Lesson 1

Scales and Nomenclature. Major, Dominant, and Dorian Minor Scales.

Student Learning Outcomes:

  • Students will become familiar with the Major, Dominant, and Dorian Minor scales
  • Students will gain a deeper understanding how scales function in Jazz music
  • Students will learn about jazz nomenclature
  • Students will be able orally differentiate between Major, Minor, and Dominant scales

 

Materials:

  • Sound system to play audio tracks (CD, MP3)
  • Computer to access material online
  • Jamey Aebersold Play-a-Long Volume #21, CD #1, Tracks #1-
  • Lesson #1 Handout

 

Procedures:

 

  1. Students warm-up with Major scales in all 12 keys. Use Jamey Aebersold Play-a-Long Volume #21, CD #1, Track #1 and Lesson #1 Handout Playing Example 1. Play scales from the root to the 9th in 8th notes.

 

  1. Share with the class how jazz musicians utilize scales.

Practicing scales can be a mundane chore. Novice musicians often hear and play scales in a fixed way, from root to root, for example. However, we believe that an effective way to approach scales is to view them as a collection of notes you can improvise with. As students become more comfortable with scales they will begin to understand the tendencies and function of each scale degree. As their ear accepts the sound of the scale, they will be able to make the sound of the scale without necessarily starting on the root.

 

  1. Ask the students which two scale degrees are the most important in the major scale and why.

Discuss the answers.

 

  1. Explain to the class that the 3rd and the 7th scale degrees are the most important because they define the scale's/chord's quality. When you raise and/or lower the 3rd and 7th scale degrees the quality of the scale/chord changes.

 

  1. Write the scale and introduce the scale degrees. Ask students to identify the interval between I and III, I and VII. Whenever you have a chord or a scale with a Major 3rd and a Major 7th – it is Major.

See Figure 1

 

  1. Explain Nomenclature for Major scale.

There are several ways in which chord can be written. Unfortunately, there is no one set way to notate jazz chords. Click on Nomenclature by Jamey Aebersold which thoroughly shows the common ways chords are notated. For clarity all Major chords will be notated with7. Ex. C7

 

  1. Scale exploration.

Have the students play through Examples 1 through 5in a few keys.

 

  1. Tendency tones – Major scale.

Here are some common tendency notes in a Major scale to work on.

Figure 2.

Have class play Example 6 in a few keys.

 

  1. Play the video provided below and have all students to participate (Play call and response with tendency tones).

 

  1. Introduce the Dominant Scale.

Good way to think of a Dominant scale is to think of a Major scale with lowered 7th. Ask students to identify the interval between I and III, I and VII. Whenever you have a chord or a scale with a Major 3rd and a Minor 7th – it is Dominant.

Look at the Figure 3

 

  1. Scale exploration.

Have the students play through Examples 7 through 11 in a few keys.

 

  1. Tendency tones – Dominant scale.

Like the Major scale the Dominant scale also has a number of tendency tones. See Figure 4.

However, notice the difference in color of the lowered 7th.

Have class play Example 12 in a few keys. Notice how different the lowered 7th sounds from the major 7th in the Major scale.

 

  1. Introduce the Dorian Minor Scale.

Good way to think of a Dorian Minor scale is to think of a Major scale with lowered 3rd and lowered 7th. See Figure 5. Ask students to identify the interval between I and III, I and VII. Whenever you have a chord or a scale with a Minor 3rd and a Minor 7th – it is Dorian Minor.

 

  1. Scale exploration.

Have the students play through Examples 13 through 17 in a few keys.

 

  1. Tendency tones – Dorian Minor scale.

Tendency tones can be found in a Dorian Minor scale too. See Figure 5. However, due to the nature of its construction every note sounds great. Example 18