Creative Jazz Exercises for All Instruments, Volume 2

INTRODUCTION In orderto maintain strongreadingandimprovisatory skillsa musician mustconstantly challenge himself. By playingexercises thatcombine technique andtheorythis goalcanbe metin a musically satisfying andtimecfficient way. Thisbook,the secondin a series,presentssomeof the scaleand chordsuperimposition conceptsusedin jazz andjazz-rock music.Theyarearrangedin the form oÍ examples,exercises, charts,and improvised solos organized withinsimplified standardjazzprogressions. The scalesusedin the firstsectionof the bookare presented in tonicandcolorscalecategories. Tempoand phrasingareleftto the discretion of the performer. Most of theexercises canbe playedastechnicalstudiesor as examplesof scaleand/orchordsuperimposition. Theaboveconceptscanbe appliedto otherscalesand chordsthatare not includedin thisvolume.In mostof the exercises patterns, I avoidedsequences, andother repetitive designsin orderto makethemmoreinteresting to play. Thethirdvolumein thisserieswillincludechromatic exercises,styleanalysis,and duets. -Lance Van Lenten

SCALESAND THEIRRELATIVECHORDTYPES Generallyspeaking,the scales listed on the ÍoffowingcharnsÍall intothroocaÍBgpÍbswhenused withdifÍerentchordb/p€s(thisincludeschordsthat have a diffqent rootthan the sca/eused): Tonlc sound CD - This scale'sounds'like a givenchordbecauseit containssomechord and possiblysome color tones (see Color Sound). Beloware listedsomescalesthat soundlike "C" Major. notesare Ohe darkened chordor 'colof tones.)

Colorsound (C)- Thisscalecontainsenough 'color"tonesto give it a "bright"or slightlydisso nantquality.'Colortones'areextensbnsoÍ a chord, alterednotes,or anytonesthat"standout.'They cangivea scalea particular"iaznf flavor.A color a tonicsound. be considered soundcansometimes F-7"G"minorPentatonic

Passlng sound (P)- This is a scale that is especiallydissonantsoundingagainsta given chord.

@ Copyright l$6 by Che Golln, 3tS walt 53íd St., New Yort, N.Y. l(xrtg All Rightt Rcrvrd Made in U.S.A. Intrriltion l Copyright Secr.rrrd

FORUSINGSCALES APPROACHES SUGGESTED (Revised) Approach

Scale

Containsstrongdiatonicsounds(C Maior,D minor and etc.).Usein sequences 7, E minor7, F Lydian, etc.). fourths, patterns(chords,thirds, Blues Phrasein a fuocal"style (vibrato,bends,etc.). Create ritfs. Use space betweenideas. Think Repeatnotes,phrases,etc. rhythmically. minor Pentatonlc Usepatterns.Don'tgo outsideof the scaleunless for 'effect."Repeatnotesand phrases.Use with modal,funk,rock,latin,and manyotherstyles. Harmonicminor MixolYdian

Diminished

Wholetone

4F JapaneseInsempo

JapaneseOkinawa

i

il

I

Composite

ideas quality.Short "ornamented" "Mid-Eastern' a V7 well as Works grace notes). (usetrillsand Ab, in F, sound iimT-V7 soundin F minor.lmplies Db. and of sequences in a multitude Canbe structured patterns.Containsmany C7, Eb7, F#7, and A7 whenused. colortones.Veryrecognizable with Bright,opensound.Soundsgoodin patterns V7 chords with well Works chromatics. without or of minorkeys. SoundsveryJapanese.Soundsgoodovermodal lmplies andeconomically. vamps.Playrhythmically "ii-V7'inAb. SoundslikeC major.By restrictingyour ideasto thesetonesyoucreatemotionandan"open'sound. Workswellas a colorscale.lmplies"ii-V7'in C. Thisscaleis madefromtwo triads- "C' and "B'" a C Major7 sound.Createpatterns It compliments basedon thetriads.lt impliesiimT-V7in E minor.

3

ChartI

SCALESANDTHEIRRELATIVE CHORDTYPES (Revised) Mafor Ctlail

minor Pentatonlc

Blues

@ t

ê1 @

'*'7

t

t-1 @

?ft Drtr o

D-l 0

t

?ï(

E7o

D7 G)

?

? í

-74

b?

D - 1 €)

e- 7

t êlH,;7 @

Frtui10

a

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b7 G)

ttl

4

e

470

f1

0 K @

+

, ' i

A-7 0

F-7 @

+í,

, , , tr-7

87 CO

,ír

, i7

.g-7 C)

'"/3

@

+ Aittq;1 C)

r Bl- @@

' ffi

notc ft

cfioÍd or'colof

g - Onic sound (C) - color sound it. g.-t totc ar€ r,oÍfed enharmonknlly.

toÍË

t,l (toil @

t ltJ

'rof 4t;'z ,rá

r//

Wholetone

Dimlnished

Harmonicminor Mixolydian

7

,

///

Dr-

7 ?f€rr&

D-'l @

zi'ê ,7

íb- cq

+ryq't7

7

+ 7,r

21 ?t)e)

í7@ ,

F-

,

+fr

-3

t frtt

ís tf *I

4{ift L-

, - 7

Í-@

60

4r{ír-

"f

í#70r) @

ê-7 G)

r7 AbtL;,t @ o

/7t

*ía

*

Fto o

6-e

+#tít

+tr t7Qr) 6

1ír

Jf ?do íg

n - o ,7r

*f/

784o

+ r.trír ob- @o

,

8-

3 G)

lrl

t

Insempo t ít(o,d C_7) @O

, ,-rq Dbt'lr;1

Composlte

Oklnawa

/ tlc;'l @

l/la;1 O

7

+ 3

+

Db-oo

Drl o@

t

+

? ,,R

D7 @

D-7 0

a

? 7

'- + *rv Lt|

Lb1 O

@

,*ft í/ío;r O

+ tr7

I

f

t3

e,

t'fr, F-' O

l

{

F fl,jl O

+ rís

,

btl,il @

&,7 Gl

-/

t

47 Ao

G - @

+ rír A-7 6A

+ 3l- @ ?

+

BI

Bl-7 tt/ 6

@

{

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d

{

{

SCALECHARTII (Revised) In orderof appearance in the tonicandcolorscaleexercises. minor Pentatonic

ba hz

Root

Harmonicminor Mixolydian

be lt

Diminished

Wholetone

Composite

4rz

'Two triads1/2stepapartcombined. 9

TONICAND COLORSCALES usetonicandcolorscalesÍromthe chartson pages4 through9' A exercises TheÍollowing Colorscalesarescalesor modes tonicscale'soundslikethechordor tonalityit represents. thatcontaincolortonessuchas 9ths,11ths,13ths,etc.Whenb9 or b13tonesarepresentthe The quality.Theseconcepts areÍairlygeneral. scalecreatesa'passing"or unresolved choice' shoulddetermine tasteoÍ the perÍormer individual 'sound'or 'colof a perÍormer canuseanyoÍ the musicaldevices By treatinga scale'asa thatcanbe applied. Forexample: sequence Diatonic tvl A-i l

or Scalesequenceand Rootpattern(4th)

D-7 (í*,.0.t

or PedalPoint

(Atlt,i zl

Dl-r70í)

Pleasenote:

;

withinthecontextoÍ thisbookchordtonesareottentreatedenharmonically Throughout themelodicline.

10

TONICANDCOLORSCALES (Continued) Scaleslikethe minorpentatonic and Okinawahavefewernotesand allowthe performer to play'horizontally/ overmorechanges: For example: C I'ta;v

(A-pt

A -l

- D- n

Grl

CHo'''7 A-1 (í,-,c.)

SCALËABBREVIATIONS USEDIN EXERCISES Major Blues minorPentatonic HarmonicminorMixolydian Diminished Wholetone Insempo Okinawa Composite

11

M Bls. m.p. H.m.m. dim. W.T. lns.

ok. Comp.

-b'?

Gn

TONICSCALEEXERCISE I tL"t

b

Gru'r'

t,'l Vt

(c-gD

L

&7

G (Grr.;)

ILll--

|

B-7

fl-t

G

t7,,,,, ^ t1ou,

t-

o t'I,i)

D7

(DBtr)

,^fr.,, a

BíJ*,

Í 7ol/r-\

D1,ou-.^,

67

b

2t Ê -t-(A

'Maj = M

o'o'l

?1ran.r,

G(Dr,r,

^!itrr

o (0r.,,

f: Ga1;

-f ( e -,P,\

G

r, fl,i)

Aa7r,;)

/'l

ê(r^',

k y,í,)

t,

27a*,

fGó&t

13

&'**,

W*,

G

C^Crns)

II TONICSCALEEXERCISE L (c An.;)

D-l

c rl

ê-l

(tsn.t.l

t (cnq)

4-

L,,rr^

Í-

í@^r,

(t U..-l

C.

Lrl

fttn4\

íl-

D-t

í -Tnr*, A t

D*7,^, L 7

G,7

b-'7

frrr,,, r-7bll.:)

trl

15

D(lt- 7

G7

ll,-,-,)

t-7

/

(nnr')

G-t

Bttlq

4-

D- 7

b'l tt 0t.)

UJ;)

A-7

t (on.,\n -

D - 7 (&1,*\ ,

14

tt+)

4'.7-

Dà7,n,G/o-,rt

í-

(tti,;)

)

c

(á-,r)

L(c

D-7 (ean

LI

I r, ft.\

P7/o/,*',á z ltt 0 2 0-J

F (( /r,i)

F-. ltLi)

c

2 ,7r*^, / 7 - t

A;,, G{r,

,

fJu*..,

-

nttt.

c7

a

(f ,n*1

D-7

ID,.P)

n rt -

GI

u

0ltt') t

b-7rte,.\é7

'o'o:'|,

B-7(.2 4,-'^)

L(trr,

n'

D-z

í^,,

Êt

ftíHí)

ín,,

t

15

t

r, rtq,)

{;l-, /

*, il^-.)

ÍírL-,

D-7(Btr/^*,

t7

/

LC l/^-l

23

LtI//'-\

í Vru^-t h--?L ,

,47 (.F

ís*

)

Major,Blues,minor Pentatonic,fnd Harmonicminor Mixolydian Scales ^oJotCrílr"^,

(q+ o

ftla )

Lí,A\

24

Diminishedscales(with Majorscales) ,hylln

L €rr1

/í-To,,,,, 87

Lt7

( í cl';1

B - 1rrJ,*', í.7

/r-7 (gl';)

lr, ^r',

87

fto.

(4tJ;,

N- 7,"rr,rt

t t-7 G*l'*t

íl-7

B7

CÍ,D,à ( D),-) ^

{aLr,^({7

Ê uar>A#o

t{7

B-7rr^ t' 7

2(2n.;) t{t

L

(t /a)

tl7

'UJ*) 'í/-v

/t7

(olr-l

ff;J, Bt

L

(r-fl,r,,,

c#7

-R,l L

B?

ft u*-]

Ff7

ti7 (.trl)

Fr-7

(B/';l

t( 2 tl.i

B7

f,#,,, ír-7

U)r-^.>

.l

8-' (rJ,:\ z' 7

A

r(ilr,r, 8t

rrr^Aro

25

,

B7

HarmonicminorMixolydian, Major,Blues,minorPentatonic, and DiminishedScales Llocs L

,nr,

fl

C

í4tn\

,nn,

^A 7rr,

D-7,

D ; 7* , 6 7

G'r,oo.,

L (Bar;

ID olt,l

r-7

b -Á^r'l

t7 Qó1.-^,

L (rn,

(B H-,r.)

í7 (Í,'F)

L'*rn,

26

WholetoneScale(with minor Pentatonicscales and chromaticscale) n o l o/

C'l

rl '.

27

Major,Blues,rtinor Pentatonic, HarmonicminorMixolydian, Diminished and WholetoneScales F (Aah,) b z

FTtrrn, Bl, ^,

í^r,

,4 -7

B!;/"

trn)

F(A^r, D7^ur,, G -716t-t\ t 7(F,D

F

í7

(ra;

gt

(tbn)

gr-7 íAónl

E-7,

Dr

(Íttl

írn-,\ D7g>

ê(A-'r') -t D7

L7

b-7

6-7

(Drn)

(t

rt- utÍl

-7. trl F.

íc//,^-)

::D

l-7

G-7

F(r-n)

íítrrl

DI

Fr/,rt

G -z t7 (B à-'c)

F

D7

fl-,, B/;I,rt

-7 tr(G-*l

('o

ft^A'\

28

& 7/^.r.t t 17

uí)

6u

..'..

ll,rrt

& Gro,)

/r7 t2/

0-L,,,,

'G,í/í^,,

DEfr,l) -7

67

(-7

A-z

D-7

Lr7 (nht,

ft ro'\

I -(E ttat)

& (8Íw)

n

b7

HarmonicminorMixolydian, Major,Blues,minorPentatonic, Wholetoneand InsempoScales Diminished, -r \qlla J

Bl

t -7

&'l

lrD -t)

B'7

B'

&U'.)

r(Etfi) l

-

í'/

t/u;X'

c( ê-'7 -'P )

B'iír,

Ít

8t

Bt (D-'t)

í 70il,-.r)

F7

fnlur>

t ,-rx,r, Frl

t-?

/'/ p ?)

B'*or,,

D-7

D7(nn,.\

G-'7

t--7

Ul0b.)

/ Xp.e I

olt*, ê v

[ -7

D Jttrvlbí

Í7

l' l'7 btx)

Ê ZrrU,

f-t

t-t

30

lx,

OkinawaScale r\tln

C

br*l

E- 'l

d (c - 70/,)\

Gn ort 67,*,

f uo,

Dl

^Ê{bo^-Z-7

t -nTo^ fr;,T t loo,t 4nl,

A -'7 Dt

G(tort

-í#-7 h

t -(t'ot) 7

Ct (Êok)

&Gotl

B'(nor,,

B - 7(oov.s

47

oI,\

Dtrrtt

Adot,

t

t ot,)

Gtot)

6r,on, t - 7

4-7

t- 7

?t,

&N.

31

470^

br,)

t'n*,

D7(rtr,t,)

flilo,tt

urotl

É- v(r,

6(í 7

z,Fïon ffirt

t (aoi t -7

G,/,rb

2J*,

D7

B ots

AíJ*t

27

HarmonicminorMixolydian, Major,Blues,minorPentatonic, Wholetone,Insempoand OkinawaScales Diminished, ^.. llur L- 7 A

lGp

f)

(B-.r)

(FraD

Aí"7,

87,0,

(F///-.-)

I

q

-

z-v

(8 /l-n,)

CompositeScale(two majortriadsone half step apart) Llret

D

D

Grl

A-t

D7

t-

.4 r7

F4-7

G-7

L- ,7

A-r

G-7

í/-T

Í-t

p-7

ó-7

Í/-7

2-7

33

,4v

HarmonicminorMixolydian, Major,Bfues,minorPentatonic, Okinawa Wholetone,InseffiPo, Diminished, and CompositeScales

(í^c)

Gtorl

(Dtn)

t' -1u*,

EI -á rt.t

,u

PLAYINGON iimT-VTPROGRESSIONS WTH TONICAND COLORSCALES Usethe scalechartsfor reference. Picka scalefor the iimTchordthat'sa tonic-type. For example:

D-7rn,

(l tns.\

(D^p)

/

-

by chordsthat containmanycolors.The The dominantsevenchordcan be superimpOsed 'passing" situationis the Maior7th chord relatedto the root. kêy noteto avoid,unlessin a 'F#'). (G7 avoid For example: )

(2 conp)

can be treatedentirelyas a V7 chordsound. The "iim7-VTprogression For example:

can be addedand usedas Whenplayingon an extende d at7sounda V7 (relative) reÍerencepointfor colorscales For example: k t't.l

35

PLAYINGON iimT-VTPROGRESSIONS WITHTONICAND COLORSCALES (continued) For interest,scalescan be put togetherinto scale,chord,third,and fourthpatterns. For example: (r7 k tt,t

T)-'l u,, , D-l (tLr,,l

D-'l lítn)

êl Lebn)

Somescaleshavea iimT-V7soundwithinthem. For example: D-'t (E Ías.)

(tq

I F [0"r,)

D-7 /o ,ts.)

appearin a seriesit is effectiveto transposescalesin When iimT-VTprogressions sequence. For example: D -7

/An,r)

FORUSING APPROACHES SUGGESTED CHORDS SUPERIMPOSED andthirteenth chordsare not triads,seventh,andninthchords(eleventh By superimposing newcolorandpassing direcllyincludedin this book)overa chordsoundyoucan introduce way. tonesin an interesting Forexample: (sDrrt

(-tfr)

nbroken" patternsor in sequencesby root. Chordscan be structuredin arpeggios, For example:Arpeggios

(Í7,*r'

>

or 'Broken"patterns

(Eb h,;7)e) (L- {tl G)

(D0tti ? )í. )

bYroot. or in sequences /'At-{rYF-')

G7 b-r?\(2

37

CHARTS CHORDSUBSTITUTION AND EXERCISES (ToniG,Colorand Passingchords)

overa malor,minor chartslist manyoÍ the chordsthatcan be superimposed TheÍollowing chord óound.The minoranddominantsoundscarrythe samesuperimposed anddominant possibilities. ' in this book,the a chord.Likethe scaleexercises Letyourearguideyouwhen'choosing Alteredchordscan be definedby alteringor changin progre-ssions herehavebeensimplified. chords. superimposed

1) is changedto CMai7 CMajorT(#1

For example:D7b9is changedto D7

the'sound'oÍ onechordwithanother.By playing are meantto demonstrate Theexercises in yourmindyoucan hearthe to the progression or "listening" withaccompaniment presented. possibilities ' by root, wayto acquaintyourselÍwithchordsis to practiceeverypossibility An excellent the rangeoÍ yourinstrument. throughout Forexample: G root

Anotherway to practiceis to followthe same chordtype arounda cycle. For example:

MajT#S

38

TRIADSUBSTITUTION CHART C Maior Maj.

(C) (P) (Í€) (P€)

= -

min.

a u g .5

D Minorand G7 d i m .5

dim.

Tonic sound (soundslike chord) Color sound (containstwo or more color tones) Passingsound (containscolor tonesthat may be dissonantiÍ sustained) Soundslike chordand containsone colorsound Passingsoundthat is "moderatel/ dissonant

min.

a u g .5

d i m .5

dim.

BASEDON -A'TRAIN EXERCISE TRIADSUPERIMPOSITION CHANGES @t)

tfi

A*)

(8o)

zÁu

(ot)

[fit br)

H7,,,,

z-7

p4ttO

hl,)

N \

/tt)

TRIADEXERCISE BASEDON 'A' TRAINCHANGES (continued)

rc-) tf

l-),

,lt-'

Z ''7

l'

ttl

&Gn

'(n\

Ê\

(ai

(Q't

€t

-t

(t -)

:\

D\

l-t

-tt-J

(cà wl

Vt

t-3d

G)

[tt

ut)

9't

(D)

L-7

(e-)

2 Ft't

rn)

rD)

4i

't-

BASEDON "CHEROKEE" EXERCISE TRIADSUPERIMPOSITION

6sh)

bt ) (D)^

(ylt)

G o)

H-r

fut*)

D",)

G t,)

rpt't 4,7-,

foo)

(trs

h*'t

n-7 (E--)

D 1(rr-s

, bt)

f?t

(t-\

BASEDON'CHEROKEE" TRIADEXERCISE

(continued) 6t

B)nb-'l

F#;f,

ht)

Blt,

r0

írt)

/_

(t t)

(k)

/( ) ral')

A17{

b) D7 ft)

htl

43

rc) (t't

CHART SEVENTHCHORDSUBSTITUTION C Major minor

(/) t^? e-t) ?

(c ) .,. * ('-) *b:',

CHART SEVENTH CHORDSUBSTITUTION (continued) D minorand G dominantseven Major

f-c)

minor

(f

(?) , o Q'f >o &)

(o )-g

Dominant

Gr)t

(e.c."t n

G)

( P>" (r) (r-rt G) li,*0,-ho, D

(r-ct ,, 0) t (f'

@.{(?Ifla['],

Q) -k @o?.h

45

diminished

EXERCISE BASEDON SEVENTHCHORDSUPERIMPOSITION "SATINDOLL" 2-7

Ërírtl

6rl &n-o

4;J,,,,6J

D-7 (ê-'ts

D --?

lr fr)

(:l

L(Ni1\ -7

6t-n

Í-t

GV

(ó tt.,nrÍ)

AI

2-l

/t-C7)

n',l

z-? Ê r ur- n) (Ê - t4)

A'I

( '7,r,rn",

Ê_ ,7 11t/; lt;)

A-rl

(& tr\

D,l

D - 7 6rt

GhDa),

tt7 rc.*it)

ê

(a>

G-tt)

Í-7

(&,2)

((.ru)

7;11a) $)

-7 tv. t(yn.1tt),

BASEDON "SATINDOLL" SEVENTHCHORDEXERCISE (continued) bbTat-r,)

.D7

(Bt't,,'7)

t"l

D(íH,;t) -7

(>- *t)

L

Í

D-7

(E,st)

,4'/

(G4,iJ$)

[y'íH,; l)

7o7,,,t !o('7

,rrí';,'

(t-z)

G-7

Al-tl

L7

7 n -LB-il 1 D(at>

D-z

(D-t\

D7 t

(saf)

áJ,,

C -7 L,t

F(tl-tl

bottql)

4.Y

Gttii

D(-> 7 . -tI

)t7 bl'

D7

(Ctl,p tr>

,*'7",

(gtn,,;)

G

z-'7 (í-z)

Gatt)

47

(btq-;t)

k_r,r\

Ur-t)

íFt"J

ffn,rut

Uq\

Í;,7 #7.,

BASEDON EXERCISE SEVENTHCHORDSUPERIMPOSITION A MINORBLUES

4;J,, U'tl

br

Ai','?rt)

/7J,,, T7 .;.-à)

k nn;tS

A'7J61rr;- (t ttsr)

6glt)

@4

(Gn,;rl

7A-7 h-r,t 0ní.í

(ít.r)

Q[tn;'rl

@tr1,,u7

g,tr1ír)

O4.ttr) ffnqt)

(Cnir>

Z7

t!_

A -7 rsts

G,ilotD

t t

(fl'tt1

tD-r)

/;,7

(t n';rttS c o'r)

-1

.NINTHCHORD SUBSTITUTION CHART C Major mrnor

Dominant

(p.)n h) ^. (rl

(r>

t^i

(r'cl,

(r-()?

(r-r> ., r) G,r), fr) Qc2

re?:it'Í)tt 49

#r)

':ït

CHART NINTHCHORDSUBSTITUTION (continued) D minorand G dominantseven Dominant

minor

Major

(P.c)

(P)

4)

.Q )

G ) (r-,

(p-,>-G) (

.(r+ )n G\

e ) o (rL í'''rt n

(r'r t

(p-c)

P)

G)ft

(P)

?< t., (r;,

( rl

(-r+)

Q,O

(P )

(:l

(4-, t (r-,) U-c)

(")

(ry{re

e1 (e.'c)

q)

(c) (*cs ?:)'?*fl'fií2 h* b/

@ hlo

tc)

tÍ)

(r-,1 t Gt * n@)

Q;2 93 fh (1.ctoo(ra ar* er)"t

G-r59 Qt,,^og

G; {tr

?,}aft

50

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TABLEOF CONTENTS PART I INTRODUCTION SCALESAND THEIRRELATIVE CHORDTYPES SUGGESTED APPROACHES FOR USINGSCALES(revised). SCALECHARTS .... TONICAND COLORSCALEEXERCISES PLAYINGON iim7-V7PROGRESSfONS WITHTONICAND COLORSCALES *

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PART II SUGGESTED APPROACHES FOR USING SUPERIMPOSEDCHORDS ..,37 CHORDSUBSTITUTION CHARTSAND EXERCISES . . . . .38 TRTADS . . .3941 SEVENTHCHORDS N I N T HC H O R D S ...4953 SUPERIMPOSED CHORDSON iimT-V7 PROGRESSIONS .., . . . .*55 EXERCISE TONICAND COLORSCALESWITH COMBINING T O N I CA N DC O L O RC H O R D S. , . w . * . + * l F . . .5ê59 ....