I’ve found that by conceiving of it both in augmented triads and with chromatic passing tones it becomes a little less obviously “whole tone”. The Whole Tone scale exists with two sets of notes: C - D - E - F# - G# - Bb (shown above) C# - D# - F - G - A - B This is because there is no leading note in a whole tone scale, since it can be played symmetrically from any note on the keyboard, and all the intervals are the same. The application of this scale really shines when you use it over one chord vamps and modal tunes that have a slow-moving harmonic rhythm. What I mean by that is that it is a construction of notes and not something like a key. Mixolydian (b9) (b13) 20. Diatonic Triads 13. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. ... A common trick is to use major and minor triads over a pedal point, i.e. Also fine: augmented triads (as long as they don’t imply a major 7.) Lydian b7 Scale 18. Diatonic 7th Chords 14. After all, plenty of guitarists know how to play this scale but not many use it because it has a pretty weird, unsettling sound. It’s an eight note or octatonic scale that alternates between half-steps and whole-steps. The whole tone scale can be a bit too transparent to use frequently during improvisation. the C half-whole diminished scale and the C# half-whole diminished scale share these triads: C#dim Edim Gdim Bbdim while the C half-whole diminished scale and the B half-whole diminished scale share these triads: Since the melody may trump … There are no half steps in a whole tone scale so all thirds are 2 whole steps and all 5ths are augmented The whole tone scale consists of a succession of notes in fixed whole step intervals from a given note to its octave. There are two basic applications of this scale. … The Chromatic Whole Tone Scale is a great alternative to use over the diminished scale due to the fact of it having a lot more triad combinations. It is primarily associated with the French impressionist composer Claude Debussy , who used it in such pieces of his as Voiles and Le vent dans la plaine , both from his first book of … It is difficult to establish a clear tonic pitch when using the whole tone scale; music that uses this scale tends to sound "blurry" or "wandering." The whole tone scale is a six note scale in which there are only whole steps between adjacent notes. According to Jermaine Griggs, “…a triad is a collection of three related notes (agreeable or not) that maybe played together or separately.“ Permit me at this point to breakdown this definition of a triad so that you can have a better understanding. A Short Note On The Whole Tone Scale. If we take C7 Well that voicing doesn’t have a fifth in it, but if we put in a fifth in it and we augment it - we sharpen it, then the whole tone scale is an appropriate scale to play with it. C-sharp Whole-tone scale . since all the notes in a whole tone scale are a whole step apart the triads will all be augmented triads. Please permit me to refresh your mind on the whole tone scale before we proceed. The simplest one is to play it over a dominant seventh chord. From any given note, moving to another note, the space between them can only be: A major 2nd (a whole step) A major 3rd; A Tritone (augmented 4th/diminished 5th) There are only 2 whole tone scales. Locrian Mode 15. F-sharp Whole-tone scale . G Whole-tone scale … You see, a whole-tone scale (A scale made of all whole-tones) only has three possible intervals (excluding inversions). The first part of the definition says, ‘…a collection of three…’ When you play the whole tone scale over minor chords you always play it a half step down. E Whole-tone scale . Pattern Repetition in the whole-tone scale is especially pronounced. 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