INTRODUCTION

In orderto maintain strong reading improvisatory and skills musician mustconstantly a challenge himself. By playing exercises combine that technique theory and this goalcanbe metin a musically satisfying timecfficient and way. Thisbook,the second a series, presents in someof the scaleand chordsuperimposition concepts usedin jazz andjazz-rock music. Theyarearranged the form in o examples, exercises, charts,and improvised solos jazz organized within simplified standard progressions. The scalesusedin the firstsection the bookare of presented tonicandcolor in scale categories. Tempo and phrasing leftto the discretion the performer. are of Most of theexercises be played technical can as studies as or examples scaleand/or of chordsuperimposition. Theabove concepts be applied otherscales can to and chords thatare not included thisvolume. mostof in In the exercisesavoided patterns, other I sequences, and repetitive designs order makethemmoreinteresting in to to play. Thethirdvolume thisseries include in will chromatic exercises, styleanalysis, duets. and
-Lance Van Lenten

TYPES AND THEIRRELATIVE CHORD SCALES

Generallyspeaking,the scales listed on the whenused offowing all caBgpbs charns intothroo withdiferent chordsthat chordb/ps(thisincludes have a diffqent rootthan the sca/eused): Tonlc sound CD - This scale'sounds' a like givenchordbecause contains it somechord and possiblysome color tones (see Color Sound). Beloware listedsomescalesthat soundlike "C" Major. Ohe darkenednotesare chordor 'colof tones.)

enough Colorsound (C)- Thisscalecontains 'color"tonesto give it a "bright" slightly disso or 'Colortones'areextensbns a chord, o nantquality. notes, anytonesthat"standout.'They altered or "iaznf flavor. color A cangivea scalea particular a can be sound sometimes considered tonicsound. F-7"G"minorPentatonic

Passlng sound (P)- This is a scale that is dissonant soundingagainsta given especially chord.

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

SCALES FOR APPROACHES USING SUGGESTED (Revised)

Scale

Approach (C D sounds Maior, minor diatonic strong Contains and Usein sequences etc.). 7, 7, E minor F Lydian, etc.). fourths, patterns (chords, thirds,

Blues bends,etc.). Phrasein a fuocal"style (vibrato, Create ritfs. Use space betweenideas. Think etc. Repeatnotes,phrases, rhythmically. minor Pentatonlc go of Don't outside the scaleunless Usepatterns. Use with for 'effect."Repeatnotesand phrases. funk,rock,latin,and manyotherstyles. modal, minor MixolYdian Harmonic ideas quality.Short "ornamented" "Mid-Eastern' Workswell as a V7 gracenotes). (usetrillsand soundin F,Ab, iimT-V7 lmplies soundin F minor. Db. and of in Canbe structured a multitude sequences many C7, Eb7, F#7, and A7 patterns. Contains whenused. colortones.Veryrecognizable goodin patterns with Sounds opensound. Bright, wellwithV7 chords Works chromatics. without or of minorkeys. goodovermodal Sounds veryJapanese. Sounds lmplies economically. and Playrhythmically vamps. "ii-V7'inAb. your ideasto like Sounds C major.By restricting and motion an"open'sound. you tones create these "ii-V7'in C. Workswellas a colorscale.lmplies Thisscaleis madefromtwo triads- "C' and "B'" patterns Create 7 a It complimentsC Major sound. in iimT-V7 E minor. lt implies on based thetriads.

Diminished

Wholetone

4F
JapaneseInsempo

JapaneseOkinawa

Composite

il

ChartI

ANDTHEIR SCALES RELATIVE CHORD TYPES (Revised)

Mafor
Ctlail @ t

Blues

minor Pentatonlc 1 @

'*'7

t-1 @

?ft
D-l 0
?(

Drtr o
t
D7 G)

E7o
?

b?

-74

D - 1 )

e- 7
Frtui1 0
*

t
lH,;7 @

a
ttl 0
K @

b7 G)
4

e
f1

470

+
A-7 0

, ' i
F-7 @
, , , tr-7 @

+,
87 CO

,r
.g-7 C)

, i7

'"/3

+
Aittq;1 C)

r
Bl- @@

' ffi

notc ft

cfiod or'colof

to

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

minor Harmonic Mixolydian

Dimlnished

Wholetone

t,l (toil @

t ltJ
7 ,

'rof 4t;'z
,r r//

Dr-

///

7 ?frr&

D-'l @ t frtt -3

zi'
,7
7

+fr
b- cq

+ryq't7
4{ift
L60

7@
,

21 ?t)e)

+ 7,r

F-

s tf
*I

, - 7

-@

4r{r-

"f

/7t
#70r) @

-7 G)

r7 Ab tL;,t @ o
*

*a
Fto o 6-e
+tr
t7Qr) 6 Jf ?do g
lrl

+#tt

1r

n - o
*f/

,7r
784o

+ r.trr ob- @o

8-

3 G)

Insempo t t(o,d C_7) @O

Oklnawa l/la;1 O

Composlte / tlc;'l @

, ,-rq
Dbt'lr;1 ? ,,R

+ 3
Drl o@

Db-oo +
D7 @

D-7 0

? 7
Lb1 O

'- + *rv
Lt| @

,*ft
/o;r O

+ tr7

e,
F fl,jl O

t3

f
{

t'fr,
F-' O
,

+ rs
btl,il @
-/

&,7 Gl

t
G - @

47 Ao

+ rr
A-7 6A

: l

+
3l- @
?

+
Bl-7
tt/ 6

BI

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

ba hz

Root

Harmonicminor Mixolydian

Diminished

Wholetone

be lt

Composite

4rz

'Two triads stepapart 1/2 combined.

9

TONICAND COLORSCALES
9' 4 on romthe charts pages through A use exercises tonicandcolorscales Theollowing or are Color it like tonicscale'sounds thechordor tonality represents. scales scales modes the b13tonesarepresent 13ths, Whenb9 or etc. suchas 9ths,11ths, colortones thatcontain The quality. are These concepts airlygeneral. or a'passing" unresolved scalecreates choice' should determine taste individual o the perormer devices can or a 'sound' 'colof a perormer useanyo the musical a By treating scale'as thatcanbe applied. Forexample: sequence Diatonic
tvl A-i l

(4th) and or Scalesequence Rootpattern

D-7 (*,.0.t

or PedalPoint

(Atlt,i zl

Dl-r70)

note: Please

o within enharmonically thecontext treated are tones otten this Throughout bookchord line. themelodic

10

TONIC ANDCOLOR SCALES

(Continued) like Scales the minorpentatonic Okinawa havefewernotesand allowthe performer to 'horizontally/ more and play over changes: For example:
C I'ta; v
(A-pt

A -l

- D- n

Grl

CHo'''7 A-1
(,-,c.)

-b'?

Gn

SCALABBREVIATIONS USEDIN EXERCISES

Major Blues minorPentatonic minorMixolydian Harmonic Diminished Wholetone Insempo Okinawa Composite M Bls. m.p. H.m.m. dim. W.T. lns.

ok.
Comp.

11

TONIC I SCALEEXERCISE
tL"t b Gru'r' t,'l
Vt (c-gD L G (Grr.; )

&7

ILll--

B-7

fl-t

o t'I,i)

(DBtr)

D7

t7,,,,, ^
t1ou,

,^fr.,,
a

t-

BJ*,

7ol/r-\

D1,ou-.^,

67

2t
-t(A

o'o'l

?1ran.r,

G(Dr,r,

'Maj = M

^!itrr

o (0r.,,

f: Ga1;

f -( e -,P,\

r, fl,i)

/'l

k y,,)

(r^',

&'**,

Aa7r,;)

27a*,

t,

fG&t

W*,

C^Crns)

13

II EXERCISE TONIC SCALE

L (c An.;)
D-l Lrl

C.

l-

D-t

(tsn.t.l

-l

(t U..-l

c rl

@^r,

fttn4\

-Tnr*, A t

D*7,^, L 7

t (cnq)

4-

b-'7

G,7

L,,rr^

trl

frrr,,, r-7 bll.:)

15

D-7 (lt

G7

ll,-,-,)

L (c

tt+)

t-7

4'.7-

UJ;)

(nnr')

4-

D- 7

b'l tt 0t.)

(-,r)

A-7

D-7 (ean

LI

G-t

Bttlq

(tti,;)

D7,n,G/o-,rt

I r, ft.\

D - 7 (&1,*\
,

t (on.,\n -

P-07/o/,*', z ltt 2 0-J

14

F/r,i) ((

F-. ltLi)

2 ,7r*^, / 7
- t

A;,,
G{r, c7

fJu*..,
nttt.

(f ,n*1

n rt -

b-7rte,.\7

D-7

ID,.P)

GI

0ltt') t

'o'o:'|,

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

L(trr,

n'

D-z

ftH)

r, rt<;,

/7o--*l

D-z
+

kt tl,f)

^,,
t

n,,

15

TONICAND COLORSCALEEXERCISES
the scale are in way.Eachpairinlroduces n6\r, Theollowing exercises ordered an additive scale(s). thenaddsthe previous and is by the'minorPentatonic scale'exerise olloryed the'Major,Blues, Forexample, combined" exercise. minorPentatonic scales at vertically, is, thereis usually leastone that in are Thechords the progression treated scaleper chord. morcolortones. are that seven chords otengivenscales contain Dominant "rhythm versions the blues, o used are Theprogressions in theseexercises simpliied be The should ableto "heaf these modal changes. performer changes,'and CSoWhat') lt wouldbe goodto live mindor withrecorded, preferably, accompaniment. or in changes his pointor l,ourownimprovisations. as usetheseexercises a starting

i
{
;I

il "{

,{
I

-t {
I

d
: {

16

MaiorScale
(wnl
t_'l
b.
Lt tt.\

t,7 (iln)

G7 Ln\

G7 util)

Lrl

Fn)

c'l(ril

(ttnt

(on)

17

MaiorScale

Gtn)

18

BluesScafe
(|qt

,lyll.

& (rJft.)

,-7

,r8 7 ?,
Qto,

D7

Gn)

E''l

A-7
(8Jt

D1

c, GA
G,u,

LDJ

c^

B,1L,r, 7 t'

;'1,
, (tt)

D?ut

t-7

,1,,
Lron,., C b.

t-7

A-7

D7

4 (eu.t

b_

8(Bn) 7 (nth) D7 -7 A- t

hro,,,

t 7blh,) ( t?07*,,
^,

Arl

(th,)

DTrott.)

(,0*,,

l-Qlu)

4;I'

D\o o,,

19

{ -*
-1 j.l :J

Majorand BluesScales

I ..l iJ
t-4

-* ": ;:
il

t7(ct&)

D h l7 a

!, "ot
Blrn r,,t 4t,, B/u r,, r i7) ( l

,t-7

atei)

Gr

L 11\

"n'
ot*u,
ttl'n,
o/,n,

ez
L7

B/7

.1-T
t zH)

b-7
ftn)

20

minorPentatonic Scale

zl-Tr,-r)

(F*^r)

,n(t:r)

21

Scales and minorPentatonic

,;.yu,. L,n

nlr @n)
G-t (ttal

trl

(Aln)

-7

0tl

6l;..,
Lb
Utnt

tl'l

frl

"1

(ft +)

/'Alq)

Btt

8tt (Bn)

b
Otl')

/ 7-
CF

F-7

nt7 (f
*s

Bl,[c *l

AI

U/u)

/h*t

lrl

Br,/

rl-rJ

,1,,
LL(",o) tT

u7,,

N,I U /t)

!n*,
F-7 (tetu)

(7

-?

Bt7

Bt-

&T^,

Bt7

22

Harmonic minorMixolydian Scale

A [ftnn.'')

D7. (D

//*..)

A (filt/,.r|

-- fisb^) A7

DT(ail,..,1

t- 7 (H-n,)

fl
O !*'n,)

(t/,.,1

ldro.^^r7

DTrg il^.n)

(/-T
[ il(>q,)

{;l-,
/ *, il^-.)

Vru^-t
h--?L ,

D-7(Btr/^*,

rL-,

,47 (.F

s*

LC l/^-l

t7

LtI//'-\

23

Major,Blues,minor Pentatonic, Harmonic minor Mixolydian fnd Scales

^oJotCrlr"^, (q+ o
ftla )

L,A\

24

Diminished scales(with Majorscales)

,hylln

L
rr1

Lt7

( cl';1

/-To,,,,, 87

2 t{t (2n.;)

C, D, ( D),-) ^

l-7

B7

B - 1rrJ,*', .7

uar> A#o

{aLr,^({7

'UJ*) '/-v

-R,l L

t{7

/r-7 (gl';)

87

(t /a)

tl7

/t7

(olr-l

B?

B-7rr^ t' 7

lr, ^r',

(4tJ;,

fto.

ff;J, Bt (r-fl,r,,,

ft u*-]

N- 7,"rr,rt

c#7

t t-7 G*l'*t

Ff7

ti7 (.trl)

(B/';l

Fr-7

B7

t( 2 tl.i

f,#,,, r-7
.l ,

U)r-^.>

B7

8-' (rJ,:\ z' 7

rrr^Aro

r(ilr,r, 8t

25

minorMixolydian, Harmonic Major,Blues,minorPentatonic,

and Diminished Scales
Llocs L ,nr,

fl

4tn\

,nn,

^A 7rr,

D-7,

G'r,oo.,

D;7 ,67 *

ID olt,l

L (Bar;

r-7

b -^r'l

(B H-,r.)

L (rn,

t7 Q1.-^,

L'*rn,

7, ' F ) (

26

scales Wholetone Scale(with minor Pentatonic and chromaticscale)

n o l o/ C'l

rl '.

27

Major, Blues, rtinor Pentatonic, minorMixolydian, Harmonic Diminished Wholetone and Scales
F (Aah,) b z

^r,

FTtrrn, Bl, ^,

B!;/"

,4 -7

trn)

Dr

b-7
(ttl

L7

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

rn-,\ D7g>
-7. trl F.

6-7

(Drn)

rt- utl

(t

(ra;

gt

(tbn)

gr-7
Anl

-t D7 (A-'r')

::D

c//,^-)

E-7,

l-7

G-7

F(r-n)

DI

G-z t7 (B -'c)

ft^A'\

D7

& 7/^.r.t t 17

trrl

Fr/,rt

fl-,, B/;I,rt

tr -7 (G-*l

('o

u)

6u

28

..'..

ll,rrt

& Gro,)

/r7 t2/

0-L,,,,

'G,/^,,

D-7 Efr,l)

67

(-7

A-z

Lr7 (nht,

ft ro'\

D-7

b7

I - ttat) (E

&w) (8

minorMixolydian, Harmonic Major,Blues,minorPentatonic, Wholetone Insempo and Scales Diminished,

r \qlla J lrD -t)

Bl

&'l

t -7

'/

8t

ZrrU,

[ -7

70il,-.r)

B'

&U'.)

B'7

r(Etfi) l

t/u;X'

D Jttrvlb

F7

c( -'7 ) -'P

Bt (D-'t)

fnlur>

/'/ p ?)

t-?

lx,

B'ir,

l' l'7 btx)

t ,-rx,r, Frl
D-7

B'*or,,

D7 (nn,.\

G-'7

/ Xp.e I

t--7

Ul0b.)

olt*, v

t-t

f-t

30

OkinawaScale
r\tln C br*l E- 'l

d (c 7 \ - 0/,)

Dl

^{bo^-Z-7

Gn ort 67,*,

f uo,

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

2J*,
470^

A -'7 Dt

z,Fon ffirt

G(tort

G,/,rb

t (aoi t -7

&Gotl

Gtot)

br,)

-#-7
h

B'(nor,,

B - 7(oov.s

t'n*,

t -(t'ot) 7

47

urotl

flilo,tt

D7(rtr,t,)

Ct (ok)

- v(r,

Adot,

Dtrrtt

6r,on, t - 7

AJ*t

27

67 (

oI,\

t ot,)

?t,

t- 7

&N.

4-7

D7

B ots

31

minorMixolydian, Harmonic Major,Blues,minorPentatonic, Scales Insempo and Okinawa Wholetone, Diminished,

^.. llur L- 7
A lGp f)

(B-.r)

(FraD

(F///-.-)

A"7,

87,0,

z-v

(8 /l-n,)

Scale(two majortriadsone half step apart) Composite

Llret D Grl

A-t

D7

G-7

F4-7

L- ,7

t-

.4 r7

A-r

G-7

/-T

-t

,4v

p-7

-7

/-7

2-7

33

minorMixolydian, Harmonic Major,Bfues,minorPentatonic, Okinawa InseffiPo, Wholetone, Diminished,

and CompositeScales

(^c)

(Dt n)

Gtorl

t' -1u*,

EI - rt.t

,u

PROGRESSIONS PLAYING iimT-VT ON SCALES WTH TONICAND COLOR

for Usethe scalecharts reference. a Picka scalefor the iimTchordthat's tonic-type. For example:

D-7rn,

(D^p)

(l tns.\

by The dominant sevenchordcan be superimpOsed chordsthat containmanycolors.The 'passing" to is situation the Maior7th chord related the root. ky noteto avoid,unlessin a 'F#'). (G7 avoid For example:
) (2 conp)

as entirely a V7 chordsound. can The "iim7-VTprogression be treated For example:

can Whenplaying an extende at7 on sounda V7 (relative) be addedand usedas d pointfor colorscales reerence For example: k t't.l

35

PROGRESSIONS ON PLAYING iimT-VT SCALES WITHTONICAND COLOR

(continued) into scale,chord,third,and fourthpatterns. scalescan be put together For interest, For example: T)-'l (tLr,,l D-l u,, , (r7 k tt,t D-'l ltn) l Lebn)

soundwithinthem. havea iimT-V7 Somescales For example: D-'t (E as.)

(tq

I F [0"r,)

D-7 /o ,ts.)

scalesin to progressions appearin a seriesit is effective transpose When iimT-VT sequence. For example:
D -7 /An,r)

FOR APPROACHES USING SUGGESTED CHORDS SUPERIMPOSED

(eleventh thirteenth and chords not are triads, seventh, ninthchords and By superimposing you new in included this book) overa chordsound can introduce colorandpassing direclly way. tonesin an interesting Forexample: (sDrrt

(-tfr)

nbroken" by patterns in sequences root. or in Chordscan be structured arpeggios, Arpeggios For example:

(7,*r'

>

patterns or 'Broken"
(D0tti ? ). )

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

bY or in sequences root.

G7 b-r?\(2

/'At-{rYF-')

37

CHARTS SUBSTITUTION CHORD AND EXERCISES chords) (ToniG, Colorand Passing

minor over that list charts manyo the chords can be superimposed a malor, Theollowing chord carrythe samesuperimposed sounds anddominant The ound. minor anddominant possibilities. ' in the Likethe scaleexercises this book, a Letyourearguideyouwhen'choosingchord. or by can chords be defined altering changin Altered progre-ssions havebeensimplified. here chords. superimposed
to D7b9is changed D7 For example:

to 1) CMajorT(#1is changed CMai7

By the'sound'o onechordwithanother. playing to are Theexercises meant demonstrate youcan hearthe in to or withaccompaniment"listening" the progression yourmind presented. possibilities ' by everypossibility root, is yoursel chords to practice with way An excellent to acquaint o the throughout range yourinstrument. Forexample: G root

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

38

TRIAD SUBSTITUTION CHART

C Maior
Maj. min. a u g .5 d i m .5 dim.

D Minorand G7
min. a u g .5 d i m .5 dim.

(C) (P) () (P)

= -

Tonic sound (soundslike chord) Color sound (contains two or more color tones) Passingsound (contains color tonesthat may be dissonanti sustained) Soundslike chordand contains one colorsound Passingsoundthat is "moderatel/ dissonant

BASEDON -A'TRAIN EXERCISE TRIADSUPERIMPOSITION CHANGES

@t)

tfi

A*)

(8o)

(ot)

zu

[fit br)

H7,,,,

z-7

hl,)

p4t tO

/tt)

N
\

TRIADEXERCISE BASED ON 'A' TRAINCHANGES (continued)

rc-)
tf l-),

Z ''7
(Q't -t

,lt-'
\

(ai
:\

'(n\
Vt

l-t

-tt-J

't-

(c wl
t-3d

l'

&Gn

ttl

(t -)

D\

[tt

G)

9't

ut)

(D)

L-7

2 Ft't

-) (e

rn)

rD)

4i

ON BASED "CHEROKEE" EXERCISE TRIADSUPERIMPOSITION

6sh)

bt ) (D)^

(ylt)

G o)

fut*)

H-r

D",)

G t,)

rpt't 4,7-,

foo)

(trs

f?t

, bt)

h*'t

(t-\

n-7
(E--)

D 1(rr-s

ON'CHEROKEE" BASED TRIADEXERCISE

(continued)
6t ht)

B)nb-'l

F#;f,

Blt,

r0

rt)

/_

(k)

(t t)

/( ) ral')

A17{

b) D7 ft)

htl

rc) (t't

43

CHART SUBSTITUTION CHORD SEVENTH

C Major
minor

(/) t^? e-t) ?

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

CHART SEVENTH CHORD SUBSTITUTION (continued)

seven D minorand G dominant
Major minor Dominant diminished

f-c)

(f

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

(e.c."t n

G)

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

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

(o )-g

Gr)t

@.{(?Ifla['],

Q) -k @o?.h

45

EXERCISE BASED ON CHORD SUPERIMPOSITION SEVENTH "SATINDOLL"

2-7
rrtl

6rl &n-o

D-7 (-'ts

(:l
6t-n

L-7 (Ni1\

AI

2-l

/t-C7)

n',l

6J 4;J,,,,

D --?

lr fr)

GV

( tt.,nr)

-t

r n) z -- ? ( t4) ur-

A'I

_,7 11t/; lt;)

( '7,r,rn",

A-rl

D,l

G-tt)

(a>

tt7 rc.*it)

7;11a) $)

(& tr\

GhDa),

D - 7 6rt

-7

(&,2)

((.ru)

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

ON BASED "SATINDOLL" EXERCISE CHORD SEVENTH (continued)

(Bt't,,'7 )

.D7

bbTat-r,)

(G4,iJ$)

,4'/

[y'H,; l)

D(H,;t) -7

(>- *t)

t"l

(E,st)

D-7

7o7,,,t !o('7

,rr';,'

(t-z)

k_r,r\

G-7

Al-tl

L7

C -7 L,t
bottql)

F (tl-tl

(btq-;t)

Ur-t)

n-1 D7 LB-il (at>

4.Y

Gttii

D7

(Ctl,p tr>

Ft"J

(D-t\

D-z

J,,

D(- 7I . >-t

,*'7",

z-'7 (-z)

ffn,rut

;,7 #7.,

D7
t

(saf)

)t7 bl'

(gtn,,;)

Gatt)

Uq\

47

BASEDON EXERCISE SUPERIMPOSITION CHORD SEVENTH BLUES A MINOR

4;J,, U'tl

br

k nn;tS

Ai','?rt)

6glt)

A'7J61rr;- (t ttsr)

Q[tn;'rl

/7J,,,
T7 .;.-)
(t.r)

@4

(Gn,;rl

7A-7 h-r,t 0n.

@tr1,,u7

g,tr1r)

O4.ttr) ffnqt)

(Cnir>

Z7

G,ilotD

A -7 rsts

(t n';rttS c o'r)

t!_

t t

(fl'tt1

tD-r)

/;,7

-1

.NINTH CHORD 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')tt
49

#r)

':t

CHART NINTH CHORD SUBSTITUTION (continued)

seven D minorand G dominant
Major minor Dominant

(P.c )

(P)

.Q )

(P )

Q,O

(-r+)

4)

G ) (r-,

(p-,>G) (

(P)

G)ft

P)

(p-c)

(:l

?< t., (r;,

(")

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

( rl

.(r+ )n G\

e ) o (rL '''rt n

(r'r t

(ry{re

e1 (e.'c)

q)

(c) (*cs ?:)'?*fl'fi2b/ h*

tc)

@ hlo

t) Q;2 93 fh (1.ctoo(ra
ar* er)"t
( r'c)
) Q-c)

(r-,1 t Gt * n@)

co!/r)

fa&

fo)

<) (r)

G-r59 Qt,,^og

fko,l

(rt #-a

G; {tr

?,}aft

(p-" )

?2 -,-U,t t@ul
('.)

k<)

50

BASED ON EXERCISE SUPERIMPOSITION NINTHCHORD "PERDIDO"

D-7
E ates)^

GI

L ((rr,;l ,r)

D.7
[fl,ilrt)

G7

127te)

D-7

ksn,;q)

D-,1 G'7 [Aot/,;ttO

4;7",C t

D-7 (GL?rt)

't

ftd;t u)

U-f )
a

G7

G)

D-7

rcql

b.
GI

hbiliq)

D-l

'l hfls,q)

(Flr;)

(A-n

D-7
(Att't)

D-t
h1il)

G'7

4;J,, C t
,

(Dtp;q)

D-7

G7
-r

;*

BASEDON "PERDIDO" EXERCISE NINTHCHORD (continued)

(G Ar;1 rr)

2:!

rl

b-z_r,

G -t*tt

7,o*,,

6 7gn)

t-

(t t'tv,'9k\

(r*1 D

(GH,iq)

(c)

52

ON BASED EXERICISE SUPERIMPOSITION CHORD NINTH C BLUES

t l(ct,tt

F1,,,,

trl

(yt 7rt)

h-l tr)

t7 (t,n.,,'/l

-:;+l

A7

'rr D-l r^\

67 Grttl

G7 ril*s>

ftrlc.)

($/,; r,4r

tl rrnl,at

f Trgtn; t u

[ \u-yrg

(4?

( Bn,,'f )

( '7 0,;,x,L)

D-1r,

s,e.tcth)

7(rr,r,

ON CHORDS iiM7.V7 SUPERIMPOSING PROGRESSIONS

Referto the chordchartson pages39, 4, 49. sounding chords. with The iimTchordshouldbe superimposed "tonic"

FnT#-r,

u-7\

'colof tones. on Substitutes the V7 chordcan containmore For example:

chordcan haveits' and as can A iimT-Wprogression be treated a W sound a minorseven to dominant chordadded it. corresponding o Belorv someexamples iimT-Wchordsuperimpositions: are D-l G) G7 &\ D- 7 (r+,
't Haj'l +t)

PROGRESSIONS iimT-VT (continued)

Chordscan be addedwhenmovingat a quickerpace: For example:

up' Chordscan be nrunup and down'or may be "broken to createinterest. For example:
fl'7 p 1ai;ttl&7 t oH e i 7 )

D - 7' (Flttill

G'I

U noil )

scalemadeup of two or morechordscan be created. A'composite" For example:

D-, ,, Ha,tt G'7 qt;)

D-7(r*,o,,

'

"'J'1'

progression resolves. chordscan be usedon the 'l' chordwhenthe ii-7-V7 Superimposed

D(-tl7 -

COEJ.,,, ,7-,,,

brTn,,l, tffo;r D-7r*,,

55

SCALES TONICAND COLOR EXERCISE COMBINING BASEDON CHORDS WITHTONICAND COLOR SUNRISE." "SOFTLY A MORNING AS
way.Thatis, one in treats someo the chordsin the progression a horizontal Thisexercise chord is usedfor morethan one chord.Also somecolorchordsare scaleor superimposed way. in ordered a sequential
b -7rru,; rct.l

D _,7

b-r

[c nc rd.j

6 (Ftt,; -7

rc|,)

D,Jt ,

z'J*,r,

4.7 ,7.

D-7

1a7r, '4%u,r)

Dir *,

27

(i -C*.)

64t-e (o,+)

1.8t fur>

56

rb

SCALEANDCHORD EXERCISE
'"" +

(continueJ.{

D-7

Cl r"t,)

L '- 7

SJAC Gz

7aT
b-Y
7b,n,;?

tn;t,t)

rr)

D- z

2"7 t;r q*:F tr+sr,l -Lrh;'t

g:
,It

D-7(tn,;i)

'
G;)

-(f) 7

t *

(bL)

>-7

(t t)

rr'"

E -trc )

2-7'

A7

gt-r?) x

*.-\-l

G-al

'bit,l

DTr*

(Blt'.)

'
.

GF*,

'4 7

G#o*t

2 (A j(.*.nl -

D-7

EXERCISE SCALEAND CHORD (continued)

b -/r,n,,r,,

b-1(>ttt,ijt)

6-7

Arl L- n l&flr;r'o ^

D-7-(cntitt)

7r,,,

2-'l (rt)

Ar7

D(

D-7 (2-,p.\

G-7

D-z

t-7

0 un)

rl

6^r,,

(F-.p)

(.b,-.-l

58

ffiw,

TABLEOF CONTENTS
PART I INTRODUCTION AND THEIRRELATIVE SCALES CHORD TYPES SUGGESTED APPROACHES (revised). FOR USINGSCALES SCALECHARTS .... TONICAND COLORSCALEEXERCISES PLAYING iim7-V7PROGRESSfONS ON WITHTONICAND COLORSCALES
* .!. -.isr'..,

. . .1 2 , . . . , . .3 .4-9 1S34 . .3$36

PART II SUGGESTED APPROACHES FOR USING SUPERIMPOSEDCHORDS ..,37 CHORDSUBSTITUTION CHARTS AND EXERCISES . . . . .38 TRTADS . . .3941 SEVENTH CHORDS NINTH HORDS C ...4953 SUPERIMPOSED CHORDS iimT-V7 PROGRESSIONS .., . . . .*55 ON EXERCISE TONICAND COLORSCALES COMBINING WITH T O N I C N DC O L O R H O R D S , . w . * . + * l F . . A C . .559 ....