will eee eae a eee eee eed e aaa d added ead) ‘BASS CHART. seuauasen: BASS EXERCISE: SCALES (MAJOR minor ,HARWONIC’ AND MELODIC minor CHROMATIC AND’ DIMINISHED SCALES. ARPEGOIOS. : S y DIMINISHED’ AND’ SYMETRICAL, SCALES AND’ RELATIONSHIP. FINGERING VARIATION ON DIMINISHED SCALES. «241+ WAJOR SCALES STARTING FROM ALL POSITIONS. | MAJOR SCALES PLAYING ALL 12 FROM ONE POSITI MAJOR SCALE STRUCTURE (TREBLE). .....+ CHORD STRUCTURE. (WAIORimi nor. AUGMENTED, SEV1 EUtH DiiNi Suk MAJOR mi nor ,AUGMENTED, SEVENTH DIMINISHED CHORDS. -- ALTERED CHORDS... CHORD INVERSIONS. | CHORD CHART. BASS £ TREBLE INDEPENDENCE. ‘BASS PATTERN CHROMATICALLY (ONE POSITION) MODAL TONIC MODES... ‘i DIATON/C MODE (SEVENTH PATTERNS & SCALE EXERCISES) ae MIKO-LYDIAN MODE... ose eee cece ie : MODE COMPARISONS & PRACTICING WODES : Spee NEJGBBORS (PASSING TONES)... ALTERED DORIAN SCALE. - BASS & CHORD COMBINATIONS idee 39-40-47 RELATIVE MINOR CHORDS. 42 APPLYING BASS & CHORD COMBINATIONS (raistey LT agese DIMINISHED SCALES (TREBLE). ve Las46 SYWETRICAL SCALES. - Eng SUPER LOCRIAN SCALE. a APPLICATIONOP MELODIC” MINOR’ AND” SYWETRICAL SCALES” TRASSPOSING BY THE USE OF NUMBERS... 3 RELATIONSHIP OF MAJOR SEVENTH AND M/NOR NINTH. SEVENTH 69 CHORD... SEVENTH CHORD FIGURES (DIM/Ni SHED CHORD REFERENCE) TWO AOTE CHORD COMBINATIONS (WITH BASS NOTE)... - BXAMELE OF USING TWO NOTE COMBINATIONS IN A SONG. ‘SHARE NINE CHORD (#9) AND SUBSTITUTIONS... THERE ARE NO NEW CHORDS DEVELOPING THE E4R (EAR TRAINING EXERCISES). TURNAROUNDS & ENDINGS... - : LAYERED DIMINISHES (USING THE ati INFERVAL).\. ARPEGGIOS (SUPER IMPOSING ARPEGGIOS) CHORD & BASS PROXIMITY... RESOLVING THE dim AND V7. CHORD SUBSTITUTIONS (1° Gin’ FASHIONED). RELATIVE MINOR CHORDS . ALGWENTED CHORDS & SUBSTITUTIONS... SCALE SUBSTITUTIONS. . BLUES. BASS 4 CHORD’ PROXIMITIES’ (WY FORAY VALENTINE) PRELIMINARY EXERCISES. = BASS LINE (JUST FRIENOS)(ARR FRANK an0c00) BASS LINE ADVANCED {JUST FRIENDS ) BHILY (ARR. EDDIE MONTEIRO)... BALLAD FOR ANNE BY FRANK MAROCCO 149 2109.10TABLE OF CONTENTS HOW ABOUT YOU (ARR. RALPH STRICKER)..... THE TOUCH OF YOUR LIPS (ARR- RALPH STRICKER). SUNMERTINE (ARR. FRANK MAROCCO)... PENTATONIC STUDIES (SCALES & ARPEGGIOS)....- 0000+ POLYCHORDS....... Tene AIGMENTED SCALES AND CHORD FORW... THE TOUCH OF YOUR LIPS (ARR. &. STRICKER-F. WAROCCD) commMENTS wo HS a4 7123 a4 soeneewe oft TAR S118 “19, 120 121,122 YOURS 15 MY HEART ALONE (ARR. FRANK MAROCCO). Dieisee se: oHDKy AOE, PRELUDE TO 4 KISS (ARR. FRANK MAROCCO}.. ot LOVE 18 FOR THE VERY YOUNG (ARR. FRANK MAROCCO).. NEVER LET ME GO (ARR. RALPH STRICKER). © 127,128 128,130 fo aienaae 435,132PREFACE 1 have always in the past been bored reading the PREPACE of any book, yet when it came time for ma to write this, it became very important to me. It is very meaningful for me to give credit to certain people who have affected my life usically. The first being Dr. Earl W. Brown, who took me as a bad accordion student, and showed me how to study the instrumen?. Doc Brown as he was called was Bill Evans first teacher, so I don’t have to say any moce. The second person who was a great inspiration and teacher, was BERNARD PEIFFER ‘the French pianist. BERNARD was Ojango’s pianist when he was only 17 years old, and if you know the history of Django, then you know what a genius BERNARD was. The last but not the east and one vho contributed so much to the ideas in this book, was HARRY LEAHY. Harry Leahy in my mind was the greatest all around guitarist ever. FRANK MAROCCO is responsible for me to put my ideas and concepts on manuscript. when he first suggested writing this book, I was hesitant, I didn’t think that I had the energy to complete such a monumental project. Only through his prodding and encouragement was I able to participate with him ina meaningful way. : I would also like to give special thanks to EDDIE MONTEIRO, I have developed a special friendship with a truly fine accordionist. He also geve me the support that I needed at times when I was ready to give up. This bock is not a lesson by lesson tutorial, it covers the full spectrum of jazz as it should be played on the accordion. The reader and or teacher Should know how to use the various studies contained in this book, and agapt+them for his or hers own needs. I ao not believe that any one book ean fulfill musically one persons needs. I do believe however, that this book has more of what the accordionist should know, than any other book previously published. I wish the reader all of the success in the mastering of the work contained herein. ABU RALPH STRICKER Copyright 1991, by RALPH STRICKER 500 adams Lane, Herth Brunswick, N.d. 08902 International Copyright Secured All Rights Reserved Made in U.S:FRANK MAROCCO 2063 Whitaker Ave. Sap Nuys GA 914068 oy —Aboat The Au Fbelievs that this is the finest book ever aritten for the serious Pastyen oleae taper’ paculee Pte aay teaTehand’ueretses wilt ve you almost eveything you will ever seed te develope your weslen Fellut te a pretersidens Pelt. x The many permutations of bars and chord finge te" teb ‘accord iestet ate ter tals oD RALPH STRICKER His knowledge both playing and teaching This is @ much needed book for the accardion and I am bh Ralph asked ue to collaborate with bim oo this project. fe that are nom ok, opens aps aew wists te Sincerely FRANK makocen RECOMENDED ARTISTS Fea waroceo [BALLAD FOR axvie~ Discover pscp-950 FRAN SaROCCO TBRAZILIAN WaLTz~ DISCOVERY Dsco-949 EDDIE MONTEIRO “TRE REAL THING™ TRANSIT rx’ PRODUCTIONS (212) 315-5852 ART VAN DANE TART VAN DAMME AND_FRIENDS™ NEOFONIC MSIC 3 /GROSS STREET, WESTFIELD, mass. 01085 Tow GUL GHOE FASS & Tolar GUNINA™' POLYTONE. RECORDS. 4865 VINELAND AVE. NORTH HOLLYUOOD CA 91405 Lov tosy "BELL -DUOVOX~ SouND The above artists are accord jou T admire and whe have had a tremendous inf lucace on ¥: They each have their own asique style qe ibs reriows accordionist will learn from each of thea, There ate enede Ip mere fine accardionists, and 1 do not intend to ali t hi any of them. I fe tthe above group are some of the “GIANTS OF THE INSTRUMERTS. RALPH STRICKER— = _ = => — => —> = => = -— => — = => =) = = J = = => = = = = = = = = = => = = = = = = = = = = = = 2 ST Y OUTLINE | would Iike ro state emphatically that. there is no ene way of Fecommending to the reader how to absorb the contents of this book. There are those of you. who will attempt ta learn on your onn initiatives ome will have the guidance of a teacher. The reader and or the teacher should have an idea of what level each person is at in mu: The intermediate student should learn the basic left hand exercises imitially, familiarizing he or she with studies that they have net yet become proficient at. Certainly the reader who docs not have an extensive knowledge of chords, should study this segment of the book. before trying fo learn MODES. The exercises such az BASS 4 TREBLE INDEPENDENCE on Page 27 and PRELIMINARY EXERCISES On pages 97-102. should be learned in conjunc tion with knowing the Major Scales. Certainly some readers will already have an extensive knowledge of sherds and their alterations. alse some will have already developed their {echnique #0 a state af proficiency. 1 recommend for those readers to give a cursory look to any of the recommended exercises. as they may find thar they WILE find them to be helpful. 1 also stress that anyone learn te plas the studies In this book In 12 different keys. The songs that I have used as exanples. utilizing different studies In the book. should only be for that purpose, The student should then use his or hers own ideas. and the recommendations of a teacher vho is fi with the cantents of this book. Remember as a dear friend of wine and great musician said. “MUSIC IS XEXT To GoD. 1 WOLLD“T LOVER GOD. SO WHY MUSIC.” 1 wish all of you the best im the stvdy of music: and-thank you for using this back as a source af your knowledge. LL gLEFT HAND THE LEFT HAND (BASS) ON THE ACCORDION HAS BEEN AN ENIGHA FOR ANY YEARS, PARTICULARLY PERTAINING TO THE PLAYING OF JAZZ. THIS IS DUE TO A VARIETY OF REASONS: 1. BAD TEACHERS 2. PRE-CONCEIVED IDEAS 3. NO COMPREHENSIVE METHOD 4) NUNEROUS PERMUTATIONS: | ROULD LIKE TO ADDRESS THE FIRST POINT “BAD TEACHERS". I CAN REMEWEER AS A STUDENT MANY YEARS AGO HAVING TEACHERS THAT DIDN'T KNOW NERY NUCH ABOUT THE ACCORDION. THEY TREATED IT AS AN INDIVIDUAL INSTRUMENT RATHER THAN AS AN INSTRUMENT EVOL\ING FROM THE PIANO. THE KEXT POINT. 1S. THAT MANY OF THESE OLD TIME TEACHERS BELIEVED THAT IT HAD TO BE PLAYED AND TAUGHT AS THEY KNEW IT TO BE ACCORDING TO THEIR ETHNIC BACKGROEND. POLKAS AND MARCHES WERE THOUGHT TO BE THE ULTIMATE AS FAR AS MUSIC MAS CONCERVED- IN THE 30°S AND 40°S WHEN JAZZ WAS STARTING TO BE THE VOCUE. NOT MUCH HAD BEEN WRITTEN FOR THE ACCORDION. THE NEXT PROBLEM ARE THE ENOLESS COMEI\- ATIONS (PERMUTATIONS) THAT CAN BE PLAYED ON THE LEFT HAND ALSO INTIMIDATED MANY. 17.18 NOT HY DESIRE TO DENIGRATE THE FORE-FATHERS OF THE ACCORDION. BECAUSE WITHOUT THEN WE WOULD NOT HAVE SUCK A REMARKABLE INSTRUMENT. BASS EXERCISES H BELIEVE THAT THE LEFT HAND OR BASS STUDY MAS BEEN THE MosT NEGL- ECTED PART OF THE ACCORDION, 1 HAVE DEVELOPED A SERIES OF EXERCISES THAT WILL HELP THE SERIOUS STUDENT DEVELOPE THE TECHNIQUE NECESSARY TO PLAY JAZZ, 1AM A FIRM ADVOCATE OF TECHNICAL STUDIES, BUT, TOO MANY TIMES RE BRACIICE EXERCISES THAT DO iE ARE’STRIVING FOR. THE FOLLOWING LEFT MAND STUDIES WILL AID IN BECONONG AS FAMILIAR AS: POSS1BLE ‘UTM THE DIFFERENT WAYS THAT THE BASS CAN BE USED IN. JAZZ. YOU WILL NOTICE THAT 1. DO NOT ALWAYS START A SCALE GR FIGURE FROM THE CEUNDAVENTAL ASS. THE STUDENT SHOULD BE ABLE TO PLAY ANY SCALE PROM AS besrrter- ING EXERCISES SHOLLD ALSO BE PLAYED IN DIFFERENTFIFI IIIT ITI III III III VIII IIIT ITI sou x QaQQoODOD SBEOD® = 2e0o08 B2250m GODS @o8 © OBOQOODe SEHOoD] OBOO2S SEDOD® G@2285 BooOonD HHOQOHOD® ‘ 2OReD® = BOHlRS BHoOOODD BOGOR QOHOLH SSae QOOHS® Peoo Ce mOOm GOOOSs QORSDD = OOLORS S2S505 280998 a atatal OBoovo® CSEOD® S@Hl9S BH@BOOOOH OO RH® BSOOSR BoHOHO BROOD SOOS85 Se5OD® 9 @O82S8 @QOHOoHoOo car! PTSTESIET 6 Re chants, stort helped eee eh tegen tes to sere belie fhe, sharps (8) above the mate ee pose eee aereTaM te the player to be abi -_ et erro poteies U2NeTat0,t0 2b to play an Fk ie a siete Rncacnat) ED Gea ESeaa ari ey oe or ea Me ST Ear Toe aT engeng ARG TESE "etal a8 eenratty ith SSPEASEMT LESTER the te| WOULD ADVISE THE STUDENT 70 BECOME FAMILIAR WLTH THE PREVIOUS PAGE BEFORE STARTING THE PHYSICAL STUDY OF THE LEFT MAND. THE FOLLOWING PAGES ARE SOME PRELIMINARY EXERCISES THAT WILL HELP DEVELOPE THE LEFT HAND BEFORE PLAYING THE SCALES. 1AM NOT ASSUMING WHAT THE STUDENT KNOWS OR DOES NOT KNOW, IF YOU HAVE PREVIOUSLY LEARNED THESE EXERCISES THEN YOU MAY SKIP'TO THE PAGE ‘THAT YOU FEEL Is PERTINENT. I CAUTION YoU ALSO NOT TO ASSUME THAT THE EXERCISES | HAVE OUTLINED ARE ANY THAT YOU MAY THINK YOU HAVE PREVIO- USLY LEARNED. I ALSO RECOMMEND THAT YOU APPLY THE DIFFERENT RHYTHM PATTERNS THAT ARE ON PAGE 1. WE DO NOT ALWAYS PLAY THE SAME DOWN BEAT ON THE SAME NOTE MLL HELP IN BEING ABLE TO PLAY JAZZ LINES OF THE SCALE. THESE PATTERNS ON THE LEFT HAND.BASS EXERCISES 4 234 2432 3254 248573 UBLUES SCALE EXERCISES- $42 324 5 (Flat tive (bS) SHARP NINE (#9) EXERCISE- 3 42 427 54 23 2a 23253 The above exercises should be practiced starting on different notesSCALES (Left hand) The following page encompacses the following seates; Najor Seventh minor (natural) Melodic minor (ascending) Lydian 6? The student ni1l natice that 1 hate aotated different fingerings for the aboce Heaters The advantage that the accerdionjst har le that if you'learn the © Scale, you will be able to play all of the other scales, ‘The reason for this S"that the eanner in which'the bass side is laid out. The problem is that the Mudent ener learns'any ether flogering or pos| ion, This Tala disadvantage inthe playing of Jace, ss the plajer i alneys “jumping” all around the bass shen there i'ma azed io dos0. ae The first seale that ix written is the C, I have written two different fingerings starting from the € fundamental bass. I have also written the scale starting from C counter bass of AB. This ¥ill help in learning the man} different combinations that can be used in the playing of jazz These seales should at! be played in double gctaves ascending and descending You should start on different basses a the Iof the scale, for example do Sot Aieajs start an C, you will be surprised at the different perspective that you TP get by doing’ this 1 also recommend that you play in different rhythms so that the down beat does aot always fall on the’ same note, Try te also say the notes of the scale ay you playSOGGUIT asses dad saad ed ddd dada. 32542458 8 424 §2 68 24653253 1 have added the scale above because I believe it to be an excellent scale to be ured against a minor seventh bS chord. T1 is the Bb Harmonic winor scale starting en C (second step of scale) The fast measure is the same segie starting on the Fifth step gf the flarmonie minor scale, it can be used for 76? chords (for example: F759) 1. APPLY DIFFERENT. RINTINS 2. START ON DIFFERENT NOTES OF THE SCALE 3. SAY THE NOTES AS YOU PLAY EACH SCALE 42 PLAY ASCENDING AND DESCENDINGished Se: Chromatic & | have ineluded the chromatic & diminished scales on the same page, asf believe techicully they complement one another I remember studying the accordion ar 3 child and being intimidated b the chromatic scales | chnstill visualize me learning “Pietro's Reture™ and Struggling with the lett hand, and ai iding fingert en the chromatic seale intripiets. Phere is'a more efficient way tevpractice and play this 0 as not ta°siide fingers. The preparatory crefeises that were oh The preceding pages should have prepared’ you for this. You will notice that any chromatic scale can be played from one position sa that you do met fave to move all over the bass buttons For example; Pay 4.232453 54 23243 54243 24803 The diminished scales are an integral part of left hand jazz accordion. They are ons of the most versatile of alt the scales because of their multi substit~ ition possibilities, (enich will be explained in greater detail) There are actually only threc different, diminished scales) they repeat themselves every one and a half steps. The CyEb,Fa(GD),A diminished scales gan all be played fron’ ong pozition: Naturally this includes the Db,E,G,B8 and the D,F,Ab,B . I nave aleo incisded fingering for starting the diminished scate on che counter basses Play in different rhythms gute on different notes ay notes as, you play: Practice scales asceading and descending gues DOLCE OLE ELE LEE LE LOCALECHROMATIC SCALE - i pagent ee = F24 994 24 534 258243 54 243 5425 Start the seale on different notes the diminished seventh chord (C07), the Nighed seventh chord (DOT) tuo diminished chords. The noter im parenthesis for notes net in paranthesis also form The diminished seale is 2 combination PRACTICE IN DOUNLE OCTANES ASCENDING 4 DESCENDINGARPEGEIOS Soe tei ned pevetleice srenpali uel emensereathecghlig satcen sry foribe, feetelarr Set ange tes lecea ag or mere Student should not practice ofher type of arpeggios, I just fee! that these The dine ie a maTaURITG (RAI GMaTA IN siege Tere tas, ea nis 6a EG HG ve male eet Sress prelate esa tonsa , © Major Starting on counter bass of Ab * © | keom that practicing seales and exercises in different fingering than previously learned’ is esftieolt at first for some students, partietlarly those Sho Neve developed gace technique. | aiso Know that the ‘ond who devotes: the Tse to decone proffetent using theae nen fingerings will feel it aa worth the extra time. Hefore going on. f would like ta clarify a particwlar point, You «ill notice that I'am Sriting the € bass ina certain octave. | know the correct Sciave is an octave belon according to the tuning of the accordion, but the accordion has only one octave. so for readability and continuity. 1 have Once you have developed playing the arpeggios. in ore ectave, you should then play then Im double seravls. The sane. fingering 4 used, Th iy onl) aatter of repeating the {egersng. When you practice it is recomended thei you say the notes as you play then. This giver you a wental picture of the lelt hand and expedites learnty the chords hi * * % = acta 7C sees esas eee III III eI e UII III IIIS Idd dS ARPEOS 10S “teens ) 10 © Major © winor augmented C seventh 243525 73 64245 C seventh bs, © winor add NT * . Sa 3 SP¥4R? 5DIMINISHED AND SYMETRICAL SCALES RIMINISHED AND SYMETRICAL SCALES I have pre inished seales and how they’ repeat thenselves Eee reee ame 2 bal! #tepe. We also learned how to play thes in aries popinie onss There diminished scalts are actually diminished seventh sealers (bah) dag! tloite inet usefat scale’ HE*tiodest Bs Satalt wort Breese aad eb Fingering tha Thee autl ined’ ptewises y's isheee tere PeneLciME, the, Point Pe Eoovtsdge atti teacess Petri iz elineut bet Lausnom introducing the SYMETRICAL SCALE it takes very Tittle effort to Ones Fa nieeane Braetice simultancousty as you work an the dieiuiahee reales. sage Jou understand the diminished scales you'will have ne eretten Playing and understanding the symetrical scale, C diminished seate B syretrical scate 2 TeiEe SME the symetrical scale coataing the sime notes ar the dinidtehed diminished eaieet JOW Are starting'a half step before the Fire se ieeees. diminished scale; ESSE Retore the First note ae eens tase Pt, thy syeetetent scale Just start a halt step before any aote In the diminished sektee 7 The dimini thea’ and"st that can be used in’ fh Livgeess that you play these scales in double octaves ascending and deecene| af Fou‘ shoul Baad MEAS get te™ Sout, oetaue essibier you wilt diminished’ oles, Hotes, GH, the a7eetr eal scald, once’ you Eros’ Ree" (2 aE ing Seroratens Liste: you can piay'ail”af then. fhis is tbe) eavanege tt Pus seenglens ELtNOEER you should tey to visuarize the aotesseantake, Tath, fhe and not become wehaxica 7 eee yersatile seales APPLY DIFFERENT RiYTHMS APPLY DIFFERENT RY THMSn shed seale (097) B symetrical se: as Is te Ins te my Be Db symctrical scale =e —bo—be ba fe * jane ba ta be == —— 7.4 Peas Bags 2 3VARIATION OF FINGERING ON DIMINISHED SCALES 32 z This proves that yov can play all sales from one position and avoid having te weve le other positions on the left hand. T believe it opens & whole fer dinensron to playing jazz accordion. The student is not locked into one Ba} of playing the base'ss before The above examples and the ones to follow allow the player ta execure fs bass pragression (rom any position that he or she is at. For example if you are playing a Db chord series and the neat series of bass figures are through 2 series af C scale patterns. you can execute then from C counter bass of AB.4 pee ns abe Fae Abe Eb Eo a2 pba eoo a0 abe Fo peo pe CPECCICCCICILALCICIICECCLECEL LLL LILLE eeeMAJOR SCALES seas TPUEC UST Tae pee er be aunccurermectoeiat what 1 tees attemated Seray ceagim, isi, rezsgue aercrerss Emmet i mere et ees was teaching the accordion ai that tine, He was regarded by many s+ the master Teacher, hig name was SOBOLSKY. fe was an advecate ef the si method. Wtenember him well because he thren me aut of his studio and refused me lessons all because I cancelled a lesson on Christmas eve. Neverthiess he was a{gentes at developing unerthodes methods far the technical study of the accor= ain Unfortunately 1 lost all of his studies and had to work many hours ta fing conciously ane stb-conciovsly what he had done. I have attempted in this. book fo inplentnt sone of nie ideas on bass technical studies. Most of the work's my oh except the next page wherein you will leara how to play all 12 Major tales trontope posit ioe The format of my work is derived from SOBOLSKY'S concept. I am alse adding the playing ef all scales from any position of the left hand + 423 373424273 325 You now have 3 different ways to play the Major scale, it would depend on where you were on the left hand, which one you would use. 1 strongly urge the Student ta become famifiar with each of the above, Practice starting the scale on different reats, such as DE Bb Gb for caample, | suggest saying the notes of the scale as you play then.L 16 12 MAJOR SCALES fr ee CCLKCCCHCCKCLCCECCCCLCOCCLKELC LLC CLE greece eeeMAJOR SCALES. The foundation of music ix the knowledge of the Majer scales. They encompass everything that we need to be successful, technique, theory. Chord substitution, improvisation. Everything musically stares here and builds from this point of reference. 1 Gannat emphasize too strongly how important it is 10 have a complete understanding of the 12 Major scaless ‘The formation of a Major scale is based on a simple rule this enc rule, you are able to formulate each scale. "There step between cach step of the scale, exept between the 3rd and the 7th and Sth steps which are half steps. y knowin ‘Rshole = Tob nme aw ow ovr ovie vine You gust not only be able te play the 12 Major scales, you should also know each step of the scale (intervals). You must also se'able to play the scales starting trom any nete ta the Seale v SSeS 1 recomend that you sing the scale ta help develope your ear which is necessary Yor improvigation tn jazi. sing eachnote effin scale at won bay it, when you can'da that, play the first note and Sing the seale etttene playing the rest of the notes: Check yourcel! and seetif sos ended er the Sorrect note. Iwill cover ear training mare extensively tn subsequent chapters Try 10 lence a fem scales ata time and be proficcient with each of then before. going on te the other scales, Practice thon is tingle serene Piet t ead shen yot fee! that yoo are comfertable with them: stare praying then fe deuthe geiacds ascending ahd descending. Once Jou have tasterea"a deste Sppiy"ehe different rhytharpatterns that fT have written previously, Tals 1s heedrtete because we'Ge not’play th one beat serocigrepga) 23123484321321432132 119 methods for the { previously stated that the Majer Fcc Ne: now have an ‘opportunity cuantne ents te eepen- There ant ioe CHORD STRUCTURE the basis of most everything formation of the Majer chord. The first is, "Take the Jt, 3rd and Sth steps of the Major scale”,The second is “There are 2 whole +t cps betwen the Ist and 3rd of the chord and one and a half steps between the srd and the Sth ef the chord”. | prefer the first rule as it applies to the Major seale which 13 our foundaiien, Let's examine these rules Mc are now able to fers any chord from the Major scale, it is our source of reference, just as the Major scale was our initial starting pal The minor cho: o 5 derived from the Major, ™ Lower the ard step of the Major chord a half stepr. The augmented chord ; "Ralse the b step of the Major chord a half stepn. The Major seventh chord “Take the ,111,V,VII steps of the major scale™, The Seventh The dimi chord “Take the 1,111,¥,BVII steps of the Major seale>. minjshed seventh chord "Lower the 3rd,Sthy7th of the seventh chord a half step’ oO @ Oe oO ow ao © These are your basic chords, you must learn them and their inversions before you can’ a better knonled Steps of the seal tart studying the altered chords ured in jazz. You will nave igg and understanding of chords, if you relate them to the cs BORER ERERRO ROKER RRR CRER EERE © era eee20 Ist__2nd3rd_ath Sth _@th_ 7th _8th eye HR eo YUU (ist) Qnd (3rd) ath fSeh) eh 7h th | wow oH ae Sra Sth _C Major chord a tat agra Sth _C minor chard Gn SS Ise 3rd. aug.Sth C angrented chord C+ ist 3rd, Sth Maj.7th C Major 2th chord Cu?21 ALTERED cHoRDS I would hope that before learning the altered chords the reader has at east mastered! im part the basic chords discutsed previously. The best way fo understand altered chords is co visualize a building blosk, because we are exactly doing that. We are building on top of the foundation chard, Adding notes on top ef notes Let us togh at the sixth chord, we are adding the sixth step ef the Major scale to the Majer cherd. The example on the first line of the following page illustrates thiz. The minor sixth, mimer seventh and augmented seventh are based on the same exanp We must now understand that each note of the scale has snother number Value. For example at we ascend the scale to it's next octave the © becomes the eighth step. (eetave meaning eight) The D becomes the 9th, the E becomes the 10th, ete. The easiest way to remember this is by adding even ta any step of the Major seale. 1 gov ise the reader to be, able to mane ihe notes of the chromatic srale ascending and descending asthe ciample shows on the following page. The way fo best understand the Butiding of chords. tr to take the € Mejor chard and build’on thet chord until you sre able form each and every chore ont! ined on the folloning page. You wil! start te. sce a combination of chords 5 you build en a chord, do net became conceracd if at first you de not recognize the many aes C13 Gm a7 Bb BLM De These are just a fem of the chords that are within the C!3chord, there are more, bul this is justan.example.of how chords are built. You geet teary sheae chords ina Seyh (12) that one ABR Fenn 1 AGG Ete ellie lost ee Seite enn oie ot ear et SUID, Ee nrdcrerin.caacente eaythavte any Bes uentaceaat te Melly 2 S = = = =n z « & lees Peli) = “lll MUL i S ali] 3 & awd is =H Bn . § = ® % 3 Fog Me aes ally 2 2 . Fs a s © + | hl Somme Poy + (ho eee ik 2 ™ a a lam Che ape > % = Hite 3 “lt 2 osCHORD INVERSIONS We pet only have. to know the chords in their original position, but we ziso have to be able to invert the chord. I can conmiserate with the novice accordionist whe gust think that there iz no end. Well to be truthful, there fen't any, Someone once said “Music is a labor af love™,notice the word love, if you don't love it, leave it. 0 Gi earn de lanmrtontierts awnrsye an canteiny alate oneal Piaping the. chord imtvacorepontamnt; The ert productive way 10, stare Ts. by reEnse Sp et the ford ang cEtniyE arisen hte chet nazing dhe, barton nat Ist position Ist inversion 2nd inversion Notice you have arrived at your original position only an octave higher You must fo'thig with all af the chocdscon the folion ioe date. 1 eee ieee written the basic chords to stare, you Wril eventuality goetkis tonatt dhitas | would now start to adé the left hand to the playing 6f the chords, this will help you to hear the chord in it's fullest sound and help develope your ou Cn or co me x = Thest are exunpies of sustaining the left hasd as you pluy through the invera- tons. Notice of the GMT and. theeGe?'y ‘Rate adued af uph ada Neuen the fose pattern. These will Be explained In subsequent chepteeyC Major Ist inversion 2nd inversion ; I = & singe . a ss 3 4 2 3 ¢ augmented Se = © diminishes == a ss © sugeentes? Ty THIS CANNOT BE PLATED IN A SEQUENTIAL INVERSIONslows curr The following page contains the majority of chords for all reot positions. {have purposely teft our the 11th and 3th chords, simply because they are extensions of the 9th. We will eventually lesrn thom af we progress further in the book. 411 of these chards must be played in all inversions as We eventually will learn Voleing ef chords. | suggest that you learn two or three sets a time and do not pregress. I would like to emphasize that I have no way of knowing whether you are ALLCRPL Eng to do this en your own. or If you art unger the guidance Of a teacher, Certainly a teacher who is familiar with this work iz of great help te the novice. The one consolation is that many accordionist: who Rave been Playing for years do not know most of the contents of thir book. This is not to disparage anyone. but many did not have the information contained herein: or their teachers were not versed enough in the teaching of jazz. Once you have mastered the chords and their inversions, you should try to SCEPSED a pisrleimtiouy: Cohave aticten a fen sare of fame’ Sree Boze, 185085 a8 example. Tam nor irying to insult anyone's intelligence by exit ing Such 2 simple example, bot as I stated previous iy. 1 have no way of bor ag the readers knowledge of music. The realer wo is beyond this. kay proceestte a tang of bis oun choosing. ce Fo go 6 cogent a 4 4 2 ki You non have 2 simple example of how to use chords in a song. and shy you sust Know the inversions of chords. In writing this | cam siseet izes Weeale student of mine ‘aaned. Teorge” who when teeing this wilt any; ees the sane example he Used twenty Years agen HEIL If Tt works, Bon’s Tu ies Nesaie nog laghTived st the simple bass line. I took a noje from one chord {hat would lead me to a note in the next chord. (F from the F* and FH froa the Ce chord, I could of kept the line going to G in the next measure. bat Teatttg to keep it as uncomplicated as possibleSMI 7b9 wPbS WP Joo m7bS MT eS 79 e7bs MT Jeo aT: 905 | 769 n7bS MT Obs 709 m7bS M7 905 709 a7bS MT 9S p7b9 m7b5 MT obs 905 2 2 +79 wo wo PbS 7b9 w7BS 7 29 {905 29 47 7 #7 4 a a7 7 ar w 2? 7 27 26. 6 m6 Lei 7 on ce C77 Hn Ge??? Mos + 7 oF 7 97,9 je 90S, 7b9_w7DS MT u + 7 07 6 6 279 m9 _bS 7697S NT PUREELERTLILILULICEREREERET EEE Ce eeeBASS AND TREBLE INDEPENDENCE The ultimate. jazz accordionist is one who has developed the dexterity te fay techoical Figures and the ear to hear these complicated passages. Iams irm beticver in developing the *chops™ ta de so. The problem is that we spend too much time practicing exercises that have nothing to da with what we are ELU|Wigg for. Practicing technique should be wentalas mel! as physical, | believe that the erercise should be tailored for the harmonic structure we are working on at the time. On the previous pages we are learning chords and thelr inversions, so to tanplenent his study se shoulé tailor ae fterg/se_for shit. One ofthe mest important facets of jazz playing is to have independence ef handss Too man actordionists are what I refer fo as "one armed banditery that te te say that they have no left hand to speak of. Years ago this mas adcepradle because we used # burs player to support us, but now with the electronic accordion sae the advent ef midi, ir is now imperative to develope a goed left Rane I nave written a series of left and right hand studies that 1 feet wii) fot only develope dexterity, but mill expeditions!y aid im the learning and inderstanding of chordal sttucture, ou on You will notice that as you are playing thesé you are Rot only developing independence of hands, bur learning the chords. Each exercise contains the First five notes of the seale which forms the Major & minor chords! Til Vy (bry) Each individual exercise should be played in 12 keys. This: SEVP LESS LAMSY peers cheat e,played in 12 keys28 BASS PATTERN CHROMATICALLY "FROM ONE FOSITION j THE ABOVE EXERCISE CAN BE PLAYED IN ITS ENTIRETY FROM ONE POSITION, JUST AS WE PREVIOUSLY LEARNED THAT THE 12 MAJOR SCALES CAN BE PLAYED FROM ONE POSITION. THIS LEFT HAND PATTERN CAN BE APPLIED TO NUMEROUS RIGHT HAND EXERCISES, TWO OF WHICH ARE ON THE PREVIOUS PAGE. 1 AM ATTEMPTING TO SHON THAT IT IS POSSIBLE TO PLAY MOST LEFY HAND JAZZ LINES NETHOUT JUMPING ALL OVER THE BASSES. THERE ARE TIMES MMEN THE PHYSICAL CONSTRAINTS OF WHAT NE ARE PLAYING NECESSITATES OUR MOVING TO ANOTHER POSITION BUT WE THEN HAVE ALTERVATE FINGERING FOR THOSE LINES. THE EXAMPLE IS LEARNING TO LAY SCALES AND ARPEGGLOS FROM ALTERNATE POSITIONS, SUCH AS STARTING THE SCALE FROM C THE COUNTER BASS OF Ab.a MODAL TONIC NOTES IN PARENT KEY OF C MAJOR 12, 1/2 ste 12 2 6 a Ss oa 1 i Parygian| | | vex Sperone a er, we 4 1 bl owe) ltl OD MIyQLYD gy STRUCTURE ABOLEAN STRUCTURE DORIAN STRUCTURE PHRVGIAY STRUCTURE minor ard minor 391 LOCRTAN STRUCTURE pa eS IF YOU KNOW THE MAJOR SCALE, YOU WILL ALSO KNOW THE SEVEN MODES FOR THAT MAJOR SCALE. THE STUDY OF MODES "AND THEIR USE IN JAZZ IS PROBABLY ONE OF THE MOST IMPORTANT THINGS YOU SHOULD KNOW.DIATONIC MODES The study of Modes is an essential part of Jazz. The guess work of what to jay on a certain change is eliminated To a great extent. What we are oikg is assigning a series of notes to each nore of the scale. There are Seven notes to a Diatanic scale, ergo seven diatonic mode Let's examine each on an individual basis. using the ¢ scale as, the reference point, Starting on € ar the root. we can form a mode which is known Bs the lontan made, During the study of modes throughout the book, we will use all four note chords (M7 De? En? FUT G7) Am? Bu7bS Look at the any possibitities that we have, instead of being locked in to just thinking € chotd'and the notes in a € chord, we now have a multitude of ites to thefe from. To further tl lustrate this, "we can play the notes in (he Create ageinst any of the cheres jn the © WOMAN Modes Un ether wards if the Chard 1s 69, we eah play the © seale against it The choice of notes ang the order in mhich we play them determines hes > TASTY ne wake it sounds This is accomplished by experimenting with different paleerts and'to wnat extent we develope ur ear, We should slse.tisten to Jee artists, whether. It be saxephone, piano or guitar, the snstrunent doesn't dake a difference. it*s what's being played. ne Oty Mea feltoming gage | have written the MIKO-L3dian the most impartant mode! to learn. Bhen you practicd thir I2y The chord syubol ay you play the mode. 7'm7 a7BS H 87 the dranspesitign of playing in different keys. For example: Ke] first chord transposing hic example would be C7 because the slaris on the Stb ef the Major scale, the Sth being C. €7 De? Ea7bS FM? Ge? Aw7 BBM7 17 2m7 3a7bS 4H7 Sm? 607 7H7) fe, it is one of de you shoul ho2this aids tn iF the ise Lydian You have now learned to transpose by the use of numbers. which is both murically and mathematically coreeet-31 SCALES, seven diatonic modes = = Ss = ———— —— ooh Dorian Phrygian jenian Lydian Wixe-Tyaian Aeolian oe GT Am?) -Ba?DS CHP De? En?) FMT 1G? IMixo-lydian a a G7 gustan When practicing the modes, say the chord numbers as you play each ene. Tas RUT hel phion trameposing”sa'a1i 12 keys which abst be done Try te leara S keys each Gay'and become comfortable with each before going on, Wnen you feel thet you are becoming familiar with the made Blaying ia chord sequence, start playing thea in broken chards- Yau SUN "Rentuatiy start te play melodies vaing eifferent rhythms, this Ts the start of Improvisation—= ad a DIATONIC SEVENTH CHORDS PATTERNS SF The Major seventh chord is frequently used in jazz, to develape the dexterity necessary to use at your command, I have siiten a series of paiterns to help yau becone proficient in the vse of this chord ae 4s res 288 | Sry ra2s ages = pigs 204s There are a number of ways to form the M7 chord on the bass, the most somnon way is by sustaining € bass with € Major chord. An alternative to this, is to sustain € bass and G Majer chord, I wovtd use these chords with the above exercises so as fa hear the Majer seve EXAMPLE, “DIATONIC SCALE EXERCISES: ‘The following are a series of figures chat can be applied to the scale, They should és be play in-any key. fatenie be played in 12 keys so a3 to develope the ability to P8241324 1324 35 4 62314231 42731 312 1342 1342 1342 3404 p43 2431 2431 24.3 There are endless combinations of notes that can be pla, a few examples. I would try to sustain chords against these figures, once you aye comfortable playing in all keys, You could Sustain any of the chords fron the Diatonie mode, this will enable you te hear the different changes that can be played yed, these are just Apply different rhythn patterns‘The Mixo-lydian med versatile in it"s 3s takes you soem! on the rith step Tn the key of to the 1. ¢€) be ate Bgeinst 28 SAnht can be payee cr Am? -BerbS a or aa? neve. ‘of the major ‘Cthat would be sof the chords in the scale mode H1xO-LYDLAN MODE fe. The mode it nen we examine it mor! seale, and the Gh, and nost of © e closely first chord phe time th ¢ endless, by knowin play. Ali of the note 7 Da? Es? FMT G7 scale De? a An? je iz one of my favorite simply, elif resalvet somewhere, (E Majer scale) because it is ta ether words Gee that it starts ig the seventhe ie NT beings you this wode you should never again Sin the s@ Let’s look 2 Te can be used t some examples te, it shows that you do This is a very simple exany cach tigre’ as Se tRerTigeaT: sree otes played are the mi th these # iydian seale. The mor Vines will sound, Eventually 1 noulé will help you bear bett fe familiar you become * sustain the bars and chords ay er ideas not have to think of ores fram the Mine= ales, ou create new ines. the tastier your ie35 MODE COMPARISONS I believe it to be important to clearly understand the modes that have been discussed previously. The mode is determined by the note of the scale that we start on. The chords in cach mode repeat themselves in the same order excep! that they start in the sequence that the scale determines € Major scale D minor seventh scale G seventh toate Tonian Mode Dorian mode Mixelydian mode a eS] Notice that the three scales have the sane notes only in a different equence. Therefore if you knaw the Major scaler, you will know sll of the different modes. Which note you tart on determines the wade when playing in Seale farm, I de net want tolseem repetitious, But you mist be able to play the 12 Major seales fron aby ote ia the scale, They should also be practiced in different patterns and apply different rhythe patterns FONTAN MODE DORIAN MODE eyo? TOT 7 oT oThE 7 TT 7m? BS OMT x MIXOLYDIAN MODE 7 wT edd x 1 have placed an X shaming that the sequence of chords from that point ascend"in the exact sane order for each of the three modes, it willbe the same for ali the DIATONIC MODES. There are more modes to learn eveniually, but far nom, me will concentrate on thesc, specifically the Mixolydian Made.36 PRACTICING THE MODES: The following are examples of how to practice the madex, | will use the Mixolydian mode as the model, Each should be applied to all the modes. ov Aa? aa7bS y248 De? En? Fur o sentinve octave 1 have notated the fingering for twa chords, the Tire i ine BaTbSs orice the Dusinor chore withthe bass counter bass of G, a1s0 the Em? using the the @ Majer chord and’ che E counter bass of C. In further chapters I fit go Talo svedre Getailed explanation of these Cosbina: ens. Eventual} e111 jearn how to play chords from one position as we did with the scales, 3 5 3hie DoRTS SE ASTI Gteceeaee, ploy ine rie (etia, es atea fe fay ome oe ae Taba etl eresten] Le Sarerey corel A 2eNe, assent cone) oe Tale OE sock caer at gue patel, ete grec yd ate eee meet Sn Tee bale atop before the note that is being played. or ons Gt oe a7 cs a note outside of the These are all examples of neighbors, it is usuall hbor and or passing scale or mode that you playing in at the time. The nei tone can also be a grace note. Experiment with neighbors on work you are familiar with, uch as previous odes that you have pratticed. * mALTERED DORIAN SCALE — ay a Starting on G a4 12 3 bo2 2 4 § The weledie minor scale i2 ene of the most wreful scales in jaze, it ean be played apsinst a variety of chords. Let me emphasize that we use it only fe fuoPSsthhaing tore, beans ta the real formvof the scale, the 6th avd 7th step are levered descending. The D melodie miner fs an allered fare of the Dorfan scale, with the Tthestep raised. DORIAN SCALE (De7) D_MELODIC © sometimes written Deadd M7 The easiest way to remember the meledic minor scale is te think of the Du? scale (Dorian) and raising the 7#b a half step. Dati? D aclodic minor starting on G When we lock at the D melodic piner gegie starting onG) we have, the ultimate seale sequence fer the G9bS (Go#ll) chord. The C# (Db) is the flatted fifth of G (bS) or the sharp eleventh of G (#11). Therefore we can play the notes in the meledic reale ageinst the 9bS (#11) chord. I have given two examples of using the D melodic minor scale starting on G. One example for the right hand and one for the left hand. Netice the alternate chord csample | have written using the Db? chord with © counter bass of Eb, If you are playing 2 bass pattern by Eb, you do not have to jump up to G7.39 BASS AND CHORD COMBINATIONS The study ef the left hand on the accordion has been for the most part been negiected and maligned for a long time. I can remember when studying, a 2 youngster) the teacher, telling me that the altered chords oo piano sheet music could not be played. The result was that I never devoted any time to the left hand so to speak. What a shame (hat many accordion teachers had this archaic conception of the instrument. I am not saying thet all teachers were of the same mentality, but, the majority were. I have developed a series of combinations that I feel will be an asset to anyone attempring to play jazz aceerdion. I also feel ft will be helpful in the developement of a style for Midi accordion. To fully understand the concep! of these combina iont, the reader thovid be knokledgeatle of chord formations. Renember we have & slight disadvantage with theeplaying of the Teft hand, we have no octaves oF jfversions ef the chords * I will attempt to help the reader understand th the sixth chord and an example of the combinations in forming t Weare using the I of the chord in the bass. concept by explainin, Py the éth chert és " * “ b= Notice the different ways that we can form the chords for the 6th, the first is the standard way that everyone knoms. the second has € bass with the A-minor chord. The third way has C bass with # Major chord, this may scem exotic to same but it is very useful, and the last onc uses € counter bass of Ab and the C Major cherd. This is used in the event that you are playing bass [ines around the basses by Dhy AB, this eliminates having to jump up to the € Try sustaining these combinations with C® chord on the right hand, and listen te the sounds carefully. You must apply these fo all 12 keys. so that you become proficient in all keys. Remember there are Unlimited ways to form these chords by Using another note in the bass besides the 1 af the chord, i.