By Lance Van Lenten
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Extra resources for Creative Jazz Exercises for All Instruments
4 7 G#o*t ' . -l ffiw, TABLEOF CONTENTS PART I INTRODUCTION SCALESAND THEIRRELATIVE CHORDTYPES SUGGESTED APPROACHES FOR USINGSCALES(revised). SCALECHARTS .... È . 1 2 , . . , . 4-9 1S34 . ,37 CHORDSUBSTITUTION CHARTSAND EXERCISES . . 38 TRTADS . , . . *55 EXERCISE TONICAND COLORSCALESWITH COMBINING T O N I CA N DC O L O RC H O R D S. , . w . * . + * l F . 5ê59 ....
SCALECHARTS .... È . 1 2 , . . , . 4-9 1S34 . ,37 CHORDSUBSTITUTION CHARTSAND EXERCISES . . 38 TRTADS . , . . *55 EXERCISE TONICAND COLORSCALESWITH COMBINING T O N I CA N DC O L O RC H O R D S. , . w . * . + * l F . 5ê59 ....
V7 SUPERIMPOSING PROGRESSIONS Referto the chordchartson pages39, 4, 49. with "tonic"soundingchords. The iimTchordshouldbe superimposed FnàT#-r, u-7\ 'colof tones. on the V7 chordcan containmore Substitutes For example: canbe treatedas a W soundanda minorsevenchordcan haveits' A iimT-Wprogression dominant chordaddedto it. corresponding oÍ iimT-Wchordsuperimpositions: Belorvaresomeexamples D-l G) G7 &\ D- 7 (r+, 't Haj'l +t) iimT-VTPROGRESSIONS (continued) Chordscan be addedwhenmovingat a quickerpace: For example: Chordscan be nrunup and down'or may be "brokenup' to createinterest.