i

Scales & Arpeggios Workout

A bass clef boot camp for

Jazz Trombone

The slide trombone is a fabulous instrument but the way it works is pretty non-intuitive.

Sometimes, when a note goes down, the slide may go down, too, or it might go up, or stay

where it is for two or three notes in succession before moving down, or up. Thank heaven it

doesn’t move sideways as well! When you add to that the importance of alternate positions

and the fact that some notes are out of tune, requiring shortened slide positions, the

difficulties are increased.

All this creates knobbly-bits in the instrument’s execution and the purpose of these

exercises is to smooth them over. The exercises won’t turn anyone into a jazz soloist, but

playing them over and over (and over!) again will help a player achieve the level of

technique and mental agility needed.

The choice of octave is left to the player’s discretion in places – some exercises may be too high or

low for comfort. Exercises can also be extended beyond the given range.

Many examples are in an open key where the key changes every bar or half-bar.

MODES

In case anyone needs to be told this, the ‘ecclesiastic’ or ‘church’ modes are all tonal

displacements of the major scale. Starting on middle c and using only white notes for

simplicity, moving up a step each time, the modes in the order they appear, are:

Ionian (major scale); Dorian; Phrygian; Lydian; Mixolydian; Aeolian (natural minor)

and Locrian. The accuracy of transposing any scale to another root can be verified by

referring to its intervallic structure (semitone = 1). For example the major scale structure is

2212221.

The Dorian mode is a favourite with jazz musicians. It retains its structure when inverted,

whereas inverting other scales can be a useful way of writing a contrasting but related

section in a composition. For example, the complementary scale to C major is not its relative

minor or the scale on its dominant but its inverse, a Phrygian mode with a

four flats signature.

There are 36 seven unit scales comprising notes with different letter names.

A full list appears on page 122 of ‘the composer/arranger’:

http://www.arranging-composing.com

ii

Each of these scales has its own set of modal derivatives, although some will resemble

conventional scales. (For example, the fourth displacement of scale #1 in the above list is

identical to the scale of G major.) Every scale furnishes its own set of *diatonic chords, some

of which lie outside the usual families of chords used in jazz and popular music.

RELATED SCALES

An important aspect of harmony in jazz improvisation is the matter of related scales.

All diatonic chords are served by the notes of the particular key or mode.

The 3rd and 7th functions of a chord are most characteristic and will acquire emphasis in

melodization where it is desired to reaffirm the underlying harmony. The 5th acquires

significance in diminished, leading note 7th and augmented chords.

Melodization has to accommodate both the chord itself and the prevailing key, which may

be in the form of the nominal key, temporary modulation or a ‘tonal cell’ (the llm7 > V7

progressions that abound in jazz and standard songs).

Modal harmony will tend to avoid using chords foreign to the scale that destroy its purity so

the forms of melody/harmony correlation will be mainly diatonic, except where altered

upper functions occur (e.g.♭9, #9, #11).

With chromatic chords, the related scale will generally be the one from which the chord is

borrowed so that, for example, a Bb7 chord will probably be related to the scale of Eb

major, in which it forms the dominant chord.

(If we play the scale of Eb beginning on Bb, which may not necessarily be the case in real

music, we obtain the Mixolydian mode which is another way of viewing the subject.)

Augmented triads and the many variations of the augmented 7th chords are related to one

of the two forms of the whole tone scale (exercises 41/43).

Diminished 7th chords are often melodized by a scale comprising alternating whole tones

and semitones (exercise 37). String of Pearls is probably the most appropriate name for

these scales. Since dim7 chords resemble ‘flattened’ ninth chords with roots omitted, the

scales can be used with these chords, also. Just as there are three dim7 chords, there are

three of these scales, too.

Some writers have attempted to define a related scale for all chords, no matter which.

In my opinion, those who advocate extending the list of scales are rebels without a cause

because we already have the option to use notes in continuity or in simultaneity. In other

words, if we take the notes of a chord and spread them through time we produce a melody,

or scale, and if we take the notes of melody, or a selection from the melody, and use them

in simultaneity, we produce a chord. Of course, neither of the results will necessarily be

acceptable in their raw state but that doesn’t alter the principle.

iii

But, rather than dismiss the idea out of hand, let’s look at it in more detail.

Two notes in continuity or simultaneity form a melodic or harmonic interval respectively.

Three or more notes of different pitch moving stepwise in the same direction are required

to generate scalewise motion.

An online search using ‘related scales’ as a search term quickly reveals a bewildering

number of scale/chord associations. The problem is that we may require up to 6 notes of

different pitch, the exact number depending on the starting point and the number of

degrees in the scale, to define a scale type (i.e. before the characteristic note or notes

occur). In addition, most tunes regularly feature chord changes at the bar or half-bar,

placing severe constraints on the space available to incorporate such differently identified

scales in a melodic line whilst, at the same time, ensuring smooth harmonic connections

(which may already have required the insertion of unessential notes).

Tunes intended to be played at a fast tempo (e.g. Limehouse Blues) have less active

harmonic changes (thereby providing more musical space) but the velocity itself will

become our enemy, anyway, because rapid changes in tonality are difficult to listen to and

the subtleties of the additional scale identities will become lost.

Another important fact, that’s often overlooked, is that our awareness of tonality exists

both simultaneously and continuously so that the tonality of the approaching bar (or half-

bar) may sometimes be anticipated (you might, for example, play a b♭ as an **unessential

note over a G7 chord if the note plays a prominent part in the approaching bar). Anyone

who has attempted to play jazz lines over a chord sequence will have experienced the

occurrence of notes in the melodic line that contradict the harmony, and the difficulty of

avoiding them without destroying melodiousness (and performing theoretical back-flips in

order to justify their actions).

Because of the above considerations I concluded that the best solution was to limit the list

of related scales when I produced the scales/chords document but I am open to debate.

Regarding the absence of the various minor scales: the modes, including the Aeolian

(natural minor) occur during the stepwise permutations in the major scale exercises. Jazz

lines are concerned with the tonality of the underlying harmonies and, when we add to that

the many factors involved in playing solo lines that are musical in effect, jazz musicians will

rarely avail themselves of the different forms of the minor scale in creating their music.

‘Master your instrument, master the music and then just play’ Charlie Parker.

iv

MINOR SEVENTH CHORDS

These chords function as an ***adjunct to the surrounding harmonies so that their

treatment is slightly different to the more concise behaviour of other chords.

Dm7, for example, is found in the keys of C, F and Bb and their related minor keys.

In suitable circumstances any of these scales might be used in melodization.

In the tonal cell situation (IIm7 > V7 > I) the related scale will be a major scale beginning on a

note situated a whole tone below the root of the m7 chord. In a Dm7 > G7 > C progression

the related scale is C major. (The C chord might not actually appear.)

The related scale to a m7(b5) chord is a minor scale. In a Dm7(b5) > G7(b9) > Cm tonal cell

progression the related scale is C minor. It is recommended the player adapts exercises

31/33/35/40 to the minor mode, thereby covering the minor scales also.

Remember to lower the ninth of the seventh chord where it appears, e.g. in exercises

32/34/36, as well as the fifth of the m7 chord.

The ascending and descending forms of the sixth and seventh degrees of the melodic minor

scale will be respected although this process becomes blurred by the subtlety of

melody/harmony relationships in jazz improvisation. The distinction between major and

minor tonalities is itself sometimes ambiguous because of the background influence of blue

notes and the blues scale. The true minor chord (the tonic chord in a minor key) will often

have the addition of the 6th or major 7th. It is in a different family of chords to the m7

chord but is sometimes interchangeable with it.

PENTATONIC SCALES

****These scales comprise major scales with the two active notes, fourth and seventh,

removed, which accounts for their ability to fit almost anything, as any pop music composer

or rock guitarist knows.

Any group of five different pitches has the right to be called ‘pentatonic’ and each scale will

have its own set of diatonic harmonies and modal derivatives.

Similarly, there are also hundreds of three, four and six note scales, each with their own

diatonic harmonies. All whole tone scales are six note scales but the converse is not

necessarily true: all six note scales are not necessarily whole tone scales.

UNESSENTIAL NOTES

We’re all familiar with terms such as passing note, neighbouring note, exchange notes,

escape notes etc. etc… but, with the exception of the auxiliary note, all other forms are

called unessential notes in this document, for simplicity.

The auxiliary note is sometimes called an accented passing note or, in ‘straight’ harmony

books, a suspension. It differs from other forms in that it can be harmonically unmotivated.

v

It need not have any tonal relationship to what follows and can be set at almost any interval

above or below the ‘target’ note, although intervals that are too wide may cause the

auxiliary note to become detached.

Virtually all other unessential notes are present or potentially present in the harmonies.

Auxiliary notes may be in double, triple or multiple forms.

Pages 73/83 of ‘the composer/arranger’ describe unessential notes in more detail.

http://www.arranging-composing.com

Exercise 44: ‘Parallels’– bars or phrases that are repeated at equal intervals (usually

semitones) – are common in jazz over chromatically ascending or descending chords.

Exercise 45 is a sample of a 4 bar phrase over a C major chord with a brief analysis of the

‘thinking’ behind the music. Again, these ideas won’t turn anyone into a great jazz star and

music can’t actually be created this way but an awareness of structure does help stitch

music together (IMHO).

Exercise 46: These are suggested patterns to be adapted

maj/min; 7th/m7th on various roots. There are many other patterns.

Care in the choice of accidentals can greatly simplify written music. However, where the

tonality changes within the bar, it is difficult to rationalize the use of accidentals without, for

example, having both a# and b flat in the same bar, which is to be avoided where possible.

Other solutions would mix sharps and flats very rapidly in successive bars which, too,

is often unhelpful.

MUSIC NOTATION

I used MuseScore, a free music notation software program, to create these exercises.

It performed extremely well, especially when transposing, where it proved to be very stable.

There were no incidences of unwanted or ‘illogical’ accidentals, especially the double sharps

and flats that can be a curse with some programs.

As far as I have been able to see, it doesn’t permit changing key signatures without

preceding each successive signature with a cancellation but it did allow me to opt out of the

‘courtesy’ cancellation at the end of each previous line in these exercises.

Once selected, this option stays on by default.

The program’s use of text isn’t ideal, but I did push reasonable expectations a little,

especially on page 55. It doesn’t recognise the Alt/numeric chart of symbols in text but

these can be selected from a keyboard icon in the lower left of the screen, together with

other useful symbols.

vi

Selecting the natural sign produced a generic square, which happens with some point sizes.

(It happens with the notation in tempo markings, too.)

Cutting and pasting text doesn’t work either but it works well with notation. It would be

useful to be able to select an entire line of a multi-page score without shift-selecting the

first and last bars by using the end key to get to the last page. My other program allowed

this simply by double-clicking just before the first bar.

Text selection is rather hit-and-miss and can require huge amounts of patience.

Playback is OK, too, with a wide range of instrument sounds. The native sound font is poor

because the program’s creators obviously can’t predict each user’s computer power.

It’s easy to add other sound fonts. I replaced mine with GS Musescore v 1.44 which is a

marked improvement. When I experimented with larger sound fonts, some instruments

improved but others got worse. Brass and saxophone sounds are the biggest problem.

John Morton 14 February 2015

*Diatonic: Indicates that the notes of both harmony and melody conform to the tonality of the particular scale

in use, not merely the major and minor scales.

** b♭ can, of course, occur over a G7 chord as an extension but it has to be sustained or accented in some

way to acquire this status.

***Minor seventh chords: One likely reason is that, in the Gm7 > C7 progression, for example, the notes d and

f in the Gm7 chord were derived from double suspensions (especially after Mozart) resolving to the c and e of

the C7 chord. Although the m7 chord sounds pretty tame to us, it is a dissonant chord and was rarely sustained

in isolation. The world of ‘straight’ music had to wait for Debussy to use m7 chords with greater freedom,

especially those featuring higher extensions.

****Pentatonic scales: The pentatonic scale notated in this document is the conventional scale obtained by

playing the black notes on a piano, transposed to other roots.

vii

Free use should be made of

articulations and mixed articulations

in all exercises

2)2) Each descending group moves down in diatonic steps:

1)1) Each ascending group moves up in diatonic steps:44

1 2

2)2) Each descending group moves down in diatonic steps:

1 2

4)4) Each descending group moves up in diatonic steps:

3)3) Each ascending group moves down in diatonic steps:

43

4)4) Each descending group moves up in diatonic steps:

4

5

5)5) Ascending and descending groups. Each bar moves upwards in diatonic steps, with inserted unessential notes:

65

5)5) Ascending and descending groups. Each bar moves upwards in diatonic steps, with inserted unessential notes:

7

6)6) Alternative pattern to 5) with unessential notes:

87

9 10

7)7) as 5)but inverted:

9 10

11 12

11 12

8)8) as 6) but inverted:

1413

13 14

10)10) Scale pattern with inserted fifth interval:

9)9) Scale pattern with inserted sixth interval:

1615

10)10) Scale pattern with inserted fifth interval:

16

17

11)11) Scale pattern with inserted fourth interval:

1817

12)12) Scale pattern with inserted third interval:

19

14)14) as 11) but inverted:

13)13) as 12) but inverted:

2019

14)14) as 11) but inverted:

21 22

15)15) as 10) but inverted:

21 22

23 24

16)16) as 9) but inverted:

23 24

18)18) as 17) but inverted:

17)17) Groups of thirds ascending in diatonic steps:

25 26

18)18) as 17) but inverted:

25 26

20)20) as 19) but inverted:

19)19) Unessential notes inserted in each group:

2827

20)20) as 19) but inverted:

28

29

21)21) Each group of pattern approached by auxiliary note at interval of a semitone:

30

22)22) as 21) but inverted:

31

24)24) as 23) but inverted:

23)23) Pattern of thirds preceded by auxiliary note at interval of a semitone:

3231

24)24) as 23) but inverted:

33 34

25)25) Crabwise scales in thirds:

33 34

26)26) Crabwise scales in fourths:

35 36

28)28) Crabwise scales in sixths:

27)27) Crabwise scales in fifths:

35 36

29)29) Exercises 25/28 inverted:

37 38

37 38

Bm7

Fm7

Bm7

Fm7

Bm7

Fm7

32)32) Melodic petterns over llm7>V7:30)30) 'Triplet' figures (written in 12/8 for clarity):

31)31) llm7>V7 linked by cycle of fifths. Cycle closes efter 6 bars:

128

44

4039

Gm7 C7

G7

Gm7 C7

Dm7 G7

Gm7 C7

A7 Dm7

D7

A7

D7

D7Am7

B7 Em7

E7 Am7

B7 Em7

E7 Am7

Bm7

Fm7

Bm7

Fm7

Bm7

E7

Fm7 Dm7 G7A7B7 Em7

32)32) Melodic petterns over llm7>V7:

31)31) llm7>V7 linked by cycle of fifths. Cycle closes efter 6 bars:

3

3

3

3

3

3

44

40

F7

Fm7

Cm7

Fm7

Cm7F7

C7

G7

C7

G7

C7

Cm7D7 Gm7

Dm7

D7 Gm7

D7

D7 G7

Em7 A7

Am7

E7 A7

A7

Am7

Fm7 B7

Bm7 E7

F7 B7

B7 E7

Bm7 E7

Fm7G7Fm7 Dm7Em7 A7B7

Cm7 F7C7Gm7D7Am7Bm7 E7

Fm7Fm7 G7Dm7Em7 A7B7

Bm7Gm7Am7Bm7 D7E7 C7

Fm7Fm7 B7G7Dm7Em7 A7B7

Pattern over sequence of seventh chords:

34)34) Melodic patterns over llm7>V7:

33)33) as 31) with new starting chord:

Inverse of previous pattern with alternate m7 chords and inserted unessential notes:

3

3

4241

C7

Cm7

D7

G7

D7

G7

D7

Cm7

E7

A7 Dm7

E7 Am7

A7Dm7

E7 Am7

B7 Em7

F7 Bm7

B7 Em7

Bm7

F7

Fm7

Cm7

Fm7

Cm7F7

Am7Bm7Cm7

G7A7 Dm7B7 Em7Fm7

Cm7D7Cm7 F7 E7Bm7 Am7

G7Dm7Em7

Fm7A7B7Fm7

C7 Cm7D7 Gm7E7 Am7Bm7

G7Fm7 Dm7Em7 A7B7

Pattern over sequence of 7th chords:

Inverse of above, with alternate m7 chords and inserted unessential notes:

34)34) Melodic patterns over llm7>V7:

33)33) as 31) with new starting chord:

Inverse of previous pattern with alternate m7 chords and inserted unessential notes:

3

3

33

33

42

G7

D7

G7

D7

A7

Dm7

Am7 D7

D7

E7 A7

B7 E7

Em7 A7

Bm7 E7

F7 B7

F7

Fm7 B7

F7

C7

Cm7

F7Cm7 Am7Bm7 E7

G7Dm7A7Em7B7Fm7

F7 Am7 D7Bm7 E7Cm7

G7Dm7Em7 A7B7Fm7

Cm7 F7 Am7 D7Bm7 E7

G7Dm7Em7 A7B7Fm7

Pattern over sequence of 7th chords:

Inverse of above, with alternate m7 chords and inserted unessential notes:

43

Gm7

Dm7

Adim7

D7

A7

D7

A7

D7

E7 Am7

B7Em7

E7 Am7

B7 Em7

E7 Am7

D7

G7A7B7 Em7

D7E7 Am7Dm7

B7 A7

Bm7

Fm7

Bm7

Fm7

Bm7

Dm7 G7

Gm7C7

Dm7 G7

Gm7 C7

Dm7 G7

G7

D7

G7

D7

D7

Fm7C7Gm7G7

G7Bm7

Dm7D7

C7Fm7Gm7 Em7

Gm7

E7 Am7 D7 Dm7

Em7Gm7A7B7

G7

Bm7Dm7 G7D7

Fm7Gm7 C7G7

Inverse of above with alternate m7 chords and inserted unessential notes:

37)37) Scale patterns of alternating tone/semitone steps (in each case the relevent diminished seventh chords are shown):

36)36) Melodic patterns over llm7>V7:

35)35) as 33) with new starting chord:

33

33

3

3

4443

Em7 A7

Am7 D7

E7

Fm7 B7

Bm7 E7

D7A7B7

C7

G7

Edim7

Gm7

Dm7

Adim7

D7 G7

F7G7 E7 A7B7C7

D7Am7Bm7 E7G7Dm7

Fm7 Em7 A7B7C7Gm7

D7E7 Am7Bm7G7Dm7

A7B7C7 Fm7Gm7 Em7

Inverse of above with alternate m7 chords and inserted unessential notes:

37)37) Scale patterns of alternating tone/semitone steps (in each case the relevent diminished seventh chords are shown):

45 46

Bdim7Edim7

Bdim7 Adim7

D7

Edim7Adim7

Bdim7 Adim7

D7

Bdim7Edim7

These pattern are the reverse of the previous three patterns:

45 46

Cdim7

Ddim7

Gdim7

Cdim7

Gdim7

Adim7

Edim7

Bdim7

Adim7

Edim7

Bdim7

Adim7

Edim7

Bdim7

Adim7

Bdim7 Gdim7Edim7

Ddim7Edim7Adim7

Gdim7Adim7Bdim7

Bdim7 Bdim7Edim7

Edim7Adim7 Edim7

Ascending groups:

The reverse of the previous three patterns:

The reverse of the previous three patterns:

38)38) Diminished seventh chord patterns:

Another typical melodic pattern over these scales:

47 48

Gdim7

Cdim7

Gdim7

Gdim7

Fdim7

Bdim7

Adim7

Ddim7 Ddim7

Adim7Bdim7 Adim7

Edim7 Edim7

Adim7Bdim7

Bdim7 Adim7

Edim7 Edim7

Bdim7

Ddim7

Adim7

Bdim7

Fdim7

Cdim7

Ddim7

Gdim7

Cdim7

Gdim7

Ddim7 Ddim7Edim7Fdim7 Edim7Gdim7

Fdim7Edim7Ddim7 Gdim7Edim7Ddim7

Bdim7 Cdim7Adim7 Bdim7Adim7Gdim7

Adim7Bdim7

Bdim7Edim7

38)38) Diminished seventh chord patterns:

47 48

Ddim7Fdim7 Ddim7Edim7Edim7Gdim7

Gdim7Adim7Bdim7Cdim7 Adim7Bdim7

Gdim7 Bdim7 Cdim7Adim7 Adim7 Bdim7

Edim7 Fdim7Ddim7 Gdim7Edim7Ddim7

39) 39) Pentatonic scales:

34

49 50

49 50

B7

A7

G7

E7

C7

D7

C7

B7Em7

G7 Dm7

E7 Bm7

D7Gm7

Gm7

Fm7

Dm7

Bm7

Am7

Fm7

Fm7 B7

Em7 A7

Cm7 F7

Am7 D7

Am7 D7

Bm7 Am7Bm7 E7E7

F7

Bm7Cm7Dm7 Dm7G7 G7

Em7A7Fm7 Em7 A7 Dm7

Em7

B7

Gm7

42) 42) Whole tone scales, crabwise:

41)41) Whole tone scales (there are only two of them):

As above. New starting chord:

40)40) llm7>V7 (Bars descending in semitones. Cycles now close after 12 bars Ref: 31), 33), 35):

As above. New starting chord:

44

34

44

5251

Am7 D7D7 Am7E7Bm7

Cm7 F7 Bm7E7

Dm7 G7

Dm7Em7 G7A7 Em7 A7

Fm7 B7B7C7 Fm7Gm7

42) 42) Whole tone scales, crabwise:

41)41) Whole tone scales (there are only two of them):

As above. New starting chord:

44

34

52

Inverse of above:

Another alternating pattern:

Inverse of above:

As above, other whole tone scale:

Inverse of above:

As above, other whole tone scale:

Inverse of above:

43) Whole tone scale, altenating patterns:

44)44) Parallels (see Pages i/iv):

5453

45) 45) 4 bar solo over Cmajor

Bar 1: Bar 1: b and d are sometimes called 'changing notes' They 'surround' the target note, c.They could equally be called 'auxiliary notes'. f# is an auxiliary note set a semitone away from g. The final b in this bar is chordal (Cmaj7) or it could be regarded as a 'passing note'.Bar 2: Bar 2: The a, d and b are also chordal but are used here as diatonic auxiliary notes. Or, we could insist on calling the a and d chordal (6th and 9th respectively) if, perhaps, the surrounding orchestration demanded this, and define the g and c as being 'lower neighbouring notes'.Bar 3:Bar 3:b is used here which could be a 'blue' note but the b would have tended to resolve upwards to the c anyway. d# is another auxiliary note.Bar 4:Bar 4:a and f# surround the target note g. f would have tried to resolve down to e.We might call them 'double auxiliary notes'. d is another example of a 'lower neighbouring note'. *The final b is chordal (maj7) because of its emphasis. After-notes that stop suddenly often acquire an implied accent.

Despite the chromatic notes and the variety of forms, this jazz extract remains firmly anchored to the chord of Cmajor. Playing around with this kind of thing, over various chords, is a fun way to practise.

Comments or suggestions are welcome: perform@blueyonder.co.ukperform@blueyonder.co.uk

44)44) Parallels (see Pages i/iv):

54

*45) 45) 4 bar solo over Cmajor

Bar 1: Bar 1: b and d are sometimes called 'changing notes' They 'surround' the target note, c.They could equally be called 'auxiliary notes'. f# is an auxiliary note set a semitone away from g. The final b in this bar is chordal (Cmaj7) or it could be regarded as a 'passing note'.Bar 2: Bar 2: The a, d and b are also chordal but are used here as diatonic auxiliary notes. Or, we could insist on calling the a and d chordal (6th and 9th respectively) if, perhaps, the surrounding orchestration demanded this, and define the g and c as being 'lower neighbouring notes'.Bar 3:Bar 3:b is used here which could be a 'blue' note but the b would have tended to resolve upwards to the c anyway. d# is another auxiliary note.Bar 4:Bar 4:a and f# surround the target note g. f would have tried to resolve down to e.We might call them 'double auxiliary notes'. d is another example of a 'lower neighbouring note'. *The final b is chordal (maj7) because of its emphasis. After-notes that stop suddenly often acquire an implied accent.

Despite the chromatic notes and the variety of forms, this jazz extract remains firmly anchored to the chord of Cmajor. Playing around with this kind of thing, over various chords, is a fun way to practise.

Comments or suggestions are welcome: perform@blueyonder.co.ukperform@blueyonder.co.uk

3

55

Major chord

'Dominant' 7thBar 1: Bar 1: b and d are sometimes called 'changing notes' They 'surround' the target note, c.They could equally be called 'auxiliary notes'. f# is an auxiliary note set a semitone away from g. The final b in this bar is chordal (Cmaj7) or it could be regarded as a 'passing note'.Bar 2: Bar 2: The a, d and b are also chordal but are used here as diatonic auxiliary notes. Or, we could insist on calling the a and d chordal (6th and 9th respectively) if, perhaps, the surrounding orchestration demanded this, and define the g and c as being 'lower neighbouring notes'.Bar 3:Bar 3:b is used here which could be a 'blue' note but the b would have tended to resolve upwards to the c anyway. d# is another auxiliary note.Bar 4:Bar 4:a and f# surround the target note g. f would have tried to resolve down to e.We might call them 'double auxiliary notes'. d is another example of a 'lower neighbouring note'. *The final b is chordal (maj7) because of its emphasis. After-notes that stop suddenly often acquire an implied accent.

Despite the chromatic notes and the variety of forms, this jazz extract remains firmly anchored to the chord of Cmajor. Playing around with this kind of thing, over various chords, is a fun way to practise.

Comments or suggestions are welcome: perform@blueyonder.co.ukperform@blueyonder.co.uk

*

'Dominant' 7th

Major chord

47)47) The 'Blues' Scale Descending:46)46) Basic chord patterns to be adapted to all types (major; major 7th; minor; minor 7th; 'dominant'7th; 'leading tone' 7th; diminished; diminished 7th; augmented):

128

44

5655

Ascending:

47)47) The 'Blues' Scale Descending:

44

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This page in the document represents progress to date. Comments are welcome with the possibility that suggestions may be incorporated into future amendments.

John Morton perform@blueyonder.co.uk

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