Dp EASE pyr MARJAZZ THEORY nists deal, by necessity, with complex concepts, and they are forced to make these con- cepts manageable by reduc ing them to their basic ele ments, Eventually, they adopt an atitude Of, “If it looks complicated you're looking, at it wrong." “Scale Equivalents" is a ‘method that reduces the number of scales fo a manageable minimum by looking al hem from a diferent perspective, This is not 2 new idea. Jazz master Barry Hartis teaches @ similar idea by reducing most chord-scales (except for the dimin- ished scale) 10 either one form or another (of two basic scales, the major or minor sith scales, Scale Equivalents reduces the most common moder chord/scales t0 one scale in four different formats: the centh scale with a natural eleventh, with a Shap eleventh; with a flat ninth; and with an augmented dominant ‘The concept is not an improvis tool but a learning tool. It’s too intellectual- ly complex to apply’ while improvising, however it can make the process of int nalizing chord/scale relationships easier. I's also useful for expanding one's jazz vocab ulary, (See Part 2 of my article, “The Devel ‘opment OF Style’ in the “articles” section of aly web site at halgalper.com.) Memorizing the chart below is the first step in acquiring mastery over the concept Memorize it from each possible point of view, He, CT#BbMI(@ID; Gm?=Em705) 36 SCALE EQUIVALENTS By Hat Gavrer Fe7ak=D7613), Eventually you will get t0 5 how all these chord /scales relate to one another, © the “big picture” of Dominant 7, Natural 11% Seale FQ’s Are = ye = Ca (©7= Draab9 = EbM#11 = J = D.Tb5 = FMT 9,9 = ADM7#11 = Bb7su Frsust Eb? = F-7 = G-7b5 = ADM? = Bb-7 = C7#9,b9 = DbM7e11 = Eb7susé ADT = Bb-7 = C-7b5 = DBM ~ Eb-7 ~ F7#9,b9 = GbM7#11 ~ AbTsus4 DB? = Fb-7 = E-7b5-GbM7 = Ab-7 = Bb7#9,b9 = BMT#11 = Db7sust Gb? = Ab-7 = Bb-7b5 = BM7 = Db-7 = Eb7#9,b9 = EM7#11 Gb7sus4 BY = Db-7 = Eb-7b5 ~ EM7 ~ Gb-7 ~ Ab?09,b9 ~ AM7e11-B7sus4 7 = Gb = Ab-7b5 = AMT = B-7= Db7=9,b9 = DMT=II = E7susd AT = Ib] = Db-Th5 = DM? = E-7 = Gb7#9b9 = GMT#11 = ATsus4 D7 = F-7 = Gb-7b5 = GMT = 37 = AT = B-7b5 = CMT = D- B7s9,b9 = CM#11 = D7sus4 = F7#9,b9 = FMTEI1 = GTsas4 Dominant 7th, #11 Scale EQ's (CJe11 = DIbIB = E-9b5 = Fe7alt = GMT = A7=9,B9 = BOMT=5 Frell = G7bI3 = A.9b5 = BYalt = C-M7 = D7#9,b9 = EbM7+5, D711 ~ C7b13 ~ D-9b5 = ETalt ~ FMT ~ G7s9,b9 ~ AbMT+5 Eb7elL = F7b13 = G-9b5 = ATalt = HbeM7 = C7=9,b9 = DbMT+5 Ab7el1 = Bh7b13 = C-9b5 = D7alt = Eb-M7 = F7#9,b9 = GbM7#5 Db7eI1 = Eb7bI3 ~ F-9bS = GTalt = Ab-M7 = Bb7#9,)9 = BM7#5 Gh7e11 = Ab7b13 = Bb-9b5 = CTalt = Db-M7 = Fb7#9,b9 = EM7#5 B7#11 = Db7DI3 = Eb-9b5 = FTalt = Gb-M7 = AbT#9,59 = AMT+5 7611 = Gb7b13 = Ab.9b5 = BbTalt = B-M? = Db7#9,b9 = DM7+5 A7#11 = B7bI3 = Db-gb5 = Eb7alt = E-M7 = Gb7#9,b9 = GM D7e11 = E713 = Gb-9bs = AbTalt = A-M7 = B7e9,b9 = CM7=5 GT#11 = A7b13 ~ B95 = DoTalt = DM? = E7#9,b9 = FMT+5 Dominant Flat 9 & Diminished 7th Scale EQ's (C7b9 Db Dim 7 = Bb7b9 = E Dim 7 = Gb7H9 = G Dim 7 = ATb9 = Bb Dim Db7bg = D Dim 7 = E7b9 = F Dim 7 = G7bg = Ab Dim 7 = Bb7b9 = B Dim 7 DID) = Hb Dirn 7 = F7b9 = Gb Dim 7 = AT) = A Dim 7 = B7b9 = ¢ Dim 7 Whole Tone Scale EQ's 745 = DTH5 = ETH5 = DDb7+5 = Eb7+5 = FT 745 = ADT#S = Bb7#5 = G75 = AT+5 = BTS As you can see the chart contains almost every common chord designation, and each chord name shows up only Once in the charIn the simplest terms, what we are doing is using a scale hat is common 10 several others, then changing the root names. Remember though, that every time you change 2 root name you change the 3*¢, 5! and 7ths as well Below is an example of Scale Equivalents based on the C7naturallt Bebop scale in “Torward motion.” At first this may seem @ daunting approach to scale memorization, but aller working with ia while the sense of twill come through, With over 82 recordings to bis credit, pianist composer, publisher, educator, and author Hal Galper & best known for bis work with Chet Baker, Cannonball Adderley, jobn Scofield . the Sian Getz Quariet, the Lee Konttz Duo, the Slide Hampton Quarter and the Phil Root Sth Root Sth Fai Root Sth Root Sth Root Sth Woods Quintet. Among his awards are a Grammy for bis recordings with the Phil Woods Quartet and Quintet, a Distinguished Alumni Award from the Berklee College of Muste, an award for Outstanding Service to Jazz Education from the IA[E, and grants from the National Endowment for the Ants, The Isla Wallace Readers Digest Foundation and the New School of New York. He is on the faculty of Purchase College of the State University of New York. Now available in print and interactive play-along for- mats is Hal Galper’s Forward Motion, From Bach to rrective Approach to Jazz Phrasing wardMotionPDF com). Information on bis previous book, The Touring Musician, cay be obtained on bs website, halgalper com. Root sth Root Root Sth Root Root Sth Root Root Sth Root Root st Root