ITKbook

of us have bought jam tracks before -- this is not one of them.
The TrueFi re Improvisation Tool Kit is much, much

more. This study program was designed to advance your improvis-
ing immediately. This manual will give you a wealth of harmonic
information and guidelines for soloing that are laid out in an
easy-to-understand fashion. Tool Kit audio components
further illustrate how to use the various charts and diagrams most
effectively. The Six Step and Improv Theory tracksare essential learning tools.
But have some fun first! Listen to and jam over the 20 rhythm tracks.
Tune i nto master TrueFi re staff guitarist Brad Carlton, a top
music educator for more than years, as he walks you through a con-
cise, insightful lesson on soloing strategies and essential theory
ideas. But dont be intimidated; Brads no conservatory type. Hell
talk to you in plain English. To fully grasp and execute his con-
cepts will take some time, of course, but youll be able to return
to the theory discussion time and again for new information and
refresher material. Brad also demonstrates the rhythm guitar
parts for each trackplayed slowly and at tempoand serves up
a brief rap on improvisational approaches for each of the tracks.
With the Improvisation Tool Kits, you can dig into concepts and
work towards building your improvisational prowessor you can kick on
the rhythm track and blow to your hearts content -- we recomend
lots of both.
For information on other great TrueFi re study programs go to
www.truefire.com and browse the instruction category.
IMPROVISATION TOOLKITS
MOST
Copyri ght 1994 - 2002 by TrueFi re. Al l ri ghts reser ved.
TrueFire - ignited we stand!
Click in the Red Boxes for audio. Try it!
R H Y T H M T R A C K S & L E S S O N S
A-OK
Slow-J
Ode to JFP III 6
Barrys Porn Ride
The Carefree Marsupial
A P P E N D I X E S
Major Scales and Diatonic Chords I
Formula Method for Chords, Scales II
Chord Formulas II
Scale Formulas III
Tonal Colors IV
Parent Scale Concept IV
Scale Formula Fretboard Diagrams V
Notes on E and A Strings VIII
Back Burner
Penguin Boogie
Suncoast Shufe 6
Voice of the Cool
Model T Blues 10
Jimis Thang
Hypertension
Metalabolism 6
Brown Air Alert
The Oregon Grinder
IMPROVISATION TOOLKIT
ROCK
ROCK
BLUES
BLUES
FUSION
FUSION
FUNK
FUNK
Spare Me
What Is It?
Somethin Funky 6
Leaning Tower
Slap-Happy Sol
CONTENTS
Six Easy Steps for using ITK
Improvisational Theory
ROCK
ROCK
i
& 4
4
4
2
q = 98
Heavy Rock
Drum Fill

7
Intro
E7
#
9
G5

& 4
4
.
.

A Choruses
E7
#
9

&
E7
#
9

&
B
A7

E7
#
9

&
A7

E7
#
9

D5
&
C
E5
J

D5
J
E5
J

G5
E5
J

D5
J
E5
J

B5
D5
&
.
.
E5
J

D5
J
E5
J

G5
E5
J

D5
J
E5
J

B5
3 Times
D5
E5
J

Use E Blues Composite for entire track.
For heavier sound, use E Blues, or E Minor Pentatonic.
E Dorian (D Maj) also available for modal sound.
Executive Producer: Brad Wendkos Producers: Brad Carlton & George Harris
Composer & Musical Director: Ron Reinhardt
Jimi s Thang
Form: A B C; Key of E
Jimis Thang
Composer and Musical Director: Ron Reinhardt
Producers: Brad Carlton and George Harris Executive Producer: Brad Wendkos
& 4
4
Fig. 1
1
E7
#
9
&
.
.
.
.
#
~
a
&
.
.
.
.
a
8
~
8
v
8
8
v
7 7 7 7
6 6 6 6
7 7 7 7
0
&
.
.
.
.
#
~
a
&
4
3

&
8
~
8
7 7
6 6
7 5 7 5
0 0 0 0 7
& 4
4
Fig. 2

#
~
8
~
7
6 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2
7
0 0
Fig. 3

#
.
.
.
.
~

8 8
7
~
7 X X
6 6
7 5 7
0 0 0 5 7
&
Fig. 4 - Voicings
A7
w
w
w
w
w
w #
5
8
6
5
7
5
D5
w
w
w
7
7
5
E5
w
w
w
9
9
7
G5
w
w
w
12
12
10
B5
w
w
w #
4
4
2
Examples of fills used in 2nd bar of phrase:
RO C K I M P RO V I SA T I O N T O O L K I T
& 4
4
.
.
.
.
Drum Fill
Heavy Rock
q = 165
Intro
2
E Dorian (D Maj)
E Aeolian (G Maj)
E Blues
E5

&
A Choruses
A Mixo (D Maj)
A Blues over entire A
%
A
|
.

G Lydian (D Maj)
G/A
>
|
.

F Lydian (C Maj)
F/A
>
|
C Ionian (C Maj)
C
|
G Mixo (C Maj)
G/B
|
&
A Mixo (D Maj)
A
|
.

G Lydian (D Maj)
G/A
>
|
.

F Lydian (C Maj)
F/A
>
|
C Ionian (C Maj)
C
|
G Mixo (C Maj)
G/B
|
&
B
E Aeolian
E Dorian
E Blues
E5
w

j

#
w
j
#

&
.
.
(Simile)
E5
w

j

#
w
>
>
j
b
>

3 Times
(2x on D.S.)
To Coda
A
j
>
&
4
Drum Break
Interlude
E Aeolian
E Dorian
E Blues
E5

D.S. al Coda
%
&
U
A Mixo (D Maj)
A Blues
Coda
A
|
Hypertension
Form: A B; Key of A
{
Hypertension
,
&
( )
Fig. 1 - Voicings
E5
w
w
w
w
( )
( )
w
w
( )
0
( ) 0
9
9
7
( )
0
A
w
w
w #
5
6
7
G
w
w
w
3
4
5
F
w
w
w
1
2
3
&
C
w
w
w
w
5
5
5
3
G/B
w
w
w
w
3
4
5
2
A
w
w
w
#
10
9
11
G
w
w
w
8
7
9
F
w
w
w
6
5
7
& 4
4
Fig. 2
B
w
0

j

#

2
5 3 2 0
w
j
#

1 2
3 5 0
&
w

j

#

2
5 3 2 0
w
>
>
j
b
>

j
>
0
3 5 6
& 4
4
Drum Fill
Hard Rock
q = 170
Intro
1
(Keys add 7)
E Mixo (A Maj)
E Dorian (D Maj)
E5
| | | |
&
E Mixo (A Maj)
E

&
A
Choruses
B Dorian (A Maj)
B Aeolian (D Maj)
Bm
|

.
D Lydian (A Maj)
D Ionian (D Maj)
D
J
>

.
A Ionian (A Maj)
A Mixo (D Maj)
A/C
#
J
>
|
B Dorian (A Maj)
B Aeolian (D Maj)
Bm
|

.
E Mixo (A Maj)
E
J
>

.
A Ionian (A Maj)
A Mixo (D Maj)
A
J
>
|
&
B Dorian (A Maj)
B Aeolian (D Maj)
Bm
|

.
D Lydian (A Maj)
D Ionian (D Maj)
D
J
>

.
A Ionian (A Maj)
A Mixo (D Maj)
A/C
#
J
>
|
B Dorian (A Maj)
B Aeolian (D Maj)
Bm
|

.
E Mixo (A Maj)
E
J
>

.
A Ionian (A Maj)
A Mixo (D Maj)
A
J
>

.
C Aeolian
(E Maj)
C
#
m
J
>
&
B
C Aeolian
C
#
m
|
A Lydian (E Maj)
A/C
#
|

.
B Mixo (E Maj)
B/D
#
J
>
|
E Ionian (E Maj)
E
|

.
C Aeolian
(E Maj)
C
#
m
J
>
&
C Aeolian
C
#
m
|
A Lydian (E Maj)
A/C
#
|

.
B Mixo (E Maj)
B
J
|

A Lydian (E Maj)
A
J
>

E Ionian (E Maj)
E
J
>
|
&
C
G Lydian (D Maj)
G
|
A Mixo (D Maj)
A/G
|
G Lydian (D Maj)
G
|
A Mixo (D Maj)
A/G
|
G Lydian (D Maj)
G
|
&
.
.
.
.
A Mixo (D Maj)
A/G
|

A5
J
>

B Dorian (A Maj)
B Phrygian (G Maj)
B Phrygian Dominant
B Half/Whole Dim.
(E Harmonic Minor)
B Mixo (E Maj)
B5
J
>
| | |
4 Times
|
(Keys add 7)
Ending Vamp
(Simile)
B5

&
.
.
B5

1, 2

3

^

Metalabolism
Form: A B C; Key of B Minor
o
Metalabolism
&
( )
Fig. 1 - Voicings
E5
w
w
w
w
( )
( )
w
w
( )
0
( ) 0
9
9
7
( )
0
Bm
w
w
w
w
#
3
4
4
2
D
w
w
w
w
#
3
2
4
5
A/C
#
w
w
w
w
#
#
2
2
2
4
E
w
w
w
w
w
w #
0
0
1
2
2
0
A
w
w
w
w
#
2
2
2
0
&
C
#
m
w
w
w
w #
#
#
5
6
6
4
A/C
#
w
w
w
w #
#
5
6
7
4
B/D
#
w
w
w
w
#
#
#
7
8
9
6
E
w
w
w
w
#
9
9
9
7
B
w
w
w
w
#
#
4
4
4
2
G
w
w
w
w
0
0
0
3
&
A/G
w
w
w
w
#
2
2
2
3
G
w
w
w
8
7
9
A
w
w
w
#
10
9
11
A5
w
w
w
2
2
0
B5
w
w
w #
4
4
2
B/D
#
w
w
w
w
#
#
#
4
4
4
6
E
w
w
w
w
#
5
4
6
7
&
F Aeolian (A Maj)
F
#
5

E5
F
#
5

D Lydian (A Maj)
D
J
>

.
A Ionian (A Maj)
A/C
#
J
>

.
C Phrygian (A Maj)
C
#
5

B5
C
#
5

B5
C
#
5

C
#
5
J

D Lydian
(A Maj)
D5
J
>
&
B
D5
|
A Ionian (A Maj)
A/C
#
J

B5
J
B Dorian (A Maj)

A Ionian (A Maj)
A/C
#

D Lydian (A Maj)
D

E Mixo (A Maj)
E

F Aeolian (A Maj)
F
#
5

E5
F
#
5

F
#
5

E5
F
#
5

F
#
5
J

D Lydian
(A Maj)
D5
J
>
&
D5
|
A Ionian (A Maj)
A/C
#
J

B Dorian (A Maj)
B5
J

A Ionian (A Maj)
A/C
#

D Lydian (A Maj)
D

E Mixo (A Maj)
E

F Aeolian (A Maj)
F
#
5

E5
F
#
5

F
#
5

E5
F
#
5

&
.
.
F Aeolian (A Maj)
F
#
5

E5
F
#
5

1, 2
F
#
5

3
F
#
5

E5
F
#
5

N O C ll P
& 4
4
q = 116
Hard Rock
Intro
F Aeolian (A Maj)*
F
#
5

E5
F
#
5

E5
F
#
5

E5
F
#
5

E5
F
#
5

&
.
.
A
Choruses
F Aeolian (A Maj)
F
#
5

E5
F
#
5

D Lydian (A Maj)
D
J
>

.
A Ionian (A Maj)
A/C
#
J
>

.
C Phrygian (A Maj)
C
#
5

B5
C
#
5

B5
C
#
5

&
F Aeolian (A Maj)
F
#
5

E5
F
#
5

D Lydian (A Maj)
D
J
>

.
A Ionian (A Maj)
A/C
#
J
>

.

C Phrygian (A Maj)
C
#
5

B5
C
#
5

B5
C
#
5

&
F Aeolian (A Maj)
F
#
5

E5
F
#
5

D Lydian (A Maj)
D
J
>

.
A Ionian (A Maj)
A/C
#
J
>

.

A Ionian (A Maj)
C
#
5

B5
C
#
5

B5
C
#
5

Brown Air Alert
Form: A B; Key of F#
8
Brown Air Alert
Composer and Musical Director: George Harris
C
#
Phrygian (A Maj)
p
&
Fig. 1-Voicings
F
#
5
w
w
w
#
#
#
4
4
2
E5
w
w
w
2
2
0
D
w
w
w #
2
4
5
A/C
#
w
w
w
#
2
2
4
&
C
#
5
w
w
w
#
#
#
6
6
4
B5
w
w
w #
4
4
2
D5
w
w
w
7
7
5
A/C
#
w
w
w
#
#
6
7
4
Also available for soloing are
these pentatonic sub-scales
of A major:
F
#
5-F
#
Minor Pentatonic
D-D Major Pentatonic
A/C
#
-A Major Pentatonic
C
#
5-C
#
Minor Pentatonic
E-E Major Pentatonic
B5-B Minor Pentatonic
& 4
4
.
.
q = 173
A
Hard Rock
N.C.
j
0 2 0
0 2 3 3
%
A Aeolian (C Maj)
Am7

Am9

Am7
5 4 5
5 5 5
0 0 0 0 0
Am9

Am7
4 5 4
5 5 5
0 0 0 0
F Lydian (C Maj)
F5
FMaj7

F5
6 5 6
5 5 5
3 3 3 3 3
&

FMaj7

F5
P.H.
(8va)
5 6
5 5
3 3 3 2
D Dorian (C Maj)
Dm7

Dm9

E Phrygian Dom.
(A Harm. Min.)
E5
6 5 5
5 5 4
0 0 0 0 0
(No 3rd) E7
To Coda
E5
3 3 5 5
4 4 4
2 2 2 2
A Aeolian (C Maj)
Am7

Am9

Am7
5 4 5
5 5 5
0 0 0 0 0
*P.M. Bass Notes Thruoughout.
.
.
Form: A B A B C A; Key of A Minor
&
.
.
N.C.

0 2 0
0 2 3 3
B
F Major }
F5
.
.
.
^
C5
j
>
5
3 5
3 3
1
G5
.
.
.
^
B
b
5
j
b
b
>
3
5 3
5 1
3
F5
.
.
.
^
C5
j
>
.
.
.
G5
j
5
3 5 5
3 3 5
1 3
&

B
b
5
j
b
b
>
^
3 3
3 3
1 1
F5
.
.
.
^
C5
j
>
5
3 5
3 3
1
G5
.
.
.
^
B
b
5
j
b
b
>
3
5 3
5 1
3
G Major
A5
.
.
.
^
G5
j
>
D/F
#
#
#
^
7 5 4
7 5 5
5 3 2
.
.
:o
The Oregon Grinder
Composer and Musical Director: Marcel Wittfeld
Producer: Marcel Wittfeld Executive Producer: Brad Wendkos
::
&
.
.
.
.
w
w
w
C
A Dorian (G Maj)
A7sus 4

Am7

D Mixo (G Maj)
D
#
7 5 7
5 5 4
0 0 0 0 0
D7/A
#

G Mixo (C Maj)
G7sus 4/A
n

G7/A
5 5 4
4 3 3
0 0 0 0 0
E Mixo (A Maj)
E/A

1 1 1
2 2 2
0 0 0 0 0
&
E/A

1 1 1
2 2 2
0 0 0 0 0
F Lydian (C Maj)
F/A
10 10 10
7 7 7
0 0 0 0 0
C Major
C5/A
12 12 12
10 10 10
0 0 0 0 0
A Dorian (G Maj)
Asus4
9 9 9
12 12 12
0 0 0 0 0
&
Asus4
9 9 9
12 12 12
0 0 0 0 0
Let ring
C Major
}
Fsus2

8
12 10
10
8
Let ring
Gadd 9

0
7 7
5
3
Let ring
Csus2

G/B

C5

0 0 0
0 0
3 2 3
.
.
.
.
&
F5
>

>
3 3
3 3
1 1 1 1 1 1
Let ring
C

3
1 1
0 0
2 2
3
Let ring
D Mixo (G Maj)
Dadd 11
#

5
3 3
0 0
4 4
5
E Phrygian Dom.
E5

0 0 0 0 0 0 0 0
&
.
.
E7
D.S. Al Coda
(Take all repeats)
7 7 7
6 6 6
7 7 7
0 0 0 0 0
N.C.
Coda
j

0 2 0
0 2 3 3

Am7
j

1 1 1
0 0 0
2 2 2
0 0 0 0 0
.
.
ll
Overview
FUNK
FUNK
i
& 4
4
80
qttt=q;;;ur;;;u
G Dorian (F Maj)
G Blues Composite
A
Funk
G5
E5
.
F5

G5
E5
.
F5

G5
E5
.
F5

&
.
.
G5
E5
.
F5

B
G5
|

B
b
5
.
C

G5

&
G5
|

F
.
C
J
|
G5
|

&
.
.
B
b
5
.
C5
J

G/D
.

E Lydian (B Maj) D Phryg (B Maj)
E
b
Dm
G Dorian (F Maj)
G5
.

&
G Half/Whole Diminished
G Blues Composite
C
G13
#
9

&
&
B Half/Whole Dim.
B Dorian
B
b
13
#
9
&

A Mixo (D Maj)
A7

D Mixo
(G Maj)
D7
Spare Me
Composer & Musical Director: George Harris
Executive Producer: Brad Wendkos
Form: ABCBCBA; Key of G
Producers: Brad Carlton & George Harris
Spare Me
Composer and Musical Director: George Harris
&
Fig. 1 - Voicings:
G5
w
w
w
w
w
3
3
0
0
X
3
E5
w
w
w
2
2
0
F5
w
w
w
3
3
1
B
b
5
w
w
w
b
b
3
3
1
C5
w
w
w
5
5
3
C
w
w
w
0
2
3
F
w
w
w
w
2
3
3
1
G/D
w
w
w
4
5
5
E
b
w
w
w
b
b
3
5
6
Dm
w
w
w
w
6
7
7
5
& 4
4
.
.
C qttt=q;;;ur;;;u
Fig. 2
G13
#
9

~~

3

#

~~
Let Ring
0
0
3
5 3
~~
3 3
~~

~~

J
.

b n
6 5 3
7 5 3 4
5
3 3
~~
&
.
.

~~

3
#

~~
Let Ring
0
0
3
5 3
~~
3 3
~~

~~

5
3 3
~~
B
b
13
#
9
b
b

~~

3

#
b
~~
3
3
Let Ring
6
8 6
~~
6 6
~~
&
b
b

~~

J
b
.

b
.

b n
9 8 6
10 8 6 7
8
6 6
~~
b
b

~~

3
#
b
~~
3
3
Let Ring
6
8 6
~~
6 6
~~
b
b

~~
A7
D7
j
#
n

6 6 5
8 7 7 4
7 7 5
6 6
~~
5 5
.
.
.
.
F U N K I M P RO V I SA T I O N T O O L K I T
& 4
4
Drum Fill
Intro
106
qttt=q;;;ur;;;u

F Lydian (C Maj)
FMaj7

&
.
.

C Dorian (B Maj)
Cm7

F Lydian (C Maj)
FMaj7
&
.
.

C Dorian (B Maj)
Cm7

&
.
.

Choruses
F Lydian (C Maj)
A
FMaj7

C Dorian (B Maj)
Cm7
&
F Lydian (C Maj)
FMaj7

&
C Dorian (B Maj)
Cm7

B Ovrtn (F Mel Min)
B9(
#
11)
B Dorian (A Maj)
B
b
m7
E Mixo (A Maj)
B
b
m7/E
b
J

.
&
.
.
A Ionian (A Maj)
A
b
Maj7
J

.
B Dorian (A Maj)
B
b
m7
.
E Mixo (A Maj)
B
b
m7/E
b
J
|
^
Csus4, C7sus4
Arpeggio
Csus4
^
J

4 Times
What Is It?
Form: AB; Key of A Minor
Hip Hop
{
What Is It?
,
& 4
4
Fig. 1 - Main Groove
FMaj7
8
v
X 7
v
7
v
5
10 10 X 8 8 5
9 9 X 7 7 5
&
Cm7
b
b

6
v
X 5
v
5
v
3
8 8 X 6 6 4
8 8 X 7 7 5
&
Fig. 2 - Voicings:
B9(
#
11)
w
w
w
w #
6
6
7
7
B
b
m7
w
w
w
w b
b
b
6
6
6
6
B
b
m7/E
b
w
w
w
w
b
b
b
6
6
6
6
( )
A
b
Maj7
w
w
w
w
w
b
b
( ) 3
4
5
5
4
Csus4
w
w
w
w
8
8
10
10
&
#
4
4
3
Drums
110
Funk
Intro

&
#
.
.

Choruses
A
A Dorian (G Maj)
Am7

&
#

F Overtone (C Mel Min)
F7

E Blues
E Half/Whole Diminished
E7
#
9

A Dorian (G Maj)
Am7
&
#

A Dorian (G Maj)
A1
Am7

&
#

F9

E Blues
E7
#
9

A Dorian (G Maj)
Am7

&
#

F Blues Composite
F Overtone
B
F

G Blues Composite
G

A Dorian (G Maj)
Am7

&
#

F Blues Composite
F Overtone
F

G Blues Composite
G
E Blues
E H/W Dim.
E7
#
9

&
#
.
.

4 times
A5
J

G5
J

G
#
5
J

U
A5
|
.
Somethin' Funky
Form: A A1 B; Key of A Minor
o
Somethin Funky
& 4
4
j
S
Fig. 1 - Theme Riff
#
3
( )

1/2
7 7
( )
5
5
Full
7 7 5
5 7 7 5
5
S
7
&
Am7
A
(Rhythm Gtr. Part) Fig. 2

j
5
v
5
v
7
7
v
7
5
v
5
v
5
7 5
7
7
v
7
&
Fig. 3 - Voicings:
F7
w
w
w
w
b
6
8
7
8
( )
F9
w
w
w
w
w b
( )
8
8
8
7
8
E7(
#
9)
w
w
w
w #
8
7
6
7
F
w
w
w
w
6
5
7
8
&
G
w
w
w
w
8
7
9
10
Am7
w
w
w
w
13
12
10
12
G5
w
w
w
5
5
3
G
#
5
w
w
w
#
#
#
6
6
4
A5
w
w
w
7
7
5
*Notational differences in Theme Riff reect possible interpretive choices.
Your ears are your best guide.
*
& 4
4
.
.
105
Drums
Soul Funk
.

D9
J
D
#
9
E9
A
%
E Blues Composite
E9
J

&
E9
D9
D
#
9
E9

&
E9
D9
D
#
9
E9

&
E9
D9
D
#
9
E9

&
E9
F9
F
#
9
G9

B
G Blues Composite
G9

A Blues Composite
A9

E Blues Composite
E9
&
E9

G Blues Composite
G9

A Blues Composite
A9

B Blues Composite
B Half/Whole Diminished
B7
#
9
&
.
.
4
2
B7
#
9

D9
J
D
#
9
To Coda (3rd Time)

E9

E
b
9
J

D9
J

D
b
9
J

C9
J

B Blues Composite
B Half/Whole Diminished
B7
#
9
J

& 4
4

Breakdown
Gtr. & Drums
E Blues Composite
E9

&
E9

Enter Bass & Kybd.

D9
D
#
9
D.S. al Coda
%
E9
&
Coda
E
b
9
J

D9
J

D
b
9
J

C9
J

B7
#
9
J

E9
J

Producers: Brad Carlton & George Harris
Form: A B; Key of E
Leaning Tower
8
Leaning Tower
p
& 4
4
J
Fig. 1
E9
12
Full
15

( )
7
( )
6
( ) 7

&
(E7 - for main groove)
Fig. 2 - Voicings:
E9
w
w
w #
7
6
7
( )
A9
w
w
w
w
w
#
( )
12
12
12
11
12
( )
G9
w
w
w
w
w
( )
10
10
10
9
10
( )
E9
w
w
w #
w
w
#
( )
7
7
7
6
7
&
B7
#
9
w
w
w
w
#
3
2
1
2
( )
D9
w
w
w
w
w
#
( )
5
5
5
4
5
( )
D
#
9
w
w
w
w
w
#
#
#
#
( )
6
6
6
5
6
(
)
D
b
9
w
w
w
w
w
b
b
b
b
( )
4
4
4
3
4
( )
C9
w
w
w
w
w b
( )
3
3
3
2
3
& 4
4
Intro

116
Funky Soul
B Blues
B Super Locrian
(C Melodic Minor)
B7
#
9(
#
5)
.

.
.

.
.

^

>
bass fill

&
.
.
.
.

E Dorian (D Maj)
Em6
J
.
Em7
^

>

Em6
J
.
Em7
J
^

Em6
J
.
Em7
^

>

Em6
J
.
Em7
J
^

&
.
.
%
Choruses A
E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

&
E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

E Dorian (D Maj)
Em7

A Mixo (D Maj)
A7
>

&
B
B Dorian (A Maj)
Bm7

G Mixo (C Maj)
G Overtone
(D Melodic Minor)
G13

D Dorian (C Maj)
Dm9

&
.
.

A Mixo (D Maj)
G/A

A Mixo (D Maj)
A

B Aeolian (D Maj)
BUT 6 is sensitive...
Use Bm11 Arpeggio.
A/B B7
#
9(
#
5)
^

>

Fine (4th time)
&
Interlude

E Dorian (D Maj)
Em6
J
.
Em7
^

>

Em6
J
.
Em7
J
^

Em6
J
.
Em7
^

>

Em6
J
.
Em7
J
^
D.S. al Fine
%
Form: A B; Key of E
Slap-Happy Sol
:o
Slap- Happy Sol
::
& 4
4
Fig. 1 - Voicings:
B7
#
9
w
w
w
w #
15
14
13
14
Em6
w
w
#
14
12
Em7
w
w
15
12
&
B Fig. 2
Bm7
.
Entire Section 8va
J
.
.
.
17 17 17 17
15 15 15 15
16 16 16 16
G13
.
J
.
.
.
17 17 17 17
17 17 17 17
16 16 16 16
Dm9
.
.
.

17 18 17 18 17
17 17 17 17 17
17 19 17 19 17
&
G/A
.
J
.
.
.
15 15 15 15
12 12 12 12
12 12 12 12
A
.
J
.
.
.
17 17 17 17
14 14 14 14
14 14 14 14
A/B
.
J
.
.
.
17 17 17 17
14 14 14 14
14 14 14 14
B7
#
9(
#
5)

19 19
16 16
BLUES
BLUES
i
& 4
4
3

Drum Fill
q = 92
qr=qce Slow Shuffle
3

3

Intro
E Blues Composite
E7

&
.
.

A
Choruses
E7

&
A Blues Composite
A7

G Blues Composite
G7

E Blues Composite
E7

&
A
E7

&
A Blues Composite
A7

G Blues Composite
G7

E Blues Composite
E7

G5 G
#
5
&
B
A Blues Composite
A7

E Blues Composite
E7

G5 G
#
5
&
.
.

A Blues Composite
A7

F Blues Composite
F
#
7
#
9
1, 2
B Blues Composite
B7
#
9
3
&
3
B7
#
9
3

3

3

3

E Blues Composite
E7
U
|
*Also E Blues Scale thru entire track.
Back Burner
Form: A A B; Key of E
Back Burner
& 4
4
Fig. 1
PM
qr=qce
E7
2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0
(E7) A5
#
2 0 1
2
2 2 2 2 2 2 0
0 0 0 0 0 0
&
Fig. 2 - Voicings
E7
w
w
w
w
w
w #
0
0
1
0
2
0
E7
w
w
w
w
w
w #
0
3
1
0
2
0
E7
w
w
w #
7
6
7
E5
w
w
2
0
A7
w
w
w
w
w
w #
5
5
6
5
7
5
&
A7
w
w
w
w
w
w #
5
8
6
5
7
5
G5
w
w
5
3
G
#
5
w
w #
#
6
4
F
#
7
#
9
w
w
w
w #
#
10
9
8
9
B7
#
9
w
w
w
w #
10
10
8
9
B L U E S I M P RO V I SA T I O N T O O L K I T
& 4
4

Intro
Boogie Rock
q = 200
G Blues Composite
qr=qce
G7

&
.
.

Choruses
A
G7

&
&
A
G7

&
E Aeolian
Em
&
B
Em

C Mixo, C Overtone
C7

E Aeolian
Em
&
.
.

Em

C Mixo, C Overtone
C7

E Overtone
E
b
7
>

.
D Mixo
D7
J
>
.
3 Times
G Blues
Composite
G7
J
>
&
.
.
.
.
Ending Vamp
G Blues Composite
G7

1, 2, 3, 4, 5, 6, 7, 8
9

^

>
Penguin Boogie
Form: A A B; Key of G
{
Penguin Boogie
,
& 4
4
.
.
.
.
Fig. 1 - Rhythm Gtr I
qr=qce G7
j
3
5
3
PM
7 5 7
3 3 3
4
3 3
5 7 5 7 5
3 3 3 3 3
& 4
4
.
.
.
.
Fig. 2 - Rhythm Gtr II
qr=qce
G7
(on repeat only)

3
n b n
4 3 4

b
3
3 5 3
5 3
&
Fig. 3 - Voicings
( )
Em7
w
w
w
w
w
( )
7
8
7
9
7
C9
w
w
w
w
w b
3
3
3
2
3
E
b
7
w
w
w
w
b
b
b
4
6
5
6
D7
w
w
w
w
#
3
5
4
5
.
.
.
.
.
.
.
.
& 4
4
Drums
Shuffleqr=qce
Intro
q = 138

D Blues Composite
D7
|
^
E Blues Comp.
E
b
7
^
&
.
.

Choruses
A
E Blues Composite
E7

F Mixo B Mixo
(A/B=B11)
F
#
7 A/B
&
E Blues Composite
E7

B Dorian B Overtone
Bm7sus B
b
9(
#
11)
&
A Blues Composite
A7

&
E Blues Composite
E7

E Blues Comp.
E7 E
b
7

E Blues Comp.
D Blues Comp.
D7 D
b
7
&
.
.
F Mixo
F
#
7
B Mixo
A/B
E Blues Composite
E7
1
D Blues Comp.
D7
|
E Blues Comp.
E
b
7
E Blues Composite
E7
&
B
A Blues Composite
A7

A Mixo
G/A

E Blues Composite
E7

&
.
.
A Blues Composite
A7
B Whole/Half Dim.
B
b o
7
B Mixo
A/B
^

^

^

^

D Blues Comp.
D7
|
^
3 Times
l
E
b
7
^
E7
J
^

Suncoast Shuffle
Form: A A B; Key of E
o
Suncoast Shufe
& 4
4
Fig. 1qr=qce
E7
2 2 4 4 5 5 4 4
0 0 0 0 0 0 0 0
Fig. 2
E7

3
#

2
2 2 4 4 5
0 0 0 0 0 0 3 4
&
Fig. 3
A7
2 2 4 4 5 5 4 4
0 0 0 0 0 0 0 0
Fig. 4
A7

3
#

2
2 2 4 4 5 2
0 0 0 0 0 0 3 4
Fig. 5
A7

2 2 4 4 5 5
0 0 0 0 0 0
1/4
3
&
Fig. 6 - Voicings
F
#
7
w #
w
w #
9
7
9
A/B
w
w
w
#
5
5
6
Bm7sus
w
w
w
5
7
7
B
b
9(
#
11)
w
w
w
b
5
5
6
E7
w
w
w #
7
6
7
&
E
b
7
w
w
w
b
b
6
5
6
D7
w
w
w #
5
4
5
D
b
7
w
w
w
b
b
4
3
4
G/A
w
w
w
3
4
5
B
b
dim7
w
w
w #
5
6
5
A/B
w
w
w #
5
6
7
& 4
4

Choruses
q = 120
Jazz Blues
G Dorian
Gm7

G Super Locrian
G7
b
9
&
C Dorian
Cm7

G Dorian
Gm7

&
.
.
1, 2, 3, 4, 5, 6

E Overtone
E
b
7
#
11

D Super Locrian
D Phryg Dominant
D7
b
9

G Dorian
Gm7

A Overtone
A
b
13
&
.
.
.
.
7

E Overtone
E
b
7
#
11

D Super Locrian
D Phryg Dominant
3 Times
D7
b
9
G Melodic Minor
Gm(Maj13)
| |
Voice Of The Cool
Composer & Musical Director: David Weissbrot
Producer: David Weissbrot
Blues Form; Key of G Minor
8
Voice of the Cool
Composer and Musical Director: David Weissbrot
Producer: David Weissbrot Executive Producer: Brad Wendkos
p
&
Fig. 1 - Voicings
Gm(add 9)
w
w
w b
3
3
7
Gm6/9
w
w
w
b
5
5
3
Gm7/11
w
w
w
6
5
5
Gm(add 9)
w
w
w
8
7
7
Gm7/11
w
w
w
w b
1
1
3
5
Gm11
w
w
w
w
3
3
5
7
Gm6/9
w
w
w
w
b
10
10
9
8
Gm7/11
w
w
w
w
b
6
6
5
5
Gm9
w
w
w
b
10
10
8
Gm7
w
w
w b
3
3
3
&
Gm6/9
w
w
w
w
b
5
5
7
8
Gm7/11
w
w
w
w
w
b
13
11
10
10
10
Gm(Maj13)
w
w
w
w
#
b
5
7
9
8
G7
#
9 (
#
5)
w
w
w
w
#
#
11
11
10
9
G7
#
5
b
9
w
w
w
w
b
#
4
4
4
3
G7
#
9 (
#
5)
w
w
w
w
#
#
6
4
4
3
G7
#
9 (
#
5)
w
w
w
w
#
#
6
6
8
9
Cm9
w
w
w
b
b
4
7
8
Cm11
w
w
w
w b
b
1
3
3
1
Cm7/11
w
w
w
b
b
4
3
3
&
Cm9
w
w
w
w b
b
10
8
8
8
Cm(add 9)
w
w
w b
8
8
12
Cm7/11
w
w
w
w b
b
3
6
8
8
E
b
7
w
w
b
6
5
E
b
13
w
w
w
w b
8
6
6
5
E
b
9
#
11
w
w
w
w b
5
6
6
5
E
b
9
w
w
w
w
b
b
6
6
6
5
E
b
13
w
w
w
w
w
b
13
13
10
11
10
E
b
9
w
w
w
w
b
b
11
10
11
10
E
b
9
#
11
w
w
w
w b
10
10
11
10
&
E
b
13
w
w
w
w
b
13
13
12
11
D7
w
w
#
5
4
D7
#
9 (
#
5)
w
w
w
w
#
#
6
6
5
4
D7(
b
9 )
w
w
w
w
b
#
5
4
5
4
D7
#
9 (
#
5)
w
w
w
w
#
#
13
11
11
10
D7
#
9
w
w
w
w
#
5
6
5
4
D7
#
9
w
w
w
w
#
10
10
10
9
( )
D7
#
9 (
#
5)
w
w
w #
w
w
#
( )
10
11
10
10
9
D7
b
9(
#
5)
w
w
w
w
b
#
#
11
11
11
10
D7
#
5
w
w
w
w
#
#
10
11
11
10
A
b
13
w
w
w
w
b
b
6
6
5
4
& 4
4
Blues Shuffle q = 128 qr=qce
Intro
A5
^

^

^

3

3

3

3

&
.
.
.
.

Use A Blues Composite
except where indicated.
A7

Play anticipation
on repeat only.
O
>
&
.
.

Choruses
A
A7

&
C7

B7 B
b
7

A7

&
D7

A7

F Super
Locrian
F
#
7
#
9
>

}
A B.C.
B7
&
.
.
A Blues Composite }
B7

E7
>

A7

E7
&
B
D7

D Dorian (C Maj)
Dm7

A Blues Composite }
A7

&
.
.

D7

D Dorian (C Maj)
Dm7
E Blues
E Half/Whole Dim.
E7
#
9
^

^
1, 2

^

^

^
(A B.C.)
A7
>
&
3
E Blues
E Half/Whole Dim.
E7
#
9

.
#
>
j
j
#
v
j
A Blues Composite
B
b
7
A7
U
|
Model TBlues
Form: A A B; Key of A
:o
Model T Blues
::
& 4
4
Fig. 1 qr=qce
A7
( )
2
2
2
v
4
2
v
2
2
v
4
( ) 2
v
0 0 0 0 0 0 0
Fig. 2 qr=qce
C7
( )
10
10
v
12
10
v
10
10
v
12
8 8 8
( )
8 8 8 8
B7

#
B
b
7
n
b

n
9
9
v
11
8
v
10
7 7 7 6 6 6
& 4
4
Fig. 3qr=qce
D7
( )
( )
( )
5
7
7
v
9
( )
( )
7
v
7
7
v
9
7
v
5 5 5
( )
5 5 5 5
( )
5
Fig. 4 - Voicings
A5
w
w
w
w
w
5
5
2
2
0
F
#
7(
#
9)
w
w
w
w
#
#
10
9
8
9
&
B7
w
w
w
w
w
w
#
#
#
7
7
8
7
9
7
B7
w
w
w
w
w
w
#
#
7
10
8
7
9
7
E7
w
w
w
w
w
#
7
9
7
9
7
E7
w
w
w
w
#
5
7
6
7
&
A7
w
w
w
w
w
w #
5
5
6
5
7
5
D7
w
w
w
w
w
#
5
7
5
7
5
Dm7
w
w
w
w
w
5
6
5
7
5
E7(
#
9)
w
w
w
w #
8
7
6
7
FUSION
FUSION
&
D Blues Composite
D Overtone (A Mel Min)
D13

.

E Mixo (A Maj)
E Aeolian (G Maj)
D/E
|
G Mixo (C Maj)
G13
A Overtone
(E Mel Min)
A
b
13
&
A Mixo (D Maj)
A Blues Composite
Asus4 A7

Asus4 A7

E Dorian (D Maj)
Em

&
A Mixo (D Maj)
A Blues Composite
Asus4
A7

Asus4 A7

E Dorian (D Maj)
Em

.
C13
&
C Blues Composite
C Overtone (G Mel Min)
C13

.

.
D13
&
.
.
D Blues Composite
D Overtone (A Mel Min)
D13

.

E Mixo (A Maj)
E Aeolian (G Maj)
D/E
|
G Mixo (C Maj)
G13
A Overtone
(E Mel Min)
A
b
13
A13

N O C ll P
& 4
4
q = 98
Fusion
Asus4 A7
Asus4 A7
Em

Asus4 A7
Asus4 A7
&
Em

A
Enter Gtr.
A Mixo (D Maj)
A Blues Composite
Asus4 A7
Asus4 A7
E Dorian (D Maj)
Em
&
A Mixo (D Maj)
A Blues Composite
Asus4 A7

Asus4 A7

E Dorian (D Maj)
Em

.
C13
&
B
C Blues Composite
C Overtone (G Mel Min)
C13

.

.
D13
AO.K.
Form: A B; Key of A
A- OK
i
Form: A B; Key of A
Fusion
q =98
&
#
#
4
4
Fig. 1(Keyboard Part)
Asus4
A7
J
.
.
.

12 121212 12 12 12
15 151515 15 15 14
14 141414 14 14 12
Em
D/E
J
.
.
.

7 7 7 7 7 7 5
8 8 8 8 8 8 7
9 9 9 9 9 9 7
&
#
#
4
4
Fig. 2(Gtr.)

( )
( )
( )
( )
( )
9 11 9 11 9
9 11 9 11 9
( )
10
( )
12 ( ) 10
( )
12 ( ) 10
7 9 7
7 9 7
& 4
4
J
b
8
10
9
8
Fig. 3
.
.
.
.

>
10
10
9
.

b

.
. n
X X X X X X X
X X X X X X X 11 10 8 8
X X X X X X X 12 10 8 9
&
b
4
4
J
10
10
9
8
Fig. 4
C13
X X X 10 X X X X X X X 10 X X X
F U SI O N I M P RO V I SA T I O N T O O L K I T
Asus4A7 Em
C 13
See last page for voicings to A-OK
&
(Simile)
Em7

&
B Aeolian (D Maj)
A Maj Pent
B
B11

A Mixo (D Maj)
G Maj Pent
A11

B Aeolian (D Maj)
A Maj Pent
B11

A Mixo (D Maj)
G Maj Pent
A11
&
.
.
B Aeolian (D Maj)
A Maj Pent
B11
A Mixo (D Maj)
G Maj Pent
A11
C Lydian (G Maj)
C Maj Pent
G Maj Pent
D Maj Pent
CMaj7
|
G Ionian (G Maj)
G Maj Pent
D Maj Pent
G/B

.
F Lydian (C Major)
F Maj Pent
A Min Pent
G Maj Pent
FMaj7(
b
5)
|
3 Times
|
&
(Simile) }
CMaj7
|
G/B

.
FMaj7(
b
5)
| |
CMaj7
|
G/B

.
FMaj7(
b
5)
| |
&
Ending
CMaj7
|
G/B

.
FMaj7(
b
5)
| |
CMaj7
|
G/B

.
FMaj7(
b
5)
|
& 4
4
C Lydian (G Maj)
C Maj Pent
G Maj Pent
D Maj Pent
Intro
q = 77
Fusion Ballad
CMaj7
|
G Ionian (G Maj)
G Maj Pent
D Maj Pent
G/B

.
F Lydian (C Major)
F Maj Pent
A Min Pent
G Maj Pent
FMaj7(
b
5)
| |
C Lydian (G Maj)
C Maj Pent
G Maj Pent
D Maj Pent
CMaj7
|
G Ionian (G Maj)
G Maj Pent
D Maj Pent
G/B

.
F Lydian (C Major)
F Maj Pent
A Min Pent
G Maj Pent
FMaj7(
b
5)
| |
&
E Dorian (D Maj)
D Maj Pent
F Min Pent
Em7

&
(Simile)
A
Em7

Form: A B; Key of C
Slow - J
{
Slow- J
, F U SI O N I M P RO V I SA T I O N T O O L K I T
&
Fig. 1 - Voicings
CMaj7
w
w
w
w
3
5
4
3
Gadd9/B
w
w
w
w
3
3
2
2
FMaj7(
b
5)
w
w
w
w
w
0
0
2
3
1
&
#
#
4
4
Fig. 2
Em7
.
.

.
J
15 14 14 15 15
12 12 12 12 12
.
.

~~
15
12 9 7
~~
&
#
#
4
4
Fig. 3
B11
.
.

J
.
.
14 14 14 14 14 14
14 14 14 14 14 14
A11
.
.
J
.
.
12 12 12 12 12 12
12 12 12 12 12 12
&
.
.

B Mixo
(E Maj)
B Overtone
(F Mel Min)
B Blues Comp.
B
b
13

C Mixo
C Overtone
C Blues Comp.
C13

G Mixo
G Overtone
G Blues Comp.
G13

{
(1st Time Only)
} F13 F
#
13
&
B
G Ionian C Lydian
G/D CMaj7

E Locrian 2 A Super
Locrian
Em7(
b
5) A7
#
9(
#
5)
D Dorian
(C Maj)
Dm9
|
D Dorian
Dm6/9
|
D Aeolian
(F Maj)
Dm
#
5(addd9 )
|
D Aeolian
Dm(add9 )
|
&
.
.
G Ionian
C Overtone
C Blues Comp.
C Mixo
G/D C13

E Ovrtn D Super
Locrian
E
b
13(
#
11) D7
#
9(
#
5)
1, 2
G Mixo
G Overtone
G Blues Comp.
G13
|
3
G Mixo
G Overtone
G Blues Comp.
G13
&
.
.

Ending
G Ionian C Lydian
G/D CMaj7
E Locrian 2
A Super
Locrian
Em7(
b
5) A7
#
9(
#
5)
D Dorian
Dm7
|
D Dorian
Dm6
|
D Aeolian
Dm(
#
5)
|
D Aeolian
Dm
|
G Ionian C Overtone
C Mixo
C B.C.
G/D C13
&
.
.
E Ovrtn D Super
Locrian
E
b
13(
#
11)
D7
#
9(
#
5)
G Mixo
G Overtone
G Blues Comp.
G13
3 Times
rit.
G Ionian
G/D
|
C Lydian
CMaj7
|
E Locrian 2
Em7(
b
5)
|
A Super Locrian
A7
#
9(
#
5)
|
U
D Dorian
Dm9
|
Notes On Call Presents
& 4
4
q = 104
Cool Funk
Intro
G Ionian
(G Maj)
G/D
|
C Lydian
(G Maj)
CMaj7
|
E Locrian 2
(G Mel Min)
Em7(
b
5)
|
A Super
(B Mel Min)
Locrian
A7
#
9(
#
5)
|
G Ionian
G/D
|
C Overtone
C Mixo
C Blues Comp.
(G Mel Min)
(F Maj)
C13
|
E Ovrtn
(B Mel Min)
E
b
13(
#
11)
|
D Super
(E Mel Min)
Locrian
D7
#
9(
#
5)
|
G Mixo
(D Mel Min)
G Overtone
G Blues Comp.
(C Maj)
G13
|
&
G Mixo
G Overtone
G Blues Comp.
G13

&
.
.

A Choruses
(Simile)
G9

Form: A B; Key of C
o
Ode to JFP III
Dm9 Dm6/9
Dm
#
5 (add 9) Dm (add 9)
& 4
4
Fig. 1
G13
#
#

10 10
9 10 X 10 X X X X 9 10 X 10 X X X X
9 10 X 10 X X X X 9 10 X 10 X X X X
8 9 X X X X X 8 9 X X X X X
&

#
#

.
.
~~~
10
9 10 X 10 X X X X X
9 10 X 10 X X X X X 10 10 10 10
~~~
8 9 X X X X X X 10 9 10 9
&
Fig. 2 - Voicings
B
b
13
w
w
w
w
b
8
8
7
6
C13
w
w
w
w
b
10
10
9
8
C13
w
w
w
w
b
8
10
9
8
F9
w
w
w
w
w b
8
8
8
7
8
F
#
9
w
w
w
w
w
#
#
#
#
9
9
9
8
9
G/D
w
w
w
w
3
4
5
5
( )
CMaj7
w
w
w
w
w
3
5
4
( )
5
3
( )
Em7(
b
5)
w
w
w
w
w
b
b
6
8
7
( )
8
7
&
( )
A7
#
9 (
#
5)
w
w
w
w
w #
8
6
6
5
( ) 0
( )
Dm9
w
w
w
w
w
( )
5
5
5
3
5
( )
Dm6/9
w
w
w
w
w
( )
5
5
4
3
5
( )
Dm
#
5(add9 )
w
w
w
w
w #
( )
5
5
3
3
5
( )
Dm(add9 )
w
w
w
w
w
( )
5
5
2
3
5
( )
C9
w
w
w
w
w b
3
3
3
2
( ) 3
E
b
13
w
w
w
w b
8
6
6
5
D7
#
9 (
#
5)
w
w
w
w
#
#
6
6
5
4
&
B Mixo (E Maj)
B Overtone (F Mel Min)
B
b
13

D Min Pent
D Dorian (C Maj)
D Half/Whole Dim.
D Blues
D7
#
9

&
.
.

G Mixo (C Maj)
G Overtone (D Mel Min)
G Mixo 6 (C Mel Min)
G9

F Mixo (B Maj)
F13

D Min Pent
D Blues
D Dorian (C Maj)
D Half/Whole Dim.
D7
#
9

&
B
B Dorian (A Maj)
Bm9

F Aeolian (A Maj)
F
#
m11

B Dorian (A Maj)
Bm9

F Aeolian (A Maj)
F
#
m11
&
.
.
D Dorian (C Maj)
Dm9
C Ionian (C Maj)
CMaj7
F Dorian (E Maj)
F
#
m7(11)
1
B7
#
9

2
D7
#
9
J

& 4
4
Drums
q = 112
Jazz Funk
Intro
4

D Min Pent
D Blues
D Dorian (C Maj)
D Half/Whole Dim.
D7
#
9

&
(Simile)
D7
#
9

&
.
.

A
(Simile)
D7
#
9

Barry's Porn Ride
Form: A A B; Key of D
8
Barrys Porn Ride
p
& 4
4

Fig. 2
B
Bm9
J
#

10
7
Let Ring
11
F
#
m11
J
#

12
10
Let Ring
13
Bm9
J
#

10
7
Let Ring
11
&
F
#
m11
J
#

12
10
Let Ring
13
Dm9

13
10
Let Ring
14
CMaj7

12
9
Let Ring
12
F
#
m7( 11)
J
#

12
9
Let Ring
11
& 4
4
Fig. 1
8va
D7
#
9

13 14 13 13
13 13 13
&
B
b
13
w
w
w
w
b
b
8
7
6
6
( )
G9
w
w
w
w
w
( ) 10
10
10
9
10
( )
F9
w
w
w
w
w b
( ) 8
8
8
7
8
F13
w
w
w
w
w b
10
8
8
7
8
& 4
4

Intro
q = 90
Light Fusion
B Dorian (A Maj)
Bm9

F Aeolian (A Maj)
F
#
m7(11)

B Dorian (A Maj)
Bm9

F Aeolian (A Maj)
F
#
m7(11)
&
.
.

Choruses
A
B Aeolian
B Dorian
(D Maj)
D Ionian
(D Maj)
Bm9 DMaj7/A
G Dorian
(F Maj)
Gm9

.
F Super Locrian
(G Mel Min)
F
#
7
#
9
>

E Dorian (D Maj)
Em9

F Aeolian (A Maj)
Fm11 Arpeggio
F
#
m7
&
B Aeolian
B Dorian
(D Maj)
D Ionian
(D Maj)
Bm9 DMaj7/A
G Dorian
(F Maj)
Gm9

.
F Super Locrian
(G Mel Min)
F
#
7
#
9(
#
5)
>

E Dorian (D Maj)
Em9

F Aeolian (A Maj)
F
#
m7
&
B
C Aeolian (E Maj)
C
#
m9

A Lydian (E Maj)
AMaj7

C Aeolian (E Maj)
C
#
m9

A Lydian (E Maj)
AMaj7
&
.
.
B Locrian
(B Maj)
B
b
m7(
b
5)

.
E Super Locrian
(E Mel Min)
E
b
7
#
9
>

E Lydian (B Maj)
EMaj7

.
A Aeolian (B Maj)
A
b
m9
>

1, 2

G Lydian (D Maj)
GMaj7
A Mixo (D Maj)
A

B Major (omit 7th)
B Mixo (E Major)
B
>

&
.
.
.
.
3

Ending
G Lydian (D Maj)
GMaj7
A Mixo (D Maj)
A

B Major (omit 7th)
B Mixo (E Major)
B
>

3 Times
G Lydian (D Maj)
GMaj7
|
A Mixo (D Maj)
A
.
B Lydian (F Major)
B(
#
11)
J
> U
|
Form: A B; Key of B Minor
:o
::
&
#
#
#
4
4
Fig. 1 - Intro
(repeat only)
8va
Bm9
.
.
.

.
.
.

10 9
10 10 10
9 9 9
11
F
#
m7(11 )
.
.
.

12 9
9 9
11 9
&
( )
Fig. 2 - Voicings
Bm9
w
w #
w
w #
5
3
6
( ) 4
( )
DMaj7/A
w
w #
w
w #
5
3
6
( ) 4
( )
Gm9
w
w
w
w b
5
3
3
( ) 3
( )
F
#
7
#
9 (
#
5)
w
w
w
w #
5
3
3
( ) 2
Em9
w
w
w
#
7
7
5
Em11
w
w
w
w
#
5
7
7
5
F
#
m7
w
w
w #
5
6
7
&
F
#
m7
w
w
w
#
5
2
4
F
#
m7
w
w
w
#
2
2
2
C
#
m9
w
w
w
#
#
9
9
13
AMaj7
w
w
w
#
#
9
9
11
(
)
) (
AMaj7
w
w
w
w #
#
12
12
( )
13
( )
11
B
b
m7(
b
5)
w
w
w
w
b
b
b
9
9
9
8
E
b
7
#
9 (
#
5)
w
w
w
w
b
b
7
7
6
5
&
EMaj 13
w
w
w
w
#
#
#
11
12
11
11
( )
(m11) A
b
m9
w
w
w
w
b
b
b
b
( )
9
11
11
9
( )
(9) GMaj7
w
w
w
w
#
( )
5
7
7
5
Aadd9
w
w
w
w
#
9
10
9
9
Badd9
w
w
w
w
#
#
#
11
12
11
11
Fig. 5 - Voicings (for A-OK)
&
D13
w
w
w
w #
12
12
11
10
D/E
w
w
w
w
#
7
7
7
7
G13
w
w
w
5
4
3
A
b
13
w
w
w
b
6
5
4
A P P E N D I X E S
Six Steps
Improvisational Theory
I
Major Scales and Diatonic Chords
I
C
G
D
A
E
B
F
#
C
#
F
B
b
E
b
A
b
D
b
G
b
C
b
Ionian
I I
D
A
E
B
F
#
C
#
G
#
D
#
G
C
F
B
b
E
b
A
b
D
b
Dorian
I I I
E
B
F
#
C
#
G
#
D
#
A
#
E
#
A
D
G
C
F
B
b
E
b
Phrygian
I V
F
C
G
D
A
E
B
F
#
B
b
E
b
A
b
D
b
G
b
C
b
F
b
Lydian
V
G
D
A
E
B
F
#
C
#
G
#
C
F
B
b
E
b
A
b
D
b
G
b
Mixolydian
VI
A
E
B
F
#
C
#
G
#
D
#
A
#
D
G
C
F
B
b
E
b
A
b
Aeolian
VII
B
F
#
C
#
G
#
D
#
A
#
E
#
B
#
E
A
D
G
C
F
B
b
Locrian
VIII [I]
C
G
D
A
E
B
F
#
C
#
F
B
b
E
b
A
b
D
b
G
b
C
b
Ionian
The large chart lays out for you
all notes in all major keys. The
Ws and s across the top
represent the intervals between
each of the noteswhole steps
and half steps. The Roman
numerals represent the degrees
of the scales. For example, the
third degree of C major is E.
The Greek words across the
bottom are the names of the
modes that begin on each
degree. That is, if you wanted
to play in the F Lydian mode,
youd use the notes of the C
major scale, but treat F as the
root. The two charts at the
bottom show the chord quality
(major, minor, diminished,
etc.) that results from building
chords on each of the scale
degrees.
W W
1
2 W W W
1
2
Diatonic 7th Chords
Major 7: I, IV
(Dominant) 7: V
Minor 7: II, III, VI
Minor 7 (
b
5): VII
Diatonic Triads
Major: I, IV, V
Minor: II, III, VI
Diminished: VII
II
When using these formulas,
always start with the major
scale of the prevailing chord or
scale. Say youre trying to g-
ure out the notes in a D minor
9th chord. The chart below
species 1 (the root, D in this
case),
b
3, 5,
b
7, and 9. The next
note after the root we need is a
atted third. Find the D major
scale on the previous page.
Under the Roman numeral III
on the chart youll nd the
third of the D major scaleF
#
.
Since the chord calls for a at-
ted third, we need to lower this
note a half step, to F. You can
nd the rest of the notes the
same wayfor the fth and
atted seventh, look under V
to get A, and under VII to
get C
#
remember to at
this to C. For the ninth, you
need to go beyond the rst
octavesince VIII is the same
note as I, IX (if it was there)
would be the same as II.
The ninth we need then, is E.
You can build scales the same
waynd the major scale with
the root you need, and ll in
other notes according to the
chart in appendix III, atting
and sharping where necessary.
The Formula Method for Chords and Scales
Minor Family of Chords
Minor
Minor add 9
Minor 6
Minor 6/9
Minor 7
Minor 9
Minor 11
1
1
1
1
1
1
1
b
3
b
3
b
3
b
3
b
3
b
3
b
3
5
5
5
5
5
5
5
9
6
6
b
7
b
7
b
7
9
9
9 11
Other Chord Types
5 (power chord)
sus 2
sus 4
add 9 sus 4
Minor 7 (
b
5)
Diminished 7th
Augmented
*
b b
7=6 (enharmonic equivalent)
1
1
1
1
1
1
1
5
2
4
4
b
3
b
3
3
5
5
5
b
5
b
5
#
5
9
b
7
bb
7
*
Major Family of Chords
(Maj)
(Maj) add 9
(Maj) 6
(Maj) 6/9
Maj 7
Maj 9
Maj 13 (Maj 7/6/9)
Maj 7/6
1
1
1
1
1
1
1
1
3
3
3
3
3
3
3
3
5
5
5
5
5
5
5
5
9
6
6
7
7
7
6
9
9
9
7
13
Dominant Family of Chords
(Dom) 7
(Dom) 7/6
(Dom) 9
(Dom) 13
(Dom) 7 sus 4
(Dom) 7/6sus4
(Dom) 9sus4 or 11
(Dom) 13sus4
1
1
1
1
1
1
1
1
3
3
3
3
4
4
4
4
5
5
5
5
5
5
5
5
b
7
6
b
7
b
7
b
7
6
b
7
b
7
b
7
9
9
b
7
9
9
13
13
III
Scale Formulas
Ionian (Major Scale)
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Major Pentatonic
Minor Pentatonic
Blues
Blues Composite
Harmonic Minor
Phrygian Dominant
Melodic Minor
Lydian Augmented
Overtone (Lydian
b
7)
Mixolydian
b
6 (Aeolian Major)
Super Locrian (Altered Dominant)
Half Step/Whole Step Diminished
Whole Step/Half Step Diminished
Whole Tone
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
b
2
2
2
2
b
2
2
2
2
b
2
2
2
2
2
b
2
b
2
2
2
3
b
3
b
3
3
3
b
3
b
3
3
b
3
b
3
b
3 3
b
3
3
b
3
3
3
3
b
3
b
3 3
b
3
3
4
4
4
#
4
4
4
4
4
4
#
4
4
#
4
4
4
4
#
4
#
4
4
b
4
#
4
4
#
4
#
4
5
5
5
5
5
5
b
5
5
5
5
5
5
5
5
#
5
5
5
b
5
5
#
5
#
5
6
6
b
6
6
6
b
6
b
6
6
6
b
6
b
6
6
6
6
b
6
b
6
6
6
7
b
7
b
7
7
b
7
b
7
b
7
b
7
b
7
b
7
7
b
7
7
7
b
7
b
7
b
7
b
7
7
b
7
*
* Mixolydian
b
6 is not illustrated
in the Scale Formula Diagrams.
To form this scale, take the
Mixolydian mode and at
the sixth.
IV
Tonal Colors
1
5
3
b
7
b
3 (
#
9)
6 (13)
2 (9)
4 (11)
#
4 (
b
5)
7
b
6 (
#
5)
b
2 (
b
9)
Strongest tone (Root)
Very strong (e.g. Power chords are Root-Fifth)
Strong Major sound
Brings out the Blues sound (Dominant sound)
Brings out Minor soundalso acts as a blue note against Dominant 7 harmony.
The
b
3 wants to resolve to the 3
Not as strong as previous tones
J azzy, not as strong as previous tones
Sus4 sound, resolves to 3.
Blue note, sinister sound, wants to resolve to 5 or down to 4 for Blues sound
Pretty, Major 7 sound, tends to resolve upward to 1
Weak tone, resolves down to 5 or up to
b
7
Tension tone, resolves down to 1
Parent Scale Concept
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Overtone
Phrygian Dominant
Pretty, Major soundDo, Re, Mi etc.
J azzy Minor sound
Spanish Flamenco sound
Bright Major sound
Bluesy Major sound
Darker Minor sound
Very dark Minor 7
b
5 sound
Bright Dominant 7 sound
Spanish Flamenco sound
Modes are offspring of the major scale, which is the parent.
Ex. 1: D Dorian contains the same notes as the C major scale.
It can be thought of as a C major scale played from D to D.
Ex. 2: A
b
Lydian is an E
b
major scale played from A
b
to A
b
.
Ex. 3: The parent of B Mixolydian is E major.
Each mode has a color. Learn to hear these colors:
In many situations, you can mix modes for more colors. For
example: over Dominant 7 chords in blues, you can use both
Dorian and Mixolydian, or Blues Composite, which contains the
Dorian and Mixolydian notes. Finally, remember that whatever
exists in the parent scale (chords, clusters, Pentatonic sub-scales,
etc.) also exists in the offspring modes. Examine these and try
all of the possibilities.
Strive to hear each of these tones against all harmonic situations:
V
Lydian Ionian (Major Scale)
Major Pentatonic Minor Pentatonic
These diagrams are all in G.
You can transpose them to
other keys by moving the root
(the 1 ) to the note you need,
and moving everything else
relative to that. For example, if
you wanted to play in B
b
, youd
move everything up three frets.
The notes on the E and A
strings are shown in the tab in
appendix VIII to help you nd
the roots you need.
Scale Formula Fretboard Diagrams
6 2 5 1 3 6
7 3 6 2 7
1 4 5 1
7 3
2 5 1 4 6 2
3 6 2 5 7 3
4 1 4
7 3 6
5 1 4 2 5
7
6 2 5 1 3 6
4
6 2 5 1 3 6
7 3 6 2 #4 7
1 5 1
#4 7 3
2 5 1 6 2
3 6 2 5 7 3
1
#4 7 3 6 #4
5 1 2 5
#4 7
6 2 5 1 3 6
#4
6 2 5 1 3 6
3 6 2
1 5 1
3
2 5 1 6 2
3 6 2 5 3
1
3 6
5 1 2 5
6 2 5 1 3 6
5 1
%7 %3 4 %7
1 4 %7 %3 5 1
5 1 4
5
4 %7 %3 1 4
5 1 4 %7 5
%3
5 1
%3 %7 %3
VI
Dorian
Phrygian Aeolian (Natural Minor)
Locrian Mixolydian
Blues
2 5 1
2
1 4 %7 %3 5 1
%6
2 5 1 4 2
%3 %6 %7 %3
2 5
4 %7 %3 %6 1 4
5 1 4 %7 2 5
%6 %3 %6
2 5 1
%7 %3 %6 4 %7
5 1
%7 %3 %6 %2 4 %7
1 4 %7 %3 5 1
%2 %6 %2
5 1 4
5
4 %7 %3 %6 1 4
%2
5 1 4 %7 5
%6 %2 %3 %6
5 1
%3 %6 %2 %7 %3
1
%5
1 4 %7 %3 1
%2 %5 %6 %2
1 4
%3 %6 %2 %5 %7 %3
4 %7 %3 %6 1 4
%6 %2 %5
1 4 %7
%6 %2 %5 %3 %6
1
%7 %3 %6 %2 4 %7
6 2 5 1 3 6
%7 4 %7
1 4 %7 5 1
3 6 2
3
2 5 1 4 6 2
3 6 2 5 3
4 %7 1 4
3 6
5 1 4 %7 5
6 2 5 1 3 6
%7
5 1
#4
%7 %3 4 %7
1 4 %7 %3 5 1
#4
5 1 4
5
4 %7 %3 1 4
#4 #4
5 1 4 %7 5
#4 %3
5 1
%3 #4 %7 %3
6 2 5 1 6
6 2
1 4 %7 %3 5 1
2 5 1 4 6 2
%3 %7 %3
6 2 5
4 %7 %3 1 4
6
5 1 4 %7 2 5
%3
6 2 5 1 6
%7 %3 4 %7
VII
Blues Composite
Melodic Minor Phrygian Dominant
Super Locrian Half / Whole Diminished
Overtone
5 1 3
3
1 4 %7 5 1
%2 3 %6 %2
5 1 4
%6 %2 %7
3 5 3
4 %7 %6 1 4
3 %2
5 1 4 %7 5
%6 %2 %6
5 1 3
%7 %6 %2 4 %7
6 2 5 1 6
%3 4
7 6 2 7
1 4 %3 5 1
7
2 5 1 4 6 2
6 2 5 7
4 %3 1 4
7 6
5 1 4 2 5
7 %3
6 2 5 1 6
%3 %3
1 %4
%4 %5
1 %7 %3 1
%2 %5 %4 %6 %2
1
%3 %6 %2 %5 %7 %3
%4 %4
%7 %3 %6 1
%5 %4 %2 %5
1 %7
%6 %2 %5 %3 %6
1 %4
%7 %3 %6 %2 %7
6 5 1 3 6
%7 %3 %2 %7
1 %7 %3 5 1
3 6 #4
%2 #4 3 %2
5 1 6
3 6 5 3
%7 %3 1
#4 3 6 %2 #4
5 1 %7 5
%2 #4 %3
6 5 1 3 6
%3 %2 #4 %7 %3
6 2 5 1 3 6
3 6 2 #4
%7 %7
1 %7 5 1
#4 3
2 5 1 6 2
3 6 2 5 3
%7 1
#4 3 6 #4
5 1 %7 2 5
#4
6 2 5 1 3 6
#4 %7
6 2 5 1 3 6
3 6 2 #4
#4 3
1 4 %7 %3 5 1
2 5 1 4 6 2
%3 #4 %7 %3
3 6 2 5 3
4 %7 %3 1 4
#4 3 6 #4
5 1 4 %7 2 5
#4 %3
6 2 5 1 3 6
%7 %3 4 %7
VIII
1 2 3 4 5 6 7 8 9 10 11 12
E F F/G A A/B B C C/D D D/E E G
0
G/A
1 2 3 4 5 6 7 8 9 10 11 12
F F/G A A/B B C C/D D D/E E G
0
G/A A
Whole Tone
Harmonic Minor Lydian Augmented
Notes on E and A Strings
Whole/ Half Diminished
6 2 1 3 6
7 3 6 2 #4 7
1 1
2 1 6 2
#4 7 3 #5
#5 #4
3 6 2 7 3
#5 1
#4 7 3 6 #4
1 2
#5 #4 7 #5
6 2 1 3 6
#5
2 5 1
%3 %6 4
7 2 7
1 4 %3 5 1
7 %6
2 5 1 4 2
2 5 7
4 %3 %6 1 4
7
5 1 4 2 5
%6 7 %3 %6
2 5 1
%3 %6 %3
6 2 1 6
7 6 2 #4 7
%3 #5 4
1 4 %3 1
#4 7 #5
2 1 4 6 2
6 2 7
4 %3 #5 1 4
#4 7 6 #4
1 4 2
#5 #4 7 %3 #5
6 2 1 6
%3 #5 #4 %3
2 1 3
3 2 #4
#4 3 #5
1 %7 1
2 1 2
#5 #4 %7
3 2 3
%7 #5 1
#4 3 #4
1 %7 2
#5 #4 #5
2 1 3
%7 #5 %7

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