C Instruments

Jazz Improvisation 4
Handbook

Practicing
Jazz

Performing Arts Institute 2009

Jazz Improvisation 4: Practicing Jazz
TABLE OF CONTENTS

1-2. How to Practice Jazz (in four simple steps)

Technical Work
3. Major, Mixolydian, Dorian
4. Locrian, Phrygian, Aeolian
5. Lydian, Melodic Minor, Locrian #2
6. Lydian-Dominant, Lydian-Augmented, Diminished Whole-Tone
7. Diminished (HW), Diminished (WH), Whole-Tone
8. Harmonic Minor, Augmented, Blues
9-10. Practicing Scales and Chordal Patterns
11. Modifying Scales and Chordal Patterns
12. The Bebop Scale
13-14. David Baker “Generic Patterns”
15. Use of Diminished and Whole-Tone Scales

Phrasing Games (Out of Nowhere)

16. Melody
17-18. Two-measure phrase games
19-20. Advanced phrase games

Guide-Tone Games (Indiana)

21. Melody
22. Guide tones (3rds)
23. Guide tones (7ths)
24. Advanced game using 3rds, 7ths, and 9ths
25. Resolutions game

Alteration Games (All God’s Chillun Got Rhythm)

26. Melody
27. Simplification to dominant chords
28. Diminished scale game
29. Whole-Tone scale game
30. Lydian-dominant scale game
31. Diminished whole-tone scale & triad pairs game
Perpetual Motion Games (How High The Moon)
32. Melody
33. Half and quarter notes game
34. Eighth notes and triplets game

Motive Games (On Green Dolphin Street)

35. Melody
36. Motives from the melody game
37. Sequences and rhythmic displacement game

Development of the Blues

38. Blue Seven, Tenor Madness, Now’s The Time
39. Blues in the Closet, Walkin’, Au Privave
40. Blue Monk, The Blues Walk, Straight, No Chaser
41. Bags’ Groove, Sandu, Billie’s Bounce
42. Buzzy, Birdlike, Blues for Alice

Rhythm Changes and Variations

43. I Got Rhythm
44. Moose the Mooch
45. Dexterity
46. Anthropology
47. Oleo
 1

Practicing Jazz
(in four simple steps)
THE FOLLOWING is my method for learning to play jazz and improvise. Of course,
there are many other, equally valid methods and guides towards developing as a young
musician, and by no means do I claim that this one is the be-all-end-all. Over the years
that I’ve been practicing improvisation, I’ve found that the most important key to my
learning was the ability to organize my practice time as efficiently as possible. This
meant identifying all of the various skills I needed to address during each practice day,
and finding a method through which I worked on them systematically. The result of this
method is Improvisation Games.

If you are familiar with other books and guides to practicing jazz, you will see many
similarities in my Steps 1, 3, and 4. However, it is Step 2 that is the key to your quickest
development. By bridging the gap between technical, routine practice of scales, patterns,
and licks, and the creative art of unchecked improvisation, you will learn to apply
concepts at a much quicker rate. To best maximize your practice time, remember that
you need to work out of each of the Steps every day. However, be careful not to let your
practice stagnate (pounding the same material day after day)—be creative in how you
vary your practicing!

Step 1: Technical Work

Do not neglect this practice! Technique (or “woodshedding”, as it’s often called) is the
vocabulary of the jazz language. Remember that this part of your practicing should also
be used to develop skills on your instrument—always strive for the best possible sound,
time, intonation, and consistency. I prefer to use a “grab bag” approach to technical
practice—I literally have a paper bag in my case with slips of paper for scales, arpeggios,
and patterns, and I randomly draw several to work on during each practice session.
Whether you prefer a random method or something more systematic (Mondays=keys of
C and F#, Tuesdays=Db and G, etc), make sure that you have a large and varied
repertoire of practice materials to draw from. And as always, practice everything in all
12 keys!

What falls in this category?

• Scales (forwards, backwards, upside-down, and in 3rds, 4ths, and triads)
• Arpeggios
• Digital patterns (ex. 1-2-3-5 patterns)
• Bebop licks
• Licks from transcribed solos
• Fragments of melodies
• Any other pattern that you need to work out in all 12 keys
 2

Step 2: Improvisation Games

Here you get to connect the mechanical exercise of learning technique with the creativity
required by improvisation. I define an improvisation game as an exercise where you are
improvising over a defined set of chord changes, while following one or more rules
that you set in advance. On the following pages, you will see a large number of
improvisation games, each with one or several rules to follow. To win the game, you
need to follow the rules precisely with no errors, while still playing a solo that is so
natural and musical that a listener would never know that you had rules in the first place.

Feel free to:

• Combine games (for more advanced players)
• Make up your own games (you may find that writing down guides like I’ve done
will help at first)

Step 3: Play!
Always spend at least a few minutes during each practice session playing freely, with no
rules or guidelines besides the techniques you’ve practiced and your own sense of
musicality. This is a great time to learn new tunes, or to revisit old favorites. Play with a
rhythm section, play-along recording, your metronome, or just “noodle” freely on your
horn. Also try to spend some of this time playing by memory (remember, training your
brain to remember tunes and chord changes is a skill you have to practice, just like
everything else).

Don’t be discouraged if you are able to internalize 10% or less or the material you’ve
worked on during your practice session. This is more common than you might think—
even the greatest players need some time to begin applying the new stuff they are
practicing. If you pick up 5-10% every day, can you imagine the improvement you’ll
make in a month? A year? 5 years?

Step 4: Listen (and transcribe)

Jazz has always been an aural art form, one which cannot be learned solely from books.
Try to spend a few minutes of each practice session listening (actively—where the
listening is your primary activity) to recordings. Supporting live music is an even better
way of familiarizing yourself with the world around you. This part of your practice is
unbelievably important.

Try to listen constructively, so that you are using your ears to learn tunes and licks.
Writing down melodies, solos, or complete tunes (and then analyzing and practicing
them) will do wonders for your playing. So will doing the same process purely by ear
and memory!
 Scales to Practice
3
The following scales will give you some guidelines to your technical practice. Do not just run down the page
day after day. Play scales backwards, fowards, in different orders, in 3rds, 4ths, and triads, and across
the entire range of your instrument.

Major scales - used over Maj7 chords

          
            
         

     
                      
          
         
                 
   

Mixolydian Scales (5th mode of major) - Used over dominant 7th chords
  
                         
        

              
                    
     
       

        
            
    

Dorian Scales (2nd mode of major) - Used over minor 7th chords
  
                           

   
     
               
             
        

              
           
 
Copyright © 2009 Alex Noppe. All rights reserved
 Scales to Practice 2 4

Locrian scales (7th mode of major) - used over Half-diminished seventh chords

                    
              
        

                
         
   


              
             
    

Phrygian Scales (3th mode of major) - Used over -7(b) or sus(b9) chords

                         
               
       

     
                  
  
       
         
               
  

Aeolian Scales (6th mode of major) - Used over minor 7th chords (alternative)

      
                          
   

         
                  
            

     
                
 
Copyright © 2009 Alex Noppe. All rights reserved
 Scales to Practice 3 5

Lydian scales (4th mode of major) - used over Maj7(#11) chords or as an alteration to Maj7 chords
    
                         
  

    
                         
          

              

              
    

Melodic Minor Scales - Used over -Maj7 chords or as an alteration to -7 chords

    
                      
     

 
        
              
         

                  
          
 

Locrian #2 Scales (6th mode of melodic minor) - Used over half-diminished seventh chords

                  
            
      

    
             
   
      

           
                
 
Copyright © 2009 Alex Noppe. All rights reserved
 Scales to Practice 4 6

Lydian-Dominant scales (4th mode of Melodic Minor) - used over dom7(#11) chords or as an alteration to dom7 chords
    
                      
  

        
                
      
     

             
          
  

Lydian-Augmented Scales (3rd moded of Melodic Minor) - Used over Maj7(#5) chords or as an alteration to Maj7 chords

   
                      
  

          
        
       
        


          
               
    

Diminished-Whole Tone/Altered/Superlocrian Scales (7th mode of melodic minor) -

Used over altered chords or as an alteration to dom7 chords

                
               
       

  
                
      
  

              
             
    
Copyright © 2009 Alex Noppe. All rights reserved
 Scales to Practice 5 7

Diminished (HW) Scales - Used over dom7(b9) chords or as an alteration to dom7 chords

                 

          

             
            
       


     

          
       

Diminished (WH) Scales - Used over dim7 chords

 
                     
   

            
         
      
          
                

Whole-Tone Scales - Used over augmented chords, dom7(#5) chords, and as an alteration to dom7 chords

       
       
              

        
         
     
   

         
               
    
Copyright © 2009 Alex Noppe. All rights reserved
 Scales to Practice 6 8

Harmonic Minor Scales - Used over Minb6 chords or as an alteration to min7 chords
     
                       
       

       
                     
       
 

                
          
 

"Gap" or "Augmented" Scale - Used as an alteration to maj7 chords

               
                 
    
          
         
        
  
  

        
           
  
          

Blues Scale - Used on min7 and dom7 chords, and whenever you want a bluesy sound
   
              
              

  
       
        
          

       
                    

Copyright © 2009 Alex Noppe. All rights reserved
 Practicing Scales and Chordal Patterns 9
The following sets of exercises comprise months or years of practice material. Approach them as a long-term project
and resist the urge to completely master one particular exercise before beginning to work on others. Think of this kind
of practicing like extracting a fossil from rock--you need to chip away all around the outside before getting to the center.
CMaj7

                           
Step 1:
ALL modes of major scales   
in thirds, ascending and Dm7

       
descending. Use the full
range of your instrument.

CMaj7

          
 
Step 2:
ALL modes of major scales

      
in fourths, ascending and
FMaj7(#11)
descending. Use the full
range of your instrument. 
         


CMaj7

3 3
 
3 3
   
3 3

       
3 3
Step 3:
ALL modes of major scales  
       
3 3 3
  
in triads, ascending and
 
G7
        
    
descending. Use the full
range of your instrument.
3 3 3 3 3
3 3 3 3 3 3

Cm(Maj7)

                              
Step 4: 
             
Repeat steps 1-3 for ALL F7(#11)
modes of the melodic minor
scale. Practice these slowly               
and again, use the full
range of your instrument.
B7alt
 
3

3 3 3 3
   
3 3 3 3
         
  3
3

Copyright © 2009 Alex Noppe. All rights reserved

 Practicing Scales and Chordal Patterns 2 10
C+7
Step 5:  
          

Whole tone scales in thirds.
There are two of these.
C7(b9)

Step 6:
      etc.        
etc.
Both forms of the diminished
Cº7

            

scale (HW and WH). There
are three of each.
etc. etc.

The following interval-based patterns should be practiced in the full range of your instrument. These patterns can be started
on any note and are not necessarily specific to any one chord.

Major 2nds moving              

chromatically etc. etc.

               

Minor 3rds moving   etc. etc.
chromatically

Major 4ths moving                  

chromatically etc. etc.


              
     
Major 4ths moving
by step
etc. etc.
3 3 3 3
    
3 3 3

    

3

     
etc. etc.

     
All inversions of major 3 3 3 3
     
           
triads, moving chromatically,
by step, minor third, and
major third. Practice these etc. etc.

             
3 3 3 3
  
in all keys.
  
          
3 3 etc. 3 3 etc.
3 3 3 3

Copyright © 2009 Alex Noppe. All rights reserved

 Modifying Scales and Chordal Patterns 11
To create more rhythmically and melodically interesting improvisations, use the following techniques for modifying the patterns
on the last two pages. All of the ideas on this page are based upon a simple pattern of thirds and triads over the chord CMaj7.
After learning these over all of the scales and chords, create your own patterns by using different combinations of rhythms,
rhythmic displacement, direction, inversion, and mixture of chords.

Basic thirds pattern,

                           
ascending and descending   

  
Inverted version of the
above pattern.           

   
Alternating directions. Also
   
        
practice 1 up-2-down, 2 up-
three down, and other
combinations.


                              
Displacement by an eighth
note. Also displace the pattern
before the first measure, using
an eighth note pickup.



3 3
       
3 3 3 3 3
Two-note pattern written
      
 
using triplets   
3 3 3
3

3
  
3 3
    
3 3 3 3 3
Displacing the triplet pattern
by an eighth note       
  
3
3

3
  
3 3
    
3 3 3 3 3 3 3
                         
Displacing by two eighth
notes. Again, also use pickup
notes to displace as well.
3

  
Triad pattern written in
eighth notes      

       
   
Alternating thirds and triads,
effectively forming a five-note
pattern.

  
               
Combining all techniques:
displacement, alternating
direction (two up-one down),
& triads/thirds
Copyright © 2009 Alex Noppe. All rights reserved
 The Bebop Scale 12
C7 F7

          
Remember that the when playing chord changes, the
notes that you generally want to have fall on the strong


beats (1 and 3) are chord tones (1, 3, 5, 7, 9). This
becomes a problem when using our usual scale of seven
notes, as shown by the first two bars of a blues. "4" - not a
C7 F7 good note!
We can fix that problem by adding one chromatic note to
         
the mixolydian scale, a B§ which will allow all the strong
beats to have chord tones. This is called the bebop scale.

all good notes!

There are three basic bebop scales, to go with our three most important scales of Major, Mixolydian, and
Dorian. Each one of them has the chromatic note in a different place. Practice all three types of scales in
all twelve keys, then try to use them over some easy tunes. Blues in different keys are good places to start.
Notice that the bebop scale for G-7 is the same as the one for C7, making them great tools to use over ii-V7's.

CMaj7

                C Major Bebop (chromatic note after

the fifth scale degree)

C7

               C Mixolydian Bebop (chromatic note after

the seventh scale degree)

C-7

            C Dorian Bebop (chromatic note after

the third scale degree)

Some Bebop Scale Licks (all over C7)


                                       

                

      

               
   
     
      
      
                    

Copyright © 2009 Alex Noppe. All rights reserved.

 David Baker "Generic Patterns" 13
Generic patterns incorporate the bebop scale and can be used over the chord changes of nearly any standard or bebop tune.
They come in two flavors: major and minor/dominant. Each of the two flavors has a version that can be used over changes
lasting one measure and a longer one for changes lasting two measures. The major version is shown below:

CMaj7 FMaj7 BbMaj7 EbMaj7 AbMaj7 DbMaj7

       

                
   
GbMaj7 BMaj7 EMaj7 AMaj7 DMaj7 GMaj7

       
                        
    

The following pattern can be used over major chords lasting two measures. While you might use the printed music to practice
from at first, try to internalize the pattern as quickly as possible so that you can apply it to the chord changes of tunes

CMaj7 FMaj7

             


    

BbMaj7 EbMaj7

                
               

AbMaj7 DbMaj7

         

                  

GbMaj7 BMaj7
    
              
      
EMaj7 AMaj7
             
               

DMaj7 GMaj7
      
                     
Copyright © 2009 Alex Noppe. All rights reserved.
 David Baker "Generic Patterns" 2 14
The minor/dominant pattern assumes that any minor or dominant chord is part of a ii-V7, and that they can be treated
equally. So, for the purposes of this exercise, || D-7 || equals || G7 || equals || D-7 G7 || and that
|| D-7 | D-7 || equals || G7 | G7 || equals || D-7 | G7 |

D-7 G7 G-7 C7 C-7 F7 F-7 Bb7 Bb-7 Eb7 Eb-7 Ab7

            
 
        
      

Ab-7 Db7 C#-7 F#7 F#-7 B7 B-7 E7 E-7 A7 A-7 D7

                       

        

The following pattern can be used over minor/dominant chords lasting two measures. Notice that the extra note (from the
bebop scale) can be found at the end of the first measure of the pattern.

D-7 G7 G-7 C7
 
                          

C-7 F7 F-7 Bb7

                        

      

Bb-7 Eb7 Eb-7 Ab7

                       

          

Ab-7 Db7 C#-7 F#7

                 

             
F#-7 B7 B-7 E7

                    
 
E-7 A7 A-7 D7
             
                
Copyright © 2009 Alex Noppe. All rights reserved.
 Diminished and Whole-Tone Scales
15
The term "symmetrical scales" refers to scales that, instead of coming from any particular key, are artificially created by a regular repeating
pattern of whole and half steps. The most commonly used of these are the diminished and whole-tone scales, each of which are used often
in modern jazz.
There are two forms of diminished scale, one that uses the pattern WHWHWHWH, and one that is HWHWHWHW. In either case,
because the pattern is so repetitious, it means that there are really only 3 diminished scales as the same one can be used for 4 different keys.
Try playing the C diminished scale starting on Eb, Gb, and A. Notice how the pattern is exactly the same. Also notice how the Db WH
scale is exactly the same as the C HW scale, just starting one half-step higher. Even less to learn!

WH                         
used for C, Eb, Gb, A used for Db, E, G, Bb used for D, F, Ab, B

                        
HW
    
The WH diminished scale gets played over diminished-7th chords. There are no "avoid" notes in diminished scales, so almost everything
you can play will sound good. The HW diminished scale can be played over 7(b9) chords, although you can also use it for chords with
more alterations, such as a #9 and a #11. Because the scale is so repetitive, there are endless licks that can be made up. Here are some
possibilities using the scale in the key of C. Be sure to transpose to the other keys:

            
              
3 3 3

3 3 3 3

          
3

           
    
The whole-tone scale is the other commonly used symmetrical scale. As its name implies, the scale is made up completely of whole steps.
As with the diminished scale, its repeating pattern allows the same scale to be used over different keys -- in this case, there are only two
whole-tone scales that you need to learn.

The whole-tone scale can be used over 7(#5) chords, 7+ or 7aug (which means augmented) chords, or as a chromatic alteration to a standard
dominant-7th chord. There are no avoid notes with this scale, everything sounds equally correct. Because there is so little contrast between
the intervals, the sound of the whole tone scale can be a bit outdated, and it is recommended that you use it in small doses to avoid boredom.
Here are the two whole-tone scales and a few licks to practice (again, remember to transpose):

 
C7(#5 Db7(#5)

           

      
                   


                         
Copyright © 2009 Alex Noppe. All rights reserved.
 Phrasing Games 1 ("Out of Nowhere") 16

Melody
GMaj7 Bb-7 Eb7
 
 
           

GMaj7 B-7 E7
 

         

A-7 B-7(b5) E7(#9) A-7

             

Eb7 A-7 D7
3 3
          
3
 

GMaj7 Bb-7 Eb7

 

          

GMaj7 B-7 E7
 

         


A-7 B-7(b5) E7(#9) A-7 F7(#11)
    3   
          


B-7 3 Bbº7 A-7 D7 GMaj7 A-7 D7

          
Copyright © 2009 Alex Noppe. All rights reserved.
 Phrasing Games 2 ("Out of Nowhere") 17

Basic Two Measure Game

1. Divide up tune into 4-measure phrases
2. For each phrase, play measures 1 & 2, rest 3 & 4
3. Also, Reverse Step 2 (rest 1 & 2, play 3 & 4)

GMaj7 Bb-7 Eb7

          

GMaj7 B-7 E7
          

A-7 B-7(b5) E7(#9) A-7

          

Eb7 A-7 D7
          

GMaj7 Bb-7 Eb7

          

GMaj7 B-7 E7
          

A-7 B-7(b5) E7(#9) A-7 F7(#11)

          

B-7 Bbº7 A-7 D7 GMaj7 A-7 D7

          
Copyright © 2009 Alex Noppe. All rights reserved.
 Phrasing Games 3 ("Out of Nowhere") 18

Another Two Measure Game

1. Divide up tune into 4-measure phrases
2. For each phrase, play measures 2 & 3, rest 1 & 4
3. Also, Reverse Step 2 (rest 2 & 3, play 1 & 4)

GMaj7 Bb-7 Eb7

          

GMaj7 B-7 E7
          

A-7 B-7(b5) E7(#9) A-7

          

Eb7 A-7 D7
          

GMaj7 Bb-7 Eb7

          

GMaj7 B-7 E7
          

A-7 B-7(b5) E7(#9) A-7 F7(#11)

          

B-7 Bbº7 A-7 D7 GMaj7 A-7 D7

          
Copyright © 2009 Alex Noppe. All rights reserved.
 Phrasing Games 4 ("Out of Nowhere") 19

More Advanced Phrasing Game

1. Divide the Tune into 5-Measure Phrase and Play 3, Rest 2
2. Use any combination of 1, 2, or 3 bar groupings
3. This will give a natural feel to your phrasing

GMaj7 Bb-7 Eb7

             

GMaj7 B-7 E7
             

A-7 B-7(b5) E7(#9) A-7

          

Eb7 A-7 D7
          

GMaj7 Bb-7 Eb7

          

GMaj7 B-7 E7
             

A-7 B-7(b5) E7(#9) A-7 F7(#11)

             

B-7 Bbº7 A-7 D7 GMaj7 A-7 D7

          
Copyright © 2009 Alex Noppe. All rights reserved.
 Phrasing Games 5 ("Out of Nowhere") 20

More Advanced Phrasing Game

1. Use Pickups and Endings in your phrases
2. Begin using phrase groups that are not whole numbers
3. Start and Stop your phrases in the middle of measures

GMaj7 Bb-7 Eb7

              

GMaj7 B-7 E7
              

A-7 B-7(b5) E7(#9) A-7

              

Eb7 A-7 D7
            

GMaj7 Bb-7 Eb7

               

GMaj7 B-7 E7
               

A-7 B-7(b5) E7(#9) A-7 F7(#11)

              

B-7 Bbº7 A-7 D7 GMaj7 A-7 D7

               

Copyright © 2009 Alex Noppe. All rights reserved.

 Guide Tone Games ("Indiana") 21

Melody

   
FMaj7 D7 G7
          
 
  

G-7 C7 FMaj7 C-7 F7

        

BbMaj7 Bb-7 Eb7 FMaj7 A-7 D7

          
 

 
G7 G-7 C7


     
   

 
FMaj7 D7 G7
  
   
 




G-7 A7 D-7 A7


           

D-7 A7 D-7 Abº7

            
  

FMaj7 D7 G-7 C7 FMaj7 F#º7 G-7 C7

           
Copyright © 2009 Alex Noppe. All Rights Reserved
 Guide Tone Games 2 ("Indiana") 22

Connecting Thirds Game

1. On the downbeat of every measure, land on the 3rd of the chord
2. You "win" the game by making your lines sound natural without
having to jump to the third and break the line (plan ahead!)

FMaj7 D7 G7
            

G-7 C7 FMaj7 C-7 F7

            

BbMaj7 Bb-7 Eb7 FMaj7 A-7 D7

          
 
G7 G-7 C7
            

FMaj7 D7 G7
            

G-7 A7 D-7 A7
   

    

 

D-7 A7 D-7 Abº7

           

FMaj7 D7 G-7 C7 FMaj7 F#º7 G-7 C7
            
Copyright © 2009 Alex Noppe. All Rights Reserved
 Guide Tone Games 3 ("Indiana") 23

Connecting Sevenths Game

1. On the downbeat of every measure, land on the 7th of the chord
2. You "win" the game by making your lines sound natural without
having to jump to the seventh and break the line (plan ahead!)

FMaj7 D7 G7
           

G-7 C7 FMaj7 C-7 F7
            

BbMaj7 Bb-7 Eb7 FMaj7 A-7 D7

            

G7 G-7 C7
            

FMaj7 D7 G7
            

G-7 A7 D-7 A7
            

D-7 A7 D-7 Abº7

            

FMaj7 D7 G-7 C7 FMaj7 F#º7 G-7 C7

           

Copyright © 2009 Alex Noppe. All Rights Reserved
 Guide Tone Games 4 ("Indiana") 24

Mix 'n' Match Game

1. Use various combinations of 3rds and 7ths (and 9ths)
2. The example below alternates 3rds and 7ths in the first half, then
3rds, 7ths, and 9ths in the second half

FMaj7 D7 G7
           

G-7 C7 FMaj7 C-7 F7
            

BbMaj7 Bb-7 Eb7 FMaj7 A-7 D7

            

G7 G-7 C7
            

FMaj7 D7 G7
            

G-7 A7 D-7 A7
            

D-7 A7 D-7 Abº7

           

FMaj7 D7 G-7 C7 FMaj7 F#º7 G-7 C7
            
Copyright © 2009 Alex Noppe. All Rights Reserved
 Guide Tone Games 5 ("Indiana") 25

Resolutions Game
1. Look for the most natural downwards resolution using only 3rds, 7ths, and 9ths
2. This includes (b7>3) in a ii-V7-I, (3>b3) for majors/dominants becoming minors, and
(3>9) when chords stay the same

FMaj7 D7 G7
                

G-7 C7 FMaj7 C-7 F7

             
  

BbMaj7 Bb-7 Eb7 FMaj7 A-7 D7

              
 
G7 G-7 C7
                

FMaj7 D7 G7
                

G-7 A7 D-7 A7
                

D-7 A7 D-7 Abº7

                

FMaj7 D7 G-7 C7 FMaj7 F#º7 G-7 C7

                
Copyright © 2009 Alex Noppe. All Rights Reserved
 Alteration Games ("All God's Chillun Got Rhythm") 26
Melody
FMaj7 D-7 G-7 C7 A-7 D7 G-7 C7
     
       

FMaj7 D7 G-7 C7 AØ7 D7(b9)

    
     


B-7 E7 A-7 D7 G-7 C7 FMaj7

      


A7 D-7 G7 C7
        
 

FMaj7 D-7 G-7 C7 A-7 D7 G-7 C7

    
      


FMaj7 D-7 G-7 C7 AØ7 D7(b9)

    
      

B-7 E7 A-7 D7 G-7 C7 A-7 D7

 
      

G-7 C7 FMaj7 D7 G-7 C7


          
Copyright © 2009 Alex Noppe. All Rights Reserved
 Alteration Games 2 ("All God's Chillun Got Rhythm")27
Dominant Chords Game
1. Dominant 7th chords are the easiest to alter, so simplify as many chords into
dominant sounds as possible
2. Minor chords (unless acting as a tonic) can always become the dominant a 4th higher

FMaj7 G7 C7 D7 C7
                

FMaj7 G7 C7 D7
                

E7 D7 C7 FMaj7
                

A7 G7 C7
                

FMaj7 G7 C7 D7 C7
                

FMaj7 G7 C7 D7
                

E7 D7 C7 D7
                

C7 FMaj7 D7 C7
                
Copyright © 2009 Alex Noppe. All Rights Reserved
 Alteration Games 3 ("All God's Chillun Got Rhythm")28
Diminished Scale Game
1. Over every dominant chord, use the corresponding diminished scale
2. This is the scale that starts on the name of the chord and starts with a half step
(for example: C7 = C-Db-Eb-E-F#-G-A-Bb-C -or- H-W-H-W-H-W-H-W)

FMaj7 G7 C7 D7 C7
       
          
          
        
 
FMaj7 G7 C7 D7
     
              
         
  
E7 D7 C7 FMaj7
                                   

A7 G7 C7
          
                 
      
FMaj7 G7 C7 D7 C7
       
                     

FMaj7 G7 C7 D7
     
         
             
  
E7 D7 C7 D7
                       

C7 FMaj7 D7 C7
                    
Copyright © 2009 Alex Noppe. All Rights Reserved
 Alteration Games 4 ("All God's Chillun Got Rhythm")29
Whole-Tone Scale Game
1. Over every dominant chord, use the corresponding Whole-Tone scale
2. This is the scale that starts on the name of the chord and moves in whole steps
(for example: C7 = C-D-E-Gb-Ab-Bb-C)

FMaj7 G7 C7 D7 C7

            
   
 
      
 
FMaj7 G7 C7 D7

      
      
          
  

E7 D7 C7 FMaj7
   

            
 
      

A7 G7 C7
           
              
     
FMaj7 G7 C7 D7 C7

                    
       

FMaj7 G7 C7 D7

      
       
            
 
E7 D7 C7 D7

             
               

C7 FMaj7 D7 C7
             
               
Copyright © 2009 Alex Noppe. All Rights Reserved
 Alteration Games 5 ("All God's Chillun Got Rhythm")30
Lydian-Dominant Scale Game
1. Over every dominant chord, use the corresponding Lydian-Dominant scale
2. This is the scale that starts on the name of the chord includes a #4 and b7
(for example: C7 = C-D-E-F#-G-A-Bb-C)

FMaj7 G7 C7 D7 C7

                            


FMaj7 G7 C7 D7

                          

E7 D7 C7 FMaj7
       
             
       

A7 G7 C7
                         
     
FMaj7 G7 C7 D7 C7

                            


FMaj7 G7 C7 D7
  
                  

         

E7 D7 C7 D7
  
                         

C7 FMaj7 D7 C7
                        
  

Copyright © 2009 Alex Noppe. All Rights Reserved

 Alteration Games 6 ("All God's Chillun Got Rhythm")31
Diminished-Whole Tone Triad Pairs Game
1. Over every dominant chord, use triads for the corresponding diminished-wt scale
2. These are the major triads built on the tonic and the tri-tone
(for example: C7 = C-E-G and Gb-Bb-Db)

FMaj7 G7 C7 D7 C7
     
         
 
FMaj7 G7 C7 D7
    
          

E7 D7 C7 FMaj7
         
  
A7 G7 C7
   
 
       

FMaj7 G7 C7 D7 C7
          
      

FMaj7 G7 C7 D7
        
        

E7 D7 C7 D7
   
         
 
C7 FMaj7 D7 C7
    
      
   
Copyright © 2009 Alex Noppe. All Rights Reserved
 Perpetual Motion Games ("How High The Moon") 32

Melody
GMaj7 G-7 C7

       


 
  
  

FMaj7 F-7 Bb7

 

         



EbMaj7 A-7 D7 G-7 A-7 D7
 
              

GMaj7 A-7 D7 B-7 Bb7 A-7 D7

     
    
  

GMaj7 G-7 C7
          
  

FMaj7 F-7 Bb7

 

         


EbMaj7 A-7 D7 GMaj7 A-7 D7

               

B-7 Bb7 A-7 D7 GMaj7 A-7 D7


      
   
Copyright © 2009 Alex Noppe. All rights reserved.
 Perpetual Motion Games 2 ("How High The Moon") 33

Perpetual Halfs and Quarters Game

1. Create a melody using nothing but half notes and occasional rests
2. Do the same thing with nothing but quarter notes
3. The goal is to create the smoothest, most melodic solo

GMaj7 G-7 C7
        
FMaj7 F-7 Bb7
       

EbMaj7 A-7 D7 G-7 A-7 D7
        

GMaj7 A-7 D7 B-7 Bb7 A-7 D7

        

GMaj7 G-7 C7
        
       

FMaj7 F-7 Bb7

       
      
 
EbMaj7 A-7 D7 GMaj7 A-7 D7
       
        

B-7 Bb7 A-7 D7 GMaj7 A-7 D7

            
    
Copyright © 2009 Alex Noppe. All rights reserved.
 Perpetual Motion Games 3 ("How High The Moon") 34

Perpetual Eighths and Triplets Game

1. Create a melody using nothing but eighth notes and occasional rests
2. Do the same thing with nothing but eighth note triplets
3. Feel free to start using bebop scales, blues licks, and altered notes

GMaj7 G-7 C7
 
                            

FMaj7 F-7 Bb7
                      
   

EbMaj7 A-7 D7 G-7 A-7 D7



                         
 
GMaj7 A-7 D7 B-7 Bb7 A-7 D7
   
                       

GMaj7 3 G-73 C7 3
 
3 3 3 3
   3
     3 3
  
       
   
3
    
3 3 3
3
3


FMaj7 3 3 3 F-7 3 3 Bb7
3 3
  
3 3 3
             
3 3 3
       

3 3 3

EbMaj7 A-7 3 3 D7 GMaj7 A-7 D7

   
3
  
3 3
  
3 3 3

         
    
3 3 3 3 3
3 3 3
B-7 3
Bb7 3 A-7 D7 3 3
GMaj7 3 A-73 D7
   3  3 3 3
         
3 3 3 3
Copyright © 2009 Alex Noppe. All rights reserved.
 Motive Games ("On Green Dolphin Street") 35
Melody
LATIN EbMaj7 Eb-7
    3
   
 


FMaj7 EMaj7 EbMaj7 EbMaj7 C7
3
     

 

SWING F-7 Bb7(b9) EbMaj7 Bb-7 Eb7

              


 
Ab-7 Db7(#9) GbMaj7 F-7 Bb7

          

 

LATIN
EbMaj7 Eb-7
     3
 
 


FMaj7 EMaj7 EbMaj7 EbMaj7 C7
3
        


SWING F-7 DØ7 G7(#9) C-7 AØ7 D7(#9)
   
          


G-7 C7(#9) F-7 Bb7 EbMaj7 F-7 Bb7
   

     
Copyright © 2009 Alex Noppe. All Rights Reserved
 Motive Games 2 ("On Green Dolphin Street") 36

Motives From the Melody Game

1. Pick or modify a fragment of the melody and use throughout the entire tune
2. Make sure that your note choices fit the chord changes
3. Feel free to alter your motive in subtle ways (rhythms, octaves, etc)

         
EbMaj7 Eb-7
  
          

     
FMaj7 EMaj7 EbMaj7 EbMaj7 C7
  
          


     
F-7 Bb7(b9) EbMaj7 Bb-7 Eb7
                

        
Ab-7 Db7(#9) GbMaj7 F-7 Bb7
        

 

       
EbMaj7 Eb-7
  
             


   
FMaj7 EMaj7 EbMaj7 EbMaj7 C7
  
            


    
F-7 DØ7 G7(#9) C-7 AØ7 D7(#9)
  
         
   

               
G-7 C7(#9) F-7 Bb7 EbMaj7 F-7 Bb7
       
Copyright © 2009 Alex Noppe. All Rights Reserved
 Motive Games 3 ("On Green Dolphin Street") 37

Advanced Motive Game

1. Play a solo exclusively using sequences (Downward sequences if the motive descends,
upward sequences if the melody ascends usually work the best)
2. Using a short motive, practice it in different positions in the bar (rhythmic displacement)

EbMaj7 Eb-7
   
                               

FMaj7 EMaj7 EbMaj7 EbMaj7 C7

                        
    
F-7 Bb7(b9) EbMaj7 Bb-7 Eb7
   
                                

Ab-7 Db7(#9) GbMaj7 F-7 Bb7

                            
  

                                   
EbMaj7 Eb-7
 

FMaj7 EMaj7 EbMaj7 EbMaj7 C7

                         

F-7 DØ7 G7(#9) C-7 AØ7 D7(#9)


                                

G-7 C7(#9) F-7 Bb7 EbMaj7 F-7 Bb7

                              
Copyright © 2009 Alex Noppe. All Rights Reserved
 Development of the Blues 1 38
"Blue Seven" - Sonny Rollins

    
Bb7
            

Eb7 Bb7
                   

 
F7 Bb7
                

"Tenor Madness" - Sonny Rollins (originally in Bb)

   
Eb7
    
                                
Ab7 Eb7
    
                            

 
Bb7 Eb7
 
      
              
     

"Now's The Time" - Charlie Parker


F7
                              
Bb7 F7
 
       
                  

 
C7
3 F7
     
        
   
   
Copyright © 2009 Alex Noppe. All rights reserved.
 Development of the Blues 2 39
"Blues in the Closet" - Oscar Pettiford

              
Bb7 Eb7 Bb7
           

  

Eb7 Bb7 G7
                       
    

 
C-7 F7 Bb7 F7
            
   
  
  

"Walkin'" - Richard Carpenter (originally in F)

 
Eb7 Ab7 Eb7
                 
    

           

Ab7 Eb7 C7
          
         

 
F-7 Bb7 Eb7 Bb7

                           
 

"Au Privave" - Charlie Parker

    
F7 Bb7 F7

         
                


       
Bb7 F7 D7
                      

 
G-7 C7 F7 C7

            

 
           

Copyright © 2009 Alex Noppe. All rights reserved.
 Development of the Blues 3 40
"Blue Monk" - Thelonious Monk


Bb7 Eb7 Bb7 F-7 Bb7
                         

Eb7 Eº7 Bb7/F D-7 G7
    
3
                 

 
C-7 F7 Bb7 G7 C-7 F7
                     
   
"The Blues Walk" - Clifford Brown (originally in F)

  
Eb7 Ab7 Eb7 Bb-7 Eb7
             
             
 
Ab7 Aº7 Eb7/Bb G-7 C7
                
                 

 
F-7 Bb7 Eb7 C7 F-7 Bb7
                 

  

"Straight, No Chaser" - Thelonious Monk


F7 Bb7 F7 C-7 F7
                          


Bb7 Bº7 F7/C A-7 D7

                           
  

 
G-7 C7 F7 D7 G-7 C7
           
       

 
Copyright © 2009 Alex Noppe. All rights reserved.
 Development of the Blues 4 41
"Bags' Groove" - Milt Jackson (originally in F)

                      
Bb7 Ab7 Gb7 Fb7


      

                     
Eb7 Eº7 Bb7 A7 G7 Gb7
     

                   

C-7 F7 Bb7 Db7 Gb7 Cb7
  

"Sandu" - Clifford Brown

           
Eb7 Db7 Cb7 A7
             

            
      
3
Ab7 Aº7 Eb7 D7 C7 Cb7
                                

 
F-7 Bb7 Eb7 Gb7 Cb7 Fb7
  

3
                           
  3

"billie's Bounce" - Charlie Parker


F7 Eb7 Db7 B7
                            
3
   


          
Bb7 Bº7 F7 E7 D7 Db7
              
   

      
G-7 C7 F7 Ab7 Db7 Gb7

     
3 
      

     
Copyright © 2009 Alex Noppe. All rights reserved.
 Development of the Blues 5 42
"Buzzy" - Charlie Parker

              
BbMaj7 AØ7 D7 G-7 C7 F-7 Bb7
             

                          
Eb7 Eb-7 Ab7 D-7 G7 Db-7 Gb7
 

                   
C-7 F7 BbMaj7 G7 C-7 F7
        

"Birdlike" - Freddie Hubbard

      
EbMaj7 DØ7 G7 C-7 F7 Bb-7 Eb7

                               
Ab7 Ab-7 Db7 G-7 C7 F#-7 B7

 
                     
     

 
F-7 Bb7 EbMaj7 C7 F-7 Bb7
 
                        
 

"Blues for Alice" - Charlie Parker

         
FMaj7 EØ7 A7(b9) D-7 G7 C-7 F7
 
3 3
                   
 
Bb7 Bb-7 Eb7 A-7 D7 Ab-7 Db7
               
           
  


       
G-7 3 C7 FMaj7 D7 G-7 C7
        

            

Copyright © 2009 Alex Noppe. All rights reserved.
 "Rhythm Changes" and Variations 1 43
"I Got Rhythm" - George Gershwin

 
BbMaj7 C-7 F7 BbMaj7 C-7 F7
      

    
 

 
Bb7 EbMaj7 C-7 F7
               
  

 
BbMaj7 C-7 F7 BbMaj7 C-7 F7

   
        

 
Bb7 EbMaj7 C-7 F7 BbMaj7
               
  

 
D7 G7
      
     

C7 F7
           
  

 
BbMaj7 C-7 F7 BbMaj7 C-7 F7

   
        

   
Bb7 EbMaj7 C-7 F7 BbMaj7
        
   
   
  
Copyright © 2009 Alex Noppe. All rights reserved.
 "Rhythm Changes" and Variations 2 44
"Moose the Mooch" - Charlie Parker
BbMaj7 G7 C-7 F7 D-7 G7 C-7 F7
  
                   
3

     

BbMaj7 Bb7 EbMaj7 Eº7 D-7 G7 C-7 F7

  3
                                

BbMaj7 G7 C-7 F7 D-7 G7 C-7 F7

     3
     
  

              
 

BbMaj7 Bb7 EbMaj7 Eº7 C-7 F7 BbMaj7


          
3
           
      

A-7 D7 D-7 G7
              
                 

G-7 C7 C-7 F7
   
           
             

BbMaj7 G7 C-7 F7 D-7 G7 C-7 F7

     3
                    
    

           
BbMaj7 Bb7 EbMaj7 Eº7 C-7 F7 BbMaj7 3
     3

      
        
  

Copyright © 2009 Alex Noppe. All rights reserved.
 "Rhythm Changes" and Variations 3 45
"Dexterity" - Charlie Parker
BbMaj7 Bº7 C-7 C#º7 D-7 G7 C-7 F7

                              

F-7 Bb7 EbMaj7 Eº7 D-7 G7 C-7 F7

                          
       
3
3 3

BbMaj7 Bº7 C-7 C#º7 D-7 G7 C-7 F7


                            

F-7 Bb7 EbMaj7 Eº7 C-7 F7 BbMaj7

                    
           
3
3 3

Ab7 3 G7 3

                            

Gb7 F7

             
            
     
3

BbMaj7 Bº7 C-7 C#º7 D-7 G7 C-7 F7

           
                    

 
F-7 Bb7 EbMaj7 Eº7 C-7 F7 BbMaj7
           
        
3
                
3 3
Copyright © 2009 Alex Noppe. All rights reserved.
 "Rhythm Changes" and Variations 4 46
"Anthropology" - Charlie Parker
BbMaj7 Ab7 Gb7 F7 BbMaj7 Ab7 Gb7 F7
                              
    

F-7 Bb7
    
EbMaj7
      
Ab7(#11) D-7
 
G7 C-7 F7
                      
  

BbMaj7 Ab7 Gb7 F7 BbMaj7 Ab7 Gb7 F7

                     
         

F-7 Bb7 EbMaj7 Ab7(#11) C-7 F7 BbMaj7

                  
                 

                   
Eb-7 Ab7 D-7 G7
       

                         

Db7

Gb7 C-7 F7
 
3

BbMaj7 Ab7 Gb7 F7 BbMaj7 Ab7 Gb7 F7

                                 
    

 
F-7 Bb7 EbMaj7 Ab7(#11) C-7 F7 BbMaj7
                     

         
Copyright © 2009 Alex Noppe. All rights reserved.
 "Rhythm Changes" and Variations 5 47
"Oleo" - Sonny Rollins
F#7 B7 E7 A7 D7 G7 C7 F7
           
                

Bb7 EbMaj7 Ab7 D7 G7 C7 F7

                             

F#7 B7 E7 A7 D7 G7 C7 F7
           
               

Bb7 EbMaj7 Ab7 C-7 F7 BbMaj7

                           

D7 Db7
                

C7 B7
                

F#7 B7 E7 A7 D7 G7 C7 F7
            
             

 
Bb7 EbMaj7 A7 C-7 F7 BbMaj7
                    
        
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