VoLUME 3 ry The A I]- ' -| } PROGRESSION The Most Important Musical Sequence in Jazz! PLAY-A-LONG Book and Recording SetCONTENTS Introduction. Scale Syllabus. CHORD/SCALE PROGRESSIONS @concERT Key Chord/Scale Progressions. @BbINSTRUMENT Chord/Scale Progressions. @EDINSTRUMENT Chord/Scale Progressions. (@BASSCLEF INSTRUMENT Chord/Scale Progressions. PATTERNS AND EXERCISES PATTERNS AND EXERCISES Introduction. CONCERT Key Patterns and Exercises. QBoINSTRUMENT Patterns andExorcises. QEDINSTRUMENT Patterns and Exercises. @ ASS CLEFINSTRUMENT Patterns and Exercises. PIANOVOICINGS. jORD SYMBOL GUIDE FOR VOLUME 3 H= Half step, W= Whole step three halt steps (minor third) lower 1/2 step, += raise 1/2 step ‘A = Major scaleichord (emphasize the major 7th & &th)(don't emphasize the 4th) ‘A+4 = Major scale/chord with raised 4th (Lydian) = W W W H W WH \V7-= Dominant 7th scale/chord (don't emphasize the 4th)(Mixolydian) nor scale/chord (Dorian(al scale tones are usable) ise the fith tone of the scale 12 step \V7+4= Dominant Lydian scale (emphasize the 9th, #4th, & 6th) = W WW HW HW. \V7+ = Whole tone scalefchord = W W W W W W (this scale has a +4 & +5) \V7b8 = Diminished scale beginning with a hal step = H W H WH WH W 748 = Diminished whole tone scale (emphasize the b9, #9, #4, & #5) =H WH WW WW. @ = Half ciminished scale/chord (Locrian scale or Locrian #2)= HW W H WWW 2) = WHWHWWW {See the Scale Syllabus, page ii for more info and examples) ‘Typesetting by SUSAN GEARHART Published by JAMEY AEBERSOLD JAZZ, INC. P.O, Box 1244 New Albany, IN. 47181-1244 http:lwwwjazzbooks.com Copyright© 1974 by Jamey Aebersold Jazz, nc. rights Resehved”" Printed INUSA” “international Copyright secured ‘All copyrights used by permission No portion ofthis book may be reproduced in any way without express permission from the publisher. alTHE INV7 PROGRESSION “The IVI, VI and the IUV? progressions are thre of the mst important building blocks jazz and pop music. Thy are allt cadences and these ccences have been an important unifying factor in al of Western musi. Most jazz greats ave thoroughly ‘taseed1/VT progressions, ad ca improvise fely over them in all vel keys. is good eno analec jz o pop tunes (rock usc usualy has few cadences) tose where the V7, IVT, ore cadences ar lestod and how frequently they oot. you have aver improvised sing scales and chord progressions sch as presented inthis volume (Volume 3), it maybe best to first examine Volumes 1, 2,24 andlor the "Anyone Can Improvise” video, all valabe from Acherod Jazz. "Ths muscan takes a chord symbol and converts itt a sae or 13th chord from which he improvises knowing which tones wll snd best and which tones wl produce tension. Chords and scales are merely guides thatthe musician uses to how hin ‘Shor the muses ging harmonically. The more familia you ar withthe harmony toa given tune orchard progression, the easier it Wie eate msds ogo ith he chords Most jaz musicians memorize a chordal progression as quickly s possible 0 they can {ake their eyes of te muse and concentrate on shaping melodies ‘Sras you pap old af nd can apply harmony on yur instrument, you are developing a deeper sense of music. Thisbook and recording poston opportunity to sharpen you harmonic awaenes by improvising and practicing various patiems wit the recorded accompaniment. "The Cb contains 13 recorded track: 1) T-V7, all keys, 2) IV, random progression, al keys; 3) V7+9 all keys, )0- ‘yr+94 al tas, 5) G Minor Blues, 6) Bebop Tne; 7) U-V7- im thre keys (ihe same chorale progression as Giant Stops) 8) F ‘ace wth an cg measure bridge, 9 UV? deme rack, 10) V7+9-I demo track; 1) I-V7in minor key demo track 12) I-V71in one ey, 15) tuning notes. The chord progressions ofthe first four tracks ar taken at tempos which wilalow the begining intermediate stent to hee the rot movement ofeach chord clay. These ist four tacks ae what we call exercise o rate tracks becane each track gos ‘hough ll weve Leys and thee are no writen melodies - YOU improvise the melodies. ‘The net four racks present four andar type chord progressions which ilze V7-1, T-V7, and I-V7- in major and mot “The tempor nay som fast fo beginner but sould serve something o Wok oward—a goal of sons, The intermediate-advanced ‘layer wl welcome the tempos and will probably wish thy wee fase. “The last four racks are demonstration tacks, andar explained in reatr detail below ‘Tus book slo contain various paters which you arto transpose tall twelve Kes and practic wth the recorded tacks. suggest emotzing one or two paters day Practice them through all twelve keys. Don't playing them withthe recording nil ‘For ave them pty wel under your fingers. Pacice slowly at Erst then gradually increase the tempo Is patclarly important © Tien to cuent jazz players and copy thir arculation and phasing ‘nthe tracks where the tym section i playing alan or bossa nova beat you shold play your igh notes more evenly. I {scalled Seven ight (as opposed tthe normal “wing” eighth noes, which is sometimes writen san eighth noe trpet with he fiat two eighth ed together) Se this recording isin seco, piano and gia players may practice wit he bass and drumsty simply tring ofthe ight channel Bas players ay turn of the est channel ef channel) and practice with piano and drums onthe right channel. Wind player ‘may play with ful htm section, piano and runs, or ass and drums. "Be rureto read the various pages inthe "Patera and Exercises” section which give suggestions for improvising with the recorded tacks, These pages are exemely important! Const the cae yas, too! you are pianist the piano voiings fisted in the back of hit bok can be extremely important Please ake he ie to work vith them and master the sound and fe ofeach voicing. They ae tobe played with the recording, Bepin by practicing witout he ‘Roording and wor owards the empo on he tracks. You can tr of the piano tack right channel) an practice wih ust the bass and ‘drums onthe lft channel “your CD player or casste recorder has pitch control you may want alter the sped to move the recorded tacks to other sys. For instance, the © minor bles can be speeded up fo Ab mina bles oslowed down oF minor lus. OF course, you would hve {S uanaoot the char progression othe new ke. Most god jaz players can crentualy transpose any melody or chord progression to ‘try You should make this oe of your musical gal. Some CD players have an “A/B Repeat” funtion which allows continaous ‘peton of any section. i] Ds ‘CD DEMONSTRATION TRACKS Cah thr 12h CD) Entiat econo nsell neem Se ater refurb a, an eno aan rae ptne mst ncn omy ning oo See ge Feaving only he accompanying jazz ro and tery giving you twice as mach practice space. iCONCERT KEY CHORD PROGRESSIONS IVV7/1 {All Major Keys)coNcenr pnocnessrons RANDOM II/V7 PROGRESSIONS = Fa. on ftv7*Y 1 (All Keys) e ROE EEEESISS. (pt. WHOLE TONE RESOLVING TO TONIC) ea Ae C418 orf? f- a? & oh Qy2 Ge Dit? GeQNT'Y | (All Minor Keys) .ssuang (WALF-DIMINISHED TO DIM, WHOLE TONE RESOLVING TO TONIC} Be Eby 8 i es iw) = £6 (0H) = Bfcoca paccnsssions GMINOR BLUES Here are afew suggestions for adding variety tothe playing of this minor blues. 1) The Dominant 7#9 chord/scals in bars 4, 10 and 12 imply the sound ofthe diinishedwhole toe seale. Try ‘emphasizing the b9 and +9 when those measures occu. Look atthe pattems forthe track on “V749- ll Keys” and condense the ideas to fit this blues. 72) When the major 7th chord/scaes are soundod in bars 7 and 8 try emphasizing the major Téh andthe Mh. You might also experiment wit playing the raisod 4th onthe major Tth scales. This would produce a Lydian sale. ') In measures 1,2, 3, 5 and 11 you should try raisin the 7th note ofthe minor sales, Tis forms a melodic minor scale (ascending). Even tough the piano is sounding the lowered 7th you can ply the raised 7th jor 7h) a8. color tone or assing tone '4)Inmeasure 9 you may play the Locrian #2 scale which contain a raised second. This would be a B natural instead of Bb (Concent. “5 I suggest experimenting with the blues scale (sound) on ths picce. The way to get the blues sound is to play the concert G blues scale throughout the entre twelve bar progression. There wil be points of tension but that is what makes the blues scale sound the way it does, Only use the blues scalesound when your mind tells you to get tha type sound. I definitely cncourage the use ofthe blues scale during the coda section 6) On measures 9, 10 and 11 you can use any ofthe pattems listed forthe track tiled “OV7#94 AL Mr Ke” Sust transpose the desired pattem to your particular key