This book is intended to accompany, and perhaps clarify, some of the points in the video. in my own system, scales do not have names or modes; they have symbols, a5 | do not think of any scales as hav ing beginnings or endings. The names given in the book are the closest that could be derived from the symbols that | use, There are of course mind-boggling numbers of scales (and chords that come from them) that are not touched upon in this book or video, I hawe tried to outline what | would consider the basic and most practical forms with regard te improvising over chord sequences. This is simply a keyho! way | have come to a purely personal way — and likely of no use to others. Therefore, this alimpse at the jew harmony ~ really is... “Just for the Curious" Allan Holdswinthis section, Allan discusses the scales he finds most useful for improvisation. It is important thiat cale fingerings that you begin to explore them for all of the chords contained within each. You can do this by building chords from each scale tane. ence you became familiar with these In most respects Allan is selFiaught, He began his exploration of scales by working out various scale patterns and then experimenting with each of their permutations, discarding those with more than fou nseculive semitones (half-steps). He then analyzed the scales to find the chords con- Jained within them {more on Allan's approach to harmony in Part I} The following scales will be covered in this section. Although there are many more scales than pre senied here, these are the most useful. The scales are named in relation lo the chard forms and chord tones they imply. Seven Note Scales: Seale #1) C Majar/D Minar/G7 Scale #2] D Minor (maj?) - (1 Scale #3) A Minor (moj7 Seale #4) A Minar {maj7, eala #14) CL Melodic Minor) +6} - (A Harmonic Minor) (E Harmonie Majer) Deminant (#9) “Added Tone “Jazz” Scales (Eight notes): Seale #6) BP Jazz Major (add 45) Scale #7) C Jazz Dominant (add 57) Seals #8) 8 Jozz Minor (add 7) cala #9} A loz Minor (add b6) Scale #11) Dr jazz Minor (add 41 1) ‘Added Tone “Jazz” Seales (Nine notes}: Jazz Dominant [add $3 and*7) Seale #13) C Jazz Major (odd '3 and »6) Symmetrical Scales: Seale #5) Gt Diminished - 1/2,1,1/2,1,1/2,1, ete Seale #10) Symmetrical - 1/2,1/2,1 1/2,1/2,1, ele Seale #15) Whole Tone - 1,1, 1,1,1,1Scale #1: € major, D minor, G7 This First scole is MBq ond itis most commonly used over C, Dm7 ond G7. This is o seven note scale and is often given seven different names, one for each starting note. For example: ienian (C-C), dorian (0-0), phrygian (E-], lydian (FF), mixolydian (GG), aeolian (A.A) and lcrian (BB). Although he is very aware of each of its permutations, Allan finds it simpler, and more fo The point, fo think ef this as one scale with seven possible tonal centers rather than-seven different modes, Allan usvally thinks of this scale as being related to the Il chord (Dm9,14 in the key of C] - the chord over which he most cften uses this seale. This seate is built on the interval pattern: whole step, whole step, holF step, whole step, whole slep, whole step, half step or 1-1-1 /2-1-1-1-1/2. Tha C major seale eonlains the notes: CDEFGABC = The three most commen chords derived lrom this scale are: Cmaj7(6,9), DETERMIN onc G7(9,11,13). (Available extensions are shown in parenthesis) Cmaj76.9) 6p 19, 18.13) Seale Diagram: XVII ‘Once mastered, this pattern (and all of the following scale petiems) should be transpased to all keys.Example 1: A good way fo begin practicing scales is to play more than three notes per string. This first example Iransposes the major scale paltern fo F major and uses a four note per slring pattern that spans the sonlire neck of the guitar Example 2: Allan prelers to look at the fingerboard in its entirety rather than breaking it down info separate posi- tions. This next example is only one of many that you should develop ta break out of position playing and get comforiable with entire neck The following pattern is played entirely in the key of C. lt consists of a three note per string pattern played on string-sets é-d, 5-3, d-2, 3-1, Notice the Finger stretches and large interval skips Freely (Acssleundo)Scale #2: D minor (maj7) This isa D.minor (maj7) scale, also known os{GBISHIGMAGE This is a very commonly used scale in jazz, {follows the interval pattern: 1-1/2-1-1-1-1-1/2, and contains the notes: DEF GAB C#D. Scale tones: | 2 ba a 5 te t 5 Some of the more common chords derived from this scole ore: SMUG A7(?, 11,45), G719,11), ond CI7(19,49,85,55), (Available extentions ars shown in parenthesis.) ATE. ALE5) erat eo #Scale #3: A minor (maj7, °6) Allan refers to this scale as A minar {maj7,b6). You can see at this point thal Allan names scales by their interval relationships. This scale is offen called (AINGRRGBiemminog It is built on the interval sequence: }-1/2-1-1-1/2-1 and 1/2-1/2, and contains the notes: AB C DEF Gt A, Some of the more common chords derived from this scale are: RRNA and E7(°9,15). (Available extensions ara shown in parenthesis) mavens) E7469, 15) Scale Diagram:Scale #4: A minor (maj7, /4) Allan refers to this scale os A minor (maj7, #4}. It is also sometimes referred to as an cole (because of the m3rd from C fo DH). Its buill on the inlerval sequence: 1-1/2-1 and 1 /2-1/2-1-1-1/2 tnd contains the notes: A BC DEE F# G4. Notice the! this is a melodic minor scale with o raised ih. Scale tones: | 2 bs 3 te fr 5 Some of the more common chords derived from this scale ore: (SIIRAE, Emoj9{#1 1,6,9) and 87('9, 13). {Available extensions are shown in parenthesis.) amaTy BIH 13) Ena? Seale Diagram:Iris very important that you explore these scales thoroughly and search aut different uses for each. For example, if you examine this scale closely you will see that this pattern contains within it, Scoles 3 and 4, eech with one added tone: G minor [maj7,+6] with an added +7th and E> minor (maj7,#4) with an added maj rd (SHRED (9/76) with an added 7th: ee eee t xn / xv Added >7th (EE (m9)7, 44) with an added maj 3rd: mm v vn 1x xt XV XVI Added maj 3rdScale #5: Gi (A*) diminished The diminished scole is built on a symmetrical interval pattern: 1-1 /2-1-1/2-1-1/2-1-1/2. Because of their symmetrical nature, there are only three different diminished seales: 1) Gt (which contains the same nates as B, D, and F diminished) 2) A (which contains the some notes os C, €, and G diminished) 23] BE which contains the same notes os Dt, E, and G diminished} o c fo 2 a inte #4

3) contains the noles ‘AB> Band C, ond is buitt on the interval sequence: 1-1/2-1/2-1/2-1-1-1/2.1/2.1/2. ae m ee 4 3 é ” 7 8 Scale Diagram: 1 Vv vu 1x d xv XVILL LL OT Scale #13: C Jazz Major (add +3 & '6) [No Recorded Examples} Here:is another nine note scale. This time, the added tones are the #3 and *6, Because this scale con. tains no +7 its sound is major rather than dominant, The #6 ig ¢ common passing lone over @ major chord and the +3 will add o bluesy effect The C Jazz Major fadd!3) contains the notes: CD ESE F GAb AB ond C. I's interval sequence is: L/D 21/211 /2A/21-1. Scale Diagram:Scale #14: € Dominant (/9, (No Recorded Examples} This scale is essentially o Siiimolveltamsealenybea9 (04) replacing the Mh [D), The min 3rd interval between the root and the raised 9th accentuates the bluesy effect of this added tone. The C Dominant (19} scale contains the notes: C DFE FG A Bb and C and is built on the interval sequence: | and 1/2:1/2-1/2.1-1-1/21 gt ea ° ° ° Seale tones: pe 3 4 5 6 "7 5 Seale Diagram:Scale #15: The Whole Tone Scale (No Recorded Examples} The whole tone scale is built entirely on whole stops, i contains only six notes within the octave, for example: F G A.B Ci Dt and F. The whole tone scole is lacking three of the most important intervals, the perfect fifth, the perfect fourth and the minor second. All the scale steps ore equal {whole sleps) and since there is ne minor second the scale lacks a “leading fone.” Because of this, the scale is very ambiguous and all noles in the scale are equal, any could be considered the rao There are only lwo whole tone scales, each being o holf step opart from the other ure egal, here i mo recson tv mamber them, The Whole Tone Seale:Rather thon using sta ngs, each chord can be viewed as being G member of a “family” the family name bei scale from which that chord is derived. Any grouping of notes from that family the standard chord woicings (depending, of course, on your own taste ond the context in which they are ved). For example, if the harmeny cal than playing 9 standard chord voicing (E Gt B D¥], various combinations of notes, all drawn from the E major seale may be used. Allon tone: to play these chords in a very melodic foshion, connecting the voicings with single note linas and arpeggios. Also, the voicings that he derives often contain 2nds, 4ths and Sths, making them very ambiguous and not easily discernible as standard major or minor chord types on be 5 for an Emaj7,, rather Example 6: Here, sllan demonstrates some voicings drown from an E major seale. Note that, except fer the last naj?), each of these voicings are derived from one basic interval shape which is then sequenced throughout the major scale. Fach chord is numbered for easy reference chord ( Basic Chord Shapes:Before continuing, e's take a deeper look at this concept of har naw chordal sounds ing the notes of a scale to form ‘Coming up with new hormonizations is not as complicated as it might sound. The ideo is to take o scale ond find an inteevallic grouping you find interesting. Then take that voicing and move each note in the chord up (or down) to the nex! note in the scale, finding other reloted chords that work well together, Becouse you are always using the same bosic chord shape, all of the chord voicings derived from that shape will be reloted and there will be an automatic voice leading from cherd to chord, This meons these new sounds will “make sense” fo the ear. This concept is not that different from the stan dard harmonized mojor scale Example 6A This example shows a C major scale. The 4note voicing shown at the 1st fret is a standard G7 chord By moving each nole in thal chard up fo the nex! scale tone we arrive al Am7, up again and we gel Bm7('5), etc, This is the basis of our siandard system of harmony. Harmonized C Major Scale: G7? Am? Bm7b$) Cmaj? Dm7 Em? Fmaj7 Now apply the some concept of harmonization shown in Example 6A to 0 less traditional chord voicing (the same basic shapes shown in Exomple 6 in the key of €]. As you can see, because we are using ‘one basic chord shape, all of the chord voicings derived fram that chape are related and voicelead perfectly to one-another. C Major Seale with New Harmonization:Example 7: This example illustrates voicings that can be played over Dm7 type chords. All of the voicings are drawn from the D dorion (C major} scale. Note thet all of the voicings in the firs! three measures are derived from one intervallic shape thai has been harmonized across the neck. Note also that these chords are derived from the same parent scale as Example 6A [major] but with a different interval shape. Measures 5-6 have more traditional sound because of the use of 3rds followed by a Dm? chord, Basic Chord Shapes: k 1 oe a = {19Scales with Chord Voicings (No Recorded Examples) Here are chord charts showing some other possible voicings for the first five scales. If you combine these with the voicings already demonstrated, you will see that the possibilities are endless. Experiment with your own voicings. When you find one yau like, harmanize it throughout the rest of the scale as shown in these following examples. Scale 1 w/Chord: Compare these voicings to those shown in Examples 6, 7 and 8, all of which were drawn from the major scaleScale 3 w/Chords: Scale 4 w/Chords: Compare these voicing: to those discussed in Examples 3, 9, 10 ond 11Scale 5 w/Chords: vu Ix XIL xV XVIIAnother important stey nsight into the possible op; following triads: F, Gm, Am(>5| examine each scale for the chords i ontaine. This will give you a further Scale 6, Bb major (£5), contains the B> major (#5 F oy snes oH wa Fr F e@ ee. 6 6 €6 e i v vil Ix XI XV XVIIExample 3 Many jazz players use scales like these to improvise aver altered and/or extended chords (like those shown on the previous page). However, Allen offen uses these scales to derive his own unique chords around which he often writes whole compositions. The chords he derives from these scales defy trad tional chord symbol notation, This example shows how Allen used chords derived fram the minor (maj7;#4} seale for an E pedal sec tion from the tune “Letters of Marque.” The chords have been numbered for sasy reference. ! 4 > om > > > old ~ Example 3A: Here, the scale diagram for A minorlmaj7,#4] has bean transposed to E. \ocale Diagram eo e808 ee je sete te! ee XVII Example 3B. This example shows how the chords in Example 3 are derived from patterns found within the minor{maj7,#1)) scale, Notice how similar all af the veicings are, Ezzantialy, the idea is 10 Find a chord voicing you like and then sequence all the notes in that chord voicing up (or down} to the next note in the scale. (More on this in Part il Chord Voicings: } 6 3 4Another way to look at this would be to take the G# diminished scale and rearrange all of its notes rds beginning on G. The result is a G13|}9,411} chord: Gt Diminished Fingering Example 4: Inside of all of these scales are hidden chord patterns, This next example is drawn fram the Gt diminished pattem.