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Whole Tone Patterns
Whole Tone Patterns
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.
Track 4 / Pattern 2 Whole-Tone Intervals
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
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
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
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
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