090 part ix

7/25/2019 090 Part IX

http://slidepdf.com/reader/full/090-part-ix 1/70

Part IX

The HarmonyWith LEGO BricksPlayalong

Special note to all readers of this book

Overview

The Playalong Recordings Themselves

Side By Side With The Harmony With LEGO Bricks Playalong

7/25/2019 090 Part IX


The Harmony Wi th LEGO Br icks Playa long

Part IX The Harmony With LEGO

Bricks Playalong

Special note to all readers of this bookTechnical Note: The original tape masters for the Playalong were accidentally damaged some years ago,

and were no longer usable. Since our resources did not, and do not stretch to a proper digital re-recording

(any good fairies out there listening?) we were compelled to improvise. We ‘re-mastered' them by dubbing

the best copy of the tapes we could find onto a digital recorder, and making some attempt to clean them up.

We have done our best but some imperfections remain.

That said, however, it remains eminently usable. It still really delivers.

If you do not have a CD copy of the Playalong just give us your mailing address and we will send you the

double CD free.

Not only that, but you are free to copy and distribute this material as you wish. Note however, if your

copying equipment enforces serial copy protection, it is possible you will only able to make analogue

copies, since your disks will have been produced digitally.

Overview

For musicians, the Harmony with LEGO Bricks Playalong is where the buck stops. The essence of the

book is here. As you look at and play these changes, you will realize that however complex some of them

may look like to others, for you they are now absolutely simple. You are free to be yourself when you

improvise.

Even if you don’t have the recordings, you can still set up practice sessions on your own or with a

group, where you play through the sequences given here, and discover what they have to teach you.

The single, simple, function of the LEGO bricks Playalong is to enable you to internalise the necessary

knowledge base for you to improvise effectively over changes, and in the process to be able to teach

yourself anything else you discover that you need to know.

For learning the basic LEGO bricks with which to construct songs, there is nothing more systematic and

thorough than the playalong which accompanies this book. It goes way beyond the ‘II-V7-I’ you get in

other texts. For cadences, for instance, it separates out the two distinct aspects. That is playing them in all

keys, and joining strings of them together.

You can buy other playalongs which touch on this area, such as Jamey Aebersold’s excellent Volume 3, butthey are not as comprehensive as what you get here. While Aebersold Volume 3 for example does have

straight and sad cadence tracks which go through all keys, each cadence is only played twice before the

next one comes along. Moreover it uses only two different joins, while there are of course twelve. Each

of its ‘all key’ cadence tracks uses new horizons throughout, except where the sequence would repeat, at

which point there is a Downwinder to ‘flip’ you onto the other six cadences.

This is not enough, for two reasons. First, especially at the start, you need more time than it gives you.

Second, joins are where the flavour is, and so should be looked at systematically.

After dealing individually with straight cadences and sad cadences in all keys, there are then twenty-two

tracks which, using just straight cadences, go through every possible join in every possible key.

As well as building your own improvisations over them, you should use these tracks when you are ready to

try out your Cadence Collection (see Listener Collect in the section called The Jazz Phrase Comes First in Part VI How and What to Practice) with a metric background.

7/25/2019 090 Part IX



The Harmony with LEGO Bricks Playalong gives you a whole separate track for each straight and each

sad cadence. Each track repeats its cadence at least twelve times. (It was supposed to be exactly twelve

times each, but Frank Campbell, as always, got stuck in, and failed to do anything as mechanical as count.

In the studio we resorted to touching him gently as the twelfth one started. This didn’t always work,

though, and on several occasions Frank’s apologies were recorded. We left one of them on the originaltapes as a kind of tribute, although we were saddened when the Jazz Journal reviewer was cloth-eared

enough to presume that the incomparable Frank was apologising for a wrong note!).

Allowing for the odd endearing inconsistency of this sort, each track is forty-eight measures long, except

pullbacks and the Turnarounds, which are ninety-six measures. Where the internal logic of the LEGO

bricks means that the sequence ‘runs out’ before forty-eight measures are through, the track will repeat the

sequence enough times to come up with forty-eight measures. How many ‘choruses’ there are is always

indicated at the beginning of each sequence or group of sequences.

All the chord sequences are written out fully and explicitly. This is so that, as you consolidate your

knowledge, you will get practice at seeing what each LEGO brick and join looks like in each context.

Clearly you have not internalised the necessary knowledge if you have to have the book open in front of

you, but there are nevertheless a couple of good reasons for using the book in your early days.

• First, ‘strange’ keys are still a bogey factor with too many experienced players, let alone beginners.

With the Harmony with LEGO Bricks approach you will of course not experience this directly as a

problem, but many musicians have told me that reading the Harmony with LEGO Bricks playalong

sequences through while they improvise (and finding it easy in all keys) reminds them that the sight of

‘difficult’ keys no longer has the power to frighten, and they take positive comfort from that.

• Second, there are some visual (pictorial) things about chord sequences that it is good to see while you

are learning. For instance, the way the guide tones move on the cycle movement tracks. But also the

sight of a large chord sequence all in one go. With the Harmony with LEGO Bricks knowledge

inside you, you can look at a chord sequence and see it for what it is right away. You can then play it in

every key. With this playalong, you know what it is, so you can get used to what it looks like by having

the book open when you play. Note that this means that even with the book open, literally the last thing

you are doing is playing a chord at a time!

However you will not be using Harmony with LEGO Bricks properly until all you need to improvise

over these tracks is the spoken identification at the beginning of each, and the book stays shut.

From Part I What to Listen for in Jazz you already know the sound and function of everything this book

aims to teach you. From Part IV The Transition from Listening to Playing , you already know the

incredibly small amount of ‘theory’ you need, and you know your way around the notes, because you did

what the section said (didn’t you?).

If you don’t know your way around, i.e. if you don’t know your cycle, and the answers to the tests at the

end of the ‘transition’ and others like them are not second nature, go back and do it, or you are wasting

precious time.

Every LEGO brick used on the playalong is discussed fully in Part , A Kit of LEGO Bricks To Build Songs

With. So feel free to make frequent reference back to there if you want fuller details than the reminders

given here.

In what follows I will describe each track, say why it contains what it does (i.e. what it is for), relate it to

Part I What to Listen for in Jazz , and make suggestions for its use in helping you to internalise the

knowledge.

The Playalong Recordings ThemselvesThe Harmony with LEGO Bricks playalong comes as 2 CD’s (see the special note at the start of this

chapter). There is a tuning note A440, and then, spread across the 4 sides of the CD’s are 73 tracks for you

to listen to, learn from, and play along with in the way described in Part VI How and What to Practice.

The Playalong Recording

7/25/2019 090 Part IX



The playalong is performed by a stunning jazz trio of Frank Campbell (piano), Gavin Bryars (acoustic

bass), and John Runcie (drums). They don’t coast, and they treated the recording session as a gig, and so

play in an emotionally committed way, so playing along with them is very good preparation for live

performance. They don’t count in loudly either. Tracks begin, like performances on gigs, with some

grunts, or just on the nod. However, all the tempos are walking pace or slower so there shouldn’t be a problem. As we said, the aim with this playalong is for you to internalise the knowledge base. BUT, when

you are ready for something faster, give Quicksilver on Jamey Aebersold’s second Horace Silver set

(Volume 18) a try. That one goes at 308 beats per minute - more than a measure a second! Or be even

braver and buy Volume 61 Burnin. Everything is around 320 beats per minute there.

The format is that each track begins with a voice in the right channel identifying it, so even if you don’t

recognise a track you land on in mid flight, you know where you are as soon as the next one is about to

start.

Stereo Separation and using your Balance Control to get the effect youwant

Our engineer, Craig Vear, decided that prominent bass was the most important instrument for a playalong,

and therefore took a line direct from Bryars’s Underwood pickup, at fairly high level, straight into the left

channel, knowing that that would also pick up some residual sounds acoustically from the other

instruments. He then used a high quality single microphone to record piano and drums, but also to include

the acoustic (unamplified) sound of the bass, and put this, at a slightly lower level onto the right. On the

studio desk, during mix down, these channels were polarised to their extremes.

The result is that with just a balance control you have a very wide control over the sound you get. At all

‘left’ you lose the piano entirely, though you can still hear something of the drums, and the announcer’s

voice, and you would use this if you were a keyboard player yourself, or wanted the challenge of working

with (effectively) just the bass. At all ‘right’ you can still detect some bass if you are just listening (though

probably not if you are also playing), but mostly you get piano and drums. You would use this setting

mainly for practising playing bass lines, (whether you are actually a bassist or not!). At the ‘centre’

position the bass is intentionally prominent.

We find most people ‘centre’ between there and about halfway from ‘centre’ to ‘right’, depending on how

much direct harmonic help they want from Frank Campbell.

(If your amplifier does not have a balance control, time to get one that does).

Disc 1 Track 1: Tuning note concert A 440

A note on the Tuning Note

The original playalong tapes were produced by Accurate Sound Ltd of Queniborough, Leicester, UK, who

do much work for musical organisations like the Associated Board, and the Royal Northern College of

Music. The tuning note on the tape was a verified accurate A = 440hz.

Cassette tapes, in our experience, were always problematic. Not only do no two cassette players ever play

at exactly the same pitch (although nearly all are sharp to some degree), they also go sharper as they get

warmer the longer they are switched on. With reasonable quality playback equipment however, the

variation rarely exceeds a semitone, which is well within the range of instruments you can tune. But it is

intolerable if you play an instrument such as vibes, which you cannot tune.

To avoid problems you will have to use the Playalong on a player with pitch control. Fortunately, unlike

the days of cassette tapes, this is not difficult any more. Most good quality CD and MiniDisc players

incorporate the feature. If you don’t have one already, this might be a good time to think about it.

You might want pitch control anyway

Apart from using it for accurate tuning, you might want to playalong to something familiar, like one of

your Aebersolds, but with it a semitone up or down.

7/25/2019 090 Part IX


7/25/2019 090 Part IX



Disc 1 Track 3: Minor to Dominant round the Cycle Sequence 1

Disc 1 Track 4: Minor to Dominant round the Cycle Sequence 2

Dominants Forever , where everything moved by the same amount at once, meaning that the degree of

tension was absolutely uniform, was soon found by practising musicians to be too predicable, so they did

something about it. They started using alternating minor seventh and dominant seventh chords. By

keeping the root movement round the cycle identical, i.e. one step round for every chord change, but by

using minor-to-dominant pairs instead of dominants forever, the tension was more interesting since it

constantly moved in the direction of resolution, only to re-apply the tension instead - a sort of ‘self re-

charging’ effect.

Note there are two sequences of Minor-to-Dominant round the cycle on the Playalong. This is because the

Playalong is thorough, and gives you all the possibilities of what it illustrates. With minor-to-dominant

pairs, each root always appears as the same quality chord. If you start with C- to F7 and go around, then C

is always a minor and F is always a dominant seventh. The second sequence is there so that you can

complete practice of all the possible minor-to-dominant pairs.

Minor to Dominant round the Cycle guidetones

If you start with the bIII a bVII, which are the III and VII of the minor seventh chord, in C- you have Eb

and Bb. When F7 comes up Eb stays where it is and the Bb moves to A. When Bb7 comes up, Eb becomes

Db and A moves to Ab. On the sheet music you can see that the pattern is that the guide tone line starting

on the bVII moves down a half step every time, just like in Dominants Forever, but the line starting on the

bIII stays on the same note through each minor-to dominant pair, then moves down a whole step to start

the next pair.

Erratum: The Bb7 in measure 3 of Sequence 1 a) should of course be Bb-

7/25/2019 090 Part IX



7/25/2019 090 Part IX



Disc 1 Track 5: Dog-Leg around the Cycle

The idea implicit in the minor-to-dominant pair can be extended to say that any dominant seventh can be

broken down into a minor to dominant pair, which takes up the same space as the original dominant. We

discussed this already in Watch out for Breakdown in A Note About Reading Changes in Part V A Kit of LEGO Bricks to Build Songs With..

If you apply the principle to a dominants forever sequence, you need a double pair to get the feeling.

Suppose you have a sequence

D7 % G7 %

Broken down to dog-leg form this becomes

A- D7 D- G7

The root is retained as the new pair starts, so instead of a smooth progression around the cycle, we have a

‘kink’ at every point: each root repeats but with a different quality chord, which is why this is called a dog-

leg. Faced with such sequences, you can ‘read’ where they are going by just looking at the dominants.

Changing from dominants forever to dog-leg in the manner above is the mechanism by which the original I

Got Rhythm bridge, discussed in Part I What to Listen for in Jazz , was turned into the standard bridge we

use for it today, and realising that, you can see how to deliberately add or subtract a period feel in

performance.

Note that because the dog-leg repeats the roots, the sequence takes twice as long to get round the cycle, and

we only need one track on the playalong for it because all the possible minor to dominant pairs occur

within it.

Dog-Leg round the Cycle Guide Tones

The guide tones start to get really interesting here, since they each follow the same pattern of moving and

staying still, but only one guide tone line at a time is moving. The sheet music makes the point quite

eloquently, but here is an explanation anyway.

Whenever a guide tone starts a minor to dominant pair on a bVII it moves down a semitone at a time

through the pair and to the beginning of the next pair. It then holds the note it starts that pair on through the

pair and into the one after. It is now back on a bVII so the pattern repeats.

Put the other way, if you start on a bIII, you play a double pair by holding the same note through the first

three chords, and play the fourth (the last one of the double pair) a semitone lower. Begin the next double

pair a further semitone lower and start again.

7/25/2019 090 Part IX



7/25/2019 090 Part IX



Disc 1 Track 6: Half Diminished to Altered Dominant around the cycleSequence 1

Disc 1 Track 7: Half Diminished to Altered Dominant around the cycleSequence 2

This is just the sad version of minor to dominant round the cycle, and so has two sequences for the same

reason.

Half diminished to Altered Dominant around the cycle GuideTones

Here again we have the same basic in the guide tones notes as in minor to dominant, the bIII and bVII for

the minor seventh, and the III and the bVII for the dominant seventh, because they provide the basic drive.

But we need at least one extra note, because minor to dominant doesn’t sound sad at all. I have chosen to

get the sad effect in the simplest way (one note only is added) that still produces a guide tone line.

This new third guide tone line starts each pair on the bV of the ø and moves up a tone to become the +9 of

the sad dominant. The next pair is the same two note pattern, but both notes a tone lower. Put anotherway, for this guide tone, having moved up a tone to finish one pair, you drop down a III to start the next.

It’s all ‘painted’ for you on the sheet music.

7/25/2019 090 Part IX



7/25/2019 090 Part IX



Cycle movement summary

Now you know about the basic forms of unbroken cycle movement. Every song you play will exercise

positively what you learnt here. The Playalong is there to demonstrate to you as well as to test and stretch

you.

From now on, the changes for the playalong are presented separately for concert pitch, Bb transposing, and

Eb transposing instruments. The accompanying text is only presented with the Concert Pitch changes. The

Transposed Changes which follow just have the changes themselves.

Changes for Concert Pitch Instruments

Cadences

The only resolutions provided by the Playalong tracks so far have been at the very end,

when a resolved chord was played so you could get some rest. Most songs however take

lots of little rests, and as you know, the basic form of these is the cadence.

Refresher

The ‘skeleton’ form of this is a minor to dominant pair followed by a resolved chord, the

next around the cycle from the dominant. So to arrive on C (to play a cadence to C) the

chords are D- G7 and C. The resolved chord is held for the same time as the combined

pair. If the pair took two measures, the resolution is two measures long, if it took one

measure, the resolution is one measure, and if 2 beats, the resolution is two beats. Get used

to spotting this.

Once you can see a cadence like this as a unit you are well on your way to being able to

remember sequences instantly and play them in any key. Until you can do it you cannot

even usefully start. If you have any doubts, go back to Part IV The Transition from

Listening To Playing and Part V A Kit of LEGO Bricks to Build Songs With and testyourself thoroughly. The cadence as a basic construct involves three chord types, and a

pattern of tension and release. You must learn to play cadences in every key, and to play

them so that once you are in one, you don’t have to think consciously about the changes.

They must be second nature. And you must be able to think of any cadence in terms of

both ‘this one starts here’ and ‘this one goes to there’.

The cadences are presented, first all straight, then all sad. Each track consists of the given

cadence played approximately twelve times. (See the Overview at the beginning of this

chapter for an explanation of that word ‘approximately’).

For each set of cadences, the order they appear in starts with a cadence to concert C, and

works upwards in half steps.

Part VI How and What to Practice chapter has a wealth of useful notions about how to getthe most out of these tracks.

7/25/2019 090 Part IX



Straight Cadences

Disc 1 Track 8: Straight Cadences to Concert C

D- G7 C! %

Disc 1 Track 9: Straight Cadences to Concert Db

Eb- Ab7 Db! %

Disc 1 Track 10: Straight Cadences to Concert D

E- A7 D! %

Disc 1 Track 11: Straight Cadences to Concert Eb

F- Bb7 Eb! %

Disc 1 Track 12: Straight Cadences to Concert E

F#- B7 E! %

Disc 1 Track 13: Straight Cadences to Concert F

G- C7 F! %

Disc 1 Track 14: Straight Cadences to Concert Gb

Ab- Db7 Gb! %

Disc 1 Track 15: Straight Cadences to Concert G

A- D7 G! %

Disc 1 Track 16: Straight Cadences to Concert Ab

Bb- Eb7 Ab! %

Disc 1 Track 17: Straight Cadences to Concert A

B- E7 A! %

Disc 1 Track 18: Straight Cadences to Concert Bb

C- F7 Bb! %

Disc 1 Track 19: Straight Cadences to Concert B

C#- F#7 B! %

7/25/2019 090 Part IX



Sad Cadences

Disc 1 Track 20: Sad Cadences to Concert C

Dø G7+9 C-! %

Disc 1 Track 21: Sad Cadences to Concert Db

Ebø Ab7+9 Db-! %

Disc 1 Track 22: Sad Cadences to Concert D

Eø A7+9 D-! %

Disc 1 Track 23: Sad Cadences to Concert Eb

Fø Bb7+9 Eb-! %

Disc 1 Track 24: Sad Cadences to Concert E

F#ø B7+9 E-! %

Disc 1 Track 25: Sad Cadences to Concert F

Gø C7+9 F-! %

Disc 1 Track 26: Sad Cadences to Concert Gb

Abø Db7+9 Gb-! %

Disc 1 Track 27: Sad Cadences to Concert G

Aø D7+9 G-! %

Disc 1 Track 28: Sad Cadences to Concert Ab

Bbø Eb7+9 Ab-! %

Disc 1 Track 29: Sad Cadences to Concert A

Bø E7+9 A-! %

Disc 1 Track 30: Sad Cadences to Concert Bb

Cø F7+9 Bb-! %

Disc 1 Track 31: Sad Cadences to Concert B

C#ø F#7+9 B-! %

7/25/2019 090 Part IX



Straight cadences demonstrating LEGO brick Joins

We now begin the systematic process of giving you experience of all twelve of the possible

LEGO brick joins in all twelve of the possible keys. So as not to exhaust you, only straight

cadences are used throughout here. There is nothing to stop you playing any or all of them

with sad cadences though.

All-Key Tracks

We start with the four joins which if followed through will go through all twelve keys in

one sequence. These All-Key Tracks each start with a cadence to concert C. Note that

there are some interesting correspondences between these progressions. The complete set

of first cadences on each line of the bootstraps are the same as the downwinders. Ditto

the backsliders and cherokees. Even though the journeys are going in different directions,

the paths keep crossing.

Each progression is played once through.

Disc 1 Track 32: bootstraps

(Join: one backwards round the cycle. Resolution: one forwards round the cycle)

D- G7 C! % G- C7 F! %

C- F7 Bb! % F- Bb7 Eb! %

Bb- Eb7 Ab! % Eb- Ab7 Db! %

Ab- Db7 Gb! % C#- F#7 B! %

F#- B7 E! % B- E7 A! %

E- A7 D! % A- D7 G! %

Disc 1 Track 33: backsliders

(Join: VI. Resolution: one backwards round the cycle)

D- G7 C! % A- D7 G! %

E- A7 D! % B- E7 A! %

F#- B7 E! % C#- F#7 B! %

Ab- Db7 Gb! % Eb- Ab7 Db! %

Bb- Eb7 Ab! % F- Bb7 Eb! %

C- F7 Bb! % G- C7 F! %

Disc 1 Track 34: cherokees

(Join: bIII. Resolution: upwards in half steps)

D- G7 C! % Eb- Ab7 Db! %

E- A7 D! % F- Bb7 Eb! %

F#- B7 E! % G- C7 F! %

7/25/2019 090 Part IX



Ab- Db7 Gb! % A- D7 G! %

Bb- Eb7 Ab! % B- E7 A! %

C- F7 Bb! % C#- F#7 B! %

Disc 1 Track 35: downwinders

(Join: bII. Resolution: downwards in half steps)

D- G7 C! % C#- F#7 B! %

C- F7 Bb! % B- E7 A! %

Bb- Eb7 Ab! % A- D7 G! %

Ab- Db7 Gb! % G- C7 F! %

F#- B7 E! % F- Bb7 Eb! %

E- A7 D! % Eb- Ab7 Db! %

From here on in, the cadence tracks are presented in increasing order of the distance

the new resolution is from the old

2. Wholetone tracks

One set resolves a whole tone (whole step) higher. The other set resolves a whole tonelower. Because the whole tone scale misses out every alternate note, we have to have two

sequences to practice them in all keys. In fact, there are only two whole tone scales, C D E

Gb Ab Bb, and Db Eb F A G B. Any note from either scale can be the starting point, but

will only use the other notes in the set. Scales of this sort are sometimes called

‘symmetrical’ or ‘circular’.

Each progression is played twice through.

Woodys.

(Join: III. Resolution: upwards in wholetones)

Disc 1 Track 36: woodys sequence 1

D- G7 C! % E- A7 D! %

F#- B7 E! % Ab- Db7 Gb! %

Bb- Eb7 Ab! % C- F7 Bb! %


C#- F#7 B! % Eb- Ab7 Db! %

7/25/2019 090 Part IX



F- Bb7 Eb! % G- C7 F! %

A- D7 G! % B- E7 A! %

new horizons

(Join: I. Resolution: downwards in wholetones)

Disc 1 Track 38: new horizons sequence 1

D- G7 C! % C- F7 Bb! %

Bb- Eb7 Ab! % Ab- Db7 Gb! %

F#- B7 E! % E- A7 D! %


C#- F#7 B! % B- E7 A! %

A- D7 G! % G- C7 F! %

F- Bb7 Eb! % Eb- Ab7 Db! %

Flat III tracks

Both joins (the upward and the downward) here resolve to the same set of notes. The

highjump sequence starting with a cadence to C is followed by cadences to Eb Gb and A.

The sidewinder sequence starting with a cadence to C is followed by cadences to A Gb and

Eb. These are of course the notes of a diminished arpeggio. The symmetry means thatthere are only three such arpeggios, so each upward and each downward sequence has to be

started in three different places.

Note that for both highjumps and sidewinders, each sequence starts each line the same,

and shares the same second cadences on each line but in reverse order.

Each progression is played three times.

highjumps

(Join: one forward round the cycle. Resolution: upwards in bIII’s)

Disc 1 Track 40: highjumps sequence 1

D- G7 C! % F- Bb7 Eb! %

Ab- Db7 Gb! % B- E7 A! %


C#- F#7 B! % E- A7 D! %

G- C7 F! % Bb- Eb7 Ab! %


7/25/2019 090 Part IX



C- F7 Bb! % Eb- Ab7 Db! %

F#- B7 E! % A- D7 G! %

sidewinders

(Join: VII (half-step down). Resolution: VII).

Disc 1 Track 43: sidewinders sequence 1

D- G7 C! % B- E7 A! %

Ab- Db7 Gb! % F- Bb7 Eb! %


C#- F#7 B! % Bb- Eb7 Ab! %

G- C7 F! % E- A7 D! %


C- F7 Bb! % A- D7 G! %

F#- B7 E! % Eb- Ab7 Db! %

Major III tracks

Resolving to a point a III away is a Giant Step From C this gives a sequence C E Ab.

This means that we have to have four sequences if we are to experience these joins in allkeys. Four going down in giant steps (half nelsons) and four going up in giant steps

(baubles). And because there are only three different cadences before a repeat in each

sequence, each track plays the given progression four times, to make up the usual forty-

eight measure sequence. (This means, as you can see, that the second line of the Grigson

Grid isn’t completed. All you do is go back to the beginning again when you get to the

thick bar line and the da capo indicator D.C.).

baubles

(Join: bV. Resolution: upwards in III’s)

Disc 2 Track 1: baubles sequence 1D- G7 C! % F#- B7 E! %

Bb- Eb7 Ab! % D.C.

Disc 2 Track 2: baubles sequence 2

C#- F#7 B! % F- Bb7 Eb! %

A- D7 G! % D.C.


7/25/2019 090 Part IX



C- F7 Bb! % E- A7 D! %

Ab- Db7 Gb! % D.C.


B- E7 A! % Eb- Ab7 Db! %

G- C7 F! % D.C.

half nelsons

(Join: bVII. Resolution: downwards in III’s)

Disc 2 Track 5: half nelsons sequence 1

D- G7 C! % Bb- Eb7 Ab! %

F#- B7 E! % D.C.


C#- F#7 B! % A- D7 G! %

F- Bb7 Eb! % D.C.


C- F7 Bb! % Ab- Db7 Gb! %

E- A7 D! % D.C.


B- E7 A! % G- C7 F! %

Eb- Ab7 Db! % D.C.

The one that got away

That completes the formal cadence joins section. The only one missed out here is theStella, where the new cadence starts on the bVI of the resolution of the old, resolving to the

bV. I felt there weren’t enough songs which used it to be worth including the six different

tracks which would have been necessary to do it thoroughly. (Offhand, only Coltrane’s

Central Park West comes to mind). You do get a chance to play Stellas, though on the

Extended Cadence and Rainbow Cadence tracks.

Cadence variations

What we come to now are some of the most common cadence variations. Most of these use

just one join and get through all keys in one track. The exceptions to this are individually

explained.

Disc 2 Track 9: Pullbacks with bootstrap joins

7/25/2019 090 Part IX



Reminder: a PullBack is an eight measure cadence which needs to take eight measures

because after a conventional minor-to-dominant pair, it jumps back three steps around the

cycle and homes in from there via two minor-to-dominant pairs to the resolution. This is

what the whole second eight of I’ll Remember April does, as well as being used at the end

of songs to postpone the final cadence (e.g. Dexter Gordon’s Heartaches, on Gettin’

Around ). Since the other parts of I’ll Remember April are just hovers and cadences, think

of this track as serious practice for the rest. The first resolution is to Concert C, and the joinis a bootstrap, so each line is one further around the cycle.

D- G7 E- A7 D- G7 C! %

G- C7 A- D7 G- C7 F! %

C- F7 D- G7 C- F7 Bb! %

F- Bb7 G- C7 F- Bb7 Eb! %

Bb- Eb7 C- F7 Bb- Eb7 Ab! %

Eb- Ab7 F- Bb7 Eb- Ab7 Db! %

Ab- Db7 Bb- Eb7 Ab- Db7 Gb! %

C#- F#7 Eb- Ab7 C#- F#7 B! %

F#- B7 Ab- Db7 F#- B7 E! %

B- E7 C#- F#7 B- E7 A! %

E- A7 F#- B7 E- A7 D! %

A- D7 B- E7 A- D7 G!

%

Disc 2 Track 10: OverRuns joined by homers

Reminder: an overrun is a normal cadence except that instead of two bars on the

resolution, what would have been the second bar is a resolved chord one step round the

cycle. Measures three and four of Here’s that Rainy Day have one, as does each straight

cadence in Autumn Leaves. The join here is announced as a homer. Note that in this

sequence the homer starts on the II of the overrun, not the II of the ‘real’ resolution. But

instead of it keeping on coming back home, the overrun at the end of each cadence means

that the playalong track moves forwards around the cycle. If (see the discussion of Autumn

Leaves) you prefer to see the join as from the ‘real’ resolution, that’s fine: it just makes it a

bootstrap instead. In fact, except for the fourth measure of each cadence, this sequence is

identical to the bootstrap all-key track. It sounds completely different though.

D- G7 C! F! G- C7 F! Bb!

C- F7 Bb! Eb! F- Bb7 Eb! Ab!

Bb- Eb7 Ab! Db! Eb- Ab7 Db! Gb!

Ab- Db7 Gb! B! C#- F#7 B! E!

F#- B7 E! A! B- E7 A! D!

E- A7 D! G! A- D7 G! C!

7/25/2019 090 Part IX



Disc 2 Track 11: Two Goes joined by bootstraps

Reminder: a two goes compresses its minor-to-dominant pair into one measure and then

repeats it at least once. The first four measures of the front of Honeysuckle Rose are each a

compressed minor-to-dominant pair, so it’s actually four goes. Lover Man uses two minor-

to-dominant pairs, each played twice, in the first four measures of its front. Woody ‘n’ You,

in both halves of its bridge uses a minor-to-dominant pair played three times beforeresolution. Our playalong track resolves normally, so the two-goes here are just that. Two

goes. The join is a backslider, so this is a straight variant on the backslider all-key track.

It just uses two-goes instead of one to resolve.

D- G7 D- G7 C! % A- D7 A- D7 G! %

E- A7 E- A7 D! % B- E7 B- E7 A! %

F#- B7 F#- B7 E! % C#- F#7 C#- F#7 B! %

Ab- Db7 Ab- Db7 Gb! % Eb- Ab7 Eb- Ab7 Db! %

Bb- Eb7 Bb- Eb7 Ab! % F- Bb7 F- Bb7 Eb! %

C- F7 C- F7 Bb! % G- C7 G- C7 F! %

The next four tracks all start their cadences further back than the usual II.

Disc 2 Track 12: Extended cadences joined by stellas

Reminder: an extended cadence starts one step back around the cycle from normal, leaving

only one measure for the resolution. Most notably they occur as the first four measures of

each of the first two eights of All The Things You Are. Because the first approach chord is

the VI not the II, using a Stella as the join gets us through all keys in one track, with each

cadence resolving a half-step lower than its predecessor.

A- D- G7 C! G#- C#- F#7 B!

G- C- F7 Bb! F#- B- E7 A!

F- Bb- Eb7 Ab! E- A- D7 G!

Eb- Ab- Db7 Gb! D- G- C7 F!

C#- F#- B7 E! C- F- Bb7 Eb!

B- E- A7 D! Bb- Eb- Ab7 Db!

Disc 2 Track 13: Long cadences joined by highjumps

Reminder: a long cadence starts on the III of the resolution, and proceeds via ordinary

minor-to-dominant pairs to a normal two measure resolution. Manhattan starts with one.

The join is a highjump. With the earlier start for the approach notes, the resolution for

each new cadence is up one half-step from its predecessor.

E- A7 D- G7 C! % F- Bb7 Eb- Ab7 Db! %

F#- B7 E- A7 D! % G- C7 F- Bb7 Eb! %

7/25/2019 090 Part IX



G#- C#7 F#- B7 E! % A- D7 G- C7 F! %

Bb- Eb7 Ab- Db7 Gb! % B- E7 A- D7 G! %

C- F7 Bb- Eb7 Ab! % C#- F#7 B- E7 A! %

D- G7 C- F7 Bb! % Eb- Ab7 C#- F#7 B! %

Disc 2 Track 14: Rainy Cadences joined by backsliders

Reminder: a rainy cadence is like a long cadence except that the dominant of the first

minor-to-dominant pair is substituted, giving a feel of collapsing under its own weight

down to the minor of the second minor-to-dominant pair. Here’s That Rainy Day starts

with one, and the penultimate sad cadence of Autumn Leaves is usually played as one.

Although the rainy cadence in the first four measures of Here’s That Rainy Day actually

(beautifully) has an overrun in its final measure, we stick here to the conventional format of

two measures on the resolution. The join is a backslider (down a bIII). But because of the

different approach chords in a Rainy cadence, the upshot of the join is the same as using a

bootstrap with a normal cadence: each new cadence ends up one around the cycle from its predecessor.

E- Eb° D- G7 C! % A- Ab° G- C7 F! %

D- Db° C- F7 Bb! % G- Gb° F- Bb7 Eb! %

C- B° Bb- Eb7 Ab! % F- E° Eb- Ab7 Db! %

Bb- A° Ab- Db7 Gb! % Eb- D° C#- F#7 B! %

G#- G° F#- B7 E! % C#- C° B- E7 A! %

F#- F° E- A7 D! % B- Bb° A- D7 G! %

Disc 2 Track 15: Starlight Cadences joined by downwinders

Reminder: a starlight cadence begins on the bV (#IV) of the resolution, and proceeds via

minor-to-dominant pairs to a one measure resolution. The minor-to-dominant pairs may be

straight or sad or a mixture, or indeed, as with the bridge of Jordu, all dominant sevenths,

and not minor-to-dominant pairs at all . The ending may be in a surprise mood, too. See

the last eight of Stella by Starlight , the front of Woody ‘n’ You, and the introduction to

Round Midnight , for typical examples. The join is a downwinder (starts a half-step up),

but the resolutions are each one backwards around the cycle.

F#- B7 E- A7 D- G7 C! C#- F#7 B- E7 A- D7 G!

G#- C#7 F#- B7 E- A7 D! Eb- Ab7 C#- F#7 B- E7 A!

Bb- Eb7 G#- C#7 F#- B7 E! F- Bb7 Eb- Ab7 C#- F#7 B!

C- F7 Bb- Eb7 Ab- Db7 Gb! G- C7 F- Bb7 Eb- Ab7 Db!

D- G7 C- F7 Bb- Eb7 Ab! A- D7 G- C7 F- Bb7 Eb!

E- A7 D- G7 C- F7 Bb! B- E7 A- D7 G- C7 F!

Surprise endings!

7/25/2019 090 Part IX



The next six tracks feature resolutions which are not what you had been expecting from the

approach chords.

Disc 2 Track 16: Surprise sad endings joined by cherokees

Reminder: straight approach chords, then a sad resolution. The bridge of Invitation has

three of these consecutively, with new horizon joins. Here, to get around all keys in onetrack, the join is a Cherokee.

D- G7 C-! % Eb- Ab7 Db-! %

E- A7 D-! % F- Bb7 Eb-! %

F#- B7 E-! % G- C7 F-! %

Ab- Db7 Gb-! % A- D7 G-! %

Bb- Eb7 Ab-! % B- E7 A-! %

C- F7 Bb-! % C#- F#7 B-! %

Disc 2 Track 17: Surprise straight endings joined bydownwinders

Reminder: sad approach chords, then a straight resolution. The resolution of the last eight

of Stella by Starlight is a good example. The join is a downwinder.

Dø G7+9 C! % C#ø F#7+9 B! %

Cø F7+9 Bb! % Bø E7+9 A! %

Bbø Eb7+9 Ab!

% Aø D7+9 G!

%

Abø Db7+9 Gb! % Gø C7+9 F! %

F#ø B7+9 E! % Fø Bb7+9 Eb! %

Eø A7+9 D! % Ebø Ab7+9 Db! %

Disc 2 track 18: simple tension endings joined by bootstraps

Reminder: the resolution is not resolved but is ready to go somewhere else. Most

commonly this is where a bridge, as with Cherokee, ends with a cadence to the dominant of

the song. So the end of the cadence has to want to get back to reprise the front. Mostcommonly too, the two measure resolution is broken down into a minor-to-dominant pair.

However to get the basic point across, we stick here to making the resolution two bars of

dominant seventh. The join is a BootStrap.

D- G7 C7 % G- C7 F7 %

C- F7 Bb7 % F- Bb7 Eb7 %

Bb- Eb7 Ab7 % Eb- Ab7 Db7 %

Ab- Db7 Gb7 % C#- F#7 B7 %

F#- B7 E7 % B- E7 A7 %

7/25/2019 090 Part IX



E- A7 D7 % A- D7 G7 %

Super-tension endings

Reminder: the resolution is a supertension dominant seventh. Here, instead of having one

track to go through all the keys we have three different ones. The reason is that Invitation is too attractive a song to ignore. It gives way to its supertension dominant sevenths by

moving on from them to the expected point one step around the cycle. So although the join

is a highjump, it isn’t abrupt, it feels more like a follow-through. So our demonstration of

the supertension ending uses that join two, and because of that, we need three separate

tracks to get all of the keys in.

If you can play these tracks, and the surprise sad endings as well, you have effectively

practised Invitation in all twelve keys!

The join for each sequence is a followthrough, i.e. one around the cycle, but unlike a

highjump, which is preceded by a resolved chord, we are expecting to follow through

because of the tension. Each sequence is played three times

Disc 2 Track 19: Supertension endings joined by followthroughs Sequence 1

D- G7 C7+4 % F- Bb7 Eb7+4 %

Ab- Db7 Gb7+4 % B- E7 A7+4 %


A- D7 G7+4 % C- F7 Bb7+4 %

Eb- Ab7 Db7+4 % F#ø B7+9 E!+4 %


E- A7 D7+4 % G- C7 F7+4 %

Bb- Eb7 Ab7+4 % C#- F#7 B7+4 %

Turnarounds

The next two tracks are both ninety-six measures, and exercise you playing a variety ofturnarounds in all keys. Each has an eight measure set of LEGO bricks, resolving to a

straight chord, but with the second measure of the resolution used to launch the next

section.

One reader wrote to me and said that he put these on, just as they are, at parties, because of

the tremendous swing and good humour the trio get on them. They really make you feel

good. Turn ‘em up good and loud!

We could have made one of these sequences the front of Rhythm changes, but opted instead

to mix them.

To help you keep your place, there is a heavier horizontal line after every three lines.

Disc 2 Track 22: Rhythm Turnarounds, SPOTs and POTs withCherokee launchers

7/25/2019 090 Part IX



Reminders:

A Rhythm Turnaround is a more propulsive version of a POT. By substituting tritones for

the dominants, it produces an upward chromatic movement for each chord change.

A SPOT (Suspended Plain Old Turnaround) is the same except that the resolution is

‘suspended’ by being a III- instead of the expected I. This makes the whole turnaround two

consecutive minor-to-dominant pairs, like the approach to a long cadence.

A POT (Plain Old Turnaround) is I VI II V, usually two beats each. The I is usually

resolved. The VI can be dominant seventh or minor seventh, and the II V is a minor-to-

dominant pair.

C! C#° D- D#° E- A7 D- G7 C! A7 D- G7 C! Eb- Ab7

Db! D° Eb- E° F- Bb7 Eb- Ab7 Db! Bb7 Eb- Ab7 Db! E- A7

D! D#° E- F° F#- B7 E- A7 D! B7 E- A7 D! F- Bb7

Eb! E° F- F#° G- C7 F- Bb7 Eb! C7 F- Bb7 Eb! G- C7

E! F° F#-G° G#- C#7 F#- B7 E! C#7 F#- B7 E! Gb! Eb7

F! F#° G- Ab° A- D7 G- C7 F! D7 G- C7 F! Ab- Db7

Gb! G° Ab- A° Bb- Eb7 Ab- Db7 Gb! Eb7 Ab- Db7 Gb! A- D7

G! Ab° A- Bb° B- E7 A- D7 G! E7 A- D7 G! Bb- Eb7

Ab! A° Bb- B° C- F7 Bb- Eb7 Ab! F7 Bb- Eb7 Ab! B- E7

A!

Bb° B- C

° C#- F#7 B- E7 A

! F#7 B- E7 A

! C- F7

Bb! B° C- C#° D- G7 C- F7 Bb! G7 C- F7 Bb! C#- F#7

B! C° C#- D° Eb- Ab7 C#- F#7 B! G#7 C#- F#7 B! D- G7

Disc 2 Track 23: Pennies Turnarounds, IV’n’Backs, withBootStrap launchers

Reminders:

A Pennies Turnaround walks up from the I to the III, and collapses down through the bIII to

end with a II V minor-to-dominant pair.

A IV ‘n’ Back starts on the I, kicks some tension into it to get to the IV, and keeps on going

up through the #IV, when it finds itself back where it started. So it wasn’t going anywhere,

despite the drama, it was a turnaround after all!

C! D- E- Eb° D- G7 C! C7 F7 F#° C! G- C7

F! G- A- Ab° G- C7 F! F7 Bb7 B° F! C- F7

Bb! C- D- Db° C- F7 Bb! Bb7 Eb7 E° Bb! F- Bb7

Eb! F- G- Gb° F- Bb7 Eb! Eb7 Ab7 A° Eb! Bb- Eb7

Ab! Bb- C- B° Bb- Eb7 Ab! Ab7 Db7 D

° Ab! Eb- Ab7

7/25/2019 090 Part IX



Db! Eb- F- E° Eb- Ab7 Db! Db7 Gb7 G° Db! Ab- Db7

Gb! Ab- Bb- A° Ab- Db7 Gb! Gb7 B7 C° Gb! C#- F#7

B! C#- Eb- D° Db- Gb7 B! B7 E7 F° B! F#- B7

E! F#- G#- G° Gb- B7 E! E7 A7 Bb° E! B- E7

A! B- C#- C° B- E7 A! A7 D7 Eb° A! E- A7

D! E- F#- F° E- A7 D! D7 G7 Ab° D! A- D7

G! A- B- Bb° A- D7 G! G7 C7 Db° G! D- G7

Cadences using substitution

The rest of the tracks on the playalong all use some form of substitution for the normal

cycle movement in their approach chords.

Tritone substitution of the II or the V

We start with four tracks using the simplest substitution, the tritone. Although a tritone is

as far away as you can get from a given note, (which is why it is directly opposite it on the

cycle), when used in a cycle sequence it always gives a chromatic movement to a chord a

half-step from where you were.

Disc 2 Track 24: Dominant Substitution with bootstrap joins

These are ordinary straight cadences, except that the dominant seventh, a tritone away from

the V, is a half-step lower than the II, and so only needs to go down another half-step to

resolve. The join is a bootstrap. (This is, of course, a fully written out version of the veryfirst cadence you ever played in all keys. (See Part III Just Do It )

D- Db7 C! % G- Gb7 F! %

C- B7 Bb! % F- E7 Eb! %

Bb- A7 Ab! % Eb- D7 Db! %

Ab- G7 Gb! % C#- C7 B! %

F#- F7 E! % B- Bb7 A! %

E- Eb7 D!

% A- Ab7 G!

%

Disc 2 Track 25: GDS cadences with Cherokee joins

These occur in On Green Dolphin Street (GDS), and show you something really interesting.

All the approach chords are resolved, major chords. They use the same roots as the

previous track, but are played over a pedal note of an insistent I. This gives at one and the

same time a suspended feeling, and a cadence feeling.

The track here uses a slightly latin feel, and there is a two measure introduction to set up

the feeling before the written sequence is followed. The join is a Cherokee.

D!

-------C Pedal

Db!

------C Pedal

C! % Eb!

-------Db Pedal

E!

-------Db Pedal

Db! %

7/25/2019 090 Part IX



E!

-------

D Pedal

Eb!

-------

D Pedal

D! % F!

-------

Eb Pedal

E!

-------

Eb Pedal

Eb! %

F#!

-------

E Pedal

F!

-------

E Pedal

E! % G!

-------

F Pedal

Gb!

-------

F Pedal

F! %

Ab!

-------

Gb Pedal

G!

-------

Gb Pedal

Gb! % A!

-------

G Pedal

Ab!

-------

G Pedal

G! %

Bb!

-------

Ab Pedal

A!

-------

Ab Pedal

Ab! % B!

-------

A Pedal

Bb!

-------

A Pedal

A! %

C!

-------

Bb Pedal

B!

-------

Bb Pedal

Bb! % C#!

-------

B Pedal

C!

-------

B Pedal

B! %

Disc 2 Track 26: Night and Day Cadences joined by backsliders

Reminder: these sit squarely for a whole measure on a resolved tritone substitute for a II,

the bVI. Then they drop down a half step to pick up the dominant seventh. Note that here,

the dominant is broken down into a minor-to-dominant pair, as opposed to the simple

dominant given in Part V A Kit of LEGO Bricks to Build Songs With. This is because most

people play it that way. The join is a backslider.

Ab! D- G7 C! % A! Eb- Ab7 Db! %

Bb! E- A7 D! % B! F- Bb7 Eb! %

C! F#- B7 E! % Db! G- C7 F! %

D! Ab- Db7 Gb! % Eb! A- D7 G! %

E! Bb- Eb7 Ab! % F! B- E7 A! %

Gb! C- F7 Bb! % G! C#- F#7 B! %

Disc 2 Track 27: Stablemates cadences with half nelson joins

Reminder: a stablemates cadence is like the previous track, except that the bVI is broken

down into a minor-to-dominant pair. This is also easily thought of as preceding the II Vminor-to-dominant pair in measure two with a minor-to-dominant pair a half-step above it.

The join is a half nelson.

Eb- Ab7 D- G7 C! % Bb- Eb7 A- D7 G! %

F- Bb7 E- A7 D! % C- F7 B- E7 A! %

G- C7 F#- B7 E! % D- G7 C#- F#7 B! %

A- D7 Ab- Db7 Gb! % E- A7 Eb- Ab7 Db! %

B- E7 Bb- Eb7 Ab! % F#- B7 F- Bb7 Eb! %

7/25/2019 090 Part IX



C#- F#7 C- F7 Bb! % Ab- Db7 G- C7 F! %

Coltrane substitutions

The next two tracks use Coltrane Substitutions.

NB Because our concentration is on cadences on this playalong, we don’t use Giant Steps

directly here, we use Coltrane’s adaptation of the giant step to cadences. This involves

preceding the ultimate resolution by two other resolutions each a giant step (III) away. And

each of those resolutions is preceded by a simple dominant seventh. If you look at the

diagram in the section Why Giant Steps is a Doddle, in Part VIII More Things to Think

About , you will see that this is not complicated at all. It is simply a crabwise movement,

rather than a cycle movement across the territory.

Because the most significant version of this particular form of cadence is Countdown, we

have used the Countdown join, a new horizon. And so, of course, we need two tracks to

cover all the keys.

Disc 2 track 28: Coltrane substitutions joined by new horizonsSequence 1

D- Eb7 Ab! B7 E! G7 C! C-Db7 Gb! A7 D! F7 Bb!

Bb- B7 E! G7 C! Eb7 Ab! Ab- A7 D! F7 Bb! Db7 Gb!

F#- G7 C! Eb7 Ab! B7 E! E- F7 B! Db7 Gb! A7 D!


A- Bb7 Eb! F#7 B! D7 G! G- Ab7 Db! E7 A! C7 F!

F- F#7 B! D7 G! Bb7 Eb! Eb- E7 A! C7 F! Ab7 Db!

C#- D7 G! Bb7 Eb! F#7 B! B- C7 F! Ab7 Db! E7 A!

Alternative approach chords to II- V7

The last three tracks use other forms of substituted approach chords.

Disc 2 Track 30: Yardbird Cadences joined by baubles

Reminder: a Yardbird cadence uses a bVII instead of the V as the dominant to a I. It is oneof the substitutions delineated by Bartok, and discussed in the Substitution section of Part

IV The Transition From Listening to Playing . The whole cadence can just substitute the

dominant seventh, as in the bridge to Speak Low, or the third eight of Stella by Starlight .

Or it can break down the bVII into a minor-to-dominant pair and leave out the conventional

II altogether. This happens in, for example, My Foolish Heart , Monk’s Mood , and Yardbird

Suite, and that is the form we use here. The join is a bauble.

F- Bb7 C! % F#- B7 Db! %

G- C7 D! % Ab- Db7 Eb! %

A- D7 E! % Bb- Eb7 F! %

B- E7 F#! % C- F7 G! %

7/25/2019 090 Part IX



Db- Gb7 Ab! % D- G7 A! %

Eb- Ab7 Bb! % E- A7 B! %

Rainbow Cadences

Reminder: a Rainbow Cadence uses a VII instead of a V as the dominant to a I. The usual

form is that the VII is a minor seventh chord interposed by two majors, each one cycle step

apart. Lee Konitz used it to great effect in his modified changes to I Concentrate on You,

and it was common in early popular songs like I’m Gonna Sit Right Down and Write Myself

a Letter . Pre-eminently, for me, it is the underlying ‘heart-tug’ movement in the first two

measure of the chorus of I Remember Clifford , and the first three measures of Over the

Rainbow. The track here is that underlying movement. Just the Rainbow Cadence, with

the passing chords given in Grigson missed out. The join is a Stella, so with these

approach chords, the resolutions go up in half-steps.

Note. The recording of the playalong took over six hours, with some retakes, much

discussion, and not a little love. And the discussions meant that a lot of the recording was

not in the same sequence as the tracks are presented here. (Once again we think of the sad

individual who reviewed Harmony with LEGO Bricks in Jazz Journal , who assumed itwas all recorded in order, and all one continuous take too!).

However, the rainbow cadences were the very last track to be done. At the end, Frank

Campbell, a player of almost sublime sensitivity, said that now the pressure was off, and

the playalong was in the can, the trio should really stretch themselves before we all went

down to eat at Sayonara (an Indian restaurant of almost sublime quality in Leicester).

Asked what he suggested, Frank said he wanted to do the Rainbow Cadences again, but this

time, real slow, as a beautiful ballad.

So that is why you get two tracks to play this sequence.

Disc 2 Track 31: Rainbow cadences joined by stellas

Disc 2 Track 32: Rainbow cadences joined by stellas – balladtempo

G! B- C! % Ab! C- Db! %

A! Db- D! % Bb! D- Eb! %

B! Eb- E! % C! E- F! %

Db! F- Gb! % D! F#- G! %

Eb! G- Ab! % E! Ab- A! %

F! A- Bb! % F#! Bb- B! %

Thank you for staying with it this far.

Love and jazz.

7/25/2019 090 Part IX



Summary of tracks on the Playalong CD’s

Disc 1

1. Tuning note concert A 440

2. Dominants forever3. Minor to Dominant round the Cycle: Sequence 1

4. Minor to Dominant round the Cycle: Sequence 2

5. Dog-Leg Round the Cycle

6. Half-diminished to Altered Dominant round the Cycle: Sequence 1

7. Half-diminished to Altered Dominant round the Cycle: Sequence 2

8. Straight Cadences to Concert C

9. Straight Cadences to Concert Db

10. Straight Cadences to Concert D

11. Straight Cadences to Concert Eb

12. Straight Cadences to Concert E

13. Straight Cadences to Concert F

14. Straight Cadences to Concert Gb

15. Straight Cadences to Concert G16. Straight Cadences to Concert Ab

17. Straight Cadences to Concert A

18. Straight Cadences to Concert Bb

19. Straight Cadences to Concert B

20. Sad Cadences to Concert C

21. Sad Cadences to Concert Db

22. Sad Cadences to Concert D

23. Sad Cadences to Concert Eb

24. Sad Cadences to Concert E

25. Sad Cadences to Concert F

26. Sad Cadences to Concert Gb

27. Sad Cadences to Concert G

28. Sad Cadences to Concert Ab29. Sad Cadences to Concert A

30. Sad Cadences to Concert Bb

31. Sad Cadences to Concert B

32. BootStraps

33. BackSliders

34. Cherokees

35. DownWinders

36. Woodys Sequence 1

37. Woodys Sequence 2

38. New Horizons Sequence 1

39. New Horizons Sequence 2

40. HighJumps Sequence 1

41. HighJumps Sequence 242. HighJumps Sequence 3

43. SideWinders Sequence 1



Disc 2

1. Baubles Sequence 1




5. Half Nelsons Sequence 1

6. Half Nelsons Sequence 27. Half Nelsons Sequence 3

8. Half Nelsons Sequence 4

7/25/2019 090 Part IX



9. PullBacks with BootStrap joins

10. OverRuns joined by Homers

11. Two Goes joined by BootStraps

12. Extended cadences joined by Stellas

13. Long Cadences joined by HighJumps

14. Rainy Cadences joined by Backsliders

15. Starlight Cadences joined by DownWinders16. Surprise sad Endings joined by Cherokees

17. Surprise Straight Endings joined by DownWinders

18. Simple Tension Endings joined by BootStraps

19. Supertension Endings joined by followthroughs Sequence 1



22. Rhythm Turnarounds, SPOTs and POTs with Cherokee launchers

23. Pennies Turnarounds, IV'n'Backs, with BootStrap launchers

24. Dominant Substitution with BootStrap joins

25. GDS cadences with Cherokee joins (with 2 measure introduction)

26. Night and Day cadences joined by BackSliders

27. Stablemates cadences with Half Nelson joins

28. Coltrane Substitutions joined by New Horizons Sequence 129. Coltrane Substitutions joined by New Horizons Sequence 2

30. Yardbird cadences joined by Baubles

31. Rainbow cadences joined by Stellas

32. Rainbow cadences joined by Stellas - ballad tempo

7/25/2019 090 Part IX



Transposed changes for the PlayalongThis section contains transposed changes for the Harmony with LEGO Bricks Playalong,

starting with at Track 8 of Disc 1, the sequence of Straight Cadences to all keys. The

transposed changes for the first six tracks after the tuning note, exploring four different

types of movement around the Cycle are given as an integral part of the Concert Pitchchanges above.

Part of the thrust of this book has been that concert changes are all you need, because you

are supposed to look at the changes and see them primarily as a pattern. After that playing

the pattern in any key is straight forward. However, in the early days, it helps to have less

to think about, and so I have provided changes here for Bb and Eb transposing instruments.

The text that accompanies and explains the playalong will be found with the Concert Pitch

changes. It is not repeated here. You are strongly advised to familiarise yourself with it.

Also, that section includes the transposed parts you need for the guide tones which

illustrate the different forms of cycle movement. So here we start with cadences.

All sequences are played once through except where otherwise indicated.

7/25/2019 090 Part IX



Cadences

Straight Cadences

All of the cadences are played at least twelve times.

Disc 1 Track 8: Straight Cadences to Concert C

Bb instruments

E- A7 D! %

Eb instruments

B- E7 A! %

Disc 1 Track 9: Straight Cadences to Concert Db

Bb instruments

F- Bb7 Eb! %

Eb instruments

C- F7 Bb! %

Disc 1 Track 10: Straight Cadences to Concert D

Bb instruments

F#- B7 E! %

Eb instruments

C#- F#7 B! %

Disc 1 Track 11: Straight Cadences to Concert Eb

Bb instruments

G- C7 F! %

Eb instruments

D- G7 C! %

Disc 1 Track 12: Straight Cadences to Concert E

Bb instruments

Ab- Db7 Gb! %

Eb instruments

7/25/2019 090 Part IX



Eb- Ab7 Db! %

Disc 1 Track 13: Straight Cadences to Concert F

Bb instruments

A- D7 G! %

Eb instruments

E- A7 D! %

Disc 1 Track 14: Straight Cadences to Concert Gb

Bb instruments

Ab- Db7 Gb! %

Eb instruments

F- Bb7 Eb! %

Disc 1 Track 15: Straight Cadences to Concert G

Bb instruments

B- E7 A! %

Eb instruments

F#- B7 E! %

7/25/2019 090 Part IX



Disc 1 Track 16: Straight Cadences to Concert Ab

Bb instruments

C- F7 Bb! %

Eb instruments

G- C7 F! %

Disc 1 Track 17: Straight Cadences to Concert A

Bb instruments

C#- F#7 B! %

Eb instruments

Ab- Db7 Gb! %

Disc 1 Track 18: Straight Cadences to Concert Bb

Bb instruments

D- G7 C! %

Eb instruments

A- D7 G!

%

Disc 1 Track 19: Straight Cadences to Concert B

Bb instruments

Eb- Ab7 Db! %

Eb instruments

Bb- Eb7 Ab! %

7/25/2019 090 Part IX



Sad Cadences

Disc 1 Track 20: Sad Cadences to Concert C

Bb instruments

Eø A7+9 D-! %

Eb instruments

Bø E7+9 A-! %

Disc 1 Track 21: Sad Cadences to Concert Db

Bb instruments

Fø Bb7+9 Eb-! %

Eb instruments

Cø F7+9 Bb-! %

Disc 1 Track 22: Sad Cadences to Concert D

Bb instruments

F#ø B7+9 E-! %

Eb instruments

C#ø F#7+9 B-! %

Disc 1 Track 23: Sad Cadences to Concert Eb

Bb instruments

Gø C7+9 F-! %

Eb instruments

Dø G7+9 C-! %

7/25/2019 090 Part IX



Disc 1 Track 24: Sad Cadences to Concert E

Bb instruments

Abø Db7+9 Gb-! %

Eb instruments

Ebø Ab7+9 Db-! %

Disc 1 Track 25: Sad Cadences to Concert F

Bb instruments

Aø D7+9 G-! %

Eb instruments

Eø A7+9 D-! %

Disc 1 Track 26: Sad Cadences to Concert Gb

Bb instruments

Bbø Eb7+9 Ab-! %

Eb instruments

Fø Bb7+9 Eb-!

%

Disc 1 Track 27: Sad Cadences to Concert G

Bb instruments

Bø E7+9 A-! %

Eb instruments

F#ø B7+9 E-! %

7/25/2019 090 Part IX



Disc 1 Track 28: Sad Cadences to Concert Ab

Bb instruments

Cø F7+9 Bb-! %

Eb instruments

Gø C7+9 F-! %

Disc 1 Track 29: Sad Cadences to Concert A

Bb instruments

C#ø F#7+9 B-! %

Eb instruments

Abø Db7+9 Gb-! %

Disc 1 Track 30: Sad Cadences to Concert Bb

Bb instruments

Dø G7+9 C-! %

Eb instruments

Aø D7+9 G-!

%

Disc 1 Track 31: Sad Cadences to Concert B

Bb instruments

Ebø Ab7+9 Db-! %

Eb instruments

Bbø Eb7+9 Ab-! %

Straight cadences demonstrating LEGO brick Joins

All-Key Tracks

Disc 1 Track 32: bootstraps

(Join: one backwards round the cycle. Resolution: one forwards round the cycle)

Bb instruments

E- A7 D! % A- D7 G! %

D- G7 C! % G- C7 F! %

7/25/2019 090 Part IX



C- F7 Bb! % F- Bb7 Eb! %

Bb- Eb7 Ab! % Eb- Ab7 Db! %

Ab- Db7 Gb! % C#- F#7 B! %

F#- B7 E! % B- E7 A! %

Eb instruments

B- E7 A! % E- A7 D! %

A- D7 G! % D- G7 C! %

G- C7 F! % C- F7 Bb! %

F- Bb7 Eb! % Bb- Eb7 Ab! %

Eb- Ab7 Db! % Ab- Db7 Gb! %

C#- F#7 B! % F#- B7 E! %

7/25/2019 090 Part IX



Disc 1 Track 33: backsliders

(Join: VI. Resolution: one backwards round the cycle)

Bb instruments

E- A7 D! % B- E7 A! %

F#- B7 E! % C#- F#7 B! %

Ab- Db7 Gb! % Eb- Ab7 Db! %

Bb- Eb7 Ab! % F- Bb7 Eb! %

C- F7 Bb! % G- C7 F! %

D- G7 C! % A- D7 G! %

Eb instruments

B- E7 A! % F#- B7 E! %

C#- F#7 B! % Ab- Db7 Gb! %

Eb- Ab7 Db! % Bb- Eb7 Ab! %

F- Bb7 Eb! % C- F7 Bb! %

G- C7 F! % D- G7 C! %

A- D7 G! % E- A7 D! %

Disc 1 Track 34: cherokees

(Join: bIII. Resolution: upwards in half steps)

Bb instruments

E- A7 D! % F- Bb7 Eb! %

F#- B7 E! % G- C7 F! %

Ab- Db7 Gb! % A- D7 G! %

Bb- Eb7 Ab! % B- E7 A! %

C- F7 Bb! % C#- F#7 B! %

D- G7 C! % Eb- Ab7 Db! %

7/25/2019 090 Part IX



Eb instruments

B- E7 A! % C- F7 Bb! %

C#- F#7 B! % D- G7 C! %

Eb- Ab7 Db!

% E- A7 D!

%

F- Bb7 Eb! % F#- B7 E! %

G- C7 F! % Ab- Db7 Gb! %

A- D7 G! % Bb- Eb7 Ab! %

Disc 1 Track 35: downwinders

(Join: bII. Resolution: downwards in half steps)

Bb instruments

E- A7 D! % Eb- Ab7 Db! %

D- G7 C! % C#- F#7 B! %

C- F7 Bb! % B- E7 A! %

Bb- Eb7 Ab! % A- D7 G! %

Ab- Db7 Gb! % G- C7 F! %

F#- B7 E! % F- Bb7 Eb! %

Eb instruments

B- E7 A! % Bb- Eb7 Ab! %

A- D7 G! % Ab- Db7 Gb! %

G- C7 F! % F#- B7 E! %

F- Bb7 Eb! % E- A7 D! %

Eb- Ab7 Db! % D- G7 C! %

C#- F#7 B! % C- F7 Bb! %

7/25/2019 090 Part IX



Wholetone tracks

Each progression is played twice through.

Woodys(Join: III. Resolution: upwards in wholetones)


Bb instruments

E- A7 D! % F#- B7 E! %

Ab- Db7 Gb! % Bb- Eb7 Ab! %

C- F7 Bb! % D- G7 C! %

Eb instruments

B- E7 A! % C#- F#7 B! %

Eb- Ab7 Db! % F- Bb7 Eb! %

G- C7 F! % A- D7 G! %


Bb instruments

Eb- Ab7 Db! % F- Bb7 Eb! %

G- C7 F! % A- D7 G! %

B- E7 A! % C#- F#7 B! %

Eb instruments

Bb- Eb7 Ab! % C- F7 Bb! %

D- G7 C! % E- A7 D! %

F#- B7 E! % Ab- Db7 Gb! %

7/25/2019 090 Part IX



new horizons

(Join: I. Resolution: downwards in wholetones)


Bb instrumentsE- A7 D! % D- G7 C! %

C- F7 Bb! % Bb- Eb7 Ab! %

Ab- Db7 Gb! % F#- B7 E! %

Eb instruments

B- E7 A! % A- D7 G! %

G- C7 F! % F- Bb7 Eb! %

Eb- Ab7 Db! % C#- F#7 B! %


Bb instruments

Eb- Ab7 Db! % C#- F#7 B! %

B- E7 A! % A- D7 G! %

G- C7 F! % F- Bb7 Eb! %

Eb instruments

Bb- Eb7 Ab! % Ab- Db7 Gb! %

F#- B7 E! % E- A7 D! %

D- G7 C! % C- F7 Bb! %

7/25/2019 090 Part IX



Flat III tracks

Each progression is played three times

highjumps

(Join: one forward round the cycle. Resolution: upwards in bIII’s)


Bb instruments

E- A7 D! % G- C7 F! %

Bb- Eb7 Ab! % C#- F#7 B! %

Eb instruments

B- E7 A! % D- G7 C! %

F- Bb7 Eb! % Ab- Db7 Gb! %


Bb instruments

Eb- Ab7 Db! % F#- B7 E! %

A- D7 G! % C- F7 Bb! %

Eb instruments

Bb- Eb7 Ab! % C#- F#7 B! %

E- A7 D! % G- C7 F! %


Bb instruments

D- G7 C! % F- Bb7 Eb! %

Ab- Db7 Gb! % B- E7 A! %

Eb instruments

A- D7 G! % C- F7 Bb! %

Eb- Ab7 Db! % F#- B7 E! %

sidewinders

(Join: VII (half-step down). Resolution: VII).


Bb instruments

E- A7 D! % C#- F#7 B! %

7/25/2019 090 Part IX



Bb- Eb7 Ab! % G- C7 F! %

Eb instruments

B- E7 A! % Ab- Db7 Gb! %

F- Bb7 Eb! % D- G7 C! %


Bb instruments

Eb- Ab7 Db! % C- F7 Bb! %

A- D7 G! % F#- B7 E! %

Eb instruments

Bb- Eb7 Ab! % G- C7 F! %

E- A7 D! % C#- F#7 B! %


Bb instruments

D- G7 C! % B- E7 A! %

Ab- Db7 Gb! % F- Bb7 Eb! %

Eb instruments

A- D7 G! % F#- B7 E! %

Eb- Ab7 Db! % C- F7 Bb! %

Major III tracks

Each progression is played four times.

baubles

(Join: bV. Resolution: upwards in III’s)


Bb instruments

E- A7 D! % Ab- Db7 Gb! %

C- F7 Bb! % D.C.

Eb instruments

B- E7 A! % Eb- Ab7 Db! %

G- C7 F! % D.C.

7/25/2019 090 Part IX




Bb instruments

Eb- Ab7 Db! % G- C7 F! %

B- E7 A! % D.C.

Eb instruments

Bb- Eb7 Ab! % D- G7 C! %

F#- B7 E! % D.C.


Bb instruments

D- G7 C! % F#- B7 E! %

Bb- Eb7 Ab! % D.C.

Eb instruments

A- D7 G! % C#- F#7 B! %

F- Bb7 Eb! % D.C.


Bb instruments

C#- F#7 B! % F- Bb7 Eb! %

A- D7 G! % D.C.

Eb instruments

Ab- Db7 Gb! % C- F7 Bb! %

E- A7 D! % D.C.

half nelsons

(Join: bVII. Resolution: downwards in III’s)


Bb instruments

E- A7 D! % C- F7 Bb! %

Ab- Db7 Gb! % D.C.

Eb instruments

B- E7 A! % G- C7 F! %

Eb- Ab7 Db! % D.C.

7/25/2019 090 Part IX




Bb instruments

Eb- Ab7 Db! % B- E7 A! %

G- C7 F! % D.C.

Eb instruments

Bb- Eb7 Ab! % F#- B7 E! %

D- G7 C! % D.C.


Bb instruments

D- G7 C! % Bb- Eb7 Ab! %

F#- B7 E! % D.C.

Eb instruments

A- D7 G! % F- Bb7 Eb! %

C#- F#7 B! % D.C.


Bb instruments

C#- F#7 B! % A- D7 G! %

F- Bb7 Eb! % D.C.

Eb instruments

Ab- Db7 Gb! % E- A7 D! %

C- F7 Bb! % D.C.

7/25/2019 090 Part IX



Cadence variations

Disc 2 Track 9: Pullbacks with bootstrap joins

Bb instruments

E- A7 F#- B7 E- A7 D! %

A- D7 B- E7 A- D7 G! %

D- G7 E- A7 D- G7 C! %

G- C7 A- D7 G- C7 F! %

C- F7 D- G7 C- F7 Bb! %





C#- F#7 Eb- Ab7 C#- F#7 B! %

F#- B7 Ab- Db7 F#- B7 E! %

B- E7 C#- F#7 B- E7 A! %

Eb instruments

B- E7 C#- F#7 B- E7 A! %

E- A7 F#- B7 E- A7 D! %

A- D7 B- E7 A- D7 G! %

D- G7 E- A7 D- G7 C! %

G- C7 A- D7 G- C7 F! %

C- F7 D- G7 C- F7 Bb! %





C#- F#7 Eb- Ab7 C#- F#7 B! %

F#- B7 Ab- Db7 F#- B7 E! %

Disc 2 Track 10: OverRuns joined by homers

7/25/2019 090 Part IX



Bb instruments

E- A7 D! G! A- D7 G! C!

D- G7 C! F! G- C7 F! Bb!

C- F7 Bb!

Eb!

F- Bb7 Eb!

Ab!

Bb- Eb7 Ab! Db! Eb- Ab7 Db! Gb!

Ab- Db7 Gb! B! C#- F#7 B! E!

F#- B7 E! A! B- E7 A! D!

Eb instruments

B- E7 A! D! E- A7 D! G!

A- D7 G! C! D- G7 C! F!

G- C7 F! Bb! C- F7 Bb! Eb!

F- Bb7 Eb! Ab! Bb- Eb7 Ab! Db!

Eb- Ab7 Db! Gb! Ab- Db7 Gb! B!

C#- F#7 B! E! F#- B7 E! A!

Disc 2 Track 11: Two Goes joined by bootstraps

Bb instruments

E- A7 E- A7 D! % B- E7 B- E7 A! %

F#- B7 F#- B7 E! % C#- F#7 C#- F#7 B! %

Ab- Db7 Ab- Db7 Gb! % Eb- Ab7 Eb- Ab7 Db! %

Bb- Eb7 Bb- Eb7 Ab! % F- Bb7 F- Bb7 Eb! %

C- F7 C- F7 Bb! % G- C7 G- C7 F! %

D- G7 D- G7 C! % A- D7 A- D7 G! %

Eb instruments

B- E7 B- E7 A! % F#- B7 F#- B7 E! %

C#- F#7 C#- F#7 B! % Ab- Db7 Ab- Db7 Gb! %

Eb- Ab7 Eb- Ab7 Db! % Bb- Eb7 Bb- Eb7 Ab! %

F- Bb7 F- Bb7 Eb! % C- F7 C- F7 Bb! %

G- C7 G- C7 F! % D- G7 D- G7 C! %

A- D7 A- D7 G! % E- A7 E- A7 D! %

7/25/2019 090 Part IX



Disc 2 Track 12: Extended cadences joined by stellas

Bb instruments

B- E- A7 D! Bb- Eb- Ab7 Db!

A- D- G7 C! G#- C#- F#7 B!

G- C- F7 Bb! F#- B- E7 A!

F- Bb- Eb7 Ab! E- A- D7 G!

Eb- Ab- Db7 Gb! D- G- C7 F!

C#- F#- B7 E! C- F- Bb7 Eb!

Eb instruments

F#- B- E7 A! F- Bb- Eb7 Ab!

E- A- D7 G! Eb- Ab- Db7 Gb!

D- G- C7 F! C#- F#- B7 E!

C- F- Bb7 Eb! B- E- A7 D!

Bb- Eb- Ab7 Db! A- D- G7 C!

G#- C#- F#7 B! G- C- F7 Bb!

7/25/2019 090 Part IX



Disc 2 Track 13: Long cadences joined by highjumps

Bb instruments

F#- B7 E- A7 D! % G- C7 F- Bb7 Eb! %

G#- C#7 F#- B7 E! % A- D7 G- C7 F! %

Bb- Eb7 Ab- Db7 Gb! % B- E7 A- D7 G! %

C- F7 Bb- Eb7 Ab! % C#- F#7 B- E7 A! %

D- G7 C- F7 Bb! % Eb- Ab7 C#- F#7 B! %

E- A7 D- G7 C! % F- Bb7 Eb- Ab7 Db! %

Eb instruments

C#- F#7 B- E7 A! % D- G7 C- F7 Bb! %

Eb- Ab7 C#- F#7 B! % E- A7 D- G7 C! %

F- Bb7 Eb- Ab7 Db! % F#- B7 E- A7 D! %

G- C7 F- Bb7 Eb! % G#- C#7 F#- B7 E! %

A- D7 G- C7 F! % Bb- Eb7 Ab- Db7 Gb! %

B- E7 A- D7 G! % C- F7 Bb- Eb7 Ab! %

Disc 2 Track 14: Rainy Cadences joined by backsliders

Bb instruments

F#- F° E- A7 D! % B- Bb° A- D7 G! %

E- Eb° D- G7 C! % A- Ab° G- C7 F! %

D- Db° C- F7 Bb! % G- Gb° F- Bb7 Eb! %

C- B° Bb- Eb7 Ab! % F- E° Eb- Ab7 Db! %

Bb- A° Ab- Db7 Gb! % Eb- D° C#- F#7 B! %

G#- G° F#- B7 E! % C#- C° B- E7 A! %

7/25/2019 090 Part IX



Eb instruments

C#- C° B- E7 A! % F#- F° E- A7 D! %

B- Bb° A- D7 G! % E- Eb° D- G7 C! %

A- Ab° G- C7 F! % D- Db

° C- F7 Bb! %

G- Gb° F- Bb7 Eb! % C- B° Bb- Eb7 Ab! %

F- E° Eb- Ab7 Db! % Bb- A° Ab- Db7 Gb! %

Eb- D° C#- F#7 B! % G#- G° F#- B7 E! %

Disc 2 Track 15: Starlight Cadences joined by downwinders

Bb instruments

G#- C#7 F#- B7 E- A7 D! Eb- Ab7 C#- F#7 B- E7 A!

Bb- Eb7 G#- C#7 F#- B7 E! F- Bb7 Eb- Ab7 C#- F#7 B!

C- F7 Bb- Eb7 Ab- Db7 Gb! G- C7 F- Bb7 Eb- Ab7 Db!

D- G7 C- F7 Bb- Eb7 Ab! A- D7 G- C7 F- Bb7 Eb!

E- A7 D- G7 C- F7 Bb! B- E7 A- D7 G- C7 F!

F#- B7 E- A7 D- G7 C! C#- F#7 B- E7 A- D7 G!

Eb instruments

Eb- Ab7 C#- F#7 B- E7 A! Bb- Eb7 G#- C#7 F#- B7 E!

F- Bb7 Eb- Ab7 C#- F#7 B! C- F7 Bb- Eb7 Ab- Db7 Gb!

G- C7 F- Bb7 Eb- Ab7 Db! D- G7 C- F7 Bb- Eb7 Ab!

A- D7 G- C7 F- Bb7 Eb! E- A7 D- G7 C- F7 Bb!

B- E7 A- D7 G- C7 F! F#- B7 E- A7 D- G7 C!

C#- F#7 B- E7 A- D7 G! G#- C#7 F#- B7 E- A7 D!

7/25/2019 090 Part IX



Surprise endings!

Disc 2 Track 16: Surprise sad endings joined by cherokees

Bb instruments

D- G7 C-! % Eb- Ab7 Db-! %

E- A7 D-! % F- Bb7 Eb-! %

F#- B7 E-! % G- C7 F-! %

Ab- Db7 Gb-! % A- D7 G-! %

Bb- Eb7 Ab-! % B- E7 A-! %

C- F7 Bb-! % C#- F#7 B-! %

Eb instruments

B- E7 A-! % C- F7 Bb-! %

C#- F#7 B-! % D- G7 C-! %

Eb- Ab7 Db-! % E- A7 D-! %

F- Bb7 Eb-! % F#- B7 E-! %

G- C7 F-! % Ab- Db7 Gb-! %

A- D7 G-! % Bb- Eb7 Ab-! %

Disc 2 Track 17: Surprise straight endings joined bydownwinders

Bb instruments

Eø A7+9 D! % Ebø Ab7+9 Db! %

Dø G7+9 C! % C#ø F#7+9 B! %

Cø F7+9 Bb! % Bø E7+9 A! %

Bbø Eb7+9 Ab! % Aø D7+9 G! %

Abø Db7+9 Gb! % Gø C7+9 F! %

F#ø B7+9 E! % Fø Bb7+9 Eb! %

Eb instruments

Bø E7+9 A! % Bbø Eb7+9 Ab! %

Aø D7+9 G! % Abø Db7+9 Gb! %

Gø C7+9 F! % F#ø B7+9 E! %

7/25/2019 090 Part IX



Fø Bb7+9 Eb! % Eø A7+9 D! %

Ebø Ab7+9 Db! % Dø G7+9 C! %

C#ø F#7+9 B! % Cø F7+9 Bb! %

Disc 2 track 18: simple tension endings joined by bootstraps

Bb instruments

E- A7 D7 % A- D7 G7 %

D- G7 C7 % G- C7 F7 %

C- F7 Bb7 % F- Bb7 Eb7 %

Bb- Eb7 Ab7 % Eb- Ab7 Db7 %

Ab- Db7 Gb7 % C#- F#7 B7 %

F#- B7 E7 % B- E7 A7 %

Eb instruments

B- E7 A7 % E- A7 D7 %

A- D7 G7 % D- G7 C7 %

G- C7 F7 % C- F7 Bb7 %

F- Bb7 Eb7 % Bb- Eb7 Ab7 %

Eb- Ab7 Db7 % Ab- Db7 Gb7 %

C#- F#7 B7 % F#- B7 E7 %

7/25/2019 090 Part IX



Super-tension endings


Bb instruments

E- A7 D7+4 % G- C7 F7+4 %

Bb- Eb7 Ab7+4 % C#- F#7 B7+4 %

Eb instruments

B- E7 A7+4 % D- G7 C7+4 %

F- Bb7 Eb7+4 % Ab- Db7 Gb7+4 %

Disc 2 Track 20: Supertension endings joined by follow-

throughs Sequence 2Bb instruments

B- E7 A7+4 % D- G7 C7+4 %

F- Bb7 Eb7+4 % Ab- Db7 Gb7+4 %

Eb instruments

F#ø B7+9 E!+4 % A- D7 G7+4 %

C- F7 Bb7+4 % Eb- Ab7 Db7+4 %


Bb instruments

F#ø B7+9 E!+4 % A- D7 G7+4 %

C- F7 Bb7+4 % Eb- Ab7 Db7+4 %

Eb instruments

C#- F#7 B7+4 % E- A7 D7+4 %

G- C7 F7+4 % Bb- Eb7 Ab7+4 %

Turnarounds

Disc 2 Track 22: Rhythm Turnarounds, SPOTs and POTs withCherokee launchers

Bb instruments

D!

D#° E- F

° F#- B7 E- A7 D

! B7 E- A7 D

! F- Bb7

7/25/2019 090 Part IX









A! Bb° B- C° C#- F#7 B- E7 A! F#7 B- E7 A! C- F7



C! C#° D- D#

° E- A7 D- G7 C! A7 D- G7 C! Eb- Ab7


Eb instruments

A! Bb° B- C° C#- F#7 B- E7 A! F#7 B- E7 A! C- F7



C! C#° D- D#° E- A7 D- G7 C! A7 D- G7 C! Eb- Ab7


D! D#° E- F° F#- B7 E- A7 D! B7 E- A7 D! F- Bb7







Disc 2 Track 23: Pennies Turnarounds, IV’n’Backs, withBootStrap launchers

Bb instruments

D! E- F#- F° E- A7 D! D7 G7 Ab° D! A- D7


7/25/2019 090 Part IX



C! D- E- Eb° D- G7 C! C7 F7 F#° C! G- C7




Ab! Bb- C- B° Bb- Eb7 Ab! Ab7 Db7 D° Ab! Eb- Ab7





A! B- C#- C° B- E7 A! A7 D7 Eb

° A! E- A7

Eb instruments

A! B- C#- C° B- E7 A! A7 D7 Eb° A! E- A7

D! E- F#- F° E- A7 D! D7 G7 Ab° D! A- D7


C! D- E- Eb° D- G7 C! C7 F7 F#° C! G- C7




Ab! Bb- C- B° Bb- Eb7 Ab! Ab7 Db7 D° Ab! Eb- Ab7





Cadences using substitution

Disc 2 Track 24: Dominant Substitution with bootstrap joins

Bb instruments

E- Eb7 D! % A- Ab7 G! %

D- Db7 C! % G- Gb7 F! %

7/25/2019 090 Part IX



C- B7 Bb! % F- E7 Eb! %

Bb- A7 Ab! % Eb- D7 Db! %

Ab- G7 Gb! % C#- C7 B! %

F#- F7 E! % B- Bb7 A! %

Eb instruments

B- Bb7 A! % E- Eb7 D! %

A- Ab7 G! % D- Db7 C! %

G- Gb7 F! % C- B7 Bb! %

F- E7 Eb! % Bb- A7 Ab! %

Eb- D7 Db! % Ab- G7 Gb! %

C#- C7 B! % F#- F7 E! %

7/25/2019 090 Part IX



Disc 2 Track 25: GDS cadences with Cherokee joins

Note: there is a two measure introduction to set up the slightly latin feel.

Bb instruments

E!

-------D Pedal

Eb!

-------D Pedal

D! % F!

-------Eb Pedal

E!

-------Eb Pedal

Eb! %

F#!

-------

E Pedal

F!

-------

E Pedal

E! % G!

-------

F Pedal

Gb!

-------

F Pedal

F! %

Ab!

-------

Gb Pedal

G!

-------

Gb Pedal

Gb! % A!

-------

G Pedal

Ab!

-------

G Pedal

G! %

Bb!

-------

Ab Pedal

A!

-------

Ab Pedal

Ab! % B!

-------

A Pedal

Bb!

-------

A Pedal

A! %

C!

-------

Bb Pedal

B!

-------

Bb Pedal

Bb! % C#!

-------

B Pedal

C!

-------

B Pedal

B! %

D!

-------

C Pedal

Db!

------

C Pedal

C! % Eb!

-------

Db Pedal

E!

-------

Db Pedal

Db! %

Eb instruments

B!

-------

A Pedal

Bb!

-------

A Pedal

A!

% C!

-------

Bb Pedal

B!

-------

Bb Pedal

Bb!

%

C#!

-------

B Pedal

C!

-------

B Pedal

B! % D!

-------

C Pedal

Db!

------

C Pedal

C! %

Eb!

-------

Db Pedal

E!

-------

Db Pedal

Db! % E!

-------

D Pedal

Eb!

-------

D Pedal

D! %

F!

-------Eb Pedal

E!

-------Eb Pedal

Eb! % F#!

-------E Pedal

F!

-------E Pedal

E! %

G!

-------

F Pedal

Gb!

-------

F Pedal

F! % Ab!

-------

Gb Pedal

G!

-------

Gb Pedal

Gb! %

A!

-------

G Pedal

Ab!

-------

G Pedal

G! % Bb!

-------

Ab Pedal

A!

-------

Ab Pedal

Ab! %

Disc 2 Track 26: Night and Day Cadences joined by backslidersBb instruments

7/25/2019 090 Part IX



Bb! E- A7 D! % B! F- Bb7 Eb! %

C! F#- B7 E! % Db! G- C7 F! %

D! Ab- Db7 Gb! % Eb! A- D7 G! %

E! Bb- Eb7 Ab! % F! B- E7 A! %

Gb! C- F7 Bb! % G! C#- F#7 B! %

Ab! D- G7 C! % A! Eb- Ab7 Db! %

Eb instruments

F! B- E7 A! % Gb! C- F7 Bb! %

G! C#- F#7 B! % Ab! D- G7 C! %

A! Eb- Ab7 Db! % Bb! E- A7 D! %

B! F- Bb7 Eb! % C! F#- B7 E! %

Db! G- C7 F! % D! Ab- Db7 Gb! %

Eb! A- D7 G! % E! Bb- Eb7 Ab! %

Disc 2 Track 27: Stablemates cadences with half nelson joins

Bb instruments

F- Bb7 E- A7 D! % C- F7 B- E7 A! %

G- C7 F#- B7 E! % D- G7 C#- F#7 B! %

A- D7 Ab- Db7 Gb! % E- A7 Eb- Ab7 Db! %

B- E7 Bb- Eb7 Ab! % F#- B7 F- Bb7 Eb! %

C#- F#7 C- F7 Bb! % Ab- Db7 G- C7 F! %

Eb- Ab7 D- G7 C! % Bb- Eb7 A- D7 G! %

Eb instruments

C- F7 B- E7 A! % G- C7 F#- B7 E! %

D- G7 C#- F#7 B! % A- D7 Ab- Db7 Gb! %

E- A7 Eb- Ab7 Db! % B- E7 Bb- Eb7 Ab! %

F#- B7 F- Bb7 Eb! % C#- F#7 C- F7 Bb! %

Ab- Db7 G- C7 F! % Eb- Ab7 D- G7 C! %

Bb- Eb7 A- D7 G! % F- Bb7 E- A7 D! %

Coltrane substitutions

7/25/2019 090 Part IX



Each sequence is played twice.


Bb instruments

E- F7 B! Db7 Gb! A7 D! D- Eb7 Ab! B7 E! G7 C!

C-Db7 Gb! A7 D! F7 Bb! Bb- B7 E! G7 C! Eb7 Ab!

Ab- A7 D! F7 Bb! Db7 Gb! F#- G7 C! Eb7 Ab! B7 E!

Eb instruments

B- C7 F! Ab7 Db! E7 A! A- Bb7 Eb! F#7 B! D7 G!

G- Ab7 Db! E7 A! C7 F! F- F#7 B! D7 G! Bb7 Eb!

Eb- E7 A! C7 F! Ab7 Db! C#- D7 G! Bb7 Eb! F#7 B!


Bb instruments

B- C7 F! Ab7 Db! E7 A! A- Bb7 Eb! F#7 B! D7 G!

G- Ab7 Db! E7 A! C7 F! F- F#7 B! D7 G! Bb7 Eb!

Eb- E7 A! C7 F! Ab7 Db! C#- D7 G! Bb7 Eb! F#7 B!

Eb instruments

F#- G7 C! Eb7 Ab! B7 E! E- F7 B! Db7 Gb! A7 D!

D- Eb7 Ab! B7 E! G7 C! C-Db7 Gb! A7 D! F7 Bb!

Bb- B7 E! G7 C! Eb7 Ab! Ab- A7 D! F7 Bb! Db7 Gb!

Alternative approach chords to II- V7

Disc 2 Track 30: Yardbird Cadences joined by baubles

Bb instruments

G- C7 D! % Ab- Db7 Eb! %

A- D7 E! % Bb- Eb7 F! %

B- E7 F#! % C- F7 G! %

C#- F#7 Ab! % D- G7 A! %

Eb- Ab7 Bb! % E- A7 B! %

7/25/2019 090 Part IX



F- Bb7 C! % F#- B7 Db! %

Eb instruments

D- G7 A! % Eb- Ab7 Bb! %

E- A7 B! % F- Bb7 C! %

F#- B7 Db! % G- C7 D! %

Ab- Db7 Eb! % A- D7 E! %

Bb- Eb7 F! % B- E7 F#! %

C- F7 G! % C#- F#7 Ab! %

7/25/2019 090 Part IX



Rainbow Cadences

There are two versions of this sequence. First one at walking pace, then one at ballad

tempo.

Disc 2 Track 31: Rainbow cadences joined by stellas

Disc 2 Track 32: Rainbow cadences joined by stellas – balladtempo

Bb instruments

A! Db- D! % Bb! D- Eb! %

B! Eb- E! % C! E- F! %

Db! F- Gb! % D! F#- G! %

Eb! G- Ab! % E! Ab- A! %

F! A- Bb! % F#! Bb- B! %

G! B- C! % Ab! C- Db! %

Eb instruments

E! Ab- A! % F! A- Bb! %

F#! Bb- B! % G! B- C! %

Ab! C- Db! % A! Db- D! %

Bb! D- Eb! % B! Eb- E! %

C! E- F! % Db! F- Gb! %

D! F#- G! % Eb! G- Ab! %

7/25/2019 090 Part IX



090 part ix

Documents