John Valerio - Stride & Swing Piano

& SWING
CONTENTS
CLASSIC RAGTIME............................................................................ 4
Scott Joplin
BLUES & BOOGIE WOOGIE ........................................................ 18

Jimmy Yancey & Pete Johnson
NEW ORLEANS JAZZ ...................................................................... 26

Jelly Roll Morton
STRIDE PIANO I ............................................................................... 35

James P. Johnson
5 STRIDE PIANO II...................................................................................... 44

Fats Waller
SWING PIANO I.............................................................................. 61

Teddy Wilson
SWING PIANO II ........................................................................... 378

Art Tatum
INTRODUCTION
W
elcome to Stride and Swing Piano' Thi> bock is an in-depth look al earh gio jazz piano sn le?. from
the 1900s to the 1940s Man) pianists know the serm smde asan ac- companimeni technique m
which the ieft hand alternates between a ha>、note and a chord in an "'oom-pah. oom-pah "
manner. But >tnde was also the label given io a *ty|e of piano music ihai emerged in the 卜 10s. Thi< wa> an
cariv tbrni cf jazz that evoked from predecessors like ragtime, oiues. and New Orleans style, and cuiminaied in
the vwmi? style of the 1930s and *-UK. Most of the carij ;azz piano Myles up to and including swing piano
feature this binding len-hand motion.
This book [races (he evolution of stnde and >wmg piano styles—from ihcir predecessors(o their fullesi
developmeni: each chapier hxruses on a panicular <tyle and player
Classic Ragtime: Though nor azz per、e_ ragtime “丄、an imponant foreninner. versing as a moce： for
styics like Xew Orleans and stride. Invented by Black Americans, ragtime emerged during lhe IS9(>s and a
stricilx written mubic with formai and rhythmic con- strninis- Scoti Joplin was i(s mosi famous composer.
Blues & Boogie Woogie: Al>.- inscnied b\ BLck \mencans<m lhe IS(X)s}. blues was anoiher imponant
forerunner of <iride and ing jazz biylo. A kx、yr music, blues had
ns own melodic niaienal. accompaniment style, and rhylhniiv feel. Jimmy Yancey was a premiere bide'
pianisu Peic Johnson wa、A well-known player in lhe f.isxer. boogie woogte siyle.
New Orleans Jazz: In ihe earh I'XOs. Xeu Odcan、pianists <k\doped jazz, a st>le ±at mereeu ragiime with
blues, and added improvisation. Jelly Roll Monon uas the most imponant earl) jazz pianist He ：»K»s£ncd
lhe "even Nuhdivisions" of ratlime and made jazz swing
Stride: Smde “心 a fast, virtuosic piano music bom in Harlem dunng lhe 1920s and *30s. Early snide, a ia
Jame> P. Johnson, was more appropriaieh called "Eastern ragtime" than later feide. which evolved into a
lighter. smoother music, as plaxed by Fai* Waller.
Swing: Swing emerged during the mid '30> with jazz big bands. The driving accents of stride were ironed
out. and an even 4/4 pul«e became lhe norm. Teddy W ilson best represented the swing style: An Taium took
it to its highest point-
The one element ihai all of these styles have m common is lhe almost continuous playing ol lhe pulse(on even
beat by the left hand. Thi、accomplished by: 1 > bass note vs. chord alternation. 2» the pla> ins «>f
bas、iine、. or ； t the c*>ntinuous pla> ing of chords.
Modem azz piano styles have done awax with the left hand's time keeping role for the most part and
coniemp»)ran players are often ai a 】os、when called upon to piay the left hand in an older <ok> Stnde and
Swing Piano offers an inir<xiuctK>n to lhe usage of traditional left-hand devic — inciuding characienstic chord
voicing、and bass noie inrenals. such as octaves and tenths—as well as righi-hand technique、uch as 'ingie-noic
iinc>. .herd icings, inienals. runs, and impro\ isation. Each chapter cuiminaies in，':虻 <、r more ■ >nginal
lug dem«»nslratin£ the style and its techniques. Practice suggestions are also included. The reader is encouraged
to Icam and slud、these 【une、. and to apply all of the technique' in the to 'Xandaiu jazz and pop ôngs of
the era.
About the CD
The accompanying CD features nun> ；>f the examples :n the book—including 14 ongmal tunes— performed
<«n solo piano. L：、ien to the CD (o better understand each style and to pructice sour own solo placing.
Chapter One
CLASSIC RAGTIME
SCOTT JOPLIN
R agtime was created by Black Americans in the 1S1MK and gained uidcspreid populantj bj
1900. Though noi jao per y. ragunw ua\ an impiMiant foceranner of jazz. all jaz7 piano style*
until the sere based on the ragtime modeL In fact y\eraJ eari\ iazz piano styles were 'till
referred to a、ragtime, and betjuy of this the lenn rug- time" 1、used to distinguish the onginal version
from iaier \erMon*、uch as "Eastern ragrime
Scotl Joplin • I868-191- is the mo*i famous and nust popular c»、、ic ragume compvMX The
Nucccvdinv description is based largely(»n hi* *<>rk. Other、include James Scott and Joseph Jmh I
nlike later jazz 'lyle*. the classic raglnne composers th»>ughi of their mu、ic as formal C0mp»»*iiions
in the European iradnion and did n»H improvi^ or dllcr them >en much dunng perfornunce.
History & Evolution

Ragume is unique in that i( repreM：nls the first formal blending of European and West African
mu、x5 elements. The form and harmonx came from Europe: ihe rhythmic concep< came trom West
Africx
The Cakewalk and The March

Ragume evolved primanis from musicai 'iyies. die case*aik and the march The cake walk was a dance
onginally (xnformed b} slaves on plantations in the South. It featured high, stnining movements that
mocked the >：ave ouncr > pompous walk and aiutude. and was usually accompanied b> J kind 01
'yncopaied mu、;、on a banjo. A charu».teri>Uc melodic rhythm. s? ncopated and repeiitiw.
developed. iSyncopaui>ns are marked wiih
厶 '* . • • • 。 — * * * * * • * • TQ—
7 * :____________: _ :------------:—— =------------=一 =^=
B\ 'he i.-.ic ISixTs. publishedappeared in tiw tonn <.'l pis，music. The nght hand pan :eatured the
rhvihm shown abt>ve. the len hand teatureii a s(ead)rxi、、-no(e，chord aiiemation. de- nved from
the manrh. This iairi> constant -<x>m-pah. oom-pah" mouon became character!、uc of published
cakewalks. A typical left-hand pan is shown below
Thu、lhe、ee 厶 of ragume "re、i，wed: a *)ncopated-like nght hand played against a steads left-
iiand pulM?. Ragtime, however. ua> more complex than the cakeualk Its rhyihmic complexitj is not
easih explained by European concept like syncopaiion.
The West African Influence
Raglime is actualk a 'implification of traditional \\c、【African rhvthmic practice, based on the
con<ep< of laytnnv \\e 気 African drum mu、ic U'Ually fearure* several meter* going on al the same
time. This p(»l\metic music is quiu *ed io European metric (vactice.
\Vherea、typical European music follow > a single meter usually limited to groupings ir.【e、、.
three、, and fours <c.g.. 2M. 3 4. 4/4. eicj. it 1、no< uncommon for West Atncan mu>ic to pnxreed
uiih different meters pijvec difterem musicians at lhe <ime time Thus, m Eun'pear iem>. 1 here might b.
3 4. 4 4. ?/4. - - anc 9/- goirg >r. '!multaneou<'y.
Ragtime was conceived on tuo îmulianeou' layers of rhythmic aciivity. The left hand kept a seady four
beats per measure by aheniaiing a bass note and chord. The n_
mei.xiie^ based on a pulse of eight 心卜 me2>ure —uice rhe >pccd of the ；eH The nght-hanc
mehHlie- were grouped into pattern^ based on the African concept of rhxshnis. Rhythmic groupings
and accent panems such as 3-3-2 or uere played by the right hand while the steads four beats per measure sere played
the left hand ai half lhe speeu Thi< led to man、accented notes placed b\ the nght hand that did not coincide with lhe
beats plaved b\ the len The effeci to Wesiem ears one of -yncopation. but ihc real rhythmic concepi
should be understood
TKA
Nqxiratc Mmuhaneou^ layer' An example of a typual ragtime êgmeni <3*3*2 panenif follows.
CK1
i'll ： * had imponani ram ： :' for ia?z. which evolved imo a rti>lhmicaily multi-layered music. The
elementsof ragtime that earned o\er irao earh jazz " ~ ' Aihmic conceptioo.
as sell as the basic left-hand technique that went with it.
Left Hand Techniques

In clas>K ragume. lhe len hand -.ceps the pulse 好 pla> ins a Meadx rx?ai consisting of four equal
subdivisions of thv 2 4 meter. Conunuou* stcadx eighth noie> are the norm The normal left-hand
maiena) consists primarily of bax note* and chords, which usualh. allhough not alua>>. ailemaie m a
h，、、 n«e/chord panem. commonly referred h> &、 "oom-pah： Thus, the left hand npuall> phvs
"oom-pah. oom-pah? etc
Th!' oom-pah motion wa* laier referred 10 a> "stnde" because of lhe ending back-and-forth mouon of
the lefi hand. The lerm ~$tnde piano" later used 10 describe one of the jazz outgrow ths of cla、、K
ragtime.»Bie striding left hand pertorms three difterenl functions: it supplies lhe puixe. the hjs>. and
the hannony. It 1、imporLini thai the player •: rashrne 1、aware <>! these separate function、J、he
or、he perform、in thi> si\ ie
5
Pulse, Meter, and Tempo
TradidonaJ ragtime，•!、z 一 . 'ncehed in ~2.** uith : —、permea、
Fhu、. althvugh the ie!i hand in ragtime pla、、kxir >iead> eighth noic* per mcd'ure. the> are not
all equal in、ire 踞.The no(es uccumng on the beats recei\e more、【=、、that the note、in
between the beats, the oftbeais. This distinction is imponam when replicating true ragtime J、opposed
io jazz (认 hich i* conceded in X-. with four beau per mea>ure1
True ragtime tempos are never ta>t .ind are usually plaxed at nuxierate march-like、peed、Sexi
Joplin used iemp«is marks、uch k Tempo di nurcia and \<>! fast. MOM rags should be played between • =92-108
Chords
The chords j*e<i inragtime are rek：i\ei\ 'impie For ihe m<，、i pan 'hc> re confined tc rnuior and ：:un»'r triad', and
dominant and dimini'he»j ocnih chords The chord« are usualh placed on tiic oftbeai* -called "aner-vhordx" -and consist of
three nzc. An、invasion » po、、i- hle; heue\er. «nc z、iii—n、aie .n<«rc likei\ I.T certain ch—rJ、due to range
linnia'ion> Ihe chord tone, usual) go no lower than D belou middle C and no higher than A above middle C.
Die following example、ho\\、lhe most commonh used three-ntxe major mad \oicing> The 、ame position* apph to the
minor triads built fh>m the same roots.
Xlthough demmarn 7\cnth chords are tbur-n<'(e chord、, one no<e u*ualh the fifth• is onen eliminated from the chord to
form a thrcc-mxe voicing. The common ihree-note >e\enth chord voicings for ail donunani seventh chords are gnen below.
D-
Voice Leading
Though akemated uilh n*xe* thiwd、n-picalh connect to “th other wilh lhe 翌 voice leading possible, i.e. wiih the ica>t
movemeni from chord u» chvru. Smvo 山 chord connection 】、denwnstrated in the next example b\ separating each chord
from its bas* noie
Bass Notes
B.i、、:u>tc' are to best e>-ablish the tonaliis and harmonic m<'\emeni of th.
gi\e the bass line .； 'ense of direction. The most common bass note 1、the root of the chord. When a .horC ' duration
1、h»nger iharSeal <which H u、uH!> i* lhe next nass Dole i、U'Uali) the fifth or less comnx*nh the third
• R)e thini :、mn、： often used i<» provide a、〔ep\\ 心 bass iinc to connect chord*.
• W hen the root of one chord would cause a repetition of the pre、lously used ba、、rx>ie. the fifth is usually played
first, then the root
The hMlow ing example demonstraie< these pnncip：>
Sometime、, the ahervhord contains only iwo note、of u tnad. Thi> can be for textural varieiy or practical
con、idera»on、of vo：.e leading and register. In mosi ca、c、the missing noie K supplied by the bass, in the follg mg
example, the chord、are shown in the upper slave
iote> are often reinforced with octaves. Densii% - ' j .. . . . \ -niningfiac-

lors in vhoosinc octaves or singic noie* for the ba.、、pan
Diminished Chords
Diminished chords are u—d ;n cla>'ic rugtimc Mos: often, lhe root is pb>ed g a lu、、note and the
remaining three note are pla)ed in the alter-choni. Diminnhed s:\enth chord* are most commonly found
in cadentiai progressions lhai end a »)f music
M
Oom-PahM Variations
\anei> * jdued so the left-hand pan ihroujzh the following
1 Re\erse the bass-ncHcchord pattern to ch<>rd/bass-no<e <t»m-pah. pah-com>.
2- Piay luo or more bas、n，xe、in a rou t passing note* or <xherui*<h
3. P!a> 'cveral chords in a row uithoui bas* notes often ibey are ftHir-noie voicings of triads or M?\
enih chords!.
- P .< qu-i>i-raek>uic ：;..!cnai Jong > ::r： - - ；ndcrcndent tr< -m the nght hand
5 :二。：:：、n: ei^h n-n< :e puise

GE Am
Am Rm7»5
The preuou、left-hand technique' repreêni the mo、： c ommon procedures. There are other si-
>、、' and almost anything can ixrcur in the let:-hand pan
Right-Hand Techniques
Rhythmic Layering
As discussed previous!%. the true c、sen* o! ragtime lie> in the lajenng concept of rhjihm-卩：
right hand fun.lions on u layer or >tr3tum independent from the le：t Metricalh. the left hand l，P"
erates on a layer of four pulses per measure, while the right hand < pulse* per measure. Thi、concept
o! muln-n)eier> Ji'erarint at the same time, w hen proper!) 011 dersiood, can clarify the uav ragume
works.
Wbereas the leh hand almost alu ays âie& its pul>c direr A by playinc conunuous eighth no< 、・
thenght hand plays melodies based on its sixteenth-ruHr pulse, emplojing a \arien ol rhythm 、 The
rhythms of these melodies sound very syncopated m relation to the left-hand pulse since manj of the
'dressed or accented notes fall in betw een. Belou ts an example of a typical rasii nU righi-hand melodic
rh\ihm in relati«»n to the Meady left-hand puKe The RH accents and don— 」 lines 、 hou the
syncopation eft'cct
The ncu example shou * the len-handrnght-haiKi relauon>h!p taken from the hrst strain of 仗
Joplin、"The Entertainer； Notice that right-handoccur both on and in between OK hand pulses.
Mthough b\ tnxliuonal Uc'tem mu>ic >undard* ih，、ym> iike s)ni.>>patK>n. whai ' really g.ung
on h the West Afncan ci'ncept ot additive rh\ihms. The nghi-hand、irc、g are basnl on accent
pjitcm> of grouping* of the Mxteenth-noie pulse Tjpical groupings are '-?-2 or m pm- h rn、fhe next
example、丽 w、&、th of (he* ;xmcm、心、i\【eemh iK>(e uping-. in ihe upper staff, uith the
full value of each grouping indicated in the middle sial! . The left-hand pulse is in- uicated on she low
er
一 .
.*----------------------------------------
1 2 3 1 2 3 12
12312312 义 JE£ - ■ 12312312
— ------------一 3 12 3 12 3 4
------------------------. 一一 —
:@一 1^_：壬 y——
V- — ?—; --------------------------/__ ----------------------------------------W
:
，，•-， F -- N 二 ——:---------一 ---
丿
?-~ 一・
?-2 Pîiem 3*3*5 Paiiem
One can hear the effect of this rhythmic lasennt by tapping or clapping the left-hand puise again>t
the nght-hand paiiems. either as sixteenth iK>(e> with acceni>. or the full durational value of each
grouping.
Fhc next example、hou、the rhythmic brcakd<»wn oi，xxtion of Scou Joplin * , Staple Leaf Rag.~
There are two 3*3*3- ： .： group oi - :nme rhvih-
mic layering can be heard by tapping ringing the layers against each «Hher.
Maple Ixaf Rag
________A A________ ________A
“ ■，- ，-】飞. . > ■>„>____a • a • ■一
带亠 --------=------= ——
1 2 3 12 3 3 12 3 12 ==---------------------2
A 3 4 1 2 3 12 3 1231231
Z;. > ，.丄、 • ■贝，_________-r~u- ~-J» :
m . - - J ・・ • ■ ・
■，・，・—
<V—Q---
—■
y " •一 ---------_ c : ，
・・・一・d
R^ûme - ihm>W relaleu to il、prZc・c、、\，r. the cakewuik B> adding notes【” a baMt
cakewalk rhythm, and tying some of ihem_ J cro-s-rhjihmie layering effect is created.
Melody & Texture

Ragtime mckxhc arc based on simple diatonic and generalh are more mteresuns for [heir rhvthmic
quaiils dun their pure melodic mocion* Raglime composiuon* are usually in major ke> 、These keys
are generally limited io C. G. F. B，. E-. .V. and D6*. The textures used in the right hand include
>ingie notes, octaves, tillcd-in octaxes. two-noie inienals. and chords. The arrangemem 01 the 、e \
anous textures is often but not always determined by the rhythmic structure of the melody. In the
following excerpt adding mxes to the single-note melody emphaMze 、 the right-hand svncopaiion>.
TVC- D_
2
The choice among the fexiura po»!b)liue^ B often jus: a mauer of density or vanen. In the excerpt belou,
(he thick texture of the fir^t tuo measures is m sharp contrusi uith the follovK • ins two measure^.
TRACKS r
Harmony and Form

Most rags are wntien m sectional forms derived from march forms. Rags general!} conmn three or tour
sixteen-measure strain- Each strain is sclf-conuined, nd rarch do their melodies relate io each other.
Typical forms break down a> tollou ；: XABBCC. A ABBCCDD. VABBACCDD. The C section J>
caileJ the 1n«• *' J icrm borrowed from traditional marche> and dai.ee forms. Il ha* nothing io d with the
inxtn^meniaiion but reters tc- a contni*ling section usualh in a contrasting kej. most often the、~ .nanu
Some rags stay in the neu kej for the 'uccecdinc section, and some rags even change keys in each new
section.
The harmonic progre»ions are rekitne!) >impie with 1. IV am! \ - .hord« predominating. Chn-mati.nni
:、Mippli.-J through dimiri'hed、c\enth and gemiarj dominant chords
Scon Joplin also used chromaticalh altered chord、. mo、i common]) a minor tn ad built on l\. and
chord、built on 八 I cither a、triad* or augmented sixth chords (essentially dominant seventh chords
buili on lhe \ degree of (he major scaler
The hamK»nic rhythm 1、generalh、k，s each chord usualh laûng for one or luo megunr、
Harmonu change often comes quicker louard cadence、ln\er>ion> are u>cd for \anet> and to 、mooth
out ha、、hne、Topically ea.h、代 iecn-mej、ure Mrain contain' four pJirase、The second phrase
usualh ends on a half cadence on \ Belou is the chord progrc'sion of lhe second "ram of Scon Joplin"*
"'The Enienainer."
•- —................................... .............................… ........................................................ ............................... .......
C F Fm C G D7 G
1 1 ?
9? § e e § ' 4 ' W：
1
1
Any Old Rag55
u
An> Old Rag" represent ihc classic rugtinie tradition. The tomi is AABBCCDD It is in the ke\ of C
nujor. The C section, the tno. is in the *utdominant kcv of F major. The nghi hand pla> 、 \anou> additne rhsihm
groupings lhal often d« nd coincide with the slcad\ pulse of the lefl njnd. the u 、 c 01 cnrumjtic chord 、 (ouani the
6nai of each '(nun. Be caretiil to play (his and dll classic rag 、 in u moderate tempo and with exenness in both hands
Classic rag- —time should not swma m the modem sense of ihc word.
o
TRAC<4
1
2
GD D-
1
3
Gm BJ'F D
1
4
1
5
PRACTICE SUGGESTIONS
As with most piano styles, “separate hands*' practice is recommended for ragtime. The left hand in particular
needs to keep a stead% pulse while providing a fairly constant oom-pah motion Practice simple 、inde
paiiems lir>. before attempting UK'MT that are more com?上 x— e >impies： paneni' mvohe tne leas! hand
movcmcnL All of the panems that follow should be practiced in strict tempo, ranging from the 、lowz
comfonable tempo tc • = 100.
Left Hand (Simple)

The Mmplesl pattern fw a major triad is shown here for a I chord in the ke\ of C. followed by one for the \ 7
chord «G"> and one lor ibe IV thjrd (Ft Practice these patterns individixaliy ai first
paiicm、in other keys, too -especially G. F. BN E . Ak and D inajon
Left Hand (Complex)

Once simple stride panems have been mastered, tn more diHicuh ones wiih larger leaps. Separate pat-
lern、tor I. IV. and V- m C major fbllou.
5
These panems can be combined in various uu\ s. Nodce lhe xnxxxh chord connections
Be sure to practice patterns using the thirds of chords as bass notes.
Once you fed comfortable uith the previous patterns, tn using octa\rs for bass notes.
Both Hands
Since classic ragtime relies on two separate rhythmic lajerx. coordinating lhe two hands can be difficult. The
following exercises addrc>s this problem.
Sixteemh notes played by ihe right hand 4KXJI<1 be evenly played as equal subdivisions of the eighth note>
phyed by the left hand. Practice the tbllowing exercises, at nrsi with nu decent, then with the 3 + 3+2 and
3+3+3 accent patterns shown. Strixe for precision.
1
7
The previous accent pjuem> <\：r 5、：、be reduced : th 芒 T ILL •…m and p\. - c. ] .*、
Abstract the right-iund and kh-hand rhythm、of wTraen rag* and pracuce their °、above. in ±i> example
from Scon Joplin.
The 3 + 3+2 and the 3+3+3. or any other pauem、. can be practiced a striding ieft hand.
Chapter Two
BLUES & BOOGIE WOOGIE
JIMMY YANCEY & PETE JOHNSON
Another immediaie forerunner of jazz was blues. Like ragtime, blue、was invented b)
BJjck Xmencans—onginaiui^ on Seadieni pLin 血 ion、dunng me mid-nineieenth c^n- •un
- and represenied 3 fusitwi of Western and African mu<icai eiemenb-. Originally a \AKJ1 music, blue'
was characterized b\ an evprez\c inflexion of pilch thai made use of bend- ing. Uidins. and -singing in
the cracks.'' 1 e . sinpne pitches m betueen the tempered notes of the ><dle. Rhjthmicaliy. biue>
melodies uere aJ<o sen supple and tlexibie;:he note value、did not cavils break down into units like
quaner notes, eighth notes, eic. The jccompanimem. on the >iher hand.小」、、had」strong <ensc
of beat and NUpplied the pulw This. •»、in ragtime. ga\e a ：2\enng effect— *xit the mel^xlic aycr
ITMC independent from the pulse ：a)er since it sg not n>Jncted to c\cn subdiv 1'ion of the basic pu!w.
Blue、piano de\eloped in lhe carts !9<)(X Piani、E of course, could no( bend n»xes or pla> in the
crack>. but the、de\eloped sf、simulating these effects. A charactensiic —ale known a* the blues
scale begme common for melodics, while tradiuonal Uestem harmonic practice pnevaikd for the
acvompamnicni. Thus, we 心 an<>(her example of iasenng, this time involving iwo >epa- raic tonal
plane, in the 1921K fasier \erîons of piaito blues emerged kng as boogie woogie.
Blues Piano
The Blues Scale
Tradilional blues melodies are based on the so-calkd Hua scale -a iive-noie. ',pemaionic：* scale
superimposed «-n a major tonality. In nianj tradiuonJ blues pertormances. the nve-note blues <ale
provides all of the melodic nutenal In other*, it s mixed in uith rhe major <ale. More m<xlem practice
adds a xixth note, the flat fifth iG^k to the traditional peniaionic.
Modern Blocs Scale
Moder-te Cumposne Blue* Scale
ThefL： -m j be noted lha! they blue notes were actually somewhere betueen the natural and flailed
pitches «E and E?. for instance 1 and can ne\er be replicated exact!) on a piano.
1
9
Crushed and Grace Notes
Most carlj blues piam 、【、 ma.ie u 、 t oi a c»»mposne biues Blue n ， uc 、 were 」、 ed as
inllectek! flailed note 、 and ofien the major anc minor third uere cni-hed togeiher for a charactenstic
blue> effect. Often, the minor thin: :• ihe major third. Grace note orna
ments and crush minor sea»nd< were comm.»n on otner âle degrees.」、well. The following ex-
' - ' 一' - - 7
Thirds, Sixths, and Tremolos

The earh blue- pianiMs often played parallel 6ih< and 3rd、m their nght hand Trem<»l(»― pid
3
TWO
altcmaiion betweenor more note、wider lhar c 2nd―were ulv* popular
M < •* ：：< ：： f f 刑 f ：» t ；二；
Repeated Notes and Patterns

Often several, or long string、, of repealed nEes. intenaK or chcrd，uere phved.
Swing/Shuffle Rhythm
WheiE、clav'K ragtime conceived in ? 4 time, blues was convened in 心 t is. f«»ur bcai* per measure
Houewr. mans earh blue' perfonnances feaiured tnpleh in the melods and accompaniment and these
perfornKing arc onen noiated in 12)、time. *omeiimes referred to as ,Shuffle " There m a certain
influence from ihe field holler, uork song. *piniual. and black gospel muxic inidiuon'. The feeling of
the triplet led to whai we now call suing eighth notes. Whal is uriuen as 二 i、played as . , The use of
<wing eighlh- became standard in iazz dunng the I92(K.
2
0
Eari> blues piam、i、made much use .»f lhe tradiuonJ 12-bar blues form. Sexerai \arialiens on the 心，
chord pn'grvs'ion were u>ed. -xi! lhe basic form remained inuct. lb th】、da、, it <ne、3> a
renurkabh Oexibie and \er.4tiie tbnn. The chord、uere quite simple: triads and dominant seventh
chords Three typical ear:> blues chord prugre\>n'ns follow below, in lhe key of C.
G"
C <G7)
Dm" •
G7)
Th<r unique tonal quahiy przni in traditiona blue、comes from :he clash hetueen the melody jnd
accompaniment. Die h.imu'nic ：npaniment ;、based on the rnjiof scaic. uhile lhe meb»die' are buyd
on blue* M?ales. The blue n(He> clash with their counierpan^ in the nujor <ale In C. for instance, the
E and Bz B： cla>h The«v clashes create .* certain tension that 1、 asstviaied with *1hc blues.'*
-
Traditional blue vocal mekxiio and Ijnc* followed the form uJ \AB. In thi、fomt there ure ihree tour-
mea>ure phrase、. The first phniw is repeatai more or lc*.s exact!} (words and nielodyj ever, :
hough ;he /.armony . > different:.:c ycond time I':;e third Qrase ：> usually diilerent from the hist two
and acts as 3 Mnd of punch line. The repeattd melody and word* add a certain anx»unt of tension to
the perfonnance、. and the third, 'punch line" phrase relieves that tension, fcarlv insmimentai blues
lunes did not necessarih adhere to that melodic form. in large pan be- cauM： of the ；心 of word?.
Left-Hand Patterns
h.r" blues pMn<< pia\ ing tcatureu 'impie repeiiuvc >uig!e-：：e(c q、.umpa:mrents in lhe kft hand
A feu sample* follow.
Eariy olues piano plajmg 认 g，bn more formai than its vocal c.'unterpan. but much !e» formal than
classic ragtime. iBlue* lunes were rarely untten down until atier 1910. and uniike classic rag.
mprovjsauon ua> and is a ke\ :actor in blue* pcrtnrmanve' > for rnovt jazz performance、, notation
doe、net .apiure even nuarxe «: rhythm and feeling r：e reader、hvuld nouce the ampler more "laid
bavk cbaructer that earh blue?, tu、compared to classic ragtime.
2
1
^Nothin9 Fancy”
Jimmy Yancey • 1894-195! i was an eari\ nisi whose e： uned pur.
pie His approach represent> a blue* style unaffected b\ the influence of ragtime. He ai^ became
influential in the boogie xux>gie style of the 192<K fne following: tune i> wntten m hi 、 pure
hiuc、 'tj le. Other hlue> pianisU include Clarence ■ Pineup'" Smith and Rix^velt S> kes.
2
2
Blues left-hand patterns 'hvuld be practiced Jone before playing them uith the right hand.
• lake any or all of the left-hand panem 、shown and plaj them >louly at first: then gradually
increase the speed
, 'cu. plaj 'imple improvisation' based on the blue> scale wilh the right hand along with the
ten-hand pattens
, Next improvise using the blue 、 scale and major scale while plaxiog charaaeri'Uc blue 、
devices― e crushed and grace notes, think, sixths, and tremolos, and repeated notes and
pattems.
Follow a similar procedure when practicing boogie-woog 祜-style blues piano.
Boogie Woogie
B . is a subcaiegon of b. -：_"_ ；：：.二 and virtues 记 dis-
pl^' Thi< ^tyle flounshec and became sen popular during the N20s Although onginalh c medium for
2
3
«>io piano, sw ing hand、began to incorporate boogie woogie into man} o' their arrangemenu during
the I93O> and '4fK In the 5U boogie u.»ogie became a major influence，，n rock n roll, especially
rock *n" roll piamsis.
Left-Hand Patterns
-e'-er-en- woogie is (he E" 一一、jre― say.
mg. ~Beat me. daddv. eighi to the bar. was 3 fam.liar call in boogie uoogie*$ hex day. An eighth- ■F
note pu!<、uperimpo5 on 4/4 un>e creates anaher layer of rtiythmu .utivits. cnkziaJ for defining boogie \\<x>gie.
These pauem> should be played cnsph uith a hea\> xwing feeling
Boogie woogie mekxiies tjpicaih con、E of、bon. repetitive, catch) phrases. Much o! the rightband
malerial i* similar to that of blue、piano: blues scale grace rvxe、crushed second* third*, sixths, and
tremolos. Boogie pianists also emphasized fourth*
-iACx r Repealed notes and repeated short panernx of notes were tjpicalk employed C
Z 3 … 」'•'二：' ''• . • ，， ,二
広二，二湛二丿 A$ ：， 1 2
Pohrhxxhmx were often u5. creating cn、、-rhyihmic efleet*
u
Boogie Man's Blues"
Pete Johnson 19JM-I9671 was one of lhe premiere boogie soogk piam>b ot ihc 192(K and "3<>s. A
inuoso sho 皿 cipaied man、o! lhe nxk 'n' roll piano ol lhe ?<K Johnson teamed ap Ai th hv
2
4
Turner :n the 礼、and pnxiuceJ proton pic al rhjlhm n hlucs-rock n mil rec«>rd-
m=、. Other pn>aunent noogie \、<x)gie pianisb 'Acre Meade **Lux" Lew;、and \lbcn
Aininons.
"Btvgic Man *. Blue、•卜 u mun in Peie Johnson >、r)N It con>2、e three nluc、The beginning
of the first chorus acts as an introduction~~nc that âs i mi laud b) man、50s rock "n* roll pianists.
The firs two cbonises use the same - anem: lhe third chonis
u>c、J different pauem. Nmue the repeuuve nff-like figures and the use of thirds and fourth>. in the
nght hand Also, notice lhe repeated mxes and repentive chromatic figures. The tempo i、 lairix tasi. M» «ne、hould
gniduaih build up >peed. and practice each hand 'eparatcl) before at- Oicmptinc them tosethcr.
Joiin \ alerio
FaM boogie • = 176?i
r Cm C Cl f A»7
2
5
2
6
Chapter Three
NEW ORLEANS JAZZ
JELLY ROLL MORTON
A round die year !900 一 ♦ new kind ol "iyncopaied" music ,AJ> bom in New Orleans, k wa>
tailed 丿。二 Elemenis of blues and -nher tradiuonal African American music—such as
spirituals, held hoilers. and work songs—merged with elements of classic ragtime and
march mu>sc iv create a different and unique musical genre. In many uays. jazz resembled cla»ic
ragtime, but ii* ice!, xound. and methods were ven diffcrcnl. Whereas ragtime was >uicL jazz was
loose; whereas ragtime was wniten dowit jazz uas improvised.
Jell) Roll Morton ■ ISS5-I9- i a one of the hr>i and most prominent pianisis to pias in uhai
can tnih be called a jazz siyle. and \\心 the first great arranger/comp»er in the genre. Other than
playing solo. Morton led one of the (op \g Orleans 'tj !e < Dixieland I bands, the Red Het Peppers One
immediaieh nociceable difference beiween hi> music and c!as>ic ragtime is that Morton > music sw
ings. He loosened the 'even subdivisions" effect of ragtime luniing ^straight" eighth notes into 'swing"
eighth tuxes by playing them unevenly in a long-shon manner ~ =/; —and this mojr relaxed aitilude
has stayed u uh jazz ever >\ncc.
Swine relies on more than iusi the underlying rhythmic feei. however l「< dif&culi io describe. >c«
mosi lisiencrv knw it uhen the、hear it Swing relate'(o subtle shading、of dviuunic' and accem>. as
A ell a> rhyihmic placemcnL It re!atc> t.'.» êoing against the gram" quaiih that applies not onh 2
rh}ihm. but to harmon：. ami melody as they relate to pulse, meter, cadence. fbnn. and each odier
Whereas classic ragtime was >n 2Z- time, jazz is in -i/4. This is an imponant difference Ragtime
adheres to a system of >in>ng beats and weak beats~~(he bass nmes (I and 2» are empha* 、izcd
while (he aner-chords tihe ,and \ i ure significanih *c^ker. in a?z. the bass nenes aie placed an beats 1
and 3. and after-chords on beal> 2 and 4; thus, the aner-^hords occur on the beai I eve], .not 3& after-
teats. Essentially, there are no weak beats in jazz. Jazz makes all the beats equal on the melodic and
pulse levels, and an、beat can be siressed. Often beats 2 and 4. or even the "and"、m between The
beats, are stre、3 This equalization of all bears give> jazz tt> basic underpinning tor swinging. The
harmonic、injciure generaih îhero to the tradiiional procedure of changing on the •Strong'' beats, I
and 3. but rhjlhmicalh. jazz goes against this grain.
Left-Hand Techniques
Jelh Roll Monon extended the ien-hand techniques of classic ragume. utilizing all the basic de- ' ices—
e !eti hand kepi the pulse is before, and the basic •'oom-pah" bass-no<e.;choni altema- ；ion as the
norm—whiic adding neu nvisis ail hi、own. He advanced the an of ragtime in one >ense. while
creating a newer style, jazz.
2
7
Chords
Monon * harmonic vocabuiun 、imilq :hai of cia、、\ n：gume― ssenualh tnad>. dominant
seventh chords, and diminished tenths. Hou ever, hi、seventh chord voicing* tended to & fuller.
u>ing all four noces m>tead of just three. They can be aJJed to the triad voicing> o! claîc ragtime I
see Chapter 11 to create a basic Monon chord \(>cahulan
Bass Notes
A> in ragtime. Monon mo<r often u>ed single notes and zta、e、as bass notes—with CK-
ta、e、prcdominaiing. in Morton^ case However, he also incorporated other mienals—like fifths,
'ixths. genih、. and tenth'—and cen thrw-nc<e grouping, including all inversion% of close-po- siiion
tn ads as well as mienals iike nKH-finh-octave. or n*ot-finh-tenih
Keep m mind that the term “has notes'* in ihK context rufer、to the “oom" pan of the ,"oom-pah*
stnde pancm. The fblloumg examples、how hcu these arc u*ed in Morton's playing.
Monon used root-fifth or root-fifth-txrtave bass groupings in >.»me unorthodox uay,> The roie of [he
thih in the*e siiuation' 1、Mmph te rsirhw.c the overtones of the bas> D<XC an J otherwise bear、no
direci relationship b- the harmonj J： that moment 上\ample、of theê unu%ua! fifths are marked b\
asiensks m the exceqii below.
A、inragume. ihe earh ia?7 pian- pij)er* connected the aftcr-cbords with smooth voice leading.
Xocice the minimal movemen! among the after-chord* in the pre\iou< example.
2
8
Walking Bass
Basic striding motion was often broken up uith walking bass lines. usually played in、m w ；、 or
octi、一 t ienth* and >ixih> uere uyd 2、ueil. These pas>ages could !a>t one nicaûre or longer.
Notice the unusual UMT of fifths in the second example.
Sometimes, the ham quarter-note rh\thm of the left hand uas altered b> Jisphang bass note 、oft the
beai and <)r running eighth note* in □ rou.
Melodic Bass Parts and Breaks

(Xcasionallj the hand played lines thai Acre ,"trombone-like * and/or 2cted as countermelodies.
Spanish Rhythms
Jelly Roll claimed that part ol (he essence ol“a、ihe •,Spanish tinge." Basicalh this refers to Lum
American rhythms, particuhriy the habanera rhythm u • • 1, which is also referred(0 as :he -
Charleston rhythm ' He sometime^ plajcd :hi> rh\ihm in the left hand as fbl! 。。、.
2
9
Half Notes, Whole Notes, Etc.
Sometime the rtisihmic action of the ieK hand broken up uiih suûined chords or mien al*
These can be independent frcm ihe right h^nc. the> can be coordinated with it
A、mentioned. Jelh Roll Monon swing、He d 心 thi、by freeing h】、nght hand from hi、left: the
left hand keeps the pui-<. anc the neht hard "f .>at*** freely on top of :: Xevents can come an>- where.
and often the nght hand is in a rhythmic/metnc plane difterunt from the left playing melodic rhythm*
that cannot be broken doun inio even subdivKions of the pulse. The *ubtlet> of this rhythmic/meme
layenng is a hallmark of many great jazz pla>ers. including Monon"' con- teniporan.
Loui、Armstrong. Music notation can onh approximaie it
Textures
Xs in classic ragume. Monon'' nght-hand icxmres included、mglc notes, octaves, tilkd-is octaves. t»o-
no(e interval、and chords. Houe、er. Morton used more ocuxes than ragtime and carefully chose
when to .idd harni»n\ to a mehnix. 'ometimes adding the extra notes for textural and harmonic
consideration' -hui more signitlcanth. for rhythmic empha、i、Tliis similar to the ragtime practice of
adding octaves to otheru iw '.ingle-note melodics, bui she effect i、slight!) different and more subde.
Another technique Monon employed was the tying ol one no»c of a chord
:he succeeding chord. This ; - »f、lumn 県 one n<»te into another. The
following example' show how these technique、add emphasis(o cenain notes of the melodic ：:nc.
Blues Effects
Morten used various right-hand blues Jexices. including the blue* '.ale
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0
Characteristic Melodic Rhythms
Monon used J vdrier) of rh'ihm、in hi、written and impro\i 牝 d mdodic、. man、Jensed
from c：d»ic rugtinw The foilo%\:ng example >ho«' rhvthm pattern' used b\ boih Scott Jopiin
and Jelly Roll Monon The onh dinercnvo are that Joplin's are in 2M while Monon * are in 4/4.
and rhxthms are swung.
Improvisation
Early Neu Orleans jazz impnnixauon was larsels based on vanaiion. The gnen material wa、
altered and embelli-hed in ua\> that preser.ed〔he intcgnn of the lune b\ not departing too mevh
from iL Monon adhered to this concept even after Louis Armstrong and others bân improvising
is rather than mekxik material. Hie second chorus of "Jelly Jam Blues'* demon* gie> a tjpkai
improvisauona! vanaiion on a theme (in this case. the meludj of the first ch<»ru*•
“Jelly Jam Blues99

For the moM pan. Morton wrote two types of comptîuons: blues tunes and longer qtionaJ forms
mcxicled after classic ragtime. “Jell、Jam Blue> * i> a blues tune in Monon、?tj ie. k comains
six 12-bar blues choruses. The blues progression used is one of countless variations tinplox ed b\
JJZZpianists. The arrangcmeni here is lypical of a Monon blue、j'erfonriancc. containing
elements of bodi classic ragtime and blues piano.
• The loit four measures of e^ch chonis are \ inualh idcniical-

• The second chorus is a \anauon <>n the first
, The fifth and sixth cnorus^* arc also similar, and functiun as 孫〃以
became a、心 ndard feature of much eari) jazz piano: ihe> usually contain nils—hon
mekxiic-rhythmic tigures thai arc repeated iniact or slighily vaned soeral times ihrvughout a
section of the music. The jy ot riffs became a standard fcaiure of big band music during the
Swing crx This produces a dn\ing momenium toward the ending.
Notice the — z and chords in the nght hand >cr> mg as Axen、ihe tied notes in the right-hand
chords th” inflect the melodv. the multiple bass notes, the acoustic use of tilths for some ba»
noies. and the irombone-Uke counter-melodies in lhe left hand.
O —
3
1
S16 Mode 顽小 faslBluo."«. ；.
JohnSalerio
B» E>7 B* B»7
3
2
3
3
3
4
3
5
New Oriean^Jeily Roll Morton st\ le piano can be practiced in a <imilar way io ckixsic ragtime. A
main difference is lhat New Orleans style is real jazz and is in 4M time, not 2/4.
Left Hand
The left-hand pauems of classic ragtime can be adapted to accommodate Monon、ityle:
11 Practice basic progressions with fulfer dominant seventh chords.
3j Practice common pnjgressions using walking has-, bnes betxêen ch- rd>.
UseaiB oral! of the classic ragtime practice patterns from OL 1 and apply similar additions.
Right Hand
Practice typical Monon righi-hand texlures by creating your own -Jelly Jam Blues'" arrangemem.
Hrsi. isolate a particular lexiure—ocia\es. for example. Then in mixing lexiures in a similar way to
the given arrangement. Employ fuller sonorities for accents, etc. Also, practice improvising by
playing oft' the blu<s scale and chord* while making variations on the basic melodies of the lune.
3
6
Chapter Four
STRIDE PIANO I
JAMES P. JOHNSON
A
new st> ie of jazz piano greu out of ragtime in the I92(K and eari> *30s in the Northeast,
cornered in the Harlem section ot New Ybrk Cit\. Phis st\ ie is referred io as Easien:
raîime. Harlem pianu school, or n】c、〔 commonh. siride piano. Stride piano evolved
in Harlem in the earh '2< »< ai *'reni panics' Thc<e were panie> tha: cb.arged admi<'i<>n io rai'e rent
monex The p^nie* feauired cunins Conic'S, where pianists u <>uld shew off and tr> io outplas eajh
other for □ phze. thus. the mu*k became faster and more complex A mneicmth-cen- tun Black
American circle dance called a ait.- thai feamred frenetic dancing, inûvd much of this mu>ic. iThe
term shout piano from this j Tempos could be extreme!) fast and the grear stride pianist* h.id amazing
ieft hand、that were able w pla> the quaner no(e< a! grea: speeds The chords and harmonic
progre、、K>n、were more complex, richer, and fuller than those from classic ragtime, and
improvisation a standard teature(>： the Most imponani. stride piano s\ûne. Like Xev Orlean> jazz.
H s 公 convened in 4/4 raiber than 2>- time
Jame. P. Johnson 1S94-I95511\ considered to Z the father of 'tnde piano. Like Jdh Rol' Morton, he
fused elements o： tKz ragume and blue* to creaie a pure a// stjle ihai had elements of suing and
nnpnmnation. He was 山 zcall、trained and pozzrd a vtnuoso technique Hi' playing convex *
a、cn、i? of forward motion that 1、as<ocia〔ed with jazz rather than classic ragtime. (The term
Eastern rat-rime was used (o difteremiaie this style from the more reserved and 、〔aid classic
ragtime.) Johnson wroie classical muîc as well as pop songs <uch as "Charleston." He earned his main
living by making piano roll、for player pianos
Basic Stride
The left-hand techniques used m car：} onde piano uere similar to those uêd in classic raglimc HUA
ex er. the chord、ihemM：I\'c、anti die progre»;<>:i' were more cfn.piex and more sc^hisucated ir
cari} stride There ua< more use of >e\enth (herd、anc harmoni. rh>lhms were general!) quicker; the
duration for each chord was often a half no<e raiher than a whole. Due someuhai to thi> quicker
harmonic rhythm. !he bass line*- were often 'lepwise. Below 1、an example of a typical left-hand
segment for an up-tempo shout.
•\、m classic raglimc. ihc car.y piayers u、u』i)connected the aiter-chord% uiih smooth voice
leading. Notice the minimal movement among the after<h<>rds above.
3
7
Walking Bass
m New Orleans jazz, the early -tndc playas often broke up the basic >tnde pattern with walking
ha*> lines. This could for ruo <>r more mea>ure>.
Dm
Sinde players al<o often di>piaced the rhxthm of a bass line to place the ix»le> off the bcab.
Cross-Rhythms
Janu?' P Johnson often atiamed an interesting tro、、-rtiythmi、etfect in the left hand by dixpiavmg :
nole、and aiter-chord* inio irresui.iT panems The standard "oom-pah" might be tuned into -iM»m-
pah-pah. or "oom” E」-pah."出 The repetnne uy of one of tbz paiicms crcate> a feeling of 3/4 time
superimposed on the MK 4,4 nine, thus creating a crv$s-rhxiiun or cm^-meter effect The following
example mixe、patiems .«f ihrer* and nu>、
Textures
—Hie earl) stnde player * nght-hand textures were similar to ihvse of Seu Orleans azz. Single notes, octaves, filled-
in «Ktaxes, mienals, and chords were used. The chords. howe\er. uere often v fuller, semetimc'* even ^panning
beyonc on ociaxe to d ninth or ten±.
3
8
Like Jell) Roll Morton. Jame> P Johnxm often ddded harmonx io single n»»tC' and octaves. Houe\er.
Johnson more often used inienals. octaves, chords, eic. for colon'tic effects. For in- nc might pia\ an eniire
pa*v：gc in third' ■- 'ixihs simply the •. and'" of ihese ：nier vais. The following passage is dominatec
<ixihs in the r_
Blues Effects
Like \t?“ Orleans piano, earh sinde di；：ercnuated itself fromr；：貝 ime early on b\ using blue、effect'
James R Johnson u、ed scxcral nlue> devices, such a、blue notes, grace note', crushed notes. etc The
following example denwn'trares some of thc*c dexices.
Melodic Rhythms
While lrl；> Roll Monon's melodic rhythms were someuha! rowed in classic ragtime. Jame、P. Johnson s
sere closer to pure jaz? The fbllouing rh\ihm> are taken from Johnson 忑 famous "Carolina Shout "
3
9
Call and Response
O Cali-jnd-re>ponse passages are a staple of earl}、tndc. Tjpicalh. a、hort rhxihinic figure in J higher
re?、hr the “calL~ and then the —ine or a dii：errni figure in a k—cr -egi'ter -ct> as *=AO 20 the
**re、pony." Sometimes, the call is pla)ed in the nghl hand and the response :n the left
Rhythmic Drive and Improvisation

Earh >tndc pianiMs placed with an intense rhxthmic drixe. The left hand kept up J、iead、and M times
exi.cnich fj、i tempo. LeH-hand accent* uere either e\enl> played on e\er> hcji or plajed <»n beat' 2
and 4. Right-hand accents could come an> where. and cross-rh} thmic effect* were typical in bolh
hands. Like earlyOrleans piani^K. lhe earh sinde plajers impro\ i*cd through omameniation and
vanation.
“Sh。。Fly Shout”
•Sbuo Fl\ Shout" is afasi >houi wnnen in James R Johnson s snie. Its secuocuJ form m modeled alter
cla>sic nigtinK and consists 诚 five strain^ ananged as: Intro. AABBCDEE. Coda. Each " stmin is
sixteen megure、long.
\oticc the \aneiy of leti-hand technique>. including stnde. talking bass, and di*pljced m.cnis Xouce the
crx»»-rh\thm effeci in lhe left hand dunng the B and C sections and »«nl»eai accents in bolh hand、dunng the D section.
The E 'trains act “、houl chonises" and feature call-jnd- responw paliems. El is a variation on the E section, done in a
way that might have been improvised.
TACK John \ aierio

21 Dk SC L
■, -----------■—
4
0
B， Dm G7
4
2
<L
B‘ BI >
E
B-7
/八•，.「：.尸■ • . -:- :「彳《・
4
3
4
4
BJ B9 B FQ B
，：
Practice typical earij ^tridc Jamcs R Johnson progressions— epwise and othenvise. Remember that these
usual!) were played al .en fast Tempos. An example follow s.
G DF： Em G7D. C D7
/ it : - w—t 二 I i -, n
♦ at P ■
• Choose segments from "Shoo Fly Shout" and improvise a new left-hand pan.
• Improvise typical Johnson melodio. including cal'-and-response palierns. whiic playing an early
stride-like left-hand pan.
. Refer ia some of Johnson's composiiions like , Carolina Show" and **Chariesion."
4
5
Chapter Five
STRIDE PIANO II
FATS WALLER
tnce piajinc c\-'ivec。「:J* during the 192(The n.imh me ^ngu^ge became more so-
phisticaied. and the overall sound bec&me smoother ewhat soften The most pop- ularm
- I at> Waller ，_-_、 =
b\ Jame、P. Johnson uho tutored him in the stride *t\ le. Waller was dassicalh trained and pos- y、>ed
J、muoso technique. Hi> touca was lighter than Johnson's, and he yee as a tnm、而。nal nsure
between stride style and the :. 一 :ng style of the 1930. and '4<>s.
WdHcr had a cenain rchnement in his technique that was no< apparent in Johnson s playing. A prolific
composer who wrote hundreds of poo 3ng、一 including ~Ain'i Misbehavin'." "Hones>uckie Ro>e.'
and "This Jcint I、Jumpin -Waller wax〕lso a succe'*ful enienaincr. a popular linger. and a comedian.
Although he died at an carts age due io ovenndulsence in food and dnnk. he left a legacj of
hundred、of recording' Waller recorded uith a tno and small group>. but hi、ouipul consists mo、Uy
of sob piano nxmding、
Later、in& used all KIMC ien-h.md technique' •! eari\ stndc—the left hand kept the pulse as before and
has^-noie/ch'-rd aherra•:、n A as :，、,：;rrm. '*Hh «a>i3nal talking has> imc* and
me:« die pa»ages w. 3 mur、、・. addednew twists \ t>pKaI pazge fbllou、.
Chords
Xtrtice ihe richer chords m the example above. While tnads uere still used in later stride. *esendj and
wth chords became comnu>np!ace. Fuller textures were nutre popular, and chord voicings often
contained four notes, as 屮卜 yd io ju>i three Extended iiarmonie'—ninth, clevemh. and thirteenth
chords—u ere also employed on oevaxon.
Following are some common major Mxth voicings. These were often used in place of major tnads. but
nol always. <The tnaii '.vicing* shown in Chapicr 1 were 'till employed b\ stride piani\ls. >
\bicmg> for dominant »e\enth ch，rd、were 'imiiar to those used bv Jell) Roll Monon and can be
applied to all seventh chords- m~ [n-,5. and ' Maj~ chords were no! common, i
As in earh stride, stepwise ba、、lines were increasing、common Nonce the unusual
inxersionN/chord lone、in thi* has、line, as *dl a* the、mooth voice leading.
Bass Notes
Other than 'ingle nou、and ocuxes. ater stride piani'ts al、。used tenths, fifths, and tenth' nlicd m with
fifths, '•ixths. or sesenths for bass notes niore、- than in Xeu Orleans jazzi.
iffths 5th$and I Ochs
Cb Dm G7 C E Dm7 G7
Tenths
Dunng the iaier suges of evolution, tenth、became more prominent in the left hand. A tenth is a
compound interval thai is essentially a displaced third; when the upper note of a third is di^jlaced an
octave higher, ot the bonom note an octave lower, a tenth is formed. Fwliaimfifiic reason；. ««n!>
cenain tenth> are t«» imply individual ch^rd qualiue' and inversion、. Tw(' basic rule、can be
followed in choosing lenihs for the left hand:
1. Major lcntb> = major or dominant seventh chords

Due io the strong cnenonc relationship of - major third. the TTUKK tenth >ugge<> the roos and
third of a major or dominant chord h should not be u*ed for other chord :\pe< te.g.. a、 the third
and fifth of a minor chord).
2. Minor tenths = any chord type

Minor tenth、can imph root pct'ition minor or diminished chord*., as well “、imerhion、of
various chords—including major and dominant,
BaW on the<e rules, the tenths thai can be used for each chord quahu arc as foliou、.
Cm" Cm"r«
一-
Of course. 3 single icnth imply several dir . for instance, the tenth D-F could be
intcrpreled a、follou、.
root/3rd 3rd/妙 5th/7th
4
7
Tenths can be difficult【o plav lor pianists with、mu.!"o average-'ize hands Minor ienih> are p-'Sibie
for m<?、t plascrs: maior tenths can be more pn>blemaik . Tenths can be broken down :mo four lex els
of diftkulty.
When a ren±、out of reach, lhe player can rvll it piavmg the lower or upper note ot the tenth J、a grace
noie before ihe other note. Striae plaxcr* did ibis often」、an effect, anyway.
©
A»7
B>6 B»7/D E，6
・)，..」 ,以丰”
TÂCK 奸-<_4-----k- -- - - ------------- --------------------- ! * ：-
22
T'.A ；、<imdar(o lhe "broken tenth' ctieci de><ribed later. Although “、- uv'rkahle glurion to the
large、pan problem, one should 2 carefu -<'• t<> oxenio thi、ettecL losiead. one can avoid a tenth if
Geeessan .：： .. - - litih »See also Giapter 6. t
Filled-ln Tenths
'、、：.'/」二 l ：、、.、板.tenths can be tilled in: the resulting three-note structure could be
a triad or niph ase%enth chord. The additional note u>uali> removes the ambiguity regarding lhe
intended chord. and in\ersion> are more vicaiis implied lhe prohibition Jgain>- using the open major
tenth for imersions is removed when the middle note clarific' the intended chord. Belo^ are some
possibilities tor major and minor tenths
¥ Am E* Em6 Am7
C6 C7 C7 Em C
） .
―f ■厂 L —. ■
A7
W
Em，
: :
mioOT
：
-----major tenths .
—— tenth、
Left-Hand Patterns
Stride piannis 'Ought vanetv in their left-hand plaj ing and discovered tounUe、、of presenting the
basic Wm-paif* patiem. The use of aliematne bass-no(e aggregates and ncher chords al- ioued fbra more
diverse texiural and ônic palene Folloums are M)me of the nun、ways that a I or l\ chord i typically j
major :nad or major sixth i can be played for oce measure.
4
8
Folloumg are some one-measure patterns for\ chords idominant sevenths >
Walking Bass
Fais Waller used a vanet> of leMurc* to create v diking has、passages. He and other later -.tnde
player、went beyond the older iechmque of plasnip single note* or octjves: :he\ also U'Cd tcnihs jnd
filled-in leoths. The following example shou、a typical use of "walking tenths."
In the pcevu»u> g：rp【. the tcnth> on the second ami third beat* of the second measure arc treated as
pa'Ning tunes. Ea^h lenth. houe.er. c^xild be zn、:dcred an mdividual chord. The choice could he
detennined b. wha： the nght hand 卩 playing, or simph b\ personal perception When u alking tenths are
filled m with middle note>. individual chord、are more ob\iou'!y intended. Two example^ follow.
4
9
Broken Tenths
Waller used an inieresring device that broke tenth' inio separaie notes. The hrst note could be the Sacr or upper note of
the lenih and act、心 a kind of gnê note or anncipation tied over io the second note. Two examples
follow.
Continuous Chords
Sometime、. Waller piayed a serie＞，顽 clwnh without the interrupting ba＞、nwes. This device
was n pieaih used for ven quick tempos.
Stnde pianists sometimes placed open and filled-m tenths or other chord voicings 心 half notes or
whoie no(e5. Although thi、disrupt the ba＞ic quaner-noie pulse, n is done for two reawns: 11 it
can provide relief from the consiant playing of quaner notes, and 2) it frees the middle register
c D- CE F9 ? Fh G勺 G"
--------a— —— 負 ig------------- W 一 ■
____
~~~31
’ w W------------- 卜，。
p
1
-Z 一
tor the right hand(o pla\ melodic material in that range.
Boogie Woogie Patterns

Waller often used boogie woogie patterns within a pcn'onnance. Simple boogie woogie patterns added textural and
rhyihmic varif、to the music. A few samples follow.
~XK24
5
0
Fats Waller incorpotaied alloftber：.
more modem sn le H】、approach 心、lighter than Johnwn、and a bn more honzonia! or linear in
genera： halier ua«. an ouKUndmg pop 'onp*filer who ur> te and pLved cui-hy. smsabie melodiex His
melodies were based more on pop music than on ragtime or earlj jazz.
Textures
Waller used the full ganwi of right-hand textures, from single noies and octaves n» nch. dense chords.
A* with Jelly Ro!) M(»non and James P. J«>hnson. be could use chord* k» accent predomi- nateh
single-note lme>
Waller aiM> used intervals or fuller hannonie> for vanei\ Somaimes. entire passage 、were pla\ v<l with one
texture predonunjting The h example Jemonstrair' hou di：tereni icxiurc' can change the sound of a
melods. The >anic two-measure p」、、jge i、presented firsi in single notes, then in、zths. tilled-in
TWK2 sixths, fourths and fifths, wuves. and fiiled-in »»ctave>
6
5
1
Motives
Waller s plujing and composiuons are replete with mou、es- A motive is a *hon nwkxiic. rhyth- mu. or
me；Zn rhxxhmic idea that u*ed m \anou、uj\\. A mon\e can me g a source idea that ' nunipulaied
and、 sometime
from a basic simple idea \Iod、c、are usually Vauhy" and easy io remember. Waller used motives
bo<h in obvious and subik w Following are the melodic rhythm、for n*o of Waller、 be>t-
known、，>聖> Nonce hou rhxthmic modves are employed
Xsn't Xli^behavm
才 1 勻>-> > • <: >>>> ・■・ «.・・・・・ rz o ■_：

p■— — _ , , ______________ - _, —,
Grace Notes and Trills

©
KACX27
Wilier often UMM cnlb and grace no(e> _、omameniu device* He den\ed these not onJv from the
blue' piano trudiiion. but from classical piano as well Four excerpts follow.
5
2
Runs
Occassonalh. Waller interspersed quick runs an>ong hi、melodic lines. They were uûalix baêd
<.pea:.：: >nic sc.：；.* 匕 arpeg^： s. TE example' foli-A\
Two-Hand Techniques
•Kcasionall) broke from the quaner-nc(e puly : - lor-hi。.1、、芯；> >«
、、:：-«.m、
i*cta\e、with both hands, or counier-melodie' in the iefi hand The following excerp; displa>* chord*
and octants with both hand、'Mice the dominant ninth \OICIDES
The nexi excerpi displa) x a left-hand counier-meiod) loihwed b> ocu、c、in boih hand'
5
3
Reharmonization
Stride pianist- >hied auj\ from cxa<i re^titiox T\picail>- ihey rehamx»nized repeated mehxiic pa> 7
“、Fhe (nek (o doing thi':' reutiveh 'imple. Reduce the choni progrezon Joun to its e>seniiai hamhmic
gtuK—(spicalh I or \ and ill chords lhai will THM conflict with rhe mckxiy m between :he 河;、
One、hou：J he aware of -mpgr> meduktioas and treal neu tonics 4 I chords, eu The following
example、hou、vanous ways of going from 1 to \ uithin a 浦-mea'ure *pan.
More examples of reharnionizaiion will be shown in Chapter* ~ and S
Improvisation
Waller ；mpro\iyd ?on、:.ini】、i but :no>tl\ :hrvugh var.iiion aiki omanicr tauon Hi<
impn»i7iion、 were more modern than Janie、P. Johnsen's in dun he played off ihe ch< fd> ni<»rv b)
usine .in^g gios and run、. I xamplo ui hi> approach wii be denionstraied in the follow mg iune>
“Misbelievin'”
"Mi、bdie\ in* “is a medium iem[K» nine in lhe standard A AB A pop song format. Each A section
:、a ditlerent sanaiion “n the <unc nie!od>. Xtxice the texturai \anen —from single note、to open
third、and >： .-m、曲 h、一 to ouiaxes and tiiled-in octaves. Also, notice the runs. TIw
IcH
hand, unh it> use ot tenths differs con、iderabl、from earl、>tnde siyk.
TRAC* 31
5
4
5
5
£S
“Be Fat Blues99
~Be Fat Blue 、" 1 、 a medium tempo blue in Fau Waller's *tyle. There are three choruses, each a
ditterent \anaijon en the some meh \h \，Hice ihe u 、 e npical blue de> ice> 、丄 h as gru*:e notes,
blue note*, parallel thirds and ti*unh>. The \mmon procedure demonstraiex Waller s «m-
pruxi'ational approach. Nolice the u>c of boogie woogie in lhe ieft hand •»、 “ell 心 >ian- Jani
stride procedure、.
HUCX
32
5
7
5
8
^Mouthful of Peas5
Alouthful of Peas" is an up-lempo，houi It has aspect、of earlier 3、well as laier ^tndc. It contains
tuo thonjg in an AABA pop —ng fomiaL The *ecvnd choni> i、typical of Waller's impn> vauonal
>t)le based on .anauon and .'mamentauon Xouce the uy ami nunipuhuon of the opening motixe.
Xotice the walking ba、、line、in ihc left hand.the xhout-likc chorus effect wiih full, acccnied
chord' ：n :he riant hand dunns the last \ action.
5
9
6
0
9S
“Ain't Nobody99
■•Ain't Nobody" is a moderately slc»u ballad in Wai. \ pop zng fonn- It tea-
turescounier-mdodiesand b _ . 「•'-：.二 L.•二.
lern、Notice the full tuo-hand sonorilie、and walking open and filled-in tenth' During the L>t A
section, the right hand plax* a \anauon on rhord arpeggio、
TRACK 3A
F：M!3) E9H3) —
Gmaj" F<M3;
iq» ~- ；--------v : 一 4—————
=» ，与 *r二
----------I •= r7,——：• /_________f* * * * *
:
僅i8=
1: j
.
< —T•— ♦♦
—- __,.• , 篇 M—
6
2
Bm*r5 ♦
Practice progressions from any of the pop Mondards of the 1920s and "30*. in a Fab. Waller 、 tyle.
UMng tenths a> striding 3 notes and walking bass lines. Some examples of typical opening and
nimanxind pnjgression^ foilou. Practice ibese in several ke)v
Improvise Wallcr-like left- and righl-hand pans. Pla\ melodics from various pop standards by isc Bing a single texture,
then combine tbe^ wiih *ingte-tk»(e textures, as demonitmied by the Waller-like arrangements in this chapter. Fil in
spaces with runs.
6
3
Chapter Six
SWING PIANO I
TEDDY WILSON
E
.. mg on two simultaneous fronts—― muMc. and as a solo piano music B\ the mid !930s.
ensembles sere changing. J az/ hanc、were îns ■.rger.:hand、' essent:.u：y. hx nnc* o- the
jazz comb- ^nd -• oi the '20i. Along with the transition from smaller io larger grou： -
“、m(»othing(>uf proce、、look place in the music, and a distincth neu piano ^tyle emerged
One crucial defining charactenstic of '*ing, mu>k i' the exenness of al! four beat* played b\ the rhsthm
secuon. The rhvihm sections of the big band、used a bassist uho usualh played on all tour heats of the
measure, laving down an even -V4. This different from the tuba or bas> piaven of older Neu Orleans Sts
le. who u<uall} plaved on beat*； I and 3. with occasional w alking n!K The epitome of a、*ing
rhythm section was G«unt Basic ' band; the\ plajed all four beat* of each mea<mre with such evenness
and precision the? sound like t>ne person.
Suing piani'ts were caughi beiween wi'rias Still r<>tied ir the 'tnJe ragtinie modeL ihe> began exploring
new uays to establish the 4>'4 pj|>c while treeing up lhe lefi hand. Suing Jc- manded a lighter touch and
a hv-er feel; the driving accent of stride piano were ironed out Althouî the left hand still relied on an
oo<n-pah、 .： - namic levels became more
consistent for bass notes and after-chords. So-called "walking txiss' line* became comnK»nplace.
The consummale - Tedd* Wilson (I V12-!Mxftt. H :he higb-
esl cultivation of the pure swing Balance and restraint cnaracienze hi< approach. CJa^sicaliy trained.
had a refined sense of louch His technique wa< >upp]e. and his music, sabde Ooeêason for d» lighter
touch of The was the use of lhe micropbooe: file earlier
lit// piam、t、had to pound on the piano fo he htard within a group setung Wiison gained noton- eiy
uhen he teamed up with clanneiiii Benn、Good man and drummer Gene Krup^ to fbm> the Benns G«\
Kimai< Fnv This group was hiMoricalij imponan! n«»: onh ior lhe great music lhey created bui also for
being lhe first publicized in:erracial jazz pertiMming group. The fact that this trio had no bass plajcr is a
Jesiuniem io Wilson $ wounding left-hand technique and concept ion . Wilson played solo piano m
much the vame way」、he appn*ached pla\ mg with a group.
. Tbr term «*MC X used here refen •、Vie uyte o: .s th*: ccAZ fnrr :x rrad 192K to the m J It sbouM
no? be
・计 the mere fcrml -y M the tnr - irrx zeewrd with md 中
MOM of lhe left-hand techniques u& b、、vun§ pianist were alreadj uyd bx the late stride pia>- er* A>
with earlier、【\les. the ieli hanc nz、心 kep! time b\ pla>me the quaner-ntHe pul>c Crucial
difference* were thai now all of the bears uerc pia)ed with equa： >xres>. lhe touch ua< much bghter.
and lhe feeling u more relaxed. The hard-dn\ mg left hand of the stride pianisu M3、replaced bv a -
relaxed groove There ua* also a difference in 兌 ben and hou often the ir _ -hand tevhnique. These
newer ^)prrache> are described in the fol-
l«»wing page、
6
4
Chords
Suing pianist、increa'ed the upper range of chords slightly. The basic range betueen E belou middle
CtoCahoxe middle C- The> osenuaUs used ihe gme ch*>rds as ihe later Mnde p«- aniit> but jJded more
nimhs tnaluraj and flatted».
While the seventh and >i\th chord 沖山 on、u5 b\ the earlier jazz pijnists were sull common, m
keeping with the lighter approach ofpiano. Tcdd> WHson often placed just fragment* of chords or e\en
just one note tor -after-chord>.'* Belou are examples for some of the Iragmcnt vokmgs la>wd b> Tedd}
G ilson
Domirunl Xinih
One can denw similar voiangs for minor sixth, minor seênih. and minor seventh nai-iivc chords. \\
iIson rarely used major yvenih ctx»nS
Bass Notes
Swing pianist used the、amc intenals and c lord、for 'bash notes ♦、the laier stnde pianists, houeser.
in、*mg. the xUier sound o! the open tenth “a、clear!) u\orec o\er Mngle ixxc< and ocuve> \ ijpical
segment of a suing piano left-hand pan follows.
Other common has、now include tihh、八曲 4 genths. and tilled-in tenths uêd tor trud、or wcnih
chord' An example from Teddx Wilson follows.
Since the swing style i> based on cwnness >f the pulse, rolling a hand io reach the tenth gener- aH 、
1、no< m Jesirabie as ii is in >triue sn !e. Allhough ihi、is atccpuble on occasion, an altema-
iutiomstodropthekmesiDoieandphy the top noce by itself. Sums
did thi' anyuay tor musical effevt «see knor Linesi
6
5
Walking Tenths
Swing pianistx plaved walking nas> lines m lenths. a> iheir predecessor had. bui with more reeu- lamy-
someume>. walking lines dommaied entire section' of the niu>u \h>、【line' uere 'iep- \\iw. but smallwere
occasionally u>ed. In keeping with the sty 总 these lines were placed \en evenly, devoid of accents.
Three ijpes of walking line、were common: diaionic. chromatic, and mixed. Diatonic siepwise moiion is ven
useful for connecting notes a fifth apan. as in the follouins two examples.
1b c<»nneci smaller intenalhc <pan、_ chromatic motion i、usualh required. Belou are examples for
connecting a fourth, third. and second apart.
Walking lenths an; also used io "'circle back" on a note.
Most walking Iine> were one measure in length; but longer >pans also occurred. Snmeiimes walking lenihs
continue for two or more measures Two examples follow.
Harmonic Prolongation
Harmonic refer* to the elaboration ol a Mngle thud through AannonK :notion、
6
6
auj\ Tom and 'j<k :o ihai chord T\:'icaily in th 卜卜.心 omplKhed through J ômbma-
：ion of walking tenths and «x>m-pah binding. A* prc\uHJ>iy nsentioned. the harmonic impiicjtions of
open ternhs can be determined in context with the nght hand. (Although there is no right hand in :he
roilowing example^, implied :ianrx>nie> orc indicaied t»> the chord sjmhois.
Four-measure prolongatum of a I chord <C6i i< demt»n>>ira(ed here, moving to Dm'
T\KO-measure pn>longation o! a I chord i、'hewn here four examples)
Walking Chords
Fiiled-iP tenth> can be J、E n«r talking line、as the laier、mde used them An example ：rom
Tedd、W ilson :"Hou、here that c^ch be^t reprznx < Ji'tinct chord change
E» D»e C7 B»m Am7 C7 F7 Fs" F?A B 叮 Ce7 G5? Fm7 . q ♦ A

Z ：
•) ! :.:::::--二
Half-Note Chords
pianist'、，m 前 me、played open and ：l ：：ed- n :enihs as half note Although this disnjpb
the :w、】c quarter-note pulse, it was done for (wo reason、： 1 > to avoid nwnoionj. and 2 i to free
the middle regixtcr for the nghi hand to play melodic material in that range.
B c" •V (
6
7
Single-Note and Two-Note Afterbeats
A' pm iousl> menuoned. Wilson often used chord fragment> or *mgle notes instead of full after-
chord，. Thi、sg especialh inic in up-tempo perfonrunce、One simple but effecu\e ice based on open or
filled-in tenth、Pla> the bottom note ot the tenth as a bass note and (he top note (or notes) as an “after-
chord."
C6 F6 Em? E— Dm7 Em7 F6 G7
3
Sometime* lhe left hand plaxed a oi xmgle note, either」、a ha、、line or modified、tndc
TRACK B*7
35
Tenor Lines
MIsoa often brought out a middle \oice in his playing. He did thi< by susiaining lhe upper notes in lhe len hand while
playing lower notes to keep the pulê going. The、u、uuncd ten<»7 line that resulted Added ajhird line in
counterpoint (o the melodx and bass lines.
3
TRAC
Notice in the nexi excerpt that the bass line drops out in the third measure while the ien«< line
continue、.
Gm? Am- AJ," Gm'
Con>iruciing tenor lines is a good ua\ to axoid playing diflkuh lenths. B> dropping lhe h” 、out but keeping the lerwr
line going, one can mainiain the pul-c unhoui lo^ng much contmuilj In the example helou. laisc
span、on the EK and A? chords are avoided b} dropping the ha、、oui
—36
Gm" BE
6
8
Left-Hand Variety
Teddx Wilson * left-hand st>ie was bgcd on \anety. M<»s： meaiuro dirtered from ih«y preced- jres.etc. were Jluas*
cha： r
Motion is cfnsuni and continuous. .rnd the lack of simcne、、keep、the listener and the plajcr -n hi> loev X i) pical
excerpt follow
Following are four excerpis of pentatonsc runs from Tedd\ Wilson
TWX4
!
Textures
Like the smde piajers. Tedd> UIIMHJ UZ a combinatn>n of single IUHCS. octa\c<. tilled-in oc- u\es.
chord、, and imenai*. in hi> nght-hand melodies. Hou ever, he u\ed many more single noies. thi>
■ uem along with the lighter, mine lluid approach <»i «hc suing Wilson fa>ored an evenness ot line that
nude his lines more subtle and、upple than they of the >tnde pianisls.
gD
• :* •
♦ ______
Runs
Runs sere essential to s\Mng; Tedd\ WHson often interspersed hi、melodic line、with dazzling
defending and ascending run、A、in stfide. they were nkMh basni on pentatonic yak、and chord
arpeggio* Oflcn. hvweser. nh?re advanced chordal *truvtures were used in swing.
Pentatonic
E.ynudy. there were three kindh »f pentatonic xraies used dun ng lhe Suing period: major, minor, and
dominant. Major pentatonic scale* were u>ed on major and dominant chords： minor peniatvnic
«<ak、were u*cd on minor、hord、： ard dominani pentatonic、cale、were u\d on dominani
M；\enth chords. These ihree pentatonic yale、from the tonic C follow.
C Major C Minor C Dominant
Pemaioni^ PenJaionic Penuiomc
6
9
Arpeggios & Fragments
Wiizn i'ften arpeggiuied chwd、and chord fragment*. 5 nn、Tu< :ul： anvsgio run、心養、
In ihe next rwo runs, the root is ；elt «>ut of the BP and C9 chords, rcspectnely
g,. 、---
Other Scales & Sounds

\;tnCHIS scales were u*ed for runs Illis excerpt u、us wht'le-lone and chromaiic scale fragments
Arpesgiaied fourths create a more exotic sound. Two excerpt* follow
70
Tremolos
\Vi：>on often pla\ed b\ nipidh jltenutmg noic o> a in'nvtf. • Anj akemjiioi: o! tu<< now、Mider than
a xrcond u called a tremolo"*: alienuiing xrconds are called FIW OWilson x ux of .Kiave gmolc 、can x traced to Earl Hines,
who used thr device in hi' famous
,tnimpet siyle" piano playing daung back to the I92O>. Tremolo chords were as«M. alô. TR*CX46
Gm? C7 Gmt> D* Gm
处 — — ■ / £
Improvisation
\\ hile moM ja// improv isors pnor io the Swing era relied on omamentalton and、aruuon of gi\cn
nutenal. mo>i >\v mg pianist' created iruer impro\isauon> b> piaymg more off of ihc chord changes
rather than the melods. • L.»ui> knn、irong paved the ua\ for thi、kind of impro\i<ihonal appnuch in
the 1920s. a* did Earl Hine、.)W'iEon created new melodies to the tune> he plaved. ch<x -ing xraiji
and iinc' that t't with 'he prevailing chords.
Dunng I and IV chords lusualh nujor sixths, major ocnth、or major triad*L the improvised melodies
consi'ied primaril、oi 'irici diatonic nuienal lhai clearly defined the chord, with occuMonal passing
tones. Se'.erul excerpts on an EE chord follow.
The harmonic xivabulan of suing “跆 more adxancec than M o!、垣&. and more sesenth and ninth chords
became commonplace. For Wilson, dominant chord、often inviied chromaiic lines.
Anocher ofVMEon's favonie devices is a descending chromauc nuxioa of three or more notes fbV by a jump up a
sixih or higher. Three excerpt* folkrn.
FACT
1
The >ub«lc rvenne*' of the quarter-note puke in >u mg allowed for a \er> flexible right hand that played a \anen of
rhythm、rather than consistent rhythnuc value* This rather supple, flexible melodui、quite difterent from the latter
bebop 'tyic lhar featured long Mream> of eighth nmes. Another W ikon example follow
7
2
lf Fve Been Had"
u
~l! I've Been Had" medium >wmg nine m a npical XABA pop >ong form, arranged in leiid) Wilson's st)le It teaturo
inan\ Wii'on-'i\ 1c nin、and npical ett-hdixi do：.e>. \ouct the Aalk- :nv :enth> and tenor hnc> i ihc Lett und.
g〈End 、in impawixunon »>n the iirsL jnd demonstrates —me of \\2xon、improxivaiional lechmques.
7
3
7
4
Fm6
7
5
Fm- Dm- G-
ig
Remind Me”
is a medium ballad in AA! .• - ：： w、、、》；、
The nght plays continuous \anauon< and improvisauon* dunng the A section*. NtXice the runs, tenor Hg. .nxi waging
tenth'
7
6
7
7
DnT Gm*
“Light and Bright99

'Light and Bright" is an up-iemp». stopped down suing tune m an A AB A form. It features a
simpliHed len-h.*nd sinde uith most!) single nates based on broken tenths, and- ing tenths. The nght
hand nios!l)single nole、Thi、i、an e\crci>e m L；、i suing pia>ing u ithoui ihe extras.
7
8
9Z
Practice walking tenths to rn*gres'ions from pop suDCoid*. fro i die 19—、anc '40s. An example •■: dominant
chords going down the complete circle of :lnh* follow >. For difticuk tenths, inc tu>、note nr pareniheî ma\ be
dropped out.
Practice basic iniro. and tumafounds by combining walking tenths with striding panems
Pracuoe pentatonic ascending and descending nm>. An Taium fingered pcntaiunic and ocher run> u ith his first
three fingers on；x. I \amples for C and major pent；!tonic scales follow.
Apph similar lingering for M pcntanmic runs. Practice di.su):ik N^ JIC and arpegpo run、.
Practice improvuing in lhe right hand io Wlson's xiylc while playing a steady bcai in lhe left hand. Piay some pop
Mundards and apph various Rllson technique^ in both hands.
Chapter Seven
SWING PIANO II
ART TATUM
A llhough Tedd、Wiiw be>i reprznts the swing SB IC. Art Tatum !9!O-I956i summed 叩 the
enure h»ton of jazz piano and m man、wa\ N pointed the wax to future, inspinng the next
generation of jazz musicians, the bebop piaxers. One .»t ibe remarkabk musicians w ho eser
lived. liitum was virtually blind yet po<7、sed such dazzling technique that nun、iilustnou> classical
piani— held him m awe. But hi* bnlhance was not JUM a matter o! (echnical pmuess. Tatum\ harmonic
conception 认 as singular: He reharinonized【une、in une\- A ays and qicn or >mpro\]*eJ ingenious
<h»rd prngrezon、tha! amazed hi、c<»n- tcmp«)rarie> Fatum\ plaxmg was still semes hat rooted m
the ragtime modd. but he took azz plan。lunber than anyone before him. He played sometimes with a
tno. but the nujonty of his recordings are solo performances.
TMum u>ed all of the left-Kimj techniques of stnde and swing and added y、end of his own. The
follow i»g excerpt • from a recording of 'Tea tvf TwcT，、how、Tmunf、aronuch io ihe basic、iride
-•Mxn-pah*" len hand.
• Nodce lhe use ol tenths and filled-in tenths for ~ba^ notes." Also, nixice the uy of ninths Tatum
roulineh used these intervals bass notes, along with ihe other intenal> mere i>pi<4i of uiher 'iride
and suing players.
• The eighth-note "kick" on the "and" of beat 4 in meawre 2 is also topical of Tatum
• Pne dfler-bcai chords are similar to tho>c used hy Teddy Hson. with ihe exception of the major
centh .hvrd. which Wilson rare】、used.
• The talking fillcd-in tenths dcmon>irate Tamm s penchant lor fuller left-hand hannon 心 He was
prone to JSC them more often that the open lenihs faxored b\ WHan
Tenth Voicings
Tatum m^Se much JZ of full ~len± chords”一 ie. voicings that、pan a tenth and conuin all four notes
of a seventh chord—as ba、、no<e* in a '(nding len hand or as talking bass. In root po、i- ihi' >
m、umph、hed b> displacing the third to the tenth while keeping the tilth and se\eniiL
The hii'k 'eventh chords uiih the root C can be voiced a full tenth chord、as follows.
Cnuj~ C6 Cm4ma「) Cm6 Cm- Cm7X C7 C-

生 -
)H : 7——°—— X， <>
-- 皿—— ---------------
. .逐
[JiaiiKiic ,tenih chord* in the ke> * of C major and F major are、houn belnu.
Cmaj7 Dm"
七 i
■ •
Fmai? GnT
,）、i i
♦ ♦
Taium also used inversions of they voicing' Thus, each chord could be played in four position*. A C~ with
all inversion* i> shown below. Note lhai ihe third inversion、pan、the mien al of a ninth rather than a
tenth.
C7
，j ? i i
nxt^ton 'st r，verson 2na ywson 3nJ rvefôn
Needle.' to «ay. ihe^ votings can be difficult if not impossible for the average piani>t. Leaving a note out of
the middle o! an> of the \i>iane' can render them more plaxable. Tatum himself did thi、more oflen lhan
playing the full version' With this >\stem, ue can arme at xitteen differen: voicing 、for each chord. Belou
arc all the possibilities for a C~.
! ；：： i 5 ：：
. SiS. ♦♦♦♦
r（MpO0）OA istrwsCn - 2nd<T.erwn Erwerxr
A typudl Tatum sen。、of tenth chords。siioun in Jhc following excerpt （Notice the eighth-note
**kick* lo beat 3 m measure 4j
Double Time
Tatum onen doubled the speed of hi、left hand. a> well as hi、nght. Below is an excerpt of a sudden
double rime passage in the left hand Tatum was apt to *uddenl\、hifi into and our of A«ubie
8
2
Voice Leading (Dyads)
In place of a full chord. Tatum often placed just two notes in hi、lei! hand (again. "bass now、' in J
'tnde or 3、J uaiking has、，. He connected the>c through a simple voice-icadine pniKi- ple. In
tonal music, the mow common chord HKH movement is down b\ a tilth, following the circle of
Jexendmg nfth>: ihu<. G mo\cs 10 C. uhich moxes to F. uhich mo、。10 B，. etc. The :nner-vo:ce m
vement m、uth 4 case i> either the >«nenih of a ch<»rd m，、c、to ihe third of «he ncxi chord, or
vice \cna.
The next example shcu、ht* this pnnciple works with a series of II-V progresMons. Esch SIK -
ce、、i\e nxx m、doun bj a fitih. and eavh of the upper notes mo\e> from ~ to 3. to - to 3. and a on
Xoiice that ihe 11 V progreîon' as unih are in a cycle of descending whole *(cps( II-V in C.ll-
VinBMI-VinAketcj.
Dm' G7 Cm- F" B»m7 E，7 \»m7 F«m7 B7 Em7 A-
The aliemaung left-hand inienals ol ê\enth-ihinL >eventh-±ird. etc. can be changed 5ghil)b> iummg
the third into u temh This uas more typical or latum.
Dm7 G7 Cm? F? B>m7 EH A»m7 D” F»m7 07 Em? A7
'"L : J.":"'
S1IKC oolv two Illites o( each chord arc played in ihe left hand, the specific chord can be ambiguous.
For example, the abo\e could al*>o imply:
• a 'ones of dixninant chords nuning down bj fifths (D7-G7-C7-F-eic.i
• nT* chord* alternating siih dominant xrxenths 5-E^. ck
L sually ans ambiguits in the !ef( hand is cleared up by whai the right hand pla\>. • Two-hand
voicmgs are de>cnbed later in this chapter.i
■XI! of the voicing^ m the exampiex above can — re\er>cd. Belou. each example >un、with a root-
third <or r<x>i-(cnthi voicing instead of a nxw-sevenih
Dm7 G7 Cm7 B'm7 E»7 A»m7 D>7 F«m7 B" Em： A7
gw ，： /
8
3
h>!louing are three excerps of Tatum ' use <»f BKo-nole voicings in the left hand
Tûm often used %e、enih、a> bass notex when striding the left hand He applied the san)e mice
leading principle、bj altemaung the has、no(c seventh、with tenths, nen though afier-bca： chords
were played in between. (The first example in ihi、chapter also offer' a good example of th*，
Taium also plased thrce-noie open chord \oicings in the left hand. The next example show、a de-
'cendmg fifth ejeie of dominant ch<»nE. So»ce thai the same voice leading tendencies apply.
C7 F7 Bfc7 E*7 E 07 F«7 B7 E7 lA7 D7 G7
，• ：二二:-：1 -：
Scale & Arpeggio Runs
Run、are associated with Taium more than any other pianist comprising a large ponion of hi、
playing: Tatum incorporated the runs of Walk 刁 son and invented many of hi、ou-n.
Pentatonic
Tatum's penuti'nic runs were similar io W ilson * exceps that Tarum often played the <une pentatonic
scale through geral chord changes The next tu o samples arc both based on an E? major pemaionic scale.
The firs? i、p 匕”d ihrough one chord: the gom! ihrougi. changing thord、 ! See Ch. 6 for fingering
idea%.)
8
4
Taium often preceded his pentaioniu runs uiih a mplei neighboring no(c mocion. and often ended
them with chromatic scak mouon Two excerpes foilou.
Two exumplo of duminani pentaioniv runs follou. Notice she B? dominani pentaionu plaved through
the ll-V progression in major. as uell as the chronuiic inflection ot the la*t noie
TRAC
<59
Diatonic, Whole Tone, and Hexatonic

•HAC Tarum >omeiime< played a Jeaending diatonic vak j、a run This example is ic C nuior.
K 60
D—
A whole (one —ale is the basis tor this descending run

THAOt
et
. • •------>••••••..
Hexalomc (six-notei tales uere also used on occasion Tatum s ta\onte was e'sentiall) a major yak
minus the ibunh degree. The nin neiou begins Aiih J chronunc <aie and g<t' into J D： major
ÂC*6 hexatonic scale.
2
A
，
Arpeggios
L-ke VK IMMI. Ta：um d^cJ iocompieie cherd arpeggios ■、mns The fiz excerpt below uses
9 of a BP. The second uses 3-7-9-13 of a D9U3).
TACX
53 D9(!3>
8
5
Pattern Runs
In addition to <ale> and arpeggicv Tatum plaved run、con\i>tinj: of pattern'—>imple three- to six-
note figures sequenced in rapid succe'$ion Se\eral type* are described below.
Climbing Scale Patterns

They mn、EnsE of yak fragments repeated >ucces'i\eh higher, usually a、iep at a time Th.- first
? example 1、a lour-note amending fragmen: of a C major scale.
RA»64
The next run use、a sn-noie descending panem m a Mimlar uax、ote that here the panem is no!
correlated with the beat.
Dm-
G Turn Runs
Man 、 of Tatum s most impressive runs were based on patterns that lay comfonabh under the fingers, these
runs work pnmanly on specilk cwnbinanon* of white and bhek keys and are tuM ea<- •h tran<tposed.
For example, the following run—a turn on each note of G iiuior tnad—1* moM
« easilj piased in ihi> position uiih thi> panuular hngenng and uork> well with 3 G~ chord
3 Bekm ts a \anation. It uses tn plots and lea\e> out one of the note、from the original run. nuking .«
TRACK
67 double neighboring no(e figure. Notice the repeiiiivc nneenng.
D>Flat Runs
■=X»6
fc
The nevi set of run、uork well tn D major Actualh. thej combine LX major and C major '.ale- The thumb plays
all while ke\、while the second and founh finger. pla> .1 8 majtw *caie in broken thirds. Xoiice ihe reivtii1. c
hngenns Several \anation< .ire、hcwn-
8
6
TUCKS
Sextuplet Runs
latum often used M：xtuple(s in his run、. Thi、tirst run below uorks uell with an F-
orCm6 chord. A variati€»n foUou、.
Thi* next 'cxtuptet run uorks well with a B 厂 chord.
TW75 B疗
Quintuplet Runs
8
7
Tatum also u«j quintuplet run、. This one u 心 crushed seconds and works well with an 厂
chord
方y
Arpeggio Patterns
Taium ofien played three-note paiiern、based on arpeggio fragmen、The example bdg. on
ar； A9 13» chord, is ba>ed on the chord tones 3-5-~-9. arranged in an ascending sequence thai skip、 the third
chord(ooe m each grouping. (For msiance. <uning on beat 4. the tone* played are 9-3- 77 7. 3-5-9.5-7-3. etc.)
There are man} other charactcnstic run* that Tatum used, too numerous to demonstrate. Once
the basic principle' of hi< dunking m this area m grasped. one can apply —z 7me run、io other
chard' and chord progression^. 3、well g dc、iphei others and even invent >imilar run、
Two-Hand Techniques
All of the pre\ inush described st) les—from nigtimc to stnde to earh、u mg—for the mo>t pan
stratified the ruo hand、into i\*o iajers of separate actn it} The ieft hand kepi ibe pulxe and
supplied the chords, while the nght hand supplied the melodies along with harmonic detaiU.
Tatum did this uhen he wanted to. but he also piayed mekxiies in the nght hand while playing
chords w ith both hands. He integrated hi、two hand、much more than any ,»f the pre\ iou>
players Thi、 led the ua\ io bebop and later jazz piano «e、
Chord Voicings
Tatum's approach io phving chords with both hand、was based <>n open leti-hand 顷 icings
with Glied-m note、in the nght hand Trie addnioral nght-hanc n y、cou d be fusic uhord ions
or ex (ended and altered notes. He then superimposed melodies on top of the chord voicing>.
It is easiest to caiegon/e ihe< reo-hand voicings b\ the left-hanii struLure 、There are ihree
e>sen- uai left-hand votings： a*M-ihird < 1 ; . nMH-tilih t J-5 . and ro«-*e\enih，l-~ The
rocx-third voicing is usually played 心 n»o<-ienth • l-IOr Thi、does nd efTec! the essentia)
wucturc of the \oicins.
8
8
The !> 一 axM-nnh < !-?•
lett-
hand voicing、for all chord qualities on ihc root C There are tuo versions： the firsi wi(h a
third- oenih 3-~ nght-iund <tmciure. ihe ycond. uith ênih-ihird ~-3i. The choice w«>uid be
determined usually by the melody >upenmp()$ed on lop of the vhord.
The foilowing、hou、the chord' tor rDOt-x?\enth 11-7) left-hand structures.
The following \h»f the same 加 rd、lor roo(-{enih 1-IO> left-hand structures- Xouce that the
ninth is added to most chtwds.
Cmaj~ C6 CnMmaj?) Cm6 C? Cm7 Cm7*5 C*7

・iL ]
\ J—仲；« K 7B-
?8
川 j尸8
In typical circle of defending fifth、progrezen、. I-5-3-7 \oicings can easily ajtcrnaie with
1-5- 、。心 ngs while nuiniaimns a conM>teni open-fifths leh-hand texture. ll-\-I
progressions in C and F major are、houn below. Notice the nght-hand \oice* alternate
between the third and yv- enth of each chord.
8
9
A ct>mpietc cjcic around the circle o! de、orndmg fifth' k»r dominant sexenth chord、tolkm
Roo（•心 cnth I-7i voicing^ often aJtemaie with rocx-ienth < l-10> vvicings in the left hand.
The following II-\ -I progressions in C and F major demonstrate hou ihi、uork<
Again. e cjcle of dominant y、enih chords around the circle of defending fifths follow >
From all of the basic four-note voicing*, one can derive five- to ten-note voicing*
a、Ta（un）did. bj adding extended, altered, and doubled chord tone、A ten example* on lhe
root C follow.
Cnuj7 Cma.j9 C$ C% ⑶ C 穩 C7 宵 C?»9
9
0
Harmonic Elaboration
Timm sa、a nki、ier ai harmonic ehborauon. embellishment, and >ubsuiution. His innovuiion^
in (he>c techniques directly inspired the next generaiien of jazz players the bebop
musician、While early、win; pianists like Teddy W ilson had used harmonic prolongation—
insenmg several chord* 认 here only one ug npicallx used—Tatum took they idea* to iheir
logical extreme, often rehar- rnonizmg e'en eighth noie m J gi\en pa>sagc wnh diffcrenj chords
Tritone Substitution
:tbe principle of imone subîumon. A *Triione" is 皿 inienal that、pan、three whole、ieps.
The lenn、used(o a\oid confusion between the interval
of a diminished nfih and an augmented
founh. which 卜 "ih >pan the ânie inter-
val but have different *pcilings. IA in-
tone inverts to a tntonc. although the
inten al iheoreiK-ih changes in、m one to the other.)
The ^nncsple -4 intone、uh、!；:uh—n i> the p，\es、，，t repid.：ng -nc ch» fd

v*iih .imxher c!：orii uh-'*e root is a tritone away This is moM commonh done uiih dominant
chords. Therefore, a D7" chord
can <ub-.tiiuie tvr d G~ ^hord. a C~
can 二 replaced bj an P~. etc A D 7'
and tbe G~ arc no« I ar q>art d> one
might think They *hare crucial notes.
«hich happen tc he a tnu>ne apart. The
third and seventh of each <hord are
en- iiannonicaih identical in reverse
order— B and F forG7. and F and G for 1X7.
TradiuonaUy. the third and wvemh of a dominant y\en【h chord are tbe most important noie>
They define the ke> center through tbeir tcnJencj t.» re>ol\e to the roo( and third of a tonic
chord. Tatum exploit the ambiguilj of the tritone wiihin a dominant seventh chord b> making the
r«o 、h°rd、(hat share the >ame tritone interchangeable
The dominanl y\enih intone inierchangcabiliiy is further lengthened uhen altered no<t、are
u>cd. The nvtes :n G7b5 are enharmonic al h identual with : ho't in Db"b5. Also, uhen a b9 is
used. the lop four notes M each k ；u»rd are enhanr«>nicuih i<lcntical \(xice that these
note、form a diminrhed y\cn 山 chcrd—for mione-relaicd dominant b9 chords, these
diminished seventh 厶 ord、are enharmonicalh identRa!
N«xice that the onk difference between the two chords above is die rod. One can freely >ub<ti- uite
for the olher ^hiie eventing else renwn> inu<t One can sec 顼 hear the Mmilant) of the iwo chords
although lheir rows are quite ditlerent.
9
1
Fifth/Half-Step Equrvalence
progression inching dominant

descending bj ha!* 'tep Thi^. of c wise. possible through the principle triione 、uCuH，、n
The progression below are aii d:： I erent hut functu»naii\ mien nangcable
Backcycling
Tatum's reharmonization> ore based nu^tly on c!rc：:of-nfths progressions. The inck to doing
example, i i one wani> to go from a C6 chord io an E". one can approach Jhe urge! chord in '
au- ous waxdepending on h<、\\ marx iniencnirg chi TO are dewtd.
9
2
Two-Hand Voicings & Substitution
Hxcerri* demon'traung the >ub*n(ution techniques doenbed follou. \«xice hou moy votings
are dcri、ed from (he basic iwo-handed one、、hou n previously. Also, notice the principle of :ifth/haJf-siep
equivalence at work; the^c excerp(> 'how hou latum I reel} exploited this pnnciple •-A;- ■ Ahiic ureatins
harmonic :no\enwnt within J hwyd zonal enxironmenl.
Improvisation
The (opic of improx isation m latum-' piasing ha、been a contro'ersul one. Some antics
di、mi、、 ins dcpanurcs from gnen .iiaierial as mere Siler, or decoration and
ixnamentaiion. They thai :in* s not true improv：曲 nn :n :he、cnse >f creating neu and
original mes Jies on given maier- :J; :his is irve for the mo、： ?an. Tatum Till a
remarkable improxiscr in that he nunip-
uldied given maienal in unique and crealise ways. He was not a linear improviser l：ke
l<nld> \\ t；on Ad*. bu( he uas :nu<h more of an improviser than Fats Uglier. All of the -
echniquc' 、M\、n in this chapter—reharmonizaiion. run、, and melodic vanauon>—are
9
3
pans or Tamm's im- pru\:>au< n repenoire. Ck»*v >iudx 4 the irrangements of the folloumg :
wo :unes will give one a deeper MTZ of Taium s impfovi>aijon approach.
9
4
“Off the Waterfront^
“Ofi lhe Waierfronf'a nine arranged in an An Tarum <n le. Il is in an AABA pop »«ng form
The arrangement contains many Tatum-iike nins in both the right and left hands.
-1 Sices―<hree-oo(e walking tenths and fs、n
、 -
use of double umc.
9
5
9
6
"Sunny and Soul”
,,Sunn) and Soul' i* a ballad arranged in an An Tatum MJ le. it is in an AAB A pop song form It
uses a \anen of two-, three-, and four- no<e xoicmgs in the left hand. either alone or in a striding pattern. It also
contain' example* of full iwo-hand voicing' Run、continualh imerrup( the tunc The basic lune is coniinualh
reharm<»nized. and melodic variauon* are used to aceomnuxiaie xhc new harmonies. — ».
n«cicS4 i
9
7
I)- VnT O*
9
8
9
9
Practk. walking three-nixe ifilied-in> tenth、:o progressions rrom pop >tandanix from the 1930s and •UK Below 4W three ll-
V-I progressions in C. B>. and A，major with talking three-note tenths impl}- ing passing chonis. Practice ihz. and create
others for more keys.
Cm- B，D E» F" Gm~ G* F" A B- F A E-G B F Cm E* B' D D^7 F~C

:二渣号怂 M 法—::: B»：n v I
Practice sinding with rooc-seventh and root-tenth voidngs for ~bass notes." Below art examples of H-V progression moving
down chromatically. All after-chords arc ninth chords.
Play this progression again, reversing the "boss note'" voicing，tbreach II-V uniL Thus. 1-7 becomes i- 10 and 1-10 becomes
1-7.
:*ractioe the x：ale/arpcggio runs 4MJUD <peniatonic. (fiaiomc. whole tone, hexaionic, etc.), and tn snni- ir njis on、:her
chorus and chord progreS'ions Also practice lhe ke\-specifk pattern runs (G turn run, D=* run. clc.) on ihc indicaied chords
and tn lhem untransposed on other chords or progressions. These run、are >pec:tk to the finger and key patterns that they
UM：.
Apply Alum right-hand and left-hand techniques to 旬 y pop sund&d.
1
0
0
âriy
an. Art T;
WT mis
I . HAI_»LHOMARD»

John Valerio - Stride &amp; Swing Piano

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John Valerio - Stride &amp; Swing Piano

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& SWING

BLUES & BOOGIE WOOGIE ........................................................ 18

NEW ORLEANS JAZZ ...................................................................... 26

STRIDE PIANO I ............................................................................... 35

5 STRIDE PIANO II...................................................................................... 44

SWING PIANO I.............................................................................. 61

SWING PIANO II ........................................................................... 378

History & Evolution

The Cakewalk and The March

Left Hand Techniques

iote> are often reinforced with octaves. Densii% - ' j .. . . . \ -niningfiac-

2- Piay luo or more bas、n，xe、in a rou t passing note* or <xherui*<h

5 :二。：:：、n: ei^h n-n< :e puise

Melody & Texture

Harmony and Form

Left Hand (Simple)

paiicm、in other keys, too -especially G. F. BN E . Ak and D inajon

Left Hand (Complex)

Be sure to practice patterns using the thirds of chords as bass notes.

Modern Blocs Scale

Moder-te Cumposne Blue* Scale

Thirds, Sixths, and Tremolos

M < •* ：：< ： ： f f 刑 f ：» t ；二；

Repeated Notes and Patterns

Pohrhxxhmx were often u5. creating cn、、-rhyihmic efleet*

Melodic Bass Parts and Breaks

“Jelly Jam Blues99

• The loit four measures of e^ch chonis are \ inualh idcniical-

11 Practice basic progressions with fulfer dominant seventh chords.

Rhythmic Drive and Improvisation

TACK John \ aierio

/八•，.「：.尸■ • . -:- :「彳《・

1. Major lcntb> = major or dominant seventh chords

2. Minor tenths = any chord type

root/3rd 3rd/妙 5th/7th

Boogie Woogie Patterns

才 1 勻>-> > • <: >>>> ・■・ «.・・・・・ rz o ■_：

Grace Notes and Trills

More examples of reharnionizaiion will be shown in Chapter* ~ and S

Walking lenths an; also used io "'circle back" on a note.

T\KO-measure pn>longation o! a I chord i、'hewn here four examples)

E» D»e C7 B»m Am7 C7 F7 Fs" F?A B 叮 Ce7 G5? Fm7 . q ♦ A

Following are four excerpis of pentatonsc runs from Tedd\ Wilson

Other Scales & Sounds

Arpesgiaied fourths create a more exotic sound. Two excerpt* follow

“Light and Bright99

Cnuj~ C6 Cm4ma「) Cm6 Cm- Cm7X C7 C-

Dm' G7 Cm- F" B»m7 E，7 \»m7 F«m7 B7 Em7 A-

Dm7 G7 Cm? F? B>m7 EH A»m7 D” F»m7 07 Em? A7

Dm7 G7 Cm7 B'm7 E»7 A»m7 D>7 F«m7 B" Em： A7

C7 F7 Bfc7 E*7 E 07 F«7 B7 E7 lA7 D7 G7

Diatonic, Whole Tone, and Hexatonic

A whole (one —ale is the basis tor this descending run

Climbing Scale Patterns

Thi* next 'cxtuptet run uorks well with a B 厂 chord.

The foilowing、hou、the chord' tor rDOt-x?\enth 11-7) left-hand structures.

Cmaj~ C6 CnMmaj?) Cm6 C? Cm7 Cm7*5 C*7

Cnuj7 Cma.j9 C$ C% ⑶ C 穩 C7 宵 C?»9

The ^nncsple -4 intone、uh、!；:uh—n i> the p，\es、，，t repid.：ng -nc ch» fd

progression inching dominant

Cm- B，D E» F" Gm~ G* F" A B- F A E-G B F Cm E* B' D D^7 F~C

Apply Alum right-hand and left-hand techniques to 旬 y pop sund&d.

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M < •* ：：< ：： f f 刑 f ：» t ；二；

Cmaj~ C6 CnMmaj?) Cm6 C? Cm7 Cm75 C7