I love the whole tone scale and I’ve explored the melodic and harmonic benefits of its symmetry and that’s why I’m here to get you started and most importantly, show you how to add a twist to your playing using the harmony of the whole tone scale.<\/p>\n
Please permit me to refresh your mind on the whole tone scale before we proceed.<\/p>\n
A Short Note On The Whole Tone Scale<\/h2>\n
The whole tone scale consists of a succession of notes in fixed whole step intervals from a given note to its octave.<\/p>\n
Starting from C: C to D: Altogether, here’s the C whole tone scale: Due to the fixed interval between successive scale tones in the whole tone scale, the whole tone scale is symmetrical.<\/p>\n Playing the C whole tone scale: E to E: …produces the E whole tone scale: F# to F#: …produces the F# whole tone scale: G# to G#: …produces the G# whole tone scale: A# to A#: …produces the A# whole tone scale: Attention:\u00a0<\/strong>Keep in mind that the F# and Gb whole tone scales are equivalent, and so are other enharmonic spellings:<\/p>\n F# whole tone scale: Eb whole tone scale: Now that we’re done with the short note on the whole tone scale, let’s proceed to the harmony of the whole tone scale.<\/p>\n The primary harmony of the whole tone scale is the augmented triad. For instance, in the C whole tone scale: The C augmented triad: But in this lesson, we’re going beyond the regular augmented triads that are associated with the whole-tone scale into learning the dominant seventh chords that are associated with the scale.<\/p>\n One of the dominant seventh chords that can be derived from the whole tone scale is the dominant seventh (flat five) chord — which is not a regularly played dominant seventh chord.<\/p>\n The C dominant seventh (flat five) chord (is a classic example and will serve as our reference):<\/p>\n The C major third interval: “Check Out All The Dominant Seventh (Flat Five) Chords On The Keyboard…”<\/em><\/p>\n The C dominant seventh (flat five) chord: The augmented seventh chord is a dominant seventh chord with a raised fifth. The C augmented seventh chord consists of C, E, G#, and Bb: C augmented seventh chord: The dominant harmony of the whole tone scale is not only suitable but versatile because they can either be resolved to major quality or minor quality chords.<\/p>\n For example, the C dominant seventh (flat five) chord: The F major ninth chord: We’ll take a look at the tritone substitution of the dominant harmony of the whole tone scale in another lesson.<\/p>\n See you then.<\/p>\n","protected":false},"excerpt":{"rendered":" Explore the two dominant seventh chords in the harmony of the whole tone scale in this lesson.<\/p>\n","protected":false},"author":9,"featured_media":22277,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[2568,17,2813,2812,1807],"class_list":["post-19533","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-augmented-seventh-chord","tag-basic-songs","tag-dominant-seventh-flat-five-chord","tag-whole-tone-harmony","tag-whole-tone-scale","post-wrapper","thrv_wrapper"],"yoast_head":"\n
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\n…and moving upwards<\/em> in a fixed whole step interval:<\/p>\n
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\nD to E:
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\nE to F#:
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\nF# to G#:
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\nG# to A#:
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\n…then back to C:
\n<\/p><\/blockquote>\n
\n<\/p>\n
The Symmetry Of The Whole Tone Scale<\/h3>\n
\n
\n…from D to D:
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\n…produces the D whole tone scale:
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\n“Yes! More Whole Tone Scales Can Be Derived From The C Whole Tone Scale…”<\/em><\/p>\n
\n<\/p>\n
\n<\/p><\/blockquote>\n
\n<\/p>\n
\n<\/p><\/blockquote>\n
\n<\/p>\n
\n<\/p><\/blockquote>\n
\n<\/p>\n
\n<\/p><\/blockquote>\n
\n
\nGb whole tone scale:
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\nUsing the Db whole tone scale:
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\n…the following whole tone scales can also be derived:<\/p>\n
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\nF whole tone scale:
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\nG whole tone scale:
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\nA whole tone scale:
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\nB whole tone scale:
\n<\/p><\/blockquote>\n
The Dominant Harmony Of The Whole Tone Scale<\/h2>\n
\n
\n…there are two augmented triads:<\/p>\n
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\nThe D augmented triad:
\n<\/p><\/blockquote>\n
Harmony #1 — “The Dominant Seventh [Flat Five] Chord”<\/h3>\n
\nThe C dominant seventh (flat five) chord consists of two mutual major third intervals:<\/p>\n
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\nThe F#\u00a0 major third interval:
\n<\/p><\/blockquote>\n
\n
\nThe C# dominant seventh (flat five) chord:
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\nThe D dominant seventh (flat five) chord:
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\nThe Eb dominant seventh (flat five) chord:
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\nThe E dominant seventh (flat five) chord:
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\nThe F dominant seventh (flat five) chord:
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\nThe F# dominant seventh (flat five) chord:
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\nThe G dominant seventh (flat five) chord:
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\nThe G# dominant seventh (flat five) chord:
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\nThe A dominant seventh (flat five) chord:
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\nThe Bb dominant seventh (flat five) chord:
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\nThe B dominant seventh (flat five) chord:
\n<\/p>\n
Harmony #2 — “The Augmented Seventh Chord”<\/h3>\n
\n
\n…which are part of the tones of the C whole tone scale:
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\nRaising the fifth tone of the regular C dominant seventh chord:
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\n…which is G:
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\n…by a half-step (to G#):
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\n…produces the C augmented seventh chord:
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\n“Here’s The Augmented Seventh Chord In All 12 Keys…”<\/em><\/p>\n
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\nDb augmented seventh chord:
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\nD augmented seventh chord:
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\nEb augmented seventh chord:
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\nE augmented seventh chord:
\nV
\nF augmented seventh chord:
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\nGb augmented seventh chord:
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\nG augmented seventh chord:
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\nAb augmented seventh chord:
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\nA augmented seventh chord:
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\nBb augmented seventh chord:
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\nB augmented seventh chord:
\n<\/p>\n
Final Words<\/em><\/h2>\n
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\n…can resolve to either of the following chords:<\/p>\n
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\nThe F minor ninth chord:
\n<\/p><\/blockquote>\n