Exercise #5: Augmented with Distonic Root Movement Bhs? ce De? Es? Fhe? he? Th? Ea? Da? ce Bh? op? Fie? E+? Da? cH Bh? Import anit N ote! There is no exercise for the Diminished scalesince building 7th chords becomes very ambiguous regarding chord quality. In Teiads Exercise #7, we will work with tiads from the Diminished scale. Triads seem to be the most comm only used toon of vertical playing over a diminished chord! scale “8+ Chords Ex. #5modes ina chosen scale. Do this exercise in all 12 keys by: Farrell Venom dose Dorian PhrygianScale Exercise #2_ This is abasic w am up which lows you to play all ofthe modesina chosen scale. Do this emercisein all 12 keys by: Farrell VenomExercise #3 Arpeggio Drill Al Major7th Choris, Memorized at the marked tempo hy: Farell Vernon, Bhar Ba? ca? cp? Da? Ebs? Ea? Far FRA? sa? Abs? Au? — eretleigm rt We eam ete EEExercise #4 Arpeggio Drill All Minor 7th Chords, Memorized at the marked tempo hy: Farell Vernon, Bb? B? cP ch D? Eb? EF Fa FP 6? ake AtExercise #5 Arpeggio Drill AMD ominant 7th Chords, Memorized at the marked tempo hy: Farell Vernon, BR B? or ch Db? ER EP F? FW s? ak a?Exercise #6 Arpeggio Drill All Diminished 7h Chords, Memorized at the marked tempo hy: Farell Vernon, Bk? BY cr cle? Dv EF? EF Fv FE? eo? ak? arWarm-Up Exercise #1 Stal descending scalar pattem always with ametronome at markedtempo. Hold fermata out forthe number of beats indicated above by: Farell Veron 8 oa 8 a iad Method of Practice 1) This exercise should alternate articulation daily: a) slur b) legato tongue ¢) staccato djtongue combinations 2) Always play with diaphrasmatic support and pood focus to your tone. 3) Since low notes are our hardest hurdle, memorize the jaw, and throat positions for optimum resonance, 4) Always use vibrato throughout exercise. Alternate different speeds and widths of vibrato. 5) Take a few beats to breath between each measure, ex hold $ beats, rest 2, start. 6) Increase the fermata length in single increments; to 9. Must be able to do entire exercise at the same fermata length.Warm-Up Exercise #2 Intervals allow you to memorize thesetting or feeling of aleap. You want to always be RELAXED because tension will crewe respause problems. Memorize ‘your throat position and jaw pressure for each note to achieve a focused somd. by: Farrell Vermont J... [uae ras 10 a 0. 10 10 a Major ras pty cy af a Perfect hs Perfect StksOvertone Warmup Exercise #3 - 2 to 1 Overtones Joe Aland assembled byRoger Greesberg Produce indicated overtone ( in parenthesis ) by fingering the fundamental, and allow overtone to become the fundamental by relaxing the upper lip without dropping the jaw. The change should be as smooth as possible. * Ultimately, the objective is to leam how to play with a relaxed upper lip. This allows the lower lip to relax too. The result is longer vibrations of the reed which produces a bigger, more responsive, in-tune soundJoe ADs assembkd by Roger Greenberg os boaSaxophone Palm Key Focus James Madison University byFarell Yernan 10/99 Ende 1 wie nh =F Ff ——_ mp Although the etnde hes segments in keys, the overall sound is ATONAL. The etude is meantto be unpredictable in motion, highlighting odd leaps and technique. Alsays play with the best musical phrasing and divection. Focus is on articulation, palm key response dynamics and even technique through large! awkvand imervals. ‘© Mollyam 1999Warm-up #2 Bebop Dominant Perpetual Moti. Exereise#2: BebopDominantinmana 0 Stepbitis between keys Root M ovement daca Fe ab. h by h I,i? k, 2 feEreeeEEPErce pe fete, a -2- Bebop Dominant WarmupsB? fieledey ple te ep cie -3-Bebop Dominant Warm-upWarm-up #3 BebopM or Perpetual Motion Exercise #2: Bebo Maorinm@nd = Nostopping bewreen keys Root Movement J aez0 carshar 2. Bebop Major Virm-upsBar 3+ Bebo Major Warm-psWarm-Up Scale Exercise #4 Leam scales in all 12 keys and vary the root movement each practice session. Exercise #4: Major Seale and all its by: Farell Vemon meses J C= Ionian D= Dorian Es Farwien B= LoerieWarm-Up Scale Exercise #5 In jazz ve only use the ascending form of the melodicminor scale. Leam sealesin all 12 keys and vary the root movement each prartice session, Exercise #5; Melotic Minor Scale and all by: Farell Vemon its modes desco ‘C= Mel D= Dorian b2 E=Lylie ated, F= Lylian Dominaat S= B= Diminished Viok Tone Some voll it Altered be = Using the Harmonic and Melodic Minor Seales The Harmonic and Asomding Melatie Minor scales are both used in jazz. The melodic minor is called the "jazz" minor, but you will find many instances of the harmonicminor scale too 1) Generally. if a progression is in minor and there are( iio? - V7alt) progressions in the key of the mince players will choose the harmonic minor scale: example atune in A minor with (Bs7T E?alt) progressions use hamonic because the progression is fimctioning in akey. 2) _A (i867 - V7alt) progression reselving to its (47) will also use a harmonic miner scale: example tune is itt Diminor and there is (FST Bu?alt) progression resciving Eb minog use Eb harmonic minor scale. 3) Ifthere are (ii7 - V7) progressions notrelated to the resolution chord, or key of the tune, thenuse seeding melodic minor: example atme iA minor with (De7 G7ait) NOT resolving to C-, we melodic mina.Warm-Up Scale Exercise #6 Leam seales in all 12 keys and vary the root movement each practice session Exercise #6; Harmonic Miner Scale and by: Farell Vernon all its modes Using the Harmonic and Melodic Minor Scales ‘The Harmonie and Asomding Melodic Miner scales are both used in jazz, The melodic minor is called the "jazz" minor, but you will find many instances of the harm cnic mincrscaletoa, 1) Generally. if a progression is im minor and there are (iid? - V7alt) progressions in the key of the minoy players will choose the harmonic mince scale: example a tune in A minor with (Be? E7alt) progressions use harmonic because the progression is fuetioning.in a ley. 2) _A Gin? - 7a) progression resclving to its (i7) will also-use ahanmonic minor seale: example tneis in D minor and there is a(Fe? Bb?alt) progression resolving Ebraincy use Ebhanmonic minor sede 3) [f there are (ii? - V7) progressions not related to the resolution chord or key of the tune, then use ascending melodie minor: example atune in A minor with (Ds? G7at) NOT resolving toC-, use melodie ming,Basic Triad Exercise #1 Exepcise #1: Major in mand . Root Mf ovement by: Farrell Vernon, Bhs Ba ca cH Da Eba Bho ry ‘Coenen 0 he eure zh ra | sarcie cp Coataus pane te berioe. Exercise #1: Minorin mond Root M ovement ER B- c ck D- Eb Be Be Saptari area pe k a | Comtave panied todecbomen.Exercise #1: Diminished in mand Root M ovement ake Be ce ck pe ele Coane wt arvana Bho weep Be Exercise #1: Augmented in mand Root M ovement Bre ‘Coen ue patra co dre botox -2-Basie Triads #1Exercise #14: Major in Maj 2nd Rom Movement pha ca Da FA he Esteem aut ahs aa Coanaue pared toes beets, Exercise #16: Major in M qj 2nd Root M ovement Ba cha FA GA AL Coonue cod ecurawouad oa BS i AS Coveaaus pamrane e temas, Exercise #1A: Minor in Maj 2nd Root Movement Be c D- E Fie oh Soaneus comes mieuarcus & Bh ab aueup. Counaus amey mores were, Exercise #18: Minorin Maj 2nd Foot Mf ovement B- ch ER Cesnauarotbs avira auie. Covnaue panera co tte beso -3- Basic Triads #1Exercise #14: Diminished in Maj 2nd Root M ovement ake ce pe Fe Ff af Sapte ee nuenet ele ale Coanae paste conte bores Exercise #18: Diminished in Maj 2nd Root Movement Be ee Ee Fe go Ag Ceanausne eve mraurcued, meee. Cow ous pase co es bet Exercise #1 Az Augmented in Maj 2nd Root Movement Bh et Et Fit att Coaneus coke tedaecucd kt abt saeup, Coane parcere wo tie Lome. 2nd Rod Movement Bt oye Cesena ro exuraareuad + + rey, ¢ t F Convaue parce wo te komo “4. Basie Trivds #1Exercise #1: Mg innord Root Movement Bha pha EA 6a Bha che Exercise #18: Major in nord Root Movement Es Da Fa Abs Es Da Ba Abs FA Ds Eb Exercise 41C: Majin nGrd Root M ovement ca Eb Fi ad ca Fhe FHA Ebb ca S- Basis Triads #1mercise #1LA: Minor in mBrd Root Movement Bh pb E. 6. Bh pb. Exercise #1B: Ming in nGrd Root Movement E- D- F- Ab E- D- Exercise #1C: Minor in nerd Root Movement c- ER FR A c ER 4. Basie Triads #1Exercise #14: Diminished in mard Root Movement Ble be Eg ee ae ple Egercise #16: Diminished in mrd Root M ovement Bo be Fe ale Eg pe #1C: Diminished in Grd ement ce Ee TR ae ce ze -P-Basie Triads #1Evercise #LA: Augmented in mSrd Root M ovement Blt bit et et elt cht Exercise #168: Augmented in mGrd Root Movement gt + abt + Exercise #1C: Augmented in mrd Root Movement et ze Fy at ct EB 8-Basie Triails #1ajor in Maj. 3rd Da Ph Bhi Da Fis Exercist ajor in Mal. 3rd Root Movement Ed Bhs Ga BA Eb oa Exercise #1C: Morin Maj 3rd Root Movement ca EA oye ca EA ays Exercise #1D: Major in Maj 5rd Roc Movement cha FA Aa che FS Aa f- Basie Triads #15rd Root Movement Bh De Fi Bb. Be FE FE D- ak rh > Bk * b Exercise 41B: Minor in Maj. 3rd Ront Movement B- Eb 6. B- zh o Exercise #1C: Minor in Ma. 2rd Root M ovement Cc. E- St c. E- Gh Exercise 41D: Ming in Maj 3rd Root M ovement cE F- A ch F A -10-Basie Trivds #1Exercise #14: Diminished in Mg. 2rd Root Movement Bk pe Fie le pe re my b, Fi pe Bk Ko pe bk Exercise #1B: Diminished in M4 rd Root M ovement Bo Ee 62 Bo ER sy Exercise #1C: Diminished in Maj 31d Roa Movement ce Ee aye ce Ee oe cap, b. sie si Eo <2 Ewercise 41D: Diminished in Ma. 3rd Root Movement ce Fe aa oye Fo ag “Al Basic Triad's #1Exercise #14: Augmented in Maj. 3rd Root M ovement alt vt alt vt Fit Exercise #1B: Augmented in Maj. 3rd Root M ovement Bt Eb st Ebt a Exercise #1C: Augmented in Maj 3rd Root M ovement ct Et aqr ot Et yt -12- Basie Trisds #1Exercise #LA: Morin Path Root Movement pha hs aba ha ri Bay Movement Ba EA Ad Da 6a ca Evercise #1A: Minor in Path Root Movement Be ER ab Dh FE Bo Exercise 4B: Minor in Path Root Movement EB. E- A D- s c -13- Basie Trials #1Exercise #14: Diminished in Path Root Mf ovement se ele ale ble re Be Evercise #1B: Diminished in Path Root Movement Bo Ez Ag gy be 62 ce Exercise #18: Augmented in Path Root Movement at et alt ob rer Bt Path Root Movement Bt gt and pt st ct “14. Basic Triads #1Triad Exercise #2 Tis crerase sacion ae Jed. startet oa te Lonecraoee A *{ BO) bu ke Chon 1s Pf wap acc BE, Ewercise #2: Major in mnd Root Movement by: Farell Vernon FAS Ga Abs Ad Bhs Ba ca Ba Bhs Ab Abs aswereise #2: Minor in m2nd Root Movement s- she A Eb B- come -2- Basie Triads Ex. 2Exercise #2: Diminishedin m2nd Root Mf ovement o Si A EF BE c 2 Basie Triads Ex.2Exercise #2: Augmentedin mand Root Movement Fyr et abt A zbt 4+ Basie Trisds Ex.2Triad Exercise #3 This ececise sare cathe Uh | tered ox the lowest ance ATED) bucre chord chy 6 Tease Bb. Exercise #3: M or in wand Root Movement by: Farrell Vernon EbS Es Fa Fy Ga ofa Ebb ES Fa FES sa cha Ga Fie Fa Ea Eb DA CHa ca BS Bhs Ad Aba ca rhe Fa EA ehExercise #3: Minor in mand Root Movement zh E. Fe FE 6. sh -2-Basie Trials Ex.Exercise #3: Diminished in m2nd Root Movement E F FF o of at ce oe FE Ft E Ek -8- Basis Triads Ex. 3Exercise #3: Augmented in m2nd Foot Mf ovement ot elt et et Pit A Basie Trinds Ex. 2Basic Triad #4 Exercise #4: Major in 2nd Root M ovement by: Farell Vernon sha Ba ca cfs ba rhs Bhi Ba ca cha Da hs ri FS EA rhs ba vhs ca BS Bhs Ab abs GA ria PA BA rhs DA phExercise #4: Minor in mand Root M ovement Bh B c. ck Db. zh -2- Basie Tris Ex.4Exercise #4: Diminished in mind Root Movement ake Be ce ck ve ele pe cHe ce Bo Ee -8- Basie Triads Ex.4Exercise gnlented in mand Root M ovement 4. Bask Triuds Ex.4Triad Exercise #5 Teiscxercie surtou eT. Hazaredos te lomeatscre HAH Eb} bu de Yat chond ches Ewercise a8: Major inmand Root Movement by: Farell Vernon FAS Ga Abs Ad Bhs Bawereise #8: Minor in m2nd Root Movement s- she A Bh E- come -2- Basis Tinks Ex. 5Exereise #5: Diminishedin m2nd Root Mf ovement o of EE BE Bk A oe = -2-Basie Trinds Ex.5Exercise #8: Augmentedin mand Root Movement Fyr et abt at Bet 4. Basie Triads Ex.5Triad Exercise #6 “Tass excise marc ox ce 3é. Harare on the Lome oe AH Eb) ac the herd heey. Exercise #6: Majorin mand Root Movement ‘by: Farell Vernon EbS Ed FS ERS Ga ope Ebb ES Fa FES sa cha ch ca Bs Bhs Aa aks Ga Fie Fa Ea Eb DA CHa ca BS Bhs Ad Aba ca Fi Fa FA rhsExercise #6: Minor in mand Root Movement zh E. Fe FE 6. sh -2- Basie Trisds Ex.Exercise #6: Diminished in m2nd Root Movement EE F FE s of At ce oe FE Ft E Ek oe o FE FE E 3- Bast Trids Ex.6Exercise #5: Augmented in m2nd Foot Mf ovement ot elt et rt Pet 4. Basis Triads Ex. 6Triad Exercise #7 A diminished scale is built with two diminished 7th.ehonis (Bb, C#,E,C &B,D,F,Ab). Every root of the diminished 7th chomd (ex. Bb, O#,E,G) commains a major, minor and diminished triad. All vemaining notes of the scale (ex. B,D ,F,Ab) only fom a diminished triad/chord. Ihave used enharmonic spellings wo keep the trledichond inte erity. Bb Half-Whole Diminished Scale by: Fane Vernon. Fe E i? z te + Hi z ~ Ee fis | Expreise #7.1 = Half Whole Diminished Scale in Root Movements from the scale Bha Be FY be | Bb Bha BP? EA E- Ee E- Ba h, hy F7 © MollyAm 2000“Because there are only’3 diminished scales possible , you only have to leam 3 patterns to cover all 12 keys. You can either start witha 1/2 step ora whole step, ‘but still there ave only 3 scales, I have chosen the scales starting With the 1/2 step, because they are used most frequently over ¥7b9 or ¥7b13 chonds B Half-Whole Diminished Stale Exercise ¥7 2 = Half Whole Diminished Scale in Root Movements from the scale BE BA B- B- -2- Triad Ex. #7C Half-Whole Diminished Scale: Exercise ¥7.3 = Half-Whole Diminished Seale in Root Movements from the scale c b ca c- ca ck? FHA Fi FHE # we Fila -3- Triad Ex. #7Triad Exercise #8 A whole-tone scale is built with just two augmented triads (ex. Bb, D , F# & CE, G#). Although, every rot of the whole-tone scale contains an augmented tia, these tiads are mere enharmonic spellings of the same 2 tiads. by: Faell Vernon, Bb Whole-Tone Scale Exercise #8. 1a = Whole-Tone Scale in Diatonic Root Movements from the scale bt ct pt gt FAY abt abt b ct | ey pt ct pbt abt Fit et © MollyAm 2000“Because there ave only 2 whole-tone scales possible, you only have to leam 2 patterns to cover all 12 keys. These pattems work beston ¥7+5,¥7+L1 +5 and Maj?+5 chords. BWhok-Tone Scale Exercise #8. 1b = Whole-Tone Scale in Diatonic Root Movements from the scale Ft ot at Bt pb Eb -2- Triad Ex. #8Exercise ¥8 2a = Whole-Tone Scale in Diatonic Root Movements from the scale Bbt ct pt EY FY alt -3- Triad Ex. #8Exercise #8.2b = Whole-Tone Scale in Diatonic Root Movements from the scale Bt pb Ebt Ft at at + + F Et bt Bt at -4- Triad Ex. #8Chord Exercise #1 Exercise #1: Major ths inm2nd Root Mf ovement by: Farell Veron Bhar Ba? ca? char ba? EBS? Ear Fa? Fya? Gar abs? Ab? Bhar Ba? ca? chr par rhs? Ea? Eba? baz pbs? car Ba? Bh? AL? abs? GA? FRA? Fa? Ea? Eb? Da? phar ca? BA? Bhi?Exercise #1: Minor ths in m2nd Root M ovement Bho Bo co oko bo eho es Fo eho 6a ako a Bhe 3B? oF cy DP Eb? cr 3B? ahr Aa AR? 7 Fh? Fr? 22 che pb? phe oF Ba BL? -& Chords Ex.1Exercise #1: Hf Diminished Tths in 2nd Root Movement bho Be cw che De the ea rea Pe oe abo ae Ble Ber cor Che? DeP Ebe? Fhe re re the pe her -3+ Chords Ex. 1Exercise #1: Fully Diminished ?ths in m2nd Root Mf ovement Bho 39 on che Da ee ake 6 rhe Fe be rhe -4-Gherls Ex.1Exercise #1: Dominant Tths in mond Root Movement slp B? on cp vo eo By B? co? cp Db? ELV o B? Bha? -5-Cheris Ex.1Chord Exercise #2 ‘This exereice starts A#(Bb] but not alray: on the BP ehord. Exercise #2: Major inm2nd Root M ovement ‘by: Farell Veron Fia? GA? Abs? Aa? Ba? Ba? ca? oye? paz Ela? Ea? Far car Ba? BhA? Aa? Aba? Ga? FyA? Fa? Ea? Eka? Dar pbaz, car par as? aksr Gar Fy?Exercise #2: Minor inm2nd Root Movement o7 aby a? Bb? Ba C7 cle Da eho Ea Fa Fe Et Bh? aq aky a7 -2-Chorl Evers ise #2Exercise #2: Half Diminished in mand Root Movement aa abs? Ast Bh Ba cer -8-Chorl Eres ise #2Exercise #2: Fully Diminished inm2nd Root M ovement o7 al aq Bk? BT cv chp Da ek? Ev FF Ef Fv Ev EF? DF cH? cr BD Be ay abr oF -4-Chorl Eres ise #2Exercise #2: Dominant in mand Root Movement FW? a aby al Bt BT eT BP Bhy AT abr a? Fy -5-Chorl Eee ise #2Chord Exercise #3 ‘This e xerese starts At (Bb) but not always on the BD chord. Exercise #3: M gor inm2nd Root M ovement hy: Farell Vernon EA? EA? Fa? Fa? GAT Aba? AA? Bhar? Ba? ca? pha? Da? Eb? EA? Fa? FYA? Ga? aba? Ga? Fy? Fay EA? EbA? ba? pha? ca? Ba? haz As? aba? sa? Far Far 5a? she?Exercise #3: Minor inm2nd Root Movement Eb? EF PP FRY 42 ab? ao pho Bo co che ba Eh? D7 cp cr Ba Eb? AT aby 67 FP FP ED Eb? -2-Chorl Evers ise #8Exercise #3: Half Diminished in nnd Root Movement EW? Fe ys? aa Abo? Ag? Abo? oo? Filo? For Ew? -8-Chorl Ever ise #8Exercise #3: Fully Diminished inm2nd Root M ovement Ev rv Fy? a7 aby a? Bk? BF cn chr Dv Eb? ab? or FE? Fv Ev -4-Chorl Eee ise #8Exercise #3: Dominant in mand Root Movement EW E? FP FR a? abr 67 FA? FE? EP Eb? -5-Chorl Ever ise #8Chord Exercise #4 ‘The exercise starts AW[B}) But-zot always on the BD chord. Exercise #4: Major inm2nd Root M ovement Ba? car pha? bar Eb? Ea? by: Famell Vernon Fa? Fa sar abs? aa? Bhar Fa? EA? Eb? ba? Dba? car Ba? Bh? Aa? aha? a? Fis? Faz EA? Ba? Da? ph? car Ba?Exercise #4: Minor inm2nd Root Movement cr cur D? E? Fa rho 62 ako ao ako Pe E? Eb? Le 2? che oF Ba Eb? ar Ab? 62 Fy Fa E? Eb? D? cH? oF -2-Chor Eee ise #4Exercise #: Half Diminished in mand Root Movement ce Cher De Eh? Eg For Fi? Fa Eg Eb? Der fer oF -8-Chorl Ever ise #4Exercise #4: Fully Diminished inm2nd Root M ovement cy? DY? Eb? Ev F? Fy? oF abr An Bho BD cr BD Eb? Av aby oF FR? FF Ev Eb? DP ck? -4-Chonl Eres ise #4Exercise #4: D ominant in mand Root Movement co pb D? EW EP F? -5-Chor Ever ise #4Chord Exercise #5 Ta sexcra ve 4 kan cally decree 7a torts diasoavc wD any, eecugbour asc. eset tall Days, esses Isuea a ll ectaneneanca, Exercise #5: Major with Diatonic Root Mf ovement by: Farrell Vernon Bhar ca Da Eha? Fo 62 Ag? oF Er ER? D2 cn Bh? Exercise #5: H amonic Minor with Distonic Root Movement Bha? coe pha? ba F? char Continued next pageA? Bhs? ‘Co? Dba? Eb? F? k ay chaz 7 he pha? Car Bhs? Exercise #5: M dlodic Minor with Distoni cR oot M ovement Bha? cr Db+a? ER F? oe Ad? Bha? cr Dhea? ER Fr \ Ag? Se? FP EW Dba? oF Bhar -2--Chords Ex. #5