14. Antabus PLAY 27 TIMES (J = 280) By Dexter Gordon

Fast Minor Blue

SOLOS A A-7

Cop*( @ 1976 DEX MUSIC, INC. AU El&& om b & K d D E X MUSIC, INC. Mmiab(crrd by WARNER-TAMERLANE PUBLISHING COW. h t e r M ~ C o p ~ s a c u r r d . AU Egb&Rauved Usrd by Wi.

NOMENCLATURE + or # = raise 112 step -o r b = lower 112 step H = Half step W = Whole step

Because jazz players, composers, educators and authors haven't agreed on a common nomenclature for writing chord and scale symbols, the novice will have to become familiar with several different waysof writing the same scale sound.

Listed below are the most common symbols in order of usage - most used to least used. The symbol that is bold face is the one I use most often. Notice that throughout this book you will see CA and C to designate a major chord1 scale sound. I am doing this so you can begin to get better acquainted with various nomenclature.

A = major scalelchord or major seventh (CA). A (7) after a letter means to lower the 7th note of the scale, making it a Dominant 7th quality (C7). A dash (-) when located beside a letter means to lower the third and seventh of the scale 112 step, thus making it a minor tonality (Dorian minor) (C-). 0 means half-diminished (C0). G A means a minor scalelchord with a major 7th. 3 means 3 half-steps (a minor 3rd).

CHORDISCALE TYPE * MAJOR (lonian)(WWHWWWH) c D E F G A B c ABBREVIATED CHORDtSCALE SYMBOL

I C ~ ~ 1 ~ m a i . Cma. Cma7, C7. Cmai7. CM. CM7. Cmai9. Cmail3

2nd mode of ~ a i o r C D E ~ F G A B ~ C yJ u-I , WI Ill, UI Ill

, . 5th mode of Maior C D E F G A B b b w b Y , L l l , L l 3 * MINOR SEVENTH (Dorian) (WHWWWHW) L ~ P 7 P-: Pm:7, Cm7, Cmin, Cmin7, Cm9, Cml 1 , Cm13

LYDIAN (Major scale with #4) (WWWHWWH) 4th mode of Major CDEFPGABC

Cmaj+4, CM+4, CA+11, CAb5, Cmajb5

* HALF-DIMIN ISHED (Locrian) (HWWHWWW) 7th mode of Major CDbEbFGbAbBbC Cmi7(b5), G 7 b 5

HALF-DIMIN ISHED #2 (Locrian #2) (WHWHWWW) Cae C0+2, C09 6th mode of Melodic Minor CDEbFGbAbBbC rn

DIMINISHED (WHWHWHWH) C D Eb F A B C Cdim, C"7, Cdim7, C"9 (Dom-7th with#4) (WWWHWHW) C7+11, C7b5, C9+11, C13+11

4th mode of Melodic Minor CDEFPGABbC WHOLE-TONE (WWWWWW) +4

C D E F ~ G ~ B ~ C Ic7+ I~7aug. C7+5, C7+5 DOMINANT SEVENTH Usina a Dim. M W H W ) +9 +9

C ~ B E F# G A ~b c I ~ 7 b 9 I C7b9+4, C13b9+11 DIMINISHED WHOLE-TONE(AItered&) (HWHWWWW) +9+5 +9b13

7th mode of Melodic Minor c w 5 E F# a ~b c IC7*9 C7alt, C7b9+4, C7b9+11 LYDIAN AUGMENTED IMaiorwith#4&#5l

* BLUES SCALE (use at player's discrdhn) '(There 7s no chord symbol for the Blues scale) j 3 W H H 3 W ) (I ,b3,4,#4,5,b7,1) c m F F+G BI c used mostly with dominant and minor chords

3rd mode of ~elod'ic minor C ~ E F # G # A B C ' I C A + ~ I C A + ~ MINOR (ascending only) (WH-H) Cmin(maj7), CmiA, GA(Melodic), Cm6

C D B F G A B C

* These are the most common chord/sca)es h music. I believe In a reduced ChordIScale notation that .Ilclrr ou creattve slde, our natural slde (rlght brain function) to have dlrecUon and guldance without feeling Inhibited or l h b d . When we speak of quallty we mean wtsztbr tt is Major, Mlnor, Dlm., or whatever.

I have tried to standardize the chorcVm8e symbol notation in my books. Since some have been out many years there are instances where I may have used a -rent chord syrr~bol in one book than I used in this one. I feel the improvisor needs as little no- as m e in order to transcend the actual nomenclature on t h e w

The more numbers, letters, alterations that on the page, the less chance they will have to remove M thoughts from the written page and eqesswlh;aQ is being heard in their mind. I believe in a reduced chord sydmi notation system. That is why I prefer C, C7,G, CB, C7+9, C7b9. Remember, we are playing a music c d l e d m and it contains many altered tones. Onoe me Leavn the various alterations and their corresponding chordsymbol, why keepwriting all the beside the chord symbol? Checkout carefully the Scale- Listen to Volume 26 "The Scale S y l b k s '

Remember: end's are the same as 4th'~ are the same as 1 1 th's. 13th'~ are the same as 6 t h key of C . . . the 2nd, D, is the same as the %la, D. Often a composer will simply write their preferred wm~dm scale beside the chord symbol, such 2s E k l (rn&& minor), F- (phrygian), F-(phry).

60

HARMONIC MINOR (WHWWH3H) c D &FG ~b B C GAJ CmiA, C-A(Har), GAb6 SUSPENDED 4th (W3WWHW) or (W\rCCM(YWHW) =I G L P ~ -,,- A 07 ,.a,s, (-4, ~1 1

PLAY 7 TIMES ( ,/ = 176)

1. Fried Bananas - - By Dexter Gordon

.J

G0 C7+9 F-7 A0 D7+9 EbA AbA G7+9 C7

Ab-7 Db7 Ebb D-7 6 7 C-7 F7 F-7 Bb7 I I I I I 1 I I I I I I I I I I

I

Ri-7 Ab-7 Db7 EbA G0 C7+9 F-7 Bb7 'EbA C7+9 F-7 Bb7

Repeat over & over & fade out Q 1969 DEX MUSIC, WC. RLannd) AP R W a am LeL.lldDEX MUSIC, INC. AdmWltcrrd by WARNER-TAMERLANE PUBLISHING COW.

~ C o p ~ t k u u d AURlgMaRmmd UrdbyPcmMm.

61

2. Sticky Wicket PLAY 13 TIMES (J = 138) By Dexter Gordon

LB b7 TO SOLOS m F7 c-7 F7

I I \ I I I II I I I I # - I .I1 I I U I I I I I I

F I .!I * I II B

Y

SOLOS Bb7 Eb7 Bb7 Bb7 Eb7 Eb7

I I I I I I

I I I I I 1

~ -

Ritard . . . . . . . . . CepgrlLbt 8 1969 DEX MUSIC, MC. 0 M wtl om bcL.trdDEX MUSIC. MC A d m l n k k d by WAJUUEP-TAMEBLANE PUBLISHING COW.

IrcautbulCopyd@Seavrd A U ~ k m w d . Untd by Rrmbna

3. Montmartre PLAY 6TIMES ( J = 208) By Dexter Gordon

4-BAR DRUM INTRO

Cepr?I@t o 1969 DEX MUSIC, MC @mewed) All Ei@s oa bcb.lld DEX MUSIC, MC. AdminMcnd by WAPNEII-TAMERLANE PUBLISHING COUP. I . t w r t b u l C o p y d @ M AUBbbbllarm& UaedbyPumbba.

SOLOS Bb-7

3. Montmartre - Cont.

4. Apple Jump PLAY 6 TIMES ( J = 164) By Dexter Gordon

SOLOS FA G 7 Ab07 A-7 D7 0 7 C7 FA F7 BbA BY llkA D-7 0 7 C7

2. BRIDGE FA FA A7 D7 6 7 C7

I I 1 I I I I I I I II *I I I I .I

I

II I I. I I I. I I I I

I. I I I. 11 FA

e G-7 Ab07 A-7 D7 6 7 C7 FA F7 BbA B07 FA D-7 6-7 C7 FA

5. The Rainbow People PLAY 5 TIMES ( J = 112) By Dexter Gordon

TUNE INTRO F-7 F-7 r I+ Ebb F-7 6-7 -I-

+* I A I I I I I I l l I . 1 I I* I D . V I - I I I U U F I I I L - I A I I I I I I II. C I I r~ I

1 V D V I v l I I I I

Pedal Bb . . . . . . . . . . --

BREAK TO SOLOS

2. BRIDGE 1 ~ b 7 Ebb Db7 C-7 B-7 Bb-7

6 7 C7 F7 Bb7 Ebb F-7 6-7 F-7

I I I I I I U

CopJlrobt 0 1969 DEX MUSIC, mC. (Renew4 AU ElI&s m bcb . l l dDEX MUSIC. INC. Admin&ed by WARhEB-TAMERMNE PUBLISfUNC COW. ha*.-hd Cop-t Sewed. AU lllpbb Rearmed. U+d by Permidon.

6. Catalonian Nights PLAY 6 TIMES ( J = 168) By Dexter Gordon ' INTRO

LATIN A-7 A-7

BRIDGE

DbA Gb7 C0 F7+9

.- I I I I I I I I r I I I tl

TO SOLOS Copyr@t O 1977 DEX MUSIC, MC. (I*.ercd) M U#bU om W d D E X MUSIC, INC *d.lbLtmd by WARNER-TAMERLANE PUBLlSHMG COW.

l a t u m & d C o p ~ I * c u d AUpilLbRuuved. U d b y h m b s b e

SOLOS Bb-7

6. Catalonian Nights - Cont.

BRIDGE c0

Bb-7 Ab-7 Db7 C0 F7+9 Bb-7 Eb7 I I I 111 I

I I * I l l * I *111* I

I I 111

Repeat & Fade Out

7. For Regulars Only PLAY 6 TIMES ( J = 168) By Dexter Gordon

3 .? TO SOLOS

C o p H t 0 l%l DEX MUSIC, INC. ntcarrrd) M IW(I an -.I DEX MUSlC, INC. A d m h k d by WARNER-TAMERLANE PUBLISJiLNG COW. I.oautbul-salNd Mui@allacrrsb UadbyPamLsba

7. For Regulars Only - Cont. SOLOS

Ab7 DbA Bb7 Eb-7 Ab7 DbA Bb7

F-7 Bb7 Eb-7 Ab7 I

I

DbA

1. DbA Bb7

.II *I1 II 1

e Eb-7 Ab7 DbA Bb7+9 Eb-7 Ab7 I

t: I I I D ~ A

DbA Bb7+9 Eb- Ab7 F-7 Bb7 Eb-7 Ab7 A

Abrupt ending on the And of beat four

PLAY 16 TIMES (J = 138)

8. Soul Sister By Dexter Gordon

PLAY 4 TIMES then Interlude SOLOS (-vJ

-

lnterlude -

E-7 A-7 D7 6 7 A-7 D7 6 7 PAUSE

PLAY 3 TIMES SLOWLY 6 7 C7 C# O7 6 7 C7 C# O7 6 7 B0 E7 A7 D7 6 7 A- D7

I I I . / / / / I I I I I I / I / /

f a I. 1 / I I I I I , 1 m I I I I

C-t O 1x1 DEX MUBIC, UUC. 0 AO J U g h a W d D E X MUSIC, UUC. M.liab(clsd by WARNER-TAMERLANE PUBLISHING COW. m e I.tautiolYIcop-ssana A U ~ ~ UaedbyPumiaba.

71

SOLOS I

I l * BbA 0 7 C-7 F7 BbA 0 7 C-7 F7 F-7 Bb7 Eb7Ab7 ~ b 7 G b 7 C-7 F7+4 I I I

I I I I I I I 11. A I / 11 1 I I I I I I

! 2 * ~ - 7 F7 BbA F-7 Bb7 E-7 A7 I

C-7 Eb-7 C-7 F7 BbA ~ @ + 9

I I I I . I .I I .I I I I I I I I U N " I \ I I. I I* I I P P C I P l J \ C I

I I I

WALK

10. Tivoli PLAY 3 TIMES ( J = 108) By Dexter Gordon

lNTRo DbA D7+4 2 2 2

DbA D7+4 Db A D7+4 I \ 1 I I I I I

U IJ I I I I F 1 I I I I

II H Capydght o 1976 DEX MUSIC, MC @mew@ As -a kLvlldDW MUSIC, MC Admhbmi b WARNER-=- PWBL-C COW. To

I.lauobulCapyrlgMsrclIrrd. M ~ t m R a w v c d . UrdbyPemWm.

10. Tivoli - Cont. D7+4 DbA

DbA D7+4 F-7 Bb7 6 7

151 GbA DbA

GbA Eb-7 Ab7 F-7 Bb-7 I I I

I I I I

DbA

yl DbA D7+4 DbA D7+4 I I I

8 8 I I I

VAMP & FADE OUT 74

11. Boston Bernie PLAY 6 TIMES ( J = 176) By Dexter Gordon

Copydgbl @ 1969 DEX MUSIC, MC. 0 AE Wtl am kh.lldDW MUSIC, MC. Mmbbkd WAl!NE&T- PUBLISBMG COW. L1M.tb~ICopydgbtsaaurd. AElU@@llcsavld. UscdbyPemhmn.

11. Boston Bernie - Cont. AbA

AbA A-7 D7 GA GA E7

Bb-7 Eb7 AbA

Repeat over 81 over 81 fade

12. I Want More PLAY 7 TIMES ( J = 232) By Dexter Gordon /

SOLOS TO SOLOS Bb-7 Eb7 AbA Abb Eb-7 Ab7 Db A DbA

I I I I I I I I

I I ! II I C .D0 G7+9 C-7 Eb7 AbA Ab A

I I !

D0 G7+9 C-7 F7 Bb-7 Eb7 Ab A AbA I 1 I I I

I I I I I

I I I I I I I

G7+9 C-7 F7 Bb-7 Eb7 A ~ A AbA

C O p r n t O 1961 DEX MUSIC, INC. M u W d D W MUSIC. INC. AdmL.IRuel by WARNER-TAMP.RLANE HJBLISHING COW. I . t a u t i o u l C 6 v p l r v b r d ME@bllap*ed UmlbyRrmbba.

77

13. Long Tall Dexter (LTD) PLAY 20 TIMES ( J = 204) By Dexter Gordon

TO SOLOS SOLOS

Bb7 (Eb7) Bb7 Eb7

-@ ~ b 7 Piano ~ l t i 2 7

0 DKX MUSG mC 0 Al lU&a a W d D E X MUSIC, INC. MmbMerul by WAJLNER-TAMERLANE PUBLISEIJNC COW. UantbPI Cap-I S m u d AU Wb Parrrd. U a d by Rmhbr

1 Antabus PLAY 27 TIMES (J = 280) By Dexter Gordon

Fast Minor Blues

SOLOS C-7 C-7 F-7

I I I I I I I I. .I .I .I

II* I I. I I I * I I I. I I

Copy'l@t 0 I976 DEX MUSIC, INC. 0 All w W d D W MUSIC, INC. AdmlaMcd by WARNER-TAMERLANE PUBLlSHMG COUP. Intmutbsrl Cop)l.bbt S e n m d AU lligbb IkmvuL Uml by Pumlaaoa.

INTRODUCTION to the SCALE SYLLABUS

Each chordlscale symbol (C7, C-, CA+4, etc.) represents a series of tones which the improvisor can use when improvising or soloing. These series of tones have traditionally been called scales. The scales listed here are the ones I most often hear musicians play. I have listed the Scale Syllabus in the key of C Concert so you can have a frame of reference and can compare the similarities and differences between the various chordslscales.

This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which may be used over any chord-major, minor, dominant 7th, half-diminished, diminished and sus 4. Western music, especially jazz and pop, uses major, dominant 7th1 dorian minor and Blues scales and chords more than any other. Scales and chords used less often are the half-diminished, diminished and sus 4. If we agree on these five chordlscale families as being the most predominant, then we can set them up as categories and list substitute scales beneath each heading ... see the Scale Syllabus page. You should also check out Volume 26 "The Scale Syllabus" for more help with scales.

Each category begins with the scale most closely resembling the chordlscale symbol given to the left. The scales are arranged according to the degree of dissonance they produce in relation to the basic chordlscale sound. Scales near the top of each category will sound rrlild or consonant and scale choices further down the list will become increasingly tense or dissonant. Each player is urged to start with the scales at the top and with practice and experimentation gradually work his way down the list to the more dissonant or tension-producing scales. You should work with a new scale sound on your instrument until your ears and fingers become comfortable with all the tones in the scale. Also try singing the scale with your voice. lmprovise with your voice over the scale you are learning and then play on your instrument what your voice sang.

Music is made of tension and release. Scale tones produce tension or they produce relaxation. The improvisor's ability to control the amount and frequency of tension and release will in large mea- sure determine whether he is successful in communicating to the listener. Remember-you, the player, are a listener! Read pages 42 to 45 in Volume 1 "JAZZ: How To Play And lmprovise" (Sixth Edition) for a more detailed explanation of tension and release in melodic development.

Any of the various practice procedures and patterns listed in Volumes I , 2, 3, 21 or 24 can be applied to the learning and assimilation of any of the scale choices listed in this Scale Syllabus. Need- less to say, any Scale you want to learn should be transposed and practiced in all twelve keys. The column on whole and half step construction I listed for each scale on the syllabus should prove helpful when transposing a scale to any of the twelve keys.

For additional information on scale substitution, I recommend "Scales for Jazz Improvisation" by Dan Haerle, "Jazz Improvisation" by David Baker, "Patterns for Jazz" and "Complete Method for Jazz Improvisation" by Jerry Coker, and the "Repository of Scales & Melodic Patterns" by Yusef Lateef. These books are available from Jamey Aebersold Jazz, Inc., PO Box 1244, New Al- bany, IN 471 51 -1 244 U.S.A., http:llwww.jajau.com, or possibly at your local music store.

Several play-a-long sets offer you an opportunity to practice the various scales in all twelve keys. They are: Vol. 24 "Major & Minof'; Vol.21 "Gettin'lt Togethef'; and Vo1.16 "Turnarounds, Cycles & llN7's." You might also check out the play-a-longs which have tunes in all keys: Vol. 42 "Blues In All Keys"; Vol. 47 "Rhythm In All Keys"; Vol. 57 "Minor Blues In All Keys"; and two more volumes, Vol. 67 "Tune Up" and Vol. 68 "Giant Stepsm'--each of these last two sets has sever4 classic tunes in all twelve keys.

Scales and chords are the backbone of our music and the better you equip yourself, the morefm you will have playing music.

80

SCALE SYLLABUS LEGEND: H = Half Step, W =Whole Step. A = Major 7th; + or # = raise H; b or - =lower H; fl= Half-diminished; -3 = 3H (Minor Third)

CHORDRCALE SYMBOL SCALE NAME

C! \ Maior

WHOLE & HALF STEP %ALE IN KEY OF c CONSTRUCTION

llLwuwm W W H W W W H C D E F G A B C

luam2x C E G B D

BASIC omi in ant 7th W W H W W H W C D E F G A B b C C E G B b D CATEGORIES W H W W W H W C D E b F G A B b C CEbGBbD

Half Diminished(Locrian) H W W H W W W CDbEbFGbAbBbC CEbGbBb CO Diminished@ tone scale) W H W H W H W H C D E b F G b A b A B C CEbGbA(Bbb)

1.MATOR SCALE S n l J W&HCONSTRUCTION SCALE IN KEY OF C. BASIC CHORD CHOICE CA(Can 2wdtten C) Major(donlt emphasize the 4th) W W H W W W H C D E F G A B C

INxlwEx C E G B D

C Major Pentatonic W W-3 W-3 C D E G A C C E G B CA+4 Lydian(ma'or scale with +4) W W W H W W H C D E F# G A B C A C E G B D C A Bebop Sc e W W H W H H W H C D E F G G # A B C C E G B D CAM Harmonic Major W W H W H 3 H C D E F G A b B C C E G B D CA+5, +4 Lydian Au mented dg

W W W W H W H C D E F # G # A B C C E G # B D C Augmente -3 H-3 H-3 H C D # E G A b B C C E G B D C 6th Mode of Harmonic Minor -3 H W H W W H C D # E F # G A B C C E G B D C Diminished(beginwithHstep) H W H W H W H W CDbD#EF#GABbC C E G B D C Blues Scale -3WHH-3W CEbFF#GBbC C E G B D

C7+4 C7b6 C7+ (has #4 & #5) c7b9(&0 has #9 & #4) C7+9(also has b9, #4, #5) r-9

SCALE NAME

Dominant 7th Major Pentatonic Bebop Scale Sparush or Jewish scale Lydian Dominant Hindu Whole Tone(6 tone scale) Diminished(begin with H step) Diminished Whole Tone Blues Scale

W W H W W H W WW-3 W-3 W W H W W H H H H - 3 H W H W W W W W H W H W W W H W H W W W W W W W W H W H W H W H W H W H W W W W -3WHH-3W

C E G B ~ D CEG#BbD CEGBbDb@#) C E G# Bb D# (Db) C E G B b D o M . ,

POMINANT 7th USPENDED 4t

g7sus4 M:yBE Dom.7lhscdebutdon'tm@&thethird W W H W W H W C D E F G A B b C C F G B b D C7 sus 4 > =EN Major Pentatonic built on b7 W W -3 W -3 B b C D F G B b C F G B b D C7 sus 4 G-/C Bebop Scale W W H W W H H H C D E F G A B b B C C F G B b D

3 . M I N O R E CHOICES* C- or C-7 C- or C-7 C- or C-7 C-A (maj. 7th) C- or C-7 C- or C-7 C-A (b6 & maj. 7th) C- or C-7 C- or C-b9b6 C- or C-b6

SCALE NAME

Minor(Dorian) Pentatonic(Minor Pentatonic) Bebop Scale Melodic Minor(ascending) Bebop Minor Blues Scale Harmonic Minor Dimhishedfiegin with W step) Phrygian Pure or Natural Minor, Aeolian

W&HCONSTRUCJTION-- IIYxmmx W H W W W H W C D E b F G A B b C C E b G B b D F -3WW-3W W H H H W W H W W H W W W W H W H W W H H W H -3WHH-3W W H W W H - 3 H W H W H W H W H H W W W H W W W H W W H W W

C E b F G B b C C D E b E F G A B b C C D E b F G A B C C D E b F G G # A B C CEbFF#GBbC C D E b F G A b B C C D E b F F # G # A B C CDbEbFGAbBbC C D E b F G A b B b C

CEbGBbD C E b G B b D F C E b G B D F C E b G B D C E b G B b D ( F . C E b G B D F C E b G B D F CEbGBb C E b G B b D F

$HALF DIMINISHED SCALE NAME W&HCONSTRUCIION-- ym Half Diminished&mrian)

Iuxamlx H W W H W W W CDbEbFGbAbBbC CEbGbBb

Cra#2 HalfDiminished#2&mrian#2) W H W H W W W CDEbFGbAbBbC CEbGbBbD C0(with or without #2) Bebop Scale H W W H H H W W CDbEbFGbGAbBbC CEbGbBb

5.DIMINISHED SCALE SCALE NAME - s.cALE IN KEY OF (: CHOICES

- CO Diminished(8 tone scale)

I I u E x a x W H W H W H W H C D E b F G b A b A B C CEbGbA

NOTE: The above chord symbol guide is my system of notation. I feel it best represents the sounds I hear in jazz. The player should be aware that each chord symbol represents a series of tones called a scale. Even though a C7+9 would appear to have only a raised 9th, it also has a b9, +4 & +5. The entire C7+9 scale would look like: Root, b9, +9,3rd, +4, +5, b7 & root (C, Db, D#, E, F#, G#, Bb, C). My. chord symbol abbreviation is C7+9 and the name of this scale is Diminished Whole Tone sometimes called Super Locrian or Altered Scale.

C7b9 appears to have only one altered tone (b9) but actually has three: b9, +9 and 4. The entire scale looks like this: Root? b9, +9, 3rd, +4, Sth, 6th, b7 & root (C, Db, D#, E, F#, G, A, Bb, C). This is called a Diminished scale and my chord symbol abbreviation 1s C7b9. All scales under the Dominant 7th category are scales that embellish the basic Dominant 7th sound. Some scales provide much more

tension than the basic dominant 7th sound and require practice and patience to grasp the essence of their meaning. I encourage you to work with the first side of Volume 3 "The II-V7-I Progression" since it emphasizes Diminished and Diminished Whole Tone scales and chords. *- In category #3, MINOR SCALE CHOICES, the PURE MINOR scale choice is not used very often. I have found the order of preference to be Dorian, Bebop, Melodic, Blues, Pentatonic and then any of the remaining Minor scale choices.

81

VGL 82 DEXTER GORDON BUCC I I B E ~ ~I~~I~I~I/II~~I~III~~~IN~I~II