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&c
b j
&
2. Same as previous figure, starting a half-step below the 1st note of each 3rd
& # # # #
3
3
&
b n
& # # # #
4. Same as previous figure, starting a half-step below 1st note of each triad
b
& b b b
j b J
j
b
&
j
J #
J # b J
J #
3
7. The three important arpeggios on the dominant 7th scale are found
on the tonic, the 5th and the b7. Illustrated in its entirety is the arpeg-gio on the tonic (C).
Practice the arpeggios on the 5th and the 7th (Gmin and Bb - shown in root position)
in the same way.
3
&
3
&
Gmi
Bb
&
3
-2-
&
& j
J
J
J
& J J J
b
J
& b j
b b
&
50
b b
b b
#
n
b
# n b
&
#
n
# n b b
b b
b
&
# #
52
54
# n b n
-3-
b
b
&
# b
n
& #
3
12. Rhythm exercise performed on the Cdominant 7th scale. Practice this on
the major scale as well.
& b
& b
&
&
j j
-4-
&
& b
b
&
j
b
j
&
Start on 4, no h/s
&
b j
b
&
j
b b
j
b b b
b b
b b
b j
b b
j
b
b
b
b b b
&
j
j
-5-
& j
& j
&
j
j
b j
b J
b j
& b
* b
j
* b
&
j
b b * * b
j
*
* b
&
j
When starting a phrase with an 8th note triplet, use the rule for the middle
note of the triplet.
& b
3
b
j
-6-
When starting a phrase with a 3rd, follow a rule for the next note that
falls on the beat.
*
b
b j
j
&
b * b * * b
&
j
b * b * *
* b
b j
&
j
When starting with a triad, follow the rule for the top note of the triad.
b j
& b j
&
b b
j
b j
-7-
For starting a semi-tone below the root of a chord follow the rule for the top note
of the chord.
& # j b j
3
j b j
#
j
b
b j j b j
& #
*
*
*
*
&
j
j
b
3
&
j b
b b b j
b b
j
&
F
b b
& j
3
C7
b j
C7
b
b
J
-8-
&
&
&
2
&
b b
j
2 *
b
&
j
&
b *
3
b b b
3
-9-
&c
Tonic
&
& b
2nd
b
&
*
&
b b
&
b b b
3rd
b b
b j
chromatic line from 7-5
b j
b j
b j
b * b
b b j
*
b
b
j
b j
b
SCALES
CHORD MOVEMENTS
C7-A7
Em7b5-A7
A7-Gb7 (F#7)
C#m7b5-F#7
A7-C7
C#m7b5-C7 (IIm7b5-subV7 in B)
Em7-Gm7
A7-Eb7
Em7-Eb7 (IIm7-subV7)
Eb7-C7
Gm7b5-C7
Eb7-Gb7
Gm7b5-Gb7
Bbm7-Dbm7
Eb7-A7
Bbm7-A7 (IIm7-subV7)
Gb7-Eb7
Bbm7b5-Eb7
Gb7-A7
Bbm7b5-A7
C#m7-Em7
Gb7-C7
Dbm7-C7
This is the entire chart for C#dim chord. Do a similar chart for the other 2 diminished
chords. Thus the same for all 12 keys.
The Important Minor is the term given to the chord found on the 5th
degree of a dominant 7th scale. bIIImi7 (C#mi7) is the 'important minor'
of the bVI7 (F#7) or subV7 of V chord in the key of Bb. The phrases
illustrate bars 3-4 of Rhythm changes.
IIImi7
&
& b n
3
bIIImi7
#
#
IImi7
b
b
Up and down each dominant 7th scale with the '4' phrase
& # # j
& b # j
# J
j
b b
& #
J
#
j
b
&
& # #
& b
# b
# #
b # b
#c
# F
&
&
10
E b
# Gw
&
14
&
18
# F
&
22
&
26
E b
E7
bw
bw
D7
. j
D7
B b7
b n
bw
B b7
C7
D7
C7
bw
D7
bw
#
&
30
b n
C
F7
D7
&
&
&
&
&
#
#
#
#
#
#
b j
n
n
E b
D7
C7
b n j
B b7
b n b
j
n
b
b
G
b b j b b n b b j
b n
E7
D7
C7
B b7
b n j
b j
j
n
n
n
b
b
G
F7
C
E b
A
D7
#
b b j J
b J
b
& b n b b J
n
&
&
#
#
To end
&
D7
D7
J
J
J
J
INDIANA
&b
C7
j
b
&
B b
&b
G7
F
E
& b .
Dmi6
.
B b
D7
A7
& b b n
F
D7
&b
A7
G7
.
j
C7
Dmi6
Dmi6
C7
F7
D7
.
.
G7
j
#
E
A7
G7
j
#
E b7
. j
C7
.
J
G7
.
J
&b w
85
D7
& b n .
81
MacDonald-Hanley
Ab
C7
D7
C7
G7
G7
&
C7
& b j
B b
B b
E b7
F7
J b b J
D7
j
b j
b
&
#
J
b
b b
G7
&
D7
A7
Dmi6
A7
C7
G7
b j
G7
&
Dmi6
A7
& b # j b n J b # j
Dmi6
Ab
b n
J
& J
#
J
&
D7
C7
C7
# j b j b b j