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    Warren-Nunes-The-Blues COMPING PDF

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    Sebastian Reguan

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    The Blues ty Warren Nunes and Jerry Snyder ISBN: 0.9494 0115 1 2 Charles Hansen Educational Music and Books proudly announces the NEW Warren Nunes JAZZ GUITAR SERIES by Warren Nunes and Jerry Snyde JAZZ GUITAR — Rhythm and Background Chords and JAZZ GUITAR — The Blues are the first two books in the series. Other soon to be released books deal with improvisation, solo and comping chords. over 180 written out cycles and progressions ‘music theory and analysis answers to Jazz Ensemble questions JAZZ GUITAR — Rhythm and Background Chords by Warren Nunes and Jerry Snyder. The book is divided into the following sections: Section One ~ | Type Chords; Section Two ~ I Type Chords; and Section Four — Appendix which includes introductions, endings, stage bband questions, rhythm patterns, and chord charts. This ‘book shows you Now to use jazz chords in progression torm. Spiral hound — 176 pages. 4AZZ GUITAR — The Blues by Warren Nunes and Jerry Snyder. This book contains completely written-out ‘examples of how to play the jazz version of the blues. Contents include ten blues in B_ — five basic and five, ‘modern; five blues in F — three basic and two modern; ‘eight lead pattern for blues improvisation — four in B {and four in F; two blues solos ~ TRU BLU and MYNAH LINE plus an instructional record which allows you to ‘be the soloist. Available from your favorite music dealer or from Charles Hansen Educational Music and Books, 1860 Broadway, New York, New York, 10023. JAZZ GUITAR WARREN NUNES series WARREN NUNES plays, teaches and lives in the Son,Froncisco Bey area where professional musicions consider him the best jazz guitarist around. Preferring his home=life to national prominance, Werren elected not to go one the road. He has, however, per- formed with many nome performers. Warren teaches jazz guitor full-time and is currently developing @ new JAZZ GUITAR SERIES for Charles Hansen Educational Music and Books. His, sudenis are among the best developing jazz guitarists in the count: es JERRY SNYDER combines his knowledge of the guitar with « bock= ground 0s a mie educator, coordinator, clinician, arvonger end Prolessional musicion. He received his B.A. and Muy in music from Son Jose Stote University. Prior to joing Hansen Publico= Yiom es Guitar Editor in 1971, Jerty wos the Musie Coordinator forthe East Side Union High School Oise! in Sen Jove, Calif= inia. In addition to guitar, Jery pertoxms regularly with the Son Jose Theater (woodwinds and fretted instruments) ond the San Jove Symphony (bom clarinet), Table Of Contents by Warren Nunes and Jerry Snyder ABOUT THEBLUES ........., 4| Modern BluesNo.9 2... 2.00. Chord Extension 6... eee 4| Modern BluesNo.10 ........ Chord Alteration . 2.2... 2.505 5 Chord Substitution... 0... 6|TRUBLU 2... . 6... eae ImprovisingBlues 2... 1. ee 6 fathom Wee eee HOWTO USETHERECORD....... 6 LEADPATTERNINF ........ BLUESINBb .. 2s eee + 7) LeadPatternNoot 2... eae Basic Blues Progressions ........ 7 Lead PatternNo.2 .......04 Modern Blues Progressions ...... . Be LeadPatternNo.3 ......... LEAD PATTERNS INBb ........ B} LeadPatternNo.4 . 2... os LeadPatternNot ..... . ee 8 Lead PatternNo.2... 0.20, . 9|BLUESPROGRESSIONSINF ..... LesdPatternNo.3 6... ......, 9] BasicBluesNo11 2.2... 00% LeadPattern'No.4 6.2... 00, 9| BasicBluesNo.12 ......... BbBLUESPROGRESSIONS ....... 1o | Basie Blues No 13 | Modern BluesNo.14 6... BasicBluesNo.1 2... we i ee area atte eee Basic BluesNo.2 2... 13 Basic BluesNo.3 . . 1... ee ee 15| MINORBLUES....... wee Basic BluesNO.4 .. 2. 17: LEH Seales tice ire seeeaite sree eet BasicBluesNo.5 ..........-. 19 ear eemes ae ea Modern BluesNo.6 2... 2... 1. 2 Modern BluesNo.7 2.1... 1. ibe Ren ee eeeerecec crate Modern BluesNo.8 2... . we 25 | GUITAR FINGERBOARD CHART 4 ABOUT THE BLUES The traditional jazz blues is a twelve bar (meature) progression which utilizes chords built on the first, fourth and fifth degrees of the major scale — the |, IV and V chords or the tonic, sub-dominant and dominant. For example, in the Key of C the three basic chords would be C,F andG. Generally dominant seventh chords are used. (fig. 1) - Keyboard Analysis cl FT GT SS SSS] I 0 mw WV v VI vil fig. 1 Primary chords in the Key of © The basic blues progression has the following pattern: To ‘ee S ay Tonic — one measure Tonic — two measures LOmn c= & spine Cre» Sub-dominant- one measure Dominant — one measure 7 Tonic — two measures Sub-dominant — one measure baad omiaua meee enero eee measures Tonic — two measures Cy qpi.cy Do «yee? So?) Domimanes $ opin blues in C or FI cr G7 FI c7 (G7 for repeat) In the jazz version of the blues there exists an almost inexhaustible number of chord voicings that may be used. Chords may be extended, altered and substituted. chord extension ‘© extend a chord is to add additional tones to it — often successive intervals of a third (major and minor) — which are added to the chord above the seventh. For exampl may be extended to become 01 le, a C7 tends Fretboard Analysis c7 co »C1L C13 fig. 3 chord extension chord alteration (aq %eimsas avapro) ‘A C7 may also be altered to become C7-5, C7+5; or, it may be altered and extended to become C7-9, 749, C9+11, C13-9. These extensions and alterations may often be used as substitutes for the dominant seventh chord. (fig. 4 and 5) Keyboard Analysis cr cT-5 C745 e1-9 cT+9 coe 13-9 r Analysis fig. 4 Chord alteration and extension cr c1-5 cms cr-9 cr C9+11 13-9 He Hi BS fig, 6 Chord alteration and extension chord substitution (vanaques-awrearaers het per) In addition to chord extensions and alteration, there are many chord substitutions in the jazz version of ‘the blues. A basic substitution is to enhance the V dominant by using the I] minor in conjunction with it. (9.8) oR HL ba Ga LES De TI GT ease tte Gr a7 (Dm7 @7) (Dm11 G13) (Dm7 G1+9 GT-9) 4 ra £ z i] T T i T oT fig. 8 Substitutions, extensions and alterations for the G7 chord in the Key of C. There are fifteen blues progressions and two blues compositions in this book which demonstrate the use of chord substitution, extension and alteration. All chord voicings are indicated in standard music notation ‘and w.th chord frames. improvising blues solos CadwunSepss 6x" rlues, set ) Coan “as OF Ma Er, : Improvising blues solos Utilize the $0 called “blue” notes of a scale — flat 3, flat 6 and flat 7. In thé key of C, the blue notes would be Eb, Gb and Bb. (fig. 7 sh a —————————————————— 1 2 3 4 5 6 q 8 fig. 7. C scale with altered “blue” notes Several lead patterns are presented in this book as a guide to the initial development of blues improvisation. HOW TO USE THE RECORD ‘The actompaning record contains many of the Bb and F blues progressions found in the book, an example of how to use the lead patterns and the two blues solos TRU BLU and MYNAH LINE. The record provides you with a full rhythm section so that you may be the soloist. It also provides You with examples of the various jazz/blues rhythm “‘comp” (accompaniment) patterns in a variety of tempos. Use the record to check the clarity of your chords and as an aid in developing your ability to improvise. record contents Band One = — —_— introduction Band Two — —_ Basic Blues No. 1 with Lead Band Three = — Basic Blues No. 1 in Bb Band Four — Basic Blues No. 2 in Bb Band Five = — Basic Blues No. 5 in Bb Band Six = — Modern Blues No. 7 in Bb Band Seven — Modern Blues No. 8 in 8b Band Eight - TRUBLU Band Nine = — Basic Blues No. 12 in F Band Ten = — Modern Blues No. 14 in F Band Eleven — = MYNAH LINE BLUES IN Bb The key of Bb is one of the keys frequently used in the jazz version of the blues because it facilitates the brass and woodwind horn players; it is one of the easiest keys for their instruments. ‘The primary chords in the Key of Bb are Bb, Eb and F; that is, chords built on the first, fourth and fifth degrees of the scale. (fig. 1.) Keyboard Analysis Bb Eb OF I ni Mm Iv v VI va fig. 1 Primary chords in the Key of 8 The following chart indicates the chord extensions and alterations that are used in blues progressions ‘No. 1 through No. 10. Refer to the various progressions themselves for examples of chord substitution. (fig. 2) I CHORD with IV CHORD with extensions and alterations extensions and alterations 4 Bhmaj7 BP7+9 eb eh3 Bhs, a7 Big a7 e749 os Bo eo fig, 2, Chord extensions and alterations used in this book. basic blues progressions Progressions No. 7 through No. 5 are basic blues progressions. The chord forms have been ¢arefully selected to provide for interesting and logical movement in the chord voicings. Pay close attention to the left hand fingering. Do not sound any string(s) that are marked with an “ Progression No 5 is an example of four string “comp” type chords that keep you “out of the way” of the bass player. They also demonstrate the use of non-root chords. Non-root chords are derived from the large forms. Use proper fingerings. modern blues progressions Progressions No. 6 through No. 10 demonstrate the use of substitute chords and are variations on the blues, They include more frequent use of altered and extended chords. 8 LEAD PATTERNS IN B> The “blue” notes in the Key of Bb are Db(—3), Fb(—5) and Ab(—7) or the flatted third, fifth and seventh of the Bb major scale. Those notes along with other scale notes provide the basis upon which to develop an improvisation blues solo. (fig. 1) la $e volt " Bb bee Late oO WD w& ; : a 3 4 5 6 q 8 fig. 1 Bbscale with “blue” notes indicated The following four lead patterns are included as aids in the development of your ability to improvise. The accompanying record demonstrates how Lead Pattern No. 1 may provide the basis for blues improvisation, Blues Progression No. 1 through No. 7 indicate where each pattern(s) may be applied. Use the record to Provide you with combo background as you experiment with the lead patterns. Develop your OWN ideas and your OWN application, It should be stressed that these patterns only provide a skeleton upon which to build your own ideas. Don’t become a “predictable pattern player; use the patterns as an aid to expand and to develop your own ideas. NOTE: Listen to Basic Blues No. 1 with Lead Pattern No. 1 ~ on Band Two of the accompanying record. lead pattern No. 1 Mi ) te) CED AD CD (82 GP) BD Gd os Oe SOAs & —— lead pattern No. 2 3 ee = 6 15 ODOR o 22 P92 eagey 3rd pos. a} ® ©. @ 1 lead pattern No. 3 4 8th pos. Pel Peel tees IIe gcaty @ iis s KG 1 ® ® ® ie YY n@ OOO TA OR eae rr areeeee eeeeaeeei cette eeedce er ©] @@ e= SS = ——f “2 | I. ® ® o— o——— o- =: ©0@ | @ lead pattern No. 4 T6> fees | L1oole (0) 10 Bb BLUES PROGRESSIONS chord forms lead patterns 6th pos. | 4 be teeta et alt ote A Pg Eee bea. No. 1 # = - = wy @ ©. ©. ® ® ® Sedpos, gf No. 2 @ ® ® ® ® @ Hh pos bs po 4 Sth pes. No. 3 @ @ ® ®@ ©. @ Play the Basic Blues 1 and attempt to improvise o solo. Begin with Lead Puttern No. 1, may be maintained throughout the progression. your ear be the judge. Review page 7. This position Now try combining Solo Positions No. | and 2, etc. Let basic blues LEAD| Noolor2 ---------- NoI,2or3 -------- [RHYTHM Eo cet ype ee No. 1 or 3 a 1 Bb13 E9 Eb9 “FA ‘ Ht ot o No. lor 3 - - - - BI F9 No. Vor2 - - - - '. a|JNo. lor2 - - - - BbT Bb7 12 chord forms Bbe Eb9 Pm7 BbT Bbmaj7 Dm7 Go 10 lead patterns Gthpos. po 3 1g No.1 No. ©. BOE ea tate ta ete at tee e—be— a = ©. ©. © 3rd pos. Sea No. 4 ® ® ® @ Lead Pattern No. 4 is used in measure 8 (Dm7 to C9). Lead Pattern No. Imay be maintained throughout the rest of the progression. Alternate lead positions (No. 2 and 3) may be applied where indicated. Use these positions as a guide or as @ skeleton upon which to develop your solo: do not let the positions re- Strict or inhibit you. basic blues LEAD) A gpNelor2---------- Bb6 + RHYTHM 4 No. lor? - = - - Nee ee Bbmaj7_ Cz cm 6 8 14 chord forms Bb6 Eb7 Fm9 Bb13 ” w Gi-5 Z 7 ¥. he pe i fe = basic blues LEAD) No.lor2 - - - - - - - - - No.lor3- --------- te + BbG EbT omoy 6 3 RHYTHM H Ht r= = +e No. 1 or 2 Bb6 6 16 chord forms Bb13 Fm7 BbT Eb7 R cm7 OR 7 R R Dm7 GT FI9 FI-9 R R R lead patterns 6th pos. 4 8 1 ‘ No. 1 ® @ © @ © © Sedpos. 4 yy No. © @ ® @- ® fo) 9th pos. | 4 a 1 Bth,pos. be Pee No. 3 ® ® © ® ® - © 3rd pos. 5 No. 4% 17 basic blues [LEAD] ,No.Tor2 - - -------- No. Vor 3 T Bb13 Eb13 gear 4 ¢ 6 RHYTHM : No. 1 or 2 . No. lor 2 - - - - Bhmaj7 ae ‘ 8 HF 18 chord forms Bb6? (NR) Eb9 (NR) Fm11 Bb6 Bb6 5 6 ry 5 5 OR R R R Cm7 Dm7 G7 Bbdim7 4 6 5 5 R R R R ‘ead patterns th pos gg et 2 No.1 a Tee 16 = basic blues LEAD] No. 1 or 3 (NR) Eb9. s [RHYTHM] No. lor2 - - = - Cm7 AH TN 20 chord forms BbT49 “EbT Bbo 2 Eb9 EbT+9 Bb13 GT+9 Cm7 R t _ t c DI+9 G19 0 ian 10} * R R lead patterns Sho. pf 8 1 gg No.1 o ® ® © © O!. aril t pe Meee eetecteeatteaticintiqties tit testtiiicr atti No. 2 — tt | ° a a 2 @ ® ® ® ® 9th pos. be Lo 1 Bth,pos.. : No. 3 © @ © a S Bedpos. 5 No. modern blues LEAD] RHYTHM), EbT No. lor2- - - - )Noo.d---- - = No, lor2- - - - Bb13 Gi+9 m7 r Baer) 8 A Hy : Ss cH9 FI49 * The Bm9 to E9 function as substitute chords for Fm7 to Bb7. 22 749 (NR) Bb9 R lead patterns 6th pos. p4 a 23 modern blues LEAD) .No.lor2 - --------- [Ne lor3 ---------- Hh 4 Bb Fro EDT (NR) _B9 7 scr : 6 6 + + [RHYTHM ss ------ +--+ -----4------- T T “sGbmo Bo Bbmaj7_Dbmaj7 6 “oT 6 2 r¢ H 1 6 Ghmaj?_ Bmaj7-5 f é- o------ [No. lor 2 - - - - |No.4 - - - - - - |Nolor2--- - T | Ebo Bb6? Eb13 Dm7 Db13 Cmz7 a pa za © Fe ow ao '* The Gbm9 to B9 function as a substitute for F7. 24 This progression is a variation of the blues ~ but groovy. chord forms (NR) = non-root chord Bbmaj7 Ebmaj7 Am7 D7 Gm7 . ee gre * R R R C7 Fmi7 (NR) Bb7 Ebm7 Ab7 | aa He R R R R Dm7 7 Gt Dbm7 GbT 'Cm7 ' 3 3 Ls 2 2 ; i Tox Ox R R R F7 Bbmaj7 Dbmaj7 Gbmaj7 B13 26 modern blues Gm7 Fmg? BbT Ebmaj? 6 7 Bbmaj7 Dbmaj7 4 Cm? iz Gbmaj? B13 [Bbmaj7 6 26 This progression is a variation of the blues. chord forms (NR) = non-root chord Bb6 (NR) Eb9_ Fm7 BbT Eb7 6 6 ‘ z R R 7 BbmajT Bb6 cm7 FO Ebm7 [1S 7 x 8 OK 8 Ct Es H Dj D R R R R Dm7 Go Dbm7 Gbo oan 10 xk qo ts sox 7 CTT) R R R x Dbmaj7 Gbmaj7 Bmaj?-5 Bbe 4 6 7 R R R R modern blues Bb6 Eb9 Bbmaj7 _BbG = Cm7. F9 Ebm7 _Ab9 Dm7 Ge 6 appt Dbm7 Gb Cm7 Fo i 1 Bbmaj7 Dbmaj7 G 4 EH 2. Gbmaj? Bmaj7-5 | Bb6 + This progression is a rhythmic variation of the blues with “moving” changes. chord forms r Bb BbT EbT (NR) Bo (NR) Bbo 6 5 Eq a fy (NR) A9 (NR) Abo BbT EbT Db 4 a cS R R R BbmajT Cm7 CHaim7 Dm? TS SF Bdim7 Cm7 Dbdim7 Bb6 3 FAA oe oe R x FT Fdin7 FU FF S = OV rE fe Z R R R modern blues (NR) Bboy $ 2 Ag Bb7 (NR) Abo 3 EEE (NR) BI Eb7 Db fae Ebdim7 EbT Bbmaj7 Cm7 Cidim7 FT Eb Fdim7 7 30 The following solo, TRU BLU, is based on a twelve bar blues in Bb. The chord forms below fit the melody and may also be used as background rhythm chords. Basic blues progression 2,3 and 4 may also be used as lead and rhythm chords, Ubs chord forms wee Bb13 Eb9 BbT a fia | R R R (NR) BbT Bbmaj7 Dm7 6 6 F9 Bb6 G13-9 Cm 7 6 8 8 R R TRU BLU » WARREN NUNES ‘Bb13 Eb9 abs ey @ RHYTHM Copyright© 1974 by ‘(Adivision of Charles International Copyright Se + Hansen Eucational Music & took, le en Music & Books, ine New York, RLY. ‘Made in US.A, "AU Rights Reserved tab ido cy gab, wel Bb rt PLB yT A yl bo nym gt Sella tell feD Siblab SQ Sot ft wag @ ® @ @ ® Eb9 es wud neh po gil PEMA yp OMT «yy Duy ae a et My 2 v6 wt Me Og fp for or Tees rae ®@ @—_ ® ©—___ © ©@©—_—_._ © © —__ ©0® Bbmaj7 G9 6 cmt, Fo Boe Gi3-9 «Cm? F13-9 Hb Do boy (tee ste tt 4 mute 23 od? f. 9 7 whee be gees xt ¢ f: eros a SSS eee | _ 3 @® eo ®@©00O ® Cm? Fo Bb6 G13-9 Cm7_—sF'13-9 7 oer « 8 6 q tH HoH H EH 32 Wiser alee BLUES IN F ONUe » In the Key of F, the primary chords are F, Bb and C — the I, IV and V. (fig. 1) Progressions No. 11 through No. 15 demonstrate the use of extensions, alterations and substitutions. ~C)awb F Bb c 1 u m "IV voi VW fig, 1. Primary chords in the Key of F The Key of F is another popular horn key. Being able to play the blues in F and Bb will enable you to cover the fingerboard in all keys. Try transposing the F and Bb blues to other keys. LEAD PATTERNS IN F Pon ee) - The “blue” notes in the Key of F are erg) (Cb(—5))and\Eb(—7) br the flatted third, fifth and seventh of the F major scale, ery wd) ub “3 i 1 2 30 4 5 6 7 8 tig. 2 F major scale with “biue"* notes indicated Use the Lead Patterns as a guide and aid to the development of your own improvisational ideas. They will help you give emphasis to the flat third, flat fifth and flat seventh. lead pattern No. Tf). Pelt Spectre rae eee a be ! 4 3 1 4 8 1 a — lead pattern No. * [C600 a pattern No. 3 . ; Sore hoe atte No. 4 " d pattern 7 ° oat ae Rey yA u fia ep om ft epee ety 2 GF be. 2 face 34 chord forms Fu BbT F9 8 6 8 8 R R R lead patterns Ist pos: C7 R 3a pose tl No.1 = ® ® ® ® © © th poss 4g, dpe 21a 2 1 4 8 tk tg No. 10th pos. , No. basic blues LEAD] 4 pple dert tot ttct te [No 2-7-7 -- r T F7 BT 8 oy nN RHYTHM] i : a oe Noblis or dtiete tee tetera eee at tee ee ee ee ott Notte operate eet Bb7 “f No.1, 30rd - - - No.1, 30r4 - - - Fv C7 a A 2 No.lor2 - ---- - No.1,3or4 - - = 1 - Bb7 Fu cr “fF 8 sey sa] Eo ¢ TN se et hy kek 3a chord forms Bb13 cm7 (NR) Bb9 66x 5 > 8 Am7 DI+9 Gm7 6 P63 5 383 ot Gm9 C15 FT 8 TC] 86: k K LL lead patterns Ist pos. pos. No. 1 ® @ ® @ ® © 3rd pos. see @ @ @ @. ® © 10th pos. 4 f a ttt No. 4 @E Se q thee ite tee ¥ hes 0. ® © e ® ® RHYTHM) No.1, 30rd - -- ----); ----------- Nolor2 = - - ---- © rs Bb13 oft E --------- |No1,3or4 - - - |----+--- j-------- T Fmaj7 —_Bb13 Am7 DI+9 Gm7 rT 5 i 6 5 FR =e No. lor 2 - - - jNo.1,30r4 - ~~ te Am? D7+9 Gm9_ C75 8 8 38 chord forms Gm7 Fdim7 Cm? 3 4 8 Ed Eg R r R B13 Bb13 (NR) Bb9 D7+9 6 T] T 7 5 s[@Te HH R R R lead patterns Istpos. 4g No.1 ® @ @ ® ® @ Ath pos. 4 9, Sed pos. No. 2 ® ® ® ® ® © hoes 2 p88 eg, SRD | ethno No. 3 ® @ @ @ ® Wh pose 2 me oe No. 4 Pye a] ns @ ® © @ @ @ TR we Fe ve ee 3 basic blues No. 1, 30rd Fo? I IF No. lor2- - - -|No.1,3ord - - 1 ------- pee etetatia Fdim7 F69 — Fdim7 4 4 40 chord forms R= root (NR) = non-root chord Fmaj9 F6 Fm9 Bb7 Dm7 i + 6 8 BP 10 R R R R Dbm7 Cm7 Bb13 8 9 R R R (sR) Bbo Am7 Di+9 DI-9 Gm7 *x 5 * 5 R R R R *C13-9 Eb13-9 Gb13-9 c13-9 c-9 c7+9 | auhin bas, bath in bass Sed in base 1 * NOTE: These chords are really inversions of “ C “ type chords. ach Gm7 C13 19} 10 8 o 8 Gk® c7-5-9 ‘th in bass modern blues Fmaj9 Fmg9 BT a1 Fmaj9 Dm7 Dbm7 cm7 FI Bb13 Am7 DI+9 (NR) Bb DI-9 5 Gm7 Fmaj9 Bb13 “HE C13-9 Eb13-9 Gb13-9 A13-9 7 0 az chord forms (NR) = non-raot chord R= rogt (NR) F13 (NR) Bb13 (NR) Fo? (NR) Cm9 (NR) F9 6 7 Fmaj7 3 > oR (NR) D9 7 oR (NR) D7+9 (NR) D13-9 (NR) D13-9 10] 10| 12} OR O (NR) Gm9 (NR) 13-9 (NR) C13-9-9 Fe? 8 8 8 or = 2 {Too I 43 modern blues (NR) Fi3 (NR) Bb13 7 6 Gm7 Am? (NR) _D9 7 1 (NR) Gm9 (NR) 13-9 8 8 an {fH fa enrpad, ot uum, : ! End ty Rom ea emen popper vd Opn pamminda ov Casey MINOR BLUES DegexeSiaayac gio “Aya Nivea CL povee wee, Daparery EHH H ope pe BL HS Gee) eg ed COUeEY The F scale, the natural, harmonic and melodie forms of the Dm scale con serve as patterns for in- provisation in MYNAH LINE (page 46). Carefully observe the indicored ieee VT peyeSa pepe 1st pos. 4 204 mov @ ® 1} ® Chord study No. 17 begins on the third gee, of the scale, (A) of the F seale. | —7 Stua)er Sth poss 1 pont a7 © © @ ® ® ® ® ® @. © 6} Sw cae ve Ox ‘ : - As Hine ie Be 8th pos. A A SHO (Renn pos. ca ww pee = pes a Be (Geom a aut yrmvoa J tor Bough we Mocs aogS we Re. do wh emeuied wbge Sel RTA ET tyare ReGSe Keo ay Sewn Beye ae Toren Be tae EY Fpl cs penton pth eon dm scales eyes vane wven/ The key of Dm is the relative minor to the key of F. The natural Om scole begins on the sixth degree of the F scale and contains the some notes. The harmonic and melodic forms are slightly altered, natural minor Cirxcun pose? . Ind pos 4 i lew 3 < ae j< WOW pmivceg) harmonic MiMOr - raise the seventh degree of the scale one-half step. Sth pos. 6th pos. 1 1 2 4 A Av

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