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C7
.. .
... ...
t)
C7
F7
fj
~~~~~~~~
lr
I I I
... ... . .
... ... .. .
~~~ ~~~~~
~~~~~~~~
F7
5 fj
TRACK 51
piano plus
rhythm section
C7
lr
1 u
lr
I I I
.. . ... ... . .
... ...
I I I
<
.. .. .. . . . . .
G7
F7
9 fj
1u
~~~~~~~~
C7
G7
lr
I I I
~~~~~~~~
. .
... ...
<
.. .. . .. . . . .
~~~~
This example uses Mixolydian modes built from the root of each chord, as a basis for the 3rd interval
patterns. You'll recognize the G Mixolydian mode (the 3rd intervals B-D, C-E, and D-F) being used on the
G7 chords in measures 9 and 12. Similarly, the C Mixolydian mode (the 3rd intervals E-G, F-A, and G-B~)
is being used on the C7 chords in measures 1, 3-4, 7-8 and 11. The F Mixolydian mode (the 3rd int~rvals
A-C, B~-D, and C-E~) is being used on the F7 chords in measures 2, 5-6, and 10. The left-hand pattern is
again based on the root-5th, root-6th, and root-7th of each chord, now using an eighth-note subdivision.
24