G MAJOR SCALE:

1 2 3 4 5 6 7

G - A - B - C - D - E - F# - G

I II III IV V VI VII

Playing every other note of a major scale starting on each note creates the
diatonic chords of a major scale. ( Gmaj.7 = 1-3-5-7, Am7 = 2-4-6-8, Bm7 =
3-5-7-9, etc.)

PLAY:

Gmaj.7 Am7 Bm7
-------------------4----|-------------------5---|-----------------7-------|
--------------3---------|--------------5--------|------------7------------|
--------4---------------|---------5-------------|--------7----------------|
---5--------------------|---7-------------------|----9--------------------|
------------------------|-----------------------|-------------------------|

Cmaj.7 D7 Em7
------------------9-----|---------------10------|----------------12-------|
-------------8----------|----------10-----------|------------12-----------|
---------9--------------|------11---------------|--------12---------------|
---10-------------------|--12-------------------|---14--------------------|
------------------------|-----------------------|-------------------------|

F#m7-5 Gmaj.7
---------------14-------|---------------16------|--17---------------------|
-----------13-----------|-----------15----------|-------------------------|
-------14---------------|-------16--------------|-------------------------|
---16-------------------|--17-------------------|-------------------------|
------------------------|-----------------------|-------------------------|


Perhaps a lesser known exercise is the addition of a dominant resolve to
each major scale diatonic chord. In each measure below, a chord is added
before each diatonic chord played in the first exercise and acts as a V7
chord. In this case, where there is a minor diatonic chord, (IImin, IIImin
& VImin) an altered dominant chord is used (7th-9) and implies a harmonic
or melodic minor scale choice. Where there is a major or seventh diatonic
chord, (Imaj, IVmaj & V7) an extended dominant 9th is placed before. This
kind of exercise trains the ear to modulation pivot points for moving in
and out of tonal centers. A "tonal center" is simply a series of chords
which can be painted or improvised by a single or "parent" major or minor
scale.

Each measure below is a kind of miniature V-I resolve:


D9 Gmaj.7 E7-9 Am7 F#-9 Bm7

-4------------------4---|--6----------------5---|--8------------------7---|
---5-------------3------|----6------------5-----|----8--------------7-----|
------5-------4---------|------7--------5-------|------9---------7--------|
--------7---5-----------|--------9---7----------|--------11---9-----------|
------------------------|-----------------------|-------------------------|


G9 Cmaj.7 A9 D7 B7-9 Em7

--9-------------------9-|-11-----------------10-|-13-----------------12---|
----10--------------8---|----12-----------10----|----13------------12-----|
-------10--------9------|-------12------11------|-------14-------12-------|
----------12-10---------|---------14-12---------|---------16--14----------|
------------------------|-----------------------|-------------------------|


C#7-9 F#m7-5 D9 Gmaj.7

-15------------------14-|-16-----------------16-|--17---------------------|
----15-------------13---|----17------------15---|-------------------------|
-------16--------14-----|-------17-------16-----|-------------------------|
----------18--16--------|----------19-17--------|-------------------------|
------------------------|-----------------------|-------------------------|

Theory aside, the gist of the above is in the actual playing and listening.
You *hear* the logic of the harmony and thereby gain understanding.

Feed your ears first. All symbols point to sound. You don't need to know
why or how the sun shines to get a suntan.


© 1999 White Mountain Publications. All rights reserved.


Best Regards,

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_/ Pat Cloud                                      _/
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