Bossa Nova Learning Diminished Scales for Turnaround 14-3-2

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

After you have mastered Bossa Nova Learning Scales, start studying Bossa Nova Learning Diminished Scales for Turnaround. [/features_box_yellow]

Ideas for learning the Diminished Scales:

The Diminished Scales are built around the Diminished Seventh Chord.
There are two scale options: Half-Whole Diminished or Whole-Half Diminished.
The scales are equal-distant: for instance: the H/W Dim is half-step, whole-step, half-step, whole-step, etc. The W/H is the opposite.
There are only three different scales and chords (C, C# & D). There are no inversions in the Diminished Seventh Chord.
Practice all the Diminished Scales in all keys . . . in H/W and W/H.
Practice the Diminished Scale Exercise. This is where you play one Diminished Chord. Start a whole step with the top two notes above the chord . . . then move down to the diminished chord (See example and the video).
Think of the Diminished Chord as a V7. You can then play the Diminished Scale Exercise in four different V7 chords (for each diminished). Then resolve to the I chord (depending on which V7 you use. (See example and the video.)

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ScalesDim.pdf” + target=”_self”]Diminished Scales[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ScalesDimScEx.pdf” + target=”_self”]Diminished Scales Exercise[/membership_download_item_pdf]

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

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I have learned the Half-Whole Diminished or Whole-Half Diminished for each Diminished Seventh Chord.
I have learned all the Diminished Scales in all keys . . . in H/W and W/H.
I have practiced the Diminished Scale Exercise in all keys.
I can think of the Diminished Chord as a V7 and can then play the Diminished Scale Exercise in four different V7 chords (for each diminished).

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Bossa Nova w/Minor Turnaround Chord Alterations 14-2-9

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

After you have studied the Bossa Nova w/Major Turnaround Chord Alterations, start studying Bossa Nova w/Minor Turnaround Chord Alterations. [/features_box_yellow]

Learning the Minor Turnaround with Alterations:

The Alt Chord is more “native” in the Minor Turnaround.
In C: use the Dm9(b5), V7((b9 b13), Cm9, A7 Alt (#9 b13). Practice these alterations in all inversions, in all keys.
Change all the chords to dominants (except the Im).
Play the II Alt, V Alt, IMin9, VI Alt and all the Tritone Subs.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BNProgTurnTTMinorA.pdf” + target=”_self”]Bossa Nova w/Minor Turnaround Chord Alterations Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BNProgTurnTTMinorB.pdf” + target=”_self”]Bossa Nova w/Minor Turnaround Chord Alterations Page 2[/membership_download_item_pdf]

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

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I can play using the IIm9(b5), V7((b9 b13), Im9, VI7 Alt (#9 b13).
I have practiced these alterations in all inversions, in all keys.
I have changed all the chords to dominants (except the Im) and can play the II Alt, V Alt, IMin9, VI Alt and all the Tritone Subs.

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Bossa Nova w/Major Turnaround Chord Alterations 14-2-8

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

After you have studied the Bossa Nova w/Minor Turnaround Tritone Substitution-Alt Chord, start studying Bossa Nova w/Major Turnaround Chord Alterations. [/features_box_yellow]

Learning the Major Turnaround with Chord Alterations:

You can alter any of the chords of the Turnaround.
One idea: In C: use a Dm7(b5), G7(b9), CMaj9, Am9. Play the Turnaround with “bouncing” inversions in the right hand and in all keys.
Another idea: In C: use a Dm11(b5), V7(b9), IMa9, A Alt (#9 b13). Play the Turnaround with “bouncing” inversions in the right hand and in all keys.
Change all the chords in the Turnaround to dominants. Then, play the Tritone Subs with alterations. (See the exercise and the video).
This is a long-term exercise.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Bossa2516MajAlterationsA.pdf” + target=”_self”]Turnaround Major Alterations Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Bossa2516MajAlterationsB.pdf” + target=”_self”]Turnaround Major Alterations Page 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Bossa2516MajAlterationsC.pdf” + target=”_self”]Turnaround Major Alterations Page 3[/membership_download_item_pdf]

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

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I can play a Dm7(b5), G7(b9), CMaj9, Am9 while playing the Turnaround with “bouncing” inversions in the right hand and in all keys.
I can play a a Dm11(b5), V7(b9), IMa9, A Alt (#9 b13) while playing the Turnaround with “bouncing” inversions in the right hand and in all keys.
I can change all the chords in the Turnaround to dominants – and then play the Tritone Subs with alterations.

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Bossa Nova w/Turnaround Tritone Substitution-Altered Scale 14-2-7

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

After you have studied the Bossa Nova w/Turnaround w/Lydian/Mixolydian Mode, start studying Bossa Nova w/Turnaround TriTone Substitution-Altered Scale. [/features_box_yellow]

Learning the Alt Scale and Chord:

The Alt Scale is 7 to 7 of the Melodic Minor Scale. It has a Half-whole Diminished Scale on the bottom and a whole-tone scale on the top.
Study each of the chords (use the 3 & 7 in the left hand) of the Turnaround (with Tritone Subs) with the scales of the Lydian/Mixolydian Mode (#4 b7) (4-4 of the Melodic Minor Scale) and the Alt Scale (#9 b13) (7-7 of the Melodic Minor Scale).
Study the chords for the Lydian/Mixolydian Mode (9 13) and the Alt Chord (#9 b13). This will take awhile.
Play the BN Turnaround Groove (with Tritone Subs) with melodies using the Alt Scale.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTAltExpl.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Altered Scale Explanation[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTAltA.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Altered Scale Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTAltB.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Altered Scale Page 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTAltC.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Altered Scale Page 3[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTAltD.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Altered Scale Page 4[/membership_download_item_pdf]

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

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I have studied and know each of the chords of the Turnaround (with Tritone Subs) with the scales of the Lydian/Mixolydian Mode (#4 b7) (4-4 of the Melodic Minor Scale) and the Alt Scale (#9 b13) (7-7 of the Melodic Minor Scale).
I have studied and know the chords for the Lydian/Mixolydian Mode (9 13) and the Alt Chord (#9 b13). This will take awhile.
I can easily play the BN Turnaround Groove (with Tritone Subs) with melodies using the Alt Scale.

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Bossa Nova w/Turnaround Tritone Substitution-Mixolydian Mode 14-2-5

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

After you have studied the Bossa Nova w/Turnaround TriTone Substitution, start studying Bossa Nova w/Turnaround Tritone Substitution-Mixolydian Mode. [/features_box_yellow]

Melodic ideas using the Mixolydian Mode (b7):

Play all of the chords of the two Turnarounds and Subs with the Mixolydian Mode Scale. (Major Scale with a b7).
Put a metronome on 80 and play the Continuous Melody Exercise using the Mixolydian Mode over all the chords of the two Turnarounds . . . with all tritone subs. Mix and match.
Make melodies using the Mixolydian Mode over all the chords of the two Turnarounds . . . with all tritone subs. Always think forward! Use all the time values.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTMixoA.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Mixolydian Mode Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTMixoBa.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Mixolydian Mode Page 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTMixoCa.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Mixolydian Mode Page 3[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTMixoD.pdf” + target=”_self”]Bossa Nova w/Turnaround TriTone Substitution-Mixolydian Mode Page 4[/membership_download_item_pdf]

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

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Play all of the chords of the two Turnarounds and Subs with the Mixolydian Mode Scale.
I can easily play the Continuous Melody Exercise using the Mixolydian Mode over all the chords of the two Turnarounds (with all tritone subs).
I can make melodies using the Mixolydian Mode over all the chords of the two Turnarounds . . . with all tritone subs.

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Bossa Nova w/Turnaround Tritone Substitution 14-2-4

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

After you have studied the Bossa Nova w/Turnaround – Continuous Melody, start studying Bossa Nova w/Turnaround TriTone Substitution. [/features_box_yellow]

Steps for learning the BN Turnaround with Tritone Subs:

Study the Dominant 7th with only a 3 and b7. Notice that when you play a 3 and 7 and move the root a tritone away . . . it reverses the 3 & 7 (to 7 & 3). Now, you have two choices when playing the Turnaround: the “normal” chord . . . or the Tritone Sub.
Now you can substitute the III chord for the I chord (that sets up a Cycle of Fourths). Explore all the Tritone Subs.
Now, you can substitute the bVII chord for the III chord. Explore all the Tritone Subs.
Now play the above with the BN Turnaround Groove while randomly choosing either the “normal” chord or the Tritone Sub.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BNturnaroundTTExplan.pdf” + target=”_self”]Tritone Substitution Explanation[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BNturnaroundtri-toneA.pdf” + target=”_self”]Tritone Substitution Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BNturnaroundtri-toneB.pdf” + target=”_self”]Tritone Substitution Page 2[/membership_download_item_pdf]

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

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I have studied the Dominant 7th with only a 3 and b7.
I have learned all the choices using the “normal” Turnaround and the Turnaround with tritone subs. This includes starting on the III chord and the bVII chord.
I can easily play the above with the BN Turnaround Groove while randomly choosing either the “normal” chord or the Tritone Sub.

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Bossa Nova w/Turnaround Counting 14-2-2

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

After you have studied the Bossa Nova Turnaround Inversions, start studying Bossa Nova w/Turnaround Counting. [/features_box_yellow]

Practicing the BN Turnaround while counting:

Play the BN Groove Turnaround while bouncing the inversions in the right hand.

Then, count Quarter Notes out loud.

Then, count Eighth Notes out loud.

Then, count Quarter-note Triplets out loud.

Then, count Eighth-note Triplets out loud.

Do the above while playing the groove in the left hand.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BossaQuarter2516.pdf” + target=”_self”]Bossa II V I VI Quarter Notes[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BossaQuarTrip2615.pdf” + target=”_self”]Bossa II V I VI Quarter Note Triplets[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BossaEighth2516.pdf” + target=”_self”]Bossa II V I VI Eighth Notes[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BossaEighthTrip22516.pdf” + target=”_self”]Bossa II V I VI Eighth Note Triplets[/membership_download_item_pdf]

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

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I can easily play the BN Groove Turnaround while bouncing the inversions in the right hand.
I can do the above while counting out loud Quarter Notes, Quarter-note Triplets, Eighth Notes and Eighth-note Triplets.
I can do the above while playing the BN Groove with the left hand only.

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Bossa Nova Turnaround Inversions 14-2-1

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

After you have studied the Bossa Nova Turnarounds Introduction, start studying the Bossa Nova Turnaround Inversions. [/features_box_yellow]

Steps for learning the Bossa Nova Groove with Turnaround Inversions:

Play the II V I VI Turnaround and “bounce” around playing the inversions randomly.
Play the I VI II V Turnaround and “bounce” around playing the inversions randomly.
Play both of the Turnarounds with only the left hand.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Prog2516Inv.pdf” + target=”_self”]Bossa II VI I V Inversions[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Prog1625Inv.pdf” + target=”_self”]Bossa I VI II V Inversions[/membership_download_item_pdf]

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

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I can easily and quickly play the Bossa Nova two Turnaround Inversions while “bouncing”.
I can easily and quickly play the Bossa Nova two Turnaround Inversions using the left hand while “bouncing”.

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Open Voicings Turnaround Progression 11-5

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

After you have studied the Major and Minor Alterations, begin practicing all of the Open Voicings. Take each Open Voicing separately, using it with the Turnarounds, in all inversions around the Cycle of Fourths and Fifths and up and down chromatically. As said before, this is a long-term study of great importance. Keep at it. This is essential to develop comping and soloing.[/features_box_yellow]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgTurn2516OV.pdf” + target=”_self”]Open Voicings II V I VI Turnaround Progression Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgTurn2516OVB.pdf” + target=”_self”]Open Voicings II V I VI Turnaround Progression Page 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgTurn2516OVC.pdf”_self”]Open Voicings II V I VI Turnaround Progression Page 3[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgTurn1625OV.pdf”]Open Voicings I VI II V Turnaround Progression Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgTurn1625OVB.pdf” + target=”_self”]Open Voicings I VI II V Turnaround Progression Page 3[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgTurn1625OVC.pdf” + target=”_self”]Open Voicings I VI II V Turnaround Progression Page 3[/membership_download_item_pdf]

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I can quickly and easily play the Open Voicings Turnaround Progression around the Cycle of Fourths, Cycle of Fifths and up and down chromatically in all keys.

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Turnaround Alterations 11-4

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

After you have studied the Major and Minor Turnarounds, begin practicing all of the alterations. Take each alteration separately, using it with the Turnarounds, in all inversions around the Cycle of Fourths and Fifths and up and down chromatically. As said before, this is a long-term study of great importance. Keep at it. You will definitely need learn and hear these alterations to play jazz.[/features_box_yellow]

Once you have mastered the major and minor progressions, then you can start altering the 9th, 11th and 13 intervals.

Since these are all dominant seventh chords, all the sevenths are flatted. Next, alter the 9th interval. You can play the ninth as a major 9, flatted 9th or sharped ninth. You can also alter the 13th as a major 13th or flat 13th. Finally, you can alter the 11th. The natural 11th is also know as the sus 4. The sharp 11th is also an augmented fifth.

Once you have practiced the V7 dominant chords, start experimenting with alterations of the II, VI and I chords.

Here’s a suggestion for practice. Now that you know various progressions containing the V7 chord, start playing them around the Cycle of Fourths, Fifths and up and down chromatically. Take one V7 alteration at a time. Play it in all inversions.

Then, it is recommended that you practice various alterations of the minor and major chords.

Some of these alterations will be more useful to you than others. The reason that you are practicing them is to place new sounds into your ears. I believe, that once the subconscious assimilates new harmonic vocabulary – then, your natural intelligence will start expressing these sounds in your improvisations and compositions. The most important element is to play them in all keys. Of course, you will be more drawn to certain sounds over others, however, why not play them all? Experiment!

Just to mention: There are many methods of spelling chords. For consistency, I stack the thirds and then place in the accidentals. When reading #7, think “major seventh”. The dominant seventh is also referred as a major triad with a flatted seventh. Notice that the minor third, which defines a minor chord, is also used in a diminished chord.

These are just some sample chords. It’s fun to seek out other possibilities.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgAlts5a.pdf” + target=”_self”]Turnaround Progression Alterations for V Chord[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/.pdf” + target=”_self”]Turnaround Progression Alterations for I Chord[/membership_download_item_pdf]

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[green_tick_2_list width=”100%”]Personal Evaluation

I can quickly and easily play the Turnaround Alterations Progression around the Cycle of Fourths, Cycle of Fifths and up and down chromatically in all keys.
I can quickly and easily play the Turnaround Alterations Progression Inversions 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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Bossa Nova Learning Diminished Scales for Turnaround 14-3-2