IMPROVISATION - by Michael Furstner
Lesson 7 - MINOR 7th CHORDS AND THE DORIAN MODE
______________________________________________________________________________
CONTENTS
7-1. The minor 7th Chord
7-2. The Dorian mode
7-3. 'Dance with me Annushka'
7-4. Mode Practice for 'Dance with me Annushka'
7-5. Improvisation
7-6. The Woodshed
7-7. Quiz 7 (and Answers to Quiz 6)
7-8. The Dorian mode Ruler
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7-1. THE MINOR 7TH CHORD
The C minor 7th chord consists of : C Eb G Bb
In relation to the C major scale the notes : 1 b3 5 b7
To form a scale for improvisation over a minor 7th chord, simply flatten the
3rd and 7th note of the major scale (that starts on the root note of the
chord).
This produces the so called 'Dorian mode'.
In C :
(DEMO 33)
C major scale -----> C Dorian mode
C D E F G A B C -----> C D (Eb) F G A (Bb) C
1 2 3 4 5 6 7 1 1 2 b3 4 5 6 b7 1
Cm7 = C Eb G Bb
C Dorian mode = C D Eb F G A Bb C
Scale tones = 1 2 b3 4 5 6 b7 1
In F :
F major scale -----> F Dorian mode
F G A Bb C D E F -----> F G (Ab) Bb C D (Eb) F
1 2 3 4 5 6 7 1 1 2 b3 4 5 6 b7 1
Fm7 = F Ab C Eb
F Dorian mode = F G Ab Bb C D Eb F
Scale tones = 1 2 b3 4 5 6 b7 1
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7-2. THE DORIAN MODE
Like the Mixolydian mode, the Dorian mode is a DISPLACED MAJOR SCALE with an
other tonic note. The major scale related to the Dorian mode has its tonic
note one whole tone lower.
(DEMO 34)
Bb major scale
|<-------------------------->|
1 2 3---4 5 6 7---1 --- : semitone interval
| |
Bb C D---Eb F G A---Bb C
| |
1 2---b3 4 5 6---b7 1
|<-------------------------->|
C Dorian mode
Eb major scale
|<-------------------------->|
1 2 3---4 5 6 7---1
| |
Eb F G---Ab Bb C D---Eb F
| |
1 2---b3 4 5 6---b7 1
|<-------------------------->|
F Dorian mode
In other words, a Dorian mode is built from the 2nd note of any major scale.
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7-3. DANCE WITH ME ANNUSHKA
'Dance with me Annushka' is medium tempo Swing style Jazz tune in the key of D
minor.
It is 16 bars long and has an AB format.
The rhythm pattern of the first 4 bars is repeated in the next 4 bars.
Likewise the rhythm pattern of bars 9 to 12 is repeated in bars 13 to 16.
(DEMO 35)
DANCE WITH ME ANNUSHKA
(by Michael Furstner)
Dm7 (Im7)
------------------------------------------------------------------
4 - F A B c A | B G A F - | - F A c B G A | |
4 1 + 2 + 3 + 4 + | 1 2 3 4 + | 1 + 2 + 3 4 + | 1 2 3 4 |
------------------------------------------------------------------
Gm7 (IVm7) Dm7 (Im7)
-------------------------------------------------------------------
| - G Bb c d Bb | C A Bb G - | - F A c B G A | ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 + | 1 + 2 + 3 4 + | 1 2 3 4 ||
-------------------------------------------------------------------
C7 (V7) Dm7 (Im7)
--------------------------------------------------------------------------
|G A G - - - G A G - - - G A G | c Bb A G F E D E |F c d - A | |
|1 + + + 2 + + + 3 + + + 4 + + +| 1 + 2 + 3 + 4 + |1 2 3 + 4 + |1 2 3 4 |
--------------------------------------------------------------------------
(beats subdivided in 4 'semiquavers')
C7 (V7) Dm7 (Im7)
---------------------------------------------------------------------------
|G A G - - - G A G - - - G A G | Bb A G F E D C D | F A c d | ||
|1 + + + 2 + + + 3 + + + 4 + + +| 1 + 2 + 3 + 4 + |1 2 3 4 + |1 2 3 4 ||
---------------------------------------------------------------------------
(beats subdivided in 4 'semiquavers')
Copyright 1997 Michael Furstner.
______________________________________________________________________________
7-4. MODE PRACTICE for DANCE WITH ME ANNUSHKA
For improvisation over Dance with me Annushka you use three modes.
Over Dm7 : D Dorian mode - D E F G A B C D
Over Gm7 : G Dorian mode - G A Bb C D E F G
Over C7 : C Mixolydian mode - C D E F G A Bb C
The notes for the G Dorian mode and C Mixolydian mode are the same, because
they are modes derived from the same major scale : F major.
C Mixolydian mode
|<-------------------------->|
1 2 3---4 5 6 7---1
| |
F major scale : F G A---Bb C D E---F G A---Bb C D E---F
| |
1 2---b3 4 5 6---b7 1
|<-------------------------->|
G Dorian mode --- : semitone
There is only 1 note different between the D Dorian mode (B) and the C
Mixolydian and G Dorian modes (Bb).
These are the CRITICAL TONES for improvisation over this song.
(DEMO 36)
MODE PRACTICE
DANCE WITH ME ANNUSHKA
Dm7
----------------------------------------------------------------------
4 D E F G A B c d | c B A G F E D | D E F G A B c d | c B A G F E D |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 |
----------------------------------------------------------------------
Gm7 Dm7
-----------------------------------------------------------------------
| G A Bb c d e f g | f e d c Bb A G | D E F G A B c d | c B A G F E D ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 ||
-----------------------------------------------------------------------
C7 Dm7
-----------------------------------------------------------------------
| C D E F G A Bb c | Bb A G F E D C | D E F G A B c d | c B A G F E D |
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 |
-----------------------------------------------------------------------
C7 Dm7
-----------------------------------------------------------------------
| C D E F G A Bb c | Bb A G F E D C | D E F G A B c d | c B A G F E D ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 ||
-----------------------------------------------------------------------
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7-5. IMPROVISATION
Starting a phrase on beat 1 of a bar is OK initially, but it becomes rather
predictable to listen to.
Good improvisers start phrases on ANY POINT in the bar. This creates great
interest and variety in their solos.
(Check out the transcribed solos of Charlie Parker in the 'Charlie Parker
Omnibook' for example. His phrasing is a great example of what to aim
for.)
There are eight different starting points in a bar,
the four down beats (1 2 3 4) and
the four offbeats (+ + + +)
------------------------------
4 |
4 1 + 2 + 3 + 4 + |
------------------------------
Practice starting a phrase on each of these eight points. Concentrate on one
point at a time.
Rhythm Patterns 31 - 35 start either on 1 + or on 2.
Try also to do some free improvisation starting on these points.
(DEMO 37)
Rhythm Patterns 31 - 35
Pattern 31
-----------------------------------------------------------------
| - O o o - o | o - o O | - O o o - o | o - o O |
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------------
Pattern 32
-----------------------------------------------------------------
| - O o o - O | o o - O | - O o o - O | |
| 1 + 2 + 3 + 4 + | 1 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------------
Pattern 33
------------------------------------------------------------------
| - o o o - o O | | - o o o - o O | O |
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 |
------------------------------------------------------------------
Pattern 34
-----------------------------------------------------------------
| - o o o o - | o o o o - | - o o o o - | o o o O |
| 1 2 + 3 + 4 | 1 + 2 + 3 4 | 1 2 + 3 + 4 | 1 + 2 + 3 4 |
-----------------------------------------------------------------
Pattern 35
-----------------------------------------------------------------
| - O o O | - o o o - | - O o O | - o o o - o - |
| 1 2 + 3 + 4 | 1 + 2 + 3 4 | 1 2 + 3 + 4 | 1 + 2 + 3 + 4 + |
-----------------------------------------------------------------
Music notation for Rhythm Patterns 31-35
Use it on simple songs you are comfortable with and on the blues.
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7-6. THE WOODSHED
Start practice on the Dorian mode in all keys.
First priority are the major scales in A, D, G, C, F and Bb
Then add the others : Eb, Ab, Db, Gb, B, E
Work on the following exercise :
(DEMO 38)
<-------- play 3 times --------->
----------------------------------------------------------------
4 C D Eb F G A Bb c | d c Bb A G F Eb D :|| C | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + || 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------------
Take special note of the TWO NOTES that ARE different from the major scale,
the b3 and b7 (Eb and Bb in C Mixolydian mode).
Good luck. See you next Lesson,
Michael.
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7-7. QUIZ 7
A.
Convert these major scale into Dorian modes with the same tonic note (1st
note) by altering two notes of the scale.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
B.
Convert these major scales into Dorian modes by using all the same notes and
placing them in the correct order.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
C.
Which Dorian mode consists of white notes on the keyboard only ?
D.
Fill in the missing notes in these Dorian modes.
1. A B ? D E F# ? A
2. D E ? G A B ? D
3. F G ? Bb C D ? F
4. Eb F ? Ab Bb C ? Eb
5. B C# ? E F# G# ? B
ANSWERS IN NEXT LESSON
--------------------------------------
Answers to Quiz 6
A.
Place the the following notes in proper Circle of 5ths order.
1. C D E G A : E A D G C
2. D E F# A B : F# B E A D
3. C Eb F G Bb : G C F Bb Eb
4. G Bb C D F : D G C F Bb
5. F G A Bb C D E : E A D G C F Bb
6. Db Eb F Gb Ab Bb C : C F Bb Eb Ab Db Gb
7. E F# G# A B C# D : G# C# F# B E A D
8. Eb F G Ab Bb C Db : G C F Bb Eb Ab
What can you conclude from the above eight exercises ?
The black note on the keyboard form a continuous string on the Circle of
Fifths, and therefore so do the white notes :
B E A D G C F Bb Eb Ab Db Gb B E A etc.
B.
What are the three chords (I, IV and V) for the Blues :
1. In the key of Bb I : Bb IV : Eb V : F
2. In the key of Eb I : Eb IV : Ab V : Bb
3. In the key of A I : A IV : D V : E
4. In the key of B I : B IV : E V : F#
5. In the key of D I : D IV : G V : A
C.
'Oleo' is a song in the key of Bb. It contains the 'Rhythm Bridge'. Which are
the chords in the Bridge section.
If Bb is the I chord then the bridge (III7 - VI7 - II7 - V7) is :
III7 - VI7 - II7 - V7
D7 - G7 - C7 - F7
D.
'And what if I don't' is a song in the key of Eb. It contains the 'Rhythm
Bridge'. Which are the chords in the Bridge section ?
III7 - VI7 - II7 - V7
G7 - C7 - F7 - Bb7
E.
Identify all Circle of Fifths segments (of 2 or more successive chords) in the
following popular Jazz Tune.
Mark each segment by placing brackets around it (as shown).
F - F#dim - (Gm7 - C7) - (Am7 - Dm7 - Gm7 - C7 - F) - F#dim -
(Gm7 - C7) - (Am7 - Dm7) - (Cm7 - F7 - Bb) - (Abm7 - Db7 - Gbmaj7) -
(Em7 - A7 - Dmaj7) - (Abm7 - Db7 - Gbmaj7) - (Gm7 - C7 - F) - F#dim-
(Gm7 - C7) - Bb7 - (Am7 - D7b9 - Gm7 - C7 - F) - (Dm7 - Gm7 - C7 - F).
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5-8. DORIAN MODE RULER
The DORIAN mode Ruler works in the same way as the Major scale Ruler.
Use the strips below to find the notes of the Dorian mode in any key.
Align the Tonic note of the required Dorian mode on the LETTER STRIP
with the '1' on the 'Mixolydian mode' strip
LETTER STRIP
C# D# F# G# A# C# D# F# G# A# C#
C Db D Eb E F Gb G Ab A Bb B C Db D Eb E F Gb G Ab A Bb B C Db
| | | | | | | | |
| 2 | 4 | 6 | 8 |
1 b3 5 b7 9
DORIAN MODE STRIP
For example, to find the A Dorian mode and Am7 chord :
align A on the LETTER STRIP with 1 on the DORIAN MODE STRIP
LETTER STRIP
C# D# F# G# A# C# D# F# G# A# C#
C Db D Eb E F Gb G Ab A Bb B C Db D Eb E F Gb G Ab A Bb B C Db
--------> | | | | | | | | |
| 2 | 4 | 6 | 8 |
1 b3 5 b7 9
DORIAN MODE STRIP
Now read the A Dorian mode : A B C D E F# G A B
1 2 b3 4 5 6 b7 8 9
And the Am7 chord : A C E G (B)
1 b3 5 b7 (9)
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Copyright 1997 Michael Furstner. All rights reserved.
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