continued from internalizing harmonic colors.

Dominant 9th / 13th chords. A slight variation of the above dominant voicing is a bit "softer" still, softer by raising the flat nine ( b9 ) to natural nine. Here are two voicings for the V 9 / 13 color.Example 9.

Got your "artistic license" handy? Just might need it for the following ideas. Here's why. Were going to use this color in a similar fashion as done with the V 7b9 / 13 chord of example 8. Thinking C major of course, let's spell the upper part of the G 9 / 13 shape as it moves upward in minor thirds and examine the pitches. Example 9a.

Cool with this logic? Simply moving a common dominant color through the diminished filter and looking for coolness. Here are the sounds of the above chart converging towards C major. Color tones are identified in the table. Example 9b.

When moving the same voicing up or down in minor thirds, the aural ability to analyze what is happening becomes blurred, thus potential "bad" pitches are in a sense disguised. Moving one shape around is often termed a constant structure. Here is the idea, heading towards C major. Example 9c.

Could this last idea have resolved towards C minor? Eb, Gb or A major / minor? If the diminished scale is created from the whole step / half step combination of intervals, can we apply this motion to the chords as well? Totally, but you sensed that right? Here is the diminished color moving in just such as fashion. Example 9d.

Can we apply this motion to the softened colors also? Do we not try to do it all here? Example 9e.

Thus, the possibilities begin to emerge eh? Here is the above G 9 / 13 voicing resolving to four possible keys, as based on the resolving properties of the fully diminished 7th diminished color preceded by a diatonic Two minor seven chord ( ii -7 ) for each of the four tonics. Example 9f.

Example 9g.

Again the idea, are these last motions the basis for the more common chord substitutions we oftentimes encounter and employ in the American styles? Well, they have to come from somewhere right?

Dominant 9th chords. Lowering the thirteenth a whole step of the above chord we evolve back to the more common dominant ninth chord. Example 10.

The following idea simply abuses the G 9 chord and resolves it towards C, Eb, Gb and A major, again adding in a diatonic Two chord for each convergence. Example 10a.

Example 10b.

Beginning to get a sense of this minor 3rd interval relationship between key centers as created by the diminished colors properties? Hear how the softened colors are potentially easier to meld into the two / Five / One harmonic motion? The V 9 ( dominant 9th ) chord sits at a key juncture when correlating style and theoretical complexity. Rarely if ever in children's songs and folk music, we hear the V 9 chord in blues, as the essential funk chord in so many important rock tunes and as a staple dominant color for the jazz and pop players.

As always, one must explore the theory and experiment with the possibilities, looking for the coolness within that each of us can define for ourselves, developing our own unique ways of taking care of business in telling our stories. What groundbreaking jazz composition utilized a variation of the above format, i.e., moving triads in minor thirds and perfect fourths? Any ideas? Hey, what happened to the minor tonality? Soon... it will reappear in our musings, promise.

Suspended 4th chords. By moving the third of this dominant 9th chord up a half step we create a major triad in the upper structure of a dominant seventh chord. Although often labeled various ways throughout the literature, raising the 3rd of the chord to the 4th creates the suspended 4th family of chords. Example 11.

We see often hear these two chords together, in the reverse order from above, are you hip to the dominant 4 - 3 suspension? Or other types of melodic suspensions for that matter? Example 11a.

Can we sus the 4 on tonic type chords? Way, hip to the classic rock tune "Pinball Wizard?" Example 11b.

Cool huh? Simple but sooooo essential for all of the American styles. Internalize this color by simply raising the 3rd by half step of all the major triads you know. Minor triads too? Still asking that question huh? Example 11c.

These last three motions are found in all of the American styles. Rockers love this sus 4 sound to create that epic feel. Perhaps needless to say, these chords can also function well as a softened dominant chord ( V 7 sus 4 ), a minor Two chord ( ii min 11 ) and a tonic type chord and resolve in a similar manner as many of the above ideas, creating some interesting harmonic surprises as well as moving us in a potentially polytonal direction. Perhaps use just the major triad found in the upper structure of this shape as a basis for musical ideas. How about creating ideas from the various scale colors associated with these triads? Moving the triads in minor thirds is also a possibility.

Whole tone shapes. Lowering the 4th to the 3rd and raising the 5th by half step of the above sus 4 chord creates the augmented 5th ( V 7+ 5 ) or whole tone shapes. We often find this augmented 5th color within both the dominant 7th and dominant 9th configurations. Compare the sounds. Example 12.

Sound familiar? Perhaps the most common use of the augmented chord across all of the styles of American music is to simply sound this color as the intro, the first chord of a musical composition. Perhaps it is the augmented chords such unique sound that makes it such an effective attention getter. Here setting up the minor tonality via a Five to One cadential motion. Example 12a.

In the blues and jazz styles, the augmented dominant 7th chord is very common in setting up the motion into the minor tonality. No wonder that the augmented 5th pitch of the dominant chord is one of the key blue notes of the tonic key.

Another common use for the augmented sounds is between the motion of One moving to Four. Remember the sharp One diminished studies? Same basic concept and positioning, different color. The following harmonic motion uses the augmented chord between One and Four in the major tonality. Example 12b.

Another cool positioning for the augmented colors is on the Six chord as part of the common One / Six / Two / Five / One turnaround. The VI 7+5 enhances the motion to the minor Two chord in both the major and minor tonalities. Try this harmonic motion in a ballad feel. Example 12c.

This last idea is also a common "arrangement while you wait" type intro. Shed these two uses of the augmented chord in your favorite keys.

As discussed in the dominant proofs / whole tone page, the whole tone chords are based on the augmented triad, as derived from the whole tone grouping of pitches. And due to the symmetrical major 3rd configuration, it’s possible resolutions basically encompass six different tonal centers, both major and minor. As distinct as the diminished color is, the whole tone color is perhaps even more distinctive in it's sound quality, providing yet another unique and wonderful possibility for creating artistic energy in the balance of artistic tension and it's release. As done previously with the symmetrical diminished seventh color, let's basically resolve the pitches of one whole tone chord to it’s six appropriate tonics, adjusting it's pitches as we move through the tonal centers. Here is chart outlining the resolutions. Example 15a.

Here are the resolutions of the above chart. Resolving the pitches of G 7 +5 over a diatonic Five to One bass as defined by each key center. Example 15b.

Example 15c.

Example 15d.

Example 15e.

Example 15f.

Example 15g.

Moving a whole step up from Bb major to C major completes the cycle. As you may surmise, nice chordal runs can be created by moving the upper part of this G 7 + 5 shape around in whole steps. This next idea moves G 7+5 / F up in whole steps resolving to C major 6 / 9. Different upper structure tensions are created when the G 7+ 5 / F chord is moved up in the whole step fashion and viewed against a tonal center. Each new configuration is labeled in the table above the music. Example 15h.

Notice in the above idea that what we basically have here is a G whole tone scale as the bass pitches starting from flat seven F in the above example, while the upper three voices create different whole tone triads creating a closed looping of the color tones?

Is there another whole tone scale and set of chords in relation to the 6 major and minor tonal centers not included in the last group of ideas? Well? Same ideas as above, simply different pitches. Here is the chart. Example 15i.

Here are the resolutions of the above chart following along the lines of the above resolutions. Example 15j.

Example 15k.

Example 15l.

Example 15m.

Example 15n.

Example 15o.

So, can we crunch the theory down to basically just two whole tone scales and the chords they create, to cover all the tonal bases so to speak? Yep. Got these two groups under your fingers? Can you project these two groups towards the 12 major and 12 minor tonal centers? Jazz mantra ...?

In regards to internalizing the augmented chord colors and resolutions, the augmented sounds and colors are so unique and distinctive, that we often can easily recognize their presence once our ear has them locked in. So, in reality the augmented chords are not really that common of a folk or rock music coloring, but on a blues gig, maybe slip in the augmented sound for an intro, or maybe on the Five chord somewhere. Jazz players enjoy the largest degree of freedom in using all of the colors, the augmented sounds including. Although difficult to disguise, the color is very cool, character and exciting. And although only a few augmented configurations are basically used in the examples above, please realize that there are many other possibilities for augmented voicings and usage, especially at the piano. As always, explore, experiment and listen, listen, listen to the art in your heart.

Looking forward. Perhaps introduce yourself to John Coltrane’s "Giant Steps" as time permits if you are not already familiar with this important composition. Compositionally based on the pitches of an augmented triad, I remember hearing this recording early on in my studies and it became sort of a focal point to head towards. As the years of study have gone by, as more information and skills have been acquired, I’ve tried to find and figure out the theoretical evolution from the basic Two / Five / One jazz harmonic cell into the more complex cycling found in "Giant Steps", trying to get a grasp of the historical tonal evolution of the jazz language, such a cool and rewarding journey. And of course, I've tried to play this composition for the past 20 years or so, continuing to challenge myself to explore and look for coolness in entering the environment of the new musical ground that Mr. Coltrane discovered. Find a chart of "Giant Steps" and begin your own melodic and harmonic quest.

Tonic # 15 / major to minor looping / polytonality. By combining the pitches of major pentatonic color with the Lydian mode and then creating a major 3rd / minor 3rd looping of pitches or arpeggio, we can enter into a potential polytonal universe. Here are the pitches. Example 16.

Coolness emerges from the theory as the extended arpeggio continues to move upward through the pitches of C# minor, then Db major, then D minor, creating a looping of pitches and chords and cycle of keys that finally closes upon itself once the pitches of the 12 major Lydian and 12 minor Dorian groups have been created. Very symmetrical, very cool. What can we do with it? Well, that depends on one's artistic directions of course. Creating in this level of the pitches and theory, the music can become pretty abstract. There is no diatonic dominant chord to direct traffic and the tonic is destabilized by the bit of whole tone color created from the # 4 / # 11 pitch within the Lydian color.

This first polytonal idea simply places a D major triad over C. Example 16a.

Example 16b.

This next idea evolves all three of the chord types into polytonal structures. Example 11c.

A bit modern sounding? That's the idea. Here is the weaving of the 12 Lydian and Dorian keys in a chromatically evolving cycle. Using 7th chords. Example 11d.

Wow, is that cool or what? More ideas on this cyclical magic in colotone series experiments and tonality without a tritone.

In regards to the polytonal colors, perhaps it's pretty obvious that they are not usually found in the folk, rock or blues styles. Occasionally we hear players moving triads over a pedal tone in the rock realm, but all things considered, these polytonal sounds are jazz colors, and even then, they are often relegated to the modernists. One way to approach internalizing these sounds is to simply extend the chords or arpeggios already under your fingers further into their upper structure and simply look for sounds that you dig. This area of the resource and combinations is very preferential, for they tend to create a sound and style of their own.

I arrived at polytonality by knowing it was there in the theory and as my ability to hear and understand the sounds organically evolved. As I grew bored with 7th chords, I moved to the 9th's and the principles of multiple resolving properties of the V 7 b9 chord. Gradually these became cliche to my way of hearing things so I moved further to the 11th and 13th. Adding these colortones to my chords and extending my arpeggios up to these levels nearly exhausts conventional, diatonic resources. Moving beyond this level and into the cycling of keys created by extending the arpeggio was more a theory adventure than what I was hearing, for there is not a whole lot of material written with these colors. Interesting perhaps is that once discovered theoretically, internalizing the sounds and cycles was not too hard, maybe because of the aural ground I had already covered. I guess the bottom line is that a player will evolve in the colors to the point where they are cool, comfortable and confident, having the resources to tell their stories.

As our artistic statement matures over the years and our own spirituality's evolve as life experience is gained, perhaps the polytonal sounds will come into play. Maybe this tonal evolution is like "which came first, the chicken or the egg." Which for players becomes, "which came first, the music or the theory." Easier to decide for the music eh?, as historically the great innovators have explored new tonal ground in telling their stories after which us theorists analyzed what they did and fit it somewhere onto our existing structures, oftentimes marveling at the artistic genius which lead to the new sounds. Perhaps the natural musical evolution of a player is simply a combination of chickens and eggs, leapfrogging from art to theory as our needs evolve. So, we each get to choose our colors to tell our stories, and as the years pass and our tales evolve, perhaps look further into our tonal universe for colors to better express the art in our hearts. Cool with these ideas about an evolving tonal development? Your ideas?

"Modern" four bar Two-Five-One turnarounds. Most of the previous examples thus far have employed one possibility for each of the three harmonies in the Two / Five / One cadential motions used to illuminate our harmonic spectrum of colors. These next few ideas begin to extend these individual possibilities creating longer, smoother harmonic lines by simply weaving the colors through different filters using different filters to run the colors through. This weaving I feel is one of the keys to the art form, for rarely if ever will two jazz players weave alike. How they create their convergence pathways contributes mightily to their artistic signature. Gradually, we each begin to make these artistic choices based on what our ears tell us is cool.

And although our primary filter in the following ideas are based on the multiple resolving properties of the diminished colors, other weaving pathways include; moving in half steps or chromatically, moving diminished and or altered dominant voicings by combinations of the whole step / half step, half step / whole step, of course the minor 3rds. Moving augmented triads in whole steps or major 3rds, moving voicings in perfect fourths, or combining the minor third / perfect fourth motion and onward. The following possibilities combine many elements that may or may not be to your liking, keep what you dig, but perhaps try to keep an open mind to what you initially don't, for we never know when some new coolness will emerge in our searching for the elements that will best illuminate the "art in our heart."

Here are a few examples of a modern turnarounds, based in the key of C major / minor. Notice the inclusion and borrowing of other forms of softened dominant seventh flat nine ( V7b9 ) shapes as we mix and match colors and motions into coolness.

Moving the same Two / Five shapes up an half step. Example 12.

Moving the dominant chord down in minor 3rds into the minor tonality. Example 12a.

Moving one shape in parallel motion upward, often termed a constant structure. Dig the quartile sounds? Example 12b.

Moving the b9 color down in minor 3rds into the minor tonality. Example 12c.

Moving the whole tone color around by step into the major tonality. Example 12d.

Using various chords over the dominant pedal. Example 12e.

Moving a two chord cell down in minor 3rds over the dominant pedal. Example 12f.

Simply moving a diminished structure up in minor 3rds over the dominant pedal into the minor tonality. Example 12g.

Cool huh? The above musical examples in C major utilize concepts, voicings and treatments that are pretty advanced. The basic construction of the above turnarounds is based upon the information contained within examples 1 through 11 on this page. These turnarounds came into being by exploring the theory and just experimenting with different combinations based on that theory. Double up any of the above motions into Three / Six / Two / Five.

Modern Three / Six / Two / Five motion. Earlier in our discussion we examined the relationships in this chord progression when adding the b9 to the Six and Five chords. At that juncture, we simply used the V7 b9 chord to create a few possibilities. The following ideas use the same theory but now include the various hues of softened diminished colors examined above within this potentially important harmonic motion. To restate our question from that point in the text, "is the diminished chord and scale found within the G 7b9 located a whole step below A 7b9, equivalent to the diminished chord and scale found a half step above the A 7b9, namely Bb 7b9? Yes it is. Combining this theory with the softened diminished colors the following Three / Six / Two / Five motions emerge.

Motion up by half step. Example 13.

Example 13a.

Moving one chord minor 11 chord in parallel motion over the dominant pedal. Example 13b.

Using various colors, not half step lead in from b9 to the 5th in the resolution. Example 13c.

Pretty out there huh? Find anything you can use in your creative endeavors? Aren't these last few motions simply double Two / Fives?

Here are a few common questions in regards to harmonic application. Can we can soften the diminished color and still enjoy it's mix and match / multiples of tonal destinations? Yes we can. Can we soften the dominant chord even further while retaining the resolving properties of the diminished color? Yes we can. Can we extract non diatonic major triads within various dominant color configuration and create polytonal ideas? Yes we can. Can we alter any dominant chord with the whole tone color and enjoy it's multiple resolving properties? Yes we can. What about the blues? We can do all of the above and more in the blues. Really? Well depending one one's artistic directions for sure, but the fundamental nature of the blues forms have traditionally been American music's "proving grounds" for some rather adventuresome directions in music. "Success is more attitude than aptitude."

"Imagination is unlimited." Albert Einstein