The BeBop Eva - Treble IMPROVISATIONAL PATTERNS by David Baker Scale Syllabus 1. DAILY JAZZ CALISTHENICS Exercises for gaining facility with the eight, nine and ten note scales Major scales with added notes Minor, dominant and half-diminished scales with added notes Perpetual motion exercise ll: PATTERNS COVERING TWO MEASURES Patterns starting on the tonic of the Il chord Patterns starting on the minor third of the Il chord Patterns starting on the fifth of the Il chord Patterns starting on the flat seventh of the Il chord Patterns starting on the ninth of the Il chord Patterns starting on the major seventh of the II chord Patterns starting on the flat ninth of the of the Il chord Patterns starting on the tonic of the V7 chord Patterns starting on the third of the V7 chord Patterns starting on the sharp ninth of the V7 chord Patterns starting on the flat ninth of the V7 chord © Copmrght 1979 Chaclos Clin Mase, 315 W. 53 St, Wow York, MY 10019 Antarnational Copyright Secured Made in U.S.A. All Rights Reserved 15 33 47 56 él 68 7I 74 90 100 102C Major Major scales with added notes aoe a —SJ a _——! a ES} a ett EE ee she inT+Minor, dominant, and half-diminished scales (Gmi7 C7 E97) with added notes a ene Cae + + ae *oo tt a ' aa wo cern ' be.» ao * — — tobt CESS} taePerpetual motion exercise Griz Ct Coming F, 4) Fmiy Bb, (be) BPmiy eh, (64) Ebmig Ab, 64) Abmniz Dy ba J Demiy Gb ba) Famiy 8, Brig E74) Emiy Aq) Amy 8 Dy) Dmig Gy() Start on any Il chord and play back to the point of originationChapter Two: The II V7 Progression ‘One of the most important progressions in music is that of a minor seventh chord resolving up a fourth or down a fifth to a dominant seventh chord. This progression is commonly known as the Il Vr progression. Most of the success of any improvisor rests on his ability to successfully handle this progression. Virtually every composition written in the jazz and pop idioms consists of combinations of this progression. This second chapter deals with some of the countless ways of realizing this important progression. All exercises contained in this chapter are based on the II Vs progression Dmi: for one measure followed by Gr for one measure. To facilitate memorization, instant recall and to better enable the improvisor to search out the identity these and similar patterns in the recorded output of the giants of bebop, the patterns in this chapter are organized and grouped according to the starting note. The starting tones are those most frequently encountered in bebop solos, i.e., the 1, £3, 5, 7, 9, 47, 29 of the minor seventh chord or the 1, 3, #9, 29 of the Vs chord. (Volume 1! continues with I! Vs, patterns covering one measure, also organized according to the starting tone.) All of the patterns should be transposed to all keys, linked to the same and different patterns starting on different pitch levels, i.e. the following: te Bemiz| Eb? fete. Dmiz | G7| going to Fmin| BP>| to Emiy| Aq or, more specifically, a Dmi7 | Gz | pattern starting on the fifth, resolving to an Fmiz | Bb, [pattern starting on the #9 of the dominant seventh chord, etc. Often the starting note of the second II V7 pattern is dictated by the ending of the first II Vz pattern, i.e., the first Il V7 pattern might lead logically to a second Il V7 pattern starting on the minor third of the II chord. All of the Il V; patterns should be practised with varied rhythms and articulations and adapted to fit various meters. The patterns should also be practised at all tempos from slow to very fast, varying all factors (rhythm, articulation, meter, volume, progression, etc.) The Il Vr progression should always be linked to other I! Vs progressions of the same or varying length, i. the following: Dmi to Fmi,| BP. Gmi7| C,| to Emiz 47 ete. miz | Go| ° | 3] of Gmiz| C, miz A or toal chord, a V7 chord, or some other quality chord. For helpful suggestions with regard to much-used formulae see Techniques of Improvisation: Volume il, The II Vs Progression; Jazz Improvisation, chapter 5; and Advanced Improvisation, Section I, chapters 1 and 2, all of which are downbeat music workshop publications by David N. Baker. l also recommend Patterns for Jazz, ages 85-100, by Coker, Casale, Campbell, and Greene published by Studio PR, and A New Approach to Jaz 4Patterns starting on the tonic of the II chord Dmig (4) Gy) ¥DmiyG, (33 6, (43) Gy (&%) G,($3) GC) bDmiz Gy 6,4) G,() CA a G,(#) G, 9) b Gy (33) Gy (9) G7 (33) Gy () G7(%4)Dmniy GyDrniy GyDmiy Gr diminished 93Dmiy Gy ( poet Dy > m4Dmiy 65) G,{*) Dmiy Gy6, (8) Dmig (M7) 267Dmiy Gy, Dmig (7) Dinig (My? Gy (#3) 28Gy(ta) Dmiy GyDiy Gy (#8) + Dimig (M7) 6 (#)Dmiy 3 Gy Dmg (My) Go G, (#2) 6, (5Dmiq 6 (% 32Patterns starting on the third (b3) of the Il chord Dmiz GrDmiz Gy 34Dmiy GGy) 36Dmiy SyGy (#)Dmiy Gy (bayDmiy G Dmiy ¢5) S (#5)Dmiy Gy {> 41Gyan)Dmig (My) Gy @n)Dmmig (M7) G; (69) Dmig (My) Gy (#2) 45DmiyPatterns starting on the Sth of the Il chord eq Dmiy Gy (4)Dmiz G(s)Dmiy G, (eo Gy Gy (#5) bp ot zDmniy Gy (» Dmiy Gl Driq (M7) G7) 5051Dmiz GyDmiy G, Dmiy (Gy) Deni Diy Deny at Gy ip — 53Dmig (My) Gy = Gy (#8) Gy (#5) —— Gy, on) = a ee eee j SSS Gy (#3 54Dmiy Gy 55Patterns starting on the seventh (b7) of the Il chord 3 Gy ioe = pO t pp np 9 dn ——! iDiy G,(#3) rele i ! : t e € C3Patterns starting on the ninth (9) of the Il chord Dmi, (way se Gy . Gy) Dap GA)Dmiq (M4? Gy Dmi mi 3 (#9) Gr be —~ Dmniy GrdDmi7 Gy Diy Gy (a) Dmiz G7 (#3) 3 3 9. Dmiy Gf 2) Doniy (8 633 s Dmig (M7) G, Dmig (M7) 65Drmig (,> Gy (#u) Dmiy G0 Deiq (M7) G7 Dmiz G, (en 06Dmig (My) G4) bi G,(¥3) Dmiy Gr() (1) Dmig (My) Gy Se = = + & == = SS Cry ¢ Gy (ba) Dmig(M7) 3 7Dmiz Gy Orig (MOT lbs) Patterns starting on the major 7th (7) of the Il chord Dei &diminished G, (ba) Gy (+9) b. Dmig (M7)Drnig (M7) 70Dmi, Gy diminished Gq(b4) Gyle diminished G,, (4) Gy(+a) diminished G, (ba) Gylbay G, ea) diminishes G76 Gy (ay Patterns starting on the flat ninth (b9) of the Il chord pintatonic = Dri G, (#3) nDmiz Gy pentatonic73Patterns starting on the tonic of the V7 chord Dmi7z GyDmiy G, ($3)Dri. 7 G7 G7 (84) G, (#3) Gr(%8) 76Dmiz Go) G,(%) 7Dmiy Gy)Driy GS @5) 6 Dmiz Gy &™ G79 te he (Ae) 19Dmiq 6Dmiz Gy a1Dmiz Gy diminisnea 7°? Gy whote tone G7#*) G, Dri) G7 whole Gy 65) Gr wile Gy 68) Gy) 82whol tone i Dmiy (G7 #5) G(s) wrote Gy (#5) Gy &) whole Gy (8) Gy (#5) ee GL Gy 9 whole “tone Gs) G7 #9) diminished Gy (4) Gy (9) Drnig (My) Gy #2) + 83bluesDmiy Gy blues blues whole fone, —_—_ Gy (ts) Dmiy Gy (%2) (Dy) Dmiz Gy(8E diminished Danig (My) (Gy) G, (6) (DayDi Pane 7 diminished Gy diminishedDmiy Gy 3 — & @ G,(%) 87Dmiy Gy Dmiz (Gy) Gy (pe) f Pe ee — | }——+ Gy (ba) — La pom =] Z =p Eas ap 3 Dmiy Gy Dmig (M7) = =¥ ———s oP = =3 Deng (My) Gy (#3) SaasPatterns starting on the 3rd (3) of the V7 chord Dmiz Gy, Ce) G,(*) b: G67 (#) el) G8) Gey 67Dmiy Gy (#9)Dmiz GyDmiy (82)wide fone Gy 4) Gy(ts) whale tone Gy (#5) Gy (es)Dmiy Gr) = qa aS] ae 3Diz Gy Dimig (My) G,ho 3 Gp fe 2 SS Et jDmiy G, @n@1) Dmig (My? Gr Denig (M7) Be. ——p-_p oe = e = & _ ——Dmiz Gy Dmig (M7) G, @) & Dig (M7) G, @s)Patterns starting on the sharp ninth (#9) of the V7 chord Dmiz (Gy #9) GyDey Gy b. b. diminished diminisheo diminished diminished diminished diminished diminished diminishedPatterns starting on the flat ninth (b9) of the V7 chord ) Dmig (bs) be? Gr61 (#8) aie Gy Gy) be Gt» _ Gy la) diminished Gy) b 7 ZMusic Manuscript Paper + New Sounds Manuscript Series ccempoi 10 Staves * 96 Pages Perforated Ultra Stock cemp02 12 Staves * 96 Pages Perforated Ultra Stock CcmP03 10 Stave Quire 24 Folded Sheets (48 printed pages) ccmpo4 12 Stave Quire 24 Folded Sheets (48 printed pages) Available at your Local Dealer or contact: Charles Colin Music, 315 West 53 Street, Tew York, WY 10019HIGHUGHTS FROM THE COLIN CATALOGUE SECA e JAZZ . TREBLE ClLEF Rhythms, Patterns, Sightreading Allard: Advanced Rhythms Applebaum: How To Improvise Baker: The Bebop Era Vol. I, Vol. 2, Vol. 3 The Blues Modal and Contemporary Patterns Modern Jazz Duets Vol. I, Vol. 2 Berger: Contemporary Jazz Rhythms Bower: Chords and Progressions Ad Lib Rhythms and Improvisation Bower/Colin: Rhythms Complete Chesky: Contemp. Jazz/Rock Rhythms ‘Advanced Jazz/Rock Rhythms Cont. Jazz/Rock Patterns Vol.|, Vol. 2 Colicchio: Nu Art Technical Exercises Colin: 35 Original Studies in Modern Rhythms Colin/Schaeffer: Complete Encyclopedia of Scales Dufresne/Viosin: Develop Sight Reading Perrint: Develop Accuracy Through Sight Reading ‘Smith: Famous Improvised Jazz Patterns ‘Stuart How To Create Your Own jazz Phrases Jazz Techniques &190 Modern Jazz Passages Wald: Guide to Creative Modal Jazz Improvisation NYC 10019 (212) 581-1480 JAZZ DUETS Applebaum: Progressive Duets Baker: Modern Duets Vol. 1, Vol. 2 Berger: Contemp. Jazz Duets & 2 Play-Along Cassettes Bower/Bulla: Bop Duets Complete Chesky: Contemporary Duets Edmonds: Famous Jazz Beats Vol. 1, Vol. 2 Jazz Duets Dixie to Bebop Houston: Stylistic Duets Murphy: Duet Inventions See Your Local Dealer or Call/White Jor Catalogue worw.charlescolin.com