dues etudes -...

Dues Etudes 20 Harmonically progressive etudes playable with the first five tracks of the “Payin’ Dues” Aebersold recording. © 1994 Craig Fraedrich Revised 2018 This material may be duplicated for educational uses www.craigfraedrichmusic.com

http://www.craigfraedrichmusic.com/

Section 1 The etudes in this section emphasize diatonic melodic development, diatonic voice leading and phrasing. The scale choices consist of obvious scales with no chromatic tones or substitutions being used. The usual scale choices in this section are:

1. Major 7 = Ionian 2. Dominant 7 (unaltered V7) = Mixolydian 3. Dominant 7b9 = 5th mode of Harmonic Minor (with an emphasis on the

augmented 2nd between the major 3rd and the b9) 4. Dominant 7 (V7 of ii) = treated as a Dominant 7b9 (5th mode of harmonic

minor) Dominant 7#11 = Lydian Dominant (4th Mode of Melodic Minor) 5. Minor 7 = Dorian, Aeolian, Phrygian depending on function. Dorian is used in

some cases regardless of actual chord function. (this is a typical usage) 6. Dominant 7#5 = Whole-Tone 7. Diminished = Whole-Half Diminished

FŒ„Š7 EØ7 A7(b9)q=200

D‹7 C‹7 F7 B¨Œ„Š7 E¨7(#11)

6

FŒ„Š7 D‹7 G7(#11) G‹7

12

C7 FŒ„Š7 EØ7 A7(b9)

17

D‹7 C‹7 F7 B¨Œ„Š7

22

E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7

27

A‹7 D7 G‹7 C7 FŒ„Š7

31

ANOTHER YEW

Section 1 - 1 Dues Etudes 2018 revision

www.craigfraedrichmusic.com

FŒ„Š7 EØ7

34

A7(b9) D‹7 C‹7 F7

37

B¨Œ„Š7 E¨7(#11) FŒ„Š7 D‹7 G7(#11)

42

G‹7 C7 FŒ„Š7

47

EØ7 A7(b9) D‹7 C‹7

52

F7 B¨Œ„Š7 E¨7(#11) D‹7 G7(#11)

57

FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

62

FŒ„Š7

65



F©Ø7 B7(b9) D‹7 G7

1

G‹7 C7 FŒ„Š7 B¨7(#11)

5

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

9

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

13

A7(#5) D‹7

17

B¨7(#11) CŒ„Š7

21

F©Ø7 B7(b9) EØ7 A7(b9)

25

DØ7 G7(b9) CŒ„Š7

29

STELLA

3

3

3

3 3



F©Ø7 B7(b9) D‹7 G7

33

G‹7 C7 FŒ„Š7 B¨7(#11)

37

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

41

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

45

A7(#5) D‹7

49

B¨7(#11) CŒ„Š7

53

F©Ø7 B7(b9) EØ7 A7(b9)

57


61

3

3



F‹7 C7(b9) F‹7 E7(#11) E¨Œ„Š7 A¨7(#11) G‹7 G¨º7

1

F‹7 F‹7/E¨ DØ7 G7(b9) C‹7 F‹7 B¨7

5

E¨Œ„Š7 GØ7 C7(b9) F‹7 C7(b9) F‹7 E7(#11)

8

E¨Œ„Š7 A¨7(#11) G‹7 G¨º7 F‹7 F‹7/E¨

11

DØ7 G7(b9) C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7

14

EŒ„Š7 F©‹7 G©‹7 A‹7 D7

17

FLESH AND SPIRIT



A¨‹7 D¨7 F©‹7 B7 EŒ„Š7 B7(b9) E‹7 A7

19

DŒ„Š7/F© B7(b9) E‹7 A7 D7 C©7 C7 C7(b9)

22

F‹7 C7(b9) F‹7 E7(#11) E¨Œ„Š7 A¨7(#11)

25

G‹7 F©º7 F‹7 F‹7/E¨ DØ7 G7(b9)

28

C‹7 F‹7 B¨7 E¨Œ„Š7 G‹7(b5) C7(b9) F‹7

31



AØ7 D7(b9) G‹7

1

EØ7 A7(b9) DŒ„Š7

6

AØ7 D7(b9) G‹7 EØ7

11

A7(b9) DŒ„Š7 D‹7 G7

16

CŒ„Š7 B¨7(#11) A7(“4)

21

A7(b9) AØ7 D7(b9) G‹7

26


31

WHAT IS THIS

3

3



AØ7 D7(b9) G‹7

35


39

AØ7 D7(b9) G‹7

43

EØ7 A7(b9) DŒ„Š7 D‹7

47

G7 CŒ„Š7 B¨7(#11) A7(“4)

52

A7(b9) AØ7 D7(b9)

57



G‹7 EØ7 A7(b9) DŒ„Š7

1

FŒ„Š7 EØ7 A7(b9)

7

D‹7 C‹7 F7

12

B¨Œ„Š7 E¨7(#11) FŒ„Š7 D‹7 G7(#11)

16

G‹7 C7 FŒ„Š7 EØ7

21

A7(b9) D‹7 C‹7 F7

27

B¨Œ„Š7 E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7

32

A‹7 D7 G‹7 C7 FŒ„Š7

37

ANOTHER YEW - FAST




40

D‹7 C‹7 F7 B¨Œ„Š7

44

E¨7(#11) FŒ„Š7 D‹7 G7(#11) G‹7

49


55

D‹7 C‹7 F7 B¨Œ„Š7

60

E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7 A‹7 D7

65

G‹7 C7 FŒ„Š7

70



Section 2 The etudes in this section demonstrate the addition of chromatic tones to a simple harmonic scheme. As in section one, the scale choices consist of “first choice” scales. While the addition of the chromatic approaches might imply a scale other than what is listed below, that was not the intent. All non-scale tones should be analyzed as chromatic tones, not as a part of a different scale. The usual scale choices in this section are:

1. Major 7 = Ionian 2. Dominant 7 (unaltered V7) = Mixolydian 3. Dominant 7b9 = 5th mode of Harmonic Minor

4. Dominant 7 (V7 of ii) = treated as a Dominant 7b9 (5th mode of harmonic minor)

5. Dominant 7#11 = Lydian Dominant (4th mode of Melodic Minor) 6. Minor 7 = Dorian, Aeolian, Phrygian depending on function. Dorian is used

in some cases regardless of actual chord function. 7. Dominant 7#5 = Whole-Tone 8. Diminished = Whole-Half Diminished

FŒ„Š7 EØ7

A7(b9) D‹7 C‹7

5F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

9D‹7 G7(#11) G‹7

13C7 FŒ„Š7 EØ7

17A7(b9) D‹7 C‹7

21F7 B¨Œ„Š7 E¨7(#11) D‹7

25G7(#11) FŒ„Š7 G‹7 A‹7 D7

29G‹7 C7 FŒ„Š7 FŒ„Š7

32

ANOTHER YEW



EØ7 A7(b9) D‹7

36

C‹7 F7 B¨Œ„Š7 E¨7(#11)

40

FŒ„Š7 D‹7 G7(#11)

44

G‹7 C7 FŒ„Š7

48

EØ7 A7(b9) D‹7

52

C‹7 F7 B¨Œ„Š7 E¨7(#11)

56

D‹7 G7(#11) FŒ„Š7 G‹7 A‹7 D7

60

G‹7 C7 FŒ„Š7

64

Section 2 - 2

Dues Etudes 2018 revision www.craigfraedrichmusic.com

F©Ø7 B7(b9) D‹7 G7

G‹7 C7 FŒ„Š7 B¨7(#11)

5

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

9

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

13

A7(#5) D‹7

17

B¨7(#11) CŒ„Š7

21

F©Ø7 B7(b9) EØ7 A7(b9)

25


29

3

STELLA

3

3

3



F©Ø7 B7(b9) D‹7 G7

33

G‹7 C7 FŒ„Š7 B¨7(#11)

37

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

41

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

45

A7(#5) D‹7

49

B¨7(#11) CŒ„Š7

53

F©Ø7 B7(b9) EØ7 A7(b9)

57


61

3

Section 2 - 4


F‹7 C7(b9) F‹7 E7(#11)

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

3

F‹7 F‹7/E¨ DØ7 G7(b9)

5

C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9)

7

F‹7 C7(b9) F‹7 E7(#11)

9E¨Œ„Š7 A¨7(#11) G‹7 F©º7

11

F‹7 F‹7/E¨ DØ7 G7(b9)

13

C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7

15

FLESH AND SPIRIT

3



EŒ„Š7 F©‹7 E/A¨

17

G©‹7 C©7 F©‹7 B7 EŒ„Š7 B7(b9)

19

E‹7 A7 DŒ„Š7/F© Fº7

21

E‹7 A7 D7 C©7C7

C7(b9)

23

F‹7 C7(b9) F‹7 E7(#11)

25

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

27

F‹7 F‹7/E¨ DØ7 G7(b9)

29

C‹7 F‹7 B¨7E¨Œ„Š7 C7(b9)

F‹7

31

3

3

Section 2 - 6


AØ7 D7(b9) G‹7


5

AØ7 D7(b9) G‹7

9


13

D‹7 G7 CŒ„Š7

17

B¨7(#11) D‹7

21

G7 AØ7 D7(b9) G‹7

25


29

WHAT IS THIS



AØ7 D7(b9) G‹7

34


37

DŒ„Š7 AØ7 D7(b9) G‹7

41


45

D‹7 G7 CŒ„Š7

49

B¨7(#11) A7(“4)

53

A7(b9) AØ7 D7(b9) G‹7

57


61

Section 2 - 8


FŒ„Š7 EØ7

A7(b9) D‹7 C‹7

5F7 B¨Œ„Š7 E¨7(#11) D‹7

9D‹7 G7(#11) G‹7

13C7 FŒ„Š7 EØ7

17A7(b9) D‹7 C‹7

21F7 B¨Œ„Š7 E¨7(#11) D‹7

25G7(#11) FŒ„Š7 G‹7 A‹7 D7

29G‹7 C7 FŒ„Š7 FŒ„Š7

32

ANOTHER YEW - FAST



EØ7 A7(b9) D‹7

36

C‹7 F7 B¨Œ„Š7 E¨7(#11)

40

FŒ„Š7 D‹7 G7(#11)

44

G‹7 C7 FŒ„Š7

48

EØ7 A7(b9) D‹7

52

C‹7 F7 B¨Œ„Š7 E¨7(#11)

56

D‹7 G7(#11) FŒ„Š7 G‹7 A‹7 D7

60

G‹7 C7 FŒ„Š7

64

Section 2 - 10


Section 3 The etudes in this section demonstrate the use of substitute scale choices. In most cases, dominant chords that progress to tonic (up a fourth or down a fifth) are altered using Super Locrian, Half-Whole Diminished or a pentatonic a tritone away from the root of the chord. The use of the #11 (Lydian for major 7 chords, Lydian b7 for dominants) is emphasized throughout as is the use of pentatonics, both diatonically and as tritone substitutes. Locrian #2 (the 6th mode of melodic minor) is often used over half-diminished (min7b5) chords. Please note that the use of substitutes (or altered scales) in this section is essentially forced in order to demonstrate usage. On occasion, the scale choice represented clashes somewhat with the harmony played on the original “Payin’Dues” recording. In real playing situations, the piano player would (should) follow the soloist making this a non-issue. Additionally, these are exercises with alterations somewhat forced throughout to demonstrate possibilities. The usages here should not necessarily be considered representative of typical and appropriate harmonic development.

1. Major 7 = Lydian, Ionian 2. Dominant 7 (resolving to I) = Super Locrian, Half-whole diminished, Pentatonic,

(on root or tritone away) Mixolydian. 3. Dominant 7 (not resolving to I) = Lydian Dominant, Mixolydian 4. Dominant 7#11 = Lydian Dominant (4th mode of Melodic Minor) 5. Minor 7 = Dorian, Melodic Minor, Aeolian, Phrygian depending on function.

Dorian is used in some cases regardless of actual chord function. 6. Dominant 7#5 = Whole-Tone (Sometimes approached as a fully altered

dominant – Super Locrian) 7. Half - Diminished = Locrian #2, Locrian 8. Diminished = Whole-half Diminished

FŒ„Š7 EØ7

A7(b9) D‹7 C‹7

5

F7 B¨Œ„Š7 E¨7(#11) D‹7

9

D‹7 G7(#11) G‹7

13

C7 FŒ„Š7 EØ7

17

A7(b9) D‹7 C‹7

21

F7 B¨Œ„Š7 E¨7(#11) D‹7

25

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

29

ANOTHER YEW

3



FŒ„Š7 FŒ„Š7 EØ7

33

A7(b9) D‹7 C‹7

37

F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

41

D‹7 G7(#11) G‹7

45

C7 FŒ„Š7 EØ7

49

A7(b9) D‹7 C‹7

53

F7 B¨Œ„Š7 E¨7(#11) D‹7

57

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

61

FŒ„Š7 C7 FŒ„Š7

65

3

Section 3 - 2


F©Ø7 B7(b9) D‹7 G7

G‹7 C7 FŒ„Š7 B¨7(#11)

5

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

9

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

13

A7[âÄâÀ] D‹7

17

B¨7(#11) CŒ„Š7

21

F©Ø7 B7(b9) EØ7 A7(b9)

25


29

STELLA

3



F©Ø7 B7(b9) D‹7 G7

33

G‹7 C7 FŒ„Š7 B¨7(#11)

37

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

41

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

45

A& D‹7

49

B¨7(#11) CŒ„Š7

53

F©Ø7 B7(b9) EØ7 A7(b9)

57

DØ7 G7(b9) CŒ„Š7 F©Ø7

61

3

Section 3 - 4


F‹7 C7(b9) F‹7 E7(#11)

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

3

F‹7 F‹7/E¨ DØ7 G7(b9)

5

C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9)

7

F‹7 C7(b9) F‹7 B¨7

9

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

11

F‹7 F‹7/E¨ DØ7 G7(b9)

13

C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7

15

FLESH AND SPIRIT



EŒ„Š7 F©‹7 E/A¨ A‹7 D7

17

A¨‹7 C©7 F©‹7 B7 EŒ„Š7 B7(b9)

19


21

E‹7 A7 D7 C©7 C7 C7(b9)

23

F‹7 C7(b9) F‹7 E7(#11)

25

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

27

F‹7 F‹7/E¨ DØ7 G7(b9)

29

C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9) F‹7

31

3

Section 3 - 6


AØ7 D7(b9)

G‹7 EØ7 A7(b9)

5

DŒ„Š7 AØ7 D7(b9)

9

G‹7 EØ7 A7(b9)

13DŒ„Š7 D‹7 G7

17

CŒ„Š7 B¨7(#11)

21

D‹7 G7 AØ7 D7(b9)

25

G‹7 EØ7 A7(b9)

29

WHAT IS THIS




33

G‹7 EØ7 A7(b9)

37


41

G‹7 EØ7 A7(b9)

45

DŒ„Š7 D‹7 G7

49

CŒ„Š7 B¨7(#11)

53

A7(“4) A7(b9) AØ7 D7(b9)

57

G‹7 EØ7 A7(b9)

61

DŒ„Š7

65

Section 3 - 8


FŒ„Š7 EØ7

A7(b9) D‹7 C‹7

5

F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

9

G7(#11) G‹7

13

C7 FŒ„Š7 EØ7

17

A7(b9) D‹7 C‹7

21

F7 B¨Œ„Š7 E¨7(#11) D‹7

25

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

29

ANOTHER YEW - FAST



FŒ„Š7 FŒ„Š7 EØ7

33

A7(b9) D‹7 C‹7

37

F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

41

D‹7 G7(#11) G‹7

45

C7 FŒ„Š7 EØ7

49A7(b9) D‹7 C‹7

53

F7 B¨Œ„Š7 E¨7(#11) D‹7

57

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

61

FŒ„Š7 FŒ„Š7

65

Section 3 - 10


Section 4 The etudes in this section combine elements from each of the preceding sections.

FŒ„Š7 EØ7

A7(b9) D‹7 C‹7

5

F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

9

D‹7 G7(#11) G‹7

13

C7 FŒ„Š7 EØ7

17

A7(b9) D‹7 C‹7

21

F7 B¨Œ„Š7 E¨7(#11) D‹7

25

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

29

ANOTHER YEW

Section 4 - 1


FŒ„Š7 EØ7

33

A7(b9) D‹7 C‹7

37

F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

41

D‹7 G7(#11) G‹7

45

C7FŒ„Š7 EØ7

49

A7(b9) D‹7 C‹7

53

F7 B¨Œ„Š7 E¨7(#11) D‹7

57

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7

61

FŒ„Š7 FŒ„Š7

65

3

Section 4 - 2


F©Ø7 B7(b9) D‹7 G7

G‹7 C7 FŒ„Š7 B¨7(#11)

5

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

9GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

13A7[âÄâÀ] D‹7

17

B¨7(#11) CŒ„Š7

21

F©Ø7 B7(b9) EØ7 A7(b9)

25


29

STELLA



F©Ø7 B7(b9) D‹7 G7

33

G‹7 C7 FŒ„Š7 B¨7(#11)

37

CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7

41

GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)

45

A7[âÄâÀ] D‹7

49

B¨7(#11) CŒ„Š7

53

F©Ø7 B7(b9) EØ7 A7(b9)

57

DØ7 G7(b9) CŒ„Š7 F©Ø7

61

3

3 3 3

3

3



F‹7 C7(b9) F‹7 E7(#11)

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

3

F‹7 F‹7/E¨ DØ7 G7(b9)

5

C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9)

7

F‹7 C7(b9) F‹7

9

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

11F‹7 F‹7/E¨ DØ7 G7(b9)

13

C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7

15

3

FLESH AND SPIRIT



EŒ„Š7 F©‹7 E/A¨ A‹7 D7

17

A¨‹7 C©7 F©‹7 B7 EŒ„Š7 B7(b9)

19


21

E‹7 A7 D7 C©7 C7 C7(b9)

23

F‹7 C7(b9) F‹7 E7(#11)

25

E¨Œ„Š7 A¨7(#11) G‹7 F©º7

27

F‹7 F‹7/E¨ DØ7 G7(b9)

29

C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9) F‹7

31

3

Section 4 - 6


AØ7 D7(b9)

G‹7 EØ7 A7(b9)

5


9G‹7 EØ7 A7(b9)

13

DŒ„Š7 D‹7 G7

17

CŒ„Š7 B¨7(#11)

21

D‹7 G7 AØ7 D7(b9)

25

G‹7 A7(b9)

29

WHAT IS THIS




33G‹7 EØ7 A7(b9)

37


41

G‹7 EØ7 A7(b9)

45

DŒ„Š7 D‹7 G7

49

CŒ„Š7 B¨7(#11)

53

D‹7 G7 AØ7 D7(b9)

57

G‹7 EØ7 A7(b9)

61

DŒ„Š7 AØ7

65

Section 4 - 8


FŒ„Š7 EØ7

A7(b9) D‹7 C‹7 F7

5

B¨Œ„Š7 E¨7(#11) FŒ„Š7 D‹7

10

G7(#11) G‹7 C7

14

FŒ„Š7 EØ7 A7(b9) D‹7

18

C‹7 F7 B¨Œ„Š7 E¨7(#11) D‹7

24

G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7 FŒ„Š7

29

ANOTHER YEW - FAST



FŒ„Š7 EØ7 A7(b9) D‹7

34

C‹7 F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7

40

D‹7 G7(#11) G‹7

45

C7 FŒ„Š7 EØ7 A7(b9)

49

D‹7 C‹7 F7 B¨Œ„Š7

54

E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7

59

A‹7 D7 G‹7 C7 FŒ„Š7

63

Section 4 - 10


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