TONALAND

RHYTHMICPRINCIPLES

Jazz ImprovisationIREVISED AND ENLARGED EDITION

JohnMehegan

Watson-Guptill Publications/New York

~Amsco Publications

New York/London/Sydney

40

NOTE: It w.iIlbe noticedthat no secondappearsin the-U1verted" diminishedchord. Thus, the diminishedchord eaunot be inverted. There aretwelvediminishedchordsgroupedin three series(Co,EbO,CbO,Ao­C#o,Eo,Co, Dbo- Do, Fo, Abo,Do).The diminishedchord isalwaysin root position.

Since the M, x, m and 4>can be played in four positions,this givesus192 chords. Adding the 12 diminishedchords, this gives us a total of204 chords - the complete harmonicsystem of jazz.

LESSON 22.

Inversions

The following is a bassline for "No Mono at All.n It is written in Dminor, which is the relative minor of F major. The symbols refer to Fmajor. Transfer the melody to manuscript paper.

VI+I/ IIIx: / va / VIIm: / VII: / bV.". IIIx" / VI+' Ix /

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

VI +' I VIx / VIx / IIx I IIx / V / V I I IV I VII bVIIx / VI +' I• ••IIIx'1 Vo / VIIm' I VII' I bV</>,IIIx" I VI+' / VI+' /1

1\0 ~IOON AT AJ..L..-Wordsand Music bv David M~'lIM7~~rs.~~dR~;n10e,C 1947, 1949Jefferson Music ~., Inc: © '" Inc.International copyright secured. lIJl rightsUsed by permission.

..NOTE: VI +e is also bV</>",but the functionof the chord is an adjustedVI

chord rather thanan inverted bV",.

LESSON 23.

Inversions

Here Is a bassline for "Liza, ~ Transfer the melody to manuscriptpaper.

I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV + I / III bIIIx /

II bIIx / 1+I #I/ I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV + I /

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

Vm bV / IV IV+I / III</>bIIIx / II II. / bVIxV / I V: / #JIoVIx: /

II</>:#IVo / Vm Ix / IV IV+" / III bIIIx / II bIIx /1+ 1/ /

L1ZA-by Gus Kahn, Ira Gershwin, and George Gershwin© 1929New World Music Gorp. (renewed). All rights reserved.Used by permission.

..NOTE: I+e Is also VI', but the functionof the chord is usuallyan adjustedI

chord rather than an invertedVI chord.

LESSON 24.

Inversions

The following is a bass line for "Waltz for Debbie." Transfer themelody to manuscript paper,

This tune presents a special problem in that the chord chart for themelody (called the "head chart") is not the same as the chord chart forimprovising on the tune (called the "blowing chart"). This problem willbe treated more extensively in Volume IV. For now, here are the twocharts for "Waltz for Debbie." Note modulation to the key of A and thereturn to the key of F. The "head" chart appears in 3/4 time with atransition to 4/4 time in the final six measures of the tune; the "blowing"chart appears in 4/4 time with a transition to 3/4 time in the final fourmeasures in preparation for a return to the "head" chart.

41

42

HEADCHART:Key of F, 3/4 time

3 6 6 6 6 •(Fl4 J5 I VI I II I VIIx' I IIIXz I VIx' I IIXz I V' I bel I 113 I

(Fll II.p3 I V IV I III I vlre bV.p3 Vlx3 I IV V vi I ViI i II I

(F)l I~ I VI I II I V I IIIx~ I VIXz I IIx~ I V2 I IIIx"S I VI v12

II

(All II I V V2 I III I II I I I 12 II (Fll II I V I III I VIx I II I

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

3 6 6 6 6 •(F)4 V I J5 I VI I II I VIIx5 I IIIXz I VIx5 I IIXz I V' I IX2 I 113I

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

3 u u(F)4 IIIx:5 I VI I bVIx I VI, I VMu I V~3 I V" II (Flj VI, VM~5 I

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

BLOWING CHART:Key of F, 4/4 time

(Fl~ III VI I II V I lIIx VIx I IIx V I Ix IV+6 I II.p V I III VI I

(F)4 II V I III VI I II V I IIIx VIx I Ilx V I IIIx VI II (Alj II V II I

(Alj I II (F)j II V 11II VIx I II IIIx I VI Vm I IV IIIx I VI IIx I

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

(F)4 lIt/>V I III VIx I bVm VIIx I III Ix I IV IIIx I VI IIIx bVo I

(F)4 III bIIIo I II V II (F)~ I +6 I bIIIo I II I V 1/

Da Capo to head,

WALTZ FOR DEBBY-by Bill Evans and Gene LeesTROC 1964 and 1965 Acorn Music Corp., New York, N.Y.U.K. C 19i¥' Acorn Music Inc. Assigned to Kensington Music Ltd., B5 Gower Street,London,~Cl for the territory of the world excluding USA and CanadaUsed by permission.

LESSON 25.

Inversions

The following is a bass line for "Giant Steps," Unlike the bass linesin this volume, the chords are indicated by letters instead of the usualRoman numerals. The reason for this is that "Giant Steps" has no pre­vailing key center but, instead, a series of implied key centers.

4 4 4 '"BM Dx3 I GM Bbx3 I EbM I Am Dx I GM Bbx" I EbM F::x 3 I

BM I Fm Bbx I EbM I Am Dx I GM I C~m F~x I BM I Fm Bbx I

4 4 4

EbM I C~m F~x IBM Dx3 I GM Bbx3 I EbM ! Am Dx I GM Bb3 I

4

EbM F~x' I BM I Fm Bbx I EbM I Am Dx I GM I C~m F;:;x I

BM I Fm Bbx I EbM I EbM II

GIAl\'T STEPS-by John Coltrane© 1974 jowcol MusicUsed by permission.

The symbol key for the preceding chord chart is as follows:

M-majorx-dominantm-minor

43

44

SECTION IV

LESSON 26.Modulation

Many of the popular tunes used as jazz material modulate from onekey to another in thecourse of a 32-bar chorus. This modulation is seldomindicated in sheet music although the jazz musician "thinks" in these keychanges for Simplicity and order. The following six lessons will deal withtunes of this type. A Simple rule for identifying the presence of a newkey is the appearance of a major chord on other than I or IV (i.e.. 111M,bVIM, ete.).

The following is a bass line for "Body and Soul" in Db. The origi­nal key of this tune is C major, but since 1930, the year the tune waswritten, convention has prevailed in favor of Db. Transfer the melody tomanuscript paper using the following signatures: bars I - 15, key of Db;bar 16, beats 1,2, key of Db; bar 16, beats 3, 4, key of 0; bars 17 - 20,key of 0; bars21- 23, key ofC; bar 24, beats 1,2, key ofC; bar 24, beats3,4, key of D~; bars 25 - 32, key of Db. The letters in parenthesesindicate the key in which the symbols are to be played.

(Db) II U 7 Il:7 I II bflx I I II I III bIlIo I II II, I VII bVIIx I

(Db) vi Ii bIIx I I lHo I IIu7 II"7 I II bllx I I II I III bUIo I

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

(D) VI3 IVm I III VI II IVo I III bIlIx II blIx II (Cl II V I

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

(Db) I II lUI oUIo I II II 2 I VII bVIIx I Vi II blix I I +6 II

BODY AND SOUL-Lyrics by Edward Heyman, Robert Sour. and Frank Eyton, Musicby John Green

«:>1930 (renewed) Warner Bros. Inc. All rights reserved.Used by permission.

LESSON 27.Modulation

The following is a bass line for "How High the Moon," in the keyof G. Transfer the melody to manuscript paper following the signaturesindicated by the letters.

pidc-up(G) VP II I I 1+" I (F) II I blIx I I I 1+" I (Eb) II I blIx I(Eb) I VI I bW VlIx I nr-: I (G) V" / I II I III IVb' I(G) III bIlIx I II VU I I I 1+" I (F) III blIxI 1/1+ 1 I (Eb) II I(Eb) bIIx I I VI I (G) 114>V I I II I ill IVb' I ill bUIx I(G) II bllx / 1+" I 1+" IIHOW HIGH THE .MooN-hy Morgan Lewis and Nancy Hamilton

{j HMOby Chappell & Co., Inc. Cl renewed.Interuanonal copyright secured. All right", reserved.Used by permission.

LESSON 28.

Modulation

The following is a bass line for "Laura,~ in the key of C. Transferthe melody to manuscript paper follOWing the Signatures indicated by

the letters.

(G) II / bIIx I I I 1+ 1 / (F) II / bIlx I I / 1+" I (Eb) II I(Eb) bllx I I I VI I (G) II</>Vb l

/ Vb l IVo I III I bUIx / II I(G) blIx jI jI + "/ (F) II I b1Ix I I / 1+' / (C) IVm / IVo / III I(C) VI / I1xb l / II VII / 1+" / 1+' /1

LAURA-by Johnny Mercer and David Raskine 1945, renewed 1973 Twentieth Century Music Corp. All rights administered andcontrolled by Robbins Music, a catalogue of CBS Songs. a Division of CBS, Inc. Allrights reserved.Used by permission.

As Indicated above, "Laura," in the key of C, does not start In the keyof C. However, the tune comes to a final close In the key of C which

definitely establishes the key.

LESSON 29.

Modulation

The following is a bass line for -111Remember April," in the key ofG. Transfer the melody to manuscript paper follOWingthe signatures

Indicated by the letters. 45

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

(G) III'" / bIIIx / II / bIIx/ I /1+- / (Bb) II / V / I IVa /

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

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

(G) Im , / VI", I. IIx / II I V / III", / bIIIx I II / bIIx /(G)I+' / 1+< II

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

© 1941, 1942 bv MeA Music. a Division of MCA Inc., New York, N.Y. © renewedand assigned toMCA ~Iusic, a Division of MCA Inc. and PIC Corp., New York, N.Y.All ri,mts reserved.Used by permission.

LESSON 32.

Transposition-Modulation

Fig. 1 is a lead sheet of "In Your Own Sweet Way" by Dave Bru­beck. Fig. I represents the composer's view of his composition; Fig. 2represents a figured bass solution of the same tune.

Fig. I. "In Your Own Sweet Way."

t~I\I~~"~~~Eb Am 0 7 Gm Cm F7 Bb Eb

"1r" I\lld Qr U~Tw? 1Ell Maj. Em9 A7 0

o

J UJQrA7

t~l\ .,I~mr FAbm Ob7

ModulationLESSON 30.

The following is a bassline for -All the ThingsYou Are,~ in the keyof Ab.Transfer the melody to manuscript paper following the signaturesindicated by the letters.

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

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

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

(Ab) VI / II / V / I / IV / IVm / ill / billo / II /

(Ab) V" blli / 1+' / 1+' /IALL THE THINGS YOU ARE-by Jerome Kern and Oscar Hammersteln II

C 1939 T.B. Harms Co. e renewed % The Welk Music Group.International copyright secured. All rights reserved.Used by permission.

LESSON3l.

4,\1&m Ir F=£t" FI*' ~ttl

Om Ab7 e7 Cm Am 0 7 Gm

46

ModulationThe following is a bassline for "Autumn in New York," in F, Transfer

the melody to manuscript paper following the signatures indicated by theletters.

(F) II III / IV VP / 1+' I / I II III bIII / II ill I(F) IV V / ill VIx / III", bIlli / II ill / (Ab) II bIIx /

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

(F) III bIII / II III / IV VII / 1+- I I I II III IV /

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

(Db) III bIII II bIlx j I bIIx / I vn VI Vm / (F) II III j

(F) IVm V" / 00+- I 00+< /IAUTUMN IN NEW YORK-Words and music by Vernon Duke

C 1934 (renewed) Warner Bros, Inc.All rights reserved.Used by permission.

Cm Bb Eb Abm

Ebm

Gb Cb

47

Both Fig. 1 and Fig. 2 present the essential "facts" of the composi­tion; Fig. 1 represents the composer's original conception of the piece,and Fig. 2 represents the author's view of the essential structure of thetune seen through twenty-five years of social usage.

Note the appearance in Fig. 2 of key changes which social consen­sus has established as part of the fabric of the tune.

The key series for transposition will be:l-bVI-I -bVI -I -III-II-I-bVI-I.

The following is a bass line for "In Your Own Sweet Way" in Bb.The key order is as follows:Bb-Cb-Bb-Cb-Bb-D-C-Bb-Cb-Bb.

In Roman numerals this reads:l-bVI-I-bVI-I-III-II-I-bVI-I as above.

SECTION V

LESSON 33.

Arpeggios

The basic problem of jazz improvisationis to abandon the melodyand build an improvised line on the elements of the chords in a tune.Thus, we will combine the vertical (left hand) with the horizontal (righthand). The chord elements are as follows: (1) Arpeggios; (2) Scales;(3) Chromatictones. Thus, jazz improvisationemploysa twelve-toneline(twelve chromatic tones in the octave) superimposed on the sixty chordsystem.

An arpeggiOis a "broken"chord moving in alternate steps. The Iol­lOWingillustrates the arpeggiosof the five qualities on C for two octaves.

These notes should he played ascending and descending.

~......r,.-•

Cm

I,. ~.......••

Co

.~....~• •

...

Cx

....

CM

c·······~

I~

picl<.up

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

(Bb) II<p bIlx I I IV I VIlm IIIx I VI IIx I II V I I IV II

(Cb) II V I I IV II (Bb) II<p Mix I I VI II (D) II V I I VI I

(D) II V I I II (C) II V I I VIx"s II (Bb) IVm bVIIx I VIx #VIo I

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

(Bb) II<p blIx I I II

Fig. 2. "In Your Own Sweet Way."

IN YOUR OWN SWEET WAY-by Dave BrubeckC>1955 Deny Music Co.Used by permisslon.

When transposing this tune, number the melody tones according tothe prevailing key in the bassline, Transpose to various keys as a trans­position problem.

4849

Transferred to the keyboard, the rhythmic assignment is as follows:

This rhythmic counterpoint is always present in jazz, although thesethree levels of time can be assigned to various instruments. In a moderngroup, the rhythmic breakdown is as follows:

Eighth-note (1') - trumpetWhole-note (0) or half note (J) - tuba or trombone

Quarter-note (J) - drumsTechnically this is a form of florid counterpoint involving three kinds

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

Using the chord chart on pages 25 and 26, practice the arpeggiosforthe sixty scale-tonechordsusing the fonowing fingering.

C-5qualities 123412345D-5qualities 123412345E-5qualities 123412345F-5qualities 123412345G-5qualities 123412345A-5qualities 123412345B-5qualities 123412345Db-5 qualities 212341234Ab-5qualities 212341234BbM - x 2 1 2 3 4 1 2 3 4Bb-AJm-+-o 231234123GbM-x 234123412Gb-F# m-+-o 2 1 234 1 2 3 4EbM-x 212341234Eb m (the onlyarpeggio with

all black notes) 1 2 3 4 1 2 3 4 5Eb-D# +-0 2 3 1 2 3 4 12 3

These sixty arpeggiosmust be thoroughly mastered, ascending anddescending, so that theycan be played automatically with correct fingering.

Eighth-note (J)Whole note (D) or half-note (J)

Quarter-note (J )

Eighth-note (J)Whole note ("') or half-note (.J)

Quarter-note ( J )

trumpetpianobass

right handleft handfoot beat

50

LESSON 84.

Arpeggios in Rhythm

Rhythmic problems in jazz will be thoroughly studied in VolumesII, III and IV. The student must first learn "what" to play before learn­ing "how" to play it. For now, the following basic material on rhythmwill suffice.

The rhythmic division of the front and rear lines of a 1900 NewOrleans jazz band was as follows:

This rhythmic composite is occasionally interrupted, but its continu­ing presence is essential to jazz improvisation.

As soon as the student has become familiar with the chords of a tune,a quarter-note beat should be tapped by the foot in order to create thebasis for a jazz beat.

In succeeding chapters, we will explore the three fundamental rhyth­mic structures used in jazz improvisation - the eighth-cote, the eighth­note triplet and the sixteenth-note. The jazz line can employ rhythmicvalues up to the thirty-second-note. See Fig. 1. However. for practicalpurposes we will limit our work to the three above-named values.

51

Fig. I. Fig. 2.

d" fugtt han .i ~

IAlft band~ ~ i ,ft-(9- ~

:

• 'I D m IV V bV"Foot beatIVm]II

Foot beat

,., Right band

It'

v

Foot beat

,. ~ t: r=t:.,... " ,Rlgtt band

ii - -,- 1Alft.~ Lb~

II IVm mFoot beat.

I chord eighth notes

II chord eighth-note tripletsIII chord sixteenth notesIV chord sixteenth-note tripletsV chord thirty-second notes

Rest values of both more and less thanan eighth note are equallyimportant in the jazz line.

A dot adds half the value to either a note or a rest.

In Fig.2:

.., bm

Foot beat

,- -• "'. Ii,.. •

.

Il.~"

]I

- .

1+6

I and II chord - whole-note rest (four beats)III chord - half-note rest (two beats)V chord - dotted quarter-note restbVi>chord - quarter-note restIVm chord - dotted eighth-note restIII chord - eighth-note restbIU chord - dotted sixteenth-note rest

52 II chord - sixteenth-note rest 53

LESSON 35.

Eighth-note Arpeggios

Fig. 1 is a bassline for ~I Could Write a Book," in the key of Db.The sheet music appears in the key of C, so the melody must be trans­posed. Transfer the melody to manuscript paper using three staves - onefor melody, one for an improvised line and the third for the chord symbols.Ai; a starting point for improvisation. abandon the melody and play thearpeggios of the chords in eighth notes. Try to keep an uninterruptedquarter-note beat with the foot - no pedal.

Do not "set" the improvised ligures. Use the arpeggios both ascend­mg and descending as well as from the various inversion points (third,fifth and seventh). Respect the fingering shown on page 50 at alI times.

The following rules will be helpful in Bngering problems:

1. All inversion arpeggios beginning on a white note begin with thethumb.

2. AlI inversion arpeggios beginning on a black note begin with theindex finger (except Ebminor which begins with the thumb) andgo to the thumb on the first white note.

- r--,- - - - -_,'-'-'- I

~ I

,- !oj• .

- !"""'l- - ......,...,-,A I , """""1I ",..-r I

t ~ """-l. I "~I-- I.. I.. • - lA I I .

~t! • - - - -..L...J -:

"

Fig. 2 illustratesa drill using the arpeggios of the chords in eighth notes.

Fig. 1.plck-ep

bIIx 1/ I VI I II IVa / ill bIUx I II bili / I II /•III VI / II III / IV IVo / VI' billo I II V I bV. IV,X/

•III #VIo / ill' bVIla / VI bVIx I V IV / III U I I VI III IVo I III billx I II bIIx / I II I III VI / U ill /

•IV IVo / VI' bIIIo I II V I Vm bV / IV IVm /

III bIIrx I U bili I 1+' I 1+' 1/I COULD WRITE A BOOK-by Richard Rodgers and Lorenz Hart

© 1940 by Chappell & Co., Inc. © renewed.International copyright secured. All rights reserved.Used by permission.

Fig. 2.

AI

54

~. l'

-". 1

--

- -"

- ~ ~~ -A. ,.....,..1I

it! -:

AI I ...~ - -

:

A I •.....,.....,

r""T'-T-, - ....,..., ••I~ - ........... -......I 'I' F ~..".. ...-

"55

", .. ...1:.. -1«1 - - ~~ - .,

" 1 • -I • t

«I - - -.J I-- .-. "I-.

"I - - ........-- ,......,.." .-.......-.......r~1 I I ,........,.- I ..--""I -~ .,- . .,..-.. -- ..

DRILL: Study Fig. 2 and explorevarious eighth-notearpeggio lines onthe chords of Fig. 1. In the beginning, the student may writeout a line as a starting point.

LESSON 36.

Rhythmic Combinatioos-on Green DolphinStreet

Fig. I is a bass line for "Green Dolphin Street" in Eb. Transfer themelody to manuscript paper using three staves as in the previous lesson.Note the modulation to Gb major and the return to Eb,

(Eb) 1+6 I I 11m 11m I I~ I bIIM2 II I #10 I II I bIIx II I VI II

(Cb) II I bIIx I I #IV II (Eb) II bIIx I 1+6 I I 11m 11m I I~ I

(Eb) bIIM2 / I / #10 / II II2 / VII bVIlx / VI VIz I bV<bIVx I

(Eb) III bIIIx I II blIx I I I 1+6 /I

Fig.2 illustrates a drill using the arpeggios of the chords in eighth-notetriplets.

" II

¥ I , I r . . I

Ell

.

" L,.........

lei I L..J. - -..... ",,- r'~ Ell

~. r - It_ r -\

~-.

• ,- -.r- ..... I

Ell

" I - t M'"M- l I I " .... !

eI " .......... I EllEll Gb

,

~Eb

56

ON GREEN DOLPHIN STREET-Words by Ned Washington. Musk byBronislauKaper

C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975. All rights controlled and admin­istered by Leo Feist. Inc. a catalogue of CBS Songs.a Division of CBS, Inc.Used by permission.

57

• _~-:a,fll.. ...t::.~.~f'-~I • "f//!:...•

I I:JEll.

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

'" .,\' -, ." -. E".

......

.L ~h. ...-I -.fL._

- 'j-• Eb

.

-4_ _tl l!=_j,.-fL I

'" I -- .Ell

-.v~ G"

,-

• Ell

33 -f'1 I .-li '" ,• I - v_

E":

I I'" I I

Ii VI ~ - - ++~~

~~~I~ Ell

.

- ... . ,. !"""l1\ • .~ .J..

~r "-. I -~

~ E".

.~ ~ ..1. I I" I

.....~\~ ,. --~ -~ Ell

58 59

t'i I • ,... ~.~. ,...~~~:t!:.......-h. ,. ....~J!'f

[eJ -......Eb

t'i I - .--- -JltlL L -.A. & .....L

.il

~..,..

Eb

r::lCHORUSL!J '""'t'i .......... ~ ill I..

Po·''''''' 7/"'77 -

··

"a=~_.t..L ..J. ,LfII I il • .~ """

leJ ;I -;-Eb

,., ,..iIl • .~ I

:1: - •Gb.

t'i ::j!:. .J!::.b• t:~.11) .Eb

~

t'i •. 1'- ~_ • .f'- I :1!iI.f!:.

leJ -- ----Gb Eb.,

t'i ~~.. ::j!: .fL - .111) -- . ._--

Eb

.1 .L II tl . "-- --- I

.: -- GbEb

,.,.il4U_ .....- .* • • I

I~ • I' - .. .Eb

~ . L ... --.1.L I

._L"'"""-

• - - ,.~ Gb Eb

·'1

61

II •_. to.... - I. 11 f""'I

N¥)

I I I

EbCD

shake--II I _a~~ ~ ¥~ ...b_ ..L -I-.J I I

~ Eb

·

1\ I .11. ... ~_•• ,""..h.a__ ,..,...,..,~

I-.J ~I I ,.Eb

··

" I

. _ M""T"'I , JJ _"_h,...~

-"'iT I 'I I ... I I I

Cb Eb

.,

II I . - ... - . . ..i4V - .- " -. ,

Eb

·

" . I - _--::0. I ~ I

ItT I ..... r """-,

Eb.

II I ..l.. ...L.. 5

~b. . .

- ,J. I r -·

1\ I I "'_ ...--... •h_ .. -e:.-e:. -e:.L .i!>

[t I r ...Eb

II I-..jll:. ~ ... ... .- .... - ...

.I'"

r~ Eb

33I I I ~ - ,...,.- -ltJ 'v'# r:;::f-.;,r 11

jor...

Eb lti*'\.¥.

·62

DRILL: Stud)' Fig. 2 and explore the various eighth-note triplet arpeggiolines OIl the chords of Fig. 1. Write out the lines if necessary. 63

I I ....

LESSON 37.

Sixteenth-noteArpeggios

Nowthat we have investigateda line employingthe eighthnote (twonotes to a foot beat) and the eighth-notetriplet (three notes to a footbeat), we wiD.explore.in this chapter, the sixteenth-noteline (four notesto a foot beat).

Fig.1 is a bassline for "At LongLast Love.OJ in C. Transfer themelody to manuscript paper using three staves.

--

-

- - •

.. ....

Fig. 1.

pick-up •

bUx II 1+' I VII I VI I m- I IV I III bIlli I U I U I I• •

VII' / bU'"I U. I vn I U· I V" I 1+' I bIh:I 1+' I• •vn / VI I ill' I h VmI I JUo ill</>/ IV+' I IV /

•bW / U.' / m / hUh I U / bIh: / 1+' / 1+' /I

.r . ..

AT LONG LAST LOVE-by Cole PorterC 1937 by Chappell & Co" Inc, 0 renewed Assigned to John F. Wharton, Trustee ofthe Cole Porter Musical and Literary Property Trusts.International copyright secured, All rights reserved.Used by permission.

Fig. 2 illustratesa sixteenth-notedrill employingthearpeggiosof thechordsin Fig. 1.

..-

-Fig. 2.

-. ..-

- A. ..

--

•

64

-..

... ..I~ - - ... -

......

-65

.,

- - -- ...

--

-,-

...... "-4tJ -

."fIo • .". ..........

tI •

DRILL; Write out or play a sixteenth-note arpeggio line on Fig. 1.

LESSON 38.

Rhythmic Combinations

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

utmost importance in playing a jazz line. we will now consider combiningthe rhythms in Lessons 35, 36 and 37. Under no circumstances can theshift from one rhythm to another be allowedto disturb the quarter-notefoot beat.

Fig. 1 is a bass line for "'Sophisticated Lady," in Ab. Transfer themelody to manuscript paper using three staves. Note key changes.

Fig. 1.

J I II(Ab) IIllP lIP II I bVIIx Vb: bVIx V I I IVx I

(Ab) ~ VIIx I bVIIxI ~Ix I IIx I II blIx I I / #10 /(Ab) I1u, lIl' II I bV1Ix VIx bVIx V I I IVx I(Ab) Ix VIIx bVIIx VIx I IIx / II bIIx / I + 0 I (G) II</>bIIx I(G) I VI/II V / III bIIIx / II bIIx I I VI I II V I

I I /I I I II(G) I bV (Ab) III I II VII Ill</> b1IIx I lIlli' lIl' II I(Ab) bVIIx VIx bVIx V / I IVx I Ix VIh bVIIx VIx I(Ab) IIx I II bIIx / 1+ 0 I 1+- II-

-

I ,

-

--

-

-~

..-

66

SOPHISTICATED LADY-by Ellington, Mills, and Parisho 1933 by Mills Music. Q renewed. All rights reserved,Used by permission.

67

Fig. .2 illustrates a drill employing eighth note, eighth-note tripletsand sixteenth-note rhythms in various combinations.

Itl. _

_..3 ,.-, 1,. ,......,"

.........~ 8 - ..

~ -~

/ / / /

.....

/

--.,./ /

I

/-

-.........

/ ///

Fig. 2.

~ I I

!~ - ~...

- :I

... I.... ..... _ ... I

-,

3 3

1«1

... ./1. ...

68

/ / / / / / / /

All .(I.. I,...\. 1 I I • • .(1. I.•

14tl - - ...........- -/ / / / / / / /

II I

II I •

\rt - •

-

.-1._.

/

b...1 ~•.

- it

/ /

/ /

"'.1-/

/ /

LESSON 39.

Rhythmic Composites(ballad)

Now that we have some facility with abandoning the melody andusing the arpeggios of the chords. we may consider combining the noteand rest values studied in Lesson 34 into four-bar compositeswhich allowus to shift suddenly from one rhythm to another or introduce a rest valuewithout disturbing the foot beat Fig. 1 is a possible four-bar compositefor a slow tune:

Fig. 1.

nJrJ In

A I

-

This compositereads as follows:Thefirst line will apply to the first bar of a tune;Thesecond line to the second bar;The third line to the third bar;The fourth line to the fourth bar.

Then we start over again:The first line to the fifth bar;The second line to the sixth bar; and so on until the end of the tune.

DRILL: Write or play a line on the chords of Fig. 1 using eighth note.eighth-note triplets and sixteenth note rhythms. Keepan unin-

70 terrupted quarter-note foot beat when playing. 71

1\ II

Fig. 2 is a bassline£or~ Got It Bad."in G.

Fig. 2-4 _ _ __

I II I III VI IIIx VP I IVo #IV4> III n, I bVIIx VIx bVIx V I

41+6 tIo I II bIh II II / III VI I I1x VI3 IIVo #IV4> I II n, I

bVlIx vIx bVIx V I F6 VI bVi I Vm bV / IV+6 I IV+6 I IVm+6 I4

bVIIx I I IV I III bIIIx / II I VSl3I I II / III VI I I1x VP /

IVo tIV4> I II n, I bVIIxVix bvlx V/1+ 6 I 1+6 /I

I GOT IT BAD AND THAT AlNT GOOD-by Paul Francis Webster andDuke Ellington

e" 1941, renewed 1960 Robbins Music Corporanon. All rights administered by CBSSongll\ a Division, of CBS, Inc. All rights reserved.Used oy penmssron,

H we apply our composite to the arpeggios of Fig. 2, we derive theIoDowingdrill

.......-- -

" III '- .,<111,_ l::!'""I ---.. • I, ~ ;;--

IIIi - c::ii-'

.

{

1\ Il l"-!!l .... .. ... .fl. .. .fL........ ..WtI ~ - ;;;iIiiI

.

, jI .... I - _.fI'./t- of'!-..... ~ ~

t .. - iiiilIoIl -:

1\ II .. - - - ~ A

t -liiiiiiiiIi;- - - 1'* CiiiiiiiIiiiiii ,

72

1\ II • .ft. LJ.... ---.v liiiiIiiiiiIiil - ....... •

" 11 -._- - ......,a,. •

.tI - ;::;::;Iii -

73

1\ u • . .-..-. - -.v Iiiil- =- 1..-=- -l:l.J

DRILL: Transfer themelody to manuscript paper using threestaves: onefor melody; one for the student's improvisation; one for the bassline. Using Fig. 3 as a model, the student should write out, ifnecessary.an improvisation using the composite and the ar­peggiosof the bass line in Fig. 2.

LESSON 40. Fag.2.

Fig. 1.

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

1+11 #1 I I #10 I II V / III bIlla / II V / Vm Ix I IV "Vllx I

IIIx VIx I1x V / 1+6 bVIlx / YI+6 bY</>Vilx / I1Ix Vix / IIx V I

I bVIlx / Vj+6 bY</>vtr, / IIIx VIx /IIx V / III blIIx II Hix /

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

1+6 1/

YOU TOOK ADVANTAGE OF ME-Lyrics by Lorenz Hart, Music by Richard Rodgers© 1928 (renewed) Warner Bros. Inc. All rights reserved.Used by permission.

If we apply the compositeto the arpeggiosof Fig. 1. we derive thefollowingdrill.

RhythmicComposite(up-tempo)

In the quickertempos in jazz. the composite usually becomes moresimple in order to avoid a cluttered sound and to insure a strong pulse.

J

. I

•

74

The fonowing is a possible up-tempo composite:

rri-.

rrn j>, n

Fig.! is a bassline for "You Took Advantage of Me," in Eb.

1\ • .:~ J....L I I - • J

1\ • . ..... I

l.v ..... • - "~

75

" .~

'"'--I-tJ '" , •

11 . l ... • .I -., -

·

~ . - ., - . ,.

·

" """" - . ...IlJ -~

·

" I _11 I .- .... I --IlJ~

·

" , ..- ~_ .fL _.

~ ....- -f

76

" . . ...... - -., I - ....,~

" • - •I f ..... -.

As in Lesson39.the student shouldthoroughlyanalyzethe useof restvalues and arpeggiosin Fig. 2. Simplyto play over these specimensis oflittle value. When playing these examples,try to keep a steady quarter­note foot beat. Aboveall, do not use any pedal

DRILL: Transferthemelodyto manuscriptpaperusingthreestaves:onefor melody;one for the student's improvisation;and one for thebassline. UsingFig.2 as a model, the student shouldwrite out•if necessary.an improvisationon the bass line in Fig. L

77

SECTION VI

LESSON 41.Modes

If we play the scale-tone chords in C and play the C major scale fromroot to root of each chord (Fig. 1), we are playing the various modes ofthe scale of C. A mode is a displtu:edscaleplayedfrom root to Tootofthe chorcL

These modes built on the twelve major scales represent one of themost important elements of jazz improvisation. They are highlyeffectivein building a hortsontal "blowing" line so long as the harmonic line movesin the normal scale-tone chords without alteration or chromatic adjust­menl Since the previous lessons have made it evident that even thesimplest tune utilizes altered and chromatic chords. this simple modalsystem must be expanded to meet the requirements of a sixty chord system.The next six lessons will deal with this problem. In preparation for thesechapters, the student is strongly advised to play the scale-tone chordsintwelve keys with accompanying modes in the right handas in Figs. Sand 4.

Fig. 5 is a bass line for "SpeaklDw," in F. Transfer the melody tomanuscript paper noting key changes. On the lettered scale-tone chords,abandon the melody and play the required mode of the prevailing keyscale. Letters over each chord indicate the mode to be played witheach chord.

Thefollowingchart illustrates the symbolkeyfor each mode:

Ionian -10 Mixolydian - MDorian - D Aeolian - APhrygian- P Locrian - LOLydian-LY

LESSON 42.

TheMajor Scale

IonianLydian

1 • 14 • 4

IIV

The major chord in any key appears on I and IV.

CHOBD DISPLACEMENT MODE

In determining which of these two modes to choose, the decidingfactor must bethe relative strength of these two major positions in diatonicharmony. On the basis of this, there can be no doubt of the overwhelmingfeeling of I when hearing a major chord. For thisreason, themajor chordtakes theIonian mode (1 • 1) except in cases where the bassline gives astrong feeling of IV, e.g. I n / III IV / V I I (seeFig, 1).DorF MofF DofF MorF DofF MofF seenote

~Io II II I V I II I V I II I V I Vm I Ix II

Fig. 5.

(F)

DofAb MorAl> DofAb MorAD PofF AofF DofF MofF 10ofF(Ab) II I V I II I V II (F) III VI I II V I 1+6 I

(F)Don' MorF DofF MofF DorF MofF

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

DofF MorF DorF MorF DofF MofF(F) II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I

D of Eb 0 of Eit see "ote 10ofEb 10of Eb see note M of F(Eb) II / II / bVIIx / bVIIx I I f I 1/ (F) bVIx I V /

DofAb MofA. DofAb MofAb PofF AofF DofFMofF 100fF loofF(Ab) II I V I II I V II (F) III VI I II V I )+6 I )+6 II

SPEAK LOW-bv Kurt Weill andOgden NashQ 1943 by Chappell & Co., Inc. Q renewed, assigned to Chappell & Co., Inc. andHampshire House Publishing Corp,International copyright secured. All rights reserved.Used by permission.

Fig. 1.

~ i • • • • ! • •i • • ; i • •• • • •... • • •

I U m

~LydJan •• 7 • • ; I• • ! • !• ! •• • • • • •• •...•IV V 1

PofF AorF DofF """noll! 10 ofF 10ofF1I7

III / VI I II I V1I5 I 1+6 I 1'6 II(F)

NOTE: Chords such as II, V or I are considered primaryfuru:tions,since theybelongto the key; chords such as Vm or Ix are considered 8eC0nd4ryjunctWm,since the root remains in the original key but the third, fifthor seventh have beenaltered; finally, chords such as bVIIxor bVIxareconsidered tertiary junctions, since not only has the chord been al­tered but alsochromatically raised or lowered from the original key.

Here the use of the Ionian mode of the scaleof F on the IV chordwould destroy the feeling of C major running through the entire basslineand the Lydian mode (4 • 4) should be used. Except in cases of thissort, the Ionian mode is employed on all major chords.

80

=7NOTE: y;:s is !ctually a major-augmented seventh chord; the symbol would

read VM. 81

Fig. 2 illustrates the twelve major chords with accompanying Ionianmodes, to be played both ascending and descending.

Fig. 2.

Fig. 3.

(Eb)

(Eb)

(Eb)

(Au)

(Eb)

(Eb)

1+' VI I II b1Ix I 1+' VI I hVllx I II val I1+' #1 I 1+' VI I II bUx I 1+' VI I bVlli /II VII / 1+- I (G) II IVo I ill bIlli / II pili / I III IVo I ill bIlIx I II blIx I I bVIx I

1+' VI I II hili / 1+' VI I bVIh I II V" III I I

1+' VI I bV+ili hili / I /I

eM DMMOONLIGHT IN VERMONT~by John Blackburn and Karl Suessdorf

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

I

r l'LESSON 43.

The Dominant Scale

EM Thedominantchordin anykeyappearsonVonly.

CHORD

VD1SPLA~

5 • 5MODE

Mixolydian

Since the dominantchord only occurs at the positionof V, there canbe no doubt concerningthe accompanyingmode. The dominant alwaystakes the Mixolydianmode.

Dominantchordson other than V (II&, bVh, etc.) are consideredatemIJOraryV of some other key. Thus. in the keyof c:

RULE: The ma/Of"chord is a I or the temporary1 of a new keyandtakes the 8C6kof that key from root to root.

83

CHORD SPELUNG SeALSOR KEY DISPLACEMENT

Ix Temporary V F C·cili TemporaI)' V G D-D

IIIx Temporary V A E-E

IVx TemporaI)'V Bb F-F

V NaturalV C G·G

VIx TemporaI)' V D A-AVili TemporaryV E B-B

bIh TemporaryV Cb Db - Db

In jazz harmony, these temporary dominants seldom resolve to theirnatural majors [i.e., in the key of C-I1I bIlIx II bIIx I is a normalpattern; the bUIx (Ebx) does not go to AbM, the bIlx (Dbx) does not goto GbMJ. However, at the moment they are played, they imply the V ofa new key.

BM

Fig. 3 is a bass line for "Moonlightin Vermont." Transfer the melodyto manuscriptpaper fonowingthe key signaturesindicated by the letters.Abandonthe melody and play the appropriatemode on each majorchord.Major+-chords followthe same rule as normal major chords.

'II

82

Fig. 1.

Fig. 1 illustrates the twelve dominant chords with accompanyingMixolydian modes, to be played both ascending and descending.

Fig. 2 is a bass line for "It Could Happen to You" in G major.Transfer the melody to manuscript paper; abandon the melody and playdominant scales on all dominant chords as indicated in Symbolkey. (X 1l3

also employs the normal dominant scale.)

Cx (Vol F)

Ebx(VolA')

Dh(VofG')

Ex (VolA)

Dx{VofG)

Fx (Vomp)

Fig. 2.

MofA M ofB 1<1"fE.(G) I I 1114>VIx / II / bV4>/ VIIx IlII bfllx I II 112 I

M ofB, M of A M ,!f8b(G) bVIIx / VIx / II I II2 I VIIm / bVIIx I Vp1l7 VIlt7 I

M nfC ~I ,!fA(G) VI bIllo I II III I IV V I I I III4,l Vix I II I

MofB MofEb MofBI> MolA(G) bV4,l VIIK / III bllIx / II II2 / bVIIx I Vix I II III I

MofBb MofF MorA MofG(G) IVb3 bVIIK I I IVx I III4,l VIx I II III I IVm V I

(G) 1+6 / 1+6 1/

IT COULDRAPPENTO YOU- by JohnnyBurkeand JimmyVanHeusen© 1944FamousMusicCorp.. New York,N.Y.

LESSON 44.

The Minor Scale

The minorchordin any key appearson II. III andVI.

F#x(vom) Ox (VofC)

-

Abx (VoIDP) CHOJIDIIillVI

1>IsPLAmmNT2 • 23 • 36 • 6

MODE

DorianPhrygianAeolian

RULE: The dominantchordis a V or the temporaryV of a new keyandtakes the scaleof that keyfrom root to root.

Bx (VolE)

84

I-

Ax (VoID)

(,++ ."l

-.,..In a chord series with a strong key feeling.

I· VI - II· V - I (Fig. 1)or

II - ill. IV - V - VI - II- V -I (Fig. 2)the three modes are used in their respective positions. There is never aquestion concerning the II chord since it belongs to a primary functionof any key - II - V - lorn - bIIx • L Therefore.n always takes theDorian mode (2 - 2).

85

--"" Aeolian of C~E

VJ

-Mixolydian of C

:a:

v

--

..

III and VI on the other hand, can easily be dislodged from a keycenter and therefore must be treated with more care. In such cases, IIIor VI become temporary II's of a new key and take the Dorian mode ofthat key.

Fig. 3 illustrates examples of III or VI becoming the temporary II ofa new key.

Fig.3.

" -~ -

~ ..... - ~ .. ,-Ionian of C Lydian ofC Mixolydian of E

Dorian of D

(temporary II)

... #: .a.

I rI IV VIIx m

- -

.. + Dorian ofEb Mixolydian of Eb Dorian of D Mixolydian of D Dorian of G

(temporary II) (temporary II)

86

In

~

Aeolian ole

IVI

I

m.. -

Dorian of e

I

n

­Lydian of C

#:

IV

..Mixolydian of e

'it:

v

-Mixolydian of eit

v

"

II

IVm VlIx m Vb: VI

All other minor chords (IVm. VIIm, hlII) are also treated as a tem-poraryII of a new key. Thus, in the key of C:

SCALECHoRD SPELLING OR KEY DISPLACEMENTIm Temporary II Bb e-cII Natural II C D-DIII Natural III C E-EIII-when keycenter Temporary II D E-E

is weakenedIVm Temporary II Eb F-FVm Temporary II F G-GVI Natural VI C A-AVI-when key center Temporary II G A-A

is weakenedVUm Temporary II A B-BbIll Temporary II Db Eb· EbbII Temporary II B C#- C#

87

Except III and VI which usually take the Phrygian and Aeolianmodes.respectively, all minor chords take the Dorianmode(2 - .2).

Where there is a strong diatonic feeling of the prevailing key, as inFig. I and Fig. 2, the III chord takes the Phrygian mode and the VIchord takes the Aeolian mode.

When the prevailing key feeling is dislodged, as in Fig. 3, the IIIbecomes a II of a new key and so also with the VI chord.

In jazz harmony, temporary U chords of other keys sometimes re­

solve to their natural dominants (V),but regardless of their resolution, atthe moment they are played, they imply the II of a new key.

Actually the responsibility should rest with the student in decidingthe particular «status" of the III or VI chord. The following rule, how­ever, is a general guide to the use of the minor scale:

F#m (lIofE)

-

Gm (DofF)

-G#m (Dorfi$>

-

Fig. 5 is a bass line for «Little Girl Blue" in the key of F. Transferthe melody to manuscript paper; abandon the melody and play minorscales on all minor chords. The letters appearing over these chords indi­cate the signature to be played from root to root of the chord. For exam­ple: in bar I, the F over VI means play the F scale from D to D; in bar4,the Bb over Vm means play the Bb scale from C to C.

RULE: The minor chord is a II or the temporary II of a new key andtakes the scaleof that keyfrom root to root. The exceptionsareIII and VI, which nornudly take the Phrygian and Aeolianmodes, respectively, when preceded by primaryfunctions. Ifpreceded by secondaru or tertiary functions, both the III andVI c1wrdsbecame temporary II chordsof another key.

Am (fiofG) Bbm(Dof.M) Bm (DotA)

Fig. 4 illustrates the twelve minor chords with their accompanyingDorian modes, to be played ascending and descending, Fig. 5

bIb / p6 i:;I /-f+6

D DVUm IIIx / VUm

FI II blIx I 1+6 / 1+6 IIPoi

VP bIllo

Fe F FlIS III II

FIII IV /

F F F B~ Ab1+6 VI/II bIIx / 1+6 VI / Vm bV / IV IV+6 / IVm bVIIx /

c F F. Fe F F 6 b /IIIX1l5 VI/I! IJI IY :aY4>/ V sv / lIS III II bIll( / 1+ IlIo

F F F F Bo IV+6 /II bUM I 1+6 VI I II bIIx / JTe VI / Vm bY / IV

I~m bVIIx / IIIx1l5 -SI / II IIr IV+6 i:+IVI/>/ V bV IF F F

V! bV!" / V I II bIIx / I II /c

bVIIx / VI VI/> I bVq, IVo I

Dm (DotC)C#m (DotS)Cm (DotBD)

88Ebm (UoIDb) Em (fiofO) Fm (fiofEb)

UTILE GIRL BLUE-by Richard Rodgers and Lorenz Harte 1935 T.S·. Hanns Co. C;.renewed % The Welk MUSIC Group.International oopyright secured. All rights reserved.Used by permission.

*NOTE: The prevailing key (F) has been reinstated despite the preceding sec­ondaryfunction in order to prepare for the final closing. 89

LESSON 45.

The Half-diminisbedScale

ThehaIf-diminishedchord in any key appears On VII only.

RULE: TM Iuilf-diminkhedchord is 4 VII or the t6mporaty va of1&

new lcegtmd takBa,he .aUeof that keyfrom rootto root.

QroM

VIIDISPLACEMENT

7 - 7MODE

Locrian

C~(VUOfD) DfS(VUofEb)

Since the half-diminishedchord occurs only at the position of VII,there can be no doubt concerning the accompanying mode. The half­diminishedchord alwaystakes the Locrian mode (7 - 7).

Half-diminishedchords On other than VII (III</>.bV</>,etc.) are COn­sidereda temporaryVUof someother key. Thus, in the key of C:

ScALE:CHoM SPELLING ORK'EY DISPLACEMENT

14> Temporary VII Db c-cII.p Temporary VII Eb D-DIII4> Temporary VII F E-EIV4> Temporary VII Gb F-FV4> Temporary VII Ab G-GVI</> Temporary VII Bb A-AVII Natural VII C B-BbIlI.p Temporary VII E D#- D#

D ~(WofE) Ell (WofF)

90

In jazz harmony, the temporary half-diminished chord seldom, ifever, reaches its natural resolution, but at the moment it is played itimplies the VII of a new key. Fig. I illustrates the twelve half-dimin­ished chords with accompanying Locrian modes, to be played ascendingand descending.

Ff,s(VUofG) G~ (VUofAP) Gf,s (VnofA)

A I .# »_ ,._B. -~ - .... ......

-,All (VUofBP) A#~ (VUofB) a,s(VDofC)

91

L ESSON 46,

Fig. 2. "Don't Blame Me."

93

2 1 2 3 1 23 4

Bo

2 123 12123

B'o

This is an artificialscalesince the same letter, In any form (Ab • A),C3Jlllolappear twice In an authentic scale,

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

12 12 312 34

Fig. 2 illustrates the twe lve dimin ished chords with accompanying",. l<s, to he p layed ascending and desce nding. The fingerin gs are a~i1ggl.-'StiOll for the stude nt

Co cjj o Do

1 2 3 4 1 2 3 4 5

2 1 2 3 1 2 I 2 3 2 I 2 3 I 2 3 4

eo

E~o Eo Fo

2 3 1 2 3 1 2 3 4 1 2 3 1 2 3 1 2 3 2 3 1 2 3 1 2 3 4

ADor 02 12 12 121

CI

Co scale

Ab A B2 1 2

Co

F Gb2 1

D Eb2 1

Since this scale has no relation to any tonality, we spell it by indicat­ing the intervals as follows:

Minor second - 1Major second - 2

Thus, in Fig. I, the semitone combination is:

Fig. 2 is a bass line for "Don't Blame Me." Transfer the melody tomanuscript paper. Abandon the melody and play appropriate half-dimin­ished scales for each half-diminished chord.

The Diminished Scale

DON'T BLAMEME- Words by Dorothy Fields, Music by Jimmy McHugh. Copyright 1933 Metro-Coldwyn Mayer Ccrp., New York

Copyright assigned 1933 to ROBBINS MUSIC CORP" 799Seventh Ave., New York, N. Y.for United States and Canada

Used by permission.

I IVm I III bIII, I II bU, I I VI I II~ bU, I III~ bIll, IbW IW I III bIll, II bIb I I IVm I III bUb I II bIb II VI I II~ bIb I III~ bIll, I II V" I 1+ ' bV I IV II Ivu III, I vu bVII, I VI" VI I Ib #Vo I VI II, I II bIII IU bU, I I IVm I III bUb I II bII, I I VI I II~ bII, IIII~ bUb I II V" I }+ ' II

co

Fig. 1.

The diminished chord has no "natural" positiou in any key, We havelearned to employ the diminished chord at any point in a key, but at nopoint does .it infer any tonality.

An arbitrary scale is employed for the diminished chord which utilizesall the tones of the chord in addition to a series of chromatic or auxiliarytones. Fig. 1 iIluslrates the C diminished chord with its diminished scale.

92

~ I

~ - ... ., .... -..-• !.nono bo

tI.

lei ....... 1"; V" •

~ 3 1 2 3 1 2 3I~ I L-e-

·

Fig. 3 is a bass line for "Birth of the Blues." Transfer the melodytomanuscript paper. Abandon the melody and play diminished scalesonaUdiminishedchords.

Fig. 8.

pl<:l<-

bUx II I #10 I II #IIo I III IIIx#· I IV #lVo I V IV III bIll III bIIx I I +. VI I n bIIx I I #10 I n #flOI III IIIx" IIV #IVo I V IV III bIll I II bIIx I 1+' #1 I 1+' IVx IfiJI: VII I UIx VII I nIx IVx I llIx I III Vh I III Vh IVI IIx I II bIIx I I #10 I n #IIo I III IIIx#1 I IV #lVolV IV III bIII I II b1Ix I I +. I I +I /I

Fig. 1.

CM ex Cm

" I 1 I I

~ v- ." .... n- ,.lI*'''

,.

L~~

A··

TIlE BIRTH OF THE BLUES-Lyrics by B.G. DeSylva and Lew Brown, Music byRayHenderson

Q 1926 (renewed) Warner Bros. Inc. All lights reserved,Used by permission.Reproduced by permission (in the U.K.)of Redwood Music LtdJChappell Music.

Co ObM

Dbx C#m

LESSON 47.

ft I I I I I I I

lei ~TI .. ,. .. ..

I 2 3 1 2 3 4I.n .tat- ..hft.

·C#o OM Ox

95Ebm

00O.p

Ebx

Om

EbM

ft I

jlI I I ! I. I

eI • i 2 3 1 2 3 1 2 3

-e- ldl- ..n

" I 1 I I, I r I I I I. I ! r I I I I I I, I

eI

hlba-~

I.A- 1hbA-·

{We have now completed the scales for the sixty chords. The im­portance of these scalescannot be overstated in building the material forjazz improvisation. Fig. 1 illustrates a highly recommended drill basedon the fivequalitiesof each tone. These scalesor modesshould be prac­ticed ascendingand descendinguntil they are completelyautomatic.

The student is alsoadvised to return to the previous chapters andexplore these scalesin the varioustunes abandoning the melody.

The student is advised to follow the general fingering rules for themajor scales when playing the M, x, m and 4>modes. Suggested finger­ings have been added to the diminished seales since they represent anunfamiliar series of whole and half steps.

The SixtyScales

94

Bbx

Abm

Go

)1 1 I

Ilta

23123123

I

GM

1ft:

I L h_

121231234

Gbx

fJ. u -- 11 __, .-

...,

~ Am

~ I 11- It.... , _lJ.a. b.~

t I

I

·Ao BbM

fJ. t ...b- l,_b.- l..-b.-

.., I

·AbM Abx

f\ £LIf. ~ JJ M.-_

- ~II t

•

·ffG# Abo

" . •I 2 3 1 .2,3,1

1123. -

.., I

• 1..& 1Jzft: ~bli"·

Gm G

Fo

Fx

EM

3 1

F~x

F4>

FM

Em

Ebo

.2 1..

Fm

Eo

Ex

" 11.2 .2 3 1 .2 ~lJ4 , l.....

i TIl 1 T TIl I I 11

:D: I~ h.1dl:.

\ , , 1 .2 3 4 1 .2 3 4 5

, II

LIi" I\,t.li" ILl?eo-.

'I T I I Tl I I I I I I I I I I I r 11 I

II I'-p

dt: .a- kA-.

• I I I I I I -, -,

~ iT'.2 1 .2 3 1 .2 3 4 I II T T I I "1 1

• ~ 1# ~.

F#o GbM

9697

Fig. 3.

BboAf+oBbm

.b.ba. ~,ti. 2 123121 2b 3l I LI 11 _ ... i1.j11.

~~

l •LI .t 1.1 • L1 ..... +-f'- u , 1+• ..,...fIL

41~

IJ. - ...

Fig. 4.

Fig. 7.

(Fig. 5)(Fig. 6)(Fig. 7)

dominant scalewhole tone scalewhole tone scale

Fig. 6.

DOMINANT CHORD:

Xl"

xl.

xbl

Fig. 5.

Bx Bm

121231234BM

1\ _ ... .fI- 11 ... --it-

t)

I.

LESSON 48.

Bo

99

Fig. 11.

(Fig. 8)(Fig. 9)(Fig. 10)

minor scaleminor scale with #7minor scale

Fig. 10.

MINOR CHORD:

m U T

mlf

m+'

RULE: In inversions. the scale is the same as in root position exceptthat it is played from the bottom note of the inversion (Fig. 11).

Fig. 9.(Fig. 2)(Fig. 3)

(Fig. 4)

major scale with #5major scale with b5major scale with #5

Scale and Arpeggio Alteration

The followingrule describes the use of scales in altered chords:MAIOR CHORD:

MSl

MbS

lISMS"

Fig. 2.

The arpeggio of an altered chord simply follows the alteration.

Fig. 1. .it. ..

~I •~.

~ ...

98

To avoid this, in Fig. 2, the fourth step is removedand the tone row1235 Is used (12 S 5 is alwayscounted from the root of the chord).

Fig. 12 is a bass line for "Like Someone in Love" in the key of C.Transfer the melody to manuscript paper. Abandon the melody and playappropriate scales for the inversions. Letters over Roman numerals indi­cate the signature to be played from root to root (root position) or bass

cnote to bass note (inversion). Thus in bar I, 12 indicates the scale of C

C4from B to B; in bar 3, VIP indicates the scale of C from F to F.

Fig. 2.

I VI II v

vIIx1m

Fig. 3 illustratesthe scale fragmentson 5 4 31 (reverse of 1 2 S 5).

Fig. S.

Fig. 5 illustrates the scale fragmentson 7 6 5 S.

Fig. 50

Fig. .( illustratesthe scale fragmentson 3 4 5 7.

Fig. 4.

F

bIIx I I VI / Vm bV / IV+· IV. I

bV I (C) IIx #lIo / III bIIIx / II b1Ix /A

(A) II. VIla I I

(C) 1+' I 1+' II

Ell-(C) II lI<I.a / V

A. A. G:f G(A) I I. / VI VI. I (C) VI VP1. I VI. bIll o I II I

UKE SOMEONE IN LOVE-by Burke and Van Heusen© 1944 by Burke & Van Heusen, Inc, © renewed and assigned to Bourne Co. &Dorsev Bros. Music, Inc.Used by permission.

c c c. c_(C) bIIx I I I. / VI VI. I IIx" VIP / III bIIIx I

c c c, c. E.-(C) I I. I VI VIz / ne- VII" I III blIIx I II II</>3 I

F A

(C) V bIIx I I VI I Vm bV I IV+' IV. I (A) II. VIIo I

Fig. 12. "Like Someonein Love."

LESSON 49.

Eighth-noleSca1es-ScaleFragments

100

In Lesson33, we movedto the primary step in improvisingby aban­doning the melody and playing eighth-notearpeggioson the chords. Wewillnow repeat this primarystep with eighth-notescales.

Fig. 1 illustrates the use of an eighth-notescale line. In playing Fig.I, the student will notice the harshsound (particularly on theM and x)of the scalefragment ending on thefourthnote of the scale or the mode.

Fig. 1.

v

Fig. 6 illustratesthe scale fragmentson 5 6 7 2.

Fig. 6.

~~ • ~o no v

~ mgmeutligures for the diminished scale are not the same since the diminlshedscale consists of eight tones rather than the usual seven. The fragment ligures fca:thediminisbed scaleare lllI follows:

1 JIll 5 - S 4 II 1 ( ..... ne)8457 - '1653 11.--<1S071 - 18'13 (t.,,,,,,.) 101

"".~ .It -1

«J - - 1 ~I-.,

;

RE\'ERSE

543 1765 32 1 1 5

Fig. 7 illustrates thescale fragments on 2 1 7 5; and 1 8 7 5 (dimin­ished).

Fig. 1.

~~lIS V1o(18'15) no(18'15) V

All of these fragments are of the utmost importance in using scalelines; theability to pick up any scale fragment for any chord is an absolute

prerequisite for improvising facility.

Fig. 9.

Fig. 9 illustrates a drill on Fig. 8 using the various fragments.

FRAGMENTCHARTFRAGMENT

1 2353 4575 6 7 2

102

Inversions take the scale of the root position chord from bass note tobass note of the inversion. See below.

~ ii\O»Ie ~VIlm Vllm~ VIlm~ VIlm2

Dorian L di Aeolian IonianfAY tano of A of A of A

~3BVIlmDorian of A

Fig. 8 is a bass line for "Blue Moon," in the key of E. Transfer themelody to manuscript paper noting key changes, using three staves as inprevious lessons. Playor write out a line using eighth-note scale fragments

of the chords.

Fig.8.

(E)"bili // I VI/II bIIx I I VI I II IIp I III VI I(E) II VS I / 1+ 8 bIlla / II bIIx / I VI/II bIIx /

(E) I VI / II II.p / III VI / II VII / 1+ 8 #1 I I VI /

(E) II bIIx / 1+' VI/II bIIx / 1+' VI I (G) II bIb /

(G) I VI / (E) VIIm III VI I1x:/ II hili / I VI / II hili I(E) I VI / II I1.p I III VI/II VI I / I H / I +" /1

BLUE MOON-by Lorenz Hart and Richard Rodgers10 1934, renewed 1962 Metro-Coldwyn-Mayer Inc. All rights administered and con­trolled by Robbins Music, a catalogue of CBS Songs, a Division of CBS, Inc. Allrights reserved.Used by permission.

"",,,JJ# - -«J - - Phrygian Aeolian

" .. ,It - - II. ...- -~T

«J --..... - -.,

:

""",,It • • 1.... 1. .1

e} - - - .. -:

"" Ii ~ - -

e} - - - -Phrygian

.

103

- - - -A .. ~ I • •

tI . - - "1

:

II .. il- I -- r- I L ..., I -- - -

.<

A .. .1 - - .. It.. I""""" I I r--r

eJ - - -- -- Aeolian

1tJJ. it I • .. , Itt-

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

LESSON 50.

Eighth-note Triplet Scale Fragments

Fig. 1 is a bassline for fiCabin in the Sky," in the key of G. Theeighth-note triplet line should be considered here. This means three notesto a heat or six notes to each half-note chord. Transfer the melody tomanuscript paper using three staves. Note key change. Write out or playa line using eighth-note triplet scalefragments on the bass line in Fig. 1with a quarter-note footbeat.

Fig. L

(G) I #I</>I II #IIo I III</>I hIIh / IIuf IIs' /

(G) II IVo / III hUh I II hIh / I #1+ I II #110 /

(G) III</>I bIIIxI II U , Us' / II bili / 1+· #1/ I +. IV /

(G) VItm bVIh I VI+' bV",/ (E) II bIlx I I I (G) VIIS1 VIs 1 I

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

(G) bUh I UUf n« I II bIlx I 1+' / 1+' /1

CABIN IN THE SKY-by John Latouche and Vernon DukeC 1940, renewed 1968 Miller Music Corp. All rights administered by CBS Songs, aDivision of CBS, Inc. All rights reserved .Used by permission,

Fig. 2 illustrates a drill using scale fragments in eighth-note triplets.- - - ....~llo it II I

• - I I- Phrygian.. -.

104

- - - ."JJ~ .. -- -t - -

:

DRILL: Explore the various scale fragments on the bassline in Fig. 8.Keep a steady quarter-note foot beat.

-

105

..-....-

..

4V _- ---,

-

-............. ---- - -iJ -

.- -

I •

-Pbrygian

.... .f/L .... •

- --..

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

-Lydian

......Phrygian

-I. .. .. I L • b...-• 1._ I I

- -•

- - --I

-.

-_ ......

Lydian

106 107

--

Dorian

-Aeolian

..-

-

~..- -~

-•

...

LESSONSl.

Sixteenth-noteScaleFragments

Fig. 1 is a bass linelor "Dancingon the Ceiling."in the key of F.Transferthemelodyto manuscriptpaper using three staves.

-• l J I .Ii .1. .. l.• .f •

- - --Phryglan

.. I I

..

.b. .1 t

...... • 1 I

-

-

-l J". • ~.

---

"(~

DAl'\CING ON THE CEILH\'G-Lyrics by Lorenz Hart, Music by Richard Rodgers() 1930 (renewed) Warner Bros. Inc. All rights reserved.Used by permissicn,

•III bIIIx I II blIx / I +. #1 / I II / VI' IIIx I - I

IV+' VIIx J III pUI I II lVo / III b1IIxI II bIIx I

I +- VI I II III I IV+' bVlIx / I II /- III VI I bW,I

•I U I VI' IIIx" I IV+' VlIx I III bIU I II IVo I

Fig. 1.

•IV +- IVm I III bIIIx / U bIIx / I II / VI' IIIx I- I IV +. VIIx /

UI bIIIx / DU' II=' / II bUx I 1+' I 1+0 /I

Fig. 2 illustratesa drill usingscale fragmentsin sixteenthnotes.Sincea hall-notechordpermitsthe use of eight sixteenthnotesin the right hand,it is possibleto play the entire scale.

1\ ._.~ ....

LydIan -Dorian --

• f

-108

DRILL: Write or playa sixteenth-notescaleline on the chords in Fig. 1.keepinga steady quarter-noteloot beat

109

, ,

Phrygian

L \'. h.

--

-

..-

-

,., ....Lydian ~

-~

Dorian

. I

,., • __ ...... .... ..... .. .. .fl.....

I ltILydian -

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

, t!J

Phrygian

.. -

Aeolian

....- - -

-- I

-Ionian - LESSON 52.

II

110

I I - - - -Rhythmic Combinations

As in Lesson 38, when treating arpeggios, we will now proceed tocombine the rhythm values using the scales as a framework.

Fig. I is a bass line for "Round Midnight," in the key of Epminor.Transfer the melody to manuscript paper using three staves and notingkey changes.

1Il

Fig. I

(Cb) VI Viz / bVo ViI bVIIx / VI Ilx / IVm bVllx IiI Vix /

(Cb) II V / I Ilx' s / bV¢ VIIx / IIIx bVIIx / VI VIz /

(Cb) bVo vn bvIIx / VI IIx / rVm bVIIx III vIx / II V / I IIxb5 II

(Eb) VI</>lix Vll 3 blIx /1+ 6 / VI¢; IIx / V bflx / VI¢; IIx / V Ix II

(Cb) II 112 vn IiIx / bV¢; VIIx IiI vix I Ii V 1m IVx I

(Cb) bvilm bIlIx VII bVIIx I vi vii! / bVa vII bvIlx I VI I1x I

(Cb) IVm svn, III VIx I II V I I IIxb5 II (Eb) vi« Iix V::3 bIrx /

II I •

--.

...

-;,

.- -

(Eb) 1+6 II

"ROUND MIDNIGHT-Lyrics by Bernie Hanighen, Music by Cootie Williams andThelonious Monk

C 1944(renewed) Warner Bros. Inc. All rights reservedUsed by permisslon.

/ / / /

Fig. 2 illustrates a drill employing eighth-note, eighth-note triplet andsixteenth-note values. II I •

Fig. 2­

AI

IlV -

- - - - IllV/ / / /

/ / / /

A I ..... ... - ... ..........AI

/ /

~. l. l. '.

/ /

..

112

A I. I.. ... ...-

• .... -IL A , 1-.... •

/ / /

---z-- 3

/

...

113

A I h ..

-.r - - -" I • -.. -

-

Itl ·il-~J

II I

- 3 -:I

/ / /

J

/

--.

,. .,./ /

AI 1:- .fL .fI- .... ... • 101. - 1...

4J ..~

/ / / /

y

" I • - -" ----~ .-/ / / / /

-

J

-"' .,.,.

/

DRILL: Write out or playa scale line On Fig. 1 using eighth-note, eighth­note triplet and sixteenth-note values.

LESSON 53.

Rhythmic Composite (ballad)

Justas we abandoned the melodyin Lessons 30 and 40 and appliedthe arpeggios to a rhythmic composite, we will now apply the scales ofthe chords using the same process.

Fig. 1 is a rhythmic composite £ora ballad.

AI

I tI

3

/

3

/

-

/

-

---/

I

Fig. 1.

114

/ / / /

115

A - - .... .Fig. 2 is a bass line for "Have You Met Miss Jones?" in the key ofF. Transfer the melody to manuscript paper using three staves. Note tkey changes. - -Fig. 2.

(F) I / #10 / II / IVa / III VI / IIx"a I II I bUx / I I .#10/11 • 11 -

(F) II / IVa I W VI / IIx'" I II V I (Bb) II bili I I VI I(Cb) II blIx I I VI / (D) II bIIxI I VI I (Cb) n bIu I I I eI 'f' r

(F) IT bUx / 1/ .#10I II / V / bVmbWo / II bIu /1+ 1/1+' /I

HAVE YOU MET MISS JONES-by Richard Rodgers and Lorenz HartIi:) 1937 by Chappell & Co.• Inc. (') renewed.International copyright secured. All rights reserved.Used by permission,

A I , e!!I'"""I

.., -Fig. 3 is a drill applying the scaIesof the bass linein Fig. 2 to the com­

posite in Fig. 1. In eachcase the required mode has been followed,althoughthe starting point of each phrase has not necessarilybeenthe root of thechord. Each note of the mode becomesa possible starting or ending point.

Using Fig. 3 as a model, playor write out an improvisationusing thecomposite and the scales of the bass linemFig. 2.

-J

.......11-..... J.l ~..

11 . I • !"""!""'I' • I ..., - ~ ~ ~ -..;:; j",.o,,;;;I

:-

Fig. S.

"

-v-

116

...

..

-

1

- . -

"

A I

- -..... ...

117

" I • ..- . ..#.

_3 • ....itJ -~

.,:I - -.r::::i- -.r ,,-

"t

AJ! _ .... I. I • .. ...... 1e: ~ ...-itJ - LESSON 54.

Rhythmic Composite (up-tempo)

" I •-I'- ..... , As in the arpeggio study, the composite is simplified in up-tempo

tI ;::::-.- J ~

tunes to insurea strongerfeelingof swing. Fig. 1 is a possiblecomposite

3- for an up-tempo tune.

Fig. 1. t

..

" II L.l- ..

:(!;. ........ •

-itJ - 3 ~··looooiil - I

.

1I8

n rnri , j)

Fig. 2.is a bassline for "Lullabyof Birdland,"in the key of B. Trans­fer the melodyto manuscriptpaper using three staves.

Fig. 2-

VI+8 bV", I VIIx. nIx. I VIS' VI I u lVo / ill VI I II V /

I IV / vn llb: I VI+8 bV</>I VIIx llb: I VI S r VI / II IVo IUI VI/II V / I bIIxI 1+ 8

/ III.,. bllh I II / II</>bIIx. II / IIIop bIIIx I II 11141blli I I IV VII Illi I VI+

8 bV</> IVIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+

8 /1LULLABY OF BIRDLAND-by George David Weiss and George Shearing

© 1944-1945 Michael H. Coldsen, Inc. © renewed lIJ72.Used by pennission. 119

Fig. 8.

Fig. 3 is a drill based on Figs. 1 and 2. Thestudent willnotice the ex­tensive use of rest valuesin Fig. 1. Silence also swings.Thebeginner willtend to play too many notes but should strive for the "punctuation" thatcharacterizes a good line.

.

'0

--

L lot.

-

--

I

,.

120

-

t

..

,.

"

-

- 3

-.

-

-

121

..

-,...

..

3

-- SECTION VII

LESSON 55.

TheChromatic Tones

In the previous chapters we have studied the followingelementsofthe twelve tones in the octave:

1. Arpeggio- four tones of the octave2. Scale - seven tones of the octave except diminished

~ ~ ~ 1._ *k. ... ~- I

CI ;J_.

r I"

..T'

Now we must consider the remaining five tones of the M.Som and4>scalesand the remaining four tones of the diminished scale.

Fig. 1 illustratesthe fivequalities on C with the accompanyingscales.

I L

Fig. 1.

i\ iJo ~ * • ..CI

:l'

122

T'

J - .......

--

CM. ex Cm

AI

• .r ... V .. r.......

I~ I _

C~ Co

123

The following table indicates the omitted tones in each scale:

CM: Db- Eb- Gb - Ab - BbCx: Db- Eb - Cb - Ab • BCm: Db- E - Cb- Ab- BC+: D - E • C • A • BCo: Db- E - G - Bb

It is a goodrule in jazz improvisation to avoid more than four con­secutive chromatic tones. The chromatic scale involves all twelve tonesand therefore cannot infer any specific chord.

One of the most effective ways of utilizing the chromatic tones is asfollows.

1. Treat the root, third, fifth, seventh and ninth as principal tones.2. In approaching a chord, choose one of the principal tones as a "target"note.

3. Pass through the chromatic tones a minor second each side of the"target" note, then into the "target" note.

Fig. 2.4

(G) VI IIx~' / II bIIx I I II I m bIDo I II VP I II bIh I(G) I VIIx I bVlIx VIx I VI IIx~$/lI bIIxII II I m bIllo I

4

(G) II VII / II bllx: /1+' #1 / 1+- VI I II IVo I III bUh /

(C) II bIIx I I 1+ 4 I (A) II IVo / III VI I II bIIx I(G) II II. VII bVlIx r VI IIxb ' I II blli:/ I II / III bIDo /

•(G) II VI* I II bIlx / 1+- / 1+- II

J COVER THE WATERFRONT-Lynes by Edward Heyman, Music by Johnny GreenIt 1933 (renewed) Warner Bros. Inc. All rights reserved,Used by permisston.

Fig. 3 illustrates the use of chromatic tones in a scale-arpeggiodnllwith no particular rhythmic pattern. Using this figureas a model, write orplay an improvised line on the chords of Fig. 2 using chromatic elements.

124

Fig.S-

CHORDAIJ ~

PRINCIPAL CHROMATICTONES TONES

tI - ~ -II D C#-EbF E -GbA G#-BbC B -DbE D#-F II~ l.

V G F#-AbtI ~~. ii"" -I ,. -B A#-C

D C#-EbF E -GbA G#-Bb

I C B -Db _,E D#-F

II .. • ..., I l.

G F#-AbtI r ~B A#-C - - 3 - -

D q;-Eb

~e ~hromatic tones may move in either direction before resolving to thepnnctpal tone although modern idioms prefer the descending form:

Eb-C# into D Db- B into C AIJ .1. .~ .. I -Cb-E into F F -D# into EBb-C# into A tI - -

Fig. 2 is a bass line for "I Cover the Waterfront," in the key of G.Transfer the melody to manuscript paper using three staves and notingkey changes.

125

ALl.3 3 11Moft L •

CJ

--... - f ----C

II

., &...-.1.l

IIJ)~L a... .........~ALl. .-

3-CJ

3 ~CI -"4 ../ / / /

.

--

-.fl..

- ,I

LESSON 56.

The Sensitive Tones., .. ..

SeeFig, 2.

We have now studied sufficientjazz material to understand the basictonal principles of the art form.

Jazz employs a sixtychord harmonic system over which is played atwelve-tone melodic line. Fig. 1 illustrates the vertical movement of jazzharmony referred to in Lesson 1, Fig. 2.

Fig. 3. "Night and Day,"

pick.....(Eb) I / / bVIM / V / I / I +- / bVIM / V / I / VI / bW /(Eb) IVm / III / bIIIo / II / hili / I / I / bVIM / V / I /

(Eb) 1+- I bVIM I V / I / VI I bV4>I IVm I III I bIIIo / II I(Eb) bUx / I / 1+- / (Cb) I II I III I / (Eb) I II / III I I

(GD)I II I III I I (Eb) I II I III VI I bW I IVm I III I(Eb) bIII o I II I bIIM I 1+- / 1+- /1

As part of a weDconceived line, these tones can bring a tonal in­terest lacking in the root, third, fifth and seventh. By themselves,thesetones are of little value; they are to be consideredoccasionaltensionpointsof a twelve-tone line.

Fig. 3 is a bass line for "'Nightand Day," in the key of EO'Fig. 4 is adrill illustratingthe useof the sensitivetones.

Transfer the melody to manuscriptpaper using threestaves and notingkey changes.

NIGfIT AND DAY-Words and Music by Cole Porter© 1932 (renewed) Warner Bros. Inc. All rights reserved.Used by permission.

113

•11

:9

•7

•5

•3

...1

MinorHalf-diminishedDiminished

We have given careful study to the root, third.fifth and seventh; wewill now consider the ninth, eleventh and thirteenth in relation to the fivebasic qualities (major. dominant, minor, half-diminishedand diminished).

CHORDQuALITY SENSITIVETONESMajor 9 - IUDominant 9 - "9 - =9

11 ('S) • '11IS • "139 - 119 - 119 - 11

Fig. 1.

Play an improvisedline on these chords emplOyingthe sensitivetonesusing the following Fig. 4 as a model

Fig. 2. Fig. 4.

II I 1Y. , ,

CI I - I ..... .......

:

• •

CI .. "

eMS CM#l1 Cx9 Cxbs cx#9 Cltl1 (# 3)Cx# 1l

128 129

1

AI 1.... ......"'..&I .........-

··

AI

&I - .......

:

A I -:0- .....,

&I~

,

··

A I . • • .{~ ....... r

··

" I-

.·411 "I' ..... I ......

AI .....-4/" ...... """"

.

:

AI - -

l-~r ~ ~ -- "-""-

III • I

C .. 'P

:..

Al • .fL 1t. ~ b.ta.#~b... ~

&I • I

·

AI

.I

r

.

AI • .. ... h.. .fL 41.1..... ,....,&I -........ "

0

130

A I • - I • ...

rw ..... ...... .........

:

131

AI - 1,• ."..1"• .-

er ...... .....:

Fig. 1. Fig. 2-

A >- >-A :> :> :> :>

WJ - «S ~- ~ --Foot beat I

Foot beat. ,

I. I h. . do • 1""""'\

WJ --- - ~

.

1.1

I. ,

,·eJ "

LESSON 57.

,

Basic Syncopation

-I~

."

,

-Fig. S is a bass line for ''EasyTo Love," in Ab·The sheet music ap­

pears in G and mustbe transposedto Ab.Transfermelodyto manuscriptpaper using three staves. Write or playa line on Fig. a applying syncopa­tion using Fig. 4, which illustratesthisprocess, as a model

Fig. 3.

II VII/III'/> bIIh / II / bIIx / I I II I III / hUh I II Iv,. I I / ~Io / II</>I IVI/>I III I bIlla I II VII I Ill</>bUh III I bIIx / I I II I III I VIx I II III / IVm bVIIx / III IbIIIo I II ! bIIx I 1+' I 1+- /1

EASY TO LO\ 'E-by Cole Perter© 1936 by Chappell &:Co., Inc. © renewed. Assrznedto John F. Wharton,Trustee ofthe Cole Porter Musical and Literary Property Trusts.International copyright secured. All rights reserved,Used by permtsslon.

Fig. 4..

/I t • --. I.... ,;-...\,.. --- -

WJ - ---:

132

A thorough study of jazzsyncopation is beyondthe scopeof this book.Jazz syncopation appears on many levels. Our concern is with syncopa­tion in the improvised line. Fig. 1 illustrates a series of even eighth notesplayed against a quarter-note beat. Notes 1, 3, 5 and 7 are the "strong"points in Fig. 1. Notes 2. 4, 6 and 8 are the "weak" points. By tying thetones in Fig, 1 together, the "strong" points of the series are disrupted(Fig. 2). This is basic syncopation.

AI .... ..-

, I

-...-.

133

A I , s:-. • ... ./IL!: it./IL .. _ ...-eJ - --

.'

"I . ...n ..-. =:1-1 • ~.... t.~

--eJ - ..... ,- rooo- -...ol t:=i-'

J\ 1 .... --- . ..~ .......".;; 1"",..= - t:=:= --...:; .

DRILL: Practice the sixty arpeggios in syncopated eighth notes as inFig. 5.

" , . ~1!:.fL. , -.. , _..._.q

CJ -....;;; - ~ -:

- ..

-!.."''''-

etc.

I IIII I

-CJ ... ~.

Foot beatI I

Fig. 5.\:' . - • <1- • • •

-.I

!34135

Fig. 6.

Practicethe sixtyscales in syncopatedeighth notes (Fig. 6).

,~I I I I I I

etc.

The useof accent in an eighth-noteseries,as in Fig. 2, is of theutmostimportancein creating rhythmic interest in a jazz line and shouldbe care­fully studied by the pupil

Fig. 3 is a bass line for "Makin' Whoopee," in the key of A! Fig. 4illustratesa drill on Fig. 3 employingthe use of accent. Wedgesover thetones indicate the accent points of the line.

Transferthe melodyto manuscript paper using three staves. Write orplay a lineon.Fig. 3 usingFig. 4 as a model,

Accent

LESSON58.

The study of both Figs. 5 and 6 should be accompanied by an un­interrupted quarter-note foot beat.

In Fig. 2, the accented tonesfall on 2, 4,6 and 8 which are struck whilethe foot is in the air. 'Thestudent willfind Fig. 1 easy to play. Fig. 2 willbe troublesomein the beginningsince the hand and the foot are in opposi­tion to each other.

:>

:>

:>:>

pIdc-blIxII I #10/ II V / Vm Ix I IVm bV1Ix/ III vr z jm ~VIx I

<I

VI' billa I II pili I I jIo I II V / Vm Ix I IVm bVIh I<I

DI VI I bIll bVIx I 1+" II I ;tllo VI· I Vm Ix I IV+. IIVm bVDxI I II #fio III I Vm Ix I IV+' I IVm bVIb: IIII bIIIx II bIlx I I #10 / n V I Vm Ix I IVm pVIIx / III VI IpIll pVh I 1+' / 1+' IIMAKIN'WHOOPEE-Lyrics by Gus Kahn, Musk by Walter Donaldson

U.S.C 1940(renewed)Warner Bros. Music Com.All rights reserved.U.K.C 1928Bregman,Voceo,and Conn Inc. Sub-published by Keith Prowse MusicPublishingCo. UdUsed by permission.

It a ~ ~.~; .. \ :- :> :> :> :> ~I. .. ". ~. 1/#-• 11- .. .,.. .. .. 1f-k. ~ >L

tJ

"'a~ .(1.., '.fLk... ... ~~.. k.. Jf.. .fL .. ~

... -a

:

Fig. 4.

Fig. 3.

1li#1f :> > > > :> :>

., - I" f" - - I'"

::>

:>

:>

lI!J ..;, :>

Foot beat

., ~. :>>

Foot beat

Fig. 2.

In addition to syncopation,the deviceof accent is valuable in creatingrhythmic interest in a jazz line.

Fig. 1 illustrates the scale of C in eighth notes playedwith a quarter­note foot beat. Here, the accented tones fall on I, 3, 5 and 7 which arealso theaccent points of the foot beat.

Fig. 1.

136 137

:>-~JJ,ft .... ::> - .... M.. I. .... L> > > ~> > ... .. >

C1 - -===-....

:>~~~ :> ...~ ..:> :> ....~ .,. Ii... f=...~ .h. >-.-...

-4t/

:

~ JJ, ft L "if. .... > 1>101- ~;- :> ;: :> ~ >

-4tJ - -..

:

DRILL: Practice thesixty arpeggiosin accented eighth notes as in Fig. &.Ada ;:- L 11 -i=t._ d ii- I. JJ, .;., __ JJ,_ ::1.11 ~ .. > ~;-1. 11

it' -.

1Fig. 5. ::> ::>

::>. 4L 't:. ji. .. :> -

:>:>

• III1

tJ .... :> :>­

Foot beatI I I

>Ad" .. :> :> - I.:> :> > > I'""'r'T"""::0-

~ - > >. 'j • :....;""r - ~- "'" ...

Practice the sixtyscales in accented eighth notes as in Fig. 6.

:> :>Fig. 6.-_:>--..

tJ '*;' :> :> :>

Foot beat • . .:> ;.

Ad» > .. > ::- :> h ::> ~~

:> ..CI - - - -

..

138

BothFigs.5 and 6 shouldbe accompaniedby an uninterrupted quarter­note foot beat 139

6AI! -- ..!.._~ - 3 ..-..k!.~

L I::::Po..-- .lei -.' -. ,,'-" "ln~

3 C

Coleman Hawkins' "Sweet Lorraine" in G

In the course of some fifty years of jazz, there are many recordedmasterpieces of the improvised line: Book II will deal thoroughly withthis aspect of jazz. Since the reproduction of one of these masterpiecescan do much to reveal to the student all of the elements studied in thisvolume, Coleman Hawkins' "Sweet Lorraine" (originally recorded on Sig­nature 90,001.reissued on Brunswick, LP BL54016) hasbeen includedhere.

This recording involves two improvised choruses by Hawkins. Thesetwo chorusesare undoubtedly one of the great moments in the history ofjazz improvisation; they also employ every device described in this text.The student is strongly advised to make a thorough study of these twochoruses using the following outline as a course of study.

1. Scale and arpeggio analysis.2. Rhythmicvalues.3. Rest values.4. Syncopation.5. Phrasing:

(a) startingpoints.(b) the bar line.(c) contrast.(d) punctuation.

6. Chromaticistn.7. Accent.8. Over-all architecture.

LESSON 59,

3It .... ~ ..!- L

~ ,.;,..., -.~ =' -r ~ ,'-' " .

3-

:

3

SWEET WRRAINE-bv Parrish. BurwellQ 1928 by Mills Music. Inc. Cl renewed. All rights reserved.Used by permission.

140 141

Ali. uL..~ l. " ""'"

tJ " "I' ", ...... .......... I --...

Au ~- -I ~

tJ I .. gliss. glis s. gliS s. gIiSS'glist.glissl ---=

A·1 -- III"!!! •• I - -tJ "I" .....,- ..... =::t:1

3

:

5AlJ, - 5

CI '" • gtisS.1 gliss. IIiii r-5

:

Au I. . ~

If) , ........, ~ gliss ..~

.,

.

A" :@§1. . ~ r:=-'I • -«I "1 3 '" ,

:

3Au. .,- I.I~ ~ .. I- "Uss.

tJ ... .,. - ~., I I ~

<D gZlsS. - 3 3

:

Au. 3 ..5- ~ .s,........r!il

tJ 'r " .~.~ -r "'"3·v

:

AlJo . _.. -. -.tJ c::=::;iiiiil lo.....t;;l ~ '" stus.

3Au - -1..1- .. Jl .•• -

CI iiiiilooooI iiiiiiiiiiiiiii , -:

142143

I~

10 7 III 7 10 , W 7 10 7 10 7IV OVIIM III VIx / II V 1m IVx / IV bVIIM III Vlx IHI . 10 7 10 7 10 7 10 7 10 7II V 1m IVx / Ivm bVlIx III VIx / bIlI bVlx II V I

10 10 10 7 10 7 III 7 10 10 10 IIIIVm bVlIx III VIx I bIlI bVlx II V / I bVIIx VIx #10 I10 ~ III 10 10 7 W 7 W . IH 7II III VII bVIIx / VI Ilx Vm Ix I 1m IVx VII lUx /

10 r W 7 10 HI III 7 10 " 10 10III Vlx bIlI¢ bVIx / II III IV V / I Iil bV¢ IVm I10 1(1 III

III II I ~ II

L

3

-3_Al.I

Aa 3 .....-ol!!!S - - - l"'""l'-"l _

tI ..., .,' ., === •:

The following is a left hand stride solution to "Sweet Lorraine"with a new chord appearing on every beat of the tune. This is a para­phrase of a stride treatment of this tune by Art Tatum (originally re­corded 2/22/40 on Decca Label 8715).

The following table explains the code used in this treatment:100Root, 7th, 10th (5-2-1 fingering)7-Root, 3rd. 7th (4-2-1 fingering)3rd Inversion ~-7th, 3rd, 5th, Root (5-3-2-1fingering)2nd Inversion 3-Sth, Root 3rd. 7th (5-3-2-1 fingering)

This treatment employs all three spans (see Volume 3, page 18), andquick "rolling" may be essential for smaller hands.

Each tenth is individually pedaled.On a first reading, the student will notice several tension points in

relation to the melody and harmony, but as the forward motion begins totake place, these tension points will disappear.

pick-up

10 10 10 10 10 10 4 10 10 10 7 10 7bIlx I I bVIlx VIx #10 / II II2 VII bVIIx I VI I1x Vm Ix I

10 7 10 7 10 7 10 7 10 10 10 101m IVx VII IIIx I III VIx bIII¢ bVIx I II III IV IVo I

w 7 7 10 1<I 7 7 III 10 10 10 toIII bVIIx VIx bUh I II bVIx V blIx I I bVIIx VIx #10 I

lO 4 10 10 10 7 10 7 10 7 10 7II IJ2 VII bVIIx I VI I1x Vm Ix I 1m IVx VII lib I

lU 7 10 7 10 io 10 7 10 "III VIx bIII¢ bVIx I II III IV V I I F VI bVI I

Vm bib Ix bV I

144 145

46

SECTION VIII

LESSON 60.The Blues (harmonic)

To a jazz musician, the blues means a fairly fixed set of chords or"changes." These chords have evolved from the archaic folk music ofAmerica and can be heard in the recordings of Blind Lemon Jefferson,Big Bill Broonzy and LeadbeDy (Huddie Ledbetter). All jazz blues in­volve the 1, IV and V chords in a 12·bar form.

From this prehistory of the archaic blues hasslowly evolved a con­ventional set of chords which most musicians accept as representative.These chords are as follows:

Fig. 1.

Ix I IVx I Ix I Vm Ix I IVx I IVx I I II I III bIIIx I II V / II V 1/

(1)1+6 bIIIo / II V t (2)1+ 6 IJ rv :+1\10/ VIi!bIIx Ix ~ 1/

(2) represents the final close ending the blues and is traditionally calleda seoen-beater(seven beats to the end - the last beat is not played).Otherwise the first ending (1) is taken and the twelve bars are repeatedover and over. In the second ending the rhythmic pattern of the £nal barsisasfoDows: J J J J/JnJIII

A more modern fonn of the blues wasevolved by Charlie Parker inthe forties and. while respecting the main "pivot" chords, this new formcontains many harmonic sequences not found in the traditional form:

Fig. 2.

1+ • IV I VIIm nIx b' I VI IIx II' J Vm Ix b' I 1m IVx I IVm bVIIx /

m I VIx;' I n V / IT v II (1) 1+' bIllM I bVIM V.I/

(I) 1+. bIIx I Ix II' II

There is no "melody" for the blues. Many tunes using the term ortitle of blues are not "blues" in the sense referred to in thischapter; thesetunes evoke a mood sometimes referred to as "blue" - this is a poeticreference, not a musicological one.

Transfer Figs. 1 and 2 to manuscript paper and write or play an im­provisation on the chord changes. Explore Figs. 1 and 2 in twelve keys.

LESSON 61.The Blues (melodic)

The melodic aspect of the blues is of much greater signiflcance thanthe isolated chord charts studied in Lesson 60. A strong feeling of theblues has characterized all great melodic improvisation. In this sensethe blues represent, along with ragtime. the basic substrata of anjazz.

The basic idea of melodic blues lies in the "twang" of the slidingand crushedtones present in all archaic guitar. These inHected tones havebeen simulated on all jazz instruments including the piano. Of all theinstruments, the piano is in many ways the least effective in creating ablues feeling since once a tone is struck it cannot be changed or evensustained for any length of time.

On the piano, "blue" tones are usually achieved by crushing onetone into another (Fig. I). Because of the physical structure of the key­board, the most effective positions are those in which a black note canbe crushed into a white note [ (b) and (c) in Fig. 1 }. The reason forthis is that the same finger can be usedfor both tones by applying anarm stroke to the tones. This is called falsefingering. This is impossiblein (a) of Fig. 1 which requires two Bngers to execute.

Fig. 1.

~ ,@ I~

(a) (b) (c)

This principle can be extended to two or more tones played si­multaneously.

Fig. 2.

In any interval.one tone (usually the lower) can be crushed whilethe second is held (Fig. 3).

Fig. S.

147

The most familiar sound associated with these crushed tones is thatof the augmented ninth crushed into the major third when playing adominant chord.

Fig. 4.b..

Fig.6.

......

- ...

Itl

I

- _.../

-

-

--These devices can become tiresome if not supported by an otherwise

interesting line; used occasionally they can beeffective in bringing a bluesfeeling to a jazz. improvisation.

Fig. S.is a bass line for "'WiDow Weep for Me." Fig. 6 illustrates animprovised line on Fig. 5 employing "blues" devices. Transfer the melodyto manuseript paper using three staves. Write or play an improvised lineusing Fig. 6 as a model.

fI-_

-ilJI ..---:. ..-. ... • • •

til =-....'"-00...1 - J......I

.

jl!Jl ... .-... :'.. .. ... .---............ .i. ..... - ...... -

.

Fig. 5.

WILLOWWEEP FOR ME-by Ann Honel!© 1932 by Bourne Co. 10renewed.Used by permisslon.

1+' IVx /1+' IVx / I II / III VI Vm bVI IVx bVbl / IVx IVm /

III hIIh / II bIIx: / 1+' IVx / 1+' IVx / I II / III VI Vm bV /

IVx bVP/IVx Vb l/ 1+" bVIx: / Vm bV / IVm lIt/>/ 1m h bs /

Im IVx: bVIImbIIb / bVI hili Vm Ix / IVm II<fl/ 1m IxbS /

Im IVx bVUIll bII h / bVI blIx: IT blIx: / 1+' IVx / I + I IVx / I II /

III VI Vm bV / IVx bVb s I IVx Vb S / 1+' / I+s /I

JI.» ."'.1. ."..101. .ft. ". .f:r.*' A •

v -a .,." iJf• -- " - / / /

:

148149

A .... - - _...~- -

/

-T' ,

/ /

, -.1.. I

/

..,-

~ .. - ~ ...~

1~.iiIiiii

.. k..bA..

··tIl - -, ." . ,.~/ / /

#0 do ~ .. ~ ....... AI&

eI I WI~ "'-I I ,;---.1,'-+-J l""o.ol I

"

#0 .... L ....1-. , ... 1.- •. I~. . . .. .. .. .- ................ 1....... - 1,..1._b&-

el "II'" - .r til oJ IT

/(I

/~ ----- , ~ - ., .,

/ // / / /

(I - ?#0 .... .. ,

L II I

lI.I ,~ • "I' -I ,..

/ / r .........../ /

#Oil I . ....~ "",. .J:""':l.

.. rr: ~ I liiiiiiiC::::::: -.

150

I

151

152

SECTION IX

LESSON 62.Patterns-Circle of Fifths

It is apparent to the student from even a casual examination of thebass lines in the previouslessonsthat each tune uses patterns which arecommonto all other tunes. These patterns occur in severaldesigns:

1. Circle of Fifths.2. Diatonic.3. Chromatic.

Fig. 1 illustratesthe twelve keys in the natural order of their signa­tures (C - no 1:; nob ; G - 1 S ; D - 2 J; etc.).

Fig. 1. Jm circle.C

F""'- --"""G

B( "\( \

Ep Circle of Fifths A

\ )Ab E

<, F# ~/""'"'--Gb--"

The circle can move clockwise through the sharps into the flats orcounterclockwise through the flats into the sharps.

The jazz circle moves counterclockwise.

If we place a number over each letter relating to the key of C. wederive the following:

Fig. 2. Jazz circle.

In practical terms, this means:V normallymoves to I;II normallymoves to V;VI normallymoves to II;III normallymoves to VI; etc.

The followingpatterns employ the circle of .fifths:Il- V-II1I-VI-n-V-IIII41-VIx- II</>• V• IVIIm - IIIx- VI - IIx· V - II-IV· VIIm-III- VI- II- V-IbW· VIIx-IIIq;- VIx- IIt/l- V-I

These patterns should be practiced in twelve keys with both hands.

153

.54

Fig. 3 is a bass line for "Pick Yourself Up," in the key of F. Notethe key changes. This is an example of a tune employing the circle offifths in a key series. Using the transposition method described in Lesson32, transpose Fig. 3 into twelve keys. The key series in Fig. 3 is as fol­lows: I - II - III - I. Improvise on Fig. 3.

Fig. 3.

(F) II V / I IV / VII IIIx / VI IIx I V IV / III hIlh /

(F) II hili / 1+" / (G) II V I I IV / VII II1x I VI ili /

(G) V IV I III bUb: / II bili / 1+- I (Ab) I II / III VI I• •

(Ab) bVIx V / I I (F) III. bVcp' I lIP VI / V IV I(F) III bIIh I II V I I IV / VII IIIx I VI lIlt / V IV /

(F) III bIIh / II bili / 1+· /I

PICK YOURSELF UP-hy Jerome Kern and Dorothy Fields(;) 1936 T.B. Harms Co. e renewed % The Welk Musk Croup.International copyright secured. All rights reserved.Used by permission.

LESSON6S.

Patterns-Diatonic

The term diatonic refers to the normal major scale. Diatonic patternsmove through the steps of the scale both ascending and descending.

Diatonic patterns usually appear in short fragments and are oftencombined with chromatic or circle patterns (see Fig. 1).

Fig. 1.I - n - III - bIIl-III- VII - VI- bVI- VmIl - III- IV - #IVx- VIV- III - II - bili - IIV- V· VI- bVh- VVI- V-IV -II1-II- V· I

Practice these patterns in twelve keys using both hands.Fig. .2is a bass line for "Tea for Two," in the key of Ab. As in the pre­

vious lesson, transpose Fig. .2into twelve keys; the key series is I • III • I.

Fig. 2.

(Ab) II III / IV V It· / I II / UI bIlIo / II III / IV Vb" /

(Ab) I II / III IV / (C) II III / IV Vb" / I II / III bIlIo I(C) II III / IV Vb. / I IlIo / (Ab) V IV III bIlb: / II III /

(Ab) IV Vbo / I II / III bIllo / II III / IV Vito I III;. I(Ab) bUb: / II III", I bVIb: VIx / #10 II / III IVm+· /

•(Ab) VI- bIll o / II bili / 1+· / 1+" /1

TEA FOR TWO-Lyrics by Irving Caesar. Music by Vincent Youmans(;) 1924 (renewed) Warner Bros. Inc. All rights reserved.Used by permission.

LESSON 64.

Patterns-ebromatic

Chromatic patterns also appear in short fragments. Common chro-matic patterns are:

n - blli- IIII - bUIx-II - bIIx- II - #10- II - #IIo -IIIm-bIIlo -II - bIIM - IbW-IVo-III. bIIIo-II- hlli-I

Practice these patterns in twelve keys using both hands.

Fig. 1 is a bass line for '"Jeepers Creepers,"in the key of Bb. Trans­fer the melody to manuscript paper noting key changes. Transpose totwelve keys using the foUowingkey serieschart: I - IV - V - L Improviseon Fig. 1.

Fig. 1.

(Bb) bV</> IVo / III bIIIo I II bIIx / 1+· VI I bVcjlIVo I(Bb) III bIIIo I n bIb: I 1+1l VI I bV;. IVo I III billa I(Bb) II blIx I 1+" VI / bV</>lVo.j III hIIIo j II blIx j

(Bb) I+1l #IVo / (Eb) II IVo / III bIIIxI II blIx / I VI I(F) II IVo I nr bIIIx / II bIIx I (Bb) v'* V I bV</llVo I(Bb) III bill o / II bIb: I 1+' VI I bV</>IVo I III.; bIIIxI

•(Bb) II IVo / VI- bIIIx / n bIb: / 1+1l /I

JEEPERS CREEPERS-by Johnny Mercer and Harold WarrenCl 1938 M. Witmark & Sons (renewed) Warner Bros. Inc. All rights reserved.Used by permission.

155

SECTION X

LESSON65.

To avoid this, minor jazz harmony has evolvedas follows:Bass line - ascendingmelodic;Inner voices- harmonicminor.

Combining these two elements. we derive the following minor scale­tone chords in C minor (see Fig. 4).

Minor Scale-toneChords

Jazz is almost exclusively a major scale music. There are probablyonly five or six "authentic" (begin and end in minor) minor tunes in alljazz repertoire. However, the minor scale-tone chords are used a greatdeal in smallfragments and are, for this reason, very important.

The jazzmusician approaches the minor tonality in the same practi­cal manner he approaches all musical problems.

Fig. 4.

t) r+ • ­J II m

lIt) ....

inner-voice scale

,

IV v VI VII J

SYMBOL

mLt/IM+mxt/Io

T ....

Bass-tine scale

e; ... •

Bass-line scale

,.I t1

t) !r~'J rl: ..'. - TO

I U m IV V VI VII J

.. ..." ...• ~- .......Inner-voice scale

"-

.. Vr ... •

The minor scale-tone quality values are as follows.Posrnos CBOBD

I minor largen haIf-diminishedIn major augmentedIV ~

V dominantVI hal£-diminishedvn diminished

Fig. 5 illustrates theminor scale-tone chords in G minor.

Fig. 5.

The following minor scales are the frame for most "classical"music:1. Harmonic minor - combination: 02 122 1 3 1 (Fig. 1).2. Natural minor - combination: 0 2 1 2 2 1 2 2 (Fig. 2).3. Melodic minor - ascending combination: 0 2 1 2 2 2 2 1 (Fig.

S); descending combination: 0 2 2 1 2 2 1 2(Fig. 3).

Of course, the most effective "vertical" sounds are derived from theharmonic minor. However. the use of the b6in the bass line destroysfamiliar patterns such as I· VI • n -v.

Fig.l. t ~. II~. • • ••..- •

Fig. 2. t I,. &. I•.~. • •..... •

Fig. 3.

~ • 4. b. I~. • • • :i•• •...• • ...

156 157

Fig. 6 illustrates the minor scale-tone chords in D minor. A minor scale-tone chords.

Ii

Fig.6. II • ...~. ~ ..,* ... .... .. - ,.

tl ..I D m IV V VI VII I

Ii

tl ..Inner-voice scale E minor scale-tone chords.

It~ ~t:Ii .~. • .>HP- ....

.., -Bass-line scale 141.1 - "

Fig. 7 illustrates the minor scale-tone chords in the remaining keys.

Fig.7. Eb minor scale-tone chords.

#. I II,. ~ I.!~'" ~~ ~t14 B minor scale-tone chords.

Ii

I...

illa~.., r

.., " ....,.. .. - "

Bbminor scale-tone chords.

"..... vw

I

...

IADminor scale-tone chords.

Ii I I • L ,.

F# minor seale-tcne chords.

158

F minor scale-tone chords.

•

159

Fig. 8.

C# minor scale-tone chords.

The minor scale-tonechords can be inverted in the same manner asthe major chords. Fig. 8 illustrates the inversions of the scale-tonechordsin D minor.

Fig. 9.

(d ) I + I VI I II b1Ix I I + I VI I II hili I I +. I. 11m. I(d) VI I IIx / (Bb) VIIxt l I mx I VIx I IIx' II pIIx I I VI ,

(d) II I bIIx I 1+' VI I II bIIx I I +I VI , II bIb: ,

(d) 1+ 1 I. 11m. I VI , IIx I (Bb) VlIxl1 ,IIIx I VIx IIIx I(Bb) II bIb: II VI I (d) II , b1Ix I 1+" I 1+" II

YESTERDAYS-hv Otto Harbach and Jerome Kern© 1933 T'B, Harms Co. (J renewed % The Welk Music Group.International copyright secured. All rights reserved.Used by permission.

DRILL: Practice the minor scale-tonechords in twelve keys using bothhands.

LESSON 66.

Ii

I.. • 'C-

~-..:

tI ... -:

NOTE: The diminishedchordis alwaysin root position.

Fig. 9 is a bassline for "Yesterdays,·in D minor. Transfer themelodyto manuscript paper noting key change to Bbmajor and the return to Dminor. Since "Yesterdays"is written in half-time, the time values of eachmelodic tone must be doubled in order to create the necessaryrhythmicframeworkfor a jazz improvisation. Thus:

Minor Scale-toneArpeggios

The minor scale-tone chords involve two new qualities: I which ismL andm which is M+. The minor large chord has appeared before asa suspended minor. The major augmented hasappeared as a suspendedmajor.

Arpeggiosfor these chords follow the tones as they appear in thechords.

Fig. 1 is a bass line for "My Funny Valentine," in C minor. This isnot an authentic minor tune since its final resolution occurs in major.This is characteristic of many tunes in the jazz repertoire. Transfer themelody to manuscript paper and play the appropriate arpeggiosof thechord changes. Note the key change.

Fig.l.I

(c) 1+ 1/ I. / Im , I VI I 1V" Vm I IV IV. I II , hIIx /

(c) I + I I I I / 1m I I VI I (Eb) IV I m blIIx I IT I bIb: I(Eb) I / IT I ill I IV IV</>I m bV1Ix I VI bVIx Vm bV I

(Eb) IV II / (c) II bIb: / 1+" / I. / 1m. I VI / IV: , IT: V I(c) Im VIlx I (Eb) Vm bV , IV m , II bIb: I 1+" / 1+ 1 /1

160

J. becomes J.J becomes J

J becomes D

J becomesJMY FUNNY VALENTINE-bv Richard Rodgers and Lorenz Hart

() 1937 by Chappell & Co:, Inc. @ renewed.International copyright secured. All rights reserved.Used by permission. 161

LESSON 67.

MinorScale-toneScales

The minor scale-tone scales follow the rules described for the majorchords. Scalesfor the mL and M+ chords appear in Lesson48.

The followingis a bassline for "Just One of Those Things." in thekeyof D minor. This alsois not an authentic minor tune. Many "minor"tunes such as this and "My Funny Valentine"start on the VI of the finalmajor key whichis often referred to as the relative minor. It is morepracticalto think of it as VL

Transferthe melody to manuscriptpapernoting keychanges.Abandonthe melody and play appropriatesca1eswith the chord changes. Impro­viseon the basslines in Lessons65, 66 and rn.

(trbIh 1/ 1+ 1 I VI I II I V I (F) Vm I Ix I bW I IVo I(F) III I blIb:/ II I bIIx/ 1+- / #10/ II II. / (d) II pIIx /

(d) 1+ 1/ VI / II I V I (F) Vm I Ix / bV4>/ IVo I III / bIIIx I

(F) II / bIh / 1+ 1 I #JoI (Eb) II I V / I I #10 I II I V /

(Eb) 1+ 1 I Im IVx I (C) II / bIh I 1+' / VI I bW I IVo /

(C) III / billo/ (d) IV IV I / II bIIx/ I+t / VI I II I V /

(F) Vm / Ix / IV I bVIIx/ III / blIb:I II I bIIx/ 1+' / I+t I(F) 1+' / I+t /I

JUST ONE OF THOSE THINGS-Words and music by Cole PorterC 1935 (renewed) Warner Bros. Inc. All rights reserved,Used by permission.

II

SECTION XI

LESSON 68.

Open Position-Axis of theSeventh

The problemsof style are beyond thescopeof thisbook. However,some primary studies in tonal organizationare necessaryas a preparationfor future work in keyboard conception. These primarystudies are de­rived from the major scale-tonechords and involve a Simplerearrange­ment of the tones.

Fig. 1 illustratesthe normalscale-tonechords in the key of C in whatis called closedposition.

Fig. 1.

n m IV V VI VII I

Fig. 2 illustrates the same chords in open position:root and Iifth inthe left hand, third and seventh in the right hand. This position of thetones is calledtheaxisof theseventh(seventhis top voice).

AFig. 2.

162

... T ... •

In m IVV Vlvnl

163

Fig. 3 illustrates the scale-tone chords of C in open position - axisof the seventh.

Fig. 3.tJ .... • •

. .... ....

Inversions, being rearranged scale-tone chords, have no third, 6fthand seventh as such. However, they are treated in the same manner asnormal or altered scale-tone chords. The Brst and third notes of the .in­version are played with the left hand and the second and fourth notes ofthe inversion are played with the right hand. The student should remem­ber that diminished chords cannot be inverted. Fig. 7 illustrates the in­versions on the nve qualities, derived from the axis of the seventh. in thekey of Eb.

Fig. 5 illustrates the five qualitieson C, open position - axis of theseventh.

Fig. 4 illustrates the scale-tone chords of F in open position - axisof the seventh.

tl • T .. •

E"o G"o Ao Co

Fig.7.

", I I

C1 :;: .... • "it "'.., , Iij , I,

I ... - I .... I

EbM EbMi E"M! EPM2 Eh Ehg Eb4 Ebx:a.1I

I

. ....

VI vn 1

VI vn

v

IV V

m IVn

n m

I

I..

Fig. 4.

Fig.5­

"Fig. 6.

Fig. 6 illustrates the five qualities on G, open position - axis of theseventh.

164

CM Cx

..- ..I

Cm Cp

r

I

Co GM Ox Om op Go

I

DRILL: Play the scale-tone seventh chords, openposition, axis of theseventh in twelve keys. All five qualities on twelve tones withtheir inversions.

Fig. 8 is a bass line for "When YourLoverHasCone,"in the key ofG. Transfer the melody to manuscript paper. In ad lib style, play thechords in open position integrating the melody in octaves. (See Fig. 9.Copyright laws prohibit exact reproduction of the melody.)

165

IVmI

-Q-_-e­IVx IVx

I

I

I

nbmx

bmx nmIV,!

m

,.,~ .tJ ..- o .., + -flo "U: JJ"

~::u:-u-

I I , I I..-- -

"Ji I

...~-e::... -e- ". :A:. "U"

,.,. . --e-:,

:

'1-- - - ,,,~

«J .... ~ -e- -e- "'U" "U""

:III

IVx

-9- -

IVxI

Fig. 10 is a bass line for "'When Your Lover Has Gone." Play Fig. 10integrating melody as in Fig. 9.

"'HEN YOUR LOVER HAS ('.o~E-Words and Music by E.A. SwanU.S. (') 1964 Warner Bros. Inc. All fights reserved.U.K. © 1931 Remick Musk Corp. Sub-published by Francis Day and Hunter Ltd.Used by permission.

I / I I IVx / IVx I IIx b 5 / IIxb I I bVlIx / bVIIx I I / I VI IIIx/ #IIo I II I IVI/>I III blIIxI II bIIxI I I I / IVx I IV" IIIx bl I IIxb ' I bVIIx I bVIIx I I I I IVm / ill / blI Ix /

II I bUM I I I 1+' 1/

I

,.,~ J .J -e- I I I I J JtJ "U""- U""

~ I I J I I. I Im_:

- - - - etc.-e-

Fig. 8.

Fig. 9.

Fig. 10.

Open Position-Axis of the Third

Fig. 1 illustrates the scale-tone chords in Bhin open position, axisof the third (third is top voice). The root and fifth are played with theleft hand. The seventh and the third are played with the right hand.

LESSON 69.

~ -e-

IVx IVxII

"1&

«J '1l::J'; .........v~ "'"3:1: ~-e- -e-

JtJ'

:

- -~ 110

«J -e.:, -eo "U"" -u :;: ~-e- ~ ~

1:

I'I'U'_- ---4

166

bvnx I I VI n

" 1Fig.l.

tJ .:;: T ...................• ....

I n m IV V VI vn I

167

1\ I

~ #* -~ .....~

• -e- ~ ...... .... -e-:

Fig. 2.

Fig. So

Fig, 2 illustratesthe scale-tonechords of Ab,open position- axisof the third.

II , .

I U m rv V VI VB I

Fig. 3 illustratesthe fivequalitieson Db, open position- axisof thethird.

Fig. 5.

pick""P

(Eb) #10 II II I bUx ' " I I I #10 I II I bIh:." I I / VI /

(Eb) II I IVo I nr I bIIIoI II I bUx·"1 I I #10 I II I bIIx•• I(Eb) I I #10 I II~ I bIIx· " I I I 1+- I (C) II I pIlx·· I(e) I I VI 1/ (Eb) II / brIx/ I I VI/II I IVo z m / bIlIx I(Eb) II I IVo / m blIIx I II V I bY. I IVo / III / bIlla /

(Eb) II I bIIxbl / I VI / Vm bV I IV / IVo / In VI /

(Eb) m</JbIIIx / III blli I 1+" / I+t II

L I#10 D I #10 n

Fig. 4.

DPMDPxe#me#1ie#o

Fig. 4 illustrates the inversionsof the five qualitieson Abderivedfrom the axis of the third.

1\ I

~-~ ~

-0-

...... .... -e- ..0.. ..0..0-- '--

1\ I

tJ -- .... ..... J-&

-e- -& .... .... ...... -e-.bmo

1

n

VI n

I

IVo m

D

1\ I

I~-~ -~ -~ ...... ..... -Q-

...... ...... ...... ~ ..- ...... ......

I'VE GOT YOU UNDER MY SKIN-by Cole PorterCJ 1936 by Chappell & Co., Inc. 0 renewed, assigned to John F. Wharton. Trustee ofthe Cole Porter Musk,t1 & Literary Property Trusts.International copyright secured. All rights reserved.Used by permission.

168

Gj&s G#pl G#,s: 0#.62 G#O 50 Do Fo

Fig. 5 is a bassline for "I'veGot YouUnder MySkin,"in Eb. Transferthe melodyto manuscriptpaper noting key changes. As in the previouslesson,play the chords in ad lib style in open position,axisof the third.integrating the melody in octaves.

bIIxPS I I

169

NOTE: Both these chords and those illustrated in Lesson 68 are among thebasic devices used by jazz pianists when "camping" (accompanyinganother instrument within a group).

DRILL: Play the scale-tone chords in open position, axis of the third, intwel ve keys; all JIve qualities and their inversions on twelvetones•

nInlx~5n

" I

Cl -9- pe- "U'" -9- ....... ......."U'"

-e-- 101..... .....:

-.

" I

Cl -'1D'"

-e- .0.. 0- I~.o.. -9- .0..

:

VI n IVa m ImIx n IVa

LESSON 70.

Open Position-Mixed Axis

By combining the two axis positions, it is possible to achieve asmoother VOice-leadingthan is possible when only a Single axis is used.

A I I I I I

Cl

.p... I~ -e- ~ l:!!: ..0.. 0-

:

Fig. 1 illustrates the circle of fifths described in Lesson 62.

~CI--.......

/F GV",~ Dll

( \Eb A VI

\ )Ab E III

'" /Db B VII~Cb~

F#

If we playa descending chromatic scale beginning on the major third withthe circle described above, we derive Fig. 2 (the jazz circle, like the circlein all tonal music. moves counterclockwise).

m

IV

IVo

Vm bv

n

VI

m;

n V

VI

n

bDh

m

bmo

IVo

m

A I I I

·Cl e ~ f.t ....... -e- ,e-

o ~,(l. ,~ -e. ..~ ......:

I

A I

Cl ~ <if iT v,# ~-e-V

,-9- -e- ..... n I:

I I 1

170 171

H we play the circle a secondtime with a descendingchromaticscalebeginning on theminor seventh, we derive the following (Fig. 3):

., 3 ., 3

Fig. 5.

(F) VI 11K/ VI IIx / II V / II V / Ix / IVK/ bV~ lli b1h I(F) I IV VIlm IIIx / VI Ilx / VI IlK / II V / II V / Ix I IVx /

"" , I(F) bVIx IIx blIxI I / (G) IIa, II" / II bIlx11 III III II /

(F) II It' WI' / II bIlK I I IV / VII II1K I VI Ilx I VI IIx /" , ,

(F) IT V / II V / Ix I IVx I bVIx 11Kbili / I /IFig. 5.

"~

~ ~ ~ ~ -u 7} -u 'i:ry

~.e-

I • I I:

-u -u I I ....7 :!l "1 ~ '7 3 ., 3 'I 3..

.,'I

. ,. ,3 ., 3 .,

'I3

.,

.,

I

I

3.,

L

l

3

3

'I'I

..

Fig. 2.

It S I .,

..

Fig. S.

H we combine Figs. 2 and 3, we derive the following (Fig. 4):

I •

Fig.4.

"

.. l I

it. .,,... ,.. T Vir"

., 'I '7 3 3 ., 3 'I

II

~ 'U V- -eo ~ V6" qv L?.... -e-

I t, I I

I .... I - ...."1 3 'I 3 3 'I 'I '1:

172

'Ihe major third and the minor seventh have been chosenbecause thedominantcircle formed by these intervals is the primary circle in jazz har­mony.

Fig. 4 above illustrates a basic principle of antonal harmony whichis evidentin any BachInvention: In a circle of fifths,the third becomestheseventh and the seventh becomes the third.

Fig. 5 is a bass line for "Lover Man," in the key of F. Transfer themelody to manuscript paper noting key changes. As in Lessons68 and69, play the chords in ad lib style in open position integratingthe melodyin octaves.

Numbersover the Romannumeralsindicate axis to be played on eachchord to insure smooth VOice-leading.

LOVER,MAN (Oh Where Can You Be?l-by Jimmy Davis, Roger "Ram" Ramirez, andJtmmy Sherman

© 1941, 1942by MeA Music, A Division of MeA Inc., New York, N.Y. © renewed.All rights reserved.Used by permisslon.

173

,,~ t

t.I ~ -6- 16- ~ 7J -tr <,; ~ 7T '';'

I I I I I I I I J:

~.It'7 ~h '1 '1 '1 '1 '1 '1 ~4l'7 ~7.

., '1 '1 3 '1 3 '1 3 '1 3 3

LESSON 71.

BasicProfessionalPiano (melodic)

We now have in our grasp sufficient material to play what might becalled basic professional piano. III other words, most professional playersseem able to reproduce a simple but effective sound which fulfills mini­mal requirements. This sound does not demand a Horid technique and,above all, doesnot sound like sheet music. It is based on one primaryfactor that is usedin whole or in part by every professional pianist playingtoday. This basicidea is open position - axis of the third and axis ofthe seventh. However. the use of the octave melody in Lessons 68, 69and 70 is awkward in that the phrasing of the melodic line must be con­stantly interrupted in order that the chords be played at their appointedpositions. This device was used only to introduce the mechanics of thistype of keyboard orchestration.

The professional usesthe axis technique but, instead of playing themelody in octaves. he simply adds the melody to the right hand in asingle voice above the third or the seventh (seeFig. 1).

Fig. L

"., 7J -it "'eo ~ P<r IfF p'" -&

I l , ,:

'" I - - .....I

'7 3 '1 3 3 '1 '1 .,:

174

The Simple rule for this procedure is as follows: Play the root andfifth in the left hand. Play the melody in the right hand, adding thenearest third andseventh immediately below the melody.

175

­WID.

preferable

Wm

Fig. 7.

Fig. 8 illustrates the application of this technique to the melody inLesson7, Fig. 1.

Generally,the axis of the seventh is the strongerand should beusedwhenever it is pnysicallypossible. In Fig.7, the second voicingis prefer.able to the first for harmonic depth. However, this is a corollary of thebasic rule of the third and the seventh immediatelybelow.

Fig. 6.

!

I

Fig. S.

ex em. cp Co

Fig. 3 illustratesthe D melody note with the Cx, em.Ct/>and Cochords. In each case, the axis formed by theD with the C chords is thatof the seventh.

For example,in Fig. 2, the melody note is D, thechord is I in thekey of C. The root (C) and fifth (G) are played in the left hand; themelody (D) is playedin the right hand; the two nearest axispoints belowthe melodyare the seventh (B) and the third (E).

Fig.2.

Fig. 8.

Fig.4.

In Fig. 4, themelodynote is G, the chord is I in the key of F. Here,the two nearest axis points below the melody are E (seventh) and A(third).

Fig. 5.

.

Fx Fm. Fp Fo

Fig. 5 illustrates the G melody note with the Fx, Fm, FcfIand Fochords. Here the axis (top voice) is the seventh.

NOTE: When the melodynote faDs on the third or the seventh (seeFig. 6),double the voicean octave below in order to maintain three voWelin the right hand.

Ii "1 I I I I !"""'-I I I I I ..-- - ~

4ItI r I r I .. p' rr -If-t9- I " I I I I.

t -., 3 '1 3 '1 '1 '1 .,:

Ii - I r-, r--, ..

4t) r Ii j: '\" f: I<'j;: ~ : rI p.. ."6-.

• • ... V'" 'V- I

'I '1 '1 '1 'I' '1 s s

.76 177

",.....,r--, ,....,-

" j:I r ..~ ~-e- -e-

"8- " " I:

IV- VV-

'!I ~ ~ '7 '1 '7.

."I t I I I I" r""'""I r~ I I

.-- I

" r If r P'-r 11IFr I..,.

J') I I , I

:

I I.

'7 ~ '1 S ., '1 '1 '1

" - I rI r--,

«.I r pf 'I" :: v. ;: I~~ r• , a: ...".

: .. .. ... 11'* v- I

"I '7 '1 '7 '1 '1 3 3.

It ,.....,,...., ,...,-1«.1 s- - .. r ..

• " 0 I.V PV

3 3 3 '7 '7 '1

178

II """'i I ....... ~.

~ r f ... ~ f rI I: .. • I 4

'1 3 3 'I '7 'I:

It - .J ,J. j I JJ. J~1 J IC1 ~ 7" r r

- l I ..e- ~..I~

,I

3 " ~ 7 .,:

" . .Ai J. 1 I r"""l ~ I

C1 r.~ ;: Vfr t- ~ .-fi-.

...~ -.J- PT'I 3 3 S 'I '1 '1 '1:

" 'I , I I I r--, r -, - - ~

~ r r I r p .. p...I

n"

, I I ,I I'7 S '1 3 '7 '7 'I '1:

179

1

A - \ r-'l r--, .... f ~r

'lJ~ ""~ ~: T

, . .(J.. -:

'" '" .fi- t' ... -V-. •

" " " " " .. 'fl ".

Fig. 10.A~

·ltJ . "'. -e- ~ q~ ~..... I7-J::r"U"'

I"U"

: .'0" '" -e-

~ :0="0'"

'1 II '1 '1 II ., ., 3 .,.

A,....,,....., 1"""""'1 I I-I ,

I

... r -r r.,:;;. ~ " tt L

:-\

" " " 1I '7 3 6:

A~

·iV -e-..........:t): ~ ~ ,..........#

~ :; ~'0"

-. .:

-e- r f!~ q~ f I -6- c;

:I 3 3 ., '1 ., 3 :I '1 .,:

-All

tI/~ ~~ /+ "" "" ~ '..~ ,v!d :0:: :u:

r"0 _ _ "8-

" " .:

3 t ~~ q~ t I f.iI '1{;' -6- P. ""0'"_'0":I :I :I '1 ., 'I ., 6 II

: lIi

" ...

... Ti" v -e- '\T-q~ ~ -- Ir.n:"U"

I \"0"

.~

"U" -e-~ v- .....

"V

'1 " 3 'l 'l 3 '1 ., :I 'l:JI

pia-lipV" / / I / IYx / 1m / IVx I II I bVllx / I I VI I II</>I V I

IIof>/ Vilm bV1Ix / VI I IIx I II III I IV V" I I I IVx I

1m / IVx I II I bVIIxI 1 I VI I II</>I VI1m bVIIx I VI IIIx #110 I III bIIIx I II bIIx I I +- I 1+' /1

Fig. 10 is a bass line for "Tenderly," in D. Transfer the melody tomanuscript paper. "Tenderly" appears as a waltz in the sheet musicversion and must be converted to 4/4 time by the simple device of addingone beat to the firstnote of eachbar, as in Fig. 9.

=l==3 beco~ becomes

~~r=~§·§~§~~

~~bej§omes~

Fig. 9.

1be numbers over the symbolsin Fig. 10 indicate the axis in eachcase which is determined by the melody Dote position.

180

TENDERLY-Lyrics by Jack Lawrence, Music by Walter Gross© 1946, 1947 Edwin H. Morris & Company, a Division of MPL CommunicationsInc. © renewed, 1974, 1975 Edwin H. Morris & Company, a Division of MPL •Communications, Inc.International copyright secured. All rights reserved.Used by permission,

181

LESSON 72.

Basic Professional Piano (improvised)

Jazz piano until 1940 was dominated by the concept of sWing basswhich was evolved from the early ragtime period. The four masters ofswing bass piano were Earl Hines, Fats Waller, Teddy Wilson and ArtTatum.

One of Tatum's most spectacular devices in the left hand was a circleof .fifthspattern of alternating full tenths and sevenths (see Fig. 1).

Fig. 1.

h~ ~ I ilL ~.-.. ' .. ~ I, L • f I I:

T I '1 :,. T -e-

:

This was not a swing-bass design as such although it did give thefeeling of the quarter-note pulse basic to swing-bass piano.

The student will notice that Fig. 1 is almost identical with Fig. 4,Lesson 70, except that the bass design has been inverted. The studentwill also notice that he probably is unable to play many of the tenths(Db involves the widest stretch).

After 1940 the problem facing the jazz pianist was to evolve a lefthand style that would no longer contain the rigid synunetry of swing bass,but at the same time would fulBUbasic harmonic requirements. In otherwords, the rhythmic responsibility of jazz piano was taken from the lefthand and placed in the right.

Although many pianists were involved in this revolutionary step. themaster figure is Earl "Bud" Powell. Powell's solution to this problem wasmagnificently simple (Fig. 2). This is Fig. 2 of Lesson 70 reduced. toone hand.

These thirds (fingering 2-1) and sevenths (fingering 5-1) are usuallyreferred to as "shells't-s-the term refers to the more common seventhshell employment of the outer elements of the chord.

182

H we compare the first two steps of the series in Figs. 1 and 2, wennd the fonowing(Fig. 3):

These left hand shells are indicated by a point system as follows:

(Key of F) III - vlx- Ii - ~ - I which reads:

Fig. 3.III - point of sevenVIx - point of threeII - point of sevenV - point of threeI - point of seven

(See Fig. 5.)

QUALITY FRACMEl\'T

CM (C - E G - B)Cx (C E G Bb)

5tb7th5th5th" 3rd .JJ. 7th 5th :lrd 5th :lrd

CI - ~ 1.0- -J L- -- -I I

··I 1 ..."

Fig. 5.In the top stave of Fig. 3, both chords are dominant since both con­tain a major third and a minor seventh (whether the omitted fifth wereperfect, diminished or augmented, the chord would remain dominant).In the bottom stave of Fig. 3, the shell C-E could represent the fullow­ing chord fragments:

SHELL

C-EC E

This means that the series in Fig. 2 only "implies" certainqualities-the missing tones (3rd, 5th or 7th) must appear in the righthand improvisation (Fig. 4).

Again, in the bottom stave of Fig. 3, the interval F-Eb could repre-sent the following chord fragments:

SHELL QUALITY FRAGMENT

F - Eo Fx (F - A - C - Eo)F - Eo Fm (F - Ab - C - Eb)F - Eb Fo (F . Ab - Cb - Eb)

" I'" T I

.~___ I "1.........

.... I I I I.I I it" ~v

Inversions are indicated by playing the outside voicesof the partic­ular inversion and are always played at the point of six (in all inversionsthe distance between the top voice is either a major or minor sixth - sotoo with +6) (Fig. 6).

'1I

:IV

'1n

:IVIx

'1m

Fig. 6.

I _II

Fig. 4­A

'II

'1VI

185Inmm

A .. -It- .. ...-

'&I ..........I

, I I •··4 06- v .... -r =if6 '1 6 '1

I... ...h Fm

A I I

CI ~

--..;;;

-184

F~

Fig. 7 is a bass line for "Gone with the Wind." in Eb· Transfer themelody to manuscript paper noting key changes. Numbers over Romannumerals indicate interval point of chord in left hand.

Fig. 7. "Cone with theWind"

T' 1'1 f. 1'. f'f 1.

(Eb) II IVa I III VIx I n V I I II I (G) bV4>IVa I III VIx I

~ I - Ii - -, ~

Cl r ...=====

.1iiiiI:i:I:::j _., I

I ...,":

-6i'- I I I I I

'1 " '1 '1 '1 3

--" I

1tJ£ _I ,.....-;;--'l .L

"1tJ looo..J-., ~ ......-,;' ."., ~ ., -e v >

. I I.I I

'7 :II ? 6 '1:

I=Sf Sf f f f 1

(Eb) nil' lIP I II bIIx I I I 1+" 1/

" " S"'.' I(Eb) II II. VII bVIIx I VI#f VI I II V I III VIx I

GONE WITH THE WlND-by Magtdson and Wrubel(:) 1007 by Bourne Co. 0 renewed.Used by permission.

f. 'f" f 1''' f"

(Eb) I I, I (G) bV+IVo I III bUIx I II b1Ix / I Vilo I

T. r 1ft f'" t'

(Eb) Ill;. VIx I II I V I bV'" IVa I III bII Ix I II pili I

t. ,. ,r f. 11

(G) II V I I 1+" / (Eb) III I pIIIo I n / V / I VlIx I

Fig. 8 illustrates an improvised line of Fig. 7 employing all the ele­ments studied in this book. The over-all sound of Fig. 8 represents inmicrocosm mainstream jazz piano as it is played today. '1

Fig. 8. It I - I!:!!'I a ~

Cl 'J"""."l I -...,....... ..~ --

I I:

-(J- -u I

3 '1 '1 '7 3:

1\ • - • -

Cl .. r '\' y .. .. "'''''\'"

1 I I I I

:c.; I v

'1 '7 '1 3 '1 3..

I186

187

It I

4tJ ., If " "J .......I I

.... "1

'1 , '7 '1:

/I , .""... - - - 3

.... - -, .. .. ~.. lot" 1-."

., • I I I I

'I II '1 '7 ,.,'1

A. .11. ~

.... -.t-.... -- ~ --.-;J =::::t:=.,..I I I t ":

v~ 4 I

'1 ., '1 '7 '1 II

A ...

I

'1

-

I

'1

I

.,.f

L

I

'7

/II - - - -....

~r ,.. ,..

"'1*""

I , I I.....

I c:;-.. -'"

'1 S '1 S j7 ~'1.

/I 1 .--.--. .-. ~

.... .......,I ~I I.

....'r"" ~ -e-

'1 ., '1 II:

It ... :I I

.--" ..~~... -,;"'''',.

4tJ -I I I

I I v

'1 '1 'I '1

188189

190

Fig. 9

Fig. 10.

DRILL: Write or play an improvisation on Fig. 7. Apply this style techniqueto previous assignments in thebook using the following simplerules:

1. In diatonic progressions (Fig. 9). use sevenths only.

I I I I

" I I "'""1 '1 '1 '7 " " '1

2. In chromatic progressions (Fig. 10). use sevenths only.

3. In circles of fifths progressions (Fig. Ll ], use point of seven on allmajor, minor. half-diminished and diminished chords; on aU dominantchords. use point of three. Dominants in Rules 1 and 2 always take pointof seven. Alternate consecutive dominants with three and seven when incircle of £fths.

Fig. 11 illustrates the basic circle of fifthsseries from the twelvepositions. All thirds to be fingered 2-1; all sevenths 5-1.

In a schematic such as Fig. 11, all accidentals terminate where theyoriginally appeared.

The student is strongly advised to study and memorize Fig. 11 inorder to create the automatic facility necessary to jazz performing.

Fig. 12 illustratesa stylizedbass line on Fig. 2 in Lesson60.

Fig. 12.

.fl. 'f9- .;;;. ~" hI> l. I. za: -e- I

I I I I I

'I 3 '1 3 '1 3 '1 3 'I 3 '1 !

I I,

I I , , I I

" if· Ii· '6- .... 'l"""'1 3 '1 3 'I 3 ? 3 6 '1 '1 '1

In general.the fifthfingerof the left hand shouldappear in the secondoctave belowmiddle C, which means that the hand is shifted down oneoctave from the scale-tonechord position(seeFig. 13).

Fig. 13.

192

I SECTION XII

LESSON 73.

Standard .Procedure

The fonowingrulescan be helpful in tracing the necessarystepstowarda professionaljazzperformance.

1. Explore melody and chords in several keys.(The fonowingstepsrefer to written key.)

2. Explorearpeggiosforeach chord.S. Explorescalesforeachchord.4. Memorizemelodyand chords.5. Memorizechordsalone- no melody.In the beginning the student may not be able to accomplishsteps 4

and 5; if 50, they should be skipped. However, at SDIDe later time.thesestepsshouldbe learnedin their naturalorder.

The followingrules should be accompanied by a quarter-note footbeat - abandonthe melody:

6. Play chordsin the left hand,eighth-notearpeggiosin theright hand.1. Play chords in the left hand, eighth-notescalesin the right hand.8. Play chords in the left hand, eighth-note triplet arpeggios in the

right hand.9. Play chords in theleft hand, eighth-note triplet scalesin theright

hand.10. Play chords in theleft hand, sixteenth-notearpeggiosin the right

hand.11. Play chordsin the left hand, sixteenth-notescalesin the right hand.12. Play chords in the left hand, apply rhythm combinations to

arpeggios. (Lesson 38)13. Play chords in the left hand, apply rhythm combinationsto scales.

{Lesson52}14. Play chordsin the left hand,apply rhythmiccompositeto arpeggios.

(Lessons 39, 40)15, Play chords in the left hand, apply rhythmic compositeto scales.

(Lessons 53, 54)16. Play chords in the left hand, combine previous elements into an

improvisation.17. Stylizeleft hand asin Lesson72.18. Do not use the sostenutoor "loud"pedalwhen improvising.

193

194

LESSON74.

Ear Training

Theproblemof developing the ear for what is called prehearing is ofmajor importance in performing jazz. It goeswithout saying that the hear­ing demands in jazz are extremelyhigh and no effort should be spared inthe development of the ear. The following outline indicates the hearinglevelswhich occur simultaneously in the performanceof a mature jazz

musician:

ImprovisationMelodyLyricChord progressionpulseor beat

To hear these five levels simultaneously is a basic prerequisite for

superior jazz playing.

The followingroles can be of great value in building a secure relation­shipbetweenthe ear, the eye and the hand.

L Flay anyscale.Singany tone of the scale and check at the keyboard.2. Strike any tone on the keyboard and sing any of the remaining

eleventones.S. Flay any tone and sing the third, fifth and seventh of the five

qualities.4. Flayand singthe scale-tonechordsin twelvekeys.5, Play any scale and sing the various altered chords on each tone.6. Flay anyscaleand sing the various chromatic chords on each tone.1. Flay any scale and sing the various altered chromatic chords on

each tone.8. Repeat the previoussteps with inversions.9. Play the bass Dotes(omit the SId, 5th and 7th) in a two-part fonn

and sing the melody.10. Repeatstep9 and sing the bass line.H. Repeatstep 9 and sing the qualitiesof the bass line.12. Use tenor saxophone (closest instrument to human voice) record­

ings to sing the saxophone"line" simultaneouslywith the recording.13. Identify bass lines on recordings. Indicate bass lines in Roman

numerals.14. Flay the fifteen two-part Inventions of J. S. Bach - nrst singing

the right hand voice. then the left hand voice.

LESSON 75.

Memorization

To say that memorizationis important to the playing of jazz is equiva­lent to saying that a' knowledgeof hannony and rhythm is important tothe playing of jazz.

Memorizing the elements that go to make up an improvisation isconcentrated in one factor - the processionof the chords in theirrhythmicframe.

This chord procession includes aD the elements described in theprevious chapter on Ear Training. Of course, the problems of memoryand hearing are closely related. although memory can operate on threelevels: (l) Mental; (.2) Muscular; (3) Auditory.

Method 1 (mental) is the least preferred and involvesthinkingof theRomannumeralscomprisinga bassline (I. VI. IIi>.V,etc. ),

Method 2 (muscular) involves automatic playing (memorized handpositions) which can be found in aDprofessional playing. particularly inthe classicalfield. In topflightjazz piano. automatic playing should be at aminimum in order to give the perfonner the highest degree of spontaneousrhythmic and tonal freedom. However, the muscular method can be help­ful as a starting point for the student. This involves learning the varioushand positions of the chords until theycan be played without hesitation.When applying the outline of procedure in Lesson 73. the student will findthat mastering step 4 will not necessarilymean the same for step 5. Thehands willnot beable to function independently in the beginning.althoughhand independencemust eventually be achieved for good jazz playing.

Method 3 (prehearing) means a memorized hearing - heard in antic­ipation of the moment of playing. This is the ideal we anseek and is thereason why fine jazz playing is a eballenge both to play and appreciate.

Apply the rules of procedure to aDthe bass lines in this bookstartingon whateverpractical levelnecessaryfor the student.

LESSON 76.

Sheet Music Conversion

The problem in converting sheet music is one of simplification;sheetmusic is much too complicated to provide a simple harmonic structure forimprovisation.However, sheet music is the only practical means of deter­mining the intention of a composer. Unfortunately the aspect of most

195

C Half-diminished: em - •emb l

E!>m'·

3. Compare the two results (letters and notation) for the best solution.This step involves the problem of removing many of the faults commonto most sheet music:

(a) Unprepared dominant chords;(b) incomplete patterns;(c) interrupted patterns;(d) keychanges not indicated;( e) additional chords for melodic adjustment;(f) misspelled inversions.

Thesolutions are as follows:1. When a dominant chord appears on the nrst beat of a bar and is

held through four beats. prepare the dominant by playing a minor or half­diminished chord a perfect fifth above for the first two beats.

2. If a chord series such as I / II V / appears in sheet music. this isan incomplete pattern. It should be I VI/II V /. If III VI I V I appears.this too is an incomplete pattern. It should read III VI I II V /.

3. Interrupted patterns:

Sheet music: Pattern:

nr ~I1Ix / II V I I III bIIIx / II bIIx / II1IVI/IPlIx! I III VI III V / IVI VI +- I VII lUx / VI VI bV+I VII IIIx! VI

4. Key changes: The presence of a major chord on other thanI or IVis a clear indication of a new key. If, in converting to Roman numerals. thestudent Bods. for example. VM. II Maj. '. VIM, an immediateadjustmentshould be made in the signature no matter how fragmentaty.

5. Many sheet music bars contain three or more chords: one or two lorhe basic harmony and the remaining chord or chords to cover isolated

melody tones which clutter the frame for an improvisation. Omit this"cover" chord.

6. Often, an inversion will appear in the notation but is spelled in theguitar symbol as a root position chord. In cases of this sort. the notationshould be followed indicating the inversion position.

In concluding this lesson, the fonowing rules are wen to keepin mind:The major chord can move anywhere.The dominant. minor and half-diminished chords usually move

down a P5 or down a m2.The diminished chord moves up a m2 or moves down a m2.The conversion of 3/4 time to 4/4 time is discussed in Lesson 71.

C' susp.4

Cm'em"C min.'

C'C·cnC+

CC Maj.C Maj. 9C·

C Diminished:

C Minor:

C Dominant bl:

C Dominant P:

C Dominant:

C Major:

Cdim.Co

RULE; On aU m' symbols, build a half-diminished chord a minor thirdbelow.

2. Convert notation in bass and treble clefs to Roman numerals. Inmany cases this step can be extremely difficult; however. if the studentstarts with the lowest note in the bass and searches out the third, Bfth andseventh, the quality of the chord should emerge. If one or more of thesetones cannot be found there is a fairly clear indication of the presence of

an inversion.

importance to the improviser - the bass line - is of comparatively minor

importance to the composer.The following steps are suggested as a means of isolating the fabric of

a tune from the melody and orchestration of the sheetmusic.1. Convert guitar symbols to Roman numerals. Guitar symbolsappear

in letters; these letters must be given a numerical position in the key. Thefollowingtable on C indicates the values of the letters and their conversion.All letters will function in the same manner.

~m6 IS the lirstInversion of a e;. chordwhichshouldbe played in root po$ition.

196 197

Recordings

General knowledge and playing experience with the literature of thekeyboard are essential to jazz performing, although some composers are ofmore value than others.

Bach, Mozart, Chopin, Brahms and Debussy are the major inBuencesprevalent in jazz piano. although familiarity with all composers of allperiods can nourish the student in hiswork.

Jazz hommen are an important inlluence on all jazz pianists. withemphasis on the tenor and alto saxophone.

Hanon studies in twelve keys are valuable in building key facilityand the diatonic feeling of jazz harmony.

In conclusion, a jazz musician can be only as good as his degree ofexposure to alI music regardless of the instrument or the period and. ofcourse, as his degree of mastery of his instrument.

Unlike the literature of classical music, jazz literature does not andcannot by its very nature appear as written or notated music. Recordingsare the only permanent document of jazz literature and the responsibilityof becoming familiar with thisliterature rests heavily upon the student.

It is important for the serious jazz student to study the basic diseog­raphy of jazz from 1925 to the present day. This study should be ap­proached on two levels - general, and spedfic instrument

Study in the first category should besufficient to identify general stylis­tic features of each period with a knowledge of the major figures (regardlessof instrument) of each period.

Study in the second category should have reference to the specificinstrument chosen by the student. Here, the research should be moreintense, with serious study of each period, its stylistiC patterns, the com­positions played, the techniques employed, etc.

The follOWingoutline indicates some of the major figures on each ofthe important jazz instruments:

198

LESSON 77.

Touch-Technique

The technical demands of modern jazz playing are in many ways com­parable to those required by serious music. On some jazz instruments(notably the trumpet). levels of virtuosity have often exceeded those ob­

taining m the concert field.In jazz piano. Teddy Wilson and Art Tatum established the modern

levels of virtuosity although their styles utilized a great deal of legato play­ing which hasin recent yearsundergone vital changes.

The major figure after Wilson and Tatum is Bud Powell who, despitehis revolutionary contribution to modern jazz piano (abandonment ofswing bass, etc.), retained much of the finger legato playing of the earlierperiod. George Shearing in general continued the legato sound with anemphasis on block chords skillfully pedalled to resemble the sound of asaxophone section. Shearing's "single line" was classicaIly conceived along

the lines of a Mozart rondo.Along with the virtuoso Powell school. there appeared the beginnings

of a primitive school of pianism led by Thelonius Monk. This styIe remainedin a relatively undeveloped stage until 1951 and the appearance of HoraceSilver, who founded themodern articulation approach to jazz piano. Thiswas a revolutionary movement away from the flnger legato and toward whatmight be described as a "wrist" legato. This means the use of a quickwrist stroke on practically every note which is cushioned and connected bythe finger clinging to the key. On fast sixteenth- and thirty-second notepassages, this wrist stroke is abandoned in favor of the finger. but the es­sential eighth.note strokes nearly all start at the wrist. This is an attemptof the pianist to simulate the hard, sharp attack of the various jazz horns.

In the last seven years this style of articulation has become the ver­nacular sound of modern jazz piano. Oscar Peterson has furthered the artic­ulation style by enhancing it with a virtuoso technique reminiscent of ArtTatum's. There is little of the classical legato in Peterson, who is un­doubtedly the outstanding jazzpianist today.

Hampton Hawes has effected a fusion of the Powell architecture andSilver's touch. Hawes has brought the Charlie Parker "line" concept to thekeyboard with a definite emphasis upon the articulated stroke.

This wrist stroke is not a staccato or half-staccato. Classically trainedpianists immediately apply a staccato technique to jazz playing with disas­trous results. In classical terms, the stroke is more related to a marcato

attack, but never a staccato.

Arranger:Fletcher HendersonDuke EllingtonDon RedmanSy OliverGerry MulliganBill HolmanNelson Riddle

Bands:Fletcher HendersonBenny GoodmanDuke EllingtonJimmie LuncefordCount BasieWoody HermanGerry Mulligan TentetStan Kenton

199

The following is a brief chronology of the history of jazz piano.Bass:Pops FosterJimmy BlantonOscar PettifordRay BrownCharles Mingus

Clarinet:Johnny DoddsPee Wee RussellArtie ShawBenny GoodmanStan Hasselgard

Drums:Baby DoddsChick WebbGene KrupaKenny ClarkeJo JonesMax Roach

Guitar:Eddie LangGeorge van EppsCharlie ChristianDjango ReinhardtTal FarlowJoe Pass

Piano:Jelly Roll MortonEarl "Fatha" HinesFats WallerTeddy WilsonArt TatumEarl "Bud" PowellGeorge ShearingHorace SilverOscar PetersonHampton HawesWynton KellyHerbie HancockMcCoy TynerBill Evans

Alto Saxophone:Benny CarterJohnny HodgesCharlie ParkerLee Kanitz

Tenor Saxophone:Bud FreemanColeman HawkinsLester YoungStan GetzJohn Coltrane

Miscellaneous Instruments:Milt Jackson-vibraphoneJean (Toots) Thielemans-harmonicaSerge Chaloff-baritone saxophoneJimmy Smith-organRed Norvo-xylophone

Trumpet:Buddy BoldenLouis ArmstrongBix BeiderbeckeRoy EldridgeBunny BeriganDizzy GillespieMiles DavisChet BakerClifford Brown

Trombone:Kid DryJack TeagardenTommy DorseyJ.J.Johnson

Vocalists:Louis ArmstrongBessie SmithJack TeagardenBing CrosbyJoe TurnerBillie HolidayEddie JeffersonFrank SinatraElla FitzgeraldAnita O'DayFour FreshmenHi-Lo'sLambert-Hendricks-Ross

BarrelhouseMorton

~Waller

ITatum

Dissidents

IThelonious MonkLennie TristanoErrol] GarnerDave BrubeckCy Walter

1900

Fusion

]1925

FusionI

1940I

Earl "Bud" PowellI

Hhythrnlc

IHorace SilverHampton Hawes

HagtimeJoplin

::Hines

IWilson

Harmonic

1George ShearingWynton KellyOscar PetersonHerbie HancockBill EvansMcCoy Tyner

This list is by no means exhaustive. It is a general guide to the vastjazz literature.

It is important to remember that many of the most important ad­vances have occurred on the trumpet and saxophone and were latertransposed to other instruments; i.e., Armstrong to Hines, Parker toPowell. The point is that the "lines of influence" in serious music arefairly direct; in jazz, these lines crisscross in many ways from instrumentto instrument and from period to period. Full knowledge of these transi­tions is essential to the development of a thorough background.

200 201

SECTION XIII

For Further Study

In this section, a number of additional figured bass lines are pro­vided to enable the student to expand his knowledge of the precedinglessons. Follow the previously suggested procedure of writing the tuneout on two or three staves, depending on which lesson is being ex­panded.

The song "Carolina Shout" is included here as a lesson in the styleof Thomas "Fats" Waller. It is, in the opinion of the author, an idealexample of Waller's stylistic contributions.

Dolphin Dance

The following is a bass line for "Dolphin Dance" in Eo.Note keychanges.

(Eb) I I Ixll3 I I I VIIx WIIx I VI VI2 I IV's I VI VI2 II

(G) II bflx I I II (Eb) IVm IVm2 II I V #Vo I VI I VI2 II

omit 5 omit 5(G) II I bIIx I I I IX1l3 I Ix ll 1l3 I IX1l3 Ix I WIIX1l3 I bVIlxllll 3 I

(G) bVIlxll3 I VI I1x I bVlx I V I III I Vlx V4J I DVmI VIIx I6 6

(G) VIx1l3I IV5 I VIx1l3I IV5 II

DOLPHIN DANCE-by Heroic HancockCourtesy of Hancock Music Co.Used by permission. 203

204

Invitation

The following is a bass line for "Invitation." This tune presents aunique problem due to the absence of major chords (the normal cadencechord) with the exception of the final chord. Note key changes.

(C) Ipll7 / II:<1I II I V I II I V I Vm I Ix II (Eb) Ulm I n1l1 I

(Eb) II I V I II I V I Vm I Ix II (Db) II I V II (B) II llIl 7 I IF'1 I

(B) II I V II (A) II::::I1I Ip7 I II I V II (C) VI I VIz I IVXb5 I

(C) IVxb5 I IIIx 1l5 I blIIx I IIu7 I II'l7 I II I V I II I V I Vm I Ix II

(Eb) II I II,2 I bvnMb.5 I bVIIMI>5I II¢ I Vll5 Ilm L I ImL II

INVITATION-by Paul Francis Weber and Bronislau Kaperl!:) 1952, 1956 Metro-Goldwyn-Mayer Inc. l!:) renewed 1980. All rights controlled byRobbins Music, a catalogue of CBS Songs, a Division of CBS Inc.International copyright secured. All rights reserved.Used by permission.

West Coast Blues

The following are a head chart and a blowing chart for "West CoastBlues" in Bb. Note 3/4 time signature.

HEAD CHART

~ Ix / Yo I bVIIx / v.; / Ix I Yo I blI I bII bVIx I IVx I Yo I :.'-/ Yo I

~ Ix I Yo I Yo I Yo I V / Yo I IVx I Yo I Ix I bUb I bVIM / DIIx II

~ Ix I Yo I bVllx I Yo I Ix I Yo I bII I bh bVix~/ IVx I YoI Yo I Yo /

~ Ix I v. I Yo/ v. I V I Yo / IVx / v. / Ix I bUIx I bVIM I bl lx 1/

BLOWING CHART

~ Ix I Yol bVllx 1::.</Ix /Yo I bII I bVIx IIVx IY; I IVm / bVIIx I

~ III I VIx I bIll I bVIx I II I III / IV I V I Ix I bIlIx /

~bVIM I bllx 1/

WEST COAST BLUES-by John L. eWes) MontgomeryCl ]960 Taggie Music Co., a Division of Gopam Enterprises, Inc.Used by permission.

The Summer Knows

The following is a bass line for 'The Summer Knows" in (f) minor.Note key changes.

(F) VII3V I I I II~ I I I Vm Ixll3 I IV II (A) lIef>V I I V I I II

(Ab) V I I V I I II (G) V / 112 I II (F) lIef>bIIx I I I IIef>2I I I

(F) IItJl2 II (f) 1m I IV 11+6 I 1+6 II

SUMMER OF '42-THE SUMMER KNOWS-by Michel Legrand and Alan andMarilyn Bergman

Cl ]97] Warner Bros. Music Corp. All rights reserved.Used by permission.

Time After Time

The following is a bass line for "Time After Time" in Bb.

I VI / II V1l3I III VI I II Vll3 I I I IV I VIIm I IIIx I VI VI2 /

bVef>VIIx / IIIu1 IIIll7 / III¢ VIx IIIlf#1 n ll7 / II bVIx I V1l3I V I

I VI I II v» I III VI I II V1l3IT vt bVlo I Vm bY I IV I bVIIx I.. ..

I ~ Illil IIcf>3I VIz bV IIVm bVIIx I III bIllo I II blIx 11+6 I

1+6 1/

TIME AFfER TIME-Lyrics by Jule Styne, Music by Sammy Cabn@ 1947 (renewed) Sands Music Corp. All rights reserved.Used by permission.

For ADWe Know

The following is a bass line for "For All We Know" in the key ofF.

piclc-up

blIx / / I VI / fub5 / V I II bIIx I I II I III¢ bUIx I IIU7 11117 I

II #110 I III / bIIIo I II II2 I VIIm bVlIx / VI::"#7VI1l3I VI bIllo I

II I V#3I I VI /I1x b5 I V I II bIIx I I II I IIItJl blIIx I IIllll7 11117 /

II #110 I III VI I bVmVIIx / II1x bVIIxb5/ VIxll3VIx I II bVIxb5I

V1l3V 11+6 11+6 II

FOR ALL WE KNOW-Words by Robb Wilson and James Griffin, Music by Fred Karlin.© 1970 by Music Corporation of America, Ine., New York, N.Y. Rights administeredby MCA Music, a Division of MCA Inc., New York, N.Y. All rights reserved.Used by permission.

205

The Preacher

The following is a figured bass for "The Preacher" in F.

VIl3II I bVIo I Vm OVI IVx OVIlx I 1 V:::aI

piclc·up

j IV Vilm IIIx I VP117VI:t7 I VI I1x I II Vl13I I OVlo I Vm Ix /

1m IVx I VIIm II1x I IV+6 srve I Viz VI I II v:;a I 1+6 VIl3 /

1+6 VIl3III bVIo / Vm bV I IVx WIIx II V:l3 I I IV Vilm Illx I

VP:1l7VJll7I VI IIx / II VIl3/1 bVlo I Vm Ix I 1m IVx I VIIm IIIx I

IV+6 tlIVo I Viz VI I II Vila I 1+6 VIl3I 1+6 II

mE PREACHER-by Horace SilverC 1956 by Silhouette Music Corp.Used by permission.

Desifinado

The following is a figured bass for "Desifinado." Note key changes.

(F) I / YoI IIxbS I y. I II I V I III<f>I VIx I II Il,2 II

(D) II<f>V I I I Ix II (F) VI<f>I Ilx / bllM I Yo / I I Yo I I1xb5 I

(F) y. / II / V I III<f>I VIx I II III I IVm WIIx I I VI II

(A) II<f>bIlK I I I VI I II I V / III / VI/II I V I I / VI I II I V II

(F) VIlm I I1Ix"s / VI/11K / II I bIlIx / 11KI bIlx / I / Yo I

(F) IIxl>sI Yo I II I V / III<f>/ VIx / II III I IVm bVlIx I I VI I

(F) IIx / bV<f>I IVm I IIIxll5 I bUIx I I1x I bUM I I 11+6 II

DESIFINADO-Woros by Newton Mendonca, Music by Antonio Carlos JobimQ 1959 and 1962 Editora Musical Arapua, Sao Paulo. Brazil. TRO-Hollis Music, Inc.New York, controls all publication rights tor the USA and Canada.Ci 1962, Bendig Music Corp. assigned to TRO essex Music Ltd, 85 Gower Street.London, WCi for the territories of the British Empire and Commonwealth of Nations(excluding Canada) and the Republics of Ireland and South Africa.Used by permission.

Our Love Is Here to Stay

The following is a bass line for "Our Love Is Here to Stay" in thekey of F.

plclc."p

VI II I1x"5 I II V:3 I p6 II I III VI I IIx"'~ I II 112 I bVIIx vr, I

I1x tlIIa I III VIx I II V I I IV I VII IIIx I VP=7 Vp7 I VI n, I

II bVIx I V VI I I1x'S I II Vl13I 1+6 II I III VI I I1x'S I II n, /

bVIIx VIx / Ilx tlIIo I III vr, I II V I Vm Ix /IV+6 tllVo I VIz VI I

II Vl:3 I 1+6 I 1+6 1/

OUR LOVE IS HERE TO STAY-by Ceorge and Ira CershwinID 1938 by Chappell & Co., Inc. to renewed.International copyright secured. All rights reserved,Used by permission.

Here's That Rainy Day

The following is a bass line for "Here's That Rainy Day" in Bb.Note key changes.

(Bb) I VlIxl:5 /1 (Cb) III z blIx I I I IV II

(Bb) II III I IV V I I VI I Vm svII

(Db) 1I::ll7 II::7 I II bIIx II svI IV IV2 11 112 II

(Bb) 11"=7 11::7 / II V / bVllx VIx /I:NIx V I I VIIx"5 1/

(Cb) III z bIIx I I I IV II

(Bb) II III I IV V / Ix I Vm OVIIV I..

(Bb) VIP IVo I III VI I IIx I II III I IV V 11+6/ p6 /1

HERE'S THAT RAINY DAY-hy Burke and Van HeuseniO 1953 by Burke & Van Heusen. Inc. iOassigned to Bourne Co. & Dorsey Bros.Musicblnc. Q renewedUsed y permission.

2f17

208

The Girl from Ipanema

The following is a bass line for "The Girl from Ipanema" in F. Notekey changes.

(F) I / I I Ilxb5 I Ilxb5 I II / tv» I III bUb / II bIlx I I / I I UXb5 I

(F) IIxb5I II I blIx I I II II (F~) I I I I IVx IIVx 11m 11m II

(F) VIx I VIx I II / II I bVIIx I bVIIx I III I VIxh5I II I Vb5 I

(F) I I I / IIxb5I Ilxb5/ II / blix I I I bllx I I I bllx I I / I II

THE GIRL FROM IPANEMA (CAROTA DE IPANEMA)-Music by Antonio CarlosIobun, English words by Norman Gimbel, original WOlds by Vinicius De Moraes

Cl 1963 by Antonio CarlosJobim and Vinicius De Moraes, Brazil. Sole selling agentDuchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. Allrights reserved.USedby permission.

One Note Samba

The following is a bass line for "One Note Samba" in the key of Bb,Note key changes in the bridge from Db to B.

(Bb) III / bIIIx / II I blix / III / bIIIx: / II I bib / Vm / bV I

(Bb) IV I bVIlx I III I blIIx I II blIx 11+ 6/1 (Db) II I V / I I I II

(B) II I V I I 1/ (Bb) lIt/> V I III / bIIIx I II I blIx / III I

(Bb) bIIIx / II I bIlx I Vm I bV I IV I bVlIx / blUM I IIx I

(Bb) bUM 11+ 6 /1

ONE NOTE SAMBA (SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm,original words by Newton Mendonca

C 1961, 1962 by Antonio Carlos Jobim andMrs. N. Mendonca, Brazil. Sole sellingagent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries.All rights reserved.Usedby permission.

Just in Time

The following is a bass line for "Just in Time" in Bb.

I I IV / VUm I IIIx I III I VIx I VI I I1x / II I V I I I Ix I Im+6 /

IVx / VII I lUx / VI I V~::7 / Vl2 I bV4>IVm+6 I III I VI I VIxl:5 I

Vo / bVePI IVm+6 I III I bUIx I Ilx I II V I {+6 1'1+6 II

JUST IN TIME-by Betty Comden, Adolph Green, and jule Styne(\ 1956 Betty Comden, Adolph Green, and jule Styne, Stratford Music Corp ownerChappell & Co., Inc, and G. Schirmer Inc. ~ ,International copyright secured. All rights reserved.Used by permission,

Tune-Up

The following is a figured bass for "Tune-Up" in D major. Notemodulations.

(D) II I Vb5/ I I }+6 /1 (C) II I Vh5 I 1 / 1+6 II (Bb) II I V I

(Bb) I I VI II (D) II / bIIIM I bVIM I V I II I v» / I I 1+6 II

(C) II I Vh5 / I / 1+6 II (Bb) II I V / I I VI/I (D) II I bIIx I

(D) I 11+ 6 //

TUNE UP-by Miles DavisCourtesy of Prestige Music Co., Inc.Used by permission.

The Shadow of Your Smile

The following is a bass line for "The Shadow of Your Smile" in thekey ofG.

pld.:-up

bVt/>I VIIm I lIIx I VI1I7VI I IIx / II I V / I / IV I VII / lIIx I

VIU7 VIlI7I VI V~ I bV4>I VIlx I IVx / IIIx bVt/>I VIlm I lIIx /

3VI#7VI /IIx I III Vll3 IVo I III<fJI vr, I II II ~I1 III / IVm bVIIx/

III III<fJI VIx1l3 blIIx IIIx / II V::3 11+ 6 I 1+6 1/

THE SHADOWOF YOURSMILE-by John Mandel and Paul Francis WebsterCourtesy ofR.C. Burkett, Howard-BurkettMusicUsed by permission.

209

Nica's Dream

The following is a bass line for "Nica's Dream" in bb minor. Thekey series is as follows:

Bars 1- 6: bb minorBars 7-12: Gb majorBars 13-22: bb minorBars 23-28: Gb majorBars 29-32: bb minorBars 33-46: Db majorBars 47-54: bb minorBars 55-60: Gb majorBars 61-64: bb minor

pH·up

(bb) bIlx II 1 I p6 I bVIImL I bVIIm+6 I 1 I }+6 II (Gb) IIU7 I

(Gb) IIJ;7 I II I blIx 11+6 / IVx II (bb) II I bIlx 11+6 I 1+6 I 1/1+ 6 I

(hb) bVIlmL / bVIIm+6 I I I J+6 II (Gb) II:r:lI7I 1I!:7 I II I bIb I

(Gb) 1+6 I IVx II (bb) II I bIlx I 1+6 I 1+6 II (Db) II I I14>I

(Db) IiI Ii f bvflM I VIx!:SIIIx I II blIx I 10 / I VI III I I14>I

(Db) IiI If f bVilM I VIxllS/ I1x I II IIz /1 (bb) IIx I bilK / I 11+6 /

(bb) bVlImL / bVIIm+5 I I / 1+6 II (Gb) I1U7 I I1!:7I II / bib I

(Gb) 1+6 / IVx II (Bb) II / bIlx 11+ 6 I J+6 /1

NICA'S DREAM-by Horace Silver" 1956 Ecaroh Music, Inc. © 1975 Ecaroh Music, Inc.Used by permission,

Four

The following is a figured bass for "Four" in Eb major.

blIx II I II I #IIo III 11m! IVx / II I III /IVm /

(>ide·up

bVIIx I III / bIII bVlx I II liz ! VIIm IIIx I III I bIll bVIx I II / bIIx /

I II / :l:IIIoIII 11m! IVx ! II I III ! IVm ! bVIIx / III I bIll bVIx III u, I

VIIm IIIx ! III hIII / II bIIx! 1. 6 / 1+6 /1

FOUR-by Miles DavisCourtesy of Prestige Music Co., Inc.Used by permission,

Quiet Nights and Quiet Stars

TIle following is a bass line for "Quiet Nights and Quiet Stars" inthe key of C.

~ ~

IV! I % I bIIx3 / % / Vm / Ix,"3 / IV / IV I IVm / bVIIx I IIIx:::>/

4 4VIxl:S I VI / I1x / II II¥. / VII bVIIx / II",1 / x I bIIXl I % I Vm I

Ix:::!I IV I IV IIVm I bVIIxl>SI III I VI I II I V,"3I III4>I bIIlx I II /

blIx / I I 1+6 /I

QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original words and Music byAntonio Carlos Jobim. English words by Gene Lees

© 1962, 1964 by Antonio Carolos jobim, Brazil. Sole selling agent Duchess MusicCorp. (MCA) New Yolk, N.Y. for all Eng/ish speaking countries. All rights reserved.Used by permission.

What Are You Doing the Rest of Your Life

The following is a bass line for "What Are You Doing the Rest ofYour Life" in (a) minor. The chord chart is scored in C major, althoughthe final cadences occur in the relative minor. Note key changes.

(C) WIIx 1/ VP'7 vr,» I VI2 bVq, / IV IVltSI IV+6 IV2 I

(C) IIu7 I1ll7 / II 112 I VII / bVIIx I VIlt7 VI2lt7 I II n, I VII I

(C) WIIx I Vp:7 VI2!:7 I VI2 bV4>I IV IVlISI IV+6 IV2 I II n, 1/

(A) II blIx I I II I III VI I II blIx / I VI I II bIIx / I IV /1

(Gb) II blIx / I 1+6 II (F) II bilK I I r, VI Viz 1/ (C) VI1l1VI/' /

(C) VIz bV4>/ IV lVI'S I IV+6 IVz I IIllll7 1I1I7 / II IIz / VII I

(C) IIIx VI II (a) IV IV:z / II blIx / Irn IIVx III I bIlx 11+6 / J+6 1/

WHAT ARE YOU DOING THE REST OF YOUR UFE?-by Alan Bergman,Marilyn Bergman, and Michel Legrand

© 1969 United Artists Music Co., Inc. All rights administered by CBS Songs, aDivision of CBS. Inc. All rights reserved,Used by permission, 211

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:::AROLINASHOUT-by James P. JohnsonCJ1926 by MCA Music, a Division of MCA Inc., New York, N.Y. @ renewed. Allrights reserved.Used by permisston.

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