SKIPS A_CHORD TECHNIQUE BOOK FOR ALL JAZZ MUSICIANS BY EDDIE HARRIS $ 20 00 einen. CONTENTS BIOGRAPHY —— — ——-— 2 | EDDIFISNS = = === 3 PICTURE SCALES — —-— ——_ __¢4 ASSORTMENT OF Scales ———15 SCALESFORRAPIDEXECUTION —- —2() CHORDS. — — — — —_ _ y. 3 IDENTIFYING CHORDS —— —— 24 aS 9G HOW TO IMPROVE [FORRAPIDEXECUTION ao A INTERVALS —————— = 2913 "SUPERIMPOSED/TRIADS — — — — — 47 PIANO’ LEFT: HAND'VOIGING— — —~ (57 TRILL WARMUP EXERCISES —— -~-7() SEVENTH HOUSE LIMZTED rssS Kj ps P.O. BOX 45614 LOS ANGELES, CA. 90045 U.S.A. OCopyright 1978 by Bedale tarts Interndtlons! Copyitght Secured Frlated HUSA, All Rights Rererved,EDDIE HARRIS DISCOGRAPHY TITLE LABEL rime LABEL EXODUS 10 JAZZ... VEE JAY EDDIE WARRIS AND JOHN MIGHTY LIKE A ROSE..... VEE JAY XLROER. (CRUSADERS EDDIE HARRIS GOES 10. THE EXPLORATIONS. AUTO FIDELITY MOVIES. ...00+ ase VEE JAY CHEN YU LIPS DISCOVERY BREAKFAST AT TIFFANY'S.. VEE JAY PREE AND EASY WITH PHILLIP ‘A STUDY IN JAZZ......... VEE JAY WECHURCH...-.5..0.-.--0-20 JAM HALT AND HALF... ++ VEE JAY THE BEAT. GOES ON WITH REDD EDDIE HARRIS BOSA NOVA. VEE JAY HOLT AND ELDEE YOUNG....... CHESS FILM SPECTACULARS........VEE JAY SRARKY'S MACHINE, . BURT. ; ‘THE SOUL OF EDDIE HARRIS VEE JAY" REYNOLDS MOVIE SOUNDTRACK.. ORION ‘THE EXCITING EDDIE HARRIS VEE JAY GUIDE T0-GROWING UP WITH ‘THE EXCITING EDDIE HARRIS KENT’ HORACE STLVER............4. SILVETO JANUS RICHARD EVANS Ccsesevseesee A AND M CRESCENDO SUMMER. SOFT.WITH. BLUE FOR BIRD AND BAGS....... EXODUS MITCHELL. ae TAPULSE SCULPTURE... sees BUDDAH TERRY CALLIER,..+ss..see0++ WARNER BROS, COOL SAX WARM HEART... COLUMBIA CARL BURNETT QUINTET....... DISCOVERY HOLLYWOOD TO BROADWAY... COLUMBIA. JESSICA WILLIAMS UPDATE... CLEAN CUT ‘LOVE FROM A HORN.%......, COLUMBIA REVELATION WITH PHILLIP HERE COMES THE JUDGE.... COLUMBIA © UPCHURCH......e...e..0000++ JAM ‘THE TENDER STORM...++..6 ATLANTIC SPIRITUALIZING THE SENSES THE IN SOUND.S..++ee004 ATLANTIC WITH HORACE SILVER......... SILVETO MEAN GREENS + ATLANTIC STEPS UP WITH TETE MONTOLTE STEEPLECHASE ~- ‘THE ELECTRIFYING EDDIE ‘THE VERSATILE EDDIE HARRIS ATLANTIC HARRIS, te ATLANTIC ‘THE REAL ELECTRIFYING EDDIE PLUG ME IN ATLANTIC HARRIS... =. ATLANTIC HIGH VOLTAGE ATLANTIC EDDIE HARRIS SINGS TRE BLUES ATLANTIC STLVER CYCLES. ATLANTIC BepOR tte ee seee toc ATLANTIC COME ON DOWN. ATLANTIC ‘I NEED SOME.MONEY........... ATLANTIC POURQUOI L-AMERIQUE..., ATLANTIC BAD LUCK IS ALL'I HAVE.,... ATLANTIC LIVE AT NEWPORT........ ATLANTIC SHADES OP EDDIE HARRIS... TRIP ‘THE BEST OF EDDIE HARRIS ATLANTIC ‘THE GENIUS.OF EDDIE HARRIS. TRADITION SOUL TO. SOUL, ATLANTIC ‘THAT IS WHY. YOU!RE OVERWEIGHT ATLANTIC EXCURSIONS....+... ‘ATLANTIC THE REASON WEY I'N.TALKING. ATLANTIC EDDIE HARRIS IN. THE HOW CAN YOU LIVE LIKE THAT. ATLANTIC UNETED KINGDOM. ‘ATLANTIC I'M TIRED OF DRIVING... +64. _ReCoAs FREE SPEECH... ATLANTIC PLAYING WITH MYSELP. - BoC. INSTANT DEATH... ‘ATLANTIC PEOPLE GET FUNWY........... ReCoAs ‘SWISS MOVEMENT WITH THERE'S .NO NEED TO STRUGGLE ‘LES MCCANN, seovees ATLANTIC WITH HORACE SILVER. . + STLVETO SECOND MOVEMENT WITH ON TIME: AND TN TUNE WITH 2 LES UCCANN.ssesseeevees ATLANTIC TARRY NASH ess seensseeesere MAIRICITY FOR THE FIRST TIME WITH GLAD X FOUND YOU WiTH SHELLEY MOORE......+++« CHESS HORACE PARLAND QUINTET..... STEEPLECHASE BEYOND MOBIUS W: HOMECOMING WITH ELLIS CEDAR WALTON. i RGaAL MARSALIS... . SPINDLETOP MIDNIGHT OVER MEMPHIS EDDIE WHO... tee TIMELESS ETH JOHN STUBBELFIELD C.3.S. EDDIE HARRIS LIVE AT THE QUASIMODO"JAZZCLUE IN BERLIN, TIMELESS EDDIE HARRIS 1990 RELEASES: EDDIE WHO - MCA RECORDS 4 TALE OF TWO CITIES - VIRGIN RECORDS ~BEST OF EDDIE HARRIS ~ ATLANTIC RECORDS ‘LIVE AT MOONWALKER - NOONWALKER RECORDS - AARBURG SWITZERLAND SEVENTH HOUSE LIMITED PUB, P.0, BOX 45614 LOS ANGELES, CA. 90045 U.S.A.WODERN JAZZ LICKS BIOGRAPHY WRITTEN DY EDDIE HARRIS A restless tnnovacor since he stepped inco musical prominence vith his debut recording, Eddte Marris resists the tenpeation to rest. comfortably on past schicvements. le simply has too many ideas and untried possibilities breving in lis mind co scttle.on a proven formula for success. mon experimentalist," Eddie told DOWN BEAT HAGAZINE recently. "E Like to get into nev things, to break new ground. Hy mind is sluoys probing for difforont ‘things, different sounds. L've never been one to let my mind stagnate... Sf I didn't experiment with music, 1t would mean nothing to me." . Eddie's solo albun relesse, “Playing vith Hysclf", features a straight-ahead style full of intensity, harmony and electricity. He plays ali instruments on the album tneluding gcoustic ond electric saxophone, acoustic and electric piano and rggd trumpet. ‘The jazz vorld felt the force of Eddie's impact with his first re~ lease, “Exodus”, in 1961. Mis record vay tho first jazz single to sell a million copies. Five years lator Eddie created another sen- sation with his use of amplification op “The Tender Storm". The bold presence of the Varitone clectronic amplification system on that album is regarded as the milestone that paved the vay for the Jazz-rock fusion movement. Of Eddie's hir single, "Listen llor@", che esteened jazz critic Leonard Feather vroce, “...(its) electirifgd and electrifying sound can be credited more than any other single performance for establishing the anplified sexophone aca force to ‘ep feckoned with pornenantly in jose." A feutyears later, uhen Eddie comngsgg ond recorded the classic “Freedom Jazz Dance", vhich has, be fovered by no fever chan 19 artists, Feather vrote, "This mumber indicaces hov far he has plunged into an investigation of the ncvest developments in jazz Born in Chicago in 1938, Harrig yeudied at the University of Illinois, Roosevelt University and the Faxig’ Conservatory of Music. "I believe in learning to know your inscrumgac”, he underscates, “The more you con odapt yourscl£, the better you can understand your horn technically, the better you can express yourself emotlonally." Eddie's first instru- ment was the piano, which @ cousin taughc him to play at che age of 12. We ployed his first professional job as a pianist; his first cour spanned Ceruany nd France = courtesy of the U.S Seventh Army Symphony Orchestra. In che course of recording more than 70° albuns, Eddie has displayed his prowess as 0 pianist, vocalist and, of course, © soxophonist, eccacionally moving into blues, soul and funk moods. His musical coll~ sborators have ranged from Jere Ueck Co Les MeCana to Steve Winwood, and he ‘counts Hiles Davis, Hile Jackson, John Coltrane and Churlie Parker anoung his influances. Rédia helds the US patent for the reed trumpet; he dg also the author of four books and the inventor of the Eddic Harris Actachnent for Saxophone. SEVENTH HOUSE LIMITED P.O, BOX 45614 LOS ANGELES, CA, 90045 U.S.A.Qt'm an experimentalist," Eddie told DOW BEAT MAGAZINE recently. “We played his first professional job as a.pianist; his first tour A restless innovator since he stepped into musical prominence with his debut recording, Eddie Harris reeiets the temptation to rest comfortably on past achievements. lie simply has too many ideas and untried posgibilities breving in his mind to settle.on a proven.” * formula for success. * oar ake "WT 1fke to get into new things, to break new. ground. My mind is always probing for different things, different sounds. I've never been one to let my mind stognate... 4¢ I didn't experiment with music, it would mean nothing to me. : Eddie's .solo- album release, "Playing with Myself", features a straight-ahead style full of intensity, harmony and electricity. He plays all instruments on the album including acoustic and eléctric saxophone, acoustic ond electric ptano and reed trumpet. ‘The Jazz world felt the force of Eddie's impact with his first re- Lease, "Exodus", {n 1961, His record was the first jazz single to sell a million copiés. Five years later Eddie created another sen- sation with his use of anplification on “The Tender Storm", ‘The bold presence of the Varitone electronic amplification system on” that album is regarded as the nilestone that paved the way for the Jazz-rock fusion movement. Of Eddie's hit single, "Listen Here", the esteomed jazz critic. Leonard Feather wrote, ".,, (its) electirifud and electrifying sound can be credited move than any other single performance for establishing the amplified saxophone as a force to be reckoned with permanantly in jazz." fewtyears later, when Eddic composed and recorded the classic ‘Freedom Jazz Dance", which has been covered by no fever than 19 artists, Feather vrote, "This number indicstes how far he has plunged inco an investigation of the newest developments in jazz. Born in Chicago in 1938, Harris studied at the University of Illinois, Roosevelt University and the Paris Conservatory of Music. “I believe in learning to know your inetrunent", he understates. "The more you can adapt yourself, the better you can understand your horn technically, the better you can express yourself enotionally." Eddie's first instru ment was the piano, which a cousin taught him to play at the age of 12. spanned Germany and France - courtesy of the U.S Seventh Aray Syuphony Orchestra. In the course of recording more than 7) albums, Eddie has displayed his provess as a pianist, vocalist and, of course, a saxophonist, 4 : eccasionslly moving into blues, soul ond funk moods. His musical coll- aborators have ranged fron Jof£ Beck to Les MeCann to Steve Winwood, | and he ‘counts tiles Davis, Milt Jackson, John Coltrane and Charlie Parker : amoung his influancea. Eddie holds the US patent for the réed ‘trunpe Attachnent for Suxophone.EDDIE HARRIS hn te course of 10 cordenag amet. thay, ZL album, Elle, Harege tate e Leaps yedl fax prowess vocalek and. fo oe nk bhace, ee ee el10. 22. 12 aS 14. 15. WRITTEN BY EDDIE HARRIS EDDIESMS To purchase this book is one thing To just read it is another When you read it, retain the contents and use it co your advantage and that's when you start to go furthers Man often wants to be Like others, without first searching within himself vo find uhether his aptitudes sometimes are far greater than those of any of his counterparts: To be a geod musician all you have to do ie practice. To be an exceptional musician you have to practice conscientiously and longer; To be a cuccessful musician, first become « successful hunen beings Every young man has a future, so keep in mind that potential and drive are shared by one uho is already avare and ambitious; Every old man is not over the hill until he stops growing within his mind; Stars are born, but popular stars are made, Therefore worldwide recognition could just mean one has a good publicity agent; Most young musicians are in such a hurry to make it to the top tomorrow, they could npt find the time to practice yesterday, Therefore they end up in complete stage of confusion today; Patience ic a virtue treasured by a select few but recognized by many; If you do not think this book or any book for that macter, will help you, please keep in mind that complacency is the enemy of progress; ‘A young mind could have elderly fingers or: rapid fingering can be retarded by an elderly mind. In order to infuse the fingers and mind successfully one should practices ‘The only instance in which "Time" works against you, the musician is vhen you neglect to use it to practice; Every musician chould have a positive attitude about hie style of playing, but when this attitude becomes critical and disrespectful tovard his fellow nusicians, others begin to wonder what you are about; Speech is a means of communication, not a puzzle, therefore, improvisation is a musical lecture played in context to be defined by the listener; . Music to the performer is personal and his endeavors are often misinterpreted by others; Reimbursement may be sonetimes small, but then great ability can never be measured by the tickets at the gate; There are no wrong intervels if played in succession; There are no wrong chords, only wrong progressions; There are no wrong notes, only wrong connections; There are no wrong tones, only wrong inflections. SEVENTH HOUSE LIMtTED PuB.S K j PS P.0. 20K 45614 105 ANGELES, CA. 90065 U.S.A. —EEEeE——————————E |SCALES Scales are a series of tones arranged in a sequence of rising or falling pitches in accor- ‘dance with any of various systems of intervals. ‘You will now go through the common scales of today — major, minor, chromatic and diatonic. You will also go into broken scales of every possibility. These are the main types 6f scales that will confront you in modern music. EX. OF EXTREME INTERVAL SCALES TONIC, MAJOR 6th, MAJOR 12th, PERFECT 18th, MAJOR 24th, MAJOR 30th, MAJOR 35th, 8. I is called the — e (THE GRANDFATHER MAJOR INTERVAL SCALE) x TONIC, PERFECT Sth, MAJOR 9th, MAJOR 13th, MAJOR 17th, MAJOR 21st, PERFECT 28th, Is called the — (THE GRANDMOTHER MAJOR INTERVAL SCALE) ‘Ons line should be played at all possible tempos for at least three to four weeks. Each scale should bs written and played by you through all twelve keys. PIANO KEYBOARD ih st + AWGE Es abl Gh/FE_Bb/AR’ _Ob/CE GhIF _Ab/BE I 3 I Scales on the following pages are to be played over and over. 1 I I I |Be oe —} 4 Loo aoe ee ee aed BHP (One half stops chromatic scale 3 SCALE STEPS 27st >= ea: Girth i Sa = eeeetet bp es - f = one step andaat ot AXP iv # ca 3 t= ae = == = wees or A z Fr > be be» ¥ Jp == f —— Two apt a basal 4 ae L : aaa Z b. aa oo de = # ss tat be F —— ne 6 She ‘= ae ri : pene te ¢ be iss ca == ae > a he = = x 2 = = 2 bp 2. Fle i é : tnd a hall b tF pumas — ¥ b+ jz if ze suateps boi SELLIbe + b+ PF sevesmi noose Laren vue. § |; pg He. 20x 45614 Los ANGELES, CA. S0O45 U.S.A.6 TWELVE TONE SCALE OR CHROMATIC SCALE es pte tet bg SSS = a Sher Fe b, nangete stat SURESTE DELS £etes ee aie a ee bhxp bop = SSS ‘ + b, b, b wb: + = b SEVENTH HOUSE Limrrep Pus. S|<{ PS ¥-0- BOX 45614 LOS ANGELES, CA. 90045 U.S.A. ‘©Copyright 1978 by Eddie Harris International Copyright Secured Printed in U.S-A. All Rights Reserved, [ [ l [ l [ [ 2 [ 4! S| b tg b he [ l [ l ! [ [ [ lMAJOR SCALES 6 SEI SEMAINE KEY OF B FLAT - TWO FLATS - BANDE ARE FLAT = == SS br 4 v * Sa aa sureevasisticauy — THSt NS & sion ee ae TONES ARE Ea bee 2 2. he 4 ie a ae Se or KEY OF B NATURAL - FIVE SHARPS - F.C 1G, D.AND A ARE SRARP Vv ie ‘TNTERVALISTICALLY ae £ ae a te = = 2 r at eae Tw? - KEY OF CNATURAL - No’ SHARPS ~ NO FLATS we INTERVALISTICALLY KEY OF D FAT + FWE FLATS + 616. A.D. AND G ARE FLAT = vw TATERUALISTICALLY b, KEY OF D - Two SHARPS - FAND'G ARE SHARP = F TNTERVALISTICALY CS sever woyse Luxaen Pup. $ IX jpp ¢ PLO. Bex 45614 Los ANGELES, CA. 96045 U.S.A.MAJOR SCALES 8 Key SIGNATURE : KEY OF & FLAT - THREE FLATS~ 8,6. AND A ARE FLAT. { = Fag | INTERVALLISTICALLY bab. ‘ ig _¢ f 2 ¢ tp & =e - ‘ i == SS KEY OF & NATURAL - FouUR SHARPS - F.C .G.AND D ARE SHARP date [a pabet pee tpmie See TUCERIAMISTICALY dereie. te = — se Key oF F NATURAL = ONE FLAT = B IS FLAT Zz + B = 2S fe eae giitieasneauy Yaka 2 fs £2 : & ba. Z == --———- Se Key OF F SHARP - Sig SHARPS - F.C .G.D.A, MND E ARE SHARP | arr meee mee Ses z fe ¢. SNE RVAWISTICN LY ¢, KEY OF & NATURAL - ONE ae sy F IS SHARP = =a = aS Sz ct ‘TNTERVALLISTICALLY z £ SEVENTH HOUSE LIMITED PUB. 5 |< j pS P4O. BOX 45614 LOS ANCELES, CA. 90045 U.S.AMAJOR SCALES KEY SIGNATURE: KEY OF A FLAT - FOUR Eats - BEA iMD D> ARE FLAT ‘ENTERVALLISTICALLY KEY OF A NATURAL - THREE SHARPS * FC. AND G ARE SHARP — INTERVALLISTICALLY 2 HARMONIC MINOR SCALES D FLAT KEY SIGNATURE : B FLAT RELATE MINOR SCALE | + Sa = Sao ce eS oF | ENteRvRLLIsticaLY g bo bp. ie Fy — ts Or DMATOR KEY. SIGNATURE B NATURAL RELATIIE MuNOR SCALE Ve es \- TNTERVALLISTICA LLY i S = ; E FURT MASOR KEY SiGWMURE C NATURAL RELATIVE MINOR SCALE _ atoms ; ie £ re F a Bo = —- ee oS 7 nS JI * SEVENTH HOUSE LintteD FuB. S |X 1 Ps P:0. Box 45614 LOS ANCELES, CA. 90045 U.S.A.HARMONIC MINOR SCALES wo & MASOR KEY SIGNATURE C SHARP RELATIVE MINOR SCALE INTERIALLISTICALLY F MAdOR KEY SIGNATURE D NATURAL RELATIVE MINOR SCAvE f pave het tke [SSS SSS TNTERVALLISTICALLY si po #¢ 8 + =a a 2S =f = ae G FUAT MAgDR Key SIGNATURE FLAT RELATE MWR SCALE al ENCERVALLISTICALY b. \e b G MASOR KEY SteNATURE i CE NATURAL RELATIVE MGR SCALE + = SS T : wii a 3 ‘TATERUALLIST ICALLY A FLAT MASOR KEY SIGNATURE Ihe = F NATULAL RELATIVE MINOR SCALE 2 a a = f = re T ee b b. = SEVENTH HOSE Lrurtep PuB.S |X| PS PO, BOX 45514 LOS ANGELES, CA. 90045 U.S.A.HARMONIC. MINOR SCALES cbr A MATOR KEY SIGNATURE F SHARP REVATIVE Mik SCALE TATERVALDISTICALLY B FLAT KEY SIGNATURE G NATURAL RELATIVE MINOR SCALE bd TNTERVALL | STICALLY, J ] J j j 1 1 1 1 1 i B MASOR KEY SIGNATURE G SHARP RELATIVE MiWOR SCALE ‘ee ie TNTERVALUISTICAY + te be ee a a = te = wap fe sae He CNMUAAL Key SiGHATUE oo! NATALAL RELATE Muok SCALE Zz 2 1 = ° = See TNTERVALLIST(CAULY SYMMETRICAL SCALE b SYMMETRICAL SCALE eee ppee'fieg. = 5 SEVENTH HOUSE Livtrep Pus. S Ij PPS Mo. DOK 45614 Los ANGELES, CA. 90045 U.5.4. il tial aadMAJOR SCALES B wo ae fd es = £DIATONICMAJORSCALES 13 bo t pect 4 be # yen F Bp eft a a faed 225 it a £4 ~ sevanTa wouse Limrren us. |< j 2S FiO. BOX 45614 LOS ANGELES, CA, 90045 U.S.A.ee DIATONICMELODICMINORSCALES x. b seventu wouse Lrurrep Pus. 5 Kf PPS P.O. BOX 45614 LOS ANGELES, Ch. $0045 U.S.A. a iASSORTMENT OF SCALES 3 x ia = = == r fe S oz - . RAMA “ e Poe ce a — shay tot £ = — = TNL SIAN rs ee 8 4 toe a ie HUNGARIAN ] tent Rrea, > £ yes De ee ee 5 S = = —= - = = be S > ft | te ree c te # 3 ee a: > ETHIOPIAN ¢ SaaS E za oreaiest Chee Te jue oaks ia = ia eee Fe == | j t - Pa ela Se SS j SevenTH HOUSE LiMTTeD PuB. 5|K{ 25 P.O. BOX 45614 LOS ANGELES, CA. 90045 U.S.A.ASSORTMENT OF SCALES 1s re Nt be = = a | —— NECPOLITAN MATOR -Hilts 5 4+ = SS = ~ i *~ ple Pee ie SSS vakG 3 we HL bp = 5 ar 5 fa oF a < 5 es 2 » i eee : ies cs es i 2 _ z i ra - : f = - TRIANESE eee eee aes 8 | : = eS b. HEPTATONIC LYDIAN Ei es i —- f Z DORIAN AEOLIAN i b. itt} itt tt itt le it I, f mom OOO OOO SEVENTH HOUSE Lire PUB. 9 Kj 7S FiO. BOX 45614 LOS ANGELES, CA. 90045 U.S.A. SKiy] ASSORTMENT OF SCALES v7 Write out each scale through all twelve keys. pa Eo b ] é = = De 5 Mae ; oe = bp. a - ] ~ £ eal ¢ * Pe == x oe + ee f = $4 oRienTAL £ £¢ 6 a ] $ = 2¢ az tee. zz a = = |, SPensh in 5 | #g F. of a £ £ | it £ i gett | PERSIAN | | BYZANTINE sever wouse trurtep rus. 51K i p$ pio. pox 45614 Los ANGELES, CA. 90045 U.S.A.ASSORTMENT OF SCALES we ENIGMATIC S £ te te £ e Es + Se ee: te == + dans ia ee 3 £ po he => = 42 + zat a7 fonda, ae te ¢ = te aa re | % + == —— 4 woe ay = be eae he 3 = z z Z = PENTATONIC. b, , SUSSEMICHROMATIC SEMI CHROMATIC s be b 9 e eo Bo as DoUsLE DIMINISHED == = | b > b } 5 + ae = at bee -_— be te =, #% ge+t 2 te £55 + { ae e = + a sevevra nouse Laarten Pus. SK; pS Pio, BOK 45614 LOS ANGELES, CA. 90045 U.S.A. {ASSORTMENT OF SCALES » 7 Oo Gd Be SoS a ee ee ee er a ae EAST ORIENTAL Ania Pee aM eh 2 SS = : == f NOM co Pe Ree eg — = £ z — os "¢ ¢ = = 'g e —= 5 . T £ £t £ + = # # ait 3 5 ie 2 ¢ 3 aie SS te 2 att ws 5 be Fae £# Ped Ronn eh 9 SS = —— > s SevaNTH House LnTeD FuB.5 [{])?$ Pio. BOX 45614 LOS ANGELES, CA. 90045 U.S.ASCALESFORRAPIDEXECUTION 20 é = SS z « a z og Pf SEVENTH HOUSE LIMETeD Pus. S Kips P.O, BOX 45614 LOS ANGELES, CA, 90045 U.S.ASCALESFORRAPIDEXECUTION £ bp >: gated 8 NE Bie BE Bie te es # a= at & oe se 'f tet, Fo b b Zz = st, at, "Ese ght bet Eg tet te tS 4.4% begtety seb op Ee 4 Sy te A If, tte SS fee f, te ee itis SS ee = : ei wel Eb oe ght eS, tie wf tte & Efe ott Et eag tte Et b. eens —_ no = bp ENS pe oy b teh pk bebe , bp, = =e SEVENTH HOUSE LimtTep PuB. 5 [X25 P10. BOX 45614 LOS ANCELES, CA. 90045 U.S.ASCALESFORRAPIDEXECUTION 22 + q ae zi a a a seven wouse Liveren pu.5 Kips po. wox 43614 LOS ANGE CA, 90045 U.S.ACHORDS 2 Chords are @ combination of three or more tones sounded together in harmony. Knowledge of chords is most essential In intervallistic playing, In studying chords, méke sure you remember the four basic triads—Melor, Minor, Augmented and Diminished. Having the knowledge cf the four besic trleds under your fingers, you will have mastered fity per- ccant of the chord studies. “The four basic chords come in three positions, roct is the same as the tonic, the third, end the fith. ‘Tho second position which is called the first inversion, is the third, fith octave. The third position, ‘which is called the second inversion, is the fifth, octave, tenth. Once you have mastered these chords, the others are just superimposed combinations of various triads, All major six chords are a combination of a-major and a minor triad. All major soventh chords aro a combination of a major and a diminished triad. All minor six chords are a combination of a minor and a diminished triad. All minor seventh chords are a combination of a minor and a major triad. All major ninth chords are @ combination of a major, diminished, and minor triad, All major flat-nine chords consist of a major, iminished, diminished, triad All minor ninth chords consist of a minor, major, and @ minor tlad. All minor flat-nine chords consist of a minor, major, and a diminished chord All major raised nine chords consist of a meler, clminished, minor, third triad 1st inv. All eleventh chords consist of a major, diminished, minor, and a major chord, [All miner eleventh chords consist of a minor, major, minor, and a major trad. All major seventh, eleventh chords consist of 2 major, minor, major, and a diminished wc. All minor major seventh, eleventh chords consist of a minor, augmented, major, diminished triad ‘All augmented eleventh chords consist of a mejor, ciminished, minor, augmented triad. ‘All major augmented eleventh chords consist of a minor, mejor, diminished, minor augmanted triad, All thirteenth chords consist of a major, minor, ugmented, mejor triad. All major thirteenth chords consist of a major, diminished, minor augmented, major triad. All chords above the augmented thirleenth aro called superimposed triads. In this book you can ‘equate the relationship of the extention of the Intervals beyond the raised thirteenth, Suggestion— Pick out a group of chords, write ther down, and give to. piano player and then play the notes along with your accompaniment. Play the chords at the plano yourself to hear how they sound. For the Instrumentalist to play chordal solos as rapicly as piano players, you must know the com ‘mon tones of chord progression, Chord progression means a moving onward of chords, in succos- sion or In saquences. A commen tone that carries through to the next chord. Ex, Cis the tonic of a C triad, (CH the major 6th of an E-tlat triad. (Cos the fith of an F triad. Cos the major 7th of a Dat triad. ‘Cs the minor Sid of an A minor triad. C—is tho major Sth of a Beflat triad, (Cis the suspended 4th of a G triad. (Cis the augmented 11th of a Geflat trad. (Cs the flat 7th of a D triad. ‘CHs the flat 13ih of an F triad. CIs the major 8rd of an Aflat triad. (Cs the porfect 22nd of @ C double triad. SEVENTH HOUSE LiMrTED PUB. § |{ { PS P.0. BOX 45614 Los ANGELES, CA. 90045 U.S.A. ©Copyrisht 1978 by Eadie Harris International Copyright Secured Printed in US.A. All Rights RetervedIDENTIFYING CHORDS ut DYC = CHE ]DUC m CH [Dac = C-Hit,| DICmFIC=C apt = obh2, |c/0>= oz, | DvD. = OPH [pI = DE Jebvob=chor=0's chob- Of, Ko = oft, | evo = 04 fo —0-'%,,[e0-aD-Dal Eo- 0,2, | ew -o | | Dice oe ENO! = On eveh = OE , Geb chi,» Eveh = ebb [ese = chhi?,,| rrcmahehaci | F/Eh= Ebi, | FER = EL” Freeh, [re - eh, | Fe EN | Fre - EN, [Pe weer! PE eats | Fe + en Par Pity [Fhe Fil | Pre FM [Fle ~ Foy [ore—r—ro| OFF, | Om — A GiFIm Fi FR port Fe M3he7| Cure = FMB lund: = FPRia|Abvelnevelarys| Ava — cuit, | Aych = Gh] = o | Ais = GhEy ia = Gitar] AG = GNI [iG = Gh s|ArG=ciG-G"| Wo= Gut, | Aveo | Jota = Ata = Aba] AIA? = DNs Pad Miter] UAE = AKE [Aa = Ait lotabacrat abo Biae = Abts | ahs = aoe | ase = Ahan | Ata Aether] BUA = AYR y [BIA = ANRboy| BMA: = ANE [BIA = Ahiijy| BVA=DIA@AM| BIA = AMS A Bb |aveb wm Bh}, }A0BR wm Bk e!S,) Bab = Bb?» bvBd— BbY%,, 4] BBL m= BIA Lava. m BMG, LovPaehaP=ehs | C/E = Bb 2y | Cie. = Bs? BIR = AB 8 [AL = B'L7| Mie = By] CB = B42, [os ~ BM cre 0% [ce - 5h, |ie-ce-a9| oe -az, | ve a & labvet hb | ret - et I Aveb— ehithe 7] Neb - oh — ELMs,|Aet — 2"$,,| Feveh- er Aeetelel | aved- eh | 2 | $PRSs Puegeteweiounsccaese| (cra | Cuane [cane ie S| Peas PMR See M8 tee | gurccte up | mn octave up | 9h stave up | 2d Gh vein | Sed 10m 17th | am tim vwin | Sim 12m 19m | On Tih tain 2151 eee we O's so E's ae F's aoG's aro A's wo8's | c|oc=ctefhomcttad ecm} |ehoeou | chow? | ec-cs | ececz | emo | rcecht| 7 >| o=d.,2, |eo=dzit4] e0t= ory | evo. = 07 | cok = ob | For obe | FOr obz} | FOr = 03 [ho =O] [ 2[eo= outs [ro = ort] Fo-0t | O-o8 | FO-07 | o-o8 | Ho=os} | Fuo-03 | G0 = ont or = etn, pvewon. | oe ot [ruck = cui | chess | ome | carer [ort = oy [avec | | = |FIE. mE. |GVE = €: | ce-e4 |oesen | cener | de-er | e-en | me - ex | we-e'r 7 GR =F yi, NEF tte] AVES FE | Ave = Fab | AMF? | AIR = Fer | APA FoF | Ae Be-en |b Bich - 0.1 davab—aitite:| WGb= o's | avck= chi | ac-=@e | cial ola | Mirt=rit |phuck = cy | oirt= rit | ilac cut bve-cited oic-o [pve-oy | oe | soar | ac-as} | eo-38 [oe-c | © Vb = 0,2 Bud ee] Bada [oud — ay | wa ae cand = aba | ciab= Abe | cua = at | Obssd = abe | \ | Blt Agile [CHA ASiRa7] CA AYE | CA. mit | amar | chawas | clang | ovens | omeate | 7 * om eh lowe - O24] Die Bt [Oe = oy | OF = Ber | Oveh~30 | DB Biu} | Ovek=oL3 |erar= ON | OG = 8 .|DB= 8.7) 08 = 8 | B84; | O--87 | OfeB7 | a= er} | Eee BY | EB~ ENT if Brut = atin | otk. = at, OUD = Wes] cod— Ar, owe = Ata [ow— ait] Bad= AY PrmmAt.| OM = AE 3 Dithe= AM? | DUA Ady | OVA = Alber | EWA = ANS, [ERA AN | EMA Alig] Cum At loam ati.) eve at | 1 EUoh = BLE ehah = BRIT, [v6 = abit »| E/eb = EbME, [eval = BMY Jem = oM,| Obveb— er Eribasitt | Feai= ot | ce=8h},| ose, | ee-slt,,| e=8y1, |e =8M [Fees] ove -a" levenesa..| cris -e.t | SEVENTH HOUSE LratteD PuB.9 K | PS Pro. pox 45614 Los ANGELES, CA. 90045 U.S.AIDENTIFYING CHORDS 2 c| oe-c | ao-c§ | cic -c# | ac moe [ANC = CHT | Arc c+ AVC =City| dic =o | Ac =o ob] aot= ob | abot= otf | aWvor = pbs | atroh = ober Larch = b+ | wob= obese oh = Dita] WOE = OF | hob = D| Ameo | ADD | Ao=o» | ADwD-? |AOm Dt t| cho= D+ * [yO =O F,| Dog] BOD eb] Bvehm es | oleh meht | ahve = ete | she = eter |eveh— eb+it | wreb— cher avel = ekitys| Bek = ANG | Gich = o | weee | wemes | we-e | we mee | CEMEtS | CE=E+ cenet? | Oe =e Fl corer | craks | cere | creeper [Cure Fest | DIF = Ft [DF = Fite! OW Ag | OF = Fe Gi] DYat= ch | Dich= ot | chic. = ha | Dich = char [Dich = che] DIG! = ahivt rich = chi,] OIG) = GLtZ | chor os G| oe-@ | na-a.$ | o1c--c* | Oe--c- |plG-c+3}| dtc - G+ [exe - Git) EG - 643 | EO-oF A | chubm ate | chad = abt | ehud =a | chat ahar evab— saat | eid — abe [evah = athe ev = Abbe | rab ae | A BIA-A | DAWA | EVA m At | cm aer | IAM AtS | FAS At | FIA Aah | FAAS? | PARA Bi] Fvbh—pe | Foret | Fio-= phe | Fret = chor |atyoh= b +23| cho = phe: bhok = hit, ches = oti | Grab = oe Homed | Feo '| Memce |cw~srit | oe-st+ |ow-5i3.| 0-03 | cleo Fic = city Fc = Cuitha| Fic soy |Puo= ohe| rte oN. | Excmor [Fic oxtau| Fee = Ot | [GRP = OR y Db D Hips 2] GID = DFE » VDE = DAY, |@/08 = OLM),| Fe/Ob— O87 oH /Ob= DHT.) Gr/0b = Od)! D |GvO- = D-4?,] GID = D4, |UD = Diy 7] AMO = OF, [uO = O-Mi,|ANO- = OM), | FRO = 07 |e = O.2au| AR =O c| Acech | aieec'? | acmcl | bicwclt | bic-cu |euc-cH,| aie -cn |ae-ct, | ac-cr} Bro>=0r% |abvok = ob | shot = 0'2 | ach 0% | eb oi | evob— OM, | aD [ovob= ob | cob- obs D| ap=0% | BO=0-'3 | empty | cyo=0'% | co=o" |cm=o},| co--o" |p L,| Om-dzt | eb Jove cbt | cick ety | ober oh | Oveb— em | ove elf, | ohh =o» [oveb= eb 1b, | ovel~ ebsy e| ofe-eh | ove 69 | vem eh | oe=2' | oe=e |oemehs | oe-er levee, | crenest FL oars orem rh | cheery] chemen [ehre rg, | eiemrn [every Gb] ebab= chy letich = o3 | cick = Os | evar= chy | ert= ry levcb= Oui, | erterin levee ey, | Fire Fazt s| ea=ch ecech | rG-c | ro-cr |ra-cu,| Ae=Gn lrugec | Fic=o2t | Fab ah Fiske = WE | chyah me Ab | pliabe sb |chiab = 04h, | PUR ida |oithm ad 'L, | Gab att al Pana Firmatt | cana | aman |oanat, | aanan [am-aty | da-adt | ebm et | avt Ber | cok = 82 | aver= adh | Bab aon [ved ~ ap,] aro on [wero 4, | Aad- ost 8| cin~ ah clase | ae=o | ap-on |a-oft, | ve-en [oro-oby, | do-ost E [ME men, | AE mE, [VE = Rn | MER EH, [ave ely, [he —eM),| Gve-er [Ave = Etau| ChiE- Ey F [ove FRR, | hE Pity [OME = Filler | BF Feb [OU PM | Or rte | Avie met leh = tle! BF Fit Gb Buoh ~ Nits] e/ah = Gh fruah= Glifes 1] CGP abi Pict = Ggislcick = ck Hyg! Avirt= Fy [aviGh= Gis aus] C'1G>= Ght G \cie = GHz) Cie = GF 7 [OVS = Gite |G = GH, NG GMis|OIG-= Gt] BhiG= Gr (CNG = C24] DRG = 1 ] ] ] j ] ] ] ] ] 1° ] ] ] j i ] i j SEVENTH HOUSE LIMITED PUB. 51<{ Ps Pio. 30x 45614 LOS ANCELES, CA. 9004S U.S.AInversions 2nd MAJOR TRIADS 2nd Root £ st # Sap - 5 t # + 2 i =e 4 + = ial iy al Si- fle — gid Er aa at tf Hat onl ws AW MIR sir oll ai ee Hist) SHETTT ual ast = quik re os BLL] -2' TT Sp SHH cata sual] = 7] a we sub sada ues] ohn! ee | Sal qf | ooR small) i a qld] ssl) “guhl| HY t tht At oma “SUL fe gill Shee I Me Sa tall SORT ga] SYR] aL “th “tt Hi a i a tue alll ¢ ah 1 i eH SEVENTH HOUSE LIMITED PUB. 5 |< j > $ P:O. BOX 45614 LOS ANGELES, CA. 90045 U.S.AMINOR TRIADS Root 2nd inversion 208 1st Root ng PZ Ape Oe ig di og <= Pw ia T £2 bo $2 bot be a 5 T b b +2 he a ie 7 oF 0 re bp b: b £4 a2 t¢ 5 ig tt g Ke; ps) rp i 5 pote “bp be pias —. S + > = t p44 9 cig £it , ean SEvewm House Livrtep Pus. SIX | [2S Pio. BOK 45614 LOS ANGELES, CA. 90045 U.S.Aont ed oe — z F j 2 2be “= T £2 bg £ z, b iy ee b. b =: é b. ie fhe b Y8 ‘ : £b e 2 SEVENTH wouse Limttep Pup. $ [X'S P10. 20x 43616 LOS ANGELES, cA. $0045 U.S.4 T ee 9 é Z tt T t $ - T| SAXOPHONE FOR RAPID EXECUTION-29A _Pullneckstrap up enough so that when youare Keep fingers on all keys at all times. Ifyouhave to, heat and bend the side keys so they will touch your left hand while holding the saxophone, Keep right hand on en angle so you will be able to touch the side Bee-flat while holding the hom. STANDING — spreadlegs so you will be ableto distribute your weight while blowing. Adjust neck strap so that when blowing youare ableto swallow normally. Make certaln that the mouthpiece Is in the center of your mouth. Tho hom should come down and angle to your right, whereas your right wrist Is even with tha blowing the Saxophone, you should look like youare looking'at a person that is an inch taller than you are. When sitting and reading keep the same posture as standing, but lean forward until you are able to read the music off the music stand plus anyone standing seven or nine feet in front of you When you're not playing, you should balance your horn with your right hand by continuously holding onto your instrument, while hooked to your neckstrap. Always hook the neckstrap to your horn from the right side (Open part of the hook facing left). Therefore, when holding the Saxophone when not playing, the neckstrap will not become disattached. Try not to move your body while blowing center of the right side of your body. because this will cause you to waste energy, let's say people have been known to pat their. foot. Pano Players sit directly behind middle C on the piano. Keep fingers curled for rapid execution. In order to play intervals nore affluenty use the thé fore finger (the finger next to the little finger) on both hands more than normal, : Trumpet Players do not lift your fingers from the valves while playing. Hold your head up and look etraight ahead. Less top lip for higher notes and curl: the tongue back under the lower front teeth for precise note production. Troubone Players hold your head up while playing. The lass top lip the higher you will be able to play. You should be able to play eight percent of your rapid execution within the first four positions. Guitar Players hold the guitar up high enough where ‘ae you are able to play ‘skips comfortably with up and down strokes (with the pick hend), Intervals are played faster actoss the Guitar. Bass Players who desire to play the bass with the index finger on the G string, the middle finger on the D string and the fore finger on the A string are able'to play intervals faster. With your position hand you should nov be able to play intervals across the Bass. SEVENTH HOUSE LIMITED PUB. P.O. BOX 45614 LOS ANGELES CA, 90045 U.S.A.