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Static minor The Major These
Static major ii-V7-I Progression play-alongs stay on one chord for
Static Dominant 7 an extended period of time. There
The Minor are 12 in all, one for each key. You
ii-V7-i Progression may find these play-alongs useful
for practicing scales, pentatonic
Blues in All Keys scales, diatonic triads or other
exercises
The ii-V7-I Progression in all
keys,four bars each.
Each of these play-alongs is a
medium-tempo blues.There are 12
recordings here, one for each key,

II-V-I IN 12 MAJOR KEYS

II-V-I IN 12 MINOR KEYS

SOME
RESOURCES

TIPS’n’TRICKS

BASICS PRACTICE ROOM

use with the static chords • Want more ? “
recordings first.
Play in all Keys

(Not in one time!)

Jam Session Codex

• Learn the basic but unwritten rulesSlide 9
• Know the “Changes”
• Different materials and resources about the Rhythm Changes

KnowYour Cats!

• Masterclasses, video lessons, interviews
• Live concerts, jam sessions, resources, rare recordings

CREDITS :

Connecting
Chords with
Linear Harmony

YOU TUBE VIDEOS FROM : AUDIO & CHORD
CHARTS:
JazzTutorial

JazzAppsMobile

Connecting Chords with Linear
Harmony by Bert ligon
published by Hal Leonard
Corporation

Jam Session’s Codex

Learn some tunes. Yield to other players

Don't go onstage relying only on a fake book or your ear to get you If someone shows up to the session who is obviously a heavy player and
through. is well known, consider stepping down to give them a chance to play with
Memorize at least a few standards, and preferably at least twenty. just the rhythm section.
Jam sessions suffer from the too much syndrome, and showcasing a
Respect authority.
great player is both a refreshing change and a learning experience.

Always find out who is running the session and ASK if it's all right to play. Yield the solo.
Don't get an attitude if you think are being overlooked; session leaders
usually have a lot of people asking to play, and they are more likely to let If you are a horn player, give the first solo every so often to the
players they know and trust play first.Your turn will come. pianist or guitarist. By the time these players usually get a solo they
have been comping for ten or fifteen minutes and the audience's
If you are replacing one of the house musicians, such as a drummer attention is strained.
or piano player, it's a good idea to ask their permission also. Don't It is a way of acknowledging them and thanking them -- and believe
ever change someone's setup (i.E. Cymbals, amp settings, etc.) me, we do work hard.
Unless they volunteer that it is all right.

Respect the rhythm
section!

Keep your solos to a reasonable length.
On a slow tune, one chorus is probably enough, on faster tunes keep it
to three or four choruses at most. If you took twenty or thirty choruses,
and even if you are playing well you are likely to wear outYour welcome.
On this same subject, if there are a lot of players there waiting to play,
don't stay up for more than a few tunes unless you are asked.

Alborhythm

Bebop Bible Audio Major Minor

Dominant Major Minor
7th ii7 V7 Imaj ii7 V7 Imaj
Chords

The Blues

Major Starting from :

THE
Root

Minor Starting from :

The
Root

Major Starting from :

THE
3rd

Major Starting from :

THE
3rd

THE
4th

Major Starting from :

THE
5th

Major Starting from :

THE
5th

Major Starting from :

THE
13th

The
6th

Major Starting from :

THE
7th

Major Starting from :

THE
9th

The
2nd

Minor Starting from :

The
Root

Minor Starting from :

The
Root

Minor Starting from :

THE
3rd

Starting from

Minor Starting from :

The
3rd

Minor Starting from :

The
4th

Minor Starting from :

THE
5th

Minor Starting from :

THE
5th

Minor Starting from :

THE THE
6th 7th

Minor Starting from :

THE
9 th

The
2nd

Dom7 Starting from :

THE
Root

Dom7 Starting from :

THE 2nd
9th

THE
13th

6th

Dom7 Starting from :

THE THE
9th #9

Dom7 Starting from :

THE THE
5th #5

Dom7 Starting from :

THE
7th

Major Minor Dominant 7 Major ii V I Minor ii V I
Ab
A
Bb
B
C

Db

D
Eb
E
F
F#
G

Bebop scales (down and up)
C7 bebop scale

(natural 7th added )

C tonic major bebop scale

(sharp 5th added)

C tonic minor bebop scale

(sharp 5th added)

Bebop scales (with direction changes)

This exercise develops flexibility in changing the direction of a bebop scale line.

C7

Cmaj7

Cm

Diminished scale descending

The use of a half-step whole-step diminished scale
over the dominant chord is very common in bebop.
Note that the top four notes of this scale are
the same as the straight dominant scale –

The bit you have to work Think of it like this:
on is the bottom four notes
- Root,

split the 2nd in half

(raise it and lower it,)

3th
Raise the 4th (#11)

It’s good to play the whole But as long as
diminished scale to get you’re totally solid
the whole picture. on your dominant scales,

you could condense this

exercise by just playing

the bottom half of the scale
(descending from the sharp 4 ).

This exercise will work over either a II-V-I or a V-I.

Diminished arpeggio-scale figures

This exercise features ascending

arpeggios and descending scales

on the V diminished

followed by the I chord.
nearest possible chord tone

of the following

C7 FM | C7 FM | C7 FM C7 FM
|

Upper extension arpeggio-scale figure

The same sort of “up the arpeggio, down the scale” figure
is also commonly used from the

7th of the V chord

or the 3th of the II chord

C7 FM

This exercise will work over either a II-V-I or a V-I.

Chord tones enclosures

This exercise uses the pattern of

“scale tone ABOVE
C7 then SEMITONE BELOW“

the TARGET CHORD

Cmaj TONE

Other possibilities are:

Cm • scale tone above
• then scale tone below,
• semitone above then
• scale one below

and

semitones above and below.

It’s also possible to use this kind of enclosure with

non-chord tones, but if you play them on the downbeat,

the line will resume with the chord tones out of sync.

When this occurs you add another chromatic tone,

skip a scale tone or syncopate the line to get things back on track.

Chromatic dithering between chord tones

This exercise is all about taking four, The pattern is :

rather than two notes to get between chord tones. Descend by scale tone,
then approach the target
C7
tone by upper & lower

chromatic neighbor

with two exceptions:

C

When descending
from the

CM 5th to the major 3th

we have to play

Cm7 down chromatically first
in order to leave room for

2 When descending from In this context it’s the chromatic enclosure

the 6th to the 5th useful to include the of the target tone.
there’s even less room to maneuver,
descent Common variation of this pattern is
so we have to first from
the 9th to the 7th
descend chromatically
on the dominant and
then minor 7th chords

ascend to the target tone.

Short II-V-I (V-I) II-V-I (V-I) Long II-V-I (V-I)
patterns

This exercise is a classic bebop lick We play the previous exercise
that fits over either a V chord over the V chord and precede
it by a simple cell figure
or the whole of a short II-V,
rounded off by a resolving figure ( 1234 / 5321 )
using chromatic enclosure
clearly outlining the triad
of the root of the I chord.
of the II chord.

Long I-VI-II-V pattern

C A7 Dm7 G7 C

The pattern used

over the VI

chord can be

thought of in the

We take the previous exercise Note that the final two notes following way :
and precede it with a phrase
to cover the I and VI chords. of this phrase form an enclosure second, root,
The pattern over the I chord
is the same cell figure of the root of the chromatic under
as we’ve used over the II chord that follows. root,
root, fifth,
II chord chromatic above
(1234 / 5321) fifth,
third, fifth”.

Descending dominant pattern

C7

This exercise combines a variation
on the downward “dither” from 7th to 5th
with a descending triadic cell (5 3 2 1)
and finally a descending diminished scale line
As this example demonstrates,
there are all sorts of great sounding
combinations of these exercises and principles.

Ascending dominant pattern

C7

This exercise begins with an ascending scale pattern then uses

an ascending chromatic enclosure of the 5th.
We then play a four-note arpeggio up from the 5th

descend thre.e notes of the diminished scale

and approach the target tone (the root)
by lower c.hromatic neighbor

Resolution patterns

This exercise gives two common figures The second figure is
for resolving on the tonic chord. a descending scale with
The first figure can be thought of chromatic approach to the 3rd (in major)
as a descending pentatonic,
or chromatic enclosure to the 3rd (in minor).
but with the target tone (the 6 )

enclosed by upper and lower scale tones.

Then there’s this figure, which is very typical of Parker.

It’s commonly used in major, but can be adapted to minor. (note how it exploits

One option then has the line returning to the root the point
in the major scale where

(still within the pentatonic scale), as shown: scale tones are the same
as chromatic

C Think of it like this: 5th , approaches).

scale tone/chromatic up to root,

scale tone/chromatic down to 3rd

then down the major pentatonic

BY

BERT
LIGON

COMPILATION BY

ALBORHYTHM

iii VI ii V I

iii VI ii V I

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the

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