Using the Augmented Scale with “Giant Steps”

I tend to arrive at things the hard way, which is to say, by personal discovery. For instance, I come across a large circular object and find that it has a unique quality, namely, that it rolls, and this gets me all excited, and of course I have to go tell all my friends. “Hey, Fred,” I say, rolling my circular object around on the lawn in front of him, “check this out! Pretty nifty, eh?”

“Ermmm, yeah. Nice. A wheel,” says Fred.

“A what?” I reply.

“A wheel,” Fred repeats, confirming my sudden suspicion that others may have already crossed this territory before me.

“Exactly, ” I say. “A wheel. Isn’t it great?”

Fred scrutinizes me for a second, then walks away. Now you know why I don’t have any friends named Fred. Used to, don’t anymore.

Anyway, the same principle probably applies to this post on using the augmented scale over “Giant Steps” changes. I’m sure it has already been done, and I’m probably just the last person to know about it. But since I haven’t come across any other literature that addresses the subject, either on the Internet or elsewhere, I thought I’d talk about it here.*

I do seem to recall reading somewhere about a connection between the augmented scale and the Coltrane tune, but it was just a passing comment that never went into any detail. I have no idea where I came across it. Evidently it planted a seed, though, because the relationship between the scale and the set of chord changes, both of whose symmetrical constructions emphasize the interval of a major third, has been intriguing me lately.

So earlier this evening, having thought the theory of the thing through, I finally sat down with my sax and my Jamie Aebersold “John Coltrane” CD and played around with the concept. It’s still very new to me, as is the sound of the augmented scale, but I’m satisfied at this point that I’ve acquired a very useful and colorful tool.

Simply put, the augmented scale is as close as you can get to a universal scale that covers “Giant Steps” in its entirety–not just the cantilevered dominant-tonic cycle, but also the ii-V7-I cadences. The application isn’t picture-perfect, but it works, and besides, a little dissonance is beautiful, right?

I’m not going to get deeply into the theory behind my thinking. I’m just going to assure you that, just as you can play an entire 12-bar blues using one blues scale, you can improvise on all of of “Giant Steps” using a single augmented scale. It’s not something you want to base an entire solo on, particularly since the augmented scale is such a foreign sound; but for that same reason, it’s also a very nice color to tap into, and you can coast along on it for as long as you please without having to think too much about making the changes. As long as you stay within the scale, you’re golden.

But of course, you want an example. So without further ado, here are a couple of licks on four bars of the “Giant Steps” cycle. Me being an alto man, I’ve written them for Eb instruments, so you may need to transpose. Click on the image to enlarge it.

Three points to be aware of:

• Use care in handling the perfect fourths of the dominant chords and the flatted thirds of the tonics.

• I’ve shown the standard chords without alterations. However, by virtue of its construction, the augmented scale works best with “Giant Steps” when you flat the ninths and raise the fifths of the dominant chords and flat the fifths of the minor sevenths.

• The sound of the augmented scale is quite different from everyday major/minor tonalities. So set those standards aside and suspend judgment until you’ve worked with the augmented scale long enough to get it into your ear.

That’s it. As for any further brain work, that’s up to you. Of course, you’re probably way ahead of me on it to begin with. That’s why, at this point, I’m turning my mind in other directions. For instance, I was sitting under an apple tree the other day, and an apple dropped off and bonked me on the head. I wondered why. What makes things fall? It’s almost like there’s some kind of a force or something. Has anyone looked into that?

They have?

Nuts. I was afraid of that.

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* ADDENDUM: I take it back. After posting this article, I came across an excellent writeup by Jason Lyon that digs deeply into the theory of using the augmented scale with “Giant Steps.”

RAOB and Other Weather Widgets

Some storm chasers pride themselves in being minimalists who have a knack for intercepting tornadoes without much in the way of gadgetry. Others are techies whose vehicles are tricked out with mobile weather stations and light bars. It’s all part of the culture of storm chasing, but the bottom line remains getting to the storms.

To my surprise, while I draw the line at gaudy externals, I’ve discovered that I lean toward the techie side. For me, storm chasing is a lot like fishing. Once you’ve bought your first rod and reel and gotten yourself a tackle box, you find that there’s no such thing as having enough lures, widgets, and whizbangs. You can take the parallels as deep as you want to. Radar software is your fish finder. F5 Data, Digital Atmosphere, and all the gazillion free, online weather maps from NOAA, UCAR, COD, TwisterData, and other sources are your topos. And so it goes.

A couple years ago I spent $300 on a Kestrel 4500 weather meter. It’s a compact little unit that I wear on a lanyard when I’m chasing. It weighs maybe twice as much as a bluebird feather, but it will give me temperature, dewpoint, wind speed, headwinds, crosswinds, wind direction, relative humidity, wet bulb temperature, barometric pressure, heat index, wind chill, altitude, and more, and will record trends of all of the above.

I use it mostly to measure the dewpoint and temperature.

Could I have gotten a different Kestrel model that would give me that same basic information for a third of the cost, minus all the other features that I rarely or never use? Heck yes. Nevertheless, I need to have the rest of that data handy. Why? Never mind. I just do, okay? I need it for the same reason that an elderly, retired CEO needs a Ferrari in order to drive 55 miles an hour for thirty miles in the passing lane of an interstate highway. I just never know when I might need the extra informational muscle–when, for instance, knowing the speed of crosswinds might become crucial for pinpointing storm initiation.

If I lived on the Great Plains, with Tornado Alley as my backyard, I might feel differently. But here in Michigan, I can’t afford to head out after every slight-risk day in Oklahoma. Selectivity is important. I guess that’s my rationale for my preoccupation with weather forecasting tools, along with a certain vicarious impulse that wants to at least be involved with the weather three states away even when I can’t chase it. Maybe I can’t always learn directly from the environment, but I can sharpen my skills in other ways.

Does having all this stuff make me a better storm chaser? No, of course not. Knowledge and experience are what make a good storm chaser, and no amount of technology can replace them. Put a $300 Loomis rod in the hands of a novice fisherman and chances are he’ll still come home empty-handed; put a cane pole in the hands of a bass master and he’ll return with a stringer full of fish. On the other hand, there’s something to be said for that same Loomis rod in the hands of a pro, and it’s not going to damage a beginner, even if he’s not capable of understanding and harnessing its full potential. Moreover, somewhere along the learning curve between rookie and veteran, the powers of the Loomis begin to become apparent and increasingly useful.

Now, I said all of that so I can brag to you about my latest addition to my forecasting tackle box: RAOB (RAwinsonde OBservation program). This neat little piece of software is to atmospheric soundings what LASIK is to eye glasses. The only thing I’ve seen that approaches it is the venerable BUFKIT, and in fact, the basic RAOB program is able to process BUFKIT data. But I find BUFKIT difficult to use to the point of impracticality, while RAOB is much easier in application, and, once you start adding on its various modules, it offers so much more.

RAOB is the world’s most powerful and innovative sounding software. Automatically decodes data from 35 different formats and plots data on 10 interactive displays including skew-Ts, hodographs, & cross-sections. Produces displays of over 100 atmospheric parameters including icing, turbulence, wind shear, clouds, inversions and much more. Its modular design permits tailored functionality to customers from 60 countries. Vista compatible.

–From the RAOB home page

The basic RAOB software arrived in my box a couple weeks ago courtesy of Weather Graphics. It cost me $99.95 and included everything needed to customize a graphic display of sounding data from all over the world.

I quickly realized, though, that in order to get the kind of information I want for storm chasing, I would also need to purchase the analytic module. Another $50 bought me the file, sent via email directly from RAOB. I downloaded it last night, and I have to say, I am absolutely thrilled with the information that is now at my disposal.

Here is an example of the RAOB display, including skew-T/log-P diagram with lifted parcel, cloud layers, hodograph, and tables containing ancillary information. Click on the image to enlarge it. The display shown is the severe weather mode, with the graphs on the left depicting storm character, dry microburst potential, and storm category. (UPDATE: Also see the more recent example at the end of this article.)

The sounding shown is the October 13, 2009, 12Z for Miami, Florida–a place that’s not exactly the Zion of storm chasing, but it will do for an example. Note that the negative area–that is, the CIN–is shaded in dark blue. The light blue shading depicts the region most conducive to hail formation. Both are among the many available functions of the analytic module.

The black background was my choice. RAOB is hugely customizable, and its impressive suite of modules lets you tailor-make a sounding program that will fit your needs beautifully. Storm chasers will want to start with the basic and analytic modules. With that setup, your $150 gets you a wealth of sounding data on an easy-to-use graphic interface. It’s probably all you’ll ever need and more–though if you’re like me, at some point you’ll no doubt want to add on the interactive and hodo module.

And the special data decoders module.

Oh yeah, and the turbulence and mountain wave module. Gotta have that one.

Why?

Never mind. You just do, okay?

ADDENDUM: With a couple storm seasons gone by since I wrote the above review, I thought I’d update it with this more timely image. If you’re a storm chaser, you’ll probably find that what the atmosphere looked like in May in Enid, Oklahoma, is more relevant to your interest than what it looked like in Miami in October.

Grasshopper Passion

So here I am, caught on the twin-horned dilemma of no storms to chase and no gigs to play. But you, my faithful readers, are longing for a word from Stormhorn.com, and I feel my responsibility toward you weighing heavily upon me. What can I offer you?

Grasshopper passion.

A few weeks ago, back in September, I took a hike at a nature park in nearby Ada, Michigan. Evidently, early fall is the season of love for grasshoppers, a time during which they become the Woodstock generation of the insect world, and in numerous places all along the trail, hoppers were locked in shocking, shameless public displays of unbridled lust.

Somehow, though, I found it hard to take offense. Probably my moral sensitivity has become dulled by Hollywood and advertising. Then again, grasshopper passion just isn’t all that passionate. By way of example, I submit the following photo of a couple locked in the throes of ecstasy. Click the image to enlarge it, though why you would want to do so is beyond me.

I have to say, judging by the looks on their faces, that this pair doesn’t seem particularly excited. In fact, they don’t even appear to be awake. When your brain is the size of an ant booger, situational awareness just isn’t going to be one of your key strengths.

I took a number of shots of these two hoppers, and they all look the same. I can testify that what you see here is as heated as it gets. A minute later, neither of my subjects had moved a solitary grasshopper muscle. It’s as if having sex had turned them to stone. Having better things to do than wait for them to finish their sordid business (Him: “So…was it good for you?” Her: “Was what good for me?” Him: “I’m not sure.”), I moved on.

Taken altogether, insect porn is pretty G-rated stuff, on a par with watching Kermit the Frog eat oatmeal. Parents, no need to shield your children’s eyes. The only trauma they’re likely to experience is boredom.

Stormhorn Blog is Back Up and Running

Lately, due to life’s fast pace, I haven’t kept a close track of the Stormhorn blog. So I was unaware, until my buddy Kurt Hulst informed me of it, that folks have been unable to link to my blogsite.

This is to let you know that the problem has been fixed, thanks to my lovely computer tech girlfriend, Lisa, who instantly and correctly suggested that a corrupt plug-in was the culprit.

Stay tuned–I’ll be posting content of greater interest this weekend. For now, this is just a heads-up that Stormhorn is back (just in case ya missed me).

Sonny Stitt “Au Privave” Solo Transcription for Alto Sax

Sonny Stitt. Just in case you forgot how bad he really was, there’s a CD out there titled…

Sonny Stitt: Just in Case You Forgot How Bad He Really Was.

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With an all-star lineup of guest musicians including fellow saxophonists Richie Cole and John Handy, the CD, published by 32 Jazz, is a Stitt tour de force featuring the American songbook and classic bebop.

Among the selections is the Parker tune “Au Privave.” Like Bird and virtually all of the other great boppers and jazz musicians before, during, and after him, Stitt was steeped in the blues. “Au Privave” features Stitt blowing several headlong, muscular choruses, demonstrating exactly what an alto player of his caliber is capable of doing with the old, familiar twelve-bar form.

I thought you might enjoy letting your fingers travel the same patterns as Sonny’s did on his “Au Privave” solo. So here for your enjoyment and edification is my transcription of the first three choruses. Please forgive the sizing disparity between the two sheet music copies. I haven’t yet gotten image reproduction down to a fine science. But it’s Sonny’s inventiveness that is the focus, and I trust that will survive even my mutilations.

Sonny Stitt solo on Au Privave

Sonny Stitt, Au Privave p. 2

Tomorrow’s Chase Scenario

If I were to pick a chase target for tomorrow, it would be Rolla, Missouri. That’s based on a sampling of the 6Z model soundings of the GFS, NCEP’s present model preference.

Frankly, though, I can’t get too excited about this system. True, it seems to be shifting the activity to within striking distance, where I could conceivably go chasing and still make it back Friday morning in time to make an appointment that I absolutely can’t miss. But instability isn’t all that great, and besides, who wants to go chasing in Missouri hill country?

If the NAM verifies, things will shift north a bit. But I don’t see that making a practical difference. It’s a marginal setup at this point, and unless things improve, I don’t think I’ll feel short-changed sitting this round out. Maybe the next trough will be an improvement.

ADDENDUM: Ouch! Just looked at the SPC’s afternoon update. If they’re right, then only the desperate and the insane will be chasing tomorrow. They’ve pulled the 30 percent risk down mostly into Arkansas, tapping on southeast Oklahoma, northeast Texas, and extreme southern Missouri down around Branson. Anyone for a chase through the Ozarks?

Lightning over Lake Michigan

The storm system that has been in the models for the past week produced a fast-moving squall line that blew from Wisconsin across Lake Michigan. Kurt Hulst and I were there on the shore just north of Holland, Michigan, to catch the action.

Kurt is a great lightning photographer. Look for his photos of last night’s storm on his blog.

As for me, I’m a neophyte when it comes to lightning. Shooting at night, the problem I encounter is focus. Unfortunately, most of my shots were too blurred to crop, and since I was shooting wide angle, cropping is essential. However, a couple shots didn’t turn out too badly. The one shown here is the best of the lot. Click on it to enlarge it.

Photo of the Kids

I just finished taking photos of the “kids”–my collection of carnivorous plants. They’re mostly North American pitcher plants, but I do have a very prolific population of Venus flytraps as well. The things reproduce like crazy. Not only are the seeds majorly fertile, but the corms love to divide. Start with one flytrap and in a couple years you’ll have a flytrap village.

Anyway, I have yet to process the rest of the photos to place in my gallery, but I thought I’d give you a little preview. The flytraps have been snarfing down bugs like M&M chocolate covered peanuts, so forgive the fly and hornet exoskeletons. My kids are not very good about brushing their teeth.

Diminished Lick for Cycle of Dominants

The following pattern is nothing new. If you’ve worked at all on the diminished scale, you’ve doubtless encountered it. But have you worked it out in descending half-steps until it lies smoothly under your fingers from the top to the bottom of your horn? Because that root movement downward by minor seconds is what makes it, or any diminished pattern, particularly useful.

Let’s take a look at  why this is. First, here’s the lick:

Diminished Lick

Note that while each measure brings the diminished scale pattern progressively downward by a half-step, the corresponding chord progression is moving around the circle of fifths. Why?

Remember tritone substitution?

The diminished scale functions perfectly as a scale of choice for V7b9 chords and their tritone substitutes because of its symmetrical nature. Due to its structure, every diminished scale will accommodate not just one, but four possible V7b9 chords.

For instance, a half-step/whole-step diminished scale beginning on the note A will obviously work with an A7b9 chord. But it will also work equally well with C7b9, Eb7b9, and F#7b9.

Note that the A7b9 and Eb7b9 have roots a tritone apart, as do the C7b9 and F#7b9. In other words, tritone substitution is hardwired into the diminished scale.

Herein lies the magic of diminished scales descending by half-steps.

Look closely at the above diminished pattern and you’ll note that root movement downward by a half-step gives you the same scales that you’d arrive at with the circle of fifths.

For instance, in the first bar, the diminished pattern starting on the note C repeats itself sequentially a half-step down in the following measure, starting on the note B.

But what scale would you have arrived at if, instead of dropping a by a minor second, you had dropped by a perfect fifth to the note F, as you would do if you were moving around the circle of fifths? Guess what? You’d have the same scale–i.e. B, C, D, Eb, F, Gb, Ab, A. You’d just be starting on a different note of that scale.

Now, if you’re thinking…

…you’ll realize that because every diminished scale contains four possible roots, you can also achieve the results I’ve just described by moving upward by major seconds, another easy root movement.

You can also move down by a major third or a perfect fifth, but it’s easier to focus on the two root movements that are close at hand.

In summary

When woodshedding a diminished scale lick, it particularly behooves you to get it laying smoothly under your fingers in root movements of descending half-steps and ascending whole steps.

And that, Grasshopper, is that. The rest is up to you.

Surface Dewpoints Map Now Operating

The problem with the surface dewpoints map on my Storm Chasing page is fixed. Everything is now running the way it should be.