Whole Tone Patterns

The next exercises are patterns using the whole-tone scale.
Id like to present these first and

then later in the book give you some ideas about how to integrate them into your improvisation.
For some of the patterns I have included suggested fingerings.
Track 3 / Pattern 1 Whole-Tone Intervals
C, D, E, F #, G #, B b Whole Tone Scale
1
C7(#11)
A
b
4
b
b
& 4
#
#
T
A
B
5 3
12
T
A
B
13
10
11
&
b b A #
2
9 7
11
11 9
11
10 8 12
11
10 8
b a b A
#
# b b A
11
11
10 12
12
13
b b A
#
13 11
b #
b b # b A
&
# b b b
#
T
A
B
Variation
# #
& b
T
A
B
10
b A
b # b #
b b b # A a
&
T
A
B
10 8
11
11
I have included some suggested fingerings for the next few patterns but I would encourage
you to explore as many fingering options as you can in order to find those most comfortable for
you and your playing style.
C, D, E, F #, G #, B b Whole Tone Scale
1
b #
#
#
4
& 4
b b # 1 3 4 # 2 4
1 3
2 4 1 2 3 4
#
2
1
3
2 3 4 1 2 3 4 1
C7(#11)
T
A
B
8 4
10
12
13
11
11
14
13
13
15 11
12
13
14
# b
b # b b #
b b # b b

&
14
T
A
B
13
12
11
10
13
13
11
11
1 4
7
12
4 8
2 Variation
& # 1
b b #
3 2
3 2
4
1 4
b # b
b
# b
# 2 4 3 1 2 4 3 1 2 4 3 1 2 4 3
T
A
B
b b #
#
#
b
&
1
T
A
B
9 11
10
9 11
8 10
9 11
12 14
T
A
B
5
8
14
13
# b
b #
13 11
b b #
b b # b
&
b # b b
# 2
4 3
3 1
3 1
4 3 1 2
4
4 2 1 3
1
2
4
1 2
4
11
12 10
14
13
Track 4 / Page 2
3
Variation
b #
#
b #
4
& 4
#
b #
#
2 1 3 4
2 1
3 4
2 1 3 4 3 1 2 4
2 1 3 4 2 1 3 4
1
T
A
B
4 2
5 7
6 8
5 7
8 10
11
10 12
7 9
7 9
#b b b # b
&
# b b A # b
# b
1
T
A
B
2 4
11 13
12 10
3 2
7 9
4 1
11
7
8
Variation
bb # A b
#
b b

&
1 4
#
1 4 2
T
A
B
5 3
4 1 3
3 2
2 3
1 4 2
4 6
5 7
8 6
7 9
12 10
11
1 3
b b #
b
#
#
4 2 3 1
2 2
1 4 2 3
4 2 3
97
1 3 2 4
12
4 1 1
11 9
10
11 9
10 8
4 2 3
9 11
14 12
14
11 13
3 1
12 10
13
4 2
13 11
b b A A # # b b A a
# b b b A A
&
#
2
T
A
B
4 1 3
9 11
8 10 8
9 11
9 11
3 1
9 7
5 7
5 7
1 4
9 7
10 8
6 8
1 3
5 7 5
& # b b A a #
b b b A A #
2
T
A
B
6 4
b Whole Tone Scale

C, D, E,#, FG#, B
1
C7(=5)
b b #
#
b b #
4
& 4
b b #
#
#
1 4 3 2 1 4 3 2
1 4 3 2 1 4
1
T
A
B
2
4
1 4
1 4
3 2
5
8
11
9
10
12
15
13
11
14
12
15
13
11
14
#
b b # b b #
b b b b
&
# # b
b #
4 1 2 3
2 3 4 3 4 1
4 1 1 3 1 3 4 1
4 1 2
2
3
1
T
A
B
14
11
12
10
13
6
9
10
5
7
# b
# b
&
b b
#
1
T
A
B
2
4
b # b b

1
6
8
5
7
5
6
11
2
6
b # b

3
9
10
10 12
11
13
&
3
T
A
B
b # b b
b # b #
b
b b # b
#
3
2 3 1 4
4 2 1
1
3 1 4
3 4 2 1
1 3 1 4
1 2
4
12
10 8
13 11
11
12
7
10 8
5
6
10
5
7
6
8
Track 5 / Page 2
Variation
4
& 4
1
T
A
B
b # b b
b
#
#
# b b

#
b
# 3
1
3 4
1
# b
b
b
3 4
6 8
5 7
b # b
b
3 5
3 4
3 4
10
7 9
9 11
12
6 8
b b # b b
&
2
T
A
B
9
8 10
11
11
10 12
13
9 11
11
10
11 13
13
12
13 15
14
15
13
11
12 10
9
b
b #

&
2
T
A
B
4
11
10 12
b b # b
b #

b b #
1 1
3 4 1 1
1 3 4
3 4
1
1
3
4
4
13
7
7
10
4
4
Variation
b #
b b
# 1 4 3 1
1
6
4
b b b b
5
9
b # b
b #
&
4
T
A
B
12 10
13
&
b #
T
A
B
8
11 9
11
12
10
9
7
12
11
8
11
10
11
12 10
9
11
13
U
b
b b #
b # b b
# 3
1 3
4
3 1 1 3 3 1
3 1
2
2 1 2
2
5
8
7
9
11
3
5
6
8
2
6
0
2

#, E
bC Whole Tone Scale
F, G, A, B,
1
F7(=5)

b
b
4
& 4
b b
b b
b
b
T
A
B
1
1
3
3
5
5
10
10
10
9
8
11
10
13
12
b
b
b
b
&
b
b
T
A
B
2
13
11
12
9
10
7
8
10
8
9
6
7
4
5
4
6
5
7
Variation
b
b

&
b
b

1
T
A
B
1
1
5
3
8 10
8 10
6
10
11 13
8
10
12
b b

b b
b b

&

b b
T
A
B
13
11 9
12 10
12
11
10
9
12
4
6
7
7

3
1
1
3
Track 6 / Page 2
Variation
b
4
b
b b

& 4
b b b
3 4 1 1 3 4 1
1 3 4 2 1 3 4 2
3 4 1
1 3
1
T
A
B
3
1
10 8
8 10
10 8
7
13 11
13
10 12
b
b
b b

b
b

b b b
3
4 2
1 3
4 1
4 1
1 3
1 3
1 3
&
2
T
A
B
4
13 11
10 12
10 8
6
7
4
4
5
5
Variation
T
A
B
5
1
b b
b
b
b b
& b
b
b
3
1 3
4
2 4
1
3 2
4
1
4
3
1
4 1
1
6
4
13
9 11
8 10
8 10
8 10
9 11
8 10
b b
b b
b b
&
b b
b b
T
A
B
13
12
11 9
10
12
11
10 8
9
6
7
8
8
13
4
6
2
2
3
5
1
1
These patterns combine whole-tone scales and chromatic approach notes. This is something
the great guitarist Wayne Krantz does often (and really well) on his recording Two Drink
Minimum. (Whippersnapper 3:37). If you are not familiar with Waynes playing I strongly
recommend buying his CDs. He has a beautiful touch and sound and an amazing time feel.
Track 7 / Pattern 5 Whole-Tone & Chromatic Approach
#, E
bC Whole Tone Scale
F, G, A, B,
1
F7(=5)
b b b .
3
4
b b # n
3
3
& 4
b n b
3
3
b
3
# n
T
A
B
12 11 10
10 12
11 10 9 13
b
&
T
A
B
3
b b b b b b 3
3
3
b b b b 3
3
3
3
3

13 12 11
14
12 14 12 11 10
11 13
10
7 6
10
7 9
7 6 5
9
6 8
5 4
2 Variation
3
3
b
&
3
3
3
b
3
3

3
T
A
B
8 10 12
10
13 12
14 16
13 17 16 15
b b
b b n b
b b
b b b
w
&
T
A
B
13 12 11
12 14 13 12
12
10 9 8
8 10 9 8
6 5 4
14
5 7 6 5
3 2 1
4 3 2
Track 7 / Page 2
3 Variation
b n b
b
b b #
b
b #
b n b n
4
& 4
#
T
A
B
3 4
5 7 8
8 10 11 12
10 11 12
14 15
11 13
b b
# b
b b
&
b b
b
T
A
B
13 12 11
14 13 12 10 9
10 9
4 Variation
b
b n
b
b
&
b
b

T
A
B
10
12
13
b b
# b
U
b b
&
b b
b w
T
A
B
13 12 11
14 12
14
15
11
13
More whole-tone/approach patterns but this time the approaches are to augmented triads.
Track 8 / Pattern 6
#, E
bC Augmented triads
F, G, A, B,
1
B7(#11)
3
4
& 4
b n b .
b
#
b n b n b
3
#
b
b n
T
A
B
Root
1
etc.
Root
#5
3rd
#
4
8 10 11 12
b b
3
b b
b
b 3
& 3
3
3
b
3
3
T
A
B
2
13 12 11 9
10 9
Chromatic approach to Root, #53rd

(F+and
triad)
9 10 11 13
10 11 12
b .
b n
b n
&
b

T
A
B
10
11
10
10
12
13
b b n

b b n
b
&
b n
T
A
B
12
13
10
16
This pattern is a variation on the classic Wes Montgomery which is a series of augmented
triads up in whole steps.
The Wes Montgomery: (see Four On Six [studio version] 0:43 or If You Could See Me Now
3:47 Smokin at the Half Note).
C7
5fr.
6fr.
9fr.
7fr.
b
b

#
4 j b b #
& 4
T
A
B
10
F7
8fr.
n.
J
11
10
10
Track 9 / Pattern 7 Wes Variation

b Augmented triads
C, D, E,#, FG#, B
C7(#11)
4
& 4
b b # A
#
b # b
A
b b # A
#
b
b
T
A
B
2 4
b
b b
#
1 3
5 7
4 6
5 7
10
7 9
w
b b # A
b
# b a
&
T
A
B
8 10
11
11 13
13
12 16
13
13
12 10
11
11 9
10
&
b b A
# b b # b # b b
.
b
#
T
A
B
17
In the Etudes that follow Ive used some of the whole-tone patterns presented earlier in the
chapter. For some 7(s11s5) chord voicings see page 37.
Track 10 / Etude 1 Rhythm Changes
1
F7(#5) Dmi7
G7(#5)
n
b
b 4
& b 4 n
Bb
T
A
B
b
& b b n b
6
Bb
T
A
B
10
G7(#5)
Cmi7
F7(#5)

# # n
j
b. n
11
F7(#5)
Cmi7 F7(#5)
A b7(#11)
b
.
j
b . n J #
Bb
G7[#11
#5 ]
n #
10
Eb
n
3
G7(#5) Cmi7
Dmi7
10 8
b n b b
D7[#11
#5 ]
&
13 10
bb
10
Dmi7
. J #
bb n b b
&
5
E b A b7(#11)
B b7[#11
#5 ]
T
A
B
Cmi7 F7(#5)
G7(#5)
b . n b
b
&
J
T
A
B
B b7[#11
#5 ]
T
A
B
Cmi7 F7(#5)
Cmi7
G7(#5)
3
2
#
#
7
6
6
5
n #
6
7
8
18
10
J
10
4
5
Track 10 / Page 2
C7[#11
#5 ]
F7[#11
#5 ]
n # n n #
#
bb 4 n . #
n
#
#

& 4
#
J
T
A
B
A b7(#11)
10
10
F7(#5)
Dmi7
G7(#5)
n b .
J
5
F7(#5)
J
6
Cmi7
b. n

J
5
Bb
F7(#5)
#
n
# n #
Cmi7
Cmi7
G7(#5)
F7(#5)
# . Cmi7
.

b
J
b
n
J
&
6
Bb
T
A
B
Dmi7 G7(#5)
b b
bb b b n
&
Eb
n #
B b7[#11
#5 ]
T
A
B
Cmi7 F7(#5)
b

& b n #
T
A
B
B b G7(#5)
Cmi7
G7(#5)
F7(#5)
Eb
A b7(#11)
Dmi7
# .#
# n n b n #
bb b # b
J
&

J J
B b7[#11
#5 ]
T
A
B
Bb
G7(#5)
10 8
F7(#5)
Cmi7
Dmi7
G7(#5)
F7(#5)
Cmi7
b
n
b
j
n b
& b n b # n #
T
A
B
19
8 10
10
Track 10 / Page 2
B b7[#11
#5 ]
. b
b
b
J
& b 44
6
T
A
B
E b A b7(#11)
Cmi7
b
. b j
Bb
F7(#5)
G7[#11
#5 ]
D7[#11
#5 ]
bb 4 b b n b n b
b
& 4
n b n
T
A
B
C7[#11
#5 ]
8 10
8 10 12
10
10
F7[#11
#5 ]
b
n
bb
b n
# n
b
n
&
T
A
B
11
11
6
8
5
4
F7(#5)
Dmi7
G7(#5)
Cmi7
F7(#5)
#
n # b
b

& b
T
A
B
Bb
G7(#5)
Cmi7
B b7[#11
#5 ]
bb
&
T
A
B
Eb
b
n
5
A b7(#11)
8 10
Bb
F7(#5)
Cmi7
b
n
jb #
b
n
J
6
7
8
20
10
bU
w
6
This etude is based on the 24-bar whole-tone blues Our Man Higgins on Lee Morgans
classic recording Cornbread (Blue Note). Ive tried to use a combination of patterns and
chromatic approaches similar to a Wayne Krantz style.
Track 11 / Etude 2 Our Man Higgins style 24-bar blues
Head
F7(#5)
b b .. b b
4
& 4 J
5
6
6 8
6
T
.
6 8
8
A
9
. 6 8
B
? 44
6 5
b b b b b b
10 9
7 6
6 5
..
b.
. b J
b b b
B b7(#5) b
b b
&
F7(#5)
T
A 8
B
?
6 8
6 5
9 8
11 10 9
10
10 9
10 8
8 10
7 9
b
J
b.
b
J
b
.
F7(#5)
b b
b b
&
T
A
B
?
9 8
7 6
8 7
6 5
1 3
1 5
6 5 1
#
J
b.
b.
B b7(#5)
b b b
b
b b b b b C7(#5)
b
b
&
3
T
A
B
?
2 1
1 0
4 0
2 4
b
J
10
10
10
9 11
b
J
b.
b.
21
11
10
11
A b7(#5)
w
1st x only
b b ..
7
8 10
11
8 10
. b J
b
b
b n b A7(#5)

&
T
A
B
?
5 7
Fine Last x
.
.
bw
..
Track 11 / Page 2
F7(#5)
b
b b
4
j
b .
& 4
T
A
B
8 10
8 10
10
10
10 8
10 9
10 9
F7(#5)
&
T
A
B
10
10
11
8
11
11 10
b b
b b n
10
10
10
10
11
B b7(#5)
b n b b
b b
b n b
b b
b b
b

&
T
A
B
10
8
9
11
10 10
10
F7(#5)
n. # b
J
&
T
A
B
6 10 8
10
11
# b

# # b
# j
b.
7
B b7(#5)b
b b b b
b
b b
& n # b b n
C7(#5)
T
A
B
5
7
A7(#5)
b
&
T
A
B
10
11 10
9
10
8 10
11
11
10
9 11 9
9 11
b #
A b7(#5)
b # b #

b
b # b
10
10
11 10
10
22
7
8
Track 11 / Page 3
F7(#5)
b b n
b
& 44 n
T
A
B
10
10
10
#
& bw
B b7(#5)
T
A
B
6
9
10
b b
b
b
b b b
&
9
10
F7(#5)
T
A
B
12
12
11 15
b b n
b
13 11 10
10
b . #
J
b
11 10
b
#
b
7
F7(#5)
b b
b n b
b b
b
& b
T
A
B
11 10
10
10
11
b b
10
10
# n b b b #
b # # b
&
10
10
11 10
10
11
10
F7(#5)
U
b
# b # w
b b
b
b
&
b
A b7(#5)
A7(#5)
T
A
B
B b7(#5)
C7(#5)
T
A
B
6 8
23
9 8 7
4
7
9 7
6 8

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Whole Tone Patterns

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The next exercises are patterns using the whole-tone scale.

Id like to present these first and

Track 5 / Pattern 3 Whole-Tone Intervals

b Whole Tone Scale

Track 6 / Pattern 4 Whole-Tone Intervals

Chromatic approach to Root, #53rd

Track 9 / Pattern 7 Wes Variation

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