C r eot iv e

B eginn i n g s

An Introducfion
lo Jazz lmprovisqtion

ScottD. Reeves

Unioersityof SouthemMaine

= PRENTICEFIALL Upper SaddleRiver,New

Jersey0745g
Libraty aJCDllgres Cttalaghq-ntPubli.atiafl D"ta

Creauve begimings: an nrEoduction to jazz inprcvGation/

ISBN 0 1!3,15.163 11
1. Jazz Ir$hucnon and stldr 2. Lnprovnation (MEi.)
music-lnsttuction and studlr I ]]de.
M'T-
MT6813681997
781.6513Hc20 96 13933 (- '(
ctP
MN

- tt ?,1,2
Editorial/produciron supewision, intedor.lesign: j?27

Thjs book set in 10/12 Palatino by ThompsonType dd MPT Music

Engraving'vas
and was printed dd bomd by Courief Companies,Inc. The cover
( as pinted by couder companies, tnc.

paEe1, ail Milko$'ski, "Swin& Soul, Sinceity A Bobby McFdin

Workshop,"Dou4ldai,60,no. 11(Novetnber1993),58.
pa8e 19: Nat Hentoff, /4:: h (New York: Limelight Editions, 792), p. 267.
pa6e 1:13:Za1 Stewart,"The Spirit oI Collaboration Melba Uston & Randy
l\ - - . o .. D o .rrb .,,b 2 n o 1 ' l -e b a d ,l l ooc\.2/.
pa6e r59: Herb Wong, "Std Getz," lazz EdrcatarsJowndl,24, no. 1 (Iall
1991 ),5 9 .
pa6e223:Ho$'ardMandei,"Pai MethenyPlaysIt His Wat" Daunbu'62,
no. 4 (April 1995),18.
paEe277:Kemy Wener personalconversationwith author. ftotch Plains,
New Ierset, Iue 1992.
page306:Ired Shuster "Risk Your Life for Every Note," Daunbed, 62, no. I
(August1994),19.

O 1997byPrenticeHall,In .
=,E Simon& Schuter/A Via.om Company
Upper SaddleRivea New Iereey 07458
-E

All g \r- r e* i\ ' d. \ op. _of . lx - boolm . v o ' r e D r o d u 'e d . 's y l o t n o by

dJ np M - w. . hout pe. . ' . . . r ' d{ t nS k o n I e d r b l i . \ e r

Printed in the United States of America

1 09 I7 6 5 4 3 21

r sBN 0-1,1-3q5qL3-0

Prentice HaI International (UK) Limited, Iotdoa

P@ti.e-Hali of Ausiralia Pry Linited, Sydrdy
Prcnti.e-Hall Canada Inc., ToforlD
P.enti.e-Hall Hispanoderi.da, S.A., Merno
Prentice-Hall of India Prn ate Limited, N.a Dellt
Prenlice Hall of Japd,lnc., ftftyo
Simon & S.huster Asia Pte. Ltd., Sthgnlat
Editoia Prentice-Hal]do Brasil, Ltda., Rio d. /a,.t
 With nppreciation to my wife,lanet,for her
encouragement, proofreading, andpianoztoic-
ings;PauIPittsandotherbandd.bectors in
Maine,Massachusetts, andVermont for Jield-
testingthemanuscript; BudTherien, Lee
Mamunes, lenny Moss,CaroleCrouse, andstaff
at Prentice HaIl;lanetReeaes, Bronek
Suchanek,andLesHarris,lr.,for theirmusical
contributionsto thecompanion CD;lamey
Aebersoldfor theconceptof theplay-nlong
recording;andKenny\Nernerfor his continued
inspiration.
CO NT E N T S

Pr e fo c e tx

Part One: Gertng Srorred

1
How to P roc ti c e ond lm p r o v is e 3
Leaming to Hear 3
How to Practice 4
How to Constructan lmprovised Solo
How to Implovise Creatively 6

2
Wh o m to Li s ten T o 7

3
Jo zz R hy thms t3
Rhythm Warm-Ups 15

Part lrrrot lmprovising in Moior Keys

+
Mojor S c ol es ond Mo jo r 7 t h Ch o r d s 21
Maior ScaleWarm-Ups 22
lmptovising on Major 7th Chords-"Another Spring" 29
 5
M ,i x ol ,y di on ql d B eb o p T t lr S c q le s o n d Do m in o n t Zth
L n o r os 4\)
Mixolydian and Bebop7th ScaleWaim_Ups 42
knprovising on Dominant 7th Chords_,,SisterCy.nda,, 49
6
Do r i qn S c ol es qnd M in o r Z t h Ch o r d s 6t
Dorian ScaleWarm-Ups 62
trnprovising on Minor 7th Chords_ Ericss Song,, 69
7
Th e i i -V -l P rogres s i o n 8l
ii-V-I ProgressionWarm-Ups g3
Improvising on ii-V-I progiessions-,,The Countess,, 93

Part lhree: Forms

a
Th e B l ues Form ond t h e B I u e s S c o le I 15
BluesScaleWarm_Ups 117
Improvising on the BluesForm_,,Eta Carina Blue,, 125
9
Se cti onql Forms ond Rh y t h m Ch o n g e s 136
Rhythm ChangesWarm_Ups 138
Improvising on Rhlthm Changes_,,LesterLept Out,, 139

Pcr, Four: tmprovising in Minor Keys

10
In e I Lhord Mi nor ; M e lo d ic , Ho r m o n ic , q n d No t ur o l
Minor S c ol es r6 t
Melodic Minor ScaleWarm-Ups 163
Improvising on Minori/Major 7th Chords_,,Double_
Entendre" 170
11
P r o g r e s s i o n in M in o r ; L o cr iq n o n d Su p e r locri on
IJco
! : , 1i-
re sV - l t9 |
iieT-V7b9-i.Warm-Ilps tg3
IrnprovisingoniipZ_VZ_iprogressions_,,BlueAutumn,,202
 Part Five: Orher Scales

12
P e n t o to n i c S c ol es 22s
Minor Pentatonic ScaleWarm-UDs 227
lmprovising on Minor Pentatonii Scales-"El Coraz6n" 234

13
Di m ini s hed S c ol es on d Dim in is h e d Ch o r d s 246
Diminished ScaleWarm-Ups 249
ImprovisingonDiminishedScales*"Nuthouse" 256

Part Six: Music lheory

14
Bo sic Mus i c Theory 279
Clefs 279
Accidentals 280
Intervals 280
TonalGravity 286
Key Signatures 287
Time Signatures 290

15
J o zz l heory 292
Scalesand Modal Families 292
Chords 295
Diatonic Chords 298
Chord Inversions and Voicings 299
Chord Progressions 300
Voice Leading 302
The Relationshipof Scalesand Modes to Chords 303
JazzForms 304

lndex 307
CD SETECTIONS

Selections listed are on the CD available from the publisher

CD Text
Iro.k Sele<rion Chopter

1 Tuning Notesi B-Ilat and A Concert

2 Rhythm Warm-Ups: Latin Rhythms 3

3 Rhythm Warm-Ups: Swing Rhythms 3
1 Major ScaleWarm-Ups 1
5 Mixolydian and Bebop 7th Warm-Ups 5
6 Dorian ScaleWarm Ups/
Blues Scal€ Wa]m Ups 6,8
7 ii-V-I Progression Warm Ups/
Diminished ScaleWarm Ups
8 Melodic Minor ScaleWarm-Ups t0
9 ii'7 V7t9-i Warm-Ups 11
10 Minor ?entatonic ScaleWarm-Ups 12
lmpnrisiry onIazzConpasifians:
11 "Another Spring" (ScottReeves) 1
12 "Sister C)'nda" (Scott Reeves) 5
13 "Eic's Song" (ScottReeves) 6
t4 "The Countess"(ScottReeves) 7
"Eta Cariru Blue" (ScottReeves) E
16 "Lester Lepi Out" (ScottReeves) 9
17 "Double Entendre" (ScottReeves) 10
18 "Blue Autumn" (ScottReeves) 11
19 "El Coraz6n" (ScottReeves) f2
20 "Nuthouse" (ScottReeves) 13
PR EFA C E

This text $ew out of a need for an eniry level companion to my fhst text for Pren-
ti.ceHa17,CreatioeJazzlmprctJisatian.AIX\o.ug}.that book has gained acceptanceas
a popular text for colleSe-levelcours€sand intermediate-to-advancedstudents,
some oi the maierial proved ioo ditficult lor high school groups and students rel
atively new to the art of jazz improvisation.

Feolure! of Thi5 lext

CteatioeBeginningsrtllizes many of dle same fe atves a.sCrentir)e

Iazz Imprcoisa-
for, including

1. Easy-io-usedivisions of eachchapter into theoreticalexplanations,technical

a\4r.isp< in,l rpnprrnlrp

2. Specialsectionson /ftlthm a\dhau lo practiceand imprcoise

CrentiveBesinniugsdr$efs, however, from the previous text in the foliowing

'vays:
1. It eliminatestranscribedsolos,whicb although valuable in the acquisitionof
jazz vocabulary, are often too difficult for less exped€nced musicians.
2. Ii includes theoretical discussions at the beginning of each chapt€r that assume
liiile prior knowledgeofthe subject musical terminologyis italicized.
3. It provides beginning-to-advancedexercises,laid oui jn separatesections1or
each instnmeni.
4. It jncludes special chapters on "Whom io Listen To," "Music Theory," and
"Jazz T]].eoty."
5. Eachchapterpresentsan original jazz composition,often basedon a standa(d
chord progression and form, ananged for any combination of instruments.
This encouragesthe student to expedence the act of improvisation as quickly as
possible,while it teachesthe basicsof melody, harmont rhythm, and form.
Thesesonts can be used during individual practice,improvisation class,and
combo or bi8-bandrehearsals.
6. There is a companion CD, which contains rhythm-section accompaniments to
the warm-up progressionsand compositionsused in this iext. The conceptof
 prerecordedrhvthm,.e,-ii.n .--^..---,-

i'sll*rr,Ti$,'-$,:::;','llH,.;:,',r,?:]ffi
,ts rertmayarso
bepert..-"J
:,","*nHi."i
_,,n*r".,"a
iX1"'jilT:ri:::ll rLe autLorgr:tetultv "io"g
"or,
''o'
o,
'n"," ;il;iili; :::'tr:::3ff:':T"J:I;
]i'llo'i'irie" 'rb'
'""*,"r.,''lo'iJ;1'.Ti"1""'dl
Su g gestionr for the Jqzz Bdnd Dire < f o r

j,ffi
gn*;eg*t1f*Fru#"il
*i*;,':l,,:i
-
m*n*-$*:m*g
[**i:it:
;itt*r"le#'**Tiffi
'i#*fr ScottD. Remes
 Improaisationis thecourageto moaefrom
onenoteto thenert. It's thatsimple.Once
youconquer thntbasicfear,whenyouare
ableto makethnt leapfrom onenoteto the
nextwithoutthinkingor preparing
for it, thenyouareimprouising.
-vocalist Bobby McFerrin
I
I
I
I C H A P T ER

I
I
I
I
I FI O W T O P R A C T I CE
I A ND I MPROVI SE
t
I
I
I
I Lrlrrrno ro H:ln

I Imprcvisation means, simply, playing by ear In learning to do this, we try to de-

velop two thints: (1) an awarenessof pitches, scales,melodies, cholds, and foms,
I arld (2) the body's ability to produce those sounds on our chosen inshument.
Music is like any o$er language: It must be acquired through exposurc and
I imitation. The only differ€nce between the ability to recognize a major triad arld
the level of proficiency needed to recognize an altered dominant 7th chord is fa-
miliadty with the sound. Gmnted, there may be a genetic component that makes
I this process oI assimilation quicker for some people, but most students,
ifnot all, can expand thetuinner senseoI hearinSby repeatedexposure to new
I sounds. You can develop tltese listening skilts by

I l. Learningto controLthe uarkings of your mind. Often, there is so much "inner

noise" dlat we cannot concentrat€ or pay attention ton8 enough to really hear
the music.
I 2. Spendingsofie time eachdaVlistening to recordingsbVmajat jazz artists. (Refer to
the list in Chapter 2.) Listen with undivided attention instead of using the
musicas a backgroundfor your thoughts.
3, Leatning ta play chordson the piano.This develops you r awarenessof chords and
hamonic progressions.
4. Dmeloping your ear by practicing melodic/harmonic/rhythmic dictation, tran-
s.dbing songs or improvised solos, and performing call-and-r€sponseexercises.
 H.u to Pa.ti.e aat Impr.rise

5. Repentedllt prncticitlgscales,
cho.ds,melodies, ar transcllp]lonsat'improTriselsalos.
Ttu.,\\ iil ldmiliirL,_e\ ou w ,h l_heia./r \ ocdbutjrl. ,lt,.." p.i"t.'tf,"r"..r#
wr/r oecoTeparror ) ou. ou n .nu5icdt tangurEe. and you wilr becomeawareol
iheir use when listening to other performem.
6. 5,a9i'leulotpuetvtu arcxa,k,hpaa eventt
)ouare not ble"sediriih. ereat
vorce.\|ntmB come. cto5e,tto imn_ediatelyconve)ine B
hat it i. vou drc iiear_
i,rg.U you r t.Lng rt.yor prooablr*o",iU",Or"t"ir"yi,.
"r

How r o p R A c r tc E

On(e tj1eedrbe&in-ro assimrtare theia7l \ ocdbutaryrj1ene\i stFp15to DldvrhaL

vocdoLraryon dn In5trument. This 15rhe hdrd pjrr becdu5e rr."quire, prlcd,e
and.somediscipline.Until thereis ,,MIDI for the,.t"d,"
,.d th.";hi";;.;;'lJ
rcctly conveyed inro sound, we have to rnin rh" b"dy i. *"p;;
i; th;;,. ;il"
is t!?ical\ .c.ompli"hedby pldyingcertainscdte,,rjea,.
or'meodie" rep.area]v
unnr Ine dppropflatemutionbeiome5inrtinctive.At inis poirt
!our andh LiLal
n'jnd mithr lell you rharsuchrepLiilioJ5prd\iicelr:l',.rl"".,i
ar-""",""1.
cred||\rr\ dnd spontdnerr). Thrr u itt 1or happen.rstonga.
1o: rearizethal rhe
purpose ot practicing is to remove the barriers to your
;reaiivit, not to leam a
certain number of "hot licks,, wirh which to amazethe prblic.
Once vour bodv
knows what to do, your consciousmind can get."t til ;r;;l"t'r;; ;;
voice_takeovex If you donot practice ihe voc;b.t".y "fto tfl" po'i"t
.f i"ii,g o"-,t*
tomaiicpilot, you wilt flounderin
)ourd{templs lo iripro\ise. tithc;ou wiLL
nave nollllng lo ptd) thdr fenotely fit_ the undertying.rrui tau_s
si d1.,one, o, uo,
wrrr pld) lhe mo\t pedestrian "Ucl. thrt happento comforlabl!.or" ,r"otnu'ou.
unlrdined fin8ert. Incuffrcierrtime .pent p,iiti, i"g h".p"r.
cr""t;"itv ;;;";_
rowrnt Inesprnt_fo -oar o\ er Iamili.jrpdih.j \ ou become,onfu,edor panicLv,or
you rery roo ml'ch on ) our intellec,to come up h iU1.j coluiion.

c aid eline sf or p / acti citl g

l, lra,,lt(c at a.slaxmoughlcnpo to tau phyr,tittJ rela\edoad
neataltV,o,1ctnt,atpd
an Lnesou,1t1.\Juatdagdrn.L jn\ tensionthdtmightcreepin and
cau_erhvthmic
pfobtem>or technicat difFiculriec.Matpfldttedrnedin thi5 manner.anatwats
be speeded up during successiverepetihons.
2.On,plouhar,,tudiedthrth?opucat,rF,pt,.rctyonVour,uandvourin"Linct,
,Jhp,np' act n t an..in p,orrr,"3 | he irre,lectudrp, j"r
ano Preorcrabre 1.rr. Urai" i. il"'.r"_
I 5hourdaid your credtrvirydnd 5pontdneih,nol set in the
s dy. uon | 8et hurg up in thurkin8 about wndr yuu are pra(ichq.
3. Srad aw p, tian of yaurpn,tirc,p,sionnorktnpan
a. scales,chord atpeggios,or pattems
b. ttunscriptiansof imprcoisedsolos
.. imprcaisingon standaldjazz litenturc
ta-chof Lhe.esl,rls develop-your mJ.reryol the
td,,zr ocabutdrvin d .tjehtlv
v\.\. dncledchi, r dluable.Whenprdcticirg5calc_,
.rD;qsi()5.or"Dar_
'rrlre'ent
rerns.k! to mdte ihe erer.i-e. a- metodica and rhytlu.nicari,,il]"*"ru! *
)
pos.ible.otherwise,p.a(h, e rrn\ becomedry and piedrcrable. you .an oiac
n.e wrth a netronomecli(kingon bedt.2 and 4 or with theCD that
accompa
nies this book.
 Hou ta Pn.tice and lnpt@ise 5
I
4. Pncticenerything until your bodyhasn "tnentory"d at5, so that lau Llanot ha,r.
I to cotlsciously
tlLilk aboutlhem.

I
* {ow r o C o N s r R U c r lN lm p n o vr sr o 5 o r - o
I
I Onc€ youl ear has been developed and your body programmed io respond ac
cordingly, you can explore the constructionof an improviscd solo. Scales,arpeg
I 8ios, and patterns are ihe raw materials from which a solo is builr, bui it is not
always easyto make the shift lrom plaving scalesto creathg an inrerestingmusi
cal statement.Tle followint suggestionscan aid in rnaking ihat transition.
I
1. PInyalongwith rc@rdingsbv tastetimryo-.iisols. Much of the stvle,melodic and
I harmonicvocabulary.rhythmic interpretatior! aJIdthe nuancesofrhe language
can be acquired in this manner

I 2. Deoelopa kee aoarenessofthefitn af the sory. You can do this by learning to

feel the lengths oI ihe phrasesand by hearing the melody in vour head while
listening to or improvisinS on the song.
I 3, Many treat jazz aftists,such as Lest€rYoung,Paul Desmond,Chet Baker,and
Lee Konitz, emphasize the melody in their improvisations. Others, such as
I Col€man Hawkins and John Coltrane, tend to play more off the harmony.
Some musicians, such as Louis Armstrone and Charlie Parker, seem to usc
I bolh eleme'rl-aboulsquall\.F\pcflmcnlwilh l e.e dpfrod.hF. by lr\ in8 l\e
following:

I a. MeLodicitnpradsatiottImprovise on the melody oI the tune, adding embel-

lishmentsand commentart h'itho t losing the coreof the song.
b. Cu le-tanennptuI)isatior. Guide tonesare chord tones,typically the 3rds and
I the 7ths, thai convey the quality of the chord, thus "guiding" you throrth the
chord changes.For any given chord progression,you can constructguide-
I tone lines by stading on either ihe 3rd or the 7th of the fi1.stchord and mo\-
ing to d1e3rd or ihe 7th of the next chord, whichever is closer.The guide tone
should be of ihe same duration as ihe chord. Extend this practice by creating
I an improvisation based on your e bellishments of the gdde tones.
c- HarmanicitLpto'isatio,r.Outhle ihe chord proSressbn of the song $'ith the
I arpeggiosand scalesthai fit eachchord, making sure eachscaleor alpeggio
is of the sameduration as the chord it colors. Then improvise on the song,
t frcely playing off the chords.
4. The interpretation of a melod)',particnlarly a "standard" oi a ballad, can be
considereda form oI improvisation.liste to gr'rdfsorg lriplp/efels,especiallv
I singerssuch as SarahVaughan,Carmen McRae,and Bettv Cariet io seehora-
they play with the rhythm and phrasingof a melody.
I 5- Motixic itrylarisatiotl.Make up onc short melodic idea or motive, and useii as
the basisfor at leasi€i8ht measues of improvisation.Expand and de\.elopthe
I motive to createn€w maiefial. Sometit11es vou can transDosethe idea uD or
down rcdllpo'eq.rcncingrto l:l nn!\.1-oro 5.mpEredl mpro\ rsor" suchd-

t TheloniousMonk, Sonny Rollins, and l. l.lohnson, arc highl' motivic in iheir

playinS, whereasothers,such as Bud Powell an.l Charlie Parker seemto spin
out a continuous melody.
I 6. Rhythmicimprcriisatiar.Expeliment \,!'itha var.ietyof afticulationsand accents,
as well as thc contrast bctt'een long and short notes. It might be helpful to
I
I
I
 Hou ta tudcti.e a lflpftlise

think of the rhythms tust and add th€ pitches as an afterthoughi. Try ptaying a
solo using just one or two notes, l€tting fhythms provide the intercst.
7. Beawareof ptuasingarTdsldce.Always hear your improvised lines as a melody
having a definite beginning and ending, not j11sras a seriesof nores.Avoid
playing too many notes or "ftnning on." Think of your solo as a dialogue with
the other musicians, and leave spacesfor their responsesto youl ideas_One of
the outstandint aspectsof Miles Davis's group of the mid-1960swas this use
of space and group dialoSue.

t low r o l M P R o v r sE C n r lr r vr ly

If you develop your ear,diligently practic€the raw materialsof the iazz vocabu-
lary,and ledm to pul logetherd coherentimprovisedsoto,\ ou witi ha\ e d(hieved
a level o[ (ompelenceas an impro\ isor.la i" po..ible. horrevqr,r6 g6 6et..d
craftsmanshipto a level of artistry that draws from a deeper well of creativity.
This modeof thouBhti< reldom taughtin oe.,u,e r . nor ea.t to ana-
-chools.
lyze or describe.Conceptssuch as the "superconscious" and ,,fight brain/left
brain" thinlin& arld certain mertal siates described by vadous retigious alld cd-
tures, all point to the same goal. Essentiallt everythint you have leamed or prac-
ticed that has led you to this point must be left behind. Onceyou have learneda
son& improvise on the tune without looking at or thinking about the chords or
the notes. Trust yoar bod! ptogramming to take careoJthe nares,and tet yoar Jeetings
and imaginatiantakeooer.Above all LISTEN, LISTEN, LISTEN.
CHAPTER

WH O M T O
TI S T E N T O

The importance of lisiening io greatjazz artists cannotbe ovcremPhasizedYour

melodic, harmonic, and fivthmic abilities canbe developcd by listening to and
playing along with the recordingsof the masters.As you build your collectionof
recordings,you will also develoPan a\^,arcness and an aPpreciationof the diver-
siilr ofsiyles and the historicalevolution ofthis musi..
Although there are hundreds of great players and stylists, ihe list in this
chapteris limited to thoseindi!'idiials (in this author's opjnion) r 'ho5einfluence
has been the most peNasive jn each stifle for the Sreatestperiod of time Thus,
many of the yoLrngerartists now emerging are omiiied, bui they are well worth
iistcning to. Women, while traditionally tnderrePresented as instrumenialists,
afe now beginning to exert Sreaterinfluence on the development ol conternpo-
rary iazz. Make sure to listen to a r -ide range of instrumentalistsand singers,re-
gardlessof whai instrumcnt you haPPento play.
Visit your schoolor locallibrary and scewhich jazz recordingsare available.
Many libraries have th e SmilhsonianCollectiano/ Cldss/c-lt::, ifhich Provides a
good ovcrview oI the historicalrangeoI stlrles-If you go to your local recordstore
to purchaseCDs or cassettes,be aware that some of the musiciansmarketed as
iazz artists are actually in the poP idiom. Also notice that alihough maJly artists
cu lr!riL .' -ry le drd tr ilh rl tjlrouS\outtheir li -r:mF -omc mu'i' rdn- such
"t.r\
as Duke Ellington, Miles Davis, and Iohn Coltrane,have tladually or radically
changedtheir approach.For thesepeoPle,it will bc necessaryto listen to recorcl-
ings irom clifferent periods of their car€erto develop an aPPreciationof their
work. For convenience, this list is divided by instnrrncnts or 8effes ancl is tenel-
allv chronoloeical.
 Watu to Listd Tb

Big Ba ds
L Dukt Ellington. Agreat composer pianist, whos€
bands Irom the lare 1920sto
jl,::",.]Ltlro:*o:.*a nigen;ui.
uewaso." r*;l;;;,*r,#;;;
"irh"
wrfe tonger,more involved works, such as suites,
movie souncthacks,and sa_

2. Caunt Basie.Frctr] jts Kansas Ciry beginnings in

the 1930sto the prcsenr edition,
theBasie band has bee.
,ee,,nr.
,,nd soloir,,
sred, "y""i.; ' ."r o,'"'
3. B:nny^Goodman. "'-".n,,".,";,llliLJfli"Tl,'j:ilJ;:
Ageat clainetist,
whose big bands and small qroups from
the '30sand,40sdemonshate
howhe balanc; p.r"r."J p*"r"i"i'*it
taneiq/ and swint. #ii'j
4. Waod!.Herman.Another clarinetjst,best known
for his bebop,ofienredbands
of the '40s and ,S0sand his more contemporary
"fr*a",, if_r",SO"
one of Heman,srarenrs washis knackf;r se["ti"J irr""f
and allowing rhem to find their own voice.
i""ii"""g ""J;iitr.
pi"y".'"
5. Shtn_Kentan.Acaltomia-based pianist+andleader
who favored a heary brass
sound and €xperimented with moder
f,._ ..",;d;;";;.i;;;ffi
;ffi':;:Jl"ffil:$:;:s'f#T::",:"*
the 1940sto rhe 1920s.
6. Thadlanesand Mel Lerr7.s.
Cornetist Thad Jonesand drummer MeI Lewis coled
a-v€ry contemporary, swinging band rhat fearurea
mu"y ot Ne* Vo.ftiirresi
fil;Ji,i"il:ff lffi::';"i::ffi.j"5,::
'"TTs:. ii""[]X:::u
i,,{:
tra" since the deaths of Thad and Met. Thad
J""* i"
greatest big-band composets since Dute E ingion. """"i;;:J;;;;;;
7. cl/ E?ars.An underrecordedarangef who introduced
new instrumental col_
ors inlo bit band writing. Some of-his greatestworks
include his collabora_
tions with Miles Davis in the tate ,50s ani earty ,60s.

Cldit etlBass Clainet

1. Benn! Gaotltnan.(Seeunder Big Bands.)
2. BudAyDeFranco.Btoughr the clarinet into rhe modem
bebop style.
3. Eric DaLphy.A bass clarinetist_alro saxophonist_flautist
who stretched the
boundaries of jazz in the 1960s.
4. EddieDaniels. Acontemporary virtuoso on rhe ctarjner.

Alto Saxophone
,. ,,'::-,:,1"!!l: F msron:_iedddtroprdyerror man\
ronearo bFnrnole5
"!r" sel the ndnddrdfor.h in8_era )ear5.Hi< beaurihjt
alto pla1er,.
t of Hodses,alsoa proiiriccomposer
f:i:r"ff:l:, andbis
^ -"remporary
3. Chal|iePatker.Th.efather of bebop and the grearest
improvisor oI his time.
,n" andearty;50s
influeic"a
Ilili,I.JIn'" "* "u.*i "i r""t,.,-"*"ir"iJ
4. CannonballAtlderle\. After his initial work with Miles
Davis, Cannonbalt wenr
on ro ledd i combolhar combinedl"**,. Ir_.r*.".
-ucce\-fulty
sourrll|,runk\ hard bop 5ound oi the ,o0" jnd ,f,"
70,. ",,i
5. Plil Woods.Also extended the parker soulo inro
morc conremporary styles.
 I
t
LeaKonitz and PauLDesmord. Both of these artists favored a light sound and a
I melodic approach to improvisation.

I Tenorafiil Soprttro Saxophofle

ColemanHaukins. Called the father of the tenor sax. His tull sound and aryeg-
t giated approach to improvGation dominated the 1930s.
2. Lesteryoung.yorrig's light tone and melodic approach prcsentedan alteina-
I tive to the Hawkins sound. His work v/ith the Basieband of the '30s was a
major influence on the cool and West Coast musicians of the '50s and '60s.

I Sotry Rolllt?s.The first majot tenor saxophonistto embraceParker's innova-

tions. His playint from the 1950sto the present demonstrates great spontane-
ity and rhlahmic vitality.
I Stan Getz.Getz's warm sound arld lyrical style helped popularize the cool and
Brazilian-influenced styles of the '50s and '60s.
I ]ohn Coltlane.A^ i^te se,searchingmusician who createdthe modal/penta-
tonic vocabulary of ihe '60s and was also active in iree jazz before his death in
I 1967.Coltrane is a major influence on many of th€ yourlger tenor and soprano
saxophonists of ihe '70s, '80s, and '90s.

t WayneSharter.Shorter' s work with At Blakey, Miles Davis, and Weather Re-

port as well as his many wond€rful compositions,establishedhim as one of
the preemin€nt soprano and tenor saxophonists of the past thr€€ decades.
I 7. MichaelBrcckerand Daoid Liebman.Co tefiporary playem who successfully
blend ihe Coltrane vocabulary with elements from fusion jazz-
I .loeLo?,afio.
Amodem extensionof the Rollins/Coltranelineage.

n Baritofte Saxophone
1. Hatly Catney.Ellinglor.'s mainstay for many decades.
I 2. Gerry Mulligan. Embraced Lester Young's lighter approach and was instrumen-
tal in the developmentofcooljazz in ihe'50s and'60s.
I 3. PepperAdamsand Nick BTigrola.PersoniJy the New York hard-bop sound of the
'50s,'60s,and '70s.
N 'Itutnp etI Comet| EI gelhotlr

I 1 Lauis Arnstrotrg. Acknowledged as the fiIst gr€at improvisor in jazz. His play-
ing in the '20s and '30s set the standard for all other jazz musicians.

I 2. RoVEldtidge. Eldridge' s work during the swing era of the 1930sextended the
Armstrong conc€pt and paved the way {or bebop aftists such as Dizzy Gillespie.

I 3, Dizz! Gillespie.Along with Parker, one of the inventorc of the 1940sstyle

known as bebop. Besidesbein6 a gr€at trumpet player, he popularized modern
jazz through his entertainint and colorlul perconality and introduced Latin
t rh]'thlns into jazz.
4 . Clifo B/own. Although Brown's career was cut tragically short with his death
I at age 25, his exceptional fluency on the instrument extended the bebop vocab-
ulary durin8 the early 1950s.
I 5, Clalk Terry.Teny's wil, warm sound, and buoyant musical personality made
the flugelhom a popular solo instrument.

I Mlles Dft,is. A great musical visionary as wel as a trumpet player, Mi]€s led the
way in 6ve diffe{ent styles oi jazz: bebop, cool, hard bop, free jazz, and tusion.

I
I
I
 tqtba to Listen To

His two quintets of the ,50s and .60sare widely acknowledged

fo be among the
mo-Linluentidl 8toups in modem jazz.
7. Fpddie ubbad and.LeeMoryan. -ftumpet ptayers
,H w ho e).tendedthe Clifford
Dmwn rcgacy mto the ,60s and ,70s.
Anunderappreciared rrumperplayerwhonoronlymdstered
" Y^f!: !!y; the
,y.0,, dpplied
conremporary
conceprs
suchaswideinrer_
:::_o! io::oy,' ilso
vars:md pentatonic scalesto dre trumDel
9. Wuaton Marcalis.\,tarsaliss talent as a
ia,,,.prodigy was responsiblefor attract-
int srearer media.arrentionto iazz. Recentiy.h";",
menLot d neo_cldsqicalmovementin jazz. in which "...;;;*;;;;;;"lio_
yo;neer artistsd;e
rn\ esfigdring from the 20sand ,tos.
"ryles

7, Lr^ m. fhe , Louis Armstrongof trombone.,,whose wit

.Teaga and fluencv on
rne msrrumentestablishedthe tromboneas a major
solo voice.
2. Benn!Crcpn.A swulq plaver from the ]9l0s who paved
the wav for the bebop
style ofl. J. lohnson. -
t o:|-sonchieflyrespon:ibre
rorfisurinsouthowto appryrhe
l.ll:fl.l;,t1"
ranguage ot bebop ro the trombone.
4- Curtis Faller a d ilide Hampton. Extended
I.l.,s imovations.
5. Albert Mangekdo{f. Aceman trombonist rooted in the
J. J. tradition but known
for e\perimenrint with cont€mporary rechr qu"" .u.f,
i.i"gi"g
dnd pldying simujtarleouslytoproduce cnorosr. "i,ri,ipl,oflt
6. Carl Fontanaa il Fr|nl Rosoli o. West Coast virtuosos
who extended the techni_
cal possibilities oI the hombone.

Violift
L StephaneGftppelli. An elegant stylist moted in the swing
hadition of the 1930s.
2. IeanI uc Pontv.Alrcr(h violi^ist actjvein the contemporary
fusion style.

G itar
1. DiansoReinhadt. ABelgiar gujtarist known tor his \aork \1fth
StephaneCrap-
pelli in the 1930s.
2. Chtrlie Chn*ian. As a member of rhe Bellny coodnur
smafl group of the Inte ,.]os
dnd early '405,Ctisfian paved the vray for Lhehard_U.p gtrl [*[
*i"]"U""
3. WpsMontgonpnl'fhjs masterof ,50shdrd bop set the standard "a.
for modem ia,,z
guitdr.His octavemelodiesbecamehi5 rrademarksound.
4. /oe Pass.A bebop guitadst with a prodigious technique and
a warm sound.
5. Iohn._Urlaughlm.An tnttish gr-|iraristwho pla)ed fu.ion with
Mijes Davis in
."",,i:.r erplore new approachesto iazz.embracinginfluences
l-:.ry: fl" dnd
rom lrldran f
other Third World musits.
6. Pat Methen! and ]oha Scoleld. Thes€ two contemporary masters
draw on beboD
rcots but combine the best of fusion, free jazz;and other modern
styles intlo
their own personal sound.

1. leII! Ro\-Morton. An early jazz pianist who was considered

the tust important
 11
I
2, Art Tatum.A llve \'rnroso. The rvork of this blind pianisi during the 1930sin-
I fluenced generationsofjazz pianists and drew the admiration of classicalpi
anistsas well.
I 3. Bd Poruel1. Through his mastery of ihe insirument, Powell was able to apply
Charlie Parker's innovations to the piano during the '40s and '50s.
I TheloniousMank. Acontemporary of Powell's b11ta very different type ofpi-
:r1ist. lnstead of displaying virtuoso techniqre, Monk drew on his great skill as
t a composerand a wonderfully unpredictableapproachto improvisaiion.
HomceSll'rer.Bestknoi{n as a hard-bop composerand small-group lead€r,he
I introduced soulful and funky elemc'ntsinto modern jazz.
Bill E?,as. A sensitivepianist wiih a sinting ione. In the '60s and '70s,Evans
revolutionizedthe conceptof the piano tdo, giving eachmember of ihe group
N
7, McCa! TVneLCol''Iar..e's pianisi from 1960 to 1965,T).ner inteSrated pentatonic
t scalesand voicinSs in 4ths with a polt'erful approach to the instrument.
KeithJarrett. Aconter porary player (.ho delies categorization,drawhg on
I hard bop, fusion,freejazz, Europeanclassical,Sospei,and other idioms to crc-
ate an extr€mely pe$onal, emotionally profound style.
I 9, HerbtuHntrcock and Cl1ickCo/er.Thesepianists(aswell as Silver Evans,and Jar-
tett) were imporiant membersof Miles Davis's groups.Both continue to alier-
I nate betweenconiemporaryacousticjazzand elecfronicfusion styles.

I Lionel Hampton.Throngh his recodinSs with Benny Goodman's ground-break-

ing swing combo and his own bi8 band, Hampton establishedthe vibes as a
I popular jazz instrument.
2. Mill /r.ftsofl. Jackson'selegant, btuesy perfonnances with the Modern lazz
I Quartet serveas the standardfor bebopvibraphonists.
3. Gary BurtaiLA contenporary player whose pioneering .ork $,ith four-mallet
I techniques opened up nlew ways of playing the instrument.
4. BabbVHufchersotl. Like lr..iscolleaguesWoody Shaw and Mccoy Tyner,Hutch-
I €rson participated in the post-Coltrane style.

I Bdss
1 . Mllf H;nto,. An jmportant bassistduring the 1930s,Hinton continuesio be ac-

t tive and modem-soundingin the'90s.

2. linmy Bldnton.Ell]l].gton'sbassistdurinS the late '30sand early '40s.He paved
lhe wd! lor lhe bFbop-l) ti.ls thdl lo ,owFd.
I 3. Oscrl Peftr./br'd-
Establishedthebassas a bebop instrumeni during the 1940s.

I 4. Clnlles Mlrs s. An energeticbandleader composer/as wellas an importani

bassisifrom the 1940sto ihe 1970s.
Paul Chnmbers.AlJ.e'l:.berof the Miles Davis qrdntet of the mid to late '50s,
I Chambers was a virtuoso soloist known for his 1lseof the bor r
S.ott LdFdlo.A memberof the inflrential Bill Evansrrio of the eaily 1960s.Until
I his premature death, LaFaro ra'asknown for his conversational approach to
basslinesand his hornlike solos.He is amajorinfluence on contemporaryplay-
I pr-.u( h d- tddie Come,,and Crr) fer(o.l
7. .lacoPasfoliffi.Pastoriusmade the ftetlesselectricbassa viable iazz instrument
I with his siunning technique and imaginaiion.

I
I
 1 . Bd&yDodds.Armsirong's drummer dufins the 1920s.He was one of
the 6lst
signidcant perlormers on his inshrment.
C^ene Krupa's strong drive was an important element in the Benny
.Krupa.
Cloodmanbi8 band and smalt groups of the ,30sand '40s, and a major innu-
ence on later drummers, such as Buddy Rich.
3. /o /offs- The man who swung the swingingesr band of its day the Basie
band
of rhe 1930s
4. Mdx RaachanrlKenntlClar*?.The first iwo drummerc to apply bebop innova_
tions to theil instrument. Roach conrinues to be active ;h; ,90s,ptayint a
hecr style ofjazz.
5. Arf Blake!.Apowefiut drummer known for leading the
JazzMessengersand
clrscoverng many major tatents frcm the ,50s through th€ ,80s.
6. El-rfu/ores.Colrrane'sdrummer from 1950to 1965.His powerful, polyrhyth-
mic playing conrinuesro be influential.
7. TonyWilliar/'sandl|ck Deld,r!,fie.Contemporary drummers who were imDor_
tant componentsin Miles Davis,s bands.Both have combined technicali;de_
pendence wiih imaginative concepts to cfeate new approach€s to the drums.

1. LouisAtnEtrcng.Tl\e iirst great ,,scat,,singer_His wit, graciousness, and infec_

tious swing touched listeners around the world.
2. Billie Halidn!. Btllie's great depth of emotion and iaid,back phrasing makes her
recordings from the '30s aJld ,40s sound fresh even today.
3. ELlaFitqerald. Bcginning with her €arly work with Chick Webb,s band in the
193os,and continuing for severaldecades,EIla,sstyte has been synonymous
with swing and hornlike pl.rrasing.
4- Sanh Vdughan.Sarahpossesseda fantastic,,instrument,,,and her sound and
control h'ere univerally admired.
5. E.ltI Ct t l he epilumeor tl-eoebop5rn8er.Cdrte,improvise.!1i&rmelodv
.nd phrd.i'1gro dn unprccedenred dcgree.t-romlhe to;0. to the pre5ent.rh;
has djscovered aJld employed many promising young musicians.
6- JoeWillialns. Aslnger.!v h Couni Basie,sband for many years, Willians is
rcnowned for his swinging, b1u€systyle.
7. BobbuMcFerrin. Acontemporary singer of unbridled imatination.
Jazzis too
smalt a categoryto corltainall his ideas.
C H A PT ER

TAZZ RH YTH MS

Rhythm is the most imporiant element of jazz. The s?rinStel;rg or g/ooz,cis what
gives jazz iis unique personality and mood. Without a strong rhythmic ul1derpin-
ning, melodies, chords, and scaleshave little meaning.
Jazzrhythms are de ved pdmadly ftom African music. In America, jazz
rhythms also dr€w on mar.hing-balld cadences,ragtime, gospel music, and blues.
Jazz fiythms are charactedzed by

1, Syncopntian(tyrng the notes on the offbeats to no tes on the downbeat). Jazz

melodies also t\,'Dicallv start and end on offbeats.

In the pr€ceding example, the melody beSins and €nds on the offbeat (fte & of
1 and the & of 4, respectively). The oflbeats are also accented.
2. PollrhVthfils {ft\ore than one rhythm or meter occurnng simultaneously). In the
following example, Louis Armstrong ;mplied a 3/8 meter by playing a noie
every lXbeats while the fiythm sectionplayed in 4/4.'

'From Louis Armslrong's improvised solo on "Hottef Thd Thal," compos€d by Lil Har.lin
ArmstronS. In Scoti D. Reeves,Creattuel4zz lttptuisntion, \\d ed. (En8lewood Cliffs, N.J : !rentrce
Hall, 1995),pp. 21 28.
3. Accentsonbeits 2 nnd 4. Music that has eYol\.edfrom Alrican-American
cut_
lL e. d- b'ue-.go-ppl.iurl .out rip Jro jrl,2.contdrrrd d|le acrenl
-uch -tr
un ber,. 2 d1d + n a I 4 ncter t{her ti_terirs ,, rhe\ .;,;:;:;.;
"lyt"..t
r.r.r.er:.ed un ,he,eoear.br rhe.n.rrFofu.n th; ni_t-dr
ll::1t c\ mb.rt..rnd
nano./apoLn8.In \l\ ter der \ ed f r^T t Lrropedn n-Lr.;,,hFrt. 2 nnd -l d,r L5u_
aily thoughi of as weakbeatsar1darc not srressed.
4. srrir8-perha ps jazz,s most idenrifiabte trair. ,,s$,ings,,when
Jazz the eighrh
iole- Jr p d\ed in dn u1e\er. ,ong_.t-.,tnaIner Depcndrns
o I th- i, -noo.
tf r.,op-jdeddr\ i-ion ,heeigh|]1rolpcJnranr"r.,tl" rc r,r .rer
ro r: to_i
rJr,^ { rrreh rptel\r\ ith^lt\c [jr5r!!\. notp. t,eJr.

In general,the oftleats are atsoaccenied,as if you r{,eresa),ing,doo_BAH,,

"ooo'DAH." or

\4 o .,. b u, ro, arl . :na Lr | .rt n J" o I

-b 1.. oJ d,z/.h J.i or, i r// \ te, t he eich*l
' ro i e .- c h f i .dl l v D JJ\edF\ Ln.y. \ou can dFV Lop r" ,.. c" n.epr. "
t , t r . r ei Lr e
u L n d p l d\ rn8..l o" r8{ h re.orJ.nt. o) greatj at ) ari
-r" .
A rl ,,ttnl ntt.
' adta\dptafi tL4,.ttpr\A \ thenote-.rred,ti \r,dted or oer : onal.
\ . l hc rh\ truni c ,H e' i rg d. r eU d. t rF p^rot.or. ..l | he p er t or . ner
r,/F (i .,, .l l e)
tn
l h e i ,' J oh ng F\dnol F. l ^enotp. o.l the bFdt.rrFpLl ed o.r ar.j
-t t ne nr o, or _
secutive eighth notes endnlg on the offbeat are plaied ,,1ong-short,,(
hdicates

ContinuoalserShthnotesare iypjcalty ptayed long (legato),unrit the lasr note,

Theseartjculations mav not bc marked in ihe music, bui thev shoutd be

felr
r1d irlcrpreleLl
.r5.JChl-) t'lepe-tnrme..
 15

Jazzmllsicians also employ other types of articulations, sometimesre-

fe ed to as tdre decolrliors, such as th€re//-gf(droppinS down from the note):

the dotr(rising upward from the note)l

*ffi
='-r:
(bendingrp to ihe pitch):
the sc0oporSl;ssando

Srostedrores(noies that do not completely sound, or "speal"-indicated by an X)l

bentor "blue" notes(notes between normal scale tor.es),af.d halt'-aille notes

(playedwith the vah'eson the trumpetplessedhalfway down).
Feelfree io use theseand other ways ofpersonalizing your sound when
you improvise.

Rs v r u m waRM-UPs

1. Latin Rhythms
a. Play this exerciseover the following chord progression, using either a
metronome, a live rhythm section, or tlle "Rhyihm Wafm-Ups: Latin
Rh).thms" play-alon8 track on the compadon CD-

C instuments B b instruments
BbMA7
 b. Clap and sing the folloR'ing rh}'rhlns and articulations.

Latin

Improvise a solo using the preceding rhythms and the noies in the follow-
i^g mnjorpentatol1icscale.Start with one pitch, and gradually add the re-
maining notes as you become cornJortablewith the fiythm.

Treble clef C instruments Bb instruments

ffi-ffi
ao

Eb instruments Bass€lefinstruments

2. SwitlgRhythms
a. Play this exerciseover ihe following chord progession, using either a
metronome/ a live rhythm section, or the "Rhythm Warm-Ups: Swing
Rhythms" play-along track on the companion CD. (On the CD, ihe chord
proSressionis played seventimes.)

C instruments
Bb7 E bl

B b instrum€nts
C7 F7

Et insauments
G7 C]

b. Clap and sing the following rhythms aj|d articulations

S*iig (Nates in purehtheses dre shosted or pldyed vu saJtl\' )

 17

c. Impiovise a solo using ihe preceding rhytlms and the notes in the fo1low-
ing,lres sctle.Start with one pitch, and gradually add the remaining noies
as you become comfortable with the rhyilm.

Treble clef C iNtrumetrts Bb instruments

E b instuments Bass clef instruments

Al l I n 5 I r u m e n t 3-l m p r o v i s o I i o n E x e rc is e s

Improvise over d1eprecedingchord progressions,llsing the scalesgiven. Use

strong ihythmic ideas,and develop them into coherent,singablephrases.Be
sure to listen to the rhl'thm section.
Make up your own exercisesbased on stronS rhythmic motives.
 SometimesI'm ableto stepoutsidemyselfand
hearwhatI'm playing.Theideasjust flow. The
hornandI become one.

-tenor saxophonistSonny Rollins

C H A P T ER

MAJO R SC ATES AN D
MAJ O R 7 T H C H O RDS

The ascending naTorscaleconsists oI the following partem of whole sreps and half
steps: whole, whole, half, whole, whole, whole, hau.

1/2 W
c Moiorscole

The sound of d1emajor scale is famiiiar io most musicians, since it probably is the
hr5l.calethey ledmed It i- u.udUya..ocidtedh;th happy upbearsong. iurn a.
"Frere Jacques," "Do-R€-Ml" (kom The So1o1d oJMrctc), "America rhe Beautiful,"
and "Over the Rainbow" (homThe Wizard of Oz).
You can use the notes of the major scatewhen improvising over mrlol 7f,
cholds.Major 7th chords are made up oI the tust, third,Iilih, and seventh nores in
the major scale.These notes are refered to as the rcat, t}.e maior 3rd, the perfectsth,
and the mdlol 7t, oI the chord.l

c MoiorTihchord

'Reler ro Chapter 14 for futher inJormation on inten als.

 Majar saks anll Majat 7th cho'ns

It is also possibleto extenclthe major 7th chord by adding the Ttaiol9th and
the malor l3tt(ihe second and the sixih notes oI the scalean octavehigher, 1e-
specii;elv). The 11{rr.rttd 111,(the fourth note oI the major scaleraised a hau
.i"p, up a r oct,,et inat rl'tr oe acloedto tl ( nd o' 7tn chord l \i- ro e is d mer-
b"r ol rhclttd,ot'olP \\ hrLh ,-.,lro J\co q l'errimpro\i'ing over"naior7th. hord:
particularly when either the $llth or the {4ih (or lts enltarmonic equivaleni, the
tsth) is added to the chord.

2314561 13
C LydionScole c Moior7[] I chord

Major 7th chords have a pretiy, lush, or romantic qualitlr' Addint the 9th,
the {11, and the 13ih to the chorcl enriches the warm quality oI ihe major 7th chofd
and adds a touch of exotjcism to the sourld. Lisien to jazz sianclardssuch as
"Misttr," "I'm Gettin8 SeniimenialOver You," "EarlyAutumn," and "l Can't Get
Started," which spell out the sound of the chord in iheir oPenjngphrases'Also
try singing major scalesand lnaior 7th chord arPetgios and PlayinS major 7th
chords on the piano.

Mlror S c r l r W r n r a - UPs

Play the following exercisesovcr the chord proSression,using either a metro-

nome, a live rhvth-msection,or ihe "Major ScaleWarm-Ups" play along hack on
the companjon CD Play the written examPleover the tust chord' then use your
ear to Play ihe exercisein the different keys indicatedby the chord symbols You
t{'i11find ii helpful to look at the chord progression instead of the exerciseswhen
playing in ihe remaining elevenkcys ?ick a temPoat which yorl can effortlessly
more diffrcult exercisesafter you have
Phi e;h exercise,$adually moling on to
m.Lslcred lhe ci'iFr one'

Tre ble Clef C Instrumenls-Chord Progre:sion

C MA7 MA7 BbMA7 E' MA7 D' MA7

8 8 8 8

Gb MA7 E MA7 D I,4A7 G IV]A7

8 8

-:
ll-. L.| 1 e . ,b m, ' b" f. ' ,o n l\ne ' : '1 \- ,4 Pa M t
r . , r 'r , o \4.r\ '. f \" \ol l)l Au n n l
'r r , l o
(Vol.40),"lCanl Gel Started"(Vol.25). "l
Mijat scatesand Maiat ?th Chants

Tr e ble Clef C I n slru m e n lE -B e g in n in g E x e ra is e g

1. The first five notes of the major scale:

Lntin

2. The compleie scale,ascending:

Latin
C IV]A7

T r e b le C l e f C I n 3l r u m e n l s - | n le r m e d io I e Ex e rc i 5 e j

3. Thecompletescale,descending:

Latin
C MA7

4. A m€lodic lragment similar to "St. Thomas" by Sonny Rollins.3

Latin
C MA7

s. The basicmajor 7th arpeggio:

Latin

3s@ny Rollins,
"Si. Tho@s," coP)right 1963by lrestig€ Musi.
 24
Maior Scdlesdnd Majot 7th Ctu ts

Tr e ble C lef C Instrumen t s -A d v q n c e d E x e ra is e s

6. Ar1arpeggiosimitar ro the begiinint of ,,I,m cetting
SentimenralOver you.,,a
Latin

7. The scale in thirds:

Latin
C MA7

Bt I n s I r u m e n I s - C h o r d P ro g re s s io n

D MA7 G I\IA7 C N4A7 F Bbr\4A7 EbMA7

8

Db NIAT G 6MA7 B MA7 A I\IA7

8 a a

Bl, I n strs me n f s-B eg in n in g E x e rc is e s

1. The first Iive notes of th€ major scale:

Latin
D MA7

2. The complete scaie,ascmding:

I,atin
D I\IA7

'C€orge ts6md, ,,I,a

ceninA SdriNnral Ov€r you,, copvright 1932by Mits Music.
Miiot s.ates.nd Majat 7th Chords

Bt I n s t r u m e n I 5 - | n I e I m e d i o t e E x e rc is e s

3. The complet€scale,descendingl

Latin
D MA7

4. A melodic fraSment similar to "St. Thomas" by Sonny Rollins.

Latin
D I\IA7

5. The basic major 7th arpetgio:

Latin
D MA7

Bt I n stru m en lr-A dvq n c e d E x e rris e s

6. An arpetgio similar to the beginning of "I'm cetting SentimentalOver You."

Latin
D MA7

7. The scale in thirds:

 Mato' SeL'a and Map 7rh Ch.rds

E, I n slr u m enls-C ho r d P ro g re s s io n

A MA7 D MA7 G MA7 C MA7 F MA7 BbMA7

EbMA7 Db MA7 Gb MA7 B MA7

8 8 a

Et I n 5lr u m enl5-B eg i n n in I E x e rc i: e :

1. The filst five noies of the major scale:

Latin
A MA7

2. The complete scale, ascending:

Latin

Et I n sltu me nls-l n term e d io le E x e rc is e s

3. The complete scale,descendinS:

Latin
A MA7

4. A melodic fraSment similar to "St Thomas" by Sonny Rolths

Latin

5. The basic major 7th arP€ggio:

Latin
Yijat s.atesrnd Maior ith cha s

Et I n st ru me n ls-A dvq na e d E x e ra is e s

6. An arpeggio similar to ihe begiffing of "I'm Geiiint Sentim€ntalOver You."

Lrtin

7. The scale in thirds:

Bo ss Clef I n r I r u m e n I 5 - C h o I d Progression

C IV]A7 F MA7 B' MA7 EbMA7 A' MA7

a 8

B MA7 EtvlAT G MA7

Bo ss C lef I n sl ru ]ri en fs- B e g in n in g E x e rc is e s

1. Thetust five notesof ihe major scale:

Latin
C MA7

2, The completescale,ascending:

Latin
2A
Mrin S9la and Majal 1th chords

Bc ss C leI I n itru fte ni5 - | n t e . m e d io f e E x e rc ig e s

3. The complete scale,descending:

Latin

4. A melodic fraSment similar to ,,St_Ihomas,, by Sonny RoIIins.

Latin
C N,1A7

5. The basic major 7th arpegdoi

Ixtin
C MA7

Bo sc C l e f In stru ments -A d y q n (e d E x e rc iie s

6. An aryeggio similar to the be$nning of,,I,m cening SentimentalOver you.,,

Latin
C MA7

7. The scale in thirdsl

Latin
C MA7
Major smbs and Miiat 7th chords

All Insiruments-l fi p roviroti on Exeraiser

1. Improvise on major 7th chords in all keys, usint a live rhydm section or the
"Major ScaleWam-ups" play-along ffack on the companion CD.
2. Make up your own exercisesand melodic ideas based on major scatesand
major 7th chords.

Ja l p r ov rs rro oN MaJ o R 7 T H CHo RDs

"Another Spring" is a composition based on major Tth chords. Practiceand im-

provise on the song, using either a metronome, a live rhydlm section, or the 'iA]l-
other SprinS" play-alon8 track on the companion CD. (On the CD, the chord
progression is played five times-)
After playing the melody, practice the chord progressionby outlining the
cho.ds with the exercisesthat follow the song. After singing each example, se
qren.e it over the different chords in the progessiory making sur€ each sequence
is eight measureslong.'

5A sequeMe n a melodic idea whose basi. shape epeats bur whose nots may be altered to fit
30 Maj S.ntB dnd tiriat 7th chords

AnotherSpring
Trcblc Clef C IDstruments
Sring
C MA 7

C MA7

D.C. al CODA
lr C N/AT D' MA7 C MA7 B N,4A7
8

S coDA

CopltiSht O 1995ScottReev€s,Reebon.Music (BMI).A[ Rights ltcs.rrcd. UsedBy Permission.

\ttla SaLs dtul Majat 7th Cha s

lr e b le Clel I n 5 I r u m e n t 5 - Ex e r r i s e s f o r " A n o t h e r S p rin 9 . "

Transpose
eachexercise
to {it the otherchordsofthe song.

1. Aparaphrase
of warm-up1:

C MA7

2. The complete scale,ascending:

C MA7

3. The compteiescale,descen.:ling:

C MA7

4. A paraptuase of the "St. Thomas" fratment:

C MA7

s. Thebasicmajor 7th arpeggio:

C MA7

6. A paiaphraseof the "Sentjmental"arpegsio:

C l/lA7

7. The scalein thirds:

C MA7
 Mdjol stdl6 dnd Mij.t 7th chn s

AnotherSpring
Swing
D MA7

D MA7

Db[/]A7

Solos D.C.at CODA

33 D MA7 Et [,4A7 D MA7 Db MA7
8

Copynght O 1995ftott R€eves,ReeboneMusi. (BMI). A[ RiShts Resen €d. Used By Pemission.

Maior Scal6 drd Mija/ 7th Chaflls

Bt I nr lru m e n ti-E xe ra i5 e 5 f o r ,,Another S p rin g . , '

Transposeeach exerciseto fit the other chords of the song.

1. Aparaphrase of wam-up 1:

D [,4A7

2. The complete scale,ascending:

D MA7

3. The complete scale,descendintl

D MA7

4. A paraphrase of the "St. Thomas" fragment:

D I\IAT

5. The basic major 7th arpeggio:

D MA7

6. Aparaphrase of the "Sentimenial" arpeg&io:

7. The scale in thirdsl

D MA7
 Majot scdks ird Major 7th Cha s

AnotherSpring
Eb Instrunents
Swing
A MA7

D.C. al CODA
A MA7 BbN/]A7
8

0 CODA

Coplright O 1995Scotr R€€ves,Reebon€Msic (BMI). All Rights Resen ed UFd By Permission

\trior scdl6 ald Maior 7th Chords

E; I n 5 l r u m e n l s - Ex e r c i g e s f o r " A n o lh e r S p rin g . "

Transposeeach exerciseio 6i the other chords of d1esong.

1. A paraphraseof warm-up 1:

A N,4A7

2. The complete scale,ascendingr

3. The complete scal€,desc€nding:

A MA7

4. A paraphra.eof lhe St lhomas frd8mert:

5. The basic major 7th arpeggio:

A MA7

6. A panphrase of the "Sentimental" arpeggio:

A MA7

7. The scale in thirds:

A MA7
 Majot Seatesaad Major 7!h chatd'

BassClef Instrunents
AnotherSpring
Swing
C MA7

c MA7 >^

Aft€. slos,
Solos D.C. al CODA
33 C MA7 Db MA7 C MA7 B MA7
8

CopFight @ 1995S.oft Reeves,Reebore Music (BMl). All Rights Restred. Used By Pelmission.
Mniot scaks ald Mdior 7th Chord|

Bdss Clet I n 5 I r u m e n I s - Ex e r . i s e i f o r "Anothe r S p rin g , "

Transposeeach exerciseto Iit the other chords oI the song.

1. Aparaplllase of wam-up 1:

2. The complete scale,ascending:

3. The complete scale,descendinS:

4, A paraphrase o{ th€ "St. Thomas" Iragment:

C MA7

5. The basic major 7th arpeggio:

C MA7

6. A paraphrase of the "Smtimental" arpegSiol

C I\,4A7

7. The scale in thirds:

C MA7
 Piano/Guitar
AnotherSpring
Swing Scotl Re€les
1/ 1 1 C l /A 7 DmiT/G C MA7 DmiT
Ie C MA7

6/ 22 D n i l l G Dml/G EbmilI Ab

l.
u Dt fvlAT Ebmil/ A, D' IVAT EtmiT/At DbMA7 Er m T /Ab

2.
25 B MA7 ClmiT/ F{ Cl.|,iTl r+

Repeat for solos.

Lfter solas,D.C. al CODA
c [/]A7 B MA7 C{mi7l Fn
2e B MA7 C l nT/F+ 8 MA7 c+mi7lFl A

S coDA
C MA7 D.r,il / G C MA7 DmT lG Flmill

Cotynght O 1995Scott Reeves,lt€ebone Muslc (BMr). All Rights Re*rved. Us€d By l€mGsion.
\Idiot S.dtesrnd Maior 7th chodt

AnotherSpring
Bass
Swing
1/11 C MA7 D"f,ll G

t.
6/22 D.r,il l G C MA7 Dm7 / G D' T/A7 ErmiT/Ab

l.
11 Dt N /A T Ebml/Ab Db MA7 Ebr.,l7lAb Db MA7 EtmiT/Ab

2,
25 B MA7 C{mi7l Fl ClmlT/ F$

Repeatfor solos.
Ltter sotos,D.c. al CODA
C MA7 B IvlAT C+mi7l Fl
2q B MA7 ClmlT/ F{ solos B MA7 alnl7l Fl ^
{U

DmiT/G Dm7/G Flmil l

Coplaighl O 1995 Scott Reeves,ReeboneMusic (BMl) A[ RiShts Re*red. Used By Pcrmission

C H A P T ER

M IXO TYD I AN AND

BE B O P 7 T H S C A TES
A ND D O MI N AN T
7T H C H O R D S

T}].eni:(olydian scaLecan be thought oI as a major scalewith a lowered 7ih.

C MixolydionScole C MoiorScole

The mixolydian scaie also contains ihe same noies as the major scale a pefect sth
below.

C MixolydionScole
Uualld1ai antl B.bop7th Saks anil Datundnt7th Chotd\

The bebop7th scaleis fiade up of the same notes as ihe mixolydian scale but
adds the major 7th, cieating a scalewith nine notes to the octave.

C Eabop7th Sccle

This scaleis calledthe bebop 7th scalebecauseit cameinto widespread us€ dur-
ing the bebop era oI the 1940s.Boft ihe mixolydian and the bebop 7th scaleshave
a "jazzy" qtjality atj.darc used wh€n improvislng o\et daminant 7th cholds.Domi-
nant 7th chords are made up of th€ first, third, fifth, and seventh notes of the
mixolydian scale.These notes are called the /oot, tl1enajor 3ft1,t|.e petect 5th, ar.d
t]:.eminor 7th ol tl:.e c]|.ord.' Notice that the dominant 7th chord is the same as a
major 7th chord with the 7th lowercd one half step.

C Dominont
ZthChord c Moior7fi chord

The dominant 7th chord is often extend€d by adding the second and the
sixth notes o{ the mixolydian scaie an octave higher (called the ,/or glh and the
najot 13th o'i tb.echord, respectively).The fourth not€ of the scalemay also be
added to the dominant 7th chord, but the note must either be raised a halI step
(called lhe m.qmented71rhof the chord) or be used in place of the 3rd of the chord
(k^ow^ as a dominant 7rr s s. 4 .rold). Notice thai the symbol for a dominant 7th
chord does not use the word "dominant."

t3
C9 ct3 c lt l C7sus.4

Dominant 7th chords have ston& bitin& bluesy qualities, particularly when
chofil extensionsarc added. Many jazz songs in the blues form, such as Miles
Davis's "Freddie Freeloa.lea" He$ie Hancock's "Watemelon Man," and Charlie
farler'5 '\oB < ihe lime, arecomposedlar8el)or domindnt7th chords.']Belore
practicint the following exercises,try sinSinS mixolydian and bebop 7th scales,
as w€ll as dominant 7th chord arpeSgios.Also try playing dominant 7th chords in
different keys on the piano.

Refer to Chapter 14 lor turther inJormarion on intenals.

']]re music to these sngs may be fomd in the following v olaes ot A Nru Aqtudch to ldzz
Irrlo!6dl@r: "lreddie Freeloader" (Vol.50), "Watermelon Man" (vols. 54 fld 11),and "Nowt the
 Mirblydidn dnd Bebop7th 5.a16 and Danindt 7th Chords

M rxor.v orl r{ aN D B E B o p 7 r H S G A L EW a Rn - Up s

Play the foilowing exercis€s over the chord progression, using either a
metronome, a five fiytl]m seciiorL or the "Mixolydian and Bebop 7th ScaleWarm-
Ups" play-along track on the companion CD. Play the written exampleover the
fust chord; then use your ear to play the exercisein the different keys indicated
by the chord symbols. You will find it helpful to look at the chord progresslon in-
stead oi the exerciseswhen playing in the remaining eleven keys. Pick a tempo at
which you can effotlessly play each exercise, gmdually movint on to morc diffi-
.ull e\erci.e" dfler you hdve mas{eredthe ea<ierones.

T r e b l e C l e f C I n 3lr u m enl3-C h o rd P rog res r ion

Swing
c7 F7 Bb7 D61

c6l

Tr eb le Clef C In5trum€ n le -B e g in n in g E x e rc is e s

1. Thebebop7th scale,from the root down to the 7d1l

2. The bebop 7th scale,from the rcot down to the sthl

c7

3. The bebop 7th scale,descendingl

c7
I
],1i|olyliah n d B.bap7th 5u1.. dnd Daflitant 7th Chotdi
43

Tr e ble C lef C I n s I r u m e n t 5 - | n I e r m e d i o I e E x e r< i5 e c

4. The bebop 7th scale,ascendint:

C]

5. The bebop 7th scale,descending from the 3rd to the 7th:

C1

l r e b l e C l e { C I n slru me n ls -A d v q n c e d E x e rc is e s

6. Thedominant 9th arpeggio,ascendingfrom ihe 3rd:

7. Th€ bebop 7th scale with a chromatic passinS tone, descendins from the 3rd:

8. The mixolydian and b€bop 7th scales,descendins from the gthi

Bt I n s t r u m e n i r - C h o r d P ro g re s s io n

Swing
C]

D6l G'7
44 MtualldiM nnd Bebapllh Scolesdfd Donifldnt lth Chotds

Bt I n sl ru m e n l5-B eg in n i ng E x e ra is e s

1. The bebop 7lh scale,ftom the root down to the 7th:

2. The bebop 7th scale,from the root down to the sth:

D7

3. The bebop 7th scale,descending:

It I n 5l r u m e n ls - | n I e r ln e d io t e Ex e r < ic e s

4. Thebebop7th scale,asce.nding:

s. the bebnp7rh * rle. JescendinSfrom thc lrd {o lhe 7ti:

Bt I ns*ru me nls-A dyq n a e d I x e rc is e s

6. The dominant 9th arpeggio,ascendingfrom the 3rdl

7. The bebop 7th scale with a chromatic passing tone, descending from the 3rd:

D7
l
I Milaliitn and Blbop tth scaks BndDoflinant 7th cha s

8. The mixolydian and bebop 7th scales,descending from ihe 9th:

E t I n s t r u m e n I 5 - C h o r d Pr ogr ession

Swing
A7 D] e7

E t I n 5 fru me n ts-B e g i n n in g Exer cises

1. The bebop 7dr scale,from the root down to the Tthi

2. The beboD 7th scale.from the root dor\'n io the sth:

3. The bebop 7th scale,descending:

E t I n stru me n f s-l n te r m ed iqte Exer cises

4. The bebop 7th scale,ascending:

46 MinlJtdinn and Bebop7th S.alesand D.tninnnt 7th Chards

5. The bebop 7th scale,descending from the 3rd to the Tthl

Et I n stru me nts-A dvo n c e d E x e r< is e s

6. The dominant 9th arye8gio, ascending from the 3rd:

7. The bebop 7th scal€with a chromaticpassingtone, descendingfrom the 3rd:

8, Ilc nirolr diJr ;nd bebop-th.crle". oe- endrn8from $e qth

B qss C lel ln5truments-Chord Progression

Swing
C7 F] 861 861 D67
8848

G67
Mitowian r B.bap7th S.nlesd tl Danindht 7th Chonlt

Bq ss Clef I n str u m enlr-Be g i n n in 9 E x e rc is e s

1. The bebop 7th scale,from $e root down to the 7t1.r

2. The bebop 7th scale,from the root down to the 5th:

C]

3. Th€ bebop 7th scate,descending:

Bdss Clef Instru m e nls-l n le rm e d iq t e E x e rc is e s

4. Th€bebop7ih scate,ascending:

5. The bebop 7th scale,descending Irom the 3rd to the 7rh:

C]

Bo ss Clef lnstrumenls-A dv q n c e d E x e rc is e s

5. The dominant 9th arpeggio,ascendingfrom rhe 3rd:

43 Mimvian nnd Bebap7th Sctl6 aad Daninant 7th Chords

7. The b€bop 7th scalewith a dromatic passing tone, descending f{om the 3rd:

C]

8. The mixolydian and bebop 7th scales,descending from the 9th:

C7

All In5tru m e n I s - | m p r o v i s q I i o n E x e ra i3 e 3

1. Improvise on dominant 7th chords in all keys, using a live rhythm sectionor
the "Mixolydian and Bebop 7ft ScaleWam-Ups" track on the companion CD.
2. Make up your own exercisesand melodic ideas based on mixolydian and
bebop 7th scalesor dominant 7th chords.
M^oUnea aad Bpbopth5,ak. tad Doatadnt7tt I h.,n. 49

Jm p n ov rs rr.to oN D oM t NA NT Z T H CHo RDs

"SisterClnda" is a compositionbasedon dominanr 7rh chords.practiceand im

provise on the song, usint eifter a metronome, a tive rhythm section, or the ,,Sis-
ter Cynda" play,along track on the companion CD. (On the CD, the chord
progression is played six iimes.)
"Sister C)'nda" is basedon th€ chord piogression to a Horace Silver song,
"SisterSadie."3The structureof the song is referredto as alr,4-48,4r6ffr,in whicir
eachlette( representsan 8-barphrase.aThe melody of the A sectionisbas€d on a
t plet idea that repeatswith variations, and the B section consists oI a svnco-
pated rh].thmic figure. The A secrioncontainsa single dominant 7th chor; hst-
in8 eightmea.ure5. ( hefe.. thechordsin rheB.e(|i,rnchaj1gc ere11bar or evcr)
two bars.A song in which th€ chords last at leastfour measuresis called a matt;l
tune. "SisterC'.nda" combinesa modal A sectionwitha B sectionbasedon faster

After playing ihe melody, practice the chord progressionby ourlining the
.
chords with the exercisesthat follow the sonq. plav ihe entite exerciseove; the
choro5ld.tinStour bdr" pl.r) the rir.t h.rlfor eact,eier.r." over rhechord. tarrine
two bars, and play the first measureof th€ exerciseover the chords lasft.rs on;
bar d. Lndicaledbv thee\dmDles.

3HoraceSilver
"Sister Sadie," copyright 1960by lcaioh Musjc.
{SeeChapters 9 md 15
ior more inJomation on forms.
 vi \al tdta"araB "b@-1'.dk d td D aa har' I -' \.ho' d

Trcble Clef C Instruments SisterCynda

A^, D.C. al Fine

Coplri8hr O 1995Scolt Rce!€s, R€bone Mrsic @Ml -!'I tuEhts R.se^'.d Used By Pemision.
 I
\i-al\dtar ohd Bebop-!h 5 ola and Da4M4t,It (hotd

I
Tr eb le Clef In5fruments-E x e rc is e s t o r, , S is t e r Cy n d o "

1. The bebop 7th scale,descending:

A^, B^.

A^.

2. The blues scale also works well over the A section (seeChaDter 8):
A^, B^,

a^_

3. The b€bop 7th scalewith a chfomatic passing tone, descending from the 3rdl
A^,

A^,

__-----r--__
 ..'a
u \otnlna aad B,bap <a1". a"d D h aoa thCta"A

SisterCynda
Bb Instrunents (saxophonB play 6t4)
Swing
Anz

Bo z

87 867 A

*.j)""

A^, D. C. al Fine

Cop}fi8ht O 1995S.ott Reeves,ReeboneMlsic (BMI). All Rights Resered Used By Permi$ion

ytroLldian dnd Bebap7th S.nlesafld Dmhokt 1th Chords

Bt I n s I r u m e n I s - E x e r c i s e s lo r " S is t e I Cy n d d ' ,

1. The bebop 7th scaie,descenclingl

B^"
4x "'

2. The blues scalealso works well over the A section(seeChaDter8):

A^, B^.

A^ ,

3. The bebop 7th scale with a chromatic passing tone, descending from the 3rdl
Ao ,

Ao,
 Mixalldkn and Bebap7fh Sel.s anll Daninnit 7th Chortls

SisterCynda
SFing

nf

B^,

AE7

M, ,

D.C. al Fine

Coprighr O 1995Scott Recv.s, ReeboneMlsic (BMI). A[ RiShts R.s€ivcd Used By Pemission

vt'l|da ' o E"b o p - tt \ tl, a - a ^ ..4 a - trt, t.,t.
55

Et I n r lru m e n t5- E xe r< is e 5 f o r , , S i5 t e r Cy n d q / ,

1. The bebop 7th scaie,descending:

r. descendingl
A -_

2. The blues scalealso works well over iheA section(seeChaDier8):

A--

3. The bebop 7th scalewith a chromaticpassingtone, descendingfrom rhe 3rd:

 vt at a a t a' d B "bor -tt,. a|,,"a D a"t t d l \ ftta' I

Bass Clel Instrumeots SisterCynda

S$ing (lh) Srr {hen usinghomun) pJrrsl

867

A c7

A^, D.C. al Fin.

CopFighr O 1995Scotr Rc.!€s, ReelroneNllsic (BMI) A[ Ri8hts Reserlcd Used tsy Permi$ion
Mixal.ldian dnd Bebop7th Scdlesnnd Dantindnt 7th Chads

Bo ss Clef I n Et I u m e n t s - Ex e r c i s e 5 f o r , , S is t e r Cy n d o , ,
1. The bebop 7th scale, descending:
A ^, 8",

A^_

2. The blues scalealso works well over theA secrion(seeChaDter8)j

A ^. B^.
4x vt

A^,

3. The bebop 7th scalewith a chromatic passing tone, descending from rhe 3rdl
B^.
4x u/

Ae z
 SisterCynda
Pirno/Guitar A
Swing

2ll to coDAS
rL
(F
lrr
I
tq:
Cop}tight O 1995s.ott Reeves,ReeboneMusic (BMI). All Righis Resewed. Used By lermission
Jtinudiat dnd Bebop7th Scaksn Doninatt 7th Aa81s
59

Solos(nute up you own rhyrhrN)

AA
G7

D.S. al CODA
 Bass SisterCynda
SwingM.M. J = 154-174
A Scolt Reeves
i|i
Ab 7 ' G7 G7

2.
15 G7

AA soloa(nake up yourowi basslines)

tocoDA+

D.S. al CODA

I coDA

Copy.ight O 1995Scott Reeves,Rebone Music lBMl) AI RiShls Res€N€d Used By Pemlslon

50
C H A P TER

DO R I A N S C A T E S
A ND MI NOR 7TH
CHO R D S

The ilotiah scaleca be Ihought of as a majo( scale with a lowercd 3rd and a low-
ered 7th.

c Moiorscole

The dorian scalealso contains the same notes as the rllaior scalea rlaior 2nd below.

c DofionScole BtMoiorscale

The dorian scale has a "mellow" or "blue" quallty and is used when improvising
over minor 7th chords, particularly when the minor chord occum in a majof key
or i\ a madaltune (a sor'S in which the chords last at least foff measures).When a
minor chord occurs in a minor key, the melodic minor, the harmonic minor, or the
natural minor scaletends to be used in place of the dorian scale.l

'Referto Cluprer 10lor turther inJomarionon th* rcats.

61
 Datirn S.dl6 andMinor fth Ch.h1i

Minor 7th chords ar€ made up of the 6rst, third, fifth, and seventhnotes of
the dorian scale (reieIred to as the /dot, ihe m;t?or3rd, the petfectsth, a d the ninor
7r, of the chord).

C Minor 7ih Chord

You can extendlhis chord by adding ihe second,fourth, and sixth noies ofthe do-
rian scalean octave higher. Thesenotes are called the najot gth, t}.eperfect11th,
and the rmldr l3t, of the chord, respectively.

C Minor 13th Chord

When $.riting thc name of the chord, you necd indicate only the hithesi chord
extension.Thc lot\'$ numbcredextensionswill be assrmed to be present.
Minor 7th chordshavc a sad,mello{,, or melanchol},clualiti'.In major keys,
they often progressup a 4th to a dominant chord. Songssuch as John Colirane's
"Blues Minor" and "hnpressiorls"and Miles Davis's "So What" are made up en-
pracdch€i the followhg exercises,try singing
tirely of minor 7th chords.'zBcfore
dorian scalesand playing minor Tth chordson the piano.

Dopr,qN 5 € A L E Wa R M- U Ps

Play thc followinS exercisesover the choid progression,usint either a metro-

nome, a live rhythm section,or the "Dorian and Blues ScaleWarm Ups" pla\-
along track on the companion CD. Play the n'ritten eaampleovel the ftst chordt
then use your ear to play the excrcisein the different keys indicatedby the choid
symbols.You will find it helpfr,rlio look at the chord progressioninstead of the
exerciseswhen playing in the remaining elevenkeys.Pick a tempo at ('hich I'ou
can efiortlessly play each exercise,tradually nroving on to more difficuli erer-
ci.e' after\ L'ul-a\( nr.rereJlhp e-.rerore-

Tre b le Cle{ C lnslruments-Chord Prog ression

Swing
CmiT Fn7 BbmiT EbmiT

:Th€ music to t 1es.songsmay be lound in the follolving !ol! cs ol ,1 N&' lfprord, io Jnz:
Iflrlo,is,lturr "Bhes Minor" (Vol 27),"Inpressions" (\bls.28and51),and "So l{hai" (Vo! 5)
 nld MMt -th Chrrds
Dotirn SLales

Fl rn 7 BmiT

? r e b l e Clef C I n s i r u m e n ts- B e g i n n in g Ex e rc i s e s

1. Scalefratment1i

Cm7

2 . A 5 c d l e fragmenl begi | rm8onthFri l thno{ cot tl rec.ate. fhi < p d He , 1 i . . I n i Ia r

l o ,r D u l e P edr.on moti \e trom l e, n ne.

CmiT

l r e b l e C le{ C I n s I I u m e n ls - | n t e r m e d i o t e E x e r c is e s

3. Thedod:n scale,from the roofto the sth and the 5th to the 9th:

CmiT

4. The completedoriarl scalero rhe 9th:

CmiT

5. The minor 7th arpeggio:

CmiT

lr e b l e Clef C Initruments-A d v o n (e d E x e rc is e s

6. An arpeggiodesc€ndingIrom rhe 11ihto the sth of the chordi

Cm7

'Dule fca6on, "Jeamine,"coty.ight 1960bv Upam Mrsi. Co.

 D.tidh Scala dnd Miflot lth Chonls

7. Am€lodic idea descendingfrom the 9th. This pattem is similar to a Gamett

8. A scalaridea that begins with the notes a hall si€p below and a whole step
abovethe rootof the chord:

B' In5 lrumenli-Chord Pro g re s s io n

Swing
DmiT cmiT FmiT BtmiT E6.r,7

C+mi7 BmiT E m7

Bt I n s tr u m e n f s-B e g i n n i n g Exer ( ises

1:
1. Scalefuagment

DmiT

2. A scale Iratment begirming on the fifth note of the scale.This pattem is similar
lo a DuLpledrsonmoh\ e f,om "Teanninr.

DmiT

lcamett
Brown, "Ba.ha !elin'," copynght by Shclmark PrbllshinE Co.

E.
Doliat Scal6 afld Minot 7th Chnds 65

B[ | n 5 l r u m e n I s - | n I e r m e d i q I e E x e . ris e s

3. The dorian scale,from the root to the sth and the 5th to the gthl

DmlT

4. The complete dodan scale to the 9thl

DmiT

5. The minor 7th arpeggio:

DmlT

Bt I n s tru me n i !-A d vq n re d Exer cises

6. An arpeggio descending from the l1th to the 5th of th€ chord:

DmiT

7. A melodic idea descendingfrom the 9th. This pattem is similar to a camett

Brown motive ftom "Bacha Feelin'."

8. A scalar idea that begins with the notes a hall step below and a whol€ step
above the rcot of the chord:

DmiT
66 Doritn SenLe!
dnt! Minat 1th Chatds

El ' I n stru me nts-C h o rd P ro g re s s io n

Swing
AmiT DmlT

EbmiT Ar"r,7 C*mi7 FlmiT EmiT

a

El I n s lr u m e n ls-B eg in n in g E x e rc ig e s

1. Scalefragment 1:

2. A scale fragment begiming on the fiJth note oi the scale.This pattem is similar
to a Duke Pearsonmotive from "Teannine."

El I n slru m e n t5-l n le r m e d io t e E x e rt is e s

3. The dodan scale,frcm the root to the sth and the 5th to the 9ihl

4. The completedorian scaleto the 9th:

5. The minor 7th aryeggio:

Am7
Dorion Scal.sdfld Minar 7th Chat.ls

Et Instrument5-A dvonaed E x e ra i3 e 5

6. A]l arpeggio descending Irom the 11th ro the 5th of the chord:

7. Amelodic idea descendingfrom the 9th. This pattern is similar to a carnetr

Brorm motive from "BachaFeelin'."

AmiT

8. A scalar idea that begins with the notes a half step below and a whole steD
dbovelhe root of the chord.

AmiT

Boss Cle{ Inslrumenls-€ho rd P ro g re s s io n

Swing
CmiT FmiT Btm7 F b m7
8 88

BmiT E-|,7 DmiT

B o ss Clef Insfrumenfs-B egin n in g E x e r(is e s

1. Scalefragment 1:

Cm7

2. A scatefraSment beginning on the Iifth note of the scale.This pattern is simitar

to a Duke Pea$on motive from "leannine."

CmiT
 Dalian Scdlesn"d Minor 7th C ordt

Boss Clef I n 5 I r u m e n I s - | n I e r m e d i o t e E x e rc ire s

3. The do an scale,from the root to the 5d1and the 5$ to the 9th:

CmiT

4. The completedodan scaleto the 9th:

5. The minor 7th arpeggio:

cmiT

Bq ss Clef I n ilru m en ls-A d v o n c e d E x e rc is e s

6. An arpeggio d€scending from the 11ih to the sth of the chord:

7. Amelodic idea descendingfrom the 9th. This pattern is similar io a Gameti

Brown moiive from "BachaFeelin'."

8, A scalar idea that begins with the notes a half step below and a whole siep
above the root ol the chordl

CmiT

All I n 5tru me nls-l m p rovi 5o li o n Exer( ises

1. Improvise on minor 7th chords in all k€ys, using a live rhythm sectionor the
"Dorian and Blues ScaleWarm-Ups" play-along irack on the companion CD.
 Donan Scal6 ald Minot 7th Chttls

2. Make up your own exercisesand melodic ideas based on dorian scalesand

minor 7th chords.

Jm p n ov rs rN o oN MtN o R 7 r H CHo RDs

"E c's Son8" is a compositionbasedon minor 7th chordssuspendedover a bass

note.PrdcUce and improviseon ihe song.u"in8eitier a -nefronome. d live rh) ihm
section,or the "Eric's Son8" irack on the companion CD. (On the CD, rhe chord
progression is ptayed fiv€ times.)
"Eric's Song" has a 36-barform in which the chords descendby hatf steps
dnd \aholesteps.A bd-- lurewrth a sln(opdtedrhyhm charrctenze- ihe rir"r:ir-
teenbars, whereasa strcrlg pedalpoint a\chors bafs 17-24.5A walking bass line
gives vadety to bars 25 32, and iime seems to "stop" durinS th€ last

Each sonority in this composition is a minor 7th chord over a bass note a
perfect5th below I 4len improvisin& you can use the dorian scalebasedon the
root of the minor 7th chord or the mixolydian or bebop 7th scalebased on the bass
note. The dorian and mixolydian choicesIor each chord contain the samenotes,
but thinking in terms of each scale may suggest different q?es oI m€lodies. The
scalesin concert pitch are as follows:

AmiT/D boss Gm 7/ C boss F{mi7lB boss EmiTlA boss EtmiT/At boss

Donan:

Beforeimprovising on the composition, practice the chord progressionby

outlining the chords with the exercisesthat follow the song.

'A pedal point is a continuosly iepeated tone

I
 Datiah Sctl.sard Mtuat Cha !
-th

Trebl€ Clef C IDshuments

Eric'sSong
Latin
A " rl 7 /D

Gr",lTl C

1 Fl"r,Tl B

Swing
25 EmiT/ A

3r ErmiT/Ab

: ---r
Soloson the fo.n, trsingtbe chord
stmbolsabovethe melodl.
0 CODA
E6-|,7lA,6
\fte. sokts,D.(. al CODA

Cofvriilht O 1!95 S.ott Reeves,Reelrone\4usi. (B\fl) All Riglr ts Reser!.d. Used By Penissi(h
Datian S.dlesad Minot fth Cho'ds

lreble Clef I n 5 I r s m e n I s - Ex e I ( i s e r for "E r i.'5 Song"

1. Play Mixolydian and Bebop 7th ScaleWarn-Ups 2, 3, 4, 6, and 7 (Chapier 5)

basedon the bassnote of eachbitonal chord in ihe proSression.Play ihe exer-
cise twice over the chords lasiint eight bars and once over the final chord.
a. Mixolydian and Bebop7th ScaleWam-Up 3:

A.r.7/ D GmiT/ C

F+ nll B

EmiTl A

Eb.f'iT/ 4,6

2. Play Dorian ScaleWarm Ups 2, 3,4, 6, 7, and 8 basedon fte minor 7th chords
in the progression.Play the exercisetwice over ihe chords lasting eightbars
and once over the final .hord.
a. Dodan ScaleWarm-Up 6:

A.|,il I D G m7 / C

Fl-|,ll I B

Enll I A

Er mTlA h
 DDdrl S.aLesnnd Minor 7rh Clntds

Eric'sSong
Latin
B n7/E

AmiT/ D

Ab.|,ll I Db

3l FmiTlBb (dntn fi11...)

Soloson the fom, Ning the chord

slnbols abole the nelody.
S cooe After solos,D.C al CODA
F.n,ilI B,

Copyright O 199j Scort ReN.s, ltc.bon. \4rsic (BMl) A1l ltiAhts It.scn €d. Lis.d Bv Pennission
Datian Scalesrnn Miflor 7th Chotds

8t I n s f r u m e n t s - Ex e r r i g e s f o r " E ria ' s Song',

1. Play Mixolydian and Bebop 7th ScaleWarm-Ups 2, 3,4, 6, and 7 (Chapter S)

based on ihe bass note of each bitonal chord in the progression. Play the exer-
cise twice over the chords lastint eight ba(s and once over the final chord.
a. Mixolydian and Bebop 7th ScaleWarm-Up 3:

BmiT/ E AmiTl

AbmiT/Db

F+mi7l

Fb"nT
l B,

2. Play Dodan ScaleWarl]j.-Ups2,3,4,6,7, a d 8 basedon the minor 7th chords

in the progression.Play the exercisetwice over the chords lasting eight bars
and once over the final chord.
a. Dorian ScaleWarm-Up 5:

Bml/E Aml7lD

Ab.|,i7/ D,

F l-r, T lB

F r mT /B b
 Ddtian Scnl6drd Minat /th Chail

Eric'sSong
Fl"r,llB
^ .'2 - - -

Eml/ A

E6nll Ab

rocoDAS

anTl F

Soloson the fom, nsing lhe chord

symbols aboYethe melody.
S cor,r ull. Atter solos,D. C al CODA
Cm7/F
?b+ t

Mtsn (BNll) All RightsReserv€d.UsedBy Permission.

Cop) right O 19{t5S.ott Reev€s,neeLrone
 I
? Donrfl SeaLtraA Mhat 7th Chais

Et I n 5 l r u m e n l s - E x e r c i s e s f o r " E r i(' s Song"

1. Play Mixolydian and Bebop 7th ScaleWarm-Ups 2, 3, 4, 6, and 7 (Chapter 5)

basedon the bassnote of eachbitonal chord in the progression.Play the exer
cise twice o1'er dre chords lasting eight bars and once over the iinal chord.
a. Mixolydian aJldBebop7th ScaleWarm-Up 3:

Fl.r.l7/ B EmiT/ A

E 6 n 7 lA b

cl.r,T/Fl

CmtT/ F

2. Play Do an ScaleWarm-Ups2, 3,4, 6, 7, and 8 basedon the minor 7th chords

in the progression.Plav the exercjsetwice o\.er ihe chords lasting eight bars
and once over the final chord.
a. Dorian ScaleWarm-Up 6:

Flnl/B EmiT
lA

E b mTA/ ,

C+mi7
/ Fl

Cm7/F

.-+.
 Datian S.nl* i d Mitot 7th Cha s

Bas Clef InstruDents

Eric'sSong
Afll 7/ D

Flm 7/ B

S\ring

(drumiiu...)

Soloson lhe forn! usirg the chord

symbolsabove the melody.
Al\er soltts,D.C. dl CODA

Cop] dght O I995 SaottRee!€s,ReeboneMusi. (B\ll) AILtu8hts R€served.UsedBv tetuisslon

L
4

t D.r;an S.tles and Miflar 7th Chords

I Bd3s Cfef I n 5 I r s m e n t s - E x e r. i 5 e 5 f or "E r i.'s Song,,

1. Play Mixoiydian and Bebop 7ih ScaleWarn-Ups 2, 3, 4, 6, and 7 (Chapier 5)

I basedon th€ bassnote of eachbitonal chord in the progession. play the exer-
cise twice over ihe chords lasting eitht bars and once over rhc final chord.

t a. Mixolydian .r1d Bebop 7rh ScaleWarm-Up 3:

i AmiT/D GmiTl C

I
FlmiT/B

EmiT/ A

tI Eb.r,tI A,

2. Play Dorian Scal€Warm Ups 2, 3, 4, 6, 7, and 8 basedon the minor 7th chords
in the progression.Play the exercisetwice over ihe chords lasting ei€ihtbars
and once over ihe final chord.
a. Dorian ScaleWarm-Up 6:

A"|,TlD Gn7/C

FlmlT/B

t EmiTl A

+
t+ EbmT/A;

t
 Dlrir S.dl.r R"J I'lnlrr 7rl C,orli

Eric'sSong
Latir
AmiT/D

1? F+mi7l
B G$mi7/B F * n it lB G t n illS
A

r.

2r F$mi7/B Gi'rril lB Fl.r,iTl B GqmiT/B

-A

\F
I
r-
ls--E# i'

Cof-vright O 1995S.ott lt.cves, R€eboncMusn {bNII) All RightslteseNed Uscd BI lersl$1on

DoridnS.alesandMnnt 7th Chn s

R€peal for solos. After all solos,

D.C. al CODA
 Datirk S.tles and Minat 7th Chords

Eric'sSong

GmiT/C

F+. 11B

S$ing
/A
EmiT

tocoDAS

E6ni1/Ab

Repeatfor solos. Afler solos,

D.C.4ICODA
S coDA
EtmiT/Ab

Copyrighr O 1995S.otl Reeves,R€bone Mrsi. (BMl) AI Rrghts ReseNed UFd Bv PmGsion

C H A PT ER

THE ii-V.I
PROGR ESSI ON

Minor 7th, dominani 7th, and major 7th chords often occur jn succession as part
of a chord progression. l /hen that happens, the minor 7th chord typically rnoves
up a pe ect 4th to th€ dominant 7th chord, which jn tutn progressesdor -n a per-
fect sih to dre major 7th chord.

DmiT G7 C MA7

Theii-V-l Prosressioi
in C Mdior

This sequenceof chords is called the ii V I progressionbecausethe minor 7tb

dominant 7ft, and major 7th chords are built on the second, fifth, and first notes
of the major scale.Lowercase roman numerals are used to denote minor 7th
chords, and uppercase roman numerals are used for dominant 7th and major Tth
chords. The first, second,and 6ith notes of any scaleare also refered to as the
tonic, Ilaesuperfonic, td the domi ant, respectl\,,ely.

CMA T Dm7 G7

Ii i
(To!ic) (supertonic)
 me ii v-t I'ra{tessrafl

Often, only a portion of this sequenceoccurs, in the form of eithef a ii V or a

V-t chord progression.

Dm7 G] G] C MA7

Another va aiion involves the use of the minor chord built on the siith noie
of the major scale,creating a I-!i-ii-V-I Progression The minor vi and minor ii
chords can also be changed io dominani Tth chordsi ihis Permutation is some-
times referred to as a I-Vl-[ V-I Progressionbut is more correctly describedas
a I-V oI-ii-V-of V V-I prosressioll '

c [/A7 Dm7 C MA7

C MA7 C MA7

Thel-Vlii-VA-v-L Progres!ion

As we learnedin the precedingchaPters,the minor 7th chord is coloredbi'

the do an scale,the dominant 7ih chord by the mirolvdian scale,and the major
7th chord by the major scale.

Drn7 (Dodan) G7 tN 4,' ol ydran) C MA7 rMJjur)

When we compare these three scales,we notice that they a1lcontain the same
notes.Therefo;e,whenever we find a ii-V I Progression,we can vicw a[ three
chords as belnt in one key Although you may wish to stressdifferent notes in
eachchord (suJr as the 3ris d the Tths),one scalewill essentiallycolor all th1€e
chords, greatly simplifying the Processof imProvjsahon jt
es Vo.r tjecome tamitlar with this chord progression, voLrwill notrce that oc-
curs wiih great Ireqlrency. 'All the Things You Are," "cherokee," "confirmation"
"Donna L;," "Four," "Giant Steps," "Groovin' High," '{'[ RememberApfl]," "Jo-v
5D,inq. -ladv Bird, Vonenl - \otice Ornirholot) fPr'e ''lenl-t o
'
rj"u,i. -r"raiao, -srHn D.'ll. S' rdpple rom ihs APPIe - ldke t re A lrd n

rDominlnt th chords that slbstiiure fof other chods ar€ called s€condary do ina'ts Refer tL'
Chrpter 15 for morc fiomation on rhes€chords

G-
 a3

and "Tune-Up" are among the many tunes that llsc ii,V-I progressions.':Develop
your ability to recotnize this progression by playing the chords on the piano.

i i -V- l P R oGREs s to N WA Rf t r - Up s

Play the following exercises over the chord progression, using efther a
metronome, a iive rhythm section, or the "ii V I Progressionand Diminished
Scal€Wam-Ups" play-atont track on the companion CD. Play the written exam-
ple over ihe first chord, then use your ear to play the exercisein ihe differenr keys
indicated by the chord symbols. You will find it hetptul io took ai rhe chord pro-
gression instead of the exerciseswhen playing in the remaining e]eve11keys. pick
a tempo at which you can effortlessly play each exercise, gradually moving on to
more difficult exercisesafter you have mastered the easier ones.

Trebl e €lef C I n stru m e n l5-C h o rd P ro g re s s io n

Latin rhythm
DmiT c tvtAT BbMA7

BtmlT E67 A' MA7 D' 7 Gb N/A7

FlmiT E MA7 E m7 D MA7

F bm7 Db MA7 ClmiT B MA7

BmlT G MA7

GmiT F MA7 FmiT E' MA7

:The mrsic to these songs may be foud in ih€ following volumes

of A Ner ,4/fe., ro t:z
lnpm.ts,rtor: "All the Thln8s Yo! Ar." 0/o1.43), "Chemk€€" (Vol. 15), "Conliffiation" (Vol. 6),
"Doma L€e" (Vol.6),"rou" {Vol 7), "Cianr StepJ'(Vo].28),"coovin'HiEh" (Vot.a3),'t'll Renen-
ber April" (vol.43),"loy spring" Ool53), "Lady Bird" {\d.36), "Momentt Norice" (vo].3s), "or
nithology" (vol. 6), "Pea.e' (vol 17),"Pent Up House" fvol. 8), "Pe.dido" (vol. 12),"satin Doll"
(vols. 12 and s4), "Sdapple l:od fte Apple ' 0/ol. 61,"Take the A' rDin" (vol. 12), "Tuneup" (vol. D.
treb le Clef c I n 5lru m e nf 5-B e g i n n in g Exercises

1' A gllidetoneline i'sa melodlr that starts on the 3rd or the 7ih of a chord and
moves to the 3rd or the 7th ;f tle following chord, whichever is closer' The Io1-
lowing Suide-tone ]ine sta s on the 7th oI the ii chord, moves to the 3rd of ihe
V choid, ard rcsolves to the 7th oI ihe I chod SyncoPated rhythms as well as
other scale tones are added Ior melodic interest

DmiT G7 C MA7
(7th)

2. A suide-tone line ihat begins on the 3rd of fie ii chord, moves to the 7th of the
V chord, and resolves to the 3rd of the I chord:

DmiT G7 c [/]A7
(3rd)

3. Usine the dorian scale over all ihree chords in the Progression:

DmiT G7 C MA7

l r e b le C lef C In s l r u m e n I s - I n le I m e d i c I e E x e r c ig e s

4. Using the bebop7th scaleover all threechordsin the progresslon:

DmiT G7 C MA7

5. Usins the maior scaleover all three chords in the Progresstnl

DmiT G] C MA7

6. A melodic patternbasedon the dorian scale:

Dm7 G7
Tr e blo C lef C Instrument s -A d v o n c e d E x e . . is e s

7. Arpeg$os staring on the root of the ii chordarld the 3rd of the V chord:

DmlT C N,1A7

8. A pattem starting on the sth of the ji chord that usesborh the maior and the
minor 7th over the V chodl

C MA7

In ilrumenls-Chord P ro g re s s io n

Latin rhythn
EmiT D IV]A7 DmiT

BbMA7

AbmiT G' MA7 FlmiT

EbMA7 E b m7

C+m7 B m7

G IV]A7
 35

Bt I n 5l ru m e n l5-B e9 in n i n g E x e ra is e s

l, A.suide-toneline is a melody that siarts on the 3rd or the 7th of a chord and
m;ves to the 3rd or ihe 7th of the fo owing chord, whicheveris closer.Thc fol
lowing ide-toneline startson ihe 7th of the ii chord, moves to the 3rd of the
v choid, and resoh'esto the 7th of the I chord s)'ncopatedrh)'ihms as well as
other scalebnes are added for melodic interest

EmiT D MA7
(l d)

2. A guide-tone line that begins on the 3rd oI the ii chord, moves to ihe 7ih of th€
V chord, alld resolvesto lhe 3rd of the I chord:

Em7 . -. . 47 D MA7
(7dt

3. Using the dorian scaleover all thrce chordsin the progression:

EmiT D [/A7

B[ | n 5lr u m e n t5-l nie r m e d io t e E x e rc is e s

4. Using the bebop 7th scaleover all threechordsin the progression:

EmiT D MA7

5. Usine the major scaleover all threechordsin the Progression:

EmiT D MA7

6. A melodjc pattembasedon $e dodan sc.le:

EmlT D MA7

L
Bt Inslrumenls-A dvonced E x e rc is e s

7. ArpeSgios startinS on the root oI the ii chord and the 3rd of rhe V chordl

EmiT D MA7

8. A paitern stating on the sth oI the ii chord that 1tsesboth the major and rhe
minor Tih over the V chord:

D MA7

Ef I n s I r u m e n I s - C h o r d P ro g re s s io n

Larin rhyfhm
Bm7 E7 AmiT

GmiT FmiT EbMA7

Ebm7 DbMA7 Cf mi7

CmiT Bb MA7 BbmiT

AbmiT G' MA7 F+mi7

EmiT DmiT
 a3

Et I n slru fie nl5-B eg i n n in I E x e ra i3 e s

L. A guide-tonetine is a melody that siarts on the 3rd or the 7th of a chord and
m;ves io the 3rd or the 7ih oI the following chord, whichever is closer' The fol-
lowing guide-ione line starts on the 7th of the ii cho.d, moves to the 3rd of th€
v cho;d. and resolves to ihe 7th oI ihe I chord' s)'ncopated rhythms as well as
other scale tones are added for melodic interest

B m7 E7 A MA7

2. A guide-tone line ihat begins on ihe 3fd of the ii chord, moves to the 7th of the
V chord, and resolves to the 3rd of the I chod:

B m7 E7 A MA7
(3rd)

3. Using the dorian scaleover all thr€€ cholds in the progressionl

A MA7

E t I n stru rn e n t5 -l n l e r m ed iole Exer cises

4. Using the bebop 7th scaleov€r all three chords in the Piogressionl

BmiT E7

5. Usins the major scaleover all three chords in the Progression:

BmiT E] A N,1A7

6. A melodic pattern based on the dodan scale:

BmiT E] A IIAT

l-
I
Et In 5iru ents-A dvon<ed E x e rc is e s
I
7. ArpeSSios starting on th€ root of the ii chord and the 3rd
I MA7
I
f
8. Apattern siaiting on the 5th of the ii chord thai usesboth the maior and the
minor 7th over ihe V chord:

A MA7

Bq ss Clef lnstrum€nls-C h o rd P ro g re s s io n

Latin rhythm
Dm7 G7 C MA7 CmiT

BbmiT E61 A' MA7 D67 Gb N,4,A7

FlmiT EmiT

E bmiT Db N,4A7 Clm 7

I
I
I
I
B o ss C l e{ I n 5l ru fie nts- B e g in n in g E x e rc i5 e s

1. A euide-toneline i.s.t melody that starts on the 3rd or the 7th o{ a chord and
m;ves io the 3rd oi the 7th of the following chord, whichever is closer. The fol-
lowing tuide-tone line stats on the 7th ol ihe ii chord, moves to th€ 3rd of the
V choid, and resolves to the 7th of the I chord. SrncoPated rhythms as well as
other scale tones arc added for melodic intercst

DmiT G] c mA7
(3rd)

2. A guide-tone line that beSins on th€ 3rd of the ii chord, moves to ihe 7th of ihe
V ihord, and resolves to the 3rd oI the I chord:

DmiT C MA7
(3rd)

3. Using ihe dorian scaleover all three chords in the progression:

Dm7 G7 C MA7

Bo 5 5 cl ef Insiru m e n I s - I n t e r m e d i d I e E x e rc is e s

4. Usine the bebot 7th scaleover all thr€echordsin the Progression:

DmiT G7 C MA7
 5. Using the majo( scale over all thr€€ chords in the progressionl

DmlT G7 C MA7

6. A melodic pattern basedon the do anscalel

DmiT c7 C N,4A7

Bo sc €lsf I n slru m enfs-Ad v o n < e d E x e rG is e s

7. Aryettios starting on the root of the ii chord alrd the 3rd of the V chord:

DmiT C MA7

8. A pattem staiting on the 5th of the ii chord that usesboth the major and the
minor 7th over the V chord:

Dm7 G] C MA7
All I n 5 I r u m e n t 3 - | m p r o v i 5 a I i o n E x Q ra it e s

1. Lrnprcviseon ii-V-I pmgrcs6ionsin all keys,usint a live rhythm sectionor the

"ii-V-I Progressionand DiminishedScaleWarm-UPs"Play-alongtrack on the
companionCD-
2. Make up your own exercisesand melodic ideasbasedon ii-V-I Progressions.
J rr r p n o v r s rl r o o N i i - V - l PRo cREssto Ns

"The Countess" is a composition that contains numerous ii V and ii-V-I progres-

sions. Practice and improvise on the song, using either a metronome, a live
rhythm section,or the "Countess" play-along track on the companion CD. (On
the CD, the chord progression is played Iour times.)
"The Countess" is^basedon the chord progr€ssion ro the Ellington-srrayhom
standard "Satin Doll."'Like "Sister C\,Trda,"it has a 32-barAABA folm. The A
section bedns with a ii-V prctression in the key of C major concert, Iollow€d by
three more ri V progressrons,whose purpo.e is to depdrt Fromdnd refum to th;
chord oI resolution-C major 7. The concert DtZ chord in the sixth bar is known
as a trilohe substitution a]],dserves as a replacement lor the concet c7 chord (the
dominant 7th chord a tritone awav)."
The B sectionbedns with ; ii-V I progressionin F concef, followed by a
ii-V-I progression in G concert, although the final chord of that pmgression is G7,
not G rnajor 7.
After playing the melody, practice the chord progressionby ourlining the
chords with the exercisesthat folow the sone.

3Billy Strayhoh, Duke E]linSton, dd

Joltrmy Mercer, "Sarin Doll," .opy|i8ht 1958by Tempo
lRefei to Chaprer 15 for more infotution
@ rhe tritoru subsrituiid.
 TheCountess
Treble Clef C lNarurnenrs
Sqing

l.=

f,

. Solos
A
2i on.,

29 E nl

ti. 2.
1] C MA7 C MA7

l*
 B
37 GmZ

A
DmiT

Repeatto m.27 for solos. After all solos,go on.

Outhead

61 2.

D.S.aICODA
(n1n.11-23)

+ coDA

Copyight O 195 scort Reeves,ReeboneMrsi. (BMI). A[ RiShts Res.'wed Used BI lermjssion

Tre b le Clef I n stru m e nIr_ExeIG i5 e5 for "The Counlesc"

1. Play a guide'tone line ov€r th€ chord Prcgression,with eachnote lasting the
duration o{ the chord. Start with the 3rd or the 7th of the tust chord. arld move
to the 7th or the 3rd of the following chord. whichever is closer.
2. Outlining the chords with dodan and major scatesl

A D7

AbmiT D67 C MA7

3. Outlinint the chords with bebop 7th a]ld major scalesl

EmiT

Db7

F MA7 D7
 97

4. Arpeggios statint on the root of the ii chord and tlrc 3rd of the V chord:

G7 EmiT A7 AmiT D7

F MA7

D.C. al Firc
 TheCountess
Swing

-1.

lb nry

to coDAS

A:"'",:

BbmiT

D MA7
 99

B
37 Amil

Repeatto m. 27 for solos. After all solos.go on.

F*mi7 a] Flm 7 B1

D.S. al CODA
(nn. 11 23)

Sf coDA

Coptajght O 1995Scott Reeves,R€bone Msi. (BMI). All RiShts Resered. Used By Permision.
 100

Bl, Insttuments-E xeraiser tor " lh e Co u n t e 5 5 "

1. PIay a guide-ione line ot'er the chord Progression,with eachnote lastinB the
duation of the chord. Start with the 3rd or the 7th of ihe fhst chord, and move
to the 7th or the 3rd of the folowins chord, whichever is closer.
2. Outlining the chords with dorian a]:Idmajor scales:

Eml FlmiT BmiT

G MA7 Bm7

3. Ouilining the chords witll bebop 7ih and major scales:

Ffmi7

BbmiT E '7 D MA7

l-__
 4. Arpetdos starting on the root of the ii chord and fte 3rd of the V chord:

G IIAT E7

D.C. aI Fine
 TheCountess
Ssing

A Br z

fl"r,T

llr
l m77
Clm F' 11
Fll A MA T

l-
 B
D MA7

F lm7

Releat to m. 27 for solos

Clm 7

A Outhead

D.S. al CODA
(fl tu.11 23)

q coDA

"ryry

Cotynght O 1995Scott R€€ves,Rcebon€Music (BMI) All Righk Res.rved Us€d Bv lermlssion

104

E' I n sl ru m e n tr- E xe r< is e s f o r " lh e Co u n le 5 5 "

1. Play a tuide-tone line over the chofd progression,with eachnote lasting the
duration o{ the chord. Start with the 3rd or the 7ih of ihe Iilst chord, and move
to the 7th or the 3rd of the following chord, whichever is closer.
2. Ortlining the chords$'ith dodan and major scales:

C+mi7 tl-r|l7 97
^

EmiT

D MA7 Fl'r,T

D.C. dl Fine

3. Outlining ihe chords with bebop 7ih and major scales:

E7 C$mi7 Fvl

B1

D.C. al Fine
 4. Arpeggios starting on ihe root of the ii chord alld the 3rd of the V chord:

A- ._ Fl7 F$mi7 B1
E7 C$mi7

A [,4A7
B_ ._
 TheCountess
B$s Cleflnstruments

t-n"lt
,r.

D67

c MA7

r-__
t
B
37 GmiT C7 F MA7

G] EmiT AmiT D7

Repeatto m. 27 for solos. Aner aI sol6, go on.

D.S. al CODA
(n1t1.112s)

Copliight A 1995Scott R€eves,ReeboneMusic (BMI). All RiShb Resefred, Used By Permissioh,

108 me ii V-l ProYession

Bqss Clef Inslru m enls-E xe rc i 3es for " The Counless"

1. Play a guide-tone line over the chord Progression, wiih each note lasting the
d ation of the chord. Stat with the 3rd or the 7th of the tust chord, and move
to the 7th o! th€ 3rd oI the following chord, whichever is closer'
2, Outlinint the chords with doiia]l arld major scales:

F MA7

3. Outlining the chords with beboP 7th and major scalesl

AbmiT D67 C MA7

F MA7 D7
 4. Arpet#os sta int on the root of the ii chord and the 3rd o{ the V chordl

A o.n't AmiT D7
^

F MA7 D]

D.C.aI File
 TheCountess

AbmiT D61

B en.;

toClol)Ae
D7 C MA7 EmiT

€
-
Repeatfor solos.After all solos,
D.C. al CODA

f-
 $ con,r
D7 ArmT D67 C\,447 F] E.r,iT

6?i A ta^e

AbmT Db7(b5) C MA7 C MATI]

Copyright O 1995Scolr Reelcs, ReeboneM$i. (BMI). A11tuAhts Resen'ed. Used Bv Pemission.

 t72

TheCountess
Sting
ADmiT

i1 .
C MA7

C MA7

A
DmiT

It
tu coDA S
A.i7 Atmr T Dr 7 c MA7 F7 Fm7

R€peaf lbr solos.After all solos,

C MA7

AtmiT Drl C MA7

Copyri8ht O 1995S.ott Re.ves, Rebon€ Music (RM). Ail RiShrs Resered. Used By Peinission.

L.
 Whenweplaythismusicweseepeople smile
andfeelhappy.And that'sa tremendous
feeling . . Io healpeoplewith music.lazz,you
feelgoodif you listm to it, youfeelgoodif you
playit. Youfeelgoodif youzoriteit.

-pianist Randy Weston

 C H A P T ER

T HE B L U E S F O R M
AND T H E B T U E S
SCATE

The word "biues" has at least three diffel€nt coinotations: a feeling, a musical style,
and a folm- When we describe a song as being "bluest" we are refe ing
to its feelmg of mood. This bluesy quality is rlsually due to the song'sbe;ng in a
minor key or io the pelfo1mer's use of the blues scale and blueor bentnotes.The 1at-
ter are notes that fall beh{een the pitches on the piano, t}pically between the t3rd
and the 3rd and between the t5 alld the 5& notes of the scale.The blues {eeling can
be applied to many ttpes of tunes, including those songsnot cast in the blues fom-
The musical genre called the ,l esis a style oJ music that originated in the
rural South in the early 1900swith African-Amedcan performerc such as Huddie
"Leadbelly" Ledbetter and Robeft Johnson.It soon evolved into a popular form o{
entertaiment in cities such as Memphis. Singers Ma Rainey and BessieSmith aJld
composer W. C. Handy arc sy.nonymouswith this r/&dr| ,fues style. The blues tien
migrated to Chicato and other Nofthern American cities and is carried on by per-
lolmers such as B. B. King, Muddy Waters, and Howljng Wolf. It also inluenced a
diversity of rcck musiciaru, including Elvis Preslet Bormie Raitt, and Edc Clapton.
Urban blues songs are usually w tten in the blues form, but jazz and other
contemporary styles oI music also employ ihis form. The bluesform rs a 12-
measure structure consisting of three phrases of Iour measures each, often occur-
ring in a question-question-answei format.

Question/Statenent Questionlstateme t
4 4 4
 'Ih. tslltesFat and the tsll?s Stnii
116

Many chord progressionshave been appli€d to this form The simplestusesthree

dominant 7th chords-

c74

3tJ phra'e
a] F7 c7

BosicBluesProgression

Later or! ii-V-I progressions were added during the third phrase:

lst phaie,- 2ndlh.ase --

ci4 F7p

:lrd phra'e
DmiT G] C] D m7 G7

VI
withii-V Progressions
Blues

TheblJe- rorm is dl-o round tn i flnor LF)

l { ptua.e.- 2rJ ohl \e.

CmiT 4

3 rd p h ra se,.
DmiT(t5) G7(t9) CmiT

nv
in Minor
BluesProgression

Since th€ 1940s,there have been many vadations involving chord substitu
tions and extensionsto the lentih of the 12-measue form The followinS ls an exam
ple of a blues in a major key with numerous substitutions For Iufther informahon
l
;;;;; i;;; ih" 6i"es progression, reler to Crc,ttire lazz ImProoisation
lscott D. Reev$, Cr.arirc.l,z: 1ftfo,64rtdt, 2nd ed (lnSlewood Cliifs, NJ: Pldtic€ Hall'
1995),pP 102 108.

f-
The Blres Fotd and the EluesScdle 117

F MA7 A7 Dm7 CmiT

B' IVAT A b mT D67

C7 Drnll G61 F MA7 A' MA7 D' I\,1A7Gb MA7

BllesPrcsresionin MoiorwidrChordSubsriruiions

The blues is perhaps the most commonly used form in jazz, wiih thousands
of compositionsrtilizing somevariation of this 12-measureformat. Somewell-
knovvnblues tunes include'All Blues," "Billie's Bounce,""Blue Trane," "C Jam
Blues," "Freddie Freeloader" "Mr. PC.," "No\ the Time," "Tenor MadJless,"
and "Watemelon Mar1."' "s
The bl#s scdlcis a six-note scaleconsistingof a minor 3rd, a whole step, a
half st€p,ahalf step,a minor 3rd, and a whole step.

It is used to improvise over doninant 7th and minor 7th chords,not only within
the bluesform, but in many other tlpes ol songsaswell. The L3rdof the scalerub-
bing against the major 3rd of the dominant chord, as well as the clash of the $,1
againstthe 5th, gives this scaleits characteristic"bluesy" sound. Thesenotes an3
often "bent" creating "blue notes" beiween the normal pitches- The blues scale is
found in stylesas diverseas early blues/jazzl rock, gospel,Motown, and contem-
polary pop music, whenever a "soulful" sound is called for.

B rur s S c l r . r W A R M - UPS

Play the foltowinS exercisesover the chord progressiorl,using either a metro-

nome, a live rhythm section,or the "Dorian and Blues ScaleWarm-Ups" play-
along track on the companion CD. PIay the wdtten erample ovel the tust chord;
then use your ear to play the exercisein the different keys indicated bv the chord
sFnbols. You will find it helpful to look at the chord progressioninstead of the
€xerciseswhen playinS in the remaining elevenkeys.Pick a tempo at which you
can effofilessly play €ach €xercise,gradually moving on to more dificult exer-
cises after you have mastered th€ easier ones.

'Ih€ music to tl€se songs may be fodd in the lol1o$'in8 volmes of ,,1Nd ,4/prc,., ro /rzz
Irflo!6d,io,: 'All Bhes" (vol. 50),"Brnic'sBoun.€" (vol 6), "81u€Trane" ffol.38). "c Jam BlueJ'
(vol. a8),,,rreddierreeloader,,(vol. 50),"Mr P c.,, (vor.24,,,Now,s fie Tirne,,(vol 6),,,TsorMad-
ne$" (vol 8), "warermelon Man" (vols. 11 md 54).
114 TheBl*s Forttthd th. BluesSedk

Tr e b le Clef C Instrument5 -c h o rd P ro g re s s io n

Cm7 FmiT BbmiT Ebml

Cfimi7

Tr eb le €lef C I nslru me n t 5 -B e g in n in g E x e rc is e s

1. Bluesriff 1:

CmiT

Tr e b le Cle{ C lnstrumenls -ln le rme d io t e E x e rc is e s

3. Thebluesscale,ascending:

CmiT

4. The blues sca1e,descendins This pattern is similar to "Sonnymoon for T$'o"

by Sonny Rollins.3

cmiT

:Somy Rollins, "Sotuymoon for Two, ' coPyriShr bl Bll. Horizon Music BML
The B|fts Fotln nnA thEB|tua sntP
1r9

5. A parap_hrase of rhe opening morive o{ Dizzy ciltespje,s composition ,,Birk,s

Works. " This partem anficipates each chord change by ttuee eighth notes.

CmiT

Tr e b le Clef C Instrument5 -A d v o n c e d E x e rc is e s

biuespartern,similarto the song,,S.K.I.,,

6. A descending by Milt lackson:5

7. Ablues rilf in tdpleis thatbegins on a blue nore:

B l , I n s tru me n f s-C h o rd Pr og r ession

GrniT

B tm7 ElmiT

EmiT

tDtzy Gillespie,"Bnkt Works,"

copynghtby two Music,ASCAp
Milt ]ackson,"S K.i.," copyrightby Re.cieMui., BMl
 120 The Blrd Fafl afld the Blks Scdle

Bt I n 5lr u me nls-B eg i n n in g E x e ra i5 e s

1. Bluesdff 1l

Dm7

2. Blues riff2:

Dm7

Bt I n s I r u m e n t r - | n I e r m e d i d t e E x e ra i5 e s

3. The bhes scale,ascending:

I
DmiT

4. The blues scale,descending.This paitem is similar to "Sonnymoon for Two"

by Sonny Rollins.

DmiT

5. Aparaphrase oI ihe opening motive of Dizzy Cillespie's comPosiiion"Birk's

Wofks." This pattern anticipaies each chord change by thr€e eighth notes.

DmiT

Bt I nsl ru me n ts-A d vo n ce d Exer cises

6. A descendintblues patte4 similar to the song "S.K.r."by MiIt Jackson:

DmiT

L.
meBlu.t F0n antlttu Blu.sScnD 127

7. A blues rifl in tfiplets thai b€gjns on a blue note:

DmiT

Eb I n ilrs ment5-C ho rd P ro g re s s io n

A.|,7

FlmiT

EL I n s lr u m en t5-B eg in n i n g E x e rc is e s

1. Biu€sdff 1:

2. Bluesdf{ 2i

EL In slru m e n t s - | n I e r m e d i q t e E x e rc is e s

3. The blues scale,ascending:

4. The blues scale,descending.This partern is similar io "sonnFnoon for Two,,

by Sonny Rollins.
 The8l,6 Farn nndtheBlresScnlt

5. Aparaphrase of the openinSmotive of Dizzy Gillespie's composiiion "Birk's

Works." This pattem anticipates each chord change by three €ighth notes.

AmiT

r I tt. --

Et In struments-A dvonced E x e rc is e s

6. A descendingblues pattern,similar to the song "S.KJ." by Milt lackson:

AmiT

7. A blues riff in triplets that begins on a biue note:

AmiT

Bo ss Clef lnclru me n ts-Chor d P ro g re s s io n

CmiT FmiT BtmiT Ebm7

8 a

C$ m7 FlmiT

GmiT

B o ss Clef I n sl ru me n f s- B e g i n n in g E x e rc is e s

1. Blues ff 1l

\-
The Blres lom oul lh. BLfts ScaLe

2. Bluesriff2:

CmiT

Bo ss Clef lnslru m e n I s - | n I e r m e d i o t e E x e rc is e s

3. Thebluesscale.ascendins:

CmiT

4. The blues scale,descending.This paitem is similar to "Sonnymoon Ior Two"

by Soruly Roliins.

5. Aparaphrase of the opening motive ofDizzy Gillespie'scomposition "Birk's

Works." This pattem anticipates each chord change by three eighth notes.

CmiT

Bo sg Clef ln5lrumenl5-A dv o n c e d E x e rc is e s

bluespatterrrsimilarto the sont "S.K.J."byMiltlackson:

6. A descending

7. A blues ff in tripl€ts that begins on a blu€ note:

CmiT
 me Bhd Eoffi and theBLresScdle

All In5lrumenls-l m p rovi so tio n Exer.iies

1. Improvise on the blues scalesin twelve keys, using a live rh)'rhm section or the
"Dorian and Blues ScaleWarm-Ups" play-along track on rhe companion CD.
2. Improvise on the blues progression in Bt concert, using a live rhythm section
or ihe "Rhlthm Warm-Ups: Swing Rhythms" play-along track on th€ comparl-
ion CD
3. Make up your own exercisesal1d melodic ideas based on blues scales and the
blues form.
TheBluesFom and the Blues Scale 725

Jm p pov rs rr.rc oN rH E B L UE s F o RM

"Eta Carina Blue" is a compositionbasedon the blues form. Ptacticeand impro-

vise on the song, using eidrer a metonome, a live rhythm section, or the "Eta Ca-
rina Blue" play-alont track on the companion CD. (On ihe CD, the €hord
progression is played sixt€en times.)
After playint the melody, practice the chord progressionby oirtlininS the
chords with ihe ex€rcisesthat Iollow the song. As the exercisesdemonstrate, you
may improvise on "Eta Carina Blue" either by usint oneblues scal€ihroughout
or by employint the bebop 7th scalesthat accompany $e I, ry and V chords.
 The BlL.s lann ann tlv Blu6 5e,.

EtaCarinaBlue

SOLOS

GmiT

Repent for solos. Aft€r solos,

D.C. al Fine

Copyright O 1995Scott R€.vcs, R€eboneMsi. (BM l). All RiShts Resered. Used BI P€rmission.
TheBlus Foffi dnd theBlu6 Seale

lr e b le Clef I n s t r u m e n | 5 - Ex e r c i g e g J o r' , Z t . l Cq rin o B lu e , ,

1-5. Play Blues Scale Warm-Ups 1, 2, aJId 3 six times and 4 and 5 three times, in
the key of R ov€r the chord progression to "Eta Cadna Blue.,,
6. The blues scale,descending in eighth notes:

7. The blues scale,ascending and descending in eighrh notes:

8. Outlining the dominant 7th chords with b€bop 7th scatesl

F7
 The Blrcs Fatn antl the Bl,es S.nl.

EtaCarinaBIue
Bb Itrstments (saxophonesplay 8rd)
Swing

Repearforsolos. Atter solos.

CopyriShr q 195 S.ott Reev€s,ReeboneMusic (BMD. An Rlghts Resen'€d. Used Bv pennission.

dl
I The Blr4 Fom nnd the BfuesScaLe

I Bt I n 5 I r u m e n t s - Ex e r a i 5 e 5 io t " E ld Cq rin o BIue"

a 1-5. Play Blues Scale Warm-Ups 1, 2, and 3 six times and 4 and 5 three times, in
the key of G, over the chord progression to "Eta Carina Blue."

a 6. The blues scale,descending in eighth notes:

I
I 7. The blues scale,ascending and descendinS in eighth notesl

I
I
t
8. Outtining the dominant 7ft chords with bebop 7th scales:
I c7 G7
I
I
I
I
o
I
I
I
I
I
I
t
?
I
tI
 The BluesF.tn dnd the BluesScale

Etq CarinaBlue
Swing

SOLOS
D7

Repeatforsol6. After solos,

Copyright O 1995Scotr Reeves,Rebon€ Musi. (BMl). All RiShts ReseNed. U*d By Pemission.
The BltB Fom and the Btu6 Scab 131

Et I n 5 I r u m e n i s - Ex e r a i 3 e s io r " E t (, Co rin o B lu e "

1-5. Play Blues Scale Wam-Ups 1, 2, and 3 six times artd 4 and 5 three times, in
the key of D, over the chod proSression to "Eta Carina Blue."
5. The blu€s scale,descendint in €ighth notes:

7. The blues scale,ascendinS and descending in eighth notes:

8, Outlining the dominant 7th chords with bebop 7th scales:

D7
 fh. BluesFatn and thr BluesScale

EtaCarinaBlue
Bass Cl€f INrrments (op1.8rd)
Swing

sol-os
F7

GmiT C7

R€p€at for solos. After solos,

D.C. al Fin.

C.oyr 8l lO loac c. ol- Reevc'.liftbone VLs( /BVl\. 4ll riSl-c Re,en cd L*d By f"m*ioi.

!
me Blu6 Eoft afld the Blu$ Scal!

Bo sr €f ef I n s I r u m e n l5 - Ex e r c i s e s io t t ' E t l, Cq rin q B lu e "

1-5. PIay BluesScaleWatm-Ups1, 2, and 3 six times and 4 and 5 three times, in
the key of R over the chordprogession to "Eta CarinaBlue."
6. Thebluesscale,descendingin eighthnotesi

7, The blues scale,ascending and descending in eighth notesl

8. Ou tlinin B the d omindnt 7th chord s ith bebop7Lh.cales:

-
:134 1-neBluesEatft and the Bltes Scak

Eta CarinaBlue
Scol! Reeves
G br3 F t 3 G b r3 F t 3 Gbt3 Ft 3

8bt3 Gt t3 Ft3 Gbt3 Ft3

2.
at,a r,ai ' c b1 3 F r 3 G t t 3 F t 3 G t 1 3 F r3 G br3 F t 3

Rep@t for sol6. After solos,

CoplriSht @ 1995Scott Reev€s,ReeboneMusic (BMI). All Righrs Res€rv€d.Used Bv Pemission.

Th. BIM Fam and the Bfud Scdle

EtaCarinaBIue
G67 F7 G'7 F7 G67

G67 F7 cbl F] G' ] F] C7 sus4

G67 F7 G6t
[-;- __ F.--

SOLOS (exmple bassline)

F7

GmiT

Repeat for solos. After solos,

D.C. al Fine

cotynght O 1995scott Re€ves,R€eboncMusic (BMI). All Rights Resered Used By P€lmission

 C H A PT E R

SE C T I O N A T F O R M S
AND R H Y T H M
CH A N G E S

Mosijazz compositionsare based eith€r on the bhes form or on secfioral/or.rrs.

Sectionalforms consistof completemelodic ideas called pr,'nses,which occur in
a given seqrence.Thesephrasesare typically eight measureslont, but they are
also fomd in other lengths, particularly Iour, ard sixteen-measute va eties.'
Sectional foms come in three v€rcions: ,inaly, tetnary, and,thro gh-conposed.
\ 'hm these forms are analyzed, each new phrase or section is assigned a letter II
the phrasesoccur in an AB-AB or AB-AC sequ€nce,the fo1m is calledbinar, be-
causethe secondhalf of the song mi ors the fiIst. [f the phrasesoccur in an AA-
B-A format, the folm is called tenary, since it divides into thiee parts. (In ternary
foim, the B section is olten referred to as the bridgeor the /eledse.)Most sonts
based on sectional forms use either the binafl,/ or the temarv format. but occasion-
allv we fLndsong. in which none ot thephraies repeats.fte'earecalled tl'ough'
comPosedforms,
Sometimes,jazz compose$ not only model their composition on one of these
forms but also "borrow" the chord progession from anofter sont, particularly
popular "standards" from the 1920sand 1930s.(Melodies can rcceivecopyright
protection, but chord progressionscannot.)Compositions basedon prcexisting
chord proSressions,sometimescalled .o/,1/r/a.lr,becam€commonplaceduring
the b€bop pedod of the 1940s.'zThe chord progression most often "apprcpdated"
was derived from a GeorgeGershwin song, "l Gat Rhythm." Rhythn changes, as
they are commonly calied, arc based on a 32-measureAABA ternary fom. The A
section consists of a simple progression in the tonic key; the B section stats on the l
'Scott D. Reeves,C/eot@ .I4zzhplorMttdr, 2nd ed. (Englewood Cliffs, NJ.i Prmtice HaI,
1995),p.124.
:The tem
".ontrafacf' w6s coined by Prufessor David Baker of Ldim Univdity.
736
 .l
se.tianal Fohns afld Rhythft Chary.s 13f
I
dominant 7th chord a major 3rd abovethe tonic, and returns io the ori$nal key
I by means o{ dominant 7th chords moving upward by pedect 4ths.

I AA
GmiT(G7)
I
t E bm7 DmiT
I
; 2. B
I
I
I D.C a/ fine (take2nd eodios)

I Rhythm in Bl
Chonses

t Someof the more p-opularvadations on this progressioninclude the following

.hord substituiionsJ
AA
I B' IV]A7 CmiT DmiT G7 Cm7

t
I E' MA7 E7
1,
DmiT CmiT

I
I 2,
CmiT
I
I
I
I
I Cm7

I D c' dt Fia? (take 2nd endins)

I The cho.ds fosd jn the s{ond haU oI m€asures 1, 2, and 6 are tlTes ol dlminished chords
and will be djsclssedin ChaptersU dd 13.

I
I
 SItiotol Faffis and Rhlthtu chnflg5

Songs based on rhlthm changes arc second in popularity only to the btues.
Some of the most com]noi y played tun€s usin8 this progession include "Oleo,"
"Serpents Tooih," "The Theme," and "Thrivin' ftom a Rift" as well as the theme
ftom the T.V show "The Flintstones.""

R svru l r C H A N GE s W A R M - UP s

All I n s I r u m e n I 5 - | m p r o v i 3 o I i o n E x e rc is e t

1. After practicing "Lester Lept Out," make up your own exercisesand melodic
ideas based on "I Got Rhythm" charlg€s.

fie musicto thesesorys may b€ lomd in the following v olmes ot ANtu ApplM.h told.z
Inp@itution: oleo' (vol.8), "s€rp€ntsTmth" (vol. ?), "ne Thene" (vol. 7), "Thrivin' from a Riff"
(vol.6).
Sedi.nal Eoms anl FJiythn Chtng*

Ja ,rp nov rs rnc oN R H Y T HM CHA NG E s

"Lester Lept Out" is a composition based on the chord changesto "I Got Rhythln."s
Practice and improvise on the song, usinS €ither a metronome, a liv€ rhytlm sec-
tion, or the "Lesi€r L€pt Out" play-along track on the companion CD. (On the
CD, th€ chord proSression is played six times.)
The A section of "Lester Lept Out" contains a simple rhythmic idea called a
/r.fl The B secdon is based on a motive played by the great tenor saxophonist
LeslerYoun8 during his impro\i"afionon hiiconposition"Le5lerI eapstn. 6
Jazz musicians have traditionally gravitated toward "I Got Rhythm"
changes in part becauseof the possibilities inlerent in the chords to the A section.
The vadous chords have so mar|y notes jn common that it is possible to color the
entire A section with one major scale,one blues scale,or one major pentatonic
scale,although not every note will perfectly fit eachchord.TConverselt the im-
provisor can choose to emphasize the notes that are not common to all the cho(ds,
t'?ically the 3rds and the Tths of each chord, to brint out the sound of each indi-
vidual chord change. The exercises that follow the song illustrate the difference
between thesetwo approaches,as will a comparison of Lester Young's solo on
"Lester LeapsIn" with Charlie Parker's solo on "Shaw'NufI" from C/erli?e/d:z

5ceorge Geshwin,
"I Gol Rhythm," copyright 1930,ren€wed by WB Music Corp
6\ee!es, Clutiu
lan Inpt@i.4tian, p. 46.
?tufer to Chapter 12 for more hJormtion on pentatonic scales.
'Reqee. Clutbe laz Infatis4tior, pp. 45 52, 13H38,
 Se.tknal Eoms and F,htthn Chtng6

LesterLeptOut
Treble Clef C Insiruments
Swing
A B b M A7 Gl Cm7 DmiT C7 cmiT

11.
BbI\,4A7 E' IV]A7 DmiT G7

Cn7 F7 BbMA7

F7(r5) cmiT

cmiT BbMA7 EbMA7

Bbt4A7
Soloson the form (AABA); us€the chordsynbols
aboyetbe mclodyfor your improvisatlon.

Copyrlghi O 1995Scott Reves, R€bon€ Msic (BM). All Rights Rese^'ed. U*d By Petuissid.
Sechmtl Fatus ahd Rh.lthn Chnnge!

Treble Clef I n s t r u m e n I 5 - E x e r c i s e s for "Lester Lept Oul"

1. A tuide-tone line ihat bdngs oui the sound of each chord. After pncticing ar|d
memoriziry the line, improvise a solo based on these pitches, using your own
rhythms, connectjngnotes, and emb€llishmenis.

A
BbIV]A7 E7 DmlT Cm7

BbM47 Bb7 EbMA7 Dm7

12. B
CmiT

F7
# r.(.4r ri n? traK eznoenornst
:
 Se.tkflal Foms ana Rhl7thn Changes

Play the roots, 3rds, and Tths of each chord, making sure each note has the
same duration as the chord. (Note: Diminished chords have minor 3rds ar1ddi-
minished or doubly flatted 7ths.)
Althorgh it wili not bdng out the sound of each individual chord, a single
major scalemaybe used over the chordsin the A section-(1 4rcn improvisint,
you may wbh to lower tleA to Al in bars 5 ard 6.) Usemixolydian scalesover
the chords in the B section.

A
BbMA7 G] Cm7 F7 DmiT G] Cm7

1.
BbMA7 Bbl E6MA7 E'7 D mi T CmiT

2.
CmiT BbMA7

DC al rtr" (take 2nd €ndins)

settianrlFatnsandRh.lthftcleryes

4. The blues scalemay also be used over the chords in iheA section.B€bop 7th
scalesare used in the B section,

B' IVAT

L
B' MA7 867 EbT/47 DmiT

2.
Cm7 B' MA7

D.C al rird (tqke 2nd endins)

 Se.tianalFatus dfld Rhythft Chary.s

LesterLeptOut
Swing

A c MA1 EmiT A1

1.
C T,4A7 EmiT DmiT

2.. B
I Dm7 G] c l\,4A7 E]

G7(b5)

r EmiT F MA7 F$'7

'r
E

DmiT G7 C MA7
Soloson the form (AABA)i use the chord symbols
abov. the melody fo. your improvisation.

Cop),ri8hl O 1995S.otr llec!'es, ReeboneMusi. (BNll). All RiShts R€s€rved. Used By Pemission
Sttihal Eoms and Rhythh Changes 145

B t I n 3 | r u m e n I r - Ex e r r i s e s for "Ler ler tept Out,'

1. A Suide-tone line that brinF out drc sound of each chord. After practicing and
memo zing the line, improvise a solo based on tlese pitches, using your own
rh)'thns, connecting nof es, arld embellishn-Ients.

A
C IVAT

l.
C MA7 c7 F MA7 rl"l EmiT

C MA7

D7

G7
D.C ar Fiae rtake2ndendin!)
--
 S.ctiofldl Foms anARnvthd Chnry!:

2. Play the roots, 3rds, and Tths oI each chord, making sure each note has the
sameduraiion asthe chord. (Note:Diminish€d chordsha1'eminor 3rds and di-
minished or doubly flaited 7ths.)
3. Although it will not bring out the sound of each individual chord, a sintL€
major scaiemaybe used over th€ chordsin ihe A section.(When imProvisjng
you may wish to lower the B to Bt in bars 5 and 5.) Use mixolydian scaleso\ ef
the chordsin the B section.

C MA7 DmiT

fi.
C MA7 C] EmiT

:4. B
DmiT G7 C MA7

,.C al rine (take 2nd €nding)

SecrioulFtu andRb*htu Chtn86

4. The blues scale may also be used over the chords in the A section. BeboD Zth
scalesare used in the B section.

C MA7

C MA7 DmlT c7

z.
DmlT C MA7

Dc. a, Fiae (take 2nd ending)

148 S?.tianalFotns and Rh,:/!Jtn:
-:

LesterLeptOut
Swing
G MA7 D7

l.
G TIAT C MA7 BmiT E7

2. B
AmlT D1 87

D7(b5)

C MA7

D] G I,4A7
Soloson the forn (AABA)t usethe chord symbols
aboaethe m€lody for your imp.ovisatton.

Copyiight O 1995Scott Reeves,ReeboneMusic (BMI) All RiShrs Resel1€d' Used By lermisslon

SectjnnalFotus aid Phltln Chaflgs r49

Eb I n 3 t r u m e n I s - I x o r c i s e s f or ,,Le5ter Iept Out,,

1. A guide-toneIine that brings oul the sound ot eachchord. AFterpracticmqand
memorizinS Lheline, improvte a soto basedon tlresep;tche.. uiing your"own
rhythms, connectingnotes, and embellishments.

G MA7

G MA7 G] c IvlA7 Cd"7

12.
AmiT Bst

-ft

D.C al rd. (take2nd ending)

 Se.tiawlFonnsrrd RhlJtht,Chan!:,

2. Irla)r the roots, 3rds, and Tihs of each chord, making sure each note llas ih€
same.luraiion as the chord. (Note;Dirninjshedchordshave minor 3rds and lti
ml]rished or doubly flatte.:t 7ths.)
3. Although it .ill noi brnlg oui the sound o{ each indil,idual chord, a single
major scalemay be used over the chordsin ihe A section.(When imProvjsins
vou may wish to lo$,er the Fflto F inbars 5 and 6.) Use mixolydian scaleso!.r
the chordsin ihe B scction.

G MA7

1.
G MA7 G] c IIAT Cl.7 B m7

G MA7

,.C. al r'tu. (take 2nd ending)

t
Seeridal Far,ts and Rh.!thn1Chtryes

4. The blues scalemay also b€ used over the chords in the A s€ction.Bebop 7th
scalesare trsed in the B section.

Aa ro, E7 AmlT D7 B m7

1,
G I\IA7 G7 Bm7

G IV]A7

D.C d riae (take 2nd ending)

752 Se.tianal Foffis and Rhythn Aehg6

LesterLeptOut
Brss Clef lnstruments
Swing
Bt [/A7 e7 CmiT CmiT F]
A-

lr .
B' MA7 B '7 E' MA7 D.r,iT G7 cm 7

cmiT

DmiT CmiT 8' MA7

cmiT F7 Bb MA7
Soloson the form (AABA)i use th€ chord symbols
abov€ the melody for your improrisation.

Copyrighr O 1995Scott Rsves, ReeboneMlsrc (BM). All Rights Resered Used By Permjssion
Sectihrl Fams and Rhythfl Chaflges

Bcss €f ef I n r I I u m e n | 5- E x e r. i 5 e s lor,'Lester Lept Out,,

1. A guide-tone line that brings out the sound of each chord. After practicing and
memorizing the line, improvise a solo based on these pitches, using yout o\an
rhythms, connecting notes, and embellishments.

A
B' MA7 DmiT

1,
B' MA7 B '7 E' MA7 E7 DmlT CmiT

12, B
CmiT BbI\IA7 DJ=,_==-

c7

D.C a, rd. (take2nd endirs)

 stnanil FotnsandRhythftCh'rya

2, Play the roots, 3rds, and Tths oi each chord, makint sure each note has the
same duration as the chord. (Noter Diminished chords have minor 3rds and di-
minished or doubly flatted 71hs.)
3. Although it will not brint oui the sound of each individual chord, a single
major scale may be used over the chords in the A section. (yr'hen improvisint,
you may wish to lower the A to At in bars 5 and 6.) Use mixolydian scalesover
the chords in the B sectlon.

IVlA7 G7 cmlT DmlT Gl

B' MA7 Bb1 EbI\,4A7 DmiT

2. B
CmiT B' MA7 D7

D.C. al Fine ltakehd e ilg)

Sectiml Eams aad Rhlthft Chtryes

4. The blues scale may also be used over the chords in the A section. Bebop 7th
scalesarc used in the B section.

Arr ror e7

t.
E' MA7 DmiT

Dc. a, rtrs (take2nd ending)

 LesterLeptOut
Piano/Guitar
Swing
Br MA7
A

A (r9) (re) (b9)

Bt MA7 G7(+5) Cm9 F7({5) Dmig G7(f5)

Coplaight O 1995Scott ReeboneMusn (BM). All Rights Rescn ed. Used By P€rmESbn.

156
s{tiondl Ftu and Mltthn Chang5
757

tocoDAS
Cmig F9 BbMAg Bt7
ft9)
EbMAgE"7 Cmlg F7({5)B' MA9

Repest for solo6. Alter solos,

D.C. al CODA
 se.tiandl Foffis nnd Rhlthft chnn&et

LesterLeptOut

1.
BbMA9 861 Ebl/lA9 E7 Dmi9

2.
Cmi9 B' MA9

F9(b5) B' IV]A7 G7 cmi9

to CODAS
BbMAg Bbl EbNIA9 E'7

Bb MA9
Repeat for solos. After solos,
D.C.aICODA

$ con'r
Cmi9 B' N/A9

CopFi8ht O 1995Scott Ree\'€s,ReeboneMusic (BMl) A11Ri6h1sReserved Used By Psmission

lazzis notaboutflashylicks.lt'sa storywith a
beginning, middleandend.YoumustJirstlearn
theaocabulary-scales, chords,etc.. . . thenlet
it fly. And besureto listeninsidetherhythm
sectian-that'sthemotor.

-tenor saxophonistStan Getz

;

I
I C H A P TER

I
I
I
10
I
I T HE I CH O RD I N
I
MIN O R ; M E t O D I C ,
I
HAR MON I C, AND
I
NA T U R A t M I N O R
I
N
scAr E s
I In major keys,the minor chord occursas a ii chord in a ii-V-I progressionor as a
vi chord in a I-vi-ii-V-I pro$ession. \ rhen improvising over a minor ii chord or
I a minoi chord in a modal tune, the dorian scaleis usually the pr€ferred choice.
The dorian scaleis not the only minor scaleused by jazz musicians,how-
I evei. In minor kevs, minor chords function as i (or tonic) chords and as iv (or sub-
dominani) chords. When improvising over tonic minor chords, jazz musicians

I generallyuseone of threeoiher typesoi minor scales:$e natwal \or aealian)minaL

Ihe harmanicminoL al\d the melodicfl1ifior.NoIice that althoueh all lour scalesshare

t tne -dffe frr-i fr\ e notes.they dilfer in Lherrorh5dno 71h..

?
C NoturdlMinor (Aslion) Scole

mi6 MA7 MA6 MA7

C Homonic Minor Scole c MelodicMinorscole(JozzVe6ionl

'R€fer to Chaptes 6 ard 7 to evlcw minor 7th clrcds and n V I prcgressions

162 TheI ChuA h Minat: Melodic, Hnmoni., atd Nattrnl Mitot Sct=

Tne aeali!1t1ornatulal mtrol saalecontains the same notes as the major scalea
major 6th below.'z

c NoturotMinor(Aeoion)scote El Moiorscole

Major aj1d minor scalesrelated in this way are rclened to as the rclatbe nijor a d
Ihe relatfueminor ol e ch other Becausethe scalescontain the same notes, a sons
ii a miior kev u5ertne .dme le\ .ignrfured5 ir: rel.rri\e major.

KeySignoture
for C Minor

The natural minor scale has a sad or dark character. Unlike the doian scale,
which has a tendency to progressto a mixolydian or a major scale,the natural
mino( scalecreates a strong feeliry of arrival in a minor key. This is due to its low-
ered sixth scaledegree,which tends to resolve downward a halfstep to the fifih
scale deglee, or dominarlt. The natural minor scale is used ove. minor 7th chords
functioning as i chords in a minor key.
The hatmonicfii ar scalecan be thought of as a major scalewith the third
and the sixth notes lowered a hall step. This scale has a "Mideastem" or "Asian"
qualitybecauseof the autmented 2ndbetween the minor 6th and the major 7th

Ihe ascendingnelodic minol scalccan be thought of as a major scale with the

third scale d€gree lowered. (Tmditionaly, in the descending Jorm of the scale,the
sixth and the seventhscaledegreesare also lowered, butjazz musicianstend to
use only th€ ascending version of the scale.)

C HormonicMinor Scole C MelodicMinor Scole c Moiorscole

Harmonic and melodic minor scales are used when improvising over
ni arhwjor 7th choftls, which consist of a minor triad with a majof 7th.

The minor/major 7th chord ls |airly dissonant,possessing a certain amomt of ten-

sion. It functions primarily as a i chord in a minor key.
In addition to its use over a minor/major 7th chord, the melodic minor scale
colors a minor triad widl an added major 6th and a major 9th. This chord is called
a fiinor 6/9 chotd, altho]ughthe 6th and the 9th are always major.

'Reler to Chaptd 14 lor more infomation on inteNals.

 TheI Chord 1nMnntj Meladie,Hynanjc, dfld N^tttol Minot Scil6 :163
I
I
I cmii
I Lile ihe minor/major 7th chord, this chord tunctions as a ionic minor, brt it has a lit-
tle less "bite" or dissonance.The 6th and the 9th add color al1dwaranth to the sound.
I Listen to somejazzstandardsthai containtonic minor chords,such as Aire-
girr"'Ail or Nothing atAll," 'Alone Totether," 'Ang€l Eyes," "Daahoud," "In a
I SentimentalMood," "It Don'i Mean a Thing," "My Funny Valentine," "Nardis,"
"Nica's Dream," "Round Midnight." "Solar,""Yesterdays,"and "Yo11Don'tKnow
What Love Is." Also practicesinging and playinS the four types of minor scalcsto
N becom€ Iamili with thetu srbtle differences in sound and mood-l

I
I M e l ootc MrN oR S c aL E W a RM - UP s

N Plav the following exercisesover the chord progression,using either a metro-

nome, a live (hythm section,or the "Meiodic Minor Warm-Ups" play-alongirack
I on the companion CD. Play the wriiten example over ihe first chord, then use
your ear to play the exercisein th€ different keys indicated bv the chord symbols.
You will find it helpfui to look ai the chord pro$ession instead of the exercises
I when playint in ihe remainint eleven keys. Pick a tempo at which you can effolt-
lessiy play each exercise,gradually moving on to more difficult exercisesafter
I you hav€ mastered the easier ones.

I T r e b l e C l e f C In sl ru menls- Chor d Pr ogr ession

I Cmi(MA7) Clm (lvlA7) Dmi (MA7) Ebmi(MA7)

N
I Emi(MA7) Fmi(MA7) Flmi(MA7)
8
Gm (MA7)

N
I Abmi(MA7) Ami (MA7) B b mi(MA 7 )
8
Bmi(MA7)

I
I
I 'Th€ music to dresesongs may be Iomd in the lolownrg volmes oI ,4 Nea AfptuD./r td /a::
iftplolfdlioil, "Aiegrn' (vol. 8), "All or Nothing at Ali'(vol.44), "Alon€ Together"(voL.4I),"Angel
lyeC' (Vol.23),"Daanod" (vo].53),"ln a Senumstal Mood" (\bl. 12),"it Donl M.an a Thing"

I ffol. 59), "My rlrmy Valenrine" (Vol 2s), "Nardls" (Vor. s0), "Nica's Drean" (Vo]. 1E),"Round rrid
nishr" (vols. 40 and s6), "solar" (vol. 7), "YesrerdayJ' (vol. 55), "You Don'r Knolv i{hat Love Is"
(vol 32).

N
I
il
_ _-_iq___,
 TheI Ch6.l in Minq Meladic, Hatnofllc, dnd Ndtrrdl Mitut Scdles

l r e b le C l e f C I n sl ru .n e nls- B eg i n n in g Exer cises

1. The first five notes of the minor scale:

Cmi (MA7)

2. The asc€nding melodic minor scale:

Latin
Cml (MA7)

3. A melodic fragment based on minor scales:

Latin
Cmi(MA7)

l r e b le C lef C I n 5lr u m e n l5 -l n le r m 6 d io le E x e rc is e s

4, Thejazzmelodicminor scale,descending:

Cm (MA7)

5. The minor/major 7th arpeggio:

Larin
Cm (MA7)

T r e b l e C l e f C I n stru me ntr - Advo n< ed Exer .ir es

6. A pattem based on lhe descending minor/major 9dr arpettio:

Cmi (MA7)
 .t
N fltIChod M ta o M p la d i Ha .h a r a "d \,atal \'t;no -rl .

I 7. A melodic idea played by trumpeter Freddie Hubbard:

Latin
I Cmi (MA7)

o
I
Bt I n rlru fi en ts-C hord P ro g re s s io n
I
Dmi(MA7) Etmi(MA7) Em(MA7) Fm (MA7)
I 8

I (MA7) Gmi (MA7) Abm (N4A7) Ami(NlA7)

I a

t Bbmi(MA7) Bmi(MA7) Cm (lvlA7) Clmi(lvlA7)

I
I
T B' I n 3lr u m enli-B eg i n n in g E x e rc is e s
I
1. Th€ fust five notes of d1eminor scale:

I Larin
Dmi (MA7)

/-
I
t 2. The ascending melodic minor scale:
I
Latin
Dml (MA7)
I

!
f 3. A melodic fragmentbasedon minor scales:

Latin
I Dm (MA7)

t
I
I-,

I
4r-
 TheI Chnd h Minat Melodic,Har'nani., nnd Naturai Minot S.tlet

Bt I n s tr u m e nl5-l nle rm e d io le E x e r(is e 5

4. The jazz melodic minor scale,descendingl

Latin
Dmi(MA7)

s. The mino/major 7th aryeg8io:

Latin
Dm (MA7)

Bt I n slru me n ts-A dvq n c e d E x e rc is e s

6. A patten based on the descending minor/major 9th arpeggioi

Latin
Dm (MA7)

7. A melodic idea played by trumpeter Freddie Hubbard:

Latin
D m (MA7)
(MA 7)

E ' I n 5l r u m e n ls -C h o r d P r o g r e s s io n

Ami(MA7) Btmi(MA7) Bm ([/A7) Cml(MA7)

8

C+m (MA7) Dmi (MA7) Etmi(MA7) Emi(MA7)

8

Fmi(MA7) Flmi(MA7) Gmi (MA7) Abml(MA7)

8
118 I Chord in Miaor; Meladie,Hat@niq and NatMl Minat Scdles

Et I n 5lru menls-B eg i n n in g E x e rc is e s

l. The first five notes of the minor scale:

Aml (MA7)

2. The ascending melodic minor scale:

3. A melodic fraemml based on minor scales:

Latin
(MA7)

E t I n si ru m e n ts-l n l e r m ed io te Exe.cises

a. The jazz melodic minor scale, descending:

Latin
Ami (MA7)

5. Theminoy'major7th arpet$o:

E, I n stru me ni5-A dvo n c e d E x e rc i5 e 5

6. A pattem bas€d on the descending mino/major 9th arpetgio:

Latin
Ami (MA7)
 TheI Chotd in Milor) Mdadn, Eanonlc, and Nnt rat Mnn Smt6

7. A melodic idea played by trumpeter Freddie Hubbard:

Latin
Aml (MA7)

Bdis Clef lncfru m e n ts -C h o r d P r o g r e s s io n

Cmi(MA7) Clmi(MA7) Dmi (MA7) Etm (NlA7)

a 8

Eml(MA7) Fmi(MA7) Flmi(MA7) Gm (lvlA7)

a a 8 8

Abm (lvlA7) Am (MA7) Bbmi(MA7) Bmi(lvlA7)

a a a

Bo s s C l e f In stru .n e n ls - B e g i n n in g Ex e ra i s e s

1. Thefi1.stfive notesoI the minor scalel

Cmi(MA7)

2. The ascending melodic minor scale:

Latin

A melodic fragmentbasedon minor scales:

Latin
 TheI Ch./d ih Minaf: Melodic, Hnfl1onic, afld Nnttral Minor Scal6 169
I
Bo ss C lef lnsiru|nenf 5-ln le rme d io ie E x e rc is e s
N
4. The jazz melodic minor scale, descending:
I Latin
cml (MA7)
I
I
I s. The minoy'major 7th arpeg$o:

Latin
I Cmi (MA7)

I
I Bo ss clef l|tJtru rnenfs-Advqnced ExerGises

t 6. A pattem based on the descendi4g minor/major 9th arpeggio:

Latin
I Cm (MA7)

I
I 7, A melodic idea played by trumpeter Fr€ddie Hubbard:

t Latin
Cmi (llA7)

I
I I n 5fr u m enli-l m p rov i5 q lio n E x e ra iie s
I
Al l

1. Improvise on mmo/major 7th chords in all keys, usint a live rhythm section or

I the "Melodic Minor ScaleWarm Ups" piay-along track on the companion CD.
2. Make uD vour own exercisesand meiodic ideas based on melodic minor scales

I
770 TheI Chtul ifl Mindj Melodi., Ilamnnic, and Natual Mino/ 5&16

Jrvrp nov rs rro or l tl rN o n / M lJ o R 7 T H € Ho RDs

"Double-Entendie" is a composition in which tonic minor chords are used fre-

quently- Practice and improvis€ on the sont, using either a metronome, a live
fiythm sectioD or the "Double-Entmdre" play'along track on the companion CD.
(On the CD, dre chord progression is played six times.)
"Double-Entendre" is based on th€ chord progression to the Duke Ellington
composjtion "It Don't Mean a Thing."a The fust two measuresoI the song contain
fout t'?es of tonic minor chords: a minor triad, a mino/rnaior 7th chord, a minor
7th chord, and a minor 6th chord. The m€lodic minor scale, in its ascmdins and
des.ending form". can be used over dll rour Lonicminor chord<.Tle following js
an overview of the chords and thefu corresponding scalesin concert pitch. (Domi-
nant 7tht9 chords are usually colored by the superlocrian scale,which will be
discussed in the following chapter)

rMelodt mnor
I
- G mi C m i (\,4 A 7 ) Gmi / Gmi o Loj D7(rgt Gmi(melodlcminor)

C7 (mlxolydion) Gt7 (mixolydon) F7(mixolydion) BbMA7 D7('9)

FmiT(dofion) Bb7(mxolydion) Et MA7(mojor)

GmiT (dorlon) C7 (mixolydion) F7(mixolydion) D7(b9)

r r M e l o d i cmj q o r - -.--.. )
o Cm Cn (lVA7) Gmi? Gmr6 L,7 D7(b9) Gmi (melodic minor)

C7 (mlxolydion) Gb7 (mixolydlon) F7(mixolydion) BbMA7 D7(b9)

Chord Prosress;onood Scolesro "Double-Enrendrel{ConcerrPirch)

"DukeEllingtondd Lvin8s Mills, "lt Don't Mem a Thin&" copright 1932,Mewed 1960by
\'!lls Music,Inc.,c/o EMI Mst Publishing.
Thz I Cl1ordin Miror; Meladic, Hdtnoftlc, dd Natunl Mitut Scal6

AlthouSh there are a variety of chords in this tune, most of them are related
to one of four pdmary key areas."The procesBof improvisation can be greatly
simpMied by reducing the chord progression to the following:

A e.i B r M A7 B u vn u F MA7 at F7

Pr;mory
KeyAreo!in "Doubl+Enbndre

After playing the melod, practice the chord progression by outlining the
chords with the exercisesthat lollow the song.

5Thechords f6.tion 6 diatonic chor&,

6econ.lary .lomimts, or tritone substitutions. Refd
to Chapter 15 Io! more infomation on hdhonic aru]vs.
 TheI Cha ifl Miror; M.ladie, Hatftaflic, and Nrtutol Miflat Scala

Double-Entendre
Trebl€Clef C Instrum€nts

Copyright O 1995Scott R€eves,R€€boneMusic (BM). All Righh ReseNed. Us€d By P€rmision.

t fhe I Chafl1i" Mi"ar Melodi.,Hnnnoni, nntl Nrtrral NtiflotStnlrs 173

N b coDAI

t
N INTERLUDE

I
I S ol obreak...
Gm (l/A7)

0 =:-

t "A
. sol-os
c-i Gmi (tvlA7) GmiT G D7(b9)

t -a
I Bt MA7 D7(69)

t lt. -
B
B' MA7

D709)

o s A^ - Gmi(MA7) Gm7 D7(b9)

G6l BbMA7 D7O9)

lft.r all solos.tnke pickup and

D.S.alC0DA
S cole
174 Thel Ch.d in Minat MtLodi.,Ha 1ani.,dnd Nnt rrlMinats l..

Tr eb le €lef l n 5 l r u m e n t s - Ex e r c i s e s f o r " Do u b I e -E n I e n d re "

1. Play a guide tone line o\.er the chord progression in which each noie lasts ihe
duration of the chord. Stat with the 3rd or the 7th of the firsi chord and mo\ e
to the 7th or the 3rd oI the followins chord, 'hichever is closer.
2. Ushg the ascendingmelodic minor scale,1-2-3-5patterns,and dorian scal€s
After playing the exerciseas written, try it without looking at the music.

Gm (MA7) GmiT G m6 E6l D7(t9) Gmi

G67 BbMA7 (D7b9)

EbMA7

D7(69)
1-neI Ch.td ifl Minot: M.ladie, Hnttuni.. and Nat*al Minat S.dles 774

3. Using chord arpeggios.After playing the exerciseas w tien, tiy it without

looking at the music.

A o.i Gmi(MA7) cm 7 Gmi6 t6/ D7(69) Gmi

BbMA7(D7b9)

B r'.n'z EbMA7

D7(b9)

D.C.al Ftue
 ft I.t, J. /1 ," ' 11 4n."a. d .-b .t\,1" ,.

Double-Entendre
Rt T n .rru me n rs
{ re n o r\a \-p l d r h rl n o n r partsJ a'
Swirg
tN fRo

rr Al

Coplaight O 1995ScottRee!€s,ReelroneNlusi. (BMl).-{ll RightsR€s€r\ed UsedBI termission.

 Th. I Chord nl Minor Mela1li., Hatnonic, nnd Natrul t\li"at s.dl.s
D
to coDAQ
I
I
I INTERLI]DE

I
I
I
I * o.x"_lt Ami(MA7) Am7 E1(69)

I
I C MA7 F7(b9)

; 'B
E,
f C MA7 GmiT F MA7

I
t Et(69)

{t rs Aor, Am (N/lA7) AmiT Et(69)

f C MA7

t Q coo't
lftcr all solos,take pickup and
D.S.al CODA

t
173 me I Chatd ifl Minat Melodic, Hotuanic, and Nattr.l Miho/ Scal6

B, Inslrumenls-E xerriges Ior " Do u b I e -E n I e n d t e "

1. Play a guide{one line over the chord protression in which each not€ lasts the
dumtion oI the chord. Stat with the 3id or the 7th oI the Iirst chord and move
to the 7th or the 3rd of the foilowing chord, which€ver is closer.
2. UsinS the ascendingmelodic minor scal€,1-2-3-5patterns, and dorian scales.
After playing the exerciseas wriiten, try it without looking at the music.

Ami(l\,4A7) Am 7 Ami6 F7 E7(t9)

c MA7(E7b9)

B e.iz F IV1A7

A m7 E7(r9)
Tht I Chofd ik MifloL Meladic. Hattunic. and Natwal Miftd scnt6 179

3. Using chord arpeggios.After playint the exerciseas w tren, try it without

lookins at the music.

Ami(MA7) AmlT Ami6 F7 E7(t9)

c MA7(E7b9)

B e.rz

AmlT E7(r9)
180 TheI Chatulih Mitut Melodic, Haftonie, aflA Natural Minor Scal6

Double-Entendre

drumfiII...

Coplright O 1995ftott Reeves,R€eboneMusic (BMI). All Rights Resered Us€d By Permission

 fh.lChotd ifl Mtnot Mel1di.,Harnoni., a Nnhml Mtnu )ae! 181
"d
;

tocoDAs
I
t
I INTERLUDE

I
I Emi(M47)

I
I B7(b9)

a r- ----l
I G MA7 97(69)

I E. B
G MA7 DmiT C MA7
I
il
87(69)
I
I Fm (MA7) EmiT E m6 B7(b9)
t
I G [/]A7 B7(b9)
t
I AIter rll solos,take pickup aod
D.S.aICODA
@ col,l
I
I
I
I
I
I
I
 TheI Chotd in Minor) Meladi., Har,tanj., and Nntunl Minat 5::=

Et I n i l r u m e n ts - Ex e r< i s e s f o r " Do u b le - E n t e n d re "

1. Play a $idetone line over the chord progression in which each note lasis th€
duration of the chord. Start with the 3rd or the 7th of the first chord and mole
to the 7th or the 3rd oI the fo11owin8chord, whichever is closer.
2. Using the asc€ndin8melodic minor scale,1-2-3-5pattems, and dorian scales
After playing the exerciseas writt€n, tfy it without looking ai the music.

Emi(MA7) EmiT 87(b9)

G MA7

C MA7

Em7 B7(t9)

l
I
Thz I Chord in Miflo. Meladic, Hatkani., and Nttuql Mibor Scales

3. Using chord arpeggios.After playing the exerciseas written, try it without

lookine at the music.

Em (MA7) EmlT Emi6 C7 87(b9)

G MA7(B7b9)

B o-i,

B7(r9)
 me I ChatAnt Mimr MeLDdi.,Haflnmic, tnd Nattral Minot Setl6

Double-Entendre
B6s Clef Ilstruments

Coplri8ht O 1995Scolt Reeles, ReeboneMusic (BMI). A11Rjghts Reser€d. Used By Permission.

 TheI Cho in Miaot) M.ladi, Hatntani., n d Nntut"l Minor S.nles '135
;

I
I
I
o
t ^
Gmi ([/]A7)

I t1"o.t
," A Gmi (MA7) GmiT
I G D7(b9) Gmi

t l.
abl
t B b MA 7 D7( b9)

I i.. --^ B
51 Bl MA7 tmiT EbMA7
I
I
D7(t9)
I
t Gm ([/]A7) GmiT Gm6 E67 D7(t9)

?
II G6l Bb MA7 Dl(;9)

il
t
f
AIter all solos,t.rke pickup and
D.S.4ICODA

m
-

-
I

I
if

I
135 Th. I ahatul ifl Minat Melodi. H*nanie, dnd NotuaL Mitut Scol6

Bo ss Clef l n 5 l r u m e n t s - Ex e r a i s e t f o r " Do u b I e -E n I e n d r€ "

1, Play a guide-tone line ov€I the chord progr€ssion in which each note lasts the
duration of the chord. Start with ihe 3rd or the 7th of the fust chord and move
to the 7th or the 3rd of the folowing chord, whichever is closer.
2. Using the ascendingmelodic minor scale,1-2-3-5pattems, and dorian scales.
After playing the exercis€as written, try it without looking at the music.

A e.i Gmi (IrA7) cmiT cmi6 Et7 D7(b9) Gmi

G67 BbMA7(D7t9)

B r.iz EbMA7

GmiT D7(b9)

D.C. al Fine
me I Cha/.1ifl Minar: Melo.lic. Homoflic. dntl Ndtttdl Minot stutes

3, Using chord arpeSSios.After playing the exercis€as wdtten, hy it without

lookint at the music.

A e.ni emi(MA7) GmiT Gmi6 Eb7 D7(b9) cmr

Bt N/A7(D7b9)

B'7

D7(r9)

D.C.alFide
 Double-Entendre
Ab MA7

Ab I\/A7 cm (MA7)

A c1.
9t t 7 - G ml Gmi(MA7) GmiT D7(t9) Gmi6

ti.
BbN.4A9D7(b9)

E.B
rr BbMAq Fmig E' MA9

CopwiShi O 1995Scolt Reeve, ReeboneMusi. (BNII). All RiShrs Resered. Used By P€rmGsion.
m. l Chatu1
nj Mnnt) M.ltJdi.,Pnn fic, ,nd Natu t Mnrat S tI

A
D7(69) Grn7 Gm ([/]A7) Gnl]

INT[RLTJDE
Dt(69) toCoD\ S Gml (MA 7) ta.mD

Gmi (MA7) Ab MA7 Gmi(N,4A7)

for solos,play from the sisnS tar 9) ro the interludc.

Alter solos,D.S.al CODA
S coDA
eml (NlA7) t. ,:.n-
Grn (MA7) Ab lr/A? I

P- G. (L/A?) Ab MA7 Gmi (MA7)

T
 Double-Entendre
Swing
INTRO !-.
Gmi (MA7) Gmi (N?lA7)

5
z.Gmi(MA7)

Ax dn'm fill...
9tr"t Gmi Dt (bq) Gmi

l.
b MA7 D7(t9)

2, B
BbMA7 EbMA7

GmiT

A
D7(b9) Gm Grn/Fl Gmi/E D7(b9)

Gmi G'1

to coDA 0 INTI]RI,t]DE ti.

B' MA7 D7(b9) Gm (MA7) Ab I/lA7 Gmi (MA7)

tE.
Gm ([/A7)

Forsolos,play from th€ sisn*(bar 9) tothe inlerludc.

ruter solos,r.S. al COD,{
$ t" cooe.
Gmi (MA7)

Gm (M47)
 r,
u
T
U CHAPTER

3
{,

I
11
0
o TH E i i - V - I
o PR O G RESSI O N
I
IN M I N O R; t O CR I AN
t
A ND SU PERTOC RI A N
t
t
sc A r E S
I The ii-V-I progressionis the most conmon chord progrcssionnrjazz composi-
tions and standards.ln major keys,the ii chord is a minor 7th chord, rhe V cllord

a is a dominant 7th chod, and ihe Ichol.lis a major Tth chord.Ih minor kevs,how-
e\cr. lhe i ,hord r.J h., f-dinini.hpd 7,h!horJ,tlrr\ (h,,ro i.doomindn 7th
.hord (often r'v'ithalterations of the 9th or ihe srh or borh), and the i chord is a

I minor chord with eithcr a najor 6th, a mjnor 7th, or a major 7th.

CmiT Cmi (N,4A7)

I D d7 G]G9) Cmi6

r
I Theii9-Vl19-i Prosression
in C Minor

As r{'e sa\'!'in the prelious chapter,ninor chords functionhg as tonic or i

I chordsare coloredby onc ofthrce tonic minor scales:ihenatural or aeolianminor,
the harmonic minor, and thc mclodic mhor. The natural minol scalc is used r,!.hen
I improvising over minor 7th chords, the nclodic minor s.ale is used over minor
6th chords, an.:lboth the mclodic and thc harmonic scalescan be used over

? rninor/maior 7th chords.

Ahalf dintnisheLl7th cliold is madc up of a root, a minor 3rd, a diminished
(or lowered) sth, and a nrinor 7th. It can be thought of as a mhor 7th chord with
* the sih lo 'ered one hall step.

e 'R.Lr to Chatter 7 to revieN the ii V-t prcgressionin miior Leys.

tI 191

4r----
 Th?ii-v-t Ptogftsliani Mi"at Lt)cr1rn
rnd Suptrlo.tidnS.nk

DP7ot DmiTChord
Dmi7,5Chord

The hali-diminished 7th chord possesses a vague or unresolvedquatity and has

a strong need to progress up a perfect 4th to a dominanr chord. Ir is sometimes
extendedby the addition oI a major 9th or a perfecr 11th.The 11th enrichesthe
chord somewhat, and ihe major 9th adds "bite" or a iouch of exoticism to the

Detr {MA9)Chord

For improvising on half-diminished 7th chords,the locr,;mscrleis qpically

usecl.It contains the samenotes as the natural minor scalea whole step below
and the major scalea half step above.

D LocrionScole C Nolufo Minor Scqle E, Moiorscoie

Notice ihat ihe locrian scale,played over a iieTchord,and the natural minor scale,
plaved over a iTchord, coniajn the samenores.

DeZChord CmiTChord C NoturolMinorScole

The flaited, or dlzlntsficd,fifth scaledegreebetweenthe {irst ard fifth notesgives

the locrian scalea very unstablesound.
Notice that the secondnoie of the locrian scaleis lowelcd a half siep. If it
were added to the chord, the result would be a minor 9th. Since thc minor 9th
does not sound good as a member of the half-diminished 7th chord, a major
9th is used instead. The maior 9ih is derived from an altemative scalechoice
tLlelocrian il2 s.dlp, which is identical to a locrian scale with a raised second

D Locrion
+2Score

The V7 chord in minor is referred io as an altereddolnini t:thegthsot the

chord are alwavs altered, and the sths are often raised or lowefed as well. The
dominant 7th t9 is very uistable and has a strong tendencv to resolve down
a perfeci sth to a i chord. The dominant 7th $9 chord is more stable and has
a "funky" or "bluesy" quality. Often, rhe *9th will move to a [9th or vice versa.
 The ii V I Pngressia, in Minor)Lo.ntfl and Srpdaetidn 5.d14 193
;

I
t ,e ,e Ie
G719 G719 G7t5 c7tr:s G715 GTrs
I However, alt€red9ths never moYe to maior or tnaltered 9ths. When alteredsths
I are added to altercd 9th choids, the amount of tcnsion or dissonanceincrcases.
The dominant 7th *9 *5 is the most common combinahon.
The scaleihat lits the V7 choid in minof is known vadously as the srper'-
I locian scile, t}.:ediminished/uhale-tanescale,a d t11el]lfeled scald.It contains all pos-
sible alterations of the 9ths and the sths.
I ,9 b5 {t
N
I lt2 1/2
G Superlo.rion
W
Scdle
I The first half of this s.ale alternateshalf stepsand whole st€ps,and the second
part is made up entirely of whole steps. The superlociian scale contains the same
'f noies as the melodic minor scale a halI step above, giving it the sam€ relationship
to melodic minor as locrian has to maior.
I
_#
I -1?6-e1'.'# +r;;$effi

I G Superlocrion
Scole
-
Al MelodicMinorScole

I The diminished/whole-tone scale has a dark, mystedous quality. To famil-

iadze yourseu with this scaleand wiih the minor ii-V7-i ProSression.listen to
jazz standardssuch as "Autumn Leaves," "Blue in Green," "How lnsensitive,"
I "Invitation," "My One and Only Love," "Soul Eyes," "The Shadow of Your
Smile." arld "Yesterdavs."'

t
I ii67 -Y 7 r 9 - i w a R M . U P s

I ?lay ihe following exercises over the chord progression, using either a

t metronome, a live rhythm section,or the "ii!7 V7t9 i ProgressionWarm-Ups"

play-along track on the companion CD. Pla)' th€ wriiten example over the first

t chordi then use your ear to play the eaercisein the diflerent keys indicated by the
chord qmbols- Yoll will {ind it helpful to look at ihe chod Progression instead of

the nr$c to L\ese songs my be loud in the iolloaiiS lolunes of A Nau , pPreaclrt .i,z
Iftrlddsatd,r "Auxm Leavet' (vol 44), "Blue in creen" (voi 50), "l{ow Insensitive" (vol 31),
"lnvitatr@" (vol 34), "Mv One and ody Lo\€" (vol. 5l ), "So!l Eyec' (vol. 32), "Tle Shadow of Your
Smile" ffol. 34), "Yesterdat'r' ffol. 55).
:194 '1h. n V l Ptogiession
i" Mi,ot La.tlanrnd Srprto.titn S.rli:

the exercises 'hen playhg in the remaining elevenkeys.Pick a tempo at which

you can effortlesslyplay eachexercise,Sradually moving on to more difficult ex
ercjsesafter you have masteredthe easierones.

T r e b l e C Ie f C I n sl ru m e n l5-C h o rd P ro g re ss io n

Swing rhylhn
tv7 G7(b9) Crn c'7 F7(b9) Bbmi

86r7 Eb7169) Gi,7 CS7(b9)

AL7(b9) F*7(69)

E7(69) D7(t9)

867(69>

l r e b le Clef C I n s tr u m e n t c -B e g in n in g E x e rc is e g

1. Usingthelocrianscaleovertheentireprogressionl

2. Using the fi$t folu notes of the superlocrianscaleover the eniire pro$ession:

G7(t9)
L.l
me ii v I Ptagrcsslanix Minq Looian and sqerlactian scdles
t,
C I n 5 t r u m e n t r - | n t e r m e d i q I e E x e r< is e s
t Tr eb le €lef

3. The ascendinS locdan scalel

l,
Ddl G7O9) Cmi
t
o
4. The ascendint superlmrian scale:
I
Dn7 G7(69) cmi
t -^

I
5, Halfaliminished 7th and dominant 7th t9 arpeSgios:

w7 G7(b9) cmi

Tr e b le €lef C I n s I r u m e n I 5 - A d v o n c e d E x e rt is e s

6. A descendingpatternthat usesboth the locrian and the superlocdanscalesl

G7(69) cmi

7. A pattem that outlines the *9ft, th€ tgth, and the isth of the V7 chord:

G7(b9)

I n 5 l r u m e n I r -C h o r d P r o g re s s io n

Swing rhlthm
Eb 7 47(t9) Dmi G7(b9)
 The ii V..l l'tay.ssia" 1fl Mn",)Loi|nfl Sup.na.fian S.dLtt
"11d

Gl'7 cl7(t9) Bt(r9) Emi

Br7(69) A67(r9)

Fl7(69)

B[ | n 5 tru me n ii-B eg in n in g E x e rc is e s

1. Using the locrian scaleover the eniire progression:

A1(69)

2. L,rgrhelr<l roJrrole5orthp5uperlo.rran*aleorerrheentircprogre-)ion:

A7(r9)

Bt I n sl ru me n lr-l n te r m e d iq t e E x e rc i5 e 5

3. The ascendinglocrian scalei

E1 Dmi

4. The ascendingsriperlocrianscalel

Dml
 m. ii-V-l Prayesskn in Minor: Ltri.t and SupetlaehnnS.a s

5. HaU diminished 7th and dominant 7tht9 arpeggios:

Bt I n sl ru me n ts-A d vq n a e d Exer ciser

6. A descendingpattem thatuses both ihe iocrian and the superlocdanscales:

L-'
E d7 A7(r9) Dm

[.r
7. Apanem thatoutlinestheH9th,thet9th,and thefi5ft of theV7 chold:

At(69)
tl
IJ
Et In slrumenls-Chord P ro g re s c io n
i
Swingrhythn
I Bd 7 E7(69) D7(b9)

I
I
I
cl' 7
I E6'7 Ab7(b9) F17(69)

I
o
t cf7G9) 87(b9)
I
t A7(69) G7(69)

I
t
II
193 rr, I I,rl
^.,.. " .4V i n".tata4 t."1,.a . .t-.d.

Et I n sl ru m e nts-B e g i n n i n g E x e rc is e s

1. Using the locrian scaleover the enttueprogression:

Bz7 E7(t9)
z -. -.

2. Usin8 the fiIst four notes oI the superlocrianscaleover the entire progressionl

Brl F7(69)

-^

Et I n s I r u m e n t s - | n I e r m e d i o I e E x e rc is e 5

3. The ascendinglo.rian scalc:

B'7

4. The ascendingsuperlocrianscale:

B'7 E7(r9)

5. Halldiminished 7th and dominant 7tht9 arpegSios:

B'7 E7(r9)

El, Inslr umen+s-A dvonced E x e rc is e s

6. A descendinS pattern ihat uses both the locrian and the superlocrian scalesr

B'l Et(69)
I
u The ii V I Pntressia" in MiM; Lo.nafl atrl Stpe aetidh Scdla

7. Apattern that outlinesthe l9ih, the t9th, and the $sft oI the VTchord:
3
867 E7(69)
!
I
Bqss
3 C lel lnstru m e n lr-C h o rd P ro g re s s io n

a Ssing rhythn
Dr 7 G7\"4) F7(69)

I
I Bb '7 Eb7(tq) GaoT C l7(bq)

I
t FidT 87(b9) A7(b9)

I
EbBT Ab7(69) Db mi Fi7(be)

E7(69) D7(b9)

ct(r9) Bb7(t9) Etmi

Bqss C le{ | nst ru me n ls- Be g in n in g E x e . . is e s

1. Using the locrian scaleov€r ihe eniire proSression:

Gt(69)
 mt |i-V I pto&r.ssi]fl ih Minar La.tidh ard Srpetb.nnr Seatr:

2. UsinS the first four not€s of the srperlocdan scale over the entire prosression:

DB7

Bo ss Clef Inilru m e n | 5 - I n e r m e d i c t e E x e r< is e 5

'
3. TheascendinS loc an scale:

D'1

4. The ascendinBsuperlocfiirnscalei

D'7

s. HaU diminished 7ih and dominant 7th t9 arpeggiosl

Dr7

Bo ss C lef Instrumenls-A dvqn a e d E x e r< i5 e s

6. A descendinSpattem that usesboth the locrian ar|d the superlocrianscales:

D'1 G7(69) Cmi

7. Apaitern that outlinesrhe {9th, the t9th, and the $sthof the V7 chord:

Dbl G7(69) Cmi

TIE ii-V-I Ptogt5siJt ifl Minar l4ctiM dnd SuPdloclen 5@16

Al l I n s t r u m e n l5 - I rn p r o v i 5 d t i o n E x e r. iie s

1. Irnproviseon minor iiry-V7-i progessionsin all keys,using a live rhythm 6€c-

tion or the "iirT-V49-i Progressionwarm-UPs" Play-alon8track on the com-
panion CD.
2. Make up your own exercisesand melodic ideasbasedon locrian and super-
locrianscalesand minor iioT-V7-i progressions
 ILp r.-l I fiTipr'or a vna': Ln ma atu -,pttonaa t a,^

J rv r pn o v r s n r c i i d 7 - v 7 - i PRo c Rrss I o Ns

"Blue Autumn" is a composition based on the chord progression to the song 'Au-
tunn Ledves."dnd usei ii-V-l progres-ion.in majorand minor le1s.' Pra.tice
and improvise on the song, using either a metrcnome, a live rhythm section,or
the "Blu€ Autulnr1" play-along t{ack on the companion CD. (On the CD, $e chord
pro8ression is played six times.)
Since most of the chords in "Blue Autumn" belont to ii V I pro8ressions in
Bt major and its relative minor of G minor, there are a great many common tones
throuehout. The scalesin concert Ditch arc as follows:

CmiT (dorlon) F7(mixolydion) BbMA7(mojor) E, MA7(b5)(lydion)a

A'7 (locron) D7(b9)(superoc.) Gmi(noturol

ormeodicmlnoD

B
no7 oocrion) D7(b9)(supefoc.) Gmi(noturolor melodlcminor)

CmiT (dorlon) F7(mixoydion) BbMA7 (mojor) 5) (yd qn)

l\,4A7(b

C A"7 (oc on) D7(t9)(supedoc.)

Eb7(mxolydion) D7(t9) Gmi(noiuroor rnelodicminor)

ChordProsresion
ondScoles
b "8l!e Autumn"{Concerr
Pirchl

'loseph ksna and Jotmy Mercer "Autlmn Leaves," cop)aight 1947and 1950,enewed 1975
and 1978by Enoch et Cie.
aReferto Chapter 15 for ftuth€. iiJo.mation on lydie {ales
'L1Eii-v I Ptugtssion ifl Miiat lrcrion ard Srpdlodinn s.dl6

Becausemost oI these chords are related, the harmony can be simplilied to the
following primary key areas:

A^ G minor
B^
4

Cc
minor(wirho _ernporory on E'7)
emphosis

PrimoryKeyAreosin "Blu€Autumn"

After playing the melodt practice the chord progession by outlining the
chords with the exercisesthat folow the sont.
 r\p v r"g" v to, to,taJ .ut, . t, ..i

Trcble Clef C Instrutnrnts

BIueAutumn
Sring A
Crn 7

D7(b9,b5)

!-. IE B
G7G9.+5) D7(r9)

Bb N,4A7 Et MA7(b5) D7(r9)

GmiT D7G9,S5)

G7Ge.l5)
SolosoDtbe fom (AABC). Usethe chord symbols
aborc fhe melod!'' for your imp.ovisation. Aft.r solos,
D.S. al Fine

CopyriShlci 19!5 S..tr Reev.s,l{.cbon( NhNl. (BMl). All Rigirts R€s€rvedUsedEt' Permission.
3
a The ii v I PtogEssih in Minor; Ltunin dnd Superlaetians.dles

t Tr e b l e Cle{ C InsIru|nenl5-E x e rc is e s for " B lu e A u lu mn "

t
Pmcticeeachexercisefor "Blue Autumn" as follo 's:

A cmiT F7(69) BbMA7 Et MA7(t5) A'7 D7(b9)

Play ihe major ii V I paltem.'

D7(r9) Cm7 F7(b9)

B' MA7 Et rvrAT(b5) D7(b9) GmiT C7

Adl D7(t9) Gmi G7 ($9.15)

1. Using the dodaJl aJId locdan scalesover the major and minor ii V I's:
a. Major ii-V-I pattem:

Cm7 F] Bb IV]A7 Et MA7(b5)

b. Minor ii-V-i pattem:

Gmi

-^
 Theii V I Pt.frrsian i" Mnlar)La.tini nnll Sttttoir:.,: : ::

Playfte majorii V lpatt€m. Play the rl1inorii-V -i Paftern

A\ cCm
m77 Fl (b9) Bt N,4A7 EbMA7(!5) Ar7 D7(b9)

- Playthe'nnrorii V i paltem. r Plxylhenrjorji V I pattern

A'7 D 7(b9) Gmi C m7 F7(b9)
F7(b9)
-

C
r Pla) theninorii V i patem
Et NlAT(ts) Ad7 GmiT C7 Fml 861

Play the nlnor ii V i paltcm.

E67 Aal D7(b9) Gm Gl (i9.+5)
G7G9,*5)

2. Minor 7th, half diminished 7th, and domjnant 7th t9 arpeggios:

a. Majoi ii-V-l pattem:

Cnil Fl(r9) B' MA7 Et [,4A7(bs)

b. Minor ii V i paiternl
ftc,t I l P (g?iior n vt n/: b t a t a1d an4 'i1". 207
'np '1o

A CmiT F7(69) B' MA7 Et IirAT(bs) Ad7 D7(b9.)

F7(69)

BbMA7 EbMA7(b5) Ad7 D7(b9) GmlT C7 FniT 867

Ad7 D7(b9) Gmi c7 (s9.$5)

3. A pattem that outlines the *9, the t9, alld th€ {5 of the V choidl
a. Major ii V I patteml

Cn7 F7(H9,15) B' MA7 EbMA7(b5)

b. Minor n-V i pattem:

A7 D7 (1 9 , + 5 )
 'rtu ii V I Png $iM nt Mnot)Lo.tian d S\p?rloerian
S.alE

BlueAutumn
Swing A
DmiT C l/lA7
*
-^-^

E7(tq,t5)

- l 2.
, q *n - E7(r9)

DmiT

l7 C MA7 F MA7(t5)

21 Am7 E7(+9.$5)

A70e.t5)
na Soloson ih€ fonn (.L{BC). Usc the chord s}mbols
above th€ nelody for vour improvisation. After solos.
D.S. al rine

Coprright O 1995ScottRc€ves,R.tbon€ Musi. {BMI).All RightsReserved.Used ByP.rmission.

nE ii-V I Ptogtesian in Minat Lactia" dntl Sup*Lo.ritn Scales

B t I n s t ru me n i s-E xe rci se s for "Blue Autumn"

Praciiceeachexercisefor "BheAuturrllr" as follows:

Playthemajorii V I pattem Pld) thc minorii v i patem.

A omiz G7(b9) C MA7 F I/l47(b5) Bdl E7(.9)

Play ile mjor i! V I pailem.

E7(b9) DmiT G7(b9)

C MA7 F MA7(b5) E7(69) Arl Dl Gn7 C7

F7 Sdl E7(b9) Ami ,A7({9,15)

1. Using the do an and locrian scaiesor'er the major and minor ii-V I's:
a. Major ii V I patiern:

Dm7 G] c [,4A7 F MA7(b5)

b. Minof n-V-i pattem:

Bd7 Et(b9)
 The ii-v I Ptogressionit Mitot;Lotian dnd SryetLrction 5il16

Play the minor ii V i pattern-

A D m7 G7(b9) F MA7(t5) Bd7 E7(b9)

Play the major ii V I pattem-

E7(69) DmiT G7(r9)

C MA7 F MA7(b5) E7(b9) AmiT D7 Gfii7 C7

B'1 E7\b9) Ami A7 ({q.S5)

2. Minor 7th, hau-diminished 7th, and dominant 7th t9 arpeggios:

a. Majo( ii-V-I pattem:

DmiT G7(b9) C MA7 F MA7(b5)

b. Minor ii V-i pattem:

v7 Et(69)
me ii v-I Png/Btion in Mint; Ltirft afldSryalot1ofl Se k. 211

Play the miror ii V i pattern.

A DmiT G7(69) c N/tA7 F MA7(bs) B d7 E7(69)

Playthemino. ii-V-i paltem. ,r Play the inajor ji-V I pattem.

Playtl
BE7 E7(b9) Ami
Ami Dm7
Dm7 c1(69)
-P

C MA7 F MA7(t5) E7(69) AmlT D7 6r",7 C7

P layt hem in o ri i V i p a l te rn .--------'

F7 Bd7 E7(19) Ami ,A7(+9.+5)

3. A pattem that outlines the {9, the t9, and rhe [5 of the V chordl
a. Major ii-V-I pattem:

DmiT G7(19fs) C MA7 FtvAT(b5)

b. Minor ii-V-i pattem:

v1 E709,15)
 Th. ii-V-I Ptogtssion ia Minat Laeio, and Sryqlooiafl ktls

BlueAutumn
Eb Instnments
Swing A
x

c MA7(t5) 87(b9,b5)

i,
E7(|9.15)
E-e-
tmr -
rt" / 87(b9)

c
O MA7 c MA7(b5) Fn,l 87(b9)

87(+e
+5)

E7({9.n5)
Soloson the form (AABC). Use lhe chord symbols
aboye lhe m€lody for your impmvisation. Atte. solos,
D,S. al Fine

Coptai8ht @195 S<ott Reevs, Reebore Music (BM), AU RiShis Rew€d- Used By Permission
Theii-v-I Pragasian in Minat Lwian qnd Srpdtacti'n Scates

Et In stau me n li-E xe rc i5 e 5 f o r " B lu e A u lu mn "

Practice each exercisefo{ "Blue Autumn" as follows:

Playlhernajorii-V-I pattem r Playtheminorn V i pattem.

A AmiT D7(b9) G MA7 c MA7(b5) F+'7 B7(t9)

Play lhe major ii V I patlem.

Fl"1 87(t9) AmlT D7(t9)

G MA7 c MA7(b5) F*"7 B7(b9) EmiT A7 DmlT G7

C7 FlnT B7(tq) Eml E7G9.+5)

1. Using the doriarl and locrian scalesover the major and minor ii-V-I's:
a, Major ii-V-I pattem:

AmiT Dl C MA7(b5)

b. Minor ii V-i patteml

Fl"7 87(b9)
 The ii V I Pragressian Miho/: Loctian |fld SrFeiaetian 56!-

P IJ) themi n.ri i v ipr t t eLn.

A amiz D7(t9) G MA7 c MA7(t5) Fl'1 87(t9)

Playthe minorii-V-i patrem.-- - - - r Play

Playdfie major ii V I pattem.
Fl'l B7(69) Emi AmiT
AmiT D7(69)
P
-

G MA7 C MA7(b5) Fl,"1 87(69) E.n7 A7 DmiT Gl

C7 FH,7 B7(b9) Emi E7(+9.15)

2. Minor 7th, half-diminished 7th, and dominant 7th t9 arp€ggiosl

a. Major ii V I patiern:

Am7 G MA7 c MA7(b5)

-

b. Minor ii V-i pattem:

Fl"7 B7(b9)
L
Th. ii v I Ptogtssion ifl Mifla\ Ia$ian ani supdlocti|n Sc|les

A A m7 D7(69) G N/],A7 c MA7(b5) Fl"7 87(r9)

Playthemijor ii V I pattem. -- ----

G MA7 c MA7(t5) Fl.7 B7(b9) EmiT A7 DmlT G7

F+u7 B7(b9) Em E709.{5)

3, A pattem that outlines fte fr9,the t9, and tle {5 of the V chord:
a. Major ii-V-I patternl

AmiT D7($e,$5) G t\,4A7 C MA7(t5)

b. Minor ii-V-i pattem:

B7(i9.i5)
216 Trr i-l l t . . t '" * o r t a v t a a ' L . , " a t a r l <, p / t o :a

BassClef InstrumenLs
BlueAutumn
Swins A
CmiT B ' MA7

D7(t9,t5)

F. -' E.B
G7G9,15) Gmi

BbMA7 MA7(t5) D709)

Gm7 C7 86l E67 D7G9.{5)

:^ a+. z-.-.

Gmi6 G7G9.15)
Solos on the forn (AABC.). Us€ the chord symbob
abov€ the melody fo. your improvisation. Aft€r soloi
D.S. al FiN

Copt ight O 1995sloft Ree\'€s,ReeboneN1usn (BMI) A[ Ri8hts R€Frv€d. Used By lJcrmissnrn

The ii V I Pro*]5siofl in Mlnat li.tian and SrylLacion Se l4 217

Bo ss C le f InsIrumenIs-E xer<i5 e 5 {or " B lu e A u lu mn "

Practice each exetcise for "Blue Auturnn" as follows:

Playthemjor ii V-lpa!tem.-''--- PlaytheminoriiV i pattem. -

A cmiT F7(r9) B' MA7 Et MA7(t5) Ad7 D7(69)

B Playthe maiorii V I pattem.

r Play the ninor ii-V i pattern
Gmi p Ad1 D7(69) Gmi CmiT F7(b9)
2

C
- -'---- I Ptaytheminorii-V-i latlern. - - -''-
B' MA7 EbMA7(t5) Ad7 D7(be) GmiT C7

4,7 D7(b9)Gmi G7(+9.*5)

1. Using the dorian and locrian scalesover the major and minor ii-V-I's:
a. Major ii-V-I pattelar

Cm7 F7 EbMA7(b5)

b. Minor ii V i pattem:

D7(b9)
 me ii-V.-l Pfagre.sior in Minot Lo.rkfl atul Slp.tlaiitt s;.

Play lhe minor ii V i pattem.

A cmiT Ft(69) BbMA7 Ebl/lA7(ts) A"7 D7(b9)

B
r Play rhe ninor ii-V-i patren. Plc) themajorii-v I parrem.
GtP D7(b9) Gml p CmiT F7(69)

L
'----r Playth€minorii V ipattdn.-
BbMA7 Et MA7(t5) AdZ D7(b9) Gm 7 C7 Fml,] 867

467 D7(b9) Gmi c7 (+9.*5)

2. Minor 7th, half-diminished 7th, and dominani 7th t9 arpettios:

a. Major ii-V-I pattem:

Cm7 F](r9) - Bt rvAT EbMA7(251

b. Minor ii-V-i patternl

\,
ttt?;| ! D n!' 4 a t | \n n o ' to naad .aE
tI) - r D".|a,aa'

fO A c m7 F7(be) BblvlAT EbMA7(b5) A"7 D7(b9)

+
I
Gmi p
B
r Playtheminorii V i pattern.'-
Ad7 D7(69) Gmi
P
P l a)themaj ori i V IpJtrem- - . - . - - - -
Cm7 F7(bA)

? BbMA7 Et MA7(t5)
cPlay the minor ii
r
As7
V i pattem.-
D7(b9) GmiT C7 FmiT Bb7

Ad7 D7(b9) Gm G7 G9.{5)

3. A patiern that oudines fte {9, the t9, and the $5 oI the V chord:
a. Major ii V I patiernl

Cm7 BbI/tA7 Et MA7(b5)

l'. Minoi ii-V-i pattem:

Ant D7(+9.+5)
 Theii V-1 lr.gtsslafl in Mnlar LaeriandfltlSry.na.n.:: :::

BlueAutumn
Piano/Guitar
Swing

EbMA9 Az7 (MAg) D7(+a

$s)

F. B
Gmi6 A.7 (MAg) D7G9,+5)

i i^r'

C
B' MA9 4,7 0/lA9)

(ffi
)F-
\
t#
O 1995S.ott Reves, R€bon€ I,IEic (BMl) All RiEhls ltescned. Used Bv Pemission
Tri ii V I Ptugressionifl Minot; In.rkfl and SrydlMinn Scol$

FmlT(b5)

Gmi6 G7({e.t5)

Soloson the form (AABC). Us€the clord synbols

atove the choralsfor your improvisation-Afrer solos,
D.S.oI Fine
 Theii-V I PtuXt?ss
ar in Mimr)Lo.tlo nhlStt.tl,\J!r,::::,

BlueAutumn
B ' MA7
= ",.

Et N/l47(b5) D7(be,t5)

fi. l E. B
G7G9.is) Gm D7(b9)

Bt l\lA7 MA7(l)5) D7(t9)

FmiT D7lt9)

G7G9.l5)

SolosoDihe form ($BC). Usethe drord symbols

aDovethe basslire for Xour improvisation. Aftc. solos.
D.S. al l-ine

Copyright O 1995s.ott Reeres,ReeboneMusic (BMI).-AllRlghtsR€s€rved.UsedBl' Permission.

iT|
+
?
t
It's a giaenthat. . . ylu haueto playhip notes,
harseto play with a goodgrooae,play deep
insidethechanges, play oaerthechanges, play
outsidethechanges. Somepeople makecnreers
outof thefundamentals-butI think(thnt)to
go t0 thenextleaelyouhaaetofind yourozon
wayof lookingat music,thinkingaboutmelody,
soundandwhatmusicis to you.

-guitarist Pat Metheny

t*,
|r
I
t C H A P TER

t
o
ta
12
e P E NTATO NI C SCAT ES
a
?
a
All pentatonic scalescontain fiv€ notes, eaclusive of the octave. Therc are num€r-
ous t'?es oI peniatonic scales,many of $'hich are Iound in music Irom Asia aJld
Africa. Although some jazz artists, such as Yusef Lateef and John Coltrane, have
explored a variety of pentatonic scalesftom o*rcr cuiturcs,mostjazz musicians
commonfy use maioTa]\d pentatonicscdles.
"l\e major pentatonic'r.inor
scatecall be thoutht of as a major scatewith the fourth
and sevenfh notes omitted.

12356 456
C MojorPenr,oionic
Scole c Moio.scole

The major pentatonic has a "pretty" or happy quality aJld a sound reminiscenr
of cedain Japanesemelodies. Like the major scale,it can be used when improvising
over major Tth chords and, becauseit lacks a 7th, over dominant 7th chords as weli

C MoiorPentotonic
Scole
 Pefttatoni. S.ale

Becauseof the two "missing//notes/major pentatonicscalesbuilt on the 5ih and

the 9th of the chord may also be used when improvisinS over major 7rh chords.
Each of these three scalesemphasizes different chord tones.

Cho.dtone!. ruor 9 3 lil 6

C MA9 c Moior c Moior D Moior

TY,embnr penhtonicsct:tle
canbe thought of as a natural (aeoljan)minor scate
with the second and the sixth notes omitted or as a blues scale with the lowered
fifth note omitfed.

I b3 4 5 b7 8 r 2b3 4 5t6b7 8 r b3 4b5 5b7 8

C Mino. Penioicnic
Scale C NolurqlMinorScole C Blues
Scole

lhe minor peniatonic scalehas a moumful characterar1dcan be used when im-

provising over minor 7th and dominant 7th *9 chords.

c49 C Minor Pentolonic

Scdle

Minor pentaionic scalesbuilt on the sih and the 9th of the chord may aiso be used
when imDrovisins on minor 7th chords.

Chord tonesi rool t3 t1

c Minor D Minor

T\e ninor/added6th pentatanicscalei,s avariation oI the minor pentatonic

scale.It replacesthe minor 7th $'ith the majoi 6th. John Coltrane used it exten-
sively in his improvisations on compositions such as "Your Lady," "Impres-
dnd 'Soirlyd. in J Mornint Sun/i.c.
"ron-."

1t34568
C Minor/Added
6fi Peiroronic
Scole

's.oft D. R.cves, C/car;re/nz. ir!1/d,natoir, 2nd ed. (h8l€wood cliffs, N.J.: Prenricc 1-r.lr,
1995) , p. 218
j
ln addition to their use over certain chords, maior and minor pentatonic
f 5cale.are u.Fd lo inreniiondllv \ iuldte o. 80 outride the normdl.l-ord.. fte
improvisor t'?icaly doesthis by playing the "correct," or "inside," scalechoices
3 at the beginning of the phrase, departing from the key in ihe middle, and rctum-
ing to the tonal center at the end of the phrase. When done by mast€rs such as
Johlr Coltrane, Mccoy Tyner,and Woody Shaw,playint "outsid€" the changes
O can createexciting dissonancesand resolutions;$41enmusicianslesscompetent

e at chordal improvisation attempt the iechniqre, they can sound as if they arc lost
orunfamiliar with the chords.
Pentatonic scalesmay b€ us€d when jmprovising on any songs that contain

? major 7th, minor 7th, or dominani 7th chords. However, certain compositions,
such as 'A Love Supreme,""BluesMinor," "Bolivia," "Cantiloupe Island," "Deai

i Lofd," "Footprints," "Imprcssions,""Little Sunllower,""Maiden Voyage,""Mile-

stones"(new version),"St. Thomas,""So r,^/hat,""Spidtual," "The Promise,"and
"Yesor No," are pariicularly well suited for the use oI pentatonicscales.z

M rr o n P E N TA ToN TcS c aL E W A RM - U P s

Play the follo$'ing exercises over the chord progression, using either a
metronome, a live rh]'thm section,or the "Minor PentatonicWarm-Ups" play-
along track on the companionCD. Play ihe wdtten exampleover rhe firsi chord;
then use yorr ear to play the exercisein the different keys indicaied by ihe chord
symbols. You $'ill find it he1ptulto look at the chord progressioninstead of the
exerciseswhenplaying in the rcmaining elevenkeys.Pick a tempo at which you
can effortlesslyplay each exercise,gadually moving on to morc difficult exer-
cisesafter vou have masteredthe easierones-

Treb le Clef C I n stru me ni5-C h o rd Progreision

CmiT BtmiT F lm7

Em7 C{mi7

F m7 E r.il

'Tne m!si. to thesesongsmay be found in th€ follos'jng vollmes of A Na ,,1ptfdac,,

ld /r2z h,p/orisdiio,i "A Love
Suprene"ryor 28),"DearLord" (Vol.2tr), "tsIlesMlno/' (Vol.27), -Bolivia"(vol.3s),"cmtilorpc Islnd" ryob.11dd
s4), "Iootlrints" (vols.33and 54),"Lnpre$ion{' 0/ols.28and 54)," Littt€ SurJlow€r"(vol 60),"Maidenvovag€" (vols
11md s4),"MilesroneJ',(newve6ion) ffol 50),"rhe PromG€"(vol. 27),,,sr.Thomar, (vol 8), ,,so 4ur,, (vo].s0),
"Spnitual"(Vol.27), "Yesor No' (vo1.33).
224

l r e b le C lef C I n s l r u rn e n t s - B e g in n i n g E x e r c is e i

1. The firsi four notesof the minor pentatonicscale:

Latin
CmiT

2. The entirc minor pentatonic scalei

Latit
CmiT

Tr eb l e Clef C I nstru me n t s -l n t e rm e d iq f e E x e rG i5 e s

3. Theminor periatonic scalebuilr on the 5th of ihe chold:

Latin
CmiT

4. A descending minor pentatonic pattem:

Latin
C m7

Tr e b l e C lef C I n 5l r u m e n t 5 -A d v q n c e d Ex e r c i s e s

5. A descendingpaitern basedon 4ihs and arpeggios:

Latin
C ml T

6. A stepwjie descending patternl

Latin
Cmi T
3 t I n s t.u me n l 3 -€ h o rd Pr oEr ession

CmiT AbmlT

F*mi7 ClmiT

Bt I n r l ru tn cn ti -B e g i n n i n g Exer ( ises
1. The tust lour notes oI the minor pentatonic scale:

Latin
DmiT

2. The mtire minor pentatonic scalel

Latin
DmiT

Bt Ina irutnents-l nterm e d io t e E x e rc is e s

3. The minor pentatonic scalebrdlt on dle 5th of the chord:

Latin
DmiT

4. A descending minor pentatonic patternl

Latin
DmlT
230

B' In str umenfs-A dvonced E x e rc is e s

5. A descending paiternbased on 4ths and arpegSios:

Latin
D mi T

6, A stepwise descendinS paticrn:

Latin
Dm7

Et In5 tr umenfr-Chord P ro g re s s io n

GmiT

Clm 7 B b m7

Flm7 EmiT CmiT

E, I n s I r u m e n t s - B e g i n n i n g E x e rG is e 5

1. The fifst four notes ofthe minol pentatonic scaie:

Latin
AmiT

2. The en6rcminor pentatonics.ale:

AmiT
ryi

e Et I n s tr u m e nls-l n te rme d io t e E x e rc is e s

?
a 3. The minor pentatonicscalebuilt on the 5th of the chordi

Latin

4. A dcscending minor pentaionic pattem:

Latin
AmiT

Et Instr uments-A dvonced E x e rc is e s

5. A descending pattern basccl on 4ths and arpeSgios:

Latin

6. A stepwisedescendlngpattenl

Lrtin
Am7

Boss C lef Inslru ments-€hord Progression

Cm 7 BrmiT AbmiT FlmjT

8a

ClmiT

EbmiT
---=-

232

Bq ss Cle{ I n slru me n t5-B e g in n i n g E x e rc i3 e g

1. The first four notes of the minor pentatonic scale:

Lrtin
CmiT

2. The eniire minor pentatonic scale:

Latin
C mi T

B o 5 s C le f In stru m e n I r - | n I e I m e d i q t e E x e ra i5 e s

3. Theminor pentatonicscalebuilt on the sth of the chord:

Latin
CmiT

4. A descending minor pentatonic patteml

Latin
C m iT
 233
OD
Boss Clef InE lrumenls-A dv o n c e d E x e rc is e s
O
5. A descendint patt€m based on 4ths and arpeggios:
o
t
t
|t 6. A stepwise descending pattem:

o Latin
CmiT

t
I Al l I n s I r u m e n I r - | m p r o v i s d f io n E x e r. i! e 5

1. hnpmvise on major and minor pentatonic scalesin all keys, using a lve rhythm
section or any of the play-along tracks to Chapters 4, 5, 6, 8, and 13.
2. Make up your own exercjsesand melodic ideas based on najor aIld minor pen-
Jm p n o v rs rH o oN MIN o R P E NT A T o Nt c s c a lE s

"El Coraz6n" is a minor blues with a 6/4 Latin rhvthm. PracticeaJld imDrovlre
on the son8.u.inB either d mefronome,a ti\ e rhythm secrion,or the ,Ft C;ra7o1
play-alon8 track on fhe companion CD. (On the CD, the chord prosression !s
pldJed ten times.)
Like most blues, "El Coraz6n" is based on a 12-baf form consistins of thFe
4-barphra.e.. Lnlile the chordsin "Fta Carind BIue,"the i dnd iv chordsa*
minor, the ii chord is half-diminished, ar1dthe V chord is altered.3 Th€ 6/4 L.ati.1
rhythm adds to the pensive mood oI the song and encourages the improvisor to
employ space,z-against-3 poltThythlns, and melodic phrasint when soloing. (R€-
member that eighth notes in a Latin fiythm shoutd be played lairly evenly.)
The harmonic aspect of the song can be addressed by using a single minor
pentatonic orblues scaleover all the chords or by drawinq on the scalesthai fii
each chord in the progression.

1. Using the D minor pentatonic or D blues scale over the entirc pfogression:

rRef€r to Chapler 8 for nore inJo.mation

on the btues form ed ,,Eta Ca.jna Blue.,,
 235

2 . U s i n g d ori dn, l ocri an.i nd superl oC Ii anscdl eso\ereal h chord:

({e)
A7(*5)

The exercisesthat follow the song explor€ some of ihese harmonic altematives_
 EI Coraz6n
lreble Clef C tnstrnmenls

D7\lq,l5)

A7(t9,15) A7G9,l5)

Repeat chords fo. solos. After solos,

D.C. .tt CODA l2nd tt6e),
S coor

(:otl,right O L995ScottRe.!es, Reebo.eMrsi. (BMl) AllRights lt.s.rvcd. Used BI Pemission.

i!)

t
Tr e b fe Cfef C I n s t r u m e n I 5 - Ex e I ( i s e 5 I o r
I " E l Co ra z it n ,

a 1. Usingthetonjcminorpenratonic
scaleovertheentireprogressionl

t
|t
+ 2. Using a descending minor pentatonic patiern over the entire progessioni

+
t 3. Using a stepwiseminor pentatonicpattem over the entire progression:

4. U.i1g the dori.rn .Jpe locrid-,.ale>t\dr fit e"chcn.rd:

"nd
Dmil I (dorion)

(doron) Dm I I (doron)

(fl9)
(A superlocrion) A7G5)

(do on)
 EI Cornz6n
Laiin

e-'t".rr^O

87(+9.+5)

Rep€at chords for sol6. AIter solos,

D.C. aI CODA (2ndttne).
$ core.

Copyight O 1995S.ott Reelcs, l{..bon. Ntrsi. (BMI) -!.11tuEhtsR€s€r€d. used By Permission.

 239

Bt I n 5 I r u m e n t 5 - Ex e r a i 5 e s J o r " E l Co ro z 6 n , ,

1. Using the tonic minor pentatonic scale over the entire proqression:

2. Using a descendnrgminor pentatonicpatiern over ihe entire progression:

3. Using a stepwiseminor peniatonicpatt€m over the entite progressioni

4. Using the dodan and superlocrianscalesthat fit eachchord:

FmilI (dorlon)

Amill (doron) EmilI (dorion)

Ge)
F*d7(Bsuperlocrion) 8705)

(dorlon)
 EI Coraz6n
ScolrR..:
Latin -
a>a

. It)
- tocoDAe
-i

87G9,l5)

Ff7(+q
+5) F$7(+9.+5)

Repeat chords for solos. After solos,

D.C. al CODA (2id nmd.
S col r.

Cop).right O 1995Scott Ree!€s, ReeboneMusic (BMl) Al1 tuEhts R€s€ry€d.Used By Permlssion

E, f n s tr u m e n li-E xe r( ise s l o r , ' E l a o rd z it n ' ,

1. Using the tonic minot pentatonic scale ovei the entire progression:

2. Using a descending minor peniatonic patiern o\,er ihe entire progression:

3. Using a stepwise minor perltatonic pattem over the entire progression:

4 . U 5 m8 l l _ ed ori i n Jnd .upcaocri an th.rt frt edl :h. hord

- " r.,

Bm I I (doron)

Emill (dodon) BmilI (dorlon)

Cd!7 (F{ superocrion)

Bmll I (dorion)
A2

El Coraz6n
ScotrR*-t-
.-4-
z- ?

_; _ ] t)-
roc oD 4g
^i

SOLOS
Dm D7({9.1s)

A7G9,{s) A7(le,l5)

Repeat chorils fo. solos. Afte. solos.

D.C. al CODA Qnn ri'llc),
S cool

Coplaight O 1995ftott Reev€s,ReeboneMusi. (BMI), All Rjghts Re*rled. Used Ey Pefri$ion,

rl|
Eo sr Clef I n i I r u m e n I 5 - Ex 6 r c i J € 5 l o r , ' E l Co rd z irn ,
*

s 1. Using the tonic minor pentatonic scale over the entire progression:

I
I 2. Using a descending minor pentatonic pattem over the entire progrcssion:

3. Using a stepwise minor pentatonic pattem over the entire progression:

4. Using the dodan and superlocdan scalesihat fit each chord:

Dmil I (dorion)

Gmil I (dorion) (dorion)

(+9)
E 7 (A supe.locrion) A7($5)

Drril I (donon)
 EI Coraz6n
Plano/Guitar scottRee\es
Lstin (+9)
D mi l I D7($5)

(19) (2ndtime)
A7($5) to CODA e

Rep€atfo. solos. After solo!

D.C..11CODA (2d ttne).

Sf coDA
Dnnill

Cop$ight @1995Scott Rftves, ReeboneMusi. (BMI). All Ri8h1sR€sered. Used BI Permission.

 B6s
El Coraz1n
Latin
Dmil l
$5)
D7G9)

Dmll l

(znd time)
(19) to CODA 0
A7({5)

Repeit for solos. After solos!

D.C. dl C0DA (2nd time).
S coDA
Dmil l
rall.

Copynght @ 1995Scott Reeve, ReeboneMusic (BM). AU pjghts R8efted. Used By pdmi$ion.

CHAPTER

13
DIMI NI SHED SCAT ES
AN D DI MI NI SHED
CH O R D S

Diminished scalesarc unlike other scalesin that thev alternai€ hau steps and
h hulH,lcp,. I he) ronla;nFi8hlnole\ e\clJc;veol rheo, lale dnJ dre .rl5o. d led
acfatonicscaLes.D:l}]l]ilshed scalescome in two 6otrJ.s the dininished(halfstep)
s.a/e,which begins wiih a hau step, and the di,Trinishetl(whaLestep)smle, whichbe-
sins with a whole step:

v2 w1 / 2 w1 / 2 wl/ 2 w wl/2wt/2wv2wv2
C Diminished (Hof Slep) Scole C Diminished Scoe
lwhole-Srep)

Both types of diminishcd scalesare unique in that they cannoi be iransposedto

more than three keys before the], repeat themselves. For example, if yoLrcompare
the C, El, F{, and A diminish€d (whole-step)scales,you will notice that they con-
tain the same notes, allowing for enhannonic spelinSs.

w1/2WV2WV2 W 1/2W1t2W1t2WU2
C Diminhhed Scole
{Whole-Step) El Diminthed(whole-siep)
scole
 Dininishrd S lesotul D0,, 6h.d Chotds
ID
o
0 w v 2 w l/ 2 wv 2 wy 2 w v2 w l/2 w 1t2 \\ t/2
FflDiminished scole
{whole-siepl A Dinrinished
(wholeSiep)Scdle
N|
Diminished scaleshave a symmetrical sound becauseof their altenation of
I hau steps and whole sieps and canbe found in the music of iwentieih,ceniuv
cla:,i(dl.ompo.err ,u, h .r- BcldBdrtdland Olrvrer\4e.srdpnD, nini-heo.cdte5

? becamepart of thejazz vocabulary aftel 1940and were codified by CeorqeRus-

.ell :n hi<rd,/,/Lheonoook.rh, IrdianChto|tot,,CoF,epl

+
ofTuaalO;gaIi-a;io,l.
TY,edininished(uhole-step)s.dr canbe thorghi of as being fomed from the
fimt four notesoI a minor scaleand the 6rsi Iour notesof the minor scalean aue-
merled4$ abl'\e.
I
a
Diminiqled (whole step)scalescan be used when improvising overtDy df
ninishedTtLtcholls, which are the same as half-diminished chords wiih doubtv
lowered 71h..

c HolfDiminished
7fi c Fu y Diminished
7fi
C, ot Cni7rs ca7

Fuliy diminished 7th chords contain a root, a minor 3rd, a diminished sth, and
a diminished 7th (which is enharmonic wiih the maior 6ih). Like diminished
i dle-.d:minishedchord,cdnbe trdn5oo,ed io onl) thrcekey. betorerhe) repedr
ihemselves, allowing for enharmonic spellings.

CY E"7 Fl,7

Since all adjaceflt intervals in the ftrlly diminished 7th chord are minor 3rds, rhe
chord sounds the same in all in'e$ions. Ii may also rcmind you of a train whistle
or a sound overused by sil€nt movie composers.
Sometimesa major 7th is used in the chord irstead of the diminished 7th.
Tl.'e dininishen/majol 7th clord has a strong "bite" bui has more stability and color
than ihe tulIy diminished 7th chord:

1?n--
-6 -bg
aa-
c? {MA7)
 Dininbhal S.dlesand Diklinishetl Chods

Diniished (hnlf ste scaldsare used when improvrsng or dominant7th chorLis

with raised or lowered 9ths-The diminished (half srep)scalecontainsa lowered
sth, but u{ike the srpdllo.r4rn s.a/r, it does not have a nised sth. With alowances
for enhamonic spellings, we fin{l the following chord rones in this scale:

$e

FouI diffeient dominant 7th chords are found within each diminished &atf-steD)
-cal( allutrirrt for e+.t moni, speltinBr.
tor e\dmple.rhenote.or (neC4q. b7f
Ffl7t9,and A7t9 chordsare lound within ihe C diminished ftalf step)scale.

c7l9 ETre Fi719 A7l9

This implies thai anything plaved over a C7t9 chord will atso sound good when
pld)cd lhe otherlhre((hord':
^ve'
Both diminished (half-step)and superlocrianscalescan be used ov€r domi-
nant 7th chords with altered 9ths- In general, diminished (half-siep) scalesare
used more frequentlv in major keys, and superlocrian scalesare the prele €d
c\oi.F in m:nor ie\s.
Someof the songsin which dominant 7th chords wirh alrered gths figure
prominently include "Barbala," "Blue in Green," "Hi-Flr" "Peace,"and "Stela
by \li,ligl't. l-ull\ d imini-l.edTthchordccanbe fuund in compo.i{ionr*u,h d:
"Corcovado(QuietNights ofQuietStars)," "How Insensitive,""I RememberCliJ-
ford," "Meditation," "Once I Loved," "Solitude," "Sprine Is Herc," and "Wave."l
Boll' ivpesof dimrni.hed,cile: h orl r ell over,"ng- *irl ii V progre5sion<
even though some of thc members of the ii chord are not found in either scale.
When using diminished scalesover ii V progfessions,you mav use either the di
ninished (whole step) scalebased on the root of the ii chord or the diminished
(half-step)scalebasedon the rooi of the V chord, sincetheseiwo scalescompdse

DmiT G7

(Whole-stepl
D Diminished Scoie (Hollsiep)s<ole
G Diminkhed

Develop yo11labiliiy to hear diminished 7th and aliered dominant 7th

chords bv playing them on the piano.

'Th€ usic to thesesongsmav be ioffd in the lolowinS v ollnes ol A Neu41ttar.h talrzz

rfltldmalionr,,B.rba.a,,
(vol.18),"Blu€in cr€€n"(vot.s0),,,corovado,,(vol.3l ), ,,Hr_Fty,,
(vol.43),
"How Ins€nsirilt"(\bl.3l), "I RemeDber Clifiord"(\bl.14),"M€ditation"(Vol.31),,,QnceI Loved,,
(vor.31),"r€ace"(vor.17),"soritude"(vor.r2),"sprin8k Here,,(vol.34),,,sr€llaby sradiShf(vol.
 Didihi.hetl Stu1esand Dnitish.d Chottls
U 249

o Dr rv r rr r s x r o S c a L E W a R M - Up s

T Play the following exercisesover the chord progression,using eirher a metro_

nome, a live rhyihm sectiorL or the ,,ii-V I progression Diminished Scale Warm_
I Ups" play-along rract on the companion CD. itay rhe w rten example over the

|t first chord; rhen use your ear to ptay the exercisein the diffeienr kets indicated
by the chord slanbols. You wilt find ii h€Ipful to look afthe chord pro8ression in-
st€ad of the exerciseswhen playing in the remainint eieven keys. Pick a tempo at

t which you can effortlessly play each exercise, gradually movinS on ro more diffi_
cult exercisesafter you have mastered the easier ones.

t lreb le C lel C Instru]!tents-Chord Progression

t Latin rhytlnn

t DmlT C IV]A7 B' MA7

BbmiT E b7 Ab MA7 AbmiT D67 Gb N/47

FlmiT E MA7 D MA7

EbmiT D' MA7 C*m 7 F l7 B MA7

BmiT A MA7 AmiT G MA7

F IV]A7 FmiT EbMA7

lr e b l e C lef C I n s tru m en t s -B e g in n i n g E x e rc is e s

1. ThefiIst live notesof dre diminished (whole-siep)scale:

DmiT G7(t9) c N/lA7

 Dinlhlsh.l Scnl$andDi ninistu.,1
a::.:.

2. The first five notesofthe diminished (half-step)scalei

DmiT G7(t9) C MA7

Tr eb le Clef C I n s I r u ft e n ts - | n t e r m e d io t e E x e r. is e 5

3. Thediminished($'hole-steD)
scale:

G7(59)

a. The dimmrshed(halFstep)scaie:

G](69) C NIAT

Tr e b l e Clef C Inslrumenls-Ad v o n c e d E x e rc is e 3

5. Thediminished (whole-step)scalein eishth notesl

G7(t9)

6. A dimnished (haii-stepI pattern:

c7(b9)

BL Instr uments-Chord P ro g re : s io n

Latin rhghm
EmiT A7 D MA7 DmiT

B' MA7 BbmiT

|,J
Dintinishrd Stdl.s and DnninishedChotul.
O
AbmlT Db7 F+mi7
?
Gb MA7

t
Eb N/A7 Db MA7

AmiT G MA7

Bt I n sl ru fie n t5- B eg in n in g E x e ra is e s

1. The first five notes of the diminished (whole srep) scal€:

EmiT A1(b9) D MA7

2. The first five notes of the diminished (half,step) scale:

D MA7

Bt I n 5 lru me n t5- | n term e d io t e E x e rc is e s

3. The diminished ($'hole step) scale:

Enl A1(69) D MA7

4. The diminished (halI-siep) scale:

EmiT A7(b9) D MA7

252 Dininished S.tl6 and Di"tinistuA aa;'=

B ' I n 5 t r u m e n t i -A d v o n c e d Ex e r < i s e s

5 . fh e o i mi n r5 hed (\^hol e' cl epr i n ei ghth note.

" cdl e

At(r9) D MA7

6. A diminished (half-step) pattem:

EmiT A7(b9) D MA7

Et l n5 lr u menls-Chord P rog re s s io n

Latinrhythm
BmiT E7 A MA7 A m7

Ebm7 D' N/]47 ClmiT

CmiT B' MA7 BtmiT

Abm iT Gb MA7 FSmiT

Ditunish.d Scalesdrd Dininished Chhns

E t I n 5 tru me n ts-B e g i n n in g Exer cises

1. The first five notes of the diminished ( ,hole-step) scale:

BmiT E7(69)

2. The first five notes of the diminished {half-step) scale:

BmiT E7(b9)

E ' I n s t r u m e n l s - | n le r m e d io t e Ex e rc i s e s

3. Thediminished (whole-step)scale:

Bm7 E7(b9) A IV]A7

4. The diminished (half-step) scale:

Bm7 E7(t9)

Et In strumenls-A dvonced E x e rc is e s

5. fh€ diminished (whole st€p) scale in eqhih notes:

Et(69) A MA7

6. A diminished (half-step)paitern:

BmiT E7\69) A IVAT

 Dlhitishetl S.alesa"n Dnnntbhen Chonl:

Bo ss C l e{ Inslru m e n I s - C h o r d P ro g re s s io n

Lrtin rhythm
DmiT G7

BbmiT

F{mi7 E m7

Eb.r,7 Db t\,4A7 C* m 7

Gm7 EbMA7

B oss C l ef I n slr u m ents-B e g in n in g E x e r. i5 e s

I
1. The first five notesof the dininished (whole step) scale:

G7(69) C MA7

2. The first five notes of the diminjshed (halI step) scale:

Dm7 Gt (69) C MA7

t
Dihikishetl Scaksn n Di inishedCh.hls
O
t Bqss Clef I n slr u m enls-l n t e rme d io t e

3. Thediminished (whoie-sreD)scalel
E x e rc is e s

t DmiT G7(69) C MA7

?
4. Ihe diminished (half-step) scale:

DmiT Gt(69) C IV]A7

Boss C lel lnstru m e n l5 -A d v o n . e d E x e r c i5 e 5

5. The diminished (whole-step)scalein eighth notes:

Dm7 G7(bq) C MA7

6. A djminrhed (half-step) patternl

Dm7 G7(b9) C IVAT

Al l I n struments-lmp rovis q t io n E x e rc is e s

1. Lnprovise on diminished scalesin al1keys,usinS a live fhythm sectionor the

"ii-V-I Progressionsand Diminished ScaleWarm-Ups" play-along track on
the companjonCD.
2. Make up your own exercisesand melodic ideasbasedon diminished scales.
 Diilihihtd 5.rles d DrhhLttklt a),r,::

Jm pnov ts u.ro oN D tn u Nt s H E D S c A r . E s

"Nuthouse" is a composition in ,hich diminished scalesfiqrrc prominenttv in

lhe nelod) a1o i,i-moni( iJrplic.rton.. r,J, tr,e Jfd impro\i:e o t .,ong. ,r-;3
either a metronome,a live rhythm sectjon,or rhe ,,Nuthouse,,plav-atongtrack on
the companionCD. (O11thc CD, the chord progressionis ptaycd sjx times.)
"Nuthouse" is basedon rhe chord progressionto a Cole porier composftion,
"What Is This Thing Called Love?"':It is casrin a 32-barAABA iorm; theAsectron
cente$ on the concertkeys of F minor and C maior,and rhe B sectionbeeins in B,
md o'dnd reiurn. lo th(.tJ I nr lc). Ihe Ke) cerrer.dno
rpnco,cd i I p.rre.rt ^pfi"..,t retareacl.,o-
re,e-rdrc .hoh I Ul !h . drnl) si-

c7G9)

G](69)

C 1\.1,A.:
ii

A b 7 (t 5 )

ransitionbackto Fmlnor.. D.C.al Fi e

The chord progressioncanbe snnplifiedby reducingit to the folowing ronal

A B
C mojor Bt mojor lronslionol
4 4 4

A Frnn o , c mo io r
a44

'CoL€tofrei, "l^tLit Is Tlis Thing Callcd Love?' .opvr!8hr 1929,renerv€d br tvaner Brothers,
Dininished Scal4 tnd Lrflinished Chords

There are a couple oI options with regard to the scatesthat color these
chords. Over the first chord, the superlocrian scalewould normally be the fi$t
choice,but the diminished (half-step)scalemay also be used. During the major
ii-V's doiian and mixolydian scalesmay be used to create an "inside" sound,
whereas diminished scaleswill brinq out the sound of the chord alterations.

c7(+9) Fmi
suporlocionor dim.(l/2 step) melodic minot

D67 G7(b9) C MA7

D dim.(w.s.) G dim (l/2 step) mojor

Cm7 BbMA7
dorionor dim,(ws,) mix.ordim.(l/2) mojor

G7(69>
mlx.or dim.(l /2) mx ordim.(l /2)

Within the melody of the song, diminished scalesare Iound in measurcs 14

L7-18,27 28,6L,66, and.70 and superlocrianscalesare used in measuresH, 10,
22,2910,U, a^d57 58 and in th€ coda.
The exercisesthai follow the song will help you gain facility in usint dimin-
ished scalesover this prcqrcssion.
 Tr€ble Clef C lNtruments
Nuthouse

13 A1

B
2rx

C MA7

. sol,os
A cz(+s) G7(69)

CoflriSht O I 995 Scott R€€ves,R..bone \'lusic (BMl. An Rights ReseNed. Used By permission.

254
 Difliaished S.iLesdnd DituinGhed Chords 259
t,
B
I 4r c MA7

s
|l 45 B' MA7 Ab7(t5)

c
t 4e e7(r9)

i
t
e (Repeat ro h. 37 for more solos.)

D.S. al CODA
 Din inishetl Scnl$ anrl Dinliflishetl Clrati:

l r e b l e C l e { C I n s I r u fi e n t s - Ex e r ( i s e s f o . ,,N u I h o u 5 e,,

1. Usingth€ descendintdiminlshed(hau-step)
scaleoverth€ ii V progrcssions:

A cuGs)

G7(69)

B^ _

Ab7(t5)

D.C.al Fine

2. Using the minor of halfdiminished 7ih arpeggioov€r the ii chordsaird rhe 3-

5+7-i9 over the V chords:

A e,l c7(69)
c7(t9) Fm

G7(r9)

G709)

D.C.al Fke
Diftitishe.l Scales.nd Dinlnlshed Chaf.ls

3. Using the ascending diminished (whole-step) scale over the ii-V pro$essions:

A G"] c7(69) Fmi

G7(69)

B_ ._ F7(b9) BbMA7

(Etmi7) Ab7(b5) (Dmi7) G7(69)

 Nuthouse

to coD^ S

o'3]3i,z

Copvright O 19!5 ScottR*ves,R€€bon Nllsi.(BIvlI) All tu8htq lteseNed Us€d B1lpennission.

262
 Dimtishcd S.nlesand Diflinish.d Cltatns

B
1I D M A7 Dm7

C MA7 Bb7(b5)

D709)

I (Rcpeat to m. 37 tbr more solos.)

!*

lr-

t-
ti,
*j,

D.S. al CODA

S core
 264 Diftiniihztl Scal,sand Dittikished Choras

B; I n 5 I r u m e n I s - Ex e r c i s e s I o r ,,N u I h o u s e,,

1. Using the descendingdiminished (hatf-step)scateover the ii Vprogrcssionsj

A oz(*s)

A7(b9)

C MA7

Br7(b5)

2, Using the minor or half-diminished 7rh arpeggio over the ii chords and rhe 3_
)-tl+e oler tne v chords:

tr A'7 D l toq) r:mi

A7o9)

li

(Fmi7)
t
+ Diflinished scat6 ond Dinifliihtd Chords

3. Using *rc ascending diminished (whole-step) scale over the ii-V piogressions:

$ D7(t9)

,c7(b9)

B_ ._ G7(be) C MA7

Bb7G5) ,A7(b9)
 Nuthouse

toCODAe

o'll3i, z
Coprright O 1995S.ott R€eves,Re€bon€M!si. (Btvlt).All RightsReserled Used By p€rmissjon.
 D ini nished5.n14d\d Dlnnlih?d Chottls

G MA7 F7(t5)

A7(19)
L-

E7(r9)
lb.

L-
tl-

L."
&
t n
tt,
[L

&
t;
I
,&
f
I
I
t
t
I
I
268 Dihini\hed Scol6 atu| Diniaished Chordt

Et I n s l r u m e n ts - Ex e rr i s e c f o r, , Nu t h o u s e , '

1. Using ih€ descending diminished (half-step) scale over the ii-V progressions:

A A7G9) Dmi

E7\b9) A I\,4A7

F7(b5) E7(69)

2. Using the minor or half-diminished 7th arpeggio over the ii chords and the 3-

,A7(t9)

E7(69) A MA7

B,q.iz D7(69) G I\IA7

(Cm7) (Bml7) Et(b9)

Dininished Scalesanl Dininished Chatds

3. Using the ascendinS diminished (whole-step) scale over the ii-V progr€ssionsl

Avl Dmi

E7(ba)

D7(b9) G IV]47

(cml7) F7(t5) (Bm7) Et(69)

D.C. al Fine
 BassClef Inshuments
Nuthouse
Ssing
INTRO

5 ( llamo n l { p t.3 d r
A

to coD^ Q

, A'3liii, G7(b9)

Cofttight O 1995ScottRee!.s, Reelrone

Mlsic (BMI) A| RightsR.s.rv€r1.Use.lBy pemlssion

270
 Difltlhlsh.tt 5.r1.! rfltl L)nhnlhh.d Ch n;

B
u- r C N/lA7 Cm7

ir-
r{- ]5 Bb MA7 Ab7(.5)

lr.

tu le G 7 \b q .) cll\g)

5
a3 Dz l
{r

t, (Repeatto m. 37 for nore solos.)

a 5? A2 (Hdmony loco)
i w+bf.e-

f,
t
3 : |I)

t
I
I
I D.S. aI CODA

I
I
I
I
I
I ^o'-_A

I
I
I
272 DntuList'dS.ntes,nd Dimh'ishedCho'ns

Bo ss Clef I n s tr u m e n t5-Ex e rc ig e s { o r , , Nu t h o u s e ' ,

1. Using the desc€ndingdiminished (hau-step)scaleover ihe ii V progressions:

A C7({9)

G7(t9) C MA7

Ab7(b5) Gt(b9)

2. Using the minor or half-diminished 7th arpeggioover the ii chods and the 3,

G7(b9)

Bc,niz

(Ebm7)
Diftinished Scnlesann Dininistud Chnrds

3. Using the ascending diminished (whole-step) scale ovef the ii-V progressions:

L e"t ct(69) Fmi

B c.iz F7(69) BbMA7

D.C. al Fine
 Ditt i Itish.dS.ahs nnttD i ii, i th.tl Ci:.'..

Nuthouse
Db m6 E b m6 Bbm6 G7(:5j

A.,
, x cz(*g,+s)

G7(+9.+5) c N, 4 A r3 0 I t )

L1 c7(*9'f5)

[i.

G7G9,f5) C [/]Al3

Cotj/right Cr1995S.ott Re€ves,R€€boncV!si. (!MI). All ltights Reserved.Used By lcrnission

 Dintinish?d Sealestnn DinlhGhed Cho s

B
2l Cm i g FtG9,l5) BbMA9

f. 25 Ab13

L-
L-
2,r C7(f,915)
li.

t-.
t
& G7(t9.t5) C MA ] 3
R€pcat to m. 5 Ibr solos.

a
t D.S. al CL|DA
a G 7 ({ 9 1 5 ) C MAI3 G7u9,r5)
I
i
I
I
c MA]3GI t)
I
I
I
N
I
 Dininish,4 Setes ond Dinitished Chotds

B.ss
Nuthouse
Swing
INTRO

A/
* ctlJ-q>

C7($a) C MA7

B
CmiT B' MA7
21

G7(+9)

A
c7(+9) tocoDA S

G7(d9) C MA7

Solobreak-lsr rime Repeatto m. 5 for solos

(walk during the A sectionr
Alt€. sol6, D.S.al CODA
Sf coDA
D67 G7(*9) C MA7

C MA7

Copy.ight G)1995&ott Rev4, R@bone Music (BMI). AU Right5 Reseded. Used By Pemision.
Theconscious
mind is like theArmedForces.
Youneedthemilitaryto protectthecountry,
butyoudon'twantthegenerals to takeooer
thegoaemment.

-pianist Kenny Wemer,discussingthe

role of consciousthought during
the act of improvisation
 C H A P T ER

15
J AZ Z THEORY

Exceptin certainfree jazz styles,thejazz musician improviseson the melod, the

Jorm, ar.d.the cha prcglessionof a song. The perlormer must know this "blue-
print" so thoroughly that he or she does not have to consciously think aboui ii. To
get to this level of intimacy with a song, it canbe helpful io develop an under-
standinsof the theoreticalbasisofiazz.

Scl l rs aN D rt{oD A r. Fam rL rEs

An imprcr.isor spontaneously makes up melodies based on the chord proSression

of d1eiune. Therefore,the jazz artist has to be able to pick out not€s that fit the
underlying chords. In addition to the chord iones, ihe scalesthai accompany these
chords may be used as ihe raw maierials lor improvisation. A basic tenet
oi jazz theory is thai ior every chord, there is at ieast one scale that best colo$ it.
This chapter presenis an overview oI many oI the scalesor r7?odes used by jazz
musicians.Bear in mind ihat an iniellectual understandins of a scaledoes not
8urrdnieethdt ) ou B ill be dblelo improvbeon it rn d credLrve mdnner lo. redte
interesting music with a scale,you must practice the scaleuntil itbecomes an

Many of the modes are derived from one "parent" scaleand belont to the
samenadalfamilV.T\ere are seven modes in the najot scalefanilV, seveni^ t]].e
melodicminorJanily \hve oI which are comrnonly nsed), two 1n t]r.ediminishedscaLe
fanily, hve in tlje najor pentatonicfamily (oI w}].ich two are used), six in the ,llles
sdals(o{ which onlv one is used),and one in the whaLe-tane scale.
\-
The following modesresult irom stariing on eachnotc in the ,ralo/ sfi/e and
t. continuhg upl{ard for one octave-

l.
ScoleDeg@ Nome of ttode Use ond Sound Ouoliry

t: Used over major 7ih chords;1ESa "pretiy" sound

Used or-er minor 7ih chords h a ij V I progfesslon

L Used over minor chords,has a "Spaflsh'sound

L Usedover major 7th and major 7flu chords;has an

L Mixolydian node Used over unaltereddomnunt 7th chords;has a

'Jazz),"or "blres_v"qualiq

t Used over ioni. minor chords,has a sad qullty

Used overhalf dimilished.hords; has an unrc-

t sdved qualitlbecause of itslackof aperfect5th

t
t, E ph1ygidll

t D doiafl E lltdial1

MoiorscoleModolFomily

I The following modesresult from forming a scaleon eachnote in the ds.ard

ing melatlicminorsmle. (The modesbuilt on the sccondand the fifih notes are not
t typically used in jazz impro\.isation.)

I s.ole Degree Ndme of Mode use ond Sound Osolirt

I lst note Mclodic minor Us€d over minor chords with najor Tihs

3rd notc Lydian augmeni.d {lscd over major 71i5chords;has m extremelyexotic

I quatrr

Lrdian donnnant Used over domhani 9fl11chords;has a color

I favoredbv someBnzilian musicidE

o Uscd over half dlnirished 7th chords,has an unre-

Used over dominalt 7ih chotds $'iih alicred 9ths

7ih note Superlocrial
I . d ql - Jo_g N l h h- l l el .d . ni n u- lhe r ^. 1
connonl,v used mode in this family

I
I
t l,dia doj"ihdflt B sxpetlocritltl
f Eb Unh, d tmeated
MelodicMlnor Modol Fomlly
f,
I
I
 Jr.z fh.)^l

Becausedimntishedscaleralternate half sreps and whole steps, onty t.!vo

modes oc(ur: the diri,tished (uhole-step)nt)de, ,hich begins wiih a rvhole step,
a\d the dinlinishcd (hnf-stap) ,mdr, which begins with a hau srep.

U5e ond Sosnd auoliry

1 s t,3 rd ,5 th , Dimin;hed iahole-tep) Uscd over diminished 7th choids
or ii chordsin a majot or minor

2nd, 4th, 6th, Dimin,shcd lhalf Usedover dominant 7th .hords

"tep)

Diminished scaleshave eight nores,nor inclusive of rhe ocrave,and are some_

times calledo.idtorlc scales.

D di111.(112) F di1n. (1t2) G+ din. (1/2) B ditfl. (112)

Diminished
scoleModolFomily

Therc are many types of pfrrtrfdlri. scdtus;

rhe onesmosr commoil), used by
jazz musiciansare the ,1aj0rarulni or lientatanicnodes.

s.ole Deg.ee None of Scole U* ond Sound Ouolity

lst note Major pentitonic I pJ r i rj. , or dominJnt 7lh, ho-J. ai 1r
^..
larlv in modal t6es, has a bright, open qualitv "

Used oler minor Tth.hords, paiticularly jn modal

tunes;has a da.k, "bluesy" feeling

ilc o-
A mi ttur pertatofl i c

Moiof Pentoicnic
Modes

The b/rcss.n/eis used only in its Iirstmode.

C Blues
Scole

It has a "bluesv" qualiiy and can be used over both minor 7rh and dominant 7th

Becausethe zrrole tdncr.ale consistsentirely oI whole steps,each mode in

the parent scalewill alsobe a whole-tonescale.
 Fl whole-tote Bn whol.-tone

scqle
whoie-Tone

The whole-tone scale is used o\'er augmented triads or dominant 7ih chords with
altered 5ths. Its lack of half sieps Sives it a very unusual color. It is favored by
composerssuch as ClaudeDebussyand TheloniousMonk

Exer cise I

SinB and play each of the previous modes, paying attention io their colors and

Ex e r c i s e 2
On a separatepieceof paper,transposethe major scale,ihe melodic minor scale,
the diminished scale,the blues scale,and ihe $'hole tone scale to a key other than
C. Then wdte out ihe remaining six modes in the maior scalcfamil)r and the re
mainins lour modes in the melodic minor Iamilv

Cnopos

Chords are detined as three or more notes solrnded simultaneously Soundjng fte
notes in a cllord one at a time produces a cfuordarPegtio liads ar€ three-note
chords consistinqof a rdot (the lowest note), a 3rd, and a sth. Se?cufftcrolds are
made up of fol.ll noies, ninth chordscor.tair:.live notes, cl€oenlr.iolds have six
notes,and thifte lh chaldsconsistof sevennotes.Eachadditional chord tone adds
color and tension to the harmony.

Triad

Inearlyjazz, the harmonicinstrumentsusLrallyplayedtriads or triadswithadded

6ths. During the swint era of the 1930s,7th chords were the norm The bebop
stvle of the '40s added aliered 5ths and 9ihs to chords,and 11ihsand 13thswere
common in the'50s ancl'50s. Tlpicallt mostlazz chords are referred to as 7th
chords,but that does not Precludethe player from adding noies beyond ihe 7th
(calledeitersrors)to the chord
Chords are usuallv stackedh inteNals of 3rds and are referred to as lelt"
-rolci18s. When chords are stackedln intervals of'lths, they are known as 4 'r'ti7l
i,oi.ir'rss.Quarial voicings are Particularly common in modal compositionssuch
as MiLs Davis's "So l,\'ihat"as well as in much of lohn Coltrane's 'ork from 1960
io 1965.
296

Q!ortolVoicing

enr:.cho!l J*e ca,egori/,d ac.oro iits ro rhe rype.,f In..r\ .rt. u.cd to
., ,5:\
oura tnen'.lvtotat /tt ttlolr'.cun{dir.rro^t.dmajurlrd.dperfe,Irth,.rrddmdor
7th. n,p) canbeAlendFd b\ ddoinqd rr.rior
",h dn art-nerteo r r,l. una u ..1o,
I lrh Mdior7tn . l-o,d. r) pi, dU\ .nund
tfe,I or ru.h u h( n ptd)"d

C MA7 cMA9 cMA9(*11) CMA13(fl11)

CA7 c^9 c^g(lt l) c^I3(lll)

Dotninant7th chatdsconrain a root, a major 3rd, a perfect sth, and a minor

__
7th. Extensionsmay inchde a major 9th, an augmentedllrh (iI used in coniunc
tion with the 3rd), a perfect l1th (if used in plice of the srd_known as a
Jas.4
cl,ord),and a major 13th. Dominanr chords have a ,,jazzy,, or ,,bitin8,, quality.

c9 ca(dtl) C9(sus.:l) cr3(il11)

The 5th oi the major 7th or rhe domirunt 7th chord can be aliered by raisins or
lowering it a half stepj the 9rh of ihe domhant 7th chord can also b6 aiterejby
raising or lowering it a half stcp_

c MA7(t5) c MA7(15) c7(b5) c705) c7(t9) C7({5.d9)

Mi11or7th chafis colttarn a root, a minor 3rd, a perlect 5th, anc:ta minor 7th.
The.c,hord.crn bee\rend.d hJ dJd ng" maiorath,dpe,tc(i rJlh anddmaior
I l{h. l\ot'cF lh.rlninor olh a rd Tmo" i 'rh choro-cnniarn,,rn it gthsanonior
13ths.) Minor 7th chords have a mellow or ,,bluesv,, cturacter

CmiT Cni9 C D 13
c-7 c-9 cl l

In a minor ket a minor triad $dth a najor Tth is occasionallyused.

C'ni.MA7
C1^7)
 297
lr,
T]neminalmajor 7th chold sounds like a minor 7th chord with more "bite" and
t does not have a tendency to progess to a dominant 7th chord.
Maior, minor, and dominant 7th chords arc the most commonly used chords
r iazz,buthalf diflinished7lh chotds(co si,stilf.g oIa root, a minor 3rd, a dimin-
t ished 5th, and a minor 7th) al:.d
iully tlininished 7r7tctolds (consisijngof a root, a
minor 3rd, a diminished sth, and a diminished 7ih) are occasionally encountered
t Extensions to the half-diminished chord include the major gth and the perfect
11th Fully diminished chords canbe extendedblr adding all remaining notes in
t the diminished scale,usually in the lorm of a doublydininished voictn9-

t
t c ha -dnn.7 c half-dim. I 1 C dimT D dnn.7/Cdim.7

t c',7 c''; c'7 D"7lC"7

t Half-diminished chords have an "umesolved" qualiiy and want to progressuP

a perf€ci 4th to ar| altered dominant chord. Fully diminished 7th chords are very
unstable and usually move uP a hau step to a more stablechord. The follo 'ing
t chart summarizes ihese differeni chord tPes-

t
lnt.ryollic Comr,oiirion
t Major Tih Root MA3 P5-N{-4.7 Pretry lGl, warm, Yellow

f RoofMA3-P5-mi7 Jazzy,biihg, strons, rcd

Minor Tih Root mi3 P5-mi7 Mcllow jntlospective blue

t Half-diminished 7th Root-m13-dim.5-mi7

t Iully diminished 7th vervunstable.\ agne

t Exer cise 3

I Write th€ following chords, being sure to 1lsethe correct intervals above the root'

I EbniT

I
I G'7 B bmiT

I
I
I
I
i;
I

Dr.q r o Nrc C HoR D s

Chords are_deri\'€dfrom scaiesby buildint a chord on every other not€ in rhe

scale.Chords taken ftom the same scale are known as rliatonic ihards.

Doroni.chordsin fie Mojorftqle

Eachof thesechords is labeled with the roman numeral that correspondsto its
position within the scaie. (Uppercase numerals are used for majof and dominant
7th chords, lowefcase numerals for minor and diminished 7th chords.) Each chord
is also given the sameformal name as the note on which it is built I = tonic. ii =
-uPe4onr..i|| neoidnt.l\ = <ubdominxlt.V =domindnt,\i=submediant.vii
= leadint tone, and = subionic.
I^ major keys,'VII
tl].e l a d IV cholds are major 7th chords, the ii, iii, and vi
chords are minor 7th chords; the V chord is a dominant 7th chord; and the vii
chord is a half-dininished 7th chord. In nlrol kevs,the i chord mav be either
d minor 7lh or a minor mJjor 7rh chord; rhe ii t hord i" d halt_oimrnished 7th
chordi the III and \a[ chords are major 7th chordsi the iv chord is usuallv a minor
7th, hordj ind tnc V chord i" normdtiya dominant7th chord. I he \ ii chord is
usuaily a tully diminished 7th chord built on the leadins tone, but occasionallv
it occurs as a major or dominant 7rh chord built on rlie towered seventh (or
s rroric) scaledeAree.

IM7 iil 1ii7 IV M7 Y7

Mijor 7 Minor 7 Minor 7 Major 7 Dom.7 Minor 7 Half'dinl.7
SryenthChordsin Moior Key!

Seventh
Chordsin Minor Keys

Exe r cise 4

Given the key and the chord, write rhe appropdate roman numeralbelow each
chord.I Be.ure to diJferentiate
berweenuppercase and los er.dsenumerdls,dnd
u.e "M dj,d ' o" io denotenajor dnd diminished qudtitie..rThe firsl fwo dre done

eb, V7 c. VIMT D.
 t
Et:- g: Er- D b:

f
t Cxo ro l N v E R s toN s A N D v o lc lNG s

t When a chord is built in 3ds with the root on the boilom, it is referred to as a /oo,
,ostrronchord. It is also possibleto write chordsso ihat the 3rd, the sth, or the 7th
t is on the bottom- These arc called chad i tercions \ Ihen the 3rd is the lowest noie,
the chord is said to be in lirsl imersion iw|.en t:|.c5th is on the bottom, the chord is
( in se.]ordinrelslon;when the 7th is the lowest note, the chord is in iftild irle/sto

f
t
If the top and bottom notes in a chord are within one octave,the chord is
in clff. posilion.When th€ chord spansmore ihan an octave,jt is in oPetPosrtro
This is often accomplishedby dropPing the secondor third highestnoies down
an octave (kno .n as d/op 2 al:'d drop'i ztoicings)

a Open Position, Open Position,

I Drop'2 Drop 3

Addint chord extensionsbeyond the 7th and expedmentingwith different 'a)'s

rl of staciing the notes make many other voicings possible. Noness€ntjal notes, such
as the 5th or the root, may be left out of the voicjng, assuming a bass

Ir player is present. The 3rd and the 7th, however, are tl?icall]r present in most chord

lr Exer cise 5

Write the follo('ing chords in close posiiion, using the indicated inversions

FI7 E MA7 BtmiT D .7

1stinlersion 2Ddinlenion
Exer cise 6

Createopen-posiijon\.oicingsby changingthe followint exampleas indicated.

Drop 2 Drop 3

Cxo n o P R oeR E s s roN s

Chords do not occurin a random order; ftey progressin a way ttlat soundspleas-
ing io the ear.Strong chord progressionsset up an exp€ctationofresolution and
finalitt 'hereas weak chord proSressionscreate a feeling of vaguenessand move-
ment away irom ihe key center.Strong progressionsconsistof root movements
down a perfectsth or up a pe ect4th, weak progressionstend to move by 3rds oi
6ths. A diaionic chord progression in which each chord moves down a pefect sth
would look like this:

vi7 il7 Y7
Ine IL vr-rr Y I rrogresDn

This progression includes all the diatonic chords found in a major key except the
viiPT chord, which is usually used as a srlsf;trte fof the V7 chord, and the IV
chord, which is a subsiiiute for the ii chord. A similar ploqression in a minor kev
would look like this:

C: ill M7 vtMT if7 v7

Thelil-Vl-ii-V-iProgression

The i ii-vi-ii-V-I progressjon can be varied th rough tb,euse ol secnndarydoln-

irrrls. Normally, only one domin:nt 7th chord occursin any k€y the V7 chord.
However, it is possible to change the iii, vi, and ii chords ftom minor 7th to domi-
nant 7th chords btr raising the 3rd or each chord a hau step. Th€ rcsultint chords
are callect secondary dominanis because the]' create a dominani to tonic rclation-
ship to a chord other than the tonic. Since they act as a V7 to the vi, ii, and V
chords, drey are labeled V7/'tl,y7/ii, andyT/V (pronounced V7 of vi, V7 of ji and
VToiV).

Y7til V7N V7
IheW /v] Y7 /ii-Y7 N v7-l Prosression
 301
\
Chord progrcssionscan also be rnodificd through thc 1lseof tlle t/ito c sxil
t sfilllrlo,r.For any dominant 7th chord, vou can substiilrtc thc dominant 7th chold
a tritone (or ar1augmc'ntcd4th/dimhishc.l 5ih) au,ay.This is possiblebecausethe
( esseniialmembcis of ihe chod (the 3rds and ihe Tths)aie enharmorlicallyinter-
changeablc.
C
1.
cb7
t The iii yi-ii-V-I progressionbr some variation utilizing secondafydominants
and tritorle substituiions) occurs jn countless numbers of siandard songs.
t Mastering ihis progression
'\'ill
greailv simplify the processoi learning standard

t Somejazzcompositions,particularly thosewritten after 1960,intentionally

avoided using thesestandard chord proSressions.Composersfrom that period
I lrere lookint for new sounds and often used weak chord mo\.ementsand d re$.
on chordsthat were not diaiorlic to the kev.This tvpe of harmony is referredto as
na flulclio dl be.ausel]|.echoids cannotbe analyzedas functionint wiihnr a par-
t ticular ketr.Modnlrd,rorll, in which the chordslast fo|ll measuresor longer,also
becamecommonplacecturingthis period.
t D7sus4 F7sus4 Et7sus.4 Dbm7

I
{
D7sus4
I
I Chord Prosression "MoidenVoydse"
io HerbieHoncock's

I Amil /C Bt I\,4A7/CAmiT/C

I
(l
MA7/C GnTlC

I
I to tlreFirslPhrdseof MilesDavis's"MllestoneJ"
Chord Proqression

I
I
I
I Herbje H anco.i, '\'lajd€n Voyag. ' (.opyright 1973bv Hm.o.l Nlusjc,\es York)
'Nfil€sDr\is, "N1i]€stones" (coPllight I947,r.ncs'cd 1975Scrc€nGemeEVl N'1usLc).

I
I
302

Exer ( i5 e 7

Wriie ihe chord symbols indicated bli the roman numerals.

EbMA7

E b: I M 7

G MA7

G: IM7 v7Ai v7/ii

Vorcr Lr,norrc

Urhen chord progressionsare written or played, the chord tonesshould move by

a step or a 3rd to the closest note in the following chord . This is known as smooih
ro;L?l€ddtu8.In progressionsof 7th chords{'ith root mor.ementsof 4ths and 5ths,
the 3rd of the lirst chord typicaliy becomesthe 7th of the following chord, and
vice versa.The remainingchord tonesmove to the closestavailablenote, cfeating
chord inversions.Comparethesetwo examplesof iii-vi-ii-V-I prcgrcssions:

C: iiiT !i] ii7 \J7 I M7

Theiii-vi-ii-V-l Progression
with P@rVoiceLeoding

Cr iiiT u7 V7 IM7
Theiii vi ii V I Prosression
wiihSmoohVoi€eLeoding

Exe ia ise 8

Write the chordsindicatedby the roman mmerals, ushg pdnciples of good voice
leadjng.

G: i1i7 tM7
t
t Tn r R rrl rrol s H rp oF S c a t r s llo M o DE s r o CHo RDs

I As previously mentionecl,for e\.ery chord ihere is at leasi one scalethai best col-
ois it. The previous chaptersin this texi and those i\Cteatire lazz Inproi)isatia
i \vill reinforceyour knolvlcd8e of theserelationshipsand develoPYo11Iabilitlr io
improvise on them.r The nnlowing is a summary of most .rl ihe chords used in
t jazz and the scalesihat color them.

a Chofd Tljpe
1. Major 7 Major,Lydian, Major peniatonic

I 2. Major T{ 11 or
Major 7 i 5
Lydian, Lydian auSmented,Major pentatonic
(a major 2nd abovethe root of thc chor.i)

( 3. MajorTH5 Lydian augrnented

4. Unaltered domhant 9 Mixo\,.tian, Bebop7th, Major pentatonic

I s. Dominant 7ii9 or
Domlnant 7 b 9
Diminished (haltstep), Superlocdan
Blues

a 6. Dominant 9fl5
7. Dominant 91,5 l^rhole-ione,Lydian dominant
8. Dominani 7f,9t 5 or Diminished (half-siep),Srperlocrian
l Dominant 4 9, 5
9. DominantT+9f,5or Superlocdarl
I DominantTt9r5
10. N{iror 7 Doriarl,Aeolian,Phfy8ian,Minor pentatonic,Blues
t 11. Minor/najor 7 Harrnonic Minor, Melodic Minor

a 12. HaU diminished 7

13. Fullv diminished 7
Locriall,locian 12
Diminished ($,'hole-siep)

I E x e rci se 9
I Nexi to the follownlg chords,r{'rite the name and the notesof the scalesthat best
color them.ln somecases,thele maybe morc than one right answcr' One is done
I Ior I'ou as all example.

I F9 (15) Fwholc-tone

I
I
I
I
N
rs.ott D Ree!€s, Ckdrl. 2nd ed (tn8lc$'ood CliJfs, \ J : Pr.nlice- Hall, 1995)
.ltrz: Lrplotfdrio,,
I
a
a
304

Bi'i7

Eml (MA7)

Ffl'?

jaz z Fonms

BesidesknowinS the metody and ihe chordsof a song, an improvisor must have
arin.lrr,li\cgr.r-por lhetorn. l\cep ior free-rorm.ryte.mo.t j.r,//.on po-i_
tions arc basedon either bluesot sectioal fotrb.
The biuesfonn has its origins in th; traditionai .al-and-responsepractices
fuunJ n \fi .dnrnu,i, lhi.proceclurehd-.drredo\e.inrood-preart\'Arri.n'r_
Americanmusicalstyles,such as work songs,church music,and blues.
It should be pointed out tl.tairhc ,/rss /o/m is not always identical with a
'bluc.fccir}' Inf.r.r.td,,,,comDo.irion-od..d,,ilhebiJ.,lofn.anoeupt _
m8/ mysieriolrs/or complex in nature. The blues form is noi exclusiveto thtmu_
sical style called fl!,rlrres and is iound in jazz, rock ,n, roll, boogie_$-oo8ie,an.t
oiher DoDularstvles.
iyticany, ihe blues form is 12 measurestons and consisrsof three 4-bar
flr'.\:. Tnr,. .in ple.l ro m.rt.tnp-ernreephrd,e-torn r oup-tior_que5tron dn_
.r\ er rurn-dr.Lr n ure , plc. btue-cumpo-irun5,lh i>ci _,rnd_re.p.n_e
^n p-o.e_
oule rs not as e\ rdcnt

QtestiofllStateneflt Qltestiolllstotene t
 The chord progressionto abasic blues in the key ofC would be as follor4's:

I ^ C7 ^ G7 (or Dm 7) Fl (ot G7)

Therearc many variationson this basicprogression,includin8 complexformulas

that utilize additional chords and srbstiiufions. For a more tllorough discussion
of thesevadaiions,refer io Chapter9 of C/edliotlazz ltnpvristition.l
Sectional{orms have phrasesthat occu in a €livensequence,typically four
phrases o{ 8 measures each, resulting in a 32-measure form. Sometimes 'e find a
sectionalfolm in R'hich ihe phrasesare :l bars long, resultingin a 16 bar form. Ir-
regular phraselengthsand othd variationsof tllis format also occasionallyoccul
rn the analysisofthe phrasesof a song,lettersare assignedto eachnew phras€.
Dependingon ihe order of the phrases,sectionalforms occur h ihree types:
bitl vlan1,1^wln hthe song appearsto be divided in half.rd the phrasesoccrir
in an AB-AB or AB-AC fatrJ..at;tetnaryfarm, i^ which the song is divicted inio
thirds and the phrasesoccu in an AA B A Iormat; af'd.thrarSh-conlposed form, in
which none of the DhrasesreDeais.

A Bo/

Form
Throush-composed

As you ptay or listen to music, bc continually aware of ihe form of the song-Itl-
wardly singint the melody while listening to other musiciansimpmvise mai' aid
in developing this awareness.

Exer ciie I O

Lisien to recorded improvisations and ideniify the form of the song Seeif )'olt
can keep your place during drum solos over the folm

'Reeres,Cr.dti,el4zzldprorsdto,, P 102
 It's up to all of us to mnkesurethatartsand
musiceducation in theschools
doesn'tdisap-
pear.Wehaaeto startdemanding it again-thnt
it bepartof eaeryone's education.A society-a
world-,tuithoutart is doomed asfar asl'm con-
cerned. . . . As longasthereare'musicians who
haaea pnssion for spontaneity,for creating
something that'sneaerbeendonebefore, the
artform ofjazzwill flourish.

-bassist Charlie Haden

I NDE X

I-vi-n-V-I proFession. 81 Bebop 7th scale,4M1. 303

I-Vlii-V/V-V-I pro$essioa 82 "Billie's Bounce," 117
ii-V prcgi$siorL 82 Binary form, 136,305
n-V-I progession, 82 "Birk's Works," 119
iiiT-V719-i pro$essio$ 191-93 Blakey, AIL 12
in-vi-n-V-I progressioa 299,302 Blanto{ Jimmy, 11
m-\4 n V i proFessiorr 299 "Blue Autum," 204-22
V-I pro$essioa 82 "Blue in Grem," 193,248
V/vi V/ii-VlV-V-i progresrion, 299 Blue (or bent) noies, 15, 115
Bluesform, 115 12304 5
"BtuesMmot" 62,227
Accidenials,2S0 Bluesscale,1Z 117,294303
"B1ue'trrc," r17
Adderly, CmonbalL 8 "Boliiia," 227
Aebersold, Jamey,A Na, AWnrch to lazz Inprcvisation, Brecker,Michael, 9
Ai,22, 42, 62, U, 117,r38, 163,193, 221, 248 Bddge (or r€lease),136
Aeolian scale or mode, 151-{2, 293,303 Bri8nola Nick, 9
"Aire8in," 163 Browrr Clifford,
"AI Blues," 117 BroM, Gdnett.64
"AI or Nothing At AlL" 163 Buton, Gary, 11
"AI lhe Tlrings You Aie," 82
"Alone Together," 153 "Cantiloupe Island," 227
Alto clet 280 Camey, Harry 9
"Angel Eyes," 163 Carter, Bemy, 8
"Another Sp!in&" 29-39 Carter, Betry, 12
Armibong, Louis, t 12 C clek,279
Chambers, Paul, 11
Asslretrical time signaimes, 290 "Cherckee,"82
Augmented lntervais, 281-44 Cho(d apeggios, 295
"Autumn l€aves," 193,202 (hord extensios, 295
Chord inversiore, 299
"Bacha Feelin'," 64 Chod progressions, 300 301
Baler Davi4 136 Chods,295-97
"Batbaft," 248 ChristiaJL Charlie, 10
Ban6k, Bela, 247 "C lam Blues," 117
Basie,CounL 8 Claptorr Eri., 115
Bassclet 279 30 Cldke, Kemt 12
Bassman,Georg€, 24 C]etu,279-40
B€ams,290 Closed-position chordr 299

307
308

Coltare,Iohn,9,25, 227 G cbt,279

Compound equivalents, 281 Gershwirr George, 13G39
Compoud inrerais, 280 Getz,Slan,9, i59
Compound time signaturcs, 290 Ghosted notes, 15
"Giant Stept" 82
ComiructinS an improvised solo, 5 Cillespte, Dnzzy,9, 119
Glissando,15
Corea, Chick, 11 Gomez,Eddie, 11
"Corcovado," 248 Goodman, Btmt 8
"Countess,The," 99112 Grappeli, Stephane,10
CrcatiDelozz h prcrisatiafl(2nd ed.),n, 13,116,136,139, GIem, Bemt 10
226,303 Groove,13
Crealiviiy,6 "Groovin' High," 82
Cncle of fourifs /filths, 28t-89 Guide-tone imprcvisatiol, 5
Guide-tonelines,51, 84
"Daahoud," 163
Daniels, Eddie, 8 Hadm, Charlie, 306
Davis,Miles,9 10 Half-diminished 7th chords, 191,297
"Dear Lord" 27 Half-valve, 15
DeFtanco, Buddy, 8 Hamptorr Ljonel, 11
Delohnette, lack, 12 Hamptorr Slide, 10
Diatonic chods, 298 Hmcock, Heibie, 11
Diminished chods, 242 297 Hmdy, W C., 115
Diminished (half siep) scale, 246'18, 294, 303 Hdmmic improyisation, 5
Diminished inteirrals, 281-85 Hdmonic minor sca1e,161 52,303
Diminished/major 7th chord, 247 Hawkins, Coleman, 9
Dminished scales,24tu8, 294 Hemm, woodt 8
Dminished (whole'step) sale, 24647, 294, 3A3 "t{iFly," 248
Diminished /whole'ione scale, 193 Hintoo Milt 11
Dissonance, 162 Hodges, Jolrmy, 8
Dodds, Babt 12 Holiday, Billie, 12
Doit, 15 "Hotter Than Thai," 13-14
Dolphy, Enc, 8 "How Iisensitive," 193,248
Dominant scale de$ee, 81, 287 Hubbdd, Freddie, 10, 165
Dominant 7th chords,41, 192-93, 296 HuicheEoa Bobby, 11, 165
"Doma l€e," 82
Dodm scaleol mode, 61, 161,293,303 "I Can't Gei Stdted," 22
"Double-Entedre," 170 90 "I Got Rhythm," 136,138
Doubly diminished voicing, 297 "I'11Remember Apdl," 82
Drop-2, drop-3 voicinSs, 299 300 ''b\pr6sions," 62, 227
"In a Sotimmtal Mood," 153
"Edly Autum," 22 lnterval invelsion, 285
"EICorM6n," 23445 lntervals, 280 86
EldridSe, Rot 9 "Invitatiorr" 193
Elevenrh chords, 295 "I Remember CLifford," 248
Ellingion, D*e, t 93, 170 "It Don't Med a Thing," 163,I 70
Ennarmonic, 282
"Eric's Song," 69-80 Iackson,Mi]t,11,119
"Eta CarinaBlue," 125 35,234 Jarrett, Keith, 11
Evatu, Bill, 11 Iazz forms,3u-5
Evms, CiL 8
tohnson,l .J.,10
Fal-offs, 15 Johnson, Robert, 115
F det,279 lones, Elvin, 12
Firsi inversion chords, 299 lones,Io, 12
Fitzgeral4 Ella 12 lones, Thad, 8
"Fooqft*," 27 "loy Spiin&" 82
Forms,30f5
"For1t," 82
"Fieddie Freeloader,"41, 117 Key signatures, 162,2E7-a9
Fuller, Curtis, 10 King, B. B., 115
Fu y diminished 7th chords, 242 297 Krupa, Gene, 12
"Lady Bnd," 82 NontunctionAl harmonlt 301
LaFaro,S.ott,1l "NoNt the Time," 41, 117
"Nutho$e," 256-70
Leadjng tone s.a1edegree, 287
L€arninil to hed, 3 -1 Octaloni. s.ales, 245,294
Octavcs, 282-81
"LesterLcapsIn," 139 "Oleo," 13E
"LesterLepi Out," 138-157 "OnceI Lol-ed," 248
Lewis, \,Iel, 8 Open posidon chords,299
"Omiihdogy," 82
"Little Sunfloaer," 227
Locrim scaleor mode, 192,293,303
Locriml2 scale,192,293,303 Parker,Charlie "Bird," 8, 139
Pass,loe, l0
"Lov. Supreme,A," 227
Lydian augnenicd scale,293,303 "P.ace," 82,248
aJTanriArym zotian,The,217
IltttilnChia itn Cancept
Lydian scaleor mode,21 22,293,303

Pentatonicscales,225 26,294
McFerrin, Bobby, 2, 12 "Pmt Up House," 82
MclNghlin, John, I 0
"Maiden VoyaSe,"222 301 Perfect intervals, 280-84
Majo! pcntatonic s.ales, 15 77, 225-26, 291, 303
Majorscales,?1,293,303 Irhrases,phrasing,6, 136,304 5
Major Tth chords,21-22,296 Phrygian scaleor mode,293,303
Mangelsdorf, Albcri, l0 Polyrh)'thns, 13 1,1
Marsalis,Wyntorr 10
\,Iediant s.a]. dcgree, 287 Powel, Bud,11
"Meditaiion," 218
Melodic imp.ovisation,5 Irrcslcl-, Elvis, 115
Mclodic mjn or scale,151-62,293,303 "Promise,The," 227
Mcrcer lohnnlt 93
Messiaen, Oliver, 2.17
Metfenir P!t, 1E,224 Quarial foicings, 295 96
"Quici Nights of Quiet Stars,"248
"Milestones' (ner! l-ersion),222301
Mills,lfllng,170
Mingrs, Charlcs, ll Rainet Ma, 115
Minor/added 6th pentatonicscale,227 Iiaiii, Bornie, 115
Minor/major 7th .hords, i52,29G97 Reinhart,Django,10
Mi,rcr pentatoni. scale,226,294,303 Relationshipol s.alestud modcsto chods,303
Mnlor Tth.hords, 62,296 Relatiremrjor, 162,28E
Minor 6/9 chords,162 Relatire minor, 162,288
"Mi PC., 117 Relcase,136
"Misty, 22 Rnythm .hanges, 13G39
Mi\olydian scaleor rnode,40, 293,303 Rhydmic inprovisalion,
Modal ha.monr, 301 Riff, 139 '5
R oach,Max,12
Modes,modal f nmili.s, 292-95 Rollins,Soml, 9, 18,23, l lE
"Momenfs Noticc," E2 Root,295
Monk, Thelodus, lt Root-posiiionchods, 299
Montgomcry,W€s,10 "Round Midnight," 163
Morge, Lee,10 Russell,George,247
Morton,lelly Roll, 10
Moiivic improvisatior! 5
Mulligan, Gert 9 "St. Thomas,"23,227
"Mv funn! Valmtinc, 163 "Saiin Doll," 81 93
"My one and On],\' Love," 193 Scofield,.lohn,10
Scoops,15
"Scrapplefrom the Apple," 82
"Nardis," 163 Sccond ini.rsnD chords, 299
Natxral minor s.ale, 161-62 Scctional forns, I 36, 304
"Nlca's Dream," 153
Ninth.hords,295 "Serpenfs Tooth," 138
3r 0

Third inversionchords,299
"Shadow of You Smile,The," 193 Thirteenth chords, 295
Shaw,Woodt 10,227 "Thrivin' fron a Riff," l3E
"Shaw'Nuft" 139 Tluough-composed f om, 136,305
Ties,290
Sih.er,Horace,11,49 Tim€ signatues, 290
Simple inten als, 280 Tonal gravity, 286-37
Simple timc signatuies, 280
"SisterCFda," 49-50 Tonedecorations,t4-15
Tonicscaledegree,8 1,287
119
"s.K.1.," Trcble clet 279 80
Smith,Bessie,115 Tdads,295
"Solai," 1{t3 Titonc,282
"Soliiude," 248 Tritone subsiitution, 93, 301
"Som).moon for Ta'o," 118 "Tune-Up," E2
"Soul Eyes,"193 Tlner, Mccoy, 1 1,227
"So\ l\at," 62,227
"Spiritnal," 227
Varghn, Sarah, 12
"Spring Is Here," 248
"Stellaby StailighL" 248 Voiceleidnl& 302
Strayhorn, Bi1ly,93
Subdomindlt scal€ degree, 287 "Witermelon M&," 41, 117
Submedimi scalc degree, 287 Waters,Muddy, l15
Superiocrianscale,193,248,293 "Wave," 248
Supetonic scalede8rce,61,287 Wciner, Kemt 280
5115.4 chords,42,296
Swing, 13 14 "\ 41at Is This Thing Called Lor'e?" 256
t{hole-tone {alc, 295,303
Wi1liams,loe,12
Williams, Tont 12
"Takethe A Train," 82
Woll "Hoa'ling," 1l5
T.ageden, Ia.t, 10 Woods, ]'hil, 8
I€nor clet 280
"Tenor Madness," lu "Yesor No," 227
Tenary form, 136,305 "Yesterdays,"163,193
Terry, Clark, 9 "You Don't Know What Love Is," 163
Tertia. voicings,295 Young,Lester,9, 139
"Theme,The," 138