The whole tone scale is a symmetrical scaleformed by a succession of wholetone intervals. It is also ahexatonic scale, made up of six notes that dividethe octave in six equal notes. Ithas no leading tone because all tones are the same distance apart.
The whole-tonescale can be used to add tensions to your jazz guitar improvisationsover dominant 7th chords. Indeed, it contains a raised eleventh (or #11) and a raised fifth (#5) that can bringinteresting new colors to your solos.
As it is shown above the whole tone scale is built with a root (1), a second (2), a major third (3) a raised eleventh (#11 / #4), a raised fifth (#5) and a minor seventh (
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7). To sum up, this scalecan be applied to any dominant seventh raised fifth (7#5) chords or any dominant seventh chord when you want to add tension.
That means you can play the C whole tone scale over the following chords : C7, D7, E7, F#7, G#7, Bb7, C7#5, D7#5, E7#5, F#7#5, G#7#5, B
This chart illustrates the tones of the twelve whole tone scales. It will helpyoubuild augmented triads and augmented seventh arpeggios as it is explained a little later in this page.
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Here are four positionsto play the whole tone scale on the guitar within one octave. As it is mentioned in the scale chart above, you can clearly see that there are six notes in each diagram.
Once you have memorized each guitar position you have to play them in twelve keys by moving the root to the desired note keeping the same intervals.
Thesetwowhole tone scale guitar diagrams runout two octaves in position. The first diagram has its root on the sixth, fourth and first string. The second has roots on the sixth, fifth, third and first string.
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After memorizing these patternsyou can playby breaking them in augmented triads.Indeed each whole tone scale produces six augmented triads. An augmented triad is made up of three notes, a root (1), a major third (3) and an augmented fifth (#5).
By extracting the tones 1-3 and 5 from the C augmented scale, we arrive at the C augmented triad (C-E-F#). The alternate chord symbol is C+. It works with any whole tone scale.
This patternisto play augmented triadsin circle of fourths. Circle of fourths progression is that every chord resolves to the chord a fourth above ituntil it finally concludes in the home key. You got finally all the possible chords in this progression.
How To Get A Jazz Guitar Sound: Gear & Technique For A Great Jazz Tone
Now you master augmented triads you can do the same work with augmented seventh arpeggiopatterns because the whole tone scale also produce these arpeggios. Theyare made by extracting tones 1-3-5 and 6 from the whole tone scale that gives C, E, G# and A# from the C whole tone scale for example. Related chord notation is C+7 or eventually C7#5.Jazz is an illusive, ear-catching, and challenging style of guitar. Although the majority of your sound comes from your playing. Some essential knowledge is required to tweak and sculpt a smooth, mellow tone perfect for that jazz flavor.
Whether you’re a beginner, intermediate or an advanced player? This article is the essential guitar players guide on how to get a great jazz tone.
This post will discuss guitars, amps, tips, and essentials! Transforming your average clean tone to a dark, mellow, and jazzy sound (combined with your good playing of course!)
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When trying to sculpt the jazziest sounding guitar tone, the good news is you don’t need any technical, specific, or overly expensive gear (Hooray for that!)
Mainly because the core sound of jazz is generalized as a playing style rather than a specific tone. The hard work is actually mastering how to play this unique and challenging style of guitar!
Hence why this point is first on this list. Meaning… fluency, timing, phrasing, technique, touch, etc is the foundation of any great jazz guitar sound.
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You essentially voice your musicality through your gear. How you decide to EQ your amp, guitar, use effects, and tweak the rest of your rig is roughly the remaining 30% of your sound.
An excellent Jazz player will make any budget guitar and gear sound great. Whereas, an average and sloppy jazz player can make an expensive guitar and gear sound less than impressive.
Therefore, to keep improving your ‘jazz sound’ you must progressively keep improving as a guitar player because tone is 100% in the fingers (sorry to mention it again.)
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To progressively improve your playing is an enjoyable lifelong process. Me explaining how to improve your jazz playing, however, does require a huge separate article altogether.
But to save time, these quick bulletproof tips will keep you improving your skills as a guitarist if you implement them frequently.
This means no gain or distortion in the signal chain, just a dry and crystal clear transparent sound coming through the amp.
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Now a “great jazz tone” is a little subjective depending on who you ask. Some Jazz players may prefer a super ‘warm’ and ‘muddy’ clean tone, while others may like a brighter and more ‘piercing’ clean sound.
The answer is nobody! Tone is quite a personal thing, it all depends on your tastes and what sounds best to your ears.
The good news is that you can play jazz on any type of guitar. Acoustic, hollow-body, semi-hollow and solid-body. Historically all of them have played by many famous jazz artists over the years.
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Your choice of guitar ultimately depends on the type of sounds you want to sculpt, and the guitar that plays and sounds the best to your ears.
The semi-acoustic version contains a neck pickup, so they can be connected to an amp for sound projection. (They sound better through an amp in my opinion.)
The downside to a hollow body is explained like a ‘double-edged sword.’ Basically, what gives them their sound also affects their playability…quite badly!
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They also come stock with thick and bulky necks meaning they are not the best choice for a beginner or players with smaller fingers who like to play lead lines fluidly around the neck.
Hollow bodies may not be as popular as they used to be, but when it comes to a classic jazz guitar for a smooth and traditional sound. The archtop is a great choice for the hardcore and traditional jazz players out there.
The semi-hollow is seen as the ‘in-between’ guitar being smaller than an archtop but bigger than a solid-body while still containing some acoustic projection via its F-holes.
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The semi-hollow is a very popular jazz guitar but is adopted by players in a host of other genres ranging from rock, blues, and indie.
Another great selling point is it’s versatility from dirty rock rhythm, dialed all the way back to warm, lush and mellow clean jazz tones.
The reason they are called a semi-hollow body is that they include a center block within the body which functions to tame that annoying and pesky feedback.
The Whole Tone Scale
This addition means they sound less hollow, bassy and full. However, the guitar is more versatile, as they can manage feedback opening the door for other tones in other genres such as rock and blues.
Semi-hollows also promote more sustain meaning notes can be held for longer which is good for solos. They also have enough high-end frequencies to cut through a band mix and be heard better within a live setting.
They are also easier to play than a hollow body as the body and neck are leaner easier for fretting notes and chords.
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They also have a ‘double cutaway’ design to a hollow body single cut design. This means they have better high fret access for fretting high register notes for soloing.
I have to admit, for a beginner wanting to learn jazz, I would always recommend a semi-hollow body every time due to their playability, versatility and great sound.
But as mentioned the right guitar is the one that suits your personal preferences and floats your boat as your ideal guitar for playing jazz.
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As jazz-rock fusion emerged in the early 1970s, players began opting towards the more piercing and woodier sound of the solid-body guitar.
Fast forward to the modern era of jazz, there’s a continuing upward trend with solid-body guitars being the popular choice for modern players.
Solid-body guitars are rich in ‘high-end frequencies’ due to their full-body construction, offering tons of attack and presence (especially with single coils) when the tone and volume knob is maxed out.
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A solid body guitars EQ will often need adjusting to removing some ‘top-end’ from the signal for sculpting a warmer and jazzier tone.
This would be to play around with the guitar’s tone/ volume knobs and amp settings. This is to remove some high-end and adjust the tone accordingly to your ears with the gear you have.
Mike Stern, Ted Greene, and John Schofield are some examples of some famous jazz guitarists using solid-body guitars . All these musicians are known to play the iconic Fender Telecaster, creating some of the best jazz tones ever heard.
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It goes without saying but solid-body guitars should always have the neck pickup engaged (especially with single coils) for a thicker, fuller and warmer sound.
Humbuckers are always the best choice for resembling the tone similar to a hollow body guitar
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