The “major” blues scale Some improvisers find it helpful to think of a major blues scale. The difference between a major and minor pentatonic scale is identical to the difference between the major and minor blues scale: the major blues scale is a rotation of the blues scale of its relative minor. Begin the blues scale on me (↓^3)(↓3^)(\downarrow\hat3), and you will get a blues scale for the relative major. These relationships are summarized in Example 5

MODAL SCHEMAS

Smooth Voice Leading

JAZZ VOICINGS

AMERICAN STANDARD PITCH NOTATION

VI. JAZZ

SWING RHYTHMS

Backbeat

Syncopation

CHORD SYMBOLS

Added Notes (add) and Suspensions (sus)

Chord Symbols vs. Roman Numerals

SUBSTITUTIONS

Mode Mixture

CHORD-SCALE THEORY

Spacing

BLUES HARMONY

BLUES MELODIES AND THE BLUES SCALE

Typical Jazz Voicing

EMBELLISHING CHORDS

Phrase and Lyric Structure

The Blues Scale

DIATONIC MODES

In the 20th and 21st centuries, composers sometimes used the diatonic collection, but without making anyattempt to make a specific pitch sound like the the pitch center. Such examples are not tonal, nor are theymodal; instead, they are considered pandiatonic. Igor Stravinsky often wrote pandiatonic passages; manycan be heard throughout the opening of his ballet Petrushka

Texture

Turnarounds

ii–V space

II–V–I

“Salt Peanuts” (Gillespie/Clark) and “Passport” (Parker)