hello

anybody know about alternative ways to use these scales?
like on maj7#5 and maj7b9, this seems to be a very hip way of playing? to whom shoud i be listening to? im really looking for newer modern sounds and new stuff leaning towards "ecm style" straight eigths scandinavian sounds... anyone know about what chords can be derived from augmented and diminished scales?

martin
There are 3 comments, leave a comment.
when people talk about the "augmented scale" they usually mean this:

https://en.wikipedia.org/wiki/hexatonic_scale#augmented_scale

and yes, that scale would fit over a maj7#5 chord. theres a section on it in bob mintzer's book "14 jazz & funk etudes", maybe you can get some ideas there.
the scales that albetan describes are usually called whole-tone scales, and its true that they fit augmented dominant chords very well.

the augmented scale is another symmetrical scale, that alternates minor 3rds and semitones: c - eb - e - g - ab - b - c. there are three others, starting on c#, d and eb. all other starting notes will give you one of these 4 scales again.

it's a fascinating scale because it's formed from the notes of three major triads: c, e and ab, a major third apart. this major third relationship was used by coltrane in giant steps and other tunes.

try playing the 3 triads in single notes, in the order c, ab and e, over two octaves going up from middle c:
c - e - g - ab - c - eb - e - ab (g#) - b - c etc... you've played all the notes of the scale.

this scale can be played over chords that contains the notes of any of these 3 triads, eg:
cmaj7, emaj7, abmaj7 (these are the obvious ones). some of the notes are 'outside' the chord - but if you continue you will get back in again - just remember to stop on a note of the chord.

other possibilities for the above scale include:
am7 - c#m7 - fm7 (the relative minors of the three majors)
c7, e7, ab7 (this works quite well even though the b7s are not present - just don't end your line on the maj7!
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