pentatonic scale studies2003c
TRANSCRIPT
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PentatonicScale
StudiesSecondEdition(2003)
EdwardPetersen
RovingBovineMusic
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PentatonicScale
StudiesSecondEdition
ManythankstoBrianSeegerforhisworkinrepairingandorganizingthePentatonicScaleCompendiumandforhismanyothercontributions
tomymusiceducation.
Copyright2003byEdwardPetersenRovingBovineMusic
ASCAP
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Table of Contents
Introduction1
The Scales
1.1 Pentatonic Scale Compendium 19
1.2 Pentatonic Scale Compendium 2...17
1.3 Selected Pentatonic Scales-Suggested Harmonic Applications...25
Shapes (Pentatonic 326)
2.1 Getting Familiar with the Intervals...292.2 Intervallic Scale Studies...32
2.3 Four Note Patterns...38
2.4 Three Note Patterns59
2.5 More Shapes67
Shapes (Pentatonic 305)
3.1 Getting Familiar with the Intervals...73
3.2 Intervallic Scale Studies...76
3.3 Four Note Patterns...82
3.4 Three Note Patterns103
3.5 More Shapes111
Coda
4.1 Shape Morphing117
4.2 Intervallistics121
4.3 Pentatonic Shapes Over Changes126
4.4 Pent-Up Stella129
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Introduction
This book is intended to serve as a point of departure for the study of pentatonic
scales. It looks like a method book and can be used as one, but it is better to thinkof it as a collection of potentially useful intervallic sequences*1 that are designed
to be modified to suit the players (your) purposes. I use the phrase potentially
useful because they will be of little benefit until you have developed your own
way of understanding them and using them in the creation of your music.
There are many pentatonic scales. The Pentatonic Scale Compendia found in
section one list all three hundred thirty pentatonic scales*2 that contain the note
C. The best way to learn them is to chooseone scale that appeals to you andspend a considerable amount of time and energy practicing and thinking of ways
in which you can use it before exploring other scales. Become familiar with the
intervallic patterns that characterize the scale. The exercises in Section 2.1 (Page
29) are studies in the movement of every note in a scale to every other note,
throughout the range of your instrument. They are notated within the practical
written range of the saxophone, but please decrease or increase the range to fit
your instrument. If you have chosen a scale other than the one that is used in
these exercises (which is number three hundred twenty six*3
in the PentatonicScale Compendium, often referred to as the Major (326) or Minor (330)
Pentatonic Scale*4), play the shapes found in the exercises, but replace the
written notes with the notes of your chosen scale. Once you are familiar with the
intervallic characteristics of the scale, it should be very easy to play in any key.
Do this by using your musicianship and feeling, not your muscle memory or
mathematical transposition skills. Every pattern in this book is based on C. It
is essential to play the scales and other shapes that interest you in every key. If I
had wasted the paper necessary to notate these transpositions, you and I, asusers of this book, would not be well-served. It is much more beneficial for us to
develop the ability to imagine and then play musical gestures at various pitch
levels than it is to read notes that provide directions on the proper buttons to
push.
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In addition to developing familiarity with the melodic interaction of the notes in
the scale, it is important to understand their relationship to various harmonic
configurations. Some pentatonic scales contain so many contiguous small
intervals that it is difficult to discern a strong relationship with most
mainstream harmonies, but they may relate very clearly to certaincontemporary outside or cluster harmonies. Many other pentatonics can be
used to create music that relates very clearly to mainstream harmonies. For
example, Pentatonic 326 is comprised of a major second, another major second, a
minor third, another major second, and another minor third. Starting on C,
that is the following notes: C, D, E, G, and A. Please consider these notes in the
following harmonic contexts:
In relation to a:
* CMaj7 or C7 chordthis scale contains the root, ninth, third, fifth, thirteenth(sixth)
* D7(sus4)seventh, root, ninth, (suspended) fourth, fifth
* E Phrygian (F/E)minor thirteenth (minor sixth) or augmented fifth, seventh,
root, (minor) third, eleventh
* F Maj7fifth, thirteenth, seventh, ninth, third,
* F#7(+5 +9) or F#7(+5 -9) aka F#7alt.augmented eleventh, augmented fifth,
seventh, minor ninth, augmented ninth
* Gmin7 or G7(sus4)fourth, fifth, thirteenth, root, ninth* Amin7 or A Phrygianthird, fourth, fifth, seventh
* BbMaj7 chordninth, third, augmented eleventh, thirteenth, seventh
All of the above examples demonstrate the use of these notes as components of
the designated chords. The scale can be used very effectively in other ways, too.
For example, in relation to an Abmin7 chord, this useful pentatonic contains all of
the notes that are outside of the chord and the scale that is usually associated
with it, the Ab Dorian scale. In other words, Pentatonic 326 contains all of thechromatic notes in relationship to this chord/scale sound! Familiarity with this
very convenient way of organizing diatonic and chromatic elements can be very
liberating for the improviser.
After you have found a scale/interval set that you like and become familiar with
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its characteristics and possible harmonic applications, look at some of the other
exercises in Section 2. You will find a vast number of melodic shapes that are
constructed from a pentatonic scale (326). You can read these in the way that you
would read the pages of a method book, but you can learn more and have more
fun by doing the following:1) Find one shape, or melodic gesture that appeals to you
2) Identify the intervallic characteristics
3) Plug-in the notes of your selected scale. In other words, replace the
written notes with notes from the scale that you are practicing, while retaining
the shape of the written phrase
4) Play your version of the shape in every key throughout the full range of
your instrument
5) Explore rhythmic and metrical variations. If the phrase is in 2/4,experiment with techniques for playing it in 3/4 or 5/4 or??? This can be
accomplished by adding or deleting notes or rests or by changing durations
6) Play your new variations in every key throughout the full range of your
instrument
7) Plug-in other scales. Retain the shape of the gesture, but replace the
notes with notes from other pentatonic, diatonic, diminished, augmented, or
other scales/interval sets.
8) Play your new variations in every key throughout the full range of yourinstrument
9) Try to play your shape over a set of chord changes. Change the
component scales and make the corresponding adjustments to your shape in
response to the changes in the harmony (Please see example on page 126)
10) See how far you can bend the gesture until it becomes something
elseif you like your new creation, forget about this book and continue to
explore your new phrase! This type of practice develops the ability to think
compositionally, while improving technique and aural skills. It will cultivatebetter understanding of the ways in which musical gestures can evolve and serve
as the basis for the creation of new expressions. It improves our ability to fine-
tune musical ideas so that they work properly (i.e. the way that we want them to
work) in relation to the time and harmony. The ability to modify a musical
gesture using different pitch and rhythmic parameters to fit the demands of the
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music is one of the fundamental skills involved in the process of creating and
developing meaningful jazz improvisations.
10) Repeat this process with another shape
The layout of this book is as follows:Section One is a comprehensive listing of all of the pentatonic scales that include
the note C. Please see note *3 below for more information regarding the
structure of the Pentatonic Scale Compendia. In this section, there is also a
collection of my favorite pentatonics and suggestions as to ways in which they
can relate to various harmonic configurations. I hope that you will experiment
and find your own favorite scales and their harmonic applications. The way in
which we choose to relate to the harmonic structure of the music as we improvise
is an important component of our personal style and sound. Please do notbelieve anything that I have written regarding the relationship of scales to chords
until your own ears tell you what sounds good! One of the things that we do not
need is another book that tells us what scale to play on a chord. There are many
different ways to use the pentatonics in this book.
Section Two is divided into five parts, all of which are based on Pentatonic 326.
At the beginning of this section (and the next) there are listings of suggested
related harmonies, but please try to identify your own chord-scale associations.As I mentioned above, Section 2.1 is a collection of studies in the movement of
every note in a scale to every other note. Section 2.2 contains intervallic scale
exercises. 2.3 is a comprehensive listing of four note melodic patterns. 2.4 is a
comprehensive listing of three note melodic patterns. 2.5 is a collection of other
pentatonic melodic gestures.
Section Three is identical to Section Two, except for the fact that a different
pentatonic scale (305) is plugged-in in order to demonstrate the modularconcept upon which this book is based.
All of the exercises in this book are intended to be highly malleable. It is not
necessary or recommended to practice every pattern exactly as it appears. It is
possible; maybe even desirable, to play through the entire book while never or
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only rarely playing the written notes! Every note that you play could be
plugged-in or something from a different key. You might decide that you
would like to play anything other than that which is in the book. Just try to find
things that sound good to you and explore them. Many of the exercises have no
indicated meter or bar lines. Use these only as a source of intervals and practicethem using rhythmic parameters of your own creation. I encourage you to do the
same thing with the exercises that do have specific rhythms indicated.
Each exercise starts and ends with repeat signs. The reason for this is that there
should not be any fixed starting or ending point. Practice the patterns starting
and ending wherever you want, but play them throughout the full range of your
instrument and try to loop the exercises at the high and low end of your range
so that you do not stop simply because you have run out of notes. As Imentioned above, the exercises are notated within the range of the saxophone,
but please play everything throughout your full range.
Section Four contains a few practice suggestions.
Here are some notes:
*1 I prefer to think of scales (or any melodic or harmonic configuration) asintervallic patterns that easily can be rearranged or moved to different keys.
Once we embrace the concept of thinking of scales and other musical elements as
patterns of intervals, playing them in different keys no longer seems like
transposing-a technique that many of us consider to be difficult and tedious.
When we become familiar with the intervallic characteristics of a musical
element, we can play it in any key simply by playing that which we already
know using different notes!
*2 There are actually sixty six unique pentatonic intervallic patterns. The pattern
can start in five different locations; therefore the total number of pentatonics in
any key is three hundred thirty (66 x 5 = 330). There are a total of three thousand
nine hundred sixty pentatonic scales in all keys!
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*3 This refers to the numbering system in the Pentatonic Scale Compendium.
There are numbers below the staff lines of each scale. These numbers are used
throughout this book to identify the scales. In addition to these numbers, the
first scale on each line is identified by its pattern of intervals, designated as thenumber of half steps between each note, including the interval between the fifth
note and the note one octave higher than the first. Each of the five scales on each
line is comprised of the same pattern of intervals starting in different places in
the sequence. In Compendium 1, these families of scales are notated in a
traditional format that appears to be one parent scale and its four additional
modes. In Compendium 2, each of the scales begins on the note C. Note that
the first scales on each line are the same in both of the Compendia, but because of
the different formats, the second through fifth scales on each line containdifferent pitches, but the patterns of intervals are the same.
*4 These are common, but very unhelpful ways of naming the scale that is
constructed from two whole steps, a minor third, another whole step, and
another minor third. Both the Major Pentatonic and Minor Pentatonic have
the same intervallic resources. They are only different when the scale is spelled
C, D, E, G, A as opposed to A, C, D, E, G. This is a significant difference on
paper, but when we want to use these resources to shape a melodic or harmonicidea in our improvisation, any of the notes might be played at any time. They
will not necessarily be configured in an orderly graduated arrangement of
pitches as they are in traditional scales. We might play them as follows: E, G, G,
A, G, E, G, D, A, D.or maybe C, A, E, D, C, D, E, C, A, E, C, D, D..the
melodies that are sounded by playing these sequences of notes are different, but
they are both wrought from the same tonal building blocks. The way we practice
scales should help us to develop awareness of the ways in which we can use
them. It should also help us to be able to play any of the notes in or out of thescale at any musical time from any musical place, not just from tonic on the
downbeat to tonic on the downbeat! Traditional scale practice is a very effective
way to develop muscle memory, which can be useful to a musician who strives
to play a limited number of preset musical gestures with increasing precision, but
it is not very helpful in developing proficiency in using scales as improvisational
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resources. Improvisers benefit more from structured practicing that develops the
ability to play things that they have never played before.
If you are confused after reading this introduction, that is good! Please
proceed
I hope that you enjoy this book.
Edward Petersen
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w wb wb wb wn9
w w w wb wn10
w w wb wn wb
&11
w wb wn wb wb11136
12
w wb wn w w13
w wb w wb wn14
w wb w wb wn15
w wb wn wb w
&16
w wb wn wb w11145
17
w wb wn wb w18
w wb w wb wn19
w w w wb wn20
w w wb wn wb
&21
w wb wn wb wb11154
22
w wb wn w w23
w wb wb wb wn24
w w w wb wn25
w w w wb wn
&26
w wb wn wb w11163
27
w wb wn wb w28
w wb w wb wn29
w wb w wb wn30
w wb wn w wb
&31
w wb wn wb wb11172
32
w wb wn w w33
w wb wb wb wn34
w w w wb wn35
w w wb wn w
&36
w wb wn w wThree
Non
Contiguous
Half
Steps
11217
37
w wb wb wn w38
w w wb wb wn39
w wb wb wn wb40
w w wb wn w
&41
w wb wn w wb11316
42
w wb w w w43
w wb wn wb wn44
w wb w wb wn45
w wb wn wb w17
1.2PentatonicScaleCompendium2AllThreeHundredThirtyPentatonicScalesStartingon C
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&46
w wb wn wb wn11415
47
w wb w wb w48
w w w wb wn49
w wb wb wn wb50
w w wb wn w
&51
w wb wn w wb11514
52
w wb wb wn w53
w w wb wb wn54
w wb w wb wn55
w w w wb w
&56
w wb wn wb wn11613
57
w wb w wb w58
w wb wn wb wn59
w wb w w wb60
w wb wn w w
&61
w wb wn w wb1171262
w wb wb wn w63
w w wb wb wn64
w wb wb wn w65
w w wb wn w
&66
w wb wn w wbTwoHalfSteps11226
67
w wb wb w w68
w w w wb wn69
w w wb wn wb70
w wb wn wb wb
&71
w wb wn w w11235
72
w wb wb wb w73
w w w wb wn74
w wb wb wn wb75
w w wb wn w&
76
w wb wn w wb11244
77
w wb wb w w78
w w wb wb wn79
w w wb wn wb80
w w w wb wb
&81
w wb wn w w11253
82w wb wb wb w
83w w w wb wn
84w w wb wn wb
85w wb wn w w
&86
w wb wn w wb11262
87
w wb wb w w88
w w wb wb wn89
w wb wb wn wb90
w w wb wn wb
18
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&91
w wb wn w w11325
92
w wb w wb w93
w wb w wb wn94
w w w wb wn95
w w wb wn wb
&96
w wb wn w wb11334
97
w wb w w w98
w wb wb wb wn99
w wb w wb wn100
w w w wb w
&101
w wb wn w w11343
102
w wb w wb w103
w wb w wb wn104
w w w wb wn105
w wb wn w w
&106
w wb wn w wb11352107
w wb w w w108
w wb wb wb wn109
w w w wb wn110
w w wb wn w
&111
w wb wn wb wb11424
112
w wb w w w113
w w wb wb wn114
w w wb wn wb115
w w w wb wb
&116
w wb wn wb w11433
117
w wb w wb w118
w w w wb wn119
w wb wb wn wb120
w wb wn w w&
121
w wb wn wb wb11442
122
w wb w w w123
w w wb wb wn124
w w wb wn wb125
w w wb wn wb
&126
w wb wn w w11523
127w wb wb wb w
128w w w wb wn
129w w w wb wn
130w wb wn w wb
&131
w wb wn w wb11532
132
w wb wb w w133
w w wb wb wn134
w wb w wb wn135
w w wb wn w
19
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&136
w wb wn wb wb11622
137
w wb w w w138
w wb wb wb wn139
w w w w wb140
w w wb wn wb
&141
w wb wb wn wbTwo
Non
Contiguous
Half
Steps
12126
142
w w wb w w143
w wb wb w wb144
w w wb wn w145
w wb wn w wb
&146
w wb wb wn w12135
147
w w wb wb w148
w wb w w wb149
w wb wb wn w150
w w wb wb wn
&151
w wb wb wn wb12144152
w w wb w w153
w wb w w wb154
w w wb wn w155
w w w w wb
&156
w wb wb wn w12153
157
w w wb wb w158
w wb wb w wb159
w w wb wn w160
w wb wn wb wn
&161
w wb wb wn wb12162
162
w w wb w w163
w wb w w wb164
w wb wb wn w165
w w wb w wb&
166
w wb wb w wb12216
167
w w w w w168
w w wb w wb169
w wb w wb wb170
w wb wn w w
&171
w wb wb wb wn12315
172w w w wb w
173w wb wn w wb
174w wb wb wn w
175w w wb wb w
&176
w wb wb w wb12414
177
w w wb wn w178
w w w w wb179
w wb w wb wb180
w w w w w
20
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&181
w wb wb wb wn12513
182
w w w wb w183
w w wb w wb184
w wb w w w185
w wb wn wb w
&186
w wb w w wb13134
187
w wb wn w w188
w wb w wb wn189
w wb w wb w190
w w w wb wn
&191
w wb w w w13143
192
w wb wn wb w193
w wb w wb wn194
w w w wb w195
w wb wn w wb
&196
w wb w w wb13152197
w wb wn w w198
w wb wb wb wn199
w w w wb w200
w w wb wb wn
&201
w wb w wb wn13215
202
w wb w wb w203
w w wb wb wn204
w wb wb wn wb205
w w wb w w
&206
w wb w w wb13314
207
w wb wb wn w208
w wb wn wb wn209
w wb w wb w210
w w w wb w&
211
w wb w wb wb14142
212
w w w w w213
w wb w w wb214
w w wb wn w215
w w wb w wb
&216
w wb wb w wOneHalfStep12225
217w w w wb w
218w w w w wb
219w w w wb wb
220w w wb wb wb
&221
w wb wb w wb12234
222
w w w w w223
w w w w wb224
w wb w wb wb225
w w w w w
21
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&226
w wb wb w w12243
227
w w w wb w228
w w wb w wb229
w w w wb wb230
w wb wn wb wb
&231
w wb wb w wb12252
232
w w w w w233
w w w w wb234
w w w wb wb235
w w wb w w
&236
w wb wb wb wb12324
237
w w w w w238
w wb w w wb239
w w wb wn w240
w w w w wb
&241
w wb wb wb w12333242
w w w wb w243
w wb wb w wb244
w wb wb wn w245
w wb wn wb w
&246
w wb wb wb wb12342
247
w w w w w248
w wb w w wb249
w w wb wn w250
w w wb w wb
&251
w wb wb w w12423
252
w w wb wb w253
w w wb w wb254
w w w wb wb255
w wb wn wb wb&
256
w wb wb w wb12432
257
w w wb w w258
w w w w wb259
w wb w wb wb260
w w wb w w
&261
w wb wb wb wb12522
262w w w w w
263w w w w wb
264w w w w w
265w w wb w wb
&266
w wb w wb wb13224
267
w wb w w w268
w w w wb wn269
w w wb wn wb270
w w w wb wb
22
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&271
w wb w wb w13233
272
w wb w wb w273
w w w wb wn274
w wb wb wn wb275
w wb wn w w
&276
w wb w wb wb13242
277
w wb w w w278
w w wb wb wn279
w w wb wn wb280
w w wb wb wb
&281
w wb w w wb13332
282
w wb wb w w283
w wb wb wb wn284
w wb w wb w285
w w wb wb w
&286
w wb w w w13323
287
w wb wb wb w288
w wb w wb wn289
w w w wb w290
w wb wn w wb
&291
w wb w wb wb13422
292
w wb w w w293
w w wb wb wn294
w w w w wb295
w w wb wb wb
&296
w wb w w w14223
297
w w wb wb w298
w w w w wb299
w w w wb wb300
w wb wn wb wb&
301
w wb w w wb14232
302
w w wb w w303
w w w w wb304
w wb w wb wb305
w w wb w w
&306
w wb w wb wb14322
307w w w w w
308w wb w w wb
309w w w w w
310w w wb w wb
&311
w wb wb wb wb15222
312
w w w w w313
w w w wb wn314
w w w w wb315
w w wb wb wb
23
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&316
w w w wb wbNoHalfSteps22224
317
w w w wb wb318
w w w wb wb319
w w wb wb wb320
w w wb wb wb
&321
w w w wb w22233
322
w w w w wb323
w w w wb wb324
w wb wb wb wb325
w wb w w w
&326
w w w w w22323
327
w w w w wb328
w wb w wb wb329
w w w w w330
w wb w w wb
24
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25
1.3SelectedPentatonicScales
SuggestedHarmonicApplications
#141C,Db,Eb,E,Gb(12126)containschordtonesandothergoodsoundingnotesasrelatedtothe
followingchords:
F#/C,F#min/C,A/C,C7(orEb7,F#7,orA7)withanyorallofthefollowing
alterations/extensions: 9,+9,+11,13,C#(orE,G,orBb)diminished7,C7(+5+9),
EMaj7(+5),F#9(+11),Bbmin7(5)
#151C,Db,Eb,E,Ab(12144)...C7alt(+5andanyorallofthefollowing: 9,+9,+11),Ab7(13),AMaj7(+9),Db6,
EMaj7(+5),Gb9(+11),Bbmin7(5)
#176C,Db,Eb,G,Ab(12414)AbMaj7,Bbmin7,CPhrygian,DbMaj7(5),Eb7,Eb7(sus4),Db/F,Db/G
#181C,Db,Eb,Ab,A(12513)C7(+9)withbothnaturalandflat13,F#7withbothnaturalandflat9,
AMaj7(+9),Ab11(9),Dbmin(Maj7+5)/Eb
#196C,Db,E,F,Ab(13134)C7(sus4 9+5)add10,DbMaj7(+9),alsogoodforCPhrygian(with3and
sus4)
#201C,Db,E,Gb,G (13215)isasubsetofthesamediminishedscaleas141,241,271,276,281,286andhasmanysimilarchordassociations.
F#/C,F#min/C,A/C,C7(orEb7,F#7,orA7)withanyorallofthefollowingalterations/extensions: 9,+9,+11,13,C#(orE,G,orBb)diminished 7
#211C,Db,F,Gb,Bb(14142)GbMaj7/C(CLocrian),Ebmin7,Gb/Bb,Ab7(sus4)
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26
#226C,Db,Eb,F,A(12243)Bbmin(Maj7),DbMaj7(+5),Eb7(+11),Gmin7(5),A7alt,F/Gb
#236C,Db,Eb,Gb,Ab(12324)Ebmin7,
FPhrygian,
GbMaj7,
Gb7,
Ab7(sus4)
#241C,Db,Eb,Gb,A(12333)F#/C,F#min/C,A/C,C7(orEb7,F#7,orA7)withanyorallofthefollowing
alterations/extensions:9,+9,+11,13,C#(orE,G,orBb)diminished7
#256C,Db,Eb,G,Bb(12432)CPhrygian,DbMaj7(+11),Eb7,Db/F,A7(+5 9),Bbmin6
#261C,Db,Eb,Ab,Bb(12522)Eb7(sus4),DbMaj7,Db/F,GbMaj7,Gb7,Bbmin7,CPhrygian,FPhrygian
#266C,Db,E,Gb,Ab(13224)C7alt,Dbmin(Maj7),EMaj7(+5),Gb7,Bbmin7(5)
Thesefourscalesaresubsetsofthesamediminishedscaleandhavesimilar
harmonicimplications:
#271C,Db,E,Gb,A(13233)#276C,Db,E,Gb,Bb(13242)#281C,Db,E,G,Bb(13332)#286C,Db,E,G,A(13323)
Bbmin(Maj7+5)/C,DbMaj7(sus4+5)/C,F#/C,F#min/C,A/C,C7(orEb7,F#7,
orA7)withanyorallofthefollowingalterations/extensions:9,+9,+11,13,C#(orE,G,
orBb)diminished7
#291C,Db,E,Ab,Bb(13422)C7alt,Dbmin(Maj7),EMaj7(+5),Gb7,Bbmin7(5)
#296C,Db,F,G,A(14223)Bbmin(Maj7),DbMaj7(+5),Eb7,Gmin7(5),A7alt
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#301C,Db,F,G,Bb(14232)CPhrygian,DbMaj7(5),Eb7,Db/F,Gmin7(5),A7alt
#306C,Db,F,Ab,Bb(14322)C
Phrygian,
DbMaj7,
Eb7(sus4),
Db/F,
Bbmin7
#311C,Db,Gb,Ab,Bb(15222)C7alt,Ebmin7,FPhrygian,GbMaj7,Gb/C,Ab7(sus4add10)
#316C,D,E,Gb,Ab(22224)C7(+5),D7(+5),E7(+5),Gb7(+5),Ab7(+5),Bb7(+5)
#321C,D,E,Gb,A(22233)CMaj7(5),D7,Gbmin7(5),Ab7alt
#326C,D,E,G,A(22323)A7,APhrygian,CMaj7,C7,D7(sus4),EPhrygian,FMaj7,F#7alt,G7(sus4),
Gmin7
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& w w w w w
& .. .. play scale through full range
& .. getting from one note to another
& ..
& ..
& ..
& ..
& ..
- 29 -
Suggested harmonic applications: C6, CMaj7, C7(13), Dm7, F/E, FMaj7, F#7alt(+5 and any or all of
the following: -9, +9, +11), G7(sus4), Gm7, Am7, F/A, Bb69, BbMaj7...please search for your own applications!
Please read the Introduction for suggestions regarding ways to practice these exercises.
2.1 Getting Familiar with the Intervals
Pentatonic 326
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& ..
& ..
& ..
& ..
& ..
& ..
& ..
& ..
& .. & ..
- 30 -
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& ..
& ..
& ..
& ..
& ..
& ..
& ..
& ..
& ..
& ..
- 31 -
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& .. skip one note-scale in thirds in groups of two
& ..
&..
& ..
& ..
& ..
& ..
& ..
& .. scale in thirds in groups of three
- 32 -
These exercises are similar to traditional "scales in thirds, fourths," etc. but they appear here in two, three,
four, and five note configurations
2.2 Intervallic Scales
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& ..
& ..
& ..
&..
& ..
& ..
& ..
& .. scale in thirds in groups of four
& ..
& ..
- 33 -
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& ..
& ..
& ..
&..
& ..
& .. ..
scale in thirds in groups of five
& .. ..
& .. ..
& .. ..
& .. .. skip two-scale in forths in groups of two
- 34 -
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& .. ..
& .. ..
& .. ..
&.. ..
scale in fourths in groups of three
& .. ..
& .. ..
& .. ..
& .. .. scale in fourths in groups of four
& .. ..
& .. ..
- 35 -
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& .. ..
& .. .. scale in fourths in groups of five
& .. ..
&.. ..
& .. ..
& .. .. skip three-scale in fifths in groups of two
& .. ..
& .. ..
& .. ..
& .. ..
scale in fifths in groups of three
- 36 -
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& .. ..
& .. ..
& .. ..
&.. ..
scale in fifths in groups of four
& .. ..
& .. ..
& .. ..
& .. ..
scale in fifths in groups of 5
& .. ..
& .. ..
- 37 -
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& .. 1234
& ..
& .. 1235
& ..
& .. 1243
&..
& .. 1245
& ..
& .. 1253
- 38 -
2.3 Four Note Patterns
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& ..
& .. 1254
& ..
&..
1324
& ..
& .. 1325
& ..
& .. 1342
& ..
& .. 1345
- 39 -
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& ..
& .. 1352
& ..
&..
1354
& ..
& .. 1423
& ..
& .. 1425
& ..
& .. 1432
- 40 -
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& ..
& .. 1435
& ..
&..
1452
& ..
& .. 1453
& ..
& .. 1523
& ..
& .. 1524
- 41 -
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& ..
& .. 1532
& ..
&..
1534
& ..
& .. 1542
& ..
& .. 1543
& ..
& .. 2134
- 42 -
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& ..
& .. 2135
& ..
&..
2143
& ..
& .. 2145
& ..
& .. 2153
& .. b
& .. 2154
- 43 -
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& ..
& .. 2314
& ..
&..
2315
& ..
& .. 2341
& ..
& .. 2345 (same as 1234)
2351
& ..
& .. 2354-same as 1243
2413
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& ..
& .. 2415
& ..
&..
2431
& ..
& .. 2435 same as 1324
2451
& ..
& .. 2453 same as 1342
2513
& ..
& .. 2514
- 45 -
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& ..
& .. 2531
& ..
&..
2534 same as 1423
2541
& ..
& .. 2543 same as 1432
3124
& ..
& .. 3125
& ..
& .. 3142
- 46 -
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& ..
& .. 3145
& ..
&..
3152
& ..
& .. 3154
& ..
& .. 3214
& ..
& .. 3125
- 47 -
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& ..
& .. 3142
& ..
&..
3145
& ..
& .. 3152
& ..
& .. 3154
& ..
& .. 3214
- 48 -
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& ..
& .. 3215
& ..
&..
3241
& ..
& .. 3245 same as 2134
3251
& ..
& .. 3254 same as 2143
3412
& ..
& .. 3415
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& ..
& .. 3421
& ..
&..
3425 same as 2314
3451
& ..
& .. 3452 same as 2341
3512
& ..
& .. 3514
& ..
& .. 3521
- 50 -
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& ..
& ..
3524 same as 2413
3541
& ..
&..
3542 same as 2431
4123
& ..
& .. 4125
& ..
& .. 4132
& ..
& .. 4135
- 51 -
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& ..
& .. 4152
& ..
&..
4153
& ..
& .. 4213
& ..
& .. 4215
& ..
& .. 4231
- 52 -
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& ..
& ..
4235 same as 3124
4251
& ..
&..
4253 same as 3142
4312
& ..
& .. 4315
& ..
& .. 4321
& ..
& .. 4325 same as 3214
4351
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& ..
& ..
4352 same as 3241
4512
& ..
&..
4513
& ..
& .. 4521
& ..
& .. 4523 same as 3412
4531
& ..
& .. 4532 same as 3421
5123
- 54 -
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& ..
& .. 5124
& ..
&..
5132
& ..
& .. 5134
& ..
& .. 5142
& ..
& .. 5143
- 55 -
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& ..
& .. 5213
& ..
&..
5214
& ..
& .. 5231
& ..
& .. 5234 same as 4123
5241
& ..
& .. 5243 same as 4132
5312
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& ..
& .. 5314
& ..
&..
5321
& ..
& .. 5324 same as 4213
5341
& ..
& .. 5342 same as 4231
5412
& ..
& .. 5413
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& ..
& .. 5421
& ..
&..
5423 same as 4312
5431
& ..
5432 same as 4321
- 58 -
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& .. 123
& ..
& .. 124
& ..
& .. 125
& ..
& ..
132
&..
& .. 134
- 59 -
2.4 Three Note Patterns
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& ..
& .. 135
& ..
& ..
142
& ..
& .. 143
& ..
& .. 145
& ..
& .. 152
- 60 -
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& ..
& .. 153
& ..
& ..
154
& ..
& .. 213
& ..
& .. 214
& ..
& .. 215
- 61 -
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& ..
& .. 231
& ..
& ..
234 same as 123
235 same as 124
241
& ..
& ..
243 same as 132
245 same as 134
251
& ..
& .. 253 same as 142
254 same as 143
312
& ..
& .. 314
- 62 -
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& ..
& .. 315
& ..
& ..
321
& ..
& ..
324 same as 213
325 same as 214
341
& ..
& ..
342 same as 231
345 same as 234, 123
351
& ..
& ..
352 same as 241
354 same as 243, 132
412
- 63 -
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& ..
& .. 413
& ..
& ..
415
& ..
& .. 421
& ..
& ..
423 same as 312
425 same as 314
431
& ..
& ..
432 same as 321
435 same as 324, 213
451
- 64 -
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& ..
& ..
452 same as 341
453 same as 342, 231
512
& ..
& ..
513
& ..
& .. 514
& ..
& .. 521
& ..
& ..
523 same as 412
524 same as 413
531
- 65 -
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& ..
& ..
532 same as 421
534 same as 423, 312
541
& ..
542 same as 431
543 same as 432, 321
- 66 -
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& 42 .. j
& ..
& .. j
& ..
& .. .. j
& 85 ..
& ..
& .. ..
& 87 ..
- 67 -
2.5 More Shapes
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& ..
& 812 ..
& ..
& 42 ..
&
& ..
& 43 ..
&
& ..
& 42 ..
- 68 -
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&
& ..
& 43 ..
&
& ..
& ..
&
& ..
& ..
&
- 69 -
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& ..
& c ..
&
&..
& 45 ..
&
& ..
& 47 ..
&
&
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& ..
& 42 .. ..
& .. ..
&.. ..
& .. ..
- 71 -
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& w w wb w w
& .. .. play scale through full range
b b b b b
& .. getting from one note to another
b b
& ..b
b
b
& .. b b
& ..b
b b
& .. b b
b b b b b b b b
b
b
& ..b
bb
b
b
b
b
b b b b b b
- 73 -
Suggested harmonic applications: Cmin6, min(Maj7), or min7, D Phrygian, Eb6 or Maj7(-5), F7, Amin7(-5), B7alt
...please search for your own applications!
Please read the Introduction for suggestions regarding ways to practice these exercises.
3.1 Getting Familiar with the Intervals
Pentatonic 305
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& .. b b b
& ..
b
b & .. b b
b
& ..
b
b
& .. b b b
& ..
b b
& .. b b b
& .. b b
& .. b b b b b b b b b b b b b & ..b b b b b
b b b b b b b
- 74 -
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& .. b b
b
& ..
b b
& .. b b
b
& .. b b
& .. b
b
b
& ..
b
b
& .. b b
& ..
b
b
b
& ..b b b
b
bb
b
b
b
b
bb
b
b
& ..b
b
bb
b
b
b b b b b b b
- 75 -
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& .. bskip one note-scale in thirds in groups of two
b b b
b
& .. b b b
&.. b b
b b b
& .. b b b
& .. b b b b
& .. b b b b
& .. b b b b
& ..b b b b
& .. b scale in thirds in groups of three
b b b b
- 76 -
These exercises are similar to traditional "scales in thirds, fourths," etc. but they appear here in two, three,
four, and five note configurations
3.2 Intervallic Scales
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& .. b b b b b
& .. b b b
b
b& ..
b b b b b
&.. b
b
b
b b
& .. b b b b b
& .. b b b b
b b
& ..b b b b
& .. b scale in thirds in groups of four
b b b
b
& .. b b b b b
& .. b b
b b
b
- 77 -
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& ..b b b b b
& .. b b b
b
b & ..
b b b b
b
&..
b b
b b b
& ..b b b b b
& .. .. b
scale in thirds in groups of five
b
b b
b b
b
b
& .. .. b b
b b b b b b
& .. .. b b b
b b b b
b
& .. .. b b b b b b b b
& .. .. skip two-scale in forths in groups of two
b b b b b b b
- 78 -
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& .. .. b b
b b b b b
& .. .. b b
b b
b b b
& .. .. b b b
b b b b
&.. ..
scale in fourths in groups of three
b
b
b
b
b
b
& .. .. b b
b
b
b b b
& .. ..b b b
b
b b b
b
& .. .. b b b b b b b
& .. .. scale in fourths in groups of four
b
b
bb
& .. .. b b b b b
& .. .. b b
b b b
- 79 -
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& .. .. b b
b b b
& .. .. bscale in fourths in groups of five
b
& .. ..
b b
&.. ..
b b
& .. ..
b b
& .. .. skip three-scale in fifths in groups of two
b b b
b b b b
& .. .. bb b b b b b
& .. .. b b
b b b b b
& .. .. b b b b b b b
& .. ..
scale in fifths in groups of three
b
b
b
b
b
- 80 -
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& .. ..
b b
b b
b
& .. ..
b
b
b b b
& .. .. b b
b b b
&.. ..
bscale in fifths in groups of four
& .. ..
b
& .. .. b
& .. ..b
& .. .. b
scale in fifths in groups of 5
b
& .. .. b b
& .. .. b
b - 81 -
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& .. b 1234
b b b b b b
& .. b b b b b b b
& .. b 1235
b b b b b
& .. b
b
b
b b b b
& .. b1243
b b b b b b
&..
b b b b b
b b
& .. 1245
b b b b b b
& .. b b b b b b b
& .. b1253
b b b b b
- 82 -
3.3 Four Note Patterns
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& ..b b b b b b b b
& .. 1254
b b b b b
b
b
& ..b b b b b b
&.. b
1324
b
b
b b b b
& .. b b b b b b b
& .. b 1325
b b b b b b
& .. b b b b b b b
& .. b 1342
b b b b b b
& .. b b b b b b b
& .. b 1345
b b b b b
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& .. b b b b b b
& .. b 1352
b b b b
b b
& .. b b b b b b b
&.. b
1354
b
b b b
b
& .. b b b b b b
& .. b1423
b b b b b b
& .. b b b b b b b
& .. 1425
b b b b b b
& .. b b b b b b b
& .. b 1432
b b b b b b
- 84 -
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& ..b b b b b b b
& .. b 1435
b b b b
b
& .. b b b b b b
&..
1452
b b
b b
b b
& .. b b b b b b b
& .. b1453
b b b b
& ..b b b b b b b
& .. b1523
b b b b b b
& .. b b b b b b b
& .. 1524
b b b b b b
- 85 -
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& ..b b b b b b b
& .. b 1532
b b b
b b b
& ..b b b b b b b
&..b
1534
b
b b b b
& ..b b b b b b
& .. 1542
b b b b b b
b
& ..b b b b b b
& .. b1543
b b b b b
b
& ..b b b b b
& .. b 2134
b b b b b b
- 86 -
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& .. b b b b b b b
& .. b 2135
b b b b
b
b
& .. b b b b b b b
&.. b
2143
b b
b b b b
& .. b b b b b b b
& .. 2145
b b b b b b
b
& .. b b b b b b
& .. b2153
b b b b b b
& .. b b b b b b b b
& .. 2154
b b b b b b
- 87 -
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& .. b b b b b b b
& .. b 2314
b b b b b
b
& .. b b b b b b b
&.. b
2315
b
b
b b b b
& .. b b b b b b b
& .. b 2341
b b b b b b
& .. b b b b b b b
& .. b 2345 (same as 1234)
2351
b b b b b
b
& .. b b b b b b b
& .. b2354-same as 1243
2413
b b b b b b
- 88 -
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& .. b b b b b b b
& .. 2415
b b b b
b
b
& .. b b b b b b b
&.. b
2431
b
b
b b b
b b
& .. b b b b b b
& .. 2435 same as 1324
2451
b b b b b
b
& .. b b b b b b b
& .. b2453 same as 1342
2513
b b b b b
b b
& .. b b b b b b
& .. 2514
b b b b b
b
- 89 -
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& ..b b b b b b b
& .. b 2531
b b b
b b
b
b
& .. b b b b b b
&..
2534 same as 1423
2541
b
b b
b b
b
& ..b b b b b b b
& .. b 2543 same as 1432
3124 b b b b b b
& .. b b b b b b b
& .. b 3125 b b b
b b b
& .. b b b b b b b
& .. b 3142 b b b b
b b
- 90 -
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& .. b b b b b b b
& .. b 3145
b b b b
b
& .. b b b b b b
&..b
3152
b
b
b b b b
& .. b b b b b b b
& .. b 3154 b b
b b b
& .. b b b b b b
& .. b 3214 b b b b
b b
& .. b b b b b b b
& .. b 3125 b b b
b b b
- 91 -
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& .. b b b b b b b
& .. b 3142
b b b b
b
b
& .. b b b b b b b
&..b
3145
b
b b b
b b
& .. b b b b b
& .. b 3152 b b b
b b b b
& .. b b b b b b
& .. b 3154 b b
b b b
& .. b b b b b b
& .. b 3214 b b b b
b b
- 92 -
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& .. b b b b b b b
& .. b 3215
b b b b
b
b
& .. b b b b b b b
&..b
3241
b
b
b b b b
& .. b b b b b b b
& .. b 3245 same as 2134
3251 b b b b b
b
& .. b b b b b b b
& .. b 3254 same as 2143
3412
b b b b b b
& .. b b b b b b b
& .. b 3415
b b b b b
- 93 -
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& .. b b b b b b
& .. b 3421
b b b b
b
b
& ..
b b b b b b b
&..b
3425 same as 2314
3451
b b
b b
b
& .. b b b b b b
& .. b 3452 same as 2341
3512
b b b b
b b b
& .. b b b b b b
& .. b 3514
b b b b
b
& .. b b b b b b
& .. b 3521
b b b b
b b b
- 94 -
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& .. b b b b b b
& .. b
3524 same as 2413
3541
b b b b
b
b
& .. b b b b b
&.. b
3542 same as 2431
4123 b
b
b b b
b
& ..b b b b b b b
& .. 4125 b b b b
b b
& .. b b b b b b b
& .. b 4132 b b b
b b b
& ..b b b b b b b
& .. b 4135 b b b
b b
- 95 -
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& .. b b b b b b
& .. 4152
b b b b
b
b
b
& .. b b b b b b
&..
b
4153
b
b b b b
& .. b b b b b
& .. b4213 b b b
b b b
& ..b b b b b b b
& .. 4215 b b b b
b b
& .. b b b b b b b
& .. b 4231 b b b
b b b
- 96 -
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& ..b b b b b b b
& ..
4235 same as 3124
4251
b b b b
b
b& ..
b b b b b b b
&.. b
4253 same as 3142
4312 b
b
b b b
b
& ..b b b b b b b
& .. b 4315
b b b b b
& .. b b b b b b
& .. b 4321 b b b
b b b
& ..b b b b b b b
& .. b 4325 same as 3214
4351 b b b b
b
- 97 -
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& .. b b b b b b
& ..
4352 same as 3241
4512
b b b b
b
b
& .. b b b b b b b
&.. b
4513
b b
b b
b b
& .. b b b b b
& .. 4521
b b b b
b b
& .. b b b b b b b
& .. b 4523 same as 3412
4531
b b b b
b b
& .. b b b b b
& .. b4532 same as 3421
5123 b b b b
b b
- 98 -
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& ..b b b b b b b
& .. 5124
b b b b
b
b
& ..b b b b b b b
&..
b
5132 b
b
b
b
b b b
& .. b b b b b b
& .. b 5134 b b
b b b b
& .. b b b b b
& .. 5142 b b b
b b b
& ..b b b b b b b
& .. b5143 b b
b b b
- 99 -
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& ..b b b b b b
& .. b5213
b b b b
b
b
& ..b b b b b b b
&..
5214 b
b
b b
b b b
& .. b b b b b b
& .. b 5231 b b b
b b b b
& .. b b b b b b
& .. 5234 same as 4123
5241 b b b b
b b b
& .. b b b b b b
& .. b 5243 same as 4132
5312 b b b b
b b b
- 100 -
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& .. b b b b b b
& .. b 5314
b b b
b
b
& ..b b b b b b
&..
b
5321 b
b
b
b b b b
& .. b b b b b b
& .. b 5324 same as 4213
5341 b b b b
b
& ..b b b b b b
& .. 5342 same as 4231
5412 b b b b
b b b
& .. b b b b b b
& .. b5413 b b
b b b b
- 101 -
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& .. b b b b b
& .. 5421
b b b b
b
b
& ..b b b b b b b
&..
b
5423 same as 4312
5431
b
b
b b b
& ..b b b b b b
5432 same as 4321
- 102 -
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& .. b123
b b b b b
& .. b b b b b b
& .. 124
b b b b b
& .. b b b b b b
& .. 125
b b b b
& ..b
b
b
b
b b b & .. b
132
b b b b b
&..
b b b b
b b
& .. b 134
b b b b b
- 103 -
3.4 Three Note Patterns
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& .. b b b b
& .. b 135
b b
b
b
& .. b b b b b
& ..
142
b b
b b b b
& .. b b b b b
& .. b143
b b b b
& .. b b b b b
& .. 145
b b b
& ..b b b b b b
& .. 152
b b b b b
- 104 -
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& ..b b b b b b
& .. b153
b b
b
b b
& ..b b b b
& ..
154
b
b b b b
& ..b b b b
& .. b213
b b b b b
& .. b b b b b b
& .. 214
b b b b b
& .. b b b b b b
& .. 215
b b b b b
- 105 -
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& .. b b b b b b
& .. b 231
b b b b
b
& .. b b b b b b
& ..
234 same as 123
235 same as 124
241
b
b
b b b b
& .. b b b b b
& ..
243 same as 132
245 same as 134
251
b b b b
b b
& .. b b b b b
& .. b 253 same as 142
254 same as 143
312 b b b b b
& ..b b b b b b
& .. b 314 b b b
b b
- 106 -
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& .. b b b b
& .. b 315
b b
b
b
& .. b b b b b
& ..b
321 b
b
b b b
& ..b b b b b b
& .. b
324 same as 213
325 same as 214
341
b b b b
& .. b b b b b
& .. b
342 same as 231
345 same as 234, 123
351
b b b
& .. b b b b b b
& ..
352 same as 241
354 same as 243, 132
412 b b b b b
b
- 107 -
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& .. b b b b b
& .. b413
b b b
b b
& .. b b b b
& ..
415
b
b b b
& .. b b b b b
& .. 421 b b b
b b
& ..b b b b b b
& .. b
423 same as 312
425 same as 314
431 b b b b
& .. b b b b b
& ..
432 same as 321
435 same as 324, 213
451
b b b
b b
- 108 -
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& .. b b b b
& ..
452 same as 341
453 same as 342, 231
512
b b b
b
b b
& .. b b b b b
& .. b
513
b b b
b
& ..b b b b b
& .. 514 b b
b b
& ..b b b b b
& .. 521 b b b
b b
& ..b b b b b b
& .. b
523 same as 412
524 same as 413
531 b b b
b
- 109 -
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& ..b b b b b
& ..
532 same as 421
534 same as 423, 312
541
b b
b
b
b
& .. b b b b
542 same as 431
543 same as 432, 321
- 110 -
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& 42 .. j b b b b
b
& .. b b b b b b
& .. j b b b b
& .. b b
b b b
& .. .. j b b
& 85 .. b b b
b
b
b
& .. b b b b b
& .. .. b
b
& 87 .. b b
b b b
b
- 111 -
3.5 More Shapes
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& .. b
b b b b b
& 812 .. b b b
& .. b
b b
& 42 .. b
b b
b
& b b b b
& .. b b b b
& 43 .. b b b b b
& b b b b b
& .. b b b b b b
& 42 .. b b b b b
- 112 -
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& b b
& ..
b
b
b b b & 43 .. b b b
b b
& b b b b b
& .. b b b b b b
& .. b b b b b
& b b b b b b
& ..b b b b b
& .. b b b b
& b b b b
- 113 -
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& .. b b b b
& c .. b b b
b
& b b b b
&.. b b
b
b
& 45 .. b b b b
b
& b b b
b b b
& .. b b b b b
& 47 .. b b b
b b
& b b b
& b b b
- 114 -
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& ..b b b b b
& 42 .. ..
b
b
& .. .. b
b
&.. ..
b b
& .. ..
b b
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& 42 ..j Pentatonic 326
&
& ..
& .. jb b b bPentatonic 304
b b b b b b b b
& b b b b b b b b b b
& ..b b b b b b b b b b b b b
& .. j Major Scale
&
&
117
The following exercises are examples of developing the shapes found in this book by using different
pitch/interval sets. Some of these are exact modal transpositions, but most are slightly adjusted in order to retai
the essential character of the shape.
4.1 Shape Morphing
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& ..
& .. j b
Melodic Minor Scale
b b
& b b b
& b b b
& .. b b b b
& .. j b b Harmonic Minor Scale
b b b b
& b b b b b
& b b b b b b b
& ..b b b b b b b& .. j b b
Diminished Scale
b b b b b
118
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& b b b b b b b
& b b b b b
bb
& b b n b b b b b b b b
& .. b b b b
n b
b b
& .. j # bAugmented Scale
# b # b
& # b # b # b
& # b # b # b
& ..# b # b #
& .. jb bchord shape-C7(sus4)
b b b
b
& .. b b b b b
119
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& .. j #chord shape-Cmin(Maj7 +5)
b # b # b # b # b
& .. # b
b#
b #
b # b # b # & .. j #
chord shape-CMaj7(sus4 +5)
# # # # #
& .. # # # #
#
& .. j bchord shape-CMaj7(-5)
b b b b
& .. b b b b b b
& .. j #chord shape-CMaj7(+5)
# # # #
& .. # # # # # #
120
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121
4.2 Intervallistics
The next few pages contain exercises that explore the technique of using
a simple thematic element, derived from a pentatonic pitch set, in thecontext of a harmonic setting that does not change. Some pentatonics do
not have any half steps and therefore lack the implied tensions and
resolutions that characterize diatonic and other scales. The lack of
harmonic specificity in these scales, especially the ones that are
comprised of three whole steps and two minor thirds (numbers 326-330
in t