Editing Jazz scale

{{Short description|Any musical scale used in jazz}}
{{More citations needed|date=October 2020}}
{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 6/4 c4^\markup { "C whole tone scale" } d e fis gis ais \time 4/4 c1 \bar "||"
  \time 4/4 <c, e gis bes>1 \bar "||"
} }
</score>
|width=310|caption=One [[Chord-scale system|chord-scale]] option for an augmented dominant seventh chord (+7th) is the [[whole tone scale]].<ref>Hatfield, Ken (2005). ''Jazz and the Classical Guitar Theory and Applications'', p. 121. {{ISBN|0-7866-7236-6}}.</ref>}}

A '''jazz scale''' is any [[musical scale]] used in [[jazz]]. Many "jazz scales" are common scales drawn from [[European classical music|Western European classical music]], including the [[diatonic scale|diatonic]], [[whole-tone scale|whole-tone]], [[octatonic scale|octatonic]] (or diminished), and the [[Mode (music)|modes]] of the ascending [[Minor_scale#Melodic_minor_scale|melodic minor]]. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as [[Nikolai Rimsky-Korsakov|Rimsky-Korsakov]], [[Claude Debussy|Debussy]], [[Maurice Ravel|Ravel]] and [[Igor Stravinsky|Stravinsky]], often in ways that directly anticipate jazz practice.<ref>Tymoczko, Dmitri (1997). "The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz", ''Integral'' 11:135–79.</ref> Some jazz scales, such as the eight-note [[bebop scale]]s, add additional [[Chromatic passing tone|chromatic passing tones]] to the familiar seven-note diatonic scales.

== Theory ==
{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
  \clef treble
  \time 6/4 g4^\markup { "G whole tone scale" } a b cis dis f \time 4/4 g1 \bar "||"
  \time 4/4 <g, b des f>1 \bar "||"
} }
</score>

<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
  \clef treble
  \time 8/4 g4^\markup { "G octatonic scale" } gis ais b cis d e f \time 4/4 g1 \bar "||"
  \time 4/4 <g, b des f>1 \bar "||"
} }
</score>

<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
  \clef treble
  \time 7/4 g4^\markup { "4th mode of D melodic minor scale" } a b cis d e f \time 4/4 g1 \bar "||"
  \time 4/4 <g, b des f>1 \bar "||"
} }
</score>

<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
  \clef treble
  \time 7/4 g4^\markup { "7th mode of A♭ melodic minor scale" } aes bes ces des es f \time 4/4 g1 \bar "||"
  \time 4/4 <g, b des f>1 \bar "||"
} }
</score>
|width=340|caption=Four scales compatible with G<sup>7{{music|flat}}5</sup>}}
One important feature of jazz is what theorists call "the principles of [[Chord-scale system|chord-scale compatibility]]": the idea that a sequence of chords will generate a sequence of compatible scales. In classical major-mode harmony, chords typically belong to the same scale. For example, a [[ii–V–I turnaround|ii–V–I progression]] in C major will typically use only the notes of the C diatonic collection. In jazz, a four-chord progression may use four different scales, often as the result of chordal alterations.

For instance, in C major, a jazz musician may [[Altered chord|alter]] the V chord, G<sup>7</sup> (G–B–D–F), with a [[Dominant seventh flat five chord|flattened fifth]], producing the chord G<sup>7{{music|flat}}5</sup> (G–B–D{{music|flat}}–F). An improviser might then choose a scale containing these four notes, such as the G whole tone scale, the G octatonic scale, or a mode of either D or A{{music|flat}} melodic minor ascending. In each case, the scale contains the chord tones G–B–D{{music|flat}}–F and is said to be compatible with it. This notion of "chord scale compatibility" marks a fundamental difference between jazz harmony and traditional classical practice.

An [[avoid note]] is a note in a jazz scale that is considered, in jazz theory and practice, too [[Consonance and dissonance|dissonant]] to be emphasised against the underlying chord, and so is either avoided, used as a passing tone or chromatically altered.<ref>{{cite book |last=Humphries |first=Carl |title=The Piano Handbook |publisher=Backbeat |year=2002 |pages=262 |isbn=0-87930-727-7}}</ref> For example, in major-key harmony the 4th, and thus the 11th, is an avoid note and is therefore either treated as a passing tone or is augmented (raised a semitone).<ref>Humphries (2002), p. 128.</ref> Avoid notes are often a minor second (or a minor ninth) above a chord tone<ref>{{cite book|last=Nettles|first=Barrie|title=Harmony 1|year=1987|publisher=Berklee College of Music|page=34}}{{Full citation needed|date=July 2015|reason=Place of publication, ISBN needed.}}</ref> or a perfect fourth above the root of the chord.<ref name="Humphries 126">Humphries (2002), p. 126.</ref>

<blockquote>[One] can get a good sense of the difference between classical and non-classical harmony from looking at how they deal with dissonances. Classical treats all notes that don't belong to the chord (i.e., the triad) as potential dissonances to be resolved. ... Non-classical harmony just tells you which note in the scale to avoid ["what is sometimes called an avoid-note"] (because it's ''really'' dissonant), meaning that all the others are okay.<ref name="Humphries 126"/></blockquote>

==Modes of the major scale==
{{Main|Mode (music)#Modern modes}}
The number of scales available to improvising musicians continues to expand. As modern techniques and musical constructions appear, jazz players find the ones they can put into compositions or use as material for melodic exploration. Prominent examples are the seven [[Mode (music)|modes]] of the [[diatonic scale|diatonic]] [[major scale]] and added-note scales.

:{| class="wikitable" border="1"
|+Modes of the major scale
!Mode
!Name
!Scale on C
!Associated chord<ref>{{Cite web|title=Jazz Modes Chart|url=https://www.apassion4jazz.net/modes.html|access-date=2021-07-02|website=www.apassion4jazz.net}}</ref>
|-
|I||[[Ionian mode|Ionian]]||C–D–E–F–G–A–B–C||C<sup>maj7</sup> (9, 13)
|-
|II||[[Dorian mode|Dorian]]||C–D–E{{music|flat}}–F–G–A–B{{music|flat}}–C||Cm<sup>6</sup> or Cm<sup>7</sup> (9, 11, 13)
|-
|III||[[Phrygian mode|Phrygian]]||C–D{{music|flat}}–E{{music|flat}}–F–G–A{{music|flat}}–B{{music|flat}}–C||Cm<sup>7</sup> ({{music|b}}9)
|-
|IV||[[Lydian mode|Lydian]]||C–D–E–F{{music|sharp}}–G–A–B–C||C<sup>maj7{{music|#}}11</sup> (9, 13)
|-
|V||[[Mixolydian mode|Mixolydian]]||C–D–E–F–G–A–B{{music|flat}}–C||C<sup>7</sup> (9, 13)
|-
|VI||[[Aeolian mode|Aeolian]]||C–D–E{{music|flat}}–F–G–A{{music|flat}}–B{{music|flat}}–C||Cm<sup>7</sup> (9, 11)
|-
|VII||[[Locrian mode|Locrian]]||C–D{{music|flat}}–E{{music|flat}}–F–G{{music|flat}}–A{{music|flat}}–B{{music|flat}}–C||Cm<sup>7{{music|flat}}5</sup> or C{{music|halfdim}}<sup>7</sup> (11, {{music|flat}}13)
|}

Compare each of the modes to the major scale for clues as to the subtle differences between them. Ionian is based on the 1st degree of the major scale, Dorian on the 2nd, Phrygian on the 3rd, etc.

:{| class="wikitable" border="1"
|+Modes of the C major scale (White-note scales)
!Name
!Scale
!Associated chord{{Citation needed|date=January 2019}}
|-
|C Ionian||C–D–E–F–G–A–B–C||C<sup>maj7</sup> (9, 13)
|-
|D Dorian||D–E–F–G–A–B–C–D||Dm<sup>6</sup> or Dm<sup>7</sup> (9, 11, 13)
|-
|E Phrygian||E–F–G–A–B–C–D–E||Em<sup>7</sup> ({{music|b}}9)
|-
|F Lydian||F–G–A–B–C–D–E–F||F<sup>maj7{{music|#}}11</sup> (9, 13)
|-
|G Mixolydian||G–A–B–C–D–E–F–G||G<sup>7</sup> (9, 13)
|-
|A Aeolian||A–B–C–D–E–F–G–A||Am<sup>7</sup> (9, 11)
|-
|B Locrian||B–C–D–E–F–G–A–B||Bm<sup>7{{music|flat}}5</sup> or B{{music|halfdim}}<sup>7</sup> (11, {{music|flat}}13)
|}

==Bebop scales==
{{Main|Bebop scale}}
{{unreferenced section|date=July 2023}}
Bebop scales add a single [[chromatic passing tone]] to the [[Heptatonic scale|seven-note]] major scale (Ionian and Mixolydian modes). The added passing tone creates an eight-note scale that fits rhythmically evenly within a {{music|time|4|4}} measure of 8 eighth notes, thus making it useful in practicing. When an eighth note bebop scale run starts on the beat from a chord tone (i.e. the [[Root (chord)|root]], [[Third (chord)|third]], [[Fifth (chord)|fifth]] or [[Seventh (chord)|seventh]]) the other chord notes will also fall on the beat. As a result, all of the [[Nonchord tone|nonchord tones]] will fall on [[off-beat (music)|upbeats]].

There are two commonly used types of bebop scale:

# The dominant bebop scale, which adds a chromatic passing tone between the 7th and the [[Root (chord)|root]].
#: <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 8/4
  c4^\markup { Bebop dominant scale on C } d e f g a bes b! c
} }
</score>
# The major bebop scale, which adds a chromatic passing tone between the 5th and 6th notes.
#: <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 8/4
  c4^\markup { Bebop major scale on C } d e f g gis a b c
} }
</score>

==Modes of the melodic minor scale==
{{Main|Jazz minor scale}}<!--'Jazz melodic minor scale' redirects here-->{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 7/4 a4 b c d e fis gis a
} }
</score>
|width=300|caption=The ascending melodic minor scale built on A}}

A great deal of modern jazz harmony arises from the [[Mode (music)|modes]] of the ascending form of the [[melodic minor scale]], also known as the ''jazz melodic minor scale''.<ref name="Baerman">Baerman, Noah (1998). ''Complete Jazz Keyboard Method: Mastering Jazz Keyboard'', p. 34. {{ISBN|0-88284-913-1}}.</ref> This scale is essentially a diatonic major scale with a lowered third, for example A-B-C-D-E-F{{music|sharp}}-G{{music|sharp}}-A. As with any other scale, the modes are derived from playing the scale from different root notes, causing a series of jazz scales to emerge.<ref name="Baerman" />

{{Clear}}

:{| class="wikitable" border="1"
|+Modes of the ascending melodic minor scale on C
!Mode
!Name
!Scale on C
!Associated chords{{Citation needed|date=January 2019}}
|-
|I||[[Ascending melodic minor]]||C–D–E{{music|flat}}–F–G–A–B||Cm<sup>maj7</sup> (9, 11, 13) or Cm<sup>6</sup> chords
|-
|II||[[Dorian ♭2 scale|Dorian {{music|flat}}2]] or Phrygian {{music|natural}}6||C–D{{music|flat}}–E{{music|flat}}–F–G–A–B{{music|flat}}||Cm<sup>7</sup> ({{music|flat}}9, {{music|sharp}}9, 13) chord
|-
|III||[[Lydian augmented scale|Lydian augmented]]||C–D–E–F{{music|sharp}}–G{{music|sharp}}–A–B||C<sup>maj7{{music|#}}5</sup> (9, {{music|#}}11) chord
|-
|IV||[[Acoustic scale]], Lydian dominant, Mixolydian {{music|sharp}}4, or Overtone||C–D–E–F{{music|sharp}}–G–A–B{{music|flat}}||C<sup>7</sup> (9, {{music|sharp}}11, 13) chord
|-
|V||[[Aeolian dominant scale|Aeolian dominant]], Mixolydian {{music|flat}}6, Descending melodic major, or Hindu||C–D–E–F–G–A{{music|flat}}–B{{music|flat}}||C<sup>7</sup> (9, {{music|flat}}13) chord
|-
|VI||[[Half diminished scale|Half-diminished]], Locrian {{music|sharp}}2, or Aeolian {{music|flat}}5||C–D–E{{music|flat}}–F–G{{music|flat}}–A{{music|flat}}–B{{music|flat}}||Cm<sup>7{{music|flat}}5</sup> (9, 11, {{music|flat}}13)
|-
|VII||[[Altered scale]], Super Locrian, or Altered dominant scale||{{nowrap|C–D{{music|flat}}–E{{music|flat}}–F{{music|flat}}–G{{music|flat}}–A{{music|flat}}–B{{music|flat}}}}||C<sup>7</sup> ({{music|flat}}9 or {{music|sharp}}9, {{music|sharp}}11, {{music|flat}}13) chord
|}

==Diminished scale==
{{unreferenced section|date=July 2023}}
{{Main|Octatonic scale}}{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \key c \major \time 8/4
  es4 f fis gis a b c d es2
} }
</score>

<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \key c \major \time 8/4
  d4 e f g gis ais b cis d2
} }
</score>

<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \key c \major \time 8/4
  cis4 dis e fis g a bes c cis2
} }
</score>|width=300|caption=The three octatonic scales}}
Sometimes called the ''octatonic scale'' because it contains eight tones, the diminished scale is composed of a series of alternating [[Semitone|half]] and [[Whole step|whole steps]]. There are two types of diminished scales, one starts with a half step and the other starts with a whole step. The two scales are [[Mode (music)|modes]] of one another.

Because of the repetition of the interval pattern after only two notes, each note in the scale can be the [[Root (scale)|root]] in another symmetric diminished scale. For example, the C diminished scale of the half-step-first type, has the same notes as the half-step-first E{{music|flat}} diminished scale as well as the whole-step-first D{{music|flat}} diminished scale. All three are composed of the same eight pitches: C–D{{music|flat}}–E{{music|flat}}–E{{music|natural}}–F{{music|sharp}}–G–A–B{{music|flat}}–C.

Because of the [[Symmetric scale|symmetry]] of the diminished scale, there are only three distinct diminished scales (shown to the right). The others are all modes of these three.

==Whole tone scale==
{{Main|Whole tone scale}}{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 6/4 c4 d e fis gis ais c2
} }
</score>
|width=300|caption=The whole tone scale built on C}}
The whole tone scale, consisting exclusively of whole steps, is often used on V<sup>7{{music|#}}5</sup> chords. Since they are symmetrical, there are only two distinct whole tone scales.
{{Clear}}

==Pentatonic scales==
{{unreferenced section|date=July 2023}}
{{Main article|Pentatonic scale}}{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \key c \major \time 5/4
  c4^\markup { "C major pentatonic scale" } d e g a c2
} }
</score>

<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \key c \major \time 5/4
  a4^\markup { "A minor pentatonic scale" } c d e g a2
} }
</score>|width=300|caption=The white-note major and minor pentatonic scales}}Two pentatonic scales common to jazz are the ''major pentatonic scale'' and the ''minor pentatonic scale''. They are both [[musical mode|mode]]s of one another.

The major pentatonic scale begins with a [[major scale]] and omits the fourth and the seventh [[scale degree]]s. The minor pentatonic scale uses the same notes as the major pentatonic scale, but begins on the sixth scale degree of the corresponding major scale. In this nomenclature, [[minor scale|minor]] is employed in the sense of [[relative key]], as the diatonic A minor scale is the relative minor of the diatonic C major scale.

Jazz improvisers, particularly bassist and guitarist, use these scales in a number of interesting ways. For example, over B{{Music|flat}}maj<sup>7{{music|sharp}}11</sup>, one can use a major pentatonic based on the 2nd scale degree of B{{Music|flat}} (C–D–E–G–A) to imply 9–3–{{music|#}}11–13–7, respectively. Similarly, over a fully altered F{{Music|sharp}}<sup>7</sup> chord, one can use the same major pentatonic, this time based on the tritone (C–D–E–G–A) to imply {{music|b}}5–{{music|b}}13–{{music|b}}7–{{music|b}}9–{{music|#}}9, respectively.

==Blues scale==
{{Main|Blues scale}}{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 6/4 c4^\markup { "Six-note blues scale, built on C" } es f fis g bes c2
} }
</score>

<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 9/4
  c4^\markup { "Nine-note blues scale, built on C" } d es( e) f g a bes( b) c2
} }
</score>
|width=300|caption=Two types of blues scales}}The term ''blues scale'' refers to several different scales with differing numbers of pitches and related characteristics. The six-note blues scale consists of the [[Pentatonic scale#Minor pentatonic scale|minor pentatonic scale]] plus a chromatic passing tone between the 4 and 5. This added note can be spelled as either {{music|b}}5 or {{music|#}}4. Guitarists often mix the major and minor pentatonics together along with the blues scale.

Another common blues scale has nine notes (shown to the right). Winthrop Sargeant defines this scale as "a definite series of tones within an octave used as the basis of a musical composition," compiled instead from multiple compositions and improvisations (according to [[Marshall Stearns|Stearns]]: "a great many jazz records") and is hypothesized as displaying the influence of [[African music]].<ref>Sargeant, Winthrop (1946). ''Jazz: Hot and Hybrid''. New York, Dutton. Cited in [[Marshall Stearns|Marshall Winslow Stearns]] (1970). ''The Story of Jazz'', {{Full citation needed|date=July 2015}} p. 278. {{ISBN|0-19-501269-0}}.</ref> The E{{music|flat}} and B{{music|flat}} are [[blue note]]s.<ref>Metfessel, Milton, cited in Stearns (1970), p. 278.</ref>
{{Clear}}

==Harmonic minor scale==
{{unreferenced section|date=July 2023}}
{{main article|Harmonic minor scale}}{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 7/4 a4 b c d e f gis a
} }
</score>
|width=300|caption=The harmonic minor scale built on A}}The harmonic minor scale is also of value to many improvisors, as it provides an alternative color for many common chords and chord progressions. The A harmonic minor scale can be used on the chords of a piece in A minor, especially on the minor [[Ii–V–I progression|ii–V–i chord progression]].

One of the most common uses of the harmonic minor scale is its fifth mode ([[phrygian dominant scale]]), which is a frequently used over dominant chords.

==Altered dominant scale==
{{unreferenced section|date=July 2023}}
{{main article|Altered scale}}{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 7/4 b4 c d es f g a b
} }
</score>
|width=300|caption=The altered dominant scale built on B}}The altered dominant scale, also called the altered scale, is so named because all the scale members that can be altered relative to the basic dominant scale (the [[Mixolydian mode]]), without losing the [[Dominant (music)|dominant]] quality, are altered. The scale includes both altered fifths ({{music|b}}5 and {{music|#}}5) and both altered ninths ({{music|b}}9 and {{music|#}}9).

*Starting on G, it contains the notes: G, A{{music|flat}}, B{{music|flat}}, C{{music|flat}}, D{{music|flat}}, E{{music|flat}} and F.
*Starting on C, it contains the notes: C, D{{music|flat}}, E{{music|flat}}, F{{music|flat}}, G{{music|flat}}, A{{music|flat}} and B{{music|flat}}.

The altered fifths coincide enharmonically with the {{music|#}}11 and the {{music|b}}13 which would also be considered altered relative to their Mixolydian forms. The tonic, [[major third]] (as a [[diminished fourth]]), and [[Dominant seventh chord|dominant seventh]] are retained as essential to the dominant quality.

The scale can also be understood as a mode of the ascending melodic minor scale starting from the 7th scale degree. For a G<sup>7</sup> chord, the A{{music|flat}} [[Minor_scale#Melodic_minor_scale|melodic minor scale]] starting from G produces the G altered dominant scale.

This scale is also called the ''super-Locrian scale'', as it is indeed reminiscent of a [[Locrian scale]] with a {{music|b}}4, but it is usually regarded as that of [[major and minor#Major and minor scales|major]] quality. Another name for this scale is the diminished whole-tone scale due to its resemblance to the lower part of the [[Octatonic scale|diminished scale]] and the upper part of the [[whole tone scale]].

==References==
{{reflist|30em}}

== Further reading ==
*Yamaguchi, Masaya. 2006. ''The Complete Thesaurus of Musical Scales'', revised edition. New York: Masaya Music Services. {{ISBN|0-9676353-0-6}}.

{{Jazz theory}}
{{Scales}}

{{DEFAULTSORT:Jazz Scale}}
[[Category:Jazz techniques]]
[[Category:Musical scales]]