Writing a saxophone etude that covers diminished scales and dominant chords
I am writing a saxophone etude that should cover both diminished scales and dominant chords. Please answer the following questions.
- What are all of the types of diminished scales? Please give me examples of each.
- What are all the types of dominant chords? Please give me examples of each.
- Please give me a step-by-step process for writing a saxophone etude that helps the student to master both diminished scales and dominant chords. The etude should be no longer than about 40 measures in 4/4 time. The etude will be a swing jazz etude at a tempo of 120 quarter notes per minute.
Types of Diminished Scales and Examples
There are two types of diminished scales, characterized by their alternating intervals:
Whole-Half Diminished Scale: This scale alternates between whole and half steps. It's often used over diminished chords and has a tense, unresolved sound. For example, a C Whole-Half Diminished Scale would be: C, D, E♭, F, F♯, G♯, A, B, C.
Half-Whole Diminished Scale: This scale starts with a half step and alternates between half and whole steps. It's frequently used over dominant 7♭9 chords, adding tension and leading nicely to a resolution. For instance, a C Half-Whole Diminished Scale would be: C, D♭, E♭, E, F♯, G, A, B♭, C.
Types of Dominant Chords and Examples
Dominant chords, particularly in jazz, come in various forms, each adding different colors and tensions:
Dominant 7th (C7): A major triad with a minor seventh. Example: C, E, G, B♭.
Dominant 7♯11 (C7♯11): A dominant 7th chord with a raised 11th. Example: C, E, G, B♭, F♯.
Dominant 7♭9 (C7♭9): A dominant 7th chord with a flattened ninth. Example: C, E, G, B♭, D♭.
Dominant 7♯9 (C7♯9): A dominant 7th chord with a raised ninth. Example: C, E, G, B♭, D♯.
Dominant 7♭13 (C7♭13): A dominant 7th chord with a flattened thirteenth. Example: C, E, G, B♭, A♭.
Dominant 7♯5 (C7♯5): A dominant 7th chord with a raised fifth. Example: C, E, G♯, B♭.
Dominant 7♭5 (C7♭5): A dominant 7th chord with a lowered fifth. Example: C, E, G♭, B♭.
Dominant 9 (C9): A dominant 7th chord with a ninth. Example: C, E, G, B♭, D.
Dominant 13 (C13): A dominant 7th chord with added thirteenth. Example: C, E, G, B♭, A.
Writing a Saxophone Etude
Goal: To create a swing jazz etude at 120 BPM in 4/4 time, approximately 40 measures long, focusing on mastering both diminished scales and dominant chords.
Step 1: Structuring the Etude
Measures 1-10: Introduce the Whole-Half Diminished Scale. Start with a simple melody using the C Whole-Half Diminished Scale. Use rhythm variations to keep it engaging.
Measures 11-20: Transition to dominant chords. Introduce a simple progression using C7, G7, and D7, focusing on arpeggios and emphasizing chord tones.
Measures 21-30: Blend the Half-Whole Diminished Scale with dominant 7♭9 chords. Create a section that alternates between using the C Half-Whole Diminished Scale over C7♭9 chords and other dominants (G7♭9, D7♭9), to illustrate the tension and release inherent in jazz harmony.
Measures 31-40: Recap and develop. Return to the Whole-Half Diminished theme from the beginning but develop it further with more complex rhythms, maybe a modulation, or introducing sequences. Close with a dominant chord resolution to give a sense of conclusion.
Step 2: Writing Techniques
Melodic Variation: Use sequences, repetition with slight variation, and syncopation to create interest.
Rhythmic Diversity: Incorporate swing rhythms, triplets, and syncopation to emphasize the jazz style.
Harmonic Richness: Use a variety of dominant chord types throughout to explore different colors and tensions. Mix in diminished scales to bridge sections and enhance the harmonic complexity.
Articulation and Dynamics: Include articulation marks (accents, staccatos) and dynamic changes to teach expressive playing and how to shape phrases.
Step 3: Finalizing the Etude
Review and Edit: Ensure the etude covers the full range of the saxophone comfortably, is playable at the designated tempo, and musically illustrates the concepts intended.
Test Play: If possible, play through the etude or have a student play it. Note any sections that may need adjustment for playability or musicality.
Notation: Clearly notate the etude with all necessary markings for tempo, dynamics, articulation, and expression. Include a brief note on the purpose of the etude and any specific focus areas for the student.
This process creates a comprehensive learning tool, focusing on diminished scales and dominant chords, which are essential for mastering jazz improvisation and harmony.