Part 3: Begin to Design Solos back to contents

Introduction to
Improvisation
• Go by Sound and Feeling First
• Sing Phrases in Your Mind before Playing
• Quickly Recallable Rules
• Integrating Pitch and Time
• Using Scales and Chords in Improv
• Using Arpeggios In Improv
• Minimalist Themes
• The Power of the Fifth
• The Melodic Line
• Order of Melodic Importance
• Setup and Target Tones
• Clearly Establishing the Chords
• Phrasing and Drive
• Prepare for Modal Improv in Five Steps
• The Seven-Octave Forward and Back Slash System
• Major Mode Improv
• Minor Mode Improv with Aeolian and Harmonic Minor
• Blues Improv Modes
• Improv with Melodic Minor Modes
• Improv with Harmonic Major Modes
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page 2 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

GO BY SOUND AND FEELING FIRST

Begin any improvisation with a sense of the mood, genre, and the nature of the rhythm. Learn to choose
the scales, chords, melodic figures and rhythms you use as means of expression. If you are thinking and
feeling those elements as you learn to use them in the context of what they express, you’ll build the
ability to choose the appropriate elements for a song. Listen and feel. Develop your aural intuition.
Chords and scales express different emotions. Major chords and scales are happy, minor are sad,
diminished are depressed. Suspended chords are heavenly. Augmented chords are tormented. Rhythms
can be excited or calm, smooth or punchy.
Determine the feeling of the piece you are going to improvise on. Learn to use major and minor
pentatonic scales to express happy and sad moods. Learn to play regular rhythm for calm and offbeat
rhythm for provocative/on edge feeling.

rhythmic unity
We must feel the rhythm of other players and sense the regular pulse of the music along with the other
musicians and with the listeners. Everybody must be on the “same page” with the beat.

harmonic unity
In general, all the musicians play in the same key at any one time. The chord sounds generally match,
though some of the instruments may play darker or brighter colors, such as a soloist playing flatted
notes to darked and bluesify the mood.
Musicians in an ensemble may depict the chord progression differently in progression from one main
chord to another, but there is periodic agreement.

choose the scale

For melodic improv, first learn a scale fingering and improvise with it by ear. Learn the location of the
chord tones for each chord you are improvising on in simple terms first, such as chord fingerings.
Determine the key. It is named after the major or minor chord that the section you are improvising on
should end with, to sound complete. Usually the bass part is a good indicator. Find the note on the
sixth or fifth string that sounds like the bass note the piece should end on. That note is the tone center.
Then play major and minor pentatonic with that note on the tone center to determine whether the
section is basically minor or major. See Relative Major and Minor Pentatonic Scale, where the tone
center is a circled note, a “squared” note or a note shown on the fretboard in a black circle. Make sure
you understand that the fingerings are movable and are located by the circle, square or black.

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 3

be inventive rhythmically
Strum rhythms made with four-pulse rhythmic words, summarized below. Combine any two of the
four-pulse words. Then shorten the strumming stroke progressively, as described below.
Start by moving your hand in the air, in evenly-timed sets of down-up-down-up. The hand should
move very regularly like a metronome or pendulum. Speak the selections you intend to make of each set
of four. Start by speaking “down-up-down-up”, and “1-2-3-4” alternately. Gradually touch the strings
and strum a single chord.
Now repeat the procedure for gallop. Speak the selections you intend to make of each set of four.
Start by speaking “down-(miss)-down-up”, and “1-um-3-4” alternately. Gradually touch the strings and
strum a single chord. You should be missing the strings on the first “up”, which is “2”.
First strum the rhythm on all six muted strings, or holding a chord, as described above. Next, narrow
the strumming stoke length to three strings, then one string for single-note themes.
After picking a single note theme on one string with the same down up directions as when strumming,
apply play it to each note of a scale. So, you’re playing each note multiple times, playing the entire
rhythmic idea (like two four-pulse rhythmic words) on a single note, then the entire rhythmic idea on
the next higher or next lower note in the scale.
Next, play part of the rhythm on one note of the scale, the rest of the rhythm on the next higher or lower
note in the scale. Using two four-pulse rhythmic words, you could play one four-pulse word on one
note of the scale and the second four-pulse word on the next note in the scale.
Next, play the rhythmic idea (two four-pulse rhythmic words) up and down the scale, with one instance
of each note in the scale. Randomize the starting point in the scale. Practice starting by going down and
starting by going up the scale.
Start with these sample pairs of four-pulse rhythmic words, then make up your own combinations from
“all possible four-pulse rhythmic words” that follow below.

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page 4 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

sample pairs of four-pulse rhythmic words

all four/2-3-4 gallop/2-3-4 jingle bells/2-4
all four gallop jingle bells
1-2-3-4 2-3-4 1-3-4 2-3-4 1-2-3 2-4

                 
1 2 3 4 2 3 4 1 3 4 2 3 4 1 2 3 2 4

Creedence/gallop Creedence/24 234/Creedence

Creedence gallop Creedence Creedence
1-2-4 1-3-4 1-2-4 2-4 2-3-4 1-2-4

                
1 2 4 1 3 4 1 2 4 2 4 2 3 4 1 2 4

all possible four-pulse rhythmic words

nickname  all four jingle bells gallop Creedence
3 or 4 selections  1-2-3-4 1-2-3 1-3-4 1-2-4 2-3-4

               
1 2 3 4 1 2 3 1 3 4 1 2 4 2 3 4

two selections
1-2 1-3 1-4 2-3 2-4 3-4

           
1 2 1 3 1 4 2 3 2 4 3 4

one selection  1 2 3 4

   
1 2 3 4

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 5

SING PHRASES IN YOUR MIND BEFORE PLAYING

Aural Orientation, Not Mechanical
Singers and horn players (mouthpiece instruments and reed instruments) think in terms of sound,
not the mechanical process. Guitar players and keyboard players typically think in terms of graphic
patterns on their instruments, which does not make a good connection with the listener.
You should develop a collective imagination between you and your listeners, playing to a large extent what
they expect to hear. This must be done aurally, not mechanically. Play phrases that have a relationship
to what people know. Make new variations within the range of what the listener will accept.

Train Your Hands to Follow Your Mind’s Ear

sing an octave of a scale as you play it
Train your voice to sing each note in tune. It’s okay to sing the scale an octave lower if that’s more
comfortable for you. If you have any doubt that you are singing the notes correctly, sing into a tuner
that has a microphone to confirm. If you think you are tone deaf, you probably aren’t. You just need
training.
One student thought he was tone deaf. I asked to sing any note and retain it. Then I asked him to find
that note on the fourth string, He was able to do that. Then I asked him to slide up to the note both
with his voice and on the guitar, matching the sound. He was able to do that. Then I had him slide up
to a note one fret lower in pitch (toward the head of the guitar), which he did. After a bit of that, he was
able to play a pentatonic scale and sing each note. It was a little rough, but he did it. After repeating the
process a few times during a week, he was able to sing and play a pentatonic scale.
It is common that someone isn’t aware of the octave they are singing in. I suggest to them that they
could sing what they play in a low, middle or high octave. They can confirm with a tuner that has a
microphone and octave indications that their sung note is in the same octave as the one they are playing
on the guitar. A good tuner shows the octave with a number after the letter to indicate the octave.
Middle C is the middle note on a piano and is called “C4”. Ascending from “C4” up to “B”, each letter is
followed with “4”. Above “C4”, the next higher octave in pitch is “C5” through “B5”. Likewise, the next
lower octave in pitch below “C4” is “C3” through “B3”.

predict the notes by gradually muting them on the guitar

Continue to sing up and down the scale, as described above, but gradually stop sounding the notes on
the guitar, muting them, then only gesturing them by touching the fretted locations and not actually
picking the string.

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page 6 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

learn to free associate a small group of notes

Beginning with only three or four consecutive notes in a pentatonic scale, sing each note as you play
it. Develop the ability to think the notes in any order before you play them. For example, playing in
A minor pentatonic in the fifth position, fingering 1 (see Locating Pentatonic Scales), sing and play
various orders of “1, b3, 4), which are the notes “A, C and D”. Be inventive rhythmically. Repeat a note
consecutively. Bounce back and fourth between two notes.
That’s free-associating. Now, expand it gradually to four notes, then five. Progressively grow the ability
to free associate the entire position.

QUICKLY RECALLABLE RULES

You’re only going to have a second or two to recall many things you will use in improvising. So you have
to already know the subject and be able to express it. You may understand the element, but have you
practiced it in many instances, so you can “pull it out of the hat” in a performance?
Use your aural intuition first. Learn concepts about scales, chords and rhythms that you can summarize
into a simple rule. So simple that you can play intuitively and recall the rule. This can broaden the
possibilities of what you play and introduce more sophisticated elements in your music. To do so, you
must know the rule or simple set of rules well enough to it without a lot of conscious thought, giving
you the freedom to be expressive.
Rules may be regarding choice of scale, chord progression, rhythm or any element of music. They may
state what particular thing to focus on or something to avoid, so it may tell you what to include or what
to exclude (or both). It needs to be simple and easy to recall. Some examples follow (“listen for chord
tones”, “use a rhythmic theme”).

listen for chord tones

When a note seems to harmonize with the current chord, sustain it, repeat it, end the phrase with it.
Emphasize it in some manner. Using pentatonic scales, one of the two notes on each string will usually
harmonize with the current chord. It may be a note in the chord or a pleasing added harmony. You
will increase this ability when you learn graphically where the chord tones are and which of them are
in the scale, but you can sense that by ear now. You should always use your ear (your aural sense) first,
then elaborate it with your intellect.

change the rhythmic level, leave “breaths”

Especially leave “breaths” at the end of your phrases with a sustained note or silence (rest), to separate
the phrase from the next. This can also be done with a device like ending your phrase with something

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 7

that sounds like a different instrumental part, with muted notes, notes in a higher or lower octave, or
notes at a different rhythmic level (see below).
More often, you should vary the rhythmic level, playing some parts of phrases (or some phrases) with
fast notes, some with long notes. For example, base your melody on eighth notes, two notes per beat.
End your phrases with sixteenth notes (four per beat) or half notes (one note every two beats) to add
diversity.

make patterns with phrase start points

Phrases are typically two bars long. They end with a period of sustain, silence, or some kind of
de-emphasis. Phrases can start on the first beat, before the first beat (on the “and” of “4” in 4/4 on “4”,
or earlier in the bar before the first beat), or after the first beat (on the “and” of “1”, on “2”, etc.).
Usually you should not start all your phrases in the same part of the bar. It is more interesting when
there are patterns to the phrase start points. For example, an eight-bar section, containing four two-bar
phrases could be patterned “before, on, before, on” in regard to phrasing.

Before The Chord Begins. Cadences or stepwise superimposed chords can suggest a succession of
chords which predict the next chord. The next chord can also be previewed by playing its arpeggio and
supporting scale immediately before the chord actually occurs.

At The Beginning Of The Chord. Phrases starting at the beginning of the chord are very obvious and
can be boring. Be careful not to overuse them.

After The Beginning Of The Chord. Similar to using all phrases starting at the beginning of the
chord, using all phrases starting after the beginning of the chord can be boring. Variety and patterning
is preferred, such as a four-phrase section with the first three phrases each starting on the first beat and
the last one of the section starting after the first beat to signify the end of the section. Phrases starting
after the first beat allow you hear the chord being established by the accompaniment, followed by a
melodic response to it.

Overlapping Phrases. Often what seem initially to be a long phrase turns out to be two phrases with
connecting material. The sub phrase of a few notes that rhythmically and harmonically resolves the
first phrase also serves as the beginning of the next phrase.

vary rhythms in your melody

In creating comping rhythms, you can use five elements to vary rhythms to create a seemingly infinite
library of rhythms: push, pickup, add a note on an empty beat, replace a quarter with a pair of eighths
and consecutive syncopations. With the standard downstroke on the beat, consecutive syncopations are
consecutive upstrokes. Those same elements can be applied to single-note improvisation.

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flat the third in a major key for blues

In a major key blues, like a I IV V (C F G) blues in C, you can take the option of flatting the third
(change “E” to “Eb” in the key of C) at any time. It’s almost mandatory that you flat the third if the chord
has a flatted third, though there are exceptions.
In his uncanny manner, Charlie Parker, bebop alto saxophonist would often play a major melody with
a natural three (“E” in the key of C) when the accompaniment was playing a flat three. Then, the effect
is that the accompaniment is playing darkened tones, with the flat three. Similarly, Charlie would play
harmonic minor with a natural seven when the chord had a flat seven.

flat the third on a IV chord in blues

In blues improv, you should generally flat the third of the key when making melody on a IV7 chord,
since it is constructed with 4-6-1-b3 of the key. So, in the key of C, you should flat the third (change
“E” to “Eb”) during the IV chord, which is “F”. The IV chord (F in the key of C) may only be major in
the accompaniment, but you can suggest it is a IV7 chord (F7 in the key of C).

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 9

INTEGRATING PITCH AND TIME

Integral Improv
Integral improv is intended to isolate and master each of the elements of pitch and rhythm, so they can
be used intuitively and not interrupt our expression.

Pitch Elements
note sets
Collections of two to twelve different notes are note sets. Pairs of different notes are called intervals.
Groups of three or more different notes played at once are called chords. Chords tend to use notes of
intervals of a minor third (three semi-tones, half steps or frets) or larger. Most note sets encompass an
interval of an octave or less, but larger intervals and larger chords span more than an octave.
Examples of combinations of pentatonic scales, arpeggios and seven-tone (heptatonic) scales are shown
in Level 2 Improv: Pentatonics and Modes.

musical structures and design

Note sets are conceived in simple repeating patterns. When note sets have irregular and abstract
patterns, they fall into the design category.
The consecutive order of note sets of primarily half and whole steps makeup scales. Consecutive order
of note sets primarily in thirds makeup arpeggios. Major thirds are equivalent to the interval from
the first to third step of a major scale, which is two whole steps, four frets or two whole tones (all
equivalent). Minor thirds are a half step smaller, which is one and a half steps, three frets or one and a
half tones (all equivalent).
Cells are the smallest units of melody, of three to seven notes, rarely more. A single cell is a structure,
but when you combine cells or repeat a cell on different notes, you are making a design.

map the fretboard

• Strum the chord changes (the chord progression) with chord fingerings and with appropriate
comping rhythms playing through with one comping example, then another.
• Begin your work on the smaller four strings, since solos are more typically performed on
them.
• Attempt to retain the range as you change chords by starting the next arpeggio or scale on

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the nearest chord tone, not necessarily starting on the root of the next chord. In retaining
the range, orient the next arpeggio either to the first or last note you played on the previous
arpeggio. Orienting to the first note is usually more straightforward. Use common tones to
start each chord where possible, otherwise the nearest chord tone.
• It is preferred that you begin a chord on its root, third or fifth, not the seventh. Chord tones
are preferred on all rhythmically important beats, such as the third beat in 4/4 time.
• Where the last note you would play on one chord would redundantly be the same note as
the first note of the next chord, change the last note on the previous chord to an upper or
lower neighbor of the first tone in the next chord. The upper or lower neighbor may be a
pentatonic scale interval up to a minor third (three frets).
core melodic tones
The primary melodic tones are those in both the current key scale and in the current chord. See Core
Melody.

harmonic theme and variation

Establish a theme. See Minimalist Themes

decoration with slurs

Slide, hammer, pull-off, bend, release bend, tremolo pre-drop and return, tremolo flick (Greg Gillis
of Night Ranger). Usually these use non-chordal tones. The non-chordal tones would usually be of
shorter duration.

ornamentation with non-chordal tones

Grace notes are short decorative notes that lead into main melody notes or quickly move adjacent
to main melody notes. Ornamentation includes grace notes, multiple grace notes, and the use of an
arpeggio as multiple grace notes. Classical ornamentation includes the turn and mordent. In the turn,
a main melody note is played, followed by a note above it, below it, then returning to the main melody
note. With a mordent, the main melody note alternates rapidly with the note above it (upper mordent)
or below it (lower mordent).
Bebop ornamentation is similar to baroque ornamentation, but often uses flatted versions of notes in a
quick flurry, darkening the mode briefly.
Lower chromatic embellishment precedes each note with one a half step below it, especially as in jazz.
These are commonly slurred and more frequently applied to chord tones.

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Time Elements
choose the rhythmic elements
Using a repeating rhythm from Melodic Rhythms (especially four through seven note rhythms) for
every two beats of 4/4 or for every three beats of 3/4 to play up and down one octave from each tone of
each scale or arpeggio. Play up and down from any chord tone for an octave.
Tend to play chord tones on the beat, or on rhythmically emphasized parts of the beat. Whatever
parts of the bar are primary accents played by the accompaniment, such as one and the and of two (the
beginning beat one and the last half of beat two), you should tend to play as chord tones.
Apply rhythmic words in this straightforward manner:

• six-note rhythms for triad arpeggios

• four-note rhythms for quadrad (usually seventh chord) arpeggios
• five-note rhythms for pentatonic scales
• seven-note rhythms for major scales
pattern your phrase start points
Phrases are typically two bars long. They can start before, on or after the first beat. It is best to make
patterns of your phrase start points. For example, play four two-bar phrases with the pattern on, before,
on, before.

use an interesting rhythmic theme

You could strum rhythms from Four-Pulse Rhythmic Words or Six-Pulse Rhythmic Words for ideas
on muted strings, followed by playing same rhythm on a scale or melodic cell. Practice strumming a
melodic rhythm on muted strings, then employing it into a melodic line.

pickups and pushes

Pickups and pushes are a simple way to make your phrases more interesting. See Push and Pickup.

create a story with the emotive curve

Imagine a graph of the emotive intensity in a song, showing time from left to right and intensity from
bottom to top. A time-based artistic expression like a film, a song, or a play usually has peaks and ebbs

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of intensity with a climax of intensity near the end. Consider different contexts of such an emotive
curve: rhythmic, dynamic, textural, tonal, etc. Design the curve with its peaks and ebbs.

make your phrases breathe

Combine long and short durations or legato versus staccato. Combine calm long notes and exciting
flurries of fast notes.

other chapters
See also Rhythmic Themes and Layers, Relating Chord Tones to the Beat and Core Melody Built With

Duality Tones.

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 13

USING SCALES AND CHORDS IN IMPROV

Key Scales, Parent Scales and Chord Scales
key scales
A parent scale is a reference scale from which a scale or mode was derived. Most commonly, a major scale
is used as a parent scale. Any of the modes of the major scale would refer to that major scale (which
was their source) as their parent scale. Other parent scales are major #5, major b3 and major b6, each of
which have seven modes like the major scale and are simple modifications of the major scale.
C major scale uses the notes C, D, E, F, G, A, B and C. Modes are constructed on each of the tones
of the C major scale. The Discovering the Modes of the C major Scale section of the Modes chapter
demonstrates modes of the C major scale. Those modes all have the C major scale as their parent scale.

parent scales
Parent scales are the common major scale or simple modification of a major scale, such as melodic minor
(major scale flat three) on which a mode is based. Parent scales are used as a reference and do not imply
the key on the note that names the parent scale, although it can be.
A Aeolian, for example, uses a C major parent scale. An example of A Aeolian would play the C major
scale from scale tone six to six, from A to A. You could be playing on a Dm chord with an A Aeolian
scale using a C major scale with the tone center on A.

chord scales
Chord scales are named after the current chord and are usually used to consider the elaboration of the
current chord, not to establish a permanent key on that chord.

key scales, parent scales and chord scales in practice, an example

Consider this situation: you are in the key of C (sounding as if the music should end on a C chord) and
the melody is made up with C Mixolydian (a C major scale with a flat seven) while you are currently
on an “Bb” chord (you’re focusing on a bar with a Bb chord). The key is C. Since C Mixolydian is a C
major scale with a flatted seventh and has the same notes as F major scale, The parent scale would be F
major. Since the current chord is Bb, naming the notes in use with a Bb tone center is Bb Lydian. All
three scales (C Mixolydian, F major and Bb Lydian) have the same notes: C-D-E-F-G-A-Bb-C. It’s just
a matter of naming them with the revelant note in the context you are considering.

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prefer key scales to chord scales

In expecting what they will hear next, the listener tends to predict the next part of the melody at any
point, along with the improviser. The improviser has a clearer idea of what will be played next, but the
listener that has a similar background in listening to music will predict much the same thing as the
improviser. Listeners are usually more oriented to vocal melody which is more related to key scales than
to chord scales. Key scales are more direct for the listener, who is typically not well-trained at thinking
different scales for each chord as someone might be on a mechanical instrument such as the guitar or
piano where the scale relationships have a more tangible graphic and visual relationship.

emphasize chord tones within key scales

In addition to preferring key scales, emphasize notes of the current chord that are common to a key
scale. I call these core melodic tones. See Tonal Themes And Schemes.

chord families
Chord qualities can vary within the same family. Within each chord family, the triad part of the chord
is consistent and the chords in the family share a common mood. The common families are:
chord family variants
major major, ma7, ma9, ma9/6, ma7/6, 6, add 9, 6/9
dominant 7 major, 7, 9, 13 no 11 = 9/6, 7/6, 6, add 9, 6/9
altered dominant augmented, major b5, 7 (with any or all: b5-#5-b9-#9); 9b5, 9#5
minor minor, minor 7, minor 9, minor 11, minor 13, m6, m add 9, m6/9
diminished diminished, dim.7, m7b5, m9b5

elaboration and abbreviation of chord progression

Chord progressions that change within the range of a beat to two bars can be abbreviated. Common
abbreviations are playing a II V change as if it were II or as if it were V. Of course, this should be done
discretely. For example, in playing IIm over II and V, IIm7 works well for the II and IIm6 for the V,
since IIm6 = V9 no root. Or, the IIm7 sound may work over both chords. Each situation is unique and
must be auditioned in the mind and preferably by testing the sounds in playing.

pentatonic scales
Use Im pentatonic (five tone) scale during any of the chords, but especially during the Im chord.
Whatever chord it is used on, you should generally emphasize the note of the current chord
optionally with the chromatic note between 4 and 5. This note has three uses:

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• As a lower chromatic embellishment, where it is used before scale tone 5. In this case, it would
be called “ #4”.
• As a passing chromatic tone between 4 and 5, where it would be called #4 in ascending and b5
in descending.
• As a changed scale tone, changing the common minor pentatonic scale (m7/11) to minor
7/11b5.

blue notes
Flatted three, five and seven in a scale can be used expressively against a chord that has the natural
version of the same number. This is a mood-darkening expression, common to blues-related styles.
They are commonly called blue notes.

major scale and Aeolian mode as key scales

Major scale includes the notes of a major chord (1, 3, 5) on its tone center (the note after which it is
named). Aeolian mode (1, 2, b3, 4, 5, b6, b7 of a major scale) is a minor scale, since it includes the notes
of a minor chord (1, b3, 5 of a major scale) on its tone center.
In music originated in Europe and Africa, the major scale has been the reference scale for all other
scales beginning with the common practice period of classical music in Europe in 1600. For as many
years, the major scale and a mode on its sixth step have been the primary scales in the relative major
and minor system. If a song is in a major key where it is expected to end on a major chord, it has been
presumed that it is based on the major scale. If in a minor key, a song has been presumed to be based
on the Aeolian mode.

Mixolydian, Dorian and other modes as key scales

Other modes based on a major chord include Mixolydian which has a b7 and has a darker mood and
Lydian mode which has a #4 with a more exotic mood. Dorian is a minor scale with a natural 6 with
a brighter mood while Phrygian is a minor scale with a middle-eastern sound (1-2-b3-4-5-b6-b7 of
major).
Mixolydian mode can be thought of as a major scale from five to five, with the key on five (C major scale
from five to five is G-A-B-C-D-E-F-G). Or, it can be a different major scale with a flatted seventh (G
major scale with flat seven is G-A-B-C-D-E-F-G).
Dorian mode is used in blues-related styles as darkened version of Mixolydian. Mixolydian has a flat
seven (G major scale with flat seven is G Mixolydian, G-A-B-C-D-E-F-G). Dorian has a flatted third
as well, which darkens the mood further. In modal jazz, Latin rock or similar styles, Dorian can be used
as a mode in its own right. Dorian examples are Afro Blue, Evil Ways, Oye Como Va, Milestones, Put
It Where You Want It, Take Five, Chameleon, Soul Sauce, This Masquerade (Benson solo section), In
Memory of Elizabeth Reed (Allman Brothers), I Wish.
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page 16 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

USING ARPEGGIOS IN IMPROV

An Arpeggio for Each Chord
Arpeggios can be used to represent each chord in a chord progression. For chords that have a long
duration, this works well. Duration is time-based, not beat-based. If you are playing at a very fast
tempo, it may be difficult to play and hear an arpeggio for chords with a duration of two to four beats.
At a slow tempo, it is easier to play and hear an arpeggio for each chord. When the duration of chords
are short, consider abbreviating the chord progression and using one arpeggio over a few chords. See “A
Single Arpeggio Used to Represent a Few Chords, below.
The arpeggio for a particular chord can be named after the chord, or may be substitute. You can learn
about substitute chords (arpeggios are chords played one note at a time) in the chapter Substitution.

A Single Arpeggio Used to Represent a Few Chords

When chords are changing quickly and it is difficult to play and hear an arpeggio for each chord,
abbreviate the chord progression. Determine the temporary key sound for a few chords and play an
arpeggio to represent that key. Here are some common examples.

common abbreviated chord progression

duration of all chords original chord progression abbreviated progression
(one second is two beats
at 120 BPM) in letters in numbers in letters in numbers
unlimited Cma7-Fma7 Ima7-IVma7 Cma7 Ima7
unlimited Cma7-Am7 (or C-Am) Ima7-VIm7 (or I-VIm) Cma7 (or C) Ima7 (or I)
unlimited Am7-Fma7 (or Am-F) Im7
two seconds or less Cma7-Am7-Dm7-G7 Ima7-VIm7-IIm7-V7 Cma7 Ima7
2 to 4 seconds Cma7-Am7-Dm7-G7 Ima7-VIm7-IIm7-V7 Cma7-Dm7 Ima7-IIm7
two seconds or less Am7-Am7-Bm7b5-E7 Im7-Im7-IIm7b5-E7 Am7 Im7
2 to 4 seconds Am7-Am7-Bm7b5-E7 Im7-Im7-IIm7b5-E7 Am7-E7 Im7-V7
two seconds or less Am7-G6 (or Am-G) Im7-bVII6 (or Im-bVII) Am7 (or Am) Im7 (or Im)

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 17

Memorize Seventh Arpeggios Thoroughly

a challenge with ninth and larger arpeggios
When you ascend or descend to the tone center using a scale in improv, you can usually continue to
ascend or descend, without any accomidation. When you ascend or descend a ninth or larger arpeggio
to its tones that are the ninth or higher, you would need to come back to the octave to continue ascending
or descending.
° 4 œ œ œ œ œ
q = 125

œ œ œ œ Œ Ó œ œ œ œ Œ Ó
&4 œ œ œ œ œ
œ œ
root b3 5 b7 9 root b3 5 b7 9 9 b7 5 b3 root 9 b7 5 b3 root
7 7

¢⁄
5 8 8 5
5 5
5 9 7 7 9 5
7 7
5 8 8 5

seventh arpeggios can continue past the root, like scales

When you ascend or descend to the chord root using seventh arpeggio in improv, you can continue to
ascend or descend, without any accommodation. This makes it easier to play a fast passage. Although
the ninth and larger arpeggios are more colorful, you should use seventh arpeggios when speed is the
issue, since they are so much easier to recall and play. To take advantage of this, you should thoroughly
memorize Quadrad Arpeggios (in the Prime Scales, Chords and Arpeggios chapter).

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page 18 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

MINIMALIST THEMES
Two notes alone don’t make an interesting theme. They need repetition and something to make the
repetitions different from one another. It’s also challenging to make a theme interesting with three or
four notes. But it can be done. In fact, the secret to great improvisation and composition is focusing on
very few notes and use theme and variation and interesting connective material between the thematic
content.

Choosing the Notes

notes of the tonic chord work best
To build a tonic chord, are built on the tone center (tone 1) of the key, most commonly with every other
note, such as 1-3-5-7. The most common tonic chords are triads (three notes, 1-3-5) or quadrads (four
notes, 1-3-5 7). A quadrad may also be a sixth chord with 1-3-5-6.. The best tones to emphasize are
one and five (tones one and five of a major scale named after the key), 1-3 or 1-b3, 5-b7 (not so much
5-7), 3-5 or b3-5 (less common), 6-1.

Making the Repetitions Different

To vary the repetitions of the theme, use interesting rhythm, slurs, ornamentation with non-chordal
tones (see Tonal Themes and Schemes), harmony (commonly thirds and sixths), double stops, top-voice
leading, timbre. All of these are components of Theme and Variation.

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 19

THE POWER OF THE FIFTH

Of all the intervals to use in improvising, the fifth is strongest. Seconds are just stepwise movement.
Thirds are what build arpeggios. Both of those are well-worn in our music repertoire. Fourths have
been exploited in use of pentatonic scales, since the common pentatonic builds fourths with every other
note for four of its five tones. Melody works best with intervals of a fifth or smaller.
The fifth is such a strong, primal interval. Arpeggios and chords are built in standard practice with
fifths within ninth arpeggios
every other tone of a seven tone scale (like the major scale). Every other arpeggio tone is a fifth.

fifths within ninth arpeggios

° 4œ œ œ œ œ œ œ œ œ œ Ó
CŒ„Š9 œ C9
œ œbœ œ œ œbœ œ œ
&4 œ œ Ó

7 10 7 10

¢⁄
8 8 8 8 8 11 8 8 11 8
9 9 9 9
10 10 10 10

° œ œ bœ b œ œ œ b œ bœ œ œ
5 C‹9 œ bœ bœ b œ œ œ œ b œ bœ bœ
C‹9(b5)

& Ó œ œ Ó

10 10

¢⁄
8 11 8 8 11 8 11 11
8 8 11 8 11 11 8 11
10 10 10 10

° œ nœ nœ b œ œ œ b œ œ œ œ
9 C7(b9) bœ bœ œ b œ œ b œ œ b œ œ bœ
C7[áÁ]

& Ó œ œ Ó

9 9

¢⁄
8 11 8 8 11 8 11 11
9 9 11 9 11 11 9 11
10 10 10 10

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page 20 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

THE MELODIC LINE

The most basic components of melody are pitch and rhythm.
Each musical note has its own pitch, or speed of vibration. Pitch needs to relate to the community of
other instruments in the performance in regard to chords, which are multiple notes played simultane-
ously. Rhythm should relate to the other instruments regarding rhythmic themes based on a regular
pulse.
The melodic curve or melodic line conceptually represents rhythmic horizontally and pitch vertically on
a timeline.

ORDER OF MELODIC IMPORTANCE

Tones have an order of melodic importance in relation to both the key and the current chord. The tones
of the key are more important than those of the current chord, since the listener thinks primarily in
terms of the key.
Consider the order of melodic importance for the tonic chord (the chord that names the key) first.
Secondly, consider the order for the current chord. Tones that are common to a key scale and the
current chord are the core melodic tones and are highly preferred in melody.
The order of melodic importance for the tonic chord are the root, the fifth, then the coloring tones of
the chord. Coloring tones are the third, the seventh, and any other tone implied by the chord name.
The weight of importance can be established by the genre or style of the song and performer. Next in
the order of melodic importance are the non-chordal scale tones, notes in the scale but not the chord.
Last in the order of melodic importance are the chromatic tones, which are all the notes that are left.
Last place goes to notes that are particularly out of character, such as a major third (scale tone 3 of
a major scale on the chord root) on a minor chord or a major seventh on an chord that has a minor
seventh.

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 21

SETUP AND TARGET TONES

Target tones are chord tones of the next chord. Setup tones are those that melodically lead to tones of
the next chord. Upper and lower neighboring tones are the most common setup tones. When the first
tone of the target chord will be its root, its fifth can be used immediately before it as a setup tone.

Target Tone Sequences

The core of a melody is its target tones, the notes common to the scale and arpeggio you are depicting
at any moment.
The best way to progressively build your improvising ability is:

• practice the scales and arpeggios you intend on using

• determine the target tones that are common to each chord (arpeggio) and scale
• using your intuitive right brain, thinking vocally, create a sequence of target tones in long
durations, roughly equal four to six fast notes
• create many melodic designs on each target tone sequence, so you become expert at connecting
target tones
• become so good at creating target tone sequences that you can do it while improvising

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page 22 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

CLEARLY ESTABLISHING THE CHORDS

The two clearest ways to establish a chord are to melodically imply a succession of chords that leads to
the chord or to preview the chord by playing its arpeggio tones or scale that contains its chord tones
immediately before the chord occurs.

Logical Structure Of The Melody Versus The Actual Chord Progression

It can become less important to establish a chord when the melodic content is highly structured and
logical, so that it stands on its own. The melody may temporarily take on a life of its own, causing a
second harmonic structure. In such a case, the melody and accompaniment each suggest their own
chord progression, most often agreeing on the same one, but sometimes differing. When they differ, the
melody is referred to as outside. Its sort of like the public speaking tact of speaking on the subject you
want to be addressed, regardless of the topic.
To make outside playing more acceptable, phrases may have little to do with the current chord, but are
convincing as part of a serial structure (repeated structures).

Masking The Harmonic Remoteness Of The Chords

When chords in a progression are particularly disrelated harmonically, weigh heavier on
the logical structure. Grab the attention with another aspect, such as successions of notes
in thirds, a fragment pattern (repeating numeric sequence of scale or arpeggio tones),
wailing on the tremolo bar, a blurring fast scale or whatever. In any case, be sure to “nail”
a chord tone at the beginning of the chord.

Perfect Fourth and Chromatic Cadences

Melody commonly implies cadences (short well-known chord progressions) with root movement up
in perfect fourths (equal to down in perfect fifths). Dominant chords moving down chromatically to a
target chord’s root are flat five substitutes. See Flat Five Substitute Chord Progression.

Neighbor Tone Chords

Implied chords built on the next higher or lower chord tone from the root of the target chord can be
used immediately before the target chord. The tones of the neighbor chord include many of the tones
not in the target chord, so they create to create a soft tension and resolve to the target chord.

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 23

PHRASING AND DRIVE

Phrases Start on, Before or After the First Beat
Music is so much more interesting to experience if there is some creative pattern to sequences of phrases
in regard to there starting point in relation to the first beat. Phrases are typically two or four bars in
length.
Try improvising a number of phrases, say four phrases, with every one starting in the same part of the
bar, on the first beat for example. Now, instead play four phrases with a varied pattern, such as “before,
before, before, on”. You will probably find the varied phrases start points more interesting.
That isn’t to say that sets of phrases can’t have the same start point. If the other elements of melodic
and harmonic design are highly creative and interesting, varied start points might not be essential. But,
varied start points in phrasing is an element not to miss.

Creating Drive and Movement

Plays were performed in ancient Greece with one of the players tapping their foot with a regular beat
with bells on their ankle. It was used as rhythmic reference point for the cast. The bells were not audible
to the audience, nor was their beat necessarily duplicated in the lines spoken by the cast members.
Unfortunately, the prominence of this kind of beat developed into a strict and limiting sense of bar units
in European music. Very predictable.
Fortunately, American music has counter-acted this tendency in the last hundred years or so, particularly
with the colorful abstract influence of African Americans. By playing up to the first beat, but not on it
and by generally playing alot on the “offbeats”, music creates more tension and a greater feeling of music.
It is better when the beat is less predictable.
Play sets of two or four phrases, ending just before the first beat on each phrase until on the beat in the
last phrase.
Pickups are short groups of notes (or even a single note) played immediately before the first beat of a bar.
They “lead into” and rhythmically anticipate the bar. It is particularly interesting to play pickups without
playing on the first beat they predict.
Try playing consecutive pickups, not rhythmically resolving to the beat. The melody to Miles Davis’
song Four does this.
Consecutive offbeats (playing on the “and” but not on the numbered beat) is an effective device to build
tension. This is common to funk music such as James Brown or Tower Of Power. Practice phrases with
consecutive offbeats. Funky.
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page 24 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

PREPARE FOR MODAL IMPROV IN FIVE STEPS

1. Arpeggios and Scales
2. Phrasing
3. Decoration
4. Rhythmic and Harmonic Theme and Variation
5. Design with Melodic Cells

What Is A Mode?
tone center
A tone center is the root of the chord you would expect a piece to end on. You would expect a chord
progression to end on a chord which gives a feeling of resolution. That chord would be the tonic chord,
or main chord in the progression. If the tonic chord is Cm7, the tone center is “C.” If the tonic chord is
“Ebm”, the tone center is “Eb.”

key
A song is said to be in a key named after the tone center. If the tone center is “A”, the song is said to be
in the key of “A”. The key may be further qualified by the scale or mode type, such as “A” major, “A” minor
or “A” Mixolydian.
The term “minor” is commonly used loosely in key names where the song may be in any mode which has
a minor chord built on the tone center (e.g., Dorian Aeolian or harmonic minor). Likewise, the term
major is sometimes used in reference to any mode which has a major chord built on the tone center (e.g.,
Ionian, Mixolydian, Lydian or Phrygian major).

mode
A mode is a seven tone scale with the tone center on a particular not, which establishes a key on that
note. Any note of a scale could be designated as the key. Each of the different scale tones of a scale will
produce a different mood when it is used as the tone center. So, using each of the different scale tones
as a tone center and key produce a different mode.
The four common modes are major (Ionian mode), Dorian mode, Mixolydian mode and Aeolian mode,
respectively built on steps one, two, five and six of major scales. Of the remaining modes, Lydian on
step four and Phrygian on step three are rare. Locrian the mode on step seven of the major scale is very
rarely used as a key.

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Custom Choice of Fingering

Some modal situations require special choices of fingering. Play in major modes with major (Ionian) or
Mixolydian. Play in minor mode with Aeolian and harmonic minor. Playing blues with of Mixolydian
and Dorian. Play jazz with bVI melodic minor, with the I chord in major, Mixolydian, Dorian or Aeolian
and melodic minor on flat six of the key to produce super-altered V-type chords or the bII13#11 flat
five substitute.
In each case, the set of preferred fingerings are shown along with a table to shown the numbered tones
you would choose for scale tone chords or arpeggios.

1. Modal Improv with Arpeggios and Scales

Start with simple progressions. Two-chord progressinos like I-IV (C-F, G-C or F-Bb), Im-V (Am-E,
Dm-A or Em-B), or I7-IV7 are good (C7-F7, G7-C7 or F7-Bb7). Use arpeggios, pentatonic scales
and seven tone scales. Use elements of field hollars, work songs (more) and African indigenous chants.

agreement & disagreement in spelling of adjacent chords

Be able to site the parent scale thirds in letters and numbers for scale-tone triads, seventh and ninth
chords. Learn Key Signatures. Study Voice Leading/Perfect Four Cadences/Descend Five and Seven.
See Commonality Chords.
Look for agreement and disagreement with letters in chord spelling. Considering scales for two or
more consecutive chords, look for a single scale that includes all of their notes by spelling the chords to
see if there are more than one version of each letter (C and C#), in which case you would multiple scales.
You can use mismatched scales with the chords such as A harmonic minor (with G#) over Am7 (with
G natural) where the A harmonic would be a familiar middle eastern or flamenco sound (avoiding log
durations of G# in the melody with G natural in the chords).

example: Black Orpheus in Am

Consider enharmonic spellings (such as G# and Ab) and choose the version appropriate to compare to
another chord (a scale with Db has the same note as C# for an A7 chord with C#). Playing Dm11 G7
(or G7b9 or G7#5) Cma9 (using G7b9 as if C was going to be Cm) could use (1) Dm7b5 (bluesy)
G7b9 Cma7 as part of C harmonic major or (2) Dm7 (vanilla) as part of C major, except C harmonic
minor during G7b9. G7b9 no root is Bº7=Dº7=Fº7=G#º7 (memorize dim7 & scale fingerings 1, 2
& 3).
G augmented is the basis of G7#5 (G whole tone in C major is b7-1-2-3-b5-b6 of G, where b7-1-2-3
is part of C major scale). Learn augmented arpeggio fingerings. V whole tone scale is more appropriate
for the key of I major than I minor, since I minor typically has a V7b9. You Are the Sunshine of My Life

©2015-2024 Jim Gleason. All Rights Reserved.

page 26 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

intro has F# aug/F# whole tone scale ascending in major thirds. Playing Bm7b5 E7b9 Am7 E7b9 no
root is Bº7=Dº7=Fº7=Abº7.

see the seven-octave pentatonic forward and back slash system

combine scales and arpeggios

Combine, pentatonic licks, arpeggios (see Prime Chords, Scales and Arpeggios/Triad Chords &
Arpeggios), seven tone scales, Fragment Patterns (with anti-metric grouping and rhythmic displacement).

chord-beat relationship
See “Relating Chord Tones to the Beat”/Six-Tone Scales with Triad Tones on the Beat. Tend to put
chord tones on the beat, or before beat with a “push” where you play immediately before the beat, then
sustain onto the beat or leave a silence on the beat. Appoggiaturas are non-chordal tones played on the
beat, then resolved to a chord tone (usually by a small interval of a scale step). The melody to Yesterday
uses an appoggiatura on the key major chord, then on the relative minor.

2. Phrasing
play in phrases with pauses
Phrases are usually from one to four bars long, most commonly two bars. Most of your improvisation
should be phrased like speaking with breaths. End phrases with a rest (silence) or sustain. This gives
the listener opportunity to contemplate your melodic statements and it gives you the chance to create
theme and variation and to make sections with your phrases. In eight bars, you may play four two-bar
phrases, varying as to their start points (see below), in relation to the first beat of every two bars, before-
before-before-on. Your first and third phrases could each be a statement and your second and fourth
phrases responses.

create patterns with phrase start points

Phrases can start on, before or after the first beat of the bar. Phrases are most commonly two bars long,
but can be one or four (rarely three bars). Be patterned and diverse. For example, play three phrases
that start before the first beat followed by a fourth phrase starting on the first beat to signify the end of
a section.
The verse to A Whiter Shade of Pale has sets of three two-bar phrases to create an imbalance and suggest
a nauseous feeling of someone that’s had to much to drink.

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 27

linear heptatonic pickups and pushes

Segue into phrases that start before the first beat of the chord creating a cadence with a tones of a
setup chord (often dissonant) before the first beat of the target chord, creating tension and release. Or
anticipate the target chord by using a pickup with an arpeggio or scale that represents the target chord.
Use three-note linear heptatonic pickups with eighth notes in 4/4 starting on the and of three and
starting a third above or below the third note to to create chord tone push. Not easy? Okay, practice
the 1-3 fragment pattern (thirds).
Four-note linear heptatonic pickups with eighth notes in 4/4 starting on three and starting a fourth
above or below the fourth note to to create chord tone push. Not easy? Okay, practice the 1-4 fragment
pattern (fourths). Remember the major scale can be all perfect fourths, except 4 up to 7 or 7 down to
4 is an augmented fourth. Also, remember the skewing of the fretboard pattern between the third and
second string because of the change of tuning.
Pickups with the target on the beat with linear heptatonic scales use an interval one number larger
than the number of notes in the pickup. A four note pickup including the target on the beat would use
an interval of a fifth.
Pickups can use scale non-linearly with a melodic theme.

mix slow and fast elements in phrases

Base a phrase on lyrical vocal-oriented melody. Sing phrases as you play them on guitar. Segue in or
out of the phrases with bursts of fast notes.

3. Ornamentation
use ornamentation like mordents and turns
Upper mordents move from a note up a scale tone, then back. Lower mordents move down a scale tone
from a note, then back. Upper turns move up-back-down-back. Lower turns move down-back-up-
back.

chromatic embellishment, chromaticized arpeggios, chromatized scales

Chromaticism started showing up in the late nineteenth century composition of eastern European
and Russian composers like Chopin, Tchaikovsky and Stravinsky, the reflected by ragtime composers
including Scott Joplin an Jelly Roll Morton. It influenced blues and most American pop. By the time
bebop started in the early 1940’s, it became very sophisticated with chromatic encircling, chromatic
enclosure and other designs. See the chapters Chromaticized Arpeggios and Chromaticized Scales on
Arpeggios.

©2015-2024 Jim Gleason. All Rights Reserved.

page 28 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Lower chromtic embellishment is common in jazz, where any chord tone can be preceded by a note
a half step (one fret) below. This is least often done with the root, perhaps because it is too obvious.
The lower chromatic embellishment is a well-established convention, but its hypothetical counterpart
an “upper chromatic embellishment” is generally not used, since it hasn’t been established common
repertoire. Approaching a chord note from a half step below doesn’t require that the lower chromatic
note is in the scale being used, while approaching a chord note from a half step above doesn’t sound
right unless it is in the scale.

mix staccato and legato (tenuto)

Use a mixture of short notes (staccato) and long notes (legato phrases with long tenuto notes). The
themer to Europa is a good example of a combination of staccato and tenuto.

4. Theme and Variation

use harmonic and rhythmic theme and variation (either or both)
Restate themes with the pitches changed to represent a different chord or scale. Or restate themes by
using the same notes but changing the rhythm by displacing the theme earlier or later in time or by
repeating it in such a manner that each instance starts on a different part of the bar. For example, a three
note theme in half beats, first starting on the beat, then startting on the offbeat.

change rhythmic level

In 4/4 or 3/4, combine half notes (2 beats), quarter notes (1 beat), eighth notes (1/2 beat), eighth
triplets (1/3 beat, three on a beat), sixteenths (1/4 beat, 4 on a beat), sixteenth sextuplets (1/6 beat, 6
on a beat).

learn all the four-pulse and three-pulse rhythmic words to create melodic rhythm
See the chapter “Rhythmic Words and Comping”.

offbeat rhythm
For a jazzy, funky or salsa rhythm, play many offbeats in your phrases, sometimes consecutive offbeats.
See Offbeat Family of Rhythms. Salsa piano uses consecutive offbeats

use straight versus swing eighths or swing sixteenths

Regular swing divides the beat into three parts where you play on the first and third part. In that
situation, the first note is 2/3 of a beat and the second note 1/3 of a beat. There is also degrees of swing,
where the first note may be anywhere from 50% to 75% of the beat and second note the remainder of
100%.

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 29

free online metronome

There is a great free metronome that has degrees of swing at this link https://www.onlinemetronome.
app. Here are instructions for online metronome:
tempo
Set the tempo with the long slider near the top. Slow blues is 50-75 BPM. Ballads or slow rock are
50-80 BPM, funk is 85-120 BPM, rock is 115-180 BPM, up-tempo jazz is 180-300 BPM.
beat divisions and swing: click on advanced. In the circle to the right of the word “advanced” click
on the musical note (initially a quarter note) and change it to the pair of eighth notes (two notes with
a thick horizontal beam) for two parts per beat or to and four sixteenths (four notes with two thick
horizontal lines) for four notes per beat. Slow blues is Click on “swing” immediately below the musical
note circle. Use the button to turn swing on or off. Set the swing percentage with the slider.
accent: vertically in the middle of the screen, make sure “accent” is on. To the right of accent, use the
plus or minus buttons to set the beats per bar to “4” or “3”. For most of your songs, you would want “4”.

5. Design with Melodic Cells

See Melodic Cells/Melodic Cell Types. Study these categories:
• Linear Scales and Arpeggios as Cells
• Melodic Rhythm Cells
• Chromaticized Arpeggio Cells
• Harmonic Type Melodic Cells
• Decoration Cells
• Theme and Variation Cells
• Styles as Cells

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page 30 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

THE SEVEN-OCTAVE FORWARD AND BACK SLASH SYSTEM

The Pentatonic Seven-Octave Forward & Back Slash System

See “Pentatonic Fingering”/Locating Pentatonic Scales, Favored Pentatonic Fingering, Triads and
Pentatonic Scales, Pentatonic Exercises. See “Master Pentatonic and Major Scale Patterns”/Pentatonic
Lines.

minor pentatonic themes

link to pdf
click to play on youtube
Spotify playlist

major pentatonic themes

link to pdf
click to play on youtube

Spotify playlist

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 31

Arpeggios in the Seven-Octave Forward & Back Slash System

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triad arpeggios
Major Triad Arpeggios in Seven Octaves-forward & back slash
VII II
E form A form
low middle
q = 1 60
œ œ œ œ
œœ œœœ œœœœœœœ œœœœœ œœ œœœ œœœœœœœ œœœœœ
1 C
∑ ∑
C
&4
œœ œœ
4
œ œ œ œ

{ ⁄
X
D form
8
7 10
10
9
10
10 7
8
7 10 7 10
10
10
10
9
10
10
10
10 7
8

V
G form
3
2 5
5
5
5
5 2
3
2 5 2 5
5
5
5
5
5
5
5
5 2
3

œœœœ œ œ œœœœœ œœœœ œ œ œœœœœ

middle high

œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ

8 C
∑ ∑
C
&

{
1 1 1 1 4 1 1 1 1 1 4 1 4 4 1 1 4 1 1 1 1 1 1
12 12 8 12 8 8 8 12 8 8
13 13 13 13 13 13 5 8 8 5 5 8 5 8 8 8 8 5
12 12 12 12 12 12 12 5 5 5
⁄ 10 14 14 10 14 14 14 10

VII
E form
V XII high
G form C form

œ œ œœ œ œ œ œœ œœ œ œ
œ œ œ œœ œ œœœœ œ œ œ œ œ œ œœœ
low middle
œ œ œœœœœ œ
œœœ œ œ œœœœœ ∑ œœ œœ œ œ
16

& ∑ ∑
C C C

œ œœ œœ œ œœœœ œ œœ

{ ⁄ 8
7
5
5
5
5
5
7
8
7
5
7
5
5
5
5
5
5
5
5
5
7
8
15
14
12
13
12
13
12
14
15
14
12
14
12
13
12
13
12
13
12
13
12
14
15
10
9
8
8 12 8
8
9
10
9
8
9
8
8
8
8 12 8
8
8
8
9
10

Minor Triad Arpeggios in Seven Octaves-forward & back slash

VIII III
E form A form
low middle
q = 1 60
b 4 œœœœ œ œ œœœœœ œœœœ œ œ œœœœœ
1 C‹

&b b 4 ∑ ∑
C‹

œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ

{ ⁄
X
8 11
10
10
8
10
10
11 8 11
10
11
10
10
10
10
8
10
10
10
10
11 8

V
3 6
5
5
4
5
5
6 3 6
5
6
5
5
5
5
4
5
5
5
5
6 3

œœœœ œ œ œœœœœ œœœœ œ œ œœœœœ

D form G form

œœœ œ œœœœœ œ œœœ œ œœœœœ œ

middle high

b œœ œœ
8

&b b ∑ ∑
C‹ C‹

{
1 1 1 1 4 1 1 1 1 4 4 4 4 4 1 1 4 1 1 1 1 1 1
11 11 8 11 8 8 8 11 8 8
13 13 13 13 13 13 8 8 8 8 8 8 8
12 12 12 12 12 12 12 5 8 8 5 8 8 8 5
⁄ 10 13 13 10 13 13 13 10

V XI VIII
G form C form E form

œ œ œœ œ œ œ œœ œœ œ œ œœ œœœ œ œœœœ
low middle high

b œœœ œ œ œœœœœ œ œ œœœœœ œ œ œ œ

∑ œœ œœ ∑ œ œ œ œ œ œ œœ
16

&b b ∑
C‹ C‹ C‹

œ œœ œœ œ œœœœ œ œœ

{ ⁄ 8
6
5
585
5
6
8
6
5
6
5
5
5
5 85
5
5
5
6
8
15
13
12
13
11
13
12
13
15
13
12
13
12
13
12
13
11
13
12
13
12
13
15
10
8
8
8 11 8
8
8
10
8
8
8
8
8
8
8 11 8
8
8
8
8
10

©2015-2024 Jim Gleason. All Rights Reserved.

page 32 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Diminished Triad Arpeggios in Seven Octaves-forward & back slash

VIII II
E form A form
low middle
q = 1 60
b 4 œœœœ œœœ œœœœœ œœœœ œ œ œœœœœ
& b bbb 4
1 Cdim. Cdim.
∑ œ œ œ ∑
œ œ œ œ œ œ œœ œœœ œ œœœœœ œ œœ

{⁄
IX
D form
8 11
9
10
8
10
9
11 8 11
9
11
9
10
9
10
8
10
9
10
9
11 8
V
G form
3 6
4
5
4
5
4
6 3 6
4
6
4
5
4
5
4
5
4
5
4
6 3

œœœœ œ œ œœœœœ œœœœ œ œ œœœœœ

middle high

b œ œ œœœœœ œ œ œ œœœœœ œ
œœ œœ œœ œœ
Cdim. Cdim.

& b bbb
8
∑ ∑

{
1 2 1 3 4 3 1 2 1 2 1 2 1 3 ` 3 4 3 1 3 1 2 1
11 11 8 11 8 8 8 11 8 8
13 13 13 13 13 13 7 7 7 7 7 7 7
11 11 11 11 11 11 11 5 8 8 5 8 8 8 5
⁄ 10 13 13 10 13 13 13 10

IV XI VIII
G form C form E form

œ œ œœ œ œ œ œœ œœ œ œ
middle

C‹ œ œ œœ œœœ œœ œ œœ œœœœ
low high

b œ œ œ œœœœœ œ œ œ œ œœ œ œ
& b bbb ∑ œœ œœ ∑ œœ œœ œ œ œ œ œ
16
∑
C‹ C‹

œœ œ œœœœœ œ œœ

{
421 2421 2 421 21 212 421 21 2 4
11 11 8 11 8 8 8 11 8 8
13 13 13 13 13 13
5 8 5 5 5 8 5 5 11 11 11 11 11 11 11 811 11 8 811 811 11 11 11 8
⁄ 8
6
4 4
6
8
6
4
6
4 4 4 4
6
8
15
13 13
15
13 13 13
15
10 10 10

Augmented Arpeggios in Seven Octaves-forward & back slash

VII II
E form A form
low middle
q = 1 60
4 œœœœ œ œ œ œ#œ œ œ œœœœ œ œ œ œ#œ œ œ
1
∑ ∑
Caug Caug

&4 œ œ#œ œ œ œ#œ œ œ œ œœ œ œ#œ œ œ œ#œ œ œ œ œœ

{⁄
X
D form
8
7 11
10
9
10
11 7
8
7 11 7 11
10
11
10
9
10
11
10
11 7
8

V
G form
3
2 6
5
5
5
6 2
3
2 6 2 6
5
6
5
5
5
6
5
6 2
3

œœœœ œ œ œ œ #œ œ œ
middle low

œ œ#œ œ œ œ#œ œ œ œ œœ œ œ
Caug

#œ œ œ œ œ œ#œ œ œ œ œ œ œ#œ œ œ œ
9 Caug

& ∑ ∑
œ œ œ œ

{⁄
XII
C form
10 14
13
13
12
13
13
14 10 14
13
14
13
13
13
13
12
13
13
13
13
14 10

VII
E form
8
7
6
5
5
5
6
7
8
7
6
7
6
5
6
5
5
5
6
5
6
7
8

middle high

Caug œ œ œ œ Caug œ œ œ œ
17
œ œ#œ œ œ œ œ#œ œ œ œ œ œ œ #œ œ œ œ œ œ œ#œ œ œ œ œ#œ œ œ œ œ œ œ #œ œ œ œ œ
& ∑ ∑

{⁄ 15
14
13
13 17 13
13
14
15
14
13
14
13
13
13
13 17 13
13
13
13
14
15
10
9
9
8 12 8
9
9
10
9
9
9
9
8
9
8 12 8
9
8
9
9
10

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 33

ninth arpeggios

Major Ninth Arpeggios in Seven Octaves-forward & back slash

VII II
E form A form
low middle
q = 1 60
4 œœœœœ œœœœœœœ œœœœœœ œœœœœ œ œ œœœœœœ
1
∑
CŒ„Š9
∑
CŒ„Š9
&4 œœœ œ œ œœœ œœœœœ œ œ

{ ⁄
X
8
7 10
9
7
9
10 7
8
7 10 7 10
9
10
9
7
9
10
9
10 7
8

V
G form
3
2 5
4
3
4
5 2
3
2 5 2 5
4
5
4
3
4
5
4
5 2
3

D form
high
middle

œœœœœ œ œ œœœœœœ œœœœœ œ œ œœœœœœ

œœœ œœœœœ œ œ œœœ œœœœœ œ œ
9
∑
CŒ„Š9
∑
CŒ„Š9
&

{ ⁄
V
G form
10 14
12
12
10
12
12
14 10 14
12
14
12
12
12
12

XII
C form
10
12
12
12
12
14 10
5
5 8
7 10 7
8 5

VII
E form
5
5 8 5 8
7
8
7 10 7
8
7
8 5
5

low middle high

œ œ œ œœ œ œ œ œœ œœ œ œ œ œ œœ œ œœœœ œ œ œ œ œ œ œ œœœ
∑ œœ œ œœœœœ œ œœ ∑ œœ
œœœœœœ œœœœœœœ œœœœœœ
17

& ∑
CŒ„Š9 CŒ„Š9 CŒ„Š9

œœ œ œ

{ ⁄ 8
7
59
7
95
7
8
7
5
7
5959
7
9595
7
8
15
14
12
12 15 12
12
14
15
14
12
14
12
12
12
12 15 12
12
12
12
14
15
10
9
8
7 10 7
8
9
10
9
8
9
8
7
8
7 10 7
8
7
8
9
10

(Dominant) Ninth Arpeggios in Seven Octaves-forward & back slash

VII II
E form A form
low middle
q = 1 60
4 bœ œ œ œ bœ œ œbœ œ œ œ bœ œ œ œ bœ œ œbœ œ œ œ
1
∑ ∑
C9 C9
&4 œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ

{ ⁄
X
8
7 10
8
7
8
10 7
8
7 10 7 10
8
10
8
7
8
10
8
10 7
8

V
3
2 5
3
3
3
5 2
3
2 5 2 5
3
5
3
3
3
5
3
5 2
3

D form G form
middle high

bœ œ œ œ bœ œ œbœ œ œ œ bœ œ œ œ bœ œ œbœ œ œ œ
œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ
9
∑ ∑
C9 C9
&

{ ⁄
V
G form
10 14
12
11
10
11
12
14 10 14
12
14
12
11
12
11

XII
C form
10
11
12
11
12
14 10
5
5 8
6 10 6
8 5

VIII
E form
5
5 8 5 8
6
8
6 10 6
8
6
8 5
5

low middle high

œ
C9 œb œ œ œ
œ œ œ
bœœœ bœ œ œbœœœœœ ∑ œœ œ œ œ œ œ œb œ œ œ b œ œ œ œ œ œ C9 œb œ œ œ
∑ œœ œ œ œœœœb œ œ œ b œ œ œ œœœ
17

& ∑
C9

œ œœ œœ œ œœœœ œ œ

{ ⁄ 8
7
5 8
7
85
7
8
7
5
7
5 858
7
8585
7
8
15
14
12 15
15
15 12
14
15
14
12
14
12 15 12 15
15
15 12 15 12
14
15
10
9
8 11
10
11 8
9
10
9
8
9
8 11 8 11
10
11 8 11 8
9
10

©2015-2024 Jim Gleason. All Rights Reserved.

page 34 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Minor Ninth Arpeggios in Seven Octaves-forward & back slash

VII II
E form A form
low middle
q = 1 60
b 4 œœœœœ œœœœœœœ œœœœœœ œœœœœ œœœœœœœ œœœœœœ
1

&b b 4 ∑ ∑
C‹9 C‹9

œœœ œ œ œ œœ œ œ

{⁄
X
D form
8 11
10
8 12 8
10
11 8 11
10
11
10
8
10
8 12 8
10
8
10
11 8

V
G form
3 6
5
3
3
3
5
6 3 6
5
6
5
3
5
3
3
3
5
3
5
6 3

middle high

œœœœœ œ œ œ œœœœœ œœœœœ œ œ œ œœœœœ

b œœœ œœœœœ œ œ œœœ œœœœœ œ œ
9

&b b ∑ ∑
C‹9 C‹9

{⁄
V
G form
10 13
12
11
10
11
12
13 10 13
12
13
12
11
12
11

XII
10

C form
11
12
11
12
13 10
5 8
8
6 10 6
8
8

VIII
E form
5 8
8
8
8
6
8
6 10 6
8
6
8
8 5

low middle high

œ œ œ œœ œ œ œ œœ œœ œ œ œœ œ œ œ œ œœ œ
b œœœœœ œœœœ œœœ œ œœœœ œ ∑ œ œ œ œœœœœ œ œœ ∑ œœ
œ œ œ œœœœ œ œœ
17

&b b ∑
C‹9 C‹9 C‹9

œ œœ œ œ

{⁄ 8
6
7
5 8 85
6
8
6
5
6
5 858
7
8585
6
8
15
13
12 15
15
1512
13
15
13
12
13
12 1512 15
15
1512 1512
13
15
10
8
8 11
10
11 8
8
10
8 8 11 8 11
8 8
10
11 8 11 8
8
10

Minor Ninth Flat Five Arpeggios in Seven Octaves-forward & back slash
VII II
E form A form
low middle
q = 1 60
b 4
C‹9(b5) C‹9(b5)
œ œ bœ œ œ œ œ œ œbœ œ œ œ œ œ œ œbœ œ œ œ
1

&b b 4 ∑
œbœ œ œ œ œ œbœ œ œ œ œ œ œbœ œ œ œ ∑
œ œ œ œœ œ œ

{⁄
IX
D form
8 11
9
8 12 8
9
11 8 11
9
11
9
8
9
8 12 8
9
8
9
11 8

V
G form
3 6
4
3
3
3
4
6 3 6
4
6
4
3
4
3
3
3
4
3
4
6 3

middle high

b bœ œ œ œ œ œ œbœ œ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œbœ œ œ œ œ œ œ œ bœ œ œ œ
œœ œœ
C‹9(b5) C‹9(b5)
œ œ œ œ
9

&b b ∑ ∑

{⁄
IV
G form
10 13
11
11
10
11
11
13 10 13
11
13
11
11
11
11

XII
C form
10
11
11
11
11
13 10
5 8
7
6 10 6
7
8

VIII
E form
5 8
7
8
7
6
7
6 10 6
7
6
7
8 5

low middle high

C‹9(b5) œ œ œ
b bœ œ œ œbœ œ œ œ œ œ œ œbœ œ œ œ C‹9(b5)œ œ œ
bœ œœ œbœœœ œœ œ œ œbœ œœœ
∑ œœ ∑ œœ
C‹9(b5)
œœœ œ œ œœ œ œ œ œ œ
17

&b b ∑ œœbœ œœ œœbœœœ œ bœ œœœ

{⁄ 8
6
48
7
84
6
8
6
4 4848
6
7
8 484
6
8
15
13 16
15
15
15
16 13
15
13 16 13 16
15
16
15
15
15
16
15
1613
15
10
8 11
11
10
11
11 8
10
8 11 811
11
11
11
10
11
11
11
11 8
10

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 35

Seventh Flat Nine Arpeggios in Seven Octaves-forward & back slash

VII II
E form A form
low middle
q = 1 60
b 4
& b bb 4 œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œnœ
1 C7(b9) C7(b9)
∑ ∑
œnœ œ œ œnœ œ œ

{ ⁄
X
8
7 10
8 11 8
10 7
8
7 10 7 10
8
10
8 11 8
10
8
10 7
8

V
3
2 5
3
2
3
5 2
3
2 5 2 5
3
5
3
2
3
5
3
5 2
3

D form G form
middle high

œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œnœ
b
& b bb œnœ œ œnœ œ
C7(b9) C7(b9)
œ œ œ œ
9
∑ ∑

{ ⁄
V
10 14
12
11 14 11
12
14 10 14
12
14
12
11
12
11

XII
14 11

C form
12
11
12
14 10
5
5 8
6 9 6
8 5

VII
5
5 8 5 8
6
8
6 9 6
8
6
8 5
5

G form E form
low middle high

C7(b9) œ œ œ
b nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œnœ C7(b9) œ œ œ
œ œœ nœœœœ œœœ œ œœœœnœ
& b bb ∑ œ œ ∑ œnœ
C7(b9)
œ œ œ œ œ
17
œ œ œ œ œ œ ∑
œnœœ œœ œnœœœœ œ œ œnœœ

{ ⁄ 8
7
5 8
6
85
7
8
7
5
7
5 858
6
8585
7
8
15
14
12 15
14
1512
14
15
14
12
14
12 1512 15
14
1512 1512
14
15
10
9
8 11
9
11 8
9
10
9
8
9
8 11 8 11
9
11 8 11 8
9
10

Minor Ninth (major seven) Arpeggios in Seven Octaves-forward & back slash
VII II
E form A form
low middle
q = 1 60
b 4 nœ œ œ œ œ œ œ œ œnœ œ œ œnœ œ œ œ œ nœ œ œ œ œ œ œ œ œnœ œ œ œnœ œ œ œ œ
1 Cm9(ma7) Cm9(ma7)

&b b 4 ∑
œœœ œ œ
∑
œœœ œ œ

{ ⁄
X
D form
8 11
10
9 12 9
10
11 8 11
10
11
10
9
10
9 12 9
10
9
10
11 8

V
G form
3 6
5
4
3
4
5
6 3 6
5
6
5
4
5
4
3
4
5
4
5
6 3

middle high

œn œ œ œ œ œ œ œ œ œn œ œ œ œ n œ œ œ œ œ œn œ œ œ œ œ œ œn œ œ œ œ n œ œ œ œ œ
Cm9(ma7) Cm9(ma7)
b œœ œ œ œœ œœ œ œ
9

&b b ∑ ∑

{ ⁄
V
G form
10 13
12
12
10
12
12
13 10 13
12
13
12
12
12
12

XII
C form
10
12
12
12
12
13 10
5 8
8
7 10 7
8
8

VIII
E form
5 8
8
8
8
7
8
7 10 7
8
7
8
8 5

low middle high

œ œ œ œ
œn œ œ œ œ œ œ œ œ œn œ œ œ n œ œ œ œ œ œ œn œ œ œœ œ œœœœn œ œ œ n œ œ œ œœœ
Cm9(ma7) Cm9(ma7)
b ∑ œœ ∑ œœ
Cm9(ma7)
nœœœ nœ œ œnœœœœ
17

&b b ∑ œ œœ œœ œ œœœœ œ œœ

{ ⁄ 8
6
5 9
7
95
6
8
6
5
6
5 959
7
9595
6
8
15
13
12
12 15 12
12
13
15
13
12
13
12
12
12
12 15 12
12
12
12
13
15
10
8
8
7 10 7
8
8
10
8
8
8
8
7
8
7 10 7
8
7
8
8
10

©2015-2024 Jim Gleason. All Rights Reserved.

page 36 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

MAJOR MODE IMPROV

major scale (Ionian mode), favored fingerings
the top row is finger numbers, the second row is scale tones
fingering 7/1 fingering 7/1 fingering 2 fingering 3 fingering 4/5 fingering 6 fingering 7
11 11 11 (1)(1) 1 11 1 11 1 (1) 11 11 1
22 11 11 111111 2 22 111 11 1 111 22 22
22 222211 333 222 11 2 33
443333 333333 2 3333 3 444444
444 44
444433 444333 44 44
4 44
4
44 44 44 4
4

73 62 14 (7) (3) 3 62 5 73 4 (7) 7362 7

14 51 73 251462 4 14 736 6 25 1 36 14 51
73 251462 736 514 25 4 73
251462 362573 514 25 7 736 2 7 25146 2
362573 4 14 625136 14 51
73 14 7 3 (6) 4 7
7

major scale-tone triads, seventh and ninth chords (Ionian mode)

example in Am C or Cma7 Dm or Dm7 Em or Em7 E or E7 F or Fma7 G or G7 Am or Am7 Bm7b5

example in Em G or Gma7 Am or Am7 Bm or Bm7 Bor B7 C or Cma7 D orD7 Em or Em7 F#m7b5

parent major
triad name I maj. IIm IIm IIIm III maj. IV III maj. IV
triad numbers 1-3-5 2-4-6 2-4-6 3-5-7 3-#5-7 4-6-1 3-#5-7 4-6-1
seventh name Ima7 IIm7 IIm7 IIIm7 III7 IVma7 III7 IVma7
seventh numbers 1-3-5-7 2-4-6-1 2-4-6-1 3-5-7-2 3-#5-7-2 4-6-1-3 3-#5-7-2 4-6-1-3
ninth name Ima7 IIm7 IIm7 IIIm7 III7 IVma7 III7 IVma7
ninth numbers 1-3-5-7 2-4-6-1 2-4-6-1 3-5-7-2 3-#5-7-2 4-6-1-3 3-#5-7-2 4-6-1-3
C major sharp five
triad name I IIdim bIII maj IVm IVm Vm V maj. bVI maj.
triad numbers 1-b3-5 2-4-b6 b3-5-b7 4-b6-1 4-b6-1 5-b7-2 5-7-2 b6-1-b3
seventh name Im7 IIm7b5 bIIIma7 IVm7 IVm7 Vm7 V7 bVI maj.
seventh numbers 1-b3-5-b7 2-4-b6-b7 b3-5-b7-2 4-b6-1-b3 4-b6-1-b3 5-b7-2-4 5-7-2-4 b6-1-b3-5

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 37

Mixolydian, five favored fingerings

black tones are the Mixolydian I major triad
E form-fingering 4/5 D form-fingering 6/7 C form-fingering 7 A form-fingering 1/2 G form-fingering 3

3 6 2 2 5 1 4 6 2 3 6 2 5 3 3 6 6 2 5 1 3 6
1 4 b7 5 1 b7 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
3 3 6 2 5 3 3 6 3 6 2
2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 6 2 5 1 3 6 1 4 b7 5 1
b7 3 (6) b7 4 b7
(3) (6) (2) (5) 3 (2) 5 (3)

example in C C or C7 Dm or Dm7 Em7b5 F or Fma7 Gm or Gm7 Am or Am7 Bb or Bbma7

example in G G or G7 Am or Am7 Bm7b5 C or Cma7 Dm or Dm7 Em or Em7 F or Fma7
key Mixolydian
triad name I maj. IIm III dim. IV maj. Vm VIm bVII maj.
triad numbers 1-3-5 2-4-6 3-5-b7 4-6-1 5-b7-2 6-1-3 b7-2-4
seventh name I7 IIm7 IIIm7b5 IVma7 Vm7 VIm7 bVIIma7
seventh numbers 1-3-5-b7 2-4-6-1 3-5-b7-2 4-6-1-3 5-b7-2-4 6-1-3-5 b7-2-4-6
ninth name I9 IIm9 not aceptable IVma9 Vm9 not aceptable bVIIma9
ninth numbers 1-3-5-b7-2 2-4-6-1-3 4-6-1-3-5 5-b7-2-4-6 b7-2-4-6-3

©2015-2024 Jim Gleason. All Rights Reserved.

page 38 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Angel from Montgomery in E

verse progression: E-A-E-A E-A-B-E with E major scale (Ionian)
chorus progression: 3x (E-D-A-E), then E-D-B-E with E Mixolydian except B-E are E major
The black tones are triad tones. The black and gray tones combined make a pentatonic scale. All of
the tones combined (including those with no colored background make a seven tone (heptatonic)
scale. The position is the top fret on the diagram. Start with key form C.
KEY FORM  E form D form C form A form G form
E E XI E XIII E IV E V E VIII
E major triad, 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
E major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
and E major scale 7 3 7 3 6 5 1 4 2 5 4
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
4 1 4 6 2 5 1 3 6 1 4 5 1
7 3 4 7
7
E X E XIII E IV E V E IX

E major triad (1-3-5), b7 (b7) (3) 3 6 2 5 3 4 b7 (1) (4) 6 2 5 1 3 6

E major pentatonic 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
(1-2-3-5-6) 1 4 b7 5 1 3 6 5 1 4 b7 2 5 3 6 2
b7
and E Mixolydian 3 5 1 4 b7 2 5 1 4 b7 5 1
3 6 2 5 3
(1-2-3-4-5-6-b7) 2 5 1 4 6 2 6 2 5 1 3 6
b7
4 b7 1 4 4 b7
3
A A X A XIII A IV A V A IX
A maj. triad (4-6-1), b7 (b7) 3 3 6 2 5 3 4 b7 6 2 5 1 3 6
A ma pent. (4-5-6-1-2) 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
and 1 4 b7 5 1 b7 5 1 4 b7 2 5 3 6 2
3 6
E Mixolydian 3 3 6 2 5 3 1 4 b7 5 1
(1-2-3-4-5-6-b7) 5 1 4 b7 2 5
2 5 1 4 6 2 4 b7 1 4 6 2 5 1 3 6
b7 (3) 4 b7
3
B B XI B XIII B IV B V B VIII
B major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
B major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and E major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
D D X D XIII D IV D VI D IX
D major triad (b7-2-4), b7 3 (3) 3 6 2 5 (3) (3) (6) 6 2 5 1 3 6
6 2 2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
D major pentatonic
1 4 b7 5 1 3 6 6 2
(b7-1-2-4-5) b7 3
5 1 4 b7 2 5
and E Mixolydian 3 3 6 2 5 6 2 5 1 3 6 1 4 b7 5 1
(1-2-3-4-5-6-b7) 2 5 1 4 6 2 4 b7 1 4 3 6
b7 4 b7
b7 3 3 6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 39

Beast of Burden verse in E

verse progression: ||: E / B / | C#m / A / :||
The black tones are triad tones. The black and gray tones combined make a pentatonic scale. All of
the tones combined (including those with no colored background make a seven tone (heptatonic)
scale. Start with key form G.
C#-A-E can be played as a C#m summary chord, since C#m is part of E6 and Ama7. See the chapter
“Commonality Chords”/What Are Summary Chords?.
KEY FORM  E form D form C form A form G form
E E XI E XIII E IV E V E VIII
E major triad (1-3-5), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
E major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 7 3 6 5 1 4 2 5 4
and E major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 6 2 5 1 3 6 1 4 5 1
7 3 4 7
7
E X E XIII E IV E V E IX

E major triad (1-3-5), b7 (b7) (3) 3 6 2 5 3 4 b7 (1) (4) 6 2 5 1 3 6

E major pentatonic 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
(1-2-3-5-6) 1 4 b7 5 1 3 6 5 1 4 b7 2 5 3 6 2
b7
and E Mixolydian 3 5 1 4 b7 2 5 1 4 b7 5 1
3 6 2 5 3
(1-2-3-4-5-6-b7) 2 5 1 4 6 2 6 2 5 1 3 6
b7
4 b7 1 4 4 b7
3
B B XI B XIII B IV B V B VIII
B major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
B major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and E major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
C#m C#m XI C#m XIII C#m IV C#m VI C#m IX
C#m triad (6-1-3), 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 6 2 5 1 3 6
C#m pent. (6-1-2-3-5) 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 4
and E major scale 7 3 7 3 6 7 7 3 6 2 7
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
4 1 4 4 7
(7) (3)
A A X A XIII A IV A V A IX
A maj. triad (4-6-1), b7 (b7) 3 3 6 2 5 3 4 b7 6 2 5 1 3 6
A ma pent. (4-5-6-1-2) 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
and 1 4 b7 5 1 b7 5 1 4 b7 2 5 3 6 2
3 6
E Mixolydian 3 3 6 2 5 3 1 4 b7 5 1
(1-2-3-4-5-6-b7) 5 1 4 b7 2 5
2 5 1 4 6 2 4 b7 1 4 6 2 5 1 3 6
b7 (3) 4 b7
3

©2015-2024 Jim Gleason. All Rights Reserved.

page 40 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Don’t Dream It’s Over in Eb

||: Ebadd9 | Csus2 | Ab |G / Gsus4 / :||; 3X ||:Ab / Bb / | Ebma7 / Cm / :|| Ab | Ab / Bb / |
Black tones are triad tones. Black and gray combined make a pentatonic scale. All the tones combined make
a seven tone (heptatonic) scale. Start with the left column. Emhapsizing “6” (“C”) instead of “#5” (“B”) will
make the G chord Gsus4. Eb-Ab-Cm and Ebma7-Cm-Ab can be played as a Cm summary chord, since
Cm is part of Eb6 and Abma7. See the chapter “Commonality Chords”/What Are Summary Chords?.
KEY of G FORM  E form D form C form A form G form
Ebadd9 Eb X Eb XII Eb III Eb IV Eb VII
D major triad (1-3-5), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
D major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 7 3 6 5 1 4 2 5 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
4 1 4 6 2 5 1 3 6 1 4 5 1
7 3 4 7
7
Ebma9 Ebma9 X Ebma9 XIII Ebma9 III Ebma9 V Ebma9 VIII

Ebma9 (1-3-5-7-2), 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 7 3 6 6 2 5 1 3 6
and Eb major scale 1 4 5 1 4 1 4 5 1 4 2 5 4
7 3 3 6 2 5 7 3 7 3 6 7 7 3 6 2 7
2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
7 3 4 7
5 7 2
Csus2 Cm X Cm XII Cm III Cm V Cm VII
Cm triad (6-1-3), 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 (7)
Cm pent. (6-1-2-3-5) 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
and Eb major scale 7 3 7 3 6 7 4
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
4 1 4 4 1 4 5 1
(7) (3) 7
Ab(ma13#11) Abma13#11 X Abma13#11 XIII Abma13#11 IV Abma13#11 VI Abma13#11 VIII
Ab13#11 arepeggio 7 3 6 2 7 2 5 1 4 6 2 4 (1) 4 5 1 4 2 5 6 2 5 1 3 6
(4-6-1-3-5-7-2-4-6) 1 4 5 1 7 3 6 7 4
in full-tertian, 7 3 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
and 2 5 1 4 6 2 4 1 4 7 4 1 4 5 1
7 3 6 2 5 1 3 6 7 3 6 (2) 7 7
Eb Major scale
3

G G7/11 IX G7/11 XII G7/11 III G7/11 IV G7/11 VII

G major triad (3-#5-7), (#5) 7 3 #5 3 6 2 7 3 4 7
G7/11 pent. (3-#5-6-7-2) 7 3 6 2 7 2 1 4 6 2 4 #5 1 4 7 3 6 6 2 1 3 6
and 1 4 1 #5 7 3 6 1 4 2 #5 4
Eb major sharp five scale 7 3 #5 3 6 2 7 3 1 4 2 #5 7 #5 7 3 6 2 7
(1-2-3-4-#5-6-7) 2 1 4 6 2 4 (#5) 1 4 #5 #5 6 2 1 3 6 1 4 1
#5 (7) (3) #5 4 #5

Bb Bb X Bb XII Bb III Bb V Bb VII

Bb major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
Bb major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and Eb major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 41

Everybody Hurts in D
4X ||: D | G :||; 3X ||: Em | A :|||: D | G :||; 3X ||: F# | Bm :||| C | G | C | Am |
Black tones are triad tones. Black and gray combined make a pentatonic scale. All the tones combined
make a seven tone (heptatonic) scale. Start with the left column. This continues onto the next page.
KEY of G FORM  E form D form C form A form G form
D D IX D XI D II D III D VI
D major triad (1-3-5), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
D major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 7 3 6 5 1 4 2 5 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
4 1 4 6 2 5 1 3 6 1 4 5 1
7 3 4 7
7
G G IX G XI G II G III G VII

G major triad (4-6-1), 7 3 6 2 7 7 3 3 6 2 5 7 3 4 6 2 5 1 3 6

G ma pent. (4-5-6-1-2) 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 4
and 7 3 7 3 6 5 1 4 2 5 7 3 6 2 7
D Major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 1 4 5 1
4 1 4 6 2 5 1 3 6 7
(7) (3) 4
Em Em IX Em XI Em II Em IV Em VI
Em triad (2-4-6), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
Em pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(2-4-5-6-1) 7 3 7 3 6 7 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
A A IX A XI A II A IV A VI
A major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
A major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
F# F# VIII F# XI F# II F# III F# VI
F# major triad (3-#5-7), (#5) 7 3 #5 3 6 2 7 3 4 7
F#7/11 pent. (3-#5-6-7-2) 7 3 6 2 7 2 1 4 6 2 4 #5 1 4 7 3 6 6 2 1 3 6
and 1 4 1 #5 7 3 6 1 4 2 #5 4
D major sharp five scale 7 3 #5 3 6 2 7 3 1 4 2 #5 7 #5 7 3 6 2 7
(1-2-3-4-#5-6-7) 2 1 4 6 2 4 (#5) 1 4 #5 #5 6 2 1 3 6 1 4 1
#5 (7) (3) #5 4 #5

Bm Bm IX Bm XI Bm II Bm IV Bm VII
Bm triad (6-1-3), 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 (7)
Bm pent. (6-1-2-3-5) 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
and D major scale 7 3 7 3 6 7 4
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
4 1 4 4 1 4 5 1
(7) (3) 7

©2015-2024 Jim Gleason. All Rights Reserved.

page 42 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

KEY FORM  E form D form C form A form G form

C C VIII C XI C II C IV C VII
C major triad (b7-2-4), b7 3 (3) 3 6 2 5 (3) (3) (6) 6 2 5 1 3 6
C major pentatonic 6 2 2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
(b7-1-2-4-5) 1 4 b7 5 1 b7 3 6 3 6 2
and D Mixolydian 3 3 6 2 5 5 1 4 b7 2 5 6 2 5 1 3 6 1 4 b7 5 1
(1-2-3-4-5-6-b7) 2 5 1 4 6 2 4 b7 1 4 b7 4 b7
b7 3 3 6 3 6

Am VIII Am XI Am II Am IV Am VII

Am triad (5-b7-2), 3 6 2 (3) 3 6 2 5 3 (3) (6) 6 2 5 1 3 6

Am pentatonic 1 4 b7 5 1 2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
(5-b7-1-2-4) b7 3 6 3 6 2
3
and D Mixolydian 3 6 2 5 3 5 1 4 b7 2 5 6 2 5 1 3 6 1 4 b7 5 1
(1-2-3-4-5-6-b7) 2 5 1 4 6 2
4 b7 1 4 b7 4 b7
b7
3 3 6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 43

Gravity in G
section A: | G |C |G |C | section B: | Am7 |D7 |Bbma7/ Ebma7/ | D7 |
For pentatonic scales, black tones are triad tones combined with gray to make a pentatonic scale.
With ninth arpeggios, black tones are a complete ninth, gray is ninth in another octave. All the tones
combined make a seven tone (heptatonic) scale. Start with the left column.
KEY of G FORM  E form D form C form A form G form
G G II G IV G VII G VIII G XI
G major triad (1-3-5), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
G major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 7 3 6 5 1 4 2 5 4
and G major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
4 1 4 6 2 5 1 3 6 1 4 5 1
(7) 3 7 3 4 7
7
C C II C IV C VII C IX C XII

C maj. triad (4-6-1), 3 6 2 (3) 3 6 2 5 3 (3) (6) 6 2 5 1 3 6

C ma9 arpeggio 1 4 b7 5 1 2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
(4-5-6-1-3-5) 3 b7 3 6 3 6 2
and 2 5 1 4 6 2 3 6 2 5 3 5 1 4 b7 2 5 6 2 5 1 3 6 1 4 b7 5 1
G Mixolydian b7 4 b7 1 4 b7 4 b7
(1-2-3-4-5-6-b7) 3 3 3 6
D D II D IV D VII D IX D XI
D major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
D major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and G major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
Am Am II Am IV Am VII Am IX Am XI
Am triad (2-4-6), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
Am pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(2-4-5-6-1) 7 3 7 3 6 7 4
and G major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7

KEY of Bb FORM  G form E form D form C form A form

Bb6 Bb II Bb V Bb VII Bb X Bb XI
Bb major triad (1-3-5), (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4)
Bb major pentatonic 6 2 5 1 3 6 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6
(1-2-3-5-6) 4 7 3 7 3 6 5 1 4 2 5
and Bb major scale 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7
(1-2-3-4-5-6-7) 1 4 5 1 4 1 4 6 2 5 1 3 6
7 7 3 4
7
Eb II Eb V Eb VII Eb X Eb XI
Ebma9 (4-6-1-3-5) (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6
and 6 2 5 1 3 6 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5
Bb major scale 4 7 3 7 3 6 7
(1-2-3-4-5-6-7) 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6
1 4 5 1 4 1 4 4
7 (7) 3 7 3 7

©2015-2024 Jim Gleason. All Rights Reserved.

page 44 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Isn’t She Lovely in E

||: C#m7 | F#7 | B7 | Ema7 :|| Ama7 |G#7 |C#m7 | F#7 | B7 | B7 | Ema7 | Ema7 |
Black tones are triad tones. Black and gray combined make a pentatonic scale. All the tones combined
make a seven tone (heptatonic) scale. Start with the left column.
KEY of G FORM  E form D form C form A form G form
C#m C#m XI C#m I C#m IV C#m VI C#m VIII
C#m triad (6-1-3), 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 (7)
C#m pent. (6-1-2-3-5) 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
and E major scale 7 3 7 3 6 7 4
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
4 1 4 4 1 4 5 1
(7) (3) 7
F# F# XI F# I F# III F# VI F# VIII

F# triad (2-#4-6), 7 3 6 2 #4 7 (#4) (#4) #4 7 3 6 (#4) (7)

F#7/11 pentatonic 1 5 1 2 5 1 6 2 3 6 2 5 7 3 5 1 2 5 6 2 5 1 3 6
(2-#4-5-6-1) #4 7 3 #4 1 #4 7
and 2 5 1 6 2 3 6 2 5 7 3 #4 7 3 6 #4 6 2 5 1 3 6 7 3 6 2 #4 7
1 5 1 2 5 1 5 1
E Lydian
#4 7 3 #4 #4 #4 7 #4 7
(1-2-3-#4-5-6-7)
B B XI B I B IV B V B VIII
B major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
B major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and E major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
E E XI E I E IV E V E VIII
E major triad (1-3-5), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
E major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 7 3 6 5 1 4 2 5 4
and E major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 6 2 5 1 3 6 1 4 5 1
7 3 4 7
7
A A XI A XIII A IV A V A IX
A maj. triad (4-6-1), 7 3 6 2 7 7 3 3 6 2 5 7 3 4 6 2 5 1 3 6
A ma pent. (4-5-6-1-2) 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 4
and 7 3 7 3 6 5 1 4 2 5 7 3 6 2 7
E Major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 1 4 5 1
4 1 4 6 2 5 1 3 6 7
(7) (3) 4
G# G# X G# I G# IV G# V G# IX
F# major triad (3-#5-7), (#5) 7 3 #5 3 6 2 7 3 4 7
F#7/11 pent. (3-#5-6-7-2) 7 3 6 2 7 2 1 4 6 2 4 #5 1 4 7 3 6 6 2 1 3 6
and 1 4 1 #5 7 3 6 1 4 2 #5 4
D major sharp five scale 7 3 #5 3 6 2 7 3 1 4 2 #5 7 #5 7 3 6 2 7
(1-2-3-4-#5-6-7) 2 1 4 6 2 4 (#5) 1 4 #5 #5 6 2 1 3 6 1 4 1
#5 (7) (3) #5 4 #5

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 45

Jessica in A
section A progression: A-D
The black tones are triad tones. The black and gray tones combined make a pentatonic scale or ninth
arpeggio. To ascend the IVma9 arpeggio, play the tones in the order 4-6-1-3-5. All of the tones
combined (including those with no colored background make a seven tone (heptatonic) scale. The
position is the top fret on the diagram. Start with A form in position IX (the fourth column below).

KEY FORM  E form D form C form A form G form

A A III A VI A IX A X A II
A major triad (1-3-5), b7 (b7) (3) 3 6 2 5 3 4 b7 (1) (4) 6 2 5 1 3 6
A major pentatonic 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
(1-2-3-5-6) 1 4 b7 5 1 b7 3 6 5 1 4 b7 2 5 3 6 2
and A Mixolydian 3 3 6 2 5 3 5 1 4 b7 2 5 1 4 b7 5 1
(1-2-3-4-5-6-b7) 2 5 1 4 6 2 4 b7 1 4 6 2 5 1 3 6
b7 3 4 b7

D D III D VI D IX D XII D II
D major triad (4-6-1), b7 (b7) 3 3 6 2 5 3 4 b7 6 2 5 1 3 6
D major pentatonic 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
(4-5-6-1-2) 1 4 b7 5 1 b7 3 6 5 1 4 b7 2 5 3 6 2
and A Mixolydian 3 3 6 2 5 3 5 1 4 b7 2 5 1 4 b7 5 1
(1-2-3-4-5-6-b7) 2 5 1 4 6 2 4 b7 1 4 6 2 5 1 3 6
b7 (3) 4 b7
3
D Dma9 IV Dma9 VI Dma9 IX Dma9 XI Dma9 II
D major triad, 3 6 2 (3) 3 6 2 5 3 (3) (6) 6 2 5 1 3 6
Dma9 arpeggio 1 4 b7 5 1 2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 b7 4 b7
(4-6-1-3-5) 3 b7 3 6 3 6 2
and A Mixolydian 2 5 1 4 6 2 3 6 2 5 3 5 1 4 b7 2 5 6 2 5 1 3 6 1 4 b7 5 1
(1-2-3-4-5-6-b7) b7 4 b7 1 4 b7 4 b7
3 3 3 6

©2015-2024 Jim Gleason. All Rights Reserved.

page 46 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Lovely Day in A
verse progression: ||: E | C#m | A |A-A-C-B :||
Memorize these rules: The black tones are triad tones. The black and gray tones combined make a
pentatonic scale. All of the tones combined (including those with no colored background make a seven
tone (heptatonic) scale. The position is the top fret on the diagram.
Start with key form G (the far right column below). The C and B chords are so brief that you could
(1) use their arpeggio tones only, (2) ignore the C & B chords and play melody in E minor or (3) use
E harmonic minor scale through C and B, emphasizing their chord tones within the E harmonic minor
scale.
KEY FORM  E form D form C form A form G form
E E XI E XIV E IV E V E VIII
E major triad (1-3-5), 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 4 (1) (4) (7)
E major pentatonic 1 4 5 1 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 3 6 2 5 7 3 7 3 6 5 1 4 2 5 4
and E major scale 2 5 1 4 6 2 4 1 4 5 1 4 2 5 7 7 3 6 2 7
7 3 6 2 5 1 3 6 1 4 5 1
5 4 7
7
C#m C#m XI C#m XIII C#m IV C#m VI C#m IX
C#m triad (6-1-3), 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 6 2 5 1 3 6
C#m pent. (6-1-2-3-5) 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 4
and E major scale 7 3 7 3 6 7 7 3 6 2 7
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
4 1 4 4 7
(7) (3)
A A XI A XIII A IV A V A IX
A major triad (4-6-1), 7 3 6 2 7 7 3 3 6 2 5 7 3 4 6 2 5 1 3 6
A ma pent. (4-5-6-1-2) 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 4
and 7 3 7 3 6 5 1 4 2 5 7 3 6 2 7
E Major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 1 4 5 1
4 1 4 6 2 5 1 3 6 7
(7) (3) 4
C C XI C XIV C IV C V C IX
C major triad (b6-1-b3), 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
C ma pent. (b6-b7-1-b3-4) 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and E Aeolian scale b6 2 5 2 5 1 2
(1-2-b3-4-5-b6-b7) 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
b3 b6 b7 b3 b6 b3 b6 b6
(2) (2) (5)

B B X B XIII B III B V B VIII

B major triad (5-7-2), b3 b6 (7) b3 b6 4 (b3) b6 (7) (b3)
B7/11 pent. (5-7-1-2-4) 7 2 7 2 5 1 4 2 2 5 7 7 2 5 1
and 1 4 b3 5 1 b3 b6 b3 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4
E harmonic minor 7 b6 2 5 7 7 b6 7 b3 b6 7 2 7
(1-2-b3-4-5-b6-7) 2 5 1 4 2 4 b3 b6 1 4 5 1 4 2 5 2 5 1 1 4 b3 5 1
7 (7) b3 b6 b3 4 7 b6
(7) 7

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 47

Waiting on the World to Change in D

3X ||: D / Bm / | G / D / | A / Bm / | G / D / :||; | D / Em / | Bm / Em / | A / Bm / | G / D / |
Black tones are triad tones. Black and gray combined make a pentatonic scale. All the tones combined
make a seven tone (heptatonic) scale. Start with the left column.

Start with key C form. D-Bm-G can be played as a Bm summary chord, since Bm is part of E6 and
Gma7. See the chapter “Commonality Chords”/What Are Summary Chords?.
KEY of G FORM  E form D form C form A form G form
D D IX D XI D II D III D VI
D major triad (1-3-5), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4) (7)
D major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) 7 3 7 3 6 5 1 4 2 5 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 7 3 6 2 7
4 1 4 6 2 5 1 3 6 1 4 5 1
7 3 4 7
7
Bm Bm IX Bm XI Bm II Bm IV Bm VII

Bm triad (6-1-3), 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 (7)

Bm pent. (6-1-2-3-5) 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
and D major scale 7 3 7 3 6 7 4
2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
4 1 4 4 1 4 5 1
(7) (3) 7
G G IX G XI G II G III G VII
G major triad (4-6-1), 7 3 6 2 7 7 3 3 6 2 5 7 3 4 6 2 5 1 3 6
G ma pent. (4-5-6-1-2) 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6 4
and 7 3 7 3 6 5 1 4 2 5 7 3 6 2 7
D Major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7 1 4 5 1
4 1 4 6 2 5 1 3 6 7
(7) (3) 4
A A IX A XI A II A IV A VI
A major triad (5-7-2), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
A major pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(5-6-7-2-3) 7 3 7 3 6 7 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7
Em Em IX Em XI Em II Em IV Em VI
Em triad (2-4-6), 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
Em pentatonic 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
(2-4-5-6-1) 7 3 7 3 6 7 4
and D major scale 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
(1-2-3-4-5-6-7) 4 1 4 4 1 4 5 1
7 3 7

©2015-2024 Jim Gleason. All Rights Reserved.

page 48 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

MINOR MODE IMPROV WITH AEOLIAN AND HARMONIC MINOR

major scale, five favored fingerings (Aeolian tone center on “6”)
fingering 7/1 fingering 3 fingering 4/5 fingering 6 fingering 7
11 11 1 11 1 11 1 (1) 11 11 1
22 11 2 22 111 11 1 111 22 22
22 333 222 11 2 33
443333 2 3333 3 444444
444 44
444333 44 44
4
44 4
4

7 3 6 2 3 6 2 5 7 3 4 (7) 7 3 6 2 7
1 4 5 1 4 1 4 7 3 6 6 2 5 1 3 6 1 4 5 1
7 3 7 3 6 5 1 4 2 5 4 7 3
2 5 1 4 6 2 5 1 4 2 5 7 7 3 6 2 7 2 5 1 4 6 2
6 2 5 1 3 6 1 4 5 1
7 3 4 7
7

major scale sharp five, five favored fingerings (harmonic minor tone center on “6”)
fingering 1 fingering 3 fingering 4/5 fingering 6 fingering 7
11 1 (1) 1 1 1 1 (1)
1 11 1 11 11 111 11 222 11 11 1
2 2222 2 222 22 1 2 3 22 2
3 333 3 2 2 3334 4 333
444 44 44 4 44 333 44 4 4 4444
4 4 4 4 (4) (4) 4
4

14 1 (#5) 4 (7) (#5) (#5)

7 3 #5 3 62 73 736 62 136 73 62 7
2 1462 4 #5 1 4 14 2 #5 4 14 1
#5 736 #5 7 #5 7362 7 7 3 #5
362 73 14 2 62 136 14 1 2 1462
#5 #5 #5 4 7 #5 #5
7

common minor mode triads and seventh chords

example in Am Am Bm7b5 C or Cma7 Dm or Dm7 Em or Em7 E or E7 F or Fma7 G or G7 G#dim7
example in Em Em F#m7b5 G or Gma7 Am or Am7 Bm or Bm7 B or B7 C or Cma7 D or D7 D#dim7
parent major or maj. #5 major both major both major maj. #5 both major maj. #5
triad name VIm VII dim. I maj. IIm IIIm III maj. IV V major #Vdim
triad numbers 6-1-3 7-2-4 1-3-5 2-4-6 3-5-7 3-#5-7 4-6-1 5-7-2 #5-7-2
seventh name VIm7 VIIm7b5 Ima7 IIm7 IIIm7 III7 IVma7 V7 #Vdim7
seventh numbers 6-1-3-5 7-2-4-6 1-3-5-7 2-4-6-1 3-5-7-2 3-#5-7-2 4-6-1-3 5-7-2-4 #5-7-2-4
Aeolian or har. min. Aeolian both Aeolian both Aeolian har. min. both Aeolian har. min.
triad name I IIdim bIII maj IVm Vm V maj. bVI maj. bVII maj. VIIdim
triad numbers 1-b3-5 2-4-b6 b3-5-b7 4-b6-1 5-b7-2 5-7-2 b6-1-b3 b7-2-4 7-2-4
seventh name Im7 IIm7b5 bIIIma7 IVm7 Vm7 V7 bVI maj. bVII maj. VIIdim
seventh numbers 1-b3-5-b7 2-4-b6-b7 b3-5-b7-2 4-b6-1-b3 5-b7-2-4 5-7-2-4 b6-1-b3-5 b7-2-4-b6 7-2-4-b 6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 49

Aeolian mode, five favored fingerings (Aeolian tone center on “1”)

fingering 7/1 fingering 3 fingering 4/5 fingering 6 fingering 7
11 11 1 11 1 11 1 (1) 11 11 1
22 11 2 22 11 1 111 111 22 22
22 333 2 22 11 2 33
443333 444 44 2 3333 3 444444
444 333 44 44
44 4 4
4

2514 5 1 4 b7 2 5 b6 (2) 1
b3 b6 b7 b3 b6 b3 b6 25 1 1 4 b7 b3 5 1
25 251 b7 b3 b6 4 b7 b6 2514 2
4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2 2514 2 b3 b6 b7 b3
1 4 b7 b3 5 1 b3 b6 b7 b3 25
25 b6 2 4 b7 b3 b6 1 4
2

harmonic minor scale, five favored fingerings (harmonic minor tone center on “1”)
fingering 1&2 fingering 3 fingering 4/5 fingering 6 fingering 7
11 (1) 1 1 1 1 1
1 11 111 11 111 11 222 11 11 1
2 2211 2 2 22 22 1 2 3 22 2
3 333 3 2 2 3334 4 333
444 33 44 4 44 333 44 4 4 4444
44 4 4 4 4
4

b3 b6 (7) b6 7 2 7 7
2 57 514 25 2 5 1 14 b3 5 1 25 14 2
4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4 7 b6 b3 b6 b3
7 251 7 2 7 2514 2 257
514 35 b3 b6 4 1 4 b3 5 1 b3 b6 b3 4 b3 b6 1 4
4 b6 7 7 7 b6
2

common minor mode triads and seventh chords

letters in Am A B C D E F G G#
letters in Em E F# G A B C D D#d
Aeolian
triad name Im IIdim bIII maj IVm Vm bVI maj. V major
triad numbers 1-b3-5 7-2-4 1-3-5 2-4-6 3-5-b7 4-6-1 5-7-2
seventh name Im7 VIIm7b5 Ima7 IIm7 IIIm7 IVma7 V7
seventh numbers 1-b3-5-b7 2-4-b6-1 b3-5-b7-2 4-b6-1-b3 5-b7-2-4 b6-1-b3-5 b7-2-4-b6
harmonic minor
triad name Im IIdim bIII aug. IVm V maj. bVI maj. VIIdim
triad numbers 1-b3-5 2-4-b6 b3-5-7 4-b6-1 5-7-2 b6-1-b3 7-2-4
seventh name Im(ma7) IIm7b5 bIIIma7#5 IVm7 V7 bVI maj. VIIdim
seventh numbers 1-b3-5-7 2-4-b6-1 b3-5-7-2 4-b6-1-b3 5-7-2-4 b6-1-b3-5 7-2-4-b 6

©2015-2024 Jim Gleason. All Rights Reserved.

page 50 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Fragile verse in Em
verse progression: Em-Em-Am-Am-B7-B7-Em-Em (simplified)
For pentatonic scales, black tones are triad tones combined with gray to make a pentatonic scale. For
ninth arpeggios, black tones are a complete ninth, gray are parts of a ninth in another octave. All the
tones combined make a seven tone (heptatonic) scale. Start with A form for the key, the fourth column.
KEY FORM  E form D form C form A form G form
Em Em XII Em II Em III Em VII Em VIII
Em triad arpeggio, 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
E minor pentatonic b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and 2 5 1 4 2 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
E Aeolian b3 b6 b7 b3 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) 2 (5) 5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1) 4 (b3) b6 b6

Em9 Em9 XI Em9 II Em9 IV Em9 VII Em9 . VIII

Em9 arpeggio (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(1-b3-5-b7-2) 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and b6 2 5 2 5 1 2
E Aeolian 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
2 2 5 2

Am Am XI Am II Am IV Am VII Am IX
Am triad arpeggio, 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
Am pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(4-b6-b7-1-b3) and b6 2 5 2 5 1 2
E Aeolian 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
(2) (2) (5)

Am9 Am9 XI Am9 II Am9 IV Am9 VII Am9 IX

Am9 arpeggio, (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(4-b6-b7-2-4) 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and b6 2 5 2 5 1 2
E Aeolian 2 5 1 4 4 b7 b3 b6 1 4 5 1 4 b7 2 5 1 4 b7 b3 5 1
b7 b3 b6 4 b7
(1-2-b3-4-5-b6-b7) b6 b3 b6 b6
b3 b6 b7 b3
2 5
2 (2) 5

B B X B I B III B V B VIII
B major triad (5-7-2), b3 b6 (7) b3 b6 4 (b3) b6 (7) (b3)
B7/11 pentatonic 7 2 7 2 5 1 4 2 2 5 7 7 2 5 1
(5-7-1-2-4) 1 4 b3 5 1 b3 b6 b3 5 1 4 2 5
4 b3 b6 1 4 b3 b6 4
and 7 b6 2 5 7 b6 7 b3 b6
E harmonic minor 7 7 2 7
2 5 1 4 2 4 b3 b6 1 4 2 5 1
(1-2-b3-4-5-b6-7) 7 5 1 4 2 5 b3 4
1 4 b3 5 1
(7) b3 b6 (7) 7 7 b6
B7b9 B7b9 XI B7b9 I B7b9 III B7b9 VI B7b9 VIII
B7b9 arpeggio 7 2 7 (7) b3 b6 (7) b6
(5-7-2-4-b6) 1 4 b3 5 1 2 5 1 4 2 2 5 7 5 1 4 2 5 2 5 1
and 7 b6 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
E harmonic minor 2 5 1 4 2 2 5 7 7 2 5 1 7 2 7
(1-2-b3-4-5-b6-7) b3 b6 b3 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
7 b3 b6 7 7 7 b6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 51

I Put a Spell On You (Creedence version) in Em

Em Em Am Em Am Am B7 B7
Am Em Am C7 Em B7 Em-Am B7

The black tones are triad tones. The black and gray tones combined make a pentatonic scale. All of
the tones combined (including those with no colored background make a seven tone (heptatonic) scale.
The position is the top fret on the diagram.

Start with A form (the fourth column) in position VII). Em7b5 has the same notes as C9 no root, so
it works well on C7, making C7 sound like C9.

KEY FORM  E form D form C form A form G form

Em Em XII Em II Em III Em VII Em VIII
Em triad arpeggio, 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
E minor pentatonic b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and 2 5 1 4 2 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
E Aeolian b3 b6 b7 b3 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) 2 (5) 5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1) 4 (b3) b6 b6

Am Am XI Am II Am III Am VII Am IX
Am triad arpeggio, 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
Am pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(4-b6-b7-1-b3) and b6 2 5 2 5 1 2
E Aeolian 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
(2) (2) (5)

B B X B XII B III B V B VIII

B major triad (5-7-2), b3 b6 (7) b3 b6 4 (b3) b6 (7) (b3)
B7/11 pentatonic 7 2 7 2 5 1 4 2 2 5 7 7 2 5 1
(5-7-1-2-4) 1 4 b3 5 1 b3 b6 b3 5 1 4 2 5
4 b3 b6 1 4 b3 b6 4
and 7 b6 2 5 7 b6 7 b3 b6
E harmonic minor 7 7 2 7
2 5 1 4 2 4 b3 b6 1 4 2 5 1
(1-2-b3-4-5-b6-7) 7 5 1 4 2 5 b3 4
1 4 b3 5 1
(7) b3 b6 (7) 7 7 b6

Em7b5 on C7 chord Em7b5 on C7 XI Em7b5 on C7 XI Em7b5 on C7 III Em7b5 on C7 VI Em7b5 on C7 VIII

E diminished (1-b3-b5), 2 b5 b3 b6 b5 b3 b5 b5 b6 (b5) (b6)
Em7/11b5 pentatonic 1 4 b7 b3 5 1 2 1 4 2 2 1 4 b7 2 2 1
(2-b3-4-b5-b7) b5 b6 b3 b6 b5 b7 b3 4 b7 b3 b6 1 4 b6 b5 b3 b6 b7 b3 b6 4 b7
and 2 1 4 2 2 b5 b5 2 1 2 b5
E Aeolian flat five b3 b6 b5 b7 b3 4 b7 b3 b6 1 4 1 4 b7 2 b7 b3 b6 4 b7 1 4 b7 b3 1
(1-2-b3-4-b5-b6-7) (2) b5 (b5) (b3) b6 (b5) b5 b6

©2015-2024 Jim Gleason. All Rights Reserved.

page 52 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Losing My Religion verse in Am

verse progression: three times: (Am-Am-Em-Em), then Dm-Dm-G-G

The black tones are triad tones. Black and gray tones combined make a pentatonic scale. All the tones
combined (including those with no colored background) make a seven tone (heptatonic) scale. Start
with key scale in A form, (fourth column) using the first and third rows.
KEY FORM  E form D form C form A form G form
Am Am V Am VII Am VIII Am XII Am I
Am triad arpeggio 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
(1-b3,5), b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
A minor pentatonic 2 5 1 4 2
2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
(1-b3-4-5-b7), b3 b6 b7 b3
4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
A Aeolian 2 (5)
(1) 4
5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) (b3) b6 b6

A har. min. V A har. min. VI A har. min. VIII A har. min. XI A har. min. I
Am triad arpeggio 1 4 b3 5 1 (7) b3 b6 (b3) (7) b6 (7) (b6)
(1-b3,5), 7 b6 2 5 1 4 2 2 5 (7) 5 1 4 2 5 2 5 1
Am(ma7)/4 pentatonic 2 5 1 4 2 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
(1-b3-4-5-7), b3 b6 b3 2 5 7 7 2 5 1 7 2 7
A harmonic minor 2 (5) 7 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
(1-2-b3-4-5-b6-7) (1) 4 7 77 b3 b6 7 (2) 7 7 b6

Em Em IV Em VII Em VIII Em XII Em I

E minor triad (5-b7-2), 2 2 5 1 4 2 b3 b6 5 1 4 b7 2 5 2 5 1
E mnior pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 2 5 b6 b3 b6 b7 b3 b6 4 b7
(5-b7-1-2-4) b6 2 5 4 b7 b3 b6 1 4 2 5 1 2
and 2 5 1 4 2 4 b7 b3 b6 1 4 1 4 b7 b3 5 1
b7 b3 b6 4 b7
A Aeolian b3 b6 b7 b3 5 1 4 b7 2 5 b6
(1-2-b3-4-5-b6-b7) (2) b3 b6

Dm Dm IV Dm VII Dm IX Dm XII Dm II
Dm triad (4-b6-1), 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
Dm pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(4-5-b6-1-b3) b6 2 5 2 5 1 2
and 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
A Aeolian b3 b6 b7 b3 b6 b3 b6 b6
(1-2-b3-4-5-b6-b7) (2) (2) (5)

G G IV G VII G IX G XII G II
G triad (b7-2-4), (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
G major pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b7-1-2-4-5) b6 2 5 2 5 1
and 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
A Aeolian b3 b6 b7 b6 b3 b6 b6
(1-2-b3-4-5-b6-b7) 2 2 5

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 53

Off the
Off the Wall
Wall
(Medium Swing) Rod Temperton (Michael Jackson)
tom + of 3 , bass + of 4 in pickup bar

E on and of 1

3x

F#, E, C# are pushed

3x

F#, E, C# are pushed

3x

F#, E, C# are pushed

push every chord in these four bars

repeat and fade these 9 bars F#, E, C# are pushed

©2015-2024 Jim Gleason. All Rights Reserved.

page 54 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

For pentatonic scales, black tones are triad tones combined with gray to make a pentatonic scale. For
ninth arpeggios, black tones are a complete ninth, gray are parts of a ninth in another octave. All the tones
combined make a seven tone (heptatonic) scale. Start with the fourth column. Use D#m9 during D#m11.
KEY of D# FORM  E form D form C form A form G form
D#m D#m XI D#m XIII D#m II D#m VI D#m VII
D#m triad arpeggio 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
(1-b3,5), b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
D# minor pentatonic 2 5 1 4 2
2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
(1-b3-4-5-b7), b3 b6 b7 b3
4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
D# Aeolian 2 (5)
(1) 4
5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) (b3) b6 b6

D#m9 D#m9 X D#m9 XIII D#m9 II D#m9 VI D#m9 . VIII

D#m9 arpeggio (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(1-b3-5-b7-2) 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and b6 2 5 2 5 1 2
D# Aeolian 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
2 2 5 2

G#m7 G#m X G#m XIII G#m III G#m VI G#m VIII

G#m triad arpeggio, 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
G#m pentatonic (4-b6-b7- 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
1-b3) and b6 2 5 2 5 1 2
D# Aeolian 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
(2) (2) (5)

G#m9 G#m9 X G#m9 XIII G#m9 III G#m9 VI Am9 VIII

G#m9 arpeggio, (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(4-b6-b7-2-4) b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
1 4 b7 b3 5 1
and 2 5 2 5 1 2
D# Aeolian b6
2 5 1 4 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b6 b3 b6 b6
b3 b6 b7 b3
(2) 5 2 5
2
Bma9 Bma9 X` Bma9 XIII Bma9 IV Bma9 VI Bma9 VIII
Bma9 arpeggio (2) 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
(b3-5-b7-2-4), 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
D# Aeolian b6 2 5 2 5 1 2
(1-2-b3-4-5-b6-b7) 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
b3 b6 b7 b3 b6 b3 b6 b6
2 (2) (5) 2
A#m7 A#m7 III A#m7 XIII A#m7 III A#m7 V A#m7 VII
A#m7 arpeggio 2 2 5 1 4 2 b3 b6 5 1 4 b7 2 5 b6
(2-4-b6-1), 1 4 b7 b3 5 1 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
D# Aeolian b6 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
(1-2-b3-4-5-b6-b7) 2 5 1 4 2 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
5 1 4 b7 2 5
b3 b6 b7 b3 b3 b6 1 4 b7 b3 5 1
(2) b6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 55

Fma7 and Ema7 are too brief (one beat each) to play more than arpeggio tones. Use A#m7 during
A#9sus4.
KEY of F# FORM  G form E form D form C form A form
F#ma7 F# X F# I F# III F# VI F# VII
F#ma9 arpeggio (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 4 (1) (4)
(1-3-5-7-2) 6 2 5 1 3 6 1 4 5 1 2 5 1 4 6 2 4 1 4 7 3 6
and 4 7 3 7 3 6 5 1 4 2 5
F# major scale 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 7
(1-2-3-4-5-6-7) 1 4 5 1 4 1 4 6 2 5 1 3 6
7 7 3 4
7
Ema7 Ema9 IX Ema9 I Ema9 IV Ema9 IX Ema9 XI
Ema9 arpeggio 6 2 5 1 3 6 3 6 2 (3) 3 6 2 5 3 (3) (6)
(b7-2-4-6-1), b7 4 b7 1 4 b7 5 1 2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5
and 3 6 2 3 b7 3 6
F# Mixolydian 1 4 b7 5 1 2 5 1 4 6 2 3 6 2 5 3 5 1 4 b7 2 5 6 2 5 1 3 6
(1-2-3-4-5-6-b7) b7 4 b7 1 4 b7 4 b7
3 3 3 6

the last section V

KEY of D# FORM  E form D form C form A form G form

D#m7 D#m X D#m I D#m II D#m V D#m VIII

D#m arpeggio (1-b3-5), (6) (2) 2 5 1 4 6 2 b3 (b3) (6) 6 2 5 1 6
D#m pentatonic, 1 4 b7 b3 5 1 b3 b7 b3 6 2 5 5 1 4 b7 2 5 b7 b3 4 b7
(1-b3-4-5-b7) and 6 2 5 4 b7 b3 1 4 b3 6 2
D# Dorian 5 1 4 6 2 4 b7 b3 1 4 6 6 2 5 1 6 1 4 b7 b3 5 1
(1-2-b3-4-5-6-b7) b3 b7 b3 5 1 4 b7 2 5 b7 b3 4 b7
6 2 (5) b3 6

G# G# IX G# I G# III G# V G# VIII
G# maj. arpeggio (4-6-1), b7 b3 (b7) 2 5 1 4 6 2 6 2 5 6 6 2 5 1 6
G# major pentatonic, 6 2 b3 b7 b3 4 b7 b3 1 4 5 1 4 b7 2 5 b7 b3 4 b7
(4-5-6-1-2) and 1 4 b7 b3 5 1 6 2 5 6 b3 6 2
D# Dorian 4 b7 b3 1 4 5 1 4 b7 2 5 6 2 5 1 6 1 4 b7 b3 5 1
(1-2-b3-4-5-6-b7) 2 5 1 4 6 2 b3 b7 b3 4 b7
b7 b3 (6)
G#9 G#9 IX G#9 II G#9 II G#9 IV G#9 VIII
G#9 arpeggio b7 b3 2 5 1 4 6 2 b3 (b3) 4 b7 b3 (4) 6 2 5 1 6
(4-6-1-b3-5), 6 2 b3 b7 b3 6 2 5 6 b7 b3 4 b7
and 1 4 b7 b3 5 1 6 2 5 4 b7 b3 1 4 5 1 4 b7 2 5 6 2
D# Dorian 4 b7 b3 1 4 6 b3 1 4 b7 b3 5 1
(1-2-b3-4-5-6-b7) 2 5 1 4 6 2 5 1 4 b7 2 5 6 2 5 1 6
b7 b3 b3 4 b7

©2015-2024 Jim Gleason. All Rights Reserved.

page 56 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Paint It Black verse in Em

verse progression: Em-Em-B7-B7

The black tones are triad tones. The black and gray tones combined make a pentatonic scale. All of
the tones combined (including those with no colored background make a seven tone (heptatonic) scale.
The position is the top fret on the diagram.

Start with A form (the fourth column) in position VII with the Em triad arpeggio, E minor pentatonic
and E Aeolian in first row and with B major triad, B7/11 pentatonic and E harmonic minor (same as B
Phrygian dominant) in the third row.
KEY FORM  E form D form C form A form G form
Em Em XII Em II Em III Em VII Em VIII
Em triad arpeggio, 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
E minor pentatonic b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and 2 5 1 4 2 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
E Aeolian b3 b6 b7 b3 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) 2 (5) 5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1) 4 (b3) b6 b6

Em E har. min. XII E har. min. I E har. min. III E har. min. VI E har. min. VIII
Em triad arpeggio, 1 4 b3 5 1 (7) b3 b6 (b3) (7) b6 (7) (b6)
Em(ma7)/11 pentatonic 7 b6 2 5 1 4 2 2 5 (7) 5 1 4 2 5 2 5 1
(1-b3-4-5-7) and 2 5 1 4 2 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
E Aeolian b3 b6 b3 2 5 7 7 2 5 1 7 2 7
(1-2-b3-4-5-b6-b7) 2 (5) 7 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
(1) 4 7 77 b3 b6 7 (2) 7 7 b6

B B X B XII B III B V B VIII

B major triad (5-7-2), b3 b6 (7) b3 b6 4 (b3) b6 (7) (b3)
B7/11 pentatonic 7 2 7 2 5 1 4 2 2 5 7 7 2 5 1
(5-7-1-2-4) 1 4 b3 5 1 b3 b6 b3 5 1 4 2 5
4 b3 b6 1 4 b3 b6 4
and 7 b6 2 5 7 b6 7 b3 b6
E harmonic minor 7 7 2 7
2 5 1 4 2 4 b3 b6 1 4 2 5 1
(1-2-b3-4-5-b6-7) 7 5 1 4 2 5 b3 4
1 4 b3 5 1
(7) b3 b6 (7) 7 7 b6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 57

Shady Grove in Dm (Garcia-Grissman version)

| Dm | C | Dm | Dm | Dm | C | C | Dm |

The black tones are triad tones. The black and gray tones combined make a pentatonic scale. All of
the tones combined (including those with no colored background make a seven tone (heptatonic)
scale. The position is the top fret on the diagram.

Start with A form (the fourth column) in position V. Use Aeolian for a tradtional feel with a darker
mood. Use Dorian for a modern feel with a brighter mood.

D Aeolian
KEY FORM  E form D form C form A form G form
Dm Dm IX Dm XII Dm I Dm V Dm VIII
Dm triad arpeggio, (2) 2 5 1 4 2 b3 b6 (b3) 5 1 4 b7 2 5 b6 (b6)
D minor pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and b6 2 5 4 b7 b6 1 4
b3 2 5 1 b7 b3 b6 4 b7
D Aeolian 5 1 4 2 4 b7 b6 1 4
b3 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 5 1 4 b7 2 5 1 4 b7 b3 5 1
2 (5) b3 b6 b6

C C IX C XII C II C V C VII
C triad (b7-2-4), (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
C major pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b7-1-2-4-5) b6 2 5 2 5 1
and 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
D Aeolian b3 b6 b7 b6 b3 b6 b6
(1-2-b3-4-5-b6-b7) 2 2 5

D Dorian
KEY FORM  E form D form C form A form G form
Dm Dm IX Dm XII Dm I Dm IV Dm VIII
Dm triad arpeggio, (6) (2) 2 5 1 4 6 2 b3 (b3) (6) 6 2 5 1 6
D minor pentatonic 1 4 b7 b3 5 1 b3 b7 b3 6 2 5 5 1 4 b7 2 5 b7 b3 4 b7
(1-b3-4-5-b7) and 6 2 5 4 b7 b3 1 4 b3 6 2
D Dorian 5 1 4 6 2 1 4 b7 b3 5 1
4 b7 b3 1 4 6 6 2 5 1 6
(1-2-b3-4-5-6-b7) b3 b7 b3
6 2 (5)
5 1 4 b7 2 5 b7 b3 4 b7
b3 6

G C IX C XII C II C IV C VII
C triad (b7-2-4), (6) (2) 2 5 1 4 2 (2) (5) (6) 6 2 5 1 6
C major pentatonic 1 4 b7 b3 5 1 b3 b7 b3 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 4 b7
(b7-1-2-4-5) 6 2 5 b3 6
and 2 5 1 4 6 2 4 b3 1 4
b7 5 1 4 b7 2 5 6 2 5 1 6 1 4 b7 b3 5 1
D Dorian b3 b7 b6 b3 b6 b7 b3 4 b7
(1-2-b3-4-5-6-b7) 6 2 2 5 6

©2015-2024 Jim Gleason. All Rights Reserved.

page 58 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

(Rock) Smoke on the

Smoke On The Water
Water
Deep Purple

bpm 114
↙ 4x

(bs+dr in)
↙

4x

D.S. al Fine
solo
4x

4x

↙ 4x

outro

vamp out

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 59

G Aeolian ( also Dorian and Phrygian)

Treat the initial “hook” as all G minor and G Aeolian. The black tones are triad tones. The black and
gray tones combined make a pentatonic scale. All of the tones combined (including those with no
colored background make a seven tone (heptatonic) scale. The position is the top fret on the diagram.
Start with A form (the fourth column). In improvising over the chorus, during C and Ab, use
primarily chord tones, since the durationa are short.

KEY of Gm FORM  E form D form C form A form G form

Gm Gm II Gm V Gm VI Gm X Gm XI
Dm triad arpeggio, (2) 2 5 1 4 2 b3 b6 (b3) 5 1 4 b7 2 5 b6 (b6)
G minor pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and b6 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
G Aeolian 5 1 4 2 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 5 1 4 b7 2 5 1 4 b7 b3 5 1
2 (5) b3 b6 b6

F F II F V F VII F X F XII
F triad (b7-2-4), (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
F major pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b7-1-2-4-5) b6 2 5 2 5 1
and 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
G Aeolian b3 b6 b7 b6 b3 b6 b6
(1-2-b3-4-5-b6-b7) 2 2 5
Cm Cm II Cm V Cm VII Cm X Cm XII
Cm triad arpeggio, 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
Cm pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(4-b6-b7-1-b3) and b6 2 5 2 5 1 2
G Aeolian 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
(2) (2) (5)

C C I C V C VIII C IX C XII
C maj. arpeggio b7 b3 (b7) 2 5 1 4 6 2 6 2 5 6 6 2 5 1 6
(4-6-1), 6 2 b3 b7 b3 4 b7 b3 1 4 5 1 4 b7 2 5 b7 b3 4 b7
C major pentatonic, 1 4 b7 b3 5 1 6 2 5 6 b3 6 2
(4-5-6-1-2) and 4 b7 b3 1 4 5 1 4 b7 2 5 6 2 5 1 6 1 4 b7 b3 5 1
G Dorian 2 5 1 4 6 2 b3 b7 b3 4 b7
(1-2-b3-4-5-6-b7) b7 b3 (6)
Ab Ab II Ab VI Ab VIII Ab Ab XII
X
Ab maj. arpeggio 1 4 b7 b3 1 5 1 4 5 5 1 4 b7 5 5 1
(4-6-1), b2 5 b6 b2 b3 b6 b2 b7 b3 4 b7 b3 b6 1 4 b6 b2 b3 b6 b7 b3 b6 b2 4 b7
Ab major pentatonic, 1 4 5 b2 5 1
(4-5-6-1-2) and b3 b6 b2 5 b7 b3 4 b7 b3 b6 1 4 5 1 4 b7 5 b7 b3 b6 b2 4 b7 1 4 b7 b3 5 1
G Phrygian b2 b6 b2 b3 b6 b2 b6 b2
(1-b2-b3-4-5-b6-b7 (5 (1)

©2015-2024 Jim Gleason. All Rights Reserved.

page 60 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Sultans of Swing
verse ||: Dm | C / Bb / | A | A :||
For pentatonic scales, black tones are triad tones combined with gray make a pentatonic scale. For ninth
arpeggios, black tones are a complete ninth, gray are parts of a ninth in other octaves. All the tones
combined make a seven tone (heptatonic) scale. Start with A form for the key of D minor.

D Aeolian and D harmonic minor

KEY of Dm FORM  E form D form C form A form G form
Dm Dm IX Dm XII Dm I Dm V Dm VIII
Dm triad arpeggio, (2) 2 5 1 4 2 b3 b6 (b3) 5 1 4 b7 2 5 b6 (b6)
D minor pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and b6 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
D Aeolian 5 1 4 2 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 5 1 4 b7 2 5 1 4 b7 b3 5 1
2 (5) b3 b6 b6

C C IX C XII C II C V C VII
C triad (b7-2-4), (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
C major pentatonic 1 4 b3 5 1
b7 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b7-1-2-4-5) b6 2 5 2 5 1
and 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
D Aeolian b3 b6 b7 b6 b3 b6 b6
(1-2-b3-4-5-b6-b7) 2 2 5
Bb Bb IX Bb XII Bb II Bb V Bb VII
Bb triad (b6-1-b3), 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
Bb major pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b6-b7-1-b3-4) b6 2 5 2 5 1 2
2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
and
b3 b6 b7 b3 b6 b3 b6 b6
D Aeolian (2) (2) (5)
(1-2-b3-4-5-b6-b7)
A A VIII A XI A I A III A VI
A major triad (5-7-2), b3 b6 (7) b3 b6 4 (b3) b6 (7) (b3)
A7/11 pentatonic 7 2 7 2 5 1 4 2 2 5 7 7 2 5 1
(5-7-1-2-4) 1 4 b3 5 1 b3 b6 b3 5 1 4 2 5
4 b3 b6 1 4 b3 b6 4
and 7 b6 2 5 7 b6 7 b3 b6
D harmonic minor 7 7 2 7
2 5 1 4 2 4 b3 b6 1 4 2 5 1
(1-2-b3-4-5-b6-7) 7 5 1 4 2 5 b3 4
1 4 b3 5 1
(7) b3 b6 (7) 7 7 b6

A7b9 A7b9 VIII A7b9 XI A7b9 I A7b9 IV A7b9 VI

A7b9 arpeggio 7 2 7 (7) b3 b6 (7) b6
(5-7-2-4-b6) 1 4 b3 5 1 2 5 1 4 2 2 5 7 5 1 4 2 5 2 5 1
and 7 b6 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
D harmonic minor 2 5 1 4 2 2 5 7 7 2 5 1 7 2 7
(1-2-b3-4-5-b6-7) b3 b6 b3 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
7 b3 b6 7 7 7 b6

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 61

Sultans of Swing chorus | F | F | C | C | Bb | Bb | Dm | Dm / Bb / | C | C / Bb / | C | C |

||: Dm / / C | Bb |C |C :||
For pentatonic scales, black tones are triad tones combined with gray make a pentatonic scale. All the
tones combined make a seven tone (heptatonic) scale. Start with C form for F major, the fourth column.
F major - only think in F majore for F-F-C-C, then think in D Aeolian & D haronic minor.
KEY of F FORM  G form E form D form C form A form
F F IX E XII F II F V F VI
F major triad (1-3-5), (7) 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 4 (1) (4)
F major pentatonic 6 2 5 1 3 6 1 4 5 1 4 1 4 7 3 6
(1-2-3-5-6) 4 7 3 3 6 2 5 7 3 7 3 6 5 1 4 2 5
and F major scale 7 3 6 2 7 2 5 1 4 6 2 4 1 4 5 1 4 2 5 7
1 4 5 1 7 3 6 2 5 1 3 6
7 5 4
7
C C IX C XII C II C V C VII
C major triad (5-7-2), (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6
C major pentatonic 6 2 5 1 3 6 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5
(5-6-7-2-3) 4 7 3 7 3 6 7
and F major scale 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6
(1-2-3-4-5-6-7) 1 4 5 1 4 1 4 4
7 7 3

D Aeolian and D harmonic minor

KEY of Dm FORM  E form D form C form A form G form
Dm Dm IX Dm XII Dm I Dm V Dm VIII
Dm triad arpeggio, (2) 2 5 1 4 2 b3 b6 (b3) 5 1 4 b7 2 5 b6 (b6)
D minor pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and b6 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
D Aeolian 5 1 4 2 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 5 1 4 b7 2 5 1 4 b7 b3 5 1
2 (5) b3 b6 b6

C C IX C XII C II C V C VII
C triad (b7-2-4), (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
C major pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b7-1-2-4-5) b6 2 5 2 5 1
and 2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
D Aeolian b3 b6 b7 b6 b3 b6 b6
(1-2-b3-4-5-b6-b7) 2 2 5
Bb Bb IX Bb XII Bb II Bb V Bb VII
Bb triad (b6-1-b3), 2 2 5 1 4 2 2 5 5 1 4 b7 2 5 2 5 1
Bb major pentatonic 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
(b6-b7-1-b3-4) b6 2 5 2 5 1 2
2 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
and
b3 b6 b7 b3 b6 b3 b6 b6
D Aeolian (2) (2) (5)
(1-2-b3-4-5-b6-b7)

©2015-2024 Jim Gleason. All Rights Reserved.

page 62 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Sumertime (Miles Davis version)

Summertime melm, rel. major parent:,IIIM,VIIM,IIM,1km251-2pb,m6,mixMo,b5sub
(Slow Swing) George Gershwin
chord progression
130 BPM

comping Summertime intermediate comping

q = 85

° b4
Swing Eighths G‹6 D9/A G‹7 D9/A G‹6 D9/A G‹7 D9/A

™™ œœ nœœ nœ bœœ nœœ nœœ œœ nœœ nœ nœ

œ œ œ
œœ
&b 4 ∑
nœ œ #œ œ nœ œ #œ œ œ œ œ #œ œ
œ œ œ œ œ œ œ œ
™
™
3 5 6 6 5 3 3 5 6 5

¢⁄
3 5 7 6 5 3 3 5 7 5
2 2 4 4 5 5 2 2 4 4 5 5 4
3 5 6 5 3 5 6 5

° b
C‹7 E¨9 D7 A7(#5) D9 D7(b5)
bœœ œœ œœ bœœ œœ œœ nœœ œœ #nœœ œœ nnœœ œœ
6
œ œ
&b #œœ œœ
3 3
œ œ œ œ nœ œ #œ œ œ #œ
œ œ œ œ œ œ œ œ bœ œ
3 3
4 4 4 6 6 6 5 5 6 6 5 5 3 3

¢⁄
3 3 3 6 6 6 5 5 6 6 5 5 5 5
5 5 4 4 4 4
3 3 3 3 6 6 5 5 5 5
6 6 5 5 4 4

° b
G‹ D9/A G‹7 D9/A G‹ D9/A G‹7 C7
nœ nœ bœœ nœœ nœœ nœ nœ n˙
10
œ œ œ œ œœ œ œ œ œ n ˙˙
&b nœ œ œ #œ œ œ nœ œ œ #œ œ œ ˙
œ nœ œ œ œ œ œ
3 5 6 6 5 3 3 3 5 6 5

¢⁄
3 5 7 6 5 3 3 3 5 7 3
2 2 4 4 5 5 2 2 4 4 5 5 2
3
3 5 6 5 3 5 6
Made with iReal Pro

° b œœ b bœœ bœœ n˙
B¨Œ„Š7 G‹7 C‹7 D7(b9) G‹ D9/A G‹7 D9/A G‹7
œœ nœ nœœ bœœ nœœ nœœ ™™ w
14

& b œ b œ œ n ˙˙ œœ nœœœ bbbœœœ n˙˙˙ nœœ

#œ œ œ œ œ w
w
œ nœ œ œ
˙ #˙ œ œ œ w
™ 33
™ 3
6 5 4 3 4 3 2 1 3 5 6 6 5 3

¢⁄
7 6 5 3 3 4 3 2 3 5 7 6 5 3
7 6 5 3 5 3 2 1 2 2 4 4 5 5
3
6 3 2 3 5 6 5 3

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 63

For pentatonic scales, black tones are triad tones, combined with gray to make a pentatonic scale. For
ninths, black are a complete ninth, gray are ninth parts in another octave. Combine all tones to make a
seven tone scale. Use Gm9 for Bbma7. Start with A form for the key, the fourth column.
Gm key FORM  E form D form C form A form G form
Gm(7) Gm III Gm V Gm VI Gm X Gm XI
Gm triad arpeggio, 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
G minor pentatonic b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1-b3-4-5-b7) and 2 5 1 4 2 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
G Aeolian b3 b6 b7 b3 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) 2 (5) 5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1) 4 (b3) b6 b6

Gm9 (Gm7) Gm9 II Gm9 V Gm9 VII Gm9 X Gm9 . XII

Gm9 arpeggio (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(1-b3-5-b7-2) 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and b6 2 5 2 5 1 2
G Aeolian 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-b6-b7) b3 b6 b7 b3 b6 b3 b6 b6
2 2 5 2

D(7) D I D IV D VI D VIII D XI
D major triad (5-7-2), b3 b6 (7) b3 b6 4 (b3) b6 (7) (b3)
D7/11 pentatonic 7 2 7 2 5 1 4 2 2 5 7 7 2 5 1
(5-7-1-2-4) 1 4 b3 5 1 b3 b6 b3 5 1 4 2 5
4 b3 b6 1 4 b3 b6 4
and 7 b6 2 5 7 b6 7 b3 b6
G harmonic minor 7 7 2 7
2 5 1 4 2 4 b3 b6 1 4 2 5 1
(1-2-b3-4-5-b6-7) 7 5 1 4 2 5 b3 4
1 4 b3 5 1
(7) b3 b6 (7) 7 7 b6
D7b9 D7b9 II D7b9 IV D7b9 VI D7b9 IX D7b9 XI
D7b9 arpeggio 7 2 7 (7) b3 b6 (7) b6
(5-7-2-4-b6) 1 4 b3 5 1 2 5 1 4 2 2 5 7 5 1 4 2 5 2 5 1
and 7 b6 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
G harmonic minor 2 5 1 4 2 2 5 7 7 2 5 1 7 2 7
(1-2-b3-4-5-b6-7) b3 b6 b3 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
7 b3 b6 7 7 7 b6
Cm9 Cm9 II Cm9 V Cm9 VII Cm9 X Cm9 XII
Gm9 arpeggio, (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(4-b6-1-b3-5) 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and b6 2 5 2 5 1 2
G Aeolian 2 5 1 4 4 b7 b3 b6 1 4 5 1 4 b7 2 5 1 4 b7 b3 5 1
b7 b3 b6 4 b7
(1-2-b3-4-5-b6-b7) b6 b3 b6 b6
b3 b6 b7 b3
2 5
2 (2) 5

Eb9 Eb9 II Eb9 IV Eb9 VII Eb9 IX Eb9 VIII

Eb9 arpeggio, (2) b5 (2) b5 (b5) b6 b5 b6
(b6-1-b3-b5-b7) 1 4 b7 b3 1 2 1 4 2 4 b7 b3 b6 1 4 1 4 b7 2 2 1
and b5 b6 b3 b6 b5 b7 b3 b5 b5 b6 b5 b3 b6 b7 b3 b6 4 b7
G Aeolian flat five 2 1 4 2 2 1 4 b7 2 2 1 2 b5
(1-2-b3-4-5-b6-b7) b3 b6 b5 b7 b3 4 b7 b3 b6 1 4 b6 b5 b3 b6 b7 b3 b6 4 b7 1 4 b7 b3 1
2 b5 2 b5 (b6)

D key FORM  C form A form G form E form D form

A7 A7b9 I A7b9 IV A7b9 VI A7b9 IX A7b9 XI
A7b9 arpeggio, b3 b6 (7) b6 7 2 7 (7)
(5-7-2-4-b6) 2 5 7 5 1 4 2 5 2 5 1 1 4 b3 5 1 2 5 1 4 2
and 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4 7 b6 b3 b6 b3
D harmonic minor 7 2 5 1 7 2 7 2 5 1 4 2 2 5 7
(1-2-b3-4-5-b6-7 5 1 4 2 5 b3 b6 4 1 4 b3 5 1 b3 b6 b3 4 b3 b6 1 4
b3 b6 7 7 7 b6 7

©2015-2024 Jim Gleason. All Rights Reserved.

page 64 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

BLUES IMPROV MODES

Mixolydian key I9 (black tones are I9 one octave, gray in another octave)
E form-fingering 4/5 D form-fingering 6 C form-fingering 7 A form-fingering 1/2 G form-fingering 3

3 6 2 2 5 1 4 6 2 3 6 2 5 3 4 b7 6 2 5 1 3 6
1 4 b7 5 1 b7 4 b7 1 4 3 6 b7 4 b7
3 3 6 2 5 3 3 6 5 1 4 b7 2 5 3 6 2
2 5 1 4 6 2 4 b7 1 4 5 1 4 b7 2 5 1 4 b7 5 1
b7 3 6 2 5 1 3 6
5 4 b7 2

Dorian key IV9 (black tones are IV9 one octave, gray in another octave)
A form-fingering 1/2 G form-fingering 3 E form-fingering 4/5 E/D form-fingering 5/ 6 C form-fingering 7

b7 b3 2 5 1 4 6 2 b3 4 b7 b3 6 2 5 1 6
6 2 b3 b7 b3 6 5 6 b7 b3 4 b7
1 4 b7 b3 5 1 6 2 5 4 b7 b3 1 4 5 1 4 b7 2 5 6 2
4 b7 b3 1 4 6 b3 1 4 b7 b3 5 1
2 5 1 4 6 2 5 1 4 b7 2 5 6 2 5 1 6
b7 b3 5 b3 4 b7

Major key V9, (black tones are V9one octave, gray in another octave)
C form-fingering 7/1 A form-fingering 2 G form-fingering 3 E form-fingering 4/5 D form-fingering 6

7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 4 6 2 5 1 3 6
1 4 5 1 4 1 4 7 3 6 4
7 3 3 6 5 7 3 7 3 6 5 1 4 2 5 7 3 6 2 7
2 5 1 4 6 2 4 1 4 5 1 4 2 5 7 1 4 5 1
7 3 6 2 5 1 3 6 7
4

common blues chords

example in C C(7) Dm(7) Em7b5 F(ma7) F(7) Gm(7) G(7) Am(7) Bb(ma7)
example in G G(7) Am(7) Bm7b5 C(ma7) C(7) Dm(7) D(7) Em(7) F(ma7)
key scale Mixo. Mixo. Mixo. Mixo. Dorian Mixo. major Mixolydian Mixolydian
chord scale Mixo. Aeolian Locrian major Mixolydian Dorian Mixo. Phrygian Lydian
triad name I maj. IIm III dim. IV maj. IV maj. Vm V VIm bVII maj.
triad numbers 1-3-5 2-4-6 3-5-b7 4-6-1 4-6-1 5-b7-2 5-7-2 6-1-3 b7-2-4
seventh name I7 IIm7 IIIm7b5 IVma7 IV7 Vm7 V7 VIm7 bVIIma7
seventh numbers 1-3-5-b7 2-4-6-1 3-5-b7-2 4-6-1-3 4-6-1-b3 5-b7-2-4 5-7-2-4 6-1-3-5 b7-2-4-6
ninth name I9 IIm9 not aceptable IVma9 IV9 Vm9 V9 not aceptable bVIIma9
ninth numbers 1-3-5-b7-2 2-4-6-1-3 4-6-1-3-5 4-6-1-b3-5 5-b7-2-4-6 5-7-2-4-6 b7-2-4-6-3

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 65

IMPROV WITH MELODIC MINOR MODES

These use bVI melodic minor of the target key.

target I chord in major, Mixolydian, Dorian or Aeolian/harmonic minor

Fingerings for those targets are shown on the previous two pages. In a melodic minor scale on bVI of
the target chord, Lydian dominant is on IV of the bVI melodic minor and super Locrian is on VII of
the bVI melodic minor.

Lydian dominant mode for bII of the target

E form-fingering 3/4 D form-fingering 5/6 C form-fingering 6 A form--fingering 7/1 G form-fingering 2

3 6 2 2 5 1 6 2 #4 3 6 #4
1 b7 5 1 #4 b7 3 6 2 5 3 5 1 b7 2 5 6 2 5 1 3 6
#4 3 3 6 2 5 3 b7 1 #4 b7 b7
2 5 1 6 2 b7 1 #4 3 6 #4 6 2 5 1 3 6 3 6 2 #4
#4 b7 #4 3 (6) #4 5 1 b7 2 5 b7 b7 1 b7 5 1
(3) (6) (2) (5) 3 (2) 5 (#4) (3) #4 (#4)

super Locrian scale for a super-altered V of the target

This uses flat four as three and flat six as sharp five and features an augmented triad. It provides optional
sharp five, flat five, sharp nine and flat nine.
E form-fingering 7/1 D form-fingering 1/2 C form-fingering 2 A form-fingering 3/4 G form-fingering 5/6

3 b2 b5 3 (b2) b3 #5 b2 b5 b7 b3 b5 3 (b5) #5 b2 b5 (b6)

1 b7 b3 1 1 b5 3 3 1 b7 1 3
b2 b5 3 #5 b2 b3 #5 b2 b7 b3 b7 b3 #5 1 #5 b2 b5 b3 #5 b7 b3 #5 b2 b7
1 3 3 b5 3 b2 b5 1 3 3 b5
b3 #5 b2 b5 b7 b3 b7 b3 #5 1 1 b7 b7 b3 #5 b2 b7 1 b7 b3 1
3 b2 b5 b5 #5 b2

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page 66 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

One Note Samba

One
chord fingerings for chord melody Note Samba
easy chords
Dm7 V Db7 IV Cm7/11 III B7b5 VI Fm7 III E9b5n3 VI Eb∆9n3 VI Ab13 IV
1 1 1 1 1 1 1 1 1 1 1 1 1 2
1 2 3 2 2 3 4 2 3
3 3 4 3 4 3 3 4 4
4 4

twice
Dm7 V Db7 IV Cm7/11 III B7b5 VI Bb VI
1 1 1 1 1 1 1 1 1 1
1 2 3 2
3 3 4 3 4 3 4
4

better voicing
Dm7 I Db7 I Cm11 I B7b5 I Fm11 VIII E7#11 VII Eb∆9n3 VI Ab13 IV
1 1 1 1 1 1 1 1 1 1 1 1 2
2 2 2 2 3
2 2 3 3 2 3 4 4
3 4 4 4 4
4 4

twice

Dm7 I Db7 I Cm11 VI B7b5 VI Bb VI

1 1 1 1 1 1 1
2 2 3 2
2 2 3 4 4 3 4
3 4
4 2 beats 2 beats

bridge
Ebm7 XI Ab7 IX Db∆7 IX Db6 VIII Db∆7 IX Db6 VIII
2 3 3 3 1 1 2 1 1 2 1
2 3 4 2 3 3 4 2 3
3 4 4 4

2 beats 2 beats 2 beats 2 beats

C#m7 IX F#7 VII B∆7 VII B6 VI Cm7b5 VII B7b5 VI

2 3 3 3 1 1 2 1 1 1
2 3 4 2 3 2 3 4 2 3
3 4 4 4

2 beats 2 beats 2 beats 2 beats

Dm7 I Db7 I Cm11 I B7b5 I Fm11 VIII E7#11 VII Eb∆9n3 VI Bb13 IV
1 1 1 1 1 1 1 1 1 1 1 1 2
2 2 2 2 3
2 2 3 3 3 4 4
3 4 4 4 4 3
4 4

twice
Db6 IX C7 VIII B∆7 VII Bb VI Db6 IX C7 VIII B∆7 VII Bb6/9 VI
1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 3 3
3 4 3 3 3 4 3 4 3 3
4 4
4 4

twice

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 67

One Note One Note Samba

Samba-iReal melm,SR25,rem mod,Mult251,1625-1b, b5subs,7#11,iMM•
chords
(Bossa Nova) Antonio-Carlos Jobim
no root

no root F# mel min

F# mel min

no root

no root

no root F# mel min

F# mel min

Treat Dm7 as if it were Bbma9 no root. For pentatonic scales, black tones are triad tones combined
with gray make a pentatonic scale and all the tones make a seven-tone scale. For ninth chords, black are
a complete ninth, gray are ninth parts in another octave. Combine all tones to make a seven tone scale.
TreatB7#11 as Cb7. Start with the first column. Use the versions with the checkmark (✓) first.

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©2015-2024 Jim Gleason. All Rights Reserved.
page 68 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Read the bottom Bb key FORM  E form D form C form A form G form
of the previous ✓ Bbma9 nr (Dm7) Bbma pent. V Bbma pent. VIII Bbma pent. X Bbma pent. XI Bbma pent. II
page Bb major triad (1-3-5, 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 4 (1) (4) (7)
Bb major pentatonic 1 4 5 1 4 1 4 7 3 6 6 2 5 1 3 6
(1-2-3-5-6) and 7 3 3 6 2 5 7 3 7 3 6 5 1 4 2 5 4
Bb major 2 5 1 4 6 2 4 1 4 5 1 4 2 5 7 7 3 6 2 7
(1-2-3-4-5-6-7) 7 3 6 2 5 1 3 6 1 4 5 1
5 4 7
7
Bbma9 nr (Dm7) Bbma9 V Bbma9 VIII Bbma9 X Bbma9 XII Bbma9 III
Bbma9 arpeggio,
7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 7 3 6 6 2 5 1 3 6
(1-3-5-7-2)
and
1 4 5 1 4 1 4 5 1 4 2 5 4
Bb major 7 3 3 6 2 5 7 3 7 3 6 7 7 3 6 2 7
(1-2-3-4-5-6-7) 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
7 3 4 7
5 7 2
✓ Db7 Db9 V Db9 VII Db9 IX Db9 XIII Db9 II
Bbm (1-b3-5), b3 5 1 4 b7 5
(6) b2 b2 b2 (b3) b2
Bbm pentatonic
1 4 b7 b3 5 1 5 1 4 6 6 5 b2 b3 6 5 1 6
(1-b3-4-5-b7)
and b2 b2 b3 b2 b7 b3 4 b7 b3 1 4 6 5 1 6 b7 b3 b2 4 b7
Bb Dorian b2 5 1 4 6 6 5 6 b2 b7 b3 b2 4 b7 6
(1-b2-b3-4-5-6-b7) b3 b2 b7 b3 4 b7 b3 1 4 5 1 4 b7 5 6 1 4 b7 b3 5 1
6 b2 (b2) b3
Db7 Db9 VI Db9 VII Db9 X Db9 XIII Db9 II
Db9 (6) b2 (b2) (6) (5) (6) 6 (5) (1)
(b3-5-b7-b2-4)
1 4 b7 b3 5 1 5 1 4 6 4 b7 b3 1 4 5 1 4 b7 5 b7 b3 b2 4 b7
and
Bb Dorian b2 b2 b2 b3 b2 b7 b3 6 b2 2 b3 6
(1-b2-b3-4-5-6-b7) 5 1 4 6 6 5 5 1 4 b7 5 6 5 1 6 1 4 b7 b3 5 1
b3 b2 b7 b3 4 b7 b3 1 4 b2 b3 b7 b3 b2 4 b7 b2 b2
6 b2 6 5 6 6 5 1 6
Db7 Db7b9 V Db7b9 V Db7b9 X Db7b9 XII Db7b9 II
Db7b9 5 3
3 6 5 1 3 6 #4 3 6 #4 b2 #4
(b3-5-b7-b2-3)
1 b7 b3 5 1 b3 b2 #4 b7 b3 b7 b3 1 5 1 b7 5 6 5 1 3 6
and
Bb half/whole b2 #4 3 b2 3 6 5 3 #4 3 6 b2 #4 b2 #4 b3 b7 b3 b2 b7
diminished scale 5 1 6 b7 b3 1 5 1 b7 5 6 5 1 3 6 3 6 #4
(1-b2-b3-3-#4-5-6-b7) b3 b2 #4 b7 b3 #4 3 6 b2 #4 b2 #4 b3 b7 b3 b2 b7 1 b7 b3 5 1
3
✓ Cm7 Cm9 V Cm9 VII Cm9 X Cm9 XII Cm9 II
Cm9 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
(2-4-6-1-3) 1 4 2 3 1 4 6 2 4 1 4 6 2 5 1 3 6
5 1 5 1 4 2 5
and
7 3 7 3 6 7 4
Bb major
(1-2-3-4-5-6-7) 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
4 1 4 4 1 4 5 1
7 3 7
F key FORM  C form A form G form E form D form
✓ F7#5b5#9b9 Cb9 VI Cb9 VIII Cb9 X Cb9 XII Cb9 III
on bV: Cb9 arpeggio, b7 b3 b6 1 1 b7 1 b4 1
(b5-b7-b2-b4-b6)
b5 b4 b2 b5 b6 b2 b5 b3 b6 b7 b3 b6 b2 b7 1 b7 b3 1 b3 b6 b2 b5 b7 b3
and
F super Locrian 1 b7 1 b4 b4 b5 b2 b5 b4 b6 b2 b4 b4
(1-b2-b3-b4-b5-b6-b7) b6 b2 b5 b3 b6 b7 b3 b6 b2 b7 1 b7 b3 1 1 b7 b3 b6 1
(mode of Gb melodic min.) b4 b4 b5 b2 b5 b4 b6 b2 b3 b6 b2 b5 b7 b3 b5 b4 b2 b5
b4

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 69

Fm7-Bb7-Ebma7-Ab7 (temporary key of Eb)

treat Fm9 as Bb7sus4
Eb key FORM  A form G form E form D form C form
Fm7 Fm9 V Fm9 VII Fm9 X Fm9 XII Fm9 III
Fm9 (2-4-6-1-3) 7 3 6 (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3
and 6 2 5 1 3 6 1 4 2 3 1 4 6 2 4 1 4
5 1 4 2 5 5 1
Eb major
7 4 7 3 7 3 6
(1-2-3-4-5-6-7)
6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5
4 1 4 5 1 4 1 4
7 7 3
Bb7 Bb7 IV Bb7 VIII Bb7 X Bb7 VIII Bb7 III
Bb9 (2-4-6-1-3)
4 6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3
and
Eb major 7 3 6 4 1 4 5 1 4 1 4
(1-2-3-4-5-6-7) 5 1 4 2 5 7 3 6 2 7 7 3 3 6 5 7 3 7 3 6
7 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5
6 2 5 1 3 6 7 7 3
4
Ebma7 Ebma pent. IV Ebma pent. VII Ebma pent. X Ebma pent. XII Ebma pent. III
Eb major triad (1-3-5, 4 (1) (4) (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3
Eb major pentatonic 7 3 6 6 2 5 1 3 6 1 4 5 1 5 1 4 6 2 4 1 4
2
(1-2-3-5-6) and
5 1 4 2 5 4 7 3 7 3 6
Eb major
(1-2-3-4-5-6-7) 7 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5
6 2 5 1 3 6 1 4 5 1 4 1 4
4 7 7 3
7
Ebma7 Ebma9 V Ebma9 VIII Ebma9 X Ebma9 XIII Ebma9 III
Ebma9 arpeggio,
7 3 6 6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3
(1-3-5-7-2)
and 5 1 4 2 5 4 1 4 5 1 4 1 4
Eb major 7 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6
(1-2-3-4-5-6-7) 6 2 5 1 3 6 1 4 5 1 2 5 1 4 6 2 4 1 4 5 4 2 5
1
4 7 7 3
7 2 5
Ab7 Ab9 IV Ab9 VIII Ab9 IX Ab9 XIII Ab9 II
Ab9 arpeggio,
4 b7 b3 6 2 5 1 6 b7 b3 2 5 1 4 6 2 b3
(4-6-1-b3-5)
and 6 b7 b3 4 b7 6 2 b3 b7 b3 6 5
Eb Dorian 5 1 4 b7 2 5 6 2 1 4 b7 b3 5 1 6 2 5 4 b7 b3 1 4
(1-2-b3-4-5-6-7) b3 1 4 b7 b3 5 1 4 b7 b3 1 4 6
6 2 5 1 6 2 5 1 4 6 2 5 1 4 b7 2 5
4 b7 b7 b3 5 b3

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page 70 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Ebm7-Ab7-Dbma7-Ab7 (temporary key of Db) treat Ebm9 as Ab7sus4

Db key FORM  G form E form D form C form A form
Ebm7 Ebm9 V Ebm9 VIII Ebm9 X Ebm9 XIII Ebm9 III
Ebm9 (2-4-6-1-3) (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6
and 6 2 5 1 3 6 1 4 2 3 1 4 6 2 4 1 4
5 1 5 1 4 2 5
Db major
4 7 3 7 3 6 7
(1-2-3-4-5-6-7)
7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6
1 4 5 1 4 1 4 4
7 7 3
Ab7 Ab9 VI Ab9 VIII Ab9 XI Ab9 XIII Ab9 II
Ab9 (2-4-6-1-3)
6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 4
and
Db major 4 1 4 5 1 4 1 4 7 3 6
(1-2-3-4-5-6-7) 7 3 6 2 7 7 3 3 6 5 7 3 7 3 6 5 1 4 2 5
1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 7
7 7 3 6 2 5 1 3 6
4
Dbma7 Dbma9 VI Dbma9 VIII Dbma9 XI Dbma9 XIII Dbma9 III
Dbma9 arpeggio, 7 3 6
6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3
(1-3-5-7-2)
4 1 4 5 1 4 1 4 5 1 4 2 5
and
Db major 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 7
(1-2-3-4-5-6- 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
7 7 3 4
2 5 7

C#m7-F#7-Bma7 (temporary key of B)

Db key FORM  G form E form D form C form A form
Ebm7 Ebm9 V Ebm9 VIII Ebm9 X Ebm9 XIII Ebm9 III
Ebm9 (2-4-6-1-3) (7) 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6
and 6 2 5 1 3 6 1 4 2 3 1 4 6 2 4 1 4
5 1 5 1 4 2 5
Db major
4 7 3 7 3 6 7
(1-2-3-4-5-6-7)
7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6
1 4 5 1 4 1 4 4
7 7 3
Ab7 Ab9 VI Ab9 VIII Ab9 XI Ab9 XIII Ab9 II
Ab9 (2-4-6-1-3)
6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3 4
and
Db major 4 1 4 5 1 4 1 4 7 3 6
(1-2-3-4-5-6-7) 7 3 6 2 7 7 3 3 6 5 7 3 7 3 6 5 1 4 2 5
1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 7
7 7 3 6 2 5 1 3 6
4
Dbma7 Dbma9 VI Dbma9 VIII Dbma9 XI Dbma9 XIII Dbma9 III
Dbma9 arpeggio, 7 3 6
6 2 5 1 3 6 7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3
(1-3-5-7-2)
4 1 4 5 1 4 1 4 5 1 4 2 5
and
Db major 7 3 6 2 7 7 3 3 6 2 5 7 3 7 3 6 7
(1-2-3-4-5-6- 1 4 5 1 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6
7 7 3 4
2 5 7

©2015-2024 Jim Gleason. All Rights Reserved.

back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 71

Cm7b5-F7b9-Bbma9 no root (Dm7) - minor IIm7b5-V9b9 cadence back to Bb

Treat Dm7 as if it were Bbma9 no root. For pentatonic scales, black tones are triad tones combined
with gray make a pentatonic scale. For ninth chords, black are a complete ninth, gray are ninth parts in
another octave. Combine all tones to make a seven tone scale. Start with the first column.

Bb key FORM  E form D form C form A form G form

Cm7b5 Cm7b5 V Cm7b5 VIII Cm7b5 X Cm7b5 XIII Cm7b5 III
Cm7b5 (2-4-b6-1) (b6) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 b6 (b6)
and 2 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 2 5 1
Bb Aeolian 1 4 b7 b3 5 1 2 5 2 5 1 b7 b3 b6 4 b7
(1-2-b3-4-5-b6-b7) b6 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 2
2 5 1 4 2 b6 b3 b6 1 4 b7 b3 5 1
b3 b6 b7 b3 2 5 b6
F7b9 F7b9 V F7b9 VII F7b9 IX F7b9 XII F7b9 II
F7b9 arpeggio 7 2 7 (7) b3 b6 (7) b6
(5-7-2-4-b6) 1 4 b3 5 1 2 5 1 4 2 2 5 7 5 1 4 2 5 2 5 1
and 7 b6 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
Bb harmonic minor 2 5 1 4 2 2 5 7 7 2 5 1 7 2 7
(1-2-b3-4-5-b6-7) b3 b6 b3 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
7 b3 b6 7 7 7 b6
Bbma9 Bbma9 V Bbma9 VIII Bbma9 X Bbma9 XII Bbma9 III
Bbma9 arpeggio, 7 3 6 6 2 5 1 3 6
7 3 6 2 7 2 5 1 4 6 2 3 6 2 5 7 3
(1-3-5-7-2)
1 4 5 1 4 1 4 5 1 4 2 5 4
and
Bb major 7 3 3 6 2 5 7 3 7 3 6 7 7 3 6 2 7
(1-2-3-4-5-6-7) 2 5 1 4 6 2 4 1 4 5 1 4 2 5 6 2 5 1 3 6 1 4 5 1
7 3 4 7
5 7 2

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page 72 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

ending chords Db6-Cm7-Bma7-Bb6

Start with the first column.

Bb key FORM  E form D form C form A form G form

Db9 (6) b2 (b2) (6) (5) (6) 6 (5) (1)
(b3-5-b7-b2-4)
1 4 b7 b3 5 1 5 1 4 6 4 b7 b3 1 4 5 1 4 b7 5 b7 b3 b2 4 b7
and
Bb Dorian b2 b2 b2 b3 b2 b7 b3 6 b2 2 b3 6
(1-b2-b3-4-5-6-b7) 5 1 4 6 6 5 5 1 4 b7 5 6 5 1 6 1 4 b7 b3 5 1
b3 b2 b7 b3 4 b7 b3 1 4 b2 b3 b7 b3 b2 4 b7 b2 b2
6 b2 6 5 6 6 5 1 6
Cm7 Cm9 V Cm9 VII Cm9 X Cm9 XII Cm9 II
Cm9 7 3 6 2 7 (7) (3) 3 6 2 5 7 3 7 3 6 (7)
(2-4-6-1-3) 1 4 2 3 1 4 6 2 4 1 4 6 2 5 1 3 6
5 1 5 1 4 2 5
and
7 3 7 3 6 7 4
Bb major
(1-2-3-4-5-6-7) 2 5 1 4 6 2 3 6 2 5 7 3 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
4 1 4 4 1 4 5 1
7 3 7
F key FORM  C form A form G form E form D form
Cb key FORM  E form D form C form A form G form
F7#5b5#9b9 Cb9 VI Cb9 VIII Cb9 X Cb9 XII Cb9 III
on bV: Cb9 arpeggio, b7 b3 b6 1 1 b7 1 b4 1
(b5-b7-b2-b4-b6)
b5 b4 b2 b5 b6 b2 b5 b3 b6 b7 b3 b6 b2 b7 1 b7 b3 1 b3 b6 b2 b5 b7 b3
and
F super Locrian 1 b7 1 b4 b4 b5 b2 b5 b4 b6 b2 b4 b4
(1-b2-b3-b4-b5-b6-b7) b2
b6 b5 b3 b6 b7 b3 b6 b2 b7 1 b7 b3 1 1 b7 b3 b6 1
(mode of Gb melodic min.) b4 b4 b5 b2 b5 b4 b6 b2 b3 b6 b2 b5 b7 b3 b5 b4 b2 b5
b4
Bbma9 nr (Dm7) Bbma pent. IV Bbma pent. VII Bbma pent. X Bbma pent. XI Bbma pent. III
Bb major triad (1-3-5, b7 (b7) (3) 3 6 2 5 3 4 b7 (1) (4) 6 2 5 1 3 6
Bbm ajor pentatonic 3 6 2 2 5 1 4 6 2 4 b7 1 4 3 6 b7 4 b7
(1-2-3-5-6) and
1 4 b7 5 1 b7 3 6 5 1 4 b7 2 5 3 6 2
Bb Mixolydian
(1-2-3-4-5-6-b7) 3 3 6 2 5 3 5 1 4 b7 2 5 1 4 b7 5 1
2 5 1 4 6 2 4 b7 1 4 6 2 5 1 3 6
b7 3 4 b7

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 73

Only So Much Oil In the Ground

Only So Much Oil (melm)(7#11)(mixMod)(#9)(b6sub) iMM•
Only So MuchRock)
(Funk Oil-iReal chords Stephen Kupka and Emillio Castillo

Bb mel min Bb mel min

Bbmel.m

Bb mel min

Bbmel.m

For pentatonic scales, black tones are triad tones combined with gray make a pentatonic scale and all
the tones make a seven-tone scale. For ninth arpeggios, black are a complete ninth, gray are ninth parts
in another octave. Combine all tones to make a seven tone scale. Start with the first column. Use the
versions with the checkmark (✓) first.

©2015-2024 Jim Gleason. All Rights Reserved.

Made with iReal Pro
page 74 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

Read the bottom Gm key FORM  E form D form C form A form G form
of the previous ✓ Gm7 Gm pent. III Gm pent. V Gm pent. VI Gm pent. IX Gm pent. XII
page Gm triad (1-b3-5), 1 4 b7 b3 5 1 2 5 1 4 2 b3 b6 b3 5 1 4 b7 2 5 b6 (b6)
Gm pentatonic b6 b3 b6 b7 b3 2 5 b6 b3 b6 2 5 1
(1b-3-4-5-b7) and 2 5 1 4 2 2 5 4 b7 b3 b6 1 4 2 5 1 b7 b3 b6 4 b7
G Aeolian b3 b6 b7 b3 4 b7 b3 b6 1 4 b7 b3 b6 4 b7 2
(1-2-b3-4-5-b6-b7) 2 (5) 5 1 4 b7 2 5 (2) 1 4 b7 b3 5 1
(1) 4 (b3) b6 b6

Gm7 Gm9 II Gm9 V Gm9 VII Gm9 X Gm9 XII

Gm9 arpeggio (2) 2 5 1 4 2 (2) (5) 5 1 4 b7 2 5 2 5 1
(1-b3-5-b7-2), 1 4 b7 b3 5 1 b3 b6 b7 b3 4 b7 b3 b6 1 4 b6 b3 b6 b7 b3 b6 4 b7
and b6 2 5 2 5 1 2
G Aeolian 5 1 4 2 4 b7 b3 b6 1 4 5 1 4 b7 2 5 b7 b3 b6 4 b7 1 4 b7 b3 5 1
(1-2-b3-4-5-6-b7) b3 b6 b7 b3 b6 b3 b6 b6
2 2 5 2

✓ Eb9nr = Gm7b5 Gm7b5 II Gm7b5 IV Gm7b5 VI Gm7b5 IX Gm7b5 XI

Gm7b5 (1-b3-b5), 2 b5 b3 b6 b5 b3 b5 b5 b6 (b5) (b6)
Gm7/11b5 pentatonic 1 4 b7 b3 5 1 2 1 4 2 2 1 4 b7 2 2 1
(1-b3-4-b5-b7) b5 b6 b3 b6 b5 b7 b3 4 b7 b3 b6 1 4 b6 b5 b3 b6 b7 b3 b6 4 b7
and 2 1 4 2 2 b5 b5 2 1 2 b5
G Aeolian b5 b3 b6 b5 b7 b3 4 b7 b3 b6 1 4 1 4 b7 2 b7 b3 b6 4 b7 1 4 b7 b3 1
(2) b5 (b5) (b3) b6 (b5) b5 b6
(1-2-b3-4-5-6-b7)
Eb9#11 Eb13#11 III Eb13#11 VI Eb13#11 VII Eb13#11 IX Eb13#11 XIII
Eb13#11 1 4 b7 b3 1 b3 b6 b5 b7 b3 (2) b5 (b5) b7 b3 b6 b7
(b6-1-b3-b5-b7-2-4) b5 b6 2 4 b7 b3 b6 1 4 1 4 b7 2 2 b5
and 2 1 4 2 4 b7 b3 b6 1 4 b5 b5 b6 b5 b3 b6 1 4 b7 b3 1
G Aeolian b5 b3 b6 b5 b7 b3 b5 b5 1 4 b7 2 2 1 b5 b6
(1-2-b3-4-5-b6-b7) 2 1 4 (b7) 2 b6 b5 b3 b6 b7 b3 b6 4 b7 2 1 4 2
4 2 b5
b7

✓ C9 C9 I C9 V C9 VI C9 VIII C9 XII
C9 b7 b3 2 5 1 4 6 2 b3 (b3) 4 b7 b3 (4) 6 2 5 1 6
(4-6-1-b3-5) 6 2 b3 b7 b3 6 2 5 6 b7 b3 4 b7
and 1 4 b7 b3 5 1 6 2 5 4 b7 b3 1 4 5 1 4 b7 2 5 6 2
G Dorian 4 b7 b3 1 4 6 b3 1 4 b7 b3 5 1
(1-2-b3-3-4-5-6-b7) 2 5 1 4 6 2 5 1 4 b7 2 5 6 2 5 1 6
b7 b3 b3 4 b7

✓ D7#9 D7b9 II D7b9 IV D7b9 VI D7b9 IX D7b9 XI

D7b9 7 2 7 (7) b3 b6 (7) b6
(5-7-2-4-b6) 1 4 b3 5 1 2 5 1 4 2 2 5 7 5 1 4 2 5 2 5 1
and 7 b6 b3 b6 b3 4 b3 b6 1 4 b6 7 b3 b6 b3 b6 4
G harmonic minor 2 5 1 4 2 2 5 7 7 2 5 1 7 2 7
(1-2-b3-4-5-b6-7) b3 b6 b3 4 b3 b6 1 4 5 1 4 2 5 b3 b6 4 1 4 b3 5 1
7 b3 b6 7 7 7 b6
✓ Gm7 Gm pent. II Gm pent. V Gm pent. VI Gm pent. IX Gm pent. XII
Gm triad (1-b3-5), (6) (2) 2 5 1 4 6 2 b3 (b3) (6) 6 2 5 1 6
Gm pentatonic 1 4 b7 b3 5 1 b3 b7 b3 6 2 5 5 1 4 b7 2 5 b7 b3 4 b7
(1b-3-4-5-b7) and 6 2 5 4 b7 b3 1 4 b3 6 2
5 1 4 6 2 4 b7 b3 1 4 6 6 2 5 1 6 1 4 b7 b3 5 1
G Dorian
b3 b7 b3 5 1 4 b7 2 5 b7 b3 4 b7
(1-2-3-4-5-b6-b7)
6 2 (5) b3 6

✓ Bbdim7 = Gdim7 Gdim7 II Gdim7 IV Gdim7 VII Gdim7 VIII Gdim7 XI

Gdim7 (1-b3-5-6), 7 6 2 7 b5 7 6 2 4 b3 #5 4 #5 b5 7 #5
and 1 4 b3 1 2 1 4 6 2 4 b3 #5 1 4 b5 7 6 b5 6 2 1 6
G whole/half b5 7 #5 b3 #5 b5 b3 b5 7 6 b5 1 4 2 b3 #5 4
diminished scale 2 1 4 6 2 6 2 7 1 4 2 #5 b5 7 b3 #5 7 6 2 b5 7
b3 #5 b5 b3 4 b3 #5 1 4 #5 b5 7 b3 #5 6 2 1 6 1 4 b3 1
(1-2-b3-4-b5-#5-6-7)
b5 6

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back to contents Part 3: Begin to Design Solos Introduction to Improvisation page 75

IMPROV WITH HARMONIC MAJOR MODES

Harmonic major scale is a major scale wth a flat six (1-2-3-4-5-b6-7) or harmonic minor (1-2-b3-4-5-
b6-7) with a major third (1-2-3-4-5-b6-7)

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page 76 Introduction to Improvisation Part 3: Begin to Design Solos back to contents

©2015-2024 Jim Gleason. All Rights Reserved.