

    Bluesscaleasachromaticvariantofthemajorscale Play.

    WinthropSargeantdescribesthejazzscaleastheabovescale,definedas,"adefiniteseriesoftoneswithinanoctaveusedasthebasisofamusicalcomposition,"compiledinsteadfrommultiplecompositionsandimprovisations(accordingtoStearns:"agreatmanyjazzrecords")andishypothesizedasdisplayingtheinfluenceofAfricanmusic.[8]TheEandBarebluenotes.[9]

    Harmonicminorscale

  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 6/7

    Aharmonicminor Play.

    AltereddominantscaleonC.

    Theharmonicminorscaleisalsoofvaluetomanyimprovisors,asitprovidesanalternativecolorformanycommonchordsandchordprogressions.AnexampleisCDEFGABC.TheCharmonicminorscalecanbeusedonthechordsofapieceinCminor,especiallyontheminoriiV7ichordprogression.

    Altereddominantscale

    Thealtereddominantscale,alsolooselycalledthealteredscale,issonamedbecauseallthescalemembersthatcanbealteredrelativetothebasicdominantscale(theMixolydianmode),withoutlosingthedominantquality,arealtered.Thescaleincludesbothalteredninths(raisedandlowered),andbothalteredfifths(raisedandlowered).StartingonC,itcontainsthenotes:C,D,E,F,G,AandB.ThealteredfifthscoincideenharmonicallywiththesharpeleventhandtheflatthirteenthwhichwouldalsobeconsideredalteredrelativetotheirMixolydianforms.Thetonic,majorthird(asadiminishedfourth),anddominantseventhareretainedasessentialtothedominantquality.

    Thescalecanalsobeunderstoodasamodeoftheascendingmelodicminorscalestartingfromthe7thscaledegree.ForaC7chord,theCmelodicminorscalestartingfromB(Cenharmonically)producestheCaltereddominantscaleenharmonically.

    Thisscaleisalsocalledthesuperlocrianscale,asitisindeedreminiscentofalocrianscalewithaflattened4th,butitisusuallyregardedasthatofmajorquality.

    Anothernameforthisscaleisthediminishedwholetonescalebecausethefirsttetrachordisthatofa(half,whole)diminishedscaleandthesecondtetrachordiswholetone.Thebebopscaleisusedmostoften.

    Sources

    1. Hatfield,Ken(2005).JazzandtheClassicalGuitarTheoryandApplications,p.121.ISBN0786672366.2. Tymoczko,Dmitri(1997)."TheConsecutiveSemitoneConstraintonScalarStructure:ALinkBetween

    ImpressionismandJazz",Integral11:13579.3. Humphries,Carl(2002).ThePianoHandbook,p.262.ISBN0879307277.4. Humphries(2002),p.128.5. Nettles,Barrie(1987).Harmony1.BerkleeCollegeofMusic.p.34.6. Humphries(2002),p.126.7. Baerman,Noah(1998).CompleteJazzKeyboardMethod:MasteringJazzKeyboard,p.34.ISBN088284

    9131.8. Sargeant,Winthrop(1946).Jazz:HotandHybrid.NewYork,Dutton.ISBN.citedinMarshallWinslow

    Stearns(1970).Thestoryofjazz,p.278.ISBN0195012690.9. Dr.Metfessel,MiltoncitedinStearns(1970),p.278.

    Furtherreading

  • 12/4/2015 JazzscaleWikipedia,thefreeencyclopedia

    http://en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale 7/7

    Yamaguchi,Masaya.2006.TheCompleteThesaurusofMusicalScales,revisededition.NewYork:MasayaMusicServices.ISBN0967635306.

    Externallinks

    CommonJazzScalesandHowtoApplyThem(http://www.thejazzresource.com/music_scales.html)NicolasSlonimskyThesaurusofScalesandMelodicPatterns,acompleteguidetocreatingscales,arpeggios,chordsandmelodicpermutationsbasedonnonfunctionalconcepts(http://books.google.com/books?id=RiYPAAAACAAJ)JerryBergonziInsideImprovisation,aseriesofinstructionalbookscoveringpentatonics,hexatonicsandothertypesofjazzscales(http://www.jerrybergonzi.com/books.htm)DavidLiebman(JameyAebersoldpublications)aseriesofinstructionalbookswithlivedemonstrationsonhowtoutilizevariousscalesinjazzimprovisation(http://www.jazzbooks.com/mm5/merchant.mvc?Screen=SRCH&Search=David%20Liebman)JazzScalesonGuitarFretboarddiagramswithlabelledscaletones(http://www.fretjam.com/jazzguitarscales.html)Basicscalesuggestionsforanyjazzchart(http://www.jazzscalesuggester.com)

    Retrievedfrom"http://en.wikipedia.org/w/index.php?title=Jazz_scale&oldid=653241563"

    Categories: Jazztechniques Musicalscales

    Thispagewaslastmodifiedon24March2015,at01:19.TextisavailableundertheCreativeCommonsAttributionShareAlikeLicenseadditionaltermsmayapply.Byusingthissite,youagreetotheTermsofUseandPrivacyPolicy.WikipediaisaregisteredtrademarkoftheWikimediaFoundation,Inc.,anonprofitorganization.


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