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 Section 4 - The Whole Tone Scale
Now we willtake a look at the melodic possibilities yielded by the whole tone scale.lt is a symmel
rical scale consisting of six notes in whole step intervals, any one of which can be regarded as the
root.lt is worth noting that there are only two possible whole tone scales in the 12-note chromati
scale. Melodic combinations of the two whole tone scales will be explored in the chromatic scale
section of this book. But, to start, let us look at the basic whole tone scale from middle C:

C whole tone 4's

Cwhole tone 3's

 C whole tone 4's alternating

C whole tone 3's alternating

C whole tone 6's descending

::- wHoLE ToNE INTERVAL sruDlEs :-
tone scale in the same way as we
Now let us explore the interval combinations of the whole
did with the diatonic scale earlier in the book'

Major 3rds in whole stePs

Major 3rds in whole steps alternating

Tritones in whole steps alternating

Minor 6ths in whole stePs

 nnrlrol ourS ,r, wrrure >aeP) uraurrrutrrrg

Minor Tths in whole steps

Minor Tths in whole steps alternating

The intervals of the whole tone scale can also sound very nice when chromatic connections
and approaches are used.

Major 3rds in whole steps w/chromatic connection

60

Tritones inwhole steps úchromatic connection

Ttitones in whole steps n.lowet cfuomaúa apprcach

Tritones in whole steps úupper chromatic approach

b
L- Minot bihs in whale spps,w'chrcmoti( conneaion
Lt
L.
l-
L.
tt
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a
-
lr
a
t
-
Minar 6ths in whole steps w/lawet chromatic apprcach
i
-
ta
t,
-
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-
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)
-
aa
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62

WHOLE TONE TRIAD STUDIES

Building chords in 3rds from the whole tone scale produces a continuous pattern of augmented
triads a whole step apart.These can make for some interesting melodic materiali
Augmented triads in whole stept alternating

Augmented tiads in 4's

Augmented t ads in 4's broken

(continued)
4 noteauqnented chords ahernating

Here\ mewíth one af ny biggesî guitat herces,the gteat Gearye Benson!

64

WHOTE TONE VARIATIONS

You can do a lot of fun things with the whole tone scaie.
Since the dominantT(b5) arpeggio is one
of jts chord forms, you can move it around in whole steps:
Dominant 7(bS) chotds in wholesteps

- -
Or you can take the 5ame arpeggio and break up the intervals,
giving you, for example, two tri_
tones, one down, one up, a major 3rd apart, in whole stepsl

Dominant 7(b5)chards braken inwhole steps

Here are a couple more whole tone exercises that you

might find amusing:
You frgure it out!

Spread a ugmented trÌad s i n wh ole steps altenati ng

at
tt 65

) Spread auqmented triadsa ttitone apart,in majot 3rds

)
rt
-
-
)
)
- And another variation on the domìnant7(b5) arpeggio, this time breaking it ìnto two mìnor 6ths,
) one down,one up,ascending and descending in major 3rds:

- Minor6thso tritone apatt,in majar 3tds

)
ra
t
-
t
t
ta
- -fhe
important thing to remember with the whole tone scale is that ANY note group that you
- make with the scale can then be moved around by ANY of the intervals within the scalel Let us
take,for example the note group C-D-Bb-C:
-
) ln whale steps
at
-
-
It
aa
-
)
-
,a
-
,a
) lnttitones
)
)
)
a
)
a
a
-
66

Besides its obv:ous use as the scale of the augmented chord, the whole tone scale can
be used to
extend the tonality of any dominant 7th chord.lt has the 1,2,3, and b7, with the addition of the
b5 and b6 which give it its unique color.Therefore, ìt works particularly well against any
dominant
7(b5) or (#5) chord. Here is an example using the changes ofthe Jobim tune,"-Desafinado,l

CDTRACK #9

G7(b5) (G wholetone)

AniT(b5) etc.

You can do the same sort ofthing on Duke Ellington's'A Train't - CDTRACK#10
CmaT D7(b5) (D whaletone najor 3ds in whote sreps)

G7(#5) (G whole tone)

G7(#5) (minat óths in whote steps atternating) CmaT etc.

L
L 67

a,
ta Section 5 -The Diminished Scale
I The diminished scale is one of the most u5eful tools for the modern jazz soloist, because of its

L symmetry and its unmatched versatility. A diminished chord will resolve easily to almost any
olher chord, due to its 4 possible roots and the fact that it also can substitule for 4 possible domi-
I nant 7th chords, sìnce every diminished 7th chord is a dominantT(b9) without the root. (Drop any
ofthe tones in a diminished 7th chord one half step and you will get a dominant 7th in the key of
-
the note you resolved to.)Thìs makes the diminished scale both a great connector between chord
- changes in any key, and a good choice for soloing on all kinds of dominant 7th chords, including
- 7(b5),7(b9),7(#9),13(b9) and 13(#9)... (the notable exceptìon being the augmented 7th (7(#5))
- chord...for that you must use the whole tone scale, or ìn the case of 7(#5b9) and 7(#5#9), the al
) tered 7Ìh scale).
,,
Let's take a look at our basic raw material,the C (also Eb, cb, and A) diminished scale:
-
-
-
ta
b
t
L
I
- Symmetrical construction...whole step, half step all the way...that is the essence ofthe diminished
- scale.This one is clearly the scale of choice to use on C, Eb, Gb, and A diminished 7th chords.Whìch,
as we said,will resolve almost anywhere. But if we shift the orientaîion ofthe scale to start from the
- HALF sTFP, it becomes easier to see the roots ofthe dominant 7th chords (in this case 87, D7, F7
- and Ab7), each one followed by the b9, #9, major 3rd, b5,5,6 (or13), and b7, in theìr respective keysl
-
)
,a
-
aa
- Of course, in the above example the 1'5 can also start on the F and the G# (Ab) and the relation-
)
ships will stay the same.There is still another way to look at the diminjshed scale.lt can be seen as
at the combination of the first four notes of two minor scales, a tritone apart:
-
-
Cminar ----- F#minar- ----- Ebminor ------ Aminar

-
-
-
)
)
)
-
-
68

DIMINISHED SCALE STUDIES

ln any case, let us start with some scale exercises to gain fluidity wÌthÌn the diminished scale.
And don't forgetrthere are two other dìm;nished scales, ìn C# (also E, G, Bb) and in D {also F, Ab, B)
that you will need to study with equal dedication if you want your mastery of this scale to be
undimìnished!

Diminished 3's
3'- r-3 - r-3'- r-3 -'1 t-l t-3 3'- r-3 -.t r-3 3 -1r-1

z.--.,,41r1-!r^!/TELIZLZ=L=---Z-

Diminished 4's up and dawn

 69

There are a lot more diminished scale exercises you can practice if you are so Ìnclined...such as:

or this one, wìth an ornament:

With lhe Ousaders.This was actuallyfron loeSample\"Rainbow Seeker" session in 1977.1dìdn'ljoin the
band until 1979,when they did"Street Life':l think this pi( appeared inRecaldWorld magazine.
70

But now it is time to move on to our melodjc meat and potatoes,

so to speak, ancl expJore the in_
tervallic possibiljtjes that sprinq from the diminrsned scale. wà 'm
ca nio-t"fiì in ucn tne same way
as we did with the diatonic and whoiè tone scales,
but there are ,àÀ" intÉrlrting oiffur"n."r, u,
we shall see. We wi start with the intervat of tne minor
:rdJÀe ba-iiiiuiìàiig Otoct of tne aimin_
ished chord:
lvlinor 3tds in diminished scale steps

Minot 3rds in diminished scale steps alternating

NoW we can see that the minor 3rd interval ca,n be played
melodically through all the steps of the
scale.îhis wìll also be true of the other intervals contained in
the basic àiminísned chord, that is,
the tritone and the major 6th.ThÌs is due ro tne symmetricai
nitì," ó?'ti"'r.uì".rn" not", ortr,u
S,o,T:l'1"9 :pf :l!:EgfÍr
o, rorm rne ! otmtntshed îì y1"" .g,."uine'o *itÀìnoie àiìn"ó ài.i"ií"0 .nord _ (D F, Ab,
scale. But land thjs is a very big butl)there are many
intervals produced
by the dim in is hed scd,e...r.ìajo. 3 rd, 4th oer,".t s,n.'"", n'o'.
;;",
àtl.',,.,ì.;;;.; 7 th...rl_dt wi NoT
9o symmetrically up the scale. For example, if you try to make a pattern óf Àllor :rcts through
dìminished scale, you getr the

Majar 3rds and 4ths in diminished scalesteps

 71

Which can produce some ìnteresting results. Notice that you can also look at it as a 4-note pattern
moving in minor 3rdsi
A\ajat 3rds and 4ths a ltern oting

t\'\ajor 3rds and4ths alternating rcvetsed

So ìf you want to take major 3rds or virtuaÌly any interval or combination of intervals from the
diminished scale, and play with them, you can always do it in minor 3rds:
Alaior 3rds in minor thirds

L4ajor 3rds in minar thirds alternating up, reversed descending

r-r:,.;i. ;;r-:tàkt ì
72

The 4th is another interval that does not go up the diminished scale in a symmetrical
way. But you
could thjnk of th is pattern as a Iittle 4-note blues licK going b7_b3_3 1, sta;ting on D7 and going
in minor 3rds:
4ths ond major3rds in diminshed scale steps alternoting

4thsinminorthirds

llwas my rcte pleasuretojamwith B.B.Kìnq duúng hisencate atthe tlontreux

Jazz Festival in July 2004.Ihis pic was snapped backstage right aftewards!
 73

4th s i n m inar thirds altetnati no

4lhs in minar thirds úchromatic appraach

Trilanes in dìminished scole steps

Tritanes in diminished scale ste Ds alternatina

Tritones in minorthitds Mchromatic apprcach

74

Again, to make a 5th in the diminished scale, one must start with the
note a half step below the
tonic (in this case, B).The 5th and minor 6th combination can make for some interesting effects:

sthsand minor6ths in diminished scalesteps

sths and minor6ths in diminjshed scale steps alternotinq

The perfect 5th must be moved around in minor 3rds, tritone, or major
6ths, and always from the
halfstep below:

5ths in minotthirds
I 75
a
ta
) Sths in minot thids alternatìng

I
a
-
L
ta
ta
- sths a lritone opatt in minot thitds
ra

sths a majot sixth aport in minot thirds

You can also use chromatic approaches when playing your

perfect 5ths through the diminìshed
scale,from above on the lower note,and below on the upper note:

5thsin minor thitds w/lower chramatic approach

a
76

5ths in minor thirds w/upper chromatic approoch

5ths in minor thirds w/dual chromatic approach

Sths in minor thirds reversed w/dual chromatic approach

!I
b 77
b
h As the 5th resolves to a minor 6th in the diminished scale, so does the minor 6th resolve to a 5th:
b Minor 6ths and 5ths in diminished scale steps
b
h
t-
ir
b
b
b
D
f,
E
tr
b Minor 6ths and Sths in diminished scale steps alternating

Itr
b
b
T
lr
t
;r
ll
lr
ll
lr
t And the minor 6th played in minor 3rds is a particularly nice bit of melodic material:

t Minor 6ths in minor thirds

lr
ll
|t
l]
tl
I Béla Bartók used variations of this one in his Violin concerto:

I Minor 6ths in minor thirds alternating

t
t
ll
I
I
I
7A

lt4inar 6ths in minot thitds úchramatic approoch

Minot 6ths in minotthirds ú2 note chrcmaticopprooch

This one could also be analyzed as a spread D7b5 (or c#7b5) arpeggio, in minor 3rds:

llinot6thsa ttitone apart in minorthitds

Mìnot 6ths o ttitone apott in minor thirds altemating

 79

Now, on to the major 6th...another of the intervals contained in the basic diminished 7th chord...
so it can be moved through the scale steps without any changesl
Majot 6tht in diminBhed scale steps

Mctjot 6ths in diminished scale steps altetnating

L4ajot 6ths in dininithed scole steps btaken

The major 6th also works well wÌth the chromatÌc approach from belowl

Majar 6ths in minot thirds w/chramatic appraach

J
80

Or the whole tone approach from above:

Major 6ths in minor thirds w/upper whole tone approach

Or various combinations of the two:

Major 6ths in minor thirds w/upper and lower approach

Major 6ths in minor thirds w/dual lower approach

Mojor 6ths in minor thirds w/dual upper approach

 81

And now we come to the minor 7th...another of the intervals available only from the secondary
scale tones.The combination of minor and major Tths we get from moving this interval
up the
scale is very 20th century sounding!
Minor Tths and maior Tths in diminished scale steps

Minor Tths and maior Tths in diminished scale steps alternating

The minor 7th moved around in minor 3rds is kind of a strange sound, but I am including a few
things with it anyway. Remember: the object is to get every possible combination of notes com-
fortably under your fingers!
Minor Tths in minor thirds

Minor Tths in minor thirds alternating

Minor Tths in minor thirds w/dual lower approach

F
82

Mojor Tths and minor Tths in diminished scale steps

Major Tths and minor Tths in diminished scole steps alternating

Major Tths and minor Tths in diminished scale steps alternating reversed

The major 7th is more adaptable than the minor 7th to being moved around in minor 3rds...and
can produce some wild melodic effects!

Major Tths in minor thirds

Major Tths in minor thirds alternating

E
t
t Major Tths in mìnor thirds reversed

tr
tr
l'.
lr Major Tths in minor thirds w/lower approach

Lr
tr
L'
L.
L.
L'
tr
t
Itr
Lr Major Tths in minor thirds w/dual lower approach

F
I
ltta
tr
tr
Itr
lttr
b
L
ttr
l.b And, finally, one of my personal favorites:

i.T
Major Tths a tritone apart, reversed and alternating, in minor thirds

b
b
b
Iltr
It
It
J.
-
-
F-
84

DIMINISH ED TRIAD STUDIES

Well,that about does it for our 2-note interval studies within the diminished scale.l hope every-
one has been doing their homework and practicing these exercises on the other two diminished
scales! For those who haven't, go ahead...take a few weeks, go back and review! Because there is
a LOT more melodic material ahead of us. Now comes the moment you have been waiting for....
noryWe get to play...3-NOTE GROUPS!!Yes,triads are a lot of fun in the diminished scale...here
goes:
Diminished triad 3's in scale steps

Diminished triod 3's in scale steps alternating

f.
p 85

b played through
5 There are a lot of things you can do with the basic diminished triad, since it can be
the steps of the scale.'But not all of the possibilities are that melodically fulfi,lling.We will just list
p
I

some of them here. But you can turn them up, down, around, any way you like, and run
to
them up
practice
tt the scale. lf you think of iome more variations that aesthetically satisfy you, feel free

b away!
I

If Diminished tiad 4's in scale stePs

Diminished triad l st inversion 3's

F
86

Diminished triad I st inversion 3's reversed alternating

21333

Diminished triad l st inversion 4,s

Diminished triad 2nd inversion 3's

Diminished triad 2nd inversion 3's reversed

Diminished triad 2nd inversion 3's alternating

r
8B

Diminished triod 2nd inversion 4,s broken

And here is a particularly nice one:

Diminished triad I st inversion going up,2nd inversion

going down (triplets written in 4)

I
I
f
I
I
I
I
I
I
I
I
I
The diminished triad can also be moved around in minor 3rds with chromatic approaches on any
of the notes. Needless to say, this is another way to outline the diminished 7th arpeggio.

Diminished triads in minor thirds w/chromatic approach

Diminished triads in minor thirds reversed w/chromatic approach

Diminished triods I st inversion in minor thirds w/chromatic approach

r 90

Diminished triads l st inversion in minor thirds

w/chromatic approach on middle note

Diminished triads r st inversion in minor thirds

w/chromatic opproach on upper note

Diminished triads r st inversion in minor thirds

reversed w/chromatic approach

,.rxMlú
 91

Diminished triads 2nd inversion in minor thirds broken w/chromatic approach

Diminished triads 2nd inversion in minor thirds reversed w/chromatic approach

Diminished triads 2nd inversion in minor thirds broken w/chromatic approach on middle note
92

You can go on forever with this stuff:

Diminished triads 2nd inversion broken in minor thirds w/chromatic approach on every
note
(6 note pattern)

But the great thing about the diminished scale is that it contains so many
other kinds of triads,
including major, minor, and certain quartal triads. And these can all be moved
around melodically
scale will ,runrpor. '
in minor 3rds. ln fact, ANY combination of notes made from the diminished
cleanly in increments of minor 3rds. Or tritones.The modern jazz soloist will
make good use of this
convenient fact. Remember: all diminished triads can be the 3rd,5th, and 7th ofa
dominant 7th
chord whose root is one of the secondary scale tones. Go back and analyze the
diminished triad
studies in minor 3rds...you will see the 3rd,5th, and 7th of 87,D7,F7,anóAb(G#)7.
And those are
the tonal centers to be aware of within this particular scale.You can see them
very easily in our
first diminished scale major triad exercise:

Majortriads in minor 3rds

rt 93

:
Four distinct major triads within every diminished scale!You can do a lot of things with them
I and their various inversions:
t
I Major triads in minor 3rds alternating
-a3
T
T
i
t
t
rr
t
rr
t Major triads in minor 3rds in 4's

Major triads in minor 3rds broken in 4's

94

Major triads I st inversion in minor 3rds reversed

Major triads I st inversìon in minor 3rds in 4's

Major triads 2nd inversion in minor 3rds (reversed descending)

331
 95

Major triads 2nd inversion in minor 3rds in 4's

Clearly, there are a lot more mathematical possibilities for playing these triads in minor 3rds,
inverting them, starting from different notes and so on, but we do not need to list them all here.
lf you think of one that you like, go ahead and practice it! Right now I would like to point out that
major triads will also melodize nicely when combined with a triad a tritone away:
I
t

It's the old b5 substitution effect. And of course, since the two triads both come from the
diminished scale, any note groups made from combining them can also be moved around in
minor 3rds!This makes for a wealth of very hip sounding melodic material:

Major triads a tritone apart in minor 3rds alternating

96

Major triads a tritone apart in minor 3rds reversed alternating

or you can just use the basic two triads a tritone apart, going from one to the other, through
all their inversions:

Major triads a tritone apart alternating

Major triads a tritone apart in 4's

 97

lnterestingly, since the diminished scale (in half step-whole step mode) contains both the major
and minor third, you can also use minor triads in minor 3rd and tritone steps in the same way
we just did the major triads:

Minor triads in minor 3rds alternoting

-'-3

Minor triods in minor 3rds in 4's

Minor triads l st inversion in minor thirds (reversed on descent)

-
98

Minor triads l st inversion in minor 3rds broken in 4,s

Minor triads 2nd inversion in minor 3rds alternating

Minor triads 2nd inversion in minor 3rds in 4's

MÌnor triads a trÌtone aport in minor 3rds

 99

DIMINISHED QUARTAL TRIADS

All right, enough of this minor triad stuff. Some of it is useful, and it is always a good thing to get
as many variations as possible under your fingers, but a lot of it is really not that fantastic. How-
ever, QUARTAL triads through the diminished scale produce some really good and fresh melodic
figures.The standard quartal triad (three 4ths) cannot be made from the diminished scale, but its
two relatives, which contain a fourth and a tritone, work wonderfully. Consider the triad of C, F#,
and 8...a tritone and a 4th.lt can be analyzed as a D13 chord (containing the 7th,3rd and 6th) or
an Ab7(#9)(3rd,7th and #9). Either way, it relates to 2 of the 4 dominant 7th chords that are part of
the scale, and can be used melodically on any of them.
Quartaltriads in minor 3rds

Quartaltriads in minor 3rds reversed

Quartaltriads in minor 3rds alternating

Quortaltriads in minor 3rds in 4's

túun--\dt:
f=
100

Quortaltriads in minor 3rds w/chromatic approach (4 note arpeggios)

Try placing the accent on the 2nd note of these triplets...it's kind of like a little blues lick...7th to
flat 3rd to major 3rd of their respective dominant 7th chords.

Quartaltriads lst inversion in minor 3rds

Quartal triads I st inversion in minor 3rds reversed

Quartaltriads l st Ìnversion in minor 3rds in 4's

 101

This one was already covered in the diminished interval section as tritones in minor 3rds with
chromatic approach. However, it can also be regarded as:
Quartaltriads 2nd inversion in minor 3rds
-27
1-

Quartaltriads 2nd inversion in minor 3rds reversed

Quartaltriads 2nd inversion in minor 3rds in 4's

Quartaltriads a maior 6th apart in minor 3rds

r
102

The second type of quartal triad to come from the diminished scale is composed of a 4th with a
tritone on top, rather than the other way around. It is interesting to analyze: C, F, and B, for ex-
ample, could be a Dmi13, an Fma(#11),a G7 with an added 4th...lots of things, but for diminished
soloing purposes, I prefer to think of it as the top 3 notes of a dominant 1 3(#9) chord...the C being
the3rdinAbortheTthinDtheFbeingthel3inAborthe#ginD,andtheBbeingthet3inDor
the #9 in Ab!That's not too confusing, is it?

Type 2 quartaltriads in minor 3rds

Type 2 quartaltriads in minor 3rds reversed

Type 2 quartaltriads in minor 3rds alternating

Type 2 quartaltriads in minor 3rds in 4's

 103

Type 2 quartaltriads in minor 3rds in 4's reversed

Again,this one was included in the interval section as 5ths in minor 3rds with upper chromatic
approach, but here it has become:

Type 2 quartal triads l st inversion in minor 3rds

Type 2 quartaltrÌads l st inversion in minor 3rds reversed

Type 2 quartal triads l st inversion in minor 3rds in 4's

tth,n-\tr "

ili;ri;;l;-;;;'"iàMÀH*i rí,'iro,,,
104

Type 2 quartaltriads 2nd inversion in minor 3rds

Type 2 quartaltriads 2nd inversion in minor 3rds reversed

Type 2 quartaltriads 2nd inversion in minor 3rds in 4's

Type 2 quartal triads in minor 3rds w/chromatic approoch (4 note arpeggios)

 105

DIMINISHED 7th CHORD STUDIES

OK. lt is time now to get into our 4-note groups from the diminished scale. A lot of these are used
frequently by the best and most advanced soloists. Almost all of them will be played in minor
3rds, but let's start by remembering that the basic diminished 7th chord, and its partner a whole
step above, do contain all the notes of the scale, and thus can be played in scale steps:

Diminished 7th chords in scale steps

always good to have that stuff under your fingers. Of course, there are a great number of
Yes, it's
possibilities for 4-note groups within this scale. But some of the best are slight alterations of the
diminished 7th chord. For example, if you take the basic diminished 7th and extend the top note
by one scale step, you get Example 1 below. lf you extend the top 2 notes, Example 2.

Ex.1 Ex.2

CdimT (extended) CdimT

106

Now, you can look at the Cdim (extended) in a number of ways. lt could be a B triad over
C, an
Ab7 with a #9 on top, or my personal favorite, D1 3(b9), as it contains the b7 (C),3(F#), b9(Eb) and
13(B). And the 1 3(b9) chord is peculiar to the diminished scale...it really embodies
tíi" ,niqlà-
ness of a dominant 7th chord in diminished mode.And of cours",you can playthese patterns
lcloss any of the dominant 7th chords (8, D F, Ab) built from the sécondary scrle tone, of the
C diminished scale.

Diminished 7th extended in minor 3rds

Diminished 7th extended in minor 3rds reversed

Diminished 7th extended in minor 3rds broken

Diminished 7th extended in minor 3rds irreparably broken

 107

You can use the diminished (double extended) in the same way as in the previous examples.
It is equally interesting to look at this chord form from a variety of angles to gain perspective
on what the diminished scale really means. Cdim (double extended),for example, can be an
Ab triad with a minor 3rd (or minor with a major 3rd!), a 813(b9) without the 7th, F7(b5#9)
(with a 5th), or D13(b5b9)!

Diminished 7th double extended in minor 3rds

Diminished 7th double extended in minor 3rds reversed

Diminished 7th double extended in minor 3rds broken

Diminished 7th double extended in minor 3rds seriously messed with

108

There are a ton of cool 4-note combinations from the diminished scale that can be played in
minor 3rds. Many are variations on the dimTth extensions. Practice them, transpose them to the
other two ciiminished scales, use them in good healthl

4ths a tritone apart in minor 3rds

4ths ìn minor 3rds w/dual chromatic approach (an inversion of the previous exercise)

C diminished extended spread voicing in minor 3rds

Dominant 7th chords in minor 3rds

 109

Dominant 7th chords in minor 3rds broken

Dominant 7th flat 5 chords in minor 3rds

Tritones a major 7th opart in minor 3rds (13#9 chords)

Tritones a major 7th apart in minor 3rds (13#9 chords) alternating

110

lf you look at this next group as starting from the 7th and major 3rd, they are:
7b5('lA.chords in minor 3rds

7b5(13) chords in minor 3rds broken

Minor 6ths a major 6th apart in minor 3rds

Minor 6ths a major 6th apart in minor 3rds reversed

I think you are getting the idea by now. ANY possible combination of notes from the diminished
scale can be grouped together as melodic sections and moved around in the diminished chord
intervals of minor 3rds, tritones, and major 6ths.There is no way I could have included ALL the
possible combinations here, but I think you have plenty to work with...and work on! Don't forget
to transpose and practice as much as you can in the other two diminished scales! Before we move
on, here are a couple more scale exercises that I saved until now for a special moment such as this:
 111

Diminished scale broken half steps

Diminished scale broken half steps reversed

Diminished scale broken whole steps

And one more for good measure:

Blues lick in minor thirds

There are plenty of opportunities and musical situations for the modern jazz soloist to delve into
his diminished scale repertoire! ln an older style, it could be on a straight diminished chord, such
as here in the second 8 bars of "MackThe Knife"- CD TRACK #1 1

ÉM1ú5) Ébotu -

'au1

Iftil \rk -

'*L..*,r.ffim.;i*u..*
M&& r.,
112

Or in a more modern tune such as Herbie Hancock's "Dolphin Dance'iThere is a very

tasty dimin-
ished (double extended) chord in the last 4 bar turnaround _ CDTRACK#12

gby6t ph (triads w/upper whole tone approach in minor thirds)

gbnbt4h

gb7sUsO
qtls

But a.gain, probably the most valuable use of the diminished scale is to stretch
the tonality of the
dominant 7th chord. As I mentioned earlier; diminished stuff will *ort on any alteration
of the
dominant 7th except the 7(#5), because the scale contains the b9, #g,b5,unó s. But since
it also
has the natural 6th (13),the 13(b9) and 13(#9) chords are the on"i tf'utiluf iy
the true
diminished flavor! - CD TRACK #13 "rOody
07sus g$ht @ths and maior 3rds alternating & descending)

ATsus gtlbl ftriads I st inversion w/chromatic approach in minor thirds)

OBbg eths atternating & descending in minor 3rds) (dim extended)

gtlbl (minor 3rds alternating and

descending in scale steps)

 113

Section 6 - The Chromatic Scale

And now, at last, we arrive at the final frontier in our exploration of melodic materials: the chro-
matic scale.Where there are no rules, and every possible combination of notes is permitted. But
there is a systematic approach to mastering this all-encompassing scale.The intervals and note
groups must be studied one at a time, focusing on the melodic strength of their shapes, in the
combinations that are not possible with any other scale source.The modern jazz soloist will un-
derstand that the chromatic scale gives him instant access to play"outside"whatever harmonic
background is present, with his access back"inside"that harmony never more than a half step
away!Think about that.

And here is the good news:your chromatic scale exercises will not have to be transposed and
practiced in any other keys....because, there lS no other key!

We start with one of the most valuable of all the studies, the major 2nds. I use them all the time,
and if you listen to Miles Davis you will hear him using them a lot too, especially in his faster licks.
They are a fabulous connector between all kinds of stuff and should be thoroughly learned.

CHROMATIC INTERVAL STUDI ES

Chromatic major 2nds

These next variations will be written out in just one octave, to save space. Obviously, they should
be practiced through the range of your instrument.
Chromatic major 2nds alternating
114

Chromatic major 2nds two up, one down and vice versa

Now, this one could be a straight chromatic scale exercise, but within this particular context it
should be regarded as:
Ch rom ati c m aj or 2 nd s altern ati n g w/ch ro m ati c co n n ecti o n s

Minor 3rds are also a very handy melodic device when used chromatically.They remind you of
diminished, but have their own distinct flavor.
Chromatic minor 3rds

Chromatic minor 3rds olternating

tr 115
ll
tl Chromatic minor 3rds (triplets)
rl
rl
a
rl
a
rl
)
a
rl
rl
a
a
a And now, another chromatic scale exercise masquerading as...
I
a Ch rom ati c mi nor 3 rds altern ati ng w/ch romati c co nn ecti on s

a
a
a
a
a
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a
a Chromatic major 3rds

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116

Chromatic major 3rds alternating

Chromatic major 3rds (reversed triptets)

The fourth works well in chromatic mode, as does its inversion,the fifth.They
form the foundation
of a lot of chords, and I believe that this gives them a certain power and melodic
strength.
Chromatic4ths

Ch ro m ati c 4th s a lter nati n g

Chromatic 4ths,2 up one down and vice versa

Ch rom oti c 4th s (reversed tri plets)

Chromatic tritones

Ch rom atic trito nes oltern ati n g

 Ch ro m ati c trito nes (tri pl ets)

Chromotic 5ths

Ch rom ati c 5th s a lter n ati n g

Ch ro m ati c 5ths (tri p I ets)

 119

The wider intervals such as the minor and major 6ths start to get melodically interesting when
played in chromatic mode.

Chromatic minor 6ths

Chromatic minor 6ths alternating

Chromatic minor 6ths,2 up one down

Chromatic minor 6ths (triplets)

120

Chromatic major 6ths

ChromatÌc major 6ths alternating

These next two sound kind of like endless country and western intros!

Chromatic major 6ths (triplets)

Chromatic major 6ths (reversed triplets)

Chromatic minor Tths

Chromatic minor Tths (reversed)

Chromatic minor Tths alternating

122

Chromatic major Tths

Chromatic major Tths reversed

Chromatic major Tths alternating

Chromatic major Tths (alternating triptet)

3333
 123

The chromatic scale exercises and patterns have two main purposes for the modern jazz soloist:
First, to complete the task of mastering one's instrument by learning all the possible note combi-
nations that were not covered in the study of the other scales. Second, and equally important, is
to develop the ability to play INSIDE OR OUTSIDE the prevailing harmony with equal command.
Since any of the chromatic patterns will, by definition, be OUTSIDE, the question becomes how to
best integrate them with the inside stuff.The modern jazz soloist has a LOT of choices available
here. Let's make good ones!You can start in a particular mode and use a chromatic bit to take it
out and then back in.- CDTRACK #14
Dm7 chromatic major 2nds alternating .... .back to Dm7

It is important to have a departure point and a re-entry point that make musical sense.Then you
can get away with more adventurous stuff!

Dm7 4thsinwholestepsalternating(12-tonepattern)................backtoDm7

lf you know exactly where you are in relation to the key you are in,the chromatic scale becomes
your best friend!

lf you are headed for a particular chord, aim your chromatic bit so that it will resolve to one of the
chord tones.The end willjustify the means!

groups of 2 chromatic major 2nds alternating a maior 3rd apart (12-tone pattern) DbmajT (b5)
124

CHROMATIC TRIAD STUDIES

Remember: our goal is to get as.many note combinations as possible safely under our fingers.
So it is a good idea to practice all our simple chord forms through the chrómatic scale
as well.
I will not list EVERY possible permutation here,just enough to kéep everybody
honest!
Ch rom atic maj or tri a d s a lte rnati ng

Chromatic major triads reversed

Chromatic major triads l st inversion

 125

Chromatic major triads l st inversion in 4's

Chromatic major trÌads 2nd inversion alternating

Chromatic major triads 2nd inversion reversed

lf \E-\t'
F
126

Chromatic major triads 2nd ìnversion 4 note groups alternating

Chromatic minor triads reversed alternating

Chromatic minor trÌads broken 4's

 127

Chromatic minor triads I st inversion reversed

Chromatic minor triads l st inversion 4's

Chromatic minor triads 2nd inversion reversed

128

Chromatic minor triads 2nd inversion 4 note groups alternating

This shot was snapped by drummer Al Foster at the "Man With The Horn" sessions in CBS Studios, earty I 9gl .
ttl 129

t CH ROMATIC QUARTAL TRIADS

t
t The quartal triads have a multitude of uses throughout the chromatic scale. So let's make sure we
t have them solidly embedded in our muscle memory!

t Ch ro m ati c qu a rtal tri ad s

t
I
I
T
a
t
a
a
a
a
t Ch ro m ati c qua rta I tri a d s reversed

i
t
a
a
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ll
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t ati c qu a rta I t ri ad s a ltern ati n g
t
Ch ro m

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ll
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F
Chromatic quartal triads 1 st inversion reversed

Chromatic quartaltiads l st inversion 4 note groups alternating

Chromatic quartal triads 2nd inversion

5r
rt 131

rt chromatic quartaltriads 2nd inversion 4 note groups

-
a
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rl
r'
T
r
-
t
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T
t
a Chromatic quartal triads (tritone-fourth)
f
rt
a
i
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rf
a
a
rt
t Chromatic quartal triads (tritone-fourth) reversed

t
rl
T
a
a
rl
rl
a
a
a
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rr
a
)
F
132

CHROMATICDIMINISHEDTRIADS
And,let's not forget our little diminished friends....
:
Ch romatic di mi nished triads

Chromatic diminished triads I st inversion

I
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b
b 133

:
t Chromatic diminished triads 2nd inversion reversed
I
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:r
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t
I The chromatic augmented triads are of particular interest because they comprise a twelve-tone
I sequence...a subject we will get into shortly.
t
I Ch ro mati c au g m e nted tri a d s altern ati n g

I
L
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D
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F

134

4-note segments of the pentatonic scale are also very handy bits
that the moder n jazzsoloist can
P'l t9 good use by moving them through the chromatic scile. rrp"iirrr/guital. plry"rs!These
little 4-note"boxes"can beturned arouÀd every which way. But caution:
uie them wisely!
Ch romati c pe ntato n ic b it

-cHRoMATlcPENTAToNlcBlTs-

Chromatic pentatonic bit reversed

Chromatic pentatonic bit turned around every which way

 135

And while we are on the subject of pentatonic bits, you might also try:

Chromatic minor pentatonic bit (reversed descending)

Chromatic major pentatonic bit

Or this lightning-fast passage (homage to Mike Brecker):

Chromatic pentatonic 6

llr\F -\t' "

.r:.i , ì,i ìr?,{í{"àii:;:,

 (
136
(

CHROMATTC 7th CHORD STUDTES (

(
And, of course, there are all the 4-note chord forms that can be run chromatically
as well, in all
their inversions and permutations if you have the patience for it! Here are just a few examples: I
(
Chromatic major 7th chords
I

- - (

I
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Chromatic major 7th chords alternating
I
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Chromatic minor 7th chords (also a pentatonic bit)
I
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t
Chromatic minor 7th chords (also a pentatonic bit) reversed descending

Chromatic dominant 7th chords I st inversion

Chromatic dominant 7th(b5) chords

r
138

Chromatic major 7th(#5) chords alternating

Chromatic diminished 7th chords (reversed descending)

 139

make up a 12-tone pattern'

The chromatic diminished 7th chords in the previous exercise also
,,12-tone,,means that allof the notes in the c'hromatic scale are played before,any of them.are .
patterns which give insight into
repeated.There are severalvery interesting-ways.to-ma.ke 12-tone
pattern can be made
the mathematical nature of the structure ót rúti.. For instance, a 12-tone
from the 3 diminished 7th chords:
-cHRoMATlcl2.ToNEsTUDlEs

Or the 4 augmented triads:

Or the circle of 4ths and 5ths

(up a 4th, down a 5th and/or vice versa ad infinitum):

or the combination of the two 6-note whole tone scales

(each one of which contains 2 augmented triads):

you can see that there is an almost endless array of 12-tone patterns and.permutations possible
good use by the modern)azzsolo-
by using the above combinations. Some of them can be put to
ist. others, not so much. But the 12-tone concept can open the
door to a lot of cool interval com-
binations that one will not be able to find in any other scale but the chromatic!
140

1 2-TONE INTERVAL STUDIES

Minor 3rds in whole steps

Minor 3rds in whole steps alternating

4ths in whole steps alternating

5ths in whole steps

+*,s.ffi..:
 141

Sths in whole steps alternating

Major 6ths in whole steps

Major 6ths in whole steps alternating

Major Tths in whole steps

Major Tths in whole steps alternating

l}\E-\'\
142

lf you look at the last group of interval studies, you will see that the
bottom notes of each interval make up
one whole tone scale, and the top notes make up the other. so if you continue playing
them up the whole
tone ladder, you get a 12-tone group. Moving now to augmented triads, there are
many ways to play
them:

Augmented triads in minor 3rds

-l2.ToNETRlADsTUDlEs-

Augmented triads in minor 3rds reversed

Augmented triads in minor 3rds alternating

.23

Augmented triads in minor 3rds broken (in 4)

 143

The spread augmented voicing 12-tone pattern is also nice:

Augmented triads spread voicing in minor 3rds

But because of the symmetricalqualities of the augmented chords,you can do all kinds of
things and still keep it a 12-tone pattern:

Augmented triads up a minor 3rd, down a half step, reversed

You can also play them in 4ths:

Augmented triads in 4ths, reversed descending

Or spread them out in 4ths:

Augmented triads spread voicing in 4ths

;i.i ;.: l:rr,r.:r.,,ri*i;'ìi:iti;i;r*!:,,1.!#{&,t*;:i.,r;,.

144

12-TONE 7th CHORD STUDIES

lnterestingly, just as 4 augmented triads in minor 3rds or 4ths make a 12-tone pattern, so do 3 diminished
7th chords in major 2nds,3rds,4ths or 5ths!This makes for a larqe amount of 12-tone melodic material.
Here are some examples:

Diminished 7th chords in whole steps (alternating on descent)

Diminished 7th chords in whole steps broken and reversed

Diminished 7th chords spread voicing in whole steps broken (tritones a major 6th apart)
5
t 145

I Diminished 7th chords spread voicing in whole steps broken (major 6ths a tritone oport)
I
a
I
I
I
I
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I
a
I
I iust as the dimTth chords ascending in whole steps are an inversion of the same chords descending
chromatically, when they go up in major 3rds they are an inversion of the same chords ASCENDING
I chromatically!
I Diminished 7th chords in major 3rds (reversed descending)
It
I
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I
a
I Diminished 7th chords spread voicing in major 3rds broken and reversed

t
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I When you play them in 4ths (as in whole steps), you can hear those dominant 7th chords
I resolving chromatically downward (or in 4ths of course):
I Diminished 7th chords in 4ths (reversed descending)
I
t
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)
146

Diminished 7th chords in 4ths broken

Diminished 7th chords in 4ths broken and reversed

Diminished 7th chords a 5th apart (broken spreod voicing) in whole steps

Lrrhlb-,t,t-
 147

: 12-TONE CIRCLE OF FOURTHS & FIFTHS STUDIES :

You can see that there are a ton of possible diminished 12-tone patterns... more than enough to satisfy the
melodic cravings of even the most demanding modern jazz soloist! But now we turn our attention to the
circle of 4ths and 5ths.These next 2 examples will be written as repeats:
lJp two 4ths, down a 5th (down two 4ths, up a 5th descending)

Up two 5ths,down two 4ths (down two sths, up two 4ths descending)

You can make endless circles of 4ths and 5ths. And the intervals themselves connect to each other so
well, you almost don't notice that you are playing a 12-tone chromatic pattern! Check out the cool
5-note pattern that descends chromatically on this one:

4ths and 5ths (you figure it out!)

i,tl i,,,;, :,::.,.r :;i.";.,".,ii:iÈ**rl;r,

T
148

5ths and 4ths chromatically ascending 7-note group

This one is a palindrome (the same backwards and forwards).lt starts its retrograde motion
at the high D,3rd note of bar 8.

Three 4ths up,two Sths down (three 4ths down,two sths up descending)
5
D 149

t : DISPLACED CHROMATIC SCALE STUDIES :

n
t Another way to make a wild sounding 12-tone sequence is to simply play the chromatic scale, but displac-
ing the notes by an octave.This gives you a combination of bgths and major Tths:
:
Di spl aced ch rom atic sca I e
:
I
:
t
:
I
t
t Or you can always add that odd half step:

: Di sp I o ced ch ro mati c scale alter n ati n g

t
t
I
t
D
t
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I This is one of my personal favorites.lt is based on a continually descending chromatic scale:

I Di spl aced ch rom ati c scale desce nd i n g

I
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t
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I You can also vary the number of straight chromatic notes between jumps:

t Displaced chromatic scale descending (2 half steps)

t
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Ip
l-
150

And you can make a 12-tone group by simply taking segments of the
chromatic scale and breaking them
up into different sized groups:

Chromatic scale alternating 4 note groups

Chromatic scale alternating 3 note groups

I
You can then change the order of the notes within those groups. Remember the major 2nds that began I
the chromatic section?
I
Groups of 2 chromatic major 2nds a major 3rd apart
I
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ÉD
trl 151
Lr
tt
t
Groups of 2 chromatic major 2nds alternating a major 3rd apart

tr
tr
L.
Lr
tr
L.
tr
Lr
tr
Lr
tr That should be enough 12-tone material for our present purposes. Although I am
sure you
Lr can see there is PLENTY more availablelThe modern jazz soloist is always searching
for new
tr licks to add to his repertoire, and the chromatic ocean is a good place to fishl
are on the subject of major 2nds again, these little segments of the whole
*"
And i,rhil"
tone scale make
Lr very nifty chromatic riffs:

lt Chromatic 3 note whole tone scale segments alternating

F
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152

Chromatic 4-note whole tone scale segments alternating

This, then, is
the essence of making melodic materials from the chromatic scale: pick a note group,
and
move it around symmetrically in any interval distance that you choose.lnvert,
rotate, reverse, and/or alter-
nate the notes in your note 9roup. Move it around again.There are no
rules, no right and wrong;",";.il"
only thing that counts is the musicality of your choiCes.

4-note group (BCEF) in whole steps

Reversed (FECB) in whole steps

I
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5
lr 153

t
t Reversed and inverted (CBFE) in whole steps

:
!
t
a
t
t Rotated (FBCE) in whole steps
t
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t Rotated and reversed (BFEC) in whole steps
l
t
:
:
:
a
t
T
t I hope and believe that the exercises in this boo( if studied correctly,will improve the overall musicianship
and expand the improvisational abilities of anyone aspiring to be a better modern jazz soloist. Don't forget:
a these are just the raw materials.The inspiration, the creativity, and (let us not forget) the HOMEWORK(!) are
I up to you.We will finish with just a few more little ideas for riffs that are emphatically chromatic!

t Major 7(b5) chords spread voicing in whole steps (alternoting on descent)

:
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r
154

l3th chords w/chromatic approach from (way!) above, in whole steps

Major Tths a tritone oport,alternating in major 3rds

Finally, a little phrase to meditate on, containing all the intervals in sequence:

I nte rva I s expa n d i n g an d co nt racti n g ch ro m atica t ty

I played the

lnauguration on
Jan.20, 1989, with
the Bob Hardwick
Society Orchestra.
The President
personally auto-
graphed one of these
for me.lt hangs on
my wallto this day.
Not to imply that I
would have voted
for that elitist old
Republican S.O.B.,
or his kid either!
b
;r 155

t Appendix
:
t Another good source of melodic material is to take a three or four note group and play it up and
down your instrument as an arpeggio, then break it down into sections in 3's and 4's. (You will want to
: transpose these!)
t
I 3 octave pentatonic bit

:
t
t 3 octave pentatonic bit in triplets

t
T
l
t
t
t
: 3 octave slightly spread pentatonic bit
t
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I
I 3 octave slightly spread pentatonic bit played in 4's
I
I
I
t
t
rt
I
I And don't forget,you can take any one of these little groups and move them around in any interval dis-
tances that you might find aesthetically satisfying!
I
I Slightly spread pentatonic bit in minor 3rds

t
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F
156

slightly spread pentatonic bit in whore steps (reversed descending)

slightly spread pentatonic bit in r -4-5 progression (r -5-4 descending)

The possibilities realfy are never_endingl

Quartal triads r st inversion ascending in major 3rds, descending

in 4ths

4th a half step apart I

(B-E, C-F) arpeggio descending I /2 step higher
I

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4th a half step opart (B-E,C-F) arpeggio in 4,s
I
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{
{
F 157
F
T Another very handy melodic device is what I call the "pivot'jThe soloist simply pivots off one
lr note or group of notes to the other notes of the scale... whichever one he happens to be
b playing at the time!The notes can go up from the pivot:
b
II
b
tr
l.L
I
I

It
p Or down:
t Pivoting down from C

F
p
b
b The pivot is useful through the modes as well. Here is an example in Dorian mode with a
b 2-note lead-in (C-D)
b Pivoting from C-D in Dorian mode
t
b
b
t
t
b
b
b Pivoting off a 3-note group is a little reminiscent of Bach!
3
t Pivoting from C-B-C up and down

3
3
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p
3
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158

Of course, you can also pivot through the other

scales:

Whole tone pivot

Diminished pivot

Chromatìc pivot

And the pivot is a good way to outline different

chords as well:

C major F minor

- C minor D dom.Tth

- - G dom.Tth
rb 159

b
t I want to say a few words here about one of the most valuable of all materials for the modern
jazz soloist:the melodic minor scale. I did not think it necessary to devote an entire section to

I it earlier because it is so similar to the major scale; C melodic minor,for example, is simply a
C major scale with a flat 3rd.
l
t C melodic minor

t
I
I Therefore, the melodic minor scales can be practiced in exactly the same way as the diatonic scales,
through all the same scale, interval and note group patterns that are found on pages 1-34.Go over them in
:
I all 1 2 keys, making sure, of course, to flat the 3rdl

t C melodic minor thirds alternating, etc. etc. etc.

b
I
i
I
!-- The 7th chord extensions of the melodic minor scale are interesting:

I Cufinrî 0u7 ghyf úst ú q1 fly?Úst

i
I
t
I But the melodic minor scale is much more than the scale of choice for soloing on the minor (major 7th)
I chord and its upper extension, the major 7th(#5).Two of its most unique and valuable qualities ire ,e-
t vealed in its fourth mode (the lydian dominant scale) and its seventh mode (known in the jazz world as the
altered scale)!
. lydian dominant (F7 with 9,#1 l, and t 3)
I F B altered (87 with flat and sharp 9s and 5s)

I
i
I
I 5o whenever you see a dominant 7th chord with a NATURAL 9th and/or 13th and you want to add the
I color of the #1 1 (#4), the lydian dominant mode of the melodic minor scale is for you! When the dominant
I 7th chord contains any of the combinations of b5, #5, b9 and/or #9 (but no 1 3thl), then it is the altered

t scale, the mode of the melodic minor scale starting from the seventh note, that becomes the preferred
vehicle of expression for the discriminating modern jazz soloist!
I;
I 87(+9,+5) (or F7#11)

t
)
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160

I would also like to offer a few ideas here on a VERY big subject: motif
development. A,,motif,,
is defined in the dictionary as: "a theme that is elaboríted ón in a piece
of music,,or "a short suc-
cession of notes producing a single impression; a brief melodic or'rfrytfrrif
forrrta out of which
longer passages are develòped,,.

lt-'I-ÎltJ"tely importantfor the modern jazzsoloist to be aware of various ways to MAKE

MOTIFS out of the various melodic mateiials presented here and DEVELoP THEMlThere
are
so many ways to do this, and the limits are bounded only by your
own creativity!

For example,let us take one of the simplest of possible motifs: a broken C major
triad:

lf we,use.that rhythm (quarter note-two eighth notes-two beat

rest) and that melody, we can
develop it up the scale:

we can use the same rhythm, the same scale, but with a one beat rest:

or if we go back to the first phrase, but choose not to stay within that particular
key, we can take it
through the circle of 4ths:

S.till using the same basic phrase, we can vary the rhythms, the
order of the notes, and the interval
distance between them any way we like:

I
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a
 161
p
!b We can reverse the rhythms and note orders as we play with the space between phrases:

I
l

b
t
I

:
Or we can make it a rhythmic motif ONLY and change the notes any which way, while the rhythm
b
t
j
remains the same:

!
i-

b
i

!
i_

I
t
I

So, motifs can be melodic and/or rhythmic figures.They can be thematic"nuggets'jthe bas.ic musi-
caí reference points that hold a solotogether.They can be connected by various other melodic
I
i materials, but they will stand out in the overall scheme:
:
!
:
I
:
t
!
I
:
:
I
:
a -beto develop motifs.They
There are endless ways do not always have to be repeated exactly.
upon...as long as you do it in a
I Sometimes they can inverted, extended,
up to you!
extrapolated

r- musical manner,the choices are

a - EE?EAT U? W/LEAA IN . PENînî0f,llC OEVEL0PMENÎ SAIY' T0 f{g' Mlflt -

T
r
a ?AEASÉ 0w6taE
T
I
i
a Check out CD TRACK #1 5 and #1 6 here.
rl
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p
r
162

The next book in this series will be entitled "Harmonic possibilities

of the lmprovised Line.,,ln it
I look forward to exploring the melodic possibilities
available to the modern jazz soioist through
ration of harmonic materiars. r reave you now with the explo-
one smail exampre:
Harmonic etude (playing with circle of 4ths)