The fourth most popular post made here at JKM this past year (based on how many times it was viewed and/or searched) was the post made on Targeting Using the Augmented Scale. I hope the post below is something that has added some value to you in some way. For those that may be visiting this site for the first time the post below is one of many you can find here on the site. If you go to the bottom of the homepage you can search this site by the category pull-down menu or by typing any search term in the field at the bottom to pull up relevant posts.
Here is #4 for 2013:
“I wanted to share a fun sound that I have been experimenting with recently. For those that have followed this site the past 2+ years know that I am believer in the concept of targeting. This post will be looking at how you can use the augmented scale through the lens of targeting principles that I outline in my first book, Targeting: Improvisation With Purpose.
Since we have a number of people who visit this site from different levels and abilities we will take a look at what exactly an augmented scale is. An augmented scale is made up of two augmented triads that are a minor third apart. I have also heard an augmented scale called the “minor third, half-step scale,” but not very often. For most in the jazz community (or at least those that know about it) call it the augmented scale. Below is the C augmented scale:
Most Jazz educators will tell you that you can use this scale over any augmented 7th chord (for example a C7+) or a x7#11 chord (example would be a C7#11). I agree that the augmented scale works well over those so I am not disagreeing with that usage. However, like a lot of melodic/harmonic devices they can be used with targeting principles. Again, I am not going to outline what those are right now. However, let’s look at how using the augmented scale to target the “C” below in two different situations cause a unique and powerful sound over the listed progressions:
In my practice time I have been gravitating to this particular sound lately. I love the combination of the minor third and the half-step because of its melodic possibilities. I would invite you to try the above example in different harmonic situations where the targeted note would be a “C.” I hope you have enjoyed this week’s tip and that it has added some value and benefit to your playing in some way!
If you have not yet, please check out my album Mountain, Move today. Part of the proceeds go to help fight human trafficking through an organization called Pearl Alliance. More information about that organization can be found here on this site. Also, if you have not picked up Targeting: Improvisation With Purpose or Breaking the Monotony yet you can do so by going to our Digital Store.”