the book of scales vol 1 · 2019-09-26 · these 50 altered scales produce at least one dom 7; some...

The Book of Scales

Vol 1

by: the Jazz Preacher

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Copyright © 2020 the Jazz Preacher. All rights reserved

The Book of Scales. Vol 1

Table of Contents

About this book

How to use this book

What you need to know

Suggestions

63 Alterations reduced to a Common Tonic

And one last thing

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About this Book This book is about using the Cycle of Movable Keys to create the improvised line in Improvisation. It illustrates the Natural Scale of C Major, reduced to a Common Tonic (C), in every possible form it can be altered, without repetition. In total there are 63 alterations, divided into 6 categories:

1. Scales with 1 altered note 2. Scales with 2 altered notes 3. Scales with 3 altered notes 4. Scales with 4 altered notes 5. Scales with 5 altered notes

These 50 altered scales produce at least one Dom 7; some produce two Dom 7s, and one, which we regard as the most exciting scale ever discovered, written for Jazz Improvisation; produces three! Then there are thirteen (13) scales which produce not Dom 7s using the notes of the altered scale.

6 Scales with no natural Dominants. Is it true to say that no two Rotations are identical? You’ll soon pick up examples of apparently identical Rotations; eg: the b2 and the #2 Rotations. But look closely and you’ll see that the keys affected are slightly different. This happens on several occasions, such as the b5 and #5, etc. How is knowing the Rotation useful? 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. In a freeform scenario, knowing the next chord in a sequence 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 is to develop your ability to create freeform jazz. This book contains so many new ideas that we guarantee you 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 freeform jazz, it can also be used by composers, to create anything from a jingle to a pop song or even a symphony. Everything is written in the key of C because it is the foundation key in all music knowledge. But the information can easily be transposed into any key using the Cycle of Movable Keys [the COMK], as you will become aware of if you read this book through to its conclusion. As you peruse the pages you’ll see that it caters to every standard of musicianship: from beginners to advanced players.

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How to use this Book Reducing the Cycle of Modes to a common tonic is the only known method of determining the Complete Rotation of the Modes.

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Beneath the letter C is the Roman numeral I; this indicates the Ionian mode. Next comes the key of G, with the Roman numeral IV under the C; this indicates the Lydian mode. Now you have to skip down to Db; the Roman numeral VII under the C indicates the Locrian mode. The Roman numeral III is under C in Ab indicates the Phrygian mode. The Roman numeral VI is under the C in Eb, indicates the Aeolian mode. The Roman numeral II under the C in Bb indicates the Dorian mode. And finally, the Roman numeral V under C in F indicates the MixoLydian mode. What you need to know In the Chart showing C reduced to a common tonic, the first thing you will notice is a three digit number: 000. This is to keep you on track when cross referencing with the Lessons and the Dictionary of Chords. Then comes the scale under consideration: The XXX Cycle of Modes, written on the left heading. On the right heading is The Rotation Cycle, shown in Roman numerals. Underneath that are shown the keys affected. Only those scales containing the natural C note have been extended to the right of the page; and I’ve thrown in their Dom 7s for good measure. Dom 7s are popularly used when creating the improvised line; they are also extensively used to create cadences within a composition. The Rotation Cycle shows the clockwise Complete Rotation of the keys affected once a scale has been reduced to the Common Tonic.

The Rotation Cycle of the Natural Scale

Placed between the Cycle of Keys and the Cycle of Modes it forms the COMK©

I

VI

II

V IV

III

VII

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Suggestions on using the Rotation with the Cycle of Keys or the Cycle of Modes: Most musicians are familiar with terms such as Progression and Modulation with reference to the Cycle of Keys. Only because the Rotation for the Cycle of Modes and the Cycle of Keys is identical is it possible to create the improvised line using either Cycle. In the interests of simplicity I will dispense with these out of date terms and refer to all such movement between chords as Rotations.

000 – The Natural Rotation of Keys The Complete Rotation I IV VII III VI II V7 6 Chord Rotation I IV III VI II V7 5 Chord Rotation I IV VII II V7 4 Chord Rotation I IV II V7 3 Chord Rotation I IV V7 2 chord Rotation I V7 1 Chord Rotation I These are the basic outlines; now let’s explore a few other options

000 – The Natural Rotation of Keys

Simply by removing one chord from the Rotation you have 6 chord Rotation. You can change the order of chords as you like to create different end cadences. 6 Chord Rotations I IV III VI II V7 I VII III VI II V7 I IV VII VI II V7 I IV VII III II V7 I IV VII III VI V7 I IV VII III VI II


By removing two chords from the Rotation you can create 5 chord sequences. Rearranging the order of chords to create different end cadences gives you another zillion options for creating jazz sequences. 5 Chord Rotation I IV VI II V7 I VII III II V7 I IV VII VI V7 I IV III II V7 I IV VII III VI V7 I IV VII VI II

I IV VII III VI


When you remove three chords from the Rotation you end up with a 4 note phrase; most popular music uses this platform, though not some of these cadences. 4 Chord Rotation I IV II V7 I IV VII III I IV VII VI I IV III II I IV III V7 I VII II V7

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Removing four chords from the equation and you end up with the original platform for creating the Blues and Rock ‘n’ Roll. 3 Chord Rotation I IV V7 I II V7 I III V7 I VII V7 I VI V7 I Need I demonstrate further? I feel sure you’ve grasped the concept by now. The rest then, is up to you.

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Let’s cut to the chase! What this book is really about:

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Scales with 1 alteration

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Scales with 2 Alterations

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13 Scales with no Dom 7s

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And one last thing All the preceding information is offered as evidence to prove that there is no such thing as a Cycle of Fifths. You’re probably wondering also why you can’t download a copy, or even copy and paste the information on these pages. It is all just abstract information which would take forever to commit to memory. The future of music lies not in books, with convoluted rhetoric and tedious rules and regulations on composition. It lies within You to create, You to play, and to let others hear what it is You have to say on the instrument of your choice. All the tools you’ll ever need in the future are right here, albeit divided up into neat little packages, so as not to cause information overload. They are:

The Cycle of Movable Keys [the COMK] and The Dictionary of Chords.

You choose the alterations you like, the ones that fit your personality; those alterations that say what you want to express. If a dozen people got together and picked a dozen alterations I guarantee that no two people would select the same sets of scales. So, not only can I guarantee you a new idea every day for the rest of your life, but I can guarantee that You will sound unique. And if this is not enough to satisfy you, you’ve only just exposed the tip of the iceberg. Having come this far you are going to want to investigate what goes on in the Book of Scales Vol 2 and 3.

Education leads to more sophisticated free-form jazz. the Jazz Preacher

the book of scales vol 1 · 2019-09-26 · these 50 altered scales produce at least one dom 7; some...

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