CREATIVE IMPROVISATION Boga sepals) Includes:clearly outlined sections of study; 1 TOOLS Chord Symbols, Chord Tones, Extensions, “Scales To Blow Off” and Written Licks FS TECHNIQUES Altering a Written Lick Based On a Single Chota and Se New Motit$ and Their ps soot) Musee OVER CHORD Me The practical application of the “TOOLS” and “TECHNIQUES” ra,The GomPLETE BROOK on | GREATIVE | IMPROVISATION by FRED LIPSIUS DEDICATED TO MY MOTHER AND FATHER ae (COVER DESIGN: DAVID LHEURBUXTABLE OF CONTENTS PAGE INTRODUCTION ..........00.000c ccc cece eee e cnet tte eee een ee 3 EXPLANATION OF SYMBOLS AND TERMS..................4- 7 MAJOR CHORDS MINOR CHORDS. AUGMENTED CHORDS DIMINISHED SEVENTH CHORDS MINOR SEVENTH CHORDS. HALF DIMINISHED CHORDS... DOMINANT SEVENTH CHORDS . ‘* Tritone Substitution (for a given Dominant Seventh Chord) . * Altered Dominant Seventh Chords ...... * Dominant Seventh Flatted Ninth (#9) Chords . ‘+ Dominant Seventh Raised Ninth (#9) Chards . * Dominant Seventh Flatted Fifth (b5) Chords ‘* Dominant Seventh Raised Fifth (#5) Chords . . * Dominant Seventh Suspended Fourth (sus 4) Chords and Their Related Chords of a Major Triad Over a Bass Note es Than the Root) COMMON TONES CHARTS BLUES SCALES ALTERING A WRITTEN LICK INTRODUCING NEW MOTIFS AND THEIR EXPANSIONS IMPROVISING OVER CHORD PROGRESSIONS IN CLOSING DISCOGRAPHYINTRODUCTION ‘My purpose in writing this book, is to share with you a myriad of musical ideas and concepts that | have accumulated, not only fram my studies and experiences as a player, arranger and composer. but from the new discoveries made most recently during the writing of this book. Those of you who have grasped the fundamentals of music and have a desire to either earn or expand your ‘scope of knowledge in the art of musical improvisation will find this book invaluable, In my musical travels, | have come across many talented musicians who, due to a lack of practical tools and techniques, seem to be “in the dark” regarding improvisation. They Nave little or no concept of how to approach this “Art”, even though they may have a sincere appreciation and/or admiration for those creative improvisers. Even the most experienced improvisers often find themselves in a rut at different times in their musical growth, feeling that they have used up or outgrown some of their tired and proven “bag of tricks”, and are searching for some fresh ideas and concepts. This book should act asa bridge to help you reach a greater understanding of your own creative talents or flow no matter which of the above categories you find yourself a part of. In order to presenta clearer and simpler overview of the materials contained within, | have decided to outline the various Sections as follows: TOOLS: Sections 1 through 9 - Chord symbols, chord tones, Extensions, “Scales To Blow* Off” and written licks. + TECHNIQUES: Sections 10 and 11 - Altering a written lick based ona single chord and introducing new motifs ‘and their expansions. IMPROVISING OVER CHORD PROGRESSIONS: ction 12 - The practical application of the “tools” and “techniqués” as explained and illustrated in Sections 1 through 11 Asan added teature, there are important and useful reference guides illustrating the different chords or chord types that have a common “Scale To Blow Ott”, They are found in the Section entitled “Common Tones Charts”. Because there are so many different types of chords and scales available to us, | have zeroed in on those which feel are the most basic and commonly used in Jazz. The illustrated written licks based off those chords and scalos will serve a8 a compendium of improvised jazz lines. This mini-dictionary will afford you a wide selection of material to run through and study for any improvisational possibilities, whether it be used for playing, composing or arranging. As with any language, once you learn the vocabulary you can treely express yourself in any style or manner you choose. For example, you might pick out a group of notes from one of the written licks and, using them as a seed or starting point, branch out into the other possibilities that are available to you through either the “techniques” found in this book or any other creative ideas you may come up with, Most of all, WRITE THEM DOWN, and TRY THEM OUT! improvise +id0as: phrases: ris‘The possibilities in improvisation are endless. You might want to reverse some of the notes in a phras displace a lick (by starting it at a different place in the measure), transpose it into another key, or invent @ “pattern”* where none existed. There are many ways to go; the main thing is to EXPERIMENT. Itis necessary to practice the chords and scales in this book in order tohave them under your fingers and clear in your mind so that when you see a given chord (te improvise off) you automatically know what notes are available for you to choose from. Nateraify, the more familiar you are with these chords and scales, the more relaxed and confident you will be. To me, this is one of the keys to successful playing. [have illustrated both the chord tones and Extensions for each of the given chords, which together form a “Scale To Blow Off.” You now have at your disposal all the notes that will sound correct+ when improvising off @ given chord, In many cases, I have taken the liberty of using one or more notes which are not part of the “Scale(s) To Blow Off" for a written lick. This is mainly done to keep a particular kind of intangible, unpatterned freedom, which isa necessary part of te creative fabric from which improvisation is woven. Of course, thisbecomesa matter of musical taste, for what one hears, thinks and feels is what one should play. Before attempting to play through any of the groups of written licks having a given chord, | would suggest the following as a preliminary warm-up: 4) Arpeggiating (running up and down) the given chord using any or all ofits Extensions: eee Lars f13 on ee vw =— ie a b) Playing the “Scale(s) To Blow Off” utilizing one or more octaves: EXAMPLE: BASED OFF THE C7 CHORD. ‘repetitious melodie and/or rhythmic sequence *+good: right; harmoniousOr starting on any note of the scale besides the Root as a variatior ©) Arpeggiating the groups of triads or seventh chords based off the given chord's “Scale(s) To Blow Off” EXAMPLE: BASED OFF C7 b Se ee ee For those of you who happen to play a non-chordal instrument, I would recommend using a piano or guitar as ‘an accompaniment. You will find that this will be of great assistance to you as you play through the book, By following my recommended warm-ups, you will be more “finely tuned and preparedto play through any of ‘these written licks.6 Transposing instruments such as Bb Trumpet, Bb Clarinet, Bb Tenor Sax, Eb Alto Sax and Eb Baritone Sax(to mention a few) may want, from time to time, to transpose some of the written licks and/or motifs along with their respective given chords. Below is a chart showing their transpositions: ACTUAL NOTE IN UP A MAJOR 2nd FOR TRUMPET CONCERT PITCH ‘OR Bb CLARINET UP A MAJOR 9th FOR TENOR SAX 0. bo Z & = = 2 UP A MAJOR 6th FOR UP AN OCTAVE AND A MAJOR 6th Eb ALTO SAX FOR BARITONE SAX If the transposing instruments wish to play the written licks and chords as they appear in this book, then the non-transposing (or “concert” instruments would have to transpose by using the reverse procedure. Non-transposing instruments using Bass Clef would have to rewrite the written licks into their clef using a range that 's comfortable for that particular instrument. Although chordal accompaniment is helpful at the beginning stage(s}, one should strive to hear the sounds) from “within”, and not have to rely on harmonic support, In order to overcome the tendency to only want to play in a particular or convenient key, I have decided to write individual licks (for the different chord types and Blues Scales) inall of the twelve keys. These written licks can be played at whatever tempo you feel comfortable with. Ihave also included difficult runs that incorporate the different keys that will challenge the most advanced player. They function in a secondary capacity, as exercises for both building finger dexterity and increasing your reading skills, thus affording you tobe able to tackle most musical situations. Each individual written lick should be treated as a separate thought or idea, complete in itself, (as indicated by double bar-lines, either broken or unbroken). The phrasing markings are optional and will most likely change. according to the tempo you've chosen. ‘As you become more familiar with the contents, you will notice certain similarities between two or more written licks. This was done to reinforce the fact that they parallel some of the “techniques” demonstrated in Sections 10 and 11 ‘When altering or varying a written lick or motif using the many combinations of melodic, rhythmic and/or harmonic “techniques”, you'll find that by changing just a few notes, rhythms and/or substituting a new chord structure for an existing one, you will bring a new expression, color, mood and purpose to the music. Once all the various “techniques and “etfects"' for improvisation are absorbed, you'll find an almost infinite amount of ways to express yourself. So experiment with this material, for the fullest potential will be realized when you use it as a “key” to open that door leading to your own wealth of creation inside yourself. There was a time, during the early stages of my musical development, where upon listening to someone improvise I'd wonder, “How do they do it, how do they play whatever they feel right on the spot like that?’ “Where do the notes come from?" It all seemed quite impossible! But, after becoming familiar with the tools, and techniques of improvisation and then branching out from there, | found that it really wasn’t any great mystery but a combination of dedication, hard work and an open-minded attitude that makes one not only proficient, but ever-evolving in the Art of Improvisation.EXPLANATIONS OF SYMBOLS AND TERMS (_) Any part of a written lick contained within the parenthesis is optional. This includes any individual accidentals (4, & or b) Choice of playing the top or bottom note(s) v (Rev.) You can reverse the notes (Rev.) You can reverse the whole line, playing it from the last note to the first owes GS - SeSS= » aE = : (or) co cte./ Pattern can be continued going up Ete. Pattern can be continued going down Bend up into the note from a pitch or note below it EXTENSIONS These are notes that can be used with the basic chord tones to form: a) A'"Scale To Blow Off” b) Amore expanded version of the basic chord (such as 7th, 9th and 13th chords). BASIC CHORD EXPANDED VERSION Fai —_—_ _——= Related to chord symbols and intervals ©) Alick Mor Maj = Major mor- = minor You can either slur or attack any note(s) shown in an example with both a — symbol above/below it (indicating to attack the note) and a slur mark over/under the — symbol.GENERAL POINTS (On the first stave of each page containing written licks* is the given chord (symbol), shown with its chord tones below, followed by the Extensions with their chord degree names above them, such as 6th, Maj 7, #11, etc. Noxt, there are illustrated examples of chords (based on the given chord) that use one or more Extensions: EXAMPLE: FOR A (MAJOR CHORD) A6 Amaj7 Amnaj79) A6(9) vai CHI 1) Onthe second stave the “Scale(s) To Blow Off” for the given chord are shown with the seventh chords formed from the notes in the scale. With any given chord that has two “Scales To Blow Off”, the written starting note far each scale is the Root of the given chord. ‘Above each written lick I've indicated the given chord symbol. As a general rule, when you're improvising or ‘comping? off a given chord which has no Extensions indicated (in its chord symbol}, you can use any of the Extensions based off that chord. GIVEN CHORD EXTENSIONS 7 EXAMPLE a #é = e ‘except for Alt, Dom. 7th chords and Blues scales. ‘**Playing a rhythmic, chordal accompaniment.Key signatures are used before some of the groups of written licks to facilitate reading end show certain relationships between chords, scales and keys. “Enharmonics” are used freely throughout the book. These are two notes having basically the same sound but ent names and notations: Bb A cones te oh rH For our purposes, they facilitate reading and are used sometimes in naming intervals: Notes in a “Scale To Blow Off” can be named from their chord degrees: 13, “Scale To Blow Off Root, 9,83 4111,5,13,67,Root Any lick (or any part of it) can be played in other ranges of your instrument.10 MAJOR CHORDS EXTENSIONS c 6 Maj7 9 #11 —————— Fifth — 2 8 Major Third Root (or Tonic) With each given Major Chord you have a choice of two different Major "Scales To Blow Off” - either the one formed from the Root of the given Major Chord or the Fifth of the Major Chord. EXAMPLE: BASED OFF © (MAJOR CHORD) C MAJOR SCALE (11 of chord G MAJOR SCALE (#11 of chord or or 4 of scale) __#4 of scale) = cS (formed from the root) (formed from the fifth, but written starting on C) ‘The only difference in the scales is their elevenths, #11 or #11 Looking at the Extensions for the given C Major Chord above, you'll notice that I've used the #11 rather than the #11. This is because, when the major third and the #11 are sounded together in a given Major Chord, @ flatted ninth (#9) interval is created, which can distract from the basic or characteristic sound of the chord. SS 29 Interval So, to retain more of the “essence” of the given Major Chord, the #11 is used. This applies mainly to chordal accompaniment and voicings.* With regard to improvising, you're free to use the #11 however you want. But, you might give more thought in using the #11 when the chord symbol contains the #11. You'll notice, that I've made use of both the #1 1 and #11 in the written licks for Major Chords, and in quite a few cases, incorporated the two of them within the same lick. “The positions (octave rangets)ithat you choose to play/write the notes of@chordin — including any inversions and/or note doublings.n Besides the written licks for the Major Chords, if you refer to the Gommon Tones Charts Section, Chart Il, you'llsee that there are a group of different type chords (illustrated from left to right) who’ individual written licks (found in their respective Sections of the book) can also be used for improvising off the Major Chord in that group. For example, looking at the C Major Chord with its “Scale To Blow Oft” {G Major), notice that Am7, D7, D7 {Sus4} and C/D all use that same “Scale To Blow Off”; so, any written licks for these chords, (as long as the notes stay within the G Major Scale or move a half step up or down into a note of that scale) can also be used for the C Major Chord. In addition to that, there are other chord types whose written licks may be used for a Major Chord, provided that they're based off the given Major Chord's “Scale To Blow Off” {using the #1 1) or they movea half step up. or down into a note of that scale. ‘These chords are: 1. Another Major Chord found a fifth above the Root of the given Major Chord. Can use $4 EXAMPLE: TAKEN FROM THE G (MAJOR CHORD) WRITTEN LICKS. Gc G(major chord) Aithough found in the G Major written licks, this lick can also be used to improvise off of C (Major Chord). The licks in the following examples can also be used to improvise off C. 2. AMinor Seventh Chord found a major 3rd above the Root of the given Major Chord. (Also known as the three Minor Seventh (jii7) Chord). Can use Emm? written licks NOTE the Ab moves a halt step down to G (a note in the C Major “Scale To Blow Off" (using the #11)).., Be As0-4a08 fees ai SaaS ih = '90- 240 3 is eis]sO WT = Ahbn 1G 3. AHalf Diminished Chord found a Chord. ne (3 whole steps up or down) from the Root of the given Major = EXAMPLE: TAKEN FROM F#? WRITTEN LICKS, FP,C el Gum F 49 written licks re rok (Based off C Major “Scale To Blow Off” (using the #11). NOTE Above each of the written licks in Examples 1-3, you will find 2 chord symbols. The first represents the ‘one the written lick was taken from and the second, is an alternative improvisational possibility. It would be good practice for you to follow this method of writing out and using other chord symbols in addition to the given one. CHART (in all keys) of the three chard types just mentioned, whose written licks can be used to improvise off a given Major Chord (whose “Scale To Blow Off” uses the #11), Given Major Chord [Another Major Chord iii7 Chord [Half Diminished Chord c G Em? Fao ‘CH (DH GRAD Fm? GO D A Fem7 ‘Abo Er Bb Gm7 AG E B ‘Gam? (m7) BO F Cc Am? Bo Fe ce Am? (Bbm7) co G D Bm? CaO Ab Eb ‘m7. De A E C#m7 Eb Oo Bb F Dm7 EO 8 Fe Dam? (Ebm7) FO Chart reads from left to right for each Given Major Chord.1" Besides the written ticks for the Major Chords, if you refer to the Common Tones Charts Section, Chart Il, you'll see that there are a group of different type chords (illustrated from left to right) who's individual written, licks (found in their respective Sections of the book) can also be used for improvising off the Major Chord in that group. For example, looking at the C Major Chord with its “Scale To Blow Off” (G Major), notice that Am7, D7, D7 (Sus4) and C/D all use that same “Scale To Blow Off”; so, any written licks for these chords, (as long as the notes stay within the G Major Scale or move a half step up or down into a note of that scale) can also be used for the C Major Chord. hose written licks may be used for a Major Chord, provided jcale To Blow Off" (using the #11) or they move a half step up In addition to that, there are other chord type that they're based off the given Major Chord’ ‘or down into a note of that scale. ‘These chords are: 1. Another Major Chord found a fifth above the Root of the given Major Chord. Can use Gmajor chord) EXAMPLE: TAKEN FROM THE G (MAJOR CHORD) WRITTEN LICKS. GC Although found in the G Major written licks, this lick can also be used to improvise off of C (Major Chord). ‘The licks in the following examples can also be used to improvise off C. 2. Minor Seventh Chord found a major 3rd above the Root of the given Major Chord, (Also known asthe three Minor Seventh {iii7) Chord). Can use Em7 written licks NOTE the Ab moves a half step down to G (a note in the C Major “Scale To Blow Off" (using the #11)}.EXTENSIONS C 6th maj7 9th $12 ce maj? Cmaj7(9) c6/9 Cmajo(#11) ca cas 0619) casi v “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS z © MAIOR 4th é G = ; 4; v WRITTEN LICKS. * Spiraling down by fifths, ending on a scale tone14 pb* EXTENSIONS Db th maj7 9th #11. bs Dbmaj7 —bmaj7(s)—-Db6/9-——Dbmajaye1) DA DA ‘Db6(9) DbA9( #11) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS D> MAJOR Ay MAJOR WRITTEN LICKS: a Db —— b> = © Patterns” of descending fourthsEXTENSIONS D 6th maj7 sth #12 be Dmaj7 Dmaj7(9) 6/9 Dmaja(#11) DA Das D6) DAI) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS: D MAJOR =A, A MAJOR WRITTEN LICKS “Building a lek based off the S nates making up C4711)4 Ep ¥ EXTENSIONS Bb 6th maji th #11 Eb6 Bbmaj7 Ebmaj7(9) £6 /9 Ebmajag11) EbA EbAS £b6 (8) EpA91) 2 “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS E MAJOR $ f B’ MAJOR 4 a WRITTEN LICKS eens — & Eb *Two-beat “patterns”EXTENSIONS E 6th maj? 9th #11 E6 Emaj7 Emaj7(9) E6/9 Emajo(#11) Eb EAS E6(9) EA#11) e “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS18 Ft EXTENSIONS F 6th maj7 9th fll Fe Fmaj7 Fmaj7(9) F6/9 Fmajo(f11) FA Fao F6) Fagin, = f “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS As, C MAJOR p34 5 WRITTEN LICKS *Using triplets (ora triplet fet) 28 the basis for @ ick.ret as EXTENSIONS rH 6th maj? oth fat FES Fhmaj? — BRmaj7(9)«—FRG/9 FH maja(#i1y FHA FHag F#6(9) Feao#1) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS ct MAJORe+ EXTENSIONS G 6th maj? oth #1 ce Gmaj? Gmaj7(9) 66/9 Gmajot11) GA Gas G69) cac(hin “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS G MAJOR D MAJOR 3 SSE aaa WRITTEN LICKSabt 21 EXTENSIONS Ab 6th maj7 9th #12 Abe Abmaj7. Abmaj7(9) Ab 6/9. Abajo #11) Abo AbAS Av6(9) AbAgHID é = > “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS. Ab MAJOR E? MAJOR b WRITTEN LICKS Ab 11(maj}y “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS: [SS SSS WRITTEN LICKSEXTENSIONS Bbm 6ch maj7 9th 12 Bbm6 ——-Bhin(mnajry Bhm(maj9) Bbms/9 —_Bbm1a may) Bb-6 Bb~(majt) —_Bb- (maj) Be-6(9)_—Bb- 11(maj ) oF “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS SS] SS WRITTEN LICKS: Bomv a7 Bm © EXTENSIONS Bm 6th maj? 9th 11 Bm6 Bm(maj7)— Bm(maj9) Bm6/9 Ba maj) B-6 B- (maj?) B- (maj#)_—-B6@) iB 11(ma 9) “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS ee WRITTEN LICKS Bm x *2 beat “patterns” of three C#m chord tones into a Bm chord tone.AUGMENTED CHORDS (and Whole Tone Scales) ‘Augmented (raised) Sth Major 3rd Root ‘An Augmented Chord is made up of 3 nates, each a major third(2 whole steps) apart from each other. Itcan be spelled enharmonically. The + symbolizes the fifth being raised a half step. The Extensions are gotten by forming another Augmented Chord 1 whole step above the given chord, or by going up 1 whole step from each chord tone. C+ EXTENSIONS: Dy We now have a “Scale To Blow Off” formed from the 2 Augmented Chords (the chord tones and the Extensions). CHORD TONES EXTENSIONS, This “Scale To Blow Off”, in the case of Augmented Chords, is a whole tone scale, which is comprised of 6 notes, each 1 whole step away from the next. There are two different whole tone scales and within each one, any of the notes can be used to name the scale (regardless of the note you're starting on). either c. D, E FHS) Gf (Ab) or A#(Bb) Whole Tone Scale either ch Dh), DRED), F, G, A or B_ Whole Tone Seale39 ‘There are four different sounding groups of Augmented Chords, and for each individual group there is a ‘common “Whole Tone Scale To Blow Off”, as shown in the following chart. C+ EXTENSIONS B+ EXTENSIONS G#- EXTENSIONS Group a (Whole Tone Seale To Blow Off ) CHORD TONES EXTENSIONS D+ EXTENSIONS FR+ EXTENSIONS —_Bb+ EXTENSIONS Group (2) ( Whole Tone Scale To Blow Off ) CHORD TONES EXTENSIONS ch: EXTENSIONS F+ EXTENSIONS Av EXTENSIONS ( Whole Tone Scale To Blow Off) CHORD TONES EXTENSIONS Eb+ EXTENSIONS G+ EXTENSIONS BY EXTENSIONS Group cy (Whole Tone Scale To Blow Off ) CHORD TONES. EXTENSIONS ‘Both Groups (1) and (2) use the same “Scale To Blow Oi. **Both Groups {3} and (4) use the same “Scale To Blow Off”40 Looking at group (1) you will notice that the C+, E+ and G#* chordsall have the same three notes andare just inversions of each other. They havea very similar, almost identical sound. So, it’s really what'sin he bass that determines the name of an Augmented Chord. The same is true for those Augmented Chords in groups (2).(3) and (4). if you look at the sets of Extensions in any of the individual groups, you will notice that they all have the same three notes and are again, inversions of each other. Therefore, within any given group, each of the (3) Augmented Chords with their Extensions share a common “Whole Tone Scale Te Blow Off”. For example, C+ (with its Extensions), E+ (with its Extensions) and G4+ (with its Extensions) ll use that same “Whole Tone Scale To Blow Off”. Being that they are so closely related in sound, due to their common tones, 2 lick or pattern written for any one of them can be used for the other two. EXAMPLE: TAKEN FROM THE C+ WRITTEN LICKS cr eer ~~ So, hy —_" (This can also be used for E+ or GE+} Note that the same “Whole Tone Scale To Blow Off” is used for both groups (1) and (2)*. Group (1)'s chord tones are group (2)’s Extensions, and group(2)'s chord tones are group/1)’s Extensions, They have “reversed roles”. Thus, written licks for C+, E+ and G#+ can afso be played against D+, F#+ and Bb+, and conversely, itten licks for D+, F#+ and Bb can be played against C+, E+ and G#+. But, observe the differences in the “roles” that the notes play within the written licks — chord tones now become Extensions and vice versa. So, be aware of the dissonance and consonance you can create. The same exact things apply to groups(3)and/4). Because of the inherent sound of Augmented Chords with their whole tone scales and other relationships ‘mentioned, most of the Augmented Chords written licks have been put in the form of sequential patterns as opposed to the freer kinds of written licks for the other chord types. But, this is not any hard fast rule to stick to, Further use of the Augmented Chords, whole tone scales and written licks and patterns in this Section will be dealt with in both the Dominant Seventh Chords and Improvising Over Chord Progressions Sections. NOTE Also, refer to the Common Tones Charts Section, Chart Il! (Augmented and Dominant Seventh type Chords that all have a common “Whole Tone Scale To Blow Off"). Only their starting notes ditfera C+, B+, Abt [Chords from Group (1) c+ EXTENSIONS E+ EXTENSIONS b+ EXTENSIONS WHOLE TONE ‘“‘SCALE TO BLOW OFF” oe WRITTEN LICKS =< abe Ab z rev.) oF = ‘3 (Rev.)42 cht, Ft, AS [Chords from Group @3)] che EXTENSIONS Fe EXTENSIONS At EXTENSIONS v WHOLE TONE “SCALE TO BLOW OFF” — = SS WRITTEN LICKS i che etc. orfrev.) ele. or (rev.)D+, Fi+, Bb+ [Chords from Group (2)] D+ EXTENSIONS FH EXTENSIONS Bb+ EXTENSIONS WHOLE TONE “SCALE TO BLOW OFF” & = fo= = peur 2 4 2 WRITTEN LICKS -& Bb+44 Eb+, [Cons B+ n Group (41 Ebe EXTENSIONS Ge EXTENSIONS Bt EXTENSIONS . v WHOLE TONE “SCALE TO BLOW OFF” © WRITTEN LICKS >45 DIMINISHED SEVENTH CHORDS* (and Scales) Diminished 7th Diminished Sth Minor 31d Root A Diminished Seventh Chord is made up of 4 notes, each @ minor third (3 half steps) away from each other. It can be spelled enharmonically. cr (or) written as: The Extensions are gotten by forming another Diminished Seventh Chord one whole step above the given chord, or by going up one whole step from each chord tone, EXTENSIONS, 7 ‘We now have a diminished scale formed from the two Diminished Seventh Chords (the chord tones and the Extensions). This would be the “Scale To Blow Off” for C”. C DIMINISHED SCALE ‘CHORD TONES a EXTENSIONS NOTE This could also be called the E> diminished scale, F# diminished scale or A diminished scale, named from any of the chord tones of the given Diminished Seventh Chord. Another way to form a diminished scale is to count up by whole and half steps from the root of the chord. whole half whole half whole half whole “In this book, ali the symbols for a Diminished Seventh Chord are shown with a °. (Ex): C°.There are three different sounding groups of Diminished Seventh Chords, and for each group there is a common “Diminished Scale To Blow Off”, as shown in the following chart. © Extensions —-—«Eb®-—Extensions. «-F§°—_ Extensions AS Extensions Group CHORD TONES a Diminished scale to blow off ie EXTENSIONS CH Extensions E° Extensions G®_—_Extensions Bb° Extensions + Group CHORD TONES (2) Diminished scale to blow off Tol EXTENSIONS, ‘p° Extensions Fe Extensions Ab Extensions Bo Extensions be eo Group CHORD TONES (3) | Diminished seale to blow off © EXTENSIONS47 Note that in group (1), all chords(C°, Eb?, F#? and A°) have the same four notes in their structure and basically sound the same, being inversions of each other. Soagain, as was mentioned with the Augmented Chords, it's the bass note that determines the name of the Diminished Seventh Chord. The same holds true for those Diminished Seventh Chords in groups (2) and (3). Similarly, i you look at the sets of Extensions in any given group ((1},(2) or (3)), you will notice that they, too, ‘are common tongs and inversions of each other. So, within any given group, each of the Diminished Seventh Chords with its Extensions share a common "Diminished Scale To Blow Off”. For example, in group (1), C° (with its Extensions), Eb° (with its Extensions), F4° (with its Extensions) and A° (with its Extensions) all use that same “Diminished Scale Te Blow Off”. And, being that all 4 chords are so closely related in sound, due to their common tones, a lick or pattern written for any one of them can be used for the others. EXAMPLE: TAKEN FROM THE Ff? WRITTEN LICKS (This can also be used for C*, Eb° or A°) ‘As with the Augmented Chords written licks, the Diminished Seventh Chords written licks are {for the most part) in the form of sequential patterns. Further use of the Diminished Seventh Chords, diminished scales, written licks and patterns in this Section will be dealt with in both the Dominant Seventh Chords and Improvising Over Chord Progressions Sections. NOTE Also, refer to the Common Tones Charts Section, Chart IV (Diminished Seventh and Dominant ‘Seventh type Chords that all have a common “Diminished Scale To Blow Off")48 7, Ebe?, FHT, APT [hots from Group (11 of EXTENSIONS Bho? EXTENSIONS Fo? EXTENSIONS Ao? EXTENSIONS Se SSS SS = DIMINISHED “SCALE TO BLOW OFF” = So to f= ae WRITTEN LICKS co49 Ao Ffo 3a rim es IT os es or{Rev.) “Tritone jumps while ascending the “Diminished Scale To Blow Off50 C#7, £7, G7, BOT [Chords from Group (2)] #7 EXTENSIONS E°7 EXTENSIONS G°7 EXTENSIONS —_BW’7_ EXTENSIONS DIMINISHED “SCALE TO BLOW OFF” ete. or rev.) Se 3 ee “Extension resolving into the chord tone. i scThe first note of eath triplet forme » descending C# Diminished Scale ‘The frst nate of esch tpt forms an ascending C Diminished Scale,v "Top notes move down chromatically; bttom notes move up chromatically BSC eee ee Ce eco Ce eee ee eee ee eee eee eee eee ee eee ee eer eeerere ere52 D°7, F°7, Ab °7. BT. [Chords from Group (3)] Bo? : EXTENSIONS Dot EXTENSIONS FoT-- EXTENSIONS Abo?’ EXTENSIONS |) he DIMINISHED “SCALE TO BLOW OFF” WRITTEN LICKS53 etc. (or rev.)MINOR SEVENTH CHORDS EXTENSIONS 9th 1th 13th Dmi(D- Minor (or flat) 7th Fifth Minor 3rd Root Inthe example below, showing the diatonic (scale-wise) seventh chords for C Major, you will notice there are 3 ‘Minor Seventh Chords (shown in parenthesis}, one starting on the second degree of the scale, one on the third degree and one on the sixth. (This occurs in all Major keys). Any Minor Seventh Chord has these (3) diatonic seventh chord “functions”. For example, using Dm? asa model, besides it being the two Minor Seventh Chord (i7)inc. SS = Se It is also the three Minor Seventh Chord (iii7) in Bb, SSS and the six Minor Seventh Chord (vi7) in F. Dm? vi7 When improvising off a Minor Seventh Chord, your choice of both Extensions and “Scales To Blow Off” might be determined (or influenced) by the key you're in or the “tonal center” that a particular group ot chords evolve around. To avoid any confusion with this type chord, though, | have chosen to use the Extensions and “Scale To Blow Off” whose notes derive from a Major key one whole step below the Root of the given Minor ‘Seventh Chord (as shown in the example of diatonic seventh chords in C). All the Major key signatures for written licks shown in this Section were found in this way — by going down a whole step from the given Minor Seventh Chord's Root. Ex. Dm7 uses the key signature for C Major.55 Referring again to the diatonic seventh chords in C major, being that both Dm7 and G7 are contained within thatkey, theyare “relative” chords to each other. Dm7 is the relative ii7 of G7 (the V7)and G7 is the relative V7 ‘of Dm7 (the ii7). As a general rule, when improvising off or playing chordal accompaniment to @ given Dominant Seventh (V7) Chord (which doesn’t indicate the #11), you can use the relative Ii7 chord as @ substitute chord, GIVEN CHORD Substitute chord or together with the Dominant Seventh Chord to form a i7 - V7 progression, GIVEN CHORD GT 17 - V7 Progression Dm7 Gr EXTENSIONS ‘These work because, Dm7 with its Extensions pa ou ue gt EXTENSIONS or Sth 11th 13th and G7 with its Extensions (using the #11) ‘oth have the same 7 tones found in their structures, which means, of course, that they also sharea common ‘Scale To Blow Off” — C Major. NOTE Refer to the Common Tones Charts Section, Chart, for the Minar Seventh Chords shown alongside of their relative Dominant Seventh Chords {in all Keys) plus further usage of both.56 Cm7 EXTENSIONS cm? 9th aL 13 cmr(9) omnidy cmc) c+ 718) e- 102) coh “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS. BY MAJOR b WRITTEN LICKS cm?87 Cm? exrexsions chm? 9h 1113 chm79) cfm 12) chm dy i - mil cH 7? cB- 719) og 7) ce 7p “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS B MAJOR WRITTEN LICKS : cdma Cemt58 Dm7 EXTENSIONS Dm? 9th oll 13 Dmv(9) mii) pmr( dy D- 719) p- 14d) bandh “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS MAIOR WRITTEN LICKS Dm? Dm759 Ebm7 EXTENSIONS ; Bho? 9th 1a ebm7(o) bmn Bh zbmn hy Eb- 719) eb- 111) Eb- 743) we 8 E be = “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS D> MAJOR b 4 . e WRITTEN LICKS but Eb? :60 ‘7 Em EXTENSIONS 8 Em? 9th 118 Emz(9) em7(idy Em7(1) g- 7H) o te : B- 119) B72) “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS é D MAJOR 4 44 4 tt sit. £ j WRITTEN LICKS. Em? ee Ent6I 7 Fri EXTENSIONS: Fm7 9th oll 13. Fm7(9) Pm7(2y ear Hy F-7(9) F-7(11) rH) bg ® b 4 = et “t 5 Fm?62 Fim? EXTENSIONS riot oth ol a8 Fimr9) Phot id) Pheer tf FE-1(9) FHT) FRE nd a fe “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS E MAJOR WRITTEN LICKS FmtGm7 EXTENSIONS 1 Swi oth 18 Gm7(9) ema) Gm 8, G19) c- 72) o-1By a “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS. SSS SSS ee ee Gm Gmt64 Abm7 EXTENSIONS $ Abo oth a9 Abt) Abmrldy abo ab 709) ab- 70) aber) i oF “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS GbMAJOR SS SS SS SS WRITTEN LICKS Abm7 cree5 Am? EXTENSIONS Am? 9th M13 Am7(9) Amy amr, A719) anrb amg “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS = —— 4 SSS Ee = aes tee Amt66 Bbm7 EXTENSIONS te Bbut sth 11a Bboxtt@) Bbmr id) bmn = Al a Bb- 19) Bb-1¢32) ab-adby “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS ‘Ab MAJOR, WRITTEN LICKS Bbm7PEPE eee ere er a 67 Bui EXTENSIONS Bw? 9th ou 18 Bmni(9) m7) amr fh B- 719) Be 7) peut “SCALE TO BLOW OFF” WITH ITS SEVENTH CHORDS A MAIOR x BmT x Bm? Xn “Rhythmic variations of the first 4 notesHALF DIMINISHED CHORDS {or Minor Seventh Flatted Fifth) = Minor (or flat) 7 Diminished (or fat) 5 <= Minor 3rd Root This type of chord, as with the Dominant Seventh Chords, hasan “up in the air” or unresolved feeling. This is due to the fact that it contains a tritone (#4 or 5) interval. — = ‘TRITONE You'll notice that in the diate contain the same tritone (“B” and “' jc Seventh chords below, both the V7 chord (G7) and the vii7 (b5) chord (g*) ) in C Major Gr BA 1 maj 7 i7 iit? IV maj 7 v7 vi7 vii755 By adding Extensions (within the key of C} to both chords, all their notes are found to be common tones. Therefore, they can use the same “Scale To Blow Off” cr EXTENSIONS "Seale To Blow Off" Bé EXTENSIONS " Seale To Blow Off"By substituting the #11 (C#) for the #11 (C) in the G7 chord. and the *9 (C4) for the 59 (C) in the B* chord, another common “Scale To Blow Of” is formed far both chords. Gr EXTENSIONS ‘Scale To Blow On” (Ex.) = Bé EXTENSIONS "Seale Ta low Of So, for both the Dominant Seventh (V7) Chord and its relative Half Diminished Chord (vii75), there are 2 ‘common ""Scales To Blow Off”. Written licks for either chord can be appliedto the other one for improvisation, as longas the notes stay within the common “Scales To Blow Off”, of move a half step up or down intoa note of those scales. (2) Example from G7 written licks (using the #11) This can also be used for Bf(using the +9) {pb} Example from Bf written licks (using the 69) > This can also be used for G7,(using the #11) NOTE The Gb and Ab each move down a hall step into a scale tone. NOTE Also, refer to the Common Tones Charts Section, Chart 1, for the Half Diminished and Dominant Seventh Chords having a common “Scale To Blow Off”. plus the other chard types using this same scale.70 Usually, the Half Diminished Chord is used as the two chord in a ii-7-V7-1 chord progression leading into a or Major key. Be 7 A ‘But many times it stands completely independent of a Dominant Seventh Chord in a chord progression. F Dm? Bs Bb maj7 AmCm755 a be EXTENSIONS b: cms sib 1 bis cmtb5(9) omtbs(22) combs Hy 6719) cory cor lf be wv “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS. DP MAJOR ‘using 49) (using b9) WRITTEN LICKS Cmts leer ae eee v Cmts ems mis72 Chm7bs EXTENSIONS big Chnths oth 12 bis chm7s19) cHmrbsc 2) cAmrbs' Hy ceria) chai) chong ) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS. D MAJOR a ‘using $9) WRITTEN LICKS cms (using 48) chmabs. oe ———— “cms oS &) 5 Chrm7b 5 cHmabs Chm 5 chmnys 3 Chm7s —— © 3 *Using only he notes B, Fa, C# &E73 Dmibs EXTENSIONS | b Dmtbs sth =o (8 Dmtb5(9) pmtbs(32) pmibst HE) Dsi(9) ps7(th ps7 i ) be b. “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS E> MAJOR be (using b9) (using 49) WRITTEN LICKS Dmibs74 Ebm75—exrensions bas Ebm7b5 Oth ol 513 Ebm7)5(9) Ebmrbs( i) Ebm7b5('11 ) £58710) Eberly bor? Hy 4 be be “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS E MAJOR m7 hd (using 69) ‘using 49) WRITTEN LICKS EbmT5, ehmths Bhrotbs Ebmtbs _ Ebm7b5 Ebmtbs 3 Ebm7b5 Bothy __________—_—5 = Ebm7b5, Ebmtbs,75 Ems EXTENSIONS bi BmtS 9th 11 bas Em7b5(0) Bmn7b5(12) emrbs (Hf) E679) Be7(y sar Hf ) Ea “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS F MAIOR (axing) (using 59) WRITTEN LICKS Em7b5 Em7bS Emths — “Thinking in terms of the chord tones of D7 for the first part ofthe lick, and then the chord tones of C7 forthe second part eee eee eee eee eee eee ae eee eee76 Fmt5___exrenstons ia Fmtbs 9th 11a Fentb5(®) wemtbs(2) rmibs F6T(9) B11) word ) » be he v “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS Gbmasor bag bog: phe by? ee (Using b9) (Using 9) WRITTEN LICKS ue Fw 4Fimtb5 —exrensions b Fhm7bs 9th 1113 Fhm7)5(9) Fhm7bs(by Fim7bs( HE y F#d7(9) HHs7 42) ment ) ete “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS, GMAIOR (Using b (Using §9 WRITTEN LICKS Rms: oe a¥mrbs rhb pn eft Fbmtbs —— Femibs, Sa eeLenenREREELELE eg acpesese Senn = 99 te — tes ===. = © ——$—SS == Fam) 5 a PRmTbS Fhotbs -—-™~. 005 * 3 2S Fkmtbs78 Gmib5 EXTENSIONS Gmts th B13 Gm745(9) Gmtb5(42) combs Hf) é7(9) tld) oi "HE y “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS A> MAIOR 4o ig v ‘(Using D9) (Using § 9) WRITTEN LICKS Gm7>5, & Gmib5 a iadAbmi5 EXTENSIONS Abus oth ol bis abmtb5i9) abmtb5(11) abmtbs( Ht Absti9) aber) aber?) ¥ “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS A MAJOR (Using b9) (Using 49) WRITTEN LICKS Ab mts, eee er te = =e SSS y ‘ee be > - Abmtbs v Abm7b5 Abmt5 Abmt5: ea ee be es = SS Ss Ls — = Abm1>5,80 Am75 EXTENSIONS r Amtbs 9th li bis Amtba(9) Aatb3igy amibs ht AgT@) ast aon) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS: ‘BP MAJOR v (Using b9) (Using 49) WRITTEN LICKS Am7)5, + Amis *Three-note (chromatic patterns” ending on a note of the "Seale To Blow Oi81 Bbm7b5 EXTENSIONS Bbuths oth = phmtbs(o) Bhotbsctt) ahh AY) BbsT(9) pbs Boar?) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS B MAJOR (Using b9) (Using 49) WRITTEN LICKS Bbm7b5 Bbmtb5 Bomtbs Bhoiths = ———_ Bbm7bs82 Bm7)5 EXTENSIONS Bms 9h ol bis Bm7d5(9) Bm7bs( yb) amidst Hh) B19) Baty par? Hf ) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS C MAJOR o (Using 69) (Using 49) WRITTEN LICKS Bobs Bm)b5 m5 stDOMINANT SEVENTH CHORDS ‘Tritone (interval) found in G7 ot Minor (or flat) 7th Fifth Major 3rd Root Traditionally, a Dominant Seventh Chord has been said to have a feeling of wanting to cadence or come toa resting point. The reason for this, is that it contains the “Tritone” (interval) in its structure, made up of the ‘major third and the flat seventh. Along with the Root, these 2 notes make up the basic foundation of any Dominant Seventh type Chord, no matter what extensions are used with it, For the basic type* Dominant Seventh Chord there are two "Scales To Blow Off". The only difference in them is that one uses the *11 and the other uses the #11 EXAMPLE A cr EXTENSIONS (Scale To Blow Off) (C Major Scale, starting on G) EXAMPLE B cr EXTENSIONS (Scale To Blow Off) In example 1, the G7 uses the C Major scale (of which it is the V7 chord) as the basis for forming its “Scale To Blow Off”, NOTE Refer to the Common Tones Charts Section, Chart Il, for other type chords that have the same “Scale To Blow Off” as the Dominant Seventh Chord (using the #11). In example 2, by having raised the eleventh, the whole sound of the chord and its “Scale To Blow Off” become colored quite differently. NOTE Refer to the Common Tone Charts Section, Chart l, for other type chords having the same “Scale To Blow Off” as the Dominant Seventh Chord (using the #11). When improvising. you can use both the #1 1 and #11, but ifthe chord symbol indicates the #11 or you hear: played in the chordal accompaniment, you might want to be more selective in your use of the #11 againstit. | have used the 1 1ths quite freely and in many instances, incorporated both of them within a written lick for the Dominant Seventh Chords. You might want to look them over to see how they've been used, *Dorninant Seventh Chord which shows no altered notes (such as #6, +5, 9 or #9, etc.) in its chord symbolEXTENSIONS c7 ogth fig co cog) C131 4 ee “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS: = 44% 5a (using 811) (using #11) WRITTEN LICKS 7DoT EXTENSIONS: Dor oth fin 29 pbo phon pbaagay ba b v “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS b by Gb MAIOR (sing #11) WRITTEN LICKS. DbT (using 11)88 EXTENSIONS DT oth «fils Do Da(#1i) D13s(B 12) = “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS G MAJOR $-1$ i 4g oe #¥ (using 411), (using #1) WRITTEN LICKS. pI87 ; EDT EXTENSIONS ar ooh A Bho Ebaby ebua(ia) = “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS AbMAJOR be bg bP b, Be wv WRITTEN LICKS EbT 3 Eby Kn e (using HID) (using FI) EDT on 2 s EDT a ¢ Cea SS 3 388 ET EXTENSIONS Er oth fit 19 Bo B91) B13($11) te 4 “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS Ging BD, (using #1)FT EXTENSIONS Froth) fll FO rot Fisgiy au v “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS: BP MAJOR b. b; (osing BLD) (sing #1)90 Fe7 EXTENSIONS Fir oom fl 1s rts ready FAisg11) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS B MAJOR #. “using 411) ‘sing TD) WRITTEN LICKS 4, "Using only the tritone notes (€ and Af}1 EXTENSIONS or oom fn os te G9 G93) o1ag3) = “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS: MAJOR, (using $11) (using #11) WRITTEN LICKS a Gr92 AbT EXTENSIONS a7 oth) fll 18 abs Aba(fin) Abas) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS DP MAJOR ep peer epee bk (using #11) (using $11) WRITTEN LICKS AbT b= Abt es os 4 1g0 e ‘The latter part of this liek isa variation ofthe frst ten notes93 AT EXTENSIONS aT ot fr 18 a9 aad anagany “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS D MAJOR (using 411) (asing ft) WRITTEN LICKS, Fe — oe al94 Bb7 EXTENSIONS BT sth fl 3 Bbo Bboi#i1) Bb13(H12, “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS: E> MAJOR (using 41) (using #11) WRITTEN LICKS. Bb795 EXTENSIONS Br ooth «RL 3 BO B9(f1)) B13($1)) “SCALES TO BLOW OFF” WITH THEIR SEVENTH CHORDS E MAJOR (using 411) (using #11) WRITTEN LICKS Br96 TRITONE SUBSTITUTION (For a given Dominant Seventh Chord) For each Dominant Seventh Chord there is a substitute Dominant Seventh Chord which can be found by going either up or down a “tritane” from the given chord’s Root. ‘Given Dominant Seventh Chord ‘Tritone Substitution cr Fr (Ex.) Whol& Step Whole Step Whole Step ‘TRITONE This Tritone Substitution has in its structure the same “tritone” notes (the major 3rd and b7) as the given Dominant Seventh Chord, but only their “roles” are reversed. cr COMMON er, The "E" The "Bi is the major 3rd in C7 — the minor 7th in F#7 is the minor 7th in C7 — the major 3rd (A#) in F#7 Although the Tritone Substitution Chord is an optional replacement, it shouldn't necessarily be used every ime you see a Dominant Seventh Chord. But, knowing that you can use it, adds to the number of possible ‘Scales To Blow Off Given Dominant Seventh Chord Tritone Substiution c7 a7. = “Scales To Blow Off" “Seales To Blow Of” Notice, that the cambined notes from these above scales opens up the possibility of using any note of the chromatic scale for improvisation off a Dominant Seventh Chord.; 97 If the chordal accompaniment uses the Tritone Substitution (with/without any Extensions“) then you might ‘gowith itin your harmonic choices. Remember too, that since the Tritone Substitution is a Dominant Seventh Chord, you can use its relative ii7 chord either in place of it or together with it forming a ii? — V7 progression. Again, it’s a matter of what you hear! CHART OF TRITONE SUBSTITUTIONS, FOR DOMINANT SEVENTH CHORD TYPES. Any of the appropriate WRITTEN LICKS can be used with the tritone substitution. a ae eee rere rey erie errr a chr NOTE Arrows indicate the chords that are substitutes for each other. ‘Extensions based off any ofthe Dominant Seventh type Chords(in thebook)canibe used becausethey are anly “additions to”, anddo. ‘ot “take the place of”, the Tritone (which are the 2 most important notes) of the Trtone Substitution Chord.Besides the chart, you can use the example below as an exercise for learning the Tritone Substitutes. Simply move upa half step each measure as you go through all 12 Dominant Seventh Chords. Also, make up your own exercises using chord tones, Extensions, “Scales To Blow Off” or any combination of them. Given Dominant 7th Chord _(Tritone Substitution) cT FET ca NOTE Refer to page 223 in the Improvising Over Chord Progressions Section, tor examples of Tritone Substitutions with their relative if7 chords used in ii7-V7-1 progressions.ALTERED DOMINANT SEVENTH CHORDS ee F Altered Dominant Seventh “Scale To Blow Off” FRAIL) Basic Foundation b, 0 SSS Root, bo $9 Major ard fa* ee oT or(5)on(-5) While retaining the basic foundation (the Root, major 3rd and b7) of the Dominant Seventh Chord, the Altered Dominant Seventh Chord uses two different ninths plus. raised fourth (or flat five) and a raised {or augmented) fifth, which makes it quite unusual in comparison toall the other Dominant Seventh type Chords. There area ‘umber of Dominant Seventh type Chords that are based off the Root of and use the same “Scale To Blow Off” as a given Altered Dominant Seventh Chord. These can, in a sense, be thought of as “off shoot” chords because they contain some, but not ll, of the chord tones found in the Altered Dominant Seventh Chord, But, they do not contain any notes outside of the Altered Dominant Seventh Chord's structure, therefore they can use both its “Scale To Blow Off” and written licks for improvisation. OFF SHOOT CHORDS EXAMPLES: BASED OFF F7 (Alt.) = (33) bo FIGS) F7>2) eG"? b ba 13) rif #8) F705) nf 2) ba 'S (8) rl) wills) it) 2 Use this as a reference chart for transposing these chords. NOTE Referto the Common Tones Charts Section, Charts Il! and IV. to find many of these “offshoot” chords; and also refer to Chart |, for other chord types having the same “Scale To Blow Ott” as the Altered Dominant Seventh Chords. ‘can ato be though ofa the #73 “Gan ls be thous of asthe 3,sO C7 (alt) ¢ ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root bs fo majs 4 $5, by WRITTEN LICKS cralt.) —3— cHalt.) cralt.) cr(alt.) cralt. cralt.) oS eral, "Playing off the notes of a whole tone scale or augmented chord101 cz cart.) C# ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root 9 fo majo fa WRITTEN LICKS CH 7(alt.) So —3— chratt.) chralt.) c#r(alt.) 3 cra. crate) ch Aalt.) chi(alt.) wa rs c#yalt. CFT alt.) Chrialt102 D7(Att.} D ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root 69 #9mags aS br WRITTEN LICKS «Dt (alt.) began = a = === wv 2S Dralt.) Dialt, : habe {oo 3 SS er ee SS prtalt.) D7(alt.) 3 D7(alt.) coe te—— z = = 2 == . Dr{ait.) ——~ uu pray 2 Dyalt.) a. ‘aaa D7, It. D7(alt.) ta oe Se ———S | SS © 5 ¢ === See Dra by "Using inversions ofthe first group of four notes| | EDT(alt.) E> ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root b9 to majs Ra $5 br WRITTEN LICKS Ebtialt.) ; EbT(alt.), b b = Bb7(alt.) sha ae eine A _ 4 pet af ee fie tetera e Ey Vee ? a Ebyalt.) = rea Ebyalty) &) Eb7alt.) Bbralt.) Bb7ialt. BbTalt.)104 E7(Alt.) — ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root 59 #9 mals HAs 0 WRITTEN LICKS. Evalt.) ele Ee Ss : —— Eyalt.) —s- E7(alt.) EYalt.) ET(alt.) y Et) Sie Eq(alt.) + Br) EN(alt.) E(alt.)FU(AIt.) F ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” b, Root bo $9 majs RA] WRITTEN LICKS Fiialt.) F7(alt.) FT(alt.) Fitalt.) crac energie Fralt.) soo os es F7alt,) eS aw Fralt,) $= F7{alt.) 3 Fraalt.)106, FET ait.) F# ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root bo to majs 5. $s br WRITTEN LICKS. FET (alt v ee le ae FET(alt.) PeT(alt, se , Tete 7 =e = Peyalt.) FRy(alt.) __ Z ths pe, fae es a Se : Ferialt.) . a BET (alt.) Ashe PETialt.y real.) 7 3 FATAL.) Vv fl + BAT(alL.) v *Accenting random notes from the "Seale To Blow Off eee Eee107 G7(Alt. ) G ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root 69 «#9 mass WRITTEN LICKS Gralt.) + Gralt.) oral.) y Gralt.) ——— Gtalt.) Gralt.) analt.) Gralt.) v Gralt.) Gialt.) Gyalt.) Gyjalt.) *Using alternating four-note runs based off the Eb and D> triads108 AbT(Alt.) Ab ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” WRITTEN LICKS Abialt.) AbT (alt, AbT(alt.) AbT(alt.) o 7 abqalt.) Abril er Aby(alt.) abralt,) baal. Are) cp + abraalt.) AbTalt.) sr AbT(alt.) “Using the notes of the “otfshoot” chord AB7($5) **Two-beat patterns Crete eee eee tetAT(Alt.) A ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” WRITTEN LICKS MQ) —— — =_~ ATalt.) AT(alt.) Attalt, a ; : Agate Aqalt.) iy Atalt. alts) fe ATalt.), é sea See eee ee eee ATaalt,) ATaalt.)110 BOT (Alt.) Bb ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” Root bo Oma fs WRITTEN LICKS pbrjatt.) ip eee HPP pee ee ——— SSS 4 Bb att.) Bbyalt.) Boalt.) * Bbyalt.) aaa SS BbTalt.) > Bbyalt.) brat.) haat.) Bb7(alt.) *Piay al the notes (without stems) freely, within 3 boats, Then land on “D" for beat 4.1 BT(Alt.) ~ B ALTERED DOMINANT SEVENTH “SCALE TO BLOW OFF” = Root bo fos maf AS WRITTEN LICKS BY(alt.) By(alt.) 3 <= Byalt.) 3 ‘ = Braalt.) = Br alt.) Bua, ApS Br(alt.) Bralt.) Bu(alt.) nee Br(alt.) Br(alt.) -aRS = oan Brat.) ay - e “Using alternating G and Cm runs112 DOMINANT SEVENTH FLATTED NINTH (59) CHORDS DI(b9) Diminished Seventh Chord I pe SS H the root (D) is omitted (momentarily), what you have left is @ Diminished Seventh Chord. By then forming a diminished scale starting on any one of these notes you get the shed Scale To Blow Off” for the given. D7 (69) chord. F# “Diminished Scale To Blow Off" CHORD TONES (FOR F#°) EXAMPLE EXTENSIONS (FOR Ff") Notice that the Root (D) of the D7 (59) is an Extension in that scale. The other 3 Extensions make up possible Extensions for the D7 (+9) chord D7(b9) EXTENSIONS 13 EXAMPLE and they also make up the Roots of the 3 Dominant Seventh (#9) Chords that use the same “Diminished Scale To Blow Off” as the D7 (49). See group (1) in the following chart.13 CHART OF DOMINANT SEVENTH (b9) CHORDS WITH THEIR EXTENSIONS AND “DIMINISHED SCALES TO BLOW OFF” ‘DI d9) EXTENSIONS, F7(b9) EXTENSIONS Ab7(}3) EXTENSIONS B7(b9), EXTENSIONS: Group a DIMINISHED " SCALE TO BLOW OFF" — EXTENSIONS £b7(b9) EXTENSIONS F{7(b9) EXTENSIONS A7(b9) EXTENSIONS C7(b9) EXTENSIONS 3 a 13 Group (2) # DIMINISHED " SCALE TO BLOW OFF ” EXTENSIONS E1(b9) EXTENSIONS G7(b9) EXTENSIONS Bb7(b9) EXTENSIONS C#7(9) EXTENSIONS 13 13 1 DIMINISHED " SCALE TO BLOW OFF " EXTENSIONS,114 If you refer back to the three ditterent sounding groups of Diminished Seventh Chords on page 46, you'll notice that the chords in Group (1) have the same “Diminished Scale To Blow Oft” as the Dominant Seventh (09) Chords in Group(1)on page 113. This means that licks written for any Diminished Seventh Chord in Group {1} can also be used for improvisation off any of the four chords in Group (1) of this chart. The same relationships hold true for those chords within Groups (2); and also Groups (3) $0, even though I haven't included any written licks for the Dor choices available, ‘ant Seventh (b9) Chords, there are plenty of Examples: (1) A lick written for C° can also be used for D7 (59), F7 (58), Ab7 (49) and B7 {+}, Co 74 (2) A lick for E° can also be used for E67 (49), F47 (+9), A7 (69) and C7 (8). (3) Ab® licks can also be used for E7 (49), G7 (49), 847 (49) and C47 (49). Abe Kn NOTE Refer tothe Common Tones Charts Section, Chart IV (Diminished Seventh and Dominant Seventh type Chords that all have a common “Diminished Scale To Blow Off”).115 DOMINANT SEVENTH RAISED* NINTH (#9) CHORDS note) Diminished Chord plus an Extension D7 #9) Ifthe root {) is omitted, what you have leftis a (3 note) Diminished Chord plusan Extension. By then forminga diminished scale on one of the 3 notes of the Diminished Chord, you get the “Diminished Scale To Blow Off” for D7 (#9). Ff DIMINISHED “SCALE TO BLOW OFF” CHORD TONES(FOR Ff*) Fi “ EXAMPLE EXTENSIONS (FOR Ff) ‘The Extensions “G#" and “B", along with the chord tone "Eb", make up the Extensions for D7 (#9). p7(H9 EXTENSIONS 13 Aswith the Dominant Seventh (#9) Chords, there are 3 groups of 4 Dominant Seventh (#9) Chords that, within each group, contain a common “Diminished Scale To Blow Off”. harped Eb was added as another chord tone to fill out the F# Diminished “Scale To Blow Off116 CHART OF DOMINANT SEVENTH (#9) CHORDS WITH THEIR EXTENSIONS AND “DIMINISHED SCALES TO BLOW OFF” Di(#9) EXTENSIONS F7(#9) EXTENSIONS —_Ab7(#9) EXTENSIONS B7(#9) EXTENSIONS 13 Group i) DIMINISHED “SCALE TO BLOW OFF” EXTENSIONS Eb7(#9) EXTENSIONS F$7(49) EXTENSIONS 47(49) EXTENSIONS C7(#9) EXTENSIONS is i 1. Group (2) ## DIMINISHED “SCALE TO BLOW OFF” EXTENSIONS E7(#9) EXTENSIONS G7(#9) EXTENSIONS B7(#9) EXTENSIONS C#7($9) EXTENSIONS 13 13 1, DIMINISHED “SCALE TO BLOW OFF” EXTENSIONSu7 It you look at the chart on the opposite page, you'll notice that those chords in Group (1) have the same “Bimninished Scale To Blow Off” as the Dominant Seventh (49) Chords found in Group (1) on page 113. (ex.); D7{#9) and D? {38} have a common “Diminished Scale To Blow Off”. The same relationship holds true within Groups (2); and Groups (3). ‘There are no licks written for the Dominant Seventh (#9) Chords, but you can see their relationship with Diminished Seventh Chords, in that, any written lick for a given Diminished Seventh Chord can also be used for any of the 4 different Dominant Seventh (#8) Chords having the same “Diminished Scale To Blow Off” as that given Diminished Seventh Chord. Examples: (1) A tick written for C° can also be used for D7 (#9), F7 (#9), Ab7 (#9) and B7 (#9), Given ° ey (2) A lick for E° can also be used for £67 (#8), F #7 (#9), A7 (#9) and C7 (#9), Ee I —~ th 3 Z a SS 7 3 a (3) Ab* licks can also be used for £7 (#9), G7 {#8}, 867 (#9) and C#7 (#9) Abe. NOTE Refer tothe Common Tones Charts Section, Chart IV (Diminished Seventh and Dominant Seventh type Chords that al have @ common “Diminished Scale To Blow Of118 DOMINANT SEVENTH FLATTED FIFTH (b5) CHORDS ‘DI(b5) EXAMPLE There are several "Scales To Blow Off" for a Dominant Seventh (55) Chord, and the Extensions will change with your choice et scale. (1) ALTERED DOMINANT SEVENTH SCALE—Formed from the root of the given chord. Ibs) aaa 13D "ALTERED DOMINANT SEVENTH SCALE TO BLOW OFF” a C Being that D7 (b6)is an “off shoot” chord of D7 (Alt. itcan use any of the written licks for D7 (Alt.), Plus, itcan Use licks for Ebm, Cf, and Ab7 (#11). (Refer to the COMMON TONES CHARTS SECTION. CHART I, page 126) D1(b3)_-— EXTENSIONS b13 D WHOLE TONE " SCALE TO BLOW OFF" NOTE Ingroups(1)and(2), the #5 Extension notes could alsobe written up an octave and therefore wouldbe called the b13. D7(b5) Exten. E7(b5) Exten. F#7(b5) Exten, Ab7(b5)Exten. Bb7(bs) Exten. C7(bs) Exten 9 be ye. 9 pee be.5,9 Group ay WHOLE TONE SCALE TO BLOW OFF Exten. F7(b5) Exten. 67(b5) Exten, A7(b5) Exten. B7(b5) Exten, CH7(b5)y Ext AOR eine eens 2,9 3 te 9 Group (2) WHOLE TONE SCALE TO BLOW OFF119 If you refer back to the four different sounding groups of augmented chords (in the augmented chords section), you'll notice that the chords in Groups(1) and (2) have the same “Whole Tone Scale To Blow Off” as. well as the Dominant Seventh (5) Chords in Group(1). So, licks written for any augmented chord in Groups(1} and{(2) can also be used for improvisation off any of the dominant seventh (#6) chords in Group (1). This same relationships ue for augmented chords in Groups (3) and (4) and the dominant seventh (b5) chords in Group 2). Examples: (a) a lick for E+ can be used for E7 (65), F #7 (65), Ab7 (b5)or any other dominant seventh (b5) chord found in Group (1) on P.118. {b) Alick for G+ canbe used for F7 (p8), G7 (b5), A7 (65) or any other dominant seventh (b5) chords faund in Group (2). NOTE Refer to the COMMON TONES CHARTS SECTION. CHART III, page 132 for the augmented and dominant seventh chords that all have a common “Whole Tone Scale To Blow Off.” {3} DIMINISHED SCALE—Formed a half step up from the root of the given chord. mba) EXTENSIONS: ESDIM, * SCALE TO BLOW OFF" * D7(b5) EXTENSIONS F7(b5) EXTENSIONS 4¢7(5) EXTENSIONS B7(b5) EXTENSIONS 2, 13 Group es o 5, DIMINISHED SCALE TO BLOW OFF ——=— = + fa a £b7(b5) EXTENSIONS F#7(b5) EXTENSIONS A7(b5) EXTENSIONS —C7(b5) EXTENSIONS * 18 . 7 Group : = 2) DIMINISHED SCALE TO BLOW OFF E7(b5) EXTENSIONS G7(b5) EXTENSIONS Bb7(b5) EXTENSIONS C#7()5) EXTENSIONS 13 9 13 Group (3) DIMINISHED SCALE TO BLOW OFF120 Group(1)(on P. 119)has the same “Diminished Scale To Blow Off” as found in both group(1 for the dominant ‘7th (69) chords and group (1) for the dominant 7th (#9) chords and can therefore use the same diminished 7th chord written licks as they do for improvisation. This same relationship is true within Group (2) and the other ‘group (2's) and Group (3) and the other graup (3's). NOTE Referto the COMMON TONE CHARTS SECTION, CHART IV, page 134, for the Dimi Dominant Seventh type chords that all have a common “Diminished Scale To Blow Off. ished Seventh and OTHER TYPES OF DOMINANT SEVENTH (+5) CHORDS (using either the 1, °9 or #9) 7 9)" “"Scales To Blow Ott” (5) . Gay = (a) Altered Dominant Seventh Scale formed from the Root of the given chord. (b) Diminished Scale formed a half step above the Root of the given chord. {a) Whole Tone Scale formed from the Root of the given chord. {b) Dominant Seventh Scale (using the #11} formed from the Root of the given chord. 7 (#)" (x) {a) Altered Dominant Seventh Scale formed from the Root of the given chord. M1 (b) Diminished Scale formed a half step above the Root of the given chord. NOTE Refer to the Common Tanes Charts Section for the different charts containing these ninth chords. ‘These are mor amples of “off shoot” chords of D7 (Alt)vat DOMINANT SEVENTH RAISED FIFTH (+5) CHORDS DIGS) ‘As with the Dominant Seventh Flatted Fifth Chords, you have a choice of “Scales To Blow Off” for this type chord. (1) ALTERED DOMINANT SEVENTH SCALE—Formed from the Root of the given chord. EXAMPLE EXTENSIONS DIV) bw # D “ALTERED DOMINANT SEVENTH SCALE TO BLOW OFF” Thisisan “off shoot’ chord of D7 (Alt.)andcan therefore use the D7 (AIt.) writen licks for improvisation; plus it can use licks for Ebm, Cf, and Ab7 (#11). NOTE Refer to the Common Tones Charts Section, Chart | (2) WHOLE TONE SCALE—Also formed from the Root of the given chord, D7(+5) EXTENSIONS D WHOLE TONE “SCALE TO BLOW OFF" DI(+5) Ext, BT(+5) Ext. FRU(+5) xt, AD7(+5) Ext, Bb7(-5) Ext, C7(+5) Ext be 9 2° ae Group a WHOLE TONE SCALE TO BLOW OFF EbT(+5) Ext, F7(15) Ext. G7(+5) Ext, AT(+5) Ext, BU(+5) Ext, CH7+5) Ext. 3 29 fe 9 2 Group 2) WHOLE TONE'SCALE TO BLOW OFF” NOTE In Groups(1) and(2) the 65 Extension notes could also be written up an octave and therefore wouldbe called the #17.122 If you look back at the sub-heading entitled Dominant Seventh (15) Chords, referring to (2) Whole Tone Scale, you'll notice that the chords in Group (1) use the same “Whole Tone Scale To Blow Off” as those chords illustrated in Group (1) on p. 121. The same holds true tor the chords within both groups (2}—they have a ‘common “Whole Tone Scale To Blow Off.” {Ex.1) D7 (5) and D7 (+5) use the same “Whole Tone Scale To Blow Off”. Also, as previously mentioned, C, E+, G#+ and D+, F#+, Bb+ (groups (1) and (2)in the Augmented Chords Section) use this same “Whole Tone Scale To Blow Off”. “Whole (Ex.2) E57 (16), Eb7 (+5) and Groups (3)and (4) n the Augmented Chords Section all have a commot Tone Scale To Blow Off”. NOTE Refer tothe Common Tones Charts Section, Chart Ill (Augmented and Dominant Seventh type Chords that all have @ common “Whole Tone Scale To Blow Off") OTHER TYPES OF DOMINANT SEVENTH (65) CHORDS (using either the 19, +9 or #9) oO) “Seales To Blow Off” DTS) (x) {a} Altered Dominant Seventh Scale formed from the Root of the given chord. 1 (ex) {b) Whole Tone Scale formed from the Root of the given chord. 9) D7 ee (Ex) {c) Altered Dominant Seventh Scale formed from the Root of the given chord. NOTE Refer to the Common Tones Charts Section for the different charts containing these ninth chords. “These are more examples of “off shoot” chords of D7 (Alt).123 DOMINANT SEVENTH SUSPENDED FOURTH (SUS. Cee iD THEIR RELATED CHORDS OF A MAJOR TRIAD OVER A BASS NOTE {Other Than The Root) Gi{su84) Minor (or Flat) 7th Fifth EXAMPLE Suspended 4th Root ‘The Dominant Seventh Suspended Fourth Chord is just what its name impligs — a suspended “sound”. The combination of its intervals, the perfect 4th, perfect 5th,b7, etc., give it hat “open” quality, It resembles the {basic} Dominant Seventh Chord except for its fourth degree, which replaces(and acts as a suspensionof}the ‘major third: Gi(susd) Gt EXAMPLE EXTENSIONS EXAMPLE —G7(sus4) = SCALE TO BLOW OFF major Srd In the example above, notice that I've included the "B” as an Extension and scale tone to blow off. This note has to be experimented with on your own to see how it can best be used. Another type of chord used quite a bit, which is similar to the Dominant Seventh (Sus.4) Chord, is the Major Triad Over & Bass Note (Other Than The Root) EXAMPLE re G (this can be called F over G)124 This chord contains 3 of the basic chord tones also found in the Dominant Seventh (Sus.4) Chord having the ‘same Root. F Gi(sus4) T (8) Common Note EXAMPLE Therefore, it can use the same “Scale To Blow Off” as that Dominant Seventh (Sus.4) Chord. EXTENSIONS SCALE TO BLOW OFF EXAMPLE és BE ms,3° In this above example, the Extensions are based off the Root note (G). Again, be selective with the note “B” when improvising. we 7 ‘Another way of looking at this F/G cherdis, as a type of F Major Chord (with all its Extensions) played off a “G” Root instead of “F”. In other words, the bass note is tound by counting up a whole step from the Root of the triad; and can be played in any range of the bass. F EXTENSIONS, | SCALE TO BLOW OFF = NOTE Although | haven't written any licks for the Qominant Seventh (Sus.4) Chords or their Related Chords Of A Major Triad Over A Bass Note (Other Than The Root), you can use the written licks from the three chord types found in the Common Tones Charts Section, Chart Il, which are illustrated as having the same “Scale To Blow Off” as these two Chords just mentioned. EXAMPLE125 COMMON TONES CHARTS The following chars({ through IV) illustrate the different chords or chord types (found in this book) that have a ‘common “Scale To Blow Off”.126 CHART I Within each group of four chord types (moving from left to right across both pages) are their respective “Scales To Blow Off”, Although each of the scales are enharmonically spelled differently, the notes in each scale are the same. Therefore, a written lick for any one of the chord types in this group can also be used for the other three, provided that the notes of the lick either stay within the common “Scale To Blow Off” or movea half step up or down into a note of that scale. See examples on P.130. EXTENSIONS SCALE TO BLOW OFF EXTENSIONS SCALE TO BLOW OFF Bbd chmNOTE For a more detailed explanation of the chord and scale formations and their usage, refer to the ‘Sections for each individual chord type. EXTENSIONS SCALE TO BLOW OFF SCALE TO BLOW OFF rir fu CT(Alt.) ot $B, 113 chyalt.) DI(Alt.) EbTAlt.) TAL.) FU(Alt.) be, erat.) G7(Alt.) ADT(AIL.) pratt BbT(Alt.) (Alt)128 CHART Il Within each group of five chord types (moving from eftto right across both pages) are their respective “Scales To Blow Off”. Other than ina few cases where scales are enharmonically spelled differently, the notes in each scale are the same, Therefore, a written lick for any of the chord types in this group can also be used for the others, provided that the notes of the lick either stay within the common “Scale To Blow Off” or move a half step up or down into a note of that scale. See exampies on P.13 1. NOTE There are no written licks for the Dominant Seventh (Sus.4) Chords or Chords Of A Major Triad Over A Bass Note (Other Than The Root). For a more detailed explanation of the chord and scale formations and their usage, refer to the Sections for each individual chord type. F Exten.(Scale To Blow Off) Dm7 Exten. (Scale To Blow Off) G7 Exten. (Scale To Blow Off) 1 13, © major scale major scale (C major scale ob 1: Ebm? AbT Dbmajor scale Dbmajor scale Dbmajor scale os D major scale D major scale D major scale Ebmajor scale Ebmajor scale Ebmajor seale E major scale F major scale B major scale = seale F major scale F major sei F major scale i FRmajor scale Gbmajor scale Chmajor scale \%G major scale Gimalon acale G major scale bee Abmajor scale Abmajor scale Abmajor scale =) ‘A major scale A major scale ‘A major seale ote) Bbmajor scale Bhmajor scale ‘BP major scale 2 B major scale B major scale B major scale129 Of Gr(sus4) Extensions ( scale To Blow Olt) Extensions (Seale To Blow Off) | wis, SC major scale ‘C major scale Ab7(sus4) we Domajor seale Dbmajor scale AT(sus4) D major scale D mejor scale BP major scale Ebmajor scale Bi(sus4) E major scale E major scale Cii(sus4) = = = pbr(susd) F major scale F major scale Ghmajor scale Fifmajor scale Dijsusd, G major scale G major scale Eb7(susd) Abmajor scale Ab major scale E7(sus4) ‘A major scale Amajor scale Fi(sus4) 2 ‘Bbmajor scale FHr(susg ite B major scale Bomajor scale B major seale130 CHART | EXAMPLES. Above each written lick are the different chord types that can be used with it for improvisation. Listen to their subtleties as you play them with chordal accompaniment, EXAMPLES TAKEN FROM C7(Alt.)LICKS C#m, Bb, F¥#7, C7 (Al) peed eeeeseeudeeoions TAKEN FROM Cm LICKS Cém, Bb, F#7, C7 (Alt TAKEN FROM F#7 LICKS Cém, BY, F#7, C7 (Alt) a rege TAKEN FROM 8>¢ LICKS y Cém, Bb*, F#7, C7 (Alt) TAKEN FROM B7(Alt.) LICKS Fm, D¥, Bb7, E7 (Alt) @ TAKEN FROM Fm LICKS Fm, D*, Bb7, E7 (Alt) TAKEN FROM BbT LICKS Fm, D¥, Bby, ETA) TAKEN FROM Dé LICKS Fm, D*, Bb7, E7 (Alt) TAKEN FROM Ab7(Alt.) LICKS Am, F#*, D7, Ab7 (Alt) (3) TAKEN FROM Am LICKS Am, F#*, D7, Ab7 (Alt.) ‘TAKEN FROM DT LICKS Am, Fa, DT, Ab (Alby Ser ogee TAKEN FROM FH6 LICKS Am, F#*, D7, Ab? (Alt.)131 Chart Il Examples Taken From the Written Licks Above each written lick are the different chord types that can be used with it for improvisation, Listen ta their subtleties as you play them with chordal accompaniment. EXAMPLES i) (2) @ TAKEN FROM F LICKS E,Dm7, G7, G7(sus4), F/G 7 = 7 F, Dn, G7, Grsu: iG TAKEN FROM Dm7 LICKS a s TAKEN FROM G7 LICKS F,Dm7, GT, Gr(suss), F/G os TAKEN FROM A LICKS A, tHw7, B7, B7sus4.A/B xe TAKEN FROM A, Fim, BT, Bi(sus4), A/ = Ph? LICKS Eregaeer A, Fmt, BY, Brisuss) AB B7 LICKS pee TAKEN FROM Db LICKS D>, Bbm7, Eb7, ET(sue4), Db/Eb cs TAKEN FROM Bbm7 LICKS Db, Bom7, 857, B7(sus4), Db / Eb -_ fe [TAKEN FROM Eb7 LICKS pb, Bhm?, 67, EoTisusdy, Db/Eb132 CHART III Augmented and Dominant Seventh type Chords that all have a common “Whole Tone Scale To Blow on”. Awritten lick for any one of the Augmented Chords shown in Group (A) can also be used for improvising off any other chord within this group. (This includes the other Augmented Chords). The same approach applies to those chords in group (B). Make up exercises te Jearn these chords and their relationship to each other. (Ex.) arpeggiate, one by one, all chords found in either a vertical line or horizontal line (within a given group). COMMON WHOLE TONE “SCALE TO BLOW OFF” FOR ALL CHORDS BELOW Group fa) He Abe Augmented Chords B25) AbT(+5) BbT(+5) E9(+5) AbS(+5) Bb9(+5) Dom. Seventh 5) 4 Type Er) adr gL br Chords 5 Te) brid) eo(f A) abs Fl moot, APT(b5) Bb7(b5) Ab9(b5) Bb9(b5) Dom. Seventh 8) Type sb 74 O13; 7 PAS Chords aon he) BATS Aba has, Bho G3)133 NOTE For @ more detailed explanation of the chord and scale formations and their usage. reter to the Sections far each individual chord type. COMMON WHOLE TONE “SCALE TO BLOW OFF" FOR ALL CHORDS BELOW Group (by Augmerted| Chords c#r(+5) BbTE5) FT(-5) G7(+5) AT(5) BI(-5) cH94+5) B95) FOS) es) 88) B96) om, eventh (eo YP ts GT(H1y Type 12 1 33) ) oe | ety ei ey GDh arta mn both tn, PED na au boc) wboctiy rg fly addy) polly chtcba, ebrs) 1b) nbs) A085) ribs) cfotbsy Bhobs) ——F9(35) cas) Aah) (65) Dom. an 5 7 (5) Fr%3) ¢ type |] ctr eb R) 7 Sata BH me | OW haw se ye 13, 3) bu: boi 23 #9 hh Bb9( 18) ashe B92)134 CHART IV Diminished Seventh and Dominant Seventh type Chords that all have a common “Diminished Scale To Blow Off”. Awritten lick for any one of the Diminished Seventh Chords shown in group (A) can also be used for improvising off any other chord within this group. (This includes the other Diminished Seventh Chords). The same approach applies to those chords in groups (B) and (C). Make up exercisas to learn these chords. COMMON “DIMINISHED SCALE TO BLOW OFF” FOR ALL CHORDS BELOW: Group fa) Bho Fho Dim, Seventy words D705) F735) ab7( 45) °g 9 pv 68) Fi) arr anf) 7 Dom. pig, Eu) Aan an) Seventh : (35) type ||Y D130 FIgOS) Chords = = Ab 13065) 1365) BT % pigg5) Figs) Asan mie) Ea : FBS) sons Abia #2) Bits) ¥ F749) or. jy tbe}t9 optional A¥7(59) BI(49) A mh Dom. page FO 9 or asr ay Bah Seveni? : 8) Type ¥ Pago), chords [Lp ee ago opts 2 (50) £9 optional AS15(69) 323159) fi aa ag) ; 83 49 optionar #134 B25 Bh BiG?) AbT9) BIC) aE = 7 Dom, “Uo? ayia Bre 4 Seventh (29) aa Peo) type | ise) ae er Chords, & ye A¥13(49) 3069) a nat Digt fp) ee abt BS oa)Group {b) Dim, Seventh) Chords Dom. Seventh 8) Type Chords Dom. Seventh 69) Type Chords Dom. Sevenih| (#9) Type Chords 135 COMMON “DIMINISHED SCALE TO BLOW OFF" FOR ALL CHORDS BELOW: cio Ebr) Borg) B47 f%) Eb7(69) ha eh 513469) Bb13(¥, Boo 789) Eo F#T(45) Fa7(P 3) eI 9) pa er) er eeD FTO: EB eo optional 515069) 19 optional FAD PRI(E9) Fu F713(29) i eset) Go AT(5) ave) an #2) ‘A15(65) 1362) A135 8) ATG9) Aq) 813(69) arth ATG@9) arth A139) aia tg) Bho C165) en} en §8) c18(+5) cigy 9) cine) 79) en Fy cigéo) 1a 4) cre) cae crs(o)136 NOTE For a more detailed explanation of the chord and scale formations and their usage, refer to the ‘Sections for each individual chord type. Group (e) COMMON “DIMINISHED SCALE TO BLOW OFF” FOR ALL CHORDS BELOW: pO B° Dim. pe £0 Ab Seventh Chords E7(>5) GOS) BP7(b5) C87 (55) eq 2) ott 8) B72) C278) Dim. eng) aa, SID 7068) cin f%) Seventh bs addition addition 4. ‘Type B09 61305) BE 13(55) CA18(55) Chords 7 B13 +9) 1329 gee) oic8) Bi 153) SFIS G5) £15145) or) B13 2), #134) ee orb) B79) C#7U9), 3, 2 at ae nF) ont Be7(7)9) cer th Sevenih (69) £13( 69) 7 ‘Type ee GtKb9) Bb 1349) #13059) Chords #1) s 7 1 31. E13(* 1) setae ay Bhs; 7 ef137 By etsy cite BITES) ci7(49) 1) 4 han vim, | ee itty xa cen Bh ‘Seventh a9) F13( $9) C #13(29) Type 2 G13G9) Bi13(H9) See chords BH) obiah mead Sada137 CHART V (OTHER CHORD TYPES) Below are examples of other chord types which are used quite often. They are similar to, or based off, previously ilustrated chords in this book, and therefore, can use their respective “Scale(s) To Blow Off” and written licks (provided that the nates of the lick either stay within that “Scale To Blow Off” or move a half-step up or down intoa note of that scale). As | mentionedearlier, if there's more than one “Scale To Blow Off”, your choice will usually depend upon the key (major or minor) or the flow of the particular chord progression. It would be advisable for non-chordal instrumentalists to try these out at the pianotirsttobecome familiar with their sound, and then learn them in the different keys on your instrument. EXAMPLE A You tan use the “Scale To Blow Off” for C (using the #11). Cmaj7(?5) EXAMPLE B (1) This is similar to @ CMaj9 chord, but, with the major 3rd omitted. Cmajs SCALES TO BLOW OFF (2) [tis also similar to a Cm (Maj 7), but, with the minor 3rd omitted. SCALE TO BLOW OFF & SSS ooo em(majty138 EXAMPLE C D c (1) This is similar to 0 C6 ("')}), but, with the major 3rd and 6th omitted. C “Scale To Blow Off” (Using the #11) (2) g can also be thought of as the upper structure (Extensions) for C7. cot tt ej cr "Se To Bow Of (Ug HD (3) Of, it can function as a V7 Dominant Seventh Chord having its seventh (degree) in the bass. Therefore, it can use either “Scale To Blow Off” for 07. c13(#11) SCALES TO BLOW OFF EXAMPLE D Csus4 SCALES TO BLOW OFF = == oo = IN MAJOR IN MINOR139 With the Sth an octave lower. EXAMPLE E C (add 9) OR SCALES TO BLOW OFF SSS SSS vs oo vo 7 oF EXAMPLE F Cadd9(no 3rd) ‘With the 9th an octave lower. OR SCALES TO BLOW OFF S—= = IN MAJOR IN MINOR NOTE By lowering the seventh degree (B)a half step, in the 3 examples above, you also get scales to blow off based on the Dominant and Minor Seventh Chords. EXAMPLE G This chord can also be thought of as the first inversion of a C Major Chord, Therefore, you can use either of the “Scales To Blow Oft” for C. SCALES TO BLOW OFF140 EXAMPLE H Dmajt(+5) You can also use the common “Scale To Blow Off” for these chords (which are also shown ‘as a group (from left to right) in Chart | of this Section}: Brm6{ maj? ) ans BB B13(H11) BoTAlt.) SCALE TO BLOW OFF NOTE Within each of these individual chords you can find the D Maj? (+5) notes. EXAMPLE I You can use the F# “Diminished Scale To Blow Off” SS ——— setEXAMPLE J 141 (1) You can use the “Scale To Blow Off” for Gm; EXAMPLE K This is similar to A9, but with the major 3rd omitted, SCALES TO BLOW OFF (Using #11) EXAMPLE L With is chord type, even though there’s no Dominant Seventh Chord to be found in you can the “feeling of’ or even “hear the Tritone Substitution coming through, whether it be the A7 being substituted for E67 or the Eb7 being substituted for A7 7 = is similar to a7) but, with the major 3rd omitted. arf) Therefore, you can choose: (1) The Diminished Scale To Blow Off based off A7 (fe). ang) 57(b9) Bb Diminished Scale E Diminished Scal = aa] NOTE Above, the Tritone Substitute, 7 (+9), has the same notes in its E “Diminished Scale To Blow Off”.142 (2) The “Altered Dominant Seventh Scale To Blow Off” formed on the Root A “Altered Dominant Seventh Scale To Blow Off” ES7 “Scale To Blow Off” SS oS SSS NOTE Above, the £67 “Scale To Blow Off” (using the 411) has the same notes as the A Altered Dominant Seventh Scale. ice" the triad using any and the bass note: ‘When playing ar scoring chord types consisting of a triad over a bass note, youcan “ inversion desired. As a colorful variation, you can try “clusters” comprised of the EXAMPLE M (a (b) (e) @ or even arpeggiate them in any inversions. ‘143 BLUES SCALES C BLUES SCALE Boot 13 4 For 95) 3 °7 Blues Scales are the most versatile of all the scales. They have been used with countless blues progressions (12 measure and others), Jazz tunes, old Standards and in general, songs of various sorts and tempos that have been classified as having a “Bluesty}"’feel to them. The example above showsa typical blues scale. Ithas ‘70 chord, per se, but one can be formed from all of its notes: EXAMPLES 0 & 5 or, from combinations of 3, 4 or § notes of the scale. (o) (©) or, (d) ‘The Blues Scales.are not only a common sound o our ears, but can be heard within the music of many cultures: around the world, in various forms. The blues, itself, is an intrinsic part of us all and is like an invisible thread that tias us in a common bond, expressing some of our most basic and inner feelings, which many times, cannot be communicated vocally because they are beyond words. ‘The universality of the blues and the idea that blues scales have been used in such a wide variety of musical situations led me to wonder about which individual chords would “work” {or sound good) againsta given blues scale - So, Iformeda “Master List” of chords (using the C blues scale as a modal) that could not onlybe used for that given (C) blues scale, but, also tried out against any licks based off that scale, where the notes stayed strictly within the scale.* I would advise you to also follow my procedure, forming your own Master List, for itis quite thorough in its possibilities for improvisation; and can also be used for composing or arranging, such as reharmonizing blues ‘scales melodies. not@6 not straying outside oftheir respective bluas scales.144 PROCEDURE: Using chordal accompaniment (Piano/Guitar), run up and down the C blues scale (freely, at any speed desired) over each different chord type listed in the book (in every key); Start- ing with C Major, for example, strike the C Major Chord, listen to it for a moment...then play up and down the C blues scale. (Ex.) = (Piano/Guitar play freely chord sustained) Take note of how it sounds — harmonious o* discordant. Is it a sound you would like to make use of when improvising a C blues scale lick off this chord? If you like what yau hear, mark it down on your list. Again, strike the C Major chord, this time adding one or more of its Extensions. Run up and down the C blues scale and listen! Do you want to make note of it? When you've tried all the possibilities, go on and repeat the ‘whole procedure with the C# Major Chord (and its Extensions) and then, all the other Major Chords. From there, go through alt the Minor Chords, and one by one, through all the other chord types in the book (always using the C blues scale as the model}. Write down ali the chords you like. From this Master List you can transpose into the keys for the other blues scales.145 Lo MASTER LIST (Chords that work with the C Blues Scale) ‘CHORDS MAJOR CHORDS c Db E> Ab MINOR CHORDS Cm Fm Gm Bbm AUGMENTED CHORDS D+ MINOR SEVENTH CHORDS. m7 Fm? Gm7 Bbm7 HALF DIMINISHED CHORDS e ct at DOMINANT SEVENTH CHORDS for] e7 7 Bb7 ALTERED DOMINANT SEVENTH CHORDS o7 (te ATIAIt) DISTANCE FROM “ROOT” OF BLUES SCALE Same Root Up ¥4 step (minor 2nd) Up 3 half steps (minor 3rd) Down 2 whole steps (major 3rd) ‘Same Root Up 2% whole steps (perfect fourth) Up 3% whole steps (perfect fifth) Down 1 whole step (major 2nd) Up 1 whole step (major 2nd) ‘Same Root Up a perfect fourth Up a perfect fifth Down a major 2nd Up 2 whole steps (major 3rd) Up a perfect fifth Up 4% whole steps (major 6th) ‘Same Root Up a minor 3rd Up a perfect fourth Down a major 2nd Upa major 2nd Up a major 6th146 ‘MASTER LIST (continued) CHORDS DOMINANT SEVENTH (65) CHORDS C7 (95) A7 (05) DOMINANT SEVENTH (+5) CHORDS. D7 (+5) DOMINANT SEVENTH (19) CHORDS. 7 (9) F7 (69) DOMINANT SEVENTH (#9) CHORDS 7 (#9) 07 (#9) £97 (49) G7 (#9) DOMINANT SEVENTH (Sus.4) CHORDS: C7 (Sus.4) £67 (Sus.4) F7 (Sus.4) Bb7 (Sus.4) DISTANCE FROM “ROOT” OF BLUES SCALE ‘Same Root Up a major 6th Up @ major 2nd ‘Same Root Up 2 perfect fourth ‘Same Root Up a major 2nd Up a minor 3rd Up a perfect fifth Same Root Up a minor 3rd Upa perfect fourth Down a major 2nd 4147 ‘The Master List shows the chords that work for me. They tend to sound more harmonious than discordant. But, that's only what I've come up with and it shouldn't hinder you from using any chord type you like with a given blues scale. Keep in mind, these are only isolated examples, all based off playing up and down the C blues scale, and not on any specific licks based off its scale. . 50, the next step, (using either my list or your own) istotryout the written licks for the C blues scale (shown on the next page) against any of those chords on the list. Examples showing 3 different chord possibilities (taken from the Master List) for each lick: Eb6(9), Cm, FmT esse areEee cs a) Dbmaj?, Bbm7, D7(+5) ») Abmaj7, A7(b5), Bb7(sus4) 3 3 2 3 ¢) Now transpose the “Master List” upa half step so you can try out the written licks for the C# blues scale; and continue on up through all the other blues scales always transposing the list up a half step. You'll find that ‘when playing through the licks and choosing chords that work with them “musically”, there'll be a lot of “trial and error” involved. Some chords will work and others won't. But, the main point here, is that many blues licks will sound fresh and somewhat innovative when used with chords/chord progressions that haven't been used over and over again with the blues scales. You could also write out some of your own blues licks and work with them (against a “Master List of chords). Further usage of the blues scales licks will be discussed and illustrated in Sections 10 and 12.148 C BLUES SCALE = = 4 = a = =a ta Root m3 4 #4 5 be Most Commonly Used Chords — Cm, Cm7, C7, Fm, Fm7, F7 240, 240 . a on oN erase 2 = i 7 z z > oj ‘With this blues scale and its related melodie149 C# BLUES SCALE Root m3 4 Pa 5 b7 ‘Most Commonly Used Chords — C#m, C#m7, C#7, Fm, Fém7, Fa7 rs (vib.)150 D BLUES SCALE Foot 8 4 #4 5 7 Most Commonly Used Chords — Dm, Dm7, D7, Gm, Gm7. G7151 Eb BLUES SCALE Root ms 4 im 3 ba ‘Most Commonly Used Chords — Ebm, Ebm?, E67, Abm, Abm7, Ab7 Sa ===E BLUES SCALE Root m3 4 te 5 br ‘Most Commonly Used Chords — Em, Em7, £7, Am, Am7, A7153 F BLUES SCALE é es — ber to" iS zm. 4 Root ma 4 #4 3 br Most Commonly Used Chords — Fm, Fm7, F7, Bbm, Bbm7, Bb7 —I— a = =F# BLUES SCALE ‘Most Commonly Used Chords — Fm, F#m7, F7, Bm, Bm7, B7155 G BLUES SCALE Root m3 4 #4 5 br Most Commonly Used Chords — Gm, Gm7, G7, Cm, Cm7, C7Ab BLUES SCALE z = = — S bore be Uv Root m3 4 4 5 br ‘Most Commonly Used Chords — Abm, Abm?, Ab7, Dbm, Dbm7, Db7 = eo a eos so157 ABLUES SCALE Root m8 4 rvs 5 7 ‘Most Commonly Used Chords — Am, Am7, A7, Dm, Dm7, D7 aS158 Bb BLUES SCALE ba Root ma 4 H 5 ba Most Commonly Used Chords — Bim, Bbm7, Bb7, Ebm, Ebm7, Eb?189 B BLUES SCALE é = = = = te = Root m3. 4 #4 5 br Most Commonly Used Chords — 8m, Bm7, B7, Em, Em7, E7 to eet Cet gt 3 es oat180 It’s been said, that “it all starts with an idea”. Then, all you need is a little imagination and you expand upon that — one idea leads to another, and so on. {in these last three Sections, we will be dealing with the above statement or thought in that, now we will be applying the written licks plus some short simple motifs (which | have illustrated in the next Section) ta a number of “techniques” which have been used (in one form or another) throughout the evolution of music. ‘These “techniques”, for the most part, are the “keys” for creative playing and writing (composing, arranging, etc.) I's important, however, to keep in mind that until reaching the last Section of this book (Improvising ‘Over Chord Progressions), we will still be working with the written licks, motifs and “techniqués"’basedona fe chord (for improvisation). Also, by this time, you should be quite familias with the different type chords, their Extensions and “Scale(s) To Blow Off”. it's really not necessary to memorize any of the written licks, motifs or “techniques”, but of greater value, is to absorb the “essence” or general flow of what is being presented to you. For, in time, much of this material will become a natural part of you just from the “doing” af it. You'll find that nothing that you've taken the initiative to study and put into use is forgotten. Noeffortisever ‘wasted, I's merely put aside and stored as a useful resource for a later time, when it might be needed again. It is always therel Aithough a good deal of these “techniques” have been used quite effectively by other musicians in the past, it's your "individual approach” — which lick (or motif) you choose with which “technique” ptus your phrasing of them — that makes the difference, and can transform them into something unique! ALTERING A WRITTEN LICK Besides tha multi-improvisational use of a written lick over different chord types (as illustrated in both the Common Tones Charts and Blues Scales Sections), there's an even greater range of possibilities available for improvisation using any written lick in the book. The following “techniques” can be employed separately or in combination, you can:161 TECHNIQUE | Superimpose A Written Lick Over Any Other Chord Other Than The Given One. PROCEDURE: Pick the new chord and form its “Scale To Blow Off”, Then, leaving the basic structure of the written lick as is, fill in any necessary accidentals, (#, + or 5) that correspond with the new “Scale To Blow Of”. Using A Minor Chord Having The Same Root As The Given Major Chord. aoa c M3 M3_M3. et f Written Lick ier < 0 (Seale To Blow of) ¢™ ae New Chord * (Cm) Written Lick Q New Chord (Dom) (Scale To Blow Off) ze MB M3 fil M3 M3 5 Written Lick 8 (Scale To Blow Off) New Chord (Ebm) See aeaig o NOTE The notes in brackets indicate the “altered” notes, both before and after their alteration.a 162 ished Chord Having The Same Root As The Given Minor Seventh Chord. Using A Half Dimi EXAMPLES Bat Ng Written, Lick a New Chord (8) (SCALE TO BLOW OFF) Written, Lick 2 (SCALE TO BLOW OFF) New Chora (E*) Written Lick 8) (SCALE TO BLOW OFF ) New Chord = car) © Using Blues Scales Written Licks EXAMPLES (TAKEN FROM C BLUES SCALE LICKS) us Written, Lick a Now Chord (Ao7) > > ({FAKEN FROM D BLUES (scaLe To BLowoPr) — #7 wri cf Lick e =| (SCALE TO BLOW OFF ) ‘BbT Chora (Bb7) © 7 > = (TAKEN FROM F BLUES SCALE LICKS) Lick ® New Chord (EbMaj7) written, { Ebmaj? ] (SCALE TO BLOW OFF ) ae ape163 Miscellaneous Examples (The notes in brackets indicate the “altered notes.”) a Fim ia Written Lick (SCALE TO BLOW OFF) New ——<—— Chord (D7) (SCALE TO BLOW OFF) New Chord (Fm) @ written| Lick (SCALE TO BLOW OFF) New Chord (Dm?) (SCALE TO BLOW OFF) new [Y= Chord (ce) o (SCALE TO BLOW OFF) New Chord (Bom) = (SCALE TO BLOW OFF) New Chord (AMaj7) = 0 (SCALE TO BLOW OFF) New Chora (G) soe F (SCALE TO BLOW OFF) New Chord (FD164 @) FHT(AIL) written| Lick (SCALE TO BLOW OFF) eens New Chord (Fsus4) (SCALE TO BLOW OFF) New Chora ) (SCALE TO BLOW OFF) New Chord (E°) (SCALE TO BLOW OFF) New Chord (wh) (SCALE TO BLOW OFF) New Chord wy . (SCALE TO BLOW OFF) Chord « = (SCALE TO BLOW OFF) New Chord (B) foe x (SCALE TO BLOW OFF) Chord (Bom) aa (SCALE TO BLOW OFF) AT(AIt.) New Chord (AT(Alt)) = a (SCALE TO BLOW OFF) New Chora fe (ayy 4)” ha (SCALE TO BLOW OFF) New Chora (Gm7) yer “Same notes as the written lick. Both the FH7 (Alt) and C7 (using the #11) have the same ” ee165 A good exercise for learning “technique” |. is: first, pick out any group of (12) written licks for a given chord {found in the book). Then, replace the given chord with another chord (found in the book) and, one by one, read through the licks making any necessary “accidental” adjustments {to the notes) so that they fit the “Scale To Blow Off’ for the new chord. This can all be done in your head, visualizing the new chard and its “Scale To Blow Off” while you play through the licks; or, it can be written out, as shown in the following examples EXAMPLES ‘TAKEN FROM THE Em795 WRITTEN LICKS Em7b5 ux ——, i (V1 (SCALE TO BLOW OFF for G) You read| itas 3 @ | (SCALE TO BLOW OFF for G) You read itas 8 G (SCALE TO BLOW OFF for G) —3- You read itas166 TECHNIQUE II Use “Portions” Of A Written Lick The brackets indicate the “portion” being used. You have the freedom to displace these “portions” (or any written lick used with the “techniques” in this Section) starting anywhere in the measure - on a downbeat, an upbeat or even starting before the measure, running through and into it. You can also add or leave out any accents to fit your own style of “phrasing” a displaced “portion.” EXAMPLES ,. aaa >—— A Written Lick w Displace ment of portion —. (or), Em Same Written Lick Displace| ment of portion D7(Alt.) Coe 4... 2 (or) | te e 6 (or)167 © Using A Portion Of A Lick That Has Been Altered By Technique |. EXAMPLES Be EE (wD Be = Q) ev ma + eB) Looking at the above examples, you can see that each of these written licks is made up of two or more “portions” joined together. These “portions” sometimes overlap each other (in cases where one or more of them are incomplete musical ideas within themselves) making it difficult to tell where one actually ends and the other begins. So, what we have here, is the simple process of “coupling” ideas (phrases, licks, etc.) toform a longer flowing chain of musical thought. This is no different than the way we use words to form sentences and is a very basic concept or element found in improvisation. | chose to illustrate the most obvious “portions” of the written licks, but, there are other choices as well. It ‘would be advisable, asan exercise, to go through the written licks in the book and pick out “portions” that you feel sound good and could be used for improvisation. Write them out and play through them. The use of “coupling” phrases will be taken up again in the Improvising Over Chord Progressions Section168 TECHNIQUE III Use Fragments Of A Written Lick. NOTE The “fragments” are bracketed and rests are used to replace any notes from the written lick not being used as “fragments”. Using a written lick that's been altered by “technique” | EXAMPLES = Cm Written Lick o It would, sound like written Lick 2 It would sound like Written Lick @) It would sound like Written Lie a Tt would ‘sound like written Lick 6 It would, sound like. [he] written Lick ts att 7 © cto o 2 2 $ reas wy a Bo ee ga I ha sound like + In Example (6), to keep it more musical. held over the first note of each triplet (ito the second thied ofthe triplet) ather then resting there169 Written Lick m It woul sound Tike’ Written Lick ® It would sound ike Written Lick @ It would ‘sound like Exercise Starting with Example 1, (and then moving on through each of the examples), play the written lick, then play the “fragments” version; and keep on going from ane to the other until you can hear the written lick in your head as you play the “fragments” version. An alternate and simpler approach to hearing this is to have another musician play the written lick as you play the “fragments” version. Count off four beats and play, listening to both lines. This method could prove useful for arrangers — if you thinkin terms of the written lick being, let's say, the saxophone section, while the “fragments” version is the brass section punctuating or accenting parts of the main melody line (the written lick). ‘As another exercise, go through the written licks in the book and form your own “fragments” versions.170 TECHNIQUE IV A) “Mirror” A Written Lick. PROCEDURE: Leave all note and rest values of the written lick as is. Then, starting on the first note (and moving towards the last), imitate each of the intervals between adjacent notes but move in contrary motion (staying within the “Scale To Blow Off”). For example, if a note in the written lick moves up 3 scale tones, the “mirrored” version moves down 3 scale tones. EXAMPLES, D6 Written Lick a (SCALE TO BLOW OFF) Mirror Written Lick ® (SCALE TO BLOW OFF) Mirror Written Lick Written Sva to keep ‘Mirror? in treble clef 6 (SCALE TO BLOW OFF) Mirror « TAKEN FROM C BLUES SCALE pe ee ‘ritten Lick 4) (SCALE TO BLOW OFF) Mirror71 Written Lick (SCALE TO BLOW OFF) Mirror DIAL.) Written, Lick Co) (SCALE TO BLOW OFF) Mirror NOTE This “technique” works best if the notes of the written lick all stay within the “Scale To Blow Off”. Those “mirrored licks that don’t stand up on their own musically. can possibly be used in your writing or group playing as a counterpoint line or harmony to the original written lick. B) “Mirror” Rhythmically. TAKEN FROM THE F#7 (Alt.) WRITTEN LICKS Fs Cpr Cos Hyou put an imaginary bar line in the middle of the first measure of the written lick (above), you will notice that, the second half of the measure is a “mirrored reflection,” rhythmically, of the first half of the measure. Thisis another device you can make use of. EXAMPLE arr Ley s172 TECHNIQUE V Use A Sequence Of A Written Lick. PROCEDURE: Move the entire lick to another starting note (or position) within its “Scale To Blow Off” without changing the original: a) sequence of basic interval relationships (3rds, 4ths, 5ths, etc.) between adjacent notes or b) rhythms) of the written lick NOTE These “diatonically transposed” licks can be played together with their respective written licks as a possible harmony to them. EXAMPLES cr (SCALE TO BLOW OF.» Written Lick ie a Sequence (SCALE TO BLOW OFF) E? Written Lick (@) Eb @ Sequence ( Dr _— (SCALE TO BLOW OFF) = Written Lick] @ Sequence| Go through the written licks and apply this “technique” — see what you come up with!173 TECHNIQUE VI ‘Transpose A Written Lick (Into Any And All Keys). This is a great way to build up your writing and playing techniques and to familiarize yourself with the licks themselves! Transposing up by half steps Written Lick ay v Altered by “technique” | then, transposing down by half steps 6 Written Lick Fo @ x etc. _——— ie ee ~ . Transposing up then down by half steps eee ‘Using this portion Written Lick @ fe lip Wek lie Ife TE Transposing “fragments” up a whole step Bm? Written Lick ) : Cm7 ya a oe Transposing a “mirrored” written lick down a major 3rd.{' Mirror result or z O<—— S Written z Lick e 0 ({* my v Transposing a written lick down a tritone which: a) has been altered by “technique” |, and then b) has hada “portion” (of that) altered again by “technique” V Using this portion Dt ea (New position) D7 —~ Altered Written Lick © v Make up your own transposition exercises using the written licks, your own licks plus any of the “techniques” from this Section.174 TECHNIQUE VII Freely Expand Or Contract The Durations Of Any Notes Of A Written Lick. This naturally causes a displacement (or movement) of the notes in the lick. So now, a note that was on a downbeat might come on an upbeat; or nate that was on the 2nd beat might fall on beat 3, 4, or 1 NOTE Those licks which are now longer (through using the expansion technique] will of course, take up ‘more beats, so, when improvising there must be ample musical space in order for this to work. Notes in parenthesis indicate the expanded notes illustrated in (a), (b) or (ch, EXAMPLES Do ae bye written, Lick q@) Result v Parenthesis for (2) and (3) indicates expanded notes. Dt Written Lick (@) Result Portion Written Lick (3) Result(3 a @ | | | «s) MISCELLANEOUS EXAMPLES OF EXPANSIONS AND/OR CONTRACTIONS. UG Av Using this portion Written Lick Eb. Using this portion Written Lick Bhs ae pr Using thig portion Written Lick Written Lick Result 3) Written Lick BMJ Using this portion Result Bbm7, 3. Written Lick176 TECHNIQUE VIII A) Double All The Note And Rest Values Of A Written Lick. EXAMPLE, Written, Ebm re Expanded Version E5m “doubled” again. NOTE This “doubled” version can also be 8} Divide In Half All The Note And Rest Values Of A Written Lick. EXAMPLE Written Lick _D I* contracted, Version v NOTE This “divided in half” version can also be “divided in halt” again.TECHNIQUE IX 7 Freely Change Any Of The Melody Notes Of A Written Lick (Staying Wi While Retaining The Original Rhythm(s) Of The Lick. in The “"Scale(s) To Blow Off") EXAMPLES written Lick Bbm (SCALE TO BLOW OFF for Bbm) a = Result; ‘hm. Bbm Ya = “Oo Bhen _ (0) @ Bom Bbm e (e) LS (SCALE TO BLOW OFF for C) o a C_Written Lick (2) oe e Results ey a eee 7 a © e Written Lick BZ Using this portion (SCALE TO BLOW OFF for B7) co) uo Results ET, Br ve ° NOTE By playing one or more of these “melodic variations” along with the original written lick, you get some interesting harmonies. ‘As you can see from all these various “techniques,” the written licks are very workable “tools” which can be altered melodically, rhythmically, and harmonically into all kinds of shapes and forms. After awhile, as you become more familiar with the “techniques,” you'll be able to look at a written lick (or one of your own) and improvise variations of it right on the spot!178 INTRODUCING NEW MOTIFS AND THEIR EXPANSIONS Below are the “techniques” that can be used to expand upon a simple melodic idea — which, only for the purpose of distinguishing between the written licks in the book, I've labeled as “motif”. To my way of thinking, this is one of the most creative and challenging Sections, because it is left up to you to invent your own motifs. These motifs re the seeds or starting points out of which will grow (for the most part) longer musical ideas for improvisation once applied to any of these “techniques. Ihave given you enough examples of motifs (with their possible applications) to get you started, but, this is still relatively small amount in contrast to the many written licks available to choose from (and apply to those “‘techniques” found in Section 10). So, you're pretty much on your own now! But, if you find that you have no ideas (for “motifs")at first, you can always refer back to any of the written licks to help you out. TECHNIQUES 1. (a) Coupling new materiat, and then — (b) coupling more new material to that. 2. (a)Coupling a sequence (either higher or lower,)to the motit, then — (b) coupling new material to that. 3. Coupling new material to “bridge” the given motif with its sequence plus coupling more new material to that. This latter new material can be a sequence of the “bridging” material. 4. Using repetitions of the motif. 5. Freely displacing any repetitions through the use of rests. 6. Freely expanding or contracting each note duration of the motif. 7. Setting up a strong rhythmic feel by freely: (a) expanding/contracting any note durations (b) repeating any notes any amount of times. (c)_ using any rests and/or accents 8. _Retrograding (playing backwards) the original order of notes of the moti with the option of using any combinations or variations (you invent)of the “techniques” in this Section. This includes changing the octave range of any note(s). 9. Using any melodic permutation (rearrangement of the notes) of the given motif while retaining the original rhythm of the motif. eee eee eee eee eee nent eee eee a179 NOTE All notes in each of the given “motifs” (and their exemplified “expansions” either stay within the “Scale To Blow Off" (shown to the right of each given motif}or move a half step into a note of that scale. Also, ina few examples, | have made use of rests asa slight deviation from the “techniques”. They might be placed before a given motif or in between a motif and newly added material, etc. You can do the same when working with your own motifs. MOTIF A E (SCALE TO BLOW OFF) = © TECHNIQUES* (ya. Qa. @ “ ) ve z s s ‘Refer to poge 178 for explanations,180 Starting Starting. @) cy ®)181 Starting ‘on DE Starting on B Exercise: Using the above as a model, write out the permutations for any of the given chords shown in the book. You can include one or more of the Extensions. Then, play through them jotting down the ‘ones that you might use for improvisation or perhaps, for a chordal “voicing”. Keep in mind, when you get up to 5-note combinations or more, there could be over 100 permutations. NOTE Being that each permutation represents a different order of notes of the given motif, you can treat each one as a new motif and thereby, apply all the other “techniques” (from this Section) to it182 MOTIF B me " SCALE TO BLOW OF" TECHNIQUES a. Qa. 3 @ © © o @) O) Starting on D ev Starting on F Starting on Ab wv Starting on C v eee eae et ene ee ee ae eet eee et et ete ee eneMOTIF C Fho ee ae bee vw r e TECHNIQUES184 MOTIF D cr © he "SCALE TC BLOW OFF" git B= oS e TECHNIQUES (a. a ey 4) 6) (9 cr 8) Starting on E v Starting on G e Starting on C e Starting on Bb . eee ena ee185 MOTIF E Gm? “SCALE TO BLOW OFF" TECHNIQUES a C) Starting on A e o © Starting on G186 NOTE For this particular motif only, I've also illustrated the “rhythmic” permutations. They. like the “melodic” permutations, are the rearrengements of the notes of the given motif but, in this case, no matter what position one of these (given) notes is placed in, it always retains its original note duration (from the given motif. om 3 one ——S~. — — Starting on A Starting On G Starting on the 2nd A.187 MOTIF F — j — o TECHNIQUES188 ‘There are over 100 permutations for this m« @ Starting on A Starting on c v189 ‘Starting on F e Starting on E Starting on Eb190 Once you've gotten familiar with these “techniques” and tried out some of your own motifs with them, you can apply these results to the various “tech found in Section 10, and see what you come up with. Also, the combining of any of the “techniques” from both Sections 10 and Tt canbe used for improvising over chord progressions. This is not illustrated in the next Section but left for you to work with and discover for yourself.191 IMPROVISING OVER CHORD PROGRESSIONS This Section is the “putting together” of many of the materials and concepts illustrated and discussed thus far. We will be using the written licks, motifs and “techniques” in an entirely newway—one in which will afford you, the creative improviser, possibilities far exceeding those previously available. Where as, before, we had been working with the written licks, motifs and “techniques” based on a single chord (for improvisation}, now we will be using them over “chord progressions” — thatis. two or more given chords (each containing a given number of beats) that move from one to the next over a given number of measures. This “Improvising Over Chord Progressions” is also referred to as “Blowing Off Chord Changes” or “Blowing Off Changes” in Jazz circles. When first learning how to improvise, I ran into some stumbling blocks. | couldn't understand how to move from chord to chord, bar to bar while counting the beats (per chord) and keeping the tempo going {inside me) and then, at the same time, coming up with an idea (or lick) that made some kind of musical sense. The “ideas” have been provided for you in the form of the written licks which are tobe used as “sparks for the imagination” eventually bringing rise to your own ideas. ‘As for improving your “time feel,” youcan simply use a metronome while you play through the written licks or your own). Playing along with a rhythm section on a record as you improvise over either the existing chord progression or one that you make up will also be helpful. You can even “imagine” yourself improvising toa rhythm section to give you more of an energy feel when playing alone. The main point with all this, is that you have to make it happen — you have to approach your practice sessions with optimism and confidence that you @ playing creatively and that it’s “happening”, just from your desire to do so. Experienced improvisers use the various tools and techniques available in a plain common-sence way. They can play a long flowing line without necessarily feeling that they have to emphasize each new chord {in the Progression) as it appears. They might choose to play in the style of short, jagged, punctuated type lines as ‘opposed to a smoother approach. By freely mixing the different styles and elements — the melodic, rhythmic and harmonic, the short or long phrase plus many other concepts (included in this Section), one can produce an effective and moving solo. NOTE Ihave incorporated quite a few new licks in this Section in addition to many of the written licks from the other Sections of the book. Note too, that afl the illustrated chord progressions serve only as “models”’to learn from.192 A, BEGINNER'S EXERCISE In order to get the beginning improviser started and “playing through the changes" (chords), I've illustrated the following examples — alt based off the same given chord progression. They start out simple (using only chard tones) and progress to more complex improvisations, EXAMPLES, Given Chord Progression F AT Varying Example 1: F AT @ Emphasizing the use of anticipations F AT Dm B Bo F @194 B. USING THE “TECHNIQUES” ILLUSTRATED IN THE ALTERING A WRITTEN LICK SECTION TECHNIQUE | ‘Superimposing A Written Lick Over A Given Chord Progression. Below I've illustrated each written lick with its given chord, Under that is one of the given chord progressions along with the respective “Scales To Biow Off’ for each of these chords. These are the chords that you are using the writter to improvise off. So, by filling in any necessary accidentals (#, 4 or b) to fit any of these “Scales To Blow Off”, you get the final result for this “technique.” NOTE Regarding the illustrated "Scales To Blow Ott” {in parenthesis) in this Section: Any accidentals(#, kor ) within 2 second, third or fourth “Scale To Blow Off” in a measure, are not affected by accidentals from a preceeding “Scale To Blow Off” in that same measure. EXAMPLE A WRITTEN LICK (Chord Progression) _°™? 2 © (Scales To Blow Off) a Dm? (Result) zy — == (Chord Progression) Bhmaj7(413) Ebmajt Y(*Scales To Blow OFF") a ® Bhmasrt) (Result) ia: ——_ > (Chord Progression) Ab 13(b9) Dbi3 (“Seales To Blow Off") | Ke he OO Ab 1509) @) (Result) az — ==195 EXAMPLE B Ebm Written Lick (Chord Progression) Ebm? abr #2) Dbm7(11) © Scales To Blow Of) Op resale ) Doran Ebm7 (Chord Progression) C Am7 Dm? ci ("Scales To Blow Off") (Result) (Chord Progression) Amaj? Dmaj7 Gmaj7(g1 (3) JY CSeaes To Bow Oo”) |e os (Result) amas? Gmaj7 (#11) Y (ch) AED) ay (aby (ab) (aby EXAMPLE C mics Gm Written Lick 2; “ (Chord v ‘Srogression B27 Ar(sus4) Dm? cr | ("Scales To Blow Off") es o Result) Be AM Sus e ol Abmayt Ghai E10(f1) (“Scales To Blow Off")- fe = (2) Bbmaj 3 ‘ Resuly e13(91) (Chord A D Progression B = (Scales To Blow Of? Co) Result) Sig, (aby (FH) (AY (BHD) (FH) (D>) (Fb) (Db) Bi Enhasmonics (Bbb) (D>)196 This next group of examples atso uses “Technique |,” butdoes not require any adjustments for accidentals to matcha "Scale To Blow Off’ for the (given) chords in the progression. in other words, each written lick remains ‘exactly as is and can be used (for improvisation) over three different possible chord progressions. EXAMPLES ORIGINAL GIVEN CHORD FOR THE WRITTEN LICK ~@c A1(49) ——— Dm7 —— 67 ————— cr) (2) C7. Bb] ———_______—c7 mc Bbr At———— 07 oO c 3 = (3) Am7. D (@) Bbmayt——— amt Gmaj7 Pmaft (1) Fmaj7 Em? c (8) Dbmaj7. BI (2) Ebm?—___— abr pbmaj?——___—— abt (a) Fis) ‘Gbmaj? pb. = (8) Gbmajt ———— Fm? ————— bmp pbmajt (2) Dbmaj7—___—. >? —__—- F783) Bbm(9) (1) G7(AI8. usd cm b> (RES AT() «@ gt = cr(sus4) aa = Bret Dm197 (9) Bp abr QQ) Pm g — +8) (3) Cmaj]7 ———__— Bb7(sus4) A9(b5) ce @ Fr zb7 br. Br (2) Ge)? Ab mag? mag? = — 7 the s+ . = = =| SS SS No (3) G7(+5) F748) 7(+5), (2) c#9 ——_ F#m Bg ———— Em ————.At(+5) —_— D aor Fem FT(:5) Em ——_—-Bb9 Div —~ (3) DT Ab7(TRITONE V7 Substitution For D7) (2) AmwT. D7. Ebm7 Abt, (y FRB bd cg —————__ A NOTE The above examples might give some insight into the possibilities of reharmanization for the Arranger/ Composer. If you really “know your chords,” the possibilities are endless... Asan exercise, pick out written licks in the book and come up with a few possible chord progressions for each ‘one. Work at the keyboard if possible, to hear the flow of the chords.198 TECHNIQUE II Using A Portion Of A Written Lick Over A Given Chord Progr {Bracketed Notes indicate the “portion” being used) EXAMPLE A Ac a Written Lick vs (Chord Progression) Ffm7 BT E, (“Scales To Blow Off") © Fit (Result) ‘i (Chord Progression) F1($9) Bbmn(s) (Scales To Blow Of”) es a F1(b9) Bbm7(9) (Result) 7 — (Chora Progression) Amt brio) phot abt |* *Seales To Blow oft")")| > @ Am? (Result) .199 EXAMPLE B BbT written Lick (Chord Progression) Gi07 18) Fmt ey (Seales To Bow OF Iq hr > @ (Result) Gm7se (Chord Progression) A? 13(#11) D?majz(@) © [Scales To Blow OF ) ie b> a (Result) 4b 19(11) ge ———————_| Dbmaj7() @ (Chord Progression) BT(Alt.) 1369 © (Scales To Blow Off”) 6) (Result) BANE.) —_________ \T3b9) EXAMPLE C ET(Alt. Written Lick (Chord Progression) Bbmaj7 Bmaj? a (Seales To Blow OF VP > (Result) Bbmajz. {Chord Progression) Ayn? DT 2 [| (Seales To Blow OFS > (Result) Amt v (Chord Progression) Dmn7 613149) 3) /*” (“Scales To Blow Off") a « (Result) Dm7 G43(>8)200 TECHNIQUE Ill Using Fragments Of A Written Lick Qver A Given Chord Progression, EXAMPLE A (“Fragments” are bracketed) = — 2 3. Ebmt Written Lick (SeoEression BMA? Braj? Feast cy UIP eseaes To Blow of) (Resuty Ema? <9 Sin a » (Chora sbn{sush B 9 C'Scales To Blow Of) ® (Result) AbT(sus4) —3— =_ i : Fret essiom A190) £1369) (“Scales To Blow Off’) . © n : (Result) aA) 3 £1369) “ E — EXAMPLE B Gm COLE Written Lick 7 : 3 eee (Chord Progression DUH Gm re a (Scales To Blow Off”) (Resul prion . Z Sa Ebé Ab 13(69) cm (a {| (Seales To Biow Off") : (Result) Bhd 613069)201 (Chord FHS Br(b9) Eé AT(b9) Progression) =) (“Scales To Blow Off") @ (Result) Fi © 7 < EXAMPLE C WRITTEN LICK z + Stopression cer ef? Br : co (Seales To Blow OF") a : (Result) (Chora Progression Em Dmaj? Cmay7 Bribs) Bm ("Seales To Blow Of") ° (Resulp c et er = _ whist abrd) chm? tr : Progression) ("Seales To Blow OFF”) @ : (Result) eae us202 TECHNIQUE IV Using A “Mirrored” Written Lick Over A Given Chord Progression. Written lick G7 (3) Dp7¢alt,) — iS Wd) Qype 9) am _____pot1) Em7@) Written lick Em (3) C49. Bm? (2) Aadd9(no31rd) —__ Po C$7(p5). F$m6(maj7) @ 4) 0) BE—______ je oj img? Mirror — — Written lick DI(Alt), by e 3 (3) Ebm7—_ 3 _ag 33 ip ma7065) 3) d (2) Cm1__ F10)—_Bp mi. E479) ——— Abmaj7 4G) Fadd9(n0 3rd) Ghadd9(n03rd) —_— Fousd Mirror“TECHNIQUE V Using A Sequence Of A Written Lick Over A Given Chord Progression. EXAMPLE A WRITTEN LICK ‘SEQUENCE D7 DT “Seale To Blow Off") (Chord (ognession AP7(Alt.) Gmaj7 , fe =e. (Scales To Blow Of") @ (Result) Ab7(alt.) (Chord oe Big) Em? >l0 -ession) "(Seales To Blow Off”) sae a) (Result) FHE Bisa) (Chord Progression) Amn? p13 $11) Bm? E7(b9) ("Scales To Blow Off") @ (Result) amr pis(#un) 27(b9)204 EXAMPLE B WRITTEN LICK SEQUENCE ED Eb g (Scale To Blow Of”) (Chord Progression GMT Crisuss) (“Scales To Blow Off”) = wa @ tread” OS C7(sus4) (Chord Progression) Ebmaj? Do? cmt Brat ("Scales To Blow Off”) “Ebmaj7 2 (Result) (Chord Progression) A7(#) Dm7 (3) EXAMPLE C WRITTEN LICK SEQUENCE Fr . (Seale To Blow OF . , FF F (Ghord sion) Abm7 —_Db7 Bom? EDT Cm? FT Dm7__ GT, GS = (Q) ((*Scales To Blow OF JaAbm7 Dbz. (Result) (Chord z Progression) C4/B Dect Ps Gr Scales To Blow Off”) (2) Seales Result) on C#/B pvc. F 7 : 7 ? (Chore r 5 pbr(sus4) Gm? cr Progression FS fe ro Blow Off” lo (Scales To Blow Off") ab roas 2 (Result) Fé205 TECHNIQUE VI Using A Transposed Written Lick (Portion, Motif, Etc.) Over A Given Chord Progression. Examples (1) The written lickis transposed up a half step every two measures over the chord progression, which moves down using different type chords. Weitten Lick D 1 A/D cm('3) Bmaj7 Amaj? Gi(sus4) v (2) The written lick is rhythmically changed to fit into the 3 time signature. Then itis almost chromatically transposed down a half step each measure, except for measures 2 and 4, where one note has been altered (using technique I from section 10) to fit the respective “Scale To Blow Off” for the given chord. Written Lick g Bm? 413(99) Dm? cro oO @ @ a {3}, Doubling the note values of the “portion” and transposing it up @ half step each measure to fit the chromatically ascending ii7-V7 progressions. Written Lick Using this Cc tion Am? DT Bom? b7 Bot ET Cm7 Fv NOTE Each of the 2 notes above in brackets are the beginnings of a transposed “portion”: and, although each 2nd note doesn’t belong to the “Scale To Blow Off” for the Dominant Seventh chord (shown above it. it still ‘works or sounds good musically, because it is a form of repetition (or a pattern).208 (4) Using a lesser “portion WRITTEN LICK aE ” of example 3. c AT(b5) Dm7 GU+5), (8) Transposing the “portion” up a perfect fourth. The first 4 notes of the D13 run area retrogradation of the first4 notes of the Eb13 run (starting from Db) but, transposed down a half step. The same thing happens with the C13 and Db13 runs. The Bb13 run, begins with the note "G"" (just before beat 3), thus slightly altering the pattern set up in the previous measures. WRITTEN LICK BhT “he Using this portion Eb13- : cis Ulu (6) Using a “portion” over three different ii7-V7-1 Progressions. Using this portion —— \ os {2) Bho? ——— 81 mal (Fmt ee pb7—____ehmayr SS aT ca207 (7) Using a transposed portion. Using the whole lick, but | transposing only this portion up c L a sn 2 Written Lick| transposing only this portion = up £ step Using the whole lick, but Written Lick| $ Ch. _ pe —, o (8) Starting the “portion” on a new chord using Technique |. Then, using repetitions and chromatic transpositions to follow the movement of the chord progression. Using this portion Se. Written Lick {9) Measure (3) tied over into(4) makes up a longer version or repetition of measure (1). Both measures (1) and (3) are “portions” based off the written lick’s first measure. Measure (6) is a transposition of that same “portion.” Measure (6) is a free (note exact or strict) transposition of measure (2). Measures (7)and (8) are slightly varied transpositions of the “portion” of the written lick indicated by broken brackets. Written Lick Fito) Bet, ET A = Bm Et a Bbm7, o © a208 (10) Using “portions” and smaller “portions” of the same written lick over a chromatically moving chord progression. Bot Using this portion Written Lick (al Using a smaller portion Same Written Lick Bbm7 (o) Ba? ging an even smaller portion een Same Written Lick : Bhm7 = ~ 0) (11) Examples that move other than chromatically. Em Using this portion 7 Written Lick Transposing Bp =a lem = [gin by Whole Steps| ‘and then by ahal€ step Using this portion ing this Written Lick ees |[eb Transposing by minor 3rds, eee = Using this portion ete ebm? ene ~ Written Lick = s,(*Seale ToRow omic? (= (b= | [pb | ler, Le. = Using Technique! togetthe C7 (starting chord, then ransvosing the “portion upa whole step, downa half step. and up again a whole step (following the movement of the chords’ roots) eee ee eee ences209 (12) Measures (3) and (4) are transpositions of the written lick. Measure (5) is a “portion” of the written lick. Measure (6) s alsobased off that “portion” but, altered by Technique |. Measure(7)is the final resolution Note of the entire 8 measure phrase (or thought). WRITTEN LICK Em 4) Em? AG) mast co) @ 8 o 6) (13) Altered by “Technique I”, then transposed, following the motion of the chords’ roots. E > D E (Seale To Blow Off") (14) The first “free” transposition of the written lick (in broken parenthesis}, having the duration of its first "E”” note shortened is altered by “technique” |. The next transposition jin parenthesis) is strict”, except for its first “C” note, which is also shortened. WRITTEN LICK p ee Hib) L we210 (15) Measures (3) and (4) are the transposition of measures (1) and (2), (the “fragments” of the written lick). The last note of the “fragments” in measures (2) and (4) was lengthened to make it more musical. Gm Written Lick — (“Fragments shown in brackets) v7(#3) om. er $9) a ch z a2 “ (16) This example uses a “portion” of the “fragments” from measures (1) and (2) above. Using this portion Gm “Fragments” of ‘Written Lick| Above @c19 $11) () Gm ‘Bb 13(#11) —————_——*____ ab 13(#11) Fm ——__———_ bm b @ s anys 7 cy NOTE Similar to what was pointed out before in example 3, the parenthesized notes in measure (2) are not found in the Fm “Scale To Blow Off”, but they still work (musically) because they are part of a transposed sequence of notes that have already been established twice before. The ear is used to it by the third time. (17) Examples of transposing a “mirrored” written lick. i vy Using'this porti “Mirrored” Written, = Lick BTgS) Amis) D7g9)__Gmt_c8_—FY(sus4) BomT £b7 —Abmaj?_ Dbmaj? eee Fm Sing thisportion —~ 2 Written Lick ergoan TECHNIQUE VII Using A Written Lick In Which Any Of The Note Durations Have Been Freely Expanded Or Contracted (Over A Given Chord Progression. EXAMPLES cm Written Lick (Chord Progressions) (3) D9Vg11), G13($11) @) He) cfm? ——_— rr” ——___ m7 ———— ev 9) m3? $$ mat E = Expansion BAW) using this portion writen Lick (Chord Progressions) oy |[_ @ Bbmajxs —— sr Fm7(9) (2) Bs —————1(9) ———— Am? —— D1 ————- Dmi7(1 (a) Fajr, BbT cmaj7 zs > Expansion This expansion was also altered by “Technique 1.” chm? _ _ —, 3 n =: ; i # fo ule 7 NE™ (Chord Progressions) (© [l (3) pmnayzib5)— cmayt ——— Bbmaj7(b5)-ab maj? — Gbmaj7(bspabmaf? ha <1) (2) G/A —___________ cm7(o Fmt (93 i) 2) Smal? Ebmaj? hey aa at212 Other Examples Using One Chord Progression (Each) Written Lick| @ profs) 3 Expansion pratt, Using this portion Written Lick| 3 e) Contraction and Expansion Ag Written Lick o Contraction and. Expansion Written Lick ( Expansion Written Lick! co) Dbmaj?, ah Gbmaj7 fi Expansion Using this portion Fé k Written Lick a eee ot ergo) Contraction b, i and Expansion213 TECHNIQUE VIII ‘A)_Using A Written Lick In Which All Of Its Note And Rest Values Have Been Doubled Over A Given Chord Progression. EXAMPLES a Written Lick Chord Progression Etisus4) ET Doubled Version Q Written Lick Chord Progression Doubled Version Abm7(iy& —_Gb7(b5) Bo bee =~ (3) > Written Lick Chord Progression Doubled Version + Emaj7 Eb7(b9) Ab13Db majo Gh9_—-F7 Bomaj7 Eb7 D9 Gmaj7 FH7¢9) BT Emaj7 Be a be ae214 B) Using A Written Lick In Which All Of Its Note And Rest Values Have Been Divided In Half Over A Given Chord Progression. EXAMPLES: D a Written Lick Chord Progression Divided in half version &% Written Lick Chora Progression Divided in half version 3 Written Lick Chord ie B79) 1 pi m7 7 Bi oo FY (69) Am? D709) cmt_enigy____ Bim Divided 7 = in half version215 TECHNIQUE IX A) Using A Written Lick Over A Given Chord Progressi Freely Changed {Staying Within The Respective ‘Scale(s) To in Which Any Of The Melody Notes Have Been low Off") While Retaining The Original Rhythm(s) Of The Lick. EXAMPLES (3) Ch FI(+5) (3) B13 Bom(@)_—_ (3) Db7(#9)_ C79 Written Lick (2) Cm? Efrds (2) Ghmnaj7b5) Bmaj7(5) (2) EP9 C/D Bbm () Bbm?—Bb7 (1) Ebm7(3)_Dbmajg (1) BbmT7(9) Fmajo a Z @ (b) (ec) _. 7 (2) EmT- AmT ae wm ¢ Br (49) ——E7(sus4) ET (2) @ os = (3) Fmaj? maj? (2) Fmaj7 ——— Em? Am7(9) (2 Em? ——————_—_ Abs) ae Fry) BB # Bbis Written Lick 7 Using this portion > () Ebm7 —— abrifon ( abm7—pbisin (9). Fem ——7 (2) Dbmayz— @ Bis E18 (2) chm—— Dinas (1) Bbm7(3)—— Abmn7 (9) (i) Emaj7 ——Dmaj7 (1) Amaj7——Bmaj7 (a © oy216 €) Using The “Expansions” For “Motif A" (From Section I!) Over Chord Progressions. a. 7 Fr (su54) b Qa . Dmajt cmajt b 3 chm) abt BT Boast @B 3 amaj7 2) E “ 7 FH? (sus4) eT FEm7 BT rc) 7 3 7 s 6 Bs > = = AT = Gm (7) @ (8) Exercise: Using the illustrated examples of “expansions” for any of the other given motifs (shown in Section 11), come up with chord progressions for each. “The chord carries over into the next measure **ATis the Tritone Substitution for E¥7. Notice the chromatic bass: 1e movement from the “A” to"G#" — the Roots of the chords. ee217 D) “Coupling” Phrases Over A Given Chord Progre: Based off what was mentioned earlier, when Ifirst spoke about coupling “portions”*(in Section 10)andthen, illustrated (in Section 11, "technique" ) how you can expand upon a simple matif, if you knowa phrase, itcan be used as a starting point for “coupling” (connecting) any number of other phrases ta it for improvisation. The following examples (1, 2 and 3) show how the given phrase is used to begin each improvisation and bow you can then branch out from there over the various given chord progressions. a Given Phrase FE ° SSS = = Firat) 3 NOTE In this example, the given phrase (in brackets] is used with a different given chord type each time (as opposedto always starting with the same given chord). These four different chord types are also illustrated in the Common Tones Charts Section, Chart |, as having the same “Scale To Blow Off”.218 @ Given Phrse A (a) tb pr wee. @ Faz, abrukoy ty Exercise: Make up some short chord progressions (about 2 to 5 chords each). Then go through the book and pick out written licks, “portions” or “fragments” and couple them to other written Jicks, “portions” or “fragments” over your chord progressions.219 E) Using A Series Of ii7-V7-1 Chord Progressions. This exercise spotlights the highly used ii7 - V7 -I chord progression, found in many tunes, and provides you with a longer chord progression to play and improvise off than we've used up until this point. The exercise, written in the form of an improvisation, takes you through alll the keys and canbe played as follows: First, read it down to the repeats; then, on the second time around, continue to read through each of the unbracketed measures but, fill in your own licks in the bracketed measures. This will give you a chance to practice “coupling” phrases. This can be played at a quick tempo for technique.220 (1) In Major Keys Bm? Eb7 ab abot bh ob221 (2) In Minor Keys Bie E6749) Abm bee : == bp 9 —by ae SS = — —— ST E119) D709) BbT(b9)222 F)_ Using The V7 Tritone Substitutes With Their Relati Progressions (In All Major Keys). Chords Over A Series of ii7-V7-1 Chord ‘This exercise (or improvisation) is similar to the preceding one (in major keys}, but now, each Dominant Seventh (V7) Chord in the chord progression is replaced by its respective Tritone Substitute along with the Tritone Substitute’s relative ii7 chord (shown together in parenthesis}—and, all the notes are written under each of these “substitute” chords are based off their “Scale(s) To Blow Off”. fusing chordal accompaniment, you can try using either the Tritone Substitutes (with their relative i7 chords) or the Dominant Seventh (V7) Chords. They are interchangeable throughout the whole progression. To play the exercise: Read down to the repeats: then, on the second time around, fill in your own licks in the bracketed measures by “coupling” them toeither a note you've just come from or anote you're going to in an unbracketed measure. End at the Fine223224 G) Using The Augmented Chords Licks To Improvise Over Dominant Seventh (b6) Or (+6) Chords (Found In A Chord Progression). NOTE Most of the illustrated examples below are written licks (in either complete or altered form) taken from the Augmented Chords Section. In each example, the lick (or “portion” of the lick) that is shown as the ‘improvisation over the Dominant Seventh (+5) or (+5) Chord is based off the notes of the “Whole Tone Scale To Blow Off” shown above for that particular group. Also refer to Chart Ill in the Common Tones Chart Section. (1) “Whole Tone Scale To Blow Off” For All The Dominant Seventh ($6) Or (+5) Chords Below: EXAMPLES Fem7 Ab 7(b5)or(+5) Dbm (a ma: aa a7 Gm7 C1(d5)or(+5) (b) soon Ab7(b5)0r(¢5) ane Bbr(b5yort45) er(bsyor(+s) (ec) 97 (5) or a Ebm Da Bm Bb7(D5)or( +6) Eb: = (a Ebm DT(b5yor(+5) cmaj7 13 os (e) — croson-s cm en(b5ore) Am SEO) ()225 (2). “Whole Tone Scale To Blow Off” For All The Dominant Seventh (b5) Or (+5) Chords Below: EXAMPLES Bb7(b5)Db7(bs)—Bb7(b5)——Dh7(b5)_BbT(b5) Db (bs) Ebr (bs) or 3) or 3) __ or (+5) ors) ores) or (8) or 3) \ = = == aoe a SS —= Dmaj7 Dm? G7(bS)or(+5) CT £1035), Bbmaj7(#11) or(+5) —~ © GI(bspor(~5) Fim aa 3 © — BI(b)or(+5) chm chr (b5)or(-5) FAm7 @ ribs) BIb Hes) ~— Dit e1(b5yor(+5) cmast226 H) Using Diminished Seventh Chords Licks To Improvise Over Dominant Seventh (19), (#9) Or (65) Chords Found In A Chord Progression). NOTE Most of the ilfustrated examples below are written licks in either complete or altered form) taken from the Diminished Seventh Chords Section. In each example, the lick (or “portion” of the lick) that is shown as the ‘improvisation over the Dominant Seventh (+9), (#9) or (+5) Chord is based off the notes of the “Diminished Scale To Blow Off” shown above for that particular group. Also refer to Chart IV in the Common Tone Charts Section. (1) “Diminished Scale To Blow Off” SSS 56555 EXAMPLES 44 ‘or All The Dominant Seventh (b8), (#8) Or (15) Chords Below: D7(b9), (#9). (63) fa) 3 3 3 3 (b) Dbmajz Ebs Ab7(b9) #9) 0r(55) te) Fis B1(b9) , (#9}0r(b5) @ ed Scale To Blow Off” For All The Dominant Seventh (b9), (#9) Or (15) Chords Below: EXAMPLES 54, —— a 5769), (9) or 5), ab (a) sch? ses A769), 09) 0r 65) Bay? + BS «o) A769), 49) oF 65)227 ear —_~ Ee 769), 49) oF 65) 3 Fmajt @ (3) “Diminished Scale To Blow Off" For All The Dominant Seventh (b9), (#9) Or (65) Chords Below: Amajt EXAMPLES E7 69), 49) or 65 @ + DmT G7 69), #9) or 65) = ee Fm7 BE7 9), 49) or 65) + Abs DHT 69), 49) or 5) chm "Each of these Miner Seventh and Half Diminished Chords licks (on this pag 1nd page 226) can also be found in their respective Sections of the book (in some form) and have been “coupled” to other written licks ("portions oF alterations of written licks) that ‘were taken from the Diminished Seventh Chords Section, *"Using the 813 works in tis situation!228 1) Choosing A Whole Tone, improvising Off A iminished Or Altered Dominant Seventh “’Scale To Blow Off" When iven Dominant Seventh Chord (Found In A Chord Progression). ‘When improvising offa given (basic) Dominant Seventh Chord, besides having the option of using either of its “Scales To Blow Off”, you can also use the “Whole Tone Scale To Blow Off” or “Altered Dominant Seventh Scale To Blow Off” (each formed from the Root of the given Dominant Seventh Chord) or the “Diminished Scale To Blow Off” (formed a major third above the Root of the given Dominant Seventh Chord). If used with “taste”, any of these scales can work! But, if the chord symbol for a given Dominant Seventh Chord includes any Extensions (+5, b9, etc.) you would probably choose one of the "Scales To Blow Off” that includes those same Extensions, for thisis usually a more precise indication of the sound preferred by the composer arranger. ‘Scale To Blow Off” Db/Eb D Whole Tone pT Ebmaj7(b5) FF Dim D Altered Dom. 7th229 “Scale To Blow Off” B Whole Tone Abo Fm 7(11) “Scale To Blow Off” G Whole Tone Abas? B Dim, Gb7 (5) G Altered Dom. 71h Gm and Dim triads “Using altornating Eb and Db triads230 J) Using The Blues Scales. (1) OVER A 117-V7 — | CHORD PROGRESSION (IN D MAJOR). Letters in parenthesis indicate the Blues Scale being used (which continues until the next indicated blues scale). Any note shown in the 3rd measure of an example without a Blues Scale indication is simply based off the given D Maj7 chord. | purposely based all the examples off this one chord progression to show you how many different possible Blues Scales can be applied to it for improvisation. For example; with Em7, | used E, F#, B and D Blues Scales with A7, lused Bb, C and D Blues Scales and, with D Maj7, | used C# and D Blues Scales You can try making up your own improvisations over this or other chord progressions, using any of the Blues Scales shown in the book. ‘The use of Blues Scales over a given chord or chord progression brings into the picture something “new” within the context of this book, because with it, there are no longer any boundaries — no set of rules, Thus, @ greater freedom — for now, we have other notes available (actually, the whole chromatic scale) to work with = Not just the notes from a given chord’s “Scale(s) To Blow Off”232 (2) OVER VARIOUS CHORD PROGRESSIONS. The following examples are taken from the Blues Scales written licks. (3) C7 Fr cr (2) C(m»——— Bb. Abmajt Gr ccm) 1) Ab maj? _ ba} aaj? c Blues Seale z 3 oes, oes) 3 3 (3) cHm(7y Beaty fin (2) Amajt At Dmaj? cHm(7) (a) Cm7—F Fr (9). Bm? ————E7 Aaj ct = = cao ein Blues Seale (3) Ebmaj7(9) ——__————B maj7 Abmaj? (2) ET(Alt.) ———— 79) ———— m7 G13. C7(sus4) () Dm =|) ———¥#7 Bbmaj?. AT Dm D = oi Blues Seale (3) FRr- BT (2) F745) Bb7(+5). bien) ($$ A A ri 3) A —— Boma —— Eb Blues Seale (3) Fhe: BY(+5) Em QQ) $$ A m7 () Dm7- 6 ———— EB Blues Seale (3) Ft £b7 ——__—D7(Alt.) (2) Dbmaj?. bm? Fmt cbmaj? (1) Ebm7- “Ab 7 ——_——p)maj7 ————-B7 F Blues Seale Ee ee ee233 (3) che eR7 ERS) Bm? E7————Am7 Dr Gmaj? (2) Fe7q49)———— y ——-7(#) ——__— cfm, (i) Gmaj7 m7. Em? 2 pmaj7 —— Blues = Seale (3) 46 px ——_________ em (2) bev? A _______- Dra =. C7 (8) mn? — ¢7 Frnt ef om cr SS Sn Blues Seale oot cs (3) C#m?——________ pmaj_________ cfm (2) Cs ——________ Fait.) —______ 9 7(b9) (1) Ab7 ——_______- pb —_________ ab. : zr ZS I oe orsa ab Blues Seale b a £ Eb Ces Eb (2) Be E7(f9) Am DT (1) Dmt, Gr maj? AT (3) Bb ————__________k7. Abm7(9) (2) Chm? Ff? Bmajt () Fe F745) Bbm(?) BI hes Seale Bur Em? ——__ (2) Fmayr: Brat (11) —————Dm?————Cmaj7(f1) Q) Bm maj? p- ——___ Emt234 K) “Effects” And Miscellaneous “Techniques”. Besides the “techniques” mentioned in this and the two previous Sections, when improvising, youcan make free use of: any Effects that can be gotten on your particular instrument, such as, harmonics, glisses, key, valve or wood sounds or dampening of notes; any Embellishments, such as, appogiaturas, trlls or turns (with the option of incorporating them into a given written lick); Dynamics. This is quite effective in bringing about the element of surprise or anticipation; Vibrato. This adds a personal or distinguishing touch to a player's style. In addition, you can: (1) Purposely play “ahead of” or “behind” the beat (Note: If you mix these two together it might sound as if you have “bad time” or you're somewhat lost) (2) Purposely play a note or group of notes (a) “Sharp” or “flat”; or (b)in tune first, then, freely repeat it/them (or any part of it/them) “out of tune” (3) Forma lick by building momentum—starting with one note or a short phrase and then, after a rest point, repeating that note or phrase, adding (coupling) another note or notes to it — then resting again and building upon that, etc B Major 7 EXAMPLE bm - D9 (4) Couple ontoa “portion” (of a lick) one or more sequences of that “portion”. EXAMPLE fa uaa © Given Lick pwn baw cee) ae & t-—~ ‘Sequence ofiportior)! Sequence i @ $8.235 (8) “Echo” a lick by repeating it “obviously” softer. (6) Give the “Effect” of carrying on a Musical Conversation With Yourself by starting in one range (call it Voice A) and then “answering” it in another range (Voice B). The Answer can be a copy, variation, an echo, completely new material or any “Effect” you might invent. This Musical Conversation can be brief, ‘occur at one or more points in your solo, or make up the whole solo itself. This takes some doing, butitcan ‘work if you think in terms of two distinct instruments or “Voices” communicating with each other. (7) (@)Base.a segmentof your improvisation off the use of only one type of interval as you move from one note to the next: For example; Playing off just thirds — & G maj7 C maj 7 a oa (b) or, use two or more given intervals as the basis for your improvisation. For example; Using seconds and fourths freely — F maj? BS gj 7 A maj 7 (8) Usea “Pedal Note” or “Drone Effect’ (in any range)by sustaining one note asa series of chords move on by. Amaj?___Gm7 CT _Fmaj?_Ebmaj? ET(f9) Am —_—_Em?_AT Day? Gt maj7_om oa i) Am ___emt_ay <= Se ——__236 {9} Use Pivot Notes. These are repetitions or slight variations of notes within a lick that are displaced or separated by other notes in the same lick. NOTE Pivot notes are shown in brackets. EXAMPLES = m7 (a) 5s ) (10) Use Rests asa creative expression. Sometimes, leaving “space” (or using “silence”)at different points ina solo can have a tremendous impact! (11) Use a single note, phrase (of 2 or more notes) or any kind of “Effect” as a “recurring theme” that you restate or freely imitate at various points in your solo. (12) (a) “Slow Down’ a lick (over a chord progression) by using progressively longer note values as you move from the first to the last note. This can be done either gradually or quickly — note values can remain the same as the preceeding note or increase from one note to the next. a > — Given Played as. (b) “Speed Up” a lick by using the opposite procedure as (a) above: oo >— Given AT ABS) ce HT+S) Played} as. ‘When playing in a “group situation”, many things change when compared to practicing at home — For now, you have to “make music” with everybody; and each musician influences the other. For instance, during your solo, the drummer might play a certain rhythm or “fill” that you want to mimic or play back on your instrument to emphasize; or conversely, you might play something that is picked up and enhanced by another musician. So, you have to be listening constantly and working with what's going on around you, using all your ‘knowledge and talent and especially being prepared for anything for, ataniy moment, one of the musicianscan “fire up” or inspite the others! This is what improvisation is all about!237 L THREE IMPROVISED SOLOS i238 Di(+5) G79) cm? FU+5) __Bb7(#11) Ebmaj7(#iy)239 CHORUS: 2 DIG9, Brey PD 8) FT Gm Fr cmt oI prigs Bs ET Ag (ge ‘Gm Gmaj7 z ae! ——_,7 Gbu: Play behind the beat! afl cmt eC Eb7 ET(+5) Bb7(H11), Ebmaj7(f11) Ab = me a Cm240 No. 3 Bm7 ET Am7 pr Fkm wa kv bv Bm? Ev Am7 Dr Gmaj? m7 FT Bbm7 wey __abmagt ke chr Fm241 IN CLOSING ‘The creative flow is one of the greatest and most important things we have going for ourselvesas individuals, whether it be playing music, baking bread or merely daydreaming. The qualities of enthusiasm, positiveness and adventurous attitude that come from within us, are what attracts others to us, much in the same way that a small child attracts us by its openness. The child, not having been conditioned to such things as “good”, “bad”, “never” or “that’s impossible” will, with no compulsion or restraint, in its own natural way, act free and spontaneous, living for the moment! This particular state of being is necessary for the creative flow to work through someone and also for “IT” to sustain and perpetuate itself. As we grow older and hardened from the various influences and responsibilities that life can bring, we generally lose some of this adventurous spiritor creative flow. Some have towork very hard to recapture or retain this flow, to once more, make it a consciously active part of themselves. In thecase of the musician, composer, improviser, itis of paramount importance to have an approach that can work for them in order to keep this creative flow alive, vibrant and free flowing This book deals specifically with this one aspect or quality, and it is my hope that you “catch it” and become inspired from what is written in these pages. Youas the improviser can play notes of love, joy, sadness, frustration, etc. You can play with great passion and fire, produce a warm lyric tone, or whisper notes that are so barely audible that they leave one reflecting on their echoes. All of these feelings and expressions that come through you, touch the listener in quite a few ways and can affect that person very deeply, not to mention. the benefits that you, the creative improviser, derive from the experience. Music can stir the emotions, satisfy the intellectual side of us, bring forth qualities of grace and beauty and carry us intoa broader and richer awareness of ourselves, touching the very core of our being. Therefore, the quality of any performance is dependent upon the musician’s/composer's intent, execution and intensity of awareness. Attimes, when I've been tired, somewhat down or hada project weighing heavily on my mind, | found that by listening to certain types of music, | could be lifted out of that particular mood or state and refreshed and revitalized with new energy. In fact, in some instances, the combination of the music and my allowing myself to float or drift along with my imagination, into a semi-sleep, would furnish me with new ideas that could be applied creatively. This sometimes happens upon awakening from a dream that hada striking effect either ina positive or negative way.242 When a personis constantly involved with improving or perfecting their craft and the flow seems tohave left, be aware. Your creative energies will return. The flow is never really lost. All things run in cycles. There's a good chance that you'll be more creative than ever when the flow returns, because you've now had a chance torest and reflect on your overall approach to the creative process itself. Sometimes all that is needed is anew viewpoint. Be patientand relax... Creativity can never be forced. We can onlybe the receiver of it. Thisdoesn’t mean that we sit around waiting for some great spark of inspiration to ignite our imagination again! This could happen, but to be proficient at something, we have to work at it. It takes discipline. An interesting and highly important aspect in utilizing this book in a creative way, is to set up a pattern of, accomplishing your particular musical goals within given or specified time slots, acting “as if” these goals have already happened. For, that is the secret: the visualization of your wish or plan already fulfilled and then holding onto that feeling. Itis @ good idea to write out your plan(s) with a schedule and keep it visible as a reminder of what you have set out to accomplish. If you pick a certain time of day to study this material and you stick to your schedule ard plan, you will reap results of a greater nature than if done haphazardly or in a random way. Going a step further, i you make a broader plan for yourself, let's say, for a week or a month, you'll begin to gain momentum for it'll even nave greater carrying power in that, you'll be reinforcing the previous day's work through the natural use of repetition and memory association with the material. This in turn, will spark your imagination and bring the creative flow into fuller force. It becomes like a snowballing effect, gaining with each increased effort. So, anything that you repeatedly study or devote time to, without it being tedious, will intensify and sharpen as it Grows into greater depth and scope. {t's through your belief or assumption of having reached these “realistic” goals that you reap the greater benefit! Keep in mind, not to put any undue pressure on yourself. In other words, keepa Sense of humor about you, and stay detached about your daily progress. Also, cast away any negative thoughts that might influence Your thinking, Just know that you can do it, that it’s already happening, and in time it will manifest... In this way, you can keep the creative channel open like an overflowing fountain. You'll be surprised at how much you actuaily do get done with the least amount of effort exerted by setting up these “right” c yourself. It's simplya matter of making a plan, sticking to it, and remaining flexible to the possil and greater plans. But, whether it be the original plan or a new one, it's important to see it through and completed, because this accomplishment in itself exerts a tremendous amount of positive power that will carry you still further ast spills over into other areas of your life! This is truly working with your own creative flow! No matter what your instrument, it’s important to develop your own true sound or tone, for this is your“veice” in a sense; it's your signature of individuality or uniqueness. I've developed my sound from listening to and writing down solos off records; and then sometimes after transcribing a solo, playing along with the soloist to ry matching the intensity or energy level, but not in any kind of competitive way. You should try tobe yourself atall times and nota carbon copy of another. It’s great to have an ideal — to look up toa well deserving talent but not to the point of losing your own identity in the process,243, ‘Some players, when improvising, overuse the technique they have acquired. This tends to get quite boring and unmusical. But, if tachnique is used tastefully in the right places, it can be very exciting. You have to know when to lay back and play less, (or sometimes not at all), and at other times to come on strong! Other players may approach improvising by simply memorizing a lot of licks and then use them in any musical situation they are confronted with. This to me is the “worked aut approach”, which can come across very stiff, lacking in feeling and again, sounding too “mentalized.” One must keep in mind that variety is essential. This is just one concept of way of looking at the Art of Improvisation. | hope you will find it helpful, not only in broadening your musical horizons as an improviser, but also in its adding to your understanding and appreciation of what others have done in the past and are presently expressing in their music. When | improvise, Itend not to think about technique of any kind, but instead, play as much as possible for “the moment”, as with that eastier analogy of the child, using what notes or ideas feel right at the time. lalways try to maintain a genuine enthusiasm and love for music. This book represents over 30 years of personal study of both the Jazz Greats and Classical Masters. | have expressed in my own way what | have learned. For me, the understanding of any type of music goes deeper than just the music itself or its history. !take into accountall of life... The sounds of nature; the birds, the wind, the stars (seen and unseen), plus all of man’s sounds. Everything has contributed to what music is now. It’s that breath of all life, the creative flow within each of us that expresses itself outwardly and touches all feeb Apoome244 DISCOGRAPHY Albums | Played On Recorded between 1967-71 BLOOD, SWEAT AND TEARS hild Is Father To The Man” Columbia KCS 9619 ‘Blood, Sweat and Tears Columbia CS 9720 “Blood, Sweat and Tears 3" Columbia KC 30090 “Blood, Sweat and Tears 4” Columbia KC 30590 “Blood, Sweat and Tears Greatest Hits” Columbia KC 33170 THE OWL AND THE PUSSYCAT (Original Soundtrack Recording) Music performed by Blood, Sweat and Tears. Columbia $ 30401 Recorded in 1980 RODNEY JONES “Wher You Feel the Love” Timeless SJP 152 ENCUENTRO EN NEW YORK Jorge Lopez Ruiz ‘Chango CHL-12002 Recorded'in 1982 FRED LIPSIUS “Distant Lover(s)” MT JL-014 Recommended Albums CANNONBALL ADDERLEY (Alto Saxophone) “Somethin’ Else” Blue Note BST 81595 “Nippon Soul” Riverside 477 ART BLAKEY (Drums) “Three Blind Mice” United Artists UAJ 14002 “Live At Birdland” Blue Note 1522-Volume 2 JOHN COLTRANE (Tenor/Soprano Saxophone} “Giant Steps” Atlantic 1311 lue Train” Blue Note BST 81577 ‘My Favorite Things” Atlantic 1361 MILES DAVIS (Trumpet) Milestones” Columbia CS9428 “Miles Ahead” Columbia CS8633 “Porgy and Bess” “Sketches of Spa Columbia C8085 Columbia CS8277 BILL EVANS (Piano) “Bill Evans Trio With Symphony Orchestra’ Verve V6-8640 “Alone” Verve V6-8792 “How My Heart Sings” Riverside 473 MAYNARD FERGUSON (Trumpet) “A Message From Birdland” Roulette Birdland R 52027ERROLL GARNER (Piano) “Concert By The Sea” STAN GETZ (Tenor Saxophone) “The Steamer” “Award Winner” “Stan Getz At Storyville” BENNY GOODMAN (Clarinet) “The Great Benny Goodman” “Benny Goodman Combos” HERBIE HANCOCK (Piano) “Speak Like A Child “Maiden Voyage’ FREDDIE HUBBARD (Trumpet) “The Artistry Of Freddie Hubbard” KEITH JARRETT (Piano) “Solo-Concens” “Death And The Flower” THEOLONIOUS MONK (Piano) “The Thelonious Monk Orchestra At Town Hall” “Solo Monk’ CHARLIE PARKER {Alto Saxophone) “Charlie Parker Memorial” Charlie Parker All-Star Sextet” “Jazz At Massey Hall” OSCAR PETERSON (Piano) “West Side Story” HORACE SILVER (Piano) “Horace-Scope” SONNY STITT (Alto Saxophone} “Sonny Stitt Plays Jimmy Giuffre Arrangements” MeCOY TYNER (Piano) “Nights Of Ballads and Blues” 245 Columbia CS9821 Verve MG V-8294 Verve MG V-8296 Roost LP 2225 Columbia CL 820 Columbia CL 500 Blue Note BST 84279 Blue Note 84195 Impulse Mono A-27 ECM 3-1035/37 ST Impulse ASD-9301 Riverside 12-300 Columbia CL 2349 ‘Savoy MG-12000 Roost LP 2210 Debut DEB-124 Verve V-8454 Blue Note 4042 Verve MGV-8309 Impulse Stereo A-39247 BIOGRAPHY Fred Lipsius was the original saxophonist and arranger for the group “Blood, Sweat and Tears” from 1967 to 1971. During that time, he won nine gold records, plus a Grammy award far his arrangement of the hit song, “Spinning Wheel.” He also arranged and co-arranged, respectively, the hit singles “Hi-De-Ho" and “You've Made Me So Very Happy.” In both the Downbeat and Playboy jazz polls, he placed in the top ten of the alto sax category. Fred has composed and produced music for television, such as the CBS logo “Something's In The Air”, and has also done numerous commercials. In the spring of 1982, he toured Japan and Europe with a nine piece group, backing up the famous singing duo of Simon and Garfunkle, He currently fronts his own jazz group. His most recent album, “Distant Lover(s)”, showcases him as a solo performer of his own original jozz ‘compositions. He attended Music and Art High School in New York City, graduating in 1961. He continued his studies at the Berklee College of Music in Boston. He is presently a member of the full time faculty at Berklee, in addition to performing. Besides playing saxophone and clarinet (his first instrument), Fred aiso plays the piano. ACKNOWLEDGEMENTS ‘Spacial thanks to Barbara Less for her great assistance in putting this book together. My thanks also to Frank Military for his faith, patience and creative insight in allowing me to add extensive material to the originally agreed-upon manuscript. The extra time allowed me to make this book a more complete work.FRED LIPSIUS“This book helps to redefine the application of scales and chords in a clear and usable way. It's excellent tool for Pe eu enLe) svat ay of harthony jin jazz improvisation.” } Fi i - rs Ita ae DW Nea Tees ties ABT ae CoC Col eee enn books on improvisation that I have as yet encountered: The student (or professional) is led systematically into getting beyond the rote learning of patterns and cliches, into understanding the Siete and creativity ta jazz improvisation.” RANDY Rheem a * r “Fred Lipsius has written a clear and comprehensive study on the art of improvisation.” EDDIE GOMEZ a g MARNER BROS. PUBLICATIONS INC MAEM oo sSacseun hs oes o.-