Modal Structures Exercise 9-6

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Modal Structures Exercise after familiarizing yourself with the Modal Transposition Exercise.[/features_box_yellow]

Start playing each of the modes of the Modal Improv Exercise using Chord Structures.

Two-note Structures
Three-note Structures
Four-note Structures
Five-note Structures
Random Chord Structures

Think of the top-note of the structure as a melody note. Play melodies using structures. Completely be comfortable with all the modes of the Modal Improv Exercise. Play in all Keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalChordStructuresTwo.pdf” + target=”_self”]Modal Structures – Two[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalChordStructures3.pdf” + target=”_self”]Modal Structures – Three[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalChordStructuresRandom.pdf” + target=”_self”]Modal Structures – Random[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily play all the various structures of the Modal Structures Exercise.
I can play melodies with various chord structures.
I can do the above in all keys.

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Modal Exercise – Part 2 9-2

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the modes of the Modal Exercise after learning the left hand chord progression.[/features_box_yellow]

The chords and modes of the Modal Improv Exercise are as follows:

G Minor: G Dorian Mode (2-2) b3 & b7
F Major: F Ionian Mode (Major Scale) (1-1)
Eb Major: Eb Lydian Mode (4-4) #4
D Minor: D Aeolian Mode (6-6) b3 b6 b7

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalExB.pdf” + target=”_self”]Modal Exercise – Part 2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have studied and know the modes of the Modal Exercise.

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Pachelbel Exercise Melody and Single Bass Note 8-1

Pachelbel Exercise Melody & Single Bass Note 8-1

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Melody & Single Bass Note after studying the Pachelbel Introduction.[/features_box_yellow]

Let’s take the chords of Pachelbel and use them to make melody. Remember – the chords are C-G-Am-Em-F-C-F-G. Start with C – going to G. When you make melody from one chord to another – think in “pick-ups”. Decide when in the measure you are going to start your pick-up. For instance, if you start on the and of three – you will have a four-note pick-up to the G triad. So, start on a chord-tone in C (C-E-G) and end on a chord-tone in G (G-B-D). Ask yourself: “How many ways can I move from C to G?” Once you have done this move from G to Am . . . and do this from chord to chord through the tune.

Once this is accomplished – play a five-note lead-in (starting on beat 3). Then, play a six-note lead-in (starting on the and of 2). Then, a seven-note lead-in (starting on beat 2). Finally – play spontaneously through the Pachelbel Canon. Play in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel1a.pdf” + target=”_self”]Pachelbel Exercise Melody & Single Bass Note Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel1b.pdf” + target=”_self”]Pachelbel Exercise Melody & Single Bass Note Page 2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have played many ways of creating melody with a four-note pick-up from C to G.
Then a five-note pick-up, six-note pick-up and seven-note pick-up.
Play from chord to chord.
Play spontaneously through the Pachelbel Canon.
Play in all keys.

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Pachelbel Exercise Open Voicings w/Melody 8-5

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Open Voicings with Melody after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]

Now . . . let’s take one open voicing and move to another open voicing . . . for the purpose of creating a pick-up melody. For instance, take a voicing in C and play a melody which ends on G open voicing. Ask yourself: “How many ways can I create different open voicings and different melodic paths from C to G. Of course, start your pick-ups on different beats.

Then put on a metronome and choose one rhythmic patter to play through the entire Pachelbel Canon. Then, play many different open voicings and melodic rhythmic patterns through the Pachelbel Canon. Count out loud. Do this in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachOVwMel.pdf” + target=”_self”]Pachelbel Exercise Open Voicings w/Melody[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can play from C to G using different open voicings and different melodic pick-ups. Then, I can continue this through the Pachelbel Canon.
I can play with a metronome through the Pachelbel Canon using different open voicings and different melodic rhythms.
I can do the above in all keys.

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Section 8: Pachelbel Canon Project

Pachelbel Canon Project Introduction

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Canon Project after studying the Question & Answer Exercises.[/features_box_yellow]

Now that you are thoroughly familiar with Open Voicings . . . and “Making Up Your Own Progression” and Question and Answer, let’s begin to utilize your skills by developing the familiar Pachelbel Canon. The Pachelbel Canon is created over a set chord progression, much the same as learning any tune.

The first skill to develop is to be able to play the progression in any key. I recommend learning the left hand bass notes first. Think of the progression in Roman Numerals. They are I, V, VIm, IIIm, IV, I, IV V. (Notice that the VI and III are both in minor.) Play this bass line in all keys calling out the Roman Numerals.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Pachbassline.pdf” + target=”_self”]Pachelbel bass line[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Pachbass&mel.pdf” + target=”_self”]Pachelbel bass line with melody[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily play the Pachelbel bass line in all keys.
I can easily play the Pachelbel bass line and melody in all keys.

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Question and Answer Minor 7-8

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study Question and Answer Minor after studying the Question & Answer I IV V I Chord Changes.[/features_box_yellow]

To play the Im IVm V7 Im Q & A – first, study various minor scales and minor-type modes. For instance: Melodic (b3), Natural b3, b6 & b7), & Harmonic Minor (b3 & b6). Also use the Dorian (b3 & b7) and Phrygian (b2 b3 b6 b7) Modes. Practice and familiarize yourself with these scales first.

Then, make melodies using your ear. If you play the Bb . . . then avoid the B natural. If you play the Ab . . . then avoid the A natural. Always use the flatted third. You often use the harmonic minor scale from the I chord when playing melodies over the V7 chord.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Q-AMinor.pdf” + target=”_self”]Question and Answer Minor[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have familiarized myself with the minor modes and scales.
I have created minor melodies over the Im IVm V7 Im chord progression (in all keys).

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Question and Answer I IV V I Chord Changes 7-7

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study Question and Answer I IV V I after studying the Question & Answer Chord Changes.[/features_box_yellow]

Now, practice Q & A with the I IV V7 I progression. Start by practicing the Ionian Mode (Major Scale), Lydian Mode (#4) (for the IV chord and Mixolydian Mode (b7) (for the V chord). Then, play a single note for the bass and single note for the melody. Then, add in tones. Then, play modally. Take this step-by-step.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Q-ACh1451.pdf” + target=”_self”]Question and Answer I IV V I Chord Changes[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have practiced the Ionian, Lydian and Mixolydian Modes.
I have played Q & A with a single note in the bass and single note in the melody.
I have then created Added Tones.
I can now play I IV V7 I modally.

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V7 to I Melodic Exercise 6-1

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Learn this lesson after having mastered the Chordal Melodic Exercise.[/features_box_yellow]

This exercise is in several parts. Melodically, resolve the “unstable” V7 chord to the “very stable” I Chord. The V7 is “restless” because the third and seventh in the chord are leading tones. The leading tones literally want to be resolved to the stable I chord. The third of the V7 (G7) chord is a B, which “wants” to resolve to the I (C) of the C major triad. And, the F, the seventh of the G7 chord wants to resolve to the third (or possibly the fifth) the the C major triad.

Begin by using two measures. One measure is the territory of the V7 and the second measure is for the I chord. Put on a metronome at a comfortable tempo. Then start counting at an eighth-note level (For instance, 1+2+3+4+). Decide which of the beats to begin your lick or phrase. For now, keep all of the notes as eighth notes. Therefore – if you begin the phrase on the and of 3, you will have four notes before you end the phrase at beat one of the next measure (count +4+1). Incidentally, in this case, we are deliberately ending the phrase, in an obvious place, the first beat (for syncopation, sometimes we end the phrase on the and of four). It is important that we keep the rules of this exercise to a minimum. We want to “feel” our way through this. My suggestion is that you always end on a chord tone of the I chord. Your “intelligent” problem is finding a way to resolve (the operative word) successfully to the I chord. In other words – use your ear. Feel the result. Try an idea of “grading” each lick. Do this according to your taste. Perhaps, a “10” is a killer lick and a “1” is worth forgetting. (See Examples )
When you have exhausted all the possibilities (in every key) of leaving on the “and of 3”, then explore leaving on 3. You will notice that now it takes 5 notes to resolve to the I chord (count 3+4+1). Every time you leave from a different beat – you have to re-organize the notes to the resolution.

After you have accomplished “leaving” from all the possible eighth-note beats, then start playing syncopations and using triplet figures. This is much more difficult.

Think about it. When a jazz soloist stands on the stage and performs a solo – he MUST know all of the notes of a lick that he intends to play right through to it’s destination. If not – the audience will know that he is not in control. It will also be difficult for him to maintain continuity from lick to lick.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/V7-IMelEx.pdf” + target=”_self”]V7 to I Melodic Exercise – Leaving on 3 1/2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/V7-IMelExB.pdf” + target=”_self”]V7 to I Melodic Exercise – Leaving on 3[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/V7-IMelExC.pdf” + target=”_self”]V7 to I Melodic Exercise – Leaving on 2 1/2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/V7-IMelExD.pdf” + target=”_self”]V7 to I Melodic Exercise – Leaving on 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/V7-IMelExE.pdf” + target=”_self”]V7 to I Melodic Exercise – Leaving on 1 1/2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can play the V to I Melodic Exercise in all keys.
I can start melodies on each beat.

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II V I Progression Alterations 10-5

[features_box_yellow width=”75%” + border=”2px”]Level: Advanced

Now, after studying the full II V I begin the difficult study of all of the alterations. Study the II V I alterations diligently around the Cycle of Fourths and Fifths and up and down chromatically. This is definitely a long-term study.[/features_box_yellow]

This is where the II V I Progression study gets a lot more complicated. We can alter the II chord, V chord and I chord. Most of the alterations take place in the V chord. So start your study there. Play all of the alterations until you know each completely. Use the II V I Progression as a vehicle for learning the alterations. Of course, play the alterations in ALL inversions. Play around the Cycle of Fourths, Cycle of Fifths and up and down Chromatically. This is definitely a long-term exercise. Keep at it!

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/251ProgAlt1.pdf” + target=”_self”]II V I Progressions with Alterations Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/251ProgAlts251.pdf” + target=”_self”]II V I Progressions with Alterations Page 2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

[green_tick_2_list width=”100%”]

I can quickly and easily play the II V I Progression with Alts around the Cycle of Fourths, Cycle of Fifths and up and down chromatically in all keys.
I can quickly and easily play the II V I Progression Inversions with Alts around the Cycle of Fourths, Cycle of Fifths and up and down chromatically in all keys.
I can do the above using the left hand playing the chord and singing the root note.

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IIm9 V9(13) IMa9 Progression 10-3

[features_box_yellow width=”75%” + border=”2px”]Level: Advanced

Now, after studying the II V Is in the Major and Minor thirds and sevenths, practice the full IIm9 V9(13) IMaj9 Progression. Study the II V Is in major and minor diligently around the Cycle of Fourths and Fifths and up and down chromatically.[/features_box_yellow]

Now you are going to play the “classic” IIm9 V9(13) IMa9 Progression. This is really the first significant step toward learning to play jazz tunes. You also will have a gateway toward learning lots of chord alterations later. This takes a long time . . . . . but, it’s totally worth it!

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Prog251solo.pdf” + target=”_self”]II V I Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Prog251a.pdf” + target=”_self”]II V I Page 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Prog251b.pdf” + target=”_self”]II V I Page 3[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

[green_tick_2_list width=”100%”]

I can quickly and easily play the full IIm9 V9(13) IMaj9 Progression around the Cycle of Fourths, Cycle of Fifths and up and down chromatically in all keys.
I can do the above using the left hand playing the chord and singing the root note.

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Click for Next Lesson

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Category Archives: Beginning Theory

Modal Structures Exercise 9-6