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Re: Scales practice ideas please.

Author: Buster
Date: 2014-11-26 08:21

As you're looking to learn modes of the Major scale, AND ii-V7-I's, why not combine the two pursuits in a more complementary manner?

This could begin with learning how the Dorian, Mixolydian (what you have termed "Dom 7th" scales?), and Ionian (or the Major scale played from the tonic) fit into a basic ii-V7-I progression. (You seem to already be actively traveling down this road, but, perhaps viewing matters from a different angle may help...)

If we take a ii-V7-I in C Major--- d minor to G7 to C Major--- we simply need to learn one Major scale starting on a differing degree.

Or written as best as I can in this medium: d minor requires D Dorian (C Major played starting on its 2nd scale degree), G7 requires G Mixolydian (C Major played starting on its 5th degree), and C Major simply needs a C Major scale played from its tonic.

----or---

D Dorian- DEFGABCD
G Mixolydian- GABCDEFG
C Major (Ionian)- CDEFGABC

Also you can incorporate the arpeggios based off these scales (to the 9th as you seem already be pursuing):

D Dorian- DFACE
G Mixolydian- GBDFA
C Major- CEGBD

If these scales and arpeggios are combined, we can play a basic outline of the ii-V7-I into C Major: (also termed "How I started to practice these")

DEFGABCDEDCBAGFE-DFACECAF-GABCDEFGAGFEDCBA-GBDFAFDB-CDEFGABCDCBAGFED-CEGBDBGE-C (a bit confusingly written I submit- perhaps I should have attached this on staff paper.)

[[[As an aside to the cognoscenti, I'll admit the resolution of the 3rd in the ii-chord to the root of the V-chord is somewhat awkward; I'd likely suggest a better connection down the road. Yet I think the movement of the 3rd of the V to the tonic of I to be spot on... Bach part writing still applies in good jazz navigation, no?]]]

As for linking ii-V7-I's ( and their associated scales) I can present one simple pattern I've used and taught. (Many other progressions exist)

dm-G7-CM... cm-F7-Bb... bbm-Eb7-AbM... abm-Db7-GbM... etc...
am-D7-GM... gm-C7-FM... fm-Bb7-EbM... ebm-Ab7-DbM... etc...

When it comes to differing modes of the Major scale, and further, modes of the melodic minor scale, they become important when half-diminished chords, "altered-dominants" and the like come in to play. (Nevermind the diminished scales...)

Suggesting that they be learned before the essentials of a basic ii-V7-I is grasped seems too far fetched to me.

Post Edited (2014-11-26 08:26)

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