Art Tatum and Thelonious Monk are two pianists who used the whole-tone scale extensively and creatively. For example, the C whole tone scale has the notes that are in the C and D augmented triads. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. But that chord also resolves up a whole step nicely: C7♭5 to D and G♭7♭5 to A♭. ~Come study with me at KU and get your degree at the same time~, ~Purchase my book: Modern Jazz Vocabulary Vol. Once you know it in two keys, you can use it in all twelve keys. 5) I also included the only E♭9♭5♭13 chord which is from the D♭ WT scale. As a result of those chords equalling each other, there are 2 repeated shapes for 9♭5 guitar chord shapes that are shown above for the 9#5 shapes. Both augmented and major flat 5 chords (dominant 7 flat 5 chord or just 7♭5) can be built from the notes of the whole tone scale. Most people think of using the whole tone scale for augmented chords, but you can build 7♭5 chords from the whole tone scale as well. Scale 1367: Leading Whole-Tone Inverse: Scale 1361: Bolitonic: Scale 1363: Gygimic: Scale 1369: Boptimic: Scale 1373: Storian: Scale 1349: Tholitonic: Scale 1357: Takemitsu Linea Mode 2: Scale 1381: Padimic: Scale 1397: Major Locrian: Scale 1301: Koditonic: Scale 1333: Lyptimic: Scale 1429: Bythimic: Scale 1493: Lydian Minor: Scale 1109: Kataditonic: Scale 1237: Salimic: Scale 1621: Scriabin's … Maybe classical music isn’t really your thing. The second and third exercises are the whole tone scale in “diatonic” triads (I put “diatonic” in quotations because the whole tone scale isn’t a diatonic scale, but the concept for the purpose of practicing is the same). The first chord of the bridge (bar 17 of the form) is especially striking because of this, and it’s the perfect place to use the whole tone scale. Thus, the whole-tone scale comprises six degrees per octave. Berg (1928), Sieben Fruhe Lieder, Wien, Universal Edition, Harrison, Max (1960) "Gil Evans: the Arranger as re-composer", article in, Wayne Shorter Jazz Play Along, Milwaukee,Hal Leonard, "Trinkle-Tinkle" from Cardenas, S. and Sickler, D. Professor of Music, Emeritus, Tufts University. How much color or dissonance do you want to have within your solo? Corrections? C9♭5♭13 = C–E–G♭–B♭–D–A♭ = 1–3–♭5–♭7–9–♭13. Chris K. is a saxophone player based in New York City. [15], Some early instances of the use of the scale in jazz writing can be found in Bix Beiderbecke's "In a Mist" (1928) and Don Redman’s "Chant of the Weed" (1931). The Whole Tone Scale Learn how the Whole Tone Scale is built and how to use it In this tutorial we're going to learn an uncommon type of guitar scale , the Whole-tone scale, that, as the name suggests, is composed of only whole-tones. Sting: 7♭5 in Seven Days In my last post, I talked about the diminished scale and how its possibilities of manipulation were seemingly endless to me. Call now 877-687-4524 or, © Copyright 2001 - 2020 Musika All Rights Reserved, Singing Scales: 4 Scales Every Singer Should Know,,,,, ), Béla Bartók also uses whole-tone scales in his fifth string quartet. Every note in the whole tone scale can act as the tonic of the scale. Also, since there are no half steps, there is no “leading tone” sound. The whole tone scale is comprised completely of whole steps, like the chromatic scale is comprised completely of half steps. Track 1. 16 7#11 & 7b5b9 Guitar Chord Shapes (G & Db), 8 Open D♭7♭5#9 & 3 Closed 7♭5#9 Guitar Chord Voicings, What Is A Guitar Ghost Note? There are 2 base chords: the augmented triad and the chord that has a major 3rd and diminished fifth. Singing all tensions,, 122: Major Melody – Triplets grouped in 5. Or you could say the 9#5 equals a 9♭5 on the ♭7. You can also look at the scale as two augmented triads separated by a whole tone. "The Evolution of Twelve-Note Music", p.56. We use cookies to ensure that we give you the best experience on our website. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. The note F in C major has a perfect 5th C and a diminished 5th B (usually notated as #11). In Western art music, the whole-tone scale … For example, try an Eaug as x-7-6-5-5-x and let it ring out for the remainder of the measure. C whole tone scale = C-D-E-F#-G#-A#; Every note in the whole tone scale can act as the tonic of the scale. 7#5 = augmented 7th = 1–3–#5–♭7 7♭5 chords are unique because their 2nd inversion equals another 7♭5 chord built on the ♭5, e.g. 1~, ~Purchase my book: Modern Jazz Vocabulary Vol. 4) The closed 9♭5♭13 closed chord is difficult to hold but it sounds amazing! The only other scale like this is the chromatic scale. I chose E for the augmented 7ths and 7♭5’s as a substitute for E7 chords for songs in the key of A major or A minor. Take a quick listen to Stevie Wonder’s “You Are the Sunshine of My Life”. You should practice the whole tone scale full range, in thirds, in triads, etc. Hector came to our attention via one of our JGT contributors – thanks John Stowell! Ab (or G#): Ab7♭5, Ab9♭5, A♭9♭5♭13 I like to notate them as: + or aug = augmented triad = 1–3–#5 The key is using your ear. The twelve bar blues progression in its simplest form is comprised of all dominant chords. ~ quote by Kernix. Once you have worked out any of these whole tone scales, put on a backing track, starting with 7th chords or 7#5 chords before moving on to ii-V-I’s and other progressions, and practice soloing over those backing tracks. Think of it like how a gymnast has to stick their final landing after performing their routine. The best way to learn and retain information is to learn the process of learning that information. 2) and “Cloches à travers les feuilles” (1907; Images, 2nd series, No. A prominent example of the whole-tone scale that made its way into pop music are bars three and four of the opening of Stevie Wonder's 1972 song "You Are the Sunshine of My Life".[21]. #2) Because of the root, 3rd & ♭7 of EVERy chord built from the scale, you can add tension using the scale over dominant 7th chords – 7, 9 & 7#11 chords would be best. The result of this sound (or lack of sound) is hard to put into words. Try sliding a  7♭5 chord up or down 6 frets and it’s the same chord with the same notes just with a different note in the bass. My favorite 7♭5 shapes are #1 & 3. You only need to look at one note because every other note builds the same chords. This simple melody ascends using augmented triads grouped in threes and descends using chromatic passing tones. I talked about how learning about the diminished scale had a pretty big impact on my musical life.