MAKING THE MOST OF PRACTICE
HOW TO USE THIS BOOK
One of the quickest ways to improve your piano playing is through the practice of
scales and ‘broken’ chord exercises.
Unfortunately, these exercises are very repetitive and somewhat boring for
budding pianists who just want to play the latest tunes.
What I have tried to do is make these exercises as interesting as possible and I
have structured them in a way that will hopefully help you practice in EVERY key.
Very often books give examples in the key of C then tell you to transpose them to
all the other keys. Few learners actually DO this (until years later when they
realise that they NEED to do it).
PAGES 1 to 15
HOW TO FORM AND MEMORIZE THE SCALES AND ARPEGGIOS
PAGES 16 to 27
A PRACTICE ROUTINE IN THE KEY OF C
To begin with I will show you all the exercises in the key of C. You can listen to
the sound clips if you are unsure of the written instructions.
Practise in C until you can play the patterns with ease. Then move on to the
other keys. If you are struggling with certain keys work through the easier ones
that have less sharps or flats - like F or G.
PAGES 28 to 116
THE SAME ROUTINE IN EVERY KEY.
At the bottom of each page are boxes you can ‘tick’ that will help you keep track
of where you are in your practice. There are 8 pages for each key.
SPEND ONE WEEK WITH EACH KEY
Keep in mind that the following exercises are ESSENTIAL before you can move
on to anything with more complexity. Spend a week (or as long as it takes) with
each key until you feel comfortable with it.
Good luck!
10-2
MAJOR SCALES
C to F (Right Hand)
Practice these once a day. Try two octaves and go up and down again.
Budding concert pianists may want to figure them out for the left hand also.
The following pages will show you how to easily memorize these scales.
C
D
1
Db
E
2
Eb
F
3
F
G
A
B
C
1
2
3
4
5 (1)
Gb
Ab
Bb
C
Db
4
1
2
2
3
1
2
3
D
E
F#
G
A
B
C#
1
2
3
1
2
3
4
5 (1)
Eb
F
G
Ab
Bb
C
D
Eb
3
1
2
3
4
1
2
3
E
F#
G#
A
B
C#
D#
E
1
2
3
1
2
3
4
5 (1)
F
G
A
Bb
C
D
E
F
1
2
3
1
2
3
4 (1)
4
D
10-3
MAJOR SCALES
Gb to B (Right Hand)
Gb
2
G
1
Ab
Bb
3
4
A
2
Ab
B
3
(B)
Cb
F
Gb
2
3
1
2
C
D
E
F#
G
2
3
4
5 (1)
Bb
C
3
4
1
A
B
C#
1
2
3
Bb
C
2
1
2
3
B
C#
D#
E
1
2
3
Eb
1
1
Db
2
Eb
3
D
1
D
Db
1
E
F#
2
3
Eb
1
F
F
G
2
G#
4
Ab
3
A
5 (1)
G
A
Bb
1
2
3
4
F#
G#
A#
B
2
3
4
5 (1)
10-4
MEMORY TRICKS FOR ALL THE SCALES
THE SCALES WITH SHARP NOTES
Notice how the formation of the letters almost tells you the number of sharps.
1 Sharp
F
2 Sharps F C
(Football Club)
3 Sharps F C G
(Football Club Goal)
4 Sharps F C G D
(Football Club Goal Disallowed)
5 Sharps F C G D A (Football Club Goal Disallowed Again)
10-5
MEMORY TRICKS FOR ALL THE SCALES
THE SCALES WITH FLAT NOTES
Notice the word B E A D and how the name of the scale is one letter behind in
the order of Flat notes ie Bb has the flats Bb PLUS Eb --- Eb has the flats Bb, Eb PLUS Ab and so on
F
B
1 Flat
Bb
2 Flats
Eb
3 Flats
Ab
4 Flats
Db
5 Flats
BE
BEA
BEAD
BEADG
Gb (F#)
6 Flats
B E A D G (C)
10-6
MEMORY TRICKS FOR ALL THE SCALES
The GAP between the two sets of black keys is a VERY helpful focal point.
Notice that when you are playing scales that have SHARPS you will ALWAYS
play the WHITE notes B and E which are on the RIGHT hand side of the two sets
of black keys
ie.
Scale of D major (with 2 ‘sharps’)
E
B
ALTERNATIVELY when you are playing scales that have FLATS you will nearly
ALWAYS (except for Gb) play the WHITE notes F and C which are on the LEFT
hand side of the two sets of black keys
ie.
Scale of Db major (with 5 ‘flats’)
F
C
10-7
OTHER SCALES
DIMINISHED SCALES
Diminished scales are used with diminished chords.
They are unusual in their configuration.
They are constructed using a mixture of consecutive whole tones and half tones.
Just as there are three distinctive diminished chord shapes (see book 3 pg xx)
so there are only three diminished scale configurations.
Remember that the ROOT note of the diminished scale is a WHOLE TONE
away from the second note of the scale
This pattern covers the diminished scales of Co, Ebo, Gbo and Ao
1 2 3
123 1 2 1
This pattern covers the diminished scales of Dbo, Eo, Go and Co
2 3 1
31 2 3
12
This pattern covers the diminished scales of Do, Fo, Abo and Bo
1 2 3 12 31
31
You will see later how these scales can also be used in Jazz over 7 chords but
for now just learn them for diminished chords.
10-10
OTHER SCALES
WHOLE TONE SCALES
Whole Tone scales are used over dominant seventh chords whose 5th is altered
(either sharpened or flattened) For instance C7+5 or C7b5.
All the whole tone scales can be found within just TWO patterns.
This pattern covers the whole tone scales of C, D, E, Gb, Ab and Bb
(Just start on the relevant key)
1 3 1
2 3 4
This pattern covers the whole tone scales of Db, Eb, F, G, A and B
2 3
1 2 3 1
CHROMATIC SCALES
Chromatic movement is when you move up or down in HALF STEPS. There is a
lot of chromatic movement in Jazz improvisation.
Practice this up and down starting on a new key each time.
3 3
3 3 3
2 1 1 2 1 1 1 2
ETC
ETC
10-11
ARPEGGIOS
(BROKEN CHORDS)
Arpeggio practice is very important because you get to know your chords a lot
better and it enables you to improvise with greater confidence.
Basically an ARPEGGIO is running up and down the notes of a chord over one or
more octaves.
The correct fingering is the key to success.
Try the chord of C to begin with.
C ARPEGGIO
1
2
3
1
2
3
5
C
E
G
C
E
G
C
G
E
C
G
E
C
1
2
3
1
2
3
5
3
2
1
3
2
1
10-12
MAJOR ARPEGGIO PRACTISE
C to F (Correct Fingering)
C
E
G
C
E
G
C
G
E
C
G
E
C
1
2
3
1
2
3
5
3
2
1
3
2
1
Db
F
Ab
Db
F
Ab
Db
Ab
F
Db
Ab
F
Db
2
1
2
4
1
2
4
2
1
4
2
1
2
D
F#
A
D
F#
A
D
A
F#
D
F#
D
1
2
3
1
2
3
5
3
2
1
3
2
1
Eb
G
Bb
Eb
G
Bb
Eb
Bb
G
Eb
Bb
2
1
2
4
1
2
4
2
1
4
2
E
G#
B
E
G#
B
E
B
G#
E
1
2
3
1
2
3
5
3
2
1
F
A
C
F
A
C
F
C
A
F
C
A
F
1
2
3
1
2
3
5
3
2
1
3
2
1
A
B
G
Eb
1
G#
3
2
E
2
1
10-13
MAJOR ARPEGGIO PRACTISE
Gb to B (Correct Fingering)
Gb
G
1
1
B
2
Bb
Db
Gb
Bb
Db
Gb
Db
Bb
Gb
Db
Bb
Gb
2
3
1
2
3
5
3
2
1
3
2
1
D
G
B
D
G
D
B
G
D
B
G
3
1
2
3
5
3
2
1
3
2
1
Ab
Ab
C
Eb
Ab
C
Eb
Ab
Eb
C
Ab
E
C
2
1
2
4
1
2
4
2
1
4
2
1
2
A
C#
E
A
E
C#
A
E
C#
A
1
3
2
1
A
C#
1
2
3
1
2
3
5
3
2
Bb
D
F
Bb
D
F
Bb
F
D
Bb
F
D
2
B
1
2
4
1
2
4
2
1
4
2
1
2
D#
F#
B
D#
F#
B
F#
D#
F#
D#
B
1
2
3
1
2
3
5
3
2
3
2
1
E
B
1
Bb
10-14
ARPEGGIO PRACTISE
Minor and diminished chords
MINOR ARPEGGIOS
After you have practiced the major arpeggios try the MINOR arpeggios. Simply flatten the 3rd
of the chord. The fingering will be mostly the same as it was for the major arpeggios - the only
changes required will be for Ebm, Gbm and Bbm - see if you can figure out what needs to be
changed.
DIMINISHED ARPEGGIOS
If you remember from book 4 there are really only THREE diminished ‘shapes’ the all the
diminished chords ‘fit’ into. So it doesn’t take long to learn these three arpeggios. You will
use diminished arpeggios a lot because they are easy and they add a lot of interest to your
playing.
Co
Ebo
F#o
Ao
Dbo
Eo
Go
Bbo
Do
Fo
Abo
Bo
1
2
2
3
1
1
1
2
2
3
2
3
3
4
1
4
1
2
1
2
3
2
3
4
3
4
1
4
1
2
1
2
3
2
3
4
4
1
2
10-15
A WORD ABOUT FINGERING
You will read some modern books that say that fingering is a personal thing
and you should do what feels best. I guarantee you that advice is ONLY for
experienced pianists.
It is absolutely VITAL that beginners follow CORRECT fingering for several
reasons
1. Beginners tend to use their ‘strong’ fingers and avoid using the weaker fingers
like the fourth or small fingers. These fingers then NEVER get stronger.
2. Beginners don’t realise that correct fingering may have a future purpose they
can’t see yet such as freeing up a finger to allow your to go easily into another
pattern or run.
3. If you use the SAME fingering for certain exercises your hand and brain get far
more proficient at the exercise. More so than if you kept using any old fingering.
Most beginners get concerned as to which finger to use on the BLACK keys. The
advice given by Tim Richards in his excellent book Exploring Jazz Piano is this..
• Use the same fingering in every octave
• Use the same fingering in both directions
• Never use the same finger for consecutive notes
• Avoid placing the thumb on a black note
He goes on to say ‘the last rule is often broken - when a scale contains mainly
black notes you will have to use the thumb on some of them’.
10-16
CHORD & SCALE
WORKOUT
IN THE KEY OF C
10-17
THE KEY OF C MAJOR
C major
SCALES
C1
1 2 3 1 2 3 4 1
C Pentatonic
1 2 3
1 2
1
CHORD FAMILY FOR C MAJOR (Two Octaves)
CM7
Dm7
Em7
FM7
G7
Am7
Bo7
‘Half Diminished’ symbol
1
2
1
3
2
1
4 1
3
2
1
I
4 1
3
2
1
II
4
1
3
2
1
IV
4 1
3
2
1
III
4 1
3
2
V
4 1
3
4 1
VI
VII
10-18
C
C MAJOR BASIC TRIAD WORKOUT - 1
‘TRIADS’ are the basic three note chords that you learned in books 1 to 3.
Each key has a ‘FAMILY’ of chords.
In C they are- C - Dm - Em - F - G - Am - Bdim
You can practice these as ‘BROKEN CHORD’ patterns (play one note at a time)
This helps you learn the chords and teaches you some interesting melodic
patterns
Practice the patterns in both hands (or hands TOGETHER if you are brave
enough)
1 3 5
C
RIGHT HAND workout
etc
Dm
C
D
Em
E
F
G
F
Am
G
A
Bdim C
B
Then go
back down
again
C
LEFT HAND workout
C
5 3
1
Dm
etc
Em
F
G
Am
Bdim C
No. of times practiced
10-19
C
C MAJOR BASIC TRIAD WORKOUT - 2
The following exercise extends the broken three note chords into a really fun
4 - note right hand pattern over a left hand ‘TWIST’ rhythm.
(C - Am - Dm - G)
The chords follow the I - VI - II - V progression in C
Practice the RIGHT HAND on it’s own until you can play it with ease
I - VI - II - V BROKEN CHORD TWIST
E G C E
C E G C
1
C
2
C
A
E C
5
4
2
1
F
5
G
G
2
E
C
G
1
3 5
3
5
G
E C
A
5
3
1
2
G
2
1
B
G
1
3
5
2
D
F
1
2
A
3
D
G
C
1
2
3
5
D
5
B
G
D
B
G
5
4
2
1
5
4
F
1
2
4
5
A
2
1
B
3
2
F
D
B
C
Am
A
D
E
5
F
F
G
A
G
D
D
E
E
Dm
C
B
E
C
A
A
D
4
G C
C
5
D
3
1
E
C
A
E
5
3
2
1
A
A
D
F
A
1
2
3
5
D
G
A
B
D
D
1
F
2
F
G
2
C
1
A
3
D
5
A
C CHORD
C
C
Play the above again but this time change the order of ascending and descending ie. Start on
a high C and descend then go up an Am and so on. See if you can work out the fingering.
No. of times practiced
10-20
C
7th CHORDS WORKOUT - 1
Play the C Family 7th chords with your left hand
CM7
Dm7
Em7
FM7
G7
Am7
Bhalf-dim7
Now try the following exercise. The right hand plays broken (7th) chords
2 octaves each chord - up and down. See page xx for the fingering.
Notice that when the chords are going too high you shift them down an octave
BROKEN 7th CHORDS WORKOUT
C E G B C E G B
CM7
C B
G E
C B
G E
D F A
C
D C
A
F
ETC
Dm7
Em7
FM7
G7
Am7
B half-dim7
C D F A
CM7
No. of times practiced
10-21
C
7th CHORDS WORKOUT - 2
CM7
Dm7
Em7
FM7
G7
Am7
Bhalf-dim7
Play the C Family 7th chords with your left hand again but this time play the scale
of C MAJOR in your right hand. When you change chords move the STARTING
point of the C scale to MATCH the root note of the chord.
C MAJOR SCALE WORKOUT
C to C
CM7
Em7
Dm7
G to G
G7
E to E
D to D
FM7
B to B
A to A
Am7
F to F
B
half-dim7
CM7
Now start from the top and work your way back down
(Keep the scales running from left to right)
No. of times practiced
10-22
C
7th CHORDS WORKOUT
C FAMILY CHORDS
(The CATERPILLAR)
CYCLE OF FIFTHS PROGRESSION
Remember the cool chord progression from book 6 that ‘walked’ down the keys like a
‘Caterpillar’? Play this again and improvise in the Right Hand with the C major scale.
CM7
(Middle)
G B C E
Am7
(Middle)
E G A C
FM7
F A C E
Dm7
D F A C
Bhalf-dim7
D F B D
G7
(Middle)
D F G B
Em7
(Middle)
E G B D
CM7
C E G B
I - VI - II - V VOICINGS
It’s a good idea to practice VOICINGS in every key. A ‘voicing’ is when you split the
chord notes between both hands or when you leave some chord notes out so that the
chord SOUNDS lighter or sweeter. The voicing we will use is Root and 7th in the left
hand and the 3rd and 5th in the right hand. (see book 6)
You can also just play the root and 7th in the left hand (this is called a ‘SHELL’) and
IMPROVISE in the right hand using the C MAJOR scale.
CM7
Am7
Dm7
EG
CE
FA
C B
A G
D C
G7
BD
G F
No. of times practiced
10-23
C
MELODIC PATTERNS - 1
Twelve Three Note Patterns
Melody is often defined as an organized and logical succession of three or more tones.
It is important to practice combinations of three note patterns that are derived either
from scales or the basic three note chords.
There are only six ways to arrange the order of any three notes.
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
2
Now try patterns 3, 4, 5 and 6
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
2
Now try patterns 3, 4, 5 and 6
No. of times practiced
10-24
MELODIC PATTERNS - 2
Combining Patterns
C
The following is a mixture of two of the patterns on the previous page.
If you look closely you will see there is a two note pattern WITHIN the triplets. The triplet rhythm
gives the pattern a great deal of drive and excitement. This pattern is great if you are learning
Jazz because the triplet rhythm gives you a perfect ‘swing’ feel.
Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
TWO NOTE PATTERNS
Budding improvisers tend to think that they should be attempting really complicated patterns and
riffs but don’t forget that simple two note patterns sound great too.
Try the following pattern. Use the fingering that you use when you play the major scale.
C D D E E F F ETC
1 2 2 3 3 1 1 2
2 3 ETC
No. of times practiced
10-25
C
BLUES PRACTICE - 1
BASIC BLUES WORKOUT
When you are practicing lots of different patterns in one particular key it is a good idea
to practice your BLUES CHORDS & SCALES for that key as well.
That way you will be able to throw in some blues if you feel the urge!
Begin by improvising your scales over your three standard blues chords. You can either
stick to using the C BLUES SCALE over all three chords or you can also use the
relevant blues scale or ‘flattened’ seventh scale for each chord. This helps develop the
ability to use particular scales for particular chords rather than just one blues scale
BLUES SCALE
Find the notes of the MINOR SEVENTH chord
then add the 4th and flat 5th of the major scale
FLATTENED SEVENTH SCALE (‘Dominant’ Seventh scale)
Same as Major scale but the seventh is FLAT
Improvise over the left hand chords with CHORD TONES or these scales
The C BLUES Scale can be used throughout
C7
C BLUES Scale
F7
G7
C7 Scale
F BLUES Scale
F7 Scale
G BLUES Scale
G7 Scale
No. of times practiced
10-26
MINOR BLUES WORKOUT
You can use the notes of a C minor (Natural) scale over ALL the chords.
Remember the formula - To make a natural minor - go to the flattened 3rd of the
chord and use the MAJOR scale built on that note.
ie The natural minor scale for C minor uses the same notes as the scale of Eb major
Don’t worry about following a chord progression - just change chords when you
feel like it.
C MINOR (Natural) SCALE / same tones as Eb major
Cm7
1
3
5
Fm7
1
Two Octaves
1.
Cm7
7
3
3
5
7
Gm7
1
3
5
7
5
2.
Cm7
altered
7
Fm7
3.
9 (EbM7)
alt
9 3
5
Gm7
alt
9 3
1
alt
5
Fm7
1
3
alt
11
Gm7
5
1
7
alt
11
7
No. of times practiced
10-27
BLUES PRACTICE - 3
Traditional Jazz / Blues Progression
C7
F7
C7
C7
A7
See Book 6
Dm7
C BLUES Scale
7
F BLUES Scale
1
C7 Scale
F7 Scale
F# dim Scale
A7
G7
Dm7 G7
3
F#dim
1
C7 A7
F#dim
7
F7
5
G7
F7
Improvise with CHORD TONES or these scales
(C BLUES scale can be used throughout)
C7
1
C7
C
A7 Scale
Dm7
1
3
7
D BLUES Scale
5
7
Dm7 Scale
G7 Scale
7
No. of times practiced
10-28
CHORD & SCALE
WORKOUT
IN ALL OTHER KEYS
10-29
Db1
THE KEY OF D FLAT MAJOR
Db major
SCALES
2 3
1 2 3 4
12 3
Db Pentatonic
2 3
CHORD FAMILY FOR Db MAJOR
DbM7
Ebm7
Fm7
GbM7
Ab7
Bbm7
Co7
2
1
1
2 3
(Two Octaves)
2
2
1
1
3 4
3
2
2
2
I
3
II
4 1
3
3
2
1
4
4
4
1
2
1
IV
12
2
3
1
III
3 4
1
2
3
1
2 3
4
2
4
1
V
3
1
2
VI
VII
10-30
Db2
Db MAJOR BASIC TRIAD WORKOUT
Db
Ebm
Fm
Db FAMILY CHORDS
RIGHT HAND workout
1 3 5
etc
Db
Db
Ebm
Gb
Ab
2 1 2 3
Db
etc
5 3
12 3 5
Cdim
LEFT HAND workout
Eb
BROKEN CHORD TWIST
Bbm
Ebm
1
etc
GO up and
back down in
both execises
etc
I - VI - II - V Progression
2 3 1 3
2 1 2 3
Db
Db
Bb
2 1 3 2
5 3 2 1
3 2 1 2
5 1 3 2
Bbm
TWIST
1 2 3 5 repeat
Eb
Ebm
Ab
4 1 3 2
4 2 1 2
Ab
5 3 2 1
3 2 1 2
Db
Play the above again but this time change the order of ascending and descending
ie Start on a high Db and descend then go up an Bbm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-31
Db3
7th CHORDS WORKOUT
Db FAMILY CHORDS - Left Hand
DbM7
Ebm7
Fm7
GbM7
Ab7
Bbm7
Chalf-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page xx for fingering)
Db F Ab C
Db F Ab C
Db C Ab F
DbM7
Db C Ab F
Eb Gb Bb Db Eb Gb
Ebm7
etc
Db MAJOR SCALE WORKOUT Scale of Db (starting on each chord note)
DbM7
Ebm7
Fm7
etc
Db Family 7 chords
No. of times practiced
10-32
Db4
7th CHORDS WORKOUT
Db FAMILY CHORDS
(The CATERPILLAR)
DbM7
CYCLE OF FIFTHS PROGRESSION
GbM7
(Middle)
Ab C Db F
Bbm7
Gb Bb Db F
Ebm7
(Middle)
F Ab Bb Db
Eb Gb Bb Db
I - VI - II - V VOICINGS
DbM7
Chalf-dim7
Gb Bb C Eb
Ab7
F Ab C Eb
DbM7
(Middle)
Eb Gb Ab C
(Right hand can IMPROVISE as well)
Bbm7
Fm7
(Middle)
Ebm7
F Ab
Db F
Eb Gb
Db C
Bb Ab
Eb Db
Db F Ab C
Ab7
C Eb
Ab Gb
No. of times practiced
10-33
Db5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of Db
For fingering see page 30
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-34
Db6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The Db BLUES Scale can be used throughout
Db7
1
Db BLUES Scale
3
7
Gb7
5
7
Gb BLUES Scale
Db7
Db7
Gb7 Scale
3
Ab7
5
Db7 Scale
7 1
Db7
Db7
Ab BLUES Scale
Ab7 Scale
3
Db7
Ab7
Db7
Gb7
Gb7
Db7
Gb7
Db7 or Ab7
No. of times practiced
10-35
Db7
MINOR BLUES WORKOUT
Db (or C#) MINOR (Natural) SCALE / same notes as E
1.
2.
Dbm7
1
3
5
Gbm7
1
Dbm7
7
3
1
5
7
1
Abm7
1
3
5
7
Dbm7
alt
5
Gbm7
3.
3
3
alt
11
alt
1
11
7
Gbm7
7
7
Abm7
5
9 3
Abm7
7
7
9 3
alt
9 (EM7)
alt
5 (AM7)
alt
5 (BM7)
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-36
Db7
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
Gb7
Db7
Db7
Bb7
Ebm7
Db BLUES Scale
3
Gb7
5
Ab7
7
Gdim
Db7 Bb7 Ebm7 Ab7
Db7 Scale
7
Gb BLUES Scale
Gb7 Scale
3
Gdim
G dim Scale
Bb7
1
Gb7
Improvise with CHORD TONES or these scales
(Db BLUES scale can be used throughout)
Db7
1
Db7
Db8
Bb7 Scale
Ebm7
1
5
3
7
Eb BLUES Scale
5
7
Ab7
7 1
No. of times practiced
Ebm7 Scale
Ab7 Scale
3
10-37
D1
THE KEY OF D MAJOR
D major
SCALES
1 2
3 1 2 3
1 2
3
D Pentatonic
CHORD FAMILY FOR D MAJOR
DM7
Em7
F#m7
GM7
A7
Bm7
C#o7
1
4
1 2
1
(Two Octaves)
2
1
3
2
2
4 1
3
1
1
I
4 1
2
2
1
II
3
3
2
1
1
IV
4 1
3
2
2
4
III
4 1
3
1
V
2
VI
4 1
3
4
1
VII
10-38
D2
D MAJOR BASIC TRIAD WORKOUT
D
Em
F#m
Db FAMILY CHORDS
G
RIGHT HAND workout
1 3 5
D
Em etc
D
E
C#dim
F
Em
5 3
1
etc
GO up and
back down in
both execises
etc
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
1 2 3 5
2 1 2 3
1 2 3 5
1 2 3 5
D
B
5 3 2 1
3 2 1 2
5 4 2 1
5 3 2 1
Bm
TWIST
12 3 5
Bm
LEFT HAND workout
etc
D
I - VI - II - V
A
//
E
Em
//
//
A
5 3 2 1
A
5 4 2 1
4 2 1 2
5 3 2 1
D
Play the above again but this time change the order of ascending and descending
ie Start on a high D and descend then go up a Bm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-39
D3
7th CHORDS WORKOUT
D FAMILY CHORDS - Left Hand
DM7
Em7
F#m7
GM7
A7
Bm7
C#half-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page xx for fingering)
D F# A C# D F# A C#
D C# A F#
DM7
D C# A F#
E
G
B
D
Em7
E
G
etc
D MAJOR SCALE WORKOUT Scale of D (starting on each chord note)
DM7
Em7
F#m7
etc
D Family 7 chords
No. of times practiced
10-40
D4
7th CHORDS WORKOUT
D FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
DM7
GM7
(Middle)
A C# D F#
Bm7
G B D F#
Em7
(Middle)
F# A B D
F# A
D
Bm7
B
DM7
E G A C#
Em7
A
F# A C# E
(Middle)
(Right hand can IMPROVISE as well)
D F#
C#
A7
F#m7
(Middle)
G B C# E
E G B D
I - VI - II - V VOICINGS
DM7
C#half-dim7
G B
E
D
D F# A C#
A7
C# E
A
G
No. of times practiced
10-41
D5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of D
For fingering see page 38
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-42
D6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The D BLUES Scale can be used throughout
D7
1
3
7
G7
5
7
G BLUES Scale
D7
D7
G7 Scale
3
A7
5
D7 Scale
D BLUES Scale
7
D7
D7
A BLUES Scale
A7 Scale
D7
G7
3
D7
A7
G7
G7
D7
D7 or A7
No. of times practiced
10-43
D7
MINOR BLUES WORKOUT
D MINOR (Natural) SCALE / same notes as F major
1.
Dm7
1
3
5
Gm7
1
Dm7
7
3
1
5
7
11
5
7
Dm7
7
Gm7
1
alt
Am7
3
3.
alt
93
Am7
1
2.
Gm7
5
7
alt
9 3
Am7
alt
93
11
7
5
alt
7
5
alt
9 3
5
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-44
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
D7
G7
D7
D7
B7
Em7
A7
D BLUES Scale
1
3
G BLUES Scale
A7
1
B7 Em7
A7
D7 Scale
G7 Scale
3
G#dim
G# dim Scale
B7
1
D7
G#dim
7
G7
7
G7
Improvise with CHORD TONES or these scales
(D BLUES scale can be used throughout)
D7
5
D7
D8
B7 Scale
Em7
1
7
3
E BLUES Scale
5
7
Em7 Scale
A7 Scale
7
No. of times practiced
10-45
THE KEY OF Eb MAJOR
Eb major
SCALES
3
1 2 3 4 1 2 3
2
1 2
Eb1
Eb Pentatonic
CHORD FAMILY FOR Eb MAJOR
EbM7
Fm7
Gm7
AbM7
Bb7
Cm7
Do7
2
1
1
1
3 4
3
2
2
1
2
(Two Octaves)
2
2
3
4
3
1
2
1
1
II
1
4
2
1
III
1
3 4
2
2
1
I
2
1
3 4
3
4
3
IV
1
1
4 1
V
VI
VII
10-46
Eb2
E FLAT MAJOR BASIC TRIAD WORKOUT
Eb
Fm
Gm
Eb FAMILY CHORDS
Ab
RIGHT HAND workout
1 3 5
Eb
Cm
Ddim
LEFT HAND workout
etc
Eb
Bb
Fm
Eb
etc
F
G
5 3
Fm
1
etc
GO up and
back down in
both execises
etc
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
2 1 2 4
1 2 4 1
2 4 1 2
2 1 2 4
Eb
1 2 3 5
5 3 2 1
5 3 2 1
3 2 1 2
5 3 2 1
Cm
TWIST
F
C
21 2 3
Fm
1 2 3 5
1 2 3 5
Bb
4 2 1 2
Bb
5 4 2 1
5 3 2 1
3 2 1 2
Eb
Play the above again but this time change the order of ascending and descending
ie Start on a high Eb and descend then go up a Cm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-47
Eb3
7th CHORDS WORKOUT
Eb FAMILY CHORDS - Left Hand
EbM7
Fm7
Gm7
AbM7
Bb7
Cm7
Dhalf-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 46 for fingering)
Eb G Bb D Eb G Bb D
Eb D Bb G
EbM7
Eb D Bb G
F
Ab
C
Eb
Fm7
F
Ab
etc
Eb MAJOR SCALE WORKOUT Scale of Eb (starting on each chord note)
EbM7
Fm7
Gm7
etc
Eb Family 7 chords
No. of times practiced
10-48
Eb4
7th CHORDS WORKOUT
Eb FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
EbM7
AbM7
(Middle)
Bb D Eb G
Cm7
Ab C Eb G
G Bb C Eb
G Bb
Eb
D
Bb7
F Ab C Eb
I - VI - II - V VOICINGS
Bb
EbM7
F Ab Bb D
Fm7
Ab C
Eb G
C
G Bb D F
(Middle)
(Right hand can IMPROVISE as well)
Cm7
Gm7
(Middle)
Ab C D F
Fm7
(Middle)
EbM7
Dhalf-dim7
F
Eb
Eb G Bb D
Bb7
D F
Bb
Ab
No. of times practiced
10-49
Eb5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of Eb
For fingering see page 46
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-50
Eb6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The Eb BLUES Scale can be used throughout
Eb7
7
3
6
Ab7
5
7
Ab BLUES Scale
Eb7
Eb7
Ab7 Scale
3
Bb7
1
Eb7 Scale
Eb BLUES Scale
Bb BLUES Scale
Bb7 Scale
7
Eb7
Eb7
Eb7
Bb7
Eb7
Ab7
Ab7
Eb7
Ab7
Eb7 or Bb7
No. of times practiced
10-51
Eb7
MINOR BLUES WORKOUT
Eb MINOR (Natural) SCALE / same notes as Gb major
1.
2.
Ebm7
1
3
5
Abm7
1
7
3
1
5
7
alt
11
7
Abm7
5
7
1
Abm7
5
7
alt
9 3
Bbm7
alt
93
alt
11
7
5
Bbm7
3
Ebm7
alt
93
Bbm7
1
Ebm7
3.
7
5
alt
9 3
5
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-52
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
Eb7
Ab7
Eb7
Eb7
C7
Fm7
Ab7
7
Bb7
1
Bb7
Eb7 Scale
6
Ab BLUES Scale
Ab7 Scale
3
Adim
A dim Scale
C7
1
Adim
Eb7 C7 Fm7
Eb BLUES Scale
3
5
Bb7
Ab7
Improvise with CHORD TONES or these scales
(Eb BLUES scale can be used throughout)
Eb7(6)
7
Eb7
Eb8
C7 Scale
7
Fm7
1
3
F BLUES Scale
5
Fm7 Scale
7
Bb7 Scale
7
No. of times practiced
10-53
E1
THE KEY OF E MAJOR
E major
SCALES
1
2 3 1 2
3 4 1
1
2 3
3
E Pentatonic
CHORD FAMILY FOR E MAJOR
EM7
F#m7
G#m7
AM7
B7
C#m7
D#o7
1
2
2
(Two Octaves)
3
1
2
1
I
4 1
2
1
1
1
3
2
2
1
4
3
3
2
2
1
4
III
1
IV
4 1
3
1
2
II
4
2
1
1
3
2
V
4
3
VI
1
4
1
VII
10-54
E2
E MAJOR BASIC TRIAD WORKOUT
E
F#m
G#m
E FAMILY CHORDS
A
RIGHT HAND workout
1 3 5
E
E
B
C#m
LEFT HAND workout
etc
F#m
E
etc
F#
G#
F#m
5 3
1
2 1 2 3
1 2 3 5
1 2 3 5
E
4 1 4 2
5 4 2 1
4 2 1 2
C#m
TWIST
4 1 2 4
4 2 1 2
etc
GO up and
back down in
both execises
etc
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
1 2 3 5
D#dim
1 2 4 5
F#m
2 4 1 4
2 1 2 4
5 3 2 1
B
3 2 1 2
3 1 3 2
5 3 2 1
E
Play the above again but this time change the order of ascending and descending
ie Start on a high D and descend then go up an Bm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-55
E3
7th CHORDS WORKOUT
E FAMILY CHORDS - Left Hand
EM7
F#m7
G#m7
AM7
B7
C#m7 D#half-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 54 for fingering)
E G# B D# E G# B D#
E
D# B G#
EM7
E
D# B G#
F# A
C#
F#m7
E
F# A
etc
E MAJOR SCALE WORKOUT Scale of E (starting on each chord note)
EM7
F#m7
G#m7
etc
E Family 7 chords
No. of times practiced
10-56
E4
7th CHORDS WORKOUT
E FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
EM7
(Middle)
AM7
B D# E G#
C#m7
I - VI - II - V VOICINGS
EM7
G# B
E
A C# E G#
D#
B7
F# A C# E
EM7
F# A B D#
C#m7
F#m7
E G#
A C#
B
G# B D# F#
(Middle)
(Right hand can IMPROVISE as well)
C#
G#m7
(Middle)
A C# D# F#
F#m7
(Middle)
G# B C# E
D#half-dim7
F#
E G# B D#
B7
D# F#
E
B
A
No. of times practiced
10-57
E5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of E
For fingering see page 54
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-58
E6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The E BLUES Scale can be used throughout
E7
7
E BLUES Scale
3
6
A7
5
7
A BLUES Scale
B BLUES Scale
1
E7
A7 Scale
3
B7
E7
E7 Scale
B7 Scale
7
E7
E7
E7
B7
E7
A7
A7
E7
A7
E7 or B7
No. of times practiced
10-59
E7
MINOR BLUES WORKOUT
E MINOR (Natural) SCALE / same notes as G major
1.
Em7
1
3
Am7
5
1
Em7
7
3
2.
5
Am7
7
Em7
alt
93
5
3.
1
alt
93
Bm7
5
Bm7
1
3
5
7
7 1
alt
11
7
Am7
6
alt
1 9
Bm7
3
5
1
5
alt
11
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-60
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
E7
A7
E7
E7
Db7
F#m7
3
5
B7
A7
7
B7
1
Bbdim
E7 Db7 F#m7
E BLUES Scale
B7
E7 Scale
6
A BLUES Scale
A7 Scale
3
Bbdim
Bb dim Scale
Db7
1
A7
Improvise with CHORD TONES or these scales
(E BLUES scale can be used throughout)
E7(6)
7
E7
E8
Db7 Scale
7
F#m7
7
3
F# BLUES Scale
5
F#m7 Scale
B7 Scale
7
No. of times practiced
10-61
F1
THE KEY OF F MAJOR
F major
SCALES
1 2 3 4
1 2 3 1
F Pentatonic
CHORD FAMILY FOR F MAJOR
FM7
Gm7
Am7
BbM7
C7
Dm7
Eo7
1
2
1
1
(Two Octaves)
3
2
1
2 3
3
1
I
4 1
3
2
2
1
4 1
3
1
1
II
4 1
2
2
1
3 4
3
2
1
III
4
3
2
1
V
1
4
3
IV
VI
1
4
1
VII
10-62
F2
F MAJOR BASIC TRIAD WORKOUT
F
Gm
Am
RIGHT HAND workout
1 3 5
F
F
F FAMILY CHORDS
Bb
C
Dm
Edim
LEFT HAND workout
Gm
F
etc
G
A
5
Gm
3
1
GO up and
back down in
both execises
etc
etc
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
1 2 3 5
1 2 4 5
1 2 3 5
1 2 3 5
F
5 4
5 3
5 4
Dm
TWIST
1 2 3 5
5 3
2 1 2 3
Gm
1 2 3 5
1 2 3 5
5 3
C
5 4
5 4
5 3
F
Play the above again but this time change the order of ascending and descending
ie Start on a high D and descend then go up an Bm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-63
F3
7th CHORDS WORKOUT
F FAMILY CHORDS - Left Hand
FM7
Gm7
Am7
BbM7
C7
Dm7
Ehalf-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 62 for fingering)
F
A
C E
F
A
C E
F
E C A
FM7
F
E C A
G
Bb
D
F
Gm7
G
Bb
etc
F MAJOR SCALE WORKOUT Scale of F (starting on each chord note)
FM7
Gm7
Am7
etc
F Family 7 chords
No. of times practiced
10-64
F4
7th CHORDS WORKOUT
F FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
FM7
BbM7
(Middle)
C E F A
Dm7
Bb D F A
Gm7
(Middle)
A C D F
G Bb D F
I - VI - II - V VOICINGS
FM7
Ehalf-dim7
Bb D E G
C7
(Middle)
Gm7
FA
FACE
D
A C E G
FM7
G Bb C E
(Right hand can IMPROVISE as well)
Dm7
Am7
(Middle)
F A C E
C7
EG
C
G Bb D F
C
Bb
No. of times practiced
10-65
F5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of F
For fingering see page 62
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-66
F6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The F BLUES Scale can be used throughout
F7
7
3
6
Bb7
1
7
C BLUES Scale
1
F7
Bb7 Scale
Bb BLUES Scale
C7
F7
F7 Scale
F BLUES Scale
C7 Scale
7
F7
F7
F7
C7
F7
Bb7
Bb7
F7
Bb7
F7 or C7
No. of times practiced
10-67
F7
MINOR BLUES WORKOUT
F MINOR (Natural) SCALE / same notes as Ab major
Fm7
1
1.
3
Bbm7
7 1
Fm7
5
7
3
Fm7
alt
93
Bbm7
5
7 1
1
7
1
3
7
3.
alt
11
Bbm7
3
6
Cm7
Cm7
5
2.
1
Cm7
1
3
5
7
7
alt
9
5
alt
93
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-68
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
F7
Bb7
F7
F7
D7
Gm7
Bb7
C7
Bdim
Gm7 C7
F7 Scale
6
Bb BLUES Scale
B dim Scale
D7
1
Gm7
3
C7
Bb7 Scale
7
Bdim
1
F7 D7
F BLUES Scale
3
1
1
Bb7
Improvise with CHORD TONES or these scales
(F BLUES scale can be used throughout)
F7(6)
7
F7
F8
D7 Scale
3
7
G BLUES Scale
5
No. of times practiced
7
Gm7 Scale
C7 Scale
7
10-69
Gb1
THE KEY OF Gb MAJOR
Gb major
SCALES
2 3 4 1 2 3
Gb Pentatonic
CHORD FAMILY FOR Gb MAJOR
GbM7
Abm7
Bbm7
CbM7
Db7
Ebm7
Fo7
2
3
2
1
1 2
1
(Two Octaves)
4
I
1 2
1
3
2 3
1
2
4
1
3 4
1
2
2
1
III
IV
4 1
2
2
1
1
2 3
3
1
II
3
3
2
4
1
4
3
VI
1
4
V
1
VII
10-70
G FLAT MAJOR BASIC TRIAD WORKOUT
Gb
Gb FAMILY CHORDS
Abm
Bbm
Cb
Db
Ebm
Gb2
Fdim
Watch out for the note - ‘Cb’ (marked in green) which is actually the WHITE key - ‘B’
RIGHT HAND workout
LEFT HAND workout
1 3 5
Gb
Abm
Gb
Gb
etc
Ab
Bb
5
Abm
3
1
GO up and
back down in
etc both execises
etc
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
1 2 3 5
1 2 4 5
1 2 3 5
1 2 3 5
Gb
Abm
5 3
5 4
5 3
Ebm
TWIST
2 1 2 4
4 2 1 2
1 2 4 5
2 4 1 4
2 1 2 5
3 2 1 2
Db
4 1 3 2
5 3 2 1
4 2 1 2
Gb
Play the above again but this time change the order of ascending and descending
ie Start on a high Gb and descend then go up an Ebm and so on. See if you can work out the
fingering. You will have no choice but to use your thumb on certain black keys in this exercise.
No. of times practiced
10-71
Gb3
7th CHORDS WORKOUT
Gb FAMILY CHORDS - Left Hand
GbM7
Abm7
Bbm7
CbM7
Db7
Ebm7
Fhalf-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 70 for fingering)
Gb Bb Db F
Gb Bb Db F
Gb F Db Bb
GbM7
Gb F Db Bb
Ab Cb Eb Gb
Abm7
Ab Cb
etc
Gb MAJOR SCALE WORKOUT Scale of Gb (starting on each chord note)
GbM7
Abm7
Bbm7
etc
Gb Family 7 chords
No. of times practiced
10-72
Gb
7th CHORDS WORKOUT
Gb FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
GbM7
Gb Bb Db F
Ebm7
Eb Gb Bb Db
I - VI - II - V VOICINGS
GbM7
(BM7)
CbM7
Fhalf-dim7
(Middle)
Gb Bb (B) Eb
Abm7
F Ab (B) Eb
Eb Gb Ab (B)
(Right hand can IMPROVISE as well)
Eb Gb Bb Db
GbM7
Db F Ab (B)
Abm7
B Eb
Gb Bb Db F
F Ab Bb Db
Db7
(Middle)
Ebm7
Bbm7(Middle)
Ab
Gb
(Middle)
Db F Gb Bb
Db7
F Ab
Db
B
No. of times practiced
10-73
Gb5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of Gb
For fingering see page 70
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-74
Gb6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The C BLUES Scale can be used throughout
Gb7
7
Gb BLUES Scale
3
6
Cb7 (B)
(B) BLUES Scale
1
Db BLUES Scale
1
Gb7
(B7) Scale
7
Db7
Gb7
Gb7 Scale
Db7 Scale
7
Gb7
Gb7
Gb7
Db7
Gb7
Cb7
Cb7
Gb7
Cb7
Gb7 or Db7
No. of times practiced
10-75
Gb7
MINOR BLUES WORKOUT
Gb MINOR (Natural) SCALE / same notes as A major
1.
2.
Gbm7
1
3
Cbm7
Gbm7
5
7
(Bm7)
5
7 1
3
Dbm7
5
7
93
1
3
5
1
alt
7 1
3
7
Gbm7
alt
(Bm7)
Dbm7
3.
1
5
(Bm7)
3
7
3
1
11
3
alt
9
Dbm7
alt
alt
alt
7
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-76
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
Gb7
B7
Gb7
Gb7
Eb7
Abm7
B7
1
Db7
B7
Gb7 Eb7 Abm7 Db7
Gb BLUES Scale
3
5
B BLUES Scale
Db7
1
B7 Scale
C dim Scale
Eb7
5
Gb7 Scale
7
Cdim
1
Cdim
Improvise with CHORD TONES or these scales
(Gb BLUES scale can be used throughout)
Gb7
7
Gb7
Gb8
Eb7 Scale
3
5
7
Abm7
7 1
No. of times practiced
3
Ab BLUES Scale
Abm7 Scale
Db7 Scale
7
10-77
G1
THE KEY OF G MAJOR
G major
SCALES
1 2 3 1 2 3
G Pentatonic
1
CHORD FAMILY FOR G MAJOR
GM7
Am7
Bm7
CM7
D7
Em7
F#o7
1
(Two Octaves)
2
1
2 3
3
2
1
1
I
4 1
3
2
1
1 2
4 1
4 1
3
2
1
II
4
3
2
1
1
IV
4 1
3
2
2
III
4
3
1
1
4
2
V
VI
1
3
4
1
VII
10-78
G MAJOR BASIC TRIAD WORKOUT
G
Am
G FAMILY CHORDS
Bm
C
RIGHT HAND workout
Am
G
Em
F#dim
LEFT HAND workout
1 3 5
G
D
G
etc
A
B
5
Am
3
1
etc
1 2 4 5
1 2 3 5
1 2 3 5
G
5 4
5 4
5 3
Em
TWIST
1 2 3 5
5 3
GO up and
back down in
both execises
etc
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
1 2 3 5
G2
1 2 4 5
Am
1 2 3 5
1 2 3 5
2 1 3 1
D
5 3 2 1
3 2 1 2
5 3 2 1
G
Play the above again but this time change the order of ascending and descending
ie Start on a high D and descend then go up an Bm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-79
G3
7th CHORDS WORKOUT
G FAMILY CHORDS - Left Hand
GM7
Am7
Bm7
CM7
D7
Em7
F#half-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 78 for fingering)
G B
D F#
G B
D F#
G
F# D B
GM7
G
F# D B
A
C
E
G
Am7
A
C
etc
G MAJOR SCALE WORKOUT Scale of G (starting on each chord note)
GM7
Am7
Bm7
etc
G Family 7 chords
No. of times practiced
10-80
G4
7th CHORDS WORKOUT
G FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
GM7
CM7
G B D F#
Em7
E G B D
G B C E
Am7
(Middle)
E G A C
I - VI - II - V VOICINGS
GM7
F#half-dim7
(Middle)
F# A C E
B D F#
BDEG
CEG
G
E
A
F#
GM7
D F# A C
Am7
G
(Middle)
F# A B D
D7
(Right hand can IMPROVISE as well)
Em7
Bm7
(Middle)
D F# G B
D7
F# A
D
C
No. of times practiced
10-81
G5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of G
For fingering see page 78
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-82
G6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The G BLUES Scale can be used throughout
G7
7
3
6
C7
C BLUES Scale
3
7
G7
G7
C7 Scale
9
D7
1
G7 Scale
G BLUES Scale
D7 Scale
D BLUES Scale
3
G7
G7
7
G7
D7
G7
C7
C7
G7
C7
G7 or D7
No. of times practiced
10-83
G7
MINOR BLUES WORKOUT
G MINOR (Natural) SCALE / same notes as Bb major
1.
Gm7
7 1
3
Cm7
1
3
5
2.
Gm7
5
7
7
Dm7
1
3
5
7
1
Gm7
alt
93
Cm7
3
3.
5
5
alt
7
9
Dm7
alt
3
7
5
1
alt
5
Cm7
(EbM7)
3
alt
3
Dm7
1
7
9
alt
11
7
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-84
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
G7
C7
G7
G7
E7
Am7
G BLUES Scale
7
C7
C BLUES Scale
1
C#dim
G7 E7 Am7 D7
G7 Scale
C7 Scale
7
C#dim
C# dim Scale
E7
E7 Scale
1
Am7
1
D7
C7
Improvise with CHORD TONES or these scales
(G BLUES scale can be used throughout)
G7
1
G7
G8
3
5
7
A BLUES Scale
D7
1
7
Am7 Scale
D7 Scale
5
No. of times practiced
7
10-85
Ab1
THE KEY OF Ab MAJOR
Ab major
SCALES
3 4
1 2 3
Ab Pentatonic
2 3
CHORD FAMILY FOR Ab MAJOR
AbM7
Bbm7
Cm7
DbM7
Eb7
Fm7
Go7
2
1
3
2
4
1
1
2
2
3
1
2
3
(Two Octaves)
3 4
2
1
4
2
1
1
1
2
1
II
4
3
IV
1
3 4
3
2
2
III
3 4
2
1
4
2
1
I
1
3
1 2 3
1
VI
1
4
V
1
VII
10-86
Ab2
A FLAT MAJOR BASIC TRIAD WORKOUT
Ab
Bbm
Cm
Ab FAMILY CHORDS
Db
RIGHT HAND workout
Bbm
Ab
Bb
Fm
Gdim
LEFT HAND workout
1 3 5
Ab
Eb
Ab
etc
C
5
Bbm
3
etc
GO up and
back down in
both execises
1
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
2 1 2 5 1 2 3 5
2 3 1 4
2 1 2 4
Ab
3 1 3 1
5 3 2 1
3 2 1 2
5 3 2 1
Fm
TWIST
2 3 1 4
2 1 2 4
Bbm
1 2 3 5
2 3 1 5
3 2 1 2
Eb
3 1 3 2
5 3 2 1
3 2 1 2
Ab
Play the above again but this time change the order of ascending and descending
ie Start on a high Ab and descend then go up an Fm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-87
Ab3
7th CHORDS WORKOUT
Ab FAMILY CHORDS - Left Hand
AbM7
Bbm7
Cm7
DbM7
Eb7
Fm7
Ghalf-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 86 for fingering)
Ab C Eb G Ab C Eb G
Ab G Eb C
AbM7
Ab G Eb C
Bb Db
F Ab
Bbm7
Bb Db
etc
Ab MAJOR SCALE WORKOUT Scale of Ab (starting on each chord note)
AbM7
Bbm7
Cm7
etc
Ab Family 7 chords
No. of times practiced
10-88
Ab4
7th CHORDS WORKOUT
Ab FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
AbM7
DbM7
Ab C Eb G
Ab C Db F
Fm7
Bbm7
F Ab C Eb
Cm7
G Bb Db F
G Bb C Eb
(Right hand can IMPROVISE as well)
Fm7
Bbm7
C Eb Ab
Db F
Ab
F
Bb
Eb
(Middle)
AbM7
Eb G Bb Db
C Eb G
G
Ghalf-dim7
Eb7
(Middle)
F Ab Bb Db
I - VI - II - V VOICINGS
AbM7
(Middle)
Eb G Ab C
Eb7
Eb G
Ab
Eb Db
No. of times practiced
10-89
Ab6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The Ab BLUES Scale can be used throughout
Ab7
7 1
Ab BLUES Scale
3
Db7
7
Eb7
1
Ab7
Db7 Scale
Db BLUES Scale
1
Ab7
Ab7 Scale
Eb7 Scale
Eb BLUES Scale
3
Ab7
5
Ab7
7
Ab7
Eb7
Ab7
Db7
Db7
Ab7
Db7
Ab7 or Eb7
No. of times practiced
10-91
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
Ab7
Db7
Ab7
Ab7
F7
Bbm7
Ab7 F7
Ab BLUES Scale
Db7
7
Db BLUES Scale
1
5
Ddim
Bbm7 Eb7
Ab7 Scale
Db7 Scale
7
Ddim
D dim Scale
F7
F7 Scale
7
3
Bbm7
1
Eb7
Db7
Improvise with CHORD TONES or these scales
(Ab BLUES scale can be used throughout)
Ab7
1
Ab7
Ab8
Bb BLUES Scale
7
Eb7
7 1
Bbm7 Scale
Eb7 Scale
3
No. of times practiced
10-93
A1
THE KEY OF A MAJOR
A major
SCALES
1 2
CHORD FAMILY FOR A MAJOR
AM7
Bm7
C#m7
DM7
E7
F#m7
G#o7
1
2
1
2
4
3
4
2
2
1
I
1
4
1
1
3
(Two Octaves)
3
2
3 1 2
1
3
3
2
2
4
III
1
IV
4 1
3
1
2
II
4 1
2
1
V
2
3
4
3
VI
1
4
1
VII
10-94
A2
A MAJOR BASIC TRIAD WORKOUT
A
Bm
C#m
A FAMILY CHORDS
D
RIGHT HAND workout
Bm
A
F#m
G#dim
LEFT HAND workout
1 3 5
A
E
etc
A
C
5
B
Bm
3
etc
GO up and
back down in
both execises
1
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
1 2 3 5
2 1 2 3
1 2 3 5
1 2 3 5
A
4 2 1 2
4 1 4 2
5 4 2 1
4 2 1 2
F#m
TWIST
1 2 3 5
1 2 4 5
Bm
2 1 2 4
1 2 3 5
2 1 3 1
E
5 3 2 1
3 2 1 2
5 3 2 1
A
Play the above again but this time change the order of ascending and descending
ie Start on a high A and descend then go up an F#m and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-95
A3
7th CHORDS WORKOUT
A FAMILY CHORDS - Left Hand
AM7
Bm7
C#m7
DM7
E7
F#m7
G#half-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 94 for fingering)
A C# E G# A C# E G#
A G# E C#
AM7
A G# E C#
B
D
F# A
Bm7
Eb G
etc
A MAJOR SCALE WORKOUT Scale of A (starting on each chord note)
AM7
Bm7
C#m7
etc
A Family 7 chords
No. of times practiced
10-96
A4
7th CHORDS WORKOUT
A FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
AM7
DM7
A C# E G#
A C# D F#
F#m7
Bm7
F# A C# E
C# E
A
G#
A C# E
F#
E
G# B C# E
E7
(Middle)
AM7
E G# B D
(Right hand can IMPROVISE as well)
F#m7
C#m7
G# B D F#
F# A B D
I - VI - II - V VOICINGS
AM7
G#half-dim7
(Middle)
Bm7
D F#
B
A
(Middle)
E G# A C#
E7
B D G#
E
E
No. of times practiced
10-97
A5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of A
For fingering see page 94
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-98
A6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The A BLUES Scale can be used throughout
A7
5
A BLUES Scale
7
3
D7
1
A7
A7
D7 Scale
D BLUES Scale
3
7
E7
7
A7 Scale
E7 Scale
E BLUES Scale
3
A7
A7
5
A7
E7
A7
D7
D7
A7
D7
A7 or E7
No. of times practiced
10-99
A7
MINOR BLUES WORKOUT
A MINOR (Natural) SCALE / same notes as C major
1.
Am7
5
7
Dm7
1
3
1
Am7
3
5
3
7
3
7
1
5
alt
5
3
Am7
93
7
Em7
5
3.
alt
Dm7
Em7
1
2.
5
9
(FM7)
alt
7
1
alt
Dm7
5
1
3
alt
11
Em7
1
7
alt
11
7
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-100
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
A7
D7
A7
A7
F#7
Bm7
1
3
3
D BLUES Scale
1
1
F#7 Scale
3
5
B BLUES Scale
E7(6)
7
D7 Scale
D# dim Scale
F#7
Bm7
A7 Scale
7
D#dim
7
D#dim
A7 F#7 Bm7 E7
A BLUES Scale
7
D7
E7
D7
Improvise with CHORD TONES or these scales
(A BLUES scale can be used throughout)
A7
5
A7
A8
3
7
No. of times practiced
Bm7 Scale
E7 Scale
5
10-101
Bb1
THE KEY OF Bb MAJOR
Bb major
SCALES
4
1 2 3
1 2 3 4
3
1 2
3 1
Bb Pentatonic
CHORD FAMILY FOR Bb MAJOR
BbM7
Cm7
Dm7
EbM7
F7
Gm7
Ao7
3
1
1
(Two Octaves)
2
2
3 4
3
1
2
3
1
4
2
2
1
III
1
3 4
3
IV
1
V
4 1
2
1
II
1
3
1
I
1
4
3
2
3
VI
4 1
3
4
1
VII
10-102
Bb2
B FLAT MAJOR BASIC TRIAD WORKOUT
Bb
Bb FAMILY CHORDS
Cm
Dm
RIGHT HAND workout
Bb
Cm
C
F
Gm
Adim
LEFT HAND workout
1 3 5
Bb
Eb
Bb
etc
D
5
Cm
3
etc
GO up and
back down in
both execises
1
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
2 1 2 4
1 2 3 5
1 2 3 5
2 1 2 3
Bb
2 1 3 1
5 3 2 1
3 2 1 2
5 3 2 1
Gm
TWIST
2 3 1 4 2 1 2 3
Cm
1 2 3 5
1 2 3 5
2 1 2 1
F
5 4
5 4 2
5 3
Bb
Play the above again but this time change the order of ascending and descending
ie Start on a high Bb and descend then go up a Gm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-103
Bb3
7th CHORDS WORKOUT
Bb FAMILY CHORDS - Left Hand
BbM7
Cm7
Dm7
EbM7
F7
Gm7
Ahalf-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 102 for fingering)
Bb D F A
Bb D F A
Bb A
BbM7
F
D
Bb A
F
D
C
Eb
G
Bb
Cm7
C
Eb
etc
Bb MAJOR SCALE WORKOUT Scale of Bb (starting on each chord note)
BbM7
Cm7
Dm7
etc
Bb Family 7 chords
No. of times practiced
10-104
Bb4
7th CHORDS WORKOUT
Bb FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
BbM7
EbM7
(Middle)
F A Bb D
Gm7
(Middle)
D F G Bb
I - VI - II - V VOICINGS
BbM7
DF
Bb
A
Ahalf-dim7
Eb G Bb D
Cm7
C Eb G Bb
Eb G A C
F7
BbM7
C Eb F A
Cm7
Bb D
C Eb G
G
C
F
D F A C
(Middle)
(Right hand can IMPROVISE as well)
Gm7
Dm7
(Middle)
Bb
Bb D F A
F7
AC
F
Eb
No. of times practiced
10-105
Bb5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of Bb
For fingering see page 102
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-106
Bb6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The Bb BLUES Scale can be used throughout
Bb7
Bb BLUES Scale
1
7
Eb7
7
Eb BLUES Scale
3
7
Bb7
Eb7 Scale
6
F7
Bb7
Bb7 Scale
F7 Scale
F BLUES Scale
3
Bb7
Bb7
6
Bb7
F7
Bb7
Eb7
Eb7
Bb7
Eb7
Bb7 or F7
No. of times practiced
10-107
Bb7
MINOR BLUES WORKOUT
Bb MINOR (Natural) SCALE / same notes as Db major
1.
2.
Bbm7
5
7 1
Ebm7
1
3
Bbm7
7
3
5
3
Fm7
1
3
7
1
5
3
5
(DbM7)
alt
7
Fm7
5
Bbm7
alt
93
Ebm7
7
3.
5
9
(GbM7)
7
1
alt
5
Ebm7
3
alt
1
Fm7
11
7
alt
1
11
7
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-108
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
Bb7
Eb7
Bb7
Bb7
G7
Cm7
F7
7
Eb7
Edim
Bb7 G7 Cm7
Bb BLUES Scale
7 1
Eb BLUES Scale
F7
Bb7 Scale
Eb7 Scale
3
Edim
E dim Scale
G7
1
Eb7
Improvise with CHORD TONES or these scales
(Bb BLUES scale can be used throughout)
Bb7
1
Bb7
Bb8
G7 Scale
Cm7
1
3
7
7
C BLUES Scale
5
7
F7 (6)
3
No. of times practiced
Cm7 Scale
F7 Scale
5
10-109
B1
THE KEY OF B MAJOR
B major
SCALES
1
2 3 1 2 3 4 1
1
2 3
B Pentatonic
CHORD FAMILY FOR B MAJOR
BM7
C#m7
D#m7
EM7
F#7
G#m7
A#o7
1
2
(Two Octaves)
3
2
1
1
1
I
4 1
2
2
2
2 3
3
3
1
1
4
4
2
2
2
1
III
1
3 4
3
1
2
II
4
2
3
1
V
1
3 4
1
IV
2 3
VI
1
4
1
VII
10-110
B2
B MAJOR BASIC TRIAD WORKOUT
B
C#m
D#m
B FAMILY CHORDS
E
RIGHT HAND workout
C#m
B
C#
G#m
A#dim
C#m etc
GO up and
back down in
both execises
LEFT HAND workout
1 3 5
B
F#
B
etc
D#
5
3
1
BROKEN CHORD TWIST (Practice RIGHT HAND only to begin with)
12 3 5
2 3 1 4
2 1 2 3
1 2 3 5
B
4 2 1 2
5 1 3 2
5 4 2 1
4 2 1 2
G#m
TWIST
4 1 2 4
12 3 5
C#m
2 3 1 4
2 1 2 4
1 3 2 1
5 4 2 1
5 4 2 1
5 3 2 1
F#
B
Play the above again but this time change the order of ascending and descending
ie Start on a high D and descend then go up an Bm and so on. See if you can work out the
fingering. Try to keep your THUMB off the black keys IF POSSIBLE.
No. of times practiced
10-111
B3
7th CHORDS WORKOUT
B FAMILY CHORDS - Left Hand
BM7
C#m7
D#m7
EM7
F#7
G#m7 A#half-dim7
BROKEN 7th CHORDS WORKOUT 2 octaves / up and down (see page 110 for fingering)
B D# F# A# B D# F# A#
B A# F# D# B A# F# D#
BM7
C# E
G# B
C#m7
C# E
etc
B MAJOR SCALE WORKOUT Scale of B (starting on each chord note)
BM7
C#m7
D#m7
etc
B Family 7 chords
No. of times practiced
10-112
B4
7th CHORDS WORKOUT
B FAMILY CHORDS CYCLE OF FIFTHS PROGRESSION
(The CATERPILLAR)
BM7
EM7
(Middle)
F# A# B D#
G#m7
E G# B D#
(Middle)
D# F# G# B
I - VI - II - V VOICINGS
BM7
F#7
C# E G# B
C# E F# A#
B D#
B
G#
C#m7
E G#
F#
C#
D# F# A# C#
BM7
(Middle)
(Right hand can IMPROVISE as well)
D# F#
D#m7
E G# A# C#
C#m7
G#m7
A#
A#half-dim7(Middle)
B D# F# A#
F#7
A# C#
B
F#
E
No. of times practiced
10-113
B5
TWELVE THREE NOTE MELODIC PATTERNS
TRANSPOSE the following patterns to the key of B
For fingering see page 110
CHORDAL
1
2
3
4
5
6
5
6
Practice each pattern up one octave then down again as follows..
1
SCALE-WISE
1
2
3
4
Practice each pattern up one octave then down again as follows..
1
The following is a mixture of two of the above patterns. If you look closely it is
like a two note pattern played in thirds. Try it - it’s easier than it looks.
1
3
1
2
4
4
2
1
3
3
1
2
4
4
2
1 etc
3
1 etc
DIATONIC (TWO note pattern) Use the fingering you use for the major scale
No. of times practiced
10-114
B6
BLUES PRACTICE - 3
BASIC BLUES WORKOUT
Improvise over the left hand chords with CHORD TONES or these scales
The B BLUES Scale can be used throughout
B7
B BLUES Scale
1
7
E7
7
E BLUES Scale
3
7
B7
3
B7
B7
E7 Scale
5
F#7
B7
B7 Scale
F#7 Scale
F# BLUES Scale
5
B7
F#7
B7
E7
E7
B7
E7
B7 or F#7
No. of times practiced
10-115
B7
MINOR BLUES WORKOUT
B MINOR (Natural) SCALE / same notes as D major
Bm7
1
1.
3
Bm7
5
Em7
1
3
7
3
2.
Em7
5
5
5
7
5
(GM7)
Em7
5
(AM7)
5
F#m7
7
3
alt
1
7
alt
93
alt
1
alt
93
7
9
(DM7)
F#m7
3
Bm7
alt
7
F#m7
1
3.
11
7
alt
1
11
7
Don’t worry about following a chord progression - just change chords when you
feel like it.
Improvise using chord tones and scale patterns - experiment - the altered chords
are very dissonant so you will be able to make mistakes and still sound good.
No. of times practiced
10-116
BLUES PRACTICE - 3
TRADITIONAL JAZZ / BLUES PROGRESSION
B7
E7
B7
B7
G#7
C#m7
B7
F#7
E7
B7 G#7 C#m7 F#7
Improvise with CHORD TONES or these scales
(B BLUES scale can be used throughout)
B7
B BLUES Scale
1
7
E7
7
E BLUES Scale
3
7
7
G#7 Scale
3
C#m7
3
C# BLUES Scale
5
F#7
No. of times practiced
E7 Scale
F dim Scale
G#7
1
B7 Scale
5
Fdim
5
Fdim
B8
3
7
C#m7 Scale
F#7 Scale
5
10-117
TO BE
CONTINUED...
HOW TO PRACTICE
The golden rule of practice is Practice what you CAN’T play
not what you CAN play!
To be more accurate, you need a balance. Too many
scales and tricky passages and you get fed up. Too
many familiar safe pieces and you don’t move forward.
They say you are most alert when you FIRST sit down
at the piano so you should try the difficult stuff then.
THEN you can reward yourself with playing the easy,
fun stuff. Makes sense!
9-