Jazz - An Approach to Jazz Improvisation - BOOK CD

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Introduction

Te purpose of this book is to provide a clear, step-by-step guide to improving one's improvisational

skills. At the basis of improvising is the ability to react to sounds or chord progressions with musical

ideas, then transfer these ideas from the imagination to the instrument. The approaches presented in this study

concentrate on improv ing the quality and transference of these ideas.

Style Covered

Jazz improvisation is a term that covers a wide array of styles. This book is going to focus on the style

known as bebop. Although this idiom was first established in 1939 by such artists as Charlie Parker and

Dizzy Gillespie, its roots can be traced back to the swing era (Lester Young, Don Byas) and even Chicago-

style jazz (Louis Armstrong, Earl Hines). Bebop's influence extended well into the cool and hard-bop eras

and can even be heard in contemporary jazz.

Approach

Just as an aspiring architect would study the blueprints of Green & Green, or Frank Lloyd Wright, or a

student of composition would study the scores of Debussy or Stravinsky, the student of improvisation shouldstudy the solos of Charlie Parker, Clifford Brown, Sonny Rollins, Bud Powell, and others. The study should

incorporate the analysis, memorization, and transposition of not only the solos, but also the melodies and

harmonic progressions of the compositions behind the solos.

The purpose of analyzing, memorizing, and transposing the melodies, harmonic progressions, and

transcribed solos of a particular artist is to improve upon our ideas, the transference of ideas, our rhythmic

interpretation ("time feel"), instrumental technique, ability to hear harmonic movement ("changes"),

phrasing, articulation, stylistic concept, tone quality, etc. The more soloists one studies in this manner, the

more these skills will develop.

Philosophy

This study will provide material that will aid in achieving improvisational maturity. The importance of a

disciplined practice routine is essential in achieving this objective. The student's work ethic will determine

success or failure-not this study. There is no text that can guarantee results. Positive results will be

displayed by the dedicated, ambitious, obsessed, driven, or otherwise motivated student. This type of

individual will improve regardless of the contents of any given document. The interest and desire of the

student propel the learning process. Many musicians dream of becoming great improvisers, but are not

willing to sacrifice the time required to attain that status.

Talent and intelligence are other factors that enhance our ability to learn, but a disciplined work ethic can

overcome deficiencies in these areas. The most important thing is daily improvement, and effective daily

practicing will achieve that.

Simply understanding the material presented is not enough. Music is a physical act. Playing your

instrument as much as possible while digesting this material is essential. When one does something

repeatedly, the thought process required eventually diminishes and one is able to run more and more on

"automatic pilot't=-this refers to the brain's ability to take a repetitive cerebral function and transfer it to the

motor memory of the brain. You simply react and do.

Your instrument is your tool for expressing your musical thoughts. The more familiar you become with

every aspect of its makeup, the better your chances of expressing your musical thoughts through your

instrument. Any deficiencies on your instrument will hinder your ability to express yourself and when it

comes to improvisation, that is all you are doing. There are no shortcuts ..You must practice.



ContentsPage Audio

Track

Chapters

1 Knowledge Required.. 4

2 Theoretical Approach... .8

3 Terminology . ................. 9

4 Practice Techniques.. . 1 2

5 The Major Seventh Chord. . . .. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . 15

"Sunset" . . . . 8

..21

·.24

·.26

· . 2 8

·.30

6 The Dominant Seventh Chord , , .

"The Seventh Blues" .

Analysis of "The Seventh Blues" Solo .

7 The Minor Seventh Chord ....

"So Impressive" .

Analysis of the "So Impressive" Solo 32

8 Common Progressions. . 3 3

"Song of the Sunflowers" . . . . .. . . . ... . . . .. . . . .. . . . .. . . . .. . .. . . . . . . . .41

"What Ladies Know.,............................................. . .42

"Moving In" 43

......................................... 45

9

Analysis of the "Moving In" Solo.

The Minor Seven Flat-Five Chord ... ...................... 47

"Wauldn 'f You?" . . . . . . . . . . . . . 51

Analysis of the" Wouldn't You?" Melody. . . . . .. . . . . . .. . . . . . . . . . . . . . . .52

Analysis of the "Wouldn't You?" Solo 53

10 The Diminished Seventh Chord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

"Cruising" . . , 59

Analysis of the "Cruising" Melody..................................... . .. 60

Analys is 'of the "Cruising" Sola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. 61

n The Minor-Major Seventh Chord. . . . . . . . . . . . . . . . . . 64

"Christa's Dream" 65

Analysis of the "Christa's Dream" Melody 69

Analysis of the "Christa's Dream" Solo 69

12 The Major Seven Sharp-Five Chord 72

"Someday" 74

13 Conclusion 78

Appendix .. 79

1

2-6

7-8

9-10

1 1, 1 4, 1 7

12

13

15-16

1 8 , 2 1

1 9 - 2 0

2 2 , 2 3

24-26

27

2 8 - 3 0

31

3 2 - 3 3



Chapter ,Knovvledge Required

Reading

A certain level of musicianship is expected of the student for this presentation to be effective. The student

should be able to read music. The melodic lines and improvised solos presented are difficult in most cases and

must be interpreted directly from the written page.

Scales

The following scales are discussed throughout this book: the major, harmonic minor, melodic minor,

diminished, whole tone, blues, and pentatonic scales. Understanding their construction and position on one's

instrument, coupled with the ability to hear the color or sound of each is crucial. Being able to hear scales,

chords, or any sound does not require some supernatural talent. Your ears respond to sounds with which they

are familiar. Think of the number of different people you know. Each voice has a particular timbre; similarities

abound, yet each one is unique. After becoming familiar enough with a person's voice, our brain immediately

distinguishes that voice from the hundreds of others within our memory. Musical sounds are no different from

any other sound. Only when one is familiar enough with a sound can one imagine ("hear") it. After practicing (

all three diminished scales two-thousand times in a number of possible configurations and analyzing melodies

of songs and solos that incorporate its sound, you will be able to distinguish the diminished scale from any

other scale as easily as you can distinguish your mother's voice from that of your best friend's.

Fig. lA - eMajor Scale

~:t J J I J jF r g

Fig. IB - e Harmonic Minor Scale

~eJ F J F r I I•

Fig. f C - eMelodic Minor Scale (Ascending)

4 Cj J J J

F I I

Fig..ID - eDiminished Scale

j I W F E r

Fig. IE - eWhole Tone Scale

Fig. IF - e Blues Scale

j I J I IF4



L_ c ~ ~ ~ .h _ a ~ . p ~ t e _ ·. . r _ · . .. .0Kno1Nledge Required

The term pentatonic refers to any five-note scale. In common (or standard) jazz terminology, the two

following scales have been labeled "major" and "minor" pentatonic to reflect the major and minor keys.

However, it is the music that determines the key, not the scale. The following scales have also been referred to

as the "anhemitonic" scale due to the lack of half-step intervals.

Figure IG - C Major Pentatonic. Scale

J J ] d rFigure 1H - C Minor Pentatonic Scale

leJ d j J

Chords

Chords will be discussed asduming the student is already familiar with their construction. For those who

require a "refresher course" or need to learn more about the construction of chords, the following is

presented ..

Intervals

An interval is the relationship or distance between two pitches. Figure 11 below displays the smallest

interval inmusic (semitone/half step/minor second) through the interval of an octave. The terminology above

the staff is the term used to describe the interval above the pitch C.

Figure II minor second;

¥ i " " ' P ' " ' : j 'major second;

whole step

minor third major third

g

perfect fourth augmented fourth; tritone diminished fifth; tritone perfect fifth

J Ij ( ~ . J

augmented fifth minor sixth major sixth

1 laugmented sixth

1 1 # d

diminished seventh minor seventh major seventh octave

I J r I I

Triads

Major triads (the prefix tri means three) are constructed by taking the first, third, and fifth degree of a

major scale. For example, the C major triad (see Fig. lJ), indicated by using just the letter C as its symbol, IS

constructed by taking the [list degree of a C major scale (C), the third (E). and the fifth (G) ..There are four

5



Chapter0Know-ledge Required

Figure lJ C Cm C+5

triads possible; the other three are minor, diminished, and augmented. The minor triad is formed by lowering

the third of the major triad by one half step. The diminished triad is formed by lowering the third and fifth of

the major triad, and the augmented triad is created by raising the fifth degree of a major triad.

(minor) (dimini shed) (augmented)

All triads are formed with intervals of either major or minor thirds, and diminished, perfect, or

augmented fifths. Notice the intervallic content of the different chords: the major triad consists of a major

third and a perfect fifth above the root; the minor triad has a minor third and a perfect fifth above the root; the

diminished triad contains the intervals of a minor third and a diminished fifth above the root; and the

augmented triad has a major third and an augmented fif~ above the root.

Seventh Chords

The major triad is constructed by stacking the first, third, and fifth degree of the major scale. The major

seventh chord simply adds the seventh degree of the scale to the triad (see Fig. I K below). Therefore, a C

major seventh chord is the first, third, fifth, and seventh degrees of the C major scale. The major seventh

chord consists of a major third, a perfect fifth, and a major seventh above the tonic.

Figure lK - C Major Seventh

Cmaj7

~ e 1 I I J J J j I J J r F ~

2 3 4 5 6 7 8

The dominant seventh chord is constructed by adding a lowered seventh to the major triad (see Fig. lL

below). The dominant seventh chord consists of a major third, a perfect fifth, and a minor seventh above the

tonic.

Figure lL - C Dominant Seventh (C Seventh)

~

C7

C

L

l E g 3 J J I Jj b

r F I Ii 2 3 4 5 6 ~7 8

Adding a minor seventh interval to a minor triad creates a minor seventh. chord (see Fig. 1M below). A

minor third, a perfect fifth, and a minor seventh constitute the intervallic content of a minor seventh chord.

Figure 1M - C Minor Seventh

em7

¥ b ~ lI I

J1J J I

j j ~f r I I

2 b3 4 5 6 ~7 8

6



~ C_._h_a~p_~_·_r~~~~I~~R~Ui~1

The diminished seventh chord consists of a diminished triad with an added diminished seventh (see Fig.

IN below). The intervals above the tonic are a minor third, a diminished fifth, and a diminished seventh.

Figure IN - C Diminished Seventh

C D7

,g 1 # b f I I b J l I b J - b J b tr b r I I1 J •

2 ~3 4 ~5 ~6 ~~7 ~8

Figure 10demonstrates some of the possible seventh chords.

Figure 10

~ r i j 7C7 Cm7

Extensions

Cmaj7#5m(maj7)

If! I I

Chord symbols that use only a letter indicate a triad (C). The addition of the number seven to the letter

indicates a seventh chord (C7, Cm7, etc.). Extensions are a continuation of this stacking of thirds-they add

additional information to the existing seventh-chord structure. Extensions are referred to by numbers and-

just as the number seven indicates the addition of the seventh degree of the scale-the numbers nine, eleven,

and thirteen function similarly. These numbers are simply the second, fourth, and sixth degree of the scale

transposed up one octave. The extensions can be altered with the use of accidentals. Figure 1 P below

demonstrates some of the possible extended chords.

Chord Symbols

Cmll C9

One other important subject to consider is chord symbols. There can be as many as five or six different ways

of indicating any given chord. The examples below demonstrate some of the different choices with the first in

each category being the symbol used throughout this study.

Chord symbols can be misread. A triangle (major seven) can be mistaken for a circle (diminished); a

capital "M" (major triad) can be mistaken for a lower-case "m" (minor triad). In each case, the first chord

symbol represents the clearest and least confusing of all the different possibilities.

Major seventh chord symbols:

Dominant seventh chord symbols:

Minor seventh chord symbols:

Minor seven flat-five chord symbols:

Diminished chord symbols:

Minor-major seventh chord symbols:

Major seven sharp-five (augmented) symbols:

Cmaj7, CM7, C67

C7, Cdom7, Cx,. CX7

Cm7,. Cm1n7, C-7

Cm7~S, C-7(1.S), Co7, Cm7(-5), Co

C07, Co, Cdim

Cm(maj7), Cmin(.c.7), C-(M7)

Cmaj7#S, Cmaj7( +5), CM7(aug)

Alterations of a particular scale degree can be indicated in various ways also ..To raise a scale degree. the

sharp (~) or plus (+) sign is used. To lower a scale degree, the flat (~) or minus (-) sign is used. In this study.

the sharp and flat signs will be used to indicate alterations.

7



Theoretical Approach

Determining Scale Choices for a Particular Chord

For each chord there are options of scale choices that complement the color of that chord. Determining the

different choices relates directly to the way in which diatonic chords are fanned within the major, harmonic

minor, and melodic minor scales. If a diatonic seventh chord is constructed on each scale degree of these three

scales, the result is a number of different chordal configurations. Each chord's position within these scales

determines which scale can be used to balance that particular chord's design. The examples that follow explain

this approach, discussing in detail the scales that can be used with each chord as the chords are introduced.

Practice routines, common progressions, and songs incorporating these chords will also be presented.

Diatonic Seventh Chords Built on the Major Scale

Figure 2A (below) demonstrates a diatonic seventh chord built on each scale degree of the C major scale.

Diatonic means using only the notes of the tonic scale to construct the chord.

Figure 2ABm7~5maj7 Dm7 Em7 Fmaj7 G7 Am7

¥1 I H I B I n I B I 0 I t I I

2 3 4 5 6 7

Diatonic Seventh Chords Built on the Harmonic Minor Scale

Figure 2B (below) demonstrates a diatonic seventh chord built on each scale degree of the C harmonic

minor scale.

Figure 2BCm(maj7) Dm7~5 Ebmaj7#5 Fm7 G7 #maj7 B07

~C , I U I ~ B I H I ~I I 0 I,

I I

2 3 4 5 6 7

Diatonic Seventh Chords Built on the Melodic Minor Scale

Figure 2C (below) demonstrates a diatonic seventh chord built on each scale degree of the C melodic

minor scale.

Figure2C Cm(maj7) Dm7 Pmaj71S F7 G7 Am7~5 Bm7bS

V & C , I i j 9 I ~I I g U I ~ B I q OII I I

2 3 4 5 6 7

Notice the first and fourth degrees of the major scale (Fig. 2A) and the sixth degree of the harmonic

minor scale (Fig. 2B) are all major seventh chords. This means we have three scale choices when confronted

with the major seventh chord;" the root of the major seventh chord can be treated as the first or fourth degree of

a major scale or the sixth degree of a harmonic minor scale. This theory translates to all the other chords as well.

There are four dominant seventh chords (four scales), five minor seventh chords (five scales), and so on. As each

chord is introduced throughout this study, this approach will be explained indetail to help clarify this concept.

8



Chapter J Terlllinology

Trminology can be confusing when dealing with scale names. Like chord symbols, scales can also

have a variety of labels. For example, the diminished scale is also referred to as the "octatonic scale"or the "dominant-diminished" scale depending upon whether the first interval of the scale from the root of the

chord is a whole or half step. The altered scale is referred to as the "diminished whole tone scale" or the

"melodic minor half-step-up" scale. Each term is descriptive and logical, yet the variety can be confusing. In

trying to reduce this confusion, this study will list the different names of all the scales as they are discussed

throughout this book.

Modes

The modes and their Greek names have become the most common terms for labeling scales. However,

they only name the modes of the major scale. In jazz harmony, the modes of the harmonic and melodic minor

scales are used as frequently as the modes of the major scales. Therefore, this study will refer to modes bytheir relationship to the scale they were conceived from. For example, the first mode of the major scale

(Ionian mode) will be referred to as "J of major." The second mode of the major scale (Dorian mode) will be

"ii of major" and so OD. This approach continues through the harmonic and melodic minor modes as well.

The harmonic and melodic minor modes are often referred to as major modes with scale degree

alterations. For example, the fourth mode of the melodic minor scale has been called "Lydian dominant"

"Lydian flat-seven," and the sixth mode of melodic minor is named "Locrian sharp-two." This study will refer

to them asNof melodic minor and vi of melodic minor, respectively.

The purpose for naming the scales in this manner is to create consistency throughout all the major,

harmonic minor, and melodic minor modes. The Roman numerals always relate to the scale degree from

which the modes were derived: "V of major" means a diatonic scale beginning on the fifth degree of a major

scale, "vi of melodic minor" reflects a diatonic scale beginning on the sixth degree of a melodic minor scale,

and so on. The uppercase Roman numerals reflect the interval of a major third above the root of the mode and

the lowercase Roman numerals reflect a minor third interval from the root of the mode to its third scale degree.

Figures 3A-3C show all the modes derived from the C major scale. The first in each category represents

the terminology used throughout this study.

Figure 3A - C Major Modes

I of Major/C lonian/C Major Scale

ii of MajoriD Dorian

iii of Major/E Phrygian

J J r r r

IV of Major/F Lydian

9



Chapter € . I Terminology

v of Major/G Mixolydian

vi of MajorlA AeolianiA Natural Minor Scale

vii of Major/B Locrian

Figure 3B - C Harmonic Minor Modes

iof Harmonic Minor/C Harmonic Minor Scale

ii of Harmonic Minor

j J F r I I

III of Harmonic Minor

iv of Harmonic Minor

+ " & e J J J ~ r I F F F F ~

V of Harmonic Minor

~ ~ 6 f f i d J¥ r - E F • r r I I= = i

VI of Harmonic Minor

~bC J¥ F r I F F E r ]

vii of Harmonic Minor

¥ -¥ h e ~ F r F r E r b rI I

Figure 3C - C Melodic Minor Modes

i of Melodic Minor/C Melodic Minor Scale

J J J ] J r j

10



L_ c _ h _ a ~ p ~ t _ , e_r ~ ~ ~ TermRinology

ii of Melodic Minor/D Dorian Flat-Two

I r rIII of Melodic Minor

IV of Melodic Minar/Lydian Dominant, Lydian Flat-Seven

.3 jI

~ r ~

I Ir = i I

V of Melodic Minor/Mixolydian Flat-Thirteen

~ bbfi£ ~ q J q r F 2d r F r r 2Jvi ofMelodic Minor/Locrian Sharp-Two

r&bbeqJ ~ r r I r ~ r 1, 1r I

vii o f Melodic Minor, Diminished Whole- Time

m ¥ =

-r r F II r 71

It is important to understand the connection between Figure 2A (page 9) and the modes of the major scale

(Fig. 3A), figure 2B (page 9) with the modes of the hatmonic minor scale (Fig. 3B), and Figure 2C (page 9) as

it relates to the modes of the melodic minor scale (Fig. 3C). Each chord in Figures 2A, 2B, and 2C contains the

first, third, fifth, and seventh scale degrees of the mode which was created on the same scale degree as the

chord. For example, the diatonic seventh chord constructed on the first scale degree of the major scale in

Figure 2A is the first, third, fifth, and seventh scale degrees of the first mode of the major scale. The diatonic

seventh chord constructed on the second SeRledegree of the major scale in Figure 2A is the first, third, fifth,

and seventh scale degrees of the second mode of the major scale. This theory continues through the remaining

modes and the chords that result from this stacking of the first, third, fifth, and seventh scale degrees.

Appendix A combines the modes of the major, harmonic minor, and melodic minor scales (Figs. 3A-3C)

with the seventh chords (Figs. 2A-2C) that result from stacking the first, third, fifth, and seventh scale

degrees of each mode. Instead of presenting the modes and chords in the previous order (as in Figs. 3A-3C).

Appendix A will display them by chord type: first listed are all the modes whose first, third, fifth, and seventh

scale degrees construct a major seventh chord; next listed are the dominant seventh, minor seventh, minor

seventh flat-five, diminished seventh, minor-major seventh, and finally the major seven sharp-five chords.

This information is the basis for understanding scale choices for any chord. Simply put-a scale can

compliment a chord if the chord contains the first, third, fifth, and seventh degrees of the scale. As previously

discussed, there is more than one scale choice for any chord. Determining the best scale choice will be

discussed as each chord is introduced.

The following section will offer practice techniques to aid in comprehension, assimilation. and

incorporation of the scales and musical examples presented throughout this study.

11



Chapter Practice Techniques

Pacticing is the single most important thing one can do not only to improve improvisational abilities,

but overall musicianship. It is an art and requires an intelligent approach to be effective. Like any other

technique, also to improve practicing improves through daily repetition. Daily practice promotes time

efficiency and refines the material being worked on-two factors that can help accomplish any objective. The

practice techniques presented in this study will aid in improving improvisational skills.

Memorizing

All the musical examples presented in this study should be memorized. The ability to transfer a musical

thought from the mind to the instrument is refined though the process of memorization. There are many

approaches to memorizing a musical passage; this study will discuss two techniques.

Memorizing Using Pitch Relation

One approach is to view each pitch as it relates to the harmony. Every tone in a melody has a relationship

to the chord with which it sounds. For example, the tone "G," sounding with a C major seventh chord,

represents the fifth degree of the scale or chord. The last line in Appendix B begins on the fifth of the chord.

The numerical configuration of the line, relating each pitch to the C major seventh chord is as follows:

5-5-3-2-3-2-1-7-5-6-7-2-7-1-3-5-7-9. Memorizing the line while being aware of this configuration

improves our ability to aurally identify different chord types, scale colors. and specific degrees of the scales.

Understanding how the chord is treated (what scale or mode is being used with the chord) is also

important. (Understanding how chords are treated will be addressed as each chord is introduced.) In the

previously mentioned example, the major seventh chord is treated as the first degree of a major scale (I of

major/Ionian mode). This fact is apparent due to the lack of a sharp-eleven.

Memorizing by Sound

Another way to approach memorizing a line is by its sound. In other words, "if you can sing it, you can

play it." Playing the passage repeatedly stores the idea in our memory. Memorization of the sound is the

ability to retrieve the line from our memory by "hearing" it rather than by reading it from the written page.

Retrieving the passage from memory becomes easier as one becomes more familiar with the musical idea,

and the necess ity of referring to the written line becomes less.

Memorization is extremely important, regardless of the method used. The method is secondary; the goal

of memorizing is primary. Quickly get your eyes off the music and try to memorize everything you play.

Being able to play what you hear in your mind is the first step to achieving improvisational maturity.

Transposing

Transposing lines, transcribed solos, melodies, and harmonic progressions of songs through all keys is a

necessity. This technique is a critical and vital element of any practice schedule that should not be

overlooked. The benefits of transposing will be retlected in your playing sooner than any other single method.

Technique, time feel, command of your instrument, the ability to hear "changes," and the ability to solo in any

key are just a few of the benefits accrued through the transposing of melodic and harmonic configurations.

Transposing can be an overwhelming task for those unfamiliar with this regime. The following

techniques are offered to diminish this challenge, and they parallel those presented in the memorizing

category above.

12



' - - - - - C _ h _. .a _ - p t_ e _ r _ O .. _ , ~ Pracli.ce Te.chniques

Transposing Using Pitch Relation

Once a line is memorized by pitch relation (see above), transposing the line entails relating the numerical

configuration to the transposed key, For example, the last line in Appendix B begins on the fifth of the chord.

Therefore, to whatever key the line is transposed, the first pitch will be the fifth of the new chord. This

concept then continues throughout. However, you wilt find as your transposing abilities improve, transposing

by the sound of the line will come more and more into play.

Transposing by Sound

Transposing by sound requires technical proficiency, "good ears," and a thorough knowledge of all keys.

The ability to hear a line and transpose it effortlessly to any key without a deliberate thought process is a sign

of superior musicianship. This is an attainable goal one should strive for.

Transposing by sound alone is more difficult than transposing by pitch relation, though integrating both

methods is the most effective. Finding certain pitches to transpose by pitch relation throughout a particular

line and allowing the tones in between to be transposed by sound is a likely outcome. If the technique of

transposing is foreign, then writing OUi the line in the new key is acceptable. Again the method is secondary,

so long as the lines, transcribed solos, melodies, and harmonic progressions of the material presented is

memorized and transposed through all keys.

As mentioned earlier, the basic concept of improvising is the ability to react to sounds, or chord

progressions, with musical ideas, and then transferring these ideas from the imagination to the instrument.

The techniques of memorizing and transposing improve upon our ability to accomplish this task. Another

advantage of memorizing and transposing is the expansion of one's vocabulary.

Improvising

Improvising can be practiced in a number of ways. Improvising with a metronome, playing with a

recording, or performing with others represent some of the possibilities, Be creative and invent practice

routines that best serve YOUI needs.

Using a Metronome

A metronome is an effective tool for any practice routine. The importance of a great "time feel" is

paramount, and the metronome can help accomplish this feat. Below are three ideas on how to practice with

the metronome.

On Two and Four

Have the metronome sound on beats two and four. The steadiness of the tempo helps you feel when

you're rushing or dragging, and the twO-fOUTpulse helps create a better "swing feel."

From Slow to Fast

Using the metronome from slow to fast is also an effective practice technique. For example, after learning

and memorizing a transcribed solo, practice playing the solo from an extremely slow tempo marking to a

tempo marking that literally becomes impossible to play. This technique should be applied to all the

aforementioned practice techniques such as soloing, transposing, memorizing, and any other possible practice

application.

13



Chapter0Practice Techniques

Downbeat of Every Other Measure

Another idea is (0practice with the metronome sounding on the downbeat of every other measure. Stop-

time solos are a common occurrence in the jazz idiom, and this practice technique will increase your

rhythmic consistency in a stop-time solo.

Playing with Recordings

When referring to the original recording of a transcribed solo, pay particular attention to the phrasing,

articulation, time feel, sound, attack (tonguing of wind instruments or the touch of the fingers on stringed

instruments), dynamics, rhythm, and any other aspect of the performer that can improve your concept of

soloing. When studying a soloist, try to assimilate and imitate his/her style. As you play with the recording,

try to coalesce your playing with that of the recording artist.

Performing with Others

The benefits of getting together with peers of similar ambitions or goals can be rewarding personally and

musically. Developing friendships within your industry and learning from your contemporaries is a major part

of the maturing process.

Along with the musical considerations, performing live brings with it a range of additional considerations

and distractions such as nervousness and a lack of confidence. Daily repetition of musical material in the

practice room prepares the student to perform under any circumstances. Once the musical material is

mastered, the experience of performing proves most beneficial in gaining confidence and overcoming

nervou sness.

Listening

To develop a concept of a particular style, one should spend time listening to records and live

performances representative of that style. The material presented in this study can only put the notes on the

page. All the descriptive language in the world could not replace the recording from which they were

transcribed. Listening is yet another device that should be incorporated into one's daily routine.

14



Chapter TheMajor Seventh Chord

Scale Choices

I of Major/Ionian Mode/Major Scale)

As mentioned earlier, for every chord there are scales that most effectively complement the design or

sound of that chord. The major seventh chord has three; the major seventh chord occurs on the first and fourth

degree of the major scale (Fig. 2A), and the sixth degree of the harmonic minor scale (Fig. 2B). This means C

major seventh, or any major seventh chord, can be treated as the first degree of a major scale. C is the first

degree of a C major scale, so you can use a C major scale against a C major seventh chord (see Fig. SA below).

Figure 5A

te e i l7 J 1J I J J r F I I

2 3 4 5 6 7 8

N (? f Major (Lydian Mode)

A C major seventh can also be treated as the fourth degree of a major scale. C is the fourth degree of a G

major scale, so you can use a G major scale against a C major seventh chord (see Fig. .SB belox .. .),

Figure 5B

Cmaj7111

@ < ! 2E j ~ Jr-- I

I Ii J j I i J r r2 3 : 4 5 6 7 8

# 11

Vl of Harmonic Minor

Finally, the C major seventh can be treated as the sixth degree of a harmonic minor scale. C is the sixth

degree of an E harmonic minor scale, so you can use an E harmonic minor scale over a C major seventh

chord (see Fig. SC below).

Figure 5CCmaj7~ll

@ e - l J Ir r j

12

193 #4

# 115 6 7 8

The first scale choice (Fig. SA) is I of major (C major scale/Ionian mode). Figure SB is IV of major, or

the C major scale with a sharp fourth (G major scale from C to C/Lydian mode). The third scale possibility,

VI of harmonic minor (Fig. SC), is the C major scale with a sharp second, and a sharp fourth (E harmonic

minor scale from C to C).

Determining the Best Scale Choice

Just as scales are used to construct melodies, they can also be used to create solos. When determining the

best scale choice for any given chord there are two important factors to consider: one is what is already

determined by the chord symbol itself, and the other is the melody's position over the chord in question. For

example, if the chord symbol is Cmaj7UJ., all the information needed is included. However, there are many

times the chord symbol may not reflect what is occurring in the melody. The chord symbol may read Cmaj7(which represents I of the major-Fig. SA), but you may encounter an F# in the melody over the Cmaj7

symbol (which would indicate the IV of major-Fig. SB)..

15



Chapter0The Major Seventh Chord

The principal determining factor when making a scale choice for the major seventh chord is the alteration

(or Jack thereof) of the eleventh. Look at Figures 5A, 5B, and 5C. Notice they all contain the four chord tones

(1. 3, 5, and 7), which already give you four of the seven scale tones. The sixth degree is natural in all three

examples; on.ly the second and fourth degrees differ.

You will never see a major seven sharp-nine chord. Figure 5C is a scale choice that incorporates the sharp

nine. However, it is a color that should never be used within a voicing for a major seventh chord. Indeed, thesharp nine should not be used for much more than a lower neighbor tone to the third or as a passing tone.

One other important point to consider is this: when improvising over the harmonic structure of a particular

song that incorporates a major seventh chord (or any chord for that matter), your choice is not limited to the

color of the given chord during the melody. If the chord is a major seven sharp-eleven, you do not have to play

the sharp eleven color every time you encounter that section of the form during your solo. However, the

melody and harmony should influence your ideas during the solo section. For example, if you are playing

David Brubeck's "In Your Own Sweet Way," the harmonic progression resolves to a 8h major seventh at the

end of the first eight-measure phrase, where the melody is positioned on an E natural-the sharp eleven of the

chord. Your ears will naturally gravitate to the sharp eleven color when you approach that section of the

harmony during your solo because of the melodic line. However, your choice should not be limited to only

that color. All twelve chromatic tones are available on any chord. Knowing which tones create harmony,

which ones "bridge'; harmony, and which ones are best avoided is discussed in the following section.

Lines Demonstrating Scale Choices

The lines in Figure 5D are examples of how the major scale (Iof major/Ionian mode) can be used against a

C major seventh chord. Notice how these examples use the C major scale exclusively, with the exception of the

notes C# (J)!,) or DjI. These two pitches do not create harmony-they bridge harmony: they are passing tones

from one scale tone to another. This is a small example of how chromaticism can be used to help bridge chord or

scale tones. As mentioned earlier. all twelve chromatic pitches are available on any chord. Remember the

harmony of the line is created when the chromaticism resolves to the chord tone. The resolution to chord tones

on beats in which the chord occurs helps to create a trong harmonic ense. The cale tones help complement

the chord, and chromaticism helps color the line. but it is the chord tones that es tablish the harmony.The improviser must be aware of what sounds good against a major seventh chord and what does not: the

root, or tonic, sounds plain; the third. fifth, and seventh sound strong; the ninth and sixth add color; the

natural fourth sounds wrong and the sharp eleventh creates a colorful tension. Remember, any pitch can add

to the creativity of a line depending on its usage .

• FigureSD

I I

Line 2

~ c c r E} r I r rEl F E F r l r r p p E 3Line 3

Cmaj7

iN Y} E r F r f k r r E VE ettu F -I I

Line 4

Cmaj7

~ C J J J # I j

.' 3

J J aJfJF J E T , l r Ej I tr A16



' - - c _ h _ a _ p t : : . . . _ _ e _ r . . . . ; O I l l l ! The Major Seventh Chord

Line 5Cmaj7

¥1 J 3 a8=J j j2tf J W JI ] J J I J j Jijn I I

Line 6

: . w e Cmaj?

Line 7Cmaj7

o j £ f i H nf J J i' J 3 J ttg 2 8 1

Analysis of Lines

The first line in Figure 5D is a melodic line in the style of Harold Land. The first measure surrounds the

eventual resolution to the tonic on the downbeat of measure 2. The second measure is the C major scale, with

the chorel tones falling on beats 1, 2, 3, and 4. The last measure has a U chromatic passing tone between D

and C, which then resolves downward (0(he sixth.

The second and third lines are examples reminiscent of Sonny Stitt. Line 2 demonstrates how chord tones

on strong beats create harmony. Measure 1 begins with the root on beat 1. Measure 2 has the fifth on beat 1

and the third on beat 3. Measure 3 has the root on beat 1 with the third again on beat 3. The other notes of the

C major scale (D, F, and A) and the chromatic passing tone (D~) are used to bridge the chord tones' arrival on

the strong beats.Another device to notice is every example uses the G dominant seventh chord within the C major scale.

The opening of line 4 (in the style of Charlie Parker) can be viewed as a G dominant seventh chord resolving

to the third of C major (E) on beat 3 of measure 1. It then immediately reestablishes the G dominant on beat 4

of the same measure, resolving to the root of C on beat two of the following measure. In line 5 (also in the

style of Charlie Parker), we find a G dominant on beats 1 and 2 of measure 1 which resolves to C on beat 3.

Beat 1 of measure 2 finds us back on G dominant, where we resolve to C on beat 3 of this measure. Again we

pass through G dominant on beat 1 of measure 3, with the resolution to the fifth of C major on beat 3.

Lines 1, 4, and 7 all end their lines on the sixth and ninth respectively. Lines 1-4 display some

chromaticism. All the examples contain chord tone resolution to establish harmony.

Songs Incorporating the Major Seventh Chord

A large percentage of all songs incorporate the major seventh chord. The example provided here

("Sunset") uses only major seventh chords. The purpose of this example is to isolate the major seventh chord

so its sound and scale possibilities become familiar.

Although this book is focused on bebop, the example for this chapter sounds more contemporary, and is

comprised of only three major seventh chords. The bebop style is known for its complex harmonies anel fast

tempos, but while learning to play bebop, the harmonic movement should be introduced gradually. Therefore,

"Sunset" and the major seventh chord lines (in Fig. 5D), coupled with the following practice schedule, will

begin a routine that will help you achieve your goals and improve your improvisational skills.

17



Chapter (jThe Major Seventh C:ho.rd .

Head (Melody)

Samba J = 112

+ SUNSET

Gmaj-'_ _

~ -> - / <

; = 0 g - e IT r Ir=!

Fmaj7

Gmaj7

Solo

25 : : : l Gmaj? .~ . r - - , m - r - r<tTrn~jj-DUj#[rt r nE J

1

35 ~ b~ ~ . Gmaj7 3

l+f:r-r ~(ffFda I r r r rRtrl Fg fQ ' JiH trp - jGmaj? (J V otm~') # ~

" $ 1 - I~Efr[trJlr p f q f i l l 8 F n & t t t e r u F i J d 9 4 J : @3

Bhmaj7

l~ffrfO(lm~f- ?¥))IJ)t f r c J F r 1 I r W I3

Bbmaj7 Gmaj7

' " $ t f ~ r f tt~EEt= tftW _F Ir r If E H

18



L__ c _ h _ a _ p = - - t _ e _ r _ _ , f j ~ The Major Seventh Chord

Fmaj7

Gmaj7

t l

• (inG)

• (InAl')

• (inD)

• (inEb)1 Gmaj7

1IFE-L1Fll'fJ

Sunset Progression

I FF7tfFr7 I I I l I I I ,CEl=F I

7 E3g I r rJ P'L J I _Fl I I :I7 /3

Gmaj7

J/l l l l I13I I LJ I

Fmaj7

l ~L311 F7 I { tf77

, , y ,I I I

Gmaj7

I - - - - - - + - Z lIb I I I F I I I lIt I I 17 I I I , ' 8 1

PRACTICE SCHEDULE

When developing a practice schedule, set aside a realistic amount of time every clay for your routine and

stick to it. Practicing an hour a day is better than seven hours one day a week. The regularity of daily practice

is extremely important. Once a daily time frame has been established, divide the time equally between the

following categories: memorizing, transposing, and improvising.

Memorizing

Learn ancl memorize the major seventh chord lines and the melody, solo, and harmonic progression of

"Sunset." Refer to chapter 4 for ideas on how to memorize. Remember to use the metronome when practicing

the aforementioned exercises.

19



Chapter0The Major Seventh Chord

Transposing

Transpose the major seventh chord lines (see transposing in Chapter 4) through all keys. Experiment with

different intervals when transposing. For example, try taking each line through all keys by ascending or

descending half steps. Then try transposing them through the circle of fifths (C-F-B~-g,-A~ ... ) or in whole

steps. Transpose one line at a time through all keys or try transposing the entire page through one key before

moving on to the next key. The latter helps to exploit one key for a longer time. Mix it up, and again tr y to be

creative and invent ideas that best meet your needs.

Transpose "Sunset" through all keys as well.

The next section on improvising should also incorporate transposing. Practice soloing over the harmonic

progression of "Sample Solo I" through all keys. Also practice soloing over all twelve major seventh chords.

Again, try different intervals of transposition: ascending or descending half steps, circle of fifths, whole steps,

etc.

Improvising

When improvising, the majority of student soloists simply "go for it"Unfortunately, a poor level of

musicianship can produce unfavorable results. Wrong notes abound and harmon ic progressions are

ambiguous. It is the purpose of this study to eventually return to this instinctive approach, but only after an

exhaustive and rel en t lessi mmel'S ion in the practice techniques described herei n. When pract ici ng

improvisation. concentrate on the following: incorporate scale choices, incorporate ideas of other soloists,

sing then play, and use practice aids.

Incorporate Scale Choices

Be aware of the three scale choices for the major seventh chord and become familiar with their sound and

position throughout the range of your instrument. ever lose sight of the chord tones. Remember, resolving tothe chord tones creates the harmony of the line.

Incorporate Ideas of Other Soloists

Try to imitate and assimilate the ideas of the soloists you study. Tncorporate their rhythmic and melodic

ideas, their dynamics, articulation, sound, attack, phrasing, and any other technique you can learn from them.

Also incorporate the ideas from the melody of the song on which you are improvising.

Sing, Then Play

Try to sing a line, then transfer it to the instrument. This is related to memorizing, except now you are

creating your own ideas.

Practice Aids

There are a number of practice aids on the market that can enhance any practice routine. The metronome has

already been mentioned and should be utilized. "Music Minus One" recordings are yet another productive

and effective tool which can be used to improve improvisational skills. Jamey Aebersold has produced a

plethora of these recordings which include simple progressions as well as songs of individual composers.

For those on a modest budget, do not overlook creating your own practice tape with a hand-held recorder,

a metronome, and a guitarist or pianist. Create a recording of the material you wish to cover-for example,

the harmonic progression to an original song, a jazz standard, or a progression of the major seventh chords inall keys. Tnother words, invent a tailor made "Music Minus One" recording.

2 0



Chapter The DOl11inant Seventh Chord

Scale Choices

Vof Major (Mixolydian Mode)

In referring back to Figures 2A-2C, you will find the dominant seventh chord appears four times: the

fifth degree of major, the fifth degree of harmonic minor, and the fourth and fifth degrees of the melodic

minor scale. This means any dominant seventh chord can be treated as the fifth degree of a major scale. C is

the fifth degree of an F major scale, so you can use an F major scale against a C dominant seventh chord (see

Fig. 6A below).

Figure 6AC7

¥ ~lI I

j J JJ i : J j

b r

r2 3 4 5 6 ~7 8

v of Harmonic Minor

A C dominant seventh chord can also be treated as the fifth degree of a harmonic minor scale. C is the

fifth degree of the F harmonic minor scale, so an F harmonic minor scale may be used over a C dominant

seventh chord (see Fig. 6B below).

Figure 6BC7~9b13

~ ~l I t 1~~.

j J. [ :§J b

r r - I I~2 3 4 5 b6 ~7 8bg b13

IV of Melodic Minor (Lydian Dominant)

A C dominant seventh chord can also be treated as the fourth degree of a melodic minor scale. C is the

fourth degree of the G melodic minor scale, so a G melodic minor scale may be used over a C dominant

seventh chord (see Fig. 6C below).

Figure 6CC7~11

iE b l ] j # J I

J ~~f~1 b r2 3 #4 5 6 b7 8

#1 1

v of Melodic Minor

A C dominant seventh chord can also be treated as the fifth degree of a melodic minor scale. C is the fifth

degree of the F melodic minor scale, so one can use an F melodic minor scale over a C dominant seventh

chord (see Fig. 6D below).

Figure 6D ~C913

l~l lq p j I J b J ~f 3J r2 3 4 5 b6 ~7 89 H3

21



Chapter ~ The Dominan,tSeventh Chord

The Diminished Scale

Along with these four scale choices there are three other scales available to complement a particular

dominant seventh chord's design. One possibility is to use the diminished scale over the dominant seventh

chord.

The diminished scale is a symmetrical scale consisting of consecutive whole- and half-step intervals. TheC diminished scale (Fig. ID) typically begins with the interval of a whole step, but when the diminished scale

is used to complement a dominant seventh chord, it begins with a half step (see Fig. 6E below). (If a chord is

diminished, the diminished scale used to complement its design begins with a whole step.)

Figure 6E - C Dominant Diminished ScaleC7~9(13)

¥1- II) b J; 2# 9

L~r4r 3 3 1

3 6

13

8

It is important to understand there are only three diminished scales, due to the symmetry of the scale's

design (consecutive whole and half steps). The C, S, G~, and A diminished scales all contain the same tones.

The C#, E, G, and B~diminished scales all have the same notes-as do the D, F, A~, and B diminished scales.

The terminology for this scale varies. Because the scale is diminished and positioned against a dominant

seventh chord, the most common term is the dominant-diminished scale.

Another interesting fact is one diminished scale can be used with eight different chords. The dominant-

diminished scale above (Fig. 6E) will work over C7~9, [)\,°7, B7b9, E07, H7~9. G07, A7b9, and Bbo7. Notice

the roots of these chords spell the scale in Figure 6E. Because the scale in figure 6E proceeds from the first

note (C) with the interval of a half step, this scale complements a C7p9 . Starting from the next note (U), the

scale proceeds with the interval of a whole step. As mentioned earlier. if a chord is diminished, the

corresponding diminished scale begins with a whole step, which explains why this scale would also work

over a U07 chord. The remaining diminished scale tones (El.-E-H-G-A-B,) follow this principle.

Other chord symbols used to represent the C dominant-diminished scale would include C7#9, C7~9(#1l),

C7#9(13) .

The Altered Scale

The altered scale Wi g . 6F below) is another scale choice to complement a particular dominant seventh

chord's design. The altered scale is the seventh mode of the melodic minor scale (vii of melodic minor). Even

though the diatonic seventh chord built on the seventh degree of the melodic minor scale (Fig. 2C) is a minor

seven flat-five chord, this scale is perfectly constructed to complement a dominant seven flat-nine sharp-five

chord. It is also common to see C7(alt.) as a symbol to indicate the chord's construction. In this case the

abbreviation "alt." represents the alterations which occur by using the altered scale below.

Figure 6F - C Altered ScaleC7~9#5

l b l IJ ~ J # ~ j F ] J . L r r 1•

b2 i2 3 ~4 # 5 b7 8b9 !9 # 11

Another name for this scale is the diminished whole-tone scale. This is because the scale moves from the

tonic to the sharp four by consecutive half- and whole-step intervals, and from the third to the octave inconsecutive whole steps (see Fig. 6F above). Parts of two scales combine to create one-hence, the name

"diminished whole-tone scale." However, the "altered scale" seems to be the term most frequently used.

2 2



'-- C_h_a_.pt_e_r_~. I The Dominant Seventh Chord

The Whole- Tone ScaLe

The whole-tone scale is another scale used to enhance a dominant seventh chord. We just saw how the

diminished scale is a symmetrical scale with consecutive whole- and half-steps. There are two other

symmetrical scales: one is the chromatic scale (consecutive half-steps), and the other is the whole-tone scale

(consecutive whole steps).There are twelve different major, harmonic minor, and melodic minor scales. These asymmetrical scales

are unlike the symmetric:;l scales in that there are not twelve different symmetrical scales; there are only three

diminished scales, one chromatic scale, and two whole-tone scales. For example, the C whole-tone scale (Fig.

6G) is the same whole-tone scale as the D, E, F # , G~,and m whole-tone scales. The starting pitches will vary,

but each scale contains all the same pitches. The notes which make up the other whole-tone scale are:

D~-S-F-G-A-B .

Figure 6G - C Whole- Tone Scale

C9#5

~ C _ 1 I I 1 J # J - - - - - 1 , J ~ r " I I I-I2 3 ~4 ~5 b7 8

9 ~11


Chord symbols and the original melody line help determine scale choices for any chord. Another

important factor in determining scale choices for the dominant seventh chord is the harmonic progression

following the dominant chord. Unlike the major seventh chord, which tends to be a resolving chord, the

dominant seventh chord can be used to create movement. This movement is important because the proper

scale can enhance the chord's color and aid in directing its resolution or movement (see Chapter 8).

There are two types of harmonic movement to consider when choosing the best scale for a dominantseventh chord. One type is the cadential use of the dominant, where the dominant seventh chord resolves

down by a perfect fifth, as in the V-I progression. The V-I harmonic progression can be the dominant chord

of the key (V) resolving to the tonic (I), or it can be any other movement in which the root of the dominant

chord moves down an interval of a perfect fifth (or up a perfect fourth). The second type of movement is non-

cadential, and occurs when the root moves somewhere other than down a fifth or up a fourth. (The cadential

and non-cadential terminology is respectively synonymous with the terms functioning and non-functioning.)

If the dominant chord is part of a five-one (V-I) progression the player's options are numerous: V of

major, V of harmonic minor, dominant-diminished, altered, and even the whole-tone scale could be used.

(Narrowing these choices is determined by the chord symbol and melody.) If the dominant chord is not

moving in a V-I progression, V of major or IV of melodic minor are scale choices that will often work well inproviding a variety of colors. (Note: This method is usually appropriate, but there will always be exceptions.)

Besides knowing the dominant seventh chord's type of harmonic movement, you should also become

familiar with the alterations found in each of the seven different scale choices (Figs. 6A-6G). To narrow the

dominant seventh chord's scale choices, you need to know, for example, that a dominant-diminished scale has

a ~9, #9, and ~11, with a diatonic 5 and 6. Then, if a chord symbol reads C7~9(l3), it is understood that the C

dominant-diminished scale is the only scale choice that fits these alterations. Only the whole-tone scale has a

~9 and a #5, so the C whole-tone scale would be used over C9~5. A C7#11 would need IV of melodic minor

(Fig. 6C) and a C7 would use V of major (Fig. 6A).

Be aware that every scale choice contains a diatonic 1, 3, 5, and ~7, with the exception of the whole-tone

and altered scales, which contain a 1, 3, #5, and b7 . Notice the difference between the altered and dominant-diminished scale: they each have the same alterations with the exception of the fifth and sixth degrees. The

23



Chapter ~ The Dom.inant Seventh Chord

dominant -diminished scale has a natural fifth and sixth, while the altered scale has no fifth or sixth-instead,

there is a raised fifth (see Figures 6E and 6F). "V of major" and "IV of melodic-minor' are identical with the

exception of the fourth scale degree; "V of major" has a diatonic fourth scale degree, while "IV of melodic

minor" has a raised fourth scale degree (see Figures 6A and 6C). "V of harmonic minor" and "V of melodic

minor" differ only with respect to the second scale degree; "V of harmonic-minor" has a lowered second

scale degree and "V of melodic minor's" second scale degree is diatonic (see Figures 6B and 6D).


Lines demonstrating scale choices for the dominant seventh chord will be introduced in Chapter 8.

Conunon progressions will be discussed that incorporate the major, dominant, and minor seventh chords.

Chord tone resolution and analysis of 1nes incorporating different scale choices for all the aforementioned

chords will also be addressed.

Songs Incorporating the Dominant Seventh Chord

As with the major seventh chord, this study will demonstrate the use of the dominant seventh chord with

an example using only dominant seventh chords. The example is called "The Seventh Blues." The harmonic

progression of "The Seventh Blues" is a blues which involves the use of only three dominant seventh chords:

the 17, TV7 , and V7. In addition to this simple chord movement, the solo (in the style of Sonny Rollins)

incorporates the "IV of melodic minor" mode exclusively, with only scattered departures from this color

during the solo. The following excerpts are an excellent source for becoming more familiar with the fourth

mode of the melodic minor scale (IV of melodic minor)

• The Seventh Blues

6 ~•

3

FdiIlI d O fq-rIE b 7 # 1 1

I b r " -dA

r -3

r r = l ~ : d EQSolo

~7 3

~!-r1 [t ¥ l E f M f A ?3

Bb7

L ¥ lit g;r3

3

24



' - - - ~ c ~ h _ _ _ _ _ _ ; a p : . . . . _ t _ e r _ . ~The Dominant Seventh Chord

3

3 .1 L_3 _

3 33

3 3

1 -

3

v~d @ l t @ ~ , F i [ y o I

Bb7

I v · ~ c}NPr [ 6 f u r U 'm

~ 3 d

" ~ &b &(flfff - D ¥ l~E~ 1 -3

(implied Eb7)

~Vv=~F T a id F 1 -

25



Chapter (a The Dominant.Seven.th Cho.rd

F7(Cm9)

EN 'F F-@In [j A dfd3

s

i j ~ J g E J qJJJ I J I I

• "The- Seventh Blues" Progression

_r r I I

+Move up 1/ 2 step on each repeat ; through all keys.

_ ) ) I;

I

I, II

II

I I I

E~7# I I Bb7: 11

-VbI J I ~. I

~ ~I J ~ I

I } ) ~ ~1{

I (

I,)

I ]I I,

I I 1 I I I

F 7# II Eb7:11 B~7:11 play 12 times

~bb ) ~

t±=sJ I I ~

I

- 1 I J ~-I ~ ~ ~

I I

I

I I, r I I I d I,

I

Analysis of "The Seventh Blues" Solo

Each dominant seventh chord in "The Seventh Blues" is treated as the fourth mode of the melodic minor

scale (IV of melodic minor). The # 1 I creates the color of this scale. Without the #11, it would simply be V of

major (Mixolydian mode/fifth mode of the major scale). Compare Figures 6A and 6C and notice the only

scale degree that differs is the eleventh.

The #11 is not just used, but stressed. Many phrases in "The Seventh Blues" resolve to the # 11 (measures

5,17,19,31,35,42,43,53, and 59).

The other lines throughout the so 10 contai 11 the # 11 within the line to retain the quality of this sound. Thefew exceptions to tills color are found in measures 52 (altered scale), 64 (V of harmonic minor), 73 (blues

scale), and a number of examples that represent V of major (measures 14, 15, 23-29, 47, 51, 60-63, and 65-

67).

The use of the altered scale in measure 52 is detectable because of the #5 (m, an enharmonically spelled

F#) and ~9 (B~). A list of all the pitches used in this measure are 1, ~9, 3, ~5, and ~7: the only scale containing

these pitches is the altered scale (see Fig. 6F).

The ~5 (F) and ~13 (CJl.) in measure 64 imply the V of harmonic minor. Because the line lacks a ninth

scale degree, a case can be made for either V of harmonic minor or V of melodic minor (the ninth is the only

degree of these two scales which differs). But since the m 7 is moving in a V-I progression, the V of

harmonic minor is a more logical choice; this color is often heard over V-I harmonic movement, whereas the

V of melodic minor is not. This is because the b9, which results from treating the dominant seventh chord as

V of harmonic minor, aids in a strong chord tone resolution, ~9-5 (see Chapter 8).

26



c__ c _ h _ a - = - p t _ e _ r _ _ _ _ . t ' L J The Dominant Seventh Chord

The line in measure 73 uses the scale degrees 1, ~3, #11, and 5. The sound of the line and the use of these

scale degrees combine to establish the color of the blues scale. Although these scale degrees are also present

in the dominant-diminished scale (the b3 of the blues scale and 39 of the dominant-diminished scale are the

same tone), the line sounds more blues-oriented than diminished.

All previously-mentioned measures containing the V of major use scale tones diatonic to their respective

key (the I from which the dominant chord was derived). For example, all m 7 chords using V of major are

diatonic in the key of B, al l G7 chords using V of major are diatonic in the key of Ab, and all F7 chords

using V of major are diatonic in the key of Bl-. Any pitch outside of the diatonic key (measures 28 and 47) is

simply an example of chromaticism (see fig. SH).

Measures 45-46 and 69-70 use chord substitutions. Instead of the V7- IV7 progression, a ii_j,VII7

progression is used. A Cm9 replaces the F7#11 and an Ab7(#1l) replaces the Eb7U1 (The linear line in

measures 46 and 70 could also be heard as EJ,m7-M7 or D7#9#5). The written chord symbols reflect the

original harmonic progression and the chords in parentheses reflect the harmonic substitutions.

PRACTICE SCHEDULE

Follow the same practice routine established in Chapter 5 beginning on page 19. Memorize and transpose

the lines from "The Seventh Blues" melody and solo through all keys. Solo over tbe progression in all keys

using the IV of melodic minor. Become familiar with all the scale possibilities for the dominant seventh

chord and use the metronome as described earlier in Chapter 4 (page 14).

Understanding the analysis above is Dot nearly as important as practicing the material. It is much more

common to perform solos flawlessly before realizing the harmonic approach behind them.

There is no substitute for playing and practicing. Only after practicing a song and transcribed solo over

and over in all keys from memory at tempos ranging from extremely slow to "lightning fast" every day for two

or three weeks will one begin to hear positive results. One's passion for improvement should provide the

discipline for maintaining such a systematic work ethic.

27



Chapter 7 The Minor Seventh Chord

Scale Choices

ii of Major (Dorian Mode)

In referring back to Figures 2A, 2B, and 2C, you will find that the minor seventh chord appears five

times: the second, third, and sixth degree of major; the fourth degree of harmonic minor; and the second

degree of melodic minor. This means that the C minor seventh chord-or any minor seventh chord-can be

seen as the chord built on the second degree of a major scale. C is the second degree of a B~ major scale, so

one can use a Bb major scale with a C minor seventh chord. The Bl major scale starting on C is the C Dorian

mode (see Fig. 7A below).

Figure 7A

em7

7 £ c ~ b l Ej J ~j j Ij j ~ r r I I.J

2 b3 4 5 6 ~7 8

iiiof Major (Phrygian Mode)

A C minor seventh chord can also be treated as the third degree of a major scale. Since C is the third

degree of the A b major scale, one can use an A~major scale (C Phrygian mode) over a C minor seventh chord

(see Fig. 7B below).

Figure 7Bem7

vi of Major (Aeolian Mode/Natural Minor Scale)

A C minor seventh chord can also be treated as the sixth degree of a major scale. C is the sixth degree of

the E J , major scale, therefore, an E J , major scale is possible with a C minor seventh chord (see Fig. 7C below).

Figure 7Cem7

l C ~ I b f S J-b~ W _ I t= b - J ~ F r I I2 b3 4 5 ~6 ~7 8

iv of Harmonic Minor

A C minor seventh chord can also be treated as the fourth degree of a harmonic minor scale. C is the

fourth degree of the G harmonic minor scale, so a G harmonic minor scale will work with a C minor seventh

chord (see Fig. 7D below).

Figure 7Dem7

l e ~~i 1 1 1 J ~ J # J I J J ~ r r ~

2 ~3 i4 5 6 ~7 8

28



' - - c _ h _ a . . . . . ; p : : : _ _ t e _ r . . . . . .fJ The Minor Seventh Chord

ii of Melodic Minor

A C minor seventh chord can also be treated as the second degree of a melodic minor scale. Since C is

the second degree of the Db melodic minor scale, one can use a B~ melodic minor scale over a C minor

seventh chord (see Fig. ?E below).

Figure 7Eem7

¥ tl I I 1 ~ 3 l J I I J J & f - .I t

~

~2 ~3 4 5 6 ~7 8


Altered extensions of major seventh and dominant seventh chords inform the performer of a chord's color

(Cmaj7U 1, C7~9[13], etc.). This information, combined with the melody, helps determine an appropriate

scale choice. The extensions-whether natural or altered-dictate the second (9, ~9, or #9), fourth (#11 or 11),

and sixth (13 or l 13) scale degrees.

Alterations of the ninth. eleventh, and thirteenth are not common in minor seventh chords. It is common

to see natural minor seventh chord extensions such as Om9, Dm l l , or Dm6, bur not Dm7b9, Dm7#1l, or

Om7~13.

The best scale choice for a minor seventh chord is determined by its relationship to the key it is a function

of. For example, a Dm7 chord in a C major composition would most likely be treated as ii of major (Dorian

mode). This same chord (Dm7) in a m major context would likely be treated as iii of major (Phrygian mode).

Finally, a Om7 chord in an F major context would most likely be treated as vi of major (Aeolian modelD

natural minor scale). Om7 is the ii chord of C major, the iii chord of Db major, and the vi chord of F major;

therefore, the Dm7 chord can be treated as the ii, iii, and vi of these respective major keys.

This method is abandoned when the minor seventh chord is used to function within or establish a key

other than the original. Its function would change along with its treatment. For example, a Dm7 chord

functioning within the key of F major would be treated as vi of major. However, if the Dm? was part of a

progression which modulated from the key of F major to C major, the function of the Dm? would become ii

of major in the key of C*. Being aware of different tonal centers within a composition aids in comprehending

the minor seventh chord's function within the different keys, and will help you establish the best scale choice

for the minor seventh chord. The original melody line also aids in determining the best scale choice.

In referring back to figures 7A-7E, take note of the alterations created by the different modes. The four

chord tones make up four of the seven scale tones (1, b3, 5, and ~7). Only the second, fourth, and sixth scale

degrees vary with different chord treatments.

A ~6 scale degree conveys iiof major and a ~2 and b6 represents iii of major. In addition, a q2 with a ~6

would imply vi of major. All three choices contain a ~4. Understanding this theory helps you analyze other

artists' melodies and solos and contributes to your knowledge of minor seventh scale possibilities.

The fourth mode of the harmonic minor scale (iv of harmonic minor) is the same as Dorian mode (ii of

major) with a raised fourth scale degree, while the second mode of the melodic minor scale (ii of melodic

minor) is the same as Dorian mode with a lowered second scale degree. As mentioned earlier, chromaticism

is created when VI of harmonic minor is used with a major seventh chord. Similarly, the fourth mode of the

harmonic minor scale and the second mode of the melodic minor scale call be used with minor seventh

chords: the ~4 and b2 scale degrees are often seen as chromatic passing tones or upper or lower neighbor

tones. Though- these color possibilities may be explored, this study will focus on the major modes for the

minor seventh chord.

" Ed. Note: The Dm7 in this case could also be referred to as an enharmonic pivot chord.

29



Chapter fJ The Minor Seventh Chord

Mode-Mixture

It is important. to understand that more than one scale or mode can be used on any given chord. An

improvised melodic line based on a major seventh chord can combine elements of both I and IV of major. An

improvised melodic line based on a dominant seventh chord might first establish the iv of melodic minor and

then evolve to V of harmonic minor to help aid in the dominant resolution. This mixture of modes pertains tothe minor seventh chord perhaps more than any other chord. In addition to the five scales mentioned above,

the melodic minor and harmonic minor scales add additional color to the minor seventh chord. In the key of C

major, a Dm7 chord treated as ii of major is often combined with the D minor scale (vi of major), the D

melodic minor scale, and the D harmonic minor scale. This approach is found most often in (but not limited

to) modal passages or tonic minor chords. The term tonic minor refers to any minor chord that is the tonal

center and not part of a ii-V progression.

L in es D em on stra tin g S ca le C h oic es

Lines demonstrating scale choices for the minor seventh chord will be introduced in Chapter 8. Common

progressions will be discussed that incorporate the major, dominant, and minor seventh chords, Chord tone

resolution and analysis of lines incorporating different scale choices for all the aforementioned chords will

also be addressed.

Songs Incorporating the Minor Seventh Chord

"So Impressive" displays the Dm7 (and Bm7) chord's treatment as iiof major (Dorian mode). Although

this composition is written with no flats or sharps to represent the key of D Dorian, it could just as easily been

written in the key of D minor, however a natural would have been required on each sixth scale degree.

"So Impressive" displays only two minor seventh chords and only one scale choice (ii of major). By now

the student's ears should be more familiar with the I of major, IV of major, and IV of melodic minor. This

exercise will help the tuderit distinguish the ii of major coLorfrom those previously mentioned .

Head

Swing J = 92

• SO IMPRESSIVE

Dm?

'F n~ . . F =

[ J E Ir

j .<"'-:1(10--

Dm7

-'=

SoloDm7

I T jo IIRE-

~ i J J•Jl I fJ3

30



c____ C h _ _ _ ; ; _ a p _ t e _ _ _ _ . r fJ The Minor Seventh .Chord I

'~ 0 r r:]

[I erR' v ~£h0 1 1 d a M f d ih3

~ ~~

. = ¥ € g fE ' ~ I f " # v F " p I r B 0 1 - t & ( r r 20W

42

~ 'f "EnPr ' d U ] J 1 I

52

¥ I 1 -

3

62 3 3

~ 0 {Olr (I'r tuE? & 8 3 J l_t 1- E E FfJEFfDH

74

~ & [ " b ( I} J~d j J J 6 J &t] : 0 D ~ mJ . d Y M & ~ t E f •3 3

Dm779 ~

i & J r y 1 t o r r ria r ' HEr ' H r rF " ff='1

31



Chapterf). The Minor Seventh Chord'

.. "So Impressive" Progression

Swing j '"2

** Dm7

, ~~; ,;~~" d'~" DL )II

)ddI

I,

tJj

I,

**The audio cycles through the complete form I) times.transposing up a w ho i e step eac h lime.

- - - - - U - - - - - ~ - - - - + ) - - - - - + J ~ ) )-1 h) J = ) j

I, I, I ~/--/

Fine

tJd -J- ) - : 1 1

I IY I j_

J I, I, ) JII

I

,I

J JI I ,

I

D.C. al Fine

, ~ I- I- ~ l JI J=)-

I ~J- J ~ J{ ,ZI I_ j ~ J r~

II - / - )

(no repeat)

) ~--, I I

Analysis of the "So Impressive" Solo

"So Impressive" is based on the second mode of the major scale (ii of major/Dorian mode), rarely

deviating from this scale. This is apparent due to the natural second, fourth, and sixth scale degrees (E, G, and

B, respectively). The most distinguishing pitch in the ii of major color is the natural sixth (m over the Dm7

chord and 0 over the Bm? chord).

The song is in AABA fonn. (Note: The bridge [B section] is simply the A section transposed up a minor

second.)

The solo begins with a triadic concept, and clearly establishes the ii-of-major sound in measures 29 and

30. Other examples of this color can be found in measures 39,41,42,47,54,67,70,71,78,79, and 84. The

melodic minor scale comes into play in measures 36-38. This color re-emerges in measures 45., 75., and for

the last time in measure 86. An example of mode-mixture occurs in measure 46. The line contains a major

and minor seventh scale tone. '

There are three other devices to notice in this solo: one is the anticipation of the B-m7 chord in measures

40 and 72, and the Dm7 chord in measure 80; second is how the solo hints briefly at the blues scale in

measure 65. The flat five (A~) gives it this color. Lastly, notice how the extensions above the triad are used in

measures 56-63, 72-74, and 81-83. The seventh, ninth, and eleventh degrees of the ii-of-major mode are used

exclusively. Even though these tones are within the ii of major mode, their function here is creating a bitonal

effect (C major over D minor).

PRACTICE SCHEDULE

Learn and memorize all the modes for the minor seventh chord, paying particular attention to the modes

within the major scale (ii, iii, and vi of major).

Memorize and transpose "So Impressive" through all keys. Use the metronome as described inChapter 4.

3.2



Chapter COlnlnon Progressions

The Cadential Use of the Dominant Seventh Chord

The following figures demonstrate improvised melodic "lines" over common progressions using major,minor, and dominant seventh chords. In this chapter, we will analyze the scales, chord tone placement, and

harmonic resolutions used in each figure.

I I

The above figure displays one of the most common progressions in music: the ii-V-I. The harmonic

progression in Figure 8A is a ii-V-Iprogression in the key of C major. Each chord's treatment (scale choice)

is diatonic in the key of C major; this means each scale choice consists of the same seven tones

(D-E-F-G-A-B--C-D for Dm7, G-A-B--C-D-E-F-G for G7, and C-D-E-F-G-A-B-C for Cmaj7; next to

each chord symbol is an indication of what mode is in use) .

. The most common mistake of the young soloist is to think only of the seven scale tones

(C-D-E-F-G-A-B) and not their harmonic strength in relation to individual chords. The F works well in

establishing the harmony of both the Dm7 and G7 chords, but resolving to the F on the first beat of the Cmaj7

chord and sustaining it will produce unfavorable results. The proper use of these seven scale tones can create

a harmonic movement which parallels that of the chord progression. Meandering over these same seven scale

degrees will create ambiguity at best.

The first measure of Figure SA demonstrates the D Dorian mode (ii of major) in a scalar manner, witheach chord tone falling on beats 1, 2, 3, and 4. The importance of the second measure lies not only in the

chord tone prominence, but more importantly in the resolution to (he I chord (Cmaj7). The upbeat of 4 in the

second measure proceeds down an interval of a minor second to the first beat of the third measure. This half-

step resolution is the seventh degree of the G7 (F) resolving to the third degree of the Cmaj7 (E).

A dominant chord's natural tendency is to resolve. The reason for this is the unstable nature of the tritone

created by the third and seventh degrees of the dominant seventh chord.Figure 8B

G7

~ C ~

c

~

In the 07 chord, the F and B want to resolve to the E and C

(respectively) of the C major seventh chord (right). Exploiting this

natura! movement within an improvised line will strengthen the

harmonic movement.

Notice how the last measure (Fig. SA) contains only chord tones with the exception of the ninth (D).

Again this chord tone prominence establishes the harmony of the Cmaj7 chord. Linear harmonic movement is

created when chord tones are exploited and logical resolutions are used.

Figure SC (in the style of Sonny Rollins) demonstrates a ii-V-I with the same scale choices as Figure

8A. As in Figure 8A, a 7-3 resolution takes place from the V to the I chord. Note the anticipation of the fifth

(D) of the G7 in the first measure on the upbeat of 4, and also how the last two beats in measure 2 are

identical to the last two beats of measure 2 inFigure SA.

.. Figure8C

(cont'd) Dm7 {ii of major)

~ cj ill J

G7 (V of major)

r f [ r I D trCmaj7 (Lofmaior)

fU J g z q . 1 00 d

33



Chapter f . 3 Common Progressions

Figure 8D displays the seventh of G7 (measure 2, upbeat of 4) resolving upward a minor second to the

sharp eleventh of Cmaj7 (first beat of measure three). This changes the scale choice of the major seventh

chord from Iof major to IV of major. T t should also be noted that in measure 3 (upbeat of 4) and measure 4

(beat 2) an Fq resolves down a minor second to the third of Cmaj7. This shows the line during the Cmaj7

chord is incorporating mode-mixture-I and lV of major. (This 4-3 resolution within the chord was discussed

earlier in Chapter 5 as a way of establishing the dominant within the I of major mode.)

Note the 7-3 resolution taking place from Dm7 (measure 1, upbeat of 4) to G7 (measure 2, beat 1).

• Figure Sl)(conl'd) Dm7 (iiof major] 07 (V of major)

3

= w e 1 }Jl3ttrr-1 C r F ±* r qt7 3

Altering the dominant seventh chord's extensions creates additional half-step resolution possibilities.Figure 8E has a G7 chord with ~9 and #5 alterations. This line uses the altered scale over G7~9(#5) and

displays another half-step resolution (~9-5) from the upbeat of 4 in measure 2 (Ab) to beat 1 of measure 3 (G).

Notice how the line (in the style of Dexter Gordon) clearly demonstrates the altered scale with the use of

the #9 (B~), ~9 (A~), and #5 (E1). Remember: the altered scale is the only scale containing all of this line's

alterations. The pitches are enharmonically spelled to make the reading of the line easier.

• FigureSE(conl'd) Dm7 (ii of major)

~

.E r

Ed

07bgeS) (altered) Cmaj7 (lofmajor)

I b P T [ ~ r [ 6 f T ,!J 00 I~g 5

Figure 8F shows a different treatment of the minor seventh chord. One could view the first two beats of

measure 1 as iv of harmonic minor. Another possibility is ii of major, with the A~ on the upbeat of 1 simply

being a lower neighbor tone to the fifth (A). The F# in this same measure is a passing tone and demonstrates

how chromaticism adds color to the line. The G7 is now treated as V of harmonic minor with a 7-3 resolution

to the I chord (Cmaj7). Notice how the line over each chord has chord tones on almost every beat. Only beat

4 of measure I and beat 4 of measure 3 are without chord tones. Beats 1, 2, 3, and 4 in measure 2 spell the G7

chord from the seventh to the root (F-O-B-G). Another important point is the line resolves to a chord tone by

a half step on each chord change.

• FigureSF(cont'd) Dm7 (ii of major) G7b9(b13) {V'of harm. minor) Cmaj7 (/ of major)

J 3 IP -l - F I7 3

3

The dominant-diminished scale is demonstrated over G7 in Figure 8G (in the style of Hank Mobley). The

E J , in measure 2 on the upbeat of 4 is the only note not a member of this dominant-diminished scale. The

purpose of this pitch is to create a half-step resolution to the third of Cmaj7 on beat 1 of measure 3. This

practice is commonly referred to as chromatic surrounding (the F and E~ chromatically surround the

34



l__ C_h_B---=-p_t_e_r____.([Jcommon Progressions

resolution to E). The half-step resolution is strong even though it is not coming from a chord tone; the strength

is audible because it resolves to a chord tone. This establishes the color and harmony of the ensuing chord.

+ - Figure8G

(cont'd) Dm7 (ii of major) G7b9(13) (dom. dim.) Cmaj7 (f of major)

¥1 # J j J J a Ib r T 1 rB f i r [ b E I~ C J F d lThe Dm? chord (in Fig. SG) reveals the major seventh. The C 1 i can be viewed as the seventh degree of the

D melodic minor scale, or simply as a lower neighbor tone to the root D. The genius in this line is how

measure 1 contains the same notes as the dominant-diminished scale used in measure 2. This creates a

flowing line based on the dominant-diminished scale which builds tension until finally resolving on beat I of

measure 3.

Figure 8H (In Sonny Rollins's style) demonstrates chromaticism within diatonic scale choices and shows

how this chromaticism aids in creating tension and release.

+ - ~ ~ m .(cont'd) Dm7 (ii o f major) 07 (V of major) CmaJ7 (l of major)

l e f T : r bq r t r t P £ r b E r r d E ~ ~ E I g o O P t r f t [ : g ~ f -

All twelve notes of the chromatic scale are used in Figure SH. The harmony of the line is once again

established by the use of chord tones on strong beats. In the measure 1, the fifth of Om7 (A) is on beat 1, the

third of Dm7 (F) is on beat 3, and the root (0) is on beat 4. The seventh of Dm7 (C) is on beat 1 of measure

2. The G7 is not established until beat 2 of measure 2. Anticipating a chord's resolution is common. This

example displays the equally common method of delaying a resolution to take place one, two, or more beats

after the chord's arrival.

The G# and F# on beat four of the second measure combine to circle one half-step above and below the

fifth of the Cmaj7 chord (G). This surrounding effect (which eventually resolves) is presented again on beat 2

of measure 3, where the F and D# surround the third of Cmaj7 (E), creating two chromatic surrounds within

the span of four beats. TheC and Bb on beat 1 of measure 2 resolving to B functions similarly.

Figures 8J, 8K, and SL display a common approach to improvising within a ii-V-I progression. Figure SI

demonstrates the line in the key of C major. The basic concept is a simple chromatic line descending

downward from the root of the ii chord,

which eventually resolves to the root of the

I chord.

Figure 81

l C r -I I

In the key of C major, the first pitch (D) functions as the root of the ii chord (Dm7). The second pitch

( C 1 i ) can be theorized as the major seventh of an implied Dm(maj?) chord or as the third of an implied A7

chord. The 0 is the seventh of the Dm? chord or an implied G7sus4 (for more on suspended chords see the

end of this chapter). The B is the third of the five chord (G7), and the final pitch (C) is the root of the Cmaj7

chord.

Figure SJ (in the style of Sonny Stitt) is an example of this chromatic line disguised within a more

complex linear movement. The root of the ii chord (D) is established twice: first on the pickup and again onbeat 2 of the first full measure. The a (the major seventh of Om[maj7] or the third of A7) is on beat 3 of the

35



Chapter ( } J Comll1on Progressions

first full measure. The Q (the seventh of Dm7 or the suspended fourth of G7sus4) is on beat 1 of measure 2.

The third of G7 (B) is on beat 3 of this same measure and the final resolution to C ( the root of the I chord) is

on beat 1 of measure 3 .

.. FigureSl

(cont'd) Dm 7 G7

W I f f f j ? J = * D r 'Cmaj?

~ a;U Jp r # r rfF I tr # I

Figure 8K (in the style of Hank Mobley) is another example of this chromatic movement within a linear

melody .

.. FigureSK

(cont'd) Dm? G7 Cmaj7

, c E r [Ft1 E f - F T d t F rJ L r C l A D J .

Figure 8L varies the use of this chromaticism within the melody. It begins as the above examples

(D-C#·-O). However, instead of continuing the chromaticism from the 0 (first beat of measure 2) to a m ,both the sharp and flat nine are used e m and A~). The final resolution to the tonic of the I chord (C) is

replaced with the seventh and sixth scale degrees (B': and A~).

.. FigureSL

(cont'd) Dm 7 Cmaj7

j I q f ~ JI

J

The example above (Fig. 8L) is a ii-V-I in the key of C major. If the progression were altered to parallel

that of the melody, it would reflect the following progression: Dm7 for two beats, to Dm(maj7) or A7 for two

beats, to G7sus4 or Dm7 for two beats, to G7#9(!.9) for two beats, and finally resolving to Cmaj7.

The Non-Cadential Use of the Dominant Seventh Chord

Figure 8M (in the style of Sonny Rollins) displays both a non-cadential and a cadential dominant seventh

chord. The first dominant chord (G7) is a non-cadential dominant seventh chord because it is not moving in a

V-I progression; the second dominant seventh chord (C7) is a cadential dominant seventh chord because it is

moving in a V-I progression .

.. Figure 8M(cont'd) Dm? (i i of major) G7 (V of major)

lE r b e r [[f~

Gm7 (ii of major) Fmaj7 (Iojmajor)

36



' - - C _ h _ . B - - - = - p t_ e _ r _ ' . . . . .jJ Common Progre,ssions

Both dominant seventh chords are treated as V of major. Chromaticism is used on both the Dm7 and C7

chords. The final resolution to Fmaj7 in the measure 5 displays a 3-1 resolution. Even though the dominant

seventh chords are functioning differently, they are both treated the same way in this example.

This is a common progression found in many compositions and can be used to establish the IV chord.

The G7 chord in the original key (C) becomes minor in measure 3. This Gm7 chord is now functioning within

the key of F major. From here, the Gm7 (ii) moves to C7 (V), resolving to F major (I)-the IV chord in the

key ofC.

The next example (Fig. 8N) shows how dominant seventh chords within this same progression can be

treated differently to exploit their opposing functions (non-cadential and cadential).

~ Figure8N

(cent'd] Dm7 (ii of major) G711 1 (IV of mel. minor) Gm7 (ii of major) C7b9(#5) (altered) Fmaj7 (Ia/major)

_ $ 4 hi ttettf-lf:' E r e f r r r t r r ¥ r r c ~ r i r - ~ p~9 5

A non-cadential dominant seventh chord can be treated as either V of major or IV of melodic minor. The

IV of melodic minor creates a benign or floating quality because the #It, coupled with the 9 and 13, can

create a bitonal effect (G7U 1 can sound like AJG). This color does not demand resolution, whereas

employing the altered scale does. The altered scale contains leading tones which can resolve in any number of

ways (7-3, #5-3, #9-7,19-5). The ~9-5 resolution is employed in Figure 8N on beat 4 of measure 4.

Notice how the G~on the upbeat of 4 in measure 3 anticipates the C7~9(#5) chord and the C (measure 4,

upbeat of 4) anticipates the Fmaj7 chord. This is typical jazz rhythmic anticipation of a chord.

Another common non-cadential movement of the dominant seventh chord is 1VII7 to I or 1VII7 to iii. In

the key of C major this progression would be B17 to Cmaj7 or B17 to Em7 (the iii chord can also be a minor

seven flat-five chord). This harmonic movement is often employed as a way of re-establishing the original

key once the composition has modulated to the IV chord. Figure 80 (in the style of Hank Mobley) shows this

harmonic progression.

~ Figure80

(cont'd) Fmaj7 (1 of major) Sb7 (V ofmajor)

~ e r f 1 - f f b pC r

Cmaj7 (I of major)

I I

Note the treatments of the chords in Figure 8) and the resolution created by the B17 resolving to the

Cmaj7 (4-3). This is also a good example of an elaborate chromatic surround of the third scale degree (E).

Figure 8P displays a different treatment of the B17 chord. The progression differs as well. The dominant

moves to the iiichord (Em7) instead of the I chord (Cmaj7).

~ Figure8P

(cont'd) Fmaj? (I of major) Bb7111 (1V of mel. minor)

'e E = U L f FTI b ~ f - f - f = r - r F

Em7 (iii ofmajor)

i J d - . b J - J ~ I I

3

37



Chapter ( } J Common Progressions

Figure 8P begins on the third of Fmaj7 and moves in an arpeggiated fashion. The line over the B~7 chord

parallels this same construction while exploiting the augmented interval (A~-C-E) within the melodic minor

scale. The only differing between the two chords (Fmaj7 and B~7#11) is the A~ (Fmaj7) and M (m?) and the

line displayed in Figure 8P exploits this fact.

The Em? chord is approached by the interval of a half step ~?-3). Note the treatment of the Em? chord

(iii of major); it is functioning within the key of C major. If the musical example (Fig. 8P) were to continue,

one would most likely observe the harmony returning to the key of C major by way of a iii-VJ-ii-V-I, Em7

being the iii chord.

Another common progression involves the modulation from a major key to its relative minor. The reverse

is also true. Compositions in minor keys often modulate to the relative major key. The relative minor of C

major is A minor, so the relative major of A minor is C major.

"Moving In," studied later in this chapter, offers an example of a composition in a major key (F major)

moving to the relative minor key (D minor).

The Thrnaround

The turnaround is a term used in jazz harmony which relates to a harmonic progression. The term

turnaround simply means to return. This progression can occur at the end of the first and last "A" section of a

composition constructed in AABA form. It can also be found during the last two measures of a twelve-bar

blues progression. In both examples, a cadence establishes the I chord and the turnaround re-establishes the

tonic. For example, the most basic turnaround would be a I-V-I progression; the V chord is used to return to

the I chord. A iichord can be used to embellish the V chord. resulting in a I-ii-V-I progression. The addition

of the VI chord would create a 1-Vl-ii- V-1 turnaround. There are numerous variations of this harmonic

movement and the following examples explore some of them .

• Figure8Q

(cont'd) Cmaj7 (Iofmajor) ~

I1 £ e F F [ P t C J f7 3 5

07 (dominant-diminished) Cmaj7 (/ofmajor)

~ E F r : l tJ F 1 F I F E E f t F E£E§ *

(Em7) (iii of major} A7 (Vofharm.rninor) Dm7 (ii of major)

R t f E F t _ ! > f f t r t t T r r [ [!F r I

Al3 7 3

Figure 8Q (in the style of Sonny Stitt) is a I-VI-ii-V-I progression in the key of C major. A slight

variation takes place in measure 2. The first two beats of the measure 2 can be viewed in one of two ways:

first, one could analyze the linear movement as a delayed resolution to the VI chord (the A? is not clearly

established until beat 3 of measure 2); the second possibility is an implied Em7 chord. The Em7 is the iii

chord in C major and also the iiof the dominant chord built on VI (A7).

Implying the ii chord of any dominant chord is a common occurrence. Refer back to Figures 8M and 8N.

The basic progression of this harmonic movement is a dominant II chord CD7)to the dominant V chord (G7),

resolving to the major I chord (Cmaj?). These examples demonstrate the use of implementing the ii chord of

each dominant chord (Am? for the D7 and Dm7 for the G7).

The third beat of measure 2 until the down beat of measure 3 and the first two and a half beats of measure

4 contain the exact same tones, yet the scale choice differs. The scale choices indicated are V of harmonic

minor and dominant-diminished, respectively. The five notes used are the root, third, fifth, seventh, and the

38



L.- C _ h _ a _ - = - p _ te _ · · _ r _ · ~([JCommon Progression.s

flat-ninth (the seventh of A7 occurring on the first beat of measure 3). These pitch degrees are found within

both the V of harmonic minor mode and dominant-diminished scale. The line over the G7 even spells a

diminished chord (B-D-F-AI». The difference in scale choices lies on the upbeat of three in measure 4. This

natural thirteen (E) with the flat nine (Ab) exposes the dominant-diminished scale. Debating which scale

choice (V of harmonic minor or the dominant-diminished) is in use over the A7 is pointless. Both scales

contain a root, third, fifth, seventh, and flat ninth.

Finding improvised musical examples which clearly demonstrate a scale or mode choice is rare.

Chromaticism and mode-mixture are two of many elements which can camouflage a mode or scale choice.

Other elements might include chord substitution or simply a sparse line. Again, the importance of gaining im-

provisational ability lies more in the memorization, transposition, and assimilation of these improvised musical

examples. Without this practice your playing will still suffer even if you can explain every note on the page.

~ Figure8R

(cont'd) Em7 (iii o(major) Am? (viof major) Om? ( I : i of major) G? (Vo/major)

L i E pC i fCmaj? (/ a/major) A 7 (Vofmajor) Dm? (ii of major) 07 (Vq(mojor) Cmaj7(lo(major)

5 3

l--~

5

Figure 8R shows a slight variation in the I-VI-ii-V-J harmonic movement. The first measure substitutes

the iii chord (Em?) for the I chord (Cmaj?), and the six chord (A7) is now minor instead of dominant. The

Em? functioning as iii of major is similar to CrE, or the tonic chord in first inversion. The Am7 is diatonici n

the key of C major as well.The G7 on the last two beats of measure 4 can be viewed as mode-mixture. The flat nine ( AP ) on the

upbeat of 4 changes the color established on beat 3 by the natural nine (A).

Figure 8S (in the style of Phil Woods) exhibits tritone substitutions for the VI, ii, and V chords: the

substitute chords are a tritone away from the original chords. For example, the tritone substitution for A7 is

E17. These substitutions do not always duplicate the chord type of the originaJ chord. For example, the tritone

substitution for Dm7 is Alrnaj? (measure 2) and Ab7 (measure 4).

~ Figure8S

(conl'd) Cmaj? E~7

J £Jd=d

A~maj?

F

Cmaj7 E#7

J J jjhJ J ~ f T h JJF l@;}d J4©-l~7j11 (IVo/mei. minor) Cmaj 7# II (1Vof major)

- _3

The [)I,7 (a non-cadential dominant seventh chord) in measure 4 on beat 3 is treated as IV of melodic

minor. The scale from which this mode was derived is the A I > melodic minor scale. The D~7 is a substitute for

the G7 chord. If a 07 chord (a cadential dominant seventh chord) had been used with the altered scale (VII of

melodic minor), the scaJe derivation would be the Ab melodic minor scale in this instance as well. When a



h· (J ... . ..~.apter ~ Common Progressions

dominant #5(#9) chord is a tritone substitute for a dominant #11, only the root movement differs-the scale

choice remains the same. Figure 8T demonstrates this theory. The #9 of G7 (enharmonically spelled B~) is the

13 of D~7; the root of G7 is the # 11 of l)!,7 (G); thd5 of G7 (enharrnonicall y spelled E 1) is the ~9of Db7; the

m is the third of G7 and the seventh of Db7;

and the A is the seventh of G7 and the third of

D b 7. The difference lies in the root. movement

of the resolution to the Ichord (V-I orHI-J).

Figure 8TG7# 5 ( 19 )

, @ I t 31

The T-VI-ii-V-J progression has a seemingly infinite number of possible harmonic substitutions. In the

key of C major, a minor seventh chord built on the third degree of the key (Em7) is most often used as a

substitution for the I chord (Cmaj7). The Vl chord (A7) can become a minor vi7 chord (Am7), a biio7 chord

(U07), a ~iii7(El>m7),or a ~1l17 chord eEl>). The ii chord (Dm7) can become a ~VI7 chord (M7), a ~VImaj?

chord (Al-maj"), or a II7 chord (D7). A ~Jl7 chord (1)1,7)or a kllrnaj? chord CUmaj7) can substitute for the V

chord (G7).

This only represents some of the possible chord substitutions for the T-VJ-ii-V-I progression. Some of

the possible combinations are presented in Figure 8U. The lines in Figure 8U represent three possible

combinations of I-VI-ii-V-I chord substitutions. They are as follows: iii...!>iii-ii-V7-1 (Em7-Sm7-

Dm7-G7~9-Cmaj7, line 1); I-ho7-ii-V7-I (Cmaj7-C#07-Dm7-G7~9(~5)-Cmaj7, line 2); and

J...!>III7-II7-V7-I (Cmaj7-EJ, 7-D7-G7b9(#5)-Cmaj 7#I I , line 3 ) .

• Figure8U

(cont'd)

Line I Em7 Ebm7

, C £ J J J ~fd d J

Dm7 G7b9(Vo/lwm. mill. Cmaj7or dom. dim) r-i

I jJ J d;£~ 3 IP1 - I I•

Line 2

C;dim7 (dim. scale)

b · f L•f rdb f

I T t • P t r I JJ

Dm7 07 b9(#5) (altered scale) Cmaj7

l£!Q P G r~r-~-:rrt46fj±£d-rJ :±1Hg~ 11

3Line 3

Cmaj7 D 7 (Vo/majm)

~~

f$l f frpri3

G7b9(# 5) (altered scale)

, 1 - ~ P f ~ & d

C m aj7# 11 (W of maj. w/chromaticism)

1 D J ) qr~r~Jf ijP @ - 1 J3

40



' - - _ _ ~ ~ ~ ~ ~ ~ ~ _ C _ h _ a _ . _ p _ t e _ r _ _ _ . . , ( } J Common Progressions

The a07 in line 2 substitutes for the A7~9 in much the same way the D ~ 7i 1 1 substitutes for the G7#5(~9):

the root movement differs but the color of the chord is the same. The A7~9 from the third of the chord to the

flat ninth is a a diminished chord (see Fig. 8V). If the soloist uses the A dominant-diminished scale over the

A7b9, or the C # diminished scale over the (1°7, the same diminished scale is in use. If V of harmonic minor

and vi i of harmonic minor are used to accompany the A 7 l > 9 and (1°7 respectively (see Chapter 10), the modes

Figure 8V

; C l l Iii

in use are both derived from the D harmonic

minor scale. The difference lies in the root

movement of the resolution to the iichord

(V I-ii or~ii-ii).

The Dominant Sus4 Chord

The third is to see the dominant sus4 as a

The dominant sus4 chord ("sLls4" refers to the suspended fourth of the chord) can be viewed one of three

ways. One way to view the dominant sus-l chord is as a combination of the ii-V progression. The dominant

sus4 chord is a minor two chord with the root of the five chord in the bass (Dm7/G in the key of C major). A

second possibility is a bitonal approach (FIG). Figure 8W

Dm7/G

¥! ! 9 gFlO G7sus4 OIl

dominant chord with a suspended fourth

(G7sus4 or GJl.). Therefore, Dm7/G, FIG,

G7sus, and Gll are virtually synonymous,

Songs and Solos Incorporating the Major, Minor, and Dominant Seventh Chords

"Song of the Sunflowers" is a simple song which incorporates one minor seventh chord during the A

section (measures 1-8 and 17-24), and two major seventh chords during the B section (measures 9-16). The

simple harmonic movement of this song is a good place to begin playing solos over.

• SONGOF TIlE SUNFLOWERS

Bossa Nova J = 138Om7

,, ~~J i ) , J Ii) ) ) I) ) ) ) I) ) HI) ) )) I) ) Hg"The audio plays through the complete form 4 limes,

transposing up a one half step each time.

The last time through is in F minor.

E~maj7

* = ) J ) ) I ) J ) d :W ; ) ) ) ) g ) M ) I I J I i I I J JI

I I l I

I I I I I I

Dmaj7 Dm7

" ~ ~ ) j ) ) I ,),;)) I ) J .H l)j),)lP , ) ) ) I) ) J 1 = 1

41



ChaptergCODllllon Progressions

"What Ladies Know" graduates to a more complex harmonic movement where the major, minor, and

dominant seventh are all used. This song is offered here as the final example in preparing the student for

songs more indicative of the bebop style .

j = 126

.. WHAT lADIES KNOW

Bossa Nova

Dmaj7 Amaj7 Dmaj7 Amaj7

1 ~Lj) k~ i ~ ) ) p) t 4 - - - J II I t p g#CLI l II I

L J 1

*The audio plays through the complete form 4 times.first illA, then B~,then E~,and then E.

5 Cmaj7 Gmaj7 Amaj7 1.12.

~ W k JI

~ I ) . I I~ t 1 HI- I

!~ .. 1 ~ I I HA j_ f I I I : I ~I I ,

I I 1=-..1

Am7 D7 Am7 D7

" ~ d ~ ~ I I I I I ~ I

I ~ I j = J = = I ~ I I @I ( f_ I f_ I r= I I# I I I I I , 1 , I I I I I I

Gm7 C7 Gm7 C7

~H JI ) I I I

~I I I I I I I I

J aI (, I (, Z (, II I I (,# 1 I .1 1 I I I 1 :t I

Fm7 B~7 Fm7 B~7

~HI I k) I I 1 I = 1 I I

~I

~I

Bf_ (.

I t I I I (.# I I I 1 I I 1 I I, L

Dmaj7 Amaj7 Dmaj7 Amaj7

~H ~ I~

I I I ) ~I

~I I

~ - J ~ ~I I I ( -i -)

I II I. I I I 1 I 1 I 1 I, ,

I

emaj7 Gmaj7 Amaj7

W # # ) I )dI

~ ~ ~I

I ) ~ I IJ

I~

I II I

( ( ( I f II 1 ,

I 1 ,I 1 ,

I L I

The A section of "What Ladies Know" consists of aU major seventh chords (measures 1-9). The B

section (measures 10-21) contains ii-V progressions which incorporate minor seventh chords and both

cadential and non-cadential dominant seventh chords.

Tnanalyzing the harmonic movement of "What Ladies Know" one notes that the composition begins on

the IV chord (Dmaj7) and proceeds to the I chord (Amaj7). The ~IIImaj7 chord (Cmaj7 in measure 5) moves

to the b VlImaj7 chord (Gmaj7), which then resol ves back to the I chord (Amaj7).

The bridge, or B section, is a series of ii-V progressions that encompass four non-caclential dominant

seventh chords and two cadential dominant seventh chords. The non-cadential dominant seventh chords in

measures ll, 15, and 19 prolong the ii-V-i progression, creating a ii-V-ii-V-i progression. The last non-

cadential dominant seventh chord (measure 21) creates a deceptive cadence. The cadential dominant seventh

chords (measures 13 and 17) complete the ii-V-iprogression and establish new tonal centers.

42



' - - C _ h _ a - - - = . p _ t e _ r _ _ _ _ _ . ( } J Common Progressions

The modes used within the melody are derived from the major scale. All the major seventh chords could

function as I of major, all the minor seventh chords could function as iiof major, and V of major could be used

on all the dominant chords. The soloist can expand on this color during improvisation by using TVof major on

the major seventh chords, IV of melodic minor on the non-cadential dominant seventh chords, and by treating

the cadential dominant seventh chords as either V of harmonic minor or vii of melodic minor (the altered

scale). Figure 8X demonstrates the use of some of these modes within the first five measures of the bridge(measures 10--14).

"Moving In" is the first piece in this study representative of the bebop style. The tempo is fast. the

harmony is complex, there is no arrangement, and the focus is on the soloist.

Swing d = 200Fmaj7

~ E F

+ MOVING IN

;; J f rGm7 C7

r •I jE r • ~

I J

Fmaj7 (p.t.) D7 ( Af t. sGa le ) Om7 _

BtJ J q J J 1 # 3 T . E ' ~ F W i A E [Jt rfil3

Em7 (p.t.) A7 (Vcfharm. minor) Dm7 (Dmel. min. scale)

t ¥ f C b E ! tf 1 # 0 f r f O r u R J J j ~j~

07 (IVofmei. minor)3

t " 1 J > j J J J W I r # f " I f E t!f

yqOm7 (l.n.)

W d l l O J

C7 (alt. scale)

£ D t d b r ~ r . Wt_3-

J

Fmaj7 Gm7~----~C1 J ~ , 7 ~ 'r

C7 (lVo(mel. min.)

(p .t.) -

o r ~ G J J 3 d

Fmaj7

t o Ij

Cm? F7 (Aft scale)

~ J 3 g t t J illr r¥ (fJ # 3

E ! 1 # t o t d3 3

4 3



Chapter ( J J . Common P.rogressions

B~maj7

~7 Fm~7

* P r & r r n J p t J J 1 1 JD7 (c.s.) (Vofharm. min.) Gm7 (i.n.)

81 n ~ ? r f j t d J J j J .C77 (dom. dim.) b ~ Fmaj7

, . ~ b E r & f b [ f ~ r f f t f [ I

• "Moving In" ProgressionSwing j = 176

Fmaj7 Gm7 C7 Fmaj7

~~'e) k)) I)) ) )1

~ ~I ) I J ~ ~ )==t,

I I I I

*Ou each repeat tile audio transposes up one half step. playing through all keys.

D7 Gm7 C7

= w I I~ I I 1 I

II I I I

II

~I

Adt II 1

I1

Z I ZI

I , I I,

I,

I

Em7 A7"9 Om7

, & ~ ~ I ~ j ~ I ~ ~ ~ I ~ , ~ ~ ~~I I

I I I-;

I I I I,

I I I I I I I I I j_

G7 Gm7 C7

l & I ) ~ ~I

~ ~I )

I t~I t I ) ~ ~· fI

II I I I • L

,I

,I

Fmaj7 Gm7 C7 Fmaj7

; & ~ I I I

I~ I I I

I ~ ~I I pi I I )Ed( t (

I( ( ( 1 I

I I I I I I I I I I I I I

Cm7 F7 B~maj7

l & ) ~ I JI

~ ~ : - ) ) II ~

I~ I

) ~ I~f

d II I I I I I I I I

E~7 Fmaj7 D7b9

+ ~ J - J ~ E) ~I I t t i J I

~ I ~I J j

d(Z II

, I I I I I I I I

Gm7 C7 Fmaj7 D7 Gm7 C7

~ &I ~ ~

I I~ I I

I~ I I

~

I-J ) ~ ~

: 1I I I I I I

I I I

, I II

I

,I I I =.J.

II

44



L- c_h_a~p_t_e_r~([JCommon Progressions

Analysis of the "Moving In" Solo

"Moving In" is in the key of F major. It should be understood this solo employs the first mode of the

major scale for all major seven chords (I of major), the second mode of the major scale for all minor seventh

chords (ii of major), and the fifth mode of the major scale (V of major) for all dominant seventh chords,

unless analyzed otherwise. The tones that are not found within these modes are incorporating some type ofchromaticism: chromatic passing tones, lower or upper neighbbor tones (LN or UN), and/or chromatic

surrounds (CS). These acronyms are used above the tones which display these chromatic embellishments. The

lines which derive their color from a scale other than the major are printed in parentheses next to the chord.

The altered scale is used inmeasure 6. The flat nine $)and the sharp five (enharmonically spelled B~)

are the notes which support this analysis. However, the sharp five (Bk ) could be heard as an anticipation of the

ensuing Gm? The quitessential examples of the altered scale can be found in measures 16 and 22.

The fifth mode of the harmonic minor scale is clearly displayed in measure 10. V of harmonic minor is

used as well in measure 28, however, these tones are also found in the dominant diminished scale.

The line over the Dm? inmeasures 11 and 12 reveals the D melodic minor scale. This color is often used

on tonic minor chords. Notice how the major seventh and sixth scale degrees (C] and B) are used after theharmony of the Dm7 is clearly defined. The Dm7 is clearly defined for two reasons: the half step resolution

from A7 to Dm7 (~9 to 5 or m to A) and the chord tone prominence in beats I and 2 of measure 11. Practice

applying this concept when playing your own solos.

The fourth mode of the melodic minor scale is used in measures 13 and 14. As mentioned earlier, when a

dominant chord is not moving in a V-I progression, this scale works well-especially here where the

dominant II chord (G7) is moving to the minor iichord (Gm7).

Measure 18 contains a C7 resolving down a fifth (V-I) to Fmaj7. As mentioned earlier, when a dominant

chord is moving in a V-I progression, V of major, V of harmonic minor, dominant-diminished, altered, and the

whole tone scale all work well. This example (measure 18, beats 3 and 4) shows how the T V of melodic minor

can be used within a V-I as well. Its sound is more modem and, although this line can sound as though it isderived from the whole tone scale, the T V of melodic minor is a better theoretical analysis because there is no

sharp five (G#) to clearly define the whole tone scale (see Figure 6G).

The chromaticism used in measures 15 and 29 incorporate lower neighbor tones. A case could be made

for iv of harmonic minor because these tones are all within this mode (with the exception of the C natural on

beat one of measure 29). Despite this fact, the sound is more like chromatic embellishment than a true

harmonic minor color.

The flat nine, sharp nine, sharp eleven, and natural thirteen in measure 30 is without quesiton displaying

the dominant-diminished scale.

Figure 8Y embodies a more advanced approach to improvising and contains a linear approach likely

derived from chord substitutions. This line can be applied over the first seven measures of "Moving In." Thechord symbols above the line propose a possible analysis of the substitution chords used to create this melodic

line. The Dm7, G~9, and C~9 (measures 3 and 4) are all anticipated by one beat. The Dm? begins on beat

four of measure 2, the G~9 begins on beat 2 of measure 3 and the C?~9 begins on beat 4 of measure 3. The

arrival of the D7~9 in rneas ure 6 is delayed by one beat. The C7~9 begins on beat 4 of measure 3. The arrival of

the D?h9 in measure 6 is delayed by one beat. The C7~9 (measure 2) as well as the C7 (what would be

measure 8) are both anticipated by one half beat. Compare this harmonic movement with the original

"changes" and try to apply tills concept.

45



Chapter ( J J Common Progressions

• Figure 8Y

Fma j7 Gmaj7 b S C 7 b 9 Om7 G7b9 C7b9

kf f~t l~ tf f 1 -r ~EH: : F { - E j I r

Fmaj7 C7 Fma j7

¢ - # r E F , I ~f L]t- ~

~ L ~ t b f g r r

D 7b9 Gm7 C 76

~~ ~ bt=~ r ~ .$1 F E

0bE

~ ~

t 7 1 1I J J3

PRACTICE SCHEDULE

Memorize and transpose all the musical examples, harmonic progressions, and solos presented in Chapter

8. Begin with Figure 8A and gradually progress through the end of the chapter.

"Moving In" incorporates most of the material presented throughout this study. One should know the

common harmonic progres .ions and scale choices used within "Moving In:'

The harmony contains J-ii-V-Is. I-Vl-ii-Vs. and ii-V-Is of the tonic, relative minor, and the IV chord

of the tonic key. After moving to the relative minor (Dm). the original key i reprised in the first half of the

composition with the use of the dominant ITchord (Dm7-G7-Gm7-C7-Fmaj7). After moving to the IV

chord in the second half of the composition. the dominant seventh chord built on the flat-seventh of the key

(Bb) is used to re-establish the original tonal center of F major (B~maj7-El>7-Fmaj7). These common

progressions should seem straightforward and obvious to the student after a complete immersion in this

chapter's material.

The scale colors should also become audibly recognizable to the student after a repetitive practice regime.

The material in Chapter 8 contains all the common modes used to complement the major, minor, and

dominant seventh chords. 1 and IV of major are used on the major seventh chords; ii, iii, and vi of major are

used on the minor seventh chords; and V of major, V of harmonic minor, TV of melodic minor, dominant-

diminished, whole-tone, and altered scales are used on the dominant seventh chords.

TIle student should be aware of the above scale choices and progressions with the goal of learning them

in all keys, at all tempos, by memory, with an excellent "time feel." Furthermore, the student improviser

should be able to detect the sound of these scales and progressions when they are used within other

compositions.

46



Chapter The Minor Seven Flat-Five Chord

Scale Choices

vii of Major (Locrian Mode)

The minor seven flat-five chord appears four times within figures 2A, 2B, and 2C. This chord appears on

the seventh degree of the major scale, the second degree of the harmonic minor scale, and the sixth and

seventh degree of the melodic minor scale. This means the first, third, fifth, and seventh scale degrees of the

seventh mode of a major scale spell a minor seven flat-five chord. C is the seventh scale degree of a U major

scale, so the seventh mode of a D~ major scale (vii of major) will complement the color of a C minor seven

. flat-five chord (see Fig. 9A).

Figure 9A Cm7bS

~C & # 1 I U d b J U J I J d - - - - = : : ) , f r I Ib2 ~3 4 ~5 ~6 ~7 8

ii of Harmonic Minor

The first, third, fifth, and seventh scale degrees of the second mode of a harmonic minor scale spell a

minor seven flat-five chord. C is the second scale degree of a Bl harmonic minor scale, therefore, the second

mode of a m harmonic minor scale (ii of harmonic minor) can enhance the color of a C minor seven flat-five

chord (see Fig. 9B).

Figure 9B Cm7~S

l [Jl Jblf l I I 1 - - & 3 -bJ- J b r -rt1~2 b3 4 ~5 6 b7 B

vi of Melodic Minor

The first, third, fifth, and seventh scale degrees of the sixth mode of a melodic minor scale spell a minor

seven flat-five chord. C is the sixth scale degree of an E J , melodic minor scale, so the sixth mode of an E J ,

harmonic minor seal e (vi of harmonic minor) will work with a C minor seven flat-five chord (see Fig. 9C).

Figure 9C Cm7bS

~C b~bl I E j J ~~ E I ~ J 3J b r ~]

2 ~3 4 ~5 ~6 ~7 8

vii of Melodic Minor

We saw earlier that the seventh mode of the melodic minor scale (altered scale) is used with the dominant

seventh chord when that chord contains an altered ninth (#9 or ~9) and raised fifth. This study will exclude theseventh mode of the melodic minor scale as a possible scale choice when confronted with the minor seven

flat-five chord.

47



Chapter The Minor Seven Flat-Five Chord


Figures 9A, 9B, and 9C display the three scale choices for the minor seven flat-five chord. All three

modes contain the four basic chord tones (1, b3 , ~5, and ~7) and all three modes possess a ~4,Only the second

and sixth scale degrees differ from one mode to the next. The seventh mode of the major scale (vii of major)

contains a ~2and ~6;the second mode of the harmonic minor scale (ii of harmonic minor) exhibits a ~2with a

b.6; and the sixth mode of the melodic minor scale (vi of melodic minor) contains a q2 with a ~6.

As always, the original melody of the song is an excellent starting point for determining the best mode to

meld with any chord. If the melody over a minor seven flat-five chord contains a 1 l 2 , the sixth mode of the

melodic minor scale would capture the color of the original melody and harmony.

Scale choices for the m71>5chord can also be determined by the time allotted the minor seven flat-five

chord. If the m7~5 chord is used within a ii-V-i progression where the tempo is fast and the minor seven flat-

five chord takes place within a span of two beats, the mode used can be derived from.the same scale that is

used over the following dominant seventh chord. This practice unites the colors of the ii and V chord. For

example, a Cm71>5treated as iiof harmonic minor and an F7~9 treated as V of harmonic minor would both be

derived from the m harmonic minor scale. The two chords can be treated as one sound if the tempo and time

allotted for the two chords does not allow enough time to establish a distinct sound for each individual chord

(see Fig. 90).

Figure 9D

d = 144C r n 7bS F 7h9

; ~ E :big j q c [ f f I F - 7 1

3

If the minor seven flat-five chord and the dominant seventh chord receive enough time for the soloist toestablish individual colors for each chord, the sixth mode of the melodic minor scale can be used with the

minor seven flat-five chord and would establish a separate color from that of the ensuing dominant seventh

chord employing the altered scale (see Fig, 9E).

• Figure9E

j , 80Cm7~5 Sbm7

.,.-.__

O f pi F f

3

Determining a scale choice for the m7~5 chord is not as complex as determining the scale choice for the

dominant seventh chord or even the minor seventh chord. Understanding the function of the dominant and

minor seventh chords is the key to determining the proper scale choice. However, the function of the m7~5

chord and the maj7 chord are almost always the same. The maj7 chord is an arrival chord while the m7~5

usually relates to the following dominant chord.

The voicing used for the m7~5 chord will usually contain the 1, ~3, 4, ~5, and ~7 scale degrees. Since all

three scale choices for the minor seven nat-five chord contain these same tones, anyone of them will meld

with the color of the chord. The natural second scale degree can also be employed within a voicing for the

m7~5 chord. When the ~2is used it creates a distinct sound for the m7~5 chord. The sixth mode of the melodicminor scale (vi of melodic minor) would then be the appropriate scale choice.

48



Chapter The Minor Seventh Flat-Five Chord


The minor seven flat-five chord is most often used as a iichord within a progression approaching a V

chord. Indeed, it is a ii-V-i progression in a minor key, however, a minor seven nat-five chord could also be

part of a ii-V progression which resolves to a major chord (see Fig. 9F). The following examples show some

of the possible harmonic progressions of the minor seven nat-five chord.

Figure 9F (in the style of Tom Harrell) is a iii- VI-ij- V-I progression in the key of B] major. Both minor

chords are nat-fives, both dominant chords are cadential dominants, aod the first dominant resolves to minor

while the second resolves tomajor.

~ Figure9F

(cont'd) b Dm7ls (vi of melminor) 54 f .* e 1 1 W I F r ~ ~ ~ (J107 (V ojmajor)

q . ~I E I 3

Cm7hS (vi of mel.minor)

~ 1~ b

r

F7 (Va/major) Bbmaj 7: 1 1 (J V a/major)

. r ; J J ]

The modes used with each chord (Figure 9F) are indicated beside the chord symbol. Both m7~5 chords

(Dm7~5 and Cm7~S) are treated as vi of melodic minor due to the natural second scale degrees (Eli and D,

respectively). Both dominant seventh chords employ the fifth mode of the major scale (V of major). The E l l in

measure 5 indicates the use of the fourth mode of the major scale over the Bl-maj".

Figure 9G (also in the style of Tom Harrell) is another example of how to approach the progression used

in Figure 9F .

~ Figure9G(cont'd) Dm7bS(vi of mel. minor)

Q

E7#9( iS) (altered scale)

tq •

E J I f r r j

Cm7hS (vi of mel. minor) F7 (V of major) Bbmaj7 (lofmajor)

~ p r i F f j I f J J 3 ~ J

The melodic ideas used over the m7~5 chords in figure 9G clearly display the sixth mode of the melodicminor scale. The natural second scale degrees are visible and the line in measure 3 demonstrates the

ascending scale from which this mode was derived (3 melodic minor scale).

The F melodic minor scale is played throughout the first and second measures. This scale choice justifies

the analysis of vi of melodic minor for the Dm~5 (Dm7b5 is the diatonic seventh chord constructed on the

sixth degree of the F melodic minor scale). However, a G7 is not one of the diatonic seventh chords found

within the modes of the F melodic minor scale. Therefore, the E7alt. (measure 2) is a chord substitution for

what would have been a G7. This substitution could also be analyzed as the tri-tone substitution for E7aIt

(Bl] 11) or as Fm7-Bb 13. This parallels the chord substitutions discussed earl ier in Chapter 6, ("The Seventh

Blues," measures 46 and 70).

Figure 9H (yet another example in the style of Tom Harrell) displays the two different treatments of them7b5 chord (as previously discussed) within the ii-V progression. The first m7b5 chord (Bm7~5) and the

dominant seventh chord which follows combine to create one color: like Figure 9D. the modes used are

49



Chapter The Minor SevenFlat-Five Chord

derived from the same scale. The second m7~5 chord (F#m7~5) is treated with a separate color from the

ensuing dominant seventh; like Figure 9E, the modes used are derived from different scales.

+ Figure9H

(cont'd) Bm7~5 (ii a/harm. minor) E7b 9 (Vcf'harm. minor)

irS r frEE # [ Rd

Am7 (i of harm. minor)

J r

1 - 1 1

Notice the interesting way that the second dominant seventh chord (B7) in figure 9H is treated. The first

dominant seventh chord (E7) is a cadential dominant seventh chord whose treatment is consistent with theapproach of this book. However, the second dominant seventh chord is a non-cadential dominant seventh

chord; yet, it is treated as if it were a cadential dominant seventh chord (V of harmonic minor instead of V of

major or IV of melodic minor). This progression creates a deceptive cadence and is one of many possible

variations of the more common progressions used within this study.

The harmonic progression is audible within the line of figure 9H because of chord tone resolution. The

first measure contains a 7-3 resolution from the Bm7~5 to the E7 (A to G#). The upbeat of 4 in measure I and

the downbeat of 1 in measure 2 combine to surround the third of the Am7 (c. upbeat of I). Later, in measure

2 (downbeat of 3 and 4), these same tones function as before to anticipate and resolve to the flat five of the

F#m7~5chord (0).

The line within the last three measures i very subtle. As it evolves, only one pitch changes per chord.This new pitch in conjunction with the repetitive scale degrees establishes the color of the chord. The G# of

the Hm7~5 chord verifies the sixth mode of the melodic minor scale. In measure 4, the G# becomes G I l and

confirms the fifth mode of the harmonic minor scale. From this line, only the m changes to B~-defining the

Gm7 color.

Songs and Solos Incorporating the Minor Seven Flat-Five Chord

"Wouldn't You'?" should help the student become more familiar with the minor seven flat-five color and

scale choices. This song is in AABA form. The A section begins on a m7~5 chord built on the raised fourth

scale degree of the key (G) with a series of ii-V progressions moving in a circle of fifths, eventuaJly arrivingat the ton ic chord of D~major.

The B section consists of two tonal centers: G~ major and A~ major. Both keys are approached with a

ii-V-#ii-~V-ii-V-1. In the key of G~ major, the progression is as follows: A~m7-D~7-Am7-

D7-A~m7-D~7-G~maj7. In the key of A~major the progression is: mm7-B7-Bm7-E7-mm7-E17-AJ,maj7.

This transposition of the second ii- V progression up a minor second creates a momentary key change (G

major in the key ofGmajor and A major in the key of A~major) one semitone above the key center.

50



• "WOULDN'T YOU'?"

Head Gm7~5 C7~9 Fm7b5 B~7~9

1 0 t ~ .i jH l f t E f r I t

b n1h e r

" r tc & 1 r I [

u nEm~7~5 #7#9(#5) Dbma j7 3

v . ~ ,~nEr e s d f U1~ ft~ri f f f i J ;rW 8 t I t T 3 23

Am7 Dl3

Bm7 £13

Gm7b5 C7~9

¥&'H(f F f t E f fit tr r

A b m7 D~7b9(15) Gbmaj7

fd'B a ~ J lq ~ M r '

B~m7 Eb7b9(~5) #7

I q J J J L jS I f } I F "

Fm7b5 Bb7:9

l I ~ F ttr f f r I f 1 s F

Emb7b5 N7;9(#S) Dbmaj7 3

't~"'~fJ~PI:FI ¥ - u r ~Pr'3 iA j d ~ J J 1 c r I c J 1 - ~

Solo Gm7b5 (vi of mel. minor) r--, C7#9 (altered scale) Fm7bS (vi of mel. minor) Bb7#9 (dom. dim)

"~~6h&~ ¥ ~ aIE rtf IU t 1 6t1 t{ I E r [ ~ E r ! : J M Idr f t ~ C I3. 3

I 1

Gm7bS (u of harm. min.) C7b9 (Vof harm. min.) Fm7~SE 1 (r.r.) rc.s.:

t r I q a - r %-1r udr - J J j J I q Q 1

Ebm7~5 Ab7 D~maj73

37 (C.S.) ~ (C.S.) ~ ~

¥ V k J . fJ IJj i 1 f j f j IF0c : r 1 I 9

51



Chapter The Minor SevenFlat-Five Chord

Bbm? EbI3 Bm? E7

l ~ b b . 1 > E G [ f f p I ~ e [ T ~ tr~rBbm7bS~fharm. min.)

II ids ¥ ~ f3

E b ? b 13&9) (VI ofharm. min.)

r r IRI A

Ebm7hS (v i of mel. minor) #7# 5 (# 9) (altered scale) Dbmaj7

53

r dE~r1 f t t~ . b b t (C.S.) ~-, r b ~ . I$=i' E t ~l±-~8! C d Errl C J

I I Ir if j 3

• "Wouldn't You?" Progression

l A J Gm7bS C7~9 Fm7bS Bb7# 9

~'b I ~ 1 1 1 7 1 ~ -I ~ 1 F=jb b b e I / I I I I,

I I I I I I I I

'The audio plays through the complete form 4 times:in Db, then D . then G, and finally A~.

Ebm7bS N7'9 Dbmaj7

= V b ~ , I 1 ~ ,I 1 II'

1 1

"~ I 1 x ~ 31 I

,1, ,

I,

L= = 1

l l i J #m7 D b7 Am7 D7 Nm7 D~ Gbmaj7

+bb~~ I I1 1 t: 1 1 1 I

"1 7 1

1 Z ~ qI , I I I I I I ,

Bbm7 Eb7 Bm7 E7 Bbm7 Eb7 Ab7

= v ~ ~ I 1 ~ ~ l 1 ~ I~ 1 I ='1 1 ~ 1

I I• I,

I,

I I 1,

I" b

[ A J Gm7bS C7#9 F m7bS Bb7~9

$bb~& I I 1 1 -~

"I -~ 1 -I ~ 1 -I

"I I jI I

,I,

I I,

I I I I

Ebm7bS Ab7i 9 Dbmaj7

~ & bI ~ 1 7 ~ E I

"Z

-f. ~ 1

"1 I -f.

5 1I I I I I,

I I I ,

Analysis of the "Wouldn't You?" Melody

The melody over all the minor seven flat-five chords is derived from the sixth mode of the melodic minor

scale (vi of melodic minor). Measures 1, 3, and 5 all contain the exact same line. The lines are simply

transposed to fit the new chord (down one whole step).

The dominant seventh chords (within the A section) are also transpositions of one another (with the

exception of the last one-and-a-half beats of measure 6). Measures 2 and 4 (and the first two-and-a half beats

52




of measure 6) contain a #9, ~9, and 3rd. The dominant-diminished scale and the altered scale both contain

these pitches. As mentioned earlier, not every note of every melody or solo is going to clearly display a mode

or scale choice. Mode mixture, chromaticism, chord substitutions, and delaying and anticipating harmonies

are just a few of the obstacles to hurdle when analyzing a melody or solo passage. In this example, we have a

limited number of scale tones. If a #5 was present, the scale (or mode) from which this melody was derived

would be the melodic minor scale (altered scale) and if there was a natural 5th or 6th, dominant-diminished

would be the scale employed. For this reason we can clearly say the entire melody inmeasure 6 is derived

from the altered scale because the line contains a #9,1>9,and a #5.

The melody lines in the bridge are all diatonic to the respective keys in which they function. the only

exception are the two cadential dominant seventh chords (measures 11 and 15). Both lines are traspositions of

one another and are both derived from the melodic minor scale (altered scale).

Analysis of the "Wouldn't You?" Solo

The analysis of the "WOUldn't You'?" solo can be found on the example itself. The modes used are in

parentheses next to the chord. If the chord has no analysis in parentheses beside it, this means the chord isderived from its diatonic major scale: T of major for the major seventh chords, ii of major for the minor

seventh chords, V of major for the dominant seventh chords, and vii of major for the minor seven flat-five

chords. Chromaticism is once again revealed with the use of the acronyms: P.T. (Passing tone), U.N. (upper

neighbor), L.N. (lower neighbor), and C.S. (chromatic surround).

Take note of these ideas when studying this solo: (1) Observe how often a chord is anticipated (measure

26-31, 35, 37, 43, 44, and 55). (2) ormally chromaticism is created by using non-scale tones, yet, the

chromatic surrounds in measures 35 and 37 are diatonic scale tones. Because of the way the line resolves it

can still be heard as a chromatic surround. (3) A mm'7l>5is substituting for the B~m7 in measure 47. The 57

in this same measure is altered (b13 , ~9) and the A~harmonic minor scale is used to combine the color or both

chords (see Figure 9H). This technique is used again over a two-measure phrase in measures 51 and 52. (4)The line over the Gm7~5 in measure 49 contains an A I > on the upbeat of four. This creates a strong resolution

to the ensuing C7b9 chord (l>9-5or Ab-G), however, the A J , is not found within this mode (vi of melodic

minor). The sound of this A I > could be analyzed as mode-mixtures, but a better analysis might be that the A~

is an anticipation of the F harmonic minor scale in use over the C7b9 (measure 50). The only notes not a part

of this scale are theGon the upbeat of one (P.T.) and the E J , on the upbeat of two (C.S.). The F J , coupled with

the fourth scale degree (F) combine to create another resolution to the third of C7 (measure 50 beat 3). This

same idea is used again i n measure 55, beat 2.

The following figures are all in the style of Sonny Rollins. Figure 91 below is a more complex approach

to improvising on the A section of "WOUldn't You'?" Take note of the descending chromatic line in measures

1 and 2 (see Figures 8J, 8K, and 8L) from. the root of the Gm'7l>5to the third of C7#9. Measures 3 and 4

combine the color of the two chords (Fm7~5 and Bb7~9) by using the B harmonic minor scale. Chromaticism

is helping disguise that fact. The sixth mode of the melodic minor scale is used inmeasure 5.

~ Figure 91

v & ~ & = : 7 ; 5 p b a J r l £ I t t J d [ 7 1 ; ~ t r r r r r t i i r :g 3

E~7~5 #7#9 Dhmaj?

~~~iJ~J~ F fr E f Q V N r [ i j r h u I tjJ 3 T E r r I J J H J53



Chapter The Miinor Seven Flat ..Five Chord

Figure 9J below demonstrates how the diminished scale will work over the first four measures of the A

setion. The diminished scale is used to combine the colors of the Gm7~5 with the C7#9 and then again with

the Pm7~5 and the B~7;9. Measures 5 and 6 employ the same color combination and chord substitution as

described above in Figure 9G and in "The Seventh Blues, " measures 46 and 70. The 87#11 is a substitute

chord for the A~7#9. The G b melodic minor scale is used to combine the color of the two chords (E:J,m~5 and

B7#11).

B7hl

J jJJI !1QWt3

Fm7bS Bb7#9 ~ _

R W i [ 6 r J I ~ E q k rt-tf=-b--I

1 -

Figure 9K is yet another complex line one could apply over the A section of "Wouldn't You?" This is an

example of how a single motif can be transposed to accommodate the new tonal centers. The motif is in

measure 2 on beats 3 and 4. The m otif is transposed down a whole step in measure 3, again in measure 5, and

then transposed down a minor third for the last time in measure 6.

Bb7 :9

f l:PrHtfrft j L A3

Dbmaj7

ITi - b t l p I

The following example (Figure 9L) contains the use of a descending chromatic line (measures 1 and 2),

chromaticism in the form of chromatic surrounds (measure 2, beat 4, and measure 4, beat 4), and chordsubstitutions (measure 1, Gm7 replaces Gm7h5; measure 2, C7~9 replaces C7#9; measure 4, B~7~9(~13)

replaces B~7#9;measure 7, A~7#5 replaces A~7#9). The color of the line is derived from four different scales:

the major scale (measures 6, 8, and 9), the whole-tone scale (measure 7), the harmonic minor scale (measures

2 and 4), and the melodic minor scale (measures 1 and 3). Note: measure 7 could also be heard as a melodic

minor color (altered scale), however, there is no altered ninth scale degree (1.9or #9). After practicing this

example, these sounds should start to become more and more recognizable (preferably by sound rather than

sight).

54




• Figure vl,

(cont'd) Gm7~5 C7i9 Fm7bS B~7~9

fhkTi ¥ i ilarK ¥ ~ I= t 4 J ~ rTh I~ r ' / ~ ~ t c g _ J b e Ptu ¥ - i p F

C 1

D~maj7

q$ E : f l tr rr JJ J d I ~ J J J

Figure 9M and Figure 9N below represent two different lines that can be applied during the bridge of the

"Wouldn't You?" progression. Although the lines differ, the approach is the same. The melodies of both

figures employ primarily the pitches of the diatonic scale. The G natural in measure 8 of both examples is a

chromatic passing tone and the B natural in measure 7 of Figure 9N is a chromatic upper neighbor tone

(sometimes referred to as a "turn").

BPm7 E~7 Bm7 E7

¥v~ftftfqU r I t - t k~r0m7 ~7

- q - r/r Q t ± ~ f r ;Er F UI

Both examples use chord substitution: the Bm7 in measure 7 replaces the mm7-B7 progression which

normally occurs during this section of the bridge .

• Figure9N

(cont'd) APm7 D~7 ~ Am7 D7 APm7 Db7 G~m~7

. b k & & e ¥ A g j e g f r , q r I t t ; ! ! fm b tT I t b E b E E f t I d g j) J J f h l3

Bm7 E7

PRACTICE SCHEDULE

Begin by learning the three modes used for the m7~5 chord in all keys throughout the range of one's

instrument. Memorize all the musical examples. Memorize the "Wouldn't You?" melody, solo, and

progression and transpose everything through all keys at a wide range of tempos.

Practice soloing over the "Wouldn't You?" progression and all other progressions presented in this

chapter. Incorporate all the scale choices for the m7~5 chord to become more familiar with the distinct sound

of each.

Practice combining the colors of the m7~5 chord with those of the dominant seventh chord and then

practice establishing separate colors for each chord as demonstrated inFigure 9H. Refer back to Chapter 4 for

more ideas on practice techniques.

55



Chapter The DiRlinishedSeventh Chord

Scale Choices

vii of Harnwnic Minor

The diminished seventh chord occurs only once throughout all the diatonic seventh chords derived from

the major, harmonic minor, and melodic minor scales (Figs. 2A, 2B, and 2C; see also Appendix A). The

seventh mode of the harmonic minor scale is the only mode in which the first, third, fifth, and seventh scale

degrees spell a diminished seventh chord. C is the seventh degree of a D~ harmonic minor scale, so the

seventh mode of the D~harmonic minor scale can accompany a C07 chord (see Fig. lOA).

Figure lOAC07

~

e b b ! ! ~gb J

b J b J I ~J & J = t t r ~]~2 ~3 ~4 ~5 1 > 6 ~~7 8

Diminished

The diminished scale may also be used with the diminished seventh chord. The diminished scale begins

from the foot of the diminished seventh chord with the interval of a major second or whole step (see Fig. lOB).

Remember when the diminished scale is used in the context of a dominant seventh chord (dominant-diminished

scale), it begins from the root of the chord with an interval of a minor second or half step (see Fig. 6E).

Figure lOB

2 4 ~5 8


The diminished seventh chord most often resolves up a half step. This is because the diminished triad

occurs on the seventh degree of the major scale and the origin of the diminished seventh chord lies on the

seventh degree of the harmonic minor scale. They function as leading-tone chords (vii'<I or vW7-Imaj7) and

their natural tendency IS to resolve up a semitone. (Leading tone is a term which simply means the seventh

degree of a scale).

When the diminished seventh chord is used in a progression where the root movement is moving upwards

by a half step, the chord is employed as a passing chord to achieve chromatic bass movement. In this

instance, the diminished seventh chord can be a substitute for a cadential dominant seventh chord. For

example, a I-Vf-ii-V-I progression in the key of C major (Cmaj7-A7~9-Dm7-G7-Cmaj7) can be modified

to create the following chromatic bass line: T-!.ji07-ii-HI7-I (Cmaj7-C#07-Dm7-D~7#1l-Cmaj7). The C~o7

is a substitute chord for the A7i>9(see Fig. 8Y, line 2).

The seventh mode of the harmonic minor scale and the diminished scale work well over the diminished

seventh chord in this upward chromatic root movement. As previously discussed in Chapter 8, the A7~9 and

the C#o7 are similar in color and differ only in (oat movement. Both chords are derived from the same

diminished and harmonic minor scales.

There are many compositions which employ the diminished seventh chord where its root movement is

not resolving up a half step. Resolving the root of the diminished seventh chord down by a half step creates a

different color. For example, the I-Vl-ii-Y-I progression can be modified to reflect a I-!.iiio7-ii-V-Iprogression (Cmaj7-fl,°7-Dm7-G7-Cmaj7). In this example, the £1,°7 is creating a separate color from that

of the five chord of Dm7 (A7); the soloist would use the £1,diminished scale with the e07 chord, which is

56



Chapter The Diminished Seventh Chord

different from the diminished scale used with an A7!,9 or a C#07. The seventh mode of the harmonic minor

scale can be applied here as well. However, use of the diminished scale helps establish the flavor of the

diminished seventh chord when the root is moving downward by a half step.

In short, either the seventh mode of the harmonic minor scale or the diminished scale can be used when

the root of the diminished seventh chord is moving up a sernitone; when the root of the diminished seventh

chord is moving down a semitone, the diminished scale is the best scale choice.

The harmonic root movement of the diminished seventh chord is not limited to resolving up or down a

half step. A number of different harmonic progressions involving the diminished seventh chord are possible.

i07 resolving to Imaj7 and # ivo7 resolving to Imaj7 are other common progressions of the diminished seventh

chord. 1°7 and #iv07 are the same diminished chord-only the root of the chords differ. #iv07 resolving to

Imaj7 will be presented in the following section.


Figure IDC demonstrates how C#07 replaces A7~9 to create the chromatic roar movement of HW-ii

(C-C#-D) instead of I-VI-ii (C-A-D). The scale used with the C~o7 is either the seventh mode of the

harmonic minor scale or the C# diminished scale since each pitch is contained within both scales .

.. FigurelOC

Cmaj7 (l of major) C#o7 (dim. scale) Dm7

® e f : ~f T L F E J 1 J r aft F f r I F

The following example (Fig. laD) displays the diminished seventh chord resolving down the interval of a

semitone. The S07 chord creates a color separate from that of A7~9 or C~o7when resolving to Om7 and the

scale choice shown here is the descending Siminished scale. The m is the only pitch not within thisdiminished scale, but is used to create a half-step resolution to the fifth of the Om7 chord (A).

.. Figure 10D

(cont'd) Cmaj7 (I ofmajor) Ebo7 (dim. scale) Dm7 (ii of major)

~ e [FE [ E ~ r M it t r e e El E r [ ~ F I j J m I

Another common use of the diminished seventh chord is to re-establish the tonic from the tritone

CH07-Cmaj7). Although the root movement here is a tritone, the bassist will often resolve the F# to G to

create a smoother root movement (Hto G rather than F# to C). In this case, the color of the chord is really

heard as C/G or C in second inversion.

Figure 10E (in the style of Sonny Rollins) is in the key of C major. The example begins with the 17 (C7)

modulating to the T V chord. The diminished seventh chord built on the sharp four of the key (measure 3) re-

establishes the tonic (C).

Fmaj7

-

3.'/ 3

57



Chapter f 1 ! J The Diminished Seventh Chord

Figure lOP is another example (in the style of Sonny Rollins) over this same progression .

• Figure lOF

(cont'd) C7

leE *

f7

f#07 (diminished scale) Cmaj?

4 " 1 ~,

~ r # r ~ b rI0) l' F r g r [ £ Et r - r

1 1I

The diminished scale's symmetry makes it easy to create patterns. Measure 4 of Figure lOP shows one

possibility. This sequence exploits two intervals: major thirds and semitones. A number of patterns are

possible within the diminished scale; Figure lOG demonstrates three of the more common diminished

patterns. All eight of the following chords can derive their color from this one diminished scale (see Chapter

6-The Diminished Scale).

Figure lOG

Cl07 G07 Bbo7

* c H # r r r [1(#0 t : E W t # c r J I I F r b E I f E # r t - EE07 C13~9 A13-9 P13~9 Eb13b9

~ § P - r rErT-lllfff)etrbjrcl-j P c P r EWThe diminished seventh chord creates movement similar to that of the dominant seventh chord. The

tritone within the dominant seventh chord creates leading tones. The C diminished seventh chord includes

two tritones in its intervallic makeup---C to F # and g, to A. In addition to the chord tones, tritones are also

found within the remaining C diminished scale tones (D to G # and F to Bh). This color creates a number of

leading tones which in tum gives the diminished seventh chord the feeling of forward motion.

Songs and SolosIncorporating the Diminished Seventh Chord

"Cruising" frequently uses the diminished seventh chord. Each diminished seventh chord is used as a

substitute for a cadential dominant seventh chord. The root of every diminished seventh chord is the third of

the dominant chord for which it is substituting. For example, the harmonic progression of the first five full

measures is Smaj7-P7-Fm7-F#°7-Gm7. The E07 and F#07 are in place of C7I>9and D7l>9,respectively.

Without the chromatic root movement, the progression is simply E~maj7-C7~9-Fm7-D7b9-Gm7. The

upward chromatic root movement is the result of using the diminished seventh chords instead of the cadential

dominant seventh chords (see Fig. 10C). Once again, both the seventh mode of the harmonic minor scale or

the diminished scale will work well in capturing the color of the diminished seventh cbord within this ABAC

harmonic form.

58



Chapter ([i) The Diminished Seventh Chord

Abmaj7 C 7by Fm7

* " " tlj

F 7 F m7

" . J . JJ J I j i

~CRUISING

Gm7 (E~/G) G7#S em 7

f f r rid f F i r r IJ ; J I£ Jjj

Gm7 C 7~9 F m9

L__3__J

D ~ 13~ 11 Ebmai7 C 7b9

- . R V & r ' ~f~br ' V ~ r E (

Solo Ebmaj733

~b P r -

fml] B~13~9

I t r F t l F

F#07 (vii a/harm, min)

r--.

G7~9 (dam.dim or Vofharm. min.) A bmaj7

p tlr U~r- p I r U~ r R C f : [ J t ~ G p

Fm7

G7

~ I¢ J f rr

3

C 7 b 9 (Va[harm. min)

.1 c : : : J

F#o7 (vii of harm. min.) Gm7~ l - (PT,) _

I ¥ % fit r *J # J J I J 0= J p l J

Cm7 Fm7

gt I(}

d J hidE0 7 (vii a/harm. min.)p : C . S l ( C , S , )I ¥d J ~(¥]Ej

59



Chapter The Diminished Seventh Chord

C7' 5(:9) (altered scale)

j ~lir & 0 J L L JFm7

If]J] B t f fd:1

Bb7 (Vofmajor) Bb7#5(b9)(altered) 9maj7 F~7 B7 E7 6.EPmaj7

'V t E f r r 1 Q Tr p J J h J , J 3 J # 3 : ] ~ E # f J F 1 F 1 r * r t i P I P U r ~ I I

•"Cruising" ProgressionI A ] Swing J = 92Ebmaj? P? Fm 7 F!O?

~~\C) ) ) ) I ) ) ) ) @ d ) ~ I

II

~ ~ ) @ E jII I I I I

~ *The audio changes key on each repeat, going through the following keys: Ej" G, B, E, A~, and C.

Gm7 G7#5 Abmaj7 C?b9

=4~bbI ) j I I

~I A I )

I tJ I ~I

~I Z f I I -i 51I I I I I I I I I

l I D Fm? P#o7 Gm7 G715

1 ~ b H ~ WI

J ) ~ i t~

b]~ II - ) ) ~ 2JI

I I I I I I I I

Cm7 f7 Fm? Bb7;S

~ bE ~ ~ ) I

I

i I I~ ~ ~ I I I

I~ ~I I

I

( I

I

( )

illI 1 I I I I I I I I I I

I A ] Vmaj7 EO? Fm7 F;o7

ib b I I I I I I ) ~I I I I I I

~ ~: I I I ( ( j"

I f - I ( {I I I I I I I :I. I I I I I~

Gm7 G7#5 Abmaj7 C7b9

~MI I I I I I )

Id I J J p ) J 1 I

~( {' l I ( I I

"(

I I,

I I I I I I

[Q Fm7 oh7#11 Ebmaj7 C7b9

- - , h-~ ~ § ) ~ ~ I ~ ~ ~ ) Ld ) I-;

I I dI I I , 1 I I L

Fm7 Bb7 Ebmaj7 C7b9 Pm7 Bb7 play (j times

~ & b ~ ~ ? i I -I I~ ~ ) ~I I

I) I I

~ 1I II I'

I I l = t = = - , I I I I I

Analysis of the "Cruising" Melody

The melody is drawn almost exclusively from chord tones. Within this entire composition there are a

limited number of pitches that are not derived from the first, third, fifth, or seventh degrees of the chord. The

A section (measures 1-8 and 17-24) use nothing but chord tones (the B natural in measures 5 and 21 and is

anticipating the ensuing G7).

60



. _ _ _ c _ h _ a _ ; p ~ t e _ r _ _ _ _ _ . " f l l. I J The·Diminished Seventh Chord

The pitches which are not chord tones are often derived from the extensions of the chord: The F# in

measure 16 is the #5, the G in measure 25 is the 9th, the G and B~ in measure 26 is the in1 and 13th

respectively, the B~ in measure 29 is the 11th, and the G in measure 3 0 is the 13th. Only measures 13-15

display scale tones.

When memorizing this melody (or any musical passage), be aware of the pitch relationship to the chord.

This will improve your ears. The task of recognizing (hearing) a #11 on a dominant seventh, an 11th on a

minor seventh, a natural 2nd on a minor seven flat-five, or a 7th on a major seventh chord will become easier

and easier.

Analysis of the "Cruising" Solo

The analysis of "Cruising" (once again) can be found on the example itself. The modes used are in

parentheses next to the chord. Remember the acronyms used to point out chromaticism: P.T . (passing tone),

U.N. (upper neighbor), L.N. (lower neighbor), and C.S. (chromatic surround). If the chord has no analysis in

parentheses beside it, this means the chord is derived from its diatonic major scale: 1 of major for the major

seventh chords, ii of major for the minor seventh chords, and V of major for the dominant seventh chords. Allthe diminished seventh chords derive their color from either the seventh mode of the harmonic minor scale or

the diminished scale.

There are two major seventh chords: El-maj? and N>maj7. Bmaj7 is the tonic chord and is always treated

as I of major. Al-rnaj? is the fourth degree of the tonic key ( E I » . This chord functions more within me tonality

of E J , and is tonicized, rather than clearly establishing a modulation to the four chord (key of A I » . The term

tonicize means a key center is not established. but, merely implied). Therefore, this Al-ma]? is always heard

(within this particular harmonic movement) as IV of major.

During improvisation on this section of the "changes" (measures 38-39 and 54-55) the soloist could think

of substituting Al-ma]? with Cm 'Z , Bam Al -ma j? (IV of major) and Cm7 (vi of major) derive their color from

the same major scale (S). Sometimes viewing a progression differently (V-I, G7-Cm7 instead of VU-l, 07-

Al-maj?) can help the soloist hear more possibilities for ideas or lines. This was discussed earlier in reference

to tri-tone substitution (see Figure 8S).

All Om7 chords can be replaced with Ebmaj7/G in much the same way Cm7 and Al maj? are

interchangeable. Both chords derive their color from the same major scale (£1,). The Om7 chord functions

within the tonality of E J , major (iii of major). Bmaj7/G is the tonic chord in first inversion. Play Figures lOH

and J O T and notice how both sound good. These figures display the melody (measures 5-7 or the A section)

with the two different harmonic approaches.

Figure 10HGm7

,.., I. I fI__1 - - ; J J b-{_~- -.J

n bo ..0-. -=r« .-

Figure 101

E~maj7/G fI ,--3--------., j J hI ~I I I

. .0 ~o ..0-

~-l: 11

61



Chapter (]j) The Dilninishecl Seventh Chord

Notice how the Gm7 (measure 58) is replacing the EJ,maj7 from the original melody. This creates a iii-

VI-ii-V-I instead of ta I-VI-ii-V-I (see Figure 8P), and allows the soloist to incorporate the descending

chromatic line discussed in Figure 81.

Mode-mixture is present in measures 53 and 62. The first two beats of measure 53 contain the dominant-

diminished scale or the fifth mode of the harmonic minor scale (the notes present are a part of both scales),and the color of the last two beats changes to the altered scale (Ab melodic minor scale). The first two beats of

measure 61 contain the fifth mode of the major scale and the color of the last two beats once again changes to

the altered scale (B melodic minor scale).

Notice how almost every scale choice for the dominant seventh chord is used throughout this solo: V of

major, V of harmonic minor, dominant-diminished, altered, and iv of melodic minor. Only the whole-tone

scale and the fifth mode of the melodic minor scale are not used.

Measures 63 and 64 display tri-tone substitution. Instead of the 1-VI-ii- V -I progression (EJ,maj7-C7-Fm7-

m7-Bmaj7) a l-~lIl-~Vl-~lI-1 progression is used (Ebmaj7-F#7-B7-E7-EJ,nu~7). (Enharmonic spellings are

used to make the line easier to read), F#7 replaces C7, B7 replaces Fm7, and the E7 is used in place of the

B~7.

Figure 101 below (in the style of Sonny Rollins) is a melodic idea which can be applied over the

harmonic structure of "Cruising" (beginning on measure 56). Measures 4 and 5 of Figure 101 display the

progression Ebmaj7-C7~9, although the line is heard as a Gm7-Gbm7 substitution. The progression then

becomes iii-biii-ii-V-I instead of the I -VT-i i -V-T (see Figure 8U) .. Play Figure 10K and listen to which

harmony better compliments the line.

The melodic passage in the last 2 measures of Figure 10J also departs from the original harmonic

movement. The "changes" display the ii-V-I progression (Fm7-m7-Ebmaj7). although this line is heard as V-

I-V -I (m7-EJ,maj7-m7-El>maj7). Play Figure IOL and see which harmony better compliments this line.

In addition to chord substitution, Figure 101 also contains two forms of chromaticism: chromatic

surrounds (measures 3 beat 2, measure 7 beat 4, measure 9 beat 2) and passing tones (H in measure 4, B

natural in measure 9), The first measure contains a clear example of V of harmonic minor. Measure 7

contains mode mixture: the first two beats could be heard as either B~13sllS or as a continuation of the Fm7 to

create an Fm9. Both chords would derive their color from the EJ,major scale. The color of the last two beats

is derived from the B melodic minor scale (altered scale).

6 F~ ~7 ~~7

~ r t : r q c r fj I F E 0 r '[ f f ¥ ¥ c J 1 F I

62



c___ c _ h _ a . . . . : ;p ; _ t _ e _ r _ ® _ . . ., I Tbe Dilninisbed Seventh Chord

Figure 10K ,E·maj7 Fm7

ll~

-

I-.I ,

1 1J

3L . . . . J I I 1

u-

-9-

Gm7 F#m7 Fm7

.L I ~

~ _ + 1 7 •

.-

, .

- I '1 " 1

-,0

I 1..J -3

L . . . . J I I 1

oo

o

Figure lOL Fm7 E~maj7

~

E~maj7

d• ,.- If. •

-I -

-

PRACTICE SCHEDULE

Learn the two scales available for the diminished seventh chord (Figs. lOA and lOB) in all keys.

Memorize and transpose Figures IOC, 100, tOE and lOF in all twelve keys at varied tempos. Learn,

memorize, and transpose the diminished patterns in Figure lOG and create other possibilities exploiting

symmetry of the diminished scale.

Practice improvising over the harmonic progressions of Figures WC-lOP in all keys. Become familiar

with the sound of the diminished seventh chord with root movement resolving down a half step, up a half

step, and up or down a tritone. Incorporate both scale choices for the diminished seventh chord L a become

more familiar with the distinct sound of each.

Memorize and transpose the melody and solo from "Cruising" through all keys. Practice improvising on

the harmonic structure of "Cruising" in all keys while incorporating both scale choices for the diminished

seventh chord. Assimilate the solo ideas from the analysis discussed on the previous pages and incorporate

them while improvising. Refer back to Chapter 4 for more ideas on practice techniques.

6.3



Chapter The Minor-Major Seventh Chord

Scale Choices

iof Harmonic Minor

The minor-major seventh chord occurs twice throughout the diatonic seventh chords constructed within

the major, harmonic minor, and melodic minor scales (Figs. 2A-2C and Appendix A). The first, third, fifth,

and seventh scale degrees of a harmonic minor scale is a minor-major seventh chord. C is the first degree of a

C harmonic minor scale, so a C harmonic minor scale can be used with a Crn(maj7) chord (see Fig. 11A).

Figure llA

4C

Cm(maj7)

& 1 I I

J J~ J J P & J

r rI I

2 ~3 4 5 be 7 8

i of Melodic Minor

The first, third, fifth, and seventh scale degrees of an ascending melodic minor scale also make up a

minor-major seventh chord. Therefore, the C melodic minor scale is an alternative scale choice for the minor-

major seventh chord (see Fig. lIB).

Figure llB

~C

Cm(maj7)

bF 1 11 J ~ J J ! Jj

r F2 h3 4 5 6 7 8


The determining factor when making a scale choice for the minor-major seventh chord is the alteration

(or lack thereof) of the ~ixth scale degree. The sixth scale degree is the only pitch which differs between the

two scale choices for the minor-major seventh chord. Determining whether the sixth scale degree should be

flat or natural will determine the scale used (harmonic or melodic minor) to accompany the minor-major

seventh chord.

Always refer to the original melody when determining scale choices. If a natura] sixth scale degree existswithin the melody, then the melodic minor scale should be employed. Conversely, if a flatted sixth scale

degree is in the melody, then the harmonic minor scale would be the best choice. During improvisation there

is no right or wrong choice. If one hears it, one should play it. Figure He

When the natural sixth scale degree is used within a Cm(maj7)

voicing for the Cm(maj7) chord, an F7fiI1 can substitute for 1~~~~~~~~~~~~~the Cm(maj7) in much the same way the a07 substitutes for ~ II

the A7~9 or the m7~ 11 substitutes for the G7~9(fi5). No

matter which root is used, the scale choice and voicing can

remain the same.

F7111

u

64



' - - C _ h _ a . . . . : ; p t ' - - - - e _ r - - - - - - 1 ( ] ) The Minor-Major Seventh Chord


Figure 11D (in the styIe of Pete Christlieb) displays the first mode of the melodic minor scale, yet

both the major and minor seventh scale degrees are present (F # and p~on the Gm[maj7] and D~ and [)I, on the

Bm[maj7]). Nevertheless, the melodic minor scale color is prominent and dominates the overall color of the

line .

• Figure UD .Grrumaj")

- 4 61 3 ' b e- I r

D# r

I[ f ~

c~ r ~

r F b e r r t t = 1j3 3

3

I I3

Figure lIE (in the style of Kenny Barron), exhibits the first mode of the melodic minor scale for both the

Gm(maj7) and BmCmaj7) chords. The sound of the melodic lines over the BmCmaj7) chords in figures lOD

and IOE are similar to a melodic line played over a V-i progression because the E J , melodic minor scale used

over the Bm(maj7) chord is also often used on a D?]'9(~5) or Ann 1 when moving to Gm(maj7). The F and

E J, (measure 4) sound like the sharp and flat nine of a D7~9(~S)chord when they resolve to the fifth (D) of the

Gm(maj7) chord .

• Figure lIE

(00""') G r n u n a j r ) f ff p , , : ( m aj

) G m fm a j Z )

= ve

- ~3! g f ~ r r k W F a m F T -m I J I I3

Songs and Solos Incorporating the Minor-Major Seventh Chord

"Christa's Dream" is used to display the melodic treatments of the minor-major seventh chord. The song

is in AABA form. Each- A and B section of the composition is sixteen measures long making the full form

.sixty-four measures long.

% Head

1 Bbm(maj7)

I I : 0/~ I

Nom7Abm(maj7)

L_ 3 __

Db7~S

10

~l,&~J J

F 7~9#S ,~ 3-_

t ¥ J > j] 1In------l j Jgg6 5



Chapter f l J The Mino....Major Seventh Chord

I I , B~m(maj7)15

i A b ~ ~' ~it~)11

2, Sbm(maj7) To C od a-$- Ebm7 /Ab

I J : 1 1 r . ~ ( 1f ' 1 1 r F F F P c m1 . ! 7 Dbmaj? /_ -,Bb7#5(#9~ Eb?#II

' V t & & ~ rF E n E H i r Hn E r Y let r R r t 1 C £ f #fn f (F l3

Bm7

Em? A7

r -EJ#[t 1

Ebm?IN N7

I r F f r ~ rr r r 1 r r r r ~E f & j

P I TL__ 3 ___J

3

Abm7 (PT.) Db?#11 (lv of mel .minor} Abm7 Db13 Db7!5 (altered scafe)

f 4 & & b r o J !1S b8o 1 1 ¥ V UWit trr H3

Bbm(maj7)

49 ~ ~- , 6 & g , = J[rSbm(maj7)(i of harm. min.) NmCmaj7) (i ofharm. min.)

(P,T.)

~ & ~ k J j J I t J J

Bbm(maj7) Abm?

I I ¥ ~ u r f r ~ r b E ! r ¥ r r r ¥ & r 1 1 E ' r & J J H d3

66



.___ ' C_h_a--=-p_te_r---'lfl)he Mino ....Major Seventh Chord

3.'1

A I> # 5 D~maj7 Bb7#9(~9)6 ---

q ~r o

F T r O P R V f' W -I

Nm(maj7)

~ F gy9'-Bbm(maj7) #m7

] 1 1 n i j e t - f f ' ] fd f J J J J A J ~ J : S J J d i l l'-"

Nm7(io!mel.min.) Db13b9(domdim.) Gbmaj7 .. D b73 ~ 6 ~:r,)

]1 J t 1 % j F f b E ? Idr ( 3 E tW I I f tiLt; E J E d

C 7# 5 (# 9) (altered scale) F 7 # 5 (~ 9 ) (altered scale)

* b " " j d q J i j 1 ] - j J q d J I r 1 ( 'r F r I F F r q J B 1 0

Bbm(maj7)

67



Chapter The Minor-Major Seventh Chord

• "Christa's Dream" Progression

C A l Latin J = 92B~m(maj7)

~b ~~C ) i ) ) I ) )

J'The audio plays Iwice through the complete form: first in Bb. then inB.

B~m(maj7)

Vtb~) ) II

I

zII

II

JMm(maj7)

I

d )

I ~I I

II

II

II

I- 1

I

Mm7

I ~I I

)I

I. ,I

II

I

II.'

J II

r L

Gbmaj7

I )II

I

1

J j , ) )

I I I

Bbm(maj7)

)j

I

J[

- 1

I

Fine

III

, ) ) II

Dbmaj7

II

I

II

I

II

I I

I) j

II

J

,I

D~maj7

))

I I

I"

Bb7b9

;) I))

II

Em7

I ,) I

A7

II JI

I 1f I

I

III I

D~maj1

) J II

I

I

B~7b9

g) )

I I

J J

I

J II,

Eb7#11

[t\d)

I I Y I I I

II L

I

D.C. al Fine(no repeat)

I

")gaI I I

The "changes" to "Christa's Dream" contain many of the common harmonic progressions previously

studied. Measure 7 begins a ii-V-ii-V-I progression in the key of G~major. The first V chord (U7, measure

8) is a non-functioning dominant seventh chord and the following U7 (measure 10) chord is a functioning

dominant. The D~7 in measure 11 can be viewed as a tritone substitute for a 07 as it resolves to C7#9. The

C7#9 is a dominant II chord which moves to the dominant of the key (F7) and cadences on the tonic

(mm[maj7]).

The bridge (measures 17-32) is in the key of D~ major and begins on the minor ii chord (EJ,m7). The

harmonic movement during the bridge basically loops a ii-V-I-VI (EJ,m7-Ab7-D~maj7-m7) progression

until the final cadence in measure 31. There are some slight deviations from this simple progression. The ii

chord (Bm7) combines with the root of the V chord to create the "sus" quality discussed earlier in Chapter 8.

Measures 21 and 29 contain a dominant Il chord (EJ,7#1l) instead of the minor ii chord (Bm7), and the key of

D major interrupts the D~ tonal center for four beats (measure 24) with the Em7-A7 replacing what would

have been the dominant VI chord (m7).

68



L.....- C _ h _ a - - = - p t _ e _ r - - - - ' l f l J The Minor-Major Seventh Chord

Analysis of the "Christa's Dream" Melody

The melody during the "A" section uses more scale tones and chord extensions than chord tones. The melody in

measures 1-7 hovers around the 9th scale degrees (C for the B~m(maj7) and Bb for the Al>m(maj7). The U1 is used

in measure 8, the #5 in measures 10 and 14, the ~9 in measure 12, and the 6th in measures 15 and 16.

The melody in the bridge also uses extensions. The ~9 is used in measure 22 and (he #1 1 in measure 23,however, the remaining pitches are derived from diatonic scale choices. Since the bridge is in the key of D > major,

the D~major scale is the scale from which these tones are derived.

Once again, when memorizing this melody, be aware of the pitch relationship to the chord.

Analysis of the "Christa's Dream" Solo

The modes or scales from which the lines in this solo are derived are (as before) written next to the chord

symbol. If the chord has no analysis in parentheses beside it, the chord is derived from its diatonic major scale: I of

major for the major seventh chords, ii of major for the minor seventh chords, and V of major for the dominant

seventh chords. The minor-major seventh chords are derived from i of melodic minor, except for measures 51-54

which employ iof harmonic minor.Measures 42 and 46 contain only one pitch. Since these pitches are not within the diatonic major scale (G

major scale for the D~7 and F major scale for the C7), the analysis reflects the most logical choice with regard to

chord type (b9, #1 1 or #5, etc.), i.tsfunction within the harmonic progression, and the melody note. The extension for

the [)!,7 is a #11 (measure 42) and it is a non-functioning dominant. The only pitch is the #11, so IV of melodic

minor is a logical choice. The extension for the C7 is a :9 (measure 46) and it is a functioning dominant, The only

pitch is the #9, and without any rea..on to suggest a#5, the dominant diminished scale is the most logical choice.

In addition to understanding chord scale derivation, attention should be drawn to the thematic construction of

the solo. For example, because of the parallel harmonic movement within the first four measures of each A section

(measures 35-38, 51-54, and 83-86), the solo uses motifs which transpose at this whole step interval with slight

rhythmic and pitch deviations. When soloing, try to apply this concept.Take a moment to notice how the solo is influenced by the melody. The melody during the A section has two

phrases: measures 1-8 and 9-16. That is to say, the melody rests in measures 8 and 16. The solo mirrors this

phrasing and even rests on the same pitch as the melody.

Now take a look at measures 55-57. The line over the Bj,m(maj7) in measures 55 and 56 is derived from iof

melodic minor, and ii of major is the mode in which the line from measure 56 is derived, yet the whole-tone section

of the Bb melodic minor scale ( 1 ) 1 " S,F, G, ancl A-see Chapter 6, The Altered Scale), combines with a portion of

the whole steps within -the a major scale (0., Db, and .B) to complete an entire whole-tone scale (C~-D~-EJ,-F-G-

A). Try applying this idea while soloing.

The chromaticism within this solo supplies yet another concept to learn from. In addition to the passing tones,

upper and lower neighbor tones, and chromatic surrounds, another form of chromaticism can be found in measures44-45. The 13th of Dj,7 moves to the #5 of D~7 which continues to the 9th of G~maj7. This creates a Bl.-A-M inner

chromatic line very similar to the type of descending chromatic line discussed in Chapter 8 Figures 8J, 8K, and 8L.

This chromaticism is also present within the melody (measures 9-11). Here the Bb is the ninth of Mm7. For this

reason, measure 44 could be heard as a coninuation of the Al-m? from measure 43 through the first beat and a half

of measure 10, creating an Al-mI 1. The resolution to the D~7 would then be delayed until the upbeat of two in

measure 44.

This could also be an example of mode mixture if the line in measure 44 is analyzed over a D~7 (the B] of the

U7 is derived from a major color and the A is derived from an altered color). This happens again in measures 67-

68 and in a different key in measure 80.

Look at measures 37 and 78. There is a great deal of chromaticism here, yet notice how the chromaticism

resolves to chord tones on strong beats to create a clear sense of harmony. Beats 1 and 3 of measure 37 and 38

possess either the 5th, 3rd, or root of the chord.

69



Chapter ( [ J The Minor-Major Seventh Chord

The major seventh of A~m7 in measure 41 (OI!) creates a minor-major color and at the same time

anticipates the #11 of the ensuing D17. This pitch is a very colorful note through this deceptive cadence and is

used often throughout this solo. Try to apply it in your own solos.

The reason there is no analysis next to the C7#9 in measure 62 is because the line in measures 61-62 is

simplifying the GJ,maj7-D~7-C7#9 progression. The tonality of the solo remains with Gmaj7, rather than

establishing the U7-C7#9.

The following figures (in the style of Hank Mobley) demonstrate how one could improvise an idea based

on the scale derivatives discussed above. For example, we discussed how the whole-tone scale was used in

measures 55-57. Figure 1 1 F displays this same sound with a different idea.

+FigurellF

~ b bC - I I

The line is measure 92 is derived from the dominant-diminished scale. The line in Figure llG

demonstrates how one might change the line, but maintain the concept of using the dominant-diminished

scale at this section of the harmonic progression.

+FigurellG

(cont'd) A~1117 6

~ b b 6 b b l f ¥ : f F 'O b7#9 Gbmaj7 D ~7!9

~ (E rr ~fnfr C P r b ( I t ? E 2 T ¥ ~ E n

Figure IIH also displays how one could employ the dominant-diminished scale during this section of the

harmony. The concept (discussed earlier) of simplifying the harmony by ignoring the D~7 and C7 while

remaining in the G!.maj7 color is applied here as well.

Figure 111could be the result of trying to employ chromaticism.

? J I

70



l__ C _ h _ a _ : p : _ t _ e _ r - - - - - l ( J J The Minor-Major Seventh Chord

After memorizing the solo, one might be influenced by the sound of the 2nd and 6th scale degrees over the

minor-major seventh chords. Figure 111 displays another line which exploits these tones.

Figure 11K exploits the 2nd and 6th scale degrees as well. The idea of using the #11 on the non-functioning

dominant chord ([)I,7) is also used here.

~FigUrellK

(cont'd) B~m(111aj7)

l&4¥e jW , ( f ~IrB~m(maj7) 3

, ~b~ [bC1 I~ J I~nThere are an infinite number of ideas to learn from the songs and solos of other artists. You should continuously

transcribe melodies, harmonies, and solos from recordings you admire. This practice will help you achieve your

goal of superior improvisational ability.

PRACTICE SCHEDULE

As always, memorize and transpose every musical example presented in all keys. This practice, more than any

other, will produce favorable results. Don't forget to always use the metronome at a wide variety of tempos.

For recorded solos you wish to play, keep in mind it is important to hear how the original soloist performs the

melody and solo. The student should not just refer to the written solo, but should use the transcribed solo in

conjunction with the original recording. It is impossible to notate rhythms exactly as they are played. Performers

take many liberties with the "time" and this freedom creates a great example of how each style should be played.

Pay particular attention to the way someone "lays back" or plays straight eighths to contrast the swing feel of a

composition.

71



apter The Major Seven Shar'p-Five Chord

Scale Choices

III of Harmonic Minor

The last chord presented in this study is the major seven sharp-five chord. Like the minor-major seventh

chord, the major seven sharp-five chord has two possible scale choices. The major seven sharp-five chord

contains the first, third, fifth, and seventh scale degrees from the third mode of a harmonic or melodic minor

scale (see Figs. 2B, 2C and Appendix A). Figure 12A displays the Cmaj7#5 chord with the third mode of the

harmonic minor scale. C is the third scale degree of the A harmonic minor scale, so it follows that a Cmaj7i5

can derive its color from the A harmonic minor scale.

Figure 12A

Cmaj7#5

~Ji 1 1 1 J J t [ f J ~ r 4 1I

2 3 4 # 5 6 7 8

III of Melodic Minor

Figure 12B is the Cmaj7#5 deriving its color from the A melodic minor scale. C is the third scale degree

of the A melodic minor scale, so this scale represents the third mode of the A melodic minor scale.

Figure 12B

Cmaj7#5

"; ; j j -j ~j . ; j

r r ?lI •2 3 # 4 ;5 6 7 8


The determining factor when making a scale choice for the major seven sharp-five chord is the alteration

(or lack thereof) of the fourth scale degree. The fourth scale degree is the only pitch differing between the two

scale choices for the major seven sharp-five chord (see Figs. 12A and 12B). Determining whether the fourth

scale degree should be sharp or natural will determine the scale used (harmonic or melodic minor) to

accompany the major seven sharp-five chord. The third mode of the harmonic minor scale represents thepurest scale choice since only the fifth is raised. The third mode of the melodic minor scale raises the fourth

scale degree without the chord symbol indicating such an alteration. Yet, the raised fourth adds additional

color to the chord without camouflaging its design.

The improviser should always refer to the melody when making scale choices. If a natural fourth scale

degree exists within the melody, then the third mode of the harmonic minor scale should be employed.

Conversely, if a sharp fourth scale degree is within the melody, then the third mode of the melodic minor scale

should be used. Remember, during improvisation the concept of right or wrong is subjective. I f it sounds

good, it's right; if it doesn't it's wrong.


Figure 12C demonstrates both the third mode of the harmonic minor scale and the third mode of the

melodic minor scale. The first measure contains the third mode of the harmonic minor scale in use over the

Cmaj7#5 while measure 3 displays the third mode of the melodic minor scale.

72



The Major SevenSharp-Five Chord

• Figure12C

Cmaj7#5 (J IJ of harm. minor) Cmaj7

~(-~Er f [[; I r~tJ I1 1

3 3

Songs and Solos Incorporating the Major Seventh Sharp-Five Chord

The major seven sharp-five chord is rarely used within jazz or popular compositions. More often than

not, it is used as an added color that may not have been originally intended by the composer. For that reason,

instead of using a song which uses the maj7#5, this chapter will include a solo and examples which show

where the maj7#5 chord could be applied. For example, the following piece was not written with a major

seven sharp-five chord yet this color works well with the melody line (see measure 4, Fig. 12D).

Figure 12D

Cm7 Bbm7 Bbm(maj7) Bbm7

_1 1 I I I I

~ I I Ig : I.~~ ~ I..~ l 8 -

··

Fm7 Dm7~5

_1 I I I I ~

. .- - - '1 ' f 'j i:2. f 2 - i9-

·• ~ q - c f

Figure 12E demonstrates another way in which the major seven sharp-five chord can be utilized. In this

example, the first two measures of a composition are depicted in measures 1 and 2; measure 3 shows how the

Bbmaj7#5 could be used to substitute for tbe original B07 chord.

Figure 12EBb07 Bbmaj7 Bbmaj7,

I I I I I

n . ..J ~~ I'

b _ o _~ .o _(}_

··

The previous two examples show how the maj7#5 chord is used to reharmonize a melody. Look back to

Figure 12D and notice that when the maj7#5 chord is used, the interval above the root is a major third. Theinterval above the root of the maj7#5 chord in Figure 12E is a major seventh. Therefore, a major seven sharp-

73



Chapter The Major SevenSharp-Five Chord

five chord could be a possible substitute for the original chord if the melody note is a major third or major

seventh above the root. This is not to say that this substitution will work whenever there is a third or seventh

in the melody. Changing a maj7 chord to a maj7#5 will always work so long as the melody is a 3rd or 7th.

However, changing another chord type (dominant, minor-major, etc.) to a maj7fi5 mayor may not work.

Changing the B~o7 to mmaj7#5 in Figure 12E works fine because of the ensuing chord. The maj7#5 often

resolves to a maj7 with the same root, B~maj7#5-B~maj7 for example. Always try to use good taste when

using substitutions and follow this simple rule: if it makes the melody note and the progression more

interesting, it works; if it doesn't stay with the original chord.

Very often liberties are taken with an original melody. The melody in the third measure of Figure] 2F

should be a C, the 6th of the FJ,maj7. The B natural is used here as a tension or suspension tone which

eventually resolves to the sixth scale degree (C). When the B natural is used in this manner, an FJ,maj7#5

would better compliment this chromatic lower neighbor tone (B). The B natural is the sharp five of Smaj7,

so this substitution works well.

Look at the three pitches above the S root in measure 3 of Figure 12F.They are the seventh (D), third

(G), and sharp five (B) of Bmaj7. These three pitches spell a G major triad (in second inversion). Therefore,

the slash chord GIB is another way to write g,maj7#5. In Figure 12E, DfBb would be another way to writemmaj735 and the ~maj7~5 in Figure 12D is synonymous with C/~.

Figure 12F

Bbmaj7 £ 0 7

J I I

.• '[ ~

. . . . . 17

~: l~:. . ... _ .-0-" ~-6 "

~ "SO.MEDAY"

Bbmaj7#5 (lllof harm.min.)

¥ wEft;

D7#9(#5) (altered) E~m a j7 ~ 1 1 (JV of major)

1 _ '1 J IE J o r r

G7b9 (dom. dim. or Vofhar. minorj)

3 (PT)

3 3

J i J W j 2 E1

3

Dm7 (iii afmajor)m7

I•

3

em7 F7#9(!S) (altered)

~ rfE~

D IJ £ J . J ~ J . . . . .# Jd1

# J !0/

P # 1J

3

74



Chapter TheMajor SevenSharp-Five Chord

F E r f I C '

em7(PT.)

g ~ & 0 Ij J k J J J J J

33

F7:5 (altered) B~maj7

~ b '

D7#9(~5) (altered) ;1

¥ i 1/ j J A h j J f IPg

E~maj7111 (IV of mel. min.)

rE 2 J s

F7~E f t ~ h , - It ElgjJ t

rr J _

E07

.I~ rG7I>9(~11) (dom. dim.)

I J' - - - - - - - < 1 - - - - - '

Cm7 F 13~9(dom. dim) Blmaj7

F

1 3=,~

I ~ ( J r E 2 J ?lI

• "Someday" Progression

Swing = = 148

Bbmaj7 D7~9(#5) E~maj7#11

~;))) I))bg)))G7#9(~5)

I I ) 1 I

Cm7

I J ) )G7#9C 'S)

) ,) );q, I I » I

Cm7 F7 ~9

I ) ) ) ~ ) ) )C~07(G7#9(#5) Cm7 F7

I I II) I

~ lI I , k gI

lI I I

I L I I , ,L~ I

75



Chapter The Major Seven Sharp ..Five Chord

I I

II

Om7

I,,Iw I I I

em7

J I,

Esmaj? (E~maj7#5) E0 7 (Em7)(A 7~9) B~IF (Dm7) G7#9(#5) (D~7#11) emll F7#9(!5) (87#1 1)

'# I~

I

~ ~ ) I ~ I~

I I~

I I I ~ I

I I!

I I I"

, I t (,

f I I' II I I I I I

,I I I I I I I I I I

Analysis of the "Someday" Solo

Whenever one learns a song or solo, it's important to be aware of the form and key of the composition.

"Someday" is in ABAC form, each section eight measures long, and the key is B~major.

First let's look at the maj7 chords. They appear in measures 1,3,17, 19,27, and 33. The line in this solois reharmonizing the B~maj7 chord in measures 1 and the El>maj7chord in measure 27 by using the #5 color.

(The orginal changes can be seen in the progression to "Someday"). The line over the Bbmaj7#5 in measure 1

is derived from the harmonic minor scale (Ill of harmonic minor) and the line over the El>maj7i5 in measure

27 is derived from the melodic minor scale (ITTof melodic minor). The El>maj7#11chords in measures 3 and

19 are both derived from the fourth mode of the melodic minor scale, and the remaining Bhnaj? chords

(measures 17 and 33) are both treated as I of major.

The dominant chords are all modified (except the F7 in measure 24) with either #5, #9 extensions (altered

scale) or 13, HI, or b9 extensions (dominant-diminished cale), The line over the G7b9 in measure 6 could

also be derived from V of harmonic minor because the tones present are within both scales. The line over the

F7 in measure 8 is very chromatic and could incorporate mode mixture. There is a ~9on beat one and a ~9onbeat two. There is no mode or scale which contains both a ~9and b9.The analysis on the solo views it as V of

major with passing (ones and the entire second beat as a chromatic surround. When memorizing this line, see

how you hear it.

The minor seventh chords are all functioning within the key of Bbmajor. The Cm7 chords are treated as ii

of major while the Dm7 chords are treated as iii of major. The Fm7 chord in measure 25 is the only

exception. This chord is a substitution from the original harmony. The Fm7 is replacing a Bhnaj". The use of

the Fm7 creates a ii-V-I progression in the key of E l > major (Fm7-m7-E~maj7) so this minor chord is

functioning within the key of g, major.

Notice that all the diminished seventh chords in the B section are resolving down the interval of a half

step. For this reason, none of the C#o7chords derive their color from the seventh mode of the harmonic minor

scale (see Chapter 10). The diminished scale is used to compliment each of these chords. The root of the E07

in measure 28 is resolving up the interval of a half step, and this chord also derives its color from the

diminished scale.

We have discussed how the maj7#5 chord can be used to reharmonize a melody. The solo to "Someday"

demonstrates how the maj735 color can be used inplace of a maj7 chord. The following will address other

possible chord substitutions to "Someday."

The A section will remain the same. During the B section a G7~5i9 can replace the C#07. Soloists win

often play a iii~VI-ii-V progression instead of the written iii-hiii't-ii- V progression. This is not a substitution as

much as it is a reharmonization because the G7#5#9is not similar in color to the 0°7. They derive their color

from different scales (C# diminished scale for the al°7 and the A~melodic minor scale for the G7#5#9). The

B7#11 which replaces the F7#5#9 is simply a tritone substitution (see Chapter 8, Figure 8S).

76



Chapter The Major SevenSharp-Five Chord

The beginning of the C section shows the Fm? replacing the Bbmaj? (discussed above). In the following

measure, the B~9#5,which would derive its color from the whole-tone scale, has been replaced with a B~?#5#9

which derives its color from the melodic minor scale (altered scale). The third and fourth measure of the C

section have a EO? resolving to Bb/F. The B~IF is the tonic chord in second inversion (the fifth is in the bass).

This tonic chord is replaced with the iii minor chord (Dm?). To create a better resolution to the Dm?, an

Em?-A?~9 replaces the EO? The remaining reharmonizations are tritone substitutions (d?#I I for G?#5#9 and

B7#ll for F7). The progression of "Someday" on the CD will use the original chords on the first chorus and

then use the chords inparentheses on the second chorus.

PRACTICE SCHEDULE

Memorize and transpose "Someday" and all the musical examples presented in Chapter 12 through all

keys. By now the art of transposing from one key to the next should be easier and the benefits should already

be noticeable. If the student has been following the procedure established within this study, a more effective

and efficient practice schedule should also be forming.

Analyze "Someday." Try to determine possible scale choices, chromaticism, mode-mixture, and chord

substitutions.

Practice memorizing and transposing as many songs as possible. There are elements of every song that

translate somehow to another composition. After learning thousands of songs, the ability to analyze harmonic

movement, determine keys, or tonal centers, chord scale derivation, chord substitutions, etc. becomes easier

and easier. It is analogous to reading: Ifa person has only read one book, the ability to read another with ease

and total comprehension is unlikely. As each new book is read, meanings of new words are learned. These

words will no doubt be seen again in another book with yet more new words to learn. Enetually, a higher

level of reading is attained and unfamiliar words are in the minority rather than the majority. A reader's

vocabulary is similar to a musician's. There comes a point where every element within a composition has

been seen before. At this point it becomes easier to understand each element's function. Try learning a new

song every week or two and see if your vocabulary improves.

77



Chapter Conclusion

Tere are many approaches to improvisation; this study has presented one. Simply put, the basic

concept is to study those who have already perfected the art. The soloists listed in Appendix C can

serve as a starting point for the student. As one becomes inspired by the performance of a fine improviser,

one should acquire recordings of this individual and dissect every element of the performance. All significant

soloists have learned from those who journeyed before them.

Many soloists have a natural talent for improvisation. The goal of this study is to help one achieve such

virtuosity. There are many great soloists who have very little understanding of what they do. It is possible

Sonny Rollins would not be able to analyze one of his own solos. However, it would seem impossible for

Rollins not to be familiar with the playing of Charlie Parker, Coleman Hawkins, or Lester Young.

The music has always come first and the theory second. For those musicians with the desire, but not the

talent of a true virtuoso, analysis is one way of better understanding the art form. This analysis begins a

vocabulary for the soloist to build upon. If the student can recite (with their instrument) a number of

compositions and solos (in all keys), the student's own musical creativity will become more mature and

viable.

However, the analysis and theory are secondary to listening and performing the works (compositions and

solos) of the great talents cited in this document. There is no talent involved in understanding the subject

matter. On the other hand, performing the material requires time with the instrument, which in turn helps

develop talent. Knowledge does not necessarily relate to performance. The number of hours with the

instrument will relate to the success or failure of one's goals. The only secret is time. For the most part, the

better soloist is simply the one with more effective practice hours. It is a difficult lesson to learn for those

who believe that acquiring a book or attending a school will automatically present the answers. The best a

teacher or a book can do is provide inspiration, direction. and material. The student must still do the work.

78



AppendixModes

r of major Cmaj7

¥1 J j J I

j jF r I I i I I

3 5 7

IV of major Fmaj7

¥ J j Jf k r r F r I I II I I

3 5 7

VI of hamonic minorA bmaj7

; ej,~F r r I b e F r t r

I I 6b n [ j

1 3 5 7

V of major G7

3 5 7

V of hamonic minor G7

3 5 7

IV of melodic minor F7

* - J J JF I e F

b E r I IbU I I

1 3 5 7

V of melodic minor G7

5 7

ii of major Dm7

3 5

iii of major Em7

¥ j j j J I r r r F lE i I I

3 5 7

vi of major Am7

5 7

79



iv of harmonic minor Fm7

l J j b JF I r F

b r F I Ib & U

I I

1 3 5 7

iiof melodic minor Dm7

~

C J ~ J J J I J

r rr I I U I I

1 3 5 7

vii of major Bm7~5,eF r F F I F r r t

I It

I I

3 5 7

iiof harmonic minor Dm7~5

~

C J b J J J I b JF r F I I 6 9 I I

1 3 5 7

vi of melodic minor Am7~5

~e J r r F Ib e r r r

I I6 9

~

1 3 5 7

Bm7bSvii of melodic minor

l C r r Fb r I F r r t ! ! t

I I

3 5 7

vii of harmonic minor

B<>7

l C F t r I r . r t r t I : tfI IF F

3 5 7

i of harmonic minor Cm(maj7)

le J J ~ J J I J b JF r i l b i I I

3 5 7

iof melodic minor Cm(maj7)

l e 1 J k J ~ I J JF

• I I b i I I• I3 5 7

iii of harmonic minor E~maj7#S

l e b J J J & J I r r r b EI I b l 11

3 5 7

iii of melodic minor Ebmaj7#5

% e b J J J J I r Fb .

I I b l I IF I3 5 7

8 0



Explore the styles of

Charlie Parker, Clifford Brown,

Sonny Rollins, Bud Powell, and

others in this comprehensive,

hands-on guide to jazz

improvisation

• CD includes 34 tracks for play-

along and demonstration

• Scale choices, chord analysis,

and phrasing

• Analysis, memorization, and

tranposition of solos, melodies

and harmonic progressions

Bcd:: 57.95, CD S10.00 = Pkg $17.95

I SBN 0- 7 93 5- 7 1 32 - 4

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