Jazz Improv 1 yeeee

8/19/2019 Jazz Improv 1 yeeee

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TON L

ND

RHYTHMI

PRIN IPLES

azz mprovisation

REVISED AND ENLARGED EDITION

JohnMehegan

Watson Guptill Publications New York

Amsco Publications

New York London Sydney


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40

NOTE: It w.iIlbe

noticed

that

nosecondppears

in

the

-U1verted

diminished

chord.

Thus,

the diminishedchord eaunot

be inverted. There are

twelvediminishedchordsgroupedin threeseries

(Co,

EbO,CbO,Ao-

C o,o,Co,Dbo-

Do,

Fo, Abo,Do).

The

diminishedchordisalways

in

root

position.

Since

the

M, x,

m and

4>

can

be

played

in

fourpositions,thisgivesus

192 chords. Adding the 12 diminishedchords,this givesus a total of

204 chords-

the

completeharmonic

ystem

of jazz.

LESSON 22.

Inversions

The

following is a

bassline

for No Mono

at

All.

n It

is written

in

D

minor,

which

is

the

relative minor

of F

major. The

symbols

refer

to F

major. Transfer

the

melody

to

manuscript paper.

VI+I/ IIIx: /

va /

VIIm: / VII: / bV. . IIIx / VI+'

Ix /

IVxIIIx VI+' / IIIx: Vo VIIm: VII: bV4-,IIIx / VI+'

VI+'

VIx / VIx / IIx

IIx /

V / V

I IV

VII bVIIx/ VI+'

• ••

IIIx 1 Vo / VIIm I VII I bV,IIx I VI+' / VI+' /1

1\0 ATAJ..L..-Wordsand Music bv David

C 1947, 1949 Jef ferson Music Inc:

© '

Inc.

International copyright secured. lIJl

rights

Used by permission.

..

NOTE:

VI +e is also bV ,ut the functionof the chord is an adjustedVI

chordrather

thanan

inverted bV ,.

LESSON

23.

Inversions

Here Is

a

bassline for Liza, Transfer the melody to manuscript

paper.

I V: / IIo VIx: / II: IVo / Vm Ix /

IV IV

+ I /

III

bIIIx /

II bIIx / 1+ I I/ I V: / IIo VIx: / II: IVo / VmIx / IV IV+ I /

III bIIIx / II blIx / I + I bVlIx / VI + I bW / VII bVIIx / VI bVIo/

Vm bV/ IV IV+I / IIIIIIx / II II. / bVIxV / I V: / JIoVIx: /

II: IVo / VmIx /

IV

IV+ /

III

bIIIx / II bIIx /1+

1

/ /

L1ZA-by Gus Kahn, Ira Gershwin, and George Gershwin

© 1929New World Music Gorp. (renewed). All rights reserved.

Used

by permission.

..

NOTE: I+e IsalsoVI', but the function

of

the chord

is

usuallyan adjusted

I

chord rather than an invertedVIchord.

LESSON

24.

Inversions

The following is a bass line for Waltz for Debbie. Transfer the

melody to manuscript paper,

This tune presents a special problem in that the chord chart for the

melody (called the head chart ) is not the same as the chord chart for

improvising on the tune (called the blowing chart ). This problem will

be treated more extensively in Volume IV. For now, here are the two

charts for Waltz for Debbie. Note modulation to the key ofA and the

return to the key of F. The head chart appears in 3/4 time with a

transition to 4/4 time in the final six measures ofthe tune; the blowing

chart appears in 4/4 time with a transit ion to 3/4 time in the final four

measures in preparation for a return to the head chart.

41


23/113

42

HEADCHART:Key of F,

3/4

time

3 6 6 6 6 •

(Fl

4

J5

I VI I II I VIIx' I IIIXz I VIx' I IIXz I V' I

bel

I

113

I

(Fll II .p3

I

IV

I

III

I

vlre bV.p3 Vlx

3

I

IV V vi

I

ViI

i

II

I

(F)l

I

VI

I

II

I

V

I I

VIXz

I I

V

2

I

IIIx S

I

VI

v1

2 II

(All II I

VV

I III I II I I I 1

2

II (Fll II I V I III I VIx I II I

(F)l IIIx' I VI I Vm I IV I IIIx I VI I Ilx I bIIIM I bVIM I II I

3 6 6 6 6 •

(F)4 V I J5 I VI I II I VIIx5 I IIIXz I VIx5 I IIXz I V I IX

2

I 113I

(F)l II.p3 I V, I III I VIx I bVm I I Isy3 I Ix I IV I

3 u u

(F)4 IIIx:5 I VI I bVIx I VI, I VMu I I V II (Flj VI, I

:3

(F)j V., V I VI, VM:5 I V V I J+6 I I+6 II

BLOWING

CHART:Key of F,

4/4

time

III VI I II V I lIIx VIx I IIx V I

Ix

IV+6 I II.p V I III VI I

(F)4 II V

I

III VI

I

II V

I

IIIx VIx

I

Ilx V

I

IIIx VI

II

(Alj II V

II I

(Alj I II (F)j II V II VIx I II IIIx I VI Vm I IV IIIx I VI IIx I

(F)j bIIIm bVIM I II V I III VI I II V I IIIx VI I Ilx V I Ix IV+6 I

(F)4 lIt/>V

I

III VIx

I

bVm VIIx

I

III Ix

I

IV IIIx

I

VI IIIx bVo

I

(F)4 III bIIIo

I

II V

II

I +6

I

bIIIo

I

II

I

V

Da Capo to head,

WALTZ FOR DEBBY-by Bil l Evans and Gene Lees

TROC 1964and 1965Acorn Music Corp., New York, N.Y.

U.K. C 19i¥'Acorn Music Inc. Assigned to Kensington Music Ltd., B5Gower Street,

London, forthe terri toryofthe world excluding USAand

Canada

Used by permission.

LESSON 25.

Inversions

The following is a bass line for Giant Steps, Unlike the bass lines

in this volume, the chords are indicated by letters instead of the usual

Roman numerals. The reason for this is that Giant Steps has no pre-

vail ing key center but, instead, a series of implied key centers.

4 4 4 '

BM Dx

3

I

GM Bbx

3

I

EbM

I

Am Dx

I

GM Bbx

I

EbM F::x

3

I

BM

I

Fm Bbx

I

EbM

I

Am Dx

I

GM

I I

BM

I

Fm Bbx

I

4 4 4

EbM

I IBM

Dx

3

I

GM Bbx

3

I

EbM

Am Dx

I

GM Bb

3

I

4

EbM

I

BM

I

Fm Bbx

I

EbM

I

Am Dx

I

GM

I

F;:;x

I

BM

I

Fm Bbx

I

EbM

I

EbM

II

GIAl\'T STEPS-by John Coltrane

©

1974 jowcol Music

sedby permission

The symbol key for the preceding chord chart is

as

follows:

M-major

x-dominant

m-minor

43


24/113

44

SECTION IV

LESSON 26.

Modulation

Many

of

the popular tunes used as jazz material modulate from one

key to another in thecourse of a 32-barchorus. This modulation is seldom

indicated in sheet music although the jazz musician

thinks

in these key

changes for Simplicityand order. The following six lessons will deal with

tunes

of this type. A Simplerule for identi fying the presence of a new

key

is

the appearance of a major chord on other

than

I or IV (i.e .. 111M,

bVIM, ete.).

The following isa bass line for Body and Soul in Db. The origi-

nal key of this tune is C major, but

since

1930, the year the tune was

written, convention has prevailed in favor of Db. Transfer the melody to

manuscript

paper using the following signatures: bars

I - 15,

key of Db;

bar 16,

beats

1,2,

key of Db; bar

16,

beats

3, 4,

key

of 0;

bars

17 - 20,

key of 0; bars21- 23, key ofC; bar 24, beats 1,2, key ofC; bar 24, beats

3,4, key of bars 25 - 32, key of Db. The letters in parentheses

indicate the key in which the symbols are to be played.

(Db) II

U 7

Il:7 II bflx I II III bIlIo II II, VII bVIIx

(Db) vi Ii bIIx

I lHo

IIu7 II 7

II bllx

I II

III bUIo

(Db) II II, VII bVIIx VI II bIIx p6 (D) V p6

II

(D) VI3 IVm

III VI II IVo

III

bIlIx II blIx

(Cl II V

(C) I bUIa II bIIX ix vIIx (Db) VIx Ilu7 Ip7 II bIIx

(Db) I II lUI oUIo

II II

2

VII bVIIx

Vi

II blix

I +6

BODY AND SOUL-Lyrics by Edward Heyman, Robert Sour. and Frank Eyton, Music

by John Green

«:>930(renewed) Warner Bros. Inc. All rights reserved.

Used by permission.

LESSON 27.

Modulation

The following

is

a bass line for How High the Moon, in the key

of G. Transfer the melody to manuscript paper following the signatures

indicated by the letters.

pidc-up

(G) VP I 1+ (F) II blIx I 1+ (Eb) II blIx

(Eb) I VI bW VlIx

nr-:

(G) V / I II III IVb

(G) III bIlIx II VU I 1+ (F) blIxI 1/1+

1

(Eb) II

(Eb) bIIx I VI (G) 114>V I II

ill

IVb

ill

b

UIx

(G)

II bllx /

1+ 1+

HOW HIGH THE .MooN-hy Morgan Lewis and Nancy Hamilton

{j HMOby Chappell

Co.,

Inc. Cl renewed.

Interuanonal copyright secured. All right , reserved.

Used by permission.

LESSON 28.

Modulation

The following

is

a bass line for Laura, in the key

of

C. Transfer

the melody to manuscript paper follOWingthe Signatures indicated by

the letters.

(G) II / bIIx I 1+

1

/

(F) II / bIlx I / 1+ (Eb) II

(Eb) bllx

I

VI

(G) II

Vb

l

/

Vb

l

IVo

III

b

UIx

/

II

(G) blIx jI jI + / (F) II b1Ix I / 1+ / (C) IVm / IVo / III

(C) VI / I1xb

l

/ II VII / 1+ / 1+

LAURA-by Johnny Mercer and David Raskin

e 1945, renewed 1973 Twentieth Century Music Corp. Allrights administered and

controlled

by Robbins Music, a catalogue of CBS Songs. a Division of CBS, Inc.

All

rights reserved.

Used

by

permission.

As Indicated above, Laura , in the key of C, does not start In the key

of C. However, the tune comes to a

final

close In the key

of

C which

definitely establishes the key.

LESSON 29.

Modulation

The following

is

a bass line for

-111

Remember April, in the key of

G. Transfer the melody to manuscript paper fol lOWingthe signatures

Indicated by the letters.

45


25/113

(G) I / I / IV / I / 00 / Im , / VI , / IIx / II / V /

(G)

III' /

bIIIx /

II / bIIx/ I /1+- /

Bb

II / V / I IVa /

Bb III bUIx / II I V / I / 1+< / (G) II / V / I / IV I

(E) II / bUx I I VI / (G) II bIIx I I / I / IV / I I Im /

(G) Im , / VI , I. IIx / II I V / III , / bIIIx I II / bIIx /

(G)I+' / 1+<

II

I 'LL REMEMBER APRIL-Words and Music by Don Haye, Gene De Paul, and

Pat Johnston

© 1941, 1942 bv MeA Music . a Division of MCA Inc ., New York, N.Y. © renewed

and assigned toMCA a Division

of

MCA Inc. and PIC Corp. ,

New York, N.Y.

All ri,mts reserved.

Used

by

permission.

LESSON 32.

Transposition-Modulation

Fig. 1 is a lead sheet of In Your Own Sweet Way by Dave Bru-

beck. Fig. I represents the composer's view of his composition; Fig. 2

represents a figured bass solution of the same tune.

Fig. I. In YourOwn Sweet Way.

Eb Am 0

7

Gm Cm F

7

Bb Eb

1

r

I\lld

Qr

1

Ell Maj. Em

9

A

7

0

o

J UJ

Qr

A

7

F

Abm Ob

7

Modulation

LESSON 30.

The following is a bassine for

-All

the

Things

You in the

key

of Ab.Transfer the melody to manuscript paper following the signatures

indicated by the letters.

Ab)

VI/II / V / I / IV / (C) V / I / 1+- /

(Eb) VI / II I V / I / IV / (G) V / I / VI/II /

(G) V / I / 1+< / (E) II / bIIx / I / 1+< /

(Ab) VI /

II / V / I /

IV /

IVm / ill / billo / II /

Ab) V blli / 1+' / 1+' /I

ALL THE THINGS YOU ARE-by Jerome Kern and Oscar Hammersteln II

C 1939T.B.

Harms

Co.

e

renewed

The Welk Music Group.

International copyright secured. All rights reserved.

Used by

permission.

LESSON3l.

4,\1

m

I

r

F=£t

FI*

ttl

Om Ab

7

e7

Cm

Am

0

7

Gm

46

Modulation

The following

is a bass

ine for

Autumn

in

New York,

in

F,

Transfer

the melody

to

manuscript paper following the signatures indicated by the

letters.

(F)

II

III /

IV VP / 1+' I / I II

III bIII /

II ill

I

(F)

IV V / ill VIx /

III ,

bIlli / II ill / Ab) II

b

IIx

/

Ab) I II / (Eb) VI VII / P- bW

/

(C) II bIIx / I VII /

(F) III

bIII /

II III /

IV

VII /

1+-

I

I

I II III

IV /

(F) Vm VI / (Db) II IIIxf< / VI VI./bWIVxjIII+-VIbf


26/113

Both Fig. 1 and Fig. 2 present the essential facts of the composi-

tion; Fig. 1 represents the composer's original conception of the piece,

and Fig. 2 represents the author's view of the essential structure of the

tune seen through twenty-five years of social usage.

Note the appearance in Fig. 2 of key changes which socialconsen-

sus has established

as

part of

the

fabric of the tune.

The key series for transposition will

be:

l-bVI-I -bVI -I -III-II-I-bVI-I.

The

following is a bass line for In Your

Own

Sweet Way in Bb.

The key order is as follows:

Bb-Cb-Bb-Cb-Bb-D-C-Bb-Cb-Bb.

In Roman numerals this reads:

l-bVI-I-bVI-I-III-II-I-bVI-I as above.

SECTION V

LESSON

33.

Arpeggios

The basic problem of jazz improvisationis to abandon the melody

and build an improvisedline on the elements of the chords

in

a tune.

Thus,we willcombinethe vertical (left hand) with the horizontal (right

hand). The chord elementsare as follows: (1) Arpeggios;(2) Scales;

(3) Chromatictones.Thus, jazz improvisationemploysa twelve-toneline

(twelve chromatic tones

in

the octave) superimposedon the sixtychord

system.

An arpeggiO

is

a broken chord moving in alternate steps. The Iol-

lOWingllustratesthe arpeggiosofthe five qualitieson C for two octaves.

These notes should he played ascending and descending.

r .

•

Cm

I .

•

Co

....

•

Cx

CM

picl< up

(Bb) IV VIIm IIIx VI IIx II V I IV (Cb) II V I IV

(Bb) II


27/113

Transferred

to

the keyboard, the rhythmic assignment is as follows:

This rhythmic counterpoint is always present injazz, although these

three levels of time can be assigned to various instruments. In a modern

group, the rhythmic breakdown is as follows:

Eighth-note 1 ) - trumpet

Whole-note 0) or half note J - tuba or trombone

Quarter-note J) - drums

Technically this

is

a form of florid counterpoint involving three

kinds

of time played simultaneously. This is the essence of the jazz beat.

Using the chord

chart

on pages 25 and 26, practice the arpeggiosfor

the sixty scale-tonehordsusing the fonowing fingering.

C-5qualities 123412345

D-5qualities 123412345

E-5qualities 123412345

F-5qualities 123412345

G-5qualities 123412345

A-5qualities 123412345

B-5qualities 123412345

Db-5 qualities 212341234

Ab-5qualities 212341234

BbM - x 2 1 2 3 4 1 2 3 4

Bb-AJm-+-o 231234123

GbM-x 234123412

Gb-F m-+-o 2 1 234 1 2 3 4

EbM-x 212341234

Ebm (the onlyarpeggiowith

all black notes) 1 2 3 4 1 2 3 4 5

Eb-D +-0 2 3 1 2 3 4 12 3

These sixty

arpeggios

must be thoroughly mastered, ascending and

descending, so that they

can

be played automatically with correct fingering.

Eighth-note

J

Whole note

D

or half-note

J

Quarter-note J

Eighth-note J

Whole note ( ') or half-note

.J

Quarter-note ( J )

trumpet

piano

bass

right hand

left hand

foot beat

50

LESSON 84.

Arpeggios

in

Rhythm

Rhythmic problems in jazz will be thoroughly studied in Volumes

II , II I and IV. The student must f irst learn what to play before learn-

ing how to play i t. For now, the fol lowing basic mater ial on rhythm

will suffice.

The rhythmic division of the front and rear lines of a 1900 New

Orleans

jazz

band was as follows:

This rhythmic composite is occasionally interrupted, but its continu-

ing presence

is

essential to

jazz

improvisation.

As

soon as the student has become familiar with the chords of a tune,

a quarter-note beat should be tapped by the foot

in

order to create the

basis for a jazz beat.

In succeeding chapters, we will explore the three fundamental rhyth-

mic structures used in jazz improvisation - the eighth-cote, the eighth-

note trip let and the

sixteenth-note.

The

jazz

line

can

employ

rhythmic

values up to the thirty-second-note. See Fig. 1. However. for pract ical

purposes we will limit our work to the three above-named values.

51


28/113

Fig. I.

Fig. 2.

d

fugtt

han

.

i

IAlft

band

i

ft

(9-

:

• I

D

m IV

V

bV

Foot

beat

IV

I

Foot beat

,., Righ t band

It

v

Foot beat

,. t:

r=t:

,Rlgtt

band

ii

-

-,

-

1Alft.

II

IVm

m

Foot beat.

I

chord eighth

notes

II

chord eighth-note

triplets

III

chord sixteenth notes

IV chord sixteenth-note triplets

V chord thirty-second notes

Rest values of both more

and

less

thanan

eighth note are equally

important in the

jazz

line.

A

dot adds

half

the value to either

a

note or a rest.

In Fig.2:

.., bm

Foot

beat

,-

-

•

. Ii,.. •

.

]I

-

.

1+6

I and II chord - whole-note rest (four beats)

III chord - half-note

rest

(two beats)

V chord - dotted quarter-note rest

b

Vi>chord - quarter-note rest

IVm chord - dotted eighth-note res t

III chord - eighth-note

rest

bIU chord - dotted sixteenth-note rest

52 II chord - sixteenth-note rest

53


29/113

LESSON 35.

Eighth-note Arpeggios

Fig. 1 is a bassline for Could Write a Book, in the key of Db.

The sheet music appears in the key of C, so the melody must

be

trans-

posed. Transfer the melody to manuscript paper using three staves- one

for melody, one for

an

improvised line and the third for the chord symbols.

Ai;

a starting point for improvisation. abandon the melody and play the

arpeggios of the chords in eighth notes. Try to keep an uninterrupted

quarter-note beat with the foot -

no

pedal.

Do not set the improvised ligures. Use the arpeggios both ascend-

mg and descending as well as from the various inversion points (third,

fifth

and seventh). Respect the fingering shownon page 50 at alI

times.

The following rules will be helpful in Bngering problems:

1. All

inversion arpeggios beginning on

a

white note begin with the

thumb.

2. AlI

inversion arpeggios beginning on a black note begin with the

index finger (except

Eb

minor which begins with the thumb) and

go to

the

thumb on the

first

white

note.

-

r--,-

-

-

- -

,'-'-'- I

I

,-

oj

.

-

'l-

-

......,...,-,

I ,

1

,..-r

I

t

-l.

I

-

-

I..

I..

•

-

l

I

I

.

•

-

- -

-..L...J

-

:

Fig. 2 illustratesa drill using the arpeggiosof the chordsin eighth notes.

Fig. 1.

plck

-ep

b

IIx

I VI

I

II IVa

/ ill bIUx I

II

bili /

I II /

•

III VI / II III / IV IVo / VI'

billo

I

II V

I

bV. IV,X/

•

III #VIo /

ill' b

VIla / VI

bVIx

I V IV / III U I I VI I

II IVo I III

billx

I II bIIx / I II I III VI / U

ill /

•

IV IVo / VI'

bIIIo I II

V

I

Vm bV / IV IVm /

III bIIrx I U

b

ili

I 1+' I 1+'

I COULD WRITE A BOOK-by Richard Rodgers and Lorenz

Hart

©

1940by Chappell

&

Co., Inc.

©

renewed.


Used by

permission.

Fig. 2.

AI

54

l'

-

. 1

-

-

- -

-

-

.

,.....,..1

it

-

:

AI

I

...

-

-

:

A I

•

.....,.....,

r T'-T-, -

....,...,

•

-

...........

-......I

'I'

F

..

..

...-

55


30/113

,

..

...1:..

-

1«1

-

-

-

.,

1 •

-

•

t

«I

-

-

-.J

I--

.-.

I

-

.

I

-

-

........

,......,..

.-.......-......

I

, .. .. .. .. ,. - I

..-- I

-

.,-

. .,..

..

--

..

DRILL: Study Fig. 2 and explorevarious eighth-notearpeggio lineson

the chordsof Fig. 1. In the beginning,the student

may

write

out a lineas a startingpoint.

LESSON 36.

RhythmicCombinatioos-on Green DolphinStreet

Fig. I

is

a

bass

line for Green Dolphin Street in Eb. Transfer the

melody to manuscript paper using three staves

as

in the previous lesson.

Note the modulation to Gb major and the return to Eb,

(Eb) 1+

6

I 11m m bIIM

2

II #10 II bIIx II VI

(Cb)

II

bIIx

I #IV

(Eb)

II

bIIx

1+

I

m m

(Eb) bIIM

2

/ I / #10 / II II

2

/ VII bVIlx / VI VIz bV


31/113

•

I

• f// :..•

I

I

:J

Ell

.

-'- 11 .M... h lI b

'

.,

\

-

.

-

. E

.

.

.L

h

...

-.fL._

-

'j

-

Eb

.

-

4_

_tl

l =_j,.

fL

I

' I

-

.

Ell

.v

G

,

-

• Ell

3

3

-

'1 I

.-

li

'

,

•

I

- v_

E

:

I

I

'

I I

Ii

VI

-

-

Ell

.

-

.

,. l

\ •

.J..

r .

I

-

E

.

..1.

I I

I

.....

.

-

Ell

58

59


32/113

t'i

I

•

,...

....

...-h.

,. ....

e

-......

Eb

t'i

I

-

.---

-Jltl

L L

A ....

.

L

.il

..,..

Eb

r::lCHORUS

L J ' '

t'i

..........

ill

I..

Po·

7/ 77

-

·

a=

..J. ,L

fII I

il

•

leJ

;I

-;-

b

,.,

.iIl

•

.

I

:1:

-

•

Gb

.

t'i

::j :.

.J ::.

b•

.

11)

.

Eb

t'i

•. 1'-

• .f -

I

:1 iIf :

leJ

--

---

b

Eb

.

,

t'i

..

::j : .fL -

.

111)

--

.

._--

Eb

.1

.L

II

tl . --

---

I

.:

--

Gb

b

,.,

.il4U_

.....-

.*

•

•

I

•

I'

-

..

.

Eb

.

L

...

--.1

.L I

._L

' -

•

-

-

,.

Gb

Eb

·

'1

61


33/113

II •

_. to...

-

I.

11

f I

N¥

)

I I

Eb

CD

shake

--

I I

...b_ ..L

-

I-.J

I

I

Eb

·

1\ I

.11. ... •• ,

..h.a__

,..,...,..,

I-.J

I

,.

Eb

·

I

.

_ M T I

,

JJ

_ _h,...

-

iT

I I I

...

I I

I

Cb

Eb

.,

II I

.

-

...

-

.

.

.

.

i4V

-

.

-

-.

,

Eb

·

.

I

-

_--::0.

I

I

ItT

I

.....

r -,

Eb

.

II I

..l..

...L..

5

.

.

.

-

,J.

I

r

-

·

\ I

I _ ...-... •h_

e: e:

-e:.

L

.i >

[t

I

r

...

Eb

II I

-..jll:.

...

...

.- ....

-

...

.

I

r

Eb

3

3

I

I

-

,...,.-

-

ltJ

v

r:;::f-.;,r

11

j

or..

Eb

lti*

\.¥.

·

62

DRILL: Stud) Fig. 2 and explore the various eighth-note triplet arpeggio

lines

OIl

the chords of Fig. 1. Write out

the

lines

if necessary.

63


34/113

I

I ....

LESSON

37.

Sixteenth-noteArpeggios

Nowthat wehave investigateda line employinghe eighthnote (two

notes to a foot beat) and

the eighth-notetriplet

(three

notes

to a foot

beat), wewiD.explore.in this chapter,

the

sixteenth-noteline (four notes

to a foot beat).

Fig.1 is a

bass

line for At Long

Last

Love.J

in

C. Transfer the

melody

to manuscript paper using three staves.

-

-

•

..

....

Fig. 1.

pick up •

bUx

II

1+

I

VII

I

VI

I m- I

IV

I

III

b

lli

I U I

U

I

I

• •

VII / bU I U. I vn I U· I V I 1+ I

bIh:

I 1+ I

• •

vn / VI I ill I h Vm

I

I JUo ill/ IV+ I IV /

•

bW / U. / m / hUh U /

bIh:/

1+ / 1+

.r

.

..

AT LONG LAST LOVE-by Cole Porter

C 1937by Chappell

Co Inc, 0 renewed Assigned to John F. Wharton, Trustee of

the

Cole Porter Musical and Literary Property Trusts.

International

copyright

secured, All

rights

reserved.

Usedby permission.

Fig.2 illustratesa sixteenth-notedrillemploying

the

arpeggiosof the

chordsin Fig. 1.

..

Fig. 2.

.

..

A. ..

•

64

..

-

...

-

65


35/113

.,

-

-

-

-

...

-

-

-

,-

-4tJ

-

fIo •

tI •

DRILL; Write

out or

play

a

sixteenth-note arpeggio line on Fig. 1.

LESSON 38.

Rhythmic Combinations

-

-

Since the problem of shifting from one rhythm to another is of the

utmost importance in playing a jazz line.we will now consider combining

the

rhythms in Lessons 35, 36 and 37. Under no circumstances can the

shift from one rhythm

to

another

be allowed

to disturb the quarter-note

foot beat.

Fig. 1 is a bass line for 'Sophisticated Lady, in Ab. Transfer the

melody to manuscript paper using three staves. Note key changes.

Fig. 1.

J

I II

Ab IIllP

lIP

II I bVIIx Vb:

bVIx

V I I IVx I

(Ab) VIIx

I

bVIIx

I IIx I II blIx I I / 10 /

Ab I1u, lIl II I bV1Ix VIx bVIx V I I IVx I

(Ab) Ix VIIx bVIIx VIx

I

IIx / II bIIx / I

+

0

I

(G) IIbIIx

I

(G) I VI/II V / III bIIIx / II bIIx I I VI I II V I

I I /I I I II

(G) I bV (Ab) III I II VII Ill b1IIx I lIlli' lIl II I

(Ab) b

VIIx

VIx bVIx V / I IVx I Ix VIh bVIIx VIx I

Ab IIx I II bIIx / 1+

0

I 1+- II

-

-

I ,

-

-

-

-

..

-

66

SOPHISTICATED LADY-by

Ellington, Mills,

and Parish

o 1933 b y Mills Music. Q renewed. All rights reserved,

Usedby permission.

67


36/113

Fig.

.2

illustrates a drill employing eighth note eighth note triplets

and sixteenth note rhythms in various combinations.

Itl. _

_..3

.

1

......

8 -

..

/

/

/

/

.....

/

--.

/ /

I

/

-

/ /

Fig.

2.

I I

-

...

I

_

3 3

1«1

/1

68

/

/

/

/

/

/

/

/


37/113

All

I I,...\. 1

I I

•

• 1

I •

14tl

-

...........

/ /

/

/

/

II I

II I •

\rt

•

-

.-1._.

b...1 •.

it

/ /

/ /

.1

/

LESSON

39.

RhythmicComposites(ballad)

Now

that

we have some facility with abandoning the melody and

using the arpeggios of the chords. we may consider combining the note

and rest values studied in Lesson34 into four-bar compositeswhich allow

us to shift suddenly from one rhythm to another or introduce a rest value

without disturbing the foot beat Fig. 1 is a possible four-bar composite

for a slow tune:

Fig. 1.

n r In

A

I

This compositereads as follows:

Thefirst line will apply to the first bar of a tune;

Thesecond line to the second bar;

The third line

to

the third bar;

The

fourth line

to

the fourth bar.

Then we start over again:

The first line to the fifth bar;

The second line to the sixthbar; and so on until the end of the tune.

DRILL: Write or play a line on the chords of Fig. 1 using eighth note.

eighth-note triplets and sixteenth note rhythms. Keepan

unin

70 terrupted quarter-note foot beat when playing.

71


38/113

\ II

Fig.2

is

a bassline£or Got

It

Bad. in G.

Fig. 2-

4 _ _ __

I II

I

III VI

IIIx

VP

I

IVo IV4> III n,

I

bVIIx VIx bVIx V

I

4

1+6 tIo

I

II bIh

II

II / III VI

I

I1x VI3

IIVo

IV4>

I

II

n,

I

bVlIx vIx bVIx V

I

F6 VI bVi

I

Vm bV / IV+6

I

IV+6

I

IVm+

6

I

4

bVIIx

I

I IV

I

III bIIIx / II

I VSl I

I II / III VI

I

I1x VP /

IVo tIV4>

I

II

n, I bVIIx

Vix bvlx

V

/1+

6

I

1+

6

I

I GOT IT BADAND THAT AlNT GOOD-by Paul Francis Webster and

Duke Ellington

e 1941,renewed 1960 Robbins Music Corporanon. All rights administered by CBS

Songll\ a Division, ofCBS, Inc. All rights reserved.

Used

oy penmssron,

we apply our composite to the arpeggios of Fig.

2,

we derive the

IoDowing

rill

.......

II

I

.,


39/113

1\

u

•

.

.-..-.

.v

Iiiil

=

1 =

l:l J

DRILL: Transfer themelody

to

manuscript paperusing threestaves: one

for melody; one for the student's improvisation; one for the bass

line. Using Fig. 3 as a model, the student should write out, if

necessary.an improvisation using the composite and the ar-

peggiosof the bass line in

Fig.

2.

LESSON 40.

Fag.2.

Fig. 1.

I tIa / II V / III bIlla I II V I Vm Ix I IV bVIIx I Illx VIx Ilx V I

1+

11

#1

I

I #10

I

II V / III bIlla / II V / Vm Ix

I

IV Vllx

I

IIIx VIx I1x V / 1+

6

bVIlx / YI+6 bYVilx / I1Ix Vix / IIx V I

I bVIlx / Vj+6 bYvtr, / IIIx VIx /IIx V / III blIIx II Hix /

I #10/ II V III bIlla V Vm Ix / IV VIIx / Illx Vlx I1x V

1

6

1/

YOUTOOK ADVANTAGE OF ME-Lyrics by Lorenz Hart, Music by Richard Rodgers

© 1928 (renewed) Warner Bros. Inc. All rights reserved.

Used by permission.

If we apply the compositeto the

arpeggios

of Fig. 1. we derive the

followingdrill.

RhythmicComposite(up-tempo)

In the

quicker

tempos in jazz.

the

composite usually becomes more

simple in order to avoid a cluttered sound and to insure a strong pulse.

J

.

I

•

74

The fonowing

is

a possible up-tempo composite:

rri-.

rrn

j> n

Fig.

is

a bassline for You TookAdvantageof Me, in Eb.

\ •

.

J....L I I

-

•

J

\ •

.

.....

I

l.v

.....

•

75


40/113

.

--I

tJ

,

•

11

.

l ...

•

.

I

-

,

-

·

. -

.

,

-

.

,

.

·

-

.

...

IlJ

-

·

I

_

I

.

-

....

I

--

lJ

·

,

_ f

_.

....

-

76

.

.

......

-

-

.,

I

-

....,

•

-

•

I

f

.....

-

As in

Lesson

39.the student shouldthoroughlyanalyzethe

useof

rest

valuesand arpeggios

in

Fig. 2. Simply

to

play over

these

specimens

s

of

little value. When playing these examples,try

to

keep a steady quarter-

note foot beat. Aboveall,

do

not use any

pedal

DRILL: Transfer

the

melodytomanuscript

paper

using

three

staves:one

formelody;one for the student simprovisation;and onefor the

bass

ine. UsingFig.2 as a model,the student shouldwrite out•

if

necessary.

an improvisation

on the bass

line

in

Fig.

L

77


41/113

SECTION VI

LESSON

41.

Modes

If

we play the scale-tone chords in C and play the C major scale from

root to root of each chord Fig. 1), we are playing the various modes of

the scale of C. A mode is a displtu ed

s lepl yed

from rootto Toot

of

the chorc

These modes built on the twelve major scales represent one of the

most important elements of jazz improvisation. They are highly effective

in building a hortsontal blowing line so long as the harmonic line moves

in the normal scale-tone chords without alteration or chromatic adjust-

menl Since

the previous lessons have made it evident that even

the

simplest tune utilizes altered and chromatic chords.

this

simple modal

systemmust be expanded to meet the requirements of a sixtychord system.

The next six lessons will deal with this problem. In preparation for these

chapters, the student is strongly advised to play the scale-tone chords

in

twelve keys with accompanying modes in the right

hand

as in Figs. S

and


42/113

Fig. 5 is

a

bass line for

Speak

lDw, in F. Transfer the melody

to

manuscript paper noting

key

changes.

On

the lettered scale-tone chords,

abandon the melody and play the required

mode of

the prevailing key

scale. Letters over each chord indicate the mode to be played with

each

chord.

Thefollowingchart illustrates the

symbolkey

for each mode:

Ionian -10 Mixolydian - M

Dorian -

D Aeolian - A

Phrygian- P Locrian - LO

Lydian-LY

LESSON

42.

The

Major

Scale

Ionian

Lydian

1 • 1

4 • 4

I

IV

The major chord

in

any key appears on I

and

IV.

CHOBD DISPLACEMENT MODE

In

determining which of these two modes

to

choose, the deciding

factor must

be

the relative strength

of

these two major positions

in

diatonic

harmony. On the basis of this, there can be no doubt of the overwhelming

feeling of I when hearing a major chord. For

this

reason,

the

major

chord

takes

the

Ionian mode (1 • 1) except

in

cases where the

bass

ine gives a

strong feeling of IV, e.g. I

n /

III IV / V I

I see

Fig, 1).

orF MofF DofF MorF DofF MofF seenote

II

II

I

V

I

II

I

V

I

II

I

V

I

Vm

I

Ix

II

Fig. 5.

(F)

DofAb MorAl> DofAb MorAD PofF AofF DofF MofF 10ofF

(Ab) II

I

V

I

II

I

V

II

(F) III VI

I

II V

I

1+

6

I

(F)

Don' MorF DofF MofF DorF MofF

10 I II I V I II I V I II I V I Vm / Ix II

DofF MorF DorF MorF DofF MofF

(F) II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I

D

of

Eb 0

of

Eit

see ote

10ofEb

10of

Eb

see note

M

of F

(Eb)

II / II / bVIIx / bVIIx I I f I 1 (F) bVIx I V /

DofAb MofA. DofAb MofAb PofF AofF DofFMofF 100fF loofF

(Ab)

II

I

V

I

II

I V II

(F) III

VI I

II

V I )+6 I )+6 II

SPEAK LOW-bv KurtWeill andOgden Nash

Q 1943 by Chappell Co., Inc. Q renewed, assigned to Chappell Co., Inc. and

Hampshire House Publishing Corp,

International copyright

secured.

All

rights

reserved.

Used

by

permission.

Fig.

1.

i

•

•

•

•

•

i

i

I

U

m

LydJan

7

•

;

I

•

•

•

•

•

•

•

..

IV

V

1

PofF AorF DofF

noll 10

ofF 10ofF

1I7

III / VI

I

II

I

V1I5

I

1+

6

I

1'6

II

F)

NOTE:

Chords such as

II,

V or I are considered

primary

furu:tionssince they

belong

to the

key;

chords such as Vm or

Ix

are considered

8eC0nd4ry

junctWm since the root remains in the original key but the third, fifth

or seventh have

been

altered; finally, chords such as bVIIxor bVIxare

considered

tertiary

junctions since not only has the chord been

al-

tered but

also

chromatically raised or lowered from the original key.

Here the use of the Ionian mode

of

the

scaleof

F on the IV chord

would destroy the feeling of C major running through the entire

bass

line

and the Lydian mode (4 • 4) should

be

used. Except

in

cases

of this

sort,

the Ionian mode

is

employed on

all

major chords.

80

=7

NOTE:

y;:s

is

ctually a major-augmented seventh chord; the symbol would

read

VM.

81


43/113

Fig. 2 illustrates the twelve major chords with accompanying Ionian

modes, to

be

played both ascending and descending.

Fig.

2.

Fig. 3.

Eb)

(Eb)

Eb)

Au)

(Eb)

(Eb)

1+' VI I II b1Ix I 1+' VI I hVllx I II val I

1+' 1 I 1+'

VI

I

II bUx

I 1+'

VI

I

b

Vlli

/

II

VII /

1+-

I

(G) II IVo

I

ill

bIlli / II

pili /

I

I

II IVo

I ill

bIlIx

I

II

b

Ix

I

I

b

VIx

I

1+' VI I II

hili /

1+' VI I

bVIh

I II V I

II I I

1+' VI

I bV+ili hili /

I

/I

eM

DM

MOONLIGHT IN John Blackburn and Karl Suessdorf

C>1944-1945 Michael H. Coldsen, Inc. C>renewed 1972.

Used.by perrnission.

I

r

l'

LESSON

43.

The Dominant

Scale

EM

Thedominantchordin anykeyappearsonVonly.

CHORD

V

5 • 5

MODE

Mixolydian

Sincethe dominantchord only occursat

the

positionof V, there can

be

no doubt concerningthe accompanyingmode.

The

dominant always

takes the Mixolydianmode.

Dominantchordsonother than V II , bVh, etc.) are considereda

temIJOraryV of someother

key.

Thus. in

the key

of

c:

RULE:

The

ma/Of

chord is a

I or

the temporary

1

of a new

key

and

takes

the 8C k

of that

key

from root

to

root

83

CHORD

SPELUNG

SeALS

OR

KEY

DISPLACEMENT

Ix

TemporaryV

F

C·c

ili

TemporaI)'V

G

D-D

IIIx

TemporaryV

A

E-E

IVx

TemporaI)'

V

Bb

F-F

V

NaturalV

C

G·G

VIx

TemporaI)'V

D

A-A

Vili

TemporaryV

E

B-B

bIh

TemporaryV

Cb

Db - Db

In jazz harmony, these temporary dominants seldom resolve to their

natural majors [i.e., in

the

key

of C-I1I

bIlIx

II

bIIx I is a normal

pattern; the bUIx (Ebx) does not go to AbM, the bIlx (Dbx) does not go

to GbMJ. However, at the moment they are played, they imply the V of

a new key.

BM

Fig. 3 is

a bass line for Moonlightin Vermont. Transfer themelody

to manuscriptpaper fonowingthe key signaturesindicatedby the letters.

Abandonthemelodyand play the appropriatemode on each majorchord.

Major+-chords

follow

the same rule

as

normalmajorchords.

'II

82


44/113

Fig. 1.

Fig. 1 illustrates the twelve dominant chords with accompanying

Mixolydian modes, to

be

played both ascending and descending.

Fig. 2 is a bass line for It Could Happen to You in G major.

Transfer the melody to manuscript paper; abandon the melody and play

dominant scales on all dominant chords as indicated in Symbolkey. (X

1l3

also employs the normal dominant scale.)

Cx (VolF)

Ebx(VolA')

Dh(VofG')

Ex (VolA)

Dx{VofG)

Fx

(Vomp)

Fig. 2.

MofA

M ofB

1VIx / II

/ bV4>/ VIIx

IlII

bfllx

II 11

M ofB,

MofA

M , f8b

(G)

bVIIx / VIx / II

II

2

VIIm / bVIIx Vp1l7 VIlt7

M nfC

, fA

(G)

VI

bIllo

II

III

IV V

I

III4,l Vix

II

MofB MofEb MofBI> MolA

G) bV4,l VIIK / III bllIx / II II

2

/

bVIIx

Vix

II III

MofBb MofF MorA MofG

G)

IVb3

bVIIK

I IVx

III4,l VIx

II III

IVm V

(G) 1+

6

/

1+

6

1

IT COULDRAPPENTOYOU- by JohnnyBurkeand JimmyVanHeusen

© 1944FamousMusic

Corp..

NewYork,N.Y.

LESSON

44.

The Minor Scale

The

minorchordn

any key appearson II. III

and

VI.

F#x(vom)

Ox

(VofC)

-

Abx VoIDP)

CHOJID

II

ill

VI

1>IsPLAmmNT

2 • 2

3 • 3

6 • 6

MODE

Dorian

Phrygian

Aeolian

RULE:

The dominantchordisa V or

the tempor ry

V of a newkeyand

takesthe

sc le

of

that

key

from

root to

root

Bx (VolE)

84

I

-

Ax

VoID)

,++ .

l

-.,..

In a chord series

with

a strong

key

feeling.

I· VI - II· V - I Fig. 1)

or

II - ill. IV - V - VI - II- V -I Fig. 2)

the three modes are used in their respective positions. There is never a

question concerning

the

II chord since it belongs to a primary function

of any key- II - V - lorn - bIIx• L Therefore.n

always takes

the

Dorian

mode 2 - 2).

85


45/113

-

-

Aeolianof C

VJ

-

ixolydian of C

:a:

v

..

III and VI on the other hand, can easily

be

dislodged from a key

center and therefore must be treated with more care. In such cases, III

or VI become temporary II's of a new key and take the Dorian mode of

that key.

Fig. 3 illustrates examples ofIII orVI becoming the temporary II of

a

new key.

Fig.3.

-

-

..

,-

Ionian of C

Lydian ofC

Mixolydian

of

E

Dorian of D

(temporary

II)

...

:

.a.

I

r

I

IV

VIIx

m

-

-

Dorian ofEb

Mixolydian

of

Eb Dorian of D Mixolydian of D Dorian of G

(temporary

II)

(temporary

II)

86

I

n

Aeolian ole

I

VI

I

m

.. -

Dorian of

e

I

n

-

ydian of C

:

IV

..

Mixolydian of

e

'it:

v

-

Mixolydian

of

e

it

v

I

I

IVm

VlIx

m

Vb:

VI

All

other

minor chords (IVm. VIIm,

hlII)

are also treated as a

tem-

poraryII of a new key. Thus, in the key of C:

SCALE

CHoRD

SPELLING

ORKEY

DISPLACEMENT

Im

Temporary II

Bb e-c

II

Natural II

C

D-D

III

Natural III

C

E-E

III-when

key

center

Temporary II

D

E-E

is

weakened

IVm

Temporary II

F-F

Vm

Temporary II

F

G-G

VI

Natural VI

C

A-A

VI-when keycenter

Temporary II

G

A-A

is weakened

VUm

Temporary II

A B-B

bIll

Temporary II

Db Eb· Eb

b

II

Temporary II

B

C -

C

87


46/113

Except III and VI which usually take the Phrygian and Aeolianmodes.

respectively, all minor chords take the Dorianmode(2 - .2).

Where there

is

a strong diatonic feeling of the prevailing key, as in

Fig. I and Fig. 2, the III chord takes the Phrygian mode and the VI

chord takes the Aeolian mode.

When the prevailing key feeling is dislodged, as in Fig. 3, the III

becomes a II of a new key and so also with the VI chord.

In jazz

harmony, temporary

U

chords

of

other keys sometimes re-

solve to their natural dominants (V),but regardless oftheir resolution, at

the moment they

are

played, they imply the

II

of

a

new key.

Actually the responsibility should rest with

the

student in deciding

the particular «status of the III or VI chord. The following rule, how-

ever, is a general guide to the use of the minor scale:

F m (lIofE)

-

Gm (DofF)

-

G m (Dorfi >

-

Fig. 5 is

a

bass line for «Little Girl Blue in the key of F. Transfer

the melody to manuscript paper; abandon the melody and play minor

scales on all minor chords. The letters appearing over these chords indi-

cate the signature to be played from root to root of the

chord.

For

exam-

ple: in bar I, the F over VI means play the F scale from D to D; in bar4,

the Bb over Vm means play the Bb scale from C to C.

RULE: The minor chord is a II

or

the temporary II of a new key and

takes the scaleof that keyfrom root to

root.

The exceptionsare

III and VI which nornudly take the Phrygian and Aeolian

modes respectively when precededby primaryfunctions. If

preceded by secondaru or tertiary functions both the III and

VI c wrdsbecame temporaryII chordsof another

key.

Am (fiofG)

Bbm

(Dof.M)

Bm (DotA)

Fig.

4

illustrates the twelve minor chords with their accompanying

Dorian modes, to be played ascending and descending,

Fig. 5

bIb /

p6

i:;I /-f+6

D D

VUm IIIx / VUm

F

II blIx 1+

6

/ 1+

6

oi

VP bIllo

Fe F F

lIS

III II

F

III IV /

F F F Ab

1+6 VI/II bIIx / 1+

6

VI / Vm bV / IV IV+6 / IVm bVIIx /

c F F. Fe F F 6 b /

IIIX1l5 VI/I IJI IY :aY4>V sv / lIS III II bIll( / 1+ IlIo

F F F F Bo IV+6 /

II

bUM

1+

6

VI

II

bIIx / JTe VI / Vm

bY /

IV

bVIIx / IIIx

1l5

-SI / II IIr IV+6 i:+IVI/>/ V bV

F F F

V bV / V II bIIx / I II /

c

bVIIx / VI VI/> bVq, IVo

Dm (DotC)

m (DotS)

m (DotBD)

88

Ebm (UoIDb) Em (fiofO) Fm (fiofEb)

UTILE GIRL

BLUE-by

Richard Rodgers and Lorenz Hart

e

1935T.S·. Hanns Co. C;.renewed

%

The Welk

MUSIC

Group.

International oopyright secured.

All

rights reserved.

Used by permission.

*NOTE:

The prevailing key (F) has been reinstated despite

the

preceding

sec

ondary

function

in

order to prepare for the final closing.

89

LESSON 45.

RULE: TM

Iuilf diminkhed

hord is

4

VII or

the t6mporaty

va

of

1


47/113

The

Half-diminisbed

Scale

ThehaIf-diminished

chord

in

any

key

appears On

VII

only.

new

lcegmd takBa

he

.aUe

of that keyfrom

rootto

root.

QroM

VII

DISPLACEMENT

7 - 7

MODE

Locrian

DfS

VUofEb

Since the half-diminishedhord occurs only at the position of VII,

there can be no doubt concerning the accompanyingmode. The

half-

diminishedchord

always

takes

the

Locrian

mode

(7 - 7).

Half-diminished

chordsOnother

than VII (III.V,

tc.) are COn-

sidered

a

temporaryVU

of someother

key.

Thus, in the

key of

C:

ScALE:

CHoM

SPELLING

ORK EY

DISPLACEMENT

14>

Temporary

VII

Db

c-c

II.p

TemporaryVII

Eb

D-D

III4>

Temporary

VII

F

E-E

IV4>

TemporaryVII

b

F-F

V4>

Temporary

VII

Ab

G-G

VI

Temporary

VII

Bb

A-A

VII

Natural

VII

C

B-B

bIlI.p

Temporary VII

E

D -

D

D Ell WofF

90

In jazz harmony, the temporary half-diminished chord seldom, if

ever, reaches its natural resolution, but at the moment it is played it

implies the VII of a new key. Fig. I illustrates the twelve half-dimin-

ished chords with accompanying Locrian modes, to be played ascending

and descending.

Ff,sVUofG

VUofAP

Gf,s VnofA

A

I

»_

,._B.

-

-

....

-

,

All VUofBP VUofB

a,s

VDofC

91

Fig. 2 is a bass line for Don' t Blame Me. Transfer the melody to


48/113

LESSON

46,

Fig.

2.

Don't Blame Me.

93

2 1 2 3 1 23 4

o

2 123 12123

B'o

Thisis an artificialscalesince the same letter, In any form (Ab • A),

C3Jlllolappear twice In

an authentic

scale,

1 2 3 1 2 31 2 3 2 31 2 31 2 3 41 2 31 2 31 2 3

12 12 312 34

Fig. 2 illustrates the twelve dimin ished chords with accompanying

,. l


49/113

I

- ... .,

•

.no

o

bo

tI.

lei

.......

1 ;

V •

3 1

2 3

1 2 3

I L-e-

·

Fig. 3 is a bass line for Birth

of

the Blues. Transfer the melody

to

manuscript paper. Abandon

the

melody and play diminished

scales

on

aU

diminished

chords.

Fig. 8.

pl

modes. Suggested finger-

ings have been added to the diminished seales since they represent an

unfamiliar series of whole and half steps.

The SixtyScales

94

I L h_


50/113

Bbx

Abm

Go

)1 1

I

Ilta

23123123

I

GM

1ft:

121231234

Gbx

fJ.

u

11 __

,

.-

. ..,

Am

I

11-

It....

,

_lJ a

t

I

I

·

Ao

BbM

fJ.

t

...b-

l _b.-

l..-b.-

..,

I

·

AbM

Abx

£LIf.

JJ

M.-_

-

II

t

•

·

ff

G

Abo

.

•

I

2 3 1

.2,3,1

112

3

.

-

..,

I

•

1..

1Jzft:

·

Gm G

Fo

Fx

EM

3 1

F4>

FM

Em

Ebo

.2

1

..

Fm

Eo

Ex

11

.2

.2 3 1 .2

,

l....

i

TIl

1 T

TIl

I I

11

:D:

h.1dl:

.

\

,

,

1 .2

3 4

1

.2

3 4 5

,

I I

LIi

I\,t.li

ILl?eo-

.

'I

T

I I Tl

I I

I I I I I

I I I I r 11 I

II

I

-p

dt:

.a-

kA-

.

•

I I

I I I

I -, -,

iT

2

1 .2 3 1

.2 3

4

I

II

T

T

I

I

1 1

•

1

.

F o

GbM

96

97

Fig. 3.

.b.ba.

2 123121 2b

3

l

I

LI 11 _ ...

i1.j11.


51/113

Bbo

f o

bm

l

•

I .t

1.1

•

L1 .....

-f -

u , 1 .. ...fIL

41

IJ.

-

..

Fig. 4.

Fig. 7.

(Fig.

5

(Fig. 6)

(Fig. 7)

dominant scale

whole tone scale

whole tone scale

Fig. 6.

DOMINANT CHORD:

Xl

x

x

bl

Fig.

5.

Bx Bm

121231234

BM

1\ _ ... .fI

11 ...

it

t)

I.

LESSON

48.

Bo

99

Fig. 11.

(Fig. 8

(Fig. 9

(Fig. 10

minor scale

minor scale with 7

minor scale

Fig. 10.

MINOR CHORD:

m

U T

mlf

m+'

RULE: In inversions. the scale is the same as in root position except

that it

is

playedfrom the bottom note of the inversion Fig.11 .

Fig. 9.

(Fig. 2)

(Fig. 3)

(Fig. 4)

major scale with 5

major scale with b5

major scale with 5

Scale

and

Arpeggio Alteration

The

followingrule describes the use of

scales in

altered chords:

MAIOR CHORD:

MS

Mb

S

lIS

MS

Fig. 2.

The arpeggio of an altered chord simply follows the alteration.

Fig. 1. t

..

I •

...

98

To avoid this,

in

Fig. 2, the fourth step

is

removedand the tone

row

Fig. 12 is a bass line for Like Someone in Love in the key of C.


52/113

1235 Is used (12 S 5

is

alwayscounted fromthe root of the chord).

Transfer the melody

to

manuscript paper. Abandon the melody and

play

appropriate scales for the inversions. Letters over Roman numerals indi-

cate the signature to

be

played from root to root (root position) or bass

c

note to bass note (inversion). Thus in bar I, 1

2

indicates the scale of C

C4

from B to B; in bar 3, VIP indicates the scale of C from F to F.

Fig.

2.

I

VI

II

v

v

Ixm

Fig.

3

illustratesthe scalefragmentson

5 4

31

(reverse

of

1 2 S 5).

Fig. S.

Fig.

5

illustrates the scalefragmentson

7 6 5 S.

Fig. 50

Fig. .( illustratesthe scalefragmentson

3 4 5 7.

Fig. 4.

F

bIIx

I VI / Vm bV / IV+· IV.

bV (C)

IIx

lIo / III

bIIIx /

II b

1Ix

/

(A) II. VIla I

(C) 1+' 1+'

Ell-

(C) II lI


53/113

.It

-1

«J

-

-

1

-

,

;

RE\'ERSE

543 1

765 3

2 1 1 5

ished).

Fig. 1.

lIS V1o(

18'15) no(18'15) V

All

of these fragments are of the utmost importance

in

using scale

lines; theability to pick up any scale fragment for any chord is an absolute

prerequisite for improvising facility.

Fig.

9.

FRAGMENTCHART

FRAGMENT

1 235

3 457

5 6 7 2

102

Inversions take the scale ofthe root position chord from bass note to

bass

note of the inversion. See below.

ii\O

»Ie

VIlm

VIlm2

Dorian L di

Aeolian

Ionian

fAY tan

o of A

of A

of A

VIlm

Dorian of A

Fig. 8 is a bass line for Blue Moon, in the key of E. Transfer the

melody

to

manuscript paper noting key changes, using three staves as in

previous lessons. Playor write out a line using eighth-note scale fragments

of the

chords.

Fig.8.

E)

bili //

I VI/II bIIx

I VI

II

IIp

III VI

(E)

II V

S I / 1+ 8 bIlla / II

bIIx / I VI/II bIIx /

(E) I VI / II II.p / III VI / II

VII /

1+

8

1

I VI /

(E) II bIIx / 1+' VI/II bIIx / 1+' VI

(G) II bIb /

(G) I VI / (E) VIIm III VI I1x:/ II

hili /

I VI / II

hili

(E) I VI / II I1.p I III VI/II V

I

I / I

H /

I +

BLUE MOON-by Lorenz Hart and Richard Rodgers

101934, renewed 1962Metro-Coldwyn-Mayer Inc. All rights administered and con-

trolled by Robbins Music, a ca ta logue of CBS Songs , a Divis ion ofCBS, Inc. All

rights reserved.

Used by permission.

,,,JJ

-

-

«J

-

-

Phrygian

Aeolian

.. ,It

-

-

II.

...

-

«J

--.....

-

-

.,

:

,,It

•

•

1....1.

.1

e}

-

-

-

..

-

:

Ii

-

-

e}

-

-

-

-

hrygian

.

103

-

- -

-

..

I

•

•

.

LESSON 50.


54/113

tI

-

-

1

:

II.. il-

I

-

r-

I

L

..

.,

I

-

-

-

-

<

A ..

.1

-

-

.. It

. I

I I r--r

eJ

-

-

--

-

Aeolian

1tJJ. it

I

•

.. , tt

..

-

-

-

-

-

---

....

.

Eighth-note Triplet Scale Fragments

Fig.

1

is a bassline for

fiCabin

in the Sky, in the

key of

G. The

eighth-note triplet line should

be

considered here. This means three notes

to a heat or six notes to each half-note chord. Transfer the melody to

manuscript paper using three staves. Note

key

change. Write out or play

a line using eighth-note triplet

scale

fragments on the bass line in Fig. 1

with a quarter-note footbeat.

Fig. L

G) I

II

II

IIo

I

III

I

h

IIh

/

IIuf

IIs'

/

(G)

II

IVo / III

hUh

I

II hIh

/ I 1+

I

II

110 /

(G)

IIII

bIIIx

I II

U , s /

II

bili /

1+·

1/

I

+.

IV /

(G) VItm bVIh I VI+' bV ,/ (E) II bIlx I I I (G) VIIS1 VIs

1

I

(G) VI Ih I V IV I III II I I 1+I II llo I III/

(G) bUh I

UUf

n« I II bIlx I 1+' / 1+'

CABIN IN THE SKY-by John

Latouche

and Vernon Duke

C 1940, renewed 1968Miller Music Corp. All rights administered by CBS Songs, a

Division of CBS, Inc . All

rights

reserved .

Used by permission,

Fig. 2 illustratesa

drill

using scale fragmentsin eighth-note triplets.

-

-

-

t II I

•

-

I I

-

Phrygian

..

-.

104

-

-

-

.

JJ

..

-

-

-

-

-

:

DRILL: Explore the various

scale

fragments on the bassline in Fig. 8.

Keep a steady quarter-note

foot

beat.

-

105

..


55/113

..

4V _

iJ

.

I •

brygian

.... .f/L ....

•

..

f L

ydian

..

Phrygian

I. ..

..

I L • b... 1 _ I

I

•

I

.

_

Lydian

106 107

..

-


56/113

-

Dorian

-

eolian

-

..

-

-

...

LESSONSl.

Sixteenth-noteScaleFragments

Fig.

1

is

a bass

line

lor Dancingon the Ceiling. in the

key

of F.

Transfer

the

melodyto manuscriptpaper usingthree staves.

-

• l

J

I

.Ii

l •

.f •

- - --

hryglan

.. I I

..

.b. .1 t

• 1

I

-

-

-

l

J •

-

DAl'\CING ON THE CEILH\'G-Lyrics by Lorenz Hart, Music by Richard Rodgers

() 1930(renewed) Warner Bros. Inc. All

rights

reserved.

Used

by

permissicn,

•

III

bIIIx II blIx /

I

.

1 / I

II /

VI' IIIx -

IV+'

VIIx J

III pUI

II

lVo / III

b1IIx II bIIx

I +- VI

II

III

IV+'

bVlIx /

I

II /-

III VI

bW,

•

I

U

VI' IIIx IV+' VlIx

III

b U

II IVo

Fig. 1.

•

IV -IVm

III

bIIIx/

U bIIx / I

II /

VI'

IIIx

IV .VIIx /

UI

bIIIx / DU'

II=' /

II bUx 1+' 1+0

Fig.2 illustratesa drill usingscalefragmentsin sixteenthnotes.Since

a hall-notechordpermitsthe use of eightsixteenthnotesin the righthand,

it is possibleto play the entire scale.

1\ ....

LydIan

-

orian --

•

f

-

108

DRILL: Writeor

playa

sixteenth-note

scale

line on the chords

in

Fig.

1.

keepinga steadyquarter-noteloot beat

109


57/113

Phrygian

L

\ .

h

..

-

-

Lydian

Dorian

.

I

. • __ ...... .... .....

.. .. .fl.....

I ltI

Lydian

.

.

..

....

.

...

, t J

Phrygian

..

Aeolian

.

...

-

-

-

I

-

onian

-

LESSON 52.

II

110

I I

-

-

-

Rhythmic Combinations

As

in

Lesson 38, when treating arpeggios, we will now proceed

to

combine the rhythm values using the scales as a framework.

Fig. I a

bass

line for Round Midnight, in the

key

of E

p

minor.

Transfer the melody to manuscript paper using three staves and noting

key changes.

1Il

Fig. I

(Cb) VI Viz / bVo ViI bVIIx / VI

Ilx /

IVm bVllx

IiI

Vix /

-


58/113

(Cb) II V / I Ilx

s

/ bV¢ VIIx / IIIx bVIIx / VI VIz /

(Cb) bVo

vn

bvIIx / VI IIx / rVm bVIIx III vIx / II V / I IIxb5

(Eb)

VI

lix

V

l 3

blIx

/1+

6

/

VI¢; IIx / V

bflx /

VI¢; IIx / V Ix

(Cb) II

11 vn

IiIx / bV¢; VIIx IiI

vix

Ii

V

1m

IVx

(Cb) bvilm bIlIx VII bVIIx vi vii / bVa vII bvIlx VI

I1x

(Cb) IVm

svn,

III VIx

II V

I IIxb5

(Eb)

«

Iix V:: bIrx /

II

I •

-

.

...

;

.

-

-

(Eb)

1+

6

ROUND MIDNIGHT-Lyrics by Bernie Hanighen, Music by Cootie Williams and

Thelonious Monk

C 1944

renewed)

Warner Bros.Inc. All rights

reserved

Used by permisslon.

/

/ / /

Fig. 2 illustrates

a drill

employing eighth-note, eighth-note triplet and

sixteenth-note

values.

II I •

Fig. 2-

AI

IlV -

-

-

-

-

IllV

/

/ / /

/ /

/

/

A

I

..... ...

- ...

..........

AI

/

/

l. l. .

/

/

..

112

A

I.

I..

... ...

-

• IL

A , 1 •

/

/ /

---z-- 3

/

...

113


59/113

A

-

-

.

ig. 2 is a bass line

for

Have

You

Met Miss Jones?

in

the

key

of

F. Transfer the

melody

to manuscript paper using three staves.

Note

t


60/113

ey changes.

-

-

Fig. 2.

(F) I / 10 / II / IVa / III VI / IIx a II bUx / I . 10/

11

• 11

-

(F) II / IVa W VI / IIx' II V (Bb) II bili I VI

(Cb) II

b

lIx

I VI / (D) II x I VI (Cb) n

b

Iu

eI

'f'

r

(F)

IT

bUx/

1/ . 10 II / V /

bVm

bWo / II bIu /1+

1/1+'

HAVEYOU MET MISSJONES-by Richard Rodgers and Lorenz Hart

Ii:) 1937

by

Chappell

& Co .•

Inc. (') renewed.


Used by permission,

A

I

,

e I' I

..,

-

Fig. 3 isa drill applying the scaIesf the bass line in Fig. 2 to the com-

posite

in

Fig. 1.

Ineach

case the required mode

has

been followed,although

the starting point of each phrase has not

necessarily

beenthe root of the

chord.

Each

note of the mode becomespossible starting or ending point.

Using Fig. 3 as a model,

playor

write

out

an

improvisation

using the

composite and the scales of the bass line

m

Fig. 2.

11

l

..

11

. I •

'I' • I .

..,

-

- ..;:; j ,.o,,;;;I

:

-

Fig. S.

-v-

116

...

..

-

1

-

.

-

A

I

-

-

.....

...

117

I •

..-

. ..

.

_3

•

....


61/113

itJ

.,

:I

- -.r::::i-

-.r

,,-

t

AJ

_ .... I. I •

e:

...

-itJ

-

LESSON 54.

Rhythmic Composite (up-tempo)

I •

-I'- .....

,

As

in

the arpeggiostudy,

the

composite

is

simplified

in

up-tempo

tI

;::::-.-

J

tunes to insurea strongerfeelingof swing. Fig. 1

is

a possiblecomposite

3-

for an up-tempo tune.

Fig. 1.

t

..

I

I

L.l-

..

: ;. ........

•

-itJ

-

3

-

I

.

1I8

n

rnri ,

j)

Fig.

2.is

a bassline for Lullaby

of

Birdland, in the key of B. Trans-

fer the melodyto manuscriptpaper using three staves

Fig.

2-

VI+8 b

V

,

I VIIx. nIx. I

VIS'

VI I u

lVo /

ill

VI

I

II V /

I IV /

vn

llb:

I

VI+8 bV VIIx llb:

I

VI S r VI / II IVo

I

UI VI/II V / I bIIxI 1+

8

/ III.,. b

llh

I

II / II

bIIx. I

I / IIIop bIIIx I II blli I I IV VII Illi I VI+

8

b

V

I

VIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+

8

LULLABY OF BIRDLAND-by George David Weiss and George Shearing

© 1944-1945 Michael H. Coldsen, Inc. © renewed lIJ72.

Used by pennission.

119

Fig. 3 is

a drill

based on Figs. 1 and 2. Thestudent

will

notice the ex-

tensive use

of

rest valuesin Fig. 1. Silence also

swings.

The

beginner

will

L ot


62/113

Fig. 8.

tend to play too ny notes but should strive for the punctuation that

characterizes a good line.

.

0

-

-

I

,.

120

-

t

..

,.

- 3

-

.

121

3

-

-

SECTION VII


63/113

..

-,...

..

LESSON 55.

TheChromatic Tones

In the previouschapters we have studied the following

elements

of

the twelve tones in the octave:

1. Arpeggio-

four tones of the

octave

2. Scale- seven tones of the octave except diminished

1._

k.

...

I

CI

;J

_.

r

I

..

T

Now we must consider the remaining fivetones of the M.

So

m

and

4>scalesand the remainingfour tones of the diminished

scale.

Fig. 1 illustratesthe fivequalities on C with

the

accompanyingscales.

I L

Fig. 1.

i\

iJo

•

..

CI

:

l

122

T

J - .......

-

-

CM.

ex

Cm

A

I

• .r

...

r

.......

I _

Co

123

The following table indicates the omitted tones

in

each scale:

CM: Db- Eb- Gb - Ab - Bb

Cx: Db- Eb - Cb - Ab • B

Cm: Db- E - Cb-

b-

B

Fig. 2.

4

(G) VI / II bIIx I II m bIDo II VP II bIh

(G) I VIIx

bVlIx VIx

VI

bIIx II m bIllo

4


64/113

C+: D - E • C • A • B

Co:

Db- E - G - Bb

It

is

a

good

rule

in jazz

improvisation to avoid more than

four

con-

secutive chromatic tones. The chromatic scale involves all twelve tones

and therefore cannot infer any specific chord.

One of the most effective ways of utilizing the chromatic tones is as

follows.

1.

Treat the root, third, fifth, seventh and ninth as principal tones.

2. In

approaching a chord, choose one of the principal tones as a target

note.

3.

Pass through the chromatic tones

a

minor second each side of the

target note, then into the target note.

(G)

II

VII / II

bllx:

/1+' 1 / 1+- VI

II IVo

III bUh /

(C) II

bIIx

I 1+

4

(A) II IVo / III VI II bIIx

(G) II II.

VII bVlIx

r

VI

IIxb '

II

blli:/

I II / III

bIDo /

•

(G) II VI* II

bIlx /

1+- / 1+-

J COVER THE WATERFRONT-Lynes by Edward Heyman, Music by Johnny Green

It 1933(renewed) Warner Bros. Inc. All

rights

reserved,

Used by permisston.

Fig.

3

illustrates the

use

of chromatic tones

in

a

scale-arpeggiodnll

with no particular rhythmic pattern. Using

this figure

as a model,

write

or

play an improvised line on the chords of Fig. 2 using chromatic elements.

124

Fig.S-

CHORD

AIJ

PRINCIPAL

CHROMATIC

TONES

TONES

tI

-

-

I

D

C -Eb

F

E -Gb

A

G -Bb

C

B -Db

E

D -F

l.

V

G

F -Ab

tI

ii

-I .

-

A -C

D

C -Eb

F

E -Gb

A

G -Bb

I

C

B -Db

_

E

D -F

II . .

•

...

I

l.

G

F -Ab

tI

r

B

A -C

- -

3

-

-

q;-Eb

tones may move in either direction before resolving to the

pnnctpal

tone although modern idioms prefer the descending form:

Eb-C into D

Db-

B into C

AIJ .1.

.. I

-

b-E

into F

F -D into E

Bb-C into

A

tI

-

-

Fig. 2

is

a bass line for I Cover the Waterfront,

in

the key of G.

Transfer the melody to manuscript paper using three staves and noting

key changes.

125

Ll

3

3

Moft

L

•

CJ

f


65/113

----

II

. ...-.1.

l

IIJ

L

a...

Ll

3-

CJ

3

I

- 4

..

/

/

/

/

.

-

-

fl

I

LESSON 56.

.,

..

..


66/113

The Sensitive Tones

See

Fig, 2.

We have now studied sufficientjazz material to understand the basic

tonal principles

of

the art form.

Jazz

employs

a sixty

chord harmonic system over which

is

played

a

twelve-tonemelodic

line.

Fig.

1

illustrates

the vertical

movement

of jazz

harmony referred

to

in Lesson

1,

Fig. 2.

Fig. 3. Night and Day,

pick.....

Eb I / / bVIM / V / I / I +- / bVIM / V / I / VI / bW /

(Eb) IVm / III / bIIIo / II / hili / I / I / bVIM / V / I /

(Eb)

1+- I b

VIM

I V / I / VI I bV4>I IVm I III I b

IIIo

/

II I

Eb bUx / I / 1+- / (Cb) I II I III I / (Eb) I II / III I I

GD

I II

I

III I

I (Eb)

I II

I

III VI

I bW I

IVm

I

III

I

(Eb) b

III o

I

II

I b

IIM

I

1+- / 1+-

/1

As

part of

a

weDconceived

line,

these tones

can

bring

a

tonal in-

terest lacking in the root, third, fifth and seventh. By themselves,these

tones are of little value;theyare to

be

consideredoccasionaltensionpoints

of a

twelve-tone line.

Fig. 3 isa bassline for 'Nightand Day, in the key of OFig. 4 is a

drillillustratingthe use

of

the sensitivetones.

Transfer the melodyto manuscriptpaper using

threestavesand noting

key changes.

NIGfIT AND DAY-Words and Music

by

Cole Porter

© 1932(renewed) Warner Bros. Inc. All rights reserved.

Used by

permission.

1

3

•

11

:

9

7

5

3

...

Minor

Half-diminished

Diminished

We have given careful study to

the

root, third.fifth and seventh;we

will nowconsider the ninth, eleventh and thirteenth in relationto the five

basic qualities (major. dominant, minor, half-diminishedand diminished).

CHORDQuALITY

SENSITIVE

ONES

Major

9 - IU

Dominant 9 - 9 - =9

11 ('S) • '11

IS • 13

9 - 11

9 - 11

9 - 11

Fig.

1.

Play an improvisedline on these chordsemplOyingthe sensitivetones

using

the

followingFig.

4

as a

model

Fig. 2.

Fig. 4.

II I 1Y.

,

,

CI

I

-

I

.....

.......

:

• •

CI ..

eMS CM l1 Cx

9

Cx

bs

cx 9 Clt

l1

( 3)Cx 1l

128 129

AI

1...

..

I

.........-

I

-

·4

I'

.....

I .....


67/113

1

·

·

AI

I

-

.......

:

A

I

-:0-

.....,

I

,

·

A

I

.

• •

.

.......

r

·

.

AI

.....

-4/

......

.

:

AI

-

-

r

--

-

-

III •

I

C

..

P

:

..

Al

• f 1t.

I

• I

·

AI

.

I

r

.

AI

•

..

f

4

,....,

I

-........

0

130

A I •

-

I

•

...

rw

.....

......

.........

:

131

AI

-

1 . ..1 .

er

......

.....

Fig. 1.

Fig. 2-

A

>-

>-

A

:>

:>

:>

:>


68/113

:

WJ -

«S

--

Foot beat

I

Foot beat

.

I. I h.

.

do

•

1 '\

WJ

---

-

1.1

I.

·eJ

LESSON

57.

Basic Syncopation

.

-

Fig. S is

a

bass line for ''EasyTo Love, in Ab·The sheet musicap-

pears

in

G andmustbe transposedto Ab.Transfermelody

to

manuscript

paper using

three

staves. Write or playa line

on

Fig.

a

applying

syncopa-

tion using Fig. 4, which illustratesthisprocess,as a model

Fig.

3.

II VII/III'/> bIIh / II /

bIIx /

I

II

III / hUh

II

v,.

I / / II IVI/> III

bIlla

II VII

Illb

Uh

II

bIIx / I

II

III

VIx

II III / IVm

b

VIIx / III

b

IIIo

I

II

bIIx I

1+'

I

1+-

EASYTO LO\

'E-by

Cole Perter© 1936 by Chappell

&:

Co., Inc.

©

renewed.Assrznedto John

F.

Wharton,

Trustee

of

the Cole Porter Musical and Literary Property Trusts.

International copyright secured. All rights reserved,

Used

by

permtsslon.

Fig.

4..

/I t •

--

.

I....

; ...

..

--

-

-

WJ

-

---

:

132

A thorough study of

jazz

syncopationis beyond the scopeof

this

book.

Jazz syncopation appearson many levels. Our concern is with syncopa-

tion in the improvisedline. Fig. 1 illustrates a seriesof even eighth notes

played against a quarter-note beat. Notes 1, 3, 5 and 7 are the strong

points in Fig. 1. Notes 2. 4, 6 and 8 are the weak points.

By

tying the

tones

in Fig, 1 together, the strong points of the series are disrupted

(Fig. 2). This

is

basic

syncopation.

AI

.... ..

-

I

-

...

.

133

A

I ,

s:-.

• /IL : it /IL .. _

-

--

I

..-.

=:1-1

•

....

-

eJ

-

.....

,

- rooo-

-.

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