Chapter.14.pdf

Chapter 14 Other Scales & Colors 331

Jazz Theory Resources

XIV. OTHER SCALES & COLORSThe focus of this book has primarily been the relationship of jazz to the major/minor system. Melodicmaterial has been shown as it relates to the major or harmonic minor scale with chromatic elaboration.Searching for other expressive colors, jazz musicians have found other scales for harmonic and melodicmaterial. The major/minor system is not tossed aside, rather it is used as a platform or foundation onwhich other colors are placed. Experimentation with other scales and chords inspired jazz composers tocreate music whose harmonic and melodic vocabulary specifically calls for sounds not available fromthe major and harmonic minor scales. Five other scales and their modes will be introduced in thischapter: melodic minor, major b6 (sometimes called harmonic major), symmetrical diminished(sometimes called octatonic), whole tone, and augmented. The relationship of each mode to a specificchord and harmonic and melodic applications will be discussed. These scales may be utilized in two dif-ferent ways: to colorfully enhance traditional progressions; and to effectively negotiate the harmony ofcontemporary compositions that demand very specific harmonic sounds.

One of the goals in writing this book was to discuss many aspects of jazz improvisation beyond the dis-cussion of chord/scale relationships. The notion that jazz improvisation is a matter of plugging in thecorrect scale for each individual chord is a common misconception among young improvisers andeven many educators. This leads to unnecessary confusion for some students and overlooks the histori-cal significance of major/minor system and the many others techniques of developing musical ideas.However, it is important to understand the relationships of specific chords to specific scales and theirapplications to contemporary and traditional musical settings

Anyone who understands traditional theory will recognize that the three chords below belong to the keyof C major, and that they represent the functional chords: ii7 - V7 - I. In many chord/scale theory dis-cussions, each of the chords is assigned a different scale: Dm7 is labeled D dorian; G7 as G mixolydian;and Cmaj7 as C ionian. Describing this passage as three different modes or scales is misleading andunnecessarily complicated. It is doubtful that anyone hears three different tonics in this passage as issuggested by the three modes. All of these chords were derived from the C major scale, and that onescale best describes the passage.

14.1 Three different modes or united in the key of C major?

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A student illustrated the worst case scenario of chord/scale misunderstanding He had learned scalesand their relationship to chords and played the passage below. He knew it did not sound like jazz butcould not figure out why as he had applied a “correct” scale for each chord. As these new scales are in-troduced, remember that they represent distinct colors and not a method for improvisation. All previ-ously discussed concepts of voice leading and melodic construction are still applicable even with the in-troduction of new scale colors.

332 Chapter 14 Other Scales & Colors


14.2 Not Jazz

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There are several “exotic” scales that can be constructed and have been cataloged in other books, butthe most commonly used scales for application in jazz improvisation and composition are modes ofmelodic minor, major b6, diminished, whole tone, and augmented scales.

SCALES for JAZZ IMPROVISATION

SCALES FORMULA

1 Major W - W - 1/2 - W - W - W - 1/22 Harmonic Minor W - 1/2 - W - W - 1/2 - A2 - 1/23 Melodic Minor W - 1/2 - W - W - W - W - 1/24 Major with a b6 (Harmonic Major) W - W - 1/2 - W - 1/2 - A2 - 1/25 Diminished (1/2 - W)6 Diminished (W - 1/2)7 Whole Tone W - W - W - W - W - W8 Augmented m3 - 1/2 - m3 - 1/2 - m3

14.3 Scales shown with C as Root:1. 2. 3.

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CHORD/SCALE EQUIVALENCY

There are two common ways of describing a group of seven notes: as a scale (1-2-3-4-5-6-7-1): andspelled in thirds as a triad with upper extensions (1-3-5-7-9-11-13). The scale and the chord represent thesame pitches so that a chord = scale and a scale = chord. Scale positions will be referred to by thenumbers 1-2-3-4-5-6-7 and chord tones by the numbers 1-3-5-7-9-11-13. Scales tones 2-4-6 are the same aschord tones 9-11-13.



MODES of the MELODIC MINOR SCALE

The chords derived from the melodic minor scale do not function the way that chords function in ma-jor and minor. The chords could be labeled with Roman numerals corresponding to scale degrees, butthey would be meaningless in the traditional sense of identifying function, and therefore would confusemore than enlighten. Historically the melodic minor was often used for melodies, as is suggested by itsname. It is constructed by raising the sixth and seventh degrees of a natural minor scale when ascendingand lowering them when descending. These steps are easier to sing than the harmonic minor scalewhich includes the awkward augmented second. Altered notes tend to continue in the direction in whichthey have been altered. A minor sixth and minor seventh point down to the dominant. A major sixthand major seventh point more easily to the tonic. This is usually the scale a student will naturally singwhen asked to sing a minor scale. The melodic minor that is used in jazz is only the ascending versionas the descending scale is natural minor or aeolian mode. The melodic minor that ascends and de-scends with the raised sixth and seventh is sometimes called jazz minor.

FIRST MODE of MELODIC MINOROther Names: Melodic Minor, Jazz Minor

Applications: ChordSymbol

How to find relativeMelodic Minor:

Effect:

Substitution tonic chordin minor key

mmaj7mmaj9

m6/9maj7

First mode of melodic minor.Melodic minor on root of chord.

Brighter than a naturalminor or harmonic mi-nor due to the raisedsixth and seventh de-

grees.

The first mode of melodic minor is one note different from a major scale and one note different fromharmonic minor. A major scale can be changed to melodic minor by changing the major third to aminor third. A natural minor scale is made into harmonic minor by raising the leading tone. Raisingone more pitch, the sixth, creates melodic minor. The melodic minor scale is one note brighter thanthe harmonic minor scale and one note darker than a major scale. Three chords are shown below thatcan be derived from melodic minor. The chord symbols Cmmaj7 or Cmmaj9 could call for the firstmode of harmonic minor or melodic minor. The last chord shown can only be derived from themelodic minor as it includes both the raised sixth and seventh.

14.4 Melodic Minor

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SEVENTH MODE of MELODIC MINOROther Names: Superlocrian, Diminished-Whole Tone, Altered Scale



Effect:

V7 in minor and canresolve to major.

7 Alt.7 with b13,

b9, #9, b5

Seventh mode of melodic minor.Count the root of the V7 as 7 and

go up to 1.

Darker than dominantsavailable from fifth

modes of major or har-monic minor.

The seventh mode of melodic minor is also called superlocrian, diminished whole tone, and the alteredscale. It contains four possible alterations for a dominant chord: b9, #9, b5 (#11), and b13 (#5). This is adarker sound than the dominant chord scale from the fifth mode in major or harmonic minor. Thedominant in major has a n13, n5 and a n9. A dominant chord derived from the fifth mode of harmonicminor has a b13, n5 and a b9. The altered notes in the superlocrian suggest a dominant that resolves to aminor key. The B7, shown below built on the seventh mode of C melodic minor, has a Gn (b13)and a Cn

(b13) suggesting a dominant of E minor. Superlocrian is not the only choice for resolution to minor.There are times when the b5 will sound dissonant, and the fifth mode of harmonic minor or third modeof major b6 would be better choices. Any dominant that points to a minor key may also resolve to majorkey. The inverse is rarely if ever true.

14.5 Superlocrian

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This excerpt is from a recently written tune by Mike Stern using traditional harmonic progressions withcontemporary concepts. The Cm7 in m.1 connected to the F7 with outline no. 2 (considering the arpeg-gio with the Bb resolving to the A over the measure line), or outline no. 1 (beginning on the Eb and de-scending to the A over the measure line). Superlocrian was used over the F7, and still managed to con-nect to the Bb chord using outline no. 1 (An down the scale to D). Superlocrian is the seventh mode of aharmonic minor scale. F is the seventh degree of Gb or F# melodic minor. To find the related melodicminor scale for a dominant chord, count the root as 7 and go up to 1. All of the notes of the F# melodicminor occurred in m.2, although some are enharmonically spelled. The dark superlocrian sound re-solved to Bb major even thought the Db (C#), and the Gb suggested a resolution to Bb minor.

14.6 Superlocrian used over dominant chord

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FOURTH MODE of MELODIC MINOROther Names: Lydian Dominant, Lydian b7



(1) As tritone substitute for a dominantpointing to minor key down a half-step.May resolve down a half-step to major.(2) As backdoor dominant pointing up to amajor key a whole step above.

9#1113#11

Seventh mode of melodic minor.Count the root as 4 and count back to 1.

A chord built on the fourth degree of a melodic minor scale is a dominant sound that does not functionas dominant. If the B7 built on the seventh degree of C melodic minor pointed to E minor, then this F7is the tritone substitute for the B7. They both share exactly the same notes as separate modes of a Cmelodic minor scale. Normally an F7 would point to Bb major or minor, but the Bn in the both the scaleand the chord contradicts a resolution to Bb major.

This F7 also occurs as a backdoor dominant to G major. The backdoor dominant usually follows the IVchord as it progresses back to the I chord as part of an extended plagal cadence. A plagal cadence iswhen IV resolves to I. A plagal cadence can also include the borrowed iv chord as in: IV - iv - I. The ivchord is often replaced by a backdoor dominant. In the key of G the plagal cadence is: C - G; an ex-tended plagal cadence: C - Cm - G. Using seventh chords and a backdoor dominant the cadence wouldbe: Cmaj7 - F9#11 - Gmaj7. A backdoor dominant may also be preceded by a ii7 chord as: Am7 - F9#11 -Gmaj7. The F lydian dominant scale includes the notes of a G triad (G - B - D), which explains its pulltowards G major and not Bb major or Bb minor. Examples of backdoor dominants where this scale isapplicable can be found in Chapter 7 in progression no. 9 (mm.4, 15), no. 10 (mm.7-8), no. 13 (m.10).The #11 and n9 indicate a lydian dominant sound. Lydian dominant is built on the fourth degree of amelodic minor scale. To find the related melodic minor for a lydian dominant chord, count the root as4 and count back to 1.

14.7 Lydian dominant

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Charlie Parker used lydian dominant on the B section of rhythm changes in ex. 14.8 below. The connec-tion to A melodic minor is clear as he arpeggiated an A minor 1-3-5-7-9 over the D7. Wynton Kelly sug-gested the upper structures 7-9-#11-13 of the Ab7 and Eb7 chords in ex. 14.9 and 14.10 and Tete Montoliuchose to play the entire descending scale over the B7 in ex. 14.11.

14.8 D Lydian dominant outlines upper structure: 5-7-9-#11-13

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14.9 Lydian dominant upper structure 7-9-#11-13

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14.10 Lydian dominant upper structure 7-9-#11-13

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14.11 Lydian dominant scale passage

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The lydian dominant scale is sometimes called the overtone scale as the tones can be derived from thefirst twelve tones of the harmonic series (see page 52). In some parts of the world as different and geo-graphically separate as Brazil and Hungary, the lydian dominant scale is used in folk music. Béla Bartókis a composer who used this sound (ex. 14.12) in the earlier part of the twentieth century.

14.12 Ab Lydian Dominant

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RELATIONSHIP BETWEEN 7TH & 4TH MODES of MELODIC MINOR:

All of the modes of a melodic minor scale are related by sharing the same pitches. The superlocrianand lydian dominant scales are linked by their sharing of the same tritone and are interchangeable asdominants pointing to minor. An altered dominant points to the minor key a perfect fifth below, andthe tritone substitute dominant wants to resolve down a half-step to the same minor key. The third andseventh of B7 are the enharmonically spelled seventh and third of the F7. The B7 and the F7 point tothe key of E minor. The Cn and Gn that indicate a resolution to E minor do not prohibit either of thesedominant chords from resolving to E major. The notes of the C melodic minor scale are shown in rela-tion to the B7 alt. chord and the F9#11 chord in the example below.

14.13 B superlocrian & F lydian dominant derived from C melodic minor

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Melodic lines that work for one chord will also work with the other:

14.14 Melodic Minor lines resolving to E minor

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SIXTH MODE of MELODIC MINOROther Name: Locrian #2



Effect:

Substitution for ii7 andiiø7.

ø7 #2 Built on 6th degree of melodic minor.Count the root of the ø7#2 chord as 6

and count to 1.

Dark as substitute for ii7Bright as substitute for

iiø7.

Play and listen to the chords below. Are they bright or dark? By themselves they could be either: darkbecause of the diminished triad, and bright because of the major ninth interval. An aural test like this isinconclusive because these sounds do not occur in isolation; they occur in some musical context. Thelocrian #2 sound often substitutes for a ii7 or a iiø7 chord. If the Aø7#2 shown below is used in place ofAm7, the ii7 chord in G major, it will sound dark because the expected En is lowered to an Eb. If theAø7#2 is used in place of Aø7, the iiø7 chord in G minor, it will sound bright because the expected Bb israised to a Bn. Locrian #2 is not necessarily a better choice for a iiø7 chord in minor as some jazz theo-rists suggest. It is a choice that brightens an expectation, but the traditional iiø7 sound in minor shouldnot be neglected for the sake of sounding modern. To find the related melodic minor scale count theroot of the iiø7#2 chord as 6 and count up to 1.

The #2 is actually the ninth of the chord, yet it is labeled a 2. It could have been labeled a n9, indicating amajor ninth above the root. This can be confusing, as the iiø7 chord in its natural setting has a minorninth above the root. It could be labeled a #9, indicating raising the Bb to Bn. This is confusing as the #9in the case of dominants is usually notated as its enharmonic (minor tenth) above the root. A minortenth above the An would be a Cn, which would not add the desired pitch. The #2 is the most commoncompromise shorthand for this chord notation.

14.15 Locrian #2

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The ø7#2 is often followed by an altered dominant, so that two different modes of melodic minor occurside by side.



Bill Evans used an Fø7 (locrian #2, sixth mode of Ab melodic minor) followed by a Bb7 (superlocrian,seventh mode of B melodic minor). The line ascended an arpeggio over the Fø7 and descended overthe Bb7. The last four notes of the Bb7 were the #9-b9-R-7 of the chord, and pointed to Eb minor.

14.16 Locrian #2 followed by Superlocrian

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This line, from the same Evans improvisation, is very similar to the line in ex. 14.16, but is in C minor.The exact notes Evan’s used for the Bb7 in the ex. 14.16 were transposed for the G7 chord in ex. 14.17.Evans used locrian #2 (sixth mode of F melodic minor) for the Dø7, and suggested the superlocrian(seventh mode of Ab melodic minor) for the G7.


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The raised second degree and altered ninths are not just modern jazz inventions. Clifford Brown usedGø7 (locrian #2, sixth mode of Bb melodic minor) and suggested C7 (superlocrian, seventh mode of C#

melodic minor) in the ex. 14.18.


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FIFTH MODE of MELODIC MINOROther Name: Mixolydian b6



Effect:

V7 in major or minor 9 b13 Built on 5th degree of melodic minor.Count the root of the V7 chord as 5

and count to 1.

Ambiguous dominant.n9 is bright &

b13 is dark

This dominant is ambiguous as to its destination. Does it point to major or minor? The b13 of G7 (Eb)makes a case for C minor, but the An argues for C major. It is not used as often as other melodic minormodes. To find the related melodic minor scale, count the root of the chord as 5 and count up to 1.



14.19 Mixolydian b6

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THIRD MODE of MELODIC MINOROther Name: Lydian Augmented



Effect:

Substitute for maj7chords

maj7#5 Built on 3rd degree of melodic minor.Count the root of the chord as 3 and

count to 1

Ambiguous major 7Bright #5

Augmented chords are ambiguous as they are missing a perfect fifth. Augmented chords built on thethird of a harmonic minor scale often sound like an augmented dominant chord in some inversion. Theaddition of a major seventh to the chord intensifies the ambiguity because it creates a perfect fifth inthe chord between the third and the seventh. This causes confusion because the ear wants to make thethird sound like the root of the chord because of the perfect fifth above. This augmented major seventhchord is often used in contemporary compositions for an unsettling effect. Substituting for a Imaj7 or aIVmaj7 will eliminate the typical sense of resolution associated with major seventh chords. In those in-stances, the augmented fifth may be resolved up to the sixth degree or down to the n5 to gain a sense ofstability. The augmented fifth may be heard as unresolved dissonances from a preceding dominantchord. For instance, a Bb7b9 chord resolves to an Ebmaj7 chord. If the b9 of the Bb7 (Cb or enharmonicBn) is suspended into the Eb chord, the Bn would sound like the augmented fifth of the Eb chord.

14.20 Lydian augmented

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Tom Harrell used the lydian augmented sound in these two examples which ultimately resolved to Cmajor. The 3-5-7 tones of the Cmaj7#5 chord form an E major triad, and so the chord is often writtenshorthand as E/C, meaning an E major triad over a C bass note.

14.21 Lydian augmented

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SECOND MODE of MELODIC MINOROther Name: Dorian b2



Effect:

Substitute for 7susb9Substitute for phrygian

D7susb9Ebmaj7#5/D

Aø7#2/D

Built on 2nd degree ofmelodic minor.

Count the root as 2 go back to 1

n13 is brighter and b3 isdarker than fifth modeof harmonic minor.

Brighter than phrygian.

This mode is called dorian b2, but does not sound like and is rarely used to substitute for dorian mode.The b2 makes it a closer relative to phrygian. Although a minor seventh chord can be built from the rootof this scale, it is rarely used as a substitute for a minor seventh chord. It can be used as a substitute for a7susb9. The usual sound associated with a D7susb9 would be the fifth mode of G harmonic minor. The Ddorian b2 sound below is a shade brighter than G harmonic minor because of the Bn, but a shade darkerwithout the F#. When this mode is used to substitute for a D phrygian mode, it retains the significant b2,but is brighter because of the Bn. A chord symbol that is associated with this scale includes a maj7#5 inthird inversion, where the seventh is in the bass as: Ebmaj7#5/D; and a ø7#2 a fifth above the bass noteas: Aø7#2/D.

14.22 Dorian b2

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MODES of the MAJOR SCALE with b6

A major scale with a lowered sixth degree is sometimes called harmonic major as the upper four notesare identical to harmonic minor and include the augmented second associated with harmonic minor.

FIFTH MODE of MAJOR SCALE with b6Other Name: Mixolydian b2


How to find relativeMajor Scale with b6:

Effect:

Substitute for V7 inmajor

13b9 Built on 5th degree of major scalewith b6.


b9 is darker,n13 is bright

When a dominant chord in a major key indicates a b9 and a n13, then this scale is appropriate. There willbe another scale discussed later that will satisfy this sound, but it includes other changes not indicatedby the 13b9 chord symbol. The b9 of the dominant is the same pitch as the lowered sixth degree of themajor scale: the b9 of G7 (Ab) is the lowered sixth of C major scale. This chord is darker than a tradi-tional dominant because of the b9, but bright because of the n13. This dominant chord wants to resolveto major on the strength of the n13 which is the major third of the tonic chord.



14.23 Fifth mode of major b6

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THIRD MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Substitute for V7Points to minor, may

resolve to major

V7 withb9, #9, b13

Built on 3rd degree of major scalewith b6.


Similar to V7 in minorDarker than V7 in major

Brighter than Superlocrianwith the n5

The third mode of major with a b6 yields an altered dominant scale. The fourth note is the enharmonicspelling of a major third. The E7 chord below is created using the Ab to sound like a G#. This sound is anexcellent choice for altered dominants as it includes the b9, #9, and b13. Only one note differentiates thisscale from superlocrian (7th mode of melodic minor). Superlocrian has a b5 and this scale has a n5. Formost situations when a dominant chord has the b9, #9, and b13 alterations, the third mode of major scalewith a b6 is a better choice than superlocrian based on the path of least resistance. When changing fromone chord to the next, the listener tends to retain notes until changed by the next harmonic setting. Allof the chords that typically surround the E7 usually have a Bn. An E7 is usually preceded by a Bm7 or aBø7 chord and may be followed by an Am7 or an Amaj7. Using an E superlocrian with the Bb can bedisruptive while the E third mode of C major b6 retains the Bn and still supplies the b9, #9, and b13.

14.24 Third mode of major b6

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14.25 Comparison of Superlocrian and 3rd mode of C major b6 for E7

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3rd mode of C major b6

Superlocrian: 7th mode of F melodic minor

SECOND MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Substitute for ii7 ø7 #2(Dm9 [b5])

Built on 2nd degree of major b6Count the root of the ø7#2 chord as 2,

go back to 1.

Dark as substitute forii7

This is another scale that may be used as a substitute for ii7 chords. When substituting for a ii7 chord,the sound is darker because the lowered fifth of the scale changes the minor chord to diminished. It re-tains the bright major ninth. The chord symbol sometimes appears as a m9[b5]. This is a misleading, butnot uncommon shorthand. A minor chord must have a perfect fifth to be minor, the chord symbolm9[b5], suggests a minor chord with the contradictory lowered fifth. The second mode of major b6 is al-most indistinguishable from locrian #2, the sixth mode of melodic minor. The only note that is differentis the sixth degree. Dø7#2, as locrian #2 is based on the F melodic minor scale and has a Bb as the sixthdegree. Dø7#2, as the second mode of major b6 has a Bn as the sixth degree. A Dø7 chord usually pre-cedes a G7 chord and improvisers tend to avoid any kind of a B over the Dø7 chord, not because of adissonance, but because the Bn is usually reserved for the upcoming chord as it identifies the G7 chord.For this reason, it may be difficult to determine whether the improviser or composer suggested onesound or the other as they may have avoided using the one pitch that determines the difference.

14.26 Second mode of C major b6

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ww

ww

wbw

ww

ww

ww

wbw

ww

wwww

b

Dø7#2

w

Cannonball Adderley used the Cø7#2 in the place of the Cm9 chord in the key of Bb major in ex. 14.27.The contrast between the darker Gb (from the parallel key of Bb minor) and the brighter Dn (suggestingBb major) was carried over to the F7 chord. Both the Cø7 and the F7 chords could have been derivedfrom Bb major b6 as no other changes are suggested.



14.27 Cø7#2 arpeggio

&c

œbœb

œbœ

J

œœb

j

œ

Cø7# 2

j

œb

.œ

F13b 9

FOURTH MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Possible substitute for ior iv chords in minor

mmaj7mmaj9

mmaj7#11

Built on 4th degree of major b6Count the root of the chord as 4, go

back to 1.

Bright as substitute fori or iv

A minor chord with a major seventh (mmaj7) can be derived from the fourth mode of major b6. This isthe third scale available for a minor major seventh chord, the others being the first modes of harmonicand melodic minor. Harmonic minor is the darkest as it has a lowered sixth degree; melodic minor is afraction brighter with its major sixth; fourth mode of major b6 is brighter still as it has a raised fourthdegree which can be the #11 of the chord. The Fmmaj9#11 is spelled like a polychord Em over an Fm.This is not a typical substitution for i or iv, but is a useful scale for melodic material when appropriateor called for by the composition.

14.28 Fourth mode of C major b6

&

?

ww

wbw

ww

ww

ww

wbw

ww

ww

ww

Fmmaj7

ww

b

www

Fmmaj9

ww

b

wwww

N

Fmmaj7#11

ww

b

The melodic material and the chord symbol suggest the fourth mode of major b6 as the correct soundfor this passage.

14.29 Fourth mode of C major b6

&c Ó Œ œ

œœn ‰

j

œ

‰

j

œ‰

j

œb

Fmmaj9# 11

j

œ

.œ

œ

.

œ

œb w

FIRST MODE of MAJOR SCALE with b6Other Name: Harmonic Major



Effect:

Possible substitute for Iin major and formajor7#5 chords

maj7b6maj7#5E/C

Begin the scale on the root of thechord

Darker than majorscale by b6



A major seventh chord an be built on the first degree of the major b6 scale. The lowered sixth degree ofa major b6 scale does not necessarily change the character of this chord. This scale can be superim-posed over a I chord in major, and what changes is the passing tone between the fifth and seventh. Thisscale may be used for augmented major seventh chords with the enharmonic b6 acting as the #5. ACmaj7b6 chord may sound like it has a suspension from dominant chord that proceeds it: The Ab from aG7b9 might suspend over the Cmaj7 before resolving.

14.30 C Major b6 (Harmonic major)

&

?

ww

ww

wwb

ww

ww

ww

wwb

ww

w

w

w

w

b

Cmaj7b6

w

w

ww#

Cmaj7# 5

w

w

ww#

E/C

w

SIXTH MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Augmented major seven or diminishedmajor seven chords

maj7#5°maj7

Built on b6th degree of major b6Count the root of the chord as 6, go up

to 1.

Two chords can be generated from the sixth mode of major scale with a b6. Constructing with conven-tional thirds, it can create a scale for augmented major seventh chords (maj7#5). A very dense aug-mented major seventh chord with a #9 can also be constructed. The first interval of the scale is an aug-mented second which sounds like a minor third. Using it as such, a diminished major seventh chord(°maj7) can be constructed. The diminished major seventh chord may appear as a triad over a bassnote: G/Ab.

14.31 Sixth mode of C major b6

&

?

wbw

ww

ww

wwb

wbw

ww

ww

wwb

w

ww

Abmaj7#5

wb

w

w

ww

Abmaj7# 5

# 9

wb

w

ww

G/Ab

wb

w

w

w

Ab°maj7

wb

SEVENTH MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Substitute for vii°7 °7°7 with

added tones

Built on 6th degree of major b6Count the root of the chord as 7, go

up to 1.

Brighter than the sev-enth mode of har-

monic minor.



A half diminished chord can be built on the seventh degree of a major scale. Lowering the sixth of themajor scale allows for a fully diminished chord on the seventh degree. This B°7 diminished chordseems to point to major since the En is in the scale. This scale and chord sounds like an inversion of theG7b9 built on the fifth mode of major b6.

14.32 Seventh mode of major b6

&

?

ww

ww

ww

wbw

ww

ww

ww

wbw

w

wb

B°7

w

w

w

w

ww#

B°7 (add E)

w

w

w

w

w

n

B°7 (add G)

w

w

wb

APPLICATIONS of MAJOR SCALE with a b6 in a COMPOSITION

The composition View from the Bridge, utilizes all seven modes of a major b6 scale. (An extended ar-rangement of this composition can be found on the University of North Texas CD, LAB ’88). The chartbelow show the modes of major b6 and corresponding chord types.

MAJOR with a b6(Harmonic Major)

CHORD TYPE

1st Major 71st Major 7 b62nd iiø73rd Dominant 7 (#9, b9, b13, n5)4th Minor (major 7)5th Dominant 7 (b9, n13)6th Major 7 #56th °7, °maj77th °7

The sixth mode can be used for two types of chords and will both appear in the composition. The Eb

major b6 is used for the first three measures with its second mode at (a.), fifth mode at (b.), and the firstmode at (c.). The second and fifth modes of C major b6 appear at (d.) and (e.) before resolving to Cmajor in m.7.

The rhythm of this first phrase may be more interesting than the colorful scale choices. The first twomeasures are in 34. Hemiola is implied in mm.3-4, the rhythm implying a 32 over the 34. The implied meterchange in mm.5-6 is 6

8 with the three eighth note groupings and dotted quarter notes. This rhythmicinterplay continues throughout the composition.

The sixth mode of G major b6 is implied for the Ebmaj7#5 at (f.) in m.9. The same G major b6 over a B7would create a dominant that points to Em, so the Ebmaj7#5 works like a functional dominant seventhchord in first inversion resolving to the Em.



14.33a Bert Ligon: View from the Bridge

& 4

3

˙œb

œb

Fø7

˙n ‰

J

œ

Bb13b 9

.œb

j

œbœ

Ebm aj7b6

œ

œ.œ

j

œ

Ebm aj7

&œ

‰j

œœ

œ

Dø7

.œb.

œ

G13b 9

.˙

Cm aj7

˙Œ

Cm aj7/E

&‰

j

œb

œœ

œ

Ebm aj7#5

œœ .

œ

j

œœ

œœ œ œ

œ

Em 9

.˙

Fm aj7

a. b. c.

d. e.

f.

The third mode of G major b6 returns at (g.) over a B7 creating a dominant sound that points to E mi-nor, but resolves to E major. The G# could be retained so that at (h.) an E major b6 scale is suggested.Two scales, E major and E major b6, alternate from mm.15-18, so that the only note that changes is theC# to Cn and back. The modes name is determined by the bass note so that (i.) is the first mode, (h.) isthe fifth, and (j.) is the fourth mode. F# major b6 applies in mm.23-24 using the second mode at (k.) andthe fifth at (l.).

14.33b Bert Ligon: View from the Bridge, cont.

&

3

‰j

œœ

œœ#

œ

F#ø7

œ#œ

œœ

œœ

B7b 9

b 13

.˙

Em aj7

˙ Œ

F#ø7/B

&

7

Œ

j

œœ# J

œ

Em aj7

J

œ#œ

œ

j

œ

Am m aj7/E

.œ#

.œ

Em aj7

.˙

F#ø7/B

&

1

Œ ‰j

œ#œ

œ

Em aj7

œ#œ

œœ

œœ

Am m aj7

œ#œ

œ#œ œ

œœ

G#ø7

˙#‰

œ#œ

C#13b 9

g. h.

i. h.

j. k. l.

The G°7 chord in m.27 could be labeled an E°7 in first inversion functioning as the vii°7 of F minor. Thesixth mode of Ab major b6 could be used at (n.). This is the second chord type in the piece that used thesixth mode. The Eb triad over the E in the bass at (o.) can also use the Ab major b6 scale. The Ab major b6scale works well in the measures surrounding the F minor. F minor aeolian is the key of four flats, andthe same four flats are in the Ab major b6 scale. A dominant sound associated with Ab major b6 is built onthe third mode of the scale and that C7 points to F minor. In that sense, the G°7 and the Eb/E functionlike a C7 pointing to the Fm. The sixth mode of C major b6 could be applied to Abmaj7#5 at (p.). The



short return of the first phrase is set in different inversions of the same chords in mm.33-35. The Fø7/Bb

at (q.) uses the fifth mode and the G/Ab at (r.) uses the fourth mode of Eb major b6. Earlier in the piece,at m.9, a maj7#5 chord was used to imitate a dominant chord in first inversion. The Gbmaj7#5 at (s.) usesthe same scale, Bb major b6, as a D7 that points to G minor.

14.33c Bert Ligon: View from the Bridge, cont.

&

5

j

œb

œbœb

œbœb

Gbm aj7

j

œ

œbœb

œbœ

Gbm aj7/Bb

j

œN

œbœ

j

œ

G°7

œbœb

‰

œœb

Fm 7

&

9

˙‰

j

œb

Eb/E

˙

‰

j

œ

Db/Eb

œœ

œ œ

Dm 9

.˙

Abm aj7#5

&

3

œœb

œb

Fø7/Bb

˙n ‰

J

œ

G/Ab

œbœb

˙

Ebm aj7/G

‰

j

œbœb

œœ

œb

Gbm aj7#5

n.

o. p.

q. r. s.

The last phrase of the piece moves between the Gm9 and its quasi-dominant chord, the Gbmaj7#5. Theone note that changes between the sixth mode of Bb major b6 and G aeolian is the Gb to Gn in the bass;all other notes remain the same. The hemiola rhythm returns in mm.41-42.

The ending restates the melodic material from m.36 and ends on a polychord: a G minor over an Ab

minor, (t.). A label could be forced on this chord naming it an Abmmaj9#11, but the polychord may bethe easier designation. The fourth mode of Eb major b6 applies for this sound.

14.33d Bert Ligon: View from the Bridge, cont.

&

7

.˙

Gm 9

.˙

Gbm aj7#5

.˙

Gm 9

‰ j

œœb

œbœb

œ

Gbm aj7#5

&

1

.œ

J

œbœ

Gm 9

œœb

.œ

j

œb

Gbm aj7#5

.˙

Gm 9

˙

Œ

Gbm aj7#5

&

5

Œœ

œb

F/F# F#/E

œœ

œb

Bb/Eb Db/B B/A

.˙

Abm.

˙

ENDING ONLY: Gm

s. s.

s.

t.



SCALES of LIMITED TRANSPOSITION

All of the scales and modes studied above can be transposed to any twelve pitch levels with a unique setof pitches. There are symmetrical scales that can be transposed a limited number times before repeat-ing the same set of pitches. Three of these scales are frequently used in jazz improvisation: the dimin-ished, whole tone and augmented scales.

SYMMETRICAL DIMINISHED SCALEOther Name: Octatonic, Whole-Half, Half-Whole

The diminished scale is symmetrically constructed of alternating whole-steps and half-steps. It is some-times known as the octatonic scale as is contains eight pitches. The jazz community usually calls thescale half-whole or whole-half distinguishing the modes by their intervallic construction. Diminishedscales can be transposed twice before reaching a scale with identical tones, so there are only threeunique diminished scales. A whole-half scale is shown beginning on C in the first measure of ex. 14.34,and is transposed up to C# and D. Transposing to Eb yields a scale with the identical pitches as a scalestarting on C.

The whole-half diminished scale is associated with diminished chords and is often used as a substitutefor functioning vii°7 chords and non-functioning diminished chords. The scale could be viewed as afully diminished chord with leading tones to each of its chord members. Two fully diminished seventhchord as whole step apart can be derived from any diminished scale so that a chord may have addedtones that are a whole step above members of the chord. An E-G-Bb-Db diminished seventh chord mayhave F#-A-C-Eb as added tones. The diminished scale is brighter than the seventh mode of harmonicminor associated with functioning vii°7 chords. The whole-half scale satisfies the chord tones for anydiminished chord, but should not arbitrarily replace the seventh mode of harmonic minor when play-ing functional vii°7 chords.

The whole-half introduces conflicting information to the functional framework when applied over afunctioning vii°7 chord. For instance, an E°7 is the vii°7 of F minor and would contain the notes: E - F -G - Ab - Bb - C - Db. Substituting an E whole-half yields these notes: E - F# - G - An - Bb - C - Db - Eb. Severalof the notes agree with the F minor sound, yet two notes, the F# and the An, contradict the Fn and Ab of Fminor. This can be a very desirable result, but the scale should be used understanding the effect and ar-bitrary use should be avoided.

Whole-half diminished scales are shown below. Each measure represents four possible roots due to thelimits of transposition. The C diminished is the same as Eb, F#, and A diminished; the C# whole-half isthe same scale as E, G, and Bb; D, F, Ab, and B diminished scales all share the same pitches. The eighttones in the scale necessitates enharmonic spellings.

14.34 Whole-half diminished scales

&

?

ww

wbw w#

w#w

ww

ww

wbw w#

w#w

ww

w#w#

ww#

ww

wbw w#

w#w#

ww#

ww

wbw w#

ww

ww

wbwb wn

w#w

ww

ww

wbwb wn

w#w

The diminished scale lends itself to some very colorful chords that go beyond what is available fromfunctional vii°7 chords. A few are shown in 14.35 over a D°7.



14.35 Colorful chords derived from D whole-half diminished

&

?

ww

w

#

D°7

w

w

ww

#

#

D°7(add C# )

w

w

w

ww

#

D°7(add E )

w

w

ww

ww

#

n#

D°maj7(add E)

w

w

w

ww

n

D°7(add G)

www

#

w

ww

b

D°7(add Bb)

ww

w

#

The half-whole diminished scale is associated with dominant chords. Transposition works the same forhalf-whole as with whole-half. A C half-whole is the same scale as Eb, F#, and A half-whole diminishedscales.

14.36 Half-Whole dominant scales

&

?

wwb

wb wnw#

ww

wbw

wwb

wb wnw#

ww

wbw

w#w

ww

wwb

wb wnw#

w#w

ww

wwb

wb wnw#

wwb

w w#w#

ww

ww

wwb

w w#w#

ww

ww

Many scales available for dominant substitutions have clear functions, pointing to either major or mi-nor, working as a tritone substitution or a backdoor dominant. The half-whole dominant scale is am-biguous and can found substituting for any kind of dominant. The alterations and upper extensionsavailable are numerous and often contradictory. The C7 shown below has the following alterations andextensions: b9, #9, #11, and n13. The presence of the b9 and #9 (Db and Eb) suggests the C7 points to F mi-nor. The n13 (An) indicates F major as the goal. The #11 (F#) suggests the C7 is either a tritone substitutefor F#7 pointing to B minor or a backdoor dominant moving up to D major. The ambiguity is part ofthe attraction to the half-whole diminished scale as a dominant substitute.

14.37 Colorful dominant chords available from half-whole diminished scale

&

?c

w

ww

bb

C7b9

ww

www

#

bb

C7b9

# 11

ww

www

#

b#

C7#9

#11

ww

wwww

#

bb

C13# 11

b9

ww

ww

#b

C7#9

ww

wwww

##

C13#11

b9 # 9

wwwww

bb

Another attractive feature of diminished scales is that melodic shapes can be transposed and sequencesto three other pitch levels within scale. Two three-note motives are sequenced at the interval of a minorthird in ex. 14.38.



14.38

&c

œ œ#

œ#œ#

œ

œœ#

œ

œœ

œb

œb œœb

œ

C7

.˙Œ

F

≈

œbœb

œœ

œb

œ#œ

œ

œ#œ

œœ

œbœb

œ

C7

.˙

Œ

F

WHOLE TONE SCALEOther Name: no common pseudonym

The whole tone scale can only be transposed once. There are only two mutually exclusive six note scalesconstructed by whole-step intervals. The whole tone scale is associated with augmented triads and dom-inant chords with augmented fifths. It is not widely used, but can be an effective color. The dominantchord tends to want to resolve to major. The n9 indicates major and the #5, when it resolves up in the di-rection in which it has been altered, resolves to a major third. The #5 (G#) of the C9#5 chord below, re-solves up to an An, the third of F major. There is a slight difference between a C9#5 and C9b13, eventhough the #5 and b13 are enharmonically identical. The difference is revealed by the resolutions: The #5wants to resolve up to the third of the next chord; the b13 moves down to the ninth.

When two or more dominants separated by a whole-step are present in a progression, the whole tonescale may be used to connect them. For instance, a repeating progression of C7 - Bb7 - Ab7 - Bb7 coulduse the same whole tone scale.

14.39 Whole Tone Scale

&

?

ww

ww#

w#wb

w

ww

ww#

w#wb

w

wbwb

ww

ww

wb

wbwb

ww

ww

wb

14.40 Chords available from the Whole Tone Scale

&

?c

ww

#

C7#5

w

w

b

ww

b

C7b5

w

w

b

w

ww

#

C9# 5

w

w

b

ww

ww

#

#

C9# 5# 11

w

w

b

AUGMENTEDOther Name: no common pseudonym

The augmented scale is an unusual scale of limited transposition. It is constructed with the alternating in-tervals: m3-m2-m3-m2-m3-m2. The unusual construction limits its use in traditional settings. Improvisersand composers who use this scale and sonorities from this scale may superimpose it over traditionalsettings for effect or create new music suited for these sounds. The diminished scale could be con-



structed by adding a leading tone to the four diminished chord tones. The augmented scale is similarlyconstructed by adding leading tones to an augmented chord. The colorful scale has been used by manycomposers of the twentieth century including Béla Bartók as shown in ex. 14.42.

14.41 Diminished Scale = Augmented Scale =

°7 chord with leading tones Augmented chord with leading tones

&

œ˙

œ˙b

œ ˙#œ#

˙œ

˙

œ˙

œ#˙

œ˙b

œ˙

14.42 Augmented Scale

& 4

3

11

œœb œn

œ œ#œ

œ œnœ œb

œ

œ11

œœb œn

œ œ#œ

œ œnœ œb

œ

Because of its symmetry there are only two modes of the augmented scale. The scale can only be trans-posed to four unique pitch sets as shown below.

14.43 Augmented Scales:

C, E, & Ab Db, F, & A D, F#, & Bb Eb, G, & B

&

?

˙˙#

˙˙ ˙#

˙˙

˙˙#

˙˙ ˙#

˙˙

˙b˙

˙˙#

˙˙

˙b

˙b˙

˙˙#

˙˙

˙b

˙˙ ˙#

˙˙b

˙#˙

˙˙ ˙#

˙˙b

˙#˙

˙b˙b ˙n

˙b ˙n˙

˙b

˙b˙b ˙n

˙b ˙n˙

˙b

The most common chords derived from the augmented scale are a major 7 chord with a #5 and a minorchord with a major seventh. Some unusual chords may be created that may be difficult and misleadingfor traditional names. The last chord below might be better labeled a B augmented triad over a C aug-mented triad.

14.44 Chords derived from the C, E, & Ab Augmented Scale

&

?

c

c

w

w

w#

Emmaj7

w

w

wwb

Cmmaj7

w

w

wwb

b

Abmmaj7

wb

w

w

w

b

nb

Emaj7#5

wn

w

ww

#n

Cmaj7# 5

w

w

ww

Abmaj7# 5

wb

w

w

w

n

#

Cmaj7# 5

# 9

w

ww

#

The augmented scale is sometimes used over conventional chords for effect even though there are con-flicting tones. Three major triads derived from the augmented scale are used over the C7 in the line in



ex. 14.45. The C triad obviously has no conflicts with C7. The Ab suggests the b13 (Ab) and the #9 (Eb). TheE triad contains the Bn, which contradicts the dominant seventh of C7, and adds a spice to the line.

14.45 Augmented scale over a Dominant chord

&c Ó Œ ‰

J

œbœ

œœ

œ œbœ

œbœ

C7

(C) (Ab)

œœ#

œœ œn

œœ

œb

(E)

.œ

j

œ

Ó

F

The inversion of the line can be used over a minor chord. The three major triads when inverted be-come Cm, Em and Abm. There are notes in ex. 14.46 that momentarily contradict the Cm, but as in theprevious example, symmetry and linear motion are more important to the melodic success.

14.46 Augmented scale over a Minor chord

&c ‰

j

œœ

œbœ

œ œnœ

Cm (Cm) (Em)

œœ

œbœ

œb

œœ

œ

(Abm) (Cm)œ

Œ Ó

The best use for an augmented scale may be to depart from the traditional sounds. In the ex. 14.47, allfour of the augmented scales are used over a C pedal, each giving different color to the passage. All ofthe scales contain some tones that may related to C, but the line is held together more from motivic re-lationships that tones related to a tonic pitch.

Four augmented scales occur in the following example. Eb augmented scale (a., d., h., k. and l.), C#

augmented scale: (b., f. and j.), C augmented scale: (c. and g.), and D augmented scale: (e. and i.).

14.47 Augmented scales over a C pedal

&c

.œb

J

œ ˙

C Pedal

‰J

œbœ

œœ

œ œbœ

.œb

j

œb ˙

Œ ‰

J

œbœ

œ œbœ

&.

œ

j

œ# œ

‰

J

œnœ

œ# œnœ œb

œ

.

œ

.

œœb ˙

‰j

œ

‰j

œb˙b

&‰

j

œœb

œ#œ

œ œ#œ

œbœ

œbœn ˙

‰

j

œœ#

œœ

‰

j

œbœ

œ œb

‰

j

œœ#

œb

&

œœ# œn

œœ#

œœ

œbœn

œb

œœb

Ó Œ

œœ#

œœ

œbœ#

œœ#

œbœ

œn

œbœ

œ



CHORD/SCALE RELATIONSHIPS REVIEW

The following charts catalog all of the previously discussed chord/scale relationships sorted by scales,and then sorted by chord type.

LIST of SCALES with POSSIBLE DERIVED CHORDS:

MAJOR SCALE CHORD TYPE1st Major 72nd Minor 73rd Minor 74th Major 75th Dominant 76th Minor 77th ø7

HARMONIC MINOR CHORD TYPE1st Minor (major 7)2nd ø73rd Major 7 #54th Minor 75th Dominant 76th Major 77th °7

MELODIC MINOR CHORD TYPE1st Minor (major 7)2nd Minor 7 (b9)3rd Major 7 #54th Dominant 9 #11

Lydian dominant5th Dominant 9 b136th ø7 #27th Dominant 7

(#9, b9, b13, b5,)

MAJOR with a b6(Harmonic Major)

CHORD TYPE

1st Major 71st Major 7 b62nd iiø7 #23rd Dominant 7

(#9, b9, b13, n5)4th Minor (major 7) #115th Dominant 7 (b9, n13)6th Major 7 #56th °7, °maj77th °7

1/2W DIMINISHED CHORD TYPEDominant 7(b9, #9, n13, #11)

W1/2 DIMINISHED CHORD TYPE°7, °7 with added notes

WHOLE TONE CHORD TYPEDominant 7 (9, #5)

AUGMENTED CHORD TYPEMajor 7 #5Major 7minor (major 7)

LIST of CHORDS with POSSIBLE SCALE SOURCES:

CHORD TYPE SCALE SOURCE CHARACTERISTICS

1. Major 7 Ionian; 1st mode Major n4, 72. Major 7 Lydian; 4th mode Major #113. Major 7 6th mode Harmonic Minor #9, #114. Major 7 Major with a b6 b6 or b135. Major 7 Augmented Maj/Min3, 5, #5 or b6


6. Minor 7 Dorian; 2nd mode Major Major 6, m37. Minor 7 Phrygian; 3rd mode Major b2, b68. Minor 7 Aeolian; 6th mode Major b6, b39. Minor 7 4th mode Harmonic Minor #410. Minor 7 Dorian b2; 2nd mode Melodic

Minor

b2




11. ø7 Locrian; 7th mode Major b5, b212. ø7 2nd mode Harmonic Minor b5, b213. ø7 Locrian #2; 6th mode of Melodic

Minor

#2

14. ø7 2nd mode Major with a b6 #2


15. Minor/Major 7 1st mode Harmonic Minor b616. Minor/Major 7 1st mode Melodic Minor n617. Minor/Major 7 4th mode Major with a b6 #1118. Minor/Major 7 Augmented Maj/Min3, 5, #5

CHORD TYPE SCALE SOURCE CHARACTERISTICS19. Major 7 #5 3rd mode Harmonic Minor #5, n420. Major 7 #5 3rd mode Melodic Minor #5, #1121. Major 7 #5

Major 7 b6 or b13Major with a b6 n5, b13

22. Major 7 #5 6th mode Major with a b6 #5, #9, #1123. Major 7 #5 Augmented Maj/Min3, 5, #5


24. Diminished 7 7th mode Harmonic Minor Traditional sound25. Diminished 7 Diminished W 1/2 Tones whole step above each chord

member available26. Diminished 7 7th mode Major with a b627. Diminished 7 6th mode Major with a b6


28. Dominant 7 Mixolydian; 5th mode Major n9, n5, 1329. Dominant 7 5th mode Harmonic Minor b9, b1330. Dominant 7 Lydian b7; 4th mode Melodic

Minor9, #11, 13

32. Dominant 7 Super locrian; 7th mode MelodicMinor

b9, #9, b13, b5

33. Dominant 7 Mixolydian b6; 5th mode MelodicMinor

9, b13

35. Dominant 7 5th mode Major with a b6 13 b936. Dominant 7 3rd mode Major with a b6 b9, #9, b13, n537. Dominant 7 Diminished 1/2 W b9, #9, #11, n1339. Dominant 7 Whole Tone 9, #5

There are nine individual scale sounds for a dominant chord. Each has specific alterations that implyseveral possible resolutions. These dominants may point to the major or minor key a perfect fifth below,function as a tritone substitute dominant resolving down a half-step to a major or minor key, or act as abackdoor dominant resolving up a whole-step to a major key. The destination of some dominants maybe unclear because of certain ambiguous chord tones. The nine possible dominant sounds for C7 areshown below.



A C7 built on the dominant of F major scale will obviously point to the key of F major. The chord mayhave a n5, n13 and n9.

14.48 5th mode of F Major Scale: points to F major

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C13

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A C7 built on the dominant of F harmonic minor points to F minor. The chord may have a n5, b13 andb9. This sound may resolve to F major, but with an Ab and Db, points to F minor.

14.49 5th mode of F Harmonic Minor: points to F minor

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C7b13

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A C7 built on the fifth mode of F melodic minor may point to F major or F minor. The n9 (Dn) points toF major; the b13 (Ab) points to F minor. The context surrounding the C7 will help determine the ex-pected resolution.

14.50 5th mode of F Melodic minor: points to F major or F minor

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C9b13

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A C7 built on the third mode of Ab major b6 points to the key of F minor. The Db, Eb, Ab and Bb are alltones common to F minor and offer these alterations for the C7: b9, #9, and b13. Any dominant soundthat points to minor may resolve to major.

14.51 3rd mode of Ab major b6: points to F minor

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A C7 chord built from the seventh mode of Db melodic minor contains the same tones that pointed toF minor as the Ab major b6, Db, Eb, Ab and Bb, and the additional altered tone Gb. This sound may resolveto F major even though it points to F minor.

14.52 7th mode of Melodic Minor: points to F minor

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A C7 constructed from the fifth mode of F major b6 suggests a resolution to F major. The An is thestrongest indicator as the n13 of C7 and the major third of F. The Db may suggest F minor, but the An ex-erts the strongest force indicating a resolution to F major.

14.53 5th mode of F major b6: points to F major

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A C7 constructed from a half-whole diminished scale is an ambiguous pointer. It points many placesand definitively to no single place. A case can be made for several resolutions, its ambiguity being oneof the attractive characteristics of this sound.

The Db and Eb, the b,9 and #9 of C7, suggest a resolution to F minor. The An, n13 of C7, points to F major.The F# suggests the chord may be a tritone substitute for F#7 pointing to B minor (because of the Gn andAn) or to B major (the enharmonic Eb = D#, the major third of B) The F# also suggests the possibility ofthe C7 chord being a backdoor dominant to D major.



14.54 Half-Whole Diminished: could point to F major or minor, B major or minor, D major

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C13#9

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The C7 constructed from the whole tone scale points to F major. The Dn (n9) suggests the key of F major.The scale does not contain the major third of F, but contains a G#, a pitch that typically resolves up toan An.

14.55 Whole-Tone Scale: points to F major.

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Difference between a #5 & b13?

A C9b13 and a C9#5 sound exactly the same when played out of any musical context. Is there a differ-ence? The difference can be determined only in a musical context. Notes tend to continue in the direc-tion in which they have been altered so a b13 wants to resolve down to the ninth of F, and the G# wantsto resolve up to the third.

14.56 C9 with #5 or b13: context determines difference

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The C7 built from the fourth mode of G harmonic minor does not point to F major or F minor. The F#

suggests that this sound may be a tritone substitute dominant for F#7. The Dn and Gn suggest that the C7as a tritone substitute chord for F#7 is pointing to B minor and not B major. It could be used to resolveto B major, as all dominants that point to minor may resolve to major. These same pitches over an F#7would be called superlocrian, the seventh mode of G melodic minor, which explains whey this soundover C7 points to B minor. This chord/scale sound may occur in this progression: Gmaj7 - C9#11 -Dmaj7, where the C7 is acting as a backdoor dominant pointing to D major.



14.57 4th mode of G Melodic Minor: points to B minor or D major

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HEXATONIC OPTIONS

Some of the scale choices are very similar with only one note difference between two scales. C7 with #9and b13 could be derived from 3rd mode of Ab major b6 or 7th mode of Db melodic minor. The seventhmode of Db melodic minor contains Gb and the third mode of Ab major b6 contains Gn. Another optionis to use a hexatonic scale (six tones) which omits G.

14.58Superlocrian (7th Db melodic minor): 3rd mode of Ab major b6: Hexatonic Scale without a G:

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A Cø7#2 could be derived from the sixth mode of Eb melodic minor or from the second mode of Bb

major b6. The one note distinguished the two scales is the A or Ab. An option is to use a hexatonic scaleeliminating any type of A.

14.59Locrian #2 (6th of Eb melodic minor): 2nd of Bb major b6: Hexatonic scale without A:

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DETERMINING the APPROPRIATE SOUND

Chords have been inventoried by scales and modes; and scales cataloged by chord types in the preced-ing sections. The most important aspect of chord/scale relationships is not their relationship to eachother, but to actual musical environments. Chord/scales must be understood in a musical context.Choosing the correct form of a verb is determined by mood, number, person, tense, and voice.Choosing the appropriate chord/scale is the musical analog of verb conjugation, and the choices aredetermined by melodic implications, chord symbols and context. A responsible improviser or com-poser would not arbitrarily pick from the previous charts and plug in sounds at random any more thana writer would compose sentences by picking from lists of possible parts of speech. A responsible im-proviser does not pick a favorite sound for a ii7 chord or a favorite sound for a dominant chord anduse it for all situations.

A responsible improviser usually determines the expected sound before choosing to impose substituteor alternative sounds. By understanding the musical expectations, a musician can better choose alterna-tive elements and sounds to play against or support those expectations. Most musical settings provideenough information to accurately determine the appropriate chord/scale sound. Information is pro-vided by the chord symbol, the melodic implications, and the context in which the chord occurs.

CHORD SYMBOL & CONTEXT

A chord symbol may suggest four, five and even seven notes of the scale. The other remaining scaletones can be decided from the context and melodic implications. Context refers to the preceding mu-sic; these are the sounds that the listeners (listeners includes the musicians) have just heard, and thesetones remain with the listener until something in the music changes those expectations.

The chord symbol “Fm7” reveals four notes of a seven note scale: F - Ab - C - Eb. Three notes are left tobe determined: some kind of a G, B, and D. Fm7 could be from the keys of three, four and five flats, sothe G could be Gn or Gb; the B would be Bb in any of those contexts, and the D could be Dn or Db.Melodic material in the context may include one or more of these pitches. Chords that preceded theFm7 will likely reveal the identities of the remaining three notes. Look for chords that precede the Fm7whose chord tones include a G or D as the root, third, fifth, seventh or ninth. Cm9 that might precedethe Fm7 chord has Gn as the fifth and Dn as the ninth and therefore suggests the key of three flats for theFm7 chord. Ebmaj7 or Gm7 suggest Gn and a Dn, and the key signature of three flats. Fm7 preceded by aDbmaj7 and Gbmaj7 suggest Gb and Db, and the key signature of five flats. An Eb9 chord suggests the keysignature of four flats with a Gn and Db.

The symbol for a ninth chord supplies five tones, with only two scale tones left to be determined of theseven tone scale. The two remaining tones can be decided by the melodic material or the context. AGmaj9 suggests five notes of a scale: G-B-D-F#-A. Two notes of the scale not given by the chord symbol(C or C# and E) can be determined by the melodic material or context. Look for some chords that pre-cede the Gmaj7 that include either a C# (C#ø7, A7, F#m7 and Dmaj7) or Cn (Cmaj7, Am7, F#ø7 and D7).

The chord symbol “C13#11” discloses seven pitches. The seven pitches can be described as a chord (C-E-G-Bb-D-F#-A) or a scale (C-D-E-F#-G-A-Bb).

MELODIC IMPLICATIONS & CHORD SYMBOL

Compositions reveal specific chord and scale sounds in a combination of chord symbols and melodiccontent. There are times when the chord symbols are quite specific and others when the chords do notclearly identify upper extensions or a complete scale. If a dominant seventh chord is the only symbol,and no extensions or even the ninth are identified, the performers must decide which of the manyavailable sounds are the most appropriate. The choice should not be made arbitrarily. A seventh chord



only suggests four notes of a seven note scale. The composer or arranger may assume the performer candetermine the appropriate sound and scale choice from the context and melodic implications. A C7with An and Dn in the melody does not suggest some exotic dominant scale with alterations, but C7 asthe V7 of F major, using the F major scale. Another C7 with An, Dn and the additional tone F# suggeststhe very specific C lydian dominant scale.

A C7 chord may be labeled with the alterations #9 and b13. Two scales are possible with those alterations:superlocrian (seventh mode of Db melodic minor with a Gb) or the third mode of Ab major b6 (with aGn). If there is a Gn in the melody, then the composer has made the choice for the performer. The con-text may be overruled by the melody.

There will be instances that the composer has included notes in the melody to contradict expectations.A C7 in the progression Gø7 - C7 - Fm7, even without any indicated alterations, would be assumed tohave a b13 and b9 in the context of F minor and the key of four flats. If the melody contains a Db com-bined with an F# and An, then the composer has suggested the half-whole diminished scale rather thanthe expected fifth mode of harmonic minor.

A single note can make the difference between one sound and another. A single pitch determines majorand minor triads or distinguishes mixolydian from dorian. One significant pitch in the melody can in-dicate enormous differences in musical expectations. A C9 would typically be the V7 of F major. If F# issignificantly present in the melody, then the C9 chord is a C9#11, the tritone substitute dominant to Bminor or the backdoor dominant to D major, two completely different expectations than F major.

Major seventh chords typically function as I or IV and call for a major or lydian sound even in settingsout of the major/minor traditions. The Abmaj7 and the Gm7 chord in ex. 14.60 could be derived fromthe key of three flats as IV and iii in the key of Eb. The Dn in the melody confirms that Abmaj7 is not a Ichord. The Gm7 chord cannot be a iii7 chord in Eb because of the melody note An. The Gm7 chordmust be from the key signature of one flat (dorian) or two flats (aeolian). The most appropriate choiceis G aeolian as the change from three flats to two flats is the path of least resistance: the listener retainsthe Eb suggested in the previous measure and nothing has occurred in the Gm7 measure to change thatexpectation. Ab lydian is determined by melodic implications, the Gm7 aeolian by melodic implicationsand context.

14.60

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The same two chords occur in ex. 14.61 with different results. The Abmaj7 - Gm7 cannot be IV - iii in thekey of Eb. The Abmaj7 is confirmed to be a lydian sound with Dn in the melody. There is no A of anykind in the melody to contradict the Ab that precedes it, but the strong presence of the En in the melodyindicates that this must a be G dorian sound, which is the key of one flat. Both appropriate sounds aredetermined by melodic implications.

14.61

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The Dn in the melody in ex. 14.62 again confirms the lydian sound (three flats) for the Abmaj7 chord.There are no notes in the melody over the Gm7 that contradict the key of three flats so the Gm7 and Ab

chords could be bracketed in the key of three flats or as an Ab lydian sound followed by a G phrygiansound.

14.62

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These two chords cannot be bracketed by one sound since no key signature contains a Cm7 and an Am7chord. The Dn over the Cm7 eliminates a phrygian sound and leaves a choice between C dorian (2b) orC aeolian (3b). There are no clues within the measure to rule out one sound in favor of the other. A Bn isindicated by the Am9 chord symbol and an Fn can be retained from C dorian or aeolian, so the appro-priate sound for Am9 is aeolian (no #s and no bs). If the first scale is C dorian, which contains an An thatanticipates the Am9, then only two pitches change from the first to the second measure: the Eb and Bb

change to Bn and En.

14.63

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A major seventh chord that begins a progression will probably sound like a I chord unless somehowcontradicted. The contradiction could be a raised fourth degree in the melody or other harmonicpointers. The Ebmaj7 in ex. 14.64 would probably be interpreted as a major or ionian sound since thereis no An to contradict that sound. An Aø7 chord follows, but the context that matters in making scale se-lections concerns sounds that precede the chord/scale in question. This could simply be a I chord fol-lowed by a iiø7 of G minor if judging by the chord symbols. The melody reveals a Bn over the Aø7which indicates an A locrian #2 sound, the sixth mode of C melodic minor.

14.64

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The Am7 in ex. 14.65 must be an aeolian sound indicated by the context of the Fn in the preceding mea-sure and the Bn in the melody. Is the E7 based on the harmonic minor scale? The E7 has a Gn (#9), Fn

(b9) and Cn (n13). Two scales have a #9, b9 and n13: the superlocrian (seventh mode of F melodic minor),and the third mode of C major b6. There is no Bb to indicate a superlocrian sound, so the best choicefor clarity is the third mode of C major b6. Looking for the path of least resistance confirms the choice.One note changes from third mode of C major b6 to A aeolian: the Ab to An. Two notes would have tochange from E superlocrian to A aeolian: the Ab and Bb up to An and Bn.



14.65

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The D7 in ex. 14.66 could be a lydian dominant sound (fourth mode of A melodic minor) with the n13and #11 in the melody. The F7 has the same chord tones in the melody and could also be lydian domi-nant (fourth mode of C melodic mode.) Another alternative is to bracket the D7 and F7 with a half-whole diminished scale which is suggested by the two chord symbols and the melodic material. The D7(D - F# - A - C) plus the F7 (F - A - C - Eb) plus the melody notes (G#, B and F#) create the scale: D - Eb - F- F# - G# - A - B - C - D. The E7, with the b13 and b9 could be the fifth mode of harmonic minor or thethird mode of C major b6. An E superlocrian might sound odd with a Bb since the two preceding mea-sures and the final measure contain a Bn. The Am7 follows an E7 with a b9 (Fn) and with Bn in themelody, so it must be aeolian.

14.66

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The Bn in the melody indicates the Fmaj7 is a IV chord or a lydian sound (no sharps and no flats) andnot a I chord in ex 14.67. The Dm7 must be dorian with the Bn in the previous measure and the En in themelody. Both chords can be bracketed with the key signature of no sharps and no flats.

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A D7 with a b9 in the melody might indicate the fifth mode of harmonic minor, but the Bn suggests someother sound may be more appropriate. Two scales have a b9 and n13: half-whole diminished and the fifthmode of G major b6. None of the more unusual alterations associated with half-whole are present, so Gmajor b6 is the logical choice. The Gmaj7 should be G major scale: no listener would expect the Eb tocarry over, and there is no Eb in that measure.

14.68

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The chord symbol and melody identify Db lydian augmented (third mode of Bb melodic minor) as thescale sound for Dbmaj7#5 in ex. 14.69. The chord symbol and melody indicate lydian dominant (fourthmode of Db melodic minor) for the Gb9#11. F aeolian can be inferred from the context and the melody:the Db in the previous measures rules out F dorian, and the Gn in the melody rules out phrygian.



14.69

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The first Dm7 in ex 14.70 could be aeolian or dorian as there is no Bn or Bb to make a determination.The Ebmaj7 must be lydian (2bs) in the context of chords and melodic line containing An. The secondDm7 with the 9 (E) in the chord symbol and the Bb in the previous measure suggests D aeolian (1b) andso that may be the best choice retrospectively for the first Dm7. The Dbmaj7 should be treated with aslydian (4b) as there have been Gns in the preceding measures.

14.70

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The Cn in the melody and the F# implied by the chord symbol indicates E aeolian in the first measure ofex. 14.71. The An, a scale tone of E dorian, is not canceled so Eb lydian (2b) is the logical choice for thesecond measure.

14.71

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The Eb chord in the first measure of ex. 14.72 must be lydian with the An melodic note. A Gm7/C chordsymbol always indicates mixolydian (a ii7 chord over a dominant bass note). Since C mixolydian pre-cedes the Fmaj7, they can logically be grouped into the same key signature of one flat.

14.72

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When Ebmaj7 is followed by Abmaj7, as in ex. 14.73 they sound like the I and IV chords in the key of Eb.The D7 to Gm7 could be treated traditionally like a V7/vi to vi so that the D7 could be the fifth mode ofharmonic minor. Other options for the D7 chord include the third mode of Bb major b6 which has theAn which anticipates the D7 measure, or D superlocrian (seventh mode of Eb melodic minor) which re-tains the Ab from the previous measure.



14.73 Bert Ligon: Excerpt from Ouzel Falls

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The following composition utilizes several sounds not available from the major or harmonic minorscales. The Ebmaj7#5 and Dbmaj7#5 chords are Lydian augmented (third mode of C and Bb melodic mi-nor) with the augmented fourth and fifth degrees present in the melody. The Dø7#2 is locrian #2 (sixthmode of F melodic minor). The C7susb9 could be a phrygian mode or retaining the An from the previ-ous two measures, continue the Bb melodic minor making that measure C dorian b2. The chord symbol,C7 with the b5 and b9, calls for C superlocrian (seventh mode of Db melodic minor) in m.8. The chordsymbol, Fmmaj7, and En in the melody indicate F melodic minor in m.9. F melodic minor continuesthrough mm.11-12 over the Bb9#11 lydian dominant chord. The Am9 chord symbol and the previous Fn

makes mm.12-14 A aeolian. In this context, the Bb chord over the A bass note must be A phrygian. Thissixteen measure phrase used four different melodic minor scales: C, F, Bb, Db melodic minor.

14.74a Bert Ligon: First section of Silhouette

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The B section of Silhouette begins with an Fmaj7#5 chord indicating F lydian augmented (third mode ofD melodic minor), which leads to F#m7 aeolian. The Fmaj7#5 chord sounds convincing as a chordpointing to F#m. This is because C#7, the dominant of F# minor and its altered sound, superlocrian, is arelative of Fmaj7#5 sharing the same D melodic minor scale.

The chord that follows the next Fmaj7#5 chord is Dmmaj7 so the D melodic minor carries through bothmeasures. The D melodic minor will not work for the Fmaj7#5/Bb chord. The Bb has canceled the Bn, sothis must be the sixth mode of D harmonic minor. The D harmonic minor continues through theEø7/A chord.



14.74b Bert Ligon: Second section of Silhouette

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IMPOSITIONS over TRADITIONAL FRAMEWORKS

Conscientious improvisers develop the skills to identify and accurately reproduce what the composerand musical situation calls for. With some experience, personal choices from the long list of possibili-ties may be imposed over traditional frameworks.

The following is a typical progression in the key of Bb major. All the chords are derived from the majorminor system. The G7 is a secondary dominant of C minor, calling for C harmonic minor, but all otherchords are from the Bb major scale. This progression will be used as a simple framework over whichother colorful sounds will be applied.

14.75 Traditional progression: I - IV - iii7 - V7/ii - ii7 - V7 - I

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Cm7

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F13

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In ex. 14.76, the IV has been replaced by an Eb lydian dominant (fourth mode of Bb melodic minor)which changes it to a tritone substitute dominant pointing to the iii7 chord Dm7. The Dm7 has been re-place by a Dø7 (iiø7/ii) which creates a stronger pull to the G7 chord. The G7 chord suggests theslightly more colorful third mode of Eb major b6 or superlocrian (seventh mode of Ab melodic minor)instead of the fifth mode of harmonic minor. The G7 still points to the ii7 chord Cm7. The F7 chordsuggests third mode of Db major b6 or superlocrian (seventh mode of Gb melodic minor) which mirrorsthe G7. This altered F7 points to Bb minor, not Bb major, which makes the resolution back to the key ofBb major more powerful.

14.76

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Ex. 14.77 begins and ends in Bb major with many substitute colors in between. An A7 chord is in place ofthe IV chord Eb acting as the dominant pointing to iii7. The A7 chord with a 13 and #11 suggests half-whole diminished or the fifth mode of D major b6. The iii7 chord, Dm7 has been replaced by a D7#9, asecondary dominant pointing to G. The D7 could be half-whole diminished or the third mode of Bb ma-jor b6. The top four voices of the A7 moved chromatically down the D7, and continued to do so throughto the F7. The sequential treatment means that the G7 is either half-whole diminished or the fifth modeof C major b6; the C7 is either half-whole diminished or the fifth mode of Ab major b6; and the F7 is ei-ther half-whole diminished or the fifth mode of Bb major b6. The A triad over the Bb bass, with the C#

and the En indicate the sixth mode of D harmonic minor. The C# and the En are non-harmonic tonesthat resolve up to the chord tones D and F, but D harmonic minor is the implied scale sound.



14.77

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The version in ex. 14.78 begins with Bb as a I chord. The IV chord has been changed to the tritone sub-stitute dominant pointing to Dm. Eb9#11 calls for lydian dominant (fourth mode of Bb melodic minor)as would the A7 alt. dominant for which it substitutes. The Dm7 has been changed to a secondary domi-nant that points to G minor. With the b13 and #9, Bb major b6 is indicated. A D superlocrian might beused, but there is no Ab indicated by the chord symbol or the previous context. The original G7 hasbeen replaced by its tritone substitute dominant Db9#11, indicating Db lydian dominant (fourth mode ofAb lydian dominant). Gb9#11 is the tritone substitute dominant for C7, and either dominant calls for Db

melodic minor. F7 has been replaced by its tritone substitute dominant, B9#11, and calls for F# melodicminor. The final resolution has been brightened with the addition of the En, indicating Bb lydian ratherthan the expected Bb major.

14.78

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The progression in ex. 14.79 is a sequence: iiø7/iii - V/iii7 - iiø7/ii - V7/ii - iiø7/i - V7/i - I. Each of theiiø7 chords have the #2 added indicating locrian #2 (sixth mode of melodic minor). Each dominant,with the 13 and #11 are half-whole diminished. The final chord is the brighter Bb lydian.

14.79

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A number of different possibilities are shown below that may be combined over a traditional pre-domi-nant - dominant - tonic progression. The chords in column one do not necessarily connect to all thechords in column two. For instance, the Bb9#11 as backdoor dominant is typically preceded by a IV(Fmaj7) or a ii7 (Dm7), and rarely if at all preceded by the secondary V7 chord D7.

PRE-DOMINANT DOMINANT TONIC

Dm7 (2nd of C major) G7 (5th of C major) Cmaj7 (C major)Dø7#2 (2nd of C major b6) G7 (5th of C h.m.) Cmaj7#11 (Lydian)

Dø7#2 (6th of F m.m.) G7 (5th of C major b6) Cmaj7 #11 #9 (6th of E h.m.)D7 as Secondary dominant (5th

of G major or G minor)G7 (3rd of Eb major b6)

D7 as Secondary dominant (3rdof Bb major b6)

G7 (7th of Ab m.m.)

D7 as Secondary dominant (7thof Eb m.m.)

Db7 (4th of Ab m.m.)

Ab7 as tritone substitute domi-nant

(7th of Eb m.m.)

G7 (5th C m.m.)

D7 or Ab7 (1/2W) G7 or Db7 (1/2W)G9#5 (WT)

Fmaj7 (4th of C major) Bb9#11 as backdoor dominant(4th of F m.m.)

Fm7 (borrowed iv chord)



WARNINGS

These modes and scales will provide a number of different colors available for chords in commonprogressions. They do not necessarily replace the traditional sounds, nor are they inherently better,“hipper” or more jazz-like. They only enlarge the tonal palette. As new sounds are learned, remember toconsider a musical context when applying the sound. Avoid arbitrary, thoughtless application. Avoid thetemptation to always use any one sound for a specific chord. With nine possible sounds for a dominant,it makes little sense to use superlocrian or half-whole exclusively. If the diminished scale is used in allpossible places, then its chance of surprising a listener is reduced. Strive for a balance between anumber of different approaches from traditional key center generalization and specificity and the use ofspecial colorful scales. Any new scale will brighten or darken the musical context, so use the new soundaccording to the desired consequence. Avoid the temptation to use a new sound in every opportunity.Use colorful substitute sounds to surprise the listener; but remember that their effect can be diminishedby overuse.

Even though a different scale sound can be applied to each chord in a succession of chords, avoidcompartmentalizing each separate chord. Find the connections. Emphasize tones in common. Find theone or two notes that change and aim for those connections between the chords. Voices derived fromsubstitute scales will follow traditional voice-leading principles and have melodic implications.

There are many more examples and pages of exercises for many of these scale and chord sounds in thebook, Comprehensive Technique for Jazz Musicians.

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