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BHBH

This document provides an introduction to voice leading principles for jazz guitar improvisation. It discusses how harmony is better understood as motion between chords rather than just the chords themselves. The document emphasizes studying voice leading using simple triads first before moving to more complex chords and concepts. Voice leading is presented as a foundational skill for weaving improvised melodies through changing harmonies.

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100% found this document useful (2 votes)

587 views150 pages

BHBH

Uploaded by

aslan

We take content rights seriously. If you suspect this is your content, claim it here.

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Download as PDF, TXT or read online on Scribd

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How To Create Single Note Jazz Guitar Lines

That Outline Chord Changes

(with Special focus on II-V-I’s / Rhythm Changes / Giant Steps)

by Adam Rafferty
How To Create Single Note Jazz Guitar Lines
That Outline Chord Changes
(with Special focus on II-V-I’s / Rhythm Changes / Giant Steps)

by Adam Rafferty

c 2003 Adam Rafferty

All Rights Reserved.
http://www.adamrafferty.com
Any attempt to reproduce this document
in part or in full is a violation
of law and will be prosectuted.
Table Of Contents

Introduction
Part One
Chapter 1: Voice Leading 101 1

Chapter 2: The 3rd and 7th Shell 10

Chapter 3: Notes Outside The Shell Part I: 17

Altering the 5th of the Chord

Chapter 4: Notes Outside The Shell Part II: 23

Altering the 9th of the Chord

Chapter 5: Notes Outside The Shell Part III: 33

The 13th and the Root

Chapter 6: Notes Outside The Shell Part IV: 44

The #11 and the b5

Chapter 7: Notes Outside The Shell Part V: 52

Combinations of Various 5ths and 9ths

Chapter 8: Notes Outside The Shell Part V: 64

9ths and 11th on the II chord

Part Two
Chapter 9: Non-Harmonic Tones 76

Chapter 10: Other Voice Leading Possibilities 89

Chapter 11: Do You Beep When You Should Bop? 94

Chapter 12: How to Digest and Practice II-V-I Lines 100

Chapter 13: The Importance of Transcription 110

Chapter 14: Formulas 113

Chapter 15: Constructing Lines on “Rhythm Changes” 122

Chapter 16: Improvising on Coltrane’s “Giant Steps” 133

Introduction

Hello, and welcome! I love jazz and I love playing guitar - and I hope that you benefit from this book. I hope
that it increases your skill and enjoyment level in improvising jazz guitar solos.

A particularly tricky area of study is jazz improvisation. There are so many factors involved, so many differ-
ent tastes opinions that musicians have - it is just not easy to nail down a particular approach and say “this is
it”. Also, because true creation is a right brain activity, it sometimes seems like it is a conflict to do analytical,
left brain work. (It’s not though!)

Keep in mind that an older generation of masters may not have learned this material in the same way that you
will learn it today. Because music takes on a life of it’s own - there are many musicians who can play master-
fully and can’t explain what it is they are doing. They’re great to listen to, but not great to learn from. Maybe
they have loads of jazz anecdotes, but that’s not going to cut it if you need facts and concrete information on
what to play.

Should I Use Modes, Scales or Arpeggios? I’m Confused!

All of these sources of melody are important. However, to play single note lines that relate to chord changes
as they are going by rapidly - you need to create what is called Harmonic Melody. That’s what we’ll cover in
this course.

Part I of this course (Chapters 1-9) deal primarily with Harmony and Voice Leading. Part II (Chapters 10-
16) show you how to create lines based on the harmonies from Part I.

When you create Harmonic Melody, you literally weave a melodic line “through” chord voicings. The
desired result is that a listener can “hear” the changes by hearing just your improvised melody line.

Some of the notes you’ll play are Harmonic Tones (chord tones) , and some are Non-Harmonic Tones (non
chord tones). Unless someone sits down and shows you this material, it can all be very confusing - and it is
very easy to draw incorrect conclusions regarding this material if you have no teacher!

You can’t learn how to solo properly by just playing through a solo transcription or learning licks from a
recording, guitar teacher or magazine article. Sure you can play the notes, and they will sound good - but that
won’t get you to learn the concept.

When you understand the concept of creating Harmonic Melody, you can rise above “imitation” and “licks”
and truly start developing your own style.
How To Use This Book
This book is a step by step course. You will benefit by going thoroughly from the beginning to the end. Each
chapter has homework assignments that you should do fully. Each chapter builds on material from previous
chapters. Don’t be tempted to “skip around”.

Even if some of the work seems tedious - it is designed to “patch up holes” in the “fabric” of your knowledge.

I strongly suggest starting to play just a little piano if you do not already - you’ll see harmony from a birds-eye
perspective, and a picture is worth 1000 words.

Different Keys and Octaves

All of the examples in this book, for the most part, are in the key of C. It goes almost without say - you’ll
need to do everything in this book:

1) in all 12 major and minor keys

2) in as many different registers (octaves) on the guitar that you can find.

How This Book Was Born

A few of my best students recently had asked me to do a private workshop. I started preparing an outline
which morhped into lecture notes, which morphed into a 45 page handout, and finally morphed into the book
that is in your hands!

The first part of my handout basically said “here is 102 ways to play II-V-I in C, now go do it” which is like
throwing people into the ocean and saying “swim!” Naturally, questions and confusion arose. Once one of my
students finally saw what I was trying to get him to do, he suggested that I flesh out the book by “leading” the
student through each and every possibility instead of “throwing him into the ocean”. So I did, and here is the
book!

Special thanks and acknowledgement go to my mentor Mike Longo who has essentially taught me the infor-
mation in this book. Of special note - he had the revelation of building voicings from the top down rather than
the bottom up. You’ll see that the top-down concept is a key that will unlock correct voice leading in your
playing. This “pearl of wisdom” alone is worth the price of this book many times over! I take no credit for
the top down concept, I am simply passing the knowledge on to you.

What I have attempted to do is assemble the information you’ll need to improvise lines on chord changes, but
put it in guitar friendly language. Sorry there is no tablature, but that would simply allow you to stay right
where you are at. Part of literacy in a language means you can read it - not just hear it and speak it. I promise
you that whatever you grapple with in this book will yield a wonderful musical bounty - if you work at it!

Let’s get started! You may now proceed to Chapter 1

About The Accompanying CD's

Two CD's accompany this book. They contain (almost) every musical example in the
book. Use them as a reference if you would like to hear an example played...
1) Some of the examples are played on Keyboard - and since many guitarists are not
familiar with piano, I figured this would help understand the "sounds" presented in the
course.

2) The recorded examples are short, but there are a lot of them.
CD 1 has 99 tracks: Exmaple 1-1 through Homework for Chapter 6, #11
CD 2 has 90 tracks: Homework for Chapter 6, #12 through Chapter 16, Example 12 (end
of book)
Since there are so many examples, I state the chapter number and example number at the
beginning of each recorded snippet.
Here is a rough Guide:
----------------------------------------------------------
CD # 1:
Chapter 1: Tracks 1 - 9
Chapter 2: Tracks 10 - 19
Chapter 3: Tracks 20 - 34
Chapter 4: Tracks 35 - 58
Chapter 5: Tracks 59 - 85
Chapter 6: Tracks 86 - 99
----------------------------------------------------------
CD # 2:
Chapter 6 (cont): Tracks 1 - 2
Chapter 7: Tracks 3 - 24
Chapter 8: Tracks 25 - 42
Chapter 9: Tracks 43 - 56
Chapter 10: Tracks 57 - 63
Chapter 11: Tracks 64 - 66
Chapter 12: Tracks 67 - 77
Chapter 15: Tracks 78 - 80
Chapter 16: Tracks 81 - 90

The sounds and concepts progress from simple to complex - and everyone's idea of
complex will differ depending on their level of experience, which is why I simply
recorded all the examples.

Buon Voyage!
Adam
Chapter 1 - Voice Leading 101

The goal of this course is to give you a step by step method whereby you can improvise
jazz melodies that weave through jazz harmonies.

It is therefore necessary for you to have a solid grasp of jazz harmonies and voice lead-
ing from one harmony to another. Once you have a grasp of harmony, it is quite a sim-
ple matter to weave in and out of it.

As guitarists, we are often taught “chords” as “left hand shapes” emanating from a bot-
tom note up. This approach is totally wrong, and it will “shut you out, as if by a veil”
from the proper concepts of harmonic motion.

What is Harmony?
Most people answer this question by saying “chords”. That is not exactly right!
Harmony is better described as “motion”. A “chord” is only an arrested moment of har-
mony. A “chord” is a “vertical” slice of horizontally flowing melodies.

Let’s start by looking at tried and true harmonic principles using simple triads. The
same laws that apply to simple triads will apply to lush jazz harmonies later on.

Usually when I ask a student to play a Cmajor triad they play this:

Ex 1-1: C triad

This is not wrong “per se”, because it is a C major triad. However, if you would have
constructed this from “the bottom note up” - that’s the mistake! Gotcha!

1
You might be wondering “Why is that a mistake, it sounds just fine?”

Allow me to explain.

Let’s say you now have the C triad from the previous example an you now need to play
a G triad. If you use the same “Bottoms Up” approach to building the next voicing you
would probably end up doing something like this:

Ex 1-2: C triad G triad

Bottoms Up - Bad Voice Leading

Each triad, if they are “isolated chords” sound fine all by themselves. The notes of each
chord all seem to resonate well together. However, the “motion” of one triad to the next
is clunky, awkward and therefore incorrect.

There is a much smoother way to go from a C triad to a G triad which involves smooth
Voice Leading. Each note in the triads must be treated as a voice.

First Conventional Method for Moving Between

Harmonies Whose Roots Are a 5th Apart
First conventional method states the following: When one triad progresses to another
which has its root a 5th above or below the first, keep the common tone in the same
voice and move the remaining voices stepwise to the next triad tones.

What exactly is meant by “Roots a Fifth Apart”?

Let’s say we have a C triad. The root is C. Here are the notes up a 5th and down a 5th
from C:

Ex 1-3: down a 5th up a 5th

2
In the key of C, the I chord is C, the IV chord is F and the V chord is G. So the I, IV and V
all have their roots a 5th apart.

Now listen to how much smoother the motion from this C to G triad sounds:

Ex 1-4: roots move up a 5th.

C G

Proper Voice Leading - Keeping the common tone (G) and

moving the other tones by step. E moves stepwise to D and C
moves stepwise to B.

Let’s look at the possibilities for moving a C triad to an F triad.

Ex 1-5: roots move down a 5th.

C F

Proper Voice Leading Keeping the common tone (C) and

moving the other tones by step. E moves stepwise to F
and G moves stepwise to A.

3
Spelling vs Voicing

Don’t let this confuse you. A chord spelling does in fact come from the bottom note up.
For example, you would spell out a C triad as “C, E, G” or root, 3, 5.

Voicings are arrangements of notes in found in the spelling, and their purpose is to make
voice leading from one harmony to another sound smooth.

Envisioning the Voices as a Choir

It may help you to envision the voices as though they were a choir:

Ex 1-6:
I IV I V I

Soprano

Alto

Tenor

To fill out the harmony, you could put the roots of each chord in the bass voice:
Ex 1-7:
I IV I V I

Soprano

Alto

Tenor

Bass

4
Let’s go through this with a fine-toothed comb and see the First Conventional Method
for Roots a 5th Apart at work.

Here are the spellings of the C, F and G triads:

C triad - C, E, G
F triad - F, A, C
G triad - G, B, D

The C triad and G triad have the Common Tone - G (G is in both chords)

The C triad and F triad have the Common Tone - C (C is in both chords)

I - IV - I - V - I with common tones labeled

Ex 1-8:

C F C G C
common tone common tone
Soprano

common tone common tone

Alto

I IV I V I

Voicings

Throughout this book, we’ll use the technique of arpeggiating the voicings from the top
note down as a means to:

1) Hear harmonies and voice leading within a melodic line

2) Perceive voicings that are uncommon

3) Hear voicings that are uncomfortable or impossible to play all the pitches simultane-
ously

4) Visualize a “skeleton” through which melodies can be “woven”

You may now proceed to the Homework for Chapter 1

7
Homework for Chapter 1

1. Play the following on guitar:

Let’s look at the 7-3 shell of II-V-I in C:

Ex 2-1:

D-7 G7 CMaj7
3rd 7th 3rd

7th 3rd 7th

Notice that with these two voices alone, the whole progression can be heard. No matter
what variation might happen in the other voices, the 3rd and 7th almost always remain
intact. (there are exceptions)

Also notice how the 3rd of the D-7 chord (F) moves to the 7th of the G7 chord, and the
7th of the D-7 chord (C) moves to the 3rd of the G7 chord (B).

The 3rd and 7th move to the 7th and 3rd! The same “flip” with the 3rd and 7th occurs
when the G7 moves to the CMaj 7.

Here is the 7-3 shell starting with the 7th on top:

Ex 2-2:

D-7 G7b9 CMaj7

7th 3rd 7th

3rd 7th 3rd

10
As you saw in the last chapter, the voicings you play should be thought of as a “choir”
as opposed to chords. Here is the choir “score” for D-7 G7b9 Cmaj7:

Ex 2-3: The II-V-I as 4 Voices

D-7 G7b9 CMaj7

Soprano

Alto I

Alto 2

Tenor

No matter how the voices are shuffled or altered,

the 3-7 “shell” will always be intact
(as long as we use First Conventional Method for Roots a 5th Apart)

Ex 2-4: The 3-7 Shell with the other voices

D-7 G7b9 CMaj7

Shell

11
If we were to do a “reduction” of our 4-voice choir score, and squeeze all the notes on to
a treble clef it would look like this:

Ex 2-5: D-7 G7b9 Cmaj7

D-7 G7b9 CMaj7

If we were to add a bass voice simply containing the roots, it would sound good. For
our purposes, let’s focus on these 4 voices alone with no bass note.

It is extremely important that you “see” and “hear” examples such as Ex 2-5 as 4 voices
and not as “chords”. Guitarists often have trouble with this since they learn chords as
physical left hand “shapes” and pay very little attention to the movement of the individ-
ual voices.

You may now proceed to the Homework for Chapter 2

12
Homework for Chapter 2

1. On a separate sheet of music paper, separate each one of the 4 progressions shown
below into a 4-voice choir arrangement as was shown in Ex 2-5 in this chapter. This
means you will do a total of 4 arrangements of 4 voices, 2 measures each. Use 4 treble
clefs for each choir.

2. Locate and label the “Shell” of 3rds and 7ths in each 4 voice arrangement that you
create.

3. On your 4 part “choir arrangement” label all the remaining tones (describe if they are
roots, 5ths, 9ths - whatever they may be)

D-7 G7b9 Cmaj9

D-7
G7b9 Cmaj7
3rd on top
3

D-7
5th on top G7b9 Cmaj7
5

D-7
G7b9 Cmaj7
7th on top
7

13
4. Using the technique of arpeggiating the voicings from the top down, play the following
II-V-I in C on the guitar:

Root on top

D-7
D-7 G7b9
G7( 9) CMaj9
C 7

Play the following on your instrument:

D-7 G7b9 CMaj7

D-7 G7( 9) C 7

5. Using the technique of arpeggiating the voicings from the top down, play the following
II-V-I in C on the guitar:

3
D-7
3rd on top G7b9 CMaj7

Play the following on your instrument:

3
D-7
3rd on top G7b9 CMaj7

14
6. Using the technique of arpeggiating the voicings from the top down, play the following
II-V-I in C on the guitar:

D-7
5th on top G7b9 CMaj7
5

Play the following on your instrument:

D-7 G7b9 CMaj7

7 Using the technique of arpeggiating the voicings from the top down, play the following II-
V-I in C on the guitar:

D-7
7th on top G7b9 CMaj7
7

Play the following on your instrument:

D-7
7th on top G7b9 CMaj7
7

You may now proceed to Chapter 3

15
Chapter 3 - Notes Outside The Shell Part 1:
Altering the 5th of the V Chord
In the last chapter you learned that the 3rd and 7th were the “backbone” or “shell” of the
II-V-I chord progression.

By varying the melodic motion in the voices other than the 3rd and 7th, we will stum-
ble upon many pleasing sounds and colors. These colors do not affect the fundamental
qualtiy of the II-V-I progression.

Examining the Non-Shell Voice In Which

The 5th of the V Chord Tends to Appear

In the Homework for the last chapter you wrote a 4-voice “arrangement” of the progres-
sion D-7 G7b9 CMaj 9. One “non-shell voice” had the following melody:

Ex 3-1:

D-7 G7b9 CMaj9

Let’s change the melody in this voice to D - D# -D and leave the others intact. To best
describe the D#’s role when the G7b9 hits, we’d call it a #5 since it is a #5 up from the
root G.

Ex 3-2:

D-7 G7b9+5 CMaj9

D-7

16
Here are all the voices, in addition to the top voice, which we just changed.

Ex 3-3:
Root on top
9
D-7 G7 5 C 9

Here is the arpeggiation to play on guitar:

Ex 3-4:
9
D-7 G7 5 C 9

Let’s experiment further by changing the melody in this voice to D - Db-D while leav-
ing the others intact. To best describe the Db’s role when the G7b9 hits, we’d call it a
b5 since it is a b5 up from the root of the chord, G.

Ex 3-5:

D-7 G7b9b5 CMaj9

17
Here are all the voices, in addition to the top voice, which we just changed.

Ex 3-6:

D-7 G7b9b5 C 9

Here is the arpeggiation to play on guitar:

Ex 3-7:

D-7 G7b9b5 C 9

It is vital that you to see that “chords” as we know them are just vertical slices of voices
moving horizontally.

All the numbers that you see with chord symbols (like G7b9b5 for example) simply
describe the notes above the bass note at a given that moment in time.

Every note in the voicing must be led into and out of using sound voice leading
principles. You never just “stick in” 9ths, 5ths 11ths, or 13ths.

There will be times when a bad sounding combination of voices and voice movement
arises. In the end, the final judge is the ear - and for the sake of simplicity, we’ll say
that those are “not viable choices” for voice movement.

Play the following on your instrument:

D-7 G7b9b5 Cmaj7

21
7. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7b9b5 Cmaj7:

D-7 G7b9b5 Cmaj7

Play the following on your instrument:

D-7 G7b9b5 Cmaj7
5

8. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7b9b5 Cmaj7:

D-7 G7b9b5 Cmaj7

Play the following on your instrument:

D-7 G7b9b5 Cmaj7

You may now proceed to Chapter 4

22
Chapter 4 - Notes Outside The Shell Part 2:
Altering the 9th of the V Chord
Examining the Non-Shell Voice In Which
The 9th of the V Chord Tends To Appear

In the Homework for the Chapter 2 you wrote a 4-voice “arrangement” of the progres-
sion D-7 G7b9 CMaj 9. One “non-shell voice” had the following melody:

Ex 4-1:

D-7 G7b9 CMaj9

Let’s change the melody in this voice to A - A - G while leaving the other voices intact.
To best describe the A role when the G7 hits, we’d call it a 9th since it is a 9th up from
the root of the chord, G.

Ex 4-2:

D-7 G9 CMaj9

23
Here are all the voices. The resulting sonority when the V chord hits is G9.

Ex 4-3:

D-7 G9 Cmaj7
5

Here is the arpeggiation to play on guitar:

Ex 4-4:

D-7 G9 Cmaj7
5

Changing the same note to A# would give us the following melody: The A# would be a
the #9 of the G7#9 chord.

Ex 4-5:

D-7 G7#9 CMaj9

Here is the 4 note voicing:

Ex 4-6:

D-7 G7+9 Cmaj7

24
Here is the arpeggiation to play on guitar:

Ex 4-7:

D-7 G9 Cmaj7
5

Special note regarding the #9:

The #9 is not always a “viable option” for voice leading. Just because it exists, doesn’t
mean it neccesarily sounds good in every situation.

My teacher, Mike Longo explained it best to me like this: “Vinegar on salad tastes good,
right? (yes) Chocolate milk tastes good, right? (yes) Does chocolate milk taste good with
vinegar in it (NO - yuck!)”

My advice is this: go through all the possibilities yourself and see what sounds good or
bad. Let’s do a litttle investigation right now...

If we were to have a choir sing Ex 4-8 it would sound good: (note the b9 of the G7is in
the lowest voice. Be sure to play these examples on a piano!)

Ex 4-8:

D-7 G7b9 Cmaj7

25
This one also sounds fine - using a G9. The G9 voicing sounds ok with the 9th in the
lowest voice.

Ex 4-9:
D-7 G9 Cmaj7
3

But here is the “Vinegar in the choclate milk” G7#9

Ex 4-10:
D-7 G7+9 Cmaj7
3

The A# masks the sound of the major 3rd of the B. The sound is not very pleasing.

Here is another situation in which G7#9 does not sound too good. The Minor 2nd
between the top 2 voices is questionable, and the effect of the #9 is lost:

Ex 4-11:
D-7 G7+9 Cmaj7
7

26
However - this inversion of the G7#9 sounds fine:

Ex 4-12:
D-7 G7+9 Cmaj7
5

This one has a “bite” to it, does not sound too good.

Ex 4-13: D

D-7 G7+9 Cmaj9

For some reason, sounds involving #9’s that were not good, become usable in the pres-
ence of a #5. It is as though the # 5 is a comatible note which “smoothes” out the
jagged sound of the #9.

Ex 4-14:

In a previous example this was not acceptable - the A# masked the B

D-7 G7+9 Cmaj7

If we use a G7+9+5 it sounds ok.

D-7 G7+9+5 Cmaj7

27
Ex 4-15:

Previously this G7+9 was not really acceptable -

D-7 G7+9 Cmaj7

If we use a G7+9+5 it sounds ok.

D-7 G7+9+5 Cmaj7

Ex 4-16:

This still does not sound too good, even with the #5:

D-7 G7+9+5 Cmaj7

Your ears must be the final judge as to what sounds good. My advice is don’t memorize
anything that I have said here that appears to be a rule. Let your ears will simply tell
you what is acceptable and what isn’t.

Voicings that sound unnaceptable in close position might be good in open position.

Voicings that sound “bad” when played as chords often sound acceptable when
arpeggiated and used as a reference point for melodic lines, which is why we must
investigate all the possible sounds!

You may now proceed to the Homework for Chapter 4

28
Homework for Chapter 4

1. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G9 Cmaj9

D-7 G9 Cmaj9

Play the following on your instrument:

D-7 G9 Cmaj9
D-7 C 9

2. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G9 Cmaj7

D-7 G9 Cmaj7
3

Play the following on your instrument:

D-7 G9 Cmaj7
3rd on top
3

29
3. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G9 Cmaj7

D-7 G9 Cmaj7
5

Play the following on your instrument:

D-7 G9 Cmaj7
5

4. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G9 Cmaj7

D-7 G9 Cmaj7
7

Play the following on your instrument:

D-7 G9 Cmaj7
7

30
5. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7#9#5 Cmaj9

D-7 G7+9+5 Cmaj9

D-7 G7+9+5 Cmaj7

Play the following on your instrument:

D-7 G7+9+5 Cmaj7

You may now proceed to Chapter 5

32
Chapter 5 - Notes Outside The Shell Part 3:
The 13th and the Root
In Chapter 3 we varied one of the non-shell voices in the II-V-I and found that all of the
following stepwise melodic motions were “viable” possibilities in any inversion.

Ex 5-1:

D-7 G7b9 CMaj9

D-7 G7b9+5 CMaj9

D-7 G7b9b5 CMaj9

What if we wanted to try the following melody? Would it work? If so, what would the
name of the chord change be?

Ex 5-1, con’t:

The answer is yes, it would work, but it would only sound good in certain inversions.
Let’s investigate.

33
First, what would we call the E in relation to a G7 voicing? Your first instinct might be
to call it a 6th since E is 6 notes above G.

However, the sound of the E with the presence of an F in another (usually lower) voice
is the sound of a 13th, not a 6th. The character of a 13th is very different from a 6th.

Here are two voicings, a G6 and a G13. Notice how the presence of the F (7th) makes
the E sound bluesier. That is the sound of a 13th.

The same note, E, without the 7th present, sounds like a 6th. Play both voicings and
take a listen for yourself:

Ex 5-2:

G6 G13

Try this experiment. Listen to the following “spellings” and notice once again how the
E sounds different in the two examples. The first time it is the “sound” of a 6th, the
second time it is the “sound” of a 13th due to the presence of the 7th having been
sounded below it.

It is as though the “energy” present in the E as a 6th differs from the energy present in
the same note when it is a 13th. The surrounding conditions make the same note
sound different.

Ex 5-3: G6

Root 3 5 6
No 7th below the E, so the E sounds
like a 6th

Ex 5-4: G13#11

Root 3 5 7 9 #11 13

Because of the 7th below the E, the E

now sounds like a 13th

34
When we experiment with the different inversions of G13, we find that some possibuili-
ties are better sounding than others. This one sounds good:

Ex 5-5:

D-7 G13 Cmaj9

Here is the arpeggiation to play on guitar:

Ex 5-6:

D-7 G13 Cmaj9

D-7 C 9

This next one does not sound too good as a voicing. The E obscures the F and does not
sound like a 13th.

Ex 5-7:
D-7 G13 Cmaj7
3

If you were to play the notes of the G13 arpeggio in a different order than shown, you
could get the E to sound like a 13th. Also try playing the G13 arpeggio in this exam-
ple as F - A - B - E and you’ll find that it sounds acceptable.

Ex 5-8:

D-7 G13 Cmaj7

35
This next one sounds good. However, the E sounds more like a Minor 2nd hooked
below the F than a 13th.

Ex 5-9:
D-7 G13 Cmaj7
5

Here is the arpeggio to play on guitar:

Ex 5-10:

D-7 G13 Cmaj7

7th on top

This one also does not sound too great to my ears, when played as a “chord”.

Ex 5-11:
D-7 G13 Cmaj7
7

Here is the arpeggio to play on guitar: Also try playing the G13 arpeggio in this
example as B - E - F - A and you’ll find that it sounds acceptable.
Ex 5-12:
D-7 G13 Cmaj7

36
The best sounding instance of the melody, to my ears, D - E - D is when it is above the
7th becuse it truly sounds like a 13th.

Ex 5-13:

D-7 G13 Cmaj7

In Chapter 4 we varied one of the non-shell voices in the II-V-I and found that all of
these stepwise melodic motions yeilded various 9ths against the G7 voicing.

Ex 5-14:

D-7 G7b9 CMaj9

D-7 G9 CMaj9

D-7 G7#9 CMaj9

What if we altered the following melody in that voice to A - G - G ?

Ex 5-15:
CMaj9

37
The voice that had the 9th now has the root, G. I think you’ll find that this sounds good
in any inversion.

However, a plain G7 chord tends to sound a little “boring”. When a straight 7th chord is
heard in the midst of lush jazz harmonies it is a little bit like a farmer in overalls walk-
ing into a ritzy cocktail party.

It’s not “wrong” per se, but a jazz musician would tell you that you could find a “hip-
per” voicing. “Hipper” means that you look to the non - shell voices to see if some
other type of melodic movement provides a more “lush”, complex sound.

Adding Interest to Dominant 7th Chord Voicings

Containing The Root

Scenario 1: G is the melody line, and you cannot change the fact that you must
play a G.

Ex 5-16:

D-7 G7 Cmaj7
7

This is not wrong, but it is also not very colorful. Since the “shell” notes are F and B
and we must retain the G we should look to the other non-shell voice for possible varia-
tion.

This sounds much better, and more consistent:

Ex 5-17:

D-7 G7+5 Cmaj7

38
Scenario 2: G is somewhere in the voicing, but not in the melody.

Ex 5-18:

D-7 G7 C 9

Root on top

This is not wrong, but it is also not very colorful. In fact, if a bass voice were to accom-
pany this G7 voicing, you would be hearing the G in the voicing doubling with the G in
the bass, and this would sound very heavy due to the doubling.

Let’s just change the G to an A - and you’ll percieve that it “lifts” the heaviness out of
the G7 voicing.

Ex 5-19:

D-7 G9 C 9
3

I would recommend that you know where all the straight G7 voicings lie in the II-V-I
choir, and know how to play the close position arpeggios on the guitar.

D-7 G7 Cmaj9
D-7 C 9

4. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7 Cmaj9

D-7 G7 Cmaj7
3

Play the following on your instrument:

D-7 G7 Cmaj7
3

41
5. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7 Cmaj9

D-7 G7 Cmaj7
5

Play the following on your instrument:

D-7 G7 Cmaj7
5

6. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7 Cmaj9

D-7 G7 Cmaj7
7

Play the following on your instrument:

D-7 G7 Cmaj7

42
The last 2 II-V-I voicings of this Homework Assignment use the G13 voicings that did not
sound too good as chord voicings.

However, you should check out the sounds for yourself and be aware that they can sound
good when “broken up melodically”.

7. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G13 Cmaj9. Also, try playing the G13 arpeggio in this
inversion in the following order: F - A - B - E. This may sound more acceptable to
your ear.

D-7 G13 Cmaj7

Play the following on your instrument:

D-7 G13 Cmaj7

8. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G13 Cmaj9. Also, try playing the G13 arpeggio in this
inversion in the following order: B - E - F - A. This may sound more acceptable to
your ear.

D-7 G13 Cmaj7

Play the following on your instrument:

D-7 G13 Cmaj7

You may now proceed to Chapter 6

43
Chapter 6 - Notes Outside The Shell Part 4:
The #11 and the b5

In chapter 3 you saw when a voice outside the shell became a b5 against a V chord.
Look at the bottom voice in this example - the Db is the b5 of the G7b9b5 voicing.

Play it several times, arpeggiating from the top note down, to get the sound of the
G7b9b5 into your ears:

Ex 6-1:

D-7 G7b9b5 Cmaj7

One area of jazz harmony that can be confusing for students is the difference between a
b5 and a #11.

Essentially, a b5 and a #11 are the same pitch - but their surroundings are different and
actually make the “energy present in the note” different.

Hearing the sound of the b5

The following is a G7b5 arpeggio. The Db sounds as though the D has been flatted to a
b5. Listen to the “energy” present in that note, due to its surroundings.

Ex 6-2:
G7b9b5

R 3 b5 7 b5

44
Hearing the sound of the #11
The following is an arpeggiation up a G9#11 chord. The #11 is a C# - the enharmonic
equivalent of the Db in the previous examples. (same pitch, different name)

However, due to the presence of the 9th directly under it, there is a different “ring” to
the note. You may need to play each example several times to perceive the subtle differ-
ence in sound.

Remember, the note is the same pitch, but the surrounding voices and conditions can
change how we hear the note.

Ex 6-3:
G9+11

R 3 5 7 9 #11

Can you hear the difference between the “energy present” Db in the example 6-2 and
the C# in example 6-3?

Much of the time, deciding on whether a note is a b5 or a #11 will be a “judgement

call”, but here are a few guidelines:

1) If the note in question is directly next to the 3rd in the voicing, chances are that it
sounds like a b5.

2) If the note in question is in a voicing that has the 9th or 13th somewhere in it’s sur-
roundings, it probably sounds like a #11.

3) Use your ears - does it have the darker “diminished” sound of a b5, or the brighter
melodic “ring” of a #11?

45
The sound of certain voicings such as these tend to elude guitar students, primarily
because they can’t necessarily play voicings on the guitar with 7 notes all ringing out
simultaneously. (That’s one of the reasons that playing piano is so important!)

However, the sounds of all the upper tensions (9ths, 11ths, 13ths) can be used as long
as you voice lead properly - so even if you only have a 4 choir or guitar voicing, all
the “sounds” of these extensions are available to you. You don’t need to play a full 7
note chord to use the sounds of 9ths, 11ths and 13ths.

Some guitar teachers try to give rules as to what notes to “leave out” of a chord
since it appears that one must “leave out” 3 of the notes in a 7 note chord to play a
4 note voicing.

This approach is entirely wrong. You must let the voice leading “get you in” and
then “get you out” of a voicing. The logical melodic movement of the voices must be
the determining factor.

Exceptions in the 7-3 Shell Movement Involving the #11

Until now you have learned that the “Shell” contains the 7th and 3rd and is the “back-
bone” of the II-V-I progression.

Ex 6-4: The 7-3 “shell”

D-7 G7 CMaj7

46
The examples which follow are the exception, and not the rule.
Look closely at the melodic movement of each voice. You’ll see that the 7-3 shell is not
there in it’s entirety.

The 7th of the II chord, (C) goes up to the #11 (C#) instead of going to B. Even though
there is no 3rd in the V chord voicing, the voices obey proper melodic movement and a
G13 “sound” can be perceived.

Logical horizontal movement of voices “overrides”

vertical “chord - spelling” logic.

If you were to isolate any one of voicing of the G13 voicings below and play it all by
itself - you’d see that they don’t neccesarily sound like G13 type voicings.

It is due to their surroundings and proper voice leading in and out of them that they
sound like G13 voicings even though there is no root, 3rd or 5th present in the voicing.

Also, due to the surrounding 13th and 9th in the V chord, the C# in the G13 voicings
truly sounds like a #11th, not a b5.

Observe the examples 6-5, 6-6, and 6-7:

Ex 6-5:

D-9 G13#11 CMaj9

Ex 6-6:

D-9 G13#11b9 CMaj9

Ex 6-7:

D-9 CMaj9
G13#11#9

47
Homework for Chapter 6
1. On a separate sheet of music paper, separate each one of the 4 progressions shown
below into a 4-voice choir arrangement. This means you will do a total of 4 arrange-
ments of 4 voices, 2 measures each. Use 4 treble clefs for each choir. (Refer to Chapter
2, example 2-3)

2. Locate and label where the exception to the “7-3 Shell” occurs.

3. On your 4 part “choir arrangement” label all the remaining tones (describe if they are
roots, 5ths, 9ths, #11ths, - whatever they may be)

D-9 G13#11 CMaj9

D-9 G13#11b9 CMaj9

D-9 CMaj9
G13#11#9

4. Play the 3 progressions shown above in your right hand on the piano. As you play
the voices shown above in your right hand, play the roots of the chords in your left
hand as single notes along with the voicings.

5. Play the following progression in your right hand on the piano, 4 times. Each time
you play it, sing one of the “choir” voice parts against it. Do this until you have success-
fully sung each choir voice against the progression.

D-9 G13#11 CMaj9

48
6. Play the following progression in your right hand on the piano, 4 times. Each time
you play it, sing one of the “choir” voice parts against it. Do this until you have success-
fully sung each choir voice against the progression.

D-9 G13#11b9 CMaj9

7. Play the following progression in your right hand on the piano, 4 times. Each time
you play it, sing one of the “choir” voice parts against it. Do this until you have success-
fully sung each choir voice against the progression.

D-9 CMaj9
G13#11#9

8. Sing the following voicing from the top down. You may use a piano or guitar to help
you sing the notes accurately.

G13#11 (natural 9)

13 #11 9 7 5 3 R

49
9. Sing the following voicing from the top down. You may use a piano or guitar to help
you sing the notes accurately.

G13#11b9

13 #11 b9 7 5 3 R

10. Sing the following voicing from the top down. You may use a piano or guitar to
help you sing the notes accurately.
G13#11#9

D-9 G13#11 CMaj9

You may now proceed to Chapter 7

51
Chapter 7 - Notes Outside The Shell Part 5:
Other Combinations of Various 5ths and 9ths
In Chapter 3 you learned how different melodic movements of one of the Non-Shell
voices can produce a natural 5th, a #5th or a b5, or 13th above the root of the V chord:

Ex 7-1:
D-7 G7b9 CMaj9

D-7 G7b9+5 CMaj9

D-7 G7b9b5 CMaj9

D-7 G13 CMaj9

And In Chapter 4 you learned how one of the Non-Shell voices can produce a natural
9th, a #9th or a b9 above the root of the V chord. (This Non-Shell voice can also con-
tain the root):
Ex 7-2:

D-7 G7b9 CMaj9

D-7 G9 CMaj9

D-7 G7#9 CMaj9

D-7 G7 CMaj9

52
It is possible, through various combinataions of these non-shell voice movements, to
come up with several combinations of tones when the V chord is played.

Let’s investigate some sound combinations we have not yet enountered so far:

Other Possibilities for Melodic

Combinations in Non-Shell Voices

Ex 7-3: The non shell voices contain the root and #5

root CMaj9

The V chord would be a G7 #5 chord. Here are the voices above shown along with the
7-3 Shell:
D-7 G7+5 CMaj7
5

Ex 7-4: The non shell voices contain the 9th and #5

9th CMaj9

53
The V chord would be a G9 #5 chord. Here are the voices above shown along with the
7-3 Shell:
D-7 G9+5 CMaj7
5

Ex 7-5: The non shell voices contain the root and b5

root

The V chord would be a G7 b5 chord. Here are the voices above shown along with the
7-3 Shell:
D-7 G7b5 CMaj7
5

Ex 7-6: The non shell voices contain the 9th and #5

54
The V chord would be a G9 b5 chord. Here are the voices above shown along with the
7-3 Shell:
D-7 G9b5 CMaj7
5

You may now proceed to the Homework for Chapter 7

55
Homework for Chapter 7

1. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G7#5 Cmaj9

D-7
D-7 G7+5
G7#5 CMaj9
C 9

62
15. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G9b5 Cmaj7

D-7 G9b5 CMaj7

Play the following on your instrument:

D-7 G9b5 CMaj7

16. Using the technique of arpeggiating the voicings from the top down, play the following
progression on the guitar: D-7 G9b5 Cmaj7

D-7 G9b5 CMaj7

Play the following on your instrument:

D-7 G9b5 CMaj7

You may now proceed to Chapter 8

63
Chapter 8 - Notes Outside The Shell Part 6:
9ths and 11ths on the II chord
In most of the examples you have encountered so far in the book, you have seen one of
the Non-Shell voices contain a root in the II chord.

Ex 8-1: Non shell voice containing root in II chord

D-7 G7b9 CMaj9

root

D-7 G7b9+5 CMaj9

D-7 G7b9b5 CMaj9

D-7 G13 CMaj9

Another option for the melodic movement of this voice is to start these melodies on an
9th when the II chord harmony is played:

Ex 8-2: The same non-shell voice can contain the 9th of the II chord

D-9 G7b9 CMaj9

9th

D-9 G7b9+5 CMaj9

(Cont.)
64
Ex 8-2 (Cont.):

D-9 G7b9b5 CMaj9

D-9 G13 CMaj9

Here is a 4 voice “choir arrangement” of a II-V-I using this type of melodic motion:

Ex 8-3:

D-9 G7b9#5 CMaj9

Shell

65
This melodic choice is viable in any position or arrangement of the voices, except for
when the minor 3rd is in the top voice when this is played as a “chord voicing” (see the
re-ordering of the notes in Ex 8-6 below):

Ex 8-4:
9th is weak under the m3 when it is played as a chord voicing
D-9 G7+5 CMaj7
3

The F masks the sound of the E being the 9th. Also, when voicings are played, the top
two voices should usually be more than the interval of a second apart from eachother, so
that the top voice can be heard better and is not obscured.

If played as voicings, the following would sound much better because the interval
between the top two voices is greater than a second. The F is not obscured, and easily
heard.

Ex 8-5:
much better under the m3
D-7
3rd on top G7+5b9 CMaj7
3

If we break theEx 8-4 down melodically, it sounds alright, but the E has more of a
sound of being a minor 2nd interval being “hooked” under the F than it being a 9th in
the D-9 voicing:

Ex 8-6:

D-9on top
3rd G7+5 CMaj7
3

A simple re-ordering of the notes in the D-9 voicing makes this sound much better.
This voicing could certainly be used as a basis for “lines”:

66
As a melodic choice for chord voicings, the 9th on a II chord is a viable in all other
positions other than the one pointed out in Ex 8-4:.

The following example sounds good. It is exactly the same 4 melodic lines as in the
previous examples, but arranged differently. Note that the voice with the 9th is the low-
est voice:

Ex 8-7:

D-9 G7b9#5 CMaj9

Shell

A word about register:

Depending on the register that these voicings are played in, they might or might not
sound good. If this example were played in too low a register, the first voicing could
start to sound muddy.

I’d recommend experimenting with playing all of the voice leading arrangements you
encounter in different registers. You’ll find that some work in any register and some
don’t.

If Ex 8-7 is played with the pitches in the octaves as written, it sounds good. If it is
played an octave lower, it starts not to sound as good, the E loses the sound of being a
9th.

(Keep in mind that guitar notation sounds an octave lower than it is written. The proper
octave for the C in the top voice of Ex 8-7 is on the 1st string, 8th fret.)

67
Another viable melodic choice outside the shell would be as follows. (see the top voice
in Ex 8-8) The interval between this G and the root of the II chord, D, is a minor 11th.

The minor 11th as a melodic choice on the II chord is only a viable choice in the top
voice, and it must be supported by a 9th to have the right sound.

In order to hear it with the shell, let’s look at a 5 voice choir:

Ex 8-8:

D-11 G13b9 CMaj7+11

Shell

shell

Notice the pretty sound and smooth arrival of the #11 on the CMaj7 voicing.

68
If we wanted our top voice to retain the G melody throughout the whole II-V-I progres-
sion we could simply keep the G on top of the Cmajor 7 voicing.

By allowing the voices to flow naturally, we end up having a doubled 5th at the arrival
of the I chord.

D-9 G13 CMaj9

D-9 C 9

6. Here it is with a b9 in the V chord:

D-9 G13b9 CMaj9

Play the following on your instrument:

D-9 G13b9 CMaj9
D-9 C 9
3

72
7. Here it is with a #9 in the V chord:

D-9
D-9 G13#9
G13#9 CMaj9 C 9
5

Play the following on your instrument:

D-9 G13#9 CMaj9

D-9 C 9
5

8. Here it is with the #11 exception to the 7-3 shell. The 7th in the II chord (C) moves to
the #11 (C#) against teh V chord.

D-9 G13#11 CMaj9

Play the following on your instrument:

D-9 G13#11 CMaj9

D-9 C 9
7

73
9. Here it is with the #11 exception to the 7-3 shell and a b9.

D-9 G13#11b9 CMaj9

Play the following on your instrument:

D-9 G13#11b9 CMaj9

D-9 C 9
9

10. Here it is with the #11 exception to the 7-3 shell and a #9.

D-9 G13#11#9 CMaj9

Play the following on your instrument:

D-9 G13#11#9 CMaj9

D-9 C 9
11

74
11. Label each of the notes in the following 5 voice II-V-I. Indicate if a voice is “shell”
or “non-shell”. Describe if notes are 9ths, 7ths, 11ths, or whatever they may be.

D-11 G13b9 CMaj7+11

12. Sing each choir voice part separately so that you can appreciate the simple stepwise
motion of each voice as it passes through the progression.

Then sing and play each voicing from the top voice down to the bottom voice just as
you have been playing the descending arpeggios on guitar.

You may now proceed to Chapter 9

75
Chapter 9 - Non-Harmonic Tones

In the last 8 chapters we have investigated the sounds of Harmonic Tones within sever-
al II-V-I possibilities. You have probably noticed that we have been limited to arpeggia-
tions of the voicings.

However, interesting melodic lines do more than simply arpeggiate the voicings.
Interesting melodic lines appear to “snake” and “squiggle” through the changes, yet stilll
suggest or “outline” them. Interesting melodic lines have all different types of melodic
contours which add interest as well.

Non-Harmonic Tones are melody notes which do not belong to the harmony (notes
outside the chord). Please do not confuse this with the term “outside playing”.

Non-Harmonic Tones are the “in-between” notes that allow us to create melodic lines
which pass in and through the Harmonic Tones. Envision the harmonic tones as “guide-
posts” that are “woven in and out of”.

Through the use of “Non-Harmonic Tones” a melodic line take on all sorts of interesting
contours, and sound more “lyrical” while still relating to the underlying harmony.

There are 8 types of Non-Harmonic Tones:

1) Passing Tone

2) Neighboring Tone

3) Appogiotura

4) Escape Tone

5) Suspension

6) Anticipation

7) Pedal Point

8) Changing Tone

Tones which do not belong to the harmony, but have the spelling of a scale tone are
Diatonic Non-Harmonic Tones. The others are Chromatic Non-Harmonic Tones.

76
Customarily Non-Harmonic tones are taught in examples that sound like Classical
Music. Since we have been focusing on jazz harmonies, I will do my best to illustrate
them in a jazz context.

Please keep in mind as you work on the material in this book that the straight 8th note
examples are for illustration only. When you actually play, your rhythmic concept
should not be limited to a straight 8th note sound!

Passing Tones

Definition: When a non-harmonic tone is interpolated step-wise between two harmonic

tones of different pitch, it is called a passing tone.

Ex. 9-1:

D-7 G7b9 Cmaj7

3 (p.t.)

(p.t.) (p.t.)
5 (p.t.) (p.t.)

7 (p.t.) (p.t.)

(p.t.) (p.t.) (p.t.)

77
Ex. 9-1 cont:

D-7 G7b9 Cmaj9

* see note
(p.t.) (p.t.) (p.t.) (p.t.)
9 (p.t.)

(p.t.) (p.t.) (p.t.) (p.t.)

In classical music, a passing tone is said to be ACCENTED when it falls on a strong

beat instead of a weak beat (offbeat). However, due to the additive rhythmic nature of
jazz, what appears to be an upbeat on paper, can actually be a downbeat, so for the sake
of simplicity we'll just call these all passing tones.

Also, note in the last example how the note G is treated as a passing tone. Yes, it is the
root of G7b9 but remember, we are relating to the VOICING which is Ab, F, D, and B.
G is a passing tone between the Ab and the F, even though it is the root of the chord.

* Note - the C major 9 arpeggio “breaks out” of the voicing restriction shown on the
first line of example 9-1 on the previous page. This will be explained in a later chapter.

78
Neighboring Tones

Definition: When a non-harmonic tone is interpolated step-wise between two harmonic

tones of the same pitch, it is called a neighboring tone.

Ex. 9-2: Upper Neighbors

D-7 G7b9 Cmaj7

D-7 G7( 9) C 7

(u.n.) (p.t.) (u.n.) (p.t.) (p.t.)

(see note on p. 80)

(u.n.) (p.t.)
5

(u.n.) (u.n.) chromatic

When a note is approached stepwise from a harmonic tone and returns back to the har-
monic tone, it is said to be a neighbor tone. There are UPPER NEIGHBORS and
LOWER NEIGHBORS.

Notice how NEIGHBORING TONES offer a different shape in the melodic line than
PASSING tones.

All of the NON HARMONIC tones which follow in this course will offer different con-
tous to a melodic line which weaves through a voicing.

79
Ex. 9-3: Lower Neighbors

D-7 G7b9 Cmaj7

D-7 G7( 9) C 7

(l.n.) (p.t.) (p.t.)

(p.t.) (p.t.)
5 (l.n.)

(l.n.) (p.t.) (p.t.) (p.t.)

(p.t.)
9 (l.n.)

There are ACCENTED Upper and Lower neighbors - depending on which beat they fall.
See measure 7. It starts with an accented lower neighbor.

80
Appogioturas

Definition: If a non-harmonic tone is derived by leap and resolved step-wise

it is called an appogiotura.

Ex. 9-4:

D-7 G7b9#5 Cmaj9

(app.) (p.t.) (p.t.)

(p.t.) (p.t.)
5 (app.)

Escape Tone

Definition: If a non-harmonic tone is derived step-wise and leaps to a harmonic tone

it is called an escape tone.
Ex. 9-5:
D-7 G7b9 Cmaj7

(esc) (p.t.) (p.t.)

(esc)
5

81
Suspensions

Definition: If in the progression of two chords any of the tones of the first chord are
delayed from their normal step-wise melodic movement at the moment the second chord
appears, the non-harmonic dissonant effect is called a suspension.

Ex. 9-6:

D-7 G7( 9) C 7

4 3

(sus)
(p.t.)
3

(sus)
5

Suspensions can be tricky. A true suspension is a note that is prepared by one voicing,
and then the resolution of that one voice is delayed.

Look at the voicings up top. The C does not resolve to B when the G7 hits. This is
called a 4-3 suspension since the C is a 4th above G and it resolves to B - a 3rd above
G. The C is non harmonic when the G7b9 chord is played.

Students commonly confuse"sus4" type chords with true suspensions and don't under-
stand the process of "preparation and resolution" For example if we play beat 3 of the
first measure on this page, we get what could be referred to as G7b9sus4. However, it is
vital to see that we got to the voicing through preparing the suspension.

82
Anticipations

Definition: If in a progression of two chords any of the tones of the first chord move
stepwise to forecast the consonant intervals of the second chord,
the dissonance is called an anticipation

Ex. 9-7:
D-7 (ant) G7( 9) C 7

(ant) this “g”but

(ant, is not really)
an anticipation
(p.t.)
3 (p.t.)

Anticipations are the opposite of suspensions.

Anticipations essentially play a note of the harmony to follow before the harmony actu-
ally arrives. In the above example, the B melody (beat 2) is non-harmonic anticipation
against D-7, but it is held, and becomes a harmonic tone on the arrival of the G7 voic-
ing.

It "anticipates" the arrival of B natural in that voice. Notice that it left in a stepwise
manner from the C.

Keep in mind, as stated - due to the rhythmic nature of jazz, beat "One" can sometimes
look like it is falling in places other than "One" on paper. For example, the and of
Four is really "One" in many Jazz contexts. See the last example above.

83
Changing Tones

Definition: If a non-harmonic tone is derived step-wise and leaps an interval of a third

in opposite direction to another non-harmonic tone which is resolved step-wise the dis-
sonant tones are called changing tones.
Ex. 9-8:
9
D-7 G7 5 C 9

(app.) similar to c.t. figure

(c.t. figure)
(c.t. figure) (p.t.)
3

(c.t. figure) (p.t.)

(p.t.) (p.t.)
5

Here is a II-V-I with each change lasting a full measure. The line under it is written with this Harmonic rhythm.
7

(c.t. figure)
(c.t. chromatic) (c.t. chromatic) (c.t. chromatic)
10 (c.t. chromatic)

Even though the last line could be analyzed several ways, I have circled anything that resem-
bles a Chnging Tone figure. It’s as though once this “activity is set into motion” a melodic line
starts to “snake” all by itself.

Changing Tones are a melodic figure in which a note above, and a note below the harmonic
tone are played before the harmonic tone is actually played. Envision a little spiral resolving
into a desired note. Changing tones are that little spiral.

The figure can start either with the higher note followed by the lower note, or vice versa.

84
Look at measure 10 on the last system, of ex 9-8. The line starts C# E D# C# then D.
Normally one would ask "How the heck does that fit with D-7 ?"

But now you can see that it is simply a very embellished "spiral" targeting the D natural
on beat 3. Them's Changing Tones at work!

Here is another embellishment on the changing tone figure which uses a triplet figure as
a rhythmic “springboard”. Jazz musicians use this figure frequently; the changing tones
get us into the “C”:

Ex. 9-9: Changing tones with a triplet figure

Look at how changing tones can add interest to the notes of a C major triad:

Ex. 9-10: Changing tones embellishing a C major Triad (tones of the triad are circled)

Here are changing tones on the Cmajor triad as a Jazz Improviser might play. Notice
the embellishments with the triplet figure from Ex 9-9:

Ex. 9-11: Changing tones further embellishing a C major Triad

3
3

85
The Changing Tone figure is one that I use constantly! Do you see how this figure can
really make a line “snake” through the changes?

Pedal Point

Definition: If a series of chord progressions occurs a sustained bass tone, the sustained
tone is called a pedal point.

Pedal Points are used very frequently in jazz. It would be impossible to show every
example here.

Pedal Points get their name from organ music in which an organist could hold down a
bass pedal and play other passing harmonies in his hands against the static bass note.

A common pedal point is to hold the V root note as a pedal point while other harmonies
pass. Here is a simple I - IV - I - V - I progression with a pedal point on the V:

Ex. 9-12: Pedal Point

I IV I V I

G pedal Cmaj7

86
Here is a pedal point involving jazz harmony. Very often if you are reading a chart with
a pedal point you will see the regular chord changes written, and in addition you will
see instructions to pedal on a note, as in the next example:

Ex. 9-13: Pedal Point withJazz Harmony

D7 Cmaj7
Cmaj7 E maj7 D 7

G Pedal

Here is a melodic line against a pedal point, based on the previous example. Interest is
created by the temporary passing dissonances between the lines:

Ex. 9-14: Pedal Point withJazz Harmony in the Line

Cmaj7 E maj7 D7 D 7 Cmaj7

G Pedal

You are now ready to do the Homework for Chapter 9

87
Homework for Chapter 9

1. On a separate sheet of music paper, write 2 original II-V-I lines for each of the fol-
lowing II-V-I Progressions. Use Non-Harmonic Tones as well as Harmonic Tones.

Start by singing the descending arpeggios of the voicings to get the sound in your ears.
As you write the lines, let the melody guide you and write down what you hear. Always
write music “from the sound to the paper” and never “from the paper to the sound ”.

5th on top
D-7 G7b9 CMaj7
5

D-7 G7b9#5 CMaj9

D-7 G7b9b5 CMaj7

D-7 G13 CMaj9

You may now proceed to Chapter 10

88
Chapter 10 - Other Voice Leading Possibilities

Until now, we have been using what is called "First Conventional Method" for voice-
leading between harmonies whose roots are a 5th apart.

To review, the First Conventional Method states the following: When one triad progress-
es to another which has its root a 5th above or below the first, keep the common tone in
the same voice and move the remaining voices stepwise to the next triad tones.

Here is I - IV - I - V - I in the key of C. The top three voices are shown.

Ex. 10-1: First Conventional Method

I IV I V I

root: C F C G C

There are times when First Conventional Method can be too restrictive. Note how the
voicings stay within a very close range. What if we wanted to break out and switch reg-
ister with a larger leap up or down? Or what if the melody on the top of the voicings
did not allow this type of harmonization?

89
Second Conventional Method for Roots a 5th Apart

Definition: When one triad progresses to another which has its root a 5th above or
below the first, move the (three) upper voices in similar motion to the next triad tones.

Ex. 10-2: Second Conventional Method

I IV I V I

root: C F C G C

Observe the first I chord moving to the IV chord. Note that we did not keep the
common tone, C. All tones moved in similar motion to the soprano.

The IV returning to the I is in First Conventional Method.

The second I chord moves to the V chord in Second Conventional method.

The V chord moves to the final I chord of the progression using First Conventional
Method.

In a Jazz Context...
Here are 4 bars of voicings that we could use as a basis for soloing on the tune “All
The Things You Are” using First Conventional Method.

Ex. 10-3: First Conventional Method voicings on “All The Things You Are”

First Conventional Method:

F-7 B -7 E 7b9 A Maj7

90
Notice how Second Conventional Method allows us to make wider leaps in the
melody and move the voices in a logical manner:

Ex. 10-3: Second Conventional Method voicings on “All The Things You Are”

F-7 B -7 E 7b9 A Maj7

One can construct lines using Second Conventional Method as a basis for the voicings.
Here is a line based on a Second Conventional Method II-V progression.

Ex. 10-4: II-V Melody based on Second Conventional Method

D-7b5 G7+9+5

91
Dizzy Gillespie’s "A Night in Tunisia" Uses 2nd Conventional Method Voice Leading as
a basis for the melody on the bridge:

Ex. 10-5: “A Night in Tunisia” Bridge using Second Conventional Method

A-7b5 D7b9 G-7

You may now proceed to the Homework for Chapter 10

92
Homework for Chapter 10

1. On a separate sheet of music paper, write 2 original II-V-I lines for each of the fol-
lowing Second Conventional Method Progressions. Use Non-Harmonic Tones as well
as Harmonic Tones.

Start by playing and singing the descending arpeggios of the voicings to get the sound
in your ears. As you write the lines, let the melody guide you and write down what you
hear. Always write music “from the sound to the paper” and never “from the paper to
the sound ”.

F -11b5 B7+9+5 E-+7

B -9 E 7+5 A Maj9

Gmaj7
A-9 D9

D-7b5 G7b9 C-+7

You may now proceed to Chapter 11

93
Chapter 11 - Do You Beep When You Should Bop?

It's impossible through a book or even just one lesson to impart to you a rhythmic concept that
requires repeated training from a jazz master.

Many students nod their heads when they hear things played correctly, but to actually execute
musical ideas with the right inflections themselves is another matter completely. The study of it
requires years, and in fact it never ends. It grows and changes as one matures.

One of the biggest problems Jazz faces today is that many students have gotten really good at
learning all sorts of licks, but they are playing accents in the lines totally wrong. (This is due to
the “classical” approach with which many so-called “jazz educators” teach jazz.)

What happens when the accents are off is that the underlying groove is not heard even though
the notes are being played. Correct notes but no groove is a serious weakness in many players
today. Groove is not just “head rhythm” where in the confines of your ears and head you say
“hey that music has good time”...Groove is present in music that makes your body move by
tapping into a natural “body rhythm”. Stevie Wonder once wrote a lyric something like “Just
because a record got a groove, it don’t mean it’s got a groove...you can tell what the music’s got
to say when the people start to move”.

Usually players who have great licks but no groove have a small sound, and their time appears
to "rush". Then these players attempt to “remedy the disorder” through the artificial, outward
means of a metronome, to “slow them back down”. Because their focus is on the notes, and not
on the TIMBRE and GROOVE of what they are playing - they'll hit notes slightly wrong, and
miss the “pocket” entirely. “Right” by classical standards, and “Right” in terms of an African
Rhythmic touch are 2 entirely different versions of “Right”.

A line with incorrect accents are a flag waver that the player is not locked into a groove and is
playing on an “imitative” level. That will never produce world class jazz. No “bottom” can be
heard in that type of music, and guess what? Ultimately the music produced will sound like
jazz, but it won't feel like Jazz.

The public will know that they are not enjoying the music even if fellow musicians are
impressed! Even with tons of PR - that music is going nowhere!

My teacher Mike Longo defines jazz as “the marriage of European Harmony and African
Rhythm”. The touch you play jazz with cannot be a “classical” music touch!

So a “correct” solution of how to play a line on the guitar depends on what your definition of
correct is. Mine is that anyone hearing just the guitar line I am playing can hear the groove, the
whole groove and nothing but the groove - even through just a single melodic line.

94
A classically trained musician might sing the following accents to this line:

Ex 11-1: WRONG

D-7 G7

ta ta ta ta ta ta ta ta ta
ta ta
ta ta ta ta

Of course it sounds funny when sung. However, if a musician has developed a touch,
fingering system, and rhythmic concept based on classical music and training, the fin-
gers will say "ta ta ta".

Most people who claim to play Jazz and Classical can easily play the pitches correctly,
but play with a melodic/ rhythmic concept similiar to this. Of course there may be
exceptions.

Jazz lines executed with a classical concept are leaving out something very important -
the African Rhythmic Element!

Swinging Backwards

The first rhythmic level up from that is what my mentor, Mike Longo, humorously calls
"Swinging Backwards".

Dizzy Gillespie even wrote a whole tune called "He Beeped When He Should Have
Bopped" which pokes fun at an overly confident musician who "didn't know that he did-
n't know" the concept of accenting the music properly.

The Bad News: Strict alternate picking produces these incorrect, "inside out" accents,
and guitarists are among the GUILTY for playing lines with the wrong accents. Plenty
of musicians other than guitarists also play like this. It sounds plain corny.

The Good News: Now You Know!

Ex 11-2: WRONG
D-7 G7
4

be da be da be da be da be be be da be
da da
95
Note: Many musicians who lack the true rhythmic skill for the bebop concept will
sometimes learn all sorts of "outside" harmonies to mask the truth of their playing with
the accents backwards. Even if their time is metronomically correct, their "beat" or
"groove" can be turned inside out and be 100% wrong. In addition, Jazz educators who
swear by metronomes for their students are grossly misleading them because a
metronome gives no guarantee that the accents will be right.

I hear a lot of music these days which is imitative of John Coltrane, Mccoy Tyner,
Herbie Hancock and others with a "da be da be" concept. I.E, if you took the pitches
away, you'd hear "da be da be da be". I adore the playing of the masters I just men-
tioned - and the type of player who imitates them is not doing what they really do!

The fault lies on Jazz Educators for teaching only the "notes" and giving A ++'s for imi-
tation. In reality, the wrong rhythmic concept would get you a face full of tomatoes at
the Apollo Theater in former years.

Correct Accents Within The Line

Ex 11-3: RIGHT!
D-7 G7
7

oo ba d o o ba d o o ba oo ba
ba d a n g oo d a n g oo bang
doo

Can you hear how these accents make the groove sit in a different place? A deeper
place? Sing the Examples 11-2 and 11-3 back and forth and ponder this!

The next thing to ponder is - How do you get the second concept on guitar? Is it possi-
ble? (Yes - Wes Montgomery Did It!)

My favorite guitarist is Wes. Many think he had this great tone because of the thumb.
WRONG! He had the accents right, and this led to a depth of tone. I have heard many
thumb style guitarists and they still played "da be da be". When you hear and love Wes
you are hearing "CONCEPT". You are hearing lines played with the right rhythmic
concept, accents and melodic concept. Every one of his lines beeps and bops perfectly.

96
Bebop is a Concept - Not Licks or a Style

Many musicians think that Bebop is a style, or a set of licks. They could not be more
wrong. Coltrane, McCoy Tyner, Miles Davis, Herbie Hancock - are all playing bebop.
It is a melodic / rhythmic concept.

Spitting back licks played by bebop masters with the wrong accents is meaningless
musically and shows that the approach taken thus far was incorrect. Sorry, but that's the
truth.

The WHOLE GROOVE should be heard in your improvised melodies. GROOVE is

Much more than "good time". It actually makes people's feet and bodies move all by
itself.

Most musicians who say “Bebop is Old” are getting their their butts kicked by it! The
secret on them is out - they can’t figure it out! So they put it down and criticize musi-
cians who can actually grasp it!

Bebop, when played properly is ever new, ever fresh, and always RIGHT NOW in
the present moment!

Putting the Line on the Guitar (and in Your Ears)

Ex 11-4: RIGHT (again)

D-7 G7
7

oo ba d o o ba d o o ba oo ba
ba d a n g oo d a n g oo bang
doo

The first thing to notice is the Ba-oo of the first 2 notes. The accent falls on the "Ba". If you pick those notes
"up - down" you put the accent on the D and that won't sound right. That would make it sound like "bee-da"

When it's played properly you play the C# with the accent, not the D. It's like you are playing "1" in a place
that's not "1" on music paper - it’s the and of “4” on paper but it’s really “1” in jazz!

The difficulty lies in the following: Classical notation, technique and fingerings are a western concept but
African Rhythm is an Eastern concept. Jazz is not just the marriage of Western Harmony with African
Rhythm - it's actually the baby of the marriage because it is a brand new musical force. Western notation
can’t really describe jazz accurately.

So, what are our alternatives to alternate picking? (These are the tools which will help you ‘beep and bop’
properly and break you out of 'Da Be Da Be')

97
How To Get Different Accents In Your Line

1) Slides
2) Hammer ons
3) Pull offs
4) Pick down on an upbeat
5) If you are improvising, leave space and have a rest in the music or sustain a note

Let's start by picking DOWN on the first C# and sliding to the D. Finger it on the B
string 2nd fret sliding to 3rd.

(Depending on the situation and tempo the C# could be played with an upstroke.
However - the vital thing to grasp is it's slur into the next note to get the sound of Ba-
oo)

Ex 11-5:

Down Stroke Sign

10 1- 1

ba oo

Notice that the C# to D immediately sounds like "Ba - oo", not "Be Daa"
when you play it with the proper fingering.

Let's figure out the next "Ba-oo" on the F going to the E.

Ex 11-6:

pull off

1 -1 4 3
13

ba oo ba oo

98
Next we'll need to make sure the last 2 notes end sounding like 'Doo-Bang" not "Da-
Be". In this case we'll need to do 2 downstrokes in a row.

Obviously the faster the tempo, the trickier this is. Ending with an upstroke is wrong
and would be a classic example of "You Beeped When You Should Have Bopped"

Ex 11-7:

1 -1 4 3
16

ba oo ba oo doo bang

Sing the last example ending with "Da-Be" just to hear it wrong, then compare it to ending with "doo-bang".
Sing the example 11-7 ending with "Da-Be" just to hear it wrong, then compare it to
ending with "doo-bang".

Now let's use alternate picking as a tool for playing the in-between notes. Numbers in
circles indicate the string to be played.

Ex 11-8:

2 1 2 3 1

1 3 1 4
1- 1 3 4 4 3 1 4 21 1
19 32

ba d o o ba ba oo ba oo
ba oo doo d a n g oo dang doo bang

Once you have a fingering that sits in the groove, you can then proceed to practicing
and digesting the II-V-I line.

99
Chapter 12 - How To Digest and Practice II-V-I Lines

Learn to play the following line on the guitar:

Ex 12-1:

2 1 2 3 1

1 3 1 4
1- 1 3 4 4 3 1 4 21 1
19 32

ba d o o ba ba oo ba oo
ba oo doo d a n g oo dang doo bang

Next, set a groovy medium swing tempo and play it in a descending cycle over these
changes. If possible, you can just play it down 2 frets each time the key changes to play
it a whole step lower. When you run out of room on the fretboard, skip to the next set
of strings down.

Think of this as training which saturates your eyes, ears, fingers and musical intuition
with the line. Don’t go for speed - go for groove and “pocket” so that everyone can hear
the “groove” within the line.

In a real playing situation NEVER stick this lick or any other licks in. Any line that you
study and practice in the manner you are learning here is for practice only! As you
digest it, it will become a “reference point” for you, but more than likely it will emerge
in your playing with many variations, depending on your musical surroundings at the
moment.

Ex 12-2: Play the line through the following cycle, several times in order to digest it. Also, play it in
every possible register on the instrument.

II-V's decscnding in Whole Steps

4 D-7 G7 C-7 F7 B -7 E 7

10A -7 D 7 G -7 B7 E-7 A7

100
This is the same idea, but you’ll hit all the keys that the previous cycle did not have:

Ex 12-3: Play the line on these changes

16 E -7 A 7 D -7 G 7 B-7 E7

22 A-7 D7 G-7 C7 F-7 B 7

This is much trickier to hear. It Descends in Half Steps:

Ex 12-4: Play the line on these changes

3
28 D-7 G7 D -7 G 7 C-7 F7

34 B - 7 E7 B -7 E 7 A-7 D7

40A -7 D 7 G-7 C7 G -7 B7

46 F-7 B 7 E-7 A7 E -7 A 7

101
Take a look at the next II-V-I line. Sing it, and find where the accents lay, then finger it
on the guitar (hint - sing Ba-oo on the first 2 notes).

Ex 12-5:

D-7 G7 9 CMaj7
52

use downstrokes

Now try it over a different cycle. This is similar to the second half of Coltranes “Giant
Steps”. It is II-V-I’s ascending in Major thirds.

Ex 12-6:

55 D-7 G7 CMaj7 F -7 B7

EMaj7
58 B -7 E 7 A Maj7

Once you have the "hang" of putting these lines through the changes in these exercises,
you can use these progressions as an aid to help digest new lines.

II-V progressions and II-V-I progressions can be found in these cycles in many tunes.

The Whole Step Cycle can be found in “Cherokee” for example. The Half Step Cycle
can be found in Sonny Rollins’ “Airegin”.

John Coltrane started experimenting with uncommon but very beautiful progressions in
tunes like “Lazy Bird”, “Moments Notice” and many other tunes. He then started
experimenting with the “Giant Steps” chord changes which will be discussed later on in
this book.

102
II-V-I in a Minor Key

Usually when you encounter a II-V-I in a minor key, the II chord is a Minor 7 b5 chord
and the I chord is minor (the I chord can be a minor 6, minor +7 or minor 7 chord
depending on the ‘mode’ of minor that the music is in)

All of the voicing combinations that you have encountered in the first part of this book
could actually be done in the minor key!

Take a look at how voicings, voice leading and Harmonic Melodies can be translated
from major to minor, or vice versa. (Watch the key signatures and accidentals below!)

As you learn and practice lines you like, see if you can convert them to minor by
changing just a few notes, but keeping the structure and logic to the voicings and line
the same.

Ex 12-7: Voicings and a line in the key of C Major

D-7 G9 Cmaj9

Ex 12-8: The same voicings and line can easily be converted to minor and still make sense

key of C minor

D-7b5 G7b9 C-+9

103
Rhythmic Variations in the II-V and II-V-I Progression

Sometimes you’ll encounter just a II-V progression without a I chord:

Ex 12-9:

D-7 G7b9

Sometimes you’ll encounter just a II-V-I progression with a I chord:

Ex 12-10:

D-7 G13b9 Cmaj9

104
Sometimes the II-V will get 2 beats per chord change and the I chord will get 4 beats:

Ex 12-11:

D-9 G13b9 Cmaj9

Sometimes the II-V- will get 4 beats per chord change and the I chord will get 8 beats:

Ex 12-12:

D-7b5 G7+5
C-+7

105
Homework for Chapter 12

1. Play the following II-V-I line in descending whole steps, starting on D-7.

2. Play the following II-V-I line in descending whole steps, starting on Eb-7

3. Play the following II-V-I line in descending half steps, starting on D-7.

D-7 G7 9 CMaj7
52

I have written out several II-V-I lines for you here. These are all lines I might actually
play in a real life situation.

I have not included any fingerings or slur marks, as that is very personal, but I urge you
to consider all that has been discussed in this chapter.

I have shown the voicings used as a basis for each line. Here is your assignment:

5. Analyze all the harmonic and non-harmonic tones.

6. Experiment with these lines on the guitar. For lines that you like, put them through
the “digestion process” as in steps 1, 2, and 3 of this Homework assignment.

D-9 G13b9 Cmaj9

106
D-9 G13b9 Cmaj9

D-9 G13b9 Cmaj9

D-7 G13b9 Cmaj9

D-7 G7b9

107
D-7b5 G7b9

D-7 G9

D-7b5 G7+5
C-+7

D-7 D-9 Cmaj9

108
D-7 G13 G9+5 Cmaj9

You may now proceed to Chapter 13.

109
Chapter 13 - The Importance of Transcription

“Music transcription” (also known as “dictation”) is when one hears music played and
writes it down in notation. It is the best ear training I have ever encountered.

Developing transcription skill is a lot like drawing. If you were learning to draw you
would have to confront putting an apple in front of you, and with just a pencil and paper
draw what you see. Sure, everyone can see the apple - but only a trained artist can
process the information, put it down on paper, and make it look beautiful.

Why should you work on ear training and transcription? Here’s what you’ll get out of
it:

* You will know what jazz masters were playing and why
* If you hear something you like, you’ll know what it is
* You’ll get lightning fast ears and be able to identify and/or play back exactly what you
are hearing

My first transcriptions took weeks. I had to struggle through solos, stopping and
rewinding cassette tapes until they wore out. I had to check every note against a key-
board or guitar.

Gradually, it got faster and now I can transcribe most jazz solos without the aid of an
instrument - just pencil right to the paper.

I NEVER set about to learn anyone’s solos on my instrument. I sought to learn “how”
and “why” masters did what they did rather than spit back “what” they did.

I would always experience something incredible after doing transcriptions for hours -
there would be a “leap” in my jazz conciousness. I’d sit down to play or do a jam ses-
sion, and all new kinds of things would just come out, as if by magic.

I still keep my old transcription notebooks to show and inspire students. You can see
the “chicken scratch” musical handwriting get neater as I did more and more...

110
When I started having musical ideas of my own - I found that I had this wonderful skill
which enabled me to write down what I was hearing. This time it was music in my head
instead of music played by someone else!

I can’t stress the importance of ear training and transcription enough. It will just make
you a more intelligent, literate musician!

Transcribe whatever turns you on - but be vigilant! If something turns you on, make a
note of it and sit down, bang your head against the wall, and figure it out! No amount of
purchased transcription books will ever help you as much as taking down one solo by
yourself!

One of the things you will come to appreciate is that most of what musicians are playing
is probably already familiar to you, and it is their beautiful craft - their lyricism, swing,
and touch - that speak to you through those solos.

I would always make notes like “oh wow - look at how he approached a II-V-I starting
on the 7th of the II chord” for example. So while I did not learn lines from transcrip-
tions on my instrument, I always gleaned concepts from them.

You may now proceed to the Homework for Chapter 13

111
Homework for Chapter 13

Transcribe one II-V-I line from each of the following jazz masters:

Charlie Parker

Dizzy Gillespie

Miles Davis

John Coltrane

Sonny Rollins

Oscar Peterson

Clifford Brown

Sonny Stitt

Cannonball Adderly

Lee Morgan

McCoy Tyner

Wes Montgomery

Hank Mobley

Dexter Gordon

Wynton Kelly

James Moody

112
Chapter 14 - Formulas

So far we have focused on the II-V and II-V-I progression One can think of the II-V-I
as a “formula”. This helps jazz musicians think in bigger “blocks” of chord progres-
sions.

For example if you saw the following and thought of each chord change as an isolated
event, you would have to remember 9 events, which is quite a lot:

Ex 14-1: Seeing each chord as an isolated event - too much work

C#-7 F#7 | B Maj7 | B-7 E7 | A Maj7 | A-7 D7 | G Maj7

But since you can think of a II-V-I as a convenient “hunk” you would only need to
remember 3 events, not 9

Ex 14-2: Seeing each II-V-I as a “fomula” - much simpler

C#-7 F#7 | B Maj7 | B-7 E7 | A Maj7 | A-7 D7 | G Maj7

II-V-I in B II-V-I in A II-V-I in G

A II-V-I formula need not be the actual II-V-I of the key that the music is in. For
example, here is a II-V-I “formula” going into a IV chord on bar 5 of an F blues.
II-V-I Formula
F7 | Bb7 | F7 | C-7 F7 | Bb7
I IV I I IV

The real role of the C-7 is to be a II in the II-V-I “formula” that moves us into the IV
chord. We would call the above a “II-V-I formula” even though it is not based on II-V-
I in the key of F. I would not think of the C-7 as a minor V chord, even though that is
what it technically is.

113
The 3 “Core” Formulas in Jazz Harmony:
1.The II-V-I Progression
2. The Turnaround
3. The Cadence Formula

Since we’ve been covering the II-V extensively, let’s look at The Turnaround and The
Cadence Formula.

The Turnaround
You may have played or heard songs with the following progression:

C Amin Dmin G7

Many many tunes have progressions like this. In roman numerals it looks like:

I VI II V

It’s called a turnaround since it can just keep “turning around” and continually end up in
the same place. For example, many tunes like “Blue Moon” “Earth Angel” and others
have several consecutive turnarounds :

C Amin Dmin G7 | C Amin Dmin G7

forever and ever...

As you learn tunes, it is very useful to “spot” turnarounds as one of the formulas so that
you can negotiate a nice big “hunk” of music with just one thought.

Another closely related and very important variation on a turnaround is

III VI II V

Which would sound like:

Emin Amin Dmin G7

114
The III-VI-II-V progression is very common as well. Since the function and sound is so
similar, I classify these in my mind as a turnarounds. The only difference is that we
start on a III chord instead of a I chord:

Emin Amin Dmin G7 | Emin Amin Dmin G7 (etc)

The Cadence Formula

A cadence literally means “a stoppage of motion”. There are several types of cadences,
but for now let’s say a very common cadence is a V-I progression where the musical
motion “stops” on the I chord.

The Cadence Formula helps keep a “stoppage of musical motion” afloat. Play the fol-
lowing at a balllad tempo and watch how it feels like the music starts to “sink”.

Ex 14-3 With only a I chord, the music “sinks” in this particular situation

CMaj7 CMaj7 CMaj7

second phrase starts here

Note how the insertion of a V chord keeps the music afloat in 2 places:

Ex 14-4 Using the I-V-I cadence formula, the flow of the music is better

CMaj7 G13 CMaj7 G7+5 CMaj7

second phrase starts here

115
Cadence Formulas need not neccesarily use the actual I chord and V chord of a key.

For example a tune in C major might have a long stretch of an A minor chord, yet be in
the key of C.

One could use a cadence formula to keep the A minor afloat with some type of E7 voic-
ing, even though the key of the music is C major at the time.

Other Devices: Secondary Dominants and

Tritone Substitutions

Sometimes you’ll want to add color to II-V-I’s, Turnarounds and Cadence formulas. As
well, you might read through new tunes and stumble upon changes that appear foreign
to the key you are in.

Here are 2 of the most common devices you’ll find being used when you encounter
chords which appear to not belong to the key.

Please don’t let this confuse you. This is the type of thing that can be very confusing at
first, but after you get some real life playing experience it will be second nature.

Secondary Dominants

You may see something that looks like a turnaround due to the roots of the chord, but
with dominant seventh chords which appear to not belong directly to the key:

CMaj7 A7 D7 G7

(A7 and D7 do not belong directly to the key of C Major)

116
Have we left the key of C? Absolutely not. A convenient way to analyze this is to refer
to the 7th chords not belonging to the key of C major as secondary dominants. One
would analyze it thus:

I V of II V of V V

written - I V / II V/V V

Basically we are saying thet the A7 is a dominant 7th chord which points to what would
normally be the II chord. It is called a V of II, written V/II.

It would not be correct to call it a VI chord because of the presence of the C# in the A7
voicing, which is why we call it a “secondary dominant” A VI chord in C would be an
A Minor chord.

Likewise, the D7 is a dominant 7th chord points to the Vchord so it’s called a V of V or
V/V. It’s not a II chord because a II chord would be D minor.

Secondary Dominants often give a bluesier sound than the straight diatonic 7th chords
right out of the key.

Tritone Substitutions:

Sometimes you’ll see a chord that looks extremely foreign to the key. For example you
might see:

D-7 Db7 | Cmaj7

This does look very much like a II-V-I in C, doesn’t it? It is, except the Db7 is a substi-
tute for the G7. We have not left the key of C major.

It’s actually very simple. Let’s refer back to the 7-3 “shell” that you learned earlier:

Ex 14-5:
D-7 G7 CMaj7
7 3
7

3 7 3

117
A Db7 chord and a G7 chord share the exact same notes for the 3rd and 7th shell, except
the 3rd and 7th get swapped. The 3rd of the G7 chord would be the 7th of the Db7, and
the 7th of the G7 chord would be the 3rd of the Db7.

Play the following example:

Ex 14-6:

G7 Db7
3rd 7th

7th 3rd

Now play the following 7-3 shell, and add the bass notes below the shell as well so that
you can hear the Db7 in the progression more clearly:

Ex 14-7:
D-7 Db7 CMaj7
7 7
7

3 3 3

The motion of the shell voices is exactly the same. Since Db is a Tritone (b5) away
from G, we call this type of substitution a tritone substitution.

The 7-3 shell “swap” of a tritone substitution is really just the beginning. Almost any
chord can be substituted for another chord whose root is a tritone away, regardless of
chord quality - so it need not necessarily be a dominant 7th chord that you are substitut-
ing for. The ear needs to judge if the substitution is in good taste.

For Example

D-7 G7+5 | Cmaj7

Ab13 G7+5 | Cmaj7

Ab13 can be a substitute for D-7 even though the 3rd and 7th don’t match exactly.

118
Tritone subs are used with Cadence formulas all the time in jazz. Here is an example of
Cadence Formula that we used earlier in this chapter:

Ex 14-8:

CMaj7 G13 CMaj7 G7+5 CMaj7

Here’s how we could use tritone subs in this progression:

CMaj7 Db9 CMaj7 Db9+11 CMaj7

This type of progression can be found in:

Billy Strayhorn’s “Lush Life”

Monk’s “Well You Needn’t”
Dizzy Gillespie’s “A Night In Tunisia”

You may now proceed to the Homework for Chapter 14

119
Homework for Chapter 14

1. Here is the first 8 bars of chord changes to John Coltrane’s “Lazy Bird”. Indicate
where there are II-V or II-V-I formulas.

A-7 D7 C-7 F7 F-7 B 7

Gmaj7 A -7 D 7
E Maj7 A-7 D7

2. Here is the first 8 bars of chord changes to George Gershwin’s “I Got Rhythm” -
referred to by jazz musicians as “Rhythm Changes”. Indicate where there are
Turnarounds and /or II-V or II-V-I formulas.

B 13 G-7 C-7 F7 D-7 G-7 C-7 F7

F-7 B 7 E maj7 Edim C-7

D-7 G-7 F7

3. Here is the first 8 bars of chord changes to Sonny Rollins’ “Airegin”. Indicate where
there are Cadence Formulas and /or II-V or II-V-I formulas.

F-6 C7b9 F-6 C-7 F7b9

B -6 F7b9 F-7 B 7
B -6

120
4. Here is the first 8 bars of “Rhythm Changes” once again. On a separate sheet of
manuscript paper, come up with substitute changes using secondary dominants. For
example, you could use a G7b9 in the place of the first G-7 in bar 1.

B 13 G-7 C-7 F7 D-7 G-7 C-7 F7

F-7 B 7 E maj7 Edim C-7

D-7 G-7 F7

5. Using the new chord changes that you just wrote based on the progression above, find
3 places in which you can use tritone substitutions to add color to the progression.

You may now proceed to Chapter 15

121
Chapter 15 - Constructing Lines
on “Rhythm Changes”
Many students ask "how and what do I play on Rhythm Changes?" I’ll attempt to give
you some insights in this chapter.

“Rhythm Changes” is a term used for the chord changes to George Gershwin’s “I Got
Rhythm”. Charlie Parker, Dizzy Gillespie and many other jazz musicians have written
their own tunes based on “Rhythm Changes”. Some better known Rhythm Changes
tunes are Anthropology, Dexterity, Shawnuff (Charlie Parker), Ow (Dizzy), Oleo (Sonny
Rollins), and The Eternal Triangle (Sonny Stitt).

In fact, when jazz musicians would do gigs where they played lots of Rhythm Changes
tunes and 12 Bar Blues based tunes, they would call the gigs “R& B” gigs. The term
“Rhythm and Blues” actually referred to “Rhythm Changes and Blues Changes” .

I remember as a student seeing several jazz instruction books that contained wonderful
solos, but the attitude of the books were “Here are some solos. Play em, somehow it’ll
rub off into your playing - memorize the licks, try to kind of understand it, see you
later”.

The problem is that it’s not enough to play stuff that sounds good and not understand
why it sounds good. You need to know HOW and WHY lines are put together - so you
can create your own!

There are many different approaches one can take on Rhythm Changes, but we’ll look at
the approach of weaving through the voicings. Here’s a line on a Rhythm Changes “A”
section. Let’s start by hearing it, and then see how the line evolved out of voicings:

Ex 15-1: An improvised line on Rhythm Changes -play it and listen to it first

H
73

122
That’s the type of line I may improvise. The next question is - what was the “thought
process” behind it?

Here are the voicings that the line was built off of. Either play these on the piano or
arpeggiate them from the top down on your instrument, just to familiarize yourself with
the sound.

Ex 15-2: the voicings as the basis for the line

9
B 7 G7( 9 ) C-9 F7 5 B 7 G-11 C-7 F13

9
F-11 B 9 E -9 D-7 G7( 9 ) C-9
5 E 7 F7 5

What follows in Ex 15-3 is a simple “skeletal” melody derived from the voicings shown
above. Play or sing it several times to hear and perceive how the line emerged from the
voicings.

Do not simply “look” at this. Digest it visually, aurally and intellectually.

Ex 15-3: a skeletal melody from the voicings shown above

123
Let’s add non harmonic tones and syncopation to the “skeletal” line so that we can see
every phase of it’s “evolution”.

For now, use your intuition to see and hear the logical evolution from one example to
the next. A full analysis of the non-harmonic tones will be shown at the end of this
chapter.

Ex 15-4: Adding syncopation and non-harmonic tones to bar 1

When you have successfully digested the melody in Example 15-4, you may proceed.

Ex 15-5: Adding syncopation and non-harmonic tones to bar 2

B
25

When you have successfully digested the melody in Example 15-5, you may proceed.

124
Ex 15-6: Adding syncopation and non-harmonic tones to bar 3

When you have successfully sung the melody in Example 15-6 you may proceed.

Ex 15-7: Adding syncopation and non-harmonic tones to bar 4

D
41

When you have successfully sung the melody in Example 15-7 you may proceed.

Ex 15-8: Adding syncopation and non-harmonic tones to bar 5

When you have successfully sung the melody in Example 15-8 you may proceed.

125
Ex 15-9: Adding syncopation and non-harmonic tones to bar 6

F
57

When you have successfully sung the melody in Example 15-9 you may proceed.

Ex 15-10: Adding syncopation and non-harmonic tones to bar 7

G
65

When you have successfully sung the melody in Example 15-10 you may proceed.

Now sing Example 15-11, the finished line.

Ex 15-11: Adding syncopation and non-harmonic tones to bar 8

H
73

126
Now that you have the sounds in your ears, look at the line next to the voicings and
“see” how they are related:

Ex 15-12: The line shown next to the voicings with non-harmonic tones labeled

A (c.t.)
(p.t.) (ant) (ant) (p.t.)

9 3
B 7 G 7 ( 9) C-9 F7 5 B Maj9 G-11 C-7 F13

(ant of
(p.t.) (ant) (ant) (ant) BbMaj7)
(ant) (app.) (p.t.)

9
F-11 B 9 E -9 D-7 G 7 ( 9) C-9
E 7 F7 5

The possibilities of which voicings to choose is endless, and the lines you could create
on any one set of voicings is endless as well.

The “form” of Rhythm Changes is [ A ] [ A ] [ B ] [ A ]. Each “section” is 8 bars in

length. All the [ A ] sections have similar, if not the same, chord changes.

Rhythm Changes Bridge

The [ B ] section, also referred to as the “Bridge” has different chord changes than the
[ A ] section. Here is the most basic version of the changes to the Bridge:

Ex 15-13:
D7 G7

C7 F7

127
One of the innovations of Dizzy Gillespie and Charlie Parker was to add “Harmonic
Rhythm” by breaking up stretches of dominant chords by adding a II chord in front of
them. This would result in a II-V Formula occupying the space of where just a V had
been.

Harmonic Rhythm is the “rhythm of the harmony”. In the previous example there
were 8 beats per chord change (2 measures). In the following, we have added harmonic
rhythm and each chord change gets 4 beats. This adds some forward “propelling
motion” to the music.

Ex 15-14:

D7 D-7 G7
A-7

G-7 C7 C-7 F7

This can even be taken a step further by adding even more harmonic rhythm. Notice
that there is now rhythmic motion at the end of each two bars that propels us into the
next 2 bars. This is known as “motion into a strong beat”.

The concept of “motion into a strong beat” has been around since the early days of
classical music. In classical music beats 1 and 3 are strong, and that is why we are
using motion to drive towards beat “1” of each 2 bar grouping.

Ex 15-15: Adding Harmonic Rhythm to get motion into the strong beat

rhythmic motion strong beat

A-7 D7 D-7 D -7 G7
A-7

G-7 G-7 C7 C-7 F7

C-7

128
Here is a line I would improvise on the changes shown in the last example. I have
shown changes above the line below to illustrate which voicings I was referring to when
creating the line.

Ex 15-16: An improvised melodic line on the bridge to Rhythm Changes

D7 A-7 D 7b9 G9 G7b9 G 7 + 5

G-7 C13 C-11 3 C-9 F7+5

G -7

Here are the voicings the line was based on:

D7 A-7 D7b9 G9 G7b9 G7+5

G-7 G-7 C13 C-11 C-7 C-9 F7b9+5

You may now proceed to the Homework for Chapter 15

129
Homework for Chapter 15

Here is a full one chorus improvised solo on “Rhythm Changes”. The first [ A ] section
and the [ B ] section were covered in the chapter.

You’ll see 2 clefs. The top one has the improvised line and the bottom one shows the
voicings that were used as a reference point for the line. As you’ll recall in example 15-
12 you saw an analysis for all the non-harmonic tones of the [ A ] section. In the same
manner...

1. Circleall of the non-harmonic tones of the entire piece and label them by function.
(Refer to Ex 15-12 if you are unsure):

Hint: Use your ears more than your eyes!

9 3
B 7 G 7 ( 9) C-9 F7 5 B Maj9 G-11 C-7 F13

9
F-11 B 9 E -9 D-7 G 7 ( 9) C-9
E 7 F7 5

B 6 G-7 C9 F9 B 7 G9+5 C-7 F13

130
3
F-7 B 13 E 6 Edim7 C-7 F7 B 6

D 7 A-7 D7b9 G9 G 7b9 G 7 + 5

3
G-7 G - 7 C13 C-11 C-7 C-9 F7b9+5

B Maj9 G-9 C-7 F13b9 D-7 G7b9 C-7 F7b9

F-7 B 7b9 E Maj9 E -7 C-7 F13 B 6

131
2. Write 2 original 8 bar melodies based on the following voicings:

9
B 7 G7( 9 ) C-9 F7 5 B 7 G-11 C-7 F13

9
F-11 B 9 E -9 D-7 G7( 9 ) C-9
5 E 7 F7 5

3. Write a set of original voicings based on the [ A ] section to Rhythm Changes and
write two 8 bar melodies based on the voicings you come up with.

4. Write 2 original 8 bar melodies based on the following voicings:

D7 A-7 D7b9 G9 G7b9 G7+5

G-7 G-7 C13 C-11 C-7 C-9 F7b9+5

5. Write a set of original voicings based on the bridge to Rhythm Changes and write
two 8 bar melodies based on the voicings you come up with.

You may now proceed to Chapter 16.

132
Chapter 16 - Improvising on
Coltrane’s “Giant Steps”
The tune “Giant Steps” by John Coltrane opened up a new “sound” in jazz. It is very
beautiful, but at the same time, very challenging. The impoviser is required to play lines
which outline harmonies that change very rapidly.

The “cycle” that Giant Steps is known for has 3 key areas that descend in Major 3rds.
Starting in the key of B, we’d go to the key of G then the key of Eb:

Ex 16-1: Key Areas in the Giant Steps Progression

B major

Eb major G major

If we were to land on a I chord with each key arrival and preceed each I chord of the
key key with a V chord, we’d have a progression that would look like this:

Ex 16-2: Preceeding each I chord with a V chord

B maj 7

F#7 (V of B) D7 (V of G)

Eb major G maj 7

Bb7 (V of Eb)

133
One could write volumes about the beauty of the mathematics present in this progres-
sion! However, my goal is to get you started playing on these changes. Once you
investigate them for yourself the mathematical beauty will reveal itself to you.

Usually when people learn to solo on Giant Steps they just build lines off the bass notes.
That's perfectly acceptable - in fact that was used a lot by Coltrane himself on the clas-
sic recording.

Keep in mind though, that it is only one kind of contour. And, it is a “Bottoms-Up”
approach which you will ultimately find limiting - so it should be one of several
approches that you could take.

Ex 16-2: Typical line on Giant Steps

Bmaj7 D7 Gmaj7 B 7 E maj7

There is a whole universe of possibilities if we refer to voicings like these as the basis
of lines.

Take a look at these voicings (and a listen).

Ex 16-3: Giant Steps Voicings

BMaj7 D13 GMaj7 B 13 E Maj7

Now look at this simple melody which comes right out of the the voicings. Passing
tones have been circled.

Ex 16-4: A line based on the voicings from Ex 16-3

BMaj7 D13 GMaj7 B 13 E Maj7

134
Here’s another line - similar in content but with a different contour, also derived from
the same voicings. Passing tones have been circled.

Ex 16-5:

BMaj7 D13 GMaj7 B 13 E Maj7

Here is another set of voicings, and a line derived from them. Passing tones have been
circled.
Ex 16-6:

BMaj7 D7 GMaj7 B 7 E Maj7

Yet another set of voicings, and a line derived from them. Passing tones have been cir-
cled.

Ex 16-7:

Another Possibility:
BMaj6 D7 GMaj6 B 7 E Maj9
21

135
Adding Syncopation
The lines I have shown so far are simply 8th note runs, without any deviation in the
rhythm. It is useful to practice these in order to get the fingers to learn where the runs
lay on the fingerboard, and get the melodic possibilities into your ears.

However, in a playing situation - gig, recording you should always play phrases that
groove and breathe when you play any tune - even Giant Steps.

There is a tendency for younger players to play nothing but 8th notes once they have
some patterns down under the fingers.

Playing nothing but “breathtaking 8th notes” without playing “phrases” is often
indicative of an ego trip, and players who do it are usually trying to impress other
musicians instead of play music for an audience.

So while it is good to learn this “run” as a reference point when you practice, you
MUST prioritize “swinging” even on a tune like Giant Steps:

Ex 16-8: Straight 8th note line - sounds like “da be da be”, phrasing audience gets BORED if
they hear this all night...

BMaj7 D13 GMaj7 B 13 E Maj7

Ex 16-9: A more syncopated line based on the same run - audience FEELS THE GROOVE!

B maj7 D9 Gmaj7 B 9 E maj7 A-7 D7

136
Here is a one chorus solo on Giant Steps along with the voicings that were used as a
basis for the lines. Sing or play the solo, and take note of how the lines emerged from
the voicings:

Ex 16-10: Chorus one of a Giant Steps Solo (medium swing)

BMaj7 D13 GMaj7 B 13 E Maj7 A-7 D9

GMaj7 B 13 E Maj7 F 13 F-7 B 9

BMaj9

E Maj7 A-7 D9 Gmaj7 C -7 F 9

anticipation- this is the first

note of the next chorus!

BMaj7 F-7 B 13 E Maj9 C -7 F 7b9

137
Here is a second chorus which flows right out of the first one, using different voicings
as a basis (Note that the last F# of example 16-8 is the first note of the first phrase on
this page - these should be played / sung / heard back to back):

Ex 16-11: Chorus 2 of a Giant Steps solo

B6 D13 GMaj7 B 13 E Maj9 A-11 D9

GMaj7 B 13 E 6 F 13 F-9 B 7b9

BMaj7

C -9 F 7b9
E Maj7 A-9 D7b9 Gmaj7

ant. of Bmaj7

BMaj7 F-7 B 13 E Maj9 C -9 F 7b9+5

138
Note how the run in example 16-6 is syncopated and used as the opening statement for
this solo:

Ex 16-12: Another possible opening for a Giant Steps solo

BMaj6 D 7 G M a j6 B 7 E Maj7 A-7 D 7

G Ma j 6 B 7 E Maj6 F 7 BMaj7 F-7 B 9

E Maj7 A-11 D 7 G M a j7 C -7 F 13
10

BMaj9 F-9 B sus13 E Maj9 C -9 F 7b9+5

139
Homework for Chapter 16

1. Analyze and label the non-harmonic tones in Examples 16-8 16-9 and 16-10.

2. Using the voicings supplied in 16-8 write your own two chorus “solo” on Giant
Steps.

3. Learn the following runs on guitar in 12 keys and in different registers on the instru-
ment. Find fingerings that feel right for you:

BMaj7 D13 GMaj7 B 13 E Maj7

140
4. Play this syncopated line using downstrokes where you see accent marks.

B maj7 D9 Gmaj7 B 9 E maj7 A-7 D7

5. Using your sense of musicality and groove, play your own syncopated variations on
the runs shown on the last page in #3 of this chapters homework assignment.

Here’s an example:

BMaj6 D 7 G M a j6 B 7 E Maj7 A-7 D 7

GMa j 6 B 7 E Maj6 F 7 BMaj7 F-7 B 9

141
In Conclusion

I sincerely hope that you have benefitted from the information in this book. May it
cause your musicality to grow wings, and soar into the heavens - uplifting your spirit,
and the spirits of those who hear your music as well.

Adam Rafferty
September 16, 2003
ADAM RAFFERTY-BIOGRAPHY

Steeped in the music of the bebop era and well-versed in the organ combo style as codified by Wes
Montgomery and George Benson, Adam Rafferty has established himself as one of the most refined,
recognizable guitarists in New York. His playing is distinguished by a warm tone, a biting attack, and
an ability to swing hard - and melodically - in every situation. His chops are abundant, yet he makes a
point of avoiding technical displays, seeking instead to lock in with his band and make every moment
count. Adam's exceptional musicianship can be heard to full effect on his third CD (and his first trio
outing), "Kush" (Consolidated Artists Productions 955), featuring music by Dizzy Gillespie, Chick
Corea, John Coltrane, Sonny Rollins, and of course, Adam Rafferty.

Born in New York City in 1969, Adam got his start playing with rock and R&B bands, and even co-led
a rap group called "Raf and Cooly-C." He studied classical guitar at SUNY Purchase, but around 1987
he caught the jazz bug and began intensive studies with pianist Mike Longo, a member of Dizzy
Gillespie's bands from '64 to '71. From Mike, Adam learned not only harmony and theory, but also the
rhythmic principles that form the foundation of jazz - principles that Mike had learned from Dizzy
Gillespie himself. Indeed, it is Adam's firm grasp of rhythm - his unfailing "pocket" - that sets his play-
ing apart. He soon had gigs lined up in Harlem with organist Jimmy "Preacher" Robbins and trumpeter
Tippy Larkin. Over the years he has supported groups featuring Frank Wess, Benny Golson, Gloria
Lynn, and more.

In 1993, while still in his early 20s, Adam released his debut CD, "First Impressions" (CAP 905), on
which he is backed by the Mike Longo Trio. His second release, "Blood, Sweat & Bebop" (CAP 937),
which featured not only Mike but also the renowned bassist Bob Cranshaw, followed in 1998. "Kush,"
his 2001 trio release, features Danton Boller on bass and Russ "Styles" Dibona on drums. And his-
working relationship with Mike Longo continues: Adam currently plays in the Mike Longo Big Band,
and can be heard on its 2001 release, "Aftermath" (CAP 956).

Adam has also played with saxophonist Eric Person's quartet, and he recently helped launch the New
York Trio Project (NYTP), a collaborative group with bassist John Menegon and drummer Jeff "Siege"
Siegel. The NYTP's 2001 release, "Fifth House" (Imaginary Records IMX 014), showcases Adam as
the ultimate team player, contributing fiery yet tasteful insight on a set of original music and post-bop
classics. Both Adam's "Kush" trio and the NYTP have toured extensively throughout Europe.

In addition to his playing, Adam is also an accomplished jazz educator. Since '96 he has run classes
and clinics at the National Guitar Workshop in New Milford, Connecticut. He is also the author of a
manual called "How To Develop Virtuoso Single Line Technique for Jazz Guitar," which can be pur-
chased at his web site, http://www.adamrafferty.com.

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- Summer 2001
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