PATTERNS FOR JAZZThis text is lovingly dedicated to Jimmy Casale. His death, shortly before publica- tion, is a loss made obvious by the excel- lence of his contribution to these studies. We are fortunate to have a portion of his talent and dedication captured here in per- manent form. Copyright © 1970 by Studio P/R, Inc. 224 S. Lebanon St., Lebanon, Indiana 46052 All rights reserved. No part of this book may be reproduced in any form, other means, withour permission in writing from the publishers, Third Edition Printed in the United Sates of America. by mimeograph or anyTABLE OF CONTENTS Pattern Number Description 1. 12 Major Triads - 13- 17 Major Sixth Chords ....... 18- 27 Major Seventh and Ninth Chords ... a 28. 43 Major Scales ...... sevnnsnnerl 44- 59 Digital Pacerns in Major - 1 60- 67 Major Scale Intervals ...... 68- 78 Patterns with Embellishing (non-harmonic) tones... 79. 86 Diatonic Chords - 87- 98 Dominant Seventh and Ninth Chords....... 99-100 Mixolydian Mode (Dominant Scale 101-102 Minor Triads 1 103-104 Minor Sixth Chords ........ I = 105-113 Minor Seventh and Ninth Chords... 114-116 Dorian Mode (Minor Seventh Scale)... 117-122 Digital Patterns on Minor Seventh Chords 123-134 Patterns for the IIm7—V7 Progression. 85- 90 135-148 Patterns for the Hm7—V7—I Progression foe 91-100 149-152 Augmented Triads | - ese 104105 153-157 Whole-tone Scale i 106-108 158-161 Diminished Triads { — oN LL-T12 162-168 Diminished Scale - cnnnnnnnenneeASLLS 169-173 Parallel Progressions 116-118 174-177 Turnarounds (Turnbacks) - - svennnentnnrnneneneeneel LBLLD 178-179 Altered Ninth Chords ot - 120 180-200 Polychords 1 122-126 201-208 Polychords for Diminished Seale... soenne 128-130 209-224 More on the Diminished Scale 7 a von 31-134 225-233 Augmented Scale ...... svnneinnmenneel 352138 | 234-242 Major Scale in Fourths. ‘ : sod 39-LAL ! ~ 243 Digital Pattern on Major Scale......njo-n 142 244-246 Harmonic Minor Scale - vere 243 247-250 More on the Whole-tone Scale... eo 143-144 251-277 Lydian Augmented Scale 4 - oe 146-154 278-308 Incerval Studies - - - - noe 536165, 309-326 Chromatic Scale . : on 1656172INTRODUCTION Jazz improvisation is the spontaneous creation of music in the jazz style. Like traditional com. vosition, jazz improvisation is a éfaft. Ic is a canditioning of the mind, body and spirit, brought our by the study of musical principles. This conditioning becomes a necessary prelude to the professional practice of the art, despite the implications of the word spontaneous. Just as spon- aneity is combined with conditioning, so is the existing style of jazz combined with originality of xpression. One is lost without the other, and so we seldom hear an improviser’s solo that does ‘not contain melodic fragments or patterns: from the melody of the tune used, from a fellow per- ormer's solo, from an influential player of the time, from a different cune altogether, from material vreviously improvised, or from patterns (original or borrowed) currently studied in individual practice. Another obvious combination is creation and performance. The jazz improviser pre-hears a his mind the next musical event, and then has the added task of playing it cleanly and wich o © x a > s & & & a ‘he C Major scale is illustrated in ewo complete octaves. The numbers under each tone indicate che cosition of that cone in chis scale. Note that beyond the first octave, cone #8, the cones have the same letter names and the numbers corresponding co these tones refer to the respective distances from the ting tone, #1. The following four chords, Major Triad. Major Sixch Chord, Major Seventh Chord and Major Ninth Chord, will be formed by applying a numerical formula to the C Major scale. The corresponding Iphabetical symbols will also be indicated. By extracting cones No. 1-3-5 from the C Major scale, we arrive at the notes forming the C Major ‘iad! -— Symbol: C Tones Ni 6 of the C Major scale form che C Major Sixth Chord.* - Symbol: CMG A three note chord which measures five tones from the bottom to the top, counting the first cone as No. 1. 2A four note chord which measures six cones from che hottom to the cop, counting the first tone as No. 1. 1Oe Tones #1-3-5-7 form the C Major Seventh Chord.’ ~ ‘Symbol: CM7 Tones #1-3-5-7-9 form the © Major Ninth Chord. oo Symbol: GM9 Altecaste Symbol: 9 M7 Alternate Symbol: (9) M7 3A four nore chord which measures seven tones from che botom vo che top, counting the first tone as No. 1. 4A five note chord which measures nine tones from the bottom to the rop, counting the first tone as No. 1.a CHORD TONE CHART BASED ON MAJOR SCALES OF CHORD ROOTS th | Sine | A/D. |G ClF Bb/Eb/ab/E | B | F#! C#] G# [D4] Ag | . | na | | ula] | | | Sine F | Bb} E>) ab| D>] Gri chb/rbic |G |p la le |B | Fe s 4th | | { | | oan | Reta eee | ~ 1] | sume [DG |C |F Bb| Eb! ab |pb)a | E | B | F¥!| CH |G#| DE As 2nd 1 {| ,o"] ro [BE [a |p |G ic [F |B Fe] ce| Ge] Del ad [Ee | Be |_xh_[G ic [F [pbl/Eb ablpe |G D | a |e |B | FF |c#|Gi _3a_[e a |p |e [c |F [Bb le |B | Fi! cH] GE] De [ad EF Se + + (Reon | | F | BP | EP | ae | D> Gr}chiG |p |a |e |B [Fc CHORD ROOTS ‘This chord tone chart organizes the tones of all Major scales in the order needed for the construction of Major chords. Reading up from the chord root C (also indicated as cone #1), we see the tones: C-E-G-B-D-F-A, which are all the notes in the|C Major scale. Nore chat the ninth, eleventh and thirteenth are also the second, fourth and sixth cones respectively, as they are the same letter names. In preparation for the following exercises, be able to recite, write and play the following chords in every key: Major Triads, Major Sixth Chords, Major Seventh Chords and Major Ninth Chords. Use the following “routine form” for playing the chords. It does nor require any specific chythm, for chord tones, or tempo. 0 0 CM OM7 = = a —; et ee - + Oe + This note added to fill out the chord. It does nor change the sound of the chord. The following patterns begin with Major Triads. Note the alphabetical symbols and metronome j markings. The vertical lines indicate the number of beats assigned to that chord.J= 0-00 ¢ tp WY WL @ og cf &# ¢ w» bw Ba. (continue same rhythm) Uae Ames Pate a) tr eee tee lames ee ee (same chychm) ERT aicia 4=80-132 t (ue op 4 »D (continue in same manner)| eo wm - ng f ap 1b w& ot a pe Zz z we + (continue in same manner) c E Z = (00-138 c = = + 1 poate St aS room 6B UD y wm ¢ 2 Lf —F PF FF (continue in same manner)a ane aaiiniciaaitakc 9 78100-1358 Note: Each chord lasts ewo beats, (ascending) (descending ) (ascending) (descending) £ FF @6 MA HSE Lt 7 (continue in same manner) Apply the same principle of alternating the ascending and descending forms to the chords in patterns No. 8, 9 and 10. db 100-138 + (descending) (ascending) (descending ) (ascending) EF #@ 4 vw Aw 8B C6 (continue in same manner) Apply the same principle of alternating the descending and ascending forms to the chords in patterns No. 8,9 and 10.eo mn é= Ib0-208 OMe ,_ DOMy % Om 13 Note: Each chord lasts cwo measures, cl EM My CIMo GMo (continue in same manner) AM AM BML Bho CM da 186-208 . ou CMs DMe a Ma ; Wee — SS e t Gime A> = BMD (continue in same manner) fim EM GM «AM = BM DMG PAP ALD PAPAS PFA 10= 138-102 Mio ~~ F Me co. BMo Dy my Sr Ete Alwe ‘Dime (Mo Bw EM Amu Ome tne CG PEEP ALPES ETE } (continue in same manner) o= (38-102 (Me yma CIM AM Sue AVMo = BMb Me WM Dhme Emo hme (continue in same manner) 4100-144 Note: Each chord lasts two beats. CMe. OMMiy ny DM 4 EIMG Emo Pmt tm, Gmo AM AMG WM Be Gmb (continue in same manner)| aca ees € d= 0-208 Note: Each chord lasts two measures. ruc 7 7 Ebya — Gina 18 Z Ama En Abn m7 Oma (continue in same manner) Bun Dm ene baa d= /3BB-/92 Lar Far On Elm7 Adm vite ee See Se tae te f Dhnr Comz Br Em7 Amy Dun Gut mr (continue in same manner) fa$288-/20 Nore: Each chord lasts three beats. cua DM evn tn Alma hr Cm + Fy) (continue in same manner) BS) Don town FMM at Da f = 2 Jpg PT 7 (continue in same manner) Y M1 Dene ~ Om EfM1 ema Mr GMT m7 AMT AMT m7 BMT M7 d20-/20 Note: Each chord lasts two beats. (ma DIM, M1 elma EM EMT 22 (continue in same manner) (ascending) (descending) 5 =I | Ging G7 Aime? Amt Bom BMT CM Apply the same principle of alternating the ascending and descending forms to the chords in patterns No. 18, 19 and 20. (Be sure to group chords so that two will be in each measure, giving each chord two beats—as in pattern No. 22.) 2Bde B0=120 Note: Each chord lasts two beats. CMT DhM7 DMT bM7 eM] M1 (descending) (ascending) (continue in same manne Gin GMT Awa AM? M7 Bm M1 ZL Z t+ t = Apply the same principle of alternating the descending and ascending forms to the chords in patte No. 18, 19 and 20. (Be sure to group chords so that there are two in each measure, giving each chord two beats, as partern No. 23.) d= 08-/62 Note: Two measures per chord, ending on “third” of chord. cmMq Emma =~ “eS : - Ss PY md «yu Doma end ama EEE A Dy4888-120 Note: Five beats per measure. if Domg yma oma 5 (continue in same manner) eva gwd bmg soma wma AMA BM BM4 Mg 45100-1464 cree Bach chord lasts ewo measures. cmd ‘wee ye amg a 26 (continue in same manner) Ly e0M4 Apna 7M img ama em4 AM4 m4 Gna Md 1280-120 Nove: Three bests per measure. OMG Dmq ema cman rs Bona cM Dg cid ema OMG AMA = BM4 DMG 15Mls < Emq Dmg Glog ema Md Up to this point, our main concern has been the exercising of the four related types of major cho’ formed by extracting their respective tones from the major scale of the chord root. Now we \ concern ourselves with various patterns on the scale (major) itself. You will notice that the ch symbols for the following patterns will be those of the major triad. However, the student must F in mind that the major triad, M6, M7, and M9 chords all use the same basic scale: the major s. of the chord root. For example, a C, CM6, CM7, and CM9 will al! share the C major scale. The of the triad symbol in the following patterns is merely for convenience, since it would be imposs to determine exactly which chord is being used when the scale is common to all the chords mentior SDavid Baker, "Seratusphunk,” on Stratuspounk (Riverside 341), George Russell Sextet. Baker's trombone + illusteates noc only pattern No. 28, buc some of its permutations (remakings) as well. For example, pattern may be altered to fic other types of chords, so that it would be possible to reconstruct che pattern oa © fote of a given scale (see Figure 24, p. 81) staying within che key signature throughout. Ie would also be { sible, as Baker illustrates, co move the partern chromatically, progressing up or down in balfsteps, if the m! is Free enough to permit such movemeac- 16bi Saami eseeattieaieecaennashieneneinaeieeneememnmmanmmnnenaaamemannntee, je 10-162 c ge D los Ea filQ- 182 ” ¢ y 30 : B oe ot E Ey GET IT =I Gh g EA E He. ti Yat a © G cr ai 0-162 : £ ‘) (continue ia same manner) D w o E 6346-136 é Note: Each chord scale lasts one measure, 0b = (ascending) (descending) (ascending) (descending) Oo aA wp 6 ¢ € F Ss cs (continue in same manner) }346-/88 A é aot Ps Pathe 34 eee a a cE =| (ascending) (descending) ir (ascending) (descending) Yo oo B £€ A D0 Gg 2 (continue in same manner) j= 46-188 ¢ D E Gb 35 FT (ascending) (descending) (ascending) (descending) oO pp C oo on 5 ———— mie (continue in same manner) (ascending) (descending) nn 4 A Q ob =| (Continue in same manner) 19w4b-/88 wi = (A ef gy 4A 36; (ascending) (descending) (continue in same manner) Ap wow mw eg 4 1296-138 ¢é ow 2D eo 37 (descending) (ascending) (descending) (ascending) £ Ff gb o6 Mw A wm Bb ¢ Apply the principle of alternating che descending and ascending forms of the chord scales to th chords in patcerns No, 34, 35 and 36. Sa * Note: To be used for C, €M6, CM7 or CM9. ‘Transpose Pattern No. 38 in remaining eleven keys. ‘The remaining eleven keys refecred to are: F. B29. ED. AP. D2, G9, BE, A, D and G. 0j= 100-132 on ono T a) — epg PETG a 7 Note: To be used for C, CM6, CM7 or CM9. SS 4 - tt z tS Practice in all keys. o= Tha l00 0 7 ( ae 7) Note: To be used for C, CM6, CM7 or CM9. “BY _ ort pr SS gare ee eo ames) Practice in all keys. 21de 70-100 == age Se ae FF aE ; Zz s = 5B SBS BS DVS Note: To be used for: C, CM6, CM7 or CM9. p fol pre FE t 2 ja} tgp ts 7s Za JF FTF FSF J] Note: To be used for: C, CM6, CM7 or CM9. fa > = TANG 8G ta GS Ss ‘Transpose Patern No. 42 in remaining eleven keys. 206-68 of == = tat Cs Note: To be used for: C, CM6, CM7 or CM9. Ne + + — — = SS = aS SS SSS a7 Transpose pattern No. 43 in remaining eleven keys. 22ROAR in tid ncaa Beginning with Pattern No. 44, the stadent would be wise to learn the chord-scale sumbers given below each pattern and use them fo quick, easy transposition. For example, the 1-2-3-5 pattern of No. 44 could be applied to any new chord roor, since numbers only indicate pitch relation- ships, not the pitches themselves. Although each of these patterns will be practiced in the four established chord progressions (Nos. 44-47, for example), covering all keys, it would also be ad- visable to practice each of the patterns bearing numbers (i.¢., 1-2-3-5) with a reasonable number of progressions from already existing cunes aad jazz lines, available in fake books (collections of published tunes and their progressions), song books, sheet music, or (if they are available to the student) private collections of tunes, copied or transcribed from various written sources or records. In short, any of the pacterns which follow, having the aumbers (like {-2-3-5) could be projected over any cune’s entire length, when the minor forms of these patterns have been added to the fol- lowing major forms, since nearly all chords contained in the tune's progression will have either a major triad on the bottom (ie., 1-2-3-5) or a minor triad (ie, 1-2-flat 3-5) Note: To be used for Major Triad, M6, M7 or M9. j2180-206 Chords of respective roots. d Ec we gb Ab Ob 44 Saat f ff EEE 14398 6 £286 ¢ $3 (continue in same manner) ‘This pattern is made up of the first, second, chird and fifth rones of che chord scale. tea E A 0 4 4 J5100-/44 Note: Each chord lasts ewo beats. iG A 4 & @ AF Dwwe 1 £38 123F (continue in same manner) See bridge section of Oliver Nelson's “Cascades,” on The Blues And The Abstract Truth (Impulse S-5), Oliver Nelson Group. Also note Freddie Hubbard's Inst chorus on the same selection. John Coltrane, "Giane Steps" and other selections, on Giant Steps (Atlantic S-1311), John Coltrane Quartet. 23ean 42 (10-100 acitw ob De E e —— ae aaa ae se va 236s " 2ae (continue in same manner) wb a A Bw 4 ¢ cho oab oo ¢ 2 E 47 (continue in same manner) 6 4 6 n (continue in same manner) ag my @ = 60-208 ¢ fF, @ $321 5324; 68321 aN 48 This pattern is made up of the fifth. third, second and first tones of the chord scale, | Note that the direction is descending from starting note in each cho: th 8 eg A ? Ab 9b y (continue in same manner) 24el 13 (04-132 d oy gar AD 3 0 ® me O 49; Apply chord scale fragment 5-3-2-1 to the chords in patterns No. 46 and 47. 4290-120 4h ch a , 0 & fe Wl (continue in same manner) Note: This patcern utilizes the alternating chord scale fragments 1-2-3-5 and 5-3-2-1 ooe ¢ a 0 g ¢ Z I t —_ Apply the same principle of alternating fragments 1-2-3-3 and 5-3-2-1 to dhe chords in patterns No. 45, 46 and 47. 7 ae E oe Avo = oes — 4 raat 1438 Note: This pactern utilizes the alternating chord scale fragments 5-3-2-1 and 1-2-3. oe € A oO G4 ¢ ei Apply the same principle of alternating fragments 5-3-2-1 and 1-2-3-5 to che chords in patterns No. 45, 46 and 47 SJobn Coltrane, "Giant Steps,” on Giant Steps (Adantic S-I311), John Coltrane Quartet. This pattern may be wed on any chord with a major third, *Oliver Nelson, “Butch and Burch," on The Blues Aud The Abstract Truth (Impulse $-5), Oliver Nelson Group. ‘This pattern is used on minor chords descending, ia whole steps. 25‘< SS SS a —- SS Ee =s oS =} Transpose Pattern No. 62 in remaining eleven keys. $710 soe: To be vsed with C, C6, CMY oF CMS. 4 Se ait = et z $ Zz # 7 4] a + 7 ‘Transpose Pattern No. 63 in remaining eleven keys. 29 tHWA sry) J: 6~4o ——~ ~ 64 SSS SS ay e SSS ass ee a Teanspose Pattern No. 64 in remaining eleven keys 20-92 Note: To be used for C, CM6, CMT or CM9. fe eS et = — z Ft nd + bs £ é SS 4s 7 > eo # =o j ‘Transpose Pattern No. 65 in remaining eleven keys. | bs | ' | J25b~88 | ) : 2G ¢ et —— = SSS = —_ == | £ t —F Ps 4 = = # F fs 4== SF Ie 7 -a 67 r 7 —— ~ Ss SSS] - —|% = Transpose Pattern No. 67 in the remaining eleven keys. Up to this point we have been concerning outselves with patterns chat were developed chrough the use of chord tones, chord scales, or fragments of chord scales. We have not developed any patterns shat require the use of non-chordal or non-harmonic tones. The term non-chordal can be translaced literally to mean not belonging to the specific chord symbol. In the following illustrations the tones of che C Major criad are used. = : SSS =S= See Non-Cuorpat Tones Note that the tones D-Sharp and F-Sharp are the non-chordal cones used co establish che first pattern in this category. The remaining tones are either chord cones or scale tones. The student should also nore that although the C Major triad was used as the illustration, this same pattern can also be used for any major chord having the root tone of C, i.e: C Major Sixth (CMG), C Major Seventh (CM7) or C Major Ninth (CM9). Likewise, when transposing this and any of the other patterns developed by the use of the illuserated non-chordal cones, the same will apply. To establish the non-chordal tones on other major chord roots, use che major scale of that root as your guide, raising che 2nd and 4th cones Y\ step. (D-Sharp in the above illustrates the raised 2nd tone of C Major Scale; F-Sharp in the above illustrates the raised 4th tone of C Major Scale.) Using the C Major scale as our guide the analysis of the illuscraced partern would be. Root—Raised 2nd tone—Third—Raised 4th twne—Fifth—Seventh—Root (1 octave higher). va Pg pj 4 Root Raised Third Raised Fifth Seventh Root 2nd ch (1 Octave Tone Tone Higher) G2) (34) o ‘The student is advised to use the above principle for analysis of the following patterns (developed by the use of the non-chordal cones illustrated) hefore attempting to transpose the respective patterns co other chord roots. 31eae eeneeernereemmmmeees g jrlfela — rxoo0 ¢ c fw ep ob 68 1431578 if 316 57 6 o @ © &€ A op & fog 1240-144 é___——— Se ceaneaaaiiad (G4-/82 . F ogy ob ree - 71S 6S 7) 7) EHS 718 o gf ® € A O09 4 6 j-80-/06 ie BD De® DQDaDt eb 73 17 | ga sus 7 ? 423 6 / 878 8 shee 17! | yo @ ¢ a 09 & 2 jx60-182 ig ae gq, Bb 14 : zie =e TE oA ae ti STEP:ae as tents aS EHJ:108-182 a ca ib en! ? = = Tt pete et Spa a 6721 34043 CHES 3705 (72) B44 Shes 6708 y e¢ Ap om ob Bg Aa Ss * : — t £F etet : v —- c +r DBI 7) 43S 668 9676 2/7) £3128 Lsfes 7978 p og y Oo W 8 € A OD ¢ ¢ Oliver Nelson, "Cascades," on The Blues And The Abstract Truth (Impulse S-5), Oliver Neison Group. The melody to "Cascades" is a descending version of Pattera No. 77 in a minor key. John Coltrane, Cadenza at the conclusion of “Giant Steps.” on Giant Steps (Aclancic $-1311), John Gohane Quartec John Colteane makes use of this arrangement of diatonic upper and lower neighbor tones but de- scending aad in triplets 13], J. Johnson, “Mysterioso,” on J. J. In Person (Columbia CL 1161), J. J. Johnson Quintet.MAJOR SCALE-TONE TRIADS Figure | illustrates the tones of the E Major scale. E + Fig. 1 We have previously used arabic numbers to indicate a specific scale tone. In figure 2, however, th roman numerals have been used co designate a chord (in this case, triads) that are constructed the respective scale tones indicated by the roman numerals. Figure 3 spells out the specific tom of each triad belonging to the E Major scale: Figure 2 illustrates the triads fotmed on each tone of the E Major scale. Note that when the fir note of the triad is on a line, che remaining notes to that triad are also on consecutive lines; whe the first note of the triad is on a space, the remaining notes are also on consecutive spaces. St SSH . 1 T = zx Tt zo Fig. 2 Fig. 3 The I chord in the key of E Major contains the notes—E, G-Sharp, B. The II chord in the key of E Major contains the notes—F-Sharp, A, C-Sharp. The HI chord in the key of E Major contains the noces—G-Sharp, B, D-Sharp. The IV chord in the key of E Major contains the notes—A, C-Sharp, E. ‘The V chord in the key of E Major contains the notes—B, D-Sharp, F-Sharp. The V1 chord in che key of E Major contains the notes—C-Sharp, E, G-Sharp. ‘The VI chord in the key of E Major contains the notes—D-Sharp, F-Sharp, A. We have shown that it is possible to construct a triad on each tone of the E Major scale. This s: principle applys for ALL major scales. The student is advised to write out, in the manner illustr? in figure 2, the scale-rone triads for the remaining eleven major scales before attempting 0 ' with Patterns No. 79 co No. 82. 36peG6-1/2 @ phon py 1 = Practice Pattern No. 79 in all keys. Note: This is an example of the use of alternating ascending and descending forms of the «riads in the previous pattern, 426-112 aos 80 = ae pt hag =a se This pattern can be used for C, CM6, CM7 or CMY. SS 7 = Ke + (Dese.) (Asc) Practice Pattern No. 80 in all keys. Jabot Note: This pattern uses descending forms of scale tone triads. a a spp ais = oe SS at Pg eee This pattern can be used for C, CMG, CM7 ar CMO. PG) BE Poss pe SSS] SS oa? te Practice in all keys. S* \s"Nove: This is an example of the use of alternating ascending and descen’ ag forms of the triads it the previous pacrern. debb-IIZ = aS rat f— SS aon eee can By ~ a t eS a — SOS Se SF Practice in all keys SEVENTH CHORDS ON MAJOR SCALE TONES It is possible co develop pateerns for improvisation by using seventh chords buile on each tor a major scale. It is important t understand thac at this point we are not using the term set chord to mean a specific cype of seventh chord, but eather as a general term referring co a four chord which measures seven cones from bottom to cop (counting the first tone as No. 1) and ing the same line to line or space to space relationship previously explained for scale tone 1? Figure 4 illustrates once again the cones of the E Major scale, 5 , Fig. 4 Joba Coltrane, “Milestones,” on Milestones (Columbia CS 9428), Miles Davis Sextet. a87 LS, Figure 5 illustrates the seventh chords formed on each tone of the E Major scale. Note that when the first note of the seventh chord is on a line, the remaining notes are on consecutive lines; when the first nore of the seventh chord is on a space, the remaining notes are on consecutive spaces. SS —4 ————— Fig 5027 Ih 0 Ir rm un Note chat the roman numerals are followed by the arabic number 7 which is only used to differ- entiate between the scale tone triads previously discussed and the scale tone sevenths presently being covered. (At a later point in the book we will be using a modified version of this roman numeral system ‘© translate more completely chord types ia any key.) Figure 6 spells out che specific tones of each seventh chord belonging to the E major scale: Fig. 6 ‘The 17 chord in the key of E major contains the notes—E, G-Sharp, B, D-Sharp. The LI7 chord in the key of E major contains the notes—F-Sharp, A, C-Sharp, E. ‘The L117 chord in che key of E major contains the notes—G-Sharp, B, D-Sharp, ‘The IV7 chord in the key of E major contains the notes—A. C-Sharp, E, G-Sharp. The V7 chord in the key of E major contains the notes—B, D-Sharp, F-Sharp, A. ‘The VI7 chord in the key of E major contains the aotes—C-Sharp, E, G-Sharp, B. The VII7 chord in the key of E major contains the notes—D-Sharp, F-Sharp, A, C-Sharp. Sharp. We have shown that it is possible to construct a seventh chord on each tone of the E major scale This same principle applys ro ALL major scales. The student is advised to write out the scale tone seventh chords, in the manner illustraced in figure 5, for the remaining eleven major scales before awempting to deal with Patterns No. 83 to No. 86. 39f + 2 80-120 wera att hh Tt a q- Ts i) This pattern can be used far C, CM6, CM7 or CM9. Z- + 4+ ee = Ae ieee Le Practice in all keys. 1240-182 2g rth a 0 pea ao ag ps - 4 This pattern can be used for C, CM6, CMT or CM9. tt = Practice in all keys. _ 92bb-\%o bia CS 9428), Miles Davis Sextet. 1609), Joh Colkcane Group. ‘Steaight No Chaser,” on Miles ‘Time Was," on First Trane (Pre 40+ Practice in all keys. MODES A mode is the complete circulation of a (major) scale begun and completed on any one of its tones.” This definition implies che fact that a mode is a scale which has a specific relationship co a key. There are seven such modes used in improvisation: Tonian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. The term Ionian mide and major scale are synonomous. For example: to play an Ionian mode on the note E-Flat means the same as playing che E-Flat major scale (See figure 7). Fig. 7 E-Flat Ionian Mode E-Flat Major Scale 17George Russell, The Lydian Chromatic Concept (New York: Concept Publishing Company, 1959). P. iv. 4Sr ¢ The Dorian mode is a scale which starts on the second tone of ANY MAJOR SCALE and continues re successive tones to the octave, applying the key signature of its parent scale'*. For example: A Dorian mode built on the note F ses the Key signature of E-Flat major, because the note F is the second tone of the E-Flat major scale (See figure 8). Fig. 8 te 3 “F” Dorian Mode Dorian Mode in “Key” of E-Flat which starts on F. The phrygisn mode is a scale which starts on the third cone of ANY MAJOR SCALE and continues in successive tones to the octave, applying the key signature of its parent scale. For example: A phrygian mode on G uses the key signacure of E-Flat major because the nore G is the third tone of the E-Elat major scale (See figure 9). Fig. 9 "G" Phrygian Mode Phrygian Mode in the “Key” of E-Flat which starts on G. ydian mode is a scale which starts on the fourth cone of ANY MAJOR SCALE and continues | in successive cones co the octave, applying the key signature of its parent scale. For example: A i Iydian mode on A-Flat uses che key signature of E-Flac major because the note A-Flat is the fourth tone in the E-Flar major scale (See figure 10). Fig. 10 Q o be ~ ae ar aa “A-Flat” Lydian Mode Lydian Mode in “Key” of E-Flat which starts on A-Flat. voRsselh p- 2 a2The mixolydian mode is a scale which starts on the fifth tone of ANY MAJOR SCALE and continues in successive cones to the octave, applying the key signature of its parent scale. For example: A mixolydian mode on B-Flac uses the key signature of F-Flac major because the nore B-Flat is the filth tone in the E-Flac major scale (See figure 11) Mixolydian Mode in Key" of E-Flat which starts on B-Flat. The aeolian mode is a scale which starts on the sixth tone of ANY MAJOR SCALE and continues in successive tones to the octave, applying the key signature of its parent scale. For example: An aeolian mode on C uses the key signature of E-Flat major because the note C is the sixth cone in che E-Flat major scale (See figure 12). Fig. 12 f at fo oe SS a Acolian Mode in "Key" of E-Flat ce us which stares on C. The locrian mode is a scale which starts on che seventh tone of ANY MAJOR SCALE and continues in successive cones to the octave, applying the key signature of its parent scale. For example: A locrian mode on D uses the key signature of E-Flac major because che nore D is the seventh tone in the E-Flat major scale (See figure 13). Fig. 13 “D” Locrian Mode Locrian Mode in “Key” of E-Flac which starts on D. 8a tetra © uA Ic is important for the student to understand that the term parent key has been used for the pur. pose of establishing the accidentals belonging to the particular mode relating the made to a specific key signature, rather than defining the construction of each mode by measuring the distances betweer each tone, With this parent key relationship, we establish a family of modes belonging to eact major key. Thus, each major key contains a family of seven different modes. Figure 14 represent: the key of E-Flar major, with its related modes. Fig. 14 z 7 5 > + x cs ‘IONIAN. Z 3 4 4 o 7 4 x + > ——— =DORIA: 4 a 2 + * 7 oh 7 z + = Sformvcia a 3 SE LYDIA. MIXOLYDIAN 5 ————Fatous ; % A — + z + HLOCRIA SS 7 7 Ar this poine ic would be extremely advisable for che student to write out the family of modes longing to every major key in the manner illustrated in figure 14. Be sure that you can recite | name of any mode along with its parent key and succession of notes, and play on your instrum before proceeding any further. ‘There will be references to modes, in later pages, to establish basic sound of certain types of chords, and co be used as supplementary material «0 some “bas chord type scales. 44Sic maa INTERVALS Ie may be necessary, at times, to analyze chord movements and patterns, using interval termino- logy. With this in mind, the student should acquaint himself thoroughly with the following facts | regarding intervals. There are several types of intervals. An interval is the measurement of the distance and quality be- tween any two notes, Intervals are usually measured from the bottom note, upward, ] The term distance refers co the exace number of "etter names" berween the ewo nots of the interval in question (counting the first letter as No. 1). Examples of such distances are: unison or prime, second, third, fourth, fifth, sixth, seventh, octave (not eighth), ninth, tenth, eleventh, twelveth, | and thirteenth. Figure 15 illustrates these distances from the starting note "B”: | Fig. 15 TT rr FF Tr Tr r Tr Unison Second ‘Third Fourth Fifth Sixth Seventh or Prime 4 oa ‘ + 5 = + = f | Si = a t r r r r r r Octave Ninth Tenth Eleventh Twelveth Thirteenth Intervals of an octave or less are called simple intervals. Intervals larger than an octave are called compound intervals. The term quality refers to the exact number of whole and half steps existing between the ewo nores of the interval in question, Examples of cerms relating to quality are: Major, Minor, Perfect, Aug- mented and Diminished. Therefore, all intervals can be named properly according to both distance and quality, Definitions of specific types of intervals will be stated in cerms of the relationship of the top note of he interval co the Major Scale of the bottom note. 5| $$$ “MAJOR” AND “PERFECT” INTERVALS The quality of an interval is called MAJOR when the top note may be found within the Major scale of the bottom note. Symbol “M” is for Major interval. The quality of an interval is called PERFECT when both notes of the interval are found in each others Major scale. Symbol * is for Perfect interval. Figure 16 illustrates the MAJOR and PER- FECT intervals formed using che staring cone “D”: Fig. 16 - - = 1 + { 7 z 7 a a ——— P Prime M2nd M3rd P4th P5ch M6th or Unison “MINOR” AND “DIMINISHED” INTERVALS ‘The quality of an interval is called MINOR if it is ¥3 step smaller than MAJOR. Symbol “m' is for MINOR interval The quality of an interval is called DIMINISHED if it is ¥2 step smaller than MINOR. Symbol “DY is for DIMINISHED interval.] ] ] All PERFECT intervals, when they are /% step smaller, are called DIMINISHED. Figure 17 illu- strates the more commonly used MINOR aod DIMINISHED intervals (using the starting cone "D"): Fig. 17 m2nd m3rd Désth 6th m7th D7 moth mi3ch Fut 04 SHIT AUGMENTED” INTERVALS The quality of an interval which is 2 sep larger than MAJOR or PERFECT is called AUG- MENTED. Symbol “A” is for AUGMENTED intervals. The most common AUGMENTED iater- vals are the: AUGMENTED FOURTH. AUGMENTED FIFTH, AUGMENTED NINTH and AUG- MENTED ELEVENTH. Figure 18 illuseeaces these intervals from the starting note "! Fig. 18 rit ale + ASth Adch Adth Allth Figure 19 is a reference chart which illusttates che more commonly used intervals from various starting notes.Figure 19 is a reference chart which illustrates the more commonly used intervals from various starting notes. %* —Double Sharp (Raises pitch 1 step) Fig. 19 bb —Double Flat (Lowers pitch 1 step) MZ m2 MB m3 4 Ae 75 AS 25 MLM13 dd 4 MT m7 a7 MA md Ag Fi B mb 49AM DOMINANT CHORDS AND RESPECTIVE “SCALES- Og bd ee i fea —= $e # pa 3°94 «5 o 7 6 4 382213 14k Oo Flat mixolydian mode is illustrated in cwo octaves. The numbers under each tone indicate the mn of that tone in this scale. Note chat beyond the first octave, tone No. 8, the tones have che same letter names and the numbers corresponding to these cones refer to the respective’ distances from the starting tone, No. 1. The following two chords, Dominant Seventh and Dominant Ninth Chord, will be formed by ap- plying a numerical formula co the B-Flat Mixolydian mode. The corresponding alphabetical symbols will also be indicated. By extracting tones No. 1-3-5-7 from the B-Flat Mixolydian mode, we arrive at the notes forming the B-Flar Dominant Seventh Chord (more commonly called the B-Flat Seventh Chord) Fr symbol: BD 7 Tones No. 1-3-5-7-9 of the B-Flac Mixolydian Mode form the B-Flat Dominant Ninth Chord (more commonly called the B-Flat Ninth Chord). Symbol: BD 9. 9 Alternate Symbol: BO 7 Alternate Symbol: BD 72) 50The student must remember to relate each mixolydian mode to its parent key before attempting t apply the numerical formulas for the formation of dominant seventh and ninth chords and before attempting to play the “scale” (mixolydian mode) of the cwo chords just mentioned. Nore that the same scale is used for dominant seventh and dominant ninth chords having the same roor. Figure 20 is a chart which shows all dominant seventh chords and respective parent keys. Fig. 20 CHORD PARENT KEY — SCALE OF CHORD a F Major Mixolydian mode starting on C ~ 7 Bb Major Mixolydian mode starting on F BoT7 ED Major Mixolydian mode stacting on BP EDT ‘AD Major Mixolydian mode starting on ED ADT DP? Major Mixolydian mode starting on AD “pe 7 1, o { G? Major Mixolydian mode starting on DP chr) | B® Major Mixolydian mode starting on C $ @ a » { Cb Major Mixolydian mode starting on G 0 Fe7f” |B Major Mixolydian mode starting on F 4 a E Major Mixolydian mode starting on B E7 A Major Mixolydian mode starting on E AT D Major " Mixolydian mode starting on A D7 G Major Mixolydian mode starting on D ~ G7 = C Major Mixolydian mode starting on G Enharmonic Chords sound che same, but are spelled differently. Enharmonic Keys sound the same, but are spelled differently. 51ssi eee mmmmmemrmmmmmmmmecene aU. Figure 21 is a chord tone chart based on the mixolydian modes of chord roots. t Fig. 21 13th A D G C F Bb EP Gi Ce FF B CE th F Bo Eb a> D> G> Ch E A D G C oh D G CF Bb ED Ab C} FF BE A 7h BD EP Ab D> Gb Ch Fb A D G C F bh~0CUG:)6SCC.CFSC«é&®Y SED «A> Db FF BE A OD od E A D G C F_ 3B Di Gi G FF B > = , oor) © F BY E? a> D? GP BOE A D. G This chord tone chart organizes the tones of all Mixolydian Modes in the order needed for the cor struction of Dominant Seventh and Dominant Ninth Chords. Reading up from the chord root « i (also indicated as tone No. 1), we see the tones: C, E, G, B-Flat. D, F, A. which are all the notes i the C Mixolydian Mode. Note thar che ninth, eleventh, and thirteenth are also the second, fourt and sixth tones respectively, as they are the same letter names. In preparation for the following patterns, be able to recite, write and play the following chords they are extracted from every Mixolydian Mode: Dominant Seventh Chords and Dominant Nint Chords. Use the illustrated routine form for playing chord tones. It does not require any specif rhythm or cempo. ROUTINE FORM | $07 ang ‘The following patterns begin with Dominant Seventh Chords. Note the alphabetical symbols an metronome markings. 524s 100-132 eh Aa hn An e Brg=B0-/Z0 Nove: Theee beats per measure. be Eo fo BE 7 rs thay Ah DOr nS 1th An chy On A 34ty Th th (ascending) (descending) (ascending) (descending) — continue in same manner Na My Be By bh dx ype.8t — th be In Eo 1 ch On Un dla EEE EEE EEE EEE TPPY + i Practice Pattern No. 91 by reversing the chord wone direction: descending, ascending. 4 00-/38 Note: Each chord lasts ewo beats. ¢ Mh, 8 fx Er Fb Gy Ah Ay Oh Bo Gr } 92 (ascending )(descending )(ascending)( descending) (continue in same manner) We bo Nb br ch, c & Eh Dn Dy Cn ¢# t i + + i {ascending) (descending) Practice Pattern No. 92 reversing direction of the chord tones: descending, ascending. 55aA a ima j : | ‘ J= Mo=13B Nove: Each chord lasts owo beats, dr, Fx _, Ba Shy Nor Ob, th Or fo By Do bo lr oS ae aera seer Tae erase ae (descending) (ascending) (continue in same manner) Practice Pattern No. 93 reversing the direction of chord tones: ascending, descending. J O 120-8 Nowe: Fach chord lasts ewo bests and che pattern starts on the 3rd of the chord. Cr thee, Bh bey Ee Aly OF wget ie Beatty EL PUSS 407 exe. (Arabic numbers indicate the position of respective chord cones for use in this pattern.) Qn $1 fo Ae Or bn Lr = = = — SS] (continue in same manner) 56J=M08-/EZ. Nowe: Two measures per chord, ending on the third of the chord. y ~~ Fe ry bt ; ie == === ae ~—f. = $ 95; ay m—e & £4 J=BO-/ZO Nove: Three beats per chord. 04 + ce, 96 Am 8g 9 BG© MAN (Arabic numbers indicate the position of respective chord cones for use in this pattern.) j-86-1a2 Note: Each chord lasts ewo measures. => 0 orig = ae See 04 FA he tee > anar” a s => tet = 4 S135 535 797 479-753 = 4 a c cha = Fg —TTE 4 et oe Ligt 2 $4 t £ EF == —— t - Se i t Bi £4 é4 eta 4 YLT Practice Pattern No. 97 with the chords in Pattern No. 95.wows j= (80-108 a Each chord lasts two beats. eb. 7 C4 jie ty, BY oot oh, ty 1 nag ee fare t 354 53i07 a 7 . GM Bey i (continue in same manner) We have been practicing patterns on the cwo types of dominant chords, formed by extracting their respective tones from the mixolydian mode of the chord root. Now we will concern ourselves with various patterns on the scale (mixolydian mode) of the chord. You will notice that the chord symbols for the following patterns will be those of the dominant seventh. However, the student must bear in mind that the dominant seventh and dominane ninth chords use the same basic scale: a mixolydian mode on the chord root. The use of the dominant seventh chord symbol in the follow- ing patterns is merely for convenience, since it would be impossible to determine exactly which chord is being used when the scale is common to both of the chords mentioned. fe NL-162 é. Fs or 7 oh 99 f +H te + pee at zi C Mixolydian Mode F Mixolydian Mode ef As Wn gh 35— Arm... C Mixolydian D-Flat Mixolydian D Mixolydian (ascending) (descending) (ascending) El cs c. on b1 An An Ba Be FE E-Flat Mixolydian (continue in same manner) (descending ) ; & + bet Lele, ea P pl As Ab. ae Hf i eds (ascending (descending) (ascending) (descending) ee (continue in same manner) Practice Partern No. 100 by reversing scale directions: ie., descending, ascending. 60There are several patterns in the major chord section that can also be used for dominant chords hav- ing the same roots. Some of these major chard patterns can be used withour the student's having to change any of the pitches. The reason for this is due to the repetition of like tones in a Major scale and in a Mixolydian mode having the same starting tone. For example, the tones in a C Major scale are: C, D, E, F, G, A, B, C; the tones in a C Mixolydian mode are: C. D, E, F, G, A, B-Flat, C. The student should observe thar the difference in the two scales lies berween two tones: the B of the C Major scale and the B-Flat of the C Mixplydian mode. Consequently, any of the major chord patterns thar do not use the note B can also be used for a dominant type chord which has the root of C, The following is a list of such patterns which fit the preceeding description: Patterns No. 44- 59. The student should be sure that he recognizes the double value of these patterns and not hesitate to make a special effort to review them. There are still more patterns in the major chord section that can be used for dominant chords having the same root, but some of the pitches will have to be altered. This can be done by using a mixo- lydian mode scarting on the same tone as the illustrated major chord pattern. For example, pattern No. 60 is a major chord pattern based on the C Major scale. To use this pattern for a dominant chord having the root C, the student must use in place of the C Major scale a C Mixolydian mode. This will automatically provide the tone B-Flat, which is necessary for any dominant type chord having the root C. After having practiced Pactern No. 60 in this manner. the student can use it for a C7 oF C9 chord. The student should then proceed, in the manner described. to transpose Pattern No. 60 using any remaining Mixolydian modes in preparation for the use of the same pattern on a dominant type chord with ANY scarting cone as its root. Patterns No. 61.67 and No. 79-86, located in the major chord section, can also be converted for use with dominant type chords having the same| roots as the illustrated major patterns. Use the same technique as stated for the conversion of Pattern No. 60. Be sure co make all transpositions using the proper Mixolydian modes. By doing so, you will increase the number of usable patterns for domin- ant type chords. 61, ‘a ae MINOR CHORDS AND RESPECTIVE “SCALES” 423 4685 6 78 6 pute Bw | The B Dorian Mode is illustrated) in wo octaves. The numbers under each tone indicate the positio ‘of thar cone in this scale, Note that beyond the first octave. tone No. 8, the tones have the san letter names and the numbers corresponding to these tones refer 10 the respective distances from th starting tone, No. 1. ‘The following four chords: Minor Triad, Minor Sixth Chord, Minor Seventh Chord and Minor Ninti Chord will be formed by applying a numerical formula co the B Dorian Mode. The correspondin; | alphabetical symbols will also be indicated. | By extracting the tones No. 1-3-5 from the B Dorian Mode, we arrive ac the notes forming the Minor Triad. Tr Symbol: Bm Alternace Symbol: B- Tones No. 1-3-5-6 of the B Dorian Mode form the B Minor Sixth Chord. Symbol: Bm6 Alternate Symbol: B-6 62Tones No. 1-3 of the B Dorian Mode form the B Minor Seventh Chord. Tr f Symbol: Bm? Alternate Symbol: B-7 Tones No. 1-3-5-7-9 of the B Dorian Mode form the B Minor Ninth Chord. Symbol: Bm9 9 Alternate Symbol: Bm7 ” Alternate Symbol: Bm7 Nore thar all four chords contain the same ¢riad, B, D, F-Sharp; and all four chords use the same basic scale, the B Dorian Mode, to establish their sound. The student must remember to relate each Dorian Mode co its parent key before attempting to ap- ply the numerical formulas for the formation of che four types of minor chords and before attempting 0 play the scale (dorian mode) of these chords. Figure 22 is a chart which shows all minor seventh chords and respective parent keys. 63_———— Fig. 22 CHORD PARENT KEY SCALE OF CHORD | cm? BD Major Dorian Mode starting on C Em7 __|__ED Major Dorian Mode starting on F BD m7 | A> Mpior Dorian Mode starting on BD E> m7 D> Major Dorian Mode starting on E 2 Avm? G? Major Dorian Mode starting on A? Db m7 iE 2 Major Dorian Mode starting on D9 | C§ m7 B Major (Dorian Mode starting on C 3 Fg m7 E Major |__Dorian Mode starting on F $ Bu? A Major Dorian Mode starting on B Em7 D Major Dorian Mode starting on E Am7 G Major Dorian Mode starting on A Dm? |_¢ Major | Dorian Mode starting on D Gm7 | Major Dorian Mode starting on G Fig. 23 Figure 23 is a chord tone chart based oh the dorian modes of chord roots. ba | A|D|G|C|F | B?| Di] Gi] cH] Fel BE um | F | Bol EP] Ab] Dp] Gbi BE |a|pdD|Gi|c on |D|G|c|F | B>| £>| ct] ce] Fel BLE | aA za | Be] Eb] P| Do) @l cle lalp| e[c]Fr (sa | @ [cl] F | Bb] e>| a>] c?] F2?] B] E | al D [aca B| a>| Dbl Go| co] Fo] a| D| G| c| F | Bb incon | CLF | B| EP) ae) De) FFP BY E| AT D |GThis chord tone chart organizes the tones of all Dorian Modes in the order . 2ded for the construc- ion of the four types of Minor Chords. Reading up from the chord root C (also indicated as tone No. - 1), we see the tones C, E-Flat, G, B-Flat, D, F, A, which are all the notes in the C Dorian Mode. Note chat the ninth, eleventh, and thirteenth are also the second, fourth and sixth tones respectively, as ] they are the same letter names. In preparation for the subsequent patterns, he able to recite, write and play the following chords as J] they are extracted from every Dorian Mode} Minor Triads, Minor Sixth Chords, Minor Seventh 4 Chords and Minor Ninth Chords. Use the illustrated routine form for playing the chord tones. It does not require any specific rhythm or tempo. A | . ROUTINE FORM ! Bm Bm @ Bru 2 : Tr a 7 FT rT This note added to fill out the chord. 5 It does not change the sound of the chord. Baw 4 Tr Tt 65101 The following patterns begin with Minor Triads, Note che alphabetical symbols and the metronom markings. j= (00-182 Lim Dm Cam Chan Nw Bw Chan lm 8 Ble i Nw Em Om 66Cm Chm Dre Elm me Eo Cha Gone Abn Aw Bon Bun GY aN Ba = Yn Aw Non Ome Coe - er me Elm Daw om ae J=MG0-2OZB Nore: Each chord lasts two measures. 7 Cm & [Lm © on Che 6 03 5 ee =—— Ams Om b Mw 6 bm b Dna 6 In Ohm b Cm bmJ-§l -208 lm b Lhn b Dm o Sn Em b 104 Em © Fh bm & Nm b Am Bm 6 Bm bo ee ; £ Ome AN { { i at + bm By 'o Dm Alm bb bm SS i EEE Ei chino Cm 6 Emo Elmo Dm Chuo Cm FIBE-/4E , Cm 7 te z Dm 7 ohn? 105; ee oa 7 ee ee ee ee be Bt Bow 2 — Ame 7 Mw 7 bm 7 Ch 7 Em 7 Em 7 Elm 7 Dim Chew lim 9 68|=60-/20 Cm 7 Oma Em 7 hme Met 106 Wm 75> pha Bur A Chas Em? Dw? One 9 the 7 Elm 7 Cow? Lm bm Bow 7 Bw 7 Aw bmn faa 7 Elm Che + o| j=l0o-le0 Ln 7 Low 2 Elan 7 Em 7 Fw 7 Von 7 107 (ascending) (descending) (ascending (descending) (ascending) (descending i 7 Bn 7 hw 7 7 Fhom 7 Gm 7 Mw Bm 7 Bn 7 fom © 1 Whe & : Z i TTA wate t i + + TE f (ascending) (descending) | | Bin 7 Am 7 Alm 7 om Fhe? Fem 7 i Em 7 Elen 7 Dom 7 Ctom 7 Cie 7 Practice Pattern No. 107 reversing | direction of chord tones: desceading, ascending, etc. 70d= 00-/o0 Cm 7 m7 Em Eh 7 Abn 2 Bln 7 (ascending) (descending) (ascending) (descending) y lm, ptt 7, Mm 7 tm 7 Em Dm Son 1 el ELLEE: Ha (ascending) (descending) (ascending) (descending) Ew 7 Ebn7 F- Lh . i ra we ey $4 Om Am 7 tr? by t ne Era 7 Sn fee t it ¥ Practice Pattern No. 108 by reversing che direction of the chord tones: descending, ascending, etc.Pe B0-/Z0 Nore: Each chord lasts two beats. ' oe Ba? Mn Et Em Ea 7 lon Gm Ml? Bont Bl Bn nb f Z es i ° (descending) (ascending) (continue in same manner) | Lm , Bn? 1 nll Gon? lov 7 Fw Le Dus (1 t Deel ret: Bn intl Sn Flat m1 Em? Eh hen os : : (descending) (ascending) Practice Pattern No. 109 reversing the direction of che chord tones: ascending, descending, etc. |-80-/20 { p Cm Bhs bn on Dee? Emm Fmt Nm 1 Bt htt 110 ' + (ascending) (descending) (continue in same manner) Dyn Mm 2 Eb Em 7 Om7 Cams dn 7 frm Gm | f | Ger Bet Ant Lent Lim hw Lbm 7 Practice Pattern No. 110 reversing the direction of the chord tones: descending, ascending, etc. | 2Ww F (08-/S2Z, Nore: Each chord lasts two measures, ending on 3rd of the chord. Sm 9 1 Dm 4 Eom 4 Cho Abn 4 Bm 4 Bm 4 hm Em — Lond i MELE TF AS =i Chm 7 a oon 0 = aor = Elm t g = ——— : a Em 4 - Gm 4 Am 4 Bm 4 (SPIE il EEE rE ie glint ete” 2p tn akan poe Seen Am Gm 4 Em 4 Elm 4 _ Chm 4 i Fb ioe PELE PEEL HeNote: Three beats per measure 43 80~/ZO ly i - Eom 4 | aera t t ; + Nom 4 Bod — Dw 4 Bom 4 Ubon 4 Em 1 — Syme 4 4 } =G8=-/ZO Nore: Each chord lasts cwo measures { i ae Ci 4 | Com 4 oo cn Olew 4 113 — crea ae | ae Dm Elm 4 Ew 4 Em? hn wd tee i Mn? — Dd ww ay Gt ap ep rg terete oe We) ad Amd — Mn ad Ce 4 EA clon thn Coed Dm 4 74] ‘We have been practicing patterns on the four related types of minor chords, formed by extracting their respective tones from the dorian mote of the chord root. Now we will concern ourselves with 7 various patteras on the scale (dorian mode) itself. You will notice that the chord symbols for the following patterns will be that of the mingr seventh, However, the student must bear in mind that the minor triad, m6, m7 and m9 chords all use the same basic scale: a dorian mode on the chord root. For example, a Cm, Cm6, Cm7 and Cm9 will all share the C dorian mode. The use of the 7] minor seventh chord symbol is merely for convenience, since it would be impossible to determine exactly which chord is being used when the scale is common to all chords mentioned. jl 62 y D be Lm i ue om a — o- * 114: t C Dorian aoe D Dorian Mode Em? Chm Aw Bor Cm But ie GATE G i eercas sa An ho? Ew Dnt eta )=G0-/B8 Lm 7 Pm 7 Eh Amt Com 15 + Ne 7 Born 9 Demet Bm 7 bm 9 Emm? Cow 7 L C — t t Practice Pattern No. 115 with all descending scales. J- 4-138 1 cnz 116 ; co (ascending) (descending) Cm 7 Eh? Game Noon 2 Bem? — Wn 1 “Bre 7 PEPE PEE 1 LI Aunt Gam? y ly epiet Sly! fla far ~ eg SS 7 (ascending) (descending) (continue in same manner) bent Cea ome Dm 7 Dw 7 thm? Lom 7 Practice Pattern No. 116 by reversing direction of scales: descending, ascending. 76This pattern utilizes che fragment 1-2-3-5 from the respective chord scales. J=/00-1GO Nore: To be used for any| minor chord. Om 7 Bz Dm 7 fn 7 Emm Eom 117 : "424355 '923 6 ee Oe ee Oe i . i — Bm 7 Bln 7 Som 7 Mm 7 Com 7 Lim 7 = f eS ere Cm 7 Em 7 Elm 7 Om7 C : > 1 + tt ee ae oe Apply the scale Fragment 5-3-2-1 to the chords in Pattern No. 115, using quarter notes. 2jobn Coltrane, "Giant Steps," on Giant Steps (Aclagtic $-1311), John Coltrane Quarcet.This pattern utilizes alternating fragments $-3-2-I and 1-2-3-5 from respective chord scales as ilh | trated. | j= YE-/ZO Nore: Each chord lasts two beats. \ Z ims Lbme Dm? bn Em 7 fom The df | Tppee a, wa ——# Nom 2 Lom? Bb 7 Bom 7 Cm? Bm Bm Law | Crs siete E # 118 E I / i Lom 7 Coma bon 1m? Een 2 bow Dom 7 Ubon Come 9 ES = =F = Practice the chords in Partern Nd. 118 by reversing the order of the fragments: 1-2-3-5, 5-3+2-1. G2-/ZO Note: Each chord lasts two beats. oe > Bmw 7 Mat Fb 9 Em? Qn Cor > wok ithe Cig RislecS = eth =] 4 /@ZO Note: Each chord lasts ewo beats. l Amt Gow? Eom? Elm? Bont + z — = : = Bee ie | this pattern utilizes che fragment 1-3-5-3 from the respective chord scales, | }=GE-ZOE Note: Each chord lasts ope measure ! A by H Com 7 Fam 7, ot Ebon 9 Abn 7 Cham 7 | Tass £353 Ele Bem 2 Emo Amt Dom 7 Gm7 Low? : a= ae f 4 SS t i at Je Mer-l60 Note: Each chord lasts ewo beats. 7 Da rom 7 Em? Fame 7 F hofiee 122 He steasteraa ae ong Bow Aa 2 i St —s Lon 7m 7 Show 7 Lv 1 Erm 1 Ebr 9 Cyn ou 2 Lm 7 = = r =: t | Oliver Nelson, "Butch and Butch," on The Blues And The Abstract Truth (Impalse S-5), Oliver Nelson Group. 79Pattern No. 60 was first introduced in the major chord section, We later converted this pattern for use with dominant type chords having the same root. It is possible to convert this pattern once again, for use with minor chords having the same root. To use this pattern for minor chords having the same root, the student must apply the C Dorian mode in place of the C Major scale (as illustrated in Pattern No. 60). This will automatically provide the tones E-Flat and B-Flat, which are necessary in playing scale-type patterns for any of the minor chords having the root C. After having practiced Pattern No. 60 using the C Dorian mode in place of the C Major scale, the student can use it for Cm, Cm6, Cm7 or Cm9. The student should then proceed, as described, to transpose Pattern No. 60 using any remaining dorian modes in preparation for the use of this same pattern on ANY minor type chord with ANY starting cone as its root. Using the same technique as stated for the conversion of Pattern No. 60 to minor chords, the student can convert Patterns No. 61-67 and Patterns No. 79-86 for use with minor chords having the same root. Be sure to make all transpositions using the proper Dorian modes. In doing so, you will in- crease the number of usable patterns for minor chords. 80—— HARMONIC FUNCTIONS OF MAJOR, DOMINANT AND MINOR SEVENTH CHORDS In order to establish the basic functions of Major,"Dominant and Minor Seventh chords we will cefer, once again, to seventh chords built on tones of a Major scale. Figure 24 illustrates the seventh chords formed on the tones of the B-Flat Major Scale. Fig. 24 Oh bet Omer | Eh & ‘ ‘ T IM7 m7 Illm7 IvM7 VT Vim7 vug7 (half-diminished seventh) The seventh chord chat is formed on the VIlth scale cone is correctly labeled, although it has nox been discussed at this poinc. The detailed analysis of the seventh chords in figure 24 will produce the same results in ANY major key. In the key of B-Flat Major, seventh chords formed on tones I and IV are Major Seventh chords. In the same key, seventh chords formed on tones II, [II and VI are Minor Seventh chords. Seventh chords formed on tones V and VIL are Dominant and Half-Diminished, respectively. ‘The use of the Roman Numeral system for the naming of chords which are formed in a particular key is not new. The manner in which it is used, However, (in figure 24) is often subject to much contro- versy by music theorists. The authors feel that the use of the Roman Numeral system as illustrated in figure 24 will suffice the needs of this book. 81From the analysis of seventh chords in the key of B-flat Major we can conclude that: 1, Major Seventh Chords may belong to two possible keys: functioning as IM7 in one key and IVM7 in another. 2. Minor Seventh Chords may belong to three possible keys: functioning as IIm7 in one key, 11m? in another key, and Vim7 in another. 3. Dominant Sevench Chords may belong co ONE key: functioning as the V7. 4, Half-diminished Seventh Chards may belong co ONE key: functioning as the VIlo7. ‘These conclusions will ALWAYS be true in ANY major key. The following illustration uses specific chord names to reinforce the above conclusions: Beflat M7 could function as the IM7 in the key of B-flar Major, or as che IVM7 in the key of F Major. Cm7 could function as Hm7 in B-flat Major, Ilm7 in A-flac Major, and VIm7 in E-flat Major, Dm? could function as [m7 in G Major, I1Im7 in B-flat Major, and VIm7 in F Major. E.flac M7 could function as IM7 in E-flat Major, and 1VM7 in B-flat Major. 7 functions ONLY as the V7 in B-flat Major. Gm7 could function as [m7 in F Major, [m7 in E-flat Major, and Vim7 in B-flat Major. A Half-diminished 7 functions ONLY as the VII Half-diminished 7 in B-flat Major. We can state in general terms chat, ip most instances, the M7 chord is likely co function as IM7 rather than IVM?. Also the m7 chord functions more commonly as a IIm7 than as a IIIm7 or VIm7. The studene should note here thac the blanketing of the functions of the M7 and the m7 chords is stated for the sole purpose of establishing the most common functions of these cwo types of seventh chords, and not to exclude the possibilities of their functioning as previously described. If we were to examine any piece of sheet music co a standard or pop tune, it would probably con. tain alphabetical chord symbols just above the melody. If we check rhe very last chord, it will be a Major chord built on the same root as indicated by the Rey signature shown at the very beginning of the piece (assuming that the cung we are dealing with is written in a major key). Thus, this M7 (which could also be a M6 or M Triad, in which cases the function would be the same) is function- ing as a IM7. If we would check the chords prior to this one, we would probably find (two or pos- sibly four beats prior co the M7) a Dominant Seventh chord which would be a V7 chord of the same key. Usually there will be a m7 chotd, just before the Dominant Seventh previously mentioned, which will belong Major Bo m7 E?7 ‘AD M7 Do Major E?m7 A?7 D?M7 G? Major A? m7 D7 G>M7 B Major Cim7 FR7 BM7 E Major ‘¢m7 B7 —EM7 _A Major Bm7 E7 AM7 | __D Major Em7 AZ DM7 G Major Am7 D7 GM7 An exh study of the II-V progression appears in David Baker’s book of patterns, Developing Impro- visational Facility—The U-V Progression (Libertyville, Illinois: National Education Services, 1968) ‘83———_—_—— The following is a standard chord! progression, Note that all Im7-V7 and [m7-V7-IM7 occurrences have been bracketed and their keys indicated below them. fee” Be7 EM? |B [Ep? B7 EME? P B7\Gm7 ae Bo7 [Pam, Fr : (£59 [B? m7 Br7iBh) PMT B27 EPP (En? 3 Fy [Bey M7, |S By] Ab: (Abd (Bod |” By? [eo |Fn? 3 Bby Pain? BY G7 ER? Be 7E>Mo c | ey Pr? [PMs | The sheet music to this particular tune is written in the key of E-flat Major. However, the illus trated chord progression points out modulations to four other keys, though the sheet music re mains in the Key signarure of E-fat Major throughout. The ability of the student to recognize pos. sible modulations is dependent upon che mastery of the chart shown in figure 27. ‘A musician who can read accurately in groups of noves, rather than just a few aca time, will develop good reading habits and greatly improve sight reading. In the same manner, an improviser who cia read groups of chords chat are related co each other, rather than improvisiag on one chord at a time. will also be developing good reading habits which consequently allow for more spontaneity in playing. Because of the frequent occurrences of the Im7-V7 and [1m7-V7. series of paccerns will deal exclusively with this progression. IM7 chord progressions, the next } The 1Im7-V7 progression will usually be found in one or two measures: {1im7 v7! (or) Mim? | V7 | SLOSS YSLALLSS | The Um7-V7-IM? progression will wgually be found in two or four measures: jUm7 V7 | IM7 | (or) | Mim} V7 | IMT | IMT | |\7/ 77 \//77 | MINNIE TT ( | 84Patterns using [m7-V7 Progression (one measure) : This pattern uses the scale of the m7 chord in one complete octave, in the ascending form. J=40-138 Som ao Blur EZ b 123 ' G@dacean px Tus vay (Continue in same manner) Unt Fh Sant Ar Com Fe El? Ady Fhe Ba Amt Dex Font Bho Mm? Dba Bont Er Dm7 bo i + E t + Practice Pattern No, 123, using descending forms of the illustrated scales throughout. 85| pnnnneeeenennnneemeeeeneeeenses Im7-V7 Progression (one measur) : This partern is based on the m7th scale. Arabic numbers indicate the succession of tones, from th, m7 scale, necessary to complete this pattern with remaining IIm7-V7 (one measure) progressions ir all keys. \ QB) pH ko-100 Z Con7 b> Dnz7 _& Em As Fhe 82 124, 1524 3546 Nw Dr Blu Eta oe as , + = Bn Ebr bmd Dh Chit Ba Em Ao Dom? 7 C7 Er Bout fh Ehat My ae a T Lim? Bh Gon? fo A Am? vt 8 Bat éa ¢ t t ‘— a t Bn? Ex Llomt Dr unary Fin? BO Ewe ey Choe hy t t 240n almost all albums prior to 1960, John Coltrane uses chromatic neighbor rones as embellishments 00 Towest cones of a phrase. 86en eee Um7-V7 Progression (one measure) : This pattern is based on the fragments 1-2-3-5 of EACH chard scale. = /Zb-/60 in? 5 a Dm? Gor hy 125 t 4255 L255 “14255 423 5 (Continue in same manner) as She Ewe Ba Fmt Be Phat B2 Gon 1 My? Oy bn Or Bir Pr Zp pt But Eo Brit Br do D> Mm Dr t t == Let Cn ht Bo baer Bo Emer bn Sot Bl Deir Eby Eb Ct 25Joha Coltrane, “Giant Steps,” on Giant Steps (Adantic $-1311), John Coltrane Quarter, 87—<$$— Im7-V7-IM7 Progression (one measure) : This Pattern is based on chord tones of the respective chords shown. Arabic aumbers indicate succession of cones from each chord, necessary co complete this pattern in al! keys. Tim7-V7 Progression (one measure): Fone, Bt Boat Ely Elo? Al M7 D; tr 2 F- t t t t z 1557 & i IIm7-V7 Progression (one measure): This pattern is based on two sets of fragments which are to be extracted from the scales of the ill trated chords. The fragment 3-4-5-7 is to be extracted from the scale of the minor 7th chord, 2 the fragment 3-4-5-1 is to be extracted from the scale of the dominant seventh chord. Practice P: tern No, 127 with the chords in Patterns No. 123-126. (0B 1F8 bono -. Pa S457 3454 po j 26See the Thelonius Monk composition "Round Midnight." This fragment occurs in che chicd and feb sures of the tune 88$$$ This pattern uses fragment 5-6-7-9 from the scale of the minor seventh chord, and fragment 5-3-2-1 a scale of the dominane seventh chord. Practice Pattern No. 128 with the chords in Paceras J 08-136 Ln Fo z 128: 56749 F5o24 This pattern uses fragment 5-3-2-1 from the scale of the minor seventh chord, and fragment 1-2-3-5 {rom the scale of the dominant seventh chord, Practice Partern No. 129 with the ebords in Patterns No. 123-126. 08-128 129 oot 5S 3224 L12a85 This pattern uses fragment 1-2-4-3 of the scale of the minor seventh chord, and fragment 2-4-3-1 from the scale of the dominant seventh chord. Practice Partera No. 130 with the chords in Patterns No. 123-126. )= 0-/BZ ’ ea q awe q ont _ 4] ra | + Aa) 7 41243 2434 A & ‘This pattern uses the fragment 2-3-2-1 from che scale of the minor seventh chord, and the fragment 1-6 from the scale of the dominant seventh chord. Practice Pattern No. 131 with the chords in Pac terns No. 123-126. 12 e-loo owt a poe 131 89This pattern uses the fragment 4{3-5-7 (note the interval between tones 3 and 5) from the scale of th minor seventh chord, and fragment 6-5 from the scale of the dominant seventh chord. Practice Pa | tern No, 132 using the chords ih Patterns No. 123-126, [= (086-164 f a ( | amit 132 \O 4357 os Oo mG: ‘This pattern uses fragment 3-5-7-8 from the scale of the minor seventh chord, and fragment 3- from the scale of the dominant seventh chord. Practice Pattern No, 133 using che chords in Paccert No. 123-126. je 120-162 bo 7 133 : ur 25 78 a4 l we - This pattern uses the fragment 2-sharp7-1-4 (note that the sharp 7 means to raise the 7th tone ot half step) from the scale of the minor seventh chord, and cone 6 from the scale of the domina seventh chord. Practice Patcern No. 134 using the chords in Patterns No. 123-126. Im7-V7 Progressions (one measure) : wr’ ger Patterns No. 135-138 will deal with the [m7-V7-IM7 progression in two measures, Rather than it troducing new patterns, we will use four of che patterns previousiy discussed with che IIm7-V7 pr’ gression and extend them co the IM7. ‘The student can then apply any of the remaining Im7-¥ (one measure) progressions co the chords in Patterns No. 135-138, and experiment with extendit chem to the IM7 chord. 90eae S Ilm7-V7-IM7 Progression (two measures) : j= (82-208 Ps , Lm? #9 , NZ. lb F#2 BM7 = = pe si ae qa Pee Dn G2 0M7 brn A DI? Emr te ONT Fmt Br lng —T C t t i t Fh? Bo EMT nt Cn EMT Mow Dy BINT Amir Da OM7 c + ; t | et Boy7 Bb AMT Bont Eo AMT Cont Fr OMT Bon? BAM? — t ‘Bont Ehy_Atwit Amit Do G7 Abert Dr Git Ser ly EMT ESE EE ee ze Phat Bo EMT Emit Bly EIM7 Emr Ax DHT Blast Dr DOT z: EEE EEE D2 or (M7 bw Eee BMT Om7 9 BM =—— = ——a S| { E t 1Iim7-V7-IM7 Progression (two measures) : & J BE-208 1, Ga? o> CNT Dm? G2 CMT 136 —— eS = rg Re ge Em7 to OMT Fhma 2 EMT Alla? Dlr GMT Bla? Ely ADM : pees cout E i t t r. - iF i ln, 4 Em? Ey BM Bhong Eby MMT Mbit hn GMT Fm Bo Te EE PEPE A her J Em7 Ag IMT Dent bo (M1 Cmte BINT hn? Fr M7 a ee ee, ee : poss iit m7 7 AMT Lint A Fla BMT Bn £7 _AMT Amit Dy GMT a : 92cl {[m7-V7-IM7 Progression (two measures): }=/32-208 | Gmz, (7 EM7 Cm? Fa BMT 137 5 4 YS | Em Br Ein Bt Ebr AMT My Db | i =o =a i ' by, } { Mot Dy SINT Gem Eh BMT Sh? Bo EMT fe == r — T + Brit Ex AMT Emm? Ay DMT Amit Dr GMT Omit 7 CMT 1 } # f é - ptt dl 1lm7-V7-IM7 Progression (two measures) : (-8-(7é 1 on jz, Bm Dm Abn ‘Dima 138, chet Bo EMT Am? D> GMT Dm Go (M7 Cnt Br IMT Am? Db GOM7 Bm? Ey AMT t a Batty Dr Grr €m2 Barly AP, Chaat amr LAL LPL ALL AP LAE PEA 93i Sch re rpeaemeeemmeenaaes This pattern uses the scales of the illustrated chords, ascending the scale of che minor seventh chord and descending the scale of the dominanc seventh chord. Im7-V7 Progression (two measures) : (BL-208 pon eet mE poe + SS F Mixolydian Mode (descending) 139; C Dorian Mode (ascending) Practice Patcera No. 139 in che following manner: Descending scale of m7 chord—ascending scale of the dominant 7 chord; Ascending scale of m7 chord—ascending scale of the dominant 7 chord; Descending scale of m7 chord—descending scale of che dominant 7 chord. 94aa This pattern uses the scale of the minor seventh chord (in 3eds) which is continued for cwo meas- ures, using eighth notes. In this manner, it ends on the seventh tone of the dominant seventh chord, as illustrated. The pattern fics both chords because chey both have the same parent key. Consequently, che accidentals in their respegtive scales are the same. Also, the sequence of pitches in 1e measure containing the dominant seventh chord establishes the sonority of that chord. Um7-V7 Progression (cwo measures): Ab fl bet Oy Amt Da Gmet En Mint tr _ Bm? Eo EEE PTE bor De Gent ln Lm? Bln Elon? Ny _ ther to i i z a E vm — I are 95TEE Hl ‘This pattern uses the fragments 1-2-3-4 5-3-2-1 from the scale of the minor seventh chord, and frag- ments 1-2-3-4 5-3-2-1 from the scale of the dominant seventh chord. Unm7-V7 Progression (two measures) : j-(B2-208 Laz E> fr hed? Shoe? Dnt br Dnt Dor 141 Em? Av Gomit Bir Ch? 1 Gentry Nw Oh Am? Dn Bint Gn bin Bo Coney, Py ge Bar E2 Wun nr Ant Dr _—sNbnet Dh Gm Cr Eh? Br Em? mt Ae 96ee | This paccern is based on che scale of the minor seventh chord. It is made up of repeated tones: 1-2-1-2 3-4-3-4 5-6-5-6 7-8-7-8 of the minor seventh chord. Used in this manner, these tones also fit the dominant seventh chord because both chords use the same “parent” scale. Ilm7-V7 Progression (two measures) : 42160-2208 Z nT fa Cn? Bba Dr cee eae aeee aa aaa = eOE . Bb? — Eb Elbit? Abn — Dm? Dlr be SE EEE EES Fim? (87 Bam Ea Et Ar Am? Do Lm7-V7 Progressigns (two measures) ‘This pattern uses the fragments 3-4-5-7 9-10-9-8 from che scale of the minor seventh chord, and frag- ment 1-2-6-5 (note the interval becween the tones 2 and 6) from che scale of the dominant seventh chord. d= h-68 m7 4 vas Se Ls a 3457 9046 1205 Practice Pattern Nu. 143 using the chords in Patterns No. 139-142. = 7$$ $$$ This pattern uses the fragments 5-7-5-9 8-7-5 from the scale of the minor seventh chord, and frag- ment 3-5-2-1 from the scale of the dominant seventh chord. Practice Pattern No. 144 using chords in Patterns No. 139-142. (Venlo (Or 7 F3, 1442 ie SS S759 675 3522 This pattern is based on a rhythmical version (in two measures) of the scale of the minor seventh chord. In this manner it also sounds for the dominant seventh chord. Practice Pattern No. 145 using the chords in Patterns No, 139-142, = 40-208 This pattern uses the fragment 7-9-8.6 5-7-6-4 from the scale of the minor seventh chord, and frag- ment 7-2-4-6-5 from the scale of the dominant seventh chord. Practice Pattern No. 146 using the chords in Patterns No. 139-142. 2 (04-1 GZ Con Zam 7 146; 7986 F764 72465 98] Patterns No. 147-148 will deal with the Hm7-V7-IM7 progression in four measures. Rather than | introducing new patterns, we will use two of the patterns previously discussed with the Iim7-V7 Progression (wo measures) and extend them to the IM7. The seudent can then apply any of the remaining Hm7-V7 (two measures) progtessions to the chords in Patterns No. 147 and 148 and experiment with extending them to the IMT chord. j=(€2-/68 1im7-V7-IM7 Progression (four measures) : GUT Dt br M7 Sat El Aner Dh GhMr Bm7 En Ma Em Aa Mn m1 C1 FMa Blut by Abra Chm? Fas BM1 m7 99eg I1m7-V7-IM7 Progression (four measures) : { | )=/f0-100 / en iy Mie Ea : 148 aa f eee s Cm? Bb Eou7 Bin El — Alma aE EH PEPE | Cheat Abn D7 Nm Der GMT aaa HE SEH Chm? Eby M7 Cin? Br EM PELE EEE PET es Pmt «Ev AN7 Em7 Ar nz = EEE Sezizae | Am? Dr ___—sOOM? Dm? G7 M7 100a AUGMENTED CHORDS AND RESPECTIVE SCALES + 7 1 4 2 3 4 s 7 © The C whole tone scale is illustrated in one octave. The numbers under each tone indicate the po- tion of that tone in this seale. In all scales covered up to this point the distances beeween tones No. 1 and No. 8 were octaves. The student will notice, however, that in the illustrated C whole tone scale, the distance between tones No. | and No. f appears wo be a seventh interval. Theoretically is an augmented seventh interval which when spelled enharmonically becomes an octave. In order ~~ present the C whole tone scale ina manner hag the student will find less confusing to utilize, we will change the spelling co the following: This will be che accepted spelling for che C whole tone scale and any other scale that will be de- rived from it. re whole tone scale has no relationship w key. It is unique because ic contains a whole step be- ween each nore of the scale, and thus it is called a whole tone scale. In order to produce a whole iene scale from any cone, all that is necessary is @ have a whole step between each nore until we 1 ve reached the octave above the starting note (which will actually be tone No. 7 in the whole cone scale). * whole cone scale built on the note D would look like this: D E FR Gt Ag c D 1 2 3 4 5 A careful examination of the C whole cone scale will show that the whole cone scale produced on € : note D contains the same notes. In the same manner, whole tone scales produced from the start. i tnotes E, F-sharp, G-sharp, A-shacp, will also contain the same tones with the sole exception of tfie starting tone. Thus che C whole tone scale is used co form five other whole tone scales, all having the same cones bue with different starting pitches. Dow chat we have established the starting notes and specific «ones of six whole tone scales, we can do the same for the remaining six scales by scarting on the nore D-flat. The following example illu- srrates the D-flat whole tone scale: & = § g---- ee ae 7 to + 4 2 3 4 5 eo 7 _ 101 "nen | ‘The numbers under each cone indicate the position of that cone in this scale ‘note that cone No. 7 has been changed from a C-sharp to a D-flat in order that the student might le able to manipulace the tones easier). The D-flar scale whole tone will also produce five other whole tone scales with che starting pitches E-flat, F, G, A and B. These whole cone scales will contain © same tones as in the illustrated D-flar whole tone scale with the exception of the starting note. Figure 28 illustrates the cones of all whole tone scales. This chart will be helprul to the student when applying the numerical formulas dealing with the formation of the Augmented Triad and the Aug- mented Seventh Chord. Fig. 28 (chart containing tones of all whole tone scales): Tone No.1 | No.2 No.3 | No. £ No.3 | No. 6 No. 7 Cc mp) E Fi G At Cc D [JE FF | $ 3 Cc D E Fi Ge] AZ Cc D | £ FE Gt AE c D E Fi GE AG Cc D E Fe Ge} Az ie D E Fi Ge Ag Db Eb F G_ A B | ODD ED F G A B Db ED F G A B D? | Eb F G | A Bl Db Eo F_ G A B | Db Ep F G A Bo | De ED | F | G A | B | The use of enharmonic cones is justifigble whenever the student desires. The enharmonic tone does not change the sound of the tone but rather the spelling, which may allow the student co use the material related to whole tone scales. For reference, the enharmonic tones are: C-sharp and D-fat: Desharp and E-flac; E-sharp and F; F-sharp and G-flat, G-sharp and A-flat; A-sharp and B-flat; B- sharp and C; F-flat and E; C-Aat and B. By extracting the tones No. 1-3-5 from any whole tone scale, we arrive at the Augmented Triad on that particular root. Figure 29 illustrates the cones of the E AUGMENTED TRIAD. Fig. 29 Symbol: E+Earlier in the book we mentioned that a triad was a three note chord which measured five tones «from bottom to cop counting the first cone as No. 1. The previous example, which illustrates th tones of the E Augmented Triad, would seem to con- 1 tradict our earlier definition of a triad, If the student were co count the cones in the illustrated Aug- - — mented Triad, he would be correct in countiag six tones. The reason for this is simple. The tones of all of the whole tone scales shown in figure 28 have been re-arranged to create the least possible difficulty for the student when playing these scales on his instrument. Enharmonic spellings were automatically included in this chart. Consequently, when applying the given formula for the extrac tion of Augmented Triads from their respective whole tone scales, we can arrive at a triad which 1 __-Sctually measures six tones from the bottom \to the top note, as in the case of the illustrated example. The correct spelling for che E Augmented Triad should be E-G-sharp-Bsharp. The B-sharp, how- ever, was replaced with the enharmonic noi C in the E whole tone scale. This is why the illu- strated F Augmented Triad appears to have fix cones from the root ¢o the cop tone, instead of five. This will happen several times as the student proceeds to extract other augmented triads from their respective whole cone scales, The student is cautioned not to be misled into thinking the augmented triad has six tones. 1 In the same manner, we have previously defined a seventh chord as a four nore chord which mea- 7 sures seven tones from bottom to top, counting the bottom note as No. 1, When applying the for- mula for the extraction of Augmented Seventh chord tones from their respective whole tone scales, the studene will probably come up with the notes C-E-G-sharp-A-Sharp, which represent the C Aug- : mented Seventh Chord. If the student were to count the tones from C to A-sharp there would be six. The correct spelling for this chord is C-E-G-sharp-B-flat. The cone A-sharp is used in the scale ; tone chare (fig. 28) co show chat there is a relationship 0 be observed in other whole cone scales that were derived from the C whole tone scale. Once again che student is cautioned nor to be misled into thinking chat any given Augmented Seventh chord contains six tones from bottom to top in- stead of sever, By extracting tones No. 1-3-5-6 from a whole tone scale, we arrive ar the Augmented Seventh chord on that particular root. Figure 30 illustrates the tones of the E Augmented Seventh Chord: Fig. 30 Symbol: E+7 Alternate Symbol: E7 (35) Alternate Symbol: ET (+5) T Alternate Symbol: E+5 Note that both chords contain che same triad, E- E whole cone scale, to establish their sound. 5-sharp-C, and both chords use the same scale, the In preparation for the following patterns, be able to recite, write and play the following chords as they are extracted from their respective whole cone scales, Augmented Triads and Augmented Seventh Chords. Use the illustrated routine form for playing the chord tones, since it does not require any specific rhythm or tempo. 103ROUTINE FORM $=@0-/ZO Ct c+ Be. ch Y V 1_o ~ fr pa) Ate Dit agi ee aaa ra + omnes (oa fie Beer j=l0-/32 a+ De Or ge ce et rt A» Ae Ble Br C+ te Bt Be At Ay Or fir Ch 6+ ght D+ th + S55 |J= 00-20% 8 Note: Each chord lasts for ewo measures. a Ft Bier Eh Ah 151 eae ETE Yi ) tf er PhT Benen Gn Ch bn dhe Avr Bir 3 tin en Bh Aa ; ce A es r 1 : ——— — = y t t t Zz f — 105See eee We have been practicing patterns on the two types of augmented chords, which were formed by extracting their respective tones from the whole-tone scale of the chord root. Now we will consider various patterns developed from the whole-tone scale of the chord. Notice that the chord symbols for the following patterns will be those of the Augmented Triad. However, che student must re- member that the Augmented Triad and che Augmented Seventh Chord use the same scale: a whole tone scale on the chord root. The use of the Augmented Triad symbol in the following patterns is merely for convenience, since it would be impossible to determine exactly which chord is being used when the scale is common to both of the chords mentioned. 1 3 Ud Note: Each chord lasts for evo measures. j= /3Z—, Ole oo ft Bb 153 (C Whole-Tone Scale) (Continue in same manner) 1 rl t De ; cit ; Bt ct TEE HTT +r i At Or b+ ; b+ | = Ty BaF PB Or ef = 154 re (C Whole-Tone Scale) (D-flar Whole-Tone Scale) (Continue in same manner) cer gt Ath Be ole 2 ELE EEE PELE PELE EEE TE Ee Or te ae Ae Oe Och Dee Ut ie ee 4FF ttt t t + 106Note: Each chord lasts cwo measures. = (32-4 Lt oF ios Si ae ee (C Whole-Tone Scale) (E Whole-Tone Scale) (Continue in same manner) ae e @> e a & 2 = Ae Oe chk _ oC z EEPEPPEEPT. HEE = J3(32-\64 » or Pr 56 : ti Tei pete 8567 S545 51423524 Arabic numbers indicate the succession of tones from che whole cone scale shown by che chord sym- bols. Refer to fig. 28 if necessary. UY. ch de HEPES EEE eH Er At D+ bt ia "David Young, “New Donna,” on Siretusphnnk (Riverside 31), George Russell Sexcet. The order of the pitches in che example ced isthe sume ay Paern No. 154 excepe that Young starts on the second eighth node: The arabic numbers fos this arrangement would read as follows: 36:73 34453 ete 107Practice Pattern No. 157 using EVERY starting tone on chart in fig. 28. DIMINISHED CHORDS AND RESPECTIVE SCALES : a= — Ee 2 Zz 3 4 s o 7 6 q The C diminished scale is illustrated in one octave. The number under each tone indicates the po- sition of that tone in this scale. The numbers appear to indicate that the distance from the starting tone (C) to the last tone (C) is a ninth. This is misleading because we have learned that this dis- tance is called an octave. However, due to the interval construction of the diminished scale, there are nine notes from the starting tone to the repetition of that tone in the next octave higher. The diminished scale has no specific relationship to 2 Rey; therefore, we must rely on an interval an-° alysis for the purpose of establishing the successive tones of this scale from any starting cone. The interval analysis of the diminished scale is: whole step, half step, whole step, half step, whole step, half step, whole step and half step. Figure 31 illustrates the C diminished scale with the interval analysis included between the tones. Note the use of the enharmonic spelling for tone No. 7. Pre- viously, tone No. 7 was labeled as B double-flat. The enharmonic spelling (A) was used for con- venience and ease in reading. In future references to tones of any other diminished scales, this con- venience factor, rather than the theoretically correct interval spelling, will be used. . Fig. 31 q & = = ¥ - = te ; =| +> o 4 2 3 4 g e 7 4 4 whole half whole half whole half whole half sep step sep step. ep step step ep In order to produce a diminished scale from any tone, all that is necessary, then, is to have alter- nating intervals of whole and half steps until the starting tone has been repeated in the next octave higher. giving nine tones in all from bottom to cop. 108+ diminished scale on the nore D-flat would loak like thi Do ED E FR G A BD iG Db whole half whole halt whole half whole half step step step step step step step seep iminished scale on the note D would look like this: D E F G AD BD B ce D whole half whole half whole half whole half step step step step step step step step 4.closer look at the tones of the C diminished scale will show thac when using the cones E-flat, G- flat and A as starting points, che student is actually playing the same cones as he did when starting © C. The only difference is the starting pitch. Thus the C diminished scale will yield chtee other d_ninished scales: the E-flac diminished scale, the G-flat diminished scale and the A diminished scale. 1 cewise, che D-flac and D diminished scales will also produce three other scales. The D-Aat ditni- _hed scale will yield the E diminished scale, the G diminished scale, and the B-flat diminished scale. The D diminished scale will yield che F diminished scale, che A-flat diminished scale, and the P diminished scale. F_gure 32 illustrates the cones of all diminished scales. This chart will be helpful to the student when applying numerical formulas dealing with the formation of the Diminished Triad and Diminished S renth Chord. Fg, 32 (chare showing tones of all dit inished scales) [one No.1 | No.2 | No.3 | No.4 | No.5 | No.6 | No.7 | No.8 | Noo | c¢_.D ED | F Gb | Aol] A B c_) Eo | F Go | A> | A B_| Cc D ED | Go | arv| A | B Cc Dp | E> | F Gb A |B Cc D. ED F_ | Go | a | A Do | E> E Fs | G A | Bo [ cc [ De E F? | G A Be | Cc D> | B | E | —G A Bo | Cc | bo | Eb | E Fi | G | BD Cc Do E> | E Fe G | A Bo _ D E F |G Ao | B> | B c? | D F G A> | Bo | B | Cz | D E F Ab Bo B Cz DfIE F G | Ab | _&B cr] D | E F G [| ab] B>] B 1 e student is cautioned that when extracting tones belonging to Diminished Triads and Diminished ‘Seventh Chords from che chart illustrated in figure 32, he will not always find a distance of five tones from the bottom to the cop in Diminished Triads. Also, there will not always be a distance of seven + 1¢s, From borcom to top, in Diminished Sevenths. The presence of enharmonic spellings accounts for the seemingly inconsistent definitions of triads and seventh chords that were established in the earlier pages of this book. 109By extracting tones No. 1-3-5 from any diminished scale, we arrive at the Diminished Triad on that particular roor. Figure 33 illustrates the tones of the E-flat Diminished Triad: Fig. 33 : Symbol: E> By excracting cones No. 1-3-5-7 from any diminished scale, we arrive at the Diminished Seventh Chord on that particular root. Figure 34 illustrates the tones of che E-flat Diminished Seventh Chord Fig. 34 Symbol: ED °7 Note that both chords contain the same triad, E-flat-G-flat-A, and both chords use che same scale, the - E-lat diminished scale, co establish their sound. In preparation for che following pattetns, be able to recite, write and play che following chords as they are extracted from their respective scales, Diminished Triads and Diminished Seventh Chords. Use the illustrated routine form for playing che chord tones, since it does not require any specific thychm or tempo. ROUTINE FORM bfe Er : 1g patterns begin with Diminished Triads. Note the alphabetical symbols and metro- nome markings. 110- ]=(B8-208 o c, \ 5 wea Paap a 7 ie me rill Bo A Gb co fo a Me go co Qo : : t ti t fo 30 ee Ae Go ce gh Dh {= /BB-2°8 Note: Three beats per measure. Le De Do Em Eo ihe fo gh go Aho ae 1 HEE AE AF ‘i Ae Boe b 2s FETTama "|=136-208 0% Dor Er Gi Aor Boy 0% ree pee = : : : a Bir Mor Gir E27 Der bf bea ely Coy Gr Aer Be, We te. $1_ Ah br Fm El Dbtr ee EE a oP d=W- (BA . poo, me Th Dn Eloy B07 £07 blen bbr 3 oie ; TEE, THE - #8 + A ris ] Mor Ady Bber BPr CO wip, —B0r_Bitr Aon I FREESE ape te, EE ieee Ao- 65, ber For Ebr chor 291 Dior Co” re = = { : | +e 5 Z PEE EPI TA Etter rr LtWe have been practicing patterns on the two types of diminished chords, which were formed by ex- tracting their respective cones from the diminished scale on the chord root. Now we will concern ourselves with various patterns on the diminished scale of the chord. Nore that the chord symbols for the following patterns will be those of the diminished Triad. However, the student must bear in mind that che Diminished Triad and che Diminished Seventh Chord use the same scale: a dimin- ished scale on the chord root. ‘The use of the Diminished Triad symbol in the following patterns is merely for convenience, since it would be impossible to determine exactly which chord is being used when the scale is common t0 both of the chords mentioned. (2100-208 ge ON po —T _—— a 5 oaig ae deae te pee | pales ieee This pattern is based on the cones of the C Diminished Scale. Be sure to practice it using EVERY searting nore illustraced on the chart in fig. 32. ‘This pattern is based on the cones of che C Diminished Scale, Be sure to practice it using EVERY starting tone illustrated on the chart in fig. 32.C Diminished Scale ascending and descending. Practice Pattern No. 164 using EVERY starting tone illustrated on the chart in figure 32. jelia-/bee 0 Cee 165 ye Fires, 1S e- 4 3S 5 ‘This pactern is based on the C chromatic scale. The arabic numbers indicate che tones of the C'7 chord. Nore that the chord tones fall on the first cone of each eighth note triplet. In this manner the sonority produced is that of a diminished sevench chord (or even a diminished triad) having the root of the starting tone of the chromatic scale (in this case the C’ or C’7) Practice Pattern Ni 165 using EVERY starting tone illustrated on the chart in figure 32. 3 a 7 ‘This pattern is based on the C Diminished Scale. The arabic numbers show that a chord tone is pro- duced as the first tone of each group of four notes occurs. Note that the pattern scarts on cone No. Land gradually ascends three more tones in the C Diminished Scale betore turning back to the third tone, and so on. Practice Pattern No. 166 using EVERY starting tone illustrated on the chart in figure 32. 28David Baker, “Honesty,” on Ezz-Thetics (Riverside 375), George Russell Sextet. 2Charlie Mariano, “Deep River,” on Toshiko Mariano Quartet, (Candid 8012), Toshiko Mariano Quarter. “David Young, "Kentucky Oysters,” on Sératasphunk (Riverside 341), George Russell Sextet. 41" Note: This pattern starts on the third of the chord. ‘This pattern is based on che C Diminished Scale. Ic can be used for all Diminished chords having scales derived from the C Diminished Scale. Practice Pattern No. 167 using EVERY starting note illustrated on the chart in figure 32. (38=/64 nog v oat a * § * Z* GQ o t+ ir ‘This pattern uses the tones of C°7 chord (shown by arabic numbers) in addition to other tones which are located at an interval of one whole step down from the chord tones of the C’7 chord. ‘These other tones (which are indicated by astericks) form another Diminished Seventh Chord whose root is one whole step lower chan chat of arabic number 1 in this pattern. Practice Pattern No. 168 using EVERY starting cone illustrated on the chart in figure 32. DOWNSTEP MODULATION A chord progression is generally thought to be a succession of chords, often alternating berween two types of chord structures, with the chord roots progressing, say, chrough the cycle of fifths or downward chromatically. For example: C: Wim? Vi7 m7 V7 Wim7 bI7_— m7 LI7 (Em7) (A7) (Dm7) (G7) OR: = (Em7) (E97) (Dm7) (D?7) Ic is frequently the case, however, that the root will remain stationary through two or more chords, while the chord type on that same root will change. For example CM? Cm7 E7 B? M7BPm7 Eb7 AbM7 OR: DM7 D7 GM7 G7 CM7 Such a permutation in chord type will usually cause a change in chord function as well, so that the preceding examples might be given as follows: IM7 Ilm7 V7 IMT Um7 V7 IM7 AND: _IM7 V7 IM7_ V7 IM7 Cc: BP Ab: D: G: Cc: The following patterns will focus on permutations of this sort, where the root remains the same for ewo or more successive chords. “Booker Ervia, “No Private Income Blues.” on Mingus In Wonderland (United Artists 15005), Charles Mingus Group. “David Baker, “Honesty,” on Ezz-Therics (Riverside 375), George Russell Sextet. Charlie Mariano, “Deep River,” on Toshiko Mariano Quartet (Candid 8012), Toshiko Mariano Quarter. 5bom Adm 8 bm FL) (0 Ee eo tent hee Repeat Patcern No. 169 starting on an E chord (E, Em, D, Dm, etc.). |2/32-/70 je 1G 4 Dm 5 0 bm w Bien 170 5347 12S S347 12088 Y Abe oD 3 > lm —=« Em Repeat Pattern of No. 170, starting on an F chord. 116#3 log-Z08 CME a i. “ 7531 © i wit se et 2 a > —J “Oliver Nelson, “Stolen Moments,” on The Blues And The Abstract Truth (Impulse $5), Oliver Nelson Group. An example of the use of Pattern No. 186 may he heard ia the second chorus of Nelson's Tenor solo. 124oe = a et +s i Te a ee c ‘shen Bm pil 2 mm — # -p eS SS Bon (4) = 80-(20 ft Cm 97 0 = Sei es #7 Gh as eZ : ae aS Bee) 4 = ZB Ss Bases Cota 60-0. #4) = G0-100 , Paes si a coos SSS e ey) fae) Pe = seesee 2 Pa Fes ee mat Sct: 3 3 : v= oat me Se4) 260-120 6G i) ¢ i c ao aE 1 Wi Se ¥ SO i +S tS aS (Oy b) wont, Se dult) Emil) ig! t pltlhtg FF tty ry, et 1 —— ¥ == = =s Com hy 4b 7 Henn, ee By ial) hn te / pete Netley, Pet Dry bey ret, yi ——— = te 7 a SS SS Ano pl Salli) Onli) , Listy, ipl, E> _jIp Dh ,, nog (ea see eee eee se a See ena Finer Po at dr nay 38, 126 tn erie ava NV Re Ve ene nee eed ett oeOF OT weeks @N DWunasiters Ses « Since there are numerous possibilities for polyghords, and since there are also a number of sub- stitutes possible for a given chord, it follows that a polychordal pattern could involve more than just two chords, Such a pattern is No. 201, using four different triads, all of which are relaced to each other by way of being substitutes for the other three chords of the group. Furthermore, the combined tones of the four triads do not change the function of the given chord with which they appear. More precisely, chey strengthen that function (in this case, a dominant) by adding tones characteristic of the dominant. Suppose that Pattern No. 201 wére applied to a given chord of C7. Reading the tones in the order shown in thar pattern, and relating each tone co a C7, we see thar they would function as follows: tones C E G A$(Bb) F% C#(Db) ED(D$) G Bb C#(D>) A E nection 1 3 5 b7 0 tL bo +9 5 b7 oo BB. = i eo eb rane | ee So in addition to supplying all the tones of the C7 (C-E-G-B-flat), the pattern also yields the color © es of fla-9, +9, +11, and 13. To che uninitiated, ic would seem thac there might be too many © or cones; however. the experienced improviser or arranger knows that all four color cones are common to one another and can be used together to good effect. D tice chat when the roots of the four chords are combined, they form a diminished seventh chord ( —E-fla—F-sharp or G-flat—A or B-flat), although their order is shuffled in the pattern (C—I sharp—E-flat—A). Such an observation would indicate that chords whose roots are within the some diminished seventh chord are likely substicutes for each other. We had already observed € lier, in the discussion of polychords preceding Pattern No. 180, that chords located a diminished firth apare, especially when they are dominant sevenths, will substitute for each other (i.e., C7 and Fsharp7). Now we see that halfway to each of the diminished fifth intervals (C up to F-sharp and F harp up to C) are two more substitute possibilities: E-flat becween C and F-sharp, and A between F charp and C. Notice thar the incerval between E-flat and A is also a diminished fifth,* and that the interval between each of the cones of the diminished seventh chord is a minor third (or half of a d ainished fifth). The symmetry of all this does not end here. Extracting the tones provided by the 5 ametrically-spaced chords of Pattern No. 201, we see that they form, when placed in a stepwise order, the (also symmetrical). diminished scale: whole half whole half whole half whole halt step seep step step step. sep ‘step seep Eurchermore, a diminished scale on C-sharp, E, G, or A will fic and enhance (because of the color ones provided) a C7, E-flat?, F-sharp7, or A7 chord. Yatterns No. 201-208 illustrate some of the ways in which four related chords can be played. The sum coral of each chord is the diminished scale. 'SThe spelting used here often results in an augmented fourth rather than a diminished fifth although each spells, fan interval containing three whole steps, This interval is somerimes called a critone, 137dn6h- 80 Ascending =) f Repeat this pattern with other groups. (D-flat, G; E, B-flac) (D, A-flat; F, Benarural). j=Mo-/84 omharmonic ones. Fes! Bye te! 202 dD AbGN A D ar) Sa ee = yea a ao q 1 The above pattem can be applied co an F7, B7, D7, or A-flat7 chord—or it can be used as “free” material, ‘Transpose this pateern to start on B-narural and B-flat. | = GO=/ 7 60-/00 Ascending Descending iE y, LTe yy be (et — ——— Tyger ee Fae ee pee vee eee Ve nee en Ten eee¢ aby it ree < y f ? IEE wig ~ hey _ ir 2 & a Spa PFE 4 = l SS me : Set zit itl vty a — —— SS = = je (h0-1e0 ‘ — t —_—oo 1 i = Ep eee ———— 129Patterns No. 201, 203, 206, and 208 can also be played in eighth notes (rather than triplets) by add- ing one note c0 each chord, one octave above the starting pitch of that chord. Be sure co transpose Patterns No. 201-208 co two chromatically-adjacent keys. Our first introduction to the diminished scale’ (pattern No. 162) was somewhat perfunctory, be- cause of the complexity of that scale’s construction and its uses. It is a symmetrical scale of alter- nating whole steps and half steps. It contains eight lewers in its spelling, instead of che usual seven found in major and minor scales. Since there are only seven letters to work with, one letter (arbi- tratily chosen) will occur twice. In the discussion prior to Pattern No. 201, a C-sharp diminished scale was spelled which used both an A and an A-sharp. The added eighth cone owes its existence co the unusual number of half step intervals in the structuring of a diminished scale. Also because its intervallic structure is symmetrical, there are (in sound) only three different dimi- nished scales, chromatically adjacent (i.e., scales on C, C-sharp, and D). This means chat a C, E-flat, G-flar, and A diminished scale will be the same in sound, a situation that does not exist in major and minor scales. We also find that each tone of the chromatic scale is used in two of the three dimi- nished scales. The peculiarities about the diminished scale continue when we consider its numerous applications in improvisation. It was designed to fit the diminished seventh chord, as shown in the discussion prior to Pattern No. 162. However, the scale also fits, in varying degrees of dissonance, the half- diminished seventh chord and all minor chords (m7, m6, etc.). In all of the preceding instances, “the scale begins with a whole step, buile of the root of the chord. Yet che most common use of the diminished scale in the jazz idiom is with the dominant seventh chord where, as illustrated in the discussion prior to Pattern No. 201, the scale adds the color tones of flat9, ~9, +11, and 13, and where the root of the scale is a half-step above the root of hord (ie, a Csharp dimi- nished scale is used with a C7). Another Way to arrive at the latter use is to start the scale on the root of the seventh chord, but beginning with a half-step’’, resulting in the same tones arrived at by using the scale of one-half step up, beginaing with a whole step. Beginning with Pattern No. 216, a non-harmonic (non-chord) tone is added chromatically between pairs of tones from the scale—pairs which are normally a whole-step apart. The result is a chro- matic scale, though the scale continues to sound like a diminished scale because of the placement of the non-harmonic tones. Consequently, the diminished scale also works very well as a scale co be used in “free” improvisation (improvisation without given chords or scales). A scale having so many interesting uses deserves considerable attention, so Patterns No. 209-224 will focus on the diminished scale. For further reference on the diminished scale see Coker, Baker and Russell. Another excellent source is Nico- las Slonimsky, Thesaurus of Seales and Melodie Patterns (New York: Coleman-Ross Company Inc., 1947) “This approach is used by Baker and Russell. 130\=Ad- 42 Y L av + Repeat on D-flat and D. kbnlAZ D-flat diminished scale (also E, G, and B-flac) ! 107 Repeat with the starting pitches of D-flac and D (not D-flat and D diminished scale). B0-/20 D-flat diminished scale Repeat with the starting pitches of D-flat and D. y= VE-KE C-sharp diminished a { Ay 4 ing oi == ase Airis | avo> LID ae ° Repeat with the starting pitch of D-flac and D. “Booker Ervin, "No Private Income Blues” on Mingus In Wonderlnd (United Acti 15005), Charles Mingus rou, ‘John Coltrane, “Steaight No Chaser", on Milestones (olumbia CS 9428), Miles Davis Sextet. 31 id=(20-I08 — C-sharp diminished scale. —T) b 213; i + ete. Repeat with the starting pitch of D-flat and D. = | /Daelh pl0H-le0 C-sharp diminished s¢ale. 214: ea Repeat with the starting pitch of D-flat and D. f Repeat with the starting pitch of D-flat and D. Deflat diminished scale, 47100-1dd—sonsharmonic tones) : s onic | . 22h a = ao oe Ss fei Pik Sp ug, 3 ao - 216 / eee - aa = Repeat on D-flar and D. - )=$8-/20 C-sharp diminished scale. - a . ee - eee ea | Ere +7 fe tt : : Repear starting on B and C, =Repeat on B-flat and B. 3GZ~/BZ — Csharp diminished scale. ; aoe 2 Des ede = —P rea? Ty = z rp i ie ‘wepeat on Deflat and D. Je00b-144 C-sharp diminished scale. pee te : ge > speat on B and C.J20-(SZ C-sharp diminished seale, ns Repeat on B and C. J8/62-208 —D-tlac diminished scale, p, FAIL phe phe de’ nifgt = EE ii Repeat on D-flat and D. THE AUGMENTED SCALE The augmented scale, like che diminished scale, is a symmetrical scale. This dime the iptervals ‘al- ernate between half-steps and one and one-half steps (minor thirds or augmented seconds). On C the scale would be spelled C, D-sharp, E, G, A-flat, B, C. Note that there are, because of the wide augmented second intervals, only six cones in the scale. Although the foregoing scale on C begin on C, the scale is often handled melodically in improvisation so that it starts on the B (B, C, D- sharp, E, G, A-flat, etc.) ‘The augmented scale is not nearly so common as the diminished scale, nor can it aply to as many given situations. However, its use seems co be on the upswing, since it is a relatively new scale, and perhaps, like the diminished scale, it will enjoy more popularity in the future. As its name implies, the augmented scale is derived from he use of augmented triads. If we examine the above spelling of the C augmented scale, we see that it contains two augmented triads, chromati- cally adjacent: B, D-sharp, G (or F double sharp) and C, E, A-flat (or G-sharp). Only four (chro- matically adjacent) augmented scales exist. In addition to fitting augmented triads, the augmented scale fits a rarely-used chord, the_major seventh chord wich an augmented fifth (M75) *. Again, since this chord is relatively new, like the Scale, i coul ‘enjoy wider use in the future; because both the chord and the scale present interesting sounds that might prove attractive to the jazz improviser. With slightly less effect, the scale can be applied co the major seventh chord (M7). It also carries much potential for becoming a “free form” levice, because of its mystical, keyless sound and its symmetry in construction. Patterns No, 225-235 explore some of the possil ities for sounding the augmented scale. eee \ tha Co Kitab c sae: % "Clare Fischer, "Quiet Dawn,” on Extensions (Pacific Jazz 77), Clare Fischer Orchestra. Listen for an extensive use of che augmented scale with M7 +5 chords. Also listen (0 the clarinets in the first movement of Bela Bar- tok’s "Concerto For Orchestra.” 134C-sharp augmented scale) |=60-/00 ascending descending SHS 4, OS) cus, / tite Cote ie Oy Va = aS Iso start on C-sharp, D, and D-sharp. Deflat augmented scale) pale So8 ascending lescending t (eth oy + Sate SS Also start on A, A-sharp and B-natural.(D-flat augmented scale) 260-12 5 ; Ascending t ——s 227, Fi Descending pyttles Also start on C-sharp, D and D-sharp. 5 & (D-flat augmented scale) Descend: . escending Also stare on C-sharp, D and D-sharp. (D-flat augmented scale) paoo-! 2 Ascending. 5 ———— wie ee a Oe OG Me Sige te p—— * = SSS ee | 7 ‘Also start on C-sharp, D and D-sharp.(P flat augmented scale) Je BOW. gconding hk Se ty ley t pes ———_— — atoky HE “oa Also start on F-sharp, G, and G-sharp. (M-flat augmented scale) reeiZ Ascending = mS Ft is r — — Ey = 5 nd ir esconding L a ee i eee (_-flat augmented scale) Descending _ $4, Sa A. o stare pattern on C-sharp, D and D-sharp, Ascending, 0 COZ 137Deflat, F, A augmented scale. Hy SlOliver Nelson, “Scolen Moments,” on The Blues And The Abstract Truth (lmpulse $5), Oliver Nelson = — Group. Nelson makes use of this pattern in the last chorus of his tenor solo. Also see the bridge section (anelody)) 0f "Hoe Down” from the same album. “ 138i Aned Re | MAJOR SCALE IN FOURTHS Eourth intervals have become extremely popular among improvisers, in recent years, both because the interval interests them and because fourths tend ro break away from the sound and rigid fun- © on of chirds heard in ordinary ruminations on chords built in thirds, Successive perfect fourth t_vals will be discussed later, as they are applied to “free form” improvisation. The following seudies will help prepare the student to play general fourth intervals (sometimes perfect, sometimes gmented) as they are determined by the tones of major and minor scales. (7OB-1Z0 ascending cma ——— a 5 Descending basie crutch 1 ay this in all keys. Do the same jor the succeeding patterns in this section. ‘ + 88-:20 Ascending. CMAS } CMAS ! i = a S| eG Sa mai 7 Descending=88-(20 cms. Ascending wp La es es Descending Ape $y ett +4 Se BSS Descend J=B8-/22 — sscenting “suns CMAL, ,£ £ / = Kos rete tet 2384 a = ~ - PA FZ IBZ senting cmp. 4 4 ” Td L é 3 =F 239 Zz z Soe 7 6 4 ¥ Descending 1 -#$ 4¢ 44 4 7d bap Fe| WS = : ee + omer ¥ £ aa - 7 4 ete. Play this all keys - ADAPTATION OF PREVIOUSLY-PRESENTED - PATTERNS TO HARMONIC MINOR SCALE - C harmonic minor ; - ———_ — — —| ~ a a re - Archie Shepp, Four For Trane (Impulse $-71), Archie Shepp Group. 142'=1/2 -160 min. ay Patterns No. 244-246 in all keys. ucerns No. 153-157 were devoted c© an introduction to the whole-tone scale, which is still anocher symmetrical scale, as were the diminished and augmented scales. Its application, ie will be remem- hered, was to augmented triads and the 7+5 chord. Patterns No. 247-250 merely develop some of € other possible settings of the scale in paccern form i Z, 1=/Z0-/€0 ——(C whole-tone scale) ascending 1 i (in chieds) escending 1 1,¢ epeat this one-half step higher (C-sharp—D-flar whole-tone scale) 143SEE (C Whole-Tone Scale) ™ j%~ 00 ascending descending _ aris ils py down — up dowa P I Play this on the C-sharp—D-flac whole-tone scale. cay (C Whole-Tone Scale) 4= (20-100 ‘ascending - 249 “ fee bg Soe te - a a a a | (descending) 7 | t$iptytide by 4 | . {ES s¢3 ip ft te ht eee | v —— = my | Also practice this pattern using the whole-toze scale starting on D-flat. . |=(00-160 C whole-tone scale “| at Edy phy Li RTL aA . a aT soe : — + = f = + = _ ——F St ican (non-harmonic tones) } B whole-tone scaleTHE LYDIAN AUGMENTED SCALE* While it is true that most of the basic chords can be accomodated by them vior scale, modal scales er ed from major scales, and minor scales, it is also true thac the jazz idio cludes the consistent se -of altered chords and chords embellished by various types of ninths, el -nths, and thirreenths, chas already become apparent chat the diminished scale, the whole-tone » .e, and the augmented cal are needed to accommodate some chords with such alterations and embellishments. The :Y_IAN AUGMENTED SCALE is an extremely useful scale in this respect. It has two kinds of ane pplication to dominant seventh chords, one resulting in the addition of a flacted fifth (or aug- aered eleventh) and the other application supplying an augmented fifch, a flacted ninth, an aug- ne: ed ninth, and an augmented eleventh. An explanation of the structure of che lydian augmented cale follows, as well as its application and a number of patterns to aid the scudenc in absorbing the cale.™* LYDIAN AUGMENTED SCALE WT. WT. WT WT. 8.7. ST. SCHEME: 1 uo giv #V vio Vu I Same as a major scale with a raised 4th and Sch step) dian augmented scale = 1 te 2 o ‘ (Pndedic past) Function: Fits dominant 7th, lowered 5th (95); or dominant 7th raised Sth, raised 9ch, lowered tL 9th, augmented I1ch{ D9 Nas NS “The cerm “Iydian augmented scale” as well as the scale itself owe their invention and application co George assell. Russell's book, The Lydian Chromatic Concept (New York: Concept Publishing Company, 1959), is ‘ongly recommended to the inquisitive student of jazz improvisation, }+Addicional patterns on the lydian augmented scale may be found in David Baker’s Developing Improvisational veility (Based on the Lydian Concept) (Libertyville, Illiaois: National Education Services, 1968) 54,7. is an abbreviation for a whole tone or whole step. S. T. is an abbreviation for a semitone or half step. 145In the case of the dominant Teh, flac Sth (b 5), the root of che scale is the seventh of the chord. Cb Roe EXAMPLE: On be) but Rinminos ty D ko de 7 a o u = / a & C lydian augmenced scale. In the case of the dominane 7th, raised Sch, raised 9th, lowered 9th, and augmented 11th, the root of the scale is the third of the chord. O xs 4 ps(til) 5 Ss Like PUI Dow r | (aces) bak Pav Boe. PL ied] EXAMPLE: Jp C Lo Bes { 4 | ——— — - = = nd ze i v a 4 88 z / 4 ‘There are 1? lydian augmented scales. arn all ewelve scales by playing them over and over throughout the range of your iastrument. a 1 | ren Tearn them as you did the Major scale (by playing them in thirds, etc. §) Be sure co practice the scales in all ewelve keys. C lydian augmented scale (descending) (ascending) tet ; f tt apt ip th, —, 2 tee — —_— Sn + ri vd T a 146 pryr iy Ne. o , ae eeeKt C lydian augmented scale 5 - Se 4. er] J ps He a f t (ascending) (descending) tty boy i, tftp, + , == — ent —$tarss —— >> dian augmented scale (ascending) ee : z 4 a eat ta = + r i u le ending) (descending) Se+tC Iydian augmenced scale (ascending) { a) L, se! Ha pe eae Tre T (descending) ae sth ueh jet tt et elt | C Iydian augmented scale (ascending === : SSS SS = a ae - : a — . ou (descending) C lydian augmented scale (ascending) op a te” (descending) ~ , fete ptt toy pot ty Lee _. fe ee ie ieee