Schlagwort: theory

Mini Scales

In the improvisation workshop on learnjazzstandards(dot)com I learned a simple system of 4 notes for the common jazz chords. Jazz friends already knew this concept. Take the triad and add a well-fitting note. In major and dominant, a second is added to the major triad. In minor and half-diminished or fully diminished, a fourth is added to the triad. For example:

Cmaj7: C D E G

C7: C D E G

Cm7: C Eb F G

Cm7b5: C Eb F Gb

Cdim: C Eb F Gb

Of course, this concept needs practice. Note that the mini scales are the same in two cases. For 60 chords, you need just 36 mini scales. I set about learning them with enthusiasm. I estimate that I will need about six months before I can improvise with them fairly fluently.

I also thought about how to expand the system. You could take the four-note chord and add a second or fourth. In jazz, it is better to use the sixth rather than the major seventh for a major chord.

Cmaj7: C D E G A (major pentatonic)

C7: C D E G Bb

Cm7: C Eb F G Bb (minor pentatonic)

Cm7b5: C Eb F Gb Bb

Cdim: C Eb F Gb A

Tip for reharmonizing

Claim:

Within each of these three groups the chords are interchangeable:

Group 1: C7b9, Eb7b9, F#7b9, A7b9, Edim, Gdim, Bbdim, C#dim

Group 2: Db7b9, E7b9, G7b9, Bb7b9, Fdim, G#dim, Bdim, Ddim

Group 3: D7b9, F7b9, Ab7b9, B7b9, F#dim, Adim, Cdim, Ebdim

Proof:

(Without restrictions only for group 1)

C7b9: C E G Bb Db

Eb7b9: Eb G Bb Db E

F#7b9: F# A# C# E G

A7b9: A C# E G A#

Edim: E G Bb Db

Gdim: G Bb Db E

Bbdim: Bb Db E G

C#dim: C# E G A#

The diminished chords are all made up of the same notes. The dominant seventh chords with the flat nine have common tones with the diminished chords, only the root differs. When replaced, the different root can be viewed as an altered tone that increases tension. With a dominant seventh chord, this tension is desired and is usually subsequently resolved by a major or minor chord.

Remarks:

The idea for this comes from the course “Jazz Theory Unlocked” on jazzadvice(dot)com. I think the knowledge is older. I have formulated them in detail here in mathematical style.

All chords above can be used as dominant chords. You can leave out the b9. C7, Eb7, Gb7 and A7 are also interchangeable.

If you have a dominant, such as G7, you only need to go one semitone step higher for G#dim.

The interchangeable chords can be found by working in minor thirds (3 semitone steps).

These substitutions can be made in the major-ii-V-I progression.

In the minor ii-V-i progression, the V is often altered and b9 is an alteration. So this tip is good for that too.

I think this insight is useful when comping, composing and soloing.