Jarllan Lima <jarllan60@gmail.

com>

Sonoridades modais
C7M Dm6 Esus4,7,9b F7M/11#; G7 Am7 Bm7(b5)
Jnio
T 3 5 7+ C7M
C E G B
Drica
T 3b 5 6 Dm6
D F A B
Frigia
T 3b 5 9b T 4 7 9b Esus4/7/9b
E G D F
E A D F
Lidia
T 3 7+ 11# F7M/11#;
F A E B
Mixoldia
T 3 5 7 G7
G B D F
Eolia
T 3b 5 7 Am7
A C E G
Locria
T 3b 5b 7 Bm7(b5)
B D F A

29 de set (H
3 dias)

Menor meldica
Cm6/7M Dm7/13/9b E5#/7M/11# F7/11# G7/13b Am5b/7/9 B7alt
T 3b 6 7M Dorico 7M
C Eb A B Cm6/7M
T 3b 7 9b 13 Frgio 6
D F C E B Dm7/13/9b
T 3 5# 7M 11# ldio 5#
E G# C D# A# E5#/7M/11#
T 3 7 11#
F A Eb B

ldio 7b
F7/11#

T 3 7 13b Mixoldio 13b

G B F Eb G7/13b
T 3b 5b 7 9 Lcrio 9
A C Eb G B Am5b/7/9
T 3 7 5# T 3 7 9# Alterado
B D# G A B D# A D B7alt
Menor harmnica
Cm7M Dm5b/7/6 E5#/7M Fm7/11# G7/9b A7M/9# B/13b
T 3b 5 7M
C Eb G B

ELIO 7M
Cm7M

T 3b 5b 6 7 LOCRIO 6
D F Ab B C Dm5b/7/6
T 3 5# 7M
E G# C D#

JONIO 5#
E5#/7M

T 3b 7 11#
F Ab Eb B

DORICO 4#
Fm7/11#

T 3 7 9b
G B F Ab

MIXOLIDIO 9/13B FRIGIO MAIOR

G7/9b

T 3 7M 9# LIDIO 9#
A C# G# C A7M/9#

T 3b 5b 6 13b
B D F# Ab G

DIMINUTO ALTERADO
B/13b

Dom Dim hexafonica

C4b D7 Alt13 E7/9b/13 Fm5b/7/6/11b Gm7/11b A7M
B7/11#/13b
T 3b 5b 6 11b
C Eb Gb A E

DOM DIMINT
C4b

T 3b 5 7
DOM DIMINT
D F# A C / D F# C F D7 Alt13
T 3 7 9b 13 DOM DIMINT
E G# D F C#
E7/9b/13
T 3b 5b 7 6 11b DOM DIMINT
F Ab B D G Eb A Fm5b/7/6/11b
T 3b 7 11b
G Bb F B

DOM DIMINT
Gm7/11b

T 3b 5b 6 T 3 5 7
DOM DIMINT
A C Eb G A C# E G A7M
T 7 11# 13b
BA F G

HEXAFONICA
B7/11#/13b

Enpilhamento FUSION
T 3 5 7+ fundamental
T 9 5 7+ fusion 1
T 4 5 7+ Sus4/fusion 2
T 3 4 5 Allan Holsdworth
T 4 5 9 fusion 5
Acorde alterado. ncontrase no VII grau da escala menor meldica.
Este modo comparado ao modo mixoldio, do campo harmnico maior;
s que com algumas alteraes,
O acorde pode aparecer com as seguites tenses:
X7(b13), X7(#5), X7(b9), X7(#9), X7(#4)

C
C
C
C
C

D Eb F G A B
Db D# E Gb G# Bb
Db D# E Gb G A Bb
D E F G A Bb B
D E F# G# Bb

meldica
alterada
DomDim
Bebp domint
hexafonica

Harmonia Quartal
Harmonia quartal, uma escala qualquer com intervalos de quarta e
quarta aumentada. isso gera acordes que so usados no jazz
exemplo a escala de C maior que seria C , D , E, F , G, A, B,
Enpilhamento desses acordes em intervalos de quarta.
Primeiro acorde C F B E
Segundo acorde D G C F
Terceiro acorde E A D G
Quarto acorde F B E A
Quinto acorde G C F B
Sexto acorde
ADGC
Stimo acorde B E A D
Como estamos vendo, temos a escala de C harmonizada em quartas.

Bb7M5b Dm7/9 Fm7M/9 Bb13 Eb7m9 D7/9# Eb/Db Gb7/9 Bb7m D

m7/9 Fm7M
/9 Em7/5# Eb7/9 D7/9# Gm9 Bb7/sus4 Bb7 Eb7M/9 Dm7/9 Eb/Db
Cm7/5# Gb7M/9 Em7/5# Cm7/11 B7/5b
Bb7M/9 Dm7/9 F7sus4/6 Csus2 Gm7/Bb Dm7/9 Eb7/Db
Gb7M/sus2 Bb7M/D C9/F
Ab7M/C C7M/9 Bb/C F/Gb G9/A Eb7Msus2/Bb Eb7M/9 Dm7/9
Db7M/9/Eb Ab7M/sus2 Gb7M/9 C/D Eb2/F
F7/5b Dm7/A F7/A Ab7M/C Bb6
Gm7 Eb/Ab F/Gb Bbm7/F Bb7/9 Am/B Ab7M/G Gsus4 Gm7/Bb D
m7/A Gm7/9 Bbsus4/Ab Gm7/5# F7/A Eb7/G Eb/Ab Db9
F7/9 Bbsus4 Ebsus2/A
Bb7/6 Db7/6 Gb7/6 Ab7/6 Gb7add6 Ab7/6 Bb7/9
Hanalise harmnica

Aplicao das Progresses tenses Inveres e acordes relativos na

harmonia jazz dentro da sua tonalidade principal.
Cm7/11 Eb6/9 Fm7 Fm6/Ab Dm7/5b-Fm6 G7/FB Cm7/9 Cm9/Eb Ebm7/Db Ab7/C Db7M/5# Bbm7/11 Dm7/5b/9 G
7/13b Ab7M/11#
Dominantes secundrios
Cm7/4 C7/13b Fm7/9 Fm1/Eb Dm7/5b G7/13b Cm7/4 Cm7/4Bb7/13b Eb7/9 Ab7/13 Db7M/9 Gb7/13 Dm7/5b G7/13b Cm7/4
Dominantes substitutos
(subV)
Cm7/9 Gb7/13 Fm7/9 Eb7/9 Dm7/5b Db7/13 Cm7/4-Eb7M/9
E7M/9 Ebm7/9 D7/11# Db7M/9 Ebsus7/9 Dm7/5b Db7/13 Cm7/4
Dominantes diminutos (Dom Dim)
Cm7/4 Eb7/9#/13 Fm7/9 F7 Dm7/5b D7 Cm7/4 Cm7/4B7 Ebm7/Bb9 A7-Ab7/13 Db7M/9 Db7 Dm7/5b B7 Cm7/9
Sub Dominante menor e acordes de funo IVm.
Cm7/9 Gb7M/11# Fm6 Db7M/9 Dm7/5b Bb7/9 Cm7/4 Abm6 Ebm7/
9 Ebm7/5b-B7/13 Db7M/9 Gb7/13 Dm7/5b Fm7/5b-Ab7M/6 Cm7/9
Tenses do campo menor harmnico acordes relativos
F#m7/5b F7M11# E9b E5# Dm6 Ddim7 C7M/4# Am6 A7/9b A
7/5b/9b F7M9 Bb7M/11# Bm7/11 E7/9b Am7/13
Aplicao de cadncias e Dominantes secundrias
Am6 B7/9b E7/9b G#dim7 G7/13 C7/5# F7M Bb7M/11# Em7/5b A7
/13b F7M/A Bb6/9 Bm7/11 E7/9b Am7/9
Aplicao de Dominantes substitutos (SubV)
Am7/9 F7/13 E9b E7/D-E5# Bm7/5b Bb7/11# Am6 Cm7/11-F7/9Em7/5b Eb7/9 Dm7/9 Eb7/11# G#dim/13b Bb/11# Am7M
Aplicao de acordes diminutos e dominante diminutos (DomDim)
F7M F#dim7 G7/13 Abdim13/b Bb7/9b C#7/9#E5# Am7/9 Ebdim7 Em7/5b Eb7/11# Dm7/9 Eb7/9# Abdim7G7/13 Fdim7-E9b Am7/9
Aplicao de acordes sub dominante menor e acordes de funo sub
dominante menor
Am7M-Am7 Am6Am6b G7/13 Bm7/5b Dm6 Ddim7 Am7 Bb7M11# Gm6 Eb7M/9/11#
Dm7/9 Csus7/9 F7M/11# G7/13-Bm7/5b-Am7/9

Aplicaes de tenses e acordes relativos

Am7/9 C7M/E F7M/9 Dm7/9 Am7/9 Bm7/5b C7M/5# C6/9 Am7/9 E
m7/9 F7M F7M/A Gsus7/9 G7/9b C6/9
Aplicaes de Dominantes secundrios e cadncias II-V
C7M/9 Gm7-C7/9-F7M Gsus7/9 C6/9 E7/9# Am7/9 Am7/9G7/13 C6/9 Am7/9-C7/9-F7M Dm7/9 D7/9 E7/9b Am7/9
Aplicao de Dominantes substitutos (sub V)
C7M/9 Gm7/11-Gb7/11#-F7M Dm7/9-Db7/9-C7M/9 Bm7/b5-Db7/9C6/9 F7/9 Em7/5b A7/13b-Eb7/9 Dm7/9 Dm7/C Bm7/4 Bb7/9 C6/9
Aplicaes diminutos e Dominantes (Dom dim)
C7M C# Dm7/4 D# C7M/E Bb7/13 C6/9 B C6/9 E F7M/A
B E7/9# C6/9
Aplicao sub dominante menor e acordes de suas funo
C7M Em7/9 F7M Fm6 C6/9 Db7M/9 C6/9 Fm7Bb7/13 C7M Bbm6 F7M/A Fm/Ab G7/13 Ab7M-Dm7/5b-C6/9

Sugestes de encadeamentos
Gm7/11
Gm7/9
Gm7
Gm7/9
Gm7/4

C7/9
C7/13
C7/9
C7/13
C7/9

F7M
F7M
F7M
F7M/9
F7M/9

Gm7/5b
Gm7/5b
Gm7/5b
Gm7/5b
Gm7/5b

C7/9b
C7/13b
C7/9b
C7/13b
C7/9b

Fm7/9
Fm7
Fm7/9
Fm7/4
Fm7/11

Dm7/9
Cm7/9
Bbm7/9
Abm7/9
F#m7/9
Em7/9
Ebm7/9
C#m7/9
Bm7/9

G7/9/13
F7/9/13
Eb7/9/13
Db7/9/13
B7/9/13
A7/9/13
Ab7/9/13
F#7/9/13
E7/9/13

C7M/9
Bb7M/9
Ab7M7/9
Gb7M/9
E7M/9
D7M/9
Db7M/9
B7M/9
A7M/9

Am7/9
Gm7/9
Fm7/9

D7/9/13 G7M/9
C7/9/13 F7M/9
Bb7/9/13 Eb7M/9

15-SUBSTITUIO DE ACORDES
1-2-3-4-5-6-7 SEQUNCIA
1-3-6/5-7/4-2 REGRA DE SUBSTITUIC
2-5-1-6-4-7-3-6-4-5-1 PROGRESSO SUGERIDA
C7M DM7 EM7 F7M G7 AM7 B
C7M EM7 AM7 G7 B DM7 FMAJ7
DM7 G7 C7M AM7 FMAJ7 B EM7
G7M AM7 B M7 C7M D7 EM7 F#
G7M BM7 EM7 D7 F# C7M AM7
AM7 D7 G7M E M7 C7M F#.BM7
D7M EM7 F#M7 G7M A7 BM7 C#
D7M F#M7 BM7 A7 C# G7M EM7
E M7 A7 D7M BM7 G7M C# F#M7
A7M BM7 C#M7 D7M E7 F#M7 G#
A7M C#M7 G# E7 G# D7M BM7
B M7 E7 A7M F#M7 D7M G# C#M7
E7M F#M7 G#M7 A7M B7 C#M7 D#
E7M G#M7 C#M7 B7 D# A7M F#M7
F#M7 B7 E7M C#M7 A7M D# G#M7
B7M C#M7 D#M7 E7M F#7 G#M7 A#
B7M D#M7 G# M7 F#7 A# E7M C#M7
C#M7 F#7 B7M G#M7 E7M A# D#M7
F7M GM7 AM7 BB7M C7 DM7 E
F7M AM7 DM7 C7 E BB7M GM7
GM7 C7 F7M DM7 BB7M GM7 E AM7
F#7M G#M7 A#M7 B7M C#7 D#M7 E#
F#7M A#M7 D#M7 C#7 E# B7M G#M7
G#M7 C#7 F#7M D#M7 B7M E# A#M7

Escalas usada no Fusion jazz

T 2 3 4 5 6 7 7M Bebop dominante
T 2 3b 3 4 5 6 7 7M Bebop menor
T 2b 3b 4b 5b 6b 7b alterada
T 2b 2# 3 5b 5 6 7 Dom dim
T 2 3 4# 5# 7 Toms enteiros
T 2 3 4 5 6 7
C D E F G AB

maior

T 2 3b 4 5 6b 7b menor
C D Eb F G Ab Bb
T 2 3b 4 5 6b 7 harmnica
C D Eb F G Ab B
T 2 3b 4 5 6 7 meldica
C D Eb F G A B
Pentatnicas
C D E G A
T 2 3 5 6
C Eb F G Bb T 3b 4 5 7b
C Eb F F# G Bb T 3b 4 (4#) 5 7b
NOTAS CARACTERISTICAS DOS MODOS
T. 2 3 (4) 5 6 7M
T 4J nota Junior 4 justa
C F
D G
E A
F Bb
G C
A D
B E

T. 2 3m 4 5 (6) 7
T 6 nota dorica 6
C A
D B
E C#
F D
G E
A F#
B G#

T.(2m) 3m 4 5 6m 7
T 2b nota frigia 2b segunda menor
C Db
D Eb
E F
F Gb
G Ab
A Bb
B C

T. 2 3 (#4) 5 6 7M

Nota Ldia 4# quarta aumentada

T 4#
C F#
D G#
E A#
F B
G C#
A D#
B F

T. 2 3 4 5 6 (7)
Nota mixolidia 7 stima menor
T 7
C Bb
D C
E D
F Eb
G F
A G
B A

T. 2 3m 4 5 (6m) 7

Nota eolia 6b sexta menor

T 6b
C Ab
D Bb
E C
F Db
G Eb
A F
B G

T. 2m 3m 4 (b5) 6m 7
Nota locria 5b quinta diminuta
T 5b
C Gb
D Ab
E Bb
F B
G Db
A Eb
B F