ou JAMEY AEBER SOLD |SUPPLEMENT TO VOLUME 3 INTRODUCTION To PATTERNS AxD EXERCISES (One of the most important harnonte progressions in jazz and pop is the 11-V7-1 progresston. Tt is present in aost standard and pop tunes, at well as tunes of the Bebop, Swing, and Progressive Jazz eras. Mastery of the 1I-V/-1 progression {2 cepectally Amportant {£ the musietan intends to improvise in any vein other than modal or completely free, ‘The following pages contain exercises or patterns which should be transposed to al twelve keys. have Listed the patterne tn one key D-y07,C for the sake of comperfeon, Listing patterns in one key also allove se to present wony wore patterns than if each were transposed to all twelve keys. Each track on the first side of the record has @ page(s) of corresponding patterns which should be transposed and played with the recorded track, If you have trouble transposing, even though che scales for each track are written in the staff below the chord progression, 1 suggest writing out several patterns in several keys or ip all twelve, Eventually, you should learn to mentally transpose any idea or pattern to any hey on the spur of the nonent. This probably takes sore discipline than any other aspect of Anprovisation. The idea of learning a pattern and vhen to play 1¢ should not be thought of a luscreative, Because it is tspossible to continuously create nev mesningfel. ide Auprovisers at tines resort to playing ideas or patterns that have been practiced and mentally logged before hand, This is taking nothing avay from the inproviser becaus it 4s often just as hard to play an {dea several tines in a row, each cine with the sane conviction, as it 1s to ereste completely nev ideas. Each player eventually builds « vocabulary that 4s uniquely hts om, and often this As how a musician 1s recognized or identified. If you Listen to any of the fasz masters you vill find certain "calling carde™ or "trade aavka" that are associated with thet particular player and his style. Feel free to add to or subtrtct notes from any of the given patterns, Make up your own patterns. At fire, write the patter dom on paper and transpore At to Several keys. Later, take a pattern you have thought up and try playing te without, wetting 1¢ dova firet. “Most Jazz musicians can HEAR what other players. are playing : the instant they play it. They can hear the general range and whether of not ecales are being used and {f ao what scales (major, minor, dominant 7th, diminished, ete-) are being played. He vill hear certain patterns much eater and quicker then others steply because he is more faniliar vith the notes and patterns being played. Ultinstely, each ‘musician hopes to be able to hear and £0 sone degree comprehen what every musictan 1s playing, the instant it te played, Writing patterns down on paper ie the long Way ‘und, ‘but everyone begins that vay and graivally cLepenses with it an their ears become nove attuned to the music. Books that I recommend as supplenentary material are "Scales for Jazz Teprovieation"” by Dan Haerle published by Studio P/By Inc, "Ihe 11 V7 Progression” by David Beker Published by Dovn Beat Magazine, and "Patterns for Jazz" by Jerry coker, J. Greene, Je Casale, C. Campbell published by Studio #/R, Inc. Feel free to change the vhythes of the pattems I have ltoted ta chts book. You might try Teaving out one nove here or there’ and substitute # reat of the ease valves Rythate variety 4a necessary to matotain taterest when iaprovising, The besic watt for Jaze players is the 6th note, but You should eam to use tripiete, sixteenth and any ‘coubination you feel ta appropriate, ‘Alnose aay pattern will work over scychord/ecele JF you convincingly RESOLVE the {dea to the next chord scales All of the bass lines from this volume are available for $4.95,Rufus Reid bass lines off Volume 1 and 3 with chord symbols above each measure, CopyRIGHT © 1976 by JAMEY AEBERSOLD ALL rights reserved —_Internattonal Copyright Secured Printed in U.S.A.CONTENTS INTRODUCTION TO VOLUME 3 Page CONCERT KEY CHORD/SCALE PROGRESSIONS «4.5.24... win 8 Bh INSTRUMENT CHORD/SCALE PROGRESSIONS ......sssssesseeesseesssseees 97 16 Eb INSTRUMENT CHORD/SCALE PROGRESSIONS .......+ssseeeeeeseees ay - 24 Regrets cers sa5 = 38 BASS CLEF INSTRUMENT CHORD/SCALE PROGRESSIONS . ‘SUPPLEMENT | INTRODUCTION TO PATTERNS AND EXERCISES ...+.0ese0e+ee PATTERNS FOR SIDE 1, TRACK 1 (11/¥7/I MAJOR KEYS). DIMINISHED AND WHOLE TONE PATTERNS PATTERNS FOR SIDE 1, TRACK 2 (II/V7) | PATTERNS FOR SIDE 1, TRACK 3 (V7+9/1) PATTERNS FOR SIDE 1, TRACK 4 (@/¥749/1) MINOR KEYS | INTRODUCTION TO PIANO VOICINGS . PIANO VOICINGS ... SCALE SYLLABUS 11 ‘Anneans Major. Can also mean major 7th, W= Half step, W = Whole step V7 means a Dominant 7th scale ‘ot chord: ~3 = three half steps (minor third) bn Lover We etep,_+ = raise i step 4 = Major scale/chord (emphasize the aayor Eh) (don"t euphasize the AS = Major ecale/chord vith cateed 4th (Lydian) = WHUHY WE V7 = Dominant 7th scale/chord (don't enphasize the 4th) (Mixolydian) = = Minor scale/chord (Dorian) (all scale tones are usable) += Raiee the fifth tone of the scale step yb GHORD SYMBOL GUIDE FOR VOLUME 3 7el 1 dostnant Lydian scole Cespharice the 3¢4,f4th,6 6th) = WWW HW HW V7+ = Whole tone scale/chord = WWW WWW (this scale in a +4 & 45) V709 = Disinished scale beginning with « half SOHO 7 V9 = Diminished whole tone scele (emphasize the ee ft oh Le @ = Half diminished scale/chérd (Locrian scale oF Be =. Since this rBcord is in stereo, piano and guitar players may practice with the base and drums by simply turning off the right channel. ‘Base players may turn off the bass channel (eft channel) and practice with piano and drums on the right channel. Wind players way Play with full rhyehm section, piano and drums, or bass and drums. Transposed chord/scale progressions are provided for all instruments (see contents). The chord symbols that I use in ehis book are: Q= Major (enphasize the major Jeh aad | Sth), 7 = dominant 7th (Mixolydian), ~ = sinor (Dorian), C749 = dixinished/vhole tone scale, | @ = half-diminiohed (Locrian or Locrian with a raised second degree). When inva sinor key, the IT chord is usually $ (half-diminished), Instead of using Tt(8)-V/#9-T I simply use ‘V749-I, Chord tones on sose pages are blackened in to facilitate learning Teh chords Be sure to read the various pages In the supplement which give suggestions with the recorded tracks. These pages are extremely iaportant! Consult the scale syllabus coo! The piano voicings Listed in the supplement can be extremely inportant. Please take the tine to work with then and master the sound and feel of each voicing. They are to be played with the record. Begin by practicing without the record and vork tovards the texpo ea the Fecord. You can turn off the ptano track (right channel) and practice with Just the bass and runs on the left channel. Uf your turntable has pitch control you may want to alter the speed of the platter to ove the recorded tracks to other keys. For instance, the G minor blues can be speeded up to Ab winor blues or sloved dovn to FY sinor blues, OF Course you would have ro transpose the chord progression to the new key. Yost good Jazz players can eventually transpose any welody ©F chotd progression to any key. Yoo should make this one of your musical goals.1 CONCERT KEY CHORD PROGRESSIONS e 1W/V7/1 (All Major Keys) WP Side 1—Track 1 (ee aNCONCERT PROGRESSIONS: RANDOM II/V7 PROGRESSIONS Sido Track? i @ 1 c= fa 5 OF A aoe eae aoe eae Be & : Beg eb b Spee pate. Y= iz = : EE.v7*7/ 1 (All Keys) CONCERT PRocREssToxs (01M. WHOLE TONE RESOLVING TO TONIC) Side 1—Track3 oti. a er a Caf? e- a1 & pe che 7 yiBNT'Y IAI Minor Keys) 4 concent oyg (HALF-DIMINISHED TO DIM. WHOLE TONE RESOLVING TO TONIC) eee ee 8018 ee iri9 5 coNceRT PROG ESston G MINOR BLUES Side 2—Track 1 z b- é. Be TERE. ARE A YEN SUGGESTIONS FOR ADDING VARIETY TO THE PLAYING OF THIS MINOR BLUES. 1) THE DOMINANT 749 CGHORD/SCALES IN BARS 4,10,4ND 12 IMPLY THE SOUND OF THE DIM- INTSHED/WROLE TOME SCALE. TRY EMPHASIZING THE'9 AND 49 MOEN THOSE MEASURES OCCUR. ‘WOOK AT THE PATTERNS FOR SIDE 1,TRACK 3 AND CONDENSE THE IDEAS TO FIT THIS BLUES. 2) WHEN THE MAJOR 7eh CHORD/SCALES ARE SOUNDED TN BARS 7 AND 8 TRY EAPHASIZING ‘DHE MAJOR Teh AND THE 9th. YOU MIGHT ALSO EXPERDENT WITH PLAYING THE RATSED Gch OW THE MAJOR 7th SCALES. THIS WOULD PRODUCE A LYDIAN SCALE. 3) TN MEASURES 1,2,3,5,A5D 11 YOU SHOULD TRY RATSING THE 7eh NOTE OF THE MINOR SCALES. THIS FORKS’ A’MELODIG MINOR SCALE (ASCENDING). EVEN THOUGH THE PLANO IS, SOUNDDIG THE LOWERED Teh YOU CAN PLAY THE RAISED 7th (MAJOR 7eh) AS A COLOR TONE OR PASSING TORE. 4) IN MEASURE 9 YOU MAY PLAY THE LOCRIAN #2 SCALE WHICH CONTAINS A RAISED SECOND. ‘THIS WOULD BE A B NATURAL INSTEAD OF Bb. (CONCERT) . 5) SUGGEST EXPERIMENTING WITH THE BLUES SCALE (SOUND) ON THIS PIECE. THE WAY To GET THE BLUES SOUND IS To PLAY THE CONCERT G BLUES SCALE THROUGHOUT THE ENTIRE ‘TWELVE BAR PROGRESSION. THERE WILL BE POLKTS OF TENSION BUT THAT TS WHAT MARES THE [BLUES SCALE SOUND THE WAY TT DOES, ONLY USE THE ALUES SCALE/SOUND WHEN YOUR MIND TELLS YOU To GET THAT TYPE SOUND,” 1 DEPINITELY ENCOURAGE THE USE OF THE BLUES SCALE DURING THE CODA. SECTION 6) ON MEASURES 9, 10 AND 11 YOU CAN USE ANY OF THE PATTERNS LISTED FOR SIDE 1, TRACK 4. JUS TRANSPOSE THE DESIRED PATTER TO YOUR PARTICULAR EY.trib vad on etn!1 CONCERT PROGRESSIONS M/V7/1 IN THREE KEYS Side 2—Track 3Side 2—Track 4 Bus ~ F BLUES WITH AN 8 MEASURE BRIDGE@ Bb INSTRUMENT CHORD PROGRESSIONS 1/V7/1 (All Major Keys) Side 1—Track 1af v7" 1 (All Keys) @ Sb CHORD PROGRESSIONS (DIM, WHOLE TONE RESOLVING TO TONIC) Side pe eal Be a D8 ge Fi aBb CHORD pROGEESSIONS RANDOM II/V7 PROGRESSIONS Side 1—Track 2v7*71 (All Keys) (OIM. WHOLE TONE RESOLVING To TONIC) ciSide 1—Track 4 QTY I(All Minor Keys) (HALE-DIMINISHED TO DIM. WHOLE TONE RESOLVING TO TONIC)3 ave mona awsonsives @Q seer tens 1 %, t Bs oo. che 68 268 ERE ARE A FEY SUGOESTIONS FOR ADDING VARIETY TO THE PLAYING OF THIS MINOR BLUES. 1). THE DOMINANT 749 CHORD/SCALES TN BARS 4,10,AND 12 IMPLY THE SOUND OF THE DIM INISHED/WWOLE TONE SCALE. TRY EMPHASIZING THE’b9 AND +9 WEN THOSE MEASURES OCCUR. LOOK AT THE PATTERNS FOR SIDE 1,TRACK 3 AND CONDENSE THE IDEAS To FIT THIS BLUES. 2) WNEN THE MAJOR Teh CHORD/SCALES ARE SOUNDED IN BARS 7 AND @ TRY EMPHASIZING ‘Die MAJOR 7th AND THE th. YOU MIGHT ALSO EXPERIMENT WITH PLAYING THE RAISED 4eh (OW THE MAJOR 7th SCALES. THIS MOULD PRODUCE A LYDIAN SCALE. 3) "IN MEASURES 1,2,3,5,AND 11 YOU SHOULD TRY RAISING THE 7¢h NOTE OF THE. XINOR SCALE.” THIS FORIS'A'HELODIC MINOR SCALE (ASCENDING), EVEN THOUGH THE PIANO 1S SOUND:xiC THE LOWERED 7th YOU CAN PLAY THE RAISED 7¢h (MAJOR 7th) AS A COLOR TONE OR PASSING TOKE. &). "IN ¥EASURE 9 YOU MAY PLAY THE LOCRLAM #2 SCALE WRTCH CONTAINS A RAISED SECOND, ‘TMIS WOULD BE A B NATURAL THSTEAD OF Bb, (CONCERT) 5) 1 SUGGEST EXPERIMENTING NITH THE BLUES SCALE (SOUND) ON THIS PIECE. THE WAY ‘TO GET THE BLUES SOUND IS TO PLAY THE CONCERT G BLUES SCALE THROUGHOUT THE ENTIRE MELVE BAR PROGRESSION. THERE WILL BE POINTS OF TENSION BUT THAT TS WHAT RAKES THE BLUES SCALE SOUND THE WaY IT DOES, ONLY USE THE BLUES SCALE/SOUND WHEN YOUR MIND TELLS YOU To GET THAT TYPE SOUND. 1 DEFINITELY ENCOURAGE THE USE OF THE BLUES SCALE DURING THE CODA SECTION. 6) ON MEASURES 9, 10 AND 11 YOU CAN USE ANY OF THE PATTERNS LISTED FOR SIDE 1, TRACK 4, ‘UST TRANSPOSE THE DESTRED PATTERN TO YOUR PARTICULAR KEYBb con rnocressions 14 vow process ee $5 a Devel LAsr Gholi vam? on LAA15 1b CHORD PROGRESSIONS W/V7/1 IN THREE KEYS @ sice2so01s 1 a rz I ae aeBb CHORD PRocRESSsTONS ‘Side 2—Track 4 Bives, F BLUES WITH AN 8 MEASURE BRIDGE| 73 Ay 1) Eb INSTRUMENT CHORD PROGRESSIONS @ en 11/V7/1 (All Major Keys) 4 — 4 bBb cWonD raocersszoss. FF BLUES WITH AN 8 MEASURE BRIDGE ® Side 2—Track 4 Bives,}\ u ) Eb INSTRUMENT CHORD PROGRESSIONS 1I/V7/1 (All Major Keys) £y @ Side 1—Track 1 b- a Dy= RANDOM II/V7 PROGRESSIONSv7" (All Keys) (DIM. WHOLE TONE RESOLVING To TONIC) a8 men ne ey pysst0Ns B/VT'Y I (AI Minor Keys) Side 1—Track 4 (HALF-DIMINISHED TO DIM. WHOLE TONE RESOLVING 10 TONIC) @ Eo Aaa : : - che A A seat siaa ‘Be CHORD PROGRESSIONS G MINOR BLUES Side 2—Track 1 { 2é~ (eae HERE ARE A FEY SUGCESTIONS FOR ADDING VARIETY To THE PLAYING OF THIS MINOR BLUES. 1) THE DOMINANT 749 CHORD/SCALES IN BARS 6,10,AXD 12 IMPLY THE SOUND OP THE DIX INISHED/SMIOLE TONE SCALE. TRY EAGWASIZING THES9 AND +9 SHEN THOSE MEASURES OCCUR. {LOOK AT THE PATTERNS FOR SIDE 1, TRACK 3 AND CONDENSE THE IDEAS To FIT THIS BLUES, 2) WHEN TUE MAJOR Teh CHORD/SCALES ARE SOUNDED TW BARS 7 AND 8 TRY EXHASIZING ‘THE MAJOR 7th AND THE 9th. YOU MIGHT ALSO EXPERIMENT WITH PLAYING THE RAISED ch OW THE MAJOR 7th SCALES. THIS WOULD PRODUCE A LYDIAN SCALE. 3) TW MEASURES 1,-/3,5,AND Il YOU SHOULD TRY RATSING THE 7th NOTE OF THE MINOR SCALES. THIS FORYS'A’MELODIC MINOR SCALE (ASCENDING) EVEN THOUGH THE PLANO 18 SOUNDING THE LOWERED Teh YOU CAN PLAY THE RAISED Teh (MAJOR Teh) AS A COLOR TONE Ok PASSING TONE, 4) TW MEASURE. 9 YOU MAY PLAY TRE LOCRIAN #2 SCALE WHICH THIS WOULD BE A 8 NATURAL INSTEAD OF Bb. (CONCERT) . 5) SUGGEST EXPERIMENTING WITH THE BLUES SCALE (SOUND) ON THIS PIECE. THE WAY ‘To GET THE BLUES SOUND 1 To PLAY THE CONCERT G BLUES SCALE THROUGHOUT THE ENTIRE TWELVE BAR PROGRESSION. THERE WILL BE POSTS OF TENSION BUT THAT 15 WHAT MAKES THE BLUES SCALE SOUND THE WAY IT DOES. ONLY USE THE BLUES SCALE/SOUND WHEN YOUR MIND TELLS YOU 70 GET THAT TYPE SOUND. 1 DEFINITELY ENCOURAGE THE USE OF THE BLUES SCALE DURING THE CODA SECTE 6). ON MEASURES 9, 10 AND 1! YOU CAN USE ANY OF THE PATTERNS LISTED FOR STDE 1, TRACK 4. TST TRANSPOSE THE DESTRED PATTERN TO YOUR PARTICILAR KEY ‘AINS A RATSED SECOND.Hb_cionp procREsstoxs Side 2—Track 2 BEBOP TUNE 223 Eb CHORD PocRESsrONS Side 2—Track 3 ma WW/V7/1 IN THREE KEYS =< ee ee ys iBb CHORD pROGRESSTONS Side 2—Track 4 F BLUES WITH AN 8 MEASURE BRIDGE 24% BASS CLEF INSTRUMENT CHORD PROGRESSIONS 7 IVV7/1 (All Major Keys) Side 1—track6 BASS CLE aNsTE, RANDOM II/V7 PROGRESSIONS BF Side 1Track 2 & & ah ch bo elabe Bp. £67 é 22 A ee A 2. 2 Gr 2 aea v7" (All Keys) oO BASS CLEP INSTR. (DIM. WHOLE TONE RESOLVING TO TONIC) Side 1—Track 3 a es Hees i ae a Cre - | ep me ayNT (All Minor Keys) % ISTE, (HALF-DIMINISHED TO DIM. WHOLE TONE RESOLVING TO TONIC) rack 4 oui zatetet Sf ae ‘a apnole29 taal On: cumonstues : ia fe b a MERE ARE A FEW SUGGESTIONS FOR ADDING VARIETY TO THE PLAYING OF THIS MINOR ALUES. 1) TRE DOMINANT 749 CGHORD/SCALES TK BARS 4,10,AND 12 IMPLY THE SOUND OF THE DIM INISHED/MIOLE TONE SCALE, TRY EMPHASIZING THE'B9 AND 49 MEN THOSE MEASURES OCCUR. LOOK AT THE PATTERNS FOR SIDE 1,TRACK 3 AND CONDENSE THE IDEAS 70 FIT THIS BLUES. 2)” WHEN TRE MAJOR 7th CHORD/SCALES ARE SOUNDED IN BARS 7. AND 8 TRY EXPHASIZING ‘THE MAIOR Tth AND THE 9th. YOU MIGHT ALSD EXPERIMENT WITH PLAYING THE RATSED 4eh . ON THE MAJOR 7eh SCALES. THIS WOULD PRODUCE A LYDIAN SCALE 3) TW MEASURES 1,2,3,5,AND 11 YoU SHOULD TRY RATSING T¥™ Teh NOTE OF THE MINOR SCALES. THIS FORIS’A'VELODIC MINOR SCALE (ASCENDING). :VEN THOUGH THE PIANO 1S SOUNDING THE LOWERED 7th YOU CAN-PLAY TME RAISED Teh QAAIOR 7th) AS A COLOR TONE (OR PASSING TONE. 4) IN MEASTRE 9 YOU MAY PLAY THE LOCRIAN #2 SCALE KHICH COSTAINS A RAISED SECOND. THIS MOULD BE A B NATURAL INSTEAD OF BD. (CONCERT) 5) U SUGGEST EXPERIMENTING WITH THE BLUES SCALE (SOUND) ON THIS PIECE. THE HAY = TO CET THE BLUES SOUND 1S To PLAY THE CONCERT G BLUES SCALT THROUGHOUT THE ENTIRE TRELUE BAR PROGRESSION. THERE WILL BE POINTS OF TERSION BUT THAT TS MMAT MAKES THE BLUES SCALE SOUND THE WAY IT DOES, ONLY USE THE BLUES SCALE/SOUND WHEN YOUR MIND TELLS YOU To GET THAT TYPE SOUND, I DEFINITELY ENCOURAGE THE USE OF THE BLUES _ SCALE DURING THE CODA SECruOK. 6) ON MPASCRES 9,10 AND 11 TOU CAN USE ANY OF THE PATTERSS LISTED FOR SIDE 1, TRACK & JUST TRANSPOSE THE DESIRED PATTERK TO YOUR PARTICULAR KEY.BEBOP TUNE4 ASS CLEE INSTR. Side 2—Track & F BLUES WITH AN 8 MEASURE BRIDGESCALE SvLLABUS iSCALE SvLLABUS i3 BASS cLEF txsrR, HW/V7/1 IN THREE KEYS Side 2=Track 3 8 riptedes 2 5 goet OP rm