Jazz Lesson

6 Ways To Harmonize A Major Scale
1. Contrary Motion
C – G7/B – C/Bb – F/A,Fm/G# - C/G – D/F# - G/F – C/E Up
C2 – E7 – Am7 – Bb6/C – F2 – F#m7b5 – Fm6/G – C Down
Ket: F#m7b5 = Am/F# (Am = Chord minor3rd from F#)
C#m7b5 = Em/C# (Em = Chord minor3rd from C#) Example
2. Basic
C – G – C – F – C – F – G – C Up
C – G – F – C – F – C – G – C Down
3. Stevie Wonder
C – E11 – AM7add9 – G11 – C2 – B11 – EM7 – G11 Up
C2 – G/F – Em11 – A7b9b13 – Dm7 – G7b9 – Fm6/C – C Down
Ket: E11 = D/E (D = Chord Dominant7th from E)
G11 = F/G (F = Chord Dominant7th from G)
Em11 = D/Em (Left Hand on Em not just play Octave)
A7b9b13 = Left Hand play Chord 7 A and G (like Octave)
4. Contrary Motion #2
C – G7/B – C/Bb – F/A, Fm/G# - C/G – F#m7b5 – G/F – C/E Up
C – G7/D – Ebdim7 – C/E – F – F#m7b5 – F6/G – C Down

5. Someday Wedding
C – E7#5 – FM7add9 – A7b9 – Dm11 – A7b9#13 – D713#11 – Csus/G
F#m7b5 – B7b9 – Em79b5 – A7b9 – Dm7b5 – G7b9 – Fm6/C - C
6. Descending
F#m7b5 – Fm6 – C2/E – Eb7 – AbM7 – Dm79 – G7b9 – C Just Up
Tritone Subtitution Theory
Half Step to Chord to go
G7 to C
G7 = d – f – b to C = e – g – c (f to e and b to c Half Step)
Subtitution for G7
C#7, Ebm7#5, Fm , G#m, B, F#6sus
Triad Pair System
(Melodic)
C minor Scale
Cm + Dm (Dorian/bit sad)
Eb + F (Dorian/Happier)
F + G (Melodic minor/Brightish)
Cm + D (Satie/Exotic)
Fm + G (Harmonic minor/Eastern)
Cm + Bbm (Phrygian/Winter)
Cm + Db (Phrygian/Stronger)
Cm + Bb (Natural Minor/Warmish)
The 12th Essential Blues Chord Progressions
12 bars Blues Chord Basic Progression
C7 – C7 – C7 – C7 – F7 – F7 – C7 – C7 – G7 – F7 – C7 – G7
Adding and substitute this basic Blues Chords
Variation 1 add Chord IV to Bar 2
C7 – F7 – C7 – C7 – F7 – F7 – C7 – C7 – G7 – F7 – C7 – G7
Variation 2 add IIm7 and V7 to Bar 9 and 10
C7 – F7 – C7 – C7 – F7 – F7 – C7 – C7 – Dm7 – G7 – C7 – G7
Variation 3 add #IVdim7 to Bar 6
C7 – F7 – C7 – C7 – F7 – F#dim7 – C7 – C7 – Dm7 – G7 – C7 – G7
Progression from IV to I using #IVdim7
Variation 4 add IVm to Bar 6
C7 – F7 – C7 – C7 – F7 – Fm7 – C7 – C7 – Dm7 – G7 – C7 – G7
Another Progression from IV to I using IVm (bit Melancholy)
Variation 5 add VI7 to Bar 8
C7 – F7 – C7 – C7 – F7 – F#dim7 – C7 – A7 – Dm7 – G7 – C7 – G7
Variation 6 more Chords to Bar 7 and 8
1. I7 – IV7 – IIIm7 – VI7 (C7 – F7 – Em7 – A7)
2. I7 – IIm7 – IIIm7 – VI7 (C7 – Dm7 – Em7 – A7)

3. I7 – IIm7 – IIIm7 – bIIIm7 (C7 – Dm7 – Em7 – Ebm7)
4. I7 – VII7 – bVII7 – VI7 (C7 – B7 – Bb7 – A7)
5. IIIm7 – VI7 (Em7 – A7)
Adding more Chords to 12 Bars Blues
C . C7/E . I F . F#dim7 . I C/G . G7#5 . I Gm7 C7 Gb7 . I
F7 . . . I Fm6 . Bb7 . I C . Dm7 . I Em7 . Ebm7 . I
Dm7. . .I G7 . G7aug . I C . . . I G7 . . . I
Variation 7 Bar 11 and 12
To end Blues Song
Turnaround
1. I7 – Vim7 – IIm7 – V7 (C7 – Am7 – Dm7 – G7)
2. I7 – VI7 – II7 – V7 (C7 – A7 – D7 – G7)
3. I7 – bIII7 – II7 – bII7 (C7 – Eb7 – D7 – Db7)
Blues Chord ‘Cliches’
1. Descending Cliche
C – C7/Bb – F/A – Fm/Ab I C/G . G7aug . I
2. Ascending Cliche
C – C7/E – F – F#dim7 I C/G . Db7 . I
Variation 8 Major Blues (add IIm7 and V7 to Bar 2)
C7 – Dm7.G7. – C7 – C7 – F7 – F#dim7 – C7 – A7 – Dm7 – G7 – C7 – G7
Variation 9 Descending Blues to first 4 Bars
C . . . I Bm7 . E7 . I Am7 . D7 . I Gm7 . C7 . I
With Tritone Subtitution
C . . . I Bm7 . E7 . I Am7 . Ab7 . I Gm7 . Gb7 . I

Descending 12 Bars
C . . . I Bm7 . E7 . I Am7 . D7 . I Gm7 . C7 . I
F . . . I Fm7 . . . I Em7 . . . I Ebm7 . . . I
Dm7 . . . I G7 . . . I C . Am7 . I Dm7 . G7 . I
Variation 10 Cycle 5 Blues
C13 – F7 – C7 – F#7 – F7 – Bb7 – Eb7 – Ab7 – G7 – F7 – C13 – C
Variation 11 Sus Blues
C7sus4 – C7sus4 – C7sus4 – C7sus4 – F7sus4 – F7sus4 – C7sus4 – C7sus4 –

F7sus4 – Eb7sus4 – C7sus4 – C7sus4
Variation 12 Phrygian Blues
C7 . C#7 . I C7 . C#7 . I C7 . C#7 . I C7 . C#7 . I
F7 . F#7 . I F7 . F#7 . I C7 . C#7 . I C7 . C#7 . I
G7 . . . I F7 . . . I C7 . C#7 . I C7 . C#7 . I
7 Great Jazz Scales From Melodic Minor Modes
C – D – Eb – F – G – A – B – C
The Interval is 1 – ½ - 1 – 1 – 1 – 1 – ½
Start from C is Ascending Melodic Minor:
C – D – Eb – F – G – A – B – C
Start from D is Dorian b2:
D – Eb – F – G – A – B – C – D
Start from Eb is Lydian Augmented:
Eb – F – G – A – B – C – D – Eb
Start from F is Lydian Dominant:
F – G – A – B – C – D – Eb – F
Start from G is Aeolian Dominant/Hindu Meditative Scale:
G – A – B – C – D – Eb – F – G
Start from A is Half Diminished/Locrian #2:
A – B – C – D – Eb – F – G – A
Start from B is Super Locrian/Altered Dominant:
B – C – D – Eb – F – G – A – B
To variation these Scales use interval from Melodic Minor.
Example: Use Dorian b2 start from A. Dorian b2 interval is:
½ - 1 – 1 – 1 – 1 – ½ - 1 is A – Bb – C – D – E – F# - G – A (A Dorian b2)
To practise use 2 – 5 – 1 Progression and pick Chord inside the Scale
Example using A Dorian b2 for Chord II is D – F# - A – C (D7)
Use Hindu Meditative from D for Chord V. The scale is
1 – 1 – ½ - 1 – ½ - 1 – 1 is D – E – F# - G – A – Bb – C – D
Using D Hindu Meditative for Chord V is G – Bb – D – F# (GmM7)
8 Steps to Improvise Jazz With Both Hands
1. Place LH Grip (Pentatonic Scale) with the mid finger as the centre
Exm: PF(D), RF(F), MF(G), IF(A), TF(C). D(Bass), F(m3rd), G

(P4th/centre), A(P5th), C(Dom7)
2. Know the Rythm of the song (4/4,3/4) and improve the beat.
3. Try different key with the same LH Grip Position

4. Thin out! Eliminate some fingers when press the chord.
Exm: D, F, G, A, C (five fingers) and just press D, G, C, etc.
5. RH solo! Make the same position like LH and start play melodic solo.
Exm: TF(D), IF(F), MF(G), RF(A), PF(C).
6. Recognize the Tonality. (C Major, C Lydian, etc)
7. Add Blue Not! That note beetween Mid and Ring finger and play with
Ring finger. Try different position and the Blue Not is there beetween the
fingers.
8. Speed up the Tempo!

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6 Ways To Harmonize A Major Scale

C – E11 – AM7add9 – G11 – C2 – B11 – EM7 – G11 Up

C2 – G/F – Em11 – A7b9b13 – Dm7 – G7b9 – Fm6/C – C Down

Ket: E11 = D/E (D = Chord Dominant7th from E)

G11 = F/G (F = Chord Dominant7th from G)

Em11 = D/Em (Left Hand on Em not just play Octave)

A7b9b13 = Left Hand play Chord 7 A and G (like Octave)

C – G7/B – C/Bb – F/A, Fm/G# - C/G – F#m7b5 – G/F – C/E Up

C – G7/D – Ebdim7 – C/E – F – F#m7b5 – F6/G – C Down

C – E7#5 – FM7add9 – A7b9 – Dm11 – A7b9#13 – D713#11 – Csus/G

F#m7b5 – B7b9 – Em79b5 – A7b9 – Dm7b5 – G7b9 – Fm6/C - C

F#m7b5 – Fm6 – C2/E – Eb7 – AbM7 – Dm79 – G7b9 – C Just Up

Tritone Subtitution Theory

Half Step to Chord to go

G7 = d – f – b to C = e – g – c (f to e and b to c Half Step)

C#7, Ebm7#5, Fm , G#m, B, F#6sus

Triad Pair System

The 12th Essential Blues Chord Progressions

12 bars Blues Chord Basic Progression

Adding and substitute this basic Blues Chords

Variation 1 add Chord IV to Bar 2

Variation 2 add IIm7 and V7 to Bar 9 and 10

Variation 3 add #IVdim7 to Bar 6

Progression from IV to I using #IVdim7

Variation 4 add IVm to Bar 6

Another Progression from IV to I using IVm (bit Melancholy)

Variation 5 add VI7 to Bar 8

Variation 6 more Chords to Bar 7 and 8

1. I7 – IV7 – IIIm7 – VI7 (C7 – F7 – Em7 – A7)

2. I7 – IIm7 – IIIm7 – VI7 (C7 – Dm7 – Em7 – A7)

4. I7 – VII7 – bVII7 – VI7 (C7 – B7 – Bb7 – A7)

5. IIIm7 – VI7 (Em7 – A7)

Adding more Chords to 12 Bars Blues

C . C7/E . I F . F#dim7 . I C/G . G7#5 . I Gm7 C7 Gb7 . I

F7 . . . I Fm6 . Bb7 . I C . Dm7 . I Em7 . Ebm7 . I

Variation 7 Bar 11 and 12

To end Blues Song

1. I7 – Vim7 – IIm7 – V7 (C7 – Am7 – Dm7 – G7)

2. I7 – VI7 – II7 – V7 (C7 – A7 – D7 – G7)

3. I7 – bIII7 – II7 – bII7 (C7 – Eb7 – D7 – Db7)

Blues Chord ‘Cliches’

C – C7/Bb – F/A – Fm/Ab I C/G . G7aug . I

C – C7/E – F – F#dim7 I C/G . Db7 . I

Variation 8 Major Blues (add IIm7 and V7 to Bar 2)

C7 – Dm7.G7. – C7 – C7 – F7 – F#dim7 – C7 – A7 – Dm7 – G7 – C7 – G7

Variation 9 Descending Blues to first 4 Bars

C . . . I Bm7 . E7 . I Am7 . D7 . I Gm7 . C7 . I

With Tritone Subtitution

C . . . I Bm7 . E7 . I Am7 . Ab7 . I Gm7 . Gb7 . I

C . . . I Bm7 . E7 . I Am7 . D7 . I Gm7 . C7 . I

F . . . I Fm7 . . . I Em7 . . . I Ebm7 . . . I

Dm7 . . . I G7 . . . I C . Am7 . I Dm7 . G7 . I

Variation 10 Cycle 5 Blues

C13 – F7 – C7 – F#7 – F7 – Bb7 – Eb7 – Ab7 – G7 – F7 – C13 – C

Variation 11 Sus Blues

C7sus4 – C7sus4 – C7sus4 – C7sus4 – F7sus4 – F7sus4 – C7sus4 – C7sus4 –

Variation 12 Phrygian Blues

C7 . C#7 . I C7 . C#7 . I C7 . C#7 . I C7 . C#7 . I

F7 . F#7 . I F7 . F#7 . I C7 . C#7 . I C7 . C#7 . I