Interest in Barry Galbraith “Jazz Guitar Study 1 -- The Fingerboard Workbook” Study G

[FwLineberry]

I've compiled a document with full fretboard diagrams and diagrams across five positions detailing the differences and similarities of the various altered note scales I talked about in my previous post.

Examples:







I've never seen anybody discuss this aspect of these scales. I never realized any of this, myself, until working with this Galbraith book. For anybody, like myself, looking to get these scales down better on the fretboard, This can be a helpful visualization tool.

Anybody who is interested in a copy of this document can send me a private message, and I'll be happy to pass it along.

.

[Travelrock]

F7


Line 1


M1:
B1-2: Aº scale
B3-4: G arpeggio


M2-3: Aº scale


Line 2


M4:
B1-3: Aº scale (cont.)
B4: enclosure


M5:
B1-2: Cmin7
B3-4: Aº scale


M6: Aº scale (cont.)


Line 3


M7:
B1-2: Aº scale (cont.)
B3-4: Ebmin7 arpeggio


M8:
B1-3: Aº scale
B4: enclosure


M9: starts a two mesures sequence. Four notes motiv. In first measure the sequence starts with a minor 6^th interval and then a enclosure.


Line 4


M10: continue the sequence but starts with perfect 8va interval. The first note (every four notes) in the motiv create a descending scale A-G-F-Eb.


M11-12: Bb scale tones


Line 5


M13-14: Bb scale tones (cont.)


M15:
B1-2: Aº scale
B3-4: chromatic


Line 6


M16:
B1-2: Fmin7b5 arpeggio
B3: Bb scale tones
B4: passing tones


M17:
B1-2: Amin7b5 arpeggio
B3-4: chromatic


M18: starts a two measures four notes descending sequence based in a minor 3^rd interval heading.


Line 7


M19: sequence (cont.) ending in leading tone to C.


M20:
B1-2: Bb scale tones (Cmin arpeggio with passing tone?)
B3-4: Dmin11 arpeggio


M21:
B1-2: Bb scale tones
B3-4: Dmin7 arpeggio


Line 8


M22: Bb scale tones


M23:
B1-3: Aº scale tones
B4: passing tones


M24: Aº scale tones


Line 9


M25-26: Aº scale tones (cont.)


M27:
B1-3: hinted F arpeggio with passing tones
B3-4: Cmin7 arpeggio


Line 10


M28-30: Aº scale tones


Line 11


M31: Aº scale tones (cont.)


M32:
B1-2: Aº scale tones (cont.)
B3-4: D arpeggio


M33: D arpeggio (cont.)


M34:
B1-2: chromatic
B2-4: Bb scale tones


Line 12


M35:
B1-3: Bb scale tones (cont.)
B4: enclosure


M36:
B1-2: Bb scale tones
B2-3: passing tones
B4: passing tones


M37:
B1: Bb scale tones
B2-3: Dmin arpeggio
B3-4: Bb arpeggio


M38: Bb

[Travelrock]

In this exercise there is intensive use of the diminished scale. It's a novelty.


On the other hand, the change of time signature in measure 33 has made me think about the degree of detail and precision that the author has applied to these exercises. Why not add four more notes and continue in 4/4? Because it should sound like that.

At the moment, I I haven't internalized yet the interesting document about the augmented Lydian scale that FwLineberry just posted, but I'll read it with interest with the goal of consider implement this concepts to my "classic" analysis in a future.

[FwLineberry]

F7

Line 1 -

Bar 1:

Beats 1 & 2 - F h/w diminished

Beats 3 & 4 - G7 arpeggio

Bar 2:

Beats 1 & 2 - F h/w diminished

Beats 3 & 4 - G7 arpeggio

Bar 3:

Beats 1 & 2 - F h/w diminished

Beats 3 & 4 - first half of "6th lick" (also h/w diminished)

Line 2 -

Bar 1 (m4):

Beats 1 & 2 - Cm/Maj7 arpeggio

Beats 3 & 4 - last note of arpeggio followed by diatonic scale

Bar 2 (m5):

Beats 1 & 2 - Cm/Maj7 arpeggio

Beats 3 & 4 - F h/w diminished

Bar 3 (m6):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 3 -

Bar 1 (m7):

Beats 1 & 2 - C°/Maj9 arpeggio*

Beats 3 & 4 - ''

Bar 2 (m8):

Beats 1 & 2 - F h/w diminished

Beats 3 & 4 - Diatonic scale with enclosure of...

Bar 3 (m9):

Beats 1 & 2 - Inverted 3rd* and enclosure of...

Beats 3 & 4 - Inverted 3rd and enclosure of...

Line 4 -

Bar 1 (m10):

Beats 1 & 2 - Chromatic line with octave displacement

Beats 3 & 4 - ''

Bar 2 (m11):

Beats 1 & 2 - Diatonic scale sequence

Beats 3 & 4 - ''

Bar 3 (m12):

Beats 1 & 2 - ''

Beats 3 & 4 - End of sequence with enclosure of...

Line 5 -

Bar 1 (m13):

Beats 1 & 2 - Wide interval diatonic sequence

Beats 3 & 4 - ''

Bar 2 (m14):

Beats 1 & 2 - ''

Beats 3 & 4 - 4ths

Bar 3 (m15):

Beats 1 & 2 - F#°7 arpeggio

Beats 3 & 4 - Chromatic

Line 6 -

Bar 1 (m16):

Beats 1 & 2 - F°7 arpeggio

Beats 3 & 4 - "3rd enclosure" of...

Bar 2 (m17):

Beats 1 & 2 - A°7 arpeggio

Beats 3 & 4 - Chromatic

Bar 3 (m18):

Beats 1 & 2 - F w/h diminished 3rds sequence

Beats 3 & 4 - ''

.

[FwLineberry]

F7 continued

Line 7 -

Bar 1 (m19):

Beats 1 & 2 - Diminished sequence continued

Beats 3 & 4 - ''

Bar 2 (m20):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - Dm triad arpeggio

Bar 3 (m21):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - Dm7 arpeggio

Line 8 -

Bar 1 (m22):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - ''

Bar 2 (m23):

Beats 1 & 2 - F h/w diminished

Beats 3: ''

& 4 - Diatonic scale with passing tone (E)

Bar 3 (m24):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - ''

Line 9 -

Bar 1 (m25):

Beats 1 & 2 - F h/w diminished

Beats 3 & 4 -

Bar 2 (m26):

Beats 1 & 2 - D triad arpeggio

Beats 3 & 4 - ''

Bar 3 (m27):

Beats 1 & 2 - ??

Beats 3 & 4 - Cm7 arpeggio (I had this labeled as Eb6, originally)

Line 10 -

Bar 1 (m28):

Beats 1 & 2 - ??

Beats 3 & 4 - F h/w diminished sequences

Bar 2 (m29):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (m30):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 11 -

Bar 1 (m31):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m32):

Beats 1 & 2 - ''

Beats 3 & 4 - D triad arpeggio with approach note

Bar 3 (m33):

Beats 1 & 2 - ''

Bar 4 (m34):

Beats 1 & 2 - Chromatic

Beats 3 & 4 - Diatonic scale

Line 12 -

Bar 1 (m35):

Beats 1 & 2 - Eb major pentatonic

Beats 3 & 4 - Diatonic scale and enclosure of...

Bar 2 (m36):

Beats 1 & 2 - Mixture of diatonic scale and chromatic notes

Beats 3 & 4 - ''

Bar 3 (m37):

Beats 1 & 2 - Bb major pentatonic

Beats 3 & 4 - Bbmaj triad arpeggio with maj7 (A) as approach note.

Bar 4 (m38):

Beats 1 & 2 - Bb tonic and rest

Beats 3 & 4 - Rest

.

[FwLineberry]

Points of interest:


The G7 arpeggios in mm 1-2 hints at Lydian dominant, again. It's very interesting that the author starts this exercise going outside, immediately.

The first half of the "6th lick" in m 3 mixing in with the diminished scale has got me wondering if any of the previous times this showed up can be analyzed as diminished, as well.


In m 7, I don't know how orthodox C°/Maj9 (Cdim with a major 7 and major 9) is. I've encountered people talking about diminished chords with the major 7 added, but not the major 9. The b5 could also be seen as #4 making it a m/Maj9#11 chord. This same arpeggio type shows up in the Bb7 exercise, as well.


In m9, I have those 6ths labeled as inverted 3rds because that's what they sound like to me (3rd and octave of F and Eb, respectively).


In m 16, I think this is the first time we've seen the diminished arpeggio from the root of the dominant 7 chord. Does anybody remember if this showed up before?

Our old friend "3rd enclosure" shows up, again in m 16 setting up the A note.


I have no idea what to call the first part of m 27 and the first part of m 28,


The diminished sequence starting in m 28 is the exact same sequence (note for note) as m 23 in the D7 exercise.

.

[FwLineberry]

I don't know how orthodox C°/Maj9 (Cdim with a major 7 and major 9) is.

Fun fact:

George Russell (Lydian Chromatic Concept of Tonal Organization) does mention this chord, specifically, and associates it with what he calls the Lydian diminished scale. The Lydian diminished scale amounts to the 4th mode of melodic major.

From C, the scale would be C D Eb F# G A B.

C Eb Gb(F#) B D would be the chord in question.

I mentioned early in this thread that Galbraith was associated with Russell and played on several of Russell's album projects. I don't know my way around Russell's work well enough to say whether Galbraith appears to be utilizing it in any way in these current exercises, though.

.

[sgcim]

Fun fact:

George Russell (Lydian Chromatic Concept of Tonal Organization) does mention this chord, specifically, and associates it with what he calls the Lydian diminished scale. The Lydian diminished scale amounts to the 4th mode of melodic major.

From C, the scale would be C D Eb F# G A B.

C Eb Gb(F#) B D would be the chord in question.

I mentioned early in this thread that Galbraith was associated with Russell and played on several of Russell's album projects. I don't know my way around Russell's work well enough to say whether Galbraith appears to be utilizing it in any way in these current exercises, though.

.

Galbraith studied composition with Russell back in the 50s.There were a bunch of jazz musicians who studied with composers in the 50s.
Raney- Hall Overton
Tony Scott- Stefan Wolpe
Giuffre- John La Montaine
Phil Woods- William Schumann
Jim Hall- Donald Erb

[Travelrock]

Points of interest:


The G7 arpeggios in mm 1-2 hints at Lydian dominant, again. It's very interesting that the author starts this exercise going outside, immediately.

The first half of the "6th lick" in m 3 mixing in with the diminished scale has got me wondering if any of the previous times this showed up can be analyzed as diminished, as well.


In m 7, I don't know how orthodox C°/Maj9 (Cdim with a major 7 and major 9) is. I've encountered people talking about diminished chords with the major 7 added, but not the major 9. The b5 could also be seen as #4 making it a m/Maj9#11 chord. This same arpeggio type shows up in the Bb7 exercise, as well.


In m9, I have those 6ths labeled as inverted 3rds because that's what they sound like to me (3rd and octave of F and Eb, respectively).


In m 16, I think this is the first time we've seen the diminished arpeggio from the root of the dominant 7 chord. Does anybody remember if this showed up before?

Our old friend "3rd enclosure" shows up, again in m 16 setting up the A note.


I have no idea what to call the first part of m 27 and the first part of m 28,


The diminished sequence starting in m 28 is the exact same sequence (note for note) as m 23 in the D7 exercise.

.

When comparing both analyzes I see many similarities, and some differences as well. The most interesting difference I see is the nomenclature of the diminished scales. I have named it as A because is the VII of Bb but surely your reason for calling it F# h/w will make sense.

As for the Lydian dominant parts, I can’t give an opinion because I don’t have the knowledge to do so.
On the other hand, I missed the licks here.

Apart from this, the notable differences or mistakes that I see in my analysis are:

M1, yes, G7!

M2: I didn’t see the G7 arpeggio. And the G is not a part of Aº (Fº h/w) scale

M3: I didn’t ser the Cm/Maj7 arpeggio. And the G is not a part of Aº (Fº h/w) scale!

M15: this is other example of the different approach to this disminished phrases

M37: good pentatonic catch

[FwLineberry]

When comparing both analyzes I see many similarities, and some differences as well. The most interesting difference I see is the nomenclature of the diminished scales. I have named it as A because is the VII of Bb but surely your reason for calling it F# h/w will make sense.

I have the scale labeled as F not F#. F h/w diminished is the same notes as A w/h diminished. You're seeing it as the vii° of the key, where I'm seeing it from the root of the F7 chord.

h/w vs. w/h:

Starting the scale from A you get a repeating whole step and half step pattern.

Starting the same scale from G#, you get a repeating half step and whole step pattern.

Regardless of the starting point for the scale, the scale replicates itself in minor 3rd intervals. A diminished (w/h) is the same notes as F# diminished (w/h). G# diminished (h/w) is the same notes as F diminished (h/w).

As for the Lydian dominant parts, I can’t give an opinion because I don’t have the knowledge to do so.

F Lydian dominant is the same notes as C melodic minor (C D Eb F G A B C). Compared to Bb major, the only difference is B natural rather than Bb. So, an easy way to spot Galbraith's use of the scale over the V chord is when the tonic of the key has been raised a half step - G7 (G B D F) being a perfect example. You can also see the scale as adding a leading tone to the 2nd degree (ii chord) of the key as it was used in the C7 exercise (MM23-24).

M15: this is other example of the different approach to this disminished phrases

This is the only instance where I labeled the chord with an F# root. This was simply due to the notes involved (F# A C Eb = F#°7 arpeggio). These same notes are found in the A diminished scale, as well.

.

[Travelrock]

So, an easy way to spot Galbraith's use of the scale over the V chord is when the tonic of the key has been raised a half step - G7 (G B D F) being a perfect example. You can also see the scale as adding a leading tone to the 2nd degree (ii chord) of the key as it was used in the C7 exercise (MM23-24).

Thank you!

Following your explanations, I can identify the Lydian dominant scale starting from the ii dregree key leading, but I don’t understand the first part of this explanation.

As for the diminished scale, I wanted to say F. But I don't understand the harmonic sense for start it on F instead of A. I know that both scales share the same notes.

[FwLineberry]

Thank you!

Following your explanations, I can identify the Lydian dominant scale starting from the ii dregree key leading, but I don’t understand the first part of this explanation.

The key, in this case, is Bb major. Raising the I degree of the key to B gives you the notes F G A B C D Eb. Over the V chord (F7 in this case) this gives you R 2 3 #4 5 6 b7.

As for the diminished scale, I wanted to say F. But I don't understand the harmonic sense for start it on F instead of A. I know that both scales share the same notes.

This is an exercise based on things to play over an F7 chord, so to my way of thinking, it makes sense to see everything relative to the chord we're playing over, hence, F h/w diminished, F Lydian dominant, etc.

.

[Travelrock]

The key, in this case, is Bb major. Raising the I degree of the key to B gives you the notes F G A B C D Eb. Over the V chord (F7 in this case) this gives you R 2 3 #4 5 6 b7.




This is an exercise based on things to play over an F7 chord, so to my way of thinking, it makes sense to see everything relative to the chord we're playing over, hence, F h/w diminished, F Lydian dominant, etc.

.

I understand. It is another way of approaching musical analysis. I appreciate your clarification.

[FwLineberry]

Bb7

Line 1 -

Bar 1:

Beats 1 & 2 - Dm7b5 arpeggio

Beats 3 & 4 - Diatonic scale

Bar 2:

Beats 1 & 2 - Diatonic 3rds

Beats 3 & 4 - Diatonic scale

Line 2 -

Bar 1 (m3):

Beats 1 & 2 - ''

Beats 3 & 4 - Diatonic 3rds

Bar 2 (m4):

Beats 1 & 2 - Ab major pentatonic

Beats 3 & 4 - Diatonic scale

Bar 3 (m5):

Beats 1 & 2 - ''

Beats 3 & 4 - Diatonic 3rd and enclosure of...

Line 3 -

Bar 1 (m6):

Beats 1 & 2 - Diatonic 3rd and chromatic to...

Beats 3 & 4 - Diatonic 3rd and enclosure of...

Bar 2 (m7):

Beats 1 & 2 - Diatonic scale with passing tone to...

Beats 3 & 4 - Diatonic 3rd with enclosure of...

Bar 3 (m8):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - G triad arpeggio

Line 4 -

Bar 1 (m9):

Beats 1 & 2 - Gm triad arpeggio

Beats 3 & 4 - Diatonic scale

Bar 2 (m10):

Beats 1 & 2 - Cm7 pivot from the b7

Beats 3 & 4 - Diatonic scale

Bar 3 (m11):

Beats 1 & 2 - Ab°/maj7 arpeggio

Beats 3 & 4 - Chromatic

Line 5 -

Bar 1 (m12):

Beats 1 & 2 - E triad arpeggio

Beats 3 & 4 - Chromatic

Bar 2 (m13):

Beats 1 & 2 - Ab major pentatonic

Beats 3 & 4 - Cm7 arpeggio

Bar 3 (m14):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - 4ths from Bb altered scale (C melodic minor) [Edit: This should have been Cb or B melodic minor]

.

[FwLineberry]

Bb7 continued

Line 6 -

Bar 1 (m15):

Beats 1 & 2 - Bb major pentatonic (mostly 4ths)

Beats 3 & 4 - ''

Bar 2 (m16):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - Chromatic

Bar 3 (m17):

Beats 1 & 2 - Final chromatic note leading into G triad arpeggio

Beats 3 & 4 - Bb Altered scale

Line 7 -

Bar 1 (m18):

Beats 1 & 2 - ''

Beats 3 & 4 - Bb Lydian dominant scale (or diatonic scale with leading tone to...)

Bar 2 (m19):

Beats 1 & 2 - Fm7 arpeggio

Beats 3 - 9th and leading tone to...

& 4 - Fm9 arpeggio

Bar 3 (m20):

Beats 1 & 2 - ''

Beats 3 & 4 - Chromatic

Line 8 -

Bar 1 (m21):

Beats 1 & 2 - Diatonic scale wide interval sequence

Beats 3 & 4 - ''

Bar 2 (m2):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (m23):

Beats 1 & 2 - Diatonic 4ths

Beats 3 & 4 - Bb altered scale (C melodic minor)

Line 9 -

Bar 1 (m24):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m25):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (m26):

Beats 1 & 2 - Bb whole tone scale sequence

Beats 3 & 4 - ''

Line 10 -

Bar 1 (m27):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m28):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (m29):

Beats 1 & 2 - Bb altered scale (C melodic minor)

Beats 3 & 4 - ''

Line 11 -

Bar 1 (m30):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m31):

Beats 1 & 2 - 4ths descending chromatically

Beats 3 & 4 - ''

Bar 3 (m32):

Beats 1 & 2 - Eb tonic and rest

Beats 3 & 4 - rest

.

[FwLineberry]

Points of interest:


Compared to the other dominant chord exercises we've seen so far, this one uses a lot of straight diatonic notes and phrases. There is also a distinct lack of obvious diminished scale usage.


Line 4, bar 3, M11 has another one of those diminished major 7th arpeggios.


Line 5, bar 3, m14 has the first of what turns out to be extensive use of the altered scale in the second half of the exercise.


Line 7, bar 1, m18 includes a B+ triad arpeggio. This shows up, again, in line 9, bar 2, m25 and line 10, bar 3, m29 as what could be considered Bb+7. I chose to just label all three instances as part of the Bb altered scale. Those spots could also be seen as coming from the Bb whole tone scale.


Line 9, bar 3, m26 - I chose to label this as a whole tone sequence, but the notes involved can also be found in Bb Lydian dominant, Bb h/w diminished, and Bb altered. I see it as whole tone simply because it ends in a decidedly whole tone phrase at line 10 bar 1 m28.


Line 10, bar 3, m29 begins the clearest example of utilizing the altered scale with a straight ascent up the scale.


Line 11, bar 2, m31 - I hear these descending chromatic 4ths as having already transitioned to Eb major.

.

[Travelrock]

Bb7

Line 1

M1:
B1-2: Dm7 arpeggio
B3-4: Eb Maj scale tones

M2:
Eb Maj scale tones

Line 2

M3:
B1-2: Eb Maj scale tones
B2-3: Fmin arpeggio
B4: Eb Maj scale tones

M4:
Eb Maj scale tones

M5:
B1-3: Eb Maj scale tones
B4: enclosure

Line 3

M6:
B1-3: Eb Maj scale tones with passing tone
B3-4: Ab Maj arpeggio and enclosure

M7:
B1-3: Eb Maj scale tones with passing tone
B3-4: C arpeggio and enclosure

M8:
B1-2: Eb Maj scale tones
B2-4: G arpeggio

Line 4

M9:
B1-2: Gmin arpeggio
B3-4: Eb Maj scale tones

M10:
B1-2: Cmin7 arpeggio
B3-4: Eb Maj scale tones

M11:
B1-2: G arpeggio
B3-4: chromatic

Line 5

M12:
B1-2: E arpeggio
B3-4: E Maj scale tones with passing tone

M13:
B1-2: Abmin arpeggio (as in CMaj exercise, M24)
B3-4: Cmin7 aroeggio

M14::
M1-2: Eb Maj scale tones
M2-4: Bbº (H-W) scale tones

Line 6

M15:
M1-2: Perfect 4th + scale tones
M3-4: Perfect 4th + scale tones

M16:
B1-2: Eb Maj scale tones
B2-4: chromatic

M17:
B1-3: G arpeggio
B3-4: Bbº (H-W) scale tones (why two different names for the dame note in the same measure?)

Line 7

M18:
B1-2: Bb7(5aug) arpeggio
B3-4: Eb Maj scale tones

M19:
B1-3: Fm9 arpeggio + leading tone
B4: Fm9 arpeggio

M20:
B1-2: Fm9 arpeggio (cont.)
B2-4: chromatic

Line 8

M21:
B1-2: Cmin arpeggio
B2–4: Eb pentatonic scale tones with perfect Fourths

M22:
Eb pentatonic scale tones with perfect Fourths (cont.)

M23:
B1-2: Perfect Fourths
B3-4: F#min natural scale tones

Line 9

M24:
F#min natural scale tones with passing tone (Bb) (cont.)

M25:
B1-3: F#min arpeggio
B4: E natural: Starts Bbº (H-W) scale tones

M26:
Bbº (H-W) scale tones

Line 10

M27-29: Bbº (H-W) scale tones (cont.)

Line 11

M30: Bbº (H-W) scale tones (cont.)

M31:
Descendent chromatic perfect 4th

M32:
Eb: key root

[Travelrock]

Points of interest:


Compared to the other dominant chord exercises we've seen so far, this one uses a lot of straight diatonic notes and phrases. There is also a distinct lack of obvious diminished scale usage.


Line 4, bar 3, M11 has another one of those diminished major 7th arpeggios.


Line 5, bar 3, m14 has the first of what turns out to be extensive use of the altered scale in the second half of the exercise.


Line 7, bar 1, m18 includes a B+ triad arpeggio. This shows up, again, in line 9, bar 2, m25 and line 10, bar 3, m29 as what could be considered Bb+7. I chose to just label all three instances as part of the Bb altered scale. Those spots could also be seen as coming from the Bb whole tone scale.


Line 9, bar 3, m26 - I chose to label this as a whole tone sequence, but the notes involved can also be found in Bb Lydian dominant, Bb h/w diminished, and Bb altered. I see it as whole tone simply because it ends in a decidedly whole tone phrase at line 10 bar 1 m28.


Line 10, bar 3, m29 begins the clearest example of utilizing the altered scale with a straight ascent up the scale.


Line 11, bar 2, m31 - I hear these descending chromatic 4ths as having already transitioned to Eb major.

.

Bb7

Line 1 -

Bar 1:

Beats 1 & 2 - Dm7b5 arpeggio

Beats 3 & 4 - Diatonic scale

Bar 2:

Beats 1 & 2 - Diatonic 3rds

Beats 3 & 4 - Diatonic scale

Line 2 -

Bar 1 (m3):

Beats 1 & 2 - ''

Beats 3 & 4 - Diatonic 3rds

Bar 2 (m4):

Beats 1 & 2 - Ab major pentatonic

Beats 3 & 4 - Diatonic scale

Bar 3 (m5):

Beats 1 & 2 - ''

Beats 3 & 4 - Diatonic 3rd and enclosure of...

Line 3 -

Bar 1 (m6):

Beats 1 & 2 - Diatonic 3rd and chromatic to...

Beats 3 & 4 - Diatonic 3rd and enclosure of...

Bar 2 (m7):

Beats 1 & 2 - Diatonic scale with passing tone to...

Beats 3 & 4 - Diatonic 3rd with enclosure of...

Bar 3 (m8):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - G triad arpeggio

Line 4 -

Bar 1 (m9):

Beats 1 & 2 - Gm triad arpeggio

Beats 3 & 4 - Diatonic scale

Bar 2 (m10):

Beats 1 & 2 - Cm7 pivot from the b7

Beats 3 & 4 - Diatonic scale

Bar 3 (m11):

Beats 1 & 2 - Ab°/maj7 arpeggio

Beats 3 & 4 - Chromatic

Line 5 -

Bar 1 (m12):

Beats 1 & 2 - E triad arpeggio

Beats 3 & 4 - Chromatic

Bar 2 (m13):

Beats 1 & 2 - Ab major pentatonic

Beats 3 & 4 - Cm7 arpeggio

Bar 3 (m14):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - 4ths from Bb altered scale (C melodic minor)

.

I really enjoy seeing the coincidences of our analyses, which in this case are also very abundant. And when there are discrepancies I am also glad that they help me learn and think about. It's funny to see how sometimes we name scales with different names, but musically they are the same. The main differences that I can see are:

M1: yes, b5!

M11: I see this arpeggio like the one in M8 (G)

M13: yes, is Ab major

M14, M23-25: I see a modulation to F#min

M26-30: I see here Bbº (H-W) scale tones. Based in your usual analysis considering the disminished scale starting from the root of the exercise chord, that I consider a interesting point of view and complement to the classical aproach.

I am still watching for altered chords, specifically the augmented fifth, which in this case I have been able to see in measure 18.

[FwLineberry]

I really enjoy seeing the coincidences of our analyses, which in this case are also very abundant. And when there are discrepancies I am also glad that they help me learn and think about. It's funny to see how sometimes we name scales with different names, but musically they are the same. The main differences that I can see are:

M1: yes, b5!

M11: I see this arpeggio like the one in M8 (G)

M13: yes, is Ab major

M14, M23-25: I see a modulation to F#min

M26-30: I see here Bbº (H-W) scale tones. Based in your usual analysis considering the disminished scale starting from the root of the exercise chord, that I consider a interesting point of view and complement to the classical aproach.

I am still watching for altered chords, specifically the augmented fifth, which in this case I have been able to see in measure 18.

M11: The difference I see is the inclusion of the Ab. This could also be seen as a D° triad into a G triad. I was hung up on the similarity with M7 in the F7 exercise and the possible connection with George Russell.

M14: Yes those same notes are in F# minor, but I've never seen anybody reference playing natural minor from the minor 6th of a dominant chord, and the notes can also be found in B (Cb) melodic minor, which is a common scale used (melodic minor up a half step from the root of the chord). I mislabeled this as C melodic minor in my original post.

M23-25: The presence of Bb in this section disqualifies it as being from F# minor. All the notes in this section fit within the Bb altered scale (Bb Cb C# D E F# G#), however.

M26-27: These notes can be found in Bb h/w diminished as well as Bb altered, Bb Lydian Dominant and Bb whole tone.

M28: The presence of F# disqualifies this as either Bb h/w diminished or Bb Lydian dominant, and the presence of C disqualifies this as being either Bb h/w diminished or Bb Altered scale. The only thing left that includes all the notes is Bb whole tone.

M29-30: The presence of F# in M30 disqualifies that section as being Bb h/w diminished, so it makes more sense to me to just see this entire passage as Bb altered scale.


One thing that is clearly demonstrated in this exercise is the overlapping notes found within the Lydian dominant, h/w diminished, altered, and whole tone scales.

.

[Travelrock]

M11: The difference I see is the inclusion of the Ab. This could also be seen as a D° triad into a G triad. I was hung up on the similarity with M7 in the F7 exercise and the possible connection with George Russell.

M14: Yes those same notes are in F# minor, but I've never seen anybody reference playing natural minor from the minor 6th of a dominant chord, and the notes can also be found in B (Cb) melodic minor, which is a common scale used (melodic minor up a half step from the root of the chord). I mislabeled this as C melodic minor in my original post.

M23-25: The presence of Bb in this section disqualifies it as being from F# minor. All the notes in this section fit within the Bb altered scale (Bb Cb C# D E F# G#), however.

M26-27: These notes can be found in Bb h/w diminished as well as Bb altered, Bb Lydian Dominant and Bb whole tone.

M28: The presence of F# disqualifies this as either Bb h/w diminished or Bb Lydian dominant, and the presence of C disqualifies this as being either Bb h/w diminished or Bb Altered scale. The only thing left that includes all the notes is Bb whole tone.

M29-30: The presence of F# in M30 disqualifies that section as being Bb h/w diminished, so it makes more sense to me to just see this entire passage as Bb altered scale.


One thing that is clearly demonstrated in this exercise is the overlapping notes found within the Lydian dominant, h/w diminished, altered, and whole tone scales.

.

I agree with you.

Your classification as C melodic minor in M14 seemed very strange to me. Now I understand was mislabeled. I didn’t know that the melodic minor scale one tone above the root of the chord was a possibility for improvisation on a dominant chord and a natural minor scale from the 6th degree was not. Thanks for the clarification. Is a question of nomenclature, I think.

Regarding the passage of whole tone scale, I also completely agree.

These dominant chord analyzes are quite a challenge for mi. The good thing about all this is that I’m learning many things, that was precisely the goal.

[FwLineberry]

Eb7

Line 1 -

Bar 1:

Beats 1 & 2 - Bbm11 arpeggio

Beats 3 - ''

& 4 - Enclosure

Bar 2:

Beats 1 & 2 - Dbmaj9 arpeggio

Beats 3 & 4 - Arpeggio continued with approach note to...

Bar 3:

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - ''

Line 2 -

Bar 1 (M4):

Beats 1 & 2 - Eb major pentatonic

Beats 3 & 4 - ''

Bar 2 (M5):

Beats 1 & 2 - Ab major pentatonic 4ths

Beats 3 & 4 - ''

Bar 3 (M6):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 3 -

Bar 1 (M7):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - C triad arpeggio

Bar 2 (M8):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - C triad arpeggio

Bar 3 (M9):

Beats 1 & 2 - Chromatic

Beats 3 & 4 - Eb altered scale (E melodic minor)

Line 4 -

Bar 1 (M10):

Beats 1 & 2 - Chromatic

Beats 3 & 4 - Eb altered scale

Bar 2 (M11):

Beats 1 & 2 - second half of "6th lick"

Beats 3 & 4 - Diatonic scale with passing tone

Bar 3 (M12):

Beats 1 & 2 - Gm7b5 arpeggio

Beats 3 - Enclosure

& 4 - Dbmaj7 arpeggio

Line 5 -

Bar 1 (13):

Beats 1 - ''

& 2 - Diatonic scale

Beats 3 & 4 - Gm7b5 arpeggio

Bar 2 (M14):

Beats 1 - Enclosure

& 2 - Dbmaj7 arpeggio

Beats 3 - ''

& 4 - Diatonic scale

Bar 3 (M15):

Beats 1 & 2 - Eb h/w diminished

Beats 3 & 4 - ''

Line 6 -

Bar 1 (M16):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (M17):

Beats 1 & 2 - Bbm9 arpeggio (?)

Beats 3 & 4 - Ab major pentatonic

Bar 3 (M18):

Beats 1 & 2 - Diatonic 3rds

Beats 3 & 4 - Ab major pentatonic 4ths

.

[FwLineberry]

Eb7 continued

Line 7 -

Bar 1 (M19):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - Eb altered scale (E melodic minor)

Bar 2 (M20):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (M21):

Beats 1 & 2 - Diatonic scale

Beats 3 & 4 - Em7 arpeggio *

Line 8 -

Bar 1 (M22):

Beats 1 & 2 - Root and enclosure of...

Beats 3 & 4 - 5th and enclosure of...

Bar 2 (M23):

Beats 1 & 2 - Root and enclosure of...

Beats 3 & 4 - Bbm7 arpeggio

Bar 3 (M24):

Beats 1 - Diatonic 3rd

& 2 - Enclosure

Beats 3 & 4 - Bbm7 arpeggio

Line 9 -

Bar 1 (M25):

Beats 1 & 2 - Bbm9 arpeggio

Beats 3 & 4 - Last note of arpeggio followed by chromatic notes

Bar 2 (M26):

Beats 1 & 2 - Unknown sequence

Beats 3 & 4 - ''

Bar 3 (M27):

Beats 1 & 2 - Fm7 arpeggio

Beats 3 & 4 - Eb altered scale (E melodic minor)

Line 10 -

Bar 1 (M28):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (M29):

Beats 1 & 2 - Bbm7 arpeggio

Beats 3 - Diatonic 3rd

& 4 - Enclosure

Bar 3 (M30):

Beats 1 & 2 - Eb h/w diminished

Beats 3 & 4 - ''

Line 11 -

Bar 1 (M31):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (M32):

Beats 1 & 2 - Chromatic sequence with the first note of each group outlining a Bbm triad

Beats 3 & 4 - ''

Bar 3 (M33):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 12 -

Bar 1 (M34):

Beats 1 & 2 - Abmaj9 arpeggio (or Abmaj7 with added scale tones)

Beats 3 & 4 - ''

Bar 2 (M35):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (M36):

Beats 1 & 2 - ''

Beats 3 & 4 - 9th of Ab and rest

.

[FwLineberry]

Points of interest:


This exercise has a complete lack of any obvious reference to Lydian dominant.


The second half of the "6th lick" shows up in M11


There are two instances I've labeled Bbm9 (M17, M25) that I'm not really sold on. I don't know what else the author would have been thinking there, though.


The Em7 arpeggio in M21 could be seen as a continuation of Eb altered with the D note simply acting as a leading tone to Eb. I'm inclined to see it this way.


M26 is a complete mystery to me. I don't see any obvious structure other than the general shape of each cell. It sounds nice and logical, though.

.

[FwLineberry]

The Em7 arpeggio in M21 could be seen as a continuation of Eb altered with the D note simply acting as a leading tone to Eb. I'm inclined to see it this way..

I was reviewing the D7 exercise, last night, and realized the author used this same move (min7 arpeggio 1/2 step up from the root of the chord) at M22 in that piece.

.

[Travelrock]

Eb7

Line 1

M1:
B1-3: Bbmin11 arpeggio
B4: enclosure

M2:
B1: AbMaj scale tones
B2-3: Fmin7 arpeggio
B4: Eb Lydian dominant scale tones and leading tone to...

M3:
Eb Lydian dominant scale tones

Line 2

M4:
Lick based in major 2nds descent intervals

M5:
B1-2: descent perfect 4ths
B3-4: lick that has appeared in previous exercises, based in 4ths and 3rds.

M6:
Lick (cont.)

Line 3

M7:
B1-2: AbMaj scale tones
B3-4: C arpeggio

M8:
B1-2: AbMaj scale tones
B2-4: C arpeggio

M9:
B1-3: chromatic
B3-4: Emin scale tones?

Line 4

M10:
B1-3: chromatic
B3-4: Emin scale tones?

M11:
B1-2: chromatic
B3-4: chromatic

M12:
B1-2: Gmin7 arpeggio
B3-4: AbMaj scale tones

Line 5

M13:
B1-2: AbMaj scale tones
B3-4: Gmin7 5 aroeggio

M14::
M1-2: AbMaj scale tones
M2-3: Fmin arpeggio
M4: AbMaj scale tones

M15:
M1-2: Gmin7 arpeggio
M3-4: AbMaj scale tones

Line 6

M16:
B1-2: Eb Lydian dominant scale tones
B2-4: Ebº h/w scale tones

M17-18:
Lick that has appeared in previous exercises, based in 4ths and 3rds.

Line 7

M19:
B1-3: AbMaj scale tones
B4: Ebº h/w scale tones

M20:
B1-3: Ebº h/w scale tones
B4: AbMaj scale tone

M21:
B1-2: AbMaj scale tone
B2–4: Emin7 arpeggio

Line 8

M22:
B1-2: Ebº h/w scale tones
B3: AbMaj scale tones
B4: Ebº h/w scale tones

M23:
B1-2: Ebº h/w scale tones
B3-4: Db arpeggio

M24:
B1-2: Ebº h/w scale tones
B3-4: Db arpeggio

Line 9

M25:
B1-3: Bbmin7 arpeggio
B3-4: Ebº h/w scale tones

M26:
B1-2: Db(5aug) arpeggio
B3-4: AbMaj scale tones with leading tone to...

M27:
B1-2: Fmin7 arpeggio
B3-4: Ebº h/w scale tones

Line 10

M28:
B1-2: Emin arpeggio
B3-4: Ebº h/w scale tones

M29:
B1-2: Db arpeggio
B3-4: Ebº h/w scale tones

M30:
B1-2: Abmaj scale tones
B3-4: Ebº h/w scale tones

Line 11

M31:
B1-2: Abmaj scale tones
B3-4: Ebº h/w scale tones

M32-33:
Sequence with perfect 4th head and chromatic. The first note of the sequence form the Bbmin arpeggio

Line 12

M34:
B1-2: Abmaj arpeggio
B3-4: Abmaj scale tones

M35:
B1-2: Cmin arpeggio
B3-4: Abmaj scale tones

M36:
B1-2: Cmin arpeggio
B3: Abmaj scale tones