Creative Jazz Exercises Vol 2

INTRODUCTION

In order to maintain strong reading and improvisatory skills a musician must constantly challenge himself. By playing exercises that combine technique and theory this goal can be met in a musically satisfying and timecfficient way.

This book, the second in a series, presents some of the scale and chord superimposition concepts used in jazz and jazz-rock music. They are arranged in the form oÍ examples, exercises, charts, and improvised solos organized within simplified standard jazz progressions.

The scales used in the first section of the book are presented in tonic and color scale categories. Tempo and phrasing are left to the discretion of the performer. Most of the exercises can be played as technical studies or as examples of scale and/or chord superimposition.

The above concepts can be applied to other scales and chords that are not included in this volume. In most of the exercises I avoided sequences, patterns, and other repetitive designs in order to make them more interesting to play.

The third volume in this series will include chromatic exercises, style analysis, and duets.

SCALES

AND THEIR RELATIVE

CHORD

TYPES

Generally speaking, the scales listed on the Íoffowing charns Íall into throo caÍBgpÍbs when used with difÍerent _{chord b/p€s (this includes chords that} have a diffqent root than the sca/e used):

Tonlc sound CD - This scale'sounds' like a given chord because it contains some chord and possibly some color tones (see Color Sound). Below are listed some scales that sound like "C" Major.

Color sound (C) - This scale contains enough 'color" tones to give it a "bright" or slightly disso nant quality. 'Color tones' are extensbns oÍ a chord, altered notes, or any tones that "stand out.'They can give a scale a particular "iaznf flavor. A color sound can sometimes be considered a tonic sound.

Passlng sound (P) - This is a scale that is especially dissonant sounding against a given chord.

@ Copyright l$6 by Che Golln, 3tS walt 53íd St., New Yort, N.Y. l(xrtg Intrriltion l Copyright Secr.rrrd Made in U.S.A. All Rightt Rcrvrd

Ohe darkened notes are chord or 'colof tones.)

SUGGESTED

APPROACHES

FOR

USING

SCALES

Scale

(Revised)

Approach

Contains strong diatonic sounds (C Maior, D minor 7, E minor 7, F Lydian, etc.). Use in sequences and patterns (chords, thirds, fourths, etc.).

Phrase in a fuocal" style (vibrato, bends, etc.). Create ritfs. Use space between ideas. Think rhythmically. Repeat notes, phrases, etc.

Use patterns. Don't go outside of the scale unless for 'effect." Repeat notes and phrases. Use with modal, funk, rock, latin, and many other styles. "Mid-Eastern' quality. Short "ornamented" ideas (use trills and grace notes). Works well as a V7 sound in F minor. lmplies iimT-V7 sound in F, Ab, Db.

Can be structured in a multitude of sequences and patterns. Contains many C7, Eb7, F#7, and A7 color tones. Very recognizable when used. Bright, open sound. Sounds good in patterns with or without chromatics. Works well with V7 chords of minor keys.

Sounds very Japanese. Sounds good over modal vamps. Play rhythmically and economically. lmplies "ii-V7'in Ab.

Sounds like C major. By restricting your ideas to these tones you create motion and an "open'sound. Works well as a color scale. lmplies "ii-V7' in C. This scale is made from two triads - "C' and "B'" It compliments a C Major 7 sound. Create patterns based on the triads. lt implies iimT-V7 in E minor. Blues

minor Pentatonlc

Wholetone

4F

Japanese Okinawa Harmonic minor MixolYdian

Diminished Japanese Insempo

i

il

I

Composite

Chart I

(Revised)

Blues minor Pentatonlc

ê 1 @ t '*'7 t - 1 @

Drtr o

t D7 G) b ? €) t êlH,;7 @

a

t t l 0

e

f 1

, ' i

F - 7 @ , , , t r - 7 @

+

Aittq;1 C) r ? D - 1 K @

SCALES

AND THEIR

RELATIVE

CHORD

TYPES

Mafor C t l a i l @ t

? f t

D - l 0 ? ï ( E 7 o ? í - 7 4

e - 7

Frtui1 0 * b7 G) 4 4 7 0

+

A-7 0

+ í ,

8 7 C O

,ír

.g-7 C)

' ffi notc ft cfioÍd or'colof toÍË g - Onic sound

(C) - color sound

it. g.-t totc ar€ r,oÍfed enharmonknlly.

, i7

'"/3

'rof 4t;'z

7 ?f€rr&

t frtt

-3

zi'ê

+ryq't7

4{ift

L-

₆₀

4r{ír- " f

Fto o

+#tít

Jf ?do íg

* f /

D-'l @

Harmonic minor Mixolydian , r á r// Dimlnished

t,l (toil @

Wholetone t ltJ 7 , _///

Dr-+ f r

íb- cq

+ 7,r

21 ?t)e)

, - 7 Í - @

/ 7 t

í#70r) @

* í a

6 - e

+ t r

lrl t7 Qr) 6

1 í r

n - o

, 7 r

784 o

,7 7

í 7 @

,

F

-Ab tL;,t ,

_*I

ê - 7 G )

*

ís

-

tf

r7

@ o

t

Insempo t ít (o,d C _7) @O

, ,-rq

Dbt'lr;1 ? ,,R

D - 7 0

Oklnawa l/la;1 O Composlte / tlc;'l @

7

+

Db- oo

+

D 7 @

'- + *rv

Lt| @

, * f t

í/ío;r O

+ rís

btl,il @

-/

47 Ao

+ rír

A - 7 6 A

3l- @

t

l

Lb1 O t3

e,

+

tr7

I

f,

{

t'fr,

F-' O

, &,7 Gl

t

G - @

+

{ :d l{ { @

+

?

BI

t t / 6

+ 3

Drl o@

? 7 a

F fl,jl O

B l - 7

SCALE

CHART

II

(Revised)

In order of appearance in the tonic and color scale exercises.

minor Pentatonic

Root

_{Harmonic minor}

Mixolydian Diminished

Wholetone

Composite

TONIC

AND COLOR

SCALES

The Íollowing

exercises

use tonic and color

scales

Írom the charts

on pages

4 through

9' A

tonic scale'sounds

like the chord

or tonality

it represents.

Color

scales

are scales

or modes

that contain

color

tones

such as 9ths,

11ths,

13ths,

etc. When

b9 or b13 tones

are present

the

scale

creates

a'passing"

or unresolved

quality.

These

concepts

are Íairly

general.

The

individual

taste

oÍ the perÍormer

should

determine

choice'

By treating

a scale'as

a 'sound'

or 'colof a perÍormer

can use any oÍ the musical

devices

that can be applied.

For example:

Diatonic

sequence

or Scale sequence and Root pattern (4th)

or Pedal Point

Dl-r70í)

Please

note:

_;

Throughout

this book

chord

tones

are otten

treated

enharmonically

within

the context

oÍ

the melodic

line.

t-tvl A-i l

D-7 (í*,.0.t

(Atlt,i zl

TONIC

AND COLOR

SCALES

(Continued)

Scales like the minor pentatonic and Okinawa have fewer notes and allow the performer to play 'horizontally/ _{over more changes:}

For example: C I'ta; v (A-pt A - l - D -n G r l Major Blues minor Pentatonic

Harmonic minor Mixolydian Diminished Wholetone Insempo Okinawa Composite C H o ' ' ' 7 A - 1 - b ' ? G n (í,-,c.)

SCALË ABBREVIATIONS

USED IN EXERCISES

M Bls. m.p. H . m . m . dim. W.T. lns.

ok.

Comp.

TONIC

SCALEEXERCISE

I

tL"t

b

Gru'r'

t , ' l

Vt (c-gD L G (Grr.; )

B - 7

fl-t

& 7

ILll-- |

D7

(DBtr)

t7,,,,,

_^

t1ou,

t

-,^fr.,,

a

BíJ*,

Í 7ol/r-\

7

b

6

Ê

-t-(A o'o'l G o t'I,i)

D1 ,ou-.^,

2 t

' M a j = M

?1ran.r,

G(Dr,r,

^!itrr

G

_{r, fl,i)}

/'l

k y,í,)

A a7r,;)

_27a*,

o (0r.,,

f: Ga1;

ê(r^',

&'**,

t,

fGó&t

W*,

_C^Crns)

G

f -- ( e -,P,\

TONIC

SCALE

D - l L r l

EXERCISE

II

C.

íl-

D-t

L (c n.;)

A-ê-l

c rl

(tsn.t.l _{(t U..-l}

í@^r,

Í -_fttn4\

í - Tnr*,

A t

D*7,^,

L 7

t

(c nq)

4 -

b-'7

G,7

L,,rr^

trl

frrr,,,

r-7

15 bll.:)

D - 7

(lt ll,-,-,)

G 7

L

(c tt+ )

t - 7

4'.7-UJ;)

/ (nnr')

4-

D- 7

b'l

_{tt 0t.)}

_(á-,r)

c

A - 7

_{(e an}

D - 7

LI

G - t

Bttlq ) í-(tti,;)

Dà7,n,

G/o -,rt

I r, ft.\

D - 7

,

(&1,*\

1 4

t (on.,\ n -

P- 7/o/,*',

ltt 0 2 0-J

á z

F

_{( ( /r,i)}

F-.

_ltLi)

2 ,7r*^, / 7

c

- t

A;,,

fJu*..,

_nttt. - , a n (f ,n*1 rt -

b - 7 r t e , . \ é 7

G{r,

c 7

D - 7

'o'o:'|,

ID,.P)

u

G I

0ltt') _t

B-7 .

_{( 2 4,-'^)}

L(trr, n'

D-z

Êt

f t í H í )

t

r, rt<;,

/7o--*l

D - z

+

kt tl,f)

Ê 7

í^,,

í n , ,

t

TONIC

AND COLOR

SCALE EXERCISES

The Íollowing

exercises

are ordered

in an additive

way. Each pair inlroduces

the n6\ír,

scale

then adds the previous

scale(s).

For example,

the'minor Pentatonic

scale'exerêise

is Íolloryed

by the'Major,

Blues,

and

minor

Pentatonic

scales

combined"

exercise.

The chords

in the progression

are treated

vertically,

that is, there is usually

at least

one

scale per chord.

Dominant

seven

chords

are oÍten given scales

that contain

morê

color tones.

The progressions

used in these

exercises

are simpliÍied

versions

oÍ the blues,

"rhythm

changes,'and

modal

_CSo

What')

changes.

The performer

should

be able to "heaf these

changes

in his mind or with recorded,

or preferably,

live accompaniment.

lt would

be good to

use these

exercises

as a starting

point

_{Íor l,our own improvisations.}

{

i

2 il "{ { ;I ,{ I { I I -t {

d

:ï { \ . 1 6

Maior Scale

(wnl

t_'l

Lt tt.\

b.

t,7 (iln)

G7 Ln\

G7 util)

Lrl

Fn)

c'l(Èril

(ttnt

C ( o n )

Maior Scale

Gtn)

,lyll.

&

(|qt (rJft.)

Blues Scafe

D7

É , - 7

,r8

G

E '' l

Gn)

7

?,

A - 7

(8Jt

D 1

c,

GA

ê 7

LDÍJ

Qto,

c-

B,1L,r,

t' 7

í;'1,

D?ut

^

G,u,

t - 7

_í,1,,

4

_(eu.t

t - 7

A - 7

D7

, (tt)

C

7

b.

Ê

b_

Lron,.,

8 - 7 í 7 A -t

(Bn) (nth)

D7

hro,,,

t 7

( blh,)

t?07*,,

Arl

^, (êth,)

DTrott.)

(,0*,,

4;I'

D\o o,,

G

l --Qlu)

Major

and Blues Scales

{- 1 j . l : J - * r Ê I ! I . . í l iJ -* t - 4 ":{ ;:{ il E i {

ít7

_{(c t&)}

_{D - 7}

a h l

í!, "ot

Blrn

_r,,t

í4t,,

B/u

_r,,

í - 7

_{( r il )}

Í,t-7

atei)

G r

Lê 11\

í"n'

ot*u,

ttl'n,

o/,n,

_éez

B/7

Í.1

-T

t zH)

b - 7

ftn)

L 7

minor Pentatonic

Scale

z l - T r , - r )

(F*^r)

and minor Pentatonic

Scales

,;.yu,. íL,n

nlr

@n)

t r l

í - 7

(Aln)

0tl

6l;..,

Lb

tl'l

G - t

_(ttal

íb

Otl') frl

/ 7

CF -à

í"1

(ft +)

F - 7

Btt

/'Alq) Utnt

8 t t

(B n)

n t 7

(f *s

Bl,-

AI

Uí/u)

/h*t

lràl

[c *l

Br,/

í t

rl-rJ

í,1,,

LL(",o) tT

íu7,,

N,I

Í!n*,

U /t)

( 7

í - ?

Bt7

í&T^,

F-7

_(tetu)

Bt-

Bt7

Harmonic

minor

D7.

(D //*..)

Mixolydian

Scale

A [ftnn.'') A (filt/,.r|

_{í-- fisb^) A7}

DT(ail,..,1

_{tí- 7}

(ÍH-n,)

ífl

_{O !*'n,)}

DTrg

il^.n

)

(Ét/,.,1

ldro.^^rÍ7

(/-T

[ il(>q,)

{;l-,

í Vru^-t

h--?L , / *, il^-.)

D-7(Btr/^*,

ÍírL-,

,47

_{(.F ís* )}

t 7

LC l/^-l /

_LtI//'-\

Major, Blues, minor Pentatonic,

_{fnd Harmonic}

_{minor Mixolydian}

Scales

^oJot

Crílr"^,

_(q+

o

_{ftla )}

Lí,A\ 24

Diminished

_{scales (with Major scales)}

,hylln

L

€rr1

Lt7

( í cl';1

/í-To,,,,,

87

2

(2n.;) CÍ, D,à ( D),-) ^

t{t

íl-7

B7

B - 1rrJ,*',

í.7

_{Ê uar> A#o}

{aLr,^ ({7

' 'UJ*)

í/-v

-

R,l

L

t{7

/r-7

87

tl7

(gl';)

L

_{(t /a)}

/t7

_(olr-l

B?

B -7rr^ t' 7

_{lr, ^r',}

_(4tJ;,

f t o .

_{ff;J, Bt}

N- 7

_,"rr,rt

(r-fl,r,,,

L

f t u * - ]

c#7

t t-7

G*l'*t

Ff7

B7

ír-7

U)r-^.> .l ,

ti7

(.trl) (B/';l

Fr-7

B 7

t

( 2 tl.i

f,#,,,

8-' (rJ,:\ z' 7

A

rrr^Aro

r(ilr,r, 8t

Major,

Blues,

minor Pentatonic,

Harmonic

minor Mixolydian,

Llocs L

,nr,

fl

and Diminished

Scales

í4tn\

C

,nn,

^ A 7 r r ,

G'r, oo.,

D - 7 ,

D ; 7

* , 6 7

ID olt,l

L (Bar;

r - 7

b - Á ^ r ' l

L (rn,

_Qó1.-^,

t 7

(B H-,r.)

L ' * r n ,

í7

_{( Í , ' F )} 26

Wholetone

Scale (with minor Pentatonic

scales

and chromatic

scale)

Major,

Blues,

rtinor Pentatonic,

Harmonic

minor Mixolydian,

Diminished

and Wholetone

Scales

F (Aah,) b z

í^r,

FTtrrn, B l, ^,

B!;/"

,4 -7

D r

b - 7

trn) (Íttl

L 7

F(A^r,

D7^ur,,

6 - 7

(Drn)

( t

rt- ut Íl

G -716t-t\ t 7(F,D

_{írn-,\ D7g>}

F

í7

_(ra;

gt

(tbn)

gr-7

íAónl

ê - t D 7

(A-'r')

l - 7

-7 . trl F.

::D

íc //,^-)

E - 7 ,

G - 7

F(r-n)

D I

F

ft^A'\

D 7

G - z t 7

(B à-'c)

& 7/^.r.t t

17

íítrrl

Fr/,rt

_{fl-,, B/;I,rt}

tr -7

('o

_uí)

(G-*l

6u

ll,rrt

&

Gro,)

. . ' . . / r 7 t 2 /

0-L,,,,

'G,í/í^,,

_{D - 7}

Efr,l)

6 7

( - 7

A-z

Lr7 (nht, _{ft ro'\}

D - 7

b 7

I - t

(E tat)

&

( 8 Í w )

Major,

Blues,

minor

Diminished,

r \qlla

Bl

&'l

-

J _{lrD -t)}

Pentatonic,

Harmonic

minor Mixolydian,

Wholetone

and Insempo

Scales

t - 7 í ' /

8t

Ê ZrrU, [ -7

í 70il,-.r)

B'

B'7

&U'.)

r l

- (Etfi)

t/u;X'

D Jttrvlbí

F7

c -'7

Í7

( ê - ' P )

Bt

(D-'t)

fnlur>

/'/ p ?)

t - ?

lx,

B'iír,

Ít

t ,-rx,r,

B'* or,,

btx)

l' l'7

Frl

D7

_(nn,.\

D - 7

G -'7

/ Xp.e I

t--7

Ul0b.)

olt*,

ê v

t - t

f - t

30

Okinawa

Scale

r\tln C

br*l

E- 'l

d - 7 \

(c 0/,)

D l

^ Ê { b o ^ - Z - 7

G

_{n ort 67, *,}

f

_uo,

_{t -nTo^ fr;,T t loo,t}

4nl,

2J*,

A - ' 7 D t

t (aoi t

-7

z,Fïon

&Gotl

Gtot)

ffirt

470^

G(tort

G,/,rb

_br,)

-í#-7

B'(nor,,

B - 7(oov.s

t'n*,

h

t - 7

_(t'ot)

47

urotl

flilo,tt

D7(rtr,t,)

6r, on, t - 7

AíJ*t

27

Ct_(Êok)

É - v(r,

Adot,

Dtrrtt

6 7

Major,

Blues,

minor Pentatonic,

Harmonic

minor Mixolydian,

Diminished,

Wholetone,

Insempo

and Okinawa

Scales

^.. llur L- 7

A lGp f) (B -.r)

(FraD

(F///-.-)

Aí"7,

I q -ï

87,0,

z - v

(8 /l-n,)

Composite

Llret

D

Scale (two

G r l

major triads one

half step apart)

A - t

D 7

D

G - 7

F4-7

L- ,7

t -

.4 r7

A - r

G - 7

í / - T

Í - t

,4v

p - 7

ó - 7

Í/-7

2 - 7

Major,

Bfues,

minor Pentatonic,

Harmonic

minor Mixolydian,

Diminished,

Wholetone,

InseffiPo,

Okinawa

and Composite Scales

(í^c)

(Dt

n)

Gtorl

t' -1 u*,

E I -á

rt.t

PLAYING

ON iimT-VT

PROGRESSIONS

WTH TONIC

AND COLOR

SCALES

Use the scale charts for reference.

Pick a scale for the iimT chord that's a tonic-type. For example:

D-7rn,

/

-The dominant seven chord can be superimpOsed by chords that contain many colors. The kêy note to avoid, unless in a 'passing" situation is the Maior 7th chord related to the root. (G7 avoid 'F#').

For example:

) (2 conp)

The "iim7-VT progression can be treated entirely as a V7 chord sound. For example:

When playing on an extende d at7 sound a V7 (relative) can be added and used as reÍerence point for color scales

For example:

k t't.l

PLAYING

ON iimT-VT

PROGRESSIONS

WITH TONIC

AND COLOR

SCALES

(continued)

For interest, scales can be put together into scale, chord, third, and fourth patterns. For example:

T)-'l u,, , (r7 k tt,t D-'l lítn) êl Lebn)

D-l (tLr,,l

Some scales have a iimT-V7 sound within them. For example:

D-'t (E Ías.) (tq

When iimT-VT progressions appear in a series it is effective to transpose scales in sequence. For example:

I F [0"r,)

D-7 /o ,ts.)

D -7 /An,r)

SUGGESTED

APPROACHES

FOR USING

SUPERIMPOSED

CHORDS

By superimposing

triads,

seventh,

and ninth

chords

(eleventh

and thirteenth

chords

are not

direclly

included

in this book)

over a chord

sound

you can introduce

new color and passing

tones in an interesting

way.

For example:

(-tfr)

Chords can be structured in arpeggios, nbroken" patterns or in sequences by root. For example: Arpeggios

(D0tti ? )í. )

(L- {tl G)

or in sequences

bY root.

(sDrrt

(Í7,*r' >

or 'Broken"

patterns

(Eb

_h,;7)e)

G 7 b - r ? \ ( 2

/'At-{rYF-')

CHORD

SUBSTITUTION

CHARTS

AND EXERCISES

(ToniG,

Color and Passing

chords)

The Íollowing

charts

list many oÍ the chords

that can be superimposed

over a malor,

minor,

and dominant

óound.

The minor

and dominant

sounds

carry

the same superimposed

chord

possibilities.

'

Let your ear guide

you when'choosing

a chord.

Like the scale exercises

in this book,

the

progre-ssions

here have been simplified.

Altered

chords

can be defined

by altering

or changing

superimposed

chords.

For example: D7b9 is changed to D7 CMajorT(#1 1) is changed to CMai7.

The exercises

are meant

to demonstrate

the'sound' oÍ one chord

with another.

By playing

with accompaniment

or "listening"

to the progression

in your mind you can hear the

possibilities

presented.

'

An excellent

way to acquaint

yourselÍ

with chords

is to practice

every

possibility

by root,

throughout

the range

oÍ your instrument.

For example: G root

Another way to practice is to follow the same chord type around a cycle. For example: MajT#S

L

Maj. d i m . 5 d i m .

TRIAD

SUBSTITUTION

CHART

C Maior

m i n . a u g . 5

D Minor and G7

TRIAD SUPERIMPOSITION

EXERCISE

BASED

ON -A'TRAIN

CHANGES

@t)

tfi

A*)

(8o) (ot)

z Á u

[fit br)

H7 ,,,,

z - 7

hl,)

p4t

tO /tt)

\

TRIAD EXERCISE

BASED

ON 'A' TRAIN CHANGES

(continued)

rc-)

tf l-),

,lt-'

l-t - t t - J ' t

-Z ''7

(Q't l ' t t l - t €t

& G n

_{(t -)}

_{D \}

_[tt

'(n\

wl

Ê\

(ai

(cà

: \ _{V t}

G)

t - 3 d

9't

ut)

(D)

L - 7

2 Ft't

(e

-)

_rn)

_rD)

TRIAD

SUPERIMPOSITION

EXERCISE

BASED

ON "CHEROKEE"

6sh)

G

o)

H-r

fut*)

bt ) (D)^ (ylt) D " , )

G t,)

, bt) f ? t f o o ) (trs

rpt't 4,7-,

h*'t

( t - \

n - 7

_{( E - - )}

D 1(rr-s

TRIAD EXERCISE

BASED

ON'CHEROKEE"

(continued)

B) nb-'l

6t

ht)

F#;f,

Blt,

_r0

_írt)

(k) / _ (t t)

/( ) ral')

A17{

_{b ) D 7 f t )}

_htl

_rc)

(t't

SEVENTHCHORD

SUBSTITUTION

CHART

C Major

minor

(c ) .,. * ('-) *b:',

SEVENTH

CHORD

SUBSTITUTION

CHART

(continued)

D minor

and G dominant

seven

Major minor Dominant diminished

f - c ) ( f

(?) , o Q'f >o &) (e.c."t n G )

(r-ct ,, 0) t (f'

( P>" (r) (r-rt G ) l i , * 0 , - h o , D

@.{(?Ifla['],

Q) -k @o?.h

SEVENTH

CHORD

SUPERIMPOSITION

EXERCISE

BASED

ON

"SATIN DOLL"

2 - 7

Ërírtl

6 r l

&n-o

D-7

(ê-'ts

( : l

6t-n

L - 7

(Ni1\

AI

2 - l

/t-C7)

n ' , l

4;J,,,,

6J

D - ?

lr - fr)

GV

(ó tt.,nrÍ)

Í - t

Ê r

ur- n)

z - ?

(Ê - t4)

A'I

Ê _ , 7

11t/; lt;)

( '7

_,r,rn",

A-rl

D,l

ê

(a> tt7rc.*it) 7;11a) $)

G-tt)

6rt

Í - 7

(&,2)

D - 7

GhDa),

t -7 tv.

SEVENTH

CHORD

EXERCISE

BASED

ON "SATIN

DOLL"

(continued)

. D 7

(Bt't,,'7 ₎

bbTat-r,)

L (G4,iJ $)

,4'/

[y'íH,; l)

D - 7

_(íH,;t)

t"l

(>- *t) (E,st)

D - 7

Í

7o7,,,t !o('7

,rrí';,'

(t-z)

k_r,r\

L 7

F

_(tl-tl

G - 7

Al-tl

C - 7 L , t

bottql) (btq-;t) U r - t )

n - 1 D 7

LB-il (at>

4 . Y D 7

Gttii

G

íFt"J

z - ' 7

_ffn,rut

(í-z) (Ctl,p tr>

D - z

(D-t\

áJ,,

D - 7 .

( > - t I

,*'7",

Í;,7 #7.,

D7

_(saf)

bl'

) t 7

_{(gtn,,;) Gatt) Uq\} t

SEVENTHCHORD

SUPERIMPOSITION

EXERCISE

BASED

ON

A MINOR

BLUES

U'tl

/7J,,,

T 7 . ; . - à )

( í t . r ) Z 7 G,ilotD

t!_

br

k nn;tS A'7J61rr;- (t ttsr) _Q[tn;'rl

4;J,,

Ai','?rt) 6glt) @4 (Gn,;rl 7 A - 7 h-r,t 0ní.í @tr1,,u7 (Cnir> g,tr1ír) (t n';rttS c o'r) t t tD-r)

/;,7

O4.ttr) ffnqt)

A -7 rsts

(fl'tt1

- 1 Dominant

.NINTH

_CHORD

SUBSTITUTION

CHART

C Major

mrnor (p.)n h) ^. (rl (r> t^i (r'cl, (r-r> ., r) G,r), fr) Qc2 ( r - ( ) ?

re

_?:it'Í)tt

#r)

':ït

NINTH

CHORD

SUBSTITUTION

CHART

(continued)

Major

D minor

and G dominant

seven

minor Dominant (P)

G ) f t

P) (p-c) Q,O (-r+) ?< t., (r;, (4-, t (r-,) U-c)

( : l

( " ) (r'r t

(ry{re

e1 (e.'c)

q)

?:)'?*fl'fií2

(ra

co !/r)

í) Q-c)_{f a &} (*cs b / (c) h* tc)

fo)

<) (r) ( r'c)

v

fko,l

( r t #-a

?2

(P.c ) (P) _{.Q )} (P ) 4) G ) (r-,

(p-,>-

G) (

e ) o (rL í'''rt n

( rl .(r+ )n G\

@ hlo

tÍ)

Q;2 93 fh (1.ctoo

(r-,1 t Gt * n@)

ar* er)"t

G-r59 Qt,, ^og

G; {tr ?,}aft

50 (p-" ) (í'.)

-,-U,t

t@ul

k<)

NINTH

CHORD

SUPERIMPOSITION

EXERCISE

BASED

ON

"PERDIDO"

D - 7

G I

E ates)^

D . 7 G 7

ó r

_{L ((rr,;l ,r)} L ksn,;q) [ífl,ilrt) _{127 te)}

D-7

D-,1 G'7

[Aot/,;ttO

4;7",

C t

D - 7

(GL?rt) ftd;t u) U-f ) a

Ê ' t

G 7

GÉ)

D - 7

r c q l ê

7

hbiliq)

b.

L

(Flr;í) 3

(A-n

D - l h f l s , q ) ê ' l

D - 7

(Att't)

G I

D - t

h1il)

G'7

4;J,,

C t

D - 7

G 7

;*_ï

NINTH

CHORD

EXERCISE

BASED

ON "PERDIDO"

(continued)

(G Ar;1 rr)

2:í!

Êrl

b-z_r,

_{G -t*tt}

7,o*,,

6 7gn)

t-(t t'tv,'9k\ (r*1 D (GH,iq)

( c )

52

NINTH

CHORD

SUPERIMPOSITION

EXERICISE

BASED

ON

C BLUES

t l(ct,tt

F1,,,,

trl _{(yt 7rt)} t7 (t,n.,,'/l A7

-:;+l

h-l tr) 67 Grttl

tl rrnl,at

f Trgtn; u t G7 ril*s>

[ \u-yrg

(4ó ?

D-l

'rr

r^\

ftrlc.) ( $ / , ; r , 4 r ( Bn,,'f ) ( '7 0,;,x,L) D-1r, _s,e.tcth)

7 (rr,r,

SUPERIMPOSING

CHORDS

ON iiM7.V7

PROGRESSIONS

Refer to the chord charts on pages 39, 4, 49.

Substitutes on the V7 chord can contain more 'colof tones. For example:

A iimT-W progression

can be treated

as a W sound

and a minor

seven

chord

can have its'

corresponding

dominant

chord

added

to it.

Belorv

are some

examples

oÍ iimT-W chord superimpositions:

The iimT chord should be superimposed with "tonic" sounding chords.

F n à T # - r ,

u - 7 \

D - l

iimT-VT

PROGRESSIONS

(continued)

Chords can be added when moving at a quicker pace: For example:

Chords can be nrun up and down' or may be "broken up' to create interest. For example:

f l ' 7 p 1ai;ttl &7 to He i7)

A'composite" scale made up of two or more chords can be created. For example:

D - 7 ' G ' I

(Flttill _{U noil )}

D-, _{,, Haí,tt} G'7 _íqt;)

D-7

_(r*,o,,

'

"'ÊJ'1'

Superimposed chords can be used on the 'l' chord when the ii-7-V7 progression resolves.

EXERCISE

COMBINING

TONIC

AND COLOR

SCALES

WITH TONIC

AND COLOR

CHORDS

BASED

ON

"SOFTLY

AS A MORNING

SUNRISE."

This exercise treats some oÍ the chords in the progression in a horizontal way. That is, one scale or superimposed chord is used for more than one chord. Also some color chords are ordered in a sequential way.

D _ , 7

b - r

[c nc rd.j

6 - 7

(Ftt,; rc|,) b -7rru,; rct.l

D,íJ

_{, t}

z'J*,r,

4.7

_,7.

D - 7

_1a7r,

'4%

_u,r)

D ir *,

2 7

(i -íC*.) _{64t-e (o,+)}

á 7

ó1.8t fur>

rb

SCALE

'""ï _Ë+

L ' -7

AND CHORD

EXERCISE

(continueJ .{

SJAC

G z

D - 7

Cl r"t,)

7aTï

b - Y

t n ; t , t )

| 7b,n,;? rr) D - z _-Lrh;'t t;r q*:F tr+sr,l

2"7 g:

_,It

D-7(tn,;i)

2 - j

(A (.*.nl

2 - 7 '

E -trc )

'

Ê - 7

(f) I t *

r r ' "

G;)

A 7

'bit,l

_DTr*

^ 1 . (B lt'.) '

> - 7

( b L ) (t t) *.-\-l gt-r?) x G-al

GF*,

'4 7 G#o*t

D - 7

SCALE AND CHORD

EXERCISE

(continued)

b -/r,n,,r,,

b - 1 ( > t t t , i j t í )

6 - 7

í - n

A r l

L l&flr;r'o ^ D - 7 - ( c n t i t t í )

ê7r,,,

2-'l

_(rt)

Ar7

D -

₍

D-7

(2-,p.\

D-z

G - 7

t - 7

0 u n ) ê r l

D

6^r,,

(F-.p)

(.b,-.-l 58

ffiw,

TABLE OF CONTENTS

PART I

INTRODUCTION . . .1

SCALES AND THEIR RELATIVE CHORD TYPES 2 SUGGESTED APPROACHES FOR USING SCALES (revised). , . . . , . .3 S C A L E C H A R T S . . . . . 4 - 9 TONIC AND COLOR SCALE EXERCISES 1S34 PLAYING ON iim7-V7 PROGRESSfONS

WITH TONIC AND COLOR SCALES . .3$36

* . é ! . È - . i s r ' . . ,

PART II SUGGESTED APPROACHES FOR USING

S U P E R I M P O S E D C H O R D S . . , 3 7 CHORD SUBSTITUTION CHARTS AND EXERCISES . . . . .38

TRTADS . . .3941

SEVENTH CHORDS

N I N T H C H O R D S . . . 4 9 5 3 SUPERIMPOSED CHORDS ON iimT-V7 PROGRESSIONS .., . . . .*55 EXERCISE COMBINING TONIC AND COLOR SCALES WITH