| a e to eB&aQOeORe Ee eh heel Kehler lhe hl he hl he le eeCONT NTS © aductuan Ihe Language of Improvisation | yto Use the Bebop Bible Mayor Ideas Mor Ideas. ) sinant 7th Ideas I? V? Imaj? Ideas 7 V7 (one bar phrases) (umarounds doy Substitution Chart \! ut The Author Thais book ts written for the musician who is interested in acquiring firm founda tion for playing jazz. The ideas presented are from the great musicians who have shaped various facets of the jazz idiom. The developing musictar should net nvzely “memorize licks” but learn to embellish these ideas with tvs own, forming concepts that ultimately mold an individual style. By building up a vo cabulary of these melodic ideas, we can begin connecting them together. in endless possibilities to form larger phrases and complete solos. 744FAME WEI OR IMPIGV IS LION Musical miprovisation. Let's define what ot not, Itis not the God-given ability to invent melodies from out of We sky. It does nut come irom 3 bolt of Nxltenng, enabling one to be a monster sulaist. IL not a divine gi which oniy a few of us have because we are special, What then, is improvisation? [Lis spontaneous reorgani- zation. Thnk for a moment of what those 'wo words mean, To put it in other words “tke rearrangement of something that already exists.” It 1s learned in much the same way that a language is because musical im- provisation is a language. We all have the abuity to learn the language of improvisation, it’s simply a matter of proper direcuon Let's examine what a language is. When we speak. we do not instantly invent the words which Cow from our mouth. They already exist. Likewnse, when we solo we use patterns and ideas which already exist in the language of music. ‘The average high school graduate 1s said to krow about 15,000 words. Yet ¢wo individuals may express com- pletely separate ideas, thoughts and opinions while ust, 1s set of words. How is this so? Simply by ar- ranging these words in different orders. If we're all operating within the same basic structural vocabulary then it’s the order in which we reorganize the words that give our personality a uniqueness which we call our own. When we speak, we generally do so intuitively, and it seems to be an automatic process. Yet if we think back and analyze the development of our vocabulary, we See that it really was not. The process of tearning to solo is inuch the same way. Let me pout out some of the similanties. Speech development, up untd we entered schiool was by imitation. Our parents spoke a word or a phase and we simply repeated it. In the same manner, before we ever haga music teacher or knew a thing about music, we simply imitated sounds. We may have heard a inelody from a television of radio conimeresal and attempted to imitate that melody on our instrument In the first grade we learned a word. We not only leaned how to pronounce the word but how the individual let ters symbolize the sounds thet form the word. We learned how to spell it and how to wnte it on the blackboard. To further complicate matters, we had to eam the meaning of the word and how to use itn a sentence. The parallel drawn to our instrument i$ fairly obvieus. In our music lessons we began to learn about some chon is, scales and arpeginos. We iearned what notes they consist of, what they sound like and where they a:~ used. Our test as musicians was to play betore an audience — our parents or inends. Our test from aur school teachet was to read our story contaung our newly learned words Co the rest of the class. With the onset of Junior High Schoni, further addinons increased our understanding of the English language. Vm sure we all must remember sentence diagranining ~ now wasn’t that just loads of fun? Allkinds of ites and arrows were pointing in all directions at words and under words and over words. In complete confusion we thought to ourselves, “so ths represents the intuitive speech of one human being communicating to another? How can somettung so contnved and formulated be any part of just plain everyday communication?” Yet as we learned about our language, the formula became more and more clear, and during the educational process we picked up word after word alter word. One at a ime they were added ~ some from English, some {rom math, some from history and some from science Our vocabulary grew tremendously and usually without much effort Now imagine the horror if on your first day of school, the teacher began by handing out enormous books and saying, “Here isa buok contamiing the 15,004) words that you must know by the time you leave the 1th grade.” You would have wanted to go hume night then and there. Yet fortunately it didn’t happen that way and instead we leamed our language one day at a tunte. Our verbal communication was a natural, growing, intuitive process, As wordatter word was added, the process became so subtle that we now can hardly even remember when and where we leamed specific words. Take the word “aluminum” for exarupte. When did you learn 12 Was it Sed grade? Sth grade? 8th grade? Chances are you can't remember. As you went through life acquinng new words, you didn't worry about them, or grasp onto themn, or hang them around your neck and buld your entire lite around them. They subtly crept into your vocabulary and you began to use them intuitively and automatically\\ J uot 30 aULOMABE Use Of CHIDRAMELALEN Suprise von went br Heinsee and wece suddenly ap: sev's anagne trated ‘a Rugsiah on the yireet. The five Russian word seat iud memonzed on the Might uver would have fo sutfice wworder 10 communicate at all. Naw don’t you thunk that your speech would sound 3 bul eantrived and mechameal? Would it be at all expressive, intutave or antamatic? Those five Russian words would be overused. abused, misused and completely exbausted within one minute. Not to mention the great effart you would em: ploy in attempt (o speak these words in some coherent order. Vel, if you knew 15,000 Russians words, you ‘would sumply relax and communicate. The process of how to arrange these words would no longer feel contrived bout completely automatic, or ~ improvised We puild our vocabulary on auc instruments much as we built our English vocabulary. We stowly and gradually add new licks, Sdme We niay read, some we lear [rom records, some we copy from a frend. We use what al- teady exists ~ we Copy and imitate. You may ask, “But how can | be ongunal and have my own distinct sty i] imucate others?” Well, let me ask you, “Did you reyect your first words from your mather and father because you invented your own language?” Of course not. You didn’t argue the fact that the ubject swtuch lifts food into mouth is called 2 spon. Gue distinct personality is expressed by the order in which we arrange the words hare comunon (6 Us all. In music, we may play something that Seems completely new and unique. But in realty it's a combination of ideas we atceady Know. {I nay be four consecutive notes we leaned three years ied wath part ofa lick we took from a recard list Week, We play this ess and beleve chat we've asepse we hive, (C33 reargganzation af that whwh already existed, you ago. comb stumbled upon sonyething totally new-and in Let's look at another way in which vocabulary 1 expanuled Have yom ever been siting sata group of friends when someborly used a word that caught vim ctteataan? Your dint how the exact meaning of Uhe word but wad heard it somewhere betore, ant! nee bY the ature of the sentence yout Bend UNA, yeRe ae derstand instantly whit the word means. Wuhun tis sani sting cua mas Rave vealed you biked the word. nade a mentatnote ed, en put H conypletely out at vour mune The atest dy’ yaar sore tathany to trnenel and zap” — the sane word came aul, Unee yor ste praticieat svrcanian, the same appen, You'll step an dhe daveiscud, wt Rnowcmg sell 50 wil re, acl the teas will Huw nut yaw kes sou ab Tne banguayes 8 meee process will You emember a ck you heated froin a puiie player List weck ud you'll tind bourse plasnyg a Yer wall have learted enough patterns and shapes and combmusons ea dears te play Unis sate be webuedt He been ress tt YUU! Subeonse sates mune, Cr yaw nay Ythe tex. nites of Hie sate hick ane cotrabane wate sastlier which yea copied from a saxaphoue player five years carher The musical meas are atresety wt existance, but the way welch you rearvange rhese ides express VUE ase style and pet stanly. justass when yua speak. Vour unigae personality is the order av which you sermye all the ideas layet her, Musical improvisation iso laneaiage, just as English, French, Spamsh and ¢ ayes. ity to be feared, Sure ican and will eventually feel wavural ane “improvised,” ut A fits yanse ae feanied th the sn contrived manner that we feared our own Lnyweaxe or in the same conthived way that we would learn any new Janguage. Une word at a tine ~ i's pronunctation. spell uf, Proper use, etc, Ie suunds Ire ane easy, but is acquired over a lifetime. One mew heck on idea ata time: — what iis made of, where to ase it and what it commumwates nr expresses, To increase win ability lo CoMMMMICALE 81 OUT MSLEUNIEAL, WE METEASE OU ALS: cal vocabulary. To nncrense out musical vacahulary we lesen new Hicks. We ploy thet ver and aver until they are habits = unt our fingers play then ialependentty ab our causcints mind — anil we can pay hem an vat sleeg, with or without aur struments, Repetition, Where di we get them tram? Cuny reads, eupy dennis. copy Triend’s records, From tratsenptions, trum other aestrumernts one new watden phiaise ata the. The another and aneither. This is the process by which we learnt ane expand the kanggnge ol wiyptewestionHow Tot 7 TUE BEBOP BIBLE" The “Bebop Bible” wall solve two uf the most conunon problems among musicits. 1) ‘The lack of a strong musical vocabulary (licks, patterns, etc.) and 2) How to connect the eas into smooth sulas ance they have been memorized. You will notice that the book not only contains melodic ideas to be played over individual chords (major, minor, and dominant) but also 2 great number of larger musical sentences for chord progressions (i.e., Ilim7 V7 Imay? and tum arounds, Le., Imaj7 VI7 Ilm7 V7.) All the ideas are categorized into sections for easy reference and also the starting note (in interval notation} for every ideas given (root. 3rd, 5th, 7th, etc. ). This wall enable you to use the ideas more quickly in your playing, One way to yive our solos continuity is to memonze musical sentences. The next steps to connect thest sen tences inta paragraphs. Here’s how we do it. In the Ilm7 V7 Imaj? section of the book the melodic ideas grouped according to the starting note of the Itm? chord (the root of a Dm? chordis 0. the b3rd's F, the Sthis A, etc.). Also notice that the note the Mm? V7 (Dm? G7) resolves to when it reaches the Imaj7 (Crtaj?) chord ig indicated in interval notation. This is shown because if we wanted to connect the fhm? V7 line to anther peagression or add another idea, it's important to know the starting note (interval) of the next idea far: 10 connect smoothly. MUSICAL EXAMPLES. WORD Cmaj-t a - CSE SENTENCE Doe? Gren! CMaaj.7 —— Pe 3 £ 5 a ee ee eePARAGRAPH Daw? Grane CMa. me ote Ea # Daw G7at C May.7 ‘The lines inthe “Bebop Bible” are written 3s straigit 8th notes for easy reading but to play the weas n3bop” swing fashion the 8th notes should be phfased lke this k about as you go through the book Here are some tips for you to thi 1. Learn small sections at a time, maybe 4 or 8 notes, g of motor skills 2. Play slowly to ensure correct programmi ‘Transpose the ideas to all keys. Learn the ideas in different octaves. Practice singing the lines away from your instcument. Tape the chord changes and play the ideas against them. Experiment with breaking up the lines rhythmically. Incorporate the ideas into your playing immediately. PN eeeMAJOR IDEAS Starting on the Root 7 ee SSS SS +MAJOR IDEAS Starting on the Root maj? : meat cMajt Maj? cma? CMa?1 \ i t 1 — MAJOR IDEAS Starting on the 3rd cmt - CMaj-7 Cmay? — CMaj? e 2ST —— f ete trie Lm cme a a ie ee i ie ie, IAJOR IDEAS Starting on the 3rd Cmaj? cua? f+ che et aa eS to 2 : fo ja === i cmxj? CMs)? Cmajt - . ptt etts ob f: eat ee Ea - co £5 obo as rf E ero + — ae a a MAJOR IDEAS Starting on the 4th or 11th May? = aa Coa? cay ——— [ fe rMAJOR IDEAS - Starting on the Sth l= cma? emai coat ke Coma? Coma. I: maj? Gmaj." GmsMAJOR IDEAS Starting on the Sth 3 1 Cates . cmsj! Maj? cma). CMa? cma! = == ete, eett £tfe eye L = ro + - maj”MAJOR IDEAS Starting on the 6th or 13th LU i LL E = Sa SS = = ‘a Se ioMAJOR IDEAS Starting on the 7th cma? oemMAJOR IDEAS i Starting on the 2nd or 9th | cmaj.7 eS Feat =f —— . t -{ cMaj? b Ete, coat tert ee ARE es eer at! = Per Et ¢ phe _ coms? t { Ss ft = — i IMINOR IDEAS Starting on the Root # ee =e: - wet ft = ces d i sw edd at et et et leet ele i LfDori MINOR IDEAS Starting on the Root| MINOR IDEAS | Starting on the b3rdStarting on the b3rd MINOR IDEAS =< Se Dewi 5 a . soft {SS Dom. See F= SS | SSE — FF Se ~ BH SSS SS ore ss { t im = tH Domi ons PS =e SS 7 Ovni. Domi EES ja =:| MINOR IDEAS Starting on the 4th or 11thMINOR IDEAS Starting on the Sth | ow ————— SSS > yMINOR IDEAS Starting on the 6th or 13th MINOR IDEAS Starting on the b7th Dori, a . eeeMINOR IDEAS Starting on the 2nd or 9th pif tte f+DOMINANT 7th IDEAS Starting on the Root greed qraty Grain bebe rte) Gary G7aw be fog t te be grr eho ~_¢3f-¢ realty a ania be eS gout eran grant BSS SESS aS ecutatt Great qa) * y, +HDOMINANT 7th IDEAS Starting on the 3rd a wo oo a qrans ret q7any eran qn b Gen) qa 7a) pttple tity F Sa + mas ma a ; ie Se Fie quae) Gran cauity Gren Gals qiaiy quay aul) ge b b. . 26 Boe ee ——— sas ee eUmUeeLllUCU Elle lle Ce Cele Um le ee ON een ee eel eelDOMINANT 7th IDEAS | Starting on the Sth qe aw GaSe] pees S 5 oS ea a => SSS fo a 3 o LE fo === I ——— a7DOMINANT 7th IDEAS Starting on the 5th gata Gans expcte tt OE npn bp ett rai b te Greats ' =eo DOMINANT 7th IDEAS Starting on the b7th G@ Guat qa Parnas) rast quis Soa = 7 FT 2 re 7 Grats Greity gran Gna 4) quai Gren Boe yer aiDOMINANT 7th IDEAS Starting on the 6th or 13th | a « a aw o£ GraHy aan Grats : mare DOMINANT 7th IDEAS Starting on the 2nd or 9th o GT fay ¢ fants contro ———rF - - = pote Gotta) a@raity & yea nesDOMINANT 7th IDEAS Starting on the b5th gran) . aati grams ean gatas erty gaits Gran) Gren DOMINANT 7th IDEAS Starting on the #5th etait) rat) quislty rah b greats goats Gran Gens oy Galatry qian) qr tad 31| DOMINANT 7th IDEAS Starting on the b9th be, guste be qtr) aos spite Piet qnleies Grams crates te » t EEE ee te le pete tlt DOMINANT 7th IDEAS Starting on the #9th [ ( 1 ‘ i 4 . 4 ‘ \ { t t i j q be __ b#b be be, = - — = GA) Grainy grants Go taityIIm7 V7 Imaj7 Starting on the Root of the IIm7 chord The following tm? V7 Inia? Ideas are in groups of threes because they utlize a common Hm? hed idea Drat erat C maj.7 Dra? G7) Maj? SS ; tor wFTeF fe es FF J+ Tat fr ee ; Ft + t t atIlm7 V7 Imaj7 Starting on the Root of the fim7 chord | | [ on qolatt Maj? i I. ##2 i b £ift E 2 Sa i oo sa spt se tee SE EELS t eA tb ot = yn? a CMa i a i - a i ! ( ( i { [IIm7 V7 Imaj7 : Starting on the Root of the [m7 chord Maj?a IIm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dow? gals) maj = 2 S225 SR EE Ue GI ] «fi 2. (att ony 4 Hoot ? oval t auIIm7 V7 Imaj7 Starting on the Root of the IIm7 chord —_ Doaxt gatatt Maj. Dont Galt Maj.Ifm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dw? grat) Maj.” dent emit cmnaj?Tin? V7 Imaj7 Starting un the Root of the 1Im7 chord ba, the EEE eR a HEE Root a ay yo ®IIm7 V7 Imaj7 Starting on.the Root of the Ilm7 chord D>wt quialt! CMay.7 Deva? gral ma.”Iim7 V7 Imaj7 Starting on the Root of the IIm7 chord Drat GI cats CMyj.7 nH + a Dont Greats Maj a ett & f Se ee 7 } aes ad t Ios 1iim7 V7 Imaj7 : Starting on the Root of the IIlm7 chord ° La qaets Cmaj.7 os es 8 on mm g ¢ 4 eras CMaj.7 i gotIlm7 V7 Imaj7 | Starting on the Root of the Ifm7 chord Dax? Goats CMaj.7 Guat=_. m7 V7 Imaj7 “tarting on the Root of the Iim7 chord —_ -# Dent? Gat CMaj.7 (a7) beb {om} tor) Jw Gatate) C Maj.7 { 5 Ss —_ \ H we 4 TZ FIIm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dvn GT (ay CMaj.7 45Um7 V7 Imaj7 Starting on the Root of the IIm7 chord C Maj.7 C Maj. 6 qrJim7 V7 Imaj7 Starting on the Root of the !im7 chord Dont grit C May.7" IIm7 V7 Imaj7 Starting on the b3rd of the IIm7 chord Dw? quan! CMaj.7Um7 V7 kmaj7 { Starting on the b3rd of the m7 chard CMaj.7 J Grate Dom? 4. M 7 tuel IIm7 V7 Imaj7 Starting on the b3rd of the {m7 chord t Daw Gait CMaj.7 f == I ee) £ t SES FS ee |sm t. t Ja | pores eee Sse { r Ht ; oe = t 5 t t Om Glatt) CMa. { SS 5 Fe He sett 4 t 7 |" 4 { f — I +R” ray ite ie =. ee = = SSS ot pa iomenaacetT st | ne pS era | Jin, tot| lim? V7 Imaj7 { Starting on the b3rd of the Im7 chord Dat G Wald Maj. :m7 V7 Imaj7 | starting on the b3rd of the IIm7 chord | de Gt and CMaj.7 be 23 7 , (orton) dy | set G (aity CMaj.7 % L eet boeie PSE e bere fea a 82timé V¢ Imaj7 i] Starting on the b3rd of the [[m7 chord Dont Gia CMaj.7 G72. m7 V7 Imaj7 Starting on the b3rd of the [Im7 chord Daa? genta © Maj? a ppitit Fey perhe | ad | |e wets, be | ee 2 j oe eee 4 F cS Seen ' SS I st | b m7 — { | SEB fhe GS = | —— oe PS 3 Z Own? Gnaity CMaj.7 . be pe de’£bebe o core fte, Fe —o pees 4 ae | qo * 4 ( 1 i. ye{in7 V7 Imaj7 Starting on the b3rd of the [IIm7 chord Ow? Ge salt C May 7 a! r | SSS SS z 7¢F grr ere Js = eae SS Be aS F 4% 7+FF)" i I, | #ét & aS i zt SS oye + 7 4 gt Bent cr tan maj. tht ty f oa Ha ee ae y oF a Rootmm eee Ilm7 V7 Imaj7 Starting on the b3rd of the m7 chord Gr cats CMaj.7 Ga Hy Cag.IIm7 V7 lmaj7 { Starting on the b3rd of the [m7 chord Own! a C Maj qreattdUm7 V7 Imaj7 ] Starting on the b3rd of the [Im7 chord . Om? Guay © Maj.? Ssotireeeise eat = ] \ | Ova qrum cay? a == ea ; at i TH, 4 7” ! | oe! | ! be SS == a i oth | pS ST SsUm7 V7 lmaj7 Starting on the b3rd of the [Im7 chord ‘ j Y Om? Gan C Maj? \ i £ { pe eter i SSE a = eT | | Root \ oo - \ 1 = # t i sm Dut Gay thay? = <7 Se i : \ 1 + t t NY , SS st f gt 5IIm7 V7 Imaj7 Starting on thé b3rd of the m7 chord wt GQ (as CMy.7 vy? Galaity CMaj.2 b oum7 V7 Imaj7 Starting on the b3rd of the [Im7 chord 7a MajoIIm7 V7 Imaj7 Starting on the b3rd of the IIm7 chord a qiaty CMaj.7 » @? Sts tay? maj neIIm7 V7 Imaj7 Starting on the b3rd of the I[m7 chord | quits CMa) E¢ the a+ 7 SS t a ma}. £ E tbe ~ Hee £ ae = Ef = r 1 it bee foo Eee Et op i + ae =——— - : rs 3: Fz ; + } maj Ge wait maj hy £4 2 Fe Figs eT | bebe 70 Pe ee a z } Cmajz pe Ras aS “EF PO AAIIm7 V7 Imaj7 Starting on the 4th or 11th of the IIm7 chord ‘ nuns Cmaj2 ' be ; tte, £ =o! it ns emt au E ee, thehe f= ae et oe r E ae aS ] L, ey | E Efe ep tit fsptter See . st [oar Grats CMa? tet EE the =: te * a £ + it Ss 4 . ete pecan | ee oy | 17 * 5 |IIm7 V7 Imaj7 Starting on the 4th or 11th of the IIm7 chord 65 Dvn? Gans Cay bee eet tert Eres et i st eter, bebe f + ee ge eter b bp - sacam= 3 tt ey Z so Own? Gaia C maj? £ tebe, 2 +S att sé a4 tel + — T FF = * st 4 aYhm7 V7 Imaj7 Starting on the 4th or 11th of the IIm7 chord Sent nan) © Maj? > . aftte Cag SSE Fe 7S i] - FSi i Sas onset i ‘| : i IW Lites | by |Om! (lm7 V7 Imaj7 . Starting on the 4th or 11th of the IIm7 chord quam C maj? > Ly +Um7 V7 {maj7 Starting on the 5th of the [lm7 chord Om? grant cma? * on : - serebtherere lee eeltetese | 4 pie SjI, lim7 V7 Imaj7 I Starting on the 5th of the IIm7 chord I ont Gm ae i{(Im7 V7 Imaj7 Starting on the 5th of the II[m7 chord o CMa? | ise | | (ai | | cant o a aw CMa? . Eberby ee eee ge = 1, | | b ! f+ cs F i = ; SF at ‘ ‘Ete eo ( re =! Paes oellm7 V7 [maj7 Starting on the Sth of the IIm7 chord Om? Gra CMajo Ere the ore ¢ + pb, JTI> + = a SSF = = = — ae a : ! + fit tie nce te oe, pe = Ses : at maj? (a7} (ow! (7) Ete the ozo ¢ "eve tebe bes { —— te : coo \ ch Dow? @ C may?Starting on the 5th of the IIm7 chord Ifm7 V7 Imaj7 Dom? G any tmaj7 / ft. Ea SESS = == shat jae ta)Ifm7 V7 Imaj7 Starting on the Sth of the (Im7 chord ow? Glaus conta be bebe aS — mea Siig Wer 1? | b expe Mite et £6. SSE jer SS sth a t | eeiaaee tietettiete ste 25 zane SSS 5th Dea? grayIIm7 V7 Imaj7 Starting on the 5th of the Ilm7 chord sata re Go GMa)? aIIm7 V7 Imaj7 Starting on the 6th or 13th of the [[m7 chord Dw? a Cc mayo i. je4 i ( i (Im7 V7 [maj7 Starting on the 6th or 13th of the [m7 chord wt Gas C Maj tee EE tbe eee» + a ae Se oe } maa repteeeltlee . ¢ pipus i grates GMajt ney 16,et ve tay 7 Starting on the b7th of the {hm7 chord Om? qaama cena fee » beIIm7 V7 Imaj7 Starting on the 2nd or 9th of the IIm7 chord Dont Ge (ast C May galalt Maj, 1%4 {Jin7 V7 Imaj7 F Starting on the 2nd or 9th of the {{m7 chord Dan? G? oma? recast ee = BES : = t . — = = SSS Z T r# | (any vl | spre tL £ to, T t = > f— + at Ke ee Soper p pte eet { 5 On? Gren) CMay.7 z deb Ef, y E Sy a t PAS —— a =e SSS ; 1, z 1 Et, be phe ; = eS SS st le | | Ef Deby 1 et x ier —— : Sta tS Speer.Wm7 V7 Imaj7 Starting on the 2nd or 9th of the IIm7 chord wo [aeslim7 V7 Imaj7 Starting on the 2nd or 9th of the [m7 chord OO Om! Gq? gay € taj? Dm? @ fat Maj? TT oes Y{Im7 V7 {maj7 Starting on the 2nd or 9th of the Ilm7 chord 7 ; grat omaj? 2 PE Et ate ve the 5 ee ee 5 Se aaa Et = a $F ad | Zée tetlieste Ihe # tite. Z £ pry pares =. SSeS = <> i ae a Greate) C Maj7 = t f= 5 ==- $ bri e = 1 1 bast / ##\t = z FZ HeEe Um7 V7 Imaj7 i Starting on the 2nd or 9th of the Um7 chard = # — Dw’ G an en) pngecansaits Dw? GTat) oaUm7 V7 Imaj7 i Starting on the 2nd or 9th of the m7 chord Ow? g7aes Cmaj.7 £ JTS eet itt fe SS tI Tt i t Ve | ft | I ”i + se tueboeice ay +0 Pisin IIm7 V7 Imaj7 Starting on the 2nd or 9th of the IIm7 chord Dowd @ (ans Cmaj? £EEt +IIm7 V7 Starting on the Root of the [Im7 chord fone hae pleases) J (o) Or? {@) | | Ow? (ar) : e Dont la") 4 + = oF P (©) Dw? el Om? (@) (¢) we ie Ow! Gl ; (c") Dyn? (@) Dw? (G7) ' (7) Ow? (G7) Dy? (a7) 7 (c*) ow (a7) Dw? (@ Re yTere : IIm7 V7 Starting on the b3rd of the IIm7 chord Dm (a) Om? (1)Im7 V7 Starting on the 4th or 11th of the IIm7 chord Ow! (el Ow? 1G) Ilm7 V7 Starting on the 5th of the IIm7 chord Ow (a1) cnt (a) Own? {eV Om! (a? Cm (@) Dw? (7) Om’ ===S =e (ts) Ow!tt V7 Starting on the 6th or 13th of the IIm7 chord Dw? (or) On? (1) Dvd b i | FTE es 3 om? i) : 6 ie") Ow? (a7 al SS SS m7 V7 Starting on the b7 of the m7 chord Dm? (e") iIm7 V7 Starting on the 2nd or 9th of the Iim7 chord Ow (Ge) as ee ee ee ee ee ee eeTURNAROUN DS Starting on the Root of the imaj7 chord v5? at Ow? G = SS 7 ee + ‘i o47 a? 3 2 ons? 2 ot : =e £ f. = 1b SS ——— t =TURNAROUNDS | if Starting on the 3rd of the Imaj7 chord cma? a Ow + a q SSS SS SS aml el eee eel), —eomel me | Peg Pg Pe PeTURNAROUNDBS Starting on the Sth of the [maj7 chord > tai” ~ o 1 = SS = —, ——S z SS a wi? a? Dm? G? SSS = SS ae aa — SSS Nit ar Dem? @ _£ 4 2¢ foe ah it ————— = ~ ea “7 “a Dw a = SS aa at Dw © 4 ap ett ee ——as paid a om © === SS —jp— 3 oe =F| PON ee starting on the Sth of the Imaj7 chordIDEA SUBSTITUTION CHART PLAY ANY. SS YO Faas CMajy7 piss 4 #. gahgag) Fmaaj7e PLAY ANY OVER bs Bux? chr Fs baiany Ge GH G8 PLAY ANY 3,13 OVER Gl Loca |}. D7 a5 G7 IDEA Bw chit 5 bg)(ait)