Mm Sampler

Magic Motives by Dan Haerle A method for developing jazz vocabulary (Playalong CD included)

© 2013 by Dan Haerle

About the Author

Dan Haerle is a composer, performer, educator and ambassador of jazz piano. He is a regents professor emeritus of Jazz Studies at the University of North Texas, where he taught for 34 years. Dan is an active jazz clinician nationally and internationally and has written instructional material used by thousands of musicians worldwide. At the 2012 Jazz Education Network (JEN) conference in Louisville, he was recognized, along with Jamey Aebersold, David Baker and Jerry Coker, in the inaugural class of the LeJENds of Jazz award. Dan was elected a member of the International Association of Jazz Education Hall of Fame in 2003. His participation in a variety of educational programs has benefited countless musicians of all levels of experience. Dan has performed with Clark Terry, Pat Metheny, David Liebman, Freddie Hubbard and numerous other modern jazz leaders. He has recorded multiple albums, featuring his own music as well as jazz standards, with his trio and quartet. He continues to teach jazz piano and improvisation online and at the Dallas School of Music. He is available for residencies and concerts with his trio or quartet. Contact Dan at http://www.danhaerle.com.

ii

Introduction The building blocks of all types of music are short fragments, or motives. These motives may be expanded into phrases that express a complete musical idea. In jazz, we call these motives “licks” or “clichés.” Sometimes the word “cliché” has a negative connotation, as in “His playing is cliché-ridden!” And, if jazz improvisation is only a series of clichés, this is definitely not good! But all music has its clichés and they are how we recognize jazz, classical, soul, pop and country. In jazz, all artists have their own clichés that make it possible to recognize them individually. When building a jazz vocabulary, a musician needs a lot of jazz “words.” These are motives that are interesting melodically and clearly describe a particular sound or color, such as major, minor, dominant 7th, half-diminished or diminished. These jazz words may be based on arpeggios of a chord or some type of scale motion through the chord. Though it is useful to know the full six-, seven- or eight-note scale that relates to the chord, it is not necessary to use all of the notes to construct motives. After many years of listening to and playing jazz, I realized that many clichés we all agree sound good come from five-note scales. When these motives are superimposed in the right place on a chord, they zero in on the important part of the sound. This book shows how motives may be developed using only five-note major, minor and diminished scales and how to apply chromatic embellishment to those scales. The “magic” appears when you discover that any motives created from these scales may be superimposed onto a variety of chords with equally good results! When you create a motive based on a five-note minor scale, it may be used 10 different ways. When you use a five-note major scale to create a motive, it may be used 14 different ways! The various sections of this book discuss and suggest a variety of motives and how to create them. The expansion of motives beyond their five-note range is also dicussed as well as chromatic embellishment. A summary of the applications, or superimpositions, of the motives by chord family and scale type is included. This book is not the answer to everything concerning jazz improvisation. But, it will help you develop a larger vocabulary of jazz “licks” idiomatic to the music and extremely versatile in their application to chords. Dan Haerle Denton, Texas September 2013

iii

Foreword I would like to congratulate my friend, Dan Haerle, on his book of improvisation. This is a different approach. Dan has fragmented the scale down to fewer notes so one can create choice motives. I have used this idea all my life. This is a very logical way, in book form, to help all people interested in improving their skills at improvisation ~ Jack Petersen

Thanks Special thanks to my wife Jill for her patience and understanding while I was focused on this project. Also, she wielded her expertise as an editor in making the book readable and understandable. Thanks, also, to all of my colleagues and musical friends with whom I have had many great moments making music. Finally, thanks to all of my students, past and present. You are a constant inspiration and a source of new ideas for me ~ Dan Haerle

Other books by Dan Haerle Jazz Piano Voicing Skills – Jamey Aebersold Jazz Jazz Improvisation, A Pocket Guide – Jamey Aebersold Jazz Fusion, Volume 109, Playalong – Jamey Aebersold Jazz

Albums by Dan Haerle Live at Luminous Sound, 2012 – Dan Haerle, piano; Brad Leali, saxophone; James Driscoll, bass; Ed Soph, drums (Available at CDBaby, Amazon, iTunes, etc.) Aspiration, 2011 – Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums (Available at CDBaby, Amazon, iTunes, etc.) Standard Procedure, 2004 – Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums (Available at CDBaby, Amazon, iTunes, etc.) The Truth of the Matter, 1999 – Dan Haerle, keyboards; Bob Bowman, bass; Jack Mouse, drums (Available at CDBaby, Amazon, iTunes, etc.)

iv

Contents Part 1 – Five-Note Minor Scales . . . . . . . . . . . . . . . .1 Part 2 – Five-Note Major Scales . . . . . . . . . . . . . . . 7 Part 3 – Five-Note Diminished Scales . . . . . . . . . .13 Part 4 – Applications to Tunes . . . . . . . . . . . . . . . .17 Part 5 – Exercises for Playalongs . . . . . . . . . . . . . 27 Part 6 – Sample Motives . . . . . . . . . . . . . . . . . . . . 33 Part 7 – Thoughts on Rhythm . . . . . . . . . . . . . . . . 37 Part 8 – Summary of Applications . . . . . . . . . . . . 39 Concert Key Chord Progressions . . . . . . . . . . . . . 41 Bb Instrument Chord Progressions . . . . . . . . . . . 55 Eb Instrument Chord Progressions . . . . . . . . . . . 69 Bass Clef Instrument Chord Progressions . . . . . 83

v

vi

Magic Motives Part 1 Five-Note Minor Scales 1. Applications Here is a five-note D minor scale shown with chord symbols indicating all of its applications. Note its structure: whole-step, half-step, whole-step, whole-step.

D-7

G -9

G9

C sus 7

B

ª

E

&œ œ œœ œ Œ &œ œ œœ œ Œ

Œ œœœœœ

G sus 7

Œ œœœœœ

œ Œ œ œ œ œ

Œ œœœœœ

ª

F

œ Œ œ œ œ œ

@

œ Œ œ œ œ œ

+9

C #7+5

Œ œœœœœ Bb

@+11

œ Œ œ œ œ œ

Notice where each five-note scale is located in relation to the chord. It's built on the root or 5th of a minor chord, the 5th of a dominant 7th chord, the b9 of an altered dominant chord, the 5th or 9th of a dominant 7th sus4 chord, the 3rd or 7th of a half-diminished chord, and the 3rd or 6th of a major 7th chord. The next example shows the five-note minor scales transposed to apply to C chords of various types. The chord tone on which the scale is built is shown under the first note.

C-7

& œ œ bœ œ œ Œ

C -9

+9

C 7+5

œ œ bœ œ œ Œ œ œ bœ œ œ Œ œ œ bœ œ œ Œ #œ #œ œ #œ #œ Œ

C sus 7

C

9

3

1

C sus 7

C9

5

ª

& œ œ œ œ œ Œ bœ œ bœ bœ bœ Œ

5

ª

5

bœ œ bœ bœ œ Œ C

7

@

b9

œœœœœ Œ

C

6

3

C

@+11

œ #œ œ œ œ Œ

Be sure to play each application of the five-note scales. Play the chord on a keyboard and, if you're not a pianist, hold the sustain pedal down and play the related five-note scale over it on your instrument. I think you will agree that the scale sounds equally good in all locations.

1

(Magic Motives, Part 1)

From the previous example, it should be obvious that it will be very helpful if you are comfortable playing five-note minor scales in all keys! This should be part of your daily practice.

D-7

G-7

C-7

F-7

Eb - 7 œ œ bœ bœ Œ & œ œ œ œ œ Œ œ œ bœ œ Œ œ œ bœ œ œ Œ œ œ bœ bœ œ Œ bœ œ bœ œ bœ bœ bœ Œ Ab - 7 C# - 7 F# - 7 B-7 E-7 A-7 # œ b œ œ Œ œ #œ œ œ œ Œ œ œ œ œ œ Œ & bœ bœ bœ bœ Œ #œ œ #œ #œ Œ #œ #œ œ œ #œ Œ œ #œ œ #œ

The five-note minor scale in all 12 keys:

Bb - 7

2. Motive Development To develop motives, experiment with different types of motion through either the five-note scale or the minor triad it outlines. The examples below begin very simply and gradually become more complex. Start with motives that use only the five notes in the scale. Chromatic embellishment of motives will be discussed later. The scale numbers are written under the notes. Motives built from a five-note D minor scale:

&œ œ œ œ Ó

1 2 3 5

œœœ Ó œ

œœœœÓ

&œ œ œ œ Ó

œœœœÓ

œœœ œœŒ œ

œœœœœœŒ

&œœœœœ Œ

œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ

1 5 3 1

3 2 1 5

4 5 3 2 1

œÓ œœœ

3 4 5 1

1 2 3 4 5 3 2 1

5 3 2 1

5 3 2 1 4 3

5 3 2 1 4 4 3 5

2

2 1 3 5

3 4 5 2 4 3

4 4 3 5 2 1 3 5

œœœœÓ 4 5 3 1

œœœœœ Œ 4 3 5 2 1

3 4 5 2 4 4 3 1

(Magic Motives, Part 1)

3. Motive Expansion Motives do not have to be confined within the five-note range of the scale. In fact, a very well-known motive, the "Cry Me a River" lick, comes from a five-note minor scale. In the first example below, you will see the original motive and its expansion with the first two notes up an octave. Also shown are a couple of other variations on expanding the motive. Scale

&œœœœœ Œ

Motive

Expansions

œœœ

œœŒ œ œœ œ

œœœ œœŒ œ

œœœœŒ

œ œ œœœœŒ œœœœœœ œ

1 2 3 4 5

œœœœœœŒ

œœœŒ

2 1 5 3 2 1

2 1 5 3 2 1

Scale

Motive

œœ

Expansions

2 1 5 3 2 1

1 2 3 4 5

œœœœœœŒ 3 1 5 4 3 1

3 1 5 4 3 1

œ œœœœœ Œ

Scale

Motive

œ œœœ œœœ

œœœœœœ œ 5 1 2 3 2 1 5

&œœœœœ Œ &œœœœœ Œ

Expansions

1 2 3 4 5

œœœœœœœ 5 1 2 3 2 1 5

5 1 2 3 2 1 5

Scale

Motive

Expansions

&œœœœœ Œ

œœ œ œ œ œœ

1 2 3 4 5

œ œœ œœœœ

Scale

Motive

œ œ œ

5 3 2 4 3 1

5 3 2 4 3 1

&œœœœœ Œ 1 2 3 4 5

1 3 5 3 4 2 1

œœœœœœŒ

1 3 5 3 4 2 1

Expansions

œœœŒ

3

3 1 5 4 3 1

2 1 5 3 2 1

3 1 5 4 3 1

5 1 2 3 2 1 5

œœœœœœœ

œ œœ œ œ œœ

œœœœœœŒ

œœœœœ Œ œ

1 3 5 3 4 2 1

5 3 2 4 3 1

1 3 5 3 4 2 1

5 3 2 4 3 1

(Magic Motives, Part 1)

4. Chromatic Embellishment In addition to the five notes in the scale, there are five chromatic notes inside and around the scale. All of these notes are available for embellishing and adding chromatic interest to motives. Potentially, you could use 10 of the 12 notes in a motive, but don't destroy the clarity of the minor scale! As much as we like it, chromaticism destroys tonality if the emphasis isn't on the non-chromatic notes. A five-note minor scale and its embellishing tones: Scale

&œ 1

2

3

Œ

œ

œ

œ

œ

4

#7

& œ bœ œ œ œ œ Œ b2

1

3

5

4

4

b4

œ Œ #œ œ œ nœ

#7 1 2 3 4 5

& bœ

œ œ Œ œ œ #œ

b2 #7

1

3

5

Combinations

& bœ #œ œ œ nœ bœ œ b6 #4 5

1

4 b4 3

4

3

5

2

b4 3 1 2 1

#3

4

3

2

1

#4

4

#4

2 4 b4 3 5

4

5

b6

3

bœ œ œ nœ Œ œ œ

2

1

bœ œ œ œ œ Œ œ

b5 4 3 1 5 1

b6 5 3 1 4 3

bœ #œ œ œ Œ œ œ b6 #4

bœ #œ œ nœ œ bœ œ œ œ #œ œ œ œ bœ œ b2 #7 1

bœ

#œ

œ #œ œ œ œ œ Œ

bœ #œ œ nœ œ œ Œ b5

bœ

b4

1

bœ œ œ œ œ Œ

#1 2 3 1 5

Double-approach tones

#1

œ bœ œ œ œ œ Œ

Single-approach tones

& #œ œ œ œ œ œ Œ

#œ

#œ

5

Passing tones

2

Embellishing tones

2 #7 1 2 4 b4 3

5

3

1

3

bœ #œ œ œ œ bœ œ b6 #4 5 3 2 b2 1

(Magic Motives, Part 1)

5. Motives Applied to Chord Progressions

@

The first phrase uses the same five-note D minor scale for both the II chord (built on the root) and the V chord (built on the 5th).

D-7

G9

& œ œ œ œ œ œ œ œ œ bœ œ œ œ œ ‰ nœ 1

2

3

4

5

3

2

1

4

b4

3

5

2

1

4

C

w

@

w

This phrase uses a five-note A minor scale for the II chord (built on the 5th) and a five-note Ab minor scale for the V chord (built on the b9th). This allows for a descending chromatic motion.

+9 ‰ œj b œ b œ b œ b œ b œ œ œ œ

D -9

G 7+5

œ & œ œ œ œ 5

3

2

1

2

1

1

2

3

4

5

3

2

1

C

w

w

The next phrase uses a five-note F minor scale for the II chord (built on the 3rd) and a five-note Ab minor scale for the V chord (built on the b9th). This creates an ascending motion of a 3rd.

ª

+9 bœ bœ œ bœ & œ œ bœ bœ œ œ œ œ bœ D

1

2

G 7+5

3

4

5

3

2

1

3

4

5

3

bœ œ

2

1

C

w

@

w

This phrase uses a five-note F minor scale for the II chord and a five-note Ab minor scale for the V chord, as in the previous example. This time the 2-1-5-3-2-1 motives have been expanded to create the "Cry Me a River" lick.

&

D œ

ªœ

2

1

œ bœ œ œ ‰ 5

3

2

1

bœ 2

+9 œ bœ bœ bœ bœ bœ ‰ œ G 7+5

1

5

3

5

2

1

C-7

w

w

(Magic Motives, Part 1)

The next phrase is a III-VI-II-V-I (turnaround) progression. It uses minor scales built on the 5th of the minor chords and minor scales built on the b9 of the altered dominant chords. There are opportunities for a large variety of chromatic sequences. Notice that the same 5-3-2-1 motive is used on both of the dominant chords.

+9 +9 D-7 G 7+5 C@ #œ œ œ œ nœ bœ œ bœ œ b œ œ bœ bœ bœ w œ œ &

w

+9 C@ œ b œ œ œ œ bœ bœ bœ nw

w

E-7

5

A 7+5

1

3

5

5

3

2

1

1

3

5

3

5

3

2

1

This is another turnaround progression with a different motive used on each chord.

&

# Eœ - 7œ 2

+9 #œ œ bœ bœ nœ œ

1

A 7+5

5

3

3

4

5

3

D-7

3

5

G 7+5

3

1

1

3

5

4

6. Practice Patterns for Motive Embellishment Here are a couple of practice patterns using all of the notes of a five-note D minor scale and all five embellishing tones. Though they are extremely chromatic, the D minor sound is still clear. Learning these in all keys will increase your security with both the scales and the chromatic embellishment of them.

& bœ #œ œ œ œ œ nœ bœ œ œ œ œ bœ œ #œ b6 #4 5

3

2

1

4 b4

bœ #œ œ nœ œ œ œ bœ œ œ bœ #œ œ œ Œ

3 5 2 1 b2 #7 1

b2 #7 1

6

2

3

5

4 b4

3 4 h6 #4 5 1

Magic Motives Part 2 Five-Note Major Scales 1. Applications

@

@+11

Here is a five-note C major scale shown with chord symbols indicating all of its applications. Note its structure: whole-step, whole-step, half-step, whole-step.

C

&œœœ +5 Ab@ &œœœ &

+9

E 7+5

C7

œœ Œ

Bb

Œ œ œ œ œ œ G sus 7 Œ œ œ œ œ œ

œœ Œ

œ Œ œ œ œ œ

Œ œ œ œ œ œ

œœœ 9 F@ œœœ

ª

A-7

œœ Œ

Œ œ œ œ œ œ

-@ œœ Œ œœœœœ Œ 9 D -11 Dª œ Œ œ Œ œ œ œ œ œ œ œ œ

-13 Œ œ œ œ œ œ

G

œ Œ œ œ œ œ

E

B b 13

F

Notice where each five-note scale is located in relation to the chord. It is built on the root, or 9th, of a major 7th or dominant 7th chord; the 3rd of a minor 7th chord, or major 7th #5 chord; the 4th of a dominant 7th sus4, or minor 7th chord; the 5th of a major 7th, or minor #7 chord; the #5 of an altered dominant 7th; the 6th of a half-diminished chord; and the 7th of a minor 7th, or half-diminished 7th.

@

@ 13

The next example shows the five-note major scales transposed to apply to C chords of various types. The chord tone on which the scale is built is shown under the first note.

C

&œœœœœ Œ 1

C

@+5

& œ #œ #œ œ œ Œ

C7

œœœœœ 1

+9 bœ bœ Œ œ b œ b œ & 3

C 7+5 #5

C sus 7

Œ

œ œ œ œ bœ Œ 4

ª

C

Œ œ œ #œ œ œ 9

-13 œ œ œ œ bœ Œ C

6

7

C-7

Œ œ œ #œ œ œ 9

bœ Œ bœ œ œ bœ

@9

3

œœœœœ Œ C

-11 bœ œ œ bœ œ Œ

4

bœ bœ œ bœ bœ Œ C

C 13

-@ œœœœœ Œ C

5

ªœ 9 œ b œ œ 5

C

bœ

7

7

C

Œ

(Magic Motives, Part 2)

Be sure to play each application of the five-note scales. Play the chord on a keyboard and, if you're not a pianist, hold the sustain pedal down and play the related five-note scale over it on your instrument. I think you will agree that the scale sounds equally good in all locations. From the previous example, it should be obvious that it will be very helpful if you are comfortable playing five-note major scales in all keys. This should be part of your daily practice.

@

@

@œ b œ œ

The five-note major scale in all 12 keys:

C

F

Bb

& œ œ œ œ œ Œ œ œ œ bœ œ Œ bœ œ F#

@

@

#œ Œ œ # œ # œ # œ œ Œ œ & #œ #œ #œ B

@

Œ

Eb

@

bœ œ œ bœ

@

Ab

bœ Œ bœ

@

bœ œ bœ bœ Œ

@

Db

@

bœ bœ œ bœ bœ

@

Œ

#œ œ œ Œ œ Œ œ Œ œœœœœ Œ œ œ œ # œ œ # œ # œ œ œœ

E

A

D

G

2. Motive Development To develop motives, experiment with different types of motion through either the five-note scale or the major triad it outlines. Below, you will see some examples that begin very simply and gradually become more complex. Begin with motives that use only the five notes in the scale. Chromatic embellishment of motives will be discussed later. Motives from a five-note C major scale:

&œœœœÓ 1 5 3 1

&œ œ œ œ Ó 3 2 1 5

& œœ œœœ Œ œ 2 2 3 5 2 1

Ó œ œ œ œ 1 2 3 5

Ó œœœœ 3 4 5 1

œœœœÓ 5 3 2 1

œœœœœœŒ 5 3 2 1 4 3

Ó œœœœ 2 1 3 5

Œ œœœœœœ 3 4 5 2 4 3

œœœœÓ 4 5 3 1

œœœœœœŒ 4 4 3 5 2 1

œ œ œ œ œ œ œœœœ œœœ œœœœ œ œ œ œœ œœœ œœ œœœœœ 1 2 3 4 5 3 2 1

5 3 2 1 4 2 3 5

8

4

2 3 5 2 1 3 5

3 4 5 2 4 2 3 1

(Magic Motives, Part 2)

3. Motive Expansion Motives do not have to be confined to the five-note range of the scale. Any notes in the motive may be moved up or down an octave to create larger intervals. Here are some five-note major scale motives with their expansions. The scale numbers are written under the notes.

& & &

Scale

œ Œ œ œ œ œ 1 2 3 4 5

Scale

œ Œ œ œ œ œ 1 2 3 4 5

Scale

œ Œ œ œ œ œ 1 2 3 4 5

Scale

&œœœœœ Œ 1 2 3 4 5

Scale

& œœœœ Œ œ 1 2 3 4 5

Motive

Expansions

Ó œœœœ

Ó œœœ 2 1 3 œ

2 1 3 5

5

Motive

Expansions

œ œœœ Ó

œœœœÓ 4 5 3 1

4 5 3 1

œœ Ó œ œ 1 5 3 1

œœœœœœ

œœÓ

œ

œœÓ

œ

2 1 3 5

œœ

4 5 3 1

Motive

Motive

œœ

Œ

4 4 3 5 2 1

Expansions

œœ œœÓ 1 5 3 1

Expansions

œœœ

œœœŒ

4 4 3 5 2 1

œ

œœÓ

2 1 3 5

œœÓ œ

4 5 3 1

œœ œÓ œ

œœœœÓ

œœ œœŒ œ œ

œœœ œœŒ œ

4 4 3 5 2 1

4 4 3 5 2 1

1 5 3 1

1 5 3 1

œœœ œœ œ œ œ œœ œœœ œ œœ œœœœœœœœ œœœœ œœ œ œ Motive

4 2 3 5 2 1 3 5

Expansions

4 2 3 5 2 1 3 5

9

4 2 3 5 2 1 3 5

4 2 3 5 2 1 3 5

(Magic Motives, Part 2)

4. Chromatic Embellishment In addition to the five notes in the scale, there are five chromatic notes inside and around the scale. All of these notes are available for embellishing and adding chromatic interest to motives. Potentially, you could use 10 of the 12 notes in a motive, but don't destroy the clarity of the major scale! As much as we like it, chromaticism destroys tonality if the emphasis isn't on the non-chromatic notes. The next example shows a five-note major scale and its embellishing tones.

&

Scale

œ

œ 1

2

3

Œ

œ

œ

œ

4

5

Passing tones

& œ bœ œ œ œ œ Œ 2

b2

1

3

4

Embellishing tones

œ7

3

3

b3

Œ œ œ #œ œ œ

7 1 2 3 4 5

& bœ #œ œ nœ œ œ Œ b3 #1

2

3

5

Combinations

& bœ #œ œ œ nœ #œ œ b6 #4 5

1

4 #2 3

2

2

5

2

1

#2 3 4 3 5

#4 5

œ #œ œ œ nœ œ Œ 4

#2

3

1

2

5

#2

#4

2

3 b3 2 5

10

b6

œ #œ œ œ œ œ Œ 4

#4

5

3

2

1

bœ œ œ œ œ Œ œ

4 3 5 2

b6 5 3 1 4 3

Œ bœ #œ œ œ œ œ b6 #4

bœ œ œ nœ œ bœ œ œ œ œ œ œ œ #œ œ b2 7 1

bœ

#œ

#œ

Œ #œ œ nœ œ Œ œ œ œ œ œ œ #œ

#1 2 3 2 5

Double-approach tones

#1

Œ œ bœ œ œ œ œ

Single-approach tones

& œœœœœŒ œ

#œ

2 7 1 2 4 #2 3

5

3

1

2

bœ #œ œ œ œ bœ œ b6 #4 5 3 2 b2 1

(Magic Motives, Part 2)

5. Motives Applied to Chord Progressions G7 C@ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

The first phrase uses a five-note C major scale for the II chord (built on the 7th), and the same five-note G major scale for both the V chord (built on the root) and the I chord (built on the 5th).

&

D œ -7 5

3

2

1

4

3

2

1

D-7

3

5

3

1

2

3

5

4

3

2

@

1

2

œ œ w

3

5

3

This phrase uses a five-note G major scale for all three chords of the II-V-I progression.

G7

C

&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1

2

3

4

5

5

4

2

3

4

5

3

1

3

5

4

3

1

2

3

œ œ w

1

3

5

G +11 C@ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ &œ œ œ w

The next phrase uses a five-note C major scale for the II chord (built on the 7th), a five-note A major scale for the V chord (built on the 9th) and a five-note G major scale for the I chord (built on the 5th).

D-7

1

2

3

4

5

3

2

1

3

5

3

1

2

3

5

3

5

4

3

2

1

5

3

1

2

This phrase uses a five-note C major scale for the II chord, a five-note Eb major scale for the V chord and a five-note D major scale for the I chord.

D-7

G 7+5 bœ

@ œ œ œ œ œ œ n Cœ œ # œ œ œ

1

3

œ œ œ œ œ œ œ œ bœ & 3

5

3

1

2

3

5

4

+9 5

1

2

3

2

11

1

2

5

3

1

2

œ œ w 5

3

(Magic Motives, Part 2)

The next phrase is a III-VI-II-V-I (turnaround) progression. It uses five-note major scales built on the #5th of the altered dominant chords and a five-note major scale built on the 5th of the I chord.

+9 +9 +9 +9 A 7+5 œ D 7+5 G 7+5 C@ b œ œ n œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ & E 7+5

3

5

1

3

1

3

5

3

1

5

3

5

1

3

3

5

3

2

1

5

3

2

w

1

This is another turnaround progression, using the same scales as the previous example, with the same motive used on each chord.

+9 +9 +9 +9 Aœ 7+5 D 7+5 G 7+5 C@ b œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ b œ œ œ œ œ œ œ œ w & E 7+5

5

3

2

1

5

3

2

1

5

3

2

1

5

3

2

1

5

3

2

1

3

5

3

2

1

6. Practice Patterns for Motive Embellishment Here are a couple of practice patterns that use all of the notes of a five-note C major scale and all five embellishing tones. Though they are extremely chromatic, the C major sound is still clear. Learning these in all keys will increase security with both the scales and the chromatic embellishment of them.

& bœ #œ œ œ œ œ nœ #œ œ œ œ œ bœ œ œ b6 #4 5

3

2

1

4 #2

3 5 2 1 b2 7 1

12

bœ #œ œ Œ œ œ œ œ œ bœ œ œ nœ #œ œ b2 7

1

2 3

5

4 #2

3 5 h6 #4 5 1

Magic Motives Part 8 Summary of Applications

@

(The chord tones, on which the scales are located, are under the first notes in each example.)

Major 7th Chords

@+11

@+5

@9

@+11

@

œ & œ œ œ œ Œ œ œ #œ œ œ Œ œ #œ #œ œ œ Œ œ œ œ œ œ Œ œ #œ œ œ œ Œ œ œ œ œ Œ œ C

1

C

1

C

2

Dominant 7th Chords

C7

&œ œ œ œ œ Œ 1

C

+9

C 7+5 3

3

C +11

C sus 7

2

3

5

C sus 7

œ Œ œ œ œ œ 6

C

3

+9 bœ bœ œ bœ bœ C 7+5

œ œ œ bœ œ Œ

œ Œ œ œ #œ œ Œ

& #œ #œ œ #œ #œ

C

5

C9

œ Œ œ œ bœ œ 1

Œ

C sus 7

œ Œ œ œ bœ œ 2

-13 C -@ C -11 C-7 C -9 œ œ bœ œ Œ œœ Œ Œ b œ œ & bœ œ œ bœ bœ Œ œ œ œ bœ œ Œ œ œ œ œ Œ bœ œ œ œ œ œ œ bœ C-7

Minor 7th Chords

4

ª

C

#5

Half-Diminished Chords

ª 9œ b œ œ

bœ bœ Œ bœ œ & bœ bœ œ C 3

C 4

#1

2

ª

5

ªb œ b œ œ

Œ bœ œ bœ bœ bœ Œ bœ œ C

C

5

1

39

5

Œ

C

ª

œ œ bœ œ bœ 5

Œ

Summary of Applications (continued)

Major 7th Chords: Five-note major scale on 1, 2 (#11), 3 (#4, #5) and 5 Five-note minor scale on 3 (#11) and 6 Dominant 7th Chords: Five-note major scale on 1, 2 (#11), 4 (sus4) and #5 (#5, #9) Five-note minor scale on b2 (#5, #9), 2 (sus4) and 5 (9, 9sus4) Five-note diminished scale on 3, 5, 7 and b9 Minor 7th Chords: Five-note major scale on 3, 4, 5 (#7) and 7 Five-note minor scale on 1 and 5 Half-Diminished Chords: Five-note major scale on 6 and 7 Five-note minor scale on 3 and 7 Five-note diminished scale on 1 Diminished 7th Chords: Five-note diminished scale on 1, 3, 5 and 7

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