dominant seventh studies / whole tone proof

The symmetrically constructed whole tone color provides some interesting challenges for the creative musician. Directly linked to the various augmented chords, interesting perhaps is that the scale with such a simple structure, just consecutive whole steps, creates one of the most unique and once internalized, recognizable sounds within equal temper. Example 1.

Here is the sound of the above pitches of the G whole tone color converging on C major. Example 1a.

Similar idea into the minor tonality. Example 1a.

Are you hip to the whole tone scale? The musical term augmented? The V 7+5 chord? Do you dig the sound of the above idea? Not all too common throughout the various styles of American music, but it's sound and presence, when understood, is generally unmistakable wherever found in the literature. From the darkest minor blues on through pop tunes to the most complex of the jazz harmonic formulas, the whole tone color and it's theoretical properties oftentimes adds the perfect touch for our artistic expressions.

Let's start our examination of the theory of the whole tone color and the augmented chords used to support it by creating the dominant triad in the major tonality. Thinking fifth scale degree, we can locate the dominant triad from within the pitches of the C major arpeggio. Example 2.

To "augment" this triad we simply raise the fifth one half step. Example 2a.

Adding the dominant seventh to our triads. Example 2b.

By applying our whole tone scale formula of consecutive whole steps, we can fill gaps between the pitches of the G 7+5 arpeggio and create the G whole tone scale. Example 2c.

This is the group of pitches that creates all of the whole tone scale choices in the tonal convergence chart. Example 2d.

What we've basically done in the above chart is to simply respell the same pitches from 6 different roots, which are also the pitches of the scale. Really? Check it out. So we use the same group of pitches for 6 different scales? Well yes. So not only can we tonally converge on one tonal center from 6 directions, we can converge on 6 tonal centers from one scale. Pretty neat huh? Just part of the ongoing magic within equal temper.

So, perhaps needless to say that the whole tone augmented colors are rather advanced. To blend them musically is not an easy task. It's not too hard to articulate the color once under the fingers, but controlling it's tonal gravity within improvised lines can get downright tricky. The following ideas examine each of the 6 scales in the chart above as they converge to one tonal center in the major tonality. Which one? Well, C major of course.

This is the group of pitches created in the theory discussion above in examples 1 and 1a. The non diatonic pitches to C major are the C# and D#, which measured from the root G create the augmented 4th and 5th degrees. Using the C# ( Db ) creates a G 7b5 chord while the D# creates the G 7+5 chord, both of which beg for a bit of whole tone color in the melody. Placed into the Two / Five / One convergence motion, we create the following possibilities. First the G 7b5 into the major tonality, then the G 7+5 into the minor tonality. Example 3.

Example 3a.

Same pitches right? Here we simply start our melodic idea from A, the 9th of the G 9+5 chord. Example 3b.

So, can we also build an A 7+5 chord from this group of pitches and create a Five / One convergence to D major? Exactly. First to major then the minor tonality. Example 3c.

Cool with this theory?

Again the same pitches, just starting on the pitch B, the third of V 7+5 and the major 7 or leading tone of our tonic C major. Example 3d.

Same pitches again? Well of course, just a bit of enharmonic respelling to accommodate the root. Can we think and shed a whole tone idea from flat two of our tonic and resolve? That is a distinct possibility for sure. Example 3e.

So, is there an easiest way to remember all of the choices created by the whole tone color? Both converging and resolving? Maybe using the leading tone is handy. Might depend on a learners existing information, suffice perhaps that whatever works best for you is best.

Whole tone from the blue note, cool. Any new pitches yet? Nope. Can we take advantage of the fact that we are using the same pitches to create 6 different scales? Example 3f.

If 6 scales go to one key, does one scale go to 6 keys? Round and round it goes eh?

Oh no, same pitches. Do they ever change? From the b7 of the dominant, we can color it whole tone. Here using an F 7 augmented triad to start the tension. Example 3g.

Is the b7 of the dominant chord the 4th degree of the tonic? Tis is. Jazz great Joe Pass is said to have oftentimes thought of the Two and Five chords as one component and applied one color over both chords in creating tension towards a resolution. Thus, perhaps the idea of creating the whole tone color from one pitch in a resolving manner as in the last idea, "whole tone from b 7."

So, does the one whole tone scale create six different V 7+5 chords, which go to six different keys, major and minor, created from the other 6 pitches not used in creating the scale? Yep, the 6 not used to create the scale become the 6 tonic centers. Cool huh?

Using the pitches of the above G whole tone scale, the following chords and resolutions emerge. Example 4.

So we can theoretically resolve the pitches of one whole tone scale into 12 tonal centers, 6 major and 6 minor? Yep. Can we create a second whole tone scale to cover the remaining pitches of the chromatic scale and the other keys? Of course we can, but you knew that right? Here is the "other" whole tone scale. Example 4a.

Creating a similar chart as above. Example 4b.

Pretty neat huh, ah the beauty of the equal temper system. If we combine the pitches of the two different whole tone scales, what scale do we create? Example 5.

Coolness emerges from the perfection of the theory as the chromatic scale emerges from combining the "two" different whole tone scales. 6 + 6 = 12 yes? There are more ideas on the above whole tone scale's resolving principles in the melodic application sections. To explore the resolving qualities of the augmented chords, click harmonic application. Oh, are you hip to the chromatic scale ( ??? ) in example 5?

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