Symmetric augmented
The augmented scale, also known in jazz theory as the symmetrical augmented scale,[1] is so called because it can be thought of as an interlocking combination of two augmented triads an augmented second or minor third apart: C E G♯ and E♭ G B. It may also be called the "minor-third half-step scale" due to the series of intervals produced.[1]
It made one of its most celebrated early appearances in Franz Liszt's Faust Symphony (Eine Faust Symphonie). Another famous use of the augmented scale (in jazz) is in Oliver Nelson's solo on "Stolen Moments". It is also prevalent in 20th century compositions by Alberto Ginastera,[2] Almeida Prado,[3] Béla Bartók, Milton Babbitt, and Arnold Schoenberg, by saxophonists John Coltrane and Oliver Nelson in the late 50s and early 60s, and bandleader Michael Brecker.[1] Alternating E major and C minor triads form the augmented scale in the opening bars of the Finale in Shostakovich's Second Piano Trio.
Sources
- ↑ 1.0 1.1 1.2 Workman, Josh. Advanced: "Secrets of the symmetrical augmented scale", Guitar Player 41.7 (July 2007): p108(2).
- ↑ Johnson, Timothy. "Modernism". Ithaca College. http://www.ithaca.edu/music/mtsnys/2010mtg/abstracts/modernism.html. Retrieved May 16, 2012.
- ↑ Corvisier, Fernando. "The ten piano sonatas of Almeida Prado: the development of his compositional style". University of São Paulo/Academia.edu. http://usp-br.academia.edu/FernandoCorvisier/Papers/1157648/The_ten_piano_sonatas_of_Almeida_Prado_the_development_of_his_compositional_style. Retrieved May 16, 2012.