IMPROVISING

& ARRANGING
ON THE
KEYBOARD
James ge~tereich

Earl Pennington

ASPltr• • •

PRENTICE-HALL INC., Englewood Cliffs, New Jersey 07632

Library of Congress Cataloging in Publication Data

Oestereich, James.
Improvising &: arranging on the keyboard.
(A Spectrum Book)
Includes bibliographies.
CONTENTS: Basic diatonic theory .~Keyhoard
arranging froID lead sheets.-Folk and country music.-­
[etc.J
1. Improvisation {Music} 2, Music, Popular (Songs.
etc,)-Instruction and study. L Pennington, Earl.
joint author. [[. Title.
MT68.04 786.1 '028 80-27054

ISBN 0-13-453563-4

ISBN 0-\3-453555-3 (pbk.)

Contents

© 1981 by Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632 Preface, v

A SPECTRUM BOOK

All rights reserved. No part of this book may be reproduced in any form
Introduction, 1

or by any means without permission in writing from the publisher.

10 9 8 7 6 5 4 3 2 1

1 Basic diatonic theory, 7

Printed in the United States of America

2 Keyboard arranging

Editorial/production supervision and interior design by Frank Moorman

from lead sheets, 33

Cover design by Judith Kazdym Leeds For Coltrane, 33

Manufacturing buyer: Barbara A. Frick

3 Folk and country music, 37

Ragtime Tune, 55

Mother Jones Song, 57

Lowdown Hostess Rose, 59

4 Contemporary

rock and pop, 61

Disco Dan, 79

PRENTICE-HALL INTERNATIONAL, INC., London

Without the Soul, 80

PRENTICE-HALL OF AUSTRALIA PTY. LIMITED, Sydney Easy Rock, 83

PRENTICE-HALL OF CANADA, LTD., Toronto

PRENTICE-HALL OF INDIA PRIVATE LIMITED, New Delhi
PRENTICE-HALL OF JAPAN. INC., Tokyo
PRENTICE-HALL OF SOlITHEAST ASI./\ PTE. Lm., Singapore
5 Playing the blues, 91

WHITEHALL BOOKS LIMITED, Wellington, New Zealand Blues, 103

...
111
iv :# Contents

6 Developing
a working application
of jazz rhythm, 113

7 Modal jazz, 117

Twilight Journey, 137

A Rose in Winter, 141

8 Stride piano, 147 Preface

Don't Fool Around Much

Anymore, 148
Later, 154

9 Bop and Mainstream

piano styles, 157
Two Five Jive, 162 In a text on the subject of keyboard improvisation, the distinction
Blues A La Carte, 179 between aspects of the craft and styles of improvisation is an
important one to clarify. Improvisation certainly has to do with
such things as scales, chords, and arpeggios-but these aspects of
the craft have an applied stylistic history that can assist in defin­
ing how they are used by a keyboard player.

Many students of improvisation approach their studies with the

goal of playing in certain styles they are familiar with, and they
are often confused by books that deal only with parts of the
stylistic whole they are hoping to learn. By stylistic whole, we are
referring to the total collection of techniques and devices used to
create characteristic keyboard sounds at various historical points.
This whole includes chord structures, rhythmic patterns, phras­
ing styles, melodic concepts, and methods of arranging them at
the keyboard.

Too often a beginning improvisor will become attracted to the

particular "licks," "riffs," or other musical ideas of one or more
famous keyboard players without understanding the arranging
concepts that underlie that player's individual style. Since key­
board arranging and improvising is more complex and involved
than improvising on a single instrument, the purely imitative
approach can lead to total confusion, unless the player has excep­
tional hearing abilities.

Hence the thrust of this book is to clearly illustrate and demon­

strate the essential arranging and improvising concepts used in
selected modern keyboard styles. Clear knowledge of such con­
v
vi #

cepts can and should lead the involved musician to a personal

style based on creative application rather than piecemeal imita­
tion.

Since the historical field of twentieth century improvisational

styles is very broad, we have selected six major areas of
concentration-folk and country, contemporary rock and pop,
blues, stride piano, modal jazz, and Bop and Mainstream jazz.
Basic chapters on theory, chord symbols, and jazz rhythm will
help you prepare to play in these styles.

Special features of the text include a comprehensive applied

theory section, a section devoted to rock rhythm, a lengthy treat­
ment of the modal jazz style, and a concluding section on walking
bass solo piano style. Each chapter concludes with a workbook
section for the educator or the involved student.

These features should provide plenty of food for musical thought

to players at all levels of skill and experience. The material is
presented in a clear step-by-step manner which will enable key­ IMPROVISING
boardists of varying abilities to develop a systematic approach to & ARRANGING
the styles. Special attention has been given to the clear definition ON THE KEYBOARD
of basic improvisational music vocabulary to help the beginning
player avoid needless confusion.
To our families
These methods have been extensively tested in our college and
adult courses, and we would like to express our appreciation to
the hundreds of students who assisted in clarifying the material.
We would also like to express our appreciation to Duane Claussen
for copying the music manuscript and to our typist Eileen
McCabe.

James Oestereich
Earl Pennington
Boston, Massachusetts

JAMES OESTEREICHis a piano improvisation instructor at Cambridge
Center for Adult Education and resident composer and musical
director of Little Flags Theatre Foundation of Boston.
EARL PENNINGTON is a piano instructor at Tufts University and
Bunker Hill Community College and a composition and improvi­
sation instructor at the Cambridge Center for Adult Education. He
is also a former director of private studies at Berklee College of
Music.
Introduction
HOW TO USE THIS BOOK
Naturally, the effective use of a book about music requires the
ability to read music. This book is no exception. But let us hasten
to add that the musical examples have been purposefully de­
signed to be readable by almost anyone with a basic reading
ability.
The book moves from simple to more advanced styles, so it can be
studied in the order given by those interested in spending some
time learning about each of the six areas. However, each chapter is
also constructed in a very methodical way so that it can be worked
with individually if so desired. Each chapter contains a workbook
section to aid in the development of drills and exercises on the
points covered. This workbook should be consulted periodically
as you study the chapter so the drill suggestions can function at
the proper place in your learning process.
The first two chapters contain basic material on music theory and
chord symbols relevant to the study of improvisation-this is
critical material for those not versed in theory, and it will provide
enough background to facilitate study ofthe other chapters. Chap­
ters 3-5 cover Folk and Country, Rock and Pop, and Blues styles.
Each of these is presented in very basic ways and would be a good
starting point for the beginner even if his/her main interest lies
with the jazz material.
The second half of the book begins with a short chapter on jazz
rhythm that should be studied carefully, with special attention to
1
 2 # Introduction Introduction # 3

the workbook. After this we cover Modal Jazz, Stride Piano, and
Bop and Mainstream Jazz. These latter are three very different and
distinct areas of jazz keyboard stylings and should leave the
reader with a good grounding in the field of jazz improvisation.
One final note-this material was written to be played at the
keyboard. Some of the text may not be fully understood unless the
examples are played as they are mentioned. So work with this
book at the keyboard, take your time and work with each example
until you understand it. Studied in this way, we are confident that
steady improvement will result.
Motif-Riff-Lick
These are three terms, classical-colloquial-slang, for a short
musical idea. The terms usually refer to a melodic idea, such as a
brief series of tones or notes used as a theme. Familiar examples
would be the opening four notes of Beethoven's Fifth Symphony
or the musical phrase for the showtune "My Mama Done Told
Me."
Rhythmic Notation
A series of symbols representing the duration of sound or silence
relative to a given tempo (tempo being the pulse of the piece).

Here is a breakdown of the basic rhythmic notation used in this

TERMINOLOGY book.

Here is a brief capsule summary of some basic musical terms used
in the book. This material is intended to aid those not familiar
with common terms used in improvisational materials. It is not a
complete glossary since many musical terms are clearly defined
in the text.
Basic one-to-one divisions-One whole note equals two half notes. One
half note equals two quarter notes. One quarter note equals two eighth
notes. One eighth note equals two sixteenth notes.
1

Backbeat r
....r.. R,,,. : <I IlL/In
Wl\o..E. .\lOll >I e"ft,H w~

This is a term used in rock music to designate a method of "

accenting the second and fourth beats of a standard measure of 4/4 a­
time. Here are some examples: fI
II S I
'" ,., I ;t. ~
I "
~(>T .2 S.An
I1I1Lf HoT"" 0 .1 Ultl)
f""'" M/Il.f

r.
I
I
.1
I
3
I
<4
1 n
I l.
I
3
!
'I,

Comping (l).. ARTU )I.n' " \ e.f.I\~ Ell'" Gl ......IlTtt hl.r : I 1l.4!/l-T

In jazz or improvisational playing com ping refers to the practice

I .). .2 -4 I a. 3
of playing rhythmically "under" a soloist. In several chapters n M I 1 'I
comping patterns are given. "
£:c.. ttTH Noru " ~a. AlAt (,. .. 11 t.1U f ti Imr = ~ llalfT
Chromatic and Diatonic
Diatonic refers to the "natural" scale, or the basic major scale. For ,
example, C to C ascending or descending on the white keys. These
tones would be C, D, E, F, G, A, B, C. Music is said to be diatonic if
Il
g /I
1F='FR ()
I
f=9=l
.2-
I
~

I
"
the scales and chords utilize only those notes. Keep in mind that
there is a corresponding major scale of diatonic tones for each of
the twelve keys. The triplet-A triplet is three notes of equal duration played in the time
of two notes.
Chromatic music involves the use of half-step tones between the
b~ G "/lQ1'fd~ NorIS ~$'P<.H 6S4-wnt AI""" I'll r:I'Glti
regular diatonic scale tones. For example, the chord progression ~ Ail>rn SAl oJ 41~TS .l l'It>r£J $'" .t 46Af • ,J Nor~( &Ioi 1. BEAr
C-F-G-C would be diatonic, while the progression C-C# -Dm
would be chromatic.
4 # Introduction Introduction # 5

Dotted notes-When a note appears with a dot beside it, the dot adds one
half the value of the note.
.
ijoIlN",~ eMPKA1~S
~

~.) Ii~ ~ J j JJ II j Jj JI J J
J.
bont6 H~f ~oTE

J.
:::: ~ Bf.AT~

I III Bi~T!.
NoIU'4ttc..
•
E.,.'tI"5~ .!)'Neo'...TLON
~ - I
> ,. :.­ ~ :>
1>o,,£~ =
j j II j J •~ II J j j II fl Jl iJll
1$1 J
QUtlATeR fl\orE

"boHle-I) E.I;.. tI'tri t.\o-n; J, :: 3J04 &AT

There are some other terms that refer to different aspects of Voicing
rhythmic notation. They are time signatures, articulation marks The term "voicing" is used constantly in improvisational mate­
and syncopation. The following notes offer definitions. rial for keyboard. It simply refers to the arrangement of chord
tones at the keyboard. For example, a C chord contains the tones
Time signatures-These are fraction numbers found at the beginning of C, E, and G. These tones can be placed in several different places at
a piece of music. The top number indicates the number of beats per the keyboard, and each arrangement of the tones will produce a
measure. The bottom number indicates what type of note receives one slightly different sound.
count.
There are five terms that make the concept of voicing a little more
specific. They are Root Position, Inversion, Close Voicing, Open
Voicing, and Modal Voicing. Example A shows standard inver­
4 = Four beats to a measure, quarter note gets one beat
4 sions for a basic C chord, while example B shows the C seventh
3 = Three beats to a measure, quarter note gets one beat chord in its inversions.
4
~~
2 = Two beats to a measure, quarter note gets one beat ROOT Pou:r:;:OH
4
2 = Two beats to a measure, half note gets one beat
2 II
3 = Three beats to a measure, eighth-note gets one beat
8

Articulation marks-These are the standard articulation marks used in I~ ZZ ;:sa ;Z

the book. These marks indicate how a note is played.
> = Regular accent (emphasis mark)
/\ = Short accent, used primarily in jazz
= Tenuta mark, means hold for the full value of the note
= Staccato mark, means to play the note short
'-' = Tie, means connect two or more notes of the same pitch
II
Example C takes that same seventh chord and shows close and
open voicing positions. The close voicing sets the chord down in
its basic root (bottom). third, fifth, seventh arrangement; the open
voicing spreads the same tones out across treble and bass clefs.
There are many different kinds of open and close voicings, but at
least the concept should be clear from the example.
OPE.N Vore.nlE.

Syncopation-Syncopation involves a shifting of emphasis or accents to

beats not normally emphasized. This proceeds from the fact that a 4/4
measure is normally accented on the first and third beats, while a 3/4
measure is normally accented on the first beat. Syncopation shifts the
emphasis to other beats. Here is an illustration.
6 # Introduction

Modal vaicings are used a great deal in modern jazz, and our
chapter on the subject will explain the details. For now we will
introduce the basic type of modal voicing-the fourth voicing.
This is a type of chord arrangement that uses a series of fourth
intervals rather than the third intervals seen in the above chords.
Here is a sample of how a modal jazz player might voice a D minor
chord.

Basic
.b ItINI>R
II diatonic theory

To begin arranging and improvising even the simplest kind of

song requires both an understanding and an applied knowledge
of basic theory. By applied knowledge we mean the ability to be
able to play the material (scales, chords, progressions) at the
keyboard. This section, therefore, is designed not only to provide
you with an intellectual knowledge of basic theory, but also to
provide a step-by-step procedure for playing it. The aim will be a
working knowledge of the keyboard.

Let's begin with the major scale. The C major scale falls on the
white keys of the keyboard between C and C:

The scale consists of seven different tones-one for each letter of

the musical alphabet-plus a repeat of the first tone at the octave,
which completes the scale.

To determine how the scale has been constructed, we examine the

sequence of whole and half steps between each tone of the scale (a
half step is the distance between any two adjacent notes: C to C* ,
C* to D, 1)# to E, E to F, etc.; a whole step is two half steps).

7
8 # Basic diatonic theory Basic diatonic 9

Examining the sequence of whole and half steps between each After you have completed constructing all twelve major scales,
tone enables us to construct a formula-l, 1, 1/z, 1, 1, 1, 1/z. Using you should play each scale-using the proper fingering-as many
this formula we can now begin with any tone and (making sure we times as you feel are necessary to gain a working knowledge of it.
use all the letters in consecutive order) construct any major scale. (The correct fingering for all of the major scales is given below in
Let us do so with the tone D: Example 5). If you have not practiced scales before, we suggest
you play each scale hands separately at first, then hands together.
Play each scale one octave, then two, then three and finally four
octaves.
» •
fI!I",,6
d
The secret for memorizing the fingering for any kind of scale is the
"A A " 1\ f\. " 1\
I I 'I!!. I I \ II. placement of the fourth finger. For example, when playing the C
major scale, the fourth finger of your right hand will always be
Notice that as we proceed from the second to third degree of the playing the note B, and B will always be played with the fourth
scale (the second step in our formula), we proceed from E to F# . finger. When playing this scale with your left hand, the fourth
The formula at this point calls for a whole step, and because we finger will always be playing the note D, and D will always be
must use the letters consecutively, the note a whole step above E is played with the fourth finger.
named F#, not Gb. This occurs again between the sixth and sev­
enth degrees. Proceeding from the note B, a whole step is called
for, and, as we must use consecutive lettering, the next note is I~~, 01 M~l ..t S.e/l>"£'~
named C#, not Db.
e. foIMOC S'
G f\~il'O~

Let's now build a major scale beginning with the tone F.

[k] ~ .('
...,
-I ..,.

14 Ox
,
it
I V:a.
A
I
A
I
A
I
A
1'.:1
I
s
As we proceed from the third to the fourth degree, we have f/ MMo(
established the notes F, G, A (F, 1 step, 1 step) and a half step is ..,
called for. The fourth degree is named Bb, not A#, as we already
have an A and our formula calls for consecutive lettering.
~l
:. 3 ~ I T
!f
3 I

Every major scale except the C scale will contain a certain number (

of sharps or flats-one or the other, but not both. ~ ....l""l I ;+

Now construct the following major scales in this order: G, D, A, E

and B. Use your ear along with the formula as you build each
scale. As you complete each scale write it down and memorize it.

What pattern occurs with the number of sharps in each scale as

you build them in the above order from G to B?

When you have completed the construction of each of the above

scales, build the remaining six scales in this order: F, Bb, Eb, Ab, Db
and Gb. What pattern occurs with the number of flats in each scale
as you build them in the above order from F to Gb?
10 # Basic diatonic Basic diatonic # 11

~b 1I"1:r()~ any kind (C, C#, Cb) to a D of any kind (D, D#, Db) will always be
:I some type of second; a C to an E, some type of third; a C to an F,
some type of fourth, and so on.
, 3
The most common types of intervals are designated as follows:
:t I .'I.
seconds, thirds, sixths, and sevenths are called major (maj) or
minor (m). Unisons, fourths, fifths, and octaves are called perfect
, (p), augmented (aug), or diminished (dim).

ro.r
<I
I
Ii 3
"d
., ,'3.;11

I) b .. ".;Jo!t
l
lCrir
' 3
Now using the note C, let us determine the intervallic distance
q between it and the other notes of the C major scale:

3 , ., a
1>: Ullr&, I'iA~ .1". iIIAt'la. p..,"" PS'" 11110 1011- IIIIi 7r. p Oc;r~1I'

f 3 .... ~ 1 1$ .. - .... ~_II

I s.tep
e--.
"" STU'~
.. .<' ....
.:t~ ~161'~ 3 1) STf."~
<~
.. >
Z

"I ~ SUPS
I
,. Z
-e-
S~ST~
. ,.
.... II
10
>
Z

~flU"
,(
I

If we examine the types of intervals that result between C and the

other notes of the C major scale in Example 6B, we find the
second, third, sixth, and seventh are major intervals; the unison,
fourth, fifth, and octave are perfect. (A perfect unison is the same
note sounded simultaneously, which is not possible on the key­
board of course, but is possible between two voices or instru­
ments.)

A minor interval may be formed from a major interval by decreas­

ing the distance one half-step. This may be done in one of two
ways-by lowering the upper tone one half-step:

INTERVALS
1,.·71 m ,2'. m3Q1) m (.'\10. m711.

,,~ 61 .~,
II
To understand the construction of chords, it is necessary to un­
derstand intervals. An interval is the distance (number of steps)
-e.-b,
'I.. ~tE"
..._li'
I v~ srel's
47
« 1i1U~
<
....
~-
;>
z
&TtY:,

from one tone to another. If the two tones are heard at the same
time, the interval is called a harmonic interval. If the two tones are or by raising the lower note one half-step.
not sounded at the same time but are consecutive tones of a
melody line, the interval is called a melodic interval.
[]!I]
" ,21'111 /II ,ailO J!I ",.,A tn7t1­

Mt'!4'>4Ie IUT~ol\'"
I~ i· ' ......
I <' It
Ed ~ -4Ii-z
., Z
j-o?'"
II V4 ::'W' I v.. 51U~ .., SorEP, Ii STf-Pl

The intervals within an octave are called unison, second, third, Notice in both Examples 7 and 8 that the letter names of the notes
fourth, fifth, sixth, seventh, and octave. The distance between the do not change. No matter what type of interval we are forming
letter names of any two notes will determine whether an interval (maj, m, aug, dim), seconds must be two letter names apart, thirds
is to be named a second, third, fourth, etc. For example, a C of three letter names apart and so on.
12 # Basic diatonic theory Basic diatonic theory # 13

The perfect interval becomes a diminished interval when we With this in mind, let's examine the following intervals: If we look
decrease the distance by one half-step, again by either lowering at Example 12 and think of the lowest note, G, as the root of a major
the upper tone or raising the lower. scale, we see immediately the first interval, G to A, must be a
major second for the letter names are a second apart and we know
A is in the G major scale. The interval G to Bb we recognize as a
p s"­ third for the letter names are a third apart. We know that the note B
, I ), ,11 belongs to the G major scale, and as B has been lowered one
~
if ,. II z
,,­
half-step to Bb, the resulting interval is a minor third. Looking at
.;l lot
-e:'
,~
-e?
at;!. ,TUj
* " S.TU'J
the interval G to C* we see that the note C is the fourth tone of the G
major scale and that raising the note one half-step to C# results in
The perfect interval becomes an augmented interval when we the interval of an augmented fourth. The interval G to 0 is im­
increase by one half-step, raising the upper tone or lowering the mediately recognizable as a perfect fifth for we can see that the
lower. upper note 0 is the fifth tone of the G major scale.

I~IO 1
ENHARMONIC INTERVALS
'i> u.. ~'o,., Ii....... U...t<I>6N P '-114- Au.<. qrlo
An enharmonic tone is the same tone notated differently.
1$ I4>-" ~-~+ II I.....s, ,.J' II
4'- +
V.,. ,r.;:.p
e'"
•
;) 'I;. :i.rfo./'S .; ~TflJo !'t, 131
£NItIlQ"OjJl<., TOIJt~
P 0"- flu. ... 6,.4­ P Oc,'~'" Aut..

I~ ~. 1- I
O<.1Auc

-e?
,.1 I~JI ,.,." II -6-
,. z '"
I
I... zI· )-11
>
~
.3~ Sf5i'J 'f STeP! (", srtpJo ,,~ trfPJ
Theoretically, an enharmonic tone will change the name we give
to an interval even though (when played on the keyboard) the
Two other intervals you will frequently come into contact with intervals are indistinguishable in sound.
are the augmented second and the diminished seventh. The aug­
mented second is formed by increasing the distance of the major
second by one half-step. The diminished seventh is formed by
1',141
eNM'II011l1:, rNrelftl!4w.
flu... Uu~~o" ,... .1".
decreasing the distance of a minor seventh by one half-step.

IbJIJ 14 -e-I..­ I 19--'. II

~.w .1"" Au... J.",O /II 7~ .b.r,.. 7.,.1..
In 'concert' composition, particularly the chromatic styles of the
1$ I )4j:-.' II ,. Z ~" I ).0)' II late nineteenth and the twentieth centuries, composers (some­
.. - I
I b7t~ -0-"
'v.. "T~J
-e-
S 6Ttl'.J. ":'(liits times in an attempt to use less accidentals and sometimes for
theoretical reasons) often made use of enharmonic tones in a
manner that produced unusual intervals.
The easiest way to identify any interval is to think of the lower
note as the root of a major scale; then, if the upper note belongs to Especially when double flats and double sharps are employed,
that major scale the interval will be major or perfect. If the upper intervals that are not commonly augmented or diminished result,
note does not belong to the major scale of the lower note, the as do double augmented and double diminished intervals.
interval will be minor, augmented, or diminished.

I~~, III
II
I~ e 1
II
14 # Basic diatonic theory Basic diatonic theory # 15

Jazz and popular composers, however, normally avoid the use of DIATONIC TRIADS
double flats and double sharps in their notation even though this
avoidance usually necessitates the use ofmore accidentals. A jazz A triad is a chord made up of three tones. It is constructed by
or popular composer would almost certainly notate musical beginning with a tone-called the root-adding a second tone an
Example 15 in the following manner: interval of a third above the root, and a third tone an interval of a
fifth above the root. The added intervals are called the third and
fifth of the chord.

II
.. -#- ..

As you play Examples 15 and 16 you hear no difference in sound

between them. As far as keyboard writing is concerned, these
examples become only different methods of notation with the A major triad is constructed by adding a major third and a perfect
musical passages in Example 16 seeming to result in more com­ fifth interval above the root; aminor triad by adding a minor third
mon and readily identifiable intervals. and a perfect fifth interval; a diminished triad by adding a minor
third and a diminished fifth interval above the root.
INTERVALS OF MORE It~,,2~
THAN AN OCTAVE
C..H Cw­ e di ...
Intervals that constitute more than an octave in intervalic distance
are called ninth, tenth, eleventh, twelfth, and thirteenth intervals; I~ :i ~ ~S
:.e-
II
a ninth being simply an octave plus a second, a tenth, an octave
plus a third, etc.
The word diatonic refers to only those notes which make up a
specific major or minor scale. Diatonic triads, therefore, are three
[f!]]mq~ note chords constructed from only those notes that are contained
IC~ q,l. Rill. <J1k WI JDiL. iIIM./Dtl. ~j 111k illl(' 11'1. ~o\T. JJ.tl. III 13+1­ AhJ 13-t/.

,. 4, , •+ 1­ in a specific major or minor scale .

• J. bl •
..
, I

14 4- .g 4- 4- -e- .... -4>- -e- -e­

II To construct diatonic triads from the C major scale, we establish
each note or degree of the scale as a root, above which we add an
interval of a third and fifth (using only the notes contained in the
The ways in which these intervals are used will be discussed in a C major scale).
later chapter dealing with ninth, eleventh, and thirteenth chords.

This concludes our brief introductory study of intervals for this le~.~ll
chapter. Before going on to the next section, demonstrate your
knowledge of intervals by identifying those notated in Example
18. I; 1­ 8
0
, § I I I II
~ 1! 11I "lI:' .:r Jl[ iII:

,~ ~......
When we examine the diatonic chords we have constructed, we
find the I, IV, and V chords to be major triads; the II, III, and VI
~ I w0 II
chords minor triads; and the VII chord a diminished triad.
IeK :l] Basic diatonic # 17

. CMAO E.. ~1M1

•
bf'\ IT .... A... Bd;...
After you have learned the diatonic triads in the key of C in each
§ I § II
I" J:
M""I
I
If
m
i
...
III ..ll'"
1'141
:sf
"'to

:n
....
u::

di ....
inversion, go on to the following section on voice leading and
chord progression. Learn to apply the demonstrated progressions,
then follow the directions for the continuation of your harmonic
study.
Because each major scale contains the same number of half and
whole steps, the kind of triad that is produced on each degree of
the scale will be the same for every major key. DIATONIC PROGRESSIONS AND
VOICE LEADING
!e~, ~ll Ke.'1Of c;.
G.,w R... 6... c~ .o...A\I e", f~J;... The chord progressions that are presented in this section are not
only traditional progressions, but are also some of those which
14* $,#31 :lji J ~,§ II you will frequently use when playing songs in a variety of folk,

INVERSIONS
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pop, and rock styles .

Voice leading is a device that allows for smooth harmonic transi­

tion from one chord to another and holds the progression to­
gether. This device is especially valuable for one who is begin­
ning to play chord progressions at the keyboard, for voice leading
A triad with the root as its lower tone is called aroot position triad; dictates the position (inversion) for each chord throughout the
inverted with the third as its lower tone it is called afirst inversion progression.
triad; inverted with the fifth as its lower tone it is called a second
inversion triad. The concept of voice leading is an easy one. Think of each tone of
the three note triad being a separate voice-let us say soprano,
1ell, '\~I alto, and tenor.
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The best way to begin learning the keyboard in an applied way is
to play and memorize the diatonic triads of a key.

To begin your harmonic study of the keyboard play the diatonic Voice leading consists of keeping the common tone(s) in the same
triads of the key of C; first in root position; then in first inversion; voice(s) when moving from chord to chord.
then in second inversion. Play each position of Example 25, first
hands separate, then hands together. Let's look at how we voice lead the C triad to an Am triad, keeping
the tones that are common to both triads (C and E) in the same
I~/~] k'OO1' PO~l:T'o..
6_. I fol' I l't\)f4IUON
voice. The common tones are noted by the broken tie.
CMfo. b,., f; ... FIIo\l1 AM e, cI i", e~ 3)... f. ... F""", &~ II.... IllJ:...
e- .I:L

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tMII\j' t; ... £ ... F•• , 6."1 Am e.c:I~ ...

I~ :so s -e-8 ! ! ~ II
s<:J" -e­ 0'
Notice in Example 27a that only the upper voice (soprano)
moved-from G to A-while the lower voices (alto and tenor)
:I II III' Dr 1& 'lIJ:" YlL
retained the common tones between the chords.

16
18 # Basic diatonic Basic diatonic # 19

Example 27b is an incorrect example of voice leading, for here all

three voices moved unnecessarily. r l:HORtl ~1 F14" :J'Nt.re.A,l:()/J f (!,,{J/l1J 1fT $6tMNl .LJIJSltSJ()K

e IJ,.. ])... 6- e. e. 1/... IJ.. G t

Keeping the voice leading procedures of Example 27 in mind,

let's voice lead the C triad to an Ern triad keeping the tones I~ s__.. _ -. B-= II-- ;; - ---!---f---' II__
-- 1__ -i-'
I J:r
:J. ___
Jr r
R--~l
cornmon to both chords (E and G) in the proper voices.

Now play the progression again in each of the three positions

demonstrated with right hand voicings. adding the root of each
chord in the bass with the left hand.

Notice again that in the correct example only one voice (the lower) I I I I
~
~ I
moved, while the upper voices contained the common tones. In
the incorrect example all three voices again moved unnecessarily. ( , ~ ~ If3 c;,.
-
J
Now let's look at voice leading for a diatonic progression using r !JI. II J! I :r. 0: .IF :Jl' .I:
four chords: I-VI-U-V-I or in the key of C-C. Am, Dm, G, C. ,
,
\

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r -&
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e b""
II I I J J ""

Play the progression shown in Example 29 again, this time adding

4
the root of each chord in the bass with your left hand. ~ UI Ir ~ r

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Play the progression as many times as needed until you can play it
" 0

from all positions without referring to the written examples. After

~
:r ra. 11 :Jl' I
you have done this, voice lead the following progressions using
the voice leading principles we have illustrated:
l
r r CF
I-IV-II- V-I
DmG C C AmF
I-VI-IV-U- V-I
DmG C CF
I-IV-V-I
G C

Now play the progression beginning with the C chord in first
inversion; then again with the C chord in second inversion.
Notice that each time we begin the progression with the C chord
in a new position, the triads throughout the progression occur in
different inversions; this is because the common tones occur in
different voices.
Play the progression in all three posi tions adding the root of each
chord in the left hand. Use Example 32 as a model.
You will discover that whenever parallel triads occur in a pro­
gression there will be no common tones between them-as be­
tween the IV and V chords of the I-IV-V-I progression. When this
20 # Basic diatonic theory Basic diatonic theory # 21

situation occurs move the V chord down to the closest available SEVENTH CHORDS
position. Moving the triad down creates contrary motion with the
bass line which is moving up and produces strong harmonic Seventh chords are constructed by adding a fourth tone-the
movement. interval of a seventh-above the root of a triad.

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I !l[ y r r w y I .I :N :If t. The four types of seventh chords with which we will concern
I
ourselves at this point are constructed in the following ways:

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Major seventh (maj 7)
Dominant seventh (7)
a
a
major triad
major triad
+
+
a
a
major 7th interval
minor 7th interval
When you have learned to voice lead the four progressions in the Minor seventh (m7) a minor triad + a minor 7th interval
key of C, learn the diatonic triads in the key of G, using Example Minor 7th flat 5 (m7 b5 ) = a diminished triad + a minor 7th interval
25 as a model. Then voice lead the four progressions in this new
key as you have done with the key of C.
~
The student who has serious intentions concerning harmonic C C"111-., !!. e7 C... e"'7 CJ:... C",/1I61
study should continue this procedure in all keys, using the fol­
lowing key sequence that progressively adds a sharp or flat for
each new key studied. Keys: C, G, F, D, Bb, A, Eb, E, Ab, B, Db, Gb.
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To construct diatonic seventh chords, we add the interval of a

THEAUGMENTEDT~ seventh above the root of each diatonic triad-using, for these
added seventh intervals, only those notes which are contained
One final triad we should discuss in this section is the augmented within the key.
triad. The augmented triad is constructed by adding the interval
of a major third and the interval of an augmented fifth above a
root.

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When we examine our diatonic seventh chords we find the I and

The augmented triad is a symmetrical structure (Le., the interval IV to be major seventh chords; the V to be a dominant seventh; the
between the root and the third, and the interval between the third II, III, and VI to be minor sevenths; and the VII a minor seventh flat
and the fifth are the same-major third intervals. Therefore, when fifth:
the augmented triad is inverted, the lower tone becomes the root
of a new augmented triad. 1 ~~.3~ I
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22 # Basic diatonic theory Basic diatonic # 23

CHORD PROGRESSIONS
Because the construction of each major scale is the same, the type
AND VOICE LEADING
of diatonic seventh chords produced on each degree of the scale
OF SEVENTH CHORDS
will be the same for all major scales.
The principle of voice leading seventh chord progressions re­
I, IV Major seventh mains the same as that of voice leading triadic progressions­
V Dominant seventh keeping the common tone(s) in the same voice(s). Here, however,
II, III, VI Minor seventh we are dealing with four voices instead of three.
VII Minor seventh (b5)
If you have spent some time applying the triadic progressions of
the preceding section, you should encounter no problems in voice
Example 40 gives the diatonic seventh chords in the key of G: leading seventh chord progressions.

~ G.Arl rl,."W}
Let us begin voice leading seventh chord progressions in the key
f}"'1 8'"7 e~1 ::07 &"'1 ofC with the I-VJ-U-V-I progression (C-Am-Dm-G-C), starting

12~I~J ...t t1'J i .,1 II with the C major seventh chord in root position. Remember to
f ~!I
~ keep the common tones in the same voices (common tones again
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noted by the broken tie).
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SEVENTH CHORD INVERSIONS

A seventh chord with the root as its lower tone is called a root
position seventh chord; with the third as its lower tone, a first
inversion seventh chord; with the fifth as its lower tone, a second
I~
inversion seventh chord; with the seventh as its lower tone, a
third inversion seventh chord. Now play the progressions adding the root of each chord in the
bass with the left hand.

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Learn the diatonic seventh chords of the key of C, beginning with
I .II" JL J :r
the chords at root position, then from first, second, and third
inversions. Play each position in Example 42 hands separate then
hands together as many times as you feel are necessary to gain a
comfortable working facility with the position.
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Let's continue voice leading the progression, beginning each time
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with the C major seventh chord in each of its inversions.

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C.."" ])"" E.m) f"fN, &, ~"'1 B"'1 (1,5) C. .. A\i~ :1>"'7 E"" r:tINfJ, &7 It .., 8",,(1.5)

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9
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= 3!: 1l:/:" J1.ll: .z :zr .:or .zv:: Y" = 1m
 24 # Basic diatonic theory
,
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n
7 7 7 7 7 G 1

When you feel you have become familiar with each position of the
progression, play the four positions adding the root of each chord , 4 -ii l! !
in the bass with the left hand.
i -11 IV ~ E~
<
:r .IJl .II[ lIt I Ir ~ I

e."~7 , ,v
I I
~
7 7

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F
..
1 1 I
I

-4 «=!e. -ti ~
..... ..... -0­ When you have completed the voice leading assignments for the
J
given progressions in the key of C, repeat the procedure used in
r :ur 1f y I :I Ir 'II J[ .I the preceding section on triads (Le., choose a new key, learn the
diatonic seventh chords from each position, then voice lead the
progressions in the new key as you have done with the key of C).
- \
r r --e-
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- I r
J) ... c......r, This procedure should be continued through all twelve major
I J ~
7
keys.
1\
7
1
17 17
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TIlE MAJOR SIXTII CHORD

I I III E Jr I r J1L .rr Y .r
, The major sixth chord is used interchangeably with the major
seventh chord-both being "color tones" added to a major triad.
-
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I "IT I -.g..
IE.,~II
c. c.", C _lIJ r

Continue playing the progression in the four positions until you 1$ s

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can do so with ease and without the use of the written examples. ~ TRIA~ e. ~re.~ ","to. c..~R'1-r'\

When you have accomplished the above, voice lead the following Many pianists prefer to use the major sixth chord when the root of
seventh chord progressions in a similar manner, referring to the chord occurs as a sustained note in a melody line thus avoid­
Example 46 as a model: ing the minor second or minor ninth interval that will result when
the major seventh chord is used in this situation.
I-IV-II-V-I I cmai7_Fmai7_Dm7--G7_cmai7

I-VI-IV-II-V-I I cmai7_Am7_Fmai7_Dm7_G7_cmai7

I-IV-V-I I cmai7_Fmai7_G7_cmai7
1/ f/ // 1/
t
I-IV-VII-I1I-VI-II-V-I I c mai7 _Fmai7_Bm7(b5LEm7_Am7_Dm7--G7-cmai7

~ ~
~
All of these progressions with the exception of the last, are pro­
gressions with which you have worked in the previous section on ~

voice leading triads. ~ :

The new progression is designed to further familiarize you with

all the diatonic seventh chords of a major key. The following The employment of the major sixth chord is also preferred by
example demonstrates the voice leading of this progression with many pianists when a strong feeling of cadential finality is
the I chord at root position: desired-as on the last chord of a song.

25
26 # Basic diatonic theory
THE DIMINISHED SEVENTH CHORD
The diminished seventh chord is anon-diatonic structure, "man­
ufactured" by adding a fourth tone-a diminished seventh
interval-above the root of a diminished triad.
(! J ..... c.. c\;"'l"
IJ . .'-e­
8 !\.-e- II
The diminished seventh chord sometimes appears in sheet music
with the diminished seventh interval spelled as an enharmonic
major sixth.
Because the diminished seventh chord is a symmetrical structure
(the interval between each tone-root to third, third to fifth, fifth
to seventh-is a minor third interval) the lower tone becomes the
root of another diminished seventh chord when the chord is
inverted. Usually enharmonic spelling is used.
Ways in which diminished seventh chords are used and the
presentation of other seventh and sixth chords employed within
the several musical styles of this book will be presented in suc­
ceeding chapters.
This chapter has been designed primarily to provide you with an
applied knowledge of diatonic major key theory-a necessary
first step for understanding the more complicated harmonic
styles presented in later chapters.
DIATONIC EAR TRAINING
The value of training one's ear cannot be overestimated. Without
exception, the best improvisors have the best ears.
Basic diatonic # 27
To duplicate and experiment with the musical phrases of other
musicians and to produce the ideas that occur in your own musi­
cal mind necessitate learning to hear and identify linear move­
ment (scales) and vertical structures (chords).
The blessed few who are born with perfect pitch learn easily to
hear and identify musical materials as they work with them; for
the rest of us it is a longer and more arduous process.
The following section has been designed to help you hear the
diatonic material with which you have been working-scales,
intervals, chords, and chord progressions.
Work with the material in the order we have laid out. It is best to
refrain from jumping ahead to the next procedure until you have
accomplished the requirements of the one with which you are
working.
If you work with the material a little each day, you will get results.
SINGING TIlE MAJOR SCALE
The first step in ear training is to be able to sing the major scale.
Using the syllable la, sing the scale slowly up and down as you
play the scale at the keyboard. Then, playing only the first tone,
sing the remaining tones of the scale up and down. If you find you
are unable to sing one of the degrees of the scale, aid yourself by
playing that tone as you sing it and continue.
Listen carefully to your intonation. Even if you don't possess a
good singing voice, you will be able, with concentration, to into­
nate each tone properly without sliding sharp or flat.
Continue working this way until you can sing the scale without
the aid of the keyboard. (You will find that when you can sing one
major scale you will be able to easily sing any other major scale
within your vocal range.)
SINGING AND IDENTIFYING
DIATONIC INTERVALS
Play and sing the root of the scale as a melodic interval with the
other tones of the scale, ascending and descending. Make note of
each type of interval you are using.
28 # Basic diatonic theory Basic diatonic theory # 29

l~x,521 Repeat this procedure with minor and diminished triads. Listen
carefully to both the intervals of the triad you are singing and the
r'lM .l"D /II". SRD P'li'- ~ 5'" I14~J {,,~ AlltT 71" fl. dc-rho';;
overall sound quality of each type of chord.

-e- ~ ~ ~ e -e- ..e­Now try singing the tones of each type of triad, playing after you
have sung to check for accuracy.
m .2 111 • 11\ 3'" P 4~ f' 0-,1. t11 &. tl '" 7'1. A 01:.'11<.16
Have someone playa variety of major, minor, and diminished
triads in root position while you sing and identify the type of
chord.

When using this method, all the diatonic intervals are involved: When you are able to identify the triads in root position, sing and
play the triads in first and second inversions. Then again have
Major seconds, thirds, sixths, and sevenths-ascending someone play the triads as you sing and identify them by chord
Minor seconds, thirds, sixths, and sevenths-descending type and inversion.
Perfect fourth, fifth, and octave-ascending and descending

Now, playing only the root, sing the major second as a melodic IDENTIFYING DIATONIC
interval, then check your accuracy by playing the major second. . TRIAD PROGRESSIONS

1~,531 When you can identify all the diatonic intervals and triads in their
S.:tw(" TItEN Pt.ltt'
inversions, you will be able to begin hearing diatonic chord pro­
gressions of triads.
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Again, the best way to work on these progressions is to have
someone play them for you. 1£ you can't coerce a friend into your
Continue this procedure of singing and checking with all the practice sessions, try playing the progressions into a tape re­
diatonic intervals as shown in Example 53. corder, mixing up the order in which the progressions are played.
Play enough patterns at one sitting so you won't remember the
When you feel that you are making sufficient progress with this, exact order in which you played them.
have someone play the intervals for you while you sing and
identify them. Work with the following progressions, voice leading the triads
with the right hand and playing the root of each chord in the bass
Continue to work with these methods until you can easily sing with the left hand. Vary the starting position of the I chord
and identify all of the diatonic intervals. throughout the progressions:

1. I-IV-I 4. I-VI-II-V-I
IDENTIFYING TRIADS
2. I-V-I 5. I-VI-IV-U-V-I
Play and sing the tones of a major triad as melodic intervals. Then . 3. I-IV-V-I 5. I-IV-U-V-I
play the triad as a chord and sing each tone as the chord is
sustaining. Try singing the root of each chord as you are listening to the
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progressions. This will aid you in identifying them.
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only two for awhile. When you learn these two add a third pro­
gression, then a fourth and so on.
30 # Basic diatonic Basic diatonic # 31

IDENTIFYING SEVENTH CHORD ffI ("iI- M.w (,;tt. m 7t'< 111.41 "". P. Oc.TItU£ .;1"0 )1M :t AltJ
hi
PROGRESSIONS

The same procedure we use for identifying triads should be used

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II
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be II
with the seventh chord patterns. Sing and play the diatonic sev­
enth chords: major seventh, minor seventh, dominant seventh, ;n 3/11> tI/,fl aRc fJi(tf. litH J./jI. p~-t/.. /'11 ",t/. lAII-j ft;~
and minor seventh (flat 5). Sing each chord in root position then
in each of its inversions. Then have someone play them while you
identify the type of chord and inversion. Finally, proceed with the
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jC!
GIl II ~
bo II iI:Z
l) II Z!
g II i.'5
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seventh chord progressions using the same patterns and voice
leading that you used for the triadic progressions. f'(/ 7tf. IIIIIl 7 t4 f) Ocr/kJE

As you can now easily identify diatonic progressions, you should I ~

0
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bo II D

have no trouble identifying the same progressions involving sev­
enth chords. If you do have problems, more singing and identify­
ing of individual seventh chords is needed.
If you have worked successfully with the material thus far, you
have made an excellent beginning toward training your ear, and
you have gained a knowledge of ear training procedures.
-0
II
(Notice that in the ascending chromatic scale many of the inter­
vals have been named enharmonically to maintain the consis­
tency of major and minor intervals-e.g., C to C# (Db) an enhar­
monic minor second instead of an augmented unison; C to D# (Eb)
an enharmonic minor third instead of an augmented second, etc.).

In some of the workbook sections throughout this book, addi­ When you have accomplished this exercise, you will have pre­
tional ear training projects will be suggested in accordance with pared yourself for working with the more advanced improvisa­
the material of that particular chapter. tional material presented throughout the book.

SINGING THE
CHROMATIC SCALE

To this point, our concentration has necessarily been on diatonic

major key material. To begin preparing your ear for more compli­
cated material, learn to sing the chromatic scale.

I~
When you can sing the scale without the aid of the keyboard, learn
to sing each interval of the scale from the root as you did earlier
with the diatonic intervals.

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 Keyboard
•
arrangIng
from lead sheets

Rather than playing pre-established arrangements set in treble

and bass clefs as pianists do when playing traditional literature,
jazz and commercial pianists primarily work from lead sheets. A
typical lead sheet consists of simply the melody of the song and
the chord changes indicated by chord symbols.

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Any player who has an understanding of how to construct the

chords can, by playing the melody and the chords, get a basic
harmonic and melodic outline of the song. However, to bring the

33
34 # Keyboard arranging from lead sheets Keyboard arranging from lead sheets # 35

music to life requires a knowledge and technique of the various Some institutions and musical groups use their own symbols
chord voicings, fills, and rhythmic approaches applicable to the which you may occasionally encounter on lead sheets. Some of
particular style in which the song will be played. these symbols are the dash sign (-) for minor chords and the
triangle (d) for major chords.
The succeeding chapters will present material on approaches to
the keyboard pertaining to a variety of musical styles in the jazz
and popular idioms. At this point, it is essential that you ADDITIONS TO BASIC
familiarize yourself with the most commonly used chord sym­ CHORD SYMBOLS
bols. They are:
Most styles of Pop and Jazz music contain chords that require
'J:);uI;lIl'tWU T~o ~6~f,lJru TR.rIN:>
additional notes beyond the 7th (Le., 9ths, llths, and 13ths).
(! di..... e.+
If a chord symbol contains an additional instruction and the
II s!
o
II addition is clear, it means exactly what it says. For instance, C
add 9, cmai9, C7(9), C7(b9), C7(l3).

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C,

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1WO-PART CHORDS Sometimes composers will notate additions to basic chord sym­
bols in ambiguous or unclear ways that will present problems to
When a note other than the root of the chord is to be played as the the inexperienced player. When you encounter chord symbols
bass note, the symbol will contain two parts. The upper part that seem unclear to you, there are two good rules to follow.
designates the chord to be played; the lower part designates the
bass note. 1. Most additions to basic chords involve dominant 7th chords.
2. Ifthe chord symbol is unclear, experiment with the chord until
it sounds right to you.
c...
l\ Finally, many publications contain chord symbols that are both
f1
incorrect and inadequate. Realize, when working with chord
1 .eo­ .e­ -e­ ~ symbols from lead sheets and sheet music, that you will often
need to change, add, or delete chords. An understanding of har­
mony is certainly helpful, but the final determining factor will be
your ear.

The chord symbols used in Examples 2 and 3 are those that are
used throughout this book and are consistent with most standard
sheet music publications.

Older sheet music and fake books from the 1930's and 1940's
sometimes use the following symbols: a large M for major chords,
a small circle (0) for diminished chords, a small circle with a slash
through it (9) for minor 7th (b5) chords and aug for augmented
chords.
 Folk and
country music

The terms "folk" and "country" are terms that now represent a
wide variety of American music both traditional and contempor­
ary. Some of the subdivisions within the broad category of folk
and country are Old-timey, Bluegrass, Ragtime, Texas Swing,
many types of "blues," and a dozen hybrid forms of modern folk
styles, Latin oriented styles, and commercial pop styles derived
from folk.
In many of the older styles, except for blues, the piano did not play
a major role, but in recent years a number of folk players have
turned to the keyboard and have established it as a major expres­
sive vehicle for the presentation of folk and country arrange­
ments. Judy Collins and Joni Mitchell have both published song­
books that present basic piano settings of their folk music, and
many others have followed suit. In addition, there has been a
revival of ragtime and blues roots playing in recent years and
several good books and records of these folk-oriented styles are
available.
Since the harmonies and techniques used in country and folk
arrangements are fairly easy to understand and use, this is a good
place to begin developing an improvisatory approach to the key­
board.

CHORDS AND ACCOMPANIMENTS

FOR SIMPLE FOLK TIJNES

The first step in creating improvisations for folk tunes is to prac­

tice methods for arranging simple folk songs on the piano. Since
the harmony of most of these tunes uses diatonic triads, a good
37
 38 # Folk and country music Folk and country music # 39

place to start is to work out left hand accompaniment in s~veral

keys. In this first section, we will take a simple progressIOn of

chords and use it to accompany a sample folk-style melody. The

F Fie c
I I ....
chords are voice-led smoothly to maintain a flowing left hand
I

feeling. Here is the pattern in two keys, F and Ab.

'--J

<
[hl1
,,)

17e
f

;: F
:r:
n·
Cit

:sc
6"/G-
8';!b

he
III

'JNf
C I
fit

11161>
8~

i'
s;
Ji'
,
e

:r
cl>
f
"6­
S
:r
II"

II
, I

r r
-t­ ,...

r -
r
I -
r
I -
t
I ~

•-s­
bi

Wi,e !
:r
~
::sz:
r
III r ! F
:J: r
II
(
I
r
,
'-oJ
....,

Play the following melody over the chords. ,

ill m rn m m m
r -
r-
,-.:7
- "'"
F elf flc ......., e

I....J I
f

1!'" .,. oCt ~

\,
I I I I

Let's now accompany this melody with four different left hand

patterns. We will use arpeggiated (Example 3), root-chord

With the above patterns you should be able to work out accom­
quarter-note (Example 4), country style rolling eighth-note
paniments for many folk songs. If working out arrangements by
(Example 5) and classical style broken-chord patterns (Example
ear is new to you, a good place to start is to use some of the ideas
6).

above to accompany some simple songs like "London Bridge" or

"Three Blind Mice." Once you are comfortable with this proce­
Itr,3j dure of accompaniment, melodic improvisation can be ap­
~
F proached.
f ,
.. I L..J
MELODIC DEVELOPMENT
4
Ii ~+ If- f" II r .,.t A basic type of improvisation is derived by developing an already
existing melody. The classical genre abounds with examples of
"­ ....
~
v V v this type. Let us begin by working with a simple folk tune.
[E.,71 Folk and music # 41
h A7 (J7 ft

1&4e ,Q I + ~ J D -i
.jD I J J J Next we will mix the chord-tone approach with various scale

11 I
I I
iT-
n ) I'
lines. To prepare for this, play through the scales for each of the

chords. These are scales that contain the accidentals of the key (D

in this case) and begin and end on chord tones of the specific

b ir
, A7 11

,~ I ,I J ;. ;. I ~ I ,I)
chords. For example, on the A7 chord, the scale would be a scale

I
.FJ • "
I I
• JI D
II that begins on A and ascends or descends to either another A or

another chord tone of the A7 chord such as C# or E. Here are the

scales for the chords used in the tune.

Use the following left hand accompaniment for the tune.

l£dl D 6­
1:> 117 117 1> , ~ Jr _A

Ir ·,e r f1 r r rr r Ir fl r Ir f3 f I 0 -
c-e-
.....
JI1
CI'

~ X eHoRll
....

ellOtO I.lr

.g.
e~n

.1) G-
"7 l> ~
,
J
r r==f r i R f ,
I r=r r I r r: II \

It would be valuable to note here that we are only using a few

In our first improvisation we will construct a melody based on the chords from the key. Each major key contains seven diatonic

chord tones of the harmony. chords, and the same general principle regarding scale formation

applies to each chord. Here are the seven scales contained in the

IE.~ I J) fl7 117 b

key of D. Practicing all the diatonic scales for the key you are

working with will give you a very thorough familiarity with the

14\c fJ J ,I fj, I
..
1 .....I
j I..,..+
fft) ~
• n +
, •I J key.

.ll 1>7 G- 1/7 )

I 71:P ~r
J ~Ir r
~
"
,:it I ,I 19 .I I I 01] r I .. " ......
+ I
( D
A further variation is adding approach tones. The approach tone I elklto ;p: c.~o 111 Cllallo Dr ( ! _

most commonly used is the half-step below the third of a chord,

which usually moves up to the third-such as C to C# on the A7
chord. The approach tones are circled in the following example.
,
1>
..IS""
....F1f.,... (:,
.g.

III f>

ft, 1&111:8 B tol ,I ~

n .,
--­ '"
....
Jt C."'>ltll :n CtloltO Jl]f C,otW

0, 4 a... CltWl
& 117 f.)
t .s.
.....
I r1iiVJJJI~{J j J n I@~£J .g I
,I ,f; r ~ II ,
$:

" +

40
42 IF Folk and music Folk and music IF 43

The following improvisation uses the scales of the chords. I

I
f'1
11, (
)
<
.. tf*-i i if-rr
I LL
1
.,.. I I' , .,. I I
I

b ~ c;. ~ :)

I .O::o~U jJ I (ted' f' ~ 1,D2 I hO f I ~ li tPl r • I .,. II

In Example 16, two chords are used (Bb and F) with an embel­
lished figure for each.

For a more varied improvisation try mixing the categories used

f
above. The following version uses scale tones, broken chords, and
chromatic approach tones. "
,
tJ V-V r Utrv- f +i ~

• 1 I
~7 b
. I

I [in .r@IW mJJ ~"

Examples 17 and 18 demonstrate two additional samples of this

kind of figure.
1:1 lJ 7 .... 11, 1>

I ,I n [!1fJ Ivu jr ! oJ I H ff ,§Q=:j l,FrJfJ ~ II

~ jJ,
""
I
""

t f f- f ~ \~
I

CHORD EMBELLISHMENTS 1 I
In folk and country music, there are several standard methods of ,
maintaining variety and movement within the chords. Since I I I
1 I I
many tunes in this style contain only a few chord changes, it is a
challenge to keep the music interesting. i
I

One very characteristic figure involves the use of the second and f

fourth tones of a chord scale to form improvised embellishments

on the chord. For example, on a G major chord, instead of sound­
I
I r r IIJ Ul-id I
ing the triad in root position on the first beat of the measure, use an
embellishment involving the tones A and C. Notice that the chord
has more variety and rhythmic interest when played in this man­ f

ner. I l
 44 # Folk and music
Folk and music # 45

Dominant chords can be embellished in similar ways, except that

the flat-seventh scale degree is often included in the passage. Here
is an example on an F chord. r
r
I£t.lql

~
1

•
f
I t
~
I
sl.
tJY ~
( 1 I ) I LJ tf
A11 1Jh
\.
< • =
I
A broken chord is a more random concept which simply refers to
- the striking of chord tones individually at different points in the
rhythm. Example 23 demonstrates an example on the F chord.
There are hundreds of ways to embellish triadic chords in folk and
country music. The point to absorb is that it is critical to keep the IEc.231
harmony active and interesting in your arrangements.

1$' iaJ J).ljl 3113 Ei r I

I
( Often accompaniment figures in this style will mix arpeggios and
I
LlJj U \ --.::tJ>
broken chords freely to maintain a flowing line.
C

. .
\
IE•. ~I

I~ c Pfl Qfj I
ARPEGGIOS AND
BROKEN CHORDS The following examples demonstrate this principle in more de­
tail. *
Many folk and country arrangements utilize combinations of
arpeggios and broken chords. A thorough knowledge of these
possibilities is important. The arpeggio is a series of chord tones
moving up or down. Here is a standard arpeggio in F.

In a folk arrangement, the arpeggio usually omits the third in the

* A good sourcebook for folk arrangements in the above styles is the Judy CoWns
lower register to avoid a muddy sound. Songbook, particularly the song "My Father."
 46 # Folk and country music Folk and countlY music # 47

It is also possible to play this kind of inner line in a more con­

cealed way.
, n

-+ .... -#­ -#
/I / / /
, ,i • ..... r--. ....., r-o
~

A ...------.... A
A /"'--..,

'" r--.

'--1 U L..-J
/

• <
~/'"l c. -#- ri:\ ....-1 ~ ...... ....-1 .... /f ....
,
"' ..... --...J -.........J ~

~ 1/ £/&11
~
,W f r-I ... ....-1 r----., Or the line can be played in the bass.

,
< I nitk +- -#- -#- +
J. 1- •
, ...,
L...J '" I...J t.--- L-I "I I--.J \...-'""

V I ~
L ~ ;- JI t- :- f -: + -t-
l
INNER LINES Another inner line figure begins on the 9th of a chord and moves
in a pattern such as this:
When the same chord is repeated for several measures, there is an

obvious problem of finding a way to "move"- the chord. A method

often used is one which involves the playing of an inner line. Here [£l'/J~I
/I /
is an example of a standard inner line pattern on an A chord.
I$~f
IE..,J.I i ,I ,I ,I ~ £ •4 , J I
$.

li~~ 2 ,I ,I) II Here is an arpeggiated accompaniment for this line.

fI / / /
Here is the same line played within an arpeggio. , nJr i t--

-r+ .,.. ...L#- ...L ++ ..,... .... ..,... -#-

-#- -#- -#-
T
~

I
 48 # Folk and r-rH,nt,"" music Folk and country music # 49

Yet another active line can be formed by moving from the root of a THE TENTH INTERVAL
chord down to a lowered seventh scale degree. This makes the
chord a dominant chord which will then move nicely to a chord Tenth voicings are widely used in folk and country music to
located a fifth down. such as A. to A7 to D. Here are some exam­ provide triadic sonority and to connect important chords of the
ples. harmony. The tenth is formed by moving the third of a chord up
an octave from its position in a close voicing.
IE~J~i

IJ~' ,
II

", ,.
I -!
117

§
..b
, raj 'j
R 117

OS
e-
b

e!
~
11
I
• ,I,
117

8
-e
D

II

COMBINING MELODIC AND

ACCOMPANIMENT TECHNIQUES

A good folk arrangement will blend various types of embellish­

ments and broken-chord figures. Here is an example of a broken The tenth interval can be formed with any type or quality of chord.
chord pattern followed by a suspended 4th tone on a G chord. Here is a series of diatonic tenths in the key of Bb.

)( i~' >':;: .... ~ ....

I I I ...

Here is the melody line and chord changes for "My Old Kentucky In a folk or country arrangement, the tenths would most likely be
Home." Develop your own arrangement for it using the above played in the following manner. Here are two standard passages
material as a general guide. using tenths going from the I to the IV chord.

G C/& fr e G..I)7 (j,. A, JJ ):"

I'~ 'Gil ,I ,I ,e I bi tf r '~I A ,)1 J Xli J. 4' ;A I

lOt/.
(j,. e/r, (j,. A, '/D ~ Go
\
• J ",
I A I ti tt I I
j ,0 I , ,. /J ,0 I j, \ II
 50 # Folk and country music Folk and country music # 51

, ~ ...
f
III r=I I
I'

I,
,. ~ ~
4
/O+-
"f i i r!- If
-1-1 , '.J- ..,..
.(
\0
....

\
. I

,,
~
,b
\~
r t I
".
I'>

, -y

o- j
r I

This type of passage is often played with either a syncopated

\(~r t>I' ,::, I 1'0:::Z: i(e;r OF e.: I. ~ 1I - •.nr - I/arJ - jC
(!.:) f t./E b ... J .) e ~. e/. ,:
rhythm or with eighth-notes or triplets. n - r 1>
i" "'I '1 I

IQ~ b~ c.) 1.1 !.1 ~

.­
T l~ or I I '/
1·
rt ~'

,'"
1
l'
(
,
\0

1 1 Jl \~ It
J
~
"+~-fi. f-.zr 'T T T
iY ' -J-' T .". eo-
I I J I

I I

, SIXTHS AND THIRDS

Accompaniment and improvisational figures of sixth and third

Tenth passages can be either diatonic or chromatic. They almost
always link important basic chords in a folk or country tune. Here
are some standard patterns to practice.
intervals have been essential components of this style for decades.
The ragtime music of Scott Joplin and others contains countless
examples of sixth and third passages in the right hand, and this
material provides excellent training for aspiring improvisers.
Here is a scale passage using both sixths and thirds in the right
hand.

A. DIATONIC TENTHS B. CHROMATIC TENTHS

1. I up to IV 1. I-II-"III-I/3rd to IV
2. IV down to I 2. V-VI-bVII-VII to I b.)

3. IV up to V
4. V down to IV
3. IV to IF (dominant)
f ffEI'f f f £frEY I
5. I down to V
6. V up to I
7. IV up to I Here is the same passage transposed to the key of A.

Ie.,~~ I
There are several rhythmic and voicing possibilities for the above
patterns. The following examples demonstrate some of them.
Practice in several keys is strongly advised. 14W i 14 HJJJ II"f rf r f r f ~
j II
.,r r f ~ ~ 52=11
~H
52 11 Folk and music Folk and country music 11 53

Play this sixth and third scale pattern in all keys until it is com­ DEVELOPING AN
fortable. Then place a left hand beneath the pattern. ARRANGEMENT

Thus far we have introduced some of the basic tools for accom­
panying and soloing in this style. Effective playing will include
combining several of the techniques discussed, with a keen ear for
variety and rhythmic sophistication. Let's take the tune "My Old
Kentucky Home" and develop an accompaniment using the tech­
niques we have discussed. Try the following suggestions on the
first two measures.

1. Inner line to the flat seventh degree of the I chord

2. Tenth run from the I chord to the IV chord
3. Arpeggio on the C chord
4. Embellishment on the G chord
These sixths and thirds can be played in a countless variety of
rhythms. Example 46 demonstrates a few possibilities. Here is one version of those first two measures.

leN.~~1 :r Dr :v: :!it., ~

0.) R ];:, C /'.7 II

I&~j ~ E ~f I : I F fJ 00 : 1 I
b.) e 1:>", G- 6- 7 <!

I&~ eff j I j ~ fB1rz;

F~
d: II

Interesting accompaniments and solos in a folk or country style
can be developed by combining sixths and thirds with arpeggios
and broken chords. Yarying the rhythms between the right and
left hands produces occasionally sophisticated textures. Here is a
short figure in the key of A that combines these techniques.
ADDITIONAL HARMONIC
CONSIDERATIONS
Folk and country music is not limited harmonically to the strict
diatonic chords of a key. In fact some of the most interesting songs
in the genre use a wide variety of different types of chords. In this
section, we will briefly suggest some approaches that will be
helpful when improvising in this style.

CHORDS BUILT ON ROOTS NOT

DIATONIC TO THE KEY

Some of the most common chords of this type are those formed on
the bII, bill, bYI, and bYII degrees of a major scale. In the key of C
these chords would be built on the roots Db, Eb, Ab, and Bb. In the
key of D, they would be Eb, F, Bb, and C. Use of these chords can
54 # Folkand music Folk and """ntl"" music # 55

provide unexpected chord movement and tonal richness. Here are is a short passage using the seven diatonic chords in the key of C,

some sample chord patterns using a few of these. with each one preceded by a dominant seventh chord whose root

is a fifth above it.

1. 1- bIll -bYII-I
C:C Eb Bb C
D:D F C D
I",sol
f b
2. I-bVII- I
C:C Bb C
D:D C D
3. 1- IV Y -bVI_bII_I
C:C F
D:D G
G Ab Db C
A Bb Eb D
;1 1 1 1 1
4. 1- IV - bII-1
C:C F Db C
D:D G Eb D
G
5. I-bYI-bVII-I I I I I I I I
~
!

C:C Ab Bb C I
D:D Bb C D
I T
Play through these chords giving one full measure to each chord,
and improvise a melody. The question of which scale to play
~
1 ~ 4 J 1- -J 1
- J I
when improvising on the non-diatonic chords can be tricky. Our ,
chapter on modes contains helpful material on scale formation.
,
But for now, use a major scale with a raised fourth degree on the
non-diatonic chords. 1 Here is a breakdown of the scales for pat­ Example 51 demonstrates melody and chord changes for a folk
tern 1. song in the ragtime style that uses several secondary dominants.
Begin by playing the melody and sounding the chords against it.
Then use the "root-chord" style ragtime bass figure in Example
51a with the melody.
f (If/U'oR) II" (L'lDtllitl)
~

.
D;''l:J-OI''

-Q­II .... !#
I
I ,0 " "
SECONDARY DOMINANTS
Gr 61 &m e. G­
Occasionally a folk, country, or ragtime tune will employ one or
more dominant chords that are not diatonic to the key ofthe song.
When these chords move to chords whose root is located a fifth
IU r r Cf I (to rTf ~ I i tJ Lett I 7" pI
down (or a fourth up), they are called secondary dominants. Here
l!.
, , .i G &7 Ar '1? G

lIn chord-scale relationship theory this would be a Lydian scale. So the point is
to play Lydian scales on the non-diatonic chords. IU I \ I If trl ,0 I •~ .-~ Ef1j I =- II
 56 # Folk and music Folk and music # 57

IMPROVISING ON
FOLK-COUNTRY
ARRANGEMENTS

To create rich and varied improvisations in this style, you should

When improvising with secondary dominant chords, use a major
scale with a flat seventh degree. 2 Here are the scales for the
secondary dominants used in the ragtime tune.
be capable of employing any combination of the techniques and
concepts presented so far. The following songs in the folk or
country styles are for practice. They give ample opportunities to
use most of the techniques presented in this chapter.

RAGTIME TUNE
7
, .~ J.I.

...... Work out an improvisation for this tune (Example 51) using a
~1fe-" • 75t..- D

..
0­
combination of chords and approach tones in the right hand.
4 Example 54 demonstrates a brief sample of this style .

II

TIlE MINOR IV CHORD

A very frequently used non-diatonic chord is the minor IV chord.

It normally moves to the I chord of a key. In the key of C, this chord
would be an F minor chord. In the key of A, it would be a D minor
chord. The opening bars of Joni Mitchell's song "Michael From MOTIlER JONES SONG
Mountains" contains the progression I-I-I-I-IVminor-I. Here is a
simple example to acquaint you with the sound. This tune is a medium tempo folk song that will sound good with
a combination of chord embellishments, tenth patterns, and
chromatic approach notes. It also contains some secondary dom­
inants. Example 55 gives a left hand pattern in keeping with the
F general style.
I I I

..
l: ::w;: :Dr,.., :z;
f
.... P­ ~4 n
f
,
..,.., TJ
\ \ I
,
~j'
-+f. -+
Ti:;:T V I
... ­
-+ 'itT
., +l
VI t[rJ ~ i'
I I I
~ .~ .I.
lThis scale is called a mixolydian sc~le. Example 17 in the chapter on modes will I

be helpful here. fJ· r !

 58 # Folk and country music Folk and music # 59

LOWDOWN HOSTESS ROSE

[&.5"1
t1CT~14 JON" SO~ (,

This is a country tune that contains a few non-diatonic chords and

[]] sa F £1 B­ a modulation to the key of A major in the B section. One approach

to the tune might include embellished patterns on the chords in

14 i•C D)l j, 11 fl I I
...ft I) .-I ,F] )
I £3, )1 the first four measures.

'~'

f III~<.U.' IN.ti. (Nu ere.

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 60 # Folk and music

Also useful in this tune are tenth patterns connecting the A and B
sections.

!]

1\ 1.

1 r y
Contemporary

~
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rock and pop

CONCLUSION

The Ragtime Tune, Mother Jones Song, and Lowdown Hostess

Rose should give ample opportunity to utilize all of the tech­
niques presented in this chapter. The Workbook Assignment
section will provide additional suggestions for study.
WORKBOOK ASSIGNMENTS
1. Work out the progression in Example 1 in several keys. Pick some
simple folk or children's songs and create arrangements of them. Some
suggestions: London Bridge, Clementine, Yankee Doodle.
2. Develop melodic improvisations for two folk scngs-Dh Susannah
and La Cucaracha. Do not use sheet music adaptations of these tunes.
Pick out the melody by ear, find chords that work, and then do your
improvisations.
3. Play the left hand arpeggiated figure in Example 21 on the following
chords: C, G, D, Eb, Ab, Db, A and E.
4. Play each of the chord embellishments, Examples 15 through 20. up a
half-step.
5. Use the root-chord accompaniment from Example 4 and work out a
ragtime style arrangement of My Old Kentucky Home.
6. Work out diatonic tenth patterns for all the patterns given in the list.
Use the keys of F, G and Eb.
7. Transpose the sixth and third pattern from Example 43 to all keys.
8. Transpose Example 50, the secondary dominant example, to all keys.
9. Use Example 52 as a model and work out an exercise on D7, Ab7, E7,
and Db7.
10. If the above material has been digested, you should be ready to listen
to folk and country tunes and make up your own arrangements. Try
working out some simple songs, such as Cheatin' Heart and Don 't Fence
Me In, and move up to some more difficult pieces of your own choice.
Rock music evolved out of the early rhythm and blues tradition
(Robert Johnson to Muddy Waters) into the 1950's rock and roll
explosion featuring performers like Fats Domino and Elvis Pres­
ley. The evolution continued into the 1960's and 1970's with
groups like the Rolling Stones and the Beatles, and the field now
contains a growing number of subdivisions like heavy metal,
funk, jazz-rock, reggae, and numerous Latin styles.
The basic nature of early rock is well described by Happy and
Artie Traum:
Rock-and-roll took the post-war blues singing style and set it
against a slow rhythm of repetitive chords on the piano or guitar
and an accentuated off-beat on drums. The effect was overpower­
ing.1
According to this statement, the early function of rock keyboard
was a rhythmic one; aside from the presence of a few pianists like
Fats Domino, rock has its strongest instrumental roots in guitar,
bass, and drums.
Even today many rock groups do not feature the keyboard as a
primary soloing instrument, but assign it a "comping" role. How­
ever, contemporary players like Keith Emerson, Rick Wakeman.
and their emulators have expanded the definition of rock key­
board far beyond its initial stages.
lHappy and Artie Traum, Rock Guitar (New York: Amsco Music Publishing,
1969), p.7.

61
 62 # Contemporary rock and pop
Contemporary rock and pop # 63

With the myriad of subdivisions in the rock field, it would appear Or, the bass player could playa sequential pattern in yet another
difficult to isolate a rock style from which they all draw a founda­ rhythm, while the rhythm guitarist played the figure in Exam­
tion. Nevertheless, that will be our task in this chapter. The ple 3.
material begins with a detailed exploration of rock rhythm and its
many varieties within the confines of the off-beat or "back-beat"
concept. Developing the correct rhythmic feeling is essential to
rock styling; adequate attention should be paid to the early mate­
rial.
This breakdown of rhythm patterns is only exemplary of one
The chapter continues with illustrations of the harmonic tech­
approach to rock texture-an approach still used in various forms.
niques most commonly employed by many practitioners of the
But contemporary rock music contains many variations on the
style, and concludes with three characteristic lead sheets. A very
above sketch.
limited introduction to rock blues and modal jazz-rock theory is
given, but we refer the reader interested in those styles to the
More keyboard rhythm models can be derived by working with
chapters on blues and modal jazz for a more thorough treatment.
the back-beat feeling employed in rock drumming. The following
lengthy example takes several accented rhythmic patterns and
Beginners in this style are encouraged to pay special attention to
translates them into chords and riffs typical ofthose used by rock
the analyzation of the tune Easy Rock at the conclusion of the
keyboard players. The examples progress from simple quarter­
chapter-here you will find a comprehensive model for making
note patterns to more complex funk-style rhythms (particularly o.
arranging decisions in this style.
and p.). Play each example at various tempos, obserVing the
accent markings.
ROCK RHYTHMS IE~ 51
Since the primary character of rock involves a rhythmic approach , A J> ,. r I
\:I.)
". ,. ". ,.
to scales and chords, we will begin by briefly looking at rhythm
textures. Elementary rock music used a rhythm pattern that con­
sisted of a relationship between two basic beats-a repetitive (
I I I-J. L...l l L.!
i j-~ 1~

pattern on piano or guitar and a syncopated "back-beat" on ., ,.

drums. For example, we might hear a drummer playing the fol­
~
(1+ I ~ 5;/1 I rTTI
,
lowing beat: \

,. ,. ,.
c.)
,. ,. r­ ~

ni In
121 c n If{! " fl II ,
•
I---t I..-J '-'
L---...

I
rl

The pianist would playa series of eighth-notes or triplets. ~ ~ ~

['f~ ,-;:, knJw j -­

6?

I!'.)
,. ,.
I
n ~ )'"

* . ~ "'" ~ ,...
The bass player could playa third rhythm.
l.....J # II:.-' 1.-1 L....J ~f\lt..1JL.jf

~ ~
,. ,.
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".
~
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,
~l I
 64 # Contemporary rock and pop # 65

,. ,. fit c G
,
~
-"
r3 n rFI
I ........ , ,

c
~ t :J J: 'L.....:' L...,I I.....t:i LJ
+f... L-Jl
... ,..
~
11'
• ~ r= ;- - r-
, r-=:. r-1 r-;::::; .1
,

-4,-4 .. ..,.. 4 VI ""VI -J ~ "' ~ ... ...... -<II

, -
-4 I .J!!II'

> I r1 ITii I II ,. ,.
( to
I Irl ,.......

I '-' >---'--'---1 ......... ''"-''

- .-1
I L...J J.-.Z ..........
... r-£:3l-~
:t .1~
<
:> ,.. ,. ,... c
r-r
r­
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... ..L..~ oj '~'-4 ""--'" ~

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/I ". ;:::

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I l:I = J"~"
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'---=

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=,....,
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I'

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I
CHORD TYPES
; *~ ....... ......................
UilifJ; ft Rock music, in its many varieties, uses all the chords we have
< considered thus far in the book. Percussive soundings of triads
r:I .... r-7 = r-=l r-r-r-
and seventh chords, with occasional passing diminished and
\ I
other chromatic chords, form the harmonic backbone of most
• r, ;I .; .; iI .; major rock styles. Example 5 illustrated several of these chords in
 Contemporary rock and pop ;; 67
66 ;; Contemporary rock and pop

typical keyboard arrangements. Some other chord types to be may be read as a minor seventh chord with a sus4. Depending on
familiar with are 1. Suspended chords, 2. Ninth chords, and the context, the chord would take either a major flat-seventh
3. Two-part chords. The following material demonstrates these (mixolydian) or a dorian minor scale. Here are two forms for
chords. practice.
\

SUSPENDED CHORDS 1I

The suspended chord is one of the most widely used sounds in II

rock and pop music, in both up-tempo tunes and ballads. The use
of suspended chord tonality adds subtle and interesting harmonic
feeling. There are two types of suspended chords used in this In modal jazz playing the suspended fourth chord is often used as
style-the suspended fourth and the suspended ninth. They are a fourth voicing (Example 9). This will be explored in detail in the
usually symbolized by the abbreviations sus4 and sus9. The sus4 chapter on Modal Jazz.
is formed by replacing the third of a triad or dominant seventh
with the fourth scale degree. The sus9 is formed by replacing the
root or third of a triad with the second (ninth) scale de­ C7 'co,,,
gree. Example 6 demonstrates the formation of both types.
1$ 'g (0" •.,,1 t>'W<itl!!8 II
c. C$"1,
,I
S
e- ::::Z; II :1

NINTH CHORDS
The suspended chord forms can be applied to both major and
minor chords. Example 7 shows a resolution to both major and Some rock idioms make extensive use of the ninth chord in

minor. Examples 7 band c demonstrate the use of suspended various forms. Ninths can be effectively employed on minor or

chords in typical ballad style chord patterns. major sevenths, dominant sevenths or suspended chords. When a

ninth extension is used, the seventh chord tone is normally pres­

lli1] ent as well. Here are examples of several ninth chords, first in root

position, with typical two-hand voicings shown in part b.

Q~ <:,,'-''/ t C,,,,., (!"" c.~, C!,.. Q""" (!.

If } j I} q lIt ij Itt j I le.,lo\

flll.. r, e:."M', r, (O... ;IN....i) &'1 ftrt, 6 ..., f,s... ., 6, S~'f

'S I II: I ,I
o.~

I if i
.e­
~ ....-1 i ( t n-n I
1& II ; II~! I
I -#­ 4­ -ti­ +­ -4>­
+­ "
I I f MAl,! 'i "1 'I -I
•
11
'IL

::l '~ ~~
"I.
P
" I--" " ,g­ ~""
Since the actual suspended chord itself can have a very ambig­
uous tonality, the choice of which scale to play with it when
improvising can be tricky. The dominant seventh with a sus4 i r r
 68 # Contemporary rock and pop # 69

TWO-PART CHORDS 3. I - V -IV

C: C G F

Two-part chords are widely used in rock music to give variety to Bb:Bb F Eb

triads, complete bass line figures, or lend a "suspended" quality 4. I IMai.7 II -V

to the overall sound. A clear differentiation should be made be­ C: C CMai.7 Dm G

tween two-part chords and inversions when reading chord sym­ Bb:Bb BbMaJ.7
Cm F
bols. Chord inversions are often symbolized by a chord name with 5. I -V/3rd - VI -II 5th -IV - I13rd - V sus4
a bass tone, such as CIE. Two-part chords refer to chords that are C: C G/B Am C/G F C/E G sus4

played with a tone other than a chord tone in the bass (when using Bb:Bb F/A Gm Bb/F Eb Bb/D F sus4

triads, an upper extension chord tone is not considered a chord 6. I13rd- II -I -V/3rd-IV/3rd -V-I
tone for these examples). Here is a short sample of a traditional C: C/E Dm C G/B F/A GC

two-part chord structure. Bb:Bb/D Cm Bb F/A Eh/G F Bb

The following examples utilize several different keys to demon­

strate one example of each progression. The examples explore
, various rhythmic feelings.
u -e

..
.
~ ~;;:
m

CHORD MOVEMENT

The following material will focus on some of the characteristic e.) I

chord patterns and tonalities used in hard rock tunes and ballads.
We will also make brief mention of rock blues. Since Chapter 5
II!!
• ~ ~ 1 1 1

deals with blues piano, we will not treat the subject in any depth
at this point. I
I
.....,~

Y D:
~ .;;;. -#-41,~
~ ~ :­ ~
I < II"
I. 0: JC
~r-r-
.
DIATONIC PATIERNS

Here is a list of some basic major key diatonic patterns widely

used in many kinds of rock music. Two chord name examples are
\

CP.\
.b .., ..
- I I....Ct

given with each pattern.

1. I - VI II - V7 -I
C: C Am Dm G7 C
u
Bb:Bb Gm Cm f7 Bb

2. I - II - III -IV -I
C: C Dm Em F C

Bb:Bb Cm Dm Eb Bb

 elE. Dm 7 • # 71

..... .... :at -s­

#. J -9­

:f/3-a 11 :r. '$/3 Itll I1&/". r-:r ''''y I­

1.
Idlm7_ p
I -
c: C Cdim7
a
Bbdlm7 Bb7

Bb:Bb
! Gdlm7 G7

G: G

I I 1 I 1 r 2. I -F IV- Idlm7
IJ5th in bass

c: C C7 F Cdim7
C/G in bass
Bb:Bb Bb7 Eb Bbdirn1 BbfF in bass

MINOR KEYS
G: G G1 C Gdim7
G/D in bass
3. I -F _IV_#IVdim7_ V1

Although we do not discuss minor key theory in any systematic C: C C1 F F#dlm7

G7

way in this study, it is important to make brief note of the wide­ Bb:Bb Bb7 Eb Edim7 F7

spread use of minor keys in rock. Many modern rock tunes are G: G G7 C C#dim7 D7
based on minor key riffs and rhythms and countless rock ballads 4. I _#Idirn7_II _V1
are composed in minor keys. Example 13 displays four minor key C: C C#dim7 Drn G1

patterns in a characteristic chord voicing format. Bb:Bb Bdim7 Crn f1

G: G G#dim7 Am D7
5. 11- #IIdim1-IJ3rd in bass

"".) C: Dm Ebdim1
CIE in bass
Bb:cm C#dim1 Bb/D in bass

G: Am Bbdim7
GfB in bass
6. I bVd1m7 -IV-V1

C: C Gbdim7 F G7

Bb:Bb Edim7 Eb F7

G: G Dbdlm1
C D7

'I On up-tempo rock tunes the passing diminished chords are often
played in percussive root-voicings like the ones shown in Exam­
c...7
I
nl I I I r Tl I \
.)

.
a ,
~ '":!I:t..

---
ple 14.

) j f ~""IINr
I~i.l~ I e. (!1 f-t>t c.{ fr ,:/'"
;I... :Dr,.. $ .... :1 a.:)
'I
t "" > ,.. !:

LI
I
I,

~ b..l.J,J -0­
nL 'ltJ'i 0 7 ItS1!.. Wist!..

CHROMATIC PATTERNS

Because of the frequent use of stepwise bass lines in rock, chro­

matic chord patterns are often found. The most commonly used

'r\
patterns are those employing passing diminished chords. modal

shifts, chromatic "fills," and ballad style chromaticism. Let's look

at them in order.

I'
I
/I .I

"
J

DIMINISHED CHORD PATTERNS

r f0 7 .17

There is a variety of standard patterns that use passing di­

\~
minished chords. Here is a partial list of them with chord name

examples in three keys.

r
70
 72 # Contemporary rock and pop D f} E
I' ~Ji.' r-­

On ballad style tunes the diminished chords may be played in "*-j .j.i~ -*" +1.4­ '-'11"'- f---'I 't'­ ~ ..AJ

"open" voicings.
r JIr I - :r ::zr I
, J.

F \
I I I j) I V I I I

- . :t :: .,.. .,..
c
::;
:m:
:; 1

r
; T
;JJ'"
+
r
lI' Dr" I
..0­

:J:
,fl.,
Suspended chord patterns can also shift the modality of a tune.
Here is a series of suspended chords moving down in a stepwise
pattern. Notice how the feeling of the harmony remains fresh on
. each chord change .

rr
\

rr r r 'T r I r r ~
F
I I' n I I I I I I I I I I
Example 16 demonstrates the use of an open voicing in a ballad
tune. .I • ,. . ., .... .­
I •
W
< \!J
(1\ B"/o , . I .....1

I
I I I i ~I I

LLW ,.IL'- i"­ I'- 1'-- I'­ vY~ :t. ,

V
110-

~)
I'"'
T r r r j ~ '-­

.. II ~ ,.",... 0 CHROMATIC FILLS

'"
\

' a

I
I Passing chromatic chords are often used to drive the harmony
forward in many rock songs. Here are two examples of the tech­
nique.
B~", c1
Ii: F
......
i!1 'ft.." f
[E,.I'I

r ..
/
[ f e.. 1>- })
..,..
<
'r r I r r '\ iJl >

.,~
~ ~1~
I
t:I n .,..., ..... rio 0
(
\
p I. ...
'"
D V I V

MODAL SHIFTING
() '" ~I ~ n I !tJ'
This is perhaps a sophisticated sounding term for a simple and
common technique used in rock music-that of shifting simple -4

chord riffs into new key centers. One example of this is the
practice of shifting a I-IV-I pattern up a step. Here is an example.
.. ,-­ -
,

.; ~ ';-' + 0­
- ~ ~ , I
 74 # Contemporary rock and pop
Contemporary rock and pop # 75

BALLAD STYLE CHROMATICISM

PEDAL POINT
One of the ways active chord movement is achieved in rock
Pedal point refers to sounding of various chords over a constant
ballads is the development of chromatic left hand accompani­
bass tone or ostinato pattern. 2 The practice is very typical of many
ment lines. Here is an example ofthis technique for a ballad in the rock harmonies.
key of C. The bass line moves in half-steps until the final bar.
Here is a simple example of chord changes played over a single
bass note.
a 1\ r­

. , ,
•
1 tff
.....----. ~ ~ ~
y. J
\,
V V 'L-/ I L-JI I ,
..
I
r-[""C

fll'l/II" [",
~ 1\ :; .:; ~ .f ~ :; * . . .. ~ **:; 4:i4
I

r '*'I r *"
~ ~i r tr .Z!F
Example 24 demonstrates a pedal point progression like those
used on certain kinds of jazz-rock tunes. The Gb in the bass is
I normally played in a rhythmic manner when the melody rests.

l
,...
n l I Ir-­
NON-DIATONIC CHORDS
~ I
" 1
Rock music also makes use of the kinds of non-diatonic chords we .)
discussed in the folk chapter (see particularly Example 49 ofthat G" PeDJIt POtlolT

chapter). As in folk music, these are usually major chords built on \' \.
the bIl, bIII, bVI, and bVII scale degrees. Here is an example worked ~

out for a rock rhythm.

r-­
I I I r-­

~ .. , 1'----'
• 1 ,~ ~
"
(
I 1i!I .­
~.~ p.... ~

I. 1JC/~ bIT ~1lII I \

~
...,.
-
...
V I
~ ~ ~ I 20stinato, or obstinant bass refers to a cleanly defined phrase repeated while
harmonies or melodies are played over it.
 ,
;
I ... '" -

1 ~ I I) I '-J I I I I -
I
j #' ". ,.

i
,
.... -.;;:J
When improvising over these patterns use either a standard five­
"'" tone pentatonic scale or a blues scale (given in Chapter 5). Here is
/ a short blues riff in a rock blues style.
Ii I I 1'\ I i
f

,­
., 77 ,
<
T

'F ~

(~m~~~

1~~_
,." --..... '" (

ROCK BLUES

Modern blues music, in the hands of a rock player, may have an 8,

BASS LINES
12.16, or 32 bar form. But all blues are based on the basic 12 bar

pattern which we explore in the next chapter. Here is the chord

Rock bass players have strongly influenced the shape of left hand
change pattern.
figures used in rock keyboard. This is particularly evident in the
widespread use of stepwise left hand lines and ostinato figures.
IZIC.:l6/ We have seen several examples of stepwise bass lines in examples
I
presented so far (especially Examples 12, 13, and 21).
'1Y7 1: I7 1i"7 1JT,.

lie 7
I I
{
;
{
,7 )
I
i
I
2
,
i
I
, (
/
, )
(
/
,
I
, J
(

?
{
j
,
i
(
?
(
)
(
, (

I I
{
)
<
i
(

?
,
I The ostinato bass riff is used to set up a counterpoint to the often
straight-ahead rhythms of the drums. Here is a typical pattern .

I? I7 ::r~ JJl:, J" .Ii'

i
I
I
(
, (

7 )
I
I
{
I
{
)
{
,
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(

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(

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I
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}
,
J
,.
7
<'
I
(
}
<: ,<: I
<
?
(

I
J ;OJ ~
The chords of this pattern are played in various left hand back­
beat models, or in driving blues-roots left hand patterns. Here are
examples of both. When played with another rhythm above it, the pattern can be
useful in achieving a varied texture.

n rnfTlfTlr-t-lMornrnrn

~ ". ,.. , ,..Cf(,

. b. J .J J J
\

76 77
 [[ill 1'1...." ' ;r~n€> Our«ne"
l.'fitl(,~ ; Mo\jo~~F.- I(LWo!

78 # Contemporary rock and pop III ~'" ~jA A", GjA AM filA A", u/~

ARRANGING AND IMPROVISING

$C ,
I
CAN
r 'ft "I
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«
I trr
Tt\f. Mr.,"
Ir r r ·~I Ef1f t
In the following material there will be opportunities to use many 4tH G f !ttI I
of the concepts presented in the first part of the chapter. We will
r - I r'
!

explore three lead sheets exemplary of various rock stylings. The

level of difficulty varies within the three examples, going from a
E ~
,I
J I u
<;'8'1' 'I..... $ow A I. - t.V

basic dance tune, to a more harmonically complicated jazz-rock

song, and ending with a very thorough breakdown of a simple 11", f ttll
I F=r"
/1111 /
rock ballad.
I r lIJlLicc:::= I '" I
Before tackling the tunes, it would be helpful to keep an outline in 8..., H.., Lt~'

mind of the various steps to follow in building an arrangement.

These steps are applicable to any lead sheet in any of the styles [iJ 11", f' u.
(frpl I rr j r r (j I
discussed in the book.
I jrf( M

GUIDELINES FOR ARRANGING

I (ffj j r r fl7J¥
Rhythm. Select a tempo and rhythm for the tune. Example 5 contains

many possibilities.

, I
I
Melody. Play the melody through carefully and in correct time.

Chords. Study the chords given and make sure you understand them.

Bass line. Work out a bass line for the tune. Decide whether to use on or
A simple way to begin the arrangement is to playa quarter-note
off-beat accompaniment patterns, stepwise lines or ostinato patterns.
accented back-beat rhythm with syncopated triads on top. Here
Voicings. Once you have your bass line, work out chord voicings that
are the first two measures.
are compatible with it. Keep in mind the importance of inversions and

extended chords such as ninths.

Special devices. Now see if there are places where suspended chords or

r­
passing chromatic or diminished chords can be used.

Fills. Find places where the melody is inactive and work out chord or
,
scale fills for those spots.

, II' , "'--.Sl

Improvising. Work out scales for all the chords so that improvisations

can be played on them. Chapters Three and Five contain additional scale
>­ ,.. ... ,.
material, and the jazz chapters complete a very thorough explanation of
.
scale formation for improvising.

The primary character of many rock improvisations involves

rhythmic exploration of diatonic triads and scales. We illustrated A left hand riff On the tones A, F#, and G works well as a lead-in
many examples of chord striking and melodic riffs in Example 5.
figure and in the measures where the melody rests (measures 7-8,
In the material below, we will present three sample rock sty Ie lead and 11-12).
sheets that give an opportunity to work out arrangements for
1. straight-ahead hard rock dance music, 2. jazz-rock rhythms,
and 3. ballad style tunes.
n ". "'~rf/'- "'rf/'-riI'''''' t-
DISCO DAN
V
Here are a lead sheet and chord changes for a simple hard rock < ,~
dance tune. TIl
.
'/1'1
80 # Contemporary rock and pop # 81

Syncopated fills can be played in measures 2, 4, and 6 of the B. /Jl C., f, $", I~
-
11""'1 j)II,
section. Here are a few samples.
*
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I ~ q1, I I
Q£[ll I
1
C:oofl.-\lIL:tT lAP MIT/II RKc y... fv... - rl¥
II]
P",f ;{1 ~ "f
II - 3 , nil
II
T\t£
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M.llf 001.1.,..,7
y.....
,RI ,=n .~
Trit Moae t ...
!J,
Tu"
,AI
TO

$" t, A" ).,

Improvisations for songs like this usually combine various bass
I ~) ; , if-I 1ft Iqfo . I 19 111 j fNI17 I 1hJ
riffs, triad rhythms, and right hand chord embellishments like the
ones shown above. Now work out your own arrangement of the If IH,~ 6!!'- foRf r.... f(,.". ~1.;c. 1 11
us 2:>0 Tltt " lVottc.
I

kM
whole tune. ""'" ):IU I YOIl

t, /r 01',
- I ) ,1•
llR~
1
Of'
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wrr. TIt,
1 ,A
I

1110 -
rn.u ,PJ
ft I

iII"EIi ~
tLJ
Golif TI\iOU&II
;''''f

WITHOUT THE SOUL

lL
-
I

- -
/

This is a jazz-rock style tune, that is played with several ninth

chords and extended dominants. First the lead sheet. II
Wnw,,,r So.." l'I~n.·, l/ll\ef O(""tu.tI
Lyl/W: 1'14t.lNl 1(.­ A good way to arrange this tune is to work out a bass pattern with
e· ",~ ~·1 "III, off-beat chord voicings as comping figures. Here is a typical riff

J ) l; I J"
for the first part of the tune.
3 01 J

A''''1 '"''''
r4ty.i\
I, III I
'·"'1 f"'I

I r a i f'- 'I,! ,J) I,))?! J ) ,QJ

,1 ) '"
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j!
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, f. ~IJ'- :~
£J)22 I::;:;;-s r ; ) ) f2£fL>t51 ,0 I
yo.... Go•• A fu.. - :tN. :!p l'''!

I~
~ £1.",., Il',
i~i
A~ t·/fff

If ,9:)$0 ; I 31 z\z~ I rf ,~ I
f
I
II

II

(
R_-l"" Yo« QhlfT TKi\1 "lIflT V-. \>001 fo~1t ('oT IS -II-! ' '/

/' tfl1 11', (f,i"'f The B. section contains a series of extended dominant chords. The

I~f ,0 J J ~ 1"1 f!J

I Bop and Mainstream chapter contains full explanations of these
'<
, II ..4 chords. Here is an accompaniment pattern for this portion of the
\i1Ito. :bf!1IOI our 1'\0- /I€.f song.
 .., ..
... .. I
n \. is'; ,L
~ .,.
:g
--'-

""
, ~ -;­ '1· , - fF#­
,

~~ :'!~, "!.~, ~D . I
:> :> >-
,
, , .
~,t;P
~ -Ell>- (I
q~ .~

:b"7 G-~7 8, £1
A sample right hand passage might look like this.

-J­ ..;. , ­ ,
~

&.ef =J:~tt=- ~ ~ -If.

1'\ --. J
,,
j UT
~
,, f3f:, ,
(
l,
J

I
~

:> :> ,.

I . ... (,

T
EASY ROCK

In the next tune we will explore several ways of working with a

simple ballad style rock tune. Here is the lead sheet.

It~14~ fAir IOGr.

f1l C ~/8 f/A ~f"/l/ Go
1$ C· (; Q , "I II n ,I J
I
)1 I , Q
r I,

I e I ,Q2£J
c ~/' r/A , JUt" ~

Ii] (j 1Jt'1tI1
f ~tff I/',,/w

A solo break can be arranged by working out a left hand pattern for
ilI I
,=1
r C'
G-

a I #9 J ), ft 1# -II

I
(1) iD

I
the first two chords of the song and playing a Db major scale
against it. Here is the left hand figure.

82 1
J
1;
f
a
,
r ~ I ,g
fI
3
II :%
I
(!
iC!
;;;;::::
ISo ,
j
 84 # # 85

The tune is sixteen measures long with a repeat. The first four
measures contain a pattern of five chords that is repeated in the c GIs
second four measures. The opening pattern contains a descend­ .,-/1
r--.
ing diatonic bass line that begins on C and ends on G. The second
and third chords in the pattern require inversions with the third of
the chord in the bass. The third line includes a passing dimin­
ished pattern and the last line is a simple IV-V-I cadence.
f ..,.
l
~

We will begin by working out a half-note voicing pattern for the

chord changes alone. Here are the first four measures. ~ L.....!....lJ LJ---L-' LLU 1 1 II! I I I LiD
These approaches are elementary and only intended to develop a
feel for the tune. Let's now expand on these accompaniment

,
...
I
1!1­
I G- It?

~
-S­ . II

JJTJ:,
:#
$7
G

11
7 oS"" 'I 6- 7

-d­
methods by exploring four arranging areas.

1. Inner voicing movement against melody or chords alone.

2. Accompaniment patterns not containing the melody.
3. Bass and melodic line rhythmic interplay.
, 4. Improvised new melodies against the chord changes.
I I I I I f

First. an example of inner voice movement. Here is a quarter-note

Now expand this pattern to include all the chord changes of the inner pulse.
song. When you have worked out all the chords try placing the
melody over the pattern while keeping the half-note pulse be­
,
,.
neath. Again, here are the first four measures.
n ... <"- r-1 1 I~ .---.
I

c. .~

< f t r r I I
f
~I I
\ \ I 1 I I I I I I I I I I
r \
;­
I I I I I 1
Now a more complicated inner line in the right hand while the left
hand maintains a quarter-note pulse.

A very basic way to begin placing a left hand figure with the tune

is to work out simple quarter- and eighth-note accompaniments.

~ t"'1 I f ~
r
a,/e
.....
,
........ d 1 I n 7 • 1
[j 'b'uf lUI Vi \ Y II I ~
r ur
O"rI:""~'
#-
I
.....
I --
I
.....
I
1+
\
+
I r
,
~ ... ~ tl>- ft.. "- III. III. I I I I I I r r
...
 86 # Contemporary rock and pop Contemporary rock and pop # 87

Example 46 is very typical of the actual way this melody might be we begin with a more simplified illustration of arpeggio type
arranged by a contemporary pop musician. Study it carefully figures.
before moving on.

To prepare for the next step, try singing the melody while main­
taining the chord changes below.

~
'"
r-­

,
r-1 ­
, I

\;:UII. l"Iet.<I6\'

I
! t &/8 f/a Q.,H'J G-~
( :
, -e­ tt 11: ~ -
-9 1f" -S­
I
D"

t ~~
r-... ---r . ~ r--.-

~ , ,
. ,
.... '+ 0#- .r , ... T::if
-..;>
)
I I I I I I
\
., i

Example 48 displays a more interesting accompaniment passage

to play while still singing the melody.

The third category previously listed in the four arranging areas

was "bass and melodic line rhythmic interplay." Here are some
I' " examples of this principle. In the first example, we show the bass

t
I'
r f# r i~ .".,.
~ff' ~fj:!:~
i
.:. :. ".... .g.
rI
line beginning the rhythm in measures one and three with an
arpeggio pattern.
I I I I
\
"" - I'
f\
c
-
Here is the upper line of Example 48 with the chord tones circled. T
+ ""';"
r iF i -L..",! 4­
All other notes are diatonic passing tones or approach notes.
lj iLl
I&,~' I ,

c g; ij@ nJ [12 JbB l.J

l----'
1$ 1 II

Our final example of accompaniment patterns without the mel­ The next pattern illustrates the bass line played on a single chord
ody is the following, in which arpeggios, off-beat rhythms. and tone-struck on a firm down-beat, while the upper voices are
diatonic connecting tones are used. To prepare for this example, played in an off-beat manner.
 # 89

fIll

,, Once you are comfortable with the various approaches discussed

+TV" It ' .... -If.. -I­ -#.' rFF' -#!-7.f thus far, work out your own arrangement of Easy Rock. Use the
i
oF­
lL!1 I ....
methods that appeal to you, or create your own approaches using
earlier material from the chapter. The workbook section will offer
I
additional ways to develop facility with the material.

~ 4 - .,- - -
"l:l :e ~
WORKBOOK ASSIGNMENTS
Our final example of this point is an illustration of left hand
1. Take the rhythm in Example 5d. and work out a short tune using the
pick-up figures leading to each new measure. This is a style often diatonic chord pattern I-VI-II-V7-1.
used at very slow tempos.
2. Take the funk style rhythm in Example 50 and develop an 8-bar tune.
Transpose the pattern to an Eb minor chord and use it as the rhythmic
foundation for your tune.
3. Transpose all the back-beat rhythmlchordlscale models in Example 5
e. Q,J6 PIli ~1 SCI' t?r 7 up one full step.

r~~~~~~~
4. Mix various back-beat patterns to create four measure rock phrases.
Use a different pattern for each two measure phrase.

1~~~~~
5. Transpose the diatonic chord progressions given in Example 12 to
the keys of F, G, Eb, and A.

6. Use the minor key riff in Example 13a. to create a 16-bar rock tune in
the dance style. Use the techniques illustrated with the tune DISCO
DAN.
7. Transpose the suspended chord examples (6 and 7) to all keys. Then
play them in a 1-11-V7 sus4-1 pattern.
Now let's look at the basic process of playing chords in the left

hand while improvising in the right hand. To begin, a left hand

8. Work out a pedal point passage using an Eb in the bass. Play various
accompaniment pattern must be chosen. Here is a simple one for
combinations of Bb, Eb, Ab, and Db chords over it.
the first four measures.
9. Work out a 12-bar rock blues using the bass patterns in Examples 26
and 27. Transpose the pattern to the keys of F and D and create two more
melodies. Use material from Chapter Five where necessary.
10. Analyze the following tunes to discover which chord patterns are
used. "Here, There, and Everywhere," (Beatles), "Me and Baby Jane,"
II (Leon Russell), "A Song for You," (Leon Russell), "All Is Fair in Love,"
(Stevie Wonder). and "Good News for the Lady," (Melissa Manchester).
From this, a melody of your own may be played in the right hand.

Here are four sample measures of improvised solo line. Arpeg­

gios, inner voicings, scale passages, and off-beat r~Ythms are

employed. When playing a simple left hand pattern lIke the one

above, it is important to keep rhythmic variety in the right hand.

88
 Playing

the blues

Blues playing is one of the commonly shared activities among

musicians today. Folk, rock, and mainstream jazz players alike
share a basic knowledge of the blues, and they all handle the genre
differently.

Historians usually date the blues from the first decade of the
twentieth century, and mention is also made of early precursors of
the style such as Jelly Roll Morton and W. C. Handy. But whatever
the case with the names and dates, it is clear that there has been a
continual stream of piano players through the century who have
developed a basic blues-roots tradition which forms a large por­
tion of the backbone of popular music in America.

Blues music is a very personal, expressive music with roots deep

in black American experience. It would be helpful to listen to
some traditional blues recordings before attempting to develop
your own blues style. Recordings are still available of the work of
blues-roots pianists and singers like Meade Lux Lewis, Sunny­
land Slim, Otis Spann, Bessie Smith, and Ma Rainey.

I
Although many commercial "bluesy" sounding songs and tunes
1 have the word "blues" in the title, most of them are not blues in
the traditional sense. This chapter will deal with some basic
I
!
approaches to the traditional 12-bar blues, and conclude with a

brief description of more contemporary blues styles.

91
92 # Playing the blues the blues # 93

BLUES HARMONY AND FORM A 12-bar blues does not need to stick with the traditional chord
pattern to remain a blues, but the deviations are slight. Almost any
The most common blues form is the traditional 12-bar blues. It is tune that is considered a blues will have the first six to eight bars
usually harmonized with a series of dominants on the I, IV, and V in conformity with the basic pattern. There are several variations
.. ~ for the last four to six measures. Here is one of them.
chords as shown below.

~ ~
C C (f,~ ~ ~, C f, C1 a,
, ,Z ,Z ,Z ,2 , lij e , , , , ,

*
"7 "7
I ) Z "7
I I
Z "7
1 ,z tl I
l
Z
I
tl
7 f
I
;~ I
l
I
{.
J
~
I
~
)
{.
I
{.
Z I
i
/ 7
(
I
( /
Z
(

:t .:r. ('II,) I :1)

f, fr e e ~ ;, ei
I
7
I
z I
2 "7
7 I
Z
Z
Z
I
7 "7
I 7
7
I
( /
Z I
(
7
(
Z
I
/
I
I
i

::nr, :N., I :r

Go, ~ a 1 e (c,., ",Rvm) ))"" ~, t a, ~ a, t

, ,t. ,Z
7
l
I • I • I
/
I
l. l 7
(
I
(
i
/
7
(
I
{. (

Z 7
(
)
I

II
$., .Ir, :r Ii, :r: .... (IT,)

In addition to the traditional chord pattern, the other standard

features of a 12-barvocal blues are: 1. The melody line consists of BLUES TONALITY
three phrases, the first two being very similar if not identical,
while the third phrase functions as a kind of response; 2. There is Blues music is most characteristic for its use of a speCial tonality.
a rest point or "break" between each of the phrases. Here is a This tonality is built around three alterations of a major scale, the
sample of a 12-bar vocal blues. lowered third, fifth, and seventh degrees. These alterations make
possible the use of the following tones.
[QJ
c e (0" F, ) C l?, ~
I~ dJ I ; iF V n I~i 1 !J JJ I I I IJI
1­
In practical use, a standard blues scale is most often employed. It
.l}
,II ..... :t
consists of the root, flatted third, fourth, flatted fifth, fifth, and
flatted seventh scale degrees. Here is a sample built on C.

o
.' i

1,1 ,fJ l~flJ!l II

I ... ill , ...... be II
The rest points, or breaks, between the phrases are never written
out; they are always improvised. This is one of the features of In the rock chapter, we mentioned that a pentatonic scale is also
blues music that calls for individual expression. In the following used in older blues styles. There is also a five-note blues scale that
sections, we will work with this tune, Example 2, in more detail. we will call "pentatonic blues."
94 # the blues the blues # 95

Ir.K, obi On a figure such as the one in Example 8, it is a common practice

to use "false-fingering" or slide fingering. In this method the
same fingers are used for both notes in a grace-note passage, with
lij II a slide being used.

Study these scales carefully, as much ofthe following material is

based on their use in forming blues melodies. CHROMATIC SLIDES

Chromatic slides are similar to grace notes, but are played within
BLUES PHRASING­ the time of the beats.
GRACE NOTE, SLIDES
AND SYNCOPATION

The Blues tradition, with its embellishments and color tones, has
had perhaps the most pervasive influence of any music on the
entire history of American popular music. There are several
characteristic melodic and rhythmic devices used in blues that
are essential to understand in order to play not only formal blues They can also be used on a single note, two chord tones, or within
but many blues-based styles as well. Below, we will demonstrate some other interval. Here is another example.
several of these devices.

BLUE TONE GRACE NOTES

There are several kinds of grace notes played in the blues style. A
basic grace note might be played on a single note:

SYNCOPATED PHRASES

Since many blues styles are left hand patterns played on the beat,
the right hand melodic figures are usually played in a syncopated
Within an interval: off-beat manner. Two often-used devices are anticipations and
delayed attacks.
~ c. 7

JJ JJ I
1. Anticipation-involves a syncopated beat that is accented prior

to the downbeat. Here are three examples.

I$e I II

Or on two chord notes:

II

II
96 #: Playing the blues
2. Delayed Attacks-Refer to accented notes beginning in the
middle of a beat. Many blues phrases, for example, begin on the
second half of the first beat.
II
Cr I
This delayed attack at the start of a measure often culminates in an
anticipation at the end of the measure leading to the next bar.
Since many left hand figures used in blues music are not synco­
pated, it is important to be aware of the need for a nicely synco­
pated right hand. The 12-bar blues we introduced in Example 2
contains several off-beat figures, particularly anticipations. We
will now work with some methods for arranging the tune.
ARRANGING
A TRADITIONAL BLUES
Keyboard arranging for a traditional blues tune involves selecting
a method for playing the line itself (in the absence of a vocalist or
horn player), choosing riffs or motifs for the "breaks," and choos­
ing a left hand pattern to accompany the tune. We will take these
in order.
PLAYING THE MELODY
One standard way of harmonizing and filling out a blues melody
is to play the line with a second tone introduced on each melody
tone to form an interval. Intervals of sixths, thirds, fourths, and
fifths are good choices. Here is the first part of the line played with
a variety of intervals.
Make use of grace notes, slides, and additional tones from the
blues scale where possible when forming harmonized melodic
lines.
Playing the blues #: 97
PLAYING THE "BREAK"
Once you have developed a melodic approach, it is important to
work out the breaks. We have indicated that these breaks are
improvised lines played on the rest measures ofthe melody. Here
is a sample break for measures three and four.
IIIW1O\'
14 £ Jj II Gif V nit ft J
+'-# '
I
Play the harmonized melody with the break. Notice that the break
contains a delayed attack, an anticipation, and a combination of
eighth-note, triplet, and quarter-note rhythms. This use of syn­
copation and internal rhythmic variety is basic to the blues style.
The break for measures seven and eight should be different than
the first break, although the rhythmic pattern may be similar. Here
is one possible choice.
I
The last break occurs at the end of the tune and can be of two
possible types. It will either end the tune definitively, or point
back to a repeat. When repeating, a turn-around is created which
normally returns to the V7 chord in measure twelve. Here is a
turn-around style final break.
LEFT-HAND PATTERNS
Once you have worked out the right hand line, there are several
choices for the accompanying left hand. One of the simplest is to
play whole note figures voiced in root-seventh or root-seventh­
third structures. Example 17 demonstrates this style with the
tune. We have bracketed the upper note since not all pianists have
the wide stretch required to play it.
 the blues # 99

, ,
Play Example 19 with the traditional blues we have been working
I .J.! ... "T
'.J..
with. If you play at a fairly quick tempo, the tune will brighten up
~ ~
considerably. But if you want to get that old-fashioned barrel­
w..,,~~ .I_
" c\6w/ ",.J I k~o'" '10"'ft ItoT ... I •• - Well t~e
house feel, try dividing the quarter-notes into dotted-eighths fol­
lowed by sixteenth-notes .
..,

4!-#­ . ~
E ~ ~.
-+'J..
door ',.. (.\"".1 ..nd r LlIou> '1~"'tf not ... - I.. - "'_ L
"WALKINGH FOUR
_\ k\

it:Ji
Walking bass lines are very popular among blues players. They
~
- give a polyphonic texture to the arrangements. The principle is
simple. Just take the quarter-note pulse and create a moving
t:., step-wise line using chord tones, scale tones, and passing tones.
Here is an example in the key of C for accompanying the tradi­

-­
, ,
tional blues tune.
++
4­
+­
.... ~

1"" b.. ­ 111

If_,~11
", ... t tdl J: wi II ~oo. .~
0
~

'j"K
>
Q, I!,
/
nt' -..., ,\ ),,,b

, b

i~
g Iil a r r t r r I r r , r I r f tr r I (• r j r
F.; / ~7 /

~r
4­
STRAIGHT FOUR »r ~r
r r r I r 'r r r I
r
II
F I Ir r
Another rhythmic pulse to consider is the quarter-note straight
four-to-the-bar feeling. In the Contemporary Rock chapter we ~7 ,c, e,
discussed the basic form of this pattern, which consists of playing .L ;.L .... ....
the accompaniment chords in quarter-notes.
r r 1 I I
r r r I •
r Ir Ir r kr
~UII
I
When playing a walking bass with the tune, try playing chord fills
for the breaks rather than scale type lines. This will break up the
linear flow and give a full sense of the harmony. Here is a sample
chord-fill break for use with walking bass accompaniment.

Since this repetition can give a static quality to the sound,

quarter-note pulses are often played with movement in one of the
voices. Here is a familiar example. , ~
1 I R nI " I
,
..,.
-Fr
~
I +'+
*- ~
g"J,
II
7
L

\ 1 l I \ 1 \ I
100 # the blues
the blues # 101

Elf1
ACCOMPANYING A SOLOIST

When the pianist is not playing the melody line, the arrangement 7 -
will have to be shaped accordingly. One good way to handle this
is to playa walking bass with syncopated chord fills. Here is an
example .

....
,
III 1 4'-' *­ ~

1'1
~I\N()
n ~I L~ n
I.

Hvb

1 I
I \ I I

"
INSTRUMENTAL BLUES

The vocal style blues we have been using is not the only approach
to blues piano. There are many instrumental styles of solo blues
where no vocal line is present. Some of these styles developed out
of the early vocal blues while others were developed by jazz and
swing players into highly refined forms. From boogie-woogie to
mainstream jazz, the instrumental blues refined and shaped the
12-bar form into a very versatile music. We will briefly look at
some of the techniques characteristic of these styles. I

SCALES

Let's take the basic blues scale in Example 5 and work it out for
each of the twelve possible chords.

le",'/ '" ...

:Dr
A;
tt,
L .... (t

~ f,
" I 01

-, •• ~~

It .....
102 # Playing the blues IEw·.\~1
6&] I I /

Let's now take these scales and fit them to some standard blues­
style phrases. Here are those examples.
I'fit If) tJf.l pi ~f] §d. ;,,'0 Ghf J pl~31J D· "
/ /

~7 /1·1 EJ, /

I bURr /hTFl ,R If] Rbi') pit I ~

A more varied and interesting blues style line can be composed by
Practice the blues scales on rhythms like those in Example 25, combining a scale type line with an intervallic sequence. Addi­
sounding the chord beneath. tional scale runs and chords can be added where needed. Here is a
blues melody in the key of F improvised along these lines.

BLUES RIFFS 1~·3cl

Itle ~Hfp
I /

Blues melodies, like most melodies, are made up of combinations

of scale tones, sequences, motifs, chord tones, and passing tones.
But the repeated motif or "riff" is used in many instrumental
blues arrangements. These riffs can be formed from individual
notes (Example 26), chord tones in an interval pattern (Example
27), or from combinations of scale passages and chords (Example
28).

/
/

BOOGIE-WOOGIE

Boogie-Woogie piano is an instrumental style that was very popu­

II lar in the 1930's. It combines a very active, almost thunderous left
hand with traditional blues style melodies. Here are some of the
left hand patterns common to the style.

Blues melody lines can be created by repeating a riff on the basic

chords ofthe harmony. Here is Example 27 worked out in the key
of Eb on the three basic chords of the key.
104 # the blues the blues # 105

II

,Ii
e.)
0 $"7 e7
I ?'~e ,~ I (j I J f, I 1..... }.1.,..
l' I
j ,I
• ~ Ef
Right hand improvisations are played in a highly syncopated
manner over the repeated bass. But before attempting this, play
through the bass patterns while sounding chords over them to get I
I I I
the feel of the style. The left hand has to be automatic so the right ,I
hand is free to improvise.
BLUES HARMONY-BEYOND
Here is a fairly simple melody to play with the bass pattern. Mter TRADITIONAL BLUES
you have worked it out, try playing the melody with Example 31a.
As the blues evolved from a solo piano style played in barrel­
houses and at rent house parties to a group jazz form, many
changes were introduced. It would be impossible to document
Bb, / / I these changes in any great detail here, so we will simply give a

I,ie B41;j DllJ ndJE 18 ifi,.,f51W.. , brief outline of some modern directions in blues playing.

The main direction blues development has taken in the last thirty
years is one toward more complex harmonies and chord voicings.
ft.7 I
pt I~ The essential I to IV harmonic pattern has been embellished with
I j j r r A I r r I tit .,f~j\, } I / if? til £1 ) I ,r tt Ci I chromatic passing chords, connecting patterns, and more disso­
nant chord voicings. Let's now look at some of this in more detail.

CONNECTING THE CHORDS

As blues playing moved away from the old barrelhouse and

boogie-woogie left hand stylings in favor of active rhythm sec­
tions with drums and bass, a more active harmony was introduced
for the first four to six measures of the traditional blues. One
ADDITIONAL LEFT-HAND popular version was the placing of a series of walking style chords
PATTERNS under the first, third, and fourth measures. Here is an example.

Thus far we have worked with six or seven common bass patterns
for traditional blues styles. Here are some additional patterns for
study.

IE~,331
a~
~b
1 (1 1 ) II~
7 C:mr) ab7 lY7)
~ I I- I J1
17','. e j , , J I J,
R I I I
" f r II
j
 106 # Playing the blues Playing the blues # 107

Another device for connecting chords was the use of occasional varied. The choices are: adding a ninth, flat ninth, sharp ninth,
diminished chords. A typical usage of this device can be seen in the eleventh or sharp eleventh, the thirteenth or flat thirteenth.
the following example where the IV chord is followed by a dimin­ Here are some samples of non-root voicings using these tensions.
ished chord before returning to the I chord.
Ie!, Jfl (;.7 t!.] (.,
-e- Il
~.Q. q , d 13

I'
,,..,, I +1 ,.......,
1
19'
~: tV ,ge i'
II
[
1 -= L.J I
I!,c" Normally these chords are voiced with either the seventh or the
< third on the bottom. There are three-note and four-note voicings
1,.0 ,4-
, commonly used. Here are the structures for two three-note voic­
ings and two four-note voicings.
" 0 0

Ie..,J~1 e, f7 e, , f
Concluding riffs and turn-arounds were also further developed in
the modern periods. Example 34 showed a more complex har­ ~!
!q
.0
~g :
13
l;o,;7 .Q
~ Et,9
13]

mony for a turn-around in the last two measures. Example 37 IT II

gives two varieties of chromatic ending passages.
Here are four patterns of the three basic dominant chords for the
It~J~1 keys of C, F, G, and Bb.
(!
A7 ])7 ("
16~,l/01 Ktr c: I:£Y of 1', I:l<,r of &: (U Of /!b,
01
e, £",
~
I Z ( I 7 I ( Z
e1 Fl 6- 7 1'7 B~
'eo
c., &7 )), 6 b, ~,

I i I I i I i I
-e- -e-
I*C .a. $!. ~: ~.4D
~
.Q.

1,1 '-? p: :
.Q.

~:
'~II
.A
~ g
0
I~I 1#- ~ ~3 ~g
II II II
IEt,31 1
Play through Example 2 with the key of C voicings from above.
~ 7 / \, ' 7 I Notice that the right hand line has a very different feel when
accompanied by non-root voicings. When playing solo piano, the
1 II
• ~ , r; .. ~+ S
pianist has to play this left hand style on the beat, and the lack of
chord roots (normally played by a bass player) can produce an
unsatisfactory harmonic foundation. There are at least three ways
I
• I. ,-­ to solve the problem.

1. Strike occasional bass notes on the beat as you play in the style.

VOICING THE LEFT HAND

~

Perhaps the most characteristic development in modern blues is

the use of more complex chords, particularly various forms of
extended dominant chords. Once a bass player made it unneces­ -
~
~

sary for the pianist to drive the rhythm, many non-root voicings
became widely used. These voicings typically consist of the root ,,
. ... =- , 1 ~ oJ
, t.

and third of the chord with one or more "tension" tones added.
The tension tones available to a dominant chord are rich and r' I \
108 # Playing the blues the blues # 109

2. Combine a walking bass with non-root voicings. Examples 44 and 45 demonstrate two chord patterns for a 12-bar
blues in a jazz style. The first six measures tend to conform to the
traditional structure. with most of the new ideas occurring in the
n f.7 / last half of the form.

~~ ~~
• ,
" ..

3. Develop melodies more characteristic of bop and mainstream

lines in an eight-to-the-bar driving style.

JAZZ BLUES

The second part of this book will explore jazz improvisation in

detail, so we will confine our treatment of jazz blues to just a few
of the characteristic aspects.
Bop and Mainstream jazz players adapted the blues form to their
style in very imaginative ways by expanding upon the rhythmic,
harmonic, and melodic methods of the traditional blues form.
Some of the components of their approach are:
1. Extensive use of non-root voicings in the left hand.
2. Driving eight-to-the-bar melodic lines.
3. More complex chord changes than those found in the standard
12-bar form. Particularly the use of dominant chords from other
keys and the use of IImC V7 combinations.
Let's now develop a melody for Example 45. Since the chord
changes for this example involve a wider tonal framework, the
jazz blues form makes use of more scales than the basic blues we
have been working with. Here are some of the possibilities.
1. Dominant chords, when not part of the traditional progression
(J7_IV7_V7), take either a major-flat seventh scale (mixolydian) or
the respective blues scale to the chord.
2. 1['117_V7 combinations normally take the scale of the key rooted a
perfect fifth down from the V7 chord. In other words, if the IIm7_V7
pattern is cm7_F. the scale would be a Bb major scale.
3. The basic blues chords of the key may take either a blues scale or
a major-flat seventh (mixolydian).
110 # the blues 111

Here is a breakdown of scales and jazz~style chord voicings for Here is an example using eighth-notes and triplets.
Example 45. Use the patterns to improvise a jazz~blues of your
own.

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,

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11­ '4 CONCLUSION

The focus of this chapter has been on the basic techniques and
methods of arranging and improvising within the traditional
Jib1 11"'1
blues form. The rest of the book will expand into the area of jazz
1"\ I. improvisation and will suggest further harmonic, rhythmic and
I .- 0 ........
..
melodic techniques applicable to jazz blues playing.

..
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bm 11
7

..­ I

: Il~
WORKBOOK ASSIGNMENTS

1. Transpose the vocal blues in Example 2 to the keys of F, Bb, and D.

Work out a left-hand arrangement for the new keys.
2. Use the riff shown in Example 26a and create a twelve-bar blues by
6"'1 C7 111"17 repeating that rhythm in various melodic sequences.
n _0
3. Use the break in Example 15 to create a twelve-bar blues. Begin by
-Qo. ..,. transposing the break to the key of D, and working out your tune in that
..... 7Y# CJO
key.
:0:. :17 E I 4. Transpose the walking bass line in Example 21 to the keys of Bb and
I
S
* ~ I G. Then work out a camping blues pattern like the one shown in Exam­
ple 23 for the chord changes to the traditional blues.
5. Work out a blues for each of the left hand patterns given in Example
33.
.,., 6. Develop a walking bass for the key of Eb and use it to accompany the
melody given in Example 29.
,
V I' e-~
7. Work out a boogie-woogie left hand accompaniment for the tune
given in Example 30. Then work out a walking bass for the same exam­
-:II, 0/-" 11 IT7 ple.
~~ .g. tl..

(
112 # Playing the blues

8. Develop an extended dominant voicing for each of the twelve domi­

nant chords using the structures given in Example 39.
9. Transpose the riffs in Examples 6-10 to several keys.
Developing
10. Work out a turnaround passage using the chord changes and rhythm
pattern in Example 36. Use mixolydian scales for each chord. Then
transpose the pattern to the keys of Bb, F, and A and do the same.
a working
11. Create three blues melodies using the chords and scales in Exam­
ple 46. application
FOR FURTIlER STUDY of jazz rhythm
Haerle, Dan. Jazz-Rock Voicings for the Contemporary Keyboard

Player. Lebanon, Ind.: Studio PIR, 1974.

Contains many voicing styles, as well as a very good chart of

substitute chord changes for the twelve-bar blues.

Kriss, Eric. Barrelhouse and Boogie Piano. New York: Oak Publi­

cations, 1974.

GETIING TIlAT JAZZ FEELING

Kriss, Eric. Six Blues-Roots Pianists. New York: Oak Publications,

1973.
The most important aspect of playing any Jazz style is the concept
These volumes contain transcriptions of early piano blues styles.
of rhythm. No matter how inventive harmonically and melodi­
cally one's approach may be, without the proper concept and
Mance, Junior. How to Play Blues Piano. Toronto: Ray Brown,
1967.

appreciation of rhythmic style, the musical attempt will miss its

mark.
Short book of examples from a fine blues pianist. Contains mate­

rial in blues form and right hand blues stylings extending the

Each particular period in Jazz-New Orleans, Swing, Bebop,

material presented here.

Mainstream, and Contemporary-has a different rhythmic feel­

Safane, Clifford J. The Jazz Masters: Bud Powell. New York: Con­
ing, but the one rhythmic aspect they all have in common is
solidated Music Publishers, 1978.
syncopation.
A series of piano transcriptions of jazz solos. While most are not

blues tunes as such, the right hand lines are classic examples of
The basic definition of syncopation is shifting the emphasis from
jazz-blues style melody.
the normally strong beats of a measure to the normally weak beats.
The first beat of a 4/4 measure is the strongest beat; the third being
Stuart, Walter. Jazz Soloist. New York: Charles Colin, 1972.

the next strongest and the second and fourth being the weaker
Contains a good section on developing right hand blues stylings.

beats.

1 2 3 4
SWsw

Therefore, to achieve a basic example of syncopation, we could

simply rest on the first and third beats. This would naturally
emphasize the second and fourth.

[W

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02

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.J '/

113
 ~'.t"
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114 # Developing a working application of jazz rhythm 1~,51
Q'l) bJ II
To achieve a still stronger example of basic syncopation, we could
rest on only the first half of the first and third beats which would
1$ e II J
bop
1 J ,1 J JtE,a ~ ­ II
give more emphasis to the second and fourth beats.

J..3 4

If $1 'ilill do. ­

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A more subtle use of syncopation involves shifting the emphasis

to the second half of a beat. This is achieved by resting on the first
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half of a beat-"delayed attack"-or tying the second half of a
beat-" antici pation."

Sing the following examples:

f
I e , l
"
cloo
I
"
11Iggl~~
I 'e' ; II
One of the keys to getting a melodic line to swing rhythmically is Combining eighth notes with eighth-note triplets is an essential
the proper execution of eighth-notes. The eighth-note feeling will rhythmic figure in jazz.
vary from style to style, but as a generalization, eighth notes are
not played evenly. There is really no way to notate just how eighth
notes should be played in any jazz style, but in all periods the first
of a group of two eighth notes is played longer than the second. A II
written approximation might be:

An excellent way to begin getting a good Jazz feeling into your

playing is by first singing a syncopated line using vocal syllables,
then playing the line-playing to your singing. By using a combi­
nation of "scat" syllables (ba doo, da, etc.), we can begin getting
the feeling of how the line should sound.
Sing the following two measure examples using the accompany­
ing vocal "scat" syllables, or make up "scat" syllables of your
own. Then play the rhythm, on one pitch, as you sing it-playing
to your singing. Remember to sing and play the first of a group of
two eighth notes longer than the second.
After you have sung and played a few rhythms on one pitch, begin
creating a melodic line with a rhythm. Use a diatonic scale, an
arpeggio or any melodic figure you choose. Try creating several
different melodic lines with each rhythm. Try to get the line to
sound exactly like the syllables you have been singing to it.
Here are several examples of a melodic line created from our first
rhythm.

115
116 # Developing a working application of jazz rhythm

e~

II ' v); fJ]±¥ II

e.)

II '1 1ht9tLL II
h~
Modal jazz
I ' ~ .9 ~Jj~W±U II

Continue working with the rhythmic examples from examples 5

and 6 in this manner. Listen to how jazz piano, guitar, and hom
players execute and articulate these and similar rhythmic
THEORY
phrases. Eventually try creating two- and four-bar phrases of your
own, using similar rhythms. When you get to the point where you
Modal jazz using the Medieval European modes came to the fore
are able to create good swinging rhythmic lines, you will be ready
in jazz during the late 1950's with compositions such as "So
to combine them with a harmonic foundation which we will
What" and "Milestones" by Miles Davis. In the 1960's, John
begin in our next section, Modal Jazz.
Coltrane advanced the modal style of writing and playing, rehar­
monized tunes such as "My Favorite Things" and "Greensleeves"
and wrote many memorable modal pieces of his own.
WORKBOOK ASSIGNMENTS

1. Create four different scale-like lines, four measures each, by combin­

ing rhythms H and I (Example 5).
2. Create three different four-measure lines by combining rhythms F
and K. Play in the key of Eb.
3. Create five different two-measure lines from tones of the chromatic
scale using rhythm N.
4. Using rhythm 0 twice in succession, create four different, four­
measure lines of arpeggiated figures in the key of F.
5. Using only the notes C and Eb, create five different lines with
rhythm G.
6. Combine rhythms Hand L to create three, four-measure lines in the
key of Ab.
7. Create four, two-measure lines and four, four-measure lines with
Today, modal compositions make up a considerable part of the
repertoire of almost any jazz musician playing in a contemporary
style and, with some of the younger musicians, modal material
makes up a very extensive portion if not almost all of their total
repertoire.
Let's begin with the modes. (The modes have Greek names but
they are not Greek scales; they are the Medieval European scales).
Each mode begins on one of the degrees of a major scale. Each
mode in Example 1 begins on one of the degrees of the C major
scale.
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your own rhythms in the key of G.

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117
118 # Modal jazz Modal jazz # 119

particular modal sound. (As you play the triads and the chords of
the following modes, play the root of each chord in the bass with
,,, , ,,
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the left hand as in Examples 3 and 4.)
II
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The first mode, C Ionian, is only the C major scale that you know. Y" STeP v~ STt!'
.
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The second mode, D Dorian, begins on the second degree ofthe C ~

major scale and runs through the letter names of the scale from D II
to D. Play the D Dorian scale in Example 1. TUlltI.I. IN t P"RYG-JIIN 7T~ C;/OQb50 IN £ "P1'I~lc;..tRI\I

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Even though the tones are the same as the tones of the C major
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scale, D is now the tonic or base of the scale, and the whole and
half steps occur at different degrees or places than they do in the C 14 em f 8d:", C. J)", E",
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major scale. 1 lL m: 1ll: 1[; Jtr n: I I ]I: JI[ l£" I :n- nr.:r

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The I triad in Phrygian is a minor triad; therefore, Phrygian is a
I1RJoil.

minor mode.
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Now we will build Diatonic triads (Example 3) and Diatonic

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seventh chords (Example 4) from the D Dorian scale.
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G, R"'r JJJ7l6'J C119i, J)"'7 The I triad in Lydian is a major triad; therefore, Lydian is a major
mode. Notice the Lydian scale is just like a major scale except for
the augmented fourth degree of the scale.
YII :r.

As you can see, the triads and seventh chords are the same chords
IE·,?I f f'1rnoll

that appear in the key of C major, but now the I)Ill or 1)Ill7 chord is
the I chord, the Em or Em7 is the II chord, etc. 1 f ' ., I' , • '

~
At this point, you should be able to see and hear that we are now in
a key of D, not a key of C.
, , ,
The I triad determines whether the mode is a major or minor mode
and, since the I triad in Dorian is a minor chord, Dorian is a minor
1$ .' ,
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mode. Play the scale, the triads and the seventh chords for each of
the other six modes derived from the C major scale. As you are IRIflO:' IN (,. J'lIlOe.YUflN'

playing each scale, notice where the half and whole steps occur.
The order of the half and whole steps is what gives each scale its 1$ O£ .$.
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120 # Modal Modal jazz # 121

The I triad in Mixolydian is a major triad; therefore, Mixolydian is

a major mode. Notice the Mixolydian scale is just like the major r.,.. ....

scale except for the flatted seventh degree. I " "

( , , '/
I 1i 'm I I N m I I 11 n :r
G- MIXOLYU/UJ

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,

Continue playing the progression in each mode. Even though the

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progression remains the same, the chords, of course, will be
different for each mode. Example, E Phrygian: IV- VII-I
Em Am Dm Em

After playing the progression in each of the seven modes, you will
hear that the progression sounds very strong in some modes and
weak in others. Each mode really has its own characteristic or
~
traditional cadences. Here are some of them.
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..m: :r n :sa .:( I 11' .m 1:lI.. 1 1r. .:m: L Ionian: I-IV-V-I, I-II-V-I
Dorian: I-IV-VII-I, I-III-IV-I, I-VII-II-I
The I triad in Aeolian is a minor triad; therefore, Aeolian is a
minor mode. (The Aeolian mode is also traditionally referred to as Phrygian: I-VII-II-I. I-II-VII-I
the pure minor or natural minor.) Lydian: I-VII-II-I. I-II-VII-I
Mixolydian: I-IV-V-I, I-II-V-I, I-II-VII-I
Aeolian: I-IV-V-I, I-IV-VII-I
Locrian: Not traditionally used.
, , II
Play the above progressions.

-r;?c II i\, J/II B L<#xflIJ 7114 C.1/OR6~ iN B I.tx.RrMl .,.. TRANSPOSITION

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Bel.", C. bm G... ~ t;, 11... UJ;- 'i.,"''''t'''"'1 1>1'11 E" 7 rIA..! 6, fI" 7 iJ""l(J,aJ Just as there are 12 major scales (one built on each tone of the
I :n: m: 1lf y :lI It([ .:r: :r. Jr nr IlL r it" JIll" I
chromatic scale), so can each of the modes be built on any tone.
So, in turn there are 12 Dorian modes, 12 Phrygian modes, etc.
The I triad in Locrian is a diminished triad; therefore, Locrian is a
diminished mode. Here is an easy way to transpose the modes-think of each mode
in its relationship to a major scale. Memorize the degree of the
Now you have an example of how each mode sounds. Each mode major scale on which each mode begins.
has its own particular scale sound and its own particular progres­
sion of chords. 2nd-Dorian 5th -Mixolydian
To get even a better understanding of the quality of each mode, 3rd-Phrygian 6th-Aeolian
voice-lead the following triadic progression through each mode: 4th-Lydian 7th -Locrian
I-IV-VII-I.
122 # Modal Modal # 123

Now to find, let us say, the scale for G Dorian, think in this
manner-Dorian begins on the second degree of a major scale.
You want G Dorian. G is the second degree of what major scale? G
is the second degree of an F major scale. The key signature for F
major is one flat (Bb). Therefore, the key of G Dorian has one flat.
~ F
MA1oi?
, ,
At this point you should be able to find any mode on any degree of
the chromatic scale.
To build all of the modes systematically, here are two methods.
First method-Take each of the twelve major scales and build (play
Go-
andior write out) the corresponding mode that begins on each degree of
J)oRXA&/
, , , that major scale, as in Example 1 of this chapter.

If
I

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it
II Second method-Start with C as a root and build the seven different
modes on C. Then, do the same thing using C# or Db as a root. Continue
G 15- Tn. S~~ J>"C.tEE o. f MA1f>lt Se"<.e building all seven modes on each degree of the chromatic scale.

Now find the key of E Dorian. E is the second degree of the D major
scale. The E Dorian scale therefore has two sharps (F# C#). MODAL PLAYING
AND IMPROVISATION

In this section we will demonstrate how to take a modal jazz tune,

arrange it for keyboard, and improvise on it in a contemporary
, jazz modal style.

Find these scales: F Phrygian, G Aeolian, D Locrian, and C Dorian. Let's start with the most used and easily visible mode, D Dorian,
and begin some methods for improvisation.

G fleotJA/IJ Fourth Chords

I , , , First, some structures for the left hand-a three-note chord that
il J, I.: ' J. il
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II contains intervals of perfect fourths (21/2 steps).
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In the Dorian mode this kind of structure can be built on the first,
To find any Lydian or Mixolydian scale is even easier. Just re­ second, fourth, fifth, and sixth degrees of the scale.
member that Lydian is like a major scale with the fourth degree of
the scale raised one half step.

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Mixolydian is like a major scale with the seventh degree of the I "­ /\
scale flatted one half step.
I. !L ~ Ill: 11: u.. YIr

I e_. /71 Theoretically, and for practical usage, each of these structures
I; ,. G MII ro~
I I , I I, '
G Mlwo"'T brAN

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(with a D root played or implied in the bass) has the sound quality
of a D minor (tonic) chord.
 124 # Modal Modal # 125

(Momentarily, switch the structures in Example 19 to your right
hand and playa D in the bass with your left hand to get a better
aural conception of this.)
The structures built on the third and seventh degrees of the scale
in Example 19 contain tritones (3 steps), and do not have a tonic
sound quality. They can be used; but if they are stressed for any
measurable period of time, they will detract from the basic sound
of the mode. They are best used as passing chords.
Left Hand Rhythmic Foundation
Now, to get a basic left hand pattern that will furnish the harmonic
and rhythmic foundation for the improvisation. Take the first two
structures in Example 19, and at a medium tempo, play them on
the first and third beats of each measure-thinking of two­
measure phrases.
Again, any rhythmic pattern you choose will swing if you vary the
long and short attacks. Practice the left hand over and over in two
measure phrases, varying the attack and sequence of the chords.
Remember, you don't have to stick to anyone harmonic or rhyth­
mic sequence. The idea is to get the left hand playing as automati­
cally as possible.
Single-Note Runs
When you feel you have your left-hand moving automatically and
playing with a good rhythmic feeling, start improvising in the
right hand using single-note runs derived from the D Dorian scale.
The runs may begin and end (cadence) on any note of the scale.
Make sure that your runs contain good jazz rhythms and are in
two-measure phrases. Observe the following examples:

It."JOI

Fr
« II
12'# C-,)
/l _ -> d.).> >
The two structures can be played in any sequence.

~
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I I
Notice when you cadence the run on the root or fifth of the scale (a,
b, e of Example 23) that the phrase has a feeling of completion.
When the run cadences on a note other than the root or fifth of the
scale, the phrase has a tendency to want to go on.
Any sequence of the two structures can be the harmonic founda­ As you begin making up your own runs, be sure to keep them
tion for the improvisation. To make it swing rhythmically, vary
fairly simple and let your left hand keep the time of the two­
the chords with long and short attacks.
measure phrase for you.
IE)t,~21 Playing in Four-Measure Phrases
- _.

r F)
A

~tt J r
~
o,.~ A ­ When you feel comfortable improvising runs in two-measure
Iz: ij
r IF rJf phrases, start playing in four-measure phrases by: a) repeating a
~ two-measure phrase. b) adding a different two-measure phrase to

,
the first one.
c.)

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126 # Modal Modal # 127

::.
+ Here are a few more examples that are more interesting because of
u ­
II their varied rhythmic makeup.

e.lI,.. Em 1)""
r----Ir--l I I
When you get to the point where you can play and feel a four­
measure phrase, you will be well on your way to accomplishing
one of the most important and difficult aspects of jazz improvis­
I Ui,'TL 1,95 1
]/ If
ing. Since most jazz tunes are still written in four- or eight-bar c.. h", E-. ;:. ($ A,...

sections, feeling a four-bar phrase enables you to feel part or all of r--, r--r I

nnn r
C) r - - l r---l r---l

I,~ I~.i I
a section.

Broken Triads
Another melodic technique used in contemporary modal improv­
isation is a device that makes use of broken triads. Simply take the Another interesting way to use broken triads is to devise patterns
triads of the D Dorian scale and instead of playing all three notes using two broken parallel triads. Any two parallel triads can be
of a chord simultaneously, play each one as a broken chord or used. In the following example, the G major and A minor triads
arpeggio. are used.

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G If... Ii "" G A...,
Now, starting with the first, then second inversion, play each triad
as a broken chord.
As you continue improvising using broken triads as your melodic
device, keep in mind that we have given only a few representative
examples, and that any pattern or combination of patterns is
• 6«; , , , , , ,, + possible. You should experiment with as many combinations as
II , trl' ' II you can, and remember to phrase in two- and four-measure
I
• phrases.
F b_ E... F
Broken Fourths
Play the broken triads of the scale, ascending and descending, Another contemporary melodic technique that you can make use
starting at each inversion. Play these as many times as you need to of in modal improvisation is a device using broken fourths. As
until they feel comfortable under your fingers. you have already explored these structures for use as the har­
monic and rhythmic foundation for your left hand, you should not
When you feel comfortable with the broken triads, start using have much difficulty transferring them to your right hand and
them in different patterns for improvisation. Here is a very simple using them as broken chords.
rhythmic example using broken triads in sequence.
.I
[E~301
,, . I . . • ...... • ,. II
I ..L

II 1$ ,
I
I
I
I
II
I
-•11[ m:
I
I

1: U- K
128 # Modal
Use them as you used the broken triads-in a sequence.
phrases which are made up of combinations of single-note runs,
In.m~mlt&'~ r
I r
,I.' ;I JJ
I 11
Or use as two parallel structures.
b.)
As with the broken triads, any pattern or combination of patterns
using broken fourths is possible. The number of good melodic
ideas that you can come up with using broken triads or broken
fourths is almost endless, so continue to experiment with as many
combinations of which you can conceive.
At this point, we are ready to go into some ideas for more exten­
sive improvisation. But before we do, it might be wise to stop and
consider for a moment what we've done so far. At this juncture,
you should be able to provide a rhythmic and harmonic founda­
tion in your left hand, and play two- and four-measure melodic
patterns consisting of single-note runs, broken triads, and broken
fourths in your right hand. These melodic, rhythmic, and har­
monic patterns with which we have worked and those with which
we will continue, are only mechanical devices that all good jazz
pianists use. It is hoped that these devices will provide methods
and give you ideas to spark your own creativity. As we continue
with more extensive improvisational techniques, and as you feel
yourself getting control of the mechanics of each, you should
strive to become as creative as possible with the devices with
which you are experimenting. A hundred different pianists may
use the same device a hundred different ways. The way you
choose to use these devices, even at this stage in your improvis­
ing, will begin to determine what will eventually become your
own sound and your own personal style.
COMBINING MELODIC DEVICES
Even though an entire piano solo could consist of anyone partic­
ular melodic device that we have covered, most good melodic
solos in a contemporary jazz modal style would probably have
Modal # 129
broken triads, and broken fourths. Since the combination of these
is endless, there really are no rules on how to put them together
I except with good melodic judgment and with your own personal
creative instinct. Here are some examples that should help you:
a) a combination of broken triads and single-note runs, b) a com­
:r. bination of broken triads and broken fourths, and c) a combina­
tion of all three melodic devices.
~I
,2 A
- II
Continue improvising in two- and four-measure phrases, combin­
ing any two or all three melodic devices within the phrase. Even­
tually you will reach a stage where you will find that your ear and
hand are guiding your improvisation. It is not always necessary to
be consciously thinking of a particular melodic device.
IMPROVISATION
FROM A MOTIF
One of the most important, inventive, and enjoyable ways of im­
provising is working a motif or theme from a tune that you have
first played, into the piano improvisation that is to follow. This is
an attractive kind of improvisation for the aware listener as well,
for if the motif or theme is used skillfully, the intelligent listener
will almost always make the connection (even if it is not always a
conscious connection), and be more able to identify with your
improvisation.
Let's take the following motif, assume it is from a tune you have
just played, and work with some methods for using it in improvi­
sation.
IE,,3~1
ijC II
 130 # Modal
Modal # 131

This two-measure motif could be the main theme ofthe tune, one
that recurs during the tune, or just one of several motifs from the
tune that you've decided to work into your improvisation.
One of the simplest methods of using a motif is to transpose or
begin the motif on other degrees of the scale. In doing this you
can: a) transpose the entire motif, or b) use only a part ofthe motif
as you transpose it.
1)1!JnJ.Jl!l'"
, I
Take again the motif given in Example 34 (or devise a similar one
A second method of improvising on a motif is to change the note
values of any or all of the notes in the motif. As in the previous
examples, the entire motif or any part of it may be used. The
following examples a and b use the entire motif with a change of
note values. Example c uses only three notes from the motif.
Take the motif given in Example 34 and use it to create two- and
four-bar improvisational phrases, working with the three meth­
ods we have just demonstrated. Experiment with both the entire
motif and any part of it. You should be able to invent numerous
possibilities.
Other ways of working with a motif are combining any of the three
previous methods that we have demonstrated, transposing all or
any part of the motif, or changing the note values and adding
other notes to the motif. These can all be combined to produce an
incredible number of interesting phrases on any given motif.
of your own) and try combining any two or all three methods,
working in two- and four-bar phrases. When you feel fairly ac­
complished at doing this, try putting together improvised piano
solos of eight, sixteen, or thirty-two measures, using the com­
bined methods. Here is an example of an eight-bar piano solo
based on the motif in Example 34 combining the methods with
which we have been working.
IE~ ,.33]
,~,
I
ije • • ~ I

II
iE;'
I,
Still another method of working with a motif is to add notes to the -#­
original. With this method, some change in the note values of the
original motif will almost always occur. In the following exam­ A final word on themes and motifs-again, these are only devices
ples, the notes of the original motif are noted by arrows. to help you discover and organize melodic, harmonic, and
rhythmic ideas. It is hoped that creative improvisation will even­

I'
1~_,37] tually evolve from them. As with the other techniques demon­
Co.~ strated in this chapter, feel free to use them in any way that helps

c ,n] uri tt t' n

you to invent new musical ideas and inspire your improvisations.

NON·DIATONIC TONES

Unlike some other jazz idioms, modal jazz as it is composed and

\ I
performed today is basically a diatonic form of music; it is pretty
much restricted to the notes and chords of the particular mode
being used at the time-and with good reason. For, as we have
I!~

1$, }!JIfhpl~f - I
" .,. .,. ~ .,. t
discovered at the beginning of this chapter, each mode has its own
characteristic scale quality and chordal sound. Most jazz compos­
ers and performers, however, add additional notes and chords to

132 # Modal jazz
the ~odes to one extent or another, depending on the type of
tonahty they want to achieve. Obviously, the more non-diatonic
notes and chords you add to a mode, the further away you get from
the basic sound quality of that mode.
Let's investigate a few basic melodic methods and, a little later in
the next section, some harmonic methods of using non-diatonic
notes and chords to add color to the modes. Be aware as we begin
that adding certain non-diatonic notes to a mode and stressing
them rhythmically, or allowing them to sustain, will detract from
the basic sound quality of the mode. For instance, adding to our
mo~e of D Dorian a stressed or sustained F#(major third) or C#
(major s~venth) (both of which are primary notes in the D major
scale) wIll detract from the basic minor quality of the Dorian
mode. Rhythmic stress or long duration on the note Bb will give
the D Dorian mode an Aeolian character, and the note Eb, if
stressed or sustained, will tend to give the mode a Phrygian
quality.
A basi~ ~et~od of adding non-diatonic notes to a modal melody is
the utIhzatIon of passing chromatic tones. Passing chromatic
tones .can be used in a variety of ways, ascending and descending
and, If they are not of too long a duration nor rhythmically
~tresse~, they.can add color to the mode without detracting from
Its basIc quahty. Notice in the following examples in D Dorian
that the passing chromatic tones are neither rhythmically stressed
nor of long duration.
0...\
b~ c~
;t -. "
I ,~ ,im
iije &Vii £1 • II' ,A fJ .D, J «
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II •I IJ
.,.
II
structures of the mode that contain intervals of a perfect fourth-I,
Try imp~ovising in two- and four-measure phrases using passing
chromatIc tones to color your improvisation. Combine them with
some of the melodic techniques you have learned thus far.
Modal jazz # 133
A bluesy sound can be produced in minor modes by adding a
flatted fifth degree of the scale, stressing it rhythmically and using
it in certain kinds of melodic patterns. It will, however, drastically
alter the sound of the mode.
II
To get an even funkier kind of bluesy sound, use the flatted fifth
degree of the scale as a tritone interval with the root of the scale.
IE_. ~II a.:)" - ~ ~
$ j: \: I e: d)?J )1' Ih, ft] I.
I
Experiment using the flatted fifth in improvisational phrases of
two and four bars. Remember, however, that it produces a radical
departure from the sound of the mode, and should only be used at
times when you want to effect a particular bluesy sound.
In the first section of this chapter we began our modal improvisa­
tional studies by devising two left hand structures consisting of
two perfect fourths built on the first and second degrees of the
scale. We have used these in a few simple but effective patterns
that have provided a solid rhythmic and harmonic foundation for
d:.l ., , our right hand improvisations. Since then, we have concentrated
our studies on several different methods and devices which we
II •I ,Q f:J s II
l'
I have used to organize and develop creative melodic improvisa­
tions for the right hand.
Let's now look at some devices for the left hand that will harmoni­
cally enrich and add more harmonic and rhythmic activity to our
II improvisations.
MORE FOURTH CHORDS
One way to begin is to make use of all or several of the three-note
II II
n, IV, V, VI (see Example 19 of this chapter). Experiment with
several different left hand patterns, retaining the two measure left
hand rhythmic phrasing that you have been using. These exam­
ples will help you.
134 # Modal Modal # 135

Here are some examples of how to devise left hand patterns using
chromatic passing chords.
II

II

When you find and choose the new left hand patterns that you
want to make use of, play them over and over again until they
become automatic. Then begin using them as the foundation for
your right hand improvisations. When you feel you are in com­
plete control of your new patterns, begin changing the patterns as
your ear dictates while you are improvising, as you did in a
similar manner with your two original left hand structures at the
beginning of this chapter. When you accomplish this, you will be
improvising a much more sophisticated and harmonically in­
teresting foundation with your left hand.
CHROMATIC PASSING CHORDS
A device that can really change the harmonic and rhythmic com­
plexity of your left hand foundation is one of chromatic passing
chords. All the tones of the chord pass chromatically-either up a
half step:
n
Devise several two-measure patterns that make use of chromatic
passing chords and practice using them in improvisations. Begin
making a decision on how much you want to make use of them, for
the degree with which you decide to use them will be an impor­
tant factor in the evolution of your modal style.
THE SUSPENDED FOURTH
CHORD
Thus far, we have restricted our left hand to the most commonly
used modal structure-a three-note chord consisting of intervals
of a perfect fourth. Let us now take a look at another very similar
structure that is also commonly used-the suspended fourth or
sus4 chord.

The sus4 chord, though similar in sound, is richer and denser

harmonically than the three-note chord we have been using. It is a
four-note structure that uses the three notes of the fourth chord,
II plus an additional note an interval of a perfect fifth above the root.

or down a half step:

I£"I~~I-L
17: :
Another way to think of the chord is that it is like a dominant or
minor seventh chord with a perfect fourth replacing the third in
the chord.
Like single passing chromatic tones, chromatic passing chords
can be used in a variety of ways-ascending and descending. If
they are not rhythmically stressed or sustained, they will add ])"'" tl7 117 ~".~

color and a great deal of harmonic and rhythmic activity to your -+ +- +-,

improvisations without destroying the basic sound of the mode.

i~rm: '!J MfCl6 : J OpT II
136 # Modal Modal # 137

In the Dorian mode, sus4 chords can be built diatonically on the I,

If J fJ IT
J~ A )-
II, IV, and V degrees of the scale.

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SF fI L&<> Ufo' Tlit F...... C"oA~' Zl¥ ifj,. e·) 1'''
G-T '''''1 II, .... ~' THE &11""f MII.,OIU A~ 1N e". I>.~'''')''''''CI.)
-(/I>- ..L
;' ;'
11'
~
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•
...... I·
+-
As with our other left hand patterns, chromatic passing chords
may be included.
II Ii: ::r

In modal improvisation these sus4 chords can be used in exactly

the same way as the three-note fourth chord, including the use of
sus4 chromatic passing chords.
1,1
It,,·~~1 b, \",~ »'\ :,>","1 Select a few of the patterns shown in Examples 50 or 51 (or devise

Iit
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..I.. b.)
Eo, i.... '1

..L, -­
:4 : ii.
f.,10~ '''''I l:>.,
.......

!'
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some of your own), and practice them for use in improvisation.
These patterns, when combined with right hand improvisation,
D require quite a bit more dexterity and coordination between

Devise left hand patterns using sus4 chords in the same manner
"
hands than any of the previous patterns we have used. And you
will need to practice them a great deal, both separately and in
combination with your right hand before you can comfortably
that you devised your three-note fourth chords, and use them in integrate them into a creative improvisation.
improvisation. After you feel comfortable with them, use them in
your improvisations as separate patterns or in patterns combined
with three-note fourth chords. ARRANGING

Now that you have spent some time practicing and working with a
good many improvisational techniques, let us take two contem­
ADDITIONAL LEFT HAND porary modal compositions, establish some methods for arrang­
PATfERNS ing them on the keyboard, and begin improvising on them. The
first, titled "Twilight Journey," is a 32-measure tune that repeats,
The final type of left hand patterns that we will discuss is one that making it 64 measures in actual performance.
requires a good deal more left hand movement. These patterns
consist of the root of the scale (played in a lower register) com~ IE.;,s,,1
bined with our three-note fourth chords (played in the register in
:P1 'Id ~
which you have been playing them). This type of left hand pattern
will add a great deal of scope and depth to the sound of your entire
improvisation, for the patterns not only make use of an additional I~e tf.: fJ EL~~ I 9 '1- 813

low register, but also include regular movement in the left hand of
an octave or more. Here are some examples of this moving type of c. 1 'i4'~
pattern.
i'p r7f757F ~« - i [c I
}, '\.I~~
I ,n J2221A ,==
__2JJP ­
 139
-
Modal jazz #

on the tempo and melodic-harmonic makeup of any particular

r7 $'H~ tune. In this tune we can accomplish this by establishing a con­

1 'ttf tr-- t V ---- 1S>2!i - itJl1 1

stant two-measure rhythmic pattern in the left hand using the
sus4 chords. This particular rhythmic pattern is devised by at­
tacking the second and third beats of the first measure and the first
=, Su, .f
- ,
and third beats of the second measure.
y-
I*G t71Z i7 ~fI I lel4J~1

t
A A

r, '14. ~

,-6 I I': a ~ 1$ i Jl'1

~~ ~~ ~:I
1
::-:-..
u - Work with the left hand alone playing through the tune several
times using this pattern, changing the chord structure every four
12. e, $it,/(
f!!!F- - ~~~ f?b - , *r j­
measures in accordance with the form of the tune.

When you feel your playing of the rhythmic pattern has become
automatic, add the melody in the right hand. As you can hear, the
rhythmic pattern fills the space and keeps the tune moving.
I"', ~, Ildl{

6­
....---:::
7F=s«= 3f?b - II TIlE IMPROVISED MELODIC FILL

The song begins in the mode of D Dorian or D Mixolydian and Our arrangement as it now stands can serve adequately as a basic
goes through a series of modulations before ending in the original keyboard arrangement of the song. There are, however, some
mode. Each mode uses for its harmonic foundation a sus4 chord additional musical devices that will render us a more sophisti­
and, in this tune, each sus4 chord represents a Dorian or Mixo­ cated and elaborate arrangement. One such device, the impro­
lydian mode. vised melodic fill, can add additional melodic interest and activ­
ity to our arrangement.
Begin by playing the melody alone in the right hand. The tune
should be played at a medium-fast tempo at about a metronome Let us begin improvising melodic fills for use in our arrangement
setting of a quarter note 138. where the melody of the tune sustains. Keeping the rhythmic
pattern moving in the left hand, devise fills using the Dorian or
After you have played the melody through, construct the sus4 Mixolydian modes consistent with the melodic improvisational
chords in your left hand and play them several times over in devices of this chapter. Insert them into the second and third
sequence. measures of each line in place ofthe sustaining melody. Here are
some examples.
If.,lll :b) to....... C1 '104 '/ f? 1;1.1&'1 £, Sw'/
,-II-+- ....&..

II ·s
-#-

121 ;' II 'f II :' I b.) ~

11 1 ;&" ]$; II
LEFT HAND RHYTIfMIC FILLS

As you can see, this tune has been composed with a lot of space,
and it will be necessary to fill the space to keep this tune moving.
The manner in which the space can be filled will vary, depending
} 1 - II
138
 140 # Modal
Modal jazz # 141

SUSPENDED FOURTH CHORDS

WITH ADDED NINTH After you have worked out the kind of arrangement you would
like to use in playing the tune (a basic left hand rhythmic pattern
Another musical device, a method of adding depth and harmonic alone or with improvised melodic fills, or the two-handed rhyth­
interest to our arrangement, is incorporating both hands into the mic pattern), begin to prepare the tune for improvisation.
established rhythmic pattern, adding another note, a ninth, to our
sus4 chords.
IMPROVISING ON
In constructing this ninth chord, the left hand plays the root of the SUSPENDED FOURTH CHORDS
chord in the lower register, while the right hand plays the remain­
ing tones (fourth, fifth, seventh, and ninth) in any inversion. Each sus4 chord represents the harmonic foundation of a Dorian
or Mixolydian mode-whichever you choose to use. You may use
all Dorian or all Mixolydian modes as you improvise, or mix them
in any combination-D Dorian, C Mixolydian, F Mixolydian, E
Dorian.

Decide on the modes you would like to use and then play over the
scales, triads, and fourths that will be involved in each. In impro­
< vising, use the sus4 chords in your left hand for your harmonic
and rhythmic foundation and apply the improvisational melodic
techniques we have worked with in this chapter.

Let us now look at our second composition, "A Rose In Winter"

To involve both hands in the rhythmic pattern, play the first
(Example 58).
measure as you have been, using the left hand only for the rhyth­
mic pattern. Beginning with the second measure, move to the
two-hand position of the sus4 chord with the added ninth and la.,581
continue playing the rhythmic pattern with both hands while the
melody sustains or rests. ;Sf .:D 'l>OfU.M
"$ e; ;11 U tJ I! 1;/l.Q:]) I J,
(
n f".... ....
,
v- -

A \l'~'
)f

,.
10

~ ~ l~~ 1 ~ ~ ~ fi?!! ~.".

I

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r ~
....... I Dr 57 I- , '51 <) - [ttI I

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:;jfJj1l ::i!fj
142 # Modal jazz
1\\~1,
rr -+
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~Coe~
II - II
This tune, composed in one type of A B A song form, begins with
a 16-measure section (A), followed by a second section of 8
measures (B), and concludes with a repeat of the first section
(A)-a total of 40 measures in all. The song is composed in three
modes. The A section is written in the key of D Dorian, the first
four measures of the B section in Eb Dorian, and the second four
measures in D major.
To begin devising a keyboard arrangement, play the melody alone
and, as with our previous tune, play it at a medium-fast tempo
with a metronome setting of about a quarter note = 138.
After you have familiarized yourself with the melody, devise your
harmonic foundation and rhythmic pattern for the left hand.
To furnish your harmonic foundation, construct one structure for
the harmonic foundation of each mode. For the Dorian modes we
will use sus4 chords. and for the major mode a major seventh
chord.
~~'
1)1li.",,'i b ..ftf 7
:
IT
0#-
121 :' II
Now let us devise a rhythmic pattern. Because there is a consider­
able difference in the melodic patterns of the A and B sections, we
will need a different rhythmic pattern to fill each of the two
sections and keep the tune moving. For the A section, we can
establish a constant two-measure pattern.
For the B section we will need a different rhythmic pattern-one
that consists of four measures. In the example given, the Eb Dorian
mode is demonstrated. Use the same pattern for the D major mode.
Modal jazz # 143
Play through the rhythmic patterns of the tune several times and
then add the melody with the right hand.
Because this tune is played at a medium-fast tempo and has
considerably more melodic activity than the previous composi­
tion, there are not as many opportunities to insert melodic fills or
make use of the two-hand rhythmic pattern. Explore the tune for
measures in which these devices might be used if you would like
to create a more elaborate arrangement. If not, our constant left
hand rhythmic pattern in combination with the tempo and the
considerable amount of melodic activity of the tune will serve
very adequately as a basic keyboard arrangement.
Some improvisation instructions-as the chord symbols of the
tune indicate a scale only, you may, as usual. construct either
sus4 or three-note fourth chords for your left hand while impro­
vising in the Dorian modes. For the D major section, several
different harmonic structures may be employed. The D major
seventh chord that you have just used in your arrangement is one.
Another rich sounding structure that you may make use of is a D
major seventh chord with a ninth replacing the root of the chord.
.. ·7
1> .....
1
Three-note fourth chords constructed on the n.llI, VI degrees of a
major scale give an interesting modal flavor to the major key.
•

 144 # Modal
Modal # 145

WORKBOOK ASSIGNMENTS
All the structures of the two previous examples may be utilized
singularly or in combination to furnish an interesting harmonic 1. Construct all the modes on each degree of the chromatic scale.
foundation for the D major section of your improvisation.
2. Construct the triads and seventh chords available in each mode.
3. Construct three-note fourth chords in the following Dorian modes:
Bb, C, Eb, F.
TWO-HAND RHYTIlMIC
4. Devise a two-measure motif and use it in piano improvisations of 32
PATTERNS
measures. Play in three different modes of your choice.
5. Combining melodic devices that contain chromatic passing tones
We will conclude our chapter on modal improvisation with one with chromatic passing chords, devise 16 measure solos in the modes of
final improvisational technique. This technique is one of insert­ A and B Dorian.
ing a two-hand rhythmic pattern of four or eight measures into 6. Play several improvisational solos 8 measures in length, using the
your solo at times when you would like to change the texture and flatted fifth device. Alternate your solos between the modes of D and Eb
mood of your improvisation. Dorian.
7. Devise several two measure harmonic patterns that make use of all
We can utilize these patterns in a solo in exactly the same manner the available three-note fourth chords in the C and E Dorian modes.
in which we used them for the rhythmic arrangement of "Twi­ 8. Construct sus4 chords on each degree of the chromatic scale.
light Journey," with the left hand playing the root in a low register 9. In the modes of C and F Dorian devise left hand rhythmic patterns
and the right hand playing the remaining tones of the chord. that move from a low register root to three-note fourth chords (see
Example 50).
All of the harmonic structures with which we have been working 10. Construct two-hand sus4 chords with the added ninth on each
can be incorporated into these two-hand rhythmic patterns for use degree of the chromatic scale (see Example 56).
in your solo. In the following examples, a demonstrates the pat­ 11. Devise piano solos of 16 measures in each of the following Mixo­
tern using three-note fourth chords, and b utilizes sus4 chords lydian modes: D, E, F, Ab. Use sus4 chords for your harmonic founda­
with the added ninth. tions.
12. Construct major seventh chords with the added ninth on each de­
gree of the chromatic scale (see Example 62).
13. Devise piano solos of 8 measures in the following major keys: Db, F,
.. ,\
. .... G. Use major seventh and three-note fourth chords for your harmonic
r
I
II -e .., a foundations .
14. Alternate four-measure phrases of melodic improvisation with
four-measure phrases of two-hand rhythmic improvisation using the
< ~ following modes: F Mixolydian, Eb Dorian, C Dorian, D Mixolydian.
-4 '~
, ~ 11'1 ~ bL'l Jt"
I
,
,
r
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-" " ~

Work out additional patterns using combinations of sus4 chords

and three-note fourth chords. For major modes, devise patterns
consisting of major seventh chords, major seventh chords with
added ninth and three-note fourth chords.

Experiment with incorporating these patterns into your improvi­

sation with all the other melodic, harmonic, and rhythmic tech­
niques with which we have worked throughout this chapter.
 Stride piano

One of the earliest styles of solo jazz piano was called stride.
Stride reached the height of its popularity during the 1920's and
1930's. Some of the major exponents of the style were James P.
Johnson, Willie "The Lion" Smith, and Fats Waller.

The essential rhythmic concept of stride-the left hand playing

four even beats to the bar with the right hand playing a contrasting
or syncopated figure-was developed from Ragtime. The follow­
ing is a two-measure example of a basic stride pattern. The left
hand plays the root on the first and third beats and a chord on the
second and fourth. The right hand plays a syncopated melodic
figure.

1-rTl I r-1 I I I

I
f: '­ '.t­ ;l-

-J ::#=
,
SYNCOPATING A MELODIC LINE

When working with an unsyncopated melodic line from a lead

sheet or sheet music, you must syncopate the line. This is done by
delaying or anticipating the attack by an eighth-note. The follow­

147
148 # Stride Stride # 149

ing unsyncopated line, when syncopated, would correspond to

the melodic line of Example 1. C"'II At., ~ 4"

IEII,:I ])., ll.7 c.. . F,

II,P ir P rpl &r rr I ' pUP r ~ Iq P F Cf
7

1$ tr r
::l
• •I I,A • J ~ tat, a"'1 f,. Ii., t, ~ 4~

Here is another unsyncopated line.

II
Uj (f) r P r 6f T' vr I G r (t II

1£_·31
{f(, t, (If) 11111 Ii, !~ t., !I'" ~
D? <:"7 c.. .1 F,
II, irz 'f) f ,I £1 T!11J I' } GP f ~ I .§f7l)
I'

,
r r I ;p =1
00
II
By delaying or anticipating the attack, the line in Example 3 could
be syncopated at least two ways.
- II

11£•. ~ I

G-7 Using a basic left hand stride pattern for the first eight

I$c0' , r f
'1>7 Co 7 e"'1 F7 \).)
J>7 (!""7 fr

measures-roots on the first and third beats, chords on the second

r ';t1' ~
to II 1
r ~r I ' 'F i!J II and fourth-play the first chord Eb6 in root position, as it has a
good solid sound in that register.
Practice changing unsyncopated lines into syncopated lines as
demonstrated in the previous examples. lelC.~] tilt,
Stride, to this day, remains a wonderful solo style to play because 12'i I II
its rhythmic completeness requires no bass player or drummer for
rhythmic support. Listen to some of the marvelous contemporary
stylings of Teddy Wilson, Jaki Byard, Marian McPartland, and Once the position of a chord is determined, the following chord
Dave McKenna. can generally be voice-led from it. Since there usually are a
number of positions available, the idea is to voice-lead from chord
to chord or choose chord positions that move smoothly from one
DERIVING LEFT HAND VOICINGS to another and sound good to your ear.
Let's begin putting together an arrangement in a basic stride style
by deriving left hand voicings from the chord changes of an 1'~171 E"" C.?C'4) f"'7 B·7
original tune, "Don't Fool Around Much Anymore."

IEll.! I J)t)N'T F~" . ~a~i4d f'li4'" A~r,jf#4'

I. i\NN:N~r"N

12'iP, 1f;,11 1 Jf ::J i ' '1

e'~ ~7(bd FAl7 6'1 e", ~, /1.. ~.,

The ninth may be used in place of the root on dominant seventh

I$~ -,£1 p HIn1l p i I'} UH pi {/!lJ chords.

f, ~/
I - II
150 # Stride

approach notes. The use of approach notes will add a rhythmic

Our final choice of left hand voicings, then, might be these.

and textural variety to your arrangement. In place of the left hand

chord on the fourth beat of measures 1, 2, 3, and 4, approach the
e"" C7l.~) rrtll G, up-coming chord by a half step.

f l'~ I .1
l
17\\
6....
+ ft
c7tb~)
, I; f j
, til A"7

J f J :f
Continue working on the bridge in the same manner as the "An
Play over your choice of vaicings until you are playing them
comfortably and in time. Then add the melody with the right hand
(when playing the "A" section of the tune, play the melody an
octave higher than written; this puts it in a much better piano
register for stride style).
HARMONIZING TIlE
RIGHT HAND
To get a full stride piano sound, the next step will be to harmonize
the melody with chords in the right hand. This is done by filling
out the chord or part of the chord below the melody. (Sometimes
using the entire chord does not facilitate playing the melodic
line).
( t
section-deriving left hand voicings, adding the melody, then
harmonizing the melody with the right hand.
BREAKING TIlE STRIDE
A method of adding rhythmic variety to your arrangement is to
break the stride at some point. The stride is usually broken on the
"turn-around" of a section, when the melody rests or sustains. We
will break it here on the last six beats of each section by playing
the root and seventh of the chord in the left hand, while the right
hand plays the third and a simple improvised line.
f.,
ill~ ~ 1'l
""

Bb1 .)
\ -a~
'r ~f f
\
,. .d

...
-
-+

l b '
- - II LEFT HAND OCTAVES
ANDTENTIIS

To add sonority to the left hand stride, there are two further
devices that may be employed-octaves in place of single notes in
EMBELLISHMENT OF TIlE the bass, or, for those whose hand span will reach, tenths.
LEFT HAND PATTERN

The first four measures of the "bridge" or middle section of the

tune affords us, because of the one chord change per measure, an Q.)
l~ l- t ~ .)
~ ~ t­ il
opportunity to break the left hand pattern of root-chord-root­
chord. A standard method of breaking this pattern is by use of ~ ;;iF
~ if f
""
152 #: Stride Stride #: 153

Either of the above devices may be used at any time; use them
prudently, however. as their value lies in adding sonority. If used ,(!Jt1
continuously, the octaves may become too plodding and the
tenths over rich in texture.

When you arrive at a point where you have constructed and are
playing a good sounding arrangement, you will be ready to begin ~", ~~) fM1 gil? fbt,
improvising.

IMPROVISATION
As we begin improvising, we will adhere to the left hand pattern
of our arrangement and explore several devices for right hand
improvisation. Using the left hand pattern that you have con­
structed, play each of the following improvisational examples
several times. After you have played and examined each example,
devise several similar ones of your own.
1'%'i}I.DpD . - II
Another improvisational technique is the use of scale lines.
Create a scale for each chord. The diatonic chords-EbS, Fm1, AbS,
Bb7-w ill take scale-tones from the diatonic scale of Eb. To create
scales for the non-diatonic chords, use the chord-tones of each
chord plus an additional tone between each chord-tone. Let your
ear be your guide. Use the scales you form to create a melodic
improvisation.

Melodic variation is a basic approach to improvisation. Keeping the

melody in mind, create a variation on it.
I I

,
0"
+ • I :"
l'EJnPgpp 11 ~ )2#. ft I
I

I ·§Tn 1,.\ } 1.0 JJ r}1tljk 1

I·QIiJ
Arpeggiated figures work very well in stride. Use the chord tones of
each chord to create an arpeggiated melodic line.
II
­ II
II Any of the above single line melodic examples can be harmonized
with the right hand, using the same approach we followed earlier
with the original melody (see Example 10). As you devise a single
line in improvisation, using the above methods, harmonize it
with chords in the right hand.

A very full, syncopated sounding improvisation can be created by

forming full chords in the right hand and using them in short
off-the-beat phrases against the on-the-beat chords of the left
hand.

le",111 Gbi., C-,ll.<t> 6- A"", f)1t

II I,m
C. 7(1kt) ....1 G-7
8~
1r
flo" Bill C7 fM1 1
fMl
6" {1
'"
I r' ~t:J I ·SI ¥:5 gtttGct II
14~'c Vfl - Il1 ~.I. 1$ f~ - ,if-Ai J

,,
Passing tones color an improvisation and add melodic and harmonic ej,~ 6~
interest. Use passing tones-a tone not present in the chord-between
E·(p e,(li'l F_ 7 e.' 1
(!7 {'-II f7 1

chord tones. J. 1\

I
1f' •
I~ 1 I \ \ I!, 1 II
" "
154 # Stride # 155

Breaking the stride, occasionally, during several choruses of

improvisation adds rhythmic variety and interest to the overall
improvisation. The stride rhythm can be broken during "turn­
around" sections (see Example 12) or at any other point that you
desire.
'D,
Stride, certainly, is not the easiest of styles to play, and a consid­
erable amount of practice using various melodic lines and chord I,va· pf' " - II
progressions is necessary to acquire a comfortable playing facil­
ity. The following workbook assignments will provide ample I
material for practice. 5. Select two standard tunes from your lead sheets or sheet music.
Create keyboard arrangements and improvisations from them in a stride
style.
• iI Some suggestions: "Georgia," "I've Got Rhythm," "These Foolish
WORKBOOK ASSIGNMENTS
Things," "I'm Gonna Sit Right Down and Write Myself a Letter," "After
1. Derive left hand voicings and improvise on the following 8-bar You've Gone," "Manhattan."
progression.
II G6 I G6 G#dim7 I
I D7 I G7 II
2. Syncopate the following 8-measure melodic line; derive left hand
voicings from the chord changes and harmonize the right hand.

led~1
SOt.. E"1 j)"'7 G,7 C7 ':7

k~ ,-e .I ::lI J I ,FJ "

I j I
I =!
" " I .0 r J

b\,. ~b f7 B"0
, n}J ..~i
7

I II
~ 4~ ~ j
,::l =t e II

P• • "
tI
e I
I
, I

3. Derive left hand voicings and improvise on the following 8-bar

progression.
II: f6 Dm7 I Gm1 C7 I Am7 D7 I G7 C7 I
I f6 Dm7 I Gm C7 I F6 D7 I Gm7 C7 : II
4. Create a keyboard arrangement and improvise on the following
original tune.

I fiG'
tr, c,
"I
IrPUUiJI
 Bop and
Mainstream
piano styles

Bop or Bebop came into being during and immediately following

World War II.

Some of the major innovators of the music were Charlie Parker,

Dizzy Gillespie, Thelonious Monk, and Bud Powell.

Among the many innovations of the style were the evolvement of

new concepts within the rhythm section and the development of a
new harmonic and melodic vocabulary.

For their repertoire, Bop musicians used standard tunes from the
1920's, 1930's, and 1940's, plus original compositions. Many of
their original compositions were based on chord changes from
standard tunes.

Bop is highly complex rhythmically, harmonically, and melodi­

cally and set the basis for post Bop and Mainstream styles of the
1950's, 1960's, and 1970's. These styles are still being developed
by Mainstream musicians.

Playing Bop or any of the Contemporary Jazz styles that have been
derived from it requires a specialized rhythmic, harmonic, and
melodic vocabulary. In an earlier section, we presented material
on Jazz rhythm and at this point you should have the ability to
create a swinging melodic line. In this section, the emphasis will
be on Jazz Piano Voicings and Jazz Scales.

Bop and the contemporary piano styles that have been derived
from it are primarily styles where the pianist is not playing solo.

157
 Bop and Mainstream piano styles # 159
158 # Bop and Mainstream piano styles

These piano styles were conceived and evolved in settings that TIlE CYCLE OF FIFTIlS
utilized a bass player. In these non-solo piano styles, the line
played by the bass player is an essential ingredient in the sound of The cycle of fifths is a method of moving through all twelve tones
the music. The concern of the pianist's left hand in these styles, of the chromatic scale.
then, is primarily harmonic and less rhythmically oriented than
in solo piano styles.
C'r'CLe.. Of

C
TIlE DOMINANT NINTII
AND TIlIRTEENTII CHORD

Let's begin with piano voicings for the dominant seventh chord.
In the styles we are discussing, the root and fifth of the chord are
replaced by the ninth and thirteenth, respectively. The two most
common voicings being those with the ninth or thirteenth in the
lead.

In Bop and Standard tunes, a large percentage of the root move­

ment from chord to chord is down a perfect fifth or the inversion,
up a perfect fourth. Play the following example. The left hand
moves through the cycle of fifths, down a fifth then up a fourth.
Each tone represents the root of a dominant seventh chord.
Practice each voicing chromatically both ascending and descend­
ing. Play the root in the right hand, the chord in the left hand.
t~ ~b B, C7
c? f, 8b7 7 I¥", 1)-1 1
1S , 04 1 ()7 (;7

:il7 IZi 0
J~ I.e i '0 II
()' ¢'
ro <5
..eo
~
"Z5
"0
~

- ~s: .. e w~ 101'"
Let's now voice our ninth and thirteenth chords through the cycle
~
eft.· ~,c., of fifths, beginning with a C7 chord with the ninth in the lead. As
the chords progress through the cycle, the voicings will
,
alternate-the ninth in the lead on the first voicing, the thirteenth
\
y~ -6> os ~e
in the lead on the second voicing, etc.
~ ~ ..fifiJ- W

When you have completed this exercise, shift the chord to the left 8~
hand and practice each voicing chromatically, omitting the root. 7

110 ?

b;)

11$
:;
 Bop and Mainstream piano styles # 161
160 # Bop and Mainstream piano styles

Practice Example 10 until you have memorized the voicings, then

Notice that the ninth of each chord becomes the thirteenth of the shift the chords to your left hand and practice playing through the
following chord. cycle as you did with Example 9.

£1.1
I

The most frequent progression you will encounter in Bop and

Standard tunes is the nm7_V7_ImaJ7 progression. Play and examine
the voicings for the progression in Example 11. Notice that a nine
is added to the n m7 chord, the V7 chord contains a nine and
thirteen-the exact kind of voicing you have been working
on-and a nine is added to the rm aJ7 chord.

Continue voice-leading the chords through the cycle of fifths.

Practice until you have memorized the voicings and are playing
I ~-, III bt>l7
smoothly and without hesitation. .
(
1 .... 1

I It

.... ....

Learn the progressions in all its possible inversions.

. .A . " ,c-.S

Shift the voicings to the left hand (omitting the root) and practice , ,,, o.
playing through the cycle with your left hand.
\
31, :I.... '? 1!... ~ 317 r"'''J, :1""'7 ll, r,.-17
1/"'7 11'1 :r"'''Jl $ 10 1

~ R R R ~ R
R R R R i R
[L1J 6·., f.b1

<!.., F7 I

17: • gO
.s::t..
~f!#.
0
~
,;e ,r
, .e
e
'rio, II Practice until you have the inversions memorized, then shift the
chords to your left hand and practice them omitting the roots.

When we begin voice-leading with a chord with the thirteenth in

the lead, the order of alternating voicings is reversed-first the

thirteenth in the lead, then the ninth, etc. le~, 13\ D.....7 (;.7 c) I)"" (;.7 C7 I)"" (;7 C1 0.. ., G" C7

-eO -eA
r
I ;e i! I ge :: l; II
-Ell'- -Ell>­

!!t,'O I t1 F.r 8b7 6"7 f10 01>7 ~·7 B} ty A} b, 61 fir f

SD t -e­
!lSI eO- !.:!
~
, .13 on 'I n
- 7

f to ~Ta
At this point, you should learn the nm7_V7_ImaJ7 progression in all
~-e- 70
keys, all inversions; playing the chords first in the right hand and
<
then shifting the chords to the left hand (omitting the roots).
R it

jD
~-6 ~'15" -i&
0 ~ cs
 Bop and Mainstream piano styles # 161
160 # Bop and Mainstream piano styles

Practice Example 10 until you have memorized the voicings, then

Notice that the ninth of each chord becomes the thirteenth of the shift the chords to your left hand and practice playing through the
following chord. cycle as you did with Example 9.

r, E"7

1,10 The most frequent progression you will encounter in Bop and
Standard tunes is the nID7_V7_IIDai7 progression. Play and examine
the voicings for the progression in Example 11. Notice that a nine
is added to the nID7 chord, the V7 chord contains a nine and
thirteen-the exact kind of voicing you have been working
on-and a nine is added to the IIDai7 chord.

Continue voice-leading the chords through the cycle of fifths.

Practice until you have memorized the voicings and are playing
smoothly and without hesitation.
(
8"7 11""

... .­
Learn the progressions in all its possible inversions.

'b... .,.
~
" ,L"9S

Shift the voicings to the left hand (omitting the root) and practice , 13
"'.
playing through the cycle with your left hand. :1",..., ]1., 1""1, Jr...., jI, r"'''J) :X:""1 ll, :r:"A],
11"', ll, $ l1li 1

It R R K II
R a t R K
IEj,~ I e.7 F7 6'7 £!>
R R

12: J~
..Q..

;~
b
.Q.

'egg ,so e
7

61£' II Practice until you have the inversions memorized, then shift the
chords to your left hand and practice them omitting the roots.
When we begin voice-leading with a chord with the thirteenth in
the lead, the order of alternating voicings is reversed-first the
thirteenth in the lead, then the ninth, etc. le~1 1'1 0,.,,7 C;7 C, b"" (,., C7 C... , G7 C, 0"1 G., C7
-e- -eO -eO-
r
-e­
;e ¥ iF I g0' ::
.........
~
12: i
.-0..
IEr,/O I e7 G"• Db1 r".~1
~
0
s g eQ a
I II
f, B07 {Io7 fA, £7 Il, /.), 67
d • '3 ~o , ~
­
,­ p' fa 9<f1!!r 745
At this point, you should learn the nID7_V7_rai7 progression in all
keys, all inversions; playing the chords first in the right hand and
then shifting the chords to the left hand (omitting the roots).
R it

..., ,.eo ~cs

. 0
-e -0
~
 Bop and Mainstream piano styles :/I 163
162 :/I Bop and Mainstream piano styles

DERIVING LEFT HAND VOICINGS

The progression for the next four measures is rrm7_vn_Imai7 in the
key of F. The G7 chord in the eighth measure voice-leads very
When you have learned the dominant ninth and thirteenth and
nicely into the Gm7 of the ninth measure and establishes a good
the IIm~-.v7-Imai7 progressions, you will be ready to begin applying
sounding inversion for the lJill7_V7_Iffiaj7 progression in F.
the vOlcmgs to tunes. Let's begin by deriving voicings and chord
scales for an original tune with a typical Bebop chord progression.
Play the melody and examine the chord progression for "Two 1!~, 171 (;.1 G"" r... tU 1

Five Jive."
jO IT Ir ~
8"
J
'1'/JO fJ yl, 'i vI For the final four measures, we return to our original II-V-I
A (1,,, ~ JlHII/? progression in C. (See Example 15.)

r (f t r' p?r l' I ds;;;

LEFT HAND RHYTHMIC
11 .2', PATIERNS

I' 'r t1' &tee:: Now that we have derived voicings for the tune, our next step will
be to set up a rhythmic "comping" pattern for the left hand while
the right hand is playing the melody. Normall y, wh en th ere are no
(P~, aT melodic anticipations, the left hand can play the changes on the
first and third beats of the measure. A rhythmic problem is in­
I'HtrDtl.Q$r volved in where to place the left hand chords when there are
melodic anticipations. Here is a general rule to follow-when the
anticipation is tied to a quarter-note or less, play the left hand
j)"'i ", change with the anticipation.
"
1 j' r {j 1;r fJ b.7

Let's now derive left hand non-root voicings for the chords. The
progression for the first four measures is rrm7_vn_Imai7 in the key of
C. Use the best sounding inversion and register.

I~,III
1>"'1 G" C......i1

..0­

1'\ f ~ lE jit II When the anticipation is tied to a note more than a quarter-note in
duration, play the left hand change on the beat following the
The second four measures are made up of dominant seventh anticipated beat-the second or fourth beat.
chords moving through the cycle of fifths. Begin with the E7 chord
with the ninth in the lead and voice-lead the chords through the
cycle of fifths from E7 to G7.
~ r-.... ...,...,

[=_.1(, I lET 1J7 ~ G7

l'~ ;R­
~
-&- -&­
T I

It fo I!": if!­
I ~ ~
~ '­
 Bop and Mainstream piano styles # 165
164 # and Mainstream

here, in the limited space available, to provide you with a good

Following our rule for anticipations, then, the left hand rhythmic
working guide for analyzing progressions and selecting chord
pattern would sound like this:
scales for them. In addition, a chord scale chart will be provided at
the end of this section.
1141" rfVe. Jnt
As many of the chord scales we will be discussing are modal
~ CMn, scales or scales derived from modes, an understanding of modal
theory is essential to understanding the harmonic and melodic
material presented in this section. If you have not yet read the
chapter on Modal Theory presented earlier in the book, it is
prerequisite to do so before continuing with this section.

The scale for any chord is determined by the function of that

chord within the chord progression. By correctly analyzing the
function of a chord, the chord scale can then be determined.

DIATONIC CHORDS

Chord scales for diatonic chords follow a basic harmonic rule. A

diatonic chord (a chord in the key) takes a diatonic scale.

.-- --r-1 ~ ,.....

/
~
u '--'-'
~
(
DOMINANT SEVENTH CHORDS
~c:~ ""P- ~J!. fit. p.- p- li="- *-
Any dominant seventh chord moving down a perfect fifth to
I another dominant seventh chord takes a mixolydian scale. Play
the following examples.

I
I 0­ I Y

<

~ ~ ~ t. ~ I'L ~ a..

ADDED SCALE TONES

A chord scale represents the basic scale for each chord­

CHORD SCALES AND
chromatic passing tones may be added to any basic chord scale.
HARMONIC ANALYSES
Example 23 demonstrates an improvised line using only the basic
tones of each chord scale. Examples a and b are constructed with
A book itself would be required to provide a harmonic analysis of
arpeggiated figures; Examples c and d are built from stepwise
any significant depth of Bop and Standard tunes. We will attempt
scale lines.
166 :# Bop and Mainstream piano styles and Mainstream :# 167

TIlE ALTERED DOMINANT

SEVENTII AND DOMINANT

CijJ I EP 51 rti
SEVENTII (FLAT NINE) CHORD
- II A dominant seventh chord moving down a perfect fifth to a minor
chord is almost always altered or contains a flatted ninth.
C1 filii", 1

)@11i r £1J:J )! fjJfr" II 1:..\ ci)

t
.0'111 II t, AI1 II t 7,m fld1 II
- II The altered dominant chord contains a flat nine and flat thirteen.
Two of the most commonly used voicings are those with the flat
6.) G ...., (!, F~"J, nine and flat thirteen in the lead.

"~it ,) A IT 'pIt V r ,9 I ;¢
- I
Example 24 demonstrates the use of chromatic tones added to the
basic chord scales.
II
TIlE ALTERED
DOMINANT SCALE

Here is the chord scale for the altered dominant chord:

FfIlAr 1

Many players make frequent use of adding a flatted third and/or

flatted fifth to the basic scale for each chord.
TIlE SHARP NINE CHORD

Observe that the scale contains both a b9 and a #9. Many pianists
C!. Mlll7
use a voicing for the altered dominant chord that has the sharp

I'Gtt~
nine in the lead.
II

f~l
168 # Bop and Mainstream piano styles Bop and Mainstream piano styles # 169

Or a three-note voicing omitting the b13.

[E~.3O I C7 0.1i­
II
If:
i "
l!=~' II
Observe that the Mixolydian bg scale is identical to the Mixo­
The voicings involving the #g produce a "bluesier" sound than lydian scale except for the bg (or b2) degree.
those using a flatted ninth. The voicings demonstrated in Exam­
ples 28 through 30 are the most commonly used voicings for the
altered dominant chord and may be used interchangeably.
TIlE bII7 CHORD
When the chord symbol indicated is a bg, the chord and scale may
be altered in the same manner as demonstrated in Examples 27 A very common progression in Bop and Standard tunes is a
through 30, except when a natural thirteen appears in the mel­ dominant seventh chord moving down a half step. It is called a bIF
ody. chord.

1~~.3(1
1Il!7 bJf7 bJI 7

I~ a, 57 Gb y bltlM, II $ ~t
II
~ ;;;;:iji ;;::¥j
II r "'1

When a natural thirteen appears in the melody and the chord

symbol indicated is bg, a chord and scale other than the altered TIlE LYDIAN b7 SCALE
dominant should be used. The most functional chord voicing in
this situation is a dominant seventh chord made up of the third, The bIP chord takes a special scale. The scale is called Lydian b7 •
fifth, seventh. and bgth. The scale is similar to a Lydian scale except for the flatted seventh
degree.
1E-.).4 I l! 7 (.~)
1t' ~I ~~ I
Since the chord is symmetrical, it sounds equally good in each
inversion.

fG:~,';31 TIlE bVIF CHORD

t7(D'I)

12' iij:~--f~i~-T~H--i 1 ~§;;$

The bVIP chord is a dominant seventh chord built on the flatted
I seventh degree of a major key. The bVIF chord usually progresses
directly to the I chord.

TIlE MIXOLYDIAN bg SCALE 1&,371 KEY of e KE.Y 01' E. b Kfl' or c;.

:m:t7 I" IIllIl r IIIAf1 ·.:mr7 ::fit>
The most functional chord scale for the above voicing is the
Mixolydian bg scale. I~ g~;;;Y C" 11 ojz ! #' lAb II f, ?f' G. II
170 #: and Mainstream Bop and Mainstream piano styles #: 171

Like the bIF chord, the bVIF chord takes a Lydian b7 scale. THE Ivm7 CHORD

The Ivm7 chord often follows the Ivmai7 chord in a progression and
often resolves to lor III.

KEy 0; C. !I.EI' Or (,

]ylftf>'S, 1lT "'1 ::r 1II.t'1 .:nr """.7 1ll: "'7 J1I WIT

l~ PM!!!? Il;n, I . . . d!1M, II 'Md, I aIM? ] .... G'''1 II

THE bVIImai7 CHORD
The Ivm7 chord takes a Dorian scale.
The bvnmaj7 chord is a major seventh chord built on the flatted
seventh degree of a major key. The bvnmai7 usually progresses
directly to the I chord.

[cK,~1 ktY O~ t KEf OF Go

::r 1I!~7 ::or ....17 bJUlIIW, 1". J: ".1t.7 1lmz: 1u1r I ....1,

h'-jugI ...
1t17

I~ t~Af7 r!lliU, 1~'iltu,l. CIIU, II lhuM, ~-, II THE MINOR SEVEN (bS) CHORD

The bvnmaj7 chord takes a regular Lydian scale. The m7(bS) chord usually appears as part of a n m7(b5LV7(b9) progres­
sion.

fib M/IiI 7 L'I'D:l~N

I~,~'I
1$ (> e o,ell <:7 eO
epepOl1 1$ Smt (W)
The m 7(b5) chord always takes a Locrian scale.
THE bnmai7 AND
THE bVImai7 CHORDS

These chords are built on the flatted second and flatted sixth
degrees of the major scale. The bVImai 7 and bnmai7 are used to­
gether to form a deceptive cadence. The bn mai7 chord progresses
directly to the I chord.
nm7_V7 SEQUENCES
KEf Of t Progressions involving sequences of nm7_V7 chords are often en­
Jf "'7 :ff7 hJ2T~l ~ "'7 I,U11
countered in Bop and Standard tunes.

I~~,~71
Like the bnmai1, the bnmai7 , and bVImai7 take a Lydian scale. ][1117 $7 :n:... . 7 1/:7 ][m7 1[.7

14 ,/''''7 A'I I A",? ~71 ,:PM 1 G71 II

These sequences usually involve a dominant seventh chord mov­
ing through a cycle of fifths.
 II
There are three whole tone-half tone scales, beginning on e, el­
The most direct harmonic approach for repetitive IIm7_V7 se­ and D. Each scale serves as the scale tones for four diminished
quences is to treat each rrm7_V7 as a separate key and use diatonic seventh chords.
scales for each key.

I11"'1 Kef aF c;.

.,..

This concludes our condensed section on harmonic analyses. It

should, if studied, provide you with enough harmonic concepts
THE DIMINISHED
to begin analyzing progressions and selecting chord scales.
SEVENTH CHORD
Further study material is provided in the workbook assignment
section for this chapter. We also suggest, at this point, that you
Diminished seventh chords almost always function as passing begin analyzing chord progressions from your lead sheets and
chromatic chords. The two most commonly encountered are the sheet music.
#' Idlm7 and the blIIdim7.

The #' Idim7 chord passes chromatically from the I up to the II.
CHORD SCALE CHART
1,_,&01

I~
I",

e(j ~"~'-~ I
Key

L'Jij" I ::; nnt,

-
01' C.
Jf""1 J17
G, II
~1III1"17

EJ dfit,
iB'"~"7
Mr
I -­
#Jip, 14 Aid,
01' G­
$"" :E,

is II
of Chord
Diatonic
Ipn7 V7 sequences
of Scale

Diatonic

Lydian

The bIIIdim7 chord passes chromatically down to the II. Dominant 7th moving down a half step (hIF)
Lydian b7
Key of C. I:Et OF iT
Dominant 7th moving down a perfect fifth
'-1-/ffiI-J-;""-z"'"'1 -'II' If'"7 :J1i I i1lf.1;"'7 I -- :r"'7 :r, to another dominant seventh or major Mixolydian
chord (V7)
Altered Dominant (V7 alt) Altered Dominant

Dominant seventh flat nine (V7(h9») Altered Dominant or

THE WHOLE TONE-HALF TONE Mixolydian b9
SCALES Dorian
Locrian
The chord scale for the diminished seventh chord is an eight tone
scale called the whole tone-half tone scale. Diminished seventh chord Whole tone-Half tone

172 173
174 # and Mainstream Bop and Mainstream piano styles # 175

The above chord chart should be used as an overall guide to Constructing Walking Bass Lines
selecting chord scales. Remember, when working with Bop and
Standard tunes you are involved with chromatic music, and Constructing good bass lines should be easy if you listen to good
chromatic music that sometimes has rapidly shifting tonal cen­ bass players and use the following guide lines:
ters. Different players and different "schools" of players use dif­
ferent scales and different concepts of tonality. For example, 1. Walking bass lines are constructed of chord tones (roots, thirds,
many players in the Bop era played altered dominant scales on all fifths, sevenths) plus passing tones.
dominant seventh chords regardless of the chord function. Listen
and experiment. The final arbiter should be your ear. [ME
1/""1 ~ G"'~7 C"~7
Thus far in our chapter on Bop and Mainstream styles, the mate­
rial has been oriented toward non-solo piano styles. Let's now
investigate a solo style.
1:2'\t •( r ·'rI I r .,r r r r I
r r if Ir F
HZ; II
R PI' 3 Pr R .3 (> R 3 5 PT ~ .3

LEFT HAND WALKING BASS­ 2. Bass lines move stepwise or in thirds with occasional leaps for varie­
A SOLO PIANO STYLE ty.

In this complete sounding solo style, the left hand, instead of Ie,.51l C-WNl A7tb<t) 1:>"'7 Go 7
playing chords, plays a four to the bar single-note line, imitating
the sound of a walking bass. I?IE
811~
.(1
I
r I
!
I
,
I r I·I r r 1"* •
I* I I I
rr
-+
I II
[Wi]
BbllllAil7 (7"'7 f1
"'. 3. Try for the root on the first beat of each chord change. An occasional

I,,;t r r rft I j
e.1!\7
-I- It+ third or fifth is okay.
r "*
I r Ir r r qr Ie r I I I ~ II
It.,SI I e7 Col Gl f7

r r t ~ I I r r r II
§~ .... b. ;. -#
As in other Jazz styles, the right hand plays a written or impro­
vised line, harmonizing the line at points where the line tech­ Iii I « • I'
I I I "r
r \ I
nically lends itself to harmonization. For obvious reasons involv­ It ..I f $

ing playing facility, it is easier to harmonize the line at points

where the notes of longer melodic duration occur. 4. Try to approach each new chord stepwise. The strongest approach is

by a half step.

1/""7
n rt ~
,
r1 -"I
-+ , I I

fII'
,
•
,
"­--" ' -:...9 +' I f I( r
,,~ Here now are some examples of good bass lines for chords moving

, -+h+
at every interval. For our examples, we'll use a C7 chord. If the

I I
I \ I I I chord called for is a major or minor seventh, alter the third or

seventh degree accordingly.

Playing Example 55 over several times will give you a good idea of
f
the coordination and technique needed to play with some facility
in the style.
176 # Bop and Mainstream piano styles and Mainstream # 177

For chords moving down a half step or up a major seventh: A minor seventh chord may utilize the raised third as a passing
tone on the fourth beat. This is a strong line to use on a nm7_V7
progression.
~ ~7 8
q c~+ b + ,
It II! r(II(11
Chords moving down a major second or up a minor seventh:

Chords moving a tritone (a diminished fifth or augmented fourth):

Qb

" br IE".~/I
f I I II Q\'~
<; PI (!7
b) -+ be
fJ
c:)
(!7
+- pr
ftl

r r r r 'r r r IIf II r t Ilr II

t
12; 1 II I \ \
Chords moving down a minor third or up a major sixth:

JEII.,,;I A C, A
Chords moving down a minor sixth or up a major third:
Co"? A C,
Q.'l ,~~

r Ftlf IIrf r "~[ I r II r f rr I r I

-+ If' i)
Ii: e ! e) •

Chords moving down a major third or up a minor sixth:

I f II

Chords moving down a major sixth or up a minor third:

AJ.
[&.701 ~7 GI> (!7 6" t'
II r ~~tE + bi) e:-, -I­
<:7

If
I? ! 'r r t I if II F ~r r r 1&f II
:l
I I r r I if II
Chords moving down a perfect fourth or up a perfect fifth:
Chords moving down a minor seventh or up a major second:

Chords moving down a perfect fifth or up a perfect fourth: Chords moving down a major seventh or up a half step:

If.. /,I., 1 e. 7 f e7 C7
;:: IfAI7~ 1
F
C? O· e Db ~7
O~

Q~'~
7
c..." ill) v~ ... ~~ e) . . ~
II:) c.)

r r r -r r
r I• 'r r I jr II r i
• .i
II I r II
r rr Ir r 1'f II t r F r Iir I

12:' I I II I J
IJ:G
(

r
178 # Bop and Mainstream piano styles Bop and Mainstream piano styles # 179

Chords repeating the same root: An occasional use of two eighth-notes on the first or fourth beat
can add variety.
I~, 73 1
G) gill c, e. b~ c} e ~ ~ ~ fm? 6\ 6~
I?:{ •
rt rjrlrBrj r r I r II fir r I r II
rrffflWfrrlr II

b~ i;
1WO·BEAT CHORDS 1WCo II
When encountering progressions where the chords change every
two beats, constructing a bass line becomes rather easy. Use the ARRANGING AND IMPROVISING
root of the chord on the first beat and approach the root of the new
chord on the second beat. Let's now take an original tune and put together an arrangement
and improvisation in a left hand Walking Bass style. Play over the
melody and the changes to "Blues A La Carte," a "modern sound­
ing" blues.

[~,,7il 8(.,,,e~ A LA tM'!! t. 1tNNJU"N

+\
I . ~I.tlll ~lIItN" /tI0 IMAJ, rllM1r ~~j11 A ~"'1 ~1

On two-beat chords that move down a perfect fifth, such as nm7_V7

and cycle of fifths progressions, use the root on the first beat, the
third on the second beat.
, Do) I ,I ;QJ
I~C. 'ljD I' ~
I
in ,D:r;, I
'
,I ,Q;J
fllus, f, A1 (i.,
tl1lfll 1> 1 (t.«) (,. 11'11 C1 (Oq) f7 If'y 6/0_ 1 /110,

i r F'f I L 'r r ...I r I'f r I Ii,

II l
r
R
r ' r :!. II 3 Il.
j,
I
.:s
hr
R 3
~"''' ~ ,(1" alf~f II, r,'J JAfr d,

To create interesting sounding bass lines over several measures,

remember to change the direction of the line often and use
occasional leaps for variety. I~ G, (If' "It
I f1JO.... .! aI r - - II

r,
I

I r 'f I Using material from Examples 56 through 77, construct a walking

bass line from the chord changes. Try constructing a line before
examining the upcoming examples.
G."~7 t."'1 II"" 1>7

•
I , I f 3r I r
,
I j t 1(1 tltlt" 61l' II
Here is an example of a bass line constructed from the changes of
our tune.
180 # and Mainstream Bop and Mainstream piano styles # 181

I'K, 7~1 C IM&, f .. ,.,t1 f..Mt, e1

When you are playing the above exercise without difficulty, try
playing your bass line with the melody (Example 78). Once you
r'~j G"'7
are playing the melody smoothly, try harmonizing in the right
q ~r I
4­
121 [
f r r hr
r I• r I r r I
•
I
r I I« I hand at points you feel it to be technically feasible.

Improvisational lines should include melodic figures derived

47 from chord scales and arpeggiated figures. Try some of the im­
f"lNr
..,.
f7 £""1 (D9)

provisational techniques presented earlier, in this and other chap­

r r rr \ r r ¥ I tr r f ir I r r r IF I
ters. Here is a written example of an improvised chorus on "Blues
A La Carte."
::i>m,

Ir r r4 Ir
6, ("t>

(
..Il.

I
eMili,

~ IE1 r I ! f
'F r
II
III (btl u... 7 6, (,sf)

r
, lex, 'Ii

I'C
~~.\II Sill'"'
CMIN 7

'})~P~II J.
FI!\It\l7

­
., ,
Once you have decided on a bass line, play it over and over until
you are playing smoothly and automatically. A good way to begin
working with your bass line before trying it with a melody is to
play the chord changes over it in the right hand.

1~~,801 ;
,......
Q j ~\•
,....-' !'\
, ~
.. .. S: ... ... "I: "JI:::::2!I

IvJ l b. --4­ Some well-known pianists who have made recordings in left

~
hand Walking Bass style are Dave Brubeck, Lennie Tristano, and
I • I I the major exponent of the style, Dave McKenna.
I I r

WORKBOOK ASSIGNMENTS

:3:
..,
. -IF f-'
1. Play the dominant seventh chords through the cycle of fifths with
your left hand (see Example 9). Play the chord scales for each chord
(Mixolydian) with the right hand.

"
+ " ~.
, I
2. Play the nm7_V7_ImaJ7 progression with your left hand. Play the chord
scale for each chord (diatonic) with the right hand. Play through all 12
major keys in the following order: C. F. G. Bb, D, Eb. A. Ab. E, Db, B, Gb.
3. Transpose Example 23a into all 12 keys using the key scheme given
in the above exercise. As you learn to play the line in each new key in
the right hand, add the chords with the left hand.
4. Transpose Example 25 a and b into the following keys: G, Bb, Eb, Ab.
As in the previous exercise, add the chords with the left hand.
5. Learn the three altered dominant voicings (Examples 27 and 29) in all
keys. Practice them chromatically.
6. Practice the altered dominant scale (Example 28) in all keys.
182 # Bop and Mainstream piano styles

7. Practice the dominant seventh flat nine voicings (Example 33) and
the Mixolydian flat nine scale (Example 34) in all keys.
8. Play the dominant ninth and thirteenth chords with your left hand
chromatically descending. Play the Lydian b7 scale (Example 36) for
each chord with the right hand.
9. Learn the three whole tone-half tone scales (Example 53). Practice
them with the right hand. As you learn each scale, add the correspond­
ing diminished chords with the left hand.
10. Analyze, derive voicings, and select chord scales for the following
chord progression:
II Gm7 I C7 Fmai7 Bbmai7 Am7 D7

Gmai7 I A 7ait Gm7(bS) C7(b9)

Fmai7 II
11. Play over Examples 56 through 77. After you play each example,
transpose it to new keys.
12. Construct a walking bass line and improvise on:

a. "Two Five Jive" (Example 14)

b. The chord progression provided in Workbook Assignment
Number 10.

ADDITIONAL SOURCES
FOR THE STUDY
OF JAZZ IMPROVISA nON

The following sources contain, in most cases, actual transcrip­

tions of jazz solos. Most of them can be used with records contain­
ing the music.

Brubeck, Dave. Deluxe Piano Album. San Francisco: Derry Music

Company, 1965.
Coker, Jerry. Improvising Jazz. Englewood Cliffs, N.J.: Prentice­
Hall, Inc., 1964.
Evans, Bill. Piano Solos. New York: Acorn Music, 1965.
Isacoff, Stuart. The10nious Monk. New York: Consolidated Music
Publishers, 1978.
Kynaston, Trent P. and Ricci, Robert. Jazz Improvisation. En­
glewood Cliffs, N.J.: Prentice-Hall, Inc., 1978.
Mehegan, John.Jazz Rhythm and the Improvised Line. New York:
Amsco Music Publishing, 1962.
Safane, Clifford J. Bud Powell. New York: Consolidated Music
Publishers, 1978.