ATE THEORY > ana ae IMPROVISATION STUDIES for ACCORDION na G d ae a . ¥ Ralph Stricker He 3 ~ $23.93LET HAND (BASS). BASS CHART. BASS EXERCISES... SCALES (MAJOR minor HARVONIC’ AND MELODIC minor CHRONATIC AND’ DIMINISHED SCALES... ‘ARPEGGIOS.. DIMINISHED AND SiMETRICAL SCALES Nb Radar ionsniP. FINGERING VARIATION ON DIMINISHED SCALES. NAJOR SCALES STARTING FROW ALL, POSITIONS. - MAJOR SCALES PLAYING ALL 12 FROM ONE POSITION. MAJOR SCALE STRUCTURE (TREBLE). MAJOR SCALES... Ghakb STRUCTURE. (AIR. ninor MGUENTED Si ETH DIWINISHED- MAJOR minor -AIOWENTED, SEVENTH. DiMistsneD ‘CHORDS. ALTERED CHORDS... CHORD INVERSIONS : CHORD. CHART BASS & TREBLE INDEPENDENCE. . BASS PATTERN CHROMATICALLY (ONE POSITION) MODAL TONIC MODES ‘ DIATONIC NODE (SEVENTH PATTERNS & SCALE’ E BXBACISES) WIXO-LYDI AN MODE. aH WODE COMPARISONS. & PRACTICING WOES: NEIGHBORS (PASSING TONES)... ALTERED DORIAN SCALE. BASS & CHORD CowaINATIONS: RELATIVE MINOR CHORDS. APPLYING BASS & CHORD CONBINATIONS' (TRISTE). DININISHED SCALES (TREBLE)... SYMETRICAL SCALES. oe ‘SUPER LOCRIAN SCALE.” APPLICATIONO WELODIC MINOR’ AND" SHUETRICAL SCALES. TRANSPOSING BY THE USE OF NUMBERS... ea RELATIONSHIP OF MAJOR SEVENTI AND WiKOR Rix SEVENTH 89 CHORD . SEVENTH CHORD FIGURES (DIMINi SHEL TWO NOTE CHORD COMBINATIONS (WITH BASS NOTE)... «2. EXAMPLE OF USING TWO NOTE COMBINATIONS IN A SONG ‘SHARP NINE CHORD (#9) AND SUBSTITUTIONS...» THERE ARE NO NEW CHORDS. DEXELOPING THE EAR (EAR TRAINING EXERCISES) TURNAROUNDS & ENDINGS. LAYERED DIMINISHES (USING Ti’ 4TH INTER ARPECGIOS {SUPER IMPOSING ARPEGGTOS ) CHORD & BASS PROXINITY RESOLNTNG THE Im AND V7. CHORD SUBSTITUTIONS (1° OLD FASHIONED). - RELATIVE MINOR CHORDS. AUOMENTED CHORDS & SUBSTITUTIONS. - SCALE SUBSTITUTIONS. . BLUES... BASS a CHORD PRORIWITIES Gy” NAY VALENTINE): PRELIMINARY EXERCISES. «.- BASSLINE (JUST FRIENDS) ARR FRENIC HARDCCO) BASS LINE ADVANCED (JUST FRIENDS).....-- BAILY (3RR” EDDIE MONTEIRO). . BALLAD FOR ANNE BY FRANK NAROCCO. 11093710TABLE OF CONTENTS ER c3) cua 2 S-8 HOW ABOUT YOU (ARR. RALPH STRICKER).... THE TOUCH OF YOUR LIPS (ARR. RALPH STRICKER). SUNMERTIME (ARR. FRANK WAROCCO)..... PENTATONIC STUDIES (SCALES & ARPEGGIOS).... POLVCHORDS..---.eeesveeceecsteeseeeees Ill19, 120 AUGMENTED SCALES’ AND’ CHORD’ FORN (121,122 THE TOUCH OF YOUR LIPS (ARR, R. STRICKER-F. WAROCCO)..--..-. 123 CONMENTS. +18 YOURS 1S WY HEART ALONE (ARR. FRANK MAROCCO). 125,126 PRELUDE TO A KISS (ARR. FRANK MAROCCO). 127,128 LOVE 15 FOR THE VERY YOUNG (ARR. FRANK MAROCCO)... 21 129,130 NEVER LET ME GO (ARR. RALPH STRICKER).... 132 ©PREFACE I have always in the past been bored reading the PREPACE of any book, yet when it came time for na to write this, it became very important to me. It is very meaningful for me to give credit to certain people who have affected ny life musically. The first being Dr. Earl W. Brown, who took me as bad accordion student, and shoved me how to study the instrument. Doc Brown aS he was called was Bill Evans first teacher, s¢ I don’t have to say any more. The second person who was’ great inspiration and teacher, was BERNARD PEIFFER the French pianist. BERNARD was Django’s pianist vhen he was only 17 years old, and if you know the history of Django, then you know what a genius BERNARD was. The last but not the least and one who contributed so much to the ideas in this book, was HARRY LEAHY. Harry Leahy in my mind was the greatest all around guitarist ever. FRANK MAROCCO is responsible for me to put my ideas and concepts on manuscript. When he first suggested writing this book, I was hesitant, I didn’t think that I had the energy to complete such a monumental project. Only through his prodding and encouragement was I able to participate with him in a meaningful way. I would also like to give special thanks to FODIE MONTEIRO, I have developed a special friendship with a truly fine accordionist. He also geve me the support that I needed at times when I was ready to give up. This book is not a lesson by lesson titarial, if the full spectrum of jazz as it shoulg be played on the accordion. The reader and or teacher should know how to use the various studies contained in this bdok, and adapt.then for his or hers own needs. I do not believe that any one book can fulfill musically one persons needs. I do believe however, that this book has more of what the accordionist should know, than any other book previously published. I wish the reader all of the success in the mastering of the work contained herein. ingerely figh Ketibee RALPH STRICKER covers. ; ©copyright 199: by RALPH STRICKER fi 500 Adans Lane, North Brunswick, N.J. 08902 international Copyright Secured - All Rights Reserved Wade in U.S.AAboot The Author lieve that this Ix the finest book ever written for the serious at, Diligent practice of the many scales snd exercises, wil lmost evergthing you will ever need te devel em professional Tevel. fe aby Permutations of bass and chord fingerings that are now available to the accordionist due to this book, opens ep a new viste io Playing. RALPH STRICKER is whom I admire and respect in the highest His kn jeand dedication to geod wusic acd the many years Sf Playing and teaching is evident. ‘veryen Aah This ji a much needed book far the accordion and I am honored that Ralph asked we to collaborate with him on this project: Sincerely FRANK MAROCCO RECOMMENDED ARTISTS FRANK WAROCCO TBALLAD FoR ANMIE~ DISCOVERY DscD-950 FRASK MAROGCO TBRAZILIAN WALTZ" DISCOVERY DSCD-949 EDDIE MONTEIRO “THE REAL THING™ TRANSIT MIX PRODUCTIONS (212) 315-8852 ART VAN DAMME TART VAN DAMME AND FRIENDS™ NEOFONIC MUSIC 2 CROSS STREET, WESTFIELD.MASS. 01085 Tower CUMING SJOE PASS & TOUWY GUMINA™' POLYTONE 9865 VINELAND AVE. NORTH HOLLYWOOD,CA 91605 Lov rosy “BELL: DUOvOX™ SOUND The above artists are accordiotists whos 1 tremendous influence on me musically. twill leara from certaia~ foustight any ef theas T feel the above groop are sour of the “GIANTS OF THE INerRUeIS” RALPH STRICKERST NE I would Like to state emphatically that. there is no one way of recommending 10 the reader how to absord the contents of this book. There are those of you. who will atteapt to learn on your ovn initiative, some wilt have the guidance of a teacher. The reader and or the teacher should have an idea of what level each person Is at in music. The intermediate student should learn the basic left hand exercises initially, familiarizing he or she with studies that they have net yet becone proficient at. Certainly the reader who docs not have an extensive knowiedge of chords, should study this segnent of the book. before trying to learn NODES. The exercises such a¢ BASS & TREBLE INDEPENDENCE on Page 27 and PRELIMINARY EXERCISES On pages 97-102. should be learned in conjunc~ ion with knowing the Najor Scales. Certainly some readers wil! already have an extensive knowledge of chords and their alterations. also sone will have already developed their technique to a state of proficiency. 1 recomend for those readers to give a cursory lock to any of the recommended exercises. ax they may find that they Will find them to be helpful. I alse stress that anyone learn to play the studies im this book in 12 different keys. The songs that I have used as examples. utilizing different studies in the beok, should only be for that purpose. The student should then use his or hers own ideas, and the recomendations of @ teacher who is familiar with the contents of this book. Reneober a2 a dear friend of mine ané great musician said, “NUSIC IS NEXT TO GOD. | NOLLDN'T LOWER GOD, SO WHY MUSIC." I wish all of you the best in the study of music. ané-thank you for using this book asa source JEDLEFT HAND THE LEFT HAND (BASS) ON THE ACCORDION HAS BEEN AN ENIGYA FOR MANY, YEARS PARTICULARLY PERTAINING TO THE PLAYING OF JAZZ. THIS IS DUE TO A VARIETY OF REASONS: 1. BAD TEACHERS 2. PRE-CONCEIVED IDEAS 32 NO COMPRENENSIVE RETHOD 42 NUMEROUS PERNUTAT IONS 1 WOULD LIKE TO ADDRESS THE FIRST POINT “BAD TEACHERS". 1 CAN REMEMBER AS A STUDENT NANY YEARS ACO HAVINC TEACHERS THAT DIDNT KNOW VERY NUCH ABOUT THE ACCORDION. THEY TREATED IY AS AN INDIVIDUAL INSTRUMENT RATHER THAN AS AN INSTRUMENT EVOLVING FROM THE PIANO. THE NEXT POINT IS. THAT MANY OF THESE OLD TIME TEACHERS BELIEVED THAT 17 HAD TO BE PLAYED AXD TAUGHT AS THEY KNEW IT TO BE ACCORDING TO THEIR ETHNIC BACKCROLND. POLKAS AND MARCHES WERE THOUGHT TO BE THE ULTINATE AS FAR AS MUSIC WAS CONCERNED. IN THE 30°S AND 40°S WHEN JAZZ WAS STARTING TO BE THE VOGUE. NOT MUCH HAD BEEN NRUTTEN FOR THE ACCORDION. THE NEXT PROBLEN ARE THE ENDLESS CONBIN- ATIONS (PERMUTATIONS) THAT CAN BE FLAVED ON THE LEFT WAND ALSO INTINIDATED ANY. IT 1S NOT My DESIRE 10 DEXIGRATE THE FORE-FATHERS OF THE ACCORDION. BECAUSE WITHOUT THEN WE WOLLD NOT HAVE SUCH A REMARKABLE INSTRUMENT. BASS EXERCISES 4 BELIEVE THAT THE LEFT HAND OR BASS STUDY HAS BEEN THE MOST NEGL~ ECTED PART OF THE ACCORDION, 1 HAVE DEVELOPED A SERIES OF EXERCISES THAT WILL HELP THE SERIOUS STUDENT DEVELOPE THE TECHNIQUE NECESSARY TO PLAY JAZZ. 1 AM A FIRN ADVOCATE OF TECHNICAL STUDIES, BUT, TOO MANY TIMES WE PRACTICE EXERCISES THAT DO NOT RELATE TO WHAT WE ARE'STRIVING FOR. THE FOLLONING LEFT HAND STUDIES WILL AID IN BECONONG AS FAMILIAR AS POSSIBLE WITH THE DIFFERENT WAYS THAT THE BASS CAN BE USED IN JAZZ. YOU WILL NOTICE THAT 1 DO NOT ALWAYS START A SCALE OK FIGURE FROM THE © FUNDAMENTAL BASS. THE STUDENT SHGLLD BE ABLE TO PLAY AXY SCALE FRON ANY POSTTTON. THE FOLLOWING EXERCISES SHOULD ALSO BE PLAYED IN DIFFERENT¥ OUTLI 1 would like to state emphatically that, there is ne one say of recommending to the reader hox to absorh the contents of this book There are those of you. whe will attempt to learn on your own initiative. some will have the guidance of a teacher. The reader and er the teacher thould have an idea of what level each person is at in music. The intermediate student should learn the basic left hand evercises initially. familiarizing he or she with studies that they have not vet become proficient at. Certainly the reader who docs not have an extensive knowledge of chords. should study this segment of the book. before trying to learn MODES. The exercises such as BASS 4 TREBLE INDEPENDENCE on Page 27 and PRELIMINARY EXERCISES On pages 97-102, should be learned in conjunc- Vion with knowing the Major Seales. Certainly some readers will already have an extensive knowledge of chords and their alterations. also some sill have already developed their technique 19 a state ef proficiency. I recommend for those readers to give a cursory look to any of the recommended evercises. ax they may find that they Will find them to be helpful. | also stress that anyone learn to play the studies in this book In 12 different keys. The songs that I have used as examples. utilizing different studies in the book, should only be for that purpose. The student should then use his or hers own ideas. and the recommendations of a teacher who is familiar Sith the contents of this book. Remember as a dear friend of mine and great musician said, “MUSIC IS NEAT TO GOD. 1 VOLLDN"T LOWER COD. SO WHY MUSIC." I wish all of you the best in the study of music: and=thank you for uring t k asa sourceLEFT HAND THE LEFT HAND (BASS) ON THE ACCORDION HAS BEEN AN ENIGHA FOR MANY YEARS, PARTICULARLY PERTAINING TO THE PLAYING OF JAZZ. THIS 18 DUE TO A VARIETY ‘OF REASON 1. BAD TEACHERS 3: PRE-CORCEIVED, IDEAS 3: HOD 2) NUNEROUS PERMUTATIONS 1 WOULD LIME TO ADDRESS THE FIRST POINT “BAD TEACHERS". I CAN REMEMBER AS A STUDENT MANY YEARS ACO HAVING TEACHERS THAT DID\'T KNOW VERY MUCH ABOUT THE ACCORDION. THEY TREATED IT AS AN INDIVIDUAL INSTRUMENT RATHER THAN AS AN INSTRUMENT EVOLVING FRON THE PIANO. THE NEXT POINT 15. THAT MANY OF THESE OLD TIME TEACHERS BELIEVED THAT IT HAD TO BE PLAYED AND TAUGHT AS THEY KNEW IT TO BE ACCORDING TO THEIR ETHNIC BACKGROLND. POLKAS AND MARCHES WERE THOUGHT TO BE THE ULTIMATE AS FAR AS MUSIC WAS CONCERNED. IN THE 30°S AND 40°S WHEN JAZZ WAS STARTING TO BE THE VOGUE. NOT MUCH HAD BEEN WRITTEN FOR THE ACCORDION. THE NEXT PROBLEM ARE THE ENDLESS COMBIN- ATIONS (PERWUTATIONS) THAT CANE PLAYED ON THE LEFT HAND ALSO INTIMIDATED IT IS NOY MY DESIRE TO DENIGRATE THE FORE-FATHERS OF THE ACCORDION. BECAUSE WITHOUT THEW WE WOLLD NOT HAVE SUCH A REMARKABLE INSTRUMEST. BASS EXERCISES 1 BELIEVE THAT THE LEFT WAND OR BASS STUDY EAS BEEN THE MOST NECL~ ECTED PART OF THE ACCORDION. 1 HAVE DEVELOPED A SERIES OF EXERCISES THAT WILL HELP THE SERIOUS STUDENT DEVELOPE THE TECKNIQUE NECESSARY TO PLAY JAZZ. IAN A FIRM ADVOCATE OF TECHNICAL STUDIES, BUT, TOO NANY TIMES WE PRACTICE EXERCISES THAT DO NOT RELATE To WHAT WE ARE'STRIVING FOR. THE FOLLOWING LEFT WAND STUDIES WILL ATD IN BECOMONG AS FAXILIAR AS POSSIBLE WITH THE DIFFERENT WAYS THAT THE BASS CAN BE USED IN JAZZ. YOU WILL NOTICE THAT 1 DO NOT ALMAYS START A SCALE OR FIGURE FROM FRE CEUNDAMENTAL BASS. THE STUDENT SHOULD BE ABLE TO PLAY ANY SCALE FROM WY POSTITON. THE FOLLOWING EXERCISES SHOLLD ALSO BE PLAYED IN DIFFERENT| Pete,tritien two bass charts. they are the same notes in each, The left char! fy the original chart for the accordion. the right chant fecthe emt eee ydanerg REElen the sharps (#) above the C hacein Flats (6) ned ane Hats be1on € bass in sharpee left nang and not move'tova position Gust beteure sete 2,P a’ shabp era That TETEC ihe reader to become familiar visually and mentatly with the left say penisigearts YOU xILI see tn the bass cuerciser that I wake jou phiy Fide any position:1 WOULD ADVISE THE STUDENT TO BECOME FAMILIAR WITH THE PREYIOUS PAGE BEFORE STARTING THE PHYSICAL STUDY OF THE LEFT MAND. THE FOLLOWING PAGES ARE SOME PRELININARY EXERCISES THAT WILL HELP’ DEVELOPE THE LEFT HAND BEFORE PLAYING THE SCALES. 3 {AM NOT ASSUMING MHAT THE STUDENT KNOWS OR DOES NOT KNOW, _IF_YOU HAVE PREVIOUSLY LEARNED THESE EXERCISES THEN YOU MAY SKIP TO THE PAGE ‘TWAT YOU FEEL IS PERTINENT. I CAUTION YOU ALSO NOT To ASSUME THAT THE EXERCISES | HAVE OUTLINED ARE ANY THAT YOU MAY THINK YOU HAVE PREVIO- USLY LEARNED. 1 ALSO RECOMMEND THAT YOU APPLY THE DIFFERENT RHYTHM PATTERNS THAT ARE ON PAGE 1. WE DO NOT ALWAYS PLAY THE SAME DOWN BEAT ON THE SAME NOTE OF THE SCALE. THESE PATTERNS WILL HELP JN BEING ABLE TO PLAY JAZZ LINES ON THE LEFT HAND.BASS EXERCISES ‘ (MAJOR SCALE EXERCISES | STRETCHING ExeRct SES 3534 2435 3234 2433 3254 2452 2 $4 23 23 2323 323 3 The above exercises should be practiced starting on different notesSCALES (Left hand) The Following page encompasses the following scales; Major Seventh minor (natural) Nelodic minor (ascending) Lydian The student wi11 notice that 1 have gotared different fingerings for the above Beaes The advantage that the accordion st has is that if you learn the © Sedte, you will be gble to play all of the other scales. The reason for this is thar the aanaer In which! the bass side is aid ovt. The problem is that the Radert never learns any other fingering or position. This tz a disadvantage Ti"the playing of Jazz vas the player is always “jumping” all areuné the bass then"thbre? ises0 need to do cot al a The first scale that js written is the C, I have written two different fingerings starting fron the € fundamental bass. | have also written the scale Stapting from € counter bass of Abe This will help in learning the many Gifferent combinations that can be used in the playing of jazz. These scales should al] be played in double octaves ascending and descending You shoule start on different basses as the I of the scale, for example do fot alaays start on Cs you Will be surprised at the different perspective that you STP get by doing this {also recommend that you play in different rhythms so that the doxn beat docs not ainays Fallon the’sane meter Try to also say the motes of the scale a3 jo play”SCALES. a vPevdess eartiis Vivrsres I have added the scale above because I belicve it to be an encellent scale to 5 Cter example: FFD! APPLY DIFFERENT RHYTENS 2 START ON DIFFERENT NOTES OF THE SCALE 3. SAY THE NOTES AS YOU PLAY EACH SCALE 4. PLAY ASCENDING AND DESCENDINGChromatic # Diminished Scal: sie ao tack teeing etm aooardon ar a, cltd ted Salas deta gntes #7 SEALE RURErSGEe PSD OL,S For example: TT as sXe 23 24 $3 54.232 43 54 249% The diminished scales are an integral part of left hand jezz accordion. They are one of the most versatile of Sil the scales because of their mult! substit~ tion possibilities. (hich will be explained in greater detail) There are actually only three different diminished scales, they repeat thenselves every one and 2 half steps. The C\ED,FE(OD)«A diwinished scales Ganvall\be played tram one past ion, Aaturaliy thie’inctudes the'DB,E,G/Bb and the DyF.Ab, I pang also incloded fingering for starting the dimintshed scale on che counter bartee~ 1. Play in different rhytims 2 Statelon aifterens nates Say‘ notes as you pla 41 Brbetice sezids ascending andCHROMATIC SCALE 453424534232 43 54 243 s 2 Start the scale on different notes DIMINISHED SCALES we me g 3 The noves in pararthesis form the diminished seventh chord (C97), the Roics nat in paranthesis also form 2 diminished seventh chord (087). The dimihished scale is a combination of two diminished chords. PRACTICE IN DOUULE OCTAVES ASCENDING 4 DESCENDINGARPEGGIOS. The study ang practicing arpeggios is of inmeasureable value not only in Trrclopiag’ techniques bots Bigs in the learning of chords, 1 have usta - Only broken chords fi my arpeggio study. This ts not to say that the Hiudent should’net practice: other type of arpeggios, Iiyust feet thar these ierve a more useful” purpose. I have divided the study into two parts, the first half playing the arpeggios starting From the fundamental Fer. ou must then practice them sisting rom the counter bass row. € Major Starting on counter b: * + vara23 332 ais 1 know that practicing scales and exercises in different fingering than previously Testacd’ fa diffigult at first for some stugents, partietlari} those ffo'have Geveloped good technique. | also know that the onc who devotes the Time to vecone proffeient using these nen fingerings will feel it was worth the entra time. Before going on, 1 ovld like to clarify a particular point. You wit! notice that I'an'Briting the € bass In s certain octave. | kon the correct Gelave 1"an octave below according to the tuning ofthe accordion, bul the Sccordion hus only one octaves 30 for readability ané continuity, i have Ehosen this may of notation fe, you should once you have developed playing the arpeggios in ove oct t ies seeueray cies iacete reer10 © augmented © seventh 3.524342 5 38 Gee PS sa2s3524 Z nor gcventh BS Ea = © augacnted seventh C 7 h seventsee DIMINISHED AND SYNETRICAL SCALES I have previo Kofrseg RSH celce gee Wester eres areas i rester fo voles so atesiss wmuntouct anions sacaite sia} seatY Io sour EES Steel ong tint ees ent teaese ey ep Sipisfotdp"Tacbeusgfefeacade sepgenveny Staplers, ep fate greaser gets Beton ae Eat NG aes peoueyy naat in I am no introducing the SYMETRICAL SCALE it takes very little effort to understand st ane’ practige.aimaltancossely as_You work on The aiwiniehes sealer. Once you understand the diminished scale. you'will have no provien playing and-understanding the symetrical scale, ‘at this € diminished scale B synetrical scale Notice that the symetrical scale contains the same notes as the diminished SEIS ARESTPL [BNE YOU are starting = halt step before the first note of the Jn other words for any symetrical scale, just start a half step before any pote in the diminished) sete The diminished and symctrical scales are two of the most versatile scales that can be used in the playing af Jaz? accordion” T suggest that you play these scales in double octaves ascending and descengingt You should’ statdin chords en the Sager ncnd Tt peeeTggs TE 208, gar latSr what chords fit. the sywetrical scale. Once. you Enoe hot olay one sisingshed scale, you can play all of then. ‘This is the advantage with fe accordion, although you should try ta visualize the notes as yes play thes and not becene mechanical APPLY DIFFERENT RHYTHMSB symctrical scale © sywetrical scale Db symetrical scale 213 MINISHED SCALES VARIATION OF FINGERING ON. 1 have previously stated that if you can play one diminished scale. you can play any SF them {Fon ore, pont tion Peecgs Lerdginte the gh seated the possipryities, The moves that fora t chord are soy using : ay, PP these notes as the starting note we can play the COEEO F¥O A 211 Ton one position. 2234 54253 roving dgbeents Stat rma oan ping all nenles team OAC FUELLED onder tbote The above examples end the ores to felon alter the plajer ta execute a bass progression fron any position that he of she is at. For example if you Bre"playing a Bos chord. serles and’ the neat aerigd of basy Figures see, ehrodgh a ebiel ef € scale patterns, you can execute then from € counter base of AB.4 Fro Ae Eb no peo Ave Fe ave1s MAJOR SCALES a of what 1 have attempted (o he innovator of this ho: ‘The following page will be the culminat convey te you inethe previous exercises. 1 anne Sij'ck playing the left hand. 1 can remenber back in the fifties a man Bly feabhide’the Sceordion at that time. He was regarded by many as the master TRLcher ATE name was SOBOLSKY. He was an advocate of the Free Bass method. {oretehber him weil because he threw we out of his studio and refused me: 1 eeemees iochuse I cancelled a lessen on Christmas eve. Neverthless he was A EEnlds"at developing, orerthodox methods for the technieal study of the accor~ Unfortunately I lost all of his studies and bad to work many heurs 10, find conciously and sub-conciously what he had done. | have attempted in this nook so'fnotengnt sone of his ideas on bass technical studies. Most of the work is ny, aun enceps the next page wherein you wilt Tearn how to play all 12 Major Seales from one position. 4 from SOBOLSKY'S concept. I an also adding position of the left hand. The formar of my work is derive the playing of all Scales from any psaa2423 323427423 32593253 ou now have 3 aifferent nays to play the Major seale,, it would depend on1617 MAJOR SCALES The foundation of music is the knowledge of the Major scales. They encompass everything that we need to be suecessful, technique, theory, chord subs jon, improvisation. Everything musically starts here and builds from this point of reference. 1 Cannot emphasize too strongly how portant it is to have a complete understanding of the 12 Major scales. The formation of a Major scale 1s based on a simple rule, by knowing this one rule, youvare able’ to fornulate each seater *There is 2 chole Step between cath step of the scale, except between the 3rd and 4th steps And? the Tih and 81h steps whlch are Balt Ftepe romom ayo voy wan ovine You must not only be able to play the 12 Major seales, you should alse know each step of the scale (intervals). You must alse be able to play the scales starting from any note in the scale 1 recommend that you sing the scale to help develope your ear which is necessary for improvisation tn jazz. Sing each note of the scale as yes, Play ify hen you can'go that. play the firsicnote and sing the scale without playing the rest of the notes: Check yourself and seevit you ended on the Eorrect notes i will cover ear training more extensively tn subsequent Chapters. Try to learn a fen seaies at a time anc be proficcient with each of the Before’ going on, te the other scales, Practice shen in siagie octaves first and when yo feet that you are confortable with then, start playing then in double Gelade ascending abd descending. Once Jou nave aastered’a, cafe. apply the itferent rhyth patterns that f have written previously, This 1s important because we'd net play in one beat sirvciure” ™ =1232419 Hox STRUCTURE 1 previously stated that the Major scale was the basis of most everything in muster ue god faveran opportenity exanine tals In depth. There are. tre acihods for the Formation of the Mager The Cirst is, "ake the 1st ‘Sra and Sth steps of the Major seale™,1 ais wthere’are 2 whole Between the Lat And Srd ef the chord and one and 2 half steps between, th BeaTthe Sthlof the ehordé. I'prefer the first rule as it applies to the Major State which 13 our foundai ion’ Let's examine these rules 1 ou ay ve a oo Wc are now abje to form any chord frow the Majer scale, it is our source of reterence, just as the Major scale was our initial starting point. ‘The minor chord is derived from the Major, ~ Lower the 3rd step of the Major chord a half step”. Raise the Sth step of the Najor chord a half step? T,VAVEL steps of the major scale”. ‘The augmented chord The Major seventh chord "Take the 1, The Seventh chord “Take the I,1I1,V,BVIT steps of the Major scale”. The diminished seventh chord "Lower the 3rd,5th,7th of the seventh chord a halt step™. om mw aT These are your basic chords, you must learn them and theit inversions before you can’start studying the altered chords used in jazz. You will have Shette? knonledge and understanding of chords, if you relate then to the Steps of the seatesIst__2nd 3rd 4th Sth 6th 7th _8th www’ n wow w RK [Yet] 2nd 3rd] 4th [Sth] 6th 7th 8th ww oH WwW ow Ww OH tes tea sth Caer chard an SS Ist 3rd Sth __C minor chord on é Ist 3rd a Sth C augmented chord Cr Ist 3ra Sth Maj.7th CMajor 7th chord C47. > Ist Bre Sth _min.7th C Dominant 7th chord C7 SS Se dim.Jih_C diminished 7th chordco? Ist Sth ned21 ALTERED cyoRDS I would hope that before learning the altered chords the reader has at feast mastered in part the basic chords discussed. previously. The best ray to understand altered chords is to visualize a building bleck, vecause we are exactly doing that. We are building on top of the foundation chord, adding notes on top of notes. Lot us look at the sixth chord, we are, adding the sixth step of the Major scale to the Major chord. The cxanple on the first line of the Following page illustrates this, The minor sixth, miner seventh and augmented seventh are based on the same example We must now understand that each note of the scale haz another number value, For eiample as we ascend the scale to it's neat octave the € becomes the eighth step. (octave meaning eight) The D becomes the 9th, the E becomes the tol, ete, Tine eaviest way to remenber this is by adding deven to any step of the Major ceale. I advise the reader to be able to nane the notes of the chromatic scale ascending and destending Ss the etanpie showy on the follonigg. pene, The vay To beet Enderstand the Burtoing of chords, ts to take the € Major chord and boy "0\en'that chord anti! you are able. farm each and every chord ot( ined on The folloning page: Yau witt start to see a combination of chords as you build on a chord, dotnet b u Sonbinst ions: econe concerned if at first you do not recognize the many C13 Ge Ge? Bb BENT De These are just a few of the chorés that are within the Cl3cbord, there are more, but this is just an example of how chords are built. You must learn, these. chords, in al! Keys (12) that is one of the reasons 1 suggested saying the notes of the seales as you played then. | also suggest sradying the Major scales visually’ a2 ne1/ a pnyeidal ly to knot what step of the seafe'each note 13. Another way is to lay the keyboard of the accerdien donn and face it, saying the notes and each step that it represents.2 gugugig) izea se tia S1O5T1948 - ae Oo 8 ccs o& obs ar ae Ca? Ga? call cold C47 049 CHI co C07 C07 mee ene e SS SSS (add 7 to each step of the scale) 229 4211 6213 ete c? CS SS c9#11 c7#9 cabs carbs23 CHORD INVERSIONS We not only have to know the chords in their original positien, but we also have to be able to invert the chord. I can com scrate with the novice accordionist who must think that there is no end, Well to be truthful, there tgn't any. Someone once said" Music is a labor of leve™ynotice the word Love, if you don't Tove ity leave its We must learn to invert chords so as to be able to play them under melody notes er as backgound accompanianent The mos! productive may. to, start is by playing the chord in it's original position and then moving the bottom note to the top of the chord and continue doing this until you cone back 10 the original position. Ist position 1st inversion 2nd inversion Notice you have arrived at your original position only an octave higher. You must do’ this with all of the chords"on the following page. I have itst sritten the basic chords to start, jou will eventually do this to all chords {would now start to add the left hand to the playing of the chords, this will help you to hear the chord in it's fullest sound and help develope your or t cn cr co 2 These arc examples of sustaining the left hand as you play through the invers~ ans. Notice on the OM and the Ce’ I have aaded ah optional bass ane chord terns These ill be explained in subscquent chapters.© Major Ist inversion 2nd inversion x = + = é C augnens ed C seventh C Major? © diminished rs © sugmentec? © ninoré C ninor? T) THIS CANNOT BE PLAYED IN A SEQUENTIAL INVERSION25 ‘GHORD CHART ‘The following page contains the aajority of chords for all root positions. { have purposely left out the Lith and [3th chords, simply because they are extensions ef the 9th, We jally learm them as we progress further be Played inal inversions as we eventually will learn I suggest that you learn two or three sets at a tine end do not progress further, eneil you are absolutciy comfortable with those. I knew that. for the reader who has hot yet learned all of the chords, it seems like an anesone task, Let me assure’you that you will eventually becone proficient in the aastery of this mork if you take one step at a ime. 1 would Tike to emphasize that I have no may of knowing whether you are attempting to do this on your own, or if you are under the guidance of a teacher. Certainly a teacher who is familiar with this work is of great help to the novice, The one consolation is that many accordienists who have been Playing for years do not know most of the contents of this book. Thi iz not fo disparage’ anyone, but many did not have the information contained herein, or their teachers were not versed enough in the teaching of jazz. Once you have mastered the chords and their inversions, you should try to use, then tin a fynpjernoveay; have ericten a fen Gard of lowe Syeet Howe! Just as an example Iam not trying to insult anyone's infelfigenee: by writin uch a simple exanpie, ot az I atated previouslys1 have ge gy ef krona, the readers Knowledge of music. The reater who is beyond thisy may proceed 10 a'Song of hit own cBeos ag o Fe co 8c o 4% 402 7 You non have a simple example of how to use chores in a song, and why you ust know the inversions of chords: Im-eriting this f can cisuatize’s feymte Student of mine naned. “George” who when seeing thig will say-He‘s still esing ihe: Same example ne Used twenty Years ago™ WEII If It workd; Don't fix ite Notice how I arrived at the simple bass line, I took a noje from one chord {hat would lead me to a note in the next chord. (F from the F6 and Ff frou the © chord, 1 could of kept the Tine going to G in the next measure, but T'wanted to keep it as uncomplicated as possibie-cm3, C7 Co Gab Ga? CAT Cm? CPS C789 Cn7DS wr 26 o ce Oe 905 769 w7bS M7 95), 7b9_w7bS M7 9 29 9 Ea a7 95,1709, m7b5 M7 905 769 a7bs U7 47 29 29 a7 905 | 709 w7bS M7 29 9 7 9b5 79 m7bS M7 29 +” 7 a7 a7 905 7b9 m7bS M7 9 7e9 w7bS M7 905769 m7bS U7 905 | 7b9 w7bS M7 29 29 29° ,9b5 9 9 e747 a? 47 36 m62 The ultimate jazz accordionist is one who hes developed the dexterity to play fepinieal Figures and’ the car, to fear"these complicated passages, ana im beltever in developing the *chops™ ro do a0. The problen iz that we spend toeiaueh ‘tine practicing exercises that have. nothing 0 ge nich that nt are Striving for: Bracticing technique should be mentalvas well "as physical. believe that the exererse shoule be tailored Por the harmonic strecture we are working on at the time, On the previous pages me are learning chords and their inversions, se to conplement this study we should taller ai exercise for this. One of the most important facets of jazz playing is to have Independence of hands. Too any accordionists are what 1 refer to as. "one armed bandits”, that is to say that the) have no left hand to speak of. Years ago this was acceptable because we usea a bass player to support us, but now with the electronic accordion and the advent of midi, it if now imperative to develope a good left hand | have written a series of eft and right hand studies that 1 feel will not only develope dexterity, but will expeditiously sid in the learning and Sheerstanding of chordal structure: | "PS * a os 4 Bids 3h 24 You will notice that as you are playing these you are not enly developing independence’ of hands. bur’ Tearnin the chords. Each chere'se contains the Tifst. five notee ef the scaie which forns the Major d minor chords (I TIE Y dit Vy) Fach individual exercise should be played in 12 keys. This Well also help in transposing in the aifferent keys.2 BASS PATTERN CHROMATICALLY FROM ONE POSITION THE ABOVE EXERCISE CAN BE PLAYED IN IT?S ENTIRETY FROM ONE POSITION, JUST AS WE PREVIOUSLY LEARNED THAT THE 12 MAJOR SCALES CAN BE PLAYED FROM ONE POSITION. THIS LEFT HAND PATTERN CAN BE APPLIED TO NUMEROUS RIGHT HAND EXERCISES, TWO OF NHICH ARE ON’ THE PREVIOUS PAGE. 1 AN ATTEMPTING 10 SHOW THAT IT IS POSSIBLE TO PLAY MOST LEFT HAND JAZZ LINES WITHOUT JUMPING ALL OVER THE BASSES. THERE ARE TIMES WHEN THE PHYSICAL ‘CONSTRAINTS OF WAT WE ARE PLAYING NECESSITATES OUR MOVING TO ANOTHER POSITION BUT WE THEN HAVE ALTERVATE FINGERING FOR THOSE LINES. THE EXANPLE 1S LEARNING TO PLAY SCALES AND ARPEGGIOS FROM ALTERNATE POSITIONS, SUCH AS STARTING THE C SCALE FRON C THE COUNTER BASS OF Ab.aa MODAL TONIC NOTES IN PARENT KEY OF C MAJOR 4, wz 12 as Phrygian 1 Hixelydian het long sry ‘apg seers wit ia bot a well OOO MIXOLYDIAN STRUCTURE TAN, STRUCTURE 48 AOL isior ard e ‘misor 3r DORLAN sTRUCTURE PIORYGLAN STRUCTURE minor 3r minor 3ré LOCRIAN STRUCTURE diminished Sth wo) tw aot IF YOU KNOW THE HAJOR SCALE, YOU WILL ALSO KNOK THE SEVEN MODES FOR THAT MAJOR SCALE. THE STUDY OF MODES "AND THEIR USE IN JAZZ IS PROBABLY ONE OF THE MOST IMPORTANT THINGS YOU SHOLLD KNON.30 DIATONIC MODES The study of Modes is an essential part of Jazz. The gucss work of what to tay on aveefialarchenge is eliminated boa great extent.-What we are 7 of Gfinotes to eachtnote of the scale. There are jerverge seven Siatonic modes. seven notes to Let's examine cach on an individual basis. using the € scale as, the reference point: Starting on Car the root, we can form a mode which i3 known 4S the Tontan wode. During the study of modes throughout the book, we will Use all four note chords ©47 Da? En? FMT G7 An7 Ba7bS Loot at the many possibilities that we have, instead of being locked in to just thinking'€ chodd’and the notes in a C chord, we nom have a moltitude of areata" thofe fron, Te further, iiivetrate this. ‘we can play the notes in the E°sehie age ast’ any of the chords im the © TOMEAN Mode. Vn'acher words if the Gnore 13°6F,"ne can play the € scale against it. The choice of notes and the order in which we play them determines how + TASTY we wake {1 sound. This is acconpl ished by experimenting with different patterns and te what extent we develope our ear. We should also listen to Jerr artists, whether. it be saxaphones piano or guitar, the instrument doesn’t make a difference, it's what's being played. On the foltoning page I have written the MINO-Lydian scale, it is one of the woct important fobee to learay When you practice this mode, you should Lj The chela symbol as you play the mode. 7m) w7bs M7 we? N7.Thig aids in [at Uteepeste dn ar plang invaifFerent aeys. Far example’, Key of the Firat Shofatrangpasifg bythe enanpte- gould be 7 nesause tne Mixer Lystan Hlarte'on the sthtot the Rajor scale, the Sth being Gs C7 De? Ea7bS FMT a7 AmT BERT 7 m7 3u7PS AMT Sa7 607 7NT) You nave non learned 10 transpose by the use of numbers, which is both musically and mathematically correct.31 SCALES, seven diatonic moder > ion Dorian Phrygian 2 eS St yarn i aeatian 2 SS G7 An? B75 CM? Dn? Em? FT 107 Mixe-ty 7 om? mies 7 G7 sustain nen practicing the modes, say the chord numbers as you play each one. Thee SUIT hel phin trans site /eetsii' td keys ehich suet be done Try co learn 8 keys each day and becone confortable with each before going on When you feel thay you are becoming familiar with the mode Bisping” intchords sequence, start playing. then broken chords You SVN) Seplusl afar fe pay mes odtes"Bs ing ai Frerens rhythwss hte Tithe start of improvisationan DIATONIC SEVENTH CHORDS PATTERNS a ‘The Major seventh chord is frequently used in jazz, to develope the dexterity necessary to use at your command, I have written a series of patterns to help you become proficient in the use of this chord. 12351248 235 14235 5325 4 1325 1425 3 2135 214 35 3 2423242 = 352 1352 There are a number of ways to form the M7 chord on the bass, the most conmon wey is by sustaining € bass with C Major chord. An alternative to this is to sustain @ bass and G Major chord. | mould use these chords with the above exercises so-as to hear the Major seventh chord. EXAMPLE " a“ 233 |ATONIC SCALE EXERCISES The foltoving are a series of figures that can be applied to the Diatanic scale. They should be played in 12 keys co ar to develope the ability to play in any key. 13241324 1324 35 4 42314231 4231 312 1342 1342 13427 35 4 243) 2431 2431 243 1425 1425 142535 4 5244 5 $241 4, 2 gs S424 $12 $215 4 53145314 5374 , Bi There are endless combinations of notes that can be played, these are just 2 few exanples. I woule try 10 sustain chord: against these figures, once Jou Srevconfortable playing in all keys. You could fustain any af the chords from the Diatonic mode, this will enable you to hear the different changes that can be played Apply 4ifferent rhythm patternsMIXO-LYDIAN MODE ste modes, simply because it 15 se a, in other words: is one of my favor Myre sce that it starts year ise, The mode itself 7 ro versut Os fonewnere, When we examine it Ur takes Joe Seep of the mujer seale, and the ter i on tne Tay of © that would be G7, and most 0 to the Te «€) he permutations are endless, DY be othe Peston wnat to play. AU Bpainst any of the tneeae TR the seale mode: ‘ehat can be payee kmoning this mode you should never again wnoning Os The scale. can be used = Let's took at come examples Gan? Ba?bS Cu? Du? Ex? FUT G7 scale (C Major scale) De? or An? Ba7®S G7 c ov do not have to think of This is a very simple exany each tigeatas Hectadiergeay. The totes played sry the notes fram the Mixo- the tastier your jig, it shows that y Tint you become with these scales, Giifan seate. The more For Toes mill soune Eventually J would sustain the bas Thelp jouw hear better ideas fs and chords as you create nen lines, it wil35 MODE_ COMPARISONS I Believe it te be important to clearly understand the modes that haye been discussed previously The mode is determined by the note of the scale that we start on. The chords in each mode repeat themselves in the same order except that they start in the sequence that the scale determines. D minor seventh scale G seventh scale Dorian mode Mixolydian mode C Major cate Tonian Mode Novice that the three scales have the same notes only in a different sequence. Therefore if you know the Major scales, you will know all of the Gifterent modes. Which note you start on determines the wode when playin ‘da not want {o'seem repetitious, but you must be able te play ‘They should also be practiced Seale for the 12 Major sealec from any note inthe seale in different patterns and apply different rhythn patterns. DORIAN MODE 7 a7 ats M7 w7bS a7 oT OMT TONIAN MODE M7 ow? woo7 oT x MIXOLYDIAN MODE 7 ow whS yo 1 have placed an X showing that the sequence of chords from shat, point BerSiact sane orde® for each of the three modes, it willbe the entvally, bat ascend iat game for all the DIATONIC MODES. There are more modes to learn For non, we will concentrate on these, specifically the Mixolydian Made.PRACTICING THE MODES ‘The following are examples of how to practice the modes, I will use the Mixolydian mode as the model. Each should be applied to all the modes. 7 En? Fur a or An? serS aw 1245 7 (sustain) 1542 2 | have notated the fingering for two chords, the first is the Ba7bS, notice the D minor chord with the B bass counter bass of G, also the Em7 using the the G Najor chord and the E counter bass of C. In further chapters I will go into # mare detailed explanation of these combinations. Eventually we will earn how to play chords from one position as we did with the scales. 337 NEToHBORS ing Tones) We are not constricted to playing strictly the notes in any mode or scale. this 'sould erentuntly become rlpetitfous in sound, Fortunately we. have many Bore hover at our disposals These are called parsing tones or souctimes refer rea’ ta'as neighbors. fhe rule of thumb is (9 ese the here that isa half atep Store the'nofe that is being played: o7 os G7 oo & These are alt exanples of neighbors, it is usually a note outside of the seale or mode that you playing invat the time. The neighbor and or passing fone can also be a grace notes Experiment with neighbors on work you are familiar with, such as previous odes that you have practiced. > ,‘ALTERED DORLIN SCALE ‘7 38 Starting on G a5 123 1 2 3 4 § The melodic minor seale is one of the most useful scales in jazz, it con be played against a variety of chords. Let me emphasize that we use it only in fue ascending form, because in the real form of the scale, the 6th and Tth step are lonered descending. The D melodic minor Is an altered form of the Dorian seale, with the 7th step raised. MINOR (Du*#7)« DORIAN SCALE (a7) D MELO ® sometimes written Datdé M7 The easiest way to remember the melodic minor scale is to think of the De? scale (Dorian) and raising the 7th a half step. De? Deth7 D melodic minor starting on G When we look at the D melodic winor scale starting on G. we have the vitinate scale sequence for the G90> (GP#IT) chord. The C# (Db) is the flatted fifth of G (bS) or the sharp eleventh of G (#11). Therefore we can play the notes in the melodic scale against the 96S (#11) chord. I have given two exanples of using the D melodic minor scale starting on . One example for the right hand and one for the left hand. Notice the alternate chord erample | have written using the Db? chord with G counter bass of Eb. If you are playing a bass pattern by Eb, you do mot have to jump up to G7.39 [BASS_AND CHORD COMBINATIONS. The study of the left hand on the accordion has been for the most part been neglects and maligned for a long time. T can remember when studying. Bs a youngster, the teacher telling me that the altered chords on piano sheet Ausiclcoutd nol be played. The result was that 1 never devoted any time to The left hand s0 tor speak. What a shame that many accordion teachers had this Unchale conception of the instrument. I am not saying that all teachers were of the same mentality, but, the majority mere 1 nave developed a series of combinations that I feel will be an aszet to anyone'attemptingto play jazz accordion. | also fee) it mill be helpful in int cevelopementrof a style for Midi accordion. To futly understand the concept of these combinations, the reader should be knowledgeable of chord formations. Remember we have a slight disadvantage with the playing of the Jet hand. me have no octaves or inversions of the chords 1 itt attemps to help the reader understand this concept by explainin tne LTA cRSESDatS"evzapte ofthe coablestions. in Forming the eth cho Weare using the 1 of the chord in the bass. i ™ . “ “ = Not ice the different ways that we can form the chords for the 6th, the first ts the standard way that everyone knows, the second nas C bass with the A'kinor chords ‘the third way has € bars with F Major chord, (nis may seen ATETe shoots hue iis wedy useful, and the last one see counter bass of Wana the €' Major chord. This 1s used in the event that you are playing bass Haatarciee She"Gattes by'Bo, Ab “This e1imioates naving!te Jump! yp t0/ene € Try sustaining these conbinasions mith C* chord on the right hand, and Listgn othe goutes"eareroliy. You must apply theses to alt 12 keys. fo hat Jaa" blesne proficient in all keys. Renenbef there are unlimited sayz to form IE TERTT ae by using another nace inthe hass besides the 1 of the chordsBASS AND CHORD COMBINATIONS 40 (continued) ‘The following bass & chord conbinations cover most of the types of chords that can be played using the 1 of the chord. (root) carbs ens or 80s (C9)a BASS AND CHORD_CONBINATIONS icontinned) The previous page has the majority of bass & chord combinations, there are more'but these Sre enough for the’ reader to get an idea of hew te fern ine piay then, T would iice*ro point ost thet sone basses used with diminished chords do per workemith all diminished chords, simply deeasse of the structure Sterne tert hang. Particularly where we vse. the C diminished chord with te € Sase"for the Gets we cannot uve’ bass and Eb diminished chord for the Ca Because of the inversion axed in the diminished chords on the left hand. cobs eps 2 7 7 m7 yr F 4 7 6 © 2 vgs! Sats getenveerl elles vms cla siateveaee:besaaped and, lencaad.lesall SEVENTH CHORDS DESCENDING CHROMATICALLY 22 @ fe 7 oe mw Row B ye beet = 2, Ee 2 ay Hy by This nil) certainly stir some controversy among sone. purists of harmony. If you wil notice thal, every"other seventh chard hay a bP in it. Renenber we arcnai holding ‘hese chord for an eternity, the BB Ts. just Tike” playing a passing tone. "fn jazz this is known 2s tension, and 2 tittle tenslon 1s geod. The X is the break point where you move up to cantinue the progression, If we were to continue otherwise, we would be out of position TeRELATIVE MINOR CHORDS “a Relative minor Aa? 6 An? co Any dG Bey D6 Ba? ELS Cu? ES Ota? FO DT AS Fin? BbO Ga? 86 Gan? Feé pony G& En? AbS Fu? Each scale has a Relative anor scaley it d from the sixth ste of the Majer scale. Look at the exanple given above and you will see that Ris the sith step of G. This seale is else known as the Aeolian scale, 60 fot become concerned mith having to kno yet another scale nane, this is just For your edification aniaat PORE De gMeRt aL troring, the relative minor seventh of, cash NS chord. ig SHOE Reap ges Seer aceon Te EUR re SSE 3 co aa? Notice that we did not have to move up to Am chord, me dust had to change the bass The sane holgs true for the Au? to the Co -BOSSA NOVA TRISTE A.C. JOBIM Be BoM? con? gobs Be ‘BbN7 Da7bS — g7b9 oT Am7eS 7 Du? o a7 BOPS BH BI Bba7 ‘+ THE CHORD AND BASS COMBINATIONS THAT ARE IN PARENTHESIS ARE ALTERNATIVE VOICINGS THAT CAN BE USED.im jm | A ‘4 Boa? EBT Bba7 be? Eb7 Ba? Eb7 Bbe7 Eb7 — Bba?Eb7 USE AS INTRA Off ENDIRG eo PT Prt Pp!) Pp OP THIS SONG IS A PERFECT EXAMPLE OF BASS AND CHORD VOICINGS. I AM NOT ADVISING THE READER TO USE THEM AS AN ARRANGEMENT, BUL MERELY TO SHOW THAT THERE ARE MORE WAYS TO PLAY THE LEFT HAND THAN THE ARCHAIC WAY WE HAVE BEEN TAUGHT. THERE 1S ANOTHER REASON FOR LEARNING THESE VOICINGS, THE MIDI ACCORDION 1S GAINING POPULARITY AND THIS CERTAINLY ENHANCES THE PLAYERS SOUND BY FORNING THESE CHORDS. J AVE, ALSO BEEN WORKING, AND EXTERINETING WITH THE ROLAND, RA-SO DRUM MACHINE WHICH PLAYS ACCONPANINENT WHEN YOU PLAY BASS AND CHORDS ON MIDI ACCORDION. 1 BELIEVE FOR THE SOLO ACCORDIONIST 11 TS AN ABSOLUTELY MARVELOUS PIECE OF EQUIPMENT.45 INISHED SCALES 87 Seale cov Ro? Seale pee? T have written three ai Aifferent diminished scaler The CO har the same motes as the EbO\GD® (F#°) and AC. TI DbO,E°,C0,Bb? and D9,FO,Ab0,BO, (Repeat themselves) intshed sealer, there are basically only, three Tey repeat thenselves every ONE thn «HALF STEPS. \F Rolds-trae Tor the Notice that the diminished seale ie a combination of two dimin The CO has the DO chord in it's structure. You will also notice thet if you know the CO chord , you will also know the = EO ,Gb°,A° chords. they are just invers ch other. ed chords. - You will see that the diminished scale is a in jazz."On the next page I have written the di Starting from any note. Basically remenber there are only three. Play the €® scale and Sustain the C® Eb° Gwe A® bass and chord one ata time and you will see that they can all be played against each ether je scale to know47 SYMETRICAL SCALES ar C07 Scale B Syectrical Seale 1203 1 2 3 1 2.37 2 1 2 3 § 2 3 12 wie F# Symetrical Seale 12 3 1 2 3 40.2 3 21 2 3 1.2 8 D°7 Seate CH Symetricel Scale 1202 3 442 3 2 1 21 2 304 12 hi myaaeeea, Soule Va KORN Site tee & rare orcUNcaneLaeRE Notice that it is the diminished scate, bur starting 2 half step before the root of whichever diminished scale you are playing. Why not just cat) it a diminished seale? I believe that the more we can ident fy or iabel soneching® ine easier it Is. to Tenember it Bay choose his or ner own way fo become familiar with the scale The symetrical_ geale can be used against many different chord changes, such'as 71h, $08, 789 chorde. The diminished seale can also be Used apeinat these sane changes, bet by calling them syeetrical scales it is eagicr te tenenber” For example the” DBO scale can be played against the OPS change, Tp easier to thiak of © symetrical seale, than (ovo mental gymnastics, are two exanpl ‘The reader cos (e7F1T)ae ‘SUPER LOCRIAN SCALE D melodie minor Super Locrian This wilt introduce the Super Locrian scale, which is just another fore of the Diaclodic wince. sealer Remember on the previous page I'discussed that it EMSiteMfovlasel seales to bave their own identity. When we use this scale as sbstliatigny s1"Eecbde}eazier! fo repenber nd lent fy Le 36 the super, leer an seales For ciarple this scale can be used against the minor seventh, 7th. 3Rs" aT changes? 5 Let us now apply the concept. Dbobs (pp7Htty a4 2 The above are just examples of hon the SUPER LOCRIAN SCALE can be used. shere ave many nore, substitutions that this scale can be played against. Notice ‘in the eraaple shere we sustain the G7 chord vith the Db (Of) counter bare of A Renender It Ts one "of the inversions previously given in the bass chord fxamples.' You could’avsa ube the © bass and G7Uh chord, I prefer the above when the Fituation arises: I do not want to sound redundant. but, these should be played against changes invother keys. You should experiment and see how many ¢ifferent waye'to use this scale.a9 APPLICATION OF SCALES (melodic minor & symetrical) Melodie c7bS cgb5 cat cabseco#it) cab5 (cot © Syeetrical | (be) c9bScco#l1) - 2 1 have written a fen examples of the melodie minor and the symetrical scales and how te apply then fo the OOS or Cofil, tnere are also evanples of sustaining chords. The only way that you can become proficient with their uses 1s by practical application. aelodies. h50 ‘TRANSPOSING BY NUMBERS The use of numbers in trancporing ts doth musically and mathematical | correct. Musie Tevane of the moet enfet of all sciences. 2 IM 4M IM 57 IM 57 IM 57.457 3m Ssus 27 87 VIL 4M IM Qe 871m 57 57 IM 4M aM Sm 2m 417M Pap! 4 1M SM 4M IM 2m 27) SN SM 20 S7 1M 4M IN SM IM 4M IN, = sh I have numbered the chords in the song. thematically, the song is in the KEY of F Major. IM is F Major, 4M is Bb Ma 1 dm is G minor ete. When you transpose to another ke), Bb for example, the IM becomes Bb Majors a ipED Mejor Sada ia’etatners _ jou should apply this method of transposing 10 zongs jou are familiar with. it alii help fo being ablevio transpose songs. The ideal tay fa to be able to do Tt pronicatly, but until your ear is developed this will help.s1 [RELATIONSHIP OF MAJOR SEVENTH AND MINOR NINTH (7 & =) We have previously learned about relative chords, such as the C® and the an7."tyore: iP’ anather such relationship ef chords, the Major seventh and the Minor ninth We form the Major seventh by taking the 1,3y5,M7 steps of the Major scale. The winor ninth tg staried'on the aitth step Of the Major. sealer The reader ¥ho Is'truly dedicared to this work, will sec that it {3 the Atelian modes Whereas the sixth chord and the minor seventh have the same notes in th these bave most Of the same nates, bat It is necessary to change the bass note aleo- ow an? 4 7 An? An? or ‘he similarity of these chords is obvious, you will note that the Am? has the €M7 within the chord. ‘The bass note determines which chord it is. This ill be wore apparent as you becone more familiar with chords. | sill write 2 series of exercises for you to help becone versatite in chord Telattonship and it will also nelp develope technique52 WAJOR SEVENTH & MINOR NINTH cu7 An? cur i 4d tbe rs 2 + = 4 ‘The first series of examples (measures 1.283) can be used as background naterial when another lead instrument 1s playing melody. The first measure can be extended to tro measures ar more depending on whatever chord duration is Used. The 2nd and 3rd measures ean be playedas individual patterns 2l30 depending on the beat structure per chord The chords age interchangeable. for example. the C7 can be C6 and resaly= ing te'aatar AnD: The bass ane chords oo not change Sz they Tt oth petterns WOE should on start to ace the relationship of chorés ang how by Just changing the Bass motes changes: the chor ow An nr An? Dm? G75? co as4 , PLAYIN ALL KEYS on Ae? ow53 ‘TE SEVENTH FLI (using the co? ab7h? pO? 4979S Ab7b? g7b9 p79 F7b TBP 17? 79 Bb7>9 po7h E7b? G7b% —Dp7bF E79 a7? Fo 789 co Eph? = BkOGTDP pe ATED 79 Eb7b9 Gp7DS 479 R79 Go7? arb? ‘The diminished chorg,is one of the most misused chords, many times the chor in reality ts 2 789, One of the examples is shen you scgoa diminished before a miner seventh chord, (G® Da?) it should really be A709 Du’. shed can be used for the 769 fT] show how the f note changer the cl The above exai 1 chord and how theSEVENTH CHORD FIGURES (dimlaished chord reference) 56 Fr avr By 7 1945 2¢a5 toes 124 Fe a” ° Eb? or BOT De? = Fr F9b5 The first note of each figure In a measure forms the d can play any figure in a tet agsinst any. of the seventh ch F7'ean be played against Ab7.B),D7 and Vice versa ished chord. we ain that set55 MO NOTE CHORDS The use of just twa notes on the Tight hand with a bass note, can be a ery Full Sound. Novice by just changing the bass nate we have changed the chord. F787 | er pz] Eb? a7] v7 per o7|c7 cor | er F7 B67 | avr D7] G7 Db? | cur c7 F7 | po? 7 | a7 Eb? | ab7 D7 a7 {7 avr] pvr a7] c7 Gb? Ab? D7) Db? G7 | Ge? c7| 87 F7| E7 Bb7 7 ov7] 7 pr | Boy £7 | BO? 47] an7 o7Ba7bS pre | Fe Fea7| 87 | pa7>S Bye | Fo FO Bm7>S Boo | FF Spuq Bon? Boe | Fo Fe En? 47 | Dn7 Deo | Fe $e 5b b sa 2 4 3 The name of this song is HOW ABOUT YOU, ix is one Of the great standards of music, The entire tong is anvefanpie of TWO NOTE CHORDS. This is'2 timple ee ee example ane not a final arrangement. 1 will ase 7. reader to work with, as 69 Auch can be done with itst SHARP_NINE CHORD 9) The #9 chord is another of those dual’ personality chords, It is sometimes catted a half diminished chord, The ninth Step ef the scale is raised a half Step: Notice che bottom nore of each sequence’ of chords. once again they form ThePdininished chords 789 ED7#O pe7#9 A749 Do7#9 E7# 7H Bu7#> D7#O F7#9 AD7#P B7#P aa = ¢ oe abt eke. ett s 2 = va?s ss 23 $ wl 25 Once again we have an example of the relationship of chords. if we change the bass note, we change the chord, We have only four chords ta'a set, because HRerevate™ant) Three diainished chords basically, therefore Si4e12" There being 1D oleferent keys in music. This may be confusing to the reader at this point putas. Jor play and becone famitiarwith the work, it will becone apparert|SWARP_NINE CONTINUED (e749 E0749 corH9-par#? 4749) 8 1204 29 E85 G7#9 Bort. (B79 E745 749 By7#9) 79 670 74 B79, rae bee bet, oe Hy, eee The above exercises are the #9 chords in broken chord fort : Once again we have a set of four different chords for each series. Practice holding sifferent chords as you play each set. They are to be played in triplet a The above figures are the #9 played in groups of fours. they can also be played vaing alitecnth notes, or whatever vlise"jou wish to ausdgn. These mist played Ih all keyse seg tft Povee This is another uscful form of the #9 chord, also play in all ke. are only three different patterns, Remeaber 314 2 a s. There areoaly | y you will eventually compre~so IARP_NINE AND SUBSTITUTIONS The #9 is a very versatile chord, it fits many other chords. if you the botton note af each triplet ascending forms 2 diminished chord. A,C,! and the tap nate forms another diminished chord. Ab,B,D,F. So thercfere they be euber tuted for ithed chords ac well as the chart I have made bel These must be applied to all three patterns previously shown. fe Ee fe fe APPLY BOTH ABOVE IN SAME aeSSWARP NINES AND USINO THEN oe oe eure sme continued on next page61 he previous page and the above are exaapies of the versatility of these coor Reet ious gabe andthe, oye tfc e108 185 SGatbe nd far ead netroe srithadighatiarnah iat eataae ropehce (pint ate) tT perfec sis, ae! Let's take the first line of the previous page using G79, substitute G_ ae eating Ine fies Hine of he prey ious FREGAS* SE Ca ying fnts could be 2 SPS DEE SEES a BL, Se dee neh ae ee teeettart Sa arta’ Toner > If the reader deesn*t know Blue Basso, use any song that you want I nave written a bass progression for each sequence, notice that it is the 9bS arperggia, this is just an exapple of what can be played. This also means Bee TEPeTeR ian TMS EF lube Tture’ for a 784,908 as you previously have Tearned J advise mat you Become proficient inthe vee.of this chord and Im is*s many forms. It wil) help you tn your jazz improvisation and playing.or ‘TIME TO REFLECT I would like to take this time to advise the reader to stop for a moment, and reflect on what he or she har learned up to this point. You must review and be sure that all of this knowledge has been absorbed thorough! y. You should be able to apply the material to songs that you previousty knew, and to any new songs that you ntené to work on- | Rave foure that new songs are beter because'we get stale working on things me have been playing £0 much. We sonetines seen to run out of ideary it always iz a good ieea to play songs Tn different keys than the ene we have been playing Int SOU UTS GP HOHE, Him enetig bee, Sept [alten fish Soeinedey sa. 00pt reals You ahould know a1 of the chords and their inversions and be able to apoly then in-song form, Play the melody of the song in chores, and then tiny the!ae ody and piay s chord backgound. > * * Do not be afraid to experiment, the only way you can learn $s by tryin; Gifferenc ideas. Don't get’ into a rut and abeays pray the same figure or chord in the Same piace. When’ you make a mistake be aware Of the mistake and try no! to nate that’same one agzin The knovtecge that you should have at this point, will help you to under~ stand the remainder of the work in'this book. I'etrezs that you try to analyze Gach new study that you undertake, tt ig'not enough fe play thing!’ physiealtys Jou must alsa’knoe them mentally I'm amare that some of you are trying to learn the material in the book by yourselves. This could be an advantage if a teacher is not familiar with these Studies, bur if you have a teacher who is well versed in jazz, then you have s distinc? advantage.63 ERE SINCE THE CONCEPTION OF "BOPr WE HAVE BEEN LED TO BELIEVE THAT THE CHORDS USED. IN THAT ART FORM ARE NEW. THIS IS A WYTH. THE MASTERS Sar NTH AT fey MEQ NTN THEIR MSC THEY WERE JUST CALLED BY THEIR PURE HARMONIC NAMES. BACH WAS THE ART TATUM OF HIS TINE AND CHOPIN THE BILL EVANS OF HIS ERA. “TWILL USE CHOPINS NOCTURNE IN Eb AS AN EXAMPLE OF NODERN CHORDS BEING USED ‘A HUNDRED AND FIFTY YEARS AGO. NOCTURNE FREDERIC CHOPIN Op.9,42 Eb Abe Bo 7 b Boa Fa om Notice the genius of CHOPIN and how he uses BASS lines (B) also his use Eb bass against the Ab (A). In.example (C) be usec a Bball with F tn eBags. Where be uses the Eb BASS against the AbC CHORD that is in essence s*aurtS salen leads to the Eb and EUW. By? om ae Bb7, Eb ao «© notes from one CHORD This ie a pertect example of 2 BASS, Tine connect je Bb sus. CHORD. to the nevt. (By The neat example (E) is the use ofNOCTURNE. “a F Harmonic minor CHOPIN used the HARMONIC MINOR SCALE masterfully (F) against 2 C729, he started on the second step of the F. jC MINOR. This if used in Jazz as notes to be played against the w7P5, 759 and others which is covered in the book. o FD Bb OB7 FCT F7 BOT sanchOLiEe thE Egutrary wetton BASS progression In 1G), the CHANGES and BASS ines are beautiful. There are many examples of modern ay chords and odes used by the MASTERS before anyone even knew what Jazz was, the student who has studied classical music ha: such an advantage when he of she eventually leares Jazz.