New Jazz Etude: Augmented Scale Organized In 4ths

Here’s another etude that further explores the melodic and harmonic possibilities to be found in the augmented scale. (In case you’re not familiar with it, the augmented scale is a six-note scale that is formed by combining the notes of two augmented chords that are a minor 3rd apart; e.g., C augmented combined with Eb augmented.)

In this particular etude, I combine two different  augmented scales a half step apart from each other, organizing them into a melodic pattern that is built primarily from 4ths. In the example above, I’m using the Db augmented scale in the in the first measure to create a somewhat unusual, but beautiful sounding melodic shape. I then transpose this shape a half-step down (C augmented scale) for the second measure. Below are the two scales I’ve used for you to see as a reference:

Take note here that in both scales I’m using the Ab as the enharmonic equivalent of  G#. So the scale in first measure if formed by combining Db augmented with E augmented (the Ab functioning as the 3rd of the chord), and the scale in the second measure is formed by combining C augmented (the Ab functioning as the 5th of the chord) with Eb augmented. (I’ve done this largely to make the reading easier and more uniform, especially as I put the pattern in all 12 keys.)

You’ll also note some of the harmonic tensions of each scale in relation to the dominant chord (G7 in the example): specifically Db (-5 or +11), F (7th), Ab (-9), Eb (-13 or +5) and B (3rd). The two-scale melodic shapes resolve to the +11 of the tonic (F# over C maj7 in the example. This resolution to this higher, altered partial creates a distinctive contrast from dominant to tonic. It truly is a strong resolution, due to its contrast to the material in the first two measures. The melody continues by outlining the shape of the major 7 chord, finishing with a descending chromatic movement to resolve to the 3rd of the tonic (E over the C maj7 in the example).

This is a highly effective and somewhat unique way to use 4ths, utilizing a tonal palate that is less commonly heard in jazz improvisation. If you’d like to learn more specifically about how to use the augmented scale over dominant chords, please consider my e-book, Augmented Scale Diatonic Triad Pairs. (If you already have this book, I think you’ll find this etude a refreshingly different way to use the augmented scale.)

Click below for a free, downloadable pdf of this etude:

Augmented Scale Organized in 4ths-pdf

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