Van Lenten - Creative Jazz Exercises Vol 2

59
INTRODUCTION In order to maintain strong reading andimprovisatory skills a musician must constantly challenge himself. By playing exercises that combine technique and theory this goal canbe met in a musically satisfying and timecfficient way. Thisbook, the second in a series, presents some of the scale and chord superimposition concepts usedin jazz and jazz-rock music. They arearranged in theform oÍ examples, exercises, charts, and improvised solos organized within simplified standard jazzprogressions. The scales usedin the firstsection of the bookare presented in tonic and color scale categories. Tempo and phrasing areleft to thediscretion of the performer. Most of theexercises canbe played astechnical studies or as examples of scale and/or chord superimposition. Theabove concepts canbe applied to other scales and chords thatare not included in thisvolume. In most of the exercises I avoided sequences, patterns, andother repetitive designs in order to make them more interesting to play. Thethird volume in this series willinclude chromatic exercises, style analysis, and duets. -Lance Van Lenten

Transcript of Van Lenten - Creative Jazz Exercises Vol 2

Page 1: Van Lenten - Creative Jazz Exercises Vol 2

INTRODUCTION

In order to maintain strong reading and improvisatoryskills a musician must constantly challenge himself. Byplaying exercises that combine technique and theory thisgoal can be met in a musically satisfying and timecfficientway.

This book, the second in a series, presents some ofthe scale and chord superimposition concepts used injazz and jazz-rock music. They are arranged in the formoÍ examples, exercises, charts, and improvised solosorganized within simplified standard jazz progressions.

The scales used in the first section of the book arepresented in tonic and color scale categories. Tempo andphrasing are left to the discretion of the performer. Mostof the exercises can be played as technical studies or asexamples of scale and/or chord superimposition.

The above concepts can be applied to other scales andchords that are not included in this volume. In most ofthe exercises I avoided sequences, patterns, and otherrepetitive designs in order to make them more interestingto play.

The third volume in this series will include chromaticexercises, style analysis, and duets.

-Lance Van Lenten

Page 2: Van Lenten - Creative Jazz Exercises Vol 2

SCALES AND THEIR RELATIVE CHORD TYPES

Generally speaking, the scales listed on theÍoffowing charns Íall into throo caÍBgpÍbs when usedwith difÍerent chord b/p€s (this includes chords thathave a diffqent root than the sca/e used):

Tonlc sound CD - This scale'sounds' like agiven chord because it contains some chord andpossibly some color tones (see Color Sound).Below are listed some scales that sound like "C"Major.

Color sound (C) - This scale contains enough'color" tones to give it a "bright" or slightly dissonant quality. 'Color tones' are extensbns oÍ a chord,altered notes, or any tones that "stand out.'Theycan give a scale a particular "iaznf flavor. A colorsound can sometimes be considered a tonic sound.

Passlng sound (P) - This is a scale that isespecially dissonant sounding against a givenchord.

@ Copyright l$6 by Che Golln, 3tS walt 53íd St., New Yort, N.Y. l(xrtg

Intrriltion l Copyright Secr.rrrd Made in U.S.A. All Rightt Rcrvrd

Ohe darkened notes arechord or 'colof tones.)

F-7 "G" minor Pentatonic

Page 3: Van Lenten - Creative Jazz Exercises Vol 2

SUGGESTED APPROACHES FOR USING SCALES

Scale

(Revised)Approach

Contains strong diatonic sounds (C Maior, D minor7, E minor 7, F Lydian, etc.). Use in sequences andpatterns (chords, thirds, fourths, etc.).

Phrase in a fuocal" style (vibrato, bends, etc.).Create ritfs. Use space between ideas. Thinkrhythmically. Repeat notes, phrases, etc.

Use patterns. Don't go outside of the scale unlessfor 'effect." Repeat notes and phrases. Use withmodal, funk, rock, latin, and many other styles.

"Mid-Eastern' quality. Short "ornamented" ideas(use trills and grace notes). Works well as a V7sound in F minor. lmplies iimT-V7 sound in F, Ab,Db.

Can be structured in a multitude of sequences andpatterns. Contains many C7, Eb7, F#7, and A7color tones. Very recognizable when used.

Bright, open sound. Sounds good in patterns withor without chromatics. Works well with V7 chordsof minor keys.

Sounds very Japanese. Sounds good over modalvamps. Play rhythmically and economically. lmplies"ii-V7'in Ab.

Sounds like C major. By restricting your ideas tothese tones you create motion and an "open'sound.Works well as a color scale. lmplies "ii-V7' in C.

This scale is made from two triads - "C' and "B'"It compliments a C Major 7 sound. Create patternsbased on the triads. lt implies iimT-V7 in E minor.

Blues

minor Pentatonlc

Wholetone

4F

Japanese Okinawa

3

Harmonic minor MixolYdian

Diminished

Japanese Insempo

iilI

Composite

Page 4: Van Lenten - Creative Jazz Exercises Vol 2

Chart I

(Revised)Blues minor Pentatonlc

ê 1 @

t '*'7

t - 1 @

Drtr o

tD7 G)

b ?

€)

têlH,;7 @

at t l 0

ef1

, ' iF-7 @

, , ,

t r -7 @

+Aittq;1 C)

r

?

D-1

K@

SCALES AND THEIR RELATIVE CHORD TYPES

Mafor

Ct la i l @ t

? f tD - l 0

? ï (

E 7 o

? í

- 7 4

e - 7Frtui1 0

*

b7 G)

4

4 7 0

+A-7 0

+ í ,87 CO

,ír.g-7 C)

' ffi notc ft cfioÍd or'colof toÍË

g - Onic sound(C) - color soundit. g.-t totc ar€ r,oÍfed enharmonknlly.

, i7 '"/3

Bl- @@

Page 5: Van Lenten - Creative Jazz Exercises Vol 2

'rof 4t;'z

7 ?f€rr&

t frtt -3

zi'ê

+ryq't7

4{iftL- 60

4r{ír- " f

Fto o

+#tít

Jf ?do íg

*f /

+ r.trírob- @o

D-' l @

Harmonic minorMixolydian

, r á r//

Dimlnished

t, l ( toi l @

Wholetone

t ltJ

7 , ///

Dr-

+ f ríb- cq

+ 7,r21 ?t)e)

, - 7

Í - @

/ 7 tí#70r) @

* í a6 - e

+ t r lrlt7 Qr) 6

1 í rn - o

, 7 r784 o

,

8 -

,7 7

í 7 @

,F -

Ab tL;,t

, *Iê-7 G)

*

ís - tf

r7@o

3G)

Page 6: Van Lenten - Creative Jazz Exercises Vol 2

t Insempo

t ít (o,d C _7) @O

, ,-rq

Dbt'lr;1

? ,,R

D - 7 0

Oklnawa

l/la;1 O

Composlte

/ tlc;'l @

7 +Db- oo

+D 7 @

'- + *rvLt| @

,* f tí/ío;r O

+ rísbtl,il @

-/

47 Ao

+ rírA - 7 6 A

3l- @

t l

Lb1 O

t3e,

+tr7

I

f,

{t ' f r ,

F-' O

,

&,7 Gl

tG - @

+

{

: dl {{

@

+

?BI

t t /

6

+ 3Drl o@

? 7 a

F fl,jl O

B l - 7

Page 7: Van Lenten - Creative Jazz Exercises Vol 2

SCALE CHART II(Revised)

In order of appearance in the tonic and color scale exercises.

minor Pentatonic

ba hz

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Root Harmonic minorMixolydian

Diminished Wholetone

be lt

Page 9: Van Lenten - Creative Jazz Exercises Vol 2

Composite

4rz

9

'Two triads 1/2 step apart combined.

Page 10: Van Lenten - Creative Jazz Exercises Vol 2

TONIC AND COLOR SCALES

The Íollowing exercises use tonic and color scales Írom the charts on pages 4 through 9' Atonic scale'sounds like the chord or tonality it represents. Color scales are scales or modesthat contain color tones such as 9ths, 11ths, 13ths, etc. When b9 or b13 tones are present thescale creates a'passing" or unresolved quality. These concepts are Íairly general. Theindividual taste oÍ the perÍormer should determine choice'

By treating a scale'as a 'sound' or 'colof a perÍormer can use any oÍ the musical devicesthat can be applied.

For example:

Diatonic sequence

or Scale sequence and Root pattern (4th)

or Pedal Point

Dl-r70í)

Please note: ;

Throughout this book chord tones are otten treated enharmonically within the context oÍ

the melodic line.

t-

tvl A-i l

D-7 (í*, .0.t

(Atlt,i zl

1 0

Page 11: Van Lenten - Creative Jazz Exercises Vol 2

TONIC AND COLOR SCALES(Continued)

Scales like the minor pentatonic and Okinawa have fewer notes and allow the performer toplay 'horizontally/ over more changes:

For example:

C I'ta; v(A-pt A - l -D -n Gr l

MajorBluesminor PentatonicHarmonic minor MixolydianDiminishedWholetoneInsempoOkinawaComposite

C H o ' ' ' 7 A - 1 - b ' ? G n(í,-,c.)

SCALË ABBREVIATIONSUSED IN EXERCISES

MBls.m.p.

H.m.m.dim.W.T.lns.ok.

Comp.

1 1

Page 12: Van Lenten - Creative Jazz Exercises Vol 2

TONIC SCALEEXERCISE I

tL"t b Gru'r'

t , ' lVt

(c-gD L

G (Grr.; )

B-7

fl-t

& 7ILll-- |

D7(DBtr)

t7,,,,, ^

t1ou, t -

,^fr.,,a

BíJ*, Í 7ol/r-\

7b

6

Ê -t-(A o'o'l

G o t'I,i)

D1 ,ou-.^,

2 t

'Maj = M

?1ran.r, G(Dr,r,

Page 13: Van Lenten - Creative Jazz Exercises Vol 2

^!itrr

G r, f l , i) /'l k y,í,)

A a7r,;) 27a*,

o (0r.,, f: Ga1;

ê(r^', &'**,

t,fGó&t W*, G

C^Crns)

f -- ( e -,P,\

1 3

Page 14: Van Lenten - Creative Jazz Exercises Vol 2

TONIC SCALED-l Lr l

EXERCISE II

C. í l- D-tL (c n.;) A-

ê-l c rl(tsn.t.l (t U..-l í@^r, Í -

fttn4\D*7,^, L 7í - Tnr*, A t

t(c nq)

4- b-'7 G,7

L,,rr^ trl frrr,,, r-715 bll.:)

L(c tt+ )

D - 7 G 7(lt ll,-,-,)

t - 7 4'.7-UJ;)

/ (nnr') 4- D- 7 b'ltt 0t.)

c(á-,r)

A - 7 D - 7(e an

LI

G - tBttlq )

í-(tti,;) Dà7,n,G/o -,rt I r, ft.\

D - 7,

(&1,*\

1 4

t (on.,\ n - P- 7/o/,*',ltt 0 2 0-J

áz

Page 15: Van Lenten - Creative Jazz Exercises Vol 2

F( ( /r,i) ltLi)F-. 2 ,7r*^, / 7c

- t

A;,, fJu*..,nttt.

, a n- (f ,n*1 rt - b -7 r te , . \ é7

G{r, c 7 'o'o:'|,D - 7ID,.P)

G I0ltt') tu

B-7 .( 2 4,-'^)

L(trr, n' D-z Êtft íHí)

t r, rt<;, /7o--*l D-z Ê 7kt tl,f)+

í^,,ín , ,

t

1 5

Page 16: Van Lenten - Creative Jazz Exercises Vol 2

TONIC AND COLOR SCALE EXERCISES

The Íollowing exercises are ordered in an additive way. Each pair inlroduces the n6\ír, scalethen adds the previous scale(s).

For example, the'minor Pentatonic scale'exerêise is Íolloryed by the'Major, Blues, andminor Pentatonic scales combined" exercise.

The chords in the progression are treated vertically, that is, there is usually at least onescale per chord.

Dominant seven chords are oÍten given scales that contain morê color tones.The progressions used in these exercises are simpliÍied versions oÍ the blues, "rhythm

changes,'and modal CSo What') changes. The performer should be able to "heaf thesechanges in his mind or with recorded, or preferably, live accompaniment. lt would be good touse these exercises as a starting point Íor l,our own improvisations.

{

i2

il"{

{;I

,{I

{I

I-t{

d:ï

{

\ .

1 6

Page 17: Van Lenten - Creative Jazz Exercises Vol 2

Maior Scale

(wnl t_'l Lt tt.\b.

t,7 (iln)

G7 Ln\

G7 uti l)

Lrl Fn)

c'l(Èril

(ttnt

C (on)

1 7

Page 18: Van Lenten - Creative Jazz Exercises Vol 2

Maior Scale

Gtn)

1 8

Page 19: Van Lenten - Creative Jazz Exercises Vol 2

,lyll. &(|qt (rJft.)

Blues Scafe

D7É, -7 ,r8 E ' ' lGGn)

7?,

A - 7(8Jt

D 1

c,GA

ê 7LDÍJ Qto, B,1L,r, t' 7 í;'1, D?utc-

^

G,u, t - 7 í,1,,

4(eu.t

t - 7 D7A - 7, (tt)

C7b.

Ê

b_Lron,., D7 hro,,,8 -7 í7 A - t

(Bn) (nth)

t 7( blh,)

t?07*,, Arl^, (êth,) DTrott.)

(,0*,, 4;I' D\o o,, Gl --Qlu)

1 9

Page 20: Van Lenten - Creative Jazz Exercises Vol 2

Major andBlues Scales

{- 1j . l: J- *r Ê

I

!I

. . í liJ-*t - 4":{;:{

il

E

i

{

í t7(c t&) D - 7a h l

í!, "ot

Blrn r,,t í4t,, B/u r,, í - 7( r i l )

Í,t-7atei)

G rLê 11\

í"n'

ot*u, ttl'n, o/,n, éez B/7

Í.1 -Tt zH)

b - 7ftn)

L 7

20

Page 21: Van Lenten - Creative Jazz Exercises Vol 2

minor Pentatonic Scale

zl-Tr,-r)

(F*^r)

,n(t:r)

21

Page 22: Van Lenten - Creative Jazz Exercises Vol 2

and minor Pentatonic Scales

,;.yu,. íL,n nlr@n)

t r l í -7(Aln)

0t l

6l;..,

Lb

tl ' l G - t(ttal

íbOtl')

f r l

/ 7CF -à

í"1(ft +)

F-7

Btt/'Alq)

Utnt8t t(B n)

nt7(f *s

Bl,- AIUí/u) lràl/h*t

[c *lBr,/ í t

rl-rJ

í,1,,

LL(",o) tT íu7,, Í!n*,N,IU /t)

( 7 í-? Bt7

í&T^, F-7(tetu)Bt- Bt7

22

Page 23: Van Lenten - Creative Jazz Exercises Vol 2

Harmonic minor

D7.(D //*..)

Mixolydian Scale

A [ftnn.'') A (filt/,.r| í-- fisb^) A7

DT(ail,..,1 tí- 7(ÍH-n,)

íflO !*'n,)

DTrg il^.n )

(Ét/,.,1 ldro.^^rÍ7

(/-T[ il(>q,)

{;l-, í Vru^-th--?L ,

/ *, il^-.) D-7(Btr/^*, ÍírL-, ,47(.F ís* )

t 7LC l/^-l

/LtI//'-\

23

Page 24: Van Lenten - Creative Jazz Exercises Vol 2

Major, Blues, minor Pentatonic, fnd Harmonic minor MixolydianScales

^oJot Crílr"^, (q+ o ftla )

Lí,A\

24

Page 25: Van Lenten - Creative Jazz Exercises Vol 2

Diminished scales (with Major scales)

,hylln L€rr1

Lt7( í cl';1

/í-To,,,,, 87 2 t{t íl-7(2n.;) CÍ, D,à ( D),-) ^

B7

B - 1rrJ,*', í.7 Ê uar> A#o {aLr,^ ({7 í/-v R,l' 'UJ*) - L

t{7 /r-7 87 tl7(gl';)

L(t /a)

/t7 B?(olr-l

B -7rr^ t' 7 f t o .(4tJ;,

lr, ^r', ff;J, Bt

N- 7 ,"rr,rt (r-fl,r,,,

Lft u*-]

c#7

t t-7G*l'*t

Ff7

B7ír-7U)r-^.>

.l ,

ti7(.trl) Fr-7(B/';l ( 2 tl.i

B7 t f,#,,,

8-' (rJ,:\ z' 7 A rrr^Aro r(ilr,r, 8t

25

Page 26: Van Lenten - Creative Jazz Exercises Vol 2

Major, Blues, minor Pentatonic, Harmonic minor Mixolydian,

Llocs L ,nr,

fl

and Diminished Scales

í4tn\ C ,nn,

^A 7rr ,

G'r, oo.,D -7 , D ; 7 * , 6 7

ID olt,l L (Bar;

r -7

b -Á^r ' l

L (rn, Qó1.-^,t 7(B H-,r.)

L '*rn, í7(Í , 'F)

26

Page 27: Van Lenten - Creative Jazz Exercises Vol 2

Wholetone Scale (with minor Pentatonic scalesand chromatic scale)

n o lo / C ' l

r l ' .

27

Page 28: Van Lenten - Creative Jazz Exercises Vol 2

Major, Blues, rtinor Pentatonic, Harmonic minor Mixolydian,Diminished and Wholetone Scales

F (Aah,) b z

í^r, FTtrrn, B l, ̂ , B!;/" Dr b - 7,4 -7trn)

L 7(Íttl

F(A^r, D7^ur,, 6 - 7(Drn)

( trt- ut Íl

G -716t-t\ t 7(F,D írn-,\ D7g>

F í7(ra;gt(tbn)

gr-7íAónl

ê - t D 7(A-'r')

l - 7

-7 . tr l F.::D íc //,^-)

E-7,

G - 7

F(r-n) DI Fft^A'\

D7G - z t 7(B à-'c)

& 7/^.r.t t 17

íítrr l Fr/,rt fl-,, B/;I,rt ('o uí)tr -7

(G-*l 6u

28

Page 29: Van Lenten - Creative Jazz Exercises Vol 2

ll,rrt & Gro,)

. . ' . .

/ r 7t 2 /

0-L,,,,

'G,í/í^,, D - 7Efr,l)

6 7

( -7

A-z

Lr7 (nht,D - 7ft ro'\

b 7

I - t(E tat)

&( 8 Í w )

n

Page 30: Van Lenten - Creative Jazz Exercises Vol 2

Major, Blues, minorDiminished,

r \qlla Bl &'l- J lrD -t)

Pentatonic, Harmonic minor Mixolydian,Wholetone and Insempo Scales

t -7 í ' / 8t Ê ZrrU, [ -7 í 70il,-.r)

B' B'7&U'.)

r l- (Etfi)

t/u;X' D Jttrvlbí F7

c - '7 Í7(ê - 'P ) fnlur> lx,Bt

(D-'t)t - ?/'/ p ?)

B'iír, Ít t ,-rx,r, B'* or,,btx) l' l'7 Frl

D7 (nn,.\ D - 7

G -'7/ Xp.e I

t--7Ul0b.)

olt*, ê v t-t f - t

30

Page 31: Van Lenten - Creative Jazz Exercises Vol 2

Okinawa Scale

r\tln C br*l

E- 'l D l ^Ê{bo^ -Z -7

d - 7 \(c 0/,)

G n ort 67, *, t -nTo^fr;,T t loo,tf uo,

4nl, 2J*,

A - ' 7 D t

t (aoi t -7

z,Fïon

&Gotl Gtot)

ffirt 470^

G(tort G,/,rb br,)

-í#-7B'(nor,, B - 7(oov.s t'n*,

h

t - 7(t'ot) 47 urotl flilo,tt D7(rtr,t,)

6r, on, t - 7 AíJ*t 27Ct(Êok) É - v(r, Adot, Dtrrtt

6 7(í oI,\tt ot,)

t - 7?t, &N.

4 - 7 D7B ots

31

Page 32: Van Lenten - Creative Jazz Exercises Vol 2

Major, Blues, minor Pentatonic, Harmonic minor Mixolydian,Diminished, Wholetone, Insempo and Okinawa Scales

^.. llur L- 7A lGp f) (B -.r) (FraD (F///-.-)

Aí"7, Iq-ï

87,0, z -v(8 /l-n,)

Page 33: Van Lenten - Creative Jazz Exercises Vol 2

Composite

Llret D

Scale (two

G r l

major triads onehalf step apart)

A - t D7D

G - 7 F4-7

L- ,7 t - .4 r7

A- r

G - 7 í / -T

Í - t ,4v

p-7

ó - 7 Í/-7

33

2 - 7

Page 34: Van Lenten - Creative Jazz Exercises Vol 2

Major, Bfues, minor Pentatonic, Harmonic minor Mixolydian,Diminished, Wholetone, InseffiPo, Okinawa

and Composite Scales

(í^c) (Dt n) Gtorl

t ' -1 u*,

E I -á rt.t

,u

Page 35: Van Lenten - Creative Jazz Exercises Vol 2

PLAYING ON iimT-VT PROGRESSIONSWTH TONIC AND COLOR SCALES

Use the scale charts for reference.

Pick a scale for the iimT chord that's a tonic-type.

For example:D-7rn,

/ -

The dominant seven chord can be superimpOsed by chords that contain many colors. Thekêy note to avoid, unless in a 'passing" situation is the Maior 7th chord related to the root.(G7 avoid 'F#').

For example:

) (2 conp)

The "iim7-VT progression can be treated entirely as a V7 chord sound.

For example:

When playing on an extende d at7 sound a V7 (relative) can be added and used asreÍerence point for color scales

For example:

k t't.l

(D ̂ p) (l tns.\

35

Page 36: Van Lenten - Creative Jazz Exercises Vol 2

PLAYING ON iimT-VT PROGRESSIONSWITH TONIC AND COLOR SCALES

(continued)

For interest, scales can be put together into scale, chord, third, and fourth patterns.

For example:

T)-'l u,, , (r7 k tt,t D-'l lítn) êl Lebn)D-l (tLr,,l

Some scales have a iimT-V7 sound within them.

For example:

D-'t (E Ías.)(tq

When iimT-VT progressions appear in a series it is effective to transpose scales in

sequence.

For example:

I F [0"r,)

D-7 /o ,ts.)

D -7 /An,r)

Page 37: Van Lenten - Creative Jazz Exercises Vol 2

SUGGESTED APPROACHES FOR USINGSUPERIMPOSED CHORDS

By superimposing triads, seventh, and ninth chords (eleventh and thirteenth chords are notdireclly included in this book) over a chord sound you can introduce new color and passingtones in an interesting way.

For example:

(-tfr)

Chords can be structured in arpeggios, nbroken" patterns or in sequences by root.

For example: Arpeggios

(D0tti ? )í. ) (L- {tl G)

or in sequences bY root.

(sDrrt

(Í7,*r' >

or 'Broken" patterns

(Eb h,;7)e)

G7 b- r? \ (2 /'At-{rYF-')

37

Page 38: Van Lenten - Creative Jazz Exercises Vol 2

CHORD SUBSTITUTION CHARTSAND EXERCISES

(ToniG, Color and Passing chords)

The Íollowing charts list many oÍ the chords that can be superimposed over a malor, minor,and dominant óound. The minor and dominant sounds carry the same superimposed chordpossibilities.'

Let your ear guide you when'choosing a chord. Like the scale exercises in this book, theprogre-ssions here have been simplified. Altered chords can be defined by altering or changingsuperimposed chords.

For example: D7b9 is changed to D7 CMajorT(#1 1) is changed to CMai7.

The exercises are meant to demonstrate the'sound' oÍ one chord with another. By playingwith accompaniment or "listening" to the progression in your mind you can hear thepossibilities presented.'

An excellent way to acquaint yourselÍ with chords is to practice every possibility by root,throughout the range oÍ your instrument.

For example: G root

Another way to practice is to follow the same chord type around a cycle.

For example: MajT#S

L

38

Page 39: Van Lenten - Creative Jazz Exercises Vol 2

Maj. d i m . 5 d im.

TRIAD SUBSTITUTION CHART

C Maiormin. aug. 5

- Tonic sound (sounds like chord)(C) - Color sound (contains two or more color tones)(P) = Passing sound (contains color tones that may be dissonant iÍ sustained)(Í€) - Sounds like chord and contains one color sound(P€) - Passing sound that is "moderatel/ dissonant

D Minor and G7min. aug. 5 d im. 5 d im.

Page 40: Van Lenten - Creative Jazz Exercises Vol 2

TRIAD SUPERIMPOSITION EXERCISE BASED ON -A'TRAIN

CHANGES

@t)tfi

A*)

(8o) (ot) zÁu[fit br)

H7 ,,,,

z - 7

hl,) p4t tO /tt)

\

N

Page 41: Van Lenten - Creative Jazz Exercises Vol 2

TRIAD EXERCISE BASED ON 'A' TRAIN CHANGES(continued)

rc-)tf l-),

,lt-' l-t - t t - J ' t -

Z ''7(Q't

l ' t t l - t €t

& G n (t -) D \ [tt

'(n\ wlÊ\(ai (cà

: \ V t

G)t - 3 d

9't ut)

(D)

L - 7 2 Ft't

(e -) rn) rD)

4 i

Page 42: Van Lenten - Creative Jazz Exercises Vol 2

TRIAD SUPERIMPOSITION EXERCISE BASED ON "CHEROKEE"

6sh)

Go)

H-r

fut*)

bt ) (D)^ (ylt)

D" , ) G t,)

, bt)f ? t

f oo ) (trsrpt't 4,7-,

h*'t ( t - \

n -7( E - - )

D 1(rr-s

Page 43: Van Lenten - Creative Jazz Exercises Vol 2

TRIAD EXERCISE BASED ON'CHEROKEE"(continued)

B) nb-'l 6t ht)

F#;f, Blt, r0 írt)

(k)/ _

(t t)

/( ) ral')

A17{ b) D7 f t ) htl (t'trc)

43

Page 44: Van Lenten - Creative Jazz Exercises Vol 2

SEVENTHCHORD SUBSTITUTION CHART

C Major

minor

(c ) .,. * ('-) *b:',(/) t^? e-t) ?

Page 45: Van Lenten - Creative Jazz Exercises Vol 2

SEVENTH CHORD SUBSTITUTION CHART(continued)

D minor and G dominant seven

Major minor Dominant diminished

f - c ) ( f

(?) , o Q'f >o &) (e.c."t n G )

(r-ct ,, 0) t (f'( P>" (r) (r-rt

G ) l i , * 0 , - h o , D

@.{(?Ifla['], Q) -k @o?.h(o )-g Gr)t

45

Page 46: Van Lenten - Creative Jazz Exercises Vol 2

SEVENTH CHORD SUPERIMPOSITION EXERCISE BASED ON"SATIN DOLL"

2 - 7Ërírtl

6 r l&n-o

D-7(ê-'ts

( : l6t-n

L - 7(Ni1\

AI 2- l n ' , l/t-C7)

4;J,,,, 6J D-?lr - fr)

GV Í - t(ó tt.,nrÍ)

Ê rur- n) z -?

(Ê - t4)A'I

Ê_ ,711t/; lt;)

( '7 ,r,rn",

A-rl D,l ê(a>

tt7rc.*it) 7;11a) $)G-tt)

6rt Í - 7(&,2)

D - 7GhDa),

t -7 tv.(& tr\ ((.ru) (yn.1tt),

Page 47: Van Lenten - Creative Jazz Exercises Vol 2

SEVENTH CHORD EXERCISE BASED ON "SATIN DOLL"(continued)

. D 7(Bt't,, '7 )

bbTat-r,) L (G4,iJ $)

,4'/[y'íH,; l)

D - 7(íH,;t)

t"l(>- *t)

D - 7(E,st)

Í 7o7,,,t !o('7 ,rrí';,'

(t-z) k_r,r\

L 7 F(tl-tlG - 7

Al-tlC -7 L, t

bottql) (btq-;t) Ur - t )

n-1 D7LB-il (at>

4 . Y D 7Gttii

GíFt"J

z- '7 ffn,rut(í-z)

(Ctl,p tr>

D -z(D-t\

D - 7 .( > - t IáJ,, ,*'7", Í;,7 #7.,

D7 (saf)bl'

) t 7 (gtn,,;) Gatt) Uq\t

47

Page 48: Van Lenten - Creative Jazz Exercises Vol 2

SEVENTHCHORD SUPERIMPOSITION EXERCISE BASED ONA MINOR BLUES

U'tl

/7J,,,

T 7 . ; . - à ) (í t . r )

Z7 G, i lo tD

t!_

br k nn;tS

A'7J61rr;- (t ttsr) Q[tn;'rl

4;J,,

Ai','?rt) 6glt)

@4 (Gn,;rl

7A-7h-r,t 0ní.í @tr1,,u7

(Cnir>

g,tr1ír)

(t n';rttS c o'r)

t t

tD-r) /;,7

O4.ttr) ffnqt)

A -7 rsts

(fl'tt1

Page 49: Van Lenten - Creative Jazz Exercises Vol 2

- 1

Dominant

.NINTH CHORD SUBSTITUTION CHART

C Major

mrnor

(p.)n h) ^. (rl

(r> t^i (r'cl,

(r-r> ., r) G,r), fr) Qc2

(r - ( )?

re ?:it'Í)tt #r) ':ït

49

Page 50: Van Lenten - Creative Jazz Exercises Vol 2

NINTH CHORD SUBSTITUTION CHART(continued)

Major

D minor and G dominant sevenminor Dominant

(P) G ) f t P) (p-c)

Q,O (-r+)

?< t., (r;, (4-, t (r-,) U-c)

( : l

( " )

(r'r t (ry{re e1 (e.'c) q)

?:)'?*fl'fií2

(ra co !/r) í) Q-c)f a &

(*csb/

(c)h*

tc)

fo) <) (r)

( r 'c)v fko,l

( r t#-a

?2

(P.c ) (P) .Q ) (P )

4) G ) (r-,

(p-,>- G) (

e ) o (rL í'''rt n( rl .(r+ )n G\

@ hlo tÍ)

Q;2 93 fh (1.ctoo(r-,1 t Gt * n@)

ar* er)"tG-r59 Qt,, ̂og

G; {tr ?,}aft

50

(p-" )(í'.)-,-U,t

t@ulk<)

Page 51: Van Lenten - Creative Jazz Exercises Vol 2

NINTH CHORD SUPERIMPOSITION EXERCISE BASED ON"PERDIDO"

D - 7 G IE ates)^

D . 7 G 7

ó r L ((rr,;l ,r)

L ksn,;q)[ífl,ilrt)

D-7127 te)

D-,1 G'7[Aot/,;ttO

4;7",C t D - 7(GL?rt) ftd;t u) U-f )

a

Ê ' t

G 7GÉ)

D-7rcq l hbiliq)

b.L

(Flr;í)

3

(A-nD- l h f ls ,q)

ê ' l

D -7(Att't)

G I D- th1il)

G'7

4;J,,C t D - 7(Dtp;q)

G 7, ó - r

Page 52: Van Lenten - Creative Jazz Exercises Vol 2

;*ï

NINTH CHORD EXERCISE BASED ON "PERDIDO"(continued)

(G Ar;1 rr)

2:í! Êrl b-z_r, G -t*tt

7,o*,,

6 7gn) t-(t t'tv,'9k\ (r*1 D (GH,iq) (c)

52

Page 53: Van Lenten - Creative Jazz Exercises Vol 2

NINTH CHORD SUPERIMPOSITION EXERICISE BASED ONC BLUES

t l(ct,tt F1,,,, tr l (yt 7rt)

t7 (t,n.,,'/l A7-:;+lh-l tr)

67 Grtt l

tl rrnl,at f Trgtn; u t

G7 ril*s>

[ \u-yrg (4ó ?

D-l 'rr r^\

ftrlc.)

($ / , ; r , 4 r

( Bn,, ' f ) ( '7 0,;,x,L)

D-1r, s,e.tcth)

7 (rr,r,

Page 54: Van Lenten - Creative Jazz Exercises Vol 2

SUPERIMPOSING CHORDS ON iiM7.V7PROGRESSIONS

Refer to the chord charts on pages 39, 4, 49.

Substitutes on the V7 chord can contain more 'colof tones.

For example:

A iimT-W progression can be treated as a W sound and a minor seven chord can have its'corresponding dominant chord added to it.

Belorv are some examples oÍ iimT-W chord superimpositions:

The iimT chord should be superimposed with "tonic" sounding chords.

FnàT#-r, u-7\

D - l G ) G 7 & \ D- 7 (r+, 't Haj'l +t)

Page 55: Van Lenten - Creative Jazz Exercises Vol 2

i imT-VT PROGRESSIONS(continued)

Chords can be added when moving at a quicker pace:

For example:

Chords can be nrun up and down' or may be "broken up' to create interest.

For example:f l '7 p 1a i ; t t l &7

to He i7)

A'composite" scale made up of two or more chords can be created.

For example:

D - 7 G ' I' (Flttill U noil )

D-, ,, Haí,tt G'7 íqt;) D-7 (r*,o,, ' "'ÊJ'1'

Superimposed chords can be used on the 'l' chord when the ii-7-V7 progression resolves.

D - 7(Í-t l

É,7-,,,COEJ.,,, D-7r*,,brTn,,l, tffo;r

55

Page 56: Van Lenten - Creative Jazz Exercises Vol 2

EXERCISE COMBINING TONIC AND COLOR SCALESWITH TONIC AND COLOR CHORDS BASED ON

"SOFTLY AS A MORNING SUNRISE."

This exercise treats some oÍ the chords in the progression in a horizontal way. That is, onescale or superimposed chord is used for more than one chord. Also some color chords areordered in a sequential way.

D _ ,7 b - r [c nc rd.j 6 - 7(Ftt,; rc|,)b -7rru,;

rct.l

D,íJ , t z'J*,r, 4.7,7.

D - 7 1a7r, D ir *,'4% u,r)

27(i -íC*.) 64t-e (o,+)

á 7ó1.8t fur>

56

Page 57: Van Lenten - Creative Jazz Exercises Vol 2

rb

SCALE'""ï Ë+

L ' -7

AND CHORD EXERCISE(continueJ .{

SJAC G zD-7Cl r"t,)

7aTï

b-Y tn; t , t ) | 7b,n,;?

rr)D - z

-Lrh;'t t;r q*:F 2"7 g:

tr+sr,l ,It

D-7(tn,;i)

2 - j(A (.*.nl

2 - 7 'E -trc )

' Ê - 7

(f)

I

t * r r ' "G;)

A 7

'bit,l DTr* ^ 1 .

(B lt'.) '

> - 7( b L ) (t t)

*.-\-lgt-r?) x G-al

GF*, '4 7 G#o*t

D - 7

Page 58: Van Lenten - Creative Jazz Exercises Vol 2

SCALE AND CHORD EXERCISE(continued)

b -/r,n,,r,, b-1(>t t t , i j t í ) 6 - 7

í -n Ar lL l&flr;r'o ^

D-7-(cnt i t t í ) ê7r,,,

2-'l(rt) Ar7 D -(

D-7(2-,p.\

D-z

G - 7

t - 70 un)

êr l D 6^r,, (F-.p) (.b,-.-l

58

Page 59: Van Lenten - Creative Jazz Exercises Vol 2

ffiw,

TABLE OF CONTENTS

PART IINTRODUCTION . . .1SCALES AND THEIR RELATIVE CHORD TYPES 2SUGGESTED APPROACHES FOR USING SCALES (revised). , . . . , . .3SCALECHARTS . . . . . 4 -9TONIC AND COLOR SCALE EXERCISES 1S34PLAYING ON iim7-V7 PROGRESSfONS

WITH TONIC AND COLOR SCALES . .3$36* .é ! .È - . i s r ' . . ,

PART IISUGGESTED APPROACHES FOR USING

SUPERIMPOSEDCHORDS . . ,37CHORD SUBSTITUTION CHARTS AND EXERCISES . . . . .38TRTADS . . .3941SEVENTH CHORDSNINTH CHORDS . . .4953SUPERIMPOSED CHORDS ON iimT-V7 PROGRESSIONS .., . . . .*55EXERCISE COMBINING TONIC AND COLOR SCALES WITH

TONIC AND COLOR CHORDS . , . w . * .+* lF . . . . . . .5ê59