Jazz Harmony
The scale is also used extensively in modern jazz writing and jazz harmony. Wayne Shorter's composition "JuJu" features heavy use of the whole tone scale, and John Coltrane's One Down, One Up is built off two augmented chords arranged in the same simple structure as his earlier tune "Impressions". However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. For instance a G7 augmented 5th dominant chord in which G altered scale tones would work before resolving to C major 7, a tritone substitution chord such as D♭9 or D♭7 augmented 11th is often used in which D♭/G whole tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C♭, the enharmonic equivalent of B, the major third in the G dominant chord. Art Tatum and Thelonious Monk are two pianists who used the whole tone scale extensively and creatively.
A prominent example of the whole tone scale that made its way into pop music are bars 3 and 4 of the opening of Stevie Wonder's song "You Are the Sunshine of My Life".
Read more about this topic: Whole Tone Scale
Famous quotes containing the words jazz and/or harmony:
“Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a children’s party taken over by the elders.”
—F. Scott Fitzgerald (1896–1940)
“There’s not the smallest orb which thou behold’st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls,
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.”
—William Shakespeare (1564–1616)