0511 ADVANCED PIANO by aes Doherty and Warren Nunes Solo Improvisation Techniques for the HOWTO USE e Melodic Minor Scales e Diminished Scales _ Minor Scales ¢ Diminished Scales _ Triads ¢ Harmonic Minor Scales * Whole Tone ScalesLOI RS ADVANCED PIANO HOWTO USE * Triads * Harmonic Minor Scales * Melodic Minor Scales * Diminished Scales * Whole Tone Scales Solo Improvisation Techniques for the PIANO by Steve Doherty and Warren Nunes SBN: 0 9494 11572 ATV ayesen HOUSE 1000 Wert Avera, Mim Beer, FL 3919Preface It was a commonly accepted notion until recently that jazz improvisation could not be taught. You either had it or you didn't. We hope to show you that this is no longer the case. The exercises and examples in this book are designed to teach you the mechanics of constructing your own solos. A motive is a short musical idea (usually no longer than one or two measures). Many of the exercises take a motive and develop it by using it over and over. This is done by transposing andior modifying the motive to fit the chord, chord progression and tonal center. A melodic and interesting solo can be constructed from a few motives. You will find that most of the outstanding jazz soloists employ this technique of recycling their ideas. This book is part of a series of four books. Improvisation Techniques can be Used on other instruments besides the piano. Exercises 1 through 31 have been transposed for guitar, alto sax and tenor sax, and flute. Each book in the Impro- visation Techniques Series can be studied independently or in conjunction with any other book in the series. The “comp” chords have been carefully voiced to avoid clashing with the solo line and can be used to accompany any instrument in the series (see page 5), 008 Warren NunTable of Contents Explanation of Musical Notation .. How To Interpret the Three-Stave System Introduction Exercise 1 Exercise 2... Exercise 3... Exercise 4 Exercise 5... Exercise6 ... Exercise 7 Exercise 8 Minor Scales Natural Minor Scale Exercise 9 ... Exercise 108 Exercise 108, Harmonic Minor Scale Exercise 11 Exercise 12 Exercise 13 Exercise 14 Exercise 15 Melodic Minor Scal Exercise 16 Exercise 17 Exercise 18 Exercise 19 | Exercise 20 . Diminished Sound .... Exercise 21 Exercise 22 Exercise 23 Exercise 24 Exercise 25 Exercise 26... Whole Tone Scale Exercise 27 Exercise 28 | Exercise 29 Exercise 30 - Introduction to Appendix Appeni Harmonized Scales ... ceoneen eer) ‘Transposition Charts . eoceooeD eat 62Explanation of Musical Notation Chord symbol. Indicates tonal center. Key signature. An asterisk over a note indicates that the note is not in the tonality. Accidental beginning of tha tine. 6. Bitonality Is the simultaneous use of two different tonalities. When using bitonality, the solo tonal center Is not the same as the tonal center that relates to the chord or chord progression. The solo tonal center includes both common (R, 3, °7 etc.) tones and altered (°5, #11, #5, 513, 9, #9) tones. tocreate a specific altered sound. ——— $— WW MELODIC MINOR 4 87 tonal center Is the key or scale that relates to the chord or chord progression. It is not necessarily the same as the key signature indicated at theHOW TO INTERPRET THE THREE STAFF SYSTEM 5 FOR SOLOING... 3 right solo hand line left "comp" hand chords right solo hand line left bass hand line FOR ACCOMPANIMENT... right "comp" hand chords left boss hand line right. hand "comp" chords left hand:INTRODUCTION Chords are derived from the harmonization of major and minor scales. A Roman numeral is used to indicate the scale degree upon which the chord Is constructed. The harmonized C major scale demonstrates the use of the Roman numerals. C Major Scale Triads CMa Dm Em FMa Am Be 6 sa 4 = 1 " m v v vi vil Seventh Chords CMa Dm? Em7 FMa7 G7 Am7 Bm7-5 1 " m v v vl vil The Roman numerals can be rearranged to display the two most common progressions in jazz. From these two progressions, a large variety of song forms ‘can be made by varying the time value of each chord symbol b. using only part of the progression . modulating (changing) to another tonality " v vl Vv 1 Dm7 for] Em7 Am7 Dm7 G7 Ma7 lative minor n v 1 Vv lim vm Im Dm7 G7 CMa? FMa7 Bm7-5 Em7 Am7CHORD INVERSIONS Atriad has two inversions. seventh chord has three inversions. é GMa GMa_—sGMa Root Ist 2nd Position Inversion Inversion Root Ist 2nd 3rd Position Inversion Inver Inversion CHORD EXTENSION ‘A chord is extended by adding additional intervals of a third (major or minor) to the chord above the seventh. For example, G’ can be extended to become G8 G" or G'S Ole a @ Gl GB _ = = os vo had * ad R CHORD ALTERATION The dominant seventh chord (V chord) is the most common and easily altered. To alter a dominant chord, raise or lower the fifth and/or the ninth of the chord. For example, G’ can be altered to become G’-§ or G’*5 or it can be altered and extended to become G72? +9. G+ 1), G79+",G7F9+ 1, G79+ Sor Goes, G7-5 G75 G7-9 GingiExorchoia = Gee Exercise 1 demonstrates the use of the seven triads in the key of B® major. The triads have been extended to include the seventh. Triads are often extended to include the seventh (major or minor) when used for soloing. In measures two and three, the F major triad is extended to the major seventh, an E natural. The V triad is extended to the major seventh when used against aI chord. The major seventh of the V triad is the flatted fifth of the | chord. This results in a Major 9 °5 sound. The chords used in this exercise all come from the harmonization of the B® major scale. This isa I VII! V progression. Triads and Seventh Chords Used in Exercise 1 BbMa7 EbMa710 Exercise 2 is aC minor blues. You can solo to minor blues by playing in the key of the relative major, E® major is the relative major of C minor. The triads. used in this exercise are all from the key of E°major. In this exercise, as in Exercise 1, several of the chord changes are anticipated by the timing of the triad. Many times during a solo, the soloist is more concerned with where the chord progression is moving than where it is at present, Triads and Seventh Chords Used In Exercise 2 Cm7 3. be EbMa7 Gm $ what St a $e — — AbMa7 Bb7 poe . Fm7, fate abe it12 Exercise 3 Exercise 3 Is an application of triads when playing a Il V Ill VI progression. This is commonly called an ascending turnaround progression. The D’ chord is the only chord not in the key of F major in this progression. Soloing in the key of F major produces a natural tension when the D’ chord is sounded. The notes of ‘the F major scale produce a D’*®*® B natural is used in the third measure to extend Am7 to an Am9 chord. Triads and Seventh Chords Used in Exercise 3 m7 BbMa7 Gm7 sExetcise 4 Se eee e ee eee eres Exercise 4 is an example of triad use against all Vlanda ll V Ill VI progres sion taken at an up tempo. Triads and Seventh Chords Used in Exercise 4 Cm? be Om? eBbm7 be Cm be ! ' ae bee tS13Gm7, Fm7 © Gm7 i) .) = C7 = : Bb7 _ Fm916 Triads and Ma? Exercise 5 Exercise 5 is an up-tempo cycle bridge. A cycle bridge is a Il V progression which moves through a cycle of fourths: G to C to F to BY. The exercise shows how to use the IV and Vil triads to solo to the II V progression. Strive for accuracy and clarity when practicing the faster exercises. Prao- tice at a medium tempo and gradually work for speed. Sevenths Chords Used in Exercise 5 FRm7-5 === FMa7 Bm7-5 + BbMa7 a (Se Exercise 6 is a III VI Il V progression. This is commonly called a descend- ing turnaround progression. In Exercise 3 we used an F major tonal center to solo to a similar progression. We now approach this progression as a I! V pro- gression in G major followed by all V progression in F major. Triads and Seventh Chords Used in Exercise 6 GMa, @ Em CMa #. - et 5 4Am7 Gm7 Gm9 7 4 * FMa7Exercise 7 Exercise 7 demonstrates the use of triads in a 3/4 time setting. The chord progression moves through several tonal center changes. The IVmajor |Vminor MLVIILV (Ma? Fm7 Em? A7 Dm7 G7) progression Is found in many songs. Triads and Seventh Chords Used in Exercise 7 eft Fm e op be Fo, Slt Exercise 8 Exercise 8 Is @ II | progression descending in half steps. The triads are ‘extended to the tenth: R, 10 and R, °3, 5, °7, °10. This exercise is designed to be played very fast. racticing this exercise slowly to make sure that correct technique is used. Triads and Seventh Chords Used in Exercise 8 Ma? 2 é Meh pt 5 Onl te of BMa7 te FE Atm7 te2123ory MINOR SCALES ‘There are three different forms of the minor scale used for soloing. They are: 1. Natural minor scale 2. Harmonic minor scale 3. Melodic minor scale The major and its relative minor share the same key signature. The relative minor is based on the sixth degree of the major scale. ‘The natural minor scale is the relative major scale starting on the sixth degree of the scale. The natural minor scale includes the same notes as the relative major scale. ‘The harmonic minor scale raises the 7th degree of the natural minor scale. ‘The melodic minor scale raises the 6th and 7th degrees of the natural minor ‘scale. Unlike the traditional definition, the modem application of the melodic minor uses the ascending form (raised 6th and 7th degrees of the scale) for both ascending and descending lines.C (Relative Major) = = = 7 = = = Anatural minor é = = = = Aharmonic minor === of A melodic minor (ascending) — = a —$o—.—to_ — == A (Parallel Major) ———— an = =NATURAL MINOR SCALE ‘The natural minor scale can be used to solo to the following progression: Bm7-5 E7-9 Am7 © NATURAL MINOR: 1 An easier way to solo to this progression is to use a C major tonal center. The natural minor scale includes the same notes as the relative major scale. It is faster for the soloist to think C major than to think A minor, Bm7-5 7-9 Am7 Bm7-5 is the VII chord and Am’ is the VI chord in the key of C major. Soloing in C major produces a natural tension against the E7-® This results in an £7-9+8+5 sound. &7 (49)aThis exercise harmonizes Exercise 10A.‘AmMa7 HARMONIC MINOR SCALE The harmonic minor scale is constructed by raising the 7th degree of the natural minor scale. The harmonic minor scale includes the same notes as the relative major scale with the 5th degree raised. Bm7-5 CMa7+5 Dm7 E7 FMa7 to7 en SS Along with the major 7th, the minor 7th can be included when the harmonic minor scale Is used for soloing. © HARMONIC MINOR * 7 b7 The harmonic minor scale is commonly used to solo to a V chord or to all V progression. For example, an A harmonic minor scale can be used to solo against an E’ chord. 7 6. ee ° we " 5 bi3 b7 R be 3 5)31 @ HARMONIC MINOR32 @rrmonc MINOR€9-HaRMONIC MINOR 1 he he b 13© HARMONIC MINOR 14 © |ARMONIC MINOR 1 o- HARMONIC MINORMELODIC MINOR SCALE The melodic minor scale is constructed by raising the 6th and 7th degrees of the natural minor scale. An easy way to play the melodic minor scale is to play the parallel major scale with the 3rd degree lowered. For example, to play an A melodic minor scale, think of playing an A major scale, but play C natural rather than C sharp. AmMa7 Bm7 CMa7+5 07 &7 Fm7-5 Gtm7-5 ‘The melodic minor scale has several different usages in soloing. ‘A melodic minor scale can be played against four different dominant chords and one minor chord; or four different melodic minor scales can be played against one dominant chord. You can control any particular altered dominant sound you want simply by selecting the proper melodic minor. Use: I melodic minor for a #5 sound melodic minor for a ® of #11 sound IV melodic minor for a °9 or #9 sound #V (or VI) melodic minor for a %S or #5 and/or °9 or #9 sound. The following Illustrates the four dominant chords — E7, D’, B’ and A®? — that can be used with an A melodic minor. ee eee Ss R b3 " 5 6 7 =e 1 —— 9 = Hh 5 - - * bs G3 on) ®37 Am. 1 1 MELODIC MINOR i 344g 27 ise Adll i) 07 ©———___, 6 444.16 _,@; MELODIC MINOR 1 be© = IV MELODIC MINOR I Am. IV MELODIC MINOR k. vFy MELODIC MINOR 1® 14 69) | MELODIC WING Dm96Ma7_ 20 }—_—__—————, Dm96Ma7 Dmg6Ma7_ e Dm96Ma7 Dm96Ma7_ ( ee _ 1 = Dm96Ma7_ ______m96Ma7DIMINISHED SCALE The diminished scale is constructed from two diminished seventh chords ‘a whole step apart. There are only three forms of the diminished scale. Any note Inthe first chord can be the root. bow be be ram OGRE eee Form 1 fits the following chords: am om etm F#m D7 F? aoT 87 Form 2 fits the following chords: Dm Fm AY Bm Gq? Bo pe «7 Form 3 fits the following chords: Gm Bem cm Em of ety Fa? arTo play a diminished scale against a minor chord, start on R, °3, °5 or 6 of the minor chord. Dm = E eo g bo bs OB 6 WOR 9 (+5) To play a diminished scale against a dominant chord, start on 3, 5, °7 or *9 of the dominant chord. = = a 2. &S br R b9 - 3 +l 5 1B G9) (65) “Avoid using a diminished scale against any dominant 7 +5 or dominant 7-13 chord form.DIMINISHED t 21 Ale. Lomas A : DIMINISHED c7 cad cb | ® 1 APIMINISHED, >Fo. DIMINISHED. | 22 DIMINISHED 1 Abe DIMINISHED 1 a | hg be b. @——_A™—T MELODIC MINOR be 1 — 23 Fo. DIMINISHED 1 ° DIMINISHED 16 : =47 24 Fo DIMINISHED 1 b. b, ©. DIMINISHED * 1Fo. yo ISHED b49 0 DIMINISHED 4 DIMINISHED 1 °. DIMINISHED 150 WHOLE TONE SCALE The whole tone scale is constructed from two augmented chords a whole ‘step apart. There are only two forms of the whole tone scale. Any note in the scale can be the root. Form og=s ts == = 2a. te fois to 09 SS Form 1 fits the following chords: Am Bm cm Em Fm Gm o oa er Form 2 fits the following chords: Dm Em Fim = A®m = Bem = Cm @ al 8? pe? gt? gt To play a whole tone scale against a minor chord, start on the fifth of the minor chord. Dm A 2 % 3 Sz 3 5 6 W7 b9 3 u To play a whole tone scale against a dominant chord, start on R, 3, 7, 9, +110r +5 of the dominant chord. G7 ———$—$—— ee = 9 +l +5 br R (05) (b13)51 Bm. ll MELODIC MINOR WHOLE TONE 1 = > At WHOLE TONE 1 Am: Dt. 1 Il MELODIC MINOR 1 o 7 co WHOLE TONE a 5 1© 152 %>—_L_ "ooo WHOLE TONE ® OWROLE TONE 153 © Bt WHOLE TONE. 29 @ $e pg 2 WHOLE TONE Q— 1 & 1 * WHOLE TONE Eb7 Ed = Ft. O———————| So TEED WHOLE TONE, * *30 oF" WHOLE TONE —, i WHOLE TONE55INTRODUCTION TO APPENDIX Harmonized Scales ‘There are four chord charts Included: Major Harmonized Soi Natural Minor Harmonized Scales Harmonic Minor Harmonized Scales Melodic Minor Harmonized Scales Each chord chart lustrates the Roman num venth of the chord has been added to the triad. The scales are arranged in the cycle of fourths. The fourth cycle Is the natural progression in music. It Is also a quick way to learn the key signatures. Transposition Charts The re three transposition charts Included: Alto Sax — Plano Transposition Chart Tenor Sax — Plano Transposition Chart Guitar — Piano Transposition Chart Music for the alto sax is written a major sixth above where it sounds. Music for the tenor sax is written a major ninth above where it sounds. Music for the guitar is written one octave above where it sounds. 038APPENDIX58 MAJOR 1 u nt Vv v vi vil CMa7 Dm7 Em7 FMa7 cr Am? Bm7-5 SS FMa7 Gm7 Am? B MAT 1 Dm7 Em7-5 SS BbMa7 Cm’ Dm7 EbMa7 F7 Gm7 Amy ee A rs = 8 ae EbMa7 Fm7 Gm7 AbMa7 Bb7 iy Dm7-5 ‘AbMa7 pied DbMa7 Fm7 Gm7-5 ak: at = pa DbMa7 Ebr? Fm? GbMa7 AbT Ber ane ———— = = GbMa7 bm GpMar Ebm7? — Fm73 pas ee BMa7 fmm EMa7 FR7 ifm? m7-5 5 EMa7 Fem7 m7 Ma? 87 cfm? Dfmz-s =e ga ae AMa7 Bm? Chm7 DMaz7 —7 FRm7 GHm7-5 —2§—+8— #8 Sj DMa7 Em7 Fem7 GMa7 AT Bm? Chm7-5 = GMa7 Am? Bm? CMa7 7 Fém7-5 ey # i = —_——59 NATURAL MINOR 1 0 uM Vv v vi vil Am7 Bm7-5 CMa Dm7 Em? FMa7 G7 eS Dm? Em7-5 FMa7 Gm7 Am? 8bMa? he & st {8k Gm7 Am7-5— BbMa7 fr’ Dm? EbMa7 F7 eS ee ee Cm7 Dm7-5 — EbMo7 Fm7 Gm7 = x # 3 eral & Fm7 Gm7-5 AbMa7 ag fe’ DbMa7 eb7 = — Bbm7 m7-5— DbMa7 Ebm7 Fm7 GbMa7 EEE aS bMa7 bb7 Gtm7 Am7-5 — |BMo7 Af Dim7 EMa7 Dm? EMa7 F 8 = a : er \o1 = is Gtm7 ae 4 Fim? G75 AMa7 a= DMa7 &7 sa hoa ft i= Bm7 Chm7-5 | DMa7 _EmT Ffm7 GMa7 Fhe 5 GMa7 Am7 Bm7 cual, o7 i ee8 HARMONIC MINOR I w M WV. Vv vi vil AmMa7 Bm75 CMa7 +5 Dm7 &7 FMa7 Ggotn7 = poe 8 2 Dmt7 Em75 FMa7+5 Gm7 Al BbMa7 St eat og =f Gms? Am7>——B Ma7*5 m D7 EbMa7 FB bin? Es #8. SI Cm? Dm7-5—EbMa7S FT G7 AbMa7 tar SS tt = __Frver Gms AbMa7 bmn ie DbMa7? ED? ere Fe Se FR ogg. Bbmma7 Cm75 — DbMa7+5 ebm? FT GbMa7 Din? gt a Ebmmar = Fm7-5 — GbMa7ss.—Abm7 aby PMG? our , , Apmis? Bbmi-s Chiterss Dbm7 Eby FbMa7 Gin CHmMer—Ditm7-5— EMa7#5 Fm. AA Jy BE Din? Finer ie 5 AMa7s5 ou DMa7 Ef vin Bia ams DMa7+5 Em7 Fe7 GMa7 Appin Emma a, GMa73 | Am7 87 at Df O87 ea 8 aie —_61 MELODIC MINOR i Fiim75 Vv 07 SSS CMa7s5 hints A Bm75 Em75 fmt SE o7 Bb7 AbMa7+5 Gm7 Fmt? a DMa7+5. BmMa7 CHm7 # F m7 7 Dém75 8 cHm75 SS eee Emta7ALTO SAX— PIANO TRANSPOSITION CHART 62 Ht------418} IHF -===~ 4 \ He alt 4 mp i] | 4 4 Poe Ld aH A alte 4 | _ 4 coop 4 i a a ! att oo als gill gl ey fl — iB oH tt------4 Ri , 2 ||| Pena] 0 || 5 4 ee void ree Hee Her Z 2 : ° . 2 28 z 25 & £y 2TENOR SAX— PIANO TRANSPOSITION CHART Piano Tenor === 9)GUITAR — PIANO TRANSPOSITION CHART Hl i 1 i i i == 2 = 2 = 2 = Piano¥ = = xz pat“Tt {il ts i) mult rn | re aL i HW it 4 tn 4 5 Ue HR Ae ent a pe pecm’+9 | S 4 | $ +a H{l|| 6 Hi liam | {II| HI Hel ta nt. A | | 6 | ce oF Faon Ga Bs pe i we Ss eet Bt Fe20Dm” oe Dn! phn’ = as 4an2S Se al a —+ é ——4 bop = ee = == Lela) —F- : — a otry SS = S= ——— Sz = 4 — } a — = =—— = TSAn? ee uD Cm!Hy ct A m 6 Gin2B == SS i 4 | | | |Gm? | I Ii | whe Tu Wy Alt rite nt rt LI. 3 He NM) | ur | ; | Be HR | nt rep =e ait ue __GN tee ene AMyAm" # a =eaL hy dhl 9 Bre? bat? WKA Few Words About The Authors... 5 Warren Nunes, jazz guitarist, author and teacher, lives in the San Francisco Bay Area where professional musicians consider him the best jazz guitarist around. He has written a number of books for the jazz guitar and Is currently working on a series of books for the other jazz instruments. 1 Steve Doherty, electric bassist, comes from a musical family and has been play- ing professionally since age 19. He has studied extensively with Warren Nunes 1 and has been an active participant in the Warren Nunes workshops and clinics. ' J) oo0511 - $6.95 orrer new editions from STUDIES FOR THE CONTEMPORARY DRUMMER, ‘Arranged by Kepolaes and Warren Nunes O806 $7. Improvisation Techniques: FLUTE wenn nctng JAZZGUITAR : Improvisation Techniques: ed Book wd record TENOR and ALTO Saxophone asd JAZZGUITAR PORTFOLIO JAZZ GUITAR SOLOS Improvisation Techniques: Collection of zz gute (lve Boch) The Bue IANO « ooherty end Waren A JAZZ GUITAR SOLOS SOLO PATTERNS, — Solo Techniques: : now t use chess Improvisation Techniques: Arr. by Warren Nunes & Jerry Snyder GUITAR Arranged by Werren Nunez 08508. $8.95 AThansen House 1860 West Avenue, Mari Beach, FLIS1O9