For those studying “New Ears Resolution,” this blues lick is in the mixolydian mode. (See the chart showing the modes at the end of your book.) Try thinking of this melody first in mixolydian and then in ionian. Both sets of syllables are shown. Which ever set of syllables feels more comfortable to your ear, that is the set you should use. Try to play the melody as smoothly as possible, in order to realize the underlying swing. As with all exercises, start slowly and smoothly, gradually increasing the tempo. I play this at dotted quarter = 150.
CRAIG BUHLER JAZZ 
Hello Craig! Can we spell C7 as C, mi, so , Té?
Thank you for your great quality of teaching! I still working on it,this question is important for me because in one case :so ti re fa it is ok with the ear training
And with C mi so té i have the impression that it gives me a root feeling what ever chord i am working on, because a 1 is always a root named DO, a third is always a third named Mi or mé , a fifth is always named So, a seventh always Ti or té
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Many students prefer to have DO=ONE, which feels natural to them. But, if you are playing a MODAL song, DO is not always ONE. For example, if you are playing a DORIAN tune like Miles Davis’ “So What” or Freddie Hubbard’s “Little Sunflower,” RE=ONE. If you are playing a MIXOLYDIAN tune like Miles Davis’ “All Blues,” SO=ONE. If you are playing an AEOLIAN tune like “My Funny Valentine,” LA=ONE throughout most of the tune, except at the very end and in part of the bridge, when the tune moves into the relative major. “Autumn Leaves” constantly moves back and forth between the relative major (IONIAN) and the relative minor (AEOLIAN). The advantage of approaching modes this way is that it makes improvising very much easier. For example, soloing over “Caravan” (by Juan Tizol and Duke Ellington) becomes far simpler when you move from the PHRYGIAN to the AEOLOIAN. Check out this link for more information on this fascinating subject: https://craigbuhler.com/2024/12/22/the-tonic-dominant-seventh-chord/#more-20319
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