(CHAPTER NINETEEN Figure 19-12 four-way close “Th diminishes chord thar realy a eguised ot; th on ved nth at in 3 Nigure 03, {an lobe sed To comet chords oe han ‘omanant chores Theft ie of gure 18-12 ‘howe the at ve enor ofa © major ean {ourmay cose, hen naop 2 The second ne Shows he sare ing, but wih two adaiona) ‘minshos chor (he ones with DY and Fn te tmaloay) Thy ae roaty equlsod D7ba chords vetnut neat, the Vol Vin Gm. oe books on cassia theory cal the deguesd Vf V iin chor an erogular ‘dmieneg coven” An eae wat rk this ‘hor that ts ul of of th et of | chor {tris ease), of minor bids away rom the rool. F an drop 2 an OF am ce four-way close Cam Cm ce drop 2 dm dm G8 am am 8 Gre OTe Ge main C8 dm an 08 Gre ona ane one Figure 1813 shows he est ba of Hazy Waris “Chattanooga choo-Choo” vole with ths doguisog VotVchorsn crop 2. Tho OF0 ‘herd asthe eae notes ao an chord The fos ofan Fo chord—FH, A.C. and Ghar he hg ith, eoveth. anv of 0760, tho Vor Vn he kayo. Barorsbop quarts also use this chord a Tet asin igure 9 Figure 1815 shows bas 68 of Tass ‘amerors “Our Dsigh in four close. nth tramps th Bo chords bowoon 8D: ans ADS a the samo chord ae Doth tha ih, sever, ans boot ore, te Ve Vint key ot Ao 1 Pay nannies, Leo. Sp & stn, (pt 2 ate Das replat) och Charts = Figure 19:13caren nivereen Figure 19-16 Figur 18:16 stows acisquised Vol v Memoring te folling wi hop you whan wing malo in minor rp 2 +n the minor malo ong the "aoa note ith + Ontne domeant seventh bo upper structure volngs, the melody ot heb + Onto at chor, the mology nota ‘eine 8 Figure 1-26 isthe same tne bas of “Senty As Aoring Sune” at appeared in gure 1.2, but wth some ofthe new vias ‘Tha dinned erode nthe foun bar nave {he tie ete rm he ep aed a who slap. The ‘cond choré in th fet bar eth ret ened in {holt aru he new minor major vleng, "Thiet oo chord nthe second bar are te blak amination, ut mA minor erop2. How i oss opay someting tom Amino na in ‘Grn? tve thought otha G7 chord nar 2 a ‘Groa. G7oa ls tom dmalsned seals hameny. hare anyiing can be reposted at he interval ot « ‘ior th, Therefore, G7o9 = E7ED. Te ie. ‘maboay nota nthe second ba Fs eB othe Ere9 dor trom A mine cop 2. Tne socond ‘malay note inthe bar G, isthe 49 ofthe 7a chor. ls rom A minor drop 2 AS reed onthe ‘slat combination the malegy reo on tho 9 chor {ae b8. Ont at enor he #8 oro cnr c o7 a oc. oy E708 E7AN ET ETANERD C8. usw usw USM Mc Chords Figure 1926, ar Sr Oeamcs an 85S arren nivereen = Figure 19-27 De zat os Figure 19-28, otcha toe Oe rat Figure 1.27 shows 2 ne ovr a. G73, (© proresson. Now ly gure 18-28, te erie Ig, hart se ntas vices wth he Ba ‘onbination bat tom trea Sree kay Read the fetus carly. Thar ls contrary meton ine Sscona ace rom he op and there ae os ot ‘ecco ta bar Look athe at male ‘ote as tree groups of wo ete each, ascending ‘hol stophat lp dished seal. The est {nd socog ete ae voeed ase Boia {ombinon fom Fi minor sep 2."Tho Ns an {outhretes ar the bla caminaon rom A mact ‘0p 2upa minor bird Tho th aso tes ‘xe the Bat combination fom © minor cep 2p ‘rotor mina thr. Inoseone, te BSI ‘ombnaton can move sequel ath teal of ‘2 minor id. Yes, there's away 1 race is {hat you can ao easy (i gate tn Pract tet lator nthe capt, usw vev us Frinerdop2 Ambar dop? Crieraop2 Figure 19-29 shows two examples of tis ea ‘expanded to nla paras. Thetis ne owe {hon and sban bare of Gane DoPaurs You Dont Koa What Lovet" woieadin rp 2. Lock a he treed retos--Db and E>—on the cores on bass Sand 4 fhe at bar, he baa combination Yom F ‘ror aop 2. The wo proteus madras Bnd ¢—are amnorthic bet, the corde are ‘oeed ashe baa combination em te ay ‘itor ths below, O minor dap 2. The et eae ‘chords nbarl oe an example ot prataen, “Te socond ne of igure 19-29 shows bars 5:7 of ving Soi’s “Thay Say i's Wonder” voted in crop 2. The et fur chords in ho ‘Stoond bar are bo Upper stucure Vi enor ‘movig i paatel motion down is minor thd, Srinshod scale chords can aways co The out Snditn chor nthe bar are the baat combination fromAminer hop 2 eh crs Ge rat Fa Block Chords Figure 19-29 Fare Gra Ana W7at Ono Cia cho Fa Dior ep 2 Fn op orpnal ce * E70 i —— Agent veo af iene ons Carano ‘arsohny Harman Me uinpdee 5 coy ‘yori aa a 197(CHAPTER NINETEEN Figure 19-30 rey Look at tha tt our bar of Bue Sosa,” baovgn ‘oaen uncon a chord ti 9 olowed by Fr, as nal) but asa tone mine. In agin, rope othe rl ve ries on ts minor soverih Chords the evento! the chara (80). Tha bang {he aso, tha © mioe chores hat fo played as -3 find €-2. The minehos chords ibaa al ‘Sequced G7e9 chords. The dished cord on ‘ho fouth beat of he secon bar isa segused ‘Choo, rosovingino the Fe char the td bar, Figure 19-91 shows how this mised crea is reaty a spuses C70, 7 one Figure 1931 Go=£o ome orto Fe an Fe ‘Anat example ofa stepuise mology over a miner tard occurs nbare 25:26 8 the Reagers and Mart blag ott cons Inctop 2 Althe amaishes ‘chor are eguisou C700 ‘horse, Note vlcng on the B57 chore variation of he Kenny Baron vig ducseted Inchapter Soon, Aratheretecve ectrique an 8 you can use when playing cop 2 Tesi coma approach {igure 18-39). This means Sproaching a cord win another chow fom ether halstep above ofl chers ‘ra al stop blow. Inthe at bar © the Cx corse approached fom a hastp below by a Ba chor. In {he second example the C- chord poached tom a haley above wth a Dds chor. ‘Choma approach i arother ‘rapa of paras. itera ar om melo Baca cs minor harmony. hire key” ator than ror. gure 18-94 shows ino over @ 87a €-4 Progression. B7at strom C melee minor Th fst we reas no bar ao voces ae C8 the eran C malo mina) and 6. The hd sh four notes the bar are vleed wa tha waa coronation fom emir Sop 2, ep wes hore as als because the maody na (Care th 49 ara bo of he B7aN cor, Block Chords Figure 19.32 27 Figure 19.33 Figure 19-34 hind coe: © maloseminar€ minor Sop?200 (CHAPTER NINETEEN Figure 19.95 hows a block cht slo on tho tet Torta of A Tho Things You Ae” Exoapt fv the ast ba, al ot the cor re vices Ingrop2. The chors.on he socora meta nba is (Cibo eeguiead asa amish chord resol to athe le chord aris F759 sgused as 2 inched chor ecting fo Bo. The thi ote ‘fom ne tep on is amines chor ha been fae ale sep, tn toheuo shown In figures 10-2 tweugh 1-24 “Tho et theo chor in bar2 ocho the pattem in bar Bb chors oamected by F720 ‘eguised asa cise chor. The Ba chord \Schvomais approach ote Bb chord. Tho ‘ast @mmahee chord in bat 2 ha ho thd ate tome ep rasesale sap aco what ‘eau one lat chord ibar ‘Tra orga chord eye bar i 7 ‘You cn play Bo, £07 Ik progression=—in Dace ot EDT Tne test wo corse bar 3 we Bose creas, sugested by tha Bo part "Tha Go? chor ie hen eharmonled as £97 at whch ie denve rom € malate mir, the sours ofthe Es and 8 chords ‘Tara are moe han jst beck chords in figure 1.85 Inbar thao is wate known {fasta namony as 2 German sith cagores (08 {he V cher of Oba the chore ext bar which ‘Sociptes hereby one bos ‘Thar’ at going on in these four bare—rop 2, patatolom lone subtton, ‘chromate epproach reharmonzaion, ished ‘how wit lee note, Inrehangoabily ot trea miro chor, Gaman shin chords {tcpaton. Can you realy tank iat fast whon feleng? os, you now tow o pacts. you ‘aso esc echique separate, you can fen Inagrate ham as you soo (more ons Coon, and ‘Seoin Chapa Twenty Te) Block Chords SS “Thelin yout hand pays, ray the “op £2 voln i vary power mology in tek. For the Imes pan th ine partes your eh hand atthe Iewalolatonh You can enhance the elec ot {hist by playing tour nan th gt hand Ty ‘realy exaggerating ths ate playing tho drop 2 ne {wie a ous as your right hang. Anather way fo ‘nance the thar eo play logo whe ayn lo te chor nthe ight hand hon and Easclo. Ang, you eal want the tn estan ‘0, use both ocniqus athe same tino. ‘A ceutonary notes necessary here: When ‘comping, be caret using cop 2. You can very as bury the cot wih fo eh aharmone ‘abt. Alo, cop 2 goes wal wih bebop tunes face can ray ot acto fom tunes tke Here Hancocrs “Maison ‘Voyage. er George Cable""Think On Me.” Figure 19-35 ral eer: 7 Fe dm Fe om me dm Bbe BA Boadm 7 aos Gamera A06 DTst1 Obs anSarre Nevers Mastering drop 2 wil obvious take much pracca. You can reach th pit where you can play tha chores uel f you krew Pow pracice tem ar howto ek ‘bout hom a8 yu pay Fa, arn whore he mar sth ar 70 one. eyboar. Figure 19-96 snows an exer for Is. Figur 1937 stows the same ‘xerla with minor it chords, Practos bot axel alkyl, pats ‘he same exercise wih minor seventh and omar severthchows 'n atin, peactice he minora crop 2 voling azo hoo of ts, sin igure 1-38. emer ht he voleng has he th of Ie chard 99 op, te ‘rd om he baton, Practice he ie tren maior sever drop 2 inversions trough heel 5 shown inure 19:9. Ive omits th Saeonart swerston wh ie rot one, ‘8 shown ngure 48-19, bt you can aa the exer you ae Fa ca Block Chords == = Figure 19.37 Figure 19-38, Fa Boa Eba Figure 19-39 a 203| Bectice ners ity pee oe buer sess went ete | “Hps'°" eta cho arconang ent ancora 8 shown rgur tea, Aer Youve become ado a le he ema chve a srl he sae, | Deintigue 2 Practice he baal combination around te oye of ths, sin igure 1-4. Fevers hepato ako tat, an Mgure 19-2 Figure 19-28 snowed the lat combinaon payed sequentiaty Inet repeating ha wo chores a minor id away Ina I pegfeen. Figure 184 ‘howe an oxo hat wil Reb you master Ie Figure 19-44 sows an exerci for comctng mina ened around ne yet by ug the cmiisned chord that the lagulod V7E9 of he next chord “Thiet chores in oach bar aro aerating minor sich ana ainighes chord Th chord each ba itt Saha chor als tho ceguisog ‘Via othe nxt minor sbah chor the 08 Figure 19-40 Figure 19-41 Gre at cme at —F7bo at abTeO at Dock Chars Figure 19-42 Grat bo crak bo Borat bo Figure 19-43, D-7G7_ (orF-7 B67, Ab-7 O67, 8.7 E7) Fi rirerdep? A minordep2 —C mboraop? Eb miner doo? Figure 19-44 8 am ce am FS dm FE dm1 cearren verse Summary: drop 2 + Look or stopwise meloes when ‘sing rop2 + YoUsan voice | chose aha a major kth or major soverth chords. + Yuan comect mer sith chords ‘bytwoateren dmnihes cho fo a guises V799 chor, the oer £8 deguloa V7e0 OV. + Whan gong om a chord toa Mover ori vores, ues ‘Sinha shore tae ‘Sopusea V7o0 af V ches, + Yodan thee fT eterd tne Iino ors, and vole them a8 miner sith nor seventh, of Iinormaj: chores, “Ral the ecard ore not tom ‘he op on dmishes chords. + Whan playing on melo minor chor, you can subs aha ‘hor tom the same mooie fino tonaly «When using dnrshed scale chords, you can ue chord tom diiohod ‘oaloe amin thd away + Look for na sleet sep ot ‘whol stephat tp maton oor V ‘horde four healt combinon ‘Soquentaly in minor. + Paatel mat ans come ‘approach ao tectven rp 2. + Recent te op 2s ‘oot nan, | Gesot Hee wee ‘ou To Bena Cou Happen You WsAlroga whe talon ‘eu portion tal aves ka ole Ans Moonbeam heStacor rourae hong Gate Soy Dygewn duties Love Come Beco ‘Tae Way Go ck ona ‘tan tae ay tigures 20-1 an 20-2 and ton othe tund ot salsa These ae montuns, leo led gusieos, ho repeted extra Ike ure tat plats play nasa ruse. Noth American ord to se the tome sale” areata tu” ater loos. Lat ‘mora isa vast re, aa ts fuse is ncredby varied. Sata [Sut ono sma pat ofa musieal ‘ota tat tudes calypso (Ciné), reggae Jamal), onan nova ana samba (Bra), ‘marach (exo), cumbia {(Coumbia),jxdpo (Venez), tango (Averung), merengue (Gomnican Repu), and atpiano muse (he ours of he Ando. To Puente is a8 Astor: Panza ot "Sate actualy atom coined by ‘mustepromotes nNew Yor. Ato-Cusan mse {he foundation ot ala™ Drums, rythm pattems, and vocal calhand-response patterns were bough fo ua by Arcan saves, and amt ot Spanish hameny, maloy, an song ana co {ome evoved mo Aro Caban mise Frome "ade on, Ae-Cuban music has aso boen Mighy Iruoreed by azz. The proxintyof Cubs and he Unto Stats, espciay to ase wih wien ‘ado broaceatt om Mam ean be hear Fvana,ecitteg the nena, The utr) Irorenango wert btm ways. Beer the Cuban ‘evoion, bands quently vaveled back ane fonm batwaen te wo courros. From ts ealest faye, jazz has had aSparigh tinge a twas once tale, defo tho ade baton New Osean ard ‘ter Carbbean pon The popuary fe US. {itn bands sen as Xaver Cupat nthe 18408 paved the way for Macht, Tie Put, Tio Fediguee and others nthe 1950s, 1 Ei Pai Mi Caazon Te Lama om Ea ston Eahando Pee, CHAPTER TWENTY 3 Salsa and Latin Jazz Figure 2041 Figure 20-2 a7Figure 20-3 Forward clave (also known as) 3&2 Figure 20-4 Reverse clavo (also known as)2& Figure 20.5 African (or “Rumba” clave Figure 2046 ust Flo, a possession of the Unto States, adapt Aro: Cuban musics oun vaclbons ans Broded ts own banda aaa. From he "0808 fa emonsous mumbor a Peo Rican have ‘migrated the Unites Stes, nein houses Ctmusisans whe seed n Nueva Yor. Salsa, {odey i larg on a New Yorchan-Havana-San ‘ian ai Salle alo pope anor Spanish-speaking conte wi lage lack ‘opulatone. su a the Oomanican Repub, Panama, Nearagea, Coumola, and Vonezuala. ‘Tha single most unique aspect ot slsa 1s sit aahornco fo aye pattem known as ‘Son clave or ust clave (pronouned “aha. Cave i a two-brtytone pairs hal oscuro ‘wotorme: forward clave a krown a8 8 & 2 {gure 20), and everse cave, avo known as 2a igure 204), In 9.82, oflorara cave, ‘he accent fl'on beats one te an of 9, and {ouret tho tat bar and bent we anaes of! the socond bar In? 49, ortvers cave the Patt ig roversad. Ther is also another cave, faled ha Rumba clave sometimes calles Atican ‘ove (igure 20). The as ne nto" bar inthe Aten clave i otayed a at-bat and. played on th ano! our Every component ot falsa—drum pales, plano mortune, bass tubao, prasng ofthe melody hor nes has to-boin gar wi he clave ial at saa music (on montnos, rmambos,ch-chas,quales, uarchas (Guaguancos,danzone,conges, Mezancique, Sno one wen and payedn ener onan forrovoree clavo (an excapions te bona, from Puan Roo which hat & one ar patter) Figure 206 stews th ret bare ot "Ave Mara ‘Morona,"aacitonal Cuban song witon foward (ave, or 382 (he esl oe nots area Pcl fo {he tt bara te sng). he rythm ote metody ‘Satoste clave pat clear (ho Gave patterns ‘Shown nthe base ce ands not meant tobe payed by your lt had), Salon and Latin Jace = Wen adapting jazz une o sls, you have to ecco whathe ne song shout be played forward ‘treverse clave. Often the rythm ote meld ‘makes the choie ebveut, ae nto 282 patio of {igure 207, to fst ou bars ofthe todictont> Frode Hubbards “Brak,” or te 283 parm on {he tres o Cada Waton's Ojos Be Ro a5 chown in igure 208, Figure 20-7 n> rat Fab Frat thomsalves wih clave, most az tnes pat in 2483, pany 3 & 2, and moan ne partule trav. Such nes may be aie Yo adap saa tress youre wing ater the tune by sing or Subtracting bars, o changing te ryt othe ead. That's why many tiers (hey. spay ner Urge" as amar" at playing jaz tones in 2 salsa sive often dort work oo well. song has 12 {eal ign ether foward or revere clave be ‘suecaetly aspted. 1 Feti naieFiaay For Fad Bu Nt 4085. » Chas Wan Eastom Aabalion 2 TinsFigure 20-9 Figure 20-10 tiga e Figure 2009 chow he at wo bar of ‘Townigus Mor’ “Bye-Ya whch suggest @ 2.83 pattem, However, he mebody inthe sgh ba—tiweaquartrnotos--doos ay very wel ath "barf 224 8 pat, as chown a tho {at wo bars of igure 20-10. you rows tha ‘ytimot the melay in bar 6 aso dated quarter notes folowed bya quarter noe, wa the 283 ave. oth to oral anda rewiten version ‘Se shown in igure 200. Yu dont have ‘eur the meade ym of every not that ‘oes clave naz tue, ony ane of Wo hare Sra thc, to make the une ay batt aga ase Fyne. Pars who object fo changing Moats rue shou remember tet az Is improvised ‘musi, ie meant obo changed MCotrane has stopped Te worry about wheter or not vas ht {oater she orga arson ola tin the word would nev have ‘ean enrched by his unsque ‘oroone of Richard ogo’ My Favorte Things," and Menge Senramarat Ae Boe” So far 88 know, rather char nor Hongo nas complained about Nranee aeration otek ne, reswrtton tof clave: 7 bb & 7 FF bb De 210 ‘Faeoroo Wonk: Mans Dam, Cone 786 Figure 20-1 shows a ypical onto. Tis merturo sn Fevers flav, or2 3. Mortunos are Usui vo, smotmes fou ccasonaly even og ar ong. ‘he-one shown ere a to bar rontuno lr a mar chor Because 0 many note ae payed ‘tne boat nLatn muse, bee ae ‘en deposed wah so you might ‘ee ie same montuno wien 3 ‘ppoar ntigure 20-12. The ‘orto n gure 20-1 has wahe ‘ots and tree es tten sot Intomato or your eys and bran to process. The sama mortun es estan in figure 20-2 has ton notes {ndone toeloven bts” Nolce he 128.488 88 8 shown blow the metuno. The {at wo nots (127 fhe montane are on the bea. Every not ater {hats on the and" ra the bat. Nate that" ocr gir ie the {thr orca nunbred Bar ap your footin quater notes while sayeg ‘doud"12 8888 88" Now pay {he montun wih bth hands ether ‘no or wo octaves apr, a8 gure 20713. Ply the gue ‘phmeay, bu dom chop the fos short Accont he nate ‘Slt each ie you play E.Set your metoroma of um machine to fuarer roost Alor you get comfonabis with hemenuno, eet he drum machine toe Patt shown n igure 20-14, pial 283 Patt cad scar, played on he des ot {he cums and on he oyna Salon and Latin Je igure 20-11 Figure 20-14 ancuAPTER Twenty Figures 20-15, 2016, ard 20-17 show the same montin ptr ioe 8,7, and C7 Chord. Figure 2-18 shows amontun pattem fora FV pregesson. Figure 20-16 7 Figure 20-17 Figure 20-18 ae Figure 2019 shows a four-bar mortuno fo [vet progression. The rythm pater ssl Ne ‘same as nina peavous examples. Noto tht YOu ‘api going eto tho te bar. You wit onto fo play “8F going ne ith, seversh, ‘it an each odd mombared Dar. c or ‘Allo the mortunos shown soar ren reverse Gave, or 2 & 3. ASB 2 orward cave ‘monuno is sown in lgure 2020. The very fest ‘onthe fst bar nthe example ear ton ‘one: bl ha wil be the ory tne tha you yon “onan an ete numibred barat ta, one" On ‘ose numbered bars wil aways be ed ove rom the provius bar Th hd ana Youth bare, repetag ‘vor are ovr, becomes he monte. Nate aso thatthe cccrs gang tuo tho second bat of ‘tha monn, ard eortnc ging to each ‘rennumbere bar tereafor,unike vero, oF 2185, clave. The downbeat ol he morta aivays ‘onus on the barf he cave te syncope, Ugovrtte bane rot aways occu on he "Shar ote clave or forward clave (2 & 2) injasz Figure 20.9 Figure 20-20 20Figure 20-21 o7 7 Figure 20-22 co oF By er Figure 20-23, o7 7 BT any Latin tunes have very simple harmony, nome cases ‘ony one or wo chores. IV Broresion a0 pep in sen, inthe example sown Iniigre 20-2. Asin moe other TRY progresens, the sven ‘tthe chord reses down Fatstap to bacoma the dot TEV progression he rst, ‘wo bara Clare Fachore pany cha-cha Merning’ shown In figure 2022. Avaraion ois reno is shown gure 2023. er Gainer, Sol Bi Vr 807. au ortunos canbe played intents instead ot ‘octaves. Figure 202 athe bagning othe chapter ISagood example. Figure 20-24 shows amontuno Intent ona V-V3V progression. Avan Shown igure 20-25. In goer orca youve sated a mont, you shuld rot changa tural a now ction ofthe {ie begs Atheugh tbe mastos othe gore ‘ccasonly at: tn moron n places. ha Imporanoe of establishing agcove is paramount in in musi, and charging the monuno breaks tne ‘poove. Remember ele ia prmariy cance Imuse—you shoud play the pockat” Sao ana Latinas Figure 20-24 7 Figure 20-25, 28(CHAPTER TWENTY Figure 20-26 c Ina saa bang, each thm insrument— piano bass, timbales congas, bongs, 9, Ewball—plae foe ryt, ae ay a together niet ke paces fa Jpsaw puzzle. The bats payors pattem salad atumbee. Most tombsoe acon th foun oat teach ba, ‘aforeing the conga rum pater Ares way © ‘race to play the ass Ine or uma, with your fot hard whe yu play he mertuno wth your amt hand in gure 20-26. In ele you pobaby ‘woutt co ths xcept fore spall act ay more ‘han you wou play a wang bas ne natin taclon ta eed nes abas payer, For prac, howover tis isanlevaueie ext. 1 you can ‘rasan youl probably fel at mere comorable Ihatsalea rym scion. You should ocx wit {he base player es much a posse ence te two ot ‘you es theresa gutars are ony harmony Tretumant nthe hin sacon. Net in igure 20-26 that, excop orth es boat ita vor est bas, he only pot where your fight nang (te pans and your bt hand (te bass player) comoio onthe “ano wer ach bar {eee aroma), R may take you some ime to master {hs exerdee, but wan you do, yout oon or ‘uci and yout ence of place nthe yon secon vntimprove carat. (Once yuo abl ply ti exercise, ty playing igre 20-27. Ryehmicaly is he same as igure 20:26. Notos thal he note your lot hard (the bass lays onthe lout boat teach bat Ettipates the chor.n ho nxt bar. Figure 2028 Shows montane (ight hand) an a turous (et and) ona HV. progression na minor ky. Sata and Latin Jars Figure 20-27 o7 oF wy oe or 7 EBT Figure 20-28 e oc oo a7(CHAPTER TWENTY Figure 20-28, er ‘You might wart toy some more calonging cranes of orton an reaos combed Here ar wo of my ow von. Figure 20-38 ‘ste montunoandtmbao for "Shoe. Figure 200 stows he mortun ana turbeo {ot Kooper OF Tho Hama.” Remenbar, except ‘as an oeasona etc you dom wart play ‘totum wit your et and-—uniess you want {a base player lang at you, oF worse © Gainer, Gazane Poo Ya Cover Pare "Spey Cai elo Fon Sra bun Salen and Latin jae Figure 2030 Paro sol ina sata band shouldbe mare ‘gnc tan meld wih ese octaves ane Dig cede. The cher volume and dont of@ Sale myth section wil probaly own you out you bye pay a singanot le bebop Sle. Figure 20-31 shows atwo-bechrda 20, ‘ragmenton a7 cha Figure 20-92 erows ‘Teob tragment in eetaves ove C7. Again, alsa {sprimary cance most, and even when ts or ‘stoning ony, he mnie aspect e more important than parreny ard moldy. Use iso ccavee ling your sls, and play myn. Figure 2031 Figure 20.3220 (CHAPTER TWENTY (One of hott great Ao-Cobanpanists was ese ut, btlor known stove” Ho mia Jone ana Aruban mse what was ot me {th 19406 and S05) an utr eral so, one ‘when was achoed lator on by Novo Morale. Int ‘ary 1980s Ea Palmi arrved on toscana, ‘nance ton ho ha boon the greatest nonce ‘nea plano. Ay otis ery recordings ana mary of is more rocant ones are gor. Sone cer great sas plait itn to indude: Pape Lucca of Orquesta Sonora Poncane; lh (Lis Marin Gaia), wo payed wh he lgendary Arsene ocrguer: ‘vaus Pro, wo payed wih the chararga band ‘ea Oresoe Lape who reooed win tbe (oat basi ral Lope, beter own a8 ‘Cazhao" Sonny Brave Lary Harlow: Rafa ther of Eran Como, Chale Pamir (08 ‘they: Ease Marner Oscar Hemanden who has played wi everyeody rom Rubon Blades © Ray Sarto, Tlea 73, aa ie Faria Al Str {Chico Valero rake: Line Fras othe great Sonora Mataoor: and Rone Homnaee Chock ‘tthe LirtnSalea and Lath Jaz” socio nthe back othe bok or lt of svagenag roar Not to many jazz panies have sued and absofbed clave io ne playeg,atreugh that has chang comeuhat a ecat years The tow tat have ce Bud Powal Chek Corea Hates Hancock and item uz Many of ‘Thelonious Mons tunes strongly mp ea, though thre ene econ ha ho er sichod ‘eo-Cuban muse once worked th a bard tht layed Marks “Svalgt, No Chase as a mambo In Fevers lave. Every so often we pay lin forward {ave without changing anything ese, and worked ‘thor way. Monks une Eudora, has boon ‘recorded by Jory Gonzaie SER er mma Renin ER cameo See ‘Wile Thing, Skye 6823, unfortunatly auto pit or eeerem amet ier per EERE sco nenmue, epee enema Sekeeeegiecceee Sears ‘There nave been some great Latin jazz bands, ‘Mongo Santamaria, st cvs nie 70s, ante late Gal Tjader an Wate Bobo wore leaders of thre ofthe best To Puere®awitshed rom & Dip ‘band oa Lan jazz sett ormat nthe 1900, art te, Poncho Sanchez, and Manny Oquendo Ube 4 tho moet popu atin jazz gros loca. ost Lan jazz bands imvove a compromis. ‘Th jazz muslsars a Latin faze grup gow > ‘laying and eerng oz, and the knowlege ‘ttn must otn minimal The same thing. inroveroie tue ofthe Lath muselan A ‘al grup of msilans, ost them om Now Yor, have grown up wit th Kms, ‘and ara comfortable playing bo Kd ot tsi Tombonst ary Fogers (who dd mich tthe arranging lo: Exe Pairs ban) ‘saxophonist Maro Rivera (wi To Puan’ band forthe pat fw years), plans lon Fu, and tnumpotorperoutsenit Jory Goneales ar a ‘rcoporal musieane adept a playing bath kinds ‘tmuse. Alot hem except Bary appear onan ‘Abu that Jey proses ale Ya Yo Me Curé.* hin ca great ftroducn fo Ltn azz, basoos ‘ein a seneations! abu, Anohor get Latin Jazz abu start your stein wii the eae Patna ade” sbum €! Sano Nuovo Fora more indepth stad of cave, with consgeabi story of he msl, andes ‘tmontune examples, Ihghy recommend Aro {CooanStiea Worsrep GuceDook. by Rebeca Maule. te pant wih San Francie’ best {sea band, The Mache Ensembl" a Pai, oy, Conca 250 ge Dao o po "try Gasenos le Con Sas, Con ta, Yt Sasol Gut arom a) Nene 5, "hata for 85.0 rm Fabaca Malan, 569 Teet thas San Pranseco CaS 'sThaachte Evo, en, Vo Macht M2 Saas and Latin je 2aCHAPTER TWENTY | Grete tunes to work on ‘omparanting), ls what he plant does behing the st, and curing ensombie seclons. The compere ob desorption fo ‘Serle te soit harmonialy and yal, {o acoenvete umarounce,brages 29 08 tang th form athe une, anda siay oof tho ober way.’ posst tooo ts whe, Playin ts tras (Ar Tat, MeCoy Tyne) feth a minimum o rates (Coun Base, Gl Evans. Many pai play foo tusly and try te sls, tl thers pay oo tmisy ana provid no Irepraten tere slot. How do you active @ aloe? Tho fit ub so LISTEN tothe sbi. ‘Thats 90 easy sayy so hardio do, ts nat unusual gel caught up in your own ie works hl ‘comping ar eget hat your basic obs {0 ply aocond hl. Tr lof that port between bounossandvesta.Aaerate “comping sppessvl wit ying morn {he backrounniboth extremes staf pull toward the conte achieving eyes Cam ‘singer once tot mo (sh was unhappy ‘caves Iwas ‘camping oo busy bend he, "Pay whoa dont ng, ar on play wren ‘ing’ Atough tats an exaggerton of what fanaceompant le suppaco ooo, thre's mee ‘hana gram tho. Cour Basia basicaly played when the tome dom, and a lay (shan a home Some plants eer Teepe in being aba fo tl proto when the soot going o bree, copeiahy \Wyeon Kalyan Horie Haricoc. Agreat exami is Wyo comping behind ‘i Mie De, Ha ety on om otra onto etc td ip Someday My Prince Wi Come, Cours 56 CHAPTER TWENTY-ONE ‘Comping ws(CHAPTER TWENTY-ONE Figure 214 & Gre one ame us Us Figure 21-2 Bare Figure 213 eos Gra CT May boginning planets tnd to emp 100 rach behing iho bet. asin gure 21-1. The Chords cnange on beats ono and on Te Fre EVIL pograsion, ut inthe comping pattern ‘own here the coi are payed onthe “en” ‘tone andes, a half beat behing Whe {ares nang wrong wi plying a chor a hat oat behing oo muro the erage the ene own. Forunataly, Plats acl corected. Figur 2:2 enowe the same et of changoe ut veh ha chors acted by a al bot eioad 1 payed a hal bal bere. Turon your sw! frame or rum machine an pay aac Diao ever! ies. You ber mich mare ‘nergy coming em gure 212 (a ype o! ‘tng ented beneath th bass a. cre Fro “Te same thing tlds ue for your ah hand hon youre alin wth you ght hand Figure 21-3 showe e'VTiLV progression wth theo hang playing a benno beat pattern. Figure 21-8 chews te came changes wi he lef hand now antag ech chor by 2 all beat Agu, crack hs ot with your matronome fortum machine ang eel the exaenergy ven me amin om gure at Fralt Figure 21-4 Bos G7alt or Frat 26 (CHAPTER TWENTY-ONE “Te shor, tabbing chow syle inte previous «xanpes oy one ‘comping approach. Ih wors "ym seston spying in ned type ot'compng's shown Infigure 2-5, hors of ha changes fo oe erdortors"Seronty This is an magia ‘comp, Decause the oi youre supposed o be letenng 1 SSmissing, ult a good approximation lth aye. imaginary ‘omper hat added 8 anda “sto the A7 ana 87 chores anda tthe O27 ‘and Gb? chords The Es and Eos chords have boon hanged to €Lyalan and E> Lian. Those ‘eration are shown Boo In Das sta. How ruc chor atorng ard eharmontzaton ca You ‘a away wth wren comping? Aconoeratve Sunt fe uauly OX-crances athe sete ‘horde wont confor the slit ill make mary of ‘he same alleratans anyway. Ihe subsite cho {conc bck ot a play ore “rag ha hae ‘eround, siarng vary eartly to so whether You an pice upon the salts armani sya, Hae are forme ganer!qualnes (rt uss} ering ‘hors won Sompig +On chords hat arom par of av ‘osresson—tnat is when he hor acting ke ate nor —s ‘en OX to play minor alr (3) + OnVenorda eon OK fo vee + On eter that ae pat of Progression or resolve cownward a {ty ts ofan OX to pay bo or athe felis: requonty makes rose teratons anya. Usten carey. On chore at are ropa a Progression ane dont resolve Sowrwara ath, Lyaan dominant (ci) usualy a sale atoraton, jean dominant oboe usally Son resove down fit, On chor, almost ays OK to aya Lyaan (chord + On" cords, t maybe OK to playa {san augmented (+8) cher. ston catty fo sae fou ae stimulating ‘ot lashing th the sot + Onvichordsasina bVLILY progressions OK to wbette BV chore making athe Vote fotowing i chord "oe Handerson, in W Out, Ble Note 488, McCoy Tyner Snpar (he ono shown be xampe tw Iieboy aay one seacones & Figure 25 oe oo Anied ——et 7 a Fr 07 a De Gra De Grant aad 7 ” FT Bor es be Gra Deron cores Fp ea Fo Borat "7 Es Fo brat eos De Gralt er(CHAPTER TWENTY-ONE. Reman, eso are gudoes, notes ‘Tere are pony of exoptons. Any aerators furor out tha se ut etog (eating sus bor PngiantorV hors, for evampe) may Sanger your coniued employment, unsere {hss aig uness—you ae'comping for a great \rprvor who may aeacy be akg such ‘tera, an wilwat yout bs rate and Sulatng as you torpor bem. Her reece nck Gora and Mccoy Tyner te all Gating corpars—tnay somtimes ead the sobs ‘38 much afl. Ths a vrysbjoctve are, ‘vain a great Sal of norweoaeommuneaton, Inge the oly communion may be musa Usen: be suppoiv: be open: be magintve: ‘and Tatn some more, Figure 2-5has several rot postion chor in bars 35. Once aga weve crores estlecive area. How much foot postion shod you play when you're plying wth abass payor? Since Bi Evans [End Vjron Kel stated un let hand wong {he ata 1950, he rand hasbeen away rom wing ‘oot postion voiange Paro that, Sud Powe Horace Sive, Rea Gafand and ear pianists ‘layed the ets ros ofthe tne, a nie Bu Powe vlcngs you teamed n Chapter Seventeen ‘anton repeated myth eon pay ay fot prsllonchers whe playing wah a bas leer” Te realy, however very arent. Aeon ample, McCoy Ter pay bl of eos when be ‘comes. Asiong as you don overt most. bests wont bjct You can avays ack ho bass player" get your way when corp? Figure 215 shows elght bars of ‘comping on “Got Ay changes, wit an elect cle of volcngs, some om a babe ea, thers mare, Imodem. Nota the mi of erode payed on he beat, ‘hers atcpated by a hal beat, sil ethers payed ‘terthe bea. Most fhe chords inte examps fr played win hon hme sacks, eeaing ott ‘tepace forthe sot, Tho com go fay ey Inbar 9 and 4 bocauee tat’ whee out mary {boat takes a bron and leaves some sparen {ac our comper takes advange of Wis by ‘atpating the F min tnaly of he i barby a Deatae-aat, a dangerous maneuver were tne felit stay plying at he ine, Mos ofthe chords in gure 2-8 ao antes by ype of voling, as shown banoai the base sat ‘Muh he eight basen crop and hea" Sosghatonctors to tat ore usage ln Captor [Nnetoun. Chromatic aproac is used nbs Sand {ithe F#7aNR9 combination esong ha F7 hor and nba 6 ATs ooolung tote ADT chor, ‘comping Figure 2146 the rao Fue US WV nhersw cme atte Farat or 7 7 207 es aor rere Frat FO om FS USAW pr ae ust US o7 7 7 7 usw! usm usw! ne Fema FreBe aware of tho range ot each soo nero, and b cru rot 1 amp too muh nthe ame, ‘egistr as the sll. yeu comp high up onthe Keyboard uring a soprano sax sob, exams, youl pst etn te eos way Many pianists comp tiny behind bass solos. Bass playe's often compan spout th band o8ing ‘nergy bohind her ote. Although you shold Playas etn a bass sia, whet you do lay frou berytimicaly ana hamoncaly jet a tong as ona hom so}. Another common aut eto ‘comp boing bas sol excuswey the upper ragetor ala Court Bane. Expormont wth in, the mil register, and evn alow tat. especaly {io basses coling fas or her upper roster you're playing an vetamilartune forthe tat tie an yur pat has ne mele, ust chore ‘sym, ‘corm very smal he ra tw tines through Liston or where the spac nthe tne ‘occurs 60 that whan you kw th tune ber YOU ania ae “at pacar nen comping or an unfanilasoit othe {es tine, uso the sara approach "Comp wth reavant aa steno mesa. Do thay pay alot ‘totes odo they use att space? Are they 2 harmonica complex player ora meloialy sre player? Arathey somewhere baton tage ‘paremes? | ones had a gig wh to wet-known San Francico saxophone. One was a Charlo Parker, ‘Sail, heer ook ie cue trom Carano, cea, "8e0. Wh wo suc aot sy fo ‘comp or | had at lr what rates fo aor on omnant Soverh hors. Forth Br:etvenes alt, Played bo woings mest of th te on he V cots, Forthe Trane devote, played most ak voenge fonine V chores. Of outa I stoned obo sola faretuly 25 compod, and asustes according, but Instplayng nthe harmonscalysppropate eye bond the sls gies you ahead wan ‘Accompanying singers presents specs! problems. Normal, you cant be qute 26 Famontalyaaveruroos as when aosompanying ‘2hom pay. Uno neumartats.engere Nave Tovalves orkay to push own and no segs ‘luck "Tha pach of each ret sung i ths vor 80 fmuch more treple and dependert on what you play ‘behind hem. As, singers ote ae not a wal repress inerumentalts in giving you mal ‘Section ast ey, tempo, nos, endings, and so fon Wy this 62 woul take oo much space 0 90 ohare. Be sensi ote nee. Seo the “Usanocar eetion fe book for at of raat ‘vocal accorpanimert abu a (CHAPTER TWENTY-ONE Bossa nova Bistenre sie maa soda wo bar clave (igre 247), does Rave ne igi ules aout clave thal ela doo. Pants ay beh ne. ar wo-bar patio, bu wh uch ‘rot towdom han a iri na salsa bad. Fgura 3h 2-1 ae ose bandon what Cedar Waton plays a he ‘comps ang Figure 21-8 Vater Gookare goat bose novaBooke Bossa on Dona Bye abum Siow Cag? ES ce ow az lars play bossas as foreland “inte pooet as Cedar. Tho creas ose rapes are arbitrary —you can, and shoud, actos the patems ona varity of hor, "The repeat sao jst or he purpose of ‘acts. In asian muse, you cont have taped the earo wo bar pate ovr and over ‘ganas n eaua. Figure 2112 \c bases on ‘atm hat Coca plays on Fredae Hubbards Etrangemert of Clare Fischers Peneatva on Figure 219 ‘at Bahay album Free For A™ igure 21-7, ‘Onobar pts ar also played on bossa nova, a 9h tlre pater are grouped fopethr sean eg bar vamp, n gure 2 Mostar plait 9 on bossa novas ‘as tnay woud on azz tne, excep sometimes ‘aying with aSraghtlgh rater han 8 fing fetng (Cedar Waters slo on te oromentoned ‘Ponsa le playea wih @ fing fling trougnout). Probably the Figure 21-10 bestowed pano em on a Dosa nova ls Hori encores! soon Lae Morgan's “Caora* att Bs Gree 7 Fite! elope, Contre, Be Noe 4222.c br Figure 21-12 cba arent Figure 21-3 ea Boeus a Boeus (CHAPTER TWENTY-ONE. Listen ho bos thing you can do to improve your ‘comings olen othe planets who a the beat ‘omper. Won Key Is Number One ‘onthe al-ime ‘comp parade He played whan mazngy buoyant fvtng, and aways seed to ‘benarmoricaly inte rp place athe right ino. ero Hanene’ san exquete comper, McCoy "Tyoar ls very apqreseve, ten pay powartl Inprote varps. Chick Corea" le Ramona voy inventive, tical very rece. Kenny Ow” {Ceca Walon Bary Hari" Kenny Baron” “Tommy Flanagan" Hark Jones Mug illo” {a Sonny Clark—al have ung soe of ‘Comping, anda swing. Oral my ore ran i yore eomoig eee Py Nhat con, 2 Mee Bas, hy Fane Valo, Cui 06 iv Mesa The Tg To Da Bs Ne 8. ‘he ity, Pine For Al Su et Morin, Te Sow, as Note A "Shan Glo & rk ee, Two A Te Ten ‘pow 2 tle rigomsy, The nace Jae Guta OF os Merona, vr 320 ‘Coonan Aer, Sometir Ee Bu Note. “ita Smiy Sth Reaper OFT rune Mosse coeCHAPTER TWENTY-TWO & Loose Ends his chapter covers subjects hat have boon crite tom previous Ghapter fo various reasons, but arent ig enough to mart ‘Ghaptrsof ha own. Hance "Loose Ends Sus, Phrygian, and the second mode of melodie minor Figure 2241 ay ure 22-1 ae iste to he sound of tree fret ype sus chr ‘us and Phrygian chads wore covered Incchaper Four However, the ached in figure 221s anne type of sus chord at was not overd In Chapter Four le derved tom he Second mode ofthe mode mine scala. Ale Sis cherdstuncton as V chore, ad rose ‘Sooty oth Ca chor’ ath below (gure 222) Gsusbo (or) Phra Gausbo (or) DIG (on) Fe Figure 22-2 Geute ca Soret Sree z q 28 CHAPTER TWENTY-TWO Figure 223 Gousbs (on) 6 Phos Geusbs (01) DIG (09 FAG Figure 229 shows the seas or ates cord, each base on G (rept In sppend “Append G) Pay oath sale over hs let-hans ‘ong shown. Agted einsin of a sus chord ‘woul be “eV eter which to fourth does ‘Bike anavow? nota” Alltves chords fs ‘etinion” lay the orth! each eal by Haat ‘ver ent ltthand ong, and youl hota ron the fourths sound tke an “avo ot. In {2 the four of each eel (0) appears nthe Tet hand voting shown foreach chor. “The et sale shown in gure 22, foe the Gaus crrd Is the Maolan odo of he ‘aor sal. The eecond sale shown, for 2 (Geueb ehd ie Pregan mode of he E> ‘mar sal Th hacia shown, wi tho same {Geucb chor sya. he sacond mode ofthe F ‘metde minor sae 2nd mode Fmelodle minor 208Wy tne same chord symbol foc wo trent chords?" Unfortunately, ner chor has a single ‘eneray aoepted cna eymao Sus ie 2 ‘ammonty used synba fora Phyglan chor, Sthough some mutans wae out th UG Pygan ora shothand"G Phyo" The ss chor eacond mode ofthe made minor one ageod "Govsb i usoa th same symbol for aG Phyian herd. Ocrasralysreore wa notte he second node melode mot chore as F-4' of Da/G, bth win elect te dervaon rom F meade minor Ccomearing the wo suse scales, you can ee that they afr by one not. G Phrygian has an ED, fr23) Ths rote seunas ike an "avet note ‘ayes over a Preygan chor, ae you can hear whan Dayng the fret chord shown gure 22-4. Tha [Susu played asa pasing note ony, ands rot ‘eed wih he cher. Incase Your raston ths ‘chord was Poy thal sours lvoresingremerbar {hata roles eon sound very “erosing ‘nan payad out of comet. The sara ote might ‘Sound prety arg inthe mid ofa prety balad ‘The second chord shown in igure 228, rom F rate minor hasan naturale natal ‘hiteern—hieh sounds coneonan. (One solution tothe ntaton problem would boo cll the Phypanchoré Geute® Dad he alee miner chors Gssbo, 18. Natbare these SyeelIs cornonly used, sf you rea them Iai tor etar musica, bo propaedor some tank looks Jazz msilane ony ead lay 000 chords n th ma 19606 tut more an Imore mustans are becoming adept at plying ‘ham ane mayee in fve or tn oars dette ‘rd symbol wil emerge. ear Figure 22-4 ar ay Tre sh Cotrars ‘Agra example ofthe melodic rina se tod i th FASS chs found n Wayne Shoters mystorous tnd arg ‘Dance Cadaverous" Figure 225 thows bare 46-40, wah an Foust chord nth secon bat The baseline was down an € made ‘ina sale. Allo he cores except or the 6 chor ate davon tom the © ‘mete minora Eerat Co poathar beaut ute of mele ‘minor sus hamony is ound on te Ist chee ust bao the ‘oaton of ohn Catan’ "Atar The ian” Mecoy Tyne ey plays an & Phaygan chord butane, as Cotrane plays {ine made up fhe ret tre ‘oles ofthe Ab ao cae Four of hac retas—Ab, Bb, Dp, and Eben ne Pangan mode. The other ‘at hat Colvane pays C— Ktanloms Meboy® eked i erate {he second moe of D9 molode Brie mio mir (igure 224). nates example ota ‘mood minor us chor is payed by Horie Fancock rattan wo octave Bos a the ‘ging of Mae Davis reorang f“Al Ot You"? "Ways Shona, Speak No Ee ue Noe 044 aos Hares on pe. Sin Gotan, ines, MCA 5887, Wecoy Treen pane. * Moe Dav, My anny Ve, Clb 8You can use th second made mood noe ‘us chordtoeharmonize chores. Figure 227 ‘howe the fs tour bars ot “Tune-Up The orginal hor (€-7),ierptaced by an Asus cha the ‘second mode of G melodie mor. Figure 22.8, ‘Shows th retour bre of "Stan By Stang” ‘To orgal Eo chor inthe fest bar hasbeen fanamenzed as Asus, th second ede ot {Gmaeate mine. Bocas this chor aking the place ofan Ee chor, you coud also neta t as M/A. The orga 0-7 chord in the td bar as boon reharmonzod as Foust the tocord ‘node of € mals mine. tone 7 ‘Asuebo oral Eo ane aoe tt , are8 7 ba a Figure 22-7 Figure 22-6 wt ‘CHAPTER TWENTY.WO. Figure 229 eo oe Aeolian harmony oman he sich made of th major sale. The trigo ot Mies Dav "lstons cont of ‘singe chord—A Aeolan athovgh Pau Chabers [ays thoy , soften tat you could almost say {he bdo eo € Phrygian) olan chords ae tary spoctcly cata for, and ero some {arlusion over exety wal eonsttues an Aaolan ‘hor! ana when wus an Aaolan eae. Sore azz {ory book et yout lay the Aaotan sale ove ‘Vi chordin 2 LLY propresson (igure 228) In moat cases, however he VI chord in a EVI Ie {dominant cor abs ta our bare ot “ayn changes (igre 2-10) n cassia! ‘hoon this wou be expressed as EVIL. or f oreo coun 2057‘Te Asolan mode fa posse choc fhe \ienorlea minor vent her thane dominant hora as in tigure 224 Listening tthe evidence, however (recor) you ear mary othe ‘reat jazz musicians playing G Doin. or even @ finermajr one G7 chor inthe progression Playing ine Eb tom the G Aaaan mode on 8G ‘chord works tn asa pasing rte, but held against {he cho & sounds ike an avo", You haar {he you play te voc for G7 nNigre 22-11 ‘ns hekdng Gown ne sustan pedal an then play tha 2 shown. Hou pay G7 as ho VF chorea & EVAEY, andthe sob accotsates an E, toy are probably Irking of he Vichord as G7at her Phan G- (eb ithe 89 of G7aNy. LX any good ‘Comper you shout then swich to G7at. One reason fen given fo play the Aeolan se on ‘eto is tht aows you to sty inthe same key ver alow chords of a VE. Thais aay Truc’ approach, and lacks he melodie Poseltesavalabo when you use chords fom Storr aysin he came progression. Wen he hota minreherd moves up cvomatoany os (igure 22-12), to resuting ‘anor bcos avry steve pac a pay the Aeon mode. Figure 2213 shows row Kenny Baron uses hs ea nthe second and fourm bas of hi une “Surehowet™ Another luce yeu cou play Aeolan hameny son he ‘Cb chor on he socon bar fhe Bie of Fats Wators Aan Mebonavi” - Ate » Abe * Yaws aia, On Nght Str: A Keybowd Evert 2a (CHAPTER TWENTY-TWO The fifth mode of melodic minor chord base on he th ode ofthe malode ito sea rary od Avalying mode a the rational way canbe milan. Figure 22-16 fevoasacale wih a major ira an a mint {ever suggesting a dominant soveth chor. The ‘Ab would be tab ofthe cor. Vol the chore ‘38 C7OG whe playing te seal vert rates al ‘ons of piers, however. Both Fara G—ihe fouthanatith-rmay sour ke av nots ol gale tha C72 olan‘ hey Sour ko "avoirotes 0 you? Again, avid res are . sutjcve. Played out of conte, alec! arting Figure 22-14 ‘sl eund teat iors Hare sone way cms YoLcangn morro bobo © Je" _ enough to rest ts use fona cho The King has ore you ral ot is Kingdom puss daughter ne prnoass {oreon, the pinoy) n ‘mariage. Allyou Rave to ots pay he eran gure 224th your at hang, wha paying one Figure 22-15, rote inte ight nan. Would you Gare play FoF Gf wou you Troe, Fee ary te card oybo blow ‘ay some oer rte? to King Fave GwebOC ADSSIC BbT+IIC Dac E7ANC Soeent te your erate a ol, le ba 2 ‘twin your aa (PS. The = ‘ing as Herbie Hancock) Now play th same sale ‘th mode, F melodie minor covortne ving in Ngure 2245 ‘an tats bot. Ts hor bated on Fmalede miner, win, {he th fF malo mina in he bass, Playing tth ede here sounds bout and mystorus. ‘Three no standard hors ‘sys any ofthe ash chors ‘ymoos shown above the hor wil anc hay {af al deve trom F mole mint. You gat hall {ha kingdom, pas the princes (orth pee). Tobe ‘taht any inovsve musa who wer aDO3S ‘tte tne (Monk, Bra, cotrane, Cac Tay ‘might nave lst inaowe nde Coltrane changes fon Cotrane creates @ harmonic reve wth the chord changes on hs composition “Gant stope* ‘it body butane could evan play them (Tommy Flanagan struggled ah them on he ‘ginal recording, but fares to Tommy, probably ‘aboay ele ath tne cous have don ay Daa. Figure 22-0 stows te anges to Glat Stops” ‘Athough tis tune cnalorgng, he 26 chord 90 ‘vou ony toe keye=8, 6, and ES, Figure 22-16 Ba 07 GABR7 cbs AT 07 GABb7 EMM FAT BA FT BOT Eb AT 07 GA ORT FAT BA FT BT EBA OT FaT Look atthe kay designations below the statin igure 22-16” Each row Koy, ota ‘ont fa major hd amay rom a preceding ay, whether moving up or down. Figure 2217 sows tis movement more graphical, whole . oe repracetng total certs n “art. Figure 22.17 Slaps” When you move aroun by mae tds (@SeD8), the octaves dvded imo ttvo eau {onal centers fn “Glant Steps” ars. Alncugh Cotrane wa thot jax masksan {oso ths concap extensively, he may have ‘ate he Kea rom the changes on the bridge of Fictard Rodgers ave You Met Miss Jonas” (gure 22-18), whch uses the same movement of {onal centers yma i. Figure 22-18, Boa AT Db7 Gb «ET AT DA = ABT ONT GA GT CT "Tenn tan, Gin Sp, Aare (CHAPTER TWENTY:TWO, = ‘can tink tse other oar xampos ot tonal certers moving by maj: ras: Duke Engl’ "iA Senora! Mood, whes the tonaity on th "a seglon—F major moves down ‘major hid io Ob major on the rp Elgon ‘Motanehot” whore ania’ eat occur on ho ‘ge tom mer up eGo male ana ey Stayhom’s“Chelses Brigge," which modules trom ‘Cimaorto€ major—aga, athe begining of he Sade. lat Stop th et oxample oan ‘nt une but around hi concept A year oF wo batt he raorded “lat Step, Cotrare ended ‘tat Schwert Thar le Someone Lvelar ‘Than Yeu” wih ou maor seventh chords, ‘ba, Ea, C3—movng down by major tds and ‘icing ie octave if roe eau are aha Galena, Soi The Pace Fanayi0¥C 078,Cotvane ato used ths Koa Figure 22419 Figure 2210 shows te changes {ote tet ourbar of Tune Op ‘1EVAin ne tay of. Ini. Netord nO major. Then he moves Figure 22-20 ‘ho tona! ertr gown & major he from nha rt bart abs hors e7 os cba, ps Inthe socona ba, down anotor major tare a Goa chor in tho {hr bar and don another major tnt a Da cho ho turn ba ° = e ° ‘The onal enter of has reharmonize ou bar are shows . in igure 2220. ean Figure 2221 ‘aw lebore— Bb, (Gas, and 03—is £7 F7 Bes Dey Ge A? receded by ts V hor, an ha vest 'Sthe changos 0. tho trator bers ot*Countdowre (gure 22-21) Figure 22-22 sows he changes to both tunes, “Tune-Up above tbe stat and “Courtowrt bolow ta sat As you can soo, the sacona and thr fourbar rates of Tune-Up" are sila, rehamenized on “Courtown” Cotrane he Tas our barf "Countown’ ina same a6 “TunaUp the more conveiona changes proving afourba rte! om the vory Sreonventoral movement ofthe ec bas Figure 22-22 e7 AT ba o7 aw 7 F7 Bos Ob7 Gha A? DA D7 Eb? Abs B7 EA G7 CA ow Boo eb TTB 07 Diy Gba Ay DAFT Bb ET OFT OAC cuarrer wExTrwo Figure 22:23 DAE? ore Another example of tis samo kr ot ‘eharmonizton tates place on Cota’ version {ot Jahny roo’ "Body And Soul™ Figure 2-23, ‘shows aconmeniy payed sto changes ore {at for bars of dpe of "Body And Soul” ‘ove eta ang Colne renarmontaton ‘tare 3 and bol tesa. Once aga the ‘clave is ced ote egal parts, ta fn ‘ortre on bare 3 and 4 movin dwn i mar ‘hs: 0, Bo, 6b, ©. Using is sao ia, Cotrane wrote several ‘tigials yrehamonizng the changes to existing ‘nes. Morgan Lew “How bagh The Moor” became “Swale Chale Pres Cormaton’™ became 262 Another Colvane orginal, “conta! Park Wet alo ees “Glart Sop ao change. ‘ry yournand at repamariang soma standard tunes a8 Catena. Pik unas witht ot Progressions ang se what you ean come up wth Fe7 87 ET AT Da ‘Coltrane's changes: Da F7 BBA 067 Gha AT DA. ‘aks Catena, Cabaes Sound tan Meson Ter ora. * Chae Pate, i At St. Mk, Fanta O40 o. 1 SShr Ssuene Ine Catan Loacy, Ase B, "ohn Gober, Cabo Save Ase‘CHAPTER TWENTY.TWO, “Rolling octaves” ay gure 2226. | thnk Rwa Jal By called ts sling techique ling octaves” and thats good desrptin oft Yur hand plays the botom rte af each pet, sustaining the nla ‘ater than paying slaceat, totam ee le frgar on your rit hang plying the second end {hr ote ofthe tpt Thy wer a favre device (ted Gara Horio Hancock also plays nem ‘on his "Wate I, Wyn Key oni “Anthar ‘Blues and At Tatum near tha ed of solo 0n Fars Rogge Tie Cant Be Loven” and aso ‘ear ne end fhe elo on How High The Mon.“ Figure 22-24 fo Area be ane (ay boron note of osc lt nathan po nts wh thang) “ed Gland Al Morag Log, Prestige 70. "The Heme Hancock To, Sony CBS (apa) 6 AP 50 "Niyon Kay. ue On Bora Kanade 8. “ia tmp ad yk Taumifaneoamen gan Pe 200778 ‘hr Tou Lonel age, ea Buoy eh ‘auton Pao 230720 The harmonic major scale ay he chor in gure 22-28. Here anock plays tne myterous ard ‘brooding craft in a erat ay on ‘bar otis ‘Delphn Dance Yeu can se ti chord eer erry ma Severn chords. When mprovieng on ths chord a good sale opis be harmonic major seat, wich s shown 10 tha chore ight. The nord chow ‘symbelis nti tarda so, 690 ‘roared for some puzzle reactors Youwr#lo kts the fact hat is {Cached has both ath ana 6. The armors major sal ema fo tne ‘armen mir scale (igure 2228, ‘ncop hat tas amar ted bs 5 ck Figure 22.27 shows bars 9.0 of he Hamy Waren Mack Gordon clandar "Thee Wit Never 86 ‘Anathr You wi the orginal Abs hors charged 12 ‘ur new hamonie major chor, ad ecohing back TADS onthe throat of te bar, Figure 22.28 hows ie fst ba of he Sam Coston Att Sten sandar "Just One Mere Chance wih the orginal Aba chord nang oto hamenie ajo ror, You can hear Kenty Werner lay this herd (athough na ater key} on bari oth {tne ‘Compensation An alemate symoo ou righ soe or hi corse C7 Ab. ‘The ky elrant in al the prcesing example that ta ttn nthe ely. lay throug nts of tunes, lokng for maf soverth ‘hors wah the ith nthe mnlody, and eo you Ihe the sound thm eharmontod as above hae Harock, Maen Voyage Bu Note 5. "do Lovano, Tnes Shapes Ard Gar, Sune 12 ow Ende = Figure 22-25, ‘Charmonic major scale Figure 22:26 harmonic minor scale SSS] Figure 22.27 etal oes rn ere Figure 2228 orgnal cnr ‘abs 7 pert oF= rreRTweNTWO, = ‘There's a reason they call it music theory a Figure 2229 39 te chors a Ngure 22-29, Herbie Hancock ayes is ark, oh, chord nthe et bar of he corer ino an Wayne Shonar's"Foe-F-Fo-Fum™ The ‘hard symbols hyo, eectng hale top Te os lok and sound wo a 04g for COTO, Played over an Fn to base, ls ot inthe alot goos wih bea (io Eb na stapwhole ‘Sop dmnigned scale. The chord shown cortans Eb, E natural ana tee consecubve cvemate roles ina rom, somotig that cose ocr "Canventona” sales, xcept forthe ebvemais sale. Whale pay over ths chord? Try ula tho Ebnal sopvhele wep diminished sca, a the Cord symbol suggest. A ong as You oop Fn the base th ten coma notes wont ath wth ‘ach other. Wire baelng some ofthe es, bt thars OK Remember, he ule ome tom ta ‘muse, not the oer way aout “This chord and te suggestion of how play cover t'sowes a a emnae tht feory sony an Insecta game tat we play wah te muse, attempting fo objectively and ratory explain what 'Sescontaty a subjective, nonrational experance Letineory be 2 gue for you, net a sraghcket. ‘Above al stan, sing trough your stamens ‘open your sul tothe musi ‘lara Sona, Sona El Bue Nate 4, 250 or uoceetul muslclan has developed an ‘tient practoe routine, Sting ae piano or eight hous every 6a may rl mak you ‘beter musician you're ret practeng the At things. As an example, lores ascovered Iaod boo of srange Iarvale everson. ‘was runoced hat "Cotvane praciens ou this Book” mocha twas rumored that Bed Pacload out of Noss Slonmahys Thesaurus ‘scale ho 140s and 508. Rook me ‘tout x hours f go theugh th book he feet Gy, bt aftr a wook was going through the book about sitimes ade erg my noighbors bananas Im sure. Final, somoon walking past ny doer shouted er Pee eae, play sbotea ova and ealzed hat ny plying wat ‘geting any beter, ony my aby opay trough ‘ebook. Those oxorcoas ust waren vary rrusieal because hey wore unelated 0 arthing Teall nel. Th moral fhe soy “aor yout practicing fo te songs that re pa ot the standard jazz repartoe,and make your ‘racing een. What ows ae tw ‘Suggestions on nowt 0 just al Practice everything in every key /ou shoul practice eventing in every Kay, That eudes everytungvlargs, ice, ae pater, ana tunes. Expect tunes. nay be afc a tet, but notung ‘makes you get bots han pacing un Ina keys. Taking a voicing trough al twelve ay is goo san but yout iam tin the “Tare kaye at aso a roan I bet by laying in he corant of a une, al he Kaye, "oie Sing, hes Of Sena na Male CHAPTER TWENTY-THREE 3 Practice, Practice, Practice awh (CHAPTER TWENTY-THREE ‘Some plait loa each row tun in every ey agro he star. An approach iat wor fo meso periodical go trough my repare of ‘unos, pk out one thet has evolved moan arranger an ten lay ough al kay, playing ora the exe srangemort—ino, eis, es, ering and 0 on. soon dover ‘nat nea fo be practd i which Keys. than Sette on an “aerate ay ter tan the oral, land maka a pont play the tune nthe new kay fat on 2 gigs than wih nyt Some ‘vantages fis approach ee * You abit o pay nthe seated “eu hays erproves. + You become adept at ensposng, {nivauabe sil wen fccompanyng singers. + You can easly emnance your erormanoe ota tune by ng te nal chorus up a a orwhol sep anol led {hat sa wort he sche, You secover tha th ongal key ‘of some tuna et ha bes ky forthe piano. Asan eagle Used be seas avery ime | played. Jokmsos Lament” Ura tok trough al the Rey and ‘Bscovered that x sounds much ater S88 pro poe when paves ina Figher oy nan egal wien, Practice to your weaknesses pose you are practsng a vokcng around the oct hs. Mako not of what Keys ie YOU ‘he mos! wouse. Then go back ard practi the ‘oiang agai nose lays. How mary seconds ‘Sone i ake yout play an upper ste | miner Veling on F47499 ‘Can you play fas fast as you fan on 6748? Equaze your reaction time. ontor your practeng vo that you are aware ot thekays that you pod spend more tie on. By Pinpoting your woakoosses tk te, youT ow racy whal you need to pracice most, event you ‘nieve tea praton tne. then even Becomes peau te practon ia 083 We or fonmnutge whe youre wating fortha meromave ‘rth eta of he Gants game on TV, bacausa you ow oracy what you need pace Practice more than one thing at the same time ‘r-nancngt-nandcoornaion's one ofthe gges challenges n paying the piano. Aer ‘youth youre playing bath aig had patton nd alet-hand voicing prety wel, prac them {Wpether arora the cyl ot th. tn igure 2-1, Your ight hand seauehoasourrete mina ith ‘alos upwara while your et hana pays V chars ina ede sya around the cyl ola, In figure 2-2 your ight hand sequences four atom, while yourlt-hand payee same vung Frowng upa minor rd rom aac a chert tho festa chord. Start out sow. Speed comes rom ‘accuracy. you play accurately, speed wil otow etry. # you ever el ha you" playing—-on 8 Voicing, pase, chor progression ofthe en ‘nei nt gute ncaa, play tomer Yt lesan moda improvement v 7 ee aval, 27 Figure 23-1 rat 23(CHAPTER TWENTY-THREE Figure 23-3 br rat (hols onte your ht nthe morbar patio row in igure 23.9, four Pings ave pactead at {he camo te. Wo your et har pay a Ine Ineuding an Ab ournate minor eb sea, yout and plye sti fora bar then walling ofr & bar. The side pate nce tree-at thane voings. Hors yur pacts sequence: 1) races each toa separatly a tt 2) Puta our isas ogee aa ‘gure 233. 4) Paces igure 23.3 na kys 4) lay tough soverl tune, playing {ha oir patter eer te ees a ‘we ba IL progression. ca side win treet ean irae rating rs Practice within the context of tunes state, avery fet way to peat i to it everyting wahn to corte ota ure. ‘Ato youve praccod thal le, ol, of atom, ‘rough the eyes fhe few es, play wou ‘tune, topping your newfound gom wherever poste, Tho nxt few examplos show how odo feo wih vas tecrnaves youve lemas rom his book aon he fet ve are of Gane DePaul ans ‘on ayes “star Eyes” Figure 29-4 shows the et vo bas ot “star Eyer wn hoe note vlhnge. Tene ‘ibetons nave boon deed n 20-6. Troe note ‘ongs wih adcednetos are shown in 2-8, Lrnang volongs ar played in 287. In figure 239, and lott hand woiengs ae played onthe Venera. ea bor En Ens ce, racic Pacer 234 Figure: Figure 23-5 7 O76eas 7 Practice, rate, Prac Figure 238 Avro Figure 23-7 ea 7Figure 23-9 (CHAPTER TWENTY-THREE Bae Figure 23.9 erows afournote mot aquanaing over lfthandvlins. Figure 23-10 Shaws the Us four, So What and. pet Structure vongs. Figure 2311 shows a Duke Elgin tke German eth cadence anda Kenny Beton volangPertatolc scala the Insensal, ‘nd paced eye re shown in 2312. Boratoic ar ures manor sh arle ae ‘town nfgure 23-13. Sto and walang tthe a6 ‘Shown in 25-14, and Bud Powel vlongein 23-18. 7 Es Ena er aoree oy 258 wy race Pace, Practice Figure 23-10 ans on 7 eas 7 ebro’ 3 arb) cba. Abus ABT, ‘Abeus Ab7 Dba. Figure 25-11, a Brett bs Fe porto! a7st1/e BbPract Pace, Practice Figure 23-14 7 Aer Figure 23-15, 7 ABT Dba D7 or(CHAPTER TWENTY-THREE Figure 23-17 ea Fr, ‘You can usethe same approach when rating "ets. pases, mots and 600. Figure 23-16 stows wo shor race, oat one tobe played on mae saver chores, he sacond (ne over minor saventh chars. YoU can Uso on “echo” to oer, because hy esorbe wach oer in shape but havea sgt aterentythmic oniratn or valnys sak. Note el each Divo stats ono nol the chord. Figure 2317 {ows now you might play thes ve bas of "Star Eyes" using these wo leks over lo tand ving, 207 ba Figure 23-18, se (eon satston 7 G7) ADT 3 Figure 23-18 stows the same ‘wo mls, bat wih a atornce. Co ‘Te est one now sats onthe eth ofthe majreoveth chor. The ‘gh ote on hehe boat as nthe v4 coaing @yaan hor ‘Tha sacond ol he wo oxamae ses tone sbtiton. 07, G7 has boon eplaced by Ab7, Db, but the ck sl starts onthe toh ches in {his case AD in place of -7. The stv bars of "Star Eyes, using hase wo varlaflon, ae shown Iniigure 2310, Play Ngutes 29-17 and 20-10 ndioer te etoronce Figure 29-19 soures ‘more modem and has smoctha voice ang ‘That dows raha bar, Bt pomaps more ‘roreting, nthe fer, an thar ot AMgure 2310, your ra tum plays a note on ‘te "and of tives that your numb sara playing, LM your it thumb cut o ho way st, bore your grt nue plays the rte “Tako each tchniqe al tha way tough “Star Eyes” Rernember, you soul rt practice ach oven separately trough he cyle ths, ‘Thon apy the Gove to tune. The approach tans youto be aba use any tection smet any station, ‘Aphiosopial statement stout racing ‘eck mol her. Practong pate and leks shoud be used fo get he frgers, bran, and yes ‘tin guar wth vach oer 2 thal you are ‘omionable nas wedo range of mea etuatione Ss poesia. They should become par of your Truticalunconsiovsind ot ke an ine ray for Yuta crew upon—but toy shoul ot ak ho Place of your main musta does ics and patterns wil aways be played more ‘enuptepo tunes, because the mind dosent Nave ‘3s much moto hk ang tha fnges wil lyon whats known an secure. Use eke and patos to {Getto know your numer, but vy oto ue tem {5 your enti elo epanove. Practice Prat, Pace = Figure 23-19Bourne rwan-nare Practice, Prat, Paci complete vero Sar Eyes using sod as substi and V chor nbs 2.4 vary ot octesqes appears nis eit £6,817 anai-2. Drop 2 book chords appa Tigre 2-20, Ive akon some Iberes wt the our chords bers 7,1, andi The ‘tga chord (chown above ntl) ard moe Ipod ino mori inves om bs eninge mang, Ronee: ew ere stowed axe chang (89g spec Aooman ch cnenee played tere and, Su ara Prensa chor re Figure 2320, Figure 28-20 (Continued) Star Eyes Raye DePaul Fa rr Ba 7 wr fn sco a erettieb coy Bosus pore 3 ut one a eo ba 7 a7 Brite Ea ‘Abus ‘About 268 288Figure 23-20 (Continued) br ovat Practice Prac Pate Figure 23-20 (Continued) bs ovat or or @ Bs rat Deus cous Fr 7 7 ea esr(CHAPTER TWENTY-THREE Figure 23-21 Technique is book eno bout plano techni, but thers one commen problem assoc wth techngue tat can oft ome adie on. Mary Young plans have wes out ingors. Evolution ‘an panon piano playing a a means of sural Sand th fou igor eave to oor agers. 6 ‘ot very evong The extle shown igure 2324 anbeb senghan your out ngor"Secuanoy {he exercise arcu te cy overt nand volangs. Docent ne four igor notes. And om rps. fing he paso, even ough heroes are wetan fs eraght olga notes. lyeve got a weak our finger poblom, prastng th exec on minus trary Gay should make a Serene win afew ‘aye, Ps, youTe lamin anew ck ae pacing yout lattand vocings a he same tne! or av "7 > Br z Be aware of any unscossary musco tenston ae you pay tn 00 plans. Urkrowingy hl thee bath a they teh ikon along pase. Breathe noraly a deepy Amey snd nt, bt smiing whan you pay ean bel roeve tension. Drummer By Higgins aay miles when he payt-doos ha know something ‘weal shou know’? 1 you tip your fot whan you play? Thare re more taco abut how to dots corey than you can cont. Some plans tap thi oe “Jak Byars taught mot tap my hel, because ‘vos your paying a sanse of forward eto. ‘Some pat ap anal our bets; ere ut on ‘ne ad theo, om we are tout soe do ap Salt Whatovorfoos naturale ab long as ‘ose gat nthe way ot you pang. anatent £0 food nat it acts our elon muscans, Listen, listen, listen Wiest nai cy oc a sma own, ase Isprobably payed somewhere reat. Listen to as much ivojazzas posse. aco ae ot fraugh- Approice youre to whomever soo 0 be ne best zz pant n your nck the woos. Askinom to show you sme of te secrets, youean study wth er. Be evar of ryt scons ot jst planet ‘ote pani, basi, end crummer lay wot together Av ther syes compat? Do they communcato we? How do they communicate? tk or ye contact oer body language. Hom otey lt sec ther know when to ake ou, ‘ass or rum sls, ako Ie tuo ot ara oon. ‘Youean loam amt ae much by watching sy Istoring othe muck tapanst and gutar player ar plying together nthe samo rythm seton, how Jo thay hand the problem of each one's chores ‘lasing win the eter? Does or ay cu while {hecotner ene corps? i thy bah ‘come a he ‘Same tma, does one play more sparingly than tho other? Uscaty te plan takos tha mre ‘orinant rl, bt not way. The most areal panautar combination over was ‘robabl Wes Morigomary and Wynton Kall. ‘hay nover gt each sthors way. Uston'6 ary of ter records (oe the “Ustenascolanecus" fton rit ater hs chapter Transcribing ransorbing ss and tunes of of recor ssordl sll. Tha best way Team ate Is by ‘aking to th cord. Untka racing a ead sheet, yout hea evoryting Ino, aloe, has, 2308, Dass ine, crm as, foo, vars, teres, ‘naing—so you candace New much You noes 12 ‘now about the tue. To vansaroequcky ana ‘tient, you need the right equprart: + Anand held Walemansype saroo east payer, wah ph cont {Gates "speed conor some. ‘machines anda pause buon, ‘Soma machines come wih octave Dich contol whin ets you sow {hinge down'o ha speed, + Roped go of lvoe headones 200a (CHAPTER TWENTY-THREE ‘Stan by vanserbing the male ‘Transobe tho bat ne Moto at at to to the bases aye on each naw chra change. Nox, {oe cord charges, using te bass ine as & (ge. youre unsut wheter be Eb corn bar is major or mn, pay Hover ie skng est, {he major hia, and thon b, te moto the ‘lan Which eno sounds igh? yeu sit ‘Sar, ry the same proceaure whan the chor in ‘uaston domes around on th next chous. Dont {et bogged down on one chars Go on tha mast hve en eur tr to werk onto on ha, ‘used you problems. By tan you ray have ‘Saved tho problem any, because yout have Foard how t's played on euseguent choruses. Play along with records (A. Bun nam payr te play along cr tr nore than pris, some pans re om a ‘athe. The Janey Aaberat series, ge and {Iuigoming, ctor tree base ypes of roo. 1) Records of uns by apateuar sengwrtr, nung Wayre Stocer, Horace Siar, Mies Dav, John Cotrane, Sonny Rens, Duke "Body Ar Soul "Sola By Start” ando fom, 9) Recor thai doa wth spect areas ot say, sh as IV progressions, the Buse, ae and Vo. 2, Gott Together “Tape the ply song record, us your heacpones,edust the poh corte tm of he iano channel (athough som planss ke oave Fron, and youre radyto go. Your thm secon parers on some of he Asbarst reorce ie basis Ron Cat, Rus Rot, Stars Jamon, and Sam Jone. Your rurmar may bo Gan iy, Biy Har, AlFoster,o aus Hayes, Ana # you ato ap some votings rm e plane ack, {um te plano crannol back on Werte payer ke Kenny Baron and Romy Mathews play on ‘some of e cade. Pray along with ho real th ago, Puton a ‘Maas Davis recor and pay along wih Red Garand, ‘Wynton Kayo Horie Hancock Event you cant ea the vosings 1 ply the same yi atts. Try o get othe sre groove atthe sae eee se plays rie nc Your recor players nt nko wh your iano, {ape the reco; put on your heasprones, adi the ch contol and youre n business. 7a Ai Vo Hert Haro Vo ‘erg YR es VLE. oar She an Vl, Carnot Ary anme (CHAPTER TWENTY-THREE Criticism ‘4 student, yu wing open yours up Jo ica and ain rom your teach. ‘ecoptalerttm however, i tees a grain ‘teat Tescers ae ot falta, mar how ‘0d tne play orhow wel thay teach One each fray tal you tat your te le goo, archer at You rsh or drag te Bree. That fight Your best ris yousal. Tape yoursot ‘en aniston wih a ical Its not bad oa to totaly ignore some forms ot eicem ena, such as eviews. The standard ‘ot prtosioal ent jazz opus erate, ‘seven. Chick Coats album New He Sings, Now He Soba one of te esto ales ever roared, ‘was gvon fe west posse rating by a leaang Jazz magazine. famous az rl ea of Jon Colvane, "He ote bows fs tanor saxophone a8 though he wore cetarminodt blow pan but his Coeporateatiacke amost val lea nowhere ‘natn ete reviewing Mos Dav’ great abum ‘ound About Manigh etered to John Cotane 3s an euter-une ener player” and Red Garand as “Social piano payer” hoy ei hat stout bom, what are thy ging to say abou you? ‘og a8 an ati you shoul sive for prac, don't your msiakes ge you down. Improvised muse, by ts vary nature, fl of mista. Liston 6 Jos Hendoaos as trirane on he out chon fo MeCoy Tynes ‘Fourby Po Everybeay play 6 rat on tha ‘uno, on he whole eum ota mat, hat robody ears foo much about oes isk.” Dough it souncs ke «ela, a postive way of ‘eaing wih paying ates note tho Nox tes ‘he tit note a erst of your so.” Prat etn, ad Bethe msi tothe ‘utes, ang your contreten to Amer’, ‘omer ant tom Jazz! Prat Pratt, Practee mmLISTEN 3 Listen/Intro Listen/Intro his sizable oking jazz plano dcography represents, a most, pameps 1/0 of one erent of aha azz ooo mace sinc 198. Myatt ec islet the Gest Tooors. Tie discography ie preonal and eubjctne ine selecions represent he evonal tases ofthe autho. |apologiza fo anyone or omiting any fa tvore abu. "pianists suchas Bu Powel Horie Hancock, McCoy Ty Bary Har At “atu, Konny Baron, J Byard, Torey Flanagan, Res Gavan, Wynton Kay, esse Waton, and ulgrow llr seer overoposanod ie boause they wor, and ao, the Bact. In many cases, parculr cords we commences forthe presence o musa ‘ther tanta panist—itsharé rr recommenda record win Coane, hls, Joo Henderson or Wayne Shoe ont Be aware of myth sections, ot js plans. tt may ott be Wynton Kaly tht ‘sounds great, tt the combination of Wynton wth Pau Chambers and Phil doe ones. Below sais somo of he great hythm eaton: + Bud Pwo, Cry Russel, an Max Roach ‘Thelonious Monk Oscar Petr, ana Kenny Clarke ‘Rea Gara, Pail Chamoars, and Ply Joe Jones “Rod Gavan, Paul Grantor, and Artur Taye, ‘wyton Kel, Pal Chambers, and Pity oe Jones ‘wiyton Katy, Paul Chambers, and irmy Cobo “wien Kel, Sam Jones, and Loui Hayes. ‘ary Haris Sam ones, and Love Hayes ‘om Evan, Scot LaFao, ars Paul Motan. ‘Hori Hancock, Ron Care, a Toy Wistar ‘Cedar water, yma Mart and Art ake. “Mey Tyner Regge Workman and Ehan Jones ‘Mecey Tyne dm Garton, and Elin Jones, ‘Mabgrew lly, on Carr, ané A Foster ‘hare ae many ter great basis to be aware at Incuding Cares Mingus, Doug ‘Wits, wb Ware, Cec Meo, George Kaz. Aiosav Vitus, Bob Cranehaw, Ray rumen, Edda Gomer, ulus Rass, Lone Pasco, Chane Mott, and Dave Holand There are many otner grat eure to be aware of, incusing oy Haynes, Joe ‘Chamba, Pte Laroca, Chae Perl, Jack Coiohnete, Eas Moore, Freda Wat, a ) Appendix D = Violetone Seale Harmony caaes Lyaton augmented 7.5 9 @708 Pre yale dominant w (ro sand crrseymia) + $ 2 v = + =] —— aon AS atte of Loctan #2 " ee = ret tere (0 cmos wholetone © yy ‘ vu fens nse 00APPPENDIX Appendix E Upper Structures ont ona ons! ak one 7 co wv or Wi Fava ro Feri Fare bv w u Ea bo on at ons. one ona one Trine Biiminor ‘ill miner ‘WW river aT 7 #79 FHT9 NV minor {mina VOICING RULES: I) Inversions of iad and titone OK 2) Doubled notes OK ator near op of voicing only 13) Add rot to avoid unalored tine substution APPPENDIX 3 Appendix F ‘Comparison ot V Scales 7 and Ceue Mixolyaian =a os — ort Lydian dominant half stepiwhoe stop diminished ora tered oS Swe oes wholetone Ceusb (on16 Phygian on) ED7IC oe C2usb9 (or) Gai (x) BOC Phrygian 2nd mode, melodle minor ey= APPPENDIX Appendix G ‘Comparison of Sus and Susb@ Scales cous Mixolydian mode, key of C ma o {G Phrygian mode, key of Eb major _Gsusbo (0 G Phy (00 BU7IG & 4 = - o second mode, F melodie minor scale (G2usb9 (1) DIG (0 Fav APPPENDIX Appendix H “minor drop 2" cs |ome aren ust= APPPENDIX Appendix Melodie Minor “Key Signatures” Cmetodte minor F melodie minor . Bb melodie minor ome i ——— ° + - = Eb melodie minor ‘Ab melodie minor 06 APPPENDIX = Appendix I (Continued) F# melodie minor ‘melodie minor melodie minor ‘Amelodie minor melodie minor melodie minor