Free Practice Materials

This page contains some of the free educational practice materials Phil gives away at the Summer Jazz Workshops and other teaching venues. Although they are mainly designed for study at the keyboard, much of the material could be practiced on any linear instrument. They require the Adobe Acrobat Reader. New materials will be added regularly. Jazz Piano Practice Routine Ever wonder what to practice? Here is Phil's idea of a well-balanced organization of practice time, which he uses with his students. They involve five areas of study: Harmonic, Melodic, Scales, Transcription, and Tunes (repertoire).

Harmonic Study
I use my text (above) as a primary source of  harmonic study, but here are a few additional handouts. Three Note Rootless Voicings This is a hand out which displays the common formulae for 3-note voicings played by the left hand, or alternatively with the right hand, if you are providing your own bass notes with the left. Note that the lowest the 3rd or 7th should always fall between D below middle C and the D an octave up. It is a good idea to practice the voicings in all keys, both individually and in the context of  II-V-I, which is presented here in the key of C. Chorale Exercises The “chorale” technique is a piano harmonization approach that I teach which helps develop inner moving voice movement and full lush harmonies. It works well with standards, when the melody is not too busy and without many large leaps. You keep the left hand playing either a R-7 or R-3 (or R-10) shape; the right hand thumb picks up the remaining 3rd or 7th, and the melody with the rest of the fingers. This creates a 4-voice “Chorale” texture, where the melody operates completely independently of the three lower voices, which move as a unified block, changing with the harmony. You can then add other extensions to the chords on a chord by chord basis. The exercise  included here is a good preparation for these kinds of chord formations. Practice them in all keys.

Melodic Vocabulary
Most players learn melodic phrases that have strong harmonic implication. Below are several pages with lots of phrases or "patterns" which can be learned in several or all keys. Find one that tickles your ears, and work out the fingering so it becomes easy to execute it; then start to transpose it. Remember, the practice of the phrase is not done until the time feels really good. Each page features phrases that pertain to a particular harmonic context.  A very common harmonic context for melodic phrases is II-V-I, meaning a minor seventh chord, resolving up a fourth to a dominant 7, resolving up a fourth to a major chord. A "short" II-V-I is a two bar cadence where the II and the V split one bar, and the I chord takes up one bar. A "long" II-V-I progression allows the II and the V to each last a bar, while the I chord lasts two bars. The patterns in the pages below feature lots of chromatic leading notes which make the phrase outline the harmony clearly. Short Major II-V-I These phrases are all pitched in the key of C. They imply a short II-V-I (Dmi7-G7-Cma7), or a phrase can be connected to another one where it leaves off, making a long II-V-I. Practice any of the phrases with any of the rhythmic variations listed at the end of the first page. Long Major II-V-I These are in the key of C, featuring a bar of II (Dm7) , a bar of V7 (G7), and  two bars of I (Cma7) Minor II-V-I The variation of the cadence adjusted to a minor key features a half-diminished chord resolving up a fourth to a dominant 7th with a b9, resolving up a fourth to a minor chord. This cadence occurs in tunes with a fair amount of frequency. Dominant Diminished and Whole Tone These melodic phrases outline two different harmonic contexts: the G7 b9 chord resolving to a C minor using the

dominant diminished scale sound; and the G9 #5 chord  resolving to a C Major, using the whole tone scale sound. Turnarounds Melodic phrases outlining common turnaround progressions in the key of C Triad Outlines Embellishment patterns on the major and minor triads. 

Scale Exercises
Scale Syllabus My listing of the commonly used scales in jazz, along with the chordal extensions they highlight. I suggest learning them at first as you need them in tunes you are studying, and always with a left hand voicing that Scale Fingerings for the Right Hand Fingering of the commonly taught jazz scales can be highly personal, but this chart can give you a place to start. Just cross reference the scale mode with the key, and try the fingering listed at the bottom. Practice each scale at least two octaves in the right hand, and to put a left hand chord with it. Scales and Scale Shapes Scales become musical when you can manipulate shapes through a tune, hearing the changing the scale sound as the harmony changes. Here are various ways to practice a given scale, so you really get to know it. It is modeled on the C major, but these shapes can be practiced with any scale or mode. Bebop Scales These are eight note scales that are adaptations of three commonly played seven note scales: the mixolydian (dominant) , 5th mode of the harmonic minor (altered), and major scales. They can be applied wherever those scales would be appropriate. The inserted chromatic tone in each allows the chord tones of the scale to consistently fall on the beat over multiple octaves, which helps gives a line strong harmonic clarity. Practice them for speed and consistency, descending from the root, 3rd, 5th, and 7th of the scale. This will increase fluidity of your lines, and help your ears to hear harmonic resolution in lines. Suggested Right-hand Bebop Scale Fingerings These fingerings are merely suggestions; you find what works best for you. I tend to favor groupings of four fingers, since the scales contain eight notes, requiring only one thumb crossing per octave.

Transcription
Transcription means listening to music in detail and copying it by ear; some musicians learn solos by ear and memorize them directly, and some people write them down. But all jazz musicians go right to the source to learn the language. All God’s Children Got Rhythm Here is a transcription of one of my favorite solos by one of my favorite pianists, Bud Powell, from the recording Sonny Stitt, Bud Powell, J.J. Johnson—Prestige Original Jazz Classics. I learned to play lines by transcribing solos like this one, working them up to tempo with a metronome, and finding phrases that I liked which had strong harmonic implication. I then practiced those phrases in the other keys, which helped my ears and my ability to finger things on the fly. Jazz Pianists You Should Know Here is a list of some of the most important jazz pianists through the history of the music. Of course there are many others who are not listed, so I extend my apologies.

Tune Study
Jazz pianists should know repertoire by memory. At my university (University of Cincinnati, CCM), we insist that the students memorize lots of tunes. Tunes should include both “standards”, which are popular and show songs that jazz players like to play, and jazz compositions. The study of tunes should incorporate all the elements above (use of voicings, melodic phases, scale study, listening to recordings). Repertoire List Here is an excellent list of tunes for study compiled by my friend Mark Levine, who included it in his wonderful text “The Jazz Piano Book” (Sher Music). It includes references to “The New Real Book” Volumes, also published by Sher Music, which are excellent fake books. When choosing a tune to learn, pick one that you already recognize and can sing; you are already halfway to memorization. When learning a tune, start first with the melody, alone with no harmony, memorizing it phase by phrase, with a good and consistent fingering. Then learn the bass notes with the melody, just the roots of the chords. Finally add the chords, and coming up with good left hand voicings. Piano Arranging Approaches Here are three general approaches to arranging a tune at the piano. I use Ellington’s Satin Doll  as an example. Voicings Applied to Some Tunes

Afternoon in Paris, Autumn Leaves, Blue Bossa, F Blues, Bb Blues, Groovin High, Maiden Voyage, Nutville, Perdido, Satin Doll, Song For My Father, Summertime, Take the A Train, Tune Up, Yardbird Suite.
You can use the left hand part alone to add the melody or improvisation with the right hand.

Here are two handed chord voicings realized for several commonly played jazz tunes and standards:

Improvising Lines over the Chords of a Tune

Once you know a tune well, you can begin to improvise new lines on it. To me, the three basic approaches to improvisation are 1) embellishment of the melody, 2) the use of scales and scale shapes (see Scale Study above), and 3) the use of melodic phrases which create lines that target important notes in the harmony (see Melodic Vocabulary above). Before trying to learn improvise on a tune, be sure you have a strong left hand voicing in place and are comfortable with the form.

Improvisation Outlines I borrowed this concept from Bert Ligon, a wonderful teacher and keyboard player. These are melodic phrases, adapted to both a major and minor tonality, which will train your ears to hear harmonic resolutions. Each phrase outlines II-V-I in both major and minor, as well as I chord harmony. They start from four different tones of the II chord. After learning them in all keys, you can apply them to a tune, which allows you address all the harmonies explicitly. Remember, this is just an exercise, not music, but if you play it musically (with phrasing and rhythmic embellishment), your ears will get to know the harmonic territory of a tune. Application of the Improvisation Outlines Here is a sample application of the improvisation outlines to the tune “Summertime”

Copyright © 2005 Phil DeGreg

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All God's Children Got Rhythm.Bud Powell solo &b c Ó G m7 3 5 Piano intro ‰ & b œ œ œ œ #œ œ œ œ bœ Ó D m7 9 C7 œ bœ œ bœ œ œ œ bœ œ bœ œ œ œœ œ œ œ œ œ œ # œ # œ œ œ œœœ œ 3 FM7 A m7 D7 G m7 Gm ∆7 A m7 œ bœ œ bœ œ nœ bœ bœ bœ œ Œ Ó &b G FM7 64 bars Stitt solo 3 b b7 œ nœ bœ œ œ œ bœ œ #œ œ œ œ nœ bœ ‰ œ œ œ œ #œ D7 G m7 3 Begin piano F M 7 solo œ œ œ Œ œ œ œ œ œ œ œ Œ G m7 C7 G m7 C7 &b 13 17 œ œ #œ œ œ bœ #œ œ œ œ œ b œ œ b œ œ œ œ b Œ œ n œ œ œ #œ œ & œ œœœœ œ œ FM7 B m7 E7 A m7 D7 3 œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ Œ œ nœ bœ œ œ bœ œ œ œ bœ œ A m7 G m7 C7 FM7 3 œ œ nœ œ #œ œ œ œ œ œ bœ & b œ œ œ œ bœ œ œ œ œ œ œ œ œœ œ ‰ œœ Œ œ 21 3 G m7 C7 FM7 b E m7 ( 5 ) 3 A7 D m7 3 œ œ bœ bœ œ œ b œ œ œ b Œ ‰ œ œ n œ nœ bœ œ bœ œ œ œ & j œ œ œ bœ œ œ œ œ #œ œ œ nœ D m7 G7 G m7 C7 FM7 G m7 C7 25 3 bœ œ œ bœ bœ œ œ œ œ & b œ œ œ œ #œ œ #œ œ œ œ œ œ œ Œ 29 3 A m7 D7 G m7 C7 F M7 G m7 C7 .

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D G C œ mœ œ œ œ œ œ œ œ # œ œ bœ œ bœ bœ œ œ œ œ œ œ #œ œ nœ œ œ œ œ œ ‰J &b œ œ 3 G m7 C7 FM7 7 7 7 69 3 œ œ œ œ œ ‰ &b FM7 73 œ bœ C7 œ œ bœ bœ nœ bœ œ bœ nœ œ Ó œ œ b & A m7 A m7 G m7 77 81 b œ œ ‰ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ Œ œ bœ J Stitt FM7 G m7 C7 3 C7 FM7 Bud G m7 C7 bœ œ & b œ bœ œ œ nœ bœ œ œ bœ œ #œ œ nœ œ nœbœ œ #œ œ œ œ œ œ nœ œ œ œ #œ bœ œ #œ &b 85 89 b A m7 ( 5 ) D7 B m7 3 Stitt E7 A m7 D7 G m7 C7 œ bœ œ #œ œ bœ œ bœ œ bœ &b œ œ œ œ œ bœ nœ œ 3 3 œ #œ œ œ D m7 Œ F M7 ‰ G7 œ #œ nœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ 3 œœœœ 3 E m7 Bud A7 D m7 G m7 C7 -3- .

C m7 1 D 7a l t .. C m7 F7 w w w w w B M7 b w w w w w E M7 b w w w w w ? bb b &b ? bb & bb w w Aw w w w w Aw w w A m7 G m7 w w w w w G m7 w w w w w w w Aw w .. w w w w . ˙ ˙ ˙ #˙ ˙ G m7 w w w w w b˙ ˙ ˙˙ ˙ b 5) ˙ ˙ nA˙ ˙ ˙ G 7a l t .Autumn Leaves b &b c ? b c b & bb A m7 (b 5) ∑ ∑ 1 w . G m7 w w w w w G m7 w w w w w (b 5) 1 D 7a l t . w w Aw #w w D 7a l t . # w ... w w Aw #w w G m7 w w w w w G m7 w w w w w w w w w w F7 w w w w w B M7 b w w w w w E M7 b w w w w w ? bb w w Aw w w E A m7 ( b 5) w w Aw #w w ˙ ˙ A˙ ˙ ˙ A m7 ( 1D 7a l t . G m7 ˙ ˙ ˙ ˙ ˙ b b w w &b bw w ? bb w ˙ ˙ ˙ n˙ ˙ C7 ˙ ˙ ˙ A A ˙ ˙ D m7 ( F m7 B b ˙ ˙ ˙ ˙ ˙ 7 7 b 5) D 7a l t . .

Bebop descending from 3rd Alt.Suggested Jazz Scale Fingerings for the Right Hand Bebop. A B C D E F G H I J (5)4321 4321 (321) 4321 4321 4321 4321 (21) 4321 4321 (31) 21 321 321 21 321 321 (321) 321 321 21 321 21 321 (4321) 21 321 321 (4321) 321 321 21 K L M N 321 321 21 (21) 321 21 321 (4321) 321 21 321 (54321) 21 321 321 . Bebop descending from root Alt. Altered Bebop. spaces indicate thumb crossings. and ( ) indicate to start with that fingering. All fingerings descend. but switch to subsequent groupings in the following octaves. Major Bebop Scales C C# D Eb E F F# G Ab A Bb B Bebop descending from root A C A B A C A B A A A B B A B A C A C D J I K F A H A B G H N M A B A G C D C D C D C D C D C A A B A B G H N M A B A B A B A B A B A B A A A B D C D C D C D C D C D C A A A B A H N A A A A A E I K F C D C D B A B A A H A B A K A M A B A B F J I K F E I K H A M G G H L M I K F M I K F J Bebop descending from 3rd Bebop descending from 5th Bebop descending from 7th Alt. Bebop descending from 5th Alt. Bebop descending from 7th Maj Bebop descending from root Maj Bebop descending from 3rd Maj Bebop descending from 5th Maj Bebop descending from 6th In the key below.

.

21. 4. 22. 11. 7. 15. 3. 20. but switch to subsequent groupings in the following octaves. spaces indicate thumb crossings.Suggested Jazz Scale Fingerings for the Right Hand Diminished. 2. 18. 17. 5. 19. 10. Whole Tone C Diminished Dominant Diminished Whole Tone C# D 2 9 14 3 5 15 Eb E 4 10 16 5 5 17 F 6 8 18 F# 2 11 19 G 1 1 20 Ab A 7 4 21 5 5 17 Bb B 4 12 22 6 6 18 1 8 13 In the key below. 9. 16. 6. All fingerings ascend. and ( ) indicate to start with that fingering. 12 1234 23 123 1 2 1234 1 (3) 123 123 1234 12 123 123 234 121 (12) 123 123 34 12 12 (2) 12 1234 . 12. Dominant Diminished. 8. DIMINISHED AND DOMINANT DIMINISHED SCALES 1. 123 123 12 23 12 1231 12 1234 12 (2) 123 12 123 12 123 123 1234 1234 (23) 1234 1234 123 12 123 (2) 12 1234 1 (2)12 123 123 2 123 123 1 (2) 1234 1234 WHOLE TONE SCALES 13 14.

C 7a lt.Dominant Bebop Bebop Scales bœ œ œ œ œ œ œ œ œ œ œ œ w w bw w w w œ œ œ w w w w bw œ w &c œ & & & œ œ C7 C7 œ œ œ œ C7 œ œ œ bœ œ œ œ œ œ bœ C 7alt. œ bœ œ œ Altered Bebop &œ œ & & & œ bœ C 7a lt. œ bœ bœ œ bCœ7alt. b œ C6 œ œ bœ œ œ bœ bœ œ œ œ œ bœ œ œ bœ œ œ œ bœ bœ œ œ œ Major Bebop &œ & & & œ œ œ œ bœ œ œ œ œ œ œ œ œ C6 œ bœ œ œ œ œ C6 œ bœ C6 œ bœ œ œ .

˙ ˙ n˙ ˙ ˙ .Blue Bossa b &b b c w w w ? bb c w b w b b w b & b w bw w b ? bb w b C m7 C m7 E m7 b w w w bw w A w w w w w 7 F m7 D M7 b w w w w w w w w w w F m7 D M7 b w w w w w w w w w w D m7 ( w w ww w b 5) G 7a l t . w w nw w w C m7 w w w w w C m7 w w w w w D m7 ( w w ww w b 5) G 7a lt . w w nw w w C m7 w w w w w D m7 ( ˙ ˙ ˙˙ ˙ b 5 ) G 7a lt .

. maintaining the independence of the top voice. w bœ ˙ ˙ b˙ #œ ˙ ##˙ ˙ œ bœ w w w w w w w w w bœ w w w w w w w w w w w w 3. w w ˙.Chorale Exercises Practice each in all keys. ˙ w w b œœ bœ w w w w 2. keeping other voices as an independent block 1. bœ œ bœ &c œ ˙ b˙ ?c ˙ ˙ b˙ ˙ & ˙œ b œ ˙œ ˙ b˙ ?˙ b˙ bœ œ &œ ˙ b˙ ˙ ?˙ ˙ ˙ & bœ ˙ ˙ ? ˙ &œ ˙ ?˙ ˙ &œ ˙ ?˙ ˙ œ œ ˙ #˙ ˙ œ ˙ b˙ b˙ #œ b˙ #˙ ˙ œ œ bœ œ bœ ˙ ˙ ˙ ˙ b˙ ˙ ˙. w w ˙. 5. œ œ œ . #œ 6. w w œ w œ ˙. œ bœ bœ ˙ ˙œ ˙ b˙ ˙ b˙ œ ˙ ˙ ˙ œ ˙ ˙ ˙ #œ œ bœ nœ ˙ ˙ ˙ œ bœ œ b˙ ˙ ˙ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ #œ ˙. œ œ bœ œ bœ 4.

b˙ ˙ b˙ ˙ ˙ Bb Blues b &b w w w ? b bw w B B 7 E b &b w w w ? b bw w w bw w G 7a l t .&b c w w w ? c bw w b &b w w w ? b bw w F7 F7 b w w bw w w B D 7a l t . F-Blues 7 w w w bw w w w Aw w w G m7 F7 w w w bw w bw w Abw w w C 7a l t . b w w 7 b w w bw w w B 7 b w w bw w w B 7 E w bw w B b w w 7 E 7 nbw w w bw w C m7 w w w bw w bbw w bw bw w F 7a l t . b w w 7 7 ˙ ˙ bb˙ ˙ ˙ b˙ ˙ b˙ ˙ ˙ . b w w bw w w w bw w C m7 F 7a l t . F7 b w w bw w w B 7 b w w bw w w B 7 bw w bw #w w w w w bw w F7 ˙ ˙ A˙ ˙ ˙ G m7 C 7a l t .

ESSENTIAL REPERTOIRE LIST (per Mark Levine Theory book .tunes preceded by a • ("a must") TITLE Ah-Leu-Cha Airegin All Blues All God's Chillun All the Things You Are Alone Together Along Came Betty Anthropology Ask Me Now Au Privave Autumn in New York Autumn Leaves Bags' Groove Beatrice Beautiful Love Bemsha Swing Bessie's Blues Billie's Bounce Black Narcissus Black Nile Blue Bossa Blue In Green Blue Monk Blues for Alice The Blues Walk Body and Soul Bolivia But Beautiful But Not for Me Bye Bye Blackbird Caravan Ceora Chelsea Bridge Cherokee Cheryl Children of the Night C Jam Blues Come Rain or Come Shine Con Alma Confirmation Countdown Cousin Mary Crisis CTA Daahoud Days of Wine and Roses Dearly Beloved KEY BOOK NRB1 NRB1 NRB2 NRB1 REMARKS NRB1 NRB1 NRB2 NRB1 NRB3 NRB1 NRB2 NRB2 NRB2 NRB3 NRB3 NRB1 NRB2 WGFB WGFB NRB1 .

Dig Dolphin Dance Donna Lee Doxy Easy Living Eighty One Embraceable You Epistrophy Equinox ESP Evidence (aka Justice) Falling in Love with Love Fee-Fi-Fo-Fum Footprints Four Freddie Freeloader Freedom Jazz Dance Georgia on My Mind Giant Steps Good Bait Green Dolphin Street Groovin' High Hackensack (aka Rifftide) Half Nelson Have You Met Miss Jones Here's That Rainy Day Hi-Fly Hot House How Deep is the Ocean? How High the Moon I Can't Get Started I Could Write a Book I Didn't Know What Time It Was If I Should Lose You If I Were a Bell If You Could See Me Now I Got It Bad and That Ain't Good I Hear a Rhapsody I'll Remember April I Love You I Mean You I'm Getting Sentimental Over You I'm Old Fashioned Impressions In a Mellow Tone In a Sentimental Mood Indiana Infant Eyes Inner Urge NRB1 NRB3 NRB1 NRB1 NRB1 NRB1 NRB2 NRB2 NRB3 NRB1 NRB2 NRB1 NRB3 NRB3 NRB3 NRB1 NRB3 NRB1 NRB2 NRB3 NRB3 WGFB NRB3 .

Invitation In Walked Bud In Your Own Sweet Way I Remember Clifford I Remember You I Should Care Isotope Israel It Could Happen To You I Thought About You It's You or No One I Got Rhythm I Want to Talk About You The Jitterbug Waltz Jordu Joshua Joy Spring Juju Just Friends Just One of Those Things Katrina Ballerina Killer Joe Lady Bird Laura Lazy Bird Like Someone in Love Little Sunflower Love for Sale Lover Come Back to Me Lover Man Lush Life Mack the Knife Mahjong Maiden Voyage Manha De Carnival (aka Black Orpheus theme) Manteca Milestones (new) Minority Mr Clean Misterioso Mr P C Misty Moment's Notice Monk's Mood My Foolish Heart My Funny Valentine My One and Only Love My Romance My Shining Hour NRB3 NRB1 NRB2 NRB1 NRB3 NRB1 NRB3 NRB2 NRB1 NRB3 NRB1 NRB3 NRB1 NRB1 NRB1 NRB2 NRB3 NRB2 NRB1 NRB2 NRB1 NRB2 NRB1 NRB1 NRB1 .

Naima Nardis Nefertiti Nica's Dream Night and Day Night Dreamer The Night Has a Thousand Eyes A Night in Tunisia No Blues Now's The Time Old Folks Oleo Once I Loved Ornithology Our Delight Out of Nowhere Over the Rainbow Parisian Thoroughfare Passion Dance Peace Pensativa Pent-Up House Perdido Polka Dots and Moonbeams Prelude to a Kiss Recordame Rhythm-A-Ning 'Round Midnight Ruby My Dear St Thomas Salt Peanuts Sandu Satin Doll Scrapple from the Apple Search for Peace Secret Love Serenity Seven Steps to Heaven The Shadow of Your Smile Skylark Softly as in a Morning Sunrise Solar Someday My Prince Will Come Someone to Watch Over Me Some Other Blues Song for My Father The Song is You Sonnymoon for Two Sophisticated Lady NRB2 NRB1 NRB2 NRB2 NRB1 NRB1 NRB3 NRB2 WGFB NRB1 NRB2 NRB1 NRB3 NRB1 NRB1 NRB1 NRB1 NRB1 NRB1 NRB2 NRB3 NRB1 NRB1 NRB1 NRB2 NRB2 NRB1 NRB2 .

Soul Eyes So What Speak Low Speak No Evil Spring Is Here Stablemates Stardust Star Eyes Stella By Starlight Stompin' at the Savoy Straight No Chaser Strollin' Sugar Summertime Take the 'A' Train Tangerine Tenor Madness The Theme There Is No Greater Love Things Ain't What They Used To Be Think On Me Tune Up Unit Seven Up Jumped Spring Upper Manhattan Medical Group (UMMG) Valse Hot Walkin' Wave The Way You Look Tonight Weaver of Dreams Well. You Needn't What Is This Thing Called Love What's New When Lights Are Low When Sunny Gets Blue Whisper Not Wild Flower Windows Witchcraft Witch Hunt Without A Song Woody'n You Yardbird Suite Yes Or No Yesterdays You Don't Know What Love Is You're My Everything You Say You Care You Stepped Out of a Dream WGFB NRB1 NRB1 NRB3 NRB2 NRB2 NRB3 NRB3 NRB2 NRB3 NRB1 NRB2 WGFB NRB1 NRB1 NRB1 NRB1 NRB1 NRB1 NRB1 NRB3 NRB2 NRB1 NRB2 NRB1 WGFB NRB2 NRB2 NRB1 NRB1 NRB2 NRB2 NRB3 .

You've Changed NRB3 Additions (not on Levine list): Do Nothin' til You Hear From Me Honeysuckle Rose I'm Beginning To See the Light Li'l Darling Mean To Me Oh Lady Be Good On the Sunny Side of the Street Pennies From Heaven Solitude Sweet Georgia Brown Sweet Lorraine There Will Never Be Another You Undecided Wrap Your Troubles In Dreams .

. Voicings not bracketed can be played alone or in alternation with bracketed chords.Maiden Voyage &c w w w #w w w w ?c w w w & w w w ? w w E D 7 sus 4 D 7s us 4 w w w w w w w w w w bw w bw w w w w w w w w w w w w w w w w w w w bw w w w w w w w #w w ‘ ‘ ‘ bw w w w w bw w ‘ ‘ ‘ w #w w w w w bw w w w w ‘ ‘ ‘ ‘ ‘ ‘ F 7s us 4 w w w w w w w bw w w w w w w w w w w w w w w w w w w w w w w ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ #w w w w w bw w bw w w F 7 sus 4 bw w bw w w w w w w bw w w w w w bbw w w bb bw w & bw w w ? bb bw w & w w w ? w w b 7 sus 4 b ‘ ‘ ‘ bw w w bb w ‘ ‘ ‘ bw D m7 bw w bw w n w w bw bw b w w w bnw w w w w w w w w w w w w w D 7 sus 4 #w w w w w #w w w w w ‘ ‘ ‘ bw w bw w ‘ ‘ ‘ w F 7 sus 4 w w w w bw w w w w w Play voicings with brackets as a pair that shifts back and forth.

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Nutville b &b b c ˙ ˙ ˙ n˙ ˙ ˙ ? bb c ˙ ˙ ˙ ˙ b C m7 ˙ ˙ n˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ n˙ ˙ ˙ ˙ ˙ bb ˙ b ˙ & ˙ ? bb ˙ ˙ b F m7 ˙ ˙ ˙ ˙ ˙ b b w &b b w w w ? bb bw b A 2 « 2 « nw w nnw w w bw w nw w w G7 2 « 2 « C m7 2 « 2 « ˙ ˙ ˙ ˙ ˙ n˙ ˙ ˙ ˙ ˙ ˙ ˙ n˙ ˙ ˙ n˙ ˙ ˙ ˙ ˙ w w nw w w w w nw w w F7 7 b bw w w nw w G 2 « 2 « 2 « 2 « 7 b b w &b b w w w ? b bw bb A 7 b G 7 ( 9) w w nw w w C m7 .

œ œ œ œj w œ œ# œ œ œ œ œ œ n˙ J D min7 G min7 C 7 F Maj7 E m7 (b5) A 7 D min7 E m7 (b5) A 7 œœ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙ œ œ œ# œ œ œ œ œ œ œ n ˙ œ œ œ# œ œ œ œ œ n˙ D min7 D7 G min7 E m7 b 5 D7 G min7 E m7 b 5 j & b œ . .Application of Improv Outlines to "Summertime" Progression Outline #1 &b &b () A7 œ j # ˙ œ jœ œ # œ w œ œ w œ n˙ œ œ bœ c œjœ œ n œ w œ œ . same with Gmi7 on bar 5. œjœjœ j j œ .œ j #œ œ œ œ œ .œ œjœ j nœ w D min7 j & b œ . œj j n œ w œ œ n ˙ b œ œ œ# œ œ œ œ ˙ œ œ œ œ w œ œœJ œœ Jœ œ J D min7 G min7 C 7 F Maj7 E m7 (b5) A 7 D min7 E m7 (b 5) A 7 œ œ œ œ œ œ œ œ œ œ œ œ # œœ œœ # œœœ œ œ n w n ˙ œ œ œ œœ œ œœ œœ w œœ œ ˙ œœ œœ D min7 Note: Dmi7 and Dm6 sounds are used interchangeably on a i minor function chord in first three bars.œ J œœ œœ D min7 D7 G min7 E m7 b5 D min7 D7 G min7 E m7 b 5 Phil DeGreg & b œ .œjœj j œn œ w D min7 Outline #2 Outline #3 () A7 j œ œ œ œ b œ œ œ œ .œj j j œ œœ œ œ# œ œ œ œ . œ J œ œ. J J œ.œjœj j œnœ nw & b œ . œ œ œœœ œ #œ œœ w #œ œ n˙ G min7 C 7 F Maj7 E m7 (b5) A 7 D min7 E m7 (b5) A 7 œœœ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ n˙ œœ #œ œ n˙ #œ () A7 bœœ œ j œ . J œœ JJ D min7 G min7 C 7 F Maj7 E m7 (b 5) A 7 D min7 E m7 (b5) A 7 jœjœ n œ w œ n˙ œ œ œ œ ˙ œ œ œ ˙ œ œ œ #˙ œ n˙ œ œ œ #˙ œ œ œ œ œ œ .œ œjœ j nœ w D min7 Outline #4 &b &b () A7 œ œ. œ œj j œ .

Remember: this is only a practice activity to train our ears.Improvisation Outlines Outline #1-starts from root Dmi7 G7 CMa7 Phil DeGreg (with thanks to Bert Ligon) Outline #2. substitute a ii-chord into the pattern even though it is not stated in the progression. elongate the rhythm: C7 Fma7 Gmi7 &œ œ œ œ œ œ œ œ w &œ œ œ œ œ œ œ w œ bœ œ œ Aœ w œ œ œ œ œ bœ œ œ Aœ œ œ bw œ If the ii-V does not resolve. in the end when we play music. This will help train your ears to hear the harmony and its resolutions clearly. Here are some ways of tailoring the patterns to common specific harmonic situations: If the ii-V or ii-V-I is long form (a bar of ii and a bar of V). and sing. Then apply each pattern through the harmony of a tune you are working on. If the dominant sound is is altered. use the resolution half of the pattern without the ii chord outline: & œ. you will be able to hear and apply other vocabulary in a similar manner into the context of tune forms. be sure to use the altered version of the pattern with a b9 : If there is a quick (only 2 beat) V chord which resolves. feel. If there is an unprepared V chord in the progression. we just listen. A7 alt j œ œ bœ J #œ w J bœ & œ bœ œ bœ œ œ œ Cmi7 G7 Cmi7 œ bœ œ Ó . Get comfortable enough it to phrase it musically and from memory. &œ J J J Abmi7 # œ Db7 nœ b œ bœ œ Œ Note that these patterns outline the chord tones of major and minor chord qualities but not unprepared dominant (V) chords. just apply the first part of it without the resolution: D7 œ #œ œ Œ &œ œ Ami7 œ œ œ œ œ bœ œ b œ œ w . Before long.starts from 3rd &œ œ œ œ œ œ œ œ w Dm7 (b5) (optional 8va displacement) œ œ œ œ œœ œœ w œ œœ w & bœ œ œ (optional 8va displacement) œ bœ œ œ œ bœ œ œ bw bœ œ œ bw œ œ Aœ œ œ bw G7 (b9) Cmi 7 CMa7 œ ˙ œ œ œ Outline #3-starts from 5th œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ ˙ œ Outline #4-starts from 7th (inversion of Outline #1) Learn to play each of these patterns through all keys. creating a kind of etude.

Cmz 1 1 . ebz Bbttit . .Perdido Bbut Ebuz Dmz Gzart. I BDuzebt n/2nd ending Perdido BDrwEDut .l l*.

With apologies to the many not included on this list….40's Thelonius Monk Earl "Bud" Powell Hank Jones Al Haig John Lewis George Shearing Elmo Hope Herbie Nichols Billy Taylor Barry Harris Oscar Peterson Post-Bop. Ahmad Jamal Lennie Tristano Modernists .60's Bill Evans Roland Hanna Randy Weston Stanley Cowell Albert Dailey Kenny Barron Jaki Byard Tommy Flanagan Joe Zawinul Herbie Hancock McCoy Tyner Keith Jarrett Chick Corea Cedar Walton Cecil Taylor Paul Bley 70s-80's Kirk Lightsey Mulgrew Miller John Hicks Kenny Kirkland Andy Laverne Eliane Elias Richie Beirach Hal Galper James Williams Jim McNeely Joanne Brackeen Donald Brown Contemporary Kenny Werner Art Lande Fred Hersch Brad Meldhau Marcus Roberts Jason Moran Michel Camilo Cyrus Chestnut Bill Cunliffe David Hazeltine Dave Kikowski Danilo Perez …. . Jr.Jazz Pianists You Should Know Stride and Swing Ferdinand "Jelly Roll" Morton James P.50's Horace Silver Dave Brubeck Red Garland Wynton Kelly Hampton Hawes Ray Bryant Bobby Timmons Sonny Clark Phineas Newborn. Johnson Willie "The Lion" Smith Thomas "Fats" Waller Earl "Fatha" Hines Edward Kennedy "Duke" Ellington William "Count" Basie Art Tatum Jess Stacy Nat "King" Cole Mary Lou Williams Erroll Garner Be-Bop..

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. grr([s) ..r ol. .Doll Satin Dmz Gz Emz At Amz Dt alr. . I ? ' o a €> fis i r#3 e p e ? % ? ? n =n. n r ( lr ) A r u .- o a g Ab^t obt E . E r r ( b s ) A rru .r(bs) F titz Amz Dt Gz Dmz Gz o a a a a {€} .

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5. b13. #9. #11." MAJOR QUALITY IONIAN (MAJOR) & C Ma 9 LYDIAN #w w & w w w w C M a 9 ( # 11 ) w w w w w R 9 w R w 9 3 w w 3 3 A w #w 5 w 5 6 w 6 w 7 LYDIAN AUGMENTED MINOR QUALITY AEOLIAN (NATURAL MINOR) & #w w w w C Ma 7 ( # 5 ) w R w 9 #11 w w w w 7 7 w R w w 9 9 w #11 #w 11 #5 #w A w w & bbw w w w w b w & b w w w w w & bw w w w Cmi 9 b3 w R bw bw bw bw 3 3 b3 w w w w 5 5 5 5 bw A* A bw b7 C mi 11 DORIAN w R w w w bw A 9 9 11 w 11 w bw A bw b7 ∆7 C m9 ∆ 7 HARMONIC MINOR w 6 w w MELODIC MINOR w w & bw w w w & C mi 9 R 11 w C 7 s us 4 ( b 9 ) w w w w 6 ∆7 w PHRYGIAN w bbw w w Cm i 7 ( ) bw w w ww R w bw 3 11 5 w bw A bw b7 . but have a strong tendency to resolve (up or down) and should be used mainly as passing tones or embellishments. 11. or ext notes on diminished) 3) Approach notes . It is important to remember that a scale is simply a series of notes consisting of chord tones and notes that connect them. 13. The three kinds of notes in a scale or a line are: 1) Chord tones (R. 6 or 7) 2) Extensions (9. b9. along with their affiliated chord qualities. which are appropriate diatonic connecting tones.CHORD / SCALES Below are 18 commonly used scales in jazz.3. They are indicated by an " A .

b13/#5 b7 WHOLE TONE DOMINANT DIMINISHED HALF-DIMINISHED LOCRIAN w # w w b w b w & w w C7 w #bw w w w # C 9 ( 5) w R bw w bw b9 9 bw w bw b3 #9 3 nw #w nw 3 #11 ( b1 9 3) w w R R #w w bw b5 5 #5 & bbbw w w w C m9 b C mi 7 ( 5) #w 11 #11 w bw bw b7 b7 A LOCRIAN #2 w & bbbw w w w & & ( b 5) w R bw 9 bw b3 w b6 bw b6 11 2ND MODE HARMONIC MINOR DIMINISHED DIMINISHED bbbw w w w b C mi 7 ( 5) w R w A bw b3 w bw bw b5 b5 b5 bw A bw bw b7 ext b7 11 b ww w w b w b w w w C °7 R w w bw ext b3 bw bw ext w w bb7 w w bw ext bw nw w .DOMINANT MIXOLYDIAN & C 1 3 s us 4 LYDIAN DOMINANT #w w w b & w w w w w b ww w w w C 13 R (#11 ) w w R 9 w 9 A* w 3 sus4 w #11 5 w w w bw b5 5 5 13 w 13 b7 bw b7 5TH MODE HARMONIC MINOR bC w( ) w & bbw w w 7 b9 b13 w w 3 #w w 3 w bw bw bw bw 13 b7 b7 R b9 ALTERED (DIM W T or SUPERLOCRIAN) bbbbw ww & #w w w w & w R bw b9 w #9 A bw bw b13 C 7a l t .

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Silver's Serenade &c w w w ?c w w w & w w w ? w w & w w w ? w b & ˙ ˙ ˙ ? ˙ ˙ A m7 E m7 E m7 w w w w w b bw w w bbw w b bbw w w bb bw w w w w b b w w E M7 E m7 B m7 b bw w w bbw w b bbw w w bb bw w w w w bw w w w w w #w F7 B m7 A m7 w w w w w E m7 A m7 A m7 w w w w w C m7 B M7 ˙ ˙ ˙ b b˙ ˙ C m7 D m7 ˙ ˙ ˙ ˙ ˙ b b˙ ˙ ˙ ˙ ˙ A m7 w w w w w D7 .

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D m7 w w w w w E m7 ˙ ˙ ˙˙ ˙ (b 5) ˙ ˙ #˙ ˙ ˙ A 7a lt . w w #w w w G m7 C 7 ˙ ˙ ˙ ˙ ˙ FM7 w w w w w ˙ ˙ ˙˙ ˙ (b 5) ˙ ˙ #˙ ˙ ˙ A 7a lt . .Summertime w &b c w w w ?b c w w &b w w ? w w b D m7 D m7 w w w w w w w w w w w w w w w w w w w w A m7 ˙ ˙ ˙ b˙ b˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ (b 5) D 7a l t . G m7 w w w w w w w w w w E m7 E m7 w w ww w (b 5) A 7a l t .

Take The Cnnz P'(ftt) Train Dmz Gz Q. l rstending Take The 9.C. (fitt) €> Train Dmz €> Dmz Gz l rstending .] (r (! a a Gmz Ct a {E} Dt Dmz Dmz Gz a-' I a a a g * D.

Block built dorvnfrom melody D minT G7 D minT L.m in7 Phil DeGreg A7 A minT D7 AbminT obt CiMajT FMajT E. Melodywith LH Rootless l) minT G7 D minT G7 E.rninT A7 2.m in7 A7 E. Chorale Style D min7 G7 D minT E.min7 A mi n 7 l ) 1 AbminT obl CMa17 H min7 .minT AbminT Dbj 3.Techniques Harmonization ThreeBasicPiano Voicing l.

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E m7 ˙ ˙ #˙ ˙ ˙ A7 #w w w #w w D M7 .Tune Up ˙ &c ˙ #˙ ˙ ?c ˙ & ˙ ˙ ˙ b ?b ˙ ˙ ˙ & ˙ #˙ ˙ ? ˙ 2 E m7 ˙ ˙ #˙ ˙ ˙ F7 A7 C m7 ˙ ˙ ˙ ˙ ˙ B M7 b ˙ ˙ ˙ ˙ ˙ #w w w #w w DM7 D m7 E M7 b b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ G7 ˙ ˙ ˙ ˙ ˙ CM7 ˙ ˙ #˙ ˙ ˙ 1 E m7 ˙ ˙ b˙ ˙ ˙ F7 B M7 b ˙ ˙ ˙ ˙ ˙ w w w w w ˙ ˙ #˙ ˙ ˙ A7 .. ..

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. w w w . w w w w w w w C M7 2 # (b ) B ˙ #˙ ˙ ˙ # ˙˙ # ˙ ˙ ˙ ˙ 5 w w w #w w 7 D7 D m7 ˙ ˙ ˙ ˙ ˙ G7 w w #w w w w w w #w w D7 E m7 F m7 # ( b )B ˙ #˙ ˙ ˙ # ˙˙ # ˙ ˙ ˙ ˙ 5 ˙ ˙ ˙ ˙ ˙ 7 w & w #w w ? w & w w w ? w w E m7 w w ##w w w A7 D m7 E m7 b˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ (b 5) ˙ ˙ b˙ ˙ ˙ A7 D m7 C M7 ˙ bb˙ ˙ D m7 b˙ ˙ F m7 B b ˙ ˙ ˙ ˙ ˙ 7 CM7 b ˙ ˙ ˙ b˙ ˙ B ˙ ˙ ˙ ˙ ˙ G7 ˙ ˙ ˙ ˙ ˙ 7 w w ##w w w D m7 A7 w & w w ? #w w D7 ˙ ˙ ˙ ˙ ˙ G7 ˙ ˙ ˙ ˙ ˙ CM7 ˙ ˙ #˙ ˙ ˙ A7 ˙ ˙ ˙ ˙ ˙ G7 ˙ ˙ ˙ ˙ ˙ .&c w w w ?c w w 1 C M7 ˙ bb˙ ˙ ˙ ˙ #˙ ˙ ˙ A7 D m7 b˙ ˙ F m7 B b ˙ ˙ ˙ ˙ ˙ Yardbird Suite 7 C M7 ˙ ˙ ˙ ˙ ˙ b ˙ ˙ ˙ b˙ ˙ B 7 w w ##w w w F m7 A7 & ˙ ˙ ˙ ? ˙ ˙ C M7 ˙ ˙ ˙ ˙ ˙ G7 ˙ ˙ ˙ ˙ ˙ ..

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