Jazz Scales: Exploring 9-NoReimaginingte Variations and the Influence of Allan Holdsworth
Jazz, by nature, has always embraced experimentation and pushing the boundaries of traditional harmony and melody. From the early days of improvisation to the avant-garde expressions of the 21st century, jazz musicians have continually sought new ways to break free from the constraints of established scales. One such exploration is the concept of 9-note scales — an innovative approach that adds notes to the traditional major, dominant, and minor scales.
In this blog, we will explore three distinct 9-note jazz scales: the Jazz Major scale with added flat 3 (b3) and flat 6 (b6), the Jazz Dominant scale with flat 3 (b3) and a natural 7, and the Jazz Minor scale with flat 5 (b5) and a natural 7. These scales introduce a new way of thinking about harmony and improvisation, heavily inspired by the revolutionary work of guitarist Allan Holdsworth, who was a master of unconventional approaches to scales and harmony.
1. Jazz Major Scale: Adding b3 and b6
Traditionally, the major scale consists of seven notes, forming a bright, stable foundation for harmony. However, the Jazz Major scale expands on this by introducing two chromatic alterations: b3 and b6. This alteration creates a nine-note scale, offering a rich palette of harmonic colors that break away from the predictability of standard major harmony.
The structure of the Jazz Major scale with added b3 and b6 looks like this:
Root (1), 2nd, b3 (flat third), 3rd, 4th, 5th, b6 (flat sixth), 6th, 7th, 8th (octave)
In C, this would be:
C, D, Eb, E, F, G, Ab, A, B, C
The inclusion of the b3 (Eb) and b6 (Ab) creates more tension within the scale, lending it a jazzy, ambiguous quality that offers an expanded harmonic palette. The b3 introduces a minor third interval, which gives it a somewhat bluesy or modal flavor, while the b6 further deepens the emotional complexity.
This scale could be used for major, minor, minor seven flat five, diminished, augmented and dominant seven chords with a flat nine (b9) or a sharp five (#5) It allows the improviser to introduce unexpected melodic shifts, pulling in minor qualities while still maintaining a major tonal center. The flexibility of the Jazz Major scale is an ideal tool for creating sophisticated lines that don’t strictly adhere to classical major harmony.
2. Jazz Dominant Scale: Adding b3 and 7
The Jazz Dominant scale is derived from the traditional dominant seventh scale, which naturally contains a major third, perfect fifth, and minor seventh. However, when you add the b3 (flat third) and 7 (natural seventh), the scale becomes more dynamic and versatile, allowing it to create richer tensions and color in dominant seventh chords.
The structure of the Jazz Dominant scale with added b3 and 7 looks like this:
Root (1), 2nd, b3 (flat third), 3rd (major third), (4th, 5th, 6th, b7 (dominant seventh), 7 (natural seventh), 8th
In C, this would be:
C, D, Eb, E, F, G, A, Bb, B, C
The combination of the flat third and natural seventh creates an interesting clash of major and minor tonality within the dominant seventh chord. The inclusion of both the b3 and 7 introduces more tension, making the dominant chord more ambiguous, yet still resolutely pointing toward resolution (often back to a tonic).
Allan Holdsworth, known for his unique approach to harmony, was a master of combining altered notes with traditional chords to create dissonant, yet fluid, harmonic movements. The Jazz Dominant scale with added b3 and 7 allows musicians to move fluidly between tension and resolution, creating unpredictable and modern sounds. It's perfect for jazz improvisation, where the line between tension and release is key to keeping the music exciting.
3. Jazz Minor Scale: Adding b5 and 7
The Jazz Minor scale is a variant of the Dorian minor scale, but with a chromatic twist. When you add the b5 (flat fifth) and the natural 7, you get a 9-note scale that significantly alters the harmonic possibilities, especially for minor-based jazz progressions.
The structure of the Jazz Minor scale with b5 and 7 looks like this:
Root (1), 2nd, b3 (flat third), 4th, b5 (flat fifth), 5th, 6th, b7th, 7 (natural seventh), 8th
In C, this would be:
C, D, Eb, F, Gb, G, A, Bb, B, C
The inclusion of the b5 (Gb) creates a "half-diminished" flavor, often associated with minor seventh flat five chords (also called ø chords).
This scale is perfect for improvisation over minor chord progressions, particularly those with a dominant function (like ii-V progressions in jazz). The b5 brings an exotic, dissonant flavor, while the natural seventh provides a slightly "less dark" resolution than a fully diminished chord would. This makes it a flexible choice for soloists who want to color their lines with a bit more harmonic spice.
A New Way of Thinking: Holdsworth’s Influence
Allan Holdsworth, the legendary guitarist, was known for his unorthodox use of scales and his ability to seamlessly combine harmony and melody in ways that few musicians could match. He was known for frequently altering traditional scales, often blending modal ideas with chromaticism to create deeply emotional and unpredictable sounds. His improvisational approach was based on fluidity — creating lines that evolved organically without being bound by rigid harmonic conventions.
Holdsworth’s exploration of harmony and melodic structures can be seen in how he navigated scales like these 9-note variations. By rejecting traditional diatonic thinking, Holdsworth was able to make complex harmonic ideas sound effortless. His use of altered scales, like the ones discussed here, allowed him to push the boundaries of jazz and fusion guitar, blending modal improvisation with chromatic tension to create unique, ever-shifting harmonic landscapes.
Holdsworth’s genius was in his ability to take a seemingly simple idea, such as a scale, and infuse it with new harmonic depth and meaning. His approach invites us to reconsider what’s possible within established forms. The 9-note scales we’re exploring here — Jazz Major with b3 and b6, Jazz Dominant with b3 and 7, and Jazz Minor with b5 and 7 — represent a similar kind of expansion. By incorporating chromatic alterations into these familiar scales, musicians can create fresh, unexpected sounds that push the boundaries of traditional jazz harmony.
Conclusion: Embracing New Horizons in Jazz Harmony
The 9-note scales — Jazz Major with added b3 and b6, Jazz Dominant with added b3 and 7, and Jazz Minor with added b5 and 7 — represent a new way of thinking about jazz harmony. They offer a wealth of new harmonic possibilities that can take your playing to new, exciting places. Inspired by the bold innovation of Allan Holdsworth, these scales allow us to push beyond the boundaries of traditional jazz scales and embrace a more fluid, experimental approach to improvisation.
By incorporating these new harmonic ideas into your own playing, you can develop a richer understanding of how to create tension, release, and emotional depth in your lines. As Holdsworth himself would attest, the key is to constantly question established norms and explore new ways of hearing and playing music. With these 9-note scales, you’re stepping into a world of limitless possibility, where the rules of traditional harmony are just a starting point for creative exploration.
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