Mel Bay Presents > . < INeCS x) 2S ® COMPACT (2 AO DIGITA-AUDIO Christiansen MEL BAY PUBLICATIONS, INC., #4 INDUSTRIAL DRIVE, PACIFIC, MO 63069-3611 a :Mel Bay Presents BEBOP BLUES . by Corey Christiansen : ‘This book is dedicated to my father, Mike Christiansen, with thanks for his example not only in music, but in life as well. “ Special Thanks To: Jack Petersen, Jack Wilkins, Chuck Owen, LaRue Nickelson, and especially Nikkol Christiansen. CD CONTENTS ' Exercise 1 [49] Exerise 45 {47} ; Exercite 1251] Bverie $1 (59) Exercise 1557] Baer 52:59} xerie 111 (55) Besse 64 [4] Exercise 1.13 (1:00) Bren 73 (42) ; Bxerie 21 [59] (Zi) Frerise 84 54) Brerise 2357} 2) Exenise 94 (1) i Brewis 2 5 [58] [BB] reise 106 (42) Exercise 225 57] Beste U1 (B+ Biles Improvisation) (2:05) Evers 226 57] [25] recite 11.2 (A Blues Improvisation) (247) Evers 228 (1:04) rere 113 (Blues in G) (247) Bxersie 3.1 (50) Exerite 116 (Blues in 235) Everise 32105] [BB] Exercise 11.5 (Blues in Bs) (2:36) : xerite 41 [50] Exercise 11.6 (Bes in B) (4) [iS] exercise 441321 ©2000 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 62060, ALLRIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. 8 Ml MADE AND PRINTED INUS.A No pat of is pubeation may be reproduced in whol orn pat, o stored na retieval system or ransmitedn any fon ‘or by any means, elecwonc, mechanial, photocopy, coring, or oterwisa, wut writen permission of he pusher. Visit us on the Web at http://www.melbay.com — E-mail us at email@melbay.comTable of Contents Foreword . 3 SECTION ONE - Rhythm Guitar ‘Twelve Bar Blues Progression-Common Embellishments 5 Basic Chord Substitution for Twelve Bar Blues . 12 Altered Dominants ........... . . . 18 Comping ...... fecteeeteeeeees 3 Chord Diagrams ........2.2.-5 pn) SECTION TWO - Single Note Soloing Soloing Beene eer ee weee eens BF Blues Scale vs. Vowels and Consonants . . wee . .. 36 Mixolydian Mode 39 “Bebop” Scales . 47 Guide Tones 0.2.6... eee cece cee 55 31059 ..... pee eee . 64 Enclosures ........ 73 Play Along Recordings 79 About the Author Corey Christiansen was introduced to the guitar at the age of five by his father, Mike Christiansen. After receiv- ing a bachelors degree in guitar performance from Utah State University, his education continued with graduate studies with legendary jazz guitar educator Jack Petersen at the University of South Florida. Corey was given the outstanding jazz guitarist award at the Lionel Hampton Jazz Festival in 1995 and 1996. Corey performs regularly in Florida, has released a jazz guitar duo CD entitled Syn- ergy, and teaches classes as an adjunct professor at the Uni- versity of South Florida. | |v 13734 Iboy Foreword MUS 1 This book has been written for the guitarist who wants to learn how to incorporate the language of bebop into their blues playing. Even though this book contains ideas and concepts that are basic to this style of music, it « is not a beginning guitar text. It is expected that the student will have a knowledge of the elements of written mi such as: time signatures, rhythmic notation, reading tablature and/or standard notation, basic scales, and + barre chords. : ‘Many guitarists are familiar with basic twelve bar blues progressions and how to solo over this form using minor pentatonic scales, blues scales, and common blues licks. The material covered in this book will add to these basic blues playing concepts. The concepts in this book, if understood correctly and carefully practiced, will give ; the average blues player's music more color, life, expression, and sophistication. i Musical examples of each concept will be provided, but it is hoped that the student will take the ideas presented and incorporate them into their own music in an original way. What makes a musician great rather than ~ good is their ability to take materials which are common and build upon them, use them in an original way, and masterfully execute them. Sometimes musicians think that the art of improvisation occurs only when completely new and original ideas are spontaneously played. This is not usually true, (However, it is nice when we play something that plea J antly shocks ourselves.) Great improvisation usually occurs when we perform materials that have been practiced tothe point of mastery. It is much like speaking. Many of us know the same words but what makes a person an 4 excellent speaker is the ability to arrange these words, many of which are common, into beautiful sentences which transmit information or images to others. So, as great musicians, we practice ideas (words) so that we may play (peak) well. This book is broken down into two sections: rhythm playing and single note soloing. It is a good idea to J start at the beginning ofthese two sections and work through them at the same time. In other words, do not feel that * mastering all of the chord exercises is essential before starting to play any single note lines. It is possible to be 4 working on some of the soloing ideas while you are working on the chords. Good luck with learning, practicing, and performing, Corey -Section One Rhythm GuitarTwelve Bar Blues Progression Common Embellishments i 1 Shown below is atypical "authentic" twelve bar blues progression in the key of A. The chords used are the , 17(A7), [V7 (D7), and the V7 (E7). Play through this exercise re-fami ing yourself with the sound of the * twelve bar blues. Work on playing this exercise clean and steady accenting beats 2 and 4. Lightly lifting the fingers off the strings between each strum will help to get the right feel. This will quietly deaden the chord providing separation between each strum, This style of strumming may seem boring at first, but later chord substitutions will bedded (we don’t want things to be too complicated). Later, when chord substitutions are mastered, more compli- cated strum patterns and rhythms may be used. Exercise 1.1 n+ giaqelv | AT D7 © eth et + newbie re meas = ‘This sign means to repeat the rhythm from the last measure D7 AT { ' First, to make this alittle more common to jazz, move the key to F. Many jazz/blues tunes are written in the keys of B-flat and F because these keys work well for horn players (trumpet, tenor sax, soprano sax, alto sax, and baritone sax). Practice this blues in the key of F. If using barre chords to play this exercise, play the first chord (F7) asa sixth string chord, a fifth string chord, and a four string chord. Do this for all the chords in the progression, Leaming as many, varied ways to play the same chords will add variety and depth to the music. eter me wee ee oExercise 1.2 7S vm n— tote! Bb7 F7 hy men Ht F7 c7 tH Bb7 F7 c7 | eo Exercise 1.3 F7 t eb7 HF FZ Next, practice this blues in the key of Bb. Also, use many fingerings for each chord while practicing. (Some chords are provided in the back of this section.)' Exercise 1.4 Now, instead of using only dominant seventh chords (e.g. B}7) we will embellish these chords by adding color tones. Color tones are usually a ninth, eleventh, thirteenth, or combinations of the ninth, eleventh, and |, thirteenth. Many of the chords are listed in the back of this section of the book. However, itis suggested that a knowledge of chord construction be acquired by studying one or more of Mel Bay's many books focusing on chord construction. ‘To begin, play a twelve bar blues in Bb using all ninth chords. Concentrate on how this chord quality is different from a regular seventh chord. Use all of the ninth chord fingerings (from the back of this section) on these exercises. | Exercise 1.5 : man ao Gite” faa Ls Bbo Ht ebo = HHA Bb9Exercise 1.6 Now play this twelve bar blues using only eleventh chords. Again, concentrate on the sound quality of this chord while you are practicing the exercise. Because the eleventh is the same color tone as a fourth (which acts as a suspension), these chords may be harsh on your ears at first. It is uncommon to play eleventh chords for every be an additive to your playing if they are used tastefully. chord in a blues, but the sound can Exercise 1.7 1 3 > a 2 4 oe ™ obi PH aba| Exercise 1.8 Abit *Fei¢e obit ™ pbit Abit Ebi Ebi *+¢ ‘Thirteenth chords are used often in jazz. The thirteenth is the same color tone as a sixth and has a pleasant, j. sweet quality about it. Play these blues in the key of Ab using only thirteenth chords. R Exercise 1.9 n—¢ieq rary O* tert} pbis | Abia obi3 Ab13 Eb13 Exercise 1.10 teptet om a—oterrt vm G13 C13 $ G13 i 1 iMost of these embellished chords should sound and feel comfortable by now, so practice some blues progressions that incorporate all or most of the embellishments covered so far. For exercises 1.14 and 1.15, place embellishments for the chords which have been provided above the measures. Exercise 1.11 oie nes These numbers indicate what string the root is located - Bhis © ebo Bbi3 Ebo Bbi3 Exercise 1.12 he eb © abi. ebo ebis bo 10Exercise 1.14 Exercise 1.15Basic Chord Substitution for Twelve Bar Blues One technique jazz players use more than the average authentic blues players is adding chord substitutions. A chord substitution is simply adding a chord in place of another chord. For example, when playing a blues in BS, playing the 17 (B}7) chord for measures three and four might seem boring, so substitute an F minor seven chord fod the first half of measure four and then return back to the Bb7 for the second half of the measure (See example 2.0) Example 2.0 eb7 Bb7 Bb7 ~Fm7—Bb7 Ue Substitution In this chapter, many substitutions will be introduced. The student should lear these substitutions in the keys in which they are written in and then learn them in all twelve keys using different fingerings. Chord finger ings can be found at the end of this section of the book, Exercise 2.1 ay To Bbis ebo abi3 Fm7 —Bbi3. Bb7 12One common substitution in this type of blues is VI7 walk-down. This substitution occurs in the seventh measure of the blues. The 17 chord is played for the first two beats of the seventh measure and then moves down chromatically every two beats until it lands on the VI7 chord on beat three of the eighth measure. Use this tech- nique in exercise 2.3 and 2.4. | Exercise 2.3 hg mr Bbi3 ebe Bbi3 B13 Bb13 SSS down to G13 (VI7) a | ebo Bbis ANB. Abts G13 Exercise 2.4 Fo Bhis Fo F¥o F9 17 walk down to D9 a Bb13 B13 Bbis_ Fo E9 eb9 be BThe last two measures of a twelve bar blues is sometimes called the “turnaround.” It is called this becau it is the section of the tune that “turns around” to the beginning. These two bars are wonderful places to put i chord substitutions. One of the most common turnarounds is the I7-vi7-ii7-V7 turnaround, It looks like this. Exercise 2.5 Hay Toes Bb7 eb7 Bb7 Fm7 Bb7 ‘There are many other turnarounds which are relatives of the I7-vi7-ii7-V7. Here are a few common turn- arounds in the keys of B-flat (exercises 2.6-2.14) and F (exercises 2.15-2.24), When comfortable with these exer cises, try moving them around to all twelve keys. Remember, these substitutions go in the last two measures of twelve bar blues progression. Also, these exercises are written out using seventh chords (dominant seventh, minor seventh, and major seventh) but could be embellished with ninth, eleventh, and thirteenth chords. 14Exercise 2.6 8b7 Exercise 2.8 obr 8b7 Exercise 2.11 ab7 Exercise 2.1: Bb7 Exercise 2.1 Bb7 0 12 bb7 4 pbs Exercise 2.16 F7 ab Exercise 2.18 Fz Abr Exercise 2.20 o7 F7 Exercise 2.22 abz F7 Dbz G7 c7 bz bz abe Gm7 a7 ob7 ob7 cm7 F7 B7 BS c7 abr c7 c7 Exercise 2.7 Bb7 Dbz c7 F7 Exercise 2.9 Bb7 G7 c7 B7 FF FT Exercise 2.11 8b7 G7 cb7 87 Exercise 2.13 Bb7 ob7 cb7 B7 Exercise 2.15 Exer F7 F7 Dm7 Gm7 o7 ‘cise 2.17 bz a7 c7 Exercise 2.19 F7 Exer F7 7 @7 bz -cise 2.21 D7 ob7 cb7 Exercise 2.23 F7 15 bz bbz c7Exercise 2.24 F7 Abe obs aba Here are a few twelve bar blues using chord substitutions and some of the turnarounds presented in exercises 2.6-2.24. Exercise 2.25, ia" Abia _ obo Abts Ebma abo Bbm7 ebo Abia Fm7 E9 Eb9 ebis Abo Ebis E13 Ebis 13 Ebi3C13 c13 Gm7 F13 c13 Exercise 2.27 oe AT Em7 c13 F9 Fi3 Fo EbS Abs pbs C13 G13 Dmg Fo cm7 Bbi3 Fo Db7 Dm7 c13 Gm9 7Altered Dominants Altered dominant chords are common in jazz. A dominant chord is any chord which contains a root and the intervals of a major third, perfect fifth, and a flatted seventh. These intervals are based on the major scale. See charts 3.1a and 3.1b for intervals as related to a G major scale with the root on the sixth string. Chart 3.2 shows intervals based on a G major scale with the root on the fifth string. When looking at the chart, notice that some of the intervals have two numbers by them. This is because that interval can be indicated by two numbers, depending on where the note falls in the octave. If a G major scale is being played, an E natural past the first octave would be thirteen notes above the root. Because there are seven notes in between root notes in the major scale, intervals which carry two numbers will always be seven numbers away from each other (2 & 9, 4 & 11, 6 & 13). 18G Major Scale Zz $ e Interval Root 2,9 3 4,11 - 6, 13 ae QIE | mloja}a)>la Root Chart 3.1b Chart 3.2By looking at the construction of a dominant chord, it can be seen that there must be a root, major third, perfect fifth, and a flatted seventh to have a complete chord. By using chart 3.1b, a G dominant seventh chord can be constructed easily. A root (G), a major third (B), a perfect fifth (D), and a flatted seventh (F natural) is needed. ‘No matter the order these are played in will change the fact that these notes construct a G7 chord. Chart 3.3 contains notes for all twelve major scales and their intervalic relationship to the major scales root. It should be possible to construct any dominant chord by using this chart. Root | 2/9 3 4/11 5 6/13 7 | Root c D E F G A c G A B c D E FE G D E Fe G A B ct D A B ct D E Fe Gt A E Fe Ge A B ct De E B ce Dt E Fe Gt Ae B Fe Gt At B ce pt Et FE F G A Bb c D E F Bb c D E> F Gia Bb Eb F G Ab Bb c D E> Ab Bb Cc D> Eb FE G Ab D> Eb F G Ab Bb c D> G Ab Bb © Db Eb F Gb Cb D> E> KB Gb Ab Bb c Chart 3.3 20Knowing how to construct an unaltered dominant seventh chord makes it easier to learn how to construct analtered seventh chord. The term altered means that something in the chord is changed either’by changing one of the existing notes or adding something to the chord that was not there before. Common alterations to dominant seventh chords are: #5 and b5, #9 and b9, #11, b13, or combinations of these intervals. To build a G785b9, arrange the notes G, B, D# (#5), F, and Ab (+9). It is important to remember that sharp nine intervals are not the same as a flatted third even though they are enharmonic (have the same pitch but adifferent name). While many of these altered dominant chords may sound harsh to the ear at first, they will give rhythm playing color and life. Play the following exercises which contain altered dominants. Also, try playing some of the exercises from previous chapters using some altered dominant chords. Many different fingerings for these chords have been provided at the back of this section of the book. While there are many different altered dominant chords presented inthis chapter, itis a good idea for the student to master only a few at a time. Playing through these exercises will hopefully subject the student to a number of different chords; some may be more appealing to the student and will then be incorporated into their individual playing style. Exercise 3.1 Sm Bbis _ ebo E°7 Bbi3 a7to Ht 21Exercise 3.2 a meee Fo _ eeeaeder7) F13 Fis F13 Hf Bbo Fi3bo | e13b9 pRisbs —pisbe Ty] vm c7$5 Exercise 3.3 a7fto — Exercise 3.4 22Comping Until now, all of the exercises have been played using a "four to the bar" strumming pattern. Rhythm guitarists who play with big bands frequently use this strum pattern. This is the pattern Count Basie's guitarist, Freddy Green, used. While this pattern creates energy and provides a driving background, it may sound too thick for certain situations. ‘Comping is a shorter term for accompaniment. When musicians talk about comping, they usually mean an accompaniment pattern that provides a harmonic background in a spatial and spontaneous fashion. Provided in this section are many different one and two measure rhythms which can be used to comp. It would be a good idea to listen to musicians who are master compers to learn more comping rhythms. Listening to great pianists like ‘Wynton Kelly and Red Garland will help in developing a good comping feel. Learn these rhythms by playing them with only one chord at first. Then try adding them, one at a time, to ms provided and blues progressions found in previous chapters. Also, make up some original rhythms. Examples 4.1 - 4.22 41 4.2 43 4.10 4.11 4.12 4.13 234.14 . 4.15 4.16 447 418 4.19 4.20 421 4.22 ‘When learning how to use comping rhythms, it is wise to use only one rhythm at a time until it feels comfortable. Then mix and match other rhythms. Also, use chords that are familiar at first. Do not try to work on new chords while working on new rhythms. Get the rhythms down then add new chords. Exercise 4.1 Gigs Tons abr ob7 abz 24Exercise 4.2 Bhis : ebo shia 2 This sign means: repeat the rhythm from the last two measures ebo 2 Bb13 2 G13 Exercise 4.3, By learning these rhythms and being able to mix-match them, variety and an element of unpredictability will be achieved. 25Exercise 4.4 8b7 ebe Bho Eb9 . Bb7 —— FQ (amtcpate moebo) Eb Bb7 eo Exercise 4.5 Cay Tens AT D7 a7 Bby_ AT Bm7 E9 cim7 Fo Bm7 £9 AZ Use the comp patterns from this section of the book to play the rhythm parts for the examples in this book Also, go back and play some of the exercises from the earlier sections using comp patterns. 26In the progressions below, write in and use comping rhythms from previous exercises. Exercise 4.6 F7 Bb7 F7 Exercise 4.7 Bbo eb7 Bbi3 B13. Bbis Exercise 4.8 c7 co Fo Fee c7 chs o13 27Chord Diagrams 7th n-6lelo| ate [Te $ $ |_| e\@ R> @ R} ++ R @ @ e e e e 9th Roof 001 isnot } 4 ° played 2811th $| 3 @ r-@|¢ olee 13th | $ ols] R-@ Le ee e e e 75 xh e é r+ esr oe R-@/¢@ é ele @ t @745 R-@/@ R> e t+ — oe e | @ e T 79 $190, — -piele Chee rtele Root @ | le played played 739 es tL (ie e R+O/@ R @e @ @ oe = 30R>-@|@ R+ Thani e 7b5#9 R-@ | 06 rte 7459 R>+@ R+@ —_ 74549 R-@ | @ R+@ Thunb =m7 (minor seventh) t é r-¢| = =} oi (minor ninth) R+@ @ 7 (diminished seventh) a x 32Section Two Single Note Soloing 33Soloing (There's more than the blues scale?) Most blues guitar players are familiar with the blues scale and know that any of the notes it contains will work at any time when soloing over a blues. Using this scale to solo can be a blessing and a curse at the same time. Itis a blessing in that it will usually sound acceptable over all the chords in a simple blues (17, IV7, and V7) if used correctly. Many great blues guitarists play nothing but the blues scale for their solos and it sounds fine for “authentic” blues. Itis also a scale which is easy to memorize the fingerings for and not a whole lot of thought goes into exactly what notes are being played when it is used. Itis a curse in that it can start to sound predictable and at times monotonous. The blues scale has a very distinct sound and when it is used for a long time in jazz solos, it can be aurally restricting. Jazz is a type of music that glories in freedom. However, one needs to approach this type of music (in this style anyway) with certain rules which in turn grants even more freedom. The freedom that is granted to players is the freedom of expression, an extension of freedom of speech. The English alphabet has twenty six letters. The letters A, E, I, 0, U and sometimes Y are vowels, and all others are consonants. Words cannot be built without vowels. It would be safe to say that these letters are the backbone of the English language. There are vowels, so to speak, in the musical language also. If any chord is being played, all of the notes in the musical alphabet (C, D, E, F, G, A, B) and those with accidentals (sharps and flats) would be fair game for soloing and/or creating melodies. However, some of these notes, if played for an extended amount of time, will sound better against a C major chord than others. These notes would be the “vowels.” The other notes would be acting as “consonants.” They are important but not as crucial as the others. “Consonants” act as guides or directors to the “vowels” in music. “Consonants,” when used correctly, give direction towards “vowels.” When playing a “vowel,” the feeling of rest or security is achieved. The more tension in the journeys, the more security is recognized. That is how solos should be, like a journey. Some journeys may be adventurous and daring, delivering large amounts of tension with only short moments of security. Others, may be calm and relaxing providing more rest and less tension. Now let us discuss what makes a note or pitch a “vowel” or a “consonant.” What ultimately decides which notes provide rest or tension is the harmony or chords that are being played behind the soloist. The individual notes that make up a chord are called “chord tones.” Chord tones will always be “vowels” in music. For example, if a C7 chord is sounding, the “vowels” for our solo would be the notes; C, E, G, Bb. How we get to these notes is where the adventure begins. (Because understanding how certain chords are constructed is crucial at this point. A chart has been provided that shows the intervalic structure of many common chords.) 34Major minor dim aug sus 6 m6 maj7 maj7#l1 = +7 (74) Tsus m7 misus m+7 m7b5 (m7-5)(67) maj9 maj9$11 (maj9+11) 9 m9 add9 69 6/9811 (6/9411) W 13 795 (1-5) 74S (145) 197-9) 749 (749) root (note with the same letter name as the name of the chord), 3, 5 root, b3, 5 root, b3, bS root, 3, #5 root, 4, 5 root, 3,5, 6 root, b3, 5, 6 root, 3,5, 7 root, 3, 5,7, #11 (b5) root, 3, 5,57 root, 3, #5, 67 root, 4, 5, 67 root, 53, 5,7 root, b3, 4, 5,67 root, 53, 5,7 root, b3, b5, 57 root, 3, 5, 7,9 root, 3,5, 7,9, #11 65) root, 3, 5,b7,9 root, 53,5, b7,9. root, 3, 5,9 root, 3,5,6.9 root, 3, 5, 6,9, #11 (65) root, 3, 5, 57,9, 1 root, 3, 5, 67,9, 11, 13 root, 3, 95, 57 root, 3, #5, 67 root, 3, 5, 47,69 root, 3, 5,57, #9 35Blues Scale vs. Vowels and Consonants Before discussing in greater detail the many techniques and scales used in jazz, play two different blues solos. The first has been composed using only the blues scale. The second solo contains material presented in the remainder of this book. All of the solos and material in the remainder of the book will be presented in the key of C. ‘After the material is learned in the key of C, practice and learn the material in all twelve keys, 36Exercise 5.1 37Exercise 5.2 By tare o7 geil terete! cet fF rr ee <= SSS ; 3 ce + 40- tC = = $ | — BSS re carer ba! o- 38Mixolydian Mode One scale which is commonly used in jazz is the mixolydian mode. This scale is sometimes called the dominant scale because the notes found in this scale work well against dominant seventh chords. The construction of this scale is as follows: Root, 2, 3, 4, 5, 6, and b7. This scale is very close to a major scale. The only difference is that the seventh degree has been flatted. Dominant seventh chords also have a flatted seventh (1,3,567), so this scale works nicely on top of this chord. Example 6.1 C major scale ra 2 3 4 5 6 7 1 Es = = = = 2 oe = oe 7 —a 7 ; T Steps: 1 1 + 1 z : @ — =| — = = 4 Example 6.2 C mixolydian mode 5 6 7 1 — e = ~~ 1 + : 5 1 : 2 39Another way to construct this scale is to play the notes from a major scale, but start and end on the fifth degree. For example, using the C-major scale, start on the fifth degree, G, and play up the C-major scale toG.The notes that would be played are G, A, B, C, D, E, F, and G. The only difference between these notes and those that would be found in a G major scale is the F natural. The F natural gives the flatted seventh quality needed to work around dominant seventh chords. Example 6.3 G mixolydian mode = @ 2 a 2 —— Example 6.4 D mixolydian mode (same notes as G major) 1 2 3 4 5 6 br 1Below are a number of fingerings that can be used to play the mixolydian mode. Make sure to practice all of these scale fingerings in all twelve keys. Practice them in chromatic order (C, C3, D, D¥, E, F,F4, G, G8, A, Af, B, C) and around the circle of fourths (C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G, C). $90 600900 oo OOOOTS 2 6[9d © 6 DOOODD OD ®@ 9 99 4 99 ee 000 66/1909 00909 9099090566 9 9 o® a b c da Charts 6.1a-d Exercise 6.1 Chromatic c7 87 Bb7 (Adz) Az 6a C mixolydian B mixolydian Bp mixolydian —-— A mixolydian Ab7 (G47) a7 bz (F#7) F & ‘Ab mixolydian_ G mixolydian ‘Gp mixolydian. F mixolydian_ e7 Eb7 (0$7) o7 pb7 (cf7) E mixolydian ED mixolydian D mixolydian Dp mixolydian 41Exercise 6.2 C7 F7 Bb7 Eb orl Cmixolydian Fmixolydian Bp mixolydian Ebmixolydian bz bz bz 7) B7 & ‘Ab mixolydian DI 1 —~Gh mixolydian = B mixolydian _— eo (Ff mixolydian) E7 AT D7 7 x Emixolydian _—t—~A mixolydian Dmixolydian “6 mixolydian o | One difference between using the blues scale to solo and using the mixolydian mode to solo is that one scale can't be used around all of the chords found in blues (like you can with the blues scale) when using the mixolydian mode. Use the same mixolydian mode as the seventh chord that is being used. For example, when aC7 is sounding, use C mixolydian, but when F7 is sounding you, change the soloing scale to F mixolydian. By changing the scale when the chords change, the notes which go well with each chord will be brought out more. This will give the solo more harmonic depth and a sound like the soloist understands (and is playing off of) the harmonic foundation being provided instead of just babbling around on one scale hitting and missing crucial chord tones (vowels). Change mixolydian modes with the chord changes to the blues found below. Notice that each time the chord changes a new scale is used. In this exercise, the scale is always started on the root and then played up. When comfortable with this, play the scales in different directions. Start by playing C mixolydian up the scale until the chord changes. Then play F mixolydian down starting on the root rather than playing up. Make up original exer- cises to practice changing scales. 42Exercise 6.3 aAn important thing to remember is just because a new scale has been learned it doesn't mean that an old scale (blues scale) was bad and that it should be thrown away. By learning new scales, a soloist's vocabulary is increased. When people learn a new word they don't throw all of the old words away, they just add the new word to their vocabulary. So it is with scales (musical vocabulary). Playing blues scales at times is very nice. All scales and techniques should be available for use when soloing, Shown below are charts comparing and contrasting the similarities and differences between the blues scale and each of the mixolydian modes that would be used in a blues in the key of C. Remember: ALL OF THESE NOTES ARE AVAILABLE TO THE SOLOIST. USE THEM HOW THEY SOUND BEST, C mixolydian mode = @ F mixolydian mode = @ CBlues = 2) C Blues = Q CBlues = Chart 6.2a-cSometimes a minor seventh chord (Dm7 for a blues in the key of C) appears in a twelve bar blues before the five chord (G7). For this chord use the Dorian mode that has the same name as the minor seventh chord being played (D Dorian against Dm7, A Dorian against Am7 etc.). Here are some fingerings for the Dorian mode. Notice that the notes found in the D Dorian mode are the same notes found in the G Mixolydian Scale. The C Major scale, G Mixolydian mode, and D Dorian mode all have the same notes in them, they just start on a different root note. They have a different sound quality because they start and end on different root notes. Play the Dorian mode against minor seventh chords. x) 090910 9 (Xx) 609 O80 00 ©9900 906/94 Cran ® 9 090990 9006009 eer ®@ 099900 9 oo 1T1Oo 9 a b c d Charts 6.3a-d 45Found below is a short solo demonstrating how the mixolydian mode can be used in the blues. Exercise 6.4 ig tor c7 fe c7 : —— en Sele | 46“Bebop” Scales One of jazz’s premier educators, David Baker, is credited with the “discovery” and naming of the "bebop scale." Tt was used by jazz legends Charlie Christian, Charlie Parker, Dizzy Gillespie, and others during the forma- tive years of the bebop language. There are three bebop scales. The mixolydian bebop, major bebop, and the dorian bebop. In each of the bebop scales, an extra note has been added so there are now eight notes in between each octave instead of seven. The mixolydian bebop scale has the extra note between the root note and the flatted seventh. The major bebop scale has the extra note between the sixth and the fifth degrees. The dorian bebop scale has its extra note between the flatted third and the fourth degree of the scale. If these scales are played using eighth notes, it will take exactly four beats to complete the scale. (Seven note scales take three and a half beats) Also, if this scale is played correctly, the chord tones of a dominant chord will fall on the down beats or "strong" beats. Example 7.1 Root 7 sth 1 1 3rd be» t Root Example 7.2 47Example 7.3 Major Bebop (played against major seventh and major sixth chords) Major Bebop TTIE tt R-@@ ee abee ee eee @ @eoeee00 @ e » Lele Charts 7.1a-b 48Example 7.4 Dorian Bebop (played against minor seventh chords) te 3 no bebe0 R> tho, ¢ 4 @90000 99999 tt eo é oe 49Example 7.5 Mixolydian Bebop (layed against dominant seventh hows) —————————————— = === — = a 3 + ejejel\e| e e -e-@-¢e-¢@ Charts 7.3a-b 50Now practice playing the mixolydian bebop scale around the dominant seventh chords of a basic twelve bar blues. Remember, when you are playing these type of scales, change the scale when the chord changes. It would be wise to practice this scale in keys moving chromatically and around the circle of fourths. Exercise 7.1 SLNotice that the scales in exercise 7.1 do not sound like they resolve correctly. This is due to the fact that each time the chords change, a new scale was played starting on the new root rather than continuing the line down to the resolution note or the closest chord tone of the new key. In exercise 7.2, change bebop scales when the chords change, however, instead of starting on the root note of each new scale, we will start on either the resolution. note or the nearest chord tone (of the new Key) to the resolution note. The idea is to keep the chord tones for each key on the down beats. By doing this, the sound will flow better. Exercise 7.2 oy F7 52Now play the solo below which contains blues scale, mixolydian mode, and mixolydian bebop scale. Exercise 7.3 rane c7 — c7 . b. o7 Dm7 er c7 a7 o79 53After practicing this scale in all of the keys, write out your own twelve bar blues in the key of C. Exercise 7.4 54Guide Tones Guide tones are notes in a chord which lead or give harmonic pull towards the next chord. A basic V7 to cadence can demonstrate how guide tones work (example 8.1). Notice that the third of the V7 chord leads up to root of the I chord and that the seventh of the V7 chord leads down to the third of the I chord. G7 Cmaj UR ake v Ts v ene é$ 3rd NT Lo—r a b Charts 8.1a-b Example 8.1 Example 8.2 eet ec? or gy 7 3t0R OR OR 3t07 5 2 55‘Now let's see what happens when the I chord is changed to a7 chord (dominant seventh chord.) The third of the V7 chord now leads to the 7 of the I7 and the seventh of the V7 chord still leads to the third of the 17. : or OR FT vill c7 T¢ th 1 @ + 3rd] Rr @ g 7h 1 b Charts 8.2a-b 56| | | | ' 1 On guitar, itis easy to visualize how these guide tones work and the motion they give. Given below are two fingerings for a C7 to an F7 with the guide tones labeled. Notice that the thirds and sevenths of each chord are close toeach other and that is what gives the chords in these examples their pull towards each other. c7=O c7=O Fi= @ Fi= @ 4 7h, | © % SO tok, iy d a b Charts 8.3a-b 37Guide tones can be seen in most chords which move in the direction of fourths. Look at the examples that | contain minor seventh chords as well as dominant seventh chords. One difference in the minor seventh to domi- | nant seventh motions is that the flatted third in the minor chord is the same note as the flatted seventh in the | dominant seventh chord a fourth away. ! Dm7 G7 Dm7 3rd to 7th ® Ti 7h 10 388 R-@ x @|@| ev @ a b Charts 8.4a-b 58Play theses chord exercises that move in fourths. Keep in mind (and in sight) where the guide tones (thirds and sevenths) of each chord are and how they move (or don't move) to the next chord. Exercise 8.1 c7 F7 Bb7 eb7 ab7 ob7 Gb7 B7 m7 F7 Fm7 Bb7 Bbm7 eb7 Ebm7 Ab7 abm7 bz pbm7 ab7 F4m7 87 Bm7 —7 Em7 AT Am7 D7 Dm7 G7 Gm7 c7 59Understanding the way guide tones function in chord movement is crucial to jazz soloists. When soloing * around the changes, bring out the differences in the harmony. The blues scale, while it sounds good in some 1 settings, does not do a good job of bringing out the differences in chord changes. Exercises 8.2 and 8.3 show how the guide tones (either a third or a seventh) would occur for the chord changes below. Exercise 8.2 7 F7 o7 ———— b= 3 pg§ 3rd 7h $$ SS> fr 4 5 Ors ad es Th SS aa =| m7 c7 F7 F7 1 Zh + 3rd = tox 1th = trex 70h = f Th = —— ord — 7th e— 7th 1 L | = 2s Th S a Ge Ss Ss Th i c7 c7 m7 RO 3rd_ a 3rd = eo 3rd ¥o— ra oad =n 3rd i Os rd Sosa Sard = =O @ --e*. o7 c7 Amz Dm7 e7 as ae dh dg J th Ee = ra — Teh Prd f P= 3rd 2 I I | ! | t am Os nd 7th a= 3rd STiExercise 8.3 c7 F7 c7 Be | Teh Oe 5rd 4 7th 4 \ o7 o7 om? eo $o—Th ome o | I - 1 ot th — 7th i 7th | = f = | | a7 o7 Am7 Dm7 G7 | 61Exercise 8.4 is a blues solo that makes use of quite a few guide tones. The notes that function as guide tones. have been labeled below. Exercise 8.4 ay F021 cn F7 ard > 7th ou o7 o7 Dm7 7H 67 ard ou Am7 Dm7 a7 c7 Tiara aes 62Now, having had some experience seeing guide tones, practicing guide tone motion, and hearing how they outline the chord changes in a blues, write out an original solo around the guide tones that have been supplied in exercise 8.5. Exercise 8.5 m7 c7 F7 F7 c7 c7 Dm7 a7 °7 Am7 Dm7 a7 633 tob9 One technique that will give a solo a more chromatic and sophisticated sound is the third to flat nine. Most great jazz soloists are aware of this sound and have at one time or another made use of it. It usually occurs during a dominant seventh chord. If the chord being played is a C7, the third is an E and the flat nine is a D flat, There are a number of ways one can get from the third to the flat nine. The first and most obvious way is the skip. We can move from the third and ascend to the flat nine or we can move from the third to flat nine descending. Example 9.1 c7 b,It would be a good idea to learn how to do this around all twelve keys. Exercises 9.1 and 9.2 show how to make the third to flat nine leap in all twelve keys. The keys given are, once again, moving around the circle of fourths. After practicing these patterns with the fingerings given, come up with some different fingerings. Exercise 9.1 | C7 be 7 ov” 4, a SS EE or z t SS 3——— oR. = -=or—— OR—?—s = ; j + Enharmonic notes | (same pitch) | eb7 Abr tbe) ob7 65Exercise 9.2 Choose one of the J Rotes for the 5S c7 vd 7 pe ey __ = £ f 1 Lo | sh o D: — = ——— o — ;Another way to get from the third to the flat nine is by way of a diminished arpeggio. A diminished seventh upeggio consists of nothing but minor third intervals. To build a diminished seventh arpeggio from a C7 chord, start with the third of the C7 chord (E) and then play up or down a minor third to G, from G, another minor third gives us B flat, and a minor third from B flat gives us D flat which is the flat nine of C7. Any of these minor third intervals can move up or down. The direction of the arpeggio doesn’t have to start and continue in only one direction. In fact, It sounds interesting when the direction changes. Example 9.2 e7 be be . 7 o Example 9.3, 67One easy way to think about building the diminished seventh arpeggio off the third of the dominant sev- , enth chord is that all of the notes in the arpeggio are contained in the dominant seventh chord except the flat nine. | For example, when building the arpeggio in the preceding paragraph, the notes we ended up with were E, G, B flat, and D flat. The notes in a C dominant seventh chord are C, E, G, and B flat. Its like playing a C dominant seventh arpeggio starting on the third and substituting the flat nine (D flat) for the root. Exercise 9.3 is diminished seventh arpeggios starting on the third degree of the given dominant chords moving around the circle of fourths. After doing this exercise, use other directions and patterns for each of the given chords. Exercise 9.3 ab 87 E7 : 68The 3 to b9 sounds good when leading to a chord a fourth away. If C7 is being played and we play the notes E,G, Bb, and Db, it Ieads nicely to the note C which isthe fifth of an F chord, (The F chord is a fourth away from C7.) Example 9.4 be oR oe w = 3 7 $8 dim7G7) Edim= 1 45 dim76hi Exercise 9.4 is a solo which, at times, uses third to flat nine by skip and by diminished arpeggio. Again, it is important to practice these techniques in all twelve keys. It is good to practice the solos to see how the new material can be used in context rather than in exercise only. Eventually, all of this material should be learned so well that it comes out effortlessly. oExercise 9.4 fg rave c7 c7 AT F7 70 c7 Dm7n 3 tol9 Fingering Chart T T § ¥ é (R) ee BT je » 9 el¢ : ¢ 3 io 3 13 ® e e ¥ ole ale 7 a b c ad T aa e ft e fp 7 (R) ® -" (R) 7 7 3 3 3 @e® e @ ® (R) 19 i i ® ? 9 : t f 3 7 br e @ e 7 | 3 | ¢ ® ae @) 5 fy Ey 9 e® ¢ e ¢ 9 s 5 ¢ ° ’ i j ¢ 1 k9 3 5 9 ° ® (R) ¢ 9 ¢ § 5 2 m a 3 5 3 t q @ 3 ¢ 3 3 ® ¢ ° fel [a 7 eile ® | @ 5 6) bo ¢ @ a P ¢ q r W @ W 7 7 @ e 3 3 3 9 e e 3 3 ® e® e® i ’ : s t u v Charts 9.1a-v 2Enclosures The final technique covered in this book is called enclosing (enclosures). Sometimes this technique is also referred to as targeting or chromatics above and below (or below and above). Using enclosures is another way to combine the “consonants” and the “vowels” in music. There are a number of ways to play an enclosure. Practice each of the exercises given in this chapter using the fingerings found in the exercises. Then, make up some original fingerings in other areas of the guitar. It should be noticed that there are many ways to play enclosures and that by adding this one technique, limitless combina- tions of melodies can be achieved. The first enclosure makes use of a scale tone above and a chromatic tone below the chord tone. If the chord being played is a C7, the chord tones are C, E, G, Bb. For now, only enclose the notes found in a C triad (C, E, G, etc.) The scale tone above (derived from the C mixolydian mode) would be D and the chromatic note below a C note would be a B natural. So the sequence would be D, B, C. Play this enclosure with all of the notes of a C triad. The bold font notes are chord tones. Also, look at the fingering chart for help seeing the shapes on the guitar. D, B, C.F, Dé, E, A, F#, G. This sequence can be repeated through all of the octaves or registers on the guitar. For now, when practicing enclosures, place the chord tones on the down beat. C Triad 6 | vm oO 00 Charts 10.1a-b Exercise 10.1 c7 BCharts 10.1¢-d The next enclosure is made up by a scale tone below and a chromatic tone above the chord tone. The notes to be played for this type of enclosure over an F triad (for an F7 chord) are: E>, Gb, F, G, Bb, A, Bb, Db, C. Practice the following exercises for this type of enclosure. Exercise 10.2 FT @ va oe +@—-©--@— + e 209 Chart 10.2 14This sequence has a chromatic tone above, a chromatic tone below and then the chord tone. This can be reversed so that the enclosure begins with a chromatic tone below, followed by a chromatic tone above and then the chord tone. Practice these types of enclosures for a G triad. The notes will be: Ab, F#, G, C, A, B, Eb, Cé, D. Ifthe order is reversed the notes will be: F#, Ab, G, Ag, C, B, C2, Bb, D. Exercise 10.3 o7 e705 | @ @x $66 009 Chart 10.3 | | 75 \The final typeof enclosure covered inthis book contains both whole tons and chromatic notes, When ts { played correctly, it sounds very chromatic, but all of the “consonants” (chromatic notes) will lead to “vowels” { (chord tones). This will give the line, or melody, a strong sense of pull toward the harmony, Remember, “conso- nants” should lead to vowels. If a number of “consonants” are played, the ear will yearn for a vowel. This gives our | line its pul. This enclosure, fora C triad consists of a whole tone above, a chromatic tone above, a chromatic { below, and the chord tone. This type of enclosure for a C triad gives us the following notes: D, D>, B, C, Gb, F, Df, | E, A, Ab, F8, G. Exercise 10.4 i +O+O+@ » Charts 10.4a-b 16If the order of that last enclosure is reversed (whole tone above, chromatic tone above, chromatic tone below) the notes will be: Bb, B, Db, C, D, Dé, F, E, F, Fé, Ab, G. Exercise 10.5 o7 evn e lofefototetoto] oe a Charts 10.5a-b Alll of these exercises should be practiced for chords of all types in all twelve keys. The combinations are limitless. When improvising, mix up the types of enclosures. (A chromatic below and above enclosure could be followed, or preceded, by a whole tone above and a chromatic tone below, etc.) Next, play the following solo which contains enclosures and other techniques we have covered. Remem- ber, good improvising comes when techniques are practiced to the point of mastery. After techniques are mastered, they will flow effortlessly. The more material an improvising musician has mastered, the more they can express themselves completely. Good luck with this process! 1Exercise 10.6 Gee Cy F7 o7 °7 AT ' Dm7 B\ Play Along Recordings Practice trading fours with this next progression. (Exercise 11.1 amr 7 eb7 Bb7 eb7 Bb7 a7 ab a7 cm7 F7 Bb7_Gm7__—_—sGm7 F7 Using the techniques covered in this book, practice improvising to the following blues progressions. Exercise 11.2 | Sie tees - | F | Exercise 11.3 | iy rm 19 eeExercise 11.4 F7 Bb7 ‘ F7 Bb7 F7 E7 eb7 D7 Exercise 11.5 eb7 Bb7 a7 ab a7 cm7 F7 Bb7 Gm7_—cm7 F7 Now apply the concepts and techniques covered in this book to a more traditional sounding bt sin the key of E. Exercise 11.6 By roses F7 AT 7 80