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AndyM'Chee

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CMayor
o
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I,

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I)

o Dorian

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\)~'@.e)

i1

3
I'

5
,I

7
ii

9 «
j

11
0

13 ..0..

8..V

..n

scale

I,

e_

()

"

trtcds built on each d egre-e of the scale

§ .§

II

til

{} 1"

II

;'

SAM PLE FOUR BAR PHRASES IN 0 DORIAN

I C'

t~

7
0

9 _o_

11
.0...

13

10

"

- ~IO)

II

scole
I,

triads built on each d eqree of th e scale

"

III

A 1t ft

ft

_j:

II

EXERCISES __ L.

tfr

II
3.

'1

5
0

)J

..,

bo

-e-

:f!:

II

seale

triads built on each degree of fbe scale

1:6
~fiJI'

Q
0 " 0
II

"

0 I~ II

1I 1" it 1=

II

EXERCISE
II

fBa tiD tr r r IJ

~ E Dorian

m t f til
__ ~

11

13

I0

00

Q0

-e- ~

$*i tfA t r r r If
~

rtlftffltr

LJ FJ Jllf~
~~

II

scale

triads built on each degree

of the scale

"

o"

"I

§ u§

H.

tJ

A. 1" it

II

EXERCISE

~'hb~ort!Eil.J ,_

I1?

I~ P:

:,~ : : ~ II
I

;ipjJiln n 'IU r f ntU IfErritO I rJJl~"

$ fJl'

scale
B
II

triads

built on each de.gree of the

scale

J'

"I:!

tl fi II I· II

B~

EXERCISE

)5

triads built on each degree of the scale

'

"1J

--e-

"

"

I:yo::§:

§ II

i Ii Ii II

EXERCISE

7~

scale

triads built on ecch degree of the scale

I'

"

0"

III

t3

1t it

*1

EXERCISE

·8

scale

triads

built on each degree of the scale

nO"

°lij
EXERCISE

II

at

#!

II

r-

BLlDorian

35

11 13

'r,
..,

scale .
~!

triads built on each degree

0f

the scale

p ~U--9-

00

"Q

l:go!

H § II

; II

EXERCISE

,10

..
1 3
. m

5
.. .

7
...

11

13

100
-e-

.. 0

eu
.•

0-9.

~h~ijtffi ji-I;fPitt1
-e0

>

'.

fJ J1 &11_ J
trod 15 buit t
0 neach

II

of the s cole

II

.C1

°1*

U§H

~flll

EXERCISE

ffi.-WI
~
:.1'3".

3 .•

11

EVDorian
'Ii
I

11

...

...

....... -e-

_ .g..

13

.J

f1

.......

i V'I

___IG.._.,_

r-.._

.-. .
j

scale
, I
I

triads

buil t on each degree


_-

of the scnl e --Et--R-

EXERCISE

_~bb9b~Wtrt4ii~lttf[tltfiUJI .~~bb9~~I~I~IH;;j
iJ. errol "1
j
.
~''::'" ~1 ,_ ;'

ploy the fnilewin g Mod e sccte and

0;;Jcr,
e
.
~.

an d a rpeg g;os . Be qin very slowy 10 develop

Ihen speed.

~(DO!!_anJ_ ~

_
(I~'"

JE (D~)
v .. ::-

e_:....-

): £ (Dori'!!])
-;_;
"'~."

e~

"

t2

------_

r:~

QU
...,,:"~-,

q ~ _.
,_, ~ ~

-.;i~

' ~---------

--------~----

C Mayor
6
'J

••

,,

GMixolydian

The V ohord occurs naturally as dominant seventh the V 7 chord would be ($.7. »>: ---_-

'1 the key of C n

1
~ eO"

7
0

(:)

h
\

14

DMW~~dl=~~

__

E Mi)(olydl,~·an!...-__

-,-.

_____...
-

**.itiR dUlL!!! t r r r In J] J""J7J?tl


8 Mixolyd~ian~ _
F~Mixolyd~ia~n _- _-__;___-----:

$#ftiiJ

j]

tr UIUtlffffltrS

tr r r'lJ1JJ

'I
tI

$#i~#JfiiJU J) '( rr it r ttl,! f flO tr I u ij;J $#i~#{J11trtJlu1YUf r ,r [ U n J lli$JV


4#D##uffi1
(f

"

rJ

It t tJ tfftlfF

EjJJ

jlirjJra1
15

C#Mixolydian

16

A I7MixOlydian::---_....;.II
I •

~-_.....:._

____

..

$~Pb~lI~tUhttFru
O'rlMixolydian
• I
I

a-Ii J J J J J1JI;J

lfi

II

~------------~~----~
JJ J J J 11J 3
"

$~Pbbilb

_1 tiltr U r.... tr • In ----1

in

II

17

Here is the cycle of 5ths in the M ixolydlnn

MOde trough

all of the keys.

G?
II

...,;;;,..

.......,....,

,C7
,

F.7
-_
~

.; b - -."-£Z-It

-..._ !:::
,

.~\.1~ 1:\1~
F17(G177)

_.

Al17 87

.......

..----- .......
I

.17~ ~11,.. _ • 11~ ;l:rf


,

8P7

-~ jt[fr!!jf[rlir1- J f#rtr~[rlrJ I~ rl£l'Lr*r)


a)

-:::;.
v

Db7~
l

h.

~--,D7
patterns'

E7
~

A7

Ii .;

~ -~..

M...

are

_.-1-

f: ~.~ 1=.

.,. 1'- ~.. ~~

~~ F

Gmaj7
-tJ-

.w- ... ---------

.....

8~7_ J' J £J .J"1 ~ ~&~f&ilJ


Here some shorter
'In

the Mixolydian

Mode.

G7·

\ £7_.-

~~trIC*ribrddtl#F"
T -. ~....

./Imaj7

~II

87_,,----fj),


1'1 -v
f'I'"

_~~7
-I'

_r. ,... 7ii~:~~ F~~~8~maj7


-

,. _ -.........

C7

T IF.... 'ft'-

A7

rl7

-......,
Bmaj7

1&

Eight bar patterns- in the

Mixolydion

Mode.

rj7

§I

~ ~.~ r f'r
31~ :31

®G7

Ear F7

~. . ~ &l'f..

(3' .. !

II

19

§)D7
I

1'---.-M-.. ----

,-:---.._
I ... -

'\.>¥

...
'1]".

"

al

EarA7 __ --

$ Er U

~triYI
__

...

._
I I I I
_j

_jJ

fl

...

~U.

II

.J

Ear F7 J /"

- ~~:_=~iL~-------'---------~~
..,_

__

:r-:~

c~,."" ......

20

21

CHAPTER

m DORIAN-

COMBINING

THE

AND MIXOLYDIAN MODES


TI-7 to V7 Chord Progression

£7

22

D~-7

~t1fEiil, ~rI~
C-7

F7

BtJmaj7

B-7

II

aifrt?ffr l~tiijjhJ

£7

Amaj7

II

F-7

$ r:[Ji t t f ml
A-7 D7

$ ptlPOir (brtt 1_)


Gmaj7(or6) F-7 BU7

EP-7.

Av7

0'r1maj7

0-7

II
II E

tIIfEr

67 .

Cmaj7

f! I

-U
i id
Domaj 7(or6)

)(

]1·

G-7

kif t {{rtv
Al17

C7

Fmaj7

II

+ riU

ttii3ffr

E"maj7

£"-7

IItiE (

r r r UPr

i-W.

23

D-7

67

~(ir

rr

Err 1 I a..

Cmaj7

C-7

II

[f8

F7

r r r piJ.

Bpmaj7

<

II

FOUR BAR PHRASES

24

EIGHT

BAR PHRASES
A-7 D7

---f t If ,[f
./

D-7

G7

(liF r rrtlJJ 1£ TIt Fer U IJ j J

hi113 I

----

C7

87

,~f~f ~N'fP'EJI~8bnr"rl Itt! t f t E*rr!]l, J J J,J#i11 E d


C-7___

B~·7

El17

8-7

E7

~f f t t~trbljl J"""''Jt~'' ' ' 'lJ


r

'p

F7

tter mUtEr pr U I Dr [1r:

B'rJmaj 7

I
25

D-7 .

G7

£-1

A7

;tf15f!tuJIErorr r41#fJ.P*grrf IHrrziiitifl $.ffiDi( qr.rtl(~rfrr.r*rnUliUlr!rff~r#r#fIVffl'.1


F#-7B7 ..
sa.

G~-7

C~-7

- 8~'l _.,

£~7 ~. 17- _ \:t _ .. ~.

C_;?

F7

tr
CmajY

D~7

® tF lfIUJ
I

r#b~~-f: ~
~b!:

_ ... G.7 _

IT ttf tErF
D7 .. ..

t;f; t:-f:t:

~...

<1{reIUn;
-

. .<t. f:~

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.

.. II
.

./jr;rf4-~
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.. . ..

...':1': f: !:#~

8-7.

..

1tIt I*k f f~(#F{I


A~7

q:t ~ t 1:#"t"!:

. E7.

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.~eLffittrrbttrr.J, ( fl:rltftHlrtrr rftf u iI?;J !EgrttHJltfEJff Fe rTSf· p U a 1*yg:Yft I


A7
"D7 .15mdf7
26

F-7

ell 7

G-7

C7

CHAPTER Ii

THE LY'DIAN

MODE

C Major
• -eu

F Lydian

5
ij

7
ii

9
0

11 .c,

13

.o,

it

,,

1_

Cma} 7

F ma)7

II

11[-7

V7

Imaj7 o
o

IlYmaj

II
I
it _

. F maj 7 (N moj 7-Lyd ion I


.~ 9
It -

,.

not F maj 7 (I maj 7-Ionion


i'

"

II ..

.. ( We

27

.}

....

'f'I

......

" ......
A

Bf7Lydian ___

~~

."'1 .. "

II

I II
<

",

It

23

I
~ I

.... __t

--.

~+-. -

29

E Lydian
1\ JoI.

-~

.-:f!=
~
I_ III

.,_ ~ 1: - •..,_ f :~
:~

-#-

._.

-... ...... ./
~

-if.

II .u.
-;1

~.,_ :~

GDLydian
~

.._

,..

.......
~

71".

fI.
-.)

... -I-:t

f:~.L ~:t::

If:,..

E=..f--

-... .......... -".,

_.
~
1

--.:w'

"
.>

_,_ ~:~

,_~1=

~-~ t. ~ _,_. _

JJ
~

-Ii- T •
J

B Lydian
I tJ ~ ~ --,.~

.-.-

n;

t1

"

»>:
..

--1---':----'

• *1. •

'.I.J

.

·1

$·#~·tt~_r !FrU J ~ rt
C'rJ-Lydian

1
t

crUll
..........

J ilJ J l@q:

..

30

Exercises

th rough

oll the keys

Iii

Lydion

Mode.

1I-7

V7

Tmaj 7

IV rna} 7

~$

Use F Lydian

for

F maj 7
I,

o
II

,,

not F Ionian

for F maj 7
II

tp 0

II

II

II

p ~ t ~f f r [1 f Dt r 1I-7( 5)
V7

G7

C 7 ---'----F

maj7(Lyd) _____

I [r [j

F ef f $ t

II
31

Imaj 7(Lyd)

CHAPTER

THE LYDIAN FLAT SEVEN

FLydian

5 «J

9
0

11
...il:.

13

II

.t

lJlt

.o,

standard

Cadence

using. sub V7

D-7

G7
V7

Cmaj7

D-7

Dltl

C rna} 7

~lIt
II-7

l II 1 I
Imaj7

I II

~lllll/t
1l~7

bIl7(su b.V 7)I m oj 7

Ilil

+ ob Lydran

Ftat Seven

32

* Jiih r prj
, FLydian ~f17:.....---

~--:--

til tilt f f&rptJ


P
.

fJ ~J

iliu.
~

r&

;f}fFn7J~3JIpt (1 FPtfflEffr JiJ In b?)11

C Lydian f, 7

h'.as Elliff r 1-r r r IE r r t= fJ Jf) I JiJ:r~ II


~

$~t£i(r
G LydianbZ

~h_J

;J

~_,

BlJLydia~n..:...-;...117~ __

~:---

pj) I [

r r; eft r I EPe lJ Jft;;J.


J
.

II

rJ ItlEr U trr,IIJ

J£JJ]li,t£tij

~b;f11C r ~r1lttTIf ErIk II) J P J J Trir' t II ~"'e(iiifffmffI nUll fJ J 3 ~iJiirJ. ·.lll *"p ff{1 r E _.r I[ r it f f FE Itp'~ J 1&-J 322) II ~ t:J ~v.
EpLydian b 7·
- t;

~.

. -_

~.

r 11~

33

~.#~rDii-rr-r
D Lydian ~7

-ij

1-[ r-rl-tqC

ttl_

J J qi

ilItl

$#~*JffltiJftf&tttrJIMr

niJlalnn~ . ~;:

34

~g#*I~~C
~I#~

E Lydian

D7

r~~r~. J~~~.t~t~l~f~ff~J~I~t II
III

1tiJ1J f1f} I ~tJF t r ry I iJ J) 1 Wl t

CbLydian.~D.:...-7 -:---~

__

-.~

___

35

Note the connection

of the chord stales ..

,0

·
C mat 7

D-7

D'rJ7

~ttAL€rl

1'( PF r &r 1,Ji!JJn


AV7

II

tiD)
Gmaj 7

~~ ~---,

A-7

~r.
I

au E b
. .-::::::::: ~

rF
....

-~-\Jf""""-17t-h-f}'-, -~tt?: ~ :
I

!: E !: ~~~
b~

II ~

G-7 __ --------------G~~7~-----__

11.,:.. •

k. _ ,

Fmaj7 /
I _..

----.--.....

.;

£-7
~

,.:::::::-

E~7
I

D.mgj 7

_I

I.

~~ I
I

C~

....

-~
B-7
".H

b,._ + -~ ~ ~-~
Bb 7

87

~.,...ft.

Bortva]

*~

.r:«;

"1

oft

»<", _......,_ I1iq--::-~~~-L-tJ'-~-h-.~·~.

F-7 __ ~------------~E~7~------~
_j

Ebmaj7
~ ~

~-

_&

l.

"

oJ.

--

- ---..__

El1-7
I

~-____;",___-- D7
.L

-~
1:'

Domaj ? ~
~I,\
'1

G#-7
Ll _

G7 ~-_--------~~r--__ .h.Ji'" •
I

F#maj7

_k~ J..~

~ii.-U,

---

-I

Note

the connection

of

the chords

C-7

87

E7

- EtJmaj 7

Bb7

ab-7

F~-7

F7

38

A-7

Gmaj

II
39

F7

Emaj

C¥-7

C7

Elma}

F#maj

0#-7

D7

C#maj

Fmaj

Bo tna]

A7

A!Jmaj

D'tJmaj

Ai?-7

GV

G'rJmaj

D-7

"

.
Cma} 7

D117( lyd .117)

40

· pv

41

Emaj7

C7

0-7

B];, 7

C mal 7

52
G-7

II-7
B'rJmaj7

I I7W7
Ep7

'I

II
Fmaj7

~l!frtr U r Itift
][-7
F moj 7

~ tt
42

lr

r, E~r rJ Err J E r [ !r
Nmaj7
D~7

Er r 1<-lffEr [vjPFlffrr If
'riW.7 I

r
(II

VJ-7

bl?1I7

I r Pr

£117

r ~\'[ r ttEs I r
I

Fmoj7

.•

~,r ,_ I -!-7~)
II-7(iJS)

A 7(09)

EI17

It I I -:I. 1 I I

V7

'rl1l7

II I
I

D-

r=

,.

11

II

II

.ee -e0
It

"

',

II

II

Horn

D-7
,

.........,
u

~
[

.-. -

,-

,~ G?(SUS)
J

Pkmo

:ft:

.-1:,-#
~ ___

.
-.;:l' ____

-'
~
~ _____..;-~

-~#
_______

:tt_
~ __

Jl:
'"

r'3"

G7

Cmaj

------- --------------43

THE DIMI NISHED CHORD AND

THE SYMMETRIC

DIMINISHED

SCALE

~3

b5

b~7

.~

-e-

\Jo

"9
E~07

b'a

II

using enharmonic spelling

l+a

~II

,'1

includes:

..

D07

includes:

F07

l,. i Em

II .

&!1

~-e-

II

~&Q #0

I b9

,:

I "1;;9

"

I,_ &0 I $0

bet

~III

II
45

·~o

it

( II)


whole step 1/2

fQ17.

(ij)II

(u)

step whole step 112 step whole

1/2

whole

112

ect.

-e-

CO 7(£t,o 7 1~
F :

,F#o7,A 07)
I:i•

Ii. !n
\___----.-J

+-~

l!
3

~'i"_ ,. (_i. ~.

C#o7 (£°7, G07,f1t,o7)


i"

b,~7(F:7.G#:7.,80:) ~~ \1-

p;r-_-.--.-;L::-

46

,-

The C symmetric diminished

scale
I'

~o

II

II

EXERCISES

~~cEflk ffj IEiUur; II[!rttEriBIPjiifr riB I - ~ap[j*fFiUlau. 1,;tJi.lbl1J,UlfjJ qJ~]Iito


C/: ~ A --:.:;;:~ F~
r•

EI7

The

C~ sym metric diminished scale


~. ..... if.
cit

fa.

!Ja

II

EXERCISES

&e#~ Jil Q_!#J I ~r 'i;£f'r1rgr"rjj1r MI $iw$ r Un I cfii~t1h ItJttjjjijrritffNltfittu



G' '

B~

47

~crf&rftl#f ,l-fMff~qt'itrf'fiiflU 1~~fiiO


B~
G ..

dI..--------:--..

-E
t...

$ @@p tift Ip@riEmIIjJ @5m li~\tu


The D symmetric diminished
"
/'

scale.

Ij

10
.

,•

II

EXERCISES

~c

JPJ .J§bJ ImJ,J@1J l.iJ )~ t rflr It!rtlPffr I


o

GI~

$~
---=----:--B

'EIfrifiUr,Mfitgr1ij[ffu
;~

~effEr#titt If4fitn; 1'~ffttfrM


~
.

G#

1Win 1
F

..

4,' c1[Ji[W I t!fil @j 1.t!fPl t1¥!f IJ~J,


48

H
'

CHAPTER

zn
SCALE

THE SHARPIDIMINISHED

G Mixolydian


G# Sharp I Diminished
9
ii .

+ _J>u

.,
5 7

...

7l.0

II

~A-7 .~1l-7

49

Here ore some exercises

to help you get

tne

feel Of rms sC,QIe

Here

is a RE M INDE'R of the

construction

of tnls

stale,

C Mixolydian

note dim inished

scale

r
..

50

51

."
·iJ L'I

B#~
_'-tr"i't-' "
E07

~ ~

, "OL

iI'

,:t~.~+~,dj~,!: 'F'~~
" .,

,c, . 'l

I ._[ _f ..... ~
• JIll ...
_'_Uo.

-.

.. ..J:

.-!

I
Y__I_ .

.;

-.~ ,
.~.

-I"

,.tt·~l
,.'

K_

"
d

~,

..'

--

•. PtL
"

..

" t;,'~.~'!!~ ~U .~. 11. ..' J-t1:'" .~1-._, - r:~~1=;~ ~.-"" JL.: Ii,'·+I--_ .• ~ _I I

-Ll .:

i'
.
,

~
,

.~ .-

.,;,..[1"

+17'·

.,

"4""'1 (FX7:!::::
A ., -~~.
-, .J
--

'-

I!:"_ ~tJ!: ~lt:b~'tJ IP~~.,_ q.'f::-+: .....,' ~ ~.r p-tl~., , '1'- _

If __ .t

-.1

_l

-~ ,,-V'
.
'~~.
.L

~. v:--,'1

. .'

"

.:L'

' .Jl ...~ .k.:&..,it~.~


,

~ ~lfth'~j,. -,It ~ I:""" ' •. ,


It!'] "~

..

.......

-.

---......,.

_n

- .. '$F4'

'I

;f4"'fT"'
LJIII';.

-_

,
1

AO~
__r:

'I:.

1 Jo.....I

h.•l1.,,,_b~V~

~l1jL":t'~l'~~ I'- ,I- + It-

~,t=\;:0r-,Ii'

. ~ t ::~I1~~~b",,_Q_":v_'_ ~~_
" ___t_
·c

...
v

~,
15.....

"'-

,."
-.J

~,~11

V"

.....

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