Diatonic Tertian Mega-scales over ii-V7-I Changes


Normal scales are made by stacking 2nds.
Mega-scales (my term) are made by stacking 3rds.

You can play "Mega" Scales the same way as you would play any scale
(your fingers are a little more spread out though).

*

I was looking for interlocking/overlapping relationships between the common tones in the
successive ii-V7-I chords using a megascale and here's what happened
(4C = middle C):



7D = Am's 11th

6B = Am's 9th

6G = Ams b7th

6E = Ams 5th ___ D7s 9th

6C = Ams b3rd __ D7s 7th

5A = Ams root __ D7s 5th ____ Gs 9th

5F# = Ams 6th __ D7s 3rd ____ Gs maj7th

5D = ____________ D7s root ___ Gs 5th

4B = ____________ D7s 6th ____ Gs 3rd

4G = __________________________ Gs root

4E = __________________________ Gs 6th




Since all the chord tones are sooooo consonant, AND the underlying scale is diatonic (G major scale) the ultimate result is kind of vanilla sounding.

Nonetheless, there are some very cool and useful Jazz improvisational possibilities in here.

*

In the final section of this "Just Friends" midi-audio recording,
I illustrate the megascale principles outlined above:
"Just Friends" Solo Piano (midi)

First 8 bars:
Underlying harmony for "Theme 1"

2nd 8 bars:
Straightforward statement of "Theme 2"

3rd 8 bars:
Straightforward statement of "Theme 1"

4th 8 bars:
Improv over "Theme 2"

5th 8 bars:
Improv over "Theme 1"

6th & Final Section of "Just Friends" midi (1:02-1:11)
Study of diatonic tertian megascales over ii-V7 and ii-V7-I progressions.


8-note scale

Over Am-D7
6B
G
E
C
5A
F#
D
B
Am
9
b7
5
b3
R
6
 
 
D7
 
 
9
b7
5
3
R
6


8-note scale

Over Bm-E7
6C#
A
F#
D
5B
G#
E
C#
Bm
9
b7
5
b3
R
6
 
 
E7
 
 
9
b7
5
3
R
6


10-note scale

Over Am-D7-G
6D
B
G
E
C
5A
F#
D
B
G
Am
4
9
b7
5
b3
R
6
 
 
 
D7
 
 
 
9
b7
5
3
R
6
 
Gmaj
 
 
 
 
 
9
7
5
3
R

 

* * * * * * *


Extra Bonus! Analysis of "Just Friends"



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