1. Jazz Guitar 4 Beginners: Notes on Improvisation TCC~ GG Preparata

2. Recap: Fooling around with chords
In the tonality of F/Dm
Progressions ~ ad libitum
Bb Maj7 (interm./1st fret) – Bm7/ b5- C#7/b9 – Dm7 (interm. 2nd form- see figure) – G7/11 (see figure) – A7/11 – Dm7
One Note Samba (Jobim):
[A]:Dm7-C#7-C7 sus 4- Bm7b5 (int. 2) – [B]:Fm11 (int.2)- Bb7+5 (or13) –Eb Maj 7-Ab6
Repat [A] and and end with Bb6 (or 13) Dm
G7/11
Bm7 b5
Fm 11
9th fret

3. The Ubiquity of the Minor Mode
Find your degrees
Rule for the Major Diatonic Scale Count: “tone-tone- semitone (3)-tone-tone-tone- semitone (7)”
T-T-St-T-T-T-sT
1-2-three seven
Back to our chords:
BbMaj7-Bm7b5-Dm (7)- G9 (high shape):
So you can play minor arpeggios on the fifth of a dominant chord
ALSO: play Gm11 and Cm11: you may play a minor scale/arpeggio of the 5th degree of Cm7: i.e., Gm7 (aside from the root)
Arpeggios over MAJOR chords
Rule: 3 minors that preserve the sound of the major chord:
Minor built on the third degree: Cmaj-Em7; play arpeggios: same
Minor bulit on the sixth degree: Cmaj-Am
Minor built on the 7th degree, which yields a C Lydian: Cmaj7-Bm7

4. The Ubiquity of the Minor Mode
In fact, the DMS has 4 minor relative modes:
Dorian (2nd)
Phrygian (3rd)
Aeolian (6th)
Locrian (7th)
E.g., Gmaj7:
G (R) ~ B (3) ~ E(6) ~ F# (7)
Pat Martino on Improvisation & the the Minor Mode at: