JAZZ PLAYER - AUG/SEP 1996

In my last column, we considered the symmetrical scale to chord relationships within the progression of the tune One For Wayne. With this article, we will consummate the ongoing analytical essay deliberating an overview of symmetrical scales and their functional applications for improvisation and music in general. To conclude this in-depth macro to micro study, I would like to analyze the solo transcription and discuss the symmetrical implications of the improvised solo from the 1993 recorded documentation of the composition.

Measures A and B of the solo transcription (transposed for the tenor saxophone) constitute a short two chord introduction. This statement is used as an introductory cadenza to foreshadow the somber (and harmonic) mood of the piece. In my last article, we discussed in detail the concept of altered groupings known as „altered combinations¾. From that discussion, you may recall that both chords in the introduction possess the same altered combinations (#11, #9 and #5). In measure A of the transcription (D/Eb+, or EbMAJ 7 #11#9#5), the altered combination is coupled with a major seventh chord, while the second chord¼s (A7 #11#9#5/Eb) altered combination is coupled with a dominant seventh chord. Even though these two chords contain the same altered combination, they have two separate functions and scale to chord relationships. Functionally, the altered combination of the sharp eleven, sharp nine and sharp five does not work well coupled with a major seventh chord (sharp nine¼s function better when coupled with dominant seventh chords). This chord is preferably conceived as a bitonal sonority i.e., D/Eb+. The perfect scale choice for this situation is a synthetic bitonal scale, constructed specifically for a bitonal sonority (see example one). In measure A of the solo transcription you can visualize the application of this scale. One scale choice for the chord in measure B would be the Altered scale. This scale is also known as the Diminished (or Dominant) Whole Tone scale. This is because the altered scale starts out like the Symmetrical (alternating intervallic) Eight Note Dominant scale - half-step, whole-step, half-step, whole-step, but ends up like the Symmetrical (constant intervallic) Whole Tone Scale (see example two). In measure B of the solo transcription you can visualize the application of the A altered scale.

A complete Whole Tone scale is applied over the C#7 #11 #9 #5 chord in bar eight of the solo transcription as a type of „sheets of sound¾ flourish. This Whole Tone scale starts on the sharp five of the chord (A), and travels though the seventh (B), root (C#), ninth (D#), third (F) and sharp eleventh (G).

Note the preferred application of the Lydian mode over the F#MAJ 7 #11 in measures nine and thirteen of the solo transcription.

Bar sixteen of the solo transcription occurs during the second cadenza section towards the end of the arrangement. In the beginning of this measure, an F# Altered scale is applied, blending into an A Altered by the end. The third ending cadenza (measures eighteen through twenty in the solo transcription) is a linear and vertical fusion of the B Locrian and B Whole Tone scales.

The pattern applied in the beginning of the fourth ending cadenza (measure twenty one of the solo transcription) contains the sharp five (F), third (Db), sharp nine (C), and flat nine (Bb) of the chord, ending with a three octave Db augmented triad ascending arpeggio. The last bar of the piece brings us back to where we started: with a Synthetic Bitonal scale. This time a C is added to the scale as a passing tone.

For those of you interested, the performance of this arrangement and solo (orchestrated for five saxophones, five trombones, one tuba, two French horns, five trumpets, piano, guitar, bass, vibes, percussion and drums) can be heard on my recording Saxercise on Night Life Records (now the Sea Breeze Jazz label) - CD number CDNL 3009. The arrangement (full score and parts) we have analyzed can be acquired by contacting Walrus Publications in Glendale, California. Feel free to contact the Music Office @ (818) 242-2093 for either the CD or the arrangement.

This column concludes a twenty two month discussion on bitonal and symmetrical scales for jazz improvisation. I hope you¼ve enjoyed this excursion as much as I have. Next time, we will continue our travels, delving into Synthetic Scales for jazz improvisation. ciao!!

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