Music theory stuff - Chad Ball

Jazz arpeggio – R, 3, 5, 7 / 3, 5, 7, 9

Diminished Chords / Scales

G7b9 = Bdim and that run of -3rds just continues in dim chords (Bdim, Ddim, Fdim, Abdim)

So…on dom7b9, the 3rd is a dim chord (w/h) and on dim chord, the b6 is a dom7b9 (h/w).

Triad pair w/ root and tritone.

So…diminished arpeggios are just notes a minor third apart. This is good knowledge.

*** Cdim = C maj triad plus C min triad***

 Avoid root by starting on -3rd

 Can move in 3rds or tritones

THESE PATTERNS REPEAT EVERY MINOR 3Rd

Cool thing to do on minor v-1

C7alt = Db-6 pentatonic shape (1, 2, b3, 5, 6) to F- = F-6 pentatonic – no 4th involved

Dominant 7th

On dom7b9, can play mel minor off 5th. Major 7th

Play diminished off b9 Play maj7 chord from 5th degree = pretty notes.

Triad pairs off tritones. Major 7#11

On a C7 (or C7b9 which I have been using) Minor pentatonic starting on maj 7.

 can play G mel minor. Quartal harmony starting on the 3 (but seems to be able to
 Db mel minor start on any chord tone).
 C#dim (w/h)
Minor 7#11
 E dim.
Major pentatonic starting on b7.
b9 adds tension and colour.
Dom7#11
Play half-dim sound off the third
MR + M2 (C7#11 = Cmaj + Dmaj)
Tetrachord – play first 4 notes of minor scale, then shift up
half step and do it again. This is basically W/H scale. Can Mixolydian on 2
also do this from the 5th.

Starting on b9, play triad pairs off 4th and 5th degree (E7 or
E7alt = F = Bb triad + C triad) Minor 7th

Triad pair = b7 + root (C7 = Bb + C) C-7 = Cm triad with Bb triad

Triad pair = -3rd + 4th (Cm = Eb + F)

On min7 -> maj triad off b7th degree Sus 4 chords

Maj7 scale/arp from the 4th degree

Alt chords Lyd from b7th

Melodic minor off b2 Dorian from 5th

9th tonality

Play a relative tonality off the third – playing the related triad off the third will always give the next level of extension.

For a 9th sound or playing over 9 chord, can play the reversed 7th chord starting on the 3rd of that chord. Example: For C-9, play
the Ebmaj7 shape. Or a Bbmaj9 is a D-7 over Bb.

Harmonizing w/ 6th in bass (p.149 Improvisors Bass Method)

On min7 chord, play maj7 tonality off b6. Reverse on a maj7 chord. On dim or half-dim, play dom 9.

Reduction Harmony – in major ii-V, using just the Vb9 over the whole thing makes it more melodic, hip, colourful and slows the
pace of the chords. Then resolve to the I.

Practice: DDB Walk On #16 and 17 – Adding dom7b9

Minor ii-V-I – play the tonic scale/mode. So in C- (D-7b5 / G7 / C-7), playing the C dorian or C harmonic minor will work.
Although, I might just want to try C mel minor instead and listen for that.

Chord/Scale Substitutions/Extensions

C-7#11 = Lydian OR C triad + D triad (has 9th, #11 and 13th … the pretty notes)

Melodic minor from the 5th

Another idea for minor ii-v-I would be:

ii-7b5 = Locrian

V7#9 = dim whole tone (altered)

Imin = melodic minor or dorian

Triad Pairs – from Connecting Jazz Theory by Gary Campbell page 78

Triads with same quality

Major w/ Major : Cmajor can pair with Dbmaj, Dmaj, F#maj, Bbmaj, Bmaj

[C+D= Cmaj7#11, Dsus11, Emin11, Gmaj7, Amin7, Bsus]

[C+F#TT = C7b9/F#7b9 and Eb7b9/A7b9]

Minor w/ Minor: Cmin can pair with same, roots as major but w/ minor tonality.

[Cmin+Dmin = Cmin7, A-7b5, Bbmaj7]

[Cmin+F#minTT = chord tone #9]

Major w/ Minor: Cmaj can pair with Dmin, Ebmin, F#min, Abmin, Bbmin, Bmin

[Cmaj+Bbmin = C7b9, G-7b5, Eb7b9

Minor w/ Major: Cmaj can pair with Dbmaj, Dmaj, Emaj, F#maj, Amaj, Bbmaj

C-7#11 = Cmin + D

C7#11 / Cmaj7#11 = C3 + D3 or Emaj + Dmin (maj3 + min2) or Cmaj + Gmaj

C-7 or C-11 = C- + Bb OR Ebmaj + Fmaj (-3 + 4)

C7 = Bbmaj + C maj (b7 + 1)

Csus = F + G (4 + 5)

C7b9 = C + Gb (1 + TT)

C7#9 = C + Eb (1 + #2)

What to play over what

Obviously, play the reverse polarity on the third of a maj or min chord.

For more…on minor chord, play Lydian Aug off of third. So #4, #5.

On dom7 -> minor 6th triad off 5th degree

 Play scale from 9th to 9th.

On maj7 -> play maj7th w/ both 6th deg

In minor ii-V-I, can play a dominant bebop scale (dom with b7 and natural 7) over a -7b5, starting a major 3 rd above the root.
Example: on a B-7b5, play G dominant bebop.

ROOTLESS voicings

10ths in major ii-V-I (p, 21 in soloing book, using the E and G string as normal)

Ii = 3rd in bass voice, 5th in melody voice

 Drop mel voice ½ step

V = 7th in bass voice, b9 in mel voice (OR..can drop both voices ½ step and mel voice becomes root)

 Drop both voices ½ step

I = 3rd and 5th

Slash Chords

Hit a chord tone, then a triad based on the bottom of the slash.