CONTENTS Octave and Thumb Technique ..................................................................... 3 Mi7 Over Dom7, Substitution ...................................................................... 6 Dom7 Over Mi7, Substitution ................................................................... 13 ≤5 and ≤5, II-V, Substitution ........................................................................ 17 Alternating Inversions .................................................................................. 27 Imi7-V7≤9 Sequences .................................................................................. 28 Interchangeable Key Centres..................................................................... 30 Four Characteristic Sounds......................................................................... 32
2
OCTAVE & THUMB TECHNIQUE Wes Montgomery’s Octave Shapes
` )` `` )
`)` `` )
Shape One - S1 (1st & 3rd, and 2nd & 4th strings) 1
1
4
4
Shape Two - S2 (3rd & 5th, and 4th & 6th strings) 1
1
3
3
G major Scale in Octaves
œœœœ œœœ œ œ œ œ œœ œ œœœœœœ œœœ #4 œ œ œ œ & 4 œœœ œœœœ œœ œœœœ etc. 4
3
1
1
S1
S2
Ô
5 7 9 3 5 7
5 7 9 3 5 7
7 8
10 12
4 5
7 9
8 10 12 14 15 14 12 10 8 5 7 9 11 12 11
9 7 5
12 9
Gmaj7 Arpeggio in Octaves
œ œ œ #4 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ 4
4 1
w w
1
3 1
S1
S2
Ô
4
5
2
3
4
7
2
5
7
8
4
5
3
7
10
15
4
7
12
and descending
ROAD SONG (O.G.D.) b4 &b 4
Gmi7
Ami7¯fi
..
D7¯· Vamp till ready
..
Ô Gmi7
%œ œ œ œ œ œ b œ & b œ .. œ œ œ œ œ œ
Gmi7 C9 Am7¯fi
∑
4
3
1
1
S2
Ô
3
7 5
1
S2
S1
.. 8 5
œ œ œ œ ˙ œ œ œ œ ˙
11 11 8 11
8
8
5
8
5
8
7 10 10 7 10 5
8
8
5
8
œ œ œ œ œ œ œ œ œ œ œ œ j œ b Ó Œ ‰œ œ œ œ œ œ Jœ Jœ œ œ œ œ œ b œ & J J œ D7˜·
Gmi7
E≤maj7
B≤7
4
1
S2
Ô
7 5
S1
8 11 11 11 5
Emi7¯fi Cmi‡
˙ b &b ˙
œ. œ.
8
j œ œ œ œ
3
8 5
˙ ˙
1.
3
4 1
S2
Ô
8
D7˜·
1
6
8
7 5
S1
8
10
8
6
5
7
5
3
Gmi‡
8
3
5
4
5
D7˜· Gmi7
j 2.œ ˙ . ‰ œ .. œ ˙ . œ 3
4
1
1
S1
S2
6
8
7 5
..
6
8
3
5
5 2
F9 B≤maj7 j j œ œ œ. œ œ œ œ w b œ œ œ. œ œ œ œ w & b Œ ‰ œ œ œ Jœ J Cmi7
4
3
1
1
S2
Ô
6
S2
8
11
5
8
E9
Bmi7
&
1
S1
8
bb
3
Bmi7
10
8
7
5
B≤mi7
8
7
5
10 8
j j œ b œ œ ‰ bœ œ œ
Œ
E9
10
4
1
S1
S2
Ô
6 4
œ. b œ. b &
E≤9
A≤maj7
œ œ œ œ œ œ œ w œ w J 3 1
Ô
6
5
3
8
6
5
3
œœ # œœ
1 3 1 2
```^` )
œœ œœ
4 5 4 5
8 6
5
6
9
3
6
j œœ ‰ Œ œ œœ œ S2 D.S. take 2nd ending (no repeat)
➃
S2 8
D7¯·
bœ bœ J
4 5 4 5
4 5 4 5
7 5
THREE SUBSTITUTIONS Wes Montgomery made frequent use of 3 substitutional devices, both for single-line (octaves) and chordal work. These can be summarized as follows: 1. The mi7 over a dom7th - (II over I7). 2. The Dom7th over a mi7 - (I7 over II). 3. ≤5 substitution
SUBSTITUTE NO.1: Mi7 over Dom7 There are at least three ways of arriving at this substitution. Choose the method which suits you best. All substitutions are based on the common note principle - e.g. a substitute chord has one or more notes in common with the original chord. Substitutes always have different names to the original e.g. Gmi9 over C7 is a SUBSTITUTE. Whereas C13 over C7 is an EXTENSION. This common note idea can be easily understood from the following example:
C9
& 44
3 1 2
Ô
w b ww } ww
Gmi6
bb
`_ ````
3 1
ww } n ww w
2
3 3 3 2 3
```` `_
3 3 3 2 3
Notice that the Gmi6 had 4 notes in common with the C9. The more notes in common, the more readily the substitute can be used, the downside being that it will sound very similar to the original. The fewer notes the substitute has in common with the original chord, the more careful we need to be. Ideally those chords with two or three notes in common prove the most practical. The above example is, in fact typical of Montgomery’s use of the minor over a dominant 7th. But, how did he arrive at this? Any of the following methods may be used; pick the one which suits you best:
6
Location
1. Substitute the minor chord a 5th above or 4th below the given Dom7 (Gmi7 over C7 - Fmi7 over B≤7 — Cmi7 over F7 etc.) 2. Treat the dom7 as the V of a II-V progression, then substitute the II chord. (IIs and Vs are interchangeable). 3. Extend your dom7th chord shape to a 9th, then visualize the extension as part of a minor chord:
C7
& 44
1 4 2 3
Ô
C9
b www w
3
` `_ ``
1 2
w b www } w
Gmi
w b ww
1
`_ ````
_```
3 3 3 2 3
1 3 2 3
3 3 3
These methods may be summarized as: 1. Locate the Minor a 5th above, or 4th below.. 2. Treat the dom7 as V and substitute chord II of same key. 3. Visualize an extended dom7 as a minor chord. Having arrived at the minorised dominant, we can than apply any of the devices (scales, inversions, etc.) we would normally use for a minor situation. Chordally, Montgomery was fond of the following inversions:
&`` `^`` `^` ``` `` ` )`` ) ` ) b) ˙ b ˙˙ ˙
➂
➄
➇
4 b ˙˙˙ &4 ˙
˙˙˙
3 3 3 3
6 5 7 5
1
Ô
2 1 3 1
11
˙ b˙˙
10 8 10 8
˙˙
4 1 3 1
13 11 12 12
7
4 1 3 2
```` ````% )˙ b) ˙
➇
➄
˙˙ b˙
10 10 9 8
4 3 2 1
˙˙ ˙
6 6 7 5
2 3 1
3
w b www
1
3 3 3 2
+~``^`` ) +``` ^`` )
+``&`` `) +` ``&`` )
Mi7 over Dom7 Substitute for Cariba
➀ B≤9
2
➄ E≤9
➀
3
Fmi7
➅
1
3
B≤mi7
2
3
1
3
1
II and V chords, of the same key, are interchangeable.
&`` `` ) ``&`` )
`)```% ````% )
`)^``` `^``` )
Fmi7 Inversions for Cariba
➀
➂
➅
Bbm7 Inversions for Cariba
➅
➇
8
11
Practice Regime (inversions for Cariba) 1. 1 shape per measure
4 b www &4 bw
b b www w
1
``&`` )
➀
Ô
````% )
``&`` ````% ) )
1 1 1 1
œœ . . b & b œœ
b b œœœ œ
&`` `` )
➀
Ô ..
➅
4 4 5 3
3. 4 chords per measure
1 1 1 1
`)```%
4 4 5 3
Last time
b b œœœ œ
`)^```
➅ 8 6 8 6
.. b www bw
`)```% )``&``
➂
➀
..
4 4 5 3
1 1 1 1
```%` ```` ) )
➂
`)```%
4 4 5 3
Practice the same pattern with the B≤mi7 shapes Alternative fingering
````% )
➂
1
2
1
2
4
3
9
.. ..
..
➂
8 6 8 6
œ b œœ bœ
➂
b b ˙˙˙ ˙
`^``` )
➂
1
4 4 5 3
˙ b ˙˙ b˙
b b ˙˙˙ ˙
2 3
➂
8 6 8 6
2. 2 shapes per measure
Ô ..
1
➅
4 4 5 3
➀
b b www w
4 1 3
`^``` )
1
➂
1 1 1 1
˙˙ . b . & b ˙˙
w b ww bw
2 3
3
..
CARIBA (F minor Blues over a Bb Blues)
b œœ œœœ œœ œ œœ b œœœ œœœ œœ ‰ œ œ Œ ‰ œœ b œ œœ b œœœ J J ➂ ➅
Fmi7 Fmi7 Fmi7
b 4 œœ b & 4 b œœ 1
&`` `` )
➀
1 1 1 1
Ô
4 1 3 1
2
`)^```
3
`)```% 1
1 1 1 1
4 4 5 3
œœ b œ b œœ & b Œ ‰ œœ b œ J
œœ œ œ
simile
8 6 8 6
4 4 5 3
B≤mi7
œœ b b œœ
&`` `` )
Ô
œœ b œœœ œœ ‰ œ
b b œœœ b & œ
Ô
1 1 1 1
1 1 1 1
œ b & b ‰ Jœ
4 4 5 3
6 6 6 6
4 4 5 3
4 4 5 3
8 6 8 6
œœ œ œ
11
9 9 10 8
13 11 13 11
G≤9 F13 3
4 4 5 3
8 6 8 6
9 9 10 8
13 11 13 11
4 3
1
➆
9 9 9 8
10 8 8 7
9 9 10 8
E≤13 œœ œ œ œ œ œ b œœ œ œ ‰ Jœ S1
nœ œ bn œœœ ‰ œ J J
% `^ ` ` `` `` ) )` 1
œœ œ œ œ b œ Œ b œœœ œ bœ œ
1 1 1 1
`)```% )`^```
➇ 6 6 6 6
8 6 8 6
1 1 1 1
œ œ b œ œ b œœ œœ œœ bœ œ Œ ‰ J J
œœ b b œœœ œœ ‰ œ
œœ œœ b œœ b œ œœ Œ ‰ œœ bœœ n œœ œ J J ➇J
4 4 5 3
S1
Ô
8 6 8 6
8 6 8 6
B≤mi7 B≤mi7
➅ 4 4 5 3
œœ b œœœ œœœ œœ ‰ œ œ J
4 3
`)``%` 1
S2
➄
10 13 10
8 6 6 5
7 10 7 10 8 8 6
œ b œœ œœœ b œœ œœ b œœœ œœ œœ ‰ œ œ Œ ‰ œœ œ œœ .. J J
S2
8 11 8 5 8 5 8 6 6 4
1 1 1 1
1 1 1 1
10
4 4 5 3
8 6 8 6
4 4 5 3
8 6 8 6
4 4 5 3
..
Mi7 over Dom7 Licks for Cariba 1. Fmi7 over B≤7
j1 #œ œ
& 44
bœ œ bœ j œ nœ
III 1
3
‰
1
3
2
4
etc.
3 2 3
Ô
4
5
6
5
2. Fmi7 over B≤7
j #1œ 1œ
‰ œj b œ œ b œ III
& Ó
3
bœ œ bœ 3 Œ œ bœ nœ 3
2
3
4
3
2
3
3
Ô
5
1
4
etc.
3 2 3
4
5
6
4
4
5
6
5
3
6
3. Fmi7 over B≤7
b >œ œ œ œ >œ œ >œ œ > > bœ J œ œ j Œ ‰ b œ œ #œ ˙ & III
1
4
1
4
1
1
2
2
3
2
3
2
3
3
etc. 6
Ô
3
6
3
4
4. Fmi7 over B≤7
j #œ œ
VI 2
&
b œ # œj œ œ b œ œ n œ œ
1
4
3
3
1
3
3
4
5
2j #œ œ 3
4
Ô
6
7 8
6
9 8
3
5
4 5
bœ bœ œ nœ œ J œ. V
1
4
3
7 8
5
2
1
3
1
3
6 8
11
7 8
6
9 8 6 8
etc.
5
5. Fmi7 over B≤7 4j 4 #œ œ
œ b œ œ œ œ œ b œ œ œ & œ bœ œ 3
I
III
IV
VI
Ô
3
1
1
3
5
3
4
5
6
III
2
1
2
3
3
3
bœ œ bœ . Œ œ nœ
8
7
1
3
etc.
3 6
7 8
6. B≤mi7 over E≤7
4
5
6 5
3
œ bœ œ œ bœ bœ œ bœ bœ œ bœ œ œ œ b œ œœ œ œ Œ b œ b œ & 1
1
3
XI
VIII
V
1
IX
1
3
3
1
2
1
2
3
3
3
3
3
VIII
IX
3
1
2
1
3
VI
2
3
3
1
2
3
3
8
6
move shapes as chords
Ô
8
6
6 8
8
10 11
10
9
11
12
(Fmi7 over B≤7) etc.,
& œ. V
1
bœ J
4
˙ 1
etc.
Ô
5
8
5
12
13 11
10
9 8
10 8
6
SUBSTITUTE NO. 2: Dom7 over Mi7 Location
This is essentially a reversal of the idea explained in No. 1: Mi7 over Dom7th; similarly, there are three different ways to locate it: 1. Substitute the dom7th chord a 4th above, or 5th below the given or mi7 (G7 over Dmi7 — D7 over Ami7 — C7 over Gmi7 etc.) 2. Treat the mi7 as the II of a II-V progression, then substitute the V chord (IIs and Vs are interchangeable):
`)````
3. Visualise your mi7 shape as an extended Dom7 chord:
➉ Dmi7
`) ````
➈ G9
The same concept applies to all mi7 shapes. Remember II and V chords of the same key are interchangeable. As before, when we have arrived at the substitute dom7 we can apply any of the common dom7 devices. Simple dom7th and dom9th arpeggios are very effective, in tunes like “Yesterdays,” “Impressions” and “Full House.”
13
G7 Scales and Arpeggios over Dmi7 G7 Scale
&
II
}œ œ
4
2
œ
1
œ
œ
4
2
œ
1
œ
2
œ
4
œ
1
Ô 1
3
2
5
3
2
5
3
5
G7 Arpeggio
œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ w 2
1
4
2
4
1
2
3
4
2
1
2
2
4
1
3
2
Ô 3
2
3
5
5
3
4
1
3
1
3
4
5
3
5
2
3
D Dorian Mode II
& œ 4
Ô
œ
œ
1
2
2
5
œ 4
1
œ
œ
œ
œ
2
4
3
etc.
3
2
5
4
3
5
2 Octave G7 scale showing notes of Dorian Mode
œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ
Ô 3
5
2
3
5
2
3
5
14
2
4
5
3
5
6
3
etc.
Dom7 Arpeggio No.1 II
& œ 4
Ô
œ
œ
1
2
2
5
œ
1
4
œ
œ
œ
œ
2
4
3
etc.
3
2
5
4
3
5
Dom7 Arpeggio No.2
œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ
Ô 3
2
5
3
2
5
3
2
5
4
5
3
5
6
etc.
3
Dom7 Arpeggio No.3
œ œ œ œ 4 œ œ &4 œ œ III
2
3
1
4
1
4
1
2
˙
Ó
3
use over Dmi 7, Dmi9, etc.
Ô
3
4
5
3
6
6
3
4
5
Dom 9th Arpeggio No.1
œ œ œ œ 4 œ œ &4 œ œ VII
4
4
1
3
2
4
1
2
˙
Ó
3
use over Dmi 7, Dmi9, etc.
Ô 10
9
7
10
8
10
7
15
9
10
Dom 9th Arpeggio No.2
œ œ œ œ œ œ 4 &4 œ œ VII
4
4
1
3
4
4
1
3
˙
Ó
4
use over Dmi 7, Dmi9, etc.
Ô
7
9
10
10
10
10
7
9
10
Dom 9th Arpeggio No.3
œ œ œ œ 4 œ œ &4 œ œ IX
2
4
1
2
2
2
4
1
10
9
12
10
10
10
Ó
use over Dmi 7, Dmi9, etc.
flatten 2nd finger
Ô
˙ 2
12
16
9
10
SUBSTITUTE NO. 3: b5 and b5, II-V Flat-five (tritone) substitution is a standard Be-bop device. Wes Montgomery incorporated this substitution into every aspect of his playing, single-line soloing, ’comping, octaves and even his compositions. The basic principle is that a dominant chord, a ≤5th away from a given dom chord can be used in its place:
` ``` )
➂ G7
&
3 4 1 2
ww w w
D¯7
b b ww b ww
œ b˙ œ œ œ œ
original chord
Ô
` `) ``
➁
1,
2,
3 4 3 3
3
5
3,
2
4,
3
5,
5
1 4
2 3
≤5
≤5 substitute 2 4 3 4
4
This substitution works because both shapes have two notes in common. The 7th and the 3rd (F and B) of G7 invert to become the 3rd and 7th of the D≤7:
`)```
➂ G7
` `) ``
➁ D¯7
7, 3
3, 7
Because II and Vs, from the same key, are interchangeable, Wes liked to add the appropriate II chord to his ≤5 substitute. In the previous example the II would be A≤mi7.
17
Study the following equation: ≤5 sub.,
Given chord G7
with appropriate II
D≤7
=
A≤mi7 D≤7
=
Consequently, the b5 substitution of G7 is D≤7 and the ≤5, II-V of the G7 is A≤mi7 D≤7. Montgomery made extensive use of ≤5, II-Vs. He also liked to use ≤5 substitutions over the popular I, VI, II, V progression, a technique which played a major role in Montgomery’s most popular composition: “West Coast Blues.”
I VI II V turnaround with b5 substitutions
` ``` `)``` ) ```` `)``` ) ≤5, VI
I
➅
1
2
3
➈
1
2
≤5, II
3
➈
≤5, V
1
➅
2
4
4
2
3
| B≤maj7
1
| D≤7
| *G≤maj7
3
4
4
| B7≤5
|
| F7
|
to bar 1
Originals: | B≤maj7
| Gmi7
|
Cmi7
* Wes used the maj7 instead of a Dom7 to obtain the pedal note F.
Introduction and Ending: West Coast Blues B≤maj7
b3 &b 4
œœ . œ œ. œ.
Imaj7
I
j œ œ . b œj œj b œj œ Œ b œ œ œb œ œ A≤mi7
D≤7
G≤maj7
B7
j . b œœ ‰ œj œj œ œ n œ œ # œ n œ # œœ . bœ
≤5, II–V
≤5
VI
II
18
F≥mi7
≤5, II–V
V
WEST COAST BLUES j j œ œ . b œj œj b œ œ Œ bœ œ œ bœ œ
B≤maj7
A≤mi7
b 3 œœœ . œ b & 4 . œ. VI
D≤7
III
IV
2 4 3
2
1
1
3
1
Intro.
Ô
6 7 7
6
6
6
4 4
6
6
&
bb
G≤maj7 II
1
bœ
b œœ œ
F≥mi7
‰ n œœj
2 4 3
4 3
B7
j œœ #œ
1
j œ n œ # œœ
I
..
3
Ô
2 3 3
2 2
2 2
4
2
b b &
4 4
B≤7
..
2 1
A≤7
j j #œ œ #œ œ
3
œ œ bœ œ œ œ œ
j j nœ œ nœ œ
bœ œ
Tune
Ô
6 7
6 7
8
8
b & b bœ bœ œ nœ œ 3
Ô
4
6
8
7 8
6
8
B≤7
6
j #œ œ
j #œ œ
6 7
6 7
19
3 6
4 5
4 5
6
6
œ œ b œ œ . # Jœ
8
8
6
8
6
Bmi7
E7
E≤7
b n œ # œ œ œ ‰ j j # œ œj n œ œ b & #œ œ
Ô
&
5
bb
Ô
&
Ô
7 5
6
5 6
5 8
6 7
5 6
8
6
8
8
8
6
8
œ œ bœ œ œ œ œ
8
5 6
8
8
œ œ bœ œ œ œ œ
3
6 7
5 6
7
œ œ
3
B≤7
j j #œ œ #œ œ
4
7
j j œ bœ œ œ
bœ œ œ œ œ
8
6
4
3
6
bb
7
j j œ bœ œ œ
5 8
8
j j #œ œ #œ œ
6 7
5 8
8
6 7
œ œ
8
8
b bœ œ . œ œ œ œ œ ‰ j œ œ œ œ b & J #œ œ nœ F7
Ô
6
8
7
6
8
6
20
8
4
5
8
7
5
7
8
E≤7
b œ œ œ bœ ‰ j œ œ œ b b œ & œ nœ bœ
Ô
4
6
4
6
2
3
6
5
3
5
B≤7
j j #œ œ #œ œ
6 7
6 7
6
œ œ
8
B13ª¯fiº
&
bb
Ô
3
bœ œ œ œ œ
6
8
8 10
8
j j #œ œ #œ œ
6 7
# # œœœ ‰ œ J
œœ # # œœ œ œ j œ œ œ J
9 9 8 7
6 7
9 9 8 7
8
œœ œ œ 9 9 8 7
West Coast Blues (Changes for solos)
b3 &b 4 &b
b
&b
b
&b
b
&b
b
&b
b
B≤7
B≤7
A≤7
A≤7
B≤7
B≤7
Bmi7
E7
B≤mi7
E≤7
E≤mi7
A≤7
Dmi7
G7
D≤mi7
G≤7
Cmi7
F7
F≥mi7
B7
B≤maj7
D≤7
G≤maj7
B≤7¯fi
21
8
b5, II-V Substitute at bars 7 and 8 Bmi7
E7
b nœ #œ œ œ ‰ j j #œ b & #œ œ
j œ nœ œ
IV
Ô
2
4
2
5
7
5
7
1
4
3
1
4
4
etc.
6
4
7
4
7
b5 Substitute on the V chord (bar 24) B≤7
&
bb
B13ª¯fiº
j #œ œ
# # œœœ ‰ œ J
j #œ œ
4 3 2
1
hold shape
œœ # # œœ œœ œœ J
1
œœ j œœ œ
(≤5) * ≤5 substitute for F7
Ô
6 7
9 9 8 7
6 7
9 9 8 7
9 9 8 7
8
ROAD SONG (extract) ≤5
B≤maj7 Bmi‡ E9 œ. œ œ œ œ ˙. . œ. b 4 œ. œ œ œ œ œ œ ‰ b œ œ œ œ #œ œ & 4 J œ œ œ ˙. J J J F·
Ô
10
8
7
5
10
8
7
5
10
7 7
8
22
7 7
7 7
7 6
7 6
4
``^`` )
`&``` )
Cmi9
B≤mi9
➆
œ b 4 œœœ b & 4
≤5
b n *œœœ ‰ œ J
4
œœ œ œ
1
1
2 1
basic: Cmi7
➅
Œ
F7
10 8 8 8
≤5
b œœ b ‰ b œœ J
Ami7
œ
œœ œœ
Œ
3
3
5 5 6 5
b œœ b œœ 6 6 4 6
ON
23
j œ ∫ ‰ œœ bœ
3 1 2
3
œœ œ œ
Œ
2
3 3 4 4
6 ‘
5
A≤9¯fi
➂
D7
œ œ œ
5
Œ
E≤7
≤5 – II V * *4 1
4 4 5 4
Ô
œœ œ œ
`) ) ` ``` ```
4 b4 &b 4
b n œœœ ‰ œ J
➃
D7
7 5 5 5
≤5 *
E≤mi9
➃
*
➄
8 6 6 6
A≤7
➄
`&``` ) A7
B≤mi7
^` `&``` `` )` )
Ô
œœ b b œœ
7 7 8 7
Ami9
nœ n œ b & b œœ
6
``^`` )
B7
➇
Ô
ON
‘
‘
b œ œ œ œ b œ &b œ œ œ œ nœ bœ œ œ œ œ œ
Ô 8
&b
10
10 8
b œ
œ
œ
5
3
6
7
5
œ
Ô 3
8
6
8
5
‘
7
8
6
‘
‘
5
+``` `+``` ``` `+ `+`%` `) `)``` ) ) ) j j b #˙ B≤maj7
Gmi7
➀
➂
& b œœœ œ
Ô
&
∑ œ
œ œ
➂
3
➃
Œ # ˙˙ ˙
1 4
3 3
2 4 4
3 5 5
3
4
5
œ
D7˜·
2
2
bb
Ami11
‰ b b b œœœ n n n œœœ bœ nœ
3
3 2 3 1
A≤m11
➁
‰ œœ œ
4 2 3 1
8
6
Ó
Tune
Œ œ
4 3 1 2
Œ
6 5 4 5
œ œ ‰ œ œ œ ‰ œ J J
2nd Part, … etc.
Ô
3
24
3
3
3
5
5
3
b œ j j j & b œ œ œ œ ‰ œ œ œ œ. œ œ œ.
˙.
Œ
3
Ô
3 4 3
3
5
3
5
3
5
5
2
2
``^`` `&``` ``^`` `&``` ``^`` `&``` )œœ b n) )œœ b) ) ) œœ œœ n œ n œœ œœ bœ œ Cmi9
➇
B7
B≤mi9
➆
➅
A7
Ami9
➄
A≤7
➄
➃
4
b œ œ œ nœ bœ œ œ œ & b œ ‰ Jœ œ Œ b b œœ ‰ œ œ Œ œœ ‰ b œœ œœ Œ J J 1
1
Ô
2 1
10 8 8 8
7 7 8 7
8 6 6 6
`) ` ` ` ` ``` ) j œ E≤mi9
5 5 6 5
7 5 5 5
4 4 5 4
A≤9¯fi
➃
➂
b bœ b & b œœ
‰ ∫ œœœ œœœ bœ œ
œ œ ‰ œ œ œ ‰ œ J J
Œ
1
4 3
3
1 2
2
Ô
6 6 4 6
3 3 4
3
3
3
3
3 4 3
5
4
b œ œ œ œ œ ‰ j œ œ œ . j œj œ . b & œ œ
Ô
5
3
5
5
3
3
25
5
5
2
2
w
3
j j b œ b œœ ‰ b œœ n n n œœœ bœ nœ œ
B≤maj7
Gmi7
b & b œœœ œ
Ô
&
‰
3 2 3 1
bb
A≤m11
Ami11
3 3
2 4 4
3 5 5
3
4
5
D7˜·
Œ ## ˙˙˙ ˙
Œ
6 5 4 5
Break (into solo) ……
œ
œ
œ
5
3
Ô 3
œ
‘
5
4 on 6 - Chords for Solos
b b & Gmi7 C7 Gmi7 C7 Gmi7 C7 b & b Gmi7 C7 Cmi7 F7 B≤mi7 E≤7 b & b Ami7 D7 E≤mi7 A≤7 Gmi7 C7 b b & Gmi7 C7 Gmi7 C7 Cmi7 F7 b b & B≤maj7 Ami7¯fi D7˜· Gmi7 D7˜· .. 26
CHARACTERISTIC TECHNIQUES TECHNIQUE No.1: Alternating Inversions
j œœ œ œœ 4 œ & 4 œ #œ
Ami9 Ami6 3
4
j œœ œ œœ œœ œ
œœ œœ
^` `^``` `` )` ) 1
➄
1
Ô
5 5 5 4
➂
7 5 5 5
5 5 5 4
B≤13 B≤13
œœ œ œ œœ b 3 & b 4 œ bœ 4 1 3
1 3
œœ œœ
œœ œœ
`)^``` )`&``` 2 1
1
➇
7 5 5 5
œœ œ œ
Ô
6 8 7 6
6 8 7 6
5 3 3 3
œœ œœ ..
5 3 3 3
3 3 3 2
5 3 3 3
3 3 3 2
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ ..
4 6 5 4
4 6 5 4
8 6 8 6
4 6 5 4
4 6 5 4
4 6 5 4
3 3 3 2
..
A≤13 A≤13
œœ œœ
œœ œœ
œœ œœ
œœb œ œœ œ bœ bœ
`)^``` )`&```
➅
6 10 8 8 7 10 6 8
œœ œœ
➁
.. ..
5 5 5 4
➅
10 8 10 8
œœ œœ
^` `^``` `` )` )
➃
7 5 5 5
j œœ œœ
j œœ œœ œ œœ .. .. b œœ œœ œ
Gmi9 Gmi6
6 8 7 6
6 8 7 6
6 8 7 6
➃
8 6 8 6
4 6 5 4
..
West Coast Blues (extract)
B≤7 B≤13
œœ b b 3 œœ b & 4 4 2 3 1
œœ b œœ
1 3
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ b œœœ œœ œœ œœ œ b œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
6 8 7 6
6 8 7 6
10 9 10 8
6 8 7 6
6 8 7 6
6 8 7 6
6 8 7 6
10 9 10 8
6 8 7 6
6 8 7 6
6 8 7 6
`)``` )`&```
➇
Ô
2 1
➅
10 9 10 8
6 8 7 6
27
10 9 10 8
6 8 7 6
6 8 7 6
A≤13
b œœ b & b ‰ b œœ
B≤7
œœ œœ œ J
`)&```
b œœ b œœ
œœ œœ
œœ b œœœ œœ œœ œœ œœ œ ‰ b œœ œœ œœ
`)&```
`)```
➃
Ô
B≤13
➇
4 6 5 4
4 6 5 4
4
4 6 5 4
4 6 5 4
4 6 5 4
œœ œœ œœ ‰ b œœ
œœ œœ J
➅
10 9 10 8
6 8 7 6
6 8 7 6
6 8 7 6
œœ œœ etc.
6 8 7 6
6 8 7 6
6 8 7 6
6 8 7 6
TECHNIQUE No. 2: Imi7-V7b9 Sequences Most Used mi7 and mi6 inversions
`)`&`` )``^`` )```%` )`^``` `)^``` )`^``` ```` ```` )) Mi7
Mi6
Mi7
1
Mi6
1
1
1
2
3
2
3
3
Mi7
Mi6
1
Mi7
1
1
2
3
4
Mi6
4
28
2 3
1
4
2 3
4
V7b9 and their parent V7 inversions
```` ) `)``` )```` )```` )```` `)``` )```` )```` )```` `)^``` )````
V7≤9 Master Shape: R
R
R
≤9
R
≤9
≤9
R
≤9
1
2
1
Use either of the following fingerings:
2
3
3
4
``&`` ```` `^``` ```` `^``` ```` ) )˙ )˙ )˙ )˙ )˙˙ ˙ ˙ Ami7
➄
1.
➅
4 ˙˙ &4 ˙
Ô
E7¯·
5 5 5 5
1
Ami6
➆
˙˙ #˙ 7 6 7 6
3 1 2 1
E7¯·
➈
# ˙˙ ˙
2 1 3 1
➉
n # ˙˙ ˙
8 7 9 7
10 9 10 9
29
Ami7
3 1 2 1
E7¯·
12
n˙ ˙
12 10 12 10
4 1 3
# ˙˙
1
13 12 13 12
3 1 2 1
`)``` )```` )``&`` N˙ Ami7
E7¯·
13
˙˙ ˙
&
Ô
4 1 3
17
√ # ˙˙ ˙˙
√ ww ww
16 15 16 15
17 17 17 17
3 1 2 1
1
15 13 14 14
1
``&`` ```` `^``` ```` `^``` ```` `^``` ```` ``&`` ) )œ )œ ) ))))) œ œ œ œ œ œ Ami7 E7¯· Ami6
2.
Ami7
15
➄
➅
➆
E7¯· Ami7
➈
➉
➈
œ œ 4 œœ œœ # œœœ n # œœœ n œœ & 4 œ #œ J J
Ô
5 5 5 5
7 6 7 6
8 7 9 7
E7¯· Ami6 E7¯· Ami7
10 9 10 9
➆
➅
➄
œœ # œœ # œœ n œœ œ œ œ #œ
12 10 12 10
10 9 10 9
8 7 9 7
œœ n œœ
7 6 7 6
5 5 5 5
TECHNIQUE No. 3: Interchangeable Key Centers
`` ``` ``` ` )` )` )` B≤maj7
➄
1
2
Gmi9
➄
1
2
3
4
➄
1
2
3
4
R, 3, 5, 7
C7sus
3
4
≤3, 5, ≤7, 9
30
7, 9, 4, 13 (11)
Bbmaj7 Scale and Arpeggio (use for B≤maj7, Gmi7 and C7)
&
bb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V
2
2
1
4
Ô 6
&
bb
5
8
6
3
1
4
5
8
7
V
1
œ
2
œ
1
œ
4
œ
3
Ô 5
5
6
1
4
œ
4
7
8
5
8
œ
3
7
8
œ
2
œ
5
8
1
œ
2
5
6
7
8
6
2
1
4
2
4
3
6
œ
6
Example played over Gmi7, B≤maj7 and C7 on video:
œ œ œ œ œ. œ œ œ. œ œ œ œ & 44 ‰ j œ œ œ œ œ b œ œ œ bœ V
2
1
1
4
5
3
œ.
6
7
7
7
8
3
1
2
6
5 7
4
1
4
5 8 5 8
œ œ # œj œ . œ n œ œ b œ œ. 3
Ô
5 8
5
1
4
3
1
Ô &
3
7
1
5
2
3
6 7
4
8
1
5
31
4
8
2
6
1
5
1
2
1
5
2
2
3
5
6
6
œ bœ ˙
4
2
8
6
1
5
7
6
TECHNIQUE No. 4: Characteristic Sounds for Soloing Sound No.1
Use the major scale and major7th arpeggio a tone below the Dom7 and mi7th chords, e.g: G major scale and Gmajor7th arpeggio, over A7 or Ami7 A≤ major scale and A≤maj7 arpeggio over B≤7 or B≤mi7 E≤ major scale and E≤maj7 arpeggio over F7 or Fmi7, etc.
Sound No.2
Change all IIs to Vs and vice versa, e.g: Dmi7 = G7 or Ami7 = D7 or Emi7 = A7 or
G7 D7 A7
= = =
Dmi7 Ami7 Emi7 etc.
Sound No.3
Play over the ≤5 substitute of.dominant chords, e.g: D7 = A≤7 F7 = B7 Play over the II of the ≤5 substitute ,e.g. D7 = A≤7(≤5 sub) = E≤mi7(≤5-II) F7 = B7(≤5 sub) = F mi7 (≤5-II)
etc.
Sound No.4
Emphasize the 9th (or 2nd) and 4th (or 11th) when soloing over Dom7 and Mi7th chords.
32
