TONAL

AND
RHYTHMIC
PRINCIPLES
Jazz ImprovisationI
REVISED AND ENLARGED EDITION

JohnMehegan

Watson-Guptill Publications/New York

~
Amsco Publications
New York/London/Sydney
 NOTE: It w.iIlbe noticedthat no secondappears in the-U1verted" diminished LESSON 23.
chord. Thus, the diminished chord eaunot be inverted. There are
twelvediminishedchordsgrouped in three series(Co,EbO, CbO,Ao- Inversions
C#o,Eo, Co, Dbo- Do, Fo, Abo,Do).The diminishedchord is always
in root position.
Here Is a bassline for "Liza, ~ Transfer the melody to manuscript
Since the M, x, m and 4>can be played in four positions,this gives us paper.
192 chords. Adding the 12 diminished chords, this gives us a total of
204 chords - the complete harmonicsystem of jazz. I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV + I / III bIIIx /
II bIIx / 1+I #I/ I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV + I /
III bIIIx / II blIx / I + I bVlIx / VI + I bW / VII bVIIx / VI bVIo /
Vm bV / IV IV+I / III</>bIIIx / II II. / bVIxV / I V: / #JIoVIx: /
1
II</>:#IVo / Vm Ix / IV IV+" / III bIIIx / II bIIx /1+ / /

L1ZA-by Gus Kahn, Ira Gershwin, and George Gershwin

1929 New World Music Gorp. (renewed). All rights reserved.
Used by permission.

LESSON 22.
NOTE:
..
I+e Is also VI', but the functionof the chord is usuallyan adjusted I
chord rather than an invertedVI chord.
Inversions

The following is a bassline for "No Mono at All.n It is written in D

minor, which is the relative minor of F major. The symbols refer to F
major. Transfer the melody to manuscript paper. LESSON 24.

Inversions
VI+I/ IIIx: / va / VIIm: / VII: / bV.". IIIx" / VI+' Ix /
IVxIIIx I VI+' / IIIx: I Vo I VIIm: I VII: I bV4-,IIIx" / VI +' I The following is a bass line for "Waltz for Debbie." Transfer the
VI +' I VIx / VIx / IIx I IIx / V / V I I IV I VII bVIIx / VI +' I melody to manuscript paper,

IIIx'1 Vo / VIIm' I VII' I bV</>,IIIx" I VI+' / VI+' /1
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
1\0 ~IOON AT AJ..L..-Wordsand Music bv David M~'lIM7~~rs.~~dR~;n10e,
C 1947, 1949 Jefferson Music ~., Inc: '" Inc. charts for "Waltz for Debbie." Note modulation to the key of A and the
International copyright secured. lIJl rights
Used by permission. return to the key of F. The "head" chart appears in 3/4 time with a

NOTE:
..
VI +e is also bV</>",
but the function of the chord is an adjusted VI
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
chord rather than an inverted bV",. measures in preparation for a return to the "head" chart.

40 41
 HEADCHART:Key of F, 3/4 time LESSON 25.
3 6 6 6 6
(Fl 4 J5 I VI I II I VIIx' I IIIXz I VIx' I IIXz I V' I bel I 113 I
Inversions
(Fll II.p3 I V IV I III I vlre bV.p3 Vlx3 I IV V vi I ViI i II I

(F)l I~ I VI I II I V I IIIx~ I VIXz I IIx~ I V2 I IIIx"S I VI v12 II

(All II I V V2 I III I II I I I 12 II (Fll II I V I III I VIx I II I

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
(F)l IIIx'" I VI I Vm I IV I IIIx I VI I Ilx I bIIIM I bVIM I II I Roman numerals. The reason for this is that "Giant Steps" has no pre-
vailing key center but, instead, a series of implied key centers.
3 6 6 6 6
(F)4 V I J5 I VI I II I VIIx5 I IIIXz I VIx5 I IIXz I V' I IX2 I 113I

(F)l II.p3 I ~ V, I III I VIx I bVm I VIIx~ I -Isy3 I Ix I IV I

4 4
BM Dx 3 I GM Bbx3 I EbM I Am Dx I GM Bbx" I EbM F::x
4 '"
3 I
3 u u
(F)4 IIIx:5 I VI I bVIx I VI, I VMu I V~3 I V" II (Flj VI, VM~5 I BM I Fm Bbx I EbM I Am Dx I GM I C~m F~x I BM I Fm Bbx I
:3 4 4 4
(F)j V., V" I VI, VM:5 I V" V" I J+6 I I +6 II EbM I C~m F~x IBM 3
Dx I GM Bbx I EbM ! Am Dx I GM Bb3 I
3

4
EbM F~x' I BM I Fm Bbx I EbM I Am Dx I GM I C~m F;:;x I

BM I Fm Bbx I EbM I EbM II

BLOWING CHART:Key of F, 4/4 time
GIAl\'T STEPS-by John Coltrane
1974 jowcol Music
(Fl~ III VI I II V I lIIx VIx I IIx V I Ix IV+6 I II.p V I III VI I Used by permission.

(F)4 II V I III VI I II V I IIIx VIx I Ilx V I IIIx VI II (Alj II V II I

The symbol key for the preceding chord chart is as follows:
(Alj I II (F)j II V 11II VIx I II IIIx I VI Vm I IV IIIx I VI IIx I
M-major
(F)j bIIIm bVIM I II V I III VI I II V I IIIx VI I Ilx V I Ix IV+6 I
x-dominant
m-minor
(F)4 lIt/>V I III VIx I bVm VIIx I III Ix I IV IIIx I VI IIIx bVo I

(F)4 III bIIIo I II V II (F)~ I +6 I bIIIo I II I V 1/

Da Capo to head,

WALTZ FOR DEBBY-by Bill Evans and Gene Lees

TROC 1964 and 1965 Acorn Music Corp., New York, N.Y.
U.K. C 19i' Acorn Music Inc. Assigned to Kensington Music Ltd., B5 Gower Street,
London, ~Cl for the territory of the world excluding USA and Canada
Used by permission.

42
43
 pidc-up
SECTION IV (G) VP II I I 1+" I (F) II I blIx I I I 1+" I (Eb) II I blIx I
(Eb) I VI I bW VlIx I nr-: I (G) V" / I II I III IVb' I
LESSON 26. (G) III bIlIx I II VU I I I 1+" I (F) III blIxI 1/1+ 1 I (Eb) II I
Modulation (Eb) bIIx I I VI I (G) 114>V I I II I ill IVb' I ill bUIx I
Many of the popular tunes used as jazz material modulate from one (G) II bllx / 1+" I 1+" II
key to another in the course of a 32-bar chorus. This modulation is seldom HOW HIGH THE .MooN-hy Morgan Lewis and Nancy Hamilton
{j HMOby Chappell & Co., Inc. Cl renewed.
indicated in sheet music although the jazz musician "thinks" in these key Interuanonal copyright secured. All right", reserved.
changes for Simplicity and order. The following six lessons will deal with Used by permission.
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 origi-
nal 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 II"7 I II bl lx I I II I III bUIo I
(Db) II II, I VII bVIIx I VI II bIIx I p6 (D) V I p6 II I
(D) VI3 IVm I III VI II IVo I III bIlIx II blIx II (Cl II V 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.
(G) II / bIIx I I I 1+ 1 / (F) II / bIlx I I / 1+" I (Eb) II I
(Eb) bllx I I I VI I (G) II</>Vb l / Vb l IVo I III I bUIx / II I
(G) blIx jI jI + "/ (F) II I b1Ix I I / 1+' / (C) IVm / IVo / III I
(C) VI / I1xb l / II VII / 1+" / 1+' /1
LAURA-by Johnny Mercer and David Raskin
e 1945, renewed 1973 Twentieth Century Music Corp. All rights administered and
controlled by Robbins Music, a catalogue of CBS Songs. a Division of CBS, Inc. All
rights reserved.
Used by permission.

As Indicated above, "Laura," in the key of C, does not start In the key
(C) I bUIa I II bIIX I ix vIIx (Db) VIx I Ilu7 Ip7 I II bIIx I
of C. However, the tune comes to a final close In the key of C which
(Db) I II lUI oUIo I II II 2 I VII bVIIx I Vi II blix I I +6 II 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 29.
LESSON 27.
Modulation Modulation

The following is a bass line for "How High the Moon," in the key The following is a bass line for -111Remember April," in the key of
of G. Transfer the melody to manuscript paper following the signatures G. Transfer the melody to manuscript paper follOWingthe signatures
indicated by the letters. Indicated by the letters. 45
44
 (G) I / I / IV" / I / 00 / Im , / VI", / IIx / II / V / LESSON 32.
(G) III'" / bIIIx / II / bIIx/
I /1+- / (Bb) II / V / I IVa /
Transposition-Modulation
(Bb) III bUIx / II I V / I / 1+< / (G) II / V / I / IV I
(E) II / bUx I I VI / (G) II bIIx I I / I / IV" / I I Im / Fig. 1 is a lead sheet of "In Your Own Sweet Way" by Dave Bru-
(G) Im , / VI", I. IIx / II I V / III", / bIIIx I II / bIIx / beck. Fig. I represents the composer's view of his composition; Fig. 2
represents a figured bass solution of the same tune.
(G)I+' / 1+< II
I'LL REMEMBER APRIL-Words and Music by Don Haye, Gene De Paul, and Fig. I. "In Your Own Sweet Way."
Pat Johnston

t~I\I~~"~~~
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.
Eb Am 07 Gm Cm F7 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
t~l\ .,I~mr F
indicated by the letters. Abm Ob7

(Ab) VI/II / V / I / IV / (C) V / I / 1+- /

(Eb) VI / II I V / I / IV / (G) V / I / VI/II /
(G) V" / I / 1+< / (E) II / bIIx / I / 1+< / "1
r" I\lld Qr U~Tw? 1
(Ab) VI / II / V / I / IV / IVm / ill / billo / II / Ell Maj. Em9 A7 0
(Ab) V" blli / 1+' / 1+' /I
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 o
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. m
4,\1&
Om Ab7
I
e7
r F=t" FI*'
Cm Am 07
~
ttl
Gm
(F) II III / IV VP / 1+' bIII / II ill I
I / I II III
(F) IV V / ill VIx / III", bIlli / II ill / (Ab) II bIIx /
(Ab) I II / (Eb) VI VII / P- bW / (C) II bIIx / I VII /
(F) III bIII / II III / IV VII / 1+- I I I II III IV /
(F) Vm VI / (Db) II IIIxf< / VI VI./bWIVxjIII+-VIbf</ Cm Bb Eb Abm Gb Cb
(Db) III bIII II bIlx j I bIIx / I vn VI Vm / (F) II III j
(F) IVm V" / 00+- I 00+< /I
AUTUMN IN NEW YORK-Words and music by Vernon Duke
C 1934 (renewed) Warner Bros, Inc.
All rights reserved.
Used by permission. Ebm
46 47
 Both Fig. 1 and Fig. 2 present the essential "facts" of the composi- SECTION V
tion; 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 LESSON 33.
tune seen through twenty-five years of social usage.
Note the appearance in Fig. 2 of key changes which social consen-
sus has established as part of the fabric of the tune.
Arpeggios
The key series for transposition will be:
l-bVI-I -bVI -I -III-II-I-bVI-I. 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.
The following is a bass line for "In Your Own Sweet Way" in Bb. Thus, we will combine the vertical (left hand) with the horizontal (right
The key order is as follows: hand). The chord elements are as follows: (1) Arpeggios; (2) Scales;
Bb-Cb-Bb-Cb-Bb-D-C-Bb-Cb-Bb. (3) Chromatictones. Thus, jazz improvisationemploys a twelve-tone line
In Roman numerals this reads: (twelve chromatic tones in the octave) superimposed on the sixty chord
l-bVI-I-bVI-I-III-II-I-bVI-I as above. system.

An arpeggiOis a "broken"chord moving in alternate steps. The Iol-

lOWingillustrates the arpeggiosof the five qualities on C for two octaves.

Fig. 2. "In Your Own Sweet Way."

.~ ....~ ......
~

c~ ....
picl<.up
r,.-
(Bb) IV II VIIm IIIx I VI IIx I II V I I IV II (Cb) II V I I IV II

(Bb) II<p bIlx I I IV I VIlm IIIx I VI IIx I II V I I IV II

(Cb) II V I I IV II (Bb) II<p Mix I I VI II (D) II V I I VI I

CM Cx Cm
(D) II V I I II (C) II V I I VIx"s II (Bb) IVm bVIIx I VIx #VIo I

(Bb) VIlm IIIx I VI IIx I II V I I IV II (Cb) II V I I IV II I,. ~.......

I~

(Bb) II<p blIx I I II ...
IN YOUR OWN SWEET WAY-by Dave Brubeck
C>1955 Deny Music Co.
Used by permisslon.

Co
When transposing this tune, number the melody tones according to
the prevailing key in the bassline, Transpose to various keys as a trans-
position problem. These notes should he played ascending and descending.

49
48
 Using the chord chart on pages 25 and 26, practice the arpeggios for Eighth-note (1') - trumpet
the sixty scale-tone
chords using the fonowing fingering. Whole-note (0) or half note (J) - tuba or trombone
Quarter-note (J) - drums
Technically this is a form of florid counterpoint involving three kinds
C-5qualities 123412345 of time played simultaneously. This is the essence of the jazz beat.
D-5qualities 123412345
E-5qualities 123412345
F-5qualities 123412345 This rhythmic counterpoint is always present in jazz, although these
G-5qualities 123412345 three levels of time can be assigned to various instruments. In a modern
A-5qualities 123412345 group, the rhythmic breakdown is as follows:
B-5qualities 123412345
Db-5 qualities 212341234
Ab-5qualities 212341234 Eighth-note (J) trumpet
Bb M - x 2 123 4 1 23 4 Whole note (D) or half-note (J) piano
Bb-AJm-+-o 231234123 Quarter-note (J ) bass
GbM-x 234123412
Gb-F# m-+-o 2 1 234 1 234
EbM-x 212341234
Eb m (the only arpeggio with
all black notes) 12 34 12 345 Transferred to the keyboard, the rhythmic assignment is as follows:
Eb-D# +-0 23 1234 12 3
Eighth-note (J) right hand
Whole note ("') or half-note (.J) left hand
These sixty arpeggiosmust be thoroughly mastered, ascending and Quarter-note ( J ) foot beat
descending, so that they can be played automatically with correct fingering.

This rhythmic composite is occasionally interrupted, but its continu-

ing presence is essential to jazz improvisation.
LESSON 84.
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
Arpeggios in Rhythm basis for a jazz beat.

Rhythmic problems in jazz will be thoroughly studied in Volumes
II, III and IV. The student must first learn "what" to play before learn-
ing "how" to play it. For now, the following basic material on rhythm
will suffice.
The rhythmic division of the front and rear lines of a 1900 New
Orleans jazz band was as follows:
In succeeding chapters, we will explore the three fundamental rhyth-
mic structures used in jazz improvisation - the eighth-cote, the eighth-
note 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.

50 51
Fig. I. Fig. 2.

" fugtt han

d
.
i ~
IAlft band
-(9- ~ ~ ~ i ,ft
:
'I m IV
D V bV"
I ]I m IV Foot beat
Foot beat

,., Right band

,. ~ t: r=t:.,... " ,Rlgtt band

ii - -,
It'
- 1Alft.
~ Lb~
v II IVm m
Foot beat.
Foot beat

I chord
II chord
eighth notes
eighth-note triplets
"'. Ii,.. -.
III chord
IV chord
V chord
sixteenth notes
sixteenth-note triplets
thirty-second notes
Rest values of both more and less than an eighth note are equally
,-
- Il.~"
important in the jazz line.
A dot adds half the value to either a note or a rest. .., bm ]I 1+6

In Fig.2:
Foot beat
.
I and II chord - whole-note rest (four beats)
III chord - half-note rest (two beats)
V chord - dotted quarter-note rest
bVi>chord - quarter-note rest
IVm chord - dotted eighth-note rest
III chord - eighth-note rest
bIU chord - dotted sixteenth-note rest
52 II chord - sixteenth-note rest 53
 LESSON 35.
- r--,- ~ I -- --
Eighth-note Arpeggios
Fig. 1 is a bassline for ~I Could Write a Book," in the key of Db.
_,'-'-'- I
,- !oj .
The sheet music appears in the key of C, so the melody must be trans-
posed. 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.
t
A I , -
"""""1 !"""'l-
I ",..-r
- ......,...,-,
I

Do not "set" the improvised ligures. Use the arpeggios both ascend-
mg and descending as well as from the various inversion points (third,
fifth and seventh). Respect the fingering shown on page 50 at alI times.
~ """-l. I

-
"~I

The following rules will be helpful in Bngering problems:

1. All inversion arpeggios beginning on a white note begin with the

A I I - . I.. I.. - l

thumb.

2. AlI inversion arpeggios beginning on a black note begin with the

index finger (except Ebminor which begins with the thumb) and
~t!

:
- -- -..L...J
-
go to the thumb on the first white note. "
Fig. 1.
plck -e p
bIIx 1/ I VI I II
III
ill bIUx I II bili / I II /
IVa /

VI / II III / IV IVo / VI' billo I II V I bV. IV,X/
A.

it!
-
,.....,..1
I ~ ~~
- -

III #VIo / ill' bVIla / VI bVIx I V IV / III U I I VI I :
II IVo I III billx I II bIIx / I II I III VI / U ill /

IV
III
IVo / VI' bIIIo I II V I Vm bV / IV IVm /
bIIrx I U bili I 1+' I 1+' 1/ AI I ...
I COULD WRITE A BOOK-by Richard Rodgers and Lorenz Hart
1940 by Chappell & Co., Inc. renewed.
International copyright secured. All rights reserved.
Used by permission.
~ - -
:
Fig. 2 illustratesa drill using the arpeggios of the chords in eighth notes.
Fig. 2.
AI - - - - A I
.....,.....,
r""T'-T-, - ....,...,
~. l'
". 1
- "
I~
- ........... -......I 'I' F
~..".. ...-

54 "
55
 ", .. ...1:.. - Fig. 2 illustrates a drill using the arpeggios of the chords in eighth-note
11 - - ~~ - ., triplets.

I
" I

- I , I r . . I

" 1 I
t Ell
.
I -
- -.J I-- .-.
-
"I

.
" L
,.... .....
lei I L..J.
- - ",,-
r'
- -
.....

-
~ Ell

"I r~1 I I ,........,.- I --

........ ,......,.." ..--""I .-.......-
.......

~ .,- . .,..-.. -- .. ~. r - It_ r -\

.
Ell ,- -.r- ..... ~- I

DRILL: Study Fig. 2 and explorevarious eighth-note arpeggio lines on

the chords of Fig. 1. In the beginning, the student may write
out a line as a starting point.
" I - t M'"M- l I I " .... !

LESSON 36. eI
Ell
"
Gb
.......... I Ell
Rhythmic Combinatioos-on Green Dolphin Street
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,

(Eb) 1+6 I I 11m 11m I I~ I bIIM2 II I #10 I II I bIIx II I VI II ~Eb

(Cb) II I bIIx I I #IV II (Eb) II bIIx I 1+6 I I 11m 11m I I~ I

(Eb) bIIM2 / I / #10 / II II2 / VII bVIlx / VI VIz I bV<bIVx I

(Eb) III bIIIx I II blIx I I I 1+6 /I
ON GREEN DOLPHIN STREET-Words by Ned Washington. Musk by
Bronislau Kaper
56 C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975. All rights controlled and admin- 57
istered by Leo Feist. Inc. a catalogue of CBS Songs. a Division of CBS, Inc.
Used by permission.
li
f'1 I

.- 3
- 3

,
E"
I - v_
'" Ell
:
-
1\

r "-.
.~ .J..

I
-- ... . ,.

~
!"""l

-.v
'" I

- .
-fL

Ell
I
4_ _tl

-
l!=_j,.

~
E" ~ G"
. ,
-
.~ ~ -.fL._ h. ...- .L ~

-
" I ..1. I I I

\~
~ Ell
-~ - ,. .....~ - Eb
- 'j

.
I I I -'- ~ 11 .M... h.lI.b

Ii'"
I

'"
~ Ell
~~ ~I VI ~ -
- ++~
~ \'.
. E"
, ." - - .,

.
. .....

_~-:a,fll.. ...t::.~.~f'-~
I "f//!:..
.

I I
:J
Ell
.

59
58
 [eJ
Eb
t'i I
-......
,... ~.~. ,...~~~:t!: .......-h. ,. ....~J!'f

~
t'i I
- ..,.. .--- -Jltl
L L -.A. & ..... L
.il

Eb

fII I "a=
~_.t..L il
..J. ,L
.~
""" t'i ..........
r::lCHORUS
L!J '""'
~ ill I..

leJ
Eb
;I
-;- ''''''' 7/"'77 -
Po

,., ,..iIl .~ I t'i

.
. ::j!:. .J!::.b t:~

-
:1:
. Gb
11)
Eb

~
t'i . 1'- ~_
:1!iI.f!:. ~~ .. .
----
.f'- I t'i ::j!: .fL -

leJ
Gb
-- Eb
111)
Eb
-- . ._--
.
,
.1

.:
.L

--
II tl . "--
--- I

Eb Gb

,., .il4U_ .....- .* ~ . L ... --.1

.L I
._L "'"""-

-
I

I~Eb I'

- .. .
~
Gb Eb - ,.

'1

61
 II

I-.J
I

I
_a~~
I
--
shake

~ ~ ... b_ ..L
- N
Eb
II
_. to....
- I I I
I. 11

)
CD
f""'I

~ Eb

..h.a__
. _ M""T"'I , JJ ~
_"_h,...
,..,...,..,
...
" I
1\ I
.11. ... ~_ ,"" ~
I 'I I I -I I
"'iT Eb
I-.J ~I I
,. Cb
Eb
.,
. -
- -
_--::0. ~ I
" I I

II I . ... - . . . ..... r """-,

.. ,
ItT
I

i4V
Eb
- "
-. Eb
.
.i!>
I "'_ ...--... h_ .. -e:.-e:. -e:.
L

II I ..l.. . ...L.. 5
. . 1\ I

...
- -
r

~b ,J. [t I

I r Eb

... ... .- .... - ...

- ,...,.- - ~
II -..jll:.

I I I
3
~
3
I
.
r
j I'"
ltJ 'v'# r:;::f-.;,r 11 or... \.. ~ Eb
Eb lti*'
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
62
 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). I I ....

Fig. 1 is a bassline for "At LongLast Love. in C. Transfer the

melody to manuscript paper using three staves.
OJ
-- - -

Fig. 1.
pick-up
bUx II 1+' I VII I VI I m- I IV I III bIlli I U I U I
.r . ..
I

VII' / bU'"I U. I vn I U I V" I 1+' I bIh:I 1+' I
vn / VI I ill' I h Vm I JUo ill</>/ IV+' I IV /
I

bW / U.'
/ m / hUh I U / bIh: / 1+' / 1+' /I
AT LONG LAST LOVE-by Cole Porter
C 1937 by Chappell & Co" Inc, 0 renewed Assigned to John F. Wharton, Trustee of
the Cole Porter Musical and Literary Property Trusts.
International copyright secured, All rights reserved.
Used by permission. -
.. -
Fig. 2 illustratesa sixteenth-notedrill employingthe arpeggiosof the
chordsin Fig. 1.

Fig. 2.

-. .. - A. ..
-
- -

... ......
-
..
..
I~
- - ... - -
64 65
 ., - ... - ,-
- - - - -
."fIo .". ..........
...... "
tI
-4tJ -
DRILL; Write out or play a sixteenth-note arpeggio line on Fig. 1.

LESSON 38.

Rhythmic Combinations

Since the problem of shifting from one rhythm to another is of the

utmost importance in playing a jazz line. we will now consider combining
the rhythms in Lessons 35, 36 and 37. Under no circumstances can the

- - shift from one rhythm to another be allowed to disturb the quarter-note

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.
J I II

- - - (Ab)
(Ab)
(Ab) I1u,
IIllP
~ VIIx I
lIP

lIl'
II
bVIIxI
II
I
~Ix
I
bVIIx Vb: bVIx V I
I IIx I II blIx I
bV1Ix VIx bVIx V I
I
I
/
I
IVx I
#10 /
IVx I
(Ab) Ix VIIx bVIIx VIx I + 0 I (G) II</>bIIx
IIx / II bIIx / I I
(G) I VI/II V / III bIIIx / II bIIx I I VI I II V I
.. I , (G) I
I I
bV (Ab)
/I I
III I II VII Ill</> b1IIx I lIlli'
I
lIl' II
II
I

- -~
- - (Ab)
(Ab)
bVIIx
IIx I
VIx
II
bVIx V / I IVx I Ix VIh bVIIx VIx
bIIx / 1+ 0 I 1+- II
SOPHISTICATED LADY-by Ellington, Mills, and Parish
o 1933 by Mills Music. Q renewed. All rights reserved,
Used by permission.
I

66 67
 Fig. .2 illustrates a drill employing eighth note, eighth-note triplets ......... _..3 ,.-, 1,. ,......,
and sixteenth-note rhythms in various combinations. " ..
Fig. 2.
~ ~
8 - ~ -
/ / / /
Itl. _

- I
.....

/ / /
.........
/ -
/ /
--., .
/ /

~ I I ... ... I.... ..... _ ... I

,
-
-
!~ 3 3
~ - :I

11

... ./1. ...

/ / / / / / / /
68
 I,...\. LESSON 39.
All .(I.. 1 I I
.(1. I.

14tl
/
- / - /
-
...........
/ / /
-
/ /
Rhythmic Composites(ballad)

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
II I .-1._. b...1 ~ . "'.1 without disturbing the foot beat Fig. 1 is a possible four-bar composite

/
-
/
it
/ / - for a slow tune:

Fig. 1.

II I -
\rt -
/ / / /
nJrJ In

This compositereads as follows:

Thefirst line will apply to the first bar of a tune;
A I Thesecond line to the second bar;
The third line to the third bar;
- The fourth line to the fourth bar.

Then we start over again:

The first line to the fifth bar;
The second line to the sixth bar; and so on until the end of the tune.

DRILL: Write or play a line on the chords of Fig. 1 using eighth note.
eighth-note triplets and sixteenth note rhythms. Keepan unin-
70 terrupted quarter-note foot beat when playing. 71
 Fig. 2-
Fig. 2 is a bassline or~ Got It Bad." in G.

I II I III VI IIIx
4

VP I IVo #IV4> III n,

4
_ _ __

I bVIIx VIx bVIx V I

, "

.
II
I '- .,<111,_ l::!'""I

~ ;;--
---
..
IIIi -
I

c::ii-'

1+6 tIo I II bIh II II / III VI I I1x VI3 IIVo #IV4> I II n, I

bVlIx vIx bVIx VI F6 VI bVi I Vm bV / IV+6 I IV+6 I IVm+6 I

4
bVIIx I I IV I III bIIIx / II I VSl3I I II / III VI I I1x VP /

IVo tIV4> I II n, I bVIIxVix bvlx V /1+ 6 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,

H we apply our composite to the arpeggios of Fig. 2, we derive the

IoDowing
drill

1\ II .......
-- -
1\ II .ft. LJ.... ---
1\ Il l"-!!l .... .. ... .fl. .. .fL........ ..
.v liiiiIiiiiiIiil
- .......

tI ~ W
-
- ;;;iIiiI

. " 11
-._- ......,a,.
-
t
, jI ....

.. -
I

iiiilIoIl
-- _.fI'./t- of'!-..... ~ ~
.tI - ;::;::;Iii

t
1\ II .. -
-liiiiiiiiIi;-
- -- ~

- 1'*
A

CiiiiiiiIiiiiii
,
{
72 73
 1\ u . .-..-. - - Fig. 1.

.v Iiiil-
=- 1..-=- -l:l.J I tIa / II V / III bIlla I II V I Vm Ix I IV bVIIx I Illx VIx Ilx V I

1+11 #1 I I #10 I II V / III bIlla / II V / Vm Ix I IV "Vllx I

IIIx VIx I1x V / 1+6 bVIlx / YI+6 bY</>Vilx / I1Ix Vix / IIx V I
DRILL: Transfer the melody to manuscript paper using three staves: one
for melody; one for the student's improvisation; one for the bass I bVIlx / Vj+6 bY</>vtr, / IIIx VIx /IIx V / III blIIx II Hix /
line. Using Fig. 3 as a model, the student should write out, if
necessary. an improvisation using the composite and the ar- I #10/ II V I III bIlla III V I Vm Ix / IV "VIIx / Illx Vlx I1x V I
peggios of the bass line in Fig. 2.
1+6 1/
YOU TOOK ADVANTAGE OF ME-Lyrics by Lorenz Hart, Music by Richard Rodgers
1928 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

If we apply the compositeto the arpeggiosof Fig. 1. we derive the

LESSON 40. Fag.2. followingdrill.

RhythmicComposite(up-tempo) . I

In the quickertempos in jazz. the composite usually becomes more

J
simple in order to avoid a cluttered sound and to insure a strong pulse.

The fonowing is a possible up-tempo composite:

1\ .
:~ J....L I I
- J

rri-. 1\ . ..... I

rrn j>, n ~
l.v .....
- "

Fig.! is a bassline for "You Took Advantage of Me," in Eb. 75

74
 " . ~, " . . ...... - -
-tJ
'" '"'--I
~
., I
- ....,

11 . l ... .
" -
- -

I
., I
.
f
..... -
, ~ . - .
- . ,. As in Lesson39.the student shouldthoroughlyanalyzethe useof rest
values and arpeggiosin Fig. 2. Simplyto play over these specimensis of
little value. When playing these examples,try to keep a steady quarter-
note foot beat. Aboveall, do not use any pedal

DRILL: Transfer themelodyto manuscriptpaper using threestaves:one

" """" - . ... for melody;one for the student's improvisation;and one for the

~
IlJ

- bassline. Using Fig.2 as a model,the student should write out
if necessary.an improvisationon the bass line in Fig. L

" I
- _11 I .
~
IlJ .... I

--

"
, ..- ~
_ .fL _.

~ f ....- -
76
77
 SECTION VI 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
LESSON 41. in the normal scale-tone chords without alteration or chromatic adjust-
Modes menl 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.
If we play the scale-tone chords in C and play the C major scale from The next six lessons will deal with this problem. In preparation for these
root to root of each chord (Fig. 1), we are playing the various modes of chapters, the student is strongly advised to play the scale-tone chords in
the scale of C. A mode is a displtu:edscaleplayedfrom root to Tootof twelve keys with accompanying modes in the right hand as in Figs. S
the chorcL and 4.
 Fig. 5 is a bass line for "SpeaklDw," in F. Transfer the melody to
LESSON 42.
manuscript paper noting key changes. On the lettered scale-tone chords,
abandon the melody and play the required mode of the prevailing key The Major Scale
scale. Letters over each chord indicate the mode to be played with
each chord.
The major chord in any key appears on I and IV.
Thefollowingchart illustrates the symbolkey for each mode: CHOBD DISPLACEMENT MODE
Ionian -10 Mixolydian - M I 1 1 Ionian
Dorian - D Aeolian - A IV 4 4 Lydian
Phrygian- P Locrian - LO
Lydian-LY In determining which of these two modes to choose, the deciding
factor must be the relative strength of these two major positions in diatonic
Fig. 5. harmony. On the basis of this, there can be no doubt of the overwhelming
feeling of I when hearing a major chord. For this reason, themajor chord
takes theIonian mode (1 1) except in cases where the bassline gives a
strong feeling of IV, e.g. I n / III IV / V I I (seeFig, 1).
DorF MofF DofF MorF DofF MofF see note
(F) ~Io II II I V I II I V I II I V I Vm I Ix II

DofAb MorAl> DofAb MorAD PofF AofF DofF MofF 10ofF

(Ab) II I V I II I V II (F) III VI I II V I 1+6 I

Don' MorF DofF MofF DorF MofF

(F) #10 I II I V I II I V I II I V I Vm / Ix II

DofAb MofA. DofAb MofAb PofF AofF DofFMofF 100fF loofF

(Ab) II I V I II I V II (F) III VI I II V I )+6 I )+6 II Fig. 1.

D of Eb 0 of Eit see "ote 10 ofEb 10of Eb see note M of F

~ ...
(Eb) II / II / bVIIx / bVIIx I I f I 1/ (F) bVIx I V /
i i ; i !
(F)
DofF MorF DorF MorF DofF
II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I
MofF U
I m
LydJan

~
PofF AorF DofF """noll! 10 ofF 10ofF

!

7 ! ;
I
1I7
(F) III / VI I II I
SPEAK LOW-bv Kurt Weill and Ogden Nash
V1I5 I 1+ 6 I

Q 1943 by Chappell & Co., Inc. Q renewed, assigned to Chappell & Co., Inc. and
1'6 II

IV V
...
1
!

Hampshire House Publishing Corp,

International copyright secured. All rights reserved.
Used by permission.

NOTE: Chords such as II, V or I are considered primary furu:tions,since they

belongto the key; chords such as Vm or Ix are considered 8eC0nd4ry Here the use of the Ionian mode of the scale of F on the IV chord
junctWm,since the root remains in the original key but the third, fifth would destroy the feeling of C major running through the entire bass line
or seventh have beenaltered; finally, chords such as bVIIxor bVIxare and the Lydian mode (4 4) should be used. Except in cases of this
considered tertiary junctions, since not only has the chord been al- sort, the Ionian mode is employed on all major chords.
tered but alsochromatically raised or lowered from the original key.
=7
NOTE: y;:s is !ctually a major-augmented seventh chord; the symbol would
read VM. 81
80
 Fig. 3.
Fig. 2 illustrates the twelve major chords with accompanying Ionian
modes, to be played both ascending and descending.
(Eb) 1+' VI I II b1Ix I 1+' VI I hVllx I II val I
Fig. 2.
(Eb) 1+' #1 I 1+' VI I II bUx I 1+' VI I bVlli /
(Eb) II VII / 1+- I (G) II IVo I ill bIlli / II pili / I I
(Au) II IVo I ill bIlIx I II blIx I I bVIx I
(Eb) 1+' VI I II hili / 1+' VI I bVIh I II V" I
II I I
(Eb) 1+' VI I bV+ ili hili / I /I
MOONLIGHT IN VERMONT~by John Blackburn and Karl Suessdorf
eM DM C>1944-1945 Michael H. Coldsen, Inc. C>renewed 1972.
Used.by perrnission.

r l'
LESSON 43.
The Dominant Scale

EM
Thedominantchordin anykeyappearsonV only.

CHORD D1SPLA~ MODE

V 5 5 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 SPELUNG SeALSOR KEY DISPLACEMENT

Ix Temporary V F Cc
ili TemporaI)' V G D-D
IIIx Temporary V A E-E
'II IVx TemporaI)' V
Natural V
Bb
C
F-F
GG
V
BM A-A
VIx TemporaI)' V D
Vili Temporary V E B-B
RULE: The ma/Of"chord is a I or the temporary1 of a new key and bIh TemporaryV Cb Db - Db
takes the 8C6kof that keyfrom root to root.
In jazz harmony, these temporary dominants seldom resolve to their
Fig. 3 is a bass line for "Moonlightin Vermont." Transfer the melody natural majors [i.e., in the key of C-I1I bIlIx II bIIx I is a normal
to manuscriptpaper fonowingthe key signaturesindicated by the letters. pattern; the bUIx (Ebx) does not go to AbM, the bIlx (Dbx) does not go
Abandonthe melody and play the appropriate mode on each majorchord. to GbMJ. However, at the moment they are played, they imply the V of
Major+-chords follow the same rule as normal major chords. a new key. 83
82
 Fig. 1 illustrates the twelve dominant chords with accompanying Fig. 2 is a bass line for "It Could Happen to You" in G major.
Mixolydian modes, to be played both ascending and descending. Transfer the melody to manuscript paper; abandon the melody and play
dominant scales on all dominant chords as indicated in Symbolkey. (X 1l3
Fig. 1. also employs the normal dominant scale.)

Fig. 2.

MofA M ofB 1<1"fE.

(G) I I 1114>VIx / II / bV4>/ VIIx IlII bfllx I II 112 I
M ofB, M of A M ,!f8b
(G) bVIIx / VIx / II I II 2 I VIIm / bVIIx I Vp1l7 VIlt7 I

Cx (Vol F) Dh(VofG') Dx{VofG) M nfC ~I ,!fA

(G) VI bIllo I II III I IV V I I I III4,l Vix I II I

MofB MofEb MofBI> MolA

(G) bV4,l VIIK / III bllIx / II II2 / bVIIx I Vix I II III I

MofBb MofF MorA MofG

(G) IVb3 bVIIK I I IVx I III4,l VIx I II III I IVm V I

(G) 1+6 / 1+6 1/

IT COULD RAPPENTO YOU- by Johnny Burkeand Jimmy Van Heusen

1944FamousMusicCorp.. New York,N. Y.
Ebx(VolA') Ex (VolA) Fx (Vomp)

LESSON 44.
The Minor Scale

The minor chordin any key appearson II. III andVI.

F#x(vom) Ox (VofC) Abx (VoIDP) CHOJID 1>IsPLAmmNT MODE

II 2 2 Dorian
ill 3 3 Phrygian
- VI 6 6 Aeolian

-.,..
-
I
(,++ ." In a chord series with a strong key feeling.
l
I VI - II V - I (Fig. 1)
or
Ax (VoID) Bx (VolE) 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
RULE: The dominantchordis a V or the temporaryV of a new keyand
of any key - II - V - lorn - bIIx L Therefore.n always takes the
84
takes the scaleof that key from root to root. 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.

-"" Aeolian of C
~E
Fig. 3 illustrates examples of III or VI becoming the temporary II of
a new key.
Fig.3.
-~ -
"
VJ
.. ~ ..... - ~ .. ,-
Dorian of D
Ionian of C Lydian ofC Mixolydian of E

Mixolydian of C
- ... #:
(temporary II)

.a.
:a: I
I IV
rVIIx m
v
- -
.. + Dorian ofEb Mixolydian of Eb Dorian of D Mixolydian of D Dorian of G
(temporary II) (temporary II)

IVm VlIx m Vb: VI

Lydian of C - Mixolydian of
-e
All other minor chords (IVm. VIIm, hlII) are also treated as a tem-
poraryII of a new key. Thus, in the key of C:

CHoRD SPELLING
SCALE
ORKEY DISPLACEMENT
#: it Im Temporary II Bb e-c
II Natural II C D-D
I I III Natural III C E-E
n m IV v III-when keycenter Temporary II D E-E
.. - IVm
is weakened

~
.. Vm
VI
Temporary II
Temporary II
Natural VI
Eb
F
F-F
G-G
Aeolian ole Dorian of e Mixolydian of e C A-A
VI-when key center Temporary II
'it: is weakened
G A-A
"
VUm Temporary II A B-B
IVI I I bIll Temporary II Db Eb Eb
n v I bII Temporary II B C#- C#
86 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. Gm (DofF) G#m (Dorfi$>
F#m (lIofE)
In jazz harmony, temporary U chords of other keys sometimes re-
solve 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, how-
ever, is a general guide to the use of the minor scale:
-
RULE: The minor chord is a II or the temporary II of a new key and Bbm(Dof.M) Bm (DotA)
Am (fiofG)
takes the scale of that key from root to root. The exceptionsare
III and VI, which nornudly take the Phrygian and Aeolian
modes, respectively, when preceded by primary functions. If Fig. 5 is a bass line for Little Girl Blue" in the key of F. Transfer
preceded by secondaru or tertiary functions, both the III and the melody to manuscript paper; abandon the melody and play minor
VI c1wrdsbecame temporary II chords of another key. scales on all minor chords. The letters appearing over these chords indi-
cate the signature to be played from root to root of the chord. For exam-
ple: 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. 4 illustrates the twelve minor chords with their accompanying

Dorian modes, to be played ascending and descending, Fig. 5
F F F B~ Ab
1+6 VI/II bIIx / 1+6 VI / Vm bV / IV IV+6 / IVm bVIIx /
c F F. Fe F F 6 b /
IIIX1l5 VI/I! IJI IY :aY4>/ V sv / 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 bVIIx / IIIx 1l5 -SI / II IIr IV+6 i:+IVI/>/ V bV I

F F F
Fe F F
lIS III II bIb / p6 i:;I /-f+6 V! bV!" / V I II bIIx / I II /
Cm (DotBD) C#m (DotS) Dm (DotC)
F D D c
III IV / VUm IIIx / VUm bVIIx / VI VI/> I bVq, IVo I
Poi F
VP bIllo I II blIx I 1+
6 / 1+6 II
UTILE GIRL BLUE-by Richard Rodgers and Lorenz Hart
e 1935 T.S. Hanns Co. C;. renewed % The Welk MUSIC Group.
International oopyright secured. All rights reserved.
Used by permission.
*NOTE: The prevailing key (F) has been reinstated despite the preceding sec-
Ebm (UoIDb) Em (fiofO) Fm (fiofEb) ondaryfunction in order to prepare for the final closing. 89
88
 LESSON 45. RULE: TM Iuilf-diminkhed chord is 4 VII or the t6mporaty va of 1&
new lcegtmd takBa,he .aUeof that key from rootto root.

The Half-diminisbedScale

ThehaIf-diminishedchord in any key appears On VII only.

QroM DISPLACEMENT MODE

VII 7 - 7 Locrian

C~(VUOfD) DfS
(VUofEb)
Since the half-diminished
chord occurs only at the position of VII,
there can be no doubt concerning the accompanying mode. The half-
diminished chord alwaystakes the Locrian mode (7 - 7).
Half-diminishedchords On other than VII (III</>.bV</>,
etc.) are COn-
sidered a temporaryVU of someother key. Thus, in the key of C:

ScALE:
CHoM SPELLING ORK'EY DISPLACEMENT D ~(WofE) Ell (WofF)
14> Temporary VII Db c-c
II.p Temporary VII Eb D-D
III4> Temporary VII F E-E
IV4> Temporary VII Gb F-F
V4> Temporary VII Ab G-G
VI</> Temporary VII Bb A-A
VII Natural VII C B-B
bIlI.p Temporary VII E D#- D#
Ff,s(VUofG) G~ (VUofAP) Gf,s (VnofA)

A I .# _ ,._B. -
......
In jazz harmony, the temporary half-diminished chord seldom, if
ever, reaches its natural resolution, but at the moment it is played it
implies the VII of a new key. Fig. I illustrates the twelve half-dimin-
ished chords with accompanying Locrian modes, to be played ascending
and descending.
~

-
All (VUofBP)
,....

A#~ (VUofB)
-

a,s(VDofC)

90 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-dimin- This is an artificial scalesince the same letter, In any form (Ab A),
ished scales for each half-diminished chord. C3Jlllolappear twice In an authentic scale,

F ig. 2 illustrates the twe lve dimin ished chords with accompanying
Fig. 2. "Don't Blame Me." ",. l<s, to he p layed ascending and desce nding. The fingerin gs are a
~i1ggl.-'StiOll for the stude nt
I IVm I III bIII, I II bU, I I VI I II~ bU, I III~ bIll, I
bW IW I III bIll, II bIb I I IVm I III bUb I II bIb I
I VI I II~ bIb I III~ bIll, I II V" I 1+ ' bV I IV II I
vu III, I vu bVII, I VI" VI I Ib #Vo I VI II, I II bIII I
U bU, I I IVm I III bUb I II bII, I I VI I II~ bII, I
1 2 3 1 2 31 2 3 2 31 2 31 2 3 41 2 31 2 31 2 3
III~bUb I II V" I }+ ' II
DON'T BLAMEME - Words by Dorothy Fields, Music by Jimmy McHugh
. Copyright 1933 Metro-Coldwyn Mayer Ccrp., New York
Copyright assigned 1933 to ROBBINS MUSIC CORP" 799 Seventh Ave., New York, N. Y.
for United States and Canada Co cjj o Do
Used by permission.

1 2 3 4 1 2 3 4 5

L ESSON 46,
2 1 2 3 1 2 I 2 3 2 I 2 3 I 2 3 4
The Diminished Scale
eo
The diminished chord has no "natural" positiou in any key, We have
learned to employ the diminished chord at any point in a key, but at no E~o Eo Fo
point does .it infer any tonality.
An arbitrary scale is employed for the diminished chord which utilizes 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3 1 2 3 2 3 1 2 3 1 2 3 4
all the tones of the chord in addition to a series of chromatic or auxiliary
tones. Fig. 1 iIluslrates the C diminished chord with its diminished scale.

Fig. 1.

Co Co scale

12 12 312 34
Since this scale has no relation to any tonality, we spell it by indicat-
ing the intervals as follows:
Minor second - 1
Major second - 2 2 123 12123 2 1 2 3 1 23 4
Thus, in Fig. I, the semitone combination is:

c D Eb F Gb Ab A B C
92 o 2 1 2 1 2 1 2 I 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. ~ I

Fig. 8.
~ - ... ., .... -..-
no bo !.no
pl<:l<-
bUx II I #10 I II #IIo I III IIIx# I IV #lVo I V IV III bIll I CM ex Cm
II bIIx I I +. VI I n bIIx I I #10 I n #flO I III IIIx" I
tI.
IV #IVo I V IV III bIll I II bIIx I 1+' #1 I 1+' IVx I
fiJI: VII I UIx VII I nIx IVx I llIx I III Vh I III Vh I
~
lei ....... 1"; 3 1 2 3 1 2 3
V"

VI IIx I II bIIx I I #10 I n #IIo I III IIIx#1 I IV #lVol I~ I L-e-

V IV III bIII I II b1Ix I I +. I I + I /I Co ObM
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. " I 1

.
,
I

,.
I

~ v- ." .... n- lI*'''

L~
~
A

Dbx C#m

ft I I I I I I I

lei
~ I
TI
2 3 1 2 3 4
.. ,. .. ..
I.n .tat- ..hft.
LESSON 47.
C#o OM Ox

The SixtyScales ft I I I I ! I. I

eI
jl i
We have now completed the scales for the sixty chords. The im-
portance of these scales cannot be overstated in building the material for
{ -e- ldl- ..n
2 3 1 2 3 1 2 3

jazz improvisation. Fig. 1 illustrates a highly recommended drill based Om O.p 00

on the five qualities of each tone. These scales or modes should be prac-
ticed ascendingand descendinguntil they are completelyautomatic. r I ! r I I I I I I, I
The student is alsoadvised to return to the previous chapters and " I 1 I I, I I I I I.

explore these scales in the varioustunes abandoning the melody. eI

~
The student is advised to follow the general fingering rules for the I.A- 1hbA- hlba-
major scales when playing the M, x, m and 4>modes. Suggested finger-
ings have been added to the diminished seales since they represent an

EbM Ebx Ebm
unfamiliar series of whole and half steps. 95
94
 I L h_

I )1 1

..
I

.2 1 1ft: Ilta
Gbx GM
EM
Ebo
. .
I 2 3 1 .2,3,1 3
-
"
112

I I Tl I I I I I I I I I I I r 11 I
'I T
.., I

II I'
-p
1..& 1Jzft: ~bli"
.a- kA-
. dt: Gm G Go
Ex Em
fJ. t ...b- l,_b.- l..-b.-
I -, -,
I I I I I
..,
~
I
"1 1
II T T I I
iT'.2 1 .2 3 1 .2 3 4 I
~ 1# ~
. AbM Abx Abm
FM Fx 23123123
Eo
f\ LIf. ~ JJ M.-_
, , 1 .2 3 4 1 .2 3 4 5
\
II t
-
~
, I
I

I\,t.li"
. LIi"
ILl?eo-
ff G # Abo
Fm F4> Fo
fJ. u
-- 11 __
, .-
. ..,

~ Am
F~x
~
121231234
I 11- It.... , _lJ.a. b.~
11
.2 3 1 .2 3 1 .2 ~lJ4 , l.....
"
i t I

TIl 1 T TIl I I 11

I~
I

. :D: h.1dl: Ao BbM Bbx

F#o GbM

97
96
 ~,ti. 2 123121 3
2b i1.j11.
l I .b.ba. LI 11 _ ... Fig. 3.

~
l

Bbm Af+o Bbo

Fig. 4.
LI .t 1.1 L1 ..... +-f'- ..,...fIL
u , 1+

~
41

.
1\
IJ.

BM
_ ... .fI-
-
Bx
121231234 11 ...
--it-
.. Bm DOMINANT CHORD:
Xl" dominant scale (Fig. 5)
xl. whole tone scale (Fig. 6)
x bl whole tone scale (Fig. 7)
t)

I.
Fig. 5. Fig. 6. Fig. 7.
Bo

LESSON 48.

Scale and Arpeggio Alteration

MINOR CHORD:
mU T minor scale (Fig. 8)
The arpeggio of an altered chord simply follows the alteration. mlf minor scale with #7 (Fig. 9)
Fig. 1. m+' minor scale (Fig. 10)

...
.it. ..

~
I
~.
~

The following rule describes the use of scales in altered chords:

MAIOR CHORD:
MSl major scale with #5 (Fig. 2) Fig. 9. Fig. 10. Fig. 11.
MbS major scale with b5 (Fig. 3)
lIS
MS" major scale with #5 (Fig. 4)

Fig. 2.
RULE: In inversions. the scale is the same as in root position except
that it is played from the bottom note of the inversion (Fig. 11).
98 99
 Fig. 12 is a bass line for "Like Someone in Love" in the key of C.
To avoid this, in Fig. 2, the fourth step is removedand the tone row
Transfer the melody to manuscript paper. Abandon the melody and play 1235 Is used (12 S 5 is alwayscounted from the root of the chord).
appropriate scales for the inversions. Letters over Roman numerals indi-
cate the signature to be played from root to root (root position) or bass Fig. 2.
c
note to bass note (inversion). Thus in bar I, 12 indicates the scale of C
C4
from B to B; in bar 3, VIP indicates the scale of C from F to F.
I VI II v
Fig. 12. "Like Someone in Love."
Fig. 3 illustratesthe scale fragmentson 5 4 31 (reverse of 1 2 S 5).
(C)
c
I I. I
c
VI VIz /
c,
ne-
c.
VII" I III blIIx I II
E.-
II</> I
3

F A
Fig. S.
(C) V bIIx I I VI I Vm bV I IV+' IV. I (A) II. VIIo I
A. A. G:f G
(A) I I. / VI VI. I (C) VI VP1. I VI. bIll o I II I
c c c. c_
(C) bIIx I I I. / VI VI. I IIx" VIP / III bIIIx I
F Fig. .( illustratesthe scale fragmentson 3 4 5 7.
Ell-
(C) II lI<I.a / V bIIx I I VI / Vm bV / IV+ IV. I
A
Fig. 4.
(A) II. VIla I I bV I (C) IIx #lIo / III bIIIx / II b1Ix /

(C) 1+' I 1+' II

1m IIx v
UKE SOMEONE IN LOVE-by Burke and Van Heusen
1944 by Burke & Van Heusen, Inc, renewed and assigned to Bourne Co. &
Dorsev Bros. Music, Inc.
Used by permission. Fig. 5 illustrates the scale fragmentson 7 6 5 S.

Fig. 50

LESSON 49.
Eighth-noleSca1es-ScaleFragments
Fig. 6 illustratesthe scale fragmentson 5 6 7 2.
In Lesson33, we movedto the primary step in improvisingby aban-
doning the melody and playing eighth-note arpeggioson the chords. We Fig. 6.
will now repeat this primarystep with eighth-notescales.
Fig. 1 illustrates the use of an eighth-notescale line. In playing Fig.
I, the student will notice the harshsound (particularly on the M and x)
of the scale fragment ending on the fourthnote of the scale or the mode.
~ ~ ~o no v

Fig. 1.
~ mgmeutligures 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
diminisbed scaleare lllI follows:
1 JIll 5 - S 4 II 1 ( ..... ne)
8457 - '1653 11.--<1
100 v S071 - 18'13 (t.,,,,,,.) 101
 Fig. 7 illustrates the scale fragments on 2 1 7 5; and 1 8 7 5 (dimin- Fig. 9 illustrates a drill on Fig. 8 using the various fragments.
ished). FRAGMENTCHART
FRAGMENT RE\'ERSE
Fig. 1. 1 235 543 1
3 457 765 3

~~
Fig. 9. 5 6 7 2 2 1 1 5
"".~ .It -1

lIS V1o( 18'15) no(18'15) V J - - - 1 ~I

.,
All of these fragments are of the utmost importance in using scale ;
lines; the ability to pick up any scale fragment for any chord is an absolute
prerequisite for improvising facility.

Inversions take the scale of the root position chord from bass note to
"",,,JJ#
- -
bass note of the inversion. See below. J
- - Phrygian Aeolian

~ VIlm Vllm~
ii\O Ie ~
VIlm~ VIlm2
Dorian
o
fAY L ditan
of A
Aeolian
of A
Ionian
of A
" .. ,It - ~T
- II. ...- -
~3B J --..... - -
VIlm .,
Dorian of A :
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 """,,It
1.... 1. .1
of the chords.

Fig.8.
e}
- - - .. -
(E)"bili // I VI/II bIIx I I VI I II IIp I III VI I :
(E) II V S I / 1+ 8 bIlla / II bIIx / I VI/II bIIx /
(E) I VI / II II.p / III VI / II 1+ 8 #1 I I VI /
-
VII /

(E) II bIIx / 1+' VI/II bIIx / 1+' VI I (G) II bIb / "" Ii ~

-
(G) I VI / (E) VIIm III VI I1x:/ II
(E) I VI / II I1.p I III VI/II

BLUE MOON-by Lorenz Hart and Richard Rodgers

hili /
VI I /
I VI / II hili I
I H / I +" /1
e}

.
-- - -
Phrygian

10 1934, renewed 1962 Metro-Coldwyn-Mayer Inc. All rights administered and con-
trolled by Robbins Music, a catalogue of CBS Songs, a Division of CBS, Inc. All
102 rights reserved. 103
Used by permission.
 A .. ~
- - - I - LESSON 50.

tI

:
. - - "1 Eighth-note Triplet Scale Fragments
Fig. 1 is a bassline for fiCabin in the Sky," in the key of G. The
eighth-note triplet line should be considered here. This means three notes

.,
II .. il-
- I r- I -
L ..
to a heat or six notes to each half-note chord. Transfer the melody to
manuscript paper using three staves. Note key change. Write out or play
a line using eighth-note triplet scale fragments on the bass line in Fig. 1

.<
- - I
- - with a quarter-note footbeat.

Fig. L

A .. .. .1 I""""" I - -
I r--r .. It
(G) I #I</>I II #IIo I III</> I hIIh / IIuf IIs' /

eJ - - Aeolian - -- - (G) II

(G) III</>I
IVo /

bIIIxI
III hUh I II hIh
II U , Us' / II
/ I #1+ I II #110
bili / 1+ #1/ I +. IV
/
/

(G) VItm bVIh I VI+' bV",/ (E) II bIlx I I I (G) VIIS1 VIs 1 I

1tJJ. it I .. , Itt-
(G ) VI Ih I V IV I III II I I #1+ I II #llo I III</> /

.. --- - - - - -
(G) bUh I UUf n I II bIlx I 1+' / 1+' /1
CABIN IN THE SKY-by John Latouche and Vernon Duke
. .... C 1940, renewed 1968 Miller Music Corp. All rights administered by CBS Songs, a
Division of CBS, Inc. All rights reserved .
Used by permission,

~llo it - - II I - .... Fig. 2 illustrates a drill using scale fragments in eighth-note triplets.

- -
I I

..
-.
Phrygian

"JJ~ .. - - - -.
t - - - -
:
-
DRILL: Explore the various scale fragments on the bass line in Fig. 8.
Keep a steady quarter-note foot beat.
104 105
 ,
-
- - - - 4V _
..
....- -
..

- .
----
I

............. - -iJ
Pbrygian
- -- -

--
.... .f/L ....
-
..

.... .f/L.... ...... I. .. .. I L b...- 1._ I I

Lydian - Phrygian
-
I .
- -

- - -- -
_ ......
- Lydian

106 107
 - ..
...
- -
Aeolian
- -
- ~ ..
- -~

Dorian

LESSONSl.
l J I .Ii .1. .. l. .f
Sixteenth-noteScaleFragments

Fig. 1 is a bass line lor "Dancingon the Ceiling." in the key of F.

Transferthemelodyto manuscriptpaper using three staves.
- Phryglan
- - --
Fig. 1.
IIIx" l J". ~. .b.

(~"
.. I I .1 t
I U I VI' I IV+' VlIx I III bIU I II IVo I

III bIIIx I II blIx / I +. #1 / I II / VI'

IIIx I - I - -
IV+' VIIx J III pUI I II lVo / III b1IIxI II bIIx I
I +- VI I II III I IV+' bVlIx / I II /- III VI I bW,I

IV + - IVm I III bIIIx / U bIIx / I II / VI' IIIx I- I IV +. VIIx / ...... 1 I ..
UI bIIIx / DU' II=' / II bUx I 1+' I 1+0 /I
DAl'\CING ON THE CEILH\'G-Lyrics by Lorenz Hart, Music by Richard Rodgers
() 1930 (renewed) Warner Bros. Inc. All rights reserved.
- - - -
Used by permissicn,

Fig. 2 illustratesa drill using scale fragmentsin sixteenthnotes. Since 1\ ._.~ ....
f

a hall-notechord permits the use of eight sixteenthnotes in the right hand,

it is possible to play the entire scale.
LydIan -
Dorian -- -
DRILL: Write or playa sixteenth-notescaleline on the chords in Fig. 1.
108 keepinga steady quarter-noteloot beat
109
 Phrygian - -

, , L \'. h. .. ,., .... -~ . I

-- - Lydian ~ Dorian

,., __ ...... .... ..... .. .. .fl..... ,. . ......

,....
I ltI
Lydian -
.. - ...
.

, t!J
Phrygian Aeolian
- - -
- I

- -
Ionian - LESSON 52.

Rhythmic Combinations

II I I - - - - As in Lesson 38, when treating arpeggios, we will now proceed to

combine the rhythm values using the scales as a framework.
Fig. I is a bass line for "Round Midnight," in the key of E p minor.
Transfer the melody to manuscript paper using three staves and noting
key changes.

110 1Il
 Fig. I

(Cb) VI Viz / bVo ViI bVIIx / VI Ilx / IVm bVllx IiI Vix /
-
(Cb) II V / I Ilx' s / bV VIIx / IIIx bVIIx / VI VIz / - . -;,

(Cb) bVo vn bvIIx / VI IIx / rVm bVIIx III vIx / II V / I IIxb5 II

(Eb) VI</>lix Vll 3 blIx /1+ 6 / VI; IIx / V bflx / VI; IIx / V Ix II

(Cb) II 112 vn IiIx / bV; VIIx IiI vix I Ii V 1m IVx I

(Cb) bvilm bIlIx VII bVIIx I vi vii! / bVa vII bvIlx I VI I1x I
II I ... .
(Cb) IVm svn, III VIx I II V I I IIxb5 II (Eb) vi Iix V::3 bIrx /
/ / /
- -
/
(Eb) 1+6 II
"ROUND MIDNIGHT-Lyrics by Bernie Hanighen, Music by Cootie Williams and
Thelonious Monk
C 1944 (renewed) Warner Bros. Inc. All rights reserved
Used by permisslon.

Fig. 2 illustrates a drill employing eighth-note, eighth-note triplet and

II I
sixteenth-note values.
Fig. 2-

IlV
AI

-
- - - - IllV
/ / / /

/ / / /

A I ..... ... - ... ... .......

AI ~. l. l. '. ..
/ / / /

A I. I.. ... ... .... -IL A , 1-.... ...

- ---z-- 3

/ / / /

112
113
 A I h ..
" I -.. -
-.r - - - -

II I
-
Itl il - 3 -:I J -.
-~
J / / / /

DRILL: Write out or playa scale line On Fig. 1 using eighth-note, eighth-
note triplet and sixteenth-note values.
AI 1:- .fL .fI- .... ... 101. - 1...

.. ~
4J J
/ / / / LESSON 53.
y

" I - -. - - Rhythmic Composite (ballad)

" ----
/
~
/ / - / / /
,. .,.
/
"' .,.,.
/
Justas we abandoned the melodyin Lessons 30 and 40 and applied
the arpeggios to a rhythmic composite, we will now apply the scales of
the chords using the same process.
Fig. 1 is a rhythmic composite ora ballad.

/ / / ---
/
Fig. 1.

3 3
AI

-
I

I tI

/ /
-
/ /

114 115
 Fig. 2 is a bass line for "Have You Met Miss Jones?" in the key of A - - .... .
F. Transfer the melody to manuscript paper using three staves. Note
key changes. t - -
Fig. 2.

(F) I / #10 / II / IVa / III VI / IIx"a I II I bUx / I I .#10/

11 11 -
(F) II / IVa I W VI / IIx'" I II V I (Bb) II bili I I VI I
(Cb) II blIx I I VI / (D) II bIIxI I VI I (Cb) n bIu I I I eI 'f' r

(F) IT bUx / 1/ .#10I II / V / bVmbWo / II bIu /1+ 1/1+' /I

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,
A I , e!!I'"""I

.., -
Fig. 3 is a drill applying the scaIesof the bass line in Fig. 2 to the com-
posite in Fig. 1. In each case the required mode has been followed,although
the starting point of each phrase has not necessarily beenthe root of the .......11-..... J.l ~ ..
chord. Each note of the mode becomes a possible starting or ending point.
-J
Using Fig. 3 as a model, play or write out an improvisationusing the
composite and the scales of the bass line m Fig. 2.

Fig. S.

" .. 11 . I !"""!""'I' I .
-
1

.., ~
~ ~ -..;:; j",.o,,;;;I

:
-

...
- . - A I ..... ...
-v-
- " - -
116 117
 " I ..- . .. #.
_3
....
itJ
-~
., :I - -.r::::i- -.r ,,-
t
"
AJ! _ .... I. I .. ...... 1e: ~ ...
-itJ
- LESSON 54.
Rhythmic Composite (up-tempo)

-I'- ..... , As in the arpeggio study, the composite is simplified in up-tempo

" I
tunes to insure a strongerfeeling of swing. Fig. 1 is a possiblecomposite
tI ;::::-.- J ~ for an up-tempo tune.
3-

Fig. 1. t

..
n rnri , j)
I L.l- .. :(!;. ........
"
I

-itJ
- 3 ~looooiil
- I Fig. 2.is a bass line for "Lullaby of Birdland,"in the key of B. Trans-
fer the melodyto manuscriptpaper using three staves.
.
Fig. 2-
VI+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
I / IIIop bIIIx I II 11141blli I I IV VII Illi I VI+ bV</> I
8

8
VIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+ /1
LULLABY OF BIRDLAND-by George David Weiss and George Shearing
1944-1945 Michael H. Coldsen, Inc. renewed lIJ72.
Used by pennission. 119
1I8
 Fig. 3 is a drill based on Figs. 1 and 2. The student will notice the ex-
tensive use of rest values in Fig. 1. Silence also swings.The beginner will
L lot.
tend to play too many notes but should strive for the "punctuation" that
characterizes a good line.

Fig. 8.

.
-
- -
'0
,.

- -
. -
-

I
- - -

- 3

..
,. "

121
120
 3
-- SECTION VII

.. LESSON 55.
-,...
The Chromatic Tones

In the previous chapters we have studied the following elementsof

.. the twelve tones in the octave:
1. Arpeggio- four tones of the octave
2. Scale - seven tones of the octave except diminished

CI
~~ ~ 1._ *k.
;J
... ~-
_.
I

r I"
Now we must consider the remaining five tones of the
4>scalesand the remaining four tones of the diminished scale.
M.Som and

.. Fig. 1 illustratesthe fivequalities on C with the accompanyingscales.

T'

I L

Fig. 1.

T'

i\ iJo ~
* ..
CI

CM. ex Cm

:
I
l' A

- .r ... V .. r
.......
J - ....... - I~ I _

C~ Co

122 123
 Fig. 2.
The following table indicates the omitted tones in each scale:
4
CM: Db- Eb- Gb - Ab - Bb (G) VI IIx~' / II bIIx I I II I m
bIDo I II VP I II bIh I
Cx: Db- Eb - Cb - Ab B (G) I VIIx I bVlIx VIx I VI IIx~$/lI bIIxII II I m bIllo I
Cm: Db- E - Cb - Ab- B 4

C+: D - E C A B (G) II VII / II bllx: /1+' #1 / 1+- VI I II IVo I III bUh /

Co: Db- E - G - Bb (C) II bIIx I I 1+ I (A) II IVo / III VI I II bIIx I
4

It is a good rule in jazz improvisation to avoid more than four con- (G) II II. VII bVlIx r
VI IIxb ' I II blli:/ I II / III bIDo /
secutive chromatic tones. The chromatic scale involves all twelve tones (G) II

VI* I II bIlx / 1+- / 1+- II
and therefore cannot infer any specific chord.
J COVER THE WATERFRONT-Lynes by Edward Heyman, Music by Johnny Green
One of the most effective ways of utilizing the chromatic tones is as It 1933 (renewed) Warner Bros. Inc. All rights reserved,
follows. Used by permisston.

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" Fig. 3 illustrates the use of chromatic tones in a scale-arpeggiodnll
note. with no particular rhythmic pattern. Using this figure as a model, write or
3. Pass through the chromatic tones a minor second each side of the play an improvised line on the chords of Fig. 2 using chromatic elements.
"target" note, then into the "target" note.
Fig. S-
AIJ ~
CHORD PRINCIPAL

-
CHROMATIC

II
TONES
D
F
TONES

C#-Eb
E -Gb
tI ~
-
A G#-Bb
C B -Db
E D#-F II~ l.

V G
B
F#-Ab
A#-C
tI ~~. ii""
-I ,.
-
D C#-Eb
F E -Gb
A G#-Bb
I C B -Db _, ...,
II .. I l.
E D#-F
G
B
D
F#-Ab
A#-C
q;-Eb
tI r
-- ~
3 --
~e ~hromatic tones may move in either direction before resolving to the
pnnctpal tone although modern idioms prefer the descending form:
Eb-C#
Cb-E
Bb-C#
into D
into F
into A
Db- B into C
F -D# into E
tI
AIJ .1. .~ .. I

-
- -
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.
124 125
 3 3 11Moft L
ALl.

C
CJ
--... - f

II
----
ALl. ., &...-.1. .- l
IIJ) ~ L a... .. ....... ~

CJ
CI 3- -"4 3 ~

.. / / / /

. - .fl..
I

- - - ,
 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. As part of a weD conceived line, these tones can bring a tonal in-
terest lacking in the root, third, fifth and seventh. By themselves,these
tones are of little value; they are to be consideredoccasionaltensionpoints
Fig. 1.
: of a twelve-tone line.
... 1 3 5

7 9 11 13 1
Fig. 3 is a bass line for "'Nightand Day," in the key of EO'Fig. 4 is a
drill illustratingthe use of the sensitivetones.
Transfer the melody to manuscriptpaper using three staves and noting
key changes.
We have given careful study to the root, third.fifth and seventh; we
will now consider the ninth, eleventh and thirteenth in relation to the five Fig. 3. "Night and Day,"
basic qualities (major. dominant, minor, half-diminishedand diminished). pick.....

CHORDQuALITY SENSITIVE
TONES
(Eb) I // bVIM / V / I / I +- / bVIM / V / I / VI / bW /
Major 9 - IU (Eb) IVm / III / bIIIo / II / hili / I / I / bVIM / V / I /
Dominant 9 - "9 - =9 (Eb) 1+- I bVIM I V / I / VI I bV4>I IVm I III I bIIIo / II I
11 ('S) '11 (Eb) bUx / I / 1+- / (Cb) I II I III I / (Eb) I II / III I I
IS "13
Minor 9 - 11
(GD)I II I III I I (Eb) I II I III VI I bW I IVm I III I
Half-diminished 9 - 11 (Eb) bIII o I II I bIIM I 1+- / 1+- /1
Diminished 9 - 11 NIGfIT AND DAY-Words and Music by Cole Porter
1932 (renewed) Warner Bros. Inc. All rights reserved.
See Fig, 2. Used by permission.

Play an improvised line on these chords emplOyingthe sensitivetones

using the following Fig. 4 as a model

Fig. 2. Fig. 4.

CI .. " II I 1Y. , ,

CI I
- I ..... .......

eMS CM#l1 Cx9 Cx bs cx#9 Clt l1 (# 3)Cx# 1l

:

128 129
 AI 1.... ......"'.. " I
-
&I .........- .411 "I' ..... I .....
.

AI AI
.....
.
&I
- ....... -4/" ...... """"
:
:
1
A -:0- ....., AI
- -
--
I

l-~ -
, r ~ ~ "-""
~
&I

A I . . III I

{~ ....... r
C
.. 'P

:
..
Al .fL 1t. ~ b.ta.#~b... ~
AI I .
&I I
. r

AI .. ... h.. .fL 41.1..

... ,...., A I - I
...
&I -........ " rw ..... ...... .........
0
:

130 131
 AI
- .....
1, ."..1"
.- Fig. 1. Fig. 2-

A :> :> :> :>

...... >-

--
A >-
er
:
WJ - S ~- ~

Foot beat ,
Foot beat I
.
I. I h. . do
1""""'\

WJ

. --- - ~

Fig. S is a bass line for ''Easy To Love," in AbThe sheet music ap-
pears in G and must be transposedto Ab.Transfermelody to manuscript
paper using three staves. Write or playa line on Fig. a applying syncopa-

1.1 , -I~
- tion using Fig. 4, which illustrates this process, as a model

." Fig. 3.

II VII/III'/> bIIh / II / bIIx / I I II I III / hUh I II I

v,. I I / ~Io / II</>I IVI/>I III I bIlla I II VII I Ill</>bUh I
II I bIIx / I I II I III I VIx I II III / IVm bVIIx / III I
I. ,
bIIIo I II ! bIIx I 1+' I 1+- /1
,eJ ,
" EASY TO LO\ 'E-by Cole Perter
1936 by Chappell &: Co., Inc. renewed. Assrznedto John F. Wharton, Trustee of
the Cole Porter Musical and Literary Property Trusts.
International copyright secured. All rights reserved,
Used by permtsslon.

Fig. 4..

LESSON 57.
/I t --. --- .....
I.... ,;- \,

-
--
-
WJ
-
Basic Syncopation :

A thorough study of jazz syncopation is beyond the scopeof this book.

Jazz syncopation appears on many levels. Our concern is with syncopa- AI .... .. , I -.
...
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. 133
132
 A I , s:-. ... ./IL !: it./IL .. _ ...- "I . ...n ..-. =:1-1 ~ .... t.~

eJ

.'
- -- -eJ
- - ..... , - rooo- -...ol t:=i-'

J\ 1 ....
--- . ..
~ .......".;; 1"",..=
- t:=:= --...:; .

" , . ~1!:.fL. , -.. , _... _.

q
CJ -....;;; - ~
-
:

- ..

!.."''''- - DRILL: Practice the sixty arpeggios in syncopated eighth notes as in

Fig. 5.

\:. '
-
- <1-

Fig. 5.
CJ ...

I
~.

Foot beat
I
-
I I I I I I
.
I etc.

!34
135
 Practicethe sixtyscales in syncopatedeighth notes (Fig. 6). The use of accent in an eighth-noteseries,as in Fig. 2, is of theutmost
importancein creating rhythmic interest in a jazz line and should be care-
fully studied by the pupil
Fig. 6.
Fig. 3 is a bass line for "Makin' Whoopee," in the key of A! Fig. 4
,~ illustrates a drill on Fig. 3 employing the use of accent. Wedges over the
tones indicate the accent points of the line.
I I I I I I Transferthe melody to manuscript paper using three staves. Write or
play a line on.Fig. 3 usingFig. 4 as a model,
etc.

Fig. 3. pIdc-
blIxII I #10/ II V / Vm Ix I IVm bV1Ix/ III vr z jm ~VIx I
<I
The study of both Figs. 5 and 6 should be accompanied by an un- VI' billa I II pili I I jIo I II V / Vm Ix I IVm bVIh I
interrupted quarter-note foot beat. <I
DI VI I bIll bVIx I 1+" II I ;tllo VI I Vm Ix I IV +. I
IVm bVDxI I II #fio III I Vm Ix I IV+' I IVm bVIb: I
LESSON 58. III bIIIx II bIlx I I #10 / n V I Vm Ix I IVm pVIIx / III VI I
pIll pVh I 1+' / 1+' II
Accent MAKIN'WHOOPEE-Lyrics by Gus Kahn, Musk by Walter Donaldson
U.S.C 1940(renewed) Warner Bros. Music Com.All rights reserved.
U.K.C 1928Bregman,Voceo,and Conn Inc. Sub-published by Keith Prowse Music
In addition to syncopation,the device of accent is valuable in creating PublishingCo. Ud
Used by permission.
rhythmic interest in a jazz line.
Fig. 1 illustrates the scale of C in eighth notes played with a quarter- Fig. 4.
note foot beat. Here, the accented tones fall on I, 3, 5 and 7 which are 1li#1f :> > > > :> :>
also the accent points of the foot beat.

Fig. 1.
.,
:
- I" f"
- - I'"

., ~. :> :> :>

>
Foot beat
"'a~
:>
.(1.., '.fLk... ...
:>
~~ .. k..
:>
Jf.. .fL .. ~

In Fig. 2, the accented tonesfall on 2, 4, 6 and 8 which are struck while

... -
a
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 opposi-
tion to each other. :>
~
It a ~ ~.~; .. \ :- I. .. ".
:> :>
~. 1/#- 11- .. .,.. .. ..
:> :>
1f-k. ~ >L

Fig. 2. tJ

lI!J ..;, :> :>

Foot beat

136 137
 ~~~ :> ...~ :>
.. :> :> ....~ .,. Ii... f=...~ .h. >-
.-... ~JJ,ft - .... ::> - .... M..
:>
I. .... L> > > ~> > ... .. >

-4t/

:
C1

. ..
- -===-
~ JJ, ft L "if. .... > 1>101- ~;- :> ;: :> ~ >

-4tJ

:
.. - -
Ada ;:- L 11 -i=t._ d ii- I. JJ, .;., __ JJ,_ ::1. 11 ~ .. > ~;-1. 11
DRILL: Practice thesixty arpeggios in accented eighth notes as in Fig. &.

it'

.
-
1
Fig. 5. ::> ::>
::>. 4L 't:. ji. .. :> -
Ad"
>
.. :> :> - I.:> :> > ::0- > I'""'r'T"""

-
:> :>

-
tJ .... :> :>-

~ > >. 'j

- :....;""r
~ "'"
... Foot beat
I I I 1 I I I

Practice the sixty scales in accented eighth notes as in Fig. 6.

..
-- _:>
- Fig. 6.

tJ '*;' :> :> :>

:> :>

:> ;.

Ad > .. > ::- :> h ::> ~ :> ..

~
Foot beat . .

CI

.. - - - -
BothFigs.5 and 6 shouldbe accompaniedby an uninterrupted quarter-
note foot beat 139
138
 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 Sig-
nature 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.
1. Scale and arpeggio analysis.
2. Rhythmicvalues.
3. Rest values.
4. Syncopation.
5. Phrasing:
(a) starting points.
(b) the bar line.
(c) contrast.
(d) punctuation.
6. Chromaticistn.
AI!

lei
-- ..!.._~

-.' -
-
-.
3 ..-..k!.~6
,,'-" "ln~
.
L

3
C
-
I::::Po..

7. Accent.
8. Over-all architecture.

It ....
.
~ ..!-
-r
L

,'-' .
~ 3
,.;,...,
-
~
=' ~
"

3-
:

SWEET WRRAINE-bv Parrish. Burwell

Q 1928 by Mills Music. Inc. Cl renewed. All rights reserved.
Used by permission.
140 141
 Ali. uL..~ l. "
""'"
Au ~- -
I ~

", ...... .......... .. gliss. glis s . gliS s. gIiSS'glist.glissl

tJ
"

"I' I
--...
tJ I
---=

AlJ, - 5 5

A1 -- III"!!!
I
- -
CI
'" gtisS.1 gliss. IIiii r -5 tJ "I" .....,- ..... =::t:1
3
:
:

I. . ~
Au

, ........, .~
.,
If)
~ gliss .

.
3
.,- I.I~
Au. ~ .. I- "Uss.
. -
tJ

:
<D
...
gZlsS.
.,.
- ~
.,
-
I
3
I ~

3
I
A"

"1
:@1.
3
~

'" ,
r:=-'I

Au. 3 ..5- ~
........r!il .s,
tJ 'r " .~.~
-r "'"3
v

Au
- .. - 3
-1..1 Jl .
- AlJo
..
_.. -. -
,
CI iiiiilooooI iiiiiiiiiiiiiii
- tJ c::=::;iiiiil lo.....t;;l ~ '" stus .
:
143
142
 Al.I
3_ - L I~
10 7 III 7 10 , W 7 10 7 10 7
IV OVIIM III VIx / II V 1m IVx / IV bVIIM III Vlx I
HI
II
. 10 7
V 1m IVx / Ivm bVlIx III VIx / bIlI
10 7 10 7 10 7
bVlx II
10 7
V I
10 10 10 7 10 7 III 7 10 10 10 III
IVm bVlIx III VIx I bIlI bVlx II V / I bVIIx VIx #10 I
.
- III 10 7 W 7 IH
10 ~ 10 W 7

- 3
l"'""l'-"l _ II III VII bVIIx / VI Ilx Vm Ix I 1m IVx VII lUx /

..
Aa 3 .....-ol!!!S -
10 r W 7 10 HI III 7 10 10 10
., ., III Vlx bIlI bVIx / II III IV V / I Iil" bV IVm I
tI .,' === 10 1(1 III
III II I ~ II
:

The following is a left hand stride solution to "Sweet Lorraine"

with a new chord appearing on every beat of the tune. This is a para-
phrase of a stride treatment of this tune by Art Tatum (originally re-
corded 2/22/40 on Decca Label 8715).
The following table explains the code used in this treatment:
100Root, 7th, 10th (5-2-1 fingering)
7-Root, 3rd. 7th (4-2-1 fingering)
3rd Inversion ~-7th, 3rd, 5th, Root (5-3-2-1 fingering)
2nd Inversion 3-Sth, Root 3rd. 7th (5-3-2-1 fingering)
This treatment employs all three spans (see Volume 3, page 18), and
quick "rolling" may be essential for smaller hands.
Each tenth is individually pedaled.
On a first reading, the student will notice several tension points in
relation to the melody and harmony, but as the forward motion begins to
take place, these tension points will disappear.

pick-up
10 10 10 10 10 10 4 10 10 10 7 10 7
bIlx I I bVIlx VIx #10 / II II2 VII bVIIx I VI I1x Vm Ix I
10 7 10 7 10 7 10 7 10 10 10 10
1m IVx VII IIIx I III VIx bIII bVIx I II III IV IVo I
w 7 7 10 1<I 7 7 III 10 10 10 to
III bVIIx VIx bUh I II bVIx V blIx I I bVIIx VIx #10 I
lO 4 10 10 10 7 10 7 10 7 10 7
II IJ2 VII bVIIx I VI I1x Vm Ix I 1m IVx VII lib I
lU 7 10 7 10 io 10 7 10
III VIx bIII bVIx I II III IV V I I F" VI bVI I

Vm bib Ix bV I

144 145
 SECTION VIII LESSON 61.
The Blues (melodic)

LESSON 60. The melodic aspect of the blues is of much greater signiflcance than
The Blues (harmonic) the isolated chord charts studied in Lesson 60. A strong feeling of the
blues has characterized all great melodic improvisation. In this sense
To a jazz musician, the blues means a fairly fixed set of chords or the blues represent, along with ragtime. the basic substrata of anjazz.
"changes." These chords have evolved from the archaic folk music of The basic idea of melodic blues lies in the "twang" of the sliding
America and can be heard in the recordings of Blind Lemon Jefferson, and crushedtones present in all archaic guitar. These inHected tones have
Big Bill Broonzy and LeadbeDy (Huddie Ledbetter). All jazz blues in- been simulated on all jazz instruments including the piano. Of all the
volve the 1, IV and V chords in a 12bar form. instruments, the piano is in many ways the least effective in creating a
From this prehistory of the archaic blues hasslowly evolved a con- blues feeling since once a tone is struck it cannot be changed or even
ventional set of chords which most musicians accept as representative. sustained for any length of time.
These chords are as follows: On the piano, "blue" tones are usually achieved by crushing one
Fig. 1. tone into another (Fig. I). Because of the physical structure of the key-
board, the most effective positions are those in which a black note can
Ix I IVx I Ix I Vm Ix I IVx I IVx I I II I III bIIIx I II V / II V 1/ 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
6
(1)1+ bIIIo / II V t (2)1+ 6 IJ rv :+1\10/ VIi! bIIx Ix ~ 1/ 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.

~ ,@ I~
(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
(a) (b) (c)
isasfoDows: J J J J/JnJIII
A more modern fonn of the blues was
evolved by Charlie Parker in This principle can be extended to two or more tones played si-
the forties and. while respecting the main "pivot" chords, this new form multaneously.
contains many harmonic sequences not found in the traditional form:
Fig. 2.
Fig. 2.

1+ IV I VIIm nIx b' I VI IIx II' J Vm Ix b' I 1m IVx I IVm bVIIx /

m I VIx;' I n V / IT v II (1) 1+' bIllM I bVIM V.I/
(I) 1+. bIIx I Ix II' II
In any interval.one tone (usually the lower) can be crushed while
the second is held (Fig. 3).
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 Fig. S.
reference, not a musicological one.
Transfer Figs. 1 and 2 to manuscript paper and write or play an im-
46 provisation on the chord changes. Explore Figs. 1 and 2 in twelve keys.
147
 The most familiar sound associated with these crushed tones is that Fig. 6.
of the augmented ninth crushed into the major third when playing a
dominant chord.
.... - ...
Fig. 4.
b..
..
Itl

-- - ..
/

_.
These devices can become tiresome if not supported by an otherwise
interesting line; used occasionally they can be effective in bringing a blues
feeling to a jazz. improvisation.

- -
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 fI-_
to manuseript paper using three staves. Write or play an improvised line
using Fig. 6 as a model.

Fig. 5.
jl!Jl ... .-... :'..
. .. . .---........
.. ...
.
1+' IVx /1+'

IVx bVP/IVx
IVx / I II / III VI Vm

Vb l
/
bVI IVx bVbl / IVx IVm /
III hIIh / II bIIx: / 1+' IVx / 1+' IVx / I II / III VI Vm bV /
1+" bVIx: / Vm bV / IVm lIt/>/ 1m h bs /
i.

.
..... - ...... -
Im IVx: bVIIm bIIb / bVI hili Vm Ix / IVm II<fl/ 1m Ixb S /
Im IVx bVUIll bII h / bVI blIx: IT blIx: / 1+' IVx / I + I IVx / I II /
III VI Vm bV / IVx bVb s I IVx Vb S / 1+' / I+s /I
ilJI ..---:. ..-. ..-.
WILLOW WEEP FOR ME-by Ann Honel!
1932 by Bourne Co. 10renewed.
Used by permisslon.
til

.
=-....'"-00...1 - J......I

JI. ."'.1. ."..101. .ft. ". .f:r. *' A

:
v
-- " - -a
/ /
.,.
/ " iJf
148
149
 A ....
- - _ ... ~ - , .1.. I -
- - / /
T' ,

/ /
.. ,-

~ .. - ~ ... ~ .. k..bA..

1~.
iiIiiii
tIl
- -,
." .
/
,.
/ ~ /

#0 do ~ .. ~ ....... AI&

eI I WI
~ "'-I I ,;---.1, '-+-J l""o.ol I
"

. . .. .. ..
I~.
#0 .... L ....1-. , ... 1.- . .- ................ 1....... - 1,..1._b&-
el
/
(I
/
~
----- / , /
~
-
"II'"
., -., /
.r
/
til

/
oJ

/
IT

#0 .... .. , (I
-
II I
?

,..
L

lI.I , ~ "I' -I

/ / r .........../ /

#Oil I . .... ~ "",. .J:""':l.

.. rr: ~ I liiiiiiiC:::::::
- I

150 151
 SECTION IX If we place a number over each letter relating to the key of C. we
derive the following:

LESSON 62. Fig. 2. Jazz circle.

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 signa-
tures (C - no 1:; no b ; G - 1 S ; D - 2 J; etc.).

Fig. 1. Jm circle.
C
F""'- --"""G
In practical terms, this means:

B( "\ V normally moves to I;

II normallymoves to V;

(
Ep Circle of Fifths
\ A
VI normallymoves to II;
III normally moves to VI; etc.

\ Ab E
) The followingpatterns employ the circle of .fifths:
Il- V-I

<, F#
""'"'--Gb--"
~/
I1I-VI-n-V-I
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

The circle can move clockwise through the sharps into the flats or
counterclockwise through the flats into the sharps.
The jazz circle moves counterclockwise. These patterns should be practiced in twelve keys with both hands.

152 153
 Fig. 3 is a bass line for "Pick Yourself Up," in the key of F. Note Fig. 2.
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 (Ab) II III / IV V It / I II / UI bIlIo / II III / IV Vb" /
32, transpose Fig. 3 into twelve keys. The key series in Fig. 3 is as fol- (Ab) I II / III IV / (C) II III / IV Vb" / I II / III bIlIo I
lows: I - II - III - I. Improvise on Fig. 3.
(C) II III / IV Vb. / I IlIo / (Ab) V IV III bIlb: / II III /
Fig. 3.
(Ab) IV Vb o / I II / III bIllo / II III / IV Vito I III;. I
(Ab) bUb: / II III", I bVIb: VIx / #10 II / III IVm+ /
(F) II V / I IV / VII IIIx / VI IIx I V IV / III hIlh /
(Ab) VI- bIll o / II bili / 1+ / 1+" /1
(F) II hili / 1+" / (G) II V I I IV / VII II1x I VI ili /
TEA FOR TWO-Lyrics by Irving Caesar. Music by Vincent Youmans
(G) V IV I III bUb: / II bili / 1+- I (Ab) I II / III VI I (;) 1924 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

(Ab) bVIx V / I I (F) III. bVcp' I lIP VI / V IV I

(F) III bIIh I II V I I IV / VII IIIx I VI lIlt / V IV /
(F) III bIIh / II bili / 1+ /I LESSON 64.
PICK YOURSELF UP-hy Jerome Kern and Dorothy Fields
Patterns-ebromatic
(;) 1936 T.B. Harms Co. e renewed % The Welk Musk Croup.
International copyright secured. All rights reserved. Chromatic patterns also appear in short fragments. Common chro-
Used by permission.
matic patterns are:
n - blli- I
III - bUIx-II - bIIx- I
I - #10- II - #IIo -III
LESSON6S.
m- bIIlo -II - bIIM - I
bW-IVo-III. bIIIo-II- hlli-I
Practice these patterns in twelve keys using both hands.
Patterns-Diatonic
Fig. 1 is a bass line for '"Jeepers Creepers,"in the key of Bb. Trans-
The term diatonic refers to the normal major scale. Diatonic patterns fer the melody to manuscript paper noting key changes. Transpose to
move through the steps of the scale both ascending and descending. twelve keys using the foUowingkey series chart: I - IV - V - L Improvise
Diatonic patterns usually appear in short fragments and are often on Fig. 1.
combined with chromatic or circle patterns (see Fig. 1).
Fig. 1.
Fig. 1.
(Bb) bV</> IVo
/ III bIIIo I II bIIx / 1+ VI I bVcjlIVo I
I - n - III - bIIl- II
I- VII - VI- bVI- Vm (Bb) III bIIIo I n bIb: I 1+1l VI I bV;. IVo I III billa I
Il - III- IV - #IVx- V (Bb) II blIx I 1+" VI / bV</>lVo.j III hIIIo j II blIx j
IV - III - II - bili - I (Bb) I+1l #IVo / (Eb) II IVo / III bIIIxI II blIx / I VI I
IV - V VI- bVh- V
VI- V-IV -II1-II- V I (F) II IVo I nr bIIIx / II bIIx I (Bb) v'* V I bV</llVo I
(Bb) III bill o / II bIb: I 1+' VI I bV</>IVo I III.; bIIIxI

(Bb) II IVo / VI- bIIIx / n bIb: / 1+1l /I
Practice these patterns in twelve keys using both hands.
Fig. .2is a bass line for "Tea for Two," in the key of Ab. As in the pre- JEEPERS CREEPERS-by Johnny Mercer and Harold Warren
Cl 1938 M. Witmark & Sons (renewed) Warner Bros. Inc. All rights reserved.
vious lesson, transpose Fig. .2into twelve keys; the key series is I III I. Used by permission.

.54 155
 SECTION X To avoid this, minor jazz harmony has evolved as follows:
Bass line - ascendingmelodic;
Inner voices- harmonicminor.
LESSON65.
Combining these two elements. we derive the following minor scale-
tone chords in C minor (see Fig. 4).

Fig. 4.
,
Minor Scale-toneChords t) r+ -
J II m IV v VI VII J
Jazz is almost exclusively a major scale music. There are probably
only five or six "authentic" (begin and end in minor) minor tunes in all
jazz repertoire. However, the minor scale-tone chords are used a great lIt) ....
deal in smallfragments and are, for this reason, very important. inner-voice scale
The jazzmusician approaches the minor tonality in the same practi-
cal manner he approaches all musical problems.
e; ...

The following minor scales are the frame for most "classical"music: Bass-line scale
1. Harmonic minor - combination: 02 122 1 3 1 (Fig. 1). The minor scale-tone quality values are as follows.
2. Natural minor - combination: 0 2 1 2 2 1 2 2 (Fig. 2). Posrnos CBOBD SYMBOL
3. Melodic minor - ascending combination: 0 2 1 2 2 2 2 1 (Fig. I minor large mL
S); descending combination: 0 2 2 1 2 2 1 2 n haIf-diminished t/I
(Fig. 3). In major augmented M+
IV ~ m
V dominant x
Fig.l.

t ..- ~. ~. II VI
vn
Fig. 5 illustrates
hal-diminished
diminished
theminor scale-tone chords in G minor.
t/I
o

,.
Fig. 2.

t ..... .~. I,. &. I Fig. 5.

t)
!r~'J

I
rl:
U m
..'. -
IV V VI
I

TO

VII
t1

J
Fig. 3.

.. .... ... ... ...

~ ... 4.
... I "
~-
b. :i
~. 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
.. T .... Vr ...
familiar patterns such as I VI n - v. Bass-tine scale

156 157
 Fig. 6 illustrates the minor scale-tone chords in D minor. A minor scale-tone chords.

Ii

Fig.6. II ... ~. ~ .., ... ... .. -

. ,.
tl ..
I D m IV V VI VII I
*
Ii

tl ..
Inner-voice scale E minor scale-tone chords.

~t:
It
Ii .~. .>HP- .... ~
.., -
Bass-line scale 141.1 - "
Fig. 7 illustrates the minor scale-tone chords in the remaining keys.

Fig.7. Eb minor scale-tone chords.

#. I II,. ~ I.!~'" ~~ ~t14 B minor scale-tone chords.

.., Ii ... a~

.... ,.. .. - I ill

r

.., " "

Bbminor scale-tone chords.

I
ADminor scale-tone chords.
"
I

Ii I I L ,.
..... vw ...

F minor scale-tone chords.

F# minor seale-tcne chords.

158 159
 C# minor scale-tone chords. Fig. 9.

(d ) I + I VI I II b1Ix I I + I VI I II hili I I +. I. 11m. I

I mx I VIx I IIx' II pIIx I I VI ,
(d) VI I IIx / (Bb) VIIxt l

(d) II I bIIx I 1+' VI I II bIIx I I + I VI , II bIb: ,

(d) 1+ 1
I. 11m. I VI , IIx I (Bb) VlIxl1 ,IIIx I VIx IIIx I
(Bb) II bIb: II VI I (d) II , b1Ix I 1+" I 1+" II
YESTERDAYS-hv Otto Harbach and Jerome Kern
The minor scale-tonechords can be inverted in the same manner as 1933 T'B, Harms Co. (J renewed % The Welk Music Group.
International copyright secured. All rights reserved.
the major chords. Fig. 8 illustrates the inversions of the scale-tonechords Used by permission.
in D minor.
DRILL: Practice the minor scale-tonechords in twelve keys using both
hands.

Fig. 8.

Ii
I
.. 'C-
~
-..:
LESSON 66.
Minor Scale-toneArpeggios

tI ... - The minor scale-tone chords involve two new qualities: I which is
mL and m which is M+. The minor large chord has appeared before as
a suspended minor. The major augmented hasappeared as a suspended
: major.

Arpeggiosfor these chords follow the tones as they appear in the

chords.

Fig. 1 is a bass line for "My Funny Valentine," in C minor. This is

not an authentic minor tune since its final resolution occurs in major.
This is characteristic of many tunes in the jazz repertoire. Transfer the
melody to manuscript paper and play the appropriate arpeggiosof the
chord changes. Note the key change.

NOTE: The diminishedchord is always in root position. Fig.l.

Fig. 9 is a bass line for "Yesterdays,in D minor. Transfer the melody
to manuscript paper noting key change to Bbmajor and the return to D
minor. Since "Yesterdays"is written in half-time, the time values of each
melodic tone must be doubled in order to create the necessaryrhythmic
framework for a jazz improvisation. Thus:
I
(c) 1+ 1 / I. / Im , I VI I 1V" Vm I IV IV. I II , hIIx /
(c) I + I I I I / 1m I I VI I (Eb) IV I m blIIx I IT I bIb: I
(Eb) I / IT I ill I IV IV</>I m bV1Ix I VI bVIx Vm bV I
(Eb) IV II / (c) II bIb: / 1+" / I. / 1m. I VI / IV: , IT: V I
(c) Im VIlx I (Eb) Vm bV , IV m , II bIb: I 1+" / 1+ 1 /1

J. becomes J. J becomes D MY FUNNY VALENTINE-bv Richard Rodgers and Lorenz Hart

() 1937 by Chappell & Co:, Inc. @ renewed.
160 J becomes J J becomes J International copyright secured. All rights reserved.
Used by permission.
161
 LESSON 67. SECTION XI

MinorScale-toneScales LESSON 68.

The minor scale-tone scales follow the rules described for the major
chords. Scalesfor the mL and M+ chords appear in Lesson48.
Open Position-Axis of the Seventh

The following is a bass line for "Just One of Those Things." in the
The problems of style are beyond the scopeof this book. However,
key of D minor. This alsois not an authentic minor tune. Many "minor"
some primary studies in tonal organizationare necessaryas a preparation
tunes such as this and "My Funny Valentine"start on the VI of the final
for future work in keyboard conception. These primarystudies are de-
major key which is often referred to as the relative minor. It is more
rived from the major scale-tonechords and involve a Simplerearrange-
practical to think of it as VL ment of the tones.
Fig. 1 illustratesthe normal scale-tonechords in the key of C in what
Transferthe melody to manuscriptpaper noting keychanges.Abandon is called closedposition.
the melody and play appropriatesca1eswith the chord changes. Impro-
vise on the bass lines in Lessons 65, 66 and rn.
Fig. 1.
(trbIh 1/ 1+ 1 I VI I II I V I (F) Vm I Ix I bW I IVo I
(F) III I blIb:/ II I bIIx/ 1+- / #10/ II II. / (d) II pIIx /
n m IV V VI VII I
(d) 1+ / VI / II I V I (F) Vm I Ix / bV4>/ IVo I III / bIIIx I
1

(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 / I Fig. 2 illustrates the same chords in open position: root and Iifth in
(F) Vm / Ix / IV I
(F) 1+' / I+t
bVIIx/ III
/I
/ blIb:I II I

JUST ONE OF THOSE THINGS-Words and music by Cole Porter

bIIx/

C 1935 (renewed) Warner Bros. Inc. All rights reserved,

1+' / I+t I
I the left hand, third and seventh in the right hand. This position of the
tones is calledthe axisof the seventh (seventh is top voice).

Used by permission.
A
Fig. 2.

... T ...
In m IVV Vlvnl

162 163
 Fig. 3 illustrates the scale-tone chords of C in open position - axis Inversions, being rearranged scale-tone chords, have no third, 6fth
of the seventh.
and seventh as such. However, they are treated in the same manner as
normal or altered scale-tone chords. The Brst and third notes of the .in-
version are played with the left hand and the second and fourth notes of
the inversion are played with the right hand. The student should remem-
Fig. 3. ber that diminished chords cannot be inverted. Fig. 7 illustrates the in-
tJ .... versions on the nve qualities, derived from the axis of the seventh. in the

. .... ....
key of Eb.

I n m IV v VI vn 1
Fig.7.
", I I

Fig. 4 illustrates the scale-tone chords of F in open position - axis

C1
:;: .... "it "'..
of the seventh. ,,
ij , , I I

Fig. 4. tl T ..
I
.1
I
...
EbM
-
EbMi E"M!
I

EPM2 Eh
....
Ehg Eb4
I

Ebx:a

. ....
..
I n m IV V VI vn I

Fig. 5 illustrates the five qualitieson C, open position - axis of the E"o G"o Ao Co
seventh.

Fig.5- Fig. 6.

"
..- .. r DRILL: Play the scale-tone seventh chords, open position, axis of the
seventh in twelve keys. All five qualities on twelve tones with
I I
their inversions.

CM Cx Cm Cp Co GM Ox Om op Go
Fig. 8 is a bass line for "When YourLover Has Cone," in the key of

Fig. 6 illustrates the five qualities on G, open position -

seventh.
axis of the I 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.)
164 165
Fig. 8. ,.,~ .
I / I I IVx / IVx I IIx b 5 IIxb I bVlIx / bVIIx I I / I VI I
/ I tJ ..- o .., + -flo
::u:
~
"U: JJ"
IIx/ #IIo I II I IVI/>I III blIIxI II bIIxI I I I / IVx I IV" I
IIx bl I IIxb ' I bVIIx I bVIIx I I I I IVm / ill / blI Ix / .. I I , I I
-u-

II I bUM I I I 1+' 1/
"'HEN YOUR LOVER HAS ('.o~E-Words and Music by E.A. Swan IV,! m bmx n
-- -
I
-Q-_-e-
IVx IVx
U.S. (') 1964 Warner Bros. Inc. All fights reserved.
U.K. 1931 Remick Musk Corp. Sub-published by Francis Day and Hunter Ltd.
Used by permission.
"Ji I

Fig. 9. ... ~-e::... -e- ".

-e-: :A:. "U"
,.,. . -
,., ~ J .J -e- I I I I J J :
,

tJ "U""- U"" '1-- - - ,

I I IVm
~ I I J I I.
m_ I I ,,~

II
:
....
I
- - I
-9-

IVx
- - --e-
IVx
etc.
J ~
-e- -e- "'U" "U""

Fig. 10 is a bass line for "'When Your Lover Has Gone." Play Fig. 10
integrating melody as in Fig. 9. I m bmx n I

Fig. 10.

"1& LESSON 69.

J '1l::J'; ......... ~-e- -e-
Open Position-Axis of the Third
v~ "'"3:1:
JtJ'

: Fig. 1 illustrates the scale-tone chords in Bh in open position, axis

I
- - I
~

IVx
-e-
IVx
of the third (third is top voice). The root and fifth are played with the
left hand. The seventh and the third are played with the right hand.

~ 110
" 1

J
-e.:, -eo "U"" -u :;: ~-e- ~ ~
Fig.l.
tJ .:;: T ... ..
..............
---
1
: ....
I'I'U'_- 4
bvnx I I VI n I n m IV V VI vn I

166 167
 pick""P
Fig, 2 illustratesthe scale-tonechords of Ab,open position - axis (Eb) #10 II II I bUx ' " I I I #10 I II I bIh:." I I / VI /
of the third.
II , .
(Eb) II I IVo I nr I bIIIoI II I bUx"1 I I #10 I II I bIIx I
(Eb) I I #10 I II~ I bIIx " I I I 1+- I (C) II I pIlx I
Fig. 2. (e) I I VI 1/ (Eb) II / brIx/ I I VI/II I IVo z m / bIlIx I
(Eb) II I IVo / m blIIx I II V I bY. I IVo / III / bIlla /
(Eb) II I bIIxbl / I VI / Vm bV I IV / IVo / In VI /
I U m rv V VI VB I (Eb) m</J
bIIIx / III blli I 1+" / I+t II
Fig. 5.
Fig. 3 illustratesthe five qualitieson Db, open position- axis of the 1\ I
third.
~
#*
-~ ..... ~
Fig. So
:
-e- ~ ...... .... -e-

L I
#10 D I #10 n
1\ I
DPMDPxe#me#1i e#o
Fig. 4 illustrates the inversionsof the five qualities on Abderived ~
-~
~
-0-
from the axis of the third.
...... .... -e-
0--
..0.. ..0..
'--
Fig. 4.
1 VI n IVo m
1\ I

tJ
-- .... ..... J-&

. -e- -& .... .... ...... -e-

bmo n I D
1\ I

I~
-~ -~
-~ ...... ..... -Q-

. ...... ...... ...... ~ ..- ...... .....

Gj&s G#pl G#,s: 0#.6
2 G#O 50 Do Fo
bIIxPS I I
Fig. 5 is a bassline for "I've Got YouUnder My Skin,"in Eb. Transfer I'VE GOT YOU UNDER MY SKIN-by Cole Porter
the melody to manuscriptpaper noting key changes. As in the previous CJ 1936 by Chappell & Co., Inc. 0 renewed, assigned to John F. Wharton. Trustee of
the Cole Porter Musk,t1 & Literary Property Trusts.
lesson,play the chords in ad lib style in open position,axis of the third. International copyright secured. All rights reserved.
integrating the melody in octaves. Used by permission.
168 169
 " DRILL: Play the scale-tone chords in open position, axis of the third, in
I

twel ve keys; all JIve qualities and their inversions on twelve

Cl -9- pe- "U'" -9- ....... ....... tones
"U'"

-e-- 101
..... ..... NOTE: 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).
n Inlx~5 n

" I

Cl '1D'" - LESSON 70.

-e- .0.. 0- I~.o.. -9- .0.. Open Position-Mixed Axis
:
By combining the two axis positions, it is possible to achieve a
VI n IVa m ImIx n IVa smoother VOice-leadingthan is possible when only a Single axis is used.

A I I I I I Fig. 1 illustrates the circle of fifths described in Lesson 62.

Cl

I~ ~CI--.......
.p... -e- ~ l:!!: ..0.. 0-
:
/F GV",
m bDh n V IVo m
~ Dll
A

Cl
I

~ <if
iT v,# ~
-e-
V
(
Eb A VI
\
:
,-9- -e- ..... n

I I 1
I
\Ab E III
)
A I
bmo n
I I
VI Vm bv IV

'" Db
~Cb~
/
B VII

Cl
e ~ f.t ....... -e- ,e- F#

:
o ~,(l. ,~ -e. ..~ ......
I
IVo m VI m; n 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).

170 171
Fig. 2. Fig. 5.
It S I ., 3 ., 3 ., 3 ., 3 ., 3 .,
(F) VI 11K/ VI IIx / II V / II V / Ix / IVK / bV~ lli b1h I
. ,. , (F) I IV VIlm IIIx / VI Ilx / VI IlK / II V / II V / Ix I IVx /

.. l I
(F) bVIx
(F) II It'
"" ,
IIx
I
blIxI I / (G) IIa, II" / II
WI' / II bIlK I I IV / VII II1K I VI Ilx I VI IIx /
" ,
bIlx11

,
III III II /

(F) IT V / II V / Ix I IVx I bVIx 11K bili / I /I

Fig. 5.
H we play the circle a secondtime with a descendingchromaticscale
Fig. S.
beginning on the minor seventh, we derive the following (Fig. 3):
"
., ., .,
~

~ ~ ~ ~ -u 7} -u 'i:r
y

.e- ~
'I 'I 3 3 3 'I 'I

.. :
I
I I

L I
-u -u I I ....
.. 7 :!l "1 ~ '7 3 ., 3 'I 3

Fig.4. H we combine Figs. 2 and 3, we derive the following (Fig. 4):

" I

..
it. .,,... ,.. T Vir"

l I

., 'I '7 3 3 ., 3 'I

II

'Ihe major third and the minor seventh have been chosenbecause the ~
'U V- -eo ~ V6" qv L?
.... -e-
dominantcircle formed by these intervals is the primary circle in jazz har-
mony. I t, I I
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.
I .... I
- ....
Fig. 5 is a bass line for "Lover Man," in the key of F. Transfer the "1 3 'I 3 3 'I 'I '1
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. LOVER,MAN (Oh Where Can You Be?l-by Jimmy Davis, Roger "Ram" Ramirez, and
Jtmmy Sherman
Numbersover the Romannumeralsindicate axis to be played on each 1941, 1942 by MeA Music, A Division of MeA Inc., New York, N.Y. renewed.
chord to insure smooth VOice-leading. All rights reserved.
172 Used by permisslon.
173
 ,,~ t LESSON 71.
t.I ~ -6- 16- ~ 7J -tr <,; ~ 7T '';'

I I I I I I I I J BasicProfessionalPiano (melodic)
:
We now have in our grasp sufficient material to play what might be
called basic professional piano. III other words, most professional players
~.It'7 ~7
. ~h '1 '1 '1 '1 '1 '1 ~4l'7 seem able to reproduce a simple but effective sound which fulfills mini-
mal requirements. This sound does not demand a Horid technique and,
above all, doesnot sound like sheet music. It is based on one primary
factor that is usedin whole or in part by every professional pianist playing
today. This basicidea is open position - axis of the third and axis of
the seventh. However. the use of the octave melody in Lessons 68, 69
and 70 is awkward in that the phrasing of the melodic line must be con-
stantly interrupted in order that the chords be played at their appointed
positions. This device was used only to introduce the mechanics of this
type of keyboard orchestration.

The professional usesthe axis technique but, instead of playing the

melody in octaves. he simply adds the melody to the right hand in a
., '1 '1 3 '1 3 '1 3 '1 3 3
single voice above the third or the seventh (see Fig. 1).

Fig. L

"
., -it IfF
7J "'eo ~ P<r
p'" -&

I l , ,
:
I '" I - - .....
'7 3 '1 3 3 '1 '1 .,
:
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
For example, in Fig. 2, the melody note is D, the chord is I in the Fig. 6. Fig. 7.
key of C. The root (C) and fifth (G) are played in the left hand; the
melody (D) is playedin the right hand; the two nearest axis points below
the melodyare the seventh (B) and the third (E).

Fig.2. Fig. S.
Wm -
WID.

Generally,the axis of the seventh is the stronger and should be used

whenever it is pnysicallypossible. In Fig. 7, the second voicing is prefer.
able to the first for harmonic depth. However, this is a corollary of the
ex em. cp Co ! basic rule of the third and the seventh immediatelybelow.

Fig. 3 illustratesthe D melody note with the Cx, em.

Ct/>and Co
chords. In each case, the axis formed by the D with the C chords is that
of the seventh.
I Fig. 8 illustrates the application of this technique to the melody in
Lesson7, Fig. 1.

Fig. 8.

In Fig. 4, the melodynote is G, the chord is I in the key of F. Here,

the two nearest axis points below the melody are E (seventh) and A
Ii "1 I

r
I I I !"""'-I I I I I ..--
.. - -If ~

(third). 4ItI
I
r I p' rr

. -t9- I I I I I
"
Fig.4. Fig. 5. t
., - .,
3 '1 3 '1 '1 '1
:
.
Fx Fm. Fp Fo
Ii
- .
I r-, r--, .

Fig. 5 illustrates the G melody note with the Fx, Fm, FcfIand Fo
4t)

.
r Ii j:

I
'\"
f: ;:
I<'j
~ :
p..
r
."6-
chords. Here the axis (top voice) is the seventh.

NOTE: When the melody note faDs on the third or the seventh (seeFig. 6),

'I

'1
...
'1
V'"
'1
'V-
'I'
I

'1 s s
double the voice an octave below in order to maintain three voWel
in the right hand.

.76 177
 "
,.....,r--, ,....,
- ..
II

...
"""'i I .......
.
~

" j:I

r ~
-e-
~
-e-
~

r f ~

f r
..
"8- I I
: " " : I

I
V- VV- I 4
. '!I ~ ~ '7 '1 '7
:
'1 3 3 'I '7 'I

.
" "I t

r
I I I r""'""I

r
r~ I I
I .--

r
I It
- .J ,J. j I J J. J~1 J I
"
..,. J')
I If
I I
P'-r
,
11IF
I
C1

.. -
~
7"
l
r r I ..e- ~
:
I I
. I~
, I
~ ., 3 ~ .,
'7 '1 S '1 '1 '1
: " 7

" - I rI r--,
"
. .Ai J. 1 I r"""l ~ I
.I
r pf,

'I"
:: v.
;: I~~
a:
r
...".
C1

. - ~
r
.-fi- .~ ;: Vf rt
:
.. .. ... 11'* v- I
... ~ -.J- PT
. "I '7 '1 '7 '1 '1 3 3
:
'I 3 3 S 'I '1 '1 '1

,.....,,...., ,..., -
It

1.1 s- - ..
r .. "
'I , I I I r--,

r
r -,
- -
..
~

...
r
~

r I p p
I
. " 0 I n
"
, I I ,
V PV I
I
3 3 3 '7 '7 '1 '7 S '1 3 '7 '7 'I '1
:

178 179
 A

...
- \ r-'l r--, . Fig. 10.
A~

~r
'lJ
""~ ~: T .....
f ~
- "'.
ltJ . -e- ~
q~ ~
I7-J::r
, . .(J..
I
"U"'
"U"

1: t' ... -V-.

:
. -e-
.
'"
"
'"
"
.fi-

" " " .. 'fl

"
'0" '"
., ~.,
"0'"
:0=
.,
. '1 II '1 '1 II 3

A
,....,,....., 1"""""'1 I I-I
, I
A~

... r -r r iV -e-
'0" ..........
:t): ~ ~ ,..........
#
~
:; ~

:
.,:;;. ~ "
tt L
:
-. .
-\

: " " " 1I '7 3 6

-e-

:I 3 3
r., f!~
'1
q~
., f I
3 :I
-6-

'1
c;

.,
:
Fig. 10 is a bass line for "Tenderly," in D. Transfer the melody to
manuscript paper. "Tenderly" appears as a waltz in the sheet music
" ...
Fig. 9.
version and must be converted to 4/4 time by the simple device of adding
one beat to the first note of each bar, as in Fig. 9. ... Ti" v -e- '\T-
q~ ~ --
"U" Ir.n:

-
"0"
I \
.
~
-e- v- .....
~
"U"
"V
=l==3 beco~ becomes 3 '1 ., 'l

~~r=~~~~
'1 'l 'l :I
" 3

J I :

~~bejomes~
pia-lip
tI
All

/~ ~~
r
/+ "" "" ~

.
' .. ~ ,v!d :0::
"0 _ :u:
_ "8-

V" / / I / IYx / 1m / IVx I II I bVllx / I I VI I II</>I V I : " "

IIof>/ Vilm bV1Ix / VI I IIx I II III I IV V" I I I IVx I
1m / IVx I II I bVIIxI 1 I VI I II</>I VI1m bVIIx I VI I
:
3 t ~~ q~ t I
:I :I :I
f.iI

'1
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., -6-
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., ""0'"_'0"
6 II
lIi
IIx #110 I III bIIIx I II bIIx I I +- I 1+' /1
TENDERLY-Lyrics by Jack Lawrence, Music by Walter Gross
1be numbers over the symbolsin Fig. 10 indicate the axis in each 1946, 1947 Edwin H. Morris & Company, a Division of MPL Communications
Inc. renewed, 1974, 1975 Edwin H. Morris & Company, a Division of MPL
case which is determined by the melody Dote position. Communications, Inc.
180 International copyright secured. All rights reserved. 181
Used by permission,
 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
of .fifthspattern of alternating full tenths and sevenths (see Fig. 1).

Fig. 1.

h~ ~ I ilL ~.-.. ' .. ~ I, L f I I

:
T I '1 :,. T -e-

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
 H we compare the first two steps of the series in Figs. 1 and 2, we These left hand shells are indicated by a point system as follows:
nnd the fonowing (Fig. 3): (Key of F) III - vlx- Ii - ~ - I which reads:
III - point of seven
Fig. 3. VIx - point of three
II - point of seven
V - point of three
I - point of seven
(See Fig. 5.)
In the top stave of Fig. 3, both chords are dominant since both con- Fig. 5.
tain a major third and a minor seventh (whether the omitted fifth were
7th 5tb
perfect, diminished or augmented, the chord would remain dominant). 3rd 5th .JJ. 7th 5th :lrd 5th :lrd
" 5th
In the bottom stave of Fig. 3, the shell C-E could represent the fullow-
ing chord fragments:
SHELL
C-E
C E
QUALITY FRACMEl\'T
CM (C - E G - B)
Cx (C E G Bb)
CI

- I
~ 1.0-

I
-J L- -- -
I 1 ..."

Again, in the bottom stave of Fig. 3, the interval F-Eb could repre- '1 :I '1 :I '1
sent the following chord fragments:
m VIx n V I

SHELL QUALITY FRAGMENT

F - Eo Fx (F - A - C - Eo) Inversions are indicated by playing the outside voicesof the partic-
F - Eo Fm (F - Ab - C - Eb) ular inversion and are always played at the point of six (in all inversions
F - Eb Fo (F . Ab - Cb - Eb) the distance between the top voice is either a major or minor sixth - so
too with +6) (Fig. 6).
This means that the series in Fig. 2 only "implies" certain Fig. 6.
qualities-the missing tones (3rd, 5th or 7th) must appear in the right
hand improvisation (Fig. 4).
Fig. 4-
" I'" T I

___ I "1
A I I _I
.~

.........
. .... I I I I

I I it" ~v
'I '1
... ...
..
I VI

h Fm
A .. -It- .. .-
A I I

I
'&I ..........
CI ~

--..;;;
, I I

I

.... -r
184
-
F~
4
6
06-
'1
m
6
v
'1
m n
=if
I
185
 Fig. 7 is a bass line for "Gone with the Wind." in Eb Transfer the
~ I

r
- Ii
- ... -, ~

melody to manuscript paper noting key changes. Numbers over Roman Cl .1iiiiI:i:I:::j _., I

numerals indicate interval point of chord in left hand. =====

I ...,
: "
-6i'- I I I I I

Fig. 7. "Cone with theWind"

T'
(Eb) II IVa I III VIx I
1'1
n
f.
V I I II
1'.
I (G) bV4>
f'f
IVa I III VIx I
1.
'1
" '1 '1 '1 3

t. ,. ,r f. 11

(G) II V I I 1+" / (Eb) III I pIIIo I n / V / I VlIx I

1tJ _I ,.....-;;--'l .L
r f'"
T. 1ft t'
......-,;'
I
(Eb) Ill;. VIx I II I V I bV'" IVa I III bII Ix I II pili I "1tJ looo..J-., ~
."., ~ ., -e v >

f. 'f" f 1''' f"

I I, I (G) bV+IVo I bUIx I b1Ix I
..
(Eb) III II / I Vilo I I

" " S"'.' I

(Eb) II II. VII bVIIx I VI#f VI I II V I III VIx I I I

=Sf Sf f f f 1 '7 :II ? 6 '1

(Eb) nil' lIP I II bIIx I I I 1+" 1/ :
GONE WITH THE WlND-by Magtdson and Wrubel
(:) 1007 by Bourne Co. 0 renewed.
Used by permission. " I
- -

Fig. 8 illustrates an improvised line of Fig. 7 employing all the ele-

ments studied in this book. The over-all sound of Fig. 8 represents in
microcosm mainstream jazz piano as it is played today. '1

Fig. 8.

- - It I
- I!:!!'I

..
a ~

--
1\
-...,.......
.. Cl 'J"""."l I ~

I
Cl r '\' y .. ..
"'''''\'"
I I
I I I I
1 :
:
c.; I v -(J- -u I

'1 3 3 '1 '1 '7 3

'1 3
.. '1 '7
:

187
186
 It

4tJ
I

., If " "J .......

/I ,

....
.""...
- - - - 3

-
.... "1
I I ,
.,
.. .. .. ~ lot" 1-."

'1 , '7 '1

I I
I I
:
'I II '1 '7 ,., '1

A.

-
~

-
.11.

.... -.t-.... .,..-- ~ --.-;J =::::t:=

/II

.... ~
r
- ,..
- ,..
"'1*""
I I I t
"
: ,
v
. I I I
~ 4 I
....
., I c:;-.. -'"
'1 '1 '7 '1 II

. '1 S '1 S
j7 ~'1

A ... - .f
/I .--.--. .-.
1 ~
.,
.... .......,I ~

L
. I I

I I I I
....
'r"" ~ -e-
'1 '1 '7
:
'1 ., '1 II

..
It ... :I I

4tJ .--" ~~ ... -,;"''''

,.
-
I I I

v
I I
'1 '1 'I '1

188
189
 DRILL: Write or play an improvisation on Fig. 7. Apply this style technique
to previous assignments in the book using the following simple
rules:
1. In diatonic progressions (Fig. 9). use sevenths only.

I I I I
Fig. 9

" I I "'"
'1 '1
"1 '1 '7
" "

2. In chromatic progressions (Fig. 10). use sevenths only.

Fig. 10.

3. In circles of fifths progressions (Fig. Ll ], use point of seven on all

major, minor. half-diminished and diminished chords; on aU dominant
chords. use point of three. Dominants in Rules 1 and 2 always take point
of seven. Alternate consecutive dominants with three and seven when in
circle of fths.

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
Fig. 12.
.fl.
Fig. 12 illustratesa stylizedbass line on Fig. 2 in Lesson60.

'f9- .;;;. ~" hI> l. I. za: -e- I

I LESSON 73.
SECTION XII

I I I Standard .Procedure
I I
'I 3 '1 3 '1 3 '1 3 'I 3 '1 ! The fonowingrules can be helpful in tracing the necessary stepstoward
a professionaljazzperformance.
1. Explore melody and chords in several keys.

I I
, I I , , I I
(The fonowingstepsrefer to written key.)
2. Explorearpeggiosfor each chord.
S. Explorescalesfor each chord.
if .... 4. Memorizemelodyand chords.
" Ii '6-
'l""" 5. Memorizechordsalone- no melody.
'1 3 '1 3 'I 3 ? 3 6 '1 '1 '1 In the beginning the student may not be able to accomplishsteps 4
and 5; if 50, they should be skipped. However, at SDIDe later time. these
stepsshouldbe learnedin their natural order.
The following rules should be accompanied by a quarter-note foot
beat - abandonthe melody:
6. Play chordsin the left hand, eighth-note arpeggiosin theright hand.
In general.the fifthfingerof the left hand shouldappear in the second 1. Play chords in the left hand, eighth-notescalesin the right hand.
octave below middle C, which means that the hand is shifted down one 8. Play chords in the left hand, eighth-note triplet arpeggios in the
octave from the scale-tonechord position (see Fig. 13). right hand.
9. Play chords in the left hand, eighth-note triplet scalesin the right
hand.
10. Play chords in theleft hand, sixteenth-notearpeggiosin the right
hand.
Fig. 13. 11. Play chordsin the left hand, sixteenth-notescalesin the right hand.
12. Play chords in the left hand, apply rhythm combinations to
arpeggios. (Lesson 38)
13. Play chords in the left hand, apply rhythm combinationsto scales.
{Lesson 52}
14. Play chordsin the left hand, apply rhythmiccompositeto arpeggios.
(Lessons 39, 40)
15, Play chords in the left hand, apply rhythmic compositeto scales.
(Lessons 53, 54)
16. Play chords in the left hand, combine previous elements into an
improvisation.
17. Stylizeleft hand as in Lesson72.
18. Do not use the sostenutoor "loud" pedalwhen improvising.

192 193
 LESSON74.
Ear Training
The problemof developing the ear for what is called prehearing is of
major importance in performing jazz. It goeswithout saying that the hear-
ing 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-
shipbetweenthe ear, the eye and the hand.
L Flay any scale.Sing any tone of the scale and check at the keyboard.
2. Strike any tone on the keyboard and sing any of the remaining
eleventones.
S. Flay any tone and sing the third, fifth and seventh of the five
qualities.
4. Flay and singthe scale-tonechordsin twelve keys.
5, Play any scale and sing the various altered chords on each tone.
6. Flay anyscale and sing the various chromatic chords on each tone.
1. Flay any scale and sing the various altered chromatic chords on
each tone.
8. Repeat the previoussteps with inversions.
9. Play the bass Dotes(omit the SId, 5th and 7th) in a two-part fonn
and sing the melody.
10. Repeatstep 9 and sing the bass line.
H. Repeatstep 9 and sing the qualitiesof the bass line.
12. Use tenor saxophone (closest instrument to human voice) record-
ings to sing the saxophone"line" simultaneouslywith the recording.
13. Identify bass lines on recordings. Indicate bass lines in Roman
numerals.
14. Flay the fifteen two-part Inventions of J. S. Bach - nrst singing
the right hand voice. then the left hand voice.
194
LESSON 75.
Memorization
To say that memorizationis important to the playing of jazz is equiva-
lent 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 help-
ful 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 antic-
ipation 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
The problem in converting sheet music is one of simplification;sheet
music is much too complicated to provide a simple harmonic structure for
improvisation.However, sheet music is the only practical means of deter-
mining the intention of a composer. Unfortunately the aspect of most
195
 importance to the improviser - the bass line - is of comparatively minor 3. Compare the two results (letters and notation) for the best solution.
importance to the composer. This step involves the problem of removing many of the faults common
The following steps are suggested as a means of isolating the fabric of to most sheet music:
a tune from the melody and orchestration of the sheet music. ( a) Unprepared dominant chords;
1. Convert guitar symbols to Roman numerals. Guitar symbolsappear (b) incomplete patterns;
in letters; these letters must be given a numerical position in the key. The ( c) interrupted patterns;
followingtable on C indicates the values of the letters and their conversion. (d) key changes not indicated;
All letters will function in the same manner. ( e) additional chords for melodic adjustment;
(f) misspelled inversions.
C Major: C
C Maj. Thesolutions are as follows:
C Maj. 9 1. When a dominant chord appears on the nrst beat of a bar and is
C held through four beats. prepare the dominant by playing a minor or half-
diminished chord a perfect fifth above for the first two beats.
C Dominant: C' 2. If a chord series such as I / II V / appears in sheet music. this is
C an incomplete pattern. It should be I VI/II V /. If III VI I V I appears.
cn this too is an incomplete pattern. It should read III VI I II V /.
C+ 3. Interrupted patterns:
Sheet music: Pattern:
C Dominant P: C' susp.4
nr ~I1Ix / II V I I III bIIIx / II bIIx / I
C Dominant bl : I1IVI/IPlIx! I III VI III V / I
VI VI +- I VII lUx / VI VI bV+ I VII IIIx! VI
4. Key changes: The presence of a major chord on other than I or IV
C Minor: Cm' is a clear indication of a new key. If, in converting to Roman numerals. the
em" student Bods. for example. VM. II Maj. '. VIM, an immediateadjustment
C min.' should be made in the signature no matter how fragmentaty.
5. Many sheet music bars contain three or more chords: one or two lor
C Half-diminished: em - he basic harmony and the remaining chord or chords to cover isolated
emb l melody tones which clutter the frame for an improvisation. Omit this
E!>m'
"cover" chord.
Cdim. 6. Often, an inversion will appear in the notation but is spelled in the
C Diminished:
guitar symbol as a root position chord. In cases of this sort. the notation
Co
should be followed indicating the inversion position.
RULE; On aU m' symbols, build a half-diminished chord a minor third
In concluding this lesson, the fonowing rules are wen to keep in mind:
below. The major chord can move anywhere.
2. Convert notation in bass and treble clefs to Roman numerals. In The dominant. minor and half-diminished chords usually move
many cases this step can be extremely difficult; however. if the student down a P5 or down a m2.
starts with the lowest note in the bass and searches out the third, Bfth and The diminished chord moves up a m2 or moves down a m2.
seventh, the quality of the chord should emerge. If one or more of these The conversion of 3/4 time to 4/4 time is discussed in Lesson 71.
tones cannot be found there is a fairly clear indication of the presence of
an inversion.

~m6 IS the lirstInversion of a e;. chordwhich shouldbe played in root po$ition.

196 197
 LESSON 77.
Touch-Technique
The technical demands of modern jazz playing are in many ways com-
parable to those required by serious music. On some jazz instruments
(notably the trumpet). levels of virtuosity have often exceeded those ob-
taining 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 play-
ing 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 es-
sential 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 ver-
nacular sound of modern jazz piano. Oscar Peterson has furthered the artic-
ulation style by enhancing it with a virtuoso technique reminiscent of Art
Tatum's. There is little of the classical legato in Peterson, who is un-
doubtedly 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 disas-
trous results. In classical terms, the stroke is more related to a marcato
attack, but never a staccato.
198
General knowledge and playing experience with the literature of the
keyboard are essential to jazz performing, although some composers are of
more value than others.
Bach, Mozart, Chopin, Brahms and Debussy are the major inBuences
prevalent in jazz piano. although familiarity with all composers of all
periods can nourish the student in his work.
Jazz hommen are an important inlluence on all jazz pianists. with
emphasis on the tenor and alto saxophone.
Hanon studies in twelve keys are valuable in building key facility
and the diatonic feeling of jazz harmony.
In conclusion, a jazz musician can be only as good as his degree of
exposure to alI music regardless of the instrument or the period and. of
course, as his degree of mastery of his instrument.
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 diseog-
raphy of jazz from 1925 to the present day. This study should be ap-
proached on two levels - general, and spedfic instrument
Study in the first category should be sufficient to identify general stylis-
tic 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 com-
positions played, the techniques employed, etc.
The follOWingoutline indicates some of the major figures on each of
the important jazz instruments:
Arranger: Bands:
Fletcher Henderson Fletcher Henderson
Duke Ellington Benny Goodman
Don Redman Duke Ellington
Sy Oliver Jimmie Lunceford
Gerry Mulligan Count Basie
Bill Holman Woody Herman
Nelson Riddle Gerry Mulligan Tentet
Stan Kenton
199
 Bass: Piano: Trumpet: The following is a brief chronology of the history of jazz piano.
Pops Foster Jelly Roll Morton Buddy Bolden
Jimmy Blanton Earl "Fatha" Hines Louis Armstrong
Barrelhouse 1900
Oscar Pettiford Fats Waller Bix Beiderbecke Hagtime
Morton
Ray Brown Teddy Wilson Roy Eldridge Joplin

~
Fusion
Charles Mingus Art Tatum Bunny Berigan
Earl "Bud" Powell Dizzy Gillespie ]
Clarinet:
Johnny Dodds
George Shearing
Horace Silver
Miles Davis
Chet Baker Waller
1925 ::
Pee Wee Russell Hines
Oscar Peterson Clifford Brown
Artie Shaw I I
Hampton Hawes Tatum
Benny Goodman Trombone: Wilson
Wynton Kelly Fusion
Stan Hasselgard Kid Dry
Herbie Hancock I
McCoy Tyner Jack Teagarden 1940
Drums: Tommy Dorsey
Baby Dodds Bill Evans I
J.J.Johnson Earl "Bud" Powell
Chick Webb Alto Saxophone: I
Gene Krupa Benny Carter Vocalists: Dissidents Hhythrnlc Harmonic
Kenny Clarke Louis Armstrong
Jo Jones
Johnny Hodges
Charlie Parker Bessie Smith
I
Thelonious Monk
I 1
Horace Silver George Shearing
Max Roach Lee Kanitz Jack Teagarden Lennie Tristano Hampton Hawes Wynton Kelly
Bing Crosby Errol] Garner
Guitar: Joe Turner Oscar Peterson
Tenor Saxophone: Dave Brubeck
Eddie Lang Billie Holiday Herbie Hancock
Bud Freeman Cy Walter
George van Epps Eddie Jefferson Bill Evans
Coleman Hawkins
Charlie Christian Frank Sinatra McCoy Tyner
Lester Young
Django Reinhardt Ella Fitzgerald
Stan Getz
Tal Farlow Anita O'Day
John Coltrane
Joe Pass Four Freshmen
Miscellaneous Instruments: Hi-Lo's
Milt Jackson-vibraphone Lambert-Hendricks-Ross
Jean (Toots) Thielemans-harmonica
Serge Chaloff-baritone saxophone
Jimmy Smith-organ
Red Norvo-xylophone

This list is by no means exhaustive. It is a general guide to the vast

jazz literature.
It is important to remember that many of the most important ad-
vances have occurred on the trumpet and saxophone and were later
transposed to other instruments; i.e., Armstrong to Hines, Parker to
Powell. The point is that the "lines of influence" in serious music are
fairly direct; in jazz, these lines crisscross in many ways from instrument
to instrument and from period to period. Full knowledge of these transi-
tions is essential to the development of a thorough background.
200 201
 SECTION XIII

For Further Study

In this section, a number of additional figured bass lines are pro-

vided to enable the student to expand his knowledge of the preceding
lessons. Follow the previously suggested procedure of writing the tune
out on two or three staves, depending on which lesson is being ex-
panded.
The song "Carolina Shout" is included here as a lesson in the style
of Thomas "Fats" Waller. It is, in the opinion of the author, an ideal
example of Waller's stylistic contributions.

Dolphin Dance

The following is a bass line for "Dolphin Dance" in Eo.Note key

changes.

(Eb) I I Ixll3 I I I VIIx WIIx I VI VI2 I IV's I VI VI2 II

(G) II bflx I I II (Eb) IVm IVm2 II I V #Vo I VI I VI2 II

omit 5 omit 5
(G) II I bIIx I I I IX1l3 I Ix ll 1l3 I IX1l3 Ix I WIIX1l3 I bVIlxllll 3 I

(G) bVIlxll3 I VI I1x I bVlx I V I III I Vlx V4J I DVm I VIIx I

6 6
(G) VIx1l3I IV5 I VIx1l3I IV5 II

DOLPHIN DANCE-by Heroic Hancock

Courtesy of Hancock Music Co.
Used by permission.
203
 Invitation The Summer Knows
The following is a bass line for 'The Summer Knows" in (f) minor.
The following is a bass line for "Invitation." This tune presents a Note key changes.
unique problem due to the absence of major chords (the normal cadence
chord) with the exception of the final chord. Note key changes.

(F) VII3V I I I II~ I I I Vm Ixll3 I IV II (A) lIef>V I I V I I II

(C) Ipll7 / II:<1I II I V I II I V I Vm I Ix II (Eb) Ulm I n 1l1 I
(Ab) V I I V I I II (G) V / 112 I II (F) lIef>bIIx I I I IIef>2I I I
(Eb) II I V I II I V I Vm I Ix II (Db) II I V II (B) II llIl 7 I IF'1 I
(F) IItJl2 II (f) 1m I IV 11+ 6 I 1+6 II
(B) II I V II (A) II::::I1I Ip7 I II I V II (C) VI I VIz I IVXb5 I
SUMMER OF '42-THE SUMMER KNOWS-by Michel Legrand and Alan and
Marilyn Bergman
(C) IVxb5 I IIIx 1l5 I blIIx I IIu7 I II'l7 I II I V I II I V I Vm I Ix II Cl ]97] Warner Bros. Music Corp. All rights reserved.
Used by permission.
(Eb) II I II,2 I bvnMb.5 I bVIIMI>5I II I Vll5 Ilm L I ImL II
Time After Time
INVITATION-by Paul Francis Weber and Bronislau Kaper
l!:) 1952, 1956 Metro-Goldwyn-Mayer Inc. l!:) renewed 1980. All rights controlled by
Robbins Music, a catalogue of CBS Songs, a Division of CBS Inc. The following is a bass line for "Time After Time" in Bb.
International copyright secured. All rights reserved.
Used by permission.
I VI / II V1l3I III VI I II Vll3 I I I IV I VIIm I IIIx I VI VI2 /

West Coast Blues bVef>VIIx / IIIu1 IIIll7 / III VIx IIIlf#1 n ll7 / II bVIx I V1l3I V I

I VI I II v I III VI I II V1l3IT vt bVlo I Vm bY I IV I bVIIx I

The following are a head chart and a blowing chart for "West Coast
.. ..
Blues" in Bb. Note 3/4 time signature. I ~ Illil IIcf>3I VIz bV IIVm bVIIx I III bIllo I II blIx 11+ 6 I

HEAD CHART 1+6 1/

TIME AFfER TIME-Lyrics by Jule Styne, Music by Sammy Cabn
~ Ix / Yo I bVIIx / v.; / Ix I Yo I blI I bII bVIx I IVx I Yo I :.'-/ Yo I @ 1947 (renewed) Sands Music Corp. All rights reserved.
Used by permission.

~ Ix I Yo I Yo I Yo I V / Yo I IVx I Yo I Ix I bUb I bVIM / DIIx II For ADWe Know

~ Ix I Yo I bVllx I Yo I Ix I Yo I bII I bh bVix~/ IVx I Yo I Yo I Yo / The following is a bass line for "For All We Know" in the key ofF.
piclc-up
~ Ix I v. I Yo/ v. I V I Yo / IVx / v. / Ix I bUIx I bVIM I bl lx 1/
blIx / / I VI / fub5 / V I II bIIx I I II I III bUIx I IIU7 11117 I
BLOWING CHART II #110 I III / bIIIo I II II 2 I VIIm bVlIx / VI::"#7VI1l3I VI bIllo I
~ Ix I Yol bVllx 1::.</ Ix /Yo I bII I bVIx IIVx IY; I IVm / bVIIx I II I V#3 I I VI /I1x b5 I V I II bIIx I I II I IIItJl blIIx I IIllll7 11117 /

~ III I VIx I bIll I bVIx I II I III / IV I V I Ix I bIlIx / II #110 I III VI I bVm VIIx / II1x bVIIxb5/ VIxll3VIx I II bVIxb5I

~bVIM I bllx 1/ V1l3V 11+6 11+6 II

FOR ALL WE KNOW-Words by Robb Wilson and James Griffin, Music by Fred Karlin.
WEST COAST BLUES-by John L. eWes) Montgomery 1970 by Music Corporation of America, Ine., New York, N.Y. Rights administered
Cl ]960 Taggie Music Co., a Division of Gopam Enterprises, Inc. by MCA Music, a Division of MCA Inc., New York, N.Y. All rights reserved.
Used by permission. Used by permission.
204 205
 The Preacher Our Love Is Here to Stay

The following is a figured bass for "The Preacher" in F. The following is a bass line for "Our Love Is Here to Stay" in the
key of F.

VIl3 II I bVIo I Vm OV I IVx OVIlx I 1 V:::aI

plclc."p
piclcup
VI II I1x"5 I II V:3 I p6 II I III VI I IIx"'~ I II 112 I bVIIx vr, I
j IV Vilm IIIx I VP117VI:t7 I VI I1x I II Vl13I I OVlo I Vm Ix /
I1x tlIIa I III VIx I II V I I IV I VII IIIx I VP=7 Vp7 I VI n, I
1m IVx I VIIm II1x I IV+6 srve I Viz VI I II v:;a I 1+6 VIl3 /
II bVIx I V VI I I1x'S I II Vl13I 1+6 II I III VI I I1x'S I II n, /
1+6 VIl3 III bVIo / Vm bV I IVx WIIx II V:l3 I I IV Vilm Illx I
bVIIx VIx / Ilx tlIIo I III vr, I II V I Vm Ix /IV+6 tllVo I VIz VI I
VP:1l7VJll7 I VI IIx / II VIl3/1 bVlo I Vm Ix I 1m IVx I VIIm IIIx I
II Vl:3 I 1+6 I 1+6 1/
IV+6 tlIVo I Viz VI I II Vila I 1+6 VIl3 I 1+6 II
OUR LOVE IS HERE TO STAY-by Ceorge and Ira Cershwin
mE PREACHER-by Horace Silver ID 1938 by Chappell & Co., Inc. to renewed.
C 1956 by Silhouette Music Corp. International copyright secured. All rights reserved,
Used by permission. Used by permission.

Desifinado
Here's That Rainy Day

The following is a figured bass for "Desifinado." Note key changes.

The following is a bass line for "Here's That Rainy Day" in Bb.
Note key changes.
(F) I / Yo I IIxbS I y. I II I V I III<f>I VIx I II Il,2 II

(D) II<f>V I I I Ix II (F) VI<f>I Ilx / bllM I Yo / I I Yo I I1xb5 I (Bb) I VlIxl:5 /1 (Cb) III z blIx I I I IV II

(F) y. / II / V I III<f>I VIx I II III I IVm WIIx I I VI II (Bb) II III I IV V I I VI I Vm sv II

(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 (Db) 1I::ll7 II::7 I II bIIx II sv I IV IV2 11 112 II

(F) VIlm I I1Ix"s / VI/11K / II I bIlIx / 11KI bIlx / I / Yo I (Bb) 11"=7 11::7 / II V / bVllx VIx /I:NIx V I I VIIx"5 1/

(F) IIxl>sI Yo I II I V / III<f>/ VIx / II III I IVm bVlIx I I VI I (Cb) III z bIIx I I I IV II

I IVm I IIIxll5 I bUIx I I1x I bUM I I 11+6 II

(F) IIx / bV<f> (Bb) II III I IV V / Ix I Vm OV IIV I
..
(Bb) VIP IVo I III VI I IIx I II III I IV V 11+6 / p6 /1
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. HERE'S THAT RAINY DAY-hy Burke and Van Heusen
London, WCi for the territories of the British Empire and Commonwealth of Nations iO 1953 by Burke & Van Heusen. Inc. iO assigned to Bourne Co. & Dorsey Bros.
(excluding Canada) and the Republics of Ireland and South Africa. Musicblnc. Q renewed
Used by permission. Used y permission.
2f17
 The Girl from Ipanema Just in Time

The following is a bass line for "The Girl from Ipanema" in F. Note The following is a bass line for "Just in Time" in Bb.
key changes.
I I IV / VUm I IIIx I III I VIx I VI I I1x / II I V I I I Ix I Im+6 /

(F) I / I I Ilx b5 I Ilx b5 I II / tv I III bUb / II bIlx I I / I I UXb5 I IVx / VII I lUx / VI I V~::7 / Vl 2 I bV4>IVm+6 I III I VI I VIxl:5 I

(F) IIxb5 I II I blIx I I II II (F~) I I I I IVx IIVx 11m 11m II Vo / bVePI IVm+ 6 I III I bUIx I Ilx I II V I {+6 1'1+6 II
(F) VIx I VIx I II / II I bVIIx I bVIIx I III I VIxh5I II I Vb5 I JUST IN TIME-by Betty Comden, Adolph Green, and jule Styne
(\ 1956 Betty Comden, Adolph Green, and jule Styne, Stratford Music Corp owner
Chappell & Co., Inc, and G. Schirmer Inc. ~ ,
(F) I I I / IIxb5 I Ilxb5 / II / blix I I I bllx I I I bllx I I / I II International copyright secured. All rights reserved.
Used by permission,

THE GIRL FROM IPANEMA (CAROTA DE IPANEMA)-Music by Antonio Carlos

Iobun, English words by Norman Gimbel, original WOlds by Vinicius De Moraes Tune-Up
Cl 1963 by Antonio Carlos Jobim and Vinicius De Moraes, Brazil. Sole selling agent
Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. All
rights reserved.
USedby permission. The following is a figured bass for "Tune-Up" in D major. Note
modulations.

(D) II I Vb5 / I I }+6 /1 (C) II I Vh5 I 1 / 1+6 II (Bb) II I V I

(Bb) I I VI II (D) II / bIIIM I bVIM I V I II I v / I I 1+6 II

(C) II I Vh5 / I / 1+6 II (Bb) II I V / I I VI/I (D) II I bIIx I

One Note Samba
(D) I 11+ 6 //

TUNE UP-by Miles Davis

The following is a bass line for "One Note Samba" in the key of Bb, Courtesy of Prestige Music Co., Inc.
Used by permission.
Note key changes in the bridge from Db to B.

The Shadow of Your Smile

(Bb) III / bIIIx / II I blix / III / bIIIx: / II I bib / Vm / bV I

(Bb) IV I bVIlx I III I blIIx I II blIx 11+ 6/1 (Db) II I V / I I I II The following is a bass line for "The Shadow of Your Smile" in the
key ofG.
(B) II I V I I 1/ (Bb) lIt/> V I III / bIIIx I II I blIx / III I
pld.:-up

(Bb) bIIIx / II I bIlx I Vm I bV I IV I bVlIx / blUM I IIx I bVt/>I VIIm I lIIx I VI1I7VI I IIx / II I V / I / IV I VII / lIIx I

(Bb) bUM 11+ 6 /1 VIU7 VIlI7I VI V~ I bV4>I VIlx I IVx / IIIx bVt/>I VIlm I lIIx /
3
VI#7VI /IIx I III Vll3 IVo I III<fJI vr, I II II ~I1 III / IVm bVIIx /
ONE NOTE SAMBA (SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm,
original words by Newton Mendonca III III<fJI VIx1l3 blIIx IIIx / II V::3 11+ 6 I 1+6 1/
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. THE SHADOWOF YOUR SMILE-by John Mandel and Paul Francis Webster
Usedby permission. Courtesy ofR.C. Burkett, Howard-Burkett Music
Used by permission.
208 209
 Quiet Nights and Quiet Stars
Nica's Dream
The following is a bass line for "Nica's Dream" in bb minor. The TIle following is a bass line for "Quiet Nights and Quiet Stars" in
key series is as follows: the key of C.
Bars 1- 6: bb minor
Bars 7-12: Gb major
~ ~
Bars 13-22: bb minor IV! I % I bIIx3 / % / Vm / Ix,"3 / IV / IV I IVm / bVIIx I IIIx:::>/
Bars 23-28: Gb major 4 4
Bars 29-32: bb minor VIxl:S I VI / I1x / II II. / VII bVIIx / II",1 / x I bIIXl I % I Vm I
Bars 33-46: Db major
Bars 47-54: bb minor Ix:::!I IV I IV IIVm I bVIIxl>SI III I VI I II I V,"3I III4>I bIIlx I II /
Bars 55-60: Gb major
blIx / I I 1+6 /I
Bars 61-64: bb minor
pHup QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original words and Music by
Antonio Carlos Jobim. English words by Gene Lees
(bb) bIlx II 1 I p6 I bVIImL I bVIIm+6 I 1 I }+6 II (Gb) IIU7 I 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.
(Gb) IIJ;7 I II I blIx 11+ 6 / IVx II (bb) II I bIlx 11+ 6 I 1+6 I 1/1+ 6 I

(hb) bVIlmL / bVIIm+6 I I I J+6 II (Gb) II:r:lI7I 1I!:7 I II I bIb I

(Gb) 1+6 I IVx II (bb) II I bIlx I 1+6 I 1+6 II (Db) II I I14>I

(Db) IiI Ii f bvflM I VIx!:SIIIx I II blIx I 10 / I VI III I I14>I

What Are You Doing the Rest of Your Life
(Db) IiI If f bVilM I VIxllS/ I1x I II II z /1 (bb) IIx I bilK / I 11+ 6 /

The following is a bass line for "What Are You Doing the Rest of
(bb) bVlImL / bVIIm+5 I I / 1+6 II (Gb) I1U7 I I1!:7 I II / bib I
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.
(Gb) 1+6 / IVx II (Bb) II / bIlx 11+ 6 I J+6 /1
NICA'S DREAM-by Horace Silver
" 1956 Ecaroh Music, Inc. 1975 Ecaroh Music, Inc.
Used by permission, (C) WIIx 1/ VP'7 vr, I VI2 bVq, / IV IVltS I IV+6 IV2 I

(C) IIu7 I1ll7 / II 112 I VII / bVIIx I VIlt7 VI2lt7 I II n, I VII I

Four
(C) WIIx I Vp:7 VI2!:7 I VI2 bV4>I IV IVlISI IV+6 IV2 I II n, 1/
The following is a figured bass for "Four" in Eb major.
(A) II blIx I I II I III VI I II blIx / I VI I II bIIx / I IV /1
blIx II I II I #IIo III 11m! IVx / II I III /IVm /
(Gb) II blIx / I 1+6 II (F) II bilK I I r, VI Viz 1/ (C) VI1l1VI/' /
(>ideup

bVIIx I III / bIII bVlx I II liz ! VIIm IIIx I III I bIll bVIx I II / bIIx / (C) VIz bV4>/ IV lVI'S I IV+6 IVz I IIllll7 1I1I7 / II II z / VII I

I II / :l:IIIoIII 11m! IVx ! II I III ! IVm ! bVIIx / III I bIll bVIx III u, I (C) IIIx VI II (a) IV IV:z / II blIx / Irn IIVx III I bIlx 11+6 / J+6 1/

VIIm IIIx ! III hIII / II bIIx! 1. 6
FOUR-by Miles Davis
Courtesy of Prestige Music Co., Inc.
Used by permission,
/ 1+6 /1 WHAT ARE YOU DOING THE REST OF YOUR UFE?-by Alan Bergman,
Marilyn Bergman, and Michel Legrand
1969 United Artists Music Co., Inc. All rights administered by CBS Songs, a
Division of CBS. Inc. All rights reserved,
Used by permission,
211
 Carolina Shout

I!
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t!.... ... lJ .
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:::AROLINASHOUT-by James P. Johnson
CJ1926 by MCA Music, a Division of MCA Inc., New York, N.Y. @ renewed. All
rights reserved.
Used by permisston.

212 213
_fl. ~ ~ tt.... .fII.Il...fII. 11_b.- _ -- - - - - T" -

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