chromatic transposition of ii v i bebop lines chromatic transposition of ii v i bebop lines jen...

Jazz Improvisation Series

CHROMATIC TRANSPOSITION OF II-V-I BEBOP LINESby Jen-Kuang Chang

© 2005 by Jen-Kuang ChangAll Rights Reserved

No Parts of this publication may be reproduced, in any form or by any means, without written permission from author

2

ACKNOWLEDGMENTS

ABOUT AUTHOR

OBJECTIVE

The author of this project would like to thank his friends for their kind assistance, profound insight, and willingness to

share his knowledge unconditionally. Additional thanks go out to George Garzone, Jerry Bergonzi, David Liebman, Hal Crook,

Jeff Harrington, and Fred Lipsius for their inspiring publications. Finally, a special thanks goes to my family members for their

firm support.

Chang Jen-Kuang graduated from Berklee College of Music (B.M.), studying with renowned jazz educators such as

George Garzone and Fred Lipsius. He is working toward his master degree with an emphasis on the music education in the

Emporia State University, Department of Music. While completing graduate study in ESU, he serves as a Graduate Teaching

Assistant and the MIDI LAB Assistant from 2002 to 2004. He is currently working on his master thesis, an analytical study on the

improvisation technique of the celebrated jazz alto saxophonist Charlie Parker, which won the Harold Durst Graduate Research

Award in 2004.

This project is designed to meet the demands of intermediate to advanced jazz saxophonists as they establish the

dexterity of their sight-reading skill in all key signatures. The standard ii-V-I jazz lines of the bebop era are transposed

chromatically, covering the full register of a saxophone to extend the technical flexibility. The author of this project avoids lengthy

theoretical annotation, aiming to establish the practical aspect as a sight-reading exercise. However, it is advised that the

saxophonists review the theoretical structure of each jazz line parallel to the sight-reading practice in order to enhance the

learning activity. Although the project is designed specifically for jazz saxophonists, it can be used by other jazz instrumentalists

who wish to develop their sight-reading skill.

3

CHROMATIC TRANSPOSITION OF II-V-I BEBOP LINES: THEORETICAL CONSIDERATIONSby Chang Jen-Kuang

The sole objective of this paper is to provide a brief theoretical annotation to twenty jazz lines in the style of the bebop.

The basic linear constructions of jazz lines in the bebop era are excluded purposefully, limiting the discussions only to the

constructions that might be beneficial to the developing jazz improvisors as a critical supplement to their own studies.

Discussions are grouped thematically to enhance the associations of the concepts of jazz melodic construction.

Inverted mordent has been favored by improvisors of the bebop era as a valid element in embellishing their

improvisational lines. Legitimately speaking, the term mordent refers to the ornamentation of written music which might not serve

as a valid reference when considering the improvisational nature of jazz music in the bebop era. It is noted that the author

implies only the aspect of musical embellishment when adopting the terminology. During the bebop era, alto saxophonist Charlie

Parker, along with other bebop improvisors, utilized this element effectively in almost every single improvisation. This particular

element of bebop improvisation is avoided, consciously or unconsciously, by contemporary jazz improvisors as a way of

departing from the influence of bebop. In this project, aiming to use bebop as a common musical language in jazz to enhance

sight-reading capacity, the author includes this element as a basic constructional block in building jazz lines which can be found

on numerous occasions.

Compound melody, a device that has been utilized by the composers of western classical music, is also closely

associated with bebop improvisation. Compared to quotation, which might serve as a musical metaphor or a figurative

vocabulary in jazz improvisation, compound melody has its constructional necessity in linear melodic structure when elaborating

a single melodic line. One is advised to analyze the difference between compound melody and countermelody, the latter

consisting of a main melody and its counterpart. In this project, the author utilizes this particular constructional devise on

numerous occasions. For example, the second and the eighth lines illustrate such usage.

Bebop character phrase, or bebop lick as suggested by David Baker and Jerry Coker, along with other musical

components, has established bebop as one of the most identifiable music language in jazz. Parallel to the musical developments

of major bebop figures such as Charlie Parker, Dizzy Gillespie, Pud Powell, and other bebop improvisors, the bebop character

phrase was introduced and has become highly influential. The melodic figure and its variations suggest not only the linear

construction, but also partially reveal the harmonic structure of bebopism, resulting in the installment of theoretical components

such as bebop scales. In this project, the author utilizes the variations of the bebop character phrase. For example, the middle

section of the eleventh line displays such usage.

Superimposition has been practiced by many jazz improvisors. Improvisors might superimpose a melodic line, implying

IV7 in the second bar of blues that might be different than the supplied harmonic structure; furthermore, improvisors might

superimpose a melodic figure, outlining ii-V sequence against the cycle of fifth sequence in the bridge of I’ve Got Rhythm.

Though the concept of superimposition does not originate from the bebop era, bebop improvisors were responsible for the

expansion of this technique. Terminologically speaking, superimposition and substitution are often used interchangeably.

However, superimposition is sometimes used specifically to refer to the implication of a new harmonic structure against a

preexisting one played by accompanists to achieve the goal of elaboration, such as superimposing Coltrane Change against

4

ii-V-I; however, substitution is used to refer to the embellishment of preexisted harmonic structure such as substituting V7 with

V7b9. In this project, the author utilizes a common superimposition in ii-V-I. For example, the first half of the thirteen and fourteen line

illustrate such employment.

Quotation is one of the most communicative devices in the jazz language of improvisation. It confirms improvisors’

knowledge of music literature; it might also serve as a symbolic component of figurative language in improvisation. During bebop

era, improvisors were responsible for the expansion of quotation technique to include not only the jazz standards, but also large

amount of melodic figures from western classical literature. For instance, alto saxophonist Charlie Parker quoted the melodic

figure from Stravinsky’s The Rite of Spring, and trumpeter Dizzy Gillespie quoted the melodic figure from Bizet’s Carmen. In this

project, the author utilizes quotation technique by quoting the melodic figure from Honeysuckle Rose in the fourteen line.

Although the concept of descending guide line has not been legitimately confirmed in scholarly journals, however, it

represents a large portion of theoretical constructions in this project. Similar construction can be found in many bebop

improvisations and bebop compositions, such as Charlie Parker’s Blues for Alice. The analytical device that is used to explore

the descending guide line has its close association with Schenkerian analysis, though the author has adopted the theory by

taking the common theoretical considerations in jazz into account.

The descending guide line is a continuous melodic line in the descending motion that serves as the linear structural

construction to link the improvisational vocabulary and reinforces the harmonic chord progression. Adopting the layer approach

of Schenkerian analysis, the descending guide lines could be analyzed as the foreground structural line which can often be

reduced to guide tone lines, the background structural lines of some jazz improvisations. In ninth line, a single descending guide

line reveals the improvisational direction throughout the entire line and serves as a structural outline.

Summarizing the constructional functions of the descending guide line, the author purposes that the single descending

guide line without any linear delay resolution has the most concentrated linear structure; this construction depends largely upon

the linear embellishments, such as neighbor tones and bebop notes, to maintain the level of interest. The single descending

guide line with one linear delay resolution constitutes the desired linear balance. While the number of linear delay resolution

increase, the degree of concentration of linear structure decreases. The related double descending guide lines that structuralize

one phrase share the similar functions of the single descending guide line and might be considered as the broken descending

guide line. The interpretation of the reduction to the descending guide line reveals one important harmonic structural

construction in ii-V-I phrases. The notes that are not included in the presented key might reveal the alteration of harmony. If the

location of notes that are outside of the presented key is in the middle of the descending guide line, it might indicate an

intensified harmonic alternation as shown in example six. If the location of notes that are outside of the presented key is at the

beginning or the ending of the descending guide line, it might only serve as an indication of harmonic embellishment.

In conclusion, although the ascending guide lines and combinations of the descending guide line and the ascending

guide lines exist in bebop improvisation, the descending guide line is significant for its frequent occurrence. In addition to the

analysis of the ascending guide lines, the other theoretical considerations that are presented in this paper serve only as an

alternative way to understand bebop improvisation and can be beneficial only to the developing improvisors who have involved

themselves musically in bebop improvisation.

5

created and complied by Jen-Kuang Chang

CHROMATIC TRANSPOSITION OF II-V-I BEBOP LINES

001 Dm7

G7 CMaj7

3 3

D#m7

G#7 C#Maj7

3 3

Em7

A7 DMaj7

3 3

Fm7

Bb7 EbMaj7

3 3

F#m7

B7 EMaj7

3 3

Gm7

C7 FMaj7 3 3

G#m7

C#7 F#Maj7 3 3

Gm7

C7 FMaj7 3 3

Copyright © 2005 Jen-Kuang Chang www.JKChang.com

6

http://www.JKChang.com

F#m7

B7 EMaj7

3 3

Fm7

Bb7 EbMaj7

3 3

Em7

A7 DMaj7

3 3

Ebm7

Ab7 DbMaj7

3 3

Dm7

G7 CMaj7

3 3

C#m7

F#7 BMaj7

3 3

Cm7

F7 BbMaj7

3 3

Bm7

E7

AMaj7

3 3


7


Bbm7

Eb7

AbMaj7

3 3

Am7

D7

GMaj7

3 3

Bbm7

Eb7

AbMaj7

3 3

Bm7

E7

AMaj7

3 3

Cm7

F7 BbMaj7

3 3

C#m7

F#7 BMaj7

3 3

Dm7

G7 CMaj7

3 3

002

Dm7 G7

CMaj7


8


D#m7

G#7 C#Maj7

Em7

A7 DMaj7

Fm7

Bb7 EbMaj7

F#m7

B7 EMaj7

Gm7

C7 FMaj7

G#m7

C#7 F#Maj7

Am7

D7 GMaj7

G#m7

C#7 F#Maj7


9


Gm7

C7 FMaj7

F#m7

B7 EMaj7

Fm7

Bb7 EbMaj7

Em7

A7 DMaj7

Ebm7

Ab7 DbMaj7

Dm7

G7 CMaj7

C#m7

F#7

BMaj7

Cm7

F7

BbMaj7


10


Bm7

E7

AMaj7

Bbm7

Eb7

AbMaj7

Bm7

E7

AMaj7

Cm7

F7

BbMaj7

C#m7

F#7

BMaj7

Dm7

G7 CMaj7

003 Dm7

G7 CMaj7

D#m7

G#7 C#Maj7


11


Em7

A7 DMaj7

Fm7

Bb7 EbMaj7

F#m7

B7 EMaj7

Gm7 C7

FMaj7

G#m7 C#7

F#Maj7

Gm7 C7

FMaj7

F#m7

B7 EMaj7

Fm7

Bb7 EbMaj7


12


Em7

A7 DMaj7

Ebm7

Ab7 DbMaj7

Dm7

G7 CMaj7

C#m7

F#7 BMaj7

Cm7

F7 BbMaj7

Bm7

E7 AMaj7

Bbm7

Eb7 AbMaj7

Bm7

E7 AMaj7


13


Cm7

F7 BbMaj7

C#m7

F#7 BMaj7

Dm7

G7 CMaj7

004 Dm7

G7

CMaj7

3

D#m7

G#7

C#Maj7

3

Em7

A7

DMaj7

3

Fm7

Bb7

EbMaj7

3

F#m7

B7

EMaj7

3


14


Gm7

C7 FMaj7

3

G#m7

C#7 F#Maj7

3

Am7

D7 GMaj7

3

Bbm7

Eb7 AbMaj7

3

Bm7

E7 AMaj7

3

Cm7

F7 BbMaj7

3

C#m7

F#7 BMaj7

3

Dm7

G7 CMaj7

3


15


D#m7

G#7 C#Maj7

3

Dm7

G7 CMaj7

3

C#m7

F#7 BMaj7

3

Cm7

F7 BbMaj7

3

Bm7

E7 AMaj7

3

Bbm7

Eb7 AbMaj7

3

Am7

D7 GMaj7

3

Abm7

Db7 GbMaj7

3


16


Gm7

C7 FMaj7

3

F#m7

B7

EMaj7

3

Fm7

Bb7

EbMaj7

3

Em7

A7

DMaj7

3

Ebm7

Ab7

DbMaj7

3

Dm7

G7

CMaj7

3

C#m7

F#7

BMaj7

3

Cm7

F7

BbMaj7

3


17


C#m7

F#7

BMaj7

3

Dm7

G7

CMaj7

3

005

Dm7 G7

CMaj7 3 3

D#m7

G#7

C#Maj7 3 3

Em7

A7 DMaj7

3 3

Fm7

Bb7 EbMaj7

3 3

F#m7

B7 EMaj7

3 3

Fm7

Bb7 EbMaj7

3 3


18


Em7

A7 DMaj7

3 3

Ebm7

Ab7 DbMaj7

3 3

Dm7

G7

CMaj7 3 3

C#m7

F#7

BMaj7

3 3

Cm7

F7

BbMaj7

3 3

Bm7

E7 AMaj7

3 3

Bbm7

Eb7 AbMaj7

3 3

Am7

D7 GMaj7

3

3


19


Abm7

Db7 GbMaj7

3

3

Gm7

C7

FMaj7

3

3

F#m7

B7

EMaj7

3

3

Fm7

Bb7

EbMaj7

3

3

F#m7

B7

EMaj7

3

3

Gm7

C7

FMaj7

3

3

G#m7

C#7

F#Maj7

3

3

Am7

D7 GMaj7

3

3


20


Bbm7

Eb7 AbMaj7

3 3

Bm7

E7 AMaj7

3 3

Cm7

F7

BbMaj7

3 3

C#m7

F#7

BMaj7

3 3

Dm7

G7

CMaj7 3 3

006

Dm7

G7

CMaj7 3

D#m7

G#7

C#Maj7 3

Em7

A7

DMaj7 3


21


Fm7

Bb7

EbMaj7 3

F#m7

B7

EMaj7 3

Fm7

Bb7

EbMaj7 3

Em7

A7

DMaj7 3

Ebm7

Ab7

DbMaj7 3

Dm7

G7

CMaj7 3

C#m7

F#7

BMaj7 3

Cm7

F7

BbMaj7 3


22


Bm7

E7

AMaj7

3

Bbm7

Eb7

AbMaj7

3

Am7

D7

GMaj7

3

Abm7

Db7

GbMaj7

3

Gm7

C7

FMaj7

3

F#m7

B7

EMaj7

3

Fm7

Bb7

EbMaj7

3

Em7

A7

DMaj7

3


23


Ebm7

Ab7

DbMaj7

3

Dm7

G7

CMaj7

3

C#m7

F#7

BMaj7

3

Cm7

F7

BbMaj7

3

C#m7

F#7

BMaj7

3

Dm7

G7

CMaj7

3

D#m7

G#7

C#Maj7

3

Em7

A7

DMaj7

3


24


Fm7

Bb7

EbMaj7

3

F#m7

B7

EMaj7

3

Gm7

C7

FMaj7

3

G#m7

C#7

F#Maj7

3

Am7

D7

GMaj7

3

Bbm7

Eb7

AbMaj7

3

Bm7

E7

AMaj7

3

Cm7

F7

BbMaj7 3


25


C#m7

F#7

BMaj7 3

Dm7

G7

CMaj7 3

007

Dm7

G7

CMaj7 3

D#m7

G#7

C#Maj7 3

Em7

A7

DMaj7 3

Fm7

Bb7

EbMaj7 3

F#m7

B7

EMaj7 3

Fm7

Bb7

EbMaj7 3


26


Em7

A7

DMaj7 3

Ebm7

Ab7

DbMaj7 3

Dm7

G7

CMaj7 3

C#m7

F#7

BMaj7 3

Cm7

F7

BbMaj7 3

Bm7

E7

AMaj7

3

Bbm7

Eb7

AbMaj7

3

Am7

D7

GMaj7 3


27


Abm7

Db7

GbMaj7 3

Gm7

C7

FMaj7

3

F#m7

B7

EMaj7

3

Fm7

Bb7

EbMaj7

3

F#m7

B7

EMaj7

3

Gm7

C7

FMaj7

3

G#m7

C#7

F#Maj7

3

Am7

D7

GMaj7 3


28


Bbm7

Eb7

AbMaj7

3

Bm7

E7

AMaj7

3

Cm7

F7

BbMaj7 3

C#m7

F#7

BMaj7 3

008

Dm7

G7

CMaj7 3

Dm7

G7

CMaj7

3

3

D#m7

G#7

C#Maj7

3

3

Em7

A7

DMaj7

3

3


29


Fm7

Bb7

EbMaj7

3

3

F#m7

B7

EMaj7

3

3

Gm7

C7 FMaj7

3 3

G#m7

C#7 F#Maj7

3 3

Am7

D7

GMaj7

3 3

Bbm7

Eb7

AbMaj7

3 3

Bm7

E7

AMaj7

3 3

Cm7

F7

BbMaj7

3 3


30


C#m7

F#7

BMaj7

3 3

Cm7

F7

BbMaj7

3 3

Bm7

E7

AMaj7

3 3

Bbm7

Eb7

AbMaj7

3 3

Am7

D7

GMaj7

3 3

Abm7

Db7

GbMaj7

3 3

Gm7

C7 FMaj7

3 3

F#m7

B7

EMaj7

3

3


31


Fm7

Bb7

EbMaj7

3

3

Em7

A7

DMaj7

3

3

Ebm7

Ab7

DbMaj7

3

3

Dm7

G7

CMaj7

3

3

C#m7

F#7

BMaj7

3

3

Cm7

F7

BbMaj7

3

3

Bm7

E7

AMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3


32


Bm7

E7

AMaj7

3

3

Cm7

F7

BbMaj7

3

3

C#m7

F#7

BMaj7

3

3

Dm7

G7

CMaj7

3

3

009 Dm7 G7

CMaj7

3 3 3

3

D#m7 G#7

C#Maj7

3 3 3

3

Em7 A7

DMaj7

3 3 3

3

Fm7 Bb7 EbMaj7

3 3 3

3


33


F#m7 B7 EMaj7

3 3 3

3

Fm7 Bb7 EbMaj7

3 3 3

3

Em7 A7

DMaj7

3 3 3

3

Ebm7 Ab7

DbMaj7

3 3 3

3

Dm7 G7

CMaj7

3 3 3

3

C#m7 F#7

BMaj7

3 3 3

3

Cm7 F7

BbMaj7

3 3 3

3

Bm7 E7 AMaj7

3 3 3

3


34


Bbm7 Eb7

AbMaj7

3 3 3

3

Am7

D7

GMaj7

3 3 3

3

Bbm7 Eb7

AbMaj7

3 3 3

3

Bm7 E7 AMaj7

3 3 3

3

Cm7 F7

BbMaj7

3 3 3

3

C#m7 F#7

BMaj7

3 3 3

3

Dm7 G7

CMaj7

3 3 3

3

010

Dm7

G7

CMaj7

3


35


D#m7

G#7

C#Maj7

3

Em7

A7

DMaj7

3

Fm7

Bb7 EbMaj7

3

F#m7

B7 EMaj7

3

Gm7

C7

FMaj7

3

G#m7

C#7

F#Maj7

3

Am7

D7

GMaj7

3

Bbm7

Eb7

AbMaj7

3


36


Bm7

E7

AMaj7

3

Cm7

F7 BbMaj7

3

Bm7

E7

AMaj7

3

Bbm7

Eb7

AbMaj7

3

Am7

D7

GMaj7

3

Abm7

Db7

GbMaj7

3

Gm7

C7

FMaj7

3

F#m7

B7 EMaj7

3


37


Fm7

Bb7 EbMaj7

3

Em7

A7

DMaj7

3

Ebm7

Ab7

DbMaj7

3

Dm7

G7

CMaj7

3

C#m7

F#7

BMaj7

3

Cm7

F7

BbMaj7

3

Bm7

E7

AMaj7

3

Bbm7

Eb7

AbMaj7

3


38


Am7

D7

GMaj7

3

Bbm7

Eb7

AbMaj7

3

Bm7

E7

AMaj7

3

Cm7

F7

BbMaj7

3

C#m7

F#7

BMaj7

3

Dm7

G7

CMaj7

3

011 Dm7

G7

CMaj7

3

D#m7

G#7

C#Maj7

3


39


Em7

A7

DMaj7

3

Fm7

Bb7

EbMaj7

3

F#m7

B7

EMaj7

3

Gm7

C7

FMaj7

3

G#m7

C#7

F#Maj7

3

Am7

D7

GMaj7

3

Bbm7

Eb7

AbMaj7

3

Bm7 E7

AMaj7

3


40


Cm7

F7

BbMaj7

3

C#m7

F#7

BMaj7

3

Cm7

F7

BbMaj7

3

Bm7 E7

AMaj7

3

Bbm7

Eb7

AbMaj7

3

Am7

D7

GMaj7

3

Abm7

Db7

GbMaj7

3

Gm7

C7

FMaj7

3


41


F#m7

B7

EMaj7

3

Fm7

Bb7

EbMaj7

3

Em7

A7

DMaj7

3

Ebm7

Ab7

DbMaj7

3

Dm7

G7

CMaj7

3

C#m7

F#7

BMaj7

3

Cm7

F7

BbMaj7

3

Bm7

E7

AMaj7

3


42


Bbm7

Eb7

AbMaj7

3

Bm7

E7

AMaj7

3

Cm7

F7

BbMaj7

3

C#m7

F#7

BMaj7

3

Dm7

G7

CMaj7

3

012

Dm7

G7 CMaj7

3 3 3

D#m7

G#7 C#Maj7

3 3 3

Em7

A7 DMaj7 3 3 3


43


Fm7

Bb7 EbMaj7 3 3 3

F#m7

B7 EMaj7 3 3 3

Gm7

C7 FMaj7 3 3 3

G#m7

C#7 F#Maj7 3 3 3

Gm7

C7 FMaj7 3 3 3

F#m7

B7 EMaj7 3 3 3

Fm7

Bb7 EbMaj7 3 3 3

Em7

A7 DMaj7 3 3 3


44


Ebm7

Ab7 DbMaj7 3 3 3

Dm7

G7 CMaj7

3 3 3

C#m7

F#7 BMaj7

3 3 3

Cm7

F7 BbMaj7

3 3 3

Bm7

E7

AMaj7

3 3 3

Bbm7

Eb7

AbMaj7

3 3 3

Am7

D7

GMaj7

3 3 3

Abm7

Db7

GbMaj7

3 3 3


45


Am7

D7

GMaj7

3 3 3

Bbm7

Eb7

AbMaj7

3 3 3

Bm7

E7

AMaj7

3 3 3

Cm7

F7 BbMaj7

3 3 3

C#m7

F#7 BMaj7

3 3 3

Dm7

G7 CMaj7

3 3 3

013

Dm7

G7 CMaj7

3

3

D#m7

G#7 C#Maj7

3

3


46


Em7

A7 DMaj7

3 3

Fm7

Bb7

EbMaj7

3 3

F#m7

B7

EMaj7

3 3

Fm7

Bb7

EbMaj7

3 3

Em7

A7 DMaj7

3 3

Ebm7

Ab7 DbMaj7

3 3

Dm7

G7 CMaj7

3

3

C#m7

F#7 BMaj7

3

3


47


Cm7

F7 BbMaj7

3

3

Bm7

E7

AMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3

Am7

D7

GMaj7

3

3

Abm7

Db7

GbMaj7

3

3

Am7

D7

GMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3

Bm7

E7

AMaj7

3

3


48


Cm7

F7 BbMaj7

3

3

C#m7

F#7 BMaj7

3

3

Dm7

G7 CMaj7

3

3

014

Dm7

G7

CMaj7

D#m7

G#7

C#Maj7

Em7

A7 DMaj7

Fm7

Bb7 EbMaj7

F#m7

B7 EMaj7


49


Gm7

C7 FMaj7

G#m7

C#7 F#Maj7

Am7

D7 GMaj7

Bbm7

Eb7 AbMaj7

Bm7

E7 AMaj7

Bbm7

Eb7 AbMaj7

Am7

D7 GMaj7

Abm7

Db7 GbMaj7


50


Gm7

C7 FMaj7

F#m7

B7 EMaj7

Fm7

Bb7 EbMaj7

Em7

A7 DMaj7

Ebm7

Ab7 DbMaj7

Dm7

G7

CMaj7

C#m7

F#7

BMaj7

Cm7

F7

BbMaj7


51


Bm7

E7

AMaj7

Bbm7

Eb7

AbMaj7

Bm7

E7

AMaj7

Cm7

F7

BbMaj7

C#m7

F#7

BMaj7

Dm7

G7

CMaj7

015

Dm7

G7 CMaj7 3 3

D#m7

G#7 C#Maj7 3 3


52


Em7

A7 DMaj7 3 3

Ebm7

Ab7 DbMaj7 3 3

Dm7

G7 CMaj7 3 3

C#m7

F#7 BMaj7

3 3

Cm7

F7 BbMaj7

3 3

Bm7

E7

AMaj7

3 3

Bbm7

Eb7

AbMaj7

3 3

Am7

D7

GMaj7

3

3


53


Abm7

Db7

GbMaj7

3

3

Am7

D7

GMaj7

3

3

Bbm7

Eb7

AbMaj7

3 3

Bm7

E7

AMaj7

3 3

Cm7

F7 BbMaj7

3 3

C#m7

F#7 BMaj7

3 3

Dm7

G7 CMaj7 3 3

016

Dm7 G7

CMaj7

3 3


54


D#m7

G#7

C#Maj7

3 3

Em7

A7

DMaj7

3 3

Fm7

Bb7

EbMaj7

3 3

F#m7

B7

EMaj7

3 3

Gm7

C7

FMaj7

3 3

G#m7

C#7

F#Maj7

3 3

Am7

D7 GMaj7

3 3

Bbm7

Eb7 AbMaj7 3 3


55


Am7

D7 GMaj7

3 3

Abm7

Db7 GbMaj7

3 3

Gm7

C7

FMaj7

3 3

F#m7

B7

EMaj7

3 3

Fm7

Bb7

EbMaj7

3 3

Em7

A7

DMaj7

3 3

Ebm7

Ab7

DbMaj7

3 3

Dm7

G7

CMaj7

3 3


56


C#m7

F#7

BMaj7

3 3

Cm7

F7

BbMaj7

3 3

Bm7

E7

AMaj7

3 3

Bbm7

Eb7

AbMaj7

3 3

Bm7

E7

AMaj7

3 3

Cm7

F7

BbMaj7

3 3

C#m7

F#7

BMaj7

3 3

Dm7

G7

CMaj7

3 3


57


017

Dm7

G7

CMaj7

3

D#m7

G#7

C#Maj7

3

Em7

A7

DMaj7

3

Fm7

Bb7

EbMaj7 3

F#m7

B7

EMaj7 3

Gm7

C7

FMaj7 3

G#m7

C#7

F#Maj7 3

Am7

D7

GMaj7 3


58


Bbm7

Eb7

AbMaj7 3

Bm7

E7 AMaj7

3

Cm7

F7 BbMaj7

3

Bm7

E7 AMaj7

3

Bbm7

Eb7 AbMaj7

3

Am7

D7

GMaj7 3

Abm7

Db7

GbMaj7 3

Gm7

C7

FMaj7 3


59


F#m7

B7

EMaj7 3

Fm7

Bb7

EbMaj7 3

Em7

A7

DMaj7

3

Ebm7

Ab7

DbMaj7

3

Dm7

G7

CMaj7

3

C#m7

F#7

BMaj7

3

Cm7

F7

BbMaj7

3

Bm7

E7

AMaj7

3


60


Bbm7

Eb7

AbMaj7

3

Am7

D7

GMaj7

3

Abm7

Db7

GbMaj7

3

Am7

D7

GMaj7

3

Bbm7

Eb7

AbMaj7

3

Bm7

E7

AMaj7

3

Cm7

F7

BbMaj7

3

C#m7

F#7

BMaj7

3


61


Dm7

G7

CMaj7

3

018

Dm7

G7 CMaj7 3

3

D#m7

G#7 C#Maj7 3

3

Em7

A7 DMaj7 3 3

Fm7

Bb7 EbMaj7 3 3

F#m7

B7 EMaj7 3 3

Gm7

C7 FMaj7 3 3

G#m7

C#7 F#Maj7 3 3


62


Gm7

C7 FMaj7 3 3

F#m7

B7 EMaj7 3 3

Fm7

Bb7 EbMaj7 3 3

Em7

A7 DMaj7 3 3

Ebm7

Ab7 DbMaj7 3 3

Dm7

G7 CMaj7 3

3

C#m7

F#7 BMaj7

3

3

Cm7

F7 BbMaj7

3

3


63


Bm7

E7

AMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3

Am7

D7

GMaj7

3

3

Abm7

Db7

GbMaj7

3

3

Am7

D7

GMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3

Bm7

E7

AMaj7

3

3

Cm7

F7 BbMaj7

3

3


64


C#m7

F#7 BMaj7

3

3

Dm7

G7 CMaj7 3

3

019 Dm7 G7

CMaj7

3

D#m7 G#7

C#Maj7

3

Em7 A7 DMaj7

3

Fm7 Bb7 EbMaj7

3

F#m7 B7 EMaj7

3

Fm7 Bb7 EbMaj7

3


65


Em7 A7 DMaj7

3

Ebm7 Ab7 DbMaj7

3

Dm7 G7

CMaj7

3

C#m7 F#7

BMaj7

3

Cm7 F7

BbMaj7

3

Bm7

E7 AMaj7

3

Bbm7

Eb7 AbMaj7

3

Am7

D7 GMaj7

3


66


Abm7

Db7 GbMaj7

3

Am7

D7 GMaj7

3

Bbm7

Eb7 AbMaj7

3

Bm7

E7 AMaj7

3

Cm7 F7

BbMaj7

3

C#m7 F#7

BMaj7

3

Dm7 G7

CMaj7

3

020

Dm7

G7

CMaj7

3

3


67


D#m7

G#7

C#Maj7

3

3

Em7

A7

DMaj7

3 3

Fm7

Bb7

EbMaj7

3 3

F#m7

B7

EMaj7

3 3

Gm7

C7

FMaj7

3 3

G#m7

C#7

F#Maj7

3 3

Am7

D7 GMaj7

3 3

Bbm7

Eb7 AbMaj7

3 3


68


Bm7

E7 AMaj7

3 3

Cm7

F7 BbMaj7

3 3

Bm7

E7 AMaj7

3 3

Bbm7

Eb7 AbMaj7

3 3

Am7

D7 GMaj7

3 3

Abm7

Db7 GbMaj7

3 3

Gm7

C7

FMaj7

3 3

F#m7

B7

EMaj7

3 3


69


Fm7

Bb7

EbMaj7

3 3

Em7

A7

DMaj7

3 3

Ebm7

Ab7

DbMaj7

3 3

Dm7

G7

CMaj7

3

3

C#m7

F#7

BMaj7

3

3

Cm7

F7

BbMaj7

3

3

Bm7

E7

AMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3


70


Am7

D7

GMaj7

3

3

Bbm7

Eb7

AbMaj7

3

3

Bm7

E7

AMaj7

3

3

Cm7

F7

BbMaj7

3

3

C#m7

F#7

BMaj7

3

3

Dm7

G7

CMaj7

3

3


71
