amazing phrasing

8/7/2019 Amazing Phrasing

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IntroductionG oo d p hras in g is essen tia l to co mm un ica tin g m usically . T he ex ercises in th is b oo k teach th e

techn iques beh ind phrasing and are designed to help you m ake the leap from play ing no tes to

playing music .

T his bo ok is d iv id ed in to sectio ns o n h arm on y, rh yth m, an d m elo dy . L earn in g ab ou t th ese

fu nd am en tal e lem en ts o f m usic is ju st lik e learn in g a n ew lan gu ag e. A t f irst y ou learn w ord s-

how they 're spelled and pronounced . N ex t com es sim ple phrases and sen tences , p rov id ing you

w ith a basic understand ing of the new w ords and how to use them . Even tually , you m ove in to

th in kin g an d co mm un icatin g in th e n ew lan gu ag e.

T he key to good phrasing is know ing w hen to p lay and w hen no t to p lay . It 's im portan t to

becom e your ow n ed ito r. T here 's a fa tuous sto ry abou t M iles D av is and John C oltrane. D uring

th e K in d o f B lu e p erio d in th e la te fifties, w hen th ey w ere p lay in g m od al co mp ositio ns, C oltran e

w as hav ing a hard tim e end ing h is so los because of the lack of a clos ing cadence. D av is w an ted

C oltrane to cu t dow n on the leng th of h is so los , and 'T rane rep lied that he didn 't know how to

get out o f them . M iles' response w as, "Just take the horn out o f your m outh ."

O ne im po rtan t q uality th at a ll g reat m usic ian s sha re is flex ib ility , b oth in so un d (a larg e to nal

pala te) and m eter (the ab ility to p lay beh ind the beat, in fron t o f the beat, e tc .), so they don't

so un d like m ach in es. V ersatility in th ese tw o areas w ill lead to g oo d p hrasin g, th e ab ility to

e xp re ss y ou rs elf, a nd o rig in ality o f s ty le .

H o w t o U s e T h is B o o k

For a long tim e, I w as reluctan t to practice patterns. I though t it w ou ld m ake m y play ing m ore

m ech an ical an d p red ic ta ble . B ut w hen I did start w ork in g w ith p attern s, Id isc ov ere d th at ju st

the opposite w as true . M y ear im proved trem endously , a llow ing m e to be m ore creative and

express ive in m y play ing . Som e of the patterns in th is book are techn ique bu ilde rs, and you will

w an t to in co rp orate th ese in to y our d aily practice reg im e. O th ers are fo r p lay in g o ver sp ecific

chords, and you can use the com pan ion C D to hear how they w ork together. (Y ou can rem ove

the saxophone from the track by pann ing the balance knob a ll the w ay to the left.)

In w ork in g w ith th ese p attern s, try to av oid w ritin g th em o ut. T his will help develop your earimmeasurably. If the pattern is too long to rem em ber, b reak it dow n in to sm aller segm ents.

W ork tow ard being ab le to s ing the phrases th rough the transpositions-in o ther w ords, th ink

in term s of phrases ra ther than th ink ing of every no te and its re la tionsh ip to the chord . If

som eth ing in the pattern sparks in you a song or another pattern , go w ith it. Y ou can alw ays

retu rn to th e o rig in al p attern. It's a ll p art o f b ein g fle xib le an d reactin g to y ou r m usical

en viro nm en t. B y i mp ro vin g th e co nn ectio n b etw een y ou r ear an d y ou r fin gers, y ou w ill d ev elo p

th e co nfid en ce an d th e ab ility to p lay w ha tev er y ou h ear.

O n the etudes that have C D a ccom pan im ent, the w ritten so los are jus t a starting po in t. O nce

yo u're fam ilia r w ith th e w ritten v ersio n, try y ou r h an d at w ritin g y ou r o wn ren ditio ns,

incorporating certa in ideas that you like from w hat's in the book . Then pan ou t the sax and p lay

yo ur w ritten so lo s w ith th e rh yth m tra ck . F in ally, tak e y ou r o wn im pro vised so lo s.

H ave fun and en joy the book .



ContentsHa rmony

Page CD T rack

#1 M odes , , , , . , , , .. , .... , , , , , , , , , .. 4

#2 M ajor Scale P atterns """""" '" 6

#3 M ajor C hord Patterns """"""" 8

#4 M inor C hord Patterns """""'" 10

#5 D iaton ic Seven th C hords """" '" 12

#6 A rpegg ios. . , , " , , " , , , . , . . " , , , , 13

#7 Dorian M ode, , . , , .. , , , , , , , , . , , .. 15 1

#8 M ixo lyd ian M ode, . , , ... , ... , , , , , , 16 2

#9 The I I-V -I P rogress ion , , , , , , , , , . , . 18 3

#10 The M inor I1-V -J. , , , , , , ... , , , , , , , 20 4

#11 IIm 7-V7 E tude, ... , , , , . , , , , , , . , .. 22 5-6

#12 O ne-M easure IIm 7-V 7 Patterns, , , . , ,25

#13 D escend ing N inth C hords, , . , , . , , ... 28 7

#14 Fourths, , , , , , , , , . , , . . , , . . , , , , , , , 3 0

#15 Bebop M ixo lyclian . , , , , , . , . , , , . , .. 32

#16 The D im in ished Scale , , , , .. , , , , , , , , 3 4

# 17 The A ltered Scale , , , , , , , , . , . . . , . , , 38 8#18 The W hole-Tone Scale ... , , , , , , . , , ,42

#19 Polychords . , , , , , , . , , , , . , . , .. , , , , 44 9

#20 T ritone Substitu tions, , , , , , , , . , , , , , ,46

#21 The Passing D im in ished , , . . . . , . . . , , 4 8

, 49 10-11#22 Pen taton ics . , , , , , . , , ... , , , , , . , , . ,

Rhy thm

#23 Jazz L egato Tongu ing , , .. , , , , , . , , .. 53#24 D evelop ing a Sw ing F eeL , . , , . , . , , .. 54

#25 Energ iz ing Y our L ines . , , .. , .. , . , . . .' 56

#26 M anipu lating T im e . , .. , , , , , , , , , , , , 58

#27 Three Against Four. , , . , . .. , , , , , , , , 59

#28 Rhythm ic D isp lacem ent , , , , , , , .. , , , 60

#29 C hrom atic Scales in Cycle ".""", 61

#30 C hallenge T em po . , . , , , , , , , , , . , , , , 62

MelodyPage CD T ra c k

#31 C reating M elod ies, , , , , , , , , . , , , . , . ,63

#32 M elod ic Em bellishm ent , . , , , , , , , , , , 6 6 14

#33 Contour L ines, , , , , , ....... , . , , . , , 68 15

#34 The B lues Scale , . , , . , , , , , , , , , , , , , 70 16

#35 B lues G uide-Tone L ine .. , , . , , , , . , , . 71

#36 M elod ies from the B lues Scale , , , , . , . 73 17

#37 Build ing a So lo, , , , . , , , , . , , , , , , , , , 74 18

#38 A rp eg giatin g C ho rd s in a P ro gress io n, , 76 19

#39 Chord Scales " , , , , , . , . , , , , , , , , , , 7 9 20

#40 Horizon tal and V ertical A pproaches. , , 8 2 21

#41 M aking Patterns M usical . , . , , , , , , , , 84 22

#42 Solo ing in a L im ited R ange, , , , . .. , , . 8 6 23

#43 Rhythm Changes, , , , . , . , , , , . , , , , , , 8 9 24

#44 P lay ing in a K ey Center, , , . , , .. , . , , , 9 2 25

#45 One-Chord V am ps .. , . , , , , , , , , , , , , 94 26

#46 N eighboring Tones. , , , , , , , .. , . , , , , 9 5

#47 A pproach Notes, , . , , , , , , , , , , , , , , ,96

#48 D eve lop ing a M otif, , , , , , , , . , , . , . , , 98

#49 F lex ib le Em bouchure . , , , , . , , , , , , , 100

#50 F in d in g You r Vo ic e , " "" ." ." ,, 10 2

A bout the Author . , , , , . , , , , , , , , , , 103

12

13



Idea #

Mode s

In c lassica l m usic, th e u se o f m od es can be traced to tw en tie th-cen tury co mp osers lik e R avel

a nd D eb ussy . L oo kin g fo r a n ew p alate o f to na l c olo rs, th ey b eg an e xp lo rin g th ese p erm u ta tio ns

o f bas ic W estern sca les. N am ed for G reek c ities and regions, som e m odes-like the Ion ian and

A eo lian -are ju st o ther nam es fo r fam iliar sca les like the m ajo r sca le and natu ra l m ino r sca le .

O th er m od es, lik e D orian an d P hry gian , a re d erived fro m fo lk m usic in o th er co un tries.

In jazz , m odes played an im portan t ro le in the "coo l" schoo l o f bebop . A s m u sic ians grew tired

o f b ebo p's co mp lex ch ord p ro gressio ns and w ere lo okin g fo r a fresh so un d, th ey S im plified th e

ch ord s, o ften us in g o ne ch ord fo r m any m easu res, and b ased the m elo dies an d im pro visa tio nso n new -so un din g sca les o r m od es. M iles D avis w as a t the v ang uard o f th is n ew style , as d ocu-

m en ted o n h is 1 95 9 m asterp ie ce K in d o f B lue . T he new m odes a lso seeped in to popu lar

m usic-the M ixolydian m ode w as used in the opening m easu res o f the B eatles ' tune

"No rw e g ia n Woo d ."

O ur first ex am ple is an Io nian sca le (m ajo r scale ). N otice th at th e tw o h alf step s are be tw een

the th ird and fou rth degrees, and the seven th and roo t.

Ion ian

.~ ~~ o o. (J

<c>:1/ 2

o.)

~"""C7z}' ~

1/ 2

The D orian m ode is bu ilt on the second deg ree o f a m ajo r sca le . F o r exam ple , D D orian m ode

consists o f the sam e notes as a C m ajor sca le . T he D orian m ode m ay also be thought o f as a

m ajo r sca le w ith a m ino r th ird and m ino r seven th , and it w ou ld na turally be used over a m ino r

ch ord . T he seco nd , fou rth , an d six th deg rees p ro vid e th e rich est son orities. S om e tu nes tha t

are based on D orian m odes are "So W hat" (M iles D avis), "Im pressions" (lohn C oltrane), and

" L it tle S u nf low e r" ( Fr ed d ie Hu b ba rd ).

Dor i an

E t ~. . . ~~~~o~ .• ~) ~~o ~'~' ~o = = = = = = s~~ ~ 0 II. ===== t l

<:>: 1/21 1 2

T he Phryg ian m ode is bu ilt on the th ird degree o f a m ajo r sca le -e .g ., from E to E u sin g th e

no tes fro m th e C m aj o r sca le . N otice th e S panish flav or of th is sca le . U se o f th e P hry gian is

u sua lly ind ep en den t o f a sp ec ific ch ord ; th e m usic w ou ld sim ply sta te P hry gian m od e. S om e

c om p ositio ns th at u tiliz e th is m o de a re "F la me nc o S ke tc he s" (M ile s D av islB ill E va ns), "O le"

O o hn C oltra ne ), a nd " M asq ua lero " (W a yn e S ho rte r).

4



Lydian is a m ajo r-sounding m ode and has the sam e no tes as the m ajor scale a fourth below ; it's

essen tia lly a m ajo r scale w ith a raised fourth degree . T his m ode is usually played over a m ajor

chord , a m ajo r 7h1 chord , o r a m ajor 7~5chord . Som e tunes based on th is m ode include "In

C ase Y ou H av en 't H eard " (W oo dy S haw ), "B lack N arcissu s" (Io e H en derso n), an d "N efertiti"

(Wayne Sho rt er ).

M ixo lyd ian m ode is found on the fifth degree of the m ajo r scale and can be though t o f as a

m ajor scale w ith a low ered seven th degree . The scale is app lied to dom inan t seven th chords.

Tunes that m ake use of the M ixolydian m ode are "M aiden V oyage" and "W aterm elon M an"

(H erb ie H an co ck ), "W ell Y ou N eed n't" (T helo nio us M o nk ), an d "K iller Jo e" (B en ny G olso n).

A eolian m ode is found on the six th degree of the m ajor scale . A lso know n as the natu ral m inor,

th is scale is used over a m inor chord w hen function ing as a ton ic in a m inor key . Som e

com position s th at u tilize th e A eo lian m od e are "M y Fav orite T hin gs" (R ichard R od gers) and

"A utu m n L ea ve s" (jo hn ny M e rc er).

Aeo l ian

~(J

G---......o

11 2

T he Locrian m ode is bu ilt on the seven th degree of the m ajo r scale . I ts characteristic sound

com es from the com bination of a m inor th ird , seventh , and six th , plus a dim in ished in terval

betw een the roo t and the fifth . T he Locrian m ode is p layed over a m inor 7~ 5 chord , a lso know n

as a half-d im inished chord . The m inor 7~ 5 chord usually functions as a IIchord in a m in or

k ey . T he re a re m an y c om p ositio ns th at u tiliz e th is m o de , in clu din g "A ire gin " (S on ny R ollin s),

"N ig ht in Iu nisla" (D izzy G illesp ie), "W h at Is T his T hin g C alled L ov e," an d "N ig ht an d D ay "

(Co le Po r te r) .

Loc r ian

5



MA.RMO



_

r i Y \ ' ; l i ! ~ ( 0 ':::.:

Idea # . i i <

M ajor C hord Patterns

This series o f patterns is based on m ajor triads and m ajor seven th chords. T hese exercises are

d esig ned to im pro ve y ou r tech niq ue an d p hrasin g w hile also d ev elo pin g yo ur ear. It 's im portant

to try p la yin g th ese p atte rn s th ro ug h a ll the keys w ithou t w riting them out. M ake them a part o f

y ou r d aily p ra ctic e ro utin e. P ra ctic e u sin g v ario us te mp os an d a rtic ula tio ns.

'., , : . , -. ".- . . ' . : ' .. :

~Chr~~iCl ' j ; = J J jD U~:~:J~II& 3 r ~ J ~ ; ~ g j ~ . c & ] 'J J a @ i;;; iq : ,~r n : J Whole steps

C

'!J:iJJ

__ D r - ; ;

1 " 3 J " 1X J J 1J "~ toJ J:j f.f~ j J J j ] J . • •~etc.

[Q Minor 3rds

$ 1 c..-, . 'j 1'3 g . ~ - rJ J 1~J- .-- J _ _ - - - _ - -

O O J Major 7ths

~ Cmaj7 F

~l j j _ J - - : : = . ~ FJ J j : f -J__J J J

D+ _

llis J j # ~ :j j 1 fJ j }::-~~etc.

Dmaj7

I I~t1 ~ _ r 1e ~r!r~rn1f:H~getc.

8



HA.RMO

[ H J

~.~~--Jl

Fmaj7#11

IFj J [ r r qr [ ¥ f i e Q tJ crt e t = _ c ¥~~3

Emaj7# 11

~ -r [ r 8 : [ r ~3·~-~ r IJ j l~:J~J~. ~Jg,W j ~__J j a i F r r J r E l333

~ :~

~Jletc.

[I J Gmaj7 P#maj7 Fmaj78 v a - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,

~ _ - _ - J g f r = r : : - " r I l 1 - S - = t • ! r - - - - I j j ) r : - - 1 9 b q r r~~+j 3' F J)¥- u : = : : - ( r C t - L J ~ - = q " ' q - - etc.-

9



-

Minor Chord Patterns

IdeaT hese pattern s are b ased on m in or triad s and m inor seven th chords and a re the m in or-key

eq uiv ale nt o f th e p atte rn s in Id ea # 3. A gain , p lay th ro ug h th ese p attern s in all th e k ey s w ith ou t

w ritin g th em o ut, a nd in co rp orate th em in to y ou r d aily p ractic in g.

[ A J Chromatic

[ID Whole stepsFm

4 a itS J a J J J ) I r r f T j

Gm

I . B J J J r r fJ I r [ f Y j ~etc.

,'" [Q Minor 7th chords

J Dm7

$! fa J j J j J)E~m7

I~l~j J j ~J J J'. t~ f r " J I IJ etc.

[ j 2 J Minor (major 7)Em(maj7)

$ t fJ J i l l ii l l J j C [ F;; J

Fm(maj7)

1 1 1 , 3 J j fj J J C f F7 J ~Q= etc.

r n . J Chromatic downDm ~ C#m

$ t , E f : o P ECm Bm B~

fT @fl gtr @ etc.

[f] With major 7thDm(maj7) C#m(maj7) Cm(maj7) Bm(maj7)

tt , t11 t r~w: 'i¥fttJ 1,~~ifrI!t ~etc.

[§ ] Minor 9th arpeggioFm7

~ ~ I C b E r J r cp l~ d E 1 J b~g t JE3 > etc.

10



HARMO

I H l Minor 9th a J 1 lcggio Em? E~m?'e

, rf f t tT r· [f if ~ t E IF r I ' C i ~f f 't b~ l~ b E I I51-- ---4.1 ~

F# 7 Fm7

r n G t P r 'f r r4-J if t ~IIe t r f I ~ € f ~ft r ~ E t t F g~I - - - 1 . etc.

r r I 'f ~ t f Q f f £ f [ Q fr n Fmll

~iJ i I o J 1 = - " E E r F b [ ~•

F I3

3

EmIl 3

J 1 ) I J A J iJlEtJ ~ rr F I I

I Ietc.

11



~a7~,ql';if;_")J;;;"-=,,~ "~~A " _ y. ~~

D ia ton ic Seven th

Chord sIn th is exercise , w e take the m ajor sca le and bu ild a seven th chord on each p itch . B elow , w e

start w ith the key of G and then m ove to E Note that in every m ajor sca le , w hen you bu ild a

seven th chord on the Iit w ill a lw ays be a m ajor seven th , II is alw ays m inor, III is m inor, IV is

m ajor, V is dom inan t, V I is m inor, and V I I is m inor 7 b 5. R epeat each exercise in all t w el ve k ey s.

K e y o f GGmaj7 Am7 Bm7 emaj7 D7 Em7 Fhn7~5 Gmaj7

, jt E f I T t Et_ c t U u t t ' i . f - r r ! t r I

K e y o f F

Fmaj7 . Gm7 .. Am7 .. B~maj7 C7,. _ Dm7~... .~ Em~7~5 : = - t : - = f I l L ,

~mrzcawcnl~W-€fJ~- _.~-..

Gm7 Fmaj7

~ E tiw t@ ~ ·· ~ ~ ~ ~

Em7~5 Dm7 C7 F

12



Arpegg ios

T his ex ercise is d es ig ned to illu stra te th e fiv e b asic ch ord ty pes-m ajo r, d om in an t, m in or,

m ino r 7~ 5 , and d im in ished . S ta rtin g w ith the m ajo r chord and chang ing on e no te at a tim e,

w ork th roug h the ch ords . A fte r p lay in g the a rpeg gio s fo r a w hile , try s in gin g th em as an aid to

d ev elo pin g y ou r e ar. A lso fa m ilia riz e y ou rs elf w ith th e fo llo w in g c ho rd s ym b ols, w h ic h a re

com monly found in a fake book or lead sheet.

Major c : M M A

Dominant 7 d om7

Minor -7 m7 m i7

Minor 7~5 -7~5 0

Diminished 0 d im

Example A is in o ne o cta ve . E xa m ple B is in tw o o ctav es (w hen a pp lica ble ). E xa mp le C is in

first in ve rsio n (s ta rtin g o n th e th ird d eg re e). E xa m ple D is in seco nd inversion (starting o n the

fifth ), a nd E xa mp le E is in th ird in ve rsio n (s tartin g o n th e sev en th ).

MARMO

[A ] Gmaj7

¥c J rjl[I T J l c F r t t r E f I c E r)U r : r l e E a [J& 1 & g tt ~ I

G7

Gm7~5

Gm7

I I

[ill or tw o octaves when po ss ib le

Cmaj7 C7 ~ ~ Cm7 ~

'i1 3 J]d r 1 l b C E J iJJ] If] 3 P = c : r rf Ife C J J ; ; ; J] I~·JJ ~ E ~ I

IIJ First invers ion

Gmaj7 .. .. ,. 1IfI_ .. G7. lit Gm7~.

*i[r:~O?at Et-~ IC F#[JL j~ E J Icr~FJ=t[ E J I C E g y C o E J I ~c r± f t o E t

J

I I

13



Idea #

DorianMode

In Idea #1 , w e learned how to construct and p lay seven m odes. N ow let's try p la yin g in th e

D orian m ode over th is 32-m easure progression . O n the C D, y ou 'll find accom pan im ent parts to

p la y o v er .

F irst, play th e D orian scale th ro ug h th e ch ord ch an ges .

D D o ria n

J = 1380 >TR AC K 1

fa : Dm7 '--Em7

Dm7 Em7

~

Fm7 Gm7

~

Fm7 Gm7 Ebm7

~

Play 3 times

I : 1 1

O nce yo u feel co mfo rtab le , try stre tch ing an d tak in g a so lo u sing D orian scales. B eg in th e

phrases on an upbeat to g ive your lines m om entum . E xperim en t w ith an tic ipating the chord

change by a beat o r tw o, as in the follow ing exam ple. Th is w ill help lead you in to the nex t

ch ord and give yo ur p hrases m ore d irectio n.

Dm7 Em7

~¥¥tEJ.A

/\ ~ - - - E

*

I

1 1 1I

J I I IJ ) J j' r V I f

- 't lEU I

15



5 ~7

M ixolyd ian M ode

A s we saw in Idea # 1 , th e M ixoly dian sca le is bu ilt o ff the fifth d eg ree of a m ajor sca le (or yo u

can th ink o f it as a m ajor sca le w ith a low ered seventh degree). H ere it is in C .

c

2 4 6

T his scale is used on unalte red d om inan t seventh ch ords. P rac tice it w ith th e chord

prog ression on the C D, w hich is m ade up of dom inant sevenths in the cycle of fourths.

T R A C K 2

C7

~i I I :

F7

._. *_._._.-~'--'-'-=j

-.:== '. '-'4====~========::: ..... :]

B~7

*~~~~~~~~====t~~~7T~. ~~.~

.~~---q= .·_-tit - ~ - ' = + = - . . - ====~

"* ~ 7~~'~====._._' __ ' ~ _ ' = = = = ' ~ ' _ " ' - ' _ ~ = ' = =_ _ - ' = = ' -_ _'========._:-.~_.•~ = _ .

D7 G7 Play 4 times

*~~~~~t~~~~±2~·~~ .._'-'~::_'~:==-~E~:=:-'~,,_~~

16



HARMON

F ina lly , w ork on playin g these p atte rns w ith the rh yth m sec tio n on th e C D . T ry tran sp osin g th e

p attern s w ith out w riting them o ut. T ran spose b y nu mb ers if y ou have difficu lty , b ut w ork to ward

being able to p lay the pa tte rns in all keys by ju st u sing your ear and sing ing the lines.

[ A J C7

~! ~_ F i t ] j J

F7

J D I J i J J J J J J J I 0 / ij J t E e rillE f ' E CJ ~£J] J I Ietc.

/\~~

"• r r L-:E r E t

-

I I F "..,Jt I I

etc.

J 3 -

" t· JA

~ C rtt - r I I F r r ~ C E I I~~- -~

-etc.

[ i l l C7

~! F r - - - t f r r•

~ r I J J J : --

J J t I IIetc.

[ E JC7

~% r ~ F It " ~ r J I

. --

] [t ~D r E J E ____" I i t

.J . etc.3

[Q ]C7

~ C f ~ r~

[ - ". _

ItA

i r I

rr I f

+ i ~ = r : =L4

etc.

17



The 11-V -I Progression

E ~ ~ : ~ ~ : : i : ~ : ~ : £ ~ r ~ ~ ~ ~ I ; ~~ ; ~ ; E : i ~ ~ ~ : ~ ; : ~ ; : : ; £ ~ ; ;a ; I ; ( ' ~ l f t ; 0 ; .key area or key o f the m om ent. G rouping these cho rds in to coheren t phrases enab les you to

sim plify w hat m igh t a t first g lance seem to be a very com plex chord p rog ression . L ook ing a t the

b ig p ic tu re w ill sm ooth ou t you r phrases and get you aw ay from th ink ing from cho rd to chord .

A ll th e p atte rn s b elo w deal w ith th e D orian , M ix olyd ian , an d Io nian sca les. T hey 're d esign ed to

he lp you hear the prog ression as w ell as learn to p lay in all t w elv e k e ys . E x am p le s in v ol vi ng

a lte ra tio ns on th e d om inan t sev enth ch ord s app ear la te r in th e b oo k.

Dm7 _ G7 Cmaj7''i@ •••; . j f J ~ · [ ; ; ' : · ·

~ uD J : oF j J] Ic rrJ l~E J IfJ J ? > < j a J I T l 3 J~ : 1 1

Dm7

~~II) - J J J j

G7 Cmaj7

~c I j J J J ~ J j J ! i { o : 1>

Dm7 G7 Cmaj7

I fJ J J~rJ J ] I fJ J J = r> >

Dm7 G7 Cmaj7 .

"11:31 3 1 c : E d l iE ~ . ~c teE l iM J 2 i~: l E I J ~ J ~ F 1 Jd!

Dm7 G7 _ Cmaj7

~m JJ n aO IA N A f]IU U UU IU a ~~E ~ i l l

Dm7 G7 Cmaj7

~ J f = J hJlr E fJ J J1 J lilH) P j;Jo : 1 1

18



MA_RMQ

Dm7 G7 Cmaj7

~1 F f_ J ' f u {iFl I e r r fc_~:~E4=~' : 'Ef : j~ : ]~" '~~~L~ := - -~~ ; l l

Dm7 G7 Cmaj7

~I t§f( r e f If E r i ~ ~ '· · · ~ ~ ~ ~ · · · . .~~- :n

P ractice these patterns along w ith th is p rogression on the C D,

AI,

Dm7

IlL

G7G -Cmaj7 Cm7

C

P7

rB~maj7

T R A C K 3

i:~~~1I:~~~_~~-"~ ....~k~ - , - ·~ , "~ : I I ~ I :~~~~~~ : . : ._ f f i l

fB~m7

$ I I : : "

I S ! ,

Abmaj7

nL,

Gbmaj7

: 1 1

( p li {1 l3 I C ' / \

P#m7 B7 Emaj7 Em7 A7 Dmaj7

~ ~ I I : ~ ~ ~ ~ ~ ~ ~ - : " ~ ~ ~ : I I : ~ ~ ~ ~ ~ ~ ~ : I If L

Ebm7 Ab7

~ .._ - - -~ - -~ I~ ~ ~ ~ ~ :I I~ I : ~ - :~ :~ "~ ~ ~ ~ ~ ~ ~

1: L ,,I ' n bD~maj7

( 5 5 'Bmaj7

p 'i t· G L f : n 0

~~: ..B~m7~~~E7~~IA~ma~~7~~E~_~'_~:~ _~ml~t~m7~~~D~7~~G~m~aj~7 ~~~~

C ) CGm7 C7 Pmaj7 Fm7 B~7 Elmaj?

'II: ..--_~"I~~~~~~~:I~II: ~~:~~~~-~.:.....~_:..-..~..= I . ' - ~ : : = : : : ~ ' - ~~~:II

G

19



TheMinor 11-V -I

N ow le t's look at the II-V -I prog ression in a m ino r key . The L ocrian sca le is u sed on the

IIm 7~5 cho rd except in E xam ple I, w hich uses the S uper L ocrian sca le (a ra ised nin th flpIJ!"<',:>;1

O n the d om in an t sev en th cho rds , a varie ty o f # 9 and ~ 9 ex ten sio ns are p lay ed . O n

the I m ino r cho rd , the m elodic m ino r, D orian , or m ino r pen ta ton ic sca le is u sed .

[ A J Bm 7bS E 7b 9 A m 7

~- ~ " - ~ - r r r V f r -e-

ir r I I II

[ill Bm 7bS E 7b9 A m 7

~r r I F r r ~ -

I f r : r r If # F rr r I I

/

: 1 1

[Q Bm 7bS

~iI T r r F ~ r

Am 7

ItC f r t t c f r I f r f:r: 1 1

[ Q ] Bm 7bS

~~iJJ J 3J

E7b 9

r t f ,3 q J j j

Am 7

I F r r ; A

l l i J Bm 7bS E 7b9 A m 7

4 = t ' I E . : U r : r r b p If C #~ :; j r r; Ir f f t r #t¥ ~[f] Bm7 [ , S

J $ i r U r f E r

E ~9 A m 7

! r c E!r _C f r1I r -: g r C 1 r ' 1[ § J Bm 7 [,S E 7 [,9 A m 7

~i

I! i

Ji

Ji J lie F

~

r c I - _ c - ~J • • J • r J r ~c _-- . d I

[ H J Bm 7bS E 7b 9 A m 7

~iE F CJ r F 1 r r # r g - r r C r 1 FC E

I F=-

J 2]

c o Bm 7 [,S E 7 [,9 A m 7

~ie r UE E f r I E r r r fir ~ U · I E : : c ~:f J J J ; J _ J J * : 1 1

20



HA.RMO

Bm7hS

~~~.~~~~~~~~~~~~~

t:MJbS·

Am7hS

~~~~~~~~~~~

D;v,Jb~

Gm7~S

. .~ I I :

E V Y t ~0)T R A C K 4

Am7

c~.'w

~

S ) 1 A 1 ; 7Gm7

... F2.~ _ .

: : g g j J-

cFm7

: : : = m

B l; V V t y

Ebm7

_ - 1 · - : r l/

Ab~+Dbm7

..

: 1 1.

·~h viI I ~

Bm7

, I I,]

F - ~ ' 7 -Bhm7

: 1 1I

P ractice alo ng w ith th is p ro gress io n on th e C D track .

1~~ ~ : ; 2 i q

C"",.){6

Fm7[,S

~~: ~~~~~

IS bV '"lJ ~ )

E~m7[,5

~l

T JEm7[,S A7[,9 Dm7

d

G7b9 9em7

21



_ l' i. J0 .. *~ '" '& % "' '' 0' m ' . "

IIm7-Vl Etude

H ere is a tw en ty-fou r-m easure e tud e runn ing th roug h a IIm 7-V 7-17 cho rd pro gression in

ev ery k ey . Y ou m ay play the etu de as w ritten o r transpose each tw o-m easure p atte rn

throughout .

Q)T RAC K 5 I

Bm7 E7 Amaj7

~rlE UJ I I F @ , , J ,~

B~m7 E~7 Al m aj? Am7 D7 Gmaj7

t _ ~~c l l ~~ ~I.- .0

it~ r [f+ r ' F : : . f o = l F 'r ' c r-~L'E r [I e ill Ie E f t 1

A~m7 ~ D~7 G~maj7 Gm7 C7

f ~fFmaj7

~ L[,. b r fL~. t t t t~J~r [ F g r • - - -r I ~ r ~~

I-ps

I t~k l

Fm7 B~7 Ebmaj7

~ 1 1 IEhiJ r ~ ~ E1I; J ~ j ,~~

Ebm7 A b7 D bmaj7

i~~qJ~~Ja: ·q]~#~J· · · ·~c$ [ ! S ¥ : ~Ck~ ·~~ I . i i bh l J J.3] Inf iJ 'gr¥1

Em7 A7 Dmaj7

Dm7 G7Cmaj7 C~m7 F~7 Bmaj7

~ r F r r r - r E y 4 M f v r I ~ E I r F 1 £ J t t r r j~. 10 A l

j

22



"..RMO

Now try th ese s ix a dd itio na l tw o -m e as ure p atte rn s in all tw elv e k ey s. T he se p atte rn s a dd

altera tio ns to th e u pp er ex ten sio ns o f th e V 7 ch ord (# 9) ~ 9, ~ 5) etc .). T ake th em slow ly an d

p la y e ac h tw o -m e asu re p atte rn w ith ou t w ritin g it o ut. L earn to trus t you r ear. A s y ou b ec om e

fa m ilia r w ith th e p ro gre ssio n, c re ate y ou r o w n tw o -m e as ure p atte rn s.

Other Patterns

Cm7 F7 B~maj7 Cm7 F7 Bjrnaj?

I - '~~J,

I I CI l i l l !

L I I I ~l ~j -- i , - T - • •,~f d ~ . J •

Cm7 F7

*~J

i

d ~J r E q r

Bhmaj? Cm7 F7 Bbmaj7

~ ~ ~ ~ ~ F ~ It~¥g§~~pQ§¥8~rI T I I ~ r q r ~ ~ Fe h e C # r ! r l -e-,m 2d

Cm7 F7 Bbmaj7 Cm7 F7 Bbmaj7, [ F~iII!

~~ F t r = ! F t r l ° _ _1 1 7 b i l l ! J Eg i l l ! ~ E r

0-

~I C P IJ [J . .3

T he n ex t ex erc ise ru ns th ro ug h II-V m oves in m inor key s. Fo r th e ton ic m ino r (Im 7)) th e

m elo dic m ino r o r D orian scale are the best cho ices . For the IIm 7~ 5) use th e L ocrian sca le

(seven th degree of a m ajo r sca le ). In a m in or II-V p ro gre ss io n, th e V ch ord u su ally fe atu res a

~ 9 altera tion (the ~ 5 o f th e II cho rd is the sam e no te as the ~ 9 of the V chord). A gain , th isexercise can be p layed as w ritten or you can transp ose and p lay each tw o-m easure fragm ent

th ro ug h ea ch ch ord c han ge .

j = 80

Bm7bS E7h 9 Am7 Bbm7b S EIi?~9 Abm7

~ ', [r E -~~~fE! r~r~J~ I=~ '~ f f i ~~~~ :~ I~~c i~ r~F~~~ : -t ~ F I E ' F $ f ' ~ J ' ~ JE~ ~ r ~ l l F 2 ¥ F ~ r ~ E ~ " : 1

T R A C K 6

Am7bS D7b9 Gm7 Abm7b 5 D I i l b 9 Gbm7

r -i ~ L: 1~~fr:E I~r~tB~J 3 d ] I~j-·-..3

Gm7bS C7b9 Fm7 F~m7bS B7b9 Em7

_~ .~~F~r~F~F~1 &~§+§j j ta~~=r=~~~J$1# c ~ q r ~ F ~ ~ ~ J ~ :#~cl # F ~ f ~ _. .r~l~r~~~§

Em7bS A7~9 Dm7

'J4li fJ!1FJ J J It E t f23



E~m7~ 5 A liJb9 Dbm7

$ J I , J d J § c . : f ' f : t c : 1 t : = = l

Dm7bS G7b9 Cm7

I ' hH : J ' U EiQ[; ~ I~1

C#m7bS F#7b9 Bm7 Cm7bS F7b9 Bbm7

~ $ ~ # e ~ g E F~ F J ~ C~ t ~ r ~ # r ~ r ~ 1 f ' ~ v ~ ~ _~ J g - ~ ~ E · · - · ~ : F -h e r r t~~·E:e~.·:·~ ~ I I

F in ally , h ere a re eig ht ad ditio nal m in or-k ey p attern s. P ay sp ecia l a tten tio n to p atte rn s D , E , an d

G -theya re based on the Super Locrian scale (Locr ian s ca le w ith ra is ed n in th ).

[A ]Bm7bS E7b9 Am7

~ J ~ ~-..~

[ - ! I I b~_ ..

..=1-~• B e r j

[ill Bm7bS E7b9 Am7

$ % r F r If : ~ r r r r I r t _ . - I II

..

[QBm7bS E7b9 Am7

$ % j I T r F ~ J~.- -~

r r r r r l - : I It

[ ! 2 JBm7bS E7b9 Am7

~= t = = - ~ - I T I T j E i j r j t l~ - E r r t. - - _ .-

m _ ] Bm7bS E7b9 Am7

~

% # e r r r r t F E ~ I g r E=..~-.. - I IJ

[f]Bm7bS E7b9 Am7

~F r

i\

r - E B r I E J t- ...

.~r If

I rI

[Q JBm7bS E7#9 Am7

$ % F- r r r - I

If

I IE lie r I I t

[ H JBm7bS E7b9 Am7

, % r r # -

f -

- i\

V I jfII

I j F fE. . tI :J

24



MARMO

One-Measure

I Im7 -V l Pat ternsC on tin uin g alo ng th e lin es o f id ea #11, here are som e one-m easure Ilm 7-V 7 pa tterns, first

m a jo r k ey s.

[A ] Dm7 G7 Cm7 F7 B~m7 E~7

~it F f I T t r r:; I E l f - & E t E l I 'r - ~ E F 'f F 'f E r : : = l I

ill] Dm7 G7 Cm7 P7 E~m7 b A~7 C#m7 P # 7

~ 1 [[fiFe U l(bE p 1 ; U n 11,('['fJ rr c r t 1#(~E#tntc#B I Ietc. etc.

[Q J Dm7 G7 Cm7 F7 E~m7 Ab7 C#m7 P # 7

4 itr gc E G E I P c @ l . : ; ' t [f I I 'UEI,@ of; I #Up@:~ F [ ! f ia

etc. etc.

r n : J Dm7 G7b9 Cm7 F7b9 Ebm7 Ab7b9 C#m7 p # 7 b 9

titr B e r r II U e @ c : 0 1 1 1 'rp@ c : r r ¥ f I # [ ~ Et:r'c E e l letc. etc.

[f] Dm7 G7 Cm7 P7 Ebm7 b A~7 C#m7 Fh

~ c c rl tf}:.fl 'EEcC;c r E:ftlt£c'rJ e f U1(I~tJtrFi I Ietc. etc.

25



ONY

[ H J Dm7 D07 or G7~9 Cm7 C07or F7~9 E~m7 E~°7 or A~ ~9

fi t r I T 1 E t r @t1'r F be F ~ g i F F : 1 I I~ J ~ J d ~ J J ~ I~ J I Ietc. etc.

[IJ Dm7 G7~9 Cm7 F7~9 E~m7 A~bg C#m7 F#7b9

,i[f f i 1 ' c F 5I D r b f t t C f t f f I I'P c '~1liEF l e t r~ I Ietc. etc.

[ K J Dm7 G7b9 Cm7 F7~9 E~m7 A~b9 C#m7 F#7~9

,ito 0' a F 1 F I e r r t f E l f E:~ru)b E Y d F @ I t~PtrI c / [ [ } ~etc. etc.

A nd now in m inor keys. A lso practice these patterns descend ing and ascend ing in w hole s teps.

[A ]Bm7bS Bbm7bS Eb7

bJ='€~

.j L r r f I ~ r h e !~ f b e I Ietc.

[ill Bm7bS E7b9 B~m7bS E~b9,i F r r # r r E_"

I ~ L ~ F ill _ . ~ r g r r l ' E _"

I IL J t Jetc.

[§ ] Bm7bS E7b9 Bbm7bs E~~9,!~ E C r # r r E r~~ t ~ F - : ~ ~r g r

_ .~c t= h E !t I IIetc.

[ Q ] Bm7bS E7b9 B~m7bS E~~9

4 ¥ i [ r r ill I C r r F ~-~~lft1!~ r [ ' F q r : r r ~~jetc.

26



HARMON

r n J Bm 7bS E 7 Bbm7bS Eb7

~[ F

_ , .

r ~ r ~ r ~ r ~f g r b Ei f j E-I' I [ E -II ! Ij j

etc.

[ E J Bm 7bS E7 Bbm7bS Eb7

,!r f r -fI ~ f - , .I t o ~f r Ef l ~ i I I ' ~ r '~-~

-

FJ f ~I - F ' ·j

etc.

[!!] Bm7 b S E 7b9 Bbm7bS EIr lb9

~e r PI r ~ I b e ~ f ~ F 1 J

- -iii'

I I--

F -I r : F q j--..

F JJetc.

[ H J S u pe r L o cr ia nE7b9 Bbm7bSBm7 b S E li ? b 9

~ir H E

~ r F F : ' F F I ~ r g c ~ r r 1 ' [ r : - r rIetc.

rr Chroma t i cBm 7bS E I r l [ ,9 Cm 7bS F 7b9 C#m7bS F7b9

~iJlj J 3 J J , J J I ) d ~ J PSd~E~ I J q J ~ J g - J # 3 i 3l i d I I

etc.

27



Descending

N inth C hordsO ne o f the best w ays to tra in you r ear to hear in terv als and their re la tionsh ip to chord s is to

p lay arp eg gio s th ro ug h a ch ord p ro gress io n. M a ny o f th e p re vio us arp eg gio ex ercise s w ere

ro ot-b ased fo rm atio ns. In th is e xercise , w e w ill co nc en tra te o n h earin g an a rp eg gio p lay ed

from the n in th of th e chord dow n, in o rde r to try and get beyond the up /dow n pa tterns

a ss oc ia te d w i th a rp e gg io s . By starting on an ex ten sion , w e are tra in in g the ear to

im po rta nt co lo r to ne o f th e n in th .

W h en y ou 're p lay in g a re petitiv e p attern lik e th is, try to m ak e it sound lik e a p iece of m usic

ra th er th an a m usic al d rill. P ay in g c lo se atten tio n to th e a rtic ula tio ns an d m ak in g it swing will

help it c orn e to life .

T R A C K 7

F#7

~ ~ # r E P r : & , I ) # lFmaj7

I F E L f J i g .3 3 3

D7~9~3

Gm7 Em7 A7 Dm7

r t a~

b. ·~f Et}\

: J . l t i r>-

~ _ J J ~ ; )J .J )

I2(J#JJ W - I t t, I . ;

II .-

J!>- >- >-

_ .>- 3 >-

3

Amaj7 Bm7

~ § . r ~ E ~ ~ t ~ j ~ r ~ q l ~ I l ~ g l g ~ ~ · " ~ # ~ G ! r ~ ~ ~ q ~ p ~ ~3

D7

E7

Gm7 C7 F6 Fmaj7

r tti9•J r >-

, I . ; F>-

, I . ;

I Jl I bIJ .t J J . I ctr .t J I- .>- >- >-

3 3 3

C#maj7

~I . t

F#7

I # rF6

I g r

28

3



MA.RMO

Fmaj7 Cm7 F7 Bl maj?

I E t t Y itt I f~~~~~~3

Fm7 B~7

I F b~ J l l3 3

amazing phrasing

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