Jerry coker patterns for jazz pdf

Still a favorite after 14 years, this book has become a standard in the field. Learning a language requires listening on many levels to the meanings, the sounds, the intentions, and the inflections or nuances of the language. The first chapters of this volume focus on the prerequisites of chord scales, approach notes to chord tones and target notes, scale motives and sequences, and lines. Part two qualifies improvisational techniques into three areas; melodic, harmonic, and sonic rhythmic devices are the focus of Vol.

Over specific devices are discussed and conceptualized so as to give the improviser more depth of expression and a greater well from which to draw ideas. To do this, first do dry runs There are two categories of playing: 1- Playing repertoire composed or arranged by somebody else. It's arguable Should someone prefer a burst, I know exactly where to find one, vintage. I don't think you can find an American who doesn't know at least one person who has it right now.

Search Titles Only. Jerry Coker - Patterns in Jazz. Thread Tools. A lot of the vocab in the book I have heard in player's solos like Miles and Coltrane. Has anyone else used this book? The Jazz Guitar Chord Dictionary. I had that book way back when. Lost it somewhere along the way, like most things. Join Date Apr Posts Yeah, that's a great book. I used it back in college. I've actually done a few gigs with one of the co-authors. Talk about mad scientist! I have had that book for many years but only use it for reference when I feel like I need something new to experiment with.

It's crazy, know looking back-most of my teachers both privately and collegiately have at some point taught me some of those patterns and ideas, especially the diminished ect. Johnson Quintet. In figure 2, however, th roman numerals have been used co designate a chord in this case, triads that are constructed the respective scale tones indicated by the roman numerals.

Figure 3 spells out the specific tom of each triad belonging to the E Major scale: Figure 2 illustrates the triads fotmed on each tone of the E Major scale. Note that when the fir note of the triad is on a line, che remaining notes to that triad are also on consecutive lines; whe the first note of the triad is on a space, the remaining notes are also on consecutive spaces. St SSH. We have shown that it is possible to construct a triad on each tone of the E Major scale.

This s: principle applys for ALL major scales. The student is advised to write out, in the manner illustr? Asc Practice Pattern No. Jabot Note: This pattern uses descending forms of scale tone triads. It is important t understand thac at this point we are not using the term set chord to mean a specific cype of seventh chord, but eather as a general term referring co a four chord which measures seven cones from bottom to cop counting the first tone as No.

Figure 4 illustrates once again the cones of the E Major scale, 5 , Fig. Note that when the first note of the seventh chord is on a line, the remaining notes are on consecutive lines; when the first nore of the seventh chord is on a space, the remaining notes are on consecutive spaces. SS —4 ————— Fig Ih 0 Ir rm un Note chat the roman numerals are followed by the arabic number 7 which is only used to differ- entiate between the scale tone triads previously discussed and the scale tone sevenths presently being covered.

Figure 6 spells out che specific tones of each seventh chord belonging to the E major scale: Fig. C-Sharp, E, G-Sharp. We have shown that it is possible to construct a seventh chord on each tone of the E major scale This same principle applys ro ALL major scales. The student is advised to write out the scale tone seventh chords, in the manner illustraced in figure 5, for the remaining eleven major scales before awempting to deal with Patterns No.

MODES A mode is the complete circulation of a major scale begun and completed on any one of its tones. The term Ionian mide and major scale are synonomous. For example: A locrian mode on D uses the key signature of E-Flac major because che nore D is the seventh tone in the E-Flat major scale See figure Thus, each major key contains a family of seven different modes.

Figure 14 represent: the key of E-Flar major, with its related modes. Be sure that you can recite name of any mode along with its parent key and succession of notes, and play on your instrum before proceeding any further.

With this in mind, the student should acquaint himself thoroughly with the following facts regarding intervals. There are several types of intervals. An interval is the measurement of the distance and quality be- tween any two notes, Intervals are usually measured from the bottom note, upward, ] The term distance refers co the exace number of "etter names" berween the ewo nots of the interval in question counting the first letter as No.

Examples of such distances are: unison or prime, second, third, fourth, fifth, sixth, seventh, octave not eighth , ninth, tenth, eleventh, twelveth, and thirteenth.

Intervals larger than an octave are called compound intervals. The term quality refers to the exact number of whole and half steps existing between the ewo nores of the interval in question, Examples of cerms relating to quality are: Major, Minor, Perfect, Aug- mented and Diminished. Therefore, all intervals can be named properly according to both distance and quality, Definitions of specific types of intervals will be stated in cerms of the relationship of the top note of he interval co the Major Scale of the bottom note.

Figure 18 illuseeaces these intervals from the starting note "! Figure 19 is a reference chart which illustrates the more commonly used intervals from various starting notes. The numbers under each tone indicate the mn of that tone in this scale. Note chat beyond the first octave, tone No. The corresponding alphabetical symbols will also be indicated. By extracting tones No. Symbol: BD 9. Nore that the same scale is used for dominant seventh and dominant ninth chords having the same roor.

Figure 20 is a chart which shows all dominant seventh chords and respective parent keys. Enharmonic Keys sound the same, but are spelled differently. Figure 21 is a chord tone chart based on the mixolydian modes of chord roots. G This chord tone chart organizes the tones of all Mixolydian Modes in the order needed for the cor struction of Dominant Seventh and Dominant Ninth Chords.

Reading up from the chord root « i also indicated as tone No. D, F, A. Note thar che ninth, eleventh, and thirteenth are also the second, fourt and sixth tones respectively, as they are the same letter names. In preparation for the following patterns, be able to recite, write and play the following chords they are extracted from every Mixolydian Mode: Dominant Seventh Chords and Dominant Nint Chords. Use the illustrated routine form for playing chord tones.

It does not require any specif rhythm or cempo. Note the alphabetical symbols an metronome markings. J O Nowe: Fach chord lasts ewo bests and che pattern starts on the 3rd of the chord. Arabic numbers indicate the position of respective chord cones for use in this pattern.

Nowe: Two measures per chord, ending on the third of the chord. GM Bey i continue in same manner We have been practicing patterns on the cwo types of dominant chords, formed by extracting their respective tones from the mixolydian mode of the chord root. Now we will concern ourselves with various patterns on the scale mixolydian mode of the chord. You will notice that the chord symbols for the following patterns will be those of the dominant seventh.

However, the student must bear in mind that the dominant seventh and dominane ninth chords use the same basic scale: a mixolydian mode on the chord root. The use of the dominant seventh chord symbol in the follow- ing patterns is merely for convenience, since it would be impossible to determine exactly which chord is being used when the scale is common to both of the chords mentioned.

Some of these major chard patterns can be used withour the student's having to change any of the pitches. The reason for this is due to the repetition of like tones in a Major scale and in a Mixolydian mode having the same starting tone. The student should observe thar the difference in the two scales lies berween two tones: the B of the C Major scale and the B-Flat of the C Mixplydian mode.

Consequently, any of the major chord patterns thar do not use the note B can also be used for a dominant type chord which has the root of C, The following is a list of such patterns which fit the preceeding description: Patterns No. The student should be sure that he recognizes the double value of these patterns and not hesitate to make a special effort to review them. There are still more patterns in the major chord section that can be used for dominant chords having the same root, but some of the pitches will have to be altered.

This can be done by using a mixo- lydian mode scarting on the same tone as the illustrated major chord pattern. For example, pattern No. To use this pattern for a dominant chord having the root C, the student must use in place of the C Major scale a C Mixolydian mode.

This will automatically provide the tone B-Flat, which is necessary for any dominant type chord having the root C. After having practiced Pactern No. The student should then proceed, in the manner described. Patterns No. Use the same technique as stated for the conversion of Pattern No.

Be sure co make all transpositions using the proper Mixolydian modes. By doing so, you will increase the number of usable patterns for domin- ant type chords.

Tr f Symbol: Bm? Alternate Symbol: B-7 Tones No. The student must remember to relate each Dorian Mode co its parent key before attempting to ap- ply the numerical formulas for the formation of che four types of minor chords and before attempting 0 play the scale dorian mode of these chords.

Figure 22 is a chart which shows all minor seventh chords and respective parent keys. Major Dorian Mode starting on A? Explore Ebooks.

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