Stanley Ruiz Jazz Book Theo Phonic School of Jazz Improvisation eBook

TTHHEE JJAAZZZZ IIMMPPRROOVVIISSAATTIIOONN

A RESOURCE BOOK OF ADVANCED IDEAS FOR THE �“LEFT & RIGHT BRAIN�” IMPROVISER

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Copyright 2008 Republic of Trinidad and Tobago, all rights reserved. No part of this book may be reproduced in any form or by any means without the permission of the author

AABBOOUUTT TTHHEE AAUUTTHHOORR

Stanley Ruiz has been playing the guitar since 1960 and has taught guitar privately for over 35 years both locally and abroad. He has specialized in the field of jazz since the mid 1970�’s and has performed with jazz groups in North America. A Certified Accountant by profession he applies his technical training to his music and teaching methods. Although he studied for many years and earned a Master of Music Degree in Jazz Studies, Stanley always makes a point to his students that real schooling in the art of jazz improvisation is obtained for the most part on the band stand among more educated and experienced musicians. Here is where the theory books are set aside and replaced by musicians�’ creative and communication abilities.

Stanley had many influences in his early development as a guitarist. He learnt his first jazz chord C9th from his cousin Stephen Fernandes. Stephen�’s ears are so sharp that it is intimidating to play anything while he is around. He would hear that wrong chord a mile away, and then look you straight in the eyes with his thumbs down. I quickly learnt to play correctly with such an unrelenting tutor hanging around. Stanley also received inspiration from other great local guitarists such as Fitzroy Coleman, Neil Payne, Theron Shaw, Arthur Marcial, Wayne Bruno, Ancil Wyatt and Anthony Voisin just to name a few. Internationally names like Charlie Parker, John Coltrane, Wes Montgomery, Tal Farlow, Jim Hall, Barney Kassel, Kenny Burrell and Joe Pass.

Locally he has been assisting Church Choirs with musical arrangements. He also conducts Jazz improvisation Workshops for the advanced and career musician. He has authored a book entitled �“Music Concepts for the Pannist and Guitarist�”.

SSttaannlleeyy RRuuiizz

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TThhee lliisstt ooff mmuussiicciiaannss wwhhoo hhaavvee eennccoouurraaggeedd mmee ttoo kkeeeepp oonn wwrriittiinngg aanndd ppuubblliisshhiinngg jjaazzzz mmaatteerriiaall iiss aass lloonngg aass iitt iiss wwiiddee.. TThheerree aarree mmaannyy gguuiittaarriissttss wwhhoo hhaavvee iinnssppiirreedd mmee wwiitthh tthheeiirr wweeaalltthh ooff mmuussiiccaall ttaalleenntt aanndd tthheerreeffoorree II ttaakkee tthhiiss ooppppoorrttuunniittyy ttoo rreeccooggnniizzee tthheemm iinn nnoo ppaarrttiiccuullaarr oorrddeerr.. NNeeiill PPaayynnee,, jjaazzzz gguuiittaarriisstt//bbaassssiisstt//mmuussiicciiaann iiss oonnee ooff tthhee mmoosstt mmeellooddiicc iimmpprroovviisseerrss II hhaavvee wwoorrkkeedd wwiitthh.. HHee ppoosssseesssseess aa kkeeeenn sseennssee ooff pphhrraassee,, vvaarriiaattiioonn aanndd cchhooiiccee ooff nnootteess.. WWee ssppeenntt sseevveerraall yyeeaarrss ppllaayyiinngg ttooggeetthheerr aanndd hhee hheellppeedd rreemmoovvee mmaannyy ooff mmyy ppiittffaallllss iinn tthhee aarreeaa ooff ppeerrffoorrmmaannccee.. TTeerrrreennccee SShhaaww,, jjaazzzz gguuiittaarriisstt//aarrrraannggeerr//ccoommppoosseerr//tteeaacchheerr wwhhoossee tteecchhnniiccaall ffaacciilliittyy aanndd kknnoowwlleeddggee ooff tthhee jjaazzzz llaanngguuaaggee ssppeeaakk vvoolluummeess ffoorr tthheemmsseellvveess.. AAnntthhoonnyy VVooiissiinn,, gguuiittaarriisstt//mmuussiicciiaann//tteeaacchheerr ttaauugghhtt mmee hhooww ttoo mmaakkee ssiimmpplliicciittyy oouutt ooff ccoommpplleexxiittyy.. AArrtthhuurr MMaarrcciiaall,, gguuiittaarriisstt//ppeerrffoorrmmeerr//tteeaacchheerr hhaass aa ggrreeaatt ggiifftt ooff hheeaarriinngg nnootteess iinnssiiddee hhiiss ssoouull aanndd ppaacckkaaggiinngg tthheemm iinnttoo mmeeaanniinnggffuull ssoollooss.. LLaannccee NNiicchhoollllss,, gguuiittaarriisstt//mmuussiicciiaann kknnoowwss hhooww ttoo aarrttiiccuullaattee aanndd ppllaayy tthhee sswweeeett nnootteess iinn hhiiss ssoollooss.. MMyy ccoouussiinn SStteepphheenn FFeerrnnaannddeess,, gguuiittaarriisstt//mmuussiicciiaann//tteeaacchheerr,, mmyy ffiirrsstt gguuiittaarr ttuuttoorr wwhhoossee sseennssee ooff hheeaarriinngg aanndd ggiifftt ooff cchhoooossiinngg tthhee ccoorrrreecctt cchhoorrdd vvooiicciinngg ffoorr aa ggiivveenn mmeellooddyy iiss uunnssuurrppaasssseedd iinn mmyy hhuummbbllee ooppiinniioonn.. FFiittzzrrooyy CCoolleemmaann,, jjaazzzz gguuiittaarriisstt,, iiss rreeffeerrrreedd ttoo aass tthhee �“�“ggrraanndd mmaasstteerr�”�” ooff tthhee iinnssttrruummeenntt wwhhoo oonnccee sshhoowweedd mmee tthhiirrttyy ((3300)) iinnvveerrssiioonnss ffoorr aa CCmmii66tthh cchhoorrdd ssoommee ooff wwhhiicchh ssppaann nniinnee ffrreettss.. II pprroobbaabbllyy ccaann rreemmeemmbbeerr oonnllyy tthhrreeee oorr ffoouurr aanndd cceerrttaaiinnllyy nnoott tthhee nniinnee ffrreett ssttrreettcchheess.. LLaasstt bbuutt nnoott tthhee lleeaasstt NNooeell CCaammppbbeellll,, pprrooffeessssoorr ooff mmuussiicc//aarrrraannggeerr//ccoommppoosseerr wwhhoossee ccoonnssttrruuccttiivvee ccrriittiicciissmm,, ccoorrrreeccttiioonn ooff mmuussiicc ssyynnttaaxx aanndd hheellppffuull iiddeeaass aanndd ssuuggggeessttiioonnss hhaavvee aassssiisstteedd mmee ttrreemmeennddoouussllyy iinn ccoommpplleettiinngg tthhiiss pprroojjeecctt..

FFiinnaallllyy II tthhaannkk mmyy wwiiffee DDiiaannnnee ffoorr aassssiissttiinngg mmee wwiitthh tthhee ttyyppiinngg ooff tthhee mmaatteerriiaall aanndd ffoorr hheerr ssuuppppoorrtt aanndd ppaattiieennccee aanndd ffoorr ttoolleerraattiinngg mmyy �“�“mmuussiiccaall eexxcceesssseess�”�”.. II wwiillll bbee rreemmiissss nnoott ttoo ssaayy ssppeecciiaall tthhaannkkss ttoo CCaannddiiccee PPiirraallllii,, ddiirreeccttoorr ooff tthhee SSaamm�’�’ss SSyymmpphhoonnyy SScchhooooll ooff MMuussiicc ffoorr hheerr ccoonnttiinnuuoouuss ssuuppppoorrtt aanndd eennccoouurraaggeemmeenntt..

TToo aallll mmyy cchhiillddrreenn aanndd ggrraannddcchhiillddrreenn,, SStteepphheenn,, DDaarrrreenn && LLiissaa,, JJeeffffrreeyy,, DDaammiieenn,, SShhaannttaall,, TTyylleerr,, OOcceeaann,, SSkkyylleerr,, KKyylleerr.. AAllssoo SShhiirrlleeyy ((MMoommss)) GGeeoorrggee,, SSuuzziiee,, JJeennnneeyy aanndd DDoonnnnyy.. TThhaannkk yyoouu aallll ffoorr yyoouurr lloovvee..

TTTAAABBBLLLEEE OOOFFF CCCOOONNNTTTEEENNNTTTSSS 1. Intervals matrix 2. Interval Studies 3. Interval Motifs for Improvisation 1-4 4. Specialized Jazz Scales 1-2 5. Arpeggio Exercises 6. 1-2-3-5 C-Major Chord Permutations 7. 1-3-4-5 C-Minor Chord Permutations 8. 1-2-3-5 Sundry Patterns 9. C-Minor 6th Pentatonic patterns 1-4 10. Triadic Motifs 11. F Major Triad Elaboration 12. Minor 7th Improvisation 1-2 13. Octave Displacement Exercises 14. Bb Melodic Minor Mode Ideas 15. C Melodic Minor Motifs 16. Melodic Minor With Chromatic Passing Tones Over ii-V-I 17. Dominant 7th Ideas 18. A7th Altered Scale Patterns 19. Whole Tone Motifs 20. Altered Major 7th Exercises 21. Modal Ideas 22. Challenging Exercises & Etudes For Modern Improvisation 23. Jazz Quotes & Clichés 24. Charts , Pictures & Diagrams 25. Twenty Eight (28) Melodic Minor Modes Application For C- Dom7th 26. Author�’s Hand Written Working Papers 27. Author�’s Jazz Forum Narratives 28. Author�’s Online Correspondence With Students

SSIINNGGLLEE NNOOTTEE IIMMPPRROOVVIISSAATTIIOONNAALL MMAATTEERRIIAALLSS

This section of the book covers single note ideas that the improviser can internalized in the �“left brain�”. The ideas presented are in the form of scales, modes, motifs, melodic fragments and interval studies.

The intention is that the musician can randomly select the ideas, develop them and apply them to his or her own playing style. Improvisation can be viewed as a process of reordering the notes of a scale into their strongest melodic possibilities.

A melody is at best, a set of intervals having a rhythmic relation to each other which is naturally grouped into phrases. Playing melodically is both an art and an intuitive musical expression.

Finally you will notice that no specific time feel is applied to the single note materials. This leaves the improviser free to make his or her own use of dynamics, articulation and time feel. Experiment, you are on the road to self expression.

Good Luck!

WWHHYY MMAAKKEE IINNTTEERRVVAALLSS AA SSTTUUDDYY??

One of the advantages that an experienced jazz improviser has over a novice improviser is an indebt understanding of intervals and their structure. The ability to name intervals and recognize their sound when played on your instrument is acquired through many long hours of daily practice.

When an improviser practices scales, modes and chord arpeggios he or she is in reality playing intervals.

An interval is defined as the distance between the bottom note and the top note. An interval is always measured and named from the bottom note being the root or tonic of its corresponding parent major scale. A melodic interval can be viewed as a horizontal array of notes. A harmonic interval can be viewed as a vertical stacking of intervals.

As an example let�’s examine the intervallic configuration of a simple C-major triad. The notes are:

C-E-G and comes from the 1st, 3rd and 5th degrees of the C-major parent scale. The notes C to E represent an interval of a Major 3rd. The notes E to G represent an interval of a Minor 3rd. Therefore we can see clearly that a Major Triad is constructed by stacking a Minor 3rd interval on top of a Major 3rd interval.

When an interval is inverted a new sound is produced since the distance in pitch is changed. The notes C to E are an interval of a Maj 3rd. When inverted the same notes become E to C now converted to an interval of a Min 6th.

Therefore where an improviser uses a progression of Maj 3rd intervals while developing an improvised idea He or She can create some interesting sounds by spontaneously inverting some of the intervals to Min 6ths.

It is my belief the intervals are the building blocks of melodic and harmonic improvisation and is one of the most important tools available to the Jazz Musician.

The following chart gives a visual overview of intervals and their corresponding inversion. Learn and internalize in the left brain.

INTERVALS MATRIX

Interval Titlelower note

upper note

Interval Title Inverted

Prime/Unison C C Prime/UnisonMin-2 C Db Maj-7Maj-2 C D Min-7Min-3 C Eb Maj-6Maj-3 C E Min-6P-4 C F P-5Tritone ( #4/ or b5 ) C Gb Tritone ( #4/ or b5 )P-5 C G P-4Min-6 C Ab Maj-3Maj-6 C A Min-3Min-7 C Bb Maj-2Maj-7 C B Min-2

intervalformula9 - 2=79 - 3=69 - 4=59 - 5=49 - 6=39 - 7=2

Prepared By: Stanley Ruiz, Educator in Jazz Studies

INTERVAL STUDIES

1.

3 4 3 5 3 6 3 2

3 3

3 4

3 5

3 6

3

2

3

3

3

4

3

6

2.

5 6 4

3 6

6 4 4

7 7 5

5 3 3 5

5 2

2 4 4

1 2 4

3 1

3. (Gm7 C7 )

5 6 8

8 6

6 9

9 7 7

10 10 8

8 10 10

7 7 9

9 6

6 8 8

5

Intervalic Motifs for Improvisation

1. Gm7 C7

8 5 8 7

6 5 8 7 5 7 6

8 7 6

8 8 6

2. Em9 A7

6 7

5 6 8 7 6 8

8 11

9 8 9

10 9 7 9

3. Dmaj9 or Em9-A13

5 8 9 6 10 8

9 7 8

7 9 8 5

5 10 9 7

Intervalic Motifs for Improvisation (contd )

4. Cm7 F7

6 9 5 6 8 5

6 8 7 10 9

8 11

9 8 10 11

5. A7 or D7 ( blues idea )

5 6 7 5

5 5 7 8

7 5 6

7 5 8

8 5 6

6. Bm7b5 E7

6 5 5 7 4

7 6 7 4

5 3 4 2 5

2 3 5

Intervalic Motifs for Improvisation ( cont'd )

7. Fm11 Bb13 or ( tritone subs Bm7 E7 ) (Ebmaj7)

7 7

6 8 7

8 5 8 7

5 8 8

5 4 6 5

7

8. Fm7 Bb7 (Eb6/9 #11)

8 6 7 8

9 8 7

6 8 5

8 9 8 6

6 8 5

9. C#m7 F#7 Bm7

9 9 8 6 9

7 6 9 10 9 6

7 9 7

6 8 7

Intervalic Motifs for Improvisation (contd )

10. Em7 A7

7 8 6

9 5 8 9 5 7 4 5 5 7 6

4 3 6

5

11. F#m7 B7

4 6 4 3 7

6 5 4

6 4

7 4 4

6 5 5

6 5

5 6 4

4 7 4

6 4 5

6 7 3 4 6 4

12. Fm7 Bb7

3 3

2 3 5 4 2 4

4 3 6 4 5

6 5 3 5

3 5 6 5

4 6 3 4 4 2

4 6 3 6 3

3

CCHHAARRTTSS,, PPIICCTTUURREESS AANNDD DDIIAAGGRRAAMMSS FFOORR SSTTUUDDYY AANNDD VVIISSUUAALLIIZZAATTIIOONN

TThhiiss llaasstt sseeccttiioonn ooff tthhee bbooookk pprreesseennttss ggrraapphhiicc ddeeppiiccttiioonnss ooff cchhoorrdd//ssccaallee rreellaattiioonnsshhiipp aanndd ccoonnnneeccttiivviittyy iinn tthhee ffoorrmm ooff cchhaarrttss,, ddiiaaggrraammss,, ppiiccttuurreess aanndd ggrriiddss..

WWhheenn aann eennggiinneeeerr ffoorr eexxaammppllee rreevviieewwss aa bblluuee pprriinntt ffoorr aa bbuuiillddiinngg oorr eevveenn aa sscchheemmaattiicc ffoorr aa ccoommpplliiccaatteedd ppiieeccee ooff eeqquuiippmmeenntt hhee oorr sshhee bbyy tthhee pprroocceessss ooff vviissuuaalliizzaattiioonn oobbttaaiinnss aa ppaannoorraammiicc bbiirrdd�’�’ss eeyyee ppeerrssppeeccttiivvee ooff tthhee eennttiirree ddeessiiggnn.. TThhee eennggiinneeeerr wwiillll tthheenn iinntteerrnnaalliizzee tthhee ggeenneerraall aarrrraannggeemmeennttss aanndd ccoonnnneeccttiioonn ddeettaaiillss.. TThhiiss wwiillll ggiivvee hhiimm oorr hheerr iinntteelllleeccttuuaall ttoooollss ttoo ccoonncceeppttuuaalliizzee nneeww ddeessiiggnnss..

TThhee jjaazzzz iimmpprroovviisseerr mmuusstt ddeevveelloopp aa bbrrooaadd vviissiioonn ooff hhaarrmmoonnyy.. TToo uussee aa mmeettaapphhoorr,, wwee ccaann ssaayy tthhaatt tthhee iimmpprroovviisseerr mmuusstt bbee aabbllee ttoo �“�“sseeee nnoott oonnllyy tthhee ttrreeeess bbuutt tthhee eennttiirree ffoorreesstt�”�”.. FFoorr eexxaammppllee wwhheenn tthhee iimmpprroovviisseerr iiss ccoonnffrroonntteedd wwiitthh tthhee cchhoorrdd BBmm77bb55 hhee oorr sshhee mmuusstt sseeee tthhiiss cchhoorrdd aass DDmm66 oorr GG99 wwiitthhoouutt tthhee rroooott.. TThhee ffoolllloowwiinngg aarree ffeeww ppoossssiibbllee ssccaalleess tthhaatt ccaann bbee aapppplliieedd oovveerr aa BBmm77bb55 cchhoorrdd ccoouulldd bbee:: BB--llooccrriiaann ((77tthh mmooddee ooff CC mmaajjoorr ssccaallee)) ,, AA hhaarrmmoonniicc mmiinnoorr (( 22nndd mmooddee )) ,, BB--llooccrriiaann ##22 ((66tthh mmooddee ooff DD mmeellooddiicc mmiinnoorr )) aanndd BB ssuuppeerrllooccrriiaann (( 77tthh mmooddee ooff CC mmeellooddiicc mmiinnoorr )).. YYoouu mmuusstt hhoowweevveerr eexxppeerriimmeenntt ttoo ddeetteerrmmiinnee wwhhiicchh ooff tthheessee ssccaallee cchhooiicceess cclloosseellyy mmaattcchh tthhee ssoonnoorriittyy ooff tthhee cchhoorrdd.. OOff ccoouurrssee eeaacchh iimmpprroovviisseerr mmaayy ccoommee uupp wwiitthh aa ddiiffffeerreenntt cchhooiiccee aanndd tthhaatt iiss ppuurreellyy aa mmaatttteerr ooff ppeerrssoonnaall ttaassttee..

1-2-3-5-6 PENTATONIC SCALES DERIVED FROM HARMONIC MIN SCALE & MODES

C-HARMONIC MINOR SCALE & MODES

MODE 1 2 3 4 5 6 7 81st - MODE C D Eb F G Ab B C2nd - MODE D Eb F G Ab B C D3rd - MODE Eb F G Ab B C D E4th - MODE F G Ab B C D Eb F5th - MODE G Ab B C D Eb F G6th - MODE Ab B C D Eb F G A7th - MODE B C D Eb F G Ab B

PENTATONIC SCALES USING (1-2-3-5-6 FORMULA OF ALL MODES OF THE HARMONIC MIN SCALE)

MODE DEGREE 1 2 3 5 61st - MODE C D Eb G Ab2nd - MODE D Eb F Ab B3rd - MODE Eb F G B C4th - MODE F G Ab C D5th - MODE G Ab B D Eb6th - MODE Ab B C Eb F7th - MODE B C D F G

Concept By: Stanley Ruiz, Educator in Jazz Studies

1-2-3-5-7 PENTATONIC SCALES DERIVED FROM HARMONIC MIN SCALE & MODES

C-HARMONIC MINOR SCALE & MODES

MODE 1 2 3 4 5 6 7 81st - MODE C D Eb F G Ab B C2nd - MODE D Eb F G Ab B C D3rd - MODE Eb F G Ab B C D E4th - MODE F G Ab B C D Eb F5th - MODE G Ab B C D Eb F G6th - MODE Ab B C D Eb F G A7th - MODE B C D Eb F G Ab B

PENTATONIC SCALES USING (1-2-3-5-7 FORMULA OF ALL MODES OF THE HARMONIC MIN SCALE)

MODE DEGREE 1 2 3 5 71st - MODE C D Eb G B2nd - MODE D Eb F Ab C3rd - MODE Eb F G B D4th - MODE F G Ab C Eb5th - MODE G Ab B D F6th - MODE Ab B C Eb G7th - MODE B C D F Ab


1-2-3-5-6 PENTATONIC SCALES DERIVED FROM HARMONIC MAJOR SCALE & MODES

C-HARMONIC MAJOR SCALE & MODES

MODE 1 2 3 4 5 6 7 81ST - MODE C D E F G Ab B C2nd - MODE D E F G Ab B C D3rd - MODE E F G Ab B C D E4th - MODE F G Ab B C D E F5th - MODE G Ab B C D E F G6th - MODE Ab B C D E F G A7th - MODE B C D E F G Ab B

PENTATONIC SCALES USING (1-2-3-5-6 FORMULA OF ALL MODES OF THE HARMONIC MAJOR SCALE)

MODE DEGREE 1 2 3 5 61ST - MODE C D E G Ab2nd - MODE D E F Ab B3rd - MODE E F G B C4th - MODE F G Ab C D5th - MODE G Ab B D E6th - MODE Ab B C E F7th - MODE B C D F G


1-2-3-5-7 PENTATONIC SCALES DERIVED FROM HARMONIC MAJOR SCALE & MODES

C-HARMONIC MAJOR SCALE & MODES

MODE 1 2 3 4 5 6 7 81ST - MODE C D E F G Ab B C2nd - MODE D E F G Ab B C D3rd - MODE E F G Ab B C D E4th - MODE F G Ab B C D E F5th - MODE G Ab B C D E F G6th - MODE Ab B C D E F G A7th - MODE B C D E F G Ab B

PENTATONIC SCALES USING (1-2-3-5-7 FORMULA OF ALL MODES OF THE HARMONIC MAJOR SCALE)

MODE DEGREE 1 2 3 5 71ST - MODE C D E G B2nd - MODE D E F Ab C3rd - MODE E F G B D4th - MODE F G Ab C E5th - MODE G Ab B D F6th - MODE Ab B C E G7th - MODE B C D F Ab


1-2-3-5-6 PENTATONIC SCALES DERIVED FROM MELODIC MIN SCALE & MODES

C-MELODIC SCALE & MODES

MODE 1 2 3 4 5 6 7 8IONIAN MINOR C D Eb F G A B CDORIAN b2 D Eb F G A B C DLYDIAN AUGMENTED Eb F G A B C D ELYDIAN b7 F G A B C D Eb FMIXOLYDIAN b6 G A B C D Eb F GLOCRIAN #2 A B C D Eb F G ASUPER LOCRIAN B C D Eb F G A B

PENTATONIC SCALES USING (1-2-3-5-6 FORMULA OF ALL MODES OF THE MELODIC MIN SCALE)

MODE DEGREE 1 2 3 5 6IONIAN MINOR - pent C D Eb G ADORIAN b2 - pent D Eb F A BLYDIAN AUGMENTED - pent Eb F G B CLYDIAN b7 - pent F G A C DMIXOLYDIAN b6 - pent G A B D EbLOCRIAN #2 - pent A B C Eb FSUPER LOCRIAN - pent B C D F G


1-2-3-5-7 PENTATONIC SCALES DERIVED FROM MELODIC MIN SCALE & MODES

C-MELODIC SCALE & MODES

MODE 1 2 3 4 5 6 7 8IONIAN MINOR C D Eb F G A B CDORIAN b2 D Eb F G A B C DLYDIAN AUGMENTED Eb F G A B C D ELYDIAN b7 F G A B C D Eb FMIXOLYDIAN b6 G A B C D Eb F GLOCRIAN #2 A B C D Eb F G ASUPER LOCRIAN B C D Eb F G A B

PENTATONIC SCALES USING (1-2-3-5-7 FORMULA OF ALL MODES OF THE MELODIC MIN SCALE)

MODE DEGREE 1 2 3 5 7IONIAN MINOR - pent C D Eb G BDORIAN b2 - pent D Eb F A CLYDIAN AUGMENTED - pent Eb F G B DLYDIAN b7 - pent F G A C EbMIXOLYDIAN b6 - pent G A B D FLOCRIAN #2 - pent A B C Eb GSUPER LOCRIAN - pent B C D F A


1-2-3-5-6 PENTATONIC SCALES DERIVED FROM MAJOR SCALE & MODES

C-MAJOR SCALE & MODES

MODE 1 2 3 4 5 6 7 8IONIAN C D E F G A B CDORIAN D E F G A B C DPHRYGIAN E F G A B C D ELYDIAN F G A B C D E FMIXOLYDIAN G A B C D E F GAEOLIAN A B C D E F G ALOCRIAN B C D E F G A B

PENTATONIC SCALES USING (1-2-3-5-6 FORMULA OF ALL MODES OF THE MAJOR SCALE)

MODE DEGREE 1 2 3 5 6IONIAN - PENTATONIC C D E G ADORIAN - PENTATONIC D E F A BPHRYGIAN - PENTATONIC E F G B CLYDIAN - PENTATONIC F G A C DMIXOLYDIAN - PENTATONIC G A B D EAEOLIAN - PENTATONIC A B C E FLOCRIAN - PENTATONIC B C D F G

Concept By: Stanley Ruiz, Professor of Jazz Studies

1-2-3-5-7 PENTATONIC SCALES DERIVED FROM MAJOR SCALE & MODES

C-MAJOR SCALE & MODES

MODE 1 2 3 4 5 6 7 8IONIAN C D E F G A B CDORIAN D E F G A B C DPHRYGIAN E F G A B C D ELYDIAN F G A B C D E FMIXOLYDIAN G A B C D E F GAEOLIAN A B C D E F G ALOCRIAN B C D E F G A B

PENTATONIC SCALES USING (1-2-3-5-7 FORMULA OF ALL MODES OF THE MAJOR SCALE)

MODE DEGREE 1 2 3 5 7IONIAN - PENTATONIC C D E G BDORIAN - PENTATONIC D E F A CPHRYGIAN - PENTATONIC E F G B DLYDIAN - PENTATONIC F G A C EMIXOLYDIAN - PENTATONIC G A B D FAEOLIAN - PENTATONIC A B C E GLOCRIAN - PENTATONIC B C D F A


1-2-3-5-6 PENTATONIC SCALES DERIVED FROM DOUBLE HARMONIC OR BYZANTINE SCALE & MODES

C-DOUBLE HARMONIC OR BYZANTINE SCALE & MODES

MODE 1 2 3 4 5 6 7 81st - MODE C Db E F G Ab B C2nd - MODE Db E F G Ab B C D3rd - MODE E F G Ab B C Db E4th - MODE F G Ab B C Db E F5th - MODE G Ab B C Db E F G6th - MODE Ab B C Db E F G A7th - MODE B C Db E F G Ab B

PENTATONIC SCALES USING (1-2-3-5-6 FORMULA OF ALL MODES OF THE DOUBLE HARMONIC OR BYZANTINE SCALE)

MODE DEGREE 1 2 3 5 61st - MODE C Db E G Ab2nd - MODE Db E F Ab B3rd - MODE E F G B C4th - MODE F G Ab C Db5th - MODE G Ab B Db E6th - MODE Ab B C E F7th - MODE B C Db F G


1-2-3-5-7 PENTATONIC SCALES DERIVED FROM DOUBLE HARMONIC OR BYZANTINE SCALE & MODES

C-DOUBLE HARMONIC OR BYZANTINE SCALE & MODES

MODE 1 2 3 4 5 6 7 81st - MODE C Db E F G Ab B C2nd - MODE Db E F G Ab B C D3rd - MODE E F G Ab B C Db E4th - MODE F G Ab B C Db E F5th - MODE G Ab B C Db E F G6th - MODE Ab B C Db E F G A7th - MODE B C Db E F G Ab B

PENTATONIC SCALES USING (1-2-3-5-7 FORMULA OF ALL MODES OF THE DOUBLE HARMONIC OR BYZANTINE SCALE)

MODE DEGREE 1 2 3 5 71st - MODE C Db E G B2nd - MODE Db E F Ab C3rd - MODE E F G B Db4th - MODE F G Ab C E5th - MODE G Ab B Db F6th - MODE Ab B C E G7th - MODE B C Db F Ab


RETROGRADE INTERVAL INVERSION OF C-MAJOR SCALE

I II III IV V VI VII VIIINormal C-Major Scale C D E F G A B CRetrograde Inversion C Db Eb F G Ab Bb C

C-min7

I

F-Min7IV

Db-Maj7

Eb7III

G-Min7b5V

BbMin7VII

Major-RETROGRADE INTERVAL INVERSION of CScale

TONIC MINOR

Bb Db F AbDb F Ab C

Eb G Bb Db

G Bb Db F

F Ab C Eb

C Eb G Bb

CIRCLE OF DIATONIC TETRA CHORDS

tritone =A7AbMaj7

vi

Ab C Eb G

enharmonic to: Eb9(nr) or BbMin6

viewed as: FMin9

viewed as: DbMaj6

viewed as: EbMaj6

viewed as: AbMaj6


DIMINISHED 7th CHORD MATRIX

Diminished 7th Chord

Chord Tones

Enharmonic Equiv

Tritone Sub

Parent harmonic

Minor Scalebb7

Interval make up > R b3 b5 6m2 m2 m2 m2 E-harm Bb-harm

C dim7 = B C D Eb F Gb Ab A = B7b9 F7b9 Db-harm

G-harm Db-harm

Designed By: Stanley Ruiz, Professor of Jazz Studies

Eb dim7 = D Eb F Gb Ab A B C = D7b9 Ab7b9 E-harm

Gb dim7 = F Gb Ab A B C D Eb = F7b9 B7b9 G-harm

A dim7 = Ab A B C D Eb F Gb = Ab7b9 D7b9 Bb-harm


CYCLE NO

Nomenclature Implied key Harm minCdim =B7b9 E DbEbdim = D7b9 G E

1 Gbdim = F7b9 Bb GAdim = Ab7b9 Db Bb

C CHROMATIC SCALE DIVIDED EQUALLY INTO THREE (3) ASCENDING MINOR 3rd CYCLES

A THREE (3) DIMENTIONAL TETRATONIC VISULISATION OF THE CHROMATIC SCALE

C Eb

A Gb

tritones

Db E

m3

m3

m3m3

Nomenclature Implied key Harm minDbdim =C7b9 F DEdim = Eb7b9 Ab F

2 Gdim = Gb7b9 B AbBbdim = A7b9 D B

Nomenclature Implied key Harm minDdim =Db7b9 Gb EbFdim = E7b9 A Gb

3 Abdim = G7b9 C ABdim = Bb7b9 Eb C

G

tritones

D F

Ab

Bb

B

m3

m3

m3

m3

m3

m3m3

m3

tritones

tritones

Notice the Tritone Groupings in brackets within the Nomenclature, the Implied Key and the Harmonic Minor Scales. This points to several inter chord ,inter key, and inter scale links orrelationships.

Designed By: Stanley Ruiz, Educator in Jazz Studies

WHOLE TONE FINGERBOARD FOR INTERVAL STUDY

FRT 1 2 3 4 5 6 7 8 9 10 11 12 13

1 F G A B Db Eb F2 C D E Gb Ab Bb C3 G A B Db Eb F G4 D E Gb Ab Bb C D5 Bb C D E Gb Ab Bb6 F G A B Db Eb F

ST 1 2 3 4 5 6 7 8 9 10 11 12 13


WHOLE TONE GEOMETRIC PLAYGROUND

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Designed By: Stanley Ruiz

WHOLE TONE CHROMATIC WORLD

C Db

Bb D B Eb

C - WHOLE-TONE SCALE CIRCLE Db - WHOLE-TONE SCALE CIRCLE

Concept By: Stanley Ruiz

Ab E A F

Gb G

1 2 3 4 5 6 7 8 9 10 11 12 1C Db D Eb E F Gb G Ab A Bb B C

C# D# F# G# A#

notice the tritone counterpart directly opposite each note in both circles with matched colorsthe two circles when merged form the chromatic scale

THE C - CHROMATIC SCALE


Bb D F C E G C7

TRIAD 1 TRIAD 2

TRIAD PAIRS APPLICATION pg 1

C E G D F# A# C7+11

CHORD

C7+11

G Bb D

Eb G Bb

F# A# D

C E G#

D F# A

A C# F

E G# B

C E G

D F# A

Em7b5

C7+5

C7b9

C7+5

C E GC7+11

Designed By: Stanley Ruiz, Educator in Jazz Studies 1

D F# A# E G# B

Db F A

C7+5

C7+5C E G#

TRIAD PAIRS APPLICATION pg 2

Eb G B

B D# G

Gb Bb D CM7+5

C E G#CM7+5

Designed By: Stanley Ruiz, Educator in Jazz Studies 2

JAZZ STRUCTURES USING ARPEGGIOS

Chord TypeChord Tone

ChoiceArpeggio Type Built On Chord

Tone Choiceroot major 7th5th 1-2-3-6 maj pent 6th 1-2-4-5 maj pent9th 1-2-4-5 maj pent

major 7 5th 1-2-4-5 maj pent6th fourth & whole step (1-4-5)5th fourth & whole step (1-4-5)3rd fourth & whole step (1-4-5)9th fourth & whole step (1-4-5)5th minor major 7throot major 7th # 4

major 7 b5 9th 1-2-3-6 maj pent 3rd 1-2-4-5 maj pent7th fourth & whole step (1-4-5)

major 7 # 5 root major 7th # 5

Chord TypeChord Tone

ChoiceArpeggio Type Built On Chord

Tone Choice3rd minor major 7th

minor 7 3rd 1-2-3-6 maj pent 7th 1-2-4-5 maj pent7th fourth & whole step (1-4-5)

minor 6 3rd major 7th # 43rd minor major 7thb5 major 7th # 5

minor 7 b5 b5 major 7th # 4b5 major 7th 3rd major 7th # 5

minor major 7 root minor major 7th7th major 7th # 47th 1-2-3-6 maj pent

Conceptualized By: Stanley Ruiz , Professor of Jazz Studies 2

Four Melodic Minors Scales For C7th

Mode Name 1 2 3 4 5 6 7 8Ionian Melodic Min G A Bb C D E F# GDorian b 2nd A Bb C D E F# G ALydian Augmented Bb C D E F# G A Bb

1 Lydian Dominant C D E F# G A Bb CMixolydian Flat 6 D E F# G A Bb C DLocrian Sharp 2nd E F# G A Bb C D ESuper Locrian F# G A Bb C D E F#

Mode Name 1 2 3 4 5 6 7 8Ionian Melodic Min Bb C Db Eb F G A BbDorian b 2nd C Db Eb F G A Bb CLydian Augmented Db Eb F G A Bb C Db

2 Lydian Dominant Eb F G A Bb C Db EbMixolydian Flat 6 F G A Bb C Db Eb FLocrian Sharp 2nd G A Bb C Db Eb F GSuper Locrian A Bb C Db Eb F G A

Mode Name 1 2 3 4 5 6 7 8Ionian Melodic Min Db Eb Fb Gb Ab Bb C DbDorian b 2nd Eb Fb Gb Ab Bb C Db EbLydian Augmented Fb Gb Ab Bb C Db Eb Fb

3 Lydian Dominant Gb Ab Bb C Db Eb Fb GbMixolydian Flat 6 Ab Bb C Db Eb Fb Gb AbLocrian Sharp 2nd Bb C Db Eb Fb Gb Ab BbSuper Locrian C Db Eb Fb Gb Ab Bb C

Mode Name 1 2 3 4 5 6 7 8Ionian Melodic Min F G Ab Bb C D E FDorian b 2nd G Ab Bb C D E F GLydian Augmented Ab Bb C D E F G Ab

4 Lydian Dominant Bb C D E F G Ab BbMixolydian Flat 6 C D E F G Ab Bb CLocrian Sharp 2nd D E F G Ab Bb C DSuper Locrian E F G Ab Bb C D E

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Ionian Melodic Min G A Bb C D E F# G G

5th 13th b7 R 9th 3rd b5 5th P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Ionian Melodic Min Bb C Db Eb F G A Bb Bb

b7 R b9th #9th 11th 5th 13th b7 M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Ionian Melodic Min Db Eb Fb Gb Ab Bb C Db Db

b9th #9th 3rd b5th #5th b7 R b9th m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Ionian Melodic Min F G Ab Bb C D E F F

11th 5th 13th b7 R 9th 3rd 11th P-4 above root of Dom7th

MODE-1

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

G A Bb D Bb C Db F Db Eb Fb Ab F G Ab C

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Dorian b 2nd A Bb C D E F# G A G

13th b7 R 9th 3rd b5 5th 13th P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Dorian b 2nd C Db Eb F G A Bb C Bb

R b9th #9th 11th 5th 13th b7 R M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Dorian b 2nd Eb Fb Gb Ab Bb C Db Eb Db

#9th 3rd b5th #5th b7 R b9th #9th m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Dorian b 2nd G Ab Bb C D E F G F

5th 13th b7 R 9th 3rd 11th 5th P-4 above root of Dom7th

MODE-2

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

A Bb C E C Db Eb G

Eb Fb Gb Bb G Ab Bb D

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Augmented Bb C D E F# G A Bb G

b7 R 9th 3rd b5 5th 13th b7 P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Augmented Db Eb F G A Bb C Db Bb

b9th #9th 11th 5th 13th b7 R b9th M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Augmented Fb Gb Ab Bb C Db Eb Fb Db

3rd b5th #5th b7 R b9th #9th 3rd m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Augmented Ab Bb C D E F G Ab F

13th b7 R 9th 3rd 11th 5th 13th P-4 above root of Dom7th

MODE-3

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

Bb C D F# Db Eb F A Fb Gb Ab C Ab Bb C E

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Dominant C D E F# G A Bb C G

R 9th 3rd b5 5th 13th b7 R P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Dominant Eb F G A Bb C Db Eb Bb

#9th 11th 5th 13th b7 R b9th #9th M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Dominant Gb Ab Bb C Db Eb Fb Gb Db

b5th #5th b7 R b9th #9th 3rd b5th m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Lydian Dominant Bb C D E F G Ab Bb F

b7 R 9th 3rd 11th 5th 13th b7 P-4 above root of Dom7th

MODE-4

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

C D E G Eb F G Bb Gb Ab Bb Db Bb C D F

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Mixolydian Flat 6 D E F# G A Bb C D G

9th 3rd b5 5th 13th b7 R 9th P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Mixolydian Flat 6 F G A Bb C Db Eb F Bb

11th 5th 13th b7 R b9th #9th 11th M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Mixolydian Flat 6 Ab Bb C Db Eb Fb Gb Ab Db

#5th b7 R b9th #9th 3rd b5th #5th m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Mixolydian Flat 6 C D E F G Ab Bb C F

R 9th 3rd 11th 5th 13th b7 R P-4 above root of Dom7th

MODE-5

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

D E F# A F G A C

Ab Bb C Eb C D E G

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Locrian Sharp 2nd E F# G A Bb C D E G

3rd b5 5th 13th b7 R 9th 3rd P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Locrian Sharp 2nd G A Bb C Db Eb F G Bb

5th 13th b7 R b9th #9th 11th 5th M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Locrian Sharp 2nd Bb C Db Eb Fb Gb Ab Bb Db

b7 R b9th #9th 3rd b5th #5th b7 m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Locrian Sharp 2nd D E F G Ab Bb C D F

9th 3rd 11th 5th 13th b7 R 9th P-4 above root of Dom7th

MODE-6

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

E F# G Bb G A Bb Db

Bb C Db Fb D E F Ab

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Super Locrian F# G A Bb C D E F# G

b5 5th 13th b7 R 9th 3rd b5 P-5 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Super Locrian A Bb C Db Eb F G A Bb

13th b7 R b9th #9th 11th 5th 13th M-2 below root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Super Locrian C Db Eb Fb Gb Ab Bb C Db

R b9th #9th 3rd b5th #5th b7 R m-2 above root of Dom7th

Mode Name 1 2 3 4 5 6 7 8 Parent Melodic Minor Super Locrian E F G Ab Bb C D E F

3rd 11th 5th 13th b7 R 9th 3rd P-4 above root of Dom7th

MODE-7

OVER C71-2-3-5 Patterns>>>> 1 2 3 5

F# G A C A Bb C Eb C Db Eb Gb E F G Bb

A-Dominant 7th Tree & Its Branches

12

1

2

A C# E G C# E G Bb

E G Bb D G Bb D FG min7Em7b5

A7 C# dimC7b9

A7b9

Eb7b9

F#7b9

if viewed as:5b7Em2nd degree then use D-harm min.

Scale Choices

Enharmonic Equivalents to C#dim7

Designed By: Stanley Ruiz , Professor of Jazz Studies

nr = non root

A-Dom 7th

E G Bb D G Bb D FC9 (nr) G min6

Note: 1 & 2 represents Tritonematchedthe

Substitution chordsBb6

g6th degree then use G-mel min.7th degree then use F- mel min.

Harmonic Minor is The Parent Scale Chosen-D

D E F G A Bb C# D

1.C#-dim scale2.E dim scale3.G dim scale4.Bb dim scale5.D-harm min scale6. F-harm min scale7. Ab- harm min scale8. B-harm min scale

Scale Choices7 C#dimth7Melodic Minor Scale Choices for A1. Bb-mel minor 1/2 step above root2. G-mel minor whole step below root3. D-mel minor perfect 4th above root4. E-mel minor perfect 5th above root5. C-mel minor minor 3rd above root


A-HARMONIC MINOR CHORD/SCALE CONNECTION

E7

A- MinMaj 7I

B-Min7b5ii

G#-Dim7vii

G# B D F B D F A

A C E G#

E G# B D

CIRCLE OF DIATONIC TETRA CHORDS

can be viewed as:Dm6 or G9

(NR)

equivalent to: Bdim,Ddim,Fdimor G7b9,Bb7b9, Db7b9, E7b9related harmonic min scales: C-Harm , Eb-Harm, Gb-Harm


PARENT I ii iii IV V vi vii VIIISCALE A B C D E F G# A

E7C-Maj7#5

iii

D-min7IV

F-Maj7vi

Harmonic Minor Scale-A

TARGET CHORDC E G# B

D F A C

F A C E

can be viewed as:FMa6

can be viewed as:Dmin9

tritone substitution= Bb7


THE HARMONIC MINOR SCALE AS A DOMINANT 7th SCALE

MASTER SCALEC-HARMONIC MINOR

INTERVAL TYPE 1 2 b3 4 5 b6 7 8SCALE TONES C D Eb F G Ab B C

MASTER CHORD

V

G71-3-5-b7

SCALE DEGREE I ii iii IV vi vii VIIICHORD CminMa7 Dm7b5 EbMa7#5 Fm7 AbMa7 Bdim7 CminMa7

CHORD TONES C Eb G B D F Ab C Eb G B D F Ab C Eb G B D F Ab C Eb G B D F Ab C Eb G B

NORMAL SCALE5th MODE G-MIXOLYDIAN

C-MAJ SCALE G A B C D E F G

Designed By: Stanley Ruiz

A Melodic Minor Visual Finger Board

1 0 0 0

2 0 0

3 0 0 0 0

4 0 0

5 0 0 0

6 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0 0 0

2 0 0

3 0 0 0

4 0 0 0

5 0 0

6 0 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0 0

2 0 0 0

3 0 0

4 0 0 0 0

5 0 0

6 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Concept By: Stanley Ruiz , Jazz Guitarist 1

A Melodic Minor Visual Finger Board

1 0 0

2 0 0 0 0

3 0 0

4 0 0 0

5 0 0 0

6 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0

2 0 0 0

3 0 0 0

4 0 0

5 0 0 0 0

6 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0

2 0

3 0

4 0 0

5 0

6 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Am(maj7) Arpeggio


A-MIXOLYDIAN MODE GUITAR FINGERINGS

1 b7 1 22 4 5 6

fingering 3 1 2 31 4 5 6 b7

5 2 3 46 6 b7 1

2 fr1 1 2 32 5 6 b7

fingering 3 2 3 42 4 6 b7 1

5 3 4 56 b7 1 2

3 fr1 2 3 42 6 b7 1

fingering 3 3 4 53 4 b7 1 2

5 4 5 66 1 2 3

5 fr1 3 4 52 b7 1 2

fingering 3 4 5 64 4 1 2 3

5 5 6 b76 2 3 4

7 fr1 4 5 62 1 2 3

fingering 3 5 6 b75 4 2 3 4

5 6 b7 16 3 4 5

9 fr1 5 6 b72 2 3 43 6 b7 1

fingering 4 3 4 56 5 b7 1 2

6 4 5 610 fr

1 6 b7 12 3 4 53 b7 1 2

fingering 4 4 5 67 5 1 2 3

6 5 6 b7

Prepared By: Stanley Ruiz, Jazz Guitarist & Educator

E-MIXOLYDIAN MODE GUITAR FINGERINGS

1 3 4 52 b7 1 2

fingering 3 4 5 61 4 1 2 3

5 5 6 b76 2 3 4

1 fr1 4 5 62 1 2 3

fingering 3 5 6 b72 4 2 3 4

5 6 b7 16 3 4 5

4 fr1 5 6 b72 2 3 4

fingering 3 6 b7 13 4 3 4 5

5 b7 1 26 4 5 6

4 fr1 6 b7 12 3 4 5

fingering 3 b7 1 24 4 4 5 6

5 1 2 36 5 6 b7

7 fr1 b7 1 22 4 5 6

fingering 3 1 2 35 4 5 6 b7

5 2 3 46 6 b7 1

9 fr1 1 2 32 5 6 b73 2 3 4

fingering 4 6 b7 16 5 3 4 5

6 b7 1 210 fr

1 2 3 42 6 b7 13 3 4 5

fingering 4 b7 1 27 5 4 5 6

6 1 2 312 fr

Prepared By: Stanley Ruiz , Jazz Guitarist & Educator

ARPEGGIOS OF MELODIC MINOR SCALES

PLAYED OVER

Chord Type >>> MinMa7 Min7 Ma7#5 Dom7 Dom7 Min7b5 Min7b5 MinMa7

whole step below root 1 2 b3 4 5 6 7 8F-Melodic Minor F G Ab Bb C D E F

E F G Ab Bb C D EC D E F G Ab Bb C

Ab Bb C D E F G AbF G Ab Bb C D E F

half step above root 1 2 b3 4 5 6 7 8Ab-Melodic Minor Ab Bb Cb Db Eb F G Ab

G Ab Bb Cb Db Eb F GEb F G Ab Bb Cb Db EbCb Db Eb F G Ab Bb CbAb Bb Cb Db Eb F G Ab

perfect 4th above root 1 2 b3 4 5 6 7 8C-Melodic Minor C D Eb F G A B C

B C D Eb F G A BG A B C D Eb F G

Eb F G A B C D EbC D Eb F G A B C

perfect 5th above root 1 2 b3 4 5 6 7 8D-Melodic Minor D E F G A B C# D

C# D E F G A B C#A B C# D E F G AF G A B C# D E FD E F G A B C# D

minor 3rd above root 1 2 b3 4 5 6 7 8Bb-Melodic Minor Bb C Db Eb F G A Bb

A Bb C Db Eb F G AF G A Bb C Db Eb F

Db Eb F G A Bb C DbBb C Db Eb F G A Bb

G-Dom 7th Target Chord

Arpeggios >>>>>>

Arpeggios >>>>>>

Arpeggios >>>>>>

Arpeggios >>>>>>

Arpeggios >>>>>>


ASYMMETRICALLY EXPANDED C- MAJOR SCALE & TRIADS

DEGREE 1 2 3 4 5 6 7 8 9SCALE C D E F# G# A Bb B C

I

VIIIB D F#

IID F# A

III

IV

VIIBb D C

VG# Bb C

E G# Bb

F# A B

(C) E G# Bb

CIRCLE OF DIATONIC TRIADS

VIA B D


THE TREBBLE CLEF IN 3rd's

spaces lines

F ED CB AG FE DC BA G

F E

Maj-3

Min-3

Min-3

Maj-3

Maj-3

Min-3

Maj-3

Min-3

Min-3

Maj-3

Min-3

Min-3

Min-3

Maj-3

Interval Stacking FormulaMaj3+Min3= Maj TriadMin3+Maj3= Min TriadMin3+Min3= Dim Triad©®

Common Tetra Chords from Spaces v/s Lines-NonCEGB = C-Maj7 = TonicDFAC = D-Min7 = Supertonic (relative to subdominant)ACEG = A-Min7 =Submediant ( relative to tonic)BDFA = Bmin 7b5 = Leading tone ( quasi dominant)

Maj-7

Maj-7

Min-7

Min-7

Maj-7

Min-7

Min-7

Min-7

F-B = tritone i.e (#4 or b5)B-F = tritone i.e (#4 or b5)

Designed By:Stanley Ruiz, Professor of Jazz Studies

THE BASS CLEF IN 3rd's

spaces lines

A GF ED CB AG FE DC B

A G

Min-3

Maj-3

Maj-3

Min-3

Min-3

Maj-3

Min-3

Min-3

Maj-3

Min-3

Min-3

Maj-3

Maj-3

Min-3

Interval Stacking FormulaMaj3+Min3= Maj TriadMin3+Maj3= Min TriadMin3+Min3= Dim Triad

Common Tetra Chords from Spaces v/s Lines-NonCEGB = C-Maj7 = TonicEGBD = E-Min7 = Mediant (related to tonic's upper partials)DFAC = D-Min7 =Supertonic ( feeder to dominant )FACE = F-Maj7b = Dominant ( relative to supertonic)

Min-7

Min-7

Maj-7

Min-7

Min-7

Min-7

Min-7

Maj-7

F-B = tritone i.e (#4 or b5)B-F = tritone i.e (#4 or b5)

Designed By:Stanley Ruiz, Educator in Jazz Studies

FRT

0

O

1 3 2 7

3 5 4 2

5 6

6 3 ST

1

4

1

2

6 4

1

CCC MMMAAAJJJO

2 3

5

6

3

7 1 52 3

OOORRR GGGUUU

4

2 3

7

4 5

4

UUUIIITTTAAARRR FF

5 6

6

3 4

1 5

2

6

5 6

FFFIIINNNGGGEEE

7 8

7 1 5

2

6

3

7 17 8

ERRRBBBOOOAAARRR

9

5 3 7

4

9

RRRDDD

10 11

2

6

4

1 5

2

10 11

12

3

7

5

2

6

3

12

1-2-3-5 2-1-3-5 3-5-2-1 5-3-2-1 6-5-3-1 1-3-5-7

DIGITAL SCALE & MODE PATTERNSFOR IMPROVISATION

Design By: Stanley Ruiz

8-7-5-3 7-5-3-1 8-7-b7-8 5-6-8-3 2-3-5-8 5-3-8-7

Design By: Stanley Ruiz

Ditone Root Progression in Descending Major 3rd's

E-triad C-triad Ab-triadE G# B C E G Ab C Eb

C tonic-1

tonic-3 E Ab tonic-2

C E Ab C(G#) (B#)

E-triads C-triads Ab-triads

Root pos 1st Inv 2nd Inv Root pos 1st Inv 2nd Inv Root pos 1st Inv 2nd InvB E G# G C E Eb Ab C

G# B E E G C C Eb AbE G# B C E G Ab C Eb

vEb7

vG7

vB7

iiDm7

iiBbm7

iiF# m7

Ma3 Ma3 Ma3

An Octave is divided into three equal parts by a Ditone Progression i.e. Two whole tones ( ditone) which make up a Maj-3rd Interval


HARMONIZED EGYPTIAN SCALE

1 2 b3 #4 5 b6 7 8C D Eb F# G Ab B C

B C D Eb F# G Ab BG Ab B C D Eb F# GEb F# G Ab B C D EbC D Eb F# G Ab B C

CminMaj7 D7b5 EbMaj7#5 F#9b5 G Maj7 AbMaj7#5 Bmin6 CminMaj7

Alternate Spellings F# Aug 11 Abmin7b5Ab7 E9(nr)

Ab/F#

Prepared By: Stanley Ruiz, Educator in Jazz Studies

PENTATONIC SCALE APPLICATION

1 2 3 4 5 6 7 8C D E F G A B C

1 2 3 5 6I C D E G A

IV F G A C DV G A B D E

1 2 3 5 6C D E G AF G A C DG A B D EBb C D F GEb F G Bb C

C - MAJOR SCALE

There are three (3) Major Pentatonic that are constructed from any Major Scale , namely , from the 1st , 4thand 5th degrees. In the Scale of C-Major the Major Pentonic Scales are: C-Maj Pent , F-Maj Pent & G-Maj Pent ( see below)

THREE MAJOR PENTATONIC SCALES EXTRACTED FROM C-MAJ SCALE

APPLICATION OF THE MAJOR PENTATONIC SCALE TO D-MIN7

NOTE: The Chord D-Min7 has three (3) parentscales vis: C-Maj , Bb-Maj & F-Maj. This Chord can function as either ii , iii or vi in a maj key.

Designed By: Stanley Ruiz , Educator in Jazz Studies

Four Melodic Minors on A7th

1 0 0

2 0 0 0 0

3 0 0

4 0 0 0

5 0 0 0

6 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0 0 0

2 0 0 0

3 0 0 0

4 0 0 0

5 0 0

6 0 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0 0

2 0 0 0

3 0 0 0

4 0 0 0 0

5 0 0

6 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

E Melodic Minor (Up a Perfect 5th from Root of The Dom 7th Chord 4th Mode Name ) - A- Lydian b7

Bb Melodic Minor (Up a Half Step from Root of The Dom 7th Chord 7th Mode Name ) - A- Super Locrian (Altered)

G Melodic Minor (Down a Whole Step (Maj2nd) from Root of The Dom 7th Chord 2nd Mode Name ) - A- Dorian b2


Four Melodic Minors on A7th

1 0 0

2 0 0 0

3 0 0 0

4 0 0

5 0 0 0 0

6 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

D Melodic Minor (Up a Perfect 4th from Root of The Dom 7th Chord 5th Mode Name ) - A- Mixolydian b6


Four Melodic Minors on D7th

1 0 0 0 0

2 0 0

3 0 0 0

4 0 0 0

5 0 0

6 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0

2 0 0 0 0

3 0 0

4 0 0 0 05 0 0 0

6 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 0 0 0

2 0 0 0

3 0 0 0 0

4 0 0

5 0 0 0

6 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

A Melodic Minor (Up a Perfect 5th from Root of The Dom 7th Chord 4th Mode Name ) - D- Lydian b7

Eb Melodic Minor (Up a Half Step from Root of The Dom 7th Chord 7th Mode Name ) - D Super Locrian (Altered)

C Melodic Minor (Down a Whole Step (Maj2nd) from Root of The Dom 7th Chord 2nd Mode Name ) - D- Dorian b2


Four Melodic Minors on D7th

1 0 0 0

2 0 0 0

3 0 0

4 0 0 0 0

5 0 0

6 0 0 01 2 3 4 5 6 7 8 9 10 11 12 13 14 15

G Melodic Minor (Up a Perfect 4th from Root of The Dom 7th Chord 5th Mode Name ) - D Mixolydian b6


FRT

1 E

2 B

3 G

4 D

5 A

6

E

ST

1

F G

C D

Ab A

Eb E

Bb B

F G

1

GGGuuuiiittt

2 3

Gb G Db D A Bb

E F B C

Gb G

2 3

tttaaarrr VVViiisssuuu

4 5

Ab AEb EB CGb GDb D

Ab A

4 5

uuuaaalll FFFiiinnngggee

6

A Bb

F Db

Ab

Eb

A Bb

6

eeerrr BBBoooaaarrr

7 8

B C Gb G D Eb

A Bb

E F

B C

7 8

rrrddd

9 1

Db DAb AE FB CGb G

Db D

9 1

0 11

D Eb

A Bb

F Gb

C Db

G Ab

D Eb

0 11

12

E B G D A

E

12

Chord & Scale Relationship Chart

1 2 3 4 5 6 7 8Major Scale C D E F G A B C

Chord Tones

Maj7 Min7 Min7 Maj7 Dom7 Min7 Min7b5 Maj7

7 B C D E F G A B5 G A B C D E F G3 E F G A B C D ER C D E F G A B C

1 2 3 4 5 6 7 8Melodic Minor Scale C D Eb F G A B C

Chord Tones

MinMaj7 Min7 Maj7#5 Dom7 Dom7 Min7b5 Min7b5 MinMaj7

7 B C D Eb F G A B5 G A B C D Eb F G3 Eb F G A B C D EbR C D Eb F G A B C

1 2 3 4 5 6 7 8Harmonic Minor Scale C D Eb F G Ab B C

Chord Tones

MinMaj7 Min7b5 Maj7#5 Min7 Dom7 Maj7 Dim7 MinMaj7

7 B C D Eb F G Ab B5 G Ab B C D Eb F G3 Eb F G Ab B C D EbR C D Eb F G Ab B C

1 2 3 4 5 6 7 8Natural Minor Scale C D Eb F G Ab Bb C

(descending melodic minor)Chord Tones

Min7 Min7b5 Maj7 Min7 Min7 Maj7 Dom7 Min7

7 Bb C D Eb F G Ab Bb5 G Ab Bb C D Eb F G3 Eb F G Ab Bb C D EbR C D Eb F G Ab Bb C

1 2 3 4 5 6 7 8Harmonic Major Scale C D E F G Ab B C

Chord Tones

Maj7 Min7b5 Min7 MinMaj7 Dom7 Min7 Dim7 Maj7

7 B C D E F G Ab B5 G Ab B C D E F G3 E F G Ab B C D ER C D E F G Ab B C


BASIS 1 2 3 4 5 6 7 8D-Dorian Scale= C Maj ii mode D E F G A B C D

IMPRESSIONS D-Dorian Altered-1 D D# E F G# A C D

D-Major Altered-2 D E F Bb C C# D

D-Major Altered-2 D D# F G# A B C D

MAIDEN VOYAGECHORUS 1- SCALE USEDA - 7/D D F# G# C C# DC - 7/F F A B C Eb E FBb - 7/Eb Eb G A Bb Db D EbDb - 7 Db F G Ab B C Db

CHORUS 2- SCALE USEDA - 7/D D F G# A B C DC - 7/F F Ab B C D Eb FBb - 7/Eb Eb Gb A Bb C Db EbDb - 7 Db E G Ab Bb B Db

CHORUS 3- SCALE USEDA - 7/D D Eb Gb G A B C DC - 7/F F Gb A Bb C D Eb FBb - 7/Eb Eb E G Ab Bb C Db EDb - 7 Db D F Gb Ab Bb B Db

ALTERED SCALES FOR PLAYING OUTSIDE THE STATED TONALITY


Application Of The Melodic Minor Scale Over G-Dom 7th Chord

Master Scale NameMaster Scale Proximity to G7 Chord

Root

Mode Name Of Master Scale

Mode's Degree

Location on Master

Scale

1 2 3 4 5 6 7 8

F-melodic minor Maj 2nd below root F-Melodic Minor 1 F G Ab Bb C D E FAb-melodic minor Min 2nd above root F-Locrian # 2nd 6 F G Ab Bb Cb Db Eb FD-melodic minor P-5th above root F-Lydian Augmented 3 F G A B C# D E FC-melodic minor P-4th above root F-Lydian (b7)Dominant 4 F G A B C D Eb FBb-melodic minor Min 3rd above root F-Mixolydian b6 5 F G A Bb C Db Eb FAb-melodic minor Min 2nd above root Ab-Melodic minor 1 Ab Bb Cb Db Eb F G AbF-melodic minor Maj 2nd below root Ab-Lydian Augmented 3 Ab Bb C D E F G AbD-melodic minor P-5th above root A-Mixolydian b6 5 A B C# D E F G AC-melodic minor P-4th above root A-Locrian # 2nd 6 A B C D Eb F G ABb-melodic minor Min 3rd above root A-Super Locrian 7 A Bb C Db Eb F G AD-melodic minor P-5th above root D-Melodic Minor 1 D E F G A B C# DF-melodic minor Maj 2nd below root D-Locrian # 2nd 6 D E F G Ab Bb C DC-melodic minor P-4th above root D-Dorian b 2nd 2 D Eb F G A B C DAb-melodic minor Min 2nd above root Db-Lydian (b7)Dominant 4 Db Eb F G Ab Bb Cb DbBb-melodic minor Min 3rd above root Db-Lydian Augmented 3 Db Eb F G A Bb C DbC-melodic minor P-4th above root C-Melodic Minor 1 C D Eb F G A B CF-melodic minor Maj 2nd below root C-Mixolydian b6 5 C D E F G Ab Bb CBb-melodic minor Min 3rd above root C-Dorian b 2nd 2 C Db Eb F G A Bb CAb-melodic minor Min 2nd above root Cb-Lydian Augmented 3 Cb Db Eb F G Ab Bb CbD-melodic minor P-5th above root C#-Super Locrian 7 C# D E F G A B C#Bb-melodic minor Min 3rd above root Bb-Melodic Minor 1 Bb C Db Eb F G A BbF-melodic minor Maj 2nd below root Bb-Lydian (b7)Dominant 4 Bb C D E F G Ab BbAb-melodic minor Min 2nd above root Bb-Dorian b 2nd 2 Bb Cb Db Eb F G Ab BbD-melodic minor P-5th above root B-Mixolydian b6 6 B C# D E F G A BC-melodic minor P-4th above root B-Super Locrian 7 B C D Eb F G A B

: Stanley Ruiz,

Melodic & Harmonic Minor Arpeggios For G-Dom7th

Master Scale 1 2 3 4 5 6 7 8

Chord Type Min Maj7 Min7 Maj 7 #5 Dom 7 Dom 7 Min 7b5 Min 7b5 Min Maj7

F-melodic minor F Ab C E G Bb D F Ab C E G Bb D F Ab C E G Bb D F Ab C E G Bb D F Ab C Ecreated tension on G7 b7 b9 4 13 R #9 5 b7 b9 4 13 R #9 5 b7 b9 4 13 R #9 5 b7 b9 4 13 R #9 5 b7 b9 4 13

Ab-melodic minor Ab Cb Eb G Bb Db F Ab Cb Eb G Bb Db F Ab Cb Eb G Bb Db F Ab C Eb G Bb Db F Ab Cb Eb Gcreated tension on G7 b9 3 #5 R #9 b5 b7 b9 3 #5 R b9 b5 b7 b9 3 #5 R #9 b5 b7 b9 4 #5 R #9 b5 b7 b9 3 #5 R

D-melodic minor D F A C# E G B D F A C# E G B D F A C# E G B D F A C# E G B D F A C#created tension on G7 5 b7 9 b5 13 R 3 5 b7 9 b5 13 R 3 5 b7 9 b5 13 R 3 5 b7 9 b5 13 R 3 5 b7 9 b5

C-melodic minor C Eb G B D F A C Eb G B D F A C Eb G B D F A C Eb G B D F A C Eb G Bcreated tension on G7 4 #5 R 3 5 b7 9 4 #5 R 3 5 b7 9 4 #5 R 3 5 b7 9 4 #5 R 3 5 b7 9 4 #5 R 3

Bb-melodic minor Bb Db F A C Eb G Bb Db F A C Eb G Bb D F Ab C E G Bb Db F A C Eb G Bb Db F Acreated tension on G7 #9 b5 b7 9 4 #5 R #9 b5 b7 9 4 #5 R #9 5 b7 b9 4 13 R #9 b5 b7 9 4 #5 R #9 b5 b7 9

Other OptionsMaster Scale 1 2 3 4 5 6 7 8

Chord Type Min Maj7 Min 7b5 Maj 7 #5 Min7 Dom 7 Maj 7 Dim7 Min Maj7

C-harmonic minor C Eb G B D F Ab C Eb G B D F Ab C Eb G B D F Ab C Eb G B D F Ab C Eb G Bcreated tension on G7 4 #5 R 3 5 b7 b9 4 #5 R 3 5 b7 b9 4 #5 R 3 5 b7 b9 4 #5 R 3 5 b7 b9 4 #5 R 3


THOUGHTS FROM THE LEFT BRAIN OF:

STANLEY RUIZ, JAZZ GUITARIST

22ND October, 2008

In the modern jazz arena, we can�’t make contemporary choices if we chain ourselves to tradition and historical practices. Bebop had its time and place and, yes, we ought to continue to draw from it today to assist us in developing our improvisational skills. But we must seek out other approaches such intervallic improvisation. In this way our playing will not sound overly main stream and linear. One simple approach is to go back to basics and re examine the interval configuration of triads (major, minor, augmented and

diminished). When we listen to the sonorities created by combining triads of mixed qualities and, when we superimpose these combined triads over chord changes, we will soon discover how they add a modern flavor to our improvised lines.



24th October, 2008

Like a ploughman and sewer of seed in the field, a student of jazz must cultivate a study pattern and choose instruction, and until your hair is

white, you will keep finding knowledge and

wisdom. Then, wait until the harvest and soon

you will be feeding on the fruits of your labour.

This admonition is very harsh for the

undisciplined student of jazz. And, after you have

acquired a wealth of theoretical knowledge, and,

having stored in your left brain everything you

have been taught in music school, go to the

�“Threshing Floor�”, and separate the �“wheat�“(i.e.

the workable stuff) from the �“trash�” (i.e. the

unworkable stuff),empty the trash from the left

brain, download some �“wheat�” into your right

brain which is your creative mind, then, �“on your marks, get set, improvise!�”



31st October, 2008

�“There is nothing new under the sun�”. A great

improviser has the ability to articulate complex

permutations and combinations of scale or chord

tones while spontaneously developing a jazz solo

over the underlying harmony. Yet, as great the

appreciation shown by the audience, the improviser

may, in reality, not be deserving of the accolades

received. Why? Because it is highly possible that

another improviser played the same permutations

and combinations of notes in a prior period,

possibly with a different time feel and a different

use of dynamics and articulation. �“Whatever is now, has been long ago, and, whatever is going to be, has been before�”. A great improviser brings

each time to an audience that which has been rendered in a distance past, and has since disappeared. What makes an improvised solo

sound fresh and new, is the choice and placement of notes, and, the manner in which the notes or phrases are articulated by the improviser. Some

musicians believe that an improviser, who can

always make the right choices in the right space and

time feel, is gifted with some kind of supernatural

ability. I guess that�’s something to think about.

Musically Yours,

Stanley Ruiz, Educator in Jazz Studies



3rd November, 2008

�“Less is more�”. A �“fat�” chord or even a full eight note scale has its time and place in a musical composition or jazz improvisation.

However, a cleaver improviser is always mindful that the excessive use of large vertical and horizontal structures can cause clutter and muddiness in the music.

The use of smaller vertical structures such as triads or, smaller horizontal structures such as scale

fragments (e.g. 1 2 3 5 scale tones), gives the

improviser more breathing space during spontaneous improvisation. There are less numbers to think about and thus, affords the improviser a clearer mind to be creative.

A musical statements can be kept simple but yet effective when an improviser thinks in smaller packets. This can be achieved by the use of three note chords and their inversions.

A triad has six permutations. When two triads are combined a hexachord is formed (i.e. a chord of six notes). This six note chord now has 720 permutations. �“Small but mighty�”!

�“Remember, small among winged creatures is the bee, but her produce is the sweetest of the sweet�”.

I conclude by saying �“less is more�”!

Musically Yours,

Stanley Ruiz, Educator in Jazz Studies



25 November, 2008

Is the study of Jazz Theory necessary?

There are many very creative musicians in the jazz arena endowed with great talent and natural ability and, who claim to be self taught. I have met quite a number of them on the band stand several years ago. They performed very well, played everything by ear and copied stuff from schooled musicians. However, when presented with a music score sheet at band rehearsal, they became intimidated and discarded the music sheets. They preferred to work things out by ear and felt that the music arranger was stifling their creativity. But yet, many of them were not able to analyze complex harmonic and vertical structures in the music handed out to them by the band leader. When the music arranger placed a certain chord voicing on the sound sheet, he expected to hear that particular sonority from the guitarist or pianist. These musicians were trying to hear the root of the chord which was inverted and the root omitted. A good example was a G13 chord voiced as 7-3-6 namely. F-B-E (G root omitted). Things got

worse when a Db was added as the bass note to F-B-E creating a G13b5 or a Db7#9 being a tritone substitution for the G13. But what if the arranger placed an Ab note in the bass to create a G13b9 or placed the Ab as the top note and spelled this chord on the score sheet as E/F i.e. an E Major triad over an F bass. I believe that a musician, who plays strictly by ear, without understanding harmonic nomenclature, inversions and voicing leading principles, will articulate the language of jazz with a grammar and syntax that is fraught with many awkward �“green verbs�”. This musician will be stuck in the wilderness. He will be out of Egypt but nowhere close to the promise land.

When we listen to some of the giants of jazz who received formal schooling, musicians such as, the late Michael Becker, Joe Lovano, John Coltrane, Herbie Hancock, Chic Corea, Keith Jarret, Dave Liebman, Al Di Meola and John Mc Laughlin to name just a few, we will immediately realize that for the most part, formal schooling contributed to their success as great improvisers. And yes, most of them, if not all were born with talent and a creative mind.

Musically Yours,

Stanley Ruiz, Jazz Forum Facilitator

QUESTION from Student From: Mackinii Joseph [mailto:[email protected]] Sent: Monday, November 10, 2008 12:00 AM To: [email protected] QUESTION: how to practice soloing over the continuing ii-V7 cycle?.

Mr. Ruiz. The song I chose to play for the audition is the Charlie Parker tune "Confirmation". I don�’t know if you are familiar with it but, I have been practicing it thoroughly for approximately a week now. The only problem that I am running into with regard to improvising is that I am not that fluent and creative with the ii-V7 cycle. The cycle in the song is /Em7b5 A7/Dm7 G7/ Cm7 F7/. The speed of the changes is the most pressing challenge. What practice routine or exercises or approaches do you recommend to help this problem.? My audition date is now the 13th of December. REPLY FROM: Stanley Ruiz Hello Mackinii, This is a common question that is frequently raised in a jazz improvisation master class. Once you have acquired a very good understanding of scales and modes in all

keys as well as, knowing what chord type goes with what mode ,you will then be in a position to develop your individual practice routines and exercises The ii V cycle, in nothing more than a cycle of keys, with the ii chord ushering in the V chord and the V chord gravitating to and establishing the actual or implied tonic key center. Having said all of the above, let�’s examine some of the approaches that an improviser with a good harmonic understanding can take. This is your basic chord progression: /Em7b5 �– A7/ Dm7 �– G7/Cm7 �– F7/ Analysis: SCALE Bar 1 suggests key of D major D E F# G A B C# D (due to the absence of an altered Dom7th) Bar 2 suggests key of C major C D E F G A B C Bar 3 suggests key of Bb major Bb C D Eb F G A Bb The key signature shown on a music score sheet is what dictates the home key However, within the home key, there can be some temporary modulations via the use of

the ii V vehicle which might imply some notional key centers within the home key. The above progression suggests three implied key centers i.e. D major, C major and Bb major. Geometrically these three key centers form a tri tonic cycle of descending minor sevenths intervals or in retrograde a tri tonic cycle of ascending major second intervals These interval root movements can be a spring board to the technique of intervallic improvisation. You can now choose to treat with these series of ii V chord changes, using their related parent major scale and, be in a position to improvise diatonically over each of these ii V vertical structures. This will certainly challenge your creativity, since you will now have to manipulate and connect these major scales in order to superimpose them on the chord progressions. Since the progression is moving quickly, it becomes impractical to play a scale or mode for each chord. In this situation you may have to simplify your approach. The use of arpeggiated 1 2 3 5 tetra chord configurations might be a choice you may wish to explore.

You can choose to arpeggiate only the ii chord or only the V chord. In this way there are less notes to deal with and, you avoid the clutter that results from playing an entire heptatonic scale. Some other approaches can involve making use of techniques such as triad pairing, intervallic improvisation and descending major 3rd cycles. However these subjects are as long as they are wide and go much beyond the scope of our present discussion. The important thing to achieve is to be able to articulate a melodic statement that reflects the sonority of the chord types, and at the same time, strive to have the melody of the tune recognized in the midst of the improvisation. I suggest that the chord progression be recorded and practice your lines with the play along. Achieving fluency over ii V requires long hard hours of daily practice and I dare say lots of study and analysis to determine what works and what does not work. Most important the cleaver use of articulation , time feel and dynamics is what highlights the difference between the novice and the experienced player.

Stanley Ruiz Jazz Book Theo Phonic School of Jazz Improvisation eBook

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