Jazz Scales Workbook Daniel Fedele www.jazzlanguageworkbooks.com Jazz Scales Workbook Copyright © 2007-2018 Daniel Fe
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Jazz Scales Workbook Daniel Fedele
www.jazzlanguageworkbooks.com
Jazz Scales Workbook Copyright © 2007-2018 Daniel Fedele Translated by Daniel Fedele All rights reserved
Contents 1
Jazz scales: a roadmap
4
Introduction to jazz improvisation
9
Jazz scales: a roadmap in C
10
The major scale: melodic traits -model-
11
Major scales -model-
12
Major scales -template-
13
Major scale: melodic patterns in C -model-
14
Major scale: melodic patterns in C -template-
15
Major scale: how to study the melodic patterns
16
The modes of the major scale in C -model-
17
The modes of the major scale in C -template-
18
Avoid notes in the modes of the major scale -model-
19
Avoid notes in the modes of the major scale -template-
20
Basic syncopated rhythmic patterns -model-
21
Syncopated rhythmic patterns combinations
22
Syncopated rhythmic patterns combinations with the major scale
23
Major and minor (blues) pentatonic scales -model-
24
Major and minor (blues) pentatonic scales -template-
25
Pentatonic scales: how to study
28
Major pentatonic scale: melodic patterns in C -model-
29
Minor pentatonic scale: melodic patterns in C -model-
30
Major bebop scale: fundamentals
31
Major bebop scale: melodic patterns in C -model-
32
Major bebop scales in all keys -model-
33
Major bebop scales in all keys -template-
34
Mixolydian scales -model-
35
Mixolydian scales -template-
36
Mixolydian scale: melodic patterns in C -model-
37
Mixolydian scale: melodic patterns in C -template-
38
Mixolydian bebop scale: fundamentals
39
Mixolydian bebop scale: melodic patterns in C -model-
40
Mixolydian bebop scales in all keys -model-
41
Syncopated rhythmic patterns combinations with the mixolydian scale
42
Dorian scales -model-
43
Dorian scales -template-
44
Dorian scale: melodic patterns in C -model-
45
Dorian scale: melodic patterns in C -template-
46
Dorian bebop scale: fundamentals
47
Dorian bebop scale: melodic patterns in C -model-
48
Dorian bebop scales in all keys -model-
49
Syncopated rhythmic patterns combinations with the dorian scale
50
Jazz scales: how to study I
51
Jazz scales: how to study II
53
Jazz scales: a roadmap in F
54
Major scale: melodic patterns in F
55
Jazz scales: a roadmap in Bb
56
Major scale: melodic patterns in Bb
57
Phrygian scales -model-
58
Phrygian scales -template-
59
Lydian scales -model-
60
Lydian scales -template-
61
Lydian scale: melodic patterns in C
62
Aeolian scales -model-
63
Aeolian scales -template-
64
Locrian scales -model-
65
Locrian scales -template-
66
Locrian scale: melodic patterns in C
67
The modes of the melodic minor scale -model-
68
The modes of the melodic minor scale in C -model-
69
Melodic minor scales -model-
70
Melodic minor scales -template-
71
Melodic minor scale: melodic patterns in C
72
Lydian augmented scales -model-
73
Lydian augmented scales -template-
74
Lydian dominant scales -model-
75
Lydian dominant scales -template-
76
Lydian dominant scale: melodic patterns in C
77
Locrian +2 scales -model-
78
Locrian +2 scales -template-
79
Locrian +2 scale: melodic patterns in C
80
Diminished whole tone scales -model-
81
Diminished whole tone scales -template-
82
Diminished whole tone scale: melodic patterns in C
83
Symmetric scales -model-
84
Symmetric scales -template-
85
Whole step-half step diminished scales -model-
86
Whole step-half step diminished scales -template-
87
Whole step-half step diminished scale: melodic patterns
88
Half step-whole step diminished scales -model-
89
Half step-whole step diminished scales -template-
90
Half step-whole step diminished scale: melodic patterns
91
Whole tone scales -model-
92
Whole tone scales -template-
93
Whole tone scale: melodic patterns
94
Chromatic scale: melodic patterns
95
Harmonic minor scales -model-
96
Harmonic minor scales -template-
97
Harmonic minor scale: melodic patterns in C
98
Scales study with melodic pattern
99
Scales study with syncopated rhythmic pattern
100 Scales study with combinations of syncopated rhythmic patterns I 101 Scales study with combinations of syncopated rhythmic patterns II 102 Scales study with combinations of syncopated rhythmic patterns III 103 Scales study with combinations of syncopated rhythmic patterns IV 104 Jazz language: phrasing 105 Scales study with forward motion 106 Jazz language: articulations 107 Scales study with articulations 108 Scales study with chromatics 109 Jazz language: embellishments 110 Scales study with embellishments 111 Jazz language: clichés 112 Scales study with jazz clichés 113 Scales study in relation to rhythm 114 Jazz language: ghost notes
115 Scales study with swing 116 Jazz language: pivoting 117 Scales study with pivoting 118 Jazz language: step and skip 119 Scales study with skips 120 Major II-V-I: scale options in C -model121 Minor II-V-I: scale options in C -model122 Pentatonic scales: scale options over the major II-V-I progression -model123 Pentatonic scales: scale options over the minor II-V-I progression -model124 Bebop scales: scale options over the major II-V-I progression -model125 Bebop scales: scale options over the minor II-V-I progression -model126 Transformation of the major scale melodic line 128 100 ways to play the major scale 136 Scales memorization: F mixolydian -model137 Scales memorization: F mixolydian -template138 Scales memorization: F dorian -model139 Scales memorization: F dorian -template140 Dominant blues in F: scale options -model141 Dominant blues in F: scale options -template142 Minor blues in C: scale options -model143 Minor blues in C: scale options -template144 Blues in all keys -template145 Rhythm Changes in Bb -model146 Rhythm Changes in Bb: B section -model147 Rhythm Changes in Bb: B section -template148 Rhythm Changes in all keys -template149 Scales study organization: C instruments -template150 Scales study organization: Eb instruments -template151 Scales study organization: Bb instruments -template152 Melodic patterns in all keys - template153 Notes I 154 Notes II
Jazz Scales: A Roadmap
I don´t reccomend playing the scales in all keys from the beginning, it´s too much information and difficult to memorize. I prefer to follow this roadmap:
1. Play C major, mixolydian and dorian scales over play-a-longs. Memorize their formulas: Major:
1234567
Mixolydian:
1 2 3 4 5 6 b7
Dorian:
1 2 b3 4 5 6 b7
Play the melodic patterns.
Visualize the notes to facilitate adding new scales comparing them with the major scale in C.
2. Play major and minor pentatonic scales in C. Memorize their formulas: Major: 1 2 3 5 6 Minor: 1 b3 4 5 b7
-1-
Add blue notes: b3 in major: 1 2 b3 3 5 6 +4 in minor: 1 b3 4 +4 5 b7.
Play over play-a-longs. Memorize. Add syncopated rhythmic patterns and articulations.
3. The most common keys played in jazz standards are F and Bb, D and G for Eb instruments and G and C for Bb instruments. Eb instruments: Play D and G as indicated above in 1 and 2. Memorize.
Bb instruments: Play G as indicated above in 1 and 2. Memorize.
4. Play the dominant keys that we haven´t played yet: A mixolydian scale (dominant of D) D mixolydian scale (dominant of G)
5. Play the keys needed in each new standard: Eg: Summertime in D-
Eb instruments: play B dorian scale Bb instruments: play E dorian scale
-2-
6. Memorize using the first scales played as a reference.
We should be able to transpose from memory all the melodic patterns to each new scale.
Summary: C instruments: must master the major, mixolydian, dorian and pentatonic scales in C, Bb, F and D with bebop passing tones before studying the rest of the keys. Eb instruments: must master the major, mixolydian, dorian and pentatonic scales in A, G, D and B with bebop passing tones before studying the rest of the keys. Bb instruments: must master the major, mixolydian, dorian and pentatonic scales in D, C, G and E with bebop passing tones before studying the rest of the keys.
daniel fedele
-3-
introduction to jazz improvisation
a musical scale is a series of sounds organized in a specific way.
the major scale is the most played scale in western music.
scales generate chords.
given a chord, the improvisor selects the most consonant scale with that chord.
major scale
C
chord
the scale can generate different melodic patterns. chords
thirds
chromatics
melodic lines are built with added melodic patterns generated by the scale. chromatics
+ thirds
+ chords
+ thirds + chromatics
-4-
introduction to jazz improvisation - 2/5
syncopated rhythmic patterns differentiate modern music from classical music.
the improvised melodic line is a combination of melodic patterns and syncopated rhythmic patterns.
articulations add personality to the improvised melodic line.
embellishments add expression to the improvised melodic line.
grace note
trill
clichés are stereotyped expressions that, although commonplace, are constantly repeated.
Miles Davis, "The Theme"
3
dynamics are variations of volume of the melodic line.
mp
f
mp
f
mp
-5-
introduction to jazz improvisation - 3/5
swing is the intention each note is played with and generates the authentic jazz sound. ghost note
ghost note
mp
f
mp
mp
the improvised melodic line is composed of melodic patterns + syncopated rhythmic patterns + articulations + embellishments + clichés + dynamics + swing.
mp
f
mp
mp
phrasing is the placement of the melodic lines in different beats of the bars.
the best way to organize the phrasing in order to generate a sense of forward motion is placing the melodic lines in an arch that goes from up beats to down beats.
mp
f
mp
mp
-6-
introduction to jazz improvisation - 4/5
different scales generate different chords.
mixolydian scale
major scale
V7 I C
G7
the improvised melodic line now is built with two different scales, each one with its own melodic and syncopated rhythmic patterns, plus articulation, embellishments, dynamics and swing.
swing
V7 G7
I C
3
2
1
3
5 b7
mixolydian scale
3
T9
7
1
major scale
functional harmony classifies chords with tonal functions. ii-v-i is the most common chord progression in jazz. the subdominant-dominant-tonic movement is the total expression of the musical journey. dorian scale (mode ii of the major scale)
mixolydian scale (mode v of the major scale)
II-7 D-7
V7 G7tritone
dark semistable
bright unstable
subdominant
major scale
I C
dominant
tritone resolution
clear stable
tonic
X subdominant chords include the fourth degree of the scale, they are semistable and prepare the harmonic movement. X dominant chords include an augmented fourth interval called tritone that generates tension and instability. X tonic chords include the 1-3-5 triad, resolve the tritone and generate stability.
-7-
introduction to jazz improvisation - 5/5
the improvised melodic line now is built with three different scales, each one with its own melodic and rhythmic patterns plus articulation, embellishments, dynamics and swing. dorian scale
mixolydian scale
major scale
C G7
D-7
mp
f
mp
f
mp
a first approach to improvising over a fast chord movement consists in playing the improvised melodic line using the major scale of the tonal center. a second approach would be to play major and mixolydian and a third one, dorian, mixolydian and major. 1 2 3
major scale
major scale mixolydian scale I dorian scale major scale D-7 G7 C C mixolydian scale
choosing non diatonic scales adds tension to the sound of the melodic line. diminished scale
C G7
D-7
mp
f
mp
f
mp
"improvisation is the spontaneous reorganization of the resources previously learned" -8-
jazz scales: a roadmap in c 1
major scale
1
2
2
4
5
6
7
8
b6
mixolydian scale
1
2
5
3
4
5
b7
6
8
7
dorian scale
1
3
5
7
T9
4 T13 avoid note
C7
1
b3
b2
seventh chord
3
5
b7
T9
tensions
4
T13
b3
2
4
5
C-7
b2
5
6
8
b7
8
b3
5
seventh chord
8
1
b3
b7
6
tensions
b7
T9
T11
6
dorian bebop scale
7
major (blues) pentatonic scale
1
8
7
mixolydian bebop scale
6
1
4
tensions
major bebop scale
3
3
seventh chord
Cmaj7
2
b3
3
4
b2
minor (blues) pentatonic scale
1
b3
4
#4
5
-9-
the major scale: melodic traits harmonic series tonic 5 3 T 3 5 b7 T 2 3 #4 5 6 b7 7 T sequence of sounds (harmonics) generated over a fundamental frequency. 4 doesn´t appear, 7 does, but far in the series. C
a summary of the series suggests a lydian b7 bebop scale (lydian b7 with 7 as passing tone)
stability - instability stability in relation to tonic
stable
T
5
3
6
stable tones
2
unstable
4
unstable tones
7
major pentatonic scale the major pentatonic scale doesn´t include 4 and 7, the most unstable tones, this facilitates the production of consonant melodies.
T
2
3
5
6
melodic tendencies natural tendency of resolution of unstable tones of the major scale. 2
T
4
3
6
5
7
T
modal harmony in a modal context, the tones that give the flavor of the mode, no matter their degree of stability, are called characteristic and secondary characteristic notes.
c ionian (modal context)
tritone characteristic note
secondary characteristic note
c ionian (no 4) (tonal context)
Cmaj7
color notes of the mode: order of importance
note characteristic
tritone
1
Cmaj7
1
4
secondary characteristic note
7
3
7
3
2
6
2
6
5
5
-10-
major scales scale
seventh chord
w w h w w w h
Cmaj7
F
Fmaj7
Bb
Bbmaj7
C
tensions
5
7
T9
1
2
3
4
5
6
7
8
1
3
Ebmaj7
Eb
Abmaj7
Ab
Dbmaj7
Db
Gmaj7
G
Dmaj7
D
Amaj7
A
Emaj7
E
B
Bmaj7
F#maj7
F#
avoid note
4
T13
-11-
major scales scale
seventh chord
C
w w h w w w h 1
2
3
4
5
6
7
Cmaj7
8
1
3
tensions
5
7
T9
avoid note
4
T13
F
Bb
Eb
Ab
Db
G
D
A E
B
F#
-12-
major scale: melodic patterns in c 1
scale
etc...............
a)
2
etc...............
b)
thirds
a)
3
b)
arpeggios
1 3 5 8 4
connected chords
5
chord + scale
a)
a)
chromatics
6
c)
chords
d)
1 3 5 7
b) b)
c c c c c a) one half step below each note of the arpeggio
7
two half steps below and two half steps above each note of the arpeggio
c
8
b) two half steps below each note of the arpeggio
c
c c
c c c 9
one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c
c c c c c c 10
major bebop scale with three passing tones
-13-
major scale: melodic patterns in c 1
scale
Etc...............
a)
2
thirds a)
b)
3
c)
arpeggios
chords
a)
b)
4 a)
1 3
connected chords
5
chord + scale
b)
chromatics a) one half step below each note of the arpeggio
c
7
5 7
a)
b)
6
d)
1 3 5 8
c
c
b) two half steps below each note of the arpeggio
c
c
two half steps below and two half steps above each note of the arpeggio
8
one half step below each note of the scale + triad
9
etc...............
b)
two half steps below and two half steps above each note of the scale + chord
c
c
c
c
bebop scale with three passing tones
10
c
c
c
c
c
c
-14-
major scale: how to study the melodic patterns 1
c major scale: added melodic patterns
scale
+ thirds
+ connected chords
+ arpeggios
+ chords
+ one half step below each note of the arpeggio
+ two half steps below each note of the arpeggio
+ two half steps below and two half steps above each note of the scale + chord + bebop scale
2
added melodic patterns + syncopated rhythmic patterns + articulations
syncopated rhythmic patterns + articulations: scale
+ chromatics
+ thirds
+ connected chords
+ bebop scale
3 3
-15-
the modes of the major scale in c scale
seventh chord
C ionian
1
2
3
4
5
6
7
8
Cmaj7
1
3
C-7
C dorian
1
2
b3
6 b7
4 5
8
C phrygian
1
b3
C-7
b2 b3
5 b6
b7
tensions
5
7
T9
4
T13
5
b7
T9
T11
6
b7
b2
T11
b6
5
7
T9
T#11
T13
T9
4
T13
5
b7
T9
T11
1
4
8
C lydian
1
2
3
#4 5
6
7
8
1
1
2
3
4
5
6 b7
8
3
1
3
C-7
C aeolian
1
2 b3
4
5
b6
b7
8
b2 b3
1
b3
5
b7
C-7b5
C locrian
1
5
Cmaj7
C7
C mixolydian
1
b3
4
b5 b6 b7
8
1
b3
b5
b7
b2
b6
T11
Tb13 -16-
the modes of the major scale in c scale
seventh chord
tensions
C ionian
C dorian
C phrygian
C lydian
C mixolydian
C aeolian
C locrian
-17-
avoid notes in the modes of the major scale avoid note: note one half step or tritone above chord tone (1-3-5) scale C major
chord + avoid note
half step
formula: 1
2
3
4
5
disonance
6
7
8
+4
D dorian
1
2
b3
4
5
6
b7
8
Cmaj7
b9 disonance
tensions and avoid notes
avoid note
T9
4
T13
available tensions: T9 and T13 unavailable tension: T11
D-7
+11
T9
T11
6
though in this case the sixth is a whole step above chord tone, the tritone between 6 and b3 generates a dominant sound. in minor tonic chords I-7 or I-6, T13 is an available tension.
E phrygian
half step
1
b2
half step
b3
4
5
b6
b7
8
E-7
Fmaj7
G7
F lydian
1
2
3
G mixolidian
1
2
#4
5
6
7
8
half step
3
4
5
A aeolian
6
b7
8
1
2
half step
b3
4
b6
5
B locrian
b7
b2
b3
4
b5
b6 b7
b9
b9
A-7
b9
8
half step
1
b9
8
B-7b5
b9
b2
T11
b6
T9
T#11
T13
T9
4
T13
T9
T11
b6
b2
T11
Tb13
-18-
avoid notes in the modes of the major scale scale C major
Cmaj7
D dorian
D-7
E phrygian
F lydian
G mixolydian
A aeolian
B locrian
chord + avoid note
tensions and avoid notes
E-7
Fmaj7
G7
A-7
B-7b5
-19-
basic syncopated rhythmic patterns fundamentals: down beat on beat on beat 44
up beat off beat off beat
daht
daht
1 a 44 daht
swing:
3
44 2 a 44 du daht 3 44
3 a 44
daht
3
dah
3
b
du dah
3
dah
3
3
b
du du du dah b
du duht daht
du
du dah
3
du du du daht
4 a 44
syncopation
b
du daht
swing:
5 a 44
du duht dah b
daht
triplets
6 a 3 4 4 du du daht
du
dah
b
3
du du daht
3
du du dah
3
du du dah -20-
syncopated rhythmic patterns combinations 1 1+2 44
syncopation
44
2 1+2+3 44 44 3 1+2+3+4 44 44 4 1+2+3+4+5 44 44 5 1+2+3+4+5+6 3 4 4 3
3
3 4 4
3
3
-21-
syncopated rhythmic patterns combinations with the major scale 1
1+2
2
1+2+3
3
1+2+3+4
4
1+2+3+4+5
5
1+2+3+4+5+6
3 3 3 3 3 3
-22-
major and minor (blues) pentatonic scales major (blues) pentatonic scale minor (blues) pentatonic scale 1
C
F major (blues) pentatonic scale
B¨
E¨
A¨
D¨
G¨
E
5
6
8
B
A
D
G
blue note
D minor (blues) pentatonic scale
G
C
F
B¨
G© C© F© B E E¨
A
4
b7
2 b3 3
#4 5
8
blue note
1
b3
-23-
major and minor (blues) pentatonic scales major (blues) pentatonic scale minor (blues) pentatonic scale C
1
blue note
2 b3 3
F major (blues) pentatonic scale
B¨
E¨
A¨
D¨
5
6
8
b7
8
D minor (blues) pentatonic scale
C
B¨
G¨
E¨
B
G©
E
C©
#4 5 blue note 4
F
D
A
b3
G
A
1
F©
B
G
E
-24-
pentatonic scales: how to study
1/3
c major and minor (blues) pentatonic scales 1
major pentatonic scale in the register of the instrument
2
major pentatonic scale with syncopated rhythmic patterns and articulations
3
minor pentatonic scale in the register of the instrument
4
minor pentatonic scale with syncopated rhythmic patterns and articulations
5
major pentatonic + minor pentatonic scale in the register of the instrument major
+ minor
+ major
+ minor
6
major pentatonic + minor pentatonic scale with syncopated rhytmic patterns and articulations
major
+ minor
+ major
+ minor
+ major
-25-
pentatonic scales: how to study - 2/3
7
major pentatonic scale in groups of four with articulations
8
major pentatonic scale in groups of four with articulations and forward motion
9
major pentatonic scale in groups of four with syncopated rhythmic patterns and articulations
10
minor pentatonic scale in groups of four with articulations
11
minor pentatonic scale in groups of four with articulations and forward motion
12
minor pentatonic scale in groups of four with syncopated rhythmic patterns and articulations
13
major pentatonic scale in thirds
minor pentatonic scale in thirds
-26-
pentatonic scales: how to study - 3/3
14
major and minor blues pentatonic scales major blues
+ minor blues
+ major blues
+ minor blues
blue note blue note blue note blue note 15
major pentatonic scale with chromatics
c
16
c
c
c
c
c
minor pentatonic scale with chromatics
c
17
c
c
c
c
c
example of combinations of major and minor (blues) pentatonic scales with syncopated rhythmic patterns and articulations
3 Cmaj7 (C7)
major pentatonic
+ minor blues pentatonic
+ minor pentatonic in groups of four
+ major pentatonic in groups of four
+ major pentatonic in thirds + minor pentatonic in thirds
+ major blues pentatonic
+ minor pentatonic with chromatics
+ major pentatonic with chromatics
+ minor pentatonic in groups of four
+ minor blues pentatonic
-27-
major pentatonic scale: melodic patterns in c 1
scale
etc............... b) etc...............
a)
play ascending and descending in the register of the instrument
2
thirds
a)
3
b)
c)
d)
groups of four
b)
a)
4
5
connected groups of four a)
b)
groups of four with skips
b)
6
7
a)
c)
d)
chromatics one or two half steps below each note of the scale
c c one half step below each note of the scale + triad
c 8
two half steps below and two half steps above each note of the scale + scale
c c c c -28-
minor pentatonic scale: melodic patterns in c 1
scale
etc............... etc............... b) a)
2
thirds
b) c) d)
a)
3
groups of four
b)
a)
4
connected groups of four
b) a)
5
6
7
groups of four with skips
b)
a)
c)
d)
chromatics one or two half steps below each note of the scale
c c
one half step below each note of the scale + triad
c 8
two half steps below and two half steps above each note of the scale + scale
c c c c -29-
major bebop scale: fundamentals incorrect: no passing tone. chord tones fall on off beats. on beat
4
2
1
correct: with chromatic passing tone chord tones fall on on beats. on beat
6
passing tone
b6
5
3
1
rules for the placement of passing tones: A from 7. 5, 3 or 1: one or three passing tones
b6
b6
b2
b3
B from 6, 4 or 2: no passing tone or two passing tones
b2
A
+
b6
B
b2
b6
b3
b2
-30-
major bebop scale: melodic patterns in c play ascending and descending in the register of the instrument
1
scale
etc...............
2 thirds
a)
3
B)
major sixth chord + diminished
C6/G A¨º7 C6/A Bº7 C6
Dº7
1 3 5 6
C6/E
Fº7
2 4 b6 7
4 connected major sixth chord + diminished
C6/G A¨º7 C6/A Bº7 C6 Dº7 C6/E
Fº7
5
one half step below each note of the scale + triad
6
enclosure with diminished + major sixth chord
c c c c c c c c a)
Bº
3
C6
Dº
C6/A
C6
A¨º
B)
C6/E
3
Fº
3
C6/G
A¨º 3
Bº C6/E Dº
3
3
C6/A
3
Fº
C6/G
3
-31-
major bebop scales in all keys
major bebop scales with three passing tones
C
Eb
B
E
1 F
2
3
4
5
#5
6
7 1 #1
2
#2
3 b3
2
b2
1
Bb
Ab
Db
Gb
A
D
G
-32-
major bebop scales in all keys
major bebop scales with three passing tones
C
1
2
3
4
5
#5
6
7
1 #1 2 #2 3 b3
2
b2
1
F Bb
Eb
Ab
Db
F#
B
E
A
D
G
-33-
mixolydian scales scale
seventh chord
C7
ww h w w h w C
1
2
3
4
5
6
b7
8
1
3
F7
F
Bb
Bb7
Eb7
Eb
Ab7
Ab
Db
D
D7
A
A7
E
E7
B
5
T9
4
T13
B7
Fï#
b7
Db7
G7
G
tensions
F#7
-34-
mixolydian scales scale
C
seventh chord
w w h w w h w 1
2
3
4
5
6
b7
8
C7
1
3
tensions
5
T9
4
T13
7
F
Bb
Eb
Ab
Db
F#
B E
A
D
G
-35-
mixolydian scale: melodic patterns in c 1
scale
etc...............
a)
2
etc...............
b)
thirds
c) d)
a)
3
b)
arpeggios
1 3 5 8 4
connected chords
a)
5
chords
1 3 5 b7
b)
chord + scale
a)
b)
chromatics
6
c c c c c c a) one half step below each note of the arpeggio
7
8
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c
c
c c
c c 9
one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c c c c c
c c c c c c 10
bebop scale with three passing tones
-36-
mixolydian scale: melodic patterns in c 1
scale
2
a)
b)
chords
1 3 5 b7
connected chords
a)
b)
5
chord + scale
a)
b)
chromatics
6
a) one half step below each note of the arpeggio
c
7
c
c
c
b) two half steps below each note of the arpeggio
c
c
two half steps below and two half steps above each note of the arpeggio
8
d)
1 3 5 8 4
c)
arpeggios
etc...............
b)
thirds
3
etc...............
a)
c
c
c
c
one half step below each note of the scale + triad
c 9
10
two half steps below and two half steps above each note of the scale + chord
c c c c
bebop scale with three passing tones
-37-
mixolydian bebop scale: fundamentals incorrect: no passing tone. chord tones fall on off beats. on beat
4
2
1
correct: with chromatic passing tone chord tones fall on on beats. on beat
7
5
3
1
passing tone rules for the placement of passing tones: A from 7. 5, 3 or 1: one or three passing tones
7
b3
b2
7
B from 6, 4 or 2: no passing tone or two passing tones
b2
A
+
7
B
b2
7
b3
b2
-38-
mixolydian bebop scale: melodic patterns in c 1
scale
2
etc...............
thirds
a)
B)
3
arpeggios
4
connected chords
5
chord + scale
6
chromatics
1 3 5 8
chords
1 3 5 b7
c c c a)
one half step below each note of the arpeggio
8
7
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c c
one half step below each note of the scale + triad
c 9
two half steps below and two half steps above each note of the scale + chord
c c c c -39-
mixolydian bebop scales in all keys
mixolydian bebop scales with three passing tones
F
Eb
Gb
B
E
C
1
2
3
4
5
6
b7
7
1 #1
2 #2
3 b3
2
b2
1
Bb
Ab
Db
A
D
G
-40-
syncopated rhythmic patterns combinations with the mixolydian scale 1
1+2
2
1+2+3
3
1+2+3+4
4
1+2+3+4+5
5
1+2+3+4+5+6
3 3 3 3 3 3
-41-
dorian scales
scale
c
C-7
seventh chord
w
h
w
w
w
h
w
F
1 F-7
Bb
Bb-7
1
2
b3
4
5
6
b7
8
b3
5
T9
b7
Gb-7 B
E
E-7
A-7
D-7
A
D
G
B-7
G-7
Gb
Db-7
Db
6
Ab-7
avoid note
Ab
T11
Eb-7
Eb
tensions
-42-
dorian scales scale
c
C-7
seventh chord
w
1
h
2
w
b3 4
w
w
5
h
6
b7
w
8
1
b3
5
b7
T9
T11
tensions
avoid note
6
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-43-
dorian scale: melodic patterns in c 1
scale
2
etc...............
a)
b)
etc...............
thirds
b) c) d)
a)
3
a) arpeggios
b)
chords
1 3 5 8 1 b3 5 b7 4
connected chords
a)
5
b)
chord + scale
6
a)
b)
chromatics
c c c c c c a) one half step below each note of the arpeggio
7
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c
c
c c
8
one half step below each note of the scale + triad
9
two half steps below and two half steps above each note of the scale + chord
c c c c 10
c c c c
bebop scale with three passing tones
-44-
dorian scale: melodic patterns in c 1
scale
2
thirds
a)
3
4
etc...............
a)
b)
a) arpeggios
1 3 5 8 connected chords
chord + scale a)
a) one half step below each note of the arpeggio
b) two half steps below each note of the arpeggio
c c
two half steps below and two half steps above each note of the arpeggio
c
c
one half step below each note of the scale + triad
c
two half steps below and two half steps above each note of the scale + chord
c
b)
chromatics
7
10
chords
b)
c
9
8
d)
1 b3 5 b7
6
c)
b)
a)
5
b)
c
c
c
bebop scale with three passing tones
-45-
dorian bebop scale: fundamentals incorrect: no passing tone. chord tones fall on off beats. on beat
4
2
1
correct: with chromatic passing tone chord tones fall on on beats. on beat
7
5
3
1
passing tone rules for the placement of passing tones: A from 7. 5, 3 or 1: one or three passing tones
7
7
4
b2
B from 6, 4 or 2: no passing tone or two passing tones
b2
A
+
7
B
b2
7
4
b2
-46-
dorian bebop scale: melodic patterns in c 1
scale
2
thirds
etc...............
play ascending and descending in the register of the instrument
a)
3
B)
minor sixth chord + diminished
4
connected minor sixth chord + diminished
C-6
Dº7
C-6/E
Fº7
C-6/G
A¨º7
Bº7
C-6/A
C-6/A Bº7 C-6 Dº7 C-6/E
Fº7
C-6/G
A¨º7
5
one half step below each note of the scale + triad
6
surrounding the minor sixth chord with diminished + minor sixth chord
c c c c c c c c a)
Bº
C-6
Dº
C-6/E¨
Fº
C-6/G
3
C-6/A
C-6
A¨º
B)
3
3
A¨º 3
Bº C-6/E¨ Dº
3
3
C-6/A
3
Fº
C-6/G
3
-47-
dorian bebop scales in all keys dorian bebop scales with three passing tones
E¨
D¨
C
1
2
b3
4
5
6
b7
7
1 #1
2 4
b3
4
2
b2
1
F
B¨
A¨
G¨
E
B
D
A
G
-48-
syncopated rhythmic patterns combinations with the dorian scale 1
1+2
2
1+2+3
3
1+2+3+4
4
1+2+3+4+5
5
1+2+3+4+5+6
3 3 3 3 3 3
-49-
jazz scales: how to study i 1
added scales in c. major scale
+ major pentatonic scale
+ minor pentatonic blues scale
+ major pentatonic blues scale + minor pentatonic blues scale
+ major bebop scale
2
added scales in c with different melodic patterns.
major scale in thirds
+ major scale with connected chords + major pentatonic scale in groups of four
+ minor pentatonic scale in groups of three
3
+ major sixth and diminished chords
added scales in c with different melodic patterns, syncopated rhythmic patterns and articulations.
major scale in chords
+ major pentatonic scale
+ major bebop scale with three passing tones
+ major pentatonic scale with chromatics
+ minor pentatonic scale in thirds
3
3
-50-
jazz scales: how to study ii
1/2
1 melodic pattern 1: ascending and descending from each note of the c major scale:
etc.
a)
etc.
B)
syncopated rhythmic patterns + articulations: 1
2
3
4
5
etc. melodic pattern 1 + syncopated rhythmic patterns + articulations:
2 melodic pattern 2: c major scale in thirds ascending and descending in the register of the instrument: etc. B) etc. a) melodic pattern 2 + syncopated rhythmic patterns + articulations: 4 3 5 1 2 etc. -51-
jazz scales: how to study II - 2/2
+
1
2
melodic pattern 1 + syncopated rhythmic patterns + articulations: melodic pattern 2 + syncopated rhythmic patterns + articulations: scale change
3 melodic pattern 3: major pentatonic scale in groups of four + articulations:
B)
a)
melodic pattern 3 + syncopated rhythmic patterns + articulations:
added scales
1
+
2
+ 3
melodic pattern 1 + syncopated rhythmic patterns + articulations: melodic pattern 2 + syncopated rhythmic patterns + articulations:
melodic pattern 3 + syncopated rhythmic patterns + articulations:
-52-
jazz scales: a roadmap in f 1
major scale
1
2
3
2
3
4
5
major bebop scale
6
7
8
4
3
4
5
b7
6
mixolydian bebop scale
5
8
7
1
4
5
b7
6
8
F-7
1
7
1
1
3
5
7
T9
2
b3
tensions
4 T13 avoid note
b2
seventh chord
3
5
b7
T9
b2
seventh chord
b3
5
b7
b2
b3
3
5
6
8
minor (blues) pentatonic scale
4
major (blues) pentatonic scale
8
b3
2
b3
dorian bebop scale
F7
7
6
dorian scale
1
1
seventh chord
b3
mixolydian scale
2
b6
1
Fmaj7
4
#4
5
b7
8
4
T13
tensions
T9
T11
6
tensions
-53-
major scale: melodic patterns in f 1
scale
a)
2
etc............... etc............... b)
thirds
b) c) d)
a)
chords 3
arpeggios
1
4
3
5 8
1 3
connected chords
a)
5
5 7
b)
chord + scale
a)
b)
chromatics
6
b) two half steps below each note of the arpeggio a) one half step below each note of the arpeggio
c
7
c
c
c
c
two half steps below and two half steps above each note of the arpeggio
c
c
c
c
8
one half step below each note of the scale + triad
c
9
c
c
two half steps below and two half steps above each note of the scale + chord
c
c
c
c
with three passing tones majorbebopscale
10
c
c
c
c
c
c
-54-
jazz scales: a roadmap in Bb 1
major scale
1
2
2
3
1
b6
3
4
5
b7
6
8
7
3
B¨7
5
7
T9
1
b3
4 T13 avoid note
b2
3
5
seventh chord
tensions
b7
T9
4
T13
b3
2
4
5
B¨-7
b2
8
5
6
8
b3
5
seventh chord
1
b3
b7
6
tensions
b7
T9
T11
6
dorian bebop scale
7
4
b2
major (blues) pentatonic scale
1
8
dorian scale
7
2
1
6
8
mixolydian bebop scale
5
7
6
mixolydian scale
1
4
5
tensions
major bebop scale
3
4
seventh chord
B¨maj7
2
b3
3
minor (blues) pentatonic scale
1
b3
4
#4
5
b7
8 -55-
major scale: melodic patterns in bb 1
scale
2
3
4
etc...............
b)
c)
arpeggios
1 3 5 8 connected chords a)
d)
chords
1 3 5 7
b)
b)
chord + scale a)
chromatics
6
b)
thirds a)
5
etc...............
a)
a) one half step below each note of the arpeggio b) two half steps below each note of the arpeggio c c c c c
7
8
two half steps below and two half steps above each note of the arpeggio
c c
c c
c c c 9
one half step below each note of the scale + triad
10
two half steps below and two half steps above each note of the scale + chord
c c c c major bebop scale with three passing tones
c c c c c c -56-
phrygian scales scale
C
seventh chord C-7
h
1
w w w h w w b2 b3 4 5 b6 b7 8
1
F-7
F
Bb
b3
Eb-7
5
b7
b2
Ab-7
Ab
Db
Eb
Db-7
Gb-7
Gb
B
E
E-7
A
A-7
D
G
B-7
D-7
G-7
Bb-7
tensions
T11
b6
-57-
phrygian scales scale
seventh chord
C
C-7
h
w
1 b2 b3
w
w
4
h
5
w
b6 b7
w
8
1
b3
5
b7
tensions
b2
T11
b6
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-58-
lydian scales scale
seventh chord
tensions
5
7
T9
T#11
T13
F#maj7(#11)
C
w w w h w w h 1
2
3
#4
5
6
7
8
F
Bb
Eb Ab
Db
Cmaj7(#11)
1
3
Fmaj7(#11)
Bbmaj7(#11)
Ebmaj7(#11)
Abmaj7(#11)
Dbmaj7(#11)
F#
B
E
Bmaj7(#11)
Emaj7(#11)
Amaj7(#11)
A
D
Dmaj7(#11)
Gmaj7(#11)
G
-59-
lydian scales scale
seventh chord
C
w w w h w w h 1
F
2
3
#4
5
6
7
8
Cmaj7(#11)
1
3
tensions
5
7
T9
T#11
T13
Bb
Eb
Ab
Db
F#
B E A
D
G
-60-
lydian scale: melodic patterns in c 1
scale
2
a)
etc...............
etc...............
b)
thirds
b) c) d)
a)
3
a) arpeggios
1 3 5 8 1 3 5 7 4
connected chords
a)
5
b)
chords
b)
chord + scale a)
b)
chromatics
6
c c c c c c a) one half step below each note of the arpeggio
7
two half steps below and two half steps above each note of the arpeggio
c
8
b) two half steps below each note of the arpeggio
c
c c
c c c c 9
one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c c c c c
c c c c c c 10
lydian bebop scale with three passing tones
-61-
aeolian scales scale
C
C-7
seventh chord
b3
5
b7
T9
1
2
b3
4
5
b6 b7
8
F
F-7
Bb
Bb-7
Eb-7
Eb
Ab-7
Ab
Db-7
Db
Gb-7 Gb
B
E
E-7
A
A-7
D
B-7
D-7
T11
b6
G-7 G
w h w w h w w 1
tensions
-62-
aeolian scales scale
C
C-7
w
1
h
2
w
b3
w
4
h
5
w w b6 b7 8
1
seventh chord
b3
5
b7
T9
tensions
T11
b6
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-63-
locrian scales scale
seventh chord
C
C-7(b5)
h w w h w w w F
1 F-7(b5)
Bb
Bb-7(b5)
1
b2
b3
4
b5 b6 b7 8
b3
Eb
Eb-7(b5)
Ab
Ab-7(b5)
Db-7(b5)
Db
b5
b7
b2
E
E-7(b5)
A
A-7(b5)
D-7(b5)
D
Tb13
G-7(b5) G
T11
Gb-7(b5) B-7(b5)
Gb
B
tensions
-64-
locrian scales scale C
seventh chord C-7(b5)
h
1
w w h w w w b2 b3 4 b5 b6 b7 8
1
b3
tensions
b5
b7
b2
T11
Tb13
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-65-
locrian scale: melodic patterns in c 1
scale
etc...............
a)
etc...............
b)
thirds
2
c) d)
a)
b)
3
a)
4
connected chords
arpeggios
1 b3 b5 8 1 b3 b5 b7 b)
chords
b) a)
5
chord + scale a)
b)
chromatics
6
c c c c c a) one half step below each note of the arpeggio
7
two half steps below and two half steps above each note of the arpeggio
c
8
b) two half steps below each note of the arpeggio
c
c c
one half step below each note of the scale + triad
c
9
10
c
c
c
two half steps below and two half steps above each note of the scale + chord
c c c c locrian bebop scale
c
-66-
the modes of the melodic minor scale scale C melodic minor i
C-maj7
5
7
T9
T11
T13
6
T7
T9
T11
b7
b2
T11
6
#5
7
T9
T#11
6
3
5
b7
T9
T#11
T13
T9
4
Tb13
T9
T11
Tb13
b7
Tb9
T#9 T#11
1
tensions
seventh chord
2
b3
4 5
6
7
8
2
b3
4 5
6
7
8
D dorian b2 (phrygian §6)
1
b2 b3
4
5
6 b7
8
Eb lydian augmented
1
2 3
#4 #5
6 7
8
F lydian dominant
1
2
3
#4 5
6
b7
8
G mixolydian b13
1
1
1
F7(#11)
4
5
b6
b7
8
A locrian #2 1
2
b3
4
b5
b6 b7 8
B diminished whole tone / altered / superlocrian
1
b2 #2
3 #4 #5(b13 b7 8
b3
3
1
A-7b5
3
Ebmaj7(#5)
G7b13
2
b3
D-7
1
b3
C-6
C melodic minor ii
1
1
1
1
5
5
3
5
b3
b5
B7#9
1
3
#5
b7
b7
Tb13 -67-
the modes of the melodic minor scale in c scale C melodic minor i
1
2
b3
4
5
6
7
8
C-maj7
b3
1
C-6
C melodic minor ii
1
2
b3
4
5
6
7
8
b3
1
C dorian b2 (phrygian §6)
C-7
1
b2 b3
4
5
6
b7
8
C lydian augmented
1
2 3
#4 #5
6
7
8
C lydian dominant
1
2
3
#4 5
6
b7
8
1
3
4
5
b6
b7
8
1
1
2
b3
3
3
3
4
b5
b6 b7
8
1
b3
C diminished whole tone / altered / C7#9 superlocrian
1
b2
#2
3
b5 #5-b13 b7 8
1
3
5
7
T9
T11
T13
6
T7
T9
T11
5
b7
b2
T11
6
7
T9
6
5
b7
T9
T#11
T13
5
b7
T9
4
b7
T9
T11
5
#5
C-7b5
C locrian #2 1
C7(#11)
2
b3
C7b13
C mixolydian b13
1
Cmaj7(#5)
1
tensions
seventh chord
b5
#5
b7
T#11
Tb13
Tb13
Tb9
T#9 T#11
Tb13 -68-
melodic minor scales scale
C
w h w w w w h 1
2
b3
4
5
6
7
8
C-maj7
1
Eb-maj7
7
T9
Ab-maj7 Db-maj7
Gb-maj7
Gb
B
B-maj7
E-maj7
E
A
A-maj7
G
G-maj7
D-maj7
D
T13
5
b3
Ab
Db
T11
Bb-maj7
Eb
F-maj7
F
Bb
tensions
seventh chord
-69-
melodic minor scales
scale
C 1
2
b3
4
5
C-maj7
6
7
8
1
seventh chord
b3
5
7
tensions
T9
T11
T13
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-70-
melodic minor scale: melodic patterns in c 1
scale
etc...............
a)
etc...............
b)
thirds
2
b) c) d)
a)
3
a)
arpeggios
1 b3 5 8
4
connected chords
a)
5
chromatics
6
b)
chords
1 b3 5 7
b)
chord + scale a)
b)
c c c c c a) one half step below each note of the arpeggio
7
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c
c
c c
8
one half step below each note of the scale + triad
9
two half steps below and two half steps above each note of the scale + chord
c c c c
c c c c
c c c c c c 10
melodic minor bebop scale with three passing tones
-71-
lydian augmented scales scale
seventh chord
7
T9
T#11
T13
Cmaj7(#5#11)
C
w w w w h w h 1
2
3
#4
#5
6
7
8
1
3
Fmaj7(#5#11)
F
Bb
Bbmaj7(#5#11)
Eb
Ab
Db
Ebmaj7(#5#11)
Abmaj7(#5#11)
Dbmaj7(#5#11)
F#
F#maj7(#5#11)
B
Bmaj7(#5#11)
Emaj7(#5#11)
E
Amaj7(#5#11)
A
D
Dmaj7(#5#11)
Gmaj7(#5#11)
G
tensions
#5
-72-
lydian augmented scales scale
seventh chord Cmaj7(#5#11)
C
w
F
1
w
2
w
3
#4
w
#5
h
w
6
h
7
8
1
3
#5
tensions
7
T9
T13
T#11
Bb
Eb
Ab
Db
F#
B E
A
D
G
-73-
lydian dominant scales scale
seventh chord
tensions
b7
T9
T#11
T13
Eb7(#11)
C
C7(#11)
w w w h w h w 1
2
3
#4
5
6
b7
8
1
3
F7(#11)
F
Bb
Bb7(#11)
5
Eb
Ab7(#11)
Ab
Db7(#11)
Db
F#7(#11)
F#
B
B7(#11)
E
E7(#11)
A7(#11)
A
D
D7(#11)
G
G7(#11)
-74-
lydian dominant scales scale
seventh chord C7(#11)
C
w
1
w
2
w h w h w 3 #4 5 6 b7 8
1
tensions
3
5
b7
T9
T13
T#11
F
Bb
Eb
Ab
Db
F#
B E
A
D
G
-75-
lydian dominant scale: melodic patterns in c 1
scale
etc...............
a)
2
etc...............
b)
thirds
c) d)
a)
3
b)
a) arpeggios
chords 1 3 5 8 1 3 5 b7
4
connected chords
a)
5
chord + scale
a)
b)
b) b)
chromatics
6
c c c a) one half step below each note of the arpeggio
7
8
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c
c
c c
c 9
one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c c c c c
c c c c c c 10
lydian dominant bebop scale with three passing tones
-76-
locrian #2 scales scale
C
seventh chord C-7(b5)
w
1
h
2
b3
w
h
4
b5
w
b6
w
b7
w
8
1
b3
F
F-7(b5)
Bb
Bb-7(b5)
Eb
Eb-7(b5)
Ab
Ab-7(b5)
Db-7(b5)
Db
b5
E
E-7(b5)
A
A-7(b5)
D-7(b5)
D
b7
T9
T11
Tb13
G-7(b5) G
Gb-7(b5) B-7(b5)
Gb
B
tensions
-77-
locrian #2 scales scale
C
seventh chord C-7(b5)
w
1
h
2
b3
w
h
4
b5
w
w w b6 b7 8
1
b3
tensions
b5
b7
T9
T11
Tb13
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-78-
locrian #2 scale: melodic patterns in c 1
scale
etc...............
a)
etc...............
b)
thirds
2
c) d)
a)
3
b)
a)
arpeggios
1 b3 b5 8 4
connected chords
a)
5
chord + scale
a)
chromatics
6
b)
chords
1 b3
b5 b7
b)
b)
c c c c c a) one half step below each note of the arpeggio
7
two half steps below and two half steps above each note of the arpeggio
c
8
b) two half steps below each note of the arpeggio
c
c c
c c c c 9
10
one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c
locrian +2 bebop scale
c
-79-
diminished whole tone scales scale C
(Diminished H-W
+
seventh chord Whole Tone)
C7#9 (alt)
h w h w w w w 1
b2 #2
3 #4 #5(b13) b7 8
1
F
F7#9
Bb
Bb7#9
Eb
Eb7#9
3
A7#9 A
E
E7#9
B
B7#9
F#7#9
F#
T#11 Tb13
Db7#9
D7#9
T#9
G7#9 G
Tb9
Ab7#9
D
b7
Ab
Db
#5
tensions
-80-
diminished whole tone scales scale
C h 1
(Diminished H-W
seventh chord +
Whole Tone)
w h w w w w b2 #2 3 #4 #5(b13) b7 8
tensions
C7#9 (alt)
1
3
#5
b7
Tb9
T#9
T#11 Tb13
F
Bb
Eb
Ab
Db
G
D
A
E
B
F#
-81-
diminished whole tone scale: melodic patterns in c 1
scale
etc...............
a)
2
etc...............
b)
thirds
b) c) d)
a)
3
arpeggios
1 3 #5 8 1 3 #5 b7 4
a)
b)
chords
connected chords
b) a)
b) 5
arpeggio + scale a)
6
chromatics
b) c c c c c c a) one half step below each note of the arpeggio
7
two half steps below and two half steps above each note of the arpeggio
c
8
two half steps below each note of the arpeggio
c
c c
c c c 9
10
one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c c c c c diminished whole tone bebop scale
c
-82-
symmetric scales 1 half step/whole step diminished scales scale
C
(Eb
Gb
C7b9
A)
1
h
w h w h w b2 #2 3 #4 5 6
h b7
Db
(E
G
Bb)
D
(F
Ab
B)
seventh chord
b7
Tb9
T#9
T#11
T13
1
tensions
3
5
Db7b9
D7b9
2 whole step/half step diminished scales
C
(Eb
Gb
A)
Cº7
1
w
2
h
b3
w
4
h
b5
w h w #5 6 7
b3
1
Db
(E
G
Bb)
Dbº7
D
(F
Ab
B)
Dº7
b5
bb7
T9
T11
Tb13
T7
3 whole tone scales C
(D
E
F# G#
Bb)
1
w
2
Db (Eb
w
3
F
w
#4
G
w
#5
A
w
b7
Bb)
w
8
C+7
1
Db+7
3
#5
b7
T9
T#11
Tb13(#5)
-83-
symmetric scales 1 half step/whole step diminished scales C
1
scale Gb
(Eb s
seventh chord C7b9
A)
t s t s t s b2 #2 3 #4 5 6 b7
Db
(E
G
Bb)
D
(F
Ab
B)
tensions
1
3
b7
5
Tb9
T#9
T#11
T13
T11
Tb13
T7
Db7b9
D7b9
2 whole step/half step diminished scales
C
1
(Eb t
2
s
b3
Gb
t
4
s
b5
A) t
#5
s
Cº7 t
6
Db
(E
G
Bb)
Dbº7
D
(F
Ab
B)
Dº7
b3
1
7
b5
bb7
T9
3 whole tone scales
C
1
(D t
2
Db (Eb
E t
3
F
F# G# t
#4
G
t
#5
A
C+7
Bb) t
b7
Bb)
t
8
1
Db+7
3
#5
b7
T9
T#11
Tb13(#5)
-84-
whole step-half step diminished scales scale C
w
1
h
2
w
b3
h
4
b5
w h w b6 §6 7
Db
D
Cº7
1
E¨º7
Eº7
F
Fº7
G¨
G
A¨
A
B¨
B
E
b3
Dº7
E¨
Dbº7
tensions
seventh chord
G¨º7
Gº7
A¨º7
Aº7
B¨º7
Bº7
b5
T11
Tb13
T7
bb7
T9
-85-
whole step-half step diminished scales scale C
seventh chord Cº7
w
1
h
2
w h w h w b3 4 b5 b6 §6 7
1
b3
b5
bb7
tensions
T9
T11
Tb13
T7
Db
D E¨ E F G¨
G
A¨
A
B¨ B
-86-
whole step-half step diminished scale: melodic patterns 1
2
scale
etc...............
etc...............
a)
b)
thirds a)
b)
c)
d)
3
4
a)
arpeggios
b)
chords
connected chords
b) a)
5
chord + scale
b) a)
chromatics
6
b) two half steps below each note of the chord c c c c c c a) one half step below each note of the chord
7
c c c c two half steps below and two half steps above each note of the chord
8 enclosures with diminished + chord
Cº7/Gb
Bº
Cº7
3
A¨º 3
Dº
Cº7/Eb
Fº 3
3
Cº7/A
-87-
half step-whole step diminished scales
seventh chord
scale
C
h
1
w
b2 b3
h
w
3
#4
h
w
5
h
6
C7b9
1
b7
Db
3
5
D7b9
Eb
Eb7b9
E
E7b9
b7
Tb9
T#9
T13
Db7b9
D
tensions
F7b9
F
G¨
G
G¨7b9
G7b9
A¨7b9 A A7b9 A¨
B¨
B¨7b9
B
B7b9
T#11
-88-
half step-whole step diminished scales seventh chord
scale
C
h
1
w
b2 b3
h
w
3
h
#4
w
5
h
6
b7
C7b9
1
3
5
b7
tensions
Tb9
T#9
T#11
T13
Db
D Eb
E
F
G¨
G
A¨
A
B¨
B
-89-
half step-whole step diminished scale: melodic patterns 1
scale
etc...............
b)
a)
2
thirds
a)
b)
c)
d)
3
arpeggios
a)
chords
4
b)
connected chords
b) a)
5
chord + scale
b) a)
chromatics
6
c c c c c c b) two half steps below each note of the chord
a) one half step below each note of the chord
7
two half steps below and two half steps above each note of the chord + chord
c
c
c
c
8 enclosures with diminished + chord
Cº7/Gb
B¨º
Cº7
Gº
D¨º
Cº7/Eb
Eº
3
3
3
Cº7/A
3
-90-
whole tone scales scale
C
seventh chord
w w w w w w 1
2
3
#4
#5
b7
8
F
Bb
Eb
C7(#5)
1
Eb7(#5)
Db7(#5)
Gb
B
E
Ab7(#5)
Gb7(#5)
D7(#5)
G
D
G7(#5)
Tb13(#5)
E7(#5)
T#11
A7(#5)
T9
B7(#5)
A
b7
Bb7(#5)
Db
#5
F7(#5)
Ab
3
tensions
-91-
whole tone scales scale
C
w w w w w w 1
2
3
#4
#5
b7
8
C7(#5)
seventh chord
1
3
#5
tensions
b7
T9
T#11
Tb13 (#5)
F Bb
Eb Ab
Db
Gb
B E
A
D
G
-92-
whole tone scale: melodic patterns 1
scale
etc...............
etc...............
a)
2
b)
thirds
b) c) d)
a)
3
4
a) arpeggios
triads
b)
connected chords
b) a)
5
arpeggio + scale
a)
b)
chromatics
6
c c c c c c a) one half step below each note of the arpeggio
7
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c
c
c c
8
one half step below each note of the scale + triad
9
two half steps below and two half steps above each note of the scale + chord
c c c c 10
c c c c c c c c one half step on beat below each note of the scale
c c c c c c -93-
chromatic scale: melodic patterns 1
scale
a)
b)
2
etc...............
play ascending and descending in the register of the instrument
etc...............
thirds
a)
b)
c)
d)
3
groups of four
a)
b)
4
triplets
a)
3
3
3
b)
3
3
3
3
3
3
3
3 3
3
3
3
3
-94-
harmonic minor scales scale
seventh chord
C
w h w w h w+h w 1
2
b3
4
5
b6
7
8
C-maj7
1
b3
F-maj7
F
Bb
Eb-maj7
Eb
Ab-maj7 Ab
Db
Db-maj7
Gb-maj7
Gb
B
E-maj7
A-maj7 A E
D-maj7
D
G
G-maj7
T11
5
7
T9
B-maj7
Bb-maj7
tensions
b6
-95-
harmonic minor scales scale
C
1
seventh chord
tensions
C-maj7
2
b3
4
5
b6
7
8
1
b3
5
7
T9
T11
b6
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
-96-
harmonic minor scale: melodic patterns in c 1
scale
2
etc...............
a)
etc...............
b)
thirds
c) d)
a)
3
b)
a)
arpeggios
1 b3 5 8
4
connected chords
a)
5
chromatics
6
chord + scale
a)
b)
chords
1 b3 5 7
b)
b)
c c c c c a) one half step below each note of the arpeggio
7
b) two half steps below each note of the arpeggio
two half steps below and two half steps above each note of the arpeggio
c
c
c c
8
one half step below each note of the scale + triad
9
two half steps below and two half steps above each note of the scale + chord
c c c c
c c c c
c c c c c c 10
harmonic minor bebop scale with three passing tones
-97-
scales study with melodic pattern Same melodic pattern applied to different scales
1
c major scale
thirds
a)
etc...............
etc...............
etc...............
etc...............
b)
c)
d)
2 c mixolydian scale a) b) c) d) 3 c dorian scale a) b) c) d) 4 c major pentatonic a) b) c) d) 5 c minor pentatonic scale a) b) c) d) 6 c major bebop scale
7 c mixolydian bebop scale 8 c dorian bebop scale
-98-
scales study with syncopated rhythmic pattern
same rhythmic pattern and articulations applied to different scales
1
c major scale
2 c mixolydian scale
3 c dorian scale
4 c major pentatonic scale
7 c half step - whole step diminished scale
5 c melodic minor scale 6 c whole tone scale
8 c diminished whole tone scale
-99-
scales study with combinations of syncopated rhythmic patterns i 1
+
2 c major scale
b syncopation
c major pentatonic scale
syncopation
b
1
+
a
3
a
c dorian bebop scale a
syncopation b
c minor blues pentatonic scale a
b
syncopation
-100-
scales study with combinations of syncopated rhythmic patterns ii 1
+
4 c melodic minor scale
a
syncopation
b
1
+
5
c major blues pentatonic scale a
2
+
syncopation
b
3
c lydian scale
b
+
a
syncopation
2
4
c aeolian scale
b
syncopation
a
-101-
2
scales study with combinations of syncopated rhythmic patterns iii
5
+
a
c phrygian scale
syncopation
b
2
+
6
c mixolydian b9 b13 scale a
3
3
3
syncopation
b
3 3 3 3
3
+
4
c diminished whole tone scale a
b
3
+
syncopation
5
c locrian scale
b
syncopation
a
-102-
scales study with combinations of syncopated rhythmic patterns iv 3
+
6 c harmonic minor scale
4
+
5
6
syncopation
c minor pentatonic scale a
b
6
+
6
c chromatic scale
3
3
3 3
3
a
3
3
syncopation
3
3
syncopation
3
b
+
3
c whole tone scale a
b
3
syncopation
4
3
3
b
a
3
3
-103-
jazz language: phrasing
An effective way of organizing the melodic phrasing and generate forward motion is to start playing on the weak bars and finish on the strong bars. This way the phrasing accompanies the instability of the dominant chords on weak bars and the stability of the tonic chords on strong bars.
1
melodic activity
weak bar
strong bar
weak bar
strong bar
melodic activity
tension
2
release
weak bar
example:
tension
strong bar
weak bar
strong bar
release
Using the same concept we can start playing on the weak part of the bar and finish on the strong part of the next bar.
melodic activity
weak bar
strong bar
tension
weak bar
strong bar
release
example: melodic activity
tension
release
-104-
scales study with forward motion rhytmic displacement of the pattern
1
c major scale
two notes before down beat
2 c major pentatonic scale
three notes before on beat
two notes before on beat
one note before on beat
3 c major bebop scale
4 c whole tone scale
four notes before down beat
one note before on beat
-105-
jazz language: articulations
1
in music, articulation means to give a different intention in duration and intensity to each note and how to relate it to the next note or group of notes. over the same note we talk about accent and volume, and over a group of notes, of interruption or continuity among them.
types of articulations tenuto
staccato
vertical accent
vertical accent with staccato
legato tongue hold full value
light accent hold half value
heavy accent
heavy accent short as possible
du
du
du
du
hold less than full value
duht
daht
dot
du
duht duht duht duht
daht daht daht daht
dot
dot
dot
dot
horizontal accent
ghost note
breath articulation legato
portato
heavy accent hold note full value
attack with half tongue or less definition of pitch
no tongue, diaphragm push
legato-staccato combination emphasizing each note
dah
2
dud-n du duh
huh
huh
du du du du
du
legato and staccato combinations and their rhythmic perception 1
5
2
rhythmic perception:
connected notes
6
3
4
7
8
-106-
scales study with articulations
same articulation applied to different scales
1
c major
2 c mixolydian
3 c dorian
4 c major pentatonic scale 5 c melodic minor scale 6 c whole tone scale
7 diminished half step whole step scale 8 c diminished whole tone scale
-107-
scales study with chromatics c c
chromatics resolving to different notes of the scale
1
c major scale
one semitone below each note of the scale
c c c
c
c
2 c major pentatonic scale
c
c
one semitone below first note of the group of three
c
c
one semitone below each note of the scale
c
two semitones above the tonic of the scale
c
c
c
3 c major bebop scale
c
c
4 c whole tone scale
c
c
c
c
two semitones below and two above the tonic of the scale
c c c c One semitone below each augmented triad
c
c
c
c c c c c -108-
jazz language: embellishments 1 trill
rapid alternation of two tones
2 turn
short
long
6 connecting gliss gliss.
5 spill short
long
7 plop
fast descending glissando with indefinite pitch notes before resolving
dyah(t)
8 vibrato
9 tremolo (frullato)
pitch variation
vibrato
volume variation
10 grace note (acciaccatura)
p f p f p f p f
drui
11 overtone 12 short fall overtone of a different note starts in tune and finishes low pitch
short glissando with indefinite pitch sounds
doit
4 lift
3 doit
dow
13 smear starts low pitch and finishes in tune
yah(t) -109-
scales study with embellishments
embellishments applied to different notes of the scale
1
c major scale
turn
turn
(grupetto)
turn
2 c minor pentatonic scale
turn
mordent
3 c harmonic minor scale
gl
lift
plop
iss.
5 c lydian b7 scale
connecting gliss
4 c mixolydian scale
trill
doit
-110-
jazz language: clichés 1
2
major scale
3
"Salt Peanuts"
5
chromatic scale
3
6
9
blues scale
10
blues scale
Duke Ellington, "Take the A Train"
Miles Davis, "The Theme"
3
rhythmic cliché, "el manisero"
11
3
3
3
3
8
4
major pentatonic scale
7
major scale
minor cliché, "Cry Me A River"
12
D-7b5
D-7b5
3
"The Lick"
G7 alt
C-
3
3
G7 alt
C-
-111-
scales study with jazz clichés
different clichés added to the scale
1
c major scale
"Take The A Train" cliché
2 c dorian bebop scale G7 alt D-7 b5 3 minor cliché "Cry Me A River" 3 C- 3 3 c major pentatonic scale
3
jazz cliché
4 c minor blues pentatonic scale
blues cliché
blues cliché
5 c mixolydian scale
Miles Davis "The Theme" cliché
3 -112-
scales study in relation to rhythm
playing ahead, on or behind the beat
1
c major scale
behind the beat:
1
2
3
4
1
2
3
4
2 c mixolydian scale
on the beat:
1
2
3
4
1
2
3
4
3 c dorian scale
ahead of the beat:
4 c major pentatonic scale
ahead, on and behind the beat:
5 c melodic minor scale
1
2
3
4
ahead
1
2
on
3
4
behind
1
2
3
4
behind
1
2
3
on
4
ahead
behind, on and ahead of the beat: 1
2
3
4
1
2
3
4
-113-
jazz language: ghost notes 1
ghost note: suggested note, with rhytmic value but undetermined pitch.
diatonic i
pp
dud-n daht x: ghost note
2 chromatic i
dud-n daht
3 diatonic ii
4 chromatic ii
dud-n daht
dud-n daht
5 thirds i
dahd-n du daht
6 thirds ii
dahd-n dahd-n
7 clichés
3 3
-114-
scales study with swing
mf mp
f
different dynamics applied to each note of the scale
ghost note
ppp ppp thirds: dahd-n du daht ghost note: suggested note, with rhytmic value but undetermined pitch.
1
c major scale
mf ppp mp f
mf mp mp ppp
2 c mixolydian scale dahd du -n dahd du -n seventh chords: ghost note ppp
3 c dorian scale
thirds:
mf ppp mf ppp dahd-n dahd-n
4 c major pentatonic scale mp mf mp ppp
du dahd -n du dahd -n
groups of four:
5 c minor blues pentatonic scale mf ppp
triplets:
6 c whole tone scale chromatics:
f dahd-n daht
3
3
3 3
ppp mf mp f n- dahd-n daht
-115-
jazz language: pivoting pivot is an octave change, it modifies the sound of the melodic line and eliminates the limitations of the register of the instrument.
c major scale 1
pivot
2 c major bebop scale pivot
pivot
3 c major pentatonic blues scale
pivot
4 c minor pentatonic blues scale
pivot
-116-
scales study with pivoting
octave change from different notes
1
c major bebop scale
pivot
pivot
2 c major blues pentatonic scale pivot
3 c minor blues pentatonic scale pivot
pivot
4 c locrian +2 scale pivot
5
c whole tone scale pivot
-117-
jazz language: step and skip step is a neighbour tone. skip is not playing one or more intermediate notes of the scale. 1
c major scale
step - skip - step
2 c major bebop scale
step - skip - step
3 c major pentatonic scale
step - skip - step
4 c minor pentatonic scale
skip - step - step
-118-
scales study with skips 1
c major bebop scale
skip
skip
2 c minor pentatonic scale
skip
skip
skip
skip
3 c half step-whole step diminished scale
skip
skip
4 c dorian bebop scale
skip
skip
5 c harmonic minor scale
skip
skip
-119-
major ii-v-i: scale options in c 1
scale options in c:
C-7 minor (blues) pentatonic scale
Cmaj7
minor (blues) pentatonic scale
minor (blues) pentatonic scale
dorian bebop scale
mixolydian bebop scale
major bebop scale
dorian scale
mixolydian scale
major scale
C7
major (blues) pentatonic scale
major (blues) pentatonic scale
major ii-v-i progression in c:
2
II-7
V7
D-7
Imaj7
G7
Cmaj7
minor (blues) pentatonic scale
minor (blues) pentatonic scale
major (blues) pentatonic scale
minor (blues) pentatonic scale
major (blues) pentatonic scale
major bebop scale dorian scale mixolydian scale major scale
dorian bebop scale
mixolydian bebop scale
-120-
minor ii-v-i: scale options in c 1
scale options in c:
2
C7+9 /C7b9 0
C-7b5
C-7b5
2
C-7b5
1
C-7 C-6
C7+9
C7+9
C7b9
aeolian (natural minor) scale (mode VI eb major)
dorian scale (mode ii bb major)
C-
C-maj7
V7/I-
II-7b5
D-7b5
G7+9 /G7b9 0
locrian #2 scale (mode VI Eb melodic minor)
D-7b5
locrian scale (mode VII Db major)
D-7b5
D-7b5
C-7
C-7
C-6
major ii-v-i progression in c:
1
2
2
avoid note
2
1
harmonic minor scale
C-maj7
3
diminished whole tone scale (mode vii Db melodic minor)
locrian scale (mode VII Db major)
C-7b5
diminished half step - whole step scale
1
C7b9
C-maj7C-6
4
locrian #2 scale (mode VI Eb melodic minor)
C-
melodic minor scale
diminished half step - whole step scale
2
G7b9
diminished whole tone scale (mode vii Db melodic minor)
1
G7+9
G7+9
G7b9
I4
C-maj7C-6
3
C-maj7
C-
melodic minor scale
harmonic minor scale
avoid note C-7
aeolian (natural minor) scale (mode VI eb major)
2
C-7 C-6
dorian scale (mode ii bb major)
1
C-
C-maj7
C-7
C-6
-121-
pentatonic scales: scale options over the major ii-v-i progression 1
scale options in c:
C-7 minor (blues) pentatonic scale
2
minor (blues) pentatonic scale
major (blues) pentatonic scale
minor (blues) pentatonic scale
major (blues) pentatonic scale
major ii-v-i progressión in c: II-7
V7
Imaj7
D-7
G7
Cmaj7
Cmaj7
minor (blues) pentatonic scale
C7
minor (blues) pentatonic scale
major (blues) pentatonic scale
minor (blues) pentatonic scale
major (blues) pentatonic scale
-122-
pentatonic scales: scale options over the minor ii-v-i progression 1 scale options in c: C-7b5
C7+9 /C7b9 0
Gb major pentatonic
2
1
2
Gb major pentatonic
C-7b5 locrian (mode VII of Db major)
1
C-7b5
1
C-7 C-6
C-7 minor (blues) pentatonic
dorian/eolian/melodic minor/harmonic minor
C7+9
C7+9
2
altered (mode VII of Db melodic minor)
C-
C7b9
C-
C-maj7
C-7
C-6
2 minor ii-v-i progression in c:
II-7b5
V7/I-
I-
D-7b5
G7+9 /G7b9 0
C-
2
Ab major pentatonic
Ab major pentatonic
2
altered (mode VII of Db melodic minor) 1
1
D-7b5
G7+9
D-7b5 locrian (mode VII of eb major)
G7+9
G7b9
2
C-7 minor (blues) pentatonic
dorian/eolian/melodic minor/harmonic minor
1
C-7 C-6
C-
C-maj7
C-7
C-6
-123-
bebop scales: scale options over the major ii-v-i progression 1
scale options in c:
C-7
C7
c dorian bebop scale
Cmaj7
c mixolydian bebop scale
c major bebop scale
c dorian scale
2
c mixolydian scale
c major scale
major ii-v-i progression in c:
II-7
V7
Imaj7
D-7
G7
Cmaj7
d dorian bebop scale
g mixolydian bebop scale
c major bebop scale
d dorian scale
g mixolydian scale
c major scale
-124-
bebop scales: scale options over the minor ii-v-i progression
1
scale options in c:
C-7b5#2
C-7b5
C7+9
4
3
2
locrian #2 bebop scale
2
C-7b5
1
1
2
aeolian bebop scale
dorian bebop scale
C-7 C-6
1
C-
C-maj7
C-7 C-6
minor ii-v-i progression in c:
D-7b5#2
V7/I-
D-7b5
G7+9
4
3
2
locrian #2 bebop scale
locrian bebop scale
D-7b5
I-
D-7b5
harmonic minor bebop scale
C-7
1
melodic minor bebop scale
II-7b5
C-maj7
2
C7+9
C-7b5
C7+9
C-
diminished whole tone bebop scale
locrian bebop scale
C-maj7 C-6
1
G7+9
diminished whole tone bebop scale
G7+9
C-maj7 C-6
Cmelodic minor bebop scale
C-maj7
harmonic minor bebop scale
C-7
aeolian bebop scale
dorian bebop scale
C-7 C-6
1
C-
C-maj7
C-7 C-6
-125-
transformation of the major scale melodic line
1/2
1 c major scale
2 + melodic patterns
thirds
chord
chromatics
3 + syncopated rhythmic patterns
4 + embellishments
grupetto
5 + jazz cliché
grupetto
blues scale cliché
-126-
transformation of the major scale melodic line 2/2
6 + forward motion + pivot pivot
3
pivot
forward motion
7 + swing + dynamics swing
3 ghost notes
p
8
F
major bebop scale with syncopated rhythmic patterns, articulations, pivots, embellishments, jazz clichés, forward motion, swing, dynamics and effects
swing
with mute 3
p
F
-127-
100 ways to play the major scale C major scale
a)
arpeggios
Etc...............
Etc...............
b)
play ascending and descending in the register of the instrument
b)
a)
1
3 5
8
arpeggios II
1 3 5 3 1 5 3 5 a)
b)
c)
d)
3 5 3 1 3 1 5 3 connected arpeggios
a)
1
b)
3 5
8
chords
b)
a)
1 3
5 7
connected chords a)
b)
chord + scale
a)
b)
-128-
100 ways to play the major scale
connected seconds
b)
a)
seconds with triplets a)
b)
c)
d) 3
3
3
3
3
3
3
3
3
3
3
3
3
3
connected seconds with triplets 3 3 3 3 a) 3
3
3
3
3
3
3
3
3
3
3
3
thirds c) d)
a)
b)
connected thirds
b)
a)
d)
c)
thirds with triplets 3
3
a) 3
3
3
3
b)
3
3
3
3
c) 3
3
3
d)
3
3
3
-129-
100 ways to play the major scale fourths a)
b)
c)
d)
connected fourths
a)
b)
fourths with triplets
3 a) 3
3
3
3
b)
3
3
3
c)
3
3
3
3
fifths
d)
c)
a)
b)
connected fifths a)
b)
fifths with triplets
c) a) 3
3
3
3
b)
3
3
3
3
3
3
3
sixths a)
b)
3
c)
connected sixths
a)
d)
b)
sixths with triplets
c) a)
3
3
3
3
b)
3
3
3
3
3
3
3
3
-130-
100 ways to play the major scale sevenths
b)
a)
connected sevenths a)
c)
b)
d)
sevenths with triplets
c) a) 3
3
3
3
b)
3
3
3
3
3
3
3
3
octaves a)
b)
connected octaves a)
c)
b)
d)
octaves with triplets
a) 3
3
3
3
b)
3
3
c)
3
3
3
3
3
3
-131-
100 ways to play the major scale 24 permutations of the 1 2 3 5 pattern 1
2
3
5
24 permutations of the 5 6 7 9 pattern 5
6
7
9
24 permutations of the 3 5 6 7 pattern 3
5
6
7
-132-
100 ways to play the major scale chromatics one half step below each note of the arpeggio
c c c c c c c c a)
b)
two half steps below each note of the arpeggio
c c c c b)
A)
two half steps below and two half steps above each note of the arpeggio
c c
c c one half step below each note of the scale + triad
two half steps below and two half steps above each note of the scale + chord
c c c c on beat chromatics over arpeggio I
c
chromatics over arpeggio II
c c c c c) d) c c c c b)
A)
triplets with chromatics over arpeggio
3
3
3 A)
3
b)
3
3
3
3
triplets with chromatics over scale I
c)
3
3
3
3 3
3
c
c
3
triplets with chromatics over scale II
3
3
3
c c 3 3
3
3
3
3
3
3
3
-133-
100 ways to play the major scale major sixth chord + diminished A¨º C6/A Bº C6
Dº
C6/E
Fº
C6/G
connected major sixth chord + diminished C6/A Bº C6 dº C6/E
Fº
C6/G
A¨º
enclosures with diminished + major sixth chord I Bº
C6
Dº
C6/E
Fº
3
3
3
C6/G
A¨º
C6/A
3
enclosures with diminished + major sixth chord II
Dº
C6/G
C6/E
3
A¨º
C6/A
3
Bº
3
Fº
3
C6
-134-
100 ways to play the major scale phrase building with different ways of playing the major scale Cmaj7
1
chord + scale
thirds
chromatics connected fifths chromatics arpeggio
octaves
2
chromatics
connected chords
3
chromatics
chromatics
5-6-7-9 pattern 1-2-3-5 pattern
chromatic enclosure
3
4
5
enclosure with diminished + major sixth chord I
seconds
3 3
connected arpeggios
3
scale
3
3
chromatics
-135-
scales memorization: f mixolydian 1 source
mixolydian: fifth mode of the major scale
Bb major
F mixolydian
5 2 comparison
the mixolydian scale is the same as the major scale with b7
7
F major
b7
F mixolydian
3 formula
mixolydian scale: 1
2
3
4
5
b7
6
8
F mixolydian
1
2
3
4
5
b7
6
8
4 tetrachords major tetrachord
minor tetrachord
major tetrachord
1
2
3
4
1
b3
2
4
1
2
3
minor tetrachord
4 + 1
b3
2
4
5 whole steps and half steps
C mixolydian
F mixolydian
W
6
W
s
W
W
H
W
W
W
s
W
W
scale, chord tones, available and unavailable tensions
F mixolydian
F7 1
H
W
avoid note
3
5
b7
T9
4
T13
same as g- triad -136-
scales memorization: f mixolydian 1 source
mixolydian: fifth mode of the major scale
Bb major
F mixolydian
2 comparison
the mixolydian scale is the same as the major scale with b7
F major
7
F mixolydian
3 formula
F mixolydian
mixolydian scale:
4 tetrachords major tetrachord
minor tetrachord
major tetrachord
1
2
3
4
1
b3
2
minor tetrachord
4
5 whole steps and half steps C mixolydian
W
6
W
s
W
W
H
W
F mixolydian
scale, chord tones, available and unavailable tensions
avoid note
F mixolydian
same as -137-
scales memorization: f dorian 1 source
dorian mode: second mode of the major scale F dorian
Eb major
2
2 comparison
the dorian scale is the same as the major scale with b3 and b7. F dorian
F major
3
b3
7
b7
3 formula dorian scale:
1
b3
2
4
5
6
b7
F dorian
8
1
b3
2
4
5
b7
6
8
4 tetrachords C minor tetrachord
1
5
2
b3
4
1
2
b3
4
minor tetrachord
1
b3
2
minor tetrachord
4 + 1
b3
2
4
whole steps and half steps C dorian
W
6
F
minor tetrachord
H
W
W
W
H
W
F dorian
W
H
W
scale, chord tones, available and unavailable tensions F dorian F-7
1
b3
5
b7
W
W
H
W
avoid note
T9
6
T11
same as g- triad
-138-
scales memorization: f dorian 1 source
dorian mode: second mode of the major scale
2 2 comparison
the dorian scale is the same as the major scale with b3 and b7. F dorian
F major
3
7
3 formula dorian scale:
1
b3
2
4
5
b7
6
F dorian
8
4 tetrachords C minor tetrachord
F minor tetrachord
minor tetrachord
1
5
2
b3
4
1
2
b3
4
W
6
whole steps and half steps C dorian
minor tetrachord
H
W
W
W
H
W
F dorian
scale, chord tones, available and unavailable tensions F dorian
F-7
same as
-139-
dominant blues in f: scale options
minor (blues) pentatonic scale
major (blues) pentatonic scale
minor (blues) pentatonic scale
same as bar 1
major (blues) pentatonic scale
mixolydian (bebop) scale mixolydian (bebop) scale
I7
F7
IV7
chords:
walking bass line:
same as bar 2
1
IV#º7
minor (blues) pentatonic scale
dorian (bebop) scale
II-7
G-7
9
I7
3
mixolydian (b9) b13 scale
V7/II
D7b9 7
same as bar 1
mixolydian (bebop) scale
4
major (blues) pentatonic scale
major (blues) pentatonic scale
V7
10
F7
8
same as bar 10
I7
6 minor (blues) pentatonic scale
F7
minor (blues) pentatonic scale
F7
C7
I7
Bº7
5
same as bar 1
whole step - half step diminished scale
IV7
B¨7
F7
I7
2
B¨7
same as bar 1
V7
11
C7
12
-140-
dominant blues in f: scale options
minor (blues) pentatonic scale
major (blues) pentatonic scale
mixolydian (bebop) scale
minor (blues) pentatonic scale
same as bar 1
same as bar 1
major (blues) pentatonic scale
mixolydian (bebop) scale
chords:
walking bass line: 1
2
same as bar 2
3
4 minor (blues) pentatonic scale
same as bar 1
major (blues) pentatonic scale
whole step - half step diminished scale
mixolydian (b9) b13 scale
5
6 minor (blues) pentatonic scale
minor (blues) pentatonic scale
7
8
same as bar 1
same as bar 10
major (blues) pentatonic scale
dorian (bebop) scale
mixolydian (bebop) scale
9
10
11
12
-141-
minor blues in c: scale options scale options:
V7#9 C7#9
minor (blues) pentatonic scale
(no key signature)
same as bar 1
same as bar 1
melodic minor scale harmonic minor scale aeolian (natural minor) scale
C-
walking bass line:
1
minor (blues) pentatonic scale
IVF-
II-7¨5 V7b9 D-7¨5 G7¨9
IC-
V7#9 C7#9
same as bar 5
same as bar 1
2
V7#9 A7#9
IVF-
5
II-7¨5 D-7¨5
locrian (#2) scale
6
susV7/V lydian dominant scale V7#9 A¨7 G7#9
II-7¨5 D-7¨5
IC-
V7¨9 A7¨9
susV7/V A¨7
9
4
diminished whole tone scale
half step - whole step diminished scale
V7#9 A7#9
7
V7/IIA7b9
8
diminished whole tone scale
same as bar 1
half step - whole step diminished scale
V7#9 G7#9
V7¨9 G7¨9
V7¨9 C7¨9
3
dorian (bebop) scale
V7¨9 half step - whole step C7¨9 diminished scale
dorian (bebop) scale
chord options: I-
diminished whole tone scale
V7¨9 G7¨9
10
IC-
same as bars 9-10
II-7¨5 D-7¨5
11
V7¨9 G7¨9
12
-142-
minor blues in c: scale options scale options:
V7#9 C7#9
minor (blues) pentatonic scale
same as bar 1
(no key signature)
same as bar 1
melodic minor scale harmonic minor scale aeolian (natural minor) scale
V7¨9 half step - whole step C7¨9 diminished scale
dorian (bebop) scale
IC-
walking bass line:
IVF-
1
minor (blues) pentatonic scale
II-7¨5 V7b9 D-7¨5 G7¨9
IC-
V7#9 C7#9
2
same as bar 5
4
V7#9 A7#9
same as bar 1
IVF-
5
susV7/V lydian dominant scale A¨7
II-7¨5 D-7¨5
II-7¨5 D-7¨5
locrian (#2) scale
IC-
6
V7#9 G7#9
V7¨9 G7¨9
V7¨9 A7¨9
9
V7#9 G7#9
diminished whole tone scale
half step - whole step diminished scale
V7#9 A7#9
V7/IIA7b9
7
8
diminished whole tone scale
same as bar 1
half step - whole step diminished scale
susV7/V A¨7
V7¨9 C7¨9
3
dorian (bebop) scale
diminished whole tone scale
same as bars 9-10
V7¨9 G7¨9
10
IC-
II-7¨5 D-7¨5
11
V7¨9 G7¨9
12
-143-
blues in all keys -template
1
2
3
4
5
6
7
8
9
10
11
12
-144-
rhythm changes in bb
scales and chords: A
major scale
aeolian scale
Imaj7 Bbmaj7
VI-7 (V7/II) G-7 [G7]
walking bass line:
major scale
Imaj7 Bbmaj7
V7/IV Bb7
dorian scale
mixolydian scale
mixolydian scale
dorian scale
II-7 D-7
dorian scale
II-7 C-7
C-7 F7
Bbmaj7
mixolydian scale
V7/V G7
mixolydian scale
V7/I F7
D.S. al Coda
F7
Fine
C-7
V7/V C7
2.
D-7 G7
II-7 G-7
V7/V D7
IV#º Eº
lydian scale
II-7 A-7
diminished whole stephalf step scale 1.
IV6 Eb6
B dorian scale
V7 F7
mixolydian scale
form: aaba
mixolydian scale
II-7 C-7
dorian scale
-145-
rhythm changes in bb: b section A
Bbmaj7
1.
B
scale options over the bridge
1
mixolydian scale up to b7 V7/V D7
V7/V C7
2
fine
V7/V G7
V7/I F7
G7
D7
C7
F7
major blues pentatonic scale D7
C7
4
2.
mixolydian bebop scale with three passing tones
3
G7
F7
minor blues pentatonic scale
D7
C7
G7
F7
-146-
rhythm changes in bb: b section A
Bbmaj7
1.
B
scale options over the bridge
1
mixolydian scale up to b7
2.
fine
V7/V D7
V7/I F7
2
mixolydian bebop scale with three passing tones D7
3
major blues pentatonic scale D7
4
minor blues pentatonic scale D7
-147-
rhythm changes in all keys -template scales and chords: A
Imaj7
1.
form:
2.
fine
B
-148-
Scales Study Organization C instruments Key Priority
C
Major (bebop)
Mixolydian Dorian (bebop) (bebop)
Major (blues) pentatonic
Minor (blues) pentatonic
F Bb D G A E Gb B
Eb Ab Db
-149-
Scales Study Organization Eb instruments Key Priority
C
Major (bebop)
Mixolydian Dorian (bebop) (bebop)
Major (blues) pentatonic
Minor (blues) pentatonic
G E D A B Gb Ab Db F Bb Eb -150-
Scales Study Organization Bb instruments Key Priority
C
Major (bebop)
Mixolydian Dorian (bebop) (bebop)
Major (blues) pentatonic
Minor (blues) pentatonic
G E D A B Gb Ab Db F Bb Eb -151-
melodic patterns in all keys 1
scale
2
a)
b)
a)
5
1 3
8
connected chords
5 7
b)
chord + scale a)
b)
chromatics
a) One half step below each note of the arpeggio
c
7
c
c
b) two half steps below each note of the arpeggio
c
c
two half steps below and two half steps above each note of the arpeggio
8
One half step below each note of the scale + triad
9
two half steps below and two half steps above each note of the scale + chord
c
d)
a)
1 3
6
10
c)
chords
5
b)
arpeggios
4
Etc...............
b)
thirds
3
Etc...............
a)
c
c
c
bebop scale with three passing tones
-152-
notes
-153-
notes
-154-