The Keyboard Grimoire: A Complete Guide for the Guitarist and Keyboardist 9780825826795, 0825826799

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A Complete Guide for the Guitarist and Keyboardist

i

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65 Bleecker Street. New York, NY 10012

Copyright @ 1996 by Carl Fischer, Inc. All Rights Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved including performing rights. WARNING! This publication is protected by Copyright law To photocopy or reproduce by any method 1s an infringement of the Copyright law Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments lor each infringement. Printed in the U S A

ISBN 0-8258-2679-9

CONTENTS HOW TO USE THE SCALE SECTION .................................................................. 1 THE BUILDING BLOCKS OF MUSIC ..................................................................... 2 SCALES AND MODES ........................................................................................... 5 MODES AND RELATIVE SCALES ...................................... .....:.............................. 8 PATTERNS AND FINGERINGS .............................................................................. 9 INTERVALSAND INSTRUMENT ............................................................................12 7. 5. 6. & 8 T O N E SCALES ..................................................................................... 13 7 TONE SCALES MAJOR ..................................................................................................................... 24 MELODIC MINOR .................................................................................................... 32 HARMONIC MINOR ................................................................................................34 HARMONIC MAJOR ................................................................................................36 HUNGARIAN MINOR .............................................................................................. 38 HUNGARIAN MAJOR ...... .......................................................... 40 NEAPOLITAN MINOR ............................................................................................42 NEAPOLITAN MAJOR .......................................................................................... 44 ENIGMATIC MINOR ................................................................................................ 46 ............................................................................. 48 ENIGMATIC ........................ ....................................................................... 50 COMPOSITE 11 ................... IONIAN b5 ................................................................................................................52 LOCRIANb7 ............................................................................................................. 54 PERSIAN ................................................................................................................ 56

5 TONE SCALES MINOR PENTATONIC (BLUES SCALE) .............................................................. 58 KUMOI .................................................................................................................... 60 HIROJOSHI .............................................................................................................62 6 TONE SCALES WHOLE TONE .........................................................................................................64 AUGMENTED .......................................................................................................... 66 68 PELOG ..................................................................................................................... DOMINANT SUS .....................................................................................................70 8 TONE SCALES DIMINISHED ...........................................................................................................72 8TONE SPANISH ................................................................................................... 74 BEBOP LOCRIAN b2 .............................................................................................. 76 BEBOP DOMINANT ................................................................................................ 78 BEBOP DORIAN ..................................................................................................... 80 BEBOP MAJOR ...................................................................................................... 82

CONTENTS continued HOW TO USE THE CHORD SECTION ................... CHORDS & NAMING ................ POLYCHORDS .......................... SLASHCHORDS ......................... SUBSTITUTIONS........................ COMPATIBILITY ........................ INVERSIONS ............................. ARPEGGIOS .............................. 3 & 4 NOTE CHORDS:

sus

5 NOTE CHORDS: 9 .................................................... 140 -9 .................................................... 142 b9 ....................................................144 Ç .................................................... 146 A9 .................................................. 148 -A9 ................................................. 150 A b 9 ................................................ 152 -Ab9 ................................................ 154 AÈ ................................................. 156 ALT (b5 $9) .................................... 158 ALT (b5 b9) .................................... 160 ALT ($5 b9) .................................... 162 ALT ($5È9 .................................... 164

.............................................. 6 NOTE CHORDS: 11 .................................................... -1 1 .................................................. $11 ..................................................

7 NOTE CHORDS: 13 .................................................... 182 -13 .................................................. 184 13#11 .............................................. 186 -13#11 ............................................. 188 A13 ................................................. 190 -A13 ................................................ 192 ~ 1 3 ~ 1............................................ 1 194 -A13^11 ........................................... 196

NUMERIC ANALYSIS SCALES .......... 198 NUMERIC ANALYSIS CHORDS ........ 200 POLYCHORD FORMULAS ................ 202

HOW TO USE THE SCALE SECTION The first section of this book deals with scales. The scales are divided into 7 tone, 5 tone, 6 tone, and 8 tone groups. Each scale consists of a title page and an interval map page depicting that particular scale's usage in all 12 keys. Diagrams are used for visualization instead of notation. Each title page contains various charts. The charts are your tools in analyzing modes, compatible chords, keyboard fingerings, and modal generation charts. Guitar and bass fingering patterns are also included.

TITLE PAGE -"c.."-..,-*m.

-..-..-"".

I

11 El I V

v

VI VII

SCALEIMODE- CHORDCHART

V

MIXOLYDIAN

7 9 11 13

VI

AEOUAN

7 -0 11

VII

LOCRUN

9

VII

NUMERIC SCALEIMODE CHART

NUMERIC SCALE / MODE CHART Before we start with the scales, we will show you how each section of the title page works. The first section we will explain is the Numeric Scale /Mode chart at the bottom of the page (fig. 1). The Scalernode - Chord Chart will be discussed in the Chord Section.

THE BUILDING BLOCKS OF MUSIC Music is sound. But for now imagine that it is a set of 12 equal blocks (fig. 2). The distance from one block to the next block is a half-step. From block 1 to block 2 is a half-step, from 8 to block 9 is a half-step, etc..

fig.3

fig.2

7 of these 12 tones or blocks have been given positions of "major" importance (fig. 3). Looking at the diagram we only see 7 numbers, but there are still 12 tones or blocks. The empty blocks are reserved for flats b and sharps # . The distance from block 1 to the lstempty block is still a half-step. The blocks that are numbered are the tones that make up the Major scale. The various combinations of half-steps are called intervals. Basically, an interval is the distance between 2 tones. The names of the intervals are then divided into 2 sets: the majors and the perfects. The majors are 2,3,6, and 7 ;the perfects are 1,4,5, and 8. 1 would be a unison, such as 2 instruments playing the same note. An 8 would be the octave. Altering the intervals with flats or sharps changes them from major and perfect into minor, diminished, and augmented (fig. 4).

fig.4

In essence:

Flat a major - get a minor Flat a minor - get a diminished * Flat a perfect - get a diminished

Sharp a major - get an augmented Sharp a perfect - get an augmented

The entire set of major and perfect intervals are called diatonic intervals. Let's look at an easy way for memorizing interval distances by counting the amount of blocks. There are 12 building blocks within the major scale. Therefore, an interval has to consist of so many building blocks. We'll demonstrate first with a major 2nd.There are 3 blocks in a major 2nd (fig. 5), but the distance from the 2 to the 3 is also a major Pd(fig. 6).

6g.5

fig.6

Fig. 7 is a complete chart of intervals showing you a breakdown in building block format. Also observe, the chart tells you how many half- and whole steps make up each interval.

1 BLOCK = UNISON .............................................................................. (0 STEPS)

[TI

I 1 1

1

...................................................................(+STEP) BLOCKS = MAJOR 2" .................................................. (1 WHOLE STEP) 4 BLOCKS = MINOR 3" ....................................................... (14 STEPS) 5 BLOCKS = MAJOR 3" ......................................(2 WHOLE STEPS) 4 6 BLOCKS = PERFECT 4TH ..........................................(24 STEPS) b5 7 BLOCKS = DIMINISHED 5TH ....................(3 WHOLE STEPS) 5 8 BLOCKS = PERFECT STH ................................(3k STEPS)

2 BLOCKS3

1

1 1

MINOR2ND

b6

1

9 BLOCKS = MINOR 6TH

1

.........................(44 STEPS) MINOR 7TH..........(5 WHOLE STEPS)

10 BLOCKS = MAJOR 6TH

6

1

....................( 4 WHOLE STEPS)

11 BLOCKS =

b7

7

1

I

12 BLOCKS = MAJOR 7TH .................(5t STEPS)

Now let's look at all the individual components of the major scale in building block breakdown (fig. 8).

MAJOR 2ND...... MAJOR 3RD

....(2 WHOLE STEPS)

PERFECT 4TH ............. 5

PERFECT STH ............(34 STEPS)

1

MAJOR STH................(4k STEPS)

1

...... MAJOR 7TH ................. (54 STEPS)

We can clearly see here the individual intervals. We have a 2nd,3rd,4th,Sh, 6th,and 7th.With the block diagram we can also see exactly how many steps make up each interval. Using the same building block breakdown method, we can also analyze the intervallic relationship between the intervals themselves.

Fig. 9 clearly shows us the distance of the intervals from the intervals. For instance, from the major 2ndto the major 3rdis a major 2ndor a whole step. From the 3rdto the 4this a minor 2ndor a half-step, etc.

1 1

121

13141

151

161

171 .

...... .

.

MAJOR 2'4' .,..............(1 WHOLE STEP) MINOR 2NQ ...............................

.

................( 1 WHOLE STEP) .............. ....... MAJOR 2NQ ............... 'MAJOR 2ND MAJOR 2NQ

fig.9

In studying the altered intervals, many of them wi sonically, they are the s g. 10).

per and in theory, but

fig. 10 Notice the numbers to the right of each set above are different between the upper and the lower, yet each has the same number of blocks. The minor 3rdis the same as the augmented 2nd,the diminished 5this the same as the augmented 4th,the minor 6this the same as the augmented Sh, and the minor 7this the same as the augmeted 6th.

In the next example, the diminished 7th(a double-flat 7&)is the same as the major 6thin sound; although in theory, they also are two very different intervals (fig. 11).

fig. 11 The complete group of intervals which make up the scale, in this case the Major scale, can be theoretically repeated infinitely in both directions; although, in practice there are only so many octaves the human ear can hear (fig. 12).

This is the mathematics of music theory. It is important that you memorize the numerics behind the building blocks, in order to form a solid foundation for your musical creations.

SCALES AND MODES A scale is a sequence of tones comprised of varying intervals. Modes can be described as scales based upon the tones of the main scale. The Major scale has 7 modes, because it has 7 tones. The lst mode of any modal system is the scale itself. For many scales, the individual modes have been given names because they are used as scales themselves. The modes of the Major scale are the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The Major scale is the Ionian mode (Major scale = Ionian) . Of all the scales, the Major is the only one that has a different name for the lst mode. The I1 mode of any scale is based upon the 2ndtone of the main scale, in this case the Major scale. A mode uses the exact tones of the main scale; however, what was a 2 becomes a 1, what was a 3 becomes a 2, etc. (fig. 13). 1

2

3

4

5

6

7

1

1

2

b3

4

5

6

b7

2

3

4

5

6

7

fig. 13

The process then continues for the other modes. For the 111 mode, the 3 becomes the 1, the 4 becomes the 2, etc. (fig. 14). 1

2

3

4

5

6

7

1

2

1

b2

b3

4

5

b6

b7

3

4

5

6

7

fig. 14

For the IV mode, the 4 becomes the 1, the 5 becomes the 2, etc. (fig. 15). 1

2

3

4

5

6

7

1

2

3

1

2

3

$4 5

6

7

4

5

6

7

fig. 15

For the V mode, the 5 becomes the 1, the 6 becomes the 2, etc. (fig. 16) 1

2

3

4

5

6

7

1

2

3

4

1

2

3

4

5

6

b7

5

6

7

fig. 16

For the VI mode the 6 becomes the 1, the 7 becomes the 2, etc. (fig. 17).

1

2

b3

4

5

b6

b7

fig. 17

For the VII, mode, the 7 becomes the 1, the 1 becomes the 2, the 2 becomes the 3, etc. (fig. 18). 1

fig. 18

2

3

4

5

6

7

1

2

3

4

5

6

1

b2

b3

4

b5

b6

b7

7

As you can see in all of the examples above, every mode has 7 tones; however, it has some kind of a 2, some kind of a 3, some kind of a 4, etc.. In other words, though you are using the same tones, the numeric value changes when you shift the tone center - that is the tone which you now designate as 1.

At the bottom of the title page of each scale, the relative relationship of each mode to the main scale is graphed out for you along with the numeric formula for each mode (fig. 19).

NUMERIC SCALE / MODE CHART

I I1 Ill

IV

v

MIXOLYD.

VI

AEOLIAN

VII

LOCRIAN

4

1

2

3

4

5

6

b7

4

1

2

b3

4

5

b6

b7

f

1 b2

b3

4

b5

b6

b7

fig. 19

In the case of some of the exotic scales in this book, you weird combinations Also note some for the numeric anaysis of the modes such as double flats and do of the modes don't have names, they are merely called mode 11, mode 111, etc. (fig. 20).

.

NUMERIC SCALE / MODE CHART

I

ENIGMATIC

11

MODE2

Ill

1 1

b2

3 3

A

1

A

MODE 3

--

IV

MODE4

V VI

MODE5 MODE6

VII

MODE 7

2

--

5

4

6

7

95

96

92

93

#4

~5 96

1

2

3

--

-.

A b2

1 1

84

A

1

7 7

3

84

95

2 b2

-------

3 3

4

5 94

95

94

5

b6 ?7

3

4

b5 B6

7

2

b3 b4 lk5

b6

b7

1

b2 lk3 b4

b5

b6

b7

1 b2 h3

4

5

6

t 86

7 7

6 86

7

1

7

fig.20 The numbers above the graph will always be the Major scale numbers, so you can see how the new scale and its modes relate to the Major scale. There is actually only 1 scale, the Major scale and its modes. All other scales can be thought of as derived modes which also have modes. This may be a bit confusing at first, but an interesting thought to ponder. For the sake of simplicity, they will be called "scales" in this text.

As you study the numeric formulas for each scale or mode, there is a simple 4-Step system which will help you in understanding how the tones become flats or sharps. The three examples in fig. 19 demonstrate the application of this 4-Step rule. When you compare your tones to the Major, the number of boxes to the left or right of the original tone decides whether standard flats and sharps or double flats and sharps - are used. 1box over is a standard, 2 boxes is a double (fig. 21).

THE 4-STEPS: MARK where the tone falls NUMER tone positions: 1-7 COMPARE to major scale pattern ADD b / 9 symbols when needed

PHRYGIAN X

X

X

X

1 ?2

?3

?4

?5 ?6

1

ç--

4

5

X

4-2

1 1 1 b2 I

1 b3 1

1 4 1

X

+=

6

1 5 1 b6 1

X

1) MARK where the tone falls

?7

2) NUMBER tone positions: 1-7

3) COMPARE to major scale pattern

+-7

1 b7 1

1 4) ADD !J / 8 symbols when needed

ENIGMATIC MODE I11 X

X

X

X

?2

?3

?4 ?5 ?6 ?7

2

3

2

3

4 -+ 5

X

X

1) MARK where the tone falls

6--

ç-

2) NUMBER tone positions: 1-7 7

3) COMPARE to major scale pattern 4) ADD b / 9 symbols when needed

94 5 b6 *7

fig.21

1

MODES AND RELATIVE SCALES MODE GENERATOR CHART

Scales and modes are the foundation of your composition and improvisation. Modes are treated as scales. Just as we can change the pitch of the main scale, in order to play in one of the 12 keys, the same concept or principle can be used when using a mode. The mode generator chart of each title page will show you the main scale equivalent for each mode (fig. 22).

c

The concept and principles behind The Quick Mode Generator Chart are the same regardless of what instrument you play. The letters in column I indicate the pitch of the starting point. In other words it tells you what key you are in. The other columns tell you what key the relative scale is in. Column I also denotes the key for the keyboard patterns to the left.

0

1

DORIAN

1

-7 -9

m

PHRYGIAN

7

IV

LYDIAN

A 111

V

7 9 11 13

MIXOLYDUN

VII

Let's demonstrate this below with a G Mixolydian (fig. 23). The Mixolydian is the V mode of the Major scale. Beneath column I we go down to the G, because that will be our starting pitch or key. Over to where it meets column V we come to a C, therefore, if we are playing a G Mixolydian we are actually playing a C Major with the root note shifted to the G .

fig.22 QUICK MODE GENERATOR CHART KEY

I

The modes of the Major scale are mapped out for your convenience.

f

Step 1 Place left finger on desired key in column I. Step 2 Place right finger on column of desired mode (in roman numerals at the top).

Step 3 Run fingers across and down until they meet. The point where they meet is the relative scale.

It's as simple as 1 - 2 - 3 ! fig.23

MODE

I1

I11 I V (^ V I VII

PATTERNS AND FINGERING On every title page, you will find a set of right handed keyboard patterns. The key follows, designated by column I of the Quick Mode Generator Chart (fig. 24). The patterns do not always start on the root note, because of the keyboard's design. On the interval maps white circles represent the notes in the scale. Numbers inside the circles are the intervals. Scales are fingered by breaking them up into 2 , 3 , and 4 note groups. How we devide up the groups is based on a system we will call the "Rule Of Thumb" method.

PATTERN

KEY MODE OEHEMTon CH*HT

............................................... .. .. .. .. ..

..

..

.. .. .. .. ..

;.............. ..!..:..:::..:..:.:::.;-. ..:..;,....!,-....,...-........................................... i..: ....:........ : ; 5i-i ; : ' : :.....:.;.,.. . . . . . F 1 ~b ~ c à ‡ / DC~ 1 Bb 1 Ab [FI/Q< .................................. ................................ J.......J .......J........ .a

fig.24

The "Rule Of Thumb": thumb always plays a white key. Visually inspect the interval map and see where groups are naturally formed. Right and left hand thumb-patterns work in opposite directions, due to the position of the thumbs. The thumb plays the first tone and the remaining fingers fall automatically into place (fig. 25).

LEFT HAND

THUMB-PATTERNS

RIGHT HAND +

I = Index finger M = middle finger R = ring finger, either hand

THUMB-PATTERNS

...........................................................................................................................................................................................................................

HOW TO CONNECT THUMB-PATTERNS

fig.25

Learn each hand separately before putting them together. Remember fingerings don't always start on the root note. To play more than an octave repeat the process. To complete an octave for the right hand use the consecutive finger; for the left hand start with the prior finger. The following pages show the remaining keys of the Major scale fingered with the "Rule of Thumb". By studying these pages you will be able to apply this method to finger any scale.

T =THUMB

I = index finger

M = middle finger

R = ring finger, either hand

C# /Db MAJOR

D MAJOR

*

D MAJOR

Eb MAJOR

E MAJOR

F MAJOR

*

F MAJOR

F#1 G MAJOR

I

I

I

I

I

I

F $ /G MAJOR

*

The Left Hand Fingerings vary slightly from accepted traditional fingerings. The L.H. Rule Of Thumb method is designed to give the guitarist instant access for sequencing.

T

MAJOR

*

=THUMB

I = index finger

M = middle finger

R = ring finger, either hand

1

A MAJOR

Bb MAJOR

B I Cb MAJOR

G

MAJOR

Exception to the Rule: Enigmatic Key of D

fig.26

*

The Left Hand Fingerings vary slightly from accepted traditional fingerings. The L.H. Rule Of Thumb method is designed to give the guitarist instant access for sequencing.

INTERVALS AND INSTRUMENT Now that we've learned about intervals, the building blocks of music, let's see how they tie into our instrument. We are going to take two octaves of the intervals which make up the Major scale and see how they match up to the keyboard in the key of C. The blocks which form the Major scale align with the "white" keys (fig. 27).

To change keys shift the pitch of the starting note, in other words shift the mathematical formula to the appropriate pitch or key. In this case the formula is the Major scale. On the Interval Map pages the numbers in the white circle show you the numerics (1,2,3,4,5,6,7) for all 12 keys. The key is stated next to each keyboard digaram. It will benefit you greatly to memorize the numerics of all 12 keys. Until then we have laid each key out for use as a reference tool. Pitches never change, as can be seen in the Pitch Indicator Chart below (fig. 28). I

PITCH INDICATOR CHART

sharp t

flat b

fig.28

12

-

7 , 5 , 6 ,& 8 TONE SCALES 7 tone scales are the basis for all scales.

PENTATONIC SCALE FORMULA CHART The tones or numbers left are "generic" meanin the could be either b h. Ex. b2 È $2 "2 2 The X indicates delated scale tones. All combinations with alterations would make 96 such charts.

A 5 tone scale, otherwise known as a pentatonic scale, is a 7 tone scale with 2 tones omitted. By a process of elimination, 15 pentatonics can be derived from any 7 tone scale. Fig. 29 turns any 7 tone scale into a pentatonic. Whereas 7 tone scales are fingered in 3 & 4 note groups, pentatonics are fingered with 2 & 3 note groups.

?

Step 1

Step 2

6 tone scales are 7 tone scales with 1 tone omitted. Their fingering is 3 & 3 or 2 & 4 note groups.

t

Pick any 7 tone scale or mode. Delete any 2 tones.

x x x

x x x

AUGMENTED SCALE FORMULAS

fig. 29

The most popular 6 tone scales would be the Whole- Tone and the Augmented Scale. Fig. 30 presents a method for creating augmented scale formulas based upon the Augmented Chord: 1 - b3 - 85. 3 tones are added to the chord, making 6 tone scales. Add 1 tone to a 7 tone scale to make an 8 tone scale. Use 4 & 4 note groups or 2,3, &3 note groups. During the bebop era popular 8 tone scales were named bebop scales.

DIMINISHED

-

SCALE FORMULAS

The X along with the numbers indicates tones to be PlayedThe Augmented scale: * Is the most common of ail scales listed.

fig. 30

Similar to fig. 30, fig. 31 creates diminished scales from the diminished chord: 1 - b3 - b5 - b7. 4 other tones are then added to the original 4, making 8 tone scales.

.

The X along with the numbers indicates tones to be played. e scales Half-Whole Diminished: H I W & Whole-Half Diminished:W I H are the most common diminished.

fig. 31

HOW TO USE THE CHORD SECTION The chord section is divided into chord groups. The groups are 3 tone, 4 tone, and polychords (5, 6, and 7 tone chords). Each 3 and 4 tone chord consists of a chord derivative page and an interval map page (fig. 32). The interval maps are set up the same as in the scale section.

INTERVAL MAP

CHORD DERIVATIVE CHART

. M (MAJOR)

c dim

-

HINDU V MELODIC QIANt3 V HARMONIC MINOR AN I 2 - V I HARMONIC MINOR HARMONIC MAJOR . .- - .... . ........... DOMINANT t2 - V HARMONGUANH

-

-

DOUBLEDIARMONIC V HUNGARIAN MINOR

-

4' I 6 I 2 VI HUNGARIAN MINOR 15*7

-

VIIHUNQARIAN MINOR

HUNGARIAN MAJOR . 8

-

.-

IIN W O L K A N MINOR

Z VI NEAPOLKAN MINOR OR

-

N NEAPOLITAN MAJOR

UATIC MINOR MODE Ill qIQMATIC MODE Ill 'IIQMATIC MODE N COMPOS~EI1 MPOSIE I1MODE 111

-

N IONIAN È

.YDIAN 12

ONIAN 16 IILOCRWH7 MINAKT 12 VI LOCRIANU7 PERSIAN MODE I1

-

PENTATONIC I1MINOR PENTATONIC AUGMENTED PELOQMODE VI DOMINANT BUS MODE Ill

Every chord in the polychord section has a page which translates polychord formulas into slashchords readily usable for all 12 keys plus the usual interval map page. The charts are your tools. in analyzing how chord voicings are derived and how they work.

A basic understanding of chord mathematics is necessary to derive the utmost benefit of this book.

CHORDS We have already studied intervals. An interval is the distance between 2 tones. Therefore, let's define a chord. A chord is 2 or more intervals played simultaneously.

A basic chord "formula" for building chords is to use every other tone of the scale you are in. For example, a Major chord would consist of 1 - 3 - 5. A Major 7thchord would be 1 - 3 - 5 - 7. Using the building blocks format compare the Major scale, the Major chord, and the Major 7th chord (fig. 33). Major Scale Major Chord Major 7th

2

, ,

3

4

5

3

5

3

5

6

7

I 7

fig.33

CHORD NAMING SYSTEM In order to fully understand the numeric formulas, you first have to understand the chord naming system in this text. Certain rules or guidelines help the musician when communicating with other musicians. Once you fully understand music theory, you'll understand all naming systems. We feel that the system in this book is the most effecient ifusedp~apes'7y-

In the chart (fig. 34) there are 7 symbols. The 7 symbols are used to denote the status of specific tones within the chord. The flat and sharp symbols are used when altering any other tones. Some systems will use - and + as flats and sharps. Although this is not incorrect, we have found it more systematic to use them as represented in the chart below. Memorize these symbols and the tones they represent, as they will be your best friends when dealing with chords. RESULT

DENOTES STATUS OF

same b b

extra b

NAME

MINOR AUGMENTED DIMINISHED DELTA DOMINANT HALF-DIMINISHED DIMINISHED 7TH

EXAMPLE AND FORMULA

As you study the Numeric Analyis Chord Charts at the back of this book, notice some of the lar er chords have 6 or 7 tones. Using two octaves of the Major scale, we can see that a 9th,an 11Si,and 13thare actually a 2nd,4th,and 6threspectively using the every other note process (fig. 35).

fig.35 Before we continue let's analyze the naming of the larger chords. What we have in fig. 36 is some kind of 13thchord. The letter tells us what pitch the " 1" (root note) of our formula is on. The A (delta) tells us that it's a Major 7thchord. The + tells us to raise the Stha half-step, as in 1 sharp: and the 1 3 is~flat. ~ The chord is an E flat delta augmented, flat 13. Study the names of the chords in relationship to the formulas in the numeric chord charts,

NUMERIC FORMULA

............................... .....-........--......

fig.36 Comparing the diagrams of the C Major scale and the CAI3 in fig. 37 we can see that the 9th, 1lth,and 13thare actually a 2nd,4th,and 6thas both diagrams are identical. So, the CAI 3 chord of the second octave gives is in reality the same as the C Major scale. Using the 2nd,4th,and the chord a different texture - and a new realm of exploration.

fig.37

POLYCHORDS Playing the larger chords can be cumbersome sometimes. The way to simulate large chords is with polychords. In other words, use several smaller chords to make one big chord. The word bbpolychord"simply defined is more than one chord combined to make one complex chord. Let's look at a 1 3" chord with building blocks (fig. 38).

fig. 38 Now let's look at 1 possible polychord formula (there could be several) and analyze the equation. To the left of the equal sign is the chord name. On the right side of the equal sign it tells us to play a delta augmented over the root at the flated 7th (fig. 39).

1

A+ fig. 39

Let's see what this chord represents (fig. 40): 13"'

1 11

5

3

t ROOT

fig. 40

A+

b7

9

$11

13

I

I

I

I

1

3

)t 5

7

Placing the 1 of our A+(delta augmented) at the dominant 7thfrom the root, we see that the tones are the tones of our desired chord. 1381 1 -fig.41 Therefore we have simulated our 13"'. Now let's look at the same 9 chord except with a different polychord formula. The capital M is a Major triad over the root at the 9&.It looks like this: fig. 41 and fig. 42. You could also place the Major triad on the 2nd,since the 2ndis also a 9th(fig. 43 and fig. 44). The result would also be the sape.

-

t ROOT

1

ROOT I 13'''

1

fig. 42 #4=#11

2=9

M

b7

I

I

I

1

3

5

The bass player will usually play the root note, while the keyboard or guitar will play the 3 or 4 tone chord at the appropriate interval. The formula for polychords is depicted in the chart, fig. 45.

I

I

1

3

5

9

$11

13

6=13

5

3

11

M

I

1 3 Ã ˆ l =-

fig. 43

POLYCHORD FORMULA

M

fig. 44

0

^on7\,, TONE

fig. 45

ThePolychord Formulas chart at the back of this book does not contain every possible combination of polychords, but there is more than sufficient data to get you started.

SLASHCHORDS Another way of looking at the larger chords is by a method known as slashchords. A slashchord receives its name from the slash symbol used between the root and the chord. An example is By applying the Polychord Formula (fig. 45) we will demonstrate the mathematical synthesis of the A9 and A1 1. The A9 can be broken down into two different polychord formulas as shown in fig. 46. Let's see what this translates i n t o when using pitch.

Gg. 46

If C is the tone we place the root of our formula on, in this case the A9 , then the tone of the synthesis formula immediately below would start on an E and on a G. Therefore the slashchords for the formulas in fig. 47 would be:

CA9 = E-7 1 C CAg=G/C

fig.47 This means that you play an â ‚ chord over a C tone or a G major chord over the C. Both of these are equivalent to the A9. Fig. 48 is another slashchord example using the A1 1.

C

D

1

-b9 All = -

E

G

F

B

A

C

D

E

F

3

5

7

9

11

I

I

1

I

I

b3

5

b7

b9

I

I

I

I

1

3

5

b7

I

I

I

b3

b5

3

7 All = 5

A11 =

0

-

fig.48

18

= E-b9 /

C

=Q7/C

=BO/C

Let's take a A13 and find a polychord formula (fig. 49) then convert it to a slashchord formula. C

E

G

B

D

F

A

1

3

5

7

9

11

13

0

CAI3 = Ba / C SLASHCHORD

A13 = -

7

I

I

b3

1

t

b5

I

b7

POLYCHORD

fig.49 The slashchord formula for the polychord above is BO1 C . Start by playing a B0 which would be a 1- b3 - b5 - b7 . Without moving the BO play it over a C note. Let's analyze what the BOfingering becomes on a CAI3 interval map. What was a 1 on the BOinterval map is now the 7 on the C A I 3 interval map. What was b5 now becomes the 11 and what was the b7on the B0 is now the 13th,what was the b3 is now the 9th (fig. 50).

IÑb3-b5-b

starting on B...

played over a Cbecomes a 7-

9-1 1-13

which is a CA13.

Compare this to the CAI3 interval map.

fig. 50 For your convenience we have taken every complex chord, translated them into polychord formulas and slashchords in all 12 keys. Any combination of notes from the interval maps will give you the desired chord. Just remember, if you want to play a 13thand you don't have a 13thinyour voicing, you do not have a 13th.

SUBSTITUTIONS

fig. 51 The chart above (fig. 5 1) is a graphic building block representation of how substitutions are derived. By now you should be quite familiar with how to figure out the polychord formulas for the chart above. What the chart above is telling you in slashchord form is that in place of a ~ l 3 ^ 1you could play: C3

7

7

ENIGMATIC MINOR

TIT

TIT

ENIGMATIC KEYBOARD PATTERNS

QUICKMODE GENERATOR CHART

I

I1

I11

IV

V

VII

VI

GUITAR PATTERNS

BASS PATTERNS

I

I1 F

E C#/Db B/Cb

A

G

F#/Gb

D

Bb

Ab

G

A

Ab

F#/GbF

G

C

F#/Gb Eb C#/DbB/Cb

A b G

E

D

C

B

b

I11

A

IV

SCALE / MODE - CHORD CHART

v VI

VII NUMERIC SCALE / MODE CHART

ENIGMATIC

TIT

TIT

TIT TIT

COMPOSITE 11

QUICK MODE GENERATOR CHART

VI

KEYBOARD PATTERNS I

I

I

I

,

,

I

I

, I

, I

I

I

i

l

l

1

GUITAR

VII

BASS PATTERNS

PATTERNS

I

I

II

I11

IV

v

SCALE / MODE - CHORD CHART

MODE 2

VI

Iv I

MODE 5

VI

MODE 6

A+, -A+

MODE 7

S U S ~S , US~

VII

VII

NUMERIC SCALE I MODE CHART

I

COMPOSII

1 2 1 b2

11

MODE2

1

111

MODE 3

-

IV

MODE^

V

MODE^

VI

MODE6

VII

MODE^

4

5

6

7

3

3

$4 5

b6

7

1 2 1 b2

92

$3 $4 5

96

7

2 b3 b4 5 b6 *7 -------1 b2 b3 4 b5 H6 1

b2 1

3 3

4

5 $4 5

6 b6

b7

4

b5

6

92 3

4

#5

7 $6 7

1 b2 Ã ˆ

4

5 b6 b7

3

7 7

COMPOSITE I1

IONIAN b5

LOCRIAN U'

QUICK MODE GENERATOR CHART GUITAR PATTERNS

VII

BASS PATTERNS

I

I1

I11

IV

v

SCALE / MODE - CHORD CHART

I 11

LOCRIAN ll7

A O , -A+

IONIAN 96

A, 7, A s U s 2 , 7^s2, 9, 1 1

111

DORIAN AUG

1 IV I

VI

SUS~+

PHYRGIAN $4

1

ALTALT

1

0

1

, -7

VII

6 NUMERIC SCALE / MODE CHART

1

1 I

IONIAN 86

111

DORIAN AUG

[V

PHRYGIAN

V VI

VII

$4

LYDIAN $3

DOMINANT $2

ALTALT

3

1

b3

4 b5

b6

2

3 4

5

$6 7

-

1 L

5

1 2 3 1 b2 b3

7 7

2

4

6

4 4 b5

5

6 b6

4 (85 6 b7 ------

b 3 1 b2

-

1

b3

84

2

83 $4 5

---

5 1-6 6

7----

1

1 b2 ?3

7

7 --

-

5

6

b4

b5 ?6

b7

tt 7

LOCRIAN h7

TIT

Ill TIT

PERSIAN

QUICK MODE GENERATOR CHART

KEYBOARD PATTERNS

I

I1

I11

IV

v

A

Ab

F

E

Eb C#/Db Bb

Bb

A

F#/Gb

F

E

D

BICb

B/Cb

Bb

G

F#/G~ F

Eb

C

VI

GUITAR PATTERNS

VII

v

SCALE / MODE - CHORD CHART

1 1I

PERSIAN

1

b5, Ab5

1

MODE 2

1

A,7, -7, $9,11

11

1

BASS PATTERNS

1

~

VI v

MODE 5

VI

MODE 6

1 V1l 1

S U S ~ SUS, ,

Asus2, Asus

+ ,7+

1

MODE 7

VII

I

sus2, sus NUMERIC SCALE / MODE CHART

I

PERSIAN

1 2 1 I,?

11

MODE2

1

111

MODE 3

IV

MODE^

V

MODE5

VI

MODE6

3

4

3

4

b5

$2 3

4

1

7

1

b6

7

1 b2

5

$6 7

b2 H3

b4

5

b2

b3

$4 5

b6

7

1

2

$3 È

5

$6 7

1

#2 3

4

$5 6

1

5

6

2

3

3

4 4

5 b5

b6 *7

b7

6 b6

7 7

PERSIAN

BIB

GUITAR PATTERNS

BASS PATTERNS

KEYBOARD PATTERNS

SCALE / MODE - CHORD CHART

I

MINOR PENTATONIC

11

MAJOR PENTATONIC

111

MODE 3

S U S ~ SUS ,

Iv

MODE 4

Q3

MODE 5

sus2, sus

-7

S U S ~ M, ,

6

The Minor Pentatonic i s the most common pentatonic scale. The Minor Pentatonic can be interspersed with the Dorian, Phyrgian, and Aeolian (of the Major scale), because the tones of the Minor Pentatonic are contained in all 3 modes, as well as other scales.

NUMERIC SCALE 1 MODE CHART

MINOR PENTATONIC

TIT

TIT

TIT

KUMOI

QUICK MODE GENERATOR CHART

I

KEYBOARD PATTERNS

I1

IV

Ill

v

GUITAR PATTERNS

BASS PATTERNS

SCALE / MODE - CHORD CHART

1

1

1

I

I1

The Kumoi can be used in place of the Melodic. IV mode of the Harmonic Maior. as wellas any scale that contains the same notes as the Kumoi.

- , -6, sus2

KUMOI I

sus, 7sUs

MODE 2

1 1~~1

MODE 3

sus2, sus

MODE 4 MODE 5

NUMERIC SCALE 1 MODE CHART 1

I I1 I11 IV V

MODES

1

2

3

4

5

6

7

1

2

3

4

5

6

7

KUMOI

TIT

urn TIT

HIROJOSHI

QUICK MODE GENERATOR CHART

I

KEYBOARD PATTERNS

I1

I11

IV

v

GUITAR PATTERNS

BASS PATTERNS

SCALE / MODE - CHORD CHART HIROJOSHI

, 36

1

MODE 2

Q3

I IV I

MODE4

I 11

v

I

The Hirojoshi can be used in place of the Harmonic Minor and the Hungarian Minor, as well as any scale that contains those tones.

I

SUS

A,Ab5

MODE 5

NUMERIC SCALE / MODE CHART

1

HIROJOSHI

11

MODE^

Ill

MODE 3

IV

MODE^

V

MODE5

1 1

3

2

4

6

7

2 b3

5 5

b6

1 1

1

4

b5

b7

b2

1

--

6

3

2

2 b3

b2

4

5

-

1

3

5 5

6

b6

7

-

1

4

$4

----5 b6

7

HIROJOSHI

Ill

Ill (Dl

I

WHOLE TONE

QUICK MODE GENERATOR CHART GUITAR PATTERN

Ab FÈ/G

E

A

G

F

Bb

Ab FÈIG

G

A

BICb

BASS PATTERN

SYMMETRICAL PATTERN REPEATS

BIC b

SCALE / MODE - CHORD CHART Due to the symmetrical nature of the Whole Tone scale, it has no modes.

WHOLE TONE WHOLE TONE

1V 1 1 VI 1

It also has only 2 fingering patterns which repeat: C = D = E = F#/Gb= A ^ = Bb C#/Db=Eb=F=G=A=B/Cb

+

WHOLE TONE

WHOLETONE

1

WHOLETONE

NUMERIC SCALE / MODE CHART

1

WHOLE TONE

11

WHOLE TONE

111

WHOLE TONE

IV

WHOLE TONE

v

WHOLE TONE

VI

WHOLE TONE

1

2

1

2

3 3

1

2 1

6

5

4

#4

7

1

2

3

4

5

5

)t 6

3

$4

$5

96

2

3

JÈ

Ã5

$6

1

2

3

$4

JÃ 5

Ã6

1

2

3

JÈ

$5

$6

1

2

3

$4

$5

)Ã

6

96

7

WHOLE TONE

" I l l

TIT

w

TIT @@@@

" I l l

AUGMENTED

QUICK MODE GENERATOR CHART GUITAR PATTERNS

BASS PATTERNS

SYMMETRICAL PATTERNS REPEAT 1,2,1,2 ETC.

SYliimerfHGAi. PATTERNS REPEAT 1.2,1.2 ETC.

SCALE / MODE - CHORD CHART

1 1 I 1

1 I11 111 1 IvI 1

1V 1

1 1 1 1

AUGMENTED MODE 2 AUGMENTED MODE 2

1

AUGMENTED

1 1 1 1

A, A+,-A, - b6 ,6+ A, A\ -A, -b6 +

+

,6+

The Augmented scale is symmetrical, it has only 2 modes. Also, t h e r e a r e only 4 fingering patterns which repeat: C=E=Ab C#/Db = F = A D = F#/Gb= Bb Eb=G=B

1

A,A+, -A, 36

NUMERIC SCALE / MODE CHART 1

I

AUG

1

MODE^

ffl

AUG

V I

MODE2

V

AUG

VI

MODE^

1

2

tt2 3

5 5

1'6

7

b2

3

4

$5 6

1

$2 3

5

b6

7

1

92

3

5 b6

7

3

#5 6

3 1

4

6

7

1

1 b2

2

3

4

4

5

6

7

AUGMENTED

TIT

TIT

TIT

TIT

TIT

PELoG

QUICK MODE GENERATOR CHART GUITAR PATTERNS

BASS PATTERNS

SCALE / MODE - CHORD CHART

I

PELOG

I

I

11

3 6 , b6, -

I

-A, - , S U S ~ A0 ,

MODE 2 MODE 3

I

I

I

MODE 4

A+

v

MODE 5

11

VI

MODE 6

A, 1'6,sus

Iv

NUMERIC SCALE / MODE CHART

I

PELOG

11 .

MODE2

Ill

MODE 3

IV V VI

MODE4

MODE^ MODE^

1 2 1 b2 1

3 4 b3 b4

5

2

b3

04 5

7

1

b2

3

6

1

--

7

6

1

3

2

4

5

5 b6 4

02 3 1 b2 1

68

b7

05 6

7

4

b5

b6 b7

3

4

5 b6

7

6

7

PELOG

BIB

TIT TIE

TIT TIT

DOMINANT SUS

QUICK MODE GENERATOR CHART

Ill

v

IV

GUITAR PATTERNS

VI

BASS PATTERNS

SCALE / MODE - CHORD CHART

111

DOMINANTSUS

1

1

11

MODE 2

111

MODE 3

6,

Iv

MODE 4

-7, S U S ~ SUS, , 9, #9, 1 1

v

MODE 5

Q3, b9,09, 1 1 , b13

VI

MODE 6

6, A,s u s 2 , 9 , 1 3

S U S ~ SUS, , Q3,9 36, -7, sus, Q3, 1 1 SUS~ , SUS,

9,11, 13

NUMERIC SCALE 1 MODE CHART

7

5

6

2

4

5

6

1

b3

4

5 b6

1

2

3

4

5

6

1

2

b3

4

5

b7

4

b6

b7:

5

6

2

1

3

1

1

11

MODE^

I11

MODE 3

IV

MODE^

V

MODE^

1 b2

b3

VI

MODE6

1

2

sus

2

3

4

5

4

1 DOMINANT

6

b7 b7

3

7

7

DOMINANT SUS

TIT

DIMINISHED

QUICK MODE GENERATOR CHART

I

KEYBOARD PATTERNS

I1

I11

IV

v

VI

VII

C B b A 2ÈIDbBlC

D

C

Eb CÈID E

1 ^ 1

SCALE IMODE - CHORD CHART WHOLE - HALF

11

1

111

1

DIMINISHED

HALF - WHOLE DIMINISHED WHOLE-HALF DIMINISHED

1

!a O -7,O7 I

07,~0

0

WHOLE - HALF DIMINISHED

1 vll r 1 VIII 1

WHOLE - HALF DIMINISHED HALF - WHOLE DIMINISHED

*,O

1

G

Bb

Ab

BICb

A

C

Bb

GUITAR PATTERNS

SYMMETRICAL PATTERNS REPEAT 1,2.1,2 ETC.

BASS PATTERNS

D C#/Db B/Cl

The Diminished scale only has two modes which repeat: the WholeHalf and the Half-Whole.

Ã

9

HALF - WHOLE DIMINISHED

VIII

, -7,O7

Keyboard patterns above are for the Half-Whole Diminished. Patterns on next page are for the Whole-Half Diminished. Also note the fingering patterns repeat every third key. In other words: C, Eb, FÈI b, and A have the same fingering patterns.

NUMERIC SCALE IMODE CHART

SYMMETRICAL PATTERNS REPEAT 1,2,1,2 ETC.

WHOLE - HALF DIMINISHED

Ill

8 TONE SPANISH KEYBOARD PATTERNS

QUICK MODE GENERATOR CHART

I

11

111

Iv

v

C

B/Cb

A

Ab

G

Bb

A

C#/Db C

D

C#/DbB/Cb

D

Eb

C

VI

VII

VIII

FSIGb

E

D

Ab

G

F

Eb

Bb

A

Ab FttiGb

BICb

6b

A

GUITAR PATTERNS

BASS PATTCTHB

I

E

I1

F

G

I11

IV

v SCALE / MODE - CHORD CHART

VI

MODE 2 MODE 3

IV

I

I

MODE 4

VII

MODE 5

VI

MODE 6

7,A, 6,9, $11, 13

VII VIII

MODE 7

7, b6,9, 11, 1'13, 13

VIII

1 1 SPANISH

1 2 1 b2

MODE 2

1

8-TONE

,--------------

MODE 3 MODE 4 MODE 5

MODE 6

MODE 7 MODE 8

3

4

b3 3

4

NUMERIC SCALE / MODE CHART 5 6 7 1 2 b7 b5 b6

3

4

5

2 b 3 3 4

5

6

7

b2 2

b3

4

5

6

1 b2 2

3

S4

$5 6

7

1 b2 -

b3

4

5

b7 7

1

2

3

$4 5

6

b7 7

1

2

3

4

5

b6 6

b7

1

2

b3

4

b5 5

b6

1

6

b7 b6

b7

7

TONE SPANISH

c Ctf / Db

TIT

VII

GUITAR PATTERNS

VIII

BASS PATTERNS

I I1 I11 IV

v SCALE / MODE - CHORD CHART BEBOP LOCRIAN h2

AO,@, '9, b13

11

MODE 2

b9, $9, $1 1 3 3 , 13

111

MODE 3

-A, -b6, -6, -9,$9

Jv

MODE 4

, -6, -7, 1'9, $9, 11, $11, 13

v

MODE 5

VI

MODE 6

I

VI

-

-

7^5, 7

VII

+9, 11, $11, b13, 13

6, -6, 7, 7 , 9 , 9, #9,#11,13

MODE 7

1 VIII 1 1

I

BEBOP L O C R I A N ~1 ~

I1

MODE^

111

MODE 3

IV

MODE^

V

MODES

VI

MODE^

VII

MODE^

VIII

MODE8

VIII

MODE 8

3

2

2 b3 1

4 4

NUMERIC SCALE / MODE CHART 5 6 7 1 2 b7 7 b5 b6

3

4

b2

b3 3

$4

$5 6

1

2

b3

4

5

b6 6

7

1

b2

b3

4

b5 5

6

1

2

3

4

b6 6

7

1

2 b3 3

5

6

b7

b5

tÈ

b7

-1 b2 b3 3

b7

5 b6 b7 -

94- 5

6

7

BEBOP LOCRIAN h2

TIT

Ill

TIT

BEBOP DOMINANT

QUICK MODE GENERATOR CHART

I

KEYBOARD PATTERNS

11 I 11 1

BEBOP DOMINANT

1

IV

v

VI

VII

GUITAR PATTERNS

VIII

BASS PATTERNS

E,!g[

111 IV

BEBOP LOC add 5

MODE^

A,6,7, S U S ~SUS, , 9,11,13 3 6 , -6, -7, sus2, sus, 9, $9,-11, bl3, 13

1

MODE 5

-6, 6, -7, 7, S U S ~ SUS, , 9, $9, 11, 13

MODE 6

-6, -7, sus2, sus, b9, 9, 11, b13

MODE 7

A , Ab5,6, S U S ~b9,9 ,

VII

VIII NUMERIC SCALE / MODE CHART 5 6 7 1 2 5

3 3

4 4

11

2

b3

4

1 b2

b3

4

2

3 4 1 ' 5 5

6

7

1

2 b 3 3 4

5

6

1 b2 2

b3

4

5

b22

3

#4 5

6

7

1 b2

b3

4

b6

b7 7

1

b5 5

3

4

MODE5

VI

MODE%

VII

MODE^

V111

MODE 8

-

2 2

I

-

b6

.

Â

V

VI

1

MODE 8

1

11

1

BEBOPMINOR

v

1

I11

SCALE / MODE - CHORD CHART

BEBOP LOCRIAN ADD 5

VI VII VIII

I1

b71 b6

b5

1 b7

1

1

BEBOP DOMINANT

BEBOP DORIAN

QUICK MODE GENERATOR CHART

I

KEYBOARD PATTERNS

I1

I11

IV

v

VI

VII

GUITAR PATTERNS

VIII

BASS PATTERNS

I

I1 I11 IV

v 111 1

111

SCALE / MODE - CHORD CHART BEBOP DORIAN

I

1 1

MODE 3

VI

I

A,b6,9,