Eric Alexander

Eric Alexander
Improvising with the Whole

Step Triad Combination Scale
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ERIC ALEXANDER

IMPROVISING WITH THE WHOLE STEP TRIAD COMBINATION SCALE
The author represents and warrants that he both owns and has the legal right to publish all material
in this book.
Improvising with the Whole Step Triad Combination Scale
All Rights Reserved.
Copyright ©2012 Eric Alexander
Produced by Bill Rinehart and Jazz Web Development, http://www.jazzwebdev.com
1.1 070112
This book may not be reproduced, transmitted, or stored in whole or in part by any means, including
graphic, electronic, or mechanical without the express written consent of the publisher except
in the case of brief quotations embodied in critical articles and reviews.
http://www.ericalexanderjazz.com
PAGE 2 OF 79 ERICALEXANDERJAZZ.COM ©2012

ERIC ALEXANDER

Preface
This ebook describes a direct, relatively simple, and easily implemented technique that can be used by most players to develop new
melodic vocabulary. Using just one six note scale that I describe in this book, you can generate a wealth of ideas that work over a
multitude of harmonic settings. I use this technique all the time. It’s flexible yet sophisticated and is an integral part of my
improvisational arsenal.
In the twenty years I’ve spent performing and recording, my bandstand and studio experiences have given me insight into a number of
techniques for expressing melodic and harmonic ideas via the saxophone. This eBook is the first in a series of eBooks where I
introduce, explain and demonstrate a specific concept that you can learn with relative ease and quickly apply to your playing. I always
appreciated teachers who could demystify jazz harmony so it's my goal in this series to do just that-- make things easier!
NOTE! Bb by Default
I’m a tenor player and you probably are too. So all the notation in this eBook is in Bb by default. I haven’t forgotten about you alto, bari
and soprano players- or any instrumentalist, for that matter- because the playalong exercises are transposed into Eb and C as well.
Everything is provided in the answer key at the end of the document.
If you’d like to explore this material further with me, I'm available for one-on-one online lessons via Skype and can be contacted directly
for live performances, clinics and workshops.
Thank You.
Eric
ericalexanderjazz@gmail.com

ERIC ALEXANDER

Table of Contents
Introduction to Triad Combination Scales
6
Why Use Triad Combination Scales?
6
The Whole Step Triad Combination Scale

7
What are Triad Combination Scales
7

7
Where to Use the Whole Step Triad Combination Scale

8
Exercise 1 Build the whole step triad combination scale in all 12 keys
9
Exercise 2 Play the whole step triad combination scale in all 12 keys
22
Improvising with the Whole Step Triad Combination Scale

23
Convert Patterns from Diatonic to Triad Combination
23
Substitute Triad Combination Scales in the Blues Progression

25
Exercise 3 Play the whole step triad combination scale over the Blues
28
Substitute Triad Combination Scales for Any Progression

29
Exercise 4 Play the whole step triad combination scale over “Impressions”
31

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Exploring the Whole Step Triad Combination Scale

32
Answer Keys
33
Whole Step Triad Combination Scales in 12 Keys - Concert Pitch
34
Whole Step Triad Combination Scales in 12 Keys - Bb

46
Whole Step Triad Combination Scales in 12 Keys - Eb

58
Blues solo, chorus 1 and 2 from figures 9-11 in C

70
Blues solo, chorus 3 from figures 9-11 in C

71
Blues solo, chorus 1 and 2 from figures 9-11 in Bb

72
Blues solo, chorus 3 from figures 9-11 in Bb

73
Blues Solo, chorus 1 and 2 from figures 9-11 in Eb

74
Blues Solo, chorus 3 from figures 9-11 in Eb

75
Impressions solo from figures 12 & 13 in C

76
Impressions solo from figures 12 & 13 in Bb

77
Impressions solo from figures 12 & 13 in Eb

78
Study Jazz Improv Online with Eric

79
Online Lessons Available at EricAlexanderJazz.com
79

ERIC ALEXANDER

Introduction to Triad Combination

Scales
Why Use Triad Combination Scales?
The six note scales built from triad combinations are used in place of traditional scales to incorporate bitonality and complex tension
profiles into improvised lines. A single triad combination scale can be used to improvise melodies over a number of different harmonic
settings to yield a variety of tension profiles. In figure 1 (in Bb), I improvised a lick from a triad combination scale to bring across a
G7sus4 sound.
Figure 1 - triad combination scale used to create a melody that emphasizes the sus4 sound
The same line played over a different chord (figure 2) brings across an entirely different set of tensions. In this case an altered
sound.
Figure 2 - triad combination scale used to create a melody that emphasizes an alt sound
Triad combination scales are useful for creating new and varied melodic ideas.

ERIC ALEXANDER

The Whole Step Triad

Combination Scale
What are Triad Combination Scales
Triad combination scales are six note scales that are derived from a linearized pair of superimposed triads. There are many triad
combination scales. I’m going to talk about one of them in this ebook, the Whole Step Triad Combination Scale.

The whole step triad combination scale is formed by superimposing two major triads a whole step apart (figure 3).
Figure 3 - two major triads a whole step apart
Combining the root position G major triad and the first inversion F major triad forms the six note G/F whole step triad combination
scale seen in figure 4.
Figure 4 - six note G/F whole step triad combination scale built from a G major triad and F major triad

ERIC ALEXANDER

Where to Use the Whole Step Triad Combination Scale

Modes of the whole step triad combination scale can be used over a number of different harmonic settings to yield a variety of tension
combinations. Figure 5 illustrates the useful modes of this scale, those built on the root, 3rd 5th and 6th degree of the scale. (You can
use the modes built on the 2nd and 4th degrees but I personally would never play those types of sounds in any context that I have been
involved in except for maybe the 2nd mode which sounds like aeolian). The 4th mode has an unusual major7sus4 sound.
Figure 5 - the useful modes of the G/F whole step triad combination scale

ERIC ALEXANDER

Exercise 1 Build the whole step triad combination scale in all 12 keys
1. On the first staff of the set of five blank staves on page 10, write the notes of a F concert major triad in measure 1. The first two
notes should be eighth notes and the third a quarter note.
2. On beat 3 of the same measure, write the notes of a major triad a whole step below the first, Eb, in the same way. Refer to figure 3
on page 4.
3. Superimpose the triads to build the six note whole step triad combination scale on the second stave. Build the scale using eighth
notes. Add a seventh note, an octave above the first, written as a quarter note. Refer to figure 4 on page 4.
4. On the remaining three staves, write out three useful modes of this scale using the 3rd, 5th and 6th note of the scale as the root.
Write the chord symbols above each scale to indicate the various harmonic settings that the scale can be used in: III7alt., V- and
bVII7#11, respectively.
5. Repeat this process on each set of five staves by building the triads and scales a perfect fourth above the previous one.
6. Continue for the next 10 keys.
7. Compare you answers to the answer key at the back of the ebook.
8. NOTE: Write transposed notes for your instrument! If you are a tenor player, transpose the first scale, the F/Eb whole step
combination triad scale, to Bb. In Bb it would be: G, A, B, C, D, F, G. You will use these scales for the playalong exercise later in
the book so it is important that you write out the scales so you can play them later.

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F/Eb Concert Whole Step Triad Combination Scale

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Bb/Ab Concert Whole Step Triad Combination Scale

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Eb/Db Concert Whole Step Triad Combination Scale

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Ab/Gb Concert Whole Step Triad Combination Scale

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Db/B Concert Whole Step Triad Combination Scale

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F#/E Concert Whole Step Triad Combination Scale

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B/A Concert Whole Step Triad Combination Scale

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E/D Concert Whole Step Triad Combination Scale

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A/G Concert Whole Step Triad Combination Scale

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D/C Concert Whole Step Triad Combination Scale

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G/F Concert Whole Step Triad Combination Scale

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C/Bb Concert Whole Step Triad Combination Scale

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Exercise 2 Play the whole step triad combination scale in all 12 keys
1. While reading the scales that you wrote out in exercise 1, play the scales with the companion playalong file. NOTE: The playalong
files are in concert pitch.
2. Choose a scale to work on and open the corresponding playalong file in Band-in-a-Box, or a music player of your choice
(playalongs are provided in Band-in-a-Box and M4a formats). For example, to work on the C/Bb Whole StepTriad Combination
Scale, open the C/Bb Whole Step Triad Combination playalong file found in the
Eric_Alexander_WS_Triad_Combo_Playalongs folder in your Eric_Alexander_WS_Triad_Combo_eBook folder.
3. The playalong starts on staff 2 and extends through staff 5. Play each measure in staves 2-5, four times. Each chorus of the exercise
(staves 2-5) repeats four times.
4. As you play the scales, memorize the notes and the sound of each scale. Try to wean yourself off of reading the scales as soon as
possible. As you memorize the scales, start to improvise with them by just playing fragments of the scale, by extending/shortening
the rhythm of each note; inverting the octave of the notes, etc. and generally messing with them to create interesting lines.

ERIC ALEXANDER

Improvising with the Whole Step

Triad Combination Scale
Convert Patterns from Diatonic to Triad Combination
Simple melodic patterns from major scales can be adapted to the whole step triad combination scale to create interesting sounds.
Figure 6 is a simple diatonic melody over Gmaj7. When this melodic idea adapted to the intervallic pattern of the G/F whole step triad
combination scale, a new line is created that works over G7sus4.
Figure 6 - Diatonic top, G/F whole step triad combination bottom

ERIC ALEXANDER

More complex melodies can be adapted in the same way. Figure 7 (top) is a line I improvised over Gmaj7. When the lick is adapted to
the G/F triad combination scale (bottom) it works over G7sus4.
Figure 7 - Diatonic top, triad combination bottom
Figure 8 outlines a few more G/F triad combination scale licks to consider.
Figure 8 - More G/F whole step triad combination patterns

ERIC ALEXANDER

Substitute Triad Combination Scales in the Blues Progression

Triad combination scales can generate interesting sounds when used in the blues progression.
Figure 9 - Transcription of Chorus 1 of a blues solo using the whole step triad combination scale. (This solo is
transposed for Bb instruments)
I improvised this chorus thinking of the two triad combination for each chord change in this G blues. In bar 10, I strayed from this
formula and played the g blues scale. Once I have the triads locked in to my ear and my fingers, I try to play with melodic and rhythmic
integrity and variety.

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Again, in this chorus I am relying on the two triads for each change, and I utilize the occasional false fingering or half-step to spice it
up.

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I was thinking of some Coltrane- type sounds here.
Watch me play this solo at a sound check for a gig I played in London in Feb 2012.
http://youtu.be/YU74HD2aS2E

ERIC ALEXANDER

Exercise 3 Play the whole step triad combination scale over the Blues
1. Play the transcription of my solo (it’s written in Bb!) with the playalong. Eb and C players can sight transpose the Bb solo from
figures 9-11 or read the transposed solo in the answer key section of the book below. Memorize the solo to assimilate the
vocabulary into your head and hands.
2. For each chord of the blues progression, substitute a Whole Step Triad Combination Scale. For example, in the G Blues above, I
used a G/F Whole Step Triad Combination Scale for the G7, a C/Bb scale for the C7 and a D/C scale for the D7. Experiment
with the multitude of possibilities here.
3. Improvise with these scales with the playalong. The playalong lasts for four choruses. Five playalongs are provided: Blues in C, F,
Bb, Eb and G.
4. Once you have the two triads figured out for each chord progression of the Blues, I recommend gravitating toward specific points
of harmonic reference in the progression—roots, thirds, sevenths, etc of each chord. Keep things simple, and rhythmic. The two
triad sound is strong, so you don’t have to do too much.

ERIC ALEXANDER

Substitute Triad Combination Scales for Any Progression

Triad combination scales can generate interesting sounds when used in any progression. In figure 12, I used the whole step triad
combination scale to improvise over the changes to “Impressions.”
Figure 12 - Transcription of the AA section of the tune “Impressions” using the whole step triad combination scale
I never leave the two-triad sound here. Phrase endings and beginnings are a big part of the overall sound.

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Figure 13 - Transcription of the BA section of the tune “Impressions” using the whole step triad combination scale
Watch me play this transcription from a sound check in Fankfurt in March 2012
http://youtu.be/2Op-I46Mj7w

ERIC ALEXANDER

Exercise 4 Play the whole step triad combination scale over “Impressions”
1. Play the transcription of my solo (it’s transposed to Bb!) with the playalong. Eb and C players can sight transpose the Bb solo
from figures 12 and 13 or read the transposed solo in the answer key section of the book below. Memorize the solo to assimilate the
vocabulary into your head and hands.
2. For each chord of the progression, substitute a Whole Step Triad Combination Scale. For example, in the “Impressions”
progression above, I used an A/G Whole Step Triad Combination Scale for the E-7 and a Bb/Ab scale for the F-7. Experiment
with the multitude of possibilities here.
3. Improvise with these scales with the playalong. The playalong lasts for four choruses.
4. It would be very wise to listen carefully to the many recordings that Coltrane made of this tune, in particular “Live at the Village
Vanguard” and some of the live European Tour dates from the early sixties. Notice how he phrases and uses these types of sounds
that we have discussed and try to use his concept as a template for your own improvisations.

ERIC ALEXANDER

Exploring the Whole Step Triad Combination Scale

It’s not really that hard to lock your fingers and ears into this scale. The trick is to play coherent phrases and rhythms, and not just let
your fingers wander around. I’d recommend trying to use this scale on modal tunes or songs with only a few chord changes, so that
you have time to get inside the sound for a particular tonality for more than a few beats. Another suggestion I would make is to devote
an entire practice session to one chord, and only allow yourself to use the hexatonic scale. If you sit with it for a while, you’ll be amazed
at what you can come up with.
When using these whole step triad scales, it is important to realize that they function in many way like modes--that is, that all the notes
of the scale sound (more or less) equally consonant. If I'm using the Gsus hexatonic over a B7 altered chord, I can emphasize all the
tones of the scale to get quality sounds, and particularly if I'm resolving to a E minor chord ( in this case all the notes of the scale could
resolve up or down by half or whole step, for instance, with excellent effect).
Keeping this in mind, players should try beginning on each note of the scale and running up or down a certain number of notes--for
instance, G up to A, A up to B, etc. (eight notes in a row). As I mentioned earlier, a real effective way to discover appealing sounds is
to transfer simple patterns that are commonly used in a 7 note stepwise scale (like a major scale) into the two triad scale. You will
inevitably be left with some interesting intervals and melodies. It is also advisable to write down short patterns that you stumble
across while noodling with the scale that you think sound particularly good--that way you can build a notebook that you can refer to
every day and use for transposition through twelve keys.
I highly recommend you focus on playing the "first mode" of the scale in 12 keys first. The transfer to the "fifth mode" should be
relatively easy even if you have a limited amount of experience in improvisation-- the reason being that you should see a connection
between, for example, G7 and D-7 because they exist in a ii-V7 pair. I think it's very important to have in mind these pairs at all times,
because the sounds one would use on both are interchangeable. On “Impressions”, for instance, over D minor I am automatically
referencing G7sus. On “Sister Sadie” (the blues used in the examples), I am automatically referencing Eminor for A7. And so on. This
way of thinking will always give you twice the information for any dominant 7 or minor 7 chord. The "third mode" and the "sixth
mode" function in much the same way harmonically and can be studied later.

ERIC ALEXANDER

Answer Keys

ERIC ALEXANDER

Whole Step Triad Combination Scales in 12 Keys - Concert Pitch
F/Eb Whole Step Triad Combination Scale

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Bb/Ab Whole Step Triad Combination Scale

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Eb/Db Whole Step Triad Combination Scale

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Ab/Gb Whole Step Triad Combination Scale

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Db/B Whole Step Triad Combination Scale

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F#/E Whole Step Triad Combination Scale

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B/A Whole Step Triad Combination Scale

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E/D Whole Step Triad Combination Scale

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A/G Whole Step Triad Combination Scale

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D/C Whole Step Triad Combination Scale

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G/F Whole Step Triad Combination Scale

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C/Bb Whole Step Triad Combination Scale

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Whole Step Triad Combination Scales in 12 Keys - Bb

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Whole Step Triad Combination Scales in 12 Keys - Eb

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Blues solo, chorus 1 and 2 from figures 9-11 in C

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Blues solo, chorus 3 from figures 9-11 in C

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Blues solo, chorus 1 and 2 from figures 9-11 in Bb

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Blues solo, chorus 3 from figures 9-11 in Bb

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Blues Solo, chorus 1 and 2 from figures 9-11 in Eb

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Blues Solo, chorus 3 from figures 9-11 in Eb

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Impressions solo from figures 12 & 13 in C

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Impressions solo from figures 12 & 13 in Bb

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Impressions solo from figures 12 & 13 in Eb

ERIC ALEXANDER

Study Jazz Improv Online with Eric

Online Lessons Available at EricAlexanderJazz.com
If you would like to explore the material in this book or any aspect of jazz improvisation with me personally, I offer one-on-one lessons
online via Skype at my website: EricAlexanderJazz.com.
I am happy to work with beginners through advanced professional players. Here are some common areas that I work on with my
students: technique (fingering, embrochure, sound production, altissimo, vibrato, intonation, mouthpiece & reed choice), all aspects
of improvisation, chordscale theory, composition, repertoire development, rhythmic concepts.
Please email with any questions you may have. I’d love to hear from you.
Eric
ericalexanderjazz@gmail.com

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Improvising with the Whole

Improvising with the Whole Step Triad Combination Scale

All Rights Reserved.

Copyright ©2012 Eric Alexander

Produced by Bill Rinehart and Jazz Web Development, http://www.jazzwebdev.com

PAGE 2 OF 79 ERICALEXANDERJAZZ.COM ©2012

PAGE 3 OF 79 ERICALEXANDERJAZZ.COM ©2012

The Whole Step Triad Combination Scale

The Whole Step Triad Combination Scale

Where to Use the Whole Step Triad Combination Scale

Improvising with the Whole Step Triad Combination Scale

Substitute Triad Combination Scales in the Blues Progression

Substitute Triad Combination Scales for Any Progression

PAGE 4 OF 79 ERICALEXANDERJAZZ.COM ©2012

Exploring the Whole Step Triad Combination Scale

Whole Step Triad Combination Scales in 12 Keys - Bb

Whole Step Triad Combination Scales in 12 Keys - Eb

Blues solo, chorus 1 and 2 from figures 9-11 in C

Blues solo, chorus 3 from figures 9-11 in C

Blues solo, chorus 1 and 2 from figures 9-11 in Bb

Blues solo, chorus 3 from figures 9-11 in Bb

Blues Solo, chorus 1 and 2 from figures 9-11 in Eb

Blues Solo, chorus 3 from figures 9-11 in Eb

Impressions solo from figures 12 & 13 in C

Impressions solo from figures 12 & 13 in Bb

Impressions solo from figures 12 & 13 in Eb

Study Jazz Improv Online with Eric

PAGE 5 OF 79 ERICALEXANDERJAZZ.COM ©2012

Introduction to Triad Combination

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The Whole Step Triad

The Whole Step Triad Combination Scale

Figure 3 - two major triads a whole step apart

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Where to Use the Whole Step Triad Combination Scale

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F/Eb Concert Whole Step Triad Combination Scale

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Bb/Ab Concert Whole Step Triad Combination Scale

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Eb/Db Concert Whole Step Triad Combination Scale

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Ab/Gb Concert Whole Step Triad Combination Scale

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Db/B Concert Whole Step Triad Combination Scale

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F#/E Concert Whole Step Triad Combination Scale

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B/A Concert Whole Step Triad Combination Scale

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E/D Concert Whole Step Triad Combination Scale

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A/G Concert Whole Step Triad Combination Scale

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D/C Concert Whole Step Triad Combination Scale

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