Dick Groves JAZZ KEYBOARD 1 PROGRAM ¢ Mm « Definitive Voicings TEXTBOOK © 1994 Grove/Rasch Music Education SystemsJAZZ KEYBOARD 1 Definitive Voicings LESSON 6 ° Sy ©1994 Grove/Rasch Music Education SystemsLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 i INDEX LESSON 6 TEXTBOOK Intreduction .. History of Jazz Piano - Part 1 - the Tradionalists .. Voicing Department Natural Pivots .... Harmonic Pivots High Tension Chords Melodic Phrasing Department Arpeggiated Embellishments .. Solo Piano Department Dminished 7th Chords MiMa7 Chord: Mi7(+5) Chords .. Dominant 7(b5) Chords Altered 9ths 19 Modulation Department 20 Pivots Applied to Changing Momentary Key Center: 21 Pivots Applied to Hearing Momentary Key Centers 2 Keyboard Settings Department 24 Keyboard Settings #9 & 10 Technique Department .. WORKBOOK Introduction .. Voicing Department Exercise #1: Example: Definitive Tone Voiceleading 13(b9) Exercise #1: (13(b9) Exercise #2: (13(b9) Exercise #3: (13(b9} . . 36 Exercise #4: Example: Definitive Tone Voiceleading +7(b9) 37 Exercise #4: +7(b9) 38 Exercise #5: +7(b9) .. 39 Exercise #6: +7(b9) 40 Exercise #7: Example Definitive Tone Voiceleading 7(+9) . Exercise #7: 7(+9) Exercise #8: 7(+9) Exercise #9: 7(+9) ; Exercise #10: Example Definitive Tone Voiceleading +11 Exercise #10: +11(b9) Exercise #11: +11(b9) .. Exercise #12: +11(b9) Continued on next pageii DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 CHAPTER 6 INDEX CONTINUED Exercise #13: Example Definitive Tone Voiceleading +7(+9) Exercise #13: +7(+9) . Exercise #14: +7(+9) . Exercise #15: +7(+9) . Exercise #16: Example Definitive Tone Voiceleading +1 1(b9) Exercise #16: +11(b9) Exercise #17: +7(+9) . Exercise #18: +7(+9) . Melodic Phrasing Department Exercise #19: Example: Arpeggiated Embellishments .. Exercuse #19 cesses Exercise #20: Example: 9 to 1 Arpeggiated Embellishments Exercuse #20 Exercise #21: Exampl Exercuse #21 Exercise #22: Exampl Exercuse #22 ... sevstninnsess Exercise #23: Example: 7 to 3 Arpeggiated Embellishments Exercuse #23 . Exercise #24: Example: 5 to b9 Arpeggiated Embellishme Exercuse #24 Exercise #25: Exampl Exercuse #25 —— Exercise #26: Example: 7 to 5 to 3 Arpeggiated Embellishments Exercuse #26 ... aseeees : 7 0 3 Arpeggiated Embellishments .... 9 to b13 Arpeggiated Embellishments .. 7 to 3 Arpeggiated Embellishments Solo Piano Department Introduction Exercise #27: upporting a Jazz Melodic Line with 7 - 3 Voicin Exercise #28: Supporting a Jazz Melodic Line with 7 - 3 Voic Exercise #29: Supporting a Jazz Melodic Line with 7 - 3 Voicings Exercise #30: Supporting Definitive Chords in Minor with 7 - 3 Voicings Exercise #31: Supporting 7(b5)'s with 7 - 3 Voicings V7 -|miMa3 .. Exercise #32: Supporting Melody Notes with 7 - 3 Voicings - limi7 — Exercise #33: Supporting Altered Major Chords with 7 - 3 Voici Modulation Department Exercise #34: Example — Hearing Key Centers a Tritone Interval Away .. Exercise #34 ... cesenseetsnsteneseeeesnstce Exercise #35: Example - Hearing Key Centers in the Relative Minor Exercise #35 ... Continued on next pageLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 iii CHAPTER 6 INDEX CONTINUED Keyboard Settings Department Exercise #36: Introduction .. Exercise #36: Keyboard Setting #9 Exercise #37: Keyboard Setting #9 Exercise #38: Keyboard Setting #9 Exercise #39: Keyboard Setting #10 Exercise #40: Keyboard Setting #10 Exercise #41: Keyboard Setting #10 .. Summary «. Dick Grove Trio Performance Lead Sheet: ‘Down Deep’ Practice Schedule Coming Attractions - Lesson 7 Recommended Practice Schedule .. Practice Log ..LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 1 | NTRODUCTION Le We are now well into the last half of the Jazz Keyboard 1 Course. We will continue combining both hands, playing our own version of the melody (which includes rephrasing and embellishing it), while supporting the melody with definitive voicings. We need to do more workout with get- ting spontaneous with the supportive voicings under the melody, and will start in this lesson to add some of the chromatic definitive tones, below the melody. We will also initiate a short, general History of the Jazz Piano, starting this lesson, and con- - tinuing through Lessons 7 & 8. Although | am sure many of you have extensive record collections and perhaps many favorite players you enjoy, this ‘review’ may fill in some gaps for you. If you have neglected the experience of listening to these wonderful players, it would be important to you to start to listen more. This is because as your own abilities increase, the conceptual influences that these players have on the ear, need to be understood. Voicings Department: in this lesson we will concentrate on high tension tones in the melody (altered 9ths, 11ths and 13ths). This work will serve as a nice review of what we have accomplished to this point, and start to put us in ‘ear’ control of the voicings. Melodic Phrasing Department: the last important embellishment technique is called the . Although we have saved the hardest for the last, this becomes a very important facet of jazz improvisation., and should be a great interest to you. Solo Keyboard Department: more practice with supporting melody notes with definitive voicings. We will also work with short segments of songs to apply voicings under the melody or embellished melody as well as playing some jazz lines at moderately fast tempos. Modulation Department: after finishing our last of the eleven possible modulations, we now start the process of working with modulations into minor key centers. This incorporates the pivoting of scale degree tones using chromatic scale degrees to define altered chords of minor key centers. Keyboard Setting Department: this lesson we will concentrate on playing 4-note definitive voicings in the left hand, against single note melody or melody in octaves in the right hand. Technique Department: more major scale and some octave exercises for both hands. ‘As we continue to evolve our playing, the expanding possibilities are designed to impact on your ear to the extent that you can ‘hear’ the impression of all of these areas intuitively. That is part of the point in the many exercises you work on in each lesson. Although it may seem that the ‘road’ is a bit endless, the foundation is of critical importance, and our first plateau is to be able to play tunes musically, from an ‘ear’ approach. We are getting there ----- Dick GroveLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 3 LESSON 6 1. All great jazz pianists, from any era, have certain things in common. They represent the evolution of our American art form at the time of their involvement, and their unique talents are a statement at the highest level, of what the musical ‘ear’ comprehends, based on the influences of the day and age. 2. All these players are ‘ear’ players. Many, from the earlier days of jazz piano, did not read music and were not taught at a university. They learned by playing, and they played what they heard. Certainly, areas like technique and coordination of hands are important aspects of making music - but to create pianistic solutions spontaneously at the level these men and women accomplished only comes together when the ear comprehends what the music will sound like, in real time. 3. The point is that the only ‘honest’ reflection of jazz are the sounds that can be assimilated by the ear. All the intellectual information in the world does not result in the humanistic message that playing by ear accomplishes, and the measure of this idea is that when you think about it, you realize that the players you appreciate the most are always the artists that ‘talk to you’ with their music. 4, If we can nibble away at the intimidation of playing spontaneously by ear, we can get to the point where you can really start ‘down the right road’, and develop your ear so that you too are playing by ear - an educated ear! 5. There are obviously many wonderful pianists. We will only mention the ones that are considered innovators, or who represent their era of music in the most noteworthy way. The players can be divided into three main categories of players: the traditionalists, the modernists, and the contemporary. This lesson we will discuss the traditionalists. 6. This eta of music includes what is called ragtime, stride, Boogie Woogie and swing, and goes back to the early part of this century. We are discussing those players who are considered the forerunners of the jazz style of piano that we think when relating to todays players. JELLY ROLL MORTON | Born 1885 - Died 1941 | | First Recording 1923 Famous Solos: “Mamanita” / “The Pearls” encompassed harmony with leading tones, and rhythmically used phrasing anticipating 3X of the measure. His compositions were typically forms using 8-bar segments like section A/B/B,A/C/C,B & Coda. Each would change keys in a closely related fashion (Eb to Cmi to Ab to Eb). The cangto influence along with the ragtime syncopation are both present in his music. | Jelly Roll is considered the bridge between ragtime piano and the stride style. His playing |Page 4 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 JAMES P. JOHNSON Born 1891 - Died 1955 | Famous Solos: “Snowy Morning Blues”, “Mule Walk” James P. Johnson is considered the father of the ‘stride’ piano. Stride combines a march- like feel with the ‘oompah’ left hand associated with the ragtime piano of Scott Joplin. In Johnson's case, it had more of a softshoe inspired 12/8, rolling feel, rather than the more even 8/8 feel of ragtime. The 12/8 feel of course, is the basic rhythmic feel of modern jazz (from the cymbal patterns drummers play to the phrasing of bebop). WILLIE ‘the Lion” SMITH Born 1897 - Died 1973 Famous Solo: “Echoes of Spring” | An important pianist of the era, he played with and without using the ‘stride’ left hand that was so prevalent in this period. “Echoes of Spring” is an A/A/B/A form, and includes an interlude. MEADE LUX LEWIS | Born 1905 - Died 1964 Associated with the ‘Boogie Woogie’ style of this period. Composed “Honky Tonk Train Blues”. Boogie Woogie features a straight 8th note rhythm wherein the left hand plays a constant ostinato pattern, usually on the standard blues progression. The main impres- sion of this style is the relentless rhythmic drive of the left hand. The right hand is very ‘blues’ oriented with modified major scale sounds, riffs, and arpeggiated melodic ideas. | | Ittook a very strong left hand to be able to execute the style.LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 5 | EARL HINES: | Born 1905, - Died 1983 Famous Solos: “Blues in Thirds”, “I Ain’t Got Nobody”, “57 Varieties”, “Chimes in Blues” | He was closely associated with Louis Armstrong, and both influenced each other. This was the beginning of jazz piano melodies emulating how horns played melodies, and he is important for this reason. Hines bridged the ‘stride’ left hand style into the ‘swing’ 1 style. He also represents the transition from only solo piano (the ragtime and early piayers), to playing with a rhythm section (which makes the ‘stride’ left hand unnecessary. | r a | MARY LOU WILLIAMS | | Born 1910 - Died 1981 | | The most influential woman in jazz and arranged for bands as well as played. She moved from Boogie-Woogie into the swing era and ended up in the bebop period. She was on the | faculty of Duke University. She actually crosses over from the traditionalist category into | the Modernist. | —— ooo _ a FATS WALLER Born 1904 - Died 1943 Famous Solos: “Honeysuckle Rose”,”Keeping Out Of Mischief Now”, “Carolina Shout” Waller is one of the best known pianists of this period, primarily because of songs he wrote, like “Honeysuckle Rose” and ‘Ain't Misbehavin” and his exposure in movies. He died at 39, and certainly would have become a major artist if he had lived. His humor was a well known trademark. His playing featured his great ‘time’ feel, and can be credited with evolving improvisation to its next levels. He was an influence on Art Tatum.Page 6 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 TEDDY WILSON | Born 1912 - Died 1987 | Famous Solos: “Smoke Gets In Your Eyes”, “Rosetta”, “These Foolish Things” | Wilson played with a ‘horn-like’ melodic line, and a stride left hand with more of a | swing or ‘4" feel. He was the first black musician to play in an integrated group, with Benny Goodman's trio, and broke the color line to lead the way for all others. His | playing was very smooth and fluent. His left hand often played 2, 3 or 4 notes in tenths, resulting in a fuller, more harmonic impression. | 7. This completes the category of the most well-known traditional pianists. It is highly recommended, if you are interested in some ‘background’, that you consider purchasing a collection of 4 CD's from the Smithsonian Collection, released in 1989. Concept is a magic word that means that when your ear can determine the difference between different eras of jazz piano, and different individual concepts or approaches that these hallmark pianists used, you begin to develop the ability to ‘guide’ your own playing, as we evolve through these key- board lessons and their applications. 8. The material in these lessons are designed to give you the background to bring these concepts to life, and experience yourself as you gain more foundation and your ear understands the impressions and subtleties of the music. 9. If you haven't heard these players, or been exposed to their contributions to this art form, it will make it more difficult to for you to develop your own interpretations down the road. 10. In Lesson 7 we will discuss the Modernists of Jazz Piano, and then in Lesson 8, the Contemporary players. Stay tuned!LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 7 Te ems ae 11. One of the primary characteristics of jazz is the use of chromatic definitive tones in the melody of compositions and for improvisation. Our work in the last two lessons has involved using the chromatic definitive tones of a key center, added to the diatonic definitive tones. This means, as there are always the two diatonic definitive tones present in every chord, that it is possible to add one to as many as four chromatic definitive tones. 2. This approach therefore creates two to several notes played in the right hand, with the option of one to three tones in the left hand. The conclusion you should understand is that we are c ating voicings, not by memorizing chord spellings and a formula of distribution to create oicing, but by hearing and playing the important definitive scale tones of the active and ting chords of a given key center. The idea here is to produce chord voicings, distributed een our two hands, that define musically, the particular chords of a momentary key 3. \'.ben looked at from the standpoint of our ear, these tones represent the sounds of each chord our ear should be hearing, of each chord. These sounds can be thought of as the es- of what a good ear hears in each chord. Following this approach one more step, we be realizing that when this approach is used in a chord progression, these essential de- cive tones all lead to one another, producing a horizontal, linear, melodic sound. This is ‘nallmark of a good musical harmonic interpretation, applied to compositions and songs. eading character of these definitive tones creates ‘harmonic melodies’ that our natural € an intuitively relate to. This helps when it comes to memorizing songs, and as we will $ Wwe continue our studies of improvisation, become the real basis of creating spontane- musical jazz melodies. + exercises in voicings, starting with the diatonic 7 ~ 3 voicings, we have applied the Sach to combinations of the Imi - V7 - | in major and minor, the Ilmi - V7 only in major inor, and limited experience in only the Ilmi7, the V7 or the I chord in major or minor. 3 esson we will work moving from one form of a dominant chord, consecutively to dominant chord. This means we are changing momentary key centers on each chord. s te of progression really brings out the internal voice leading of all the diatonic and c definitive tones. This is an area we need to investigate in detail in this lesson. concepts were explained in ‘See It - Hear It/ Hear It - Play It’ - Part 2, which you or may not have studied. It is applied here, either to refresh your memory, or to sh the ideas if you have not completed that course. NATURAL PIVOTS ¢ already made much use of the fact that changing momentary key centers or $ really a matter of the ear hearing the function of a scale degree change to a nction of another scale. In this sense, ri function a: . This is obviously a vast set of possibilities. It’ courses we would sight sing these pivots, mainly of the melody. It is in the # songs that the full potential of any scale degree pivoting to become another ee has its greatest potential.- Page 8 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 ——_—__ aa mm HARMONIC PIVOTS | 18. The scale degrees that pivot and define the new scale harmonically are not as varied as found in melodic pivots. Harmonic pivots are limited to the leading intervals of the major scale, nar~aly he'fste,s and a perfect Sth down (perfect 4th up). These leading intervals, when functioning as harmonic pivots, define where they are moving, and therefore lead the ear properly. TI - FA PIVOTS 19. As we have seen in earlier lessons of this course, when a scale degree of a major scale is raised (sharped), it by default, pivots to function as TI of the new scale or key center. When a scale degree of a major scale is lowered (flatted), it by default, pivots to function as FA of the new scale or key center. This phenomenon will be referred to as the TI - FA pivot. The ear can hear the tone a halfstep higher or lower very easily. When this tone changes its function to TI or FA, the ear has heard the definitive tone necessary to then hear the pivot of all the remaining tones of the new scale, As every scale contains two leading halisteps, we find that one of the two possible leading tones will be chromatic to the existing scale and the other will be diatonic. The chromatic note is more obvious, colorful, and is considered the more definitive because of its chromatic character. It draws more attention! PERFECT Sth PIVOTS 20. This is the most natural pivot of scale degrees. In this pi 1e detinitive scale degree changes its function up a Perfect Sth interval. In this sense. s is a commontone pivot (the Same _tone now functions in the new scale a Sth higher). Typical examples would be: a. ME pivots to become TE b. MI pivots to become TI b. DO pivots to become SO . When this pivot occurs, the result is that the momentary key center changes by one accidental (key of ‘C’ to the key of 'F’, etc.). This is probably the easiest change of key to hear, and is very common in standards and jazz compositions. When musicians refer to the Circle of Sths relationship, what they are talking about is either chords moving in Sths ('C’to ‘F’ to ‘Bb’, etc.) or key centers changing in that same 5th relationship). Therefore, a chord progression that moves from the key of 'C’ to the key of ‘F’ would be an example of the Perfect 5th Pivot. 2 E Ke G mo gop? T ‘xample 1 Key of F”LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 9 THE TRITONE PIVOT 22. The third pivot of definitive scale degrees is called the Tritone Pivot. In this event, the 3rd and 7th of a dominant chord interchange their function: a. TI pivots to become FA b. FA pivots to become TI 23. The interval relationship between TI and FA is a tritone (or augmented 4th). When this interchange occurs, the root of the chord moves by the same tritone or augmented 4th interval. The momentary key center therefore changes by the same relationship of a tritone. Example 2 Feeyof ©] [key of Go Db7] 5 | Tritone Interval (Aug 4th) 24. This pivot or change of momentary key centers is abrupt and very chromatic sounding, as six accidentals are changed at once (we are able to hear the change, as the pivot tones are both commontones). This relationship is a standard jazz chord substitution as each tritone substitution is based on the Circle of 5th (Perfect 5th) pivot discussed on the previous page.Page 10 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 oo HIGH TENSION CHORDS 25. Our voicing exercises for this lesson will concentrate on playing more of the diatonic and chromatic definitive tones introduced in the last two lessons, Ir our exercises, the top note will be a high tension tone of the chord (9th, 11th, 13th or an altered version of the extension). The ‘sound’ produced by the more sophisticated melody tones supported by the natural definitive scale degree tones create solid, orchestrally projecting keyboard voicings. Our goal is to become more familiar and intuitive when playing voicings with these more intimidating extensions in the melodies. When you ‘comp’ or support someone else playing or singing the - melody of a song, it very effective to use these high tension tones as the melody note of your voicings. As you play the exercises, try to be aware of the supportive definitive tones, and pay special attention to how the definitive tones ‘lead’ to each other. You will find that when the roots of chord move in the Circle of Sths (these are Circle of 5th pivots), that the definitive tones lead to each other in this fashion: a. 3rds move by step or commontone to the 7th b. 7ths move by step or commontone to the 3rd c. 9ths move by step or commontone to the 13th or Sth d. 5ths or 13ths move by step or commontone to the 9th e. 11ths move by step or commontone to the root or 9th £. roots or 9ths move by step or commontone to the 11th 26. As you practice the exercises, you can sing any one of these ‘harmonic lines’ as you play, with the idea being that the leading character of these definitive tones allow you to ‘hear ahead’ as you are moving through the changes of key centers. 27.1t will not be unusual to find yourself playing four tones in the right hand, with the options of one or two notes in the left hand. We will play these voiceled progressions so that the root and diatonic definitive tones (3rds and 7ths) are in the lower voices, while the chromatic definitive voices are in the upper portion of your voicing. When played in an open position, the diatonic and chromaitc definitive tones are more obvious. The following example illustrates how these ‘harmonic lines’ lead in a very natural manner. Example 3 G7(b13,b9) C7(b13,b9)__F7(b13,b9) Bb7(b13,b9) —- Ebmad ———— ess ee vo bis bebo = \~° |LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 11 Dake) OR dae em eS Le 28. The next and last type of embellishment is called an arpeggiated embellishment. Along with passing tones and scale tones, neighbor tone combinations, and turns, the arpeggiated embellishment completes the four types of embellishments that create improvised ideas. They all share one common focus, which is that they are heard as moving into or around a target note. Target notes, as we have discussed, can be: 8 a. melody notes (mainly placed on primary beats) b. definitive scale degrees (diatonic and chromatic) c. chord tones (root to the 13th) d. scale tones (ascending or descending) nding target notes is obviously not a technical problem, as in one context or another y tone can be a target note. To this point we have limited ourselves to melody notes however, we have been preparing for working with the definitive scale degrees, etc., ich we will gradually work with. 1¢ goal of the course is to ‘hear’ these possibilities and to be able to execute them spontaneously. ARPEGGIATED EMBELLISHMENTS The concept of an arpeggiated embellishment is as follows: a. strike a target note b. move down (or up) a chord in an arpeggiated fashion, playing each consecutive tone in adjacent order (7-5-3-1; 13-11-b9-b7: 3-5-7-9) c. return to the same starting target note OR d, return to another target note or scale tone that is a step above or below the initial target note. Example 4 | Four Note Arpeggio | Three Note Arpeggio Chord Tones: (9) ~— Target Notes 7 5Page 12 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 33. A natural variation to the ‘shape’ ormelodic contour created above, is the following: Example 5 a ee] Four Note Arpeggio | Three Note Arpeggio Chord Tones: QQ) HE Target Notes 34, This contour, applied to a melodic motif, could be interpreted in this manner: Example 6 | seco | ‘Cma9 Cmad a XD 35. In this version of an arpeggiated embellishment we skip immediately after striking the first target note, then ascend up the chord returning to the first target note, resolving to the second target note (or the initial target note), completing the movement of the step-wise motion from the first to the second target note. 36. When using arpeggiated embellishments, a melodic ‘shape’ is created that adds a contour to the melodic line that differs dramatically from our other embellishments that are mainly constructed of 2nd intervals. 37. The distinction between simply running up or down a chord in an arpeggiated fashion, and an arpeggiated embellishment, is that the arpeggiated embellishment ‘melodically ‘completes itself when the last target note is struck (the 2nd target note being the same as the first one, or a major or minor 2nd below or above the first target note). In this sense, the arpeggiated run of notes ‘connects’ the first and last notes of the phrase. 38, Playing three or four tones in an arpeggiated way lays well pianistically, as all the notes fall within one hand position which enables us to execute these embellishments rapidly. Rhythmically, arpeggiated embellishments are more effectively used as ‘rhythmic pickups" into primary beats, and the tempo of the music usually motivates the rhythm, which in turn motivates how many tones are in the arpeggio and how fast they are to be played. The arpeggiated embellishment will subdivide a beat once, twice, four times or even more. The next example demonstrates typical rhythmic possibilities of these embellishments.LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 13 Example 7 [ALL 8th NOTES ‘ROLLED’] Dmi7 G7(b9) cmi7 F7(b9) Bbma7 ro34 connects to ‘B’, connects to ‘Bb’, connects to / [iiplet pthmic varie | [Teths foryihinie varie in a slow tempo, all these rhythms could be played twice as fast, following the same contours and variations rhythmically. Example 8 TT 371 ee BW... . 6G aad — a Billi fc. eo i lo > tempo, all these rhythms would be played twice as fast: Example 9 Dmi7 G7(b9) Cmi7 F7(b9) Bbma7Page 14 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 41. The ‘key’ to applying and hearing arpeggiated embellishments will be the target notes leading to each each (relative to the chord rhythms of the specific chord progression). As arpeggiated embellishments are ‘mixed’ with the other type of embellishments, an infinite number of possibilities are presented. This concept creates the cornerstone of what we thinl: of as ‘zpot.:aneous improvisation’. 42. As chords or melodies progress, any two adjacent tones a step apart can be used as target notes for an arpeggiated embellishment (Example 4). A held on sustained tone can be used as an embellishment whose target note returns to itself (Example 5). 43. In our first application of arpeggiated embellishments, we will use melody tones as target notes. As there is always an option of rephrasing the rhythm of the melody, our ear will often hear the melodic rhythm phrased in such a way as to place our arpeggiated embellish- ments on primary beats or points of chord change. In the following examples, the circled notes represent target notes that are either a half-step or whole step from one another, or else the embellishment returns to the initial target note. First is the original melody, with target notes shown in circles. Example 10 Fma7 Fmi7 Bb7 44. Example 11 is a different variation of the same melody. using the embellishments in a contrasting manner. Example 11 Fma7 Fmi7 Bb7 in| Seer. —LESSON 6 DICK GROVE JAZZ KEYBOARD 1 Page 15 45. Here are some more examples of applying arpeggiated embellishments to the melody song using melody tones as target notes. Other embellishments can be freely mixed in Example 12 Fma7 Emi7 AZ Dmi7G7_—Cmi7 F7 © Example 13 Fma7 A+7(b9) — Bbma7 D7(+9) Boy cot es Example 14 Bbma9 co A+7(b9) D+7(+9)Page 16 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 SOLO PIANO 46. Continuing our work with Solo Piano aspects of playing, this 1esso1 will concentrate on gaining experience placing the closest 7th and 3rd below: a. Diminished 7th chord tones b, Out-of-chord melodic tones on diminished 7th chords c. MiMa7 chord tones d. Major, minor and dominant chords with altered Sths in the melody e. High extensions (9ths, 11th, 13ths: as melodic tones f. Altered high extensions as melodic nes 47. In focusing on these more ‘unusual’ vertical configuratio to concern ourselves with chord spelling only. This is be: fortable physically with the ‘feel’ of executing these situ to be able to play supportive definitive voicings below elodic tone spontaneously. Consider this work to be ‘wood-shedding’, or gaining technique and familiarity with recognizing these chord forms. Almost all of these chord forms reflect minor tonalities, which again, are more difficult to recognize and hear spontaneously. 48. These altered chords are a hallmark of the jazz style. As d unique characteristics that can best be described melodicall ‘color’ tones. Color tones translate into chromatic substit: although more difficult to hear, must be mastered. We nee: less obvious chord symbols, the accidentals involved with th to be able to actually hear these chords! need to go a step further than are trying to become com- cons in all keys. All this is an effort d previously, jazz has \d harmonically as utilizing of the major scale, and not be intimidated by these special chords, and we need 49. In this lesson we are first going to examine each of these c tones, become aware of their ‘shape’ structure, and then in playing them in context to short melodic phrases. and their possible melodic ¢ workbook section, practice DIMINISHED 7th CHORDS 50. A Diminished 7th chord functions as a Vil chord in minor, and is very common to all styles of contemporary music. When the root, min3rd, dim 5th or dim 7th is found in the melody, you will still support and define the chord by placing the closest 3rd and 7th below the melody. 0, or three tones in the wise). The next example gives minished 7th chord with a chord tone in You will be playing three tones in the right hand, and can piay one, t left hand (depending on the placement of the voicing, reg you a model of our definitive voicing solution of a d the melody (See Example 15 on the following page).LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Example 15 Fo7 Root on top / 3rd ontop / Sthontop / 7th on top eo Example 15 illustrates definitive 3rds and 7ths supporting the different chord tones of the inished 7th chord. The left hand can optionally play | to 3 tones, depending on the er placement. minished 7th chord is unique in that it is based on an 8-note symmetrically formed le, This means that there are eight possible melody tones (the four basic chord tones nin Example 15, as well as four out-of-chord tones). When these tones are supported h definitive voicings, the result would be as shown in Example 16. Example 16 FO7 Fo7(addG)/Fo7(addBb) _/FO7(addC#)/ FO7(add E) 4 am aise aa as Zz ra a —oF 7 Ciera MiMa7 CHORDS + category of chords to be examined are all the forms of a Imi chord (Chord Family #4, Hear It / Hear It - Play It’, Part 2, Chapter 13). These chords, supported with 3 and 7th or b3rd and 6th, can have any chord function in the melody, including h or 13th(6th). The following example details all of the possibilities of the basic msPage 18 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 Example 17 CmiMa7 cmi6 CmiMa7 b3 on top /5thon top / 6thon top / Ma 7th on top = os or t Ss 3 ————— os? > =; = 54. Any use of this chord form below a melody note will behave much like a! chord in major, that is, when DO is in the melody, it is preferred to use the form of the chord that includes LA instead of TI. This solves the ‘clash’ that occurs when TI is placed below DO, a mi9th interval below. In the chord form shown in Example 17, we will use the mi6 form instead of the miMa7 form. The miMa7 chord form is a very angular sound, due to the internal shapes (a 3/1 closed 4th and an augmented triad). Parenthetically, because of the angular sound of the miMa/, this chord is often replaced with a normal mi7 chord. This miMa7 chord must be retained only when the 6th or ma7 of the chord is the melody note. Mi7(+5) CHORDS . The next altered chord form is involves the double alteration of the IImi7 in minor. This. chord can have a b5 (LE) and/or #5 (LI). We practiced playing the +5 version in Lesson 5, and in this instance we will deal with definitive voicings utilizing both of the altered Sths. In Example 18, you will see the Dmi7(+5,b5) progressing to a G7(b13,b9), resolving to a ImiMa7 chord. Example 18 Dmi7(+5,b5) G7(b13,b9) CmiMa7 +5 ontop / b9th on top / 5th on top fy EG 3 i po PrP? ps Pe | 56. In the mi7(+5,b5) chord form, an Open 4th shape is formed, down from the melody note, creating a very modern, balanced 4th voicing. Each tone however, is a definitive leading tone (chromatic definition LI and LE; diatonic definition FA and DO). —— = —_—LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 19 Example 19 Example 20 Example 21 c7 (bs) C 7(b5) CHORDS C7(b5) FmiMa9 Cma7(+5) Cma7 — ass 57. Our next examples illustrate the high-tension, chromatic definitive tones placed in the melody. Example 19 shows the 7(b5) resolving to a miMaSth chord, while Example 20 demonstrates a major chord with a b5 (+11) moving to a ma7(+5). ill see the b9th and +9th of the dom7th in Example 19, the +9th and b13th in Example 20. Example 22 C7(b9) C7 -F7(+9) F7 C7(+11) C7 F7(b13) F7 4 4 1 | 1 sks = re a= PS bo 3 i 7 — —T 59. These rich, high tension chords are used a great deal when comping behind solos, and in ‘jree areas’ of the keyboard arrangement.Page 20 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 MOD! ‘TION 60. This lesson we will vi-rk with th= last possible modulation relationship between keys. This is when a key moves to a new momentary key a tritone apart. In changing six accidentals between key centers, this could be considered one of the more difficult key changes to hear. First, we will examine the way the original scale of ‘C’ is altered to create the new scale (in this instance) of ‘Gb’. In this pivot, TI of the key of ‘C’ pivots and changes its function to FA of the new key center. For as extreme as this modulation is, the commontone pivot just described ~ provides a very smooth way to hear the new key. Example 23 Ae eS I) Kee eels ero 61. Our next example follows this modulation and the pivot tones through a sequence of momentary key areas where each key center moves by an augmented 4th or tritone interval Example 24 Dmiz7 G7 ma7 Abmi7 Db7 Gbma7 £ eo 919 ao yl EtcLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 21 _—_—_—_—_— PIVOTS APPLIED TO CHANGING MOMENTARY KEY CENTERS 62. Now that we have finished exploring all possible modulations from one major key center to another, we will apply this approach to the chord progression of a composition. The goal is to have a techriique with which we can ‘hear’ a modulatory series of chords, comprised of the llmi7 - V7 - Ima7 sequence. 63. As each momentary key center is defined, the pivot into the following key center will always work on the same principles that we have been practicing. This means that the technique to depend on is the solfeg explanation of the key changes. In this fashion, the ‘all-key’ significance of the solfeg syllables will allow you to ‘hear the same sound’, regardless of the specific established key center you are in. This point should be clear to you, as many of the playing exercises we do in our workbook section of each lesson are comprised of modulatory sequences, where the same scale note pivot takes you to the next key center. The distinction in this case is that whereas the playing exercises used sequential sequences of any tone, this department focuses on the definitive tones being the pivot tones when a key change is happening, 0 demonstrate the technique we are discussing, we will examine a chord progression from ‘andard, ‘On Green Dolphin Street’. Looked at from the key signature of the key of ‘C’, will find, in measures 9-17, that the key of ‘C’ pivots and modulates to the key of 'Eb’, n returns to the key of ‘C’. We are examining how we move from ‘C’ to ‘Eb’, and then sack to the key of 'C’. Example 25 Dmi9 G+7(b9) Cma9 co EF + t = oF ox Ss = 4 a) ot nT 2? LA Continued on next pagePage 22 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 Example 25 Continued Fmi9 Bb+7(b9) Ebma9 G7 Cma9 fy. os ee r f crn enc tis] | | fh. | == Mi be a) reo LA DOLE bo so —— fot! | 1 i ——S oe bO—BO- “or tt oT RE RE o@ FA 14 O® FA is OMI 16 G SO 70 sO LE/FA 65. In the Chromatic Harmonic Lines staff, you see the diatonic preparations and resolutions of 1 the chromatic definitive notes of each momentary key center as you played in your exercises in Lessons 5 & 6). The pivot tones from the key of ‘C’ into ’Eb’, and ‘Eb’ back into the key of ‘C’ are indicated in reverse print and arrows. This approach is how you can ‘hear’ the chord progression, and the approach in general is how you can hear any chord progression modulating from momentary key to momentary key. We will be working with this technique in our exercises for this lesson, and in future lessons. PIVOTS APPLIED TO HEARING MOMENTARY MINOR KEY CENTERS 66. In changing to the relative minor of a major key, the definitive scale degree pivot tone to hear would be FA pivoting to become LE of the new momentary minor Example 26 Rau —LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 23 67. When moving into a momentary minor key center, we know that the definitive tones change. In this instance, we will be centering on ME instead of MI, and perhaps TE instead af TI. The same principle is working, but we are applying it to f diatonic ones, and of course, it is the altered tones that tell the ear we are in minor instead of in major. In our first of the possible key modulations, our example will go from the key of ‘C’ to the key of ‘Ami’. In this case, your solfeg harmonic line would be: FA- DO - TI-FA- MI- FA/LE - DO - TI- LE - SO - ME. It is recommended that you should play the example below, and slowly sightsing the harmonic line detailed above. Practice this line (as shown in the next example) as much as necessary. Your ear needs to ‘learn’ this sound. Example 27 Dmi7 G7 ‘Cma7 Bmi7(b5) E7(b9) Ami7 e + 5 A a Ss FA DO TI FA MI FA/LE DOTI LE so ME ticular key change will be our exercise in this lesson - modulating from a major key jative minor key center.Page 24 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 KEYBOARD SETTINGS 69. The settings in this lesson will work with our right hand 3 and 4 note definitive voicings that we have been utilizing in Lessons 4, 5, and 6. The exercises you have been playing lately have created right hand configurations of 3 and 4 notes, using diatonic scale degree tones to. prepare and resolve the chromatic definitive notes of a scale. To remind you = these possibil- ities all stem from the chromatic connecting scale degrees moving from: a. RE to RAto DO b, RE to RI to MI cc. LAto LE to SO d, LA to LI to TI e. MI to ME to RE f. combinations using two chromatic definitive tones 70. This ‘sound’ therefore has the character of a full harmonic impression, and can be used in either hand in a setting context. In this lesson we will apply these voicings to the left hand, creating a setting in which the melody is played in the right hand, either with single notes or octaves, while the left hand functions as a harmonic sustained or rhythmic ‘pad’, defining the harmony of the given progression. That progression can be any of the combinations we have been practicing in Lessons 4 and 5: a. llmi7 or 9 - V7 form - | ma7 or 9 b. IImi7 or 9 V7 form . V7 form - | ma7 or 9 d. V7 form to V7 form 71. The left hand rhythms (relative to a strong/weak unit of measures is usually motivated by the tempo, or by the context of playing solo piano or with a rhythm section. By applying different rhythms to this setting, we can cover all of these possibilities in the exercises for this lesson Now that we have defined the source of the notes, the progressions we will use them on, and the tempo, we will examine some illustrations of how each one could be played. We will limit our placement of the setting to the left hand in the fundamental register and the right hand in the lower portion of the melodic register centered around middle ‘C’. See Examples 28, 29 and 30 on the following pages. ~ . It is recommended that you play the following examples in tempo. The setting is focusing on playing single note melodies in the higher melodic register, while the left hand is playing the more chromatic, four-part definitive voicings we have already worked with in previous lessons, It is important that you make this connection so you realize that the only new aspect of this setting is the placement, playing the voicings in the left rather than the right hand, and noticing how the rhythm of the chord voicings react to the phrasing of the melody. When you are asked to perform this setting In the Workbook, you may also use your own ‘ear’ rhythmsDICK GROVE - JAZZ KEYBOARD 1 Page 25 SETTINGS #9 & 10 a, _ 4. - rt —~e- Ga = —— | we, 2 | 3 4 | s 6 BO Dmi9G7(b13,b9), Cma9 | Dmi9G7(b13,b9) |Cma9 | Dmi9G7(b13,b9)| Cma9 a be : . | Ls | Lee ; eee $reg $22 g 4 Dmi9G7(b13,b9)| Cma9 BO 44 LB | Dmi9G70613,b9)|Cma9 + || pmisc7613,b9)|\Cma9— 7 Bid i | o& bee | 38 bee et i Dmi9G7(b13,#9)| Cma9 é Lt & Dmi9G7(b13,#9)|Cma9 ea | Dmi9G7(b13,49)|Cma9 | 4 (4) Ei is v= Example 29 e Dmi9G7(b13,b9) Cma9 1... 2 3 4 Dmi9G7(b13,b9) Cma9 5 le Dmi9G7(b13,b9)| Cma9 L — Dmi9 G7(b13,b9) Dmi9 761369) oe Jomacreraen Cina 7 i | O 2a 44 34s ae Dmi9 G7(b13,#9) i ||Dmi9 G13 #9) Cra [Dmi9G7(b13,#9) |cma9_ m2 oe [44 ee (se lee | =Page 26 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 Example 30 e 1 2 [3 E+7(b9) A+7(b9) | D+7(b9) G+7(b9) leas g 2 £+7(b9) A+7(b9) | D+7(b9) G+7(b9) Cma9 bs i.e | og oe E+7(#9) A+7(#9) | D+7(#9) G+7(#9) ig x be 73. All of the melodic lines illustrated in Examples 28, 29 and 30 can also be played in octaves, as opposed to single notes. if played in octaves, you would add the octave above the written notes. It is also normal to mix the single note interpretation with octaves (as we will see in the Workbook exercises). 74. The sustained rhythmic examples (Line A of all the examples) are natural rhythmic solutions for ballads (in tempo), or can be used when playing the song rubato tempo (rubato means in a free tempo). 75. The sparseness of the right hand is compensated by the fullness of the left hand voicings played in the lower melodic register adding a heavier, dense impression. The right hand, however, should be played in a ‘singing’ manner so that it projects clearly - like a voice. 76. When you hear this setting performed by various artists you will also realize that the listener is paying attention to the melody, while the harmonic aspect is heard mainly as an impres- sion. This means that the melodic line in the right hand Is played and projects stronger than the harmony. The left hand is really a support to the melody, and is played proportionately softer than the melody in the right hand. The single note setting in the right hand is the basic setting used for jazz improvisation. ©LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 27 TECHNIQUE 77. We have two more major scales in this lesson, and start a series of exercises to build experience with playing octaves in either hand. 78. In Exercises #3 - 9, you are to hold one note sustained, while striking another note, with the given fingering. Play all tones legato (long), and at your own tempo. Some exercises are in treble clef and some in bass. When these exercises are easy to play, increase the tempo. TECHNIQUE EXERCISE #1 D123. 4B DD = 21-23 ABD T= WTI 5 ——— SSS et ees © or ne er sae [2 | BeQe12 de 3- 4-1-2 322124. 4-1-2 = 321g BD 1-2-0342 1-2-3 | TECHNIQUE EXERCISE #2 Ve 2+ 342 5243-2 = 1-2-3-4-§-43-2- 1-2-3 1-2-3-4-5 = 4-3-2-1-3-2-1 — ont 5403-2212 2-3-4 = $-4-3-2-1- 263-4 - 524-322-1232 - 2-3-1-2-3-4-5LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 28 TECHNIQUE EXERCISE #3 1 “1 ee TECHNIQUE EXERCISE #4 wo OH} on alla _ ole ed oe allt oe WyLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 Page 29 TECHNIQUE EXERCISE #5. | a eee 4-4 5-5-4 4-4- 1 ted ee tite = * aPage 30 DICK GROVE - JAZZ KEYBOARD 1 LESSON 6 NOTESDick Groves LAZZ KEYBOARD 1 PROGRAM . @ Play-Along Exercises WORKBOOK © 1994 Grove/Rasch Music Education SystemsLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 31 ———_—__——, INTRODUCTION A WORD FROM DICK GROVE: In Lesson 6 our exercises will work with the departments discussed in the text portion of this lesson. In general, these exercises and the subjects covered in Lesson 6 are continuations of Lesson 3, and develop these areas to the next level. The progress made in Lesson 5 will help you deal with the goals of this lesson, and will be a major ingredient in enabling you to get the most out of the lesson. If necessary, you may find it helpful to go back and re-practice some exercises from Les- son 5 In a sense, your ability to deal with the problems in this lesson can be thought of as a good measure of how well you have understood the previous exercises. Once more, as a note, the extensive exercises included in each lesson are there for you to work on in detail, and through alll keys. If you fee! you have the ability to play the exercises in tempo, vou can be your own judge of whether you need to do every exercise completely. In the Melodic Phrasing Department, the new subject is the work with ¢ men e arpeggiated embellish- Now when applying embellishments to songs, not only can you work with the arpeggiated ilities, but can also mix and use all the previous embellishments covered in Lessons 3 ugh 3. Hope you enjoy this lesson! Dicx Grove PS - We have another performance on TRACK 20 (cassette footage: 99 of the D side of Cassette 2! - the Dick Grove Trio with Adrian Rosen and Jack LaCompte. Hope you enjoy it.LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 33 —_—__ els EXER. #1 12 ta el a ] [Sessetees act} area a] 1. From a definitive voicing standpoint, we are working in this lesson with the chromatic definitive tones in a minor tonality. This series of exercises will give you experience in hearing these altered tones, and experiencing the natural way they voicelead through a chord progression. is The example for Exercise 1 demonstrates how (in the treble clef) the 9ths and 13ths lead to each other, while in the bass clef the 3rds and 7ths (diatonic definition) lead to each other. The point here is to grasp the horizontal significance of their movement, and to hear the high sophistication of chromaticism they produce. w In this example, the roots of the chords are also shown (stems down). When you play the voicings, the bass on the track will be playing the roots, and you will only play the top four tones. Each exercise starts with an example of the solution, and you should use that setting when doing the exercises. It is flexible as to whether the left hand plays the 7th over the 3rd, or the 3rd over the 7th. It is mainly a matter of balancing the two hands and staying in the melodic register. - The various exercises in this sequence combine forms of the high tension Sths and 13ths so that you can hear the different qualities of their tonal impressions. The important focus of these exercises is that every note you are playing is a definite diatonic or chromatic scale degree, and we are exhibiting the high tension extensions of the chords, supported by the diatonic 3rds and 7ths. Each exercise repeats one time, and each exercise is played in one moderately slow tempo. Each change of key illustrates the ‘Perfect 5th Pivot’ discussed previously. The rhythm ‘feel’ is varied, changing from a ‘2' swing feel, to a ‘4' swing feel, to a jazz latin feel. DEFINITIVE TONE VOICELEADING _ DEFINITIVE TONE VOICELEA G13(b9) C9 F13(b9) Bb9 Ebma9 LAY es ee 2] ———— Continued on next pagePage 34 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 ——— Enter Cee] Cassette: A017) nite es] ee a a G13(b9) C9 F13(b9) Bb9 = Ebma9 £13(b9) A9 BW + +} — f= —— = Se | | q | ) | | | ly Bits ibe Ld tg | eo € = 7 2 a 4 D13(b9) G9 C13(b9) F9 Bbma9 B13(b9) ° f 4 4 poe | = r # o | 4 4 4 | Zz 2 | E —F 5 3 7 2 A13(b9) D9 G13(b9) C9 Fma9 F#13(b9) B9 ea } 10 eee eee £13(b9) AQ D13(b9) G9 Cma9 a , £ Z o= SS D | / | et2 - 13 =r 15 16LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 35 EXERCISE #2 TRACK #1 | (exer. #2: | Cassette: A032 B13(b9) £9 —A13(b9) D9 Gma9 G#13(b9)_ C#9 7 J | | pegs st sp: | | gl | | 3 #8 ad | ee } : j 1 2 3 7 ~ F#13(b9) B9 £13(b9) A9 Dma9 p#13(b9) Geo J = — — | | | \ | 2 6 7 8 ~ — B13(b9) E9 ‘Amad Bb13(b9)_Eb9 \ ‘ . f — 2 3 ] oo 4 ba | + = 1 10 " 12 — F#13(b9) BO Ema9 es te = —Page 36 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 Lota eh) es) aL CCe eal | Eb13(b9) Ab9 Db13(b9)Gb9 = Cbma9 13(b9) Fo Sty | lg Bb13(b9) Eb9 Ab13(b9) Db9 Gbma9 G13(b9) C9 Bay At. be | | | fa } Cr S =e oe t 1 Ld | poy = = F13(b9) Bb9 £b13(b9) Ab9 Dbma9 D1atb9) G9 1/9) } (ae 4 : 4 | 6 =$ C13(b9) Fo Bb13(b9) Eb9 Abma9 phe ~ — a : } | = 3 . 4 . 15 * 16LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 37 | EXER. #4a: | EXERCISE #4 [catia TRACK #2 . The next sequence of exercises is similar to the previous first three exercises. The difference between these exercises is that a different altered definitive tone is now present. . In these exercises, the #9th of the dominant is included instead of the b9th. It is prepared by the commontone pivot preceding the altered tone. 3. The 3rds and 7ths, providing the diatonic definition are behaving in the same manner as beiore, Each exercise starts with an example of the solution, and you should use that setting when doing the exercises. Remember, it is flexible as to whether the left hand plays the 7th ove ‘e 3rd, or the 3rd over the 7th. It is mainly a matter of balancing the two hands and ing in the melodic register. The resolution of the #9 is portrayed differently than moving by half-step to TI of the scale. his instance, the tone skips down to SO of the scale, and then pivots to become RE of the v momentary key center. A exercise repeats one time, and each exercise is played in one moderately slow tempo. b change of key illustrates the ‘Perfect Sth Pivot’ discussed previously. The rhythm ‘feel’ is d, changing from a ‘2' swing feel, to a ‘4 swing feel, to a jazz latin feel. The chord ession in these exercises features roots that move by perfect 4th up or perfect 5th down. s commonly referred to as the Circle of 5ths. The more definitive explanation of this term when the Perfect 5th Pivot occurs (page 8 of the text), the result is that the momentary nge will always move one accidental. More accurately, this relationship can be called monic Circle of Sths. Gi DEFINITIVE TONE VOICELEADING G+7(b9) C7(b9)—-F+7(b9) Bb7(b9) —-Ebmad AVA A A ~—t} | 5 PoE ME TE \ 7 oe 07 e betes |x gt ign | ora jan jen / = - Continued on next pagePage 38 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 | [exer va: | Paes ee) | 067; Cassette: ite ay G+7(b9)_C7(b9) _F+7(b9) Bb7(b9) Ebma9 £+7(b9) A7(b9) SEE | | 51 A ' - a 4 a -_ = oe T | t = —} ——— 3 2 $ 2 D+7(b9) G7(b9) C+7(b9) F7(b9)— Bbmad. B+7(b9) £7(b9) PINE & L be be 4 d > | i | —S} ; : ; A+7(b9) D7(b9) G+7(b9) C7(b9) Fma9 . po Si eo i | ; #2 Bs é — 5 a i a £+7(b9) A7(b9) D+7(b9) G7(b9)_ Cma9 a= —F Z === Seeeeeeeeeneeeeees ——_ ———_LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 39 a | | EXER. #5a: | Cassette: A081 Lata Te) a) TRACK #2 B+7(b9) E7(b9) — A+7(b9) D7(b9) Gma9 G#+7(b9) C#7(b9) FREAWY 7 a 3 7% F#+7(b9) B7(b9)E+7(b9) A7(b9)_Dma9 D#+7(b9)_G#7(b9) IPE L 6 ———— 5 6 7 8 C#+7(b9) F#7(b9) B+7(b9) E7(b9) Ama9 Bb+7(b9) £b7(b9) RWS pate WW yd 4 = 1 | 1 | | | | |ba | I Za il + @ 10 oT 7% ae G#+7(b9) C#7(b9)_ F#+7(b9) B7(b9)_ Emad ty 4 | i = rt = 3 14 18Page 40 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 EXERCISE #6 TRACK #2 Eb+7(b9)Ab7(b9) Db+7(b9)Gb7(b9) Cbmad_——«C+7(b9)__F7(b9) J 7 2 3 Bb+7(b9) Eb7(b9) Ab+7(b9) Db7(b9) Gbma9 ” J od bd 4 Fe = 2a 5 8 7 F+7(b9) Bb7(b9) —_ Eb+7(b9) Ab7(b9) Dbma9 @ 10 " C+7(b9)_F7(b9) Bb+7(b9) Eb7(b9) Abma9 r . | | | | | lors Ss — 13 14 18LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 41 1343S Cel a BL YNe S53] EXER. #7: Cassette: A112 1. In this sequence of definitive voicings using chromatic definitive tones, we are dealing with the augmented 9ths of dominant chord forms. The +9 is created by sharping LA to become LI or TE of a momentary key center (we sometimes will use TE for enharmonic reasons). The example below for Exercise 7, demonstrates how (in the treble clef) the +9ths and ths to each other, while in the bass clef, the 3rds and 7ths (diatonic definition), voicelead. particular version, the voices do not all lead by half-step consecutively, but still produce line. & z n previous examples, the roots of the chords are also shown (stems down). When you play cicings, the bass on the track will be playing the roots, and you will only play the top four Each exercise starts with an example of the solution, and you should use that setting doing the exercises. This setting spreads them out between the two hands. This is to the horizontal voiceleading more apparent. ‘ercise repeats one time, and each exercise is played in one moderately slow tempo. ‘ange of key illustrates the ‘Perfect Sth Pivot’ discussed previously. The rhythm ‘feel’ is changing from a ‘2! swing feel, to a ‘4! swing feel, to a jaz latin feel. sromatic alteration of the +9 is used less commonly than the b9th or b13th, however unique impression, and when heard in context to the preparation note and the ve diatonic definitive tones, becomes a usable sound. The dissonance of the sound is oy the ‘rub’ between the 3rd of the chord (TI) and the +9th (LI). The triad ‘shape’ the top three voices, blends the dissonance and orchestrally makes the sound nd rich in character, as is typical of these more intense jazz harmonies. EI DEFINITIVE TONE VOICELEADING G7(#9) C7(#9) —-F7(#9) Bb7(#9) — Ebmad iA be), See be Continued on next pagePage 42 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 EXER. #7a: | _ 1342 ele Cassette: A117) TRACK #3 G7(+9) C7(49) F7(+9) Bb7(+9) Ebmad E7(49)A7(+9) och gg te he $e zg “ae — oe + f 7 , | | is € =H | 1 2 3 3 7(+9) G7(+9) C7(+9) F7(+9) Bbmad B7(+9) E7(+9) p12 td ¢ a ad a & == i \, ] ] id aS == ——} i 5 ¢ 7 3 A7(+9) D7(+9) —G7(+9) C749) Fad F#17(+9) B7(49) 4 | i i 7 poo re T | | 3 70 7 E7(+9) A7(+9) D7(+9) G7(+9) Cma9 cfLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 43 ———— | _EXER. #8a: Lote Cel Riss) I [ Cassette: A131) privaaet 1 B7(+9) E7(+9) A7(+9) D7(+9) Gma9 G#7(+9) C#7(+9) \ ' 4 ry C= Z # 2. 3 i I . 1 | | | a 1 | I dz ifs 2 | \ es E t Hi 1 2 3 + I F#7(+9) B7(+9) E7(+9) A7(+9) Dma9 DA7(+9) G#7(+9) 2 | 4 bg 4 1 Zz E Ee 3 \3 3 7 | { | | | rr ee —— I : ; 5 ; C#7(+9) FH7(+9) —-B7(+9) E7(+9) — Ama9 Bb7(+9) Eb7(+9) 4 | | i : — ——— i | | | loa i 3 | i —— = —H 3 10 1 2 I Ab7(+9) Db7(+9) F#7(+9) B7(+9) EmadPage 44 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 nn EXERCISE #9 EXER. #9a: | Cassette: A151 TRACK #3 Eb7(+9) Ab7(+9) Db7(+9) Gb7(+9) Cbma9 C7(+9) F7(+9) | eo 7 2 3 Ea Bb7(+9) Eb7(+9) Ab7(+9) Db7(+9) Gbma9 G7(+9)C7(49) i ! | | } | _y 1 aS é 3 ig = : f zi & = } | d I : | See =4 5 6 7 8 ~ Deis F7(+9) Bb7(+9) £b7(+9) Ab7(+9) Dbma9 D7(+9) G7(+9) = _ ot \ | se _hg fe | +: z - | 9 13 7 C7(+9) F7(+9) —Bb7(+9) Eb7(+9) Abma9 4 4dLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 45 Lota tel ea TRACK #4 | EXER. #10a: Cassette: A173 1. In this series of exercises, we are dealing with two chromatic definitive tones, the +11th and the b9th of the dominant. When roots are moving in the Circle of 5ths, the voiceleading of the upper extensions alternate between a commontone resolution (the +11 becomes the b9th), and a whole step movement downward (the b9th to the +11th). This particular combination of chromatic definitive tones is very common in jazz, and adds color and richness to the harmonic texture of the music. 3 As alwavs, 3rds and 7ths provide the diatonic definition and voicelead chromatically nward, Use the example of the solution shown at the start of each exercise as the inning position for your voiceleading. The placement of the voicings should stay in the register, as when the voicing gets too low it sounds muddy. This setting spreads the ¢ between the two hands with the chromatic definition in the ‘onic definitive tones in the left hand. cise repeats one time, and each exercise is played in one mo 7 momentary change of key illustrates the ‘Perfect 5th Pivot’. The + from a ‘2' swing feel, to a ‘4' swing feel, to a jazz latin feel, etc. » practice singing the solfeg top note line (DI - LE), then the 2nd line LE~- Dl), as you he exercise, Jazz melodies are characterized by the use of chromatic definitive tones as notes. The ear will need to really be able to hear all four chromatic definitive tones 'v in this style. We can consider these exercises good preparation for the continuing ment into total improvisation. Eo | DEFINITIVE TONE VOICELEADING G7(+11,b9) C7(+11,b9) F(+11,b9) Bb7(+11,b9) Ebma9 Dy} a FL/DI DI/LE 4 \ Continued on next pagePage 46 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXER. #10a: EXERCISE #10 | Cassette: A179 | TRACK #4 G7(#11,69) C7(411,b9) F7(+11,b9) Bb7(+11,b9) Ebmad E7411,b9)_ A7(+11,b9) bj 5g — i = = 4 = ; _ | | a \te | se 4 Bee a = 1 2 3 4 — ESR 976+11,b9) G7+11,b9) C76411,b9)F7(+11,b9) Bbmad B7(+11,b9) eet b9) | Bee : = re re # t | ] | 1 | | \,4 lez oye - — —— 3 3 7 a BE 074411,59) 0 7411,b9)_ G7(411,b9) €70411,b9) Fma9 F#7(411,b9) B7(+11,b9) | bo 1 i — — 2 a—= 1 } | 2 9 10 11 2 FVD E7(+11,b9) A7(+11,b9) D7(+11,b9) G7(+11,b9) Cma9 coLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 47, EXERCISE #11 TRACK #4 —— | EXER. #11a: | Cassette: A199 B7(+11,b9) E7(+11,b9) A(+11,b9) D7(+11,b9) Gma9 G#7(+11,b9) C#7(+11,b9) eS t = —— = S + | | | ote | | 4 | Bee : f ; : 7 a 3 z HE 276-1109) 87411,b9) €70411,b9) A7+11,b9) Dma9 CD H7(+11,b9) G#7(411,b9) As ' \ 4 | 2 r 4 = ls 3 6 7 . 8 7 Ea C#7(+11,b9)_ F#7(+11,b9) B7(+11,b9) E7(+11,b9) Ama9_ Bb7(+11,b9) Eb7(+11,b9) fie 3 b | J | he te = —j \" | } bd } eS : = = 3 70 7 2 Bay 627-1159 c#70411,b9)_F#76411,b9)B70411,b9) Emao = i 1 1 I 1 1 \ 1 Ve , 1) i I _| 1 1 1 I 1 1 1 'Page 48 EXER. #12a: | | Cassette: A220 | eae 474 Bee DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK £b7(4+11,b9)Ab7(+11,b9) Db7(+11,b9)Gb7(+11,b9) Cbma9_C7(+11,b9) F7(+11,b9) \ ad ba § sts 2 + pase 2 Bb7(+11,b9) Eb7(+11,b9) Ab7(+11,b9)Db7(+11,b9)Gbma9 lk \ = 6 LESSON 6 22 | A ¢ 7 3 F7(411,b9) Bb7(+11,b9) Eb7(+11,b9)Ab7(+11,b9) Dbma9 D7(411,9)_G7(+11,b9) I 4 =e ig 4 {pe = he SSS == 2 | DDS | t H 3 70 7 : C7(+11,b9)_F7(+11,b9) Bb7(+11,b9) Eb71+11,b9) Abma9 4g __b Lt 4 i ——— ILESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 49 EXERCISE #13 ALU e S27) EXER. #13a: Cassette: A241 | 1. We are now combining the b1 3th (ME) with the +9 (LD) to get the richness of two chromatic definitive tones in the top voicings (we sometime will use TE or RI for enharmonic reasons). The example below for Exercise 13 demonstrates how (in the treble clef) the b13ths and +9ths lead to each other, while in the bass clef, the 3rds and 7ths (diatonic definition), voicelead. Notice that in this particular version, the one voice leads by commontone, awhile the other voice moves down a whole step, and on the resolution to the Ima9 chord, we will use three notes in the right hand to get a better balanced shape in the treble clef, Remember, the momentary key is changing with each dominant chord, so there is Perfect Sth pivoting going ‘on constantly. As in previous examples, the roots of the chords are also shown (stems down). When you play the voicings, the bass on the track will be playing the roots, and you will only play the top four ones. Each exercise starts with an example of the solution, and you should use that setting doing the exercises. You are again playing the definitive chromatic tones in the right while playing the diatonic defintive tones in the left hand. A exercise repeats one time, and each exercise is played in one moderately slow tempo. ‘rythm ‘feel’ is varied, changing from a ‘2 swing feel, to a ‘4' swing feel, to a jazz latin s achieves a very ‘lush’ sophisticated impression, and is used constantly in modern ard music, The b13th is a good choice, as in context to a key center (as you see below). -ered high tension tone is often diatonic to the key signature which makes the overall ery easy to absorb. The key signature always influences the choice of which form of 11th, or 13th to use. | DEFINITIVE TONE VOICELEADING G+7(#9) C+7(#9) F+7(#9) Bb+7(#9) Ebmad LA aU Ee) MEPage 50 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 Lo Cite ea Rd BLU G G23 EXER. #13a: Cassette: A247 | G+7(#9) C+7(#9) F+7(#9) Bb+7(#9) Ebma9 E+7(#9) A+7(#9) p | i \ z cs pe 2S re —— 4 be 2 3 le | de D+7(#9) G+7(#9) C+7(#9) F+7(#9) Bbmad B+7(#9) E+7(#9) I 1 4 1 —4 | eae ; 2 ee |e 3 ¢ 7 A+7(#9)_D+7(#9) G+7(#9) C+7(#9) Fa F#+7(#9) B+7(#9) i | # 1 4 a pe J) 8 10 1 12 E+7(#9) A+7(#9) —_D+7(#9) G+7(#9) Cmad ieLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 51 —_—_—_ Laie ea BLU e ei) | | EXER. #14a: | Cassette: A270 | B+7(#9) E+7(#9) A+7(#9) D+7(#9) Gma9 G#+7(#9) C#+7(#9) i 4 Hg J te = = 4 5 q i I I I i I I ao ig 2 le gz | I I i I i i i = ; — + D#+7(#9) G#9 a a Ke 1 5 6 7 3 ~ C#47(#9) F#+7(#9) B+7(#9) E4749) Amad A#+7(#9) D#+7(#9) 4 t | gz ext 2 sh <3 7 \ . | ) \ 92 I = = 1 ° 3 7 7 G#+7(#9) C#47(#9) —F#47(#9) B+7(#9) Emad +t, 1 = re = © t t t | I 13 14 15 “6Page 52 DICK GROVI JAZZ KEYBOARD 1 WORKBOOK LESSON 6 EXERCISE #15 TRACK #5 Eb+7(#9) Ab+7(#9) Db+7(#9)Gb+7(#9) Cbma9 C9+7(#9) F+7(#9) | ' ! ao! ' . 4 4g td € e as re T 1 I ue I af wid ad 4 ae 4 : 1 2 3 4 ~~ Bb+7(#9) Eb+7(#9) Ab+7(#9) Db+7(#9) Gbma9 G+7(#9) C+7(#9) al Ld | ee 2 | | | 14 | } a | = 4 | t = 5 —_ i z a ra F+7(#9) Bb+7(#9) Eb+7(#9) Ab+7(#9) Dbma9 D+7(#9) G+7(#9) os 4 2 4a td C+7(#9) F+7(#9) Bb+7(#9) Eb+7(#9) Abma9 petted cd pd Z = == =LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 53 EXERCISE #16 TRACK #6 In our last series of voicing exercises, we will combine the +11th with the b9 and +9 of the dominant chords. This sound is again, very common in jazz keyboard stylings. As always, 3rds and 7ths provide the diatonic definition and voicelead chromatically downward. In this sequence, the altered scale degree tones skip from one to the other, in most instances,although still creating a melodic, horizontal line. The fact that these tones do not lead to each other makes this the most difficult of the six combinations in this lesson se the example of the solution, shown at the start of each exercise, as the beginning position ‘or vour voiceleading. The placement of the voicings should stay in the melodic register, to avoid sounding muddy. The right hand plays all of the chromatically altered tones, while the hand, as in each instance, provides the diatonic definition, and voiceleads chromatically. h exercise repeats one time, and each exercise is played in one moderately slow tempo Each change of key illustrates the ‘Perfect Sth Pivot’. The rhythm ‘feel’ is varied, changing from a ‘2! swing feel, to a ‘4' swing feel, to a jazz latin fee, etc. 5. You can practice singing the solfeg top note line (DI - LI), then the 2nd line (LE - DI), as you play the exercise. Eaog | DEFINITIVE TONE VOICELEADING G7(+11,b9) C7(+11,+9) F7(+11,b9) Bb7(+11,+9) Ebmad 2) Ge Continued on next pagePage 54 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 [exer #160: | tiene Cassette: A327 TRACK #6 G7(+11,b9)C7(+-11,+9) F7(+11,b9) Bb7(+11,49) Ebma9 E7(+11,b9) A7(+11,+9) | 4 SS py Bae E & i 0) f Ff 1 + ? | ae 2 od la [dad | = te___l¢ ! 1 2 _ 3 4 ~ D7(+11,b9) G7(+11,49) C7(+11,b9) F7(+11,49) Bbmad B7(+11,b9) E7(+11,+9) | g5 + = ot : j : = = Se $ ee # 1 | I | a === = : 5 6 7 a ° A7(#11,b9) D7(+11,49) G7(+11,b9) C7(411,49) Fma9 F#7(+11,b9) B7(+11,+9) ! SS 8 FS re i j I i | | 1 | . 9 10 1 12 ° BE £70411.59) a70411,49) D70411,b9) G7411,49) Cmad o — GeLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 55 EXER. #172: | Cassette: A351 EXERCISE #17 TRACK #6 B7(+11,b9) E7(+11,+9) A7(+11,b9) D7(+11,+9) Gma9 G#7(+11,b9) C#7(411,49) (eS ee d | J | , 2 2 4 lo td 9 iz fe lie ge | 1 * 2 3 4 - WE £#7+11,69) 8741149) £76411,b9) 70411,49) Dag D#7(+11,b9) G#7(411,49) 1 4 o ZB Be py — + = ¥. 4 \% +e ———t im - — om oe o ee « | 3 = + t 3 6 7 3 f BE #76+11,9) F#70411,+9) 87(411,b9) €76411,49) Amad A#7(411,b9) D#7(411,49) —4 => 7 j | + | WUE 10 1 72 3 HE #76+11,59) 741,49) F#704119) 87041149) EmagPage 56 fata ten aa) DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 | | EXER. #18a: | TRACK #6 £b7(+11,b9) Ab7(+11,+9) Db7(+1109) Gb7(+11,49) Chma9_——_C7(+11,b9) F7(+11,+9) ot = 4 ? : Cy : ; E o 5 1 | . | | Baa | 2 “3s 4 Bb7(+11,b9) Eb7(+11,49) Ab7(+11,b9) Db7(+11,49) Gbma9_—G7(+11,b9) C7(+11,49) po — to — ~, J— ed — ; pe — ov + i | SE 5 ¢ 7 3 BR £7611,59) 867¢411,+9) €676+11,b9) Ab71411,+9) Dbmad D7¢+11,b9) G7(+11,+9) ae 4 i 3 0 7 BEE €76+11,9)_£76411,+9) 8670411 69) 6570411,49) Abmag bbtd te |p py = G | | | | — | Ses- — — =LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 57 He ee eee ee eee eee) fata eat) TRACK #7 | EXER. #19a: | Cassette: BO16 This series of exercises is designed to give you experience in adding arpeggiated embellishments to target notes that are either melody notes, or leading definitive tones of the chords. In each instance you will be shown an example of the basic lead sheet chords and the two target notes involved. You are to play the arpeggiated embellishment that starts with the first target note and ends on the same note, or on the second one. In the first exercise we have a commontone melody, but the chord changes every two beats. This means that the arpeggio will be different each time, as the tones should conform to what the particular chord happens to be. ine next example shows you the solution with a suggested rhythmic pattern. You can vary rhythm as long as it is evenly played. As these embellishments move rapidly, the main risen rhythmically have more to do with different tempos. hen you practice with the track, it is presented in one tempo. Each line 's repeat goal is to hear the notes of the arpeggio and to play rhythmically even Physically, the tones in the arpeggiated embellishment should all be meaning that you should not finger the fast-moving tones in a wa’ “ingers under or over. nce. 1@ hand position, u to cross Eu ARPEGGIATED EMBELLISHMENTS Dmi7 Dbma7 C6. Fmi7 D#dim7 = C7/E Fma7 4 N KN, NN \ Jee . 2 3 a 4 Dmi7 Dbma7 cé Fmi7 D#dim7 C7/E Fma7Page 58 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 EXER. #19a: | EXERCISE #19 | Cassette: BO31 TRACK #7 Dmi7_ Dbma7 C6 Fmi7— D#tdim7 C7/E — Fma7 4 i \ No 1 SS ae =] — f e 1 2 3 4 Cmi7 Cbma7_ —Bb6 Ebmi7 C#dim7 Bb7/D Ebma7 ee bss SSS — a | ed 5 6 7 a Fmi7 Fbma7 Eb6 Abmi7 F#dim7 £b7/G Abma7 yooh NY so gn Gees soa ae z e 9 10 1” 12 Bmi7_ Bbma7 AG Dmi7 Cdim7 A7/C# Dma7 +t + +y : oe SSS SS == e 13 14 18 16 Emi7_ Ebma7_—D6 Gmi7_ Fdim7-D7/F# += Gma7 Nt h as == 19 20 _ Ami7 Abma7 G6 son? Addim7, G7/8 Cma7 ppd OD OD ON = — e at 22 23 24 Continued on next pageLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 59 EXERCISE #19 eet Ie F#mi7 Fma7 E6 Ami7 Gdim7 £7/G# Ama7 | | \ A) Ny pt hy ce ce he eee a 25 26 7 28 Bbmi7 Ama7 Ab6 Dbmi7 Bdim7 Ab7/C Dbma7 s ts be x Ha ae — | . 29 30, at 32 ~ EXER. #20a EXERCISE #20 Cassette: BOSS | TRACK #7 s exercise, the target notes are either the 9th resolving to the root of a major 3th chord 2 3th resolving to the root of a minor Sth chord. Rhythmically we will use the same rhythm 9 the previous exercise (and you can vary it if you choose to). 2 |n the first exercise we have a commontone melody but the chord changes every two beats s means that the arpeggio will be different each time, as the tones should conform to what she particular chord happens to be. xt example shows you the 9-to-root target notes, and the first example on next page the solution with a suggested rhythmic pattern. You can vary the rhythm as long as it y played. As these embellishments move rapidly, the main variations rhythmically have do with different tempos.When you practice with the track, it is presented in one only with repeats where indicated. Cma9 C6 Bbma9 Bb6 Abma9 — Ab6 Gbma9 Gb6Page 60 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 ‘Cma9 cé Bbma9 Bb6 Abma9 = Ab6 Gbma9 Gbé Ema9 £6 Dma9 D6 Cma9_ C6 Cma7 C6 J) a ——_—— EXER. #20a: Pena 74) | Cassette: 8069. ae Bbma9 Bb6 Abma9 Ab6 Gbma9 _—Gb6 + — ; 1 Dma9 D6 Cma9 C6 Cma7_ C6 Ebma9 Eb6 Dbma9 Db6 Cbma9_Ch6 = Ama9 AG Gma9_ G6 Fma9_—F6 Fma7 F6 Continued on next pageLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 61 EXERCISE #20 CONTINUED Bbmi9 Abmi9 Gbmi9 5 a : t — j Emi9 Dmi9 Cmi9 Cmi7 Cmi6 | 1 Fmi9 Ebmi9 Dbmi9 Chmi9 | Poa ' np 2 “ ea 2 : 7 ~ Ami9 Gmi9 Fmi9 Fmi7 Fmi6 wd 4Page 62 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 EXERCISE #21 TRACK #7 EXER. #21a: | Cassette: BO98 1. In this exercise we are applying arpeggiated embellishments to a series of target notes that are the 3rds and 7ths of a series of Imi? - V7 chords, resolving to a | ma7. This creates a sequence of embellishments that are repeated three times, finally resolving in the 4th bar. N . Along with a rhythmic phrasing that anticipates the 3X and 7X of each two-bar unit, we will also add a new technique called a PEDAL POINT. This is a left hand device that is very common in contemporary styles. To define a Pedal Point, it means to determine from each , the Sth (SO), or tonic (DO), and usually by playing it in the octave, use it rhythmically to ‘counter’ the rhythm played in the right hand. we . The most used solution is to play the octave pedal tone rhythmically sustained when the right hand is active, and when the right hand rests or holds a tone, play the pedal tone rhythmically, often with syncopation. Pad The example of this exercise demonstrates the combining of the arpeggiated embellishments in the right hand with the octave pedal (SO) in the left hand. Pay special attention to how the two rhythms combine to ‘work naturally’ with each other. You can sing the resultant of both rhythms as you play them. The exercise on page 63 repeats each line, and is played once, top to bottom. Dmi7 G7 cmi7 F7 Bbmi7 £b7(b9) Abma7 4 4 r { a = ~- = 7 2 3 : cmiz7F7_—Bbmi7 £b7(b9) — Abma7 zi ia ae = 7 os, oS re , s | a ro \ = \ L h A \ BE $ + - o 8 = oF = Te = eeLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 63 Lata tea 74 TRACK #7 EXER. #21a: | Cassette: B110 Dmi7 G7 Cmi7 F7 Bbmi7 Eb7(b9) Abma7 Cmi7 F7 Bbmi7 Eb7 Abmi7 Db7(b9) Gbma7 | pn de” e 5 6 7 8 D#mi7 Ga7 C#mi7 F#7 Bmi7 E7(b9) Ama7 Emi7 AZ Dmi7 G7 Cmi7 F7(b9) — Bbma7 F#mi7 B7 Emi7 A7 Dmi7 —_G7(b9) Cma7 Gmi7— C7 Fmi7 Bb7 Ebmi7 — Ab7(b9)_—- Dbma7Page 64 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 a EXERCISE #22 = | EXER. #22a: Cassette: B131 TRACK #8 . The target notes in Exercise 22 follow the preparation and resolutions of the chromatically altered b13th of the dominant chord (MI - ME - RE), and demonstrates an interesting and good sounding example of arpeggiated embellishment. xv . In this exercise, the contour of the melody is different than the previous exercises. We skip from the first target note, then move up the arpeggio to return to the first target note, then lead by half-step to the next target tone (which again follows the scale degree resolutions). & Rhythmically, we are playing an 8th note triplet on the 2nd beat of the measure, so there are no anticipations in the sequence, until the final resolution into bar 4. 4. We can again practice applying a SO pedal tone, rhythmically against the right hand melody. reed Cmi9 F+7(b9) Bmi9 £+7(b9) Bbmi9 Eb+7(b9) Abma9 } — r . 3S e 1 2 3 4 ages Cmi9 F+7(b9) Bmi9 E+7(b9) Bbmi9 — Eb+7(b9)Abma9 3 3 3 Net a yo % = ato cee = | where | ace rte | ate | restng hi Oy eps er Rie — keLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 65 EXER. #22a: Cassette: B140 [ati te a2) SEU Ne Si7:) C#mi9 F#+7(b9) Cmi9 F+7(b9) Bmi9 £+7(b9) Ama9 i 2 3 4 Ami9 D+7(b9) Abmi9 Db+7(b9) Gmi9 C+7(b9) Fma9 ia ba ba ba ¢ be 2 Fmi9 Bb+7(b9) Emi9 A+7(b9) Ebmi9 Ab+7(b9) Dbma9 yd id bd 9 10 " 2 Dmi9 G+7(b9) C#mi9 F#+7(b9) Cmi9 F+7(b9) Bbma9 s | | D: a == Bmi9 £+7(b9) Bbmi9 Eb+7(b9) Ami9 D+7(b9) Gma9 = n H I Baz & i a 18 19 20 Gmi9 C+7(b9) F#mi9 B+7(b9) Fmi9 Bb+7(b9) Ebma9 _be td bd ba eS 2 23Page 66 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 [ EXER. #23a:_| EXERCISE #23 | Cassette: B159 | arate a This sequence of exercises now combines ascending and descending arpeggios, based on a descending line of target notes that are the definitive 7ths and 3rds of the Circle of 5ths chord progression. The use of 8th note triplets is also demonstrated, adding rhythm variety to the rhythmic phrasing. A PEDAL POINT left hand is also illustrated in the example below, . In this melodic line, all primary beats have melodic attacks, as well as constant forward motion into primary beats. In this situation, then, the rhythm of the pedal is not based on whether the melodic rhythm is active or resting, as it is always active, The pedal rhythm shown, therefore, supports the melodic rhythm by attacking on the downbeat of each measure, and on the anticipation of the 4th beat. . This choice of arpeggiated notes also incorporates some chromatic definition by using the b9th of the dominant chords (instead of the root). The color generated by this definitive chromatic tone adds to the jazz flavor, and is a very common choice. nv B . Arpeggiated embellishments can be ‘finger-twisters’ occasionally, but are basically finger movement within one hand position. Check out the recommended fingering in the first bar of the example below. That fingering is then sequenced in the following bars. The exercise on page 67 repeats each line, and is played once, top to bottom in one tempo. Dmi7 G7(b9)_ Cmi7_—-F7(b9)_— Bbmi7_ Eb7(b9) Abma7 ~ a3 : = 1 ea aS Dmi7_ G7(b9)_ Cmi7_—-F7(b9)_ Bbmi7 — Eb7(b9) Abma7 3 3 ot4 ae a zi ae pe | =e coca — wae oo oT Em aLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 67 EXER. ina: | EXERCISE #23 | Cassette: B168 TRACK #8 | Ami7 D7(b9) Gmi7 C7(b9) Fmi7 Bb7(b9) Ebma7 nee | zt } | = f 2 3 4 Cmi7 —F7(b9)_— Bbmi7 Eb7(b9) Abmi7 Db7(b9) Gbma7 ,4 4 _be | bd | 3 = | os 6 7 8 Dmi7G7(b9)_ Cmi7_—-F7(b9)_- Bbmi7_Eb7(b9)_ Abma7 2 od bt J wo 10 n 2 Emi7 — A7(b9)_ Dmi7 G7(b9) Cmi7 F7(b9) Bbma7 Fimi7 B7(b9) Emi7 — A7(b9) Dmi7 G7(b9) Cma7 - 4,1 i ag 2 ° e 7 18 9 20 Gmi7 —C7(b9)_—Fmi7 Bb7(b9) Ebmi7 Ab7(b9) Dbma7 on L | — ze = = ePage 68 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 EXERCISE #24 Ae ei] 1. We now start to compound our embellishments by combining some chromatic passing tones with the arpeggiated patterns. The first beat of each measure shows the 7th of the chord to be connected chromatically to the 5th. This accomplishes several things: chromatic color, rhythmic variation, and more attacks of forward motion between 1X and 3X. 2. The target note line in this progression combines the definitive 7th or DO of each key center with the 5th which prepares the altered LE or b9th of the V7 chord. This then resolves to a pivot of $O/DO, and we are into the next key center. 3. The ‘shape’ of the melodic line is also important, particularly the melodic skip on the 3rd beat from the 5th up to the 9th on the upbeat of 3X. The b9 note would get a natural accent as it is the highest note in the section of the melodic line (playing the ‘shape’). 4. In the left hand, we are now looking at using the root-7th or root of each chord placed in the fundamental register or low melodic range. This creates a different ‘sound’, which is a more angular, percussive impression. This is an alternative solution to the pedal used before. With all the activity in the right hand, a simpler left hand is typical 5.The recommended fingering is shown in the first bar of the example below to be sequenced in the following bars. The exercise on page 69 repeats each line and is played once, top to bottom, in one tempo. TARGETS. Dmi7 G7(b9) Ami7—D7(b9)_— Emi7_ A7(b9)_ Dad. Dmi7 G7(b9) Ami7 D7(b9) Emi7 A7(b9) Dma9 3 ie | * $32131423/43213% 423 | | r Ly i \ j —— ———— és Beam ed ‘1-7! or‘V'in'G’LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 69 —_—_—_—_——____ [aa tele oz BUG S22) EXER. #24a: | Cassette: B207 | | | Cmi7 F7(b9) Gmi7 C7(b9) Dmi7 G7(b9) Cma9 a ee = J | « b ae Dmi7 G7(b9)_ Ami7_D7(b9)_-Emi7_—A7(b9)_ Dma7 te be d tel po | Gmi7 C7(b9) Dmi7 — G7(b9) Ami7_—_D7(b9)_ Gma7 - L — 2 — + + ] = 10 1 2 Fmi7 — Bb7(b9) Cmi7_—F7(b9) Gmi7 —C7(b9)_ Fma7 | i DSSS ——_ = = z : i Ami7 D7(b9) Emi7 —A7(b9) Bmi7 £7(b9) Ama7 a oe — |, — ioa— Se = e - 18 19 20 Bbmi7 £b7(b9) Fmi7 — Bb7(b9) Cmi7_—F7(b9)_ Bbma7Page 70 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 O EXER. #25a: | Sea or] [ Cassette: 8235) TRACK #9 1. This series of patterns now starts with a descending arpeggio to an ascending one, changing the overall ‘shape’ of the medodic line one more way. The point of practicing these various patterns is to understand that there are limitless combinations of shapes, compound embellishments, and rhythms that we can spontaneously implement, v The target note line in this progression is a simple 7 ~ 3 line through a series of lImi7 - V7(b9) chords, changing keys by pivoting TE/DO into each new key center. » The highest tone in each measure is the last note, which should receive a natural accent. s . In the left hand, we are now looking at using a variation of the root-7th or root of each chord. This is based on using a variation (played in earlier lessons) wherein we use an inversion of the V7 chord in the left hand, sustaining the root of the IImi7, which becomes the 5th of the V7. When playing in a rhythm section, the bass player is defining the root, and with solo piano the root is ‘implied’ 5.The recommended fingering is shown in the first bar of the example below to be sequenced in the following bars. Bar 4 also is shown with fingerings, The exercise on page 71 repeats each line and is played once, top to bottom, in one tempo. Dmi7— G7(b9)_ Cmi7_—F7(b9)_— Bbmi7_ Eb7(b9) Abma9 1 — oy Dmi7_——G7(b9)_ Cmi7 F7(b9) Bbmi7 Eb7(b9) Abma9 ass = a SS Se aLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 71 EXER. #25a: | Cassette: B247 Cmi7 —F7(b9) Lda Cel) 74) TRACK #9 Bbmi7 £b7(b9) Abmi7 Db7(b9) Gbma9 Z aid bd J bd be 12 = : * 2 3 4 Ami7 D7(b9)_ Gmi7_—C7(b9)_—s Fmi7 Bb7(b9) Ebma9 a | bed Ll 1 b Fmi7 Bb7(b9) Ebmi7 Ab7(b9) Dbmi7 Gb7(b9) Cbma9 e 3 10 Dmi7 G7(b9)_ Cmi7__F7(b9) = d bad i 12 Bbmi7 Eb7(b9) Abma9 bd bd Gmi7_— C7(b9)_— Fmi7 Bb7(b9) Ebmi7 Ab7(b9) Dbma7 meEeEma ee eee eee eee eee eee eee °Page 72 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 [ EXER. #26a: | Puente] Cassette: B273 TRACK #9 1. Our final exercise works through a progression of Ima7 ~ IV ma7 chords, changing key centers each measure. The line is built around the 3rds and 7ths of each chord. In this example shown below, the chromatic passing tones connecting the Sth of the IV chord to the 3rd are placed on 3X and 7X. 2. For this exercise, the contour of the melody is again varied, skipping down, then moving up in an arpeggio, then descending through the passing tones and chord tones. The 4th of the IV ma7 chord is the highest tone of the phrase and should receive a natural accent. 3. We are again using an inversion of the |Vma7 chord in the left hand, sustaining the root of the Ilmiz, which becomes the Sth of the [Vma7 chord. This smooth, sustained support rhythmically works well under the active melody line, 4.The recommended fingering is shown in the first bar of the example below, to be sequenced in the following bars. Bar 4 also is shown with fingerings. The exercise on page 71 repeats each line and is played once, top to bottom, in one tempo. 5. All six exercises, with their specific progressions and target note lines, can now be practiced making up your own variations of ascending and descending arpeggiated embellishments, combined with passing and neighboring tones. HAVE FUN! Cma7_ Fma7_—s Bma7_—s Ema7_—s Bbma7_ Ebma7_— Ama7 py (——————— ey 2 3 eases Cma7— Fma7 24 3 eee | 5123454 321| bel 1 a BOM 1-7" /3/5'in ‘Bb’ meee 1-7" /‘3/S'in ‘Ab’LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 73 i | EXER. #26a: | tae aL) | Cassette: B273 TRACK #9 i Sassetee: B73 | i ee i Cma7 —Fma7—Bma7_—Ema7_—Bbma7_Ebma7 —Ama7 ail ba 2 é ted te d . J | ' = 2 3 3 Fma7 Bbma7 Ema7 Ama7 — Ebma7 Abma7 — Dma7 J | 4} i fet z] 1 6 7 3 I Ebma7 Abma7 Dma7 Gma7 Dbma7 Gbma7_Cma7 ga SSS Ss = I . 70 7 2 : I Gma7 Cma7_—F#ma7 Bma7 Fma7 Bbma7 — Ema7 \ ! Ap gl dg i Dma7 Gma7 C#ma7 Fima7 Cma7 Fma7 —— Bma7 a 1 \ ' — i n2 SS SS . 18 19 20 a i Ama7 Dma7 Abma7 Dbma7 Gma7 Cma7 ——F#ma7 Paci J | J i oz td be pd pd a i e a 2 2 2Page 74 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 eRe TAN EXERCISE #27 TRACK #10 1. We are now starting to apply our approach to jazz compositions by of placing the closest 7th and 3rd below the melody note at points of chord change, to jazz compositions. In this lesson, we will be working with three jazz compositions that typically feature a more active melodic line (Exercises 27, 28 & 29). 2 There are several points to keep in mind when approaching this style of melody, when playing at a moderately fast tempo: a, the melody is the more important element of the music b. the harmony (defined by your voicings) is thought of more as a support to the melody c. it is not necessary to always play the voicing at the precise point of chord change: - the voicing below the melody can be played at the point of any open primary beat, a ‘on occasion, weak beat. This then functions as rhythmic forward motion and ‘fills’ in these open beats. This is where we accomplish the ‘staggering of the melody and supportive voicings. The rhythm of the voicing can be syncopated, or not (based on our comping patterns from the earlier lessons). x when chords are altered, try to include the chromatic definitive tone in your supportive voicing along with the 3rd and 7th of the chord e . in jazz compositions, the rhythm of the melody is usually not rephrased as it is already composed for an instrumental performance. One area that is flexible is the changing of entrances of rhythmic sentences by making the entrance late, creating an open primary beat with which to play the voicings (staggering the free lead melody and the voicing). 3. One important aspect of this series of exercises is the execution of the melody. When playing a jazz line in tempo, here is what you need to be aware of: a. rolled 8th notes b. accenting the highest note of the melodic shape c. articulation (long, or short) of the rhythms (most sentences end with a short 8th) d. playing with rhythmic authority e. singing along as you play 4. Away to get started is to: a. play through the line slowly, working out the fingering of the melody b. try to ‘hear’ the rhythmic sentences of the melody in tempo c. notice the open beats, where you will want to bring in the supportive voicings d. play the line through slowly with both hands, then, when comfortable, with the track 5. The tune is repeated once, and is presented in a moderately slow tempo, and then in a moderately fast tempo.LESSON 6 ] EXER. #27a: DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK EXERCISE #27 TRACK #10 EXER. #27b: / C042 | Bbmi7 Eb7(b9) Abma7 ee ; SIE = z t : i 1 2 3 * 4 Cma7 Fmi7 Bb7(b9) _ Ebma7 Dmi7— G9 t =< + is gs Bae Se — C) 5 ye ee " 7 8 Bbmi7 Eb7(b9) Dmi7 G7(b9) ee Ami7 _ D7(b9) Gma7—35 f = ——— ; es ot eet e wl —"s 4 19 20 Fmi7 Bb7(b9) — Ebma7 Ami7 D7(b9) O14 = T = i he = xe = 6 —— a : = a 2 23 2 A Bbmi7 Eb7(b9) Abma7 ee = Ge t #4 eo ar ae D 25 26 7 * maz Fmi7 Bb7(b9) _ Ebma7 ee a oS se= o—— ; = ea D a Fw at 32Page 76 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 —— : = | EXER. #28a: Lata ea ot EXER. #27b: Cassette: C066 | TRACK #11 Cassette:C106 Cmi7 F9(13) Bmi7 E+7(b9) Ami9 1 2 3 : 4 Fmi7 Bb7(b9) Ebma7 Bmi7 E7(b9) al F 3 6 7 8 It Ama7 C#mi9 F#7(b9) Bmi7 E7(b9) ee ce e State 2 o= a = SG FoF E 1 1d Ama? Dmi7 G7(b9) Caz Cémi7 F#7 2). e 1 14 15, 16 Cmi7 F9(13) Bmi7 E+7(b9) Ami9 fo oe See Sh + ae ee eee 7 —Se 19 , 20 a Fmi7 Bb7(b9) Ebma7 Ami7 D7(b9) eet = a 22 23 Ey ; Bmi7 E7(b9) —-E+7(b9) Ama7 = Cmi9F7_ Bbma7 Bmi7 E7(b9) eeLESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK | | EXER. #29a: | a SE] TRACK #12 . Samir > (3 eh) 72) D7(b9) e 1 2 3 Ama7 D9(13) $ = > oe te eS —I e 6 7 od Gmi7 co Fami7 B9 _ @ A ae | co: Gas £28 see ee © ie 10 0 12 13 D.s.al —Ema7 Emi7 —_A7(b9) Dma7 Bmi7(b5) £7(b9) Coda s+ 7 ® maz | Gtmi7 C#mi7(b5) F#7(b9) jee Gas a a fi z 2 = = os | 9 2 Bmi7 ~ = __E7(bs) Ami7 = 7b) (a et S fate +H = 2 2 2 eT Gmi7 = = 7) FT FraPage 78 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 po EXER. #30a: | Cassette: C202 CEE EXERCISE #30 TRACK #13 1. In this section of the Solo Piano Department, we need to become more familiar supporting the melody with the closest 7th and 3rd of more altered chords. 2.As detailed in the text of this lesson (pages 16-19), we will workout with playing these melodic - phrases in tempo. The exercises work with the following problems: . chord and out-of-chord tones of the diminished 7th chord . the +5 of the mi7 chord . the ImiMa7 chord |. Major chord with the b5 and +5 in the melody aogce 3. Each exercise in this series will repeat once, and is played in one tempo, Practice the exercises without the track to gain familiarity with these ‘less common’ harmonic/melodic situations, then play with the tracks in tempo. 4, It is important to notice as you practice, the unique sounds created by these more angular vertical shapes, and the role of the chromatic definitive scale tones in each of the contexts, 5. All change of momentary key pivots are shown in reverse print. Bdim7 Cmi7 Edim7 Fmi7LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 79 EXERCISE #30 CONTINUED C#mi7 ———— =| Bmi7 oo +H ee 8) | | | D#dim7 Emi7 G#dim7 Ami7 | ) 4 a SS SS é [poy e) ele) = + F#dim7 Gmi7 1 1 4 ———_—— a seers |Page 80 1a tae aaa TRACK 13 Dmi7(+5,b5)G+7(b9) CmiMa7 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Gmi7(+5,b5)C+7(b9) FmiMa7 (Cmi7(+5,b5)F+7(b9) BbmiMa7 Fmi7(+5,b5)Bb+7(b9) EbmiMa7 Bhmi7(+5 bS)Bb+7(09) AbmiMa7 D#mi7(+5,b5)G#+7(b9) C#miMa7 ; bo — po — bes = + io | | za | | 3 5 3 ‘(b9) F#miMa7 (C#mi7(+5,b5)F#+7(b9) BmiMa7 = Hog f a ' I | vie im MEL f i — 3 ¢ A 7 7 r Bmi7(+5,b5)E+7(b9) AmiMa7 Emi7(+5,b5)A+7(b9) DmiMa7 Ami7(+5,b5)D+7(b9) GmiMa7_ be 1 ° : — ts be + o ME/LI B= = j —F 3 Fa 7 2 3B 2 LESSON 6LESSON 6 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK Page 81 EXERCISE #32 TRACK #14 C7(bs) FmiMa9 F7(b5) BbmiMa9 —_—Bb7(b5) EbmiMa9 ———— =o be 2 3 4 5 6 p_£b7(b5) AbmiMa9_—_G#7(b5) C#miMa9__C#7(b5) F#miMa9 7 es te t = {eS F to e | | Ey | BE 5 7 @ 9 10 " 12 F#7(b5) BmiMad B7(bs) EmiMa9 E7(b5) AmiMa9 4 (o= fo. - ia ae iS | ] ] ] = fev | Se : = 13 14 15 16 7 18 A7(b5) DmiMa9 D7(b5) GmiMa9_——G7(b5) CmiMa9 ce rho t FO re ——!Page 82 DICK GROVE - JAZZ KEYBOARD 1 WORKBOOK LESSON 6 Lata Cease] TRACK #14 Cma7(b5) Cma7 Cma7(+5) Cma7 Dbma7(b5) (+5) Dbma7 Dma7(b5)Dma7 Dma7(+5)Dma7 =e seas | 7 son -—o =— = 1 2 3 4 5 6 Ebma7(b5)Ebma7 Ebma7(+5)Ebma7 Ema7(b5) Ema7 Ema7(+5) Ema7 Fma7(b5) Fma7 Fma7(+5)Fma7 Sz z fe HF Em 7 8 8 10 W 12 Ftma7(b5) F#ma7 F#ma7(+5)F#ma7 Gma7(b5) Gma7 Gma7(+5)Gma7 Abma7(b5)Abma7Abma7 (+5)Abma7 =| S | a fe t t | B 4 5 16 7 8 Ama7(b5) Ama7 Ama7(+5) Ama7 Bbma7(b5) Bbma7 Bbma7(+5)Bbma78ma7(b5)8ma7Bma7(+5)Bma7 ze =e FS + + kt | ! ere :