CHROMATIC Transposition of II v I BEBOP LINES Chromatic Transposition of II v I Bebop Lines Jen...
Transcript of CHROMATIC Transposition of II v I BEBOP LINES Chromatic Transposition of II v I Bebop Lines Jen...
Jazz Improvisation Series
CHROMATIC TRANSPOSITION OF II-V-I BEBOP LINESby Jen-Kuang Chang
© 2005 by Jen-Kuang ChangAll Rights Reserved
No Parts of this publication may be reproduced, in any form or by any means, without written permission from author
2
ACKNOWLEDGMENTS
ABOUT AUTHOR
OBJECTIVE
The author of this project would like to thank his friends for their kind assistance, profound insight, and willingness to
share his knowledge unconditionally. Additional thanks go out to George Garzone, Jerry Bergonzi, David Liebman, Hal Crook,
Jeff Harrington, and Fred Lipsius for their inspiring publications. Finally, a special thanks goes to my family members for their
firm support.
Chang Jen-Kuang graduated from Berklee College of Music (B.M.), studying with renowned jazz educators such as
George Garzone and Fred Lipsius. He is working toward his master degree with an emphasis on the music education in the
Emporia State University, Department of Music. While completing graduate study in ESU, he serves as a Graduate Teaching
Assistant and the MIDI LAB Assistant from 2002 to 2004. He is currently working on his master thesis, an analytical study on the
improvisation technique of the celebrated jazz alto saxophonist Charlie Parker, which won the Harold Durst Graduate Research
Award in 2004.
This project is designed to meet the demands of intermediate to advanced jazz saxophonists as they establish the
dexterity of their sight-reading skill in all key signatures. The standard ii-V-I jazz lines of the bebop era are transposed
chromatically, covering the full register of a saxophone to extend the technical flexibility. The author of this project avoids lengthy
theoretical annotation, aiming to establish the practical aspect as a sight-reading exercise. However, it is advised that the
saxophonists review the theoretical structure of each jazz line parallel to the sight-reading practice in order to enhance the
learning activity. Although the project is designed specifically for jazz saxophonists, it can be used by other jazz instrumentalists
who wish to develop their sight-reading skill.
3
CHROMATIC TRANSPOSITION OF II-V-I BEBOP LINES: THEORETICAL CONSIDERATIONSby Chang Jen-Kuang
The sole objective of this paper is to provide a brief theoretical annotation to twenty jazz lines in the style of the bebop.
The basic linear constructions of jazz lines in the bebop era are excluded purposefully, limiting the discussions only to the
constructions that might be beneficial to the developing jazz improvisors as a critical supplement to their own studies.
Discussions are grouped thematically to enhance the associations of the concepts of jazz melodic construction.
Inverted mordent has been favored by improvisors of the bebop era as a valid element in embellishing their
improvisational lines. Legitimately speaking, the term mordent refers to the ornamentation of written music which might not serve
as a valid reference when considering the improvisational nature of jazz music in the bebop era. It is noted that the author
implies only the aspect of musical embellishment when adopting the terminology. During the bebop era, alto saxophonist Charlie
Parker, along with other bebop improvisors, utilized this element effectively in almost every single improvisation. This particular
element of bebop improvisation is avoided, consciously or unconsciously, by contemporary jazz improvisors as a way of
departing from the influence of bebop. In this project, aiming to use bebop as a common musical language in jazz to enhance
sight-reading capacity, the author includes this element as a basic constructional block in building jazz lines which can be found
on numerous occasions.
Compound melody, a device that has been utilized by the composers of western classical music, is also closely
associated with bebop improvisation. Compared to quotation, which might serve as a musical metaphor or a figurative
vocabulary in jazz improvisation, compound melody has its constructional necessity in linear melodic structure when elaborating
a single melodic line. One is advised to analyze the difference between compound melody and countermelody, the latter
consisting of a main melody and its counterpart. In this project, the author utilizes this particular constructional devise on
numerous occasions. For example, the second and the eighth lines illustrate such usage.
Bebop character phrase, or bebop lick as suggested by David Baker and Jerry Coker, along with other musical
components, has established bebop as one of the most identifiable music language in jazz. Parallel to the musical developments
of major bebop figures such as Charlie Parker, Dizzy Gillespie, Pud Powell, and other bebop improvisors, the bebop character
phrase was introduced and has become highly influential. The melodic figure and its variations suggest not only the linear
construction, but also partially reveal the harmonic structure of bebopism, resulting in the installment of theoretical components
such as bebop scales. In this project, the author utilizes the variations of the bebop character phrase. For example, the middle
section of the eleventh line displays such usage.
Superimposition has been practiced by many jazz improvisors. Improvisors might superimpose a melodic line, implying
IV7 in the second bar of blues that might be different than the supplied harmonic structure; furthermore, improvisors might
superimpose a melodic figure, outlining ii-V sequence against the cycle of fifth sequence in the bridge of I’ve Got Rhythm.
Though the concept of superimposition does not originate from the bebop era, bebop improvisors were responsible for the
expansion of this technique. Terminologically speaking, superimposition and substitution are often used interchangeably.
However, superimposition is sometimes used specifically to refer to the implication of a new harmonic structure against a
preexisting one played by accompanists to achieve the goal of elaboration, such as superimposing Coltrane Change against
4
ii-V-I; however, substitution is used to refer to the embellishment of preexisted harmonic structure such as substituting V7 with
V7b9. In this project, the author utilizes a common superimposition in ii-V-I. For example, the first half of the thirteen and fourteen line
illustrate such employment.
Quotation is one of the most communicative devices in the jazz language of improvisation. It confirms improvisors’
knowledge of music literature; it might also serve as a symbolic component of figurative language in improvisation. During bebop
era, improvisors were responsible for the expansion of quotation technique to include not only the jazz standards, but also large
amount of melodic figures from western classical literature. For instance, alto saxophonist Charlie Parker quoted the melodic
figure from Stravinsky’s The Rite of Spring, and trumpeter Dizzy Gillespie quoted the melodic figure from Bizet’s Carmen. In this
project, the author utilizes quotation technique by quoting the melodic figure from Honeysuckle Rose in the fourteen line.
Although the concept of descending guide line has not been legitimately confirmed in scholarly journals, however, it
represents a large portion of theoretical constructions in this project. Similar construction can be found in many bebop
improvisations and bebop compositions, such as Charlie Parker’s Blues for Alice. The analytical device that is used to explore
the descending guide line has its close association with Schenkerian analysis, though the author has adopted the theory by
taking the common theoretical considerations in jazz into account.
The descending guide line is a continuous melodic line in the descending motion that serves as the linear structural
construction to link the improvisational vocabulary and reinforces the harmonic chord progression. Adopting the layer approach
of Schenkerian analysis, the descending guide lines could be analyzed as the foreground structural line which can often be
reduced to guide tone lines, the background structural lines of some jazz improvisations. In ninth line, a single descending guide
line reveals the improvisational direction throughout the entire line and serves as a structural outline.
Summarizing the constructional functions of the descending guide line, the author purposes that the single descending
guide line without any linear delay resolution has the most concentrated linear structure; this construction depends largely upon
the linear embellishments, such as neighbor tones and bebop notes, to maintain the level of interest. The single descending
guide line with one linear delay resolution constitutes the desired linear balance. While the number of linear delay resolution
increase, the degree of concentration of linear structure decreases. The related double descending guide lines that structuralize
one phrase share the similar functions of the single descending guide line and might be considered as the broken descending
guide line. The interpretation of the reduction to the descending guide line reveals one important harmonic structural
construction in ii-V-I phrases. The notes that are not included in the presented key might reveal the alteration of harmony. If the
location of notes that are outside of the presented key is in the middle of the descending guide line, it might indicate an
intensified harmonic alternation as shown in example six. If the location of notes that are outside of the presented key is at the
beginning or the ending of the descending guide line, it might only serve as an indication of harmonic embellishment.
In conclusion, although the ascending guide lines and combinations of the descending guide line and the ascending
guide lines exist in bebop improvisation, the descending guide line is significant for its frequent occurrence. In addition to the
analysis of the ascending guide lines, the other theoretical considerations that are presented in this paper serve only as an
alternative way to understand bebop improvisation and can be beneficial only to the developing improvisors who have involved
themselves musically in bebop improvisation.
5
created and complied by Jen-Kuang Chang
CHROMATIC TRANSPOSITION OF II-V-I BEBOP LINES
001 Dm7
G7 CMaj7
3 3
D#m7
G#7 C#Maj7
3 3
Em7
A7 DMaj7
3 3
Fm7
Bb7 EbMaj7
3 3
F#m7
B7 EMaj7
3 3
Gm7
C7 FMaj7 3 3
G#m7
C#7 F#Maj7 3 3
Gm7
C7 FMaj7 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
6
F#m7
B7 EMaj7
3 3
Fm7
Bb7 EbMaj7
3 3
Em7
A7 DMaj7
3 3
Ebm7
Ab7 DbMaj7
3 3
Dm7
G7 CMaj7
3 3
C#m7
F#7 BMaj7
3 3
Cm7
F7 BbMaj7
3 3
Bm7
E7
AMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
7
Bbm7
Eb7
AbMaj7
3 3
Am7
D7
GMaj7
3 3
Bbm7
Eb7
AbMaj7
3 3
Bm7
E7
AMaj7
3 3
Cm7
F7 BbMaj7
3 3
C#m7
F#7 BMaj7
3 3
Dm7
G7 CMaj7
3 3
002
Dm7 G7
CMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
8
D#m7
G#7 C#Maj7
Em7
A7 DMaj7
Fm7
Bb7 EbMaj7
F#m7
B7 EMaj7
Gm7
C7 FMaj7
G#m7
C#7 F#Maj7
Am7
D7 GMaj7
G#m7
C#7 F#Maj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
9
Gm7
C7 FMaj7
F#m7
B7 EMaj7
Fm7
Bb7 EbMaj7
Em7
A7 DMaj7
Ebm7
Ab7 DbMaj7
Dm7
G7 CMaj7
C#m7
F#7
BMaj7
Cm7
F7
BbMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
10
Bm7
E7
AMaj7
Bbm7
Eb7
AbMaj7
Bm7
E7
AMaj7
Cm7
F7
BbMaj7
C#m7
F#7
BMaj7
Dm7
G7 CMaj7
003 Dm7
G7 CMaj7
D#m7
G#7 C#Maj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
11
Em7
A7 DMaj7
Fm7
Bb7 EbMaj7
F#m7
B7 EMaj7
Gm7 C7
FMaj7
G#m7 C#7
F#Maj7
Gm7 C7
FMaj7
F#m7
B7 EMaj7
Fm7
Bb7 EbMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
12
Em7
A7 DMaj7
Ebm7
Ab7 DbMaj7
Dm7
G7 CMaj7
C#m7
F#7 BMaj7
Cm7
F7 BbMaj7
Bm7
E7 AMaj7
Bbm7
Eb7 AbMaj7
Bm7
E7 AMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
13
Cm7
F7 BbMaj7
C#m7
F#7 BMaj7
Dm7
G7 CMaj7
004 Dm7
G7
CMaj7
3
D#m7
G#7
C#Maj7
3
Em7
A7
DMaj7
3
Fm7
Bb7
EbMaj7
3
F#m7
B7
EMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
14
Gm7
C7 FMaj7
3
G#m7
C#7 F#Maj7
3
Am7
D7 GMaj7
3
Bbm7
Eb7 AbMaj7
3
Bm7
E7 AMaj7
3
Cm7
F7 BbMaj7
3
C#m7
F#7 BMaj7
3
Dm7
G7 CMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
15
D#m7
G#7 C#Maj7
3
Dm7
G7 CMaj7
3
C#m7
F#7 BMaj7
3
Cm7
F7 BbMaj7
3
Bm7
E7 AMaj7
3
Bbm7
Eb7 AbMaj7
3
Am7
D7 GMaj7
3
Abm7
Db7 GbMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
16
Gm7
C7 FMaj7
3
F#m7
B7
EMaj7
3
Fm7
Bb7
EbMaj7
3
Em7
A7
DMaj7
3
Ebm7
Ab7
DbMaj7
3
Dm7
G7
CMaj7
3
C#m7
F#7
BMaj7
3
Cm7
F7
BbMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
17
C#m7
F#7
BMaj7
3
Dm7
G7
CMaj7
3
005
Dm7 G7
CMaj7 3 3
D#m7
G#7
C#Maj7 3 3
Em7
A7 DMaj7
3 3
Fm7
Bb7 EbMaj7
3 3
F#m7
B7 EMaj7
3 3
Fm7
Bb7 EbMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
18
Em7
A7 DMaj7
3 3
Ebm7
Ab7 DbMaj7
3 3
Dm7
G7
CMaj7 3 3
C#m7
F#7
BMaj7
3 3
Cm7
F7
BbMaj7
3 3
Bm7
E7 AMaj7
3 3
Bbm7
Eb7 AbMaj7
3 3
Am7
D7 GMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
19
Abm7
Db7 GbMaj7
3
3
Gm7
C7
FMaj7
3
3
F#m7
B7
EMaj7
3
3
Fm7
Bb7
EbMaj7
3
3
F#m7
B7
EMaj7
3
3
Gm7
C7
FMaj7
3
3
G#m7
C#7
F#Maj7
3
3
Am7
D7 GMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
20
Bbm7
Eb7 AbMaj7
3 3
Bm7
E7 AMaj7
3 3
Cm7
F7
BbMaj7
3 3
C#m7
F#7
BMaj7
3 3
Dm7
G7
CMaj7 3 3
006
Dm7
G7
CMaj7 3
D#m7
G#7
C#Maj7 3
Em7
A7
DMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
21
Fm7
Bb7
EbMaj7 3
F#m7
B7
EMaj7 3
Fm7
Bb7
EbMaj7 3
Em7
A7
DMaj7 3
Ebm7
Ab7
DbMaj7 3
Dm7
G7
CMaj7 3
C#m7
F#7
BMaj7 3
Cm7
F7
BbMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
22
Bm7
E7
AMaj7
3
Bbm7
Eb7
AbMaj7
3
Am7
D7
GMaj7
3
Abm7
Db7
GbMaj7
3
Gm7
C7
FMaj7
3
F#m7
B7
EMaj7
3
Fm7
Bb7
EbMaj7
3
Em7
A7
DMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
23
Ebm7
Ab7
DbMaj7
3
Dm7
G7
CMaj7
3
C#m7
F#7
BMaj7
3
Cm7
F7
BbMaj7
3
C#m7
F#7
BMaj7
3
Dm7
G7
CMaj7
3
D#m7
G#7
C#Maj7
3
Em7
A7
DMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
24
Fm7
Bb7
EbMaj7
3
F#m7
B7
EMaj7
3
Gm7
C7
FMaj7
3
G#m7
C#7
F#Maj7
3
Am7
D7
GMaj7
3
Bbm7
Eb7
AbMaj7
3
Bm7
E7
AMaj7
3
Cm7
F7
BbMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
25
C#m7
F#7
BMaj7 3
Dm7
G7
CMaj7 3
007
Dm7
G7
CMaj7 3
D#m7
G#7
C#Maj7 3
Em7
A7
DMaj7 3
Fm7
Bb7
EbMaj7 3
F#m7
B7
EMaj7 3
Fm7
Bb7
EbMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
26
Em7
A7
DMaj7 3
Ebm7
Ab7
DbMaj7 3
Dm7
G7
CMaj7 3
C#m7
F#7
BMaj7 3
Cm7
F7
BbMaj7 3
Bm7
E7
AMaj7
3
Bbm7
Eb7
AbMaj7
3
Am7
D7
GMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
27
Abm7
Db7
GbMaj7 3
Gm7
C7
FMaj7
3
F#m7
B7
EMaj7
3
Fm7
Bb7
EbMaj7
3
F#m7
B7
EMaj7
3
Gm7
C7
FMaj7
3
G#m7
C#7
F#Maj7
3
Am7
D7
GMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
28
Bbm7
Eb7
AbMaj7
3
Bm7
E7
AMaj7
3
Cm7
F7
BbMaj7 3
C#m7
F#7
BMaj7 3
008
Dm7
G7
CMaj7 3
Dm7
G7
CMaj7
3
3
D#m7
G#7
C#Maj7
3
3
Em7
A7
DMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
29
Fm7
Bb7
EbMaj7
3
3
F#m7
B7
EMaj7
3
3
Gm7
C7 FMaj7
3 3
G#m7
C#7 F#Maj7
3 3
Am7
D7
GMaj7
3 3
Bbm7
Eb7
AbMaj7
3 3
Bm7
E7
AMaj7
3 3
Cm7
F7
BbMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
30
C#m7
F#7
BMaj7
3 3
Cm7
F7
BbMaj7
3 3
Bm7
E7
AMaj7
3 3
Bbm7
Eb7
AbMaj7
3 3
Am7
D7
GMaj7
3 3
Abm7
Db7
GbMaj7
3 3
Gm7
C7 FMaj7
3 3
F#m7
B7
EMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
31
Fm7
Bb7
EbMaj7
3
3
Em7
A7
DMaj7
3
3
Ebm7
Ab7
DbMaj7
3
3
Dm7
G7
CMaj7
3
3
C#m7
F#7
BMaj7
3
3
Cm7
F7
BbMaj7
3
3
Bm7
E7
AMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
32
Bm7
E7
AMaj7
3
3
Cm7
F7
BbMaj7
3
3
C#m7
F#7
BMaj7
3
3
Dm7
G7
CMaj7
3
3
009 Dm7 G7
CMaj7
3 3 3
3
D#m7 G#7
C#Maj7
3 3 3
3
Em7 A7
DMaj7
3 3 3
3
Fm7 Bb7 EbMaj7
3 3 3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
33
F#m7 B7 EMaj7
3 3 3
3
Fm7 Bb7 EbMaj7
3 3 3
3
Em7 A7
DMaj7
3 3 3
3
Ebm7 Ab7
DbMaj7
3 3 3
3
Dm7 G7
CMaj7
3 3 3
3
C#m7 F#7
BMaj7
3 3 3
3
Cm7 F7
BbMaj7
3 3 3
3
Bm7 E7 AMaj7
3 3 3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
34
Bbm7 Eb7
AbMaj7
3 3 3
3
Am7
D7
GMaj7
3 3 3
3
Bbm7 Eb7
AbMaj7
3 3 3
3
Bm7 E7 AMaj7
3 3 3
3
Cm7 F7
BbMaj7
3 3 3
3
C#m7 F#7
BMaj7
3 3 3
3
Dm7 G7
CMaj7
3 3 3
3
010
Dm7
G7
CMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
35
D#m7
G#7
C#Maj7
3
Em7
A7
DMaj7
3
Fm7
Bb7 EbMaj7
3
F#m7
B7 EMaj7
3
Gm7
C7
FMaj7
3
G#m7
C#7
F#Maj7
3
Am7
D7
GMaj7
3
Bbm7
Eb7
AbMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
36
Bm7
E7
AMaj7
3
Cm7
F7 BbMaj7
3
Bm7
E7
AMaj7
3
Bbm7
Eb7
AbMaj7
3
Am7
D7
GMaj7
3
Abm7
Db7
GbMaj7
3
Gm7
C7
FMaj7
3
F#m7
B7 EMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
37
Fm7
Bb7 EbMaj7
3
Em7
A7
DMaj7
3
Ebm7
Ab7
DbMaj7
3
Dm7
G7
CMaj7
3
C#m7
F#7
BMaj7
3
Cm7
F7
BbMaj7
3
Bm7
E7
AMaj7
3
Bbm7
Eb7
AbMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
38
Am7
D7
GMaj7
3
Bbm7
Eb7
AbMaj7
3
Bm7
E7
AMaj7
3
Cm7
F7
BbMaj7
3
C#m7
F#7
BMaj7
3
Dm7
G7
CMaj7
3
011 Dm7
G7
CMaj7
3
D#m7
G#7
C#Maj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
39
Em7
A7
DMaj7
3
Fm7
Bb7
EbMaj7
3
F#m7
B7
EMaj7
3
Gm7
C7
FMaj7
3
G#m7
C#7
F#Maj7
3
Am7
D7
GMaj7
3
Bbm7
Eb7
AbMaj7
3
Bm7 E7
AMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
40
Cm7
F7
BbMaj7
3
C#m7
F#7
BMaj7
3
Cm7
F7
BbMaj7
3
Bm7 E7
AMaj7
3
Bbm7
Eb7
AbMaj7
3
Am7
D7
GMaj7
3
Abm7
Db7
GbMaj7
3
Gm7
C7
FMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
41
F#m7
B7
EMaj7
3
Fm7
Bb7
EbMaj7
3
Em7
A7
DMaj7
3
Ebm7
Ab7
DbMaj7
3
Dm7
G7
CMaj7
3
C#m7
F#7
BMaj7
3
Cm7
F7
BbMaj7
3
Bm7
E7
AMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
42
Bbm7
Eb7
AbMaj7
3
Bm7
E7
AMaj7
3
Cm7
F7
BbMaj7
3
C#m7
F#7
BMaj7
3
Dm7
G7
CMaj7
3
012
Dm7
G7 CMaj7
3 3 3
D#m7
G#7 C#Maj7
3 3 3
Em7
A7 DMaj7 3 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
43
Fm7
Bb7 EbMaj7 3 3 3
F#m7
B7 EMaj7 3 3 3
Gm7
C7 FMaj7 3 3 3
G#m7
C#7 F#Maj7 3 3 3
Gm7
C7 FMaj7 3 3 3
F#m7
B7 EMaj7 3 3 3
Fm7
Bb7 EbMaj7 3 3 3
Em7
A7 DMaj7 3 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
44
Ebm7
Ab7 DbMaj7 3 3 3
Dm7
G7 CMaj7
3 3 3
C#m7
F#7 BMaj7
3 3 3
Cm7
F7 BbMaj7
3 3 3
Bm7
E7
AMaj7
3 3 3
Bbm7
Eb7
AbMaj7
3 3 3
Am7
D7
GMaj7
3 3 3
Abm7
Db7
GbMaj7
3 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
45
Am7
D7
GMaj7
3 3 3
Bbm7
Eb7
AbMaj7
3 3 3
Bm7
E7
AMaj7
3 3 3
Cm7
F7 BbMaj7
3 3 3
C#m7
F#7 BMaj7
3 3 3
Dm7
G7 CMaj7
3 3 3
013
Dm7
G7 CMaj7
3
3
D#m7
G#7 C#Maj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
46
Em7
A7 DMaj7
3 3
Fm7
Bb7
EbMaj7
3 3
F#m7
B7
EMaj7
3 3
Fm7
Bb7
EbMaj7
3 3
Em7
A7 DMaj7
3 3
Ebm7
Ab7 DbMaj7
3 3
Dm7
G7 CMaj7
3
3
C#m7
F#7 BMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
47
Cm7
F7 BbMaj7
3
3
Bm7
E7
AMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Am7
D7
GMaj7
3
3
Abm7
Db7
GbMaj7
3
3
Am7
D7
GMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Bm7
E7
AMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
48
Cm7
F7 BbMaj7
3
3
C#m7
F#7 BMaj7
3
3
Dm7
G7 CMaj7
3
3
014
Dm7
G7
CMaj7
D#m7
G#7
C#Maj7
Em7
A7 DMaj7
Fm7
Bb7 EbMaj7
F#m7
B7 EMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
49
Gm7
C7 FMaj7
G#m7
C#7 F#Maj7
Am7
D7 GMaj7
Bbm7
Eb7 AbMaj7
Bm7
E7 AMaj7
Bbm7
Eb7 AbMaj7
Am7
D7 GMaj7
Abm7
Db7 GbMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
50
Gm7
C7 FMaj7
F#m7
B7 EMaj7
Fm7
Bb7 EbMaj7
Em7
A7 DMaj7
Ebm7
Ab7 DbMaj7
Dm7
G7
CMaj7
C#m7
F#7
BMaj7
Cm7
F7
BbMaj7
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
51
Bm7
E7
AMaj7
Bbm7
Eb7
AbMaj7
Bm7
E7
AMaj7
Cm7
F7
BbMaj7
C#m7
F#7
BMaj7
Dm7
G7
CMaj7
015
Dm7
G7 CMaj7 3 3
D#m7
G#7 C#Maj7 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
52
Em7
A7 DMaj7 3 3
Ebm7
Ab7 DbMaj7 3 3
Dm7
G7 CMaj7 3 3
C#m7
F#7 BMaj7
3 3
Cm7
F7 BbMaj7
3 3
Bm7
E7
AMaj7
3 3
Bbm7
Eb7
AbMaj7
3 3
Am7
D7
GMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
53
Abm7
Db7
GbMaj7
3
3
Am7
D7
GMaj7
3
3
Bbm7
Eb7
AbMaj7
3 3
Bm7
E7
AMaj7
3 3
Cm7
F7 BbMaj7
3 3
C#m7
F#7 BMaj7
3 3
Dm7
G7 CMaj7 3 3
016
Dm7 G7
CMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
54
D#m7
G#7
C#Maj7
3 3
Em7
A7
DMaj7
3 3
Fm7
Bb7
EbMaj7
3 3
F#m7
B7
EMaj7
3 3
Gm7
C7
FMaj7
3 3
G#m7
C#7
F#Maj7
3 3
Am7
D7 GMaj7
3 3
Bbm7
Eb7 AbMaj7 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
55
Am7
D7 GMaj7
3 3
Abm7
Db7 GbMaj7
3 3
Gm7
C7
FMaj7
3 3
F#m7
B7
EMaj7
3 3
Fm7
Bb7
EbMaj7
3 3
Em7
A7
DMaj7
3 3
Ebm7
Ab7
DbMaj7
3 3
Dm7
G7
CMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
56
C#m7
F#7
BMaj7
3 3
Cm7
F7
BbMaj7
3 3
Bm7
E7
AMaj7
3 3
Bbm7
Eb7
AbMaj7
3 3
Bm7
E7
AMaj7
3 3
Cm7
F7
BbMaj7
3 3
C#m7
F#7
BMaj7
3 3
Dm7
G7
CMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
57
017
Dm7
G7
CMaj7
3
D#m7
G#7
C#Maj7
3
Em7
A7
DMaj7
3
Fm7
Bb7
EbMaj7 3
F#m7
B7
EMaj7 3
Gm7
C7
FMaj7 3
G#m7
C#7
F#Maj7 3
Am7
D7
GMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
58
Bbm7
Eb7
AbMaj7 3
Bm7
E7 AMaj7
3
Cm7
F7 BbMaj7
3
Bm7
E7 AMaj7
3
Bbm7
Eb7 AbMaj7
3
Am7
D7
GMaj7 3
Abm7
Db7
GbMaj7 3
Gm7
C7
FMaj7 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
59
F#m7
B7
EMaj7 3
Fm7
Bb7
EbMaj7 3
Em7
A7
DMaj7
3
Ebm7
Ab7
DbMaj7
3
Dm7
G7
CMaj7
3
C#m7
F#7
BMaj7
3
Cm7
F7
BbMaj7
3
Bm7
E7
AMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
60
Bbm7
Eb7
AbMaj7
3
Am7
D7
GMaj7
3
Abm7
Db7
GbMaj7
3
Am7
D7
GMaj7
3
Bbm7
Eb7
AbMaj7
3
Bm7
E7
AMaj7
3
Cm7
F7
BbMaj7
3
C#m7
F#7
BMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
61
Dm7
G7
CMaj7
3
018
Dm7
G7 CMaj7 3
3
D#m7
G#7 C#Maj7 3
3
Em7
A7 DMaj7 3 3
Fm7
Bb7 EbMaj7 3 3
F#m7
B7 EMaj7 3 3
Gm7
C7 FMaj7 3 3
G#m7
C#7 F#Maj7 3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
62
Gm7
C7 FMaj7 3 3
F#m7
B7 EMaj7 3 3
Fm7
Bb7 EbMaj7 3 3
Em7
A7 DMaj7 3 3
Ebm7
Ab7 DbMaj7 3 3
Dm7
G7 CMaj7 3
3
C#m7
F#7 BMaj7
3
3
Cm7
F7 BbMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
63
Bm7
E7
AMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Am7
D7
GMaj7
3
3
Abm7
Db7
GbMaj7
3
3
Am7
D7
GMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Bm7
E7
AMaj7
3
3
Cm7
F7 BbMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
64
C#m7
F#7 BMaj7
3
3
Dm7
G7 CMaj7 3
3
019 Dm7 G7
CMaj7
3
D#m7 G#7
C#Maj7
3
Em7 A7 DMaj7
3
Fm7 Bb7 EbMaj7
3
F#m7 B7 EMaj7
3
Fm7 Bb7 EbMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
65
Em7 A7 DMaj7
3
Ebm7 Ab7 DbMaj7
3
Dm7 G7
CMaj7
3
C#m7 F#7
BMaj7
3
Cm7 F7
BbMaj7
3
Bm7
E7 AMaj7
3
Bbm7
Eb7 AbMaj7
3
Am7
D7 GMaj7
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
66
Abm7
Db7 GbMaj7
3
Am7
D7 GMaj7
3
Bbm7
Eb7 AbMaj7
3
Bm7
E7 AMaj7
3
Cm7 F7
BbMaj7
3
C#m7 F#7
BMaj7
3
Dm7 G7
CMaj7
3
020
Dm7
G7
CMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
67
D#m7
G#7
C#Maj7
3
3
Em7
A7
DMaj7
3 3
Fm7
Bb7
EbMaj7
3 3
F#m7
B7
EMaj7
3 3
Gm7
C7
FMaj7
3 3
G#m7
C#7
F#Maj7
3 3
Am7
D7 GMaj7
3 3
Bbm7
Eb7 AbMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
68
Bm7
E7 AMaj7
3 3
Cm7
F7 BbMaj7
3 3
Bm7
E7 AMaj7
3 3
Bbm7
Eb7 AbMaj7
3 3
Am7
D7 GMaj7
3 3
Abm7
Db7 GbMaj7
3 3
Gm7
C7
FMaj7
3 3
F#m7
B7
EMaj7
3 3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
69
Fm7
Bb7
EbMaj7
3 3
Em7
A7
DMaj7
3 3
Ebm7
Ab7
DbMaj7
3 3
Dm7
G7
CMaj7
3
3
C#m7
F#7
BMaj7
3
3
Cm7
F7
BbMaj7
3
3
Bm7
E7
AMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
70
Am7
D7
GMaj7
3
3
Bbm7
Eb7
AbMaj7
3
3
Bm7
E7
AMaj7
3
3
Cm7
F7
BbMaj7
3
3
C#m7
F#7
BMaj7
3
3
Dm7
G7
CMaj7
3
3
Copyright © 2005 Jen-Kuang Chang www.JKChang.com
71