The Jazz Sax & Improvisation Blog of Saxophonist Bobby Stern - bobbysternjazz.com

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.

Directions & Connections - Alternating Triads in a Pair

1/26/2024

Directions & Connections - Alternating Triads in a Pair

An oft discussed technique, in these pages and elsewhere, is the practice of employing triad pairs as a device for creating improvised lines.

A triad pair can consist of any two triads of the same or different qualities, as long as there are no duplicate tones among them. This is most easily accomplished by taking adjacent triads from the same scale system.

In most cases, the first pair an improviser might come across contains two Major triads a whole step apart, which is derived from the 4th & 5th degrees of the Major Scale (F & G Maj triads in C Major). Alternating these 2 triads through their inversions creates, on its own, a decidedly Mixolydian flavor.

The subject of this post, which takes it a step further - adding harmonic and melodic tension - is the triad pair based on the 3rd & 4th scale steps of the Melodic Minor scale (Eb+ & F Maj in C Melodic Minor ).

Trichord 027 - A Fresh, New Old Piece of Musical Language

7/31/2020

Trichord 027 - A Fresh, New Old Piece of Musical Language

As I hinted in last month's post, a new book on the subject of the 027 Trichord, conceived with the improvising musician in mind, might soon be forthcoming.

Well, you can now stop holding your breath (you've got your mask on, right?!), 'cause here it is!

With the straightforward, no nonsense title "Trichord 027", this new volume features all of 111 pages of introductory to advanced exercises, sequences and melodic lines, based on combinations and permutations of this familiar, contemporary sound.

The close relationship of the 027 Trichord with both the interval of a Perfect 4th and the Pentatonic Scale is highlighted in this volume, as is its symmetry within a 12-Tone Row.

Oh-Two-Six (026) - An Improviser's Guide

2/27/2020

Oh-Two-Six (026)
An Improviser's Guide to Practical Usage of the 026 Trichord

Since the inception of the improvisational art form we know and love as “Jazz”, melodic and harmonic techniques have steadily expanded in all directions – in some cases even disappearing altogether.

Presently growing within the collective consciousness of many contemporary improvisers (guitarist Bruce Arnold and saxophonist John O'Gallagher lead the way), is the awareness and usage of the 12-tone techniques pioneered by the early 20th century European “serialist” composers – Berg, Webern & Schoenberg - being the most prominent among them.

The basic premise of this system is the construction of 12-tone rows – the 12 tones of the chromatic scale as equal entities, non-repeating and organized into different “pitch class sets”, or note groupings of varying lengths.

Your Daily Bread - 100% Whole Tone

5/29/2019

Your Daily Bread - "100% Whole Tone"

OK, let's put a bit o' butter on the subject, shall we?

This month's Shortbook™ "100% Whole Tone" explores some of the improvisational possibilities and applications of the somewhat ignored and under appreciated Whole Tone Scale.

The Whole Tone Scale, as you may know, is a symmetrical, hexatonic (6 note) scale in which the intervallic distance between each of its inherent tones is that of a Major 2nd, or whole tone. Its layout is palindromic, meaning that its interval makeup is the same ascending as it is descending, regardless of its starting note, or "root".

Because of it's lack of certain basic intervals derived from the natural overtone series, such as the perfect 4th & 5th, the Whole Tone Scale has a somewhat ethereal quality, but could be seen as being melodically and harmonically limited or even boring to some degree.

However, it might also be compared to the two Knights on a chessboard - unique, quirky and extremely effective when used properly - especially in tandem with each other.

Hexatonic Triad Pairs II - Mixed Pairs

4/23/2019

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:

Hexatonic Triad Pairs: Vol. 1 - Major Scale Pairs

3/21/2019

Hexatonic Triad Pairs: Vol. 1 - Major Scale Pairs

The concept and technique of Triad Pairs has been a tasty topic, the seeds of which have borne fruit for many an inquisitive improviser since they were first sown into the music's fertile vernacular in the late 1950's and early '60s, with more widespread usage coming somewhat later.

The term "Hexatonic Triad Pairs" is actually a redundant phrase, or something known as a "pleonasm". It is, however, accurately self-descriptive and rolls off the tongue quite easily.

A true triad pair - which is formed from 2 adjacent triads and therefore comprised of 6 non repeating notes - always results in a hexatonic (6 note) scale. On the other hand, a hexatonic scale, being any scale of 6 notes, doesn't always yield a triad pair.

Double Harmonic Major - An Ancient Futuristic Melodic Source

9/21/2018

Double Harmonic Major
An Ancient Futuristic Melodic Source

Throughout history, the scale known theoretically as Double Harmonic Major (aka Byzantine Scale, Melakarta #15, Ionian b2 b6), has been a prominent ingredient in numerous musical cultures around the world.

This scale (and its modes) is the Western equivalent of an early tone collection that is indigenous to Greece, Turkey and the Balkans, as well as North Africa & India, where in the south (Karnataka), it's the first scale (Melakarta) taught to young Carnatic music students.

Because of its unique interval make-up, consisting of four Augmented 2nds, as well as its resulting "Eastern" flavor (to Western ears, at least), it has remained a challenge to harmonize in the normal fashion, as many of the usual harmonic cadences and resolutions are not available or functional within its scale system. At the same time, it remains as a largely untapped source of inspiration and material for the improviser and composer willing to investigate and experiment.

Shortbook of the Month - And they called it "K A L I N D A J A"

2/21/2018

Shortbook™ of the Month:
...and they called it "Kalindaja"

The focus of this month's Shortbook™ features a beautiful, exotic (where is she?), and not all too unfamiliar sounding triad pair / hexatonic scale (or "pitch collection", as is the fashionable term), which can be said to be derived from several different sources - both theoretical & cultural.

From a Western point of view, it can be derived from the 5th mode of Harmonic Minor (or Major) while omitting the minor or Major 3rd, as the case may be, of its parent scale (in parenthesis, below).

As an example, the 5th mode of F Harmonic Min or Maj. = C - Db - E - F - G - (omit Ab or A) - Bb
This creates a hexatonic (6 note) scale.

The exact same tonal configuration is realized - as a triad pair - by coupling a Major triad with the minor triad one whole step below it (eg. C Maj & Bb min or C-E-G & Bb-Db-F).

From a Carnatic (South Indian) point of view, this janya raga or "derived scale" comes directly from the 14th Melakarta "Vakulabaranam", which is the Carnatic 7-note tonal equivalent of the Western 5th Mode of Harmonic Minor, as previously described.

Omitting the sixth scale degree, or "da", leaves us with our 6 note janya raga....and they called it Kalindaja (pronounced Ka - LIN - da - DSHA)...and therefore, so shall we.

Shortbook of the Month: Augmented Scale Reality

7/26/2017

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”.

8 Will Get You Six - A Diminished Scale Hexatonic

10/21/2016

8 Will Get You Six - A Diminished Scale Hexatonic

The 8 note (octatonic) diminished scale has been an essential and popular improvisational tool since at least the mid 1950's. Over dominant chords especially, it's been a common “go to” device for creating “inside / outside“ harmonic tension and resolution.

Because of its alternating whole step / half step (and vice versa) interval scheme, a symmetrical scale structure is formed, which divides the octave into 4 equal parts, spaced in minor thirds.

This symmetrical construction not only builds diminished triads and 7th chords on each of its scale steps, but forms, as well, a number of leaner, meaner 6 note permutations of the original 8 note scale, consisting of several combinations of Major and minor triads.

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

9/15/2015

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.

Three's a Pair! Pt. 2 - Melodic Minor Triad Pairs - Rhythm Changes Bridge

4/27/2015

Three's a Pair! - Part 2
Melodic Minor Triad Pairs - "Rhythm Changes" Bridge

Back on the subject of Triad Pairs in general and Melodic Minor derived triad pairs in particular, this previous post would be a good preliminary read, containing the basic premises for this post.

As mentioned in that article, the pair of adjacent triads which most captures the sound of Melodic Minor are the Major & augmented triads, built off of the 4th and 5th scale steps, respectively.

(In C Melodic Minor = F Maj.(F-A-C) & G aug. (G-B-Eb) triad pair).

However, the quality of the pure diatonic triad built on 5th step of Melodic Minor is not augmented, but Major - G Maj. = G-B-D, which is exactly the same in C Major.

So?.........

Signs of Augmentia - Augmented Scale Major / Minor Triad Pairs

1/8/2015

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:

Funkman's Delight #2 - Children of the Damned (Diminished Scale)!

12/18/2014

Funkman's Delight #2 - Children of the
Damned (Diminished Scale)!

Starring Cy O'Nara

The essential, most compelling element of the 8 note, symmetrical "Diminished Scale" is.........
it's symmetry!

Regardless of whether it starts with a whole or a half step, the beauty of this scale lies in its ability to be broken down into smaller pieces of three, four, five (pentatonic) or six note (hexatonic) cells, whereby these groupings can be combined and spaced at intervals, usually minor thirds or tritones, to create some very hip longer lines.

The potential downside to this method is that the results of pure symmetry could end up sounding somewhat mechanical or mathematical. but for the sake of exploration and experimentation, that may not necessarily be a bad thing; at least as a starting point.

Besides, a lot usually depends as much on "how" you play something, as it does "what" you play; doesn't it?

But that's something for another post. In the meantime.......

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

10/22/2014

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.

Deep Space b9 - Descending Tritone Minor Scale Shape

10/1/2014

Unidentified Descending Shape (UDS)
Landing Near You
Origin determined to be from the planet Tritonius Minorus in the Diminished Scale System, according to reports from Deep Space b9

Identified as Unidentified Descending Shape (UDS) by Deep Space b9

Don't jump out the window just yet...........!

Swap that tricorder for a trichord and check out this supplementary exercise based on my last post, which deals with a hexatonic scale comprised of two minor triads, a tritone apart (C- & F#-).

As this scale seemed to have been nameless, for lack of one better I dubbed it the "Tritone Minor Scale".

It's close resemblance to it's likewise Diminished Scale offshoot cousin, the more popularly known "Tritone Scale" (2 Major Triads, a tritone apart), confirms its DNA and keeps it in the family.

The descending shape used for this exercise is the same one used on a different scale in an earlier post, and is a hip way to let your fingers run through the intervallic construction of any scale, regardless of how many notes it contains.

Who Put the "Hex" on My Hexatonic?

9/24/2014

Who Put the "Hex" on My Hexatonic?
(Tritone Minor, That's Who!)

"Impression of Mr. Eerius N. Hedlace at the Piano''. Painting by Pho-Toh Ziap

Here's an interesting and useful hexatonic (6 tone) symmetrical configuration, which I came across recently:

C-Db-Eb F#-G-A

This scale is actually a derivative of the half tone / whole tone diminished scale, with the E - Bb tritone removed:

C-Db-Eb (E) F#-G-A (Bb)

In 12 tone set theory, it would be seen as a pair of 013 trichords spaced a tritone apart.

As a triad pair, it consists of 2 minor triads, a tritone apart: C-Eb-G / F#-A-C#

And, if you haven't already noticed, our new friend turns out to be the dark, mysterious, little known first cousin of what has become commonly known to improvisers as the "Tritone Scale", a likewise hexatonic formation; made up of 2 Major Triads a tritone apart (C-E-G / F#-A#-C#) and derived from the same diminished matrix.

As you will see and hear, there is a large qualitative difference between these two "relatives".

I haven't yet found any other names for an exact match to this scale (Slonimsky p.2 #6, no name. Several Carnatic Ragam come close, but no incense).

That's why I, hereby, take it upon myself to christen it (drum roll).................

"The Tritone Minor Scale" (e.g. C Tritone Minor, F# Tritone Minor, etc.).

Pour the champagne and strike up the band!

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

11/22/2013

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).

1-2-5 Pattern - Coltrane Changes

7/9/2013

The 1-2-5 Pattern (027 Trichord) intrigue continues with this single unit exercise (one 3-note unit per chord, including inversions) over the Cycle of Descending Major Thirds (aka "Coltrane Changes").

The small numbers over the first line indicate (see graphic or download):

The pattern numbers (ie. 1-2-5 = C-D-G).

When necessary, in parentheses, the scale/chord degree relative to the chord symbol above it (ie. 1(9) 2(3) 5(13) in relation to Eb7 = F-G-C ).

Small letters next to a number indicate a pattern inversion and a deviation from the six basic 1-2-5 pattern shapes. An "a" means ascending or "above". A "b" means descending, or "below".

As I mentioned before, 1-2-5s are a great way to create lines intervalically.

But yet, another road to Rome.

Download PDF

Get it! Got it! Gone!

Click to enlarge

B. Stern

1-2-5 Patterns - ii-V7-I Applications

7/3/2013

These 1-2-5 Patterns (027 Trichords) have been intriguing me lately, especially after getting around to practicing the stuff I've previously posted here and here, myself.

Each three note, 1-2-5 unit has six basic shape combinations: 125, 152, 215, 251, 512 & 521.

Adding a second 1-2-5 grouping, a major 3rd apart (Maj 7#11) or minor 3rd apart (min 7 11) increases that number to 36 (eg. 125-125, 125-152, 215-125, 512-251, etc.) in each case.

1-2-5 Street, Part 2 - 3 Note Group Combos & Maj7#11

5/8/2013

Last time, in Part 1, on our little trip to "1-2-5 St." we got acquainted with a pair of 3 note groupings from scale steps 1-2-5 (known among the uptown 12-tone crowd as "027 trichords"), spaced a minor 3rd apart which formed a min7 (11).

This time, we meet some of their relatives, namely two more groups of "1-2-5's", spaced a Major 3rd apart. Together, these 2 groups (in C: C-D-G & E-F#-B) form a Maj.7#11 chord.

Again, these 6 notes form a hexatonic scale (in C: C-D-E-F#-G-B), as well as the triad pairs C Maj & B min.

1-2-5 Street, Part 1 - 3 Note Groupings & Min7 (11)

5/3/2013

This week, we hop on the subway of our minds and get off at 1-2-5 St., where we'll hang out with a couple of three note groups, co-mingling to form a min7 (11) chord. We don't even need a token (remember those?), except possibly, a token of your appreciation.

Specifically, we're talking C-D-G (1-2-5 in C), as the first basic group; then Bb-F-Eb (5-2-1 in Eb). Together, they form a C-7 11, six note chord (C-Eb-G-Bb-D-F).

These two groups were chosen because there are no repeating notes, which means they form a hexatonic (6 note) scale (C-D-Eb-F-G-Bb), which can also be viewed as the triad pair of C min. and Bb Maj.