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).
[/green_tick_2_list]
[/features_box_blue]
Bossa Nova Learning Major Scales for Turnaround 14-3-1
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the entire section on Bossa Nova Turnarounds, start studying Bossa Nova Learning Scales. This section gives you exercises which help you learn many scales and modes suggested by chords.[/features_box_yellow]
Studying the Diatonic Major Scale:
- The best way to study scales is by playing the natural chords of that scale.
- In major, the triads are as follows: Major, Minor, Minor, Major, Major, Minor, Diminished (see the example).
- The progressive order of the chords is the same when we learn the modes (you are just starting on a different note in the scale).
- In sevenths, the sevenths are as follows: Major Seventh, Minor Seventh, Minor Seventh, Major Seventh, Dominant Seventh, Minor Seventh and Half-diminished Seventh (see below).
- Play in all keys (the key of C is easy because all the notes are on the white keys).
- You use the Major Scale when playing over a Maj 9 (or Maj 7) chord or a Major 6+9 chord.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ProgLearningBasicSca.pdf” + target=”_self”]Bossa Nova Learning Major 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 and quickly play the triads of the Major Scale in all keys.
- I can easily and quickly play the sevenths of the Major Scale in all keys.
[/green_tick_2_list]
[/features_box_blue]
Bossa Nova w/Turnaround w/Lydian/Mixolydian Mode 14-2-6
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Bossa Nova w/Turnaround Tritone Substitution-Mixolydian Mode, start studying Bossa Nova w/Turnaround w/Lydian/Mixolydian Mode. [/features_box_yellow]
Practicing the Turnaround with the Lydian/Mixolydian Mode:
- Understand that the Lydian/Mixolydian (#4 b7) comes originally from the Melodic Minor Scale. It is 4 to 4 of that scale. It’s also like a mix of the Lydian (#4) and the Mixolydian (b7).
- Play the Mixolydian/Lydian Mode as a scale over all the chords in the Turnaround (including the tritone subs).
- Put on a metronome at 80 and make melodies using only the Lydian/Mixolydian Mode while playing the BN Groove with the Turnaround and all Tritone Subs.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTLydMixoExpl.pdf” + target=”_self”]Lydian Mixolydian Explanation[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTLydMixoA.pdf” + target=”_self”]Lydian Mixolydian Page 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTLydMixoB.pdf” + target=”_self”]Lydian Mixolydian Page 2[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTLydMixoC.pdf” + target=”_self”]Lydian Mixolydian Page 3[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/SubTTLydMixoD.pdf” + target=”_self”]Lydian Mixolydian Page 4[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I understand that the Lydian/Mixolydian (#4 b7) comes originally from the Melodic Minor Scale. It is 4 to 4 of that scale. It’s also like a mix of the Lydian (#4) and the Mixolydian (b7).
- I can easily play the Mixolydian/Lydian Mode as a scale over all the chords in the Turnaround (including the tritone subs).
- I can easily make melodies using only the Lydian/Mixolydian Mode while playing the BN Groove with the Turnaround and all Tritone Subs.
[/green_tick_2_list]
[/features_box_blue]
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
[green_tick_2_list width=”100%”]
- 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.
[/green_tick_2_list]
[/features_box_blue]
Bossa Nova w/Dorian Transposition 14-1-8
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Bossa Nova w/Modal Melodic Rhythm, start studying Bossa Nova w/Dorian Transposition. [/features_box_yellow]
Creating a Dorian Tune:
- When you have a Dm7 . . . think D Dorian Mode.
- Arbitrarily choose four different Dorian Mode keys.
- I choose D, F, Ab, B.
- Play through the key changes using the BN Modal Groove. When you are in D Dorian . . . you are thinking ahead to F Dorian. Always be thinking to the next chord change.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BossaDorianTrans.pdf” + target=”_self”]Bossa Nova w/Dorian Transposition[/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 Bossa Nova w/Dorian Transposition.
[/green_tick_2_list]
[/features_box_blue]
Modal Hand Independence Exercise 9-7
[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate
Study the Modal Hand Independence Exercise after familiarizing yourself with the Modal Structures Exercise.[/features_box_yellow]
It’s important to de-emphasize the hands when improvising. You don’t want specific functions for each hand. In other words, think under the hands. Try making up melodies using the Modal Improv Exercise by alternating the hands, note-by-note.
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I have practiced the Modal Hand Independence Exercise by improvising melodies on the Modal Improv Exercise while alternating the hands, note-by-note.
[/green_tick_2_list]
[/features_box_blue]
Modal Exercise Melodic Phrases 9-4
[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate
Study the Modal Exercise Melodic Phrases after familiarizing yourself with the Modal Exercise Continuous Melody.[/features_box_yellow]
Now that you are comfortable playing the Modal Improv Exercise continuously with Quarter Notes, Eighth Notes, Quarter-note Triplets and Eighth-note Triplets (Sixteenth Notes are good, too) – then start playing short phrases using the various note values. Always feel like the next chord is “pulling” you toward it. Always count each measure out loud. Then, decide on what beat (or after beat) you want to start your “lick”. (For instance: +4+1) Try to land on beat 1 . . . and land on a chord tone. Use phrasing. Hear the entire lick (to the last note) before you start playing it. Try singing as you are playing (the fingers follow the singing). Use a metronome.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalExB.pdf” + target=”_self”]Modal Exercise [/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
[green_tick_2_list width=”100%”]
- I can easily and comfortably play through the Modal Exercise using short phrases, thinking forward to the first beat of the next measure.
[/green_tick_2_list]
[/features_box_blue]
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
[green_tick_2_list width=”100%”]
- I have studied and know the modes of the Modal Exercise.
[/green_tick_2_list]
[/features_box_blue]
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
[green_tick_2_list width=”100%”]
- 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.
[/green_tick_2_list]
[/features_box_blue]
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
[green_tick_2_list width=”100%”]
- 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.
[/green_tick_2_list]
[/features_box_blue]
