Chromatic Whole Tone Scale … The whole tone scale consists of a succession of notes in fixed whole step intervals from a given note to its octave. Having explored major triad pairs in my first two videos, the next most obvious triad pair would be two minor triads separated by a whole tone … the C half-whole diminished scale and the C# half-whole diminished scale share these triads: C#dim Edim Gdim Bbdim while the C half-whole diminished scale and the B half-whole diminished scale share these triads: Scale 1365: Whole Tone: Scale 1363: Gygimic: Scale 1371: Superlocrian: Scale 1375: Bothyllic: Scale 1351: Aeraptimic: Scale 1359: Aerygian: Scale 1383: Pynian: Scale 1399: Syryllic: Scale 1303: Epolimic: Scale 1335: Elephant Scale: Scale 1431: Phragian: Scale 1495: Messiaen Mode 6: Scale 1111: Sycrimic: Scale 1239: … Another common hexatonic scale is the whole tone scale. When you play the whole tone scale over minor chords you always play it a half step down. Minor Pentatonic 11. You see, a whole-tone scale (A scale made of all whole-tones) only has three possible intervals (excluding inversions). I’ve found that by conceiving of it both in augmented triads and with chromatic passing tones it becomes a little less obviously “whole tone”. As a result, there are major triads and minor triads. Major and minor scales consists of 7 notes, while pentatonic scales are made of 5 notes. These are the notes that give the whole tone scale its unique, "dreamlike" sound. All triads are augmented. Going from an Eastern-flavoured semitone – tone feel to … For example, every second and third is major, every fourth is a tritone, and every sixth and seventh is minor. It is key to study them in relationship to other augmented structures (for example, within a whole tone scale), or in the context of a chord progression that uses an augmented chord. E Whole-tone scale . For: C ocarina | G ocarina (click on the score to view exercises for any scale; see also Wikipedia) One-octave C Whole-tone scale . In this lesson entitled Whole Tone Scale-Lesson 3, we are taking a look at using the whole tone scale in a variety of diatonic augmented triad patterns over augmented triads and augmented dominant chords. This means that two non-enharmonic diminished scales share 4 diminished triads, but no major or minor triads. The simplest one is to play it over a dominant seventh chord. Altered Scale 19. Some also refer to this as the double diminished scale because it can be conceptualized as alternating between two diminished arpeggios (C, Eb, F#, A and C#, E, G, Bb). According to Jermaine Griggs, “…a triad is a collection of three related notes (agreeable or not) that maybe played together or separately.“ Permit me at this point to breakdown this definition of a triad so that you can have a better understanding. These spread triads can help you to see the connections between the chords on the fretboard. Possibly, the most common Melodic Minor derived Triad Pair (although by no means the only one) consists of triads generated from the 3rd & 4th scale steps (Ab-C-E & Bb-D-F in F Melodic Minor) - in other words, an Augmented and a Major Triad a whole step apart. Locrian Mode 15. The scale provides a nebulous, unsettled feeling with its lack of fa-mi or ti-do resolution. The application of this scale really shines when you use it over one chord vamps and modal tunes that have a slow-moving harmonic rhythm. The whole tone scale is a six note scale in which there are only whole steps between adjacent notes. Within this group of notes we get some notes straight from the G7 chord 1, 3 and b7. Since the melody may trump … Major triad: How to build from the 1st scale degree of the major scale C-sharp Whole-tone scale . One triad is diminished. Building Triads. The first part of the definition says, ‘…a collection of three…’ There are two basic applications of this scale. The Whole Tone Scale on Minor Chords If you really want to use the whole tone scale in some very challenging areas, try minor chords. The Wholetone Scale, as the name implies, is made up exclusively from whole tones. You build triads on all scale degrees by following a formula of 3rds. Minor Triads 12. Diminished Scale 22. C and D Augmented Triad Pair Minor triad pairs. (6.2) Scale Tone Triads. Mixolydian (b9) (b13) 20. E-flat Whole-tone scale . Any pattern built on one step of the scale can be replicated on all other steps of the scale In lesson 1 we talked about what the whole tone scale is, how to construct it, use it and practice it. Augmented Triads If we use the other voicing, the thirteenth, then we use the sharpen fifth - we take that form of it. What I mean by that is that it is a construction of notes and not something like a key. It is difficult to establish a clear tonic pitch when using the whole tone scale; music that uses this scale tends to sound "blurry" or "wandering." Lydian b7 Scale 18. Also fine: augmented triads (as long as they don’t imply a major 7.) Whole Tone Scale . It’s an eight note or octatonic scale that alternates between half-steps and whole-steps. This simple melody ascends using augmented triads grouped in threes and descends … That doesn’t mean that you can’t put it to good use in a tonal context. E.g. The whole tone scale is somewhat uncommon, and is often only used for short … It is primarily associated with the French impressionist composer Claude Debussy , who used it in such pieces of his as Voiles and Le vent dans la plaine , both from his first book of … In addition to this, we get some more colourful notes: 9, b5, and #5. since all the notes in a whole tone scale are a whole step apart the triads will all be augmented triads. From each scale degree, you can build these triads by alternating notes (intervals of a 3rd) within the scale. Diminished Triad 25. Chords that fit in this scale: Normal Triads: C#aug D#aug Faug Gaug Aaug Baug. The tritone has appeared in Western music for hundreds of years. A Short Note On The Whole Tone Scale. After all, plenty of guitarists know how to play this scale but not many use it because it has a pretty weird, unsettling sound. when improvising on such harmony you can make drastic shifts in sound. Play A Whole Tone over A dominant 7 so you can hear how it sounds. In dominant chords based on whole tone/half tone scale between root and #11, b9 and fifth, #9 and 13, third and minor seventh (as described above). It has two non-enharmonically equivalent positions: C D E F ♯ G ♯ A ♯ C and D ♭ E ♭ F G A B D ♭ . The whole tone scale can be a bit too transparent to use frequently during improvisation. F-sharp Whole-tone scale . However, the whole tone scale has 6 notes that are all a whole step apart, making its intervallic formula easy to remember - W-W-W-W-W-W. The Tritone Scale is a synthetic scale like the diminished or whole tone scale. Other Triads: 4 Notes Chords: C#7b5 C#7#5 D#7b5 D#7#5 F7b5 F7#5 G7b5 G7#5 A7b5 A7#5 B7b5 B7#5. The Whole Tone scale exists with two sets of notes: C - D - E - F# - G# - Bb (shown above) C# - D# - F - G - A - B This is because there is no leading note in a whole tone scale, since it can be played symmetrically from any note on the keyboard, and all the intervals are the same. Diminished Scale Half-Step Whole Step 24. Whole Tone Scale 21. D Whole-tone scale . The principle of relating chords to scales is essentially quite simple: Any chord made entirely from scale tones (and not having any notes from outside the scale) is related to the scale, and is likely to suit a piece of music written in the scale. Starting from C: …and moving upwards in a fixed whole step interval: C to D: D to … Diatonic Triads 13. Whole Tone Scale – Starting on C. The C whole tone scale above is comprised of the notes of a C augmented triad and a D augmented triad. If we take C7 Well that voicing doesn’t have a fifth in it, but if we put in a fifth in it and we augment it - we sharpen it, then the whole tone scale is an appropriate scale to play with it. Interval structure of this scale: W W W W W W. (W: Whole tone, h: half tone) Scale structure: 1 2 3 #4 #5 b7. There a couple things to notice here! It is great to use over dominant #5 chords as long as you understand the notes you will get: 9th, #11, #5. T------------------------------------ … The Chromatic Whole Tone Scale is a great alternative to use over the diminished scale due to the fact of it having a lot more triad combinations. A classic “dream sequence” sound, the whole tone scale is just that - all whole steps. Augmented triads can be found within the whole-tone scale. Because of the half step and whole step formula of the major scale, some 3rds are closer or farther apart than others. Diminished triads can be found within the diminished scale (as well as major and minor scales). There are no half steps in a whole tone scale so all thirds are 2 whole steps and all 5ths are augmented ... A common trick is to use major and minor triads over a pedal point, i.e. Melodic Minor 17. C Whole-tone scale . Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. G Whole-tone scale … Diminished 7th Arpeggio 23. scales with a unique collection notes) and then the various modes of those two scales: G Wholetone Scale = G A B C# D# F C Wholetone Scale = C D E F# G# A# F Whole-tone scale . Please permit me to refresh your mind on the whole tone scale before we proceed. An Augmented triad can also be built on the 5th degree, as is … Pattern Repetition in the whole-tone scale is especially pronounced. Because of this there are only 2 distinct wholetone scales (i.e. the tritone in chords The Tritone’s Diabolical History. Harmonic Minor 16. From any given note, moving to another note, the space between them can only be: A major 2nd (a whole step) A major 3rd; A Tritone (augmented 4th/diminished 5th) There are only 2 whole tone scales. The whole tone scale is a series of whole tones. Whole-tone scale, all keys. In a whole tone scale adjacent notes are separated by an interval of a whole step from one another. … Diatonic 7th Chords 14. The same triads that exist in the whole tone scale also exist in the melodic and harmonic minor scales. When you build triads on each note of the whole tone scale, all of them are augmented triads: This means you can start by playing a G augmented triad over G7#5 and go up or down the guitar neck every 2 frets, such as in this example:

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