Jazclass - IN FOCUS 6

6. Major scale - the 3rd and 7th degrees

The 3rd and 7th scale degrees - Exercise 1 | 2 | 3 & 4 - Random Progression - Practice Material
In Focus lessons online

Rhythm Class - Jazz Theory - Music Notation - Jazclass Links

IF 6.1 - The 3rd and 7th scale degrees

You are forgiven if you thought that the title for this Session refers to an extreme case of major scale torture, and perhaps you are not altogether wrong.
Scale degrees are "the numbered positions of individual pitches within a scale". It is a term mainly used in Classical music, but the numbering system is also used in Jazz Theory.

For all Jazclass publications I use two numbering systems.

Roman numerals refer to complete chords.
Arabic numerals refer to individual scale tones or chord tones.

The tonic note (1st note) is, from a general musical perspective, the most important note in a scale. It is the reference point (tonal centre) against which every other note assumes its unique interval sound. For example :

in the major scale (and key) of C the note E sounds as a major 3rd

in key of Db major the note E is a mellow sounding minor 3rd, and

in the key of Bb the note E suddenly becomes an aggressive augmented 4th.

It is the primary function of the bass player in a group to outline all tonal centres within a song. He does this by covering the root (and usually also the 5th) of each chord in the progression. The root of each chord is also the tonic of the scale or mode used by the improviser.

This leaves the improviser to select tones that create interest and colour.
The two most important notes in a scale or chord for this purpose are the 3rd and the 7th. These two notes provide not only interesting colours but also define the quality (major, minor or dominant) of the scale or chord when heard superimposed over the line of the bass player.
Compare for example the three main qualities for the C scales tonic or C chords root :

Quality	Chord tones	Scale tones	3rd & 7th
Major 7th	C E G B	C D E F G A B C	E & B
Dominant	C E G Bb	C D E F G A Bb C	E & Bb
Minor 7th	C Eb G Bb	C D Eb F G A Bb C	Eb & Bb

The differences between the above three qualities are produced by their 3rd and 7th. All other notes are the same.

Audio IF 6.1
../1focus/if0601.gif

The first step for a good improviser is therefore to have instant knowledge of the 3rd and 7th of the major scale in each key. In this Session we focus entirely on this.

Once you know these two notes intimately it is easy to define the dominant and minor qualities, by simply lowering one or both notes a semitone.

Keyboard players can play the 3rd and 7th as skeleton chords in the left hand, while playing each of the following exercises in the right hand.

(Down - Up - Top)

IF 6.2 - Exercise 1

Exercise 1 is a simple rhythm pattern using only two notes, the 3rd and the 7th. The pattern moves around the Circle of Fifths, four bars in each key.

While going through this exercise focus on four things :

Discover and memorise the two notes in each key.

Listen how beautiful both tones fit into the chord.
Unlike the root note which is predictable and steady, the 3rd and 7th appear to 'float' within the harmony.

Optimise the tone quality for each note.
This is a good tone exercise.

Absorb the rhythm pattern.
This is a simple rhythm pattern, consisting of two 2 bar patterns. They will help you to develop your sense for 2 and 4 bar phrase lengths.

Audio IF 6.2
../1focus/if0603.gif

(Down - Up - Top)

IF 6.3 - Exercise 2

Exercise 2 is a simple run of crotchets from the 3rd to the 7th. Four bars in each key and around the Circle of Fifths.
Be aware that the interval between the first two notes is a semitone and not a whole tone.

Audio IF 6.3
../1focus/if0604.gif

You can reverse Exercises 2 by starting the run from the 7th downwards in the first two bars, then go up from the 3rd in the last two bars.

(Down - Up - Top)

IF 6.4 - Exercises 3 & 4

Exercise 3 is a run of quavers from the 3rd up an octave through the scale. Four bars in each key and around the Circle of Fifths. Once again be aware that the interval between the first two notes is a semitone and not a whole tone.

The succession of notes in the first four bars of the exercise is the same as the E Phrygian mode. However this scale does not function as such because the tonal centre, determined by the accompanying chord (Cmaj7), is C and not E. The same applies to the rest of the exercise in all following keys.

This displaced scale does have an influence on the tonality however, as it does not sound natural any longer to end the phrase on the tonic note C. This gives a very contemporary sound to the exercise.

Audio IF 6.4
../1focus/if0606.gif

Exercise 4 is similar to Exercise 3 , but this time each run of quavers starts from the 7th up an octave through the scale. Four bars in each key and around the Circle of Fifths. Once again be aware that the interval between the first two notes is a semitone and not a whole tone.

This time the succession of notes in the first four bars of the exercise is the same as the B Locrian mode. However this scale does not function as such because the tonal centre, determined by the accompanying chord (Cmaj7), is C and not B. The same applies to the rest of the exercise in all following keys.

(Down - Up - Top)

IF 6.5 - Random Chord Progression

Playing exercises around the Circle of Fifths is very useful, but can become predictable. It is therefore a good idea to practice scales, chords and various exercises using different sequences.

For this lesson I have prepared a random track covering all twelve major keys in an unpredictable order.

This is quite fun and easy to do.
I simply cut out twelve small pieces of paper and wrote on each piece one of the twelve keys. I then shuffled all pieces thoroughly, spread them out on the table and selected one at a time at random. I placed all pieces in a row in the order I had selected them and presto : you have a random chord progression. I wrote the sequence in that exact order, but starting with the key of C.
I will make a few more tracks like this, but suggest you make some yourself too and record a track using a program like Band in a Box or Cakewalk.

Shown below is the order of the random sequence.

C instruments follow the top line starting in the key of C

Bb instruments follow the middle line starting in the key of D

Eb instruments follow the bottom line starting in the key of A

Audio IF 6.5
../1focus/if0608.gif

The play-a-long track covers 4 bars in each key playing the major 7th chord in all keys.
You can use it for Exercises 1 - 4, but also for practising the major scale in all keys.

(Up - Top)

IF 6.6 - Practice Material

Description	Files
General File	Manuscript Paper
Exercises 1 - 4	page 1	page 2
Random Chord Progression	Notation	Demo	PaL
CoF track - major 7th : 4 bars	PaL

(Up - Top)