Editing Whole-tone scale (section)

==Jazz==
Some early instances of the use of the scale in [[jazz]] writing can be found in [[Bix Beiderbecke]]'s "In a Mist" (1928) and [[Don Redman]]’s "Chant of the Weed" (1931). In 1958, [[Gil Evans]] recorded an arrangement that gives striking coloration to the "abrupt whole-tone lines"<ref>Harrison, Max (1960) "Gil Evans: the Arranger as re-composer", article in ''Jazz Monthly'', February.</ref> of Redman's original. [[Wayne Shorter]]'s composition "[[JuJu (album)|JuJu]]" (1965),<ref>Wayne Shorter Jazz Play Along, Milwaukee, Hal Leonard</ref> features heavy use of the whole-tone scale, and [[John Coltrane]]'s "One Down, One Up" (1965), is built on two augmented chords arranged in the same simple structure as his earlier tune "[[Impressions (instrumental composition)|Impressions]]".<ref>''Impressions'' (sheet music, 1991) from ''The Music of John Coltrane'', Milwaukee, Hal Leonard</ref>

However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in [[turnaround (music)|turnaround]]s or as a substitute for a [[dominant seventh chord]]. For instance a G<sup>7</sup> [[Augmented seventh chord|augmented 5th dominant chord]] in which G [[altered scale]] tones would work before resolving to C<sup>7</sup>, a [[tritone substitution]] chord such as D{{music|b}}<sup>9</sup> or D{{music|b}}<sup>7{{music|#}}11</sup> is often used in which D{{music|b}}/G whole-tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C{{music|b}}, the enharmonic equivalent of B, the major third in the G dominant chord.

[[Art Tatum]] and [[Thelonious Monk]] are two pianists who used the whole-tone scale extensively and creatively. Monk's "[[Four in One (composition)|Four in One]]" (1948)<ref>''Four in One'' from Cardenas, S. and Sickler, D. (eds.) ''Thelonious Monk Fakebook'', Milwaukee, Hal Leonard.</ref> and "Trinkle-Tinkle" (1952)<ref>"Trinkle-Tinkle" from Cardenas, S. and Sickler, D. (eds.) ''Thelonious Monk Fakebook'', Milwaukee, Hal Leonard.</ref> are fine examples of this.

A prominent example of the whole-tone scale that made its way into pop music are bars two and four of the opening of [[Stevie Wonder]]'s 1972 song "[[You Are the Sunshine of My Life]]".<ref>{{cite book |title=The Foundations of Rock : From "Blue Suede Shoes" to "Suite: Judy Blue Eyes" |author-link=Walter Everett (musicologist) |last=Everett |first=Walter |page=174 |year=2008 |publisher=[[Oxford University Press]] |isbn=9780199718702 }}</ref>