Targeting Using the Augmented Scale
Targeting Using the Augmented Scale
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.
What is the Augmented Scale?
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.
Targeting Using the Augmented Scale
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!
