IMPROVISATION - by Michael Furstner
Lesson 9 - SCALE-TONE CHORD PROGRESSION of the MAJOR SCALE
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CONTENTS
9-1. Scale-tone 7th Chords of the Major scale
9-2. IVmaj7 - VIIm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7
9-3. 'Street Dance'
9-4. Practice for Street Dance
9-5. Improvisation
9-6. The Woodshed
9-7. Quiz 9 (and Answers to Quiz 8)
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9-1. SCALE-TONE 7TH CHORDS for the MAJOR SCALE
Scale-tone 7th chords are formed in exactly the same way as the scale-tone
triads in Lesson 2.
We can build a scale-tone 7th chord on every note of the major scale by
stacking four alternate notes of the scale on top of each other.
This producing the following seven chords :
(DEMO 45)
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 BØ
-------------------------------------------------------------
| B c d e f g a |
| G A B c d e f |
| E F G A B c d |
| C D E F G A B |
-------------------------------------------------------------
Imaj7 IIm7 IIIm7 IVmaj7 V7 VIm7 VIIØ
We can do the same in any key.
In the key of F for example :
Fmaj7 Gm7 Am7 Bbmaj7 C7 Dm7 EØ
-------------------------------------------------------------
| E f g a bb c d |
| C D E f g a bb |
| A Bb C D E f g |
| F G A Bb C D E |
-------------------------------------------------------------
Imaj7 IIm7 IIIm7 IVmaj7 V7 VIm7 VIIØ
Although the chords built on the same LETTER NAME are not always the same
(e.g. G7 and Gm7, Em7 and Eż), the qualities of the same CHORD NUMBERS are all
identical.
Imaj7 in scale of C is also Imaj7 in the scale of F, IIIm7 in C is also IIIm7
in F, VIIż in C is also VIIż in F.
The chord qualities of the scale-tone 7th chords are the same in all 12 keys.
Therefore :
The I chord of any major scale is always MAJOR 7TH (Imaj7)
The II chord of any major scale is always MINOR 7TH (IIm7)
The III chord of any major scale is always MINOR 7TH (IIIm7)
The IV chord of any major scale is always MAJOR 7TH (IVmaj7)
The V chord of any major scale is always DOMINANT 7TH (V7)
The VI chord of any major scale is always MINOR 7TH(VIm7)
The VII chord of any major scale is always HALF DIMINISHED (VIIØ)
Each major scale contains :
* 2 major 7th chords (Imaj7 and IVmaj7)
* 3 minor 7th chords ( IIm7, IIIm7 and VIm7)
* only 1 dominant 7th chord (V7)
* only 1 half diminished chord (VIIØ)
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9-2. The SCALE-TONE CHORD PROGRESSION of the MAJOR SCALE
We can combine two important elements of the major scale :
1. the Scale-tone 7th Chords of the major scale :
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 BØ
-------------------------------------------------------------
| B c d e f g a |
| G A B c d e f |
| E F G A B c d |
| C D E F G A B |
-------------------------------------------------------------
Imaj7 IIm7 IIIm7 IVmaj7 V7 VIm7 VIIØ
2. with the note sequence of the major scale segment on the Circle of Fifths :
B - E - A - D - G - C - F
This produces the complete Scale-tone Chord Progression of the Major scale :
<------------
(I)Cmaj7
- -
(IV)Fmaj7 (V)G7
- -
- (II)Dm7
- -
Circle
- of (VI)Am7
Fifths
- -
- (III)Em7
- -
- (VII)BØ
- -
-
------------->
Connecting both ends of this string produces the following Chord Progression
Circle :
in C : in any key :
Cmaj7 Imaj7
- -
Fmaj7 G7 IVmaj7 V7
- -
o Dm7 o IIm7
- -
Bm7b5 Am7 VIIm7b5 VIm7
- -
Em7 IIIm7
(Ø = m7b5)
We can start and finish this chord progression at any point.
But as most melodies finish on the the tonic chord Imaj7 (Cmaj7 for the C
scale), this is the obvious choice for the LAST chord in the progression.
To include all seven chords in the chord progression we start therefore on the
IV chord, Fmaj7 (in the case of the C major scale).
From the IVmaj7 chord we first move ACROSS the Circle of Fifths to VIIm7b5.
Then we follow the Circle of Fifths to IIIm7 - VIm7 - IIm7 - V7 - to end on
the tonic chord Imaj7.
(DEMO 46)
In C :
Fmaj7 - Bm7b5 - Em7 - Am7 - Dm7 - G7 - Cmaj7
Fmaj7 Bm7b5 Em7 Am7 Dm7 G7 Cmaj7
----------------------------------------------------------------
| e a d g c f B |
| c f B e A d G |
| A d G c F B E |
| F B E A D G C |
----------------------------------------------------------------
IVmaj7 VIIm7b5 IIIm7 VIm7 IIm7 V7 Imaj7
For the D major scale :
Gmaj7 C#m7b5 F#m7 Bm7 Em7 A7 Dmaj7
----------------------------------------------------------------
| f# B e a d g c# |
| d G# c# f# B e A |
| B E A d G c# F# |
| G C# F# B E A D |
----------------------------------------------------------------
IVmaj7 VIIm7b5 IIIm7 VIm7 IIm7 V7 Imaj7
In any key : IVmaj7 - VIIm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7
This chord progression provides most of the harmony in Western music.
Sometimes the progression is used in its entirety.
Good Jazz examples are :
* Fools Rush In
* Fly me to the Moon
* Autumn Leaves
* All the Things You are
But mostly harmonies are constructed using a combination of shorter segments
of the progression, often modulating to different keys.
Typical segments are :
(DEMO 47)
1. IMaj7 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7
2. Imaj7 - VIm7 - IIm7 - V7 (Lesson 2)
3. IIm7 - V7 - Imaj7 (Lesson 10)
4. IIm7 - V7
5. V7 - Imaj7
Within individual segments mini modulations are also commonly used by changing
the chord QUALITY. This provides extra musical interest while maintaining the
FORWARD MOTION of the progression.
For example in J.S.Bach's PRELUDE Nr.1 the IIm7 chord is changed to a II7
chord in segment 2 from above.
Imaj7 - VIm7 - IIm7 - V7 ---> Imaj7 - VIm7 - II7 - V7
Prelude Nr.1 ---> Cmaj7 - Am7 - D7 - G7
(The D7 is a mini modulation to G major)
In 'ALL OF ME' by Simons and Marks segment 1 above is
used, also with modulations.
It uses III7 (E7) and sometimes VI7 (A7) and II7 (II7) instead of the minor
chord qualities.
In the first 8 bars :
IMaj7 - IIIm7 - VIm7 - IIm7 ---> IMaj7 - III7 - VI7 - IIm7
All of Me ---> Cmaj7 - E7 - A7 - Dm7
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9-3. STREET DANCE
'Street Dance' is a 32 bar song in AABA format.
It uses the entire scale-tone 7th chord progression of the C major scale in
each 8 bar A section.
In the Bridge the harmony consists of two IIm7 - V7 - Imaj7 segments of D
major and C major scale-tone chords.
(MELODY)
STREET DANCE
(by Michael Furstner)
Fmaj7 Bm7b5 Em7 Am7
------------------------------------------------------------------
4 c A B c - d B | A | B G A B - c A | |
4 1 + 2 + 3 + 4 + | 1 2 3 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 |
------------------------------------------------------------------
1 2 3 4
Dm7 G7 Cmaj7
-------------------------------------------------------------------
| F D E F - A | G G F - E D - E | G B - d | ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 ||
-------------------------------------------------------------------
5 6 7 8
Fmaj7 Bm7b5 Em7 Am7
------------------------------------------------------------------
| c A B c - d B | A | B G A B - c A | |
| 1 + 2 + 3 + 4 + | 1 2 3 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 |
------------------------------------------------------------------
9 10 11 12
Dm7 G7 Cmaj7 B7
------------------------------------------------------------------
| F D E F - A | G G F - E D - C | | ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
------------------------------------------------------------------
13 14 15 16
(Bridge)
Em7 A7 Dmaj7
----------------------------------------------------------------
| - E F# G A | B c# d e - f# | e d c# B - A | |
| 1 + 2 3 4 | 1 2 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 |
----------------------------------------------------------------
17 18 19 20
Dm7 G7 Cmaj7 Gm7 C7
----------------------------------------------------------------
| - - F A c - | B A G F - E | | ||
| 1 2 + 3 + 4 | 1 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
----------------------------------------------------------------
21 22 23 24
Fmaj7 Bm7b5 Em7 Am7
------------------------------------------------------------------
| c A B c - d B | A | B G A B - c A | |
| 1 + 2 + 3 + 4 + | 1 2 3 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 |
------------------------------------------------------------------
25 26 27 28
Dm7 G7 Cmaj7
------------------------------------------------------------------
| F D E F - A | G - A - B - d c | | ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
------------------------------------------------------------------
29 30 31 32
Copyright 1995 Michael Furstner
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9-4. PRACTICE for STREET DANCE
All chords in 'Street Dance' are scale-tone chords of the C major scale,
except for the 'turnaround' chords in bars 16 and 24, and the first 4 bars of
the Bridge (which is in D major)
Practice in the usual way :
1. Chord root tones in semibreves (1/1 notes) or rhythm patterns
2. Chord tones only in crotchets (1/4 notes)
3. Scale tones in quavers (1/8 notes)
Start each bar on the ROOT TONE of the chord :
Fmaj7 Bm7b5 Em7 Am7 etc.
-------------------------------------------------------------------------
4 F G A B c d e f | B c d e f g a b | E F G A B c d e | A B c d e f g a |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + |
-------------------------------------------------------------------------
1 2 3 4
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9-5. IMPROVISATION
When improvising with one scale only over a long chord progression it is easy
to start wandering about without a direction.
As stated before, it is therefore very important to keep track of where you
are in the song and emphasise the appropriate chord tones.
Using GUIDE TONES is another way to give your solo purpose and forward
direction.
A Guide Tones are TARGET NOTES for your improvisation. They are usually chord
tones (especially 3rds and 7th) or important melody notes.
A GUIDE TONE LINE is a string of these target notes that covers the chord
progression.
The Guide Tone Line :
* generally moves iN steps of tones or semitones
* goes gradually up or down with only few turns
* should be easy to remember
Melodies of long scale-tone chord progressions are also often composed on
clear Guide tone lines. (Check out Fools Rush in and Autumn Leaves).
Here an example of a Guide Tone Line for the first 16 bars of Street Dance.
(DEMO 48)
GUIDE TONE LINE
Fmaj7 Bm7b5 Em7 Am7
----------------------------------------------------------
4 A | A | G | G |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------
3 7 3 7
Dm7 G7 Cmaj7
----------------------------------------------------------
| F | F | E | E ||
| 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 ||
----------------------------------------------------------
3 7 3
Fmaj7 Bm7b5 Em7 Am7
----------------------------------------------------------
4 F | F | G | G |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------
1 5 3 7
Dm7 G7 Cmaj7 (B7)
----------------------------------------------------------
| A | B | c |(B) ||
| 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 ||
----------------------------------------------------------
5 3 1 (1)
Play the Guide tone line first as is, then gradually add embellishments and
develop ideas further. Each Guide tone need not always to be emphasises. You
can sometimes just run through it.
Make a Guide Tone Line for Street Dance yourself, and also for a few other
songs, such as A Happy Day, Hey There, Swing Time.
You can also use this technique for complicated chord passages in any song.
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9-6. THE WOODSHED
In preparation for Lesson 11 I recommend you start practice on the Harmonic
minor scale in all keys. Just the scale, up to the 9th and back.
(DEMO 49)
<---------- play 3 times ----------->
----------------------------------------------------------------
4 C D Eb F G Ab B c | d c B Ab G F Eb D :|| C | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + || 1 2 3 4 | 1 2 3 4 |
----------------------------------------------------------------
Here the HARMONIC MINOR SCALE RULER to help you define this scale in all keys.
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 | b6 | 8 |
1 b3 5 7 9
HARMONIC MINOR SCALE STRIP
Good luck and see you next lesson.
Michael.
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9-7. QUIZ 9
A.
Write down in ascending order the Scale-tone 7th Chords for :
1. the major scale of F
2. the major scale of Bb
3. the major scale of G
4. the major scale of D
5. the major scale of A
A.
Write down the Scale-tone 7th Chord Progressions for :
1. the major scale of F
2. the major scale of Bb
3. the major scale of G
4. the major scale of D
5. the major scale of A
B.
Place these scale-tone 7th chords in their proper Circle of Fifths order :
(IVmaj7 - Bm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7)
1. Gm7 - Em7b5 - Fmaj7 - C7 - Bbmaj7 - Dm7 - Am7
2. Gmaj7 - Em7 - D7 - F#m7b5 - Cmaj7 - Bm7 - Am7
3. C#m7b5 - Gmaj7 - F#m7 - Em7 - Dmaj7 - Bm7 - A7
C.
Which chords are missing in these scale-tone 7th chord progressions
1. Dmaj7 - G#m7b5 - ? - F#m7 - Bm7 - E7 - ?
2. ? - Em7b5 - Am7 - ? - Gm7 - C7 - Fmaj7
3. Cmaj7 - ? - ? - Em7 - Am7 - D7 - Gmaj7
D.
What is the Guide Tone Line for the MELODY in bars 1 - 16 of Street Dance ?
ANSWERS IN NEXT LESSON
--------------------------------------
Answers to Quiz 8
A.
Convert these major scales into natural minor scales with the same tonic note
(1st note) by altering three notes of the scale.
1. F G A Bb C D E F ----> F G (Ab) Bb C (Db) (Eb) F
2. D E F# G A B C# D ----> D E (F) G A (Bb) (C) D
3. Bb C D Eb F G A Bb ----> Bb C (Db) Eb F (Gb) (Ab) Bb
4. G A B C D E F# G ----> G A (Bb) C D (Eb) (F) G
5. E F# G# A B C# D# E ----> E F# (G) A B (C) (D) E
B.
Convert these major scales into harmonic minor scales with the same tonic note
(1st note) by altering two notes of the scale.
1. F G A Bb C D E F ----> F G (Ab) Bb C (Db) E F
2. D E F# G A B C# D ----> D E (F) G A (Bb) C# D
3. Bb C D Eb F G A Bb ----> Bb C (Db) Eb F (Gb) A Bb
4. G A B C D E F# G ----> G A (Bb) C D (Eb) F# G
5. E F# G# A B C# D# E ----> E F# (G) A B (C) D# E
C.
Convert these major scales into natural minor scales ('Aeolian modes') by using
all the same notes and placing them in the correct order.
1. F G A Bb C D E F ----> D E F G A Bb C D
2. D E F# G A B C# D ----> B C# D E F# G A B
3. Bb C D Eb F G A Bb ----> G A Bb C D Eb F G
4. G A B C D E F# G ----> E F# G A B C D E
5. E F# G# A B C# D# E ----> C# D# E F# G# A B C#
D.
Convert these major scales into melodic minor scales with the same tonic note
(1st note) by altering one note of the scale.
1. F G A Bb C D E F ----> F G (Ab) Bb C D E F
2. D E F# G A B C# D ----> D E (F) G A B C# D
3. Bb C D Eb F G A Bb ----> Bb C (Db) Eb F G A Bb
4. G A B C D E F# G ----> G A (Bb) C D E F# G
5. E F# G# A B C# D# E ----> E F# (G) A B C D# E
E.
What are the ESSENTIAL CHORD TONES of the following chords.
1. Dm7 F and C
2. F7 A and Eb
3. B7 D# and A
4. Gmaj7 B and F#
5. Bbm7 Db and Ab
6. Am7 C and G
7. Fmaj7 A and E
8. Emaj7 G# and D#
9. Gm7 Bb and F
10. A7 C# and G
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