LESSON 6

using 3 note
e n c lo s u r e s

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 LESSON 6 3 Note Enclosures

introducing 3 note enclosures

A 3 note enclosure is a form of indirect approach consisting of a combination of scale (diatonic) and/or
chromatic approaches from both directions of the target note.

There are two varieties of 3 note enclosures:

1. Single diatonic or chromatic approach from one direction and a double chromatic approach from the
opposite direction.

The following examples illustrate different 3 note enclosures based on the 1st variety:

2. Single diatonic or chromatic from one direction, single diatonic or chromatic from the opposite direc-
tion, and finally again a single diatonic or chromatic approach from the initial direction.

The following examples illustrate different 3 note enclosures based on the 2nd variety:

Assignment 13: You are now ready to begin Bebop Calisthenics #5 on p.86-92 of the
«Bebop Guitar Improv Series VOL 1: Workbook », applied to Dorian Patterns 2 & 4.

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introducing secondary dominants

Although in a blues tonality all the chords are dominants, in every traditional
major or minor tonality there is only one diatonic V7 chord which functions Secondary Dominants
as the primary dominant. However, dominants can also be built over several in C Major
of the remaining scale degrees. These are known as secondary dominants and
will be introduced in the upcoming etudes. V7b9/II-7 II-7

When resolving, secondary dominants like primary dominants, posses an A7b9 | D-7
unstable nature and share the need to also progress a perfect 5th down to a
diatonic chord. This resolution chord in turn, is thought of as being briefly V7b9/III-7 III-7
tonicized. To paraphrase, the chord temporarily takes on the role of being
B7b9 | E-7
the tonic for no more than a phrase or a few measures. Longer durations are
considered key modulations. V7/IVmaj7 IVmaj7
Secondary dominants are analyzed as the V7 of the chord they resolve to.
C7 | Fmaj7
For instance, if a secondary dominant resolves to the II of the key, it would
be analyzed as the V7 of the II and notated with a slash in between (eg.V7/ V7/V7 V7
II, V7/III, etc.).
D7 | G7
The chart on the right illustrates all the secondary dominants chords in the
key of C major. You’ll notice that there is no Secondary Dominant built over V7b9/VI-7) VI-7
the IV degree (F). This is due to the fact that its resolution a perfect 5th down
is Bb which is not in the key of C. Likewise, the secondary dominant of the E7b9 | A-7
VII-7b5 is absent because its root would not be diatonic to the key (although
F#7 resolves to B, its root is not present in the key of C).

NOTE: The secondary V7 of a minor chord, consists of a V7b9 (or altered dom.)
which temporarily conveys the diatonic characteristics of a minor key.

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introducing the v 7 altered chord

The V7 altered chord is derived from the super locrian which is the 7th mode of the melodic minor scale.
Its nickname, «altered dominant», is due to the fact that all its available upper extensions are altered
(b9,#9,#11,b13). Regarding its harmonic function, the altered chord’s primary resolution target is a minor
chord whose root is located a perfect 5th down. In spite of this, it can also be used as a form of modal inter-
change to resolve to a major chord; a common practice in jazz.

The super locrian is regarded as a fairly difficult scale to learn due to the altered configuration of its degrees.
One alternative to simplify this, is to view it as a melodic minor scale starting on its 7th degree. In practical
terms, you can improvise over any altered chord by simply using a melodic minor scale (1-2-b3-4-5-6-7)
1/2 step above its root (eg. if the original chord is G7alt., you would improvise over it using an Ab melodic
minor). Many players resort to this perspective when they encounter an altered chord during improvisation.
This practice of substituting a scale for another related mode containing the same notes, is known as modal
super-imposition.

Super-imposition works best when the scale you are substituting has no «avoid» notes that clash with the har-
mony. This fortunately is the case when we superimpose a melodic minor scale, a half step above an altered
dominant’s root. However for the less seasoned improviser, I believe it is better to first learn the super locrian
in its original modal configuration. Once you understand the harmonic function that each of its notes play
in relationship to an altered chord, you can begin to experiment with the super-imposition alternative.

The super locrian scale is comprised of: 1,b2 (b9), #2 (#9), 3, #4 (#11), #5 (b13) and b7. Contrary to using
a superimposed melodic minor a 1/2 step up, learning this configuration will make you aware of what scale
degree you are truly playing in relationship to the actual chord. Without this awareness you will have dif-
ficulty knowing the true location of your guide tones and upper extensions.

In the upcoming etudes the altered dominant chord will first be introduced in the 4th measure functioning as
the V7alt / IV7 (secondary dominant of the IV7 chord, which we will refer to as the I7alt. since its root lies over
the 1st degree of our key), next in the 8th measure as the V7alt / II-7 (secondary dominant of the II-7 chord,
which we will refer to as the VI7alt. since its root lies over the 6th degree of our key), and finally in the 10th mea-
sure as the primary V7. Super locrian patterns 1, 6 and 5 are employed here for the first time in the etudes.

Please complete the following 2 assignments, before proceeding:

Assignment 14: In the companion book,«Bebop Guitar Improv Series VOL 1: Scale and Arpeggio Finger-
ings», in Part II / Super Locrian, please commit Pattern 1 (p.61), Pattern 6 (p.63) & Pattern 5 (p.64) to memory
on your instrument.

Assignment 15: You are now ready to begin Bebop Calisthenics #1e on p.35 - 40 of the «Bebop Guitar
Improv Series VOL 1: Workbook», applied to Super Locrian Patterns 1, 6 & 5.

After completing the above assignments, you are ready to continue with the upcoming etudes.

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 LESSON 6 3 Note Enclosures

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 quiz # 5
Here is an opportunity to verify your understanding of the theoretical material introduced so far! You will
find all the answers at the bottom of the page.

Check The Correct Answer:

1- A 3 Note Enclosure:
a)___ is a form of indirect approach consisting of a scale (diatonic) approach from one direction and 2 chord
tones from the opposite direction.
b)___ is a form of indirect approach that can consist of either a scale (diatonic) or chromatic approach from
one direction and a double chromatic approach from the opposite direction.
c)___ is a form of indirect approach consisting of 2 chord tones from one direction and a chromatic approach
from the opposite direction.

2- Secondary Dominants:
a)___ must be built over scale degrees which are diatonic to the tonality at hand.
b)___ must be built over scale degrees which are non-diatonic to the tonality at hand.
c)___ both a and b

3- Secondary Dominants resolve:

a)___ a perfect 5th up. b)___ a perfect 5th down. c)___ a half step down.

4- In the key of F major, D7 is:

a)___ the V7/IV b)___ the V7/VI c)___ the V7/II

5- In the key of C major, C7 is:

a)___ the V7/IV b)___ the V7/VI c)___ the V7/II

6- In the key of Bb major, C7 is:

a)___ the V7/IV b)___ the V7/V c)___ the V7/II

7- A Secondary Dominant that resolves to a minor chord must be an Altered Dominant:
True___ False___

8- The formula for the Super Locrian, also known as the Altered Dominant scale is:
a)___ 1,b2 (b9), #2 (#9), 3, #4 (#11), #5 (b13) and b7 b)___ 1, 2 (9), #2 (#9), 3, 4 , #5 (b13), b7
c)___ 1, b2 (b9), 3, #4(#11), 5, b6 (b13), b7
Answers: 1) b 2) a 3) b 4) c 5) a 6) b 7) true 8) a

Assignment 16: Using Rhythm Templates 11 & 12 on the following pages, write a
minimum of 2 etudes featuring 3 Note Enclosures.

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CT=chord tone
PT=passing tone
NT=neighboring tone
UA=unprepared app.
UE=upper extension
ENC=enclosure
3EN= 3 note enclosure
DCH=double chrom.

option 1: CT NT CT UE CT CT 3ENC CT CT UA CT UE 3ENC CT CT CT

option 2: CT ENC CT CT CT UA CT PT CT DCH CT UE ENC CT CT UE UA
NOTE: Whenever using “option 2” , it is recommended that you first cross out the “option 1” line to avoid visual confusion between the two.

opt1: CT CT DCH CT UE CT UE UA CT CT PT CT CT UE ENC CT

opt2:CT 3ENC CT CT UE CT PT CT CT DCH CT UE CT UA CT

opt 1: UE CT UA CT CT NT CT CT CT UE 3ENC CT CT
opt 2: CT ENC CT UE CT PT CT CT CT DCH CT CT UE

opt 1: CT UE CT CT NT CT CT CT 3ENC CT CT UE CT CT UE
opt 2: CT CT UA CT DCH CT UE CT DCH CT CT CT CT UA CT

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