100 Jazz Patterns for Chromatic Harmonica by Yvonnick PreneHow To Use This Book “You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.” - Charlie Parker | believe practicing patterns enable us to bridge the gap between jazz theory and actual playing situation. in fact it gives concrete example of how to use a particular scale in a musical phrase. In addition they are useful to become familiar with each of the twelve major, minor, mixolydien and bebop scales, in preparation for improvising in real time on shifting II V |. For each pattern the appropriate scale will follow with a brief description of each lick mentioning its felated chord notably. It is crucial for the reader to understand which musical situation befit the pattern. This is why | have added above each example a chord symbol, the appropriate related scale and a short description. It has little value to practice a pattern without knowing where and how to apply it. Used in the wrong place or in the wrong key may cause bad results. Listed below is a numbers of ways how to practice the scales and exercises included in this book. 4) Practice with a metronome Time and rhythm are number one. All note seem to sound good when they are interpreted with “good time”. Practicing slowly is the key to certain progress. You can set the metronome at 40bpm, the metronome click on beats 2 and 4. Start by playing half-notes, eight-notes and then quarter notes when you feel ready. It will develop your “time-feel” andmake you a stronger player when you'll be improvising with a band. Thelonious Monk once said, “Just because you're not a drummer doesn’t mean you don’t have to keep time.” 2)Jmitation All of the material presented should be sung then played along the audio examples with your harmonica. It is a sure way to refine your capacity to hear intervals and recognize pitch. Chick Corea once said “Only play what you hear. If you don't hear anything, don't play anything.”Chick Corea. It will also, without any doubt improve your time feel and technic. Try moving from note to note with a legato phrasing. If you have to skip one or more hole always keep your mouth on the harmonica and slide it smoothly to the note desired. 3). Repetition & Memorization The way approach the exercises is to practice them several times every day. The most essential goal is to memorize all the various scales. Play using your metronome set on slow tempo and then gradually augment the speed. Tips For Learning These Specific Patterns: 1. 100 Jazz Patterns for Chromatic Harmonica will work with any 12,14 and 16 holes chromatic harmonica in the key of C. 2. Print out a copy of the licks for reference. 3. Play it rubato first, meaning without a pulsation in order to focus only on sight-reading the notes. Thenyou should practice with the metronome at a slow tempo. 4. Once the pattern is memorized in the written key try to transpose it in a different key. 5. Play along with my performance of the patterns and scales until you get it to sit right in the rhythmic pocket. Try to match my rhythmic “feel” and articulation perfectly. 6. Listen to lots of Charlie Parker and Toots Thielemans! 7. Make music! Play with other musicians if you can. Otherwise | recommend practicing improvisation by playing over Jimmy Aebersold tracks. Nomenclature: () The numbers between parenthesis indicate a draw note. + The sign “plus” in front a number represents a note being played with the slide in. To see the musical example in a larger format, click on it. Good luck and have fun!C Chromatic Harmonica La . supe our: 1 |2 ww = oe 5 |6 {7 |@ [9 [a0 |21 |22 ee ETA HB oe {A je fo fe fa fe clele le le le ie le [cle le |e_| SLIDE IN OE EE De |Fa [aw |c [pe lFe lag |c [Dw |Fe law |C wow lculr [Ge |c# |c# |r [Ge |c [ce jes |ae|c# Notes of a C-12 holes chromatic harmonica on the treble clef: Blow/slide out: SSeS 7 203 4 5 6 7 & 8 Blow/slide in: 48 Draw/slide out: © @® ® Draw/slide in: SSS om Fa ay co os) Go on GD) CM em ¢ Holding the Harmonica: 4) Form aC shape with your index and thumb, then1 n I I There are 10 important scales you need to know when starting jazz improvisation such as The Major, Melodic Minor, Dorian Mode, Mixolydian Mode, Bebop Major, Bebop Dominant, Bebop Minor, Diminished, Whole Tone and Chromatic Scale. These scales should help you construct your patterns and build your solos. You can see them as a pool of notes to choose out which will fit with a particular chord or chord progression. The following scales are written in the key of C. Knowing the scale degrees of each scale will enable you to transpose it more rapidly to another key. Scale Degree; Each note in the scale has a specific position and have both a number and a name. Their name relates to their function into the scale. For example in C Major: Scale Degrees elas) C Major Scale 1 Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone , S/O) Tmo a] on] cn] co] ro C Major Scale/ lonian Mode The C Major scale/ lonian Mode is represented below in two complete octaves. Scale Degrees 1, 2, 3, 4, 5, 6, 7. It works on Major chords and Major chords progressions. 13Track 1| The C Major Scale/ lonian M Ascending: 28s: 2 @ 3 @ @ 5 © 6 © 7 ey Descending: bd 8 2 £OM7O 6H 5 HM 3 w 5 oF 1 Track 2 | Preparatory Exercises In the @ It should been practiced in all twelve ia Th goal is to make every key as easy as Possible, Take time to work on the difficult ones such as BE and 4 major. C Major scale in third: 120@2 3@@ 3M@34@O56 M@H6 TOMI Pattern using scale degrees 1, 2, 3 and 5: 10)232Q@) 2@3HQ3O5 39H OOH 6 O00 Audio Examples Available to Download Here: goo.gl/BD8LvU The C Minor Melodic Scale in The C Minor Melodic scale is represented wr 5, two complete octaves. Scale Degrees 1, 2, b3, 4, M7. Track 3 | The C Minor Melodic Scale 14 _Ascending: 1@ @4)® 3 8 5 4) © 7M w 9 Descending: 8 OM 7 6D OM 5 MO 3 REDM 1 Track 4 | Preparatory Exercises: Melodic Minor scale in third: IGNOAEC+D3 AOE” 3G) 4@OO 545) OOE)7 #7 & Pattern using scale degrees 1, 2, b3 and 5: 10 3 OD @ © 4D® 3 @ 3 @ 5 309 OOM 5 4) M5 Oo © The D Dorian Mode The D Dorian Mode is represented below in two complete octaves. Scale Degrees 1, 2, b3, 4, 5, 6, b7 Track 5 | The D Dorian Mode: Ascending: £ Mo 20 3 8 @ 5 & 6 © 7M ® 8 Descending: os OM 76 6H 5 MO 3 @ 2 HW Track 6 | Preparatory Exercises: 15D Dorian Mode in third: 10) 2 3@@) 3 OFON56H)O 676H7 w®My Pattern using scale degrees 1, 2, b3 and 5: D29H29H)S M35 3IOOI IOS 60567 seer The G Mixolydian Mode The G Mixolydian Mode is represented below in two complete octaves. Scale Degrees: 1, 2, 3, 4,5, 6, m7 Track 7 | The G Mixolydian Mode: Ascending: 3 @ @ 5 6 +6 6 © Mm 7 ®& % & 0 Descending: na) 10 0 9 ® M 7 © 6 ® 5 @ @ 3 Track 8 | Preparatory Exercises: G Mixolydian Mode in third: 3 4G) 5 @) G) 5 6 (5) (6) 6 7 (6) (7) 6 @ ( 8 8 9 00 Pattern using scale degrees 1, 2, 3 and 5: 3B) A (5) B) A ) 6 4) 55) (6) 5 (5)6 7 (5) 66) 1) 6) (6) 7) (TMB Ihe C Bebop Major Scale 16The C Bebop Major scale is a 8 notes scale which differ from the traditional Major scale with its added b6. It is represented below in two complete octaves. Scale Degrees 1, 2, 3, 4, 5, b6, 6, 7 Track 9 | The C Bebop Major Scale: Ascending: 1@ 2 @ 3 #4 @ @ 5G 6 6 7 +47 ™ @®) Descending: 8 (8) (7) +7 7 ©) 6 (5) 5 @ 3G) +3 3 @ 20) 1 You can practice the scale starting on the tonic, 3rd degree, gth degree and Major eth degree. Practice both ascending and descending scale. The C Bebop Dominant Scale The C Bebop Dominant scale is spelled 1, 2, 3, 4, 5, 6, b7, 7. It derived from the Mixolydian Mode and has a chromatic passing tone between the minor seventh and the tonic. It is represented below in two complete octaves. Track 10 | The C Bebop Dominant Scale: Ascending: by 1M 2893 OM 5 6 O 7 MED ® 17Descending: sHOEDM TOS 5 OCI M20) 7 Track 11| Preparatory Exercise: Arpeggios from the Bebop Dominant Scale startin from the half-step below the 1** note of each chord, eaaatat on eer cnt as, mt fae ee at ate ft 2 t FE SS OOH 0H 9 1 y 4 7 ODO 7M] 9 10 You can practice the scale starting on the tonic, 3rd degree, sth degree and minor 7th degree. Practice both ascending and descending scale. The C Bebop Minor Scale The C Bebop Minor scale is represented below in two complete octaves. Scale Degrees: 1, 2, b3, 4, 5, b6, 6,7 Track 12| The C Bebop Minor Scale; Ascending: THC? Baw sHEGH7T Hae > Descending: 18. 8 (8) (7) +7 7 (6) 5) G) 5 4) 3) 43 3 ONG FT You can practice the scale starting on the tonic, 3rd degree, sth degree and 7th degree. Practice both ascending and descending scale. The Diminished Scale The diminished scale is constructed intervallically with alternating half steps and whole or whole and half steps. Track 13 | imini le: Scale Degrees 1, b2, b3, 3 b4, 5, 6, b7 Ascending: by Then 23> OO) 5 HOD 6 OH) 7 MOD Descending: by 8 G7) @) 7 (46) 6 (5) 455 (43) G3 2) 2 CHD +t Track 14 | The Whole Half Diminished Scale: Scale Degrees 1, 2, b3, 4, b5, b6, 6,7 Ascending: 1 (1) (41) #2 (#2) 43) 4) 5 (5) (45) +6 (+6) +7 (7) (8) 9 Descending: 8 (8) (7) 47 (46) 4645) 5) 5 4) G) 43 H2)HZGNM TF h le e 19—_~ The whole tone scale is a six-note scale which is built by starting on the tonic note, then moving up by whole steps. There are two whole tone scales, Scale Degrees 1, 2, 3, bS, b6, b7 Track 15 | Starting on C: Ascending: 1 @ 2 G2) 43 G34 G) 6 6) 47 47) (8) Descending: by 8 (+7) +7 (46) 6 (5) 5 (+3) +3 G2) 2 @ 1 Track 16 | Starting on C#: Ascending: +1 42) +2 3° @) @ +5 45) 46 7 M @ 48 Descending: +8 (8) () 7 +6 (45) +5 (4) (3) 3 42 (+I) 41 The Chromatic Scale The Chromatic scale starting on C consist of twelve note each a half step apart. It us from the chromatic scale that all the other scales and chords derived. As Jazz pianist Barry likes to say, "In the beginning, God created the universe. For us that means the chromatic scale.” 20 —_—Track 17 | The Chromatic Scale: ——— Ascending: 1 #1 (1) (#1) 2 42 (42) 3 +3.) (+3) (4) 5 +55) (+5) 6 +6(46)7 47 NEDO Descending: 8 (AT) (47 7646) 46 6 (45) (5) 45 5 (4) (43) (3) 43-342) 42 2G CHToN Patterns Over Major Chords The following section gives some common phrases for use over major triads C, major 6, Major 7h and major o. The use of the major 7" chord for symbol is merely for convenience. | have mentioneg the scales that are being used. ° c cup cmp cmmbtiy Chords: three or more notes played simultaneous! ly. Usually built from stacked thirds. The 4 chord-tones of a Major 7* are 13.57. Track 18 | Preparatory Exercise: Major Seventh chord exercise from each scale degree of the C Major Scale. ——— z = —— SS v= = 12093 @4 ) @ @ 5 23096 @ @ 5 6 3 © 8 © o 5 6 7 @ 8) © @ Track 19 | Pattern using the C Major Scale: ona + 3 7 6O7EOD 76S HHH SHS @ C Major Scale: 'O 2@ 389 ® @® 3 @201 Track 20 | Pattern using the G Major Scale; on z Y9OO MO 7H7 0H wo 3 O 22G Major Scale: 45) 6 (40) 7 BB) (HH) HB D Major Scale: 4 @) 3 a 2 W a 2 42) 3 @ @& 5) - Track 22 | Pattern using the A Major Scale: a 8 6 6 47 (46) 6 43) A Major Scale: +56 47) M45 ® 5 6) 45 @ @& +5 6) 6 (6) (+8) Track 23.| Pattern using the E Major Scale: ‘Ema (42) 2 (41) 2 +3 4 (45) 46) 6 4 OS) HS E Major Scale: +54) 43 2) 2 (42) (43) @) 45 5) Track 24 | Pattern using the B Major Scale: 7) @&) GD 47 (46) (4) (45) (+6) B Major Scale oo 7 oD 47 GH) 6 OD HO @ +5 45) 6 42) 43 43) 45 3) 23oN Track 25 | Pattern using the Gb Major Scale: Geer — +7 (46) +6 #7 (46) 45 43) (42) (45) 434) 4g Gb Major Scale: 42) 43-3) @ 45 5) 46 45) 4543) Gay tack 26. a eae, a ee: tbe» — 5 45(45) 46 45.45) 46 47 48 46 4748) (47) 47 46 45.053) 45) Db Major Scale: +1 GD 42 42) 433) 43) 43) 2) Track 27 | Pattern using the Ab Major Scale: amy 4303) GH) G5) 7 47 7 46 45) OF 7 47 GT) Ab Major Scale: 43 G3) G4) 45 G5) 46 7 46) 85) 8 Track 28 | Pattern using the Bb Major Scale: Boma DED © ) 7 645) HO 5 OEDM OO 3 Bb Major Scale: £ +3) 5 6) 5) 46 7 7 HO) 4 OD Track 29 | Pattern using the Eb Major Scale: Bmp ® @ a G) 3°43) @ 5 ca) 3 +2 GD 3 24 —Eb Major Scale: +2) ay 433 op 2 3 8 6) GO 6) OO Track 30 | Pattern using the F Major Scale: @osce6aoso ©5980 5 F Major Scale: 2 @ ” @ 3 @ Od 5 3) 6 5 (+3) @ 3 Transpose the above patterns into other keys and write them down if it is easier for you.oo Patterns Over Minor Chords The licks showed below can be played over the following chord: minor triads, minor 6, minor 7th minor gth and minor 11" using various minor Modes and scales such as the dorian mode, minor bebop scale and melodic minor scale. The 4 chord-tones of a Minor7" are 1, 3b, 5 ang b7 or7. Track 31 | Preparatory Exercise: Minor Seventh chord exercise from each scale degree of the C Dorien Mode. 14) 3 4) @ @ @ 5 3 @) 5 ® @B 5 a5 SS ———— ae 3 #4) 6 © @ 5 G) 6 +) © © M Track 32 | Pattern using the Cm Bebop Scale: c 3 HG) 5 45)G) 5 (4S) 5) ) 43.062) 3 Cm Bebop Scale: 1@]¢) #2 3 8 @ @ @ 8 3 #2600 ! Track 33 | Pattern using the Gm Bebop Scale: —_——_—e——ee= ee eet $ = 43) OED 3 BEDS OOGOM 7 © 563 G3 4 26 aG minor Bebop Scale: oo 4 5 OO) 6 6) 6 5) 5 43) G3 Hack 34 | Pattern using the D Dorian Mode: On 6 8 OM70 6 5G) D Dorien Mode: 2 2 a 22 3 0 @ 5 @ @ 3 Track 35 | Pattern using the A Dorian Mode: O45 0-— H©FIHOH@ A Dorian Mode: Oo @® 5 © 6 6) 7 6 5 ® @ 5 Track 36 | Pattern using the E Minor Melodic: 2 (42) 3 (3) (A) 6 (45) 6 (4) 3 (42) 2 (HI) 242) 3 2 E Minor Melodic: 2 42) 3 @ @ 65 5) 4 & GG 3 G2 2 Track 37 | Pattern using the B Dorian Mode: ® 6) 4 @ 2) @ 43 2 «2 B Dorian Mode: ® 6 © 6 4) 7 mM 7 46) 6 ) 4 @ Track 38 | Pattern using the F# Dorian Mode: 27tm? =a SS 45 @) 9G) 45 6 47) 47046) 6 45 OD) > SSS F# Dorian Mode: a2) 4 @ @ +5 5) 6 5) 45) ” 2) Track 39 | Pattern usin ing the Db Minor Bebon Scale: bea 45-4545) (45) © 6 (46) (46) 47 (74) 6 5 45) 5 45 a3 Practice the Db Minor Bebop Scale: ———a +H GD 2 G2 43 @) G3) HH 43) 43-62 2 Gy Track 40 | Pattern using the Ab Dorian Mode: Al _ 4345 46) 5) @ 3 2) 4345 46) (45) Ab Dorian Mode: +343) @ 45 G5) 46 46) 46 45) 45) 4) 43 Track 41 | Pattern using the Bb Dorian Mode: Bb? by 4 (3) (#3) (44) +5 (45) +6 47 (48) (47) 47 46045) (5) 45 465 Bb Dorian Mode: ——— = be —————— ————— (#3) (4) +5 (45) 460-7 7 +6 (45) 45 (44) (+3) Trak 42 Pater sin he F Minor Babon sca 6 (45) ) 45 5.43)43 3 42-3 43H) 6 7 OT HT F Minor Bebop scale: 28 a4203 43:3) G4) 45) 6 OG) ASS 3) 4332 Breath continuously and evenly when playing two or more notes in a row. You'll achieve a good legato phrasing. Try to avoid sudden bursts as you begin new breaths.rn er i Chor The patterns written below can be played over the th Domi folowing four chords, Dominant 7"", Dominant a, Dominant 13!” and Sus 4. Adominant chord consist of four chord-tones 1, 3, 5 and b7 Suspended. Chord-Sus_4: In a sus 4 chord the third is omitted and replaced by the 4". For example the note of the C Major chord are C (tonic), E (the major third) and G (the fifth). The notes of the C sus 4 chord are C, F (the fourth), G. Track 43 | Preparatory Exercise: 4 notes chord performed on each degree of the scale. 12s@OOOs 2 34H OO 5 6 — 2 HH) OO 5 6 7 aH OM ‘Track 44 | Pattern using the C Bebop Mixolydien: ° dion: HoOnM 7 HE) 6 5 OHO® C Bebop Mixolydien: 30Track 45 | Pattern using the G Mixolydien Mode: o 5 @ @) @ 4 3 42 @ G bebop Mixolydien: 3 @@ 5 6 OU) 74646 6) 5 HG) 3 Track 46 | Pattern using the D Mixolydien Mode: a © 60) 7M) 7H7 4) 6 5 5 5 OO D Mixolidyen: mo 2@ 3 80 @ 5 ® @ 3 4) 2 @ Track 47 | Pattern using the A Bebop Mixolydien scale: ” 56 7 @ 48) 6 MM 7 7 ® OO) 6 45 A Bebop Mixolydien: oo 5 © 6 4) 7 4) 5 & @ @ Track 48 Pattern using the E Mixol iva ien Mode: 746) 5 456) 6G) OH OG) O43) 43) @®) E Mixolydien: 2 02) 43) G) @ +5 +) @ +3 G2) 2 Track Irack 49 | Pattern edi the B Mixolydien Mode: Oo nwo © ® 6 4? @O 31B Mixolydien: ® 6 4) 6 4) 7 $6 5) 45 ing the Gb Mixolydi Track 50 | Pattern using the ixolydien Mode (2) 4343) @ 45 65) 6 6 45 @) 3) 43 Track 54 | Pattern using the Db Bebo 2 P_Mixolydien scale: we +6 6 5) ) 455) 3) 84) @ 45 43) Db Bebop Mixolydien: cz ——— SS FTG) 42 (42) +3.(43) (©) (44) 45) () @) (43) 43 42) 42.4) 41 Track 52 | Pattern using the Ab Mixolydien Mode: be be te be be ———* -» SS (+6) (+5) (+4) 43 46 (45) Ab Mixolydien: 8) 47 48 8 GD 4 7 2S eS SS 43°43) (4) 45 5) 46 46) 46 oo as Track 53 | Pattern using the Eb Bebop Mixolydien ‘BT by by 3, SSMON 7 6056) 45420) 4 GED Eb Bebop Mixolydien: 322) 4343) 455) 65) HOD 43° (+2) Track 54 | Pattern using the Bb Mixolydien Mode: abe bea fea o, SS (+3) 3) +3 (44) 3 #2 43) (46) 7 +7: 47) (48) 47-7 +6 (45) 5 (+5) 5 5) 5 Bb Bebop Mixolydien: be be b. (5) (+5) +6 7 +7 (7) (47) (1) 47-7 +6 45) 5 (+3) (+3) (+4) Track 55 | Pattern using the F Bebop Mixolydien scale: er b. 49) 8ENM7OS (45) 7 (5) 543) 43.) 5 45)7 +6 F Bebop Mixolydien scale: (6) 6 (+5) (5) 5 (+3) (3) 3 Q@) domen in order to geta ntrary to breathing s the note flatter. bdomen expand (3) (43) 5 (5) (#5) © @ 3 Breath from your abi good tone and play in tune co from the lips which usually make: As doing it you should feel your a as you breath in.Patterns Over Diminished Chorus The 4 chord-tones of a Diminshed 7 chord a , b3 b5 bb7. Note that the Diminished triad is composed of 3 consecutive minor 3rds, There are only three diminished sevenths: A C diminishea seventh and the Eb, Gb and A diminished seventh chords all have the same pitches (C,Eb,Gb,A) Cdim=Ebdim=Gbdim=Adim The same goes for the diminished seventh chords built on Db,E,G, Bb ang D P F,Ab and B. q If you lower any note of a Diminished chord you'll obtain a Dominant chord. Therefore, they are four , related Dominant seventh chords. The four dominant § chords related to Cdim are B7, D7, F7 and Ab7. Thus you can use any of the Bebop Dominant Scale 3 starting from the root of each of these chord to improvise on a Cdim chord. For example the B, D, F or Ab Bebop Dominant Scale. Root; The root is a note which is simultaneously the name of a chord or a scale. For example, take aC Major chord. In every inversion the root note is C. B 7 f > — — Track 56 | Pattern using the F Diminished423 +3 (43) 3 +3 42 +30 (43) (4) +5 +3) (4) 43 SSS - + @ +5 6 6 +5 6) 6) 6 + 7 6 +6 (5) F Whole Half Diminished Scale: = ae i =: 3 +3 (43) (4) «+5 = «(5) (5) +5 (4) (+3) +3 3 +2 Track 57 | Pattern using the Db Diminished Scale: pe 2 @) 6) 6 45 (4) 6 (5) (3) +3 +5 +3 42) @ @ Db Whole Half Diminished Scale: +1 (#1) 2 42) 3 @) 3) C4) G3) GG) 3 2) 2 (+H) +1 Track 58 | Patterns using the Eb Diminished Scale: BP +2 (41) +3 G2) @) 1 +6 (45) 4) 3) ) 5 #3 G2) @ @) Eb Whole Half Diminished Scale: (41) 42 (42) +3 3) 4) 5 6) 5 () @) G3) G2) +2 (+1) A harmonica player who can read a group of notes ahead, rather than just one will develop good reading habits!Patterns Over Major ii-V-1 ca | are by far the most common chorg ii7-V7-l eae in Jazz. It is formed with the 2ng, Od 4st chords from the underlying scale inthe given key you're playing in. For example in C Major ; ii major as |. uses Dm7 as "1 G7 as Vand C nal a be 1 2 3 4 se 7 din the followin he scales and modes employed in ti lowing cate are the Diminished Scale, Mixolydien Scale, Bebop Mixolydien Scale, Major Bebop Scale. Below are phrases that can be used over this progression, Track 59, Pattern using the G Bebop Mixolydien Pattern ust scale: Oe - co OTMEOATUM OOO SOOO 7 G Bebop Mixolydien: 3 MSH 6 OE) THO EDS AO 3 Track 60| Pattern using the D Bebop Mixolydien scale: a? y y FA @an7 6 @HH) 6 OS z 567 OOS HO D Bebop Mixolydien: M2 G3 O@s 8 ss we) 3072 W 36> Track 61 | Pattern using the A Bebop Mixolydien scale: ar prj? 43 @) 3 42@) +5 6 @) 7 (1) (D7 (46) 6 CS) (45) 2 3 (43) A Bebop Mixolydien: 4)G) 6 6 (6)(+6) 7 4646 6) 5 (4) GB) 3 3 4) Track 62 | Pattern using the E Bebop Mixolydien scale: amajr en 2 MOD 3 45 66) 45) 1555 )G23 4220 4H E Bebop Mixolydien: 2 (42) 43 @) @) +5 (DCS) 6 (45) 6) 45 4) G@) 43.042) 2 Track 63 | Pattern using the B Bebop Mixolydien scale: Feat Bn eo fete == Se — ee 445-47) 47: 7 (46) 6 5) 5 HED 3 6 + B Bebop Mixolydien: @ 4545) 6 (46) #7 (CET) (47) (7) +7 (46) 6 (45) 45 4) Track 64 | Pattern using the C# Dorian Mode over C#m7 and the F# Half Whole Diminished scale over F#: hn? Fe pm 4343) (4) 45.45) 6 (45) 45-5 (45) 45 (4) (43) 3 (42) 2 42) C# Dorian Mode: 2 @) #1 +1 4H) 2 42) 4343) #43) #32) 37F# Half Whole Diminished Scale: = a te i @ 3 @) G3) 5 45 5) 6 (45) 45 5 3) 8) Track 65 | Pattern using the Db Bebop Mixoyy scale: ~ oly dien Abm? by ‘Ds b. Gimayy +8 8 8 (+5) (+6) (+7) +7 (+7) (8) +8 (7) +6 Db Bebop Mixolydien: 47 (46) +5 043) 45 F142) #2 (42) 43.43) 545 5 (4) 43) 43 42 42.41) +1 CHI) (42) (#2) +3 (43) (4) 5 +5 (5) (4) (43) 43 (42) 42041) 41 ing the Ab Mi ; ; Track 66 | Pattern using t eA Mixolyd len Mode: Ebm! (+3) +5 (5) (+6) (47) #7 +6 (46) #6(+6).+6 +5 (43) (3) +3 (42) (41)2 4243 Ab Mixolydien: +8 (+3) (44) +5 (45) +6 (46) 46 (45) 45 44 (43) 43 Track 67 _| Pattern using the Eb Bebop Mixolydien scale and Eb Diminished Scale: Bin? Bp apa? (#3) (3) (+3) (44) (45) 5 +5 (6) 5 (43) (46) 6 (45) (45) 5 (+3) Eb Bebop Mixolydien: G1) 42 3 +3.(43) (+4) 45 (5) (45) (5) 45 5 (43) 43-3 42 GD Eb Half Whole Diminished Scale: = +102 (42) 3) 43) G4) 4553) @) 3 ‘ ien Irack 68 | Pattern using the Bb Bebop Mixolyse? scale and the Bb Diminished scale: 38 adced) (43) 7047) (1) 47-7 (46) (5) 45. 5 (4) 43.042) (1) (2) (1) CHI) (2) 3.043) Bb Bebop Mixolydien: be he by (5) (+5) 46-7 47 (7) (#T)(T) 47 7 46(45)(5) 5 43) Bb Half Whole Diminished Scale: 43) (+4) “Dw 5) 6) 6 (6) 7 7 (46) 6 @) 45 C9) Track 69 | Pattern using,the F Mixolydien scale: Co? rr Bema 7 (6) (45) 3 (3) (3) 5 @) o's (45) (+6) +6 GB) (+3) (45) 5 +5) F Mixolydien: @ 3 @ 3) 5 & ws) ©) 5 #3) @ 3 +2 Track 70 | Pattern using the F Major Bebop scale: Gm? c ray . 5 45 (5)(43) 3 C1) 2G) 43-39 G33 5 F Major Bebop Scale: +23 3) (43) 5 +5 6 5 45 5 (43) G 3 +2 Think about moving the harmonica from hole to hole instead of your head. 39Iwo Bars Major Il V | Progressions in 12 keys: In this section you'll find Major II V | written over two bars. Instead of having one chord per measure, the Il and V will be played together in the same measure. Track 71 | Pattern using the G Bebop Mixolydien Scale: Dm! own b om M © G 5S ) +7 46 (6) 7 © 6 3 @ & 5 G Bebop Mixolydien: 3 (3) @) 5 G) 6 (6) (+6) 7 (46) +6 6 (5) 5 4) GG) 3 Track 72 | Pattern using the D Half Whole Diminished Scale on D7 and the G Major Scale on GMaj7: ‘Au? Dp map @ 3 2 @ (2) + G5) 45° 6) An? po Gm 5 6 7 (8) (+7) (+6) +6 (+5) (5) (+6) (7) G6) 6 D Half Whole Diminished Scale: GQ) (1) +2 (+3) 43° G) @) 5 @) G) +3 (42) +2 GI) 1) G Major Scale: 3 @ @ 5 © 6 G) 6 © 5 @ Track 73 | Pattern using the A Bebop Mixolydien 40© +) M 7 @ 6 ) + @ @ A Mixolydien: — 8 @ +45 G) (+6) (+6) 5 6) +5 (4) 63) Track 74 | Pattern using the E Mixolydien Scale: eT e a ra GG 4 6 +5 6) © M #8 8 ® M +7 OH) 6 E Mixolydien: 24224) @ @ 6 6 6 © @ 4 2 2 Track 75 | Pattern using the B Half Whole Diminished Scale: Fh? Brin Ena? M 7 6) 6 45) 6) 5 43) B Half Whole Diminished Scale: 5G) G5) +6 (46) 47 47 (48) 46 45) 4G) Track 76 | Pattern using F# Mixolydien Scale: ‘Chu? Fn Bmp 2 42) 43° 4) 5) 5 #3) (42) 2 I) 42) HL F# Mixolydien Scale: Track 77 | Pattern using the Db Bebop Mixolydien Scale: 4lamt = ae 48 a) 45 ° a5) 46) OD < + 0 @ bb Mixolydien Bebop Scale: ES My (aay 42 42) 43. 3) @ ttern using the Eb Dorian on Ebm7, 7 oh 8 ar Diminished Scale on Ab7b9 and bp Major on DbmajZ: : ot SS == == a 5 G3 Ot3 6 HS) 45 C45) 2) 43) Db Major Bebop Scale: rr a2) 42 (ARVADA) S45 5 ACH) 43 42 12D 4 Track 79 | Pattern using the Eb Bebop Mixolydien Scale: ae pono amar 3) 43 «3 6 +5 GS) HS) SHB) 343 Eb Bebop Mixolydien: 4645 (#1) +2 3 +343) (4) +5 (5) (45) G) 45 5 (+3) +3 3 42 GH) Track 80 | Pattern using the Bb Half Whole Diminished Scale: Fm? BH ‘EbmajT 420 43 (44) 45) 5) 4) 43) 43 3 Bb Diminished Scale: 9) @ 6) © 6 46) 7 Mm 7 4H) 6 @ + OD Track 81 | Pattern using the F Half Whole Di —_ iminished Scale on F7 Scale ecale on F7b9 and the Bb Major scale on Bbmai7: b9 and the Bb Major 42oe eco © 5 6) @ @ @ 3 F Half Whole Diminished Scale: wee OO 5 OCD O 5 OO 3 ED 2 Bb Major Scale: os o oH) +6 7 6a + CD 7 Mm Track 82 | Pattern using the C Half Whole Diminished Scale on C7b9 and F Major Bebop Scale on FM7: Se wm bad 5 6 7 @ 7 @6) 46 6 G5) 45 5 GD) C Half Whole Diminished Scale: oe 2 4 3 Gd @ 3 oH) 2 HOH T F Bebop Major Scale: ee SS SS +203~=«@ G3) 5 45 @ 6 Preparing to play: Relax, Maintain your shoulders low, Breath easy from the diaphragm. ——=— 5455: 3) GG) 3H? 43Patterns Over Minor Il V1 chords come from Ina minor ii Vi progression, the the Harmonic Minor scale. 70 cman De T 2 The following section gives some common phrases for use over minor ii V |. Practice the exercises as written at a slow tempo, analyze them and transpose them into a new key. Track 83 | Pattern using the G Bebop Dominant Scale on Dm7b5, the G Diminished on G7b9 and C Bebop Minor on Gm: roy cm : co ee SSS] 7 (46) (6) 6 ©) 45 5 3) @) 0) @) 3 43 (+3) +33 2) @nt Track 84 | Pattern used the F Bebop Dominant on ’Am7b8, the D Diminished on D7b9 and G Bebop Minor on Gm: ho re pw Ga 4430) 3 420) 5 (+5) (5) #3: 3) 5 (43) 3 Track 85 | Pattern used the G Dorien Scale on Em7b5, the A Half Hole Diminished on A7b9 and D Minor on Dm: Bebop. ae an oe Es b + ere ftp gett pee 6 (6) 7: (1) (#7) (7) 7 (6) 6 (5) 45.6 7047) (1) (45)6 7 (6) Track 86 | Pattern used the G Bebop Dominant Scale on Gm7b8, the E Half Whole Diminished on E7b9 and A Bebop Minor on Am: 44Bi" ® (©) ©) M 7 (46) 46 6 - (3) @) (3) 6) 6 +7) 0) 8 Track 87_| Pattern used the D Mixolydien Scale on F#m7b5, the B Half Whole Diminished on B7b9 and E Bebop Minor on Em: Bon Em ay () 6 (46) 7 (7) (8) 8 (8) (7) 7 (+6) 6 (+5) (+6) (7) 8 (8) (T) 7 6 (46) Track 88 | Pattern used the B Bebop Dominant Scale on C#m7b5, the F# Half Whole Diminished on F#7b9 and B Bebop Minor on EBm. ct Fp Ba mew ees 1 maeacaes O71 be O Track 89 | Pattern used the G Bebop Dominant Scale on Dm7b5, the G Diminished on G7b9 and C Bebop Minor on Em. Deh Gm ‘Aint. 467 47 (D— ()— (7) 47 (46) 46 (5) 45.(4) (3) +5 46 -+7 (46) Track 90 | Pattern used the Ab Bebop Dominant Scale on Ebm7b5, and Ab7b9 and Db Bebop Minor on Dbm. Emi Asn Dim (45) +6 (46) #7 (47) #5 +6 +7 (46) +6 (45) +5 5 (3) +3.(42) 2 +3 (+4) (45) +5 Track 91 | Pattern used the Bb Bebop Minor Scale on Bbm7b5, the Eb Half Whole Diminished on Eb7b9 and Ab Bebop Minor on Abm. Bratt Bw Aba (45) 5 +5 (45) (44) +3 (43) C4) (4) 3 (3) (4) 3 2042) 3 (43) 43-343) 43. (HD 42 Track 92 | Pattern used the Bb Half Whole Diminished on Fm7b5 and G Bb7b9 and the Eb Bebop Minor on Ebm. 45— i be. a = == OS TT) 47H) () 46-47 46.65) (45 3) (92) (4 ) 33 1343) Track 93| Pattern used the F Half Whole Din; 'b5 and F7b9 and the Bb Bebo, Scale on Cm7! Minor scale on Bbm. cmt) Fm (oe EG eons 6(45) #5 5.(43) () 1 (41) 42 (42) 43 (42) Ss Ta G Track 94 | Pattern used the C Half Hole Diminished Scale on Gm7b5 and C7b9 and e Bebop Minor on Fm. ther = ne Fa 3 (4546) BOT) (46) 7 (6) 6 34345 5043) 4342 1 2343> wo Bars Minor Il V1 Progressions in 12 keys: Don't forget to listen to the audio examples available for free download at this address:goo.gl/ BD8LvU Track 95 | Pattern using the G Half Whole iminished Scale on Dm7b5, the C Dorian on Cm. Diminished Scale on Dm/bs = om co inn 2 be 9 — tp — Pp te gE ——S—S——S 46 47 46 (46) 7 6) © (5) © ) 7 4D & Track 96 | Pattern using the D Half Whole Diminished Scale on Am7b5, the C Bebop Dominant on D7b9 and Gm. "An pin Ga = ———— 7 3), @) 3 2), @) 5 GD 6) G5 @) 3) Track 97 | Pattern using the G Whole Half Diminished Scale on Em7b5 and A7b9 the D Dorian on Dm. Ea ans) Dm? 66) THENMIOES 56 74DHG67 © Track 98 | Pattern using the G Mixolydien Scale on Bm7b5 and E7b9 the A Dorian on Am. Bat ff e @ 8 & @ G) (+6) 6 Exh ‘An? ®™ 5 @ Track 99 | Pattern using the B Half Whole Diminished Scale on F#m7b5 and B7b9 the E Dorian on Em. 47me 5 6 4) 4) M & + S Track 100_|_Pattern_using_the F# Half h Diminished Scale_on C#m7b5_ and F#7b9 the Dorian on Dm. eB Ch? Fan, Ba ¥ SS 7 12H) GB) 3 ODO) 6 O06 OH 6 Gy . Track 101 | Pattern using the Db Whole Haif iminished Sc: nA ind Db7b9 Dorian on Gbm. ‘Airit69 pes Gon — —— ———— 6 ‘s 5H 5 456) © + 46 (46) (7) Track 102 | Pattern using the Ab Half Whole Diminished Scale on Ebm7b5 and Ab7b9 the Db Bebop minor on Dbm. Bm) Ap) Dn 46) 5) 455 +35) 545 45) 67 Track 103 | Pattern using the Eb Half Whole Diminished Scale on Bbm7b5 and Eb7b9 the Ab Bebop Minor on Dm. py tb SS ——— 3) G) 43-3 (+3) +5 43) @) 5) 7 D7 Track 104 | Pattern using the Bb Half Whole Diminished Scale on Fm7b5 and Bb7b9 the D Dorian on Ebm. Far) Brin Em SS +2 3 43 43) 4) +5 (5) (HS) #3) Track 105 | Pattern using the F Half Whole ini Cm7b5 and F7. 48> ~~ Bebop Minor on Bbm. re Bin Cm : r oene? @ 54) 6 2 @ 5 eD Track 4 06 | Pattern using, the G Half Whole Diminished ‘Scale on Gm7b5 and C7b5 and the F Minor Dorian on Em. cm Fm os 2 be be 4 SS 8s ©) G7 +7 7 + 6 +5 3 GD 3 Track 107_| Pattern using the G Half Whole Diminished Scale on Gm7b5 and C7b9 the F Bebop Minor on Fm. Gm b cm Fo = @D 434201238 @ (43) 45 +6 (7) 8 (+7 (+6) 7@ 6 3@3455 Transpose the above patterns into other keys and write them down if it is easier for you.Toots Thielemans’s Patterns Here are a few phrases in the style of the gn Toots Thielemans. = Track 108 | II VIILV Progression in Ab Major. ee gO — @& @ G3) G) 34396242 2420 5E06 C3 45 Track 109 |,JLV | Progression in Eb Major: 6 6) 5 @ @ GD 8 Track 110 | UVI Progression it in DAB Major: » Foe abe es pitti = = © 8 @& GD 7 47 6 (5) 45 5 Track 111 | 1 V1 Progression in D Major: Em? ar pay — f+ — ee ——— os) @ @ © 5 6 7 ® M Ooo s6e © Track 112 | I V1 Progression in Bb Major: ——— == Bray i bee Soe » =a e—2 f- ee ee ee (5) +5 +6 +6 (+7) (+7) (7) 47 () 7 +6 5) GH) 5 HB Fr ou ae be t a (Stee 6 OH 46) 455) + Track 113 | Il v | Uv 1Progression i inA Minor: BAe eo pe = = 5@5+5 6) 6 @ 6 7W_ @ 5— 6) 3 Recommended Listening; 50Man Bites Harmonica, Toots Thielemans , Original Jazz Classics, 1958 Only Trust Your Heart, Toots Thielemans, Concord Jazz, 1988 ihe! 5 ce iLarry Adler’s Patterns You can find below a collection of Phrases ; style of Larry Adler. Larry stays “inside” the han th on most of his records. He uses on pattern ase “double stop” technic which enables you to Obtain notes at the same time with your tongue blocking hi intervening holes. This way you can play lage intervals such as fifths and octaves. er Track 114 | Pattern using the C Mixolydian scale: c be 7) 847) (1) 7 5) (5) 5 (+3) G) 41) 2) (D2 33)5 G67 Me Track 115 | Pattern using the G Bebop Mixolydian scale: maj eet oto 1] 41 = SS 2 eae 37 (37) (48) 48 (26) +26 (+26) 37 15 (15) (+15) 26 Track 116 | Gm! Pattern using the G Dorian scale: 3 3 3 ct SSS SS SS SS ee Qa) 43) @) 3 433 3 43GB 3 @ +5 5 Track 117 | AILVLILY Progression in G Major: Bu? B Am? (5) (4) 5 (5) (+5) 5 ()(H5) © 5 G) 6 (+6) (5) 6 (+6) 7 Recommended Listening: The Best of Larry Adler, Larry Adler, Castle Puls 1998Stevie Wonder's Patterns The following patterns have been written in the style of the legendary Stevie Wonder, Take attention to his frequent use of the slide as an effect. apt eam nin ha Babe can ee 2 © OHH) 5 (9)0) soon Dm O —— 7, GD) 7 (OT (ered Hh) 49 KEN #7 TCT 700) 8) dial22| atm sino in E Bon Msn g — CO) () (47:7) 47046) 6 46 6) 8 (46) Track 123 | Pattern using the E Bebop Mixolyslian Scale; 537 O6)0 6 43) HONG « Recommended Listening: Songs in The Keys of Life, Stevie Wonder, Motown Records, 1976 Innervisions, Stevie Wonder, Motown Records, 1973 Audio Examples Available to Download Here: goo.gl/BD8LvU ®.