Ithaca College Library — XIM xim-rw: 229607 IMIIMTNNOUU U Call #: MLS .J35 Location: Music Periodicals Available Journal Title: Jazzforschung = Jazz research, ue: 9 MonthiYear: 1977Pages: 25-35, Volume Article Author: Article Title: Towards an Understanding of Scales in Jazz Imprint: Graz [Austria]: Universal Edition, 1969- 111912017 Borrower: Hunter College Library - IL ZHM TN: 14 Action 8452 Staff initial & Comments Pulte Scanned Cropped Sent Comments,Soft Preasing, Bundoora/Australia Recent Work in Jaze research suggests tat we can now begin to discern ‘number of theoretical principles which seen to operate in face, pethaps, paculiar to Lt, Two exagples in this journal have focussed on a detailed understanding of the use of rhythnte ais nent to effect awing 1), and the variety of polyrhythaie aspecte in ganz welody 7), tia paper ateenpta to refine understanding of the harnonie practice of jazz by consideration of the concept of scale. It 42 presented with ene background conviction that the harmonic principles of tonal Jazz nay be seen to offer an extension to the functional harmonic practice of 18th and 19th century Nestern art music alternative to the extenston/breskdown of tonality heralded by works of Debussy, Ravel, Scriabin, Stravinaky, Bartok, pre 12-tone Schinberg, et.al. This alternative ‘eo take the form of considerable similarity in musical vocabulary bet janx and the vorks of such earlier 20th century composers, but with appreciable differences in musical syntax. ‘the important qualifier to this conviction is contained in the phrase onal jazz", here desined to be jazz musical events imply te (root of tonse of key contre). customarily there are ierarchies of special tones, deternined by chord relationships ‘relationships, neledic enphasis, ox other factors, Tis definition 1e quite broad, but omits fron consideration an appreciable body of music, much of AE within the confines of free jazz, The effects of this remaining Inasie are then to be understood by different logical systems. 5. cecél Taylor), nce of (at least) one spectal tone of pucely intervallc organization. ‘ronal jase, then, has in mind the harmonic development of Jazz fron Ate earliest daya, through ita aasoctation with blues and the popular 122 originals, up to the present - Hare we would find the works of Louis Arastrong, Charlie Parker, ‘gong, to the creation of written Duke ELLington, Miles Davia, pee-1965 John Coltrane, Keith Jarrett,Mccoy fyner, tor example. Ti either by chords er node: sente of a tonic, usually expressed jen dominant in Jaze historically. ‘The modal approach was the Later of these tv most common arise, being first widely used by Miles Davis in the 19508, This savour of sonething more Like horizontally-orsented pandiatonician. 1m its purest form the mode 1s sacrosanct and provides the Amprovieer with @ ready catalogue of (usually 7) pitch classes fron which to construct melodies. This strict or absolute modal approach may be broadened by chromatic enh: and beginning sntervening ach which still dominates current thought and connects most closely with the modal conception. feanding of 4 and chord to be ince his depends on both harnonic and neled ‘the Janz Literature scarcely consronte the reoult being a myriad of conflicting personal opinions. consider prinarity scales and extensions (or notes added) to the basic prinetptes of function Anto tonal regions. hi However, particularly with progre for mininal wath ekstorences bet , ean oF tmpor tance, nore traditional root novenent the method £4118 in sone provide an understanding of the way in which jazz uses these scales, and perhaps nore seriovely, faile to provide a sinple rationale for the existence of other “apecial" scales in the repertoire, notably noise of the diminished, vhole tone, auguented and harmonic major scales. The following is an attempt to understand why and how tonal, Jeez utes certain veales. Firat a definition of the word scale ie needed. It clearly consists of an ordered set of pitch classes, with an additional restriction needed to rule out arpeggios. The most connon restriction would be that there be no steps larger than sugnented second (enharmonically lainor 3rd), but this 1s a pit too Limiting here (ror example the Japaneae pentationse CD ° @ A would be excluded), to do better we be divided into independent separately to first approxination. A scale may then be defined to be ‘The ordered set of intervals datern: 14 by arranging a yclic sat of distinct pitch classes in ite most consent secending ordering. of dependence on tra A doternined by a starting point Scales are know to funtion in the folloving ways in jest (2) As a catalogue of most probable non-harnonte tones in conjunc (2) Az a s0t weed to generate chord extensions. (a) Ass aot used to delineate the tonal implications of a given chord or sequence of chords. In particular th Amportant chords in the Key a (4) As an alternative method of tonal ozganization to chords (modat narnony or scate-acaie progressions) «‘These conceptions of scale might be caricatures as (1) Linear (2) vertical (3) aistonic (4) nodal. The fourth approach has been previously mentioned and I will not dvell on it here. the other three give varying viewpoints on the 4 compatibility. These viewpoints, especially the first two, may be contrasted by an examination of Jazz melodic practice, In jazz, higher extensions of a chord (9th, 11th, 13th) may be weed elodically 22 stable tones, i.0., function a2 consonant. in Mestera art musie of the tonal ers, this is not #0. There, Minth, Eleventh ‘and Thirteenth are almost invariably the result of non-hermonic nelodic figuration, at some structural level in the piece, in the Schonkerian sense. That 8, exteneiona higher than 7th are spproached and/or lost by atop. Jazz frequently uses these higher extensions in way, but also incorporates then in clearly chord-related Janet) rete such ae Cre Foy) hore anslyeta in terme of nen-harnonic tones would he contrary to the musical effect. wood in thi Consequently, functioning in beth conceptions (1) and ¢ ng other tones may only function in | thee $a, Linearly. Ambiguity about which of these to weages a scale is to be put to may bbe nela respensibie for most of the divergence of ideas on chord nusseit °), kusso °), saker °), Aebersold sx, only #0 m@ extensions are typically mrbitrarily disjunct fashion in jazz; others are not. lee incorporating these ton fare capable of ove. Scales incorporat- scale compatibility ‘As haa been pointed out by patibility of chord and dont, varying with’ the function of the chord in question. In particular, a scale may be ‘selected on the basis of its fit to the chord in question, or on the Hit to another chord to which the given chord stands in ‘ation. This definite relation can be circle of fifths, ny Jaze educatore (e.g. Russe21 2), coa- aetinive co of function (chord substitution), identical chord quality, ‘According to the shove, another Eactor in scale choice 18 scale function, that is, will 46 role be Linear (harmonically, aependent) of vertical (hernenieally éosining) 7 ft role is co be only Linear (extensions nigher Gham 72 used non hnarsonicaily), then any scale containing the spect fied chord tones will fit our orsterion, The minerous posaipilities for various Teh chord qualities have been given by Baker °), ana his conprehensiveness Aa welcone but at the sane tine overvhelaing. Probably substantially ‘simpler than learning on the order of 500 ney scales vould be an understanding of the available chronatic possibilities of Linear notion for 78h chords. Scales corresponding £0 conception (2) (which sa and sa will be aiscussed elev, also satissy con: Power in nunber, but due to thelr melodic versatility and chordal resources, will have nore general usofulness, This contention is supported by the fact that plano or band voicing# are, with very fev ‘oxceptions in tonal jazz, merely subsets of the well-known jazz scales, 1) ghia applies to contrapuntal az well as functional chords. ok criteria by which these particularly ily selected. To do #0 we begin by asking cconnon in jazz while others have traditionally been shunned. Three examples of this are presented here: (2) ara and 11th do not normally occur simultaneously on Goninant chords A minor 9th 18 8 very rare addition to a minor 7h chord (2) Dopinant Teh chords typieatly do not contain both «23 ithe fev exceptions often invelve registral separation of the tones "in consisct™, Sone of thie may be subsuned under the rubrics of cultural or historical tradition, but the auspieion 49 that behind those, soli ‘musical reasons lurk’ aa well. An obvious hypothesis to investigatewould be that extensions oF ade notes which create functioned confusions are avoided. Again, this 18 context dependent proposition, bot finds oblique support in the correlation between lass conson ver~ ical structures and non-circle of £1ztha ract notion in contemporary, writing. ‘The proposed principle does tend to explain the first two examples shove. the first, since the normal note of resolution of the Sra 4s present, weakening the haronic function of the 2esding note, The second, aince addition of the minor 9th creates an obtrusive dominant Tem sound with root a minor ed higher which tend to usurp the customary dominant preparation (aupertonic, subdominant, or subnedtant) function of the minor Teh chord. A further ALluatration ia provided by the “weakness” of major 6th added to a minor triad with mupertonic function, due to anticipation of the characteristic eeding tone of ‘the doninant to follow. This shows contextual dependence, since the 6th added to a tonic minor triad ie quite conon, partioilarly in sore traditional styles. (The first two munbered examples involve voiding the minor Sth interval with a chord tone, often in chord-scale compatability, though not an inviolable one as by the $9 alteration's connonplaceness on the dominant 7th chora.) tn the third case given above the confusion of harwonte function ie more concealed, but seens to correspond to the presence of 2 ton separated only by halésteps, nanely the '7, 19 and 45. On the basis of this we may postulate the avoidance of adjacent half-ateps in ‘the scale form of a voicing. This avoided aitustion corresponds to ‘the torm “coniicting extensions" used by sono Jaaz arrangers. ‘te invocation of such @ principle demands that ite practicsl implications be exanine out for all seal I felt this hypothesis would be strongly supported Af ite application to ail possible scales would select out those used vertically in jaz and only those. non-AHS scale: A numerical tabulation of the results ‘8 az follower Momer of | Munber of | Mumber of | Munber of Diatinet Seale 2 6 a 6 a » 8s ae ‘ 80 462 26 7 66 462 6 8 2 330 a ° » 16s ° 10 6 8s ° n 1 h ° a 1 1 ° table 2 ‘ 12 are defined intervallically be Scale are not counted a6 distinct.) , transpositions of a ‘Te nost innediate consequence of the above hypothesis would be that Js of greater than 8 notes are not important in the extendet vertical organization of tonal jazz. The two common jazz acales of 9 or more notes support this contention. The (usually) S-nete blue scale (¢ D2 F yf ABH) 40 linear in conception, specifying a tonic (here €), but leaving chord qualities ambiguous. The 12-note enromatic is uaed Linearly in tonal contexts, or forna the basia for alternative systens of piteh organization (e.g. intervallic or sersan) ‘The only G-note acale with no adjacent half-steps (AHS) 4a the familiar dininiahed scale (c DB} y #F ot AB), largely associated with Jaze but algo used by Rimsky-Korsakov and Stravinsky. Te can bbe used vertically, aost often colouring diminished or altered Gominant chords. ‘Te Tonote structures obtained are (each existing in 7 nodal forms): As Major 2. Ascending Melodic Minor 3. Harmonie Minor a2zs4as6n G2hasen 24345 167 4. Harmonie Major 2345 %6naha aaa te 5. “Dintnienea onte 2" Scales 1-3 end sone of thelr modes are fanitiar tron traditional harmony, and § and 6 have fow properties not subsuned in their statue nnajor", with scriptive mane, due, to ay knovledge, to Slonineky 7, sa quite rare, Yor example, neither 4¢ nor any of Lta nodal forms sre to be found in Colin and Schaefter's Seal which includes very aperanent equivalents of a number of fairly exotic scales of the world's music. Neither has st played any substantial ele in elther North of South Sodian classical musics 25) Five nods forne ere given in Sioninsky 7), ehough ynether these reat on any particular practical experience is not indicates. Encyclopedia of spproxinate equal George Russel je in jazz, if rare, is not unknown. Tt features in 2 scale 12 4 fof the harmonic major sbove, nore descriptive. in a personel note, nis acale had crept into my own improvisations, which instigated the ‘enquiry leading to this article. Stoninsky's nane, to me, 20eh tn view of the above, the scale soena fairly unique to Jaze end pron vides support for the non-AHS hypothesta. of ali the G-note scales, only 2 of the 26 non-AHS acales are not eub- sets of the Tenote non-allS ecales 1-4 above of the diminished scale. ‘These are in fact the two of special inport in jazz the whole tone aaa Fah ‘eva, Thelonious Honk and many others, and the augnented scale (1 #235 46 7), e.g. Chick Cores, Oliver Kelson. These scales are weed a8 idiomatic colourations for specitic chorde int 15 and major ’ respectively), and as (dominant mainstays of free or bby the Gcnote diminished scale (as well with symmetries) ‘Te other 24 G-note non-AllS scales, with a few exceptions, do not seer 1g separste status ae defined by the repertoire of jaze 4) amie may be presumed to be due to their close relation, The scales differing by 2 notes fron their "parent scale, ‘ene potential to achieve more independence. The couputer search tonal resource from earliest tines simplest form of the blues to the present day. The nodes of tho anhonitonic (no 1/2 steps) Dentatonic scale are by far most conmon, but others, often associated and constitute an inportant scale with Oriental cultures, ara in vse today aa well. AUS pentatonice do not seen to be used at all in ass, but the full range of non-A pontatonics avaite exploration. This exposes the Limite of the AMS hypothesis, since with S or fever mmbere of notes, the presence of according to the statistics of Table 1. Finally, {8 should be pointed out that the non-AHS scales are also the most Likely candidates for the “diatonic attitude to acales, corresponding to conception (3) above. This may be that a number of the aiatonic triads of ANS act Giminichea thirds, which vill voaken then ae possible tonics or supporting structures. Nevertheless, it is not clained that on ly on-AS can function in this way. tron the fact wil. contain ‘ro sunnaciae, this paper hag attempted to clarity 4 common ways scales function in jazz. Tt has then pointed out that certain scales may operate in all four ways, nanely, thos contain adjacent half-steps. The Lack of scales which do not jacent half=stops in voteings (or scales with vertiesl potential) nas as an indication of avoidance of functional confusion, a postulate fof nore general character used to explain the vertical structures in the Jazz repertoize. This non-Alls Tndian-derived acale 1 $23 445 46 7 weed by Alice Coltraneare used in explicitty Linear fashion and pos nor “Biatonict versatility of other jazz scala: 18 neither the neloaie (ane most conapiouous fof these, the many note versions of the blue part from attonpts of equal-tespered instrunenta to play the Afro~ ‘Anerican blue noes.) in addition, a computer search has shown that sie, arise in Large we deen aealee, 0 nove (in & few of fe in the import one o£ the above Le to Be constrved as an attempt to Limit what can be on the basia of what has boon, Tt should be seen in the Light of the Jaze musician's attitude to the harmonic progression against Which he chooses to compose, yhother on paper or in real tine. Use of AIS (or inappropeistely chosen non-Nis) scales in arbitrarily disjunct jhion will not constitute a melodic rendering of the progression, land Witt probably have & confused or "outsid harmonic tenpo, pre jony and melody, interpersonal aynanies of persora ‘mast inevitably quality the ‘theoretical prindiples of a stiil-evolving art form. a 1) Mots Stewart, Janztorschng 6/7, 1975, 141 2) D, Giowiechnig, Jezstorechung 1, 1970, 133 3) G, Russell, The Lydian chrongeie Concept of Tonal Orgentsation Gancepe tub, 2, Qaow York) 3559. 7 conda, dasztorechung 3/4, 1973, 194 te Gotggttion snd Orchestration, Universtty of chicsgn 8) D. Baker, avanced Inproviestion. Maher Fublécations, Chicego 1974. 9) D, Doker, dete Inpeoviastion. ssher fublications, Chicags 1969 20) gi Atbestold, Ney Approtch to Jaze Inprovisstion. Aabers0l8, 32) 6. colin and D. Senaetse 19) feng for exanpley A; Dantelou, Worth tndian tusic. Halayeon Drees, faitable, a6 in, for example, SSistnatlsetsetheae” ar tone et evel range, aerfontsonelie Rontuaionen Nervorrufen (contiiceing Raie"etepe’(Honenosnenaerdiegénde Halbeonsenrteee) postal a