the book of scales · could be applied to jazz improvisation. by taking the basic diatonic scale...

The Book of Scales

Vol. 3

by: the Jazz Preacher

C

A

B

b

D

G F

Ab

Gb

Eb

B Db

E

I

X

III

VIII

v

VI

V

XII

XI

IV

IX

II

VII

F

D Bb

C

Ab

G

A

Db

E

Gb

B

Eb The COMK ©

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Copyright © 2020 the Jazz Preacher. All rights reserved

The Book of Scales. Vol 3

Table of Contents About this book

How to use this book

What you should know

The purpose of this book

Who needs this book?

33 Alterations reduced to a Common Tonic

And one more thing

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About this book: The 12 note is the universal chromatic scale, which has probably led to the misconception that a

chromatic scale must consist solely of half tones. The word ‘chromatic’ comes from the Greek chroma - meaning colour

- not the type of intervals in its scale. After years of investigating Occidental and Oriental scales it occurred to us

that not enough had been done to explain how to use the Chromatix. Surely there could be shorter versions of it that

could be applied to jazz improvisation. By taking the basic diatonic scale and adding one, then two sharp notes and

so on, it is possible to construct 8, 9, 10 and 11 note scales. These have been named The Chromatix.

How to use this book: This book illustrates the Natural Scale of C Major, reduced to a Common Tonic (C), in every possible chromatic form it can be altered, without repetition. In total there are 33 alterations. What you should know: All examples are written in complete Rotation. These are concise illustrations of how the chords in the Cycle shift effortlessly from one mode to the next. Anticipating the next chord in an arrangement helps you to extend your original theme when creating the improvised line. It is not necessary to use the complete rotation in every composition; there are many ways the rotation can be used, which you will discover soon. The purpose of this Book: To develop your ability to create the improvised line in Jazz improvisation. This book contains so many new ideas that we guarantee you will have a new idea every day for the rest of your life! And we’re not just talking scales; if you are familiar with the construction of chords and their notation up to the 20th century, then prepare yourself for the 21st century chords and their notation. Who needs this Book? If you are still reading this, then you! It goes to prove that at least you have some interest in creating music. Although this book is aimed at creating the improvised line in Jazz Improvisation, it can also be used by composers, to create anything from a jingle to a symphony. Everything may be written in the key of C, because it is the foundation key in all music. But the information can easily be transposed into any key, as you will soon learn if you read this book through to its conclusion. As you peruse the pages of this book you’ll see that it caters to every standard of musicianship: from beginners to advanced players. And if you still have any questions we are happy to answer them.

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Now, to cut to the chase; what this book is all about.

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Have you ever had that feeling that you’ve forgotten something or left something out? That’s how I felt after writing out my thoughts on the Chromatix. And that’s when the penny dropped – the two Diminished Scales! So, like long lost relatives, here they are; out of place maybe, but finally included.

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And one more thing

Proof that the Cycle of Keys and the Cycle of Modes are both Cycles of Fourths. Because the Rotation for both Cycles is identical it is possible to configure the COMK in any Mode. C in the Cycle of Keys is the I note of C in the Cycle of Modes, and F in the Cycle of Keys is the VI note of C in the Cycle of Modes, and B in the Cycle of Keys is the XI note of C in the Cycle of Modes, and Eb in the Cycle of Keys is the IV note of C in the Cycle of Modes, and Ab in the Cycle of Keys is the IX note of C in the Cycle of Modes, and Db in the Cycle of Keys is the II note of C in the Cycle of Modes, and Gb in the Cycle of Keys is the VII note of C in the Cycle of Modes, and B in the Cycle of Keys is the XII note of C in the Cycle of Modes, and E in the Cycle of Keys is the V note of C in the Cycle of Modes, and A in the Cycle of Keys is the X note of C in the Cycle of Modes, and D in the Cycle of Keys is the III note of C in the Cycle of Modes, and G in the Cycle of Keys is the VIII note of C in the Cycle of Modes.

C

A

B

b

D

G F

Ab

Gb

Eb

B Db

E

I

X

III

VIII VI

V

XII

XI

IV

IX

II

VII

F

D Bb

C

Ab

G

A

Db

E

Gb

B

Eb

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Further Proof: C is the I note of C in the Cycle of Modes, and C is the VI note of G in the Cycle of Modes, and C is the XI note of D in the Cycle of Modes, and C is the IV note of A in the Cycle of Modes, and C is the IX note of E in the Cycle of Modes, and C is the II note of B in the Cycle of Modes, and C is the VII note of Gb in the Cycle of Modes, and C is the XII note of Db in the Cycle of Modes, and C is the V note of Ab in the Cycle of Modes, and C is the X note of Eb in the Cycle of Modes, and C is the III note of Bb in the Cycle of Modes, and C is the VIII note of F in the Cycle of Modes. Now you have the perfect device for achieving the following objectives: Objective 1: Find any Chromatix Mode

This Book is designed to be used in conjunction with The Book of Lessons Vol 3.

the book of scales · could be applied to jazz improvisation. by taking the basic diatonic scale...

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