Exercises for Improvisation
Complied by Ralph Martin
All rights reserved ©January 2008 by Ralph Martin
Contents A. Introcuction and Acknowledgments ............................................................... 1 B. Progressions IIm7 - V7 ................................................................................... 2 1) 5ths Down [4ths Up] (or whole Step Down) ........................................ 2 2) Chromatic (1/2 Step Down).................................................................. 2 3) Chromatic (1/2 Step Up) ...................................................................... 2 4) Whole Step (1 Step Up) ....................................................................... 2 5) Minor 3rd down (1 1/2 Steps Down) .................................................... 2 6) Minor 3rd Up (1 1/2 Steps Up) ............................................................. 3 7) Major 3rd down (2 Steps Down).......................................................... 3 8) Major 3rd Up (2 Steps Up)................................................................... 3 9) 4ths Down .......................................................................................... 3 C. IIm7 - V7 Examples ........................................................................................ 4 D. IIm7 - V7 Exercises ........................................................................................ 5 1) IIm7 - V7 Exercises 1, 2, 3 ................................................................... 5 2) IIm7 - V7 Exercises 4, 5, 6 ................................................................... 6 3) IIm7 - V7 Exercises 7, 8, 9 ................................................................... 7 4) IIm7 - V7 Exercises 10, 11, 12 ............................................................... 8 5) IIm7 - V7 Exercises 13, 14, 15 ............................................................... 9 6) IIm7 - V7 Exercises 16, 17, 18............................................................... 10 7) IIm7 - V7 Exercises 19, 20, 21............................................................... 11
8) IIm7 - V7 Exercises 22, 23, 24 ............................................................. 12 9) IIm7 - V7 Exercises 25, 26, 27.............................................................. 13 10) IIm7 - V7 Exercises 28, 29, 30 .............................................................. 14 11) IIm7 - V7 Exercises 31, 32, 33............................................................... 15 12) IIm7 - V7 Exercises 24, 35, 36 .............................................................. 16 13) IIm7 - V7 Exercises 37, 38, 39............................................................... 17 14) IIm7 - V7 Exercises 40, 41, 42.............................................................. 18 15) IIm7 - V7 Exercises 43, 44, 45.............................................................. 19 16) IIm7 - V7 Exercises 46, 47, 48 ............................................................. 20 E. Imaj7 - VIm7 - IIm7 - V7 Exercises ................................................................ 21 1) Imaj7 - VIm7 Patterns.......................................................................... 21 2) IIm7 - V7 Patterns .............................................................................. 21 3) Imaj7 - VIm7 - IIm7 - V7 Pattern Combinations ................................... 22
Introduction and acknowledgements These exercises were originally written for practicing patterns for improvisation. While they could be used on their own, a basic foundation in music theory is highly suggested. You should be able to understand and build basic scales and chords. Also you should understand basic chord naming structure. The Im7 (II minor 7) - V7 (V dominate 7) chords are some of the most used chord patterns in all music. The Imaj7 (I major 7) - VIm7 (VI minor 7) Im7 (II minor 7) - V7 (V dominate 7) are also widely used basic chord patterns. The first section is various chord patterns used to pass through all the keys. These could be used for many different types of practices such as scales, chords, patterns, licks, etc. Try to incorporate them into your practice and you will get a much greater understanding and musical facility of music in general. I would like thank the many various teachers I have had over the years, starting with the wonderful teachers at Berklee college of Music in Boston, Mass. and the many musicians who have produced much wonderful and exciting music and have helped me refine my musical craft. Last, but definitely and certainly not least, I would like to thank my wife and singer, Dena G., with whose love and support made all of this possible.
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Progressions IIm7 - V7 1) 5ths Down [4ths Up] (or whole Step Down) &c
Cm7
F7 │Bbm7 Eb7 │Abm7 Db7 │F# m7 B7
&c
Bm7
E7 │Am7
D7 │G m7 C7
│Fm7
│Em7
A7 │Dm7
G7 ││
Bb7 │Ebm7 Ab7 │C# m7 F# 7 ││
2) Chromatic (1/2 Step Down) &c
Cm7
F7 │Bm7
F# m7 B7 │F m7
E7
│Bbm7 Eb7 │Am7
Bb7 │Em7
A7
D7 │Abm7 Db7 │ G m7 C7 │
│Ebm7 Ab7 │Dm7
G7 │C# m7 F# 7 ││
3) Chromatic (1/2 Step Up) &c
Cm7
F7 │ C# m7 F# 7 │ Dm7 G7 │ Ebm7 Ab7 │ Em7 A7 │ F m7 Bb7 │
F# m7 B7 │ G m7 C7
│Abm7 Db7 │ Am7 D7 │ Bbm7 Eb7 │ Bm7 E7 ││
4) Whole Step (1 Step Up)
│ F# m7 B7
│ Abm7 Db7 │ Bbm7 Eb7 ││
&c
Cm7
F7 │ Dm7 G7 │ Em7 A7
&c
Bm7
E7 │ C# m7 F# 7 │ Ebm7 Ab7 │ F m7 Bb7 │G m7 C7 │ Am7 D7 ││
5) Minor 3rd down (1 1/2 Steps Down) &c
Cm7
F7 │ Am7 D7 │ F# m7 B7
&c
Bm7
E7 │Abm7 Db7 │ F m7 Bb7 │ Dm7 G7 ││
&c
Bbm7 Eb7 │ G m7 C7
│ Em7 A7
│ Ebm7 Ab7 ││
│ C# m7 F# 7 ││
6) Minor 3rd Up (1 1/2 Steps Up) &c
Cm7
F7 │ Ebm7 Ab7 │ F# m7 B7
&c
C# m7 F# 7 │ Em7 A7
&c
Dm7
│ G m7 C7
│ Am7 D7 ││ │ Bbm7 Eb7 ││
G7 │ F m7 Bb7 │ Abm7 Db7 │ Bm7 E7
││
7) Major 3rd down (2 Steps Down) &c
Cm7
F7 │ Abm7 Db7 │Em7
&c
Bm7
E7 │ G m7 C7
│ Ebm7 Ab7 ││
&c
Bbm7 Eb7 │ F# m7 B7
│ Dm7 G7 ││
&c
Am7
D7 │F m7
Cm7
││
Bb7 │ C# m7 F# 7 ││
8) Major 3rd Up (2 Steps Up) &c
A7
F7 │ Em7 A7
│ Abm7 Db7 ││
&c
C# m7 F# 7 │ F m7 Bb7 │ Am7 D7 ││
&c
Dm7
&c
Ebm7 Ab7 │ G m7 C7
G7 │ F# m7 B7
│ Bbm7 Eb7 ││ │ Bm7 E7
││
9) 4ths Down &c
Cm7
F7 │Fm7
F# m7 B7 │Bm7
Bb7 │Bbm7 Eb7 │Ebm7 Ab7 │Abm7 Db7 │C# m7 F# 7 │ E7
│Em7
A7
│Am7
D7 │Dm7
G7 │G m7 C7 ││
3
5
7
9
11
13
15
17
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Imaj7 - VIm7 - IIm7 - V7 Exercises Patterns: I VIm7 Cmaj7 Am7
IIm7 V7 Dm7 G7
Imaj7 - VIm7 - IIm7 - V7 Pattern Combinations: 1a - 2a 1a - 2b 1a - 2g 1a - 2h 1b - 2a 1b - 2b 1b - 2c 1b - 2d 1c - 2a 1c - 2b 1c - 2c 1c - 2d 1d - 2c 1d - 2c 1d - 2e 1d - 2f
1e - 2c 1e - 2d 1e - 2e 1e - 2f 1f - 2e 1f - 2f 1f - 2g 1f - 2h 1g - 2e 1g - 2f 1g - 2g 1g - 2h 1h - 2g 1h - 2h 1h - 2a 1h - 2b
2a - 1a 2a - 1b 2a - 1c 2a - 1d 2b - 1c 2b - 1d 2b - 1e 2b - 1f 2c - 1c 2c - 1d 2c - 1e 2c - 1f 2d - 1e 2d - 1f 2d - 1g 2d - 1h
2e - 1e 2e - 1f 2e - 1g 2e - 1h 2f - 1g 2f - 1h 2f - 1a 2f - 1b 2g - 1g 2g - 1h 2g - 1a 2g - 1b 2h - 1a 2h - 1b 2h - 1c 2h - 1d
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Other books by Ralph Martin: Collection of Conga Rhythms This book is to help you gain a greater working knowledge of rhythms for playing congas, bongos or almost any percussion instrument. Included is an instruction and basic hand technique for congas. Among the many patterns presented are, Samba, Clave, Latin Rhythms, Afro-Latin, West African, Middle Eastern and many more. Exercises for Improvisation Exercises for any instrument using two of the most universal and basic chord patterns; the IIm7 – V7 & Imaj7 - VIm7 – Iim7 – V7 chord patterns. These chord patterns will greatly enhance any musician’s improvisation ability. Practice Regimen for the Beginning Player To get the most out of your practice time learn how and what to practice in each practice session. Learn how to increase your playing ability smoothly and consistently. This book was written with the dedicated Beginning player in mind. Practice Regimen for the Intermediate Player To get the most out of your practice time learn how and what to practice in each practice session. Learn how to increase your playing ability smoothly and consistently. This book was written with the dedicated Intermediate player in mind. Practice Regimen for the Advanced Player To get the most out of your practice time learn how and what to practice in each practice session. Learn how to increase your playing ability smoothly and consistently. This book was written with the dedicated Advanced player in mind. Selected Jazzified Bach Duets for Bb Instruments Selected Jazzified Bach Duets for C Instruments Selected Jazzified Bach Duets for Eb Instruments Selected Jazzified Bach Duets for Alto Sax & Tenor Sax Instruments Originally written for the piano, eight of J. S. Bach's two part inventions easily transform from classical inventions into jazz duets with only some minor modifications needed. This is a wonderful way to practice jazz both solo and with any player. Any book in the series can be used together with any other book in Selected Jazzified Bach series.
