For the past ten months we have been discussing the concept of Bitonal Improvisation. The tools we have used to approach this concept are the Alternating Intervallic Symmetrical scales. The scales that belong in this category are the Augmented Scale Form One, (with the alternating intervallic symmetry of minor third/half-step), The Augmented Scale Form Two (also known as the Inverted Augmented Scale), which possesses the

alternating intervallic symmetry of half-step/minor third, the Eight-Note Diminished Scale (with the alternating intervallic symmetry of whole-step/half-step), and the Eight-Note Dominant Scale (with the alternating intervallic symmetry of half-step/whole-step). The other category of Symmetrical Scales is Constant Intervallic. There are two members in this scale category: the Whole Tone Scale (also known as the Six Tone Scale), which possesses the constant intervallic symmetry of the whole step, and the Chromatic Scale (based on the constant intervallic symmetry of the half-step). Saxophonist David Liebman has written the definitive treatise on chromaticism in jazz titled: A Chromatic Approach to Jazz Harmony and Melody. I recommend this book highly to all advanced players for further study on the applications of the chromatic scale in jazz improvisation. Now I would like to discuss the Whole Tone Scale and its¼ functional applications in jazz improvisation.

Before we preceed with how to conceive the Whole Tone scale, I would like to offer a quick review of the different forms of Lydian scales. The Lydian scale (or mode) is a major scale with a raised fourth (see example one), or a scale that borrows the major key signature from from a perfect fourth below, or a perfect fifth above (see example two). The Lydian Augmented scale is a major scale with raised fourth and fifth degrees (see example three), a Lydian scale with a raised fifth degree (see example four), or a scale that borrows the ascending form of the melodic minor scale from a minor third below or a major sixth above (see example five). A Mixture scale (also known as Lydian b7, Mixolydian #4, Lydian-Mixolydian or Mixolydian-Lydian) is a Major scale with raised fourth and lowered seventh degrees (see example six), a Lydian scale with a lowered seventh degree (see example seven), a Mixolydian scale with a raised fourth degree (see example eight), or a scale that borrows the ascending form of the melodic minor scale from a perfect fourth below or a perfect fifth above (see example nine). A Synthetic Mixture #5 scale is a major scale with raised fourth and fifth degrees along with a lowered seventh (see example ten), a Lydian scale with raised fifth and lowered seventh degrees (see example eleven), a Lydian Augmented scale with a lowered seventh degree (see example twelve), or a Mixture scale with a raised fifth degree (see example thirteen).

The construction of the Whole Tone Scale (also known as the Six Tone Scale) can be conceived intervallically as W W W W d3(W) W(see example fourteen). Since this scale contains only six notes, one letter of the musical alphabet will be omitted in its¼ spelling. This missing letter creates the interval of a diminished third at some point in the scale. The diminished third may occur between any two tones of the scale (see example fifteen).

The whole tone scale can also be conceived by many different parallel standpoints. In other words, the C Whole Tone scale contains the first, second, third, raised fourth, raised fifth, and lowered seventh degrees of the parallel C Major scale (see example sixteen). The Whole Tone scale also conatins the first, second, third, fourth, raised fifth, and lowered seventh degrees from the parallel Lydian scale (see example seventeen), the first, second, third, fourth, fifth, and lowered seventh degrees from the parallel Lydian Augmented scale (see example eighteen), the first, second, third, fourth, raised fifth, and seventh degrees from the parallel Mixture scale (see example nineteen), and the first, second, third, fourth, fifth and seventh degrees from the parallel Synthetic Mixture #5 scale (see example twenty).

If you take the Whole Tone scale (linear device) and construct a chord (vertical device) with it, you¼ll get a Dominant 9 #11 #5 chord. There are many ways to conceive this vertical equivalent. First, if we think intervallically, the chord is constructed M3/M3/d3(M2)/M3/M3 (see example twenty-one).

You can take the same parallel concepts of the Whole Tone scale previously discussed, and apply them to the C9 #11 #5 chord: C9 #11 #5 equals 1 - 3 - #5 - b7 - 2(9) - #4(#11) from the parallel C Major scale (see example twenty-two), C9 #11 #5 = 1 - 3 - #5 - b7 - 2(9) - 4(11) from the parallel C Lydian scale (see example twenty-three), C9 #11 #5 = 1 - 3 - 5 - b7 - 2(9) - 4(11) from the parallel C Lydian Augmented scale (see example twenty-four), C9 #11 #5 = 1 - 3 - #5 - 7 - 2(9) - 4(11) from the parallel C Mixture scale (see example twenty-five), C9 #11 #5 = 1 - 3 - 5 - 7 - 2(9) - 4(11) from the parallel C Synthetic Mixture #5 scale (see example twenty-six), and finally, C9 #11 #5 = 1 - 3 - 5 - 6 - 2(8) - 4(10) from the parallel C Whole Tone scale (see example twenty-seven).

Since the Whole Tone scale is symmetrical by its¼ intervallic construction, there are only two Whole Tone scales (fingering patterns) to learn. The C Whole Tone scale possesses the same notes as the D, E, F#, G#, & Bb scales (see example twenty-eight) and Db Whole Tone scale contains the same notes as the Eb, F, G, A & B scales (see example twenty-nine).

The Whole Tone scale can be applied in a progression with a dominant chord that consists of a raised fifth, raised fourth (or lowered fifth, sharp eleven), or both. If you run across a chord with an altered ninth (#9 or b9) as an extension, the Whole Tone scale would not not be a good scale choice because of the dissonant clash that would occur with the natural ninth (second scale degree). Example thirty is a vertical exercise that will help build your technical artillery with the Dom 9 #11 #5 chord. This exercise should be practiced in all twelve keys. In my next column, I will provide you with an overview of all the symmetrical scales along with their functional applications for improvisation.