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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