INTRODUCTION

In orderto maintainstrongreadingandimprovisatory
skillsa musician mustconstantlychallenge himself.By
playingexercises thatcombinetechnique andtheorythis
goalcanbe metin a musically satisfying
andtimecfficient
way.
Thisbook,the secondin a series,presentssomeof
the scaleand chordsuperimposition conceptsusedin
jazz andjazz-rock music.Theyarearrangedin the form
oÍ examples,exercises, charts,and improvisedsolos
organized standardjazzprogressions.
withinsimplified
The scalesusedin the firstsectionof the bookare
presented in tonicandcolorscalecategories.Tempoand
phrasingareleftto the discretion
of the performer.
Most
of theexercises canbe playedastechnicalstudiesor as
examplesof scaleand/orchordsuperimposition.
Theaboveconceptscanbe appliedto otherscalesand
chordsthatare not includedin thisvolume.In mostof
the exercises I avoidedsequences, patterns,
andother
repetitive
designsin orderto makethemmoreinteresting
to play.
Thethirdvolumein thisserieswillincludechromatic
exercises,styleanalysis,and duets.
-Lance Van Lenten
SCALESAND THEIRRELATIVECHORDTYPES

Generallyspeaking,the scales listed on the

ÍoffowingcharnsÍall intothroocaÍBgpÍbswhenused
withdifÍerentchordb/p€s(thisincludeschordsthat
have a diffqent rootthan the sca/eused):

Tonlc sound CD - This scale'sounds'like a

givenchordbecauseit containssomechord and
possiblysome color tones (see Color Sound).
Beloware listedsomescalesthat soundlike "C"
Major.
Ohe darkened notesare
chordor 'colof tones.)

Colorsound (C)- Thisscalecontainsenough

'color"tonesto give it a "bright"or slightlydisso
nantquality.'Colortones'areextensbnsoÍ a chord,
alterednotes,or anytonesthat"standout.'They
cangivea scalea particular"iaznf flavor.A color
soundcansometimes be considered a tonicsound.

F-7"G"minorPentatonic

Passlng sound (P)- This is a scale that is

especiallydissonantsoundingagainsta given
chord.

@ Copyright l$6 by Che Golln, 3tS walt 53íd St., New Yort, N.Y. l(xrtg
Intrriltion l Copyright Secr.rrrd Made in U.S.A. All Rightt Rcrvrd
 APPROACHES
SUGGESTED FORUSINGSCALES
(Revised)
Scale Approach

Containsstrongdiatonicsounds(C Maior,D minor

and
etc.).Usein sequences
7, E minor7, F Lydian,
patterns(chords,thirds,fourths,etc.).

Blues
Phrasein a fuocal"style (vibrato,bends,etc.).
Create ritfs. Use space betweenideas. Think
rhythmically.Repeatnotes,phrases,etc.
minor Pentatonlc
Usepatterns.Don'tgo outsideof the scaleunless
for 'effect."Repeatnotesand phrases.Use with
modal,funk,rock,latin,and manyotherstyles.

Harmonicminor MixolYdian
"Mid-Eastern' quality.Short "ornamented" ideas
(usetrillsand grace notes).Works well as a V7
soundin F minor.lmplies iimT-V7 sound in F, Ab,
Db.

Diminished
in a multitude
Canbe structured and
of sequences
patterns.Containsmany C7, Eb7, F#7, and A7
colortones.Veryrecognizable whenused.

Wholetone
Bright,opensound.Soundsgoodin patterns
with
or without Works
chromatics. wellwithV7 chords
of minorkeys.
4F
JapaneseInsempo
SoundsveryJapanese.Soundsgoodovermodal
lmplies
andeconomically.
vamps.Playrhythmically
"ii-V7'inAb.

JapaneseOkinawa
SoundslikeC major.By restrictingyour ideasto
thesetonesyoucreatemotionandan"open'sound.
Workswellas a colorscale.lmplies"ii-V7'in C.

i Composite
Thisscaleis madefromtwo triads- "C' and "B'"
a C Major7 sound.Createpatterns
It compliments
basedon thetriads.lt impliesiimT-V7in E minor.
il
I 3
 ChartI
SCALESANDTHEIRRELATIVECHORDTYPES
(Revised)
Mafor Blues minor Pentatonlc
Ctlail @ t ê1 @

t '*'7
t-1 @

?ft
D-l 0 Drtr o

?ï( t
E7o D7 G)

? í ? b?
-74 D - 1 €)

e- 7 t
Frtui10 êlH,;7 @

* a
b7 G) ttl 0

4 e K
470 f1 @

+ , ' i
A-7 0 F-7 @

+í, , , ,

87 CO tr-7 @

'"/3
,ír , i7 +
.g-7 C) Aittq;1 C)

r
Bl- @@

' ffi notc ft cfioÍd or'colof toÍË

g - Onic sound
(C) - color sound
it. g.-t totc ar€ r,oÍfed enharmonknlly.
 Harmonicminor Dimlnished Wholetone
Mixolydian
t,l (toil @ t ltJ

'rof 4t;'z 7 , ///

Dr-

,rá r// 7 ?f€rr&

D-'l @

t frtt -3 +fr
zi'ê íb- cq

,7 7 +ryq't7 + 7,r
í7@ 21 ?t)e)

-
F-
,
ís tf 4{ift , - 7
L- 60 Í-@

, *I 4r{ír- "f /7t

ê-7 G) í#70r) @

* r7 *ía
AbtL;,t @ o Fto o 6-e

+#tít +tr lrl

t7Qr) 6

Jf ?do íg 1ír
n - o

*f/ ,7r
784o

+ r.trír , 3
ob- @o 8- G)
t Insempo Oklnawa Composlte

t ít(o,d C_7) @O l/la;1 O / tlc;'l @

, ,-rq + 3 7 + t l
Dbt'lr;1 Drl o@ Db-oo

? ,,R +
D-7 0 D7 @

? 7 a '- + *rv
Lb1 O Lt| @

,*ft
í/ío;r O I
+
tr7
t3
e,
f
t'fr, {
F-' O F fl,jl O

,
+ rís
btl,il @
&,7 Gl

-/
t
47 Ao {
G - @

+ rír :
l {
d

{
A-7 6A

+
3l- @

?
+
Bl-7 BI @

tt/

6
 SCALECHARTII
(Revised)
In orderof appearance
in the tonicandcolorscaleexercises.
minor Pentatonic

ba hz
Root Harmonicminor Diminished Wholetone
Mixolydian

be lt
 Composite

4rz

'Two triads1/2stepapartcombined.
9
 TONICAND COLORSCALES
TheÍollowing exercisesusetonicandcolorscalesÍromthe chartson pages4 through9' A
tonicscale'soundslikethechordor tonalityit represents. Colorscalesarescalesor modes
thatcontaincolortonessuchas 9ths,11ths,13ths,etc.Whenb9 or b13tonesarepresentthe
scalecreatesa'passing"or unresolved quality.Theseconcepts areÍairlygeneral.
The
tasteoÍ the perÍormer
individual shoulddetermine choice'
'sound'or 'colof a perÍormer
canuseanyoÍ the musicaldevices
By treatinga scale'asa
thatcanbe applied.
Forexample:

sequence
Diatonic
tvl A-i l

or Scalesequenceand Rootpattern(4th)
D-7 (í*,.0.t

or PedalPoint
(Atlt,i zl Dl-r70í)

Pleasenote: ;
withinthecontextoÍ
thisbookchordtonesareottentreatedenharmonically
Throughout
themelodicline.

10
 TONICANDCOLORSCALES
(Continued)
Scaleslikethe minorpentatonic
and Okinawahavefewernotesand allowthe performer
to
play'horizontally/
overmorechanges:
For example:

C I'ta;v
(A-pt A -l - D- n Grl CHo'''7 A-1 -b'? Gn
(í,-,c.)

SCALËABBREVIATIONS
USEDIN EXERCISES
Major M
Blues Bls.
minorPentatonic m.p.
HarmonicminorMixolydian H.m.m.
Diminished dim.
Wholetone W.T.
Insempo lns.
Okinawa ok.
Composite Comp.

11
 TONICSCALEEXERCISE
I

tL"t b t,'l &7

Gru'r' (c-gD G (Grr.;) ILll-- |
Vt L

B-7

fl-t G
o t'I,i)
D7
(DBtr)

t7,,,,,
^ ,^fr.,, a

t1ou, t- BíJ*, Í 7ol/r-\

D1,ou-.^,

67
b

2t

Ê -t-(A ?1ran.r, G(Dr,r,

o'o'l

'Maj = M
 ^!itrr o (0r.,,
f: Ga1;

-f -
( e -,P,\

G
r, fl,i)
/'l
k y,í,)
ê(r^', &'**,

Aa7r,;) t,
27a*, fGó&t W*, G
C^Crns)

13
 II
TONICSCALEEXERCISE
L (c A- D-l Lrl C. íl- D-t
n.;)

ê-l
(tsn.t.l
c rl
(t U..-l í@^r, Í-
fttn4\
í -Tnr*, A t D*7,^, L 7

t (cnq) 4- b-'7 G,7

L,,rr^ trl frrr,,, r-7bll.:) D(lt- 7 G7 L(c

15 ll,-,-,) tt+)

t-7 4'.7-
UJ;)

/
(nnr')
4- D- 7 b'l c
(á-,r)
A-7 D-7
(ean
LI
tt 0t.)

G-t
Bttlq ) (tti,;)
í- Dà7,n,G/o-,rt I r, ft.\

D - 7 (&1,*\ t (on.,\n - P- 7/o/,*',á z

, ltt 0 2 0-J

14
 F
(( /r,i) F-. ltLi) 2 ,7r*^, / 7
c
- t

, a n
A;,, fJu*..,
nttt.
- (f ,n*1 rt - b-7rte,.\é7

G{r, c7 D-7 GI 'o'o:'|,

ID,.P)
u0ltt') t

B-7(.2 4,-'^)

L(trr, n' D-z Êt

ftíHí)
t
r, rt<;, /7o--*l D-z Ê7
+ kt tl,f)

í^,,
ín,,
t

15
 TONICAND COLORSCALEEXERCISES

TheÍollowingexercisesareorderedin an additiveway.Eachpairinlroduces the n6\ír,

scale
thenaddsthe previousscale(s).
Forexample, the'minorPentatonic scale'exerêise is Íolloryedby the'Major,Blues,and
minorPentatonic scalescombined" exercise.
Thechordsin the progression aretreatedvertically,thatis, thereis usuallyat leastone
scaleper chord.
Dominant sevenchordsareoÍtengivenscalesthatcontainmorêcolortones.
Theprogressions usedin theseexercises aresimpliÍiedversionsoÍ the blues,"rhythm
changes,'andmodalCSoWhat')changes. Theperformer shouldbe ableto "heaf these
changesin his mindor with recorded,or preferably,
live accompaniment. lt wouldbe goodto
usetheseexercises as a startingpointÍor l,ourownimprovisations.

i2
il
"{

{
;I

,{
I

{ I

-t I

d
:ï

{
16
 MaiorScale

(wnl t_'l Lt tt.\

b.

t,7 (iln)

G7 Ln\

G7 util)

Lrl
Fn)
c'l(Èril

(ttnt

C (on)

17
MaiorScale

Gtn)

18
 BluesScafe
,lyll. & É,-7 E''l
(|qt (rJft.) ,r8 7?, D7 G
Gn)
A-7
(8Jt
D1

c,GA ê7 c- B,1L,r,t' 7
LDÍJ Qto,
^
í;'1, D?ut

G,u, t-7
í,1,, t-7 A-7
, (tt)
D7

4(eu.t Ê 7 Lron,., C 8(Bn) A - t D7

- 7 í 7 (nth)
b_ b. hro,,,

t7
( blh,)

t?07*,, Arl
(êth,) DTrott.)
^,

(,0*,, l-
-Qlu)
4;I' D\o o,, G

19
 { -1
j.l
:J
-*
rÊ
I

!
Majorand BluesScales I
..íl
iJ
-*
":
t-4

;:
il
E
i

ít7(ct&) Da h- l7

í!, "ot

Blrnr,,t í4t,, B/ur,, í( r-i7l )

Í,t-7
atei)
Gr Lê 11\

í"n'
ot*u, ttl'n, o/,n, éez B/7

Í.1-T b-7 L7
t zH) ftn)

20
 minorPentatonic
Scale

zl-Tr,-r)

(F*^r)

,n(t:r)

21
 and minorPentatonicScales

,;.yu,. íL,n nlr

@n)
trl í-7
(Aln)
0tl

6l;.., tl'l G -t
(ttal
frl í"1
(ft +)
Btt
/'Alq)

Lb 8tt
(Bn)
íb / 7-à F-7 nt7
(f
Utnt Otl') CF *s

Bl,-
[c *l
AI
Uí/u)
/h*t lràl Br,/ ít
rl-rJ

í,1,,

LL(",o) tT íu7,, N,I

U /t)
Í!n*, (7 í-? Bt7

Bt- í&T^, F-7

(tetu)
Bt7

22
 HarmonicminorMixolydianScale

A [ftnn.'') D7.
(D //*..) A (filt/,.r| í-- fisb^) A7

DT(ail,..,1 tí- 7 ífl

(ÍH-n,) O !*'n,)

(Ét/,.,1 ldro.^^rÍ7

DTrg
il^.n)

(/-T
[ il(>q,)

{;l-, í Vru^-t
h--?L ,

/
*, il^-.) D-7(Btr/^*, ÍírL-, ,47
(.F
ís* )

t7 /
LC l/^-l LtI//'-\

23
Major,Blues,minor Pentatonic,fnd Harmonicminor Mixolydian
Scales
^oJotCrílr"^, (q+
o ftla )

Lí,A\

24
 Diminishedscales(with Majorscales)
,hylln L Lt7 /í-To,,,,,
87 2(2n.;) t{t íl-7 B7
€rr1 ( í cl';1 CÍ,D,à ( D),-) ^

B - 1rrJ,*',
í.7 Ê uar>A#o {aLr,^({7 'í/-v
'UJ*) -R,l
L

t{7 /r-7
(gl';)
87 L tl7 /t7 B?
(t /a) (olr-l

B-7rr^ t' 7 lr, ^r', fto.

(4tJ;, ff;J, Bt L
ft u*-]

N- 7,"rr,rt (r-fl,r,,, c#7

t t-7
G*l'*t
Ff7

ti7
(.trl) Fr-7
(B/';l
B7 t( 2 tl.i f,#,,, ír-7 U)r-^.>
B7
.l ,

8-' (rJ,:\ z' 7 A

rrr^Aro r(ilr,r, 8t

25
 HarmonicminorMixolydian,
Major,Blues,minorPentatonic,
and DiminishedScales
Llocs L fl C
,nn,
,nr, í4tn\

^A 7rr,

D-7, G'r,oo., D ; 7* , 6 7

ID olt,l L (Bar;

r-7

b -Á^r'l

L (rn, t7
(B H-,r.) Qó1.-^,

L'*rn, í7
(Í,'F)

26
 WholetoneScale(with minor Pentatonicscales
and chromaticscale)
n o l o/ C'l

rl '.

27
Major,Blues,rtinor Pentatonic,
HarmonicminorMixolydian,
Diminished and WholetoneScales
F (Aah,) b z

í^r, FTtrrn, Bl, ^, B!;/" ,4 -7 Dr b-7 L7

trn) (Íttl

F(A^r, D7^ur,, G -716t-t\ t 7(F,D írn-,\ D7g> 6-7 (t

(Drn) rt- utÍl

F í7 gt gr-7 ê(A-'r')
-t D7 -7. trl F.
(ra; (tbn) íAónl ::D íc//,^-)

E-7, l-7

G-7

F(r-n) DI G -z t7 F D7 & 7/^.r.t t 17

(B à-'c) ft^A'\

('o
fl-,, B/;I,rt
íítrrl Fr/,rt -7
tr(G-*l
uí) 6u

28
 ..'..

ll,rrt & Gro,) /r7

t2/

0-L,,,,

'G,í/í^,, DEfr,l)
-7 67

(-7

A-z

Lr7 (nht, D-7 b7

ft ro'\

I -(E ttat) &

(8Íw)

n
 HarmonicminorMixolydian,
Major,Blues,minorPentatonic,
Wholetoneand InsempoScales
Diminished,
-r \qlla
J
Bl &'l t -7 í'/ 8t Ê ZrrU, [ -7 í 70il,-.r)
lrD -t)

B' B'7 r(Etfi)

- l t/u;X' D Jttrvlbí F7
&U'.)

c( ê-'7
-'P )
Í7 Bt
(D-'t) fnlur>
t-?
/'/ p ?) lx,
B'iír, Ít
btx)
l' l'7 t ,-rx,r, Frl B'*or,,

D7(nn,.\ D-7

G-'7 t--7
Ul0b.)
/ Xp.e I

olt*, ê v t-t f-t

30
 OkinawaScale

r\tln C E- 'l d (c
- 70/,)\ Dl
br*l ^Ê{bo^-Z-7

Gn ort 67,*, f uo, t -nTo^ fr;,T t loo,t 4nl, 2J*,

A -'7 Dt z,Fïon ffirt 470^

G(tort G,/,rb t (aoi t -7 &Gotl

Gtot) br,)

-í#-7
h
B'(nor,, B - 7(oov.s t'n*,

t -(t'ot)
7 47 flilo,tt D7(rtr,t,)
urotl

Ct
(Êok)
É- v(r, Adot, Dtrrtt 6r,on, t - 7 AíJ*t 27

6(í 7 t t- 7 4-7 D7
oI,\ t ot,) ?t, &N. B ots

31
 HarmonicminorMixolydian,
Major,Blues,minorPentatonic,
Diminished,Wholetone,Insempoand OkinawaScales
^.. llur L- 7 (FraD
A lGp f) (B-.r) (F///-.-)

Aí"7, I

q
-

87,0, z-v
(8 /l-n,)
 CompositeScale(two majortriadsone half step apart)

Llret D Grl D A-t D7

G-7 F4-7

L- ,7 t- .4 r7

A-r

G-7 í/-T

Í-t ,4v

p-7

ó-7 Í/-7

2-7

33
 HarmonicminorMixolydian,
Major,Bfues,minorPentatonic,
Okinawa
Wholetone,InseffiPo,
Diminished,
and CompositeScales

(í^c) (Dtn) Gtorl

t' -1u*,

EI -á rt.t

,u
 PLAYINGON iimT-VTPROGRESSIONS
WTH TONICAND COLORSCALES
Usethe scalechartsfor reference.

Picka scalefor the iimTchordthat'sa tonic-type.

For example:
D-7rn, (D^p) (l tns.\
/ -

The dominantsevenchordcan be superimpOsed by chordsthat containmanycolors.The

kêy noteto avoid,unlessin a 'passing"
situationis the Maior7th chord relatedto the root.
(G7 avoid'F#').

For example:
) (2 conp)

can be treatedentirelyas a V7 chordsound.

The "iim7-VTprogression

For example:

Whenplayingon an extende can be addedand usedas

d at7sounda V7 (relative)
reÍerencepointfor colorscales

For example:
k t't.l

35
 PLAYINGON iimT-VTPROGRESSIONS
WITHTONICAND COLORSCALES
(continued)

For interest,scalescan be put togetherinto scale,chord,third,and fourthpatterns.

For example:
T)-'l u,, ,
D-l (tLr,,l (r7 k tt,t D-'l lítn) êl Lebn)

Somescaleshavea iimT-V7soundwithinthem.

For example:
D-'t (E Ías.) (tq

I F [0"r,)

D-7 /o ,ts.)

appearin a seriesit is effectiveto transposescalesin

When iimT-VTprogressions
sequence.

For example:
D -7
/An,r)
 FORUSING
APPROACHES
SUGGESTED
CHORDS
SUPERIMPOSED
By superimposing triads,seventh,andninthchords(eleventh chordsare not
andthirteenth
newcolorandpassing
direcllyincludedin this book)overa chordsoundyoucan introduce
tonesin an interesting way.
Forexample:
(sDrrt

(-tfr)

nbroken"
patternsor in sequencesby root.
Chordscan be structuredin arpeggios,

For example:Arpeggios
(Í7,*r' >

or 'Broken"patterns
(D0tti ? )í. ) (Eb
h,;7)e) (L- {tl G)

bYroot.
or in sequences

G7 b-r?\(2 /'At-{rYF-')

37
 CHORDSUBSTITUTION CHARTS
AND EXERCISES
(ToniG,Colorand Passingchords)
TheÍollowing chartslist manyoÍ the chordsthatcan be superimposed overa malor,minor
anddominant óound.The minoranddominantsoundscarrythe samesuperimposed chord
possibilities.
'
Letyourearguideyouwhen'choosing in this book,the
a chord.Likethe scaleexercises
herehavebeensimplified.
progre-ssions Alteredchordscan be definedby alteringor changin
superimposed chords.
For example:D7b9is changedto D7 1) is changedto CMai7
CMajorT(#1

Theexercises are meantto demonstrate the'sound'oÍ onechordwithanother.By playing

withaccompaniment or "listening" in yourmindyoucan hearthe
to the progression
presented.
possibilities
'
An excellent wayto acquaintyourselÍwithchordsis to practiceeverypossibility
by root,
throughout the rangeoÍ yourinstrument.
Forexample: G root

Anotherway to practiceis to followthe same chordtype arounda cycle.

For example: MajT#S

38
 TRIADSUBSTITUTION
CHART
C Maior D Minorand G7
Maj. min. a u g .5 d i m .5 dim. min. a u g .5 d i m .5 dim.

- Tonic sound (soundslike chord)

(C) - Color sound (containstwo or more color tones)
(P) = Passingsound (containscolor tonesthat may be dissonantiÍ sustained)
(Í€) - Soundslike chordand containsone colorsound
(P€) - Passingsoundthat is "moderatel/ dissonant
 BASEDON -A'TRAIN
EXERCISE
TRIADSUPERIMPOSITION
CHANGES
@t)
tfi

A*)

(8o) (ot)
zÁu [fit br)

H7,,,,

z-7

p4ttO /tt)
hl,)

\
 BASEDON 'A' TRAINCHANGES
TRIADEXERCISE
(continued)

rc-)
tf l-),

,lt-' l-t -tt-J

't-

Z ''7
(Q't
Ê\
(ai
'(n\ (cà wl
l' ttl -t €t :\ Vt t-3d
&Gn (t -) D\ [tt G)

9't ut)

(D)

L-7 2 Ft't

(e-) rn) rD)

4i
 BASEDON "CHEROKEE"
EXERCISE
TRIADSUPERIMPOSITION

6sh) bt ) (D)^ (ylt)

G fut*)
o)

H-r D",) G t,)

rpt't 4,7-, foo) (trs , bt)

f?t

h*'t (t-\

n-7
(E--)
D 1(rr-s
 BASEDON'CHEROKEE"
TRIADEXERCISE
(continued)
6t
B)nb-'l ht)

F#;f, Blt, r0 írt)

/_
(k) (t t)

/( ) ral')

A17{ b) D7 ft) htl rc) (t't

43
 CHART
SEVENTHCHORDSUBSTITUTION
C Major
minor

(/) t^? e-t) ? (c ) .,. * ('-) *b:',

SEVENTH CHART
CHORDSUBSTITUTION
(continued)
D minorand G dominantseven
Major minor Dominant diminished

f-c) (f

(?) , o Q'f >o &) (e.c."t n G)

( P>" (r) (r-rt

G) li,*0,-ho, D (r-ct ,, 0) t (f'

(o )-g Gr)t @.{(?Ifla['], Q) -k @o?.h

45
SEVENTHCHORDSUPERIMPOSITIONEXERCISE
BASEDON
"SATINDOLL"
2-7 6rl D-7
(ê-'ts
(:l L(Ni1\
-7 AI 2-l
/t-C7)
n',l
Ërírtl &n-o 6t-n

Ê r z-?
4;J,,,,6J D --? GV Í-t A'I
lr fr) (ó tt.,nrÍ) ur- n) (Ê - t4)

Ê_ ,7 ( '7,r,rn",
11t/; lt;)

A-rl D,l ê
(a>
tt7
rc.*it) 7;11a) $)
G-tt)

D - 7 6rt Í-7 -7 tv.

t(yn.1tt),
(& tr\ GhDa), (&,2) ((.ru)
 SEVENTHCHORDEXERCISE BASEDON "SATINDOLL"
(continued)
.D7
(Bt't,,'7)
bbTat-r,) L
(G4,iJ$)
,4'/
[y'íH,; l)

D(íH,;t)
-7 t"l
(>- *t)
D-7
(E,st)
Í
7o7,,,t !o('7 ,rrí';,'

(t-z) k_r,r\

G-7 L7 C -7 L,t F(tl-tl (btq-;t)

Al-tl bottql) Ur-t)

1 D(at>
n -LB-il 7 4.Y
Gttii
D7 (Ctl,p tr>
G íFt"J

D-z D(-> 7 . ,*'7", z-'7 Í;,7 #7.,

(D-t\ áJ,, -tI (í-z) ffn,rut

D7 (saf) )t7 (gtn,,;) Gatt) Uq\

t
bl'

47
 BASEDON
EXERCISE
SEVENTHCHORDSUPERIMPOSITION
A MINORBLUES
4;J,, U'tl br k nn;tS

A'7J61rr;- (t ttsr) Q[tn;'rl

Ai','?rt) 6glt)

(Gn,;rl
/7J,,, @4

T7 .;.-à) (ít.r) 7A-7 g,tr1ír)

h-r,t 0ní.í @tr1,,u7

O4.ttr) ffnqt)

(Cnir>

Z7 G,ilotD A -7 rsts (t n';rttS c o'r)

t t

t!_ (fl'tt1 tD-r) /;,7

 -1

.NINTHCHORD
SUBSTITUTION
CHART
C Major
mrnor Dominant

(p.)n h) ^. (rl

(r> (r'cl, (r-()?

t^i

(r-r> ., r) G,r), fr) Qc2

re?:it'Í)tt #r) ':ït

49
 CHART
NINTHCHORDSUBSTITUTION
(continued)
D minorand G dominantseven
Major minor Dominant

(-r+)
(P.c) (P) .Q ) (P ) Q,O

4) G ) (r-,

(p-,>-G) ( (P) G)ft P) (p-c) (:l

(") (4-, t (r-,) U-c)

?< t., (r;,

(ry{re e1 (e.'c) q)
( rl .(r+ )n G\ e ) o (rL í'''rt n (r'r t

?:)'?*fl'fií2
(c) (*cs
h* b/
tc)

@ hlo tÍ)

í) Q-c) <) (r)

(r-,1 t Gt * n@) Q;2 93 fh (1.ctoo(ra co!/r) fa& fo)

( r'c) (rt
ar* er)"t fko,l #-a
G-r59 Qt,,^og v

G; {tr ?,}aft (p-" ) ?2 -,-U,t t@ul

(í'.) k<)

50
 BASEDON
EXERCISE
NINTHCHORDSUPERIMPOSITION
"PERDIDO"
D-7
E ates)^
GI ór L ((rr,;l ,r)

D.7 G7 D-7 L ksn,;q)

[ífl,ilrt) 127te)

D-,1 G'7
[Aot/,;ttO

4;7",C t D -7
(GL?rt)
Ê't ftd;t u) U-f )
a

G7
GÉ)

D-7 ê 7 D-l ê'l L

rcql hbiliq) hfls,q) (Flr;í) (A-n
b.

D-7 GI D-t G'7

(Att't) h1il)

G7
4;J,, C t ,
D-7
(Dtp;q)
ó-r
 ;*ï

NINTHCHORDEXERCISE BASEDON "PERDIDO"

(continued)

(G Ar;1 rr)

2:í! Êrl b-z_r, G -t*tt

7,o*,,

6 7gn) t- (r*1 D (GH,iq) (c)

(t t'tv,'9k\

52
 BASEDON
EXERICISE
NINTHCHORDSUPERIMPOSITION
C BLUES
t l(ct,tt F1,,,, trl (yt 7rt)

h-l tr) t7 (t,n.,,'/l A7

-:;+l

'rr
D-l r^\ 67 Grttl G7 ril*s>

ftrlc.)

($/,; r,4r

tl rrnl,at f Trgtn;u t [ \u-yrg (4ó?

( Bn,,'f) ( '7 0,;,x,L)

D-1r,
s,e.tcth)

7(rr,r,
 CHORDSON iiM7.V7
SUPERIMPOSING
PROGRESSIONS
Referto the chordchartson pages39, 4, 49.

with "tonic"soundingchords.
The iimTchordshouldbe superimposed

FnàT#-r, u-7\

'colof tones.
on the V7 chordcan containmore
Substitutes
For example:

canbe treatedas a W soundanda minorsevenchordcan haveits'

A iimT-Wprogression
dominant
corresponding chordaddedto it.

oÍ iimT-Wchordsuperimpositions:
Belorvaresomeexamples
D-l G7 D- 7 (r+, 't
Haj'l +t)
G) &\
 iimT-VTPROGRESSIONS
(continued)
Chordscan be addedwhenmovingat a quickerpace:

For example:

Chordscan be nrunup and down'or may be "brokenup' to createinterest.

For example:
fl'7 p 1ai;ttl&7 D - 7' (Flttill G'I
t oH e i 7 ) U noil )

A'composite"scalemadeup of two or morechordscan be created.

For example:
D-, ,, Haí,tt G'7 íqt;) D-7(r*,o,, '
"'ÊJ'1'

chordscan be usedon the 'l' chordwhenthe ii-7-V7progression

Superimposed resolves.

D(Í-tl
-7 É,7-,,,
COEJ.,,, D-7r*,,brTn,,l, tffo;r

55
 EXERCISE
COMBINING TONICAND COLORSCALES
WITHTONICAND COLORCHORDSBASEDON
"SOFTLYAS A MORNINGSUNRISE."
ThisexercisetreatssomeoÍ the chordsin the progression way.Thatis, one
in a horizontal
scaleor superimposed chord is usedfor morethan one chord.Also somecolorchordsare
way.
orderedin a sequential

b -7rru,; rct.l D _,7 b-r [c nc rd.j 6 (Ftt,;

-7
rc|,)

D,íJ
,t
z'J*,r, 4.7,7.

D-7 1a7r, '4%u,r) Dir *,

27 á7
(i -íC*.) 64t-e (o,+) ó1.8t fur>

56
 rb

SCALEANDCHORDEXERCISE
'""ï (continueJ.{
SJAC
Ë+

D-7 L '- 7 Gz
Cl r"t,)

7aTï

b-Y 7b,n,;? D- z 2"7

t;r q*:F tr+sr,l
g:
tn;t,t) | rr) -Lrh;'t ,It

'
D-7(tn,;i)
G;)
Ê -(f)7 t *
I

>-7
(bL) (t t) rr'"

2-7' A7 *.-\-l
E -trc ) gt-r?) x G-al

'bit,l DTr* ^ 1

(Blt'.) '.

GF*, '4 7
G#o*t

2 (A- j(.*.nl

D-7
 SCALEAND CHORDEXERCISE
(continued)

b -/r,n,,r,, b-1(>ttt,ijtí) 6-7

Lí - n
l&flr;r'o ^
Arl D-7-(cntittí) ê7r,,,

2-'l
(rt)
Ar7 D -(

D-7 G-7
(2-,p.\

D-z t-7
0 un)
êrl D
6^r,, (F-.p) (.b,-.-l

58
 ffiw,

TABLEOF CONTENTS

PART I
INTRODUCTION . . .1
SCALESAND THEIRRELATIVECHORDTYPES 2
SUGGESTED APPROACHES FOR USINGSCALES(revised). , . . . , . .3
SCALECHARTS .... .4-9
TONICAND COLORSCALEEXERCISES 1S34
PLAYINGON iim7-V7PROGRESSfONS
WITHTONICAND COLORSCALES . .3$36
* .é!.È -.isr'..,

PART II
SUGGESTED APPROACHES FOR USING
SUPERIMPOSEDCHORDS ..,37
CHORDSUBSTITUTION CHARTSAND EXERCISES . . . . .38
TRTADS . . .3941
SEVENTHCHORDS
N I N T HC H O R D S ...4953
SUPERIMPOSED CHORDSON iimT-V7 PROGRESSIONS .., . . . .*55
EXERCISE COMBINING TONICAND COLORSCALESWITH
T O N I CA N DC O L O RC H O R D S. , . w . * . + * l F . . .... .5ê59