IMPROVISING CONCEPTS The Augmented Scale A Brief Discussion By Sip JACOBS ‘The augmented scale is referred to in the “legit” world of 20th Century music composers ‘and students as the “Magic” scale. ‘The appellation is quite appropriate in describing this scale Which has an exotic sound and many harmonic possibilities. ‘The augmented scale—like the diminished scale and the whole tone scale—is a non- diatonic, therefore non-resolving scale. ‘The augmented triad splits the octave into 3 equal parts.— : Ma3_' ~Ma3 Ma3 (4 half steps) (4 half steps) (4 half steps) ‘The diminished seventh chord splits the octave into 4 equal paris.— Peake eee es mig, ae half steps) (3 half steps) @ half steps) (3 half steps) ‘All chord tones of augmented triads are also roots. Therefore, there are 4 augmented Js. When we approach each note of the augmented triad by a semitone, we get the augmented 1/2 step 1/2 step ia seale. 12 step 1/2 step = = prove CoNCETS Copyright MI ©1998 All rigs reservedAlll the chord tones of a dim7 chord are roots. There are 3 diminished 7th chords. When We approach each note of the dim7 chord by a semitone, we arrive at the diminished scale, which is known as the Octatonic scale in the “legit” world. 1/2 step 1/2 step 1/2 step U2step 1/2 step ee ed => ——— As there are only 4 possible augmented triads, there are only 4 augmented scales, And, because there are only 3 dim7 chords, there are only 3 different diminished scales, ‘We find also within this scale an unusual combination (to “diatonically conditioned” ears) of major and minor triads as well as augmented triads which can be built on each scale tone. Cc De E Ga ADT Bt Cc = a = = e Fr = C+ (Aug. triad) E+ (Aug. triad) Ab+ (Aug. triad) (Cma triad Ema triad Ab triad Cmi triad Emi triad Abmi triad Cmim Emi Abmi™ Cma7 Ema7 Abma7 Cma7*$ = EC Ema7‘$ = Ab/E Abma7** = C/Ab As we can see from the symmetrical relationships, any chord we find in the augmented scale can be transposed in major 3rds and stay within the scale. This scale also gives us the following “slash” chords.— cB CIEb (CIA = Abma7*) Cmi/B CmiV/E (Cmi/Ab = Abma7) up a major 3rd (4 semitones) gives us:— ED E/G (BIC = Cma7) Emi/D# Emi/G# (Emi/C = Cma7) Inanowsine Concerts ‘Copyright MI 01995 All ghis reservedup a major 3rd (4 semitones) gives usi— AbIG Ab/B (AD/E = Ema?) Abmi/G Abmi/C (Abmi/E = Ema7) In experimenting with voicings for the chords, remember to invert the triads as in the following example— CBR) Uistiny.) Qnd inv.) r —fingerings— ‘Copynit Ml B199¢ AL gh eseredL-this fingering is friendly as wel as symmetrical. ® ® ® ® £ b = e isa a a 8 1 5% Remember! (1_1 4_4 2-3) —This fingering will work starting on any G, B, or D# for this scale. Practice this way for a legato sound:— ® Ono, © Oxo. aovisnc Concerts ‘Copyright MI ©1994 All ight reserved.Augmented Scale Melodic Patterns Each note of the descending augmented triad approached by a half step:— 2 Inameowsee Concerss Copyright MI 01994 All nights reservedMajor Triads from the Augmented Scale Root position triads (C) (Ab) (BE) (Cc) yvyMvyyrm Y vv mv y Vv rn v Ast Inversion triads y (Ab) (B) (c) be v nay, nf 2nd Inversion triads Cc (Ab) mY Intraowsino CoNcErTs Copyright Mi ©1998 All rights eservesMinor Triads of the Augmented (“Magic”) Scale 1. Root Position: — Det iyi Vive ge os 2. Ist Inversion: — 3. 2nd Inversion: — 4. If you can't decide on major or minor, you can always play both — a Iraovisnc Concarrs CConyight MI ©1994 Al rights reserved Page 7Below is an example of 3 major triads within an octave:— c E a b Move this line in major thirds and play against:— Cma7 or Cma7*? or Ami9™? Ema7 or Ema7*) or Dbmi9™” Abma7 or Abma7*® or Fmi9"™? 1. Notice how your ear becomes accustomed to hearing these non-diatonic com of triads. e O s lm Imrsovisno Concerts Copyright Ml ©1994 All ight served2, Intervals in contrary motion:— 2 bee 3. Or as a melodic line:— 4. Some voicings moved symmetrically:— mrnovisive Concerrs Copyright M1©1994 Al rights reservedWe have looked at some ways we can extract chords from this scale, We should always investigate aif the relationships in the scale as they relate to the roct, Scale—| B c G Ab Root | € ma? root 63 3 5 66 E 5 66 ma? root 63 3 [as 63 3 5 66 ma? root ‘The ma7%(#) chord, whether its root is C,E, or Ab seems to be a characteristic sound in this scale, We use this chord for its own sake, of course, but often as 2 substitute for a ma7(&5)—or as the upper chord tones of a mi9(ma7)—the roct of which is not in the augmented scale, ‘Try playing this scale (B, C, D#, E, G, Ab) over Ami9™”), Fmi9™”, Dbmi9™”) Iumawsise ConcerTs CCoppeignt MI 01934 All pts mene,The Diminished Scale A Brief Discussion A diminished 7th chord can be built on each note of the scale:— ° Bc OD OB Pa cea Diminished Scale Melodic Patterns 1, Bach note of the descending diminished 7th chord approached by a half step— 2. An example of moving major triads downward in intervals of a minor third— ee Ditoe nas F z m ay mn ey ‘There are four major triads and four minor triads built on the same roots in this scale—as well as a diminished 7th chord built on each scale tone. Infernal Dance from "Firebird Suite" -Stravinski A 7 BI Ist note phrase Motif from the previous repeated up a mi.3rd bar down a Ma.6th Iupmavisve Concerts Copyright Mi 61998 Al ights reserved.The Whole Tone Scale A Brief Discussion With the whole tone scale, we can build an augmented triad from each Scale tone.— D+ Et Fe Gh A ‘The same relationships (R, 9, 3, #11, #5, 67) exist on each scale tone. c= R 9 3 a 45 7 Gmi.— 4/11 5 6 Ma7 bo 13 Whole Tone Scale Melodic Patterns 3. 3 BOVEY ing ‘The above melodic pattern is based upon augmented triads descending in whole steps. Because the whole tone scale is a symmetrical scale, we can transpose any sequence of notes in whole steps (as above), major 3rds, and tritones in either direction (up or down) and remain within the scale Ivprowsino Concerns CConyigt Ml ©1998 All ghs reserved1. A Whole tone sequence moved in tritones:— ®® Qo, 2. The same motif moved in major 3rds:— 3. Another melodie sequence moving in intervals of a tritone:— 3 bole v we yomcey When we approach each note of the whole tone scale by @ half step, we arrive at the chromatic scale. Ascending the scale will sound chromatic. Descending this idea will sound closer to the whole tone scale. (See examples of this on the following page) trrowisine Concerrs Copyright MI ©1994 All ets reseedmi. 3rds Ascending (Whole tone scale w/ half step approach):— bo o Descending:-— The tritone splits the octave into two equal parts ‘The augmented triad splits the octave into three equal parts. The diminished seventh chord splits the octave into four equal parts. —Any motif transposed through any of the above cycles will quickly return to the pitch class* of the original motif. are different pitches, yet are of the same pitch class. 4 original motif 4 Tritone Inanowsine Covers ‘Copyright MI ©1994 All gh eservesInmavisine Concarrs Copyright Mi ©1995 All ghs reserved.SYMMETRICAL SCALES one - Chromatic Scale ny ty os ee =] two - whole tone scales three - diminished scales (octatonic) four - augmented scales (magic) Ascending line in minor triads:— Practicing scales should not be restricted to eighth notes. Melodic and rhythmic variation makes a scalar approach to improvising sound more natural, Isnovisns Concerns ‘Copyright 1 ©1994 All phe reserved.Note:—As this type of music has no one key center, we do not usually use key signatures. and accidentals are reiterated even within the same bar. Imrnovisne Concerts ‘Copyright MI ©1994 All ngs reservedEXAMPLES OF MODAL TRANSFORMATION! Diatonic Pentatonic Whole tone: Dim, "Octatonic” ‘Aug. "magic” Chromatic Examples of Modal Transformation from Append i of "Earaining for Tweneth Century Music” by Miche! Friedman rrowsise Concers Copyright MI ©1994 Al igh reserved,