moveable-shapes-concepts.pdf

(1)

MB21420

MEL BAY PUBLICATIONS, INC.

#4

#4 INDUSTRIAL INDUSTRIAL DRIVEDRIVE

PACIFIC, MO 63069 PACIFIC, MO 63069

JAZZ CURRICULUM

BY SHERYL BAILEY

T T _M_M

MOVEABLE SHAPES

CONCEPTS FOR REHARMONIZING ii-V-I’s

(2)

©

EXCLUSIVE SALES AGENES AGENTT MELMEL BAYBAY PUBLICAPUBLICATIONS, INC. INTETIONS, INC. INTERNARNATIONALTIONAL COPYRIGHCOPYRIGHTT SECURED. B.SECURED. B.M.I. MADE ANM.I. MADE AND PRINTED IN UD PRINTED IN U.S.A..S.A.

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0

M

el

B

ay

G

uitar

U

niversity Series

JAZZ CURRICULUM

BY SHERYL BAILEY

MOVEABLE SHAPES

CONCEPTS FOR REHARMONIZING ii-V-I’s

(3)

Acknowledgements

I would like to acknowledge the following colleagues for their inspiration, guidance and work I would like to acknowledge the following colleagues for their inspiration, guidance and work on this project:

on this project:

Kyle Clark (Finale Set-up) Kyle Clark (Finale Set-up) Jimmy Wyble Jimmy Wyble Jack Wilkins Jack Wilkins John Maione John Maione Corey Christiansen Corey Christiansen Bruce Saunders Bruce Saunders

I hope the material here will bring you inspiration and spark your creativity to new levels. I hope the material here will bring you inspiration and spark your creativity to new levels. Love and Light,

(4)

Preface

Introduction:

The fundamental chord progression for jazz improvisors is the II-V-I. It is the bread and The fundamental chord progression for jazz improvisors is the II-V-I. It is the bread and butter of standard and contemporary jazz harmony. This book presents a modern concept for butter of standard and contemporary jazz harmony. This book presents a modern concept for improvising over this essential chord progression. By superimposing chords and scales onto improvising over this essential chord progression. By superimposing chords and scales onto the II, V, and I we will create substitutions that alter and extend the basic chord sounds. The the II, V, and I we will create substitutions that alter and extend the basic chord sounds. The result will be fresh and exotic sounding harmonies.

result will be fresh and exotic sounding harmonies.

How the book is organized:

Each chapter focuses on a particular substitution and begins with chord voicing studies. It is Each chapter focuses on a particular substitution and begins with chord voicing studies. It is important to play through these studies to learn their unique sound and to open your ear. important to play through these studies to learn their unique sound and to open your ear. II suggest recording a bass line to play along with to fully hear the substitutions.

suggest recording a bass line to play along with to fully hear the substitutions. Also useAlso use these chords in comping or chord solos to cement them into your playing.

these chords in comping or chord solos to cement them into your playing.

The latter part of each chapter focuses on single note lines. The first two pages of these The latter part of each chapter focuses on single note lines. The first two pages of these studies clearly outline the substitutions. The

studies clearly outline the substitutions. The second two pages use chromaticism and second two pages use chromaticism and containcontain wider melodic leaps, making the substitutions less obvious.

wider melodic leaps, making the substitutions less obvious.

Comments on chord voicings:

The chord voicings in this book are, for the most part, derived from basic drop-2 and drop-3 The chord voicings in this book are, for the most part, derived from basic drop-2 and drop-3 voicings. I’ve added extensions to the basic forms. If you are unfamiliar with the basic voicings. I’ve added extensions to the basic forms. If you are unfamiliar with the basic drop-2 and drop-3 chord shapes, study them.

drop-2 and drop-3 chord shapes, study them. Drop-2 Drop-2 Concept Concept for for GuitarGuitar,, by Charles H.by Charles H. Chapman, available at

Chapman, available at www.melbay.comwww.melbay.com, is a great place to start., is a great place to start.

The extensions available for the basic chord types are listed below for handy reference: The extensions available for the basic chord types are listed below for handy reference: Minor 7: 9, 11, 6, maj7 Minor 7: 9, 11, 6, maj7 Dominant 7: Dominant 7: ff_{9, 9,}_{9, 9,} ss_{9, 11,}_{9, 11,} ss₁₁₍₁₁₍ff_5),_5), ff₁₃₍₁₃₍ss_{5), 13}_{5), 13} Major 7: 9, Major 7: 9, ss_11,_11, ss_{5, 6}_{5, 6}

There are many rules for usage, but, because those rules are derived from how they sound, There are many rules for usage, but, because those rules are derived from how they sound, my advice is to experiment. You’ll learn much faster by doing than by memorizing rules. my advice is to experiment. You’ll learn much faster by doing than by memorizing rules. When you discover the ones that sound good to you, add them to your style.

When you discover the ones that sound good to you, add them to your style.

Comments on notation:

I’v

I’ve often notated enharmonic notes (e often notated enharmonic notes (notes of the same pitch notes of the same pitch which are spelled differently) sowhich are spelled differently) so they correspond to the chord substitution

they correspond to the chord substitution rather than the original chord. rather than the original chord. For example, insteadFor example, instead of B on a G7 chord, C

of B on a G7 chord, Cff _{is used as a part of an A}_{is used as a part of an A}ff_{-(maj7)/G substitution.}_{-(maj7)/G substitution.}

Editors Notes:

-7 refers to minor 7th chords. Chord symbols with a slash ( / ) are chords above bass notes. -7 refers to minor 7th chords. Chord symbols with a slash ( / ) are chords above bass notes. For example: F-7/G = Fmin7 above a G bass note. In the

For example: F-7/G = Fmin7 above a G bass note. In the single note studies keep in mind thatsingle note studies keep in mind that accidentals are in effect for the bar

accidentals are in effect for the bar in which they occur, and are cancelled at in which they occur, and are cancelled at the following bar the following bar line.

(5)

Chapter 1: Move it or Lose it

Let’s explore moving -7 chords within the II-V-I progression in the key of C. Let’s explore moving -7 chords within the II-V-I progression in the key of C. Here is the chord progression we will jazz up:

Here is the chord progression we will jazz up: || DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 ||||

1) In measure one, use a D-7 arpeggio or the D dorian scale. 1) In measure one, use a D-7 arpeggio or the D dorian scale.

2) In measure two, move the D-7 arpeggio up a minor-third to an F-7 arpeggio or the F 2) In measure two, move the D-7 arpeggio up a minor-third to an F-7 arpeggio or the F dorian scale and play them over a G bass note. The F-7 arpeggio played over G creates dorian scale and play them over a G bass note. The F-7 arpeggio played over G creates G7(sus4,

G7(sus4, ff_9,_9, ff_{13). Using the F dorian scale over G creates G7(sus4,}_{13). Using the F dorian scale over G creates G7(sus4,} ff_9,_9, ss_9,_9, ff_13)._13).

3) In measures three and four, use any of the following: a Cmaj7 arpeggio, the C ionian scale 3) In measures three and four, use any of the following: a Cmaj7 arpeggio, the C ionian scale (also known as the C major scale), the C lydian scale, or the

(also known as the C major scale), the C lydian scale, or the C bebop scale (a major scale withC bebop scale (a major scale with a passing note between the 5th and 6th scale degrees).

a passing note between the 5th and 6th scale degrees). F-7/G = G7(sus4,

F-7/G = G7(sus4, ff_9,_9, ff₁₃₎₁₃₎

F dorian /G = G7(sus4,

F dorian /G = G7(sus4, ff_9,_9, ss_9,_9, ff₁₃₎₁₃₎

Now our progression looks like this: Now our progression looks like this:

|| DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 |||| || DD--7 7 oor r D D ddoorriiaann || FF--7 7 oor r F F ddoorriiaann || CCmmaajj77, , C C iioonniiaann, , C C llyyddiiaann, , oor r C C bbeebboopp |||| The following are chord voicings that substitute F-7/G for G

The following are chord voicings that substitute F-7/G for G7. Having a repetoire of voicings7. Having a repetoire of voicings that apply these substitutions will expand your chord vocabulary and give conviction to the that apply these substitutions will expand your chord vocabulary and give conviction to the lines you play. Use these voicings as much as possible. Hearing is believing!

(6)

D-7(9) D-7(9) 2 1 3 4 2 1 3 4

3fr.

F-7/G F-7/G 2 2 11 33 44

1fr.

C C 66₉₉ 1 1 11 2 2 33

1fr.

D-7(11) D-7(11) 1 1 331144

5fr.

F-7/G F-7/G 4 1 2 1 4 1 2 1

6fr.

Cmaj7 Cmaj7 1 1 33 44

8fr.

D-7( D-7( 991111)) 2 1 3 4 1 2 1 3 4 1

3fr.

F-7(9)/G F-7(9)/G 3 3 11 11 11 44

1fr.

C C 66₉_{9(( 11}11)) 1 1 3 3

1fr.

D-7(9) D-7(9) 2 2 33 33 33 44

10fr.

F-7/G F-7/G 2 2 33 11 44

9fr.

C C66₉₉(maj7)(maj7) 1 1 223344 44

8fr.

D-7(11) D-7(11) 1 1 331144

5fr.

F-7(9)/G F-7(9)/G 2 3 1 4 2 3 1 4

5fr.

Cmaj7 Cmaj7 2 4 1 3 2 4 1 3

5fr.

1 1 11 2 2

(7)

5 5 2 2 33 2 2 3 3 55 1 1 55 3 3 5 5 66 55 4 4 66 6 6 44 33 4 4 55 6 6 55 55 7 7 55 55 3 3 55 8 8 55 6 6 7 7 7 7 55 8 8 66 8 8 55 6 6 8 8 7 7 55 9 9 66 55 4 4 5 5 33 5 5 7 7 33 7 7 55 2 2 33 4 4 5 5 33 6 6 5 5 33 7 7 1010 7 7 99 7 7 9 9 1010 77 5 5 33 7 7 8 8 55 6 6 55 7 7 7 7 8 8 1 10 10 11 1 88 9 9 88 8 8 10 10 11 11 110 0 9 9 1100 7 7 9 19 100 7 7 9 9 1010 7 7 6 6 77 5 5 66 77 7 7 6 6 5 5 66 3 3 44 66 6 6 44 3 2 3 5 7 5 33 2 3 5 7 5 3 66 55 D-7 D-7 G7G7 Cmaj7Cmaj7 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CCmmaajj77 D-7 D-7 G7G7 Cmaj7Cmaj7

(8)

5 5 5 5 5 5 7 7 88 7 7 5 5 7 7 8 8 8 8 8 8 110 10 111 10 10 8 8 10 10 9 9 1010 8 8 1010 7 1 7 10 9 0 9 77 88 8 8 99 10 10 66 7 7 7 7 66 77 55 7 7 88 9 9 66 10 10 99 1010 88 6 6 7 17 10 9 0 9 7 7 88 7 7 110 0 99 88 9 9 7 7 6 6 1010 8 8 77 8 8 110 0 66 6 6 99 8 18 11 11 10 0 6 6 88 99 88 9 9 1010 6 6 9 9 7 7 9 9 5 5 77 5 5 66 5 5 77 66 7 7 88 6 6 8 8 99 88 66 77 5 1 5 10 8 0 8 7 7 88 8 8 55 77 8 8 7 7 66 5 5 8 8 6 6 55 7 7 11 11 6 6 99 8 8 66 9 9 8 8 66 77 55 8 8 55 7 7 55 9 9 55 55

Œ Œ ‰ J

D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(9)

5 4 5 7 8 5 4 5 7 8 77 5 5 7 7 8 8 55 6 6 8 8 7 7 55 8 8 66 4 7 6 4 54 7 6 4 5 6 6 7 7 88 55 7 7 8 8 55 6 6 55 7 7 7 7 8 8 66 5 5 88 6 6 8 8 9 19 111 8 8 7 17 10 8 0 8 77 1 10 9 0 9 8 8 66 55 7 7 6 6 7 7 9 19 10 9 0 9 1100 88 9 9 8 8 9 19 111 8 8 111 11 100 11 11 10 10 88 110 9 0 9 88 10 10 99 12 12 1010 4 5 8 7 6 8 4 5 8 7 6 8 5 5 88 6 6 44 8 8 66 8 8 55 8 8 66 5 4 7 55 4 7 5 7 7 55 8 8 55 33 4 5 4 3 2 4 5 4 3 2 3 3 5 4 3 55 4 3 5 1 1 55 44 3 3 22 4 4 55 3 3 55 1 1 22 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 Cmaj7Cmaj7

(10)

7 7 6 6 77 4 4 55 7 7 5 5 33 6 6 33 6 6 5 5 44 3 3 66 3 3 44 5 5 77 4 4 55 5 5 7 7 55 33 6 3 4 56 3 4 5 8 7 6 5 8 7 6 5 7 7 55 9 9 77 66 55 55 8 8 66 8 8 6 6 44 33 3 3 5 5 6 6 77 5 5 77 4 4 77 8 8 7 7 8 8 1100 7 7 9 19 100 7 7 8 8 1010 111 9 1 9 88 110 8 0 8 77 99 9 9 1010 99 7 7 1 10 0 9 9 1100 7 7 10 10 12 12 11 111 122 9 9 10 10 1122 10 13 10 13 1111 1313 13 10 13 10 10 10 1 13 13 11 1 99 12 12 1 13 3 110 0 111 1 1122 12 12 1010 1414 1313 12 12 7 7 1 10 8 0 8 77 10 10 1010 9 9 77 88 10 10 11 11 8 8 1010 111 11 10 0 88 7 7 1010 99 7 7 77 7 7 110 0 77 77 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(11)

Chapter

Chapter 2:

2: A

A Cut Abo

Cut Above

ve

Let’s create an altered dominant 7th chord by substituting a -(maj7) arpeggio or melodic Let’s create an altered dominant 7th chord by substituting a -(maj7) arpeggio or melodic minor scale a half-step above the root.

minor scale a half-step above the root.

The chord progression we will create substitutions for remains unchanged throughout the The chord progression we will create substitutions for remains unchanged throughout the text, until Chapter 6, when we will transpose it into different keys:

text, until Chapter 6, when we will transpose it into different keys: || DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 |||| 1) In measure one, use a D-7 arpeggio or the D dorian scale. 1) In measure one, use a D-7 arpeggio or the D dorian scale. 2) In measure two, play an A

2) In measure two, play an Aff_{-(maj7) arpeggio over a G bass note. The A}_{-(maj7) arpeggio over a G bass note. The A}ff_{-(maj7) arpeggio}_{-(maj7) arpeggio}

over G creates G7(

over G creates G7(ff_9,_9, ff_{13). Using the A}_{13). Using the A}ff _{melodic minor scale over G creates G7(}_{melodic minor scale over G creates G7(}ff_9,_9, ss_9,_9, ss_11,_11, ff_{13) aka G7alt. A}_{13) aka G7alt. A}ff _{melodic minor has the same notes as the G altered Scale.}_{melodic minor has the same notes as the G altered Scale.}

3) In measures three and four, use a Cmaj7 arpeggio, the C lydian scale, the C ionian scale, 3) In measures three and four, use a Cmaj7 arpeggio, the C lydian scale, the C ionian scale, or the C bebop scale.

or the C bebop scale. A

Aff_{-(maj7)/G = G7(}_{-(maj7)/G = G7(}ff_9,_9, ff₁₃₎₁₃₎

A

Aff _{melodic minor/G = G7(}_{melodic minor/G = G7(}ff_9,_9, ss_9,_9, ss_11,_11, ff_{13) = G7alt.}_{13) = G7alt.}

|| DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 |||| || DD--7 7 oor r D D ddoorriiaann || AAff_{-(maj7) or A}_{-(maj7) or A}ff _me_melo_lodi_dic_{c mi}_mino_{norr || Cm}_Cmaj_aj7,_{7, C i}_{C ion}_on.,_{., C l}_{C lyd}_yd.,_{., or}_{or C}_{C be}_bebo_bop_{p ||||}

Beginning in this chapter, the chord voicings, though constructed using substitutions over Beginning in this chapter, the chord voicings, though constructed using substitutions over bass notes, will be named from the bass note as the root. It is up to you to record a bass line bass notes, will be named from the bass note as the root. It is up to you to record a bass line that contains those roots and to understand the chords from both perspectives.

(12)

D-D-77 1 1 11 2 2 33 44

3fr.

G G77(( 4 4

1fr.

Cmaj7(9) Cmaj7(9) 2 1 4 3 2 1 4 3

2fr.

D-D-77 3 3 2 2 11 44

6fr.

G7 G7 (( 9 9 9 9 3 3 11

6fr.

Cmaj7 Cmaj7 2 4 1 3 2 4 1 3

5fr.

D-7(11) D-7(11) 2 4 1 3 2 4 1 3

7fr.

G G77(( ₉₉99))

9fr.

Cmaj7 Cmaj7 2 3 1 4 2 3 1 4

9fr.

D-7(11) D-7(11) 1 1 331144

5fr.

G G7(7( ₉₉ ))

4fr.

Cmaj7( Cmaj7( 1111)) 2 4 1 3 2 4 1 3

5fr.

D-7(9) D-7(9) 2 2 33 33 33 44

10fr.

11 11 9 9 )) 4 4

8fr.

9 9 3 3 11 22 13 13)) 13 13 )) 4 4 22 2 1 4 3 2 1 4 3 13 13 2 3 1 4 2 3 1 4 G7 G7 (( 9 999 1 1 11 11 3 3

9fr.

Cmaj7( Cmaj7( 1 1 223344 11 11 )) 4 4

(13)

5 5 7 7 88 5 5 77 8 8 7 7 55 6 6 8 8 99 6 6 88 9 9 8 8 66 55 7 6 4 57 6 4 5 6 6 7 7 88 5 9 6 7 85 9 6 7 8 5 5 6 6 7 7 7 7 5 7 4 75 7 4 7 8 8 44 6 6 55 6 6 7 7 44 66 5 3 2 35 3 2 3 2 2 55 4 4 22 55 55 12 11 12 14 15 12 11 12 14 15 12 1412 14 13 13 1 13 3 112 2 113 3 1155 12 12 1166 1 15 5 1313 1212 15 13 12 15 13 15 13 12 15 13 12 12 10 10 88 10 10 99 8 7 6 5 8 7 6 5 7 7 55 9 9 77 8 5 6 8 58 5 6 8 5 6 6 7 7 44 33 5 4 2 3 5 4 2 3 5 75 7 5 5 4 7 6 4 54 7 6 4 5 5 5 6 6 33 2 2 55 33 44 5 5 33 6 6 5 5 66 3 3 4 4 3 3 66 33 5 5 4 4 22 55 3 3 7 7 55 55 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(14)

5 5 7 7 8 8 7 7 55 8 8 7 7 55 44 66 3 3 6 6 5 5 66 4 4 4 4 7 7 4 4 55 5 5 88 7 1 7 10 9 0 9 77 88 8 8 5 6 5 4 3 5 6 5 4 3 5 5 4 4 22 6 6 55 33 6 56 5 6 6 22 4 4 33 2 5 4 32 5 4 3 2 2 55 44 3 3 4 4 55 33 5 5 44 5 5 1 12 12 11 1 9 19 10 0 88 12 10 12 10 9 9 88 8 8 9 9 88 11 10 11 10 11 11 12121010 9 12 9 10 9 12 9 10 9 9 1212 1 12 12 11 1 110 0 9 9 88 10 12 13 10 12 13 10 1210 12 13 12 1013 12 10 9 9 111 11 122 9 9 1111 112 12 11 1 99 8 8 110 10 122 10 10 88 112 12 10 0 99 88 14 14 15 12 15 12 12 15 12 15 1212 1414 15 15 111 1 1144 13 13 1212 11 11 99 1111 1212 1515 15 1215 12 1313 14 14 15 1215 12 1212 14 14 3 3 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CCmmaajj77 D-7 D-7 G7G7 Cmaj7Cmaj7

(15)

14 14 12 13 1512 13 15 12 15 12 12 15 12 15 15 14 12 14 12 1111 13 12 10 13 12 10 13 13 99 12 11 10 1212 11 10 12 9 9 1212 12 10 12 10 12 11 12 11 1 10 8 0 8 77 10 10 10 10 88 88 10 10 12 1012 10 99 88 11 11 99 11 11 99 10 10 88 11 11 10 10 99 7 7 10 10 7 7 9 9 77 10 10 99 5 5 44 33 55 6 6 55 7 7 55 6 4 6 46 4 6 4 3 3 44 3 3 6 6 5 4 5 65 4 5 6 3 5 7 83 5 7 8 33 5 5 33 5 5 44 5 5 10 13 10 13 1212 10 14 12 10 10 14 12 10 12 12 114 4 1111 1313 1414 12 12 13 13 11 11 12 12 1515 115 5 1122 1212 1 14 4 1111 12 12 6 6 5 5 44 66 3 3 5 5 66 3 3 6 5 2 3 46 5 2 3 4 4 4 4 4 6 6 7 7 6 6 3 3 4 4 55 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CmCmaajj77

(16)

7 7 8 8 77 11 10 11 10 88 7 7 1010 9 9 1111 8 108 10 1 11 9 1 9 88 8 8 9 9 1111 8 8 1010 1111 8 8 110 10 122 10 10 1 12 2 11 1011 10 1010 99 12 12 12 1012 10 11 11 99 99 112 2 111 1 9 9 88 10 10 99 10 10 88 10 10 88 1 12 12 10 0 99 88 11 12 14 13 15 11 12 14 13 15 1414 12 12 15 15 1111 1212 12 12 13 13 1 14 4 1010 11 11 77 8 8 99 66 1010 7 7 1010 9 9 77 10 10 1010 77 6 5 6 7 8 7 8 7 6 5 6 7 8 7 8 7 66 8 8 44 6 6 55 6 6 7 7 33 5 5 3 3 22 5 5 22 7 6 5 4 7 6 5 4 8 7 6 5 8 7 6 5 44 4 4 33 6 6 6 6 4 4 33 66 7 7 5 5 44 5 5 5 5 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7

(17)

Chapter 3: The Combined Effort

In this chapter I will expand on all the previous concepts by combining them and adding a In this chapter I will expand on all the previous concepts by combining them and adding a new substitution for I, creating fluid motion up in minor-thirds.

new substitution for I, creating fluid motion up in minor-thirds. 1) In measure one, use a D-7 arpeggio or the D dorian scale. 1) In measure one, use a D-7 arpeggio or the D dorian scale.

2) In measure two, move up a minor-third to F-7 or F dorian over a G bass note and then up 2) In measure two, move up a minor-third to F-7 or F dorian over a G bass note and then up another minor-third to an A

another minor-third to an Aff_{-(maj7) or A}_{-(maj7) or A}ff _{melodic minor over a G bass note. Using these}_{melodic minor over a G bass note. Using these}

substitutions one after the other creates G7(sus4,

substitutions one after the other creates G7(sus4, ss_9,_9, ss_{13) moving to G7(}_{13) moving to G7(}ff_9,_9, ss_9,_9, ss_11,_11, ff_13)._13).

3) In measures three and four, move up another minor-third to B-7 over a C bass note. B-7 3) In measures three and four, move up another minor-third to B-7 over a C bass note. B-7 over C creates Cmaj7(9,

over C creates Cmaj7(9, ss_{11). The related chord scale is B phrygian, which adds the}_{11). The related chord scale is B phrygian, which adds the}

additional color of 6 onto Cmaj7. B phrygian contains the same notes as C lydian. additional color of 6 onto Cmaj7. B phrygian contains the same notes as C lydian. F-7/G or F dorian/G = G7(sus4,

F-7/G or F dorian/G = G7(sus4, ff_9,_9, ff₁₃₎₁₃₎

A

Aff_{-(maj7)/G or A}_{-(maj7)/G or A}ff _{melodic minor/G = G7(}_{melodic minor/G = G7(}ff_9,_9, ss_9,_9, ss_11,_11, ss_{13) aka G7alt.}_{13) aka G7alt.}

B-7/C or B phrygian/C = Cmaj7(6, 9, B-7/C or B phrygian/C = Cmaj7(6, 9, ss₁₁₎₁₁₎

|| DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 |||| || DD--7, 7, D dD dooririaann || FF--77, F , F ddooririaan an annd d AAff_{-(maj7), A}_{-(maj7), A}ff _m_meello_od_diic_{c m}_miin_no_orr _{|| B}_B--7_7,_{, B}_{B p}_ph_hrry_yg_giiaan_{n ||||}

(18)

D-7(9) D-7(9) 2 4 1 3 2 4 1 3

10fr.

G7 G7 (( ₉₉

10fr.

G G77(( ₉₉ ))

9fr.

C C 66₉_{9 (( 11}11)) 1 1 11 2 2 33 44

7fr.

D-7(9) D-7(9) 2 2 33 33 33 44

10fr.

G G77(( ₉₉ 1 1 44

6fr.

G G77(( ₉₉ )) 1 1 44

4fr.

Cmaj7( Cmaj7( 1111₉₉ )) 1 1 11 2 2 44 33

2fr.

D-7(11) D-7(11) 2 4 1 3 2 4 1 3

7fr.

G7 G7 (( D D-7-7 1 1 3 3 44 2 2

7fr.

D-7(9) D-7(9) 2 3 1 4 2 3 1 4

2fr.

G7 G7 (( sus4 sus499 )) 2 3 1 4 2 3 1 4

1fr.

G G77(( ₉₉ ))

1fr.

Cmaj7( Cmaj7( 1111₉₉ )) 3 3 11 22

1fr.

13 13₎₎ 2 4 1 3 2 4 1 3 13 13 4 1 3 1 4 1 3 1 13 13₎₎ 3 3 1 1 13 13 2 2 11 9 9 13 13)) 2 1 3 4 2 1 3 4

6fr.

G7 G7 (( ))

4fr.

Cmaj7( Cmaj7( 1111₉₉ )) 2 3 1 4 2 3 1 4

4fr.

9 9 13 13 2 4 1 3 2 4 1 3 G G7_7((sus4_sus499 )) 1 2 3 4 1 2 3 4

6fr.

G G7_{7(( 99} 6 6 9 9 11 11 )) 4 2 3 1 4 2 3 1

5fr.

13 13)) 4 2 3 1 4 2 3 1

6fr.

Cmaj7( Cmaj7( 13 13 ₁₃₁₃ 2 4 1 3 2 4 1 3

(19)

5 5 7 7 88 77 7 7 5 5 66 5 5 8 8 5 5 66 5 5 6 6 8 8 99 88 99 77 7 7 1010 10 10 77 7 7 88 110 0 8 8 77 9 9 10 10 1 12 12 10 0 99 12 12 9 9 110 10 122 110 0 112 2 1133 13 13 13 13 111 1 1122 11 11 1 12 2 113 3 1155 115 5 1144 10 10 88 7 7 7 7 1010 77 99 8 8 9 9 10 10 10 10 11 11 77 9 9 8 8 7 7 1010 1 10 0 7 7 1144 15 15 1212 1 10 0 9 9 110 10 122 1010 8 8 112 12 100 88 9 9 88 10 10 88 9 9 88 11 11 1010 77 7 7 9 9 7 7 1010 1010 77 8 8 1010 77 9 9 9 1 0 7 9 1 0 7 9 9 110 0 66 7 7 88 9 9 66 7 7 7 7 1010 1 10 0 7 7 8 8 110 0 1122 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(20)

6 6 55 7 7 6 6 55 7 7 8 8 55 8 8 55 6 6 8 8 8 8 8 8 44 6 6 5 5 7 7 7 7 4 4 55 7 7 44 7 7 4 4 5 5 44 5 5 77 6 6 77 8 8 7 7 55 8 8 88 6 6 55 6 6 6 6 99 8 8 9 9 99 7 7 77 5 5 110 0 77 7 7 55 8 7 6 5 8 7 6 5 7 7 66 55 6 6 55 8 8 6 6 44 8 8 66 7 7 55 9 9 77 7 7 55 9 9 77 7 7 1 10 9 0 9 88 77 7 1 0 87 1 0 8 10 10 1111 8 8 10 10 88 9 9 111 1 88 1111 7 7 9 9 77 7 7 77 7 7 1010 1010 77 10 10 88 9 9 7 7 6 6 9 9 7 7 110 0 99 88 1010 9 9 8 18 11 91 9 7 7 11 11 9 9 77 110 0 8 8 112 12 10 0 77 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(21)

7 7 8 8 77 1 11 1 110 0 9 9 8 8 77 10 10 1 10 0 8 8 6 6 99 88 11 11 99 8 8 77 10 10 77 77 9 9 9 9 9 9 77 10 10 99 7 7 7 6 9 8 7 7 6 9 8 7 7 7 10 10 88 88 1111 8 8 1 10 10 11 1 99 11 11 8 8 9 9 77 10 10 7 7 88 8 8 77 1010 9 9 7 7 9 9 1010 77 99 10 10 7 7 99 1010 111 11 10 0 88 9 9 88 11 11 1100 99 10 10 77 77 7 7 10 10 9 9 1010 99 7 7 1010 6 6 7 7 9 9 8 8 1100 1010 99 88 8 18 10 7 0 7 88 11 11 88 9 9 1111 7 7 99 9 9 77 7 7 99 10 10 7 7 55 77 66 9 9 66 88 99 77 99 7 7 7 7 1010 10 10 77 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(22)

6 7 8 4 7 6 5 8 6 7 8 4 7 6 5 8 8 8 7 7 66 8 8 88 88 9 9 55 77 111 1 9 9 1100 9 9 77 7 7 1010 77 1 10 10 12 2 9 9 112 12 100 10 10 10 10 99 88 10 10 1 11 1 8 8 110 10 111 11 11 77 110 9 0 9 88 77 7 7 7 7 7 7 9 9 7 7 8 8 9 19 100 12 1012 10 12 1012 10 111 11 10 0 99 88 8 9 8 9 112 2 1111 7 7 88 110 8 0 8 77 10 10 88 9 9 77 1 10 0 9 19 100 1 10 9 0 9 77 7 7 99 1010 11 11 8 8 7 7 88 9 9 11 11 11 11 9 9 8 8 99 7 7 77 7 7 9 9 77 9 9 8 8 99 77 8 8 9 9 12 12 111 1 112 2 110 0 1122 8 8 1010 11 11 88 10 10 9 9 112 2 88 8 8 1010 1111 1010 1 10 0 114 4 1122 15 12 15 12 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(23)

Chapter 4: A Major Discovery

This time around let’s use maj7 chord structures and their related scales, as the basis for our This time around let’s use maj7 chord structures and their related scales, as the basis for our substitutions.

substitutions.

1) In measure one, use Fmaj7 or F lydian over a D bass note. Both substitutions create 1) In measure one, use Fmaj7 or F lydian over a D bass note. Both substitutions create D-7(9). The corresponding chord scale is F lydian. F lydian contains the same notes as D D-7(9). The corresponding chord scale is F lydian. F lydian contains the same notes as D dorian.

dorian.

2) In measure two, move up a minor-third to A

2) In measure two, move up a minor-third to Aff_{maj7 over a G bass note. This creates G7}_{maj7 over a G bass note. This creates G7}

(sus4,

(sus4, ff_9,_9, ff_{13). The related chord}_{13). The related chord scale is A}_{scale is A}ff_{lydian. This scale over a G bass creates G7 (sus4,}_{lydian. This scale over a G bass creates G7 (sus4,} ff_9,_9, ss_9,_9, ff_13)._13).

3) In measure three and four, move down a minor-second and play Gmaj7 over a C bass note. 3) In measure three and four, move down a minor-second and play Gmaj7 over a C bass note. This creates Cmaj7(9,

This creates Cmaj7(9, ss_{11). The chord scale is G ionian. G ionian contains the same notes as}_{11). The chord scale is G ionian. G ionian contains the same notes as}

C lydian. C lydian.

Fmaj7/D or F lydian/D = D-7(9) Fmaj7/D or F lydian/D = D-7(9) Abmaj7/G or A

Abmaj7/G or Aff _{lydian/G = G7(sus4,}_{lydian/G = G7(sus4,} ff_9,_9, ss_9,_9, ff₁₃₎₁₃₎

Gmaj7/C or G ionian/C = Cmaj7(9, Gmaj7/C or G ionian/C = Cmaj7(9, ss₁₁₎₁₁₎

|| DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 |||| || FFmmaajj7 7 oor r F F llyyddiiaann || AAff_{maj7 or A}_{maj7 or A}ff _lly_yd_diiaan_{n || G}_Gm_maajj7_{7 o}_or_{r G}_{G iio}_on_niiaan_n _||||

(24)

D-7(9) D-7(9) 2 4 1 3 2 4 1 3

6fr.

G7 G7 (( sus4

sus499 )) Cmaj7(Cmaj7( 11 11 9 9 )) 2 4 1 3 2 4 1 3

8fr.

D-7( D-7(1111))₉₉ 1 1 11 2 2 4 4 1 1 3 3

8fr.

G7( G7( sus4 sus4 11 11 6 6 ))

9fr.

D-7(9) D-7(9) 1 1 11 4 4 33

5fr.

G G77 (( sus4 sus499 1111))

4fr.

D-7(9) D-7(9) 1 4 2 3 1 4 2 3

8fr.

G7 G7 (( 9 999 1 1

8fr.

C C 66₉_{9(( 11}11)) 1 1 11 11 2 2 44

7fr.

11 11)) 13 13 2 4 1 3 2 4 1 3

9fr.

9 9 9 9 )) 2 1 4 3 2 1 4 3

10fr.

Cmaj7( Cmaj7( 2 1 4 3 2 1 4 3 13 13 )) 2 3 1 4 2 3 1 4

5fr.

Cmaj7( Cmaj7( 2 3 1 4 2 3 1 4 13 13 )) 4 41111 D-7( D-7(6699 )) 2 4 1 3 2 4 1 3

6fr.

G7 G7 ((sus4sus499 )) 1 2 3 4 1 2 3 4

6fr.

Cmaj7( Cmaj7( 1 4 2 3 1 4 2 3

5fr.

(25)

7 7 8 18 122 1010 9 9 1010 1010 8 8 10 11 10 11 1010 8 8 8 8 99 8 8 1111 9 9 1010 99 7 7 7 7 88 7 7 1010 14 12 1014 12 10 12 12 11 11 12 12 88 10 10 10 10 99 10 10 12 12 88 15 15 1111 13 13 13 12 13 12 13 13 15 11 15 11 14 10 14 10 12 12 12 11 12 11 12 12 14 10 14 10 9 1 0 99 1 0 9 12 10 12 10 9 9 10 10 1 12 8 2 8 7 7 8 18 122 1010 8 8 8 8 10 10 1 11 1 110 0 1111 1010 8 8 77 77 9 9 1 10 0 9 9 1100 99 7 7 1010 7 7 8 18 122 1010 9 9 12 10 12 10 12 12 110 0 1111 1010 8 8 88 10 10 88 1111 1212 10 10 88 10 10 12 12 112 2 1100 1111 99 9 9 110 0 99 12 10 12 10 8 8 9 9 88 10 10 88 10 10 88 7 7 9 9 77 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(26)

7 7 88 7 107 10 9 9 77 1 10 0 1111 1010 8 8 88 1010 9 9 1010 99 7 7 7 7 110 0 88 99 9 9 10 10 77 8 8 9 9 77 8 8 8 8 10 10 11 11112 12 10 0 88 1111 1010 7 7 9 9 77 9 9 1010 1 10 0 12 12 110 0 77 88 8 8 7 7 88 7 7 1010 9 9 88 1010 1 11 1 110 0 1111 1010 8 8 8 8 111 1 99 8 8 7 7 88 7 1 7 10 8 0 8 77 10 10 88 10 10 7 7 8 8 7 7 88 7 7 1010 9 9 77 10 10 1 11 1 110 0 1111 1010 8 8 11 11 99 9 9 1 10 0 9 9 1100 99 7 7 7 7 88 10 10 9 9 10 10 77 7 7 88 9 9 77 88 88 10 10 1 10 0 1111 8 8 8 8 77 9 9 10 10 1 10 7 0 7 88 7 7 1010 7 7 3 3 3 3 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 Cmaj7Cmaj7

(27)

7 7 88 7 7 1010 9 9 88 8 8 1212 11 11 88 1 11 9 1 9 88 8 8 10 10 11 11 10 10 99 7 1 0 97 1 0 9 7 7 77 99 77 9 9 1010 77 99 10 10 9 9 1 12 2 9 9 1100 1010 10 10 12 1012 10 111 1 115 5 113 3 1111 1313 1 13 3 1122 13 13 1212 14 10 14 10 1122 99 110 0 9 9 1122 10 10 12 11 10 12 11 10 1010 99 10 10 12 12 88 11 11 13 1013 10 13 10 13 10 12 12 1100 1010 99 1111 1212 12 12 12 12 10 10 12 12 1414 1010 1 12 2 11 1011 10 14 13 10 14 13 10 10 10 99 88 8 18 11 9 1 9 88 8 8 115 15 133 14 17 1514 17 15 17 15 17 15 17 16 14 17 16 14 17 17 9 9 1010 1 12 12 10 0 88 10 10 12 10 12 10 88 11 11 88 88 10 10 9 9 1212 11 11 99 10 10 12 11 12 11 10 10 12 12 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D-7 D-7 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(28)

8 8 7 17 10 80 8 7 6 9 77 6 9 7 11 1011 10 88 1111 110 0 8 8 112 12 100 12 1012 10 9 9 12 12 12 1112 11 10 10 12 12 1212 9 9 1010 8 8 77 7 7 88 77 9 9 1010 11 1011 10 11 11 88 11 1011 10 9 9 1212 1111 10 10 110 0 114 4 112 2 1100 12 1012 10 1 12 12 11 1 77 7 7 88 7 7 1010 9 9 110 0 77 11 11 8 8 9 9 110 0 1111 8 8 8 8 10 10 11 11 1010 99 7 7 9 9 77 9 9 9 9 7 7 99 55 77 8 8 5 5 77 88 6 6 88 66 6 6 55 8 8 6 6 44 3 3 77 55 4 7 5 4 5 4 7 5 4 5 7 7 44 7 7 5 5 44 12 11 10 12 11 10 1010 9 9 1010 1010 8 8 111 11 10 0 88 9 9 88 8 8 10 10 11 11 1010 110 8 0 8 99 7 7 7 7 110 0 88 77 10 10 77 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 Cmaj7Cmaj7

(29)

Chapter 5: From Major to Minor

This chapter merges ideas from the previous chapters with a new substitution for

This chapter merges ideas from the previous chapters with a new substitution for I. I like thisI. I like this particular combination because it lends itself to flowing lines. By following the natural logic particular combination because it lends itself to flowing lines. By following the natural logic of ideas that move from major to minor you develop smooth transitions and continuous of ideas that move from major to minor you develop smooth transitions and continuous motion.

motion.

1) In measure one, use Fmaj7 or F lydian over a D bass note. 1) In measure one, use Fmaj7 or F lydian over a D bass note. 2) In measure two, use F-7 or F dorian over a G bass note. 2) In measure two, use F-7 or F dorian over a G bass note.

3) In measures three and four, move the F-7 arpeggio down a half-step to E-7 over a C bass 3) In measures three and four, move the F-7 arpeggio down a half-step to E-7 over a C bass note. This creates a Cmaj7(9) sound. The chord scale can be E aeolian or E phrygian note. This creates a Cmaj7(9) sound. The chord scale can be E aeolian or E phrygian depending on what colors use want. These are the same chord scales as C lydian and depending on what colors use want. These are the same chord scales as C lydian and C ionian. C ionian. Fmaj7/D or F lydian/D = D-7(9) Fmaj7/D or F lydian/D = D-7(9) F-7/G or F dorian/G = G7(sus4, F-7/G or F dorian/G = G7(sus4, ff_9,_9, ss_9,_9,ss₁₃₎₁₃₎ E-7/C = Cmaj7(9) E-7/C = Cmaj7(9) || DD--77 || GG77 || CCmmaajj77 || CCmmaajj77 |||| || FFmmaajj7 7 oor r F F llyyddiiaann || FF--7 7 oor r F F ddoorriiaann || EE--77, , E E aaeeoolliiaann, , oor r E E pphhrryyggiiaann ||||

(30)

D-7(9) D-7(9) 1 1 11 4 4 33

5fr.

G7 G7 (( ₉₉ ))

4fr.

Cmaj7(9) Cmaj7(9) 4 3 2 1 4 3 2 1

3fr.

D-7( D-7(6699 )) 2 4 1 3 2 4 1 3

6fr.

G7 G7 (( ₉₉ )) 1 1 44

6fr.

Cmaj7(9) Cmaj7(9) 2 3 1 4 2 3 1 4

8fr.

D-7(9) D-7(9) 1 1 1 4 1 1 1 4

10fr.

G7 G7 (( sus4 sus499 )) 2 3 1 4 2 3 1 4

9fr.

G7 G7 (( sus4 sus499 )) 2 3 1 4 2 3 1 4

9fr.

Cmaj7(9) Cmaj7(9) 2 3 1 4 2 3 1 4

8fr.

D-7( D-7(1111₉₉)) 2 1 4 3 2 1 4 3

7fr.

G G77(( sus4 sus499 )) 2 2 114433

6fr.

G7 G7 (( sus4 sus499 )) 1 1 2 2 33 44

6fr.

Cmaj7( Cmaj7( 1111₉₉ )) 2 1 3 4 2 1 3 4

5fr.

D-7(9) D-7(9) 1 4 2 3 1 4 2 3

8fr.

G G77 (( sus4 sus499 13 13 4 3 2 1 4 3 2 1 13 13 3 3 1 1 13 13 1313 13 13 1313 13 13 )) 1 1441122

8fr.

Cmaj7(9) Cmaj7(9) 1 144112211

7fr.

(31)

14 14 1155 1414 13 13 1212 1313 14 14 15 15 114 4 1155 1313 13 13 1111 1313 13 13 15 15 1414 1212 12 15 12 15 1515 11 12 11 12 13 13 14 14 15 14 15 14 1212 1515 1 10 0 1111 13 13 1 13 3 1122 15 15 115 5 1133 1212 14 1214 12 14 14 15 15 12 1412 14 8 8 7 7 88 10 10 10 10 99 10 10 12 12 8 8 7 7 88 9 9 10 10 88 10 10 11 11 1010 99 77 8 8 77 1010 9 9 77 10 10 9 9 1010 1 12 12 10 0 88 10 10 10 10 99 88 10 10 11 11 88 1 11 8 1 8 4 4 66 3 3 77 5 5 77 5 5 4 4 7 7 55 44 8 8 1 10 0 9 9 112 12 100 1010 8 8 112 12 100 11 11 88 9 9 10 10 88 10 10 99 77 8 8 9 9 7 7 55 8 8 9 9 10 10 77 99 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D-7 D-7 G7G7 Cmaj7Cmaj7

(32)

7 7 88 77 5 5 55 8 8 7 7 66 55 6 6 55 8 8 8 8 4 4 33 3 3 7 7 55 4 4 55 55 13 12 15 13 12 15 14 1314 13 14 14 15 14 15 14 13 1513 15 1313 13 13 15 1315 13 1313 13 13 1212 12 12 15 13 12 15 13 12 12 12 14 12 14 12 14 15 14 12 14 15 14 12 15 15 7 7 88 77 1010 9 9 77 7 7 88 6 106 10 8 8 77 10 10 88 99 7 7 99 7 1 7 10 8 0 8 77 9 9 77 9 9 10 10 77 10 10 3 3 55 33 2 2 33 2 2 55 5 5 66 5 5 6 6 33 3 3 4 4 33 0 0 33 22 2 2 55 44 5 5 5 5 33 5 5 44 7 7 6 6 55 6 6 55 5 5 7 7 8 8 6 6 5 5 44 6 6 5 5 6 6 8 8 8 8 77 77 5 5 99 5 5 77 88 5 5 55 3 5 7 3 3 5 7 3 3 3 55 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 2 2 C Cmmaajj77 D D--77 GG77 CCmmaajj77

(33)

10 10 99 11 11 7 7 88 1010 10 10 99 88 10 10 88 12 11 12 11 8 8 10 10 10 10 99 7 7 9 9 77 7 7 10 10 88 9 9 10 10 14 13 14 15 14 13 14 15 12 1412 14 13 13 1212 113 3 115 5 1111 1313 1 13 3 1212 15 13 15 13 1414 15 15 12 15 12 15 15 1215 12 14 14 1515 1212 1212 14 14 1414 1212 6 6 55 7 7 6 6 55 7 7 55 8 8 66 55 8 8 6 6 55 8 8 6 6 44 33 55 5 5 7 7 4 4 77 3 3 5 5 77 6 5 8 7 6 5 6 5 8 7 6 5 5 5 7 7 6 5 8 7 66 5 8 7 6 55 55 8 8 77 9 9 55 5 5 8 8 77 55 99 88 88 1 12 12 11 1 110 0 9 9 88 10 10 88 10 10 99 8 8 1 11 11 10 0 9 9 111 1 88 10 10 99 8 8 1212 1 10 0 110 0 99 12 12 88 88 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 Cmaj7Cmaj7 D-7 D-7 G7G7 Cmaj7Cmaj7

(34)

13 14 13 14 15 14 12 14 15 15 14 12 14 15 1212 1313 13 13 15 13 15 13 1111 15 1315 13 14 14 1212 1212 14 12 14 12 15 12 15 12 14 12 14 12 12 12 14 12 14 12 15 10 15 10 4 4 55 3 3 22 6 6 5 5 33 5 5 33 6 5 3 2 5 3 6 5 3 2 5 3 6 6 55 2 2 55 4 4 22 5 5 22 3 3 3 3 2 5 4 32 5 4 3 2 2 5 5 33 6 6 5 5 33 5 5 4 4 22 6 6 5 5 33 7 7 6 6 33 3 3 4 4 33 5 4 2 35 4 2 3 7 7 6 6 44 55 4 7 6 54 7 6 5 13 12 13 13 12 13 10 12 1010 12 10 13 1213 12 11 11 99 1 12 12 10 0 88 10 10 11 11 88 1010 7 7 99 110 7 0 7 8 18 10 70 7 8 8 1010 77 8 8 33 11 11 12 12 10 10 99 112 2 1313 10 1210 12 1010 99 11 11 77 1010 10 10 10 10 88 11 11 1010 7 7 9 9 10 10 77 99 1010 8 8 77 D-7 D-7 G7G7 Cmaj7Cmaj7 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77 D D--77 GG77 CCmmaajj77

(35)

Chapter 6: Tune In

The final chapter is an etude using all the substitutions. The first five choruses use the The final chapter is an etude using all the substitutions. The first five choruses use the substitutions in the order listed below. The sixth and final chorus combines the substitutions. substitutions in the order listed below. The sixth and final chorus combines the substitutions. | D | D--77 | G| G77 | C| Cmmaajj77 | C| Cmmaajj7 |7 ||| becomes: becomes: | D | D--77 | F| F--77 | C| Cmmaajj77 | C| Cmmaajj77 |||| | D

| D--77 | A| Aff_--((m_maajj7₇₎₎ _{|| C}_Cm_maajj7₇ _{|| C}_Cm_maajj7_{7 ||||}

|| DD--77 || FF--7 7 & & AAff_--((m_maajj7₇₎₎ _{|| B}_B--7₇ _{|| B}_B--7₇ _||||

|| FFmmaajj77 || AAff_m_maajj7₇ _{|| G}_Gm_maajj7₇ _{|| G}_Gm_maajj7_{7 ||||}

|| FFmmaajj77 || FF--77 || EE--77 || EE--77 |||| The etude is based on

The etude is based on a well-known jazz tune that works a well-known jazz tune that works its way through three its way through three different keys:different keys: D, C, and B

(36)

7 7 6 6 7 7 1100 99 7 7 99 88 10 10 88 77 8 8 9 9 77 10 10 88 77 9 9 6 6 77 7 7 9 9 1010 112 2 9 9 110 0 99 112 2 1111 10 10 9 9 112 1 1 12 1 1 100 1010 99 10 10 1010 9 9 88 10 10 10 10 11 11 1010 99 7 7 1 10 0 9 9 1100 7 7 88 8 8 9 9 77 10 10 8 8 8 8 10 10 10 10 8 8 77 1010 99 88 8 8 1010 9 9 77 10 10 88 77 8 8 1 10 0 1111 10 10 8 8 1010 6 6 88 9 9 110 0 77 8 8 77 9 9 88 88 1 10 8 0 8 66 9 9 8 8 66 55 5 5 99 7 7 77 5 5 8 8 10 10 77 8 8 9 9 66 66 7 7 8 8 9 9 66 88 99 7 7 55 99 5 5 99 7 7 6 6 77 77 7 7 7 7 7 7 1010 10 10 7 7 88 1010 99 11 11 77 9 9 88 8 8 9 9 11 11 1010 99 7 7 1 10 9 0 9 77 1 10 7 0 7 8 18 10 70 7 E-7 E-7 AA7 7 DDmmaajj77 D-7 D-7 G7G7 Cmaj7Cmaj7 C-7 C-7 F7F7 BBffmaj7maj7 G-7G-7 E-7

E-7 F7F7 BBffmaj7maj7 E-7E-7 A7A7

E-7

E-7 A7A7 Dmaj7Dmaj7

Cmaj7 Cmaj7 G7 G7 D-7 D-7

(37)

6 6 1010 1010 7 7 88 88 6 6 10 10 99 10 10 7 7 9 9 1100 13 13 99 10 10 1313 115 5 1122 1 14 4 113 3 112 2 111 1 1100 1 14 4 112 2 1111 1010 10 10 10 10 13 12 13 12 1010 10 10 13 13 12 1312 13 10 1210 12 10 10 10 10 12 12 13 13 1212 1 10 9 0 9 88 77 77 9 9 9 9 10 10 88 10 10 77 8 8 77 66 10 10 10 10 9 6 7 99 6 7 9 11 11 77 7 6 7 97 6 7 9 10 10 1010 9 9 77 7 7 8 8 77 10 10 88 6 6 1010 8 8 1010 9 9 6 6 77 10 10 77 77 7 7 9 9 77 9 9 1010 10 10 1 10 0 111 1 1100 1 14 4 113 3 111 1 1100 12 12 1111 1111 1 10 0 111 11 13 3 99 10 10 10 10 9 9 1010 12 12 8 8 99 1010 12 12 12 12 1010 8 8 1212 10 10 12 12 9 9 1212 110 0 1122 112 12 11 1 99 8 8 1010 8 8 9 9 1100 111 1 110 0 88 77 C-7 C-7 F7 F7 BBff G-7G-7 E-7

E-7 F7F7 BBffmaj7maj7 E-7E-7 A7A7

E-7

E-7 A7A7 Dmaj7Dmaj7

D-7

D-7 G7G7 Cmaj7Cmaj7

C-7

C-7 F7F7 BBffmaj7maj7 G-7G-7

E-7

(38)

9 9 1010 99 7 7 7 7 8 8 77 99 10 10 77 8 8 7 17 10 8 0 8 77 10 10 1111 7 7 1111 9 9 99 9 9 10 10 9 9 9 9 1010 1 12 12 10 0 88 10 10 10 10 99 8 8 1010 111 9 1 9 88 88 10 10 11 11 10 10 99 7 7 9 9 7 7 10 10 77 1010 1 11 1 1100 11 11 88 8 8 77 8 8 10 10 9 9 8 8 99 88 8 8 66 8 8 99 1010 8 8 9 9 1010 12 12 9 9 110 0 9 9 8 8 77 8 8 10 10 77 8 8 110 0 77 10 10 88 9 9 8 8 66 7 7 88 77 5 5 5 5 8 8 66 7 7 8 18 100 7 1 7 10 0 9 9 88 7 7 7 7 55 88 7 7 55 66 77 8 8 55 7 6 5 97 6 5 9 9 9 77 6 6 7 7 55 77 66 7 7 5 5 66 5 5 8 18 12 2 110 0 5 5 77 88 9 6 8 9 69 6 8 9 6 5 5 77 5 5 88 7 7 55 8 8 8 8 7 7 88 55 E-7 E-7 AA7 7 DDmmaajj77 D-7 D-7 GG7 7 CCmmaajj77 C-7 C-7 F7F7 BBffmaj7maj7 G-7G-7 E-7

E-7 F7F7 BBffmaj7maj7

Dmaj7 Dmaj7 Cmaj7 Cmaj7 E-7 E-7 A7A7 A7 A7 E-7 E-7 D-7 D-7 G7G7

(39)

11 11 1010 10 10 99 1 12 8 2 8 77 10 10 9 9 1010 8 8 7 7 6 16 10 50 5 8 8 5 5 88 7 7 7 7 55 88 7 7 55 9 9 6 6 7 7 99 7 7 7 7 66 9 9 110 0 8 8 77 9 9 8 8 44 6 6 22 11 8 8 9 9 111 11 100 7 17 10 9 0 9 77 8 8 66 6 6 8 8 110 9 0 9 88 7 7 77 77 5 5 99 9 9 10 10 77 9 9 8 8 77 1 10 9 0 9 77 7 1 0 9 7 1 0 9 8 8 99 9 9 77 11 11 99 8 8 1010 1111 1010 1 10 0 114 1 24 1 2 12 12 9 9 110 0 111 1 9 9 88 9 9 8 8 77 1 10 8 0 8 77 1 10 8 0 8 77 6 6 7 7 88 55 99 88 7 7 66 110 6 0 6 88 5 8 5 8 7 7 6 86 8 10 10 66 7 7 8 8 7 17 10 80 8 8 8 10 10 66 77 C C--77 FF77 BBffmaj7maj7 G-7G-7 E-7

E-7 E-7E-7

E-7 E-7 D-7 D-7 C-7 C-7 G-7G-7 (E-7 A7) (E-7 A7) F-7 F-7 E-7 E-7 F7 F7 A7 A7 G7 G7 F7 F7 A7 A7 B Bffmaj7maj7 Dmaj7 Dmaj7 Cmaj7 Cmaj7 B Bffmaj7maj7 B Bffmaj7maj7

(40)

About the Author

Guitarist Sheryl Bailey is rated among the Guitarist Sheryl Bailey is rated among the foremost bopbased guitarists to have emerged foremost bopbased guitarists to have emerged in the 1990’s. Her attack can be direct and in the 1990’s. Her attack can be direct and hard swinging, but she also exudes subtlety, hard swinging, but she also exudes subtlety, elegance of phrase and a pure, warm, liquid elegance of phrase and a pure, warm, liquid sound. Bill Milkowski has written about her: sound. Bill Milkowski has written about her: “a modernist burner with an abundance of Pat “a modernist burner with an abundance of Pat Martino-style chops, Bailey prefers angular Martino-style chops, Bailey prefers angular lines, odd harmonies and the occasional touch lines, odd harmonies and the occasional touch of dissonance as she sails up and down the of dissonance as she sails up and down the fretboard with fluid abandon.”—JazzTimes fretboard with fluid abandon.”—JazzTimes Magazine, Februrary 2005

Magazine, Februrary 2005

Her musical activities aren’t confined to Her musical activities aren’t confined to groups working strictly in the orthodox, bop groups working strictly in the orthodox, bop based jazz tradition, as she has toured and based jazz tradition, as she has toured and recorded with bassist, Richard Bona and is a recorded with bassist, Richard Bona and is a member of David Krakauer’s Klezmer member of David Krakauer’s Klezmer Madness. Other artists are tenor saxophonist, Madness. Other artists are tenor saxophonist, Gary Thomas, Urban Folk and Jazz artist, KJ Gary Thomas, Urban Folk and Jazz artist, KJ Denhert, and pop diva, Irene Cara. While her Denhert, and pop diva, Irene Cara. While her mid 1990’s CD

mid 1990’s CD Little Misunderstood Little Misunderstood sees her sees her

playing with total familiarity and command of the fusion idiom, her latest releases,

playing with total familiarity and command of the fusion idiom, her latest releases, Reunion Reunion of Souls, The Power of Three

of Souls, The Power of Three, and, and Bull’s Eye Bull’s Eye represent her love of contemporary straight-represent her love of contemporary straight-ahead jazz.

ahead jazz.

In 1995 Sheryl was awarded third place in the Thelonious Monk International Jazz Guitar In 1995 Sheryl was awarded third place in the Thelonious Monk International Jazz Guitar Competition, and has toured South America on behalf of the US State Department as a Jazz Competition, and has toured South America on behalf of the US State Department as a Jazz Ambassador, honoring the music of Duke Ellington. She currently leads her own trio, The Ambassador, honoring the music of Duke Ellington. She currently leads her own trio, The Sheryl Bailey Three (Gary Versace on Hammond B3 and Ian Froman on drums). Her 2002 Sheryl Bailey Three (Gary Versace on Hammond B3 and Ian Froman on drums). Her 2002 release,

release, The Power of ThreeThe Power of Three was critically acclaimed and charted in the top 20 of the Jazzwas critically acclaimed and charted in the top 20 of the Jazz Week radio charts. The trio conjures the essence of the Grant Green / Larry Young / Elvin Week radio charts. The trio conjures the essence of the Grant Green / Larry Young / Elvin Jones band of the late 60’s.

Jones band of the late 60’s.

She is also in demand as an educator. Sheryl has been an Assistant Professor of Guitar at the She is also in demand as an educator. Sheryl has been an Assistant Professor of Guitar at the esteemed Berklee College of Music since 2000, and has been a popular clinician at the esteemed Berklee College of Music since 2000, and has been a popular clinician at the National Guitar Summer workshop, T

National Guitar Summer workshop, The Stanford Jazz Whe Stanford Jazz Workshop, The Duquesne Jazz Gorkshop, The Duquesne Jazz Guitar uitar Seminar, Uarts in Philadelphia, and at Southern Cross University in Lismore, Australia.

Seminar, Uarts in Philadelphia, and at Southern Cross University in Lismore, Australia. Sheryl’s latest release is titled,

Sheryl’s latest release is titled, Bull’ Bull’s s EyeEye. The CD features nine new compositions and. The CD features nine new compositions and tightly woven improvisations from

tightly woven improvisations from the trio. A track the trio. A track from the from the disc, “Old and Ydisc, “Old and Young Blues” oung Blues” waswas featured in the

featured in the Master A Master Anthology of Jnthology of Jazz Solos, vol. Iazz Solos, vol. IV V (20387BCD) by Mel Bay Publications(20387BCD) by Mel Bay Publications Inc. She keeps a hectic itinerary touring, teaching, and recording.

(41)

moveable-shapes-concepts.pdf

JAZZ CURRICULUM

JAZZ CURRICULUM

BY SHERYL BAILEY

BY SHERYL BAILEY

MOVEABLE SHAPES

MOVEABLE SHAPES

CONCEPTS FOR REHARMONIZING ii-V-I’s

M

M

el

el

B

B

ay

ay

G

G

uitar

uitar

U

U

niversity Series

niversity Series

JAZZ CURRICULUM

JAZZ CURRICULUM

BY SHERYL BAILEY

BY SHERYL BAILEY

MOVEABLE SHAPES

MOVEABLE SHAPES

CONCEPTS FOR REHARMONIZING ii-V-I’s

CONCEPTS FOR REHARMONIZING ii-V-I’s

Contents

Contents

Acknowledgements

Acknowledgements

Preface

Preface

Introduction:

Introduction:

How the book is organized:

How the book is organized:

Comments on chord voicings:

Comments on chord voicings:

Comments on notation:

Comments on notation:

Editors Notes:

Editors Notes:

Chapter 1: Move it or Lose it

Chapter 1: Move it or Lose it

3fr.

3fr.

1fr.

1fr.

1fr.

1fr.

5fr.

5fr.

6fr.

6fr.

8fr.

8fr.

3fr.

3fr.

1fr.

1fr.

1fr.

1fr.

10fr.

10fr.

9fr.

9fr.

8fr.

8fr.

5fr.

5fr.

5fr.

5fr.

5fr.

5fr.