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A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic (or diminished), and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice.〔Tymoczko, Dmitri (1997). "The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz", ''Integral'' 11:135–79.〕 Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales. One important feature of jazz is what theorists call "the principles of chord-scale compatibility": the idea that a sequence of chords will generate a sequence of compatible scales. In classical major-mode harmony, chords typically belong to the same scale. (For example, a ii-V-I progression in C major will typically use only the notes of the C diatonic collection.) In jazz, a four-chord progression may use four different scales, often as the result of chordal alterations. For instance, in C major, a jazz musician may alter the V chord G-B-D-F with a flattened fifth, producing G-B-D-F. An improviser might then choose a scale containing these four notes, such as G whole tone (G-A-B-C-D-F), G octatonic (symmetric diminished ) (G-A-B-B-C-D-E-F), or a mode of either D or A melodic minor ascending (G-A-B-C-D-E-F or G-A-B-C-D-E-F respectively). In each case the scale contains the chord tones G-B-D-F and is said to be compatible with it. This notion of "chord scale compatibility" marks a fundamental difference between jazz harmony and traditional classical practice. An avoid note is a note in a jazz scale that is considered, in jazz theory and practice, too dissonant to be played against the underlying chord, and so is either avoided or chromatically altered.〔Humphries, Carl (2002). ''The Piano Handbook'', p.262. ISBN 0-87930-727-7.〕 For example, in major-key harmony the fourth, and thus 11th, is an avoid note and thus either treated as a passing tone or augmented (raised a semitone).〔Humphries (2002), p.128.〕 Avoid notes are often a minor second (or a minor ninth) above a chord tone〔〕 or a perfect fourth above the root of the chord.〔Humphries (2002), p.126.〕 () can get a good sense of the difference between classical and non-classical harmony from looking at how they deal with dissonances. Classical treats all notes that don't belong to the chord (i.e., the triad) as potential dissonances to be resolved. ... Non-classical harmony just tells you which note in the scale to avoid (is sometimes called an avoid-note" ) (because it's ''really'' dissonant), meaning that all the others are okay.〔 ==Modes of the major scale== The number of scales available to improvising musicians continues to expand. As modern techniques and musical constructions appear, jazz players find the ones they can put into compositions or use as material for melodic exploration. Prominent examples are the seven modes of the diatonic major scale and added-note scales. Compare each of the modes to the major scale for clues as to the subtle differences between them. Ionian is based on the 1st degree of the major scale, Dorian on the 2nd, Phrygian on the 3rd, etc. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「jazz scale」の詳細全文を読む スポンサード リンク
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