THE “SCALE SYLLABUS” VOLUME 26 bor A musicians! (nrtrumentaliste & vocalists OAWIO LIEBMANEach chord/scale symbol (C7, C-, CA th, etc.) represents a series of tones which the improvisor can use when improvising or soloing. These series of tones have traditionally been called scales. The scales listed here are the ones | most often hear musicians play. | have listed the Scale Syllabus in three keys: Bb, C and G, The Bb version is for C Concert instruments such as piano, guitar, bass, trombone, flute, cello, violin, etc. The C version is for Bb instruments such as trumpet, cornet, Clarinet, soprano and tenor sax, etc. The G version is for Eb instruments Such as alto and baritone saxes. This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which may be used over any chord - major, minor, dominant 7th, half- diminished, diminished and sus 4. Western music, especially jazz and pop, uses major, dominant 7th, dorian minor and Blues scales and chords more than any other.’ Scales and chords used less often are the half-diminished, diminish— ed and sus 4. If we agree on these five chord/scale families as’ being the most predominant, then we can set them up as categories and list substitute scales beneath each heading...see Scale Syllabus page. Each category begins with the scale most closely resembling the chord/scale symbol given to the left. The scales are arranged according to the degree of dissonance they produce in relation to the basic chord/scale sound. Scales near the top of each category will sound mild or consonant and scale choices further down the list will become increasingly tense or dissonant. Each player ig urged to start with the scales at the top and with practice and experiment— ation gradually work his way down the list to the more dissonant or tension producing scales. You should work with a new scale sound on your instrument Until your ears and fingers become comfortable with all the tones in the scale. Also try singin the scale with your voice. Improvise with your voice over the scale you are learning and then play on your instrument what your voice sang. Music is made of tension and release. Scale tones produce tension or they produce relaxation. The improvisors ability to control the amount and frequency Gf tension and release will in large measure determine whether he is successful in communicating to the listener. Remember - you, the player are also a listen er! Read pages 29, 30 and 38 in Volume | "A New Approach to Jazz Improvisa~ tion" for a more detailed explanation of tension and release in melodic develope- ment. ‘Any of the various practice procedures and patterns listed in Volumes 1,2,3, 21 or 24 can be applied to the learning and assimilation of any of the scale choices listed in this Scale Syllabus. Needless to say, any scale you want to learn should be transposed and practiced in all twelve keys. The column on whole and half step construction | have listed for each scale on the syllabus should prove helpful when transposing @ scale to any of the twelve keys. For additional information on scale substitution, 1 recommend "Scales for Jazz Improvisation” by Dan Haerle, "Jazz Improvisation" by David Baker, "Pat terns for Jazz" and “Complete Method for Jazz Improvisation" by Jerry Coker, the “Repository of Scales & Melodic Patterns" by Yusef Lateef and the "Lydian Chromatic Concept" by George Russell. These books are available from Jamey Aebersold, 1211 Aebersold Dr., New Albany, Ind. 47150 U.S.A. or possibly at your local music store. | list the scales in the Scale Syllabus in the same key so you can have a frame of reference and can compare their similarities and differences. You are urged to write and practice them in all twelve keys. Several play-a-long sets offer you an opportunity to practice the various scales in all twelve keys. They are: Vol. 24 "Major & Minor"; Vol.2l "Gettin’ It Together"; and Vol.I6 "Turnarounds, Cycles & 11/V7's". Scales and chords are the backbone of our music and the better you equip yourself, the more fun you will have playing music. 1NOTES TO THE MUSICIAN Throughout the past few years I have played through the Scale Syllabus several times for the students at the Summer Jazz Clinics. Usually they were performed at 9 or 10 A.M after a late night and with an attempt at spontaneity which | try to bring to all live occasions. What you have here is quite different. nin Jamey's studio. First of all the setting was a recording situati Also, it was done in a straight clip for four hours one evening followed by three hours the next morning. For the most part we did two or more takes of everything leaving the choice of takes until later. But the most important aspect was that my intention was very specific. In the "slow" or "simple" version | tried to unveil the scale in a fairly systematic manner using repeated intervals (thirds most often), with a very straight-forward, obvious melodic approach. In the "fast" or "complex" version I attempted to build lines as if | were soloing, leaving very little space (as 1 would if 1 were playing with a rhythm section}, and often using double-time. As a student | would listen for the following thing 1, Use of various articulations A wide degree of beat variance ranging from on the bottom to the top of the beat (as compared to Jamey's piano comping). 3. Long notes versus short notes (duration) 4. The balance between chord tones and auxiliary tones; Ex. © Lydian- chord tones are C, E, F#, B; Auxiliary tones are D, G, A. 5. Inflections and nuances (easily observed when you separate the left and right stereo channels). I think for the most part, | hardly used any chromatic passing tones, except in the fast versions | would occasionally use my G# between the notes G and A, Obviously, the value of this recording can only be fully realized if the student practices these scales in all the keys. Volume 24 "Major & Minor" of Jamey's play-a-long series is excellent for practicing this Our goal here was to make music using all the scales that are most commonly observed in jazz. In practicing these scales, the piano voicing should also be observed as well as the specific arpeggio. The scale and the arpeggio should be prac- ticed at different tempos with a metronome, acting as if the beats fall on two and four of the bar (like the hi-hat in a drum set). All scales should be practiced in a legato fashion and with a tongur-slur articulation (called the dotted eighth - sixteenth feel) nnn T = tongue, $ = slur Trg vs 1 by DAVID LIEBMAN Spring 1982CHORD/SCALE SYMBOL GUIDE FOR SCALE SYLLABUS H = Half step, W = Whole step, -3 = 3 Half steps, b = lower half step, + = raise half step, # - raise half step, © = Diminished, = Major or Major 7th, - = Minor, @ - Half—Diminished. CAllalf-step is the distance from any tone to its next closest neighbor, up or down) A = Major scale/chord (emphasize the major 7th & 9th, don't emphasize the 4th) 44 = Major scale/chord with raised 4th (Lydian) = WWWHWWH V7 = Dominant 7th scale/chord (Mixolydian) (don't emphasize the 4th) = = Minor scale/chord (Dorian usually) (all scale tones are playable) + = Raise that note } step or it can refer to raising the fifth of the chord Vie4 = Dominant Lydian scale/chord (emphasize the 9th, #4, and 6th) V7s = Whole Tone scale/chord = WW WWWW V7b9 = Diminished scale beginning with a half step. HW HW V749 = Diminished Whole Tone scale (emphasize the b9,#9,#4,#5 @ = Nalf-Dimtnished seale/chord (Locrian) WWWHWW #2 = Walf—Diminished #2 (Locrian #2) WH WH WW HwHW ) HWHWWwW HW W ca Major scale/chord c7+ = Whole Tone scale/chord CAs = Lydian scale/chord G7b9 = Diminished scale/chord cr Dominant 7th scale/chord 7+9 = Diminished Whole Tone scale/chord c Minor (Dorian) scale/chord © = Nalf-Diminished scale/chord 7:4 = Lydian Dominant scale/chord co Diminished scale/chord NOTE: The above chord/scale guide is my system of notation. I feel. it best represents the sounds I hear in jazz. The player should be aware that cach chord symbol represents a series of tones Called a scale. Even though a C7+9 would appear to have only a Vaised 9th it also has a b9, +4 and +5. The entire C7+9 scale Would look like this: Root, b9, +9, 3rd, #4, +5, b7 and root. (C749 C,Db,Eb.E,F#,G#,Bb,C). My chord symbol abbreviation is C79 and the name of ‘this scale is Diminished Whole Tone, sometimes called Super Locrian or Altered Scale. C7b9 appears to have only one altered tone (b9) but actually has three: b9, #9, and +4. The entire scale looks like this: Root ,b9,+9 3rd,+4,5th,6th,b7, and root. (C,Db,Eb,E,F#.G,A,Bb,C). This’ is calied’a Diminished scale and my chord symbol abbreviation 7b9. All. scales. under the Dominant 7th category are scales that embellish the basic Dominant 7th sound. Some scales provide much more tension than the basic dominant 7th sound and require pract and patience to grasp the essence of their meaning. I encourage you Co work with the first side of Volume 3 "The [1/V7/I Progression" since it emphasizes Diminished Whole Tone & Diminished chords & scales. ¥ = there is only one recorded version of that track. A dark Tine between track numbers means there is a band/space between those tracks on the record at that particular point. The dark lines should help you find your place. ‘SIDEL SIDE2 SIDE 3 SIDES 2 NN oT 9. Bb MAJOR TURNAROUND: 1B, Bb7+9 [Dim. W.T,) to Eb— (continued) 25, Bb MAJOR PHRYGIAN ae 116 bats @, Bb ator, Bb Elves, " 23. Bb DIMINISHED (begin with Epeslon: Cabin 48, 80 BLUES SCALE & Bb OOM. 70 ONMINISHED @. BU HARMONIC MAJOR 105 aro each Mor seal, cen 2. oosusa +30, 8h DIM. SCALE Ibesin with WHOLE SE MRIAM AUGMENTED 99, SUD tm 20 BOT SUS aot sce, Step) played over BU OORIAN RINOR eee avanenteD, YE nurea Lroian DowNaNT Feng cama 1, Bu PURE MINOR (atl miner Bee Penrarontc — BEE HOLE TONE. sein with 22 Bb-AMELODIC MINOR (ran 23, SUBTLE DIMINSWED tLocrian Feaeeccr ene see 2, So MINOR PENTATONIC itoctn £2) 17, BUFO DIMINISHED WHOLE TONE 26. Bb HARMONIC RHINOR 25_BUET DINE SCALE basin with whole a Se ou cua 18. 05719 (im. WT.) t 3PIANO VOICINGS FOR SCALE SYLLABUS These voicings can be played with either the right or left hand. When playing them with the right hand it is best to play the root Bb in the left. hand, one or two octaves below middle C. The voicings are to be read vertically...bottom 10 top. For instance, the first voicing is A,D,F. This would be played with the A right below middle C, D right above middle C and F right above middle C. Keep the voicings in the center of the piano. If you play them too low they become muddy. If played too high they sound thin and_weak. Voicings with a [1 [71 over them indicate they will sound nice if played in sequence, one after the other, Listen to recordings of jazz pianists of all styles. Transcribe their voicings and add them to your Vocabulary. Voice leading with the topmost note is very important. There are several two hand voicings listed. Voicings don't necessarily have to have the altered tones in them. Most voicings will contain the 3rd and 7th of the scale/chord. These are most important tones and help to define the quality of sound being played. 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