732:
94:
In modal terms, the available scale steps of the mode (or available tensions for the chords) of the diatonic scale steps are those a whole step above the chord tones, and the avoid notes are those that are not. The only exception is the Dorian mode of the second scale degree, where the sixth is
95:
avoided although it is a whole step above the fifth; this is because the tritone between this and the third scale step would give an unwanted dominant quality. Taking C major as an example, the avoid notes are:
634:
975:
627:
863:
600:
1112:
620:
573:
1059:
965:
1074:
1122:
930:
856:
643:
32:
1117:
1079:
830:
721:
71:
879:
895:
849:
709:
1069:
1024:
970:
955:
935:
714:
496:
596:
569:
1086:
945:
679:
664:
654:
565:
557:
486:
466:
1091:
1034:
1049:
1039:
982:
950:
900:
761:
699:
481:
257:, but discusses "intolerably dissonant" notes and how they should be resolved. For the
1106:
1017:
817:
812:
766:
689:
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258:
997:
992:
910:
875:
802:
797:
684:
67:
51:
40:
558:
590:
1064:
1007:
987:
915:
905:
841:
776:
771:
756:
751:
704:
84:
59:
47:
1054:
1044:
1029:
1012:
960:
88:
55:
28:
70:, or sharpened. It is not available in harmony. The available tensions for a
940:
920:
612:
91:
is usually avoided, and the 13th is not regarded as an available tension.
1002:
694:
925:
807:
669:
592:
The Jazz
Language: A Theory Text for Jazz Composition and Improvisation
491:
36:
781:
746:
63:
253:
In his modal approach to minor harmony Haerle does not use the term
872:
564:(1st ed.). San Francisco: Freeman: Backbeat Books. p.
20:
845:
616:
66:
it is usually avoided, treated as a "scale approach note" or
62:
above the 3rd of the chord, and thus very harsh. In
790:
739:
265:Avoid notes for modes of the melodic minor scale
857:
628:
8:
411:Either the fifth or sixth scale step, D or E
545:. Berklee College of Music. pp. 15–17.
99:Avoid notes for modes of the C major scale
864:
850:
842:
635:
621:
613:
536:
534:
532:
530:
523:. Berklee College of Music. p. 34-35.
514:
512:
16:Scale degree that is musically unpleasant
263:
97:
508:
31:degree which is considered especially
164:Second and sixth scale steps, F and C
7:
14:
730:
595:. Miami, Florida: Studio 224.
43:, and is thus better avoided.
1:
966:Electroacoustic improvisation
1139:
1113:Consonance and dissonance
886:
831:List of musical intervals
826:
728:
650:
644:Consonance and dissonance
556:Humphries, Carl (2002).
541:Nettles, Barrie (1987).
519:Nettles, Barrie (1987).
54:is the fourth diatonic
261:scale he gives these:
72:dominant seventh chord
58:, or 11th, which is a
896:Backdoor progression
589:Haerle, Dan (1980).
325:Second scale step, E
238:Second scale step, C
204:Fourth scale step, C
130:Fourth scale step, F
465:(usually played as
353:Sixth scale step, C
282:Available tensions
266:
221:Sixth scale step, F
147:Sixth scale step, B
116:Available tensions
100:
50:tonality the avoid
1025:Jazz improvisation
971:Free improvisation
956:Constant structure
936:Chord-scale system
560:The Piano Handbook
497:Chord-scale system
264:
98:
1100:
1099:
931:Call and response
839:
838:
602:978-0-7604-0014-2
473:
472:
251:
250:
1130:
1123:Jazz terminology
1087:Twelve-bar blues
946:Coltrane changes
866:
859:
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733:
637:
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623:
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525:
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487:Thirteenth chord
467:altered dominant
447:
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416:
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406:
390:
389:
378:
377:
361:
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350:Lydian augmented
346:
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330:
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321:
320:
298:
297:
267:
246:
245:
189:
188:
101:
89:sixth scale step
79:
78:
35:relative to the
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1133:
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1131:
1129:
1128:
1127:
1118:Jazz techniques
1103:
1102:
1101:
1096:
1092:Upper structure
1035:Melodic pattern
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870:
840:
835:
822:
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731:
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611:
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603:
588:
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510:
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478:
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343:
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186:
185:
76:
75:
39:implied by the
17:
12:
11:
5:
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1050:Rhythm changes
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901:Bar-line shift
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824:
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810:
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800:
794:
792:
788:
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785:
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774:
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762:Perfect fourth
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741:
737:
736:
729:
727:
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724:
719:
718:
717:
712:
707:
702:
700:Changing tones
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501:
500:
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494:
489:
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482:Eleventh chord
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15:
13:
10:
9:
6:
4:
3:
2:
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1028:
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1023:
1019:
1016:
1015:
1014:
1011:
1009:
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1001:
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994:
991:
989:
986:
984:
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977:
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964:
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942:
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934:
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929:
927:
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922:
919:
917:
914:
912:
909:
907:
904:
902:
899:
897:
894:
892:
889:
888:
885:
881:
880:improvisation
877:
874:
867:
862:
860:
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853:
848:
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844:
832:
829:
828:
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819:
818:Major seventh
816:
814:
813:Minor seventh
811:
809:
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804:
801:
799:
796:
795:
793:
789:
783:
780:
778:
775:
773:
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768:
767:Perfect fifth
765:
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742:
738:
723:
720:
716:
713:
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708:
706:
703:
701:
698:
696:
693:
692:
691:
690:Nonchord tone
688:
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631:
626:
624:
619:
618:
615:
604:
598:
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593:
585:
582:
577:
575:0-87930-727-7
571:
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561:
552:
549:
544:
537:
535:
533:
531:
527:
522:
515:
513:
509:
502:
498:
495:
493:
490:
488:
485:
483:
480:
479:
475:
468:
464:
462:No avoid note
461:
459:Super-Locrian
458:
455:
452:
451:
441:
439:No avoid note
438:
429:
426:
423:
422:
418:
410:
401:
398:
395:
394:
384:
382:No avoid note
381:
372:
369:
366:
365:
355:
352:
349:
340:
337:
336:
332:
324:
315:
312:
309:
308:
304:
302:No avoid note
301:
292:
289:
286:
285:
281:
278:
275:
272:
269:
268:
262:
260:
259:melodic minor
256:
240:
237:
234:
231:
228:
227:
223:
220:
217:
214:
211:
210:
206:
203:
200:
197:
194:
193:
183:
181:No avoid note
180:
177:
174:
171:
170:
166:
163:
160:
157:
154:
153:
149:
146:
143:
140:
137:
136:
132:
129:
126:
123:
120:
119:
115:
112:
109:
106:
103:
102:
96:
92:
90:
86:
81:
73:
69:
65:
61:
57:
53:
49:
44:
42:
38:
34:
30:
26:
22:
1080:Tadd Dameron
911:Bird changes
890:
803:Major second
798:Minor second
685:Musical note
659:
591:
584:
559:
551:
542:
520:
402:Mixolydian,
270:Scale degree
254:
252:
104:Scale degree
93:
87:harmony the
82:
80:11, and 13.
68:passing note
45:
24:
18:
1065:Syncopation
1008:Jam session
988:Harmolodics
916:Block chord
906:Bebop scale
791:Dissonances
777:Major sixth
772:Minor sixth
757:Major third
752:Minor third
740:Consonances
710:Preparation
705:Pedal point
60:minor ninth
23:theory, an
1107:Categories
1070:Turnaround
1045:Polyrhythm
1030:Lead sheet
1013:Jazz chord
961:Contrafact
891:Avoid note
715:Resolution
660:Avoid note
503:References
305:9, 11, 13
279:Avoid note
255:avoid note
201:Mixolydian
113:Avoid note
56:scale step
41:root chord
25:avoid note
941:Chordioid
921:Blue note
543:Harmony 3
521:Harmony 1
430:Locrian,
48:major-key
33:dissonant
1003:Jam band
695:Cambiata
680:Interval
655:Argument
476:See also
445:♭
433:♯
414:♭
405:♭
388:♯
376:♭
373:Lydian,
359:♯
344:♭
328:♭
319:♭
316:Dorian,
296:♭
293:Ionian,
244:♭
187:♯
161:Phrygian
77:♯
1040:Outside
1018:So What
993:Harmony
951:Comping
926:Cadenza
808:Tritone
722:Spectra
670:Cadence
665:Beating
492:Tritone
442:9, 11,
391:11, 13
333:11, 13
235:Locrian
218:Aeolian
190:11, 13
74:are 9,
37:harmony
1075:ii-V-I
983:Groove
876:theory
782:Octave
747:Unison
599:
572:
419:9, 11
224:9, 11
207:9, 13
178:Lydian
150:9, 11
144:Dorian
133:9, 13
127:Ionian
64:melody
1060:Swing
1055:Scale
675:Chord
273:Chord
107:Chord
85:minor
29:scale
27:is a
998:Head
976:List
878:and
873:Jazz
597:ISBN
570:ISBN
276:Mode
241:11,
110:Mode
52:note
21:jazz
566:128
448:13
385:9,
362:11
356:9,
247:13
184:9,
167:11
83:In
46:In
19:In
1109::
568:.
529:^
511:^
469:)
313:Dm
290:Cm
215:Am
158:Em
141:Dm
865:e
858:t
851:v
636:e
629:t
622:v
605:.
578:.
456:B
453:7
436:2
427:A
424:6
408:6
399:G
396:5
379:7
370:F
367:4
347:+
341:E
338:3
322:2
310:2
299:3
287:1
232:B
229:7
212:6
198:G
195:5
175:F
172:4
155:3
138:2
124:C
121:1
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