$i St ee This scale is most often used over dominant 7411 chords and dominant 7S chords, It gets frequent play on the secondary dominant chord, V7PS of V (1175). In the following example. the scale is used over the ™ (4) wey TRACK 52 + The Whole Tone Scale The whole tone scale is un urtificial six-note symmetrical scale made up of all whole steps. Essentially there ate omy owe whole Lone Seales, since exch uses hall oF all LvelVe avanlable notes. = Se FSS s= When used in isolation, « whole tone soale is really tonie Tews, and thus there is no hictarchy of pitch rela- tionships. French composer Claude Debussy was the first to make extensive use ofthis scale to create a sence of floating or ambiguous tonality, Jazz players typically superimpose a whole tone scale on a sein nant 75 or 745, in whieh case the tonal implications are assured by the dominant functioning chord. ‘Thelonious Monk made the whole tone scale a personal cliché and often used it in isolation, independent of tonal function (see Chapter 10). The following example uses aC whole tone seale on the C785, od wack 93 —> All tonal music is based on scales, and hebop is no exceptiv. During their improvisations, bebop players {ought more in scale terms than their predecessors, but the methodical application of certain scales to cor tain chord types is a more recent approach te improvisation; bebop players trewed melody. harmony. and shythm as parts uf the same nnesicall Impulse, an rarely plavedlaruitctally derived constructs ont the must cal discourse, In other words, the musical ideas and stylistic practice cams firsts the mater fom af the press af improwisation and not chosen bofors the fuel. On playing bebop as a living art Form rather than an historical one. js used were chould keep this in mind when 87