Approach Note Theory

                We have already studied the use of chord tones (triads, seventh chords and upper extensions) in musical improvisation.  Approach note theory is one way to derive additional pitches and create interesting and beautiful musical lines while traveling from one cord tone to the next.  Approach note theory establishes these chord tones as the target pitches of our improvised melodies.  Melodies travel from one target pitch to the next, using other pitches to fill in the gaps.  The other pitches are often non-chord tones (although they can also be chord tones).  These other pitches can be passing or neighbor tones.  They can be diatonic or chromatic.  Their primary melodic function is to facilitate traveling to the next target pitch. 

                In general, approach notes tend to have shorter rhythmic values and are placed on weak beats.  Of course there are always exceptions to the rules.  Approach notes can also be placed on strong beats for brief moments within some musical contexts.  In addition, this rule does not mean that all target notes must be long in duration.  Some intricate lines may contain several eighth or sixteenth notes that are a mix of approach notes and target notes.  However, these types of lines usually resolve with a longer tone that is a target note.  

                Another exception would be the use of a longer tone that is held over from a weak beat to a strong beat as an anticipation.  In this instance, the pitch would be a non-chord tone in relation to the harmony on the weak beat but a chord tone in relation to the new harmony on the strong beat.  It functions as an incomplete approach that anticipates the new harmony and transforms into a target note. 

Passing tones and neighbor tones are the two basic types of non-chord tones used in approach note theory.  A passing tone is a pitch that lies between two chord tones in a melodic phrase.  When traveling from the first chord tone (target pitch) to the next chord tone (target pitch), the passing tone serves to create a smooth melodic line (stepwise motion). 

A neighbor tone is a pitch that lies directly above or below a target pitch in a melodic phrase.  There are two types of neighbor tones: complete and incomplete.  A complete neighbor tone phrase travels from a chord tone, up or down to the neighbor tone and then returns to the original chord tone.  An incomplete neighbor tone phrase jumps to a neighbor tone and then travels to the intended chord tone.  Usually, incomplete neighbor tone resolutions travel in a direction that is contrary to the way they are arrived upon.  In other words, a jump up to an incomplete neighbor would usually be resolved down to the target pitch, and a jump down would usually be resolved up.

Based on this knowledge of passing and neighbor tones, here are some guidelines for the application of approach note theory in musical improvisation.  First, select target pitches to focus on when traveling from one chord to the next in a piece of music (can be any chord tone).  Next, create melodic phrases that travel from one target pitch to the next.  While creating these phrases, alternate between passing tones, complete neighbor tones and incomplete neighbor tones to create a skillful variety of stepwise motion, static motion and musical jumps.  Embellish you musical phrases with additional diatonic and/or chromatic pitches.  Use variations in rhythm and the number of pitches to skillfully arrive at your target pitch on the appropriate beat of the measure (as indicated by the chord changes). 

One practice method for studying the application of approach note theory would be to create and practice performing all of the possible approach phrases for traveling between two specific target pitches.  Once these approach phrases are mastered, the performer can transpose them to apply to a new set of target pitches.  This style of practice aids in mastering a wide variety of approach phrases in a shorter period of time.

Another practice method would be to create 2 – 4 approach phrases for each chord change within a section (verse, chorus or bridge) of a song.  Practice playing through the changes of the song applying these approach phrases in various patterns.  For example, one performance could consist of playing approach phrase number one that you created for each change.  After each approach is mastered in this way, another performance could consist of alternating between approach phrase number one and phrase number two while playing through the chord changes.  Although this style of practice may not cover as wide of a variety of approach phrases, it does aid in mastering direct application to actual songs.  Some people prefer playing actual music to rehearsing exercises.  This method would help such individuals to remain engaged in the practice session.       

When stringing various approach phrases together to create a musical improvisation, it is important to remember that recognizable melodic patterns help to orient and ground the listener.  If a listener is bombarded with a collection of random melodies that are not related to each other in any way, he/she can become overwhelmed and lost in the music.  Melodic patterns serve to provide structure and order within the music.  In addition, melodies communicate ideas and feelings.  Recognizable patterns aid in clarifying the melodic communication.  Some composers have even used certain recognizable melodic patterns to personify different characters in plays, operas and movies.  

      

          In this Learning Music With Ray video I discuss the concept of approach note theory and explain how it can be applied to musical improvisation.  I define the terms target pitches, passing tones and neighbor tones; and I explain the roles they all play in approach note theory.  Finally, I provide musical examples of approaches derived from the chord changes of a song.  I explain how these examples can be used to practice the skill of musical improvisation.    

The Whole Tone Scale

                The whole tone scale is a six pitched scale composed of six consecutive whole steps.  Remember that there are only 12 chromatic pitches in music.  Therefore, the six symmetrical whole steps of this scale represent half of the 12 chromatic pitches found in music.  This means that there are only two whole tone scales. 

                One of these whole tone scales contains the pitches C-D-E-F#-G#-Bb.  The other scale contains the pitches Db-Eb-F-G-A-B.  I happened to start these two scale examples on C and Db, but any pitch in the scale can be considered a valid starting point.  Other starting points are just inversions of the same group of six pitches. 

                There are no official rules for properly spelling the pitches of a whole tone scale.  There are, however, some helpful tips to consider.  First, use a spelling that will make the scale easiest for the performer to read.  Your spelling may vary based on the tonal context of your musical application.  For example, the starting pitch you select for the scale or the key of the piece you are applying the scale to may cause variations in the spelling you use.  Next, try to maintain a consistent spelling within the same musical phrase or section.  Finally, try to avoid double flats, double sharps and white note sharps/flats (Cb, B#, Fb and E#). 

               Due to the number of variables in spelling (depending on the musical context) I will not attempt to provide a sheet music scale listing for practice purposes.  Writing out your own scales and spellings based on the musical context of your application would be a much better practice exercise.  Once you are proficient in performing the scale with various starting points, then concentrate your efforts on studding the proper musical application of the scale.

                The whole tone scale is often used to create a floating or ethereal effect within the music.  It can be found in many musical genres, and is used heavily in impressionistic music.  The tasteful use of this scale in musical improvisation helps to add more variety and color to your musical pallet.  However, the sound created by this scale does not apply to every musical context.  The whole tone scale lends itself to being played over chords with a raised 5^th.  The ideal chord for this scale is the dominant 7+ which contains a raised 5^th and raised 11^th.         

                 In this Learning Music With Ray video I discuss the definition and composition of the whole tone scale.  I discuss the number of pitches that a whole tone scale is composed of, and the fact that there are basically only two whole tone scales to learn.  Finally I cover tips on how to use this scale in musical improvisation. 

 

The Diminished Scale

        Like the bebop scale that we discussed last week, the diminished scale is composed of eight pitches.  Remember, most of the music of bebop jazz era is composed in a 4/4 shuffle feel that is complemented by flowing eighth note patterns.  A 4/4 measure can contain a maximum of 8 eighth notes, so an 8 pitch scale would be the optimal tool for musical improvisation in this musical style.  The bebop scale introduced a chromatic pitch to add interest.  The diminished scale includes several chromatic pitches and adds even more variety. 

    

       The diminished scale is composed of alternating intervals of whole and half steps.  The scale can either start with a half step or a whole step (depending on the chord it is being applied to).  So, the interval pattern used to compose a diminished scale is either W-H-W-H-W-H or H-W-H-W-H-W. 

   Since the diminished scale is based on an alternating whole step / half step pattern, there are only 3 diminished scales to learn.  Tonics that are a minor third apart share the same diminished scale.  The tonics of C, Eb, Gb, and A share the same diminished scale, and they can be thought of a group 1 of the diminished scales.  The next group of tonics that share the same diminished scale are C#, E, G and Bb (group 2).  The final group (group 3) is composed of the tonics D, F, Ab and B.  Included in the video are slides in which the scales of each of these groups are written out (in both whole/half and half/whole form).  Practicing these scales in light of the three groups will aid in both understanding and memorization. 

   Due to the alternating whole and half step pattern of the diminished scale, the rules for proper pitch spelling are ambiguous.  There are three main methods commonly applied among music theorists to achieve uniform pitch spelling.  One is the fraternal neighbors method.  In this method, the eight pitches are paired in groups of two, and neighboring chromatic pairs are given different letter names.  An example of this in the C (half/whole) diminished scale would be / C Db / D# E / F# G / A Bb /.  The second method involves stacking two diminished tetrachords separated by a whole step.  This results in the same spelling as the fraternal neighbors method, and only differs in the mental grouping of the pitches (example: C (half/whole) diminished scale: / C Db D# E / F# G A Bb /).  The third is the identical neighbors method.  Just like the fraternal neighbors method, the eight pitches are paired in groups of two.  However, now the neighboring chromatic pairs are given the same letter name (example: C (half/whole) diminished scale / C C# / Eb E / Gb G / A A#/).  For the scale examples given in this lesson, I have used the fraternal neighbors method. 

   Certain harmonies lend themselves to the use of the diminished scale in musical improvisation.  In addition, certain forms of the scale (whole/half or half/whole) are more appropriate depending on the harmony being improvised over.  When improvising over major triads and dominant 7b9 chords; the half/whole diminished scale that shares the tonic of the current chord can be used.  When improvising over minor triads, minor 7^th chords and diminished 7^th chords (fully diminished 7^th); the whole/half diminished scale that shares the tonic of the current chord can be used.  The tasteful use of these scales, in combination with the other scales we have studies, helps to provide a broader musical pallet for improvisation.  This leads to the creation of more interesting and varied melodies. 

        In this Learning Music With Ray video I discuss the definition and composition of diminished scales.  I cover the whole and half step pattern that is used to create this scale, and the proper way to spell the pitches of the scale.  I also explain why there are basically only three diminished scales to learn, and how all the other keys are related to these three.  Finally I cover which chords compliment the use of the diminished scale in musical improvisation.  

The Bebop Scale

                As we have discussed in past lessons, our Western musical system is based off of a seven letter musical alphabet.  This results in major and minor keys/scales that are composed of seven pitches.  In addition, even the modal scales are composed of seven pitches.  Pentatonic scales are only composed of five pitches, but they are based more on the concepts of Eastern and folk music. 

                When looking to compile a collection of pitches for musical improvisation, the music of bebop jazz era lends itself to a particular type of rhythmic feel and flow.  Most of this music is composed in a 4/4 shuffle feel that is complemented by flowing eighth note patterns.  A 4/4 measure can contain a maximum of 8 eighth notes, so an 8 pitch scale would be the optimal tool for musical improvisation in this musical style.

                The bebop scale is an eight pitch scale composed by introducing one addition chromatic pitch to a modal scale.  There are four types of bebop scales based on the four most common jazz seventh chords.  The four most common jazz seventh chords are the four chord qualities found in the diatonic seventh chords of the major and minor keys.  They are the major 7^th, minor 7^th, dominant 7^th and the half diminished 7^th chords.  This is demonstrated below by the included graphics that display the major and minor diatonic seventh chords.

                The bebop scale that is based off of the major 7^th chord is the called the major bebop scale.  A review of the modal scale relations to chords and improvisation reveals that the Ionian mode/scale is often used for improvisation over the major 7^th chord.  The major bebop scale is composed by adding a raised 5^th between the normal 5^th and 6^th of the Ionian scale.  The graphics below display both the formation of the major bebop scale and its written form in all 12 keys.

                The bebop scale that is based off of the dominant 7^th chord is the called the dominant bebop scale.  A review of the modal scale relations to chords and improvisation reveals that the Mixolydian mode/scale is often used for improvisation over the dominant 7^th chord.  The dominant bebop scale is composed by adding an interval that is a major 7^th from the root after the minor 7^th that is normally found in the Mixolydian scale.  The graphics below display both the formation of the dominant bebop scale and its written form in all 12 keys.

The bebop scale that is based off of the minor 7^th chord is the called the minor bebop scale.  A review of the modal scale relations to chords and improvisation reveals that the Dorian mode/scale is often used for improvisation over the major 7^th chord.  The minor bebop scale is composed by adding an interval that is a major 3^rd from the root between the minor 3^rd and the perfect 4^th that are normally found in the Dorian scale.  The graphics below display both the formation of the major bebop scale and its written form in all 12 keys.

The bebop scale that is based off of the half-diminished 7^th chord is the called the half-diminished bebop scale.  A review of the modal scale relations to chords and improvisation reveals that the Locrian mode/scale is often used for improvisation over the half-diminished 7^th chord.  The half-diminished bebop scale is composed by adding an interval that is a perfect 5^th from the root between the diminished 5^th and minor 6^th that are normally found in the Locrian scale.   The graphics below display both the formation of the major bebop scale and its written form in all 12 keys.

                In this Learning Music With Ray video I discuss the definition and composition of the bebop scale.  I cover a brief description of the overall concept of the bebop scale being an eight pitch scale, and why eight pitches are conducive to jazz improvisation.  I then go into a more detailed discussion on the four types of bebop scales and how they are derived.  Finally I cover tips on how to use these scales in musical improvisation.  

Upper Extension Musical Improvisation Exercises

             Before we can improvise using the chord tones of various seventh chords with upper extensions, we must know those chord tones.  My previously posted video entitled Learning Music With Ray: Chord Color Tones helps to explain the various types (qualities) of upper extensions that can be added to seventh chords.  To improvise using these pitches, we must obtain the ability to rapidly recall and perform these pitches at will.  The following exercises are designed to help achieve that ability. 

There is a connection between the scales and the chords that we use in musical improvisation.  To demonstrate this connection, let’s use a Cmaj7 chord as an example.  If we continue to stack diatonic thirds beyond the seventh of this chord we get the pitches D (the 9^th), F (the 11^th) and A (the 13^th).  If we lower these three pitches one octave, and insert them between the chord tones of the Cmaj7 chord we end up with a C major scale.  In this same fashion, we can used the upper extensions of most seventh chords to create scales that can be used for musical improvisation.

However, only certain upper extension are applied to various seventh chord when performing in most common musical styles.  For major seventh chords, the most common upper extensions are the natural 9^th and the # 11^th.  In addition the 6^th can be used in place of the 7^th.  Since the upper extensions commonly used for minor seventh and dominant seventh chords differ from this, I will display exercises that cover each of these qualities of chords.

 

In these first three exercises, the pitches of each major 9^th chord are arpeggiated in three different ways.  The first exercise arpegiates the chord up and back down by starting on the root.  Every key is covered by ascending through the keys in half-step increments.  The next exercise arpegiates down and up the chord starting on the root.  This time we cycle through the keys by descending chromatically.  The third exercise arpegiates up and back down starting on the root, just like the first exercise.  However, now we cycle through the chords by descending through the circle of fifths. 

These three examples have only displayed exercises that arpeggiate the major 9^th chord.  We have two other types of major seventh upper extensions to cover in this lesson in addition to the minor and dominant seventh chords.  For this reason, we will limit the rest of the example to exercises that ascend chromatically through the keys and arpeggiate the chord starting on the root.  Please realize that there are many other applications of exercises that can be created.  My previous lessons on triad and seventh chord exercises help to provide an example of some additional applications.   Please apply those ideas to your personal practice of upper extension exercises as well.

The next two exercises arpeggiate the pitches of the major 9(#11) chord and the major 7 chord where the 6^th is a substitution for the 7^th.  Each seventh chord is arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the keys in half-step increments. 

The next group of exercises arpeggiate the pitches of various minor seventh chords with upper extensions.  The three most common upper extension applications for minor seventh chords are the natural 9^th, the natural 11^th and the 6^th as a substitute for the 7^th.  Each seventh chord is arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the keys in half-step increments. 

The next group of exercises arpeggiate the pitches of various dominant seventh chords with upper extensions.  The six most common upper extension applications for dominant seventh chords are the natural 9^th, the flat 9^th, the raised 9^th, the raised 11^th, the flat 13^th and the natural 13^th.  Each seventh chord is arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the keys in half-step increments. 

For the dominant 13 chord, I also demonstrate an exercise here in which the 5^th of the chord is omitted.  In this example, the 13^th is substituted in the area of the arpeggio where the 5^th would normally be located.  This helps to avoid the awkward jump and extended range found in the previous exercise. 

In this exercise, a simple pattern is created by arpeggiating through the 2-5-1 progression.  The exercise arpeggiates up the ii9 chord, starting on the third.  It then arpegiates down the V13 chord starting on the 13^th.  This pitch is tied over from the previous chord since it is a common tone of both chords (13^th of the V and the 9^th of the ii).  Finally, it arpeggiates back up the I maj9 chord starting on the third.  This exercises cycles through all the keys by converting the root of the I chord at the end of the progression into a ii9 chord for the next progression.  This pattern will cycle through 6 of the 12 possible keys.  The cycle can be repeated with a starting key that is half a step higher in order to cover the other 6 possible keys. 

The musician should start with a simple applications like this, and then create more complex arpeggiated patterns.  The ultimate application is to create a free form musical improvisation that only utilizes the pitches of each seventh chord, and outlines the chord changes of the progression.

The final way to practice chord tone based musical improvisation with the use of seventh chords with upper extensions is to apply the above exercises to the chord structure of an actual song that contains these types of chords.  For example, we could arpeggiate each chord of the song up and then down starting on the root.  Instead of applying a half step or circle of 5ths progression to change chords, we merely apply the exercise to the chord changes of the song.  When the beat duration of a given chord limits the amount of material that can be played, we modify the arpeggio pattern (example: only go up the arpeggio instead of going up and down). 

             In this Learning Music With Ray video I demonstrate various upper extension chord exercises that can be used to develop the rapid recall of the pitches of any seventh chord with upper extensions for use in musical improvisation. Each exercise is demonstrated with major seventh, minor seventh and dominant seventh chords. I explain which upper extensions are common to each of these types of seventh chords. Then I apply the theory behind these exercises to create a 2-5-1 arpeggio exercise. Finally, I apply the same exercises to the chords of a song.

Seventh Chord Exercises for Musical Improvisation

Before we can improvise using the chord tones of various seventh, we must know those chord tones.  My previously posted video entitled Learning Music With Ray: Seventh Chords, helps to explain the various types (qualities) of seventh chords, how they are formed and how to derive their pitches.  To improvise using these pitches, we must obtain the ability to rapidly recall and perform these pitches at will.  The following exercises are designed to help achieve that ability.

In this first exercise, the pitches of each seventh chord are arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the keys in half-step increments.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated down and back up by starting on the root.  Every key is covered by descending through the keys in half-step increments.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated down and back up by starting on the root.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated up and back down by starting on the root.  Every key is covered by ascending through the circle of fifths.  The exercise is illustrated with seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated up and back down by starting on the third.  Every key is covered by descending through the keys in half-step increments.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated up and back down by starting on whichever pitch exist in the lowest part of the instrument’s range (demonstration written for saxophone).  The point is to challenge the player with random seventh chord inversions.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated down and back up by starting on whichever pitch exist in the highest part of the instrument’s range (demonstration written for saxophone).  The point is to challenge the player with random triad inversions.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, the pitches of each seventh chord are arpeggiated up and down in straight paths that extend through the full range of the instrument (demonstration written for saxophone).  The direction of the arpeggio remains constant (through multiple chords) until the end of the instrument’s range is reached.  The point is to create fluid lines across multiple triads, using the full range of the instrument.  Every key is covered by descending through the circle of fifths.  The exercise is illustrated with major seventh chords, but it can be applied to any type of seventh chord.

In this exercise, a simple pattern is created by arpeggiating through the 2-5-1 progression.  The exercise arpeggiates up the ii7 chord, starting on the root.  It then arpegiates down the V7 chord starting on the 3^rd (the closest pitch coming down from the last pitch of the ii7 chord).  Finally, it arpeggiates back up the Imaj7 chord starting on the root.  This exercises cycles through all the keys by converting the root of the I chord at the end of the progression into a ii7 chord for the next progression.  This pattern will cycle through 6 of the 12 possible keys.  

The cycle can be repeated with a starting key that is half a step higher in order to cover the other 6 possible keys. 

The musician should start with a simple applications like this, and then create more complex arpeggiated patterns.  The ultimate application is to create a free form musical improvisation that only utilizes the pitches of each seventh chord, and outlines the chord changes of the progression.

  

The final way to practice chord tone based musical improvisation with the use of seventh chords is to apply the above exercises to the chord structure of an actual song that contains seventh chords.  For example, we could arpeggiate each seventh chord of the song up and then down starting on the root.  Instead of applying a half step or circle of 5ths progression to change chords, we merely apply the exercise to the chord changes of the song.  When the beat duration of a given chord limits the amount of material that can be played, we modify the arpeggio pattern (example: only go up the arpeggio instead of going up and down). 

          In this Learning Music With Ray video I demonstrate various seventh chord exercises that can be used to develop the rapid recall of the pitches of any seventh chord for use in musical improvisation. Each exercise is demonstrated with major seventh chords, but can be applied to any type of seventh chord. Then I apply the same exercises to a simple three chord progression to add musicality to the practice routine. Finally, I apply the same exercises to the chords of a song.