jazz theory advanced

5/25/2018 Jazz Theory Advanced

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CHAPTER IThe II-V-I Progression and Its Variations

CHAPTER 2II-V-I in Transient Modulations

CHAPTER 3General Modulations

CHAPTER 4Beginnings

CHAPTER 5Classic Bridges

CHAPTER 6Chords In Symmetry

CHAPTER 7Other Progression Cells

CHAPTER 8More Recent Traits

THE LIST- a list of songs, discussed in the text

ROADMAPS


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The II-V-I Progression and its Variations

?? II-V-I IN MAJOR?? II-V-I IN MINOR

?? II - #II - III?? IV - #IV - I

?? TRI-TONE SUBSTITUTION?? BACK DOOR PROGRESSION?? COLTRANE MATRIX

?? EXTENSIONS OF II-V-I?? CONFIRMATION SEQUENCE

?? BEBOP TURNAROUND

Of all the progression cells taken up in this book, none is even remotely as prevalent asthe II-V-I progression.Although contemporary jazz compositions have been moving away from it for quite

some time, the II-V-I remains the basic unit of tonal organizationof the jazz,popular, Broadway, standard, and bossa nova tunes that comprise much of the jazz

musician's repertoire. And those tune-types are still the common denominator for jazzmusicians today, even in the many countries other than the U.S. in which jazz music is

performed.

However complex the harmonic traits of modern jazz may become, those tune-typeswill still form an essential part of the jazz repertoire, and they are heavily-laden with II-

V-I's.

Lest the reader surmise that the II-V-I progression was invented by the composers whowrote the tunes that comprise the jazz repertoire, understand that the foundations werelaid several centuries ago by European Classical composers, who veryfrequently used

the progression cell and its variations, though in slightly different ways than it appearsin the jazz and pop tunes of this century.

It was at the core of what musical analysts refer to as "tonic-dominant harmony," aharmonic system which stresses the use of "key centers" (represented by tonic, orsimply I chords) that were prepared/preceded and supported by "dominant seventh

chords" (V7), and the latter were often preceded by chords of the "subdominant

function" (IV or II).The classicalanalyst generally labels this progression cell as ii6 - V7 - I (small caseRoman Numeral on the II chord indicates a minor chord and 6 indicates first inversionof that chord, which was the usual form).

Thejazzanalyst usually omits the use of small case Roman Numerals, owing to therather high frequency of chords which are altered from the structure that is formed

naturally within a diatonic system.


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For example:

?? a chord built on the second degree of a major scale (as in d - f - a of a C majorscale) is a minor chord, yet in tunes used by jazz musicians that chord often

appears as a D7 (a dominant seventh structure on II), for a variety of reasons thatare unnecessary to discuss at this point.

?? An even more significant example is the chord that is naturally formed on thesixth (VI) degree of a major scale, which is a minor chord (or minor seventhchord), as in A C E (G) of the C major scale. Yet the VI chord in jazz tunes

appears far more often as a dominant seventh chord (VI7) than as a minorseventh chord (VIm7).

?? The IV chord is major, when formed naturally within a key, but it frequentlyappears as a minorchord, as in the "back door progression" that will bediscussed later in this chapter.

?? AlteredRoman Numerals (bIII, #IV, bII, #II, etc.) are even more freely-

structured, depending upon the needed function of the moment.?? Finally there is the problem created by, say, a half-diminished seventh chord,

which is neither major norminor, hence a classical analyst's ii7 designation fora II, even with supplementary markings could be confusing.

For all the foregoing reasons, only large case Roman Numeralswill be used in this

book, whether the chord is major, minor, augmented, or diminished, and whether thechord's root is within the scale of the key or an altered scale-tone.

Nearly all tunes used by jazz musicians are "tonal" (as opposed to "atonal"); that is,

there will be at least one "key center" in each tune .Often there will be several key centers within the overall length of a given tune.

The first requirementof a key center is the existence of a chord which can function asI (tonic).

Though a wide variety of chord-types couldserve as I, such as the dominant seventhstructure found in most blues progressions (I7), or the Im7 in BLUE BOSSA, the most

obvious and common forms of the I chord are the major seventh and major sixth chords( in a major key), and the minor-major seventh and minor sixth chords ( in a minor key).

Whether in a major or minor key, the second requirementis a chord which functionsas a V (dominant) to the tonic.Though we will explore other possibilities later in the chapter, the most common choice

is the V7 chord (dominant seventh structure).

The third likely chordfunction to be used in establishing a key center (though notalways present) is the IIm7 (subdominant function) or a common substitute, such as a

IV major seventh chord (in a major key), or IIm7b5 or IVm (in a minor key).Variations and substitutions notwithstanding, the classic IIm7 - V7 - I ( in major) andthe IIm7b5 - V7 - I- (in minor) prevail for an astounding 63-95% of the time in tunes

which outline or establish key centers!


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The II-V-I Progression in Major

The IIm7 - V7 - I progression is formed by three chords that are all diatonic to the keycenter (that is, they are naturally-formed in accordance with the key signature of I), the

three chord roots are consecutive in the cycle, and move in a forward (clockwise)direction within the cycle.

Figure 1-A

C

G F

D Bb

A Eb

E AbB Db

F#

Bb

Cyclic motion of this sort is very common in most forms of tonal music, includingclassical music, where its use can be traced back for at least three centuries.

Identifying this 3-chord segment of the cycle, when viewing part of a lettered chordprogression of a tune, is one of the two "tests" needed to determine the existence of a II-

V-I cell.

The other aspect to be examined are the chord-types of each of the three chords.So if we see three consecutive chord roots that agree with a 3- letter segment of the cycle

(in a forward direction, and the chord-types are minor seventh, dominant seventh, andmajor seventh respectively, then we can be certain that we are viewing a II-V-I

progression in a major key.

It was stated earlier that the II-V-I progression satisfies the requirements for establishinga key center.In jazz and pop music, this statement can be extended to include nearly every

modulation to a new key centerwithin a given tune's length.In other words, the II-V-I is frequently used as the modulating apparatus itself!


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The II-V-I Progression in Minor

Approximately 25% of the tunes in the jazz musician's repertoire are in a minor key.Add to this the high incidence of tunes that are chiefly in major, but which modulate to

one or more minor keys within their overall length (especially at the "bridge" or "Bsection"), it is easy to see why we cannot afford to overlook aspects found in the minormode.

Though the II-V-I progression in a minor key is used in much the same way as it is in amajor key, especially with regard to establishing the key center(s), the structures of the

individual chords are quite different and more complex.We couldrelate those differences by discussing the nature of the tonic minor scale (orscales would be more accurate) from which all three chords are derived, as was done

with the major version of the cell. However, it is less confusing to simply discuss thechord structures themselves.

First of all, since many songs will include bothmajor and minor key segments, there isthe need to prepare the listener/player for the change of mode, so that the hearer cansense the impending change even before the tonic (I) chord arrives.We can surmise, in the case of II-V-I in major, that the fact that all three of the chords

derive their notes from the major scale of the I chord, that the ear is prepared to hear theapproaching I majorchord even before it arrives, during the closely-related II and V

chords.

To prepare the sound of a minorkey center, we need chord-types for the II and V thatwill already be hinting at the minor I chord that is to follow.

?? And so we generally find that the II chord will be a half-diminished seventhchord (m7b5), instead of the IIm7 that was used in major.

The half-diminished seventh chord only differs from the minor seventh structureby one note, that being a fifth that is lowered one half-step.

In fact, as pointed out in the Introduction of this book, an alternate symbol forthe half-diminished chord is the minor seventh with a lowered fifth (b5).If we relate that b5 of the IIm7b5 chord to the key center, we find it to be the

lowered sixth (b6) of the key, a note that is found in two of the tonic minorscales (harmonic and natural minors).

Hence the half-diminished form of the II chord prepares the ear to anticipate anapproaching minor key center.

Furthermore, the most common substitute for a IIm7b5 is a IVm (or IVm6)chord, which has the same note for its third of the chord as the IIm7b5 has for itsfifth.

In fact, the IVm6 is spelled with exactly the same notes as the IIm7b5 of thesame minor key (example: an Fm6, which is IV of C minor, is spelled F, Ab, C,and D, and a Dm7b5, which is II of C minor, is spelled D, F, Ab, and C).

?? The V chord could prepare a I minor chord by simply adding a loweredninth (b9), which is also the b6 of the key center.

The more complete, common, and effective structure for the V chord, however,is a dominant seventh with a raised fifth ( + 5 ) and a raised ninth ( +9),sometimes referred to as the "altered dominant."

A b9 in place of the +9 is equally effective (they can even co-exist in the same


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chord), still including the +5 as well, but the +9 is the most commonly-used

form of the ninth in an altered dominant.

We already know that the b9 helps to prepare a minor I chord, and the +5 causes thesounding of the same note that will be the lowered third of the I chord, which is a great

preparation for a minor key.But what about the seemingly preferred +9?

Why should that note foretell the sound of an impending minor I chord?After all, if the V chord was a G chord (V of C), the +9 would be an A#, which is anenharmonic spelling for Bb.

Wouldn't the presence of an equivalent for Bb reduce the powerful effect of the "leadingtone" (B natural) that is already in the V chord as its third, and which propels the chord

toward a logical resolution to I?There are several answers to this, all worth presenting at this time:

?? Firstof all (staying in C minor for the moment), Bb does exist in the "natural

minor scale" on C.?? Secondly, the "leading tone" (B natural) is still present, as the third of the G7

chord.

?? Thirdly, the inclusion of Bb (A#) gives the V chord the illusion of being minor,offering a sort of poetic support to the minor I chord.

?? Finally, the "altered dominant" chord is, by nature of its sound, a very dramatic,

almost "bluesy" chord, enhancing the usually-desired intent of composers toemploy minor keys for dramatic effect.

So the common form of the II-V-I progression in minor is: IIm7b5 - V7alt -

Im(maj7)

Despite the fact the chord structures for the II and V, in major and minor keys, are

primarily used to prepare the listener for the expected form of I (major or minor),songwriters sometimes like to surprise us, by using a I chord we didn't expect.In nearly all of such cases, the composer will set us up to hear a minor form of I (by

preceding it with IIm7b5 and V7alt), but surprise us with a I majorinstead.Examples of this delightful sort of deception are in:

?? EVERYTHING HAPPENS TO ME (measure B5),

?? PENSATIVA (m.13),

?? WHAT'S NEW (m.7 and B7) and?? FOR HEAVEN'S SAKE (m.1).

This almost never happens in reverse, where a composer precedes a minor tonic withthe major forms of II and V (m7 and 7, respectively).

The prototypical forms of the II-V-I progression, in major and minor, are socommonplace in the tunes played by jazz musicians that it is very difficult to locate

tunes which don't contain at least one II-V-I progression, even among contemporarytunes, and most tunes have many occurrences of that cell.

For this reason it would be pointless, and perhaps impossible, to list all the tunes which

have at least one II-V-I progression.


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Variation 1: IIm7 - #II7 - IIIm7 (or I)

This peculiar, yet popular, progression cell substitutes a #II7 for the V7, andsometimes a IIIm7 for the tonic major chord (I).

The latter is easier to understand, as a IIIm7 has at least two notes in common with the Ichord, hence it has always been regarded as a logical substitution.The #II7, on the other hand, has little or nothing in common with the V7. In fact, the

third of the #II chord is the major seventhof the V chord, which is a virtualanachronism to a dominant function.

It only works because the #II functions as a "leading tone chord" of III (or VII7 of III,as a classical theorist would put it).Since VII has long been considered as a substitute for V7, when going to I, the door is

open to precede any object chord with a diminished chord whose root is a half-stepbelow the root of the object chord (in this case, the object chord is IIIm7).

When the I chord is used instead of III, it is usually in first inversion, so that its bass

note (not its root) is the same as the root of the III chord, causing the #II to become aleading tone chord (or VII) of the third of the object chord.

The reader might find it hard to believe that this variation would resemble theprototypical II-V-I discussed earlier. But consider that it has been used so often in tune

progressions and in arrangements that even improvisers will consciously andunconsciously play the variation against a sounded II-V-I progression!The two phrases shown in Figure 1B have appeared in numerous jazz recordings, each

time against the conventional II-V-I.The first one has been played by many players over the years, whereas as the secondexample was invented by John Coltrane and then adopted by his many

followers/imitators.

Figure 1B

(sometimes No. 2 is used with a 2-bar duration of I maj7)

The likely historical source for the IIm7 - #II7 - IIIm7 (or I) progression is the solopiano style of the 20's and 30's, in which self-accompanying pianists frequently used the

progression in the left hand, usually voiced in tenth intervals.The cell generally happened at times when the given chord was a relatively longduration (4 beats or more) of a tonic major chord.

Since the music of that time was pretty lively, a sustained chord in the left hand would

inhibit the needed pulse-like effect, hence pianists would expand, say a one-measureduration of a tonic chord, into quarter-note durations by playing I - IIm7 - #II7 - IIIm7


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(or I in first inversion) with the left hand.

This practice was particularly noticeable in performances by Art Tatumand by thecountless admirers/imitators who followed him.

An even more expanded version of the progression was used by George GershwininLIZA, where the first three and one-half measures use a five-chord progression, in half-

note durations (in a fast alla breve tempo), that is I - #I7 - IIm7 - #II7 - I (in firstinversion).That same progression also forms the first three and one-half measures of Eubie Blake 's

MEMORIES OF YOU.Unamplified rhythm guitarists, like the legendary Freddy Greenin the Count BasieOrchestra of the 30's and 40's, also needed to transform long durations of a given chord

into quarter-note durations to support the pulse, and so they also were given to using theprogression under discussion (and others as well).

In all of the foregoing examples, whether II - #II - III, I - II - #II - III, or I - #I - II - #II -

III, the progressions result in a bass-note motionthat rises by step and/or half-step,

creating a strong feeling of climbing and a growing intensity.

The excerpt shown in Figure 1-C is a classic tune that exemplifies the use of the

harmonic device we are studying.It occurs in the fifth measure, tonicizing the IIIm chord in the key of F (Am7).It is interesting to note that, before we encounter the device of mm.5-7, a regular II-V-I

has already occurred in mm.1-3.If we listen closely to the tune, or if we play the progression on piano, the two cells can

be heard to function in the same way, though they don't sound identical.As is the case with all the harmonic traits studied in this book, it is essential to learn theappearance and sound of each, and to be able to distinguish between the basic form of a

trait and its common variations.

Figure 1-C(bossa nova)


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The following tunes use the IIm7 - #II - IIIm7 (or I in first inversion) progression:

?? Ain't Misbehavin' (m.3)?? Got Rhythm (m.2)?? Ill Wind (B1 and B5)

?? In The Wee Small Hours (m.S)?? Like Someone In Love (m.3)

?? Liza (m.2)?? Memories of You (m.2)?? Once I Loved (m.5)

?? Rain Check (m.1)?? Tiny Capers (m.4)

Variation 2: IV - #IV - I

When compared, theoretically and aurally, it becomes clear that Variation 2 is onlyslightly different from Variation 1.Looking at Figure 1-D, we see that the first chord of each is a subdominant function,

either IIm7 or IV major, and the two chords have long been considered to be substitutesfor one another.Similarly, the #II and #IV chords are closely related, being part of the same

diminished scale that forms both.The I chord that completes the cell differs only with respect to the bass note, Variation 1

being in first inversion (3rd in the bass) and Variation 2 in second inversion (5th in thebass).Each has an alternate chord form for the third chord that has the same bass note as its

counterpart.

Figure 1-D Variation 1: IIm7 #II I (3rd in bass) or IIIm7

Example: Dm7 D# C/E or Em7

Variation 2: IV #IV I (5th in bass) or V7

Example: F F# C/G or G7

Sometimes the IV chord of Variation 2 has a dominant seventh structure , rather than

major, as in Duke Ellington's IN A MELLOW TONE (m.25), Clifford Brown's TINYCAPERS (B1), and in many blues progressions (m.6).

Also, many of the arrangements for the Count Basie Orchestra (and others of a similarstyle), as well as many of Basie's improvised piano introductions, use Variation 2 with a

dominant structure on the IV chord.

Tunes which use Variation 2 would include:

?? Blues (m.6)?? Doxy (m 9)?? In A Mellow Tone (m.25)

?? Rhythm Changes (m.5)?? St. Thomas (m.13)


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?? Scrapple From The Apple (m.5)

?? Someday My Prince Will Come (m.27)?? Tiny Capers (B1)

?? Tricotism (m.5)?? You Go To My Head (m.9)

Variation 3: Tri-Tone Substitution

By definition, "tri-tone substitution" is the practice of replacing a V7 with a dominant

seventh chord whose root is a tri-tone interval away (bII7), a harmonic trait which hasbeen common in jazz circles since the early 40's (the incubation period for the bebop

style).On the surface it would seem that two chords with roots that are a tri-tone apart would

have little in common and therefore difficult to justify, theoretically.After all, the roots in question are on exact opposite sides of the cycle of fifths, 180removed from one another, and seven key signatures apart!

However, there are several very compelling reasons for the success of tri- tonesubstitution:

1. the second most common root motion to cyclic motion is descending

chromaticism, in this case bII to I.2. the third and seventh of a dominant seventh are considered to be, functionally

anyway, the two most important notes of the chord, and dominant seventh

chords that are a tritone apart share the same thirds and sevenths , though thenames are reversed.

3. the remaining notes of the G chord, G and D, are equivalent to the +4 and b9 ofthe Db chord, and the remaining notes of the Db chord, Db and Ab, likewisefunction as the +4 and b9 of the G chord, therefore the two chords could even be

played simultaneously without loss offunction; and4. if one of the two chords is altered (using a +5 and a b9 and/or +9) and the other

is left unaltered (but with a +4, which is not really considered to be an

alteration), the composer/improviser would use the same scale for both chords(see Figure 1-E) !


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Figure I-E

the B lydian-augmented scale

Applied to: G7alt. (+5,+9) Db7 unalt. (+4)

B 3 7

C# +4 root

D# +5 9

E#(F) 7 +34

Fx(G) root 5+4

G# b9 135

A# +9 13

(remember that it is necessary to apply enharmonic spellings)

* The same as the notes of Ab ascending melodic minor, Db lydian dominant, Gdiminished whole tone and F locrian #2, in the event that one of these is more familiar

to the reader.

reversing the process...the F lydian-augmented scale

Applied to: G7 unalt. Db7 alt.

F 7 3

G root +4A 9 +5

B 3 7

C# +4 root

D 5 b9

E 13 +9

Tri-tone substitutions might appear in different aspects of jazz performance.That is, it is sometimes a part of the given progression to the tune (put there by the

composer), as in the last measure of the 1st ending of Wayne Shorter's VIRGO.Other times it is part of a planned reharmonization of a tune, especially a standard tune

(where the substitution is chosen by the arranger or the performer).And still other times, tritone substitution is incorporated spontaneously, at the discretionof an improviser, a "comping" keyboardist, or a bassist.

It is generally known that a IIm7 can be placed before a V7 (sharing its duration), even

when the given progression only supplies the V chord.For example, the bridge of I GOT RHYTHM (in the key of Bb) begins with a 2-bar

duration of D7, but most performers will transform those two measures into one bar ofA-7 and one of D7.

In this case, the D chord isn't even a V function (in Bb), but it nevertheless works, hencethe principle can be applied to anydominant seventh.


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This being the case, a composer or performer will sometimes apply the principle to tri-

tone substitution, so that a Db7 that is substituting for a G7 could become Abm7 - Db7.This is a relatively mild variation though it does impact the use of tri-tone substitution

somewhat.For example, if the tri-tone II-V occurs over (or instead of) the regular II-V, the chord

and scale spellings for the II chords will be in very sharp contrast with each other, nothaving the sort of amelioration and duality found on the V chords (as in Figure l-E).Also, when the given melody to the tune is being sounded, it is necessary to see if the

melody notes that happen over the regular II-Vwill also work over the tri-tone II-V.Sometimes they will, but it should be considered.If, on the other hand, a tri-tone II-V-Is used in place of the regular V chord's duration

only (as opposed to the total duration of both the regular II and V chords), the traitusually works very well.

The tri-tone II does have one scale note (the seventh of the chord/scale) that conflictswith the regular V chord, functioning as an unwanted major seventh of the regular Vchord.

Nevertheless, the tri-tone II has been used against the regular V7 frequently, and forquite some time, by major jazz artists, Charlie Parkerand John Coltrane , for

example.

Tri-tone substitutions, in either the tri-tone II-V or simply the tri-tone V use, can replacethe regular II-V or follow it, so that both the tri-tone and regular V or II-V are used.

In the case of the latter, the duration normally given to the regular change(s) is usuallysplit into smaller fragments to accommodate the presence of the tri-tone change(s).For example: a four beat duration of a G7 (in the key of C) would become 2 beats,

followed by 2 beats of Db7.A 2-beat duration of Dm7, followed by a 2-beat duration of G7 would become: 1-beatdurations of D-7, G7, Abm7 and Db7, respectively.

Also, it is not necessary to use the same form for both the regular and tri-tone "keys."Sometimes we see a regular II, followed by the tri-tone II and V, omitting the regular V

before the tri-tone substitution.It's interesting to note that when both the regular and tri-tone versions are used, theregular always precedes the tri-tone .

Despite the profusion of verbiage and examples used here to define, explain, andillustrate tri-tone substitution, remember that the most important aspect of all this is thatyou be able to aurally cognize its presence in a progression, and in that regard, it is

much easier to hear it than to explain it.It sounds logical, smooth, even familiar to most musicians, and reviewing the point

made in Figure 1-E, that both the regular V7alt. and the tri- tone V7unalt. use exactly thesame scale, it should be clearly understood that hearing tri-tone substitution is no moredifficult to hear than an altered V7, and most students learn to hear the altered dominant

rather quickly.

There are "irregular" uses of tri-tone substitution, also.In Roberto Menescal's MY LITTLE BOAT (O BARQUINHO), we find the

progression, G - C#m7 - F#7 - F - Bm7 - E7 - Eb - Am7 - D7 (to Bm7, which is IIIm7of G).

What we have is a tune that modulates down in whole-steps (keys of G, F, and Eb),approaching F by way of tri-tone substitution, instead of a C7, then approaching the key


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of Eb by the same means.

Retaining the symmetry, Eb is followed by Am7, which conveniently brings us back tothe starting key of G, though Menescal chooses to then substitute B-7 for the more

obvious choice of G major.When we hear the tune for the first time, unaware that it will modulate down in whole

steps in a 3-key sequence, it is difficult to anticipate where the first tri-tone substitutionwill take us, perhaps to B major, since the second and third chord of the progressioncould be II and V of that key, so the resolution to F major comes as a surprise.

Michele Le grand's A MAN AND A WOMAN has exactly the same "irregular",sequential use of tri- tone substitution.

Four more examples of irregular uses of tri-tone substitution occur in Clare Fischer's

PENSATIVA.The piece begins with five measures of Gb major chords (the key center), alternatingwith G7 chords, with the Gb chords placed in mm. 1, 3 and 5, and the G7 chords

appearing in mm.2 and 4.

This has the effect of strongly establishing Gb as the key.The G7 chords are tritone substitutions for Db7 (V).In the sixth measure an Eb7 is used, presumably (to the unwary listener) functioning asa VI7 in the key of Gb, which would have been a logical, time-honored move at that

point, usually going on to a II chord. However, the so-called VI7 chord resolves down ahalf-step to D major!

In other words the Eb7 chord is being used as bII7 of D major, which makes it a tri-tonesubstitution for A7 (V of D).The significance of Fischer's use of the Eb7 (in the key of Gb) going to D major is that

he has taken a principle that normally involves a substitute for a V7 and has expandedthe principle to a dominant seventh chord other than V, which opens doors to still other

possibilities.

Going on, he follows the D major chord with a G chord (simulating the commonprogression cell of I to IV), but G is also bII of Gb, providing an easy path back to the

original key, which, in a sense, is what Fischer does, except that the Gb chord becomesa I minorchord.But what is pertinent to our discussion here is that the G chord provides yet another

twist to tri-tone substitution, since it is deceptively-placed to initially sound like IV ofD, but becomes bII of Gb.

The fourth example occurs at the end of the bridge, where a Dm7 - G7 cell leads usback to Gb major for the final A section.

The innovative twist here, however, is that the bridge modulates first to the key of Cmajor, then to A major, so that when the Dm7 and G7 chords appear at the end of thesegment in A major, we're not at all sure whether those chords are functioning as a

"back door progression" in A (IVm7 - bVII7, a trait to be discussed a little later in thischapter), or signaling a return to C major (as a II-V), or as a tri- tone substitution leading

back to Gb (which is the case).

Anyone wishing to seriously study, hear, and practice tri- tone substitution shouldinvestigate the playalong, SOME OF THE THINGS I AM, found in Volume 16(TURNAROUNDS AND CYCLES) of Aebersold's A NEW APPROACH TO JAZZ

IMPROVISATION.

The progression is a contrafact of ALL THE THINGS YOU ARE, to which Aebersoldhas added eleven tri-tone substitutions, making it the most thoroughgoing study of


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tritone substitution in existence!

The fact that it is a play-along provides the student with the best possible opportunity tohear and practice the trait.

Tunes which use Variation 3 (tri-tone substitution) include:

?? A Man And A Woman (mm.3 &7)

?? Angela (B3 &B7)?? I Can't Get Started (m.4)

?? Bolivia (B4 &B14)?? Little Dancer (m.8 & B2)?? Bonnie's Blue (mm.4 &6)

?? Mr. Broadway (m.19)?? The Chase (B8)

?? Nutville (m.11)?? Clockwise (m.11)

?? O Barquinho (mm.3 &7)?? Delores (mm.6 &24)?? Pensativa (mm.2, 4, 6, 8, &B15)

?? Early Autumn (mm.2 &4)?? Sail Away (mm.10 &47)?? Ecaroh (m.4)

?? Satin Doll (m.6)?? E.S.P (m 31)

?? Saudade (mm.3 &11)?? Fantasy In D (mm.6 &12)?? Smoke Gets In Your Eyes (m.3)

?? Four On Six (m.8)?? Some Of The Things I Am (mm.3, 4, 6, 11, 12, 14, 18, 22, 27, 28, &34)

?? Gibraltar (B2)?? The Girl From Ipanema (mm.6 &8)?? Virgo (mm.8 &16)

?? West Coast Blues (m.4)


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Variation 4: The Back Door Progression

The "back door progression," in the present, is a cell made up of IVm7 and bVII7chords, leading to I.

Historically, it began as a bVII7 only, most often appearing as a brief turnaround(more on that later in the chapter) at the end of a tune's section, usually as I - bVII7 - I.The approach to I by way of a dominant seventh whose root is a whole-step below the

tonic is probably the source of the name, back door.At least as early as the bebop era, the IVm7 was added to the b7VII chord, providing a

quasi II function before the dominant seventh chord, in the same manner as wasencountered earlier in this chapter.The back door progression generally functions in one of three ways:

1. as a substitute for the II-V progression (or just the V);2. as a means of returning to the original key center after a brief modulation to IVmajor; and

3. as a free-standing cell, usually sandwiched between two I chords.

When pondering the question as to why a back door progression should work as asubstitute for the II-V (or simply the V chord), remember the well-established precedent

of hearing the bVII as a turnaround chord in songs of an earlier period, as it trained ourears to accept the sound of bVII leading to I.There are melodic justifications, also.

One of the most common phrase-endings for a melody is the formula of b7, b6, 5

(numbers related to the key center, not the individual chords), as shown in Figure 1-F.Note that this common melodic phrase-ending can be harmonized several different ways

with equal effectiveness, one of which is the back door.In other words, the harmonication of a common melodic phrase-ending also helps in

establishing the tradition of hearing a back door progression lead to I.

Figure 1-F

When the back door is used as a substitute for the V chord only, the II chord usually

precedes the back door, creating a harmonic formula of:IIm7 - IVm7 - bVII7 - I

By far the most common use of the back door progression is its use after a IV major

chord.

A very high percentage of tunes contain at least one modulation to a key a perfect fourthabove the original key center, or simply to IV.


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That modulation is so common that it is almost pointless to use a modulation symbol

(i.e., showing a modulation from C to F by using the symbol F: ).In the great majority of tunes that modulate to IV, the tenure of the key of IV is

extremely brief, returning to the orginal key center within one or two measures.The brevity of the stay in IV and its probable return to I points to a need for an efficient

means to weaken the IV chord shortly after its arrival and a render quick, safe passageback to I.Both needs are accommodated by the back door progression.

The IVm7 instantly weakens the previous IV major chord and the bVII7, throughestablished traditional practice, provides an acceptable precedent for the I chord.Unconsciously, the ear of even the casual listener is drawn to anticipate the return to I as

soon as the IV minor chord is sounded.

A much-less common use of the back door progression is its use as a free-standing cell,in which it is not following IV major, not really being used as a substitute for II-V, and

seemingly disconnected from the chords that exist before and after its use.

Nevertheless, some trace of the logic behind the more common uses of the back door isusually present, though obscure.

Examples of free-standing back doors exist in the following tunes:

?? Ladybird (m.3)?? Half-Nelson (m.3)?? Yardbird Suite (m.2)

?? Somebody Loves Me (mm.2 &4)?? Poor Butterfly (m.1)

?? Godchild (m.4)?? I Never Knew (m.2)?? Moments Notice (m.4)

?? How High The Moon/Ornithology (m.28)?? Speak Low (m.9)

?? Joy Spring (mm. 4&12)?? Lush Life (m.17?? The Song Is You (m.13)

?? Valse Hot (m.10)?? I Get A Kick Out Of You (m.9)

?? For Heaven's Sake (m.5)??

I'm Old Fashioned (m.26)?? September In The Rain (m.5)

?? Desafinado (m.26)?? Too Marvelous For Words (m.30)

?? My Romance (m.28)?? Rosetta (m.2)

(be advised that some of the tunes on the 3 lists of progressions contain more than onetype of back door)


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Tunes which use the back door progression as a substitute for V or II-V:

?? Days Of Wine And Roses (m.7)?? Groovin' High (m.30)?? I Should Care (m.8)

?? The Shadow Of Your Smile (m.26)?? Tenderly (m.6)

?? Georgia On My Mind (m.4)?? The Christmas Song (m.5)?? On Green Dolphin Street (m.28)

?? Four (m.7)?? I Gave You Violets For Your Furs (m.3)

?? My Old Flame (m.4)?? Darn That Dream (m.6)?? Embraceable You (m.6)

?? Over The Rainbow (m.6)

?? Summer Samba/So Nice (m.7)?? Strollin' (m.28)?? I Fall In Love Too Easily (m.15)?? Stardust (m.4)

?? Soon (m.7)?? When Sunny Gets Blue (m.2)

?? Fools Rush In (m.26)?? It Could Happen To You (m.10)?? But Beautiful (m.28)

The following tunes use the back door as a means of leaving IV major to return to I:

?? Donna Lee/lndiana (m.10)

?? I've Grown Accustomed To Her Face (m.9)?? Long Ago And Far Away (m.28)

?? My Ideal (m.26)?? My Shining Hour (m.21)?? Time After Time (m.24)

?? Will You Still Be Mine (B3)?? Little Dancer (m.11)

?? Mean To Me (m.4)??

I Hadn't Anyone Til You (m.26)?? Easy Living (m.4)

?? Freight Train (m.6)?? It Might As Well Be Spring (m.36)

?? Meditation (m.11 &B3)?? Moon River (m.12)?? My Romance (m.9)

?? Don't Get Around Much Anymore (B2)?? I Thought About You (m.10)

?? It Could Happen To You (m.6)?? Mood Indigo (m.12)

?? Out Of Nowhere (m.28)?? Just The Way You Are (m.10)


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?? Cherokee (m.7)

?? Stella By Starlight (m.8)?? The Night Has a Thousand Eyes (m.12)

?? How Long Has This Been Going On (m.4)?? Blues ForAlice (m.6)

?? Moonglow (m.2)?? Lil Darlin' (m.10)?? I Got It Bad (B3)

?? Do Nothin' Til You Hear From Me (m.4)?? Just Friends (m.3)?? I Remember You (m.6)

?? Ray's Idea (m.6)?? You've Changed (B2)

?? Good Bait (m.6)?? Street Dreams (m.10)?? But Not For Me (m.10)

?? Between The Devil And The Deep Blue Sea (m.6)?? In A Mellow Tone (m.10)

?? Little Girl Blue (m.6)?? Misty (m.4)?? My Foolish Heart (m.12)

?? My Secret Love (B8)?? One Note Samba (m.12)

?? Polka Dots And Moonbeams (m.5)?? Tangerine (m.26)?? There Will Never Be Another You (m.10)

?? Wave (m.6)?? Unforgettable (m.10)

?? If I Had You (m.4)?? A Foggy Day (m.12)?? All The Things You Are (m.30)

?? How About You (m.10)?? I Gave You Violets For Your Furs (m.26)


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Variation 5: The Coltrane Matrix

Seldom are we able to credit a single individual with the invention of an innovativeformula for a chord progression.

Ordinarily such things evolve slowly through the compositions of many composers overan extended period of time.The Coltrane Matrix, however, came about very suddenly and involved the creative

genius of a single musician John Coltrane .Even when an individual does invent a new organizational method for some aspect of

music, it almost never survives to become a new, widely-accepted tradition.But the Coltrane Matrix is being studied, practiced, performed, and incorporated intonew compositions by musicians all over the world.

Furthermore, having survived for nearly forty years, it is safe to say that it has withstoodthe test of time!

Its origin is an interesting story. Coltrane was a musician whose life definitely evolved

in clearly discernable periods, each with its own thrust.

?? In the late bebop era, one of Trane's debuts was as a featured soloist on DizzyGillespie's recording of THE CHAMP (by Gillespie), where he was a bluesy,

honking, emotionally-charged player.?? A few years later (about 1956), Trane made a series of recordings with the Miles

Davisquintet and sextet, in which his solos were marked by considerabledouble-time playing, thorough realizations of all harmonic substance availablewithin the framework of the tunes selected by Davis, and in general, a very high

degree of technical virtuosity. This period is often referred to as his "change-running period," and it culminated (with his own group) in tunes like GIANT

STEPS, COUNTDOWN, and 26-2, all of which were based upon theprogression we now know as the Coltrane Matrix.

?? Having taken change-running and exploratory chord substitutions as far as he (or

anyone) could, he suddenly abandoned those activities and turned his focus tothe harmonic opposite of change-running, namely modal vehicles, which

became his next developmental period, culminating in recordings likeALABAMA, MY FAVORITE THINGS, and the masterful and inspired album,A LOVE SUPREME.

?? His subsequent, and last, period found him experimenting with a whole host ofnew musical directions, to include free form, ethnic and international musics,

new instruments, new group instrumentation, duets with drummer Rashied Ali,

spiritually- inspired music etc., all the while stretching the techniques andnuances of his instrument.

Trane's contributions to music go far beyond those listed here.

A more thorough list appears in David Baker's book, John Coltrane, from his "Giantsof Jazz" series.

The Coltrane Matrix was actually a product of his earlier "change-running" period, and

some have put forth the theory that it was originally inspired by the bridge of HAVEYOU MET MlSS JONES (a standard tune).The Matrix is a symmetrical arrangement of key centers that descend (by modulations)

in major third intervals, as in the keys of C, Ab, E, and C.Note that the keys symmetrically divide the octave into three equal parts, so that it


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comes out even at the octave (C down to C).

When V7's precede each of the three keys, it becomes a seven-chord progression:

Cmaj7 Eb7 Abmaj7 B7 Emaj7 G7 Cmaj7

C: Imaj7 Ab: V7 Ima7 E: V7 Imaj7 C: V7 Imaj7

At this point in our study, the reader should understand that the above progression hasother options, such as using II functions in place of each of the V chords, or using boththe II and the V (if chord-duration time permits!).

With this in mind, let's compare the Matrix with the bridge of MISS JONES.Note that even the melody of GIANT STEPS fits the bridge of this standard.

Figure 1-G

Coltrane used his matrix in a variety of ways.On an informal, spontaneous level, he could play the seven-chord matrix, giving the

first six chords two-beat durations and a four-beat duration to the last one, using it overany II-V-I progression that lasted four measures in all (and there are manyof those!).

?? Bear in mind that when the matrix is used over a II-V-I progression, the firstchord of the matrixis changed to become the same II chord as the regular

changes. The remaining six chords remain the same as the ones originallypresented earlier.

Sometimes the matrix was built into a reharmonisation of, say a standard tune like

BODY AND SOUL or BUT NOT FOR ME, which meant that the pianist and bassistwere also using those changes in the accompaniment.

At other times, though, Trane would superimpose the matrix over the regular changeswithoutreinforcement from the rhythm section.This requires a certain degree of courage, tenacity, presence of mind, and the ability to

hear the matrix independently of what is being played in the accompaniment.One of the challenges is that II-V-I changes (over a four-measure duration) causes the Ichord to arrive at the third measure and be retained for the fourthmeasure as well.

When one plays the matrix over a four-bar II-V-I progression, the I chord of the matrixdoesn't arrive until the fourth measure , causing the matrix player a reasonable amount

of discomfort when he/she hears the accompaniment arrive at I in the third measure,perhaps resulting in the player imagining that he/she has erred somewhere, since thereare still three more matrix chords to be played.


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When Trane used the matrix in his compositions, we see other variations.

For example, GIANT STEPS uses the matrix twice in the first eight measures, but eachis shortened to five chords.

In other words, he stops the matrix two chords before it returns to the starting key (seeFigure 1-H).

Figure 1-H

In COUNTDOWN, which is a contrafactual Trane tune that is based on Miles Davis 'TUNE-UP, the entire seven-chord matrix, starting on a II chord is used for each of the

first three 4-measures of the 16-bar tune, which modulates downward in whole-steps(the "downstep progression," to be taken up in Chapter 2) every four measures.Coltrane also wrote a contrafactual tune that is based upon CONFIRMATION, called

26-2.This time Trane ignores the exact nature of the A section progression of

CONFIRMATION, which uses a significantly common chord sequence called the"Confirmation Sequence" (taken up later in this chapter).But Trane does structure 26-2, despite the matrices, so that it starts from the same chord

as CONFIRMATION and matches up with each "goal" of the CONFIRMATIONprogression, such as the modulation to IV in the fourth and fifth bars, the II dominant

seventh chord in the seventh bar, and the I chord in the last bar before the bridge.At the bridge, CONFIRMATION modulates to IV, by way of its IImV, which consumesthe first four bars, so 26-2 makes the same modulation to IV, but via a shortened version

of the matrix.The second half of both bridges are the same, providing, a resting place for 26-2, since

the matrix is not used there.

In the event that the reader is wondering why an improvising soloist would use the

matrix at times when the accompaniment is not, consider that it creates a format for"outside playing" (adding tension and chromaticism to the solo) that is logically-

structured and begins and ends in a consonant manner.

In time it is likely that the Coltrane Matrix will also begin to be used in minor, by usingminor-major seventh chords in place of the major sevenths, and altered dominants in

place of the unaltered dominants.The seven-chord matrix would then become, for example, Cm(maj7) - Eb7alt. - Abm -

B7alt - Em - G7alt - Cm(maj7).

In minor, the progression is even more dramatic, mysterious, harmonically-intriguing,

and symmetrical than it is in major.The chord-types are stronger, the key contrasts more stunning, and the scalar


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applications (for the improviser) more uniform.

With respect to the latter, the entire progression could be accomodated by a single triad(a B, Eb, or G augmented triad) or by a single scale (a B, Eb, or G augmented scale).

The major version of the matrix doesn't have these unities.For the improviser, the minor version is more challenging (if the single triad or single

scale shortcuts are not taken) and ultimately creates a more melodic, lyrical result.In major, most players, even Trane, have been forced to use a higher percentage ofmechanistic content in their solos, owing to the short chord durations, the quick and

incessant modulations to remote keys, and the tempos.The minor version also has the problems of short duration chords, the modulations, andperhaps the tempos (the more-interesting sound in minor will likely result in using

slower tempos), but there are no easy solutions, like the digital patterns and change-running when played in major.

For example, the major seventh of a minor chord is more crucial to its sound than themajor seventh is to a major seventh chord, to say nothing of the ninths and eleventhsthat are also more effective on minor chords.

Also, an altered dominant is so much more colorful ( +4, +5, b9, and +9) than theunaltered dominant, that realizations such as the 1-2-3-5 digital pattern are neither

possible nor aesthetically pleasing.The potential for the Coltrane Matrix in minor is currently being explored by severalcomposers/improvisers, at both faculty and student levels, at the University of

Tennessee, already producing fruitful results.

The following tunes use the Coltrane Matrix (or show its influence):

?? Giant Steps?? Countdown

?? 26-2?? Dear John

?? Do You Hear The Voices?? El Toro?? Coltrane Blues

?? (and don't forget to investigate) Have You Met Miss Jones


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Variation 6: Extensions of the II-V-I Progression (in

major)

There can be but a single tonic (I) chord in a given key center.

However, what precedes the I chord (the II and V chords) has a number of interestingvariations.

For example, we know that tri- tone substitution makes possible a cell of IIm7 - bII7 - I.We also know that sometimes the minor form of II (m7b5) is used in a major key.Though it has not yet been discussed, sometimes the II chord appears as a dominant

seventh chord.Using various combinations of the foregoing, we already have six mathematically

possible versions of the II-V-I progression!If we substitute a IIIm7 for the I chord, we increase the possibilities to twelve.By substituting #II or bVII7 for the V chord, or IVm7 or bVIm7 for the II chord

(borrowing from the "back door" and "tri-tone substitution"), the possibilities increase

again.And then there is the Coltrane Matrix and partialmatrices (such as IIm7 - bIII7 - bVI -V7 - I).

The use of IIIm7 as a substitute for I, opens a very large door to yet more possibilities,mostly relating to the extension of the II-V-I progression.

Figure 1-I shows two cycles of fifths, one of which is the more familiar (in letters, with12 entries), and the other being a diatonic cycle (one-key approach, instead of

chromatic) in Roman Numerals, with seven entries.With regard to the latter, note that the intervals between the numerals are not all thesame, the distance from IV to VII being a tri-tone interval, as it is between the fourth

and seventh degrees of a major


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Figure 1-I Lettered Cycle:

C

G F

D BbA Eb

E Ab

B Db

F#/Gb

Roman Numeral Cycle (diatonic):

I

V IV

II VII

VI III

Looking at the cycle of Roman Numerals, we see that II-V and I are adjacent and

progress in a foward direction, as described at the beginning of this chapter.However, III and II are not adjacent, separated by the VI chord. This explains, in part,

why a IIIm7 is so often followed by a dominant seventh or minor seventh chord on VI,causing the progression to flow smoothly on to the II chord.So if a IIIm7 is used as a substitute for I, it is very likely that the next chord will be a VIchord, leading to II.

This helps to explain why statistical studies have shown that the IIIm7 and VI7 chordsare the fourth and fifth most populous chord functions in the jazz-pop repertoire, just

behind the II, V, and I chords.Actually, there are more VI7's than IIIm7's, owing to the number of times that I movesto VI7, then to II.

The sixth most-frequently occurring chord function is the VI minor seventh chord.In any event, the expanded cell of Roman Numerals, III-VI-II-V-I, remains faithful to

the cycle, and as a group, is the most common five-chord cell in the repertoire, used inongoing progressions, as turnarounds, ending tags, and as introductory progressions,(especially for standards).

The number of tunes which use this progression is so great as to nullify any attempt toprovide the reader with a list, being only slightly less common than the basic II-V-I

progression.However, if the reader wishes to hear the progression in a continuous, repetitivemanner, so that it is thoroughly assimilated, play and/or listen to Clare Fischer's

MORNING.

A slightly different, not as common a progression as the III-VI-II-V-I progression of the

foregoing paragraph, is the progression VIm7 - IIm7 - V7 - I.Though this cell uses the last four numerals as they were given in the first progression


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(so that it begins on VI instead of III), it also differs with respect to the chord-type of

VI, being a minor seventh, rather than a dominant seventh (which makes it completelydiatonic).

Another distinction between the two progressions is their usual placement within aprogression.

The first progression could occur anywhere, as an introduction, as the beginning of thetune, as a turnaround, as a tag, etc., whereas the VI-II-V-I progression is nearly always

placed at the beginning of a tune's progression.

When a I is added to the beginning of the cell (just before the VI, omitting the I chord atthe end) it becomes a more common progressionthat is also used for introductions,turnarounds, and tags.

Tunes which use Variation 6 (VIm7 - IIm7 - V7 - I) include:

?? All The Things You Are (m.1)?? How My Heart Sings (m.2)

?? Fly Me To The Moon/ln Other Words (m.1)?? I Hear A Rhapsody (m.1)?? Quickie (m.1)

Tunes which use Variation 6, but begin on I:

?? Emily (m.1)

?? I Can't Get Started (m.1)?? (and many others)

Another mild variation on the III-VI-II-V-I sequence substitutes a bIII for the VI7

chord, so that the progression becomes IIIm7 - bIII - IIm7 - V7 - I.That cell is used in:

?? All The Things You Are (m.31)?? Body And Soul (m.4, but doesn't quite reach I)

?? Out Of Nowhere (m.29)?? Night And Day (m.11)

Returning to the Roman Numeral cycle in Figure 1-I, some tunes will extend the cycle

even further by using VII-III-VI-II-V-I.

Usually the VII is an altered dominant seventh and preceded by a I chord, as in I -VII7alt. - IIIm7(or ) - VI7 - IIm7 - V7 - I.

Though the VII chord is the only one shown here to be an altered dominant, it should beunderstood that any of the dominant sevenths in the progression could be altered, at the

discretion of composers, arrangers, keyboardists, and even improvising soloists.The dominant seventh on VII, for example is nearly always altered, in common practice.It is interesting to note, in this regard, that certain dominant seventh chords within a

key's seven potential chord roots are frequently altered, and others are almost neveraltered.


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?? Dominant seventh chords on V, VI, and VII are very often altered, whereas

?? IV is almost never altered.?? III is generally only altered if the chord is heading toward a VI minor chord

(relative minor of I), and?? II is seldom altered unless the tune is in a minor key or the tune has a bluesy

flavor.?? I, of course, is only an altered dominant seventh if the tune is very blues-like (at

that point, anyway) or being used as V of IV.

?? The altered Roman Numerals (bII, bIII, bV, bVI, and bVII) are seldom altereddominants. The latter point helps to explain why, in chromatically descendingdominant sevenths, the chord-types usually alternate between unaltered and

altered, as in C7 - B7alt. - Bb7 - A7alt. - Ab7 - G7alt., etc.In such progressions the first chord, if it is I, is often a major chord, then

becoming dominant sevenths (altered and unaltered) for the remainder of thepattern. In Dan Haerle's MAGIC MORNING, for example (play-alongavailable in VOLUME 4 of Aebersold's series), the first four chords are E

(major seventh), Eb7alt., D7, and Db7alt.

Extending the Roman Numeral cycle even further, a number of well-known tunes begina phrase with a harmonic sequence whose first chord root is bV (or #IV), proceeding

around the cycle to VII-III-VI-II-VI.Looking at the Roman Numeral cycle in Figure 1-I, we don't see an altered numeral on

IV or V, only their diatonic form.However, as pointed out earlier, the interval between IV and VII is a tri-tone interval,which is not consistent with the distances between all other numerals, hence the root of

IV must be raised to become a #IV chord, so that it will lead gracefully to VII.So now the extension has become:

#IVm7(or m7b5) - VII7 - IIIm7 - VI7 - IIm7 - V7 - Imaj7

or in lettered symbols (in the key of C):

F#m7(or m7b5) - B7 - Em7 - A7 - Dm7 - G7 - Cmaj7

The foregoing progression is found in the following tunes:

?? Woody n' You/Algo Bueno (m.1)

??

Little Dancer (m.1)?? I'll Keep Loving You (m.1)

?? I've Grown Accustomed To Her Face (m.5)?? Airegin (m.30)?? Ceora (m.13)

?? Mayreh/All God's Chillun (m.9)?? Moments Notice (m.8)

?? In The Wee Small Hours (m.7)?? Moon River (m.14)?? Stablemates (m.8)

?? Stella By Starlight (m.25, using on #IV, III, and II)

?? Strollin' (m.8)?? This I Dig Of You (m.26)


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?? Smoke Gets In Your Eyes (m.4)

?? Soul Eyes (m.26)?? Our Love Is Here To Stay (m.8)

?? My Romance (m.27)?? Yes And No (B 1)

It was pointed out earlier that even the II-V-I has many variables, if we include tri-tone

substitution, back door, #II substitutes, Coltrane Matrix, halfdiminished or dominantseventh structures on II, and so on.The more the progression is expanded backward through the cycle to include more

chords, like #IV, VII, III, and VI, the more possibilities there are for slight permutationshere and there.

A progression that begins on #IV has a long way to go to reach I, the variables couldcome into play at any point in that long "road back," and some progressions don't evenmake it all the way back to I!

We have reached the point in our expansions and permutations where it would be better

for the reader to recognize, analyze, categorize, and assimilate the next list of tunes,rather than having the authors continue subdividing what's left into even smaller pigeon-holes.Each of the following has a segment that begins on #IV, but the subsequent chords of

the cell will vary slightly from the presented models, as well as the other tunes on thelist.

?? Days Of Wine And Roses

?? Tour de force?? Del Sasser?? I'm Getting Sentimental Over You

?? Speak No Evil?? Tenderly

?? That's All?? Time After Time?? Emily

?? I Don't Stand A Ghost Of A Chance With You?? Night And Day

?? Stranger In Paradise?? When Sunny Gets Blue?? I Thought About You

??

I Should Care?? YoungAnd Foolish

?? Georgia


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Variation 7 The Confirmation Sequence

The "Confirmation Sequence" derives its name from the Charlie Parkercompositionof the same name.

It wasn't the first occurrence of the progression, having existed in several standard tunesbefore it was used in CONFIRMATION, but the latter seemed to be the tune mostresponsible for the popularity of the sequence.

The progressions that formed Variation 7 (expansion of the II-V-I ) all began furtherback in the cycle, working their way back to I.

The Confirmation sequence generally begins on I and works its way to the object chord(or key) of IV.It also uses descending II-V's as a path, like those in Variation 6, but this time ending on

IV7 (or major).The progression is:

I - VIIm7b5 - III7 - VIm7 - II7 - Vm7 - I7 - IV7 (or IVmajor)

Or in lettered symbols (in C):

C - Bm7b5 - E7 - Am7 - D7 - Gm7 - C7 - F7 (or Fmajor)

Sometimes the VII chord is a minor seventh chord, instead of half-diminished, but the

latter seems to be the preferred forn.After reaching the IV chord, the progression usually works it way on down to I, but that

segment is not the topic of our discussion.The progression shown above usually consumes five measures, but sometimes the

durations are twice as long, so that it consumes nine measures (the IV either begins anew four-measure phrase or a new eight-measure phrase, hence the odd numbers).Tunes which use the Confirmation Sequence sound as though they're modulating to the

relative minor, and indeed they do (by way of the nature of the second, third, and fourthchords of the cell), but then the progression continues unabatedly until the IV chord isreached.

Tunes which use the Confirmation Sequence are:

?? Confirmation

?? There'll Never Be Another You

?? Bluesette?? Blues For Alice?? Freight Train?? Doujie

(note the preponderance of blues tunes)


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Variation 8 - The Bebop Turnaround

A "turnaround" (an alternate term is "turnback") is a brief progression cell, usually twomeasures in length, containing four chords, that transpires at the end of a section, and is

headed for a repeat of that section or a repeat of the entire tune (as in another chorus).Its purposes are to avoid a harmonic lull that might be created by an extended durationof a tonic chord, and to prepare the listener for a repeat.

It generally perpetuates the harmonic motion, sometimes in interesting ways, and keepsthe listener from feeling that the tune, or the performance of it, is over.

Turnarounds have been around for a long time.The following are examples of early turnarounds:

I V7

I V7 I

I bVII7 I

bVII7 VII7 I

I VI7 IIm7 V7

I VI7 II7 V7

I VI7 bVI7 V7

IIIm7 VI7 II7 V7

The "bebop turnaround" came into being in the 40's, and was a sort of precursor of theColtrane Matrix of about fifteen years later, as you will see.

The Roman Numeral sequence of the bebop turnaround is I (or III) - bIII - bVI - bII.Had the last chord (bII) been a V, it would have been the same as the truncatedColtrane Matrix, used by Trane on a number of occasions.

The chordtypes of the bebop turnaround are somewhat variable.

?? If the first chord is I, it will be a major seventh chord, or?? if it is III, it will be a minor seventh chord.

?? The bIII chord is usually a dominant seventh chord, but some times it is a majorseventh type.

?? The bVI is nearly always a major seventh, but it can be a dominant seventh.

?? The bII is most often a dominant seventh (with a +4), but sometimes it is a major

seventh chord (also with a +4).

The classic formula would be: I (or III-7) - bIII7 - bVI - bII7(+4).

The following tunes use the bebop turnaround:

?? Half-Nelson (m.15)

?? Ladybird (m.15)?? West Coast Blues (m.11)

?? I'll Take Romance (m.5)(and many other tunes of the bebop era, too obscure to mention)


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PRACTICE SUGGESTIONS

?? Play the progression illustrations at the piano (or or guitar) until they becomefamiliar to the ear.

?? Play the illustrations in all keys.

?? Locate as many of the tunes on the lists as possible and locate the traits withinthem.

?? Learn to see the context in which the trait occurs. What comes before and afterthe occurrence of th trait? In what part of the tunes does it occur?

?? Learn as many of the listed tunes as possible. Locate play-alongs for them; play

them at the keyboard play them at jam sessions; locate recordings of them tohear etc.


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II-V-I in transient modulation

?? Downstep modulations?? Modulations downward in half-steps

In Chapter 1 the II-V-I progression was shown as the primary means of establishing a

single key center.Even the various extensions and variations of the II-V-I cell (i.e., IIIm7 - VI7 - IIm7 -

V7 - I, tri-tone substitution, etc. ), if not further strengthening and supporting a keycenter (I), were certainly not suggesting a newor different key center.Yet most songs, when viewed in their entirety, will indeedmodulate to at least one

other key, even if the tenure of that new key is brief.Furthermore, many tunes will modulate to several temporary or transient key centers,

sometimes in well-organized "sequences" of keys, and that is the purpose of Chapter 2.

A modulation to a new key is accomplished by the same means as was presented inChapter 1 for creating a single or "home" key of a song... by way of a II-V-I progression(or one of its variants), but in a new key.

When a series of short-duration key centers occurs in which all the keys (I's) areseparated by the same interval (i.e., the successive keys o f C, Bb, and Ab, each "new"

key being a whole-step lower than the previous key), we can refer to that as "transientmodulations in a symmetrical sequence."Other common modulations which are notso transient and are notorganized in

symmetrical sequences of keys will be taken up in Chapter 3.But having just taken up the foundational aspects of the II-V-I progression in Chapter 1,

it would be easier to recognize that substance, both in print and by ear, if the firstmodulations taken up are in relatively transparent, symmetrical sequences.

Though there are a few examples of tunes which contain symmetrical modulations thatmove in an ascending pattern (such as Thad Jones' CENTRAL PARK NORTH, or the

bridge of Benny Carter's WHEN LIGHTS ARE LOW, where the key centers aremoving upward in minor third intervals), far more examples exist in which the keys are

in a descendingorder.Similarly, there is a small handful of tunes which contain symetrical modulations thatmove downward by, say, intervals of a major third between keys, such as John

Coltrane 's GIANT STEPS (B down to G, then to Eb) or the standard HAVE YOU

MET MISS JONES (at the bridge, Bb down to Gb, then to D), but the majority ofsymmetrical modulations move by minor second and major second intervals.Hence Chapter 2 will examine tunes which contain symetrical, transient modulationsthat move "downward by half-steps and by whole-steps."

Though this book is primarily concerned with the aural recognition of harmonic traitscommonly found in the tunes we play, visual and mental cognizance of those traits isalso important, assisting the development of the ear by methodically introducing the ear

to the challenges to be met.In Chapter 1 it was not necessary to recognize modulations visually since we were only

concerned with showing how a single key center is established, along with the manner

in which extensions and substitutions are formed within a single key.So, with the inevitable likelihood of modulations in most of the tunes we learn and play,


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how can we know (when viewing progressions in lettered symbols) that a modulation is

taking place?It wouldn't be a problem if the progressions were rendered in Roman Numerals, as we

could simply look for "modulation symbols" (i.e., C:, Ab:, F#:, etc.), indicating theadoption of a new I... but that's not the common practice of people who prepare the

chord symbols for a tune's progression.Instead, the translation of lettered symbols into Roman Numerals is generally a mental

process helping us to understand harmonic function and to memorize and/or transpose

progressions more accurately and efficiently.Chapter 1pointed out that the chord-root sequence of the II-V-I progression key, majororminor) will always be a 3-note segment of the cycle of fifths, such as D, G, C, or Bb,

Eb, Ab.Therefore the existence of a II-V-I progression, used extensively in virtually all tunes,

even when modulating to a new key or keys , may be easily confirmed if:

?? three consecutive chord roots match a 3- note segment of the cycle of fifths; and,

?? if the three chord-types used are appropriate functions of II, V, and I,respectively.

For the benefit of readers who have received at least part of their training in Classicalmusic theory, the term "modulation," as it is used here, could create some confusion.Classical composers generally approached modulations to new keys in a very deliberate,

lengthy, and sometimes complicated manner, incorporating "pivot chords," "augmentedsixth chords," "secondary dominants," and other traditional devices.

The average tune from the genres of standard, pop and jazz is likely to have a length ofapproximately 32 measures, hence a lengthy, carefully-prepared modulation of the sortfound in Classical music is neither appropriate nor reasonable.

Instead, we generally find no more than the II and V of the new key, as modulatingchords, sometimes only the V, and in a few cases neither of those chords, moving

directly to the new I!Classical theorists might term such quick changes of key "temporary tonicization," butin this book they will be considered "modulations."

The accelerated, fleeting sort of modulations found in jazz and pop tunes create an

efficiency that allows time for several modulations, perhaps as many as 4-6modulations.

Jazz improvisers have always been attracted to tunes that contain multiple modulations

(especially in the bebop era), selecting standard tunes like CHEROKEE, HOW HIGHTHE MOON, and STAR EYES, and composing tunes like AFTERNOON IN PARIS,

AIREGIN, and RECORDAME.


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Downstep Modulations

Symmetrical modulations are most often found to ke a series of key changes, usually ina descending and symmeterical order, and generally accomplished by utilizing the II-V-

I progression once in each key.To refer to such modulations as transient is an understatement, as the average durationsof each key is two measures, four at most.

The most frequently-used interval between key centers ( I's) is descending whole- steps,sometimes referred to as "downstep modulations.

The number of successive downstep modulations in a given tune will vary, from one(involving two keys) to the more common number of two (involving three keys, asshown in Fig. 2-A).

Successive downstep modulations create an interesting drama of changing moods.Because it has been a part of our social and cultural ingraining, we tend to regard a

major chord or a major key as happy, up-lifting, and a minor chord or key as sad,

depressing.With this in mind, look at Figure 2-A, noting the intersection of the modulations, where

a major chord (I) is immediately followed by a minor chord with the same root (i.e., Cto Cm7).

The minor seventh chords are really functioning as IIm7 of the next key, butmomentarily they sound like Im of the previous key, simulating a succession of rises (I)and falls (Im), emotionally.

The musical effect imitates the ups and downs of human existence... we solve aproblem, only to encounter another one; we move to a great, new location, only to beforced to move again; we find love, but lose it, and so on.

Fortunately, songwriters generally choose to end the sequence on a positive note!

The important thing to note here, is that we eventually learn to recognize the sound ofdownstep modulations by noticing how it makes us feel, even at those times when the

progression is not provided in a written form!This is but oneof the ways we can learn to aurallyrecognize a segment of a tune's

progression... by association (with our emotional response).

Figure 2-A

Another way to aurally recognize a progression we're hearing, but not seeing, is tomatch the sound with the sound of a progression we doknow.Again, we're using the associative principal, but this time from the perspective of "aural

memory".For example, if we already know, hear, and play HOW HIGH THE MOON, then when

we hear, for the first time, AFTERNOON IN PARIS, our aural memory can enable usto make the association between two tunes, both of which use the downstep progression.The fact that the two tunes are in different keys (G and C, respectively), or that their

harmonic rhythms are different (MOON taking nine measures to accomplish its 3-keysequence, PARIS consuming only five measures to complete the same modulatory


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series) is immaterial.

What the ear and aural memory are matching is the downstep progression of both tunes.

When the entire progressions of two tunes are found to be identical (or very nearly so),one is usually based upon the other, knowingly.

The "copy-cat" (or plagaristic) version is referred to as a "contrafact." The contrafactwill, of course, have a different and original melody, but the progression is the same as

a tune of prior existence.Such events have sometimes taken place unknowingly, unconsciously, by habit, etc.For example, it is very unlikely that Frank Sinatrawas aware, when he composed

NANCY WITH THE LAUGHING FACE, that the entire A section (8 measures long,played three times in an AABA, 32-measure length) is identical to the chord

progression used earlier by John Greenin BODY AND SOUL, which has the sameform and length as NANCY.Sinatra undoubtedly knew, performed, and probably loved Green's tune, but any

allusion to the latter's tune was most likely an unconscious event.

Many folk and country tunes share similar or identical progressions, partly becausemany of the composers are primarily singers and lyricists, rather than trained,sophisticated instrumentalists, but also because the nature of those styles is not what onewould term "harmonically adventurous."

Starting in the Bebop Era (ca.1945) and continuing to the present, very deliberate and

conscious contrafacts have and do abound.The writing of contrafacts is considered to be a part of the learning process for young

jazz musicians/composers, and the more-seasoned players/composers consider it atribute to the composers from whom they borrow progressions (as was the case inFreddie Hubbard's contrafact of John Coltrane's GIANT STEPS, which Hubbard

lovingly titled DEAR JOHN).The point of all this is that if you already know the tune from which a contrafact has

sprung, your aural memory can make the association, making it unnecessary to see thewritten form of the progression.Often the method of confirming the correctness of an associative guess is to hear, play,

sing, or whistle the melody of the original tune with its new contrafact.Therefore, if you successfully perform or hear the melody of GIANT STEPS (which

you already know) against a performance of DEAR JOHN, then you can confirm thatthe latter is indeed a contrafact, and so you already know the progression to thatcontrafact.

Or, if you already know HOW HIGH THE MOON, then you can not only relate theprogression's downstep modulations to those of AFTERNOON IN PARIS, but also

relate the entire progression of MOON to Charles Parker's ORNITHOLOGY, sincethe latter is contrafactual to How HIGH THE MOON.In other words, hearing the melodies and/or progressions of already-digested tunes

against "new" tunes should be a regular part of the disciplines leading to auralrecognition of chord progressions or segments of chord progressions.

The following tunes use downstep modulation:

?? Afternoon In Paris (m.2)?? Tune-Up (m.5)

?? How High The Moon (m.3)?? Joy Spring (B2)


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?? Watch What Happens (B3)

?? Recordame (m.10)?? Ornithology (m.3)

?? Solar (m.7)?? New York State Of Mind (m.18)

?? Bluesette (m.11)?? Laura (m.5)?? One Note Samba (B5)

?? Cherokee (B5)?? Star Eyes (mm.4, 7 & B3)?? The Maestro (m.48)

?? April Mist?? Joshua (B2)

?? Once I Loved (mm.9 & 33)

The tune, INVITATION, was omitted from the above list, though the bridge of that tune

very closely resembles downstep modulation.The problem with including it in the list owes to the nature of the resolution to I, whichis not major, nor is it a minor-major seventh or a minor sixth.It is instead a minor seventh chord that is used both as a Im7, then as IIm7 of the next

key.Yet the chord durations, chord sequence, and the altered dominants certainly cause it to

feel like downstep modulations:

Figure 2-B


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Modulations Downward In Half Steps

If downstep modulations can be described as being dramatic, then modulationsdownward in half-steps would need to be described as verydramatic.

On the surface, the two types of symmetrical modulation seem quite similar, bothhaving key centers that are drifting downward in small intervals, and both generally notcontinuing beyond about three successive keys.

But the similarities end there.The two sound very differently, we don't have the same chord root sounded between

keys with the first functioning as I major and the next as II-7 (as we did in downstepmodulation), hence removing the positive- negative syndrome, and more importantly,the adjacent key centers of the sequence are not nearly as close as they were in

downstep modulation.For example, if the first two keys are a whole-step apart (i.e., C: to Bb:), as they are in a

downstep sequence, they are only two keys apart (check their locations on the cycle of

fifths), whereas if the first two keys are a half-step apart (as in C: to B:), they are at leastfive key signatures apart (seven if you count in the opposite direction in the cycle)!

Figure 2-C

C

G F

D Bb

A Eb

E Ab

B Db

F#/Gb

This means that modulations downward in half-steps supply more key contrast, theywill constitute more of a surprise to the ears (also harder to aurally cognize at first), and

the effect will be even more dramatic.When hearing modulations downward in half-steps, words like "thrilling" and"inspiring" come to mind.

In the Preface, the words "glue" and "hooks" were used to describe logical substance,like the II-V-I cell, which "glues" together the chords and keys of a progression, and the

more stunning events, which represent the "hooks."Both of the symmetrical modulations presented in this chapter are "hooks."Consciously or unconsciously, songwriters know this, hence the tune lists might seem

surprisingly long to the reader, considering the nature of the topic.Symmetry doesn't usually equate to "thrilling" or "inspiring."

Figure 2-D


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The following tunes use modulations downward in half-steps:

?? Airegin (m.12)?? Bess, O Where Is My Bess (m.18)?? Five Brothers (B2)

?? Masquerade (B9)?? Angel Eyes (B5)

?? Everything Happens To Me (B5)?? Peace (mm.3 & 5)?? The Summer Knows (m.14)

?? Clockwise (m.2)?? Skylark (B7)

?? Soul Eyes (m.10)

THE SUMMER KNOWS repeats the II-V-I's in each key, before going on to the nextkey.

CLOCKWISE omits the IIm7's, resulting in a series of V7's to I's (but still modulatingdown in half-steps).

It's important to remember that symmetrical harmonic sequences very often incorporate,in the given melody to the tune, symmetrical melodic sequences as well.

Hence our efforts to spontaneously cognize the chord progression by ear (and memorizeit also) are aided by tell-tale repetitions in the melody.

This would be an appropriate time to review and reinforce the goal of this study, and to

consider our presumed progress.Our goal is to learn to cognize chord progressions by ear.If the reader was successful assimilating the materials of Chapter 1, then he/she can now

aurally recognize the II-V-I progression cell which generally occupies 2-4 measures ateach occurence, and there are usually several such incidents (in the same key) within thetune's progression.

If various "extensions" covered in Chapter 1 were also assimilated, the extended cellmight be even longer perhaps 6-8 measures for each occurrence.

The topic of Chapter 2 was symmetrical modulations, which generally consumeanywhere from 5 to 14 measure each occurrence!With the average length of a tune being 32 measures, it is easy to see that reoccurrences

of these cells and modulation sequences within same 8-measure phrase or within

repeated phrases/sections (as would occur in an AABA or ABAB form, for example),might account for most, if not all, of total number of measures in the tune!If you can aurally recognize the II-V-I and its extensions (in major and minor), and thatsame cell in downstep modulations then you are prepared to cognize allof the chords in

HOW HIGH THE MOON, SOLAR, PENT-UP HOUSE, and IT'S YOU OR NO ONE,plus many, many others!

You will also be able to hear 75-95% of the progressions to TUNE-UP, LAURA,AUTUMN LEAVES, PEACE, EVERYTHING HAPPENS TO ME, and GONE WITHTHE WIND to mention just a few.

Also consider how easy it would be to memorize those progressions, because you are nolonger trying to memorize individual chords.

Instead, you are remembering 3-6 chord progression cells in a single thought, plussubsequent modulation sequences of those cells!


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The remaining chapters of this book will address other progression traits and tendencies

that will, hopefully, fill any and all gaps that might remain.

SUGGESTIONS FOR PRACTICE

?? Go to the piano (regardless of your chosen instrument) and play the excerptsshown in this chapter slowly being sure that you're absorbing the sounds of both

types of modulations.1?? (also at the piano) Play through all 12 keys of both types of modulations. The

one that modulates down in half-steps can be continuous, through the 12 keys,but downstep modulation will need two starting points, each covering six keys.

?? Improvise with the downstep progression of II-V-I's on Jamey Aebersold's A

New Approach To Jazz Improvisation, Vol.3.?? Play as many of the tunes on the lists provided for this chapter as you know

(many are available on play-alongs from Aebersold's series, presentlynumbering about 77 volumes.

?? Learn as many as y ou can of the ones that you don't yet know.

1 If the reader needs help with establishing a simple, but effective way to voice II-V-I

progressions, refer to Jazz Keyboard For Pianists And Non-Pianists (Coker, ColumbiaPictures Publications, 1983).


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General Modulations

?? Up a major third?? Down a major third

?? Up a minor third?? Down a minor third

?? Up a minor second?? To the relative minor

In Chapter 2, modulations were addressed that are symmetrical and transient, generallyachieved by using the II-V-I progression and its variations.

Often, those sorts of modulations are used as a basic structural element, establishing thecharacter of relatively long segments of the tunes in which they are found.

For example, of the thirty-two measures that comprise the length of TUNE-UP, twenty-four of those measures are consumed by downstep modulations.

In this chapter, modulations will be discussed which are neither symmetrical, nor, inmany cases, as transient as the ones covered in Chapter 2.

Modulations Up A Major Third (as in the key of C to the key of E)

Modulations to a key that is a major third higher than the "home key" (or starting key)

provide intense surprise, contrast, and drama, which partially explains their frequent useamong composers of musical shows and popular standards.The manner in which the modulation is handled, as well as its placement within tunes, is

also worth mentioning here.In many cases the modulation is entirely abrupt; that is, the new tonic is not preceded by

its II and V chords, heightening the aspect of surprise, and the placement is most oftentoward the end of an A section, just preceding the bridge, or close to the end of the

bridge.

As is the case in all of the tunes in the following list:

?? All The Things You Are (mm.6 &14)?? Baubles, Bangles, and Beads (mm.9 &17)

?? Gone With The Wind (M.5)?? How About You (m.13)?? I'm Old-Fashioned (m.20)

?? If I Were A Bell (m.13)?? I Hadn't Anyone Til You (m.13)

?? I Love You (m.13)?? Lush Life (m.7)?? Magic Morning (m.26)

?? Moonlight In vermont (m.17)?? Rain Check (m.12)

?? Stars Fell On Alabama (B7)?? Tangerine (m.13)?? The Touch Of Your Lips (m.13)

?? Too Marvelous For Words (m.15)

?? Upper Manhattan Medical Group (B 1)?? You Go To My Head (m.13)


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?? You Don't Know What Love Is (B5)

More examples of modulations up a major third will be given in Chapter 5 ("ClassicBridges"), where the I chord of the new key occurs at the beginning of the bridge.

As a footnote to the nature of allmodulations, regardless of their characteristics:

?? prepared or sudden,?? transient or not,

?? symmetrical or non-symmetrical,?? and any interval above or below the original key),

they too can be be aurally recognized (quickly) by the reasonably trained, experienced

jazz musician.As it is with all the harmonic traits covered in this book, the methods for achieving aural

recognition center around:

?? practicing them at the keyboard,?? knowingly listening to recordings of tunes which contain the traits,?? learning at least one tune (very well) from each of the lists provided in the

book (including the learning of the melody and improvising on the chord chordprogression),

?? composing original tunes which incorporate the traits,?? and by cultivating the technique of making aural associations between traits

heard on tunes you doknow and those heard on tunes you don't yetknow.


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Modulations Down A Major Third (as in C down to Ab)

Modulations down a major third have unique characteristics.They most often follow a minortonic; that is, the starting key for the phrase is in minor,

then modulates to a majorkey that is a major third lower, as shown in Figure 3-A.

Unlike the suddeness of the modulations upa major third, the new key is nearly alwayspreceded by its II and Vchords, and the duration of the new key is generally very

short.Finally, the placement is most often very near the heginning of the tune or very near the

end of the tune, as is evidenced by the measure numbers given for the list of tuneswhich follow Figure 3-A.

Figure 3-A

The following tunes modulate down in major thirds, and follow the supplementarycharacteristics given earlier:

?? Autumn In New York (m.26)

?? Autumn Leaves (m.28, though the "new" tonic is often a dominant seventhchord)

?? Daahoud (m.2)

?? Half Nelson (m.8, coming from a major key)

?? Here's That Rainy Day (m.2)?? Ladybird (m.7, coming from a major key)?? Lazy Bird (m.3, coming from a major key)?? My Funny Valentine (m.32)

?? Nica's Dream (m.9)?? Ojos De Rojo (m.3)

?? Pensativa (m.10, comingfrom a minor key, and m.6 from major)?? Sunny (m 2)?? What's New (m.2, coming from a major key)

?? We'll Be TogetherAgain (m.5)

More examples of modulations down a major third will be given in Chapter 5 ("ClassicBridges"), all coming from majorkeys, with the modulation placed at the beginning of

their bridges.


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Modulations Up A Minor Third (as in C to Eb)

All of the tunes in the list for this category occur in bridges, either at the beginning orend of the bridges, most of them at the beginning.

As such, many of them couldhave been included in the list that appears for that

modulation in Chapter 5 ("Classic Bridges"), were it not for the fact that the ones inChapter 5 are limited to tunes which begin the bridge on the tonic of the new key,

whereas the ones for this chapter begin the modulationat the bridge (the II and Vchords of the new key, the tonic chord not arriving until about the third measure of the

bridge).The reason for making this distinction is that learning to hearthe modulation is a littledifferent if, on one hand we're listening for the contrast between the "old" tonic and the

"new" tonic, and on the other hand we're trying to cognize the approach(II-V) of thenew key.

Five of the tunes on this list ( marked with an asterisk ) don't begin the modulation untilabout half-way through the bridge.

?? *Autumn In New York?? Black

?? *BIue Moon?? Chelsea Bridge

?? Doujie?? Flamingo?? Gregory Is Here

?? Hand In Glove?? I'll Remember April

?? It's You Or No One?? *Joy Spring?? Little Dancer

?? Love For Sale?? *Moments Notice

?? My Little Brown Book?? One Note Samba?? *On Green Dolphin Street

?? The Night Has A Thousand Eyes?? Wave

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