10 Note Scale

I know what you’re thinking; what’s wrong with the old 7 note scales? Actually the 10 note scale is a variation of the 7th scale, which yes, has 8 notes. As you’ll remember from my post on the 7th scale, the 7th scale is a mixolydian mode with added notes. The extra note we added was the major 7th between the root and the flatted 7th degree. This gave us a series of chromatic notes from the root to the 6th degree.

For this next variation of the 7th scale, we will be starting our scale from the 3rd and we will descend to the root and all the way down until the next root. Along the way, there will be many chromatic notes. We will be adding chromatic notes between the 3rd and 2nd degrees; between the 2nd degree and the root and between the root and the flatted 7th degree.  Here are the notes of the scale over a G7 chord.

10 Note Scale

Yes there are 13 notes in the example above but there are in fact 10 different notes. I choose to continue the scale all the way to the root both because this is a “G” scale and because it’s also common to play play the scale in this way.

Let’s look at and listen to some examples of this scale in use. First let’s hear how it sounds over a G7 chord.

Now let’s use it in a II – V7 – I progression.

Notice how the 10 note scale starts in the second half of the Dm7 chord.

Here’s another example over a II – V7 – I progression.

In this example, the 10 note scale again starts over the Dm7 chord but only in the last beat. The scale now resolves to the B note (7th degree) of the Cmaj7 chord. Nice!

The following solo is based on the changes to “All The Things You Are.” I have used the 10 note scale as much as possible. Please keep in mind that I probably wouldn’t play this scale as much as I have here. It’s mostly to illustrate how to use the scale and how it can sound in your solos.

As always, feel free to use as much as you like in your own solos.

“All The 10 Notes You Are”

 

Author: Michael Berard

Michael Berard was a part-time music professor for over 25 years at Concordia University in Montreal Canada. There he taught jazz guitar, jazz arranging, jazz composition as well as other jazz related courses. He has worked over the years as a jazz musician playing jazz clubs, concerts and studio sessions. Michael has played on numerous recordings including 3 of his own: "It's Autumn," "Little Voices" and "Good News." Michael is also the author of "Jazz Guitar Elements," a comprehensive jazz guitar method and "Jazz Reading Elements," a new jazz sight reading book geared towards jazz guitarists.