Song 17 THE WHITE KNIGHT Minor 7-note scales Improvisation over minor chords The White Knight Phrasing - Phrase length 1 Practice - Harmonic minor scale Session Materials Library
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S 17.1 - Minor 7-note scales

There are four 7-note minor scales very commonly used in Jazz improvisation.
They are :

1. The natural minor scale - is the Aeolian mode of the 'related' major scale a minor 3rd higher (3 semitones). Both share the same key signature.
   For example :

   the C natural minor scale is related to Eb major scale (both share the key signature with three flats),

   the D natural minor scale is related to the F major scale (both share the key signature with one flat),

   the A natural minor scale is related to the C major scale (both share the key signature without sharps or flats), and so on.

2. The harmonic minor scale - is the natural minor scale with a raised 7th (by a semitone).

3. The melodic minor scale - is the natural minor scale with a raised 6th and a raised 7th (each by a semitone).

4. The Dorian mode - is the mode derived from the major scale a whole tone lower (2 semitones).
   For example :

   the C Dorian mode is derived from the Bb major scale,

   the D Dorian mode is derived from the C major scale,

   the F Dorian mode is derived from the Eb major scale, and so on.

The differences between these four scales all occur in their 6th and 7th scale-tones.

S 17.2 - Improvisation over minor chords

In principle any scale that contains the chord tones of a given chord can be used for improvisation over that chord. However it is important to consider the chord's function within the surrounding chord progression when selecting an appropriate improvisation scale.

For example : In the segment - Cm7 - F7 - Bbmaj7, the Cm7 chord functions as a IIm7 chord. This Cm7 chord reflects the tonality of Bb major. Use therefore the C Dorian mode over Cm7. In the segment - Cm7 - Fm7 - Bb7 - Ebmaj7 on the other hand, the Cm7 chord functions as a VIm7 chord. This Cm7 chord reflects the tonality of Eb major. In this case use therefore the C Aeolian mode over Cm7 (and not the C Dorian mode). The improviser has of course the choice to deliberately use a less appropriate scale to create an unusual effect or musical 'surprise'. But it should be an informed choice, not a poor choice based on ignorance.

Major and dominant chords have only one or two functions in Western harmony.
The minor chord on the other hand has quite a range of different functions in modern chord progressions. Here are the important ones for Jazz improvisation.

a. The IIm7 chord
Most minor chords in (major key) Jazz standards are IIm7 type chords.
They are usually followed by the V7 chord (a perfect 5th down) in IIm7 - V7 or IIm7 - V7 - Imaj7 segments.
For example : Cm7 - F7, or Gm7 - C7, or Am7 - D7 - Gmaj7, etc.

In all these cases the Dorian mode is most appropriate for improvisation over the minor chord.

In the example below the C Dorian mode (C D Eb F G A Bb C), F Mixolydian mode (used over F7) and Bb major scale (used over Bbmaj7) all contain the same notes, reflecting the Bb major tonality.

b. The VIm7 chord
In the example below the Cm7 chord forms part of the Eb major scale-tone chord progression.
In this case Cm7 functions as a VIm7 chord.

Use the C Aeolian mode (C D Eb F G Ab Bb C) for improvisation. This reflects the Eb major tonality. (Do not use the C Dorian mode in this situation, it is not appropriate.)

In general when a minor chord is followed by a second minor chord a perfect 5th lower use the Aeolian mode for the first chord and the Dorian mode for the second chord (both modes then share the same notes as they are derived from the same major scale).

c. The IIIm7 chord
In the example below there are three minor chords in a row in Circle of 5ths order.
In this case the first chord is a IIIm7 chord and reflects the major key 2 whole tones (4 semitones) down.
Use the Phrygian mode for the first chord, the Aeolian mode for the second chord, and the Dorian mode for the third minor chord in the segment.

In the example below use the C Phrygian mode (C Db Eb F G Ab Bb C) for improvisation. over Cm7.

The minor chords in examples a, b and c all form part of chord segments of major key tonalities.

Usually the improviser does not (need to) think in terms of the Aeolian or Phrygian mode, but can simply focus on the major scale which covers all chords in the segment.
In case b focus on the Eb major scale, in case c focus on the Ab major scale.

In the following three examples the minor chord forms part of a minor key tonality.

d. The Im chord
Many Bossa Novas are in written in minor keys.
They usually contain several IIø - V7 or IIø - V7 - Im or IIø - V7 - Im7 segments.
In these cases always use the harmonic minor scale of the Im chord for improvisation over the IIø and V7 chords.

If the Imin chord is a minor triad any minor scale can be used over that chord. The harmonic minor chord is very appropriate, but just to create some variety the Dorian mode is also often used.

In the example below use the C harmonic minor scale (C D Eb F G Ab B C) for improvisation over Dø and G7.
Over Cm use the same harmonic minor or the C Dorian mode (C D Eb F G A Bb C).

e. The Im7 chord
This example is the same as d above, except for the I chord which now is a Im7 chord.
Use the C harmonic minor again over Dø and G7, but use the C Dorian mode (C D Eb F G A Bb C) over Cm7.
The C natural minor scale (C D Eb F G Ab Bb C) is also an option over Cm7.

f. The IVm7 chord
When a second minor chord a 5ths down from the minor tonic chord is present in a song it functions as a IVm7 chord. Use the Dorian mode for improvisation. over this chord.

With the Im chord there are two options :

1. to integrate with the IVm chord use the Aeolian mode.
2. to create a different tonality use the Dorian mode.

Considering all above cases the Dorian mode is usually a good choice for most minor chords, except when there are two or three minor chords in Circle of 5ths order in a progression. In this case it is usually best to focus on the major scale which the minor chords have in common, or use the Dorian mode of the last chord in the segment.

The melodic minor scale has not been mentioned in the above discussion, but it can be used over minor triad chords to give some 'bite' to the improvisation. A special case for this scale will also be discussed in Session 20.

In Jazz it are especially the various modes derived from the melodic minor scale which are frequently used in improvisation (see the Scales book).

S 17.3 The White Knight

The White Knight is a 24 bar song in the key of A minor. The format is A B A.

The Am chord is the Im (tonic) chord of the song.
Use the A Dorian mode (A B C D E F# G A) for improvisation over Am in the A sections.

The E7 chord is the V7 chord.
Use the A harmonic minor scale (A B C D E F G# A) over this chord.

Melody

In the B section the Dm7 chord functions as a typical IVm7 chord.
Use the D Dorian mode (D E F G A B C D) over this chord and combine it with the A Aeolian mode (A B C D E F G A) over Am. This forms a nice contrast with the A section.

Use he E harmonic minor scale (E F# G A B C D# E) over B7.
Use he A harmonic minor scale (A B C D E F G# A) over E7.

Melody

Suggested scales for improvisation on The White Knight are included for C-, Bb- and Eb- instruments.

There are no individual names for the various modes of the harmonic minor scale. When playing the A harmonic minor scale (A B C D E F G# A) over the E7 chord the tonal focus of the scale is on the chord root E, rather than A. This produces (for want of a better name) the "V mode" of the A harmonic minor scale : E F G# A B C D E. In improvisation you can still think of these notes as the "A harmonic minor scale". The underlying E7 chord will shift the tonal focus to E anyway, and your ear will quickly react to that.

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S 17.4 - Phrasing : Phrase length 1

So far in this course we have focussed on musical phrases of 4 bars in length.
This is good practice. It reflects the natural phrasing in most Western music and also helps to understand and memorise the song's chord progression in a logical manner.

In good Jazz improvisation however the element of surprise is always important. Going off the beaten track in terms of phrase length is a great devise used by many great Jazz musicians.

Tackle this skill in two phases.
The first objective is to get used to vary your phrase lengths. This is quite easy to do when you need not worry about the chord progression but can play for some time over a single chord.

In the Play-a-Long track format for The White Knight (as shown below) I have included two large spaces where you can improvise freely just over the A minor chord.

1. First play an improvised 8 bar introduction to the song over A minor.

2. Then play the melody over the first chorus (A B A)

3. This is followed by 48 bars of Am. Experiment here with varying the length of your phrases.
   Use the A Dorian mode, or any other A minor scale which takes your fancy (A melodic minor ?!).

4. Play either the melody or improvise over the 2nd chorus (using the advise in the Chapter above).

5. Then another 48 bars of Am improvisation.

6. Play the melody over the last chorus, then fade out with an improvised ending over the last 12 bars.

   (The drums beats the woodblock 1 - 2 - 1 2 3 4 before the start of each chorus.)

You can do this exercise freely without any restraints, or write down a schedule of bar lengths you plan to follow. For example :

Audio 17.12 2 - 4 - 2 - 6 - 2 3 - 1 - 4 - 2 - 5 - 1 4 - 2 - 4 - 2 - 4

Do not worry too much about what notes you play and how it sounds. The main objective is learning to start and stop playing at will, so that you get control over the length of each of your phrases.

We deal with the second phase of developing phrase length skills in Session 19

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S 17.5 - Practice : Harmonic minor scale

Practise the harmonic minor scale in all keys up to the 9th and back two or three times in each key.
Adjust the minor scales sheet music provided by raising the 7th scale-tone a semitone (as shown below).

Audio 17.13

You can use the Play-a-Long tracks of 4 bars or 8 bars in each minor key provided below. The track starts on C minor, then follows the Circle of 5ths

S 17.6 - Session Materials