Exercises for Improvisation

Complied by Ralph Martin

All rights reserved

January 2008 by Ralph Martin

Contents
A. Introcuction and Acknowledgments ............................................................... 1
B. Progressions IIm7 - V7 ................................................................................... 2
1) 5ths Down [4ths Up] (or whole Step Down) ........................................ 2
2) Chromatic (1/2 Step Down).................................................................. 2
3) Chromatic (1/2 Step Up) ...................................................................... 2
4) Whole Step (1 Step Up) ....................................................................... 2
5) Minor 3rd down (1 1/2 Steps Down) .................................................... 2
6) Minor 3rd Up (1 1/2 Steps Up) ............................................................. 3
7) Major 3rd down (2 Steps Down).......................................................... 3
8) Major 3rd Up (2 Steps Up)................................................................... 3
9) 4ths Down .......................................................................................... 3
C. IIm7 - V7 Examples ........................................................................................ 4
D. IIm7 - V7 Exercises ........................................................................................ 5
1) IIm7 - V7 Exercises 1, 2, 3 ................................................................... 5
2) IIm7 - V7 Exercises 4, 5, 6 ................................................................... 6
3) IIm7 - V7 Exercises 7, 8, 9 ................................................................... 7
4) IIm7 - V7 Exercises 10, 11, 12 ............................................................... 8
5) IIm7 - V7 Exercises 13, 14, 15 ............................................................... 9
6) IIm7 - V7 Exercises 16, 17, 18............................................................... 10
7) IIm7 - V7 Exercises 19, 20, 21............................................................... 11

8) IIm7 - V7 Exercises 22, 23, 24 ............................................................. 12

9) IIm7 - V7 Exercises 25, 26, 27.............................................................. 13
10) IIm7 - V7 Exercises 28, 29, 30 .............................................................. 14
11) IIm7 - V7 Exercises 31, 32, 33............................................................... 15
12) IIm7 - V7 Exercises 24, 35, 36 .............................................................. 16
13) IIm7 - V7 Exercises 37, 38, 39............................................................... 17
14) IIm7 - V7 Exercises 40, 41, 42.............................................................. 18
15) IIm7 - V7 Exercises 43, 44, 45.............................................................. 19
16) IIm7 - V7 Exercises 46, 47, 48 ............................................................. 20
E. Imaj7 - VIm7 - IIm7 - V7 Exercises ................................................................ 21
1) Imaj7 - VIm7 Patterns.......................................................................... 21
2) IIm7 - V7 Patterns .............................................................................. 21
3) Imaj7 - VIm7 - IIm7 - V7 Pattern Combinations ................................... 22

Introduction and acknowledgements

These exercises were originally written for practicing patterns for
improvisation. While they could be used on their own, a basic foundation in
music theory is highly suggested. You should be able to understand and
build basic scales and chords. Also you should understand basic chord
naming structure.
The Im7 (II minor 7) - V7 (V dominate 7) chords are some of the most used
chord patterns in all music. The Imaj7 (I major 7) - VIm7 (VI minor 7) Im7 (II minor 7) - V7 (V dominate 7) are also widely used basic chord
patterns.
The first section is various chord patterns used to pass through all the keys.
These could be used for many different types of practices such as scales,
chords, patterns, licks, etc. Try to incorporate them into your practice and
you will get a much greater understanding and musical facility of music in
general.
I would like thank the many various teachers I have had over the years,
starting with the wonderful teachers at Berklee college of Music in Boston,
Mass. and the many musicians who have produced much wonderful and
exciting music and have helped me refine my musical craft.
Last, but definitely and certainly not least, I would like to thank my wife
and singer, Dena G., with whose love and support made all of this possible.

Progressions IIm7 - V7
1) 5ths Down [4ths Up] (or whole Step Down)
&c

Cm7

F7 Bbm7 Eb7 Abm7 Db7 F# m7 B7

&c

Bm7

E7 Am7

D7 G m7 C7

Fm7

Em7

A7 Dm7

G7

Bb7 Ebm7 Ab7 C# m7 F# 7

2) Chromatic (1/2 Step Down)

&c

Cm7

F7 Bm7

F# m7 B7 F m7

E7

Bbm7 Eb7 Am7

Bb7 Em7

A7

D7 Abm7 Db7 G m7 C7

Ebm7 Ab7 Dm7

G7 C# m7 F# 7

3) Chromatic (1/2 Step Up)

&c

Cm7

F7 C# m7 F# 7 Dm7 G7 Ebm7 Ab7 Em7 A7 F m7 Bb7

F# m7 B7 G m7 C7

Abm7 Db7 Am7 D7 Bbm7 Eb7 Bm7 E7

4) Whole Step (1 Step Up)

F# m7 B7

Abm7 Db7 Bbm7 Eb7

&c

Cm7

F7 Dm7 G7 Em7 A7

&c

Bm7

E7 C# m7 F# 7 Ebm7 Ab7 F m7 Bb7 G m7 C7 Am7 D7

5) Minor 3rd down (1 1/2 Steps Down)

&c

Cm7

F7 Am7 D7 F# m7 B7

&c

Bm7

E7 Abm7 Db7 F m7 Bb7 Dm7 G7

&c

Bbm7 Eb7 G m7 C7

Em7 A7

Ebm7 Ab7

C# m7 F# 7

6) Minor 3rd Up (1 1/2 Steps Up)

&c

Cm7

F7 Ebm7 Ab7 F# m7 B7

&c

C# m7 F# 7 Em7 A7

&c

Dm7

G m7 C7

Am7 D7
Bbm7 Eb7

G7 F m7 Bb7 Abm7 Db7 Bm7 E7

7) Major 3rd down (2 Steps Down)

&c

Cm7

F7 Abm7 Db7 Em7

&c

Bm7

E7 G m7 C7

Ebm7 Ab7

&c

Bbm7 Eb7 F# m7 B7

Dm7 G7

&c

Am7

D7 F m7

Cm7

Bb7 C# m7 F# 7

8) Major 3rd Up (2 Steps Up)

&c

A7

F7 Em7 A7

Abm7 Db7

&c

C# m7 F# 7 F m7 Bb7 Am7 D7

&c

Dm7

&c

Ebm7 Ab7 G m7 C7

G7 F# m7 B7

Bbm7 Eb7
Bm7 E7

9) 4ths Down
&c

Cm7

F7 Fm7

F# m7 B7 Bm7

Bb7 Bbm7 Eb7 Ebm7 Ab7 Abm7 Db7 C# m7 F# 7

E7

Em7

A7

Am7

D7 Dm7

G7 G m7 C7

11

13

15

17

19

Imaj7 - VIm7 - IIm7 - V7 Exercises

Patterns:
I
VIm7
Cmaj7 Am7

IIm7 V7
Dm7 G7

Imaj7 - VIm7 - IIm7 - V7 Pattern Combinations:

1a - 2a
1a - 2b
1a - 2g
1a - 2h
1b - 2a
1b - 2b
1b - 2c
1b - 2d
1c - 2a
1c - 2b
1c - 2c
1c - 2d
1d - 2c
1d - 2c
1d - 2e
1d - 2f

1e - 2c
1e - 2d
1e - 2e
1e - 2f
1f - 2e
1f - 2f
1f - 2g
1f - 2h
1g - 2e
1g - 2f
1g - 2g
1g - 2h
1h - 2g
1h - 2h
1h - 2a
1h - 2b

2a - 1a
2a - 1b
2a - 1c
2a - 1d
2b - 1c
2b - 1d
2b - 1e
2b - 1f
2c - 1c
2c - 1d
2c - 1e
2c - 1f
2d - 1e
2d - 1f
2d - 1g
2d - 1h

2e - 1e
2e - 1f
2e - 1g
2e - 1h
2f - 1g
2f - 1h
2f - 1a
2f - 1b
2g - 1g
2g - 1h
2g - 1a
2g - 1b
2h - 1a
2h - 1b
2h - 1c
2h - 1d

21

Other books by Ralph Martin:

Collection of Conga Rhythms
This book is to help you gain a greater working knowledge
of rhythms for playing congas, bongos or almost any percussion
instrument. Included is an instruction and basic hand technique
for congas. Among the many patterns presented are, Samba,
Clave, Latin Rhythms, Afro-Latin, West African, Middle Eastern
and many more.
Exercises for Improvisation
Exercises for any instrument using two of the most universal and basic chord
patterns; the IIm7 V7 & Imaj7 - VIm7 Iim7 V7 chord patterns. These chord
patterns will greatly enhance any musicians improvisation ability.
Practice Regimen for the Beginning Player
To get the most out of your practice time learn how and what to practice in each
practice session. Learn how to increase your playing ability smoothly and
consistently. This book was written with the dedicated Beginning player in mind.
Practice Regimen for the Intermediate Player
To get the most out of your practice time learn how and what to practice in each
practice session. Learn how to increase your playing ability smoothly and
consistently. This book was written with the dedicated Intermediate player in
mind.
Practice Regimen for the Advanced Player
To get the most out of your practice time learn how and what to practice in each
practice session. Learn how to increase your playing ability smoothly and
consistently. This book was written with the dedicated Advanced player in mind.
Selected Jazzified Bach Duets for Bb Instruments
Selected Jazzified Bach Duets for C Instruments
Selected Jazzified Bach Duets for Eb Instruments
Selected Jazzified Bach Duets for Alto Sax & Tenor Sax Instruments
Originally written for the piano, eight of J. S. Bach's two part inventions easily
transform from classical inventions into jazz duets with only some minor
modifications needed. This is a wonderful way to practice jazz both solo and with
any player. Any book in the series can be used together with any other book in
Selected Jazzified Bach series.