LEARN TO PLAY THE ALFRED WAY Ak 7 a on A SYSTEMATIC APPROACH TO IMPROVISATION Jazz is American music. Only in America were conditions right for its development. Although there is no doubt that the major contribution was made by Afro-Americans, there were many threads that went into the original fabric of jazz. It was the interaction of black African rhythms with such things as Sousa marches, French quadtilles, Spanish habaneras, mountain clog dance music, vaudeville songs, barroom ballads and many other types of music extant in America in the nineteenth century ‘that produced jazz as we know it. The proof of this lies in the fact that where African culture interacted with non-American cultures, as for example in Cuba and Brazil, much exciting rhythmic improvised music emerged, but not jazz. The main thing that sets jazz apart from other types of music is its rhythmic swing. Swing cannot be defined, but it is essential to playing jazz. (Some potent quotes: “It don't mean a thing if it ain’t, got that swing” [Duke Ellington]. Fats Waller, when asked what swing was, is said to have replied, “If you got to ask, you'll never know!") You can learn to swing. In one word, listen! Listen to the great jazz players on all instruments and from all eras, From the 1920's — Louis Armstrong, Bix Beiderbecke, Frank Teschemacher (the legendary Chicago clarinetist who was Benny Goodman's first inspiration). The 1930's: Lester Young, Frankie Newton (the first ‘cool’ trumpet player), Coleman Hawkins, Bud Freeman, the entire Count Basie band, The early be-boppers, Charlie Parker, Charlie Christian, Dizzy Gillespie. And today, John McLaughlin, Joe Pass, Chuck Wayne, Stan Getz, Miles Davis, Oscar Peterson and hundreds of others. Jazz is improvised music. Improvising means not playing the notes as written. The tradition of improvising hes existed in many times and places. J. S, Bach was renowned for his ability to improvise \ ‘See Roger Edison’s companion book, “Jazz Rhythm Guitar — A Systematic Approach to Chord Progressions” * FOREWORD : fugues; Beethoven usually improvised something at all his concerts; Spanish Flamenco music is mostly improvised as is Indian classical music. Even parts of traditional Polish polkas are impro- vised by clarinet and accordion players. In America improvising was well known among country fiddlers and banjoists, black singers, harmonica and guitar players and even members of marching bands and vaudeville pit orchestras. Jazz could be defined ‘as “improvisation with swing.” Except for some vary recent experiments, jazz improvisation is always based on an underlying chord structure or melody. In the early period (1890-1920) jazz tunes were often of @ march- like character with typical chord progressions (cycle of Sths) and modulations up a fourth for the trio section. (See for example, Tiger Rag and High Society.) Even today there are many tradi- tional jazz bands that play in this style. From 1920 until today most jazz has been based ‘on popular tunes of the day such as Sweet Georgia Brown, | Got Rhythm, All The Things You Are, etc. In the mid-1940's, the jazz composer came. into his own, writing many original tunes or lines, often basing them on existing chord progressions such as Charlie Parker's Billio’s Bounce (blues), Ko-Ko (based on “Cherokee"}, Groovin’ High (based on “Whigpering’), etc. The modern era also brought in much more sophisticated harmony. such as the use of altered Sths and 9ths,, 11ths ‘and 13ths, substitution chords, and suppression of plain major and minor chords. Today jazz uses many techniques once thought to be the exclusive domain of classical music~ irregular thythms, exotic scales, atonality, and free form, In this book, we'll try to open 2 few doors and point some ditections, Roger Edison © Copyright MCMLXXVIII by Alfred Publishing Co,, Ine. All rights reserved. Printed in USA.PART I: PART 2. PART 3. CONTENTS IMPROVISING ON AMELODY...... Anticipation ieee Retardation. Subdivision ...... Neighbor Notes Grace Notes..... Mordents. ...+. Turns. . Passing Tones . Slides, Smears, and Trill IMPROVISING ON CHORDS. How to Spell Chords... How to Use Chords in a Solo. Chord Arpeggio Studies. Using Chord Arpeggios in a Solo Improvising on Chords .. Blue Notes. ....... IMPROVISING ON SCALES AND MODES . .56 Major Scales .. 57 Jazz Minor Scales... .eseeeeeee 58 Harmonic Minor Scales oe 59 The Chromatic Scale a 60 The Diminished Scale beeee ee 60 The Blues Scale Sete Modes oo... cess 61 Pentatonic Scales. . . ; 61 How to Use Scales in Improvising 62 Analyzing Chord Progressions... . 62 WHAT YOU SHOULD KNOW BEFORE STARTING THIS BOOK 1, How to tune and care for your guitar, 2. How to hold the pick and the guitar, 3. How to find every note in the Ist position {if you've gone through Alfred's Basic Guitar Method Book 1 you'll have this covered). 4. How to read the basic rhythms including od J dL DID and equivalent rests 5. Some facility in playing scales. 6. Knowledge of accents and expression marks. = A = : feeling that the instrament is Panne about to alin so eee 5 2 = ZJAZZ RHYTHM ‘The first thing that any classical, Latin, or rock musician notices about jazz is that the 8th notes are not played evenly. Technically, of course, a passage of 8th notes should be played so that they are all equal, the downbeats being slightly stronger than the upbeats. Ex. 1 (straight melody) Oh, Te come from Al - a2 - ba -ma with a ban-jo on my knee, A jazz player makes two important changes in this phrase, First, he lengthens all the down- beats while shortening all the upbeats. How much of a change this is cannot be accurately no- Eset sein =9 lee] pt i ilies sees ce consists of dividing each beat into five parts with three on the downbeat and two on the upbeat This could be weitten as Tor Ap but would cause a reat deal of confusion and make jazz arrangements very hard to read. In this book, we will write everything as straight 8th notes, but expect that the player will interpret them with a jazz feeling Getting back to Oh Susannah, the second thing the jazz player does is to reverse the accents. That is, the upbeats are played stronger than the downbeats. The final result would sound ap- proximately like this: Ex. 2With o jazz feeling oT 3a 3-2 3a) eI TSJAZZ RHYTHM EXERCISES ‘THREE IMPORTANT POINTS TO REMEMBER, 1. Alternate picking throughout. 2. Downbeat Sth notes longer than upbeat Sih notes. 3, Upbeats more accented than downbeats.JAZZ RHYTHM EXERCISES (cont'd.)Partl IMPROVISING ON A MELODY Metodic improvisation was the characteristic style in the early days of jazz. One can imagine @ bored trumpet player playing The Stars and Strives Forever for the umpteenth time deciding to “fool around" with the tune in places. Or a vaudeville piano player asked to “fake something’ while a comedian did his routine, coming up with a new twist on some ragtime song. There are several devices which can be used to “jazz up" melody. 1. Anticipation, This means getting to a note before its actual time, usually on the upbeat before the downbeat on which it is written, Any note in a melody can be anticipated, but it’s best to keep a balance between anticipated and “straight” notes. Examples of this device are on pages 7 to 9 2. Retardation. Playing a note after its actual time. Again, it's best not to overdo this effect. Keep a balance between “straight” notes and retarded ones. Examples on pages 10 and 11. 3. Sub-division. Breaking longer notes into shorter ones. For example, two 8th notes for a quarter note, Examples on pages 12 and 13 4, Neighbor notes. The actual melody note can be preceded by one or more neighbor notes, Neighbor notes are those notes which lie a half step or whole step above or below the melody note, Examples are on pages 14 to 23. Passing tones. Connecting melody notes with scale passages. These can be either diatonic {in the key) or chromatic (using all half steps between). Examples on pages 24 to 28 There is much to be said for melodic improvising For one thing, it is the most “commercial” jazz style. That is, it’s the easiest jazz style for the average (non-musically trained) person to under- stand. Although the heyday of this style was the period 1890-1920, there have been great melodic improvisers in every period of jazz. Unquestionably the greatest was Louis Armstrong, who did his best work in the years 1926-1931. He influenced virtually every jazz player who came after him. You should make every effort to hear his recordings from that period, (They were re-issued by Columbia a few years ago on two LPs.) On the following pages you will find examples of all the devices mentioned above. Try to keep in mind what you are doing when practicing the various charts. Of course, no jazz player says to himself, “Now I’m playing a passing tone” when improvising, but what these exercises can do for you is to develop your ear so that pessing tones, neighbor notes, anticipations, ete., become part of your playing vocabulary and flow naturally during your improvisations.ANTICIPATION To illustrate this we'll give you a short fragment of a melody “straight,” then various ways to anticipate the notes in it. Chord symbols are for a second player on guitar or keyboard. Anticipations are marked with an A Straight Melody Medium Tempo c Ey Am ci Improvisation No. 1 Improvisation No, 2 a y> Improvisation No. 3.ANTICIPATION (cont'd.) Straight Melody FP FT Bb Improvisation No. 1 Improvisation No. 2 > Improvisation No. 3 A A > y> Inthe author's opinion, too many enticipations in Ex. No. 31 Straight Melody (in minor key) Em Am BT Em Improvisation No, 1 A Improvisation No. 2 A Improvisation No. 3 A aANTICIPATION (concluded) What follows is a 16 bar melody, first straight, then with anticipations, Straight Melody F Gm 7 Bb7 Aq Improvisation using anticipations Suggestions for further study. Learn the melody to some great older jazz standards such as Please Don’t Talk About Me When I'm Gone, Whispering, I’m Gonna Sit Right Down and Write Myself @ Letter and improvise on them using anticipations. Or, make up your own straight melodies and vary them as above,RETARDATION ‘As mentioned before, retardation means playing a note after its ordinary time. We will use some of the same melodies as in the preceding section to make this clear. Retardations are marked with an R. Straight Melody Medium Tempo c ET Am cr Improvisation Straight Melody F FT Bb F Improvisation R R R 10ANTICIPATION AND RETARDATION Of course, in an actual solo, no distinction is made among the various types of improvisational devices. For study purposes only, the following charts use only A and R. Em Am BT A A Em F Gm cr FP AT F Gm cr Bb7 Aq "1SUBDIVISION This is a particularly useful device for improvisation when the straight melody has many long notes in it. For example, tunes like Heartaches, Bye Bye Blues, Me and My Shadow. In the following exercises all subdivided notes are marked with an S. Straight Melody _ (Improvisations with subdivisions on facing page.) Fast C ja Dm7 Fm6 Dm7 Fm6 a7 c cr Fé Finé c 12improvisation ©, abt ee bese (now adding Aand R) c At sk ————, A. s—, A__ Dm7 Fmé GT 13If you felt that the preceding jazz solo had a rather stilted sound to it, you're perfectly right. If players had been limited to the three devices we've dis cussed so far, jazz would have died out years ago for lack of interest. (As a matter of fact, if you listen to some of the more commercial bands of the 20's and 30's, you'll hear many “hot choruses,” as they used to be called, thet sound @ fot like what you've just played.) The next two devices introduce notes which are not actually part of the melody. NEIGHBOR NOTES Any melody note can be preceded by one or more neighbor notes. A neighbor note may lie: UPPER NEIGHBOR NOTES 1. Ahalf step above the melody note 2. Awhole step above the melody note Examples Melody Note 1 LOWER NEIGHBOR NOTES A half step below the melody note A whole step below the melody note N poe a u IMPORTANT: NEIGHBOR NOTES MUST RESOLVE TO MELODY NOTES The question of which neighbor notes to use is largely a matter of taste and style, In the music of the 20's and 30's, the upper N was usually jin the key. That is, if playing a N to the melody note C you would use @ Db in the key of F minor, but @ D natural in the keys of F, C or G maior. The lower Ni was always No, 3, a half step below the melody note. In the 40's, however, the emerging modern jazz style began to make use of No. 1 more and more. Listen especially to lines by Charlie Parker and you'll hear many neighbor notes a half step above, regardless of key. No. 4, a whole step below the melody, is usually confined to blue notes such as the lowered 7th. On the following pages you'll find examples of different types of N. Practice both the straight melody and improvised versions so the various devices get “in your ear.”Neighbor notes = N; resolutions shown by arrow. Other devices not marked. Straight Melody (same as p.13) Fast, be-bop style ADT é Ny Ny uy Ob ees ny Am7 DT a? zo 15More examples of N Straight phrose Moderate swing Dm DmjC BD AT Dm Dm/C Bp AT ete, Straight phrase Ballad tempo G Em Bm ar c cm AT DT Gs ete, WithN Stroight phrase Jane, Waltz, c c Dm7 a7 with Straight phrase Swing four BI G7 C7 FT BD 16DOUBLE AND TRIPLE NEIGHBOR NOTES Any melody note can be preceded by more than one neighbor note, but’it is very rare to see more than three. Here are some examples: Straight Melody D/C Fm6/c c ete, With double and triple neighbor notes Nw nN Sl NUN NY 7 3 Straight Melody F Dm Gm7 cr ete, WithN Straight Melody Gm7 cm7 Fv Bbmaj7 ete. | e ) Straight Melody G age AmT DI ete.GRACE NOTES Grace notes are special cases of neighbor notes. On guitar they pose a special problem, Usually only the first note is picked; the others, including the melody note, are played by hammering down or pulling off the left hand fingers. Play the exercises on these two pages making sure ‘that you pick only where indicated. Grace note trom below. Play either by hammering down next finger or by sliding up to next note. n nm n a A 4 Ao Hammering down mus! use must use hammer hammer slidin sd down down Gracenote from above, Pick the grace note; pull off to the lower note. n Double grace note frombelow. Pick once; hammer other fingers down. ‘Ord str. 2nd str. fn n n n 0. n fn 123 128 123 we 123 Lae ne The note you're going to must be at least as high as the 2nd fret. Notice the special fingering for Cin bar 2 and F in bar 3, Double grace note from above. Pick once; pull off other fingers. i nm I A Gs: & eff en tn? | | ii @ c Remember that all grace note figures must be played on one string. In bar 2, for example, the E is played on the 2nd string 5th fretso that the rest of the figurecan be played on the 2nd string. 18MORDENTS Two types of mordents are used, the ordinary mordent ( a¥ ) and the inverted mordent ( A® ). Both are very effective devices when used with taste and restraint. Here’s how to do them: The Mordent. Play the written note, then the note above it (in whatever scale you're in at the time), then the written note again, Mordents must be executed on one string. Written Played Only the first note of each mordent is picked. The 2nd note is hammered on, the final note is Pulled off. The mordent is a characteristic of the be-bop style that evolved in the early 1940's; listen to Dizzy Gillespie's playing from that period for many examples. (The melody to 52nd ‘Street Theme which Dizzy recorded contains many mordents.) The inverted mordent. Play the written note, then the note below it (usually a half step regardless of the scale), then the written note again. Inverted mordents must be played on one string, Make sure to finger the written note with the 2nd, 3rd, or 4th finger, never the 1st finger. Written Ployed ¢ Only the first note is picked. The 2nd note is pulled off; the final note is hammered down. The inverted mordent is less used than the morcent, but may be heard at the end of the first phrase of George Wallingtan's Godehild. . The inverted mordent (alternate way of playing). Play the written note with any finger. Quickly slide back one fret then back up to the written note. This fingering will work an any note higher than the 1st fret. Written Played 2nd String 19USING GRACE NOTES AND MORDENTS Keep in mind the two words “taste” and “restraint.” Any device can become an irritating man nerism if overused, and this applies especially to the above. The lines on this page should be practiced as written. When playing the ones on page 21, add embellishments as you wish, c Am? Dm7 Gil c AmT Dm? Gil c cr F Fm6, bg G13. C6 DbT5 AmT Dm7 eu Am7 Dm7 cu to za c o7 F Fm6, D9 Gis, ye 20Moderately Gm7 erg AmT p79 Em7-5 ATS Gm7 C7 Gm7 ‘org Am7 pig Em75 ATo Dm Dmjc Bb6 Be Am7 Dig Gm7 cu F m7 FT Bbmaj?7 BG AmT DT Gmi7 cr Gm7 cr AmT D7-9 — EmT.5 AT9 Dm Dm/c Bb6 Be Am? Dro Gm7 cu FTURNS The turn ( @&9 ) may be described as a combination of mordent and inverted mordent. It is a very pretty effect to use on ballads on notes with a value of at least two beats {but don’t overdo itl), Turns are commonly played in either of two ways. Study the examples below; then apply them sparingly to the ballad on page 23. TURN NO. 1. Start with the note gbove the written note, then the written note, then the note ahalf step below, finally the written note . Written Played " 4 21 2 o 31d One pick for the four notes in the turn. TURN NO. 2. Start with the written note followed by the note above, the written note, the note a half step below, and finally the written note, Once again, only the first note of the turn is picked. Written, Played 204 212 o t39it As with other types of embellishment, all tums must be played on the same string. Note the fingering in the examples below Slowly sth string Srdsting Sth string 3rd trina 4th string 2ndstring—Athstving id string ‘th string 2nd sting Sed string Ast string Srdsting Ast string Sedstring Ast string 2rd steog 22A BALLAD Add turns and other embellishments where desired. Dm FT pis AT) Dm FT pha Aq Dm Dmjc Bm7-5 ET ATH DI+5 Gia cr+5 FT BbT+5 Em7-5 ALS Dm FT bis. a7 Dm FT his AT Dm Dm/o Bm7-5 ET ATS pe G13.9 co FT9 Bh1s Em75 ATS Dinaj7PASSING TONES Part 1: Diatonic passing tones (DP) are scale passages that connect melody notes separated by a fourth or more. For example L Fourth can become: ‘or the reverse: 2 Fifth can become = ‘or the reverse. a Sixth ‘can become: ‘or the reverse. 4 Seventh ‘or the reverse: 6. Octave ‘can become: ‘or the reverse: It’s not a good idea to play these passages too square {evenly}, We've only written them this way for ease of reading. A jazz player might play No. 5: . oI oo I 3 Generally, it sounds better to accelerate a scale passage towards the end, Rather than 24PASSING TONES (Part 1 cont'd.) The matter of which scale to use as passing tones is not always an easy matier to determine. As long as a tune stays in the same key there is no problem But tunes, especially interesting ones, often have temporary changes of key. Examples of this may be found in “1 Remember April (4 bars in G, 4 bars in F, then to G minor, later to BP and other keys} Tea for Two (8 bars in Ab, 7 bars in C, ete:}, and virtually every jazz tune of any sophistication. If you have some knowledge of harmony, you should be able to determine temporary key changes. This subject is discussed in greater detail in Part 3 of this book, “IMPROVISING ON SCALES” (page 56), The following line is based on the chord changes to a famous jazz tune. Temporary key changes are marked, Gmaj7 G6 Gmaj7 Key of Fmaj7 Fe Fmaj7 F6 Ebmaj? be m7 Di+9 Gm7 oT Gm7 CT Koy of F Fi BbT Fm7 Bb7 Key of E> Key of Gm Ebmaj7 Eb6 Cm Gmaj Am Bm7 Em7 Am7 bt Cm7 Fv Gmaj7 Key of GPASSING TONES (cont'd.) Part 2: Chromatic passing tones (CP) are a series of half steps that connect melody notes. We assume that you know your chromatic soale. If not, refer to page 60. chee eet 26 1. Fourth ; SS ar thereverse 7 5 2. Fifth ‘can become: ‘or the reverse 3 Sith i can become: ae atte ie or he reverse it 4 Seventh — ‘can become. 3 Z -— ‘or the reverse: 10 5 Octave 3 = ‘can become a i ‘or the reverse. ‘As with diatonic passing tones, don’t play chromatic scale passages too square. You've already learned that the melody note may be anticipated or retarded, so there's no need to arrive at the melody note exactly on the beat. As a matter of fact, one of the reasons classically trained musicians sound stiff and stilted when they try to play jazz is that they play too precisely. In jazz, the whole effect is that while the accompaniment played by the rhythm section remains steady, the melody goes ‘ahead of and behind the beat, only occasionally coinciding with it.The first half of this melody has chromatic passing tones written in, In the second half, use ‘them at will. Moderate to fast Chm7-5 rez Bm6 Bm7-5 BT Am6 AmT-5 bi Gmnaj7 BmT ETO m7 FTO Em7-5 AT Dmé Dm7-5 G7 m6 omt-5 FT Bbmaj7_ BOG -D7+9 ee Bm7 BPmaj7 Am11 DT-5 Gmaj7 27CHROMATIC PASSING TONES (concluded) A very effective device is to approach a melody note from three half steps away, above or below. The othor fingers are then hammered down or pulled off. In each case the figure must be played (on one string and only the first note is picked. From below 1234 12308 gras 1234 aed aed ( Play the exercise below with a light swing, It uses the above device more than good taste would allow in an actual solo. abe, 2ndst.— BDT Gis DG ae ese AbIC e9 bg ab EbT+5 Abe 1238 qaa4 1238 SS 2 Ve 28SLIDES, SMEARS, and TRiLLS : Probably because they're so easy to play, slides have been OVrdone, $9 : much so, that many, if ‘ot most, jazz players never use them. We include them here fot Competer ness, THE SLIDE FROM BELOW. Start anyplace lower on the fretboard than {0% pick once and slide the same finger up the string, arriving at the final on or off the beat. the note you're heading note where it is written, From four From five From seven From nine From eleven frets below frets below frets below frets below frets below THE SLIDE FROM ABOVE can also be made from any fret, but good taste dictates no more than three or four, slide slide a Hide Dy sl A From four From five From seven From nine From eleven frets above frets above frets above frets above frets above Smears also called “bends” and “chokes” are well word “bend”; otherwise there is no way of knowing known to blues and rock players. They are played whether bends, mordents, or turns are meant. by pushing the string across the fretboard, increas ing the tension on the string and thus raising its Smears are most effective on the higher strings pitch. Confusingly enough, the symbols used are If you have trouble pushing the string hard enough either oo or AW . Careful arrangers also use the to change its pitch, try using a lighter gauge string. |n the foilowing example, finger G; push the string up to Gt 2 The will is rarely used in jazz, although some country blues players (e.g, Blind Lemon Jefferson) Uuseld) them often. Pick once; play the other notes by alternately hammering down and pulling off. Written Played ee 2930 Part 2 IMPROVISING ON CHORDS Up to this point, chord symbols above the melody have been for accompaniment only. We will show You how to integrate chords into single string solos. A chord is a group of three or more notes. In traditional harmony, the notes of a chord were arranged in 3rds, but modem musicians often use ‘other combinations that don’t fit that definition (for example, C sus4-C F G; G13-5-G DbF BE A). In the early period of jazz, most harmony consisted of major, minor, and 7th chords with an occasional diminished. In the 1920's, augmented triads and dominant 9th chorcls were added. The swing era (1930-1945) brought in the minor 7th, major and minor 6th, major 7th and major 9th. Starting in the 1940's, jazz harmony was expanded to include lowered and raised 5ths, lowered and raised 9ths, natural and augmented 11ths and 13ths as well as other altered and sometimes rather dissonant chords. In recent years players have introduced super imposed triads {two chords at’ the same time), chords extended into scales, totally free form, microtones (intervals smaller than a half step) tone rows (a series of tones always played in the same order backwards, upside down or upside down and backwards}, and other more oF less successful experiments, In this book we will take you as far as Sths, 11ths, and 13ths, still the mainstay of most jazz chord progressions. HOW TO SPELL CHORDS All chords may be derived from the basic five. ‘The major chord { 1st, 3rd, and 5th steps of any major scale) The minor chord (Ist, lowered 3rd, and 5th steps of any major scale) The 7th chord (1st, 3rd, 5th and lowered 7th steps of any major scale) The dimi hed chord (1st, lowered 3rd, lowered 5th, and 6th steps of any major scale) The augmented chord (1st, 3rd, and raised 5th of any major scale)‘Thus, a major 7th chord is a major chord plus the 7th step of the scale. ‘A major 6th (or 6th) is a major chord plus the 6th step of the scale. A minor 7th adds the lowered 7th to a minor chord, A minor +7 chord adds the 7th to a minor chord. ‘A minor 6th chord adds the 6th té a minor chord. : Ninth chords always add a 9th to a 7th chord unless otherwise specified. For example, C9 means C7 plus the 9th step of the scale, D, C major 9th means C major 7th plus the 9th step of the seale. Eleventh chords add the 11th step of the scale to a Sth chord. C11 means C9 plus the 11th step of the C Scale, F. Thirteenth chords add the 13th scale step to an 11th chord. C13 means to add the 13th step of the C scale (A) to a C11 chord. Thus, each higher numbered chord builds on the one before it, Altered notes are self-explanatory. C7-9 means to add the lowered 9th step of the C scale (Db) to a C7 chord. C7 + 6 means to raise the 5th step of the C scale (G4) in the C7. HOW TO USE CHORDS IN A SOLO First, you must kriow what notes belong in a First, learn your chord arpeggios. Since this is not chord. Take C, for example. The notes are C, E,G. meant to be a book on arpeggios, only one short If any kind of a C major chord is being played as phrase in the lower positions is given for each accompaniment, C, E, and G are “free tones.” chord. Once you have the notes down, mix them That is, they may be played at any time in any up any way you like, preferably with another order. In addition these free tones may be treated —_ instrument playing accompaniment. as melody notes, Thus, any of the devices learned in Part 1 can be applied to them. 31ARPEGGIO STUDIES ON C ia (Use alternate picking and jazz phrasing throughout.) for (cea) Cmaj7(CEGB) capac tee eeeeLeE nv ny ny yoy oy ©6(CEGA) ‘Cmaj9(CEGBD) Use for Cminor Cm(CEbG) Cm+7(CEDGR) cm7(CEbGBb) cme(cebGa) Use for 7 C7(CEGBD) ca(CEGBD) CHLA(CEGBDDF ) c13(+11) (CeGBbD Ff} A) Use . for Cdim, C%(CEDRHA) Use for Coug. — C+(CEGH) Ideally, the above exercises should be played while an accompanying chordal instrument such {as guitar or piano plays the indicated chords. 32ARPEGGIO STUDIES ON F Use for F major F(FAC) Fmaj7(FACE) F6(FACD) . Fmaj9(FACEG) Use for : Fminor Fm(FADC) Fm#7(FADCE) Fm7(FAPCED) Fm6(FADCD) Use for #7 PI(FACED) FO(FACEDG) F+11(FACE9GB) F13+11(FACEPGBD) Fdim. Fe(PADBD) Use for Faug. pa(RACH) 33ARPEGGIO STUDIES ON Bb Use shir BOUDRY Bbmaji(BbDPA) Bb6(BODFG) BPmaj9 Use for BK minor Bm(BDDPF) Bbmi7 Bom7(BPDPFA ) bm6(B>DbFG) aa 2 Use Bb9(BbpFabc) a Bb7(BDP.AD) b. Bb+11(BDDFADCE) Bb13+11(B>DFADORG) Use Use for Bhavg. Bb+(BbDF#) aoe 34ARPEGGIO STUDIES ON E> Use fe eemojor Bonbon) Ebmaj? (EbaHbD) Ebmaj9(EOGREDF) Eb6(ebGBOC) Use for Ebminor Ebm(bGbb) Bbm+7(RbGbBhD) rbm1(ebababpb) _ Ebm6(E>G>BbC) Use Bb —_-ebr(ubapbpb) ebocebasbpbr) nb13+1(ebcpbpbrac) Eb+11@abGBbDb a) Use for Eb dim, Eb (BbFRAC) Use for. Ebaug, Eb+(EDGB) Ae 4 35ARPEGGIO STUDIES ON A> Use Abmajr Ab(abcry Abmajzabonbay abecabcubr) Abmajo(AbCEGBY) f cot i Av Ringy Abm(abcheb) Abmawabcbebey 4 gre * Set Abm6(ADCDEDF) Abm7abchrbaby sb Pe »— Use for aby Abiabcrbaby Abovabcebcbpb) ab+1(abcrbabpbp) AD13+11(ADCEDGDBDDF) o for Abdim. Ab2(ADBDF) e Use for Abaug. Ab+(ADCE) 36ARPEGGIO STUDIES ON Db OR cH Use for pb major Db(DbFAb) pbmaj7obrabe) Dbe(wbrabeb) Dbmeja(DbF AbCEb) , Use for Cimino, cimechect) cms ni cicde#) cémnctacts) cms coffzctady Use oir pbwbabchy pbocobrabcbeby pb+11(Dbrabcbeba) _ Db 13+11(DbRAbCPEbGBD) om Use for cidim. — c#(cfzGBb) Use for Dbaug. Db+(DbFa) 37ARPEGGIO STUDIES ON Gb OR F# Use f Gh major abcabubob) Gbmaj7(cbebpbr) @beccbebobeb) . chmaja(Gbpbpbrab) Use for FEminor FAmeracty Fhm+rcrtactnsy FimiFRACEE) rime rfactpsy Use Hy, weurdadods) ce Fhocrfasctinas) reicebatctnatae) Phisriurgag¢ctnatpéng) see {He Use for Fi dim. Fdim(PZACEb) - Use for Ghoug, — Gaug(GhBbD) 38ARPEGGIO STUDIES ON B Use for Bmajor BBE FH) Bmaj7(Bpfritaty Bmajo(BD$rhatcs) Bo(phrece) # Use ie prinor — Bm(RDS) pm+7(BDrfa) v Bm6(BDFEGS) Bm7(BDFRA) o Use for sient) Bospgrtack) n Bri1(BpgrRackeb) B1s+11(BDSFFAcHEHGE) Use for Baim, B°(BDFAb) Use for Boug B(BDEFxorG) aa 39ARPEGGIO STUDIES ON E Use for Emaior acacia Eimaj7(8G4BD$) 3 oe is Emajo(Ectapgrp) . 2 se t 2 oe ae - Use for Eminor — em(BGB) Em+7(wcBD#) oe = SEE Zi Fira Em7(EGBD) Em6(EGBCH) Use 4 4 for u E1EGHED) EQEGHBDFA) n+i(ectepready E1s+11(EGteprgadch = Use for Edin. Re(eaRbc) ‘ei e Use Eaug BH(BG#Bxor C) e 40ARPEGGIO STUDIES ON A Use for Amojor A(ACHE) Amaj7(ACKEGH) Amaja(acteG#s) a Use for Aminor arm(ACB) Am+1(ACEGR) _ Am7(ACEG) ‘Am6(ACEF#) ae AT(ACHEG) agcactEcE) AtLI(ACREGBD#) A1s+1(ackecsp#rg) Use for Adin. gocacubr#y Use for Aavg. 4 +(ACHENor F) aARPEGGIO STUDIES ON D Use for D major D(DF#A) Dimaj7(DFFACH) D6(DFSAB) Use for minor Dm(DPA) Dm+T(DFACH) Dm7(DFAC) Dm6(DFAB) Use for °7 — paDFRAC), DoF ace) pe (pFfacecs) D13+11(DFRACEGSB) Use for dim. pe@mratry Use for Doug. pewrfad 42ARPEGGIO STUDIES ON G G major G(GBD) Gmaj7(GBDF#) —_ ee ¢ est te ara FZ Z Coe — G6(GBDE) _ Gmajo(GBDFRA) Use a for Smmine® em(GBbD) Gm+7(GBbDFH) 7 jee = ype ree Gm7(GBbDF) Gms(GBbpE) Use for oc? @(GBDF) G9(GBDFA) i a 3 Gevespract) cise1(cspracte) a for Sdim. ¢ (GBbetm Use for Gevg. Gann) 43USING CHORD ARPEGGIOS IN A SOLO As previously mentioned, it is more “commercial” Below is the melody to a medium tempo tune, (easily understood by the average listener) to stick On page 45 you'll find a jazz version using all the close to the melody when improvising. in Part 1, devices learned in Part 1 as well as chord arpeggios we learned various devices to embellish the melody used as fill-ins. and give it a jazz feoling. Our first step in using chord arpeggios will be to keep the melody intact, We are limiting the types of arpeggios to the five but use chord arpeggios to fill in dead spots, places basic sounds in jazz: where the melody sustains a long note or rests, 1. Malér, major 7th, 6h, major 9th . 2. Minor, minor +7, minor 7th, minor 6th 3, Dominant, 7th, 9th, 11th, 13th 4, Diminished 5. Augmented Straight Melody c bz c Aq Both the melody and the chords have been “jungleized” — simplified to the lowest common denominator. The jazz soloist can now begin to build on this simple structure. One of millions or billions of possibilities appears on page 45 . Original melody notes are circled; chord arpeggio fill-ins are bracketed and labeled. 44Improvisation © ADT abr : bo Gros ais c c Dm7 G+ Ge c co co AbT Abr c os. Cmaja AT Ar Comments: This solo is reminiscent of the 1920's and 30's. The chord structure is primitive and the arpeagio figures reflect it. Nevertheless, the solo would have been perfectly acceptable to the audiences of those days because (a) the melody is still recognizable and {b) the arpeggios are all within the chord, 45IMPROVISING ON CHORDS (cont'd.) WHY DIDN'T THE PRECEDING SOLO SOUND MODERN? Important: Any chord arpeggio can be treate like a new melody and can, therefore, be em Basically, for two reasons: bellished with neighbor tones, passing tone: 1. The chord arpeggios were based on simple, unaltered chords, ‘Mticipations, retardations, ete. The possbilitc are so enormous, that we'll only be able to sugges 2. The arpeggios were played without embellishment. some examples: Basic chord arpeggio variations Above are just a few of the many, many possibilities. have to do either. You can play slower or faster You will notice that the rhythm is basically Sth Hotes or mix up the notes of the arpeggio any way Notes and that the original order of notes has been You choose, Also, don’t forget the other embel- retained. There is, of course, no reason why you lishments you have learned, the mordent, turn, etc. 46IMPROVISING ON CHORDS (cont'd.) Below, and on the next few pages, are further examples of what may be done with simple arpeg gios of C minor, G7, C diminished and C augmented. If you like the sound of any of these frag- ments, transpose them to other keys and chords. Then make up your own. ers Basic C minor Variations Bosic G7 Voriations 47Basic C diminished Variations Basic Cougmented Voriations 48,IMPROVISING ON CHORDS (cont'd.) Added and altered notes As already implied in the arpeggio studies on pages 32 to.43, major chords can be altered by adding any combination of the 6th, major 7th, or Sth. These notes will always sound good in a modern context and can be used almost as freely as chord tones, We say “almost” because neighbor, notes don’t always sound right when leading to 6ths, Here are a few vi F major chord Variations (an early be-bop cliche) 7ths, or 9ths, The best policy is to try them: If they sound right to you, then they're right This also goes for the lowered th (-5). To some people, playing -5 against a major chord sounds too fer out; others love the sound. (Listen to records by Lennie Tristano or George Russell for many examples of -5,) ions on a plain major chord using 6ths, 7ths, 9ths, and an occasional -5. 49Minor chords can also be varied by adding 6th, 7th, and 9th. The 7th can either be the +7 or the 7 depending on the key and your personal taste. Examples below. F miner chord Voriations “ 1 Seventh chords have a whole aisenal of altered notes. These include -5, +5, -9, 9, #9, 11, +11, and 13. Below are only a tiny fraction of the possibilities. C7 chord Voriations ° = 13 +19 19 o Hor 5 9 oie 9 99 3 50Diminished chords can be expanded by adding the +7th, 91h, and 11th. Ediminished chord Variations = #7 8 u u “7 ° oon uo ‘Augmented chords can be expanded by adding the 7th, Sth, and 11th Faugmented Variations A famous Dizzy Gillespie lick (Sage 5tBLUE NOTES Blue notes are derived from African sources, They do not actually exist in the Western European tempered scale that we use. Piano players are stuck here, because they cannot alter the pitch of a note, but guitar players can push the string across the fingerboard and thus raise its pitch a quarter described as the lowered 3rd, lowered Sth, and lowered 7th degrees of a major scale, This is not accurate and comes from the fact that early theorists tried to force Afro-American music into a European mold, Actually, blue notes lie between the lowered and the natural note as the example step, half step or more, Blue notes are usually below illustrates. C major scale . : = = =— — = é 25.5 oo = = 3rd 5th 7th B ro — te tro lowered 3rd “Blue” 3rd natural 3rd t higher than Eb but lower than E& similarly, lowered 5th blue Sth, t higher than Gb but lower than G4 natural Sth lowered 7th Blue 7th t higher than Bb but lower than Bh natural 7th 52USING BLUE NOTES All blue notes marked with a 8. Each one should be pushed about a quarter tone higher than written. Si low oT B BoB <. 3 Blue notes can also be introduced into non-blues type solos as a touch of “funk.”” ‘Medium Bounce (A lo Count Basie) F Dm7 Gm7 B C7 Ev ay a CTS peal Fine be boo 63a Pars 1 and 2 have covered jaz styles up to about 1960. Even today, many jazz players use only the devices we have covered. Does there always have to be a reference to the melody in an improvised solo? No. Many great jazz players in a sense create their own melodies 54 based on the existing chord progression. The usual pattern in a jazz arrangement is Introduction: (Usually 4 bars) First Chorus: Middle Choruses: melody. Last Chorus: ‘Same as first chorus. It’s up to the soloist whether he refers to the melody or not. Some players stick fairly close especially on the first chorus, then get farther and farther away. Others start right out playing only on the chords assuming that since the melody Planning your solo If you can play great ideas “off the the top of your head,” great! Just listen to the rhythm section and blow! But if you don’t have that kind of talent, a little planning will go a tong way tawards helping You create interesting and exciting solos. 1. Know the basic tune thoroughly, That means know the chords and know the melody. 2. Create a ‘jungleized’ lead sheet; that is, a basic melody and chord sheet reduced to the simplest essentials of notes and chords. 3. Sketch in the important notes you want to use in your solo and, if possible, run down some ideas before you're actually in a playing situation. If you have a tape recorder this can be done easily by feeding the chord changes into it and trying out various ideas against them. Individual players take solos based on the same ch Front line plays melody in unison or in harmony. jord progression as the was played once up front and once at the end, referring to it even more would be repetitious and boring. It’s up to you! Jazz is wonderful music, especially because it leaves so much room for self expression. Ideally, jazz should be totally improvised, com- pletely made up as you go slong, But actually, most players have a general idea of what they're going to do before they do it. A few geniuses like Charlie Parker seem to have an endless flow of fresh, exciting ideas. It’s fascinating to listen to different takes of the same tune, Most of the other players sound very similar from take to take, but Parker always comes up with something totally different....and usually better than the take before, This might be a good time to suggest listening to the great Bird. Most of his records have been re-issued, and every one is warth listening to and analyzing. Slow them down to half speed and try to copy the solos, on paper if you can, then on the guitar, It's not an exaggeration to say that every modern jazz player owes a great deal to Charlie Parker.CHARLIE PARKER. 5556 Part 3 IMPROVISING ON SCALES AND MODES In many ways, this type of improvising gives the player the most freedom. He need not concern himself with melody notes or chords. As long as the player keeps within the scale, any note sounds right. Because of its free nature, this type of improvisation is hardest to describe on paper. At feast with melodies and chords, the player (and the listener} have something to hang on to. The task of playing scalar improvisations that have line end direction is a formidable one. All too. often such solos degenerate into a meaningless display of technique with little or no emotional content. All scales and modes are presented in diagram form. ‘The advantage of this is that one scale pattern can be used anywhere up and down the fretboard. The fingering is the usual one finger for each fret ‘except where marked, Once a scale has been mastered, it can be made the basis of all the embellishments learned in Parts 1 and 2. That is, the scale itself becomes the melody which in turn can be embellished with grace notes, mordents, neighbor notes, passing tones, etc.MAJOR SCALES Major scale pattern No. 1 As given here, with the keynote ‘on the 6th string 3rd fret, the pattern produces the scale of G major. This pattern works from Gb or F# (keynote on the 2nd fret) through G (keynote on 3rd fret), Ab (keynote on 4th fret), A, Bb, B,C, Db , D, Eb , E, and F with keynote on 13th fret. Keynote 10-2@ | Keynote ‘Major scale pattern No, 2 As given here with the keynote on the 5th string 5th fret, the pattern produces the scale of D major. This pattern works from Db (keynote on 5th string 4th fret) through C (keynote on 5th string 15th fret). Keynote 1, +0 7 - he te. 40 ae 1@- 3@ 1@ |} 30-46 10- O18, 228 4@ Keynote Mejor scale pattern No. 3 As given here, with the keynote on the 6th string 5th fret, produces the scale of A major, This pattern works from A major through Ab major with keynote on 6th string 14th fret. Keynote | 18 4e 1® 20 4 e208 4@ - ie ej |-—- ~ ° 3@ 40. 18 e4@ t Keynote Note the position shift on the 3rd string, — : ~JAZZ MINOR SCALES The jazz minor scale is identical to the major scale except for the 3rd which is lowered a half step in the jazz minor. 12 3 4 5 6 7 8 Cmajorscale: C oD € F G A BC Cjazeminor: © D & F G A BC Jazz minor seale pattern No. 1 (As given in G) Keynote 1@ $ e ooe— set | —@ 3 Keynote Jazz minor scale pattern No. 2 This pattern works from C# minor up to C minor. (As given, in D minor.) Keynote e sesso sees 3/8) ss Keynote Jazz minor scale No. 3 . This pattern works from A minor up to C# minor. Keynote 58HARMONIC MINOR SCALES The harmonic minor scale is identical to the jazz minor except for the 6th which is a half step Jower in the harmonic minor. 1 2 3 4 5 6 7 8 Jozzminor © . bb F G A 8 c Harmonic minor > C D BOF G A B oC Harmonic minor scale pattern No. 1 As given in G minor. Works from F# minor up to Feminor. Keynote | 110-20 40 T Keynote Harmonic minor scale pattern No. 2 As given in D minor. Works up to C minor, Keynote $ | ooe8 geese e yq@t Keynote Harmonic minor scale pattern No. 3 As given in A minor. Works up to G minor. Keynote \ tO — e—+8 H+@+—|3@ +e 1@-2@ 10-26 - 8 2¢. 4@ wa “18 38-48 t Keynote, 59THE CHROMATIC SCALE The chromatic scale consists entirely of half steps. thas no key center and therefore no keynote. Chromatic scale: C Cf D Eb EF FFG Ab A Bb BC otc. Chromatic scale pattern No. 1 {four notes to a string). pte20-38-4e)— 0-20 e-ue oe 2e3e4e 28 Jee fa 10-26-36 ee Chromatic scale pattern No. 2 (five notes to a string). THE DIMINISHED SCALE The diminished scale consists entirely of alternating whole steps and half steps. Cdiminished scale: C D Eb F FE Gt A B C (Either C, &5, FF, or Aconbe the keynote) Diminished scale pattern (as written, starting on G). 1020 L® eo 4e rt Le 2@ 4 @- at 4 +8 j4@ e ® 3-40 60THE BLUES SCALE This scale is well known to blues and rock players who make great use of it. It incorporates all the “funky” notes discussed under blue notes. In C, it looks like CD Eb F Gb G (A) Bb Blues scole pattern (as given in F), 38 4@ : else —— — e438 410. 30 20-38 '4@ MODES The ordinary modes are seven in number. As they are simply re-arrangements of the major scale, no new material need be learned. For example, the Dorian mode is the same es the C major scale except starting on D. The Phrygian mode starts an E, ete. Here they are: IONIAN: CDEFGABC DORIAN: DEFGABCD PHRYGIAN EFGABCDE LYDIAN: FGABCDEF MIXOLYDIAN: GABCDEFG AEOLIAN: ABCDEFGA LOCRIAN BCDEFGAB When playing in the above modes the ordinary C major fingering can be used. PENTATONIC SCALES ‘These are greatly used in rock and jazz. A pentatonic scale contains five notes. Since the five notes correspond to the 1, 2, 3 or 4, § and 6 of the major scale, no new fingering need be learned. PentotonicscaleonC: C D E G A PentatonicscaleonC: C oD F G A ‘You will notice that the first scale is another way of saying Cé add 9; the second is an F6 add 9. 61HOW TO USE SCALES IN IMPROVISING : As stated before, a scale can be thought of as an extended chord. For example, take C13-+ 11: G 5 DFEA 9 +1113 If we rearrange the notes of the chord as a scale, we come up with GA Bb CDE FH (G) This is a jazz minor scale based on G. So if the rhythm section is playing C13 + 11, C9, C7, C7-, C9 + 11 oF almost any C'dominant sound, you can play any note in the G jazz minor scale and sound right. All the devices learned in Parts 1 and 2 can also be applied to scales, but a great deal of personal taste enters here, Fast grace notes and mordents can be used on any scale or chord tone, but long delayed neighbor notes can sound wrong when resolving to more remote scale tones such as the 9th, 11th, and 13th, But here's where you have to be the boss. (Remember, in 1930, added 6ths and major 7ths sounded “far out’ and “weird.”") So don’t be afraid to strike out in new directions. On the other hand, be honest. Don’t use sounds that are far out just to raise eyebrows. Make sure they really sound good to you. Some modern jazz composers are writing pieces that state, for example, "Play 32 bars in the Phrygian mode." In a situation like this, anything goes as long as it’s within the mode. This type of improvisation certainly gives the player more freedom than the type that gives you a chord chart. The latter type often leads to a more or less cut, and dried “running through the changes" with the player's creativity stifled by the limitations of staying within the chord progression. ANALYZING CHORD PROGRESSIONS A detailed discussion of this subject is beyond the scope of this book, as it presupposes. thorough knowledge of harmony. However, we can point you in the right direction. Below is the chord progression to a great jazz standard, The bars have been numbered to make analysis easy. EbmajT Eb6 AmT DT Ebmaj7 Eb6 Ebmaj? Fm Gm7 Gbmn7 Fm7 BbT 62Ebmaj7? — Eb6 AmT Fm7 Abin6 ANALYSIS First, taking each two bar phrase, arrange all the chord tones into a scale. Eb maj7 gives us Eb G Bb D; Eb 6 gives us C; to this we can add the 9th, F. Arranging these into a scale we get: EbF G BbC D. This is obviously an EP scale of some kind. If we fill the gap between G and Bb with A>, we get an Ebmajor scale; if we use the less obvious AB, we get a transposed Lydian mode: Eb F G A BbC D. (This is simply @ Bb major scale starting on Eb .) Using similar methods, Bars 3 and 4 give us the scale G A CD E FE. If we fill the gap with the expected Bb, we get a G jazz minor scale. The less expected BAgives us a G major scale, Bars 6 and 6 are the same as 1 and 2. Bars 7 and 8 are a wholestep lower than bars 3 and 4, They imply either F jazz minor or F major. Bars 9 and 10 imply either Bb major (expected), or 8 jazz minor (less expected). Bars 11 and 12 imply either Ebmajor (expected), or Bbjazz minor (less expected). Bars 13 through 16 imply Eb major. That is, all the notes in the chords Ebmaj?, Fm?, Gmn7, and 867 belong to the Ebmajor scale. The Gm7 chord is a passing chord and may be ignored. Bars 17 through 28 duplicate bars 1 through 12, Ber 29: Ebmajor. Bar 30: The notes in an Abm6 are AbCPE? F. These all belong to the GPmajor scale. Bars 31 and 32 shift between E>major and Gbmajor. On page 64, you'll find a “map” of the same tune as on page 62. This tells you what scales to play and when. Bars are numbered as before. 63Ebmaj7 be Ebmaj7 Eb6 AmT Ebmaj7 BbG Gm7 = ® ® @ @ A final word, All great jazz players have learned from people who came before. Listen to the greats. Analyze. Imitate. Don’t worry about originality. I'll come through as you develop. | sincerely hope that we've opened a few doors and pointed out a few directions. Good luck! 64