Chapter 3 Melodic Considerations Modes Modes are simply scales that use the ‘same tones as the major scale but start on all scale steps in addition to the root, or do. The major scale itself is a modal scale called Ionian. Using the traditional italian solfeggio syllables the notes would be called do-re-mi-fa-sol-la—ti-do. Each mode begins on a scale step and ends on the same tone an octave above. If we sing a scale starting on re and ascending one octave to the next re, the resulting scale is called the Dorian mode. Starting with the Toot, the modes are known as Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeo- lian and Locrian. This relationship of modal scales exists in all 12 keys. m the key of Ab, for example, the Dorian scale would begin on the note Bb and continue for one octave using the diatonic notes of the Ab major scale. Modes, then, may be considered scales which start on various degrees (or steps) of any major scale using only pitches that are diatonic to that major scale. Modes may also be considered altered major scales, each with its own variation of raised or lowered steps which make it characteristically different from the others. C Lydian, for example, can be considered a C major scale with alterations. To make : any major scale a Lydian mode we simply i raise the 4th scale step by one half. In this example the resulting scale notes are C-D- E-F#-G-A-B-C. We say that the characteris- tic note in Lydian mode that changes it from a major scale is a raised 4th degree. | Note that C Lydian can also be thought of as G major but starting from its 4th degree, C. Each mode has different characteristic notes which alter them from their related major scales: slonian: same as major scale *Dorian: flat 3 and flat 7 +Phrygian: flat 2, flat 3, flat 6 and flat 7 Lydian: sharp 4 *Mixolydian: flat 7 *Aeolian: flat 3, flat 6 and flat 7 (natural minor) Locrian: flat 2, flat 3, flat §, flat 6 and flat 7 Jazz musicians often use modal scales as a melodic alternative to more traditional53 ways of improvising. Instead of using a sep- arate scale for each chord it is possible to improvise over several related chords with just one mode. For example consider the chord progression: Cmaj7-Amin7-Dmin7 to G7 (imaj7-Vimin7-Imin7-V7 in the key of ©). An Ionian scale beginning on ¢ (’C Ion- ian’) will work perfectly for the entire dura- tion of this chord pattern.Modal Scales Modes Related to One Scale Clonian D Dorian E Phrygian F Lydian G Mixolydian ‘A Aeolian BLocrian Modes as Altered Major Scales C major D Dorian £ Phrygian Flydian G Mixolydian A Aeolian B Locrian55 Chord Scales The most important melodic consider- ation is, of course, singing the correct notes ‘on each chord. There are five basic catago- ties of chords: major, minor, dominant, diminished and half diminished. Chord symbols represent different tonalities and signify the use of one or more characteristic scales. (For a complete scale syllabus con- sult any of Jamey Aebersold's publications which contain scalar variations as applied to jazz, Latin and pop music) The following is an effective approach to improvising on a chord scale: *Step 1 Play the chord and then sing the appropriate scale from root position, ascending and descending at least one octave while the chord is still sounding. “Step 2 While sounding the chord, sing an arpeggio including the 3rd, Sth and 7th steps (pentatonic would include 1, 3, 5 and 6) ascending and descending at least one octave. “Step 3 Keep sounding the chord and sing some traditional patterns that match the tonality of the chord, beginning with the Toot, «Step 4 Sound the chord again and this time, in a rubato style, try to improvise your own pattems in the form of short phrases. Take as much time as necessary until you feel comfortable with the tonality of the chord and satisfied with your phrases.Major 6th and 7th Chords Major and pentatonic scales are used to improvise on major triads, majéth and maj7th chords. Starting in root position, Cmajé or Cmaj7 would use either a penta- tonic or major scale starting from C. Like- wise, a Bbmajé or Bbmaj7 would start on the note Bb, and so on for all major keys, The notes in a pentatonic scale are major scale steps 1, 2, 3, 5 and 6, Following the procedure above, try the following exercises which are derived from the Majé and Maj7 chord structure.Basic Chord Scales Maj7(6) fonian ros 35 oe du dn du badudnduee de adudnde ada du du dudwedu du dah Pentatonic = anal ee ea eae es Se oeea a oo dudndubadudnduba dudndubadudnduba debadudndebadudn de ba dudn de ba du dn cae -— Improvisation du da du dwe da du dah du du dwe da dwe a du dn du ba dwe ba du dn du ba dudndudwe ba de a da bu du we dah Dmin? Dorian a7] 3 du dn du ba dudnduee de adudnde ada du du dudwedu du dah Improvisation 2. da du da ba dwe du dabudadn dwe da badudwe bu da du dnduwe a ba >gr Mixolyian os du dn du ba du dn duee de a dudnde ada du du dudwedu du dah Improvisation da ba dudwe— badudnde a dudn da bade a dudn da budwedn da ba de a de a de a de a dah Bm7}s_Locrian sc o du dn du ba dudn duce de a dudnde ada du du dudwedu du dah Improvisation du da ba dwe dn da ba dwe bu da de a da du we de a du dn 3 o du dweba du ya du dn due a du badwedn du ya dah ce7 Diminished a1 3 = dudn duba du dn du ba de ada ba dea daba da du dudwedudu dahImprovisation dwe da ba du ce a dn dwe da ba du ee a dn dwe da ba de a de a dwe ba du dn dwe ba du dn dwe de a dadah cms Lydian Improvisation du dn da badwe ba du dn de a da bade a da da du dndwe da 3 3 de a de a de a dabadu dwe da ba dudwe a du dn de a da de a da dahMinor 7th Chords Ina minor 7th chord the major scale is. altered by lowering the 3rd and 7th steps. ‘The resulting scale with flat 3 and flat 7 is called Dorian mode, This scale, along with minor pentatonic, is most often used on. minior 7th chords. The Minor pentatonic scale stems from its relative major. C minor 7, for example, has the same notes as Eb major pentatonic but begins on C (C, Eb, F, G, Bb). Although there are several other scale possibilities, these two are the stron- gest. Try the following exercises which are de- rived from the minor 7th chord structure.Additional Minor Scales Ascending melodic minor du dn da ba du ba du dn dee a du dn dee a da os Improvisation = dwe da bu dwe da bu dah du dn du badwe ba du dndee a da badwedn SO 3, du dee a dwe ba da dee a dwe dn due a du dn dah Minor pentatonic min7 pen 2 du ya du dn du ee du dn dee a da ba dadweba da dah Improvisation 3 2 du dwedn du dwedn du ba dadwe dn de a dade a da de a dadwe ba dah Harmonic minor Gmin a7 (aca 06) du dn da ba du ya du dn dwe ba du dn de ba da a a = da ba du dwe ba da dahImprovisation = du badwedn de a daba dwe dudnduba dudn dwebadwedn de a du dn dah Aeolian (natural minor) Cmin ade be) du ba du dn du dn du ba de a da ba du dn da Improvisation a 3 3 Cmin teandeo) — Phoygian du dn da ba du ba du dn de a da ba du dn da Improvisation 3 due du dn du da ba da de ba du dn due da du dn de ba da da ba da de ba da du e¢ a du dn du dn du ba dahAltered Dominant 7th Chords Ina dominant 7th chord the major scale is altered by lowering the 7th degree by a half step. The chord written as G7, for example, implies the G major scale but uses F natural instead of F sharp. Another way to describe a dominant 7th chord is to label ita V7 of 1 in any key. Viewed in this way, a G7 chord is a V7, or “dominant 7th,” of its related I which is, in this case, the key of C. The scale begins on G but has the key signature of C which has no accidentals, This scale is called Mixolydian mode and is ‘one of the modal scales discussed on page 52, Additional tensions give the dominant 7th chord the most scalar possibilities. A ten- sion is a 9th, 11th or 13th scale degree positioned above the octave. A 9th, for ‘example, is a major 2nd above the root of the chord but written an octave above. The 1ith is an interval of one octave plus a per- fect 4th above the root and the 13th is an octave plus a 6th above the root. Tensions may be raised or lowered by a half step to further enrich the harmony of the chordal tones. Each combination of natural, raised or lowered tensions implies a different chord scale although basic Mixolydian mode will work for all. Dominant 7th chords offer mote options for altered scales because all tensions are available or sound reasonably good to the ear. With other chord types only some tensions are consid- ered good choices. Each of the following exercises uses a dif- ferent altered dominant scale depending on the available tensions. Remember to keep sounding the chord while singing each pattern, 63Altered Dominant Scales Blues scale Improvisation = da ba da bu da budwebu da de a du dah du du dndwe du dn due a due a dea dade a da dwe du dn dwe ba du dah Bebop scale = da ba du dn du dn dwe ba de a du dn dwe ba du dn dow Improvisation 3 dweba du dn de ba due a de ba du dn due adwedn du ba dwe dn dah ona Lydian dominant Improvisation da ba du dndweba dudn de a da budwedn da de ba du dn dwe dn du ba du dn dwe de a ba dwe dn dwe dn du dn da ba de a da dwe ba du dotJewish (harmonic minor) c7be da ba du dn dwe ba du dn de a da bu dwe dn da Improvisation 3 3 du ba du dndwe du dn dweba du dn du du dn du e a de a dadwe du dn due a du dn du © a du dn du e a de a da dah or} Symmetrical diminished du dn da badwedn da ba de a dudndwea du dn Improvisation dah du ba du dn dwe ba du dn du ba du dn dwe ba dwe dn due a due a du ba du dn de a da de a da dwe ba du dn dahc7b13 a, Hindu be Improvisation du ba du dndwe ba du dn dwe ba du dndweba da da bu da dwe ba du dn du dn dwe da bu da dwe dn dwe dn de a dadwedn due adweadu dah c7te Diminished whole tone du ba du dn du ba du dn dwe dn du ba dwe dn da Improvisation du ba du dn dwe a dadwe a da de a ba due a du ba du dn = dwe dn dwe dn du e adwe dn dah Whole tone 07+ Improvisation da ba du dn da ba dudn de a da bade a da du _ba dwe daba de a da de ada dwe dn du dn dwe de a da duce de a da bu dweHom-in-a Hom-in-a Hom-in-a Hom-in-a. Ralph Kramden ‘skid-a-lee da-ba doo. Popeye Hi-dee-Hi-dee Hot cab Calloway Ooh bop shu-bam a klook-a mop. Dizzy Gillespie Inca-dinca-doo. Jimmy Durante ‘Shoo-bee-doo-bee-doo. Frank Sinatra Ba-ba-ba-boo. Bing Crosby Dom Dom dom-a-doo-dom, a doo-bee doo. Everly Brothers Boop boop-be-doopt Betty Boop Idala-Idala-idala-dala-idala—That's all, folks? Porky Pig Ya-ba-da-ba-doo! Frederick FlintstoneDominant 7th Phrases With Walking Bass Line c7 swing feel c7 Fz F7 = ba ba du dndwe ba du dn |dahdn du ba du ee du dn }du bah—Dominant 7th With Sharp 11 swing feel c7 c7 F7 F7 dadabadubadeedn di da te du dn de da dada ba du badeedn di da le du dn de da Bb7 Bb, by Eb7 ai 3 da da ba du badeedn dj da le du dn de da dadabadu badeedn di da le du dn de da Ay Abr ob7 bb7 3 2 dada badu badeedn di da le dudnde da dada badu badeedn di da le dudnde da ab7 ar B7 B7 3 3 dada ba du badee dn di da le dudnde da dada ba du badeedn di da te dudnde da &7 7 AT Az a 3 dada ba du ba deedn di dale du dnde da dadaba du badee dn di dale du dn de da 07 o7 @7 G7 3 E da da ba du badeedn di dale du dn de da dadabadu badeedn di dale du dn de daDominant 7th Turnaround Swing feel 7 o7 G7 c7 FMaj7 = du ba du dn dwe ba du dn du dn dwe ba du ba du dn dal a Gr cr F7 BbMaj7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn dah__ 7 o7 FT BT EiMaj7 = du ba du dn dwe ba du dn du dn dwe ba du ba du dn dah. aT Fr oH a7 AMaj7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn = dah__— ov a7 EW Ab7 Dial? du ba du dn dwe ba du dn du dn dwe ba du ba du dn = dah__ Gr EW Ar ob @iNaj7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn dah___ 87 ar oy FY. BMai7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn = dah___du ba du dn dwe ba du dn du dn dwe ba du ba du dn = dah__ a7 Fr B7 e7 AMal7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn dah, du ba du dn dwe ba du dn du dn dwe ba du ba du dn = dah___ G7 ev aT D7 amaj7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn © dah__ c7 Ar o7 a7 cMal7 du ba du dn dwe ba du dn du dn dwe ba du ba du dn = dah___. Fr o7 a7 7 FMaj7 as du ba du dn du ba du dn du ba du dn du ba du dn = dah Bi7 G7 cr F? BbMaj7 du ba du dn du ba du dn du ba du dn du ba du dn © dah__ 7 7 FT By EbMaj7 vo du ba du dn du ba du dn du ba du dn du ba du dn = dah___AT Fr Bb? EW AbMaj7 du ba du dn du ba du dn du ba du dn du ba du dn = dah____ ow Bir eb7 ar 0iMaj7 du ba du dn du ba du dn du ba du dn du ba du dn = dah. a a7 alr or GbMaj7 du ba du dn du ba du dn du ba du dn du ba du dn = dah 87 Ar cr FW BMaj7 du ba du dn du ba du cn du ba du dn du ba du dn = dah___ ev oy fr 87 EMaj7 du ba du dn du ba du dn du ba du dn du ba du dn = dah__ az Fr 87 E7 ‘AMal7 du ba du dn du ba du dn du ba du dn du ba du dn = dah___ D7 B87 7 AT DMaj7 SS= Ss a= —— a ———t——) du ba du dn du ba du dn du ba du dn du ba du dn dah. ar ev AT o7 QMaj7 ve du ba du dn du ba du dn du ba du dn du ba du dn dah___74 du ba du dn du ba du dn du ba du dn du ba du dn = dah___ °7 7 a7 c7 FMaj7 du ba du dn du dwe da ba du ba du dn dudweda ba du dwedah___ a7 G7 o7 F7 BhMaj7 du ba du dn dudwe da ba du ba du dn dudweda ba du dwe dah___ B7 C7 F7 Ber EbMaj7 du ba du dn dudweda ba du ba du dn dudweda ba du dwedah__ a7 F7 Biz EW? AbMaj7 du ba du dn dudweda ba du ba du dn dudwe da ba du dwedah__ or Bh ey air DiMtaj7 du ba du dn du dwe da ba du ba du dn du dweda ba du dwedah_ oh eb AT ow GiMaj7 du ba du dn du dwe da ba du ba du dn du dwe da ba du dwedah_ B7 ar oy Fr BMal7 du ba du dn du dwe da ba du ba du dn ‘du dwe da ba du dwedah__du ba du dn du dwe da ba du ba du dn dudweda ba du dwe dah__ aT ‘7 a7 7 ‘AMaj7 du ba du dn du dwe da ba du ba du dn dudweda ba © du dwe dah__ o7 a7 ev AT DMaj7 du ba du dn dudwe da ba du ba du dn dudweda ba du dwe dah__ a7 ev AT o7 GMaj7 du ba du dn dudweda ba du ba du dn dudweda ba = du dwe dah__ c7 AT o7 G7 cMaj7 du ba du dn dudweda ba du ba du dn dudweda ba du dwe dah___ 15Locrian and Altered Mixolydian Scales ‘Swing feel D-7b5, a7#9 min7 O_o du dn du ba dweba du dn dwe du ba dadwe du dah. C-5 Fag Bbmin7 k dwe du ba dadwe du dat. du dn du ba dwe ba du dn Bb-7b5 Eb7#9 Abmin7 du dn du ba dwe ba du dn dwe du ba dadwe du dah Ab-7b5, ci7H9 3 Fymin7 du dn du ba dwe ba du dn dwe du ba dadwe du dah. Fi-7DS B7#9 og Emin7 o_o du dn du ba dwe ba du dn dwe du ba dadwe du dah. E-75 A7#9 og Dmin? du dn du ba dwe ba du dn dwe du ba dadwe du dah.Eb7bs AT#D Cfmin7 Wo du dn du ba dwe ba du dn dwe du ba dadwe du dah. opns Fro Bmin7 du dn du ba dwe ba du dn dwe du ba dadwe du dah. B-75 E7#9 Amin? du dn du ba dwe ba du dn dwe du ba dadwe du dah. ADS D7#9 Gmin7 du dn du ba dwe ba du dn dwe du ba dadwe du dah. G75 c7#9 8 Fmin? du dn du ba dwe ba du dn dwe du ba dadwe du dah. FS Bbr¥o 3 Ebmin7 O_o du dn du ba dwe ba du dn dwe du ba dadwe du dah78 Chapter 4 Melodic Solos The following melodic solos demonstrate proper application of scat syllables, stylistic accents, melodic approaches, rhythmic embellishment, and harmonic consider- ations. Note how the melodic contour of each phrase consistently ascends and descends through the chord changes. Feel free to substitute your own sponta- neous syllables whenever possible.79 Blues in F ‘swing feel Fc ci F7 SSS du du ba didalebadudn du duba didalebadudn dudn dubadidaleba didaleba Cmin7 F7 z Bb Bb du dn du ba due aba due aba du dn du badwedi dale du ba dwedot ‘dwe ba Fr br Gminz 7 —— ee =3 6 ‘ei See == dut du dn didalebadudn dudndu badwebadidale ba du dndidalebadudn didaleba Gminz e7(alt) c7 Amin7 o7 dweba dudn du ¢ adudn du ba du dndwedot du ba du dn dwe ba di dale ba Fret Bey F7 Gmin7 du dwe dndwe dot du dwe dn dwe dot = daba_dwe ba da bu dwe dn du ba @fsim7 F7 abr Baim? dwe dn du ba dot du dn dwe du dn du dot ba du dn dweba da du dn F? or Airs Gmin7 3 dwe du dn du dot ba du dndwebadadu dn dwe due abadweba du dn orb : F7 en 3 3 du dn du ba due aba dwedot duwe a duwe a duwe a dut du badweMinor 12 Bar Blues Solo swing feel Cmin7 Fmin? G7 Cmin C-AT du du ya du didaleba dudwedndubadidaleba duea dudndue due min? a ming Fmin? F-7/eb D-76 7a dwe ba du dn dot ba dwe ba du dndwe dn du dn du ba due ot ba Cmin7 Cmin7 D-ns dwedn de a dot ba du dn due ot ba du ba du dndwedn du ba are, Cmin7 Amin7 bz 3 G7tand 3 dwe da ba dudweet du d= di da le ba du dn du ba dwe ya dudndot Cmin7 A-hs D7 a7 ‘min c-a7 3 3 3 3 3 = duade_ dueda duadeduadedue dot ba dudndu badu c du da— or F7 Fmin F-a7 Emin? Bb7 B°7 ba du dn dwe ba du dn du ya du dn dwe da ba dudwe dut dwe8 Cmin7 Cmin7 D-75 5 3 da ba du dwe di da lu da. ba didaleba du dn de a da ba a7av % min? Acs ANT, G7an 3 3 3 3 dweba dudnde a da— ba dea da badeada ba didalaba du dndot min C-a7 Dic oe min? du ba du dndwedn du dwedn du du dndwe— ba da ba da du dwe du dah GAs C7} Fmin7 ete ——— z SF Sa baduba di dl li dl du ba du dn de ba du dn di dl i dl Cmin7 Cmin7 D-7bs A . 3 s = ee a = vid | ae y= = de adabade ada badebadudndeadaba dot dwe— da ba dudwe dot dwe— e7ay C7 C-7eb AbTHN Garbo c-a7 da ba dudweet du dah ba dweba du dn du ya du waha2 Rhythm Changes Solo BbMal7 a7 Cmin? Frat) DminZ, @7 didalebadudn dudndwe ba dwednduba didale badudn du dn du ba dwe dot Cmin7 Fr, Bb7dit Eb7t11 = E07 3 du dn du ba didale ba dudn du dweba dut dut du dwe ba di da le ba du dwe— Dmin7 G7 min Fri BbMaj7 G7 ba didale ba du ba du dn dweba du dn du e du dn du dweba dut dut min? Fria Dmin7 a7aaty 3 = = didaleba du dn du diddl lu du e aba du dn du e dot ba Cmin7 B7 3 Bb7 dwe ba du dn di da le ba du dn du ba du dn dwe dot ebv#i1 Or BHF F7 BbMajé 3 du dn du badweba du dn di da le ba di da le ba di da le ba dwe dot83 i 4 Aming 3 prvi, D7 awe ba du dn du dn dwe ba di da lu di da lu de dut dwe— Dmin , — Dminar Dmin? 5 G7 @min7 z 4 da ba du dwe ba da ba du dwe ba da ba du dwe dut da— ba dudn didaleba du dn c7 c7¥ty — Omin7 Frit min? Ee $= 4 +57 2 s — ; = : she Se hears de ba dudndude dutdwe— dndu badudndweba di da le ba di da le ba du dot BbMajé Bor Cmin7 cyor Dmin7 G@7ait du du dn dwe da du du badwe ba du dn dwe ba du dwe— ba Smin7 F7{1 Bb7 87D a7 E07 dweba duran du ba dwe du dn du badwe dn du di da lu dot ba Dmin7 a7he min? B7 Bb7 (all) _ du dn dudwe—. ba du dn dudwe— ba dwe ba du dwe—Miss June Swing feel ear Fee? dut du ba dwe ba du dn du ba du we du dn du ba dwe dn du ba de a du dn o7 Amin? D min? du be a dndwedow ba dubadadwe dn duba du we duwe ot du dn Gmin7 7a Far = xs = SSS SS Se pate ie SS Se oS { dwe ba du dn dwedow dwe ba du dn dwe da___—bu da ba dadwe ba du dn FAST Zea) a @min7 3 o didale dida ludidaledida lu dwednduba dadwe dnduba dwebadudn didaleba du dn Amin? Dmin7 C min7 dah ba du dn de dn de dn du we du ba de dn de dn de ya da ba F7 Bba7 Abmin7 oo7 de ba du dn dwedow du ba du e ya du ba du dn du ba du we85 Eminy7 3 AT Da? Gba7 a ba de ba du dnda— ba dwe ba du dn da— ba dwe ba du we du dah org G min? abarhn Abmin7 Db7. du we du da— ba du dn ut de ya de ya du dn du we du da— da— babu Farin Drea G min7 cr dot de ya de ya du da du ba du dn du da “ba du da ba du da Amin? Ab; in Earp min? Ab7 — G min7 a cart e7tan 3 ba dudwedabadu de dut dah. ba du da ba du de ya du dahHow Hot the Sun cy} GMaj7 @Maj7 dwe ba du dn de a “du dn de a du dn dea du Gmin7 c7 3a du ba du dn dwe dn du ba didale ba didale ba du dwe da dn FMaj7 FMaj7 Fmin7 dow a du dn dwe ba du dn du dn du ba dwe dn du ba dwe ba du dn hbo EbMal7 du di dl du ‘dn du ba du dn dwe ba de ya dot ba Amin? D7 Gmin7 3 dwe di da la du dot = dwe_ ba de dn dot ba A-AS oven GMaj7 de ya du dn due a ba du dn ba du dn dwe dn du Amin7 o7 Bmin7 aby Amin? Drs de ya dudwe— ba de ya du dwe— ba dudwe._ya di dwe— ba du dwe—BY) GMajz GMai7, de ya dwe ba du dn di da le du dn dwe ba du dn Gmin? a c7ralty dweba du dn du dn didaleba © dwe ba du dn du we yot FMaj7 FMaj7 dot bu da dat dot dot bu da du Fmin7 3 Biz aalty dwe ba du dn du ba du dn ba de ba da du ya du dn EbMaj7_ Amin7 D7 dwe ba du dow— ba du we du da_ due ba da GMej7 min? D7 dwe ba du dow— ba = dwe ba du dn du dot dwe__ Bmin7 Bor Amin? D7 3 2 = hy — da ba du dwe dut — dow— ba da ba du de dot a7©} GMaj7 dwe— ba du dwe- ba dudwe— ba du dot dut_ ba Gminz c7in EF Majz dwe dn du ba da du we du dow— dwe dn du dot ba du dot FMaj7 Fmin 3 RAAT 3 ba du dn du ba dwe dn du ba di da le du ba di da le Fmin? a Bb7 EbMaj7 3 3 du ba di da le du dot ba du dn duweaba du da la [ i Amin? 3 or Gmin7 3 dwe = da_ba du dwe dot — dwe— da ba du dwe da A-Tbs D7@l) 3 GMaj7 ba du ba du dn di da le ba = dut’_— dwe dow ba Amin7 D7 Bmin7 _Bb7 Amin? = D7 du ba du dn du ba dwe dow——_____ ba du dot@Maj7 GMaj7 du ba du dn du ba dwe dut dow By ba du dot Gmin7 c7aat ba du ya dwe ba du dn de ya de ya de ya de ya FMaj7 FMaj7 3 du we du dow ba du dn di da le du dn dwe ba du dn Fmin7 Bpialty gt = = = ——s ie SS SS = we du dn du ba de ya du dn dwe ba du dn du ya du dn EbMaj7 3 Amin? Ora dow ba da ba du dwe dn du ba duwe aba du dn GMaj7 Amin7 D7 du di da le dow ba du di da le du. bas du we in? 1in7 ‘GMail? Brin: Bb Amin 3 o7 a ba du dwe— ba dwe = da ba du dwe dut dow 89