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COMPANION BOOKLET NOTE: This DVD contains much informaon! Don’t feel you have to grasp and understand everything in the first viewing. Take your me in digesng the various concepts and ideas. You may want to view it in secons. If there are things you don’t understand please feel free to contact me.

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Page 1: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

COMPANION BOOKLET

NOTE: This DVD contains

much information!

Don’t feel you have to grasp and understand everything

in the first viewing. Take your time in digesting the

various concepts and ideas. You may want to view it in

sections. If there are things you don’t understand please

feel free to contact me.

Page 2: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

NO

MEN

CLA

TUR

ELE

GEN

D: +

or ß

= ra

ise

1/2

step

; — o

r ∫ =

low

er 1

/2 s

tep;

H =

Hal

f Ste

p; W

= W

hole

Ste

pBe

caus

e ja

zz p

laye

rs, c

ompo

sers

, edu

cato

rs a

nd a

utho

rs h

aven

’t ag

reed

on

a co

mm

on n

omen

clat

ure

for w

ritin

g ch

ord

and

scal

e sy

mbo

ls, t

he n

ovic

e w

ill ha

ve to

bec

ome

fam

iliar w

ith s

ever

al d

iffer

ent w

ays

of w

ritin

g th

e sa

me

scal

e so

und.

List

ed b

elow

are

the

mos

t com

mon

sym

bols

in o

rder

of u

sage

- m

ost-u

sed

to le

ast-u

sed.

The

sym

bol t

hat i

s bo

ldfa

ce is

the

one

I use

mos

t ofte

n. N

otic

e th

at

thro

ugho

ut th

is b

ook

you

will

see

C∆

and

C to

des

igna

te a

maj

or c

hord

/sca

le s

ound

. I a

m d

oing

this

so

you

can

begi

n to

get

bet

ter a

cqua

inte

d w

ith v

ario

us

nom

encl

atur

e.∆

= M

ajor

sca

le/c

hord

or m

ajor

sev

enth

(C∆)

. A (7

) afte

r a le

tter m

eans

to lo

wer

the

7th

note

of t

he s

cale

, mak

ing

it a

Dom

inan

t 7th

qua

lity

(C7)

. A d

ash

(—) w

hen

loca

ted

besi

de a

lette

r mea

ns to

low

er th

e th

ird a

nd s

even

th o

f the

sca

le 1

/2 s

tep,

thus

mak

ing

it a

min

or to

nalit

y (D

oria

n m

inor

) (C

—).

Ø m

eans

ha

lf-di

min

ishe

d (C

Ø).

C—

∆ m

eans

a m

inor

sca

le/c

hord

with

a m

ajor

7th

. —3

mea

ns 3

hal

f-ste

ps (a

min

or 3

rd).

A ° b

esid

e a

lette

r mea

ns d

imin

ishe

d (C

° =

dim

inis

hed

scal

e/ch

ord)

.

CH

OR

D/S

CA

LE T

YPE

AB

BR

EVIA

TED

CH

OR

D/S

CA

LE S

YMB

OL

*M

AJOR

(Ion

ian) (

WW

HWW

WH)

C D

E F

G A

B C

C C∆

C

maj,

Cm

a, C

ma7

, Cm

aj7, C

M, C

M7,

Cm

aj9, C

maj1

3

*DO

MIN

ANT

SEVE

NTH

(Mixo

lydian

) (W

WHW

WHW

)5t

h M

ode

of M

ajor:

C D

E F

G A

B∫

CC7

C

9, C

11, C

13

*M

INOR

SEV

ENTH

(Dor

ian) (

WHW

WW

HW)

2nd

Mod

e of

Majo

r: C

D E

∫ F

G A

B∫ C

C—

C—

7, C

mi, C

mi7,

Cm

7, C

min,

Cm

in7, C

m9,

Cm

11, C

m13

LYDI

AN (M

ajor S

cale

with

ß4) (

WW

WHW

WH)

4th

Mod

e of

Majo

r: C

D E

Fß G

A B

CC∆

+4

Cm

aj+4,

CM

+4, C

∆+11

, C∆∫

5, C

maj∫

5

*HA

LF-D

IMIN

ISHE

D (L

ocria

n) (H

WW

HWW

W)

7th

Mod

e of

Majo

r: C

D∫

E∫ F

G∫ A

∫ B∫

CCØ

C

mi7(

∫5),

C—7∫

5

HALF

-DIM

INIS

HED

#2 (L

ocria

n #2

) (W

HWHW

WW

)6t

h M

ode

of M

elodic

Mino

r: C

D E

∫ F

G∫ A

∫ B∫

CCØ

ß2

CØ+

2, C

Ø9

DIM

INIS

HED

(WHW

HWHW

H) C

D E

∫ F

G∫ A

∫ A B

CC °

C

dim, C

°7, C

dim7,

C°9

LYDI

AN D

OMIN

ANT

(Dom

. 7th

with

ß4) (

WW

WHW

HW)

4th

Mod

e of

Melo

dic M

inor:

C D

E F

ß G A

B∫

CC7

+4

C7+

11, C

7∫5,

C9+

11, C

13+1

1

WHO

LE-T

ONE

(WW

WW

WW

W) C

D E

F#

G# B

b C

+

4C7

+

C7a

ug, C

7+5,

C7+

5DO

MIN

ANT

SEVE

NTH

(Usin

g a

Dim

. Sca

le) (H

WHW

HWHW

)C

D∫ E

∫ E

Fß G

A B

∫ C

+

9

+

9C7

∫9

C7∫

9+4,

C13

∫9+1

1DI

MIN

ISHE

D W

HOLE

-TON

E (A

ltere

d Sc

ale) (

HWHW

WW

W)

7th

Mod

e of

Melo

dic M

inor:

C D

∫ E∫

E F

ß Gß B

∫ C

+

9+5

+

9∫13

C7+9

C

7alt,

C7∫9

+4, C

7∫9+

11LY

DIAN

AUG

MEN

TED

(Majo

r with

ß4 &

ß5) (

WW

WW

HWH)

3rd

Mod

e of

Melo

dic M

inor:

C D

E F

ß Gß A

B C

+

5C∆

+4

C∆+

5M

ELOD

IC M

INOR

(Asc

endin

g On

ly) (W

HWW

WW

H)C

D E∫

F G

A B

CC—

Cm

in(m

aj7),

Cmi∆

, C—

∆ (M

elodic

), Cm

6

HARM

ONIC

MIN

OR (W

HWW

H—3H

) C D

E∫

F G

A∫ B

CC—

Cm

i∆, C

—∆

(Har

), C—

∆∫6

SUSP

ENDE

D 4t

h (W

—3W

WHW

) or (

WW

HWW

HW)

C D

F G

A B∫

C o

r C D

E F

G A

B∫

CG—

G

—7,

C7s

us4,

C7s

us, C

4, C

11 C

C

*BL

UES

SCAL

E (U

se a

t play

er’s

discr

etion

)(—

3WHH

—3W

) (1,

∫3,

4, ß

4, 5

, ∫7,

1) C

E∫

F Fß

G B

∫ C

(The

re is

no

chor

d sy

mbo

l for t

he B

lues S

cale)

Used

mos

tly w

ith d

omina

nt a

nd m

inor c

hord

s)

* The

se a

re th

e m

ost c

omm

on c

hord

/sca

les

in W

este

rn M

usic

.

I bel

ieve

in a

redu

ced

chor

d/sc

ale

nota

tion

that

allo

ws

our c

reat

ive

side

, our

nat

ural

sid

e (ri

ght b

rain

func

tion)

to h

ave

dire

ctio

n an

d gu

idan

ce w

ithou

t fee

ling

inhi

bite

d or

lim

ited.

Whe

n w

e sp

eak

of “

qual

ity”

we

mea

n w

heth

er it

is M

ajor

, Min

or, D

im.,

or w

hate

ver.

I hav

e tri

ed to

sta

ndar

dize

the

chor

d/sc

ale

sym

bol n

otat

ion

in m

y bo

oks.

Sin

ce s

ome

have

bee

n ou

t man

y ye

ars

ther

e ar

e in

stan

ces

whe

re I

may

hav

e us

ed a

diff

eren

t cho

rd s

ymbo

l in

one

book

than

I u

sed

in th

is o

ne.

I fee

l the

impr

ovis

or n

eeds

as

little

not

atio

n as

pos

sibl

e in

ord

er to

tran

scen

d th

e ac

tual

nom

encl

atur

e on

the

page

. The

mor

e nu

mbe

rs, l

ette

rs a

nd a

ltera

tions

th

at a

ppea

r on

the

page

, the

less

cha

nce

they

will

have

to re

mov

e th

eir t

houg

hts

from

the

writ

ten

page

and

exp

ress

wha

t is

bein

g he

ard

in th

eir m

ind.

Tha

t is

why

I pr

efer

C, C

7, C

—, C

Ø, C

7+9,

C7∫

9. R

emem

ber,

we

are

play

ing

a m

usic

cal

led

jazz

, and

it c

onta

ins

man

y al

tere

d to

nes.

Onc

e w

e le

arn

the

vario

us

alte

ratio

ns a

nd th

eir c

orre

spon

ding

abb

revi

ated

cho

rd s

ymbo

l, w

hy k

eep

writ

ing

all t

he a

ltera

tions

bes

ide

the

chor

d sy

mbo

l? C

heck

out

car

eful

ly th

e Sc

ale

Sylla

bus!

Lis

ten

to V

olum

e 26

“The

Sca

le S

ylla

bus.

”R

emem

ber:

2nd’

s ar

e th

e sa

me

as 9

th’s

, 4th

’s a

re th

e sa

me

as 1

1th’

s, 1

3th’

s ar

e th

e sa

me

as 6

th’s

. Exa

mpl

e: K

ey o

f C ..

. the

2nd

, D, i

s th

e sa

me

as th

e 9t

h,

D. O

ften

a co

mpo

ser w

ill si

mpl

y w

rite

thei

r pre

ferre

d na

me

of th

e sc

ale

besi

de th

e ch

ord

sym

bol,

such

as

E∫—

∆ (m

elod

ic m

inor

), F—

(phr

ygia

n), F

— (p

hry)

.2

Page 3: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

NO

MEN

CLA

TUR

ELE

GEN

D: +

or ß

= ra

ise

1/2

step

; — o

r ∫ =

low

er 1

/2 s

tep;

H =

Hal

f Ste

p; W

= W

hole

Ste

pBe

caus

e ja

zz p

laye

rs, c

ompo

sers

, edu

cato

rs a

nd a

utho

rs h

aven

’t ag

reed

on

a co

mm

on n

omen

clat

ure

for w

ritin

g ch

ord

and

scal

e sy

mbo

ls, t

he n

ovic

e w

ill ha

ve to

bec

ome

fam

iliar w

ith s

ever

al d

iffer

ent w

ays

of w

ritin

g th

e sa

me

scal

e so

und.

List

ed b

elow

are

the

mos

t com

mon

sym

bols

in o

rder

of u

sage

- m

ost-u

sed

to le

ast-u

sed.

The

sym

bol t

hat i

s bo

ldfa

ce is

the

one

I use

mos

t ofte

n. N

otic

e th

at

thro

ugho

ut th

is b

ook

you

will

see

C∆

and

C to

des

igna

te a

maj

or c

hord

/sca

le s

ound

. I a

m d

oing

this

so

you

can

begi

n to

get

bet

ter a

cqua

inte

d w

ith v

ario

us

nom

encl

atur

e.∆

= M

ajor

sca

le/c

hord

or m

ajor

sev

enth

(C∆)

. A (7

) afte

r a le

tter m

eans

to lo

wer

the

7th

note

of t

he s

cale

, mak

ing

it a

Dom

inan

t 7th

qua

lity

(C7)

. A d

ash

(—) w

hen

loca

ted

besi

de a

lette

r mea

ns to

low

er th

e th

ird a

nd s

even

th o

f the

sca

le 1

/2 s

tep,

thus

mak

ing

it a

min

or to

nalit

y (D

oria

n m

inor

) (C

—).

Ø m

eans

ha

lf-di

min

ishe

d (C

Ø).

C—

∆ m

eans

a m

inor

sca

le/c

hord

with

a m

ajor

7th

. —3

mea

ns 3

hal

f-ste

ps (a

min

or 3

rd).

A ° b

esid

e a

lette

r mea

ns d

imin

ishe

d (C

° =

dim

inis

hed

scal

e/ch

ord)

.

CH

OR

D/S

CA

LE T

YPE

AB

BR

EVIA

TED

CH

OR

D/S

CA

LE S

YMB

OL

*M

AJOR

(Ion

ian) (

WW

HWW

WH)

C D

E F

G A

B C

C C∆

C

maj,

Cm

a, C

ma7

, Cm

aj7, C

M, C

M7,

Cm

aj9, C

maj1

3

*DO

MIN

ANT

SEVE

NTH

(Mixo

lydian

) (W

WHW

WHW

)5t

h M

ode

of M

ajor:

C D

E F

G A

B∫

CC7

C

9, C

11, C

13

*M

INOR

SEV

ENTH

(Dor

ian) (

WHW

WW

HW)

2nd

Mod

e of

Majo

r: C

D E

∫ F

G A

B∫ C

C—

C—

7, C

mi, C

mi7,

Cm

7, C

min,

Cm

in7, C

m9,

Cm

11, C

m13

LYDI

AN (M

ajor S

cale

with

ß4) (

WW

WHW

WH)

4th

Mod

e of

Majo

r: C

D E

Fß G

A B

CC∆

+4

Cm

aj+4,

CM

+4, C

∆+11

, C∆∫

5, C

maj∫

5

*HA

LF-D

IMIN

ISHE

D (L

ocria

n) (H

WW

HWW

W)

7th

Mod

e of

Majo

r: C

D∫

E∫ F

G∫ A

∫ B∫

CCØ

C

mi7(

∫5),

C—7∫

5

HALF

-DIM

INIS

HED

#2 (L

ocria

n #2

) (W

HWHW

WW

)6t

h M

ode

of M

elodic

Mino

r: C

D E

∫ F

G∫ A

∫ B∫

CCØ

ß2

CØ+

2, C

Ø9

DIM

INIS

HED

(WHW

HWHW

H) C

D E

∫ F

G∫ A

∫ A B

CC °

C

dim, C

°7, C

dim7,

C°9

LYDI

AN D

OMIN

ANT

(Dom

. 7th

with

ß4) (

WW

WHW

HW)

4th

Mod

e of

Melo

dic M

inor:

C D

E F

ß G A

B∫

CC7

+4

C7+

11, C

7∫5,

C9+

11, C

13+1

1

WHO

LE-T

ONE

(WW

WW

WW

W) C

D E

F#

G# B

b C

+

4C7

+

C7a

ug, C

7+5,

C7+

5DO

MIN

ANT

SEVE

NTH

(Usin

g a

Dim

. Sca

le) (H

WHW

HWHW

)C

D∫ E

∫ E

Fß G

A B

∫ C

+

9

+

9C7

∫9

C7∫

9+4,

C13

∫9+1

1DI

MIN

ISHE

D W

HOLE

-TON

E (A

ltere

d Sc

ale) (

HWHW

WW

W)

7th

Mod

e of

Melo

dic M

inor:

C D

∫ E∫

E F

ß Gß B

∫ C

+

9+5

+

9∫13

C7+9

C

7alt,

C7∫9

+4, C

7∫9+

11LY

DIAN

AUG

MEN

TED

(Majo

r with

ß4 &

ß5) (

WW

WW

HWH)

3rd

Mod

e of

Melo

dic M

inor:

C D

E F

ß Gß A

B C

+

5C∆

+4

C∆+

5M

ELOD

IC M

INOR

(Asc

endin

g On

ly) (W

HWW

WW

H)C

D E∫

F G

A B

CC—

Cm

in(m

aj7),

Cmi∆

, C—

∆ (M

elodic

), Cm

6

HARM

ONIC

MIN

OR (W

HWW

H—3H

) C D

E∫

F G

A∫ B

CC—

Cm

i∆, C

—∆

(Har

), C—

∆∫6

SUSP

ENDE

D 4t

h (W

—3W

WHW

) or (

WW

HWW

HW)

C D

F G

A B∫

C o

r C D

E F

G A

B∫

CG—

G

—7,

C7s

us4,

C7s

us, C

4, C

11 C

C

*BL

UES

SCAL

E (U

se a

t play

er’s

discr

etion

)(—

3WHH

—3W

) (1,

∫3,

4, ß

4, 5

, ∫7,

1) C

E∫

F Fß

G B

∫ C

(The

re is

no

chor

d sy

mbo

l for t

he B

lues S

cale)

Used

mos

tly w

ith d

omina

nt a

nd m

inor c

hord

s)

* The

se a

re th

e m

ost c

omm

on c

hord

/sca

les

in W

este

rn M

usic

.

I bel

ieve

in a

redu

ced

chor

d/sc

ale

nota

tion

that

allo

ws

our c

reat

ive

side

, our

nat

ural

sid

e (ri

ght b

rain

func

tion)

to h

ave

dire

ctio

n an

d gu

idan

ce w

ithou

t fee

ling

inhi

bite

d or

lim

ited.

Whe

n w

e sp

eak

of “

qual

ity”

we

mea

n w

heth

er it

is M

ajor

, Min

or, D

im.,

or w

hate

ver.

I hav

e tri

ed to

sta

ndar

dize

the

chor

d/sc

ale

sym

bol n

otat

ion

in m

y bo

oks.

Sin

ce s

ome

have

bee

n ou

t man

y ye

ars

ther

e ar

e in

stan

ces

whe

re I

may

hav

e us

ed a

diff

eren

t cho

rd s

ymbo

l in

one

book

than

I u

sed

in th

is o

ne.

I fee

l the

impr

ovis

or n

eeds

as

little

not

atio

n as

pos

sibl

e in

ord

er to

tran

scen

d th

e ac

tual

nom

encl

atur

e on

the

page

. The

mor

e nu

mbe

rs, l

ette

rs a

nd a

ltera

tions

th

at a

ppea

r on

the

page

, the

less

cha

nce

they

will

have

to re

mov

e th

eir t

houg

hts

from

the

writ

ten

page

and

exp

ress

wha

t is

bein

g he

ard

in th

eir m

ind.

Tha

t is

why

I pr

efer

C, C

7, C

—, C

Ø, C

7+9,

C7∫

9. R

emem

ber,

we

are

play

ing

a m

usic

cal

led

jazz

, and

it c

onta

ins

man

y al

tere

d to

nes.

Onc

e w

e le

arn

the

vario

us

alte

ratio

ns a

nd th

eir c

orre

spon

ding

abb

revi

ated

cho

rd s

ymbo

l, w

hy k

eep

writ

ing

all t

he a

ltera

tions

bes

ide

the

chor

d sy

mbo

l? C

heck

out

car

eful

ly th

e Sc

ale

Sylla

bus!

Lis

ten

to V

olum

e 26

“The

Sca

le S

ylla

bus.

”R

emem

ber:

2nd’

s ar

e th

e sa

me

as 9

th’s

, 4th

’s a

re th

e sa

me

as 1

1th’

s, 1

3th’

s ar

e th

e sa

me

as 6

th’s

. Exa

mpl

e: K

ey o

f C ..

. the

2nd

, D, i

s th

e sa

me

as th

e 9t

h,

D. O

ften

a co

mpo

ser w

ill si

mpl

y w

rite

thei

r pre

ferre

d na

me

of th

e sc

ale

besi

de th

e ch

ord

sym

bol,

such

as

E∫—

∆ (m

elod

ic m

inor

), F—

(phr

ygia

n), F

— (p

hry)

. 3

Page 4: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

Impr

ovis

ing,

pla

ying

jazz

, is

the

mos

t nat

ural

way

to m

ake

mus

ic.

Long

bef

ore

the

prin

ting

pres

s w

as in

vent

ed p

eopl

e pl

ayed

mus

ic

on v

ario

us in

stru

men

ts a

nd a

ll w

ere

thou

ght t

o be

cre

ativ

e m

usic

ians

. Thr

ough

the

ages

the

art o

f im

prov

isin

g on

a m

usic

al in

stru

men

t gr

adua

lly lo

st fa

vor t

o th

e pr

inte

d pa

ge.

In th

e tw

entie

th c

entu

ry th

e ar

t of i

mpr

ovis

ing

has

been

kep

t aliv

e by

the

jazz

mus

icia

n.

Toda

y’s

jazz

er is

not

the

sam

e as

the

mus

icia

n of

the

thirt

ies,

forti

es o

r fif

ties.

Th

e in

fluen

ce o

f jaz

z ed

ucat

ion,

sou

nd r

ecor

ding

s,

vide

os a

nd ja

zz fe

stiv

als

has

allo

wed

the

mus

ic to

reac

h m

any

mor

e pe

ople

and

to b

e ex

perie

nced

by

alm

ost a

nyon

e w

ho is

will

ing

to g

ive

it a

try.

For y

ears

the

myt

h “y

ou e

ither

hav

e it

or y

ou d

on’t”

was

pre

vale

nt in

mus

ic c

ircle

s ar

ound

the

wor

ld.

If yo

u w

ante

d to

pla

y ja

zz y

ou

had

bette

r get

ado

pted

into

a m

usic

al fa

mily

or b

y th

e “lu

ck o

f the

dra

w” fi

nd th

e rig

ht e

nviro

nmen

t for

you

r ear

ly y

ears

so

by o

smos

is

you

coul

d pi

ck u

p on

the

hot l

icks

and

at t

he s

ame

time

deve

lop

a gr

eat j

azz

ear s

o th

at w

hen

you

play

ed y

our i

nstru

men

t, yo

u w

ould

so

und

like

a ja

zzer

.

Tim

e ha

s pr

oven

that

thes

e id

eas

whi

ch w

ere

very

pop

ular

are

not

true

. Th

ey n

ever

wer

e tru

e bu

t man

y m

usic

ians

thou

ght t

hey

wer

e an

d th

at’s

wha

t giv

es a

n id

ea it

’s lo

ngev

ity.

Onc

e pe

ople

from

non

-mus

ical

bac

kgro

unds

in n

on-ja

zzy

envi

ronm

ents

beg

an p

layi

ng th

e m

usic

and

pla

ying

it w

ell,

ever

yone

had

to ta

ke a

noth

er lo

ok a

t wha

t goe

s on

whe

n so

meo

ne s

tand

s up

and

impr

ovis

es a

goo

d so

lo

over

a s

tand

ard

chor

d pr

ogre

ssio

n su

ch a

s G

reen

Dol

phin

Stre

et, C

onfir

mat

ion,

or t

he b

lues

.

Her

e ar

e se

vera

l ing

redi

ents

that

go

into

mak

ing

a go

od ja

zz s

oloi

st/im

prov

isor

:

1. D

esire

to im

prov

ise

2.

Ser

ious

list

enin

g to

jazz

via

reco

rdin

gs a

nd li

ve p

erfo

rman

ces

3.

A m

etho

d of

pra

ctic

e - w

hat a

nd h

ow to

pra

ctic

e!

4. A

rhyt

hm s

ectio

n w

ith w

hich

to p

ract

ice

and

impr

ovis

e (v

ia li

ve g

roup

or p

lay-

a-lo

ng re

cord

ings

)

5. S

elf-e

stee

m, d

isci

plin

e, a

nd d

eter

min

atio

n.

Whe

n I w

as a

teen

ager

, I w

onde

red

if I’d

eve

r be

able

to p

lay

on m

y in

stru

men

t the

mel

odie

s I w

as h

earin

g in

my

head

. I d

idn’

t hav

e a

jazz

teac

her s

o I w

ould

list

en to

the

radi

o or

reco

rds

and

try to

take

off

the

idea

s of

the

jazz

gre

ats

such

as

Col

eman

Haw

kins

, Cha

rlie

Par

ker,

Diz

zy G

illes

pie,

Son

ny S

titt,

Son

ny R

ollin

s an

d m

any

othe

rs.

If I w

ere

to s

tart

agai

n he

re’s

how

I w

ould

do

it:

JAZZ

: TH

E N

ATU

RA

L M

USI

Cby

Jam

ey A

eber

sold

4

Page 5: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

I wou

ld b

egin

by

play

ing

on m

y in

stru

men

t sim

ple

little

mel

odie

s su

ch a

s H

appy

Birt

hday

, Tw

inkl

e, T

win

kle

Littl

e S

tar,

and

Row

, Row

, R

ow Y

our

Boa

t. I

wou

ld p

ick

a no

te in

my

mid

dle

regi

ster

say

, G#,

and

beg

in p

layi

ng o

ne o

f the

se s

ongs

. W

hen

I fina

lly p

laye

d it

corr

ectly

ON

E ti

me,

I w

ould

pic

k a

new

sta

rting

not

e sa

y, E

b an

d pl

ay th

e sa

me

song

beg

inni

ng o

n th

at n

ote.

Do

this

ove

r and

ove

r be

ginn

ing

on d

iffer

ent t

ones

unt

il yo

u ca

n pl

ay th

e so

ng s

tarti

ng o

n di

ffere

nt n

otes

with

out m

ista

kes.

The

n try

a d

iffer

ent s

ong

and

get

so y

ou c

an p

lay

it st

artin

g on

any

of t

he tw

elve

not

es o

f the

chr

omat

ic s

cale

. Th

is is

an

exce

llent

way

of c

ondi

tioni

ng y

our fi

nger

s an

d m

ind

to w

ork

toge

ther

to p

rodu

ce th

e so

unds

you

are

hea

ring

in y

our h

ead.

It s

horte

ns th

e di

stan

ce fr

om m

ind

to fi

nger

s.

Jazz

mus

icia

ns h

ave

alw

ays

play

ed th

e m

usic

of t

heir

min

d—w

hat t

hey

hear

in th

eir

head

. Th

ey a

ren’

t spe

cial

, gift

ed p

eopl

e w

ho

wer

e bo

rn w

ith m

ore

tale

nt th

an o

ther

s. T

hey

just

had

mor

e de

sire

and

dis

cipl

ine

than

oth

ers.

The

ir ab

ility

to m

enta

lly h

ear a

n id

ea

and

then

pla

y it

com

es fr

om p

ract

ice.

Whe

n yo

u ru

n ou

t of i

deas

to p

ract

ice

you

liste

n to

oth

er m

usic

ians

. Th

e jo

y of

list

enin

g to

oth

ers,

cou

pled

with

you

r im

agin

atio

n, w

ill

lead

to fr

esh

mus

ical

idea

s. T

he a

nsw

er to

eve

ry m

usic

al q

uest

ion

may

be

foun

d on

reco

rdin

gs.

That

is w

hy li

sten

ing

is s

o im

porta

nt

for t

he b

egin

ning

impr

ovis

or.

Usu

ally,

we

begi

n im

prov

isin

g on

son

gs lik

e bl

ues

in B

b or

F, S

atin

Dol

l, M

aide

n Vo

yage

, or S

umm

ertim

e. S

ongs

like

thes

e do

n’t c

onta

in

trick

y rh

ythm

s or

diffi

cult

harm

ony

(sca

les

and

chor

ds).

Thi

s m

akes

it e

asie

r to

mak

e se

nse

of th

e so

ng a

nd fe

el re

lativ

ely

good

abo

ut

impr

ovis

ing

over

the

harm

ony.

The

se s

ongs

(and

man

y m

ore)

are

on

the

Vol.

54 “M

aide

n Vo

yage

” pla

y-a-

long

.

Her

e ar

e se

vera

l exe

rcis

es e

very

pro

fess

iona

l jaz

z m

usic

ian

has

prob

ably

pla

yed

at o

ne ti

me

or a

noth

er. P

lay

thes

e ov

er th

e ha

rmon

y (c

hang

es, c

hord

/sca

les)

to w

hate

ver s

ong

you

are

wor

king

on.

Do

this

bef

ore

you

try to

impr

ovis

e.

1. P

lay

the

first

five

not

es to

eac

h ch

ord/

scal

e.

2. P

lay

the

triad

(not

es 1

,3, a

nd 5

of t

he s

cale

).

3. P

lay

the

entir

e sc

ale

from

the

root

(firs

t not

e) to

the

9th

and

back

dow

n.

4. P

lay

the

7th

chor

d up

and

dow

n (1

,3,5

,7,5

,3,1

).

5. P

lay

the

9th

chor

d up

and

dow

n (1

,3,5

,7,9

,7,5

,3,1

).

6. P

lay

the

scal

e up

to th

e 9t

h an

d th

en c

ome

back

dow

n th

e ch

ord.

7.

Pla

y th

e ch

ord

up to

the

9th

and

then

com

e ba

ck d

own

the

scal

e.

8. P

lay

the

scal

e in

third

s up

and

dow

n.

5

Page 6: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

If yo

u w

ere

to ta

ke n

umbe

rs 1

, 2, a

nd 3

from

abo

ve a

nd a

pply

them

to th

e fir

st fo

ur b

ars

of a

n F

blue

s, it

wou

ld lo

ok li

ke th

is:

I onc

e he

ard

trum

pete

r Woo

dy S

haw

war

min

g up

bef

ore

a co

ncer

t in

the

abov

e m

anne

r. It

impr

esse

d m

e be

caus

e I t

houg

ht o

nly

begi

n-ne

rs u

sed

this

type

war

m-u

p. A

fter t

hink

ing

abou

t it,

I rea

lized

it w

as th

e m

ost p

ract

ical

way

to a

ppro

ach

any

new

son

g. W

hen

you

do

this

you

are

con

ditio

ning

you

r min

d an

d fin

gers

to th

e sc

ales

and

cho

rds

whi

ch y

ou w

ill in

turn

impr

ovis

e ov

er.

It m

akes

goo

d se

nse!

You

shou

ld b

e ab

le to

do

this

to th

e ch

ord/

scal

e pr

ogre

ssio

n to

any

son

g yo

u ar

e go

ing

to im

prov

ise

over

. Th

is is

sta

ndar

d pr

actic

e an

d ha

s be

en fo

r som

e tim

e ...

kno

w y

our s

cale

s an

d ch

ords

bef

ore

you

play

. Mem

oriz

e th

em, t

oo! M

emor

izin

g m

elod

ies,

sca

les

and

chor

ds g

ives

cou

rage

to y

our i

mag

inat

ion.

Now

, som

e w

ill fe

el th

at to

pla

y ja

zz, y

ou d

on’t

stud

y or

pra

ctic

e sc

ales

and

exe

rcis

es,”y

ou ju

st p

lay.

” I a

sk, w

hat d

oes

that

mea

n? W

ho

can

“just

pla

y” o

ver G

iant

Ste

ps, T

une

Up,

Con

firm

atio

n, S

tar E

yes,

the

blue

s or

a th

ousa

nd o

ther

tune

s w

ith in

tere

stin

g ch

ord

prog

res-

sion

s? T

he fa

mou

s al

to s

axop

honi

st C

harli

e P

arke

r in

his

own

wor

ds s

aid

ther

e w

as a

per

iod

of 3

to 4

yea

rs w

here

he

prac

ticed

11

to

15 h

ours

a d

ay.

If C

harli

e P

arke

r was

, as

man

y sa

y, a

gen

ius,

he

got t

hat w

ay b

y pr

actic

ing.

I ha

ve a

reco

rdin

g of

him

say

ing

this

in a

n in

terv

iew

with

Pau

l Des

mon

d. I

als

o ha

ve a

reco

rdin

g of

him

say

ing

at a

ge 1

6 (a

fter h

avin

g go

tten

laug

hed

off t

he b

ands

tand

for n

ot

know

ing

you’

re s

uppo

se to

pla

y th

e sa

me

song

the

band

is p

layi

ng!),

“I n

ever

sto

pped

to th

ink

abou

t the

re b

eing

oth

er k

eys

or n

othi

n’

like

that

.” S

o, h

e be

gan

like

mos

t of u

s bu

t eve

ntua

lly d

isco

vere

d th

at H

E w

as m

aste

r of h

is o

wn

ship

. H

e to

ok th

e bu

ll by

the

horn

s an

d do

ve in

to th

e m

arve

lous

wor

ld o

f jaz

z—th

e w

orld

of i

mpr

ovis

atio

n, h

arm

ony,

rhyt

hm, m

elod

y, c

reat

ivity

, im

agin

atio

n an

d lif

e.

6

Page 7: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

If yo

u’ve

eve

r won

dere

d w

hy te

ache

rs b

egin

stu

dent

s w

ith fi

nger

ings

, ton

e pr

oduc

tion

(win

d in

stru

men

ts) a

nd s

cale

s, I

feel

it’s

to fo

rm

a st

rong

foun

datio

n fo

r the

stu

dent

s’ c

reat

ivity

. You

r ins

trum

ent r

eflec

ts y

our m

usic

al p

erso

nalit

y.

Tran

scrib

ing

solo

s or

por

tions

of s

olos

off

reco

rdin

gs is

one

of t

he b

est w

ays

to fi

nd o

ut w

hat t

he p

rofe

ssio

nal i

s do

ing

to m

ake

thin

gs

soun

d so

goo

d. B

y an

alyz

ing

a so

lo y

ou c

an fi

nd im

porta

nt fa

cts:

1.

Wha

t not

e of

the

scal

e do

they

beg

in p

hras

es w

ith?

2.

Wha

t not

e of

the

scal

e do

they

end

thei

r phr

ases

with

?

3. D

o th

ey u

se a

wid

e or

nar

row

rang

e, (t

essi

tura

)?

4. D

o th

ey u

se c

hord

tone

s in

thei

r phr

ases

?

5. D

o th

ey u

se s

cale

s or

bits

and

pie

ces

of s

cale

s?

6. D

o th

ey h

ave

favo

rite

licks

that

pop

up

over

and

ove

r?

7. D

o th

ey u

se c

hrom

atic

s (n

otes

out

side

the

basi

c ch

ord/

scal

e)?

8.

Do

they

use

pas

sing

tone

s?

9. R

epet

ition

: do

they

use

it a

nd h

ow ..

. rhy

thm

ical

ly, m

elod

ical

ly, h

arm

onic

ally

?

10.D

o th

ey u

se s

pace

, res

ts, s

ilenc

e? H

ow o

ften?

Is

ther

e a

patte

rn?

11

.Do

they

bui

ld th

eir s

olo?

Doe

s th

e so

lo s

eem

to te

ll a

stor

y or

go

som

ewhe

re?

12

.Do

they

tend

to p

lace

cho

rd to

nes

(1,3

,5) o

n be

ats

1 an

d 3

(in 4

/4 ti

me)

.

13.D

o th

ey in

corp

orat

e su

bstit

ute

scal

es o

ver t

he b

asic

cho

rd/s

cale

s?

14.D

o th

ey d

oubl

e-tim

e an

y ph

rase

s (th

is u

sual

ly m

eans

pla

ying

in 1

6th

note

s)?

15

.Do

they

use

the

blue

s sc

ale?

How

ofte

n?

16.D

o th

ey u

se s

eque

nces

in th

eir p

layi

ng?

Hav

ing

spen

t ove

r 50

year

s w

orki

ng w

ith m

usic

ians

of a

ll le

vels

, I fi

nd th

at o

ne o

f the

fund

amen

tal n

eeds

is to

exp

ress

them

selv

es

in a

n im

prov

isat

ory

man

ner o

n th

eir i

nstru

men

t. P

layi

ng ja

zz h

as b

een

the

rout

e th

ose

mus

icia

ns h

ave

take

n. C

reat

ivity

and

use

of

imag

inat

ion

is e

ssen

tial t

o ou

r wel

l-bei

ng a

s hu

man

s on

the

plan

et E

arth

. We

are

crea

tive

bein

gs. W

ith a

littl

e gu

idan

ce e

very

one

can

lear

n to

impr

ovis

e an

d en

joy

the

fruits

of s

elf-e

xpre

ssio

n in

mus

ic. T

here

’s re

ally

not

hing

to b

e af

raid

of.

Life

is e

xact

ly w

hat y

ou m

ake

it to

be.

Feel

free

to w

rite

if yo

u ha

ve q

uest

ions

. My

addr

ess

is:

Jam

ey A

eber

sold

, P.O

.Box

124

4, N

ew A

lban

y, IN

47l

51 U

SA

• F

AX

812

-949

-200

6 •

ww

w.ja

zzbo

oks.

com

7

Page 8: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

PRA

CTI

CE

PR

OC

EDU

RE

FO

R M

EMO

RIZ

ING

SC

ALE

S A

ND

CH

OR

DS

TO

AN

Y S

ON

G

The

eigh

t exe

rcis

es li

sted

bel

ow re

pres

ent t

he ty

pica

l jaz

z ap

proa

ch to

lear

ning

the

basi

c ha

rmon

y fo

r the

blu

es in

Bb.

You

’ll w

ant t

o va

ry th

e rh

ythm

s to

add

var

iety

and

mak

e th

em s

ound

mor

e im

prov

ised

. You

can

use

this

app

roac

h fo

r lea

rnin

g AN

Y sc

ale

or c

hord

to A

NY

song

. Thi

s Bb

blu

es p

rogr

essi

on is

take

n fro

m th

e Vo

l. 42

“BLU

ES” I

N A

LL K

EYS

play

-a-lo

ng b

ook/

reco

rdin

g se

t.

As

you

pla

y, m

emor

ize

the

chor

d/sc

ale

prog

ress

ion

as w

ell a

s th

e ch

ord

and

scal

e to

nes.

Afte

r pla

ying

thro

ugh

thes

e ei

ght

chor

uses

, I th

ink

you’

ll be

sur

pris

ed h

ow e

asy

it is

to m

emor

ize.

Con

cent

rate

on

the

SOU

ND

of e

ach

note

.

Thin

k of

the

blue

s pr

ogre

ssio

n as

bei

ng th

ree

4-ba

r sec

tions

. It h

as a

beg

inni

ng (4

-bar

s), a

mid

dle

sect

ion

(4-b

ars)

, and

an

end

ing

(4-b

ars)

. Afte

r you

bec

ome

fam

iliar w

ith v

ario

us s

cale

s an

d ch

ords

, you

won

’t ne

ed to

go

thro

ugh

this

pra

ctic

e pr

oced

ure

whe

n w

orki

ng o

n a

new

tune

. You

’ll al

read

y ha

ve th

e ne

eded

sca

les

and

chor

ds m

emor

ized

. Thi

s is

wha

t the

pr

ofes

sion

al ja

zz m

usic

ian

has

done

. Com

mit

to m

emor

y an

d en

joy

mak

ing

mus

ic. R

emem

ber,

the

purp

ose

of a

ny e

xerc

ise

is to

hel

p yo

u tru

ly M

AKE

MU

SIC

.

8

Page 9: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

9

Page 10: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

10

Page 11: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

11©

199

2 Ja

mey

Aeb

erso

ld. A

ll R

ight

s R

eser

ved.

Page 12: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

INTR

OD

UC

TIO

N T

O T

HE

SCA

LE S

YLLA

BU

S

Eac

h ch

ord/

scal

e sy

mbo

l (C

7, C

—, C

∆+4,

etc

.) re

pres

ents

a s

erie

s of

tone

s w

hich

the

impr

ovis

or c

an u

se w

hen

impr

ovis

ing

or s

oloi

ng. T

hese

ser

ies

of to

nes

have

trad

ition

ally

bee

n ca

lled

scal

es. T

he s

cale

s lis

ted

here

are

the

ones

I m

ost o

ften

hear

mus

icia

ns p

lay.

I ha

ve li

sted

the

Sca

le S

ylla

bus

in th

e ke

y of

C C

once

rt so

you

can

hav

e a

fram

e of

refe

renc

e an

d ca

n co

mpa

re th

e si

mila

ritie

s an

d di

ffere

nces

bet

wee

n th

e va

rious

cho

rds/

scal

es.

This

SC

ALE

SY

LLA

BU

S is

inte

nded

to g

ive

the

impr

ovis

or a

var

iety

of s

cale

cho

ices

whi

ch m

ay b

e us

ed o

ver a

ny

chor

d - m

ajor

, min

or, d

omin

ant 7

th, h

alf-d

imin

ishe

d, d

imin

ishe

d an

d su

spen

ded

4. W

este

rn m

usic

, esp

ecia

lly ja

zz a

nd

pop,

use

s m

ajor

, dom

inan

t 7th

, Dor

ian

min

or a

nd B

lues

sca

les

and

chor

ds m

ore

than

any

oth

er. S

cale

s an

d ch

ords

us

ed le

ss o

ften

are

the

half-

dim

inis

hed,

dim

inis

hed

and

susp

ende

d 4.

If w

e ag

ree

on th

ese

five

chor

d/sc

ale

fam

ilies

as

bei

ng th

e m

ost p

redo

min

ant,

then

we

can

set u

p ca

tego

ries

and

list s

ubst

itute

sca

les

bene

ath

each

hea

ding

... s

ee

the

Scal

e Sy

llabu

s pa

ge. Y

ou s

houl

d al

so c

heck

out

Vol

ume

26 "

The

Scal

e Sy

llabu

s" fo

r mor

e he

lp w

ith s

cale

s.

Eac

h ca

tego

ry b

egin

s w

ith th

e sc

ale

mos

t clo

sely

rese

mbl

ing

the

chor

d/sc

ale

sym

bol g

iven

to th

e le

ft. T

he s

cale

s ar

e ar

rang

ed a

ccor

ding

to th

e de

gree

of d

isso

nanc

e th

ey p

rodu

ce in

rela

tion

to th

e ba

sic

chor

d/sc

ale

soun

d. S

cale

s ne

ar

the

top

of e

ach

cate

gory

will

sou

nd m

ild o

r con

sona

nt. S

cale

cho

ices

furth

er d

own

the

list w

ill b

ecom

e in

crea

sing

ly

tens

e or

dis

sona

nt. E

ach

play

er is

urg

ed to

sta

rt w

ith th

e sc

ales

at t

he to

p an

d w

ith p

ract

ice

and

expe

rimen

tatio

n gr

adua

lly w

ork

his

way

dow

n th

e lis

t to

the

mor

e di

sson

ant o

r ten

sion

-pro

duci

ng s

cale

s. Y

ou s

houl

d w

ork

with

a n

ew

scal

e so

und

on y

our i

nstru

men

t unt

il yo

ur e

ars

and

finge

rs b

ecom

e co

mfo

rtabl

e w

ith a

ll th

e to

nes

in th

e sc

ale.

Als

o try

sin

ging

the

scal

e w

ith y

our v

oice

. Im

prov

ise

with

you

r voi

ce o

ver t

he s

cale

you

are

lear

ning

and

then

repr

oduc

e on

you

r ins

trum

ent w

hat y

our v

oice

has

cre

ated

.

Mus

ic is

mad

e of

tens

ion

and

rele

ase.

Sca

le to

nes

prod

uce

eith

er te

nsio

n or

rela

xatio

n. T

he im

prov

isor

's a

bilit

y to

co

ntro

l the

am

ount

and

freq

uenc

y of

tens

ion

and

rele

ase

will

, in

larg

e m

easu

re, d

eter

min

e w

heth

er h

e is

suc

cess

ful

in c

omm

unic

atin

g to

the

liste

ner.

Rem

embe

r - y

ou, t

he p

laye

r, ar

e al

so a

list

ener

! Rea

d Vo

lum

e 1

JAZZ

: How

To 12

Page 13: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

Play

And

Impr

ovis

e fo

r a m

ore

deta

iled

expl

anat

ion

of te

nsio

n an

d re

leas

e in

mel

odic

dev

elop

men

t.

Any

of t

he v

ario

us p

ract

ice

proc

edur

es a

nd p

atte

rns

liste

d in

Vol

umes

1, 2

, 3, 2

1, 2

4 or

84

can

be a

pplie

d to

any

of

the

scal

e ch

oice

s lis

ted

in th

is S

cale

Syl

labu

s. N

eedl

ess

to s

ay, a

ny s

cale

you

wan

t to

lear

n sh

ould

be

trans

pose

d an

d pr

actic

ed in

all

twel

ve k

eys.

The

col

umn

on w

hole

and

hal

f ste

p co

nstru

ctio

n I h

ave

liste

d fo

r eac

h sc

ale

on th

e sy

llabu

s sh

ould

pro

ve h

elpf

ul w

hen

trans

posi

ng a

sca

le to

any

of t

he tw

elve

key

s.

For a

dditi

onal

info

rmat

ion

on s

cale

sub

stitu

tion,

I re

com

men

d Sc

ales

for J

azz

Impr

ovis

atio

n by

Dan

Hae

rle, J

azz

Impr

ovis

atio

n by

Dav

id B

aker

, Pa

ttern

s fo

r Ja

zz (

Treb

le-C

lef

or B

ass

Cle

f) an

d C

ompl

ete

Met

hod

for

Jazz

Im

prov

isat

ion

by J

erry

Cok

er, a

nd R

epos

itory

of S

cale

s &

Mel

odic

Pat

tern

s by

Yus

ef L

atee

f. Th

ese

book

s ar

e av

aila

ble

from

you

r fav

orite

mus

ic s

ourc

e or

vis

it w

ww

.jazz

book

s.co

m fo

r mor

e in

form

atio

n.

Sev

eral

Pla

y-A

-Lon

g se

ts o

ffer y

ou a

n op

portu

nity

to p

ract

ice

the

vario

us s

cale

s in

all

twel

ve k

eys.

The

y ar

e: V

ol. 2

4 M

ajor

& M

inor

; Vol

. 84

Dom

inan

t 7th

Wor

kout

; Vol

.21

Get

tin’ I

t Tog

ethe

r; an

d Vo

l.16

Turn

arou

nds,

Cyc

les

&

II/V7

’s. Y

ou m

ight

als

o ch

eck

out t

he P

lay-

A-L

ongs

whi

ch h

ave

tune

s in

all

keys

: Vol

. 42

Blu

es In

All

Key

s; V

ol. 4

7 R

hyth

m In

All

Key

s; V

ol. 5

7 M

inor

Blu

es In

All

Key

s; a

nd tw

o m

ore

volu

mes

, Vol

. 67

Tune

Up

and

Vol.

68 G

iant

St

eps

- eac

h ha

s se

vera

l cla

ssic

tune

s in

all

twel

ve k

eys.

Sca

les

and

chor

ds a

re th

e ba

ckbo

ne o

f our

mus

ic a

nd th

e be

tter

you

equi

p yo

urse

lf, th

e m

ore

fun

you

will

hav

e pl

ayin

g m

usic

.

13

Page 14: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

14

CHO

RD/S

CALE

SYM

BOL

SCAL

E NA

ME

WH

OLE

& H

ALF

STEP

SC

ALE

IN K

EY O

F C

BASI

C CH

ORD

CONS

TRUC

TIO

N

IN K

EY O

F C

C

Majo

r W

W H

W W

W H

C

D E

F G

A B

C C

E G

B D

C7

Dom

inan

t 7th

(Mix

olyd

ian)

W W

H W

W H

W

C D

E F

G A

B∫ C

C

E G

B∫ D

C—

Min

or (D

orian

) W

H W

W W

H W

C

D E∫

F G

A B

∫ C

C E∫

G B

∫ D

Half

Dim

inish

ed (L

ocria

n)

H W

W H

W W

W

C D∫

E∫

F G∫

A∫

B∫ C

C

E∫ G

∫ B∫

C °

Dim

inish

ed (8

tone

scale

) W

H W

H W

H W

H

C D

E∫ F

G∫ A

∫ A B

C

C E∫

G∫ A

(B∫∫

)

2. D

OM

INAN

T 7t

h SC

ALE

NAM

E W

& H

CO

NSTR

UCTI

ON

SCAL

E IN

KEY

OF

C BA

SIC

CHO

RD

SCA

LE C

HO

ICES

IN K

EY O

F C

C7

Do

min

ant 7

th

W W

H W

W H

W

C D

E F

G A

B∫ C

C

E G

B∫ D

C7

Majo

r Pen

taton

ic W

W —

3 W

—3

C D

E G

A C

C E

G B∫

DC7

Be

bop

(Dom

inan

t) W

W H

W W

H H

H

C D

E F

G A

B∫ B

C

C E

G B∫

DC7

∫9

Span

ish o

r Jew

ish sc

ale

H —

3 H

W H

W W

C

D∫ E

F G

A∫

B∫ C

C

E G

B∫ (D

∫)C7

+4

Lydi

an D

omin

ant

W W

W H

W H

W

C D

E F ß

G A

B∫

C C

E G

B∫ D

C7∫6

Hi

ndu

W W

H W

H W

W

C D

E F

G A∫

B∫

C C

E G

B∫ D

C7+

(has

ß4 &

ß5)

Who

le To

ne (6

tone

scale

) W

W W

W W

W

C D

E Fß

Gß B

∫ C

C E

Gß B

∫ D

C7∫9

(also

has

ß9 &

ß4)

Dim

inish

ed (b

egin

with

H ste

p)

H W

H W

H W

H W

C

D∫ D

ß E F

ß G A

B∫

C C

E G

B∫ D

∫ (D

ß)C7

+9 (a

lso h

as ∫

9, ß4

, ß5)

Di

min

ished

Who

le To

ne

H W

H W

W W

W

C D∫

Dß E

Fß G

ß B∫

C C

E Gß

B∫

Dß (D

∫)C7

Bl

ues S

cale

—3

W H

H —

3 W

C

E∫ F

Fß G

B∫

C C

E G

B∫ D

(Dß)

DOM

INAN

T 7t

hSU

SPEN

DED

4th

C7 su

s 4

Dom.

7th s

cale b

ut don’

t empha

size th

e third

W

W H

W W

H W

C

D E

F G

A B∫

C

C F

G B∫

DC7

sus 4

M

ajor P

entat

onic

built

on

∫7

W W

—3

W —

3 B∫

C D

F G

B∫

C F

G B∫

DC7

sus 4

Be

bop

Scale

W

W H

W W

H H

H

C D

E F

G A

B∫ B

C

C F

G B∫

D

1. M

AJO

R SC

ALE

SCAL

E NA

ME

W &

H C

ONS

TRUC

TIO

N SC

ALE

IN K

EY O

F C

BASI

C CH

ORD

C

HO

ICES

IN K

EY O

F C

C∆ (C

an b

e writ

ten C

) M

ajor (

don’

t em

phas

ize th

e 4th

) W

W H

W W

W H

C

D E

F G

A B

C C

E G

B D

C M

ajor P

entat

onic

W W

—3

W —

3 C

D E

G A

C C

E G

BC∆

+4

Lydi

an (m

ajor s

cale

with

+4)

W

W W

H W

W H

C

D E

Fß G

A B

C

C E

G B

DC∆

Bebo

p (M

ajor)

W W

H W

H H

W H

C

D E

F G

Gß A

B C

C

E G

B D

C∆∫6

Ha

rmon

ic M

ajor

W W

H W

H —

3 H

C D

E F

G A∫

B C

C

E G

B D

C∆+5

, +4

Lydi

an A

ugm

ented

W

W W

W H

W H

C

D E

Fß G

ß A B

C

C E

Gß B

DC

Augm

ented

3 H

—3

H —

3 H

C Dß

E G

A∫

B C

C E

G B

DC

6th

Mod

e of H

arm

onic

Min

or

—3

H W

H W

W H

C

Dß E

Fß G

A B

C

C E

G B

DC

Dim

inish

ed (b

egin

with

H st

ep)

H W

H W

H W

H W

C

D∫ D

ß E F

ß G A

B∫

C C

E G

B D

C Bl

ues S

cale

—3

W H

H —

3 W

C

E∫ F

Fß G

B∫

C C

E G

B D

LEGE

ND:

H =

Half

Step

, W =

Who

le S

tep.

; ∆ =

Maj

or 7

th; +

or ß

= ra

ise H

; ∫ o

r - =

lowe

r H; Ø

= H

alf-d

imin

ished

; —3

= 3H

(Min

or T

hird

)TH

E SC

ALE

SYL

LAB

US

FIV

E B

ASI

CC

ATEG

OR

IES

MAY

BE

WR

ITT

EN

G-/C

Page 15: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

15

5. D

IMIN

ISH

ED S

CALE

SC

ALE

NAM

E W

& H

CO

NSTR

UCTI

ON

SCAL

E IN

KEY

OF

C BA

SIC

CHO

RD

CH

OIC

ES

IN

KEY

OF

C

C °

Dim

inish

ed (8

tone

scale

) W

H W

H W

H W

H

C D

E∫ F

G∫ A

∫ A B

C

C E∫

G∫ A

4. H

ALF

DIM

INIS

HED

SC

ALE

NAM

E W

& H

CO

NSTR

UCTI

ON

SCAL

E IN

KEY

OF

C BA

SIC

CHO

RD

SCA

LE C

HO

ICES

IN K

EY O

F C

Ha

lf Di

min

ished

(Loc

rian)

H

W W

H W

W W

C

D∫ E

∫ F

G∫ A

∫ B∫

C

C E∫

G∫

B∫CØ

ß2 (C

Ø9)

Ha

lf Di

min

ished

#2

(Loc

rian

#2)

W H

W H

W W

W

C D

E∫ F

G∫ A

∫ B∫

C

C E∫

G∫

B∫ D

CØ (w

ith o

r with

out ß

2)

Bebo

p Sc

ale

H W

W H

H H

W W

C

D∫ E

∫ F

G∫ G

A∫

B∫ C

C E

∫ G∫

B∫

3. M

INO

R SC

ALE

SCAL

E NA

ME

W &

H C

ONS

TRUC

TIO

N SC

ALE

IN K

EY O

F C

BASI

C CH

ORD

C

HO

ICES

*

IN K

EY O

f C

C—

or C

—7

Min

or (D

orian

) W

H W

W W

H W

C

D E∫

F G

A B

∫ C

C E∫

G B

∫ D

C— o

r C—

7 Pe

ntato

nic (

Min

or P

entat

onic)

3 W

W —

3 W

C

E∫ F

G B

∫ C

C E∫

G B

∫ D

C— o

r C—

7 Be

bop

(Min

or)

W H

H H

W W

H W

C

D E∫

E F

G A

B∫

C C

E∫ G

B∫

DC—

∆ (m

aj. 7

th)

Melo

dic M

inor

(asc

endi

ng)

W H

W W

W W

H

C D

E∫ F

G A

B C

C

E∫ G

B D

C— o

r C—

6 or

C—

Be

bop

Min

or N

o. 2

W

H W

W H

H W

H

C D

E∫ F

G G

ß A B

C

C E∫

G B

DC—

or C

—7

Blue

s Sca

le —

3 W

H H

—3

W

C E∫

F F

ß G B

∫ C

C E∫

G B

∫ D

C—∆

(∫6

& m

aj. 7

th)

Harm

onic

Min

or

W H

W W

H —

3 H

C D

E∫ F

G A

∫ B

C C

E∫ G

B D

C— o

r C—

7 Di

min

ished

(beg

in w

ith W

step

) W

H W

H W

H W

H

C D

E∫ F

Fß G

ß A B

C

C E∫

G B

DC—

or C

—∫9

∫6

Phry

gian

H

W W

W H

W W

C

D∫ E

∫ F

G A∫

B∫

C C

E∫ G

B∫

C— o

r C—

∫6

Pure

or N

atura

l Min

or, A

eolia

n W

H W

W H

W W

C

D E∫

F G

A∫

B∫ C

C

E∫ G

B∫

D

NO

TES:

1) T

he a

bove

cho

rd s

ymbo

l gui

de is

my

syst

em o

f not

atio

n. I

feel

it b

est r

epre

sent

s th

e so

unds

I he

ar in

jazz

. P

laye

rs s

houl

d be

aw

are

that

eac

h ch

ord

sym

bol r

epre

sent

s a

serie

s of

tone

s ca

lled

a sc

ale.

2) E

ven

thou

gh a

C7+

9 w

ould

app

ear

to h

ave

only

a ra

ised

9th

, it a

lso

has

a ∫9

, +4

and

+5. T

he e

ntire

C7+

9 sc

ale

look

s lik

e: R

oot,

∫9, +

9, 3

rd, +

4, +

5, ∫

7 &

root

(C, D

∫,

Dß,

E, F

ß, G

ß, B

∫, C

). M

y ch

ord

sym

bol C

7+9

is th

eref

ore

an a

bbre

viat

ion,

whi

le th

e co

mpl

ete

nam

e of

this

sca

le is

Dim

inis

hed

Who

le T

one

(som

etim

es c

alle

d S

uper

Loc

rian

or A

ltere

d S

cale

). S

imila

rly, C

7∫9

also

app

ears

to h

ave

only

one

alte

red

tone

(∫9)

but

it

actu

ally

has

thre

e: ∫

9, +

9 an

d +4

. The

ent

ire s

cale

look

s lik

e: R

oot,

∫9, +

9, 3

rd, +

4, 5

th, 6

th, ∫

7 &

root

(C, D

∫, D

ß, E

, Fß,

G, A

, B∫,

C

). Th

is is

cal

led

a D

imin

ishe

d sc

ale

and

my

chor

d sy

mbo

l abb

revi

atio

n is

C7∫

9. 3

) All

scal

es u

nder

the

Dom

inan

t 7th

cat

egor

y ar

e sc

ales

that

em

belli

sh th

e ba

sic

Dom

inan

t 7th

sou

nd. S

ome

scal

es p

rovi

de m

uch

mor

e te

nsio

n th

an th

e ba

sic

dom

inan

t 7th

sou

nd

and

requ

ire p

ract

ice

and

patie

nce

to g

rasp

the

esse

nce

of th

eir m

eani

ng. I

enc

oura

ge y

ou to

wor

k w

ith V

olum

e 3

“The

11-

V7-1

Pr

ogre

ssio

n” s

ince

it e

mph

asiz

es D

imin

ishe

d an

d D

imin

ishe

d W

hole

Ton

e sc

ales

and

cho

rds.

4) I

n ca

tego

ry #

3, M

INO

R S

CA

LE

CH

OIC

ES, t

he P

UR

E M

INO

R s

cale

cho

ice

is n

ot u

sed

very

ofte

n. I

have

foun

d th

e or

der o

f pre

fere

nce

to b

e D

oria

n, B

ebop

, Mel

odic

, B

lues

, Pen

tato

nic,

and

then

any

of t

he re

mai

ning

Min

or s

cale

cho

ices

.

Page 16: COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to Volume 26 “The Scale Syllabus.” Remember: 2nd’s are the same as 9th’s, 4th’s

ONLY JAMEY AEBERSOLD DELIVERS THE TOOLS NEEDED TO PLAY JAZZ AND IMPROVISE!

VOLUME 21GETTIN’ IT TOGETHERCovers major, minor, dom. 7ths, half-dimished, lydian & sus. 4th’s. 31 CD tracks. Ear training, nomenclature, cycles, fourths, comments and more!

VOLUME 26THE SCALE SYLLABUSHear David Liebman solo over every scale in the Scale Syllabus. Two versions of each scale: the first is slow and simple, and the second is more complex and fast.

VOLUME 16TURNAROUNDS,CYCLES, & II/V7sIf you have been working on playing scales, chords, and harmony, this set is the next step towards getting your ears and fingers coordinated!

BOOK & 2-CDs

BOOK & 2-CDs

BOOK & 2-CDs

VOLUME 84DOMINANT 7th WORKOUTLearn how jazz masters use the Dom. 7th! Written patterns over extended tracks on 2 CDs will open your ears and allow you to practice licks and patterns. Navigate Dominant 7ths with confidence.

VOLUME 116MILES OF MODESStudy modal jazz! Covers the basics and progresses systematically to advanced techniques. Workout with the CD - novice or pro.

BOOK & 2-CDs

BOOK & 2-CDs

Available from your favorite music source or visit www.jazzbooks.com for more information.

VOLUME 24MAJOR & MINORFor all instrumentalists and vocalists. Learn skills in major and minor keys. Advanced players will want to work on “double-timing”, playing “outside” and “side-slipping” in all keys at comfortable tempos. Special tracks have Jamey Aebersold playing exercises and soloing on his sax with cuts from Vol. 24 so you can “hear and see” everything! Exercises and sax solos on the demo tracks are transcribed in the book!

VOLUME 1JAZZ:HOW TO PLAY & IMPROVISENow in its sixth revision and translated into seven languages, Jamey’s Volume 1 “How To Play Jazz and Improvise” is the world’s best-selling method for learning jazz improvisation. In thousands of practice rooms, schools and universities, it continues to be the “Gold Standard” by which all other methods are measured.

INCLUDES: Blues/Bebop/Pentatonic Scales, time & feel, ii/V7s, exercises, patterns, licks, Dom. 7ths, nomenclature, chromaticism, and more!

BOOK/CD

BOOK/2-CDs

VOLUME 1 AND VOLUME 24 WORK FOR A STRONG FOUNDATION

THEN TRY: VOLUME 21, 116, 2, 54, 3, 70, 5, 84 ...

JAMEY AEBERSOLD'SJAZZ EAR TRAININGA no-nonsense approach consisting of two hours of recorded ear training exercises with aural instructions before each. Beginning to advanced. Starts very simply, with intervals gradually increases in difficulty until you are hearing chord changes and progressions. All answers are listed in book. Book contains transposed parts for C, Bb and Eb instruments to allow playing along.

BOOK & 2-CDs

VOLUME 54MAIDEN VOYAGEStandards and “workouts” for making the transition from playing scales & chords. Slower tempos, easy changes. Scales written for every chord change.

Summertime • Bb Shuffle Blues • Impressions • Maiden Voyage • Watermelon Man • Doxy • Autumn Leaves • Solar Flair • Song For My Father • Cantaloupe Island • Satin Doll • Blues In F • Footprints

BOOK/CD VOLUME 70KILLER JOESimilar to the Vol. 54, this set gets you improvising on real standard chord changes. Selections feature slower tempos and easier changes.

Killer Joe • Blue Moon • Sweet Georgia Brown • Sugar • Misty • Stop-Time Blues • Girl From Ipanema • Bb New Orleans Blues • Mr. PC • You Stepped Out Of A Dream • Ladybird • Afternoon In Paris • 3/4 Blues

BOOK/CD

Now that you’ve worked with this DVD, where do you go from here?These other Aebersold publications dig deeper into jazz improvisation!

GREAT STARTING PLACES

JAZZFOR