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.
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.
Since the Whole Tone Scale is produced from six equal divisions of the octave, there are only two transpositions of it - meaning that there are really only 2 mutually exclusive whole tone scales - which together, make up the 12 tones of the Western chromatic scale.
The graphic below in Ex. 1 shows the 2 basic Whole Tone Scale transpositions (enharmonic spellings are used here and throughout).
The graphic below in Ex. 1 shows the 2 basic Whole Tone Scale transpositions (enharmonic spellings are used here and throughout).
Ex. 1. Whole Tone Scale I (WT I) Whole Tone Scale II (WT II)
(C, D, E, F#, G# & A# Whole Tone Scale) (Db, Eb, F, G, A & B Whole Tone Scale)
(C, D, E, F#, G# & A# Whole Tone Scale) (Db, Eb, F, G, A & B Whole Tone Scale)
The interval content of each is: Maj 2nd, Maj 3rd, Aug 4th (diminished or flatted 5th, or tritone), Augmented 5th (or flatted 6th), min 7th & Perfect Octave. There are 6 transpositions (count 'em) of each interval for each note in the scale. Now that's symmetry!
It's important to understand that just because there are only two mutually exclusive Whole Tone scales, there are still 12 chromatic scale points which could be potential "roots" or "key centers" for any phrase, shape or sequence. It's crucial to be aware of this as it's a bit more involved than just running up and down each of the two scales.
Viewed vertically, an augmented dominant 7th chord with a natural 9 & #11 is formed by stacking the two augmented triads contained in that scale from its perceived root (Ex. 2). It could also be considered any one of 6 inversions diatonic to that Whole Tone Scale.
This also forms a triad pair, namely 2 augmented triads a whole step apart.
Ex. 2. - Augmented dominant 7 9 #11 arpeggios from alternating Whole Tone Scales I & II
It's important to understand that just because there are only two mutually exclusive Whole Tone scales, there are still 12 chromatic scale points which could be potential "roots" or "key centers" for any phrase, shape or sequence. It's crucial to be aware of this as it's a bit more involved than just running up and down each of the two scales.
Viewed vertically, an augmented dominant 7th chord with a natural 9 & #11 is formed by stacking the two augmented triads contained in that scale from its perceived root (Ex. 2). It could also be considered any one of 6 inversions diatonic to that Whole Tone Scale.
This also forms a triad pair, namely 2 augmented triads a whole step apart.
Ex. 2. - Augmented dominant 7 9 #11 arpeggios from alternating Whole Tone Scales I & II
WT I WT II WT I WT II
If we were to reverse the order of the dominant 7th chords in Ex. 2 (to Eb7 - D7 - Db7 - C7), we would have part of a descending chromatic cycle. If we then changed the "roots" of the Eb7 & Db7 to their tritone substitutions (A7 & G7 respectively) we'd get a dominant VI7 - II7 - V7 - I7 cadence (A7 - D7 - G7 - C7).
Because of the presence of 3 tritones inherent in each Whole Tone Scale, alternating the two scales chromatically creates harmonic movement via the chromatic cycle, as well as the Cycle of 5ths (through dominant tritone subs).
For that reason we could leave the direction in Ex. 2 as is, and consider bars 2 & 3 to be F7 & Bb7, respectively - giving us C7 - F7 - Bb7 - Eb7, or another VI7 - II7 - V7 - I7 cadence. Each dominant 7th chord could actually be named any one of six, due to the presence of root, Maj 3rd & b7 (along with +5, 9 & #11).
And herein lies the premise for the exercises and sequences in "100% Whole Tone".
Going back to the analogy of the two Knights with their quirky moves working together on a chessboard,
it should be acknowledged that the legendary Thelonious Sphere Monk was the undisputed chess master of this Whole Tone Scale technique.
Because of the presence of 3 tritones inherent in each Whole Tone Scale, alternating the two scales chromatically creates harmonic movement via the chromatic cycle, as well as the Cycle of 5ths (through dominant tritone subs).
For that reason we could leave the direction in Ex. 2 as is, and consider bars 2 & 3 to be F7 & Bb7, respectively - giving us C7 - F7 - Bb7 - Eb7, or another VI7 - II7 - V7 - I7 cadence. Each dominant 7th chord could actually be named any one of six, due to the presence of root, Maj 3rd & b7 (along with +5, 9 & #11).
And herein lies the premise for the exercises and sequences in "100% Whole Tone".
Going back to the analogy of the two Knights with their quirky moves working together on a chessboard,
it should be acknowledged that the legendary Thelonious Sphere Monk was the undisputed chess master of this Whole Tone Scale technique.
Alternating Whole Tone Scales need not be exclusively in half steps. The interval relationships between
Whole Tone Scales I & II are: half step, min 3rd, Perfect 4th, Perfect 5th, Maj 6th & Maj 7th.
Ex. 3. WT I WT II WT I WT II
Whole Tone Scales I & II are: half step, min 3rd, Perfect 4th, Perfect 5th, Maj 6th & Maj 7th.
Ex. 3. WT I WT II WT I WT II
The descending sequence in Ex. 3 alternates between WT I & II, transposing down a min 3rd with each measure and is supported by descending tritones (which coincidentally by themselves, form a complete Diminished Scale. The knee bone really is connected to the thigh bone).
Listen
Below are a few examples, using "C" as the key center, from the section on ii-V7-I sequences (which is transposed to all keys in the book), using melodic material drawn exclusively from alternating Whole Tone Scales.
Except for Ex. 4 below, which resolves to a tonic minor chord in bars 3 & 4 and uses a bass note (C) foreign to WT II, the other examples alternate between WT I & II and allow for harmonic variations.
Ex. 4. WT I WT II WT II
Except for Ex. 4 below, which resolves to a tonic minor chord in bars 3 & 4 and uses a bass note (C) foreign to WT II, the other examples alternate between WT I & II and allow for harmonic variations.
Ex. 4. WT I WT II WT II
Listen
Ex. 5. WT I WT II WT I
Listen
Ex. 6.. WT I WT II WT I
Listen
To sum it all up - the Whole Tone Scale is a colorful and expressive alternative for the improviser.
Alternating between the 2 transpositions of this 6 note scale creates harmonic motion not available with a single WT scale by itself.
The exercises, sequences and patterns presented in "100% Whole Tone" are a fun and productive way to get inside the Whole Tone Scale, while building technique, familiarity and confidence with this concept.
B. Stern
Alternating between the 2 transpositions of this 6 note scale creates harmonic motion not available with a single WT scale by itself.
The exercises, sequences and patterns presented in "100% Whole Tone" are a fun and productive way to get inside the Whole Tone Scale, while building technique, familiarity and confidence with this concept.
B. Stern
Click images to enlarge
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