Jazz Theory by Terefenko Dariusz;

Author:Terefenko, Dariusz;
Language: eng
Format: epub
ISBN: 1659162
Publisher: Taylor and Francis

FIGURE 16.2 1/2 Octatonic I—Pitch Analysis

The scale includes all the chord tones of the C7 harmony: the root, major 3rd, perfect 5th, and minor 7th. It also contains three chromatic extensions, ♭9th, ♯9th and ♯11th, one diatonic extension, major 13th, and one pitch alteration, ♭5th. As such, the 1/2 octatonic establishes a chord—scale relationship with C7(♭5) and C13. In addition, the 1/2 octatonic I scale is a perfect match for the C7(♭9) chord that, until now, has not been paired with a scale or mode. Since the pitch content of any 1/2 octatonic is invariant under minor 3rd transposition, the dominant 7th chords a minor 3rd apart establish chord—scale relationships with the same 1/2 octatonic scale. Therefore, any 1/2 octatonic can be used in conjunction with four distinct dominant 7ths. This ratio of chords to scale relationships is a distinctive feature of the octatonic collection and allows for a highly economical use of the scale. Figure 16.3 examines the pitch structure of 1/2 octatonic I in the context of four dominant 7ths a minor 3rd apart.

FIGURE 16.3 1/2 Octatonic I and Four Minor 3rd-Related Dominant 7ths

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