PATTERNS FOR JAZZThis text is lovingly dedicated to Jimmy Casale. His death, shortly before publica- tion, is a loss made obvious by the excel- lence of his contribution to these studies. We are fortunate to have a portion of his talent and dedication captured here in per- manent form. Copyright © 1970 by Studio P/R, Inc. 224 S. Lebanon St., Lebanon, Indiana 46052 All rights reserved. No part of this book may be reproduced in any form, other means, withour permission in writing from the publishers, Third Edition Printed in the United Sates of America. by mimeograph or anyTABLE OF CONTENTS Pattern Number Description 1. 12 Major Triads - 13- 17 Major Sixth Chords ....... 18- 27 Major Seventh and Ninth Chords ... a 28. 43 Major Scales ...... sevnnsnnerl 44- 59 Digital Pacerns in Major - 1 60- 67 Major Scale Intervals ...... 68- 78 Patterns with Embellishing (non-harmonic) tones... 79. 86 Diatonic Chords - 87- 98 Dominant Seventh and Ninth Chords....... 99-100 Mixolydian Mode (Dominant Scale 101-102 Minor Triads 1 103-104 Minor Sixth Chords ........ I = 105-113 Minor Seventh and Ninth Chords... 114-116 Dorian Mode (Minor Seventh Scale)... 117-122 Digital Patterns on Minor Seventh Chords 123-134 Patterns for the IIm7—V7 Progression. 85- 90 135-148 Patterns for the Hm7—V7—I Progression foe 91-100 149-152 Augmented Triads | - ese 104105 153-157 Whole-tone Scale i 106-108 158-161 Diminished Triads { — oN LL-T12 162-168 Diminished Scale - cnnnnnnnenneeASLLS 169-173 Parallel Progressions 116-118 174-177 Turnarounds (Turnbacks) - - svennnentnnrnneneneeneel LBLLD 178-179 Altered Ninth Chords ot - 120 180-200 Polychords 1 122-126 201-208 Polychords for Diminished Seale... soenne 128-130 209-224 More on the Diminished Scale 7 a von 31-134 225-233 Augmented Scale ...... svnneinnmenneel 352138 | 234-242 Major Scale in Fourths. ‘ : sod 39-LAL ! ~ 243 Digital Pattern on Major Scale......njo-n 142 244-246 Harmonic Minor Scale - vere 243 247-250 More on the Whole-tone Scale... eo 143-144 251-277 Lydian Augmented Scale 4 - oe 146-154 278-308 Incerval Studies - - - - noe 536165, 309-326 Chromatic Scale . : on 1656172INTRODUCTION Jazz improvisation is the spontaneous creation of music in the jazz style. Like traditional com. vosition, jazz improvisation is a éfaft. Ic is a canditioning of the mind, body and spirit, brought our by the study of musical principles. This conditioning becomes a necessary prelude to the professional practice of the art, despite the implications of the word spontaneous. Just as spon- aneity is combined with conditioning, so is the existing style of jazz combined with originality of xpression. One is lost without the other, and so we seldom hear an improviser’s solo that does ‘not contain melodic fragments or patterns: from the melody of the tune used, from a fellow per- ormer's solo, from an influential player of the time, from a different cune altogether, from material vreviously improvised, or from patterns (original or borrowed) currently studied in individual practice. Another obvious combination is creation and performance. The jazz improviser pre-hears a his mind the next musical event, and then has the added task of playing it cleanly and wich o © x a > s & & & a ‘he C Major scale is illustrated in ewo complete octaves. The numbers under each tone indicate che cosition of that cone in chis scale. Note that beyond the first octave, cone #8, the cones have the same letter names and the numbers corresponding co these tones refer to the respective distances from the ting tone, #1. The following four chords, Major Triad. Major Sixch Chord, Major Seventh Chord and Major Ninth Chord, will be formed by applying a numerical formula to the C Major scale. The corresponding Iphabetical symbols will also be indicated. By extracting cones No. 1-3-5 from the C Major scale, we arrive at the notes forming the C Major ‘iad! -— Symbol: C Tones Ni 6 of the C Major scale form che C Major Sixth Chord.* - Symbol: CMG A three note chord which measures five tones from the bottom to the top, counting the first cone as No. 1. 2A four note chord which measures six cones from che hottom to the cop, counting the first tone as No. 1. 1Oe Tones #1-3-5-7 form the C Major Seventh Chord.’ ~ ‘Symbol: CM7 Tones #1-3-5-7-9 form the © Major Ninth Chord. oo Symbol: GM9 Altecaste Symbol: 9 M7 Alternate Symbol: (9) M7 3A four nore chord which measures seven tones from che botom vo che top, counting the first tone as No. 1. 4A five note chord which measures nine tones from the bottom to the rop, counting the first tone as No. 1.a CHORD TONE CHART BASED ON MAJOR SCALES OF CHORD ROOTS th | Sine | A/D. |G ClF Bb/Eb/ab/E | B | F#! C#] G# [D4] Ag | . | na | | ula] | | | Sine F | Bb} E>) ab| D>] Gri chb/rbic |G |p la le |B | Fe s 4th | | { | | oan | Reta eee | ~ 1] | sume [DG |C |F Bb| Eb! ab |pb)a | E | B | F¥!| CH |G#| DE As 2nd 1 {| ,o"] ro [BE [a |p |G ic [F |B Fe] ce| Ge] Del ad [Ee | Be |_xh_[G ic [F [pbl/Eb ablpe |G D | a |e |B | FF |c#|Gi _3a_[e a |p |e [c |F [Bb le |B | Fi! cH] GE] De [ad EF Se + + (Reon | | F | BP | EP | ae | D> Gr}chiG |p |a |e |B [Fc CHORD ROOTS ‘This chord tone chart organizes the tones of all Major scales in the order needed for the construction of Major chords. Reading up from the chord root C (also indicated as cone #1), we see the tones: C-E-G-B-D-F-A, which are all the notes in the|C Major scale. Nore chat the ninth, eleventh and thirteenth are also the second, fourth and sixth cones respectively, as they are the same letter names. In preparation for the following exercises, be able to recite, write and play the following chords in every key: Major Triads, Major Sixth Chords, Major Seventh Chords and Major Ninth Chords. Use the following “routine form” for playing the chords. It does nor require any specific chythm, for chord tones, or tempo. 0 0 CM OM7 = = a —; et ee - + Oe + This note added to fill out the chord. It does nor change the sound of the chord. The following patterns begin with Major Triads. Note the alphabetical symbols and metronome j markings. The vertical lines indicate the number of beats assigned to that chord.J= 0-00 ¢ tp WY WL @ og cf &# ¢ w» bw Ba. (continue same rhythm) Uae Ames Pate a) tr eee tee lames ee ee (same chychm) ERT aicia 4=80-132 t (ue op 4 »D (continue in same manner)| eo wm - ng f ap 1b w& ot a pe Zz z we + (continue in same manner) c E Z = (00-138 c = = + 1 poate St aS room 6B UD y wm ¢ 2 Lf —F PF FF (continue in same manner)a ane aaiiniciaaitakc 9 78100-1358 Note: Each chord lasts ewo beats, (ascending) (descending ) (ascending) (descending) £ FF @6 MA HSE 6 Lt 7 (continue in same manner) Apply the same principle of alternating the ascending and descending forms to the chords in patterns No. 8, 9 and 10. db 100-138 + (descending) (ascending) (descending ) (ascending) EF #@ 4 vw Aw 8B C6 (continue in same manner) Apply the same principle of alternating the descending and ascending forms to the chords in patterns No. 8,9 and 10.eo mn é= Ib0-208 OMe ,_ DOMy % Om 13 Note: Each chord lasts cwo measures, cl EM My CIMo GMo (continue in same manner) AM AM BML Bho CM da 186-208 . ou CMs DMe a Ma ; Wee — SS e t Gime A> = BMD (continue in same manner) fim EM GM «AM = BM DMG PAP ALD PAPAS PFA 10= 138-102 Mio ~~ F Me co. BMo Dy my Sr Ete Alwe ‘Dime (Mo Bw EM Amu Ome tne CG PEEP ALPES EPEAT } (continue in same manner) o= (38-102 (Me yma CIM AM Sno MMe = BMb Me My hme Emo hme (continue in same manner) 4100-144 Note: Each chord lasts two beats. CMe. OMMiy ny DM 4 EIMG Emo Pmt tm, Gmo AM AMG WM Be Gmb (continue in same manner)| aca ees € d= 0-208 Note: Each chord lasts two measures. ruc 7 7 Ebya — Gina 18 Z Ama En Abn m7 Oma (continue in same manner) Bun Dom ene baa d= /3BB-/92 Lar Far On Elm7 Adm vite ee See Se tae te f Dhnr Comz Br Em7 Amy Dun Gut mr (continue in same manner) fa$288-/20 Nore: Each chord lasts three beats. cua DM evn tn Alma hr Cm + Fy) (continue in same manner) By) Don town FMM at Da f = 2 Jpg PT 7 (continue in same manner) Y M1 Dene ~ Om EfM1 ema Mr GMT m7 AMT AMT m7 BMT M7 d20-/20 Note: Each chord lasts two beats. (ma DIM, M1 elma EM EMT 22 (continue in same manner) (ascending) (descending) 5 =I | Ging G7 Aime? Amt Bom BMT CM Apply the same principle of alternating the ascending and descending forms to the chords in patterns No. 18, 19 and 20. (Be sure to group chords so that two will be in each measure, giving each chord two beats—as in pattern No. 22.) 2Biia carinii acar apramamamees WAM < de B0=120 Note: Each chord lasts two beats. CMT DhM7 DMT bM7 eM] M1 (descending) (ascending) (continue in same manne Gin GMT Awa AM? M7 Bm M1 ZL Z t+ t = Apply the same principle of alternating the descending and ascending forms to the chords in patte No. 18, 19 and 20. (Be sure to group chords so that there are two in each measure, giving each chord two beats, as partern No. 23.) d= 08-/62 Note: Two measures per chord, ending on “third” of chord. cmMq Emma =~ “eS : - Ss PY md «yu Doma end ama EEE A Dy4888-120 Note: Five beats per measure. if Domg yma oma 5 (continue in same manner) eva gwd bmg soma wma AMA BM BM Mg 45100-1464 cree Bach chord lasts ewo measures. cmd ‘wee ye amg a 26 (continue in same manner) Ly e0M4 Apna 7M img ama em4 AM4 m4 Gna Md 1280-120 Nove: Three bests per measure. OMG Dmq ema cman rs Bona cM Dg cid ema OMG AMA = BM4 DMG 15Mls < Emq Dmg Glog ema Md Up to this point, our main concern has been the exercising of the four related types of major cho’ formed by extracting their respective tones from the major scale of the chord root. Now we \ concern ourselves with various patterns on the scale (major) itself. You will notice that the ch symbols for the following patterns will be those of the major triad. However, the student must F in mind that the major triad, M6, M7, and M9 chords all use the same basic scale: the major s. of the chord root. For example, a C, CM6, CM7, and CM9 will al! share the C major scale. The of the triad symbol in the following patterns is merely for convenience, since it would be imposs to determine exactly which chord is being used when the scale is common to all the chords mentior SDavid Baker, "Seratusphunk,” on Stratuspounk (Riverside 341), George Russell Sextet. Baker's trombone + illusteates noc only pattern No. 28, buc some of its permutations (remakings) as well. For example, pattern may be altered to fic other types of chords, so that it would be possible to reconstruct che pattern oa © fote of a given scale (see Figure 24, p. 81) staying within che key signature throughout. Ie would also be { sible, as Baker illustrates, co move the partern chromatically, progressing up or down in balfsteps, if the m! is Free enough to permit such movemeac- 16bi Saami eseeattieaieecaennashieneneinaeieeneememnmmanmmnnenaaamemannntee, je 10-162 c ge D los Ea filQ- 182 ” ¢ y 30 : B oe ot E Ey GET IT =I Gh g EA E He. ti Yat a © G cr ai 0-162 : £ ‘) (continue ia same manner) D w o E 6346-136 é Note: Each chord scale lasts one measure, 0b = (ascending) (descending) (ascending) (descending) Oo aA wp 6 ¢ € F Ss cs (continue in same manner) }346-/88 A é aot Ps Pathe 34 eee a a cE =| (ascending) (descending) ir (ascending) (descending) Yo oo B £€ A D0 Gg 2 (continue in same manner) j= 46-188 ¢ D E Gb 35 FT (ascending) (descending) (ascending) (descending) oO pp C oo on 5 ———— mie (continue in same manner) (ascending) (descending) nn 4 A Q ob =| (Continue in same manner) 19w4b-/88 wi = (A ef gy 4A 36; (ascending) (descending) (continue in same manner) Ap wow mw eg 4 1296-138 ¢é ow 2D eo 37 (descending) (ascending) (descending) (ascending) £ Ff gb o6 Mw A wm Bb ¢ Apply the principle of alternating che descending and ascending forms of the chord scales to th chords in patcerns No, 34, 35 and 36. Sa * Note: To be used for C, €M6, CM7 or CM9. ‘Transpose Pattern No. 38 in remaining eleven keys. ‘The remaining eleven keys refecred to are: F. B29. ED. AP. D2, G9, BE, A, D and G. 0j= 100-132 on ono T a) — epg PETG a 7 Note: To be used for C, CM6, CM7 or CM9. SS 4 - tt z tS Practice in all keys. o= Tha l00 0 7 ( ae 7) Note: To be used for C, CM6, CM7 or CM9. “BY _ ort pr SS gare ee eo ames) Practice in all keys. 21de 70-100 == age Se ae FF aE ; Zz s = 5B SBS BS DVS Note: To be used for: C, CM6, CM7 or CM9. p fol pre FE t 2 ja} tgp ts 7s Za JF FTF FSF J] Note: To be used for: C, CM6, CM7 or CM9. fa > = TANG 8G ta GS Ss ‘Transpose Patern No. 42 in remaining eleven keys. 206-68 of == = tat Cs Note: To be used for: C, CM6, CM7 or CM9. Ne + + — — = SS = aS SS SSS a7 Transpose pattern No. 43 in remaining eleven keys. 22ROAR in tid ncaa Beginning with Pattern No. 44, the stadent would be wise to learn the chord-scale sumbers given below each pattern and use them fo quick, easy transposition. For example, the 1-2-3-5 pattern of No. 44 could be applied to any new chord roor, since numbers only indicate pitch relation- ships, not the pitches themselves. Although each of these patterns will be practiced in the four established chord progressions (Nos. 44-47, for example), covering all keys, it would also be ad- visable to practice each of the patterns bearing numbers (i.¢., 1-2-3-5) with a reasonable number of progressions from already existing cunes aad jazz lines, available in fake books (collections of published tunes and their progressions), song books, sheet music, or (if they are available to the student) private collections of tunes, copied or transcribed from various written sources or records. In short, any of the pacterns which follow, having the aumbers (like {-2-3-5) could be projected over any cune’s entire length, when the minor forms of these patterns have been added to the fol- lowing major forms, since nearly all chords contained in the tune's progression will have either a major triad on the bottom (ie., 1-2-3-5) or a minor triad (ie, 1-2-flat 3-5) Note: To be used for Major Triad, M6, M7 or M9. j2180-206 Chords of respective roots. d Ec we gb Ab Ob 44 Saat f ff EEE 14398 6 £286 ¢ $3 (continue in same manner) ‘This pattern is made up of the first, second, chird and fifth rones of che chord scale. tea E A 0 4 4 J5100-/44 Note: Each chord lasts ewo beats. iG A 4 & @ AF Dwwe 1 £38 123F (continue in same manner) See bridge section of Oliver Nelson's “Cascades,” on The Blues And The Abstract Truth (Impulse S-5), Oliver Nelson Group. Also note Freddie Hubbard's last chorus on the same selection. John Coltrane, "Giane Steps" and other selections, on Giant Steps (Atlantic S-1311), John Coltrane Quartet. 23ean 42 (10-100 acitw ob De E e —— ae aaa ae se va 236s " 2ae (continue in same manner) wb a A Bw 4 ¢ cho oab oo ¢ 2 E 47 (continue in same manner) 6 4 6 n (continue in same manner) ag my @ = 60-208 ¢ fF, @ $321 5324; 68321 aN 48 This pattern is made up of the fifth. third, second and first tones of the chord scale, | Note that the direction is descending from starting note in each cho: th 8 eg A ? Ab 9b y (continue in same manner) 24el 13 (04-132 d oy gar AD 3 0 ® me O 49; Apply chord scale fragment 5-3-2-1 to the chords in patterns No. 46 and 47. 4290-120 4h ch a , 0 & fe Wl (continue in same manner) Note: This patcern utilizes the alternating chord scale fragments 1-2-3-5 and 5-3-d-1 ooe ¢ a 0 g ¢ Z I t —_ Apply the same principle of alternating fragments 1-2-3-3 and 5-3-2-1 to dhe chords in patterns No. 45, 46 and 47. 7 ae E oe Avo = oes — 4 raat 1438 Note: This pactern utilizes the alternating chord scale fragments 5-3-2-1 and 1-2-3. oe € A oO G4 ¢ ei Apply the same principle of alternating fragments 5-3-2-1 and 1-2-3-5 to che chords in patterns No. 45, 46 and 47 SJobn Coltrane, "Giant Steps,” on Giant Steps (Adantic S-I311), John Coltrane Quartet. This pattern may be wed on any chord with a major third, *Oliver Nelson, “Butch and Burch," on The Blues Aud The Abstract Truth (Impulse $-5), Oliver Nelson Group. ‘This pattern is used on minor chords descending, ia whole steps. 25‘< SS SS a —- SS Ee =s oS =} Transpose Pattern No. 62 in remaining eleven keys. $710 soe: To be vsed with C, C6, CMY oF CMS. 4 Se ait = et z $ Zz # 7 4] a + 7 ‘Transpose Pattern No. 63 in remaining eleven keys. 29 tHWA sry) J: 6~4o ——~ ~ 64 SSS SS ay e SSS ass ee a Teanspose Pattern No. 64 in remaining eleven keys 20-92 Note: To be used for C, CM6, CMT or CM9. fe eS et = — z Ft nd + bs £ é SS 4s 7 > eo # =o j ‘Transpose Pattern No. 65 in remaining eleven keys. | bs | ' | J25b~88 | ) : 2G ¢ et —— = SSS = —_ == | £ t —F Ps 4 = = # F fs 4== SF Ie 7 -a 67 r 7 —— ~ Ss SSS] - —|% = Transpose Pattern No. 67 in the remaining eleven keys. Up to this point we have been concerning outselves with patterns chat were developed chrough the use of chord tones, chord scales, or fragments of chord scales. We have not developed any patterns shat require the use of non-chordal or non-harmonic tones. The term non-chordal can be translaced literally to mean not belonging to the specific chord symbol. In the following illustrations the tones of che C Major criad are used. = : SSS =S= See Non-Cuorpat Tones Note that the tones D-Sharp and F-Sharp are the non-chordal cones used co establish che first pattern in this category. The remaining tones are either chord cones or scale tones. The student should also nore that although the C Major triad was used as the illustration, this same pattern can also be used for any major chord having the root tone of C, i.e: C Major Sixth (CMG), C Major Seventh (CM7) or C Major Ninth (CM9). Likewise, when transposing this and any of the other patterns developed by the use of the illuserated non-chordal cones, the same will apply. To establish the non-chordal tones on other major chord roots, use che major scale of that root as your guide, raising che 2nd and 4th cones Y\ step. (D-Sharp in the above illustrates the raised 2nd tone of C Major Scale; F-Sharp in the above illustrates the raised 4th tone of C Major Scale.) Using the C Major scale as our guide the analysis of the illuscraced partern would be. Root—Raised 2nd tone—Third—Raised 4th twne—Fifth—Seventh—Root (1 octave higher). va Pg pj 4 Root Raised Third Raised Fifth Seventh Root 2nd ch (1 Octave Tone Tone Higher) G2) (34) o ‘The student is advised to use the above principle for analysis of the following patterns (developed by the use of the non-chordal cones illustrated) hefore attempting to transpose the respective patterns co other chord roots. 31Aenea eeneeaenerenmmmmees g jrlfela — rxoo0 ¢ c fw ep ob 68 1431578 if 316 57 6 o @ © &€ A op & fog 1240-144 é___——— Se ceaneaaaiiad (G4-/82 . F ogy ob ree - 71S 6S 7) 7) EHS 718 o gf ® € A O09 4 6 j-80-/06 ie BD De® DQDaDt eb 73 17 | ga sus 7 ? 423 6 / 878 8 shee 17! | yo @ ¢ a 09 & 2 jx60-182 ig ae gq, Bb 14 : zie =e TE oA ae ti STEP:ae as tents aS EHJ:108-182 a ca ib en! ? = = Tt pete et Spa a 6721 34043 CHES 3705 (72) B44 Shes 6708 y e¢ Ap om ob Bg Aa Ss * : — t £F etet : v —- c +r DBI 7) 43S 668 9676 2/7) £3128 Lsfes 7978 p og y Oo W 8 € A OD ¢ ¢ Oliver Nelson, "Cascades," on The Blues And The Abstract Truth (Impulse S-5), Oliver Neison Group. The melody to "Cascades" is a descending version of Pattera No. 77 in a minor key. John Coltrane, Cadenza at the conclusion of “Giant Steps.” on Giant Steps (Aclancic $-1311), John Gohane Quartec John Colteane makes use of this arrangement of diatonic upper and lower neighbor tones but de- scending aad in triplets 13], J. Johnson, “Mysterioso,” on J. J. In Person (Columbia CL 1161), J. J. Johnson Quintet.MAJOR SCALE-TONE TRIADS Figure | illustrates the tones of the E Major scale. E + Fig. 1 We have previously used arabic numbers to indicate a specific scale tone. In figure 2, however, th roman numerals have been used co designate a chord (in this case, triads) that are constructed the respective scale tones indicated by the roman numerals. Figure 3 spells out the specific tom of each triad belonging to the E Major scale: Figure 2 illustrates the triads fotmed on each tone of the E Major scale. Note that when the fir note of the triad is on a line, che remaining notes to that triad are also on consecutive lines; whe the first note of the triad is on a space, the remaining notes are also on consecutive spaces. St SSH . 1 T = zx Tt zo Fig. 2 Fig. 3 The I chord in the key of E Major contains the notes—E, G-Sharp, B. The II chord in the key of E Major contains the notes—F-Sharp, A, C-Sharp. The HI chord in the key of E Major contains the noces—G-Sharp, B, D-Sharp. The IV chord in the key of E Major contains the notes—A, C-Sharp, E. ‘The V chord in the key of E Major contains the notes—B, D-Sharp, F-Sharp. The V1 chord in che key of E Major contains the notes—C-Sharp, E, G-Sharp. ‘The VI chord in the key of E Major contains the notes—D-Sharp, F-Sharp, A. We have shown that it is possible to construct a triad on each tone of the E Major scale. This s: principle applys for ALL major scales. The student is advised to write out, in the manner illustr? in figure 2, the scale-rone triads for the remaining eleven major scales before attempting 0 ' with Patterns No. 79 co No. 82. 36peG6-1/2 @ phon py 1 = Practice Pattern No. 79 in all keys. Note: This is an example of the use of alternating ascending and descending forms of the «riads in the previous pattern, 426-112 aos 80 = ae pt hag =a se This pattern can be used for C, CM6, CM7 or CMY. SS 7 = Ke + (Dese.) (Asc) Practice Pattern No. 80 in all keys. Jabot Note: This pattern uses descending forms of scale tone triads. a a spp ais = oe SS at Pg eee This pattern can be used for C, CMG, CM7 ar CMO. SG) BO Poss pe SSS] SS oa? te Practice in all keys. S* \s"Nove: This is an example of the use of alternating ascending and descen’ ag forms of the triads it the previous pacrern. debb-IIZ = aS rat f— SS aon eee can By ~ a t eS a — SOS Se SF Practice in all keys SEVENTH CHORDS ON MAJOR SCALE TONES It is possible co develop pateerns for improvisation by using seventh chords buile on each tor a major scale. It is important t understand thac at this point we are not using the term set chord to mean a specific cype of seventh chord, but eather as a general term referring co a four chord which measures seven cones from bottom to cop (counting the first tone as No. 1) and ing the same line to line or space to space relationship previously explained for scale tone 1? Figure 4 illustrates once again the cones of the E Major scale, 5 , Fig. 4 Joba Coltrane, “Milestones,” on Milestones (Columbia CS 9428), Miles Davis Sextet. a87 LS, Figure 5 illustrates the seventh chords formed on each tone of the E Major scale. Note that when the first note of the seventh chord is on a line, the remaining notes are on consecutive lines; when the first nore of the seventh chord is on a space, the remaining notes are on consecutive spaces. SS —4 ————— Fig 5027 Ih 0 Ir rm un Note chat the roman numerals are followed by the arabic number 7 which is only used to differ- entiate between the scale tone triads previously discussed and the scale tone sevenths presently being covered. (At a later point in the book we will be using a modified version of this roman numeral system ‘© translate more completely chord types ia any key.) Figure 6 spells out che specific tones of each seventh chord belonging to the E major scale: Fig. 6 ‘The 17 chord in the key of E major contains the notes—E, G-Sharp, B, D-Sharp. The LI7 chord in the key of E major contains the notes—F-Sharp, A, C-Sharp, E. ‘The L117 chord in che key of E major contains the notes—G-Sharp, B, D-Sharp, ‘The IV7 chord in the key of E major contains the notes—A. C-Sharp, E, G-Sharp. The V7 chord in the key of E major contains the notes—B, D-Sharp, F-Sharp, A. ‘The VI7 chord in the key of E major contains the aotes—C-Sharp, E, G-Sharp, B. The VII7 chord in the key of E major contains the notes—D-Sharp, F-Sharp, A, C-Sharp. Sharp. We have shown that it is possible to construct a seventh chord on each tone of the E major scale This same principle applys ro ALL major scales. The student is advised to write out the scale tone seventh chords, in the manner illustraced in figure 5, for the remaining eleven major scales before awempting to deal with Patterns No. 83 to No. 86. 39f + 2 80-120 wera att hh Tt a q- Ts i) This pattern can be used far C, CM6, CM7 or CM9. Z- + 4+ ee = Ae ieee Le Practice in all keys. 1240-182 2g rth a 0 pea ao ag ps - 4 This pattern can be used for C, CM6, CMT or CM9. tt = Practice in all keys. _ 92bb-\%o bia CS 9428), Miles Davis Sextet. 1609), Joh Colkcane Group. ‘Steaight No Chaser,” on Miles ‘Time Was," on First Trane (Pre 40+ Practice in all keys. MODES A mode is the complete circulation of a (major) scale begun and completed on any one of its tones.” This definition implies che fact that a mode is a scale which has a specific relationship co a key. There are seven such modes used in improvisation: Tonian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. The term Ionian mide and major scale are synonomous. For example: to play an Ionian mode on the note E-Flat means the same as playing che E-Flat major scale (See figure 7). Fig. 7 E-Flat Ionian Mode E-Flat Major Scale 17George Russell, The Lydian Chromatic Concept (New York: Concept Publishing Company, 1959). P. iv. 4Sr ¢ The Dorian mode is a scale which starts on the second tone of ANY MAJOR SCALE and continues re successive tones to the octave, applying the key signature of its parent scale'*. For example: A Dorian mode built on the note F ses the Key signature of E-Flat major, because the note F is the second tone of the E-Flat major scale (See figure 8). Fig. 8 te 3 “F” Dorian Mode Dorian Mode in “Key” of E-Flat which starts on F. The phrygisn mode is a scale which starts on the third cone of ANY MAJOR SCALE and continues in successive tones to the octave, applying the key signature of its parent scale. For example: A phrygian mode on G uses the key signacure of E-Flat major because the nore G is the third tone of the E-Elat major scale (See figure 9). Fig. 9 "G" Phrygian Mode Phrygian Mode in the “Key” of E-Flat which starts on G. ydian mode is a scale which starts on the fourth cone of ANY MAJOR SCALE and continues | in successive cones co the octave, applying the key signature of its parent scale. For example: A i Iydian mode on A-Flat uses the key signature of E-Flac major because the note A-Flat is the fourth tone in the E-Flar major scale (See figure 10). Fig. 10 Q o be ~ ae ar aa “A-Flat” Lydian Mode Lydian Mode in “Key” of E-Flat which starts on A-Flat. voRsselh p- 2 a2The mixolydian mode is a scale which starts on the fifth tone of ANY MAJOR SCALE and continues in successive cones to the octave, applying the key signature of its parent scale. For example: A mixolydian mode on B-Flac uses the key signature of F-Flac major because the nore B-Flat is the filth tone in the E-Flac major scale (See figure 11) Mixolydian Mode in Key" of E-Flat which starts on B-Flat. The aeolian mode is a scale which starts on the sixth tone of ANY MAJOR SCALE and continues in successive tones to the octave, applying the key signature of its parent scale. For example: An aeolian mode on C uses the key signature of E-Flat major because the note C is the sixth cone in che E-Flat major scale (See figure 12). Fig. 12 f at fo oe SS a Acolian Mode in "Key" of E-Flat ce us which stares on C. The locrian mode is a scale which starts on che seventh tone of ANY MAJOR SCALE and continues in successive cones to the octave, applying the key signature of its parent scale. For example: A locrian mode on D uses the key signature of E-Flac major because che nore D is the seventh tone in the E-Flat major scale (See figure 13). Fig. 13 “D” Locrian Mode Locrian Mode in “Key” of E-Flac which starts on D. 8a tetra © uA Ic is important for the student to understand that the term parent key has been used for the pur. pose of establishing the accidentals belonging to the particular mode relating the made to a specific key signature, rather than defining the construction of each mode by measuring the distances betweer each tone, With this parent key relationship, we establish a family of modes belonging to eact major key. Thus, each major key contains a family of seven different modes. Figure 14 represent: the key of E-Flar major, with its related modes. Fig. 14 z 7 5 > + x cs ‘IONIAN. Z 3 4 4 o 7 4 x + > ——— =DORIA: 4 a 2 + * 7 oh 7 z + = Sformvcia a 3 SE LYDIA. MIXOLYDIAN 5 ————Fatous ; % A — + z + HLOCRIA SS 7 7 Ar this poine ic would be extremely advisable for che student to write out the family of modes longing to every major key in the manner illustrated in figure 14. Be sure that you can recite | name of any mode along with its parent key and succession of notes, and play on your instrum before proceeding any further. ‘There will be references to modes, in later pages, to establish basic sound of certain types of chords, and co be used as supplementary material «0 some “bas chord type scales. 44Sic maa INTERVALS Ie may be necessary, at times, to analyze chord movements and patterns, using interval termino- logy. With this in mind, the student should acquaint himself thoroughly with the following facts | regarding intervals. There are several types of intervals. An interval is the measurement of the distance and quality be- tween any two notes, Intervals are usually measured from the bottom note, upward, ] The term distance refers co the exace number of "etter names" berween the ewo nots of the interval in question (counting the first letter as No. 1). Examples of such distances are: unison or prime, second, third, fourth, fifth, sixth, seventh, octave (not eighth), ninth, tenth, eleventh, twelveth, | and thirteenth. Figure 15 illustrates these distances from the starting note "B”: | Fig. 15 TT rr FF Tr Tr r Tr Unison Second ‘Third Fourth Fifth Sixth Seventh or Prime 4 oa ‘ + 5 = + = f | Si = a t r r r r r r Octave Ninth Tenth Eleventh Twelveth Thirteenth Intervals of an octave or less are called simple intervals. Intervals larger than an octave are called compound intervals. The term quality refers to the exact number of whole and half steps existing between the ewo nores of the interval in question, Examples of cerms relating to quality are: Major, Minor, Perfect, Aug- mented and Diminished. Therefore, all intervals can be named properly according to both distance and quality, Definitions of specific types of intervals will be stated in cerms of the relationship of the top note of he interval co the Major Scale of the bottom note. 5| $$$ “MAJOR” AND “PERFECT” INTERVALS The quality of an interval is called MAJOR when the top note may be found within the Major scale of the bottom note. Symbol “M” is for Major interval. The quality of an interval is called PERFECT when both notes of the interval are found in each others Major scale. Symbol * is for Perfect interval. Figure 16 illustrates the MAJOR and PER- FECT intervals formed using che staring cone “D”: Fig. 16 - - = 1 + { 7 z 7 a a ——— P Prime M2nd M3rd P4th P5ch M6th or Unison “MINOR” AND “DIMINISHED” INTERVALS ‘The quality of an interval is called MINOR if it is ¥3 step smaller than MAJOR. Symbol “m' is for MINOR interval The quality of an interval is called DIMINISHED if it is ¥2 step smaller than MINOR. Symbol “DY is for DIMINISHED interval.] ] ] All PERFECT intervals, when they are /% step smaller, are called DIMINISHED. Figure 17 illu- strates the more commonly used MINOR aod DIMINISHED intervals (using the starting cone "D"): Fig. 17 m2nd m3rd Désth 6th m7th D7 moth mi3ch Fut 04 SHIT AUGMENTED” INTERVALS The quality of an interval which is 2 sep larger than MAJOR or PERFECT is called AUG- MENTED. Symbol “A” is for AUGMENTED intervals. The most common AUGMENTED iater- vals are the: AUGMENTED FOURTH. AUGMENTED FIFTH, AUGMENTED NINTH and AUG- MENTED ELEVENTH. Figure 18 illuseeaces these intervals from the starting note "! Fig. 18 rit ale + ASth Adch Adth Allth Figure 19 is a reference chart which illusttates che more commonly used intervals from various starting notes.Figure 19 is a reference chart which illustrates the more commonly used intervals from various starting notes. %* —Double Sharp (Raises pitch 1 step) Fig. 19 bb —Double Flat (Lowers pitch 1 step) MZ m2 MB m3 4 Ae 75 AS 25 MLM13 dd 4 MT m7 a7 MA md Ag Fi B mb 49AM DOMINANT CHORDS AND RESPECTIVE “SCALES- Og bd ee i fea —= $e # pa 3°94 «5 o 7 6 4 382213 14k Oo Flat mixolydian mode is illustrated in cwo octaves. The numbers under each tone indicate the mn of that tone in this scale. Note chat beyond the first octave, tone No. 8, the tones have che same letter names and the numbers corresponding to these cones refer to the respective’ distances from the starting tone, No. 1. The following two chords, Dominant Seventh and Dominant Ninth Chord, will be formed by ap- plying a numerical formula co the B-Flat Mixolydian mode. The corresponding alphabetical symbols will also be indicated. By extracting tones No. 1-3-5-7 from the B-Flat Mixolydian mode, we arrive at the notes forming the B-Flar Dominant Seventh Chord (more commonly called the B-Flat Seventh Chord) Fr symbol: BD 7 Tones No. 1-3-5-7-9 of the B-Flac Mixolydian Mode form the B-Flat Dominant Ninth Chord (more commonly called the B-Flat Ninth Chord). Symbol: BD 9. 9 Alternate Symbol: BO 7 Alternate Symbol: BD 72) 50The student must remember to relate each mixolydian mode to its parent key before attempting t apply the numerical formulas for the formation of dominant seventh and ninth chords and before attempting to play the “scale” (mixolydian mode) of the cwo chords just mentioned. Nore that the same scale is used for dominant seventh and dominant ninth chords having the same roor. Figure 20 is a chart which shows all dominant seventh chords and respective parent keys. Fig. 20 CHORD PARENT KEY — SCALE OF CHORD a F Major Mixolydian mode starting on C ~ 7 Bb Major Mixolydian mode starting on F BoT7 ED Major Mixolydian mode stacting on BP EDT ‘AD Major Mixolydian mode starting on ED ADT DP? Major Mixolydian mode starting on AD “pe 7 1, o { G? Major Mixolydian mode starting on DP chr) | B® Major Mixolydian mode starting on C $ @ a » { Cb Major Mixolydian mode starting on G 0 Fe7f” |B Major Mixolydian mode starting on F 4 a E Major Mixolydian mode starting on B E7 A Major Mixolydian mode starting on E AT D Major " Mixolydian mode starting on A D7 G Major Mixolydian mode starting on D ~ G7 = C Major Mixolydian mode starting on G Enharmonic Chords sound che same, but are spelled differently. Enharmonic Keys sound the same, but are spelled differently. 51ssi eee mmmmmemrmmmmmmmmecene aU. Figure 21 is a chord tone chart based on the mixolydian modes of chord roots. t Fig. 21 13th A D G C F Bb EP Gi Ce FF B CE th F Bo Eb a> D> G> Ch E A D G C oh D G CF Bb ED Ab C} FF BE A 7h BD EP Ab D> Gb Ch Fb A D G C F bh0CUG:)SCC.CrFSSC«é&®Y® SED «A> Db F3 BE A OD od E A D G C F_ 3B Di Gi G FF B > = , oor) © F BY E? a> D? GP BOE A D. G This chord tone chart organizes the tones of all Mixolydian Modes in the order needed for the cor struction of Dominant Seventh and Dominant Ninth Chords. Reading up from the chord root « i (also indicated as tone No. 1), we see the tones: C, E, G, B-Flat. D, F, A. which are all the notes i the C Mixolydian Mode. Note thar che ninth, eleventh, and thirteenth are also the second, fourt and sixth tones respectively, as they are the same letter names. In preparation for the following patterns, be able to recite, write and play the following chords they are extracted from every Mixolydian Mode: Dominant Seventh Chords and Dominant Nint Chords. Use the illustrated routine form for playing chord tones. It does not require any specif rhythm or cempo. ROUTINE FORM | $07 ang ‘The following patterns begin with Dominant Seventh Chords. Note the alphabetical symbols an metronome markings. 524s 100-132 eh Aa hn An e Brg=B0-/Z0 Nove: Theee beats per measure. be Eo fo BE 7 rs ch ky Ah Dn Orn 1th An chy On A 34ty Th th (ascending) (descending) (ascending) (descending) — continue in same manner Na My Be By bh dx ype.8t — th be In Eo 1 ch On Un dla EEE EEE EEE EEE TPPY + i Practice Pattern No. 91 by reversing the chord wone direction: descending, ascending. 4 00-/38 Note: Each chord lasts ewo beats. ¢ Mh, 8 fx Er Fb Gy Ah Ay Oh Bo Gr } 92 (ascending )(descending )(ascending)( descending) (continue in same manner) We bo Nb br ch, c & Eh Dn Dy Cn ¢# t i + + i {ascending) (descending) Practice Pattern No. 92 reversing direction of the chord tones: descending, ascending. 55