The harmonic major scale (i.e., the major scale with a lowered 6th) is naturally full of color, and interesting contour. The most typical way to apply it to dominant 7th chords is to simply convert the diatonic scale relative to the dominant chord into harmonic minor (e.g., using a C harmonic major scale over a G7 chord, which adds the lowered ninth to the dominant 7th chord.) But in this etude, I’ve used a different harmonic major relationship over the dominant 7th chord. Take a look at the example at the top of the page.

I’ve applied an Eb harmonic major scale over the G7 chord. This is the harmonic major formed from the lowered sixth degree of the dominant chord itself (instead of the tonic chord). By using this scale, I can access several altered and natural tensions over the dominant chord: -13th (Eb), +9 (Bb, functioning enharmonically as A#), 3rd (Cb, functioning enharmonically as B natural), -9 (Ab) and 7th (F).

I’ve organized the notes of this scale into a melody with relatively wide intervals. As you can see, the melody begins with a descending major 7th and continues to unfold with lots 4ths, 5ths and 6ths. The angularity continues into and through the tonic (C Maj7). The unique sound/tension qualities of the scale combined with the wide intervals creates a highly energetic and unpredictable line that, though sounding “modern”, is well within the realms of even the most traditional bebop harmonic applications. If you’d like to explore wide interval melodic construction and application further, please consider my e-book, The Vertical Saxophone: A Methodical Approach to Wide Intervals (which, by the way, is easily applicable to any melodic instrument). For a free, downloadable pdf of this etude, please click the link below.:FileHarmonic Major Wide Interval Study-pdfDownload