Scales & Arpeggios Workout

A bootcamp in bass clef

John Morton

Scales & Arpeggios Workout

A bootcamp in bass clef

Since all instruments play in all keys these scales are in the same keys as the treble clef version.

The choice of octave is left to the player’s discretion in places. The original document was intended for trombonists but bass players liked it, too, so the exercises have been re-vamped to remain (mostly) in the usual register for pizzicato continuum playing.

Some examples are in an open key where the key signature would otherwise change every bar or half-bar.

Having played each exercise through it’s important to play them by ‘ear’ as soon as possible. Anyone can read music. Free use should be made of articulations and mixed articulations in all exercises.

MODES

In case anyone needs to be told this, the conventional scale 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/diagram is available from the author on request.)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 ‘standard’ popular tunes.

i

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 IIm7 > V7 progressions that abound in jazz and standard songs).

Modal harmony will tend to avoid using chords foreign to the scale since they 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.

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

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

ii

Many of the prescribed scales will be unfamiliar to most people and the proposals are, in any case, fraught with difficulties. Jazz improvisation serves as a foil to formally orchestrated music, where the listener shares the moment of discovery with the performer so that attempts also to formulate improvised solos are misdirected from the outset.

There are also technical difficulties. Quite apart from the problem of being able mentally to assemble the chords and scales, especially at fast tempos, the act of tying down the improvisation to vertical structures must damage the horizontal, or linear, success of the music.

In a typical chord sequence comprising predominantly two chords per measure, there will be insufficient time for scales to commit themselves to membership of a type. For example, if we are using the scale of G major, its identity will not become clear until the f# appears and forcing the issue might conflict with what the improvisor is trying to achieve. The G major scale has notes shared by other scales.

Then we have to consider the various types of unessential notes and also the melodic fragments that are often harmonically unmotivated – run-ups, lead ins, fills etc. – which will often use series of semitones.

Jazz musicians will also use sections of the ‘blues’ scale and the pentatonic scale, both of which lend themselves to diverse forms of melody/harmony relationships.

When all these factors are taken into account there will be little opportunity to guarantee the use of the suggested chord/scale approach.

‘You can’t think and play jazz at the same time’ Sonny Rollins

Another important fact, that’s often overlooked, is that our awareness of tonality exists both simultaneously and in continuity so that the tonality of the approaching bar (or half-bar) may sometimes be anticipated. You might, for example, play an unessential note that is not part of the underlying harmony 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 this document but I am open to debate.

iii

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 influenced by 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 consciously of the different forms of the minor scale in creating their music.

The ascending and descending forms of the sixth and seventh degrees of the melodic minor scale may need to 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.

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

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.)

In a Dm7(b5) > G7(b9) > Cm tonal cell progression the related scale is C harmonic minor. It is recommended the player adapts all exercises to the minor mode.

Remember to lower the ninth of the seventh chord as well as the fifth of the m7 chord. In the example below the ninth is actually omitted because the melodic line flows better without it.

iv

2268

2265

2262

2259

Inverse of above with inserted unessential notes:

A7♭9

E♭7♭9

D♭7

Em7♭5C♭7♭9

B♭m7♭5

A♭7

F7♭9

G♭m7♭5

E♭7

Cm7♭5

B♭7

D♭7♭9A♭m7♭5

G7♭9

F7

Dm7♭5

C7

G7D7A7

D♭7

G7

A♭7E♭7

D7A7

E7B7F♯7

B♭7

E7B7

F7C7

F♯7

57

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. 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 too detached.

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

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

‘Parallels’ – bars or phrases that are repeated at equal intervals (usually semitones) – are common in jazz over chromatically ascending or descending chords.

Page 45 shows 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).

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.

v

MUSIC NOTATION

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

John Morton January 2020

*Diatonic: Indicates that the notes both of harmony and melody conform to the tonality of the particular scale in use, not merely the major and minor scales.

**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 in 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 composers like 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.

vi

41

37

33

29

25

17

21

13

9

5

Each ascending group moves up in diatonic steps:

1

85

81

77

73

69

61

65

57

53

49

45

Each descending group moves down in diatonic steps:

2

129

125

121

117

113

105

109

101

97

93

89

Each ascending group moves down in diatonic steps:

3

173

169

165

161

157

149

153

145

141

137

133

Each descending group moves up in diatonic steps:

4

217

213

209

205

201

193

197

189

185

181

177

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

5

261

257

253

249

245

237

241

233

229

225

221

6

305

301

297

293

289

281

285

277

273

269

265

Alternative pattern with inserted unessential notes:

7

349

345

341

337

333

325

329

321

317

313

309

8

393

389

385

381

377

369

373

365

361

357

353

Inverted forms of previous patterns:

9

437

433

429

425

421

413

417

409

405

401

397

10

481

477

473

469

465

457

461

453

449

445

441

11

525

521

517

513

509

501

505

497

493

489

485

12

569

565

561

557

553

545

549

541

537

533

529

13

613

609

605

601

597

589

593

585

581

577

573

Scale pattern with inserted sixth interval:

14

657

653

649

645

641

633

637

629

625

621

617

Scale pattern with inserted fifth interval:

15

701

697

693

689

685

677

681

673

669

665

661

Scale pattern with inserted fourth interval:

16

741

737

733

729

721

725

717

713

709

705

Scale pattern with inserted third interval:

17

785

781

777

773

769

761

765

757

753

749

745

Inverted forms of patterns with inserted intervals

18

829

825

821

817

813

805

809

801

797

793

789

19

873

869

865

861

857

849

853

845

841

837

833

20

917

913

909

905

901

893

897

889

885

881

877

21

961

957

953

949

945

937

941

933

929

925

921

Groups of thirds ascending in diatonic steps:

22

1005

1001

997

993

989

981

985

977

973

969

965

23

1049

1045

1041

1037

1033

1025

1029

1021

1017

1013

1009

Previous pattern inverted:

24

1093

1089

1085

1081

1077

1069

1073

1065

1061

1057

1053

Pattern featuring thirds with unessential notes inserted in each group:

25

1137

1133

1129

1125

1121

1113

1117

1109

1105

1101

1097

Previous pattern inverted:

26

1181

1177

1173

1169

1165

1157

1161

1153

1149

1145

1141

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

27

1225

1221

1217

1213

1209

1201

1205

1197

1193

1189

1185

Previous pattern inverted:

28

1269

1265

1261

1257

1253

1245

1249

1241

1237

1233

1229

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

29

1313

1309

1305

1301

1297

1289

1293

1285

1281

1277

1273

Previous pattern inverted:

30

1357

1353

1349

1345

1341

1333

1337

1329

1325

1321

1317

Crabwise scales in thirds:

31

1401

1397

1393

1389

1385

1377

1381

1373

1369

1365

1361

Crabwise scales in fifths:

Crabwise scales in fourths:

32

1445

1441

1437

1433

1429

1421

1425

1417

1413

1409

1405

Crabwise scales inverted:

Crabwise scales in sixths:

33

1489

1485

1481

1477

1473

1465

1469

1461

1457

1453

1449

34

1533

1529

1525

1521

1517

1509

1513

1505

1501

1497

1493

35

1556

1553

1551

1549

1545

1547

1543

1541

1539

1537

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

'Triplet' or 12/8 figures:

Edim7Adim7

36

1589

1586

1583

1580

1577

1571

1574

1568

1565

1562

1559

Another typical melodic pattern over these scales:

Retrograde forms of the previous three patterns:

Edim7Adim7

Adim7Bdim7

Bdim7

Edim7

Edim7

Adim7

Adim7Bdim7

Bdim7Edim7

37

1619

1616

1613

1610

1604

1607

1601

1598

1595

1592

Retrograde forms of the previous three patterns:

Ascending groups:

Retrograde forms of the previous three patterns:

Bdim7

Edim7

Edim7

Adim7

Adim7Bdim7

Bdim7

Edim7

Adim7

Edim7

Adim7

Bdim7

Bdim7

Edim7

Edim7

Adim7

Adim7Bdim7

Bdim7Edim7

38

1649

1646

1643

1640

1634

1637

1631

1628

1625

1622

Diminished seventh chord patterns (correct chromatic spelling not observed here):

G♭dim7

D♭dim7

Fdim7

Ddim7

Edim7

E♭dim7

Gdim7

Cdim7

Gdim7

G♭dim7

A♭dim7Adim7

Bdim7

A♭dim7

Fdim7

B♭dim7

Adim7

Edim7

E♭dim7

Edim7

Ddim7

Fdim7

D♭dim7

G♭dim7

B♭dim7

Adim7

B♭dim7

E♭dim7

Bdim7Cdim7

A♭dim7

Bdim7

Ddim7

Gdim7

D♭dim7

Cdim7

D♭dim7

G♭dim7

Ddim7

Fdim7

E♭dim7

Edim7

Cdim7Bdim7B♭dim7

Edim7

E♭dim7

Fdim7

Ddim7

G♭dim7

D♭dim7

Adim7A♭dim7Gdim7

Adim7Bdim7

39

1689

1685

1681

1677

1673

1665

1669

1661

1658

1655

1652

Pentatonic scales:

D♭dim7

Gdim7

Cdim7

Ddim7

A♭dim7

E♭dim7

Adim7

Bdim7B♭dim7

Edim7

B♭dim7

Adim7

Fdim7

Bdim7

G♭dim7

Cdim7

A♭dim7Gdim7

40

1733

1729

1725

1721

1717

1709

1713

1705

1701

1697

1693

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

41

1775

1771

1767

1763

1759

1753

1756

1749

1745

1741

1737

Inverse of above:

As above, other whole tone scale:

Inverse of above:

Whole tone scale, altenating patterns:

Whole tone scales, crabwise:

42

1819

1815

1811

1807

1803

1795

1799

1791

1787

1783

1779

Parallels:

Inverse of above:

As above, other whole tone scale:

Inverse of above:

Another alternating pattern:

43

1855

1851

1847

1843

1835

1839

1831

1827

1823

44

1859 3

*

First bar: 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'.Second bar: 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'.Third bar:b flat 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.Fourth bar: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.

'Test case' of 4 bar solo over Cmajor chord

45

1883

1879

1875

1871

1867

1863

The 'Blues' Scale descending:

46

1907

1903

1899

1895

1891

1887

The 'Blues' scale ascending:

47

Cycle of 5th patterns

1947

1943

1939

1935

1931

1923

1927

1919

1915

1911

Adjust octaves at will

D7Am7

C7Gm7

Em7

Dm7

G

F

B♭7Fm7

A♭7E♭m7

F♯7

D7

E7

C♯m7

Am7

Bm7

Cm7E♭

B♭m7

G♯m7

Em7

F♯m7

D♭

B

G

A

C♯7

B7

G♯m7

F♯m7

D♯m7F♯

C♯m7E

A7Em7

G7

F7

E♭7

Dm7

Cm7

A♭m7

B♭m7

Bm7D

Am7C

Gm7

Fm7

B♭

G♭

A♭

C7Gm7Dm7F

B♭7Fm7

A♭7E♭m7

Cm7E♭

B♭m7D♭

D♭7

B7F♯m7

E♭m7

C♯m7E

A7Em7

G7Dm7

Bm7D

Am7C

48

1991

1987

1983

1979

1975

1967

1971

1963

1959

1955

1951

C7Gm7

B♭7Fm7

Dm7

Cm7

F

E♭

A♭7E♭m7

F♯7C♯m7

E7

C7

D7

Bm7

Gm7

Am7

B♭m7D♭

G♯m7

F♯m7

Dm7

Em7

B

A

F

G

B7

A7

F♯m7C♯m7

Em7Bm7

E

D

G7Dm7

F7

E♭7

B7

D♭7

Cm7

B♭m7

F♯m7

A♭m7

Am7C

Gm7B♭

Fm7

C♯m7

E♭m7

A♭

E

G♭

Fm7 B♭7Cm7E♭

A♭7E♭m7

F♯7C♯m7

E7Bm7

B♭m7

G♯m7

D♭

B

F♯m7A

A7Em7Bm7D

G7

F7

Dm7

Cm7

E♭7B♭m7

Am7C

Gm7B♭

Fm7A♭

49

2035

2031

2027

2023

2019

2011

2015

2007

2003

1999

1995

3

3

3

3

3

3

3

3

3

3

33

B♭7Fm7

A♭7E♭m7

Cm7

B♭m7

E♭

D♭

F♯7C♯m7

E7Bm7

D7

B♭7

C7

Am7

Fm7

Gm7

G♯m7B

F♯m7

Em7

Cm7

Dm7

A

G

E♭

F

A7

G7

Em7Bm7

Dm7

D

Am7C

F7Cm7

E♭7

A7

B7

D♭7

B♭m7

A♭m7

Em7

F♯m7

Bm7

Gm7B♭

Fm7A♭

E♭m7

C♯m7

G♭

D

E

A♭7E♭m7B♭m7D♭

F♯7C♯m7

E7Bm7

D7Am7

G♯m7

F♯m7

B

A

Em7G

G7Dm7Am7C

F7

E♭7

Cm7

B♭m7

C♯7G♯m7D♯m7

Gm7B♭

Fm7A♭

F♯

50

2079

2075

2071

2067

2063

2055

2059

2051

2047

2043

2039

A♭7E♭m7

F♯7C♯m7

B♭m7

G♯m7

D♭

B

E7Bm7

D7Am7

C7

A♭7

B♭7

Gm7

Fm7

E♭m7

F♯m7A

Em7

Dm7

B♭m7

Cm7

G

F

D♭

E♭

G7

F7

Dm7

Cm7

Am7C

Gm7B♭

E♭7B♭m7

C♯7

B7

A7

G7

G♯m7

F♯m7

Em7

Dm7

C♯m7

Bm7

Fm7A♭

D♯m7F♯

Am7

E

D

C

F♯7C♯m7G♯m7B

E7Bm7

D7Am7

C7Gm7

F♯m7

Em7

A

G

Dm7F

F7Cm7Gm7B♭

E♭7

D♭7

B♭m7

A♭m7

B7F♯m7C♯m7

Fm7A♭

E♭m7G♭

E

51

2118

2115

2111

2107

2099

2103

2095

2091

2087

2083

m7 – Dominant 7 one-bar patterns linked by semitones and whole tones:

A7

E♭7

Em7

B♭m7

C♭7

F7

A♭7

C7Gm7

F♯7

E7

C♯m7

Bm7

E♭m7A7Em7

D♭7

G♯m7

F7

A♭m7

B

Cm7

G♭m7

Cm7

D♭7

G7

A♭m7

Dm7

B♭7Fm7

D7

F7

F♯7

Am7

Cm7

C♯m7

B7F♯m7

E♭7

Gm7

G7

B♭

Dm7

B♭m7

E7Bm7F♯m7A

D7Am7

C7Gm7

B♭7Fm7

Em7

Dm7

G

F

Cm7E♭

E♭7B♭m7Fm7A♭

D♭7

B7

A♭m7

F♯m7C♯m7

A7Em7

E♭m7G♭

E

Bm7D

52

2155

2151

2148

2145

2142

2136

2139

2133

2129

2125

2121

E♭7

G7Dm7

B♭m7E7

A♭7

Bm7

E♭m7

D♭7

G7

C7

C7

G♭7

A♭m7E♭7

Dm7

Gm7

Gm7

D♭m7

A7

D7

D7

A♭7

F7

A7

Cm7

Em7

F♯7

B♭7

C♯m7

Fm7

B♭m7

Em7

Am7

Am7

B7

E♭m7

F7Cm7

E7

E7

B♭7

F♯m7

Bm7

Bm7

Fm7

F♯7C♯m7A♭7

B7

E♭7

G7Dm7

F♯m7C7

B♭m7E7

Gm7

Bm7

A♭7E♭m7

E♭m7B♭7Fm7

D♭7

F7

A♭m7

Cm7

A7Em7

D7

F♯7

Am7

C♯m7

B♭7Fm7

53

2193

2190

2187

2184

2181

2175

2178

2171

2167

2163

2159

3

3

3

3

3

3

3

3

3

3

3

3

G7

C7

Dm7

Gm7

A7

D7

G♭7

D♭7

G7

G♭7

C7

D♭m7A♭7

Dm7

D♭m7

Gm7

A♭m7

A7

A♭7

D7

Em7

Am7

B7

E7

F♯m7

Bm7

E♭m7

E♭7

Em7

Am7

B♭m7

E♭m7

B♭7Fm7

F7

B7

E7

B♭7

Cm7

F♯m7

Bm7

Fm7

C7Gm7D♭7A♭m7

E7

A♭7

B7

Bm7F7

E♭m7A7

Cm7

Em7

F♯m7C7Gm7

D7Am7E♭7B♭m7

F♯7

B♭7

C♯m7

Fm7

D♭7A♭m7

G7

B7

Dm7

F♯m7

D7Am7

54

2226

2223

2220

2217

2214

2208

2211

2205

2202

2199

2196

C7

G♭7

Gm7

D♭m7

D7

A♭7

D♭7

G7

C7

D♭7

G♭7

A♭m7E♭7

Dm7

Gm7

A♭m7

D♭m7

A7

D7

Am7

E♭m7

E7

B♭7

Bm7

Fm7

B♭m7

Em7

E♭7

A♭7

Am7

B♭m7

E♭m7

F7Cm7

B7

E7

F7

B♭7

F♯m7

Bm7

Fm7

Cm7

G7Dm7A7

C7

G♭7

D♭7

Gm7

D♭m7

D7

A♭7

A♭m7E♭7

Em7B7F♯m7

Am7

E♭m7

B♭m7

E7

B♭7

Bm7

Fm7

F7Cm7

55

2256

2253

2250

2247

2241

2244

2238

2235

2232

2229

Inverse of above with inserted unessential notes:

Patterns over sequences of seventh chords:

C7

G♭7

G7

D♭7

D7

C7

G♭7

G7

D♭7

G7D7

D♭7

Dm7

A♭m7

A♭7

A7

E♭7

A7E7

E♭7B♭7

B7

F7A♭7

A7

Em7

E♭7

B♭m7

E7B7

B♭7

B7

F7

F7

F♯m7

Cm7

C7Gm7D7

G♭7

D♭7

G7

D♭m7

A♭m7

A♭7

Dm7A7

Am7E7Bm7

E♭7

E♭m7

B♭m7

Em7B7

B♭7

F7

Fm7

Cm7

F♯m7

56

2268

2265

2262

2259

Devise minor key versions of all cycle of fifth patterns using flat5 and flat9

John Mortonperform@blueyonder.co.uk https:composerarranger.net

Inverse of above with inserted unessential notes:

D♭7A♭7E♭7B♭7F7C7

G7D7A7

D♭7

G7

A♭7

D7A7

E7B7F♯7

E♭7B♭7

E7B7

F7C7

F♯7

57

2303

2299

2295

2291

2287

2283

2279

2275

2271

Augmented seventh

Augmented triads (there are only four of them)

58

2343

2339

2335

2331

2323

2327

2319

2315

2311

2307

59