vol.

JAZZ FLUTE
DAILY WORKOUT
WITH BACKING TRACKS

Workin’ Label Edizioni

 Nicola Rizzo
JAZZ FLUTE DAILY WORKOUT
Vol. 1
INTRODUCTION ........................................................................................3
CHORD SYMBOLS.......................................................................................4
BACKING TRACKS DOWNLOAD CODE.......................................................4
HARMONISING THE MAJOR SCALE.............................................................5
DAY 1: CMAJ7 (I)........................................................................................6
DAY 2: Dmin7 (II).......................................................................................10
DAY 3: SO WHAT.....................................................................................14
DAY 4: G7 (V)...........................................................................................18
DAY 5: C MAJOR II-V-I cadence...................................................................22
DAY 6: FMAJ 7 (I)......................................................................................26
DAY 7: Gmin7 (II)......................................................................................30
DAY 8: C7 (V)...........................................................................................33
DAY 9: F MAJOR II-V-I cadence....................................................................36
DAY 10: RED BARON................................................................................39
DAY 11: GMAJ7 (I)....................................................................................42
DAY 12: Amin7 (II).....................................................................................46
DAY 13: D7 (V).........................................................................................50
DAY 14: G MAJOR II-V-I cadence.................................................................54
DAY 15: MILESTONES...............................................................................55
DAY 16: BbMAJ7 (I)...................................................................................61
DAY 17: Cmin7 (II).....................................................................................65
DAY 18: F7 (V)..........................................................................................69
DAY 19: Bb MAJOR II-V-I cadence................................................................73
DAY 20: MAJOR BLUES..............................................................................76
DAY 21: MINOR BLUES..............................................................................80
DAY 22: MAJOR II-V-I IN ALL TONALITIES.....................................................84
DAY 23: MINOR II-V-I IN ALL TONALITIES.....................................................86
 INTRODUCTION

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 TR ACKS DOWNLOAD

To download the mp3’s backing tracks, please scan

the QR code below. For any issue please contact us at
workinmusic@gmail.com

CHORDS SYMBOLS

When we start jazz improvisation it’s really important to know some chords symbols because
there are a lot of alternatives to name the same chords.

Here you are a list of chords symbols that you will =ind along my book or in some jazz music
sheet (instead of the name of the note that names the chord there is an “X”):

- XMAJ7, XΔ7: major 7th chord

- Xmin7, X-7: minor 7th chord
- X7: dominant 7th chord
- Xø7, Xm7b5: half diminished chord
- Xo7, Xdim: diminished chord

4
 HARMONISING THE MAJOR SCALE

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chord.

5
 D ADAY
Y 11 CMA J 7 ( I )

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9
 D ADAY
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13
 D ADAY
Y 33 : S O W H A T

What better way to apply what we know of the Dmin7 chord than to do some practice on
“So What”, the well-known Miles Davis track, from the historic 1959 album “Kind of Blue”.

Structure of “So What”

14
Part A of “So What” consists of 8 Dmin7 bars, and in the rst part of the piece it is repeated
twice. Part B consists of 8 Ebmin7 bars (all notes are at a half-tone distance from Dmin7).
After part B we have again a Part A consists of 8 Dmin7 bars to end the structure.

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 D DAY
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 D ADAY
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25
 D ADAY
Y 66:F MAJ 7 (I )

Now that you have gotten into the groove of this study method, let’s dedicate a part of our
workout to the study of F major, to its relative chords FMAJ7, Gmin7, and C7 and to the
relative II-V-I cadence.

Scale over FMAJ7

Each FMAJ7 chord corresponds to the F major scale:

Arpeggio over FMAJ7

Each FMAJ7 chord corresponds to the FMAJ7 arpeggio, consisting of the 1st, 3rd, 5th, and
7th degree of the scale. When there are two FMAJ7 bars, instead of repeating the octave (F),
try playing 9th degree (G):

26
Exercise n. 14 on FMAJ7

Do this exercise with the backing track 




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28
29
 D ADAY
Y 77 :GMIN7 (II)

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30
Improvisation on Gmin7

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32
 DDAY
A Y8 C 7 ( V )

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Improvisation on C7

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34
35
 D ADAY
Y 99:F MAJOR I I- V-I C ADEN CE

Scales over F MAJOR II-V-I CADENCE

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36
Exercise n. 23 on F Major II-V-I

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38
 D AY
DAY110
0:RED BARON

What better way to apply our knowledge of the Gmin7 and C7 chords than to practice a
little on “Red Baron”, a fantastic song by Billy Cobham, from the historic 1973 album
“Spectrum”.

Structure of the “Red Baron” solo

The structure of the “Red Baron” solo is formed by 4 bars 4/4, each bar composed by 2/4 of
Gmin7 (second degree of F Major), and 2/4 of C7 (fth degree of F Major), which are
repeated cyclically.

Scales over Gmin7 and C7

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39
Arpeggios over Gmin7 and C7

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40
Improvisation on “Red Baron”

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41
 D A YDAY
1111 : G M A J 7 ( I )
The time has now come to dedicate ourselves to the study of the G Major tonality, to its
relative chords GMAJ7, Amin7, D7, and to the relative II-V-I cadence to enhance our
improvisation options.

Scale over GMAJ7

Each GMAJ7 chord corresponds to the G major scale:

Arpeggio over GMAJ7

Each GMAJ7 chord corresponds to the GMAJ7 arpeggio, consisting of the 1st, 3rd, 5th, and
7th degree of the scale. When there are two GMAJ7 bars, instead of repeating the octave
(G), try playing 9th degree (A):

42
Exercise n. 27 on GMAJ7

Do this exercise with the backing track 




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Improvisation on GMAJ7

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44
45
 D A YDAY1 12
2:AMIN7 (II )

Relative scale

Each Amin7 chord corresponds to the A Dorian mode (scale built on the 2nd degree of a
major tonality), which is nothing other than a G major scale starting with its 2nd degree A.

Relative arpeggio

Each Amin7 chord corresponds to the arpeggio consisting of the 1st, 3rd, 5th, and 7th
degree of the A Dorian mode. When there are two Amin7 bars, instead of repeating the
octave (A), try playing 9th degree (B):

46
Exercise n. 30 on Amin7

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Improvisation on Amin7

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And again, start the phrases on Amin7, starting from 9th degree (B), 3rd degree (C), and
7th degree (G).

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48
49
 D ADAY
Y 1133 D 7 ( V )

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50
Exercise n. 33 on D7

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Improvisation on D7

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51
52
53
 D A Y 1DAY
4:G14 M A J O R I I - V - I C A D E N C E

Scales over G MAJOR II-V-I CADENCE

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Arpeggios over G MAJOR II-V-I CADENCE

As for the arpeggios, let’s use the arpeggios composed of the 1st, 3rd, 5th, and 7th degrees
of Amin7 and D7, and the arpeggio composed of the 1st, 3rd, 5th, 7th, and 9th degree of
GMAJ7:

54
Exercise n. 36 on G Major II-V-I

Do this exercise with the backing track 




-
8;
.



..

1+ $2;
try to do it from memory.

Improvisation on G MAJ II-V-I

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56
 D ADAY
Y 1155 : M I L E S T O N E S
This time, to apply what we have learned of the Gmin7 chord and to practice the A Minor
pure scale, I suggest studying “Milestones”, from Miles Davis’s 1958 album of the same
name.

Structure of “Milestones”

57
The structure of “Milestones” consists of a section A of 16 Gmin7 bars (second degree of F
Major), a section B of 16 Amin7 bars (A Minor pure scale), and an A1 of 8 Gmin7 bars
(structure ABA1).

Scale over Gmin7 and Amin7

On the Gmin7 chord, let’s use the G Dorian mode, built on the second degree of the F major
scale; on Amin7, let’s use the A Minor pure scale (normally in jazz on Amin7 we use the A
Dorian mode but this time we make an exception).

Arpeggio over Gmin7 and Amin7

On the Gmin7 chord, let’s use the arpeggio consisting of the 1st, 3rd, 5th, and 7th degree of
the G Dorian mode; on Amin7, let’s use the arpeggio consisting of the 1st, 3rd, 5th, and 7th,
degree of the A Minor pure scale:

58
Exercise n. 39 on “Milestones”

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59
Improvisation on “Milestones”

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60
 D A YDAY
1 616: B b M A J 7 ( I )

Now it’s time to study the Bb Major tonality, its relative chords BbMAJ7, Cmin7, F7, and to
the relative II-V-I cadence to enhance our improvisation options.

Scale over BbMAJ7

Each BbMAJ7 chord corresponds to the Bb Major scale:

Arpeggio over BbMAJ7

Each BbMAJ7 chord corresponds to the BbMAJ7 arpeggio, consisting of the 1st, 3rd, 5th,
and 7th degree of the scale. When there are two BbMAJ7 bars, instead of repeating the
octave (Bb), try playing the 9th degree (C):

61
Exercise n. 40 on BbMAJ7

Do this exercise with the backing track 




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95
.
<
1+ $2; try to
do it from memory.

Improvisation on BbMAJ7

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62
63
64
 D A YDAY
1 717: C m i n 7 ( I I )

Relative scale


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65
Exercise n. 43 on Cmin7

Do this exercise with the backing track 




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Improvisation on Cmin7

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66
67
68
 D AY
DAY118
8 F7 (V)

Relative scale



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69
Exercise n. 46 on F7

Do this exercise with the backing track 




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Improvisation on F7

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70
71
72
 D ADAY
Y 1199 : B b M A J O R I I - V - I C A D E N C E

Scales over Bb MAJOR II-V-I CADENCE

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Arpeggios over Bb MAJOR II-V-I CADENCE

As for the arpeggios, let’s use the arpeggios composed of the 1st, 3rd, 5th, and 7th degrees
of Cmin7 and F7, and the arpeggio composed of the 1st, 3rd, 5th, 7th, and 9th degree of
BbMAJ7:

73
Exercise n. 49 on Bb Major II-V-I

Do this exercise with the backing track 




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9>
.



..

1+ $2;
try to do it from memory.

Improvisation on Bb MAJ II-V-I

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75
 D A DAY
Y 120
9:MAJOR BLUES

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The major blues scale is composed of 12 bars divided as follows:

76
Major blues scales

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Major blues arpeggios

%
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77
Exercise n. 52 on “Now’s the time”

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78
Improvisation on “Now’s the time”

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79
 D A DAY
Y 2210 : M I N O R B L U E S

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80
Minor blues scales

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81
Exercise n. 53 on “Mr P.C”. Major
jo blues scales

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82
Improvisation on “Mr P.C.”

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83
 D ADAY
Y 222
1:MAJOR II-V-I IN ALL
TONALITIES
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85
 D ADAY
Y 2232 : M I N O R I I - V - I I N A L L
TONALITIES

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° ™4

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b œ œ œ œb œ œ œb œ
5 G‹7(b5)
b œ œ œb œb œb œ
C7(b9)
b œ œ b œ b œ œ œ
& œb œ œ œb œ bœ œ
9 C‹7(b5)
b œ œb œ b œ b œ œ F7(b9) b œ œ
B¨‹7
b œ œ œ b œ b œ œ b œ b œ œ œb œ
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bœ b œ œb œ bœ œ
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œ b œb œ b œ b œ E¨‹7
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B¨7(b9)
b œb œ b œb œb œ b œb œb œnœ b œ b œ œ
& œb œ b œ œb œ bœ œ
17 B¨‹7(b5)
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b œn œb œb œ b œ b œ b œ œb œb œ
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86
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87
This book, the first of a series, was written for all flutists who wish to embark on a new
adventure and who are eager to explore the world of improvisation.
It starts from the basics, through a precise scheme tried out with a lot of students with excellent
results. The book is accompaigned by 55 backing tracks for daily practice.

Nicola Rizzo graduated in flute with M° Lucia

Rizzello at the “Cesare Pollini” Conservatory of
Padua. He studied Jazz with M° Michele Gori and
arrangement as well as composition with M°
Massimo Colombo. He attended CPM Music
Institute of Milan music production Master with Fabio
Nuzzolese, Sandro Mussida and Diego Maggi. In
2013 he obtained his Second-Level Master Degree
in Jazz at the “Giuseppe Verdi” Conservatory in
Como with M° Riccardo Luppi. He attended many
national and international masterclasses. He was
awarded first prize at several national and
international competitions as a soloist and in a duo with piano.
He moved to Paris where he was active in teaching classical and jazz flute at the Conservatory. He
also founded the jazz quartet “Nicola Rizzo 4et” and produced two albums, “Salam” e “So What”
together with the pianist Lucas Belkhiri.
He composes soundtracks for movies, theater, advertising and events. He is founder, with Nicolas
Cornil, of the Music Scoring Agency “NN Music For Media Paris”. With Cornil he composed in 2016
the original music for the short film “Mohammed Le Prenom” by Malika Zairi, in competition at the
“Festival of Cannes 2016” and the “New York International Film Festival 2016”.
He lived in London in 2018 where he created the “Nicola Rizzo London Trio” with the colombian
guitarrist Oscar David and the catalan bassist Mireia Carbonell Gonzalez.
He held some jazz flute masterclasses at the Conservatory of Chamonix (France) and Lecce (Italy).
EDWL009

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