Improvising with the Whole Step Triad Combination Scale

79 Pages·2012·46.556 MB·English

by  Eric Alexander

Eric Alexander
Improvising with the Whole
Step Triad Combination Scale
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ERIC ALEXANDER

IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
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in this book.
Improvising with the Whole Step Triad Combination Scale
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Copyright ©2012 Eric Alexander
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
Preface
This ebook describes a  direct, relatively simple, and easily implemented technique that can be used by most players to develop new
melodic vocabulary. Using just one six note scale that I describe in this book, you can generate a wealth of ideas that work over a
multitude of harmonic settings. I use this technique all the time. It’s flexible yet sophisticated and is an integral part of my
improvisational arsenal.
In the twenty years I’ve spent performing and recording, my bandstand and studio experiences have given me insight into a number of
techniques for expressing melodic and harmonic ideas via the saxophone. This eBook is the first in a series of eBooks where I
introduce, explain and demonstrate a specific concept that you can learn with relative ease and quickly apply to your playing. I always
appreciated teachers who could demystify jazz harmony so it's my goal in this series to do just that-- make things easier!
NOTE! Bb by Default
I’m a tenor player and you probably are too. So all the notation in this eBook is in Bb by default. I haven’t forgotten about you alto, bari
and soprano players- or any instrumentalist, for that matter- because the playalong exercises are transposed into Eb and C as well.
Everything is provided in the answer key at the end of the document.
If you’d like to explore this material further with me, I'm available for one-on-one online lessons via Skype and can be contacted directly
for live performances, clinics and workshops.
Thank You.
Eric
[email protected]
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
Table of Contents
Introduction to Triad Combination Scales

6
Why Use Triad Combination Scales?

6
The Whole Step Triad Combination Scale

7
What are Triad Combination Scales

7
The Whole Step Triad Combination Scale

7
Where to Use the Whole Step Triad Combination Scale

8
Exercise 1 Build the whole step triad combination scale in all 12 keys

9
Exercise 2 Play the whole step triad combination scale in all 12 keys

22
Improvising with the Whole Step Triad Combination Scale

23
Convert Patterns from Diatonic to Triad Combination

23
Substitute Triad Combination Scales in the Blues Progression

25
Exercise 3 Play the whole step triad combination scale over the Blues

28
Substitute Triad Combination Scales for Any Progression

29
Exercise 4 Play the whole step triad combination scale over “Impressions”

31
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
Exploring the Whole Step Triad Combination Scale

32
Answer Keys

33
Whole Step Triad Combination Scales in 12 Keys - Concert Pitch

34
Whole Step Triad Combination Scales in 12 Keys - Bb

46
Whole Step Triad Combination Scales in 12 Keys - Eb

58
Blues solo, chorus 1 and 2 from figures 9-11 in C

70
Blues solo, chorus 3 from figures 9-11 in C

71
Blues solo, chorus 1 and 2 from figures 9-11 in Bb

72
Blues solo, chorus 3 from figures 9-11 in Bb

73
Blues Solo, chorus 1 and 2 from figures 9-11 in Eb

74
Blues Solo, chorus 3 from figures 9-11 in Eb

75
Impressions solo from figures 12 & 13 in C

76
Impressions solo from figures 12 & 13 in Bb

77
Impressions solo from figures 12 & 13 in Eb

78
Study Jazz Improv Online with Eric

79
Online Lessons Available at EricAlexanderJazz.com

79
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
Introduction to Triad Combination
Scales
Why Use Triad Combination Scales?
The six note scales built from triad combinations are used in place of traditional scales to incorporate bitonality and complex tension
profiles into improvised lines. A single triad combination scale can be used to improvise melodies over a number of different harmonic
settings to yield a variety of tension profiles. In figure 1 (in Bb), I improvised a lick from a triad combination scale to bring across a
G7sus4 sound.
Figure 1 - triad combination scale used to create a melody that emphasizes the sus4 sound
The same line played over a different chord (figure 2) brings across an entirely different set of tensions. In this case an altered
sound.
Figure 2 - triad combination scale used to create a melody that emphasizes an alt sound
Triad combination scales are useful for creating new and varied melodic ideas.
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
The Whole Step Triad
Combination Scale
What are Triad Combination Scales
Triad combination scales are six note scales that are derived from a linearized pair of superimposed triads. There are many triad
combination scales. I’m going to talk about one of them in this ebook, the Whole Step Triad Combination Scale.
The Whole Step Triad Combination Scale
The whole step triad combination scale is formed by superimposing two major triads a whole step apart (figure 3).
Figure 3 - two major triads a whole step apart
Combining the root position G major triad and the first inversion F major triad forms the six note G/F whole step triad combination
scale seen in figure 4.
Figure 4 - six note G/F whole step triad combination scale built from a G major triad and F major triad
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
Where to Use the Whole Step Triad Combination Scale
Modes of the whole step triad combination scale can be used over a number of different harmonic settings to yield a variety of tension
combinations. Figure 5 illustrates the useful modes of this scale, those built on the root, 3rd 5th and 6th degree of the scale. (You can
use the modes built on the 2nd and 4th degrees but I personally would never play those types of sounds in any context that I have been
involved in except for maybe the 2nd mode which sounds like aeolian). The 4th mode has an unusual major7sus4 sound.
Figure 5 - the useful modes of the G/F whole step triad combination scale
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
Exercise 1 Build the whole step triad combination scale in all 12 keys
1. On the first staff of the set of five blank staves on page 10, write the notes of a F concert major triad in measure 1. The first two
notes should be eighth notes and the third a quarter note.
2. On beat 3 of the same measure, write the notes of a major triad a whole step below the first, Eb, in the same way. Refer to figure 3
on page 4.
3. Superimpose the triads to build the six note whole step triad combination scale on the second stave. Build the scale using eighth
notes. Add a seventh note, an octave above the first, written as a quarter note. Refer to figure 4 on page 4.
4. On the remaining three staves, write out three useful modes of this scale using the 3rd, 5th and 6th note of the scale as the root.
Write the chord symbols above each scale to indicate the various harmonic settings that the scale can be used in: III7alt., V- and
bVII7#11, respectively.
5. Repeat this process on each set of five staves by building the triads and scales a perfect fourth above the previous one.
6. Continue for the next 10 keys.
7. Compare you answers to the answer key at the back of the ebook.
8. NOTE: Write transposed notes for your instrument! If you are a tenor player, transpose the first scale, the F/Eb whole step
combination triad scale, to Bb. In Bb it would be: G, A, B, C, D, F, G. You will use these scales for the playalong exercise later in
the book so it is important that you write out the scales so you can play them later.
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IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
F/Eb Concert Whole Step Triad Combination Scale
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