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John Mehegan Jazz Improvisation 1
John Mehegan Jazz Improvisation 1
AND
RHYTHMIC
PRINCIPLES
Jazz ImprovisationI
REVISED AND ENLARGED EDITION
JohnMehegan
Amsco Publications
New York/London/Sydney
NOTE:
LESSON
23.
Inversions
paper.
#I/
#JIoVIx: /
1
/ /
LESSON
22.
NOTE:
Inversions
..
I+e Is also VI', but the functionof the chord is usuallyan adjusted I
chord rather than an invertedVI chord.
LESSON
24.
Inversions
VI+I/
IIIx: /
va /
/ VI+' Ix /
40
..
VI +e is also bV</>",
but the function of the chord is an adjusted VI
chord rather than an inverted bV",.
The following is a bass line for "Waltz for Debbie." Transfer the
melody to manuscript paper,
This tune presents a special problem in that the chord chart for the
melody (called the "head chart") is not the same as the chord chart for
improvising on the tune (called the "blowing chart"). This problem will
be treated more extensively in Volume IV. For now, here are the two
charts for "Waltz for Debbie." Note modulation to the key of A and the
return to the key of F. The "head" chart appears in 3/4 time with a
transition to 4/4 time in the final six measures of the tune; the "blowing"
chart appears in 4/4 time with a transition to 3/4 time in the final four
measures in preparation for a return to the "head" chart.
41
25.
LESSON
I~
IV I III I
I VI I II I V I
(All II I
V V2
vlre
IIIx~
bV.p3 Vlx3 I IV V
I VIXz I
IIx~
vi
I ViI
i II
I V2 I IIIx"S I VI
v12
II
(F)l II.p3 I
VIIx~
-Isy3 I
Ix I IV I
u
(F)4 IIIx:5 I VI I bVIx I VI, I VMu I V~3 I V" II (Flj VI, VM~5 I
:3
Inversions
The following is a bass line for "Giant Steps," Unlike the bass lines
in this volume, the chords are indicated by letters instead of the usual
Roman numerals. The reason for this is that "Giant Steps" has no prevailing key center but, instead, a series of implied key centers.
4
BM I Fm Bbx I EbM I Am Dx I GM I
EbM I C~m F~x IBM
4
3
'"
3
I BM I Fm Bbx I
4
3
bVo I
42
43
SECTION
pidc-up
IV
(G) VP
(Eb) I VI
LESSON
26.
Modulation
Many of the popular tunes used as jazz material modulate from one
key to another in the course of a 32-bar chorus. This modulation is seldom
indicated in sheet music although the jazz musician "thinks" in these key
changes for Simplicity and order. The following six lessons will deal with
tunes of this type. A Simple rule for identifying the presence of a new
key is the appearance of a major chord on other than I or IV (i.e.. 111M,
bVIM, ete.).
The following is a bass line for "Body and Soul" in Db. The original key of this tune is C major, but since 1930, the year the tune was
written, convention has prevailed in favor of Db. Transfer the melody to
manuscript paper using the following signatures: bars I - 15, key of Db;
bar 16, beats 1,2, key of Db; bar 16, beats 3, 4, key of 0; bars 17 - 20,
key of 0; bars21- 23, key ofC; bar 24, beats 1,2, key ofC; bar 24, beats
3,4, key of D~; bars 25 - 32, key of Db. The letters in parentheses
indicate the key in which the symbols are to be played.
(Db) II U 7 Il:7 I II bflx I I II I III bIlIo I II II, I VII bVIIx I
(Db) vi Ii bIIx I I lHo I IIu7
(D) V I p6 II I
(D)
(C)
(Db) I II lUI
Vi
Ip7 I II bIIx I
II blix I I +6 II
I (Eb) II I blIx I
I II I III IVb' I
1/1+ 1 I (Eb) II I
IVb' I ill bUIx I
LESSON
28.
Modulation
The following is a bass line for "Laura, ~ in the key of C. Transfer
the melody to manuscript paper follOWing the Signatures indicated by
the letters.
As Indicated above, "Laura," in the key of C, does not start In the key
of C. However, the tune comes to a final close In the key of C which
definitely establishes the key.
BODY AND SOUL-Lyrics by Edward Heyman, Robert Sour. and Frank Eyton, Music
by John Green
:>1930 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.
LESSON
LESSON
44
29.
27.
Modulation
Modulation
The following is a bass line for "How High the Moon," in the key
of G. Transfer the melody to manuscript paper following the signatures
indicated by the letters.
45
(G) I / I / IV" / I / 00 /
Im , / VI", / IIx / II / V /
LESSON 32.
Pat Johnston
1941, 1942 bv MeA Music. a Division of MCA Inc., New York, N.Y. renewed
and assigned toMCA ~Iusic, a Division of MCA Inc. and PIC Corp., New York, N.Y.
All ri,mts reserved.
Used by permission.
Transposition-Modulation
Fig. 1 is a lead sheet of "In Your Own Sweet Way" by Dave Brubeck. Fig. I represents the composer's view of his composition; Fig. 2
represents a figured bass solution of the same tune.
Fig. I. "In Your Own Sweet Way."
t~I\I~~"~~~
Eb
Am
07
Gm
F7
Cm
Bb
Eb
LESSON 30.
Modulation
The following is a bassline for -All the Things You Are,~ in the key
of Ab.Transfer the melody to manuscript paper following the signatures
indicated by the letters.
(Ab)
VI/II
V /
I /
IV /
(C)
V /
I /
1+-
t~l\ .,I~mr F
Ob7
Abm
/ billo
"1
/ II /
r"
I\lld
Em9
Ell Maj.
Qr U~Tw? 1
A7
(Ab)
ALL THE THINGS YOU ARE-by Jerome Kern and Oscar Hammersteln II
C 1939 T.B. Harms Co. e renewed % The Welk Music Group.
International copyright secured. All rights reserved.
Used by permission.
J UJQr
A7
LESSON3l.
Modulation
The following is a bassline for "Autumn in New York," in F, Transfer
the melody to manuscript paper following the signatures indicated by the
letters.
bIII / II ill I
(F) IV V / ill VIx / III", bIlli / II ill / (Ab) II bIIx /
(F) II III / IV VP
/ 1+'
I / I II III
4,\1&
m
Om
I
Ab7
F=t" FI*'
e7
Cm
07
Am
ttl
Gm
Cm
Bb
Eb
Abm
Gb
Cb
46
Ebm
47
SECTION
Both Fig. 1 and Fig. 2 present the essential "facts" of the composition; Fig. 1 represents the composer's original conception of the piece,
and Fig. 2 represents the author's view of the essential structure of the
tune seen through twenty-five years of social usage.
Note the appearance in Fig. 2 of key changes which social consensus has established as part of the fabric of the tune.
The key series for transposition will be:
l-bVI-I
-bVI -I -III-II-I-bVI-I.
LESSON
33.
Arpeggios
The basic problem of jazz improvisation is to abandon the melody
and build an improvised line on the elements of the chords in a tune.
Thus, we will combine the vertical (left hand) with the horizontal (right
hand). The chord elements are as follows: (1) Arpeggios; (2) Scales;
(3) Chromatictones. Thus, jazz improvisationemploys a twelve-tone line
(twelve chromatic tones in the octave) superimposed on the sixty chord
system.
The following is a bass line for "In Your Own Sweet Way" in Bb.
The key order is as follows:
Bb-Cb-Bb-Cb-Bb-D-C-Bb-Cb-Bb.
In Roman numerals this reads:
l-bVI-I-bVI-I-III-II-I-bVI-I
as above.
An arpeggiOis a "broken"chord moving in alternate steps. The IollOWingillustrates the arpeggiosof the five qualities on C for two octaves.
Fig. 2. "In Your Own Sweet Way."
picl<.up
c~ ....
....~
.~
r,.-
......
48
Cm
Cx
I~
...
I,. ~.......
Co
49
Using the chord chart on pages 25 and 26, practice the arpeggios for
the sixty scale-tone
chords using the fonowing fingering.
C-5qualities
123412345
D-5qualities
123412345
E-5qualities
123412345
F-5qualities
123412345
G-5qualities
123412345
A-5qualities
123412345
B-5qualities
123412345
Db-5 qualities
212341234
Ab-5qualities
212341234
Bb M - x
2 123 4 1
Bb-AJm-+-o
231234123
GbM-x
234123412
Gb-F# m-+-o
2 1 234 1
EbM-x
212341234
Eb m (the only arpeggio with
all black notes)
12 34 12
Eb-D# +-0
23 1234
Whole-note (0)
23 4
Eighth-note (J)
Whole note (D) or half-note (J)
Quarter-note (J )
trumpet
piano
bass
234
345
12 3
right hand
left hand
foot beat
This rhythmic composite is occasionally interrupted, but its continuing presence is essential to jazz improvisation.
LESSON
84.
Arpeggios in Rhythm
50
As soon as the student has become familiar with the chords of a tune,
a quarter-note beat should be tapped by the foot in order to create the
basis for a jazz beat.
In succeeding chapters, we will explore the three fundamental rhythmic structures used in jazz improvisation - the eighth-cote, the eighthnote triplet and the sixteenth-note. The jazz line can employ rhythmic
values up to the thirty-second-note. See Fig. 1. However. for practical
purposes we will limit our work to the three above-named values.
51
Fig. I.
Fig. 2.
fugtt han
"
IAlft band
-(9-
:
'I
I
]I
IV
,ft
bV"
Foot beat
IV
Foot beat
,.,
Right band
,. ~ t: r=t:.,...
ii
It'
1Alft.
-,
Lb~
m
IVm
II
Foot beat.
Foot beat
I chord
eighth notes
II chord
eighth-note triplets
sixteenth notes
III chord
IV chord
sixteenth-note triplets
V chord
thirty-second notes
Rest values of both more and less than an eighth note are equally
important in the jazz line.
A dot adds half the value to either a note or a rest.
,..,
-.
"'. Ii,..
Il.~"
bm
Foot beat
In Fig.2:
52
]I
1+6
53
LESSON
35.
_,'-'-'-
Eighth-note Arpeggios
Fig. 1 is a bassline for ~I Could Write a Book," in the key of Db.
The sheet music appears in the key of C, so the melody must be transposed. Transfer the melody to manuscript paper using three staves - one
for melody, one for an improvised line and the third for the chord symbols.
Ai; a starting point for improvisation. abandon the melody and play the
arpeggios of the chords in eighth notes. Try to keep an uninterrupted
quarter-note beat with the foot - no pedal.
Do not "set" the improvised ligures. Use the arpeggios both ascendmg and descending as well as from the various inversion points (third,
fifth and seventh). Respect the fingering shown on page 50 at alI times.
t
A I
~t!
"
III
II
IV
III
IVa /
~.
54
l'
".
"""-l.
I..
I..
--
-..L...J
~~
"~I
AI
...
Fig. 2 illustratesa drill using the arpeggios of the chords in eighth notes.
AI
- ......,...,-,
it!
Fig. 2.
,.....,..1
I ~
A.
plck -e p
III
--
!oj
",..-r
--
Fig. 1.
bIIx 1/ I VI I II
,-
"""""1 !"""'l-
A I ,
thumb.
r--,I
- -
A I
"
I~
"
.....,.....,
r""T'-T-, -
...........
-......I 'I'
....,...,
F
.."..
...55
",
..
...1:..
11
.,
~~
triplets.
"
"
-.J
.-.
I--
r~1
- I I
,........,.-
--
,......,.."
.,-
..--""I
-- ..
.,..-..
LESSON 36.
~.
eI
Ell
.....
r'
",,-
,-
r -\
It_
~-
-.r- .....
"
Gb
M'"M-
"
.
I
....
..........
Ell
Fig. I is a bass line for "Green Dolphin Street" in Eb. Transfer the
melody to manuscript paper using three staves as in the previous lesson.
Note the modulation to Gb major and the return to Eb,
I / #10 / II II2
.-..............
"
L..J.
Ell
(Eb) bIIM2
.....
Ell
Rhythmic Combinatioos-on
,....
L
lei
........
"I
"
"I
~
Ell
Eb
56
Bronislau Kaper
C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975. All rights controlled and administered by Leo Feist. Inc. a catalogue of CBS Songs. a Division of CBS, Inc.
Used by permission.
57
f'1
.-
li
E"
'"
- v_
Ell
1\
~
~
E"
\~
Ell
Ii'"
~
--
.J..
r "-.
"
.~
Ell
... .
,.
-fL
!"""l
'"
-.v
G"
.~ ~
-~
..1.
,.
.....~
I
~~ ~I
VI
++~
4_
l!=_j,.
_tl
Ell
h.
-.fL._
...-
.L
Eb
-'-
'"
\'.
, ."
. E"
'j
~ 11 .M... h.lI.b
.,
. .....
:J
_~-:a,fll.. ...t::.~.~f'-~
"f//!:..
.
I
Ell
58
59
t'i
....~J!'f
,.
t'i
-......
[eJ
Eb
fII
,...
Eb
"a=
~_.t..L
il
.~
;I
Eb
,..iIl
.~
11)
& .....
-.A.
.il
'""'
~
ill
I..
7/"'77
t:~
::j!:. .J!::.b
Eb
Gb
~
. 1'-
t'i
~_
--
leJ
Gb
--- .f'-
:1!iI.f!:.
..
~~
t'i
::j!: .fL -
--
111)
Eb
Eb
._--
,
.1
--
Eb
,.,
.il4U_
.....I'
.*
.. .
~
Gb
---
tl . "--
II
.L
.:
I~Eb
L!J
t'i
r::lCHORUS
'''''''
Po
:1:
.
t'i
"""
-;-
-Jltl
..........
..J. ,L
leJ
,.,
- ..,..
.---
Gb
... --.1
.L
._L
Eb
"'"""-
,.
'1
61
--
shake
II
_a~~
I-.J
~
... b_
..L
_. to....
II
I.
N
Eb
f""'I
11
CD
Eb
1\
.11. ...
I-.J
~I
Eb
..h.a__
~_ ,""
,..,...,..,
- -
Eb
~b
..l..
ltJ
Eb
62
...
i4V
JJ
I 'I
_"_h,...
~
...
Eb
-I
.,
I
II
_ M""T"'I
Cb
II
"'iT
,.
"
,J.
. .
"
.
I
..
-.
- ,...,.3
'v'#
r:;::f-.;,r
lti*'
11
or...
_--::0.
.....
r """-,
Eb
ItT
...L..
"
1\
[t
"'_
...--... h_
.. -e:.-e:.
-e:.
.i!>
...
Eb
\..
II
I'"
-..jll:.
... ...
.- .... -
...
Eb
DRILL: Stud)' Fig. 2 and explore the various eighth-note triplet arpeggio
lines OIl the chords of Fig. 1. Write out the lines if necessary.
63
LESSON
.. ....
37.
Sixteenth-noteArpeggios
Nowthat we have investigateda line employingthe eighth note (two
notes to a foot beat) and the eighth-note triplet (three notes to a foot
beat), we wiD.explore.in this chapter, the sixteenth-noteline (four notes
to a foot beat).
--
....
Fig. 1.
pick-up
bW / U.'
m /
hUh I U /
bIh: /
1+'
/ 1+'
. ..
.r
/I
..
-.
64
..
..
...
A.
..
......
..
I~
...
65
.,
,-
."fIo
"
......
tI
...
.". ..........
-4tJ
LESSON
38.
Rhythmic Combinations
foot beat.
Fig. 1 is a bass line for "'Sophisticated Lady," in Ab. Transfer the
melody to manuscript paper using three staves. Note key changes.
Fig. 1.
- -
(Ab)
IIllP
(Ab)
~ VIIx I
lIP
(Ab) I1u,
lIl'
II
II
bVIIxI
II
..
66
-~
- -
(G)
I VI/II
(G)
bV (Ab)
(Ab)
bVIIx
(Ab)
IIx
VIx
II
bVIIx
~Ix
I
I
Vb:
bVIx V I
I IIx I II blIx I
bV1Ix VIx bVIx V
IVx I
#10 /
IVx I
+ 0 I (G) II</>bIIx
V / III bIIIx / II bIIx I I VI I II V
/I
I
I
II
III I II VII Ill</> b1IIx I lIlli'
lIl'
II
bVIx V / I IVx I Ix VIh bVIIx VIx
bIIx / 1+ 0 I 1+- II
IIx / II bIIx / I
I
I
I
I
67
Fig. 2.
.........
"
,.-,
_..3
8 -
..
.........
!~
... I....
-
--.,
68
..... _ ...
:I
.....
11
... ./1.
...
~
/
Itl.
,......,
1,.
...
14tl
II
I,...\.
.(I..
All
...........
.-1._.
I.
.(1.
Rhythmic Composites(ballad)
"'.1
it
39.
~ .
b...1
LESSON
Now that we have some facility with abandoning the melody and
using the arpeggios of the chords. we may consider combining the note
and rest values studied in Lesson 34 into four-bar compositeswhich allow
us to shift suddenly from one rhythm to another or introduce a rest value
without disturbing the foot beat Fig. 1 is a possible four-bar composite
for a slow tune:
Fig. 1.
II
\rt
nJrJ In
70
DRILL: Write or play a line on the chords of Fig. 1 using eighth note.
eighth-note triplets and sixteenth note rhythms. Keepan uninterrupted quarter-note foot beat when playing.
71
"
I II I III VI IIIx
n,
VI
__
#IV4> I II
n,
II
'-
--..
.,<111,_ l::!'""I
;;--
IIIi
c::ii-'
n, I bVIIxVix
bvlx
V /1+
I 1+6 /I
I GOT IT BAD AND THAT AlNT GOOD-by Paul Francis Webster and
Duke Ellington
e" 1941, renewed 1960 Robbins Music Corporanon. All rights administered by CBS
Songll\ a Division, of CBS, Inc. All rights reserved.
Used oy penmssron,
IoDowing
drill
1\
.......
II
--
1\ II
....
l"-!!l
1\ Il
tI
.. ...
.fl. ..
..
.fL........
"
jI
....
.. -
iiiilIoIl
--
.tI
_.fI'./t-
of'!-.....
liiiiIiiiiiIiil
;;;iIiiI
.v
11
---
LJ....
.ft.
.......
-._-
;::;::;Iii
......,a,.
1\ II
{
72
- --liiiiiiiiIi;..
1'*
CiiiiiiiIiiiiii
,
73
1\ u
.v
Iiiil-
.-..-. -
=-
Fig. 1.
-l:l.J
1..-=-
DRILL: Transfer the melody to manuscript paper using three staves: one
for melody; one for the student's improvisation; one for the bass
line. Using Fig. 3 as a model, the student should write out, if
necessary. an improvisation using the composite and the arpeggios of the bass line in Fig. 2.
LESSON
Fag.2.
40.
RhythmicComposite(up-tempo)
1\
rri-.
74
1\
j>,
Eb.
l.v
:~
rrn
J....L
. .....
.....
"
75
"
~,
-tJ
'"
11
.,
,
~
. -
...
"
'"'--I
_11
....
IlJ
"
~
76
,
f
....-
..-
_ .fL
"
....,
""""
I
.
IlJ
"
.
"
.,
...... - -
.....
...
--
_.
77
SECTION
LESSON
VI
41.
Modes
If we play the scale-tone chords in C and play the C major scale from
root to root of each chord (Fig. 1), we are playing the various modes of
the scale of C. A mode is a displtu:edscaleplayedfrom root to Tootof
the chorcL
These modes built on the twelve major scales represent one of the
most important elements of jazz improvisation. They are highly effective
in building a hortsontal "blowing" line so long as the harmonic line moves
in the normal scale-tone chords without alteration or chromatic adjustmenl Since the previous lessons have made it evident that even the
simplest tune utilizes altered and chromatic chords. this simple modal
system must be expanded to meet the requirements of a sixty chord system.
The next six lessons will deal with this problem. In preparation for these
chapters, the student is strongly advised to play the scale-tone chords in
twelve keys with accompanying modes in the right hand as in Figs. S
and 4.
LESSON
CHOBD
Mixolydian - M
Aeolian - A
Locrian - LO
Phrygian- P
Lydian-LY
~Io
DorF
DofAb
MofF
DofF
MorF
DofF
MorAl>
MorAD
DofAb
PofF
AofF
#10
DofAb
Don'
II
MofA.
DofAb
MorF
DofF
V I II
MofAb
D of Eb 0 of Eit
see "ote
(Eb) II / II / bVIIx /
DofF
MorF
see note
DorF
MorF
DorF
AofF
MofF
AorF
DofF
(F) III / VI I II I
1I7
DofFMofF
VI I II
V I
100fF
)+6
see note
loofF
)+6
II
M of F
MofF
V1I5
10 ofF
I 1+
10ofF
Ionian
4 4
Lydian
I V I Vm / Ix II
10 ofEb 10of Eb
"""noll!
1 1
IV
10ofF
II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I
PofF
V I 1+6 I
MODE
MofF
V I II
PofF
DofF
VI I II
MofF
(F)
MofF
II I V I II I V I II I V I Vm I Ix II
II
DISPLACEMENT
Fig. 5.
(F)
42.
1'6
II
NOTE:
Fig. 1.
~ ...
LydJan
IV
7 !
V
...
1
Here the use of the Ionian mode of the scale of F on the IV chord
would destroy the feeling of C major running through the entire bass line
and the Lydian mode (4 4) should be used. Except in cases of this
sort, the Ionian mode is employed on all major chords.
=7
80
81
Fig. 3.
(Eb)
(Eb)
Fig. 2.
1+'
(Eb)
eM
DM
VI I
II
bV+ ili
hili
I
/
I
I
I
I /I
LESSON
l'
43.
The Dominant Scale
EM
CHORD
D1SPLA~
5 5
MODE
Mixolydian
Since the dominant chord only occurs at the positionof V, there can
be no doubt concerningthe accompanyingmode. The dominant always
takes the Mixolydianmode.
Dominant chordson other than V (II&, bVh, etc.) are considereda
temIJOraryV of some other key. Thus. in the key of c:
CHORD
'II
BM
82
Ix
ili
IIIx
IVx
V
VIx
Vili
bIh
SPELUNG
Temporary V
TemporaI)' V
Temporary V
TemporaI)' V
Natural V
TemporaI)' V
Temporary V
TemporaryV
SeALSOR KEY
DISPLACEMENT
Cc
D-D
E-E
Bb
C
D
E
Cb
F-F
GG
A-A
B-B
Db - Db
83
Fig. 1.
M ofB
1<1"fE.
M of A
M ,!f8b
Dx{VofG)
Dh(VofG')
(G)
VI bIllo
MofB
II
(G)
III
M nfC
~I
IV V I
MofEb
bllIx / II II2
MofF
VIlt7 I
,!fA
I I III4,l Vix I II
MofBI>
Vp1l7
112 I
MolA
MorA
MofG
IVb3
(G) 1+6
I II
bfllx
1+6 1/
Ebx(VolA')
Fx (Vomp)
Ex (VolA)
LESSON
44.
The Minor Scale
F#x(vom)
Abx (VoIDP)
ill
(,++
VI
-.,..
."
Ax (VoID)
84
CHOJID
II
Bx (VolE)
1>IsPLAmmNT
2 2
3 3
6 6
MODE
Dorian
Phrygian
Aeolian
I VI - II V - I (Fig. 1)
or
II - ill. IV - V - VI - II- V -I
(Fig. 2)
the three modes are used in their respective positions. There is never a
question concerning the II chord since it belongs to a primary function
of any key - II - V - lorn - bIIx L Therefore.n always takes the
Dorian mode (2 - 2).
85
III and VI on the other hand, can easily be dislodged from a key
center and therefore must be treated with more care. In such cases, III
or VI become temporary II's of a new key and take the Dorian mode of
that key.
Fig. 3 illustrates examples of III or VI becoming the temporary II of
a new key.
--
"" Aeolian of C
~E
Fig.3.
VJ
"
..
Mixolydian of C
:a:
.....
Ionian of C
...
-~
Lydian ofC
..
Mixolydian of E
#:
(temporary II)
.a.
rVIIx
,Dorian of D
IV
- .. +
Dorian ofEb
Mixolydian of Eb
Dorian of D
Mixolydian of D
(temporary II)
IVm
Lydian of C
#:
Mixolydian of
it
.. -
Aeolian
ole
Dorian of
IV
..
Mixolydian of
'it:
IVI
"
I
I
Vb:
VI
All other minor chords (IVm. VIIm, hlII) are also treated as a tem-
CHoRD
Im
86
VlIx
Dorian of G
(temporary II)
II
III
III-when keycenter
is weakened
IVm
Vm
VI
VI-when key center
is weakened
VUm
bIll
bII
SPELLING
Temporary II
Natural II
Natural III
Temporary II
KEY DISPLACEMENT
Bb
e-c
C
D-D
C
E-E
D
E-E
OR
Temporary II
Temporary II
Natural VI
Temporary II
Eb
F-F
G-G
A-A
A-A
Temporary II
Temporary II
Temporary II
A
Db
B
C
G
B-B
Eb Eb
C#- C#
87
Except III and VI which usually take the Phrygian and Aeolianmodes.
respectively, all minor chords take the Dorian mode(2 - .2).
Where there is a strong diatonic feeling of the prevailing key, as in
Fig. I and Fig. 2, the III chord takes the Phrygian mode and the VI
chord takes the Aeolian mode.
When the prevailing key feeling is dislodged, as in Fig. 3, the III
becomes a II of a new key and so also with the VI chord.
In jazz harmony, temporary U chords of other keys sometimes resolve to their natural dominants (V), but regardless of their resolution, at
the moment they are played, they imply the II of a new key.
Actually the responsibility should rest with the student in deciding
the particular status" of the III or VI chord. The following rule, however, is a general guide to the use of the minor scale:
G#m (Dorfi$>
Gm (DofF)
F#m (lIofE)
Bbm(Dof.M)
Am (fiofG)
Bm (DotA)
Fig. 5 is a bass line for Little Girl Blue" in the key of F. Transfer
the melody to manuscript paper; abandon the melody and play minor
scales on all minor chords. The letters appearing over these chords indicate the signature to be played from root to root of the chord. For example: in bar I, the F over VI means play the F scale from D to D; in bar4,
the Bb over Vm means play the Bb scale from C to C.
Fig. 5
F
1+6 VI/II
c
VI/I!
IIIX1l5
B~
Ab
F.
IJI
IY :aY4>/ V sv /
Fe
lIS
III II bIll( / 1+
IlIo
F
F
F
F
Bo
IV+6 /
II bUM I 1+6 VI I II bIIx / JTe VI / Vm bY / IV
I~m
Fe
Cm (DotBD)
C#m (DotS)
Dm (DotC)
II
IIr
F
IV+6 i:+IVI/>/ V bV I
F
III
Poi
VP
6
bIllo I II blIx I 1+
1+6 II
UTILE
*NOTE:
Ebm (UoIDb)
88
Em (fiofO)
Fm (fiofEb)
The prevailing key (F) has been reinstated despite the preceding secondaryfunction in order to prepare for the final closing.
89
LESSON
45.
of 1&
The Half-diminisbedScale
ThehaIf-diminishedchord in any key appears On VII only.
QroM
DISPLACEMENT
7 - 7
VII
MODE
Locrian
C~(VUOfD)
DfS
(VUofEb)
CHoM
14>
II.p
III4>
IV4>
V4>
VI</>
VII
bIlI.p
SPELLING
ORK'EY
Temporary VII
Temporary VII
Temporary VII
Temporary VII
Temporary VII
Temporary VII
Natural VII
Temporary VII
Db
Eb
DISPLACEMENT
~(WofE)
Ell (WofF)
D-D
E-E
Gb
Ab
F-F
G-G
Bb
C
B-B
c-c
A-A
D#- D#
Ff,s(VUofG)
A
90
G~ (VUofAP)
I
All (VUofBP)
Gf,s (VnofA)
.#
....
A#~ (VUofB)
,._B.
......
a,s(VDofC)
91
Fig. 2 is a bass line for "Don't Blame Me." Transfer the melody to
manuscript paper. Abandon the melody and play appropriate half-diminished scales for each half-diminished chord.
This is an artificial scalesince the same letter, In any form (Ab A),
C3Jlllolappear twice In an authentic scale,
F ig. 2 illustrates the twe lve dimin ished chords with accompanying
",. l<s, to he p layed ascending and desce nding. The fingerin gs are a
~i1ggl.-'StiOll for the stude nt
III~
Used by permission.
1 2
1 2
31
2 3
Co
31
31
3 41
cjj o
2 31
46,
2 1
1 2 I 2
31
Do
1 2
L ESSON
I 2
3 I
2 3 4 5
3 4
E~o
Eo
2 3 1 2 3 1 2
12
34
1 2
Fo
3 1 2
2 3
2 3
2 3 1 2 3
Fig. 1.
Co
Co scale
Since this scale has no relation to any tonality, we spell it by indicating the intervals as follows:
Minor second - 1
Major second - 2
Thus, in Fig. I, the semitone combination is:
c
92
D
2
Eb
1
F
2
Gb
1
Ab
2
A
1
B
2
12
312
2 123
2 1 2 3 1 23
12123
or 02 12 12 121
AD
B'o
Bo
93
Fig. 1.
Fig. 3 is a bass line for "Birth of the Blues." Transfer the melody to
manuscript paper. Abandon the melody and play diminished scaleson
aUdiminishedchords.
Fig. 8.
....
... .,
-..!.no
bo
no
pl<:l<-
Cm
tI.
ex
CM
.......
lei
~
1";
I~
V"
L-e-
ObM
Co
TIlE BIRTH OF THE BLUES-Lyrics by B.G. DeSylva and Lew Brown, Music by
Ray Henderson
Q 1926 (renewed) Warner Bros. Inc. All lights reserved,
Used by permission.
Reproduced by permission (in the U.K.) of Redwood Music LtdJChappell Music.
"
v-
LESSON
.... n-
."
L~
Dbx
C#m
..
TI
2 3 1
2 3 4
I.n
C#o
The SixtyScales
ft
94
We have now completed the scales for the sixty chords. The importance of these scales cannot be overstated in building the material for
jazz improvisation. Fig. 1 illustrates a highly recommended drill based
on the five qualities of each tone. These scales or modes should be practiced ascendingand descendinguntil they are completelyautomatic.
The student is alsoadvised to return to the previous chapters and
explore these scales in the varioustunes abandoning the melody.
The student is advised to follow the general fingering rules for the
major scales when playing the M, x, m and 4>modes. Suggested fingerings have been added to the diminished seales since they represent an
unfamiliar series of whole and half steps.
-e-
"
..
.tat-
..hft.
OM
Ox
I
I,
2 3
I.
2 3
1 2
..n
O.p
I
..
ldl-
Om
,.
jl
eI
,.
lI*'''
47.
ft
lei
2 3 1 2 3
00
I
I.
I, I
eI
~
I.A-
EbM
1hbAEbx
hlbaEbm
95
1ft:
.2
Tl
r 11
"
..,
kA-
I -, -,
T T
II
"1
. LIi"
ILl?eo-
F4>
Fo
f\
.2 3 4 5
11
.
96
..,
:D:
TIl
--
~
,
11
__
M.-_
.-
Am
121231234
JJ
Abo
ff G #
11-
It....
_lJ.a.
l.....
t
TIl
F~x
"
l..-b.-
LIf.
II
.2 3 1 .2 ~lJ4
Abm
Abx
fJ.
.2 3 1
23123123
Fm
l,_b.-
I\,t.li"
112
1 .2 3 4
3 1 .2,3,1
Go
...b-
AbM
Fx
FM
1#
~bli"
1Jzft:
1..&
..,
1 .2 3 1 .2 3 4 I
fJ.
I
Eo
Gm
iT'.2
Ilta
Em
Ex
.a-
. dt:
I
-p
I'
II
GM
Gbx
EM
Ebo
T
)1
..
'I
h_
b.~
11
I~
h.1dl:
F#o
GbM
Ao
BbM
Bbx
97
.b.ba.
~
l
Bbm
~,ti.
LI
.t
1.1
L1
.....
+-f'-
IJ.
Bx
121231234
BM
_ ... .fI-
1\
11
3
2b i1.j11.
Fig. 3.
...
Fig. 4.
u , 1+
..,...fIL
..
41
123121
Bbo
Af+o
LI
Bm
11 ...
DOMINANT CHORD:
Xl"
--it-
xl.
x bl
t)
I.
Fig. 5.
dominant scale
whole tone scale
whole tone scale
(Fig. 5)
(Fig. 6)
(Fig. 7)
Fig. 6.
Fig. 7.
Bo
LESSON
48.
Scale and Arpeggio Alteration
MINOR CHORD:
mU T
Fig. 1.
...
~.
.it. ..
mlf
minor scale
minor scale with
m+'
minor scale
#7
(Fig. 8)
(Fig. 9)
(Fig. 10)
MSl
MbS
lIS
MS"
#5
b5
(Fig. 2)
(Fig. 3)
Fig. 9.
Fig. 10.
Fig. 11.
(Fig. 4)
Fig. 2.
98
99
To avoid this, in Fig. 2, the fourth step is removedand the tone row
1235 Is used (12 S 5 is alwayscounted from the root of the chord).
Fig. 2.
c
note to bass note (inversion). Thus in bar I, 12 indicates the scale of C
C4
c
I I. I
c
VI VIz /
c,
ne-
c.
VII"
I III blIIx I II
A.
(A) I I.
(C)
(C)
bIIx I
Ell-
lI<I.a
II
A
G:f
c_
VIP
III
V bIIx I I VI / Vm bV / IV+
(A) II.
(C) 1+'
I 1+'
E.II</> I
3
Fig. S.
VIIo I
bIll o I
I VI.
II
VI
II I
bIIIx I
F
IV.
b1Ix
II
1m
IIx
LESSON
49.
Eighth-noleSca1es-ScaleFragments
Fig. 6 illustratesthe scale fragmentson 5 6 7 2.
In Lesson33, we movedto the primary step in improvisingby abandoning the melody and playing eighth-note arpeggioson the chords. We
will now repeat this primarystep with eighth-notescales.
Fig. 6.
~
~
mgmeut
~
ligures for the diminished scale are not the same since the diminlshed
scale consists of eight tones rather than the usual seven. The fragment ligures fca:the
Fig. 1.
diminisbed scaleare
100
no
~o
lllI
follows:
1 JIll 5 -
S 4 II 1
( ..... ne)
8457
S071
'1653
18'13
11.--<1
(t.,,,,,,.)
101
FRAGMENTCHART
RE\'ERSE
FRAGMENT
~~
lIS
no(18'15)
V1o( 18'15)
Fig. 9.
.,
Vllm~
VIlm~
Dorian
fAY
L ditan
Aeolian
"",,,JJ#
" .. ,It
""",,It
...-
1+ 8
#1 I
VII
1+'
VI I (G) II bIb
bIIx /
hili /
VI I
1.... 1.
.1
I VI /
/
I VI / II hili I
I H / I +" /1
..
102
II.
Aeolian
.,
e}
1+ 8
~T
Phrygian
Fig.8.
--.....
of the chords.
II V S I
of A
of A
~I
VIlm2
Ionian
Fig. 8 is a bass line for "Blue Moon," in the key of E. Transfer the
melody to manuscript paper noting key changes, using three staves as in
previous lessons. Playor write out a line using eighth-note scale fragments
(E)
VIlm
Dorian of A
I VI/II
~3B
(E)"bili //
ii\O Ie ~
VIlm
of A
-1
Inversions take the scale of the root position chord from bass note to
bass note of the inversion. See below.
5 6 7 2
"".~ .It
543
1
765
3
2 1 1 5
1 235
3 457
Fig. 1.
"" Ii
e}
--
- -
Phrygian
103
A .. ~
tI
LESSON
.,
r-
- -
..
.<
"1
II .. il-
50.
Fig. L
..
A ..
.1
I"""""
eJ
- I
.. It
r--r
-- -
Aeolian
(G)
I #I</>I
(G)
II
IVo /
(G) III</>I
..
.
- -
---
....
..
"JJ~
II
-.
hIIh
IIuf
IIs'
hUh I II hIh
II
U ,
Us' / II
/ I #1+ I II #110
bili / 1+ #1/ I +. IV
/
/
/
(G ) VI Ih
(G) bUh I
UUf
n I
-.
Phrygian
III</> I
- ....
104
Itt-
#IIo I
..
-
..
~llo it
III
bIIIxI
II
DRILL: Explore the various scale fragments on the bass line in Fig. 8.
Keep a steady quarter-note foot beat.
105
..
4V
....-
..
.............
---....
.f/L ....
-iJ
Pbrygian
..
....
......
.f/L....
Lydian
Phrygian
I.
..
..
--
-I
b...-
1._ I
--
......
Lydian
106
107
...
..
Aeolian
..
-~
Dorian
LESSONSl.
Sixteenth-noteScaleFragments
.1.
.Ii
Phryglan
..
l. .f
--
Fig. 1.
I U I
III
IV+'
IIIx"
VI'
bIIIx I
I IV+'
I +.
II blIx /
II lVo /
bVlIx /
I +- VI I II III I IV+'
II /
I
III
VI'
b1IIxI
I II /- III
IIIx I
II
bIIx I
VI I
bW,I
(~"
..
l J".
~.
.b.
DU'
II='
II bUx I 1+'
- - -
I 1+0 /I
1\
._.~
LydIan
108
.1
......
..
....
Dorian
--
109
Phrygian
\'.
..
h.
,.,
I
__
......
....
.....
..
,.,
--
....
Lydian
Dorian
,.
.. .fl.....
. ......
,....
ltI
Lydian
..
...
, t!J
Phrygian
-~
Aeolian
Ionian
LESSON
52.
Rhythmic Combinations
II
110
- -
1Il
Fig. I
(Cb) VI Viz / bVo ViI bVIIx / VI Ilx / IVm bVllx IiI Vix /
(Cb) II V / I Ilx' s / bV VIIx /
(Cb) bVo
vn bvIIx
(Eb) VI</>lix
(Cb) II
Vll 3
112 vn
(Cb) bvilm
(Cb) IVm
bVIIx / VI VIz /
-;,
blIx /1+
6 /
svn, III
IIIx
IiI vix
Ii V
1m
IVx I
II
vi
Iix
V::3 bIrx
...
(Eb) 1+6 II
"ROUND MIDNIGHT-Lyrics
Thelonious Monk
AI
IlV
II
IllV
A I
~.
AI
I.
I..
l.
...
112
.....
...
.......
...
...
..
/
.... -IL
'.
...
l.
A ,
...
1-....
---z-/
/
113
-..
h ..
"
-.r
II
il
Itl
1:- .fL
AI
101.
1...
-.
DRILL: Write out or playa scale line On Fig. 1 using eighth-note, eighthnote triplet and sixteenth-note values.
.. ~
-:I
4J
-~
J
LESSON
53.
"
"
----
~
/
-.
,.
/
.,.
"' .,.,.
AI
tI
114
---
Fig. 1.
115
Fig. 2 is a bass line for "Have You Met Miss Jones?" in the key of
F. Transfer the melody to manuscript paper using three staves. Note
key changes.
.... .
Fig. 2.
(F) I / #10 / II / IVa / III VI / IIx"a
II
bUx / I
.#10/
11
11
(F) II / IVa
HAVE YOU MET MISS JONES-by Richard Rodgers and Lorenz Hart
Ii:) 1937 by Chappell & Co. Inc. (') renewed.
International copyright secured. All rights reserved.
Used by permission,
.......11-.....
..
11
..,
-v-
116
"
...
J.l
..
-J
"
e!!I'"""I
..,
Fig. S.
'f'
eI
!"""!""'I'
~ ~
-..;:;
j",.o,,;;;I
.....
...
117
"
..-
..
itJ
.,
-~
_3
#.
:I
-.r::::i-
-.r
....
,,t
"
_
AJ!
....
I.
.. ...... 1e:
...
-itJ
LESSON
54.
Rhythmic Composite (up-tempo)
"
-I'- .....
;::::-.-
tI
3-
Fig. 1.
..
"
-itJ
L.l-
..
rnri , j)
:(!;. ........
3
~looooiil
Fig. 2.is a bass line for "Lullaby of Birdland,"in the key of B. Transfer the melodyto manuscriptpaper using three staves.
Fig. 2VI+8 bV", I VIIx. nIx. I VIS' VI I u lVo / ill VI I II V /
I IV / vn llb: I VI+8 bV</>
I VIIx llb: I VI S r VI / II IVo I
UI VI/II
V / I bIIx I 1+ 8 / III.,. bll h I II / II</>bIIx. I
8
I / IIIop bIIIx I II 11141blli I I IV VII Illi I VI+ bV</> I
8
VIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+ /1
1I8
119
Fig. 3 is a drill based on Figs. 1 and 2. The student will notice the extensive use of rest values in Fig. 1. Silence also swings.The beginner will
tend to play too many notes but should strive for the "punctuation" that
characterizes a good line.
Fig. 8.
lot.
'0
,.
..
,.
120
"
121
--
SECTION
..
LESSON
VII
55.
-,...
..
1._
...
*k.
;J
CI
~-
_.
I
M.Som and
I"
..
T'
Fig. 1.
T'
i\
..
iJo ~
CI
Cm
ex
CM.
:
I
l'
.......
.r
...
I~
C~
122
V ..
.......
Co
123
Fig. 2.
bIDo I II VP I II bIh I
(G) I VIIx I bVlIx VIx I VI IIx~$/lI bIIxII II I m bIllo I
It is a good rule in jazz improvisation to avoid more than four consecutive chromatic tones. The chromatic scale involves all twelve tones
and therefore cannot infer any specific chord.
(G) II
VI* I
II bIlx /
1+-
1+-
II
1. Treat the root, third, fifth, seventh and ninth as principal tones.
2. In approaching a chord, choose one of the principal tones as a "target"
note.
3. Pass through the chromatic tones a minor second each side of the
"target" note, then into the "target" note.
Fig. SCHORD
PRINCIPAL
TONES
II
D
F
A
C
E
C#-Eb
E -Gb
G#-Bb
B -Db
D#-F
G
B
D
F
A
F#-Ab
A#-C
C#-Eb
E -Gb
G#-Bb
B -Db
E
D#-F
G
F#-Ab
B
A#-C
D
q;-Eb
~e ~hromatic tones may move in either direction before resolving to the
pnnctpal tone although modern idioms prefer the descending form:
124
into D
into F
into A
II~
l.
~~.
tI
II ..
AIJ
tI
ii""
-I
,.
_, ...,
tI
Db- B into C
F -D#
into E
Fig. 2 is a bass line for "I Cover the Waterfront," in the key of G.
Transfer the melody to manuscript paper using three staves and noting
key changes.
tI
Eb-C#
Cb-E
Bb-C#
AIJ
CHROMATIC
TONES
--
.1.
.~
..
l.
-125
ALl.
11Moft
CJ
--...
---.. .......
II
ALl.
., &...-.1.
.-
CI
3-
-"4
IIJ) ~
CJ
..
a...
.fl..
LESSON
56.
..
.,
The Sensitive Tones
We have now studied sufficientjazz material to understand the basic
tonal principles of the art form.
Jazz employs a sixty chord harmonic system over which is played a
twelve-tone melodic line. Fig. 1 illustrates the vertical movement of jazz
harmony referred to in Lesson 1, Fig. 2.
11
13
Fig. 1.
...
1
..
As part of a weD conceived line, these tones can bring a tonal interest lacking in the root, third, fifth and seventh. By themselves,these
tones are of little value; they are to be consideredoccasionaltensionpoints
of a twelve-tone line.
SENSITIVE
TONES
9 - IU
Dominant
9 - "9 - =9
Minor
Half-diminished
11 ('S) '11
IS "13
9 - 11
9 - 11
Diminished
9 - 11
(Eb)
(Eb)
(Eb)
(Eb)
I //
bVIM
/ V / I / I +- /
bVIM
hili /
/ V / I / VI /
bW /
I / I / bVIM / V / I /
bIIIo / II I
See Fig, 2.
Fig. 2.
CI
..
eMS
128
CI
CM#l1
Cx9
Cx bs cx#9
Clt l1 (# 3)Cx# 1l
1Y.
II I
"
.....
.......
:
129
......"'..
1....
AI
"
.........-
&I
AI
AI
&I
.......
1
.....,
-:0-
{~
""""
..
.fL
1t.
..
AI
b.ta.#~b... ~
&I
"-""
'P
--
Al
III
.......
l-~
......
AI
&I
.....
.....
-4/"
.....
"I'
.411
AI
..
-........
&I
130
,....,
41.1..
...
"
rw
.....
......
...
.........
:
131
......
AI
er
Fig. 2-
Fig. 1.
."..1"
.-
1,
.....
WJ
Foot beat
I.
WJ
h.
---
do
:>
:>
~-
:>
Foot beat
:>
-,
1""""'\
~
-I~
1.1
>-
>-
."
Fig. S is a bass line for ''Easy To Love," in AbThe sheet music appears in G and must be transposedto Ab.Transfermelody to manuscript
paper using three staves. Write or playa line on Fig. a applying syncopation using Fig. 4, which illustrates this process, as a model
Fig. 3.
II VII/III'/>
v,.
bIIIo I II !
,eJ
Fig. 4..
/I
57.
WJ
Basic Syncopation
AI
tion in the improvised line. Fig. 1 illustrates a series of even eighth notes
played against a quarter-note beat. Notes 1, 3, 5 and 7 are the "strong"
points in Fig. 1. Notes 2. 4, 6 and 8 are the "weak" points. By tying the
tones in Fig, 1 together, the "strong" points of the series are disrupted
(Fig. 2). This is basic syncopation.
132
I 1+' I 1+- /1
"
LESSON
bIIx
I....
....
..
\,
--
-.
...
133
I ,
eJ
.'
J\
..
...-
"I . ...n
--
---
1 ....
s:-.
.......".;; 1"",..=
..
--...:;
t:=:=
..-.
-eJ
=:1-1
- .....
....
rooo-
-...ol
t.~
t:=i-'
.
" , . ~1!:.fL. ,
-..
_...
CJ
_.
q
-....;;;
!.."''''-
\:.
'
I
!34
..
<1-
Fig. 5.
CJ
...
~.
Foot beat
I
etc.
135
,~
I
etc.
Fig. 3.
pIdc-
The study of both Figs. 5 and 6 should be accompanied by an uninterrupted quarter-note foot beat.
<I
LESSON 58.
Accent
In addition to syncopation,the device of accent is valuable in creating
rhythmic interest in a jazz line.
Fig. 1 illustrates the scale of C in eighth notes played with a quarternote foot beat. Here, the accented tones fall on I, 3, 5 and 7 which are
also the accent points of the foot beat.
II
1+'
Fig. 4.
>
:>
1li#1f
.,
>
>
:>
I"
f"
Fig. 1.
:>
I'"
:
.,
~.
>
Foot beat
:>
:>
:>
"'a~
:>
.(1..,
'.fLk...
...
:>
~~ ..
:
It a
:>
Jf.. .fL ..
...
In Fig. 2, the accented tonesfall on 2, 4, 6 and 8 which are struck while
the foot is in the air. 'Thestudent will find Fig. 1 easy to play. Fig. 2 will
be troublesomein the beginningsince the hand and the foot are in opposition to each other.
k..
~ ~.~;
.. \
:-
:>
I. .. ".
:>
:>
:>
:>
~
1f-k. ~
>L
tJ
Fig. 2.
lI!J ..;,
:>
:>
Foot beat
136
137
..
...~
:>
~~~
:>
....~
:>
:>
>.-...
-4t/
~JJ,ft
....
C1
..
JJ,
ft
- ....
::>
Ada
;:- L
11
ii-
-i=t._ d
I.
JJ,
.;.,
JJ,_
__
::1.
11
~;-1.
~ .. >
... ..
>
>
-===-
"if. ....
1>101-
>
~;-
;:
:>
..
:>
>
11
it'
L>
-4tJ
:>
I. ....
M..
::>
Fig. 5.
>
..
Ad"
:>
:>
>
:>
I.:>
>.
'j
>
:....;""r
::0-
::>
4L 't:. ji.
::>.
.. :> -
> I'""'r'T"""
"'"
tJ
...
.... :>
:>
:>-
Foot beat
I
:>
I
--
..
_:>
Fig. 6.
:>
tJ
Ad
>
CI
..
138
..
-
>
::- :>
::>
:>
..
'*;'
Foot beat
:>
:>
:>
:>
:>
;.
139
LESSON
59,
Coleman Hawkins' "Sweet Lorraine" in G
In the course of some fifty years of jazz, there are many recorded
masterpieces of the improvised line: Book II will deal thoroughly with
this aspect of jazz. Since the reproduction of one of these masterpieces
can do much to reveal to the student all of the elements studied in this
volume, Coleman Hawkins' "Sweet Lorraine" (originally recorded on Signature 90,001.reissued on Brunswick, LP BL54016) has been included
here.
This recording involves two improvised choruses by Hawkins. These
two chorusesare undoubtedly one of the great moments in the history of
jazz improvisation; they also employ every device described in this text.
The student is strongly advised to make a thorough study of these two
choruses using the following outline as a course of study.
AI!
lei
It ....
--
..!.._~
-.' ~
.
='
,,'-"
-.
..!-
..-..k!.~6
"ln~
-r
,'-'
"
3
,.;,...,
I::::Po..
3-
140
141
Ali.
uL..~
"I'
"
tJ
......
",
..........
AlJ,
'"
CI
..
tJ
A1
-5
III"!!!
--
IIiii
gtisS.1 gliss.
--...
~-
Au
""'"
l. "
"I"
tJ
---=
.....,- .....
=::t:1
:
:
I. .
Au
, ........,
If)
.~
gliss .
.,
.
3
.,- I.I~
Au.
.,.
...
tJ
gZlsS.
<D
"Uss.
.. I-
.,
"1
:@1.
A"
r:=-'I
'" ,
:
3
..5-
'r
"
Au.
tJ
.s,
........r!il
-r
.~.~
"'"3
Au
CI
.. -
iiiiilooooI
iiiiiiiiiiiiiii
3
Jl .
-1..1
AlJo
tJ
_..
..
c::=::;iiiiil
-.
lo.....t;;l
'"
stus .
:
142
143
3_
Al.I
I~
10
III
IV OVIIM III
HI
II
10
10
10
10
10
10
10
10
10
10
10
III
10
Vlx I
10
V I
bVlx II
10
10
III
IH
..
3
.....-ol!!!S -
.,
tI
.,'
10
===
.,
l"'""l'-"l
3
II
10
III
10
III
10
III
10
Vlx bIlI
1(1
III
II I
10
bVIx / II
HI
III
III
10
10
10
IV V / I Iil" bV IVm I
II
pick-up
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
bVIx I II III
10
10
IV IVo I
to
10
10
10
w
7
1<I
7
7
III
7
10
III bVIIx VIx bUh I II bVIx V blIx I I bVIIx VIx #10 I
lO
10
10
10
10
10
10
III
Vm bib
144
10
VIx bIII
10
bVIx I II
io
III
10
IV V I
10
F" VI
bVI I
Ix bV I
145
SECTION
LESSON
VIII
60.
LESSON
61.
(2)1+ 6
IJ rv
the isolated chord charts studied in Lesson 60. A strong feeling of the
blues has characterized all great melodic improvisation. In this sense
the blues represent, along with ragtime. the basic substrata of anjazz.
The basic idea of melodic blues lies in the "twang" of the sliding
and crushedtones present in all archaic guitar. These inHected tones have
been simulated on all jazz instruments including the piano. Of all the
instruments, the piano is in many ways the least effective in creating a
blues feeling since once a tone is struck it cannot be changed or even
sustained for any length of time.
On the piano, "blue" tones are usually achieved by crushing one
tone into another (Fig. I). Because of the physical structure of the keyboard, the most effective positions are those in which a black note can
be crushed into a white note [ (b) and (c) in Fig. 1 }. The reason for
this is that the same finger can be used for both tones by applying an
arm stroke to the tones. This is called falsefingering. This is impossible
in (a) of Fig. 1 which requires two Bngers to execute.
Fig. 1.
(2) represents the final close ending the blues and is traditionally called
a seoen-beater(seven beats to the end - the last beat is not played).
Otherwise the first ending (1) is taken and the twelve bars are repeated
over and over. In the second ending the rhythmic pattern of the nal bars
isasfoDows:
J J J/JnJIII
A more modern fonn of the blues
evolved by Charlie Parker in
the forties and. while respecting the main "pivot" chords, this new form
contains many harmonic sequences not found in the traditional form:
was
~ ,@ I~
(a)
(b)
(c)
Fig. 2.
There is no "melody" for the blues. Many tunes using the term or
title of blues are not "blues" in the sense referred to in this chapter; these
tunes evoke a mood sometimes referred to as "blue" - this is a poetic
46
Fig. S.
147
The most familiar sound associated with these crushed tones is that
of the augmented ninth crushed into the major third when playing a
dominant chord.
Fig. 4.
Fig. 6.
..
b..
.... -
...
Itl
--
Fig. 5.
jl!Jl
1+'
IVx /1+'
IVx / I II / III VI Vm
bVI
IVx bVP/IVx
Vb
.....
til
.
JI.
fI-_
:'..
...
. .---........
.
..
..
......
=-....'"-00...1
."'.1.
v
"
..-.
J......I
.f:r. *'
.,.
-a
/
.ft. ".
."..101.
--
_.
..---:. ..-.
ilJI
148
... .-...
i.
Fig. S.is a bass line for "'WiDow Weep for Me." Fig. 6 illustrates an
improvised line on Fig. 5 employing "blues" devices. Transfer the melody
to manuseript paper using three staves. Write or play an improvised line
using Fig. 6 as a model.
..
"
iJf
149
..
tIl
#0
do
A ....
...
1~.
-,
.......
..
....1-.
el
(I
..
/
150
rr:
II
"I'
.........../
liiiiiiiC:::::::
.. k..bA..
,.
I~.
"'-I
. . .. .. ..
.,
-.,
,;---.1, '-+-J
.-
"
l""o.ol I
til
IT
oJ
,..
.. ,-
-I
....
iiIiiii
WI
(I
1.-
." .
.1..
AI&
"II'"
lI.I
...
----- /
#0 ....
,
T'
#0 ....
..
...
eI
#Oil
"",. .J:""':l.
151
SECTION
LESSON
IX
62.
Patterns-Circle of Fifths
It is apparent to the student from even a casual examination of the
bass lines in the previouslessonsthat each tune uses patterns which are
commonto all other tunes. These patterns occur in several designs:
1. Circle of Fifths.
2. Diatonic.
3. Chromatic.
Fig. 1 illustrates the twelve keys in the natural order of their signatures (C - no 1:; no b ; G - 1 S ; D - 2 J; etc.).
Fig. 1. Jm circle.
F""'-
--"""G
B(
"\
(
\
Ep
V normally moves to I;
Circle of Fifths
Ab
<,
F#
""'"'--Gb--"
~/
The circle can move clockwise through the sharps into the flats or
counterclockwise through the flats into the sharps.
The jazz circle moves counterclockwise.
152
II normallymoves to V;
VI normallymoves to II;
III normally moves to VI; etc.
III41-VIx- II</>
V I
VIIm - IIIx- VI - IIx V - I
I-IV VIIm-III- VI- II- V-I
bW VIIx-IIIq;- VIx- IIt/l- V-I
153
Fig. 3 is a bass line for "Pick Yourself Up," in the key of F. Note
the key changes. This is an example of a tune employing the circle of
fifths in a key series. Using the transposition method described in Lesson
32, transpose Fig. 3 into twelve keys. The key series in Fig. 3 is as follows: I - II - III - I. Improvise on Fig. 3.
Fig. 3.
Fig. 2.
I
/
I
/
LESSON
64.
Patterns-ebromatic
Chromatic patterns also appear in short fragments. Common chromatic patterns are:
n - blli- I
III - bUIx-II - bIIx- I
I - #10- II - #IIo -III
m- bIIlo -II - bIIM - I
bW-IVo-III. bIIIo-II- hlli-I
LESSON6S.
Patterns-Diatonic
The term diatonic refers to the normal major scale. Diatonic patterns
move through the steps of the scale both ascending and descending.
Diatonic patterns usually appear in short fragments and are often
I - n - III - bIIl- II
I- VII - VI- bVI- Vm
Il - III- IV - #IVx- V
IV - III - II - bili - I
IV - V VI- bVh- V
VI- V-IV -II1-II- V I
bV</> IVo
.54
VI I bVcjlIVo I
IVo I III billa I
hIIIo j II blIx j
II blIx / I VI I
bIb: / 1+1l /I
155
SECTION
LESSON65.
Combining these two elements. we derive the following minor scaletone chords in C minor (see Fig. 4).
Fig. 4.
Minor Scale-toneChords
t)
lIt)
t
t
Fig. 2.
..-
.....
~.
~.
II
I,.
&.
...
~ ...
~.
... I
In
major augmented
IV
V
VI
dominant
hal-diminished
diminished
vn
Fig. 5.
!r~'J
t)
n - v.
156
SYMBOL
mL
t/I
M+
t/I
rl:
U
..'. IV
.. .... ...
"
...
..
...
VI
~-
t1
TO
VII
...
Inner-voice scale
"-
Of course, the most effective "vertical" sounds are derived from the
harmonic minor. However. the use of the b6in the bass line destroys
familiar patterns such as I VI
CBOBD
minor large
haIf-diminished
b. :i
VII
Posrnos
I
Fig. 3.
4.
VI
,.
II
IV
....
Fig. 5 illustrates
.~.
Bass-line scale
The following minor scales are the frame for most "classical"music:
inner-voice scale
e;
Fig.l.
r+
....
Vr
Bass-tine scale
157
II
Fig.6.
tl
..
I
IV
... ~.
VI
VII
..,
... ... .. .
,.
Ii
..
tl
Inner-voice scale
It
..,
.~.
Ii
Bass-line scale
141.1
....
.>HP-
~t:
"
..,
II,.
~ I.!~'"
..,
"
"
.... ,..
.. -
vw
"
...
ill
.....
158
~~ ~t14
a~
,.
...
159
Fig. 9.
(d ) I + I VI
II b1Ix
I + I VI
II
hili I
I +.
I.
11m. I
(d) 1+
I.
11m. I
(Bb) II bIb: II
The minor scale-tonechords can be inverted in the same manner as
the major chords. Fig. 8 illustrates the inversions of the scale-tonechords
in D minor.
Fig. 8.
Ii
...
tI
..
'C-
I
II
VIx
IIIx I
66.
Minor Scale-toneArpeggios
-..:
VI , IIx
LESSON
VI
Fig.l.
I
160
J. becomes J.
J becomes J
J becomes D
J becomes J
161
LESSON
67.
SECTION
MinorScale-toneScales
LESSON
The minor scale-tone scales follow the rules described for the major
chords. Scales
for the mL and M+ chords appear in Lesson48.
XI
68.
Open Position-Axis of the Seventh
The following is a bass line for "Just One of Those Things." in the
key of D minor. This alsois not an authentic minor tune. Many "minor"
The problems of style are beyond the scopeof this book. However,
some primary studies in tonal organizationare necessaryas a preparation
for future work in keyboard conception. These primarystudies are derived from the major scale-tonechords and involve a Simplerearrangement of the tones.
Fig. 1 illustratesthe normal scale-tonechords in the key of C in what
is called closedposition.
tunes such as this and "My Funny Valentine"start on the VI of the final
major key which is often referred to as the relative minor. It is more
practical to think of it as VL
rn.
Fig. 1.
(trbIh 1/ 1+ 1 I VI I II I V I (F) Vm I Ix I bW I
(F) III I blIb:/ II I bIIx/ 1+- / #10/ II II. / (d) II
IVo I
pIIx /
1
(d) 1+ / VI / II I V I (F) Vm I Ix / bV4>/ IVo I III / bIIIx I
(F) II / bIh / 1+ 1 I #JoI (Eb) II I V / I I #10 I II I V /
(Eb) 1+ 1 I Im IVx I (C) II / bIh I 1+' / VI I bW I IVo /
(C) III / billo/ (d) IV IV I / II bIIx/ I+t / VI I II I V /
(F) Vm / Ix / IV I
(F) 1+' / I+t
bVIIx/ III
blIb:I
II I
bIIx/
/I
1+' / I+t I
I
I
IV
VI VII
Fig. 2 illustrates the same chords in open position: root and Iifth in
the left hand, third and seventh in the right hand. This position of the
tones is calledthe axisof the seventh (seventh is top voice).
Fig. 2.
...
In
162
...
IVV
Vlvnl
163
axis
Fig. 3.
tJ
....
. ....
n
IV
VI
vn
....
Fig.7.
",
C1
Fig. 4.
tl
..
..
IV
:;:
....
,
ij
...
EbM
EbMi
E"M!
EPM2
"it
"'..
....
Eh
Ehg
Ebx:a
Eb4
.1
VI
....
vn
axis of the
E"o
G"o
Ao
Co
Fig. 6.
"
..- ..
I
CM
Cx
Cm
Cp
DRILL: Play the scale-tone seventh chords, open position, axis of the
seventh in twelve keys. All five qualities on twelve tones with
their inversions.
Co
GM Ox
Om op
seventh.
164
,,
axis
Go
axis of the
Fig. 8 is a bass line for "When YourLover Has Cone," in the key of
G. Transfer the melody to manuscript paper. In ad lib style, play the
chords in open position integrating the melody in octaves. (See Fig. 9.
Copyright laws prohibit exact reproduction of the melody.)
165
II I
bUM I
I I
..
.J
..,
-flo
-e-
IV,!
"Ji
...
J J
--
IVx
m_
-9-
--e-
IVx
etc.
IVx
-e-
~-e::...
".
-e-:
:A:.
,.,. . -
"U"
IVm
,,~
II
Fig. 10 is a bass line for "'When Your Lover Has Gone." Play Fig. 10
integrating melody as in Fig. 9.
IVx
I
I
I.
-u-
-Q-_-eI
'1-I
::u:
JJ"
bmx n
U""
"U""-
"U:
1/
1+'
Fig. 9.
,.,
..-
tJ
tJ
,.,~
Fig. 8.
....
bmx
-e-
-e-
"'U"
"U""
:
n
Fig. 10.
"1&
J
LESSON
:
I
~
J
.........
'1l::J';
~-e-
"'"3:1:
JtJ'
-e-
IVx
-e-
IVx
110
-e.:,
-eo
"U""
-u
:;:
---
Fig.l.
~-e-
"
tJ
.:;:
... ..
:
I'I'U'_-
..............
....
bvnx
166
v~
69.
VI
IV
VI
vn
167
Ab,open position -
pick""P
axis
(Eb) #10
Fig. 2.
(Eb) II I bIIxbl / I VI / Vm
I
rv
VI
VB
(Eb)
Fig. 5.
m</J
bIIIx
bV I
IV / IVo / In
VI /
1\ I
third.
#*
Fig. So
:
L
#10
1\
DPMDPxe#me#1i e#o
Fig. 4 illustrates the inversionsof the five qualities on
from the axis of the third.
Abderived
-e-
-~
.....
......
....
-e-
#10
-~
-0-
....
......
-e-
..0..
..0..
0--
Fig. 4.
1
VI
....
....
.....
J-&
....
......
'--
IVo
1\ I
--
tJ
-e-
-&
bmo
-eD
1\ I
I~
.
Gj&s
168
G#pl
G#,s:
0#.6
2
G#O
50
Do
Fo
-~
-~
......
......
bIIxPS
......
-~
......
..-
.....
......
-Q-
.....
169
"
pe-
-9-
Cl
.......
-9"U'"
"U'"
-e--
-.
"
.......
DRILL: Play the scale-tone chords in open position, axis of the third, in
twel ve keys; all JIve qualities and their inversions on twelve
tones
.....
NOTE:
Inlx~5
101
.....
Both these chords and those illustrated in Lesson 68 are among the
basic devices used by jazz pianists when "camping" (accompanying
another instrument within a group).
Cl
'1D'"
-e-
VI
.0..
0-
IVa
I~.o..
LESSON
IVa
.0..
-9-
ImIx
70.
Cl
.p...
m
A
I~
bDh
-e-
l:!!:
~
.....
-e-
,-9-
<if
iT
bmo
/F
IVo
VI
I
Vm
m;
,~
~CI--.......
-e.
n
..~
GV",
Dll
(
\
\
)
Eb
A VI
Ab
bv
IV
E III
'"
Db
.......
~,(l.
-e-
f.t
v,#
VI
170
IVo
n
I
Cl
0-
Cl
..0..
-e-
,e-
~Cb~
B VII
F#
......
If we playa descending chromatic scale beginning on the major third with
the circle described above, we derive Fig. 2 (the jazz circle, like the circle
in all tonal music. moves counterclockwise).
171
Fig. 2.
It
I .,
.,
.,
.,
Fig. 5.
3
.,
..
,.
.,
(F)
""
bVIx
(F) II It'
IIx
blIxI
I / (G) IIa,
II" / II
bIlx11
"
..
Fig.4.
"
.,
.,
'I
.,
'I
~ ~
-u
..
:
L
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Fig. S.
3
Fig. 5.
III III II /
'I
lli b1h I
-u
7}
I
~
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-u
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.,
....
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..
it.
l
.,,...
,..
Vir"
.,
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'7
.,
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II
172
'Ihe major third and the minor seventh have been chosenbecause the
dominantcircle formed by these intervals is the primary circle in jazz harmony.
Fig. 4 above illustrates a basic principle of antonal harmony which
is evident in any Bach Invention: In a circle of fifths,the third becomesthe
seventh and the seventh becomes the third.
Fig. 5 is a bass line for "Lover Man," in the key of F. Transfer the
melody to manuscript paper noting key changes. As in Lessons 68 and
69, play the chords in ad lib style in open position integrating the melody
in octaves.
Numbersover the Romannumeralsindicate axis to be played on each
chord to insure smooth VOice-leading.
'U
V-
-eo
t,
I
:
"1
V6"
....
'I
qv
I
'I
L?
....
-e-
....
'I
'1
LOVER,MAN (Oh Where Can You Be?l-by Jimmy Davis, Roger "Ram" Ramirez, and
Jtmmy Sherman
1941, 1942 by MeA Music, A Division of MeA Inc., New York, N.Y. renewed.
All rights reserved.
Used by permisslon.
173
,,~
t.I
-6-
LESSON
~.It'7
.,
16-
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7T
BasicProfessionalPiano (melodic)
~7
~4l'7
'1
71.
Fig. L
"
.,
7J
-it
'7
P<r
'"
'1
IfF
p'"
'1
'1
"'eo
-&
.....
.,
The Simple rule for this procedure is as follows: Play the root and
fifth in the left hand. Play the melody in the right hand, adding the
nearest third andseventh immediately below the melody.
174
175
preferable
Fig.2.
Fig. 6.
Fig. 7.
WID.
Wm
Fig. S.
ex
cp
em.
Co
em.
"1
Ii
4ItI
..--
..
"
'1
'1
Ii
Fm.
Fp
Fo
4t)
Fig. 5 illustrates the G melody note with the Fx, Fm, FcfIand Fo
chords. Here the axis (top voice) is the seventh.
When the melody note faDs on the third or the seventh (seeFig. 6),
double the voice an octave below in order to maintain three voWel
in the right hand.
- -If
p'
rr
I
'1
Fx
.76
-t9-
.,
NOTE:
!"""'-I
Fig. 5.
Fig.4.
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r-,
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177
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178
,..., 0
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179
...
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becomes
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tI
bVllx
/ I I VI I II</>I V I
I I I IVx I
1m / IVx I II I bVIIxI 1 I VI I II</>I VI1m bVIIx I VI I
IIx #110 I III bIIIx I II bIIx I I +- I 1+' /1
/~
:
1be numbers over the symbolsin Fig. 10 indicate the axis in each
case which is determined by the melody Dote position.
~~
~~ q~
/+
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""
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"
:I
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I
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.
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/ / I / IYx / 1m / IVx I II I
f!~
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180
'1
II
iV
q~
Fig. 9.
'1
-\
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A~
-r
"
Fig. 10.
"
'fl
r
.,:;;.
.(J..
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r--,
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"0 _
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II
lIi
TENDERLY-Lyrics
by Jack Lawrence, Music by Walter Gross
1946, 1947 Edwin H. Morris & Company, a Division of MPL Communications
Inc. renewed, 1974, 1975 Edwin H. Morris & Company, a Division of MPL
Communications, Inc.
International copyright secured. All rights reserved.
Used by permission,
181
LESSON
72.
Basic Professional Piano (improvised)
Jazz piano until 1940 was dominated by the concept of sWing bass
which was evolved from the early ragtime period. The four masters of
swing bass piano were Earl Hines, Fats Waller, Teddy Wilson and Art
Tatum.
One of Tatum's most spectacular devices in the left hand was a circle
h~ ~
I ilL
~.-..
T
' ..
~
I
I,
'1
:,.
This was not a swing-bass design as such although it did give the
feeling of the quarter-note pulse basic to swing-bass piano.
The student will notice that Fig. 1 is almost identical with Fig. 4,
Lesson 70, except that the bass design has been inverted. The student
will also notice that he probably is unable to play many of the tenths
(Db involves the widest stretch).
After 1940 the problem facing the jazz pianist was to evolve a left
hand style that would no longer contain the rigid synunetry of swing bass,
but at the same time would fulBUbasic harmonic requirements. In other
words, the rhythmic responsibility of jazz piano was taken from the left
hand and placed in the right.
Although many pianists were involved in this revolutionary step. the
master figure is Earl "Bud" Powell. Powell's solution to this problem was
magnificently simple (Fig. 2). This is Fig. 2 of Lesson 70 reduced. to
one
hand.
These thirds (fingering 2-1) and sevenths (fingering 5-1) are usually
referred to as "shells't-s-the term refers to the more common seventh
shell employment of the outer elements of the chord.
182
-e-
(Key of F)
III -
vlx- Ii
~ - I which reads:
Fig. 3.
V -
point of three
I - point of seven
(See Fig. 5.)
In the top stave of Fig. 3, both chords are dominant since both contain a major third and a minor seventh (whether the omitted fifth were
perfect, diminished or augmented, the chord would remain dominant).
In the bottom stave of Fig. 3, the shell C-E could represent the fullowing chord fragments:
SHELL
Fig. 5.
3rd 5th .JJ.
"
CI
QUALITY FRACMEl\'T
C-E
CM (C - E G - B)
Cx (C E G Bb)
C E
Again, in the bottom stave of Fig. 3, the interval F-Eb could represent the following chord fragments:
SHELL
QUALITY FRAGMENT
F - Eo
F - Eo
F - Eb
Fx (F - A - C - Eo)
Fm (F - Ab - C - Eb)
Fo (F . Ab - Cb - Eb)
Fig. 4-
:I
VIx
..."
:I
V
'1
"
I'"
....
Fm
I
--..;;;
F~
~v
it"
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.-
..........
'&I
CI
.........
VI
'I
I
...
h
A
"1
___
_I
...
--
L-
Fig. 6.
184
'1
.~
5tb
Inversions are indicated by playing the outside voicesof the particular inversion and are always played at the point of six (in all inversions
the distance between the top voice is either a major or minor sixth - so
too with +6) (Fig. 6).
:lrd
5th
I
I
'1
-J
1.0-
7th
:lrd 5th
7th 5th
4
6
,
06'1
v
6
.... -r
n
'1
m
=if
I
185
Fig. 7 is a bass line for "Gone with the Wind." in Eb Transfer the
melody to manuscript paper noting key changes. Numbers over Roman
numerals indicate interval point of chord in left hand.
Cl
...,
-6i'-
T'
1'1
t.
f.
1'.
f'f
,r
,.
T.
Ill;. VIx
(Eb)
I I, I (G)
(Eb)
II
"
II.
VII
nil'
bUIx I
III
t'
1'''
II
Sf
lIP
II bIIx
b1Ix
pili I
'1
f"
/ I Vilo
..
......-,;'
Cl
..
186
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It
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>
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I!:!!'I
..
-...,.......
--
:
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.,
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I
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..
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y ..
,.....-;;--'l
'7
Cl
'\'
'1
'1
1/
1+"
..
"
'1
Fig. 8 illustrates an improvised line of Fig. 7 employing all the elements studied in this book. The over-all sound of Fig. 8 represents in
microcosm mainstream jazz piano as it is played today.
1\
_.,
_I
looo..J-.,
"1tJ
Fig. 8.
.1iiiiI:i:I:::j
=====
1tJ
S"'.'
I
I VI#f VI I II V I III VIx I
bVIIx
=Sf
(Eb)
bV+IVo I
11
V / I VlIx I
f'"
1ft
'f"
f.
"
f.
n /
(Eb)
"
'1
1.
I (G) bV4>
IVa I III VIx I
V I I II
-,
"
- ...
Ii
'1
-u
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I
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187
It
.,
4tJ
If
.......
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....
:
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I
/II
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=::::t:=
--.-;J
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.,
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-,;"''''
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.......,I
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.--.--.
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v
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lot"
....
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....
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,
.
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.. .. ..
.11.
....
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A.
188
....
- -
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189
Fig. 9
"
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'1
'7
"'"
"
"
'1
Fig. 10.
Fig. 11 illustrates the basic circle of fifths series from the twelve
positions. All thirds to be fingered 2-1; all sevenths 5-1.
In a schematic such as Fig. 11, all accidentals terminate where they
originally appeared.
The student is strongly advised to study and memorize Fig. 11 in
order to create the automatic facility necessary to jazz performing.
190
.;;;.
'f9-
~"
hI>
'I
I
'1
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I
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,
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3
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XII
73.
Standard .Procedure
....
'6-
LESSON
if
"
za:
I.
l.
SECTION
'l"""
'1
hand.
Fig. 13.
192
193
LESSON
LESSON74.
75.
Memorization
Ear Training
The problemof developing the ear for what is called prehearing is of
major importance in performing jazz. It goeswithout saying that the hearing demands in jazz are extremely high and no effort should be spared in
the development of the ear. The following outline indicates the hearing
levelswhich occur simultaneously in the performance of a mature jazz
musician:
Improvisation
Melody
Lyric
Chord progression
pulseor beat
To hear these five levels simultaneously is a basic prerequisite for
superior jazz playing.
The followingroles can be of great value in building a secure relation-
194
To say that memorizationis important to the playing of jazz is equivalent to saying that a' knowledge of hannony and rhythm is important to
the playing of jazz.
Memorizing the elements that go to make up an improvisation is
concentrated in one factor - the processionof the chords in their rhythmic
frame.
This chord procession includes aD the elements described in the
previous chapter on Ear Training. Of course, the problems of memory
and hearing are closely related. although memory can operate on three
levels: (l) Mental; (.2) Muscular; (3) Auditory.
Method 1 (mental) is the least preferred and involves thinking of the
Romannumeralscomprisinga bassline (I. VI. IIi>.V, etc. ),
Method 2 (muscular) involves automatic playing (memorized hand
positions) which can be found in aDprofessional playing. particularly in
the classical field. In topflightjazz piano. automatic playing should be at a
minimum in order to give the perfonner the highest degree of spontaneous
rhythmic and tonal freedom. However, the muscular method can be helpful as a starting point for the student. This involves learning the various
hand positions of the chords until they can be played without hesitation.
When applying the outline of procedure in Lesson 73. the student will find
that mastering step 4 will not necessarilymean the same for step 5. The
hands will not be able to function independently in the beginning.although
hand independencemust eventually be achieved for good jazz playing.
Method 3 (prehearing) means a memorized hearing - heard in anticipation of the moment of playing. This is the ideal we anseek and is the
reason why fine jazz playing is a eballenge both to play and appreciate.
Apply the rules of procedure to aD the bass lines in this bookstarting
on whateverpractical levelnecessaryfor the student.
LESSON
76.
Sheet Music Conversion
C
C Maj.
C Maj. 9
C Major:
C
C'
C
C Dominant:
cn
C+
C Dominant
P:
C Dominant
bl
C' susp.4
:
Cm'
C Minor:
em"
C min.'
C Half-diminished:
em -
emb l
E!>m'
C Diminished:
Cdim.
Co
below.
2. Convert notation in bass and treble clefs to Roman numerals. In
many cases this step can be extremely difficult; however. if the student
starts with the lowest note in the bass and searches out the third, Bfth and
seventh, the quality of the chord should emerge. If one or more of these
tones cannot be found there is a fairly clear indication of the presence of
3. Compare the two results (letters and notation) for the best solution.
This step involves the problem of removing many of the faults common
to most sheet music:
( a) Unprepared dominant chords;
(b) incomplete patterns;
( c) interrupted patterns;
(d) key changes not indicated;
( e) additional chords for melodic adjustment;
(f) misspelled inversions.
Thesolutions are as follows:
1. When a dominant chord appears on the nrst beat of a bar and is
held through four beats. prepare the dominant by playing a minor or halfdiminished chord a perfect fifth above for the first two beats.
2. If a chord series such as I / II V / appears in sheet music. this is
an incomplete pattern. It should be I VI/II V /. If III VI I V I appears.
this too is an incomplete pattern. It should read III VI I II V /.
3. Interrupted patterns:
Sheet music:
Pattern:
nr
~I1Ix / II V I I
I1IVI/IPlIx! I
VI VI +- I VII lUx / VI
In concluding this lesson, the fonowing rules are wen to keep in mind:
The major chord can move anywhere.
The dominant. minor and half-diminished chords usually move
down a P5 or down a m2.
The diminished chord moves up a m2 or moves down a m2.
The conversion of 3/4 time to 4/4 time is discussed in Lesson 71.
an inversion.
~m6
196
IS
the
197
LESSON
77.
Touch-Technique
The technical demands of modern jazz playing are in many ways comparable to those required by serious music. On some jazz instruments
(notably the trumpet). levels of virtuosity have often exceeded those obtaining m the concert field.
In jazz piano. Teddy Wilson and Art Tatum established the modern
levels of virtuosity although their styles utilized a great deal of legato playing which hasin recent yearsundergone vital changes.
The major figure after Wilson and Tatum is Bud Powell who, despite
his revolutionary contribution to modern jazz piano (abandonment of
swing bass, etc.), retained much of the finger legato playing of the earlier
period. George Shearing in general continued the legato sound with an
emphasis on block chords skillfully pedalled to resemble the sound of a
saxophone section. Shearing's "single line" was classicaIly conceived along
the lines of a Mozart rondo.
Along with the virtuoso Powell school. there appeared the beginnings
of a primitive school of pianism led by Thelonius Monk. This styIe remained
in a relatively undeveloped stage until 1951 and the appearance of Horace
Silver, who founded the modern articulation approach to jazz piano. This
was a revolutionary movement away from the flnger legato and toward what
might be described as a "wrist" legato. This means the use of a quick
wrist stroke on practically every note which is cushioned and connected by
the finger clinging to the key. On fast sixteenth- and thirty-second note
passages, this wrist stroke is abandoned in favor of the finger. but the essential eighth.note strokes nearly all start at the wrist. This is an attempt
of the pianist to simulate the hard, sharp attack of the various jazz horns.
In the last seven years this style of articulation has become the vernacular sound of modern jazz piano. Oscar Peterson has furthered the articulation style by enhancing it with a virtuoso technique reminiscent of Art
Tatum's. There is little of the classical legato in Peterson, who is undoubtedly the outstanding jazz pianist today.
Hampton Hawes has effected a fusion of the Powell architecture and
Silver's touch. Hawes has brought the Charlie Parker "line" concept to the
keyboard with a definite emphasis upon the articulated stroke.
This wrist stroke is not a staccato or half-staccato. Classically trained
pianists immediately apply a staccato technique to jazz playing with disastrous results. In classical terms, the stroke is more related to a marcato
attack, but never a staccato.
198
Recordings
Unlike the literature of classical music, jazz literature does not and
cannot by its very nature appear as written or notated music. Recordings
are the only permanent document of jazz literature and the responsibility
of becoming familiar with this literature rests heavily upon the student.
It is important for the serious jazz student to study the basic diseography of jazz from 1925 to the present day. This study should be approached on two levels - general, and spedfic instrument
Study in the first category should be sufficient to identify general stylistic features of each period with a knowledge of the major figures (regardless
of instrument) of each period.
Study in the second category should have reference to the specific
instrument chosen by the student. Here, the research should be more
intense, with serious study of each period, its stylistiC patterns, the compositions played, the techniques employed, etc.
The follOWingoutline indicates some of the major figures on each of
the important jazz instruments:
Arranger:
Fletcher Henderson
Duke Ellington
Don Redman
Sy Oliver
Gerry Mulligan
Bill Holman
Nelson Riddle
Bands:
Fletcher Henderson
Benny Goodman
Duke Ellington
Jimmie Lunceford
Count Basie
Woody Herman
Gerry Mulligan Tentet
Stan Kenton
199
Bass:
Pops Foster
Jimmy Blanton
Oscar Pettiford
Ray Brown
Charles Mingus
Clarinet:
Johnny Dodds
Pee Wee Russell
Artie Shaw
Benny Goodman
Stan Hasselgard
Drums:
Baby Dodds
Chick Webb
Gene Krupa
Kenny Clarke
Jo Jones
Max Roach
Guitar:
Eddie Lang
George van Epps
Charlie Christian
Django Reinhardt
Tal Farlow
Joe Pass
Piano:
Jelly Roll Morton
Earl "Fatha" Hines
Fats Waller
Teddy Wilson
Art Tatum
Earl "Bud" Powell
George Shearing
Horace Silver
Oscar Peterson
Hampton Hawes
Wynton Kelly
Herbie Hancock
McCoy Tyner
Bill Evans
Alto Saxophone:
Benny Carter
Johnny Hodges
Charlie Parker
Lee Kanitz
Tenor Saxophone:
Bud Freeman
Coleman Hawkins
Lester Young
Stan Getz
John Coltrane
Miscellaneous Instruments:
Milt Jackson-vibraphone
Jean (Toots) Thielemans-harmonica
Serge Chaloff-baritone saxophone
Jimmy Smith-organ
Red Norvo-xylophone
Trumpet:
Buddy Bolden
Louis Armstrong
Bix Beiderbecke
Roy Eldridge
Bunny Berigan
Dizzy Gillespie
Miles Davis
Chet Baker
Clifford Brown
Trombone:
Kid Dry
Jack Teagarden
Tommy Dorsey
J.J.Johnson
Vocalists:
Louis Armstrong
Bessie Smith
Jack Teagarden
Bing Crosby
Joe Turner
Billie Holiday
Eddie Jefferson
Frank Sinatra
Ella Fitzgerald
Anita O'Day
Four Freshmen
Hi-Lo's
Lambert-Hendricks-Ross
1900
Fusion
]
1925
Waller
Hagtime
Joplin
::
Hines
Tatum
Fusion
Wilson
1940
I
Earl "Bud" Powell
Dissidents
I
Hhythrnlc
Thelonious Monk
Lennie Tristano
Errol] Garner
Dave Brubeck
Cy Walter
Horace Silver
Hampton Hawes
Harmonic
1
George Shearing
Wynton Kelly
Oscar Peterson
Herbie Hancock
Bill Evans
McCoy Tyner
200
201
SECTION
XIII
Dolphin Dance
The following is a bass line for "Dolphin Dance" in
changes.
(Eb) I I
(G)
Ixll3
Eo.Note key
omit 5
203
Invitation
(C)
Ulm
n 1l1 I
(C)
Vll5
Ilm
The following is a bass line for 'The Summer Knows" in (f) minor.
Note key changes.
(F)
VII3V I I I
II~
(F)
I ImL II
I VI I II
I
Illil
v I III
..
VI I II V1l3IT
204
vt bVlo I Vm bY I IV I bVIIx I
..
1+6 1/
HEAD CHART
~ Ix I Yo I bVllx I Yo I Ix I Yo I bII I
bh
bVix~/ IVx I
Yo I Yo I Yo /
piclc-up
BLOWING CHART
~ Ix I Yol bVllx 1::.</ Ix /Yo I bII I bVIx IIVx IY; I IVm / bVIIx I
~bVIM I bllx 1/
FOR ALL WE KNOW-Words by Robb Wilson and James Griffin, Music by Fred Karlin.
1970 by Music Corporation of America, Ine., New York, N.Y. Rights administered
by MCA Music, a Division of MCA Inc., New York, N.Y. All rights reserved.
Used by permission.
blIx / / I VI /
fub5
205
The Preacher
The following is a bass line for "Our Love Is Here to Stay" in the
key of F.
srve I Viz VI
I II 112 I bVIIx
vr,
n,
n, /
VI II I1x"5 I II V:3 I
p6
II I III VI I
IIx"'~
vr,
Desifinado
The following is a bass line for "Here's That Rainy Day" in Bb.
Note key changes.
(Bb) II III I IV V I I VI I Vm
(A) II<f>
bIlK I I I VI I II I V / III / VI/II
I V I I / VI I II I V II
Yo
sv II
sv I
IV IV2
DESIFINADO-Woros
by Newton Mendonca, Music by Antonio Carlos Jobim
Q 1959 and 1962 Editora Musical Arapua, Sao Paulo. Brazil. TRO-Hollis Music, Inc.
New York, controls all publication rights tor the USA and Canada.
Ci 1962, Bendig Music Corp. assigned to TRO essex Music Ltd, 85 Gower Street.
London, WCi for the territories of the British Empire and Commonwealth of Nations
(excluding Canada) and the Republics of Ireland and South Africa.
Used by permission.
..
11 112 II
V I I VIIx"5 1/
p6 /1
2f17
Just in Time
The following is a bass line for "Just in Time" in Bb.
The following is a bass line for "The Girl from Ipanema" in F. Note
key changes.
tv I
(F)
I / I I Ilx b5 I Ilx b5 I II /
(F)
IIxb5 I II I blIx I I II II
(F)
(F)
(F~)
I I I I IVx IIVx
11m 11m II
I1x / II I V I I I Ix I Im+6
{+6
(C)
}+6
(D) I 11+ 6
(B)
(Db) II I V / I I I II
I 1+6 II
(D) II I bIIx I
ONE NOTE SAMBA (SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm,
original words by Newton Mendonca
C 1961, 1962 by Antonio Carlos Jobim and Mrs. N. Mendonca, Brazil. Sole selling
agent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries.
All rights reserved.
Usedby permission.
208
v / I
//
1'1+6 II
Tune-Up
The following is a bass line for "One Note Samba" in the key of Bb,
Note key changes in the bridge from Db to B.
(D) II I Vb5 / I I
VIxl:5
III III<fJI
VIx1l3
Vll3
THE SHADOWOF YOUR SMILE-by John Mandel and Paul Francis Webster
Courtesy ofR.C. Burkett, Howard-Burkett Music
Used by permission.
209
Nica's Dream
The following is a bass line for "Nica's Dream" in bb minor. The
key series is as follows:
Bars 1- 6: bb minor
Bars 7-12: Gb major
Bars 13-22: bb minor
Bars 23-28: Gb major
Bars 29-32: bb minor
Bars 33-46: Db major
Bars 47-54: bb minor
Bars 55-60: Gb major
Bars 61-64: bb minor
pHup
(Gb)
IIJ;7
I II I blIx 11+ 6
TIle following is a bass line for "Quiet Nights and Quiet Stars" in
the key of C.
~
IV! I % I bIIx3
II",1
I bIIXl I % I Vm I
blIx / I I 1+6 /I
QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original
words and Music by
Antonio Carlos Jobim. English words by Gene Lees
1962, 1964 by Antonio Carolos jobim, Brazil. Sole selling agent Duchess Music
Corp. (MCA) New Yolk, N.Y. for all Eng/ish speaking countries. All rights reserved.
Used by permission.
J+6
J+6
/1
Four
The following is a bass line for "What Are You Doing the Rest of
Your Life" in (a) minor. The chord chart is scored in C major, although
the final cadences occur in the relative minor. Note key changes.
WIIx 1/ VP'7
(C)
(C)
(A)
vr,
(C)
r, VI Viz 1/ (C)
(>ideup
n,
u, I
(C)
1+6 /1
1/
1I1I7 / II II z / VII I
(C)
I II / :l:IIIoIII 11m! IVx ! II I III ! IVm ! bVIIx / III I bIll bVIx III
n,
VI1l1VI/'
bVIIx I III / bIII bVlx I II liz ! VIIm IIIx I III I bIll bVIx I II / bIIx /
IIllll7
I VII I
J+6 1/
211
Carolina Shout
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219