ITKbook

I M P R O V I S AT I O N TOOL KITS
MOST of us have bought jam tracks before -- this is not one of them.
The TrueFire Improvisation Tool Kit is much, much
more. This study program was designed to advance your improvis-
ing immediately. This manual will give you a wealth of harmonic
information and guidelines for soloing that are laid out in an
easy-to-understand fashion. Tool Kit audio components
further illustrate how to use the various charts and diagrams most
effectively. The Six Step and Improv Theory tracks are essential learning tools.
But have some fun first! Listen to and jam over the 20 rhythm tracks.
Tune into master TrueFire staff guitarist Brad Carlton, a top
music educator for more than  years, as he walks you through a con-
cise, insightful lesson on soloing strategies and essential theory
ideas. But don’t be intimidated; Brad’s no conservatory type. He’ll
talk to you in plain English. To fully grasp and execute his con-
cepts will take some time, of course, but you’ll be able to return
to the theory discussion time and again for new information and
refresher material. Brad also demonstrates the rhythm guitar
parts for each track—played slowly and at tempo—and serves up
a brief rap on improvisational approaches for each of the tracks.
With the Improvisation Tool Kits, you can dig into concepts and
work towards building your improvisational prowess—or you can kick on
the rhythm track and blow to your heart’s content -- we recomend
lots of both.
For information on other great TrueFire study programs go to
www.truefire.com and browse the instruction category.
TrueFire - ignited we stand!
Click in the Red Boxes for audio. Try it!
Copyright ©1994 - 2002 by TrueFire. All rights reserved.

CONTENTS BLUES
I M P R O V I S AT I O N TOOL KIT
RHYTHM TRACKS & LESSONS
ROCK
“Back Burner” 
“Penguin Boogie” 
“Suncoast Shuffle” 6
“Voice of the Cool” 
“Model T Blues” 10
FUSION
“Jimi’s Thang”
“Hypertension” 
“Metalabolism” 6
“Brown Air Alert” 
“The Oregon Grinder” 
“A-OK” 
FUNK
“Slow-J” 
“Ode to JFP III”
“Barry’s Porn Ride”
6
“The Carefree Marsupial”




APPENDIXES
“Spare Me” 
Major Scales and Diatonic Chords I
“What Is It?” 
Formula Method for Chords, Scales II
“Somethin’ Funky” 6
Chord Formulas II
“Leaning Tower” 
Scale Formulas III
“Slap-Happy Sol” 
Tonal Colors IV
Parent Scale Concept IV
Scale Formula Fretboard Diagrams V
Notes on E and A Strings VIII
ROCK
Jimi s Thang
Jimi’s Thang
Composer & Musical Director: Ron Reinhardt
Composer and Musical Director: Ron Reinhardt
Producers: Brad
Producers: Carlton
Brad Carlton&and
George Harris
George Executive
Harris • Executive Producer:Producer: Brad Wendkos
Brad Wendkos
Form: A B C; Key of E
Heavy Rock
q = 98 œIænæt¡ræo¡å
E 7# 9
& 44 Ó ¿¿¿¿¿ ¿¿¿

Drum Fill
∑7 24 Û Û ‰ œ
G5
œ
œAå Choruses
E 7# 9
& 44 .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Use E Blues Composite for entire track.
For heavier sound, use E Blues, or E Minor Pentatonic.
E Dorian (D Maj) also available for modal sound.
E 7# 9
&’’’’ ’’’’ ’’’’ ’’’’
œBå
A7 E 7# 9
& ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ’ ’ ’ ’ ’ ’ ’ ’
A7 E 7# 9 D5
& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ’ ’ ’ ’ ’’’ Û Û
œCå
E5 D5 E5 G5 E5 D5 E5 B5 D5
& JÛ ‰ Œ Œ ‰ JÛ JÛ ‰ Œ Œ Û JÛ ‰ Œ Œ ‰ JÛ JÛ ‰ Œ Û Û
E5 D5 E5 G5 E5 D5 E5 B5 D5 E5
& JÛ ‰ŒŒ‰ JÛ JÛ ‰ Œ Œ Û JÛ ‰ŒŒ‰ JÛ JÛ ‰ Œ Û Û .. JÛ ‰ Œ Ó

3 Times

Fig. 1
E 7#9 ~œ . œœ œœ .. œœ ~œ . œ
. .
& 44 # œœœ .. # œœœ .. œœ
3
œœ œœ .. œœ œœœœ
œ œ œ œ œ œ œ œ
1
≥
&
≥
~≥
2 a
v ≥
3 &
≥
4
≥
a
v
1 &
~
2 a 3 & 4 &
8 8 8 8 8 8
7 7 7 7 7 7
6 6 6 6 6 6
7 7 7 7 7 5 7 5
0 0 0 0 0 0 0 0 7
Examples of fills
used in2nd bar of phrase:
Fig. 2 ~œ Fig. 3
~œ .. œ
& 44 œ
# œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œœœ .. œœ ¿ ¿ œ œ
œœ œœ œ œœ
~ ~
8 8 8
7 7 7 X X
6 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 6 6
7 7 5 7
0 0 0 0 0 5 7
Fig. 4 - Voicings
www
A7 D5
ww
E5
ww ww
G5 B5
#
& ww w w w # www
w
5
8
6 7 9 12 4
5 7 9 12 4
7 5 7 10 2
5
RO C K I M P ROV I S AT I O N TO O L K I T 
Hypertension
Hypertension
Producers: BradBrad
Producers: Carlton
Carlton& and
George Harris
George Executive
Brad Wendkos
Form: A B; Key of A
Heavy Rock
œIænæt¡ræo¡å q = 165
& 44 ∑ .. ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ..

Drum Fill E5
2
E Dorian (D Maj) E Blues

E Aeolian (G Maj)
% œAå Choruses
A
> G /A
> F /A C G /B
& |. Û Û |. Û Û | | |
A Mixo (D Maj) G Lydian (D Maj) F Lydian (C Maj) C Ionian (C Maj)
A Blues over entire œAå G Mixo (C Maj)
A
> G /A
> F /A C G /B
& |. Û Û |. Û Û | | |
A Mixo (D Maj) G Lydian (D Maj) F Lydian (C Maj) C Ionian (C Maj)
G Mixo (C Maj)
œBå
E5
& ‰ j ‰ j
œ œ œ œ#œ œ w œ œ œ #œ œ œ
w E Aeolian
E Dorian
fi
E Blues
To Coda
A
3 Times
‰ ‰ j‰ j‰ j‰ j..
E5 (2x on D.S.)
& j
œ œ œ œ #œ œ w œ bœ œ
w
(Simile)
>œ > > >
Interlude
Drum Break D.S. al Coda %
& ∑ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ÛÛÛÛ ÛÛÛ Û
E5
4
E Aeolian
fi Coda
E Dorian
E Blues
U
A
& |
A Mixo (D Maj)
A Blues

Fig. 1 - Voicings
ww E5
# www
A
www
G F
www
& ww w
( )
( )
w ( )
(0 )
(0 ) 5 3 1
9 6 4 2
9 7 5 3
7
(0 )
w
C G /B A
w ww
G
ww
F
& www
www # ww w w
w
5 3 10 8 6
5 4 9 7 5
5 5 11 9 7
3 2
Fig. 2
œBå
& 44 ‰ j ‰ j
œ œ œ œ #œ œ w œ œ #œ œ œ
œ
w
2 1 2
0 5 3 2 0 3 5 0
& ‰ j ‰ j‰ j‰ j‰ j
œ œ œ œ #œ œ w œ bœ œ
w >œ > > >
2 0
5 3 2 0 3 5 6
RO C K I M P ROV I S AT I O N TO O L K I T 
Metalabolism
Metalabolism
Composer
Producers: Brad Carlton and Musical
& George HarrisDirector: Ron ReinhardtProducer: Brad Wendkos
Executive
Producers: Brad Carlton and George Harris • Executive Producer: Brad Wendkos
Form: A B C; Key of B Minor
Hard Rock
& 44 ∑ |
Drum Fill E5 (Keys add ≤7)
| | |
1
E Mixo (A Maj)
E Dorian (D Maj)
& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ Û ÛÛ Û
E Mixo (A Maj)
> > #
> >
œAå Choruses D A /C Bm E A
Û. Û Û. Û | Û. Û Û. Û |
Bm
&| J J | J J
B Dorian (A Maj) D Lydian (A Maj) A Ionian (A Maj) B Dorian (A Maj) E Mixo (A Maj) A Ionian (A Maj)
A Mixo (D Maj) B Aeolian (D Maj) A Mixo (D Maj)
> > > > >

B Aeolian (D Maj) D Ionian (D Maj)
Bm D A /C # Bm # E A C m
&| Û. Û Û. Û | | Û. Û Û. Û Û. Û
J J J J J
B Dorian (A Maj) D Lydian (A Maj) A Ionian (A Maj) B Dorian (A Maj) E Mixo (A Maj) A Ionian (A Maj) C≥ Aeolian
(E Maj)
> >
B Aeolian (D Maj) D Ionian (D Maj) A Mixo (D Maj) B Aeolian (D Maj) A Mixo (D Maj)
œBå C #m A /C # B /D # E C #m
& | | Û. Û | | Û. Û
C≥ Aeolian
J J
A Lydian (E Maj) B Mixo (E Maj) E Ionian (E Maj) C≥ Aeolian
(E Maj)
C #m A /C # B
> > A E
& | | Û. Û | ‰Û ‰Û |
C≥ Aeolian
J J J
A Lydian (E Maj) B Mixo (E Maj) A Lydian (E Maj)
œCå E Ionian (E Maj)
G A /G G A /G G
&| | | | |
G Lydian (D Maj) A Mixo (D Maj) G Lydian (D Maj) A Mixo (D Maj) G Lydian (D Maj)
> >
Ending Vamp
A /G A5 B5
& | JÛ ‰ JÛ | | | | .. .. ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ

B 5 (Keys add ≤7)
‰
4 Times
B Dorian (A Maj) B Phrygian Dominant

B Phrygian (G Maj) (E Harmonic Minor)
A Mixo (D Maj) B Half/Whole Dim.
(Simile)
B Mixo (E Maj)
^
.
B5 1, 2 3
& Û Û Û Û Û Û Û Û ÛÛ Û Û Û ÛÛÛ . Û Û Û Û Û Û Û Û Û Œ Ó

Fig. 1 - Voicings
A /C #
ww
E5 Bm
w
D
w # ww
E
w A
# ww
& ww w # www # www # www
( )
# ww ww
( )
ww
w( )
(0 ) 0
(0 ) 3 3 2 0 2
9 4 2 2 1 2
9 4 4 2 2 2
7 2 5 4 2 0
(0 ) 0
w
C #m A /C # B /D #
# # www # ww
# www
E B G
& # # ww ww #w
#w #w #w # www ww
ww
5 5 7 9 4 0
6 6 8 9 4 0
6 7 9 9 4 0
4 4 6 7 2
3
A /G
ww
G A
w A5 B5 B /D # E
& # www w # ww #w w
ww # www # # www # www
w w
2 8 10 4 5
2 7 9 2 4 4 4
2 9 11 2 4 4 6
0 2 6 7
3
RO C K I M P ROV I S AT I O N TO O L K I T 
Brown
BrownAir Alert
Air Alert
Composer and Musical Director: George Harris
Producers: BradBrad
Producers: Carlton
Carlton& and
George Harris
George Executive
Brad Wendkos
Form: A B; Key of F#
Hard Rock
F #5 E 5 F #5 E 5 F #5 E 5 F #5 E 5 F #5
& 44 Û Û Û Û Œ‰ÛÛ Û Û Û Û Ó ÛÛ Û Û Œ‰ ÛÛ ÛÛ Û Û Œ ‰ ÛÛ
F≥ Aeolian (A Maj)*
œAå Choruses
F #5
> >
E 5 F #5
# # D# #
A /C C 5 B5 C 5 B5 C 5
& .. Û Û Û Û Œ‰ JÛ Û . JÛ Û . ÛÛ Û Û Û Û Œ‰ÛÛ ÛÛ Û Û Œ ‰ ÛÛ
F≥ Aeolian (A Maj) D Lydian (A Maj) C≥ Phrygian (A Maj)
A Ionian (A Maj)
F #5
> .> # .
E 5 F #5 # #D #
A /C C 5 B5 C 5 B5 C 5
& Û Û Û Û Œ‰ JÛ Û JÛ Û Û Û Û Û Û Û Œ‰ ÛÛ Û Û Û Û Œ ‰ Û Û
F≥ Aeolian (A Maj) D Lydian (A Maj) C≥ Phrygian (A Maj)
A Ionian (A Maj)
F #5
> .> # .
E 5 F #5 # #D #
A /C C 5 B5 C 5 B5 C 5
& Û Û Û Û Œ‰ JÛ Û JÛ Û Û Û Û Û Û Û Œ‰ ÛÛ Û Û Û Û Œ ‰ Û Û
F≥ Aeolian (A Maj) D Lydian (A Maj) A# Ionian (A Maj)
A Ionian (A Maj) C Phrygian (A Maj)
F #5
> .> # .
E 5 F #5 # # D #A /C#
> C 5 B5 C 5 B5 C 5 C 5 D5
& Û Û Û Û Œ‰ Û Û Û Û ÛÛ Û Û Û Û Œ‰ÛÛ ÛÛ Û Û ‰ Û ‰ Û
J J J J
F≥ Aeolian (A Maj) D Lydian (A Maj) C≥ Phrygian (A Maj) D Lydian
A Ionian (A Maj) (A Maj)
œBå A /C # A /C # F #5 E 5 F #5 F #5 E 5 F #5 F #5
D5 B5
>
D E D5
‰ Û
&| J J‰ Û Û Û Û Û Û Û Û Û Û Û Û Û Œ‰ ÛÛ Û Û Û Û ‰ Û ‰ Û
J J
A Ionian (A Maj) A Ionian (A Maj) E Mixo (A Maj) D Lydian
B Dorian (A Maj) D Lydian (A Maj) F≥ Aeolian (A Maj) (A Maj)
D5 A /C # B5 A /C # D E F #5 E 5 F #5 F #5 E 5 F #5
& | ‰ JÛ ‰ JÛ Û Û Û Û Û Û Û Û Û Û Û Û Œ ‰ ÛÛ Û Û Û Û Œ‰ ÛÛ
A Ionian (A Maj) A Ionian (A Maj) E Mixo (A Maj)
B Dorian (A Maj) D Lydian (A Maj) F≥ Aeolian (A Maj)
1, 2 3
F #5 E 5 F #5 F #5 F #5 E 5 F #5
& Û Û Û Û Œ ‰ Û Û Û Û Û Û Û Û Û Û .. Û Û Û Û Ó
F≥ Aeolian (A Maj)
N O C ll P

Fig. 1-Voicings
F #5 E5 D A /C #
& # # ww ww # www w
# ww
#w w
2 2
4 2 4 2
4 2 5 4
2 0
C #5 B5 D5 A /C #
& # ## www ww # ww
# www w #w
6 4 7 6
6 4 7 7
4 2 5 4
Also available for soloing are

these pentatonic “sub-scales”
of A major:
F # 5-F # Minor Pentatonic

D-D Major Pentatonic
A/C # -A Major Pentatonic
C # 5-C # Minor Pentatonic
E-E Major Pentatonic
B5-B Minor Pentatonic
RO C K I M P ROV I S AT I O N TO O L K I T 
The Oregon Grinder
Composer and Musical Director: Marcel Wittfeld
Producer: Marcel Wittfeld • Executive Producer: Brad Wendkos
Form: A B A B C A; Key of A Minor
Hard Rock
œAå q = 173
% œœ œœ œœA m7 A m9 A m7 A m9 A m7 F5 F Maj7 F5
4 ‰
N.C.
.
. œ œ œ œ œ œ
& 4 j œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ
œœ œ œ œ œ œ œ œœ œ F Lydian (C Maj)
A Aeolian (C Maj)
. 5 4 5 4 5 4
6
5
5
5
6
5
0 2 3
0 2
3
0 . 0 0
5
0
5
0 0
5
0
5
0 0
5
0
5 33 3 3 3
*P.M. Bass Notes Thruoughout.
To Coda fi
F Maj7 F 5 D m7 D m9 E 5 E 7 (No 3rd) E 5 A m7 A m9 A m7
œœ œœ · œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ œ œœ œ œœ œ
P.H.
(8va)
œœ œ œœ
D Dorian (C Maj)
E Phrygian Dom.
(A Harm. Min.) A Aeolian (C Maj)
5 6 6 5 5 3 3 5 5
5 5 5 5 4 4 4 4 5 4 5
3 3 3 2 0 0 0 0 0 2 2 2 2 5 5 5
0 0 0 0 0
^ > j ^ >
b
j ^ j
œBå > F5 C5 G5 B 5 F5 C5 G5
& œœ œ œ œ œ œ .. œœ .. œœœ ˙˙˙ œœ .. b œœ ˙˙ œœ .. œœœ œœœ ... œœj

N.C.
œœ œ. œ . bœ ˙ œ . œ
F Major }
. 5 3 5
0 2 3
0 2
3
0 . 3
3
5
3
5
5
3
1
3
3
5
3
5
5
1 3 1 3
>j ^ ^ B b5 F5 >j
C5
^
G5 >j B b5
^
A5
> ^ G5 D /F #
& ‰ b œœ ˙˙ œœ .. œœ ˙˙ œœ .. b œœ ˙˙ œœ .. œj # ˙
bœ ˙ œ . œ ˙ œ . bœ ˙ œ . œœ # ˙˙
G Major
3 3 5 3
3 3 3 5 5 3 7 5 4
1 1 3 3 5 1 7 5 5
1 3 5 3 2

G 7/A
œCå A 7sus 4 A m7 D D 7/A G 7sus 4/A E /A
œœ œœ œ œ œ œ # œ œ œ
& ww .. .. #œ #œ n œ œ œ œ œ
w œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
A Dorian (G Maj) D Mixo (G Maj) G Mixo (C Maj) E Mixo (A Maj)
. . 7 5 7 5 5 4 1 1 1
. . 0 0
5
0
5
0 0
4
0
4
0 0
3
0
3
0
2
0 0
2
00
2
0
E /A F /A C 5/A A sus4
œ œ œ œœ œœ œœ œœ œœ œœ
& # œœ œœ œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ F Lydian (C Maj) C Major A Dorian (G Maj)
1 1 1 10 10 10 12 12 12 9 9 9
2 2 2 7 7 7 10 10 10 12 12 12
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
œ œœ œœ œ œ œ œ œ
A sus4 F sus2 G add 9 C sus2 G /B C5
œ œœœœ œ œ œœ œ
& œ œ
œ œ œœ œ œ œ œ œ
}
Let ring
C Major Let ring
Let ring
8 0
9 9 9 12 10 0 0 0
12 12 12 10 7 7 0 0
0 0 0 0 0 8 5 3 2 3
3
œœ
œœ œ
E5
œ
F5 C D add 11 E Phrygian Dom.
& œœ œœ œ œ œ œ œ œ #œ œ œœ
>œ œ œ œ œ >œ Let ring
1
3
1
Let ring
D Mixo (G Maj)
3
5
3
œ œœœœœœœ
0 0 0 0
3 3 2 2 4 4
3 3 3 5
1 1 1 1 1 1 0 0 0 0 0 0 0 0
D.S. Al Coda fi Coda

œœj
E7 (Take all repeats) A m7
& # œœœ œœ œœ
N.C.
.. ‰ j ‰ œœ œœ Œ
œ œ œ œ œ œ œ œ œ œ œœ œœ œœ
œ œ œœ œ œ
7 7 7
. 1
0
1 1
0 0
6
7
6
7
6
7
. 0 2 3
0 2
3
0
0 0
2
0
2 2
0 0
0 0 0 0 0
ll
Overview RO C K I M P ROV I S AT I O N TO O L K I T 
FUNK
Spare Me
and&George
Composer Harris
Musical
Spare Me
Composer and Musical Director: George Harris
Producers: Brad Carlton • ExecutiveGeorge
Director: Producer: Brad Wendkos
Harris
Producers: Brad Carlton & George Harris Executive Producer: Brad Wendkos
Form: ABCBCBA; Key of G
qttt = q; ;Î;ur; ;Î;u
œAå Funk
©» 80
& 44 Û Û . Û Ó Û Û. Û Ó Û Û. Û Ó
G5 E5 F5 G5 E5 F5 G5 E5 F5
G Dorian (F Maj)
G Blues Composite œBå
B b5
& Û Û. Û Ó .. | Û Û ‰ Û Û ‰ Û . Û Û Û Û Û
G5 E5 F5 G5 C G5
& | Û Û ‰ Û Û ‰ Û. Û | ÛÛ‰ ÛÛ‰

G5 F C G5
J |
B b5 Eb
& Û . JÛ Û Û Û Û . ’ ’ ’ ’ Û . ÛÛÓ ..
C5 G /D Dm G5
E≤ Lydian (B≤ Maj) D Phryg (B≤ Maj)

G Dorian (F Maj)
œCå
G 13 # 9
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
G Half/Whole Diminished
G Blues Composite
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
B b13 # 9
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
B≤ Half/Whole Dim.
B≤ Dorian
&’ ’ ’ ’ ’ ’ ’ ’ Û Û ÛÛ‰ Û
A7 D7
A Mixo (D Maj)
D Mixo
(G Maj)

Fig. 1 - Voicings:
ww B b5 Eb
ww b b www www
G5 E5 F5 C5 C F G /D Dm
& ww ww b ww ww www ww
ww bw w ww w w
w w w
3
3 6
0 3 5 0 2 4 3 7
0 2 3 3 5 2 3 5 5 7
X 2 3 1 3 3 3 5 6 5
3 0 1 1
Fig. 2œCå qttt = q; ;Î;ur; ;Î;u

#
~~ œ ~~ ~~
G 13 9
.
œ œœ. b œœ n œ
4 . œ
& 4 . œ Œ ‰ œ #œ œ œ Œ ‰ J
œ œ 3
œ œ
~~ ~~ ~~ Let Ring
0
. 0
3
6
7
5
5
3
3 4
. 5 3 5
3 3 3 3
b # ~~
~~ œ ~~ ~~ œ œ#œ ~~ B 13 9
.
& œ Œ ‰ œ #œ œ œ Œ Ó . b œ Œ ‰ bœ
œ œ œ œ bœ œ 3
3
~~ ~~ ~~ ~~ 0
~~
Let Ring
3
Let Ring
0
3 . 3
6
5 3 5 . 8 6
3 3 3 3 6 6
~~ b œœ. œ. œ ~~ œ ~~ ~~ j A7 D7
b œ Œ ‰ b œ b œ n œ b œ Œ ‰ œ# œ b œ Œ #œ œ n œ
& J bœ œœ œœ # œœ ‰
‰
bœ œ bœ œ 3
bœ œ œ œ
~~ ~~ ~~ ~~
Let Ring
3
9 8 6 3
10 8 6 7 6 6 6 5
8 8 6 8 7 7 4
7 7 5
6 6 6 6 6 6 5 5
F U N K I M P ROV I S AT I O N TO O L K I T 
What Is It?
Producers: Brad Carlton

What Is It?
and George Harris • Executive Producer: Brad Wendkos
Form: AB; Key of A Minor
Hip Hop qttt = q; ;Î;ur; ;Î;u

œIæn¡tær¡oå ©»106
& 44 ¿ ¿ ¿ ¿ ¿ ’ ’ ’ ’ ’ ’ ’ ’
Drum Fill F Maj7
F Lydian (C Maj)
& ’ ’ ’ ’ ’ ’ ’ ’ .. ’ ’ ’ ’
C m7 F Maj7
C Dorian (B≤ Maj) F Lydian (C Maj)
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
C m7
C Dorian (B≤ Maj)
œAå Choruses
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F Maj7 C m7
F Lydian (C Maj) C Dorian (B≤ Maj)
F Maj7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F Lydian (C Maj)
# B bm7 B bm7/E b
Û Û Û Û Û.
C m7 B 9( 11)
&’ ’ ’ ’ ’ ’ ’ ’ J
¥
C Dorian (B≤ Maj)

B Ovrtn (F≥ Mel Min) E≤ Mixo (A≤ Maj)
B≤ Dorian (A≤ Maj)
A bMaj7 B bm7 B bm7/E b
& Û JÛ Û Û Û . Û . Û Û^ Û^ Û^ ‰ Ó ..
C sus4 4 Times
J | J
¥
A≤ Ionian (A≤ Maj) B≤ Dorian (A≤ Maj) Csus4, C7sus4

E≤ Mixo (A≤ Maj) Arpeggio

Fig. 1 - Main Groove
œœ œœ ¿¿ œœ œœ œ ˙
F Maj7
œ œ ¿ œ ≈ œ ≈ œœ ˙˙
& 44 ‘
≥ v ≥ v v ≥
8 8 X 7 7 5
10 10 X
9 9 X
8
7
8
7
5
5 ‘
b b œœœ œœœ ¿¿¿ œœœ ≈ œœœ ≈ œœœ ˙˙˙

C m7
& ‘
≥ v ≥ v v ≥
6 6 X 5 5 3
8
8
8
8
X
X
6
7
6
7
4
5 ‘
Fig. 2 - Voicings:
wwww
B 9 (# 11) B bm7 B bm7/E b A bMaj7
b www
C sus4
w w w
& # ww b b ww b bb www
( )
w
w bw bw
(3) 8
6 6 6 4 8
6 6 6 5 10
7 6 6 5 10
6
7 6 4
F U N K I M P ROV I S AT I O N TO O L K I T 
Somethin'
Composerand
& Musical
Funky
Somethin’ Funky
Director:
Composer Musical Director: RonRon Reinhardt
Reinhardt
Producers:
Producers: BradBrad Carlton& and
Carlton George
George Harris • Executive
Harris Producer:Producer:
Executive Brad Wendkos
Brad Wendkos
Form: A A1 B; Key of A Minor
Funk
œIænæt¡ræo¡å ©» 110
# œœ b œœ œœ œ
& 44 ∑ œ œ œ
œ œ œ
Drums 3
œAå Choruses
#
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
A m7
A Dorian (G Maj)
# F7
œ œœb œœ œœ œ
E 7# 9 A m7
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ œœœ œœ
F Overtone (C Mel Min) E Blues A Dorian (G Maj)
E Half/Whole Diminished
œA¡æ1¡å
# A m7
& ’’’’ ’’’’ ’’’’ ’’’’

A Dorian (G Maj)
# F9 E 7# 9 A m7
& ’’’’ ’’’’ ’’’’ ’’’’

F Overtone (C Mel Min) E Blues A Dorian (G Maj)
œBå
# F G A m7
& ’’’’ ’’’’ ’’’’ ’’’’

F Blues Composite G Blues Composite A Dorian (G Maj)
Overtone(C Mel Min)
F Overtone
# E 7# 9
& ’ ’ ’ ’ ’ ’ ’ ’ Û Û Û Û Ó
F G
F Blues Composite G Blues Composite

FF Overtone
Overtone(C Mel Min)
U
E Blues
E H/W Dim.
œ œœ b œœ œœ œ . Û ‰ ‰ Û Œ Û# ‰ Œ
#
|.
4 times
A5 G5 G 5 A5
& œœœ œœ.

J J J

œœ œœ œœ
Fig. 1 - Theme *Riff
# œœ
& 44 œj œ œ œ œ œ œ
( )
S
3
1/2
Full
7 7 (5 )
5 7 7 5
S
5 7 7 5
5 7
Fig. 2œAå (Rhythm Gtr. Part)

A m7
œ œ œ j œ œ œ jœœœ
& ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ
3
≥ v ≥ v ≥ v ≥ ≥ ≥ ≥ v ≥ v ≥ v ≥ ≥ ≥
5 5 5 5 5 5 5 7 5
7 7 7 5 7 7 7 7 7 7
7
Fig. 3 - Voicings:
w E 7(# 9)
b www ww
F7 F9 F
b ww ww
( )
& ww w # ww ww
(8 )
6 8 8 6
8 8 7 5
7 7 6 7
8 8 7 8
ww
G
ww
A m7 G5 G #5 A5
& ww ww ww ww
# ## www w
w
8 13
7 12
9 10 5 6 7
10 12 5 6 7
3 4 5
*Notational differences in Theme Riff reßect possible interpretive choices.

Your ears are your best guide.
F U N K I M P ROV I S AT I O N TO O L K I T 
Leaning Tower
Leaning Tower
Composer
Executive
Form: A B; Key of E
Soul Funk
©»105 % œAå
D 9 D #9 E 9
& 44 Û . Û Û Û Û ‰ JÛ Û Û .. ‰ JÛ Û Û Û ’’’’ ’’’’

Drums E9
E Blues Composite
D 9 D #9 E 9
& ’’ Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E9
D 9 D #9 E 9
& ’’ Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E9
D 9 D #9 E 9
& ’’ Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E9
œBå
F 9 F #9 G 9
& ’ ’ Û Û Û Û ’’’’ ’’’’ ’ ’ ’ ’

E9 G9 A9 E9
G Blues Composite A Blues Composite E Blues Composite

E9 G9 A9 B7 #9
&’’’’ ’’’’ ’’’’ ’’’’

G Blues Composite A Blues Composite B Blues Composite
# #
fi b To Coda
b
(3rd Time)
#
B Half/Whole Diminished
. 2
& Û Œ ‰ JÛ Û Û . ‰ JÛ ‰ JÛ ‰ JÛ ‰ ÛJ 4 ‰ JÛ Û Û
B7 9 D9 D 9 E9 E 9 D9 D 9 C9 B7 9
B Blues Composite
Breakdown B Half/Whole Diminished
& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E 9 Gtr. & Drums
E Blues Composite
%
D.S. al Coda
D 9 D #9 E 9
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’ Û Û Û Û
E9 Enter Bass & Kybd.
fi b Coda
b #
& ‰ JÛ ‰ JÛ ‰ JÛ ‰ JÛ ‰ JÛ Û Û ‰ JÛ Œ
E 9 D9 D 9 C9 B7 9 E9

Fig. 1
œ
J
œœ
E9
& 44 ’ ’ ’ ’ ’ ’ ’
Full
12
15
(7 )
(6 )
(7 )
Fig. 2 - Voicings:
ww ww
# www
E9 A9 G9 E9
# www ww
(E7 - for main groove) ( ) ( )
& # www
( )
w # ww
(12 ) (10 ) (7 )
12 10 7
7 12 10 7
6 11 9 6
7 12 10 7
B 7# 9 D #9 D b9
ww
D9
#w bw w
C9
& # www # # ‹ www b b www b www

# www
( ) ( ) ( ) ( )
w # w bw w
(5 ) (6 ) (4 ) (3 )
3 5 6 4 3
2 5 6 4 3
1 4 5 3 2
2 5 6 4 3
F U N K I M P ROV I S AT I O N TO O L K I T 
Slap-Happy Sol
Slap-Happy Sol
Form: A B; Key of E
Funky Soul
œIænæt¡ræo¡å ©» 116
4 B 7# 9(# 5) ^>
ÛÛÛÛÛÛÛÛÛ .
Û ÛÛ ÛÛ .
Û ÛÛÛ .
Û ÛÛ Û .
Û ÛÛÛÛ .
Û ÛÛ Û Û‰ Œ Ó
bass fill
&4
B Blues
B Super Locrian
(C Melodic Minor)
. . ^> . ^
E m6 E m7
. ^> . ^ .
E m6 E m7 E m6 E m7 E m6 E m7
& . Ó ‰ Û Û Û ‰ Ó ‰ Û Û ‰ Ó ‰ Û Û Û ‰ Ó ‰ Û Û ‰.
J J J J J J
E Dorian (D Maj)
% œAå Choruses
.
E m7
> A7
> > E m7
> A7 E m7 A7 E m7 A7
& . Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ Û
E Dorian (D Maj) E Dorian (D Maj) E Dorian (D Maj) E Dorian (D Maj)
A Mixo (D Maj) A Mixo (D Maj) A Mixo (D Maj) A Mixo (D Maj)
E m7
> A7
> > E m7
> A7 E m7 A7 E m7 A7
& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ Û
E Dorian (D Maj) E Dorian (D Maj) E Dorian (D Maj) E Dorian (D Maj)
A Mixo (D Maj) A Mixo (D Maj) A Mixo (D Maj) A Mixo (D Maj)
œBå
B m7 G 13 D m9
&’’’’ ’’’’ ’’’’ ’’’’

B Dorian (A Maj) G Mixo (C Maj) D Dorian (C Maj)
G Overtone
(D Melodic Minor)
B 7# 9(# 5)
^>
G /A A A /B (4th time) Fine
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û ‰ Œ Ó ..
A Mixo (D Maj) A Mixo (D Maj) B Aeolian (D Maj)
BUT ≤6 is sensitive...
Use Bm11 Arpeggio.
Interlude D.S. al Fine %
. ^> . ^
E m6 E m7
. ^> . ^
E m6 E m7 E m6 E m7 E m6 E m7
& Ó ‰ Û Û Û ‰ Ó ‰ Û Û ‰ Ó ‰ Û Û Û ‰ Ó ‰ Û Û‰
J J J J J J
E Dorian (D Maj)

Fig. 1 - Voicings:
ww B 7#9
# ww
E m6
ww
E m7
& 44 # ww
15 14 15
14 12 12
13
14
Fig. 2œBå Entire Section 8va
œœ œœ .. œœ œœ œœ œœ .. œœ œœ .
‰ œœœ œœœ œœœ œœœ .. œœœ Œ
B m7 G 13 D m9
& Œ . Jœ ≈ œ . œ ‰ Jœ Œ . Jœ ≈ œ . œ ‰ Jœ ‘
  J
‘
17 17 17 17 17 17 17 17
15 15 15 15 17 17 17 17 17 18 17 18 17
16 16 16 16 16 16 16 16 17 17 17 17 17
17 19 17 19 17
œ œ .œ œ œ œ .œ œ œ œ
# #
œ œ . œ œ
G /A A A /B B 7 9 ( 5)
& Œ . œœ ≈ œœ .. œœ ‰ œœ Œ . # Jœœ ≈ œœ .. œœ ‰ Jœœ Œ . # Jœœ ≈ œœ .. œœ ‰ Jœœ œ œ ‰ Œ Ó

J J  
15 15 15 15 17 17 17 17 17 17 17 17 19 19
12 12 12 12 14 14 14 14 14 14 14 14
12 12 12 12 14 14 14 14 14 14 14 14 16 16
F U N K I M P ROV I S AT I O N TO O L K I T 
BLUES
Composer
Composerand
Back
BackBurner
Burner
Musical Director:
& Musical Director: Ron Ron
Reinhardt
Reinhardt
Form: A A B; Key of E
qr = qc e
Slow Shuffle œIænæt¡ræo¡å
q = 92
& 44 ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ’’’’ ’’’’ ’’’’ ’’’’

Drum Fill
3 E7
3 3
E Blues Composite
*Also E Blues Scale thru entire track.
œAå Choruses
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E7
A7 G7 E7
&’’’’ ’’’’ ’’’’ ’’’’

A Blues Composite G Blues Composite E Blues Composite
œAå
E7
&’’’’ ’’’’ ’’’’ ’’’’
A7 G7 E7 G 5 G #5
&’’’’ ’’’’ ’’’’ ’’’’

A Blues Composite G Blues Composite E Blues Composite
œBå
A7 E7 G 5 G #5
&’’’’ ’’’’ ’’’’ ’’’’

A Blues Composite E Blues Composite
1, 2
A7 F #7# 9 B 7# 9
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ÛÛ‰ ÛÛ‰ ÛÛ‰ ÛÛ‰ ..

3 3 3 3
A Blues Composite F≥ Blues Composite

B Blues Composite
3
B 7# 9
U E7
Û Û ‰ Û Û ‰ Û Û ‰ Û ‰ Û
3 3 3 3
& |
E Blues Composite

qr = qc e
Fig. 1
A5 (E7)
& 44
E7
œ œ #œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
PM
2 0 1
2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
Fig. 2 - Voicings
w w w
# www
A7
# www # www
E7 E7 E7 E5
& # www ww
ww ww ww
0 0 5
0 3 5
1 1 7 6
0 0 6 5
2 2 7 2 7
0 0 0 5
G #5 F #7 # 9 ww
B 7#9
www ww
A7 G5
# # ww
& ww ww # # ww
w # # ww
5 10
8 10 10
6 9 8
5 8 9
7 5 6 9
5 3 4
B LU E S I M P ROV I S AT I O N TO O L K I T 
Composer
Penguin Boogie
Penguin Boogie
Composer and Musical Director:
& Musical Director:RonRon
Reinhardt
Reinhardt
Form: A A B; Key of G
Boogie Rock qr = qc e

& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
G7
G Blues Composite
œAå Choruses
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
G7
&’’’’ ’’’’ ’’’’ ’’’’

œAå
G7
&’’’’ ’’’’ ’’’’ ’’’’
Em
&’’’’ ’’’’ ’’’’ ’’’’

E Aeolian
œBå
Em C7 Em
& ’’’’ Û Û Û Û Û ’ ’ ’ ’ ’ ’ ’ ’
C Mixo, C Overtone E Aeolian
3 Times
Em
> . > . >. C7 E b7 D7 G7
& ’’’’ Û Û Û Û Û Û Û Û Û Û Û ÛÛ Û.
J J
C Mixo, C Overtone E≤ Overtone D Mixo G Blues
Composite
Ending Vamp
^ >
1, 2, 3, 4, 5, 6, 7, 8 9
G7
. .
& . ’’’’ ’’’’ ’’’’ ’’’’. Û Û Û Û Û
G Blues Composite

Fig. 1 - Rhythm Gtr I
qr = qc e G7
& 44 œœj .. œœ œ œœ œ œœ
œœ œ œœ
.
œ œœ .
œ œ œ œ . œ œ œ
PM
. 4
.
3
5
. 7 5 7
3
5 7 5 7
3
5
.
3 3 3 3 3 3 3 3 3
Fig. 2 - Rhythm Gtr II
œœ.
qr = qc e
œœ b œœ ..
G7
& 44 ‰ .. n œ b œ n œ Œ Ó Ó
3
(on repeat only)
3
. 4 3 4
3 5
5
3
3
.
. .
Fig. 3 - Voicings
ww
E m7
w
C9 E b7 D7
b b www
& www b www w
# www
( )
w bw
(7) 3
8 3 4 3
7 3 6 5
9 2 5 4
7 3 6 5
B LU E S I M P ROV I S AT I O N TO O L K I T 
Composer
Composer and
Suncoast Shuffle
Suncoast Shuffle
Musical Director:
Reinhardt
Reinhardt
Form: A A B; Key of E
qr = qc e
Shuffle
œIænæt¡ræo¡å q = 138 D7 E b7
^ ^
& 44 ∑ Œ Û
Drums
|
D Blues Composite E≤ Blues Comp.
œAå Choruses
F #7
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E7 A /B
E Blues Composite F≥ Mixo B Mixo

(A/B=B11)
E7 B m7sus #
B b9( 11)
&’’’’ ’’’’ ’’’’ ’’’’

E Blues Composite B Dorian B≤ Overtone
A7
&’’’’ ’’’’ ’’’’ ’’’’

A Blues Composite
E7 E7 E b7 D7 D b7
&’’’’ ’’’’ ’’’’ ’’’’

E Blues Composite E≤ Blues Comp. E Blues Comp.
D≤ Blues Comp.
1 2
F #7 E b7
& ’’’’ ’’’’ ’’’’ Œ | Û .. ’’’’

A /B E7 D7 E7
F≥ Mixo B Mixo E Blues Composite E Blues Composite

D Blues Comp.
E≤ Blues Comp.
œBå
A7 G /A E7
&’’’’ ’’’’ ’’’’ ’’’’

A Blues Composite A Mixo E Blues Composite
A7 o
Bb 7 A /B D7 E b7 E7
^ ^ ^ ^ ^ ^ ^
& ’’’’ ’’’’ Û Û Û Û Œ | Û .. JÛ ‰ Œ Ó
3 Times
A Blues Composite B≤ Whole/Half Dim.

B Mixo D Blues Comp.
≤ l

Fig. 1qr = qc e Fig. 2
& 44
E7 E7
3
œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œ œ # œ œ
2
2 2 4 4 5 5 4 4 2 2 4 4 5
0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 4
Fig. 3 Fig. 4 Fig. 5

A7 A7 3 A7
& œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ # œ œœ œ œ # œ œ œ œ
œœ œœœœœœ œ œ œ œ œ œ œœ œœœœœ
1/4
2
2 2 4 4 5 5 4 4 2 2 4 4 5 2 2 2 4 4 5 5
0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 4 0 0 0 0 0 0
3
Fig. 6 - Voicings
##www
F #7 B b9(# 11)
w
A /B B m7sus E7
& # ww www b www # www
9 5
7 5 5 5
9 6 7 5 7
7 6 6
7
E b7 D b7 B bdim7
# www # www
D7 G /A A /B
& bb www www

# www b ww
bw
3 5 5
6 5 4 4 6 6
5 4 3 5 5 7
6 5 4
B LU E S I M P ROV I S AT I O N TO O L K I T 
Voice of the Cool
Voice Of The Cool
Composer and Musical Director: David Weissbrot
Producer: David Weissbrot • Executive Producer: Brad Wendkos
Composer & Musical Director: David Weissbrot
Producer: David Weissbrot Executive Producer: Brad Wendkos
Blues Form; Key of G Minor
Jazz Blues
Choruses q = 120
G7b 9
& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
G m7
G Dorian G Super Locrian
C m7 G m7
&’’’’ ’’’’ ’’’’ ’’’’

C Dorian G Dorian
1, 2, 3, 4, 5, 6
E b7# 11 D7b 9 A b13
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
G m7
E≤ Overtone D Super Locrian G Dorian A≤ Overtone

D Phryg Dominant
E b7# 11 D7b 9
& .. ’ ’ ’ ’ ’ ’ ’ ’ .. |
3 Times G m(Maj13)
|
E≤ Overtone D Super Locrian G Melodic Minor
D Phryg Dominant

ww b w w
Fig. 1 - Voicings
G m6/9 G m7/11
ww w ww w
b www www b ww ww b ww b www
w w
G m6/9 G m(add 9) G m9
w
G m7/11 G m11
& w w ww
G m(add 9) G m7/11 G m7
b w b w
5 1 3 10 6
3 5 6 8 1 3 10 6 10 3
3 3 5 7 3 5 9 5 10 3
7 5 7 5 7 8 5 8 3
ww G 7# 9 (# 5)
# ww b w # w # w
G m7/11
G 7 #5b9
G 7# 9 (# 5)
G 7# 9 (# 5)
w b w
G m6/9
# w
w # w
G m(Maj13)
w b w w bw
w w
& b ww ww b w w # www # www # ww b ww b b www b ww
C m9 C m11 C m7/11
5 13 5 11 4 6 6 1
5 11 7 11 4 4 6 4 3 4
7 10 9 10 4 4 8 7 3 3
8 10 8 9 3 3 9 8 1 3
10
ww w w b wb b w# b wb ww b wb b w#
b E 13
C m9 C m7/11 E 13 E9 E9
b w b ww b b www b w b ww b ww b ww b ww b ww b ww
C m(add 9) E7 E 9 11 E 9 11
&b w w w w w w w w
10 3 8 5 6 13
8 8 6 6 6 6 13 11 10
8 8 8 6 6 6 6 10 10 10
8 12 8 5 5 5 5 11 11 11
10 10 10
D 7 b 9(# 5)
ww
E b13
D 7# 9 (# 5)w D 7# 9 (# 5)
w b
D 7# 9 (# 5)w w bD 7# 5
# ww b wwb # # ww ww ww b
# ww # # ww # # ww w w
A 13
D 7#9 D 7#9
b ww
D7( 9 ) ( )
# ww # ww # ww w # ww # ww # ww w
w b ww
D7
&
13 6 5 13 5 ( 10 ) 11 10 6
13 6 4 11 6 10 11 11 11 6
12 5 5 5 11 5 10 10 11 11 5
11 4 4 4 10 4 10 10 10 10 4
9 9
B LU E S I M P ROV I S AT I O N TO O L K I T 
Model T Blues
Model T Blues
Composer
Executive
Form: A A B; Key of A
œIænæt¡ræo¡å q =
Blues Shuffle 128 qr = qc e
4 ^ A5
^ ^
&4 Œ Ó
Û Û Œ Ó Û Œ Ó ÛÛÛÛÛÛÛÛÛÛÛÛ
3 3 3 3
.
A7 >.
& ’ ’’ ’ ’ ’’ ’ ’ ’’ ’ ’’’ Û .
. Û
Use A Blues Composite O
except where indicated. Play anticipation
œAå Choruses on repeat only.
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
A7
C7 B7 B b7 A7
&’’’’ ’’’’ ’’’’ ’’’’

D7 > A7 F #7# 9 B7
&’’’’ ’’’’ ’’’’ Û Û ÛÛ Û

}
F≥ Super A B.C.
>
Locrian
B7 E7
Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
A7 E7
& Û Û Û Û
A Blues Composite }
œBå
D7 D m7 A7
&’’’’ ’’’’ ’’’’ ’’’’

D Dorian (C Maj) A Blues Composite }
E 7# 9
1, 2
>.
D7 D m7 A7
^ ^ ^ ^ ^
&’’’’ ’’’’ Œ Û Œ Û Œ Û Û Û Û.
D Dorian (C Maj)
E Blues (A B.C.)
U B b7
E Half/Whole Dim.
E 7# 9
3
A7
&Œ Û Û Û ‰ ‰
j j ‰ j ‰ Û Û |
#>œ . œv # œv œv
E Blues A Blues Composite
E Half/Whole Dim.

Fig. 1 qr = qc e Fig. 2 qr = qc e
B b7
& 44 œ œ # œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ # œ œ # œ n œ œ n œ
A7 C7 B7
œœ œœœœœ œ œ œb œ œ œ
( )
( )
≥ v ≥ v ≥ v ≥ v ≥ v ≥ v ≥ v ≥ ≥ v ≥ ≥ v ≥
2
2 2 4 2 2 2 4 (2)
0 0 0 0 0 0 0 10 10 12 10 10 10 12 9 9 11 8 8 10
8 8 8 (8) 8 8 8 7 7 7 6 6 6
Fig. 3qr = qc e Fig. 4 - Voicings

D7
ww
A5 F #7(# 9)
‹ ww
& 44 œœ œœ œœ œœ œœ œœ œœ œœœ ( ) ww # # ww
( ) ( )
w
≥ v ≥ ( ) v ≥ v ≥ v 5
5 10
5 2 9
7 7 9 (7 ) 7 7 9 7 2 8
5 5 5 (5) 5 5 5 (5) 0 9
# www w
# www # www
B7 B7 E7 E7
# w
& # ww # ww ww # www
w
7 7 7
7 10 9 5
8 8 7 7
7 7 9 6
9 9 7 7
7 7
E 7(# 9)
ww
A7
# www
D7 D m7
ww ww
& www
# ww ww
w # ww
w
5 5 5
5 7 6 8
6 5 5 7
5 7 7 6
7 5 5 7
5
B LU E S I M P ROV I S AT I O N TO O L K I T 
FUSION
A A-OK
O.K.
Composer
Executive
Form: A B; Key of A
Form: A B; Key of A
Fusion
Fusion
qq == 98
98
& 44
A sus4 A 7
∑ ∑ ∑ ∑ ∑ ∑
A sus4 A 7 Em A sus4 A 7 A sus4 A 7
œAå Enter Gtr.

Em A sus4 A 7 A sus4 A7 Em
& ∑ ∑ ’’’’ ’’’’ ’’’’ ’’’’

A Mixo (D Maj) E Dorian (D Maj)
A Blues Composite
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û.Û
A sus4 A7 A sus4 A7 Em C 13

A Blues Composite
œBå
& ’ ’ ’ ’ ’ ’ ’ Û . Û ’ ’ ’ ’ ’ ’ ’ Û .Û
C 13 D 13
C Blues Composite
C Overtone (G Mel Min)
G 13 A b13
& ’ ’ ’ ’ ’ ’ ’ Û.Û ’ ’ ’ ’ |
D 13 D /E
Û Û
D Blues Composite
D Overtone (A Mel Min) G Mixo (C Maj)
E Mixo (A Maj) A≤ Overtone
E Aeolian (G Maj) (E≤ Mel Min)
A sus4 A7 A sus4 A7 Em
&’’’’ ’’’’ ’’’’ ’’’’

A Blues Composite
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û.Û
A sus4 A7 A sus4 A7 Em C 13

A Blues Composite
& ’ ’ ’ ’ ’ ’ ’ Û . Û ’ ’ ’ ’ ’ ’ ’ Û .Û
C 13 D 13
C Blues Composite
C Overtone (G Mel Min)
D 13 D /E G 13 A b13 A 13
& ’’’’ ’’’ Û . Û ’’’’ | Û Û .. Û Œ Ó

D Blues Composite
G Mixo (C Maj)
D Overtone (A Mel Min)
E Mixo (A Maj) A≤ Overtone
E Aeolian (G Maj) (E≤ Mel Min)
N O C ll P

Fig. 1(Keyboard Part)
œœœœœœœœœœœœ œœœ œœœ œœœ... œœœ

A sus4
œœœ œœœ œœœ œœœ œœœ œœœ œœ... œœ
A7
Em D /E
## 4
& 4 ≈ ≈ ≈J ‘ ≈ ≈ ≈ Jœ œ ‘
12 12 12 12 12 12 12 7 7 7 7 7 7 5
15 15 15 15
14 14 14 14
15
14
15
14
14
12 ‘ 8 8 8 8
9 9 9 9
8
9
8
9
7
7 ‘
# œ œ œ œ œ
Fig. 2(Gtr.)
& # 44 Ó ‰ œœ œœ œœ œœ œœ Œ œœ œœ œœ ‘
Asus4A7 Em
( ) ( ) ( ) ( ) ( ) ‘ Ó
9
9
(10 )
11
11
9
9
11
11
9
9
(12) (10) (12) (10)
‘ 7
7
9
9
7
7
‘
œœ
C 13
˙˙ œœ .. >œ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ b œœ œœ œ. œ œ .
œœ
Fig. 3
œ ˙˙ œœ .. ¿¿¿¿¿¿¿ œ bœ nœ .
& 44 b Jœ Œ

8 10 X X X X X X X
10 10 X X X X X X X 11 10 8 8
9 9 X X X X X X X 12 10 8 9
8
Fig. 4
œœ ¿¿
C 13
¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿
œ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿
& b 44 Jœ

10 X X X 10 X X X X X X X 10 X X X
10 X X X 10 X X X X X X X 10 X X X
9 X X X 9 X X X X X X X 9 X X X
8 X X X 8 X X X X X X X 8 X X X
See last page for voicings to “A-OK”
F U S I O N I M P ROV I S AT I O N TO O L K I T 
Slow
Slow-J- J
Form: A B; Key of C
Fusion Ballad
F Maj7(b 5) F Maj7(b 5)
& 44 | Û Û. Û | | | Û Û. Û | |
C Maj7 G /B C Maj7 G /B
C Lydian (G Maj) F Lydian (C Major) C Lydian (G Maj) F Lydian (C Major)

C Maj Pent G Ionian (G Maj) F Maj Pent C Maj Pent G Ionian (G Maj) F Maj Pent
G Maj Pent G Maj Pent A Min Pent G Maj Pent G Maj Pent A Min Pent
D Maj Pent D Maj Pent G Maj Pent D Maj Pent D Maj Pent G Maj Pent
E m7
&’’’’ ’’’’ ’’’’ ’’’’

E Dorian (D Maj)
D Maj Pent
F≥ Min Pent
œAå
E m7
&’’’’ ’’’’ ’’’’ ’’’’

(Simile)
E m7
&’’’’ ’’’’ ’’’’ ’’’’

(Simile)
œBå
B 11 A 11 B 11 A 11
&’’’’ ’’’’ ’’’’ ’’’’

B Aeolian (D Maj) A Mixo (D Maj) B Aeolian (D Maj) A Mixo (D Maj)
A Maj Pent G Maj Pent A Maj Pent G Maj Pent
F Maj7(b 5)
Û. Û | |..
B 11 A 11 C Maj7 G /B
Û
3 Times
& ’ ’’ ’ ’ ’’ ’ |
B Aeolian (D Maj) A Mixo (D Maj)
A Maj Pent G Maj Pent C Lydian (G Maj) G Ionian (G Maj) F Lydian (C Major)
C Maj Pent G Maj Pent F Maj Pent
Ending G Maj Pent D Maj Pent A Min Pent
D Maj Pent G Maj Pent
Û. Û | | | Û. Û | |
&| Û Û
(Simile) }
Û. Û | | | Û. Û |
&| Û Û

Fig. 1 - Voicings
F Maj7(b 5)
ww
C Maj7
ww
G add9/B
www
& w w w
w w w
3 3 0
5 3 0
4 2 2
3
3 2
1
œ . œ œ œ. œ
# # 4 Œ œ œœ œœ . œ ‰ . Jœ œ . œ
Fig. 2 E m7
~~
& 4  Œ Œ ≈ œœ
~~
15 14 14 15 15 15
12 12 12 12 12 12 9 7
. .
# # 4 œœ œœ œœ œœ Œ ≈ Jœœ . ≈ Jœœ . œœ œœ œœ œœ Œ ≈ Jœœ .. ≈ Jœœ ..
Fig. 3
B 11 A 11
& 4
14 14 14 14 14 14 12 12 12 12 12 12
14 14 14 14 14 14 12 12 12 12 12 12
F U S I O N I M P ROV I S AT I O N TO O L K I T 
Ode to JFP III
Composerand
Composer & Musical Director:
Musical Director: Ron Ron Reinhardt
Reinhardt
Producers:
Producers: BradBrad Carlton&and
Carlton George
Brad Wendkos
Form: A B; Key of C
Cool Funk
C Maj7 E m7(b 5) A 7# 9 (# 5) G /D E b13(# 11) D 7# 9 (# 5) G 13
& 44 | |
G /D C 13
| | | | | | |
A Super D Super G Mixo
G Ionian C Lydian E Locrian ≥2 Locrian G Ionian C Overtone E≤ Ovrtn Locrian (C Maj)
(G Maj) (G Maj) (G Mel Min) (B≤ Mel Min) (G Mel Min) (B≤ Mel Min) (E≤ Mel Min) G Overtone
C Mixo (D Mel Min)
(F Maj) G Blues Comp.
G 13 C Blues Comp.
&’’’’ ’’’’ ’’’’ ’’’’

G Mixo
G Overtone
G Blues Comp.
œAå Choruses
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
G9
(Simile)
B b13 { F 13 F #13 }
(1st Time Only)
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
C 13 G 13
B≤ Mixo C Mixo G Mixo

(E≤ Maj)
B≤ Overtone C Overtone G Overtone
(F Mel Min) C Blues Comp. G Blues Comp.
B≤ Blues Comp.
œBå
G /D C Maj7 E m7(b 5) A 7# 9 (# 5) D m9 D m6/9 D m# 5(ad
dd9 ) D m(add9 )
&’’’’ ’’’’ | | | |
G Ionian C Lydian E Locrian ≥2 A Super D Dorian D Dorian D Aeolian D Aeolian
Locrian (C Maj) (F Maj)
1, 2 3
E b13(# 11) D 7# 9 (# 5)
.. ’’’’ ’’’’
G /D C 13 G 13 G 13
& ’’’’ ’ ’ ’ ’ |
G Ionian C Mixo E≤ Ovrtn D Super G Mixo G Mixo
C Overtone Locrian G Overtone G Overtone
C Blues Comp. G Blues Comp. G Blues Comp.
Ending
Dm#5 (add 9) Dm (add 9)
C Maj7 E m7(b 5) A 7# 9 (# 5) Dm9 D m(# 5) D m
& .. ’’’’ ’’’’ | |

G /D D m7 D m6
Dm6/9 G /D C 13
| | ’’’’
G Ionian C Lydian E Locrian ≥2 D Dorian D Dorian D Aeolian G Ionian C Overtone
A Super D Aeolian C Mixo
Locrian C B.C.
E b13(# 11) E m7(b 5)
D 7# 9 (# 5) G 13 A 7# 9 (# 5) U
D m9
& ’’’’ ’’’’ ’’’’.. | | | |

3 Times G /D C Maj7
|
E≤ Ovrtn D Super G Mixo G Ionian C Lydian A Super Locrian D Dorian
Locrian G Overtone rit. E Locrian ≥2
G Blues Comp.
Notes On Call Presents

Fig. 1
œ ¿ œœ ¿ ¿ ¿ ¿ œ œ ¿ œœ ¿ ¿ ¿ ¿
4 # œ
œœ œ ¿ œ ¿¿ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œ ¿¿ ¿¿ ¿¿ ¿¿
œ ¿
G 13
&4 #
10 10
9 10 X 10 X X X X 9 10 X 10 X X X X
9 10 X 10 X X X X 9 10 X 10 X X X X
8 9 X X X X X 8 9 X X X X X
œ
# œœ œœ ¿¿ œœ ¿¿ ¿¿ ¿¿ ¿¿ œœ œœ œœ œœ œœ~~~
..
& #œ œ ¿ ¿ ¿ ¿ ¿ œ
10
~~~
9 10 X 10 X X X X X
9 10 X 10 X X X X X 10 10 10 10
8 9 X X X X X X 10 9 10 9
Fig. 2 - Voicings
ww ww ww w # # www
F #9 E m7(b 5)
B b13
b ww
C 13 C 13 F9
b www ww
C Maj7
& b ww b ww b ww www b www

G /D
w # # ww ww
w (
w )
( )
8 10 8 8 9 3 6
8 10 10 8 9 3 5 8
7 9 9 8 9 4 4 7
6 8 8 7 8 5 ( 5) (8)
8 9 5 3 7
ww
A 7# 9 (# 5) D m9
ww
D m6/9 D m # 5(add9 ) D m(add9 )
ww ww ww ww b www
C9
b E 13 D 7# 9 (# 5)
# ww
& # ww ww ww b ww w # ww
( ) ( ) ( ) ( )
# www www
w
( )
w w w
( )
8 (5) (5) (5) (5) 3 8 6

6 5 5 5 5 3 6 6
6 5 4 3 2 3 6 5
5 3 3 3 3 2 5 4
( 0) 5 5 5 5 (3)
F U S I O N I M P ROV I S AT I O N TO O L K I T 
Barry's
Barry’s Porn Ride
Porn Ride
Composer
Composerand Musical Director:
Reinhardt
Reinhardt
Producers:
Producers: BradBrad Carlton& and
Carlton George
Brad Wendkos
Form: A A B; Key of D
Jazz Funk
D 7# 9
& 44 ∑
Drums
’’’’ ’’’’ ’’’’ ’’’’

4
D Min Pent
D Blues
D Dorian (C Maj)
D Half/Whole Dim.
D 7# 9
&’’’’ ’’’’ ’’’’ Û Û Œ Ó

(Simile)
œAå
D 7# 9
& .. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
(Simile)
B b13 D 7# 9
&’’’’ ’’’’ ’’’’ ’’’’

B≤ Mixo (E≤ Maj) D Min Pent
B≤ Overtone (F Mel Min) D Blues
D Dorian (C Maj)
D Half/Whole Dim.
D 7# 9
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
G9 F 13
G Mixo (C Maj) F Overtone (C Mel Min) D Min Pent

G Overtone (D Mel Min) F Mixo (B≤ Maj) D Blues
G Mixo ≤6 (C Mel Min) D Dorian (C Maj)
D Half/Whole Dim.
œBå
B m9 F # m11 B m9 F # m11
& ’’’’ ’’’’ ’’’’ ’’’’

B Dorian (A Maj) F≥ Aeolian (A Maj) B Dorian (A Maj) F≥ Aeolian (A Maj)
1 2
F #m7 (11 ) B 7# 9 D 7# 9
& ’’’’ ’’’’ ’’’’ Û Û Œ Ó .. ‰ JÛ Œ Ó

D m9 C Maj7
D Dorian (C Maj) C Ionian (C Maj) F≥ Dorian (E Maj)

Fig. 1D 7 # 9
œ #œ n œœ œœ
8va
& 44 œ Œ Ó
13 14 13 13
13 13 13
Fig. 2
F #m11 œ ˙
œ ˙ #œ œ œ ˙
B m9 B m9
œBå
4 ‰ # œ œ ‰ J ‰ # Jœ œ
&4 J
Let Ring Let Ring Let Ring
12
10 10 10
7 13 7
11 11
œ˙
F #m11
œ˙ œ˙ F #m7 ( 11 )
œ˙
#œ œ
D m9 C Maj7
œ œ œ
&‰ J ‰J œ
‰J ‰ # Jœ œ
Let Ring Let Ring Let Ring Let Ring

12
10 13 12 12
13 10 9 9
14 12 11
B b13
ww
G9
wF9
w
F 13
ww (
ww
)
b www
( )
b www
& w
b w w w
bw
(10 ) (8) 10
8 10 8 8
7 10 8 8
6 9 7 7
10 8 8
6
F U S I O N I M P ROV I S AT I O N TO O L K I T 
The Carefree Marsupial
The Carefree Marsupial
Composer
Composerand Musical Director:
& Musical Director:Ron Ron
Reinhardt
Reinhardt
Producers:
Producers: BradBrad Carlton&and
Carlton George
Brad Wendkos
Form: A B; Key of B Minor

Light Fusion
F # m7(11 ) F # m7(11 )
& 44 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
B m9 B m9
B Dorian (A Maj) F≥ Aeolian (A Maj) B Dorian (A Maj) F≥ Aeolian (A Maj)
œAå Choruses
B m9
> #
D Maj7/A G m9 F #7# 9 E m9 F m7
& .. ’ ’ ’ ’ Û Û . Û Û Û ’ ’ ’ ’ ’ ’ ’ ’
B Aeolian D Ionian E Dorian (D Maj) F≥ Aeolian (A Maj)
(D Maj) (D Maj) G Dorian F≥ Super Locrian F≥m11 Arpeggio
B Dorian (F Maj) (G Mel Min)
B m9
> #
D Maj7/A G m9 F #7# 9 (# 5) E m9 F m7
& ’ ’ ’ ’ Û Û. ÛÛ Û ’ ’ ’ ’ ’ ’ ’ ’
B Aeolian D Ionian E Dorian (D Maj) F≥ Aeolian (A Maj)
(D Maj) (D Maj) G Dorian F≥ Super Locrian
B Dorian (F Maj) (G Mel Min)
œBå
C #m9 A Maj7 C #m9 A Maj7
&’’’’ ’’’’ ’’’’ ’’’’

C≥ Aeolian (E Maj) A Lydian (E Maj) C≥ Aeolian (E Maj) A Lydian (E Maj)
1, 2
B bm7(b 5) E b7# 9 A bm9
. > . > > E Maj7 G Maj7 A B
& Û Û Û Û Û Û Û Û Û Û ’’ Û Û Û ’’’’..
B Major (omit 7th)
B≤ Locrian E≤ Super Locrian A≤ Aeolian (B Maj) A Mixo (D Maj) B Mixo (E Major)
(B Maj) (E Mel Min) E Lydian (B Maj) G Lydian (D Maj)
3 Ending
B (# 11)
. > G Maj7 A B G Maj7 A

> U
Û Û Û ’ ’ ’ ’ .. | Û. Û |
3 Times
& .’’
G Lydian (D Maj) B Major (omit 7th)
J
A Mixo (D Maj) B Mixo (E Major) G Lydian (D Maj) B Lydian (F≥ Major)
A Mixo (D Maj)

Fig. 1 - Intro
(repeat only)B m9 F #m7 (11 )
### 4 œ .
8va
& 4 œœ .. œœ œœ ... œœ ˙˙ œœ .. œœ ˙˙
œ œ œ ˙ œ. œ ˙
10 9
10 10 10 12 9
9 9 9 9 9
11 11 9
Fig. 2 - Voicings
ww B m9
w
D Maj7/A G m9
w ww
F #7# 9 (# 5)
# ww
E m9
# www
E m11 F #m7
#
&# ww ## www b www # ww w w # www
( ) ( ) ( ) ( )
5 5 5 5 5
3 3 3 3 7 7 5
6 6 3 3 7 7 6
(4 ) (4) ( 3) ( 2) 5 5 7
ww B bm7(b 5)
b b www w
E b7# 9 (# 5)
A Maj7
C #m9
# # www # # www # ww
# b b www
A Maj7
F #m7 F #m7
w # ww bw
& # ww
( )
w ( )
12 9 7
5 2 9 9 12 9 7
2 2 9 9 (13 ) 9 6
4 2 13 11 ( 11 ) 8 5
A bm9 (m11)
#w b b bb wwww #w
E Maj 13
# ww
B add9
# # www # # www
A add9
# www
G Maj7 (9)
ww
( )
( )
& w
11 ( 9) ( 5) 9 11
12 11 7 10 12
11 11 7 9 11
11 9 5 9 11
F U S I O N I M P ROV I S AT I O N TO O L K I T 
Fig. 5 - Voicings (for “A-OK”)
w D 13
A b13
# www
D /E G 13
# ww ww w
& ww w b ww
12
12 7 5 6
11 7 4 5
10 7 3 4
7
APPENDIXES
Six Steps
Improvisational Theory
Major Scales and Diatonic Chords
The large chart lays out for you third degree of C major is E. root. The two charts at the
all notes in all major keys. The The Greek words across the bottom show the chord quality
“Ws” and “½ s” across the top bottom are the names of the (major, minor, diminished,
represent the intervals between modes that begin on each etc.) that results from building
each of the notes—whole steps degree. That is, if you wanted chords on each of the scale
and half steps. The Roman to play in the F Lydian mode, degrees.
numerals represent the degrees you’d use the notes of the C
of the scales. For example, the major scale, but treat F as the
W W 1
⁄2 W W W 1
⁄2
I II III IV V VI VII VIII [I]
C D E F G A B C
G A B C D E F# G
D E F# G A B C# D
A B C# D E F# G# A
E F# G# A B C# D# E
B C# D# E F# G# A# B
F# G# A# B C# D# E# F#
C# D# E# F# G# A# B# C#
F G A Bb C D E F
Bb C D Eb F G A Bb
Eb F G Ab Bb C D Eb
Ab Bb C Db Eb F G Ab
Db Eb F Gb Ab Bb C Db
Gb Ab Bb Cb Db Eb F Gb
Cb Db Eb Fb Gb Ab Bb Cb
Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Ionian
Diatonic Triads Diatonic 7th Chords

• Major: I, IV, V • Major 7: I, IV
• Minor: II, III, VI • (Dominant) 7: V
• Diminished: VII • Minor 7: II, III, VI
• Minor 7 ( b 5): VII
I
The Formula Method for Chords and Scales
When using these formulas, find the rest of the notes the
always start with the major same way—for the fifth and
scale of the prevailing chord or flatted seventh, look under “V”
scale. Say you’re trying to fig- to get “A”, and under “VII” to
ure out the notes in a D minor get “C #”—remember to flat
9th chord. The chart below this to “C”. For the ninth, you
specifies 1 (the root, “D” in this need to go beyond the first
case), b 3, 5, b 7, and 9. The next octave—since “VIII” is the same
note after the root we need is a note as “I,” “IX” (if it was there)
flatted third. Find the D major would be the same as “II”.
scale on the previous page. The ninth we need then, is “E.”
Under the Roman numeral III You can build scales the same
on the chart you’ll find the way—find the major scale with
third of the D major scale—F #. the root you need, and fill in
Since the chord calls for a flat- other notes according to the
ted third, we need to lower this chart in appendix III, flatting
note a half step, to F. You can and sharping where necessary.
Major Family of Chords Dominant Family of Chords

(Maj) 1 3 5 (Dom) 7 1 3 5 b7
(Maj) add 9 1 3 5 9 (Dom) 7/6 1 3 5 6 b7
(Maj) 6 1 3 5 6 (Dom) 9 1 3 5 b7 9
(Maj) 6/9 1 3 5 6 9 (Dom) 13 1 3 5 b7 9 13
Maj 7 1 3 5 7 (Dom) 7 sus 4 1 4 5 b7

Maj 9 1 3 5 7 9 (Dom) 7/6sus4 1 4 5 6 b7
Maj 13 (Maj 7/6/9) 1 3 5 7 9 13 (Dom) 9sus4 or 11 1 4 5 b7 9
Maj 7/6 1 3 5 6 7 (Dom) 13sus4 1 4 5 b7 9 13
Minor Family of Chords Other Chord Types

Minor 1 b3 5 “5” (power chord) 1 5
Minor add 9 1 b3 5 9 sus 2 1 2 5
Minor 6 1 b3 5 6 sus 4 1 4 5
Minor 6/9 1 b3 5 6 9 add 9 sus 4 1 4 5 9
Minor 7 1 b3 5 b7 Minor 7 ( b 5) 1 b3 b5 b7
Minor 9 1 b3 5 b7 9 Diminished 7th 1 b3 b5 bb7*
Minor 11 1 b3 5 b7 9 11 Augmented 1 3 #5
*bb 7=6 (enharmonic equivalent)
II
Scale Formulas
Ionian (Major Scale) 1 2 3 4 5 6 7
Dorian 1 2 b3 4 5 6 b7
Phrygian 1 b2 b3 4 5 b6 b7
Lydian 1 2 3 #4 5 6 7
Mixolydian 1 2 3 4 5 6 b7
Aeolian 1 2 b3 4 5 b6 b7
Locrian 1 b2 b3 4 b5 b6 b7
Major Pentatonic 1 2 3 5 6
Minor Pentatonic 1 b3 4 5 b7
Blues 1 b3 4 #4 5 b7
Blues Composite 1 2 b3 3 4 #4 5 6 b7
Harmonic Minor 1 2 b3 4 5 b6 7
Phrygian Dominant 1 b2 3 4 5 b6 b7
Melodic Minor 1 2 b3 4 5 6 7
Lydian Augmented 1 2 3 #4 #5 6 7
Overtone (Lydian b 7) 1 2 3 #4 5 6 b7
* Mixolydian b 6 (Aeolian Major) 1 2 3 4 5 b6 b7
Super Locrian (Altered Dominant) 1 b2 b3 b4 b5 b6 b7
Half Step/Whole Step Diminished 1 b2 b3 3 #4 5 6 b7
Whole Step/Half Step Diminished 1 2 b3 4 #4 #5 6 7
Whole Tone 1 2 3 #4 #5 b7
* Mixolydian b 6 is not illustrated

in the Scale Formula Diagrams.
To form this scale, take the
Mixolydian mode and flat
the sixth.
III
Tonal Colors
Strive to hear each of these tones against all harmonic situations:
1 Strongest tone (Root)

5 Very strong (e.g. Power chords are Root-Fifth)
3 Strong Major sound
b7 Brings out the Blues sound (Dominant sound)
b 3 ( # 9) Brings out Minor sound—also acts as a blue note against Dominant 7 harmony.
The b 3 wants to resolve to the 3
6 (13) Not as strong as previous tones
2 (9) Jazzy, not as strong as previous tones
4 (11) Sus4 sound, resolves to 3.
# 4 ( b 5) Blue note, sinister sound, wants to resolve to 5 or down to 4 for Blues sound
7 Pretty, Major 7 sound, tends to resolve upward to 1
b 6 ( # 5) Weak tone, resolves down to 5 or up to b7
b 2 ( b 9) Tension tone, resolves down to 1
Parent Scale Concept

Modes are “offspring” of the major scale, which is the “parent.”
Ex. 1: D Dorian contains the same notes as the C major scale.
It can be thought of as a C major scale played from D to D.
Ex. 2: A b Lydian is an E b major scale played from A b to A b.
Ex. 3: The parent of B Mixolydian is E major.
Each mode has a color. Learn to hear these colors:
Ionian Pretty, Major sound—“Do, Re, Mi” etc.

Dorian Jazzy Minor sound
Phrygian Spanish Flamenco sound
Lydian Bright Major sound
Mixolydian Bluesy Major sound
Aeolian Darker Minor sound
Locrian Very dark Minor 7 b 5 sound
Overtone Bright Dominant 7 sound
Phrygian Dominant Spanish Flamenco sound
In many situations, you can mix modes for more colors. For
example: over Dominant 7 chords in blues, you can use both
Dorian and Mixolydian, or Blues Composite, which contains the
Dorian and Mixolydian notes. Finally, remember that whatever
exists in the parent scale (chords, clusters, Pentatonic sub-scales,
etc.) also exists in the offspring modes. Examine these and try
all of the possibilities.
IV
Scale Formula Fretboard Diagrams
These diagrams are all in G.
You can transpose them to
other keys by moving the root
(the “1”) to the note you need,
and moving everything else
relative to that. For example, if
you wanted to play in B b , you’d
move everything up three frets.
The notes on the E and A
strings are shown in the tab in
appendix VIII to help you find
the roots you need.
Ionian (Major Scale) Lydian

6 2 5 1 3 6 6 2 5 1 3 6
4
7 3 6 2 7 7 3 6 2 #4 7
1 4 5 1 1 5 1
7 3 #4 7 3
2 5 1 4 6 2 2 5 1 6 2
#4
3 6 2 5 7 3 3 6 2 5 7 3
4 1 4 1
7 3 6 #4 7 3 6 #4
5 1 4 2 5 5 1 2 5
7 #4 7
6 2 5 1 3 6 6 2 5 1 3 6
Major Pentatonic Minor Pentatonic

6 2 5 1 3 6 5 1
%7 %3 4 %7
3 6 2
1 5 1 1 4 %7 %3 5 1
3
2 5 1 6 2 5 1 4
%3 %7 %3
3 6 2 5 3 5
1 4 %7 %3 1 4
3 6
5 1 2 5 5 1 4 %7 5
%3
6 2 5 1 3 6 5 1
V
Blues Dorian
5 1 6 2 5 1 6
%7 %3 4 %7 %7 %3 4 %7
#4 6 2
1 4 %7 %3 5 1 1 4 %7 %3 5 1
#4
5 1 4 2 5 1 4 6 2
%3 #4 %7 %3 %3 %7 %3
5 6 2 5
4 %7 %3 1 4 4 %7 %3 1 4
#4 #4 6
5 1 4 %7 5 5 1 4 %7 2 5
#4 %3 %3
5 1 6 2 5 1 6
Aeolian (Natural Minor) Phrygian

2 5 1 5 1
%7 %3 %6 4 %7 %7 %3 %6 %2 4 %7
2
1 4 %7 %3 5 1 1 4 %7 %3 5 1
%6 %2 %6 %2
2 5 1 4 2 5 1 4
%3 %6 %7 %3 %3 %6 %2 %7 %3
2 5 5
4 %7 %3 %6 1 4 4 %7 %3 %6 1 4
%2
5 1 4 %7 2 5 5 1 4 %7 5
%6 %3 %6 %6 %2 %3 %6
2 5 1 5 1
Locrian Mixolydian
1 6 2 5 1 3 6
%7 %3 %6 %2 4 %7 %7 4 %7
%5 3 6 2
1 4 %7 %3 1 1 4 %7 5 1
%2 %5 %6 %2 3
1 4 2 5 1 4 6 2
%3 %6 %2 %5 %7 %3 %7
3 6 2 5 3
4 %7 %3 %6 1 4 4 %7 1 4
%6 %2 %5 3 6
1 4 %7 5 1 4 %7 5
%6 %2 %5 %3 %6
1 6 2 5 1 3 6
VI
Overtone Blues Composite
6 2 5 1 3 6 6 2 5 1 3 6
%7 %7 %7 %3 4 %7
3 6 2 #4 3 6 2 #4
1 %7 5 1 1 4 %7 %3 5 1
#4 3 #4 3
2 5 1 6 2 2 5 1 4 6 2
#4 %7 %3 #4 %7 %3
3 6 2 5 3 3 6 2 5 3
%7 1 4 %7 %3 1 4
#4 3 6 #4 #4 3 6 #4
5 1 %7 2 5 5 1 4 %7 2 5
#4 #4 %3
6 2 5 1 3 6 6 2 5 1 3 6
Phrygian Dominant Melodic Minor

5 1 3 6 2 5 1 6
%7 %6 %2 4 %7 %3 4
3 7 6 2 7
1 4 %7 5 1 1 4 %3 5 1
%2 3 %6 %2 7
5 1 4 2 5 1 4 6 2
%6 %2 %7 %3 %3
3 5 3 6 2 5 7
4 %7 %6 1 4 4 %3 1 4
3 %2 7 6
5 1 4 %7 5 5 1 4 2 5
%6 %2 %6 7 %3
5 1 3 6 2 5 1 6
Super Locrian Half/Whole Diminished

1 %4 6 5 1 3 6
%7 %3 %6 %2 %7 %7 %3 %2 %7
%4 %5 3 6 #4
1 %7 %3 1 1 %7 %3 5 1
%2 %5 %4 %6 %2 %2 #4 3 %2
1 5 1 6
%3 %6 %2 %5 %7 %3 %3 %2 #4 %7 %3
%4 %4 3 6 5 3
%7 %3 %6 1 %7 %3 1
%5 %4 %2 %5 #4 3 6 %2 #4
1 %7 5 1 %7 5
%6 %2 %5 %3 %6 %2 #4 %3
1 %4 6 5 1 3 6
VII
Whole/Half Diminished Whole Tone
6 2 1 6 2 1 3
%3 #5 4 %7 #5 %7
7 6 2 #4 7 3 2 #4
1 4 %3 1 1 %7 1
#4 7 #5 #4 3 #5
2 1 4 6 2 2 1 2
%3 #5 #4 %3 #5 #4 %7
6 2 7 3 2 3
4 %3 #5 1 4 %7 #5 1
#4 7 6 #4 #4 3 #4
1 4 2 1 %7 2
#5 #4 7 %3 #5 #5 #4 #5
6 2 1 6 2 1 3
Lydian Augmented Harmonic Minor

6 2 1 3 6 2 5 1
#5 %3 %6 4
7 3 6 2 #4 7 7 2 7
1 1 1 4 %3 5 1
#4 7 3 #5 7 %6
2 1 6 2 2 5 1 4 2
#5 #4 %3 %6 %3
3 6 2 7 3 2 5 7
#5 1 4 %3 %6 1 4
#4 7 3 6 #4 7
1 2 5 1 4 2 5
#5 #4 7 #5 %6 7 %3 %6
6 2 1 3 6 2 5 1
Notes on E and A Strings
0 1 2 3 4 5 6 7 8 9 10 11 12
E F F≥/G≤ G G≥/A≤ A A≥/B≤ B C C≥/D≤ D D≥/E≤ E
0 1 2 3 4 5 6 7 8 9 10 11 12
A A≥/B≤ B C C≥/D≤ D D≥/E≤ E F F≥/G≤ G G≥/A≤ A
VIII

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I M P R O V I S AT I O N TOOL KITS

TrueFire - ignited we stand!

Click in the Red Boxes for audio. Try it!

Copyright ©1994 - 2002 by TrueFire. All rights reserved.

RHYTHM TRACKS & LESSONS

RHYTHM TRACKS & LESSONS

“The Carefree Marsupial”

RHYTHM TRACKS & LESSONS

& 44 Ó ¿¿¿¿¿ ¿¿¿

&’’’’ ’’’’ ’’’’ ’’’’

& ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ’ ’ ’ ’ ’ ’ ’ ’

& JÛ ‰ŒŒ‰ JÛ JÛ ‰ Œ Œ Û JÛ ‰ŒŒ‰ JÛ JÛ ‰ Œ Û Û .. JÛ ‰ Œ Ó

& 44 ∑ .. ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ ..

E Dorian (D Maj) E Blues

> > > > >

& | JÛ ‰ JÛ | | | | .. .. ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛ

B Dorian (A Maj) B Phrygian Dominant

Also available for soloing are

F # 5-F # Minor Pentatonic

Form: A B A B C A; Key of A Minor

*P.M. Bass Notes Thruoughout.

& œœ œ œ œ œ œ .. œœ .. œœœ ˙˙˙ œœ .. b œœ ˙˙ œœ .. œœœ œœœ ... œœj

D.S. Al Coda fi Coda

Form: ABCBCBA; Key of G

& | Û Û ‰ Û Û ‰ Û. Û | ÛÛ‰ ÛÛ‰

E≤ Lydian (B≤ Maj) D Phryg (B≤ Maj)

Fig. 2œCå qttt = q; ;Î;ur; ;Î;u

Producers: Brad Carlton

Form: AB; Key of A Minor

Hip Hop qttt = q; ;Î;ur; ;Î;u

C Dorian (B≤ Maj) F Lydian (C Maj)

C Dorian (B≤ Maj)

F Lydian (C Maj) C Dorian (B≤ Maj)

C Dorian (B≤ Maj)

A bMaj7 B bm7 B bm7/E b

A≤ Ionian (A≤ Maj) B≤ Dorian (A≤ Maj) Csus4, C7sus4

b b œœœ œœœ ¿¿¿ œœœ ≈ œœœ ≈ œœœ ˙˙˙

Form: A A1 B; Key of A Minor

& ’’’’ ’’’’ ’’’’ ’’’’

& ’’’’ ’’’’ ’’’’ ’’’’

& ’’’’ ’’’’ ’’’’ ’’’’

F Blues Composite G Blues Composite

& œœœ œœ.

Fig. 2œAå (Rhythm Gtr. Part)

*Notational differences in Theme Riff reßect possible interpretive choices.

& 44 Û . Û Û Û Û ‰ JÛ Û Û .. ‰ JÛ Û Û Û ’’’’ ’’’’

& ’ ’ Û Û Û Û ’’’’ ’’’’ ’ ’ ’ ’

G Blues Composite A Blues Composite E Blues Composite

&’’’’ ’’’’ ’’’’ ’’’’

& # www # # ‹ www b b www b www

&’’’’ ’’’’ ’’’’ ’’’’

Fig. 2œBå Entire Section 8va

& Œ . œœ ≈ œœ .. œœ ‰ œœ Œ . # Jœœ ≈ œœ .. œœ ‰ Jœœ Œ . # Jœœ ≈ œœ .. œœ ‰ Jœœ œ œ ‰ Œ Ó

& 44 ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ’’’’ ’’’’ ’’’’ ’’’’

&’’’’ ’’’’ ’’’’ ’’’’

&’’’’ ’’’’ ’’’’ ’’’’

&’’’’ ’’’’ ’’’’ ’’’’

&’’’’ ’’’’ ’’’’ ’’’’

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ÛÛ‰ ÛÛ‰ ÛÛ‰ ÛÛ‰ ..

A Blues Composite F≥ Blues Composite

Boogie Rock qr = qc e

&’’’’ ’’’’ ’’’’ ’’’’

&’’’’ ’’’’ ’’’’ ’’’’