Dick Groves JAZZ KEYBOARD 1 PROGRAM . ¢ Definitive Voicings TEXTBOOK © 1994 Grove/Rasch Music Education SystemsJAZZ KEYBOARD 1 Definitive Voicings LESSON 8 © 1994 Grove/Rasch Music Education SystemsLESSON 8 . DICK GROVE - JAZZ KEYBOARD 1 i INDEX LESSON 8 TEXTBOOK Introduction History of Jazz Piano - Part 3 - the Contemporary Artists Voicing & Keyboard Settings Department ... Lesson 2 Settings .. Lesson 3 Settings . Lesson 4 Settings .. Lesson 5 Settings . Lesson 6 Settings . Lesson 7 Settings . Solo Piano Department Dominant Chromatic ‘Approach Chords . Applied to the Blues Applied to Melody . “Love You’ Esample.. Melodic Phrasing Department .. Double Lines Substituting Target Notes for the Melody 1 Examples of Double Lines BAAR DOCeNNW Modulation Department Pivots Applied to Changing Momentary Key Centers From Major to Minor Technique Department WORKBOOK Scale Sources Exercise #1: ‘Analyzing Scale Sources (answers on pgs 83, 84, 8 Voicing Department Exercise #2: Exercise #3: .... Exercise #4 .. Exercise #5 .. Exercise #6 ... Exercise #7 .. Exercise #8 ... Exercise #9 Exercise #1 0. Exercise #11 Exercise #12 inued on next pageit DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 Improvisation Department Exercise #13: Applying Definitive Scale Degree Lines ... Exercise #14: Applying Definitive Scale Degree Lines Exercise #15: “Waxworks”... Exercise #16: “Our Love Is Here To Stay” Exercise #17: “A Foggy Day In London Town”. Exercise #18: “It’s You Or No One” . Exercise #19: “I Love You” Modulation Department Example - Major to Minor a Perfect Sth Higher .. Exercise #20 . Example ~ Major to Minor a Whole Step Higher Exercise #21 .. Playing Assignments Exercise #22: Working Procedure to Apply to Songs .... Exercise #1 Answers Dick Grove Trio Performance Lead Sheet: “My Heart - Your Heart” . Practice Schedule Coming Attractions — Jazz Keyboard 2 Recommended Practice Schedule Practice Log .LESSON & DICK GROVE - JAZZ KEYBOARD 1 Page] | INTRODUCTION This is our last lesson of this Jazz Keyboard 1 course. In this lesson we will be reviewing many of the areas covered in the first seven lessons, as well as introducing some interesting chord substitution possibilities and their application to songs. In our History of Jazz Piano section, we will look at the third group of unique pianists that are some of the ‘Contemporary’ artists of today’s jazz. These are players that are exploring the new areas of jazz, in rhythmic, melodic and harmonic areas, and work from a more and more sophisticated and mature concept of their music. Voicings Department: a review of all the voicing solutions of chords that have been introduced in the Course of these lessons, with the point being to remind you of all of the possibilities and to understand how the same segment of music can be treated in various ways. Improvisation Department: as we have worked with the four basic embellishment approaches, we will now continue studying how they can be compounded and varied. We will work with many patterns comprised of these embellishments and experience playing them in all keys, in tempo. Solo Keyboard Department: we start our application of chord substitutions to standards and to jazz compositions. This area will be continued in the Jazz Keyboard 2 course. i Modulation Department: more modulations into minor tonalities. Keyboard Setting Department: a general review of settings covered to this point, an overview of how these choices apply to the context you are playing in, and how various settings create different levels of fullness, power, and dimension on the keyboard. Technique Department: the technique in this lesson works with scales and ‘chord technique’ When you have completed this course, you should now be able to enjoy playing through your favorite fake books, solving your problems using these approaches, The more you play from these techniques, the faster you will get, the more comfortable you will feel, and the more solid you will be with the information covered in the c urse. Dick GroveLESSON & DICK GROVE - JAZZ KEYBOARD 1 . Page 3 ] LESSON 8 HISTORY OF JAZZ PIANO. THE CONTEMPORARY ARTISTS. BILL EVANS Born 1929 - Died 1980 Famous Solos: “Waltz For Debbie”, “I Loves You Porgy” artists played similar voicings and shared various aspects of the rhythmic and melodic characteristics of Evans, none of them ‘put it together’ in as unique and individualistic a manner. The subtlety and complexity of his rhythmic phrasing, inner voices of his harmon- ic voicings, and overall concept, stand by themselves. Evans was truly an ‘orchestral’ player in that his use of voicing ‘shapes’, scale degree resolutions, and command of harmonic interpretation has influenced generations of modern players today. There is a | | Bill Evans represents real innovation in piano stylings. Although many of the contemporary | _ ‘lesson’ in every song he recorded. McCOY TYNER Born 1938 Famous Solos: “Passion Dance’ McCoy Tyner’s evolution from the bebop he played in the 1950's was mainly due to his special opportunity to play with the John Coltrane quarter from 1949 to 1965. Coltrane's innovative approaches were translated to the keyboard by Tyner, which created a heavy reliance on modal harmonic structures, and influenced his melodic ideas. His melodic rhythmic ideas are very complex, phrasing in such a way to be constantly ‘crossing over bar lines’, making the pulse less obvious. He plays with a very percussive attack that creates an intense result, and his voicings are made up of 4th shapes that have much to do with establishing his sound.Page 4 DICK GROVE - JAZZ KEYBOARD 1 LESSON & CHICK COREA Born 1941 , Famous Solos: “Matrix”, “Spain” Chick Corea constantly expands his horizons, recording both with his acoustic trio setting and with the electronic, more jazz/fusion sound. He is well known for his brilliant com- positions and his latin background and classical training both come to the forefront in his music. His rhythmic sense is highly evolved, and he has complete command of his music. His voicings range from clusters to 4th voicings. Corea was influenced early-on by Tristano, Bud Powell, Bill Evans and McCoy Tyner. He was an important part of the Miles David fusion group. KEITH JARRETT Born 1945 Famous Solos: “In Front” Jarrett is a master of free improvisation and composition. His intuitive ability to spontane- ously compose and develop his ideas is outstanding, and you could say that when he performs in this context, Jarrett is at his best. His explorations take him into many different feels, from Il - V =|, to modes, to blues, and to more fusion-like harmonies. His flawless execution allows him to go wherever he wishes. HERBIE HANCOCK Born 1940 Famous Solos: “The Sorcerer” Hancock spans rhythm-and-blues, rock, pop and fusion. Hé has been very successful commercially, and was first noticed as 4 member of the highly acclaimed Miles Davis Quintet of the 1960's. He was influenced by Evans, Wynton Kelly and McCoy Tyner. He has a very sophisticated and complex concept, but beneath it all is a very basic blues foundation. In all his explorations, the jazz origins are present in all his performances Hancock, of all the contemporary players, spans more idioms and consequently reaches many audiences.LESSON & DICK GROVE - JAZZ KEYBOARD 1 Page 5 This concludes our summary of Jazz Piano. The artists discussed in Lesson 6, 7 and 8 are not the only great players of this this century, and you can enjoy and learn from them all. A partial list of some of the other wonderful artists is listed below. ‘As mentioned before, there is a wonderful collection of 4 CD’s by the Smithsonian Press which is available to you. They feature the recordings mentioned in this summary. You can contact the Smithsonian Collection of Recordings in Washington DC for prices and availability. It is important for anyone desiring to develop abilities in these styles to listen to the great ones that have established and created the music we aspire to. Your musicianship will aid you in listening in a different way, and to begin to understand more of what you are hearing. Any transcriptions of your favorite artists can also serve as a teaching tool for yourself when your musicianship is at a level that can understand the music and sounds that you are dealing with in a transcription ot recording. OTHER GREAT JAZZ PIANISTS James P. Johnson Dodo Marmarosa Willie “the lion’ Smith Dave McKenna Earl Hines Al Haig Jimmy Yancey Jimmy Rowles Meade “Lux” Lewis Phineas Newborn, Jr. Pete Johnson Martial Solal Avery Parrish Herbie Nichols Billy Kyle Hank Jones Mary Lou Williams Tommy Flanagan Jess Stacy Hank Jones Jimmy Jones Randy Weston Lennie Tristano John Lewis Ellis Larkins Ray Bryant Marion McPartland Lou LevyLESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 7 pea eee VOICING & KEYB INGS DEPARTMENT: 1. The main thrust of our final lesson of the course is to review and refresh our understanding of the voicing interpretations covered in the previous lessons. Our whole approach in this course is to deal with ‘definitive’ voicings, which of course implies that all of the notes chosen to be played contribute to the definition of the momentary key center and chord type. 2. Understanding that there are countless voicings possible, we have concentrated on the definitive voicings to show that they are the foundation to all voicings, and also in their basic form (as in this course), they represent what you should be hearing as you play and relate to music. This is why you were asked to sing the horizontal definitive lines with their pivots when keys changed. Once your ear is conditioned to ‘hear’ these definitive tones, it should gradually develop to be an intuitive ability. That is your goal. 3. The learning/training process should always start with a concept and understanding of what is to be accomplished. The theory side of the matter is, of course, covered in detail in the ‘See It - Hear It/ Hear It - Play It’ musicianship course, which most of you are in now or have completed, The entire concept of definitive scale tones is basically simple - you need to let this approach be the way you deal with your music. That is the area you should concentrate on as you work with this lesson, and hopefully continue on into Jazz Keyboard 2. JAZZ KEYBOARD 1 SETTINGS & VOICINGS Lesson 2 4. Our basic setting was to play the 3rds and 7ths(6ths) of 4-part chords in our right hand, along with the root of the each chord in the left hand, in the lower fundatmental register. At this point, playing these tones should be automatic when sightreading a chord progression. These first settings (#1 and #2), where designed for comping instead of dealing with the melody. Along with the actual notes, two other aspects where included: a. Voiceleading the definitive tones from chord to chord b. Utilizing the various rhythmic comping patterns in relation to 2-bar rhythmic sentence 5. Example 1 re-defines Setting #1. Example 1 — Basic 3-7 voicing | | Top note doubled| —_| Top note doubled oo 80 lower | | Bvb lower vo a os & —— o Option of adding the | Root in fundamental | Sth or 7th above root rePage 8 DICK GROVE - JAZZ KEYBOARD 1 LESSON & Lesson 3 6. In this lesson we started with the voicings from Lesson 2, and varied their use by breaking up the rhythms between the two hands, creating a different comping effect. The main points to remember from Setting # 3 and 4 are: a. Sustaining the top note, and comping rhythmically with the other notes b, Sustaining the top and bottom voices, and rhythmically comp the interior notes 7. Example 2 redefines Setting #3 and Example 3 re-illustrates Setting #4. Example 2__ [Top note can be a 3rd or 7th, definitive chromatic chord tone ,preparation or resolution tone. Dmi7 G7 Cmi7 F7 s 1 2 3 4 All tones below the top voice are played rhythmically for fonvard motion between chord changes Example 3 Top note can be a 3rd or 7th, definitive chromatic chord tone , or a reparation or resolution fone Dmi7 G7 Cmi7 F7 r cs == eS * vf TF 7 ‘Root and top note are struck at point of chord change, interior notes are played rhythmicallyLESSON & DICK GROVE - JAZZ KEYBOARD 1 Page 9 $e Lesson 4 8. In Lesson 4 we continued our background settings to be played behind a melody by first adding the variation of playing up to three notes in each hand. We then gave the voicings a ‘design’ by changing registers as the chords are played. A ‘contour’ was created by moving up and down, adjusting the voicing to the register. The lower register (right hand around the lower melodic range, left hand in fundamental register) alternates with the higher register (left hand around Middle ‘C’, right hand in the upper melodic register) © . This setting is designed for playing backgrounds in slow to moderately slow ballad tempos Example 5 demonstrates this application. Example 5 |Top note can be a 3rd or 7th, definitive chromatic chord tone, or a preparation or resolution tone. Emi7— Dmi7 Cma7_— Fma7 Emi7 AT Dma7 — Bmj7 a tg ig ed Zi = = I ; a — 3S ze 1 2 37 17 Dmiz— Emi7 Fma7 Fimi7 —B7 Emi7 A7 Dmi7G7_— Cma7 ' oy a S = ee — 8 e 1 aie te > he 7 j 1 2 | 2° = et SS 2 sore ce. —i 6 7p | Change of contour occurs on weak beats of a measure, creating a ‘pickup’ effect to primary beat.Page 10 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 10. In Setting #6 the same change of contour is used, with the addition of playing a low root in the fundamental register on open primary beats, or on open pickup beats into open primary beats. Example 6 Fma7 Gmi7Ami7 Bbmi7 AZ b ae se a 86. ; = y SS ¥ Se I ¥ ma 1 at Dma7 Dmi7G7 Cmaz7 Cmi7 F7— Bbma7— Ebma7 Abma7 Gmi7Gbma7 \ Eee| f LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 11 Lesson 5 11. Settings #7 & 8 in Lesson 5 combined playing the melody while supporting it harmonically with the definitive scale degree tones, and the root. In Setting #7, the melody and chords were played in a sustained and connected manner, as Example 7 illustrates. Itis typical of ballad tempos. Example 6 ‘Melody moves by ‘tree lead’, or rhythmically independent to the rhythm of the chords Dmi7 G7(b9) ‘Cma7 Gmi7 — Gb7 = + = & oe 2 ee ° = ins be? 1 y 2 #)/y ® ely Be YReyS & = a — 5 1 2 3 4] i Voicings are struck at the ‘point of chord change’ as shown by the arrows above. Fma7 Bb9(+11) Emi7 ‘Ab7(13) |_ Placement of left hand is in the fundamental register, the right hand in the lower melodic registerPage 12 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 12. In Setting #8, the melody is rephrased to include anticipations and embellishments. The rhythmic placement of the chords is then staggered to the melodic rhythm, so that there is forward mo- tion from the chords when the two hands are combined. The chord voicings are spread, so that they are split between the two hands. Example 7 |” Melody is rephrased and embellished freely. Busy phrases do not require the chord to be held. Dmi7 G7(b9) maz Gmi7_ Gb7 r V ka 1 2 3 4 Look for open primary or secondary beats to strike the voicing support to the melody. Fma7 Bb9+11) Emi7 ‘Ab7(13) Anan nw) NL e a > s vy = 2 Placement of left hand is in the fundamental register, the right hand in the lower melodic register.LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 13 Lesson 6 13. In working with playing four tones in either the right or left hand using the high tension tones of a chord, our next settings employs ‘block’ or 4-part harmony. In Setting #9, the melody is played as a single note line, while the left hand plays the 4-part definitive voicings centered around Middle ‘C. The left hand can be played sustained or connected, or rhythmically staggered to the phrasing of the right hand melody. Example 8 [Melody is placed in the higher melodic register, often an octave above where itis written Dmi9 G+7(b9) Cma9 Dmi9 G+7(b9) Cma9 Dmi9 G+7(b9) Cma9 so : : ef oO — Cat a eee — | YViy ivyvovy Dee e £ $4} t= | Dmi9 G+7(b9) Cma9 Dmi9 fia ee Dmi9 G+7(b9) cae | avd | #12 | 5B 7 ——— & ao pee — } Dmi9 G+7(#9) | cma9 Dmi9 G+7(#9) | Cma9 | Dmi9 G+7(#9) | Cma9 _ 2 & (48 g se ge Ee ar a Placement of left hand is centered around Middle ‘C’ in the lower melodic register. 14, Setting #10 is the same placement of both hands. The difference is that the right hand now plays the melody in octaves, while the left hand plays four quarter notes, repeating the same voicing of a chord for as many beats as the chord receives, The left hand is emulating a . rhythm guitar sound (Errol Garner), while the right hand plays the melody in octaves in an independent fashion, See Example 9 on the following page.Page 14 DICK GROVE - JAZZ KEYBOARD 1 LESSON & Example 9 __Melody is played connected and legato. Octaves can also be ‘rolled’ high to low ,or low to high, Dmi9 G+7(b9) Cma9 A+7(B9) Dmi9 E7(+9) Ami9 tee! bebet « tethe ypbebe fe Left hand quarter notes are played ‘long’ and connected, but witha a fir attack. Lesson 7 15, In our last lesson we applied 4-part right hand definitive voicings to comping behind a solo or melody. The object was to use preferred definitive voicings that used high tension tones of a chord in the top voice, with preparations and resolutions of those high tension tones before and after. Example 37 on page 31 of Lesson 7 was an illustration of just that approach. 16. We also used that same approach to our Solo Piano department of Lesson 7, employing these lush, full sounds in relation to open primary beats as we played the melody. Example 25 on page 24 of Lesson 7 served as an example of this application. SUMMARY 17 To recap, we have worked with definitive voicings built on the 3rds and 7ths of definitive chords, optionally adding 9ths, 13ths, 11ths, and altered 9ths, 13ths and 11ths to create chromatic definitive voicings as well as diatonic definitive voicings. This vocabulary of possibilities were then applied to keyboard settings to achieve mature, professional sounding solutions to treating songs for the following contexts: a. Comping behind the melody b. With supporting the melody c. Left hand voicings supporting a single note melody or octave melodyLESSON & DICK GROVE - JAZZ KEYBOARD 1 Page 15 16. 17, 18. 19, 21 Lara In this segment of Solo Piano possibilities, we are starting into Chord Substitution treatments standards and jazz classics. This area of keyboard arranging allows you to individually treat a song in your own way. Each time you play a tune, it can be different. The goal is to be able to apply Chord Substitution spontaneously as you play, although at first we will ‘work it out’ so you can learn the techniques. Gradually, you should be able to hear the substitutions coming up in a song and be able to improvise harmonically in this manner, much like improvising with the melody. The basis of Chord Substitution comes back to our definitive scale degrees. We have seen how the definitive diatonic scale degrees ‘lead! to each other, forming a smooth, horizontal harmonic melody throughout a portion of a song. Moving in a smooth manner means that the scale degree tones voicelead by half-step or commontone through the chord changes. When the definitive tones do not lead by commontone or half-step, we often add a scale tone that will allow the definitive line to connect in more of a voiceled manner. This is the basis of Chord Substitution, in that by adding another definitive scale degree tone, we are implying another chord symbol, and that becomes the chord that is substituted. It is important to understand the ‘why’ of the interior workings of chord substitution, otherwise the only avenue open to you is to memorize formulas for finding the new chords, with the result that you can utilize some interesting chord changes, but do not ‘hear’ these new chords like you should, We should ‘hear’ them before we play them. - In this lesson we will start with a very common type of chord substitution most used with standards. In our Jazz Keyboard 2 course, different substitutions will be introduced in each lesson, and we will gradually learn a full compliment of possible substitutions that will give you the ability to harmonically improvise any tune, and be able to fashion your own unique version of any tune. DOMINANT CHROMATIC APPROACH CHORDS Our substitution for this lesson is called a Dominant Chromatic Approach Chord. The name defines the substitution: a. the added chord is always a dominant chord, Chord Family #6 form b. the added chord is built from a root that is one half-step above the target chord ¢. the added chord ‘approaches’ a target chord by rhythmically taking its time from the previous chord, usually on weak beats of a measure into a definitive chord placed on a primary beat d. a Dominant Chromatic Approach Chord can be applied to any Il - V- I chord in either a major or minor key center. i i i 20. i i i iPage 16 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 23. The motivation to apply chord substitutions is to ‘fix’ problems. Those problems can be: a. to make definitive scale tone lines lead more closely b. to add more forward motion by creating chord movement in places where there is lack of movement c. to create ‘chromaticism’ in harmony that is overly diatonic d. to make the ‘root line’ more horizontal and melodic 24, To demonstrate why this chord substitution is used, as discussed in paragraphs 18 and 19 above, we will look at a chord progression in which a Cma7 moves to an A7 chord (bars 1 & 2) This example shows the diatonic definitive tones of each chord. By hearing it horizontally, we can understand that with this chord progression the definitive tones ‘skip’ a minor or ma- jor 3rd interval as they move from chord to chord. In bars 3 & 4 the Dominant Chromatic Approach is applied, and the definitive tones in that chord now connect the horizontal lines. Example 10 mm. Chr.App. Ch Cma7 AZ Cma7_Bb7 AZ 4 = = vs a ite 53 aes | E a = = Fi A A Vasep 25. In this example, the chromatic tones Bb (root), and Ab (b7th} add color to the otherwise diatonic harmony in bars 1 and 3. This is a variation of the [ritone Pivot discussed in the ‘See It - Hear It/ Hear It - Play It’ Part 1 course. When FA pivots and functions as TI, and TI pivots and functions as FA, the change of scale creates a different root a ‘tritone,”’ or six half-steps away from the original root. To see this in action, the added chord substitution in Example 10 is a Bb7 moving by half-step into the A7 in bar 4, That Bb7 is the tritone substitution of an E7 (when the FA and TI of the Bb7th pivot, the root changes to ‘E’). When this occurs you would have a chord progression of E7 to A7, a standard Circle of Sths root movement. In our Example 10, the Bb7 is therefore related to the E7, except in this usage, the root moves chromatically by half-step instead of by the interval of a 5th. 26. To continue our application of the Dominant Chromatic Approach Chord, we will now examine a four-bar chord progression of IImi7 - V7 - Ima7 - |Vma7. First we see the basic progression in Example 11 on the following page.LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 17 Example 11 Dmi7 - G7 Cma7 Fma7 beat aoa 3x 7x 3x 27. Our Example 11 shows the basic chord progression. If we determine that this completely diatonic chord progression suffers from lack of color and chromatic interest, we can solve our problem by arbitrarily adding Dominant Chromatic Approach chords in the weak beats before the G7, Cma7 and Fma7. The rhythmic placement of these added chords can be on the primary beat of 3X or 7X, or on a secondary downbeat of 4X or 8X. These matters are more or less decided in a natural way based on the tempo, the character of the melody, and other aspects such as the need for variation, and the, keyboard setting being used at the time. 28. The working procedure in this substitution is to fi ; In this instance, the G7, Cma7 and Fma7 would all be considered possible target chords. A target chord means that we will think backwards from the root of the target chord, and add a dominant 7th chord (Chord Family #6 form). An Eb7 could approach the Dmi7 {on 1X of the first measure) built rom the root a half-step above the root of the target chord. This would mean that an Ab? in the first measure would approach G7_on 5X of the 2nd measure; a Db? on 7X of the 2nd measure would approach the Cma7 on 1X of the third measure; and a Gb? would approach the Fma7 on 5X of bar 4, The next example illustrates these additions, and also shows how the definitive scale degree tones move smoothly throughout the improved! chord progression. : Example 12 ,_—7 _Dmi7 aby G7_—Db7 Caz Gb7_—Fma7 j= : : —-— ; S oa e 7d a nt e Dre : 3 ; : o 7X ' 3x a ox Sax ‘Page 18 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 29. This substitution is used a great deal in context to the Blues. In the normal Blues 12-bar chord progression, there is not a lot of chromatic interest. By applying the approach chords, a Blues progression changes its character and adds forward harmonic motion and energy to the chords. These new chords then are part of the improvisational material of a solo. 30. In our next example we will first look at the standard 12-bar Blues chord progression in ‘C’ This is typical of the blues exercises we worked on earlier in the course. Example 13 C7 (Gb7) F7 — (Db7) c7 (Gb7) ie er om S o (Db7) c7 (Bb7) A7 (Eb7) ; = = = — E 5 = 5 6 7 a (Ab7) G7 (Db7) c7 (Ab7) G7 (Db7) oe = To o = = = ° 10 "1 31. The definitive 3rds and 7ths are shown in the treble clef leading smoothly from chord to. chord, with the exception of the skip in bars 7 into 8. This basic Blues progression becomes the basis for unlimited variations of Blues progressions, with the use of Chord Substitutions and variations. Our Dominant Chromatic Approach Chords offer one of the more common substitutions to use in this context.LESSON 8& DICK GROVE - JAZZ KEYBOARD 1 Page 1 32. Now we will look at applying the approach chords to the melodies of songs. In changing the momentary keys (which these added chords do), the new key implied by the approach chord is based on the Melodic Minor scale: As a dominant chord, it functions as a Chord Family #6: This Chord Family is discussed in detail in Chapter Fifteen of ‘See It - Hear It / Hear It - Play It Part 2. We, however, have a summary of Chord Families in Lesson 7 of this course. If you check that out on page 8, you will find that Chord Family #6 means that it is a dominant 1 3th chord that includes one altered tone - the +11th. So the formula for this family is: 13th +11th 9th b7th 5th 3rd root 33. The implication of this Chord Family discipline, when applied to a melody of a song, is that i you can substitute a Chord Family #6 when the melody note or notes stay within the Melodic Minor scale of the added chord. You can always find the Melodic Minor scale in «this fashion: i a. the root a halt-step above the target chord determines the name of the 13(+11) chord I b. the Melodic Minor scale is the scale built from the Sth of that chord. 34, There is also the possibility when applying these approach chords, to change the melody note to conform with the momentary Melodic Minor scale required for this Chord Family. In a jazz context, this ‘license’ to vary the melody is very natural and often adds even more interest to the situation. As these approach chords rhythmically fall on the weaker beats of the strong and weak measures of a tune, the melodic tones on those same beats are not as critical to the ‘sense of the composition’ as those occuring on 1X and 5X. 35. In our next example we will look at 8 measures of ‘Have You Met Miss Jones’. The harmony for this melody is mainly diatonic to the key signature, and therefore would benefit from some chromatic color that our approach chords could bring to the song. In the first example, we will see the melody, basic definitive chords, and the 3rd and 7th definitive tones leading from one to the other through the progression. You will notice a skip from bar 1 into 2. See Example 14 on the following page. Play each example, using the 7 - 3 voicings under the melody, hearing the basic harmonization, and then the changed harmonization using the new approach chords.Page 20 DICK GROVE - JAZZ KEYBOARD 1 LESSON & Example 14 “HAVE YOU MET MISS JONES” Fma7 D7 Gmi7 c7 4 eae — f — ! e we tee Se o | = Le oe aee2 fo ES o 1 2 3 4 Ami7 Dmi7 Gmi7 c7 4 i a 2 2 24 Gmi7(b5) Db7 C7(b9) Fma7 Eb7 D7 Ab7 G9 Gmi7— C7 ————— a | aes lb - T = %Page 26 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 MELODIC PHRASING 44. In Lesson 7 we worked on creating fills through the open primary beats of a melody. Our approach was to embellish the diatonic and chromatic definitive tones of each momentary key at the point of the open primary beat. 45. In this lesson we will expand on this by adding one more chromatic definitive relationships, and then we will start to replace the melody itself, thereby creating more open primary beats. ‘As this is the last lesson of this course, you need to remember that as you move on into the Jazz Keyboard 2 course, and eventually into 3 and 4, we will continue to add more and more aspects of improvisation to our playing. It is a huge subject, and spreading the study of it over a long period is very helpful because you have to absorb and use these approaches as you go. The foundation to it all is your ability to ‘hear’ what you will play. That is the reason you need time and much practice experience to develop that ability to hear and play what you hear spontaneously. 46. As we worked in Lesson 7, you were building your fills around the 3 - 7 diatonic definitive lines and also the 5 — b9 lines (pages 43 - 51). Another line can be based on the 9th of the IImi7 chord moving to the b13th of the dominant (Chord Family #8), and resolving to the Ima9 (9-b13-9). DOUBLE LINES 47. Another variation of using definitive tones as target notes to embellish, is to combine two lines at the same time. Any two of the standard lines can be combined. The next example illustrates how double lines could be used on a chord progression. Example 18 Gmi7_—C7(b9)_— Fma7 48. In Example 18, the 7 - 3 line is combined with the 5 - b9 line, creating two implied lines moving horizontally. The chord rhythms determine the movement of the lines, as there will be two target notes per chord. The skips that are produced when you move from one of the lines to the other, offer good opportunities for arpeggiated embellishment, moving contour-wise through the wider interval between target notes. In the next example we will look at the combination of the 5 b9 line with the new line: 9 - b13 - 9LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 27 Example 19 Dmi7 G+7(b9) Cmi7, F+7(b9) Bbma7 aS ae — soe 8 i an | 9 5 bo b13 | 9 5 b9b13 9 | - | __ DoE = f = 1 2 3 ‘ 49. With our combinations of single lines and now double definitive tone lines, there are plenty of possible target notes available. The point here is that you are supposed to be able to ‘hear’ these tones instead of arriving at them intellectually. You can practice hearing them by playing the chords in a progression, and singing the lines as you play. We will have exercises in this lesson that will help you practice this technique. 50. The point to all of this is that a ‘line’ allows you to ‘hear ahead’, in that your ear can hear the next tone that the line is leading to before you get there. This is important, because as you embellish a target note, you are always playing into a note - you are always on your way to a . In the meantime, your four types of embellishmentsand their endless variations provide you with forward motion between primary beats, or points of changing target notes. SUBSTITUTING TARGET NOTES FOR THE MELODY 51. Our next approach is to interpret a chord progression in the following manner: a. we play the melody on the strong measures of bar 1 and 2, 5 and 6 of an eight measure form b, that melody segment can be rhythmically rephrased, subdivided and embellished with any of our standard embellishments and variations c. we now ignore the melody in bars 3 and 4, 7 and 8 of an eight measure form d. we create our own improvised melody by embellishing some combination of target notes at point of chord change in bars 3, 4, 7, and 8 e. we can start our improvisation anytime after 5X of bars 2 and 6 f. special attention should be paid as to how we move our improvised melody from bar 4, back into the melody in bar 5. To do this, think of the melody note on 1X of bar 5 as the target note to play into. The same thinking would apply moving from bar 8 into bar 9 (of the next eight measure segment of the tune)Page 28 DICK GROVE - JAZZ KEYBOARD 1 LESSON & 52. To illustrate this approach, we will examine the first eight measures of ‘A Foggy Day in London Town’ by George Gershwin. Example 21 now starts with the theme, and improvises target notes from bar 2 through 4, into 5; bar 6 to bar 8. Example 20 | Fma7 Ebmi7| Ab7 —— Gmi7 13069) G2 SS eo] ~- a T 3 5 bo | 7 3 | 2 2 bbe in 2 ba DE : : — 3 a |Fe Dmi7(b5)|G7(b9) Gmi7 C9(13) C+7(b9) o f i = - - = Ga z z ot 1 T 7 3 ls | 13 x2 2s be ie 2 : : 5 6 7 8 7 Example 21 Fma7 Ebmi7 Ab7 Gmi7 C13(b9) ae ~ = SS ee ag beieew fe Lower — LowedUpper |, felzhbor neighbor i 2 3 : Fo Dmi7(b5) G7(b9) Gmi7 Gmi7/C C+7(b9) 1 [737 oe = f ae re ; Chartres z tum passing“) tonesLESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 29 TT 53. In the preceding examples, the ‘target note lines’ are all versions of the definitive scale degree lines we have worked on to this point. The examples also include the new ‘double lines’ wherein two lines alternate, creating twice the number of target notes, and more contrast in the contour of the improvised melody. 54, The same chord progression can be used to produce many varied lines of definitive target notes, based on the approach we have introduced. The question of which choice of target note or the question of why one version would be used rather than another, breaks down into two areas: a. the choice of target notes shoul ! hear! b. the choice of desiring diatonic definition or chromatic definition (for added color). 55. Within the definitve lines we have discussed to this point, the following combinations of lines and ‘double lines’ would be possible: Example 22 FR onze 67#3,6,7,8 omar ei Eh oomiz2 743,678 cmar ei 7th 3rd 7th 7th 3rd 7th Ge s = SS i i i I 1 e o oe = | Do 1 1 Do TI Tl i i i 1. Fa oowze2 c7 978 mari Dy oomize2 G7 467.8 cma7ai 5th both 5th 7th +11th 9th é SSS LA LE sO bo ol RE G pre G7 #8 maz #1 Th oomize2 cre78 cman bi3th oth Sth 7th 3rd b9th 5th a a MI ME RE lA DO Tl LE so Dmi7#2. G7#7,8 — Cma7#i Dmi7#2— G7 #8 maz #1 7th sth —-b9th 3rd Sth 7th 9th b13th 3rd 9th b= == bk SS o v Ba LA LE OTH so. DO MI ME TI IPage 30 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 Example 22 Continued BD oomize2cz8 cman ED opmize2 cz cman Sth 9th bi3thb9th 5th . 9th Sth b9th b13th 9th A tA MI ME LE SO “MP LA LE ME RE Bg opmize, cz 78 mari Dmi7#2.G7#8— Cma7 #1 7th =Sth =b9th +11th 9th Sth 9th b13th +9th = 7th DO LA LE DIRE “lA Mo ME UT Dmi7 #2 G7#8 Cma7 #1 BR omiz65) #5 6747.8 cmarai 3rd 9th) =-b13th + 9th 7th bsth 7th 3rd b9th Sth FA MI ME Ll Tl LE DO Tl LE so 56. These combinations of definitive lines and double lines are therefore the target notes that allow you to ‘hear ahead’ as you spontaneously create your melodies. They represent the tones that you should be hearing, and as you embellish these tones with the rhythmic phrases you hear, you are starting to improvise your melodies. 57. In our practice exercises in this lesson, you will be asked to first sing the target notes, then play them, and finally to embellish them. This gives you an approach to any tune you wish to be able to play and improvise on, and certainly it gives you the approach to use to memorize any tune. To take some extra time and ‘find the definitive line’ is an excellent way to learn to * hear the harmonies of any tune. 58. It is important to remember that when you work with a tune that you are improvising on, the goal is to approach the possibilities in a spontaneous manner. You don’t want to ‘work out’ One solution and solve your problem the same way each time you play it. Rather, the goal is to feel or be comfortable being spontaneous. 59. We have, in these eight lessons, only started into the subject of improvisation. We have leamed the principles of embellishments, and applied them through all keys and chord types. We have worked with the principle of playing into definitive target notes in the various combinations shown in Example 22. We will be continuing to add more aspects of the subject in Jazz Keyboard 2, 3 and 4.LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 31 pe eet 60. Continuing with our modulating from a major tonality into different minor tonalities, we base the critical pivot from the first Key into LE of the minor tonality. In this lesson, our first change of key center will be to modulate from the key center of C to the key of Gmi. To hear this modulation, the definitive scale degree pivot tone would be ME pivoting to become LE of the new momentary minor. Example 23 _————SS eo A |} | || t SSS O5 61. In modulating from the key of C major to G minor, the solfeg harmonic line would be FA- DO -TI- FA - MI - (ME)/LE - DO - TI - LE - SO - ME. This harmonic ‘melody’ should be practiced, using the next example as your guide. Sing the harmonic lines as you play through the key changes in this example, and in the exercises in the workbook. Example 24 Dmi7 G7 ‘Cma7 Ami7(b5) D7(b9) Gmi7 <= s = DEE Ss | [ Harmonic Line: | { FA DO Tl_FA | MI (ME/LEDOTI LE | SO_ME GE = aS a = vo ee 2 3 7 P bp Pt PrPage 32 DICK GROVE - JAZZ KEYBOARD 1 LESSON & —— 62. Our second change of key in this lesson will be the modulation from the key center of C to the key of Dmi.To hear this modulation, the definitive scale degree pivot tone would be TE pivot- ing to become LE of the new momentary minor. Example 25 ——= eo A ' } 4 = =e Med | = Sar fe G 63. The solfeg harmonic line used in modulating from the key of C major to D minor would be: FA-DO-TI-FA - MI-TI- (MB)/LE-DO- TI LE - SO - ME. Again, using the next example as your guide, sing the harmonic lines as you play through the key changes in this example and in the exercises in the workbook. Example 26 Dmiz7_— G7 Cma7 Emi7(b5) A7(b9) Dmi7 FA DOTI FA MI TI (TEVLE DO Tl LE SO MELESSON 8 DICK GROVE - JAZZ KEYBOARD 1 Page 33 —_———_______ TECHNIQUE 64. In starting with minor scales, we will play the Harmonic and Melodic forms of A minor and D minor. 65. The fingering is similar to the major scales you have played, and the two forms of minor are the same except for the 6th degree of the scale. TECHNIQUE EXERCISE #1 1-2-3242 5-4-3-2 = 1-2-3-4-5-423-2 = 1223016263645 = 42 322-103-271 |__ TECHNIQUE EXERCISE 5-4-3-2-1-2-3-4 - §-4-3-2-1-2-3-4 - $-4-3-2-1-3- 2-1 © 2-3-1-2-3-4-5Page 34 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 | TECHNIQUE EXERCISE #3 1-2-3-4-5-4-3-2 2 1-2-3-4-5-4-3-2 = 1-2-3-1- Se4-3-2-1-2-3-4 - 5-4-3-2-1-2-3-4 TECHNIQUE EXERCISE #4 122+ 3-425-4-3-2 = 1-2-34-5-4-3-2 = 122-3-1-2-3- 4-5 - 4-3-2123: eS SS ee Bede 3e2- 12 203-4 - 5-423-261-2324 - 5-4-3-2 66. The following exercises are designed to work on your technique of playing chords rapidly The goal is to strive for an even amount of pressure on all the notes at once, so that they all sound in a balanced manner. : 67. These exercises can first be practiced slowly, then in tempo with a metronome, at the following tempos: Quarter note - 60 MM Quarter note - 76 MM Quarter note - 90 MM Quarter note - 105 MM Quarter note - 120MM 68. First play the exercises, right hand only, then leit hand only, then both hand together.LESSON & DICK GROVE - JAZZ KEYBOARD 1 ———} L [TECHNIQUE EXERCISE wl "Witip wi oe Ing) 2 3 3s ol ots |* SSF | 2 AE | Pe ee pa a le See | = TetPage 36 DICK GROVE - JAZZ KEYBOARD 1 LESSON 8 TECHNIQUE EXERCISE #6 |Dick Groves JAZZ KEYBOARD 1 PROGRAM °c mm - Play-Along Exercises WORKBOOK © 1994 Grove/Rasch Music Education SystemsLESSON & DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 37 EXERCISE #1 SCALE SOURCES 1. This exercise is more drill with recognizing Chord Families and scale sources from chord symbols. This is the same approach as you did in Lesson 7. 2. The answers to this exercise can all be figured by the panels on page 8 of the textbook in Lesson 7. Use that source to determine your answers. Remember that all chords will function as a a. I chord in major or minor b. I chord in major or minor c. V chord in major or minor or d. Vil chord in minor » If necessary, reread the explanations at the beginning of the workbook of Lesson 7 before starting on this exercise. . Your answers can be checked on pages 83 - 85 at the end of the Workbook. Continued on next pagePage 38 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 i ae] acre I | SCALE SOURCES Pages 83 I (Ew SUULIUECIEETEvEE DOSEN DTP [cHorD |FuNcTION| KEY CHORD| SCALE WRITTEN SCALE: I | SYMBOL | | CENTER| FAMILY SOURCE |__Ebmig__ttmi9 in ma| Dbma | #2 Il Dorian/ ma 1 1. Dmi9 I | | 2. Ab9(+11,b9) I ; | | i 3, Ema9(411) | eae | 1 | | 4 cmirts | | ue | I 5. Fma9 | —_—_|—___+_—_____ i | | | | ' 6. Cmi7/F jd | | i | | | 7 Agta) | | | i i | | | I 8. Ebmay | ! | ILESSON & DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 39 | tek] eo | Rota T01) el) foseee Eg CHORD — FUNCTION KEY HORD, SCALE WRITTEN SCALE: SYMBOL | CENTER | FAMILY | sOURCE B13(b9)/V13(b9)in mi it 9. Bmi69 0. F#7(+9,b9), —__ WW. C#mi6 —___|_ 12, Bho 13. Fitdim7 14, Dbmit1 . Gb9(13) Ie | a | | | | 16. E749) | 1 Continued on next pagePage 40 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 | fateh al larcwersion SCALE SOURCES [__ Pages 85 Er - oO | CHORD | FUNCTION] KEY CHORD) SCALE | WRITTEN SCALE: SYMBOL CENTER FAMILY | SOURCE | C#dim7 [|Vildim in mi] Dmi | #9 —_\VIL8-note Dim a | o 18. Eb7(b9) 19. Ami7(b5)/D 20. F#13(+11) |. | 21. Bdim7 22. DbmiMa9 |_ 23. C7(b13,+9)LESSON & DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 41 a 1 s EXERCISE #2 ahve ea) | EXER. #21 | Cassette: A049 . Our work regarding voicings in this lesson will focus on the applications of the Chromatic Dominant Approach Chords detailed in the Textbook section of this lesson. . You will be expected to apply 4-part voicings in your right hand to a Blues progression that has been treated with these chord substitutions. The rhythms should be thought of as comping patterns, determined ‘by ear’, and the two hands can play either in a ‘staggered’ fashion, or concerted. . As the Blues is basically a ‘dominant’ sound, practically all of your chords are in dominant forms, usually Chord Families #3 and 6. Bar 8 of the blues is a Chord Family #8 form There are many variations of Blues progressions, and in some of the exercises you will find slight variations of the chords, some of which will involve mi7 and ma7 chords (Chord Families #1 and 2). These non-dominant chords can be approached as we did in Lesson 7, using either a high tension tone in the top voice (the 9th), or the 5th. For all dominant chord forms, use either the 9th or 13th as the top voice. . Our example shown below wil illustrate a possible solution to a Blues progression in ‘F’ Study and play the example, and then apply it in your own way to the following progressions in various keys. F9°Cb9(13)— Bb9(13) Gb9_F. Gb9 F9—Cb9(13) 1 2 3 Bb9(13) — Cb9(13) Bb9(13) Gb9_—F9 Eb9 = ts = OF Ere OTA a i a Se ha 5 Continued on next page _Page 42 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON & Blues Example Continued G9 Db9 €9(13) Gb9 Fo Db9 €9(13) EXERCISE #2 aL ce Sa EXER. #2a: | Cassette: A000 EXER. #2b: Cassette: A041 1. On the following pages you are presented with the basic Blues Progression in six different keys. You are to: .. determine the appropriate Dominant Chromatic Approach Chords into the basic chords of the progression, using the example above as a model s . determine rhythmically where you will place the approach chord . use 4-part right hand voicings, placing the 9th or 13th of dominant chords in the top voice. a voicelead from chord to chord as smoothly as possible, although at any time you can skip to another position of the voicing, Try to keep the right hand voicings centered around ‘Middle C’ for fullness and balance with the left hand, which should be placed in the Fundamental Register. e. you may play different rhythms in the two hands, or use the voicings in a rhythmically concerted manner, (or any combination thereof) f. you can embellish the left hand ‘bass line’ to achieve forward motion. 2. The tracks for these exercises are recorded in two different temposLESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 43 EXER. #2a: | te eed EXER, #2b: Cassette: A086 TRACK #1 Cassette: A127 €9(13) F9(13) €9(13) GE = = = = 1 2 3 4 Cx(13) A+7(b9) 5 6 7 8 D913) G9(13) c9(13) G9(13)Page 44 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 12(s el ead aT Sa EXER. #3 Cassette: A209 F9(13) Bb9(13) F9(13) 4 - Bo ———— cs ==> = € = 1 2 3 ‘ Bb9(13) F913) D+7(b9) re 5 3 7 2 G9(13) €9(13) F9(13) €9(13) a wo 1 2LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 45 134d ALY Ne Ge EXER. #4b: Cassette: A280 | | EXER. #4a: | | Cassette: A243] G9(13) c9(13) G13) 44 - 6+ i : f SE re = Sn i int | | | | | EE 1 2 3 4 C913) G13) E+7(b9)Page 46 EXER. #: Cassette: A318 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXERCISE #5 TRACK #2 LESSON 8 EXER. #5b: Cassette: A351 Bb9(13) £9(13) Bb9(13) 4 7 — Gre = = Te | 7 | Dace =—— = 5 €9(13) F9(13) 7 8 Bb9(13) F9(13)LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXER. #6a: EXER. #6b: | | Cassette: A382| Cassette: A420 Eb9(13) Ab9(13) £9(13) F9(13) Bb9(13) Eb9(13) Bb9(13)Page 48 LESSON & EXERCISE #7 TRACK #2 Ab9(13) Db9(13) Ab9(13) OP — | o | | Be ; ' = 1 2 3 ‘ ‘Ab9(13) F+7(b9) 5 8 7 8 Bb9(13) Eb9(13) Ab9(13) £b9(13)LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 44 | EXER. #8a: | pe EXER. #8b: | Cassette: A000 . TRACK #3. Cassette: A041 . We first work with adding approach chords to short progressions that are common to many songs. These exercises are in ‘lead sheet’ form, showing only the chord symbols. Before star'- ing, visualize the added chords in your mind - then play the substitutes with the 7 ~ 3 voic- ings. Notice how the definitive scale degree tones all ‘lead’ naturally, with the substitution chords acting like upper neighbors to the definitive tones of the target chord. Add approach chords before each chord in Exercises 8, 9 & 10. 2. Exercises #11 & 12 work on applying Dominant Chromatic Approach chords to the melodies of songs. If you review the text, you should be aware of the following considerations: a. the rhythmic placement of the substitution chords will be on weaker primary beats, or a secondary beat before a primary beat. b, the relationship of the melody note or notes should conform to the formula of « Chord Family #6 (Root, 3rd, 5th, b7th, 9th, +11th & 13th) c. when the melody does not conform, you have the option to change the melocly on the weak portion of the strong/weak measures to fit the Chord Family #6 d. when comping behind the melody, you can voice the substitution chords with any of the voicings covered in this course (as reviewed at the beginning of the text of this lesson), 2 when playing solo piano, use any Keyboard Setting we have worked with that allows you to support the melody with the basic 7 ~ 3 definitive voicings or 4-part definitive voicings. f. you can work with sketch paper to copy the exercise, and on the sketch, write the added chords. Then when familiar with the substitution approach, work tr the exercise in the book, without the ‘cues’ used in the sketch. 7 3. There are two approaches to these next exercises. The first is to attempt to add Dominant Chromatic Approach Chords everywhere it is possible, including changing the melody to make the chord fit. The second is to play the exercise spontaneously, applying the substitutions wher« you can, and gaining the ability to do it in tempo, to the extent you can perform the substitution You will find that each time you repeat the exercise, you will be able to add more and more substitution chords. 4. The exercises will be presented first as a situation in which you ‘comp’ behind the melody which I will play, and secondly, where you are playing the melody and harmony with the hass and drums. This substitution approach can now be applied to many songs, go back to previous lessons where there are tracks of songs, and work on spontaneously adding the approach chords Lesson 7, in particular, has many standards that you can work with in this fashionPage 50 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON & | (exer. #8a:_| ona e er eases pees G7 Cma7 Ami7 Lf LP PP Z Z x 2 x 3 x " X simile C7 F7 Bbma7 Gmi7 PPLE FLT aS = Bb7 Ebma7 Cmi7 : ; Eb7 Abma7 Fmi7 18 19 20 7 Ab7 Dbma7 5 2 2 24 Continued on next page eeLESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 51 1o.¢3 Se ec ree el) a Abmi7 Db7 Gbma7 Ebmi7DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 EXERCISE #9 TRACK #3. Ami7 Dmi7(bs) Ab7(b9) =f 7 Se — 2 3 4 Bbmi7 Ebmiz7(b5) A7b9) 6 7 8 Bmi7 Emi7(b5) Bb7(b9) 10 ” 2 cmi7 Fmi7(b3) B7(b9) 1“ 15 16 C#mi7 Fmi7(b5) C7(b9) 18 19 20 Dmiz Gmi7(b5) Db7(b9) f PLP=AD PAD A — PP _— Continued on next pagLESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXERCISE #9 CONTINUED Gbma7 Ebmi7 Abmi7(b5) D7(b9) 6 -—— 2s 2 a 2 Gma7 Emi7 Ami7(b5) Eb7(b9) a 2 a Abma7 Fmi7 Bbmi7(b5) E7(b9) e - 7 o : % Ama7 Femi7 Bmi7(b5) F7(b9) o = E Z SSF 6 Se = 5 5 a Bbma7 Gmi7 Cmi7(b5) F#7(b9) 6 = z as a a Bma7 Gémi7 C#mi7(b5) G7(b9) : f j LTT | = 46Page 54 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON & EXERCISE #10 TRACK #3 | EXER. #10a: Cassette: A659 Az D7 Gmi7— C7 2 3 : D7 G7 Cmi7 F7 LDL ¢ 7 : G7 C7 Fmi7 Bb7 ‘0 1 a Ebma7 C7 FT Bbmi7 — Eb7 6 = 4 Abma7 F7 Bb7 Ebmi7 Ab7 te ——_ Sa eo — 7 * » 2 Dbma7 Bb7 Eb7 Abmi7 Db7 G z a 2 2 a Continued on next p.LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 5. | EXERCISE #10 . roe ele) Gbma7 Eb7, Ab7 Ci#mi7 F#7 aoe ee SS & Z Z Z A Bma7 G#7 C#7 F#mi7 B7 Bee = LF = SSeS eo Ema7 C#7 FH7 Bmi7 &7 & iPage 56 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 TExeR. #tta: Prensa { Cassette: BOOT | TRACK #4 Gmi7(b5) C7(b9) E/F Fma7 Ami7 D7(b9) 1 2 3 3 4 Gmi7 c7b9)__ Ami D7(b9) 5 6 7 a Gmi7(b5) C7(b9) E/F 0 Fma7 Ama7 Bmi7 £7(b9) Ama7 Abdim 7 fe = z= oO ——z = i = eae Ki 7a aA Ta 4 i i |LESSON DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 5. Gmi7 c7 Ami7 7 18 19 20 i Ami7(b5) D7(b9) __, €9(13) Gmi7(b5) C7(b9) E/F ———— == =—a—trs = SS | x x | x x BE : = 25 2 a 28 co c9(13) Fo 5 a = —= Gate, oo = | x | } fine Oe = = 2 30 31 22Page 58 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 | EXER. #12 | Cassette: BO75 | ew 1343 eh) aap BLT e S23) Ebma7 Cmi7 Gmi7(b5) C+7(b9) C7(b9) 1 oo oie Bal ! x x x 3 E aaa E — f 1 2 3 4 Fmi7 Fmi7(b3)__—_—Bb+7(b9) Bb7(b9)LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXERCISE #12 fee ea) n 3771 Page 59 25 26 z 28 Fmi7 — Bb7(b9)_ Eb6- (Cmi7)Page 60 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 IMPROVISATION Lodi eh aki f — — | EXER. #13a: | Cassette: B132 aie — se | | Chord Families Chord Families: © = eee en Oe eee eeePage 70 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 i Lots eat) I | ree es I ron Fmi7 Bb7(b9) Ebma7 Fmi7 Gmi7 (Geo? —— —— = I © t t = te = Chord | I Forms | jo = a : -——- | Cmi7 _F7(13) Fmi7 —_Bb9 Gmi7(b5) C7(b13,b9) I & ; > G 3 rc — = Soe oe | i Faris: | | I a 22 23 Fmi7 Abmi7 Db9 Ebma7 I z = A x — SS SSS ——— é = | Chord | Fares: 1 = | 44 | i ua = = aaa =e I Fmi7 Eb69 (Ab9) (Gmi7) (C7(b9) -t = a == 2 f —— | | e +t Chord ote jo - I 4 & = — 1 i 29 30 a 3LESSON DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 71 EXERCISE #19 aL Ne Gan) | EXER. #19a: Cassette: B505 J EXER. #19 Exa: | Cassette: 8486 “| LOVE YOU” Gmi7(b5) C7(b9) Fma7 Ami7 D7(b9) ts i = — Sse x = {oo _ € — ; == 1 2 3 + Gmi9 C7(b9) Amii1 D7(b9) —Page 72 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 EXERCISE #19 Loo ea Gmi7 co co Fma7 Bbma7 SS SS SSS SS Saat re | ~ . | " Fines a - = ——————— Ami7(b5) D7(b9) 3 G9 c9(13) SS = —— je v | \ | oo mH 2 2 ™ Gmi7(b5) C7(b9) Fma7 Eb9 Ami7— D+7 pe + Tt | Chord. | G9(+11) Gmi9 C13(b9) F6 = $= 2 —————— + — >= ¥ = oO = ——— a a | | | _ | y= 1LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 73 MODULATION EXERCISE #20 TRACK 12 (EXER. #20a: | Cassette: B532 1. Continuing the work with hearing modulations from a major tonality to a minor tonality, we are working in this lesson on moving from a major key, up a perfect Sth, and up a major 21 2. In the first modulation sequence, your pattern is FA - DO - Tl - FA- MI - ME/LE - DO - TI- LE - SO - ME. The actual pivot note is cued for you in reverse print. 3. Sing the definitive tones including the pivot as you play the exercises with 7 ~ 3 voicings, adding the chromatic definitive tone LE to the diatonic 7 - 3. Note that three notes are used throughout, utilizing a 7 - 3 variation to maintain three notes consistently in the right hand in the major keys. In minor keys, there are three notes played in the right hand on altered chorcis (the 7 - 3 plus the chromatic definitive tone LE). 4, The entire exercise repeats once, and is presented in one tempo. Be sure to practice the example before attempting the whole exercise. Remember to sing the definitive line shown above in paragraph 2. Dmi7 G7 Cma7 Ami7(b5) D7(b9)__ Gmi7 -o— ! by — Gi = — oo 2 = —— re ° ] tf BEE f = 4 1 2 7 ‘ Gmi7_ C7 Fma7 Dmi7(b3) G7(b9) Cmi7 -$ | © 2 = & ————— mrPage 74 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 EXERCISE #20 TRACK #12 ‘Cma7 Ami7(b5) D7(b9) Gmi7 b. = - = — Gmi7_C7 Fma7 Dmi7(b5) G7(b9)__ Cmi7 Bbma7 Gmi7(bs) C7(b9)—Fmi7 I | HIILESSON EXERCISE #20 CONTINUED Bbmi7 Eb7 Abma7 Fmi7(b5) Bb7(b9) Ebmi7 e 1 ————— | | v7 8 1g 20 — Ebmi7 Ab7 Dbma7 Bbmi7(b5) Eb7(b9) Abmi7. Ftma7_ Di#mi7(b5) G#7(b9) C#mi7 C#mi7 FH Bma7 G#mi7(b5) C#7(b9) F#mi7 ——=— = | -Page 76 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON & EXERCISE #20 | (eee) Fimi7B7 —Ema7 C#mi7(bS) F#7(b9) — Bmi7 b> 3 a 35 36 Bmi7 £7 Ama7 F#mi7(b5) B7(b9) Emi7 ‘- Emi7 AT Dma7 Bmi7(b5) E7(b9) Ami7LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 7; EXERCISE #21 aL NeG By Cassette: B599 [Beceereneeeneeenl| 1. In this exercise, we are modulating from a major key to a minor key a whole step higher. 2. In the modulation sequence, your pattern will be: FA- DO - Tl- FA- MI- TI - TI/LE - DO - TI = LE- SO - ME. The actual pivot note is cued for you in reverse print. In this case, the pivot tone is a lowered TI, which then pivots to become LE of the new minor tonality. 3. After every three sequences of major to minor, the pattern changes, and a different pivot is required. In this case ME of the established minor key is altered to become MI, which then pivots to function as FA of the new major key center. 4. The entire exercise repeats once, and is presented in one tempo. Be sure to practice the example before attempting the whole exercise. Remember to sing the definitive line shown above in paragraph 2. Cma7 Emi7(b5) A7(b9) Dmi7 Fimi7 — B7 Ema7" G#mi7(b5) C#7(b9) Fémi7Page 78 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 EXERCISE #21 Le Gam) ‘Cma7 Emi7(b5) A7(b9) Dmi7 it 3 Ema7 G#mi7(b5) C#7(b9) Fémi7 6 7 @ Bbmi7 —Eb7 Abma7 Cmi7(b5)_F7(b9) Bbmi7 Bmi7 &7 Ama7 C#mi7(b5) F#7(b9)— Bmi7 | A ___Continued on next payLESSON DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 79 EXERCISE #21 | fee) ies) Fmi7(b5) Bb7(b9) Ebmi7 Ami7(b5) D7(b9) Gmi7 SSS 2 24 A#mi7(bS) D#7(b9) G#mi7Page 80 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 EXERCISE #2 CONTINU! Emi7 Av Dma7 Femi7(b5) B(b9) Emi7 , SSS SSS SS € | 3 uM 35 36 Fmi7 _Bb7 Ebma7 Gmi7(b5) C7(b9) Fmi7 Bmi7(b5) £7(b9) Ami7 4 2 a 4 1 cimi7__FA7 Bma7 Dimi7(bs) G#7(b9) C#mi7LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 81 NALS EXERCISE #22 FAKE BOOKS. 1. As we come to the end of the last lesson of Jazz Keyboard 1, the work you have been doing should now be focused on playing tunes. In this sense, you can consolidate and familiarize yourself with all the material covered to this point, by playing as many tunes as you can get our hands on! 2. Any of the conventional fake books will suffice to give you songs to play, and the following suggestions can be followed to insure that you gain from the experience by approaching the playing in a way that follows the techniques in the course. 3. One of the goals of this course is that you should be able to play almost any standard you wish, at sight, while attaining a professional, musical result. You need to realize that part of the approach used is to get you to understand the music from an intuitive level. This is particularly true of the eartraining aspect of the lessons. You should be hearing what you are playing. In this sense, it is important that once you have finished all of this work, you do not 1 revert to old habits of playing, thereby cancelling out any progress you have made 4 Try to approach playing tunes like an assignment in the course, following the suggestions as well as you can ~ because there is a reason for doing your playing a certain way. That way is to incorporate the settings, voicings, melodic phrasing and embellishments, etc., that we have practiced in an organized and methodical manner. 5. With each tune you wish to play, follow these suggestions in this order: a. determine the ‘form’ of the song (A-A-B-A; A-B-A-C, etc.). . analyze the momentary key centers of the harmony. = ° . determine the definitive pivots of the modulations. 2 . play the melody only, slowly, so that you will learn it to the extent you can sing the melody. Sing as you play. 2 play just the basic chords using 7 - 3 voicings and their variations, in tempo. sing or hum the melody, and comp the chords as you sing. play the melody, supported with the closest 7 ~ 3 voicings (Lesson 5) do the same, but adding any chromatic definitive tones below the melody in the right hand (this often replaces the 7 ~ 3 variation note) zm at this point you should be playing the song in tempo, listening to the balance of the voicings, the horizontal voiceleading, and the scale degree definition in each momentary key center. j- play the melody, start to rhythmically rephrase it, and begin to embellish the melody, using melody notes on primary beats as target notes. Con ued on next pagePage 82 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON & k. strive for a ‘flowing’ rhythmic result. Realize that each time you play the tune of the same section of the form, that you will do it differently. Do not try to memorize a solution. |. at any point, you can start adding chord substitutions, such as the Dominant Chromatic Approach Chords. m.analyze the chords for definitive diatonic and chromatic target note lines, play through the changes, singing your choice of line n, start embellishing and substituting for the melody (as you did in this lesson) o. continue playing the song, always treating the melody in different ways with different target note lines and rhythm phrases, p. memorize the song, and play:it from memory, applying the embellishments andl improvisation, q, Select your most musical and comfortable song, record it on a cassette and send it to us for critique and credit. You are now ready to receive your Certif- icate of Completion when your eight Satisfactory Progress Reports have been sent in along with the cassette.LESSON & DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 83 Lata eh eal | has f as een ae | CHORD | FUNCTION | KEY | CHORD SCALE SYMBOL (CENTER | FAMILY = SOURCE | | | | Ebmi9_ | mid inma| Dbma | #2 MI Dorian/ima 1. Dmi9 | fmi9inma| Cma_| #2 | D Dorian/Cma | | Gy | | | 2. Ab7"(h9) |_VZinmi_| Dbmi #7 Ab 8-note dom_ 4. Gmi7(bs) eniz(b5)in mi Fmi_ | #5 Bb Mel Min i a & 3 iF F Lydian I {,—_| , . { = 6. Cmi7/F | Vilinma_ Bbma #3 F Mixo/Bbma a —- | oe 7. A911) | VZ7[IVZ7I-11) Dmi/Emi|_ #6 ___EMel Min | F | | | 8. Ebma7 tinma Eb Lydian 1 3. Ema9(+11) ima%1Dinma) Ema #1 E LydianPage 84 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 | CHORD | FUNCTION | KEY | CHORD) SCALE WRITTEN SCALE: SYMBOL | CENTER | FAMILY | SOURCE B13(b9)_V13(b9)in mi) inEmi | #7 —_B 8-note Dom 9, Bmi69 | /mi69 inmi | Bmi__| #4 |B Mel Min 10. rw7(to) Lvzusboinmi| Bmi___#7__| F#8-note Dom = | | | | | 11. camio —|_Imi6inmi__| C#mi_| #4 | C#MelMin = - q —- —— ete t | 12. Bho |__V9inMa_| Eb Maj | #3 _| Bb Mixo/Eb ma | ~ I | | | | 4 pe 13. FAdim7 | Vildim7inmi | Gmi. #9 _| F# 8-note Dim Gries | | ee” TY | | | | BSS Sees 14. Dbmit1 limit inma| Cbma_|_#2 | Db Dor/chma HG Sibert e— r 1 — oe to } | | 15. Gb9(13) |.V9(13)inma|_Cbma | _#3__\|GbMixo/Cb Ma ee pete e |_Cb ma | o ] 4 — 16. £749) (V7(+9)inmi| Ami_| #7 E8-note Dom 6 Sp s + Continued on next pageLESSON & DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 85 Le Ce ea) PSs tee) oe : CHORD | FUNCTION) _ KEY Bet SCALE WRITTEN SCALE: SYMBOL | CENTER | FAMILY | SOURCE | C#dim7 | Vildim7 inmi| Dmi | #9 | C# 8-note Dia 17. AbmiMa7 | !miMa: 18. Eb7(b9) _¥7(69) in mi, Abmi__#7 | | 19, Amizbsyp |Hmi7(b5)/V | _Gmi_|_ #7a C Mel min Ee SE =e | | | _ ie ae ; t ote 20, F#13(411) _VAVI3G-11) |Bmi/C#mi,__#6 | _C# Mel Min : r © toh a | i | fl 21. Bdim7z | Vildim7inmi| Cmi__| #9 | B 8-note Dim ae = ov 22, CémiMag lmiMtad inmi| Cémi__ #4 | C#Mel min ei t : Stelle St pene \ \ | 23, C+7¥13)| Va7inmi_| Fmi_| #8 | DbMelmin @9) ee | | | 24, Fa7b9) |V47(b9)inmi| _Bbmi | #8 | GbMel min ie eoPage 86 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 eA 2.0 te O68 ct Bass: Adrian Rosen Composed by DICK GROVE TRIO --TRACK 14 - B-655 Dick Grove ©1991 Dick Grove Publications Jazz Waltz Bmi9 C#mi9/B Bmi9 C#mi9/B n Bmi7 E+7(+9) Ami7 C/Bb 7 ce es z z ——— ° 5 5 : Ami7 IG Fma9 C/Bb E+7(+9) G == Ami7 D+7(b9) Gmi7 Db9(+11)LESSON & DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 87 Pe “MY HEART — YOUR HEART” roe eb —# 2 2 a Bb9 Bb+7(b9) Ebmi9 Ab9 Ab+7(b9) f f : t = 26 ‘ : cae 28 Dbmi9 Gb9 Bmi9 JA Gmi9 F#mi7 — /E D#7(+9) Bmi7 E+7(+9) 4 4 a (== SSF == —— 4 6 6 Ami7 Bb/C Ami7 c/Bb 4 ca rs = t t pom = a = o 7 38 9 40 Ami7 E+7(+9) 3 —_ Ami7 * Dmi7(b5)/G Se SS a “a 44 C69 Dmi7/C C69Page 88 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 Pic@e Yl] s oy PRACTICE SCHEDULE Here is is your recommended practice schedule for Lesson 8. You should work through the schedule in your own way, remembering that at this point, you can play the same song a hundred times and vary your solution every time. As this is the last lesson of the course, it is recommended that you go back through Lessons ~7 to review and continue to practice many of the songs and applications of improvisa~ tion, melodic phrasing and keyboard settings. JAZZ KEYBOARD 2 COURSE COMING ATTRACTIONS!! The Dick Grove ‘Jazz Keyboard 2! Course is a very exciting and rewarding course. Now that we have established a foundation in Definitive Voicings, can hear the pivots as chords change momentary keys, and have a good understanding of the embellishments used in improvisation, we are ready to move into the next level of performance. We will be covering: a. more pianistic voicing solutions using the ‘shape’ concept to hear and execute shapes in each hand, spontaneously, as we play. We will be concentrating on using triad shapes in the right hand, and Open 4th shapes in the left hand. b, more aspects of improvisation, including a good understanding of playing ‘over’ changes. and ‘through changes’, along with creating improvisational jazz motifs. . mote practical applications of Chord Substitutions to standards and jazz originals d. more Keyboard Settings utilizing new voicings applied to both solo piano and comping DICK GROVELESSON 8& DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 89 Een! tietoam® Beacons eee #1 #2 #3 #4 #6 #7 #8 #9 #10 #1 #12 WEEK 1 Chord Family Exercise: #1 Technique: ** Exer. #1, 2 Chord Substitution: #2a, 3a, 4a Technique ***: 43,4 Chord Substitution: _#5a, 6a, 7a Review Exercises: #2b, 3b, 4b Chord Substitution: #8a, 9a, 10a Review Exercises: #5b,6b, 7b WEEK 2 Chord Substitution: Exer. 11-12 Review Exercises: +#8a, 9a, 10a General Review: #2a-12 Improvisation: #13a, 14a, 15a, Review Technique: #1-4 Improvisation: #16 Review Exercises: #13a,14a, 15a WEEK 3 Improvisation: #17 Review Exercises: #16 Improvisation: #18 Review Exercises: #17 Improvisation: #19 Review Exercises: #18 General Review: #13a-19 37-40 33 - 34 43-45 5-36 46-48 43-45 49-55 46-48 56-59 50-55 43-59 60 - 62 33 - 36 63 - 66 60 - 62 67 - 68 64 - 66 69-70 67-68 71-72 69-70 60-72 ‘Ans on pg 83-85 #1 A024 -A279 #2 A318 - A485 #1 A127 - A317 #3 A512 - A716 #2 A351 - A510 #4--5 B007 - B131 #3 A552 - A716 #5 A017 - B131 #6-7 B132 - B265 #8 B267 - B367 #67 B132- B265 #9 B367 - B430 #8 B267 - 8307 #10 B431 - B485 #9 B367 - B430 #11 B486 - B535 #10 B431 - B485, #6-11 B132 -B535 Technique Exercises #1 and 2 can be played at the beginning of each practice session Technique Exercises #3 - 5 can be played at the beginning of each practice sessionPage 90 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 8 | SESSION J STUDY SUBJECT [EXERCISE #'s PAGE Red Ceo WEEK 4 #13 Modulation: #20 73-76 #12 B555 - B594 Review Technique: #1 -4 33-36 . S16 #14 Modulatior #21 77-80 #13 Boao Review Exercises: #20 73-76 #12 B594 #18 Playing Assignments: #22 81 - 82 - Review Exercises #21 77-80 #13 B599 - Boat #16 General Review: #2a-12 43-48 1-4 A086 - B131 #17 General Revie #13a-19 60-72 #6-11 A163 - B535, #18 General Review: #20-21 73-80 #12-13 B555 - B640 Read Summary 98 Dick Grove Trio 86 - 87 #14 B655 - B735 NOTE: Don’t forget to use your Practice Log on the following page to help you fill out your Satisfactory Progress Report, then please send it in along with your cassette.LESSON 8 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 91 | YOUR PRACTICE LOG PMU WG aversion) | DATE: | SESSION #| EXERCISES PRACTICED | DATE: | SESSION #| EXERCISES PRACTICEDDICK GROVE’S JAZZ KEYBOARD 2 You are ready now for the next eight lesson course, applying the foundation you have been working on to the next level! Lesson One covers more on improvisation, applying shapes to both hands, New Keyboard Settings and Chord Substitutions which you can apply to your favorite standards and jazz lines. More standards to work with, plus your video lesson/demonstration with Dick Grove and another performance with the Dick Grove Trio. GROVE/RASCH MUSIC EDUCATION SYSTEMS 26 Fantasia Lane, Green Valley, NV 89014-3372 (702) 269-8263 Grove/Rasch Music Education Systems