INTRODUCTION In orderto maintain strongreadingandimprovisatory skillsa musician mustconstantly challenge himself. By playingexercises thatcombine technique andtheorythis goalcanbe metin a musically satisfying andtimecfficient way. Thisbook,the secondin a series,presentssomeof the scaleand chordsuperimposition conceptsusedin jazz andjazz-rock music.Theyarearrangedin the form oÍ examples,exercises, charts,and improvised solos organized withinsimplified standardjazzprogressions. The scalesusedin the firstsectionof the bookare presented in tonicandcolorscalecategories. Tempoand phrasingareleftto the discretion of the performer. Most of theexercises canbe playedastechnicalstudiesor as examplesof scaleand/orchordsuperimposition. Theaboveconceptscanbe appliedto otherscalesand chordsthatare not includedin thisvolume.In mostof the exercises patterns, I avoidedsequences, andother repetitive designsin orderto makethemmoreinteresting to play. Thethirdvolumein thisserieswillincludechromatic exercises,styleanalysis,and duets. -Lance Van Lenten
SCALESAND THEIRRELATIVECHORDTYPES Generallyspeaking,the scales listed on the ÍoffowingcharnsÍall intothroocaÍBgpÍbswhenused withdifÍerentchordb/p€s(thisincludeschordsthat have a diffqent rootthan the sca/eused): Tonlc sound CD - This scale'sounds'like a givenchordbecauseit containssomechord and possiblysome color tones (see Color Sound). Beloware listedsomescalesthat soundlike "C" Major. notesare Ohe darkened chordor 'colof tones.)
Colorsound (C)- Thisscalecontainsenough 'color"tonesto give it a "bright"or slightlydisso nantquality.'Colortones'areextensbnsoÍ a chord, alterednotes,or anytonesthat"standout.'They cangivea scalea particular"iaznf flavor.A color a tonicsound. be considered soundcansometimes F-7"G"minorPentatonic
Passlng sound (P)- This is a scale that is especiallydissonantsoundingagainsta given chord.
@ Copyright l$6 by Che Golln, 3tS walt 53íd St., New Yort, N.Y. l(xrtg All Rightt Rcrvrd Made in U.S.A. Intrriltion l Copyright Secr.rrrd
FORUSINGSCALES APPROACHES SUGGESTED (Revised) Approach
Scale
Containsstrongdiatonicsounds(C Maior,D minor and etc.).Usein sequences 7, E minor7, F Lydian, etc.). fourths, patterns(chords,thirds, Blues Phrasein a fuocal"style (vibrato,bends,etc.). Create ritfs. Use space betweenideas. Think Repeatnotes,phrases,etc. rhythmically. minor Pentatonlc Usepatterns.Don'tgo outsideof the scaleunless for 'effect."Repeatnotesand phrases.Use with modal,funk,rock,latin,and manyotherstyles. Harmonicminor MixolYdian
Diminished
Wholetone
4F JapaneseInsempo
JapaneseOkinawa
i
il
I
Composite
ideas quality.Short "ornamented" "Mid-Eastern' a V7 well as Works grace notes). (usetrillsand Ab, in F, sound iimT-V7 soundin F minor.lmplies Db. and of sequences in a multitude Canbe structured patterns.Containsmany C7, Eb7, F#7, and A7 whenused. colortones.Veryrecognizable with Bright,opensound.Soundsgoodin patterns V7 chords with well Works chromatics. without or of minorkeys. SoundsveryJapanese.Soundsgoodovermodal lmplies andeconomically. vamps.Playrhythmically "ii-V7'inAb. SoundslikeC major.By restrictingyour ideasto thesetonesyoucreatemotionandan"open'sound. Workswellas a colorscale.lmplies"ii-V7'in C. Thisscaleis madefromtwo triads- "C' and "B'" a C Major7 sound.Createpatterns It compliments basedon thetriads.lt impliesiimT-V7in E minor.
3
ChartI
SCALESANDTHEIRRELATIVE CHORDTYPES (Revised) Mafor Ctlail
minor Pentatonlc
Blues
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t ltJ
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SCALECHARTII (Revised) In orderof appearance in the tonicandcolorscaleexercises. minor Pentatonic
ba hz
Root
Harmonicminor Mixolydian
be lt
Diminished
Wholetone
Composite
4rz
'Two triads1/2stepapartcombined. 9
TONICAND COLORSCALES usetonicandcolorscalesÍromthe chartson pages4 through9' A exercises TheÍollowing Colorscalesarescalesor modes tonicscale'soundslikethechordor tonalityit represents. thatcontaincolortonessuchas 9ths,11ths,13ths,etc.Whenb9 or b13tonesarepresentthe The quality.Theseconcepts areÍairlygeneral. scalecreatesa'passing"or unresolved choice' shoulddetermine tasteoÍ the perÍormer individual 'sound'or 'colof a perÍormer canuseanyoÍ the musicaldevices By treatinga scale'asa thatcanbe applied. Forexample: sequence Diatonic tvl A-i l
or Scalesequenceand Rootpattern(4th)
D-7 (í*,.0.t
or PedalPoint
(Atlt,i zl
Dl-r70í)
Pleasenote:
;
withinthecontextoÍ thisbookchordtonesareottentreatedenharmonically Throughout themelodicline.
10
TONICANDCOLORSCALES (Continued) Scaleslikethe minorpentatonic and Okinawahavefewernotesand allowthe performer to play'horizontally/ overmorechanges: For example: C I'ta;v
(A-pt
A -l
- D- n
Grl
CHo'''7 A-1 (í,-,c.)
SCALËABBREVIATIONS USEDIN EXERCISES Major Blues minorPentatonic HarmonicminorMixolydian Diminished Wholetone Insempo Okinawa Composite
11
M Bls. m.p. H.m.m. dim. W.T. lns.
ok. Comp.
-b'?
Gn
TONICSCALEEXERCISE I tL"t
b
Gru'r'
t,'l Vt
(c-gD
L
&7
G (Grr.;)
ILll--
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B-7
fl-t
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(DBtr)
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BíJ*,
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n'
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TONICAND COLORSCALEEXERCISES the n6\ír, scale areorderedin an additiveway.Eachpairinlroduces TheÍollowing exercises thenaddsthe previousscale(s). is Íolloryed by the'Major,Blues,and the'minorPentatonic scale'exerêise Forexample, exercise. minorPentatonic scalescombined" thatis, thereis usuallyat leastone aretreatedvertically, Thechordsin the progression scaleper chord. sevenchordsareoÍtengivenscalesthatcontainmorêcolortones. Dominant versionsoÍ the blues,"rhythm usedin theseexercises aresimpliÍied Theprogressions Theperformer shouldbe ableto "heaf these changes,'andmodalCSoWhat')changes. preferably, lt wouldbe goodto recorded, live accompaniment. mind with or or changesin his as a startingpointÍor l,ourownimprovisations. usetheseexercises
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MaiorScale (wnl
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b.
t,7 (iln)
G7 Ln\
G7 util)
Lrl
c'l(Èril
Fn)
(ttnt
C
17
(on)
MaiorScale
Gtn)
18
BluesScafe ,lyll.
(|qt
& (rJft.)
É,-7
c,GA
ê7
Qto,
LDÍJ
G,u,
4(eu.t
,r8 7?,
t-7
Ê
7
b_
D7
c-
G
Gn)
B,1L,r,t' 7
^
í,1,,
t-7
Lron,., C b.
E''l
A-7
í;'1, A-7
8(Bn) - 7 í 7 (nth) A - t D7
^,
Arl
hro,,,
DTrott.)
(êth,)
(,0*,,
l-Qlu)
19
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D?ut
D7
, (tt)
t7 ( blh,) t?07*,,
D1
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Majorand BluesScales
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il
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Da h- l7
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í4t,,
B/ur,,
í( r-i7l )
Gr
Í,t-7
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Lê 11\
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ttl'n,
o/,n,
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b-7
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ftn)
20
éez L7
B/7
minorPentatonic Scale
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(F*^r)
,n(t:r)
21
and minorPentatonicScales
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6l;..,
tl'l
8tt (Bn)
Lb
Utnt
Bl,-
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G -t (ttal
frl
íb
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Otl')
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Btt
í"1
(ft +)
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Br,/
lràl
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(Aln)
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Bt-
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N,I U /t)
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F-7 (tetu)
22
(7
Bt7
í-?
Bt7
HarmonicminorMixolydianScale A [ftnn.'')
D7. (D
A (filt/,.r|
//*..)
DT(ail,..,1
í-- fisb^) A7
7 tí(ÍH-n,)
(Ét/,.,1
ífl O !*'n,)
ldro.^^rÍ7
DTrg il^.n)
(/-T [ il(>q,)
{;l-, /
*, il^-.)
ÍírL-,
D-7(Btr/^*,
t7
/
LC l/^-l
23
LtI//'-\
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,47 (.F
ís*
)
Major,Blues,minor Pentatonic,fnd Harmonicminor Mixolydian Scales ^oJotCrílr"^,
(q+ o
ftla )
Lí,A\
24
Diminishedscales(with Majorscales) ,hylln
L €rr1
/í-To,,,,, 87
Lt7
( í cl';1
B - 1rrJ,*', í.7
/r-7 (gl';)
lr, ^r',
87
fto.
(4tJ;,
N- 7,"rr,rt
t t-7 G*l'*t
íl-7
B7
CÍ,D,à ( D),-) ^
{aLr,^({7
Ê uar>A#o
t{7
B-7rr^ t' 7
2(2n.;) t{t
L
(t /a)
tl7
'UJ*) 'í/-v
/t7
(olr-l
ff;J, Bt
L
(r-fl,r,,,
c#7
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B?
ft u*-]
Ff7
ti7 (.trl)
Fr-7
(B/';l
t( 2 tl.i
B7
f,#,,, ír-7
U)r-^.>
.l
8-' (rJ,:\ z' 7
A
r(ilr,r, 8t
rrr^Aro
25
,
B7
HarmonicminorMixolydian, Major,Blues,minorPentatonic, and DiminishedScales Llocs L
,nr,
fl
C
í4tn\
,nn,
^A 7rr,
D-7,
D ; 7* , 6 7
G'r,oo.,
L (Bar;
ID olt,l
r-7
b -Á^r'l
t7 Qó1.-^,
L (rn,
(B H-,r.)
í7 (Í,'F)
L'*rn,
26
WholetoneScale(with minor Pentatonicscales and chromaticscale) n o l o/
C'l
rl '.
27
Major,Blues,rtinor Pentatonic, HarmonicminorMixolydian, Diminished and WholetoneScales F (Aah,) b z
FTtrrn, Bl, ^,
í^r,
,4 -7
B!;/"
trn)
F(A^r, D7^ur,, G -716t-t\ t 7(F,D
F
í7
(ra;
gt
(tbn)
gr-7 íAónl
E-7,
Dr
(Íttl
írn-,\ D7g>
ê(A-'r') -t D7
L7
b-7
6-7
(Drn)
(t
rt- utÍl
-7. trl F.
íc//,^-)
::D
l-7
G-7
F(r-n)
íítrrl
DI
Fr/,rt
G -z t7 (B à-'c)
F
D7
fl-,, B/;I,rt
-7 tr(G-*l
('o
ft^A'\
28
& 7/^.r.t t 17
uí)
6u
..'..
ll,rrt
& Gro,)
/r7 t2/
0-L,,,,
'G,í/í^,,
DEfr,l) -7
67
(-7
A-z
D-7
Lr7 (nht,
ft ro'\
I -(E ttat)
& (8Íw)
n
b7
HarmonicminorMixolydian, Major,Blues,minorPentatonic, Wholetoneand InsempoScales Diminished, -r \qlla J
Bl
t -7
&'l
lrD -t)
B'7
B'
&U'.)
r(Etfi) l
-
í'/
t/u;X'
c( ê-'7 -'P )
B'iír,
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8t
Bt (D-'t)
í 70il,-.r)
F7
fnlur>
t ,-rx,r, Frl
t-?
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B'*or,,
D-7
D7(nn,.\
G-'7
t--7
Ul0b.)
/ Xp.e I
olt*, ê v
[ -7
D Jttrvlbí
Í7
l' l'7 btx)
Ê ZrrU,
f-t
t-t
30
lx,
OkinawaScale r\tln
C
br*l
E- 'l
d (c - 70/,)\
Gn ort 67,*,
f uo,
Dl
^Ê{bo^-Z-7
t -nTo^ fr;,T t loo,t 4nl,
A -'7 Dt
G(tort
-í#-7 h
t -(t'ot) 7
Ct (Êok)
&Gotl
B'(nor,,
B - 7(oov.s
47
oI,\
Dtrrtt
Adot,
t
t ot,)
Gtot)
6r,on, t - 7
4-7
t- 7
?t,
&N.
31
470^
br,)
t'n*,
D7(rtr,t,)
flilo,tt
urotl
É- v(r,
6(í 7
z,Fïon ffirt
t (aoi t -7
G,/,rb
2J*,
D7
B ots
AíJ*t
27
HarmonicminorMixolydian, Major,Blues,minorPentatonic, Wholetone,Insempoand OkinawaScales Diminished, ^.. llur L- 7 A
lGp
f)
(B-.r)
(FraD
Aí"7,
87,0,
(F///-.-)
I
q
-
z-v
(8 /l-n,)
CompositeScale(two majortriadsone half step apart) Llret
D
D
Grl
A-t
D7
t-
.4 r7
F4-7
G-7
L- ,7
A-r
G-7
í/-T
Í-t
p-7
ó-7
Í/-7
2-7
33
,4v
HarmonicminorMixolydian, Major,Bfues,minorPentatonic, Okinawa Wholetone,InseffiPo, Diminished, and CompositeScales
(í^c)
Gtorl
(Dtn)
t' -1u*,
EI -á rt.t
,u
PLAYINGON iimT-VTPROGRESSIONS WTH TONICAND COLORSCALES Usethe scalechartsfor reference. Picka scalefor the iimTchordthat'sa tonic-type. For example:
D-7rn,
(l tns.\
(D^p)
/
-
by chordsthat containmanycolors.The The dominantsevenchordcan be superimpOsed 'passing" situationis the Maior7th chord relatedto the root. kêy noteto avoid,unlessin a 'F#'). (G7 avoid For example: )
(2 conp)
can be treatedentirelyas a V7 chordsound. The "iim7-VTprogression For example:
can be addedand usedas Whenplayingon an extende d at7sounda V7 (relative) reÍerencepointfor colorscales For example: k t't.l
35
PLAYINGON iimT-VTPROGRESSIONS WITHTONICAND COLORSCALES (continued) For interest,scalescan be put togetherinto scale,chord,third,and fourthpatterns. For example: (r7 k tt,t
T)-'l u,, , D-l (tLr,,l
D-'l lítn)
êl Lebn)
Somescaleshavea iimT-V7soundwithinthem. For example: D-'t (E Ías.)
(tq
I F [0"r,)
D-7 /o ,ts.)
appearin a seriesit is effectiveto transposescalesin When iimT-VTprogressions sequence. For example: D -7
/An,r)
FORUSING APPROACHES SUGGESTED CHORDS SUPERIMPOSED andthirteenth chordsare not triads,seventh,andninthchords(eleventh By superimposing newcolorandpassing direcllyincludedin this book)overa chordsoundyoucan introduce way. tonesin an interesting Forexample: (sDrrt
(-tfr)
nbroken" patternsor in sequencesby root. Chordscan be structuredin arpeggios, For example:Arpeggios
(Í7,*r'
>
or 'Broken"patterns
(Eb h,;7)e) (L- {tl G)
(D0tti ? )í. )
bYroot. or in sequences /'At-{rYF-')
G7 b-r?\(2
37
CHARTS CHORDSUBSTITUTION AND EXERCISES (ToniG,Colorand Passingchords)
overa malor,minor chartslist manyoÍ the chordsthatcan be superimposed TheÍollowing chord óound.The minoranddominantsoundscarrythe samesuperimposed anddominant possibilities. ' in this book,the a chord.Likethe scaleexercises Letyourearguideyouwhen'choosing Alteredchordscan be definedby alteringor changin progre-ssions herehavebeensimplified. chords. superimposed
1) is changedto CMai7 CMajorT(#1
For example:D7b9is changedto D7
the'sound'oÍ onechordwithanother.By playing are meantto demonstrate Theexercises in yourmindyoucan hearthe to the progression or "listening" withaccompaniment presented. possibilities ' by root, wayto acquaintyourselÍwithchordsis to practiceeverypossibility An excellent the rangeoÍ yourinstrument. throughout Forexample: G root
Anotherway to practiceis to followthe same chordtype arounda cycle. For example:
MajT#S
38
TRIADSUBSTITUTION CHART C Maior Maj.
(C) (P) (Í€) (P€)
= -
min.
a u g .5
D Minorand G7 d i m .5
dim.
Tonic sound (soundslike chord) Color sound (containstwo or more color tones) Passingsound (containscolor tonesthat may be dissonantiÍ sustained) Soundslike chordand containsone colorsound Passingsoundthat is "moderatel/ dissonant
min.
a u g .5
d i m .5
dim.
BASEDON -A'TRAIN EXERCISE TRIADSUPERIMPOSITION CHANGES @t)
tfi
A*)
(8o)
zÁu
(ot)
[fit br)
H7,,,,
z-7
p4ttO
hl,)
N \
/tt)
TRIADEXERCISE BASEDON 'A' TRAINCHANGES (continued)
rc-) tf
l-),
,lt-'
Z ''7
l'
ttl
&Gn
'(n\
Ê\
(ai
(Q't
€t
-t
(t -)
:\
D\
l-t
-tt-J
(cà wl
Vt
t-3d
G)
[tt
ut)
9't
(D)
L-7
(e-)
2 Ft't
rn)
rD)
4i
't-
BASEDON "CHEROKEE" EXERCISE TRIADSUPERIMPOSITION
6sh)
bt ) (D)^
(ylt)
G o)
H-r
fut*)
D",)
G t,)
rpt't 4,7-,
foo)
(trs
h*'t
n-7 (E--)
D 1(rr-s
, bt)
f?t
(t-\
BASEDON'CHEROKEE" TRIADEXERCISE
(continued) 6t
B)nb-'l
F#;f,
ht)
Blt,
r0
írt)
/_
(t t)
(k)
/( ) ral')
A17{
b) D7 ft)
htl
43
rc) (t't
CHART SEVENTHCHORDSUBSTITUTION C Major minor
(/) t^? e-t) ?
(c ) .,. * ('-) *b:',
CHART SEVENTH CHORDSUBSTITUTION (continued) D minorand G dominantseven Major
f-c)
minor
(f
(?) , o Q'f >o &)
(o )-g
Dominant
Gr)t
(e.c."t n
G)
( P>" (r) (r-rt G) li,*0,-ho, D
(r-ct ,, 0) t (f'
@.{(?Ifla['],
Q) -k @o?.h
45
diminished
EXERCISE BASEDON SEVENTHCHORDSUPERIMPOSITION "SATINDOLL" 2-7
Ërírtl
6rl &n-o
4;J,,,,6J
D-7 (ê-'ts
D --?
lr fr)
(:l
L(Ni1\ -7
6t-n
Í-t
GV
(ó tt.,nrÍ)
AI
2-l
/t-C7)
n',l
z-? Ê r ur- n) (Ê - t4)
A'I
( '7,r,rn",
Ê_ ,7 11t/; lt;)
A-rl
(& tr\
D,l
D - 7 6rt
GhDa),
tt7 rc.*it)
ê
(a>
G-tt)
Í-7
(&,2)
((.ru)
7;11a) $)
-7 tv. t(yn.1tt),
BASEDON "SATINDOLL" SEVENTHCHORDEXERCISE (continued) bbTat-r,)
.D7
(Bt't,,'7)
t"l
D(íH,;t) -7
(>- *t)
L
Í
D-7
(E,st)
,4'/
(G4,iJ$)
[y'íH,; l)
7o7,,,t !o('7
,rrí';,'
(t-z)
G-7
Al-tl
L7
7 n -LB-il 1 D(at>
D-z
(D-t\
D7 t
(saf)
áJ,,
C -7 L,t
F(tl-tl
bottql)
4.Y
Gttii
D(-> 7 . -tI
)t7 bl'
D7
(Ctl,p tr>
,*'7",
(gtn,,;)
G
z-'7 (í-z)
Gatt)
47
(btq-;t)
k_r,r\
Ur-t)
íFt"J
ffn,rut
Uq\
Í;,7 #7.,
BASEDON EXERCISE SEVENTHCHORDSUPERIMPOSITION A MINORBLUES
4;J,, U'tl
br
Ai','?rt)
/7J,,, T7 .;.-à)
k nn;tS
A'7J61rr;- (t ttsr)
6glt)
@4
(Gn,;rl
7A-7 h-r,t 0ní.í
(ít.r)
Q[tn;'rl
@tr1,,u7
g,tr1ír)
O4.ttr) ffnqt)
(Cnir>
Z7
t!_
A -7 rsts
G,ilotD
t t
(fl'tt1
tD-r)
/;,7
(t n';rttS c o'r)
-1
.NINTHCHORD SUBSTITUTION CHART C Major mrnor
Dominant
(p.)n h) ^. (rl
(r>
t^i
(r'cl,
(r-()?
(r-r> ., r) G,r), fr) Qc2
re?:it'Í)tt 49
#r)
':ït
CHART NINTHCHORDSUBSTITUTION (continued) D minorand G dominantseven Dominant
minor
Major
(P.c)
(P)
4)
.Q )
G ) (r-,
(p-,>-G) (
.(r+ )n G\
e ) o (rL í'''rt n
(r'r t
(p-c)
P)
G)ft
(P)
?< t., (r;,
( rl
(-r+)
Q,O
(P )
(:l
(4-, t (r-,) U-c)
(")
(ry{re
e1 (e.'c)
q)
(c) (*cs ?:)'?*fl'fií2 h* b/
@ hlo
tc)
tÍ)
(r-,1 t Gt * n@)
Q;2 93 fh (1.ctoo(ra ar* er)"t
G-r59 Qt,,^og
G; {tr
?,}aft
50
( r'c)
v
(p-" )
co!/r)
fko,l
í)
Q-c)
fa&
fo)
<) (r)
(rt #-a
?2 -,-U,t t@ul (í'.)
k<)
BASEDON EXERCISE NINTHCHORDSUPERIMPOSITION "PERDIDO" E ates)^
D.7 [ífl,ilrt)
ór
GI
D-7
G7
D-7
L ((rr,;l ,r)
L
127te)
ksn,;q)
G'7 D-,1 [Aot/,;ttO
4;7",C t
D -7 (GL?rt)
Ê't
ftd;t u)
a
G7
GÉ)
3
D-7
rcql
D-7
ê
7
b.
hbiliq)
D-l
ê'l hfls,q)
D-t
GI
(Att't)
G'7
h1il)
4;J,, C t ,
U-f )
D-7
(Dtp;q)
G7 ó-r
(Flr;í)
L
(A-n
;*ï
BASEDON "PERDIDO" NINTHCHORDEXERCISE (continued) (G Ar;1 rr)
2:í!
Êrl
b-z_r,
G -t*tt
7,o*,,
6 7gn)
52
t-
(t t'tv,'9k\
(r*1 D
(GH,iq)
(c)
BASEDON EXERICISE NINTHCHORDSUPERIMPOSITION C BLUES t l(ct,tt
F1,,,,
(yt 7rt)
t7 (t,n.,,'/l
h-l tr)
'rr D-l r^\
trl
-:;+l
A7
G7 ril*s>
67 Grttl
ftrlc.)
($/,; r,4r
tl rrnl,at
f Trgtn;u t
( Bn,,'f)
D-1r,
s,e.tcth)
7(rr,r,
[ \u-yrg
( '7 0,;,x,L)
(4ó?
CHORDSON iiM7.V7 SUPERIMPOSING PROGRESSIONS Referto the chordchartson pages39, 4, 49. with "tonic"soundingchords. The iimTchordshouldbe superimposed
FnàT#-r,
u-7\
'colof tones. on the V7 chordcan containmore Substitutes For example:
canbe treatedas a W soundanda minorsevenchordcan haveits' A iimT-Wprogression dominant chordaddedto it. corresponding oÍ iimT-Wchordsuperimpositions: Belorvaresomeexamples D-l
G)
G7
&\
D- 7
(r+,
't
Haj'l +t)
iimT-VTPROGRESSIONS (continued) Chordscan be addedwhenmovingat a quickerpace: For example:
Chordscan be nrunup and down'or may be "brokenup' to createinterest. For example: G'I
D - 7' (Flttill
fl'7 p 1ai;ttl&7 t oH e i 7 )
U noil )
A'composite"scalemadeup of two or morechordscan be created. For example: D-, ,, Haí,tt
D-7(r*,o,,
G'7 íqt;)
'
"'ÊJ'1'
resolves. chordscan be usedon the 'l' chordwhenthe ii-7-V7progression Superimposed
D(Í-tl -7
D-7r*,,brTn,,l, tffo;r
COEJ.,,, É,7-,,,
55
TONICAND COLORSCALES EXERCISE COMBINING WITHTONICAND COLORCHORDSBASEDON SUNRISE." "SOFTLYAS A MORNING way.Thatis, one in a horizontal ThisexercisetreatssomeoÍ the chordsin the progression chord is usedfor morethan one chord.Also somecolorchordsare scaleor superimposed way. orderedin a sequential b -7rru,; rct.l
D _,7
b-r
[c nc rd.j
rc|,)
z'J*,r,
D,íJ ,t
D-7
6 (Ftt,; -7
1a7r, '4%u,r)
27
(i -íC*.)
Dir *,
64t-e (o,+)
56
4.7,7.
á7
ó1.8t fur>
rb
SCALEANDCHORDEXERCISE '""ï
D-7
Cl r"t,)
(continueJ.{
Ë+
L '- 7
SJAC Gz
7aTï b-Y
tn;t,t)
D-7(tn,;i)
|
7b,n,;?
' G;)
Ê -(f)7
2-7'
E -trc )
'bit,l
GF*,
2 (A- j(.*.nl
D-7
D- z
rr)
t *
I
g:
2"7 t;r q*:F tr+sr,l -Lrh;'t
>-7
(bL)
,It
rr'"
(t t)
*.-\-l
A7
gt-r?) x
DTr*
^
G-al
1
(Blt'.)
'4 7
G#o*t
' .
SCALEAND CHORDEXERCISE (continued)
b -/r,n,,r,,
b-1(>ttt,ijtí)
Arl Lí - n l&flr;r'o ^
2-'l (rt)
Ar7
D-7-(cntittí)
ê7r,,,
D -(
G-7
D-7 (2-,p.\
D-z
6-7
t-7
0 un)
D
êrl
58
6^r,,
(F-.p)
(.b,-.-l
ffiw,
TABLEOF CONTENTS PART I INTRODUCTION SCALESAND THEIRRELATIVE CHORDTYPES SUGGESTED APPROACHES FOR USINGSCALES(revised). SCALECHARTS .... TONICAND COLORSCALEEXERCISES PLAYINGON iim7-V7PROGRESSfONS WITHTONICAND COLORSCALES *
.é!.È
. . .1 2 , . . . , . .3 .4-9 1S34 . .3$36
-.isr'..,
PART II SUGGESTED APPROACHES FOR USING SUPERIMPOSEDCHORDS ..,37 CHORDSUBSTITUTION CHARTSAND EXERCISES . . . . .38 TRTADS . . .3941 SEVENTHCHORDS N I N T HC H O R D S ...4953 SUPERIMPOSED CHORDSON iimT-V7 PROGRESSIONS .., . . . .*55 EXERCISE TONICAND COLORSCALESWITH COMBINING T O N I CA N DC O L O RC H O R D S. , . w . * . + * l F . . .5ê59 ....
