EDITED bY JERRY C QO € RR

Ad
vance Music
 59 0922172 7

MN
The Jazz Theory Workbook

University Campus
Barnsley
Telephone: 01226 216 885

Catalogue: https: / /webopac.barnsley.ac.uk/

Clac® No! <0) 6.4 ed er

date
This book is to be returned on or before the last
stamped below. Thank you!
ot are a +
F Ss, -

’
The Jazz Theory Workbook
Basic Harmonic Skills and Theory
by Mark E. Boling
edited by Jerry Coker

ADVANCE MUSIC
Second revised edition

© 1993 by ADVANCE MUSIC

All Rights Reserved 7
No parts of this publication may be reproduced,
stored in retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without prior written permission of Advance Music.
International Copyright Secured

Published by ADVANCE MUSIC

D-72108 Rottenburg N., Germany

Production: Hans Gruber

Printed in Germany

ISBN 3-89221-029-2

UNIVERSITY
LIBRARY

30 SEP 2003
HUDDERSFIELD

5909221727
 ES OS SOSOS ES SU eee ses eae ESSE es oro enero

Acknowledgements

The contributions of some of the individuals who have assisted in the development and
completion of this book must be acknowledged. In 1985, Professor Jerry Coker and |taught
the first Jazz Theory course at the University of Tennessee as a team. His course outline
eventually evolved into the outline for this book. Several of the charts and illustrations in the
book were developed by Jerry as handout materials for the class. He has been extremely
generous with his materials and his time. He has read the manuscript at several stages in its
development and has made many helpful suggestions for changes and improvements. |must
also express my appreciation to my mother, Carolyn P. Boling, for her careful editing of the
manuscript. Her efforts have been a great help in the quest for clarity and stylistic accuracy.
Finally, |thank the students who have been in my Jazz Theory classes over the past five years
who have contributed to the refinement of the materials presented in this book.
Table of Contents

Introduction .............. cislv Pao Att ON ARG eh aca.cs cee eRe ab aisatick v gueh dae thSea Ge Fy

Chapter 1

REVIEW OP MUSIC THEORY eUINDAIEIN

TAS oop etc eee crore eee eens een 9

Chapter 2

JAZZ CHORD STRU GIURES races.ce.ne te metosdaccasastcner cecsanc oes save a Pree aoe ance een ee 23

Chapter 3

CHORD/SGALE RECATIOINSIUPS sicutansSies cua donashextonsccdsctarsean

demeraneadst foeeis ee ee 43

Chapter 4

JAZZ CHORD PROGRESSIONS ©stacccecpceerteciie

cerned eeeeea tk veneer seca te 71

Chapter 5

SOURGES OF CHROMATICISM INVAZZIMPRONW SATION rreeseesseeea

seneeees eet ean oT

Chapter 6

SUGGESTIONS FOR FURTHER SPUDY saaictics. «ccc: acces. aeemanaccuaseecon aemecer atone eae eae 107

Appendix

ANSWERS FOR EXERGISES: ax saaccimmnanearsciesaseretacscat

sosreat Saranabn acticereceeettx oscee eeane Ee ee 110-
 eee ee eee

Introduction

This book is intended as a primer in the area of jazz theory. The purpose is to prepare the
student for the serious study of jazz improvisation, arrangement and composition. Improvisation
is defined in the Harvard Dictionary of Music as “the art of creating music spontaneously in
performance.” Ina sense, improvisation is composition sped up. Composition is taught as a
craft. The word craft implies controlled techniques, methods, and skills - left brain activity. The
wordartimplies inspiration, universality, communication and subconscious mental associations
- right brain activity. Craft is controlled and studied; art is ‘on the edge’ of being out of control.
The craft of improvisational skills must be internalized and working at the subconscious level
to allow the artist to emerge. The performer must quickly analyze the harmony and form of
the music in order to perform intelligent improvisations. He has no time to think of such
fundamental aspects of theory as chord construction, scale construction, and chord/scale
relationships, or such performance skills as pulse relation and time feeling. These basic
mechanical skills are an important part of the preparation for improvisation but must be
relegated to the subconscious level during a performance. The player may then concentrate
on listening to the music in his mind, listening to other musicians in an ensemble, and making
creative choices. The goal is the development of speed in basic theoretical skills as they will
be applied during improvisation.

The focus is on the harmonic language of jazz, especially the harmonic practices which
coalesced in the Bebop and post Bop periods of the 1940's and 1950's when Bebop and
Standard tunes formed the core of the mainstream repertoire. The harmonic language of that
period is still the framework on which contemporary jazz musicians build.

Many musical examples are included which should be played at the piano to relate the
theoretical concepts to sound. There are also playing assignments at the end of each chapter.
These are meant to be practiced on the student's own instrument. The aim of the playing
exercises is to extend the understanding of theory to the ears and fingers. Theory will not be
retained if not put into practice. The patterns and licks in the playing assignments are all
derived from the recorded history of the music. Some have been altered or extended to more
fully explore the theoretical subject at hand. All of the patterns should prove musically useful
in real playing situations.

Each chapter includes a series of written exercises for practice in the mechanical theoretical
skills. It is important to work through all of the exercises in order to acquire speed in the use
of theoretical skills. The answers to all exercises are in the Appendix.

Other sources should be sought for specific help in the techniques of jazz composition and
arranging, improvisational methods, and rhythm - one of the key elements ofjazz. Several fine
methods are available for further study in these areas. (See Chapter 6.)
conn

Requirements For Becoming a Good Jazz Improvisor *

qe A STRONG DESIRE. You must be more than mildly interested to succeed. At some point,
perhaps even from the outset, the desire to improvise well should be obsessive!

. ATTUNEMENT TO STYLE. Listen to and assimilate the best of jazz on record, old and new.
Listen hard and repeatedly! Attend live performances, ranging from the jazz recitals of
your classmates to concerts by touring jazz greats. You cannot improvise in a vacuum.

. WILL. The human will can accomplish anything! If you fail to utilize the will, you risk
accomplishing nothing. The will is responsible for such characteristics as perseverance,
patience, and consistency.

. ENERGY. All music should contain some type of energy in performance. Energy levels are
affected by life-style, attitude, nutrition, health, and a careful ordering of priorities.

. METHOD. You must have a plan, if you are to reach your goals. The plan should be
reasonable, efficient, and thorough.

. THEORY UNDERSTOOD. The mind must thoroughly understand each musical principle
undertaken.

. THEORY APPLIED. Any theory understood in the mind but left unapplied is not learned,
it will not appear in your improvisations, and it will soon be forgotten. In order for a
theoretical principle to become useful, the mental understanding must be transferred
and/or extended to the ears and hands.

. THEORY CHALLENGED AND MASTERED. Work toward speed, accuracy, control, and
flexibility of all theoretical principles, patterns, licks, scales, keys, etc.

. THEORY UTILIZED. Exaggerate the use of all new items by practicing them with the
appropriate play-along exercises
(not tunes), but simulate creative performance mannerisms
as well.

. THEORY UTILIZED IN CONSUMMATE CREATIVITY. Play many appropriate tunes which

contain exaggerated use of harmonies which accommodate the theoretical principles
taken up.

* The Teaching ofJazz, Jerry Coker

Advance Music

8
 Chapter

Review of Music Theory Fundamentals

An acquaintance with the fundamentals of music theory is prerequisite to the study of theory
as applied to improvisation. This review of fundamentals is given to encourage the development
of speed in such basic skills as recognition and construction of major scales, intervals, interval
cycles, and triads. The sharpening of these skills is a necessary preparation for working with
extended harmonies and their related scales, analyses of harmonic progressions, and
chromatic techniques common to the jazz idiom.

Major Scale Construction

Most scales are constructed in intervals of whole steps (major seconds) and half steps (minor
seconds). A half step up is the distance from a note to the closest note above (i.e. C to D> or
E to F, etc.). A whole step up is the same distance as two half steps (C to D or E to F#.)

An ascending major scale may be constructed from any note using the following formula:
W W H W W WH (W = whole step, H = half step). Major scales will be used in this book as
a yardstick for measuring intervals and constructing chords and scales. For speed all major
scales must be memorized.

Construction of an E> major scale

 Major Scales
Major scales must be as familiar to you as the alphabet. MEMORIZE them so that they may
be recited without thinking! Learn to play them on your instrument with equal fluency in ALL
keys. A thorough familiarity with all the major scales is the key to speed in working with
intervals, chord structures, and other scale structures.

C major

Eb major A major

SS

G> major

Cb major C# major

10
Intervals
An interval is the distance between two notes. Interval construction can be measured in half
steps.

NUMBER OF HALF STEPS INTERVAL NAME

TNR ek SRE ae ore A aes a I AY Aor a oe Perfect Octave

AN lecoerce Meee ec ree Ea ry Rae. Me Retin aes Je Major Seventh (or Diminished Octave)

Ye ee cern Ce Nea ees Me mente re rng tog Ne Renee URE PT Minor Seventh (or Augmented Sixth)

LO cin SIN ins ats Ch ane 8 meen ana RI, per SOR eRe Major Sixth (or Diminished Seventh)

(oer ee cE Rot ee Ee Eee Ger tn nA BER Minor Sixth (or Augmented Fifth)

The Se OEE PEE CR SABIE RRS RAE A ais Fs SS eee Perfect Fifth (or Diminished Sixth)

(Die Once. cre sok RAO Ne REPRE ee IA MERE RAT EA Augmented Fourth or Diminished Fifth

Caen mI ON Wan ini ort SUNS ome | dete fel eee Perfect Fourth (or Augmented Third)

Bh Skies ata gis nadia aoe eet ccs Major Third (or Diminished Fourth)

Ce ee eee ee ee ee eee eee Minor Third (or Augmented Second)

i RSE. ESR i IEoeee eee eer Rnte Re SE CR OR ERNE Major Second (or Diminished Third)

tater te nhDens ie oe REgree ACRE PTY ee EPnPeT oe Minor Second

Oa ane Ae eR EVE LOCI ror ARS: ns SRme RET Perfect Unison

To construct intervals using half steps: visualize a keyboard, start by counting the first note
for the interval. For example,
as zero, then count half steps until you reach the correct number
to find a minor 6th above D, count D as 0, D# as 1, E as 2, Fas 3, F# as 4, Gas 5, G# as 6,
Aas 7, A# as 8. There are 8 half steps in a minor 6th, but another step is necessary to check
for the correct interval. Count the note names from D, disregarding the accidentals: count
Das 1, Eas 2, Fas 3, Gas4, Aas 5, Bas 6. In orderto call the interval a 6th, the top note should
be called B instead of A#. This process will also work for constructing descending intervals
and for recognizing intervals. This mathematical technique for working with intervals is
accurate but too slow for our purposes. On the following pages is a faster, more musical
method using the major scale as a yardstick.

11
Es hes EG SES OMEE St Car SSS eae

Intervals

C major

o
1 2 3 4 5 6 i 8

Perfect Intervals
found in the major scale

Perfect unison Perfect 4th Perfect 5th Perfect octave

EXAMPLE

To find the Perfect fifth above D», think of a Db major scale and count up to the fifth scale tone.

PS

f PS
Major Intervals
found in the major scale

Major 2nd Major 3rd Major 6th Major 7th

EXAMPLE

To find the major sixth above A}, think of an Ab major scale and count up to the sixth scale tone.

M6

M6

IZ,
 Review of Music Theory Fundamentals

Minor Intervals
one half step smaller than a major interval

minor 2nd minor 3rd minor 6th minor 7th

EXAMPLE

To find a minor seventh above F#, think of the F# major scale, count up to the seventh scale
tone, THEN lower the seventh by one half step.

m7

m7

Diminished Intervals
one half step smaller than a minor or perfect interval

dim. 2nd dim. 3rd dim. 6th dim. 7th

dim. unison dim. 4th dim. 5th dim. octave

© (impossible) eo oe oe

EXAMPLES

To find a diminished fifth above B?, think of the Bb major scale, count up to the fifth scale tone,
THEN lower the fifth by one half step. The Sth in the scale is a Perfect 5th, so lowering the note
by 1/2 step creates a diminished Sth.

13
 To find a diminished seventh above D+, think of a D> major scale, count up to the seventh scale
tone, THEN lower the seventh by TWO half steps. The 7th of the scale is a major 7th. Lower
it by 1/2 step and it becomes a minor 7th. Lower the minor 7th by 1/2 step to create a
diminished 7th.

d7

d7

Augmented Intervals
one half step larger than a major or perfect interval

Aug. 2nd Aug. 3rd Aug. 6th Aug. 7th

Aug. unison Aug. 4th Aug. 5th Aug. octave

te) oto rey rey eo

EXAMPLES

To find an Augmented fifth above F#, think of an F# major scale, count up to the fifth scale
tone, THEN raise the fifth by one half step.

To find an Augmented second above E, think of an E> major scale, count up to the second
scale tone, THEN raise the second by one half step.

14
 ic Theory Fundamentals
=X

Triads
C major

are)
oO
1 Z 3 4

Major Triad
1, 3, 5 of a major scale

G
at Ba ¢joa ies
= EtecSe
P5 min 3
maj 3
Root position 1st inversion 2nd inversion

Minor Triad
1,63, 5 of a major scale

Gs

=I
one 2a, |
=a¢
b3— tee i
min 3
Root position 1st inversion 2nd inversion

Augmented Triad
1, 3, #5 of a major scale

C+
— |
eS
rile
Root position 1st inversion 2nd inversion

Diminished Triad
1, 63,65 of a major scale

@e

d5
————
min 3
SS
Root position 1st inversion 2nd inversion

‘)
Chapter 1

Interval Cycles
In jazz compositions written in the 1930's, 40's, and 50's - a time that can be considered a
common practice period for the jazz idiom - chord progressions tended to move in predictable
patterns. The most common interval of chord movement is a descending fifth. You may
recognize this as the distance from the Dominant chord (V7) to the Tonic chord (I) in diatonic
harmony. Itis also the distance from the Il minor (sub-dominant function) to the V7 (dominant).
The |I-7, V7, | maj7 progression is the most common cadential pattern in traditional jazz. One
of the skills an improvisor (or arranger or composer) must develop is the ability to quickly
understand chord progressions both in terms of available notes for improvisation and for the
purpose of memorizing music in abstract terms (Roman numerals). In order to learn to
recognize ll-7, V7, |maj7 progressions and other root movement patterns, the memorization
of interval cycles is necessary.

The cycle (or circle) of descending fifths should be learned first. It should be memorized so it
may be recited from any starting note. Speed counts! There is only one cycle of fifths and it
includes all twelve notes of the chromatic scale.

Gb

FH

The other interval cycles which should be memorized involve symmetrical subdivisions of the
chromatic scale. The tri-tone divides the octave in two equal parts. There are six pairs of tri-
tones in the chromatic scale. The tri-tone pairs may be seen on opposite sides of the wheel
illustrating the circle of fifths - C and Gb, F and B, etc.

2 Cycles of Major 2nds

There are two cycles of major seconds. Each cycle has six members and forms a whole-tone
scale. Each sub-divides the octave into six equal parts.

iS

Gb

16
 Review of Music Theory Fundamentals
Pt sR acca a Leone SLi aces anes ence
eeace cee eased

3 Cycles of Minor Thirds

OOO
Each of three cycles of minor thirds has four members. The pitches in each cycle spell a fully
diminished seventh chord. Each sub-divides the octave into four equal parts.

C C# B

Gt Go Fr

4 Cycles of Major Thirds

Four cycles of major thirds have three members in each cycle. The pitches in each cycle spell
an augmented triad. Each sub-divides the octave into three equal parts.

G Db D Eb

A’ a a ZS CZ)

Cycle of 5ths (descending 5ths clockwise movement)

Each of these interval cycles may be associated with a geometric shape when they are found
in the wheel of the circle of fifths. Cycles of major seconds create hexagons, minor third cycles
create squares, major third cycles create triangles, and pairs of tri-tone create straight lines.
 sa ER ee

EX@rGiseS
EXERCISE 1.1

Write an ascending major scale from the given root. Write the designated interval above the
given note. Use the major scale for reference.

PS

M2

m7

M6

m6

d5

m3

M3

18
 SS

EXERCISE 1.2

Write the designated interval above the given note. Think of the major scale from the given
note as a reference.

oO
M3 P5 A5 m3 d7 P8

m3 m2 A8 P4 d5 m6

So
|

ey
m2 M7 d3 m6 m7 A4

re

M3 m6 M3 P5 m2 A2

EXERCISE 1.3

Identify and label the following intervals. Think of a major scale from the bottom note for
reference.

oe

= or
oO
Chapter 1
keene oeee eee

EXERCISE 1.4

Write triads in root position below the given chord symbols.

D Eb- Cet Eo C- F

B+ FHO Bb- Go A Abt

EXERCISE 1.5

Give the chord symbol for the following triads.

EXERCISE 1.6

Write the following interval cycles.

1. Circle of descending 5ths from Ab:

2. Cycle of ascending major 3rds from Eb:

3. Cycle of descending major 2nds from F#

4. Cycle of ascending minor 3rds from F:

5. Tri-tone from Bb Tri-tone from D

20
 eview of Music Theory Fundamentals
es Se ce oieauc eee ieie cee eerie
eee

EXERCISE 1.7

Identify interval cycles in the following chord progressions. (Complete cycle may not be
present.)

(Example)

1. D-7 F-7 A’-7 Ascending minor 3rds

2.Db7 G7

3. G-7 C7 Fmaj7 Bbmaj7

4. Dmaj7 Bbmaj7 G>maj7

5. Ab-7 Db7 F#-7 B7

6. Bmaj7 A-7 Gmaj7 F-7

7. Bo7 E7(+9) A-7

8. C-7 C#°7 D-7 Ebmaj7 E°7

9. D-7 Db7 C-7 B7 Bbmaj7

10.A7 FZ Eb7 C7

21
Chapter 1
Ses Seeee ee

Playing Exercises
1. Play the major scales in twelve keys using the following interval cycles for root motion:

A. Cycle of 5ths

B. Chromatic (ascending and descending)

C. Whole steps (ascending and descending)

D. Minor 3rds (ascending and descending)

E. Major 3rds (ascending and descending)

Use the two measure scale pattern shown below.

2. Play arpeggios of major, minor, augmented and diminished triads using the same interval
cycles as before.

Use the one measure arpeggio pattern shown below.

oe
Jazz Chord Structures

Tertian Harmony
Jazz harmony has evolved from the European music harmonic system based on chords built
in thirds (tertian harmony). In European music from the common practice period, the triad is
the basic unit of harmony. Seventh chords - often extended to include ninths, elevenths and
thirteenths - are the basic units of jazz harmony. A thorough understanding of chord structures
and fluency in the use of chord symbols is essential to an improvising musician.

Diatonic Harmony
Before examining individual chord structures, let's look at the families of chords found in the
major and minor scales. By taking a scale and stacking notes up in thirds on each note of the
scale using only notes from the scale we arrive at a series of seven chords which are diatonic
to the key of the scale. (Look at the following page for examples of triads and seventh chords
diatonic to C major and C harmonic minor.) To help in understanding how diatonic chords
function in relation to each other and to be able to analyze and stereotype chord progressions,
chords are labelled with Roman numerals. Notice that all the Roman numerals are capitals and
chord quality designations are given with each numeral.

Functional Harmony
Although there are seven diatonic chords in major and minor harmonic systems, these chords
can be grouped into three categories according to their function. The three functional
categories are Tonic, Dominant, and Subdominant. In the most literal sense the tonic chord
is built on the first degree of the scale, the dominant chord is built on the fifth degree of the
scale and the subdominant is built on the fourth degree of the scale. The tonic functional
category includes the tonic chord and the chords built on the third degree and the sixth degree
of the scale (IA7’”, Ill-7, and VI-7). The dominant functional category includes the dominant
chord and the chord built
on the seventh degree of the scale (V7 and VIlo7*").
Thesubdominant
functional category includes the subdominant chord and the chord built on the second degree
of the scale (IVA7 and II-7). The sequence of functional categories found in chord progressions
tends to be subdominant to dominant to tonic. The most common chord progression in Bebop
and jazz standard tunes is the II-7 V7 IA7 (pronounced “two-five-one”). Study and practice
of the Il-7 V7 1A7 progression is an important part of the preparation for improvisation. As
individual chord structures are examined in this chapter the category in which each chord most
commonly functions will be noted.

* The A7 symbol represents a major seventh chord

quality - a major triad with a major seventh added above
the root.

** The @7 symbol represents a half-diminished seventh

chord quality - a diminished triad with a minor seventh
added above the root.

an
Chapter 2
es

Diatonic Harmony

Diatonic Triads - C Major

CAs D-7 E=/ FA7 G7 A-7 Bo7

Diatonic Triads - A Harmonic Minor

A- Bo CH D- E F GHe

|- \0 blll+* I\V- V bVI VIO

Diatonic Seventh Chords - A Harmonic Minor

A-A/ Ba7 CA7+5 D-7 E7 FA7 GtO7

|-A7 o7 LIMA7+5 \V-7 V7 bVIA7 VIO 7

* An accidental to the left of a Roman numeral indicates

the relationship of the chord root to the parallel major
scale. It does not imply that the chord root will always
have the same accidental as the Roman numeral. For
example, the blll+ in the key of A harmonic minor is a C
augmented triad - not Cb augmented. The root (C) is
lowered in relation to the 3rd degree of the parallel
major scale (A major).

24
 Major Key Harmony

Tonic

\A7, Ill-7, VI-7

Direction
of
Harmonic
Progression
Dominant Subdominant

V7, Vilo7 IVA7, II-7

Minor Key Harmony

Tonic
I-A7, >INA7+5, VIA7

Direction
of
Harmonic VW
Progression
Dominant Subdominant
V7, VIIO7 IV-7, |lo7

apenas

Sixth And Seventh Chords

On the following pages, examples of all types of sixth and seventh chords are given. The
construction of each chord is described in relation to a major scale built from the root of the
chord. For example, D7 would be 1, 3, 5, and +7 of aD major scale - D, F#, A, and C. Notice
that the flat used in front of a scale degree means to lower the note by one half step. It does
not mean thatthe resulting pitch will necessarily be a flat note. The seventh degree of aD major
scale is C#. The ’7 of a D major scale is C. The same principle applies to #'s used in front of
a scale degree.

Play each of the chords in this section on a piano. Listen carefully to the sound quality of each
chord and note the construction. Arpeggiate the chord and sing each note. Try to learn to
identify chord types by ear as you listen to music.

Notice the functional category given with each chord. Some of the chords may function in
more than one category. For instance Ba7 could be a VIIa7 in C major (dominant function) or
alla7 in Aminor (sub-dominant function). The analysis depends on the context. The functional
quality given is the most typical one.

Study the alternate symbols given for each chord type. Chord symbol notation is a living
language and is constantly changing to accommodate new music. It is important to be able
to understand all the different symbols that mean the same things. In playing music from lead
sheets (a way of notating jazz and popular tunes with only the melody line and chord symbols),
you will probably come in contact with most of these symbols at one time or another. In this
book the preferred symbols (the ones written over the chords) will be used except when
specifically discussing alternate symbols.

25
 Major Sixth
C6
1, 3, 5, 6 of a major scale

Alternate Symbols: M6 maj6

Usual Function: Tonic

Minor Sixth

1,63, 5, 6 of a major scale

Alternate Symbols: m6 -(add6) min 6

Usual Function: Tonic (minor)

Construction Of Seventh Chords

Major Seventh
CA7
1, 3, 5, 7 of a major scale

Alternate Symbols: A M7 maj7 (or letter by itself)

Usual Function: Tonic

Augmented Major Seventh

Ca7t?
1, 3, #5, 7 of a major scale

Alternate Symbols: A7#5 A7(#5) M7+5 M7#5 maj7+5 maj7#5

Usual Function: Tonic

Major Seventh Plus Four

CAT
1,.3, #4, 7 of a major scale

Alternate Symbols: A7#4 A7(#4) A7+11 M7+4 M7#4 maj7+4 maj7#4 maj7+11

Usual Function: Tonic

Ore Minor-Major Seventh

1,63, 5, 7 of a major scale

Alternate Symbols: -(A7) m#7 mM7 min™47 min(+7) min(M7)

Usual Function: Tonic (Minor)

26
 Jazz Chord Structures
SS

Minor Seventh

1,63, 5,7 of a major scale

Alternate Symbols: m7 min7

Usual Function: Sub-dominant

Half-diminished Seventh
Cg/
1,63,65,>7 of amajor scale

Alternate Symbols: @ -7(5) -765 m7’5 min7+5 half dim7 -7(-5) m7(-5) min7(-5)

Usual Function: Sub-dominant (minor)

Dominant Seventh
GF
1, 3, 5, 67 of a major scale

Alternate Symbols: none

Usual Function: Dominant

Augmented Seventh
C745
1, 3, #5, 7 of a major scale

Alternate Symbols: 7#5 7(#5) 7513 7(613) 7(-13)

Usual Function: Dominant

Dominant Seventh Plus Four

c7t4
1, 3, #4,>7 of a major scale

Alternate Symbols: 7#4 7(#4) 7+11 7#11 755 7(65) 7(-5)

Usual Function: Dominant

Dominant Seventh Sus Four*

C7sus4
1, 4, 5, '7 of a major scale

Alternate Symbols: sus 4 G-7/C bass G-7/C BrA7/C B/C**

Usual Function: Dominant

Diminished Seventh
ay
1,53, 65, bb7 of a major scale

Alternate Symbols: dim7 d7

Usual Function: Dominant

* A dominant seventh chord with a suspended fourth is

almost always called a “Sus 4” in common practice.

** The dominant seventh chord with a suspended fourth

is often represented as a “Slash Chord” - a chord symbol
followed byadiagonal slash and a note name, i.e., G-7/C
means a G-7 chord with a C in the bass.

27
Chapter2
SL Ee ae

Construction Of Extended Chords

+11
C6?
1, 3, 5, 6, 9, #11 of a major scale

Usual Function: Tonic

11
C-69
1,53, 5, 6, 9, 11 of a major scale

Usual Function: Tonic (minor)

13
+11
Caz?
1, 3, 5, 7, 9, #11, 13 of amajor scale

Usual Function: Tonic

13
tl
Cag?
1,63, 5, 7, 9, 11, 13 of a major scale

Usual Function: Tonic (minor)

3
11
C72
1,63, 5,7, 9, 11, 13 of a major scale

Usual Function: Sub-dominant

b13
11
Ca7?
b 1,53, 55,7, 9, 11, 13 of a major scale

Usual Function: Sub-dominant

28
 Jazz Chord Structures
Se me

1, 3, 5, 67, 9, #11, 13 of a major scale

Usual Function: Dominant

13
+11
c7b9
1, 3, 5,57, 69, #11, 13 of a major scale

Usual Function: Dominant

13
+11
Cit

1,3, 5,7, #9, #11, 13 of a major scale

Usual Function: Dominant

1, 3, #5, >7, 9, #11 of a major scale

Usual Function: Dominant

1, 3, #5, 67, 69, #11 of a major scale

Usual Function: Dominant

+11
+9
CT

1, 3, #5, 57, #9, #11 of a major scale

Usual Function: Dominant

29
 ee

Implied Extensions of Seventh Chords

Jazz chord charts and lead sheets frequently do not specify all possible extensions of chords.
Often, only the quality of the basic seventh chord is given (i.e., A7, dominant 7, -7, 27, °7,
dominant 7(+5), dominant 7(+5)). Jazz musicians learn to infer the appropriate extensions from
the harmonic context and by making use of a few general rules.

Jazz pianists and arrangers usually avoid the harmonic interval of a minor ninth except
between the root and the flat nine of a dominant seventh chord. If a chord has a major third,
the extension of the perfect eleventh is avoided because it creates the interval of a minor ninth
above the third. However, an augmented eleventh is often added to a chord with a major third
as it creates the less dissonant interval of a major ninth. If the third of the chord is minor, the
perfect eleventh may be used, again creating the less dissonant interval of a major ninth.
Stated simply, if the 3rd is major, use +11th - if the 3rd is minor, use a 411th. A chord with an
augmented fifth usually will not be extended to include the 13th because the 13th creates the
interval of a minor ninth above the +5th

The extensions of the major ninth and the major thirteenth are assumed to be available on
all6, A7, -6, and -A7 chords. The A7(+5) chord is seldom extended. The extensions of the major
ninth and the major thirteenth are also assumed to be available on most -7 chords. Discretion
is needed when extending -7 chords that function as Ill-7 and VI-7 because the 9th and 13th
may not be diatonic to the key. The 11th is always available on a -7 chord. The 9th and 11th
are often added to the @7 chord. It can also be extended to include the >13th.

The °7 chord is often extended to include a non-chord tone that forms the interval of a major
seventh above any of the four notes of the original chord. More than one of these extensions
may be added. A fully extended °7 chord includes eight different notes and could be viewed
as a polychord made of two °7 chords. The root of the upper °7 in the polychord is a major
seventh above the root of the lower.

If an extension of f9 is indicated on a dominant 7th chord, the +9 may be substituted. The +9

may also substitute for the +9. Both the’9 and the +9 are in the scales used with dominant
7th chords which resolve to minor tonic chords. The’9 and the +9 may be used simultaneously
in a chord voicing. The use of a+9 or a +9 precludes the use of a 49.

Chords with +9th and/or >9th usually imply the availability of the +1 1th and the possibility of
using the 13th. The 13th is not used when the 5th of the chord is augmented because it creates
an interval of a minor ninth above the +5th. If a chord with altered ninths has a suspended
Ath, the 4th replaces the 3rd of the chord and the +11 is not used.

On a dominant 7 (sus 4) chord, the suspended fourth replaces the third of the chord. The 3rd
is not used unless it is voiced a major 7th above the suspended fourth. In this position it
functions as a color tone rather than a basic chord tone. This use of the 3rd is more common
when the dominant 7 (sus 4) is approached as a slash chord. For example, C7 (sus 4) could
be voiced as a G-7 with C in the bass. The 13th of the fully extended G-7 chord would be E,
the 3rd of C. Since it is voiced at the top of the chord, a major 7th above the F, it is heard as
a color tone rather than a basic chord tone. The major ninth and major thirteenth are assumed
to be available on the dominant 7 (sus 4) chord.

30
 Chord Type Implied Extensions
more common less common

' A7 | os +11

6 ) +11

-A7 9, Vets =

-6 | ae i =

3H a1 13
|
@/ 9. 44 b13

sa Major 7 above any chord tone °7 chord Major 7 above original

7 o-18 +11

7 (69) +9 +11 +5 On 3

7 (+9) 69 +11 +5 or 13

7 (sus4, +9) 13 +9
7 (sus4) 9,13 3
7 (+5) 9 or +9, 59, +11
(implies whole-tone scale) (implies lydian aug. scale from 3rd)

Mechanical Voicings For Seventh Chords

Although this book does not include a study of jazz arranging techniques, the chapter on
chord structures would be incomplete without some discussions of the ways jazz chords are
typically voiced. In the study of theory, chords are stacked in thirds for convenience. In the jazz
arrangements, chords voicings are often more open, having one or more of the inner notes
of the chord dropped down an octave. There are simple mechanical techniques for deriving
these voicings.

When a seventh chord is voiced with all four chord tones as close as possible (in any inversion),
the voicing is described as “4 way close”. The other mechanical voicings for seventh chords
are derived from the “4 way close” voicing. The “drop 2” voicing results when the second note
from the top of a “4 way close” voicing is dropped down one octave. The “drop 3” voicing
results when the third note from the top of a “4 way close” voicing:is dropped down one
octave. The “drop 2 and 4” voicing results when the second and fourth note from the top of
a “4 way close” voicing are both dropped down one octave.

“drop 2” “4 way close” “drop 3” “4 way close” “drop 2 and 4”

Se =
Non-Tertian Structures
Although the major-minor tonal system which is used in jazz compositions is built on tertian
harmony, many non-tertian structures are used in the music. These structures often function
as substitutes for tertian structures and offer an ambiguity of sound and variety of tonal color
unavailable in tertian harmony. Familiarity with these structures and fluency in their uses is very
important in adding variety and spice to modal tunes where the harmony tends to be static.
Non-tertian structures are also used extensively in contemporary tunes by composers such as
Wayne Shorter, Chick Corea, and Ron Miller.

31
 Quartal And Quintal Chords
Quartal chords are built in fourths (usually perfect fourths). Usually, only three notes are used
(an easy stretch for a pianists left hand), but sometimes more notes are added. The sound
quality of the chord is ambiguous, similar to a Dominant 7 sus4 sound. There is no generic
symbol for quartal chords. Specific voicings are usually written when voicings in fourths are
needed in a composition. Quartal chords are always available to the pianist or guitarist to use
in place of tertian chords when comping behind solos. (Comping is a term for the improvised
accompaniment performed by piano, guitar, bass and drums )

In order to understand how to substitute quartal chords for tertian chords the chord/scale
concept must be understood. Each chord symbol implies a scale. The chord and it's implied
scale is called a chord/scale. The scale implied by any chord may be harmonized with diatonic
fourth chords. In practice, any or all of the diatonic fourth voicings from the chord/scale may
be substituted for the original chord. The purpose is often to create a sense of movement over
static harmony.

In the example below, the chord symbol is D-7. The chord/scale is D dorian. The diatonic fourth
chords are shown. Notice that all the fourths are perfect fourths except between B and F.

D-7 (D dorian) in diatonic fourths

The “So What” voicing is a variation on quartal harmony first popularized in a Miles Davis tune
by the same name. The chord is constructed by stacking four perfect fourths and adding a
major third above the top note. The chord is most often used in minor seventh (dorian)
situations and is often alternated with a diatonic parallel structure a whole step above. A total
of three “So What” structures are available within the diatonic scale. The example below
shows two voicings as they were used in the tune “So What”. These two voicings are diatonic
to the C major scale and the related D dorian mode. They are built upward from the second
and third degrees of the major scale - D and E. The third “So What” voicing diatonic to the
C major scale would be built from the sixth degree of the scale - A. “So What” voicings are
also used on dominant seventh chords with a suspended fourth. The example below will work
with a G7(sus 4) as well as D-7.

D-7 (D dorian) “So What” voicings

|i— is

|ee = =+ |

S2
 Jazz Chord Structures

A transcription of the twelfth chorus of a Chick Corea solo on his blues composition, “Matrix”
is hhown below. In this chorus, parallel voicings in 4ths are used to create a sense of ambiguity
about the chord changes. The 4th voicings are side-slijpped a half step above and below the
original F7(sus4) chord in measure 2. They are moved by a major 3rd and a major 2nd in bar
3. In measures 4 and 5 the bottom interval is changed to an augmented 4th which happens
to include the '7th (Eb) and 3rd (A) of F7 in bar 4 and the 3rd (D) and +7th (A°) of Bb7 in bar
5. The right hand of the F7 and Bb7 chords in bars 4 and 5 plays a structure often called a “4
+2" voicing. This voicing is constructed with a perfect 4th, a major second and another perfect
4th. Chromatically descending “So What” voicings are used in the 6th measure. Left hand
voicings in perfect 4ths ascend in measures 8 to 11. These voicings are not all diatonic to the
original chord changes. Corea is essentially reharmonizing the blues. The ambiguous nature
of the 4th voicing makes it a useful tool for slipping in and out of the tonality.

Pee gene pbeiiaa

original chords: F7sus4 F Bb7

ee

6 i &
voicings in 4ths
G-7 C7sus4 F7sus4

33
 Quintal chords are built in fifths (usually perfect fifths). Diatonic fifth voicings for chord/scales
are derived and used in the same manner as fourth voicings. Since fourth intervals invert to
fifths, the sound is similar but more open. Voicings in perfect Sths evoke sonorities reminiscent
of bagpipes or open strings on a violin. Voicings in 5ths have not been as widely used in jazz
as quartal voicings. Quintal chords have been used by twentieth century composers of classical
music - most notably by Bela Bartok, in his “Concerto for Orchestra.”

GA7 (major) - Chords built in fifths

oOo& Lex
oO oOo oO

Notice that the first two chords could also be G- since no 3rd (B) is present.

Secundal Harmony (Clusters)

Chord voicings can also be constructed in seconds. They may be constructed from chord/scales
or from the chromaticscale. Partofthe aural effect of a clusterofnotes is created by the conflict
of the overtones from each note. The effects which can be created by the use of voicings in
seconds range from harsh, dissonant chords often heard in the music of pianists Cecil Taylor
and Theolonious Monk to the warm, rich chords found in the Herbie Hancock solo shown
below.

The pitch range of a voicing in seconds has a critical effect on the perceived dissonance of the
chord. A cluster of notes played an octave above middle C has a less dissonant effect than a
cluster played an octave below middle C. This difference is because most of the overtones of
the higher voicing are out of the range of human hearing. In the lower voicing the overtones
can be heard beating against one another.

Often a voicing which is mostly constructed of second intervals will contain one third. Four
note voicings constructed of a second, a third, and another second are called tetrads. These
structures are widely used by contemporary improvisers both as chord voicings and as sources
of melodic material.

In the example below, a CA7 chord is voiced with four notes from its chord/scale. Notice that
the 3rd and 7th of the chord are both present and the 4th degree of the scale is avoided. The
D-7 is voiced as a cluster including every note in the D dorian mode.

Chords built in seconds

CAT —D=7

ras

34
 The example below is a transcription of the first seven measures of Herbie Hancock's solo on
“My Funny Valentine” from the Miles Davis album of the same name. Most of the chords
contain second intervals, but the harmony is generally tertian. In the fourth bar, a rich, cluster
voicing is heard. The interval structure of this chord is minor 2nd - major 3rd - major 2nd - minor
2nd. Hancock also uses a tetrad for the last voicing in the seventh measure. Its interval structure
is minor 2nd - major 3rd - major 2nd. Tetrads and cluster voicings which include an interval
of a 3rd are much more common in the jazz idiom than true secundal voicings - chords built
entirely of 2nds.

Polychords
Polychords are constructed by voicing one tertian chord above another. This type of structure
occurs naturally in fully extended seventh chords. For example, in a C7(9+11,13) chord, the
9, +11, and 13 are D, F#, and A, aD major triad. By notating C7(9+11,13) as a polychord, the
composer can be sure that the upper structure triad will be voiced on top. Polychords also allow
for structures such as a B triad over a C triad which would not occur in fully extended seventh
chords. Polychords should not be confused with polytonality, a harmonic situation where two
separate key centers are heard simultaneously. Polychords are notated with two chord
symbols, one above the other, separated by a horizontal line.

D F A D B F
Polychord: C7 a C7 C C Z

\ a 3 = —

1
+11 +11 13 ir1
Standard Symbol: cr Ge b9 c 79 none none C79

Polychords are often used in contemporary jazz compositions. The chord progression below
isfrom the last four measures of the B section of “Speak No Evil, by Wayne Shorter. The melody

F
be
 for the entire 8 bar B section of the tune is a short repeated motive - rising in pitch with each
repetition to form an extended melodic sequence. The climax of the sequence is heightened
by the use of the polychord (D over E+) in the penultimate measure of the section.
ey! aaa | DbA7(+4) |

Slash Chords
Triads over bass notes are very common in contemporary music. They are notated by a triad
symbol followed by a diagonal slash followed by the name of the bass note. For instance,
F/G represents an F triad with a G in the bass. This type of chord is sometimes called a slash
chord because of the notation. There are forty-eight possible triads over any bass note (four
triad qualities multiplied by twelve pitches). Twelve of these are simply inverted triads. Several
of the augmented triad possibilities are eliminated because of the redundancy of their
symmetrical structure. Thirty of these structures are found to include four different notes. Of
these thirty, fifteen may be analyzed as seventh chords and the other fifteen are called hybrid
structures. Hybrids can be analyzed as incomplete ninth, eleventh, and thirteenth chords and
are often used as substitutes for them. Occasionally, slash chords are seventh chords over bass
notes.

Bb/C G-7/C

Ee
The example below from the Pat Metheny tune “Lakes,” illustrates how slash chords may be
used to accommodate stepwise motion in the bass line while making use of hybrid structures
as well as inversions. The F# with a G in the bass in the second measure is a hybrid structure.
Although the 7 is not present, the chord may be analyzed as an F#7(+9) with the +9 in the bass.
The E/G#in the third bar is simply an E
triad in first inversion. The E+/A is another hybrid structure.
lt may be analyzed as an incomplete A7(+9+1 1). The notes present include A (the root), E> (the
+4), G(the’7), and Bb (the9). The D/B? in the fourth measure is a BbA7(+5). Major 7(+5) chords
are often written as slash chords to insure that they will be voiced as a triad over a bass note.
In the fifth measure, the C/Bb is a C7 chord in third inversion and the B/C is a C7 sus4(9). The
A/C# in the sixth bar is a first inversion of an A triad. The C/D is D7 sus4(9). The D/E? is an
incomplete D7('9). (The ’7 is missing.) The G/A in the eighth measure is another of the
dominant 7 sus4 (9) variety. This hybrid structure, a major triad with a bass note a minor
seventh below the root of the triad, is one of the most common of the slash chords.

E/G# Eb/A D/Bb

i Sf AFee =
C/Bb B/C A/CH C/D D/éb Eo). fe FRO Gag San D
67 LPP LS

36
 Jazz Chord Structures
ES es

Combined Voicing Techniques

Composers and arrangers often use chord voicings based on chord/scales that are not stacked
exclusively in thirds, fourths, fifths or seconds. Variable interval spacings are selected for the
density and range desired by the composer. All the notes in the voicings are drawn from the
chord/scale of the original chord symbol. Often six out of seven of the notes from the chord/
scale are used in a voicing. Sometimes all seven notes from a chord/scale are used. More
tension is added to a voicing by adding more of the primary dissonant intervals (minor 2nds,
major 7ths, and minor 9ths), or secondary dissonant intervals (major 2nds, minor 7ths, and
major 9ths). Duke Ellington was one of the first to use this approach in jazz arranging (and
is also the source of many other innovative arranging techniques). This voicing technique
includes combinations of clusters, voicings in 4ths and 5ths, polychords, slash chords and even
chords stacked in 3rds. The most important aspect of the technique is that the composer has
the freedom to vary the range, spacing, and amount of dissonance in the voicing.

The example below was taken from the song, “A Quiet Place,” by Ralph Carmichael, arranged
by M. Warren, found on the album “Take Six.” The example contains voicings which combine
elements of clusters and voicings in 4ths and 5ths.

a-7'' Ag7? ~—s D7susa Sse = GAT

Other Chord/Scale Voicing Possibilities

The chart below shows the possibilities of combinations of simple intervals for deriving three
note chord/scale voicings. The numbers may represent diatonic intervals from any chord/scale.
For example, a 3rd plus a 3rd, when applied to a C major scale would yield a triad (C, E and
G). This structure could then be moved up and down the diatonic C major scale to provide
other colors from the scale. Some of the less orthodox structures may prove more interesting.
For example, a 7th plus a 7th, applied to a C major scale provides a very open sounding,
somewhat ambiguous structure (C, B, A).

2nd + 2nd 2nd + 3rd 2nd+ 4th 2nd + 5th 2nd+ 6th 2nd + 7th

3rd + 2nd 3rd + 3rd 3rd + 4th 3rd + Sth 3rd + 6th 3rd + 7th
Ath + 2nd 4th + 3rd 4th + 4th 4th + 5th 4th + 6th 4th + 7th

Sth + 2nd Sth + 3rd Sth + 4th Sth + Sth 5th + 6th 5th + 7th

6th + 2nd 6th + 3rd 6th + 4th 6th + 5th 6th + 6th 6th + 7th

7th + 2nd 7th + 3rd 7th + 4th 7th + Sth 7th + 6th 7th + 7th

oe
 EX@reises
EXERCISE 2.1

Construct the chords below the given symbols.

Bb6 A7 GA7 | Gho7 F°7 C7

= —— ee
ee ee ee
Gre? D#°7 C-6 p- 47 Db7+4 BA7

A-7 Bbo7 Abe G-6 Fi7*? F-7

a es a

EA7 Db-7 D+7 CATE BO7 Ab7>5

EXERCISE 2.2

Construct the extended chords below the given symbols.

13 13 13
+11 +11 (hl 11
G7? p79 Ag7? E-72
|

|
[ |

13
9 59 11 +9
Ba7+4 _-Fy7*? Db- a7? Ab7*?

b13 613
13 11 9
Eb-7.11 Bb7?9 Fo79 e744
\ |

38
 EXERCISE 2.3

Construct chords below the given symbols.

+9 11
EbA7+? C/F Are Coes
ee ]
|
|

|
I
|
J

G ui1

D°7adde,g FA7 Ab°7 B7?9

9
CHC DYE Go7 Bb

5 are |
| |

9 —
9
c-7?8 E7+9 aba7*4 e
eer
ze Be |

D/Bb Bb/D Bb G4°7

It
D O

TH

Ht
[ill

39
 LLL

EXERCISE 2.4

Write the diatonic triads for the keys given below. Write the chord symbols and the Roman
numerals in the spaces provided.

Key: F major

chord symbols

= eae]
roman numbers

Key: Ab major

chord symbols

roman numbers

Key: B harmonic minor

chord symbols

roman numbers

Key: D harmonic minor

chord symbols

roman numbers

40
EXERCISE 2.5

Write alternate symbols for the chord symbols given.

1. DA7

DD, Bb7+o+9

3. Fo/

4. Eb-7/A»

62Ee7

7. Db/A

gic a/

10, 7°13

EXERCISE 2.6

Identify the following chords. Write chord symbols in the spaces provided.

41
Chapter 2

Playing Exercises
1. Play major key diatonic triads in 12 keys using the pattern shown below:

3. Play arpeggios of the 7th chords and extended 7th chords in the written exercises for this
chapter (Exercises 2.1, 2.1, and 2.3). When playing arpeggios of extended chords, do not
play the root, 3rd, and 5th in the upper octave. Use the pattern below as a model.

peteer

42
Chord/Scale Relationship
Introduction to Chord/Scale Theory
Contemporary jazz musicians tend to think of a chord and its related scale as an entity. We
have seen that by extending a seventh chord upward in thirds to the thirteenth, we arrive at
a seven note chord. If the notes in this chord are re-ordered in seconds, the result is a scale.
Each chord implies a scale whether or not it is fully extended. In learning to think about chord/
scales, it is best to think of all chords as being fully extended. This gives an overview of all the
available notes implied by the chord. These notes may function harmonically or melodically.
When thinking of chord/scales we are thinking harmonically and melodically at the same time.

Many systems for teaching chord/scale relationships have been invented. Each system has its
own advantages and disadvantages. The two most important systems of relating chords and
scales are the parallel approach and the derivative approach.

In the parallel approach all chord/scales start from the root of the chord. The advantage of this
system is that all the notes in the scale are understood in relation to the root. This system is
logical for composers and arrangers, bassists, and instruments that play chords - piano and
guitar. The disadvantage of the parallel approach for the beginner is that dozens of scales must
be learned. Eventually, after several years in the woodshed, most improvisers will develop a
sense of the relation of the notes in the chord/scale to the root and instinctively make use of
the parallel approach.

The derivative approach is initially easier because relatively few scales must be learned. The
major, melodic minor, harmonic minor, diminished, whole-tone , and pentatonic scales will
cover any harmonic situation when applied correctly. The catch is that the scales are often
begun on notes other than the root of the chord. For example, an FA7 (+11) would be realized
with a C major scale. The FA7 (+11), when extended would include a9 anda 13(F,A,C,E,
G, B, D). When re-ordered in seconds an F lydian mode results (F, G, A, B, C, D, E). F lydian is
the fourth mode of the C major scale. C is the fifth of the FA7 (+11) chord, The rule would
be: on A7 (+11) use a major scale from the fifth. In the derivative approach the formulas for
chord/scale relationships must be memorized as well as the scales. Another advantage of the
derivative approach is that it leads the beginning improviser to start chord/scales from notes
that have amore subtle effect than the root. The parallel approach tendstoencourage overuse
of chord roots in improvisation leading to a simplistic, immature sound. In the example above
(C major scale over FA7 (+11), the C scale de-emphasizes the note F. Falmost sounds ‘wrong’
on this chord, like F against CA7. Chord roots, in general, are often the weakest, most
redundant, melodic note choices.

The approach used in this book contains elements of both the parallel and derivative methods.
As you develop as a player try to be flexible enough to take advantage of the approach which
the musical situation seems to indicate.

43
Chapter 3
ESO
ae ESEO aes sarees

Seven Note Scales - Modes of the Major Scale

A Derivative Approach to Modes

Seven modes may be derived from the notes in each major scale. Each mode is a seven note
scale containing all of the notes from the parent scale. Each mode starts on a different degree
of the major scale. The major scale is called the ionian mode. The mode which begins on the
second degree of the major scale is called the dorian mode. The mode starting on the third
degree is phrygian, fourth degree is lydian, fifth degree is mixolydian, sixth degree is aeolian,
seventh degree is locrian. In the example below, the modes of the C major scale are shown
along with the chords to which they are related.

C major (ionian)
= So
ee ee IA7 (in C)

D dorian Il-7 (in C)

E phrygian Ill-7 (in C)

F lydian es =p Se — FA7 IVA7 (in C)

G mixolydian V7 (in C)

gp See is oe 20
A aeolian (natural minor) —— OF eas = A-7 VI-7 (in C)

oOo -

B locrian Bo7 VII@7 (in C)

44
 Chord/Scale Relationship

Modes are best described in terms of their similarities and differences with parallel major
scales. To fully understand the sonic characteristics of a G phrygian mode, for example, one
should know that in comparison to a G major scale the G phrygian mode has a lowered
second, a lowered third, a lowered sixth, and a lowered seventh.

G major G phrygian

b2 b3 b6 b7

In the chart below, the seven modes of the major scale are presented in order of brightness
of sound. All of the modes start on C, so they are all parallel to C major. Once again we will
describe them by using the parallel major scale as a yardstick for comparison.

Sound Mode Alterations to Chord

Major

Brightest Lydian #4 ca7t4

a oO

lonian (major) Lae none CA7

oO o nia

Mixolydian - ae b7 C7
=o 6 el 9 Se

Dorian = Sp be b3,67 C-7

eo

Aeclian ——— ee es, C7

Phrygian ie — apo b2 b3, 66,67 C-7

oO

Darkest Locrian b2, 63,65, 66, b7 Cg7

45
 Modes efthe eeenting Melodic Minor
Iv

Modes Derived from Modes of the Ascending Melodic Minor Scale

C Ascending Melodic Minor Constructed from C (parallel approach)
(Alterations to C major are shown)

C ascending melodic minor C ascending melodic minor

ee oOo
Oo

63

D dorian 62 C dorian+2

oOo
ae
b2 63 b7

Eb lydian augmented C lydian augmented

#4 $5

F lydian dominant (lydian +7) C lydian dominant (lydian +7)

ee oe
=e
#4 b7

G mixolydian 66 C mixolydian +6
——€-}—

© pte ———
b6 = b7

A locrian #2 C locrian#2

& : |

= = ee
b3 b5 b6 = b7

B diminished-whole-tone (altered) me C diminished whole-tone (altered)

pte ote te
Sa 6)

* b4 is enharmonically equivalent to 43

46
 Chord/Scale Relationship
ZX

Applications of Modes of the Ascending Melodic Minor

As stated at the beginning of this chapter, elements of both the parallel and the derivative
approaches to chord/ scale relationships will be recommended in this book. The modes of the
major scale and their related chords should be learned as distinct scales, each with its own color
or mood. Particular attention should be paid to the dorian, mixolydian and ionian modes
because they will be used to realize the Il-7 V7 IA7 progression in major keys. In learning the
applications of the modes of the ascending melodic minor scale* we will use the derivative
approach. This approach is taken to relieve the beginning student of having to learn to play
seven more scales in all keys before being able to improvise over some very common harmonic
situations (i.e., the Il V|progression in minor). The melodic minor scale or any of its modes will
accommodate five different chord types. The chart below shows the placement of all the
modes of melodic minor within the related chords.

Placement of the Modes of Melodic Minor Within Chords

Chord Type || mel. minor dorian >2 lydian aug. | lydian dom. |mixolydian+6| locrian #2 |dim./whole-t.
tL \ 2
@/ b3 4 b5 6 b/7 root 2

7 (alt.) b2 #2 3 +4 +5 b7 root

-A7 root 2 b3 4 a 6 7

7(+4) 6 67 root 2 3 +4

A7(+5) | 7 root 2 3 +4 +5

Any one of the modes of the melodic minor may be used to improvise across any of these five
chord types. For example: on Ca7, play E> melodic minor; on C7 (alt.), play Db melodic minor;
on C-A7, play C melodic minor; on C7 (+4), play G melodic minor; and on CA7 (+5), play
A melodic minor. The melodic minor scale may be most accessible to the beginner because
it is so similar to the major scale but the lydian augmented scale is often recommended
because of the more subtle effect of its placement in the chords.

* When the term “melodic minor” is used in this book,

the reference is always to the ascending form of the
scale. Unlike the traditional melodic minor, the
ascending melodic minor (1 2'3 45 6 7), sometimes
called Real Melodic Minor or Jazz Melodic Minor, does
not have a different descending form.

47
 se SSESS oreo cries

Chords’ fipees c D E F# G# A B
t = is =|

D7 b7 b7 1 9 3 +11 5 13

Ab7(alt.) 3 3 +11 +5 b7 1 b9 +9
4

F#@/ b5 b5 b6 b7 1 9 b3 ti

A-A7 b3 b3 11 5 1s 7 1 9

CA7(+5) root 1 9 3 +11 +5 13 7

The chart above shows the five applications of the C lydian augmented scale. The way each
note in the scale functions in each chord is evident. The extensions, 9th, 1 1th, and 13th, are
used instead of the scale degrees 2nd, 4th, and 6th, to make the harmonic function of each
note clear. Notice the scale placement. Only on the CA7 (+5), the least common of these five
chord types, does the scale start on the chord root. On the other chord types, the scale begins
on the 3rd, ’3rd, *7th or 5th - all harmonically important notes. The reasons for choosing the
lydian augmented scale are the subtlety afforded by not starting the scale from the root and
the strength gained by starting the scale on a harmonically strong pitch. These two factors
allow the beginning improvisor to make swift progress when the applications of the lydian
augmented scale are learned. The usual result is a more mature sounding style than would be
attainable by using chord/scales built from the root.
Three of the chord types in the chart above, @7, 7(alt.), and-A7, are frequently found adjacent
to one another in the chord progressions of countless tunes. In the Il V | progression in minor
(Ilo7 V7(+5,+9) I-A7), the lydian augmented scale is used on all three chords. The placement
of the scale within the chord is different for each chord. The successive scale roots and/or
starting pitches of sequential patterns or melodies will shift up a minor third interval when
moving from the Ila7 chord to the V7 (alt.) chord, then up a major third interval when going
from the V7 (alt.) to the I-A7 chord, spelling ahypothetical minor triad with the starting pitches.
For example, if the first scale root or starting pitch of a phrase (on the Ila7) is F#, then the next
roots/starting pitches will be A (for the V7 (alt.) and C# (on the |-A7). This reduces the problem
of application to figuring only the scale root/starting pitch for the lla7, as the remaining two
applications willl fall into place via the hypothetical minor triad system, making for ease of scalar
application.

48
 _ Chord/Scale Relationship
i
Applications of the Lydian Augmented Scale
The chart shown below may be used as a reference for finding the appropriate lydian
augmented scale for any of the five chord types for which it is used, It also shows the
relationships between the five chords which are diatonic to each lydian augmented scale. Use
this chart in conjunction with the chart on the preceding page to get a better understanding
of how the lydian augmented scale is used in improvisation.

To use the chart, simply locate the chord root and type on the chart and look to the left to find
the scale.

Scale -A7 7(+4) 7(+5+9) o7 A7(+5)

& Eb lydian aug. | C-A7 ] F7(+4) B7(+5+9) Ag7 EbA7(+5)

E lydian aug. C#-A7 F#7(+4) C7(+5+9) Bbo7 EA7(+5)

F lydian aug. D-A7 G7(+4) Db7(+5+9) Bo7 FA7(+5)

G lydian aug. Eb-A7 Av7(+4) D7(+54+9) Cea7 GbA7(+5)

G lydian aug. E-A7 A7(+4) Eb7(+5+9) ; C#o7 GA7(+5)

A> lydian aug. F-A7 Bb7(+4) E7(+5+9) Dgo7 AbA7(+5)

A lydian aug. FH-A7 B7(+4) F7(+5+9) Eb@7 AA7(+5)

+
Bb lydian aug. G-A7 C7(+4) Gb7(4+5+9) Eo@7 BbA7(+5)

B lydian aug. Ab-A7 D>7(+4) G7(4+5+9) Fo7 BA7(+5)

C lydian aug. A-A7 D7(+4) Ab7(+5+9) FHG7 CA7(+5)

D+ lydian aug. | Bb-A7 Eb7(+4) A7(4+5+9) G@7 DbA7(+5)

D lydian aug. B-A7 E7(+4) Bb7(+5+9) G#@7 DA7(+5)

One interesting consequence of having five chord types in the family of each lydian
augmented scale is that the chords in each scale family may be substituted for each other. For
example, the A-A7 belonging to the C lydian augmented family may be replaced with D7(+4),
or Ab7(+5+9), or F#@7, or CA7(+5). This substitution method may even be extended to include
the omitted roots as slash chord bass notes. For instance, in the C lydian augmented scale, the
notes E and B are not chord roots, but may function as bass notes (i.e., D7(+4)/E or F#07/B).

A common harmonic unit such as the minor key Il V lin the example below can yield a variety
of tonal colors and bass line directions when the lydian augmented chord substitution method
is used. The substitute chords used below illustrate just one of many alternatives for
reharmonizing a minor Il V I.

Original Dg@7 (A? lydian aug.) G7(+5+9) (B lydian aug.) | C-A7 (E> lydian aug.)

Subs AbA7(+5) (Ab lydian aug.) Ab-A7/B> (B lydian aug.) | F7(+4) (Eb lydian aug.)

49
 The Harmonic Minor Scale
The diatonic harmony for minor keys is derived from the harmonic minor scale. The harmonic
minor scale construction is 1, 2, +3, 4, 5,6, 7. It is similar to the natural minor scale (aeolian
mode) - 1, 2, 63, 4, 5, 66, '7- except that the 7th degree is not lowered, The result is an
augmented second interval between the 6th and the 7th. The natural seventh degree is
necessary in order for the chord built on the fifth of the scale (the V7 chord) to have a major
third.

Applications of the Harmonic Minor Scale

Harmonic minor is often used to generalize over a ll@7 V7(9) |-A7 in minor. Since the diatonic
harmony for minor keys is derived from harmonic minor, all of the chord tones from those three
chords are present in the scale. The advantage in using harmonic minor on minor key IIa7
V7(’9) I-A7 is the simplicity and speed in only having to think of one scale, the root of which
is the tonic note of the key. It is simpler and faster to think of one harmonic minor scale than
having to think of the lydian augmented from the +5th of the Ila7, the lydian augmented from
the 3rd of the V7(alt.) and the lydian augmented from the b3rd of the I-A7. A disadvantage
in using harmonic generalization on the lla7 V7(+9) I-A7 is thatsome of the most colorful notes
which are usually added to the chords are not in the scale, i. e. 9and’13 on the lla7, and +4
and +9 on the V7. Also some of the notes of the scale require careful treatment on each chord.
For example, in the key of C minor on the V7 (G7) chord, the root of the scale (C) is a fourth
above the root of the chord and should be resolved either to B or D.

The use of the fifth mode of the harmonic minor scale has become more common in recent
years. The interval sequence of the mode is half step, augmented second, half step, whole
step, half step, whole step, whole step. The increased use of this mode is due to the wider use
of the chords for which it is suited.

The dominant 7 (sus4, '9) encourages the use of the fifth mode of harmonic minor because
itprovides both ab9 anda suspended 4th. For example, on a C7 (sus4, +9), an Fharmonic minor
scale would be played starting from C (the 5th degree of the scale). The polychord constructed
of a two major triads whose roots are separated by the interval of major 7th could be
accommodated by the 5th mode of the harmonic minor scale started from the root of the top
triad in the polychord. For example, with a C triad over D> triad, play an Fharmonic minor scale
Starting on C. The polychords and slash chords mentioned above are often found in
contemporary jazz compositions by composers such as Wayne Shorter, Ron Miller and Pat
Metheny.

9
C7sus4 or C/Db

50
 Chord/Scale Relationship
i,

Symmetrical Scales - The Diminished Scale

The diminished scale, sometimes called the octatonic scale, is an eight note scale constructed
in alternating whole steps and half steps. Because the diminished scale is symmetrically
constructed, only three discrete diminished scales exist. The diminished scales built on Eb, F#
and A contain the same notes as the C diminished scale so they are all considered as one scale.
The C#, E, G and Bb diminished scales and the D, F Ab, and B diminished scales are related in
the same fashion. Notice that the roots of each of these families of diminished scales form a
diminished seventh chord - an interval cycle of minor thirds.

C (also Eb, F# and A) Diminished

# (also E, G and B+) Diminished

— oF

D (also F Ab and B) Diminished

fe
Applications of the Diminished Scale
A C diminished scale can be used with diminished triads and seventh chords on C, E>, F# and
A. Rule: start the diminished scale from the root of the diminished chord.

A C diminished scale can also be used to maximum effect with dominant seventh chords on
B, D, F and A°. In each case the scale’s pitches will provide 1, 3, 5,57, 59, #9, #11, and 13.
Rule: start the diminished scale from the 69 or the +7 of a dominant seventh chord.

Chord | Cc D Eb F F# G# A B

B7(69+11, 13) b9 +9 3 +11 5 13 b7 root

D7(+9+11, 13) b7 root b9 +9 3 +11 5 13

tj}

F7(69411, 13) | 5) 13 b7 root b9 +9 3 +11

Ab7(69+1 1,13) 8) +11 5 13 b7 root b9 +9

The chart above demonstrates that four different dominant 7(+9+11,13) chords are
accommodated by one diminished scale. The fact that these four dominant seventh chords
are diatonic to the same diminished scale leads to the possibility of a chord substitution
method built on the diminished scale. Any of the four dominant seventh in a diminished scale
family may be substituted for any of the others. Furthermore, any of the diminished seventh
chords which are rooted on the first, third, fifth or seventh degrees of the diminished scale may
be substituted for the other diminished seventh chords rooted on the first, third, fifth or
seventh degrees. For example, A°7 may substitute for C°, E>°7 or F#°7. These chords are all

51
Chapter 3

inversions of each other. Each contains the same pitches - C°7 = C, Eb, Gb and Bb> (A);
Eb°7 = Eb, Gb, Bbb (A) and C; Gb°7 = Gb (F#), A, C, and Eb; A°7 =A, C, Eb and Gb.

There is another possibility for chord substitution based on the diminished scale. Any of the
dominant seventh chords in the diminished scale family may replace any of the diminished
seventh chords which are rooted on the first, third, fifth or seventh degrees of the diminished
scale. This substitution has been used so often on the the standard tune “Stella By Starlight”,
by Victor Young, that the substitution is more common than the original chord progression.
The tune was originally written in the key of ‘G’and begins with two measures of a G°7 chord.
Inthe new version of the tune, the G°7 was replaced by an F#7(+9, 13). Both chords are realized
with the G diminished scale. An interesting twist is added to the diminished scale substitution
by preceding the F#7(+9, 13) with its related Ila7 (C#o7). The half-diminished quality is used
instead of minor seventh because the first note of the melody is ‘G’, the lowered 5th of C#07.

Original @°7, | G7 A-7 Dy,

Subs C#O7 | F#7(>9) A-7 D7

The Whole-Tone Scale

The whole-tone scale is constructed in whole steps and includes only six notes. Because of the
symmetrical construction, only two different whole-tone scales exist. Each note of the scale
can be the root.

Whole-tone scale on C (also D, E, F#, Ab and B?)

Whole-tone scale on D> (also Eb, F G, A and B)

Applications of the Whole-Tone Scale

A whole-tone scale on C may be used with dominant seventh chords with a raised fifth on
C,D, E, F#, G# and Bb». In each case the scale will provide 1, 9, 3, +11, +5 and+7. Rule: use the
whole-tone scale from the root of the dominant 7(+5) chord. Make sure that an altered ninth
is not implied by the harmonic context because the natural ninth in the whole-tone scale will
conflict with it. When the chord symbol calls for a raised fifth and a natural ninth - as dom7
(+5,9) - the whole-tone scale is the only choice.

A chord substitution system can also be derived from the whole-tone scale. Any augmented
triad, dominant 7(+5), or dominant 7(+5,9) chord may be replaced by any other chord of the
same type whose root belongs to the same whole-tone scale. For example, D7(+5) could be
used in place of C7(+5).

52
The A ugmented Scale
The augmented scale is another six note symmetrical scale. It is constructed with alternating
augmented seconds and minor seconds. Because of its symmetrical construction, only four
discrete augmented scales exist. The C augmented scale also contains the Eand Ab augmented
scales. Notice that the scale roots form an augmented triad - an interval cycle of major thirds.

C Augmented Scale (also E and Ab)

Je SS
1 #2 3 5 b6 i
3) (#5)

D> Augmented Scale (also F and A)

= =

D Augmented Scale (also F# and B?)

Eb Augmented Scale (also G and B)

Applications of the Augmented Scale

The augmented scale may be used from the root of an augmented major seventh chord
instead of the lydian augmented scale. It may also be applied with varying degrees of success
in place of the lydian augmented scale in any of its applications. For example, the
Bb augmented scale could be played instead of a Bb lydian augmented scale on a C7(9+11)
chord. Always keep in mind when using the augmented scale that the scale contains three
half steps. This means that one or more of the three notes located a half step away from chord
tones have the potential to sound “wrong” if not approached and resolved carefully.

as
Chapter 3
Sees ae EES ESSERE eee

Other Scales - The Pentatonic Scale

The pentatonic scale is a five note scale with many different applications. The major pentatonic
is the root, 2nd, 3rd, 5th, and 6th of a major scale.

The minor pentatonic has a relative minor relationship with the major pentatonic. In the same
way that the natural minor scale is related to the major scale as the mode beginning on the
sixth degree, the minor pentatonic begins a major sixth above the major pentatonic (oraminor
third below). For example, the C major-pentatonic is C, D, E, G, and A and the relative minor
pentatonic is A minor - A, C, D, E, G. It is also necessary to understand that the minor
pentatonic scale consists of the 1, 3, 4, 5, and 7 of a parallel major scale.

Applications of the Pentatonic Scale

When the term pentatonic is used in this book the reference will be to the major pentatonic
unless minor pentatonic is specifically mentioned. Because the pentatonic has only five notes
and is structurally similar to several scales, many different applications for the scale have been
developed. In the chart below the most common applications of the pentatonic scale are
shown. Notice that on several chords there is more than one pentatonic scale available. In
these cases each pentatonic scale offers a different coloring of the chord.

Chord Type Scale Resulting Notes

Placement (relation to chord root)

Major triad root 1 Z 3 5 6

A7 S) | 5 6 ey 2 3

A7(+4) 2 2 3 +4 6 ze
b3 b3 4 5 b7 1

=f b7 | b7 1 Z 4 5

| 4 4 eS) 6 1 2

i | root 1 Z 3 5 6

7(sus) b7 | b7 1 2 4 5

7(alt.) +4 | +4 +5 b7 b9 +9

54
 LU eS:

The Blues Scale

The blues scale is a six note scale with a sound and structure similar to the minor pentatonic.
The only difference is the addition of the raised fourth in the blues scale.

Application of the Blues Scale

The blues scale is used to create a specific harmonic coloring and a feeling that is usually
described as bluesy. One blues scale, built from the tonic, is often used freely over any or all
chords in a blues tune. The flavorof the blues scale is strong enough to work over all the chords
ina blues progression, though some of the notes in the scale theoretically will not fit with some
of the chord tones. The blues scale is often used on a tonic chord that is a dominant 7th with
a raised 9th - 17(+9). The blues scale, built from the tonic of the key (not the chord root), may
be used with any chord when a bluesy sound is desired.

Synthetic Scales
Occasionally a composer will specify a synthetic scale for use in improvisation. It is difficult for
the improvisor to prepare for this situation, since the structure of the scale is determined by
the composer. Synthetic scales must usually be studied and assimilated quickly because they
are specific to one composition. One point to keep in mind that may speed the process of
learning a synthetic scale is that they usually combine attributes of more common scales. In
the example below from David Liebman’s tune, “Lookout Farm,” the first four notes of a C
blues scale (C, Eb, F and F#) are combined with the first four notes of the F# blues scale (F#,
A, Band C). The optional D? is a perfect 4th below G? (F#) and helps to reinforce F# as asecond
key center. The scale is derived from the melody of the tune - which is constructed of blues/
rock flavored motives alternately centered on C and F#.

cats

Another point that may help in working with synthetic scales is that they are sometimes similar
to other scales with some of the notes omitted. “Katrina Ballerina,” by Woody Shaw contains
a synthetic scale in the eight measure interlude that can regarded as an incomplete diminished
scale. The Bb7(+4>9) would normally be accommodated by a D lydian augmented scale (lydian
augmented from the 3rd) ifthe +5 was desired in the scale, or a B diminished scale (diminished
from the 9th) if the natural 5th and 13th were desired in the scale. Shaw’s six note synthetic
scale may be regarded as a B diminished scale with the C# (the raised 9th of the chord) and
the G (the 13th of the chord) deleted.

35
 Chord/Scale Examples
Some of the most common chord/scales are shown below. The scale construction is shown
in relation to the parallel major scale.

CA7 C major

= oOo <_< ee

1 2 & 4 5 6 Ul

ca7t4 C lydian
on ——_——————
1 2 3 44 5 6 7

ca7t? C lydian augmented

1 2 3 44 45 6 7

ca7t? C augmented

ae - a 3 5 15 z

C-/ C dorian

a
1 2 L3 4 5 6 7

C melodic minor

én. aa.

56
C7 or C7sus4 C mixolydian

a Sa & Base ateDh Laken S = =

oe eo o 2
1 z 3 4 5 6 7

or C diminished

c7?9 Pe adiminiahed

sh ee
2 b3 4 5 L6 6
(of Db dim. scale)
b2 #2 3 £4 5 6 L7 1
(of C7 chord)

1 2 3 44 £5 v7
(of E lydian aug. scale)
3 44 #5 b7 1 L2 #2
(of C7 altered chord)

er*4 Bb lydian augmented

re ret
1 2 $4 £5 6 7
(of Bb lyd. aug. scale)
b7 1 2 3 t4 5 6
(of C7+4 chord)

c7* C whole tone

a -S

1 2 3 t4 $5 b7

C@7 G} lydian augmented

ee
1 2 3 44 £5 6
(of Gb lyd. aug. scale)
b5 6 L7 1 2 L3 4
(of Ca@7 chord)

57
 Chord/Scale Relationships

Chord Type Scale

AT OF Os icascneritencc
it eee ee ee major

ATM ee lydian
INAbeer crate tec Meee a hk ey lydian augmented (or augmented)

eeee eed dorian (or aeolian or phrygian)

i ae Winer e ee Mle eT oe SER melodic minor (or lydian augmented from +3)

Fr asclag hee ce sae ee Me AR Re eae mixolydian

TSUSA, 5s PRR tae tein os seep ae ee mixolydian

bo Me, PRPs ase does eartee A RRR Re eae Rs diminished

PSD ND bane ee lbp 8 os diminished from +9 or b7

Faleseo
2eee aca
apieat teorae elydian augmented from 3
TEE. an ee lydian augmented from +7
Thei pn
Wee ere cy Reedy whole-tone
BI? Ming. tng ee eee lydian augmented from +5

Sample Patterns for the 13 Chord Types

The patterns which follow have been gleaned from years of listening and study of
transcriptions of jazz solos. Three patterns are included for each of the 13 chord types. The
first two of each type are 2 measures in length to allow thorough exploration of the scale. The
third pattern of each type is a one measure pattern which may prove more useful in actual
improvising situations. However, keep in mind that it is O.K. to use only portions of the ideas
in the longer patterns. Some patterns have been altered or extended to provide better
examples of the use of the chord/scale being explored. Play the patterns. Analyze them for
contour, rhythm, and essential pitches. Begin to transcribe your own collection of patterns
from records. Use the patterns in this section and your own collected patterns as templates
for the composition of original patterns. Play-along records are suggested for each pattern.
The key for the abbreviations used for play-along recordings is on page 105.

AP OF Oot PES c cake ie ee major scale

Play-along recordings*:
JA-21, side 1 # 1-4

Play-along recordings:
JA-21, side 1 # 5-6

* Key to play-along - see page 105

 Sees

LESS Oat ae a RE. lydian scale

ca7t4
Play-along recordings:
JA-21, side 1 # 1-4, side 3 # 25
=e

ca7t4
|
|

Sa 2 aa
ca7*4
Play-along recordings:
JA-21, side 1 # 1-8, side 3 # 25

1! oe eee A! lydian augmented scale (or augmented scale)

ca7t?
Play-along recordings:
not available

EIGN Ate ne os ee ee dorian (or aeolian or phrygian)

Play-along recordings:
JA-21, side 3 # 18-24

Play-along recordings:
JA-21, side 3 # 18-24
RL, Ex. 1-2

59
 Play-along recordings:
JA-21, side 4 # 29

Play-along recordings:
JA-21, side 2 # 15-16
JA-16, side 2, tracks 1 and 4

Play-along recordings:
JA-21, side 3 #17
JA-16, side 2, tracks 2 and 5

mixolydian scale

Play-along recordings:
RL, Ex. 24-26

C7sus4

C7sus4

60
 Chord/Scale Relationship
ee

es em ee RR ei diminished scale from +7 (or 69, or 3, or 5)

CMe etree Sk tebe rl OI RN th aks diminished scale from chord root

Play-along recordings:
JA-21, side 2 # 14

ee
—-4— if
a hg | |
Pa Jel a A ee

Play-along recordings:
JA-3, side 1, track 3
(2 bars of V7 alt. + 2 bars of |)

61
 iL eea lydian augmented scale from +7th
13
+11

Play-along recordings:
JA-21, side 2 # 15-16
JA-16, side 2, tracks 1 and 4

Play-along recordings:
JA-21, side 3 # 17
JA-16, side 2, tracks 2 and 5

Play-along recordings:
not available

OT i 3 bovstics Diasec Seth Oe ae a lydian augmented from +5

Play-along recordings:
JA-21, side 4 # 28
Se

62
 SE

Digital Patterns
Digital patterns are groups of four or eight eighth notes that are often used to outline fast
moving chord changes. The digits in the pattern correspond with the scale degrees of the
notes. Digital patterns are a part of the language of jazz patterns and licks that are used by
most players. Listen to John Coltrane's solo on his recordings of “Giant Steps” from the album
of the same name (Atlantic 1131). Examine the eight measure segment of Trane's solo shown
on the next page. It begins one measure before the third chorus. Notice how much of his
melodic material is constructed from digital patterns.

CA @r eH Cay

oe eel 1-2-1-2

a. = 1=2=3-1

a (e2eS=5

(Soe See ee Sees 1=355-5

Root Sequences for Practicing Digital Patterns

Practice digital patterns around all interval cycles with particular attention to the chromatic
cycle, the cycle of fifths, and cycles of minor thirds.

‘P Chromatically (i.e., CA7, DbA7, DA7, etc., or D-7, D’-7, C-7, etc.)

Fg Cycle of fifths (C, F, Bb, Eb, Ab, Db, Gb (F#), B, E, A, D, G)

Es Cycles of minor thirds:

ascending descending

C A G Eb G
C# B G E C#

D B Ab F D

. Cycles of major thirds:

ascending descending

C E G# C GH. E C

Dr F A D> A F Db

Bb F# D

B G Eb

63
 asec

Example of the Use of Digital Patterns

from John Coltrane's Solo on “Giant Steps”

EbA7 FH7

ane be § Spam por ar gs

How to Practice Digital Patterns for Improvisation

1. Practice the digital patterns through all interval cycles with all chord qualities.

2. Practice using them on tunes with fast moving harmonic rhythms (2 or 4 beats per chord).

3. Play through a tune or interval cycle alternating between two of the patterns. (or 3, or 4,
Nas)

4. After you can comfortably alternate between several of the patterns on a chord
progression, try improvising using any of the patterns that you want.

The patterns in the right column of each group are the same as the patterns in the left column
transposed up a fifth. For example, 5-6-7-9 is 1-2-3-5 starting on the 5th of the chord instead
of the root. Make sure you adjust the 3rd of the patterns from the right column to fit the chord
quality. For example, on a dominant 7th chord, you must lower the seventh (5-6-7-9). This
would be the same as playing a 1-2->3-5 pattern from the 5th of the chord.
‘
1-2-1-2 5-6-5-6 5-3-2-1 9-7-6-5 3-2-1-3 7-6-5-7
ie zac Sos 5-3-1-5 9-7-5-9 3-4-5-3 7-8-9-7
1-2-3-5 5-6-7-9 5-3-1-3 9-7-5-7 3-1-3-5 7-5-7-9
1-3-5+3 5-7-9-7 5-1-3-5 9-5-7-9 3-5-3-1 7-9-7-5
1-5-3-1 5-9-7-5 5-4-3-5 9-8-7-9) 3-5-1-3 7-9-5-7|

1-2-3-4-5-300-1 5-6-7-8-9-7-6-5|
1-7-1-2-3-4-5-3 5-4-5-6-7-8-9-7
3-4-5-3-1-2-3-1 7-8-9-7-5-6-7-5
3-2-1-3-5-4-3-5 7-6-5-7-9-8-7-9
5-4-3-2-1-2-3-5 9-8-7-6-5-6-7-9

64
 Chord/Scale Relationship

Exercises
EXERGISE 3:1

Write the scale below the given scale name.

A? dorian F# mixolydian

D> major B phrygian

2 == | =]
G lydian A locrian

= s
F aeolian D# lydian augmented*

—— == ~|
Bb augmented E melodic minor

= =
Ab diminished B whole-tone

a ate Sj
C# lydian augmented* D major

== =
F diminished A augmented

———————————— =|
D phrygian Eb aeolian

|
F blues D pentatonic

——E———————————————— |
* In playing and writing scales and analyzing chord/scale relationships for use in improvisation, speed is essential. If an enharmonic scale is simpler to write and play, it should be
used. For example E> lydian augmented (E> F G A B C D) is much quicker to visualize and write than D# lydian augmented (D# E# F* G* B# C*).

65
Chapter 3

EXERCISE 3.2

Write the name of the scale which fits the chord symbol in the space provided. (Always include
the name of the starting note of the scale.) Then, write the scale on the staff.

BA7 ea

9
bb7 EA7+4

11
9
G-A7 GRA7*:+5

A7sus4 Bb°7

13
+11
A729 G)

+9 9
Eat Eb7 +9

11
Dg@7 Fo7?

ab7*4 Ca
‘9

66
 ae Chord/Scale Relationship
ees ee See oe

EXERCISE 3.3

Construct the chord below the chord symbol. Write the name of the scale which fits the chord
symbol in the space provided. (Always include the name of the starting note of the scale.)
Then, write the scale on the staff.

13
11
AbA7*? Db A792

1
Fy7+4 Bo7?

9 69
E7+? ate

| =|
|

13
+11
DA7? G7sus4

13
79 FO7

13
9 1
pb7>5 Eb-79
Se : —

Ab Db7

9
Gba7*> Bo7

67
 SS

EXERCISE 3.4

Write the name of the given scale above the staff.

EXERCISE 3.5

Write the scale below the given scale name.

G diminished A whole-tone

——— ee

F lydian augmented B melodic minor

= EEE

E> dorian D> aeolian

———— SS
SS
B> augmented Ab lydian augmented

SS SS
E> diminished E mixolydian

DS SSS

68
 EXERCISE 3.6

Construct the chord below the chord symbol. Write the name of the scale which fits the chord
symbol in the space provided. (Always include the name of the starting note of the scale.) Then
write the scale on the staff.

Aba7t4 Db-7

FH+7 B7

\3)
EA7+? A7>9

L9 b13
p7t° e7r?

+9
eA/ F7+5

9
Bb-62 Eb7+4

9
Aba7 Db°7

9
Gb7+? Bo7

69
Se apter
| Lr
3 ern.
ck eee ee

Playing Exercises
1. Turn to the beginning of the section on digital patterns (pg. 63). Practice the 5 digital
patterns in the chart through the cycles shown in the chart at the bottom of the page
(“Root Sequences for Practicing Digital Patterns”).

2. Practice playing the following scale types in 12 keys:

major

dorian

mixolydian

lydian

lydian augmented

melodic minor

diminished
whole-tone

3. Practice the chord/scale patterns given on pages in the section called “Sample Patterns for
the 13 Chord Types.” Transpose the patterns (on your instrument) to all 12 keys.

4. Begin your own collection of transcribed patterns in a separate notebook. Make a special
effort to emulate the phrasing and articulations you hear on the recordings as closely as
possible. Practice the patterns until you can hear and play them in any key without
conscious thought about the mechanics of what you are doing. By picking patterns from
records and internalizing them, you are building a vocabulary in the jazz language.

70
 8 4.

_ Jazz Chord Progressions

Introduction to Bebop and Standard Tunes

Jazz chord structures and chord/scale relationships were covered in chapters two and three.
Now itis time to see how these structures are used in sequences to create chord progressions.

Popular songs and show tunes from the 1930's, 40's, and 50’s have been used as vehicles for
improvisations by musicians and are known as Standards. Tunes written in the Bebop style
often use chord progressions borrowed from Standard tunes with newly composed linear
melodies. Chord progressions of Bebop tunes are often made more complex than Standards
by the insertion of more passing chords and substitutions, but the framework and harmonic
language of Bebop and Standard tunes is similar.

Both types of tunes usually adhere to simple song forms. A typical Standard or Bebop song
form Is usually thirty-two bars in length, divided into four eight bar phrases. The most common
forms are AAB AandABAC. InanAABA form, the first eight bar phrase and the second
eight bar phrase are the same. The B section, often called the bridge, is different from the A
section and usually explores a new key (or keys) and returns to the original key for the final
Asection. In ABA C form, the first A section is followed by a bridge, then the second A section
and finally the C section, which is like a second bridge except that instead of exploring
harmonically it usually wraps up the tune in the original key. Of course, other forms were
commonly used and other lengths of tunes (i.e. 12 bar blues, 16 bar Bebop tunes) are
common, but the thirty-two bar A A B A tune could be considered typical.

The chord progressions in Bebop and Standard tunes are similar in style, although the melodic
styles differ. Bop melodies tend to be more angular with more eighth note lines while Standard
melodies tend to be more lyrical. Many chords in Bebop and Standard tunes can be analyzed
asall-7,aV7, oralA7 (Ilo7 V7(alt) I- in minor keys) in one key or another. The harmonic interest
is maintained by visiting many different key areas and occasionally inserting unexpected
chords. The harmonic style of Standard and Bebop tunes is considered to be common practice
style in the jazz tradition. More modern sounding tunes, often called Post-bop or Contemporary
tunes, are by design, less predictable harmonically than Bebop and Standard tunes. The
student ofjazz improvisation should have a strong background in Bebop and Standard tune
playing before studying contemporary tunes. The focus of this chapter will be on some of the
general tendencies of Bebop and Standard tune chord progressions.

VAI
 Root Motion
Chord root movements in intervals of perfect fifths and minor seconds are most common in
Bebop and Standard tunes. Movement by minor thirds and major seconds is also common.
Root movements by major thirds and tri-tones are less common in Bebop and Standard tunes
but occur frequently in contemporary tunes. Knowledge of interval cycles is especially helpful
in understanding and learning tunes.

In addition to the interval cycles covered in chapter one, the diatonic cycle of fifths should be
understood. A diminished fifth between the fourth scale degree and the seventh scale degree
is necessary to keep the cycle diatonic to the major scale. Chord root motion around the
diatonic cycle of fifths appears frequently in Bebop and Standard tunes.

Diatonic Cycle of Fifths

|

Il Vil

VI Ill

Common Harmonic Units

Il-7 V7 1A7 in Major
The most common chord sequence in Bebop and Standard tunes is the Il-7 V7 IA7 progression.
For the improvising musician, the recognition of this progression is essential. Much time and
effort is spent by jazz musicians in learning scales, arpeggios and melodic patterns for use in
improvising over Il-7 V7 1A7's.

All of the chords used in the II-7 V7 IA7 may be extended. The II-7 chord is often extended to
include the 9th and/or 11th. The V7 chord is often extended to include the 9th and/or 13th.
Sometimes the +11 is added to the V7 chord, necessitating the use of the lydian augmented
scale from the’7th. The !A7 chord is often extended to include the 9th and/or 13th. Sometimes
the +11 is added to the IA7 chord, necessitating the use of the lydian mode.

The extensions of the V7 chord are often altered. The chord may include ab9 or +9, +11, and
a 13th ORa-+5. Thechoiceof the 13thor +5 determines which chord/scale is used. A diminished
scale from the 69 or the +7 is used for the dominant 7th with +9 or +9 and a 13th. A lydian
augmented scale from the 3rd is used for the dominant 7th with 9 or +9 and a +5.
All three chords in the II-7 V7 1A7, if unaltered, are diatonic to the key of the IA7 chord. The
dorian mode used on the ll-7, and the mixolydian mode used on the V7 are both derived from
the parent major scale used on IA7. The notes from the major scale built on the IA7 chord will
work over all three chords, but the chord tones of each of the chords must be emphasized to
convey the sound of the progression.

In II-7 V7 IA7 progressions, the chord roots move down in perfect fifths or up in perfect fourths
(around the cycle). In analyzing music, chord roots should be checked for root movement
intervals - especially when the qualities of minor 7th, dominant 7th and major 7th are found
in sequence.

After studying and practicing improvising over the ll-7 V7 IA7 progression in all keys, musicians
can begin to improvise freely over the chords as one harmonic entity - almost like improvising
over one chord. This is an important level of skill to reach, because so many harmonic
progressions contain the Il-7 V7 IA7 or portions of it, i.e. II-7 V7 or V7 1A7.

72
 Variations of II-7 V7 IA7 in Major
Il-7 V7 |A7
dorian mixolydian major

I-7(9,11) V7(9,13) IA7(9,13)

dorian mixolydian major

I-7(9,11) V7(69 or +9,+11,13) IA7(9,+11,13)

dorian diminished scale from +9 or '7 lydian

I-7(9,11) V7(9 or +9,+11,+5) IA7(9,+11,13)

dorian lydian augmented scale from 3rd lydian

I-7(9,11) V7(9,+11,13) IA7(9,+11,13)

dorian lydian augmented scale from 7th lydian

I-7(9,11) V7(+5,9) IA7(9,13)

dorian whole tone major

167 V7 (alt) I- in Minor

In minor keys the lla7_ V7(+5, '9) |- is diatonic to the harmonic minor scale built on the I-.
However, the chords are often extended and altered to include notes that are not diatonic
to the harmonic minor. The lla7 is often extended to include the 9 and/or 11. The V7 (altered)
includes the +5, the 9 and/or +9, and the +11th. The I- may include the 6 or +7 or A7 and
the 9 and 11. The use of a+7 on the | - chord would call for the dorian or aeolian mode. The
6 or A7 on the |- chord would call for the use of the melodic minor scale (or lydian augmented
from the ’3). As mentioned in the section on applications of the lydian augmented scale in
chapter three, the roots of the scales used over the Ila7 V7(alt) |I- progression form a
hypothetical minor triad. For.example, D@7 (Ila7) would take an A? lydian augmented scale,
G7(alt) (V7(alt)) would take a B lydian augmented scale, and C-A7 (I-A7) would take an E>
lydian augmented scale. The roots of the scale - A’, B(C>), and Eb form an Ab minor triad. Obviously
these three scales are not derived from the same parent scale.

Because three different scales are used, the Ila7 V7(alt) |- is more complex than the major
l-7 V7 IA7 and requires more work to master. Eventually the improviser will learn to hear the
Ia7 V7 (alt) I- as one harmonic entity and improvise freely over it. The use of the hypothetical
minor triad method can hasten the acquisition of fluency in improvising on the minor key
llo7 V7(alt) |-. The example below shows the use of a parallel melodic sequence on Ila7 V7(alt)
I-. The melodic motive is played first on the Ila7 chord, then moved up a minor 3rd and played
on the V7(alt) chord, and finally moved up another major 3rd and played on the I-A7 chord.
If the motive is derived from the lydian augmented scale built on the lowered 5th of the lla7
chord, the transpositions will automatically fit the V7(alt) and I-A7 chords when transposed
up a minor 3rd, then a major 3rd. The pattern below is called the “Cry Mea River” lick because
it is a quote from the opening melody of the tune by the same name.

Do7 3
Pua gee Cia
a
| EE Raa
An {* BS 223 lt See a es es La ee
law gees ++ @—| “4 i (2 eS Pe ae
WY re

p,

fa
Chapter 4
te

Variations of Ilo7 V7(alt.) I- in Minor

lo7 V7(69 or +9,+11,+5) |-A7
locrian lydian augmented from 3rd lydian augmented from b3rd*

I1@7(9,11) V7(69 or +9,+11,+5) |-A7

lydian augmented from +5 ~ lydian augmented from 3rd lydian augmented from >3rd*

11@7(9,11) V7(b9 or +9,4+11,+5) |-7(9,11)

lydian augmented from >5 lydian augmented from 3rd aeolian

I1a7(9,11) V7(9 or +9,+11,+5) I-7(9,11,13)

lydian augmented from ’5 lydian augmented from 3rd dorian

Minor Key Il67 V7(alt) Il- Scale Comparison

In the following example, the chord/scales for the minor key Il V | progression are printed
together to facilitate comparison of scale tones. To make comparison of scale tones easier, the
scales are started on ‘C’, the tonic note of the destination key (except for the scale of the V7
chord which does not contain the tonic note of the key). Tones that must change between
the llo7 chord and the V7(alt.) are connected by arrows between the top two staves. Tones
that must change between the V7(alt.) chord and the I-(A7) are connected by arrows between
the bottom two staves. Each scale has four notes in common with the next scale. Each scale
has three notes that change when moving to the next chord/scale. An aural and practical
instumental knowledge of the common tones and changing tones in the minor key Il V |
progression is essential for improvising melodically over this common harmonic unit.

S)
D@7
Lydian augmented from +5th of Do7
Io7 Ab lydian augmented

Pe R 9 L3 11 65 13
L _ v
+9
G 72

Lydian augmented from 3rd of G7(alt)

V7(alt) B lydian augmented

3 +11 +5 17 R b9 +9

+9
G77

Lydian augmented from 3rd of G7(alt)

V7(alt) B lydian augmented

3 +11 +5 b7 R L9 +9
L uy “3

c-A7
I-A7 Lydian augmented from b3rd of C-A7
B Eb lydian augmented

R 9 b3 11 5 13 7

*or melodic minor from the root

74
ee —_——

Suggestions for Practice

1. Record a piano (or guitar) accompaniment on tape of the G7(alt) chord moving to the
C-A7. Use one measure durations at a slow tempo. Practice improvising while looking at
the scale comparison chart. Practice using only common tones then try using only
changing tones. Try using both. Learn to resolve the changing tones by half step. For
example, on the change from the Ila7 to the V7(alt), resolve the '7th to the 3rd, the root
to the +11, and the 9th to the +5. On the V7(alt) to the I-A7, resolve the +11 up to the
9th, the ’9th to the 5th, and the +9th to the 7th or 13th.

2. Use the same approach to practice the Dg@7 to the G7(alt).

3. Practice the other eleven keys in the same way.

4. Practice improvising on minor Il V I's with a play-along track JA -3, track 4).

Common Modulation Sequences of Ii VI

The Il V | is the cadential chord progression that most firmly establishes a key center. “II V 1”
(pronounced two-five-one) is a generic term for major and minor key II V | progressions. One
of the characteristics of Bebop and Standard tune harmony is quickly shifting key centers.
Often, almost every chord functions as al,Vor alin one of several key centers visited by a chord
progression. Because of the extensive use of the Il V | progression to establish rapidly shifting
key centers, some formulas that are frequently used are worth mention.

One of the most frequently used modulation sequences of II V | is in a series of key centers
moving down in whole steps. This is sometimes called downstep modulation. An example of
this type of modulation sequence is found in “Tune Up’” by Miles Davis. The tune begins with
a four measure Il V | in the key of D (E-7 A7 DA7). The second four bar phrase is a Il V | in the
key of C (D-7 G7 CA7). The third four bar phrase is a Il V1 IV in the key of Bb (C-7 F7 BbA7 EA7).
The final phrase returns to the key of D with a deceptive cadence to Bb for a surprise (E-7 A7
BbA7 A7). Many examples of downstep modulation exist in the jazz repertoire. Some tunes
that would be good to analyze for this type of modulation sequence are: “How High the
Moon”, by Morgan Lewis, “Afternoon in Paris”, by John Lewis, and “Solar”, by Miles Davis.

Another common modulation is movement up a perfect fourth (or down a perfect fifth). Many
Standard and Bebop tunes contain a Il V | in the key of IV. The tonic chord in the key of IV is
often followed by a chord on the same root with a minor quality. This minor chord is used to
weaken the sound of the new key and allow the harmony to fall back to a tonic chord in the
original key. An example of this type of modulation is found in “Misty”, by Errol Garner.

Cw
Key of E>: AW) Vee IVA7 IV-7. |V-6 |A7

i eae ee A Se ee ea a FNS OS, eee eI

EbA7 Bb-7 b7 AbA7 Ab-7 Ab-6 EbA7

Other examples of this type of modulation may be heard in “A Foggy Day in London Town",
by George Gershwin and “Cherokee”, by Ray Noble. (The bridge to “Cherokee” is also an
excellent example of downstep modulation.)

Many jazz compositions contain Il V I's in keys separated by major or minor 3rds. For
example, “Autumn in New York”, by Vernon Duke is in the key of F, but contains Il V |cadences
in the key of Ab (up a minor 3rd), then in the key of C (up a major 3rd from A+). The tune returns
to a phrase in the key of F, followed by a phrase in Bb minor (up a perfect 4th). The next phrase
begins in F minor but ends in Db major (down a major 3rd). The final phrase returns to F minor.

aS
Chapter 4
Se UE eee

The bridge from “Have You Met Miss Jones”, by Richard Rodgers is an example of a less
common type of modulation sequence through keys in a cycle of major 3rds. The tune is in
the key of F. The bridge starts in the key of Bb then immediately shifts down a major 3rd for
all V Lin G> (Ab-7 Db7 GA7), then shifts down another major 3rd for all V1 in D (E-7 A7 DA7).
Next it modulates back up a major 3rd for a II V | in Gb (Ab-7 Db7 GA7), and returns to the
original key for the final “A” section with a quick Il Vin F. “Giant Steps”, by John Coltrane is
another tune which makes use of a modulation sequence based on keys in a cycle of major
thirds.

Some tunes use modulation seqyences that move chromatically. The 9th through the 15th
measures of the Sonny Rollins composition “Airegin” is an example of a sequence of
modulations to chromatically adjacent keys. The sequence begins with a DbA7 followed by a
lV lin C (D-7 G7 CA7), all V1 in Cb (Db-7 Gb7 CbA7), and a ll V lin Bb (C-7 F7 BbA7).

Often IIV progressions are used without I's. These IlV's often move to a chromatically adjacent
lVwhich resolves to al chord. “Moment's Notice”, by John Coltrane is an example of the use
of chromatically shifting II V's. The tune begins with a Il V in the key of D (E-7 A7) immediately
followed by a Il V | in the key of Eb (F-7 Bb7 EbA7). “Lazybird”, also by Coltrane and the old
version of “Milestones”, by Miles Davis are other examples of tunes that contain chromatically
shifting Il V progressions.

Guide Tones in Il V1 Progressions

Chord/scales reveal all the available notes implied by a chord structure. Some of the notes of
the chord/scale are more important than others in communicating the sound of the chord
changes. Obviously, the root, third, fifth and seventh of the chord will most clearly define the
harmony. The rootis usually played by the bass and does not need to be doubled by the melody.
The fifth of the most common chord types (Major 7th, Minor 7th and Dominant 7th) is usually
a perfect fifth and is implied by the overtones of the root even when not played. The fifth only
becomes important in defining the harmony when it is altered. The third and seventh of a
chord can reveal the quality of the chord. Thirds and sevenths are often called Guide Tones.
The third may be major or minor (or replaced by a suspended perfect fourth). The seventh may
be major, minor or diminished.

Guide Tones Chord Sound Function

Maj. 3 + Maj. 7 Major 7 sound Tonic or Subdominant |
Maj. 3 + Min. 7 Dominant 7 Dominant
Min. 3 + Min. 7 Minor iz Subdominant or Tonic
Min. 3 + Maj. 7 Miner (maj7) | Tonic

Min. 3 + Dim. 7 Diminished 7 Dominant

Perfect 4 + Min.7 | Dominant 7 (sus4) Dominant

76
For the improviser and composer/ arranger it is important to understand and to hear the guide
tone motion in the II-7 V7 IA7 progression. The motion of the guide tones is the same on
any cycle of fifths progression. The seventh of the II -7 resolves down by step to the third of
the V7, then the seventh of the V7 resolves down by step to the third of the IA7. This 7th to
3rd movement is the simplest way to make the sound of the chord change.

|l-7 V7 |A7
D-7 G7 CA7
m7 1/2 step resolution M3. common tone M7

In minor key Ilo7 V7 |- progressions, the diminished 5th on the lla7 chord may be thought of
as a guide tone. It is a common tone in the change from Ila7 to V7, becoming the +9 of the
V7 chord, then resolves down a half step to the 5th of the I- chord.

lo7 V7( 59) |-A7

Do7 G7b9 c-A7
m7 1/2 step resolution M3. common tone M7

common tone m9 1/2 step resolution PS

m3 common tone m7 whole step resolution m3

The guide tones may be thought of as a framework on which to hang the improvised line. The
other notes of the chord/scale may be used to color the sound ofthe chord, but the guide tones
are a reliable means of communicating the sound of the chord movement in cycle of fifths
progressions. Almost all jazz players use guide tones as turning points for their lines. For an
example of the extensive use of guide tones, listen to Sonny Rollins recordings from the late
1950's and early 60's.

77
Chapter 4
EN

Study the following example of the use of guide tones in improvisation on the the changes
to ajazz standard. (All of the intervals in the analysis are measured from the root of the chord.)
Play the example, then begin to make your own elaborations on the guide tone framework.

SSS es =
ape

Ab7 DbA7 Do7 G7?9 Ge

m7 P5 M3M9 R m7 M3 P5 M7 MIR m7 m7 P4 a P4 M3 m9 P5 P4 m3

When learning new tunes, write the guide tones and practice improvising around them. Also
watch for other half step resolutions between chords which may function in the same fashion
as guide tones, i.e., 9th of V7 to Sth of |-, +5th of V7 to 9th of I-7, etc.

Extended Diatonic Cycle of Fifths

The roots of the chords in the Il-7 V7 IA7 progression move around the diatonic cycle of fifths.
Often the chords before the II-7 in the cycle are used to precede it. The cycle may be extended
back to the Vila7 chord and all of the root movements will be down in perfect fifths,i.e., VIIO7,
IIl-7, VI-7, II-7, V7, IA7. Sometimes the cycle is extended to include #IV, the chord root a perfect
fifth above VII.

Often the quality of a chord in the diatonic cycle of fifths is changed to make it function as
a dominant to the following chord. The most common example of this is the VI7 chord which
functions as the V7 of Il-7. A chord that functions as a dominant of a any diatonic chord except
the tonic chord is called a secondary dominant. Often in the extended diatonic cycle of fifths,
alternating diatonic chord qualities and secondary dominants are used. For example:

#IVO7 VII7 Ill-7 VI7 Il-7 V7 IA7

FHO/ B7 E-7 A7 D=7 G7 CA7

In the example above B7 functions as a secondary dominant of E-7, and A7 functions as a

secondary dominant of D-7. Notice also that F#@7 functions as a related /I-7 to B7, making
F#@7 B7 E-7 allo7 V7 |-7 progression in the key of E minor. In the same manner the E-7
functions as a related II-7 to A7, making E-7 A7 D-7 all-7 V7 I-7 in the key of D minor. In
analyzing and learning music for improvisation it is very important to know where every
change in functional harmony occurs in order to emphasize the shifts into various key areas.
In order to make the Il-7 V7 1A7 relationships more obvious on paper, an analysis system has
been developed in which any chord that functions as a dominant of another chord is linked
to that chord by an arrow. Any chord that functions as a related II-7 of a dominant is linked
to that chord bya bracket drawn below. The Roman numeral analysis will designate the chord’s
relationship to the key of the phrase or section while the arrows and brackets indicate
ll-7 V7 1A7 relationships among the chords.

78
 nen Fo ag
#IVO7 VII7 IIl-7 VI7 I|-7 V7 |A7
a

FHO7 B7 E-7 A7 Day G7 CA7

One other important point should be mentioned about secondary dominants and chord/
scales. When no indication is given in the music as to the extension or alteration of a secondary
dominant, the chord scale should be determined by the normal quality of the diatonic chord
to which the secondary dominant resolves. For example, VI7 functions as V7 of II-7. Normally
the dominant of a minor key is fully altered (V7 (+5+9), so the chord/scale should be lydian
augmented from the third of the VI7 chord. On the other hand, II7 functions as the V7 of V7.
Since the basic triad of the V7 chord is major, the chord/scale for the II7 should be mixolydian
(or lydian augmented from>’7). The chart below shows the secondary dominants for major key
harmony, the usual extensions, the chord/scale, and the chords to which they resolve.

Secondary Extended Chord/Scale Resolves to

Dominant |
\7 17(9,13) mixolydian IVA7

\I7 117(9,+11,13) lyd. aug. from >7 V7

III7 III7(+5, alt 9) lyd. aug. from 3 | VI-7

VI7 VI7(+5, alt 9) lyd. aug. from 3 Il-7

VII7 VII7(+5, alt 9) lyd. aug. from 3 IIl-7

Sub-Dominant Minor
The IV minor chord was used in early jazz music as a chromatic interpolation between IV major
and | major. Eventually the IVA7_ IV- IA7 was expanded to a IVA7_IV-7 >VII7 IA7. The IV-7
bVII7 isall-7 V7 in the key of Ill. For example in the key of C, the progression would be FA7
F-7 Bb7 CA7.F-7 Bb7isall-7 V7 inthe keyof E>. Bebop musicians called the lV-7 >VII7 progression
a back door approach to !A7. The IV-7 and >VII7 chords fall into a harmonic area called sub-
dominant minor because the IV-7 chord is borrowed from the parallel minor key. Other chords
which function in the sub-dominant minor area are the IV-6, Ilo7, ’VIA7, and V7(sus4, >9).

Keyof C: IV IV- |

In the example above, note the chromatic interpolation of Ab between A and G, resulting in
a lV minor chord.

KeyofC: IVA7V-7_—s bVII7_—sA

79
 Turnarounds
A turnaround is a two-measure chord progression consisting of four chords. The first chord
in the turnaround usually has a tonic function and the last chord usually has a dominant
function. One of the purposes of the turnaround is to help define the form of the tune. For
example, many tunes begin and end with a tonic chord. The final tonic chord is usually two
bars in duration because the downbeat of the seventh bar is metrically a strong place for the
completion of the last eight-bar phrase. The turnaround is played in the place of the final tonic
chord. This sets up the top of the tune by interpolating a short harmonic progression between
the tonic chord at the end of the tune and the tonic chord at the beginning of the tune. The
turnaround also is useful in providing harmonic interest in static harmonic areas in other parts
of a tune.

In analyzing the harmony ofjazz tunes, one finds that turnarounds are almost as plentiful as
l-7_ V7 1A7 progressions. Playing turnarounds is one of the most important skills for an
improvisor to develop.
Examples of some common formulas for turnarounds are shown below. Notice that Ill-7 may
be substituted for IA7. Also take note of the minor key turnarounds which start with I-. The
last example is from a tune that starts with a II-7.

IA7
( )
VI-7 II7 V7 Ill-7 VI7 l-7 V7
| = eee SS

|A7 VI7 ll-7 V7 III7 VI7 I|7 V7

_————————————

OS ie Panes
|A7 VI7 II7 V7 |-7 VIio7 Ilo7 V7
ae
Se ee

ee, ‘gti tele

IA7 IN ll-7 V7 |-7 VI7 Ilo7 V7
|
ee

eS, ete “ad

Rao SP,

|A7 bII7 I|7 bI7 |-7 IN Ilo7 V7

Soe a)

|A7 b|I7 V7 bIL7 |-7 bV/II7 »V/I7 b|I7

Z x "ad eG ley lea”

IA7 bINATZ bVIA7 bIA7 |-7 VI7 II7 V7

a”,
|A7 bVII7 bV/I7 V7 |A7 IV7 IIlo7 VI7 (II-7)
—————————————
|

L )

7
= tritone substitute dominant that resolves down by a half step

General Rules Regarding Altered Extensions on Dominant Seventh Chords:

1. In major key turnarounds, the VI7 chord usually has an altered 9th (¢9 or +9).

2. In major key turnarounds, the V7 chord often has an altered 9th.

3. In minor key turnarounds, the VI7, II7 and V7 chords usually have a raised 5th and an
altered 9th.

&0
 Jazz Chord Progressions

Tri-Tone Substitution
Two dominant seventh chords whose roots are a tri-tone apart share the same guide tones
(7th and 3rd). Because these two most harmonically important notes are present in both
chords, a dominant seventh chord a tri-tone away from another dominant seventh chord may
substitute for it. For instance, in a ll-7 V7 IA7 progression, a chord a tri-tone from V7 may
substitute for it, creating a ll-7 +II7 IA7. The extensions of the tri-tone substitute chord are
almost always 9, +11, and 13. A dominant 7th chord with these extensions will take a lydian
augmented scale from the »7th. For example, the scale for a B7 (the tri-tone sub for F7) would
be A lydian augmented. The A lydian augmented scale would also be used for F7 (altered).
The use of the tri-tone substitute has the effect of altering the V7 chord.

chord roots a tri-tone apart

B7 (3rd and} 7th of F7) (67th and 3rd of B7)

m7 M3 ie

——— po”
M3

F7(9,13) = B7(+5+9) F7(+5+9) = B7(9, 13)

B7(+5+9) = F7(9,13) B7(9,13) = F7(+5+9)

When the root of a dominant seventh chord is moved by a tri-tone and the remaining notes
in the the chord are unchanged, dom 7(9,13) becomes dom 7(+5+9) and dom 7(+5+9)
becomes dom 7(9,13).

13 +9
F729 yd. aug. from 57 F7+> Iyd. aug. from 3
or or
Eb lydian augmented A lydian augmented
+9 13
B7*> Iyd. aug. from 3 B72 yd. aug. from }7

by. === fr —fo—

8&1
Chapter4
EEee tie

F7 BbA7

Ven et A eat Ge nee og gers an Il Pee TEIN PE We 77 (II

Bb: V7 P iKF leo WH |A7

Glin soar oe a
B7 BbA7 Pil EA7

SF SF SON Ze oer IFA FOF SINS. Fae al

Bb: bII7 |A7 Earle |A7

Ca a BbA7
|

ll He Fae 7 alee ee ae ll ena ero ho 7g 7a ae

Bb: V7 bII7 |A7 Bb: |I-7 Wi |A7

Lae tg

FH-7 =B/ EA7 FH-7 =B7 BbA7

IP awe e ae NN ie oe yen Vo Al WEA A 7 of = Fee aa

E: |l-7 V7 |A7 Bb: bVI-7 —bII7 |A7

ginea ee
™“
CA bab BbA7
| ee |

| yen ge a a > FU; ee Awe) ye 2

Bb: |I-7 V7 >VI7 SII7 |A7

Tri-tone substitutes are not only used for the V7 chord. Tri-tone subs for secondary dominant
chords are used quite frequently. In the chart on the right, secondary dominants and their
target chords are shown along with the tri-tone substitute chord for each. Note the use of the
dotted arrow to show the relationship of a tri-tone sub to its chord of resolution one half step
below.

Secondary Dominants Tri-tone Substitutes

gene oe i)
17 \VA7 bV7 \VA7
ae ES,
7 V7 WIZ =V7
a? CG
II7 = VI-7 bVII7 “VI-7
US, ie ans
VI7 Il-7 bINZ =—II-7
ag eg
VII7 —III-7 V7 III-7

82
 — ss ee

Common Bridges on Standard and Bebop Tunes

In many Standard and Bebop tunes the same harmony is used in the B section of the tunes
(the bridge). Some of these eight measure bridges were used in so many tunes that it must
have seemed they could be found at the local department store. For ease of communication
in talking through a set of chord changes, musicians gave names such as the “Sears Roebuck
Bridge” and the “Montgomery Ward Bridge.” Often no melody was written for these bridges,
especially on Bebop tunes, the players simply improvised over them.

Sears Roebuck Bridge

The Sears Roebuck Bridge in its simplest form is a sequence of dominant seventh chords
moving around the cycle of fifths. A more complex version is made by preceding each
dominant with its related II-7. A still more complex version is made by inserting the tri-tone
sub for each dominant preceded by its related |I-7.

Pee Nea A wy a eS
Key of C: II17 VI7 7 ™ (147)
2g A7 D7 G7 CA7

I) A TAN PEERIE NO SLLE

78 ENED OA DEN Ed LAAN A Ceara ee Fe Fae We Ve AIAN

Key of C: VII-7 III7 Ill-7 VI7 VI-7 17 Il-7 V7 (147)

_———— | ———s |

B-7 ay) E=7, A7 A-7 D7 D-7 G7 CA7

UA LAAN PE POLE LON) EREVAN DEE ABE OA ADdat BANE eV A EI Nes EAN O82 wel

Key of C: VII-7 \II7 |\V-7 bVII7 ‘ IlI-7 ~ VI7 bVII-7 Pll ne 2

_———— | | ee | a |

ie Li “a TZ \\ee7 Ve 7 A Pag a 7 7 (aay i 7 4 |

B-7 3y/ F-7 Bb7 E-7 A7 Bb-7 Eb7

LE, TRE OES

VI-7
ee
\|7 bIll-7
|
bI7
haces\l-7
|
~ V7
vo

bV/|-7
EEE
bI|7
ie ate ae =

ee
(IA7)

| We Lh Sa ely Wi 7 ye er 7 wi i eee, i Ti 7 ll

A-7 D7 Eb-7 Ab7 D-7 G7 Ab-7 Db7 CA7

8&3
Chapter4 ner

Montgomery Ward Bridge

The Montgomery Ward Bridge in its simplest form is a 4 bar tonicization of IV. In the last 4 bars,
the II7 chord - the secondary dominant of V- moves to V7. As in the Sears Roebuck Bridge,
a more complex version is made by preceding each dominant with its related II-7.

awa
eee oe
17 IVA7 II7 Wi (IA7)
Key of C: CF FA7 D7 G7 CA7
hk #4 AFS LI SSS SNS FLING Ae ee ee ee eee

Oe et ee i

\V-7 17 IWA7 VI-7 II7 Il-7 V7 (IA7)

| ——————— ———

Key of C: G-7 C7 FA7 A-7 D7 D-7 G7 CA7

h SSS LI) SES INIA S Fe ae DS ae ee es oe ee

Confirmation Sequence
The Confirmation sequence is a four bar excursion through the diatonic cycle of fifths named
for Charlie Parker's tune “Confirmation.” The sequence begins with a lA7 chord, followed by
a VIIg7, and progresses through the entire diatonic cycle of fifths to end on a IVA7 chord in
the fifth measure. Because the Confirmation sequence begins with a | chord and leads to a
IV chord in the fifth bar, itis used frequently in blues tunes. (One ofthe characteristics of a blues
chord progression is that it starts on al chord and gets to the IV chord in the fifth bar.) Blues
progressions that use the Confirmation sequence are often classified as “Bird” blues. (“Bird”
is Charlie Parker's nickname.) In some tunes, the harmonic durations are doubled, making the
Confirmation sequence an eight measure sequence. The Standard “There Will Never Be
Another You” is an example of the use of a stretched Confirmation sequence.

IA7 VIlo7 III7 VI-7 I|7 V-7 17 (IVA7)

ee | ee

Wf PN OF OL, He I er ee ee eee eee

CA7 Bo7 E7 A-7 D7 G-7 G7

Guide Tones on the Confirmation Sequence

In the example below, notice the linear connection of the guide tones in the Confirmation
sequence. Guide tones are especially useful, providing a framework for improvisation on this
progression based on the diatonic cycle of 5ths. The guide tone lines also make good
background lines to play behind a solo.

Bo7 EF A-7 D7 G-/ SF | FA7

&4
 Coltrane Matrix
John Coltrane developed awaytoharmonically expand a four measure Il-7 V7 |A7 progression
by superimposing V7 to |A7 cadences in keys found in the cycle of major thirds with the original
key. For instance, C, Ab, and E make a cycle of descending major thirds. These three notes sub-
divide the octave into equal parts. When dominant to tonic cadences are played consecutively
in all three keys, a multi-tonic system is established in which all three of the keys are perceived
to have equal harmonic weight. The listener accepts all three keys equally as the home key.
Coltrane's tunes “Giant Steps” and “26 to 2” use such a multi-tonic system. In these tunes,
the matrix starts on a 1A7 chord instead of a lI-7. Improvisers sometimes use this version of the
matrix as a substitute progression on any given chord that lasts for 4 measures. His tune
“Countdown”, an expansion of Miles Davis’ “Tune Up”, makes use of the Coltrane matrix to
re-harmonize four measure |I-7 V7 IA7 progressions. Soloists sometimes create a layer of
superimposed harmony that moves from inside the given changes to outside and back inside
by the use of the Coltrane matrix. This technique is available in situations where the rhythm
section is not also playing the progression. For more information, see “Harmonic
Superimposition” in Chapter 5.

Key of C: I-7 PILI7 bVIA7 —VII7 AZ es IA7

havi <i 7 ae ee ONS ESL .. SOE NA Re Fe er el

D-7 Eb7 AbA7 B7 EA7 G7 CA7

V7 |A7 V7 |A7

Key of >VI Key of Ill

Short chord durations and rapidly shifting tonal centers make the Coltrane matrix a prime
candidate for the use of digital patterns in improvisation. However, moving digital patterns
smoothly through this unusual sequence of chords is not easy. John Coltrane made use of a
technique on his solo on “Giant Steps” that helps in making smooth chord connections. In
the “Giant Steps” solo, Coltrane often plays the notes FG, Ab, C over a Bb7 chord. These note
are, respectively, the 5th, 6th, 7th and 9th of B*7, but are probably considered by the improviser
to be the root, 2nd, 3rd and 5th of an F-7. The destination of the Bb7 chord is EbA7 - V7 to
IA7. In the key of Eb, F-7 is the diatonic Il-7 chord. F-7 is sometimes called the related //-7 of
Bb7 because they are both diatonic to the key of E+. The Sth, 6th, ’7th and 9th created by
playing F- over Bb7 provide the natural extensions of the B>7 chord. The related Il- of adominant
7(9) chord may be superimposed on that chord without altering the quality or color of the
dominant chord. If each of the dominant 7th chords in the Coltrane matrix is replaced with
its related II-7 chord, the result is a series of chords descending in whole steps alternating in
quality between major 7th and minor. This is sometimes called the downstep method of
improvising on the Coltrane matrix.

Downstep subs: C* Bb- AvA7 —F#- EA7 D- CA7

Coltrane matrix: D-7 Eb7 AbA7 ~—sB7 EA7 G7 GAN

* The C triad may be used over the D-7, providing the

67th, 9th and 11th of the D-7. The use of the C triad
would allow the root motion of the downstep
substitutions to form a complete whole tone scale.

85
St A se

Rhythm Changes
The A AB A formal structure and chord progression of the George Gershwin tune, “I Got
Rhythm” have been used for many tunes in the Bebop style. These tunes are generically known
as rhythm changes. In the example below, notice that the fully diminished 7th chords which
resolve up by half step are analyzed as dominants. Also keep in mind that the Sears Roebuck
Bridge could be made more interesting by the addition of the related II-7 chords and/or tri-
tone substitutes.

A section PR Ry WE hE BES LGA Gs

Key of BP: |A7 #1°7 I|-7 #II°7 Ill-7 VI7 II-7 V7
| Pam a AN Oe gre MOO |ve eh ead le #2 A I yf 77 Ea
BbA7 B°7 C-7 C#°7 D-7 G7 C-7 Py

1. om ame.
V-7 17 IVA7 #1VO7 IIl-7 VI7 Il-7 V7

Pee Ae cee er ir AO Ne on 7 / ff “Ff Ve

F-7 Bb7 Eb7 Ee7 D-7 G7 C-7 RY

2 ee i
II-7 V7 |A7
LOA So Le ee in ee

C-7 F7 BbA7

(jan to icon ssi aeaos, alt

B section 7

WEA IA WARE ASZAYWP PAG | YBA Ze ROOTS FA SSS Fi Lf LIN ZS Jaa

Dy G7 (Ci

Zoe ew
A section |A7 #1°7 I|-7 #197 Ill-7 VI7

| ee oe ee | | “i 7
BbA7 B°7 C-7 C#°7 D-7 G7

V-7 17 IVA7 #1V°7 I|-7 V7

——————— |

| ee Sf eel RS OS ey | 7 7
F-7 Bb7 Eb7 EC? C7 F7

&6
 Jazz Chord Progressions

The Blues
Many of the musical characteristics of jazz originated from the blues. The blues is a musical
form that has been at the heart ofjazz from the beginnings of the idiom. The blues has a certain
bittersweet feeling and sound as well as a specific song form. The sound comes from the use
of the blues scale and particularly the use of blue notes (+3, '5, and +7). Blue notes are often
bent and used in a microtonal manner. They are often not in tune with the equal tempered
scale system.

The characteristics of the blues form are very specific but allow a certain amount of flexibility
to the composer and player. Blues tunes are usually twelve measures in length. They are divided
into three four-bar phrases. The lyric structure most often is in bar form (AAB). The first and
second phrases are usually the same and function as antecedents to the third or consequent
phrase. B.B. King’s tune “Nobody Loves Me But My Mother” serves as a good example of bar
form in a blues lyric.

Nobody loves me but my mother, and she could be jivin’ too.

Nobody loves me but my mother, and she could be jivin’ too.
Now you see why | act funny baby, when you do the things you do.

In the blues, dominant seventh chords may take on tonic or sub-dominant function. The tonic
()and sub-dominant (IV) chords are almost always dominant seventh quality. Use of dominant
seventh chords for non-dominant functions is a unique characteristic of the blues that has
been borrowed for use in many other tune types in jazz and rock to give the chord progression
a bluesy flavor.

Blues harmony varies from the simple three-chord traditional variety to the complex post -bop
blues which may have a different chord every two beats. Through all its development , the
blues has retained a certain underlying harmonic structure. The blues progression starts with
a|7 chord and always goes to the IV7 chord in the fifth bar. The ninth and tenth bars usually
contain some type of cadence to lead back to the tonic in the eleventh bar.

\7 \7 \7
HE ee NN ed ea Aa OY Re Se eA LM Bel ec ee

V7 \7 |7
xe. TB WN” vo i a eae ea ee ee ed

V7 \7 \7
Vn eee re lise S| OT SIS OCHO

Early jazz composers began adding passing chords and substitutions to the traditional
structure. The most important additions are:

1. use of IV7 in the second bar.

2. delaying the V7 chord until the tenth bar by inserting the Il-7 (or II7) chord in the ninth bar.
3. preceding the II-7 chord in the ninth bar with its dominant (V7 of II- we'll call it VI7). This
chord almost always contains an altered ninth.

4. use of a diminished seventh chord built on #IV in the sixth bar to lead back to the tonic
in the seventh bar. The IV-6 chord (sub-dominant minor) or the IV-7 to +VII7 (back door
ll- V) often substitute in this function.

5. use of a turnaround in the eleventh and twelfth bars to lead back to the top of the form.

87
Chapter om
SORE
eaten esneseeaatenntters

The swing era musicians extended the chords to 9ths and 13ths and the Bebop players tried
many harmonic variations and chord substitutions, but the jazz blues form shown below is still
the most commonly used progression. If you go to a jam session and a blues is played, the
chances are good that this is the progression the rhythm section will play.

Jazz Blues Progression

Key of F: \7 V7 \7 \7
lle Ti ve FS wales 7 ve Va ae 2 F if / eee vg Vi Vi |
ay Bb7 F7 avi

V7 #IV°7 \7 A
I yz 7 aw Tey il ere: 7 Me Le li a Zi Me Ye Il ee 7 7 |
Bb7 B°7 ey D7(¢9)

pO oeSts —,
\l-7 V7 \7 VI7(69) \|-7 WE
L J J

| S Va bees 7 7 7 ey 7 4 eg [7 7 Y; A ll
G-7 C7 F7 D7(9) G-7 G7

Post-bop musicians have expanded the blues by adding more substitutions, using different
meters, experimenting with different lengths of forms (i.e. 18 bar blues, 20 bar blues), and
by developing minor key blues. Through all its permutations, the blues still retains its identity
and power as a vehicle for communicating strong emotions.

Six Types of Tunes

Bebop and Standard Tunes

In this chapter, we have studied jazz chord progressions from the common practice period of
jazz, the Bebop era. Playing tunes with rapidly moving chord changes and fast tempos tends
to be a major obstacle for most beginning jazz improvisors to overcome. The quick pace of
chord changes tends to dictate a vertical approach to improvisation in which the musician
seeks to outline the chord changes. The skills developed in learning to improvise on bop tunes
are necessary for improvising on any of the other five types of jazz tunes. Jazz standards are
considered to be a part of the Bebop tune type because the harmonic durations and chord
progressions are similar. The main difference is in the melodies. Bebop melodies tend to be
linear, consisting mostly of long lines of eighth notes, much like an improvised solo. Standard
tune melodies tend to be more lyrical. Most of them were originally pop tunes and were
intended to be sung. Many Bebop tunes are simply new melodies written on the chord
progressions from standard tunes.

Modal Tunes
Modal tunes came into the jazz repertoire in the late 1950's. The Miles Davis album “Kind of
Blue” is a landmark recording for its introduction of modal playing. Chord durations tend to
be long in modal tunes. Often modal tunes have only two or three chord changes and some
tunes are based entirely on one chord. The Miles Davis tune “So What” from the album
mentioned above is a classic example of a modal chord progression. The form of the tune is
AABA. Each section is eight measures long. The harmony for the first two A sections is D-7.
The harmony for the B section moves up by a half step to E+-7. The last A section moves back

&8
 to D-7. These long durations tend to dictate a horizontal approach by the improvisor. Modal
tune harmony almost never includes Il- V progressions. In some ways the advent of modal
tunes was probably a reaction to Bebop harmony. In any case, modal playing requires a new
set of skills of the improvisor
who must now learn to play something interesting without relying
on harmonic motion.

Blues Tunes
Some of the specific and unique characteristics of blues tunes have already been discussed in
this chapter. One further point should be made in comparing blues to Bebop and modal tunes.
Notice that harmonic durations in the blues tend to be longer than in bop tunes and shorter
than modal tunes. There is a tendency to improvise on the |V7 chords in the second, fifth and
sixth bars by simply lowering the third degree of the mixolydian scale built on the tonic. This
results in a dorian scale from the tonic (which includes the same notes as the mixolydian scale
from the IV). By using this approach, measures one through seven can be treated horizontally
as if they are all based on the tonic chord. The use of the blues scale is another element of a
horizontal approach. The blues scale based on the tonic may be used on any chord in the
progression. However, jazz blues progressions usually contain at least one Il- V- | progression
and a turnaround at the end, necessitating the use of the vertical or change-running skill used
in the Bebop style.

Contemporary Tunes
The contemporary category includes tunes written as far back as the mid 1960's. They tend
to mix sections of long harmonic durations and sections of quickly moving changes. One
characteristic is the conscious avoidance of Il -V progressions, turnarounds and other stock
elements of Bebop style. Each contemporary tune tends to dictate its own method of
improvising. Some lend themselves to a vertical approach, some to a horizontal approach and
many require a mixed approach. Some contemporary tunes utilize synthetic scales or
harmonies so unusual that the improvisor must develop new skills to cope with individual
tunes.

Ballads
The term ballad indicates a tune played at a slow tempo, with a slow moving melody, and
expressive use of space. Many standard tunes were originally written as ballads. Many
contemporary tunes fit the category. The intent of a ballad is to communicate a gentleness
and poignancy not possible in any of the other types of jazz tunes. The ballad is one of the
most difficult tune types to play well. It requires the use of a multitude of different approaches.
An ability to craft lyrical melodies is most important.

Free Form Tunes

The term free form indicates that the musicians are free to improvise the form. Some artists
prefer the term open form because the term free jazz sounds like the musicians don’t get paid
(and sometimes they don’t). The ensemble is actually responsible for improvising all the
elements of the performance in an open form tune. The success of this type of music depends
completely on the strength of the creativity and ears of each member of the ensemble. Free
form tunes are the main performance vehicles of the avant garde of jazz.

8&9
 EX@rcises
EXERCISE 4.1

Write the chord symbols and chord/scales above the give Roman numerals.

chord/scales: D dorian G mixolydian C major

chord name: D-7 G7 CA7

KEY ofa'G

Roman numerals: II-7 V7 |A7

chord/scales:

chord name:

KEY of: Ab

Roman numerals: ll -7(9) V7(13) Ill-7

chord/scales:

chord name:

KEY of: F-

Roman numerals: Ilo7 V7(+5,+9) |-6(9)

chord/scales:

chord name:

KEY of: D

Roman numerals: IIlo7 VI7(¢9,13) Il-7

chord/scales:

chord name:

KEY of: B>

Roman numerals: IA7 I17(+4,9) Il-7

chord/scales:

chord name:

KEY of: E-

Roman numerals: \17(+5,+9) V 7(+5,+9) |-A7

90
 Jazz Chord Progressions

EXERCISE 4.2

Write jazz blues progressions in the following keys:

Key of G:

Ye Shee °F va “A Za | # 7 Zo

Yi LEP | Ws A A w I} 22 uy Vib

we ee ee wf a Ti I 4 Za

Key of Bb:

4 AAS Aber YZ wh YE es Zi 4

Wf Fe Nie Zs VA Yi | 4 a Us

7 of eee arg We Ys ae IZ Vb 4

Key of D>:

a Fe NZ 4 va Yi ey, 7 VA

Ie Thee &7. Hi Zi ia | vo Yi

7a Vee asl RR 4 Vi i ee 7. Yi.

Key of Ab:

vs Ve Nae ee eae ed | Zee os eZ

4 gO ge ee AG 2 eye Pye Ve,

yes yan) |e Ch Hi Vi Va 22 ee

of
 Playing Exercises
1. Play the major key IIVI patterns below. Transpose them (on your instrument) and play them
in every key. Play them with play-along practice recordings.

A. This is a pattern for the long variety of Il V | (one measure of II-7, one measure of V7,
and two measures of IA7). Take note of how the chromatic tones are used, Make sure
to play the slurs as written. Remember that this pattern must start two beats before the
downbeat of the II-7 chord.
Play-along recordings*:
JA-3, side 1, track 1
RR-4, side 1, tracks 2-3

B. Notice that the V7 chord in this pattern has been altered. The improviser generally has
the freedom to alter the dominant on major key II V progressions. Although this pattern
is a long Il V |, you can also use the D-7 measure as a short Il V because it outlines a
l-7 and a V7 chord. Since the V7 chord is altered, you may need to turn down the
volume on the piano track of the play-along record (mentioned above), or use a
different recording.

+9
7 G7? CA7
==
es ee
al Ris es a
V a
eee
ea

D-7 G7 CAT

Play-along recordings:
JA-16, side 1, track 1-2

D. In this short Il V | pattern, notice that the V7 chord has a lowered 9th. The pattern also
works with a natural 9th. Just raise the A flat to A natural.

D-7 G7?9 Ch7

b

E. These two short Il V patterns work well in situations where the | chord is not present.
Play-along recordings:
JA-3, side 1, track 2
JA-16, side 3, track 3

* Key to play-along - see page 107.

92
 Jazz Chord Progressions
A EE

2. Play the minor key Il V | patterns. Transpose them (on your instrument) and play them in
every key. Play them with play-along practice recordings.

A. After practicing the complete pattern, try using the second measure and first beat of
the third measure of this long minor II V | as a short II V |.

Play-along recordings:
JA-3, side 1, track 4
RR-4, side 2, track 2

Do7 Gre c.A7

B. A melodic sequence is used in this long minor Il V |. The pattern starts on the root of
the appropriate lydian augmented scale in the first and second measures.

C. The short minor Il V | below makes use of an arpeggiated A7+5 chords from the root
of the lydian augmented scale on the Ila7 and V7(+5+9) chords. The second measure
is the “Cry Me a River” lick.

+9
Da7 G7t? c-A7
) [eee SET aT
J (Cae Pee ee
(OE UR See) ] ee ee
ASV, Be

Da7 G79 c-A/

3. Play the turnaround patterns below. Transpose them (on your instrument) and play them
in every key. Play them with play-along practice recordings.

A. The turnaround pattern below features a leap from the 3rd to the 9th of each dominant
7th chord. This is a very common trait of the Bebop language. Most turnarounds are
notated with the Il chord having a minor 7th quality. Improvisers often take liberty with
the quality of Il chords to make them dominant in quality, especially when performing
a melodic sequence as in this example.

Play-along recordings:
JA-16, side 1, track 2

93
 B. The turnaround pattern below works well over thefirst two measures of rhythm changes.
This type of pattern is also often used over the more common | VI II V turnaround even
though the #II°7 does not have the same function as the V7 which it replaces. The
improviser forces us to accept the #II°7 as a legitimate path to the | chord even if the
piano and bass are playing the V7 chord.

(G7?9)
CA7 AT D-7 D#e7 CA7

j--—e pe ee ee a we!

4. Play the four measure blues riffs below. Each should be played three times to complete a
twelve bar blues form. Transpose them (on your instrument) and play them in every key.
Play them with play-along practice recordings.

A. This riff is from “Blues in the Closet”, by Oscar Pettiford. Lower the 3rd (E in this key)
in the 5th and 6th measures to accommodate the +7 of the IV7 chord in the blues
progression.
Play-along recordings:
JA-2, side 1, track 4, side 2, track 4
RR-3, side 1, track 1

B. This riff is from “Sack O’Woe”, by Cannonball Adderly. No changes are necessary to
make it fit the blues progression as it is drawn entirely from the blues scale.

C. This riff is from “Sonnymoon for Two”, by Sonny Rollins. No changes are necessary to
make this pattern fit the blues progression.

D. This riff is from “Sud West Funk”, by Donald Byrd. No changes are necessary to make
this pattern fit the blues progression.

5. One of the most important areas of study for jazz musicians is the learning of tunes.
Melodies and chord changes must be MEMORIZED! An accomplished improviser can play
a tune in ANY KEY! (This is often a necessity when working with singers.) There is a
disturbing tendency among “educated” jazz musicians to open the “Real Book” or some
other fake book to read tunes that they have played and studied for years. “Playing by
heart” is an old expression for playing without referring to the written version of the music.
It would seem very difficult if not impossible for a musician to get inside a tune and use
it as a vehicle for creative improvisation if the melody and chord changes have not been
internalized. To be free to be creative in improvisation - to play from the heart - one must
know the music by heart.

94
=e eS

In the list below, two tunes are suggested for each vehicle type (except the free form type).
The tunes were chosen because they are often played by jazz musicians and recordings of the
tunes by the great jazz artists, play-along recordings and lead sheets are readily available.
Analyze the harmony and determine the chord/scales for each tune. Look for Il V I's,
turnarounds, and other common harmonic formulas. Learn to play the melodies and
memorize the chord progressions. For a detailed list of suggestions for ways to learn tunes,
read Jerry Coker's “Preparing a Tune for Performance,” on the following page.

A. Standard Tunes
1. “All the Things You Are,” by Jerome Kern

2. “Just Friends,” by Klemmer and Lewis

B. Bebop Tunes
1. “Donna Lee,” by Charles Parker .

2. “Groovin’ High,” by Dizzy Gillespie

C. Modal Tunes
1. “Impressions,” by John Coltrane

2. "Mr. Clean,” by Freddie Hubbard

D. Blues Tunes

1. “Billie's Bounce,” by Charles Parker

2. “Blues for Alice,” by Charles Parker

E. Contemporary Tunes

1. “Dolphin Dance,” by Herbie Hancock

2. “Speak No Evil,” by Wayne Shorter

F. Ballads

1. “Soul Eyes,” by Mal Waldron

2. “Body and Soul,” by Johnny Green

95
 OS See aaeraeee reeeee eeeee SS SE eS ae ee ees

Preparing a Tune for Performance*

1. Acquire an accurate lead line/changes.

2. Acquire the best 1-3 recorded versions of the tune.

3. Listen many times to the recordings, with lead line/changes in hand.

4. Sing with the recordings (head, solos, backgrounds, etc.)

5. Check the accuracy of the lead sheet against the recordings.

6. Jot down any chord substitutions you hear being used on the recordings.

7. Memorize the lead lines and changes.

8. Play the progression in several other keys (on piano as well).

9. Transcribe the best solo on the recording, analyze it, and play it and sing it.

10. Practice (on your instrument) and sing head with recording (original recording).

11. Practice and sing head** with a play-along (buy or make play-along).

12. Practice and sing transcribed solo with play-along.

13. Examine sources for your own improvisation (head, transcribed solo, etc.).

14. Practice scales, patterns, and licks with play-along.

15. Practice intensification devices (volume, range, rhythm, harmonic intensity).

16. Improvise many, many choruses with play-along.

* The Teaching ofJazz, Jerry Coker, Advance Music

** “Head” is the vernacular for the written melody of a

tune.

96
Sources of Chromaticism in Jazz Improvisation

In analyzing transcriptions of recordings of improvised solos it soon becomes obvious that

improvisors make extensive use of notes from outside the correct chord/scale. Various
techniques which make use of notes outside the expected chord/scale will be introduced in
this chapter.

The Bebop Scale

The musicians of the Bebop era (Charles Parker, Theolonius Monk, Dizzy Gillespie, et al.) began
to improvise in a more linear fashion than the swing players who preceded them. They played
long lines consisting mostly of eighth notes. Since most chord/scales consist of seven notes,
a scale fills only seven of eight available eighth notes in a measure of 4/4 time. The Bebop
players began to add a chromatic passing tone between two scale tones so the passage would
contain eight notes. The resulting scale arrives at the starting pitch (an octave higher or lower)
on the same beat in the next measure. If the Bebop scale is started with a chord tone on the
beat, a chord tone will fall on each successive beat with the passing tones falling in between
the beats. The most common added chromatic passing tones are the natural seventh on
dominant seventh chords and the lowered sixth on major seventh chords.

G7

RG2 $765
43 2 RG&)b72 65
chromatic passing tones

If the Bebop scale is begun with a non-chord tone on the beat, a chromatic passing tone is
inserted to metrically align the phrase so the chord tones will fall on the beats.

G7

9 OL
(bo)R (h7) b7 6 5 4 3 ee
2 R(KDb72
65
chromatic passing tones

o7
Chromatic Approach Notes
Chromatic passing tones occur often in jazz in situations other than the Bebop scale. The
function is often to metrically align a phrase so harmonically important notes are on strong
beats.

chromatic passing tones

Sometimes the function is to metrically displace an expected chord tone causing a syncopated
harmonic pattern in a line of equal rhythmic values.

"ata Maas am
chromatic passing tones chromatic approach

Another variety of chromatic approach is preceded by a leap. A favorite pattern of the

Beboppers is a diatonic approach note above a chord tone leaping to a chromatic approach
note below the chord tone and resolving to the chord tone. The result is a three note pattern.
When used to approach all of the chord tones of a particular chord the result is a polyrhythm
of three against four.

aoa

2|(7] @ 4] da @lcliaa€
C) = chromatic approach

= diatonic approach

= chord tones

An extension of this idea is the double-chromatic approach. Double-chromatic approaches are

often combined with a diatonic approach note to create a four note grouping associated with
a chord tone. Double-chromatic approach is sometimes called enclosure.

SSeS
2| O22(7) ®Pl4][214) Ble]
Co de
 The idea of improvising by approaching and surrounding chord tones is actually older than the
chord/scale method. Improvising musicians first learned the melody of a tune. Next, they
learned how to improvise an embellishment around the melody. Then they learned the chord
tones of the basic triads or seventh chords and learned how to approach them with diatonic
and chromatic approach notes. When jazz musicians began to improvise using the upper
extensions of the harmony (9th, 11th, and 13th), they often thought of the extensions as part
of a superimposed triad. For example, a D triad played over a C7 chord yields the 9th, 11th
and 13th. Many modern improvising musicians find it helpful to think of extended harmonies
as polychords. In fact, contemporary composers often write chord changes as polychords
rather than as extended seventh chords.

Harmonic Super-Imposition
The practice of super-imposing harmonies above the basic chord structure was popularized
by Charlie Parker and fully explored by John Coltrane. Bird was one of the first musicians to
make extensive use of the upper structure triads mentioned above. As he used these triads
in his solos he began to create extended chord progressions. The Confirmation sequence is
an example of an extended chord progression that fits over the first five bars of the blues
progression. The chord sequence works quite well when realized by a soloist even when the
rhythm section is playing simple blues changes.

Almost all of the harmonic formulas mentioned in Chapter Four may be used as superimposed
harmonies. The simplest example would be the related II-7 played over a dominant 7th chord
and then resolved to the dominant 7th, creating all-7 V7 progression. Another simple example
is use of the tri-tone substitute to approach any chord. For example:

| FS ey Ae. oe a ai

D-7 G7 E-7 A7

becomes
| 2g ME! AOS ee Ae ae Pe” ae

D-7 Ab7 G7 F7 E-7 Bb7 A7

A soloist may superimpose almost any harmonic sequence over a chord progression as long
as it has some sort of logic and forward motion and it eventually arrives at the same point of
resolution as the original progression. For example, the Coltrane matrix works well as a set of
changes to superimpose over the first four bars of a blues. The chords in the matrix are not
substitutes for the original changes. Instead, they represent an alternate route to the same
destination - the IV chord in the fifth bar. When the rhythm section plays the simple blues
changes and the soloist outlines the matrix, the effect is an increase in the tension level when
the harmonic progressions diverge and a sense of release as they merge in the fifth measure.

Tension:

Solo: IC Eb7 |AbA7 =B7 PEAS? G7 IC ed | F7

Comping: is | F7 ry bC7 | F7

29
ae oe

It is crucial to understand that the soloist must play superimposed harmony with rhythmic
assurance and conviction in order to achieve the desired effect. If the performance is weak or
faltering, it will sound like the soloist got careless and played some incorrect notes.

Contemporary players are likely to outline triads moving in extended cycles of 5ths, cycles of
major and minor 3rds, and cycles of major and minor seconds. Cyclic movement is used as glue
to hold the phrase together until it can resolve to the underlying chord change. The use of
superimposed chord progressions is an important effect for tension building in improvised
solos. It allows the player to play outside the original chord changes while retaining logic and
forward motion in the line.

Dominant seventh chords moving through the cycle of 5ths are sometimes superimposed over
the first four measures of the blues. To superimpose a cyclic progression on the blues, or any
other chord progression, a target chord must first be selected. In the blues progression, the
IV7 chord in the 5th measure is usually the target. The starting point for thesuperimposed cycle
of 5ths is found by moving backwards through the cycle. The duration of each chord in the
cycle will be two beats. The four measures from the beginning of the form to the target chord
totals sixteen beats. Sixteen beats total divided by two beats per chord equals eight steps
backward around the cycle of fifths to reach the starting chord.

Solo: CH EAY VB7 —E7 PAW Di NG eine LEy

Comping: || C7 | F7 1C7 | Ey

It is necessary to understand how to find the starting point for the cycle in this example, but
in the heat of improvisation, the soloist need only remember that the starting chord is one half
step above the key of the blues progression.

Asimilar cyclic substitute sequence, is often used over

the first four measures of rhythm changes.
The rhythm changes cycle differs from the blues cycle in that the target chord in the fifth
measure is a 17 chord instead of a V7 chord as in the blues. The starting chord is found by
counting eight steps backward around the cycle of 5ths. Again, the soloist need only
remember that the starting chord is a minor 6th above the key of the progression.

Solo: I G#7 C#7 |FH7 B7 bE, SAS ' LDF. G7. _ hGF

Comping: || CA7 C#°7_ |D-7 D#°7 |E-7 AZ ID-7 G7 1C7

Notice that the superimposed sequence of chords begins to come back “inside” the original
progression in the third and fourth measures.

Side Slipping
Another type of outside playing is called side-slipping. The idea was developed by players like
John Coltrane and Freddie Hubbard into a device for adding tension into lines built on static
harmonies, i.e., modal tunes.

A typical chord/scale contains seven notes. These seven notes can be thought to outline the
extended chord. In other words, they are inside the harmony. That leaves five notes from the
chromatic scale which are outside the harmony (12 - 7 = 5). The five outside notes form a
pentatonic scale. In chord/scales derived from the modes of the major scale, the outside
pentatonic scale is a normal pentatonic structure (1, 2, 3, 5, and 6 of a major scale).
Chromatically adjacent to the outside pentatonic scale is an inside pentatonic scale. The soloist
may slip back and forth between the two, creating tension when he is “outside” and releasing
the tension when he comes back inside.

100
 Sources of Chromaticism in Jazz Improvisation

Tones NOT used: (Gb pentatonic scale)

F major pentatonic Gb major pentatonic F major pentatonic

“Inside” “Outside” “Inside”

Sideslips are not always so contrived to include only the five outside notes as in the example
above. Often a soloist simply conceives an idea a half step above or below the chord and plays
itin deliberate contrast with the key. This practice is not new, but was used as long ago as the
1930's by saxophonist Lester Young on the Count Basie recording of “Lester Leaps In”. The
sideslip has become popular with modern improvisers when used in the context of modal
tunes. It is especially effective when used in combination with the pentatonic scale, tetrads,
and intervallic techniques - especially the use of perfect fourth intervals.

The example below is the 9th through the 12th measures of the head to the Eddie Harris’ tune
“Freedom Jazz Dance”, as recorded by Miles Davis on the album “Miles Smiles”. The tonality
of the piece is basically B’7. The two previous phrases have stayed in the Bb7 and B}-7 key areas.
In the final phrase, shown below, Harris uses sideslips to build tension in the 1st and 2nd bars.
The tension is released in the 3rd and 4th bars to create a convincing end to the melody.

“Sideslip”

101
 ee

Exercises
EXERCISE 5.1

Write descending Bebop scales from the given starting notes. Remember to add an extra
chromatic passing tone if the starting note is not a basic chord tone (1, 3, or 5).

E7 AbAT

Se a —————
= VE... ae
LF (29 ee
STS
ee ST
[eT Tl
SA

FA7 Fz

Bb7 EbA7

Eb7 E-7

EXERCISE 5.2

Add diatonic and chromatic approach notes.

FA7 ty
* *

* given target notes

Si CAT

ae sey mea
Cia |_|
aon [=
een

EXERCISE 5.3

Write a blues solo outlining the given superimposed harmonies. Use mostly digital patterns
and arpeggios. Use all eighth notes - no rests.

F Ab7 DbA7 E7 AAT CF FA7 B7

+9
Bb7 Ab7 Gb7 E7 F7 Bb7 Ag7 p7t>

————
——————
— ——
102
 EXERCISE 5.4

Write a blues solo using your own superimposed harmonies. Write chord symbols for solo
harmony above the staff.

F7 Bb7 F7 F7

Bb7 Bb7 F7 D7>9

G7 C7 F7 D7?9 Gy C7

EXERCISE 5.5

Write a three measure eighth note phrase thatside-slipsto the outside pentatonic scale during
the second bar and back inside in the third bar.

Bb-7

D7sus4

AbA7

103
Cihapter 5
ESE OS SSS Si es een eis orien

Playing Exercises
1. Play the Bebop scale pattern below in all keys.

Play-along recordings:
JA-21, side 2, #15-16
JA-16, side 2, track 14

2. Play the triad arpeggios with approach notes below in all keys. Lower the 3rds and practice
the patterns for minor chords.

A. Chromatic approach from below chord tones.

Play-along recordings:
JA-21, side 1, #1-4
RL, Ex. 4

B. Diatonic approach from above chord tones.

Play-along recordings:
JA-21, side 1, #1-4
RES EXs4:

C. Diatonic approach from above and chromatic approach from below chord tones.

Play-along recordings:
JA-21, side 1, #1-2

tones.

104
 3. Play the side-slipping patterns below in all keys.

A. The pattern below is based on a four note grouping played on the C major pentatonic
scale and slipping out to the G> major pentatonic scale and back in again, all while
maintaining the continuity of the melodic sequence.

Play-along recordings:
JA-24, side 4, track 28-29 (minor chords)
JA-24, side 2, track 13-14 (major chords)

CA cop NaI

B. The pattern below also uses the C major pentatonic scale, s/jos out to the G> major
pentatonic scale and back in. This pattern is less predictable than the previous one and
the side-slip only lasts for three eighth notes. The melody played during the side-slip is
a partial sequence of the pattern played on the first two beats of the second measure.
Melodic continuity is one of the keys of a successful side-slip.

Play-along recordings:
RL, Ex. 24-26

D7sus4

Key to Play-Along Exercise Recordings

JA-1 A New Approach to Jazz Improvisation Jamey Aebersold)

JA-2 Nothin’ But Blues Jamey Aerbersold)

JA-3 The ll /V7/1 Progression (Jamey Aebersold)

JA - 16 Turnarounds, Cycles and II /V7's (Jamey Aebersold)

JA -21 Gettin’ It Together Jamey Aebersold)

JA - 24 Major and Minor (Jamey Aebersold)

RL New Concepts in Linear Improvisation (Ramon Ricker)

105
 G apter 5
ee ae coc Es

106
 ee

Suggestions for Further Study

This book is a response to the need for jazz students to be better grounded in music
fundamentals, chord construction, chord/scale relationships, and harmonic progressions
before enrolling in jazz improvisation, composition and arranging courses at the university
level. When used as a self-study method, it should prove to be a useful springboard for any
type of creative work in the jazz idiom. One of the attractions of jazz for the musician as well
as the listener is that it is a forum for endless individual creativity. The study of music, for the
improvising musician and composer, is a lifelong discipline. Don't be discouraged if things
seem to come slowly at first. The finest musicians are always learning, always adding to their
vocabulary. This unlimited potential for expression in the music is what makes the investment
of the time and hard work worthwhile. Focused listening, study, and practice are the essential
elements in the preparation for improvisation.

Continue daily practice of scales, arpeggios, and patterns in all keys and at all tempos. Make
use of the play-along exercise tracks suggested in Chapters 3, 4 and 5. Only a disciplined study
of the fundamentals of theory and musicianship will provide the musical agility and quickness
necessary for improvisation. In a sense, this phase of the preparation for improvisation is similar
to athletics. Mental and physical quickness and strength must be developed. Seek out the best
jazz musicians in your area on your instrument and take lessons from them.

Begin to study jazz rhythm. When listening to recordings, begin to be aware of the types of
rhythms used. Snap your fingers on the second and fourth beats of the measure with 4/4 swing
recordings to develop your sense of pulse relation. Practice your scales, arpeggios, and
patterns with swing eighth notes with a metronome clicking on the second and fourth beats
of the measure. Much can be learned about rhythm by hand drumming. (Not necessarily on
a drum. A table will do.) Learn to keep the pulse with one hand and shift between all the
possible sub-divisions of the beat with the other hand. Learn to tap out basic polyrhythms: 3
against 2, 5 against 2, etc.

Listen carefully and often to recordings by the players recognized as great improvisers. Study
the history of the music. Listen to players of earlier eras. Try to hear them in the context of what
came before them. Analyze the styles of the great players of your instrument from all style
periods of jazz history. Try to hear the links between them.

Transcribe, analyze, and play solos, patterns, and tunes from the recordings of the great jazz
improvisers. This is one of the most important disciplines in your preparation for improvisation.
Small children learn to speak their native language by imitating the sounds they hear others
make. The language ofjazz can be learned in the same way. Make an effort to transcribe and
study solos from different historical periods in the development of the jazz language on your
instrument. You may be attracted to imitate one particular player for a time. This is a phase
that many great jazz stylists have gone through before moving into their own style. Just don’t
let yourself get stuck in the rut of trying to clone someone else's style. In transcribing a wide
cross-section of the jazz language, you will have a much larger and more historically authentic
vocabulary to use in creating your own style.

Learn tunes. The jazz repertoire includes thousands of tunes and most professional jazz
musicians know hundreds by heart. To be realistic, in beginning to build your repertoire of
tunes, pick about six or eight of the tunes which seem to be perpetual favorites with jazz
players and learn them inside out. The list at the end of Chapter 4 is a good starting point.
Play them in all keys and at all tempos. Practice patterns, transcribed solos, harmonic and
rhythmic devices on the tunes. If you learn to play very well on a small nucleus of good tunes,
the next hundred tunes will be easy to learn.

107
 ee ae

Play as much as possible with other musicians - preferably musicians more advanced and
experienced than yourself. This is the traditional method of jazz education. The experience of
an apprenticeship with accomplished musicians can teach you the subtleties of performing
the music. You will learn introductions and endings of tunes, pacing of solos and sets,
communication with the audience, non-verbal communication with other musicians and
many other nuances of improvised ensemble performance. Many play-along tracks are
available for practicing improvisation with an ensemble and some of them are quite good, but
you should always seek to play with real musicians whenever possible. The energy and
excitement of creative musicians listening to one another and playing together is at the heart
of jazz.

Resources for Further Study

Jazz Theory Books:

Haerle, Dan. The Jazz Language

Haerle, Dan. The Jazz Sound

Jaffe, Andrew. Jazz Theory

Jazz Improvisation Books:

Coker, Jerry. Complete Method For Improvisation

Coker, Jerry. Jazz: How to Practice

Coker, Jerry. The Elements of Jazz: for the Developing Improvisor

Baker, David N. Advanced Improvisation

Reeves, Scott. Creative Jazz Improvisation

Ricker, Ramon. Pentatonic Scales for Improvisation

Ricker, Ramon. Technique Development in 4ths for Jazz Improvisation

Russell, George. The Lydian Chromatic Concept of Tonal Organization

Jazz Composition and Arranging Books:

Baker, David N. Arranging and Composing for the Small Jazz Ensemble

Dobbins, Bill. Jazz Arranging and Composition

Garcia, Russell. The Professional Arranger/Composer

Sebesky, Don. The Contemporary Arranger

Wright, Ray. Inside the Score

Jazz History and Styles Books:

Coker, Jerry. Jazz: How to Listen

Gridley, Mark. Jazz Styles

Tirro, Frank. Jazz: A History

Williams, Martin. The Smithsonian Collection (sound recordings and booklet)

108
Collections of Jazz Patterns:
Baker, David N. Modern Concepts in Jazz Improvisation: Fourths, Pentatonics, Bitonals, and
other Contemporary Materials

Baker, David N. David Baker’s Modern Jazz Series

Campell, Gary. Expansions

Coker, Jerry, et al. Patterns for Jazz

Martino, Pat . Linear Expressions

Collections of Transcribed Solos:

Baker, David N. Giants of Jazz Series (3 Volumes)

Baker, David N. Jazz Monograph Series (2 Volumes)

Butler, Hunt. Modern Jazz Tenor Solos

Dobbins, Bill. Chick Corea: Now He Sings, Now He Sobs

Parker, Charles (Atlantic Music Corp.). Charlie Parker Omnibook

Sloan, Ken. 28 Modern Jazz Trumpet Solos

Play-Along Recordings:
Advance Music. The Jazz Workshop Series (6 CDs or cassettes)

Aebersold, Jamey. A New Approach to Jazz Improvisation (46 Volumes)

Coker, Jerry. Drones for Improvisation

109
 Appenalx

Answers for Exercises

EXERCISE 1.1

Write an ascending major scale from the given root. Write the designated interval above the
given note. Use the major scale for reference.

ee

ee a
=: ——————

a —

a= @

———

SP 2S —a—feo—fo—

SS

110
 sauces ae aes see enaronasnansatn

EXERCISE 1.2

Write the designated interval above the given note. Think of the major scale from the given
note as a reference.

M3 m6 M3 BS m2 A2

EXERCISE 1.3

Identify and label the following intervals. Think of a major scale from the bottom note for
reference.

111
 e
EXERCISE 1.6 - Write the following interval cycles.

1. Circle of descending 5ths from A}:

Ab Db G) B E A D G c F Bb Eb

2. Cycle of ascending major 3rds from Eb: Eb B

3. Cycle of descending major 2nds from F#: F# E D @ Bb Ab

4. Cycle of ascending minor 3rds from F: F Ab B D

5. Tri-tone from Bb: E Tri-tone from D: Ab

EXERCISE 1.7 - Identify interval cycles in the following chord progressions. (Complete cycle
may not be present.)

(Example)

1. D-7 F-7 Ab-7 Ascending minor 3rds

Z .D>7 G7 Tri-tone
} .G-7 C7 Fmaj7 Bbmaj7 Descending perfect 5ths
4 . Dmaj7 Bbmaj7 G>maj7 Descending major 3rds
5. Ab-7 Db7 F#-7 B7 Descending perfect 5ths
6. Bmaj7 A-7 Gmaj7 F-7 Descending major 2nds
7. Bo7 E7(+9) A-7 Descending perfect 5ths
8. C-7 C#°7 D-7 Ebmaj7 E°7 Ascending minor 2nds
9. D-7 Db7 C-7 B7 Bbmaj7 Descending minor 2nd's
10.A7 F#7 Eb7 C7 Descending minor 3rds

112
 Answers for Exercises

Chapter 2 - Answers for Exercises

EXERCISE 2.1 - Construct the chords below the given symbols.

Bb6 A7 GA7 Gto7 FO7 oe

13 13 13
+11 +11 11 rn
G7? p72 Ag7? E-7

13
9 b9 11 +9
BA7*4 Fy7 +> Db- a7? Ab7*°

==}

613 613
13 1 69
Eb-7 11 Bb7>9 Fo72 c7+4
=? QO ha ]
i i Sa eaanae 8i71 § Se ee ee a PLZ = |
\6 Xe a © = PO
yO a ©

: L bg
wat 1 bH sane 2 : oa eT
Fe J = | 4 o<

Ms
 EXERCISE 2.3 - Construct chords below the given symbols.

+9 11
EbA7*> C/FH AT*? c-69

ee
ee
ey

EXERCISE 2.4 - Write the diatonic triads for the keys given below. Write the chord symbols and
the Roman numerals in the spaces provided.

F Major:
chord symbols: — F

jetties
roman numerals: IIl- V VI- VIl°

Ab Major:
chord symbols: Ab Bb- C- Db Eb F- Go

roman numerals: | ||- IIl- IV V Wyle Vio

 oO ™
Answers for Exercises
B Harmonic Minor:
chord symbols: B- C Ho D+ ah Fe € Ao

roman numerals: iE ||° b Wl+ \\V- V bVI Vile

D Harmonic Minor:
chord symbols: D- Fo F+ G- A Bb CHo

==
roman numerals: it {|0 b H+ IV- V LVI vito

EXERCISE 2.5 - Write alternate symbols for the chord symbols given.

1. DA7 Dmaj7 DM7 DMaz7

2 pp7+5+9 Bo 7H#t5#9 Bb74H#9 Bi 7#9' 13
3. Fo7 Fmin7(’5) Fm 7-5 F-7b5

4. Eb-7/A> Ab7sus4(9)
5. G-7 Gmin7 Gm7
6. £°7 Edim7 Ed7
7. Db/A AAT+ Amaj7+5 AM7(#5)
8. B7+ B7(+5)
9. c-A7 Cm(M7) c-maj7 CminA?
10, £67°9 13 Eb7+5°9 E7479 Eb7i#t5'9

EXERCISE 2.6 - Identify the following chords. Write chord symbols in the spaces provided.

115
Appendix

Chapter 3 - Answers for Exercises

EXERCISE 3.1 - Write the scale below the given scale name.

A> dorian ; F# mixolydian

Bb augmented E melodic minor

=e
o qo
ee ee ee
Ab diminished B whole-tone

D> lydian augmented* D major

Ge te— - = ——_— eee

F diminished A augmented

—SS =
D phrygian Eb aeolian

* In playing and writing scales and analyzing chord/scale relationships for use in improvisation, speed is essential. If an enharmonic scale is simpler to write and play, it should be
used. For example E> lydian augmented (E> F G A B C D) is much quicker to visualize and write than D# lydian augmented (D# E# F* G* B# C*).

116
 EXERCISE 3.2 - Write the name of the scale which fits the chord symbol in the space provided.
(Always include the name of the starting note of the scale.) Then, write the scale on the staff.

BA7 B major F-7 F dorian

117
 LN

EXERCISE 3.3 - Construct the chord below the chord symbol. Write the name of the scale
which fits the chord symbol in the space provided. (Always include the name of the starting
note of the scale.) Then, write the scale on the staff.

i
Fy7+4 E lydian augmented Bo7? F lydian augmented

13
+11
DA7? _Dilydian G7sus4 G mixolydian

— re) oOo

13
779 ee sDedimunehed FoF) pdemniched

9
Gba7t? G> augmented Bo7 F lydian augmented
a
2ee ee ee OS
ee eee
E o fo 2 2F
SPVaee. - (eee RE ae eee ee

118
 Answers for Exercises

EXERCISE 3.4 - Write the name of the given scale above the staff.

F lydian augmented A> melodic minor

; e- Oo

oO

D aeolian E diminished

EXERCISE 3.5 - Write the scale below the given scale name.

G diminished A whole-tone
Se ee
= — oe
F lydian augmented B melodic minor
Oo |

2 | ra o

E> dorian L D> aeolian

i | be bo = rer = bea be
|

B> augmented Ab lydian augmented

© Ho
Eb diminished E mixolydian

119
Appendix
se eee

EXERCISE 3.6 - Construct the chord below the chord symbol. Write the name of the scale
which fits the chord symbol in the space provided. (Always include the name of the starting
note of the scale.) Then, write the scale on the staff.

AbA7*4 Ab lydian Db-7 Db dorian

FR+7 F# whole-tone B7 B mixolydian

EA7t? E lydian augmented A7b9 Bb diminished

+9
c-A/ e7+5
A lydian augmented

9
Abo7 D lydian augmented Db°7 Db diminished

Bo7 F lydian augmented

6» o fe 2 ©

120
 Answers for Exercises

Chapter 4 - Answers for Exercises

EXERCISE 4.1 - Write the chord symbols and chord/ scales above the give Roman numerals.

chord/scales: D Dorian G Mixolydian C major

chord name: D-7 G7 CA7
KEY of: C

Roman numerals: Il-7 V7 IA7

chord/scales: B> dorian Eb mixolydian C phrygian

chord name: Bb-7 Eb7(13) C-7

KEY of: Ab

Roman numerals: II-7(9) V7(13) II|-7

chord/scales: Db lydian augmented E lydian augmented Ab lydian augmented

chord name: G@7 C7(+5+9) F-6(9)

KEY of: F-

Roman numerals: \lo7 V7(+5+9) |-6(9)

chord/scales: C lydian augmented C diminished E dorian

chord name: F#O7 B7(9,13) E-7

KEY of: D

Roman numerals: Ilo7 VI7(¢9,13) I|-7

chord/scales: Bb major B> lydian augmented C dorian

chord name: BbA7 C7(+4,9) C-7

KEY of: Bb

Roman numerals: |A7 I17(+4,9) II-7

chord/scales: Bb lydian augmented D# lydian augmented G lydian augmented

chord name: F#7(+54+9) B7(+5+9) E-A7

KEY of: E-

Roman numerals: I17(+54+9) V7(+5+9) |-A7

121
 EXERCISE 4.2 - Write jazz blues progressions in the following keys:

Key of G:

Il G7 Re | G7 |G7

Gz eee 7 |G7 | D7(69)

|A-7 |D7 | G7 E7(9) |A-7 D7

Key of Bb:

I| Bb7 | Eb7 | Bb7 | Bb7

| Eb7 heey | Bb7 | G7(69)

|C-7 | F7 | Bb7 G7(9) [-Ga7'"" F7

Key of Db:

| Db7 | Gb7 | Db7 | Db7

| Gb7 | Gb-6 | Db7 | Bb7(+9)

| Eb-7 |Ab7 | Db7 Bb7(b9) [Eb-7 = Ab7

Key of Ab:

| Ab7 | Db7 |Ab7 | Ab7

| Db7 |Db-7.. G7 |Ab7 | F7(+9)

| Bb-7 | Eb7 |Ab7 F769) |Bb-7 —Eb7

lz
 Chapter 5 - Answers for Exercises

EXERCISE 5.1 - Write descending Be-bop scales from the given starting notes. Remember to
add an extra chromatic passing tone if the starting note is not a basic chord tone (1, 3, or 5).

AbA7

FAY F7

Bb7 EbA7

Eb7 E-7

EXERCISE 5.2 - Add diatonic and chromatic approach notes.

FA7 G7

Pee)
 EXERCISE 5.3 - Write a blues solo outlining the given super-imposed harmonies. Use mostly
digital patterns and arpeggios. Use all eighth notes (no rests). (Sample Answer)

F Ab7 DbA7 E7 AAT C7

a
i a
ro v

EXERCISE 5.4 - Write a blues solo using your own super-imposed harmonies. Write chord
symbols for solo harmony above the staff. (No Answer Given)

EXERCISE 5.5 - Write a three measure eighth note phrase that side-slios to the outside
pentatonic scale during the second bar and back inside in the third bar. (Sample Answer)

D7sus4

124
 a
Symbols Drop 2 voicing 30 P
Drop 2 and 4 voicing 30
\Il-7 V7 1A7 lin major 72 Drop 3 voicing 30 Parallel approach to modes 45
lla V7(alt.) in minor 73 Pentatonic scale 54
"A+2" voicing 32 E Perfect fifth 11, 12
4way close 30 Perfect fourth 11
Enclosure 98
Perfect intervals 12
A Extended diatonic cycle of fifths 78
Perfect octave 11
F Perfect unison 11
Aeolian scale 44 Phrygian scale 44, 45
Application of the blues scale 55 Placement of the modes of melodic minor within
Applications of the augmented scale 53 Free form tunes 89
chords 47
Applications of the diminished scale 51 Functional categories in diatonic harmony 25
Polychords 34
Applications of the
harmonic minor scale 50 Functional harmony 23
Preparing a tune for performance 96
Applications of the
lydian augmented scale 49
G
Applications
Applications
of the
pentatonic scale 54
of the
whole-tone scale 52
Q
Guide tones 84
Augmented fifth 11, 14 Quartal and quintal chords 31
Guide tones in Il V! progressions 76
Augmented fourth 11 ~ Quintal chords 33
Augmented
Augmented
intervals 14
major seventh chord 26
H R
Augmented scale 53 Half-diminished seventh chord 27
Augmented second 11, 14 Real melodic minor 47
Harmonic minor scale 50
Augmented seventh chord 27 Resources for further studies 108
Harmonic super-imposition 99
Augmented sixth 11 Rhythm changes 86, 100
Head 96
Augmented third 11 Root motion 72
Hybrid structures 35
Augmented triad 15
! S
B
Sears Roebuck Bridge 83
Interval cycles 16
“Back door” approach 79 Secondary dominant 78
Intervals 11
Ballads 89 Secundal harmony 33
lonian scale 44
Bebop and standard tunes 71, 88 Seven note scales 44
Bebop scale 97
Bebop scale pattern 104
J Side-slipping 100
Side-slipping patterns 105
Blue notes 87 Jazz Chord Structures Z3 Sixth and seventh chords 25
Blues 87 Jazz Melodic Minor 47 Slash chords 35
blues riffs 94 "So What” voicing 31
Blues scale 55 L Sub-dominant minor 79
Blues tunes 89 Symmetrical scales 51
Learning of tunes 94 Synthetic scales 55
C Locrian scale 44 r
Lydian scale 44
Chord/scale relationship 58 Lydian augmented scale 48
Chord/scale theory 43 Tertian harmony 23
Chord/scales examples 56 M Tetrads 34
Chromatic approach notes 98 Three note chord/scale voicings 36
Chromatic passing tones 98 Major intervals 12 Tri-tone substitution 81
Cluster 33 Major key Il V| patterns below 92 Triad arpeggios with approach notes 104
Coltrane matrix 85 major pentatonic 54 Triads 15
Combined voicing techniques 36 Major scale construction 9 Turnaround patterns 93
Common modulation sequences of Il V1 75 Major scales 10 Turnarounds 80
Comping 31 Major second 11
Confirmation sequence 84 Major seventh 11 Ww
Construction of extended chords 28 Major seventh chord 26
Construction of seventh chords 26 Major seventh plus four chord 26 Whole-tone scale 52
Construction of sixth chords 26 Major sixth 11, 12
Contemporary tunes 89 Major sixth chord 26
Major third 11
D Major triad 15
Mechanical voicings 30
Derivative approach to modes 44 Minor intervals 13
Diatonic fifth voicings 33 Minor key Il VIpatterns 93
Diatonic harmony 23, 24 Minor key lla7 V7(alt) |- scale comparison 74
Diatonic seventh chords - Aharmonic minor 24 Minor pentatonic 54
Diatonic seventh Chords - C major 24 Minor second 11
Diatonic triads - Aharmonic minor 24 Minor seventh 11, 13 27
Diatonic triads - C major 24 Minor seventh chord 27
Digital patterns 63 Minor sixth 11, 26
Diminished fifth 11, 13 Minor sixth chord 26
Diminished fourth 11 Minor third 11
Diminished intervals 13 Minor triad 15
Diminished octave 11 Minor-major seventh chord 26
Diminished scale 51 Mixolydian scale 44, 45
Diminished seventh 11, 14 Modal tunes 88
Diminished seventh chord 27 Modes of the ascending melodic minor 47
Diminished sixth 11 Modes of the major Scale 44, 45
Diminished third 11 Montgomery Ward Bridge 84
Diminished triad 15
Dominant seventh chord 27 N
Dominant seventh plus four chord 27
Dominant seventh sus four chord 27 Non-tertian structures 30
Dorian scale 44
 The Jazz Workshop Series

a unique jazz improvisation method including:

Listening/play-along compact discs or cassettes featuring:

John Aberscrombie - guitar
Bill Dobbins or Richie Beirach - piano
Rufus Reid or Ron McClure - bass
Billy Hart - drums
Randy Brecker - trumpet and flugelhorn
Jimmy Knepper - trombone
David Liebman - soprano, tenor saxophone and flute
Joe Lovano - tenor saxophone
Louis Smith - trumpet and flugelhorn
Bobby Watson - alto saxophone
State of the art recordings, recorded in the excellent Bauer Studios, where many of the productions for the record label
ECM have been done. Each set contains 6 complete performances, including opening and closing theme statements,
improvised solos and 6 play-along tracks which feature the rhythm section without soloist. The recorded improvisations
maybe used as models for original solos. Many performances use the original arrangements from classic jazz recordings
(Milestones, Equinox, A Night In Tunisia, ‘Round Midnight, Bye Ya etc.).
Because the complete performances were approached as in a professional recording session the play-along versions sound
fresh and spontaneous, with much interaction between the rhythm section instruments and the soloists. Piano and Bass
are clearly separated.

Books with helpful commentary and analysis of each composition and recorded performance
Text in English, French and German. In addition each volume includes a supplement booklet containing appropriate chord/
scale information, including modes of the major, harmonic minor, melodic minor and symmetrical scales.

Transcribed solos
Each book contains at least one complete solo transcription, plus many excerpts from other solos. Piano and bass solos as
well as horn and guitar solos are included.

Individual instrumental parts in C, B>, E> and bass clef

The detachable instrumental parts are extremely practical for both classroom and professional use.

Completely notated piano and bass parts

Volume 1, 2,5 and6 contain detachable piano and bass parts for all 6 compositions, volume 3 on 3 tunes (A Night!In Tunisia,
‘Round Midnight and Embraceable You).

Transcribed excerpts from piano and bass accompaniments

Excerpts from piano and bass accompaniments have been selected in order to illustrate the most important techniques
for developing accompaniments on these instruments. This includes piano chord voicings, harmonic substitution and
embellishment, developing bass lines, interaction with other instruments etc.
The jazz Workshop Series

14501CD MODAL JAZZ Compact Disc Version

14501 MODAL JAZZ Cassette Version
So What - Miles Davis
As played on the classic Miles Davis LP “Kind Of Blue”; (includes Bill Evans’
introduction)
Prism - Bill Dobbins
Jazz waltz using lonian, Aeolian, Phrygian, Lydian, Locrian, melodic minor and
altered scales
Equinox - John Coltrane
Modal blues as played on the LP “Coltrane’s Sound”
Flamenco Mood - Bill Dobbins
An original ballad based on the series of modes used in Flamenco Sketches on
the LP “Kind Of Blue”
Spring Song - Bill Dobbins
An original 3/2 Latin composition using the Lydian mode
Milestones - Miles Davis
As played on the classic Miles Davis LP of the same name

14502CD BLUES Compact Disc Version

14502 BLUES Cassette Version
Blue Monk - Thelonious Monk (quintet)
Slow blues in Bb
Minor Incident - Bill Dobbins
C minor blues, medium tempo
All Blues - Miles Davis
As performed on the Miles Davis LP “Kind Of Blue”
Alto Blues - Bobby Watson
Blues in Ab, medium fast tempo.
Blues For Barry - Bill Dobbins (dedicated to Barry Harris)
Uptempo bebop blues in F
Blues For Bud - Bill Dobbins (dedicated to Bud Powell)
Uptempo bebop blues in d minor

14503CD CLASSIC STANDARDS Compact Disc Version

14503 CLASSIC STANDARDS Cassette Version
A Night In Tunisia - Dizzy Gillespie
Classic bebop composition, alternates between Latin and swing
Autumn Leaves - Joseph Kosma
A popular standard recorded by many famous jazz artists including Miles Davis
and Bill Evans (medium tempo)
‘Round Midnight - Thelonious Monk
Classic ballad using Monk’s changes und Dizzy Gillespie's introduction and coda
Lo Flame - Bill Dobbins
Based on the chord changes to the standard A// Of Me (medium fast)
Embraceable You - George Gershwin
A relaxed 2-beat ‘walking ballad’ version
Bertha The Dragoness - Jimmy Knepper
A challenging new line based on the chord changes to Sweet Georgia Brown
(uptempo)
 The Jazz Workshop Séries

14504CD QUEST - STANDARDS Compact Disc Version

14504 QUEST - STANDARDS Cassette Version
Day & Nite - David Liebman
QUEST «STAND,
Based on the chord changes to Cole Porter's Night And Day, alternates between
muest BEST |NONO
Sth foocienwoven
tein atone
mtnae ce
-
wae Latin and swing
Blue ‘n’ Green - Miles Davis
From the Miles Davis LP “Kind Of Blue”
Softly As In A Morning Sunrise - S. Romberg
A new uptempo pedal point version of this standard, originally made famous by
Sonny Rollins
Ralph’s Piano Waltz - John Abercrombie
Jazz waltz written for Ralph Towner (broken-time feel)
Pablo’s Story - David Liebman
A haunting Latin-funk composition
Pendulum - Richie Beirach
Medium fast pedal point tune with an open form, giving the soloist a great deal of
freedom

14505CD THE CHICK COREA CLASSICS Compact Disc Version

14505 THE CHICK COREA CLASSICS Cassette Version
Spain - uptempo Latin (quintet)
Friends - bossa nova (quartet)
Litha - 6/8 Latin/straight ahead jazz (quartet)
The Loop - jazz waltz (quartet)
Straight Up And Down - uptempo jazz (quintet)
La Fiesta - 3/4 Latin (quintet)

14506CD MODERN JAZZ CLASSICS Vol. 1 Compact Disc Version

14506 MODERN JAZZ CLASSICS Vol. 1 Cassette Version
Bye-Ya - Thelonious Monk
A bebop classic, performed in the true spirit of Monk's unique stylistic approach;
arranged for trombone and tenor sax
Con Alma - Dizzy Gillespie
This beautiful Gillespie classic is harmonically and rhythmically challenging, with
rapid harmonic modulations and shifts from 12/8 latin to 4/4 jazz; arranged for
trumpet and tenor sax
Elegy - Bill Dobbins
This haunting jazz waltz explores chromatically altered harmonies in a manner
which recalls the music of Bill Evans; arranged for trumpet, tenor sax and
trombone
Hallucinations - Bud Powell
One of the greatest jazz classics for practicing dominant seventh chords and II-V
progressions which move through the circle of fifths at a fast tempo
Goodbye Pork Pie Hat - Charles Mingus
Mingus’ moving blues-ballad dedicated to Lester Young.
Webb City - Bud Powell
Includes the complete introduction and send off as played by Bud Powell:
arranged for trombone and tenor sax
 ; } Te pe tes ny
“ee A er
pa ur ’
¢ el lat Wes. ft
: or #Gaoe
; i — mc Ekii

ce eat er a
* i » ¢
bat a
a me, ’ ms
~ a
+
~ —
oe

we ry a or, %
iy .
es,
~:~ .
® yeh
> 3

*
: . '
=, bom i= 5 REP te. i 7). =

c = sa Pa. wy
Peres te Boag TR Pea i's 3 =.
ts : im 7
7 > * . Fs |

ns -
RM Te as oh i oe

yee ee
- . + = -s nas 4 y
ae ee ee ; -.
4

‘ . \
be a Fd * ~ . °
> . et. Sou 2? ,

en, = r s at - . ~

i 4 mage 5 ‘ter Ad ease

, a | ~ . o °
‘ ‘- a
a”

ag yor ee a ley $ #7" 8a

2 Pua he | At we : q
ea 3 ri ‘ ' ? ore aw 5

~ 4) a

24 . ‘
: : — =
2 rer
< vn op as * : > As

ey be

. r4 ~ “*

o~ e ' ‘ x

7 ke by q

Se 7 -

rey: z af

ie .
‘ _*
i \
Vee peat eile | ‘
*
i ogi _4 i ty ty .

7 wen + ; -

Pe 3s We 4 . ‘
eet “ t= s

‘ ~ ™ }
yess, ie a ly - ¥

aie ae ere ete bemetinsddsur 5

ay Vee os i Reo ms ,
i U
a

iets |
 Order No. 11201

»The Jazz Theory Workbook is a primer in jazz theory, intended to prepare the student for the serious study of jazz
improvisation, arrangement and composition.

The focus is on the harmonic language of jazz, especially the harmonic practices which coalesced in the Bebop and post
Bop periods of the 1940's and 1950's when Bebop and Standard tunes formed the core of the mainstream repertoire. The
harmonic language of that period is still the framework on which contemporary jazz musicians build.

Included are many musical examples and written assignments for practice in the theoretical skills. Appropriate exercises
are provided to reinforce theoretical concepts by immediate application to the instrument.«

advance music

8 AIL Ul|
6
ISBN 3-89221-029-2