166 ___ Chapter 7 1-2:3-5 Patterns APPLICATIONS TO INDIVIDUAL CHORDS ‘The major 1-2-3-5 pattern may begin on other steps of the scale. For a major 7th chord, a major 1-2-3+ pattern could be played from (a.) the root yielding the triad and the second or ninth, (b.) the domina: yielding the fundamental tone 5 and the colorful tones 6 (13)-7-9, and (c) the second degree yieldin, the 9-3-#11-13 for a lydian or IV chord quality. a b. « cmaj7 cmaj7 maj? = i ef i fi: For a minor 7th chord a minor 1-2-3-5 pattern may be played from (d.) the root yielding the triad a: the 9th, and from (e.) the 5th yielding 5, natural 13, b7th and 9th for a dorian sound. A major 1-2-3-5 pat tern may be played from (f) the minor 3rd yielding the b3-4-5-b7, and from (g,) the b7 yielding the b7-R: 9-11 cm7 m7 cm? cm7 fE £ “l For a dominant 7th chord a major 1-2-3-5 pattern may be played from (h.) the root yielding the t and the 9th, A minor 1-2-3-5 may be played from (i.) the Sth yielding $-13-b7-9. A major 1-2-3-5 pat may be played from (j.) the minor 7th yielding the b7-R-9-11 (or sus4). For a lydian dominant chord major 1-2-3-5 pattem may be played from (k.) the second yielding 9-3-#11-13, h. i i. k co) c9susé cont [Comprebensice Tecbnique Jor Jazz MusiciansChapter 7 1-2:3-5 Patterns 2 half-diminished chord a minor 1-2-3-5 may be played from (1.) the b3 yielding »3-4-b5-b7. A major +5 pattern may be played from the 7th of a half-diminished chord (m.) yielding 7-R-#2-11 L m. cor core = possible 1-2-3-5 patterns are available for altered dominants. A minor 1-2-3-5 pattern may be d from (n.) the 69 yielding b9-#9-3-b13. A major 1-2-3-5 patterns may be played from (0.) the b5 ing »5-b13-b7-b9 and from (p.) the b13 yielding b13-b7-R-#9. 3. P. bs ; ch off =e =2y encounter this chord in contemporary jazz compositions. Playing a major 1-2-3-5 pattern from ‘Se 3rd yields the 3-#11-#5-7 of this lydian augmented chord. ICISES Practice all of the pattems listed above for each chord type. Practice the patterns over traditional harmonic progressions. Comprebensive Technique for Jazz Musicians]168 Chapter 7 1.2:3:5 Patterns The following examples from jazz trumpet artists Tom Harrell, Clifford Brown, Randy Brecker and Morgan may offer some insight into possible musical applications of these common patterns. The pl ers used the 1-2-3-5 pattern from the root and the Sth of chords. Major and minor 1-2-3-5 patterns over popular jazz progression. D7 oe ‘This player used major 1-2-3-5 patterns to imply substitutions in this turnaround progression. The lf implies the progression F - Ab - Db - C7 where the Ab chord may be a tritone substitute for the D7 the Db a tritone substitute for a G7. Major 1-2-3-5 patterns tumaround progression, F D7 Gm? cy Eee ===: Abies ba pee te o S = ny ‘This player used the major 1-2-3-5 pattern from the root and then the b5 a tritone away over the dominant chord., and from the roots of each the dominant chords in the next excerpt. Major 1-2-3-5 patterns a tritone apart. G7 o = Major 1-2-3-5 pattems from the roots. Em7 eb abr vbr c 0) oe be he 66 a eee Minor 1-2-3-5 off the b9 of C7 (C#m/C7) 7 F Gia o Comprehensive Technique Jor Jaz= Musicians