JAZZ IMP OV for BASS by Carol Kaye

Contents
Chapter I • Getting Started iiVI Exercises Autumn Leaves Chapter II • The Improv Attitude Chapter III • Some Chordal Improv Planning Chapter N Jazz Blues & Solfeggio Chords Jazz BIues Chapter V • More Ideas On Improv "All The Things You Are" .Chapter VI • More Ideas Solo Optional Chords for 2 Bars of Tonic Chordal Subs Recap Back Cycle Exercises Exercise For G7· A Few Major Chord Studies A Few Minor Chord Studies Blue Bossa ImprovSolo Green Dolphin Street Improv Solo Bass Solo Blues ' Improvising Practice (Jde Pass) Minor Blues Rhythm Changes ,: Blues Hip Blues
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©1999 Carol Kaye International Copyright Secured

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Materials Needed: Pro's Jazz Phrases Standards I Bass Video Course or Jazz Bass Tape & Guide

by

Carol Kaye

Chapter I • Getting Started
One of the first things you need to do if possible, is to get someone (if not yourself) to play some of these chords for you as you follow the directions here. Record them as you will want to hear them many times for reference. Hearing the chords will enhance and reinforce your improv skills. Standards I has very good walking bass lines as well as play-along jazz guitar comping to practice your jazz soloing with - all necessary to play with as you develop your fine Jazz improv skills. Some of the time, it will be better also if you have someone play chords along with you On the stop and start again phase) so you can try to feel the length of patterns you try with the number of beats you need to fit them in. Or you can lay down the alloted walking chord-lines with the proper beats yourself - that'll work too. It's important to try only a handful of patterns on only 1 or 2 tunes at a time. Try to memorize 2-3 major chord patterns (like a few on the 1st and 5th pages of Pro's Jazz Phrases, lines 1, 3, and 7 of pg. 1 and the first few bars of line 1 on pg. 5). It's important to start building up your chordal-tone vocabulary of patterns and categorize them either as: Major chords, Minor chords, or 7th chords (more on their substitutions later). Just go through your selection of 1-2 tunes with no more than 1 chord per bar, of fairly easy Standard tunes, and now practice them on ONLY major chords. Then also on the 7th chords (you can always use major chord patterns ALSO on the 7th chords - they are major chords), being careful to fit in the pattern to the allotted amount of beats. You may have to speed up the pattern from 8th notes to 16ths sometimes, or put in some rests here and there to fit the pattern in meter-wise .....this is necessary good practice at this point. Having done this with the major chord patterns, next practice your Stacked Minor Arpeggios (following this text), for not only the minor chords, but also the ii7 to the V7 chordal changes too. You can ALWAYS use the minor chord all the way through the two changes ...for Dm7 to G7, just stack your Dm triads and play for both chords for instance. Do this on the selected tunes. Following also, is a good exercise of arpeggios for the all-important ii V7 I chordal progression. Practice this many times, learn to hear the lines fit those chords and notice that the chords are kept simple in names altho' you're smetimes playing some altered versions of the chords (b9ths, etc.). It's irnporant to keep the chord simple at times, but also know that jazz musicians are constantly moving the notes around in their chordal accompaniment ...their notes don't necessarily have to fit your notes of improvisation. As long as it's fairly close, there's not much chance of a dischord.

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Jazz is always a constantly fluctuating moving line, moving chordal notes etc. Sometimes a round nail will fit in a "square" hole .... .it's not an exact science, that's why this book is heavy into all the optional chordal tones, chord substitutes and chordal movements you can safely use in all situations. And you take it from there. Practice the Arpeggio music following before going on, malting sure you can play all the lines . approx. the tempo of 120 per 8th note. This is absolutely necessary so you can recall these notes automatically with your fingers without thinking, which takes it out of the realm of using your brain so much. It helps you to develop your ear-fingers connection faster and easier. Asked what the musician "thinks about" when improvising jazz -- they'll tell you "what I have to get at the store" .....it will become automatic like that in time.

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there are many of this most -common cyclic chordal progression usually in every tune you'll play. like the first chords in Satin Doll by Duke Ellington: Dm7 G7 Dm7 G7 then Em7 A7 Em7 A7 ..the Dm of the G7 stacked triads is the 3rd degree up . Dm to G7. etc.e.. this is either the 7th chords. G+ etc. same book. ignoring page 5 and the the same tune(s) selected for trying out patterns against the chords. you have to be careful: i. now go through the tune(s) again and apply all these options with the 7th and the ii-V7 chords. not the F chordal scale). G7 Fmaj7 Em7 Dm7 . the "immoveable do" which is the key signature you're in. You may only have a ii-V7 (two chords) repeated here and there before finally resolving to a I chord somewhere. -5- . take the ii-V7-1 exercise (if the chords are only ii-V7. or the 2-chord ii-V7 passages will work for your practice the minor chord). you can't use G7 (or its chord substitutes of Abo.. only use the C chordal scale.how hip Ellington was in those times with his chordal concepts in songwriting. no matter what key you're in .. Gm is in the key of F. Em is in the key of D...both chords should be thought of "together" as one chord .. it doesn't work the other way around too well. the minor chord is always thought of as the ii of any chordal scale pattern ala "So What". which seems to work fine for them.you see why chordal scale practice is so necessary. with the same tuners). Now.. Get used to hearing the lines against the chords. for Dm7. Am to 07.see the first line of the Dm Stacked Triads). then don't resolve the lines to any notes of the 1 chord. But if you're playing just the minor chord without the 7th. on your 7th fine too. The chord roots that constantly change vs. After you've practiced and committed the above lines to memory. the key signature.most pro's change the 1930 2-beat piano chordal pattern of Ellington's to make them easier to play on. But you can travel up the C chordal scale for Dm: Dm7 Em7 Fmaj7 and G7 (some musicians love to use that chordal progression going down from the G7. sometimes it does. So technically it's still a II-V7-1 chordal progression . slightly different than the more legit way of the Solfeggio transposition numbers. etc. Nashville studios also use the Solfeggio system of the I II II chords. eliminate the notes of the 1 chord) and the 2 diminished lines and fit them over those ii-V7 changes. simpler diminish exercises lines 3 and 5 on page 11. use the above on chords (sometimes there's the ii along with the V7... using 4 beats each: Dm71111 G7//11 Em71111 A71111 notice also how he uses the Db7 in place of the G7 chord. Now. Dm is in the key of C (but written in the key of F. The "do" (meaning do re mi fa so) of each of these chords is called the "moveable do" vs. The minor chord is nearly ALWAYSthought of in the chordal scale starting a whole tone below that. It doesn't matter what key you're in.Next practice the ii-V7-1 exercises on Lines 5 and 6 of Pro's Jazz Phrases. actually a G7b5b9. nor where the minor chord is in the tune. For a better definition of the ii-V7-1 three-chord progression: it doesn't matter what the key of the song is. Db7 is a form of G7. The 2 diminished runs can be used with the ii-V7 chordal pattern just fine (you're ignoring the ii while doing this and working off just the V7 -r. but in an arabic numbering system.). Am is "in" the key of G.

And practice the 2 diminished lines. Also. Dbo for C7.. etc. . F+ for F7 etc. lines 4. their b5 notes too used as passing tones .it doesn't always have to be a ii-V7-I.. As long as it's cyclic and you can change the patterns to fit the chords. you will want to practice the ii-V7 cyclic exercise in Pro's Jazz Phrases. 6 and 7. Run these over the 7th chords in the tuners) you are trying out with. Practicing the ii-V7-1 exercises previous will also help train your ear to hear this all-important chord progression. the ii-V7-1progression . You see why it's critical to practice your cyclic exercises. V7 i (minor chord on the end) and all the options contained.any b5 on the end of a chord indicates the next chord will be a cyclic chord . Notice you're using the dim.. It's important to anticipate cyclic chord changes by assuming cyclic progressions to begin with (clues like runs and passing tones played by others will help you hear this. then start another cyclic run of chord changes. whether major or minor. -6- . break that line of cyclic chord changes. And lastly. C+ for C7. it could be a II7 (major chord). 5. for their counterpart 7th chords .Now getting back to this 3-chord progression. Gbo for F7. some patterns lend themselves better to one or the other. pg.that's the only way a passing b5 note is used). line 1 fret up for the 7th chord. 13 (same book). but also.so with any 7th chord. Be sure to practice some cyclic exercises like what is in the Bass Video Course (and/or the Jazz Bass Tape & Guide) before going on.. be sure to practice the augmented exercises pg.. 9 of Pro's Jazz Phrases. The reason why this works so well is that G7b9 contains the very SAi\lIE notes as Abo (with G changed to Ab)... Bo for Bb7.Abo for G7. lines 2 and 4 of pg. you can quickly use the diminished pattern that is 1 fret higher. 1 bottom of the page. Now practice these throughout your selected tune(s). You can always use the augmented chord for the 7th chord: G+ for G7... just to refresh yourself on hearing cyclic chord changes. Most tunes have chord progressions that go in cyclic patterns for awhile.

not too many per bar.7tI 7_ 5 9 r"2-· /3' I I A.n "7 f I £E. not memorized. This has some fairly simple chords. practicing the options you have to create a solo with. This is vital practice.you NEVERplay planned solos at all when you do play jazz . You are now going to "plan" a solo.Autumn Leaves 0_·:_'. Some recording artists are listed in the back of this book for you to listen to constantly. Plus your ear will cue into the jazz recordings you listen to (and should be listening to) and you'll be able to keep track of the soloing continuity a lot better.M f II ) D7 U l B7 .. The ideas you get while practicing with planning will help you get the jazz phrasing ideas and creativity consistency and flow you need for the spontaneous improving you'll eventually be able to perform with.the soloist is talking in statement-answer lines (sometimes called call-7 - . used as jumpstarts into some other ideas if you come to a mental blank. Real Jazz improvising is always spontaneous. but never anything planned as a solo .they provide a wealth of ideas and great foundations for getting your jazz ear together to help you on your jazz improvising.cr Ht: I i 11 Chapter II • The Improv Attitude Now. There is continual communication amongst the band musicians .C. It's essential to give the 50s groups of recordings a big listen ._f ftPl' i D7 f I c:.that's very noticeable and very inept.. get the chart out on "Autumn Leaves"."'1-S .~~ 7 I L~4j7 f pP.maybe some cliche licks at times.. This is only for practice . Jazz improv is actually "talking" with other musicians..at¢ i iI i I £ty1 B7-~ I lE7) Em p :.

You'll hit all the right notes anyway once you've memorized the patterns you need. not even the all-important chords. just think of G7 and Db7/ Abm7 or Abm9 synonymously). be very honest with them.. Chapter III • Some Chordal Improv Planning In Autumn Leaves. About playing too much without taking a "breath". majors by regular Roman numerals). they work because of the similarities. 11th. use the b3rd for the minor chord. While patting your foot. Db9. Once you have gotten the improv technique to its automatic-pilot stance (this takes a lot of practice and jamming). it is fun to "show off' that you can play one chord into another too at first a little but it's better to have the courage to add spaces in from the git-go. With all the patterns. 6th or maj7th in its name. but you should listen vitally to the rest of the band. This is a very common mistake when you first learn jazz improv and yes. the stacked triads. moved anywhere in the key of the tune like a sliderule.new players sometimes do that out of insecurity true. This is right-brain-creative melodic work.chords then . be as one with the band.playing jazz is not like building an airplane where every piece neatly fits. so Abm7 and Db13 (the 7th chords go every other note up. 9th.. Remember to use the 3rd as a good starting hate for the 7th chord. Also take "breaths" between phrases .. it's not necessary to play those notes . One thing you want to do as you start your jazz improv: avoid ending on the root of the chord you're playing . same: G7b5b9 has the same notes as Db7. A7-D7. Improvising should contain your uttermost feelings.it doesn't matter what the key is.notice how the minor chords in Solfeggio are indicated with the dots. still the Il7 and the V7. 13th. play one of the stacked minor triad patterns over both the Am7 and the D7 bars. Db13 are all treated as the same as the dominant 7th . etc.. This is the ii and the V7 . the ii7 and the V7 are merely cycled minor to 7th chords: Am7-D7 Cm7-F7 Bbm7-Eb7 Gm7-C7 Abm7-Db7 They can be treated as the same improvisational pattern. the pivotal b5 substitute patterns presented in this book.they are dominant chords) can be used then for G7.don't play something simply to fill up time-holes in music . but try to practice leaving spaces between phrases (which is more of the talking back and forth ways of playing). Your ear quickly deciphers where all the chords are and you "go". it's usually pretty corny to end on a root (and sometimes corny to start on a Root also). but forget that. Just because the chord has 7th. although' sometimes you deliberately do that. -8 - . sometimes called a "tri-tone". but is a form of internal communication based on honest feelings. and learn to play "to them". You don't have to "showoff"..response) to himself. it's akin to talking all the time with your improv. you truly don't have to think of "anything". you see the Am chord.. the 2 cycle chords together are always known as the ii and the V7 chord (the minor could be a major chord thus.. blues lick.. Db l l .unless it's a blues chord. to his band-mates (less conspicuous) and to the audience. It's not showoff.

a quick way to empty out the nightclub. scales are only traveling notes. you can use the pivotal b5 pattern of B7. sometimes called and written as a l/2-diminished: F#0 No. you can ignore it completely and just use the B7 for both bars. This sign came into being as people got tired of writing out the long m7b5 chord.. so that gives you some indication of its broad use.. Play one of your major chord patterns on the G chord..:I F13 ~ Slide E ~ ~r . same chord). it's nothing to do with a diminished chord. not melodic ideas. you can use Co (or sometimes the 7th is included in thediminished sign C07. you can use the G scale notes for it.b~ I ~. and most importantly. If you put a D note with that chord. which is usually does (again the ii to the V7. and of course the b5 pattern of triads..Now.. but a different kind of a ii chord). We haven't discussed the m7bS chord yet. with Am7 to D7. you can use: The following Spanish pattern popular jazz lick. try playing a stacked triad minor chord pattern there. B F. actually a B7b9 lick: #1 fI: B7 j Spanish Lick Z I' (~ ~lEE [rUff-I] - You can use B+. B F etc.once inawhile you can playa quick scale but not too often. simply easier to indicate that with the quick sign of 1/2diminished. it's a perfect D9th chord .you can use Am for it. with it going to B7.. II 2: I L C ~E f E· IIf r :r p :~ A good Bird pattern utilizing the B7 then it's b5 counterpart for F#rn7bS: -9 - .. r J ~~~ ~F -r ems ~ ~--E.JI'. So that opens up the playing field. CO (B7b9) . The F#m7b5 is the 7th degree of the G chordal scale. Now there is an F#m7bS to B7. and they are very boring if played much. see below). many many options and lastly the G-note scale . F13 (and the Cm9 pattern going down.

chord pattern. The "Louise" line ("Every little bird seems to whisper Louise"): chord.2nd. the first part of that tune for the major chord pattern (see below). you don't have to think "it's B7 so I have to use Co" no. easy enough. People like Joe Pass. Now start to practice the Autumn Leaves tune again from the top. Remember you can add a maj7 and a 6th always to the major triad (and use of the 9th . but have them well-practiced and go through WITHOUT a beat and try them throughout the chord changes. any chordal note.and resolve whichever pattern you use to a chordal note of the chord it's going to: Em. there's the maj7 and 6th again. Work your way through Autumn Leaves. don't think of the dim. Your fingers and brain soon get the idea. patterns.. playing Cma? Dm7 Em7. the dim. the augmented for the 7ths. except the Root (E). you'll be able to make up a lot of licks around the major chord.. The toughest chord to play on you'll find. and some of the ii-V7 licks as well as a handful of the licks previously written. and try some of these licks on . you can go up the chordal scale in ideas. Sometimes a favorite lick that is the song of another song is appropo too . you always can use B as your starting note (it's the passing note feeding into the Co). others constantly used this way of thinking for the major chord. #2 ~IltdU rill j J J r i) If r r t '! Major 7th to 6th "Louise" r II If you think. is the major chord.10 - . for the 7ths. Bird. And leave some space now. alternating patterns. or you can ALSO use the iii and the vi minor chord licks (below) for the major chord in the sense that: Am7 is and Em7 is Crnaj/. With the dim. cs Am7 2: J J J J J J J J lie (forC) Em7 (forC) IF rr rr rr II The important key to all this is have a few each of the all-important major chord patterns. the minor chord patterns. just like when you're walking).many players still will playa tune called "Louise". is always an option too. just know it's a B7. You only have to know where the starting note of the pattern is to play it automatically... etc. and try to resolve the end of the pattern you use to the chord you're finally landing on. just play it. don't overload yourself.

the dim. or there. You don't have to memorize the chord changes to every tune to improvise on them . .ah.and your brain sometimes does some "steering". You'll get there just fine by following this method. take your time. eliminate that negative "self-talk" ("I can't do this"). It's like driving a car down a road . not a Dbo here.they're the "words" in your Jazz essay of music. F#o . if you're a rock player. use the patterns to improvise on them. let's go there.places. With these chordal patterns and substitutes. a good progression and then go to Em7/ / then A7/1). do the same thing to it..some players will insert an F7 chord here tho'.11 - . just go through. but just using the patterns you know to keep from "thinking" too much. (and of course a handful of the substitution chords named previously.your eyes see the chords. Chapter IV • Jazz Blues & Solfeggio Chords Now. just take it a little at a time. and leave the judging alone. Try not to be hard on yourself. Remember.) and your fingers will soon have a "mind of their own" . take the chart out on "Jazz Blues". And your ear is telling you things constantly too. the Am for the F#m7b5 chords. you can't go wrong .. or there. Gm7 but no. and try your stacked minor chord pattern over C7 (you will use Gm7).you just have to do this preliminary "planning" practice to initially get used to using chordal patterns as your foundation. But for now. chord for the 7th. your fingers automatically start playing the patterns . etc.. Notice that the Solfeggio roman numeral chords are listed above the regular chords in the key of C. as it's not a cyclic chord and is getting ready to move to A7 .. Now insert a major chord pattern for F7 (or Cm7) but catch the F#o bar correctly. learning to hear them. Cm7 for F7 (ignore the 2 beats of F#o). you probably never thought in this many chordal progressions before (nor played these kinds of Standard tun~s before).back to C7 (either a major chord pattern. and not in the all-important cyclic chord changes before either. then back to C7 but now use a Dbo run for the whole 2 bars (ignoring the Gm7 chord). it looks good down this path. no self-judging. You'll soon be able to play this in many keys.

i Lr . You can think of it as starting from the b7 of the G7 chord (the 7th chord you're really playing) or as the 4th stacked triad of G7. now use the Bbo.it starts to become very easy to find what you want immediately. Note that the VI or II chords might be minors instead of majors.12 - . you will find the jazz optional turnaround the b5 equivalents of the normal turnaround chords: which features c c A7 Ebmaj7 Dm Ab13 G7 Db9 It is good practice to learn this in all keys.. .. once you get used to these patterns. 1 of Pro's Jazz Phrases.... For A7. Fmaj7 is part of the Dm7 stacked triads. 1 fret lower than Bbm7) then for G7 it would be Abm7. Some jazz blues tunes may not use the #ivo but stay on IV7. I - -w.::. Or for G7.. On Line 6.7 ? -- . . then Dm7 (which sometimes can be changed to D7 in the Blues especially . ditto for the iii7 sometimes (it could be III7)..you can use Am7. but usually.you soon catch on that the minor 1 fret above the 7th chord is the right one to use: Bbm7 for A7).. Pg. or the next stacked triad of Dm .Jazz Blues C7 :r: ]. another fret lower. or another one not previously discussed: Fmaj7. you can use G+.it turns the ichords around cyclically to restart the tune again. A turnaround might only be 1 bar long and use different chords if the starting chord of the tune is different than the I chord. use Bbm7 . The Turnaround is usually the last 2 bars of a tune .. rr.. J // NOTE: The F#o is optional. or the pivotal bS minor CbS of A is Eb7. J //// ( ~7 e.. or you can use Abo or you can use Dm7.7 -:g:.. C.r II Ii . the simple turnaround is: I VI II V7 or iii7 VI7 ii7 V7 (perfect cycle).!Z1 F7 -.

. ...1 said "you're not playing G7 for G7. that made sense. I published the first Joe Pass books ever out. other very fine jazz musicians for a few years late 50s around LA (many many black clubs too).you never "talked" over what you were going to play. some more of the diminished and augmented sub patterns in the Pro's Jazz Phrases book. And heard he was doing something a little different so I asked him the same question and he replied "no I never Wink of Dm7. BTW.oh. Inc. Jack Sheldon (usually with drummers Billy Higgins. It didn't pay much.. The only conversation I ever had about chordal theory was with a piano player .When I was a bebop jazzer on guitar. The patterns and chordal subs are all over the place. some more different orders of notes in the stacked minor triads.. Oh.. even Maurice White was on the LA scene in the late 50's). you use something like Dm7" .13- .. Later on... it was a lot of fun to play. in 1970 on as Gwyn Publishing and recorded some fine tapes of Joe Pass also . You constantly used your ears to find what tunes they went into.all are available through me or Alfred Publishing Co. I'm usually playing Fmaj?". . Frank Butler. but the fervor was hot (not cool as reported in some books about LA). So practice on Autumn Leaves and Jazz Blues charts for now. Bill Goodwin. until you feel that you've tried all the options you've been practicing. I had the privilege of playing for 1-1/2 years (this time on elec. and you're usually only 1-2 frets away from the continuity of the next note you want to start with for the next chord. some different major chord patterns.. you never use G7 for G7. even the finest didn't make much money.. he replied "no. what chord are you using?". I started hearing all the different sub chords then too (about 1956). it's all part and parcel of the stacked G7 triads you see. what special chord subs they were using etc. get some more ii-V7-1patterns together (see the ii-V7-1practice material in this book).. playing with Teddy Edwards.. bass) with the great Joe Pass 1970-71. Then try them with a few more options. and that made sense too. 1-800-292-6122. Curtis Counce..

I t ~ "".I 8b. Ab" 97 J ~~~7 1 t-.Chapter V • More Ideas On Improv II All The Things You Are" Cm" I f Fm' G h'4~"'7 . . I s C7 N I" If .m"~-.14 - ..7 .. I . .. C-t-..7 .) I I /16. J ~'5:4H /lm7 {)7 f 1 ijisi 1...

. Bo . For instance. I think the rule of thumb should mostly be 3x. Hampton Hawes invented some nice chord subs in a couple of places for this tune. practice them. If you're just getting started into Standards.15 - . play A Bb D F A back to G.. moving it from chord to chord.but there's a point where you need to stop and go on with the creating of moving melodic lines too... Don't overload your mind with all this. taking you to Ernaj? for Dbm then with the chord going back to Ab. Gm7 is Bbmaj7. the right ones jazz musicians really use) in it and this is good example. you can play the major to minor lick like that on the Db to Dbm lick on "All The Things You Are". Fm7 is Abmaj7. Remember with the Bird lick.This slightly altered Real Book chord chart reflects the more-correct changes you should use in this tune. completing the chromatic movement of the minor chords. the ii-V? in bars 3 and 11..this is called "milking" a lick. there's nothing better than the Real Book. But to be "cute" sometimes. and you'd play the notes starting with the major 7th going up the chordal notes to whichever you wanted to end on.. jazz musicians may sometimes carry it on for a ridiculous amount of bars. For Standards. don't play these changes unless you're sure the group you play with also plays these same changes. you can playa Bm7 lick. go to Cm. 4x max then move on.. but there's many chords are not correct (or could be better. Ebm7 is Gbmaj7 etc. The great pianist. .. Another way of thinking of minor chords is to use their relative major chords: Bbm7 is Dbmaj7. play it as the Cm lick it is. Am7 is Cmaj/. thus: #3 8~m7 A!. You can use the minor pattern R 2 b3 4 5 b3 2 R (previous minor lick) several times in a row . then run the tune again and use only the augmented chords for 7ths.. and the audience usually starts applauding like crazy at this overused phrase .see the chart changes on the 4th bar of Body And Soul in the Standards I set). the only trouble with milking is that it's fun to keep milking the lick .Maj7 . Get used to this also. you don't have to use its b5 but add it on to a chromatic phrase going down into another pattern for the Bbm7 to Eb7 resolving to Ab. You can go through and use only the diminished chords for example for all the 7ths. Keep the number of patterns you're going to "plan" with to a minimum at first. And when the chord goes to Abo (most jazz players change those dim. using the same lick. then you're home-free to play Bbm7.. chords also to a ii-V? = Bm7 to E7 both solo-wise and chordally as subs for that diminished chord. as: Gm7 = Bbmaj7. Speaking of "milking" a lick tho'. It's very commonly used also to play the same lick up 3 frets when a major chord changes to its minor: II Play the lick on Crnaj? then play it again but up 3 frets for Cm.

~ { 'j #6 8~m7 ? ~t ~~ [ i [J uI (7~ ~r J? J A~ r 'e I (b)«./" ?-h 2: f r' D G I<r} For D7. II You can also use the Bird lick which repeats its b5 pattern too.this is harder to find the starting notes of .) for Fm7 as it's NOT utilizing the Fm7-Bb7 (ii-V")... . easy enough to find: ·lst note of the 2nd pattern is a b5 away from the Ist note of the 1st pattern.). and then the starting note of the pattern in reference to the 1st pattern.e. You just have to find the first note.16- . you play Ebm9starting with the F note (3 frets higher than D). Jazz Blues..finding the starting note in relation to the Root of the chord is necessary i. interestingly enough. * . While you can always use the stacked minor triads for the 7th CDm7-G7 etc. II An interesting movement for the popular m9th chord (see below) is to repeat it every 3 frets higher (milking the lick by moving it diminished-style.. it must have the 7th WITH the minor chord Cm7-F7 Ebm7 . Go through and try just a few of these now at a time on Autumn Leaves. Always note the starting note of the 1st pattern as to the Root of that chord. You can omit the 2nd movement of this same myth lick and use just the 1st and the last movement (the b5 movement) for just the 7th chord also. So using 7ths for minor chords.you etc.And finally. progression. can't use the Bb7 (Bo caution is advised on to be able to do that. then your fingers know the pattern.: #4 '.-. the pivotal b5b9th licks for all the 7ths . say for~: r} c. every 3 frets for the maximum of 3x) for ii-V7-1 movement of Bbm7 Eb7 Ab: #5 B~m7 Notice that the last minor 9th is the pivotal b5 chord sub for Eb7 (Em9).. Fm7 is your first chord here . and All The Things You Are. the opposite is not always true.:.

.. the b5. Further on this..U..' Ji/l (A+9) (F#+9) Fm Dr Fm C7b9 Fm the C7b9 is the back-cycle of Fm. substitute chord for D9. try putting some motion in there by using this back-cycle pattern: #8Fm r r r br· Practice this pattern in cycle patterns: the full circle. 9th along with the major triad diminished-style for C7 which is the basic starting chord of "What Is.. making the lick move augmented or diminished style. merely hit the b5 of ANY 7th chord and then continue your augmented pattern without thinking about all that. or in Thelonius Monk's style.e. you're playing the proper aug...... The LAjazzers of the 50s always used the Dbo continually for the first 2 bars (instead of the Gm7bSC7). chords. You can also use your augmented patterns (C+). Another favorite pattern to use is the G+ for F7 in the sense that F7 and Cm7 being synonymous. the 2nd chord of "Take The A Train" is D9b5... many times.Chapter VI • More Ideas The Real Book has some pretty wrong chord changes on "What Is This Thing Called Love".17 - . But instead of thinking of all that. simply play just the C+ patterns for the Fm chord. A favorite pattern of 50s jazz musicians was to use the Oliver Nelson lick of the aug.Ebm Bb7b9 Ebm .".. They don't have to be "augmented" or "diminished" chords for you to repeat the lick. hack-cycle ~ Fm ~ Ig ~r - II Bbm F7b9 Bbm .: C):. However. i. Remember you can take any pattern and milk it either every 2 frets (augmented style) or every 3 frets (diminished style). and your b5 triads even (C Gb C Gb) winding up on some Fm9 or other Fm pattern of some sort.. you would back-cycle from the Cm to use the G+ for F7-Cm .. And ditto for the 5th and 6th bars (Abo for Dm7b5 to G7 to C).. don't limit it to dim. Just take the b5 of ANY dominant chord and start with that note . (or in this case the ii7bS to·the V7) at all times and is good practice for ALLyour diminishes. II Another thing not previously discussed: when you have 2 bars of a minor chord. every cycle of You can also back-cycle a minor chord using the augmented chord for that minor chord: Fm C+ Fm.that's your augmented pattern that fits that 7th chord. This brings to the fore how the diminished chord can be easily used for the V7. C7b9 (Dbdim) I. so start your augmented pattern on Ab. that's your note...

dependirig on where you're coming from and where you're going. This can work very well. So now you see that chromatic chords are still cyclic in that sense. There are only two of them on the whole 12-tone fretboard.Now you see also what to do with the 7thbS chords also. is there are only two of them. 2: ~_r Om ~ A+· Dm7 G7 DJ Dm// A+// f ewb Dm7// LJ) G7// l F A ~J: 3 J 10 ~ which actually is: So you see how one note can change a chord to its back-cycle augmented in a minor mode in this most conunon latin progression. turn them into augmented chords (they are really) by starting your augmented patterns off the bS. fitting one chord inside another. a very hip arpeggio on endings. But sometimes. start your augmented pattern on that major 7th note. Bass players love to end a tune with the straight triad chord a whole tone higher for the altered chord usually played on the end of a tune: you playa D triad all the way up for the C chord of Cmaj9bS. you would observe the m7bS correctly. but you only move down 1 fret.~}t !. you can do that with stacked minor chords too on turnarounds: Em7// A7// Dm7// G7// becomes Em7// Ebm7// Dm7// Db13// to the C. when dominant chords start moving in cycles: C7 F7 Bb7 Eb7. it's an augmented chord basically. the Montuno pattern of: t. Jazz improvisation is very mathematical like that. You also do that with the double stops.same chord in a way. the b7 and the 3rd for the 7th chords. Thus.D9bS is sometimes written as Am7 add maj7 . If you see a minor with a major 7th. and the augmented pattern fits that cycle chord. This is not for the m7bS but just the plain 7th bS chords (as in G7bS). .that also works. no b5 in your soloing. The interesting thing about augmenteds (repeated every 4 frets but with the passing tones. they are the b5 chord substitutes of the original chord in-between. Normally. diminished). Conversely. you must use the bS dominant of G7 which is Db13 (or Db9) to resolve to the tonic chord of C. Or you can also move them up each fret too . the whole-tone scale.18 - . things moving in 2's and 3's (augmented. There is another possibility here too. In the above. repeating the same double-stop of b7 and 3rd (it's turned around now). the rest are repeats). There's a simple common pattern you've heard many times. G7 goes to C7. no matter if they're playing the correct chord behind you or not. the original chord. every 2 frets). all you have to do is to move your augmented pattern down 1 fret each chord. Notice how Ebm7 is the bS of A7. you can change the m7bS to a straight minor 7th chord too.

The continuity practice here is invaluable. how it weaves. not your usual guitar licks here at all). After that. Grant Green and George Benson. Hampton Hawes. Art Pepper. you'll find the key. Eb..Jazz improv is forever moving like this ... You have to wean yourself off of the Jazz Blues first. but chances are if the chord is moving. Cedar Walton.using the chordal pattern. Dizzy Gillespie also is someone to listen to. then note some of the chord changes in the Standards we're working on in this book and do the same thing. John Coltrane. then a "regular" chordal pattern again .. I think this will help you form the basis for the Jazz Improvisational material you've been looking for. Horace Silver. probably keys of F.. Miles was not a hot player. There's chromatic fill notes as clues running up 3 frets or down 3 frets.. and G and get used to where the "6" chord is in all those keys. some odd stuff to chew on. take a stab at either the 3 or the 6 chords . The 50s Miles Davis and Art Blakey albums are all fine too. Harold Land (and a few others on the east coast of that era). and you can't find the fill notes to clue you the 3 frets up or down (or of course the cyclic changes) then. Charlie Parker.. Joe Pass. be sure to go through the Jazz Blues and work that around in some different keys. but his sensitivity and emotion is a good study of phrasing.19 - . Your ear will catch on . Howard Roberts. and it makes sense all the way. The Sva is marked so you can either play it up the octave ordown. . Bb.don't get in the habit of reading everything. I think you'll find these will help you in formulating ideas.pretty soon. Joe Mainie. maybe back-cycling. If the chords sound like they're changing to another key. Following are some exercises in improvisation on Green Dolphin Street and Blue Bossa to work on. and add the 60's group of Lee Morgan. especially the early things. you'll be playing Standards you never even heard of before and catching all the chord changes from all the clues your ear is receiving from the rest of the band. Oscar Peterson. You might not be able to hear the chord going to a 3 or 6 chord. try the 50s recordings (and maybe some later too) of Sonny Stitt. maybe repeating the lick up every 3 frets (or every 2 frets).. but the actual ways that the finer jazz musicians do play. this is crucial for you to memorize the Jazz Blues chord changes . May it speed you on your way to freedom and the fun of playing Jazz! Your friend. not just a few gigs and boom.so practice the above in all keys. Also.chances are it's one of those. Bud Powell. try to follow the piario players left hand. Carol Kaye For good jazz listening. there are some fine examples of improv ala Joe Pass style (he phrased according to sax phrasings. This is honed from a lot of jazz playing and teaching experience. Note the subs used along the way.

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or Em7 Ebm7 Dm7 Db9 etc. so use Co over both chords. or C C7 F F#o CI I I I for soloing. Turnarounds: The common one (cyclic) is: Em (which is basically C) to A7 to Dm to G7. 7b5 chords (9b5 also) = Use augmented lines starting with the b5. or the next cyclic chord. also Bo. or combinations of these: Em7 Eb9 Dm7 G7b9 (Db13). Db9 (Abm7 or Abmy). = Em7. they are boring and non-melodic . or use the major notescale 1 fret higher than the m7b5 chord: F#m7-5 is the map degree of the G note-scale. Remember flat (b) is also written with a dash (-). Minor chords w/maj7 = Use the augmented chord starting with the maj7. And also the entire b5 13th chord: C7b5. G+.Dm or just A+ for Dm (which makes it Dm w/maj7 in it). or Cm9 .Chordal Subs Recap Major: Cmaj7. You can use the short 2-bar phrases also of a major chord. Dm7. use the 7th it's going to as a diminished: F#m7-5 goes to E7. but this is sort of a last-resort. or down. Cmaj9.again only if the B7 is resolving to its tonic of the E chord). just a term) use Am7. also Do also Fo etc. Minor Chords: Dm = Fmaj7 and you can use backcycles too: Dm .note scales are OK a few times. go up chordal scale in triads: C Dm Em F. but usually only as traveling notes. F9. you can use the pivotal b5 versions of C Ebmaj7 Ab13 Db13. And only use teh Db9Abm7 or 9 pivotal sub when resolving to the tonic (G7-C). V7 vi (vi same as 16) vii7-5 (same as V9 and ii7) to 1. G7 Stacked Triads: G Em-5 Dm F Am C Em (all of these are G7 and you can form all kinds of patterns with these triads). C6 etc. m7b5 = Use the minor chord 3 frets higher: For F#m7b5 (which is also called F# 1/2 diminished .A7b9 . use 3x max. which will resolve nicely to the I chord (takes the place of the ii-V7).21 - . ii-V7-1 = There are many fine jazz common lines to use in my Pro's Jazz Phrases booklet. . thus: CII Dm7 I Dbm7 I CI I I I. OR.and also. 7th chord subs: G7 = Fmaj7.).. Solfeggio Chordal Scale is (dots indicate minor chords): I ii iii (iii same as Imaj7) N (same as ii7). Abo (G7-9 is Abo notes. OR. or which is the same thing as the 1st turnaround: Em Ebm Dm Db9. and also you can use the downward playing m9th (9th R 5 b3 2 R).no it's not a diminished chord at all. and move it every 3 frets either up or down (diminished style). don't use note-scales much. use Gb13 etc. Am7 . Fmaj7 Em7 Dm7 Cmaj7 (and even down from the V7 = G7 FErn Dm landing finally on C). use the pivotal b5 ofB7 (FI3.

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Fmn-----------------------------------------------..../ :--Oo. F7 is Cm. Autumn Leaves.. instead of using the C7..Fig r II Exercises For G7 '-. try to think of G7 as Dm stacked triads like the above .. When you first start practicing your improv on both the Jazz Blues. All The Things You Are. Bb7 is Fm.. g@E F sy ± 16£ J~[' E J Om "PF r prF let e 5=1It __.iJ .G7/Dm .> r-r 3 II \_. but here you can use that usually only when both chords are notated: Dm71111 G7 I I I I You can use G7 for the whole 2 bars.. etc.). always the dominant can be played as the back-cycle minor: G7 is Dm.. there are many chords that fit for G7 including Fmaj7 and the pivotal b5 chords of Db13 and Abm7 or Abm9 etc . # ftJ 3 ! J) &J. ~\jE ¥ Dm IT rEF ~ ... .23- .... etc.E r....-- 3:::::--.1 DO 3----' II . or Dm for the whole 2 bars and all their substitutes (see Chordal Subs Recap Page).:3___... It's not so true the other way altho' sometimes it works: Dm maybe G7. just use Gm (G7 to Gm for G7 to C7 etc. "=3 -3___..Fm Fm C+ . as in the Jazz Blues (G7 to C7). Another neat thing to play if you're using cycle dominants. [ r' II As you can tell. E7 is Bm.

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Green Dolphin Street Improv Solo by Carol Kaye .27 - .

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