Patterns Lira
4
7/28/2019 Patterns Lira http://slidepdf.com/reader/full/patterns-lira 1/4 T A B 4 5 5 7 5 7 8 The ii-V-I progression is probably the most common chord progression encountered in jazz. It is found in virtually all the jazz standards a jazz guitarist will play. Because of the frequent use of this progression, it is very important that jazz musicians learn and understand as many techniques and ideas as possible to improvise over this crucial element of jazz. This article will focus on the use of digital patterns for playing over the ii-V-I progression in major keys. The ii-V-I progression in the key of C would yield the following chords: Dm7 (ii), G7 (V), and Cmaj. 7 (1). Digital patterns are usually four to eight note cells or groups that are structured according to the numerical relationship to the root note of a chord scale. For example, if a D minor seventh (Dm7) is the chord being played, the dorian mode that compliments that chord would be comprised of the notes D, E, F, G, A, B, and C. The notes would then be assigned a number according to the order in which they occur. The note D would be 1, E would be 2, F would be 3 and so on until all of the notes in the scale have been assigned a number. While a G seventh (G7) chord is being played, the dominant scale (mixolydian mode) that will compliment that chord will consist of the notes G, A, B, C, D, E, and F. The note G will be 1, the A assigned 2, the B will be 3, and the other notes will receive their numbers based on where they fall in the scale. 1 4 7 (1) 2 3 5 6 V R 1 4 7 (1) 2 3 5 6 V R 1 4 7 (1) 2 3 5 6 III R T A B 5 6 4 5 7 5 7 T A B 2 3 2 3 5 3 5 Numerical Value 1 2 3 4 5 6 7 Numerical Value 1 2 3 4 5 6 7 Numerical Value 1 2 3 4 5 6 7 G7 G7 Dm7 OR
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Transcript of Patterns Lira
7/28/2019 Patterns Lira
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T
A
B
4 55 7
5 7 8
The ii-V-I progression is probably the most common chord progression encountered in jazz. It is found in
virtually all the jazz standards a jazz guitarist will play. Because of the frequent use of this progression, it is
very important that jazz musicians learn and understand as many techniques and ideas as possible to
improvise over this crucial element of jazz. This article will focus on the use of digital patterns for playing
over the ii-V-I progression in major keys.
The ii-V-I progression in the key of C would yield the following chords: Dm7 (ii), G7 (V), and Cmaj. 7 (1).
Digital patterns are usually four to eight note cells or groups that are structured according to the numerical
relationship to the root note of a chord scale. For example, if a D minor seventh (Dm7) is the chord being
played, the dorian mode that compliments that chord would be comprised of the notes D, E, F, G, A, B, and
C. The notes would then be assigned a number according to the order in which they occur. The note D would
be 1, E would be 2, F would be 3 and so on until all of the notes in the scale have been assigned a number.
While a G seventh (G7) chord is being played, the dominant scale (mixolydian mode) that will compliment
that chord will consist of the notes G, A, B, C, D, E, and F. The note G will be 1, the A assigned 2, the B
will be 3, and the other notes will receive their numbers based on where they fall in the scale.
1 4 7
(1)2
3
5
6
VR
1 4
7
(1)
2
3
5
6 VR
1 4 7
(1)2
3
5
6
IIIR
T
A
B
5 64 5 7
5 7
T
A
B2 3
2 3 53 5
Numerical Value
1 2 3 4 5 6 7
Numerical Value
1 2 3 4 5 6 7
Numerical Value
1 2 3 4 5 6 7
G7
G7
Dm7
OR
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The C major seventh (Cmaj7) chord scale (major scale) consists of the notes C, D, E, F, G, A, and B. With
numbering system C is 1, B is 2, E is 3, and the numbering continues until all of the notes in the scale are
ounted for,
o play a basic four note cell against Dm7, G7, and Cmaj.7, play the notes 1, 2, 3, and 5 for each chord.
y skipping the fourth note and replacing it with five, the simple sound of running a scale is avoided. Now
y another common digital patter for the Dm7 chords which is made up of 1, 3, 4, and 5. (These are the
t four notes of the minor pentatonic scale.)
1 4
7
(1)2
3
5
6
IIIR
1 2 3 5
1 2 3 5 1 2 3 5
Numerical Value
1 2 3 4 5 6 7
Numerical Value
1 3 4 5
Dm7
Dm7
G7 CMaj7
CMaj7
2 42 3 5
3 5
T
AB
77 85 2 5
3 5
2 53 5
T
A
B5 7
5 8
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When a sufficient amount of comfort is achieved in playing these digital patterns, begin working on
mutations of the cell. There are twenty four permutations for each four note cell. (These cells also make
at warm-up exercises for your daily practice routine.)
Permutations for 1235 Digital Pattern
o avoid sounding predictable, mix and match digital patterns through the changes. For example, play 1, 2,
5 for Dm7, 1, 5, 3, 2 for G7, and 5, 1, 3, 2 for Cmaj.7. By mixing up digital patterns, a nice sense o
tion is created and the player doesn t get locked into any finger patterns that will sound boring.
he creation of original digital patterns is vast. By learning these ideas, as well as original digital patterns,
all twelve keys for each chord in the ii-V-I progression, the player will have almost limitless ideas at their
gertips. Also, the student may wish to explore the realm of 8 note cells for each chord such as,
3,4,5,7,6,5, or 1,5,3,2, 1, 2, 3, 5 and their related permutations. (There are many permutations for each o
se eight note cells.) An easy way to get started with creating eight note cells is by combining two different
r note cells that have already been learned, or a four note cell and one permutation of that same cell.
11 12 23 3 235 5 5
Dm7G7 CMaj7
1235
12531325
1352
1523
1532
2135
21532315
2351
2513
2531
3125
31523215
3251
3512
3521
Permutations for 1345 (used for minor chords)
5123
51325213
5231
5312
5321
13451354
1435
1453
1534
1543
31453154
3415
3451
3514
3541
41354153
4315
4351
4513
4531
51345143
5314
5341
5413
5431
T
A
B
7 47 5 7
5 7 8
55 7
5
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TA
B
55 7
7 7 47 5
7 55 7 7
77
7 1010 10 8
78
7 5 4 7
5 7 55 7 7
7 7
5 795 4 7
7
G G
G G
G G
4 77 5
54 5 7
4 5 77
56 8 6 8 5
7 7
1010 10
10 1010 10
78 8
4 78 8
887
8
5 57 5 7
7 4 7
55 7
95 7 77 8 7
99
7 5 4 7 54 7 5
10
1010
10 10
11 12
33 3 3 3 3 34
45
5 5 1 1 12 25 5 5 5(4)
1 1 2 22
3 11
33
345 5 55 2 13 5
1 1 11
12 22 23 3 3
34 45 3 1313
4 45 5
1313
1 22
33
44
55
15 5
55
5
lay the following solo which uses digital patterns over simple ii-V-I.
his article has focused on using four and eight note digital patterns that have been built using the first five
es of each chord scale. More possibilities can be achieved by using all of the notes of each scale (notes 6,
nd 8). Enjoy practicing.
Am7 D7 Am7 D7
Am7 D7
Dm7 G7 Cm7 F7
Am7 D7
Am7 D7 Am7 D7
