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FOR''II-V7.IALL MAJORKEYS''
PATTERNS
Thepatternslistedhererangefromsimpleto complex.Thebeginningexamples useonly notesfoundin thescales.
Laterexamples containnotesoutsidethescale- (chromaticism).All jazzplayers incorporate chromaticism in their
melodiclines. Think of tonesoutsidethe scaleasoneswhich producemoretensionthannotesin thescale.The
tensiontoneswantto resolveby half stepup or down to notesin thescale.You will find mostof thechromaticism
occurringovertheV7 chord.As statedon page8, thedominant7thchordsaieofrenembellished with alteredscales,
sothelaterexamples (embellished)
utilizethesubstitute scalesandnotesfrom thosescales.You will find manyb9,
#9,#4, and#5's. Thosearethetonesmostoften altercd(DiminishedandDiminished/Whole Tone scales).
I-earnto outlinethesoundof anyscale/chord on yourinstrument.Many jazzmusicians like to playwithoutpiano
or guitaraccompaniment kcause theycan successfuUy outlineharmonythemselves on their instrument.Sonny
Rollinsis a casein point. A firm understanding mentallyandtechnicallyof theII-V7-I progression is neededin
orderto successfully play insideor outsideon standardtunes- jazz or otherwise.I feel you shouldlearnII-V7-
I patternsin majorkeysbeforemovingon to minor keyssincemajorkeysoccurmostoften.
Manytonesin thefollowingpagesof patterns arewrittenenharmonically to makereadingeasier.Forinsrance,
a b9 on a C7 chord/scale may be Db or C#, a lE may be writtenD# or Eb, a #4 may be writtenF# or Gb anda #5
may be writtenG# or Ab.
Look overthescalesyllabuspagefor listingof possiblechord/scale choices.
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t,t1
1t'
---Z
\-e/
v-
----t------
PATTERNSBEGINNING ON TIIE 3Td OF TI{E MINOR CHOR-D/SCALE.
--
36
-----
3 ' + q t+ 4 bq
J
/
\rr:t' /1 n
.<
-<
)
Patterns using th e t,G"
wh o le to n e sca le , C oul d al so be ca11ed A ,B ,C l l ,D l l ,or F w hol e tone scal e.
Lt:I
ba,
PATTERNS
FOR''II-V7RANDOMPROGRESSION''
For this trackusethefirst two measures of anypatternapplicablero rheII-V7-l rrack just listed.When
a V7 chorddoesnotresolveto a chordwhoserooi liesup a ptrfect4th(5 half sreps)wecall ii anirregularresolurion.
Thisrecordedtrackcontains
:tglliq:gular resolutionianbfourregutarresoluiions.TheregularrJsolurions
inbars4-5,12-13,24-25,alnd28'29.
occur
Whenregutarresotutionsoccuiyou.unusesubsritutesclteso"ertheVTchord.
F.xamPle: In barfour you-couldusctheDim,/WholeTone,Diminislied,WholeTohe,or Lydian/Dominant scate-
allbuiltonthesamerootoftheoriginalVT. ThereasonanyofthosescateswillworkisbecauserheVZchordresolves
to a chordwhoseroot is up a perfectfourth. The rule rol vZ chord/scate substirution
is: If rheVZ chordrrsolves
to a chordwhose is located. up a perfect fourrh you may embellishrhe V7 chord by usingthe Dim./TV.T.,
Diminishcd,Wholc ryt
Tone,or Lydian/Dominant scalebuilt on tfiesameroorasrheoriginatVZ. lf d-he
v7 chorddoes
notresolvcup.a fourr.hit is pro.bablybestnot to usean altercdscale91simplyalrer6ne noteof theV7 scale- the
4th - makingit a LydianTDominanr scale.
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