INTRODUCTION

In orderto maintain
strongreadingandimprovisatory
skillsa musician
mustconstantly
challenge
himself.
By
playingexercises
thatcombine
technique
andtheorythis
goalcanbe metin a musically
satisfying
andtimecfficient
way.
Thisbook,the secondin a series,presentssomeof
the scaleand chordsuperimposition
conceptsusedin
jazz andjazz-rock
music.Theyarearrangedin the form
o examples,exercises,
charts,and improvised
solos
organized
withinsimplified
standardjazzprogressions.
The scalesusedin the firstsectionof the bookare
presented
in tonicandcolorscalecategories.
Tempoand
phrasingareleftto the discretion
of the performer.
Most
of theexercises
canbe playedastechnicalstudiesor as
examplesof scaleand/orchordsuperimposition.
Theaboveconceptscanbe appliedto otherscalesand
chordsthatare not includedin thisvolume.In mostof
the exercises
patterns,
I avoidedsequences,
andother
repetitive
designsin orderto makethemmoreinteresting
to play.
Thethirdvolumein thisserieswillincludechromatic
exercises,styleanalysis,and duets.
-Lance Van Lenten

SCALESAND THEIRRELATIVECHORDTYPES
Generallyspeaking,the scales listed on the
offowingcharnsall intothroocaBgpbswhenused
withdiferentchordb/ps(thisincludeschordsthat
have a diffqent rootthan the sca/eused):
Tonlc sound CD - This scale'sounds'like a
givenchordbecauseit containssomechord and
possiblysome color tones (see Color Sound).
Beloware listedsomescalesthat soundlike "C"
Major.
notesare
Ohe darkened
chordor 'colof tones.)

Colorsound (C)- Thisscalecontainsenough

'color"tonesto give it a "bright"or slightlydisso
nantquality.'Colortones'areextensbnso a chord,
alterednotes,or anytonesthat"standout.'They
cangivea scalea particular"iaznf flavor.A color
a tonicsound.
be considered
soundcansometimes
F-7"G"minorPentatonic

Passlng sound (P)- This is a scale that is

especiallydissonantsoundingagainsta given
chord.

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

FORUSINGSCALES
APPROACHES
SUGGESTED
(Revised)
Approach

Scale

Containsstrongdiatonicsounds(C Maior,D minor

and
etc.).Usein sequences
7, E minor7, F Lydian,
etc.).
fourths,
patterns(chords,thirds,
Blues
Phrasein a fuocal"style (vibrato,bends,etc.).
Create ritfs. Use space betweenideas. Think
Repeatnotes,phrases,etc.
rhythmically.
minor Pentatonlc
Usepatterns.Don'tgo outsideof the scaleunless
for 'effect."Repeatnotesand phrases.Use with
modal,funk,rock,latin,and manyotherstyles.
Harmonicminor MixolYdian

Diminished

Wholetone

4F
JapaneseInsempo

JapaneseOkinawa

il

Composite

ideas
quality.Short "ornamented"
"Mid-Eastern'
a V7
well
as
Works
grace
notes).
(usetrillsand
Ab,
in
F,
sound
iimT-V7
soundin F minor.lmplies
Db.
and
of sequences
in a multitude
Canbe structured
patterns.Containsmany C7, Eb7, F#7, and A7
whenused.
colortones.Veryrecognizable
with
Bright,opensound.Soundsgoodin patterns
V7
chords
with
well
Works
chromatics.
without
or
of minorkeys.
SoundsveryJapanese.Soundsgoodovermodal
lmplies
andeconomically.
vamps.Playrhythmically
"ii-V7'inAb.
SoundslikeC major.By restrictingyour ideasto
thesetonesyoucreatemotionandan"open'sound.
Workswellas a colorscale.lmplies"ii-V7'in C.
Thisscaleis madefromtwo triads- "C' and "B'"
a C Major7 sound.Createpatterns
It compliments
basedon thetriads.lt impliesiimT-V7in E minor.

ChartI

SCALESANDTHEIRRELATIVE
CHORDTYPES
(Revised)
Mafor
Ctlail

minor Pentatonlc

Blues

@ t

1 @

'*'7

t-1 @

?ft
Drtr o

D-l 0

?(

E7o

D7 G)

-74

b?

D - 1 )

e- 7

t
lH,;7 @

Frtui10

b7 G)

ttl

470

f1

0
K
@

, ' i

A-7 0

F-7 @

+,

, , ,
tr-7

87 CO

,r

, i7

.g-7 C)

'"/3

+
Aittq;1 C)

r
Bl- @@

' ffi

notc ft

cfiod or'colof

g - Onic sound
(C) - color sound
it. g.-t totc ar r,ofed enharmonknlly.

to

t,l (toil @

t ltJ

'rof 4t;'z
,r

r//

Wholetone

Dimlnished

Harmonicminor
Mixolydian

///

Dr-

7 ?frr&

D-'l @

zi'
,7

b- cq

+ryq't7

+ 7,r

21 ?t)e)

7@
,

F-

+fr

-3

t frtt

s tf
*I

4{ift
L-

, - 7

-@

60

4r{r-

"f

#70r) @

-7 G)

r7
AbtL;,t @ o

/7t

*a

Fto o

6-e

+#tt

+tr
t7Qr) 6

1r

Jf ?do g

n - o
,7r

*f/

784o

+ r.trr
ob- @o

8-

3
G)

lrl

Insempo
t t(o,d C_7) @O

, ,-rq
Dbt'lr;1

Composlte

Oklnawa

/ tlc;'l @

l/la;1 O

+ 3

Db-oo

Drl o@

? ,,R

D7 @

D-7 0

? 7

'- + *rv
Lt|

Lb1 O

,*ft
/o;r O

+
tr7

t3

e,

t'fr,
F-' O

F fl,jl O

+ rs

btl,il @

&,7 Gl

-/

47 Ao

G - @

+ rr
A-7 6A

+
3l- @
?

BI

Bl-7
tt/
6

:
l

SCALECHARTII
(Revised)
In orderof appearance
in the tonicandcolorscaleexercises.
minor Pentatonic

ba hz

Root

Harmonicminor
Mixolydian

be lt

Diminished

Wholetone

Composite

4rz

'Two triads1/2stepapartcombined.
9

TONICAND COLORSCALES
usetonicandcolorscalesromthe chartson pages4 through9' A
exercises
Theollowing
Colorscalesarescalesor modes
tonicscale'soundslikethechordor tonalityit represents.
thatcontaincolortonessuchas 9ths,11ths,13ths,etc.Whenb9 or b13tonesarepresentthe
The
quality.Theseconcepts
areairlygeneral.
scalecreatesa'passing"or unresolved
choice'
shoulddetermine
tasteo the perormer
individual
'sound'or 'colof a perormer
canuseanyo the musicaldevices
By treatinga scale'asa
thatcanbe applied.
Forexample:
sequence
Diatonic
tvl A-i l

or Scalesequenceand Rootpattern(4th)

D-7 (*,.0.t

or PedalPoint

(Atlt,i zl

Dl-r70)

Pleasenote:

withinthecontexto
thisbookchordtonesareottentreatedenharmonically
Throughout
themelodicline.

10

TONICANDCOLORSCALES
(Continued)
Scaleslikethe minorpentatonic
and Okinawahavefewernotesand allowthe performer
to
play'horizontally/
overmorechanges:
For example:
C I'ta;v

(A-pt

A -l

- D- n

Grl

CHo'''7 A-1
(,-,c.)

SCALABBREVIATIONS
USEDIN EXERCISES
Major
Blues
minorPentatonic
HarmonicminorMixolydian
Diminished
Wholetone
Insempo
Okinawa
Composite

11

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

ok.
Comp.

-b'?

Gn

TONICSCALEEXERCISE
I
tL"t

Gru'r'

t,'l
Vt

(c-gD

&7

G (Grr.;)

ILll--

B-7

fl-t

t7,,,,,
^
t1ou,

t-

o t'I,i)

D7

(DBtr)

,^fr.,,
a

BJ*,

7ol/r-\

D1,ou-.^,

67

2t
-t-(A

'Maj = M

o'o'l

?1ran.r,

G(Dr,r,

^!itrr

o (0r.,,

f: Ga1;

-f ( e -,P,\

r, fl,i)

Aa7r,;)

/'l

(r^',

k y,,)

t,

27a*,

fG&t

13

&'**,

W*,

C^Crns)

II
TONICSCALEEXERCISE
L (c
An.;)

D-l

c rl

-l

(tsn.t.l

t (cnq)

4-

L,,rr^

@^r,

(t U..-l

C.

Lrl

fttn4\

l-

D-t

-Tnr*, A t

D*7,^, L 7

G,7

b-'7

frrr,,, r-7bll.:)

trl

15

D(lt- 7

G7

ll,-,-,)

t-7

(nnr')

G-t

Bttlq

4-

D- 7

b'l
tt 0t.)

UJ;)

A-7

t (on.,\n -

D - 7 (&1,*\
,

14

tt+)

4'.7-

D7,n,G/o-,rt

(tti,;)

(-,r)

L(c

D-7
(ean

LI

I r, ft.\

P7/o/,*', z
ltt 0 2 0-J

F
(( /r,i)

F-. ltLi)

2 ,7r*^, / 7
- t

A;,,
G{r,

fJu*..,

nttt.

c7

(f ,n*1

D-7

ID,.P)

n
rt -

GI

0ltt') t

b-7rte,.\7

'o'o:'|,

B-7(.2 4,-'^)

L(trr,

n'

D-z

^,,

ftH)

n,,

15

r, rt<;,

/7o--*l

D-z
+

kt tl,f)

TONICAND COLORSCALEEXERCISES
the n6\r,
scale
areorderedin an additiveway.Eachpairinlroduces
Theollowing
exercises
thenaddsthe previousscale(s).
is olloryed
by the'Major,Blues,and
the'minorPentatonic
scale'exerise
Forexample,
exercise.
minorPentatonic
scalescombined"
thatis, thereis usuallyat leastone
aretreatedvertically,
Thechordsin the progression
scaleper chord.
sevenchordsareotengivenscalesthatcontainmorcolortones.
Dominant
versionso the blues,"rhythm
usedin theseexercises
aresimpliied
Theprogressions
Theperformer
shouldbe ableto "heaf these
changes,'andmodalCSoWhat')changes.
preferably,
lt wouldbe goodto
recorded,
live
accompaniment.
mind
with
or
or
changesin his
as a startingpointor l,ourownimprovisations.
usetheseexercises

il
"{
{
;I

,{
I

-t
{
I

d
:
{

16

MaiorScale
(wnl

t_'l

Lt tt.\

b.

t,7 (iln)

G7 Ln\

G7 util)

Lrl

c'l(ril

Fn)

(ttnt

17

(on)

MaiorScale

Gtn)

18

BluesScafe
,lyll.

(|qt

&
(rJft.)

,-7

c,GA

Qto,

LDJ

G,u,

4(eu.t

,r8 7?,

t-7

b_

D7

c-

Gn)

B,1L,r,t' 7

,1,,

t-7

Lron,., C
b.

E''l

A-7

;'1,
A-7

8(Bn)
- 7 7 (nth)
A - t D7

^,

Arl

hro,,,

DTrott.)

(th,)

(,0*,,

l-Qlu)

19

4;I'

D\o o,,

D?ut

D7

, (tt)

t7
( blh,)
t?07*,,

D1

(8Jt

{
-*
-1
j.l
:J

Majorand BluesScales

I
..l
iJ

-*
":
;:
t-4

il

t7(ct&)

Da h- l7

!, "ot
Blrnr,,t

4t,,

B/ur,,

( r-i7l )

Gr

,t-7

atei)

L 11\

"n'
ot*u,

ttl'n,

o/,n,

.1-T

b-7

t zH)

ftn)

20

ez
L7

B/7

minorPentatonic
Scale

zl-Tr,-r)

(F*^r)

,n(t:r)

21

and minorPentatonicScales

nlr
@n)

,;.yu,. L,n

6l;..,

tl'l

8tt
(Bn)

Lb

Utnt

Bl,-

AI

U/u)

[c *l

-7

trl

G
-t
(ttal

frl

/ 7-

Otl')

/h*t

Btt

"1

(ft +)

CF

Br,/

lrl

0tl

(Aln)

/'Alq)

F-7

nt7
(f
*s

rl-rJ

,1,,
LL(",o) tT

Bt-

u7,,

!n*,

N,I
U /t)

&T^,

F-7
(tetu)

22

(7

Bt7

-?

Bt7

HarmonicminorMixolydianScale
A [ftnn.'')

D7.
(D

A (filt/,.r|

//*..)

DT(ail,..,1

-- fisb^) A7

7
t(H-n,)

(t/,.,1

fl
O !*'n,)

ldro.^^r7

DTrg
il^.n)

(/-T
[ il(>q,)

{;l-,
/

*, il^-.)

rL-,

D-7(Btr/^*,

t7

LC l/^-l

23

LtI//'-\

Vru^-t
h--?L ,

,47
(.F

s*

Major,Blues,minor Pentatonic,fnd Harmonicminor Mixolydian

Scales
^oJotCrlr"^,

(q+
o

ftla )

L,A\

24

Diminishedscales(with Majorscales)
,hylln

L
rr1

/-To,,,,,
87

Lt7

( cl';1

B - 1rrJ,*',
.7

/r-7
(gl';)

lr, ^r',

87

fto.

(4tJ;,

N- 7,"rr,rt

t t-7
G*l'*t

l-7

B7

C,D, ( D),-) ^

{aLr,^({7

uar>A#o

t{7

B-7rr^ t' 7

2(2n.;) t{t

(t /a)

tl7

'UJ*)
'/-v

/t7

(olr-l

ff;J, Bt

(r-fl,r,,,

c#7

-R,l
L

B?

ft u*-]

Ff7

ti7
(.trl)

Fr-7

(B/';l

t( 2 tl.i

B7

f,#,,, r-7

U)r-^.>

.l

8-' (rJ,:\ z' 7

r(ilr,r, 8t

rrr^Aro

25

B7

HarmonicminorMixolydian,
Major,Blues,minorPentatonic,
and DiminishedScales
Llocs L

,nr,

fl

4tn\

,nn,

^A 7rr,

D-7,

D ; 7* , 6 7

G'r,oo.,

L (Bar;

ID olt,l

r-7

b -^r'l

t7
Q1.-^,

L (rn,

(B H-,r.)

7
(,'F)

L'*rn,

26

WholetoneScale(with minor Pentatonicscales

and chromaticscale)
n o l o/

C'l

rl '.

27

Major,Blues,rtinor Pentatonic,
HarmonicminorMixolydian,
Diminished
and WholetoneScales
F (Aah,) b z

FTtrrn, Bl, ^,

^r,

,4 -7

B!;/"

trn)

F(A^r, D7^ur,, G -716t-t\ t 7(F,D

(ra;

gt

(tbn)

gr-7
Anl

E-7,

Dr

(ttl

rn-,\ D7g>

(A-'r')
-t D7

L7

b-7

6-7

(Drn)

(t

rt- utl

-7. trl F.

c//,^-)

::D

l-7

G-7

F(r-n)

trrl

DI

Fr/,rt

G
-z t7
(B -'c)

D7

fl-,, B/;I,rt

-7
tr(G-*l

('o

ft^A'\

28

& 7/^.r.t t 17

u)

6u

..'..

ll,rrt

& Gro,)

/r7
t2/

0-L,,,,

'G,/^,,

DEfr,l)
-7

67

(-7

A-z

D-7

Lr7 (nht,

ft ro'\

I -(E ttat)

&
(8w)

b7

HarmonicminorMixolydian,
Major,Blues,minorPentatonic,
Wholetoneand InsempoScales
Diminished,
-r \qlla
J

Bl

t -7

&'l

lrD -t)

B'7

B'

&U'.)

r(Etfi)
l

'/

t/u;X'

c( -'7
-'P )

B'ir,

8t

Bt
(D-'t)

70il,-.r)

F7

fnlur>

t ,-rx,r, Frl

t-?

/'/ p ?)

B'*or,,

D-7

D7(nn,.\

G-'7

t--7

Ul0b.)

/ Xp.e I

olt*, v

[ -7

D Jttrvlb

l' l'7
btx)

ZrrU,

f-t

t-t

30

lx,

OkinawaScale
r\tln

br*l

E- 'l

d (c
- 70/,)\

Gn ort 67,*,

f uo,

Dl

^{bo^-Z-7

t -nTo^ fr;,T t loo,t 4nl,

A -'7 Dt

G(tort

-#-7
h

t -(t'ot)
7

Ct
(ok)

&Gotl

B'(nor,,

B - 7(oov.s

47

oI,\

Dtrrtt

Adot,

t ot,)

Gtot)

6r,on, t - 7

4-7

t- 7

?t,

&N.

31

470^

br,)

t'n*,

D7(rtr,t,)

flilo,tt

urotl

- v(r,

6( 7

z,Fon ffirt

t (aoi t -7

G,/,rb

2J*,

D7

B ots

AJ*t

27

HarmonicminorMixolydian,
Major,Blues,minorPentatonic,
Wholetone,Insempoand OkinawaScales
Diminished,
^.. llur L- 7
A

lGp

f)

(B-.r)

(FraD

A"7,

87,0,

(F///-.-)

z-v

(8 /l-n,)

CompositeScale(two majortriadsone half step apart)

Llret

Grl

A-t

D7

t-

.4 r7

F4-7

G-7

L- ,7

A-r

G-7

/-T

-t

p-7

-7

/-7

2-7

33

,4v

HarmonicminorMixolydian,
Major,Bfues,minorPentatonic,
Okinawa
Wholetone,InseffiPo,
Diminished,
and CompositeScales

(^c)

Gtorl

(Dtn)

t' -1u*,

EI - rt.t

,u

PLAYINGON iimT-VTPROGRESSIONS
WTH TONICAND COLORSCALES
Usethe scalechartsfor reference.
Picka scalefor the iimTchordthat'sa tonic-type.
For example:

D-7rn,

(l tns.\

(D^p)

by chordsthat containmanycolors.The
The dominantsevenchordcan be superimpOsed
'passing"
situationis the Maior7th chord relatedto the root.
ky noteto avoid,unlessin a
'F#').
(G7 avoid
For example:
)

(2 conp)

can be treatedentirelyas a V7 chordsound.

The "iim7-VTprogression
For example:

can be addedand usedas

Whenplayingon an extende
d at7sounda V7 (relative)
reerencepointfor colorscales
For example:
k t't.l

35

PLAYINGON iimT-VTPROGRESSIONS
WITHTONICAND COLORSCALES
(continued)
For interest,scalescan be put togetherinto scale,chord,third,and fourthpatterns.
For example:
(r7 k tt,t

T)-'l
u,, ,
D-l (tLr,,l

D-'l ltn)

l Lebn)

Somescaleshavea iimT-V7soundwithinthem.
For example:
D-'t (E as.)

(tq

I F [0"r,)

D-7 /o ,ts.)

appearin a seriesit is effectiveto transposescalesin

When iimT-VTprogressions
sequence.
For example:
D -7

/An,r)

FORUSING
APPROACHES
SUGGESTED
CHORDS
SUPERIMPOSED
andthirteenth
chordsare not
triads,seventh,andninthchords(eleventh
By superimposing
newcolorandpassing
direcllyincludedin this book)overa chordsoundyoucan introduce
way.
tonesin an interesting
Forexample:
(sDrrt

(-tfr)

nbroken"
patternsor in sequencesby root.
Chordscan be structuredin arpeggios,
For example:Arpeggios

(7,*r'

>

or 'Broken"patterns

(Eb
h,;7)e) (L- {tl G)

(D0tti ? ). )

bYroot.
or in sequences
/'At-{rYF-')

G7 b-r?\(2

37

CHARTS
CHORDSUBSTITUTION
AND EXERCISES
(ToniG,Colorand Passingchords)

overa malor,minor
chartslist manyo the chordsthatcan be superimposed
Theollowing
chord
ound.The minoranddominantsoundscarrythe samesuperimposed
anddominant
possibilities.
'
in this book,the
a chord.Likethe scaleexercises
Letyourearguideyouwhen'choosing
Alteredchordscan be definedby alteringor changin
progre-ssions
herehavebeensimplified.
chords.
superimposed

1) is changedto CMai7
CMajorT(#1

For example:D7b9is changedto D7

the'sound'o onechordwithanother.By playing

are meantto demonstrate
Theexercises
in yourmindyoucan hearthe
to the progression
or "listening"
withaccompaniment
presented.
possibilities
'
by root,
wayto acquaintyourselwithchordsis to practiceeverypossibility
An excellent
the rangeo yourinstrument.
throughout
Forexample: G root

Anotherway to practiceis to followthe same chordtype arounda cycle.

For example:

MajT#S

38

TRIADSUBSTITUTION
CHART
C Maior
Maj.

(C)
(P)
()
(P)

=
-

min.

a u g .5

D Minorand G7
d i m .5

dim.

Tonic sound (soundslike chord)

Color sound (containstwo or more color tones)
Passingsound (containscolor tonesthat may be dissonanti sustained)
Soundslike chordand containsone colorsound
Passingsoundthat is "moderatel/ dissonant

min.

a u g .5

d i m .5

dim.

BASEDON -A'TRAIN
EXERCISE
TRIADSUPERIMPOSITION
CHANGES
@t)

tfi

A*)

(8o)

zu

(ot)

[fit br)

H7,,,,

z-7

p4ttO

hl,)

N
\

/tt)

TRIADEXERCISE
BASEDON 'A' TRAINCHANGES
(continued)

rc-)
tf

l-),

,lt-'

Z ''7

l'

ttl

&Gn

'(n\

(ai

(Q't

-t

(t -)

:\

D\

l-t

-tt-J

(c wl

Vt

t-3d

G)

[tt

ut)

9't

(D)

L-7

(e-)

2 Ft't

rn)

rD)

4i

't-

BASEDON "CHEROKEE"
EXERCISE
TRIADSUPERIMPOSITION

6sh)

bt ) (D)^

(ylt)

G
o)

H-r

fut*)

D",)

G t,)

rpt't 4,7-,

foo)

(trs

h*'t

n-7
(E--)

D 1(rr-s

, bt)

f?t

(t-\

BASEDON'CHEROKEE"
TRIADEXERCISE

(continued)
6t

B)nb-'l

F#;f,

ht)

Blt,

r0

rt)

/_

(t t)

(k)

/( ) ral')

A17{

b) D7 ft)

htl

43

rc) (t't

CHART
SEVENTHCHORDSUBSTITUTION
C Major
minor

(/) t^? e-t) ?

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

CHART
SEVENTH
CHORDSUBSTITUTION
(continued)
D minorand G dominantseven
Major

f-c)

minor

(f

(?) , o Q'f >o &)

(o )-g

Dominant

Gr)t

(e.c."t n

G)

( P>" (r) (r-rt

G) li,*0,-ho, D

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

@.{(?Ifla['],

Q) -k @o?.h

45

diminished

EXERCISE
BASEDON
SEVENTHCHORDSUPERIMPOSITION
"SATINDOLL"
2-7

rrtl

6rl
&n-o

4;J,,,,6J

D-7
(-'ts

D --?

lr fr)

(:l

L(Ni1\
-7

6t-n

-t

GV

( tt.,nr)

AI

2-l

/t-C7)

n',l

z-?

r
ur- n) ( - t4)

A'I

( '7,r,rn",

_
,7
11t/; lt;)

A-rl

(& tr\

D,l

D - 7 6rt

GhDa),

tt7
rc.*it)

(a>

G-tt)

-7

(&,2)

((.ru)

7;11a) $)

-7 tv.
t(yn.1tt),

BASEDON "SATINDOLL"
SEVENTHCHORDEXERCISE
(continued)
bbTat-r,)

.D7

(Bt't,,'7)

t"l

D(H,;t)
-7

(>- *t)

D-7

(E,st)

,4'/

(G4,iJ$)

[y'H,; l)

7o7,,,t !o('7

,rr';,'

(t-z)

G-7

Al-tl

L7

7
n -LB-il
1 D(at>

D-z

(D-t\

D7
t

(saf)

J,,

C -7 L,t

F(tl-tl

bottql)

4.Y

Gttii

D(-> 7
.
-tI

)t7
bl'

D7

(Ctl,p tr>

,*'7",

(gtn,,;)

z-'7
(-z)

Gatt)

47

(btq-;t)

k_r,r\

Ur-t)

Ft"J

ffn,rut

Uq\

;,7 #7.,

BASEDON
EXERCISE
SEVENTHCHORDSUPERIMPOSITION
A MINORBLUES

4;J,, U'tl

br

Ai','?rt)

/7J,,,
T7 .;.-)

k nn;tS

A'7J61rr;- (t ttsr)

6glt)

@4

(Gn,;rl

7A-7
h-r,t 0n.

(t.r)

Q[tn;'rl

@tr1,,u7

g,tr1r)

O4.ttr) ffnqt)

(Cnir>

Z7

t!_

A -7 rsts

G,ilotD

t t

(fl'tt1

tD-r)

/;,7

(t n';rttS c o'r)

-1

.NINTHCHORD
SUBSTITUTION
CHART
C Major
mrnor

Dominant

(p.)n h) ^. (rl

(r>

t^i

(r'cl,

(r-()?

(r-r> ., r) G,r), fr) Qc2

re?:it')tt
49

#r)

':t

CHART
NINTHCHORDSUBSTITUTION
(continued)
D minorand G dominantseven
Dominant

minor

Major

(P.c)

(P)

4)

.Q )

G ) (r-,

(p-,>-G) (

.(r+ )n G\

e ) o (rL '''rt n

(r'r t

(p-c)

P)

G)ft

(P)

?< t., (r;,

( rl

(-r+)

Q,O

(P )

(:l

(4-, t (r-,) U-c)

(")

(ry{re

e1 (e.'c)

q)

(c) (*cs
?:)'?*fl'fi2
h* b/

@ hlo

tc)

t)

(r-,1 t Gt * n@)

Q;2 93 fh (1.ctoo(ra
ar* er)"t

G-r59 Qt,,^og

G; {tr

?,}aft

50

( r'c)

(p-" )

co!/r)

fko,l

Q-c)

fa&

fo)

<) (r)

(rt
#-a

?2 -,-U,t t@ul
('.)

k<)

BASEDON
EXERCISE
NINTHCHORDSUPERIMPOSITION
"PERDIDO"
E ates)^

D.7
[fl,ilrt)

GI

D-7

G7

D-7

L ((rr,;l ,r)

127te)

ksn,;q)

G'7
D-,1
[Aot/,;ttO

4;7",C t

D
-7
(GL?rt)

't

ftd;t u)

G7

G)

D-7

rcql

D-7

b.

hbiliq)

D-l

'l
hfls,q)

D-t

GI

(Att't)

G'7

h1il)

4;J,, C t
,

U-f )

D-7

(Dtp;q)

G7
-r

(Flr;)

(A-n

;*

BASEDON "PERDIDO"
NINTHCHORDEXERCISE
(continued)
(G Ar;1 rr)

2:!

rl

b-z_r,

G -t*tt

7,o*,,

6 7gn)

52

t-

(t t'tv,'9k\

(r*1 D

(GH,iq)

(c)

BASEDON
EXERICISE
NINTHCHORDSUPERIMPOSITION
C BLUES
t l(ct,tt

F1,,,,

(yt 7rt)

t7 (t,n.,,'/l

h-l tr)

'rr
D-l r^\

trl

-:;+l

A7

G7 ril*s>

67 Grttl

ftrlc.)

($/,; r,4r

tl rrnl,at

f Trgtn;u t

( Bn,,'f)

D-1r,

s,e.tcth)

7(rr,r,

[ \u-yrg

( '7 0,;,x,L)

(4?

CHORDSON iiM7.V7
SUPERIMPOSING
PROGRESSIONS
Referto the chordchartson pages39, 4, 49.
with "tonic"soundingchords.
The iimTchordshouldbe superimposed

FnT#-r,

u-7\

'colof tones.
on the V7 chordcan containmore
Substitutes
For example:

canbe treatedas a W soundanda minorsevenchordcan haveits'

A iimT-Wprogression
dominant
chordaddedto it.
corresponding
o iimT-Wchordsuperimpositions:
Belorvaresomeexamples
D-l

G)

G7

&\

D- 7

(r+,

't

Haj'l +t)

iimT-VTPROGRESSIONS
(continued)
Chordscan be addedwhenmovingat a quickerpace:
For example:

Chordscan be nrunup and down'or may be "brokenup' to createinterest.

For example:
G'I

D - 7' (Flttill

fl'7 p 1ai;ttl&7
t oH e i 7 )

U noil )

A'composite"scalemadeup of two or morechordscan be created.

For example:
D-, ,, Ha,tt

D-7(r*,o,,

G'7 qt;)

'

"'J'1'

resolves.
chordscan be usedon the 'l' chordwhenthe ii-7-V7progression
Superimposed

D(-tl
-7

D-7r*,,brTn,,l, tffo;r

COEJ.,,,
,7-,,,

55

TONICAND COLORSCALES
EXERCISE
COMBINING
WITHTONICAND COLORCHORDSBASEDON
SUNRISE."
"SOFTLYAS A MORNING
way.Thatis, one
in a horizontal
Thisexercisetreatssomeo the chordsin the progression
chord is usedfor morethan one chord.Also somecolorchordsare
scaleor superimposed
way.
orderedin a sequential
b -7rru,; rct.l

D _,7

b-r

[c nc rd.j

rc|,)

z'J*,r,

D,J
,t

D-7

6 (Ftt,;
-7

1a7r, '4%u,r)

27

(i -C*.)

Dir *,

64t-e (o,+)

56

4.7,7.

1.8t fur>

rb

SCALEANDCHORDEXERCISE
'""

D-7

Cl r"t,)

(continueJ.{

L '- 7

SJAC
Gz

7aT
b-Y

tn;t,t)

D-7(tn,;i)

7b,n,;?

'
G;)

-(f)7

2-7'

E -trc )

'bit,l

GF*,

2 (A- j(.*.nl

D-7

D- z

rr)

t *

g:

2"7
t;r q*:F tr+sr,l
-Lrh;'t

>-7

(bL)

,It

rr'"

(t t)

*.-\-l

A7

gt-r?) x

DTr*

G-al

(Blt'.)

'4 7

G#o*t

'
.

SCALEAND CHORDEXERCISE
(continued)

b -/r,n,,r,,

b-1(>ttt,ijt)

Arl
L - n
l&flr;r'o ^

2-'l
(rt)

Ar7

D-7-(cntitt)

7r,,,

D -(

G-7

D-7
(2-,p.\

D-z

6-7

t-7

0 un)

rl

58

6^r,,

(F-.p)

(.b,-.-l

ffiw,

TABLEOF CONTENTS
PART I
INTRODUCTION
SCALESAND THEIRRELATIVE
CHORDTYPES
SUGGESTED
APPROACHES
FOR USINGSCALES(revised).
SCALECHARTS
....
TONICAND COLORSCALEEXERCISES
PLAYINGON iim7-V7PROGRESSfONS
WITHTONICAND COLORSCALES
*

.!.

. . .1
2
, . . . , . .3
.4-9
1S34
. .3$36

-.isr'..,

PART II
SUGGESTED
APPROACHES
FOR USING
SUPERIMPOSEDCHORDS
..,37
CHORDSUBSTITUTION
CHARTSAND EXERCISES
. . . . .38
TRTADS
. . .3941
SEVENTHCHORDS
N I N T HC H O R D S
...4953
SUPERIMPOSED
CHORDSON iimT-V7
PROGRESSIONS .., . . . .*55
EXERCISE
TONICAND COLORSCALESWITH
COMBINING
T O N I CA N DC O L O RC H O R D S. , . w . * . + * l F . .
.559
....