The Jazz Sax & Improvisation Blog of Saxophonist Bobby Stern

Augmentation Station: An Augmented Scale Sequence

9/27/2024

Augmentation Station:
An Augmented Scale Sequence

Here's a nifty little exercise, featuring the still somewhat mysterious and enigmatic Augmented Scale.

The Augmented Scale is a six-note symmetrical scale with its interval scheme alternating between augmented and minor 2nds before repeating at the octave (F-G#-A-C-Db-E in F). This interval setup can be flipped to form what's known as the "Inverted Augmented Scale" (F-Gb-A-Bb-C#-D), meaning that 2 different scales can be generated from the same note.

Because the Augmented Triad splits the 12-tone chromatic scale into three equal parts, there are really only four unique transpositions of the Augmented Scale.

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Messiaen Around With Mode 3 (Super Augmented)

6/29/2024

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Messiaen Around with Mode 3 (Super Augmented)

If the number of online videos and articles on the subject is any indication, Mode 3 of celebrated French composer Olivier Messiaen's series of "Modes of Limited Transposition" seems to have seen a recent surge in popularity among improvisers.

A while back, I posted an article detailing my personal discovery of this nine-tone scale by stringing together a trio of 013 trichords, a Major 3rd apart. I had no idea what it was called - nor of Messiaen's modes, for that matter.

Since it was also apparent that it consisted of a pair of overlapping Augmented scales - glued together by a common Augmented triad - I wound up calling it "Super Augmented".

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'Ning's the Thing! Monk's "Rhythm-a-Ning: Self-Transcription

3/26/2021

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Toot My Own Horn Dept.
'Ning's the Thing! Thelonious Monk's "Rhythm-a-Ning" :
Another Self-Transcription

The vehicle featured in is month's forage into musical self-discovery is none other than Thelonious Monk's “Rhythm-a-Ning”.

As with the two most recent posts (“Bemsha Swing” & “Bye-Ya”), the play-along used here is from Hal Leonard Jazz Play-Along Vol. 91, “Thelonious Monk Favorites – 10 Classic Tunes”, which features the heavyweight rhythm section of (the late, great) pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well as Monk's former drummer (the great, late), Ben Riley. You can't get closer to the real deal than this.

As you might know, “Rhythm-a-Ning” is Monk's best known “Rhythm Changes” composition - the chord progression of which is based on George Gershwin's 1930 32-bar, AABA standard “I Got Rhythm”, from which countless tunes have been derived and recorded by countless artists of countless genres.

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0 1 3 Calling...Super Augmented!

11/29/2019

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0 1 3 Calling...Super Augmented!
An Introduction to the 013 Trichord & Super Augmented Scale

The scale in the title of this latest Shortbook™ was originally referred to as "Super Augmented" in a previous blog post from several years ago.

Among other names, it's been identified primarily as the inverse of Messaen's 3rd mode of limited transposition, as well as "Tcherepnin Nonatonic Mode 1", "Genus Chromaticum", and "Augmented Nine".

I'll still go with "Super Augmented", however, since among other aspects of its scalar construction, it contains two overlapping 6-note Augmented Scales, linked by a common Augmented triad.

"Pretty super!", I'd say. It also contains a trio of 013 Trichords, a Major 3rd apart - forming a 9-note (nonetonic) scale.

"But..what", you ask "is an 013 Trichord?" Or - better yet - what is a trichord, period?

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Hexatonic Triad Pairs II - Mixed Pairs

4/23/2019

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Hexatonic Triad Pairs II – Mixed Pairs

“Hexatonic Triad Pairs II – Mixed Pairs” is the second volume of exercises and sequences aimed at the improvising musician, exploring the subject and usage of triad pairs. It logically follows the concepts introduced in Vol. I, which focused exclusively on pairs of Maj & min triads derived from the Major Scale system.

Because of the strong tonal gravity of the triad itself, the use of triad pairs creates an alternate, intervallic option to the more linear method of line creation.

The formatting and layout of "Hexatonic Triad Pairs II - Mixed Pairs" is identical to Vol. I. However, the characters and scenery have changed, which alters the story line here considerably, meaning that the exercises, sequences and shapes from the previous volume have been altered to fit the construction of those in this volume.

The 4 triad pair / hexatonic configurations examined here in Vol. II - each derived from a different scale system - are:

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Shortbook of the Month: RETROSTEPS - The Cycle of ASCENDING Major 3rds

8/22/2017

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Shortbook™ of the Month: RETROSTEPS - The Cycle of ASCENDING Major 3rds

“RETROSTEPS – The Cycle of ASCENDING Major 3rds” is an expression of some of the relationships and subsequent ideas I've stumbled upon while coming to grips - and having fun - with the legendary John Coltrane's so called “Giant Steps Changes” (aka “Coltrane Changegs”), and known technically as the “Cycle of DESCENDING Major 3rds”.

Coltrane's original intention for this cycle was as a harmonic substitution device that would take him “out of the ordinary path”, meaning the common ii-V7 cadences that most standards and jazz tunes were (and are) based on.

Retrosteps is a further variation of the Major 3rd cycle – the “Cycle of ASCENDING Major 3rds” - the directional description in caps being of primary importance.

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Shortbook of the Month: Augmented Scale Reality

7/26/2017

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Shortbook™ of the Month:
Augmented Scale Reality

"Augmented Scale Reality", this months Shortbook™, is - at 100 pages on the nose - starting to make these so called "short books" seem not so short after all.

Considering that the previous Shortbook™, "Changing Trane's" was also 100+ pp - could this possibly mean more bang for the buck?

Judging from the quality and quantity of the material in this book, I'd say that's a reality!

So here's a taste of "Reality" by way of the book's introduction, including several notation and audio examples:

The six note (hexatonic) symmetrical “Augmented Scale” has been, historically speaking, somewhat of an enigma to practitioners of modern improvised music. While it has shown up in the works of several noted late 19th, as well as early 20th century classical composers, noted examples of its usage in jazz have been limited to but a handful of the most common “cliches”.

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Changing 'Trane's - The Cycle of Descending Major 3rds

5/23/2017

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Shortbook™ of the Month: Changing 'Trane's - The Cycle of Descending Major 3rds

If you are reading this, it probably means that you are, to some degree, already familiar with the short harmonic progression that has come to be known alternately as "Coltrane Changes" or "Giant Steps Changes".

Among self proclaimed theory nerds (such as yours truly), it's also known by its more accurate description, namely "The Cycle of Descending Major Thirds", which is in fact, exactly what it claims to be.

Made famous by legendary saxophonist and innovator John Coltrane, he crafted the cycle into a number of his own well known compositions, which were all recorded between March, 1959 and late October, 1960 on the Atlantic label. One of the earliest and most influential among them being, of course, “Giant Steps”.

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For Your High-Ness: An Etude on "Someday My Prince Will Come"

9/20/2016

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For Your High-Ness:
An Etude on "Someday My Prince Will Come"

"Heah come da Prince!"

This is yet another solo style etude, which I this time fashioned from the chord changes of the popular Standard American Song, "Someday My Prince Will Come".

This tune has been in my repertoire for a while, but I started to take a closer look at it recently, for reasons I'll get into.

The music for "Someday My Prince Will Come" was composed and scored by Frank Churchill back in 1937 for the first ever full length animated Disney movie, "Snow White and the Seven Dwarfs".

I don't think I've ever actually seen the whole movie myself, but I think we all grew up knowing about little Ms. White and her seven vertically challenged buddies (Sleepy, Creepy, Peepee, Goofy, Doofy, Humpty & Dumpty....I think - off the top of my head; no?!?!?).

In any case, Someday My Prince has been a staple for improvising musicians and singers and has been recorded often - the definitive version possibly being Miles Davis' 1961 recording on Columbia (featuring tenor solos by both Hank Mobley and John Coltrane) from the album of the same name.

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A Plus in Your Scale Arsenal - Augmented Scale ii-V7-I

9/15/2015

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A Plus in Your Scale Arsenal: Augmented Scale ii-V7-I

This is the latest post in the Augmented Scale category, this time with an exercise that negotiates a common ii-V7-I with a single augmented scale, which is:

A six note scale (hexatonic), formed by:

2 augmented triads a minor third apart (C-E-G# & Eb-G-B = C-Eb-E-G-Ab-B)

2 augmented triads a half step apart (C-E-G# & Db-F-A =
C-Db-E-F-G#-A)

A Major triad and a minor triad a Maj 3rd below (C-E-G & Ab-B-Eb = C-Eb-E-G-Ab-B)

A minor triad and a Major triad a Maj 3rd above (C-Eb-G & E-G#-B = C-Eb-E-G-Ab-B)

3 min 2nds a Maj 3rd apart (C-Db, E-F, G#-A)

3 min 3rds a Maj 3rd apart (C-Eb, E-G, Ab-B)

There are also Perfect 4ths and 5ths, as well as Maj & min 6ths, plus Maj 7ths included.

Check 'em out.

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Signs of Augmentia - Augmented Scale Major / Minor Triad Pairs

1/8/2015

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Signs of Augmentia - Augmented Scale
Major / Minor Triad Pairs

Signs of Augmentia++++

While we're on the subject of symmetrical scales (at least we were the last time I posted something), let's check into some of the possibilities which another, albeit lesser discussed, symmetrical configuration, commonly known as the "Augmented Scale", has to offer.

The Augmented Scale is a 6 note (hexatonic) scale made up of three minor 2nds, spaced a Major third apart:

C-Db, E-F, G#-A

Or, the same exact scale can be viewed as consisting of three minor 3rds (or augmented 2nds), spaced a Major third apart:

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See Myna Fuddah Boids! - C Minor Blues - The Last Four

10/22/2014

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Tweet 'Dis! See Myna Fuddah Boids!
C Minor Blues - The Last Four

"See Myna Blues" Bird

Hello "Bird" Lovers!

Actually, the subject of this post is neither the bird, the man, nor his "Ornithology".

Rather, based on the positive reaction to recent posts (here & here), which take 8 bar sections of tunes for study and analysis, this one focuses on the last 4 measures of a typical "Mr. PC" type C Minor Blues (bVI7-V7-i), for which I've scribbled out a dozen (12, count 'em) 4 bar mini-etudes.

A good precursor to this post, and where you'll find the basic premise for this exercise, would be this post from 2013, which deals with the same bVI7-V7-i movement, with the accompanying exercises focusing on the Melodic Minor derived Pentatonic b6 mode.

It's probably a good idea to check that one out, as there isn't much to add here in the way of a basic harmonic breakdown.

The dozen lines presented here are a bit looser in their scale choices, although Melodic Minor still predominates.

After all, it is supposed to be a Minor Blues, right? ...or a piece of one, anyway.

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Korner Karnataka #5 - Take A Ride on the "South Indian Line"

6/27/2014

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All Aboard!
Take A Ride on the "South Indian Line"

"People get ready, there's a train a-comin''. Don't need no ticket, just get on board " - Curtis Mayfield

(...and If you actually get to where you're goin' in one piece. you'd better thank the Lord!)

The exercise here is a page from my personal workbook (as is most of the stuff I post, I guess).

In order to kill two birds with one stone, I thought I'd create` these lines for myself as a method to get closer and more personal with this odd meter Carnatic composition "South Indian Line", and post them here, to share with my fellow masochists.

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Add Some Augmented Scale Patterns to "+" Up Your Day!

3/27/2014

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The Augmented Scale is a 6 note, symmetrical scale, the tonalities of which are a result of the octave being divided into three equal parts.

Among it's other "pluses", this three headed beast can be a useful and effective device when improvising over a static or modal harmonic situation, shifting the tonality momentarily a Maj. 3rd above or below the home key.

As has been described previously in these pages, the Augmented Scale can be thought of (using the first 2 lines of the exercise as an example) as:

2 Augmented triads, a minor third apart (F+ & Ab+) or, enharmonically, a half step apart (F+ & E+),
3 Major or 3 minor triads, a Maj 3rd apart (F, C# & A Major or minor triads).

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Ubop Chabang! - "The Steppes of Tiang" - Giant Steps Etude

11/22/2013

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Ubop Chabang & the Klukumops

Here's a hot bowl of fresh noodles in the form of a recipe I discovered on a recent "trip" to Tiang, a remote and peaceful place, somewhere over the rainbow, where "g's" become "t's" and vice versa.

Tiang has a musically rich and ancient cultural tradition, which is in evidence everywhere.

This particular composition was inspired by an archaic scale based on a six note row, which divides the octave into three equal parts, representing the sun, the moon and the stars., something which the people of Tiang have been given the opportunity to ponder endlessly throughout the ages.

The scale's inception is credited by historians to the legendary Tiangian musician and sage, Chun Culutran, who is considered a deity almost, and dates back to antiquity, approximately to the year 1959 BC (Before Computers).

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The Augmented Scale as Sub for Melodic Minor Harmony

4/26/2013

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The Augmented Scale is a symmetrical six note (hexatonic) scale.

It can best be described as being formed by two augmented triads a minor 3rd apart (C aug & Eb aug) or, with different inversions, a half step apart. (C aug & C# aug).

It can also be viewed as being made up of three Major (or minor) triads, a Major 3rd apart. From C, the resulting hexatonic scales would be:
C - Eb - E - G - G# - B (stepwise: -3, 1/2, -3, 1/2, -3), or C - C# - E - F - G# - A (1/2, -3, 1/2, -3, 1/2).

Since the Augmented Scale can have three tonal centers which divides the octave into three equal parts, this results in only 4 mutually exclusive Augmented Scales.

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Augmentation Station: An Augmented Scale Sequence

Messiaen Around With Mode 3 (Super Augmented)

'Ning's the Thing! Monk's "Rhythm-a-Ning: Self-Transcription

0 1 3 Calling...Super Augmented!

Hexatonic Triad Pairs II - Mixed Pairs

Shortbook of the Month: RETROSTEPS - The Cycle of ASCENDING Major 3rds

Shortbook of the Month: Augmented Scale Reality

Changing 'Trane's - The Cycle of Descending Major 3rds

For Your High-Ness: An Etude on "Someday My Prince Will Come"

For Your High-Ness:
An Etude on "Someday My Prince Will Come"

A Plus in Your Scale Arsenal - Augmented Scale ii-V7-I

A Plus in Your Scale Arsenal: Augmented Scale ii-V7-I

Signs of Augmentia - Augmented Scale Major / Minor Triad Pairs

Signs of Augmentia - Augmented Scale
Major / Minor Triad Pairs

See Myna Fuddah Boids! - C Minor Blues - The Last Four

Tweet 'Dis! See Myna Fuddah Boids!
C Minor Blues - The Last Four

Korner Karnataka #5 - Take A Ride on the "South Indian Line"

All Aboard!
Take A Ride on the "South Indian Line"

Add Some Augmented Scale Patterns to "+" Up Your Day!

Ubop Chabang! - "The Steppes of Tiang" - Giant Steps Etude

The Augmented Scale as Sub for Melodic Minor Harmony

Categories

Archives

For Your High-Ness:An Etude on "Someday My Prince Will Come"

A Plus in Your Scale Arsenal: Augmented Scale ii-V7-I

Signs of Augmentia - Augmented Scale Major / Minor Triad Pairs

Tweet 'Dis! See Myna Fuddah Boids! C Minor Blues - The Last Four

All Aboard! Take A Ride on the "South Indian Line"

Categories

Archives

For Your High-Ness:
An Etude on "Someday My Prince Will Come"

Signs of Augmentia - Augmented Scale
Major / Minor Triad Pairs

Tweet 'Dis! See Myna Fuddah Boids!
C Minor Blues - The Last Four

All Aboard!
Take A Ride on the "South Indian Line"