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0511 ADVANCED PIANO

by Steve Doherty and Warren Nunes

Solo Improvisation Techniques for the

HOW TO USE. Melodic Minor Scales. Diminished Scales Irlads s Harmonic Minor Scales» Whole Tone Scales

ADVANCED PIANO

HOW TO USE

• Triads

• Harmonic Minor Scales

• Melodic Minor Scales

• Diminished Scales

• Whole Tone Scales

Solo Improvisation Techniques for the

by Steve Doherty and Warren Nunes

ISBN: 084941157 2

Copyright © 1981 by CH II Music & 800ks Ltd.

International Copyright Secured Made in U.S.A. All Rights Reserved

.!I HANSEN HOUSE 1860 West Avenue, Miami Beach, FL 33139

9036

Preface

It was a commonly accepted notion until recently that jazz improvisation could not be taught. You either had it or you didn't. We hope to show you that this is no longer the case. The exercises and examples in this book are designed to teach you the mechanics of constructing your own solos.

A motive is a short musical idea (usually no longer than one or two measures). Many of the exercises take a motive and develop it by using it over and over. This is done by transposing and/or modifying the motive to fit the chord, chord progression and tonal center. A melodic and interesting solo can be constructed from a few motives. You w.ill find that most of the outstanding jazz soloists employ this technique of recycling their ideas.

This book is part of a series of four books. Improvisation Techniques can be used on other instruments besides the piano. Exercises 1 through 31 have been transposed for guitar, alto sax and tenor sax, and flute. Each book in the Improvisation Techniques Series can be studied independently or in conjunction with any other book in the series. The "comp" chords have been carefully voiced to avoid clashing with the solo line and can be used to accompany any instrument in the series (see page 5).

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Warren Nunes

Table of Contents

Explanation of Musical Notation 4

How To Interpret the three-stave System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 5

Introduction 6

Exercise 1 9

Exercise 2 10

Exercise 3 13

Exercise 4 14

Exercise 5 17

Exercise 6 18

Exercise 7 21

Exercise 8 22

Minor Scales 24

Natural Minor Scale 26

Exercise 9 27

Exercise 10A 28

Exercise 108 29

Harmonic Minor Scale 30

Exercise 11 31

Exercise 12 32

Exercise 13 33

Exercise 14 34

Exercise 15 35

Melodic Minor Scale 36

Exercise 16 37

Exercise 17 38

Exercise 18 39

Exercise 19 40

Exercise 20 41

Diminished Sound , , 42

Exercise 21 44

Exercise 22 45

Exercise 23 46

Exercise 24 47

Exercise 25 48

Exercise 26 49

Whole Tone Scale 50

Exercise 27 51

Exercise 28 52

Exercise 29 53

Exercise 30 54

Exercise 31 55

Introduction to Appendix 56

Appendix:

Harmonized Scales 58

Transposition Charts 62

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4

Explanation of Musical Notation

1. Chord symbol.

2. Indicates tonal center.

3. Key signature.

4. An asterisk over a note indicates that the note Is not In the tonality.

5. Accidental.

Note: A tonal center Is the key or scale that relates to the chord or chord progression. It Is not necessarily the same as the key signature Indicated at the beginning of the line.

Am7

3

5

6. Bitonality Is the simultaneous use of two different tonalities. When using bitonallty, the solo tonal center is not the same as the tonal center that relates to the chord or chord progression. The solo tonal center includes both common (R, 3, b7 etc.) tones and altered (b5, #11, #5, b13, bg, #9) tones to create a specific altered sound.

Am----------------------~

6______' IV MELODIC MINOR

,~~ erE r r t r- qE !

87

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HOW TO INTERPRET THE THREE STAFF SYSTEM

FOR SOLOING ...

~~----------------------------~

3 * 3

right hand

1\ 1 ~ r--- -
,....
n) - .- ....... .,
f'\ 1 B~Ma9 Gm7 em7 F7
w 1~ ~ ~~ ~
<
~
left hand

~~--------~--------------------

3_ -! 3_

fl_l 1 ~ 1-

right hand

- . --

--...... .,

em7 F7

4 ~

" L B~Ma9

Gm7

FOR ACCOMPANIMENT ...

'" L

left hand

" l
r- tJ B~Ma9 Gm7 Crn? F7
~~ r\ ~ ~
·eJ
4~ :~ -I l t
4 ~ t:

I •
• right hand

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5

solo line

"comp" chords

solo line

bass line

"comp" chords

bass line

"comp" chords

6

INTRODUCTION

Chords are derived from the harmonization of major and minor scales. A Roman numeral is used to indicate the scale degree upon which the chord is constructed. The harmonized C major scale demonstrates the use of the Roman numerals.

C Major Scale

, .

o

u

e

u

e

Triads
CMa Dm Em FMa GMa Am BO
, I 0 I II I It I
II III IV V VI VII
Seventh Chords
CMa7 Dm7 Em7 FMa7 G7 Am7 Bm7-5
, I U I D I 0 I
II III IV V VI VII The Roman numerals can be rearranged to display the two most common progressions in jazz. From these two progressions, a large variety of song forms can be made by

8. varying the time value of each chord symbol

b. using only part of the progression

c. modulating (changing) to another tonality.

II V III VI II V I
Dm7 G7 Em7 Am7 Dm7 G7 CMa7
, cj i I j i I f 1 I ~ - II
I relative minor
II V I IV 11m Vm 1m
Dm7 G7 CMa7 FMa7 Bm7-5 Em7 Am7
, e J I I t W I t J I ~ - II
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CHORD INVERSIONS

A triad has two inversions.

A seventh chord has three inversions.

& GMa GMa GMa
I i !
Root 1st 2nd
Position Inversion Inversion , G7 G7 G7 G7
iF
I If ~
Root 1st 2nd 3rd
Position Inversion Inversion Inversion
CHORD EXTENSION A chord is extended by adding additional intervals of a third (major or minor) to the chord above the seventh. For example, G7 can be extended to become G9, G11 or G13.

, G7 G9 Gil GI3
B D I '" 0 :
I 0
"0' 0 -e- -e-
v
R 3 5 j,7 9 II 13 CHORD ALTERATION

The dominant seventh chord (V chord) is the most common and easily altered. To alter a dominant chord, raise or lower the fifth and/or the ninth of the chord. For example, G7 can be altered to become G7-5 or G7+~ or it can be altered and extended to become G7-9, G7+~ G9+ 11, G7-9+11, G7+9+11, G7-9+50r G7+9+~

9036
, G7-S G7+S G7-9 G7+9 G9+11
&f II 1 '. 'I G7-9+11 G7+9+11 G7-9+S G7+9+S
,&, B, , #1 8

Exercise 1

Exercise 1 demonstrates the use of the seven triads in the key of Sb major.

The triads have been extended to include the seventh. Triads are often extended to include the seventh (major or minor) when used for soloing.

In measures two and three, the F major triad is extended to the major seventh, an E natural. The V triad is extended to the major seventh when used against a I chord. The major seventh of the V triad is the flatted fifth of the I chord. This results in a Major 9 b5 sound.

The chords used in this exercise all come from the harmonization of the ab major scale. This is a I VI" V progression.

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Triads and Seventh Chords Used in Exercise 1

B~Ma7 E~Ma7 FMa7 Gm7
3 3 3
, 3 j J Q F J J gr r
F J J pJ r J Pt ~
&J C J Am7-S B~Ma7 Cm7 Dm7
, 3 ~ r 3 ~E b3 • pr- E f ~
E ~C r ( r J (
E j 9

~~------------------------------------

3 * 3

3

1

f'I L I ,...._ - ,..... -
,...
4!J ":J. -,J " - " IIIIiiiiiiiiiii .,
f'I I. B~Ma9 Gm7 Cm7 F7
I
eJ ~~ ~~ ~~ 1
)
I
I •

, ... -CI ~~----------*----------------------------

f\ L L * - - s - • - * s
'J
,\:
4!.J l' I 1 J - I I
L B~Ma9 -
f\ Gm7 Cm7 F9
I

.v 1P ~ i~ -=I
~
)
t •


- I c;; ~~--------------------------------------

rt 1 • ~ _..-... 3 - ~ .fI- .--. .. * 3 ._
Hi
r\ L B~Ma9 Gm7 Cm7 F7
I 7
r-,;:
4tJ ..gJ i! ~ ~
,
n
I •


~ -c,; ~~,--------------------------------------~

f'I _l -f'- :r--f'-~. _ L * ,1 ~ * - ... ~ ..-....
--,..
tJ -
I\_ 1 B~Ma9 Gm7 Cm7 F9 B~Ma9
~ .
4!J -E~ -t: i~ :I ~p-:
-
~. •

C; 9036

10

Exercise 2

Exercise 2 is a C minor blues. You can solo to minor blues by playing in the key of the relative major. Eb major is the relative major of C minor. The triads used in this exercise are all from the key of Eb major.

In this exercise, as in Exercise 1, several of the chord changes are anticipated by the timing of the triad. Many times during a solo, the soloist is more concerned with where the chord progression is moving than where it is at present.

Triads and Seventh Chords Used in Exercise 2

! Cm~3 T E~M~7 G~

, E F f ,f] '0 iF r;

or-----------------------------------------------------------

2

,@ -fL b; ~ . *
f\ * 3 • l * I. * -
~D r •

f\ I Cm7 Dm7-S G7.;..9
~
.~
4!J ir :tF'
)
t •

I ~~-------------*------------------------------

" I * I I I *
-
-
@)
/ ~ I Cm7 Gm7 C7
) 4~ -oe- ~ "=E~
)
t •

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11

~-----------------------------------------

1\ L •
--
4!J I
(j_L Fm7 B~7
,

) IV • ~
)
t •

- @~---------------------------------

* 3 *

Ii L * 3 • ~~ • b,;----~ - ~,..
4!J r
" L Cm96 Cm96
I
4!J ~=# ~~
~
I •

@~----------*------~-*-----------------------------------

(j_ L t:- F_ ~ #~ ~ '~ ~t:- -f'- ,.._ • _ l * I -
-
_....
~~
" L Dm7-5 G7-9
I
4!J 1r ~~
)
t •

- ~~---*------------------------------------------------------~

1*- ~ 11- ~ 11- 1*- • * *
'" L L * I * -
1--- I.
I •
4~ I' ..
1\ L Cm7 Dm7-5 G7 Cm96
4!J ~ 1P ~~ ~::
~ ,~
I •
· "
.e:
~
I - ~ 12

Exercise 3

Exercise 3 is an application of triads when playing a II V III VI progression.

This is commonly called an ascending turnaround progression. The 07 chord is the only chord not in the key of F major in this progression. Soloing in the key of F major produces a natural tension when the 07 chord is sounded. The notes of the F major scale produce a 07 + 9+ ~ B natural is used in the third measure to extend Am? to an Am9 chord.

Triads and Seventh Chords Used in Exercise 3

Dm7 B~Ma7 Gm7

3 ~ 3 3

E [f = t [1 f (bel ~

CMa7 Am7 FMa7 "

( f i' c: Ed' ~ fJ] ~

B~Ma7

, dJ

Em7-5

Am7 • Dm ~ ~

J 3 to,u E f [J E:t €o-J

Exercise 4

Exercise 4 is an example of triad use against a II V I and a " V III VI progression taken at an up tempo.

Triads and Seventh Chords Used in Exercise 4

Cm7 yDm7

, C ~E fEr

Cm7 j, Dm7 ~

4 eo f r etc ~ r f E = F; ~

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13

F~--------------------------------------------------

3

" * ~~ ~.,._ 3 _ ~ • 3 • -- J •
@J , - I l~ -
-
f'l Gm7 C7
I

@) tJ tr
~
t
- 3

" ~i ~ 3 -
• - -
~ I __, -:J

" Am7 D7
I

~ ~ #r
<
t •
• F~-------------------------------------------------------

" * I *
@) .... .. -
f\ Gm9 C7
,
4D ~) ~
<
t •


- G)~-----------------------------------------~

" ~ ,,_ ~
• - - ~ -
@)
" Am7 D7(+9)
@) "3e #~p~
)
l •

I 14

~--------------------------------~

* .-

4

" L • .. 11'- • - -r _.._ _.,__ 1~·_tl ~~ i
4D
I ~ L Cm7 F7 B~MQ7 B~6 L
4D i: ~ ~ -t


r..I @V--------------------------------~

*.- ~

f\ L _ -fI- • • b';.fL~ • ~1'- I
H) - ---
-
1\ I Bbm7 E~7 A~MQ7 A~6 I
I
II ~ '"" ~ 1
) 1::
( •
-4 -r ~~----------------------------------~

*

f\ I • ,,_ -fI- • - - -~ gj-~~- ~~ L
W
1\ I Cm7 F7 B~Mo7 Bf16 I
41.1 -c :E ~ -t
(
I •
·
, v ~~----------------------------------~

* -

" I - ~ • - • b ~ _':""-fL . ~._,._ L
_.._ --
40 -
_- " I B~m7 Eb7 A~Mo7 Ab6 L
I .- .. ~

4!J ~ ~ ~ 1
(
t •

, y tr
-4 9036

15

~------------------------------------------~I

r\ L • .. • • _1!-_ _._ • ~
1D
~ L Fm7 B~7
[7 [7
eJ :I: :::
~


-u- G)~--------------------------------------~

~ I. - =~ ~ .~ - - =,. ~ ~ - - ,. ~
~!J
~ I Gm7 C7
~ =U "I~
~
I •

-- ~~--------------------------------------~

~ I • ,._ • • ~ _._ • ,,_
e:r
~ L Fm7 B~7
j
) tJ :8: :eP
)
I •


~ G)~--------------------------------------~

~ I =,. ~ • _ =~ #- ,. _ _,._ ~

Q

) ~

I)~: ~_ ~~~~~~~~~~~t.§~~

...,

~ I Gm7

C7

Fm9

"I~

16

Exercise 5

Exercise 5 is an up-tempo cycle bridge. A cycle bridge is a II V progression which moves through a cycle of fourths: G to C to F to ab. The exercise shows how to use the IV and VII triads to solo to the II V progression.

Strive for accuracy and clarity when practicing the faster exercises. Practice at a medium tempo and gradually work for speed.

Triads and Sevenths Chords Used in Exercise 5

, CMa7

== r]

J

S!7Ma7 Em7-S ~a i

, pm r r r c¥= ,

Exercise 6

Exercise 6 is a III VI II V progression. This is commonly called a descending turnaround progression. In Exercise 3 we used an F major tonal center to solo to a similar progression. We now approach this progression as a II V progression in G major followed by a II V progression in F major.

Triads and Seventh Chords Used in Exercise 6

GMa t f Em -f'- CMa •

, ~ to-~ rIp EJ

-p CMa7 f Am7 Dm7 =~~MQ7 ~

~ E r f ¥ E rITE r ~E r r ~

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17

~~-------------------------------.

5

1\ ,w. .-..... ~
@J ... - I I I
1\ ,w. Am7 D7 ~
~ e:
tJ ~.)
~
)
~ •
• ~~------------------------------------~

-

f\ ----.. ---,-- - ~ -~ •
--- ---
_j£
lEY -j 1 ..,j
1\ Om7 G7
~ e: 11
)
j •

" ... ~~------------------------------------~

~*

1\ - L'~ 1IJ- • • .,._ -~ 1=_ :r- -f'- I
4i) -
'\ Gm7 C7 I
4 (~)tJ ii
I -

" - ~--------------------------------------~

f\ L 1*- • L* I
r.
W -
1\ I Cm7 F7
~ -"v ~
) -6
l ·

Co 18

~~----------------------------------~

6

1'1 fIo_ •.. ~11- _t * • -f'- • »
~ -
1'1 Am7 D7
~

HI :a l'tr
~
I .

, F~------------------------------------------------------~

r\ * - "'(II- _ "'(II- 1:- -f'- "'(II- • _
--
H) -
'" Gm7 C7
t

n) :u ~
)
I •

- ~--------~------~----------------------~

'" • u* fIo_ l * I
. ~
r\ Am7 D7
H) .~ #3
~ ~
I •

QJ----------------------------------------~

.~

r\ Gm7 C7

~1.D~~~~~~~~~~~r~~~~~~~

( ~:

1

I I

..,

*

I I

-

r

...,

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19

~~------------------------------------

~~

r\ • ~ .~ ~ * ~ .. ~- *
[II ...
-u
~ D I --,
"- Am7 D7
"7
- "'-
V17
eJ :a l'r
)
I ~-: 1------ --
, cv~----------------------------------

......-.....

r\ - ~ f!!. ~ .,._ l ~~ • *
r.~
lD I
r\ Gm7 C7
/
I
-4D -tt ~
~.
I _L.
_L_
- ~~------~--------------------------

.. R4Il ~--- t.: ~ .. ~ II'-~ ~ * I

rr

r

Am7

D7

l'~

~

~~L~~~~~~~~~~~~

G)~ v~ __

~ .f:. .,._ ~ • .,._ f:- If.. * I
n t:: ~ #f:- t ~~ -:r- 4Il -(r
UII -IT ..
~"'- ..
1Il1T r1I
4D ..
"- Gm9 C7 FMa7
lIlJ!I IIIL_!"
L1: 17
eJ if ~ -~
4)
I ~ .
._.
7 ..
,
--_
a 9036

20

Exercise 7

Exercise 7 demonstrates the use of triads in a 3/4 time setting. The chord progression moves through several tonal center changes. The IVmajor IVminor III VIII V (FMa7 Fm7 Em7 A7 Dm7 G7) progression is found in many songs.

Triads and Seventh Chords Used in Exercise 7

, FMa7 _Bm7-S F Em7 F ~ f

(EfflEr E

Exercise 8

Exercise 8 is a II V I progression descending in half steps. The triads are extended to the tenth: R, 3, 5, 7,10 and R, b3, 5, ~, b10. This exercise is designed to be played very fast. Start practicing this exercise slowly to make sure that correct technique is used.

Triads and Seventh Chords Used in Exercise 8

, B~Ma7 f iAm7 - V

'E Ere r F J

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21

~~--------------------------------~

7

f\ ....-II! _"1*-._ .-f'-f-~1'- ~ ~. t.
1D ..... __, ......
1\ Dm7 G7 CMa7 C6
I
-~ ~: $: 1: -i:
~ .
I •
• •
• •
I ~~----------------------------~I~~-------

1\ "* • - • ~-f'- ~ ~ -f'- 1'- ~~.~ - ~1'- f:- ~ • _
.~ "-'-'
1\ Gm7 C7 FMa7 Fm7
I
• • • •
~ j,i! : j,~: 1: ~r1 :
~
j •



C/. <oJ' Q;) HARMONIC MINOR'

I~~----------------~

*

.3

f\ •• ~ '-f'- 1*" • -'
..._
Ii) I -.... I v -
f\ Em7 A7 Dm7 G7
4tJ l: ;~: ~: $:
~
I •

• •
,4' -d-. - ~~---IQ;)HARMONICMINOR I~f-------------_

P. *

f\ • '-f'- 1*" • • .~ . -


4!J I .... - ...... I
f\ Em7 A7 Dm7 G7 CMa7
I

eJ l:: ~~: ~: $: l:
~
t • ...


4' -d. • 9036

22

G~-----------------------------------------------

8

" ~ ~ II. =F f:- __ ~ .~ ...,. • ... *
4~ I
" ~ Am7 D9
ttr
I
,~ • •
~
~ •
.
~------------------------------------~

f\ ~ .. f:- ~ -f'- ~ • L* * ~ +t .Ll.
...
t.J - I
'\ » GMa7 G6 »+.t .Ll.
I
. ~ ·if tf
i.I.
I •

_. - n f1_ ~i .u. ~ ~ ~ -f'- .,.. *
... • ... I
t.J -
f\ » +.t .Ll. G~m7 C~9
~ .

t.J 1f -tf
.u.
t •
• .l.Io_

l' ._.. ~---------------------------------------------*~I

1\ ~ i .Ll. • f:. -f'- ~ • * J..~ L
I ..,
.JIlL
t.J I
f\ ~ +.t .Ll.F~Ma7 F~6 J. ~ L
..., :a r
Ll L
t • JIll
• 1.1.
T' " " "
-. 23

(V------------------------------------------

fl ". t r -f', ~ • I *
- -
H) -
~ Gm7 C9
..., if tf"'"
~
I 0
0
- GJ------------------------------------------

• ~ .,.. 1*" * ~ it
~ • - * I
4!J
f\ FMa7 F6 ~ it
Hl • ....
<
JJ.
I 0

- u E~---------------------------------------------------

~ ~ .If =r- .,.. ~ *
• • -
4iJ
" ~ it F#m7 99
4tJ • ~
)
JJ.
t 0
0
, '" E~--------------------------------------------------_,

ll_~ Jt
0
tJ
f\ ~ it EMa7
4!J l;:
<
~ JJ.
0
0

_q0 9036

24

MINOR SCALES

There are three different forms of the minor scale used for soloing. They

are:

1. Natural minor scale

2. Harmonic minor scale

3. Melodic minor scale

The major and its relative minor share the same key signature. The relative minor is based on the sixth degree of the major scale.

The natural minor scale is the relative major scale starting on the sixth degree of the scale. The natural minor scale includes the same notes as the relative major scale.

The harmonic minor scale raises the 7th degree of the natural minor scale. The melodic minor scale raises the 6th and 7th degrees of the natural minor scale. Unlike the traditional definition, the modern application of the melodic minor uses the ascending form (raised 6th and 7th degrees of the scale) for both ascending and descending lines.

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25

C (Relative Major)

,

I,

o

o

o

A natural minor

()

e

()

o

II

o

Q

A harmonic minor

"

o

II

o

o

A melodic minor (ascending)

,

n

o

II

o

II

A (Parallel Major)

,### n ..

o

II

26

NATURAL MINOR SCALE

The natural minor scale can be used to solo to the following progression:

Bm7-5 E7-9 Am7
e NATURAL MINOR
* F F ~ £ r r ~ I r f F r r
e L j J r r r An easier way to solo to this progression is to use a C major tonal center.

The natural minor scale includes the same notes as the relative major scale. It is faster for the soloist to think C major than to think A minor.

Bm7-5 E7-9 Am7
@ f r
, L r F r r ~ I r F f r r F r
c J r Bm7-5 is the VII chord and Am7 is the VI chord in the key of C major.

Soloing in C major produces a natural tension against the E7-~ This results in an E7-9+ 9+ 5 sound.

E7
, #1 0 0 0
0 u 0
u
#r II 5 ~13 ~7 R ~9
(+5) (+9)
9036 27

~~-------------------------------------

9

1\ - ~ f!:- .fL ~ • - .-
4 "
1\ Dm7 G7 CMa7 C6
I
.., ~~ ~ ~~ ~~
~
~ I



I - e

or----------------------------------------------------~

~

1\ - "'f*- ~ ~ ~ • - - .-
..,
1\ Bm7-S E7-9 Am7 Am9
I
, UJ ~~ #~~ ~ .-d9-
, •

4 ~~---------------------------------------------------------~

1\
.., I I
- -
1\ Dm7 G9 CMa7 C6
.., ~~ ~r,; ~~ ~~
:e
~ ·


-d ~ ~ €9or------------------------------------------------------~

I\~ I
.., I I I I I
1\ Bm7-S E7-9 Am7
eJ ~P #~~ ~:
I •

4 28

~~----------------------------------~

f\ -!~ =F ~~ * ~,.. t ,..1:- * 3~
.., ,
f\ Drn7 G7 CMa7 C6
I

HJ ~'"'" ~ -t~ :I
~)
I
I •

, I - ~or--------------------------------------------------~

©

" '~ 1#- -f'- 3 • -f'- • ~ * 3 ~
-
t.J 'f ,
r\ Bm7-S E7-9 Am9 Am7
Hl ~r; #t ~~ ~~
I •

4- ©~--------------------------------------~

f\ .. ~ 1#- -f'- 3 ... ,.. ... ~ ..
.., r
r\ Dm7 G7 CMa7 C6
4iJ ~ ~ =E~ ~
~
~ •


I - ~or--------------------------------------------------~

~

ll. - ~ • - I
It)
ll. Bm7-S E7-9 Am7
I

u)· ~~ #~~ ~


4 9036

29

~~--------------------------------~

108

~ * ~ ... -:f!:. .. ~ 3 • .,,_ . ,. ~ 3
HI , r -
f\ Dm7 G7 CMa7 C6
4" -=fjP i! i~ :t
I

I ~ or------------------------------------------------------~

~

3

f\ ",. • * 3 • - -# ~
-
H)
'" Bm7-5 E7-9 Am9 Am7
j
4 " ~r:; ~~ =e~ ~~
<
t
.. <S~
~ t- : .fl- t- tt~ I
~ ~ * .fI-
4D
1\ Dm7 G7 CMa7 C6
l
[l :1P ~ i~ ~tii
t •

I - ~or------------------------------------------------------~

~

" ,. ~ .fI- -# •
. ...,
~ Bm7-5 E7-9 Am7
j
w ~~ #~~ ~
~
( •

-9- This exercise harmonizes Exercise 10A.

30

HARMONIC MINOR SCALE

The harmonic minor scale is constructed by raising the 7th degree of the natural minor scale. The harmonic minor scale includes the same notes as the relative major scale with the 5th degree raised.

AmMo7 Bm7-S CMo7+S Dm7 E7 FMo7 G#o7
, #0 i #1 U II H II Along with the major 7th, the minor 7th can be included when the harmonic minor scale is used for soloing.

e HARMONIC MINOR

, (! r 15 r r #c qE r i

~7 ~7

The harmonic minor scale is commonly used to solo to a V chord or to a II V progression. For example, an A harmonic minor scale can be used to solo against an E7 chord.

, IE7 U .8 #0
i 0 8
U 8
#r ~13 ~7 ~9
II 5 R 3
(+5)
9036 31

e HARMONIC MINOR

11

" -fL ~ -fl- ~ ~. ~; -
.., I 1 I j J
-
11 Bm7-5 E7-9
eJ ~ #11

• e or----------------------------------------------------~

@

" ~ tt
.., I l' ......... _./
~ Am7 Am96 ~ ~
I
H) :;e -cp
~
JJ.
t • __ft_ _loL

.n, e~--------------------~

HARMONIC MINOR

~

~ ~ ~_-f- I~ .,._ ~ • ~! lo_
t) I I I
-
lL~ tt Bm7 E9
I
@) ~ #
JJ.
·
I ·
~~----------------------------------------

f\ ~tt
4~ I - ~
~ ~ ~ AMa7 A96
HI ~ ~
LI.

• 32

S HARMONIC MINOR

12

1\ -(I- ~ -(I- ~ !t. ~! -
4[J I I I
-
" Bm7-5 E7-9
I
4iJ ~ #tf
<

I •
~~-----------------------------------------~

" • ",_ .. * I
@) I I I I
~ Am9 Am7
LlIlL
4~ ~ !!e
<
I
t •

S~------------------------------------------------~

HARMONIC MINOR

*

~ -# ~. ~. .-
41) I I
f\ Bm7-5 E7-9
I
4tJ ~ #ti
)
·
f •
, Cr---------------------------------------------------------,

~ • .. ~ I
._
'--
40'
" Am9 Am7
I

@) ~ ~~~
<
( •

• 9036

33

€9 HARMONIC MINOR q* *

.13

1\ I~ q~ ~~ ~ *
• - •
...I"'" ..
-.J
~ Em7-S A7-9
I
4~ -tf" ;:tr
~
I •

~----------------------------------------~

'" - - ~ "f:. ~,a. ~ • ,,! - *
~
~ Om7 Om7
t
0 tr r
)

I •
, ~~----------------~€9

I HARMONIC MINOR

" *
4~ .. -.J- q .... ; ... - -
" Em7-S A7-9
I
4~ tf (~lP)
<
~ •

Fr---------------------------------------------------~

"
4~
" Om7
I
4~ 1r
~
t •

46368

34

9 ~ HARMONIC MINOR

I~~--------------~ ~*

14

fR: t. ~ ~ ft. ~ t. #t ~ ~ ~ ~ #;
f\ ~ f0- r- ~.
'-
4D
r\ ~ Bm7-5 E7-9 Am7 D7
I
4D "l~~ #~ ~~ lFl


4 -d *

911.ARMONIC MINOR

,,~:l- ~ -f"- 1*- !l:. ~_

I~~--------------~

eJ

1\ .w. Bm7 E7 Am7 07

~~4V~~~~~~#~~~~~~~~~~~l~~~

9 HARMONIC MINOR

I~~------------------~

r\ ~ l. - I
~D 1 I I I
-
1\ .w. Bm7-5 E7-9 Am7 07
eJ "l~ #t ~i ~FI
(
~ •

4- -d *

*

*

9 I~~----------------------------~

HARMONIC MINOR

" .w. - "......
.., -I - • .... ,., 'I
- -
r\ ~ Bm7 E7 Am7 07 GMa7
• t:r .. ~ . #~., =rP $ ~
~
~ •


4- -d ._ 9036

35

~-------------------------------------

*

15

~ - • 1*- ~ ~ ~~
-
--
t ~
~ Om7 G7
I
4iJ ! ~


- ~~----------------~IGV--------------------~ ~*

f'1_ -fL '~ ~ • - * I
~
f\ CMa7 Em7 A7
I
4tJ T:P- ~ ~~
~
I •

-9- ~----------------------------------------~

f\ • - - 1*- f- -fL 1*-
~
f\ Om7 G7
t
@) ! ~
)

I •
- ~ :ARMONIC MINOR

q * q * ~

l ~,____----

~ ~~ l-fL '-f'- ~ • _ *

~ '--
A...L
'--
tt.J -
f\ Em7 A7 Om7
t

~ tt i~ ~
)
( ,;:
, -d
-e- 9036

36

MELODIC MINOR SCALE

The melodic minor scale is constructed by raising the 6th and 7th degrees of the natural minor scale. An easy way to play the melodic minor scale is to play the parallel major scale with the 3rd degree lowered. For example, to play an A melodic minor scale, think of playing an A major scale, but play C natural rather than C sharp.

AmMa7 Bm7 CMa7+5 D7 E7 F#m7-5 G#m7-5
, #0 -I #, #0 II #1 II The melodic minor scale has several different usages in soloing.

A melodic minor scale can be played against four different dominant chords and one minor chord; or four different melodic minor scales can be played against one dominant chord.

You can control any particular altered dominant sound you want simply by

selecting the proper melodic minor. Use:

I melodic mi nor for a #5 sound

II melodic minor for a b5 of #11 sound IV melodic mi nor for a bg or #9 sound

#V (or bvl) melodic minor for a b5 or #5 and/or bg or #9 sound.

The following Illustrates the four dominant chords - E7, 07, 87 and Ab7 - that can be used with an A melodic minor.

AmMa7
, ~i " 0 u _0 #0
u 0
#!i ~3 ~7
R 9 II 5 6
, #E7 u _0 #0
i u 0
u 0
#r II 5 &13 &7 R 9 3
07 (+5)
, #! II n 0 U _0 #0
'it' I, 0
5 13 ~7 R 9 3 +11
B7 (~5)
'Ii IV u 0 0 _0 #0
i#!D u e
~7 R ~9 II 5 13
,&i +9
J~,) u _0 #0
u 0
':1 u 0

- +9 3 til +5
(~9) ( 5) (~13) (~7) (R)
9036 37

Am------------------------------------------~

II MELODIC MINOR

16

1\ ,w, +t. ~ ~~ ~ • -
41) I (4 3 ,'3 c: tfl/II "
t ],.. '. ~,./ q «.7
t-
I f) ,w, Am7 D7
I~ 1P r
~
~ .

, 4

I 1..

/1

*/

©~-------"Ie

Y-') + v- A ". \ NAr~f!AL f~OR
" ,w, *J.H~ .' ,. L.
4lJ I I - - I
l-- 1
11,w, Bm7 E7 Am7
/
I tJ ~ #:8 ~
,
~
t .
.
, 38

17

f\ ~ oft .fL ~.fL .. • -
ltJ - •
~ .lit .!+ 8m7 E7
t

llJ ~ ':g-
~
11
I •
e I MELODIC MINOR ~*

*

QV~------------------------------*---------------,

~ .lit oft *
4D 4~"" q .... , .... L
f\ ~ oftC~m7 Fb
~

&l "ir} #:8
(
t 1l

- 0~-------------. S

I I MELODIC MINOR

f\ ~ oft ,. ~ fII- (It ~ *
- -
~
f\ ~ .!+ 8m7 ..
E7
I
.4iJ ~ If
.t.L
t •

QV----------------------*------~I0------~

f\ ~ oft I I I

~ - - I
~ ~ oft C~m7 F~ 8m7
H) ij& #1 1~
11
I •


- 39

QD~----~--------------~Am--------------------_

~ * I IV MELODIC MINOR

*

18

" ~ ~ • -f'- ~-f'- ~ • -
@_, -
"- .i_.~ Ftm7 87
t
Hi :8 ~
~
LI.
t •

~ QD~----------------------------------------------------------------------------------------------------~

*

1\ ~ ~ I. * ~ 1.* * *
eJ -
'\ ~ ~ EMa7 AI3 G~1l7 Ct7
eJ ~ q=e~ ~ "'iP"
.LI.


-4 - ~ Am------------------------------------------------ __

IV MELODIC MINOR

'\ ~ it • ..1'- fL I~ I~
4~
1\ ~ ~. F~7 87
~

eJ • ~
.LI.
I

~ " .If oI! .p: '.fL. ~ ~: (oI!). ~ • lot! =r- 1:-
4~
1\ ~ ~ EMa7 AI3 G#m7 C#7
I
eJ ~ q:e~ i: "'iJ'
<
JJ. I
t •


4 "" 9036

40

@--------------------------------~

*

f\ I

I

Am--~#~V~M~E~L~O=D~IC~M~I~N~OR=---*----------------------------------~

~. ~~ ~~ =~ (~). ~_ .l *
'" I L
.~ "
f\ I A~7
4E> ~
l •
·
.. ~~-----------*-------*-----------------------------*----~

'" I • ~.". * _l
~
'" I Fm7
j
, tJ I
j
I ·


-v 'U' Bm--~#----------------------------~I~~----------~

V MELODI~ ~OR
f\ I ~ _ t~ b...l+±).. ~ .(~,_ l - *
,..
.~ I
'" L B~7 E~m7
W ~~ .. ...
)
( •
·

17 • 41

e I MELODIC MINOR

#

*

20

r\ _ ... ~,.. f~ .,,_ "f*- • - I
H,l
1\ Dm96Ma7 Dm96Ma7
I

liY .,l'¥, I~~
~
I
e~-----------------------*------------------------------

r\
Hl .. I I
r\ Dm96Ma7 Dm96Ma7
I
~ 0) q~ Iq~
l •
e~--------------------~#-------

f\ • - • - ~~ ~,.. :f!:. ,..
n)
'\ Dm96Ma7 Dm96Ma7
~ q~~ I~~
I •
• e~----------------------------------------------------~

r\ • - • -
HI ......._,
1\ Dm96Ma7 Dm96Ma7
I
.
., ~~ Iq~p~
~
~ •


V • 9038

42

DIMINISHED SCALE

The diminished scale is constructed from two diminished seventh chords a whole step apart. There are only three forms of the diminished scale. Any note In the first chord can be the root.

,~~

Form <D .

o

~ ...

o

po

Po

~.

Q

...

Form 1 fits the following chords:

Am Cm Ebm F#m

07 F7 Ab7 B7

Form 2 fits the following chords:

Om Fm Abm Bm

G7 Bb7 Ob7 E7

Form 3 fits the following chords:

Gm Bbm C#m Em

C7 Eb7 F#7 A7

9036

43

To playa diminished scale against a minor chord, start on R, ~, b5 or 6 of the minor chord.

, Om
&0 ,. _s I- s -
§ 0 •
:a: ~3 II ~5 ~13 6 q7 R 9
$
(+5) To playa diminished scale against a dominant chord, start on 3, 5, ~ or bg of the dominant chord.

, G7*
I &0 ,. .s I- s -
0 •
$ ~7 ~
R 3 +11 5 13
(+9) (~5) *Avoid using a diminished scale against any dominant 7+5 or dominant 7-13 chord form.

9036

------------------- -------

44

AO --.

t

, I

DIMINISHED

f\ ~~ f:. ~ -it- ~~ ~ .. • I I I ., I \
-
W 1
1\ G7 G7
j
4iJ TU lr
t •

-""... GO ~----------~

.. DIMINISHED I I I' jf I... ~ f:- ~! f:- ~ ~ 1 I

4 i} 1 ::::J

1\ C7

C7

I

G~O -_----------....,I @I.------

:aj?IMINISHED

f\ I q'1-- f:- -fL 'J~?_,. 1,. _ 3 'II I .., I ~
f
4D
'\ I F7 F7 B~Ma7
.
4 ~ ""1 I ~!7
~ •

~ " 45

F°-----------------------------------------------,

DIMINISHED

22

f\ l L L • ~ .,,_ q.,,_
4!.i -
~ L Fm7 B~7
I
4 iJ :a: ~
I •

" GO------~~----------------------------------------~

DI~NISHED

1\ I f:. ~t 1:- .,,_ b~ • ,w._ L .1
@J
1\ L Gm7 C7
I) tf '1tJ&
I •

A~----------------------------------------------------

#

DIMINISHED

1\ L • ~ - • ~ .".. q.".. ~f:. t
&I I
f\ I Fm7 B~7
j'
w • ~
I •


u B~O~D~IM~I~N~IS~H=ED~----------------------------~I

q ~ ~ @---------

1\ L =Fl=F~=F'~ f:. ""'b~ • ,w. _ L I
- I
U) -
1\ L Gm7 C7 Fm7
@) =If "'r :I
(
t •


- '" 9036

46

Am I~------------------~

II MELODIC MINOR ~ *

23

f\ .w. ~ • -(I- '-(1- ~ Hh. _k
4!.i I
1\ '" Am7 D7 ~
~ ~ r

I •
FO ___

DIMINISHED

" -- • ~ ~~q-(l-
4!.i T
" Dm7 G7
4D (q,r 11

- ''U"

cv-~--------------------------------------~

~ ( 'H-- .. 11- .L * - L
-
W
" Gm7 C7 ~
4D <P)g =If
I •
E~------------------------------------~~~------~

DIMINISHED

r\ L -. ~,. ~.
40 - -
" L Cm7 F7 B~Ma7
4!J (~~ ! 10"


- 47

~------------------------------------~

24

f\ • - ~ :f! -I'- ~
4[)
It Dm7
&J r
~
• FO
DIMINISHED
~ ~11- ~11- ~11- ~ • -
w
~ G7
4!J $


GO
DIMINISHED
~
HI
f\ Gm7
4~ $
,

• ~- .

-

~or------------------------------- __ ~------------~

@~ 3 *

n 't :r:~~-I'- p,. • _ I * • I;p..
~
f\ C7 FMa7
&J tr I
t •

u 9036

48

c~-----------------------------------------------

25

" ~ - * ~. * "*
HI , L I ~
" G7 G7
4 ~ # :g
- 3

~~----------------------------------------~

#*

*

" e: * 3 ~ ~ * 3 .. ~ (~ ~.j.i. «:»
-
HI
" G7 G7
I
H) II tJ
I •

- - FO ___

~ DIM~NISH~D
f\ ,~ ~~ .,~ ~1'- • . ~,. • _...
1!J
1\ G7 G7
j

.:J # tf
(
~ •


- FO-----------------------------------------~---------

1\ -
~ I .."
" G7 G7 CMa7

tD tJ tJ ~~:
)
I .. ~:

" - ~. 9036

49

B~O-------------------------------------------------

26

1\ ~ I *
eJ I r

'" Gm7 C7
I

4 D :u "ij&
~
~

- DIMINISHED

CO _

" I I..
W
'" Am7 07
4 a 1'#,
)
t •

DIMINISHED

B~----------------------------------------------------

1\ I
&J
'" Gm7 C7
4 tJ fr
~)
l •

DIMINISHED

®~------------------------------------~

'" ,I
4D
" FMo7
,
~
w I
')
l ~:
, " 9036

50

WHOLE TONE SCALE

The whole tone scale is constructed from two augmented chords a whole step apart. There are only two forms of the whole tone scale. Any note in the scale can be the root.

Form 1 fits the following chords:
Am 8m C#m Ebm Fm Gm
07 E7 F#7 Ab7 8b7 C7
Form 2 fits the following chords:
Om Em F#m Abm Bbm em
G7 A7 87 Ob7 Eb7 F7 To playa whole tone scale against a minor chord, start on the fifth of the minor chord.

, Dm bu 0
#0 0
U u e
DO 5 6 ~7 ~9 ~3 II
:a To playa whole tone scale against a dominant chord, start on R, 3, 7, 9, + 11 or + 5 of the dominant chord.

G7
, I #" Ie 0 0
• n 0
!i 9 3 +11 +5 ~7 R
(~5) (~13)
9036 51

II MELODIC MINOR

E+--------------------~

WHOLE TONE

Bm--------------------~

27

r\ ~ tt ~,. .fL 1:- 1*- _ . ~ - ~~
40 I I
1\ ~ Jt E7 E7 ~~
I
tJ -tf" -tr
<
t.L L
t •
• A+----------------------------------------------------~

WHOLE TONE

'\ ~ 1*- .fL f:.1*-_ I. • "1*- - 1.- ~
4)

r\ ~ A7 A7 ~
40 :8: :a
<
t •
• Am------------------------~D+------------------------ __

I WHOLE TONE

II MELODIC MINOR

~ ~ tt. "1*- -~ • - • I.
4 ~
~ .... ,jf. D7 D7 I.
I
4 v e: r
<
I •

"0 G+-W-H-O-L-E--TO-N-E----------------------------*-----*--I~~--------~

1\ (~). ~ .fL • - •
..,
r\ G7 G7 CMa7
.
Hi II =lJ :e~:
<
I
I •


- - 9036

52

®~---------__. F+ I -WH--O-L-E-r-O-N-E----------------

28

1'\ I • .. .,,_ • - • - • ~ - -
l~
f\ L Cm7 F7
..., -i'J& 4-


" ~----------------------------~I G+-W-H-O-L-E-r-O-N-E------------------~

f\ I~ .,,_ 1:- ... • .. • .. q.,,_ • - •
-t)
. f\ L Dm7 G7
..., ~ ~iJ
~
• @---------------------------------------

*

~ t • 1,. - ,* t * * • .. .. •
-
HI
~. L Cm7 F7
,
4~ ~ :it.
~


" ~~--------------------------------------------.

1\ I * •• " .
..., I r
'\ L Dm7 G7
. ~ e: ~~-~
~ 0-:
t I


\1 •
~ 9036

53

~~----------------~

B+------------------~

WHOLE TONE

29

~ * • -- ... • I
H) I I ~ I - -
- -
1\ Dm7 G7 I
@) 1r tt


- ~--------------------------*~I A+W-H-O-L-E--T-O-N-E----------------

- --
~ l I I - • I
4~
~. L Cm7 F7 L
4iJ tr •
I •
" @------------------------~

G+---------------------------

WHOLE TONE

1\ L - * • *
~ • T' I I
1\ l B~m7 E~7
I
@) 1r tI
~
, •
@-------~

F+ fAb

-W-H-O-L-E-T-O-N-E------------~I~~-----------

~ L I _ L * L *
W '-'
~ L A~Ma7 F7 Bbm7
w Be ~:a ~
I •
u 9036

64

Bossa

~~-----------------------------------,

30

- ",,! 1* *
1\ ~ 1 -,
~IT I I • p,-"
fJ
r\ ,Ij, GMa7 GMa7
4D ! ~ ~ ~- ~~ ~ ~ I
=i
"-...._ .....
• •


... I r I Or--------------------------------------------------~

o *

r\ ,Ij, WHOLE T NE .. --..... • • I I
l!J __ • ., r
1\ ~ A9+11 A9+11
fJ \"'~I =I =I ~=I ~ ~
~ • .

, .... G~---------------------------------------------------------

1\ -~ • "'! I,Ij,\ L.*
.., I
1\ ,Ij, Am7 09
j
tJ ~ =: =: ~ ~ ~
< =i =i =i
( •
• •

-,I. -.J ~ @1--------------jO:-H-O-L-E--TO-N-E------------.I@I-----------.

~ -
1\ ,Ij, * ,......,.. - I -
e:> .. 3 I... I I •
-
f\ ,Ij, GMa7 09 GMa
lD .~ \=- J ~ ~ ~ ~ 1
~ =i =4 =i
j •

... I I -,I 9036

55

E+
" Mo WHOLE TONE_
4[1 -
" .110 Am7 Bm7
I
31 n ~~ ~~
~
t •

E+ -

Am7

Bm7

" Mo ~. -
,-.J
'" .110 Am7 Bm7 Am7 Bm7
I
lLT .~~ ~r;- ~i ~~
~
I •
• E+---------------------------------------------------------

*

" ,jj, I ~. ~. ~ • ...
4[J I I
'\ Mo Am7 Bm7 Am7 Bm7
I
r ~~ :ib" ~~ ~b"
~
t •

E+--------------------------------------------------------~

'" .110 r---l
r.
Hi I I ...______.,. -~- -
" .110 Am7 Bm7 Am7 Bm7 Am7
W ~~ :;~ ~~ ~~ ~
)

I •
9036

56

INTRODUCTION TO APPENDIX

Harmonized Scales

There are four chord charts Included:

Major Harmonized Scales

Natural Minor Harmonized Scales Harmonic Minor Harmonized Scales Melodic Minor Harmonized Scales

Each chord chart Illustrates the Roman numerals In all 12 keys. Notice that the seventh of the chord has been added to the triad. The scales are arranged In the cycle of fourths. The fourth cycle Is the natural progression In music. It Is also a quick way to learn the key signatures.

Transposition Charts

There are three transposition charts Included:

Alto Sax - Plano Transposition Chart Tenor Sax - Plano Transposition Chart Guitar - Plano Transposition Chart

Music for the alto sax is written a major sixth above where it sounds. Music for the tenor sax is written a major ninth above where it sounds.

Music for the guitar is written one octave above where it sounds. 9036

57

APPENDIX

58
MAJOR
I II III IV V VI VII
CMa7 Om7 Em7 FMa7 G7 Am7 Bm7-5
, J U I B I H 1
FMa7 Gm7 Am7 B MA7 ~C7 Om7 Em7-5
$~ II ~I 0 ,1 I H ~I
"b B~Ma7 Cm7 Om7 E~Ma7 F7 Gm7 Am7-5
~tI ~'l B ~~I au ,1 aD
E~Ma7 Fm7 Gm7 A~Ma7 ~B~7 ~m7 Om7-5
"~\I #0 ,1 #1 j} ~I &0
A~Ma7 ~B~m7 ~m7 0~Ma7 E~7 Fm7 Gm7-5
"P&, ~&H ~,l bll ~&B ;'1 #1 ,'1
0~Ma7 E~m7 Fm7 G~Ma7 A~7 B~m7 ~Cm7-5
"b&,~ b&1 {,'I ban ~"I atu ,:1 b at
G~Ma7 A~m7 &7 5:Ma7 0~7 E~m7 Fm7-5
"\',b\d &b~H abbA . &tu ,'tl ?bg
,i
,_ # BMa7 C#m7 0#m7 EMa7 F#7 1#m7 iff'
#11 BIIB ,'I ###11
I'HAl ' I
C~m7
EMa7 F#m7 G#m7 AMa7 B7 D#m7-o;
,-1#. 51 11 ....... -II ##0 ##1 ##1 iln
#
AMa7 Bm7 ct7 DMa7 E7 F#m7 G#m7-5
,.~ .. #1 ##0 ##0 ~I
## II
DMa7 Em7 F#m7 GMa7 A7 Bm7 C#m7-5
,-I#ilI I ##0 #1 #0 #1 #1
GMa7 Am7 Bm7 CMa7 07 Em7 F#m7-5
,- #1 0 #1 . t #1 I #8 59
NATURAL MINOR
I II III IV V VI VII
Am7 Bm7-5 CMa7 Om7 Em7 FMa7 G7
, H I tI H I B I

Om7 Em7-5 FMa7 Gm7 Am7 BPMa7 ~C7
" U '1 B ,1 H ,i I

Gm7 Am7-5 BpMa7 Cm7 Om7 E"Ma7 F7
"b ,1 bH ,i bPI 1 ,'1 bU
Cm7 Om7-5 E"Ma7 Fm7 Gm7 A"Ma7 ;1
, b &1 ;'1 ?U ,1 &bB
~&~,
Fm7 Gm7-5 A"Ma7 ~"m7 Cm7 0"Ma7 E"7
"PP'~I ,'1 48 ,~ bPI &&1 ,tl
b
B~m7 Cm7-5 0"Ma7 Epm7 Fm7 G"Ma7 t7
*'\"&fI /'1 &&0 "tl #0 #,1
b 0
Epm7 Fm7-5 GpMa7 Apm7 rlJ7 C"Ma7 OP7
'~"&~~I ~&B (,I &bto b~1 &tu
G#m7 Am7-5 #BMa7 C#m7 D#m7 EMa7 F#7
'·~D·II do ,#1
- -I ##10 ,'I ,ill
C#m7 0#m7-5 EMa7 F#m7 G#m7 AMa7 B7
,~.~ Diu ,'1 ##0 -II ##0 .-1
F#m7 ;7-' AMa7 Bm7 C#m7 OMa7 E7
,~# ##1 ,#1 jl ,#11 ,iB ,I
Bm7 qm7-5 OMa7 Em7 F#m7 GMa7 A7
'f# #1 lJ ##0 I ##0 #1 10

Em7 GMa7 Am7 Bm7 CMa7 07
F m7-5
,. I ~II #1 0 #i I #1
60
HARMONIC MINOR
I 11 III IV V VI VII
AmMa7 Bm7-S CMa7+s Dm7 E7 FMa7 G~Dim7
, #0 i #1 U ,I B ,I
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A Few Words About The Authors ...

Warren Nunes, jazz guitarist, author and teacher, lives in the San Francisco Bay Area where professional musicians consider him the best jazz guitarist around. He has written a number of books for the jazz guitar and is currently working on a series of books for the other jazz instruments.

Steve Doherty, electric bassist, comes from a musical family and has been playing professionally since age 19. He has studied extensively with Warren Nunes and has been an active participant in the Warren Nunes workshops and clinics.

9036

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JAZZ GUITAR (Red Book)

Rhythm and Background Chords. 0234 • $7.95 with sound recording

series •

Books with sound recordings are indicated.

JAZZ GUITAR SOLOS (Blue Book) The Blues. 0358 • $4.95 with sound recording

JAZZ GUITAR PORTFOLIO Collection of jazz guitar studies.

Z2700 • $4.95

JAZZ GUITAR SOLOS (Gold Book) Solos with correct tonal centers for soloing. 0431 • $4.95

SOLO PATTERNS (Green Book)

Solo jazz guitar method. 0458 • $5.95 with sound recording

Solo Techniques:

JAZZ ELECTRIC BASS SERIES wnh sound recordinq Arranged by S. Dohertv and Warren Nunes 0507· $9.95

Improvisation Techniques:

GUITAR Arranged by Warren Nunes

with sound recordmq

0508· $9.95

• STUDIES FOR THE CONTEMPORARY DRUMMER Arranged by J. Xepoleas and Warren Nunes 0506· $7.95 wuh sound recording

• Improvisation Techniques:

F LUTE with sound recording

Arranged by Dean Fazio and Warren Nunes 0509· $7.95

• Improvisation Techniques:

TENOR and ALTO Saxophone wlth sound recording Arranged by Dean Fazio and Warren Nunes 0510· $7.95

• Improvisation Techniques:

PIANO

Arranged by S. Doherty and Warren Nunes 0511 . $6.95

JAZZ GUITAR - RHYTHM And BACKGROUN~ CHORDS. The first book in the Warren Nunes jazz guitar book and record series. Contains over '100 choice chord forms and uses them In all keys. Over 150 written out chord progreso sions which show you how to use chords. lncludes - introductions, ending chords, stage band questions, "comp" patterns, plus a demonstration record. 176 pages, plastic spiral binding. D~' $7.95 Arr. by Warren Nunes & Jerry Snyder

I!I HANSEN HOUSE 1860 West Avenue, Miami 8each, FL 33139

281/C/46388 'e

0511 . $6.95