Chapter 1 Basic Exercises accents. You may wish to play scales as shown below with accents every dhree notes. This helps you learn to conteol accents, Ifyou play these accents as sixteenth notes, this will also help develop a sense of polyehythm with the accents suggesting a dotted eighth pulse over the metronome pulse of quarter notes. a Remember to concentsate on clean execution, good tone, and good time. Play with no errors or hesitation before mov- ing the metronome up a notch. Practice even eighths and then practice swing cighths with alternate tonguing or bowing as applicable Ca jcentrate on clean executi tone, and good ti ‘Practice major and haemonie minof scales the fll range of the instrument. When these have been mastered, add melodie ‘minor, major with a fat sixth, diminished, and whole tone scales. SCALE PRACTICE LI Major Seale 12 Harmonic Minor Scale Compton Tec fr og MasonChapter 1 ARPEGGIO & BROKEN CHORD PRACTICE 13° Major Arpeggio 14 Minor Arpeggio fe 15 Major 7th Arpeggio Ete 16 Minor 7th Arpeggio e 2b 1.7 Dominant i Aspeggio 18 Half-Diminished Arpeggio [Capri Tei oJ Mstor 1 Basic Exercises 19 Diminished Arpeggio b, 11 Renken Chaed Pattern Not Lil Broken Chord Pattern No.2 112 Broken Chord Pattern No.3 113 Broken Chord Pattern Not Canaan Tapa fi Jog MaoChapter 1 Basic Exercises OTHER MELODIC SCALE & ARPEGGIO PATTERNS Practicing can become dull if all you do is scales and arpeggios, just as improvisation would be dull without some other motion besides scales snd arpeggios. Here are some patterns from preat improvisers that can be added to the practice PATTERNS with THIRDS Clifford Brown and Cannonball Addesley combine scale passages with pattetns thieds in the following examples This example from a Charlie Parker solo looks quite complex until you break it down, The top line isthe original line trom his solo. The second line eliminates the triplet upper-neighbor tone turn to reveal a simple scale pattern in thitds The third line, when reduced to eighth note values, reveals a simple diatonic line, The fourth line simplifies the line even farther to ceveala simple 5-3-1 tia. [apna Tal for ug osChapter 1 Basic Exercises “The following exercises add the patterns in dhieds to the seale routine LI Ascending Thirds 118 Descending Thirds 116 Attomating Thirds PATTERNS WITH NEIGHBOR TONES Apply to all scale practice. LIT With Lower Neighbor Tone (LNT) Embellishment ascending, UNT descending Coupon Teng fr Jo MaChapter 1 Basie Exercises CYCLICAL QUADRUPLETS (One way to embellish a single note is to play the nots, move away and back co that same note. A very common pattern that follows this concept involves the primary note and two other notes that ztuzn tothe primary note. This pattern has Four vareves and is has been called « Cyclical Quadruple: (CQ). Cyelical because it eycles back to the first pitch; quadre plet because i is 2 four note patters. The four pattems below all have C as the primary pitch. CQ pattern 20.2 is the retrograde, no.3 is the invetsion, and nots the retrograde inversion of CQ pattern 0-1 CQNot CQNo2 CQNo3 CQNo4 Here ace some examples of CQ pattetns from jazz improvisations by Charlie Parker, At Farmer, Cannonball Adderley, Sonny Gxt, and Herbie Hancock: Charla Darko see all four CQ patterns in these two examples. The first includes CQ patteans n0.2 & 3; the second, pastems 1 84 Dm? a7 cma? Gmt cr €Q pattem no. ebm a pbma7 CQ pattern nod F Dm? amt, co F CQ pattern not outlines a step progression. o CQ pater aot on? | o ieChapter L Basic Exercises Here are some basic CQ exercises 19 add to scale routines. 1.22 Cyclical Quadeuplet Version No.1 (CQ) 123 CQVersion No.2 124 CQVersion No.3 1.25 CQ Version Not ‘Compre Tenia for Joy, MuscaChapter 1 Basic Exercises CQ pattems can be applied to arpeggios as they were applied to scales a8 shown in this excerpt from a Cannonball Ad- dealey improvisation. Adderley used CQ pattern 10.1 in the frst measure and CQ pattern notin the lst two measures outlining a chord. CQ patterns no. and n0.4 ‘Am7 pb? maz 7 Here are some basic CQ exercises to add to arpeggio routines. These four exercises are shown applied to # major 9 chord. Practice these patterns applied to minor 9, dominant 9, and other aspeggios. 1.26 CQ Version No.1 applied to C major 9 arpeggio 1.27 CQ Version No.2 applied to C major 9 arpeggio. 1.28 CQ Version No.3 applied to C major 9 arpeggio 129 CQ Version No.4 applied to C major 9 arpeggio [Compra Teal or Jorg ManeChapter 1 Basic Fxercises DIATONIC CHORDS In addition to practicing arpegaios individually, practice arpeggios related to each Key center. Triads, seventh and mins chords can be built on every scale degree of any scale, and often appeat in compositions and improvisations. Here are ‘to short examples from Tom Harcell and Dexter Gordon. Diatonic triads F D7 Gm? C7 Am? DT Gmc? F Dito wid on? oe tha Add these to your scale practice forall major and minor keys 130 _Diatonie Triads In Root Position Ascending 131 Diatonic Triads In Root Position Descending Parker end Sonny Stitt used this common pattern that outlines a major triad. The first part of the measure includes pass ing tones (PT) berween the chord tones; the second half uses CQ pattern no.1 Charlie Parker Sonny Sti sb ae paelde yee! Ge ch ‘Comprehensive Technique for Jorg, Maiabw Chapter 1 Basic Exercises ‘This pattern can be applied to all diatonic triads. This exercise incorporates many of the previous exercises: scales, di- tonie triads, CQs. 1.32 Diatonie Triads With PTs And CQs DIATONIC SEVENTH CHORDS “rind built in thiade (ortian) occur univercally in music. While « iad may be conemucted wing 1-3-5 of a seal, 2 tended tertan chords can be constructed using 1-3-5-7, 1-3-5-7-9, and even 1-3-5-7-9-11-13, These extended tertian chords occut frequently in jazz. A chord spelled out to the 13th may use all the notes of the scale, and in this way ilus- trates the equality of the chord and the scale. The scale is speling of the seven diatonic notes in steps the extended tertin chord isa speling of the seven diatonie notes in thids, An understanding of basic tetian triads is necessary in order to understand seventh chords. A seventh chord is created by adding the interval of a thied to the top of a terian ttiad and a nunth chord is created by adding another interval of thisd (0 the top of the seventh chord, The seventh chord exercises will provide a background to understanding extended tertian chords and connections covered later in chapter 10, Hank Mobley ended his improvisation using diatonic seventh chords. eb ebm ab Col Fr Bb 5 5 MeCoy Tyner used them in conjunction with other elements in the following excerpt (Distonic triads and 1235 pattern) abr 3 F [opore Teig for oe MainsChapter Basic Exercises 15] Le folowing are exeriss desig wo a the mastering of dintoie eernth chord in o0t positon and in all inver cione Regin practicing in all maior scales fst. They can be quite useful bit on exch scale degree ofall scale types. 1.33 _Diatonie Seventh Chords In Root Position 6 Sara Sera Deer 134 Diatonic Seventh Chords In First Inversion Coupee Tai fr Jo a_ Basic Exercises 135 Diatonie Seventh Chords In Second Inversion 1.36 Diatonic Seventh Chords In Third Inversion 137 Diatonie Seventh Chords Alternating Ascending And Descending (Caprese Tega or ag aaa= ROMATIC EMBELLISHMENT DIATONIC SEVENTH CHORDS yer 1 Basic Exercises, nn ‘Any dntonc ote ofthe sae can be embed wit chrome long tne Thi is not nan m2 oh Western notes adding a tension not available with whe diatonic ates alone. The diatonic scale, diatonic wads, and diatonic seventh chords most be first mastered individae tly before stempting chromatic embelishment. If you have # command eves the datonic ‘vocabulary, then this next “Art Music. Chromaticism cin make the music more interesting; the chromatic cation will help add chromaticsm to your vocabulary. Ctford Brown weed ascending diatonic seventh chord arpeggios in the folowing example, bat added an clement of “Chtomaticiam, Several of the seventh chords are preceded with chromatic leading tones sb cm, Fra 3 3 MeCoy Tyner used descending seventh chord arpeggios in the following passage. yr oo F top be tet ¢ -- a aes se == iB CSS ere DIATONIC TRIADS WITH LT EMBELLISHMENT tow ave come consummate exes ofdntonie wads embellished by leading tones (LT) ll ofthese great ines use ee Set ie otofexch con Some te We pate of LI-E39. The ample ome Monat nay be the most interesting beet of the angular erented bythe S-SLT pate. ent a fee Se Seta oe “Compreenie Tecniga for Jorg, Masia[18__ Chapter 1 Basic Bxercises pt “This improvisation ends in a similar method to the earlier Hank Mobley diatonic seventh example from p14 F Gm? c7 a0 F Mowast Clriner Quintet, K.S81 fete EES | toe “Any of the previous exercises can be practiced using chromatic leading tones. Here are some suggested exercises t0 get started adding chromaticism to the rovtine vocabulary. e 138 Ascending Diatonie Chords With Chromatic Leading Tone (LT) 139 Descending Diatonie Chords With LT Coniprebensve Techn or Jar, MasonsChapter 1 Basic Exercises 19 NEIGHBOR TONES APPLIED TO ARPEGGIOS & BROKEN CHORDS Previous examples have shown leading tones (which are always, by definition chromatic), and passing tones. Any di tonic note may have an upper neighbor tone (which is usually diatonic), and may have a lower neighbor tone (which, like the leading tone, is usually chromatic), The following examples illustrate common embellishment of distonic material ‘using diatonic upper neighbor tones (UN), UPPER NEIGHBOR TONES (UNT) This frst example isa line that most jazz musicians learned from Louis Armsttong. Each chord tone was preceded with 1 diatonic upper neighbor tone. Tle second example was from a scat solo by Sarah Vaughan, who paid respect to the Armstrong line, In the third line, Stan Getz made an ascending trad interesting by preceding each chord tone with an accented upper neighbor. The basic structure of each line is shawn below the example, ry 3 Ir may look like the UNT in this Chopin example are chromatic which contradicts the previous paragraph, At this Point, the piece isin the key of F minor. The C wad (chown with circled notes) i elaborated using the diatoie notes from the key of F minor. The UNT of Cis DY, che UNT of Es F, and the UNT of G is Ab. The UNTs are chromate, Dut this case, also diatonic tothe Key of F minor. Chopin: Op.9 No. 2 ‘The F tid is stated as a broken chord in the first measute and in the second is laborated with passing tones and dia tonic UNTS ia this example ftom Bach, Compre Tern or Jae Mr]Chapter 1 Basic Exercises Bach: Two-Part Invention No. 8 Cannonball Adderley appeats to have borrowed this UNT idea from the previous Bach example. D7 G Here are several basic arpeggio and broken chord exercites from earlier in the chapter with UNTS added. 110 Aepeggio with chord tones preceded by UNT. 141 Broken chord pattem (from exercise 1.13) with chord tones preceded by UNT 142 Aspeggio with UNTs [Compre Teri oJ MansChapter 1 Basic 143 Broken chord pattera (from exercise 1.11) with UNTs 144 Broken chord pattem (from exercise 1.11) with UNTs LOWER NEIGHBOR TONES (LNT) & LEADING TONES (LT) ‘The following examples illustrate common embellishment of diatonic materia! using chromatic lower neighbor tones (ENT), Jotun Fought the Batt of Jerse begins with the toot ofthe minor triad, moves ta the LNT, returns to the root, and ‘continues using the second degree as a passing tone before repeating the pattern of the third of the chord. Cannonball seems to have quoted Joshua Fought th Batt of Tero in tne second example. Josba Fanght the Bate of Jeri Ayer ite Sonny Stitt took the LNT idea and applied it to the diminished chord. The sum of al the LNT and PTs added to the iminished chord creates the half-whole diminished scale, also called the octatonic scale. (Many of the notes inthis pas- sage do not appear tr relate tr the indicated chads) ‘The diminiched eral will he lonkel at mare elogely in chapter 5 Bb 7, m7 7 ab G7, Capri Teng Jo Mo]Chapter 1 Basic Breccises a Bros and Parker approached simple triads with ITs. In both the following exrerprs the tonic ria is used For genali= zation, More on triadic generalization ean be found in chapter 3, “Triad with LNTs Gm? Bh | om7 cz 7 ‘The triad embellished by LTs can be found in chs Beethoven sonata and a Wes Montgomery improvisation, Beethoven Piano Sonata Op.14, No. 2 (G trad embellished with LTs) (C trad embellished with LT) c F EmZ_ am? Dm? G7 Cm? Parker embellished s diminished chord with Ls end the sum of the notes, like the previous Sonny Siit example, creates the half-whole diminished seal See tro at Afer ascending arpeggios on upper structures (-5-7-9-11) ofthe Eb minor chord, Bll Evans used LNs preceding the notes ofthe bale tad in the last meat ofthis example ebmo — Fabs [Compre Teal or og MansChapter 1 Basic Exercises 23 Lou Donaldson played this excerpt in an improvisation Can you see the triad as the basie musical idea ia the above Lou Donaldson excerpt? PTs are added 10 the triadic idea, and then eighth note chromatic leading tones are added, Here are several basic arpeggio and broken chord exercises from eatlie in the chapter with LN 145 Aspeggio with chord tones preceded by LNT 1.46 Broken chord patter (from exercise 1.13) with LNTs 147 Arpoggio with LNTs Conc Tei fo Jog Ma[a Chapter 1 Basic Exercises 148 Broken chord pattern (from exercise L.11) with LNT COMBINING UNT & LNT ON ARPEGGIO/BROKEN CHORD EXERCISES ‘Master the arpeggios and scales fret, chen master LNTs and UNT individually to prepare for practicing combinations ‘of UNTs and LNTs added to arpeggio and broken chord exercises 149 jon. Broken chord pattern (from enercice 1.13) with LNT ascending & UNT de- 1.50 Arpeggio with UNTs and LNTs Chae Parker plyed a broken chord ides in the frst two measures below with a mixture of UNTs and LNTS. Ir would be a mistake to analyze the melodic pitches in the fist two meses tlated to the indicated chords. Parker seemed 10 focus on the Bb tonic chord fortwo measure, and then addressed specific chords, Tis line is very sma to the Arm strong except shown on page 19. wh 6G = 6 Gm? Fm kim sb | Comprehenie Tecnigue for Jag MasonsChapter 1 Basic Exercises 25 ‘This exercise is based on the previous example, The first measure illustrates the simple broken chord oa which this exer. cise is based. The frst measure must be mastered before attempting to surround these chord tones with chromatic em. Dellishment. This can be applied to major triads (as shown) and minor triads. 151 Broken chord pattern (related to exercise 1.1) with mixture of UNTs and LNTs, ENCIRCLING CHORD TONES WITH UNT & LNT ‘Thousands of melodic Giguration examples involve the tadic chord tones enciscled by their UNT's and LNTs. As stated before and shown below, the UNTs are slmost always diatonic, the LNTs chromatic. Sonny Rollins surrounded each chord tone of a simple F arpeggio with the upper neighbor tone (UNT) - chord tone (CT) lower neighbor tone (LNT) and chord tone in the first measure below. The second measure recalls the pattern from Atmstrong’s West End Blues solo ~a broken arpeggio with upper neighbos tones. UNT-CT-LNT-CT pattern & UNT patterns Fimaj7 CChasie Parker and Ozear Petercon ignored the individusl harmonic details and generalized the tonic iad in Ue follow: ing examples. The four note pattern follows the arpeggio. The fest note of the pattern is the UNT followed by the chord tone (CT), the LNT and the CT again, dien a jump is made to the next chord tone's UNT. Tonic wiad encircled with UNT-CT-LNT-CT pattern “Tonic triad encircled with UNT-CT-LNT-CT pattern As you can see fom the following Beethoven example this encircling idea is nor new or unique to jazz. The pattetn is the same one used by Parker and Peterson: UNT.CT-LNT-CT,Comprebensve Techni or Jas, Muscans Chapter Basic Exercises Beethoven fram the 3rd movement of the 9 Symphony. === Same Chopin's Etude No.2, Op 25 is an excellent sudy in the wse of neighbor tones over simple tad, I seems 10 swing e- cause ofthe use ofthe spets andthe polyrhythms over the lft hand (ar shown hee), Danilo Perez has used excerpts Of this etude in his improvisations. Shown below are two short excerpts illustrating the simple P minor and Ab major trade embellished identically in parallel phrases. The circled notes indicate the tia. Tae chord tones, even though sur rounded by chromatic and diatonic neighbors are stressed sn part cue to their location on the strong beats, and becaute all surrounding notes poin back directly tothe chord tones. Tis neresting tha if al the neighbor tones were removed, ‘what remains is a qurter note tiplet melody ofthe chord cones: 5-5-5333 Chopin: Etude No.2, Op.25 (F minot) ‘Chopin: Bnade No2, Op.25 (A? relative major) Mozart used the pattetn found in Beethoven, Parker and Peterson, buts added a leap away to another chord tone and back to the original chord tone before continuing the sequence in the following two examples. Leaping away to another chord tone is called an arpeggjated tone, ‘Mozart Piano Sonata sn F major, K.532, Allegro Asai by ‘Mozart: Sonata in F major, K.547a, Allegro eaeChapter 1 Basic Exercises [Lee Morgan mat this line interesting with the use of chromatic encitcling of an F minor tad, Like the Chopin exam- pile, the chord tones 5-3-1 occur on the downbeats so that not only do the chromatic notes resalve to the chard tones, ‘but do so at significant zhythmic locations. FF minor triad with NTs Fm ‘Tete Montolia displaced the rhythmic accent in this syncopated example. He used a three note pattern of UNT-LNT- cr, ‘Triad with NTs on the Blues F ‘Tom Harrell makes a case for practicing in all twelve keys in the next two examples. These are from different runes, di ferent tempos and a halfstep par. ‘The material is identical with she eeroption af hythmic displacement, Thee exam ples should inspite you to ty thythmic displacement as a developmental tool in your improvisation and practice. The encircling pattern is LNT-UNT-CT, He encircled the third and root of the chord in two octaves, but played the fifth of the chord without any embellishment, E minor triad with NT elaboration Bb minor tiad with NT elaboration Emo 3 bao 3 Joe Pass used encircling patterns often. Ta the following aveerpt, Pase hagon 2 scale passage thet Iecame outline no it the first measure, bu relied on the encircling pattern CT-LNT-UNT.CT for the rest ofthe passage. Enciceling patterns Dmg Gr 6 cr F fe Tn order to be fluent with encircling patterns, you must first be luent with the basic triads. Begin by identifying the triad sed the appropriate UNTs & LNTs remembering that UNTs are usually diatonic and LNTs usually chromatic. In dhe ‘example below, the C minor tiad is assumed to be from the key of C minor, and therefore the UNT to G is Ab Ifthe C ‘minor triad was from dorian mode or as aii chord in the key of BP major, the UNT to G would be A natural Conrprebensive Tecigua for Jang, Mastinbs Chapter 1 Basic Exercises Encieeling a C Major Triad Enncieling a C Minor Triad ‘The following exercises will help you incorporate acighbor tone encircling ideas in your improvisations and composi= tions. There ae six basic neighbor tone patterns; two containing three notes; four containing four notes. The four note patteins are: CT-UNT-LNT-CT and its invetsion CT-LNT-UNT-CT, and UNT-CT-LNT-CT and its inversion LNT- CT-UNT-CT. The three note patterns are: UNT-LNT-CT, and the inversion, LNT-UNT-CT, "The frst set of exercives deal with four note pattesns and ate shown tor major tnads and minor triads. Two thythmie settings are shown for each, There ate endless chythmic variations considering the variety of subdivisions and displace: ments available, so be creative in your practice as you take dhese dhrough the different keys 4.82. CT-UNT-LNT-CT pattern for major triad 453 CT-UNT-LNT-CT pattem for minor triad. 154 CT-LNT-UNT-CT pattern for major triad [pai Tc for oe MoneChapter 1 Basic Exercises 185 CT-LNT-UNT-CT pattem for minor tiad 1.56 UNT-CT-LNT-CT pattern for major triad 157 UNT-CT-LNT-CT pattern for minor tiad 158 LNI-CT-UNT-CT pattem for major triad 159 LNT-CT-UNT-CT pattern for minor triad al Conan Tecan for ogy Mason]30 Chapter 1 Basic Exercises The next sets of exercises are created using three note encircling pattems. Three note patterns can be rhythmically intes- esting, The accents created by groupings of three eighth notes may imply a dotted quarter note pulse over the underlying {quarter note pulse, Experiment with different variations of rhythmic placement of these shree note patterns 4.60 UNT-LNT-CT pattern for major UNT-LNT-CT pattern for minor 61 LNT-UNT-CT pattern for major LNT-UNT-CT pattern for minor SCALES PRECEDED WITH UNT & LNT ENCIRCLING ‘The exercises up to this point have concentrated on using neighbor tones to encircle triad shapes. Exercises 1.62 and 1.63 are based on the next three examples that show how neighbor cones ate also useful for starting scale passages. UNT and LNT precede seale passage Bbmo UNT and LNT precede scale passage cm [ome Ter og nsChapter Basic Exercises 3} 1.62 UNT and LNT precede the 1-2-3-4-5 scale pattern for all rwelve major triads. Note that the scale passage still accentuates the basic triad since chord tones land on the downbeats, so that the scale notes 2 and 4 ate really just passing tones between the circled chord tones shown in mt. 1.63 UNT and LNT precede the 1-2-54-5 scale pattem forall twelve minor triads. bab an Fi a aChapter 1 Basic Exercises “The previous exercites began with neighbor tones and ascend the scale. Would the same idea work ifthe scale descends? Transpose these to all keys 164 UNT and LNT precede the §-4-3-2. scale pattern in major and minor Exercise 1.65 is a one octave scale, but every time the seale reaches a tonic chord tone (1-3-5) the CT-UNT-LNT-CT encircling pattern is inserted before continuing up oz down the scale. This exercise opens up new challenges for playing simple scales. This idea could be applied to any scale and infinite combinations of encieling patterns. 1.65 Scale with tonic triad encircled with CT-UNT-LNT-CT pattern COMMON CHROMATIC APPROACH “There is an ubiquitous pattern for approaching the third of the tonic triad that is lusrated in the following example foun Sonny Sit, The eyeal qusdnuples, discussed carer, begin this example cresting a step progression as shown by the arrows helow. The 1 natural the third af the tonic Bb chard, i appmnached nting a comman pattem hegioning an the F, down the scale othe Bh sips over the D to another chotd tone of the F chord the C, then the chromatic pass ing tone Ch. Chromatic approach to 3rd of conic shown in box | i | rh) eby Herbie Hancock used cycitcal quadruplets to create a step progression indicated by the arrows, and ended with a chro~ sacic approach to the thd of the F chord, + Gm! [eoaprcinas Tip raggaChapiert! Balas 33) Here are two different extmples from Clifford Brow. In the Gist, the chromatic approach leads to the ff, and then is sequenced to finally arrive at the thied of the tonic chord. In the second example, the chromatic approach leads to the third of the tonic chord F, but by the time it gets there, the chord has changed to D. Brown again sequenced the line to ceventwallysorive atthe thitd of the D7 chord Chromatic approaches Ebr “The intention below may help the vaderstanding of howe this chromatic appaoach works In the following example consider the melodie motion from the fifth to the third of an F triad (a). The same passage with 2 BP passing tone added (©). The same motion with chromatic approach from below (¢) Look atthe passage again as f the melodic motion was from the #9 of t9.7 chord resolving to the Bfth of a D minor chord (a) In this contest, the Br passing tone can alse be heard asthe 9 ofthe A7 chord and stil leads tothe ffth of D minor (b). The addition of che chromatic approsch takes nothing of te clasity away from the passage and migra the kind of approach wed by Clifford Brown above a be « Practice the folowing chromatic approach exercises forall keys 165 Approach to 3ed of C7 167 Approach to the 3rd of F major Gm? ar cr F 168 Approach to 5th of D minor 169 Combination of exercises 1.67 & 1.68 At Dm cr F heb Comprebensive Tebnigu or Jag, Mean)[34_ Chapter 1 Basic Exeecises In the following exercise, chtomatie approaches (marked with brackets) are used to approach the following notes m2 AG&dof F) m2 MGrdofD7) m3 E Grd of C7) mS DGrd of) m6 A (toot of Am) m6 PAGedof D7) m8 C(Sthof F) m1 ontepeat, D (5th of Gm), ‘Teanspose this exercise to all twelve keys 1.70 Chromatic approach exercise in the progression in the key of F. m7 cr Fma Dy om? cr Fma? FT bma7 Ebr Am? bt Gm cr Fmg? D7 "Genins begins great works; labor alone finishes them.” job bert [Canine Tega or J ar