June 16, 2020

Whole Tone Scale

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Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play the Symmetrical Altered Whole Tone Scale. In this Jazz Piano Lesson you will:

Discover
The Symmetrical Altered Whole Tone Scale

Learn
How to construct the Whole Tone Scale 

Play
The Whole Tone Scale using various entry and destination points

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Warm Regards,
Dr. Bob Lawrence
President, The Dallas School of Music
JazzPianoSkills

AMDG

Transcript

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn, and play jazz piano. In the last two weeks, we have explored the minor and major blues scale. We covered a ton of ground and yet we barely in I mean barely scratched the surface when it comes to the blues the last to Thursday evening masterclasses have been a blast, discussing, playing and experimenting with the minor and major blues scale. It was so much fun. Just a quick thanks to everyone who attended and participated in the class. Thank you. This week, we are going to discover, learn, and play a scale that is often forgotten. Or it might be better to say that it's often neglected. Either way. My point is that we do not spend enough time with this scale with this sound. And to be honest, I'm not really sure why. If I had to guess as to why I would propose that the reason for the neglect maybe because it's one of the symmetrical altered scales and not a traditional scale. Quite often in jazz classrooms and studios around the world. Jazz educators spend most of their time teaching and dealing with traditional major harm monic and melodic minor scales and their modes, right chord scale relationships. So I believe it's just the classic. I meant to teach that scale, but we ran out of time. I believe it's that simple, good intentions. But time does indeed become an issue when teaching so much to cover, and so little time to do it. It happens, right? We can all relate. So with that being said, I want to make sure that I dedicate some time, at least one entire podcast episode to this amazing scale to this wonderful sound. So what is this amazing scale? What is this wonderful sound? I'm talking about? The whole tone scale. Yes, the whole tone scale. I mentioned that the whole tone scale is a symmetrical altered scale. Well, what does that mean exactly? It's certainly another fancy title right. A fancy label. that we have in music and it sounds very impressive, right? Especially when your family members or neighbors ask you So what exactly are you studying in your piano lessons? And you rattle off without a second thought, Oh, I'm devoting quite a bit of time to the exploration of a symmetrical altar scale called the whole tone scale. Whoa. Are you kidding me? That will put your family or your neighbor in their place very quickly, I guarantee it. They will not know what to say or as ask next right, you will definitely catch them off guard. It's perfect. Nevertheless, just in case they do ask, what the heck is a symmetrical altered scale? You want to be prepared with an answer. So a symmetrical altered scale is simply a scale that is constructed using a recurring Structure of intervals, and in doing so, generates or satisfies

an altered sound. Let me say that again, right. A symmetrical altered scale is simply a scale that is constructed using a recurring structure of intervals, and in doing so generates or satisfies an altered sound. In the case of the whole tone scale, it's not very difficult to figure out the recurring interval structure. It's the whole tone. Hence, the title, the whole tone scale and it generates the augmented or sharp five sound, which we will discuss and play a little later in this lesson I mentioned earlier, the Thursday evening masterclass at 8 pm Central Time. Live every Thursday evening online using the zoom platform, which I know everyone in the world at this time is familiar with. It's everywhere, right? This online masterclass is an open discussion and deeper dive into the current week's podcast episode. In this case, the whole tone scale. And of course, I always leave room within the hour-long class for some q&a, as well. So if you have some questions, besides the whole tone scale, you can certainly chime in and we can discuss those as well. So mark it on your calendars, Thursday evenings 8 pm Central Time, join me online. It's definitely a value-added educational opportunity for you that you do not want to miss. The Zoom link is posted on my Twitter, Instagram, and Facebook pages. So be sure to follow me and plus it is posted on the homepage. jazz piano skills.com as well on the website, so check it out. And I will see you Thursday evening at 8 pm Central time. So let's take a closer look at the whole tone scale. And to do so, I'm going to outline some interesting facts write some trivia about this funky little scale. So this is my top 10 list for the whole tone scale. I guarantee you a top 10 list that David Letterman never did, he should have, but he never did. So here's my top 10 list for the whole tone scale. Number 10. As we've already discussed, the whole tone scale uses only whole tones. There are no half steps utilized in the entire scale. Unlike traditional major and minor scales that use various combinations of whole steps and Steps the whole tone scale does not only whole steps, so, I guess it can be said the whole tone scale is actually the counterpart to the chromatic scale right the chromatic scale uses only half steps, the whole tone scale uses only whole steps. Interesting. Number nine, speaking of the chromatic scale to mutually exclusive whole tone scales are formed by choosing alternate notes of the chromatic scale and then moving in whole steps. I know that a lot of you gotta be shaking your head what Okay, so let me explain this. two mutually exclusive whole tone scales we only have there are only two whole-tone scales. And they are formed of course by using whole steps but what's interesting If you take the chromatic scale to the chromatic scale if I start on C, right, and I go every other note of the chromatic scale, C sharp, that's my first whole tone scale. If I start on D flat, and I go every other note of the chromatic scale, D flat, flat, I create the second whole tone scale. It's just interesting, right? I told you the top 10 List of little funky facts about this funky scale, write a little trivia. So number nine, again, the chromatic scale generates two mutually exclusive whole tone scales. By just simply taking alternating notes of the chromatic scale app, go to the piano.

Figure it out, you'll see what I'm talking about. Number eight, the entire whole tone scale consists of only six notes. That's this is interesting, but not too uncommon, right? The major and minor blues scale that we just studied. The last two weeks are constructed using only six notes as well. Number seven, because the whole tone scale, does not use any semitones, any half steps, all of the thirds generated in the whole tone scale are major thirds, know minor thirds, all major thirds. Now that's interesting. It's a little weird, but interesting. Not a single minor third can be found in a whole tone scale. Number six, all triads built using the whole tone scale our augmented triads Right, so we have like C, G sharp. If I go to the next, if I go to the next note of that whole tone scale, I get D, F sharp, a sharp, another augmented triad, and so on. So, every triad built using the whole tone scale generates an augmented triad. Again, if you spend some time at the piano and kind of poke through it, you'll see what I'm talking about. Number five, all six tones of a whole tone scale can be played using two augmented triads, whose roots are a major second apart. In fact, I just did that right. So if I play the C augmented triad, C, E, G sharp, and then I play the D augmented triad, F sharp Sharp, I actually just played all six notes of that whole tone scale.

Interesting. So you could do the same for the second whole tone scale as well if you play a D flat augmented triad, D flat, F, and a natural and then an E flat augmented triad, E flat, G, and B. Now you've played all six notes of the second photon scale.

Interesting. Okay, number four. Speaking of augmented triads whose roots are a major second apart, there are only two augmented triads generated by a whole tone scale. So the whole the C whole tone scale generates two augmented triads, C augmented triad and the D augmented triad only. That's it. Two augmented triads are generated by one whole tone scale. So let me prove this right, so we got the C whole tone scale, C sharp, e sharp, a sharp. So, the first triad is C augmented. The second triad started on the second note of the scale, it's going to be the D augmented triad, D, F sharp, a sharp. The next triad is just the C augmented triad inverted G sharp C, first inversion c augmented triad. The next augmented triad generated Scale is the D augmented triad, F sharp, a sharp D, in the first inversion. The next triad augmented triad from the whole tone scale, it's going to be G sharp, which is the C augmented triad and second inversion. And then, of course, the last augmented triad is going to be a sharp, and F sharp, which is the D augmented triad in the second inversion. So basically, the whole tone scale just has the C augmented triad, and the D augmented triad. And they're inversions. Right? Don't get to keep in mind, this is my top 10 list. Right? A little trivia a little funky facts. So don't get going. Don't get caught up in oh my gosh, how am I going to remember that? Because you really don't have to right now I'm just pointing out some fun things about the whole tone scale. And even though these are interesting facts, right, it's not how we're going to be thinking about it and applying it in our jazz plant and you'll see as we get a little deeper into our lesson here today. Number three, the whole tone scale has been around for a long time. It is not a jazz invention, classical music classical composers like Franz Liszt, and McHale Glinka, Scriabin, Debussy, and of course, Bach, Mozart, along with many others utilize the whole tone scale in their composition. So it has been around for a long time, and it's not a scale or a sound that the jazz world can claim as, hey, it's something that we've created because not true. Number two, although not a jazz invention jazzers have been using the whole tone scale for quite a while. Check out Bix Beiderbex's "In a Mist" which is a classic, right? Or Don Redmond's "Chant of the Weed". Wayne Shorters, "Juju", Coltrane's "One Down, One Up" Monk's "Four In One", and "Twinkle, Tinkle", check out all those tunes, man, you are going to start hearing. In fact, you're going to start hearing after today's lesson, you're going to start hearing a lot of whole-tone scale and augmented sounds in the jazz literature that you are listening to, I promise you, it's there. And number one, drumroll. Okay. And I don't have a drumroll. But number one, the more time you spend playing the whole tone scale, the more time you spend getting this shape under your fingers and the sound in your ears, the more you will like it, and the more you will use it. In fact, once you become familiar with this sound, just like I said, you will begin to hear it and many of the jazz standards that you listen to you'll begin to see it and you'll hear it pop up all over the place. It's like buying your new car right that you never saw before you purchase the car, right if ever on there and then once you purchase the car now you see it all over the place. It's weird how that works. Well, the same can be said about the whole tone scale. Right? "Take the A Train", "As Time Goes By", "Stella by Starlight". Heck, I just started working with a student this past week. And we started working on the old standard "Walking My Baby Back Home", which is a great tune. And what pops up the first two measures, dominant sharp five sound, dominant, sharp five, right there, boom. So you're going to see this pop up all over the place. After you get acclimated to it. You get familiar with it, you will start hearing it. So this is going to be a fun lesson. Today, as we discover, learn and play the whole tone scale before we jump in headfirst with our exploration of the whole tone scale, I want to remind you that the educational guides the podcast guides for this jazz panel skills lesson devoted to the whole tone scale are available for immediate download at jazz Pannell skills calm. My regular listeners already know this that I developed three educational guides for every jazz panel skills podcast episode, which can be downloaded individually or as a bundle or as a subscription. So guide one is the illustration guide, and it helps you discover the jazz piano skill conceptually, it will help you discover the whole tone scale. The imagery and graphics are excellent. You've heard me say this 1000 times and I'm going to continue To say, your physical growth as a jazz pianist depends 100% on your mastery of jazz piano skills of all jazz piano skills, mentally, your conceptual understanding drives your physical development. So the imagery the graphics allow you to mentally to visually digest the shapes and sounds of the whole tone scale. And which in turn will fuel your physical and aural mastery of this classic sound. Guide number two, the lead sheet guide. This is simply traditional music notation lead sheets to help you successfully learn the jazz piano scale physically right to get these shapes under your fingers. If you're a reader, and you like seeing the concept placed upon the musical staff, the lead sheets are a must. They are perfect for you to have sitting on the panel for a quick reference when you are getting the whole tone scale, the shape of a scale the sound of that scale under your fingers. There are 12 lead sheets for each podcast episode, one for each of the 12 keys of music not just for the key that I demonstrate in the lesson here today, but for all 12 keys, so the lead sheets are simply invaluable. And guide number three, the play-along guide. These are play-along tracks, again, in all 12 keys, not just the key that I demonstrated today, but for all 12 keys. The play long tracks are perfect to help you play the jazz piano skill being taught in the podcast episode. The whole tone scale, right? The play-along tracks will help you develop a strong sense of internal time plus proper jazz feel and articulation which again, I've said this a million times as well. A teacher cannot teach you time, cannot teach you feel and articulation you have to develop those. You have to experience those in order to develop them. And there's no better way to do this than using quality play-along tracks. So I cannot stress enough how beneficial the podcast guides are for expediting your discover, learn and play process for the whole tone scale, or for any of the podcast episodes that I have released, be sure to check them all out at jazz panel skills.com. Go to the homepage, click on the podcast link that's in the menu bar that runs across the top of the page. And you'll be good to go. You'll find yourself on the podcast page with all the episodes and all the educational guides at your fingertips. If after you download the educational guides and you have questions, you can always send me a quick voicemail message using the speakerphone Type widget that is included that is nestled right next to each podcast episode. And this is a wonderful little widget that allows you to send me a really quick voicemail message. And then I can respond right back to you right away with an answer. You can if you prefer, post a question in the jazz panel skills forum and let the community help you out. Or Come on and attend the Thursday evening jazz panel skills masterclass at 8 pm. And get your questions answered, face to face.

So many ways to discover, learn, and play so many ways to get help. And again, my entire goal with jazz piano skills.com, withJazzPianoSkills Podcast, and all the educational materials is to provide you with the best jazz piano lessons, the best jazz piano resources, and the best jazz piano support that's available anywhere. today. Okay, so this week, we are going to explore the whole tone scale, you're going to discover the whole tone scale, you're going to learn how to construct the whole tone scale. And you're going to play the whole tone scale from various entry points, right, as always. So regardless of where you are in your jazz journey, a beginner, intermediate player, and advanced player, or even if you're an experienced professional, you will enjoy this podcast and you will find this lesson to be extremely beneficial. So let's construct a whole tone scale starting with the notes C. And as we've already discussed, we're going to move in whole steps. So if we start with the note C, we move up a whole step two D. Another whole step to G whole step to F Sharp, another whole step to G sharp and the final step to a sharp so we get C sharp, G sharp, a sharp, right? It's an interesting sound.

All notes are an equal distance apart, which means no single note stands out. Therefore giving this scale this whole tone scale, a very distinct sound. One might even say kind of an odd sound, only because we are so used to hearing scales that you use what? whole steps and half steps. Now, here's something else interesting about the host whole tone scale. And I've already discussed this in my trivia, right? There are only two of them, right? Only two so If we have six notes in one of the whole time scales now if I start on D flat go whole steps. Right, six plus 6 equals 12. We only have 12 notes in our entire tuning system. So those two holes, the whole tone scales, cover all 12 notes. So again, whole-tone scale number one starting on C sharp, a sharp, whole-tone scale number two, starting on D flat, flat, flat. That's it. Two whole talk scales. Now that we have constructed the two whole-tone scales, and now that we understand the symmetrical dimension of the whole tone scale, and now that we have played the whole tone scale, it's time to ask the million-dollar question. Which is this? What the heck do we do with this scale? How do we use it? fair question, right? In fact, this question is what makes the whole tone scale? really no different than any other scale? It's the question that makes the whole tone scale exactly the same as any other scale. Why? Because the bottom line is this. When it comes to scales, we always have to ask the question and answer the question. What do we do with the scale? How do we use it? Well, that is exactly what we are going to do today right now. We are going to answer that question specifically for the whole tone scale to begin, like the major minor blues scale, right, just like the major minor blues scales, The whole tone scale is not really a scale. It's a pattern. And why do I say this? By now, especially for all of you who have listened to my last two podcast episodes, you can say, you can answer this along with me. So, here we go, because unlike a true scale, major harmonic minor melodic minor, it does not produce a harmonic system, which generates harmonic motion. The whole tone scale does not do that. It does not produce a harmonic system, which generates harmonic motion. Right? What I mean by that, it's not like a 1 6 2 5 1 progression and there were 2 5 1 right? There are no modes. There are no chord scale relationships. So we do not study in practice the whole tone scale and the same way traditional scales are approached. Like I said, last week, don't go there. It leads nowhere and it will give you a headache. You will not find any chord scale relationships with the whole tone scale. And trying to construct such a model. Using the whole tone scale is the perfect example of thinking way, way too hard. So, as I always do when practicing a scale, a pattern, align a lick anything, I always make sure that my entry and destination points are always different. And I've stressed this before as well. I never play a scale from the root to the root, or from the from the third to the third from the fifth to the fifth. And why? Because I always want to fully engage my ears I want to be aware of certain facts right, I want to be aware of the distance I'm traveling the sound that I'm generating major, minor, diminished, augmented, etc. The direction ascending descending, right, and what I'm wanting to be aware of all of This. So

when playing when practicing the whole tone scale, if I do not make a distinction between my entry and destination points, my ears quickly will become passive, which is not good. It's not good music. It's certainly not good when it comes to developing your jazz musicianship, your jazz scales. So we begin with playing the whole tone scale from each note of the whole tone scale, with a very specific chord in mind. So let's take the C whole tone scale. So that's going to be C, D, E, F sharp, G sharp, a sharp, okay. And what I'm going to do in this first demonstration, I'm just going to play that whole tone scale from each of launching from each of the six notes, right, so I'm going to play starting from C and then start from D. From e from F sharp, G sharp and from a sharp, right, different entry point, different destination point. So, in doing so when I'm doing this when I'm playing this demonstration, I'm playing that C whoa tone scale. And regardless of where I'm starting on the C on the D on the E, F sharp, so on, I am thinking of that scale as a C dominant scale with an altered fifth, right? I have my C dominant And I'm actually seeing and hearing that scale as containing a flat five, F sharp G flat, and a sharp five, which would be the G sharp, right? So I'm playing this and I'm thinking c seven, flat five, sharp five, altered five. And I'm doing the exact same thing when I start from the note D, or from the note E. Okay? So let's, let's bring in the ensemble. And let me just kind of practice this. Let me just show you how I practice this. And let's see how this sounds. So listen, right, and you'll hear me moving from the root to the second to the third, and moving through all six notes of the whole tone scale. So here we go. Let's check this out and then we'll talk about it. Here we go.

Very nice. As always with every scale, I want to play the whole tone scale with a nice relaxed, laid back eighth note feel right? I want my whole tone scale to sound like music. I know to some of you this may be a ridiculously obvious statement, but I assure you, it is not. I have taught for a very long time and I am constantly reminding students to stop treating scales and arpeggios like exercises because they are not. They are music and should be played like music. So be sure not to fall into this trap. Everything you play, play musically. Okay. Now, another way I like to approach Playing this exact same whole tone scale is to change my perspective, my perception, not the notes, just to change my perspective. So instead of seeing the whole tone scale as satisfying the C dominant altered five chord, right, only as it right, I like to play the exact same scale and see it as six different dominant chords. So I just got done playing the C c whole tone scale, and I said to you, I, my objective was to see that as the C dominant altered five scales are sound, starting from the C from the D from the E from the F sharp, regardless of where I started, I wanted to see it as actually the C dominant altered five sound. Now what I'm saying is I want to play that exact same exercise, but this time, I want to see it as a C dominant when I start from my route, I'm going to see that as a C dominant, altered five. When I start from my D, I want to see it as a D seven, with an altered five. Or when I start from my E, I want to see it as an IE seven, altered five, from F sharp, F sharp seven, with altered fives, a flat, a flat seven, with altered fives and B flat, B flat seven, altered five, right, very cool, six different dominant chords, all with altered fifths. This is what I like to refer to as harmonic vision, being able to see various harmonic structures chords within the same scale. Now, this comes with time comes with study and awareness studies. Don't panic if you're not quite there yet. You will be. And one other quick point. Did you notice that I flipped over to using flats instead of sharps when giving you the six dominant chords with the altered fifth? I went from C seven to D seven, D seven, F sharp seven, then I flipped to a flat seven and B flat seven. Why? Because I'm treating the dominant chord as a five chord and seeing it in relation to the key from which it comes. If this is confusing to you, then I would recommend that you check out jazz piano skills podcast episode, key dependency, season two, Episode 16 April 28, 2020.

And also check out podcast episode chords by key season one episode three on November 25, 2019. Both of those episodes, podcast episodes will help you establish and solidify your understanding of chord scale relationships. Okay, now that we've done some good old fashioned grunt work with the whole tone scale, playing it from each note, and seeing it as applied to one chord, and then seeing it as applied to six different chords. Let's place the whole tone scale into a musical context to hear how it really sounds. And to do this, I'm going to use the classic 2 5 1 progression with the five chord of course, utilizing altered fifths flat five sharp five. I am going to play in the key of F major. So my progression is a G minor seven go into a C seven altered fifths, going to an F Major 7 (2 5 1). I'm going to approach This very strategically, I'm going to use the root, right, third, fifth, and seventh of the minor chord as my entry points. I'm going to simply sit on my entry point of the minor chord for the entire measure, and then move with the whole tone scale, ascending and descending on the dominant chord. And then I'm going to resolve to a chord tone of the major chord and sit on it as well. And then repeat the process. So I have no movement on the II chord. I have movement on the V chord and no movement on the one chord. Why? Here's why. Because my objective my focus is on the V chord and play And hearing the whole tone scale, ascending and descending, starting with the closest note to my minor chord entry point, focus, focus, focus, I do not want to do anything on my minor II chord or on my major one chord that will take my attention away from the dominant chord with the altered fifths and the whole tone scale that I am playing. This makes sense, right? I want nothing to distract from my objective. And my objective is the whole tone scale being played over the dominant chord with the altered fifth sound. Okay, so let's begin with the Root Entry of our G minor chord which is going to be the G I sit on that for the entire month. Then when I get to the V chord, I'm going to move on my whole tone scale using my whole tone scale ascending. So I'm going to start with that G sharp, right above that entry point G. And I'm going to move through the entire scale. And then I'm going to resolve it on the A of the F major up on top. Right, real pretty. So I get this.

And then on the descending side, again, entry, point G, decent through the end and sit on that g for the G minor, right? Then descend through the entire whole tone scale. And then resolve it on the note F or the root of the F major chord. On both my entry point, my destination point, I sit tight, I do nothing. And I move on my dominant Whoa, tone scales. So let's bring in the ensemble. Let's check it out. Let's see what the sounds like. Then we'll talk about it. Here we go.

Pretty awesome, right who knew, right? The whole tone scale, like I said, a funky little scale. But Wow, what a great sound when you actually start to apply it when you actually started to place it in a musical context with chord motion chord movement. It sounds fantastic. And again, I was playing with trying to play with a really nice relaxed eighth note field. I was using a temple 110 right very classic swing feel. But feel free to slow this down to a temple that is more comfy for you as you're working out your fingerings and you're working out the motion, right? When practicing the whole tone scale as with all scales, always keep it simple. Keep it relaxed. I stressed last week if you are not using play-along tracks, you are not hearing your music in a musical context. And if you're not hearing your music in a musical context, then your ability to accurately assess your playing is skewed. It's flawed. So the use of quality play-along tracks, honestly, not an option. It's a necessity and that is why I'm committed to making available to you if you do not have access to play along tracks I make available to you to play along tracks. For each jazz panel skill, we explore in order to 12 keys, and once again, you can download the play-along tracks. Only if you just only want to play long tracks, you can certainly do so. Or you can do download them as a bundle along with the illustrations and the lead sheets as well. So if you do not have access to the play long tracks, go to the podcast page at jazz panel skills after this episode and get them you'll begin to hear a significant improvement in your playing immediately. Okay, I mentioned this last week that it is so important to be able to easily move either direction from any entry point of a sound and why because you do not want to be route dependent right only capable of playing a scale a pattern starting from the root only. And again, students easily and quickly fall into this trap because they only practice starting on the root I mentioned last week, it's a horrible habit. And yet so many teachers, we teach this way, and we allow students to become route dependent. And we're not going to do this or not, I'm not gonna allow that here in a jazz panel skills and in the podcast. And that is why I want to avoid that trap for you. And that is why I demonstrate and play these examples from various entry points so that we don't fall into that trap. So with that in mind, let's, let's move our entry point to the third of G minor, which is the note B flat and I'm going to sit on that note, right? And then I'm going to ascend through the C whole tone scale c dominant whole tone scale. Starting on the note C, which is way too funny, right? Because I just gave you the speech stressing the importance of being route independent, and we're here we are playing the C dominant whole tone, scale. Start On the root, so this is a good time to make sure that I stress that starting on the root is not a bad thing. It only becomes a detriment when you only start on the root, which will be impossible if you keep moving your entry points around. So after ascending from the root of the C dominant chord, for the whole tone scale, I'm going to practice descending from the G sharp or the sharp five, right. So my entry point is the B flat or the third of the G minor. I will ascend on the sending side A send through my whole tone scale starting on C. And on the descending side, I will descend starting on the G sharp or the sharp five. Okay, you'll hear this in the demonstration. So let's bring in the ensemble and let's play our 2 5 1 progression and F - G minor 7, F Major, remember sitting, sitting on the G minor entry, sitting on the F major exit. Alright, and moving on the C dominant whole tone scale. So here we go. Let's check it out, and then we'll go from there. I'll talk about it. Here we go.

Not too shabby. I love it. Like I said it's a funky little scale that packs a huge punch and again once you Spend time with the scale with the sound you will begin to hear it all over the place. The scale will become very handy for you. It will be like a Swiss Army knife. Always a good idea to have one handy because you never know when you're going to, when you're going to need it. You know it's funny My dad always seemed to have a Swiss Army knife in his pocket. I don't I don't get it right. He always had a Swiss Army knife and a toothpick always totally cracked me up. But I must admit, it sure did come in handy. I saw him use it quite a bit. And you'll find a whole tone scale to come in handy as well. I mentioned earlier the educational guides the podcast guides right the illustrations, the lead sheets, the play Long's that are available for you to download. I also strongly suggest that you check out the jazz piano skills courses too while you're at jazz piano skills. The courses are a. It's a sequential jazz curriculum that utilizes a self-paced format. And it's packed with all kinds of goodies detailed instruction and illustrations, educational talks and interactive learning media, traditional guides and worksheets again that you can download high definition video demonstrations of me playing the skills and all 12 keys. So you can see fingerings and hand movement, play-along tracks and lead sheets that you can utilize as well. And of course, professional and personal educational support. And if that's not enough, what makes these courses awesome is the mobile access you can. You can easily access the courses from your laptop from your desktop, from your tablet, from your phone, from your TV, and even your watch so so be sure to check it out. The jazz piano skills courses at jazz piano skills calm Alright, now, let's continue our exploration of the hotel scale. Let's move our entry point of the G minor chord. Now the II chord to the fifth. So now we're going to enter the G, the 2 5 1 progression on the note D. And then on the dominant chord, I'm going to move through my whole tone scale starting on the note E. And on the descending side, I'm going to move through the whole tone scale, starting on the note C. Okay, so again, no movement on the minor, no movement on the major. I'm focusing on the whole tone scale on the V chord, ascending and descending. So let's check it out. 2 5 1, key of F major, G minor, C seven dominant, altered fives using the whole tone scale, resolving to F major. Here we go. Let's see what this sounds like.

Very, very nice. It always amazes me that by simply shifting our entry points to various places within a sound, it entirely changes the sound or the nuance of the progression. It's amazing to me. So with that being said let's, let's get to our final demonstration for today. So now we move our entry point to the seventh of the G minor. Alright, so we're going to start on the note F. When I get to the V chord, I'm going to ascend through the whole tone scale, starting on the flat five or the G flat. On the descending side, I'm going to start on the third or on the E for the dominant chord, right, so my entry point is the F, the seventh the G minor. I move ascending through the whole tone scale on the five starting on the G flat and on the descending side, I move through the whole tone scale, starting on the third or the E. Okay, so let's see what this sounds like. I bet it sounds pretty darn good. So let's check it out. Here we go.

I was right sounds pretty darn good. What a great way to systematically and strategically explore the whole tone scale or any specific sound that you are wanting to get under your fingers in your ears. I strongly suggest that you repeat this process that we just walked through right? For the 2 5 1 progression for all to five one progressions using the whole tone scale sound. For the V dominant chord. Your ability to see this shape and hear this sound will come in extremely handy as you start to recognize its presence and use in Standard Jazz repertoire. repertoire. It's out there. It's all over the whole tone scale, jazz Swiss Army knife, make sure you have it in your pocket and ready to go. Well, I hope you have found this jazz panel skills podcasts lesson on the whole tone scale to be insightful and of course beneficial. Don't forget I will see Thursday evening at the jazz piano skills masterclass 8 pm, central time to discuss this podcast episode in greater detail and to answer any questions you may have about this lesson or, or the study of jazz in general. Also, don't forget to download the educational guides for this podcast lesson at jazz piano skills.com there are tremendous This resource that will expedite your discover, learn, and play process exponentially, get them. While you're there, you should check out the jazz piano skills courses, and the jazz piano skills forums, join the community, get involved, and make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 extension 211 by email, Dr. Lawrence at jazz piano skills comm or by speakpipe found on the jazz piano skills website in the educational guides, and the giant jazz piano skills courses. So that's it for now. And until next week, enjoy this amazing journey. And most of all, have fun as you discover, learn and play jazz piano.