alfassy jazz hanon - 1

5/9/2018 Alfassy Jazz Hanon - 1

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Jazz Hanonby Leo Alfassy


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ContentsPreface 7Introduction 8Elements of Jazz Harmony 9Intervals and Triads 9Sevenths 10Seventh Chords 11Simplified Seventh Chords 19Walking Bass 24Inversions 28Circles of Fifths 32Chromatic Alterations 36Derivations of the Seventh Chord 41The Ninth Chord 41Eleventh and Thirteenth Chords 46Substitution Chords 49II-V-I Progressions 52Harmonic Patterns 56Scales and Modes 58Swing Piano Style 63Bass Tenth System 65Bebop Piano Style 70Block Chords Piano Style 73Modem Voicing 76Chord Symbol Appendix 78

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PrefaceAlthough there are many jazz piano books already available, the author feels that thereis a pressing need for a manual which covers both the theorietical and the practicalaspects of jazz piano in one comprehensive volume. Many young aspiring pianists, awareof the importance of basic theory for acquiring a good technique of improvisation, seekthe essential information in theoretical books, but are soon turned off by the way thematerial is presented. Likewise, studies devoted exclusively to the development of a key-board dexterity tend to be boring and discouraging.This book does not pretend to cover all aspects which are necessary for a creativemusical performance exhaustively. But each chapter deals with a specific technical prob-lem thoroughly, followed by special exercises devoted to this problem. In addition, theidiomatic language and the stylistic features of the different schools of thought, fromthe end of ragtime to the beginning of "progressive" jazz, are discussed here.The author hopes to enhance the awareness of the student that a rewarding musicalexperience depends greatly on the mastering of both the theoretical part and the basictechniques of playing jazz piano.

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8

IntroductionJazz is the most important contribution made by the American black to the art ofmusic. It is a dynamic art form which has never remained stagnant-its history reveals acontinuing process of evolution in which its personality has been steadily changing. At avery fast pace, in less than a hundred years, jazz underwent a similar evolution as musicof the western world in about a thousand years-from the monophonic primitivism ofDixieland, to the homophonic texture of the big band era, and finally to the atonal andtwelve-tone technique of the a oa nt- ga rd e . And in the same way, jazz is built on the fourbasic elements: melody, harmony, rhythm, and color. The basic difference between theso-called "serious" music and jazz lies in the two ,most characteristic features of jazz:

1.Unlike western concert music, it is not an exact reproduction of a written score;the performer plays melodic variations on a given harmonic sequence, thus be-coming a composer in his own right. In other words, there is no clear distinctionbetween composer and interpreter.2. Jazz owes its idiosyncratic nature to the subtleties of its performing practices-the attack, the rhythmic pulse, the inflection, the vibrato, and all other expressivedevices.

The history of jazz is intrinsically connected with a process of continuous harmonicexploration. Basically, its harmony is built on the same major and minor tonal systemestablished during the baroque period (1600-1750). It is absolutely essential for everyjazz musician to familiarize himself with the rudiments of traditional harmony in orderto be able to accompany a singer or another musician, to harmonize a melody, orto im-provIse.


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Elements of Jazz HarmonyIntervals and TriadsMelody and harmony are two aspects of the same building material, the interval. Inter-vals represent the distance in pitch between two tones. A melody is a horizontal succes-sion of intervals, while harmony is a vertical superposition of intervals. The name ofeach interval indicates the total number of tones between the lowest note (the root) andthe highest note.

1 1 1 2 1 3 1 4 5

~ -&_0 -&_0 -&.......... -&.............-& -&unison second third fourth fifth

1 6 1 7 1 8 1 9

~/0 "


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The triads on the "tonal" degrees (I, IV, and V) in a major scale, are always major (M);the triads on the II, III, and VI degrees are minor (rn). Only the triad on the VII degreeis diminished (0) because it consists of two superposed minor thirds.II III IV V VI VII

~ i Ii IM m m M M m 0

SeventhsSimple triads are used sparingly in jazz. To add color and excitement to the music, morecomplicated chordal structures are utilized, such as seventh chords and triads with addednotets).Seventh chords are triads with still another third superposed.

triad seventh chord

The most common triad with an added note in jazz is the triad with an added sixth.

IV V

Each of the seven degrees of the major and minor scales can be the root of a seventhchord. Here are the scale-tone seventh chords in C major.

I17 II7 1II7 IV7 V7 VI7 VII7The seventh chords built on the I and IV degrees are major seventh chords (M7) be-cause they consist of a major triad and a major seventh (the major seventh is located ahalf step below the octave).

IV

FM710-


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-The seventh chords built on the II, III, and VI degrees are minor seventh chords(m7) because they consist of a minor triad and a minor seventh (the minor seventh islocated a whole step below the octave).

II III VI~ m in n , e m minor I etriad seventh

Dm7 Em7 Am7

The seventh chord on V is called the dominant seventh chord (7) because the Vdegree of the scale is the "dominant." It consists of a major triad and a minor seventh.The seventh chord on VII is a half-diminished seventh chord () because it consists of adiminished triad and a minor seventh. By lowering the seventh of a half-diminishedchord (in this case from A to Ab ) we obtain a diminished seventh chord (0 ),whichconsists of three superposed minor thirds.V VII VII, major!llminor diminished.tl!;inor btriad eventlilriadseventliG7 (dominant 7) B Bo

Seventh ChordsThe first exercises explore seventh chords and triads with added sixth in both hands; inthe left hand they are arranged vertically (harmonic), in the right hand horizontally(melodic). As you will notice, the first exercise is provided with chord symbols belowthe staff and figured bass above it. The figured bass, one of the major contributions ofthe baroque period to the development of our musical language, is by far more precisethan chord letters. It is regrettable that it is still not adopted by jazz musicians andmusic publishers, although some jazz theorists made an attempt to popularize it sometwenty years ago. For that reason, this book will utilize chord symbols.These first exercises also introduce the student to the three basic rhythmic units injazz: the eighth note, the eighth-note triplet, and the sixteenth note. When playing theexercises carefully note that the common performance practice in jazz is to play thenor the.n rhythm as r - 4 - - t . The strongly syncopated figure J J,; ,; ,; 3 ._..what softened by interprejing it as J J J J

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Triads and Seventh Chords1 II III I V V V I VII- - . . . . , "n" - I' 4- . . I I L.- -- I I I

n ~ ~ I:


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" - - I I.I" ~ ~

Q ~ B - f ~ n:CM7 Dm7 Em7 FM7 B Em

fl. . 4 ,. r - r~ e -.

t ; ; ; IAm7 FM7 Dm7 B Em7 Am7

I . J t , . . . . , r- -:. : I I I -

1 = ~ . . n ~:I

FM7 Em7 Dm7 B C6 CM7 Em7 C6 CM7 Dm7

1\ -s-:Ii' I r ~ - ,. . . '"

~ ~ ~ ~:I

r----

Em7 FM7 Em7 Am7 Dm7 G7

- - - . ,, - ,. - --.-........J~ o I~ ~ - 0

IC6 FM7 B CM7 F6 Dm7 B9S CM7

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Thirds and Arpeggios3 - - . " . . ~ ~ - - ~It. - _..J

n r : : l r nCM7 B Dm7 G7

- r - r , . . . . . . .1 4 1 . 1 - I o . . . . J . . . . . L . . - I ~-" ~ ,., o 1 2 "

I

CM7 F B' Em Am7 B CM7 Dm7

- .". -I' ~ I I -

~ I ~ I ~ ~Em7 FM7 G7 FM7 Dm7 F6

It. - - I I-~ ~ 0:

Dm7 C6 B CM7

" -II t.J - I I . .~ ~ ~ n Q ~.

I IEm7 F Dm7 Em CM7 Dm14


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-I I I

t - . 71 . . . (~ a ~ ft:

.. ,G7 Am7 CM7 Dm7 Em7

-i'

(~ f ~, ~:

FM7 G7 Am7 FM7 G7 Em7

- --'IlL _ . - -I' - - I-

I I ~ e - ~ _O:FM7 Dm7 Em7 Dm7 CM7

- - r- _.I - . - - -it S ~:Dm7 Em7 FM7

I I I It I'

ft :s ~.G7 C6 B0' C6

1 5


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Eighth-Note and Eighth-Nate-Triplet Arpeggios4

3 3_ i!,...., ~,I! - . 4J. - . . ~ L-:r ~ ~ ~

O_, ~: ~:. ,CM7 Dm7 Em7

~ .( I- f:.~.'f:.~ fL ~~ _ - f ' - . . , . . _Ie . -3 s ~ v v v

~: ~: I ::FM7 G7 FM7

1\ fL. . . , . . . . , . . .(I- ..,.. b.IIt) " .1 .1- 3 3- -r-- . . . . . . . . . . . . -:"

;t: ~: o ~

Em7 Dm7 CM7 FM7

Dm7 G7 Em7 Am7 FM7

1\ f : - fL . ( I - f : . . . , . . .. , . . - , : . . , . . - . . , . . ! ' - . . ( 1 - .. , . . _ _t) oJ oJ iJ 3 " -3 " -3

;t ~ ~ a o 1>-

Em7 Am Dm7 G CM7 F16


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~ - - ___b_. _ - _ . - _ ~ ~ 3_ .1. . 1$ . . . . . . , . . .. , 3 -.1 ~ ~~ . . .a I I I- I I - _ . .. I I IB G7 Am7 B FM7 G Dm7 Em B CII 3 '---~-- 3 .9 _ . . . . . r-.?-, ~ ~

4.J ~ . . - . . . - - ., ;. ~ Q "., ~:

CJ . . .

3

FM7 Am7 G7 Am7 CM7 B~ Dm7

3 3 3_ . rii ......" - r--'r-I i't'1 .s:t .41 1 3 . . . . , . . a-~ ~ - ,3 S ~:

FM7 Em7 Dm7

3 3~ 3 ~ . ., ~ - . . . . . - - ~ ~0 ~: B: I :: .

CM7 Dm7 Em7 FM7

#_ .~. .~ ~ 3_I' if ""-j--J - - : t - J - . . - . . . . . . : : I1 > . - - - - - - - . . . . . . ~ ~: 0: .. .

Em7 Dm7 CM717


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5 - ~ f ! : . . . , . . . - - . . . ~ . .I' . . . . - - - - ~n 1 S t ~ ,:

CM7 Dm7 Em7 FM7

.#.fI. ~.~~ _f!:.~ _ .. " f ! : . _ . . _.,.. . .~., - - - I : : : : : d : : : I : : j~ f:'OJ ~ ~ ~G7 Am7 C6 Am7

Dm7 G7 Em7

Am7 FM7 B

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G7 C6 FM7

Em7 Am7

.1 1 _~"'f:.~"f:.~_~ _ 1 * " _ " " ' _ - --.I - . . -e o-

jit_ ~: -Dm7 G7 C6

Simplified Seventh ChordsModern pianists create interesting sonorities by selecting and rearranging certain notes ofa chord and omitting others. This device, called voicing, originated in the 1940s, whenthe famous pianist Bud Powell replaced the old fashioned "oom-pah" left-hand accom-paniment with half-note seventh chords consisting of the root and the seventh only. It isessential that the right-hand improvisations contain these missing notes, because the in-terval of a seventh can only "suggest" the quality of a complete seventh chord. As youcan see from the next example, the seventh C-B~ can stand for either a dominant,minor, or half-diminished seventh chord.

~ be b l or it or ~ti&C7 Cm7 C7 19


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6" 3_ - .'1 - .'1 -IIt. I . . - I . . .

fr n , . ,:I

Dm7 G7 CM7 FM7 B Em7

-. . ' : J : . " * -- . . - - - _ , - - -

b , . , I:'~ ~

Am7 Dm7 G7 C7

-I t. ~ - - - . ~ ~ b7 ___v . -I h" f

'" D - e -F7 B b 7 E b 7

. . ...._: , . . ' : J : . b1 t " * - b - w - : J ~ 7" * I..A~7 C B b

A b G FM7 F620


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----------~~--~

II J.. . . "I f . . . . "* . . . . , I L-- l . . . o 0 o i -1 I 1 l J I 0.

Gm7 Gm6 Am7 F BbM7 Bb6 C7

I I I _3 3_ . . . I s:; , . . . . . , - , - ,I . . . H " " ~(

hr.. ( b ) o:Co CM7

- " " ' " " " " , . . . _ ,. . "# .... '4# .... -:;.~~# - H #~:

uAm7 FM 7

'1YDm7 G7

I " " ' - o o ! . . . . . . .I ~ . _. - -..."iJ*. I . . . . I~'"It I -

1 _ll 1.ff rAm7 E7

_l t;'I., . . . :> ::> . . . . u-( I I t;'I: ..I - IAm7 D7 Dm7 G7 CM7

2 1


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7 ~ - . _ - - - I - - _J-~ ~: - v -6 1

Dm7 G7 CM7 FM7 B Em7

" -1'- ' I - . . . . . I I ~ - . .- -

h~:?,; - r : ; . , ; -6 1

Am7 Dm7 Gm7 C7 FM7 Em7

" 1 j_ ~Ill. H* .. .- n ~ I I I-

a ~.i9- (2 -:AM7 Bm7 dm7 DM7 Em7 Am7

~ _ ,Il. - "* -'---v-____ "* "*,- -#~ .. " : ; J . . . ~

~ nv " J I I

Dm7 G7 CM7 Am7 FM7 Dm7 G7

" 3IU ? J _ " i I ~ -, J "* - "--- - ~ ~ b 'J. . .

~ "1 1 . . . Cm7 Dm7 Em7 FM7 G7 Am7 B Dm7 E~M7 Cm722


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" - L - --Ie . - - . . . . ,- . . !-

b a _ 9- ~:I ' " I I~M 7 Fm7 BbM7 Crn7 G7

- - .II'(

n ! 5 ' " f 2 ~..I

CM7 Dm7 Em7 FM7

~ . . . _ T'- . f L 1 '- - T '- _ - I -e, . . . . . . ,Ie . - - - - I

~ !!: 9- b : 9 - L:v_

IG7 C Dm7 GoM7

" , . . . . . . . . _ _ . . . . . . . . , -Ie . I v_ . . , . . . .

~..P-6 ~ -6 1

3

OM7 G7 CM7 FM7 B' Em7

"t ," - . . . . . . . . . . - , ; ~ . . . . . 1 J ~ ~ :g:

?) . . "1 1 -eAm7 Dm7 G7 FM7 Em7 Dm7 CM 7

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Walking BassOne of the oldest bass patterns in jazz piano is the walking bass. This is a bass line that"walks" up and down a scale or in broken chords. This left-hand pattern was taken overfrom the bass player whose assignment in the band is to sustain the basic metric unit injazz-the quarter note. The monotony of the walking bass can be avoided by replacingsome quarter notes with thenfigure-a device commonly used by modern bassplayers. This figure falls mostly on the second and the fourth beats of the measure.The bass line in the next two exercises consist entirely of walking basses. The melodiclines explore all kinds of durations and rhythmic figures.

8~ :!- ~ I ~ O Il.

I . ..It ~. . . . . '---V ::> ::> 'I""'....____... ~0:

~ . . . - : ; J y . . . C6 F7 C

r--: -II " I I " " ":. I t. ~. '--v-------- ..__, ....__" '1'_- - - - -: - . . I IC7 F7

II -4- --: It ~ .__".'--. . . #r . . . ~ .". . . . . --, . . I

C6 G7

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- i'i"'i r-iI r-iII . , """--I' I - -4 q~

I: . .- ... t1* . . , b . . ,3 3 3

G7 C C7 Fm C Ab7 G7 (b5)

_l , . . . . _, ,

1 4 '" ::> . . . . ;;. I'.... 3-

:~ . . . . . . ~ . . . q . . .

3

C6 F7 C6

II 3 3 ~ I I J:::lI' v. -#- _ -#- +' . : I T ' i '~: . -C7 F7

- O I l ~it


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---~---- ---- _ - - _ - - -9 ~ ~\ I t 'tJ . : - - . .. .

'V~ P I ' . , -I I . .- -D* . . . - IG E b 7 D7 G6

fI J . I ~ rl---._I , ~ I ~ I r--L_,I. . . . r . t H r '- .

I I I IE7 Am7 D7

" J . I I ~ I ~ I ~ I ~ I a:II '_ ' I f " ' " Y I I

Em B7 Em7

- I ~ J t\ J -\ J .I rn J I 1 . . , J I.1' j_ ...,_I ..lu 1 v- - r

u - ~ - ..-:F#7 Bm Bm7 E7

J. I ~ " - 'I I ! ' 1 1 _ rI - . . - - - - . = V I "vo rI I:

f - -A AM7 DM7 GM7 CM726


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r-----,II ~ " I II ;-.J f w r I ~ r : R~I : !I' , - j ~~I .

I I ..". _ ,FM7 B7 Em7 A7 DM7 D7, . . , ~ I I I

. . . , i - r n~ R ~ ~ r '-I -HI : - If

G D E b

~ - .4 " ' - - - r ~r~r r : ~Hf: q f : ~.;: : - ~.I I--"I .

I I I I I I ID Em7 A7 Am7 D7

~ " - , 1 ~I ./I, .. ., . . . . : 'V~_ '!:! ''I.,. . , ...__.

- I I D-* "If ,G6 D7 G6

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= I = l = . . ~I ~ 1 ~ I 11 I IL . ., . . H r '~n-- !1 - _l -

- -_ . , _ . _ - I IE7 Am7 D7

I" U I I I I

1'- ~ r I f I - ~ ~ iTI.. I I I -,t . . . .

G C Am7 D7 G6

InversionsThe preceding exercises dealt mainly with triads and seventh chords in root position.Any chord is said to be in root position as long as the root remains the lowest note,regardless of the position of the other notes.

&~! : I _ J t ~s ~--& --& --&-rootC C C7 C7 C7

Ifwe move the root one octave higher so that the third (in this example the E) lies inthe bass, then the chord is said to be in first inversion.

& :1;:>"%2i I I s : bt' b ? b $C C C7 C7 C7

If the fifth (the G in a C major chord) is in the bass, the chord is in second inversion.If the seventh of a seventh chord is in the bass, it is in third inversion.

2nd inversion 3rd inversion-&- b - ' l . -&-

& izz2~ I I ~ : I I ~iP ~ I I ba b !C C C C7 C7 C7 C728


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Jazz music is dominated mostly by chords in root position, but inversions are usedincreasingly by modern pianists.10" I

I- ~ 4 . : , g . ~ ~ " "1: ~

C CM7 C7 _ FM7 __

, . , I I I_jI_I 1 ' l . I v~ li t c . . ~ GI GI f : :

"!9- n.1 I

D j I O Co G7 ___

~ I I I. . ~ GI ~ ~ v,...

I GI 7:t*C6 (or Am7) Dm6 (or B) Dm7 (or F6)

I- ~ -6 t ~ ~ . " - - . . -;

I Iyo

Em7 (or G6) Am6

f. . I

I" "-6 ~ -6 . . . . ~ Co ln:

CM7 F6 (or Dm7) 29


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Ii I IIii- I " "(

l , . , . I IDm7 (or F6) Dm6 (or B I Z f ) G7

I 4 1 ?7 r.I '" . . . . c. . o - II

I - UC6 C7 F6 Fm6 C F6 CM7

Notice that this chord can be interpreted as a C6 or as the first inversion of an Am7chord.Rule: Any triad with an added sixth is the same as the first inversion of a seventhchord with the root a minor third below.C6 = first inversion of Am7Dm6 = first inversion of B~G6 = first inversion of Em7, etc.Only the diminished seventh chord is said to be always in root position because itconsists of three superposed thirds which divide the octave into four equal intervals.Thus, each member of a diminished seventh chord can become the root.

equal intervals:minor third

3 0


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-11 - - - - -- III' 4- . . . . . -

o 1"> ~ Q ~ ~:I I

CM7 Am7 Dm7 G7 Em7 Am7

fl _ _ 1 I I I . . . . . . . . ~ ~ -- . . . .i' - I .-I - -l L B - ~ ~ ~ o.

IFM7 B E7 Am6 Dm7

_ . _ . . . . -f-~, . 3- -

_Q_ !'2_ u,:I I I I

Em7 CM7 B E7 Am7 Dm

" I I I L -" .-- -

J 0 b o:. . . . . . . . . . . . . . . .

G7 C6 Cm6 G7 CM7 C7

, . . --. - .III L I I I I I I I I I I I ;;:::::; I I I j

~ (F r.I

FM7 B Em7 Am7 Dm7 G73 1


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--~---

" I I I b. - I:-.-I'; . ~ - - - . . . . . . . . ,ba~~

I I T IC7 F B E7 Am7 D7

-," I. . I . . . . ~ . . , . . . ...,. . . . . , .- h" -. -. u, I I

I I I I IB~ C7 FM7 co G7 C7 F7

3 - -II' . . . . . . . . . . . . . . . - - - . - I I I I

IIf ~- IG#O G7 C Am7 Dm G7

~ r " " " 1 '"""'-. _ _ . . . , I -~ r--.I' " * . .

I I IIf- ~ - I I

C7 AO G#O A7 D7

- -IIt . T - . . . . . . . _ .> ~ -- --'q.~

a hn L - .:I I I I . . . I

CM7 C7 F6 Fm6 G7 B~o D7 G7 C63 2


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- - - - - -Circle of FifthsThe circle of fifths always has played a preponderant role in jazz harmony. This design isnot new; it was first described in 1728 in a German theoretical book, but had alreadybeen applied in seventeenth-century compositions.The circle of fifths is a circular arrangement of the twelve keys in such a way that the

number of sharps in the key signature increases clockwise, and the number of flats coun-terclockwise. After twelve steps the initial key is reached again. The same principle isvalid for the minor keys, but the starting point is from A instead of from C.

sharps

Every musical composition consists of harmonic progressions arranged in a certainway. Jazz uses primarily patterns based on the circle of fifths in a counterclockwise di-rection. In other words, the C chord is followed by the F chord situated a fifth lower (ora fourth higher), followed by B~ ,etc. The next example shows this design.

e be etc.

The same design can be arranged in a more practical way, i. e. moving from the C afifth down to F, then a fourth up to B~ ,then down again, etc.

;l: "') (,In this way the design is squeezed within a narrow area of the keyboard easily reached

by the left hand. But it becomes almost impossible to play when chords are added toeach root. Parallel dominant seventh chords built on the circle of fifths look like this.

bJ ~ ~tl b t B b~ b i: etc.JC7 F7 Bb7 Eb7 Ab7 Db7

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By playing alternately the root and the seventh of one chord and the root and thethird of the following chord this progression is simplified. Beginning with the minorseventh on C7, the circle of fifths can be played this way.

' ) : - ~ ; ; S t o 1,0 t : : ~S t: Is ije # E ; q o S-& l:JC7 F7 Bb7 Eb7 Ab7 Db 7 G~7 B7 E7 A7 D7 G7Ifwe begin with a third instead of a seventh, then we arrive at the following design.

# ~ 6 f t b . . u ~S D - e - b 6S; > : 0 b" ~e :# 0 q i : fs 8 :C7 F7 Bb7 Eb7 Ab7 Db7 Gb7 B7 E7 A7 D7 G7

Note that in both examples the top voice moves downward chromatically, i.e. byhalf steps.It is of the utmost importance to memorize these patterns which appear frequentlyin jazz tunes.12 , . . - - , r""'1 -I- - - .- r 1;1"

6 , . , ib n " 1 1 . 1 " l1

C7 F7 C7 F7 Eb7

~ _e::l. . . . . . - D . . . 1 1 1 1 1 1 D i L,...-.I 1 ~ r

I:

I I - I c ; . . 1Ab7 G7 C7 FM7 D7II -" '- . . . ~ .-

I u ~ I ~ I . . . 1 1 1 ~ JI " .-. "

1 I IAb7 F B7 B E734


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f, I U 1 ' - -I- -s- '3 ~ L.-.~ .~

:A7 D7 GM7

IlL - . . . . . _ ~-- ' -I -3 -f I I I

1 - I c; . tMG6 C7 F7 Bb7 Eb7I ! ! ! ! ! Iooo - ~t . , - ~bY 0

(ho -

I . . . . . . . . I IAm6 C Gm7 Am7 BbM7

~L I I,I" . . . . _ _ II ~4 ~ til ~

ho - l 1--1:I r

3

Cm7 c o Bo Bbo D7 GM7 G6

, . ,t .. . T 1 tt . ~. . , -'' ~ . . . 7if"*-- __ .

bo ,. , IL _:I I I

3

C7 Bbo Am7 D7

3 5


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- -I" . . . . - - - _- . .

9- . . ~ b~ i9 " o b~ ,.. -Dm7 G7 CM7 Dm7 Em7 Eb7 Dm7 G7 C7 F7" ,I' fFVV * v . *D-6 1 1 7 7 ~ . . . . . . ~ .~ ... ~qi - H " * li

b,., I II I .. . - -6Ab7 Db7 Gb7 B7 E7 A7

" I r r -I' # ~~~~ . . . " * . . . . . .

0:~ -D7 G7 CM7 .C6

Chromatic AlterationsEach scale tone can be altered chromatically by raising or lowering it by a semitone(half step). A note preceded by a sharp or a flat is an indication that this particular notehas been altered. For instance, the symbol ( ~ 5) under a chord means that the fifth ofthe chord has been flatted; the symbol ( # 5) means that the fifth has been sharped.

liC

~C(b5)

3 6


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The augmented fifth ( #5) is often indicated by a plus sign (+). If two or more notesof a chord are altered, then each note is preceded by a sharp or flat. A ninth chord withan augmented fifth ana a flat ninth is indicated this way.

C#5(b9) or C+(b9)

Sometimes a note is momentarily suspended or replaced by another note. The 4-3suspension is the one most frequently found in scores; it is marked as "sus 4."

C sus 4 C

By sharping or flatting one or more notes of a chord we obtain altered chords. Themost common altered chords are those built on the II, IV, V, and VI degrees of thescale. Thus, through various alterations of one or more constituents, we obtain the fol-lowing chords built on these degrees.

~ U # 9 i'~ # # 9 # # 9 I z UIIm7 117 117(b5) 117(# 5) IIM7 1113

~ " b~ " 0 g ~ b W 9 bb~IVM7 IVm(M7) IV7 IVm7 IV " IV7(b 5)~ i ~I # i b l ~~I # 1V7 V7(b5) V7+ Vm7 V13 VM7~ R # G b " #b~ # # H e # H

VIm7 VI7 VI.0' VI( b5) VI(+5) VIM7

The altered dominant seventh chord and its derivations (the ninth, eleventh, and thir-teenth chords discussed in the next chapter) are most commonly used in jazz.Sometimes all the notes of a chord are raised or lowered chromatically, so that the

whole chord is virtually transposed a semitone higher or lower.

~ # 9 b t u x ~ H I I tl ~ b t i ior117 ~ 117 117 v n bVII3 7


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----- ------------- --- - ---------

Chromatic notes are not only essential in creating interesting harmonic support; theycan also enrich the melodic invention considerably. It is obvious that the monotony of amelody moving up and down the scale or in broken chords can be avoided by the use ofchromatic tones. Here is the simplest way of doing it:Before playing the notes of a triad or a seventh chord, first substitute these notes with

their neighboring note below or above, and then play the essential notes. For instance,the essential notes of the C major triad are C E G. Before playing the E (or the E andthe G), we can play the notes immediately below or above.Instead of ... play$ m J or orChromatic notes can also be used to fill in the space between two notes:Instead of ... play

$ J # J J IInstead of ... play

$ J ; A l J 113" - ~ -

I' T ~-~ I':) I':) -:

J J tDm G7 CM7 FM7

II ~ ~ II ~ -s- I - I-

,., I:I I I I

3

Em7 Am7 Dm7 G7 B38


35/37

--_~~, . . . . . , . . . . . - _u_ 1 0

II I ~ - ~ - . . . . . . . J-b 1 ' 7 1 '7 ~ n n:

I 1

3

C7 Dm7 G7 CM7 FM7

~ b~ ~ - e f : . b~ f:. h~ b~ I .b. _I - - -I 4 - . . . -b~L:

I I 1B Bb7 Bbm7 Eb7 AbM7 Ab6

3 - ,_,.- II " , I -3 - . . . . . r -e- ~ ~(~ b ll':~ I.b . . . : f 3 . Ihb~ 1 L I ! i -I :G7 C7 F7 Ab7

#. 3_ ~t - I t . . ~ , ~.3 - ~

I . . b L % 1 b t 7 bn -..I I -1

CM7 F

3~ .Y ~ ~I ~ . .It J -H'* .. ~ ~ ~ 7 -H~"

" I I I.I - -

BbM7 Eb6 Ab7 Ab6 Ab G7 G6 G

39


36/37

- - - - - - - - - - - - - - - - - - -

II k I

IU 11 - ::> I- -,.. , ~ r : L b 9 - IwI IB7 E7 A7 D7 G7 C7

II

IU ~ -~ ~~. ~ . . . r 9 ". _ .

..FM7 D7 B7

.~ I : : ; : - I h_I'-l !1 --

~ft 'ih:ft . I~ #~: .-G7(b 5) Gm7 FM7 D7" - - - - -U"{ f. r'"' t'" II. " fJ

l'-l - -~ ~h ' , f e : I h e . ~~ ;: e ~ " f : . # , ~i =.Gm7 BbM7 Bb 6 Gm7 G Bbm7 Bbm6 G F# Am7 Am6

__ . . . ,i -- ~ I 1 I

b~ ~~ b~ - - Ih. *" tL . . n.G O . .F CM7 Dm7 Em7 Dm7 CM7

1 0


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CM9

Derivations of the Seventh ChordT he N inth ChordIn the preceding chapters we explored the fundamental harmonic system of westernmusic, namely the so-called tertian harmony. In this system, chords are built by super-position of thirds: a triad consists of two superposed thirds, a seventh chord consists ofthree. To achieve more variety and color, more complicated harmonies can be createdby superposing additional thirds on the seventh chord. A chord that consists of a third,fifth, seventh, and ninth above the root is called a ninth chord (9).

i J triad seventh chord ninth chord: i I17 19

The ninth can be superposed on the five types of seventh chords we already know:the major, the dominant, the minor, the half-diminished, and the diminished seventhchords., i O J ijb~l b 9 f t

M7 7 m7 ~ 0

By adding the major or minor (flat) ninth to the root of these seventh chords, we canobtain the following ninth chords.

C9 CO( b9) C9(# 5) o9(# 5)m9 Cm(b 9) C9The most frequently-used ninth chords are those built on the dominant seventh

chord, i.e. the dominant ninth and the dominant flat ninth chord.A chord often found in sheet music is the major triad with added sixth and ninth (~)

which sounds best in the following two positions.

or

C~ C~

41

alfassy jazz hanon - 1

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