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I EXPLORING THE FIVE BASIC SEVENTH CHORDS

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In order to thoroughly assimilate the harmonic possibilities which have been illustrated up to this
point, the following steps should be followed carefully and without omission for each harmonic
fragment in each example.
1. Play the fragment four times, using the next higher or lower inversion of the upper four
voices with each repetition. This process was Illustrated in examples I.D1 and I.D3. Begin at a
comfortable tempo, no matter how slow. Work gradually toward a tempo of about loo for the
quarter note.

2. Play each of the four resulting versions in all keys through the circle of fourths. Playing
through all keys by descending or ascending half steps is also useful, and may be an easier
starting sequence than the circle of fourths. Begin at a comfortable tempo, no matter how
slow. Work gradually toward a tempo of about 100 for the quarter note.

3. Repeat steps 1 and 2, but playing the upper four voices in close position.

In view of the considerable practice time necessary for mastering this material, some quick calcu-
lations should be encouraging. Each example in the first and third groups (1.A1 - I.A5 and LA11 -
I.A.15) can be played in all twelve transpositions at a tempo of only 48 for the quarter note in just
two minutes. Each example in the second and fourth groups (1.A6 - I.Al0 and LA16 - I.A20) can
be played in all transpositions at the same slow tempo in only four minutes. The same rate applies
to examples I.CI - I.C20. If only twenty to thirty minutes a day is spent on these harmonic exer-
cises, all the "A" examples can be mastered in six to eight weeks with only a slight increase in
tempo every few days. If the "A" examples have been mastered well, the "C" examples, combined
with a11 the different bass notes shown in examples I.B1 - 1.B5 should not require more than four
to six months. A one measure fragment from examples I.D1 - 1.D20 can be played in all transpo-
sitions at the same slow tempo in just one minute! Anyone who works methodically and pa-
tiently with this material should be able to achieve a noticeably greater harmonic facility within
six to eight months. As with any acquired slull, each new harmonic sequence should be a little
easier to master than the last.
The creation of original harmonic progressions using only the five basic seventh chord types as
upper structures above possible bass tones or roots will begin to personalize the assimilation of
this material. Only through direct experience can the enormous creative potential of this material
be fully grasped. Play all original progressions in all ~ossibleclose position-and "drop two"
voicings in all twelve transpositions. In this way, each single harmonic phrase can be expressed
from eight different "points of view" in all keys. --
1
Before applying these basic harmonic structures to broader musical contexts, one final group of
harmonic exercises will be extremely useful. The first two of these are derived from what pianist
Barry Harris refers to as the "sixth-diminished scale". Jazz musicians from Coleman Hawkins to
the most contemporary players often $ay the major and melodic minor scales with a chromatic
passing tone between the fifth and sixth steps. This results in ascending or descending eighth note
lines which return to the same note in the next higher or lower octave every four beats: a very
practical technique for improvised music which is usually in 414 time. By beginning on each step
of these scales and playing every other note, a series of alternating major or minor sixth chords
and diminished seventh chords is obtained (C6 or C-6 and B07, for example). These groups of
chords, as well as the two other groups to follow, are extremely useful for comping, harmonizing
melodies and improvising in a "block chord" style. There are many other beautiful and musically
interesting sounds which can be developed from these scales. A number of intriguing possibilities
will be illustrated shortlv.