The Augmented Scale: A New Pattern to Whet Your Fingers On

Here is an augmented scale pattern that I started tinkering with yesterday. It’s similar to one I’ve practiced fairly often, but inserting an extra note into each four-note grouping–resulting in quintuplets–adds both harmonic and rhythmic color.

The exercise uses the Bb augmented scale. Since it is a symmetrical scale, it also functions as D and F# augmented scales. For the theory behind it, see my first post on the augmented scale and view my page on jazz theory, technique, and solo transcriptions for a number of other articles.

The image to your right (click on it to enlarge) contains three rhythmic variations of the pattern. The topmost is the pattern as I originally conceived it in five-note groupings. The line below it shows how the pattern lays out in a standard eighth-note flow. Last of all you’ll find the pattern set to triplets. These latter two exercises introduce a polymetric element, displacing accents in ways that pack added interest.

During the last few months my focus has shifted to pentatonic scales, and my augmented scale work has consequently suffered. The simple truth is, I just don’t have time to cover all the bases. (I wish I did, but no one is paying me to practice eight hours a day!) Lately, though, now that I’ve gotten the preliminary muscle-memory curve behind me with my pentatonic work, I’ve begun to return to the augmented scale. It is a fascinating, hauntingly colorful scale at which I want to become increasingly adept. The augmented and pentatonic scales both now fit into my practice regimen, along with the diminished whole tone scale. By the time I’m finished working all these weird scales into my fingers, I just hope I’ll remember how to play my major scales.

It goes without saying–it does, doesn’t it?–that you’ll practice this pattern in all four of its tonal iterations (I don’t know how else to say it; you can’t rightly call them “keys”). Remember to keep application in mind. It’s not enough to get this pattern under your fingers; how are you going to use it? Again, see my initial post on the augmented scale.

Other than that, there’s nothing left to say except, as always, practice diligently and enjoy the journey.

A Favorite Augmented Scale Lick (or, Echoes of Oliver Nelson)

I’ve been having fun lately getting the augmented scale underneath my fingers in all, ahem, twelve keys. Okay, right, there are really only four versions of this symmetrical scale that a person needs to learn, after which the note sequences repeat themselves. One of the nice things about symmetrical scales is the reduced workload.

But it’s still work, and a person has to start somewhere. For me, the work in fact began several years ago, when I first dabbled with the augmented scale long enough to become dangerous. I didn’t stick with it to the point of really mastering the scale and its application, but I did acquire a favorite augmented scale lick that I’ve used ever since. I worked it out for myself, then subsequently discovered that Oliver Nelson had employed a variation of the descending pattern long before in his solo on “Stolen Moments.”

Sigh. Christopher Columbus I’m not, and there’s nothing new under the sun. Except, of course, the way that each of us nuances and applies musical material which personalizes it and makes it uniquely ours.

Anyway, since I’ve lately been turning my attention once again to the augmented scale, both in my practice sessions and in my blogs, I thought I’d share my favorite augmented scale pattern with you. Click on the image to enlarge it. One of its most obvious applications is for outside playing. The sequence of the pattern, with anchor tones spaced by major thirds, outlines both augmented and major triads, and overall emphasizes the augmented sound.

For more information and exercises on the augmented scale, check out my posts on The Augmented Scale and Using the Augmented Scale with “Giant Steps.” You’ll also find these articles listed on my Jazz page, along with numerous other insights and exercises for improvising musicians.

Internalizing the Sound of the Augmented Scale

Just out of curiosity, I poked around on YouTube to see whether any video tutorials existed that would allow listeners to get the actual sound of the augmented scale into their ears. I came across this excellent lesson by guitarist Geoff Stockton.

Geoff does a great job explaining the construction of this symmetrical scale and giving its basic application to major seventh and minor seventh chords. His video not only helps you understand the theory behind the augmented scale, but very importantly, gives you a superb introduction to how the scale sounds. Listen and absorb!

The Augmented Scale

…John Coltrane and Oliver Nelson brought [the augmented scale] to the masses in the late ’50s and early ’60s. In more recent years, tenor legend and bandleader Michael Brecker (who passed away in January of this year) made good use of the scale, and required that Mike Stern, John Scofield, Pat Metheny, and other guitarists who played for him over the years also know how to harness the pattern’s power.

–from “Secrets of the Symmetrical Augmented Scale” by Josh Workman, EQ online edition

If you want to lend a touch of mysterious, Eastern-sounding chromaticism, angularity, and symmetrical sequence to your solos, consider the augmented scale. I’ve dipped into this unusual, colorful scale from time to time, and lately, in spending more time exploring its sounds and possibilities, I’m becoming captivated with what it has to offer.

The augmented scale is a hexatonic scale–that is, it only has six tones. It is also, like the diminished and whole tone scales, a symmetrical scale. This means that the interval relationships between scale degrees are repeated to create a symmetrical pattern. In the case of the augmented scale, moving upward from the tonic, the scale intervals are: minor third, minor second, minor third, minor second, minor third, minor second.

Here’s what that looks like on the staff.

C augmented scale

There are a couple easy ways to understand the augmented scale. One way, using the C augmented scale to illustrate, is to think of approaching each note of a C augmented triad with its leading tone–i.e. the note B leads to C, D# leads to E, and F## ( or more simply, G) leads to G#. Note that while in this approach you begin with the note B, the actual tonic of the scale is C.

Another way to picture the augmented scale is to superimpose two augmented triads with roots a half-step apart, then organize the resulting tones linearly in a scale. In the case of the C augmented scale, you would superimpose C+ on top of B+. Again, the actual tonic of the scale is C.

A variation of this approach is to superimpose two augmented chords with roots a minor third apart from each other. To get a C augmented scale, you would superimpose Eb+ (same as D#+) on top of C+.

As is also true of the diminished and whole tone scales, the symmetrical nature of the augmented scale makes its root ambiguous. The repeated pattern of a minor third and minor second produces not just one, but three possible tonics separated by a major third. In other words, when you learn the C augmented scale, you’re also learning the E augmented and G# augmented scales. This means that when you’ve learned the C, Db, D, and Eb augmented scales, you’ve learned all the rest as well. Nice, eh? You get all twelve scales for only a third of the work!

There’s plenty more to say about the augmented scale, but I’m not going to try to cover it all here. Dig inside the scale and discover its possibilities for yourself. Here’s a simple pattern to help you get started. The pattern is in C (and E, and G#/Ab). Memorize it, then transpose it to Db, D, and Eb.

C augmented scale pattern

Oh, yes–lest I forget, you’ll want to know how to apply the augmented scale. I’m still working that out myself, but here are a few pointers. Use the C augmented scale with
* a C+ or CM7.
* a C7 or C+7, but watch how you handle the #7. The chromatic tones can be viewed as passing tones, or they can become upper extensions if you alter the chord.
* a B7(b9) or B7 altered chord.
* an Am, Am6, or Am#7 chord.

You can also use the augmented scale with “Giant Steps” the same way you’d use a blues scale with the blues. But that’s a separate post.

This scale doesn’t come easily, but it’s well worth acquiring. However, it’s a more advanced study. You’d be wise to make sure you’ve got your basic major and minor tonalities down, including your cycle of dominants and ii-V7-I patterns, before you go digging into the more abstract stuff. Just my opinion. Take it with a grain of salt as you find your own way. Whatever you do, keep practicing–and have fun!