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Part Ii: Hexatonics: [email protected] - Uk WWW - Opus28.co - Uk/jazzarticles - HTML
Part Ii: Hexatonics: [email protected] - Uk WWW - Opus28.co - Uk/jazzarticles - HTML
We are going to look at ways of constructing scales from pairs of triads. In order for this
approach to yield a hexatonic (six-note scale), the triads must be mutually exclusive – they
must contain no common tones.
Of course, there is no reason why you shouldn’t experiment with the use of triad pairs that do
have tones in common, or combining two or more seventh chords, or triads, with each other,
or simply using other sets of intervals in any permutations that sound good to you. These
approaches can lead to very interesting sounds, and can be particularly useful in composition.
For now, though, we’ll focus on exclusive triads to generate six-note scales.
The triad is a very strong harmonic building block, the foundation of the Western musical tonal
system in fact, and the basic element with which most musicians have the easiest familiarity.
Consequently, combining different triads is an extremely convenient shorthand method for
internalising a wealth of different gapped scale sounds. Furthermore, these gapped scales
derive a good deal of their interest from the fact that they combine two simple musical
gestures (simple triads) to create a structured more complex whole. They are also interesting
for the ambiguity they invoke in comparison to seven-note scales.
Obviously, even restricting ourselves to exclusive triad pairs, the number of permutations is
enormous. I’ll choose here to stick to major and minor triad qualities and highlight those triad
pairs that have good clutches of chord tones to apply to a variety of different chord qualities.
Different people play, and think, in different ways. If you wish to explore exhaustively the
possibilities of the other types of triads in combination, go right ahead. But there’s a degree of
subjective pragmatism here: I personally feel that it’s useful to know that major triads on C
and D give a C Lydian sound, and not so useful to know that a major triad on C and a
diminished triad on D, for instance, give an F melodic minor sound. Of course, it’s all up to
you – but what I’m asking you to do is begin with the examples I give first, then take things
further if you feel fired to do so.
The headings I will assign here are given for purely descriptive purposes – they aren’t
commonly used terms.
This hexatonic scale can be used over F∆ and Dm7. Also possibly Gsus, although there is a
better hexatonic option for sus chords shown below.The structure exists in C major and F
major.
B. MAJOR-MAJOR HEXATONIC
Combine two major triads a tone apart
Probably the most important of all the hexatonic structures. A very versatile structure,
primarily used for solid access to D7sus and C Lydian (major or dominant, since the 7th is
absent). It can also be used over Am7, as well as Bb∆+5 and, somewhat more ambiguously,
over E∅ and F#7alt. The structure exists in both G major and G melodic minor, uniquely
among the triad pairs. It exploits the points in major and minor harmony where major triad
pairs coincide.
C. DIMINISHED HEXATONICS
Combine major/minor triads, in any permutation, a tritone apart
Major with major, major with minor, minor with major or minor with minor. All these
combinations spell out a diminished scale for use over C7b9, Eb7b9, F#7b9 and A7b9.
D. EXOTIC HEXATONIC
SPANISH PHRYGIAN HEXATONIC
Combining 2 major triads a semitone apart
The tones outlined are root, #9, 3rd, #4th, 5th and major 7th. The scale strongly implies C
diminished, but unusually specifies a major, rather than dominant 7th. It also strongly implies
C Lydian, but the 9th is sharpened.
Use of this hexatonic structure allows you to play a diminished sound on a I chord – a sound
much used by the likes of Chick Corea and Herbie Hancock. This hexatonic structure allows
you to focus clearly on the crucial chord tones of this sound, while the structure of the pair of
triads adds an extra degree of coherence. An often-played reharmonisation of a ii-V-I in this
style is to detour at the diminished on your way to the I:
Miles also often used this chord quality as a substitute for a tonic chord, in the Workin’ Quintet
as a final I, and later on the album In A Silent Way more extensively.
We’re in the key of C. Let’s build major triads a tone apart, starting from that root:
C D E F# Ab Bb
The roots ascend a whole-tone scale. Here’s how you use them:
The first two triads in combination give you C Lydian (dominant 7th optional, sounds good
either way).
The second and third together give you C∆+5.
The fourth and fifth together give you C7alt.
The sixth and first again (the sequence repeats every octave) give you C7sus.
Running through major triad pairs in a whole-tone scheme like this, to give different qualities
on the same root, is an easy way to assimilate a useful batch of hexatonics. Hopefully it will
also prepare you to accurately see, internalise and manipulate triad pairs. You can then
expand into other triad and chord qualities, as you wish and need.