Continuing with this book's primary theme of supplying many different harmonic Coney Pe progression or song, the following is another small chord progression with a variety of FoneePte te Tata applied. This progression is a bit more active harmonically (and less predictable) than the prwike nt qs offers an interesting compositional technique of alternating between two different keys (in this case; 7 Every other chord is in the same key; KeyofF: (i) Fmaj7_— (1). G-7 (vpD-7 AV) Bbmaj7 OF Key of Db: (VI)Bb-7 (Daj? VI) B7_— (IV) Gomai7 Example k) on page 18 presents a small ABA song form combining a few of the concept used in the earlier examples, ‘This example is also presented on the accompanying CD with two different performance demonstrations: selection #1 (slow ex.) and selection #2 (up-tempo ex.) Exercise no. 6 4a) Chromatic lead tone . Fmaj7 teed c-7 Dmaj7_—p.7 B7 Bbmaj7_Gbmaj7 F eo kg 2 eo ho. —_ io} 3 = ———— b) Common lead tone Fmaj7_—_Bb-7 G-7-Dbmaj7_—~D-7 B7 —_Bbmaj7_ G>maj7 F ¢) Constant Structures (Perfect 4th voicings) 77 G-7 bmaj7 Bbmaj7 Gpmaj7 Fmaj7 Bb? ri Dpme ij maj7_Gpmaj d) "Modal" (Lyd. / Dor.) Fmaj7BY7 2 = ae 16¢) Upper-structure Triads g) "Open" 3-note chords Bb-7 bo Dbmaj7D-7 B7 Bbmaj7 be Fmaj7 eS h) “Close” 3-note chords Fmaj7 Bb-7 G-7— Dbmaj7 B7 Bhmaj7 4) Half-step voicings Fmaj7 Bb-7 Dbmaj7 B7 17 Bbmaj7 Ghmaj7 Gbmaj7 Ghmaj7 Dimaj7_-D-7 B7 Bbmaj7_ Gmaj7 E 4 8. 8 —— =a st t f - | ! I {$rorr 3 6 f) Common lead tones Fmaj7 at G-7— Dhmaj7_ P57 BZ Bomaj7_—G>maj7 EI