Autumn Leaves Analysis

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Autumn Leaves(with improv analysis)

This entire first measure only uses chord tonesfrom the A-7 chord. By starting on the upbeat ofbeat one, I start off my solo with some "lift".

A-7

��

D7

D7 chord tones, butarpeggiates up to the 9th

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G^7

GMaj9 arpeggio starting on the 3rd,then walking down the scale. Still justusing chord tones & tensions.

C^7#11

Added the #11 because it is a nice tensionon Maj7 chords. Notice this is all C Maj scalewith the exception of the #11.

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5

All based on the F# Locrian scale which isa G Maj scale starting on F#. The notes of F# Locrian are: F#-G-A-B-C-D-E-F#.

Started the line with a chord arpeggio.

F#-7b5

There has been a lot of eighth-note motion in the solo up till now so I am resting the ears byholding out the C which is the flatted 9th.

The LH chord has a #9 in it which adds a nicetension to the flat 9 in the solo.

B7b9

7

A lot of rest in the solo. Let the LHtake over and propell the solo intothe next section. Remember to utilizethe LH in your solo.

Notice the E-7 chord is a E min triad withthe 11th added. 11 sounds great on minor chords.

E-7

I added this chord. E-7 is written for two measures, butthe Bb7alt here is a Sub-V resolution to the A-7. 'Alt'means that you'll find b9, #9, b13 or any combination in the chord and can use the Bb altered scale: Bb-B-C#-D-E-F#-G#-Bb. The last 3 notes are an approach to the'A' in measure 9.

Bb7alt

9

What is interesting about these two measures is not the notes, but the rhythm and motif. Notice I am starting with a simple 1-2-3-5 pattern on A-7, but then I just raised the top note. The last note, 'A' I chosebecause it falls nicely down to the 'G' in measure 11. Also notice the rhythmic groupings. By grouping thenotes like this, the first note accents (shown with X's) fall on 1 - 4 - 2 (of the next measure). Group 2 is also an example of over-the-barline phrasing because it goes over the barline.

A-7

D7


11

This measure is all GMaj scale with the exceptionof the note C#. Notes, 2,3 and 4 (F#, C# and E) arean approach to the 'D'. Using approaches is a greatway to add tension to a line that might otherwise remain diatonic only using the GMaj scale.

G^7

I knew I wanted to hit 'F#' in meausre 13 so I didanother approach by adding the 'Ab'. Once again,this is all CMaj scale -except- for the Ab. The Ab - G - F# (next measure) would be considereda DOUBLE CHROMATIC. The target is F# and I am resolving down to F# from two (double) chromaticnotes from above.

C^7#11

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13

This measure only uses 2 chord tones (F# and C)which are the root and flatted 5th. The 'B' is the 11thwhich is an available tension on -7b5 chords.

Notice the first beat, F# ends the phrase that startedon beat 3 in measure 10. I start the next phrase on an upbeat (the 'ba' of beat 2) to give the next phrasemore "lift".

F#-7b5

When you see a dominant 7th chord, you should think "Major scale with a flatted 7th." This createsa mixolydian scale. The flat 9 should also get you thinking 'C' becuase 'C' is the flatted 9th.

Also notice the shape of the line. See how I startby going down, then up, then down. This "weaving" motion creates interest in the line.

B7b9

15

Do not be afraid of rest! I purposfully ended the melodic line and added a lot of space. Granted,I could add a few more notes here, but I like the dramatic effect of a lot of space. Only the LH keepsthe pulse of the song going. This loss of momentum in the solo gives you the opportunity to "ramp up"the solo in the measures to come. Too often, students play everything they know within the first 12 measures!Remember to keep some "tricks" up your sleeve for later in the solo.

E-7


17

Here is another 9th apreggio. The only non-chord toneis the 'G' which is the flat 9. The 'G' is part of the Locrianscale and serves as a -passing tonebetween the 'A' andthe 'F#'.

F#-7b5

This measure uses -only- the B7 chord. The first phrase is a B7 chord in 3rd inversion. Next, I go to a B7 chord in 2nd inversion. By apreggiatingblock chords and their inversions, many interestingmelodic lines can be created.

B7

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The LH is pedalling the fifth of the E-7 ii-V-i. By hitting on 2+4, there is a natural tension that is created by avoiding the downbeats. The downbeat is now 'implied' and the 2+4 pushes the solo forward. After a point of melodic and rhythmic rest in measures 15-16, this pedal point now "ramps up" the soloand sparks some interest.

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19

Just using chord tones here and passing notes. The 'A' (which is the 11th) serves as a passing tonebetween the 3rd (G) and the 5th (B). Ending the lineon the upbeat of beat 4, and tying into the next measureis another way to rhythmically push the solo forward ratherthan always ending on beat one.

E-7

The LH adds some syncopation by hitting the upbeat of beats 3+4. I alsomove to the 5th of the G ii-V-I which isa 'D'. The 'D' on the upbeat of beat four isan anticipation which is yet anothertechnique to propel the rhythm forward.

21

First, the upbeat, triplet into eighth notes patternin this measure is a VERY common bebop sound.

Second, you can think of this scale as an A dorian, a Dmixolydian or I like to just think of it as a G Majscale that starts on the 11th of the A-7 chord.

A-7

The dramatic shift in the melodic line by jumping downto the 'F#', then jumping up the octave to a 'F' naturalcreates an immediate attention grabber. The first F# established the D7 sound, but the 'F' is the #9 on a D7 chord which creates a lot of tension. However, it is quickly resolved by moving down the D mixolydianscale.

D7

3


23

The main concept I want you to focus on in thismeasure is the 16th note triplet on beat 2. This pattern is VERY common in jazz improv. Notice how it is just starting on a note, going up a step,then going to the note below? Learn this pattern in new keys.

G^7

This is the first point where the improvisationis part of the chord. Ending the phrase with this 7#11 chord is very dramatic. I added this chord for the improv, but it would not workwhen playing the melody. When you are notcontending with the melody, you have morefreedom to change the chords.

C7#11

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4

25

Nothing special in this measure except for the rhythm. Only chord tones here, butafter all of the eighth-note lines, it soundsnice to break up the line using some upbeats.

F#-7b5

You can think of this scale as B mixolydianwith a flat 13 (the G). Or, I like to just think ofit as a B altered scale. Remember, the altered scaleis a melodic minor ascending scale a 1/2 step higher.So, it is a C melodic minor scale starting on B. The notes are: B-C-D-Eb-F-G-A-B.

B7#9

27

Here is another motif example. I amtaking the same pattern of a minor 3rdinterval and moving it up to the A7 chord.I could have gone from C# to A, but the Bb is the flat 9 and a nice tension.

E-7

A7b9b13

This is another chord apreggio, but it is also the high pointin the solo. Bb is the highest note played in the solo andit is also the #9 on the G7 chord so it adds some greattension. At this point the solo can start to "wind down".Even if you were to continue for another chorus, it is nicefor the solo to ebb and flow by having high and low points.

D-7

G7#9b13

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29

First part of the measure is a chord arrpeggioand the the second part is the Locrian scaleascending. Notice my target is the flat 9th of B7 in the next measure, NOT the root B. Again, this creates tension and makes the solo interesting to the ear.

F#-7b5

This measure is all based on the B altered scale.Beats 2-3 can be thought of as an escape tone. Specifically, the 'D' on the upbeat of beat 2 seemsto go in the "wrong" direction. Instead you mightthink an 'E' functioning as a passing tone between theEb and F would make more sense. This is what an escape tone does. It changes direction and creates interest.

B7b9

5


31

Here we see the same descending minor 3rd motif found in measure 27. Now, the last two measuresof the song are written only as E-7, but you can see that I added on some chords. I started by adding the Bb7#11chord because it is a Sub-V7 resolution to the A-7 chord. I preceded the Bb7 with its related V7 chord which isF7. Measure 32 uses the Bb Lydian b7 scale which is: Bb-C-D-E-F-G-Ab-Bb. The F-F#-G is a chromatic approach.

E-7

F7

Bb7#11

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33

We're back to the beginning. I added this measure to show you where the line that started in measure 31 ended.At this point, you could solo another chorus. If you wanted to go back to the melody, simply play -only- the E-7 in measure 31. Leave off the F7 and Bb7#11 chords because you will pick up the melody on beat 2of measure 32. Watch the DVD to see me do this.

A-7

Practicing Tips:

1. Learn the solo and commit it to memory. It is very difficult for these concepts to work into yourplaying if you are always reading the music.2. Practice slowly and in sections with a metronome on 2+4.3. Visit JazzPianoLessons.com for more articles and tips on how to use this and other lessons.

I've laid out many concepts that you can use in other solos. However, if you feel like you need more help with these concepts, I encourage you to check out JazzPianoLessons.com DVD801 - Advanced Improvisation Techniques.

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Autumn Leaves Analysis