DR JOHN’S JAZZ CLINIC Part 4

DR JOHN’S JAZZ CLINIC Part 4

Lets now examine 8 note scales. One way to do this is to transform the 7 note scales into 8 note bebop scales such as the following:

C lydian        C C# D E F# G A B (D7)

C lydian b3        C C# D Eb F# G A B (D7(b9))

C lydian b7        C C# D E F# G A Bb (D7(b13))

C lydian b3b7        C C# D Eb F# G A Bb (D7(b9,b13))

C lydian #5        C C# E F# G# A B (D7(#11))

C lydian #9        C C# D# E F# G A B (D7(b9,9)

C lydian #9#5        C C# D# E F# G# A B (D7(b9,9,#11)

C locrian n9n13    C C# D Eb F Gb A Bb (D7(b9,#9,b13,no11))

C locrian n9        C C# D Eb F Gb Ab Bb (D7(b9,#9,#11,b13,no5)) (ie D7alt)

The added C# is just a passing note.

Another way is to use the symmetrical diminished (1,1/2) scale starting on C. (You will note that the same set of notes arise when you play the diminished (1/2,1) scale starting on D.) C dim(1,1/2) contains the notes C D F# just as do most of the above lydian- and locrian-based scales so you would suspect that the scale is going to sound alright over D7 whose principal notes are D F# C.

Position

1

3

10

12

7

9

4

6

C dim(1,1/2)

C

D

Eb

F

F#

G#

A

B

Intervals

1

9

b3

11

#11

#5

13

7

The sound over D7 is D7(b9 #9 #11). The scale could be rewritten as C lydian b3#5 add11 where the add 11 could be viewed as a passing note turning C lydian b3#5 into a bebop scale.

A more complex sound arises from playing C dim(1/2,1) over D7.

Position

1

8

10

12

7

2

4

11

C dim(1/2,1)

C

Db

D#

E

F#

G

A

Bb

Intervals

1

b9

#9

3

#11

5

13

b7

The sound over D7 is D7(b9,9,b13,maj7), unusual to say the least. At least it contains a C and an F#. C dim(1/2,1) could be thought of as C lydian #9 add b9 where the add b9 turns C lydian #9 into a bebop scale.

In PART 5 we will look at the role of 6 and 5 note scales in this lydian-dominated universe.

END OF PART 4

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