Bossa Nova Turnaround Chart 14-5-7
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered Bossa Nova Modal Tune Soloing w/Band-in-a-box, start studying Bossa Nova Turnaround Chart.[/features_box_yellow]
Using the Turnaround Chart:
- Can use either the I VI II V or the II V I VI.
- The first column down is all Diatonic (out of the Major Scale). In C Major . . . it uses just the white keys. However, each chord is a different mode. The I chord is the Ionian Mode (1-1). The VI chord is the Aeolian Mode (6-6). The II chord is the Dorian Mode (2-2) and the V chord is the Mixolydian Mode (5-5). Practice the modes with structures.
- You can also break up the structures and play modally.
- Looking at the Turnaround Chart – you can choose any chord and mode from the I chord, VI chord, II chord and V chord. Learn each mode completely.
- Play your choices over and over . . . until it is totally automatic. Always think forward to the next chord.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Turnaround Chart1a.pdf” + target=”_self”]Turnaround Chart II V I VI[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Turnaround Chart1b.pdf” + target=”_self”]Turnaround Chart I VI II V[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I have studied the Turnaround Chart and all the chords and modes (in all keys).
- I have chosen a mode for the I, VI, II and V chords and can play them with a metronome or BIAB.[/green_tick_2_list]
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Bossa Nova Modal Tune Soloing w/Band-in-a-box 14-5-6
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered Bossa Nova Modal Tune Soloing Phrasing, start studying Bossa Nova Modal Tune Soloing w/Band-in-a-box.[/features_box_yellow]
Ideas for soloing:
- Always be aware of the Bossa Groove. You don’t have to play the literal groove. Work off of the drummer and bassist.
- Always play licks forward to a destination point. Practice playing from chord to the next chord.
- Use different note values, including triplets and syncopations.
- Use comping chords in all inversions.
- Think modally. Play across the hands.
- Allow time to think. Play in complete phrases (to the last note). Don’t meander.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalBossa.pdf” + target=”_self”]Modal Bossa[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalBossamelA.pdf” + target=”_self”]Modal Bossa Tune with scales Part 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalBossamelB.pdf” + target=”_self”]Modal Bossa Tune with scales Part 2[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have played the Modal Bossa Tune over and over.
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Bossa Nova Modal Structures for the Major Chord 14-4-1
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered Bossa Nova Learning Scales for Turnaround I Chord, start studying Bossa Nova Modal Structures for the Major Chord.[/features_box_yellow]
Learning the chord structures for the I chord (Major Scale):
This is for the C9 and C6+9 chords.
Start playing structures in the key of C.
Play a “core” chord (from the Turnaround) in the left hand and add in add in additional notes or tones from the Major Scale in the right hand.
Play 10ths and add in diatonic (notes from the Major Scale) tones in the middle of the 10th.
Put on the metronome at 90 and play structures in the key of C. Let you hands flow over the piano keyboard. Don’t play melody at this point.
Pick three additional keys and learn the Major Scale Structures in each of those keys. Play each with a metronome.
Finally . . . play with a metronome from chord to chord (in your chosen four keys). Always think forward to the next chord.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningBasicSc1chExA.pdf” + target=”_self”]Chord Structures for the major chord. Page 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningBasicSc1chExB.pdf” + target=”_self”]Chord Structures for the major chord. Page 2[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I understand that the C Major Chord Structures are for the C9 and C6+9 chords.
- I have practiced playing structures in the key of C.
- I can play a “core” chord (from the Turnaround) in the left hand and add in add in additional notes or tones from the Major Scale in the right hand.
- I can play 10ths and add in diatonic (notes from the Major Scale) tones in the middle of the 10th.
- I can put on the metronome at 90 and play structures in the key of C. Pick three additional keys and learn the Major Scale Structures in each of those keys. Play each with a metronome.
- I can play with a metronome from chord to chord (in your chosen four keys). Always think forward to the next chord.
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Bossa Nova Learning Scales for Turnaround I Chord 14-3-6
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered Bossa Nova Learning Scales for Turnaround V Chords, start studying Bossa Nova Learning Scales for Turnaround I Chord.[/features_box_yellow]
Learning the Scales for the I Chord:
- CMa9 or CMa6+9 – play the Ionian Mode (Major Scale) (see below for the triads and seventh chords).
- CMa9 or CMa6+9 – play the Lydian Mode (4-4) #4 (see below for the triads and seventh chords).
- CMi9 or CMi6+9- Play the Aeolian Mode (6-6) b3 b6 b7 (see below for the triads and seventh chords).
- CMi(Ma7) – Play the Alt Scale (7-7 of the Melodic Minor) (see below for the triads and seventh chords).
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningSc1ChCa.pdf” + target=”_self”]Bossa Nova Learning Scales for Turnaround I Chord Page 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningSc1Chb.pdf” + target=”_self”]Bossa Nova Learning Scales for Turnaround I Chord Page 2[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningSc1ChCa.pdf” + target=”_self”]Bossa Nova Learning Scales for Turnaround I Chord Page 3[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I can play the Triads and Seventh Chords for the CMa9 or CMa6+9 and the Ionian Mode (Major Scale),
- I can play the Triads and Seventh Chords for the CMa9 or CMa6+9 and the Lydian Mode (4-4) #4.
- I can play the Triads and Seventh Chords for the CMi9 or CMi6+9 and the Aeolian Mode (6-6) b3 b6 b7.
- I can play the Triads and Seventh Chords for the CMi(Ma7) and the Alt Scale (7-7 of the Melodic Minor).
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Bossa Nova Learning Scales for Turnaround V Chords 14-3-5
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered Bossa Nova Learning Scales for Turnaround II & VI Chords, start studying Bossa Nova Learning Scales for Turnaround V Chords.[/features_box_yellow]
Learning the scales for the alterations of the V Chord:
- G7(13) or G7sus – play the Mixolydian Mode (7-7) (b7) (see below for the triads and seventh chords).
- Gb9(13) or Gb9 – Play the H/W Diminished Scale (see below for the triads and seventh chords).
- G9(13) or G7(#11) – Play the Lydian/Mixolydian Mode (4-4 of Melodic Minor) #4 and b7 (see below for the triads and seventh chords).
- G#9(b13) or G7(b9) – Play the Alt Scale (7-7 of the Melodic Minor) (see below for the triads and seventh chords).
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningSc5Cha.pdf” + target=”_self”]Learning Scales for Turnaround V Page 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningSc5Chb.pdf” + target=”_self”]Learning Scales for Turnaround V Page 2[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I have practiced playing the G7(13) or G7sus by playing the Mixolydian Mode (7-7) (b7).
- I have practiced playing the Gb9(13) or Gb9 by playing the H/W Diminished Scale.
- I have practiced playing the G9(13) or G7(#11) by playing the Lydian/Mixolydian Mode (4-4 of Melodic Minor) #4 and b7.
- I have practiced playing the G#9(b13) or G7(b9) by playing the Alt Scale.
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Bossa Nova Learning Melodic Minor Scales for Turnaround 14-3-3
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered Bossa Nova Learning Diminished Scales for Turnaround, start studying Bossa Nova Learning Melodic Minor Scales for Turnaround.[/features_box_yellow]
Mastering the Melodic Minor Scale:
- This is a Major Scale with a b3.
- The triads, in order, are as follows: Min, Min, Aug, Maj, Maj, Dim, Dim. You must learn the order of those chords.
- The sevenths, in order, are as follows: Min(Ma7), Min7, Aug(Ma7), Dom, Dom, Half Dim, Half Dim.
- Play over the Minor Chord, the Min(Ma9), Min(6+9).
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningMelMinSc.pdf” + target=”_self”]Learning Melodic Minor Scales for Turnaround[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I can easily play the Melodic Minor Scale in all keys. It is a Major Scale with a b3.
- I have learned the triads, in order, in all keys.
- I have learned the sevenths, in order, in all keys.
- I can play the Melodic Minor Scale over the Min(Ma9) or Min(6+9)
[/green_tick_2_list]
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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
[green_tick_2_list width=”100%”]
- 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
[green_tick_2_list width=”100%”]
- 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.
[/green_tick_2_list]
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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
[green_tick_2_list width=”100%”]
- 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.
[/green_tick_2_list]
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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
[green_tick_2_list width=”100%”]
- 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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