MASTER ACCORDION SCALE BOOK (BOOK)
WITH JAZZ SCALE STUDIES
COMPOSER: GARY DAHL

FORMAT: BOOK
SKILL LEVEL: BEGINNING-INTERMEDIATE
PAGES: 80
BINDING: SADDLE STITCHED
PUBLISHER: MEL BAY PUBLICATIONS, INC.
DATE PUBLISHED: 7/9/2004

DESCRIPTION:
-THIS BOOK HAS BEEN DESIGNED TO DEVELOP THE PROFESSIONAL OR RECREATIONAL ACCORDIONIST FURTHER TOWARD ADVANCED MUSICIANSHIP. WHY DO WE PRACTICE SCALES? THE GREAT JAZZ ACCORDIONIST, ART VAN DAMME, WHEN ASKED WHAT HE PRACTICED, REPLIED, 'ONLY THE FUNDAMENTALS!' THE FUNDAMENTAL CLASSICAL AND JAZZ SCALES WITH EXPLANATIONS ARE PRESENTED HERE IN A CLEAR, CONCISE FORMAT. FOR BEST RESULTS USE THIS BOOK WITH OR AFTER THE CHORD MELODY METHOD FOR ACCORDION.

CONTENT:
FOREWORD. . . . . . . . . . . . . . . . . . . . 4
ART VAN DAMME DEDICATION. . . . . . . . . . . . 4
ABOUT THE AUTHOR . . . . .. . . . . . . . . . . 4
WARM UP EXERCISES; ONE OCTAVE MAJOR SCALES. . . 5
A MAJOR TO CS MAJOR. . . . . . . . . . . .. . . 6
F MAJOR TO GF MAJOR . . . . . . . . . . . . . . 7
C MAJOR AND A MINOR, 3RDS AND CHROMATIC SCALE IN 3RDS . . . 8
G MAJOR AND E MINOR . . . . . . . . . . . . . . 9
D MAJOR AND B MINOR . . . . . . . . . . . . . . 10
A MAJOR AND FS MINOR . . . . . . . . . . . . . 11
E MAJOR AND CS MINOR . . . . . . . . . . . . . 12
B MAJOR AND DS MINOR. . . . . . . . . . . . . . 13
CS MAJOR, AS MINOR, F MAJOR, D MINOR .. . . . . 14
D MINOR, BF MAJOR, G MINOR . . . . . .. . . . . 15
G MINOR, EF MAJOR, C MINOR . . . . . .. . . . . 16
AF MAJOR, F MINOR, DF MAJOR . . . . . . . . . . 17
BF MINOR, GF MAJOR, EF MINOR, CF MAJOR, AF MINOR.......... 18
MAJOR SCALES IN TWO OCTAVES, C TO DF . . . . . 19
GF TO G . . . . . . . . . . . . . . . . . . . . 20
L.H. MAJOR SCALE, UNISON, CONTRARY,R.H. CHROMATIC SCALE. . 21
R.H. CHROMATIC SCALE DESCENDING, BOTH HANDS IN 3RDS, 6THS, L.H. CHROMATIC SCALE . . 22
L.H. HARMONIC MINOR, MELODIC, R.H. A MINOR (NATURAL MINOR) . . . . . . . . . . . . . 23
MINOR SCALE THEORY . . . . . . . . . .. . . . . 24
D MELODIC MINOR TO GF MELODIC MINOR . . . . . . 25
G MELODIC MINOR TO B MELODIC MINOR . .. . . . . 26
THE DIMINISHED SCALE . . . . . . . . .. . . . . 27
DIMINISHED SCALES, AUGMENTED SCALE. . . . . . . 28
MELODIC EXAMPLES . . . . . . . . . . .. . . . . 29
ROOT TO ROOT MODES . . . . . . . . . .. . . . . 30
MODAL THEORY . . . . . . . . . . . . . . . . . 31
MODAL THEORY . . . .. . . . . . . . . . . . . . 32
3
THE MELODIC MINOR AS USED IN JAZZ . . . . . . . 33
PENTATONIC AND BLUES SCALES . . . . . . . . . . 34
MINOR PENTATONIC . . . . . . . . .. . . . . . . 35
THE FOUR PRIMARY JAZZ SCALES. . . . . . . . . . 36
BLUES SCALES (SYNTHETIC PENTATONICS). . . . . . 37
SYNTHETIC PENTATONIC EXAMPLES. . . .. . . . . . 38
G SCALE MODES. . . . . . . . . . . .. . . . . . 39
D SCALE MODES. . . . . . . . . . . .. . . . . . 40
A SCALE MODES. . . . . . . . . . . .. . . . . . 41
E SCALE MODES . . . . . . . . . . . . . . . . . 42
B SCALE MODES . . . . . . . . . . . . . . . . . 43
B AND FS SCALE MODES . . . . . . . . . . . . . 44
FS SCALE MODES . . . . . . . . . . . . . . . . 45
F SCALE MODES . . . . . . . . . . . . . . . . . 46
BF SCALE MODES . . . . . . . . . . . . . . . . 47
EF SCALE MODES . . . . . . . . . .. . . . . . . 48
AF SCALE MODES . .. . . . . . . . . . . . . . . 49
AF AND DF SCALE MODES . . . . . . . . . . . . . 50
DF AND GF SCALE MODES . . . . . . . . . . . . . 51
GF SCALE MODES . . . . . . . . . . . . . . . . 52
BRAZEAL (ORIGINAL JAZZ SAMBA UTILIZING JAZZ SCALES AND CHORDS) . . . . . . . 53
MORE EXAMPLES OF JAZZ SCALES AND CHORDS . . . . 56
ROCKIN THE BLUES. . . . . . . . . . . . . . . . 70
WATCH YOUR BACH . . . . . . . . . . . . . . . . 72