Jazz Etude 6- Hearing Scales As Harmonic Extensions Part 1

This is the first of 4 jazz etudes that aims at helping you to think of and hear the jazz minor scales (ascending melodic minor) as extensions of the V7 chord. Look at the example below:

The pattern is ascending triads formed from of each degree of the tonic scale of the C7 chord (Dominant 7 chord of the F major scale). In the third measure I modulate the scale to G melodic minor ( G being the 5th degree of dominant 7 scale) by inserting an F#. This note functions as the +11 of the C7. As you can see, I continue to form the remainder of the triads from the new scale. This produces  a couple of new triad combinations that work beautifully over the C7 (Bb+, D Maj). A central idea in this exercise is to think (and hear!) the chord tones within the first octave (middle C to C in the space an octave above) in relationship to the new harmony of the 2nd octave (space C up to high C).

It is important (very important!) that you learn to sing this pattern clearly in a key that suits your vocal range. By being able to anticipate the sound of the pattern, you’ll gain a clearer sense of the sound and function of the upper partials of Dominant 7 chords. This is also a great way to deeply familiarize yourself with the altered colored tones of 7th chords (again, in this case the +11). A few of these patterns go into the altissimo range of the saxophone. This is the conceptual foundation of my book, Melodic Minor Scale Jazz Studies: Tonal Organizations and Applications Over Dominant 7th Chords, in which it is explored in great detail.

hearing jazz melodic minor from 5th degree of V7 chord pdf