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PATTERIISAND EXERCISES

Oneof themostimportantharmonicprogressions in jazzandpopis theII-V7-I progression. It is present in most


jazz
standardpop tunes,as well as tunesof the Bebop,Swing,andProgressive eras. Mastery of the II-V7I
progression importantif themusicianintendsto improvisein anyveinotherthanmodalor completely
is especially
free.
The followingpagescontainexercises or patternswhichshouldbetransposed to all twelvekeys. I havelisted
thepatrernsinonekey: D-,CT,Cforthesakeofcomparison. Listingpatternsinonekeyalsoallowsmetopr
manymorepatrerns thanif eachweretransposed to.all twelvekeys.

Thefirst four tracksonthis recordinghavepagesof corresponding patternswhichshouldbetransposed to all twelve


keysandplayedwith the recordedtrack.I suggestwriting out severalpatternsin severalkeysor in all twelve.Eventually,
you shouldleamto mentallytransposeanyideaor patternto anykeyonthespurofthe moment.Thisprobablytakesmore
disciplinethan any otheraspectof improvisation.

Theideaof learninga patternandwhento playit shouldnot bethoughtof asuncreative.


Because
it is impossible
to continuouslycreatenew meaningfulideas,improvisorsat timesresortto playingideasor patternsthathave
practicedandmentallyloggedbeforehand. This is taking nothingawayfrom theimprovisorbecauseit is often
as hard to play an idea severaltimesin a row, eachtime with the sameconviction,as it is to createcompletelynew
ideas.
Eachplayereventuallybuildsa vocabulary thatis uniquelyhisown,andoftenthisis howa musicianis recognized
or identified.If you listento anyof thejazzmasters you will find certain"callingcards"or "trademarks"that
associated with thatparticularplayerandtheirstyle. This is a partof theirmusicalpersonality.
Feel free to add or to subtractnotesfrom any of the given patterns. Make up your own patterns.At fust, writc
the patterndown on paperand transposeit to severalkeys. Later,takea patternyou havethoughtup andtry playing
it withoutwriting it down first. Mostjazz musicianscanHEAR whatotherplayersareplayingtheinstanttheyplay
it. They can hearthe generalrangeand whetheror not scalesare being usedand if so what scales(major,minor,
dominant7th, diminished,etc.)arebeingplayed.He will hearcertainpatternsmucheasierandquickerthanothers
simply becausehe is more familiar with the notesand patternsbeingplayed. Ultimately,eachmusicianhopesto
be able to hearand to somedegreecomprehendwhat every musicianis playing,the instantit is played. Writing
patternsdown on paperis thelong way around,buteveryonebeginsthatway andgraduallydispenses with it astheir
earsbecomemore attunedto the music.
Books that I recommendas supplementarymaterial are Scales for JazzImprovisationby Dan Haerle,TheII W
Progressktnby David Baker, and Patternsfor Jazz (treble or bassclefl by Jeny Coker, J. Greene,J. Casale,G.
Campbell.
Feel free to changethe rhythmsof the patternsI havelisted in this book. You might try leavingout one notehere
or thereandsubstitutea restof thesamevalue. Rhythmicvarietyis necessary to maintaininterestwhenimprovising.
The basicunit for jazz playersis the 8th note,but you shouldlearn to usetriplets,sixteenths,and any combination
you feel is appropriate.
Almost any patternwill work over any chord/scaleIF you convincingly RESOLVE the idea ro the next chond/
scale. When resolving a phrase,aim for the root, 3rd or 5th of the new chord/scale.
All of thebasslinesfrom this volumeareavailable,RufusReid BassLines off Volume 1 and3 with chordsymbols
aboveelch measure.Our orderingcode for this book is R.R.

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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.

PATTERNS ONTI{E ROOTOFTIIE MINORCHORD/SCALE.


BECINNING

34
t,t1

1t'

---Z

\-e/

v-
----t------
PATTERNSBEGINNING ON TIIE 3Td OF TI{E MINOR CHOR-D/SCALE.

--

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-----

3 ' + q t+ 4 bq

PATTERNSBEGINNING ON THE 5Ih OF THE MINOR CHORN/SCAIE.


,\
'u-
PaEEerns using ttGtt
the d im in ish e d sca le
/1\
h sa9:
j uttr:
g7
r Dr l
-4-*3!1_ b0.o- .---'e

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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