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Preface Jazz Guitar Elements is designed to help the student jazz guitarist acquire the tools and skills necessary to be
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Preface Jazz Guitar Elements is designed to help the student jazz guitarist acquire the tools and skills necessary to become an accomplished jazz musician. Although there are a number of jazz guitar books already available, this book is different in that is has been designed as a self-instructional book. As a jazz guitar teacher who has taught guitar for a number of years, I felt the need to stop repeating myself and put it all down in a book. This book allows jazz guitar students to seek out much of the essential information about chords, scales, arpeggios and improvisation on their own. In my teaching, this book has allowed me to free up valuable contact time with my students to talk about all those other things which are difficult to put down on paper
How to use this book Jazz Guitar Elements is organized into four chapters. Chapter 1 deals with Chords, Chapter 2, Scales, Chapter 3 Arpeggios and Chapter 4 with Improvisation. By instinct we always start a book at the beginning and work through it until we eventually reach the end. To get the most out of Jazz Guitar Elements, it is recommended that you look at all four chapters at the same time. Start at the beginning of each of the four chapters and devote an equal amount of time to each. In other words, you will be working on chords, scales, arpeggios and improvisation all at the same time. All are equally important to learn and should all receive an equal amount of time. There are many exercises in this book. Although some will appear to be only a sentence or two, each often represents an enormous amount of work. Overall, this book contains enough practice material to keep you occupied for years to come. Jazz Guitar Elements now has audio for most of the examples. If you haven't already purchased the accompanying 58 audio files, they are available at jazzguitarelements.com. The recorded examples can be an enourmous help in learning to play the examples and solos. Jazz Guitar Elements is an excellent resource for any guitarist seeking to become more fluent in playing jazz. Used along with a Fake Book, solo transcription books, a healthy collection of jazz recordings and some good old fashioned hard work, this book can take you a long way. Acknowledgments This book is dedicated to Gene Bertoncini and Art Roberts, two great artists who inspired me and showed me the path. Without their support and encouragement, this book would never have come about. A special dedication goes out to my father, Roland Berard, who passed away shortly after the first edition was completed. ©2017 Michael Berard. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, graphic, electronic or mechanical, including but not limited to photocopying, recording, scanning, digitizing, web distribution, information networks, or by any information storage or retrieval system without written permission from Michael Berard, except for the inclusion of brief quotations in an article or a review. Photos of Michael Berard by: Marcia Seebaran Cover design by: tatlin.net ISBN 978-0-9939458-4-7 2
Musicians
Michael Berard
John Roney
Claude Lavergne
Dave Watts 3
CONTENTS
Chapter 1 Chords 7th Voicings 8 Drop 2 Chord Voicings 11 Learning to play Drop 2 chords 12 Drop 2 chord voicings 14 Applying Drop 2 Voicings (All The Things) 22 Further Activities 30 Learning to comp 31 Adding Extensions 32 Secondary Dominants And Related m7 Chords Harmonic Analysis 42 Examples 1 to 7 explained 44 Chords Borrowed from Parallel Minor 45 Brackets And Arrows 46 Chord Functions 50 Modal Interchange 51 Chord Extensions 53 Extensions (Further Activities) 57 Altering Diminished Chords 57 Applying Extensions to Progressions 59 Chord Progressions 65 Chord Melody 67 Melodic Direction 68
39
Chapter 2 Scales Vertical and Horizontal Scales 81 Major Scales 82 Vertical Scale Exercises 85 Practice Table 1 85 Major Scale Modes 86 Scale Forms 88 Applying Rhythms To Scale Practice 93 Rhythms 94 Patterns 95 Horizontal Approach 102 Practice Table 2 103 Modal examples 104 Combining Strings 105 One Octave Scale Practice 107 One Octave Mode Practice 109 Harmonic Minor Scale 111 Harmonic Minor Scale Exercises 114 Patterns And Rhythms 114 About Harmonic Minor Modes 114 Harmonic Minor Modes 115 One Octave Scale Practice (Harmonic Minor) 4
117
CONTENTS
One Octave Mode Practice Mode 5, Harm. Minor 119 Melodic Minor Scale 121 Melodic Minor Scale Exercises 124 Patterns And Rhythms 124 Melodic Minor Modes 124 Note On Practicing 130 One Octave Scale Practice (Melodic Minor) 131 One Octave Mode Practice (Melodic Minor) 132 Diminished Scales 134 7th Scales 135
Chapter 3 Arpeggios Arpeggios 139 Method 1 (One Octave Fingerings) 140 Method 2 (One Octave Fingerings) 143 9th Arpeggios 145 3rd to 9th (omit root) 148 Arpeggios With Added Note 149 Pivot 150 Diminished Arpeggios 150
Chapter 4 Putting It All Together Chord Scale Relationships 153 Modal I (Melody And Solo) 154 Modal II (Melody And Solo) 157 Modal II Explored 160 Simply Put 161 Finding Peace 163 Simply Put and Finding Peace Explored 165 Building Jazz (Bebop) Lines 166 Neighbor Tones 166 About Bebop 168 Repertoire Practice 169 10 Original Melodies and Solos For Jazz Guitar 170 Star's Light 171 Nica's Swing 175 Anything 179 Out From A Distance 183 Gin And Tonic 187 Memories 191 It's Booked 195 Wonderful You 199 You Are The Only One 203 Blue Nosed Dolphins 206
Chapter 5 Answers 210 5
Chapter 1 \
Chords
6
Chord Inversions (closed position) There are 4 inversions of any 4 note 7th or 6th chord. The 4 inversions are as follows:
&
CŒ„Š7
www w
wwww
root position
1st inversion
C7
b www w
root position
1st inversion
& b wwww
2nd inversion
Examples
R = root position
2 = 2nd inversion
C‹7(b5) CŒ„Š7
w b w c w & bb ww
& # wwwnw & nb ww w
R
3
B‹7(b5)
nwww & nC6 nw & n www2 w
& b www w
3 = 3rd inversion
A6 b w bb#w#wwwwww
2
1
bnwb wwww www3
w b nb www
7
bbb wwwww wbww 1
bb wb www www w1
E¨‹6
A¨Œ„Š7
b www R w
3
Gº7
D¨Œ„Š7
w # ## www
www2 bw
ww b b ww
#bwwwww www
F©‹6
& b wwww
3
# www #w wwwR w
b wb www
D‹(Œ„Š7)
C©‹7
F7
C‹6
B¨Œ„Š7
3rd inversion
E‹7(b5)
R
b wwww w w w bw
E7 C‹(Œ„Š7) w
2nd inversion
ww b w n w w bbb www
bbwww b bb ww
2
ww b ww
1 = 1st inversion
F‹7
w
3rd inversion
b wwww
C‹7
w b w & bb www w w below are labeledb aswfollows: The examples
www w
wwww
Bº7
b wwww b wwww 1
7th Voicings The qualities of each of the 8 chord types we will be using are listed below. These 8 chord types are the fundamental chords from which the majority of jazz chords are built. For each of these we will alter notes to create various chords with 9ths, 13th, raised 5ths and so on. It is important to know these 8 chord types well. When learning chord voicings, I find it helpful to be familiar with the names of all of the notes in the chord and their function in the chord. (root, 3rd, 5th, 7th) Ex: A Cm7 chords has a root, minor third, perfect fifth and minor seventh. In a Cm7 chord, the root is C, the third is Eb, the fifth is G and the seventh is Bb. When playing chord voicings, such as the Drop 2 voicings, look at your left hand, assuming you are a right handed player, and identify all the notes for each of your fingers. Where is the third, fifth, root......
www w
3rd major 5th perfect 7th major
dom7
& b wwww
3rd major 5th perfect 7th minor
m7
& bb www w
3rd minor 5th perfect 7th minor
m7(b5)
& bbb wwww
3rd minor 5th diminished 7th minor
m(maj7)
& nbnwwww
3rd minor 5th perfect 7th major
maj6
& n wwww
3rd major 5th perfect 6th major
m6
& b www w
3rd minor 5th perfect 6th major
o7
& bb∫ www w
3rd minor 5th diminished 7th diminished
maj7
&
8
Exercises Using manuscript paper, write the voicings for each of the 4 inversions of the following 7th chords. *Note: Answers to Chapter 1 can be found at the end of the book.
D‹7
&
B‹7(b5)
&
F‹(Œ„Š7)
& & &
E¨6
A¨6
B¨‹6
& &
C7
GŒ„Š7
&
G‹7
&
9
& & & & & & & & & &
Cº7
D¨Œ„Š7
A¨7
F‹7(b5)
B¨6
G¨‹6
C‹7
Fº7
D‹(Œ„Š7)
C‹7(b5)
10
Drop 2 Chord Voicings “Drop 2 chord voicings are a type of chord voicing which work well on the guitar. They contain the perfect spread of notes for the guitar’s unique tuning. Most piano voicings do not work well on the guitar because they use smaller intervals. For piano, it's easy to see why one would want to play voicings with notes closer together as this requires less stretching of the hand. The opposite is true on the guitar. As the guitar is tuned in fourths, voicings with larger intervals between chord tones are more suitable. Drop 2 voicings contain mostly thirds, fourths and fifths with some tones and semi-tones. Drop 2 voicings are based on the four closed position voicings of a 4 note chord. In such a chord, the voices will be the soprano, alto, tenor and bass. These can also be referred to as the 1st, 2nd, 3rd and 4th voices where the soprano is voice 1 and the bass is voice 4. To construct a Drop 2 chord voicing, simply lower the 2nd voice (alto) one octave. This will produce a voicing with more space between notes. The following example illustrates all inversions of C7 in closed position.
&c
b www w
www bw
b wwww
b wwww
Try playing these four voicings on the guitar. You instantly see that it is next to impossible to finger these voicings. In this next example, the 2nd voice is dropped an octave lower to produce "Drop 2" voicings.
&c ⁄
c
III
b ww ww
ww b ww
b www w
ww b ww
3 2 3 3
5 5 7 6
9 8 10 8
12 10 13 12
V
III
11
V
Learning to play Drop 2 chords In learning to play Drop 2 voicings, we will focus on the 4 inversions of each chord type [maj7, m7, dom7, m7(b5), m(maj7), maj6, m6, dim7] across 3 sets of adjacent strings. This means you will learn 12 fingerings for each of the chord types. (Four fingerings on each of the three sets of strings) The pages which follows demonstrate the 12 fingerings for our 8 chords. These voicings are presented in groups of 4 chords that correspond to each of the 3 sets of adjacent strings. The first set uses strings 3, 4, 5 and 6 (lower 4 strings); the second set uses strings 2, 3, 4 and 5 (four middle strings); and the third set uses strings 1, 2, 3 and 4 (four high strings). I suggest you learn the voicings one set at a time or 4 chords at a time. The following strategies are helpful in learning Drop 2 chord voicings. Memorize the finger patterns for the first 4 voicings on a particular set of strings. (Any of the 3 will do.) To help in memorization, use the following as a guide:
• Learn all 4 voicings on the first set of strings.
• Play all voicings on that string group starting from the lowest possible inversion.
• As you play the chords, say the name of each chord’s melody note.
• Say the name of each chord's bass note.
• Say the function of each chords melody note. Ex. (Root, 3rd, 5th, 7th)
• Say the function of each chord's bass note.
• Say the names of all four notes in each chord. (letter names; C, Eb....)
Repeat these activities for the next 2 sets of strings. Play all 12 chords in sequence from lowest to highest then highest to lowest.
12
Practice strategy for guitarists As mentioned earlier, saying the names and functions of the notes of the chords is very important. One of the major pitfalls for guitarists learning to play jazz is that we like to find visual shortcuts. By using these shortcuts, we avoid learning and absorbing critical information. Guitarists need to learn the note names for chords, scales, arpeggios and modes in the same way other instrumentalists do. Imagine if you were a pianist, sax or trumpet player. For these instruments, there are no visual cues like we have on guitar. It’s true that on piano you obviously do see the notes, but because it is so well laid out, it’s almost impossible not to learn the note names. As a guitarist, you must make a special effort to always be conscious of the names of the notes at all times. Questions like, what key am I in or how many flats or sharps are there in this key are important questions guitarists need to think about all the time. Although using visual cues may seem helpful and will seem to suggest that you are progressing more quickly, not learning note names and key signatures is setting yourself up for future roadblocks. Doing the hard work now will definitely help you later on. For every chord, mode, scale and arpeggio you practice, get into the habit of going over exactly what is happening under your fingers. At first, this will be frustrating and will definitely slow you down. Trust me, it’s worth the effort. You will get better at it and will eventually be able to identify every note in every position. Once this happens, the ability and speed in which you learn will increase. Your understanding of new concepts and your ability to execute them will greatly improve. Every instrument has it’s own unique advantages and disadvantages. Some instruments are extremely difficult when you first start and other are easier in the beginning stages. Guitar is probably such a popular instrument because it’s relatively easy to get up and running in no time. Every other person seems to be able to pick up a guitar and sing and play a few songs. If you are serious about playing jazz guitar, you need to leave the visual clues out and start putting in the same hard work learning the names of every note you play just like everyone else.
13
C7 (dom7)
Drop 2 chord voicings
&c ⁄
c
b ww ww
ww b ww
b www w
ww b ww
3 2 3 3
5 5 7 6
9 8 10 8
12 10 13 12
w
ww bw w
b ww ww
ww b ww
5 3 5 3
8 5 8 7
11 9 10 10
13 12 14 13
ww & c b ww
b ww ww
ww b ww
b www w
3 1 3 2
6 5 5 5
8 8 9 8
12 11 12 10
ww c b & w ⁄
⁄
c
c
14
Cmaj7 LOW STRINGS
& c www w
ww ww
ww w w
ww ww
4 2 3 3
5 5 7 7
9 9 10 8
12 10 14 12
⁄
c
MIDDLE STRINGS
w
ww w w
ww ww
ww ww
5 4 5 3
8 5 9 7
12 9 10 10
13 12 14 14
ww c & w ⁄
c
HIGH STRINGS
ww & c ww
ww ww
ww ww
ww ww
3 1 4 2
7 5 5 5
8 8 9 9
12 12 12 10
⁄
c
15
Cm7 LOW STRINGS
& c bb www w
ww bb ww
bb www w
ww b w b w
3 1 3 3
5 5 6 6
8 8 10 8
12 10 13 11
⁄
c
MIDDLE STRINGS
w
w w b w b w
bw b ww w
ww bb ww
4 3 5 3
8 5 8 6
11 8 10 10
13 12 13 13
b ww c b & w ⁄
c
HIGH STRINGS
ww & c bb ww
bb ww ww
ww bb ww
bb www w
3 1 3 1
6 4 5 5
8 8 8 8
11 11 12 10
⁄
c
16
Cm7(b5) LOW STRINGS
& c b b www bw
ww b bb ww
bbb www w
bw bb www
3 1 3 2
5 4 6 6
8 8 9 8
11 10 13 11
⁄
c
MIDDLE STRINGS
w
bw b ww b w
bb ww b ww
b b www bw
4 3 4 3
7 5 8 6
11 8 10 9
13 11 13 13
b ww c b & bw ⁄
c
HIGH STRINGS
b ww & c bb ww
b ww bw bw
b b www bw
bbb www w
2 1 3 1
6 4 5 4
8 7 8 8
11 11 11 10
⁄
c
17
Cm(maj7) LOW STRINGS
& c b www w
ww b ww
b ww ww
ww b ww
4 1 3 3
5 5 6 7
8 9 10 8
12 10 14 11
⁄
c
MIDDLE STRINGS
w
ww w b w
ww bw w
ww b ww
4 4 5 3
8 5 9 6
12 8 10 10
13 12 13 14
b ww c & w ⁄
c
HIGH STRINGS
w w & c b ww
ww bw w
ww b ww
b ww ww
3 1 4 1
7 4 5 5
8 8 8 9
11 12 12 10
⁄
c
18
C6 LOW STRINGS
& c www w
ww ww
ww ww
2 2 3 3
5 5 7 5
9 7 10 8
⁄
c
12 10 12 12
MIDDLE STRINGS
w
ww ww
ww ww
ww ww
5 2 5 3
8 5 7 7
10 9 10 10
13 12 14 12
w c & ww ⁄
ww ww
c
HIGH STRINGS
w & c www
ww ww
ww ww
w www
3 1 2 2
5 5 5 5
8 8 9 7
12 10 12 10
⁄
c
19
Cm6 LOW STRINGS
& c b www w
ww b ww
b ww ww
ww b ww
2 1 3 3
5 5 6 5
8 7 10 8
12 10 12 11
⁄
c
MIDDLE STRINGS
w
ww b ww
b www w
ww b ww
4 2 5 3
8 5 7 6
10 8 10 10
13 12 13 12
b ww c & w ⁄
c
HIGH STRINGS
ww & c b ww
b www w
ww b ww
3 1 2 1
5 4 5 5
8 8 8 7
⁄
c
20
b ww w w 11 10 12 10
Co7 LOW STRINGS
& c b ww b ww
ww b b ww
2 1 3 2
5 4 6 5
⁄
c
b ww b ww
8 7 9 8
11 10 12 11
MIDDLE STRINGS
w
b ww b ww
b www bw
bb www w
4 2 4 3
7 5 7 6
10 8 10 9
13 11 13 12
b ww c & bw ⁄
b ww bw w
c
HIGH STRINGS
bw & c b www
b www bw
bb www w
bw b ww w
2 1 2 1
5 4 5 4
8 7 8 7
11 10 11 10
⁄
c
*Note: An A natural note is used instead of a B double flat. 21
Applying Drop 2 Voicings (All The Things) The following example based on “All The Things You Are” illustrates the application of Drop 2 chord voicings to a standard type chord progression. In this example, the melody note of each chord moves in a linear fashion.
°
B¨‹7
ww ww
E¨7
ww w w
A¨Œ„Š7
4 4 5 3
6 6 6 6
6 4 6 5
8 8 8 6
ww b b & b b c ww
¢⁄
°
ww bbb ww b &
¢⁄
°
D¨Œ„Š7
D‹7(b5)
˙ n˙˙˙
n ˙˙ ˙˙
nnww ww
nnww ww
8 6 6 6
8 6 7 6
7 6 7 5
7 5 5 5
7 5 5 5
bw b b b www b b &
F‹7
ww ww
B¨7
w nww w
E¨Œ„Š7
6 4 5 5
4 4 5 3
4 3 3 3
3 3 3 1
D7
nwww w
A¨Œ„Š7
A‹7(b5)
n ˙˙ ˙˙
˙ n ˙˙ # ˙
n# ww nww
n# ww nww
3 1 1 1
5 4 5 5
5 3 5 4
7 7 7 5
7 7 7 5
ww b b & b b ww
¢⁄
CŒ„Š7
G7
C‹7
¢⁄
°
ww w w
F‹7
GŒ„Š7
22
2
w ° bb b nww & b nw
D7
n#n www w
n ww #n ww
n# ww nww
8 8 9 7
10 10 11 10
10 8 11 9
7 7 7 5
A‹7
¢⁄
GŒ„Š7
° bb b # nnwww & b #w
B7
#n# www nw
n ww n # # ww
n nwww bw
5 5 6 4
7 7 8 7
7 5 8 6
8 8 9 8
F©‹7
¢⁄
ww bbb b w b w &
EŒ„Š7
C7
F‹7
B¨‹7
ww ww
E¨7
ww ww
A¨Œ„Š7
8 6 8 6
6 6 6 6
6 4 6 5
3 1 1 1
° bb b www & b w
D¨‹6
b www w
C‹7
ww ww
n ww nww
4 2 5 3
6 5 6 6
8 8 8 8
10 9 10 9
B¨‹7
b ww ° bb b b ww & b
E¨7
ww ww
A¨Œ„Š7
ww ww
ww ww
9 9 10 8
9 8 8 8
8 8 8 6
8 8 8 6
°
¢⁄
D¨Œ„Š7
¢⁄
¢⁄
23
ww ww
Bº7
Exercises For the next 3 examples, the top note of each chord is given. Complete each Drop 2 chord voicing by adding notes below the melody. Use only 7th chords. Do not add any extensions. The recorded examples are played with the full Drop 2 chords.
Autumn °
&
w
C‹7
bb c w
F7
w
B¨Œ„Š7
w
E¨Œ„Š7
4
6
6
8
¢⁄
A‹7(b5)
D7
w
G‹7 w
nG7w
5
5
6
7
° bb w & ¢⁄ °
w
F7
w
B¨Œ„Š7
E¨Œ„Š7
8
8
10
10
A‹7(b5)
w
D7
w
G‹7
w
w
8
8
6
6
b b &
w
w
C‹7
¢⁄ °
&
bb
¢⁄ 24
°
bw b &
¢⁄
°
D7
4
3
&
C‹7
F7
5
5
A‹7(b5)
D7
#˙ 7
bb ˙
G‹7
w
bw b &
¢⁄
°
A‹7(b5)
w
˙
G7
w
nw
3
4
B¨Œ„Š7
w
E¨Œ„Š7
3
3
w
˙
G‹7
˙
C7
˙
F‹7
B¨7
10
8
8
6
6
˙
˙
5
¢⁄
°
4
E¨Œ„Š7
˙ b &b
¢⁄
˙
A‹7(b5)
˙
D7
˙
G‹7
w
6
5
5
6
8
25
∑
Dream °
CŒ„Š7
w
w
D¨Œ„Š7
bw
bw
3
3
4
4
&c
¢⁄
°
bw
bw
E¨7
A¨Œ„Š7
w
w
6
6
8
8
G‹7 w
C7
w
FŒ„Š7
w
w
10
8
8
8
B¨‹7
&
¢⁄
°
&
¢⁄
°
&
w
E¨‹7
b˙
A¨7
D‹7
˙
G7
10
11
11
10
10
A‹7
w
D7
8
˙
¢⁄ 26
˙
°
&
CŒ„Š7
w
w
D¨Œ„Š7 w
w
12
12
13
13
w
E¨7
bw
C‹7(b5)
bw
bw
13
11
11
11
¢⁄
°
B¨‹7
&
F7
¢⁄
°
w
G7
˙
10
10
D‹7(b5)
&
˙
CŒ„Š7
˙
F7
E‹7
˙
A7 ˙
7
7
8
10
12
˙
¢⁄
°
&
D‹7 ˙
˙
13
10
G7
˙
10
˙
˙
w
˙
C6
˙
A7
#˙
D‹7
G7
CŒ„Š7
7
8
9
10
10
12
¢⁄ 27
Another You °
&
E¨Œ„Š7 w
w
D‹7(b5)
w
G7
6
6
4
3
bbb c
w
¢⁄
°
&
C‹7
bbb w 4
¢⁄
°
&
w b bb
w
E¨7
4
6
8
E¨Œ„Š7
w
C7 w
6
8
w
A¨Œ„Š7
A¨‹6
8
9
F7
w
w
F‹7
w
B¨7 w
8
8
8
10
¢⁄
°
w
w
B¨‹7
bb b &
¢⁄ 28
°
E¨Œ„Š7 w
w
D‹7(b5) w
G7 w
10
10
10
10
C‹7 w
w
B¨‹7
w
E¨7
8
8
6
6
bb b &
¢⁄
°
&
bbb
w
¢⁄
°
w
bw
A¨‹6
E¨Œ„Š7
w
A‹7(b5)
D7
8
7
6
5
5
A¨Œ„Š7
&
bbb
n˙
˙
¢⁄
°
˙ b bb
b˙
8
9
E¨Œ„Š7
&
¢⁄
A¨7
G‹7
˙
C7
F‹7
˙
B¨7 œ™
E¨6 œ
6
8
8
10
11
˙
29
J
∑
Further Activities 1. In the last four examples, only half notes and whole notes were used. When comping, you will normally play more interesting rhythms. Try playing these same examples strumming 4 quarter notes per bar. (Straight 4 swing) Once you are able to comfortably play through the examples, try improvising your own jazz rhythms. 2. Start the chord progression on a different note and create a new line. Where I may have started on the 3rd of the chord, choose another chord tone and create a new line by moving in the same direction. Later try moving in the opposite direction. When trying this for the first time, you may need to write it down. As you get better at this, you can try improvising the top notes as you go. A nice challenge! 3. Choose another standard that you like and create interesting chord combinations by choosing a top note and a direction to move. (ascending or descending) The two examples below are the first 5 bars from “Another You.” The first example illustrates descending motion and starts from a different note than the example on the previous page. Complete each voicing by filling in the remaining notes under the melody note. Use only Drop 2 voicings. The second example illustrates the use of a common tone. The G note is a common chord tone for three of the chords in the progression. If we include the 11th of the Dm7(b5) chord, we could also use the G melody note for the Dm7(b5). Complete each voicing by filling in the remaining notes under the melody note. Use only Drop 2 voicings.
Example 1
w b &b b
E¨Œ„Š7
Example 2
w b &b b
E¨Œ„Š7
w
D‹7(b5)
G7
w
C‹7
w
D‹7(b5)
w
G7
w
C‹7
w
30
w
w
Learning to comp Comping is an important part of jazz guitar playing. It is a skill which requires a thorough understanding of chord voicings, extensions and harmony. Comping is about putting these three elements together in creative ways. As you begin applying your Drop 2 chords to standards and jazz compositions, you will need to arrange them in ways that create interesting melodic movement. In other words, the top notes of your chords should combine to create melodies. At this point we have covered only the basic Drop 2 voicings without extensions. At times, you may find the melody of a chord progression jumps or repeats notes. Considering this restriction this is normal. As you move on to chord extensions, the possibilities will increase allowing for more creativity and better sounding melodies in your chord progressions. Once you have some nice melodic movement in your chord progression, the next step is to add some rhythm. You can start with a simple idea like playing a dotted quarter followed by an eighth note and half rest. (see below) If there is only one chord in that bar you will be playing it twice. When there are two chords, play the dotted quarter for the first chord and the eighth note for the second.
4 & 4 V ™ VJ Ó C‹7
E¨Œ„Š7
& V™
A¨7
VJ Ó
F7
V™
VJ Ó
G‹7
C7
V™
B¨Œ„Š7
V™
VJ Ó
F‹7
V™
VJ Ó
B¨7
VJ Ó
E¨Œ„Š7
V™
VJ Ó E¨Œ„Š7
+
When applying a rhythm, you may choose to repeat the same top note for each of the chords or use two different notes. You can of course also create an ascending or descending line for the entire 4 bars. Later when you add extensions to chords and combine that with rhythms, your comping will become even more interesting.
31
Adding Extensions When adding extensions to a chord, it is important to understand the function of that chord and its relationship to the key of the piece or the key of the moment. Chord progressions in jazz music range from simple to more complex structures. They can be diatonic or borrow chords from other keys and modes. As a first step, we will need to know which chords are diatonic and which are not. In both cases, this information is a critical first step in determining the appropriate extensions to use. In our study of chord extensions, we will need to look at some jazz harmony rules. This information will allow you to understand the relationship between scales and chords. Keep in mind that harmony is a wide area of study. In this book we will cover much of what you will need to play the majority of standards and much of the repertoire of jazz compositions from early jazz to the present. This is in no way all there is to know. Our study will focus on four general topics:
diatonic chords
secondary dominants and their related minor seventh chords
chords borrowed from the relative minor
chords borrowed from parallel modes and scales.
To apply the appropriate extensions to any given chord we will follow these 5 steps
1. Identify the chord’s harmonic function. (diatonic or non-diatonic)
2. Determine type of resolution (to major or minor)
3. Identify the parent scale
4. Spell chord according to parent scale
5. Determine the appropriate extensions for the chord.
To begin, we will look at the diatonic chords generated by the major, melodic minor and harmonic minor scales. This will allow us to find the available extensions for each of the chords generated by these scales. Let’s look first at the “C” major scale.
C major scale
&
CŒ„Š7
ww ww
D‹7
ww ww
E‹7
www w
www w
FŒ„Š7
32
ww ww
G7
ww ww
A‹7
www w
B‹7(b5)
Each of these chords has a unique mode and set of upper extensions. For each chord we have four chord tones and three extensions, also known as passing tones. When adding extensions to a chord, the following rule must be observed at all times.
b9 rule Any extension can be used provided it does not create the interval of a b9 with any of the primary chord tones. (R, 3rd and 5th) Ex: Cmaj7 as a I chord in the key of C major
& w
w
11
13
w
w
w
w
w
9
b9 In this example, the 11th degree creates the interval of a b9 with the 3rd of the chord. The 11th is therefore not an available extension for this chord. Both the 9th and the 13th are available extensions. Available Omit
9 11
13
Possible chord extensions for Cmaj7 are Cmaj9, Cmaj13. (Cmaj13 implies that the 9th is also present but in most cases, jazz guitarist will often play one or the other) *Note about the 11th There are some exceptions to the rule for dom7 chords only. The first exception is to omit the 3rd and replace it with the 4th. This is what we refer to as a sus4. (suspended 4th) We now can use all 3 extensions. Ex, G13(sus4) will contain the 9th, sus4 and 13th with the 3rd omitted. The second exception to the rule for dom7 chords is that you can use the b9 in any dom7 chord even though there is an interval of a b9 between the b9 and the root of the chord.
Exercises For each of the remaining chords in the major scale, indicate the quality of the 9th, 11th and 13th. Check for b9 intervals between each extension and the primary chord tones to determine those extensions which can be used and those which are omitted.
IIm7
& w R
w
w b3
w
w 5
w
w
b7 33
w
w
w
w
w
w
IIIm7
&c w
w
w
w
b3
R
w
w
w
w
R
w
w
w
w
5
3
w
w
R
w
w
3
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
b7
5
VIm7
&c
w
w
w
w
b3
R
w
w
w
w
b7
5
VIIm7(b5)
&c
w R
w
w b3
w
w
7
V7
&c w
w
b7
5
IVmaj7
&c w
w
w
w b5
w
w b7 34
w
The Melodic Minor Scale is used extensively in jazz music. It generates a number of interesting chords and modes. Using the same procedure as with the major scale, we derive the following chords. The same rules apply for chord extensions: write out the scale in thirds up to the 13th degree and check for b9 intervals.
C‹(Œ„Š7)
& b wwww
D‹7
www w
E¨Œ„Š7(#5)
www bw
www w
F7
G7
b www w
b wwww
A‹7(b5)
b wwww
B7(#11)
Exercises For each of the chords in the melodic minor scale, find all chord tones and extensions indicating the quality of the 9th, 11th and 13th. Check for b9 intervals between each extension and the primary chord tones to determine those extensions which can be used.
Im(maj7)
&
IIm7
&
bIIImaj7(#5)
& 35
IV7
&
V7
&
VIm7(b5)
&
The last chord in the melodic minor scale will normally yield a Bm7(b5) chord. In jazz, we use the 4th scale degree, in this key the Eb note, (D# enharmonically) as the major 3rd. This creates a more colorful chord that gives us altered extensions.
VII7(#11)
&
w
R
w
w
bw
b9
#9
3
w
w
#11
b13
w
w b7
Or seen another way.
&
w R
bw
w
w
w
3
#11
b7
b9 36
#9
w b13
The next scale we will look at is the Harmonic Minor Scale. Although some of the chords are the same as those of the melodic minor scale, the extensions are different. A more complete explanation on when and where to use each will follow.
C‹(Œ„Š7)
& b wwww
D‹7(b5)
b www w
E¨Œ„Š7(#5)
www bw
www w
F‹7
G7
bb wwww
www b bw
A¨Œ„Š7
b www w
Bº7
Exercises For each of the chords in the harmonic minor scale, find the chord tones and extensions indicating the quality of the 9th, 11th and 13th. Check for b9 intervals between the extension and the primary chord tones to determine those extensions which can not be used.
Im(maj7)
&
IIm7(b5)
&
bIIImaj7(#5)
&
37
IV7
& V7
&
VIm7(b5)
&
VIIo7
&
A better way to see the VIIdim7 chord is as a V7 in first inversion. (3rd in the bass) As we will see later in the book, the V7 and VII chords both have tritones and both function as dominant chords. In jazz it is very rare to see an actual VII chord, especially in a standard. It’s more likely you would encounter this chord being used as a true VII chord in a modal composition. When chords are being used in a modal composition, there are better ways to voice them. Rather than just stacking thirds, the use of slash chords and 4th voicing produce better results. An example would be III in the major key. The III comes from the Phrygian mode and has beautiful sounding passing tones. The b9 can’t be used in a normal voicing because of the b9 rule. A great way to use this chord in a way that gives a modal sound is to play it as IIm7/III or even IIm6/III. In the key of C that would be: Dm7/E or Dm6/E. Both voicing allow you to use the F note. A discussion of voicing modal chords would take up a book or two in itself. You can look at books on modal jazz by “Ron Miller” as well as other authors. 38
Secondary Dominants And Related m7 Chords There are 5 secondary dominant chords in any major key. They are: V7/II, V7/III, V7/IV, V7/ V and V7/VI. The I chord has a naturally occurring dominant (V7) and there is no secondary dominant for the VII chord because it does not have a natural 5th degree. The 5 secondary dominants are as follows.
# wwww
&
V/II
## wwww
V/III
b www w
# wwww
# wwww
V/IV
V/V
V/VI
Each secondary dominant can have a related min7 chord which is found a fourth below the secondary dominant. Those resolving to major chords (IV and V) will use a min7 chord, and those resolving to minor chords (II, III and VI) will use a min7(b5) chord. We now end up with II - V7 of each of the 5 diatonic chords.
w & b www IIm7(b5)
w & # www
IIm7(b5)
www b & w
# wwww
nwww w
V7/II
II
## wwww
nwww w
V7/III
III
www w
b www w
www & w
V7/IV
nwww w
IIm7
www & w
V7/V
V
nwww w
IIm7(b5)
V7/VI
VI
IIm7
IV
# wwww
# wwww
The first two chords are connected with a bracket to indicate that they form a IIm7 - V7 progression. These will be referred to as Secondary Dominants and related IIm7. In other words, they are IIm7 - V7 but not the IIm7 - V7 from the key. 39
To find the appropriate scale for each of the secondary dominants and their related m7 chords, spell the secondary dominant chord and complete the scale by inserting diatonic scale tones as passing tones. In this example we have V7/VI (E7). The chord is spelled out horizontally and diatonic notes from the key (C major) are inserted as passing tones.
&
œ
w
w
œ
w
œ
#w
We started our scale on the root of the secondary dominant chord therefor the resulting scale will be a mode of one of the primary scales. If we re-write the scale from the note A, we end up with an A harmonic minor scale.
œ
& œ
œ
œ
œ
#œ
œ
Our parent scale for the secondary dominant chord and its related m7 chord is the A harmonic minor scale. If you look back to the chords and extensions for the harmonic minor scale, you will find the available extensions for V7 and IIm7(b5) in harmonic minor. In this example we have V7/IV (C7). The chord is spelled out horizontally and diatonic notes from the key (C major) are inserted as passing tones.
&
œ
w
w
œ
w
œ
bw
Again, because we started our scale on the root of the secondary dominant chord, the resulting scale will be a mode of one of the primary scales. If we re-write the scale from the note F, this time we end up with an F major scale. (C mixolydian mode) Again, the extensions for both the related m7 and the secondary dominant can be found in the F major scale. (Dorian and Mixolydian)
& œ
œ
œ
œ
bœ 40
œ
œ
Exercises For each of the following secondary dominants, indicate the quality of the 9th, 11th and 13th. Keep in mind that all chords are dominant 7th chords and therefore can use the b9 scale degree. In these examples, all extensions are available. The only exception is the 11th and it is present in each chord. As mentioned earlier, you can use the 4th scale degree on dom7 chords to replace the 3rd. These chords will be called sus4 chords. The sus4 will work in all five secondary dominants.
V/II
&
w
#w
w
w
w
w
w
w
w
bw
w
w
w
w
w
w
w
w
w
w
w
V/III
&
w
#w
#w
V/IV
& w
w
w
V/V
& w
#w
w
V/VI
& w
#w
w
w
w
41
Harmonic Analysis When adding extensions to chords or choosing scales for improvisation, it is important to understand the function of each chord within the overall harmony of a song. Harmonic analysis is a technique used to identify and label diatonic chords, secondary dominants and chords borrowed from other scales and modes. The following analysis system provides a clear method to notate and visualize a songs harmony. The following conventions will be used. Diatonic chords: use simple Roman numerals with no chord suffixes.
I
II
III IV V
VI VII
Secondary dominants V7/II V7/III V7/IV V7/V V7/VI When the secondary dominant’s related minor chord is also present, use a bracket to indicate its relationship to the secondary dominant.
CŒ„Š7
&
E‹7(b5)
I
A7
D‹7
G7
V7/II
II
V
All other chords which are neither diatonic nor secondary dominants require a roman numeral and a chord suffix to indicate their relationship to the key. The following rules apply: 1. When a non-diatonic chord occurs on a diatonic note, use a Roman numeral and a chord suffix to identify the quality of the chord.
&
CŒ„Š7
I
F‹7
CŒ„Š7
IVm7
I
2. When a non-diatonic chord occurs on a non-diatonic note, indicate its relationship to the key by adding a sharp or flat before the Roman numeral and include the appropriate chord suffix.
&
CŒ„Š7
I
B¨7
CŒ„Š7
bVII7
I 42
The following examples illustrate harmonic analysis of several common chord progressions. Pay attention to where chord suffixes are used and where they are not used. For diatonic chords, no chord suffixes are required. This is done in an effort to keep the analysis clean and simple. A roman numeral I indicates major 7th, II, minor 7th, III minor 7th as so on.
1.
2
3
4
5
6
7
b b & b
F‹7
B¨7
E¨Œ„Š7
C‹7
F‹7
B¨7
E¨Œ„Š7
II
V
I
VI
II
V
I
b b & b
F‹7
B¨7
G‹7
G¨º7
F‹7
B¨7
E¨Œ„Š7
II
V
III
bIIIo7
II
V
I
b b & b
G‹7
G¨º7
F‹7
B¨7
III
bIIIo7
II
V
bb b &
E¨Œ„Š7
G‹7(b5)
C7
F‹7
B¨7
V7/II
II
b b & b
F‹7
D¨7
E¨Œ„Š7
bVII7
I
b b & b
D¨Œ„Š7
BŒ„Š7
EŒ„Š7
E¨Œ„Š7
bVIImaj7 bIIImaj7
bVImaj7
bIImaj7
bb b &
E¨Œ„Š7
C©‹7
bb b &
F‹7(b5)
I
B¨7 II
A¨‹7
V
G¨Œ„Š7
F©7
IIm7(b5)
I
BŒ„Š7
I
bVImaj7
B¨7
E¨Œ„Š7
V7
I 43
V
EŒ„Š7
bIImaj7
Examples 1 to 7 explained Example 1 illustrates the use of roman numerals in a purely diatonic chord progression. Again, no chord suffixes are required as you should know the qualities of each chord in the major scale. Examples 2 and 3 are also mostly diatonic with the addition of a passing diminished chord. Since the Gb is not a diatonic note in the key of Eb, we must indicate it’s position in the scale as bIII. We must indicate the quality of the chord as well since it is not a diatonic chord Examples 4 and 5 show the use of the bracket and arrow to indicate a IIm7 - V7 type progression and it’s resolution. More on that later. As they will share the same parent scale it is not really necessary to use a roman numeral for the IIm7 chord. Later we will see how these chords will use available extensions from their parent key. The brackets are useful whenever you encounter a IIm7 and a V7 chord together. The secondary dominants and their related minor chords resolve to minor chords and will therefore use extensions appropriate for resolution to minor chords. The IVm7 - bVII7 chords will use extensions from their parent keys as well. The only other chord is the bIIIo7 chord. There are 4 possible passing tones which may be used to embellish this chord. Use any one of the 4 available passing tones which best fits the particular voicing you plan to use. Example 6 illustrate a series of Major 7th chords. The first 4 are not diatonic therefor require flats before the roman numerals. Chord suffixes are required on these chords as well. Example 7 illustrates the use of IIm7 - V7 progressions to non diatonic chords. This is where brackets and arrows can help to clearly illustrate what's happening in the chord progression. In this example, the IIm7 V7 is resolving to a non-diatonic chord on the flatted 6th scale degree. What we don’t want to do is call the II chord a m7 chord which occurs on the flatted 7th scale degree or even worse on the raised 6th degree of the scale. By grouping them together with a bracket, we can clearly see that the two chords form a IIm7 - V7 progression and exactly where that progression resolves. For the Fm7(b5) we need to indicate the quality of the chord using a chord suffix as it is not the usual II chord in this key.
44
Chords Borrowed from Parallel Minor Chord progressions in standards and jazz compositions are not limited to diatonic chords and secondary dominants. Jazz compositions often borrow chords from parallel modes and scales. The most common practice is to borrow from the parallel minor scales. In the key of C major, all chords from the 3 parallel C minor scales can be used. (Not relative minor) Below are the three forms of C minor and the chords generated from each C natural minor (aeolian mode)
4 & bb www 4 w
C‹7
D‹7(b5)
b wwww
E¨Œ„Š7
b www bw
w b www
bw b www
F‹7
G‹7
b www bw
A¨Œ„Š7
b B¨7 www bw
C melodic minor
C‹(Œ„Š7)
& b wwww
D‹7
ww ww
E¨Œ„Š7(#5)
ww b ww
ww ww
F7
G7
b ww ww
b www w
b wwww
www b bw
b ww ww
A‹7(b5)
B7(#11)
C harmonic minor
C‹(Œ„Š7)
& b www w
D‹7(b5)
b www w
E¨Œ„Š7(#5)
www bw
www w
F‹7
G7
bb wwww
A¨Œ„Š7
Bº7
As with the major scale, each chord from these three scales will have a unique set of extensions. When any of these borrowed chords are used, the extensions from that parent scale will apply. It is often the case that these borrowed chords will be preceded by an extended dominant chord and its related II chord. For these chords we will apply the secondary dominant rule. This is to say that all extended dominants resolving to minor type chords will use b9, sus4 and b13 while those resolving to major type chords will use 9, sus4 and 13. Chords resolving to major can also borrow extensions from secondary dominants which resolve to minor. Therefore, extended dominants resolving to major chords can use b9 and b13 in addition to 9, sus4 and 13. Chords resolving to minor chords should not borrow extensions from secondary dominants which resolve to major. Use only the b9, sus4 and b13. 45
Brackets And Arrows The brackets and arrows system used in jazz analysis is an intelligent system which can reduce confusion and help us to understand progressions more clearly. This in turns makes chord extensions and improvisation easier to understand. Let’s take a look at how we use brackets and arrows. Rather than using roman numeral such as V, V7 or V7/V to indicate secondary and extended dominants we will simply use an arrow. In this way, we know there is some type of dominant chord which will be resolving to another chord. This other chord could be anything at all. (diatonic, secondary dominant, extended dominant, borrowed chord......) Dominants are in fact used to prepare all kinds of chords. Using only Roman numerals without arrows can lead to all kinds of problems. So rather than tracking backwards each step to find some ridiculous combinations of V7 of V7 of something we will simply use an arrow every time we encounter a dominant chord. The rules for arrows are as follows:
Solid arrow when root movement is up a 5th. (or down a 4th)
Dashed or broken arrow when root movement is by semi-tone.
A solid bracket is used for regular II to V relationships.
E¨7
A¨Œ„Š7
A7
A¨Œ„Š7
& V V V V V V V V & V V V V V V V V
A dashed or broken bracket is used when there is some type of tritone substitute and we see root movement of a semitone somewhere in the II - V progression.
E¨7
A¨Œ„Š7
A7
A¨Œ„Š7
& V V V V V V V V & V V V V V V V V
E‹7
A7
A¨Œ„Š7
B¨‹7
A7
A¨Œ„Š7
& V V V V V V V V
46
& V V V V V V V V
CŒ„Š7
&c & & & & &
B¨‹7
E¨7
A¨Œ„Š7
D‹7(b5)
G7
Im7
FŒ„Š7
1. D‹7
CŒ„Š7
E¨‹7
A¨7
D¨Œ„Š7
G‹7(b5)
C7
FŒ„Š7
C7
G‹7(b5)
C7
D‹7(b5)
G7
D‹7(b5)
G7
IVmaj7
B¨‹7
E¨7
A¨Œ„Š7
I
C‹7
™™ ü †
2. G‹7
bIIma7
IVm7
CŒ„Š7
G7
I
IVmaj7
F‹7
G7
bVImaj7
I
C‹7
D‹7(b5)
bVImaj7
D‹7(b5)
G7
CŒ„Š7
Im7
I
A‹7
D‹7
G7
VI
In this example, the piece uses an 8 bar progression in C major which is repeated twice. The bridge is the same as the first section but is a perfect 4th above. The last 8 bars are basically the first section once more. We will treat the Bridge as being in the key of F. For the first section in C major, there are several borrowed chords from the parallel natural minor scale. (Abmaj7, Dm7(b5), and Cm7) The G7 which resolves to Cm7 should be treated as an extended dominant chord as it is resolving to Im7. (from Natural minor) The Bbm7 and Eb7 (II - V) chords resolve to Abmaj7 and are an extended dominant combined with it’s related m7 chord. If we refer to our chart on extensions for C natural minor, we find all the correct extensions for each of the borrowed chords. Cm7 Abmaj7 Dm7(b5)
Im7 bVImaj7 IIm7(b5) 47
9, 11 9, #11, 13 11
The G7 which resolves to Cm7 comes from either the harmonic minor or melodic minor. These 2 scales will produce the following extensions: harmonic minor
G7
V7
b9, sus4, b13
G7
V7
9, sus4, b13
melodic minor
For the extended dominant and its related m7 (Bbm7 and Eb7), treat them as resolving to a major chord.
9, sus4 9, sus4, 13
Bbm7 Eb7
Exercises Analyze the following 2 pieces using Roman numerals, bracket and arrows. This is the first step in determining the available extensions for each chord.
4
F‹7
B¨7
CŒ„Š7
B¨‹7
E¨7
A¨Œ„Š7
A‹7
D7
&4 &
&
&
CŒ„Š7
D‹7
G7
CŒ„Š7
48
E¨Œ„Š7
A¨Œ„Š7
D¨Œ„Š7
&
4 4
CŒ„Š7
F©‹7
1. D‹7
E‹7
E¨‹7
A‹7
D7
&
A¨7
D‹7
D‹7
2. D‹7
&
B‹7(b5)
E7
G7
B7
B¨7
D7
G‹7
C7
FŒ„Š7
E‹7
E¨‹7
D‹7
G7
D¨Œ„Š7
&
A7
F©‹7
A‹7
&
E‹7
G13
&
&
B7
49
™™ ü †
Chord Functions Another important step in understanding chord extensions and improvisation is to have a good knowledge of how chords function in a piece of music. Fundamentally, there are only 3 types of chords: Tonic, Subdominant and Dominant. Music is based primarily on two simple states; tension and relaxation. We create movement in music by setting up tension and then resolving the tension. Within our harmonic framework there are levels of tension which composers use when composing music. Tonic chords In a major scale, there are three tonic chords: I, III and VI. Our III and VI chords share many of the notes of the I chord. Dominant chords In a major scale there are two dominant chords: V and VII. Both chords contain the tritone. In the key of C major, these notes are B and F The tritone has a strong pull to resolve to the tonic. Subdominant chords In a major scale, there are two subdominant chords: II and IV. Again, these two chords share many of the same notes. So how do all of these chords go together. It’s actually quite simple. Any dominant chord can go to any tonic chord. Any subdominant chord can go to any tonic or dominant chord. Therefore, II can resolve to V and V can resolve to I. Simple! II can resolve to V and then V can resolve to III as well. III is a tonic chord so V can resolve to it. In this example we are satisfying our need to resolve the V chord but to III instead of I. By resolving to III, we have not quite reached home yet. This is important as it allows us to keep the music moving. Look closely at the example below. All chords except one are diatonic. This should give you good good idea as to how diatonic chords can move.
CŒ„Š7
& V
E‹7
& V
V
V
V
A7
V
V
A‹7
V
D‹7
V
V
V
V
V
G7
V
V
D‹7
V
C6
V
V
50
V
V
V
V
V V
G7
V
V
V V
V V
V V
Bar1
Cmaj7
Tonic
Bar 2
Am7
Tonic
Bar3
Dm7
Subdominant
Bar 4
G7
Dominant
Bar 5
Em7
Tonic
A7
Secondary Dominant
Dm7
Subdominant
G7
Dominant
C6
Tonic
Bar 6
Bar7
In this example, the G7 in bar four does not resolve back to the I chord but instead resolves to the III chord. The III chord (Em7) is a tonic chord as well. Therefor our resolution is dominant to tonic. The use of this chord is important because it keeps us from using too many I chords. Resolving to III helps to extend the harmonic progression in a more interesting way. The A7 is simply a secondary dominant, V7/II. The III chord works well in this example because it can be seen to have two distinct functions: III and as the related min7 of the A7. When a chord can be seen to have two functions, we call this a pivot or common chord. With regards to chord extensions, we treat the G7 as if it is resolving to I. (tonic). When improvising, we would also choose a scale which resolves to I as the III chord will sound very much like Imaj7. As we will see later on, IIIm7 is like a Imaj9 without the root
Modal Interchange Modal interchange is another common source for generating chords. This method employs the remaining modes from the major scale. (major and natural minor have already been discussed ) As with the three minor scales, each mode must have the same starting note as the key of the piece. In other words, all modes are parallel in relation to the key of the piece. The following are the chords generated by each of the modes.
DORIAN PHRYGIAN LYDIAN MIXOLYIAN LOCRIAN
Im7 Im7 Imaj7 I7
IIm7 bIImaj7 II7 IIm7
Im7(b5)
bIImaj7
bIIImaj7 bIII7 IIIm7
IV7 IVm7
#IVm7(b5) IIIm7(b5) IVmaj7 IVm7 bIIIm7 51
Vm7 Vm7(b5) Vmaj7 Vm7
VIm7(b5) bVImaj7 VIm7 VIm7
bVmaj7
bVI7
bVIImaj7 bVIIm7 VIIm7 bVIImaj7 bVIIm7
Dorian
ww b ww
A‹7(b5)
b wwww
B¨Œ„Š7
G‹7(b5)
A¨Œ„Š7 A‹7(b5)
w b w b ww
B¨Œ„Š7 b B¨‹7 w
4 & bb wwww 4
D‹7
b w &4 b4 wwwbb wwww
D¨Œ„Š7 D‹7
www ww b b w ww
bbb wwwwb www bw
F7 G‹7 Phrygian wwwww b w b w b w w b bwww b www
D7D‹7 D¨Œ„Š7
wwww w b b# wwww www
E‹7 E¨7 E¨Œ„Š7
bbbwwwwwwwwb www bw
F©‹7(b5) F‹7F7
wwwwwb w b #b www www
GŒ„Š7 G‹7(b5) G‹7
#bwwwwww b wbwwwww
A‹7 A¨Œ„Š7 A‹7(b5) w
bwwwwww bw
B¨‹7 B¨Œ„Š7 ww bB‹7
D‹7 D7D‹7 D¨Œ„Š7
E¨Œ„Š7 E‹7(b5) E‹7 E¨7
F7 FŒ„Š7 F©‹7(b5) F‹7 bw
G‹7 G‹7 GŒ„Š7 G‹7(b5) w
A‹7(b5) A‹7w A‹7 A¨Œ„Š7 bww
B¨Œ„Š7 B¨Œ„Š7 B‹7 B¨‹7 www
www D¨Œ„Š7 D¨Œ„Š7 D‹7 D7 w
E¨Œ„Š7
b www F‹7 F‹7w FŒ„Š7 F©‹7(b5) b w b w bbwwwwwwwww #w
www b G‹7(b5) G¨Œ„Š7 w G‹7 GŒ„Š7 w #bbbbwwwbwwwb wwww w
ww b ww A¨Œ„Š7 A¨7 A‹7 A‹7 bwwwwww b w w b wwbww
www bB¨‹7 w B¨‹7 B¨Œ„Š7 bB‹7 w bw #bbbbwwwwbwwwwww
ww ww A‹7 wwwbA¨7 bw www bw
# wwww B¨Œ„Š7 bb wwwwbB¨‹7 www bw
bbb wwww
bbB¨‹7 www bw
C‹7
C‹7C‹7
CŒ„Š7 C‹7C‹7
4 nbwwwwwb w & & b wwwb ww 4 w
www w
E¨Œ„Š7
www b bw
E¨7 E¨Œ„Š7
4nb w b ww & bw &4 b wwwwwwb ww C‹7
www www #bbwwwww w D‹7
& & bbn wwwwbwwwwww
wwwww b w b #bbwwwwww
www b E¨7 E¨‹7 E‹7(b5) E‹7b w bbbbbwwbwwwwb www wwb w
D7
E‹7
C‹7 C7 CŒ„Š7 C‹7
4 C‹7b w C‹7(b5) &CŒ„Š7 C7 4b wbbw www C‹7
b ww &CŒ„Š7 C‹7(b5) bC7 ww nw & & bbwwwwb wwww w CŒ„Š7
www & nC7 C‹7(b5) w b w & & bbwwwb wwww C7 ww & bC‹7(b5) ww & bbb wwww
C‹7(b5)
& bbb wwww
D¨Œ„Š7
www D7 b D¨Œ„Š7 D‹7 bww # wwwwb www bw w
www D‹7 #D¨Œ„Š7 w www w b w w b ww D‹7
ww D¨Œ„Š7
ww www b bw
D¨Œ„Š7
www b bw
bbwwwbwwwwbwwb wwww wb ww
E¨7
b www b E‹7 E‹7(b5) bwE¨‹7 w bwwwwbbb wwww w
www E‹7(b5) wE¨‹7 w bbwwwb ww bb ww E‹7(b5)
b wwwE¨‹7 wb w bb ww bw
E¨‹7
bbbb wwww
b www w
F7
F‹7
b wwww
G‹7
w
#bbwwwbwwwww Lydian wwwwwwww b b ww #bww w
F7
w
G‹7
www b w b w b F©‹7(b5) GŒ„Š7 b F‹7 ww w FŒ„Š7 #G‹7 wwwG¨Œ„Š7 wwwb w w b w Mixolydian w bwwb www #bwww ww F©‹7(b5) GŒ„Š7 # www w w FŒ„Š7 G‹7 w #wwwF‹7 G¨Œ„Š7 w wwwb ww bbwwwb www b ww bw FŒ„Š7 G‹7 w wwwF‹7 www b G¨Œ„Š7 wb w Locrian www b w b b ww bw F‹7
bb wwww
F‹7
52
G‹7(b5)
w b bb www
G¨Œ„Š7
wwbwwww bwwwww
A‹7(b5)
ww b ww A‹7 bA‹7 A¨7 wwwb w bwwb www w
A¨Œ„Š7
A‹7
ww wwA¨7 bbb wwww
A‹7
A¨7
wwww b bb www
#bwwwww bb w
#bbbbwwwwwwww bw
B¨Œ„Š7
bbB¨‹7 www bwB¨‹7 w B‹7 B¨Œ„Š7 #bwwwww bbwwb ww B‹7
www ww bbbB¨‹7 b www
B¨Œ„Š7
Chord Extensions Each of the 8 basic Drop 2 voicings can be expanded upon to create a number of new chords by altering the basic chord tones. Most often, the Root and 5th of the chord will be altered. Altering the 3rd and 7th will only change the quality of the chord as from maj7 to dom7 or minor to major and so on. Let’s look at a dom7 voicing and explore the possibilities available by altering the 5th of the chord.
C7
III
III
C7(#11) C7(#5) C13
If we are to start with a C7 Drop 2 chord voicing and lower the 5th by 1 semitone, we end up with C7#11 or C7(b5). By raising the 5th one semitone, we create C7(#5) or C7(b13). Raising the 5th two semitones from its original position we end up with a C13th chord. Fingerings will usually change with each alteration. Now let’s look at another dom7 voicing and explore the possibilities available by altering the root of the chord.
C7 I
I
C7(b9) C9 C7(#9)
If we start with a C7 Drop 2 chord voicing and raise the root by one semitone, you end up with C7(b9). By raising the root one tone we now have C9. Raising the root three semitones from its original position we end up with a C7#9 chord. 53
Exercises Using the dom7 Drop 2 voicings, alter the root of each chord to create 9, b9 and #9 chords. Although in theory each voicing will usually be a valid voicing, depending on the register of the chord and the voice in which the root lies, some voicings will not sound great and therefore not be useful. These exercises can be done directly on the guitar. In most cases, you will need to re-finger each voicing.
III
III
VII
V
V
IX
I V
VIII
54
X
XII
X
Using the same dom7 Drop 2 voicings, alter the 5th of each chord to create b5 (#11), #5 (b13) and 13 chords. As with 9ths, all voicings may not be usable.
III
V
III
VII
V
IX
I V
VIII
55
X
XII
X
Exercises Using the m7 Drop 2 voicings, alter the root of each chord to create 9th chords and the 5th of each chord to create m7b5 and m7#5 (b13). Although in theory each voicing will usually be a valid voicing, depending on the register of the chord and the voice in which the root lies, some will not sound good or be useful.
III
VII
V
III
V
IX
I V
VIII
56
X
XII
X
Extensions (Further Activities) 1. Using the maj7 Drop 2 voicings, alter the root of the chord voicing to create maj9 voicings and the 5th to create maj7(#11), maj7(#5) and maj13 voicings. 2. Using the maj6 Drop 2 voicings, alter the root of the chord voicing to create maj6/9 voicings. 3. Using the m(maj7) Drop 2 voicings, alter the root of the chord voicing to create m9(maj7) voicings and the 5th to create m11(maj7) voicings. 4. Using the m6 Drop 2 voicings, alter the root of the chord voicing to create m6/9 voicings. Using the m7(b5) Drop 2 voicings, alter the root of the chord voicing to create m9(b5) voicings and the 3rd to create m11(b5) voicings.
Altering Diminished Chords The diminished scale is a symmetrical scale consisting of a pattern of tones and semi-tones.
& w
bw
œ
bœ
bw
œ
nw
œ
As the diminished scale and dim7 chord are symmetrical, any chord tone can be raised 1 tone adding a color note to the chord. The following qualities will result: Raising the root: Raising the b3: Raising the b5: Raising the dim7:
added tone = 9 added tone = sus4 (11) added tone = b6 (b13) added tone = maj7
Add only one alteration at a time. With drop 2 voicings, the added note is most effective when it occurs in the soprano and alto voices. Go7
Go7 I
I
(b13)
(9th)
The names of these diminshed chords with extensions is a bit of a hot topic. Some will use: Go9, Go11, G o(b13) and Go(maj7). Equally you can just call them: Go7(add 9), Go7 (add11) and so on. 57
The symmetrical aspect of the diminished seventh chords also means that all voicings will repeat themselves. In this case, it is only necessary to learn one voicing on each set of strings and repeat the voicing up or down a minor third. Keep in mind that although the fingerings will remain the same, the quality of the extension relative to the actual root of the chord will change.
Exercises Using the Drop 2, dim7 chord voicings on the middle and lower sets of strings, raise the note in the soprano voice one tone to create altered diminished 7th voicings.
Using the drop 2, dim7 chord voicings on the middle and lower sets of strings, raise the note in the alto voice one tone to create altered diminished 7th voicings.
As with all other chords, practice these diminished voicings on the guitar and in chord progressions. Try to become familiar with the sound these extensions produce. 58
Applying Extensions to Progressions In this next section we will add extensions to chord progression using drop 2 voicings. There are several steps to follow. The procedure is as follows:
Analyze the chord progression to determine the function and parent scale of each chord.
Determine the available extensions for each chord based on your analysis.
Write out the drop 2 voicing and alter the chord with one or several of the available extensions.
A¨Œ„Š7
& V
V
V
V
G7
V
V
Play the progression on the guitar.
V
C‹7
V
V
The following 4 bar example illustrates each of these steps.
&
A¨Œ„Š7
bVImaj7
G7
V
V
V
V
F7
V
C‹7
F7
Im7
IV7
V
V
V
We will assume that this segment is from a larger progression in the key of C major, and analyze the piece based on C major. The first chord Abmaj7 is from the C natural minor scale. The G7 can be V7 in C major, V7 in C harmonic minor, or V7 in C melodic minor. Since the chord is resolving to Cm7, we will treat it as V7 in one of the minor keys. For this example we will choose C harmonic minor. Cm7 is Im7 in C natural minor and F7is IV7 from C melodic minor. Available extensions based on our scale choices:
Abmaj7 9, #11, 13 (from C natural minor) G7 b9, sus4, b13 (from harmonic minor) Cm7 9, 11 (from C natural minor) F7 9, #11, 13 (from C natural minor)
59
In this next example I have chosen freely from the available extensions for each chord. I have also created a line that has a descending motion. The first note is a Bb which is the 9th of the Abmaj7 chord. The G7 is resolving to a minor chord, therefor I must choose my extensions from the harmonic minor scale which will yield a b9, sus4 and b13. The Ab note, b9 of the G7, is perfect as it is close to my starting note of Bb. It also helps me to create a nice descending motion. From there I move to the G note for both the Cm7 and F7 chords. From natural minor we can add the 9th for Cm7. For F7, we will also choose the 9th as it gives us a common tone with the G melody note from the Cm7 chord.
bw
A¨Œ„Š7
&
bw
w
G7
C‹7
w
F7
Spelling the chord from the top note down using drop 2's and adding extensions we end up with the following.
bb ww & ww
A¨Œ„Š9
b ww nww
ww bb ww
G7(b9)
C‹9
ww b ww
F13
Play the chord progression on your guitar. Notice how the combination of the extensions and the use of a tight line to connect the chords produces a smooth comping sound.
Exercises For the examples on the next 2 pages, the top note of each chord is given. Using the steps outlined above, complete the chords by spelling down from the top note. Create Drop 2 voicings which contain extensions. The first step should be to do a quick harmonic analysis of the chords to determine the available extensions for each chord. Just as a reminder, diatonic chords will use extensions from their parent scale. (key of the song) Secondary dominants and their related II chords will use dorian, mixolydian when resolving to major chords and harmonic minor of the target chord when resolving to minor chords. The recorded example contains extensions. It's a good idea to use manuscript paper or music notation software to write out your voicings. Once you have completed the spelling of each chord, play the progression on the guitar. 60
Autumn °
C‹9
bc w b &
F9
w
B¨Œ„Š9
w
E¨Œ„Š9
3
4
6
6
¢⁄
°
A‹7(b5)
D7(b9)
w
G‹9
w
G7(b9)
˙
˙
4 2 5 3
4
3
3
6
bw b & ww w
¢⁄
w
C‹9
F9
B¨Œ„Š9
w
E¨Œ„Š9 w
3
3
5
6
° bb w &
w
¢⁄
A‹7(b5)
D7(b9)
w
G‹9 w
8 8 8 7
8
10
w ° bb ww & w ¢⁄
61
w 5
A‹7(b5)
D7(b9)
G‹9
w
b˙
n˙
5 4 5 5
5
5
4
7
° bb www & w ¢⁄
°
b b &
w
G7(b9)
C‹9 w
F9
w
B¨Œ„Š9
w
E¨Œ„Š9
10
8
8
6
w
¢⁄
A‹7(b5)
° bb ˙˙˙ & ˙ 5 4 5 5
¢⁄
°
&
E¨Œ„Š9 w
bb
6
¢⁄
˙˙ ˙˙
D7(b9)
˙
˙
G‹9
˙
b˙
8 8 8 7
8
11
10
9
˙˙ ˙˙
C7(b9)
˙
b˙
8
7
F‹9
A‹7(b5)
D7(b9)
˙
G‹7
w
w
5 4 5 5
5
3
3
62
B¨7(b9)
Dream °
w
D¨Œ„Š9
bw
w
3
3
4
4
B¨‹9
w
E¨9
6
6
G‹9
w
C7(b9)
6
8
CŒ„Š9
w &c
¢⁄
°
&
w
w
bw
A¨Œ„Š9
3
¢⁄
°
&
¢⁄
°
&
4
w
A‹9
w
D7(b9)
7
5
w
w
w
3
3
FŒ„Š9
b˙
b˙
n˙
D‹9
n˙
9
11
12
10
E¨‹9
A¨9
¢⁄ 63
G9
CŒ„Š9 CŒ„Š9 CŒ„Š9 ww 10 10 10
°°° & w & &
¢¢ ⁄⁄ ¢⁄
11 11 11
11 11 11
13 13 13
w
C‹7(b5) C‹7(b5) bb www bbC‹7(b5)
bb b ww bb ww w
F7(b9) F7(b9) F7(b9) bb ww
13 13 13
11 11 11 11 11 10 11 10 11 10
11 11 11
bw
D‹7(b5) w D‹7(b5) w b D‹7(b5) bw
G7(b9) w G7(b9) w G7(b9) w
CŒ„Š9 ˙ CŒ„Š9 ˙ CŒ„Š9 ˙
F9 F9 ˙˙ F9
10 10 9 9 10 10 9 10 10 10
10 10 10
10 10 10
8 8 8
EØ7 ˙ bbEØ7 ˙ b˙˙˙˙˙ ˙˙
EØ7
˙
A7(b9) A7(b9) A7(b9) ˙˙
˙
6 65 5 67 7 5 5 7 5
6 6 6
D‹9 D‹9 ww D‹9
G9 G9 ww G9
CŒ„Š9 CŒ„Š9 ˙˙ CŒ„Š9
A7(#5) A7(#5) ˙˙ A7(#5)
D‹9 D‹9 ˙˙ D‹9
˙
G9 G9 ˙G9˙ ˙
CŒ„Š9 w CŒ„Š9 w CŒ„Š9 w
5 5 5
5 5 5
3 3 3
5 5 5
5 5 5
7 7 7
7 7 7
°° & w °& & ¢¢ ⁄⁄⁄ ¢
10 10 10
E¨9 E¨9 ww E¨9
°° & b ww ° & ww & ¢¢ ⁄⁄⁄ ¢
bw
www
B¨‹9 B¨‹9 ww B¨‹9
°° & w °& &
⁄ ¢¢ ⁄⁄ ¢
www
D¨Œ„Š9 D¨Œ„Š9 D¨Œ„Š9 bb ww
w
˙
˙
64
Chord Progressions The IIm7 - V7 and IIm7(b5) - V7 progressions are present in almost every jazz composition. It is a good idea to prepare a repertoire of chord phrases which include various combinations of extensions. To create simple II - V7 chord progressions, start with min7 voicings. Find the 7th of the chord and resolve it down a semitone (1 fret). The new chord will be a dom9. Cm7 resolving to F9.
I V
X
VIII
In this next example, the starting chord is a m9. Again, we find the 7th and move down a semitone. The new chord is now a dom13. (also contains the 9th) Keep in mind that not all of the voicings work as 9th chords because of register and inversion. Here is an example using 3 of the m9 drop 2 voicings on the upper set of strings. The final voicing on this string does not yield a useful progression because the 9th is in the bass and creates a b9 interval with the melody note. (Eb) Cm9 resolving to F13. (In this example, the 9th of the F13 chord is also present)
I VIII
V
Activities Practice resolving all m7 chords on all three sets of strings. Practice resolving all m9 chords on all three sets of strings. 65
Here are several more IIm7 - V7 possibilities. The examples are illustrated using the top set of strings. Be sure to work out all possible chords on the middle and lower sets of strings as well.
m7(b5) resolving to dom7(b9)
III
VI
X
XII
VI
X
XII
m7(b5) resolving to dom7(b9 #5)
III
m7 resolving to dom9(#5)
III VII
X
66
XII
Chord Melody An excellent exercise which helps with chord soloing is to practice playing through a progression using various chord tones and/or extensions as the melody note. Start with the root of the chord and play through a simple progression such as I - VI - II - V. In this example, the root of each chord is used as the melody note. Play melody notes on string 1
&c
w
C6
w
A‹7
D‹7 w
G7
D‹7
G7
w
Now play the melody notes on string 2
C6
&c w
w
A‹7
w
w
Combine the 2 strings and play as many variations and combinations with root in the melody. Next use the 3rd.
&c
w
C6
D‹7 w
w
A‹7
w
G7
Continue to practice this technique using other chord tones such as the 5th and the 7th. Once these are mastered you can start to work on using extensions as the top note of the chord. (9th, 11ths and 13ths.) This is an excellent exercise which helps in playing chord melodies, improvising with chords as well as comping. It helps you to be more aware of the melody note of the chords you are playing.
Exercises Practice over various common progressions and song forms. Songs like, “All The Things You Are” and “How High The Moon” use 3rds as melody notes for a large portion of the melody. Both songs are a great place to start. 67
Melodic Direction With the large number of chords and extensions we have covered so far, it is difficult to know where to start and how to put all of these chords together. There are literally hundreds of combinations possible. A good place to start is to focus on the top note of the chords. Listen to any great jazz musician comping for a vocalist or soloist. Their comping is characterized by much more than just good voice leading. There is always a clear sense of direction in the melody (top notes) of the their chord progressions. As a starting point, we will focus on creating simple melodies and harmonize them with chord voicings. We will use three simple melodic ideas: ascending motion descending motion chromatic motion The idea is to choose a direction, pick a starting note for the first chord and then try to find voicings which fit both the chord and melody notes you have chosen. The following example uses Drop 2 voicings with no extensions. The melody of the progression ascends from an Ab to C then descends to a B natural.
°
F‹7
bb ww 4 & ww 4
bw bb ww w
ww bw bw
6 6 6 6
6 4 6 5
8 8 8 6
4 4 5 3
¢⁄
A¨Œ„Š7
D¨Œ„Š7
D‹7(b5)
G7
˙˙ ˙˙
CŒ„Š7
ww ww
ww ww
8 6 6 6
8 6 7 6
7 6 7 5
7 5 5 5
7 5 5 5
ww ° bw &b w ¢⁄
b ww bb ww
E¨7
B¨‹7
˙˙ bn˙˙
Even though there are no extensions in the chords, the progression sounds strong. The melody ties together the voicings to produce an effective sounding chord progression. Adding extensions to the chords will add even more to the overall sound and richness of the progression. At the same time, adding extensions makes composing a strong melodic line easier. Extensions provide a wider selection of tones giving you more options and variety to connect your chords. 68
This next example uses extensions. Extensions help to provide more melodic possibilities for ascending, descending and chromatic chord passages.
°
F‹9
B¨‹7
E¨9(#11)
nb www w
bb ww ww
4 2 3 3
5 6 6 5
6 4 5 5
bb ww b ww
ww 4 & bb ww 4 3 1 1 1
¢⁄
˙˙ ° b ˙˙ b &
D¨%
bb ˙˙ b ˙˙
D‹7(b5)
8 6 8 6
9 9 8 8
D¨Œ„Š9
¢⁄
A¨Œ„Š7
nb ˙˙ ˙˙
G7[åÁ]
b# ˙˙˙ n˙
CŒ„Š7
n www w
ww ww
10 9 10 10
11 11 10 9
12 12 12 10
12 12 12 10
We will now break down the process by looking at a simple 4 bar progression. The progression will be enhanced with extensions and rhythm. An important point to keep in mind with regards to how standards are notated in Fake Books is that the information provided is meant as a basic starting point only. Fake Books serve as an overall guide to the harmony of the piece. When playing the chords to a Be-Bop tune or a standard, you are expected to be creative with the harmony. This implies all of the points mentioned above. (melodic direction, extensions and rhythm) Here is an example of a simple chord progression as you might see it in a Fake Book.
4 &4 V V V V CŒ„Š7
D‹7
G7
CŒ„Š7
V V V V
V V V V
V V V V
Chord symbols provide information about the harmony of a given piece. They illustrate general chord qualities and the harmonic rhythm of the piece. Using this information, the accompanist creates an interesting and creative background for either the melody or a soloist. To do this, one must add chord extensions, rhythm, and a melodic line. (top note of the chords) In other words, you are not restricted to playing a Cmaj7 voicing and strumming a quarter note rhythmic figure. To better understand how one can apply all of these elements to a chord progression, we will isolate each element with examples. The examples which follow illustrate the development of the above progression from a simple progression to one which is stylistically appropriate. 69
The first thing we want to do is create an interesting melodic line. Below is our simple chord progression voiced with Drop 2 voicings and a descending line in the top voice. (soprano) Right away, we can hear a huge improvement compared to how it would sound if played using only root position chords.
CŒ„Š7 w
˙˙ ˙˙
ww 4 & w 4 7 4 55 ⁄ 45
˙˙ ˙˙
D‹7
G7
5 3 5 3
3 3 4 3
CŒ„Š7
ww ww
ww ww
5 4 5 3
5 4 5 3
Next we add extensions and a passing tone to enhance the harmony. The extensions add a richness to the sound while the passing tone adds melodic interest.
˙˙ 4˙ & ˙
˙˙ ˙ ˙
D‹9
˙˙ ˙ ˙
G13
7 5 7 5
7 5 7 5
5 5 5 3
3 5 4 3
CŒ„Š9
4
⁄
œ˙ ˙˙
œ
CŒ„Š7
ww ww
ww ww
6
5 4 5 3
5 4 5 3
As a last step, we add some jazz rhythms.
œœ œœ ‰ œœ ‰ œœ J J
CŒ„Š9
4 & 4 ⁄
7 5 7 5
CŒ„Š9
7 5 7 5
˙˙ ˙˙
D‹9
˙˙ ˙˙
G13
7 5 7 5
5 5 5 3
3 5 4 3
œœ ™ œ œ œœ ™™ œœ œJ
CŒ„Š7
ww ww
ww ww
5 4 5 3
5 4 5 3
1 5 4 5 3
These examples clearly illustrate all of the steps required to make your guitar comping interesting and musical. When practicing comping, it is important to isolate these steps and work through them one at a time. To recap: (1) Apply Drop 2 voicings to your chord progression to create a descending or ascending melodic line. (2) Add extensions according to the rules discussed. (3) Embellish with jazz rhythms.
Exercises Using the chord progressions from the previous two examples, “Autumn” and “Dream,” arrange Drop 2 voicings to create interesting melodic lines in the soprano voice of the chords. Use everything we have covered to this point including passing tones, rhythmic ideas, melodic direction and chord extensions. Start on a different first note and create chord phrases of either four of eight bars. 70
The following examples illustrate the use of drop 2 chord voicings, (other types of voicings are used as well) with ascending, descending and chromatic motion as well as an extensive use of rhythm. Analyze and play the examples and try to locate these elements. Look in particular at the melody notes and the directions in which they move. Each phrase fits the harmonic rhythm of the piece.
All The Things j ° bb b c ‰ œœ Œ œœ & b J F‹9
3 1 1 1
¢⁄
°
3 1 1 1
˙˙ b b & b b ˙˙
œœ œœ
4 2 5 3
4 2 5 3
D¨Œ„Š7
¢⁄
°
bbb b &
¢⁄
œœ ™ œœ ™™ ™
C‹11
˙˙ ˙˙ ™™ ™
œ
4 3 3 3
6
œœ œœ Œ
œœj œœ J
ww ww
4 4 3 3
4 4 3 3
B¨‹11
D‹11(b5)
n ˙˙˙˙
4 2 5 3
3 3 5 6
F‹9
œœj ‰ œœ J 8 5 6 6
˙w ww 8 5 6 6
E¨9
˙˙ ˙ ˙
n# œœ œ œ
1 6 2 0
2 7 2 0
j œ n œ n œœ ‰ œœ n œ œJ G7(b9)
CŒ„Š7
6 4 6 5
5 4 5 3
œj œ ™ 8
9
71
E¨7[åÁ]
œœj ‰ œœ J
A¨Œ„Š9
˙˙ ˙˙
3 8 4 3
3 8 4 3
˙w ww
œ nœ œ
5 4 5 3
5
B¨13
˙˙ n˙˙
œœ œœ
6 8 7 6
8 8 7 6
3
1
nn˙˙˙˙ 0 0 2 3
n œœj ˙˙ ‰ œœ ˙˙ J E¨Œ„Š9
10 8 10 8
10 8 10 8
œœ ™ ‰ œœ ™™™ 6 4 5 5
3
œ˙˙ œ nœ ˙ 0 0 2 3
1
3
E¨Œ„Š7 j œœ œ ™ œœ n œœ ™™ J œ™ 10 8 10 8
6 4 7 5
˙œ ™ œj œœ ™™ ° bb b œœ ™ œ œ & b ™ J J A¨Œ„Š9
¢⁄
8 8 8 8
8 8
œœ n œœj nœ œ ‰ n œJ #œ
A‹7(b5)
˙˙ n˙˙
D7[åÁ]
8 8 8 7
6 6 5 4
8 8
8
GŒ„Š9
˙˙ ™ ˙˙ ™™™
n œ n œ œœ n œœ n œ œ # œ n œœ n# œœ Œ ‰ J
5 3 4 4
5 3 4 4
5 3 4 4
jnœ j ˙ œ œœ œ n œ n ˙ œ nnœœ ° bb b nœ ™™ œ œ œ œ œ œ œ œ œ n œœ & b ‰ n œ™ œ # ‰ œJ œ œJ œ J 3
A‹11
10
8 9 7
¢⁄
10 8 9 7
D13(b9)
8
10
GŒ„Š9
7
4 5 4
7 4 5 4
4 5 4
j n œ ° bb b ˙ # nœœ ™™ n œœœ œ ‰ # œœ Œ nœ Œ & b # œ™ œ J ‰ 7
¢⁄
œœj ° bb b ‰ nœœ & b J
C7[äÁ]
¢⁄
7 5 6 4
5 6 4
9 9 9 8
7
7 4 5 4
5 3 4 4
B7[åÁ]
œœj ‰ n# œœ Œ ‰ J
10 8 8 7
8 8 8 7
F‹9
œœ œœ
œœ ™ œ™
œ b œœœ œ J
9 9 9 8
9 9 8
11
8 8 8 6
7 10 7
8 10
F©‹11
œ nœ nœ œ # œ n œ œœ # œ nœ œJ
w ww w 5 3 4 4
5 3 4 4
5
5 6
7
7
8
7
j j j œ nœ œ ™ nœ œ œ œœ n n œ œ œ œ œ ™ # œ œ œ œ œ ‰ # œ œ ™™ # œ œ œ ‰ œ J J J
B7[äÁ]
EŒ„Š7
C7[åÁ]
7 5 8 6
˙˙ ™™ ˙˙ ™ ™
œœ œœ
8 8 8 6
8 8 8 6
72
5 3 4 4
B¨‹9
7 5 8 6
œœ œœ
˙˙ ˙˙
8 6 6 6
8 6 6 6
7 5 8 6
7 5 8 6
7 5 8 6
11 9 9 8
E¨13(b9)
‰ œJ œ 6 6
b œœœ œJ 8 5 6 5
˙ ° bb b ˙˙ & b ˙ 8 5 6 5
¢⁄
œœj œœ J
E¨7(b9) A¨Œ„Š7
b œœœ ™™™ œ™ 6 5 6 5
8 8 8 6
ww ww
¢⁄
°
4
6
8 7 6 7
bbb ˙˙ b & ˙˙
¢⁄
4 3 3
4 3 3 3
œ ‰ œj œ œœœ J
8 8 8 6
C‹11 Bº7 j ™ œ˙ œ œ nœ œ ° bb b ˙˙ œ œ ™ n œ œ b ™ & nœ ™ # œ n œJ 8 6 3 8 8 8
D¨Œ„Š9
8
B¨‹11
˙˙ nœœ nœ œ ˙ # œ ™™ œœ ˙ n œ ™ b œJ 6 7 6
7
7
8
œ œœœ
8 6 8 6
8 6 8 6
8 6 8 6
6
8 7 6
œ œœœ
4 1 3 1
œœ ™ œœ ™™ ™ 4 1 3 1
œ œ œ œ œœ œ œ œ œ œ b œœ œœ œœ ‰ J œœ ‰ J
D¨‹%
11 9 9 8
2 1 3 1
2 1 3 1
7 4 5 4
œœ b œœ œ nœ
œœ œ ™™
œ
4 3 3 3
4 4 3
4 4 3
4 3 2
2
3
6
4 4 3
4 4 3
73
4 3 2
11 9 9 8
E¨7[åÁ]
œœ nœœ œ œ
C7(#9)
9
j ™ b œj b œœ œœ ™ b œœ œœ œœ ™ nb œ J ™ J
B¨‹7
œœ nœ nœ nœœ œœ ™™ œJ ™
G7(#5)
C‹7
F‹7
œœ b œJ 1 1 1
9 9 9 8
œœ ™ œœ ™™™ 7 4 5 4
9
11
j œ™ b œ b œœ œœ ™ œJ œ ™™ E¨7[äÁ]
5 4 5 4
ww w 1 1 1
5 4 5 4
8 8 8 8
œœj nn œœJ A¨%
4 3 3 3
Autumn
°
&
bb 4
4
°
6
6 4 7 5
5 4 5 5
œœ ™™ œ™ œ™
4
4 5 5 5
C‹7
3 5 4 4
œœj bn œœ J
Ϫ
1 3 1
3
4 2 4 3
œœj œœj ° bb ‰ œ ‰ œ œ œ & J J 10 8 8 7
8 8 8 7
˙˙ ˙˙ 8 8 8 7
œœj™ œ œj œ ™ œœœ œ™ J
6 5 5 6
6 5 5 6
E¨Œ„Š9
G‹7
œœ ™ œ œ œ œ™ œ œ™ n œJ
3 5 4 4
F7(b9)
A‹11(b5)
¢⁄
3
j b œœœ ˙˙˙ b œJ ˙
˙˙ ˙ ˙
B¨%
Ϫ
‰
A‹7(b5) D7(#11)
b b ˙˙ b & ˙
¢⁄
5 4 5 5
œ™ œœ ™™ œ™
b˙ b &
¢⁄
˙˙ ˙˙
˙
¢⁄ °
œœj œœ J
F9
C‹9
3 5 4 4
5
6 6 7 6
D7[åÁ]
˙˙ b˙ ˙
3 3 3 6
3 3 3
D7[äÁ]
œœ ™™ œœ ™ ™
13 11 11 10
11 11 11 10
74
3
G7(b9)
œœ nb œœœ œ œ
3 3 3
3 3 3
www w
0 1 3 3
0 1 3 3
˙˙ ˙˙
B¨Œ„Š13
B¨Œ„Š9
˙˙ ˙˙
E¨Œ„Š7
˙˙ ˙˙
E¨6
3 3 3 7
5 3 5 3
6 4 7 5
8 8 8 8
œœj œ nœ J
ww w w
ww ww
10 11 10 10
10 11 10 10
3 3 3 7
G‹11
4 5
˙˙ ™™ ˙™
n ˙n˙˙˙
b ˙˙˙ ˙
4 2 4 3
3 3 3 6
3
F7(#5)
˙˙ ˙˙
4
‰ œJ œ œ
˙˙ ˙˙
G‹9
°
˙ b &b
A‹7(b5)
5
¢⁄ ˙˙ ™ ° bb ˙˙ ™™ ™ & ¢⁄
¢⁄
13 12 13 12
° bb ˙˙˙ & ˙ ¢⁄
6 4 7 5
˙
5 4 5 5
6
œœ œœ
10 8 8 8
œœ ™™ ° bb œ ™ & œ™
˙˙ ˙˙
F13(b9)
b œœœ œ
10 10 8 7 8 8 8 7
œœj œœ J
œœ œœ
œœ œœ
13 12 13 12
13 12 13 12
13 12 13 12
œœ ™ œœ ™™ ™
D7[åÁ]
œœ ™ ™™ œ bœ ™
G‹11
œj ˙ ‰ ‰ nœœœ Œ J
6 6 5 4
8
œœj # œœ J
œj œœ b ‰ œ ‰ J
D7[åÁ]
13 11 11 10
11 10 11 10
œ™ œœ ™™ œ™
D7[äÁ]
œœj bœ œ J
13 11 11 10
n œœj œœ œœ œœ œœ ‰ nœœ ‰ J 6 4 7 5
œœ ™ œœ ™™™
11 10 11 10
A‹7(b5)
6 4 7 5
6 7 5
F7(b9)
10 7 8 7
8 8 8 7
8
11 11 11 10
œœ ™™ œœ ™ ™ 8 8 8 7
G9(#11)
œ ™ # œœœj œœ ™™ nœ œ™ J
˙˙˙ ˙
# œœœ nœ
8 6 7 5
9 10 10 9
9 10 10 9
9 10 10 9
n œœj ˙˙ ™ œœ ˙˙ ™™ ™ J
B¨Œ„Š7
13 11 14 12
œœ œœ
13 11 14 12
œœ ™™ œœ ™ ™
œœj œœ J
œœ ™ œœ ™™ ™
11 11 11 10
10 10 10 8
10 10 10 8
j œ™ œ n œœ œœ ™™ # œJ # œ ™ 6 6 5 4
6 6 5 4
75
œœ n œœ
˙˙ ˙˙
13 11 12 12
13 11 12 12
13 11 14 12
G‹9
D7[åÁ]
E¨Œ„Š9
C13(b9)
b œœj nœœ J 9 10 9 8
œœj œœ J
G‹(Œ„Š9)
5 3 3 4
F‹9
œœj ‰ b œœ J C‹9
10 8 8 8
œj œ œœ œœ ‰ J
A‹7(b5)
10 11 13 12 13 12
B¨13(b9)
œœ ™n œœj œœ ™™ b œ ™b œ J
œœ ™™ b œœj œœ ™™ œœ ™ bnœœ b œœ ™ ™ ™ J
9 10 9 8
8 8 8 6
www #w 5 3 3 4
8 8 8 6
7 8 7 6
7 8 7 6
∑
E¨Œ„Š7
œœj œœ J 6 4 7 5
Blues 1 B¨13
° bb c ˙˙˙ & b˙ 6 8 7 6
¢⁄
E¨9
° bb bb ˙˙˙ & n˙ ¢⁄
9 7 7 6
œ n bœœ ™™™ ‰ b œ™
6 6 6 5
9 8 10 8
˙™ b ˙˙ ™™ ˙™
C‹7
F13(b9)
8 8 8 8
10 7 8 7
ww ° bb b ww & ¢⁄
bœ b nœœ ™™ ‰ œ ™™ E13
E¨9
˙˙ nb ˙˙
bœ n nœœ ™™™ ‰ œ™ Eº7
6 6 6 5
B¨13
œœ bnœœ
9 8 9 8
6 8 7 6
Eº7
B¨13
œœ bœ œ
œœ n Œ œœ
6 6 6 5
6 5 6 5
œœj ‰ bnœœ J
œœ ™™ nb œœj ˙˙ b œœ ™™ œœ ˙˙ J F‹9 B¨7[äÁ]
œœ œœ Œ
œœ œœ
6 8 7 6
6 8 7 6
8 8 8 6
E¨13
D‹7
˙˙ ˙˙
6 8 7 6
6 8 7 6
Œ Œ
7 7 7 6
6 8 7 6
nn ˙˙ ˙˙
b ˙˙˙ n˙
11 13 12 11
10 10 10 10
11 11 10 9
G7[äÁ]
C‹9
F7[äÁ]
B¨9
9 8 9 8
8 7 8 6
7 6 7 6
6 5 6 5
76
G7[åÁ]
b ˙˙ b ˙˙
j j j j j œ b œ œ œ n œœ n b œ œ ‰ b œ Œ ‰ nœœ Œ ‰ b œœ Œ ‰ nb œœ Œ ‰ b œœ œJ œJ n œJ J J B¨13
7 7 7 6
ww ww 6 5 6 5
Blues 2 ˙˙ ° b c ˙˙ &
˙˙ ˙˙
12 10 12 10
8 8 9 7
FŒ„Š9
¢⁄
°
˙ & b ˙˙˙
¢⁄
6 5 6 5
° b ˙˙˙ ™™ & ˙ ™™ ¢⁄
3 3 3 3
E‹11(b5)
œœ ™™ j œœ œ ™ œ bœ ™ œJ B¨13
˙ ˙˙ ˙
A7(b9)
˙ # ˙˙ ˙
D‹11
˙˙ ˙˙
œœj b œœ ™™ œœ nœœ ™™ J
10 7 8 7
8 6 8 7
6 5 5 5
6 5 5 5
B¨‹7
E¨13
˙ ˙˙ ˙
A‹7
˙˙ ˙˙
D13(b9)
nb ˙ ˙˙ #˙
A¨‹7
6 6 6 6
8 6 6 5
5 5 5 5
7 4 5 4
4 4 4 4
œœj œ # œJ
œj œœ nœJ
˙˙ bb ˙˙
8 8 7 6
6 5 6 5
C7[åÁ] j
C9
bb œœ œœ ™ œ œœ ™™ œ ™ J
3 3 3 2
3 3 3 2
œœj ‰ œœ J
11 9 9 8
œœ ™ œœ ™™ ™ 11 9 9 8
œœj œœ J
œœ ™™ œœ ™™
8 8 7 7
8 8 7 7
F%
G7(b9)
D7[åÁ]
6 6 5 4
77
œœ ™ œœ ™™ ™ 6 6 5 4
C‹9
œœ ™ ™™ œ bœ ™
4 3 4 3
3 3 3 1
F7(b9)
b œœj œœ ™ œœ œœ ™™™ J 7 5 7 6
œ™ œœœ ™™ ™
D¨13(b9)
bb ˙˙ bb ˙˙
G‹9
œ ™ bb œœj œœ ™™ œ œ™ œ J
5 3 3 3
5 3 3 3
7 5 7 6
6 3 4 3
B¨9
œœj b œœ J 6 5 6 5
œœj œœ J
G‹7
3 3 3 3
C7[åÁ]
œœ ™™ œœ ™ ™
FŒ„Š9
œj œœ œJ
ww ww
4 4 3 2
4 4 3 2
3 1 2 2
3 1 2 2
Dream °
&c
w
˙ œœœ ‰ œœœ ˙˙˙ J
7 5 7 5
¢⁄
°
&
¢⁄
°
6
&
¢⁄
7 5 7 5
5 7 5
œœ ™™ # œ b b œ™ J bœ ™ B¨‹7
6 6 6 6
& ˙ww w
¢⁄
°
˙
œ œ œ w ‰ J
CŒ„Š9
7
œœ ™ œœ ™™ ™
˙ 7
7 5 5 5
b œœ ™™ b œœ ™™
˙ 7
7 6 5 6
3
˙
#b ˙˙˙ ˙
C9
1
2 3 3 2
3 3 3 2
D13(b9) j œ ˙ b œœ ˙˙ # œJ ˙ 7 4 5 4
3
3
œj ˙
C9(#11)
7 4 5 4
5
œœj œ œœ J 7 4 5 4
5
œ™ b œœ ™™ b œ™
A¨Œ„Š9
3
3 1 3 1
œœj ‰ œœ J
œœ œœ
FŒ„Š7
˙˙ ™™ ˙˙ ™ ™
5 5 5 3
5 5 5 3
4 6 6 4
78
4 6 5 4
œ
4
6
5
A¨% A¨Œ„Š9 G‹11 j bb œ œœ ‰bbb œœœ ™™ œœœ œœœ ‰ œjœ œJ œ œ ™™ b œ œ œJ 6 4 3 1 4 3 3
1 3 1
œœj ‰ œœ J 8 6 9 7
4 6 5 4
‰ b œJ nœ
3 4 3 3 4
4 3 3 4
4 5 5
E¨‹9 A¨13 j bb œœœ œœœ ™™ b œœj œœ ™™ b œJ œ ™™ b œœJ œœ ™™ 4 6 6 4
˙˙ ˙˙ ˙
bb œœœ ‰ œœœ bœ œJ 4 3 3 4
E¨7(#9)
1 3 3 3
A‹9
7
D¨%(#11)
œœj œœ J
D‹11
3 5 5 3
1 3 1
1 3 3 3
w ww w 8 6 9 7
œœj œœ œœ œœ J
œœ ™™ œœ ™ ™
G13
3 5 5 3
3 5 4 3
3 5 4 3
œœ œœj œœ ‰ œœ J
CŒ„Š7
3 5 4 3
3 1 4 2
°
4 2 5 3
4 2 5 3
œœ # œœ œœ # œ œ
˙˙ ™ ˙˙ ™™ ™
˙™
6 6 6 6
7 7 6 5
œœ ™ œ ™™ œ™
3 1 4 2
3 1 4 2
¢⁄
6 6 6 6
D‹7(b5)
˙w & b ww
˙
6 5 6 5
8
¢⁄
˙˙ ™™ & ˙˙ ™™
¢⁄
5 5 5 3
3 1 4 2
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D¨Œ„Š7
7 7 6 5
3 1 4 2
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œœ œœ
˙˙ ˙˙
5 5 5 3
5 5 4 3
5 5 4 3
4 2 5 3
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G7[åÁ]
G7[äÁ]
6 4 4 3
4 4 4 3
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8
5 5 4 3
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CŒ„Š9
3 3 4 2
8
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6 6 6 6
˙˙ b˙ ˙
E‹7
˙˙ ˙ ˙
A7[äÁ]
10 8 8 7
7 8 7 7
6 6 6 5
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C‹7(b5)
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j œ # œœ œJ
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A7(#5)
6 6 5 5
79
6 6 5 5
F7(#5)
7 8 8
7 8 8
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5 5 3 5
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5 5 3 5
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6 6 7 6
F13
˙˙ ˙˙ 3 1 4 2
4 2 5 3
j bbb œœœ œœœ œœœ ‰ b œœ b œœJ J
CŒ„Š7
3 1 4 2
4 2 5 3
B¨‹7
4 2 5 3
7 8 8
b œœ ™™ œœ ™™
bb ˙ ˙˙ ˙
G13
3 1 4 2
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b œj œ b œœ œœ œJ œ
4 4 3 3
4 4 3 3
6 6 7 6
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CŒ„Š9
3 4 2 3
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5 5 5 3
Chapter 2 \
Scales
80
Vertical and Horizontal Scales There are two popular schools of thought regarding scales on the jazz guitar. These will be referred to as horizontal scales and vertical scales. Their names describe how each is conceptualized. Neither is a better approach, but rather each offers different strengths and weaknesses with regards to use in improvisation. The best approach is to be versatile in both methods. Vertical scale forms are generally known as position playing. The horizontal approach to scales focuses on playing on one or two strings at a time. The following are examples of each scale type.
III
Vertical scale pattern
G major scale, 2nd position
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Horizontal scale pattern
C major scale on 2nd string
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Major Scales The major scales and their modes are the most frequently used melodic material in jazz improvisation. As most jazz standards and original compositions are tonal compositions, the majority of their chord progressions will be from major keys and use modes from major keys. The major scale contains the following scale degree qualities.
Root Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th The fingerings which follow are 5 choices from a total of 12 vertical fingerings which exist on the guitar fingerboard. A fingering chart and staff are provided for each position A position is defined as one fret below the second finger. Finger 2 is a better indicator as it rarely stretches out of position. Keep in mind as well that all of the major scale modes are contained within each of these 5 major scale fingerings. MAJOR SCALE FORM 1
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MAJOR SCALE FORM 2
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MAJOR SCALE FORM 3
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MAJOR SCALE FORM 4
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MAJOR SCALE FORM 5
XII
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Vertical Scale Exercises Scale practice should be included in the routine of any musician. As a jazz musician, knowing your scales and modes is of extra importance. Scales are a major component of improvisation. The more familiar you are with scales, the more facility you will have in the execution of your improvisational ideas. Learning scales on the guitar can be difficult and time consuming. If we take our 12 major scales and consider that we will be playing them in 5 different positions, we end up with a total of 60 scale forms. Add in the modes of the major scale, our 3 minor scales and all of their modes and we easily see how this can become a daunting task. To help in achieving this goal, it is best to proceed with a logical and organized approach. Practicing all 5 forms in all 12 keys every day would take up far too much practice time leaving you with little time to do much else. The scheme in Table 1 is designed to spread the work out over a longer period. You will play each form in 2 keys per day, eventually covering all 12 keys and 5 forms in a six day period. When practicing scales, play each form from the lowest to the highest note in the position. It is important to do this even when the scale does not start on the root. At this point your goal should be to learn your scale fingerings by memory and develop an ability to quickly find fingerings for all 5 forms in all 12 keys. To help you memorize the location of the roots in your scale fingerings, assign a number to the string the root is on and one to the finger playing that root. Using Form 1, G major as an example, the root of the scale is found on the 6th string and it’s played with your 2nd finger. We’ll refer to this fingering as 62. (6th string, 2nd finger) Table 1 should be used with major scales, melodic minor scales and harmonic minor scales.
Practice Table 1 KEY C F Bb
FORM 1 DAY 1 DAY 2 DAY 3
FORM 2 DAY 6 DAY 1 DAY 2
FORM 3 DAY 5 DAY 6 DAY 1
FORM 4 DAY 4 DAY 5 DAY 6
FORM 5 DAY 3 DAY 4 DAY 5
Eb Ab
DAY 4
DAY 3
DAY 2
DAY 1
DAY 6
DAY 5
DAY 4
DAY 3
DAY 2
DAY 1
Db Gb B E A D G
DAY 6
DAY 5
DAY 4
DAY 3
DAY 2
DAY 1 DAY 2 DAY 3 DAY 4 DAY 5 DAY 6
DAY 6 DAY 1 DAY 2 DAY 3 DAY 4 DAY 5
DAY 5 DAY 6 DAY 1 DAY 2 DAY 3 DAY 4
DAY 4 DAY 5 DAY 6 DAY 1 DAY 2 DAY 3
DAY 3 DAY 4 DAY 5 DAY 6 DAY 1 DAY 2
85
Major Scale Modes The following are the modes generated by the major scale. They are all presented starting from a C note. Spelling each of the modes from C allows us to see the characteristics of each mode and make comparisons. Pay attention to the qualities of the chord tones and passing tones of each individual mode. Example: Lets look closely at the Dorian mode. To find our Dorian mode, we use the C major scale and spell our notes from D to D.from D to D.
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When looking at the Dorian mode spelled out from D to D, it’s difficult to see how C major and D Dorian are different. We need a better way to compare the two. The best way to see their differences is to transpose D Dorian down a tone to C Dorian. This will allow a more direct comparison of the Dorian mode and the Major scale. C Major Scale
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11th 11th
5th 5th
œ C Dorian Mode
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Comparison C MAJOR C DORIAN
Root Root
9th 9th
3rd (maj) 3rd (min)
13th 13th
7th (maj) 7th (min)
Starting both from the same note clearly illustrates their differences. We can see that the third and seventh scale degrees are different. The examples on the next page allow us to compare all seven modes. Although some modes may generate the same chord types, look closely at the passing tones. The passing tones are the important notes which express the color and character of each mode. Lydian, for example is characterized by it’s raised 4th degree. (#11) The modes are presented in order of brightness to darkness. C Lydian is considered brighter than C Ionian because of the raised 4th. Locrian has the most flats and is therefor the darkest mode generated by the major scale. 86
C Lydian Mode
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C Ionian Mode
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b13
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C Mixolydian Mode
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11
5 C Dorian Mode
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b3
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5 C Aeolian Mode
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bœ
b3
C Phrygian Mode
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bœ
b9
bœ
b3
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11
5
b13
b7
C Locrian Mode
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bœ
bœ
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b5
b13
b7
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An excellent way to practice scales and modes is to play them in chord progressions. This requires an understanding of chord scale relationships. Let's start with II - V7 - I.
D‹7
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V
V
V
G7
V
V
V
CŒ„Š7
V
V
V
V
V
V
V
V
V
The following are the modes which correspond to the three chords. They are presented ascending from root to 7th. If we use a progression with an harmonic rhythm of one chord per bar and combine the scales and modes, we end up with the following pattern.
& œ œ œ œ œ œ œ D Dorian
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G Mixolydian
C Ionian
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There are two ways one might find fingerings for these scales: Scale forms One octave modes
Scale Forms When practicing modes derived from scale forms, choose one of the 5 scale forms and find the modes within that form. Although it may be possible to play more than one octave of a particular mode, for now, play only one octave as in the pattern above. Play through each of the modes from root to 7th without moving out of the scale form. Using major scale form 4, we can find fingerings for our three modes, Dorian, Mixolydian and Ionian. I = Ionian, D = Dorian and M = Mixolydian
I
D
M
III 88
If we extract one octave from each of the starting notes we end up with one octave scales for Ionian, Dorian and Mixolydian.
III D Dorian (Dm7)
III G Mixolydian (G7)
III C Ionian (Cmaj7) 89
Exercises 1. Play the Dorian mode through the circle of 5ths. Your fingerings will be derived from the major scale forms. (Ex: Cm7 will be derived from the Bb major scale, Fm7 from Eb major.....) No tabs are included as the fingerings will be based on your choice of scale forms.
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Ideas for practice: Use the same major scale fingering for each mode and move to a new position for each new key. Use different major scale fingerings for each mode and try to remain as close as possible to one central position or location on the fingerboard. (You will have to move up or down one fret to play through all keys) 2. Play the Mixolydian mode through the circle of 5ths. Your fingerings once again are from major scale forms. 3. Play the major scale through the circle of 5ths. 90
4. Play the major scale modes in sequence through the circle of 5ths. This example illustrates the modes from the key of C major. Practice in all 12 keys and try to use all 5 scale forms.
CŒ„Š7
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FŒ„Š7
BØ7
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D‹7
G7
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E‹7
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CŒ„Š7
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5. Play IIm7 - V7 - Imaj7 (Dorian, Mixolydian and Ionian) modes through the circle of 5ths. For each key, choose a position which accommodates the range. To begin, practice each key individually several times.
D‹7
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G7
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C7
G‹7
bœ œ œ œ bœ œ œ & C‹7
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CŒ„Š7
bœ œ œ œ œ œ œ
FŒ„Š7
œ œ œ œ œ œ b œ b œ b œ œ œ œ œ œ œ b œ b œ b œ œ œ œ
F7
B¨Œ„Š7
bœ œ œ œ œ œ œ b œ b œ b œ b œ b œ b œ b œ & œ œ œ œ œ bœ œ bœ œ b œ œ œ bœ œ F‹7
B¨7
E¨Œ„Š7
91
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E¨7
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92
Applying Rhythms To Scale Practice When practicing scales and modes, it is important to keep your practice as interesting and creative as possible. Scale practice needs to be more than just a physical exercise geared simply at moving your fingers. It should be seen as a time to practice as many musical skills as possible. You need to incorporate other musical elements into your scale practice. Scale practice should include patterns, rhythms, dynamics, various tempos, time signatures and other musical elements. The examples below demonstrate the application of a pattern and rhythm to a scale. Using the G major scale as an example, play the scale in thirds as follows.
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Next add a rhythmic pattern. We will use a pattern which has four articulations. This will avoid any conflicts between the rhythmic pattern and the scale patterns.
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VJ
V
V
The result of combining the rhythmic and scale patterns will be as follows.
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As you become more comfortable combining scale and rhythmic patterns, try adding another musical elements such as dynamics. Practice scales starting piano and build the dynamic level gradually to a forte. Other creative ways to practice scales include playing staccato, using legato techniques, (slurring two or more notes which occur on the same string) improvising and focusing on overall sound production. Scales are an excellent place to work on your sound. Sound production from the guitar (not the amp) should be full and focused at all dynamic levels. If you strive for the best possible sound production from the instrument, the amp sound will almost certainly be good as well. The following rhythms are to be used for scale practice. Choose different rhythms on different days. This will help you to concentrate and not fall victim to the monotony of playing scales day after day. The following steps are a helpful guide. 1. Apply a melodic pattern to a scale form. 2. Apply a rhythm to a scale form. 3. Apply both a rhythm and melodic pattern to a scale form. 4. Combine one of the other elements mentioned above. When combining the melodic and rhythmic patterns, choose a rhythmic pattern that has an articulation which matches the melodic cells of the scale pattern. If we take the G major scale in thirds as an example and look at its structure, we see that it has a melodic cell which contains two notes. Therefore, it is easiest to combine this scale pattern with a rhythmic pattern that is composed of either two or four articulations per bar. This ensures that the scale pattern and the rhythmic pattern start and end at the same time.
Rhythms 3/4 Time 1 3 / 4V V V
V ™ VJ V V
2
3
V V V V
6
7
/ V V V V V V V V V 11
/ V V ™ VJ
12
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14
5
V V V V
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V V ‰ VJ ‰ VJ
V ™ VJ V 10
15
V ‰ VJ V V
2/4 Time
2 &4 +
1
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6
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2
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V V V V V 3
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V V V V V
V V V V V 3
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These rhythms contain a variety of patterns and articulations. They may be combined in various ways to create more complex rhythmic patterns. The articulations vary from 1 to 5 per pattern. Combine them in ways that create compounds of 2 and 4 articulations. This will ensure the rhythmic patterns and the melodic scale patterns blend together musically.
Patterns Example 1
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Example 2
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& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ The patterns presented over the next few pages will appear as they are written below. The first bar or two of each pattern will be given both ascending and descending followed by an arrow. Simply continue the pattern by transposing the pattern one note higher or lower diatonically.
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To end a pattern, find a musical way to land on the tonic of the scale. In some positions, the root of the scale will be on either string 2 or string 3 in the ascending direction and on either string 4 or string 5 in the descending direction. When practicing, be conscious of the following factors: • Sound you are producing • Whether or not you are relaxed (always strive to play relaxed) • Is there any tension in your muscles. You should be relaxed when practicing. (hands, shoulders, face, no teeth grinding...) • Finger movements (small movements are best, economy and speed) • Phrasing • Dynamics • Overall musicality • Speed should be increased in small increments while maintaining a relaxed body and mind. 96
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œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
#
œ
#œ
100
Exercises 1. Choose a scale pattern and combine the pattern with a major scale form and play the scale pattern following Practice Table 1. On subsequent days, choose different scale patterns and follow Practice Table 1 for Day 2, Day 3, etc.... 2. Choose a rhythmic pattern and combine the pattern with a major scale form and play the scale patterns following Practice Table 1 as above. 3. Combine 2 rhythmic patterns, one from the 2/4 examples and one from the 3/4 examples to create a 5/4 rhythm. Again, following Practice Table 1 to organize your practice time.
+
V
V
Example:
V V
3
V V V 3
V™
V 2/4
VJ V
VJ
V V V V 3
V V/
3 VV VV VV 4
V V V VV VV V V ™ VJ V V
V™
3/4
VJ / V VV+ V V V V VV VV VV VV V V V V V V
™ V V V V V V™ V V V / V V J V V V V V V JV V5/4V J V J‰ VJ
5 ∑ & 4 combined
3
3
VJ V
VJ V
V V V V
V V ‰ VJ ‰ ∑
The combination of these two rhythmic patterns creates a total of eight articulations. This will allow you to combine the rhythmic pattern with any of the scale patterns which contain melodic cells of two, four or eight notes. 4. Combine a rhythmic pattern and a scale pattern and practice with all 5 scale forms in all twelve keys. As always, use the practice table to spread the work out over time. 5. Combine two rhythmic patterns to create a rhythmic pattern in compound time and apply it to a scale pattern and practice with all 5 scale forms in all twelve keys. (5/4, 7/4, 6/8.....) 6. Combine scale and rhythmic patterns in creative combinations in simple and compound time and apply to all 5 scale forms in twelve keys. 101
+
∑
Horizontal Approach The horizontal approach is another method of conceptualizing scales on the guitar fingerboard. Playing scales and melodies on the guitar using a horizontal approach is very natural and musical. The guitar is well suited to this approach as it’s design is essentially based on changing the pitch of the individual strings by shortening their length. It is possible to play all scales and modes on each string as each string has a range of almost 2 octaves. We will organize our scale practice using the circle of 5ths and the 6 strings of the guitar. If we consider that each scale can be played on each of the 6 strings and that there are 12 keys, we can conclude that there are 72 scale possibilities on the guitar fretboard. We will begin with C major on string 2.
There are numerous fingering possibilities when playing horizontal scales. The simplest way to start is to use one finger to play the entire scale. This will allow you to learn the notes of the scale without having to worry about fingerings. When you are familiar with the notes of the scale on that particular string, try different combinations of fingerings. It is possible to use 1, 2, 3 or 4 fingers to play the scales. 2 fingers For notes a tone apart, use fingers 1 and 3 and then shift position to play the next note using finger 1. For notes a semitone apart, use fingers 1 and 2 then shift position. 3 fingers Use normal fingering except when playing 3 tones in a row, use fingers 1, 2 and 4, or 1, 3 and 4, then shift position and start again with finger 1. 4 fingers Each finger will play 1 note then shift position. There will be stretches. Descending When descending the scale, use the exact fingerings you used to ascend. For example, if you played 1, 3 and 4 as your last 3 notes, play 4, 3 and 1, then shift position. 102
Use the following table to organize your horizontal scale practice. As with Table 1, the idea is to spread the work out over a six day period. In this way, you will avoid spending your entire practice session on one item. This practice schedule will allow you to play all keys on all strings while distributing the work over multiple days. Don’t expect to know all of your scales on all strings right away. This will take some time.
Practice Table 2 KEY
STRING 1
STRING 2
STRING 3
STRING 4
STRING 5
STRING 6
C F Bb
DAY 1 DAY 2 DAY 3
DAY 6 DAY 1 DAY 2
DAY 5 DAY 6 DAY 1
DAY 4 DAY 5 DAY 6
DAY 3 DAY 4 DAY 5
DAY 2 DAY 3 DAY 4
Eb
DAY 4
DAY 3
DAY 2
DAY 1
DAY 6
DAY 5
Ab
DAY 5
DAY 4
DAY 3
DAY 2
DAY 1
DAY 6
Db
DAY 6
DAY 5
DAY 4
DAY 3
DAY 2
DAY 1
Gb
DAY 1 DAY 2 DAY 3 DAY 4 DAY 5 DAY 6
DAY 6 DAY 1 DAY 2 DAY 3 DAY 4 DAY 5
DAY 5 DAY 6 DAY 1 DAY 2 DAY 3 DAY 4
DAY 4 DAY 5 DAY 6 DAY 1 DAY 2 DAY 3
DAY 3 DAY 4 DAY 5 DAY 6 DAY 1 DAY 2
DAY 2 DAY 3 DAY 4 DAY 5 DAY 6 DAY 1
B E A D G
103
Exercises One of the most enjoyable ways to practice horizontal scales is to improvise on chord progressions. The three examples which follow provide a framework for improvisation. One or several modes can be combined to create simple progressions. You can either record the progression or have another guitarist or pianist play it for you. Improvise freely on the harmony restricting yourself to one string and the modes.
Modal examples Example 1 (Dorian)
D‹7
& V
V
F‹7
V
& V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
(Dorian)
V V
V V
V V
V V
Example 2 (Dorian)
°™ &¢™V V V V D‹7
V V V V
(Mixolydian)
V V V V
(Dorian)
°™ &¢™V V V V F‹7
G7
B¨7
V V V V
V V V V
™™ ü †
V V V V
™™ ü †
V V V V
™™ ü †
(Mixolydian)
V V V V
Example 3 (Phrygian)
°™ b & ¢™V V V V A‹7
(Lydian)
B¨Œ„Š7
V V V V
V V V V
104
Combining Strings Intervals are easy to play using two adjacent strings. To play intervals, use one string for the lower note of the interval and the other string for the higher note. The following example illustrates diatonic thirds in C major.
E String
& œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
B String
Using adjacent strings it is possible to play seconds, thirds, fourths, fifths and sixths. Minor seconds and sixths are the only intervals which will require a stretch. Skipping one string facilitates larger intervals. This next example illustrates the diatonic sevenths in C major.
E String
& œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
G String
Skipping one string will work well with fifths, sixths, sevenths and octaves. Triads, in all inversions, can be played across three strings. To play triads, play one tone of the triad per string. Practice starting with either the root, third or fifth as your melody note. 105
Exercises 1. Practice playing each of the major scale modes on each of the six strings and in all keys. Use Practice Table 2 as a guide to organize your practice time. 2. Improvise using two adjacent strings in each of the 7 modes utilizing the following:
2nd and 3rds 4ths and 5ths
2nds and 4ths 2nds and 6ths
3. Improvise across strings (skipping one string) in each of the 7 modes utilizing the following: 5ths, 6ths, 7ths, octaves * For all examples with intervals, practice both as single notes and as double stops. 4. Using three adjacent strings and horizontal scale techniques, play each of the 7 modes of the major scale. Start on the root of each mode and ascend one octave. In this example, the first 3 modes of the the C major modes are played on the top 3 strings. A Aeolian
B Locrian
C Ionian
106
One Octave Scale Practice Another approach to playing scales is one octave fingerings. There are several fingering combinations. The following approach is based on the concept that each finger can play the root of the scale. Using the 6th string as an example we find fingerings in the following manner.
finger 4 plays root
4
VIII finger 3 plays root
3
VIII finger 2 plays root
2
VIII finger 1 plays root
1
VIII 107
Starting scales on fingers 2 and 3 will often produce similar fingerings. In this example, starting on finger 2 produces the better fingering of the two. Continue working through the major scales on string 5, string 4 and finally string 3. You will find that some fingerings will be more useful than others. Work through all possibilities to find those which are most useful.
Exercises Using one octave fingerings, play major scales through the circle of 5ths. (All 12 keys) There are several ways to approach this:
Choose an area of the fingerboard and stay within that position as much as possible.
Choose positions at random.
Start on each of the four possible strings.
Start on each of the four possible fingerings.
Choose a piece of music (preferably a standard or jazz piece) and practice playing through the scales and modes for each chord
Circle of 5ths F
C
G D
Bb
Eb
A
Ab
E Db
F#/Gb 108
B
One Octave Mode Practice Practicing modes in one octave is similar to the one octave major scales. We will again begin by starting on one of the strings (for now string 6) and use each of the 4 fingers to play the root of the mode. Dorian Mode
4
VIII
3
VIII
2
VIII
1
VIII 109
As with the major scales, starting with fingers 2 and 3 will often produce the same pattern. In this example, the pattern starting on finger 2 produces the best result. The next step is to repeat this procedure for Dorian mode on the remaining strings 5, 4 and 3. Repeat the process for the Mixolydian and Ionian (major scale) modes.
Exercises 1. Play Dorian mode in 12 keys using one octave fingerings. There are several ways to approach this:
Choose an area of the fingerboard and stay within that position as much as possible.
Start on each of the four possible strings. (Use only one string at a time)
Start on each of the four possible fingerings. (Use only one fingering at a time)
Choose positions at random.
2. Play Mixolydian mode in 12 keys using one octave fingerings. 3. Play the modes for a II - V7 - I chord progression (Dorian, Mixolydian and Ionian) through the circle of 5ths using one octave fingerings. (All 12 keys) This exercise is similar to modes from scale forms, except that you conceptualize each mode individually based on fingerings and not major scale forms. You can refer to the exercise used to play II - V7 - I modes in the previous section on position playing. Basically you will be playing through the same modes except now your perspective will be different. Instead of keeping your Dorian, Mixolydian and Ionian all within the same parent scale form, you can move each mode to different places on the fingerboard.
110
Harmonic Minor Scale The harmonic minor scale is a natural minor scale with a raised 7th degree. This scale is commonly used in improvisation over IIm7(b5) and V7(b9), resolving to any form of minor chord. It may also be used over tonic minor when there is a major 7th in the chord. The augmented 2nd interval between 6 and 7 should be handled with care. A better choice for tonic minor with a major 7th is the melodic minor scale. Mode 3 of harmonic minor works well over maj7(#5) when there is a natural 4th scale degree.
Root Major 2nd Minor 3rd Perfect 4th Perfect 5th Minor 6th Major 7th
HARMONIC MINOR SCALE FORM 1
III
&
œ
œ bœ
œ
œ bœ #œ
œ bœ
œ 111
œ
œ bœ #œ
œ
œ
HARMONIC MINOR SCALE FORM 2
III
&
œ
œ bœ
œ
œ bœ #œ
œ
œ bœ
œ
œ bœ #œ
œ
œ bœ
HARMONIC MINOR SCALE FORM 3
X
&
bœ
œ
œ bœ #œ
œ
œ bœ
œ 112
œ bœ #œ
œ
œ bœ
œ
œ
HARMONIC MINOR SCALE FORM 4
X
& bœ #œ
œ
œ bœ
œ
œ bœ #œ
œ
œ bœ
œ
œ bœ #œ
œ
œ
œ bœ #œ
œ
HARMONIC MINOR SCALE FORM 5
XV
& bœ #œ
œ
œ bœ
œ
œ bœ #œ 113
œ
œ bœ
Harmonic Minor Scale Exercises 1. Practice all 5 forms in all 12 keys according to the practice scheme outlined in Practice Table 1. 2. Once you are familiar with the fingerings and are able to execute the scales in all 12 keys, add patterns and rhythms to your harmonic minor scale practice. Use the same approach outlined for practicing major scales.
Patterns And Rhythms 1. Choose a scale pattern and combine the pattern with a harmonic minor scale form and play the scale pattern in all 12 keys. Use Practice Table 1 to organize your practice time. Use different scale forms on different days and apply a different scale pattern each time. 2. Choose a rhythmic pattern and combine the pattern with an harmonic minor scale form and play the rhythmic pattern in all 12 keys. Use Practice Table 1 to organize your practice time. Use different scale forms on different days and apply a different rhythmic pattern each time. 3. Combine 2 rhythmic patterns, one from the 2/4 examples and one from the 3/4 examples to create a 5/4 rhythm. 4. Combine a rhythmic pattern and a scale pattern and practice with all 5 scale forms in all twelve keys. As always, use the practice table to spread the work out over time. 5. Combine two rhythmic patterns to create a rhythmic pattern in compound time and apply it to a scale pattern and practice with all 5 scale forms in all twelve keys. 6. Combine scale and rhythmic patterns in many creative combinations in simple and compound time and apply to all 5 scale forms in twelve keys.
About Harmonic Minor Modes The harmonic minor scale generates 6 additional modes in addition to the scale itself. Although all are valid modes, for our purposes we will look first at mode 5 which is used extensively in jazz improvisation especially in Bebop. Mode 5 is used most often over V7 chords which resolve to minor.
HARMONIC MINOR MODE 5
& œ
bœ
nœ
œ
œ
bœ
œ
œ
Mode 5
œ
bœ
œ
œ
bœ
C Harmonic Minor Scale
114
nœ
Mode 5 is probably one of the most used modes to play over a IIm7(b5) - V7 (alt) when resolving to a minor chord. (Often referred to as a minor II - V) Take a look at Mode 5 below. We can see that the scale gives us the basic chord tones for G7 (Root, 3rd, 5th and 7th) and also gives us some altered tones to use as extensions.
&
G7½
œ
bœ
nœ
œ
b9
3
sus4
R D‹7(b5) G7½
œ 5
œ
œ
bœ b13 (#5)
b7
nœ
œ
R
œœ œ n œ b œ œ & œ œ b œ all of it's chord tones. b œtob œplay over œthe œ œ n œ It& can also be used IIm7(b5) chord as Mode 5 also contains œ D‹7(b5)
& œ
R
œ
œ
bœ
bœ
b3
b5
œ
b7
œ œ b œ œ Here is an example which uses Mode œ minor. Notice that it is only used for the IIm7(b5) and V7 nœ 5 Harmonic b œ & œ chords. This is extremely important! Once you have resolved to the target chord, you need to use the correct G7½
mode or scale for that chord. In a typical jazz piece, the resolve chord can be many things. As an example, the resolve chord can be some kind of I chord, IIm7, IIIm7, VIm7 and many other types of minor chords if you D‹7(b5) consider all of the possible chords from other modes borrowed from other keys.
& œ
D‹7(b5)
bœ
& V V V V
bœ
œ
œ
G7½
C‹7
V V V V
œ
nœ
V V V V
"C" Harmonic Minor (G Mode 5)
œ
V V V V
"C" Dorian
Harmonic Minor Modes The names for each of the modes may vary from book to book and musician to musician. I've tried to include the names that seem to be used most often. You will notice that most of the names make reference to the major scale modes with indications of the alterations. 115
HARMONIC MINOR SCALE (AEOLIAN NATURAL 7)
&
4 nœ œ b œ œ œ 4 œ œ bœ
œ
œ bœ
œ b œ nœ
œ
œ b œ nœ b œ
œ
œ
œ
œ
LOCRIAN NATURAL 6
& œ bœ
œ
œ b œ nœ
œ
œ
œ bœ bœ
IONIAN AUGMENTED (IONIAN #5)
& bœ
œ
œ b œ nœ
œ nœ b œ
œ # œ nœ
œ
œ nœ
œ
œ bœ #œ
œ nœ b œ
œ
œ
œ bœ bœ
œ
œ
œ
∫œ b œ b œ b œ œ bœ bœ
œ
DORIAN #4
& œ nœ b œ nœ
œ
œ bœ
œ
PHRYGIAN DOMINANT (PHRYGIAN NATURAL 3)
& œ b œ nœ
œ
œ b œ nœ
LYDIAN #2
& b œ nœ
œ nœ b œ
œ
œ
œ b œ nœ
œ bœ
œ # œ nœ # œ
œ nœ
ALTERED bb7 (SUPER LOCRIAN o7)
& nœ
œ
œ bœ
œ
œ b œ nœ
116
One Octave Scale Practice (Harmonic Minor) As with the major scale, each finger plays the root of the scale. Using the 6th string as an example, we find the notes in the following manner. The examples below are for C harmonic minor. finger 4 plays root
4
VIII finger 3 plays root
3
VIII
finger 2 plays root
2
VIII finger 1 plays root
1
VIII
117
Exercises Using one octave fingerings, play harmonic minor scales through the cycle of 5ths. (All 12 keys)
° ™c &¢ ™ œ ° ™b œ &¢ ™
œ bœ
œ bœ bœ
œ
œ bœ
™™ °ü ™™ œ ¢†
œ bœ bœ
œ b œ nœ
™™ ü †
™™ °ü ™™ ¢† b œ
b œ nœ b œ b œ b œ œ
™™ ü †
œ
œ bœ n œ
°™ nœ ‹ œ # œ # œ n œ & ¢ ™# œ # œ
™™ °ü ™™ ¢† # œ # œ
#œ n œ # œ # œ œ
™™ ü †
°™ & ¢ ™# œ # œ
œ nœ # œ nœ # œ
™™ °ü ™™ œ # œ ¢†
# œ n œ # œ n œ œ
™™ ü †
°™ & ¢ ™ œ #œ
œ nœ
œ nœ # œ
™™ °ü ™™ œ ¢†
œ
œ nœ
œ nœ # œ
™™ ü †
œ nœ
œ bœ #œ
™™ °ü ™™ œ ¢†
œ b œ nœ
œ bœ #œ
™™ ü †
°™ &¢ ™œ
œ
118
One Octave Mode Practice Mode 5, Harm. Minor For the examples below, the unshaded note is the root of Mode 5 and not the root of the harmonic minor scale.
4
VIII
3
VIII
2
VIII
1
VIII 119
Exercises 1. Practice Mode 5 harmonic minor starting on string 6, 5, 4 and 3 in all 12 keys.
Choose an area of the fingerboard and stay within that position as much as possible.
Choose positions at random.
Start on each of the four possible strings. (Use only one string at a time)
Start on each of the four possible fingerings. (Use only one fingering at a time)
Keep in mind that not every fingering will work. Find the fingerings which work best. 2. The patterns which follow are based on Mode 5 harmonic minor. They have been arranged to form a line which avoids the augmented 2nd between the 6th and 7th scale degrees.
4 & 4 &
œ
C7½
œ
C7½
bœ
bœ
œ
œ
œ
œ
bœ
bœ
œ
bœ
œ
bœ
œ
F‹ œ
œ
bœ
˙™
b F‹ w
Practice these 2 examples in all 12 keys using the three fingerings which work best. For further practice, you can also try adding a IIm7(b5) in the bar before the C7(alt) to create a II - V - I progression in minor. [IIm7(b5) - V7(alt) - Im] You can also choose a scale to play over the Im such as Dorian, Natural Minor or melodic Minor. Your scale choice should create a line which works well with each of the two lines. The chord symbol, C7(alt) is used to indicate that you may use any of the altered extensions. b9, #9, #11, b13 The extensions which work best for a V7 resolving to minor are the b9, #9 and the b13. It is a common shorthand found in many Fake Books. 120
Melodic Minor Scale The melodic minor scale is a natural minor scale with raised 6th and 7th degrees. Only the ascending melodic minor scale is used in jazz. It is often referred to as the "real melodic minor" or the "jazz minor" scale. These names are meant to distinguish it from the classical form of the scale which uses the natural minor form when descending. The melodic minor scale generates a number of frequently used modes for improvisation. (Lydian b7, Super Locrian, Lydian Augmented) The melodic minor scale from its root is an excellent choice for tonic minor chords which contain the major 6th and/or the major 7th scale degrees.
Root Major 2nd Minor 3rd Perfect 4th Perfect 5th Major 6th Major 7th
MELODIC MINOR SCALE FORM 1
III
&
œ
œ bœ
œ
œ
œ #œ
œ bœ
œ 121
œ
œ
œ #œ
œ
œ
MELODIC MINOR SCALE FORM 2
V
&
œ bœ
œ
œ
œ #œ
œ
œ bœ
œ
œ
œ #œ
œ
œ bœ
œ
œ
œ
MELODIC MINOR SCALE FORM 3
X
&
bœ
œ
œ
œ #œ
œ
œ bœ
œ 122
œ
œ #œ
œ
œ bœ
MELODIC MINOR SCALE FORM 4
X
& œ
œ
œ #œ
œ bœ
œ
œ
œ
œ #œ
œ
œ bœ
œ
œ
œ #œ
œ
œ
MELODIC MINOR SCALE FORM 5
XV
& œ #œ
œ
œ bœ
œ
œ
œ #œ 123
œ
œ bœ
œ
œ
Melodic Minor Scale Exercises 1. Practice all 5 forms in all 12 keys according to the practice scheme outlined in Practice Table 1. 2. Once you are familiar with the fingerings and are able to execute the scales in all 12 keys, add patterns and rhythms to your melodic minor scale practice. Use the same approach outlined in practicing major scales.
Patterns And Rhythms 1. Choose a scale pattern and combine the pattern with a melodic minor scale form and play the scale pattern in all 12 keys. Use Practice Table 1 to organize your practice time. Use different scale forms on different days and apply a different scale pattern each time. 2. Choose a rhythmic pattern and combine the pattern with a melodic minor scale form and play the rhythmic pattern in all 12 keys. Use Practice Table 1 to organize your practice time. Use different scale forms on different days and apply a different rhythmic pattern each time. 3. Combine 2 rhythmic patterns, one from the 2/4 examples and one from the 3/4 examples to create a 5/4 rhythm. 4. Combine a rhythmic pattern and a scale pattern and practice with all 5 scale forms in all twelve keys. As always, use the practice table to spread the work out over time. 5. Combine two rhythmic patterns to create a rhythmic pattern in compound time and apply it to a scale pattern and practice with all 5 scale forms in all twelve keys. 6. Combine scale and rhythmic patterns in many creative combinations in simple and compound time and apply to all 5 scale forms in twelve keys
Melodic Minor Modes As with the major scale modes, the melodic minor modes are presented in two ways; as they relate to their parent scale of C melodic minor and with a common starting note of C. It’s a good idea to become familiar with these modes as they are used extensively in jazz. Their names often refer to other modes from major. An example of this would be the Lydian Augmented mode. As the name suggests, it is a Lydian mode with a raised or sharp 5th degree. Modes from the Melodic Minor Scale are used equally in both standards and more modern jazz compositions. When used in more modern compositions, the color of the modes are more apparent and often used for longer durations. 124
MELODIC MINOR
&
œ
œ bœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
DORIAN b2
& œ bœ
œ
LYDIAN AUGMENTED
& bœ
œ
œ nœ
œ nœ b œ
œ
œ
œ
œ b œ nœ
œ nœ
œ
œ b œ nœ
œ
LYDIAN b7
& nœ nœ MIXOLYDIAN b6
& œ
LOCRIAN §2
& nœ nœ
œ
SUPER LOCRIAN
& nœ
œ
œ bœ
œ bœ
œ
œ
œ
œ
œ bœ
œ
œ
œ
œ bœ
œ
œ nœ
œ
œ bœ bœ
œ
œ bœ
œ bœ bœ bœ
œ
bœ b œ b œ b œ b œ œ bœ
œ
œ bœ
œ
œ
œ bœ bœ
œ
œ
œ
œ
œ
œ
œ
œ nœ
œ
œ nœ n œ n œ 125
œ nœ # œ # œ
œ nœ # œ
œ
œ
Exercises Play each mode through the circle of 5ths. In this example the Lydian b7 mode is used.
&c & bœ & bœ & bœ
œ bœ bœ
nœ
œ
œ
nœ
bœ
œ
bœ
bœ
bœ
bœ
œ #œ
nœ
œ
nœ
bœ
nœ
œ #œ #œ
œ
bœ bœ
œ bœ
œ
nœ
œ
œ
œ
nœ
bœ
œ
bœ
bœ
œ
nœ
bœ
bœ
bœ
œ
nœ
œ bœ
œ
& nœ # œ # œ # œ & nœ
œ
œ #œ
œ
œ
œ bœ
n œ # œ # œ # œ nœ # œ # œ nœ
œ #œ #œ
nœ
œ #œ
œ
œ #œ œ
œ
nœ nœ
Play the modes in sequence through the circle of 5ths and in all keys. This example uses all modes from the key of C melodic minor.
& œ œ bœ œ œ œ œ
b œ œ œ œ œ œ œ
œ œ œ b œ œ œ œ œ œ œ œ œ bœ œ
œ œ b œ œ œ & œ œ
œ œ œ œ œ bœ œ
œ b œ œ œ œ œ œ 126
œ œ œ œ œ œ bœ
This example combines modes from the major scale and one from melodic minor. The chord progression is II - V7 - I. We will use Dorian on the IIm7 chord, super Locrian (the seventh mode from melodic minor) on the V7 chord and the major scale on the Imaj7 chord. The starting key is C major and the progression moves through the circle of 5ths.
° ™C &¢ ™ œ œ œ œ œ œ œ D‹7
° ™ bœ œ œ œ œ &¢ ™œ œ G‹7
° ™ œ œ bœ œ œ œ b œ &¢ ™ C‹7
bœ œ b œ b œ b œ œ bœ
G7
bœbœ b œ b œ b œ œ bœ
C7
bœ n œ b œ n œ b œ œ
F7
°™ b œ œ œ b œ b œ nœ & ¢ ™ œ œ bœ F‹7
B¨7
CŒ„Š7
nœ n œ œ œ n œ n œ nœ
ü ™ œ œ ™† œ œ œ œ œ
nœ n œ œ b œ n œ nœ nœ
œ ™ü œ œ b œ ™† œ œ œ
FŒ„Š7
bœ
œ œ ü n œ œ œ œ b œ b œ n œ œ ™™ bœ œ bœ œ †
B¨Œ„Š7
b œ nœ nœ b œ b œ
ü œ œ œ œ ™ ™† b œ œ nœ b œ b œ bœ œ œ bœ bœ
E¨Œ„Š7
bœ n œ b œ n œ œ b œ n œ œ œ ü œ œ ° ™b œ œ b œ b œ œ b œ nœ b œ b œ b œ b œ ™™ bœ bœ œ bœ bœ œ &¢ ™ † B¨‹7
E¨7
A¨Œ„Š7
bœ °™ ü n œ b œ n œ œ œ œ œ ™ b œ n œ b œ b œ b œ nœ ™† & ¢ ™b œ œ b œ b œ bœ bœ œ bœ bœ bœ bœ œ bœ bœ E¨‹7
A¨7
D¨Œ„Š7
127
œ œ ° ™ b œ b œ b œ b œ œ b œ b œ nœ nœ œ nœ n œ n œ ü b œ b œ b œ b œ b œ b œ ™ ™† & ¢ ™b œ bœ bœ bœ bœ bœ bœ A¨‹7
D¨7
G¨Œ„Š7
œ BŒ„Š7 F©7 n œ n œ n œ b œ #œ # œ # œ ° ™# œ # œ nœ # œ # œ# œ # œ nœ n œ œ # œ nœ # œ &¢ ™ C©‹7
°™ #œ œ # œ œ n œ ™ & ¢ #œ #œ F©‹7
° ™ œ # œ nœ œ # œ # œ œ &¢ ™ B‹7
B7
œ nœ
œ n œ n œ b œ nœ
œ n œ b œ b œ n œ œ nœ
E7
#œ ü # œ # œ œ # œ ™™ œ #œ †
EŒ„Š7
#œ #œ œ œ # œ nœ # œ
ü # œ # œ ™ œ ™† œ #œ #œ œ
# œ # œ œ œ nœ nœ # œ
# œ # œ ü œ œ # œ ™ œ œ ™†
AŒ„Š7
°™ & ¢ ™ œ # œ nœ œ œ # œ œ
A7
œ n œ b œ b œ n œ # œ n œ œ bœ œ œ nœ nœ # œ DŒ„Š7
ü # œ ™ œ ™† œ œ #œ œ œ
° ™ œ nœ œ œ # œ œ &¢ ™œ
D7
œ b œ b œ b œ œ b œ nœ
GŒ„Š7
#œ n œ œ œ n œ nœ nœ
#œ ™ ü œ œ œ œ ™† œ œ
E‹7
A‹7
128
Exercises Practice playing each of the modes from the melodic minor scales on each of the six strings and in all keys. Use Practice Table 2 as a guide to organize your practice time. Improvise on the harmonic progressions below using the modes indicated. You might want to vary your practice from day to day by sometimes playing in positions that are close and then trying to move to positions that are further away. Make your practice interesting and challenge yourself to focus on the elements you find more difficult. Example 1 (Lydian Augmented)
° ™4 &¢™ V V V V 4 CŒ„Š7(#5)
V V V V
V V V V
V V V V
(Lydian Augmented)
E¨Œ„Š7(#5)
& V V V V
V V V V
V V V V
V V V V
™™ ü †
Example 2
° ™4 &¢™ V V V V 4
B¨Œ„Š7 (Major or Lydian)
A¨7(#11)
(Lydian b7)
& V V V V
V V V V
V V V V
V V V V V V V V
V V V V V V V V
™™ ü †
Example 3
° ™4 & ¢ ™4 V V V V F©‹9(b5)
E‹(Œ„Š7)
(Locrian §2)
V V V V
(Melodic Minor)
& V V V V
V V V V
B7[åÁ] (Super Locrian)
V V V V
V V V V 129
V V V V
V V V V
™™ ü †
Note On Practicing If you’ve reached this point in the book you’ve probably noticed that there is an overwhelming amount of material to practice. Knowing how to effectively organize your practice time is critical to moving forward. So what do we do. Although you do need to practice everything, you need to practice the areas where you are weak more often and areas where you are strong less often. In other words, work on new techniques and concepts should take up the majority of your practice time while leaving a little time to review techniques and concepts you are more confident with. A practice timetable is an excellent way to organize your practice time. A timetable allows you to keep track of the things you need to practice, how much time you will spend on each and what you are practicing each day. This way you keep track of the things you practiced yesterday or last week and have a clear record of everything you have done and everything you need to do. It’s so easy to find yourself wrapped up in something new, especially when you are excited about practicing it. This can lead you to neglect areas that may not be one hundred percent and require attention. To create a practice timetable, simply list everything you need to practice in a column on the left and create columns to the right of this for the days of the week. For each item you practice, mark the amount of time you spend on it. Next day when it’s practice time, you can quickly see what you’ve covered and what you need to spend time on. What makes a great jazz guitarist? Organized and effective practice.
Practice Schedule
Monday
Major Scale
20 mins. (form 1)
Mel. Minor
20 mins. (form 2)
Tyesday
Harm. Minor Drop 2
20 mins. (dom7)
Sight Reading
20 mins.
Repertoire
20 mins.
130
Wednesday
One Octave Scale Practice (Melodic Minor) Again, each finger plays the root of the scale and again fingers 2 and 3 produce the same results.
4
VIII
3
VIII
2
VIII
1
VIII
131
Starting on finger 3 produces the best results. Continue working through the melodic minor scales on string 5, string 4 and finally string 3. Again, some fingerings will be more useful than others. Work through all possibilities to find those which are most useful.
Exercises Using one octave fingerings, play melodic minor scales through the circle of 5ths. (All 12 keys) You may use these points as a guideline to organize your practice.
Choose an area of the fingerboard and stay within that position as much as possible.
Choose positions at random.
Start on each of the four possible strings.
Start on each of the four possible fingerings.
Choose a piece of music (preferably a standard or jazz piece with melodic minor modes) and practice playing through the appropriate mode for each chord.
One Octave Mode Practice (Melodic Minor) We will begin with string 6 and use each of the 4 fingers to play the root of the mode. In this example we will use C Lydian b7.
Lydian b7
4
VIII
3
VIII
132
2
VIII
1
VIII
Exercises 1. Play the Lydian b7 mode in 12 keys using one octave fingerings. 2. Play the Super Locrian mode in 12 keys using one octave fingerings. 3. Play all other modes in 12 keys using one octave fingerings For each of these exercises, start on different strings. As this is a large amount of work, once again, spread it out so you use different keys, starting strings and position over different days. You may start to visualize the scale forms as you practice these one octave scales. All of this is helpful in attaining a thorough understanding and mastery of the guitar fingerboard. One approach helps to strengthen the other and vise versa.
133
Diminished Scales Playing the diminished scale on the guitar is tricky business. The diminished scale is a symmetrical scale which when combined with the guitar's slight inconsistency in it’s tuning, complicates things even more. If you do your research into diminished scales as found in books by various well known authors, you will find forms with fingerings that require the use of all four fingers with multiple finger stretches. These forms are what I had been taught in the past. I always found these fingerings impracticable and not very friendly when it came to improvise. I propose a single fingering which uses position changes as opposed to finger stretches. There is no reason not to move the hand based on predefined position playing rules. The rules for position playing work wonderfully for major, melodic minor and harmonic minor but in my opinion, are less effective for diminished scales. I encourage you to look in other books which teach other approaches and fingerings. Seeing other perspectives can be helpful. For this fingering, start from the sixth string and use the fingering 1 3 4 then 1 2 4 switching back and forth as you move from the sixth string to the first string. This fingering gives you a true feel and sense of the symmetry of the diminished scale. If we think about how the diminished scale is constructed, (tone, semitone or whole, half) we can conclude that every third note can be a root. Within a single diminished fingering, we have four possible diminished scales. Look closely at the following fingering and find four diminished scales. White notes indicate octaves of my starting note.
Great, we know four diminished scales simply by learning one fingering. Already I feel more confident about learning this scale. What about the other eight keys we need to give us our twelve keys? Simple. If I move the fingering up one fret, you instantly have another four keys. Go back to the original position and now move the fingering down one fret. We now have the remaining four keys. Now as simple as this seems, you’ll need a way to find the correct diminished scale to fit your chord. If, for example, you have to play an Eb diminished scale what do you do? No matter where your hand is, there is an Eb close by. Find your closest Eb note and visualize a tone above and then just follow the rest of the pattern of tone - semitone and you have your diminished fingering. This will take a little bit of time to get used to but once you get the hang of it, this system is the simplest and fastest way to find and play diminished scales.
Exercises 1. Practice diminished scales in all twelve keys by moving up and down one fret as described on the previous page. 2. Start on different strings and areas of the fingerboard and play in 12 keys as above. 134
7th Scales The 7th scale is a bit like a Mixolydian mode but with added notes. It is a versatile scale that can be used over a number of chords. It is most often used descending. The basic scale is as follows.
&
œ
œ
bœ
œ
œ
œ
œ
œ
œ
In this example, we a have a C Mixolydian mode with an added B or major seventh. The scale is played over a C7 chord and resolves perfectly to Fmaj7. It resolves perfectly because we land on the C note or fifth of the Fmaj7.
4 & 4
C7 œ
œ
bœ
œ
œ
œ
œ
œ
FŒ„Š7
w
In fact, this is the whole premise of this scale. Seventh scales always resolve to a chord tone of the chord they are resolving to. The idea is to build scales based on the Mixolydian mode by adding chromatic notes that allow you to resolve to chord tones. In the example above, we started on the root of the chord. Let’s see what we end up with if we start on the 9th.
4 &4
C7 œ
œ
bœ
œ
œ
œ
œ
œ
FŒ„Š7
œ
FŒ„Š7
w
And
4 &4
C7 œ
bœ
œ
œ
bœ
œ
œ
w
In the second example, we resolve to the major seventh of Fmaj7. We could also resolve to the fifth of the chord if we start earlier and extend the line. 135
&
4Ó 4
G‹7
Œ
œ bœ
C7 œ
œ bœ œ œ œ œ œ
FŒ„Š7
w
w
And now we have the really creative part. We will fill in the rests with some notes from G Dorian and a neighbour tone to create a line like this.
&
4 4
œ #œ œ œ b œ œ œ b œ œ n œ b œ œ œ œ œ œ œ nœ b œ œ œ œ Œ C7
G‹7
FŒ„Š7
Neighbor tone
∑
7th Scale
Basically, we have a G Dorian mode with one neighbor tone, F#, and the rest of the line is all C seventh scale. The seventh scale actually works perfectly over all three chords: Gm7 C7 and Fmaj7.
&
4 4
G‹7 œ
œ bœ œ œ œ œ œ
C7
œ nœ b œ œ œ œ œ œ
FŒ„Š7
w
w
7th Scale
Let’s explore other possibilities by using some of the other starting notes. Remember, the idea is to add chromatic notes in a manner that allows us to resolve to a chord tone. This way we always have a strong line. In some cases we will not need to add any extra notes. Is this then simply a Mixolydian scale? Yes, but it falls under the category of our seventh scale never the less. As we move through the different starting notes, we will end up with longer and longer scales. Keep in mind that these scales work perfectly over the II chord as well. Depending on the starting note and the number of notes in our scale, we will need to add notes before the seventh scale if we want a complete bar of notes for our II chord. As a general rule, jazz lines do not always start on the beat. It’s best to start with a pickup or perhaps on the and of one or even later. 136
œ 4 &4
C7
œ
œ
œ
bœ
œ
œ
FŒ„Š7
œ
w
And
4 & Ó 4
G‹7
œ bœ œ bœ
C7
FŒ„Š7
œ œ bœ œ œ œ nœ nœ
w
w
With a pickup and notes from G dorian.
j œ b œ œ œ œ œ b œ œ b œ œ nœ b œ 4 Ó ‰ Œ œ œ œ œ œ nœ & nœ œ n œ b œ œ œ œ 4 G‹7
C7
FŒ„Š7
∑
7th Scale In these last two examples, we start on the third and descend down using a chromatic note between the third and the ninth, between the ninth and the root and also between the root and the flat seventh. We end up with a ten note scale which was actually used extensively by saxophonist “Charlie Parker.” It is possible to start the scale from other notes as well. This will produce other possibilities and different starting notes. We are starting to see how we can use scales to create jazz lines for improvisation. Scales, modes, arpeggios, neighbor tones and other chromatic notes are the building blocks we use to create improvised jazz solos. “Seventh Scales” is a huge area of study. I have only really shown you the tip of the iceberg. They are a Bebop scale and produce a Bebop sound. If this is your thing, I encourage you to look for books and videos by the great pianist Barry Harris.
Exercises 1. Practice playing seventh scales starting on the root through the circle of fifths. 2. Play seventh scales starting on the ninth in two ways through the circle of fifths. 3. Practice playing different types of seventh scales on II - V7 - I progressions. Use the seventh scale over the dominant and over the II chord. Add notes from Dorian to create longer lines. 137
Chapter 3 \
Arpeggios
138
Arpeggios Arpeggios are an important element in jazz improvisation. They are used extensively in improvised solos and as such need to be easily available to us on the guitar. We will look at 2 ways of finding and executing arpeggios.
1. relating arpeggios to scale forms
2. one octave fingerings
With the first method, arpeggios are found within the 5 fingerings of each of the major and minor scales. This method requires that you know the names of the arpeggios contained in each scale. Each scale form provides useful fingerings for each of it’s arpeggios. The following are the chord types for each scale.
C Major Scale Cmaj7
Dm7
Em7
Fmaj7 G7 C Melodic Minor Scale
Am7
Bm7(b5)
Cm(maj7) Dm7
Ebmaj7(#5) F7 G7 C Harmonic Minor Scale
Am7(b5)
B7(alt)
Cm(maj7) Dm7(b5)
Ebmaj7(#5) Fm7
Abmaj7
Bo7
G7
The C major scale also produces C6 on the tonic chord and the C melodic minor produces Cm6 chord on its tonic. In this book we will examine the following arpeggios:
maj7, m7, dom7 maj6 m6, dim7, m(maj7), m7(b5)
The second method is perhaps more time consuming and difficult to learn, but helps you to develop a stronger knowledge of the fingerboard. This will eventually allow for greater facility in playing arpeggios. With this method, arpeggios are played in one octave in as many locations on the fingerboard as possible. It is essentially the same as one octave scales. As with the scales, the root of an arpeggio is played on each string using each one of the four fingers. If we use strings 6, 5, 4, and 3 as starting notes and multiply these by the four fingers, we end up with 16 possible fingerings for each arpeggio. 139
Method 1 (Arpeggios Within Scale Forms) Using our 5 scale forms, it is possible to extract fingerings for arpeggios. To do this, we will use our knowledge of scales and the chords they generate. Each major scale contains two maj7 type chords, three m7 type chords, one dom7 type chord and one m7(b5). Ex. Key of C major generates:
Cmaj7, Dm7, Em7, Fmaj7, G7, Am7, Bm7(b5)
Using each of the five major scale positions we can find fingerings for each of these arpeggios. There are several advantages to this method:
Positions generate 2 octave arpeggios. Easy to visualize the relationship between the arpeggio and the tonic key. Several arpeggios can be linked without changing positions. (as in II - V7 - I)
Using scale form 1, we generate the following arpeggio fingerings for IIm7 - V7 - Imaj7 in the key of G major.
Am7
III
D7
III
Gmaj7
III 140
Play all available notes for each arpeggio from the lowest in the position to the highest. Pay attention to note functions (root, 3rd, 5th, 7th) and letter names. When applying arpeggios to improvisation, knowing note names and the functions of each note in the arpeggio is beneficial.
Exercises 1. Using the four remaining major scales, locate and practice the II - V7 - I arpeggios within each. As you play through each arpeggio, be aware of arpeggio letter names and functions. 2. In the example below, each line should be practiced in all keys. The parent scale forms are indicated with some progressions requiring the use of more than one scale form.
°™ &¢™V V V V
D‹7
G7
CŒ„Š7
™™ ü †
°™ &¢™V V V V
A‹7
D‹7
G7
™™ ü †
°™ &¢™V V V V
A7
D‹7
G7
™™ ü †
°™ &¢™V V V V
FŒ„Š7
A‹7
V V V V
C Major Scale
E‹7
V V V V
C Major Scale
E‹7(b5)
& V V V V C Major Scale
V V V V C Major Scale
E‹7(b5)
V V V V
C Major Scale
D‹7
V V V V
V V V V
D Harmonic Minor
CŒ„Š7
V V V V
G7
V V V V
V V V V
D Harmonic Minor
CŒ„Š7
V V V V
141
V V V V
V V V V
V V V V
A7
V V V V
V V V V
™™ ü †
°™ &¢™V V V V
G7
°™ &¢™V V V V
B¨7
°™ &¢™V V V V
G7
D‹7(b5)
C‹(Œ„Š7)
V V V V
V V V V
V V V V
™™ ü †
V V V V
™™ ü †
V V V V
™™ ü †
V V V V
™™ ü †
C Harmonic Minor Scale
F‹7
CŒ„Š7
V V V V
V V V V C Major Scale
Eb Major Scale
A¨Œ„Š7
Ab Lydian
C‹7
V V V V
V V V V
C Harmonic Minor Scale Eb Major Scale
°™ &¢™V V V V
G7
°™ &¢™V V V V
B¨7
°™ &¢™V V V V
A¨º7
F‹7
V V V V
CŒ„Š7(#5)
V V V V
C Harmonic Minor Scale
G‹6
A Melodic Minor Scale
A‹7(b5)
V V V V
V V V V
G Melodic Minor Scale F Melodic Minor Scale
GŒ„Š7
G Major Scale
V V V V
* Ab Diminished Scale
142
V V V V
™™ ü †
C Harmonic Minor Scale
A‹7
V V V V
D7
G Major Scale
D7
V V V V
™™ ü †
Method 2 (One Octave Fingerings) This method is similar to what we have already seen with one octave scales and modes. Using string 6 as an example we generate fingerings using each of the 4 fingers to play the root of the arpeggio. The example below illustrate an Am7 arpeggio starting from finger 4.
V
4
V
V2
3
V1
As was the case with the scales, we end up with only three patterns which work well. Again, this will occur most of the time with the exception of some arpeggios on strings sets which include the B string. (Ex. Gmaj7 arpeggio starting on string 4) The ability to visualize scales and arpeggios from as many perspectives as possible is beneficial.
Exercises Practice arpeggios in all keys for each of the following chords using one octave fingerings.
maj7, m7, dom7 maj6 m6, dim7, m(maj7), m7(b5)
1. Locate and play the arpeggio for each of the chords above. This should be viewed as both a mental exercise (where the goal is finding roots and positions as quickly as possible) and as a technical exercise. (where the key is to play each arpeggio with good sound and accuracy) Play these exercises in tempo. 2. Practice playing the following arpeggio sequence by visualizing each arpeggio from its root. Play the arpeggios in strict time using fingerings at random. This is an excellent exercise which aids in finding arpeggios in real time. Start with II - V7 - I in the key of C major and work through the circle of 5ths.
4 &4 œ œ œ œ ˙ D‹7
œ œ ˙ œ œ
G7
CŒ„Š7
œ ˙ œ œ œ
143
œ ˙ œ œ œ
As facility increases, add restrictions as in the following:
Always start your arpeggio for the II chord on string 6, then string 5, 4 and 3.
Play all roots for the 3 arpeggios on string 6, then string 5, 4 and 3.
Increase the tempo.
3. This next exercise is similar except that the speed of execution is increased. (Both II and V7 in the same bar) Practice this exercise in the same manner as you did on the previous page. (restrictions and increase in tempo)
œ 4 œ œ œ &4 œ œ œ œ D‹7
G7
CŒ„Š7
œ
œ
œ
œ
œ
œ
œ
œ
3. Use the progressions which follow and play the arpeggios in tempo. Use the various techniques described above. As with the previous arpeggio example, each line should be practiced individually and in all keys. *Note Remember to refer to "Practice Table 1" in the scale section and vary your arpeggio practice from day to day. This will help you get through all of the exercises and keep you thinking. Scale and arpeggio practice is cumulative. Playing a variety of scale and arpeggio exercises on a daily basis will help you to develop a strong understanding of the fingerboard.
Progressions °™ &¢™V V V V CŒ„Š7
A‹7
V V V V
D‹7
V V V V
°™ &¢™V V V V
B¨‹7
C7
°™ &¢™V V V V
G7
C‹6
F‹7
D‹7(b5)
V V V V
ü ™ V V V V ™† V V V V
G7
V V V V
V V V V
V V V V
144
CŒ„Š7
V V V V
™™ ü †
V V V V
™™ ü †
F‹7
9th Arpeggios Ninth arpeggios can be played in 2 ways:
From root to 9th (5 note arpeggios)
From 3rd to 9th (4 note arpeggio with root omitted)
Both are important to practice and visualize on the guitar. Each presents a different challenge. The following example illustrates a IIm9 - V9 - Imaj9 progression using all five notes. The fingerings are derived from form 1 of the G major scale.
2
3
4 Am9
D9
Cmaj9
Exercises Root to 9th 1. Using the 5 major scale positions, find fingerings and play maj9 arpeggios from root to 9th. 2. Using the 5 major scale positions, find fingerings and play m9 arpeggios from root to 9th. Using the 5 major scale positions, find fingerings and play dom9 arpeggios from root to 9th. In some positions you will be able to play the arpeggio in 2 different octaves while in others you will only be able to play the arpeggio in 1 octave. Choose the octave which is the most comfortable for the progression you are playing. When you feel comfortable with the arpeggios, try playing them more freely. Use your own rhythmic ideas to create a jazz feel. Fill in rests, notes of long duration or empty spaces in the bar with notes from their respective scales or modes. Just as we did with the seventh scales, work the arpeggios into jazz lines. Using the 5 major scale positions, play IIm9 - V9 - Imaj9 arpeggios through all 12 keys. (See below) When you begin, you may find it easier to repeat each key a couple of times. Your goal should be to play through the entire circle of fifths without repeats and at a comfortable tempo. 145
Use a single major scale position for the three arpeggios on each line. (IIm9, V9 and Imaj9) as they are all from the same key. You can play the arpeggios in any position on the fingerboard and also use octave transpositions where needed. At first, it might be easiest to limit yourself to 2 different major scale fingerings. As you progress, try to use all of the five major scale positions.
&
˙ b œ œ œ œ
4 ˙ b œ œ 4 œ bœ C‹9
˙ b œ œ & œ bœ F‹9
F9
˙ b œ œ bœ œ
B¨Œ„Š9
˙ œ œ bœ œ
œ œ œ œ b˙
˙ # œ bœ œ bœ
œ #œ bœ œ b˙
B¨9
E¨Œ„Š9
& b œ œ b œ n˙ bœ
˙ b œ b œ bœ œ
A¨Œ„Š9
˙ b œ b œ & bœ bœ
b ˙ b œ bœ bœ œ
B¨‹9
E¨‹9
&
A¨‹9
bœ bœ C©‹9
bœ bœ b˙
& # œ œ # œ nœ # ˙
E¨9
A¨9
œ b˙ b œ bœ œ
bœ œ bœ œ b˙
œ b˙ b œ bœ œ
bœ œ bœ œ b˙
D¨Œ„Š9
b˙ b œ b œ œ
G¨Œ„Š9
b˙ œ b œ b œ bœ
bœ œ bœ b œ b ˙
#˙ œ # œ #œ #œ
BŒ„Š9
#œ #œ #œ
D¨9
bœ F©9
#œ #˙ # œ œ #œ
146
#œ ˙
2
œ #˙ # œ & # œ nœ
#˙ œ # œ œ #œ
# ˙ # œ œ
#œ #œ œ #œ ˙
˙ # œ œ œ #œ
œ #œ œ #œ ˙
˙ # œ œ #œ œ
œ #œ
F©‹9
B9
EŒ„Š9
B‹9
& nœ # œ œ # ˙ œ
E9
#˙ œ œ #œ œ
AŒ„Š9
E‹9
#˙ œ œ & œ nœ
A9
DŒ„Š9
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147
œ #œ ˙
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3rd to 9th (omit root) When the root of a 9th arpeggio is omitted, the 4 remaining notes will form a 7th chord. Let’s look at the Cmaj9 arpeggio.
&
ww ww w
&
Cmaj9
ww ww Cmaj9 (no Root)
If you remove the root from Cmaj9, you are left with Em7. The following are the chords which substitute for the diatonic 9th chords when the root in omitted. Cmaj9 (no root) = Em7 Dm9 (no root) = Fmaj7 Fmaj9 (no root) = Am7 G9 (no root) = Bm7(b5) Am9 (no root) = Cmaj7 Note: These substitutions will also work with chord voicings. The following example illustrates the use of substitute arpeggios in a chord progression.
œ ˙ 4 œ &4 œ œ D‹9
Fmaj7
œ ˙ œ œ œ
G9
Bm7(b5)
CŒ„Š9
œ ˙ œ œ œ Em7
Substitute Chords
All three ninth chords are from the parent scale of C Major. All three substitute chords are also from the parent scale of C Major. Visualizing the substitute chords allows you to use the seventh chords and fingerings you already know. Many jazz guitarists use this method when improvising and comping. The more time you spend using this method, the quicker and more intuitive it becomes. 148
Exercises 1. Play m9th arpeggios (no root) through the circle of fifths. You can use the arpeggios and position playing exercise used earlier. 2. Repeat for dom9 and maj9 arpeggios. 3. Play IIm9 - V9 - Imaj9 all keys using major scale positions. 4. Play IIm9 - V9 - Imaj9 all keys using one octave fingerings.
Arpeggios With Added Note Another interesting thing to do with arpeggios is to add an extra note. We will look at adding a note to m9, dom9, and maj9. The added notes are as follows:
˙ œ & œ œ œ D‹9
œ ˙ œ œ œ
G9
4
CŒ„Š9
˙ œ œ œ œ
8
6
Added Notes We use 4 for the m9, 8 for the dom9 and 6 for the maj9 chords. Now we have an arpeggio which contains five notes. The next thing we will do is fill in the remaining three eighth notes with tones from their respective modes. Notice how I use these three notes to connect the arpeggios in a musical way. For m7(b5), we can play the arpeggio from root to 7th and add the 4th.
œ 4 œ œ œ œ œ &4 œ œ D‹9
œ œ œ œ œ œ œ œ
G9
œ
CŒ„Š9
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“Pivot” For the last arpeggio on Cmaj9, I used a “pivot”. Had I continued to ascend with the Cmaj9 arpeggio, the line would have extended into a much higher range. Although this is perfectly playable on the guitar, it is a little less musical to cover that much range. The entire range of this line is just over an octave. Had I not used a pivot, The range would have come closer to two octaves. 149
Pivot The Pivot is a great technique for arpeggios. Not only does it help to keep jazz lines within a more realistic range but they also sound great. The "pivot" is achieved by displacing one note of the arpeggio by an octave. Technically still an arpeggio, it has a unique sound of it’s own. Here are some examples of the Pivot used in several lines.
œ œ œ œ œ œ œ œ œ œ bœ 4 œ nœ œ œ œ w œ Ó ‰ œ &4 œ œ œ œ #œ œ J œœ D‹9
G7(b9)
CŒ„Š9
3 5 7 b9
3 5 7 9 “Pivot”
“Pivot”
bb 4 œ œ œ nœ b œ b & 4 œ œ œ œ œ œ œ œ œ œ # œ œ œ œ nœ œ Œ F‹7
B¨9
E¨Œ„Š9
∑
3 5 7 9
“7th Scale”
“Passing Tone”
“Pivot”
Diminished Arpeggios Diminished arpeggios are used in jazz over diminished and dominant chords which contain the b9. Understanding how to use them over dominant chords is simple enough. If we have a chord progression with a dom7(b9), we simply play a diminished arpeggio from any chord tone except the root. Using the 3rd, 5th, 7th and b9 as diminished chord roots we generate the following diminished substitutes: (Bo7 = Do7 = Fo7 = Abo7)
4 &4
b www ww G7(b9)
b www w Bo7
b wwww
b wwww
www bw
Do7
Fo7
Abo7
If we look carefully at the notes of our four diminished chords we see they all contain exactly the same notes. They are basically all just inversions of one another. The only note in the G7(b9) that is not present in the diminished chords is the root, “G.” Therefor, we can safely say that we can build a diminished 7th chord on any of the notes of a dom7(b9) chord except for the root. 150
The following example illustrates two ways to use diminished arpeggios; a diminished arpeggio over a diminished chord and a diminished arpeggio over a dominant 7th chord with a b9.
&
#4
GŒ„Š7
A¨º7
A‹7
D7(b9)
GŒ„Š7
4V V V V V V V V V V V V V V V V V V V V “Ab Diminished”
“F# Diminished”
Here is an example of diminished arpeggios incorporated into a line.
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GŒ„Š7
4
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GŒ„Š7
w
“F# Diminished Arpeggio”
Diminished arpeggio fingerings can be derived from the diminished scale. Learning one octave fingerings is a good place to start. As with the diminished scale, you’ll find the easiest way to play the full two octave fingerings is to move the hand one fret down rather than to use a complicated series of finger stretches.
Exercises 1. Practice one and two octave fingerings for diminished arpeggios in different keys. 2. Practice superimposing diminished arpeggios over dominant seventh chords in various jazz compositions and standards. 151
Chapter 4 \
Putting It All Together
152
Chord Scale Relationships Matching the correct modes and scales with the correct chords is the first step in learning to improvise. Although the rules are always the same for all types of jazz, the way in which we apply the modes to improvisation varies from style to style. When playing Modal Jazz, modes are matched to chords and played in a way that brings out their individual color. Songs like “So What” and “Nardis by Miles Davis as well as “Yes Or No” by Wayne Shorter are excellent examples of modal compositions. Here is a simple modal piece I composed to demonstrate the use of modes for their colors. Listen to the recording or play through the piece with another guitarist or pianist and listen to the sound of the modes over each chords. The following table outlines the modes used in Modal I. The melody and solo both draw their notes from these modes. D7(sus4) B7(sus4)
D Mixolydian B Mixolydian
Dbmaj7(#11) Gm11
Db Lydian G Dorian
Bbm11 Bmaj7(#11)
Bb Dorian B Lydian
The “Modal I” solo demonstrates soloing in a modal style. It is a simple illustration of the use of chord/scale relationships and the improvisational style of a modal composition. Again, refer to the table for the analysis of the scales and modes used to improvise over each chord. The first thing we can see is that the notes for each chord are restricted to the mode being used. It is equally common to add chromatic notes but I chose to keep the notes of the solo within the limits of each mode. With modal improvisation, it is far less critical to resolve to chord tones the way you would over a Bebop tune. A good modal solo will use melodic and motivic ideas or even elements of the melody to link modes together. Look at the line over Gm11. It is repeated up a minor third almost exactly for the Bbm11. This helps to unify or glue together these two chords which are a minor third apart. Another technique frequently used to move from one mode to another is to resolve to one of the color tones of your mode. (not a chord tone) These resolutions are most effective when the movement from one mode to the next is by tone or semitone. In modal music, starting a new mode on one of the color tones is a powerful sound. With modal tunes, the idea is to play melodically. You want to bring out the sound of each mode as much as possible. An example of this would be to bring out the sound of the #11 for the maj7(#11) chord. This is one of the more important notes as it expresses the color of the lydian chord. For sus4 chords, emphasize the sus4 and 9th. Another very important point to consider when soloing in a modal style is to try and tell a story. Your solo (story) needs to have an introduction, main section, a climax and a conclusion. This is a style where you can really be expressive. Modal jazz is less strict in terms of harmony and resolution of chord tones over the bar line. With modal jazz, you have much more freedom allowing you to say more with your solo. 153
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Here is another piece in a modal style. Notes common to distant modes are used to help tie them together. This is a great technique for soloing as well. The use of motivic material and repetition of these ideas over different modes is another great soloing technique. Again this creates a connection which provides a sense of unity throughout the piece. There are different approaches on how to find the correct scales, modes and positions. In this book we have looked quite a bit at fingerings for major and minor scales and also fingerings for various arpeggios. Let's look at a couple of ways we can integrate our scale knowledge into soloing. Parent Scale Approach With parent scale approach, we would refer back to the major scale of our mode. As an example, if we are soloing over a G7sus4 chord we would use the G Mixolydian mode and find fingerings and positions based on the C major scale. In other words we think C major scale over our G7sus4. There are of course both advantages and disadvantages to this approach. The disadvantage would be that we are thinking in the key of C but the sound we are playing over is a G Mixolydian. The advantage is that our scale and position is very easy to find. Modal Approach When using a modal approach, we would think primarily about using a G Mixolydian mode. We might choose to think of a fingering and position based on G major and alter the 7th by a semitone. With this approach, we are thinking and hearing the sound of the actual chord we are playing. The disadvantage is that it will be more difficult to find on the guitar. (at fist anyway) Common Tone Approach In a common tone approach we would base all of our scales and fingering on a note which is either the key of the piece or a note which is central to the piece. In Modal II, this note could be "D" since the piece starts on Dm9 chord. For Dm9 we would think of playing a D Dorian mode. For the next chord, Bm11, we would find the appropriate mode and figure out what it would be if we also started that mode on D. Step by step we would come up with the following: Bm11 would give us B Dorian. B Dorian is from the A major scale. An A major scale starting from D would be D Lydian. So we would think D Lydian over the Bm11 chord. Difficult, yes but this approach offers a huge advantage. If we compare D Dorian to D Lydian we see which notes are common to both chords and which notes are different. We know exactly which notes to alter as the chords change. Soloing using this approach can produce very musical results. Rather than changing an entire scale, you need only think about changing a few notes.
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Modal II Explored Modes and Scales used for the solo:
All m7, m9 and m11 chords use Dorian
All maj7(#11) use Lydian
All dom7 use Mixolydian
The F7(#9) chord can use F Super Locrian or F mode 5 from harmonic minor.
There is a II - V - I progression as well. You can play it in a modal style using Dorian, Mixolydian, Ionian or play it in a Bebop style resolving to chord tones, using neighbor tones, passing tones and 7th scales. It is often very effective to have a slight reference to Bebop as it adds another color and provides relief from too much of the same modal sound. Style And Feel Modal II should be played as a fast 3/4 swing waltz. When playing a jazz waltz at a faster tempo, it is best to feel the bar as opposed to feeling each beat. Think of compound time as in a 6/8 time signature. In 6/8, you count in two and feel three subdivisions per beat. Count each bar as a beat and feel the three subdivisions of the bar. Drummers often accentuate 2 beats per bar equally emphasizing the one and the and of two. This provides an equal division of the bar. I find counting in this way really helps you to achieve a nice 3/4 swing feel. This concept is helpful as well in understanding the polyrhythms used in the solo. For the 4 over 3 rhythms, count the bar, as opposed to each of the three beats and play 4 notes of equal duration. This is an easier way to feel four equal notes over the three beats. If you are subdividing the bar in two, it should feel like you are playing two sets of eighth notes. Eighth note feel Another important note with regards to swing and faster tempos is that your swing feel should become more even as the tempo increases. If you listen to any fast Bebop solos, you will notice that the eighth notes are always more even at faster tempos. You hear more of a hard swing in ballads and medium tempo swing and a more even swing in faster tempos.
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nœ nœ nœ œ nœ &
¢⁄
4
9
5
¢⁄
5
FINE
8
Œ Ó
6
≈ œ œ œ
8
8
7
7
Copyright © 2015 SOCAN
163
5
2
°
¢⁄
5
5
5
6 5
5
° # œ ™ nœ œ œ ™ &
B7(#5)
3
3
5
5
8
7
CŒ„Š7(#11)
œ ™ œ œ œ bœ J
œ œ œ
œ™ œ œ œ œ œ œ ˙ J & D‹9
8
8
8
6
7
8 8
œ œ œ œ #œ œ œ œ bœ ™
A¨‹11
3
8
4
¢⁄
3
5
4
¢⁄
6
7 6
6
7
3
5 7
6
œ œ #œ ™ œ œ œ œ œ œ nœ C©7(#5) œ œ œ œ œ œ œ™ œ œ œ œ ™
° nœ œ # œ œ nœ n œJ & J J J 7
7
4
A‹11
5
4 7
4
7
8
3
5
7 4
7
3
6 7
5
b œ b œ bœ bœ bœ Œ
œ ˙ J
3
œ ™ œ œ œ bœ œ J
5
7
3
1012 9
5
8
8
7
8
5 6 5 5
7
1210
5 7 5
7 5 7
EŒ„Š7(#11) nF‹9 œ ™ bœ bœ œ œ b œ #œ ™ #œ œ #œ œ bœ œ œ œ œ œ ° # œ nœ # œ & œ œ 8
¢⁄ °
3
3
11 9
8
8 10 8
8 10 8
11
9
7
10 10
9
6 9
6
10
j # œ # œ # œ nœ ™ œ nœ œ ™ œ # œ œ ™ j œ œ # œ œ w œ & œ ™ # œ œ
¢⁄
8
10
D‹7
7 6 8 8
6
B‹11
5
B¨Œ„Š7(#11)
E‹7
5 7
E¨Œ„Š7(#11)
5 7 7 6
7
9
7 7
164
8 7
˙ 8
œ bœ ™ ü ™† 6 8
™ ™
ü †
Simply Put and Finding Peace Explored Simply Put “Simply Put” is a great song to jam over. As the title suggests, you simply need Mixolydian modes. For each of the chords, use the Mixolydian mode based on the bass note. Db/Eb is an Eb7sus4 chord therefor you would use the Eb Mixolydian mode. (Parent Scale is Ab major) Chords used in this piece:
Bb/C (C9sus4) - C Mixolydian Mode
E/F# (E9sus4) - E Mixolydian Mode B/Db (Db9sus4) - Db Mixolydian Mode
Finding Peace “Finding Peace” uses a variety of different modes derived from different scales. Here are the modes used in the order they appear in the piece. Dm9 - D Dorian Mode (Parent Scale is C Major) B7#5 - B Super Locrian (Parent scale is C Melodic Minor) Am11 - A Dorian Mode (Parent Scale is G Major) C#7(#5) - C# Super Locrian (Parent Scale is D Melodic Minor) Fm9 - F Dorian Mode (Parent Scale is Eb Major) Emaj7(#11) - E Lydian (Parent Scale is B Major) Dm11 - D Dorian Mode (Parent Scale is C Major) Bm11 - B Dorian Mode (Parent Scale is A Major) Bbmaj7(#11) - Bb Lydian Mode (Parent Scale is F Major) Em7 - E Dorian Mode (Parent Scale is D Major) Ebmaj7(#11) - Eb Lydian Mode (Parent Scale is Bb Major) Once again motivic material is used to tie modes together in a musical way. Your goal in this type of modal song should be to transition from mode to mode delicately avoiding abrupt sounding transitions. The musical ideas should flow seamlessly through each of the modes. Using common tones is again a good way to transition through modes. For the Dominant 7th(#5) chords, I used the Super Locrian mode because I like it's sound and color. There are other choices like the Whole Tone Scale or the 5th Mode, Harmonic Minor. Experiment with these modes as well and decide what works for you.
165
Building Jazz (Bebop) Lines Now we will look at putting our scales and arpeggios together to create jazz lines. Theses examples are all typical of a Bebop jazz style.
Neighbor Tones Along with our scales, modes and arpeggios, we will also use a couple of other common techniques including passing tones and neighbor tones. Both passing tones and neighbor tones can be chromatic or diatonic. Neighbor tones are notes that are on either side of a chord tone. They can be accented, present on a strong beat, or unaccented. They are used most often to prepare a chord tone. Let’s look more closely at “Neighbor Tones.”
&
w
œ
w
w
œ
w
Root
5th
3rd “Neighbor Tones”
“Neighbor Tones”
w
œ
w
“Neighbor Tones”
The notes in black are the Root, 3rd and 5th of the C major triad. For each of these chord tones we have a lower and upper neighbor tone. Neighbor tones can be combined to create lines. The example below uses neighbor tones to create a line over a Cmaj7 chord.
&
4 œ œ œ w œ 4œ œ œ œ
œ œ œ œ œ œ œ œ
Starts with upper N.T.
w
Starts with lower N.T.
They can be used as a pickup to a bar and at the end of a bar to prepare a chord tone.
4 &4 Ó
‰ œj œ œ N.T.
œœœœ œ ˙ œ œ œ œ œ œœ œœ œœœœ œœ
D‹7
Chord Tone
G7
N.T.
Chord Tone 166
CŒ„Š7
N.T.
Chord Tone
w
In the previous example we used diatonic neighbor tones. The following are examples of chromatic neighbor tones.
&
bw
œ
w
w
œ
#w
Root
3rd
“Neighbor Tones”
“Neighbor Tones”
bw
œ
#w
5th “Neighbor Tones”
The following examples uses chromatic neighbor tones (C.N.T.) neighbor tones (N.T.) and passing tones.
b b & b œ b œ nœ
b œ œ œ nœ œ nœ b œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ w œ nœ œ
F‹7
B¨7
E¨Œ„Š7
Passing Tone C.N.T.
Chord Tone C. N.T.
œ œ nœ 4 œ # œ œ &4 œ œ D‹7
C. N.T.
N.T.
bœ œ œ œ œ #œ œ œ
G7
N.T.
4 & œ # œ œ œ œ œ œ nœ 4 D‹7
N.T.
Chord Tone
C.N.T. Chord Tone
˙
CŒ„Š7
Ó
Passing Tone
œ bœ œ œ œ
G13(b9)
3
C. N.T.
Passing Tone 167
bœ œ œ
5
7
“Pivot”
b9
CŒ„Š7
w
Let’s look at some examples to see how we can use arpeggios, 7th scales and neighbor tones.
4 &4
b œ nœ œ œ œ œ œ œ
œ b œ œ œ œ œ œ œ
D‹7
5
3
7
9
w
G7(b9)
“G” 7th Scale
Dm9 Arpeggio
3
5
7
CŒ„Š7
b9 N.T.
G7(b9) Arpeggio
The following examples uses the 7th scale in a different way.
4 &4
œ bœ œ œ œ œ œ œ nœ b œ œ nœ œ œ œ œ
D‹7
G7
CŒ„Š7
Ϫ
3
œ œ œ œ Œ 5 7 9
Cmaj9 Arpeggio
“G” 7th Scale
This next example illustrates an interesting use of the 7th scale. If we look at 3 - 5 - 7 and 9 from a Bb9 chord we end up with a Dm7(b5) chord. Therefor, if we agree that Bb9 without a root is the same as a Dm7(b5) we can use the Bb seventh scale over a Dm7(b5).
bb 4 b &
G7 œ nœ b œ œ œ œ bœ œ œ œ œ œ œ œ nœ œ
D‹7(b5)
4
3 5
7 8
C‹
œ nœ œ œ œ œ
b9
Bb 7th Scale G7(b9) Arpeggio with added note
C. N.T.
N.T.
About Bebop Bebop is one of the more difficult and strict styles of improvisation in jazz. As you can see from these few examples, everything fits and everything resolves. Learning to play in this style and mastering the rules of Bebop has many rewards. The more you learn about playing Bebop, the more you will progress at all other styles of jazz. So many of the great modern jazz players from Wayne Shorter to Chick Corea to John Scofield all have a solid background in playing Bebop and traditional Jazz. 168
Repertoire Practice It is important for jazz musicians to know repertoire. Reading from a Fake Book every time you play jazz is alright but knowing music by memory is preferable. It allows you to play at a much higher level. Not having to read frees you up to focus on your interpretation of the melody, comping and most important of all, to play a great solo. Memorizing tunes and keeping them memorized can be a challenge. Here is a technique I have used which is helpful in learning and maintaining repertoire. The first thing to do is make a list of all the songs you know. You should include songs that you can play both the chord changes and the melody. If you are a little weak on a change or two, or maybe you forget a bar of the melody every now and then, include them anyway. It doesn’t matter whether you know 5 songs or 100 song, just get a list started. As you learn more songs, add them to the list. For each of the songs on your list, play 4 choruses of each as follows: (Chorus 1) Play the melody. If you only know the melody, play it single note, if you know a chord arrangement play that. (Chorus 2) Solo over the changes for the entire chorus playing in time and at a steady tempo. Do this without accompaniment. Keep the time and don’t stop to fix a mistake or go back to try another line over the last bar. You want to play the entire piece as if you were playing with a rhythm section. (Chorus 3) Comp the changes for one chorus. (Chorus 4) Play the melody one last time and end the piece with a nice ending that is appropriate for the piece, style and tempo. The key here is to play through the four choruses in time as if you were playing with a rhythm section. This will help you to develop strong time and improvisational skills. In the beginning, play through the four choruses and do not add any other steps. You want to play through the songs only as a means of strengthening your knowledge of the songs on your repertoire list. The goal is to know these pieces well enough to play them at jams, concerts or in clubs. Now that you have a repertoire list, you want to add new pieces on a regular basis. Make a reasonable goal for yourself. Maybe adding one piece a week will be a good start. If you add one piece a week for one year, you will be adding 52 songs to your list. Of course as you add pieces your list will not only grow, but it will take a little longer to get through. As the list gets longer, try to spend more time on the pieces which are new and maybe play the ones you know well every other day. Use common sense and honesty and judge for yourself how much time you need to devote to the pieces you know well vs those which are new and have less command over. Once you have a good number of songs on your list you feel comfortable playing, try being a little more specific about how you are going to play through each of the four choruses. As an example, you may want to incorporate a specific style or skill into the improvisational chorus. Maybe there is a new lick that you want to practice or a new chord/scale relationship you want to experiment with. Use different ideas and voicings when you comp. Try playing the melody differently each time. Try playing the melody in a chordal style, change tempo, key, feel and so on but most importantly, practice repertoire daily. 169
10 Original Melodies and Solos For Jazz Guitar Bebop is one of my favorite styles of jazz. Although perhaps one of the more strict forms of improvisation, it offers enormous creativity. This style of improvisation can be seen as aligning with music of the Baroque period. Baroque melodies are characteristically complex employing chromatic notes, arpeggios, appoggiaturas and are often difficult to sing. Bebop solos share many of these characteristics. Learning to improvise in a Bebop style is critical to learning all forms of jazz improvisation. It teaches us many things about playing over changes. If one learns to improvise over Bebop and masters many of it’s difficult techniques and idiosyncrasies, it will open the doors to many other forms of jazz improvisation and composition. The melodies and solos that follow are original compositions for this book. I tried to present melodies and improvisations that reflect a Bebop style. All of the compositions are based on standards except Nica’s Swing, which is inspired by Horace Silver’s Nica’s Dream. It does not use the same chord progression as Nica’s Dream but has many harmonic progressions which are similar. Some of the melodies may deviate slightly from the actual chord progressions of the standard they are based on, but follow the progressions generally. For me, it was more important to have an interesting melody than to follow the original chord progressions accurately. The solos do however follow the more commonly used standard chord changes. It is hoped that these 10 pieces will give aspiring jazz guitarists a better understanding of Bebop improvisation. It is also an excellent sight reading resource. Learn the solos, analyze them and take what you like and use it to help you improvise your own solos. Here is a list of the Standards each composition is based on. Star’s Light (Stella By Starlight Nica’s Swing (Nica’s Dream) Anything (Everything Happens To Me) Out From A Distance (Out Of Nowhere) Gin And Tonic (The Days Of Wine And Roses) Memories (I Remember You) It’s Booked (Confirmation) Wonderful You (All The Things You Are) You Are The Only One (There Will Never Be Another You) Blue Nosed Dolphins (On Green Dolphin Street) As a further exercise, you can play each solo over the standard that it’s based on. For example, play the melody to “The Days Of Wine And Roses” and then play the solo from “Gin And Tonic.” To get the most out of these solos, look closely at the lines and choose ones that you like. Learn those lines in all keys and use them in other standards which contain the same chord progressions. If the line you chose is over a II - V - I progression, play it over II - V - I progressions in other songs. Each piece is complete. If you follow the repeats, D. S. al Coda and Coda signs, each piece begins with the melody, then you play the solo and finally you return to the melody and end with either a Fine or Coda. 170
Star's Light
=160 q=160
°
&
Star's Light
bb 4 œ
4
&
E‹7(b5)
w
A7
5
5
œ œ œ œ ‰ J ‰ J
œ
8
6
¢⁄ °
s
(based on "stella by starlight")
˙™
C‹11
w
F7
6
6
œ
6
8
6
8
w b b
œ ‰ œJ œ œ ‰ J
œ
F‹9
B¨13
8
8
E¨Œ„Š7
w
A¨7(#11)
7
7
œ
bœ œ œ œ ‰ J ‰ J
6
¢⁄ °
6
8
4 7
b ˙™ b &
B¨Œ„Š7
œ
E‹7(b5)
œ
œ œ
œ
A7
œ
˙™
œ bœ
6
6
D‹7
E¨7 œ œ ‰ J œ œ œ ‰ J
B¨‹7
¢⁄
6
7 7
° bb ˙ ™ &
FŒ„Š7
6
œ
8
6
5
6 6
8
E‹7(b5)
œ nœ
œ
œ œ
6
8
A7(#5)
5
¢⁄
6 7
5 8 7
7
5 6
5
A‹7(b5)
w
D7(#5)
œ
5
5
# œ œ œ ‰ J ‰ J ‰ J 2 4
7
5
Copyright © 2012 Michael Berard
171
° bb w &
G7(#5)
b C‹7 w œ œ nœ œ
Ó
3
3 4
¢⁄ °
Œ
6
8
4
8
4
w
bb
8
œ œ œ œ ‰ J ‰ J
A¨7(#11)
&
Œ
10
10
13
11
˙
Ϫ
B¨Œ„Š7
10
&
˙
12
12
œ
Œ
10
w b b
œ œ œ œ ‰ J ‰ J
œ
E‹7(b5)
A7
5
5
8
C‹7(b5)
b˙ b &
6
D‹7(b5)
w
G7
6
6
œ bœ œ œ ‰ J ‰ J
œ
6
6
8
¢⁄ °
œ J
10
¢⁄ °
œ œ ‰ œJ ‰ J ‰ J
6
4
6
4
r F7½ B¨Œ„Š7 {solo pickup} b ˙ œ œ œ bœ ™ œ ˙ œ j œ œ œ œ œ œ J ‰ nœ œ œ œ œ 5
¢⁄
4
6
9
7
6
6 5 7
5 7
8
6
7
7
5
8
8
C‹7 n œ œ œ œ œ œ œ œ # œ œ b œ œ nœ ° bb n œ j œ # œ nœ j & œ ‰ nœ ‰ œ œ E‹7(b5)
A7½
5
¢⁄
5 7 7
5
6
8 6 5
8
8
6
6
7
8
6 8
8
7 Copyright © 2012 Michael Berard
172
7
5
F7
7
∑
8
B¨7½ b œ b œ œ œ œ E¨Œ„Š7 œ b œ œ b œ œ nœ n˙ nœ œ œ # œ œ œ ° bb œ # œ œ &
œ bœ b œ œ œ œ œ #œ
F‹7
6
¢⁄ °
6 7 8 7 6 4
7
9 7 6
6 9 5 6
9
8
7
6 7 9 7 6 7
5
8 5 6
8
E‹7(b5)
A7½
6 5
3
5
4 8 5 8 6
7 6
7
B¨‹7
3
5 8 7
E¨7 œ œ nœ b œ œ ‰ œJ b œ
D‹7 œ œ nœ œ œ œ œ n œ œ Œ ‰ nœj œ œ # œ
B¨Œ„Š7
b œ nœ nœ œ Œ b & œ
¢⁄
A¨7(#11)
8
6
5
6 7
5
6
5 8 8
7
FŒ„Š7™
E‹7(b5) A7½ A‹7(b5) D7½ œ œ œ œ b œ œ nœ œ œ œ œ œ œ œ œ ° bb nœ œ œ œ nœ œ œ œ œ # œ nœ œ œ œ J & 5
6 5
¢⁄
8 6 5
5
5 8 7
7 7 8
8
6
6 8 7
6
5
6 7 8
8 7 5
8
7 8
C‹7 œ œ œ œ œ œ œ œ œ œ ° bb nœ œ ™ œ œ œ œ œ™ œ œ œ œ œ n œ & Jœ J G7(#5)
3
¢⁄
4
5
3
5
5
3
5
3 6
4
4
3 4
3 5
3 5
3 7
5 5
copyright © 2012 Michael Berard
173
7
8
B¨Œ„Š7 œ b œ œ nœ œ œ œ b œ œ j œ œ œ ° bb œ œ œ œ œ nœ nœ œ ‰ œ œ œ & œ œ œ œ bœ bœ œ œ 3 A¨7(#11)
2 4 6 4 2
¢⁄
3 4 6
5 6
5 6
3 5
6 7
3 4 6
5 8 7
8
5 7
5
7
8
3 5 6
D‹7(b5) G7½ n œ œ œ ™ œ œ b œ œ œ bœ œ œ bœ œ œ œ ° bb nœ ™ œ œ œ # œ œ nœ œ œ œ œ nœ J & J E‹7(b5)
A7½
5 6
¢⁄
5
5 7
8 6 5
5 8 7 6
4
3
4 3
8
6
4 3
3
6
3 6
F7½ B¨Œ„Š7 b œ b œ b œ œ b œ ™ œ œ ‰ jœ œ œ œ nœ nœ œ œ œ œ ° bb J nœ nœ œ Ó & C‹7(b5)
¢⁄ °
r &b
7
6
9
7
6
9 5
7
6
8
8
bb˙
bœ ™
7
7
nœ J
B¨Œ„Š7(#11)
0
0
7
Copyright © 2012 Michael Berard
174
Œ
œ
D.S. al Coda 6
6 5 7
4
¢⁄
5 8
7
F7½
6
5 4
w
8
Nica's Swing
Nica's swing
=120 h=120
(inspired by "Nica's Dream" by horace silver)
Michael Berard
s B¨‹(Œ„Š7) œ w ° bb b C ‰ œ ‰ œJ ‰ J ° ™ J & bb ¢™ 6 9 ° 6 ™8 ™ ¢ ¢⁄ °
G¨Œ„Š7
8
6
œ œ ‰ œJ ‰ J J
Ϫ
bbb w b & b
˙
œ™ œ J
¢⁄
6
F‹7™
° bb b œ & bb ¢⁄ °
9
9
9
1. D¨Œ„Š7
8
6
9
G‹7(b5)
w
C7
˙
Ϫ
8
8
6
6
œ J
9
9
6
B¨7(#5) E¨‹9 A¨7(#5) ™ œ œ œ b œ J œ œ ™ œ œ œ n˙ œ ‰ J‰ œ b œ œ ™ ‰ ‰ J ‰ J ‰ J J J J J J 6
9
6
9
7
9
7
6
6 6
bbb w b & b
¢⁄
D¨7
9
6 6
œ™ œ œ œ J‰ J‰ J
w
A¨‹7
5 6
5
8
[Break} œ ^ œ œ ‰ œ ‰ œ ‰ œ œ ™ œ ‰ œJ ‰ œ b œ ‰ œJ ‰ J ‰ J ™ ü ™† J J J J J ^ ü 6 9 6 7 6 ™ 8 6 8 6 8 8 8 ™ †
C‹7(b5)
copyright © 2012 Michael Berard
175
F7(b9)
°
2. D¨‹9
bb w b & bb
¢⁄ °
w
œ
8
8
8
œ œ œ ‰ J ‰ J ‰ J 9
8
D¨‹9
bbb w b & b
¢⁄
w
G¨13
^œ ‰
w
9
œ œ œ œ ^œ œ œ œ J ‰ J
‰ œ™
C7(#9)
7
F7½
Fine
^ 8
8
^
8
8
6
8
6
9
6
7
9
8
A¨‹7 D¨7 œ nœ b œ œ œ œ n œ b œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ ° bb b œ nœ & bb nœ œ b œ œ œ œ B¨‹(Œ„Š7)
5
6 6
¢⁄
5
4
4 7 6 5
5
5
8
5 8 6 5 7 8
4 8
3 5
7 6 4
3 4 6 5 6
G‹7(b5) C7½ œ œ nœ b œ œ n œ œ ° bb b œ œ œ œ œ œ œ œ œ b œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ nœ & bb G¨Œ„Š7
1 4 2 1
¢⁄
2
2 3
3 4
2 1
6 4 3 1
3 5 6 4 3 1
3 5 4
copyright © 2012 Michael Berard
176
4 5 4 6 5 8 5 8
°
nœ b œ œ nœ œ b b œ ‰ J‰ Jœ œ &b b b œ ™ J F‹7
¢⁄ °
œ nœ ‰ nœ ‰ œ œ b œ œ J Jœ œ™ J
B¨7(#5)
8 5
7
E¨‹7
A¨7(#5)
7
6
8
7
6
5
5
5
6 8
6
4
5
8
6
F7½ œ œ œ œ Œ ‰ œ ‰ œ ‰ n œJ œ œ œ œ œ œ œ œ œ œ œ J J
bbb b w b & b
D¨Œ„Š7
C‹7(b5)
5
¢⁄
4 8
8
5 6
8
5
6
7
6
9
6
7
6
6
8
6
8
D¨7 œ œ œ nœ œ œ œ œ œ nœ œ œ œ b œ œ œ œ œnœ b œ b œ œ œ œ ° bb b œ ‰J œ œ nœ b & b B¨‹(Œ„Š7)
A¨‹7
3
3
8
8
5
6 8
8
¢⁄
9
5 8 5
6
7 6
10 9
7
9 7 6
7 8
6
6
9
6
6
6
7
G‹7(b5) C7½ œ œ b œ œ œ œ œ œ œ œ nœ nœ œ ° bb b b œ œ œ œ œ œ n œ œ œ œ œ œ œ nœ œ œ nœ œ & bb G¨Œ„Š7 œ
6
¢⁄
9 8 6 8
7 6 9 7 6
6 9 7 6
6 8
8
6 5
5 6 8 5 8
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177
5
5 8 6
6 8 5 8
F‹7™
° bb b œ & bb
E¨‹7 A¨7(#5) b œ œ œ œ œ ™ œ bœ œ œ nœ b œ œ œ b œ ‰ œ nœ ™ œ œ J‰J J J J ‰ J ‰ J œ™ J B¨7(#5)
7 6
¢⁄
9
6
6 8
6
9
5 9
7
4
7
8
6
8
œ œ œ b œ ° bb b œ b œ œ œ œ nœ b œ œ œ œ b œ œ œ Œ ‰ œ b œ œ ‰J œ & bb J D¨‹7
3
11 5 4
¢⁄
7 6 5 4 6
4 6 5 4
12 3
7
5
œ bœ œ œ œ œ bœ œ ‰J
G¨13
4
4
7
3
14
11
12 14 12 11
14
14 12
13 6
13
13
14
C7(#9) j j F7½ œ b œ œ œ j œ œ œ œ bœ ™ œ œ œ œ ° bb b œ b œ œ œ b œ œ œ œ b œ œ J‰J ™ ™ œ œ ‰ œ ‰ Œ ‰ n œ J & bb nœ ™ œ œ b œ D¨‹7
D.S. al Fine 6
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9 12 11 9 11 9 8
8 11
9 11
11 9
11 9 11
4 3 2
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178
4 3 2
4 3 2
2 2 1
6
9
Anything Anything
(based on "Everything happens to me")
Michael Berard
°
D‹7 D¨º7 C‹7 F9 j j œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ j œ ™ œ œ ˙ b ˙ œ ˙˙ bb ˙˙ ˙ œ œ ˙ n œ œ ˙˙ ‰ œJ œ ° ™™ ˙˙ ˙ ˙ ˙ n œ ¢ J‰Œ C‹9
Ballad
b4 Ó b &
4
8
¢⁄ °
7
D‹7(b5)
8
° ¢
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¢⁄
4 5
3 4 3 3
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¢⁄ °
s
F13 F13(b9)
3 3 1 3
4
3 4 3 3
6
10 8 8 7
10 7 8 7
œ œ œ b œ œ œ œ ˙ œ ˙ b b ˙˙ & b b ˙˙
¢⁄
F‹9/B¨
8 8 6 8
8 8
B¨13
6 6 8 7 6
6
10
C‹11
3 4 4 3
6
8 10 7 8 7
8 8 8 6 6 7 7
8 5 6 5
6 4 5 5
6 5 4 5 5
3 4
3
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G7(#5)
b œ˙ œ ˙˙ œ b n˙˙ & b ˙˙ œ 4 6 5 5
F13(b9)
E¨‹11
3
3
1
6 7 6 6
1. B¨%
˙˙ nÓ˙˙
G7(#5)
6 6 5 5
6 4 4 3
A¨13
6
6 6 5 4
E¨Œ„Š7/B¨
œ˙ œ œ œ ˙˙ ˙˙ ˙˙
3 4
8 7 8 6
8 8
6
8 7 8 6
5 6 5 7
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ü †
D¨‹11 G¨13
5
8 8 6 8
8 8
copyright © 2012 Michael Berard 179
8
4 5 4 4
5 3 2
˙œ ˙˙ œ œœ œ œ ˙˙ 6 6 5 5
1 1 0
B¨13
6 6 8 7 6
5
2. B¨%
œ˙ œ œ œ œ˙˙ œ œ b œ b ˙˙ b˙ F‹9/B¨
6 9
4
b œœ nœ œ œ nœœ ‰ Œ J 3
D‹11
6
6 6 5 5
E¨Œ„Š7/B¨
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6 9
8 7 8 6
8 8
6
8 7 8 6
°
¢⁄
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DŒ„Š7/A
5 5 5 7 8 6 5
7 7 7 5 7 5 6
¢⁄
10
10
8
10 7 8 7
10
C‹9
b œœ b & n œœ
¢⁄
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4 6 5
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3 4 3 3
6
4
8
8
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3 4 4 3
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8 6 7 7
6 6 6 6 6 3 5 6 3 3 5 5 5 3
6
j ‰˙ œ b œ œ ˙
C‹9
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3 4 3 3
3 3
4
2 1
C‹7 F9 j œ œ œœ nœ œ œ œ˙˙ ™ œJ ‰ Œ ˙
8 5 6 5
6 4 5 5
6 3
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5 4 5 5
4
3
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G7(#5)
b œ˙ œ ˙˙ œ b n˙˙ & b ˙˙ œ 4 6 5 5
7
C(“4)
D‹7 D¨º7 j œ œ œ œ œ œ™ bb ˙˙ ˙˙ ˙ n˙
F13(b9)
D‹7(b5)
¢⁄
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10 8 8 8
G‹7
7 7 7 5 7 6 6 7 7 5 5
œ˙ œ œ œ b œ˙ ™ ° bb ˙˙ ˙˙ & C‹9
°
œj nœ˙ œ œ œ œ˙ œ nœ œ ˙˙ ˙ ˙˙ ˙ b˙ n˙
# œ˙ œ œ nœ ## œ˙˙ œ œ œ ## œ˙ œ œ nœ œ˙ ™ b ˙ ˙ ˙ & b n˙˙ ˙ ˙ E‹9/A
E¨‹11
3 4 3 3
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F13
10 8 8 7
3
b œœœ œ
F13(b9)
10 7 8 7
3
1
6 7 6 6
A¨13
6
B¨%
˙˙ Ó n˙˙
Fine
6 6 5 5
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180
6 6 5 4
D‹11
4
D¨‹11 G¨13
5 6 5 7
5
5
8
4 5 4 4
5 3 2
G7½
≈ nœ œ œ b œ œ œ œ œ Ó 3
3 6
4
6
4
3 6
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&
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bb œ
C‹7
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D¨º7 œ œ œ œ œ œ b œ nœ œ ≈ #œ œ
D‹7
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3
5
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3
6
4
6
5
6 5
5
6
8
6
7
6
5 8
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10 8 13 12 11 10
¢⁄ °
8 7
11
13 11 10
8 10
9
9
12
11
8
10
10
10
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A¨7
D‹7
D¨‹7
G¨7
3
6
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7 9
7
9
5 7
6
8
8 10
8
7
5
6 7
4 5
6
4 6
7
9 10
D‹7 G7½ n œ n œ b œ nF7 œ b œ œ nœ b œ œ b œ nœ nœ œ œ œ œ œ nœ œ œ œ b œ ° bb ≈ nœ nœ œ œ nœ nœ œœ bœ & C‹7
3
3
10
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8 8
3
8 11 10 8
9 7 10 9 8
8 copyright © 2012 Michael Berard
7 9 6 9
7
7
6 9 7
7
7
9 10
181
6
6
6 9
8
°
C‹7
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D‹7
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G7 œ œ œ œ b œ D‹7(b5) œ œ bœ œ œ bœ œ œ nœ nœ œ œ nœ b œ œ œ œ
3
11
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8
8 11
12
11 10 9 8
7 8
6 8 9 11 9 8 10 8 7
7
10
10 9
E¨‹7 A¨7 D‹7 G7½ œ œ œ b œ b œ bœ œ bœ œ œ œ n œ œ œ ° bb œ œ œ œ nœ œ œ b œ b œ nœ œ œ # œ n œ ‰ & C‹7
3
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7
11
8 11
11
8 10
4 5
10 11
10 12
n œ F7œ n œ b œ ° bb œ nœ œ nœ œ & C‹7
9 10 12 13 11
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12
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4 5
10 9
6 9
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D.S. al Fine 10 13 10
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8 7
8
10
10
11
11 10
10
10
8 10
7 10
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8
Out From A Distance
Out From A Distance (Based on "Out of nowhere")
Michael Berard
°
&
#4 œ ™ G%
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4
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8
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A‹9 œ™
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8
5 8
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0
4 7
B¨‹7™
E¨7 œ b œ b œ nœ ° # ™ J b œ b œ J œ œ ‰ b œ ‰ & 8
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nœ ™ œ œ œ nœ ™ b œ nœ œ œ œ ‰ J
A‹9
D7½
7
6 9
5 8
6 6
5
5
5
6 5
6
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183
6 8
8
7
°
# Ϫ & G%
œ
œ œ
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B¨‹9
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# Ϫ & G%
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8
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8
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#
B‹7 œ™
G% {solo pickup} œ E7(b9) œ œ œ A‹7 œ ™ D13 œ ^ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ J J œ œ œ nœ œ ‰J ‰ ‰ 3
Fine
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bœ ™
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7 7
7
8
5
7
^
8
7
7 8 7
10 8 7 9
5 9
7 6 5
4
7 5 7
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184
B¨‹7 E¨7 œ œ ° # œ ™ œ œ œ œ œ ™ œ œ œ nœ œ b œ b œ œ b œ ‰ j b œ œ b œ b œ nœ b œ b œ bœ & J G%
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3
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3
6
6
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4
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6
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5 8
6
6
6
9
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G% B‹7 n œ ™ n œ # œ nœ nœ œ ™ j œ œ œ œ ™ œ ˙ ° # J ‰ J #œ œ & J
E7½
nœ œ œ œ œ œ œ
7 10
¢⁄ °
7
7 9
7
7
6
7 8
9
9
9
6
5
9
7
5
4
7
9
# œ ‰ j Œ ™ j œ œ œ œ nœ œ œ œ ‰ j Œ ™ j œ œ œ œ nœ œ œ œ œ œ œ & #œ œ #œ œ A‹7
E7½
A‹7
7 5
¢⁄
5 6 5 5
4 5 7 7
7
6
7
5
7
4 5 7 7
° # b œ nœ b œ œ b œ b œ œ nœ b œ nœ œ b œ Œ & B¨‹7
5 8
E¨7
nœ œ nœ œ ‰ nœ œ nœ ‰J J 3 7 5
6
6 6 5
8 8
8 7 6
6
A‹7
4
¢⁄
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5 8 5
4
5
8 copyright © 2012 Michael Berard
185
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7
D7 b œ
œ œ œ œ œ œ ‰J 9
8 7 10 8 7 9
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# nœ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ nœ b œ b œ b œ nœ Œ & GŒ„Š7
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b œ nœ b œ œ nœ b œ bœ ‰ J bœ
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7
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7
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6
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9
9
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7
9
7 9
B‹7 E7½ œ œ œ # œ # œ œ n œ ° # nœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ #œ œ œ GŒ„Š7
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10 8 7
5 6 5
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9
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5 7
9
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7 10
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9
7 9 10 7 10
E7½œ œ œ œ A‹7 œ œ # œ nœ œ œ œ œ œ nœ œ œ ° # œœœ Œ ‰J Œ œ & A‹7
3
7
5
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8 8
5 7
8 7 10 9
7
E7½ A‹7 D7 D7½ GŒ„Š7 œ ° # œ œ œ # œ nœ nœ œ œ œ œ nœ # œ œ nœ b œ œ œ œ # œ n œ œ Œ #œ & B‹7
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5 4
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7 5 6 5
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C‹7 œ
7 10 9 6 5 7
5 8 7 5 6 7
5 7
7
9
7 8 9
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186
Ó
nœ b œ œ
D7½
D.C. al Fine 7 10 8
8
A‹7
6 8 7
Gin And Tonic
Gin And Tonic (Based on "The Days of wine and roses")
°
4 &b ˙ 4
¢⁄ °
5
&b
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s FŒ„Š7 °™˙ ¢™ ° 5 ™ ™ ¢ œ™
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A‹7(b5)
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B¨‹7
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nœ ‰ b œ J
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&b
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G‹7
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5
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¢⁄
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C7(“4)
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6
5
5
C7(“4)
˙
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6 5
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187
œ J
™™ ü † ™ ™
ü †
°
2. A‹7
&b
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D‹7
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{solo pickup}
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5
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6
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A‹7(b5) œ w J
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5 6
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188
œ œ œ œ œ Œ ‰ J
E¨7
6
8
6
5 8
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&b
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A‹7
D‹7 G‹7 G‹/F œ œ œ œ œ œ œ œ œ ‰ nœ œ œ œ œ œ œ œ œ œ b œ œ œ œ # œ œ œ œ nœ œ J
5
5 5 8 5 6 8
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3 6
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3
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2
2 3 5
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4 5
D‹7 G7 G‹7 C7 œ œ b œ œ œ œ œ œ œ œ œ œ œ œ ° b œ œœœ bœ bœ œ œ œ œ œ œ œ n œ b œ & œ #œ E‹7(b5)
A7
3
5
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3
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3
6 5
8 6 7 5
8 6 8 6 5 8
E¨7(#11) œ œ œ bœ ° b œ nœ nœ œ œ Œ & œ 5 5
A‹7(b5)
6
4 6
7
5
5 8
5
5 8
7
8
7
5
7
œ ™ œ œ œ œ œ œ ° b œ œ œ nœ J ‰J & 5 7
D7½
5
8
5
6
8 5 6
bœ bœ œ œ nœ œ œ œ œ # œ œ œ œ œ œ œ
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B¨‹6
8 5
5 6 5 6
6 8 7
5 6 8
8
7
8
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189
8 6 6 5 8
B‹7(b5) E7½ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ ° b œ œ œ nœ ‰ œ œ œ nœ œ # œ nœ nœ & œ J A‹7
D‹7
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5
5
5
6 8
6 5
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8 7 6 5 7
6 5 7 5 4
7
4 7 7
7 4 7
6
G‹7 C7½ FŒ„Š7 G‹7 œ œ œ œ œ œ œ bœ œ œ œ n^œ ° b œ œ œ nœ œ œ œ œ œ œ™ Ó & A‹7
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°
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A‹7
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6
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6
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6
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190
7
7
5
8 5
˙
C13
5
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D.S. al Coda
^
5
8
C7
F6
8
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∑
Memories Memories (based on "i remember you")
Michael Berard
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191
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192
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193
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194
7
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It's Booked It's Booked
=150 q=150
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196
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197
10 5 6
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10
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198
5 11
11
10
5 8
Wonderful You Wonderful You =150 q=150
(based on "all the things you are")
Michael Berard
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199
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200
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201
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bb b & b
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11
11 12 14 12 11 13 14
14
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13
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202
10 9
You The Only OnlyOne One YouAre Are The
=140 q=140
(based on "there will never be another you")
Michael Berard
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° bb œ ™ œ b œ & b
œ œ
8
6
9 8
7
5
4
8
6
4
Œ
B¨‹7 E¨7½ œ œ œ nœ œ œ b œ œ b œ œ ™ œ bœ bœ œ œ bœ œ œ bœ œ œ J ‰ J
10 8
°
9
8
8
C‹7
¢⁄
7
8
10
8
8 11
8 11 10
8
6
6 9 11 10 8
9
8
4
5 7 5 4
6 8
6
nœ œ nœ ‰ œJ ‰ œ b œ œ œ œ œ œ œ œ œ œ b œ œ n œ ™ nœ J J œ œ œ œ œ &b b œ œ œ A¨Œ„Š7
D¨7(#11)
3
¢⁄
4 5
6
4
E¨Œ„Š7
C‹7
3
3 4
3 6 3 4 6 4
3 5
3 5 6
5
4
3 4
5 5 3 6
Copyright © 2012 Michael Berard
204
B¨7 œ bœ bœ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ
œ œ œ™ ° bb œ œ œ œ œ œ & b œ nœ b œ J F7
F‹7
4 6 4
¢⁄
8
8 5 6 8
5 7
7
7
5
7 5
5 7 8
9
7 6
8 6
9
5 8 5
6 8
D‹7(b5) G7½ nœ œ œ œ œ œ œ œ ™ ™ œ œ œ œ œ ° bb œ œ œ J œ œ œ nœ œ ™ œ œ & b J J E¨Œ„Š7
8
¢⁄
8
8
6
6
6
8
8
7
8
9
8
6
9
8
7
8
7 10 10 9
7
9
B¨‹7 E¨7 œ œ œœœ bœ œ œ œ œ œ œ œ œ œ œ b œ œ œ n œ œ œ œ œ bœ œ œ ° bb œ œ œ œ œ & b C‹7
8 10
¢⁄
11 10 8
8 11
8 11 8
10 8 7 8
5 6 8
9 11 9 8 6 11
9 8
6 9 10 8 7
6 8
œ ™ œ œ œ bœ œ ™ œ œ œ œ œ ™ ° bb œ œ œ œ œ n œ œ œ b œ œ nœ œ œ J J & b J A¨Œ„Š7
8
D¨7(#11)
6
7 8
¢⁄
7
E¨Œ„Š7
6
9
A‹7(b5)
6 9
D7½
5 8
8
6 8
7
8
8
6
5
8
6 8
7
5
G‹7 C7 F‹7 B¨7 E¨Œ„Š7 œ œ b œ œ b œ n œ œ œ nœ b œ œ œœ ° bb œ œ œ œ œ œ b œ œ œ œ n œ œ œ œ œœ Œ ‰J & b E¨Œ„Š7
A¨7
3
D.C. al Fine
6
¢⁄
6 5 7
6 7 9 8
6 9 8 6 5
8 6 5
8
5 8 8
6 8
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205
4 6 8 7 8
8
7
Blue Dolphins Blue Nosed Nosed Dolphins (based on "green dolphin street")
Michael Berard
°
4 & 4
œ œ œ œ œ œ J J J J 10 10
¢⁄ °
&
¢⁄ °
&
¢⁄ °
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œ
8
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œ
5
5 7
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8
œ
D¨/C
6
9
bœ
5
œ
5
6
7
7
5
w
E‹7(b5) A7½
8
8
6
6
9
8
8
CŒ„Š7
w
w
8
8
6 6
œ œ œ b œ bœ œ 3
8
5
7
w
œ œ
5
4
5
CŒ„Š7
b œ œ œ b œ bœ
D¨/G
5
4
7
6
5
bœ
7
6
œ œ œ œ
5
8
7
9
6
7
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7
bœ œ
bœ
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F‹7
&
œ œ œ ˙
C%
bœ bœ bœ
B¨7(b9)
6
3
4
7
œ œ 6
3
Copyright © 2012 Michael Berard
206
bœ
8
˙™
D‹7(b5) G13(b9)
4 8
4
w
E¨Œ„Š7
4
™™ ü † ™ ™
ü †
°
&
2. D‹9
D‹7/C
B‹7(b5)
œ œ œ œ
˙
E13(b9)
˙
bœ
œ
A‹7
˙
A‹/G
œ
œ œ
6
8
5
8
˙
B7(b9)
5
5
5
¢⁄ °
&
5
5
6
6
5
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F©‹7(b5)
7
5
6
5
˙
œ œ œ Œ ‰ j œ œ œ œ œ œ œ œ bœ œ œ œ œ
˙
œ œ
E‹7
A‹7
D‹7
G13
C%
D‹7
G7(#5)
Fine 3
¢⁄
8
5
6
5
5
5
7
5
4 5
° œ™ œ œ œ œ œ™ œ œ œ & œ J J ¢⁄ °
4
5
7
4
7
5
7
‰ œJ ‰ œ œ b œ œ œ ™ œJ œ œ b œ œ J
CŒ„Š7
C‹7
CŒ„Š7
C‹7 8
7
5
6
7
7
7
5
7
5
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8
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6
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b œ œ œ œ œ n œ œ œ œ n œ b œ n œ œ œ œ œ œ b œ b œ n œ œ œ œ œ œ #œ œ bœ D¨/C
CŒ„Š7
E‹7(b5)
A7(b9)
6 5
¢⁄
7
7 7
6 9
6
6
7
6
7
5 8
5
5
6
7 5 4 5 7
7 6
6
CŒ„Š7 b œ b œ œ œ œ œœœ œ œ œ œ œ nœ ° b œ œ n œ œ nœ œ nœ œ Œ œ & D‹7
G7½
3
3 6
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5
8 6 5
8 5 6 8 6 5
3 6 7
5
4
œ œ œ œ ‰œ œ œ J 5 7
3 4 6
4
5
5 8 4
7
2 2 5
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207
4
5 7
°
œ bœ
F‹7
&
B¨7½
œ œ œ œ bœ œ œ œ
8
7 9
¢⁄
9
8
10
10
E¨Œ„Š7
6
G7(b9)
œ bœ œ œ œ
10 8
9 10
D‹7(b5) œ nœ œ b œ œ nœ b œ œ œ œ #œ œ bœ
bœ bœ bœ bœ
9 6 7
8 11
11 8
7 10
10 8
7 5
10
8 7 6 8 5 8
œ b œ b œ œ œ œ œ œ œ ° œ b œ œ œ œ œ nœ œ œ b œ œ œ œ ‰œ œ n œ & œ™ œ J CŒ„Š7
C‹7
7 5
¢⁄ °
4 7
4 5
6
8 5
8
7
6 8 8 7
5 7
7 4 5 7 8
5 7
bœ œ # œ œ œ œ œ b œ nœ b œ œ œ œ œ œ œ j œ œ œ #œ œ œ ‰ b œ œ b œ n œ & œ D/C
D¨/C
5
&
5 7
¢⁄ °
6
5 8
4
7 7
CŒ„Š7
œ
A7(b9)
4 6
7
6
6 6
7
D‹7
E‹7(b5)
8
5
6
5 8 5 4
2 4
7 6
6
5
8
œ œ bœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ #œ ‰J #œ D‹/C
B‹7(b5)
E7(#5)
A‹7
A‹/G
F©‹7(b5)
B7½
5 6
¢⁄
5
8
8 7 6 5
7
5 7 5 4
4 5 7 6
5 4
7
7 6 5 4 7
7 5 4 6
œ n œ œ ° œ œ œ ™ œ œ œ œ ˙ n œ œ # œ n œ # œ œ œ œ & œ œ œ J E‹7
A7½
D‹7
G7
CŒ„Š7
D‹7
3
¢⁄
5 7 5
6
6
5 6
6
3
4
5
5
8
7 Copyright © 2012 Michael Berard
208
3 5
4
7
3 5
3
G7
Ó
D.C. al Fine
Chapter 5 \
Answers
209
Chapter 1 Answers Page 6, chord voicings
4 & 4 wwww
D‹7
F‹(Œ„Š7)
w & b www
A¨6
bb wwww
& b ww b ww C7
b wwww
& b wwww
G‹7
& n ww b ww
D¨Œ„Š7
& bb wwww
b www b b & w
F‹7(b5)
b w & ∫ bb www
G¨‹6
Bº7
& b www nw
C‹7(b5)
& bbb www w
wwww
www w www b w
ww ww
bwww w
bb wwww
b wwww
w b www
w w w bw
b www w
b wwww
bb wwww
w bb www
b bwwww
bb bwwww
bbb wwww
b wwww
E¨6
b wwww bbb wwww
B¨‹6
w bb www
GŒ„Š7
n# wwww Cº7
bb wwww A¨7
bbb wwww
bb www w
bw b www
bb wwww
bb wwww
# wwww
# wwww
w # www
www b bw
bw b www
bb wwww
bbb wwww
bbb wwww
bb wbwww
B¨6
ww b ww C‹7
∫ bb www bw w b www
w b wbww
b wb www
w b w w bw
bbb wwww
bbb∫wwww
bb∫ wb www
w www
wwww
www w
b wwww
w bb www
www w
B‹7(b5)
nbb wwww D‹(Œ„Š7)
nbnwwww
bb wb www
210
bn www w
b www w
b wwww
b wwww
w b w w bw
b wb www
w b wbww
bn wwww bw bbwww
bn wwww
Adding extensions Pages 33-34, Major scale Imaj7 9, 13 11
DEGREE AVAILABLE OMIT
IIm7 9, 11 13
IIIm7 11
IVmaj7 9, #11, 13
b9, *b13
V7 VIm7 9, sus4, 13 9, 11 **11 b13
VIIm7(b5) 11, b13 b9
* Em7 is a tonic type chord and often substitutes for Imaj7. In most cases the Em7 tends to sound and function more like an inversion of Cmaj7. It is possible to omit the 5th and use the b13. ** It is possible to use the 4th but not the 11th. Using the 11th implies the presence of the 3rd. These 2 notes will create a b9 interval. Replacing the 3rd with the 4th creates a suspended 4th chord and avoids the problem of the b9 all together. The 13th on IIm7 does not create a b9 interval but adds the B note which when combined with the 3rd of the chord (F) creates a tritone. The chord will now tend to sound more like an inversion of G7. Pages 35-36, Melodic minor DEGREE Im(maj7) AVAILABLE 9, 11, 13 OMIT
IIm7 9, 11 b9, 13
bIIImaj7 9, #11, 13 **b13
IV7 9, #11, 13
V7 VIm7(b5) VII7(alt) 9, sus4, 13 9, 11, b13 11, b13 **11 b13 b9, #9, #11, b13
* The chord generated on the 7th of the scale is actually a Bm7(b5). The 11th of the chord is enharmonically a major 3rd, therefore, it makes more sense to view the chord as a dom7 with a diminished 5th. There are now 2 passing tones between the root and the major 3rd. These are b9 and #9. The only note not accounted for is the b13 which can be seen enharmonically as #5. I have also included the #11 even though the actual note is b5 and there is no natural 5th. In most cases it will be referred to as #11. ** The 13th of Ebmaj7(#5) can be used if the #5 is omitted. Pages 37-38, Harmonic minor DEGREE AVAILABLE OMIT
Im(maj7) 9, 11
IIm7(b5) 11
b13
b9, 13
bIIImaj7(#5) 9, #11 *13
IVm7 9, #11 **13
V7
bVImaj7 b9, sus4, 13 9, 11, b13
VIIo7 see dim rule
*As with the melodic minor scale, the 13th can be added to the bIIImaj7 chord if the #5 is removed. **The 13 in the IVm7 chord creates a tritone with the 3rd of the chord which will make it sound like a dominant chord. For the VIIo7 chord, all passing tones are available as extensions. Same rule as mentioned earlier. 211
Secondary Dominants Page 41, Secondary dominants CHORD AVAILABLE
V/II V/III V/IV V/V 9, sus4, b13 b9, sus4, 13 9, sus4, b13 9, sus4, 13
V/VI b9, sus4, 13
As a general rule, use b9 and b13 when resolving to m7 and 9 and 13 when resolving to maj7 and dom7. The sus4 is available on all secondary dominant chords. Page 48, Analysis #1
4
&4 &
&
&
CŒ„Š7
F‹7
B¨7
IVm7
I
CŒ„Š7
bVII7
B¨‹7
E¨7
A‹7
D7
I
A¨Œ„Š7 bVImaj7
D‹7
V7/V
G7
CŒ„Š7
E¨Œ„Š7
I
bIIImaj7
A¨Œ„Š7 bVImaj7
D¨Œ„Š7 bIIma7
For any chords that can be classified as II and V, we use a bracket. The first two we see, Fm7 and Bb7 are IVm7 and bVII from parallel natural minor. Even though they are resolving back to I, it’s helpful to see them as a II and V. Wherever it is clear that a II and V are resolving to a specific chord, it is not necessary to say whether they are secondary dominants with related minor 7th, extended dominants or whatever. They are a II, V7 and that’s most of what we need to know. 212
Page 49, Analysis #2
&
4 4
CŒ„Š7
F©‹7
B7
E‹7
A7
I
1. D‹7
G13
resolves to tonic type chord (Em7)
D‹7
B‹7(b5)
&
II
E‹7
E¨‹7
&
A¨7
III
&
II
A‹7
D7
D‹7
2. D‹7
F©‹7
& &
#IVm7
E‹7
&
G7
V7/V
A‹7
E7
D7
G‹7
C7
FŒ„Š7 IV
E¨‹7
D‹7
G7
D¨Œ„Š7 bIImaj7
213
B7 VII7
B¨7 bVII7
™™ ü †
Page 54, adding 9ths to dom7 chords
III
C7(b9) C9
V C7(b9) C9 C7(#9)
C7(b9) C9
III
VII C7(b9) C9
V C7(b9) C9 C7(#9)
IX
VIII
V C7(b9) C9 C7(#9)
214
C7(b9) C9 C7(#9)
XII
C7(b9) C9
I C7(b9) C9 C7(#9)
X
C7(b9) C9 C7(#9)
X C7(b9) C9 C7(#9)
C7(b9) C9
Page 55, adding b5, #5 and 13 to dom7 chords
C7(#11)
III
C7(#5) C13
C7(#11) V C7(#5) C13
C7(#11)
III
C7(#5) C13
VII 7(#11) C
V
IX C7(#11) C7(#5) C13
C7(#11) V C7(#5) C13
VIII
215
C7(#11) C7(#5) C13
C7(#5) C13
C7(#5) C13
C7(#11) I
X
C7(#11) XII C7(#5) C13
C7(#11) X C7(#5) C13
C7(#11) C7(#5) C13
C7(#11) C7(#5) C13
Page 56, adding b5, #5 and 9th to m7 chords
Cm7(b5) Cm7(#5) Cm9
Cm7(b5) V
III
Cm7(#5) Cm9
III Cm7(b5) Cm9 Cm7(#5)
Cm7(b5) Cm9 Cm7(#5)
I
V Cm7(b5) Cm9
VII Cm7(b5) Cm9 Cm7(#5)
Cm7(b5) IX
Cm7(#5)
Cm7(#5) Cm9
Cm7(b5) V Cm7(#5) Cm9
Cm7(b5) VIII Cm7(#5) Cm9
216
X Cm9
XII
Cm7(b5) Cm7(#5)
Cm7(b5) Cm7(#5) Cm9
X Cm7(b5) Cm9 Cm7(#5)
Page 58, raising the soprano note in diminished chords. No names are given to the added note as each diminished voicing can be any of four possible diminished chords.
217
About The Author Michael taught jazz guitar, jazz improvisation, jazz composition, jazz harmony and arranging for over 25 years at Concordia University in Montreal, Canada. He has studied in New York with guitarist Gene Bertoncini, in Boston with Mick Goodrick and in Montreal with trumpeter Charles Ellison and pianist Art Roberts. Michael has performed with international artists such as Cleo Laine / John Dankworth, Don Thompson, Erich Kunzel and the NAC Orchestra, and with numerous Montreal jazz artists. Recorded credits include: “It’s Autumn” (Michael Berard), “Please Belong To Me” (Pascale Lavoie), “Little Voices” (Michael Berard), “Good News” (Michael Berard), and numerous others. You can hear some of my music on iTunes, Spotify, Google Play and at: michaelberard.ca For more information and extra lessons, visit: jazzguitarelements.com
All Songs and solos in this book are composed by Michael Berard copyright SOCAN (ASCAP)
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