Jazzology

PREFACE Jelly Roll N{orlon once clairnedto have inr cnted lazz r,n 1902.Aside from being one of the most brazen remarks ever made b1'a musician' the statementapploximatesthe truth iii tlio regards:Jelly Roll certainly was one of the significant pioneersof jazz- and 1902 seenr\ as good a year as any for identifyingitre birth of the genre.perhaps a reasonableconclusion is il'ratiazz is just over one hundred vears old anctJelly Roll was one of its most colorful characters. The first century of iazz has been a tremencblrslyactive one. Spawning a host of substylesand a plethoraof creative grants,.jazzmoved through many high points in terms of geographicor regionai activity. A brief chronological list would include Storyville in the l9l0s. Chicago in the 1920s,the "Golclen Age" of jazz recording in the late 1920s.KausasCity in the 1930s,52nd streetin the 1940s,and rhe cllssic jazzLPs of the 1950sand 60s. But if I were to choosethe optimum time to be a jazz musician.that time would be now. For just as popular culture began to lose interest irt jazz, the larger musical and educationalestabiishmentbegan to embraceit. During the past severaldecadesthousandsofdedicatedjazz scholarsand n'rusicianshave been hard at work creating,preserving, str'rdying,and exploring the music. Jazz is now a viable course of study in most universities,and more young musicians are being trained in this style than ever before. Interest in jazz is greater and more widespreacl today than at any time in its history. This is borne out by the coliaborative effort that resulted in Jazzologt: that of an American college professor and an African jazz musician, united by our deep dedication to this great art form. The jazz age is here. Fifiy years ago, l.loone would har.'ethoughl ot "jazz theory" as a separateentity. Certainly there were devicesand proceduresin ,itrzzth:rt were not easily explainedby traditional theorv, but no separlte discipline had been devised to accountfor the diff'erences.Gradually.orer the years,the creativeactivitiesof lazz musiciansbegan to receive labelsanclexplanations.Slowly but surely.a separaterealm of jazz theory beganto develop.In recentyearsa myriad of methods.cletails,dev'ices.procedures.and explanationshave appearedin print, in lectures.or sornetimes or-rlyin converstltion,to add to the disciplint-:.This book is an attenrptto assimilate.organize,and explain those phenomenaas understoodby the authors. This book cliftels l}om othersof its type in sevelal l'',avs.First of all. the authorsthemselveshave completely diff'erentbacksrttLrncls that are likely to ref'lectthe diverse audiencestor which this book is intended.One is a ke1,board player ar.rdcomposer.self'-taught,rvith a deep knclwledgeof jaz.zIiteratureand vast experiencewith several genresof non-Westem music. The other is a saxophonist.coilegc professor,with a Ph.D. in musicology, and extensiveexperieuceas a jazz and theaternrusicianin the United Sttrtes.Or.rrbackgroundsare as clifferentas can be. Our understandingof the music is as one. This book also differs fiom others in its pedagogicalviei.v.The authorshave presenteclthe material in the order that seernedbest fbr assimilation.While erplunationsare given in encyclopedicfashion tor use as ready ref'erence, it has been borne in rnind that many rvill wish to work through the book methodically.Moreover, a classroomsetting rvas allr'lr1'serrvisioned.Thus ample erercisesare provided that lvill not only give studentspracticewith the materiill, bLrtaiso provide teacherswith a ri,ay of judging students'understandingand progress. Finally. u'hereverpossible.theoreticalexplanationsare given tbr the conceptspresented.In our view, it is not enough to ptovicle practical instructionsfor the working musician. Describing what jazz musicians do without irttemptinuto understandwhy those procedureswork can lead to a tbrmulaic approachto jazz. The studentwili have no alternativeexceptto extract and insert devicesexactly as he or she learnedthem. without alterationor creative input. On the other hand,understandingthe theoreticalreasonsbehind musical decisionsopensup vast realms fbr experinrentationand creativity. Insteadof "copping that lick" from a far,'oritemusician, a studentwill be able to invent an original one that works the sane way. And that is what .iazzis all about. The autl.rorsu'elcome any discussion or colnments pertairriug to this book. They can be reached at: jazzology'@grnail.com.

111

CONTENTS 1: INTERVALS . . CHAPTER Maior anci Perf'ect Intervals Minor. Diminished, and Atigmented Inten'als Int c n' al A bhr c r ia ti o n s Consonant lnterr.;rls ancl [)issonant Intervals

CFIAPTER 2. JLZZ FIAR.,\IONY BASICS Triacls. Triatllnrcrsion. Tthchorcls ChorclExtcnsions Llpperstrlrctures HybridCl-rords

CHAPTER3: SCALESAND MODES M ajor S c ; t lc . Minor Scales. Scale Relationships N{ajor Scale Modes Meloclic Nlinor Scale Mocles. . Minor Scale Diatonic Hirrmonr Pentatonic Scales. Blues S c ales . . . .. Bebop Scalcs Svmmetrical Scales The Altercd Scale Other Scales

CFL\PTER'i:THEII-V-I

CIADENCE . . .

4 5

9 o

.......1C) ......11 ll ...... ...13 .....17

27 21 2l 22 22 )\ )\

29 30 30 31

a2 ^4

42 12 42

Ch ord F:rrttilie s Ca dcnces The (lircle of Fifths

+4 48

TuLneronrtcls

5: FIARMONIC ANALYSIS CFL{.PTER Analvtical Markings S t nr t ' t r r r ll Dir is i o n s . . . Seconclan'Dominants . Backcl'cling Dominauts Relat ec lii' s . . . Contiguotrs Dominauts

CHAPTER(r: II-V-I

1 I

PIANO VOICINGS AND VOICE LEADING

Rooted \bicings . RootlcssVoir'ing,s. Voice Leading and the ii-V-I Cadence One- HandV oic i n g s . RootlessVoicings for the lllues . Two-Iland !bicings Modal \roicings. . . Clllster Voicings , .

:: MODULATIONS AND N,IODALINTERCFIANGE CT{APTER T1'pesof Nloclulzrtions . Nlorl:rlltttcrt'lr:tnge.

56 )o 58 58 61 62 (t2

67 oi o/ . . . . 70 . -.. " 71 . - .75 11

80 85

90 .91 .91

C F IA P T E RRBE: H A R MON IZATION.

.....99

Diatonic Substitution in'lbnal Contexts Substitutions in Modal (.ontexts Tri to n e S u b s ti tu ti o n C h a n g i n g C h o rd Q u a l i n ' P a s s i n g C h o rd s . D i mi n i s h e d C h o rd F u n c ti o n s l )i m i n i s h e c l s u b s ti tu ti o n S i d e -Ste p p i n 9 .. . Ad d e d i i -V ' s . C E SH . C o l tra n e Su b s ti tu ti o n s . . . . .

. . .9g . . .99 . . . . . . . 1O 0 . . . 103 . . . . 1O 4 . . , . . 105 . . . 106 . . 107 . . . . . . 108 . . . . . 108 . . . . . . 111

C TIA P TE R9JA ZZP IA NOCOMP I NG . . .

.II7

C o mp i n g L e a d Sl re e ts

. . . 117 . . . . . . . 123

. . 127

CHAPTER ro. JAZZTUNE FORMS To n a l T u n e s Rhythm Changes M o d a l a n c l P o l l to n a l T u n e s

- . . . . . . 127 .. .128 . . . . . . . L29

c r L {P rE R1 1 :OT H E R A R RANGINGTECHNIQUES. ConstantStructures PedalPoint Osrinaro Relrarmor-rizingaMelod)' . .

....l 3l .......13I . .132 ....132 ....134

. I4T

CFIAPTER 12:APPROACFIING IMPROVISATION

. . L42 . . . . .154

Devices ftrr Improvisation Approaching Improvisation. . Transcribed Solos I-istening

CFTAPTER1]: FUNDAMENTALS HarmonicCo n c e p t

r65 19i

r96

OF TRADITIONAL TAZZ

197 198

.. . ..

Ragtime

r99 r99 r99 201

EarlyJazzSongForms Blues Mtrlti-Part \tructrrres Improvisational Strategl'

CFIr\PTER 1-1:PRACTICING-\7HY\7IIAI

203

& HO\f?

205 209 209

Putting It All Together

The Weeklv Picture The Dailv Routine

.2l l

A P P E N D IX .. .

. . 21I . . 216

J a z z Sta n d ,a rd s ... i i -V -I P i a n o V o i c i n g s .... Blues Changes Piano Voicings A NS \T ER KE Y.

228 .....

) 71 'JL

GENERALBIBLIOGRAPFry

257

ABOTITTHEAUTHORS

264

'I

!:

CHAPTER !{

INTER\ALS To understandany melodic or harmonic discussion,one must understandintervals.An interval measuresthe space between two pitches.The smallest interval in Western music is the semitoneor half step (either name may be used).This is the distancellom one key to the next on the piano, for instanceliom C to Cf;. The next-to-smallest interl'al is the tone. or whole step. This is the clistancebetween notes that are two keys apart on the piano. For instance,fiom C to D is a whole step. The semitone and tone form the basis for measurementof larger intervals. Interval measurementshave two pafis: quantity and quality. The quantity, or numeric value, is determined by the m us ic alalphabe t:C D E F G A B.F o re x a rn p l e ,thei nterval formedbythenotesC andGw i l l al w aysbesome type of 5th, regardlessof the quality of C or G (flat or sharp).

+ I

a type of 6th DEF G

Y A

@

BCDE

f.J1pFG

"f

,t d 1

Maior and Perfect Intervals The qualitt of an interval is determinedb1' comparisonwith the intervals found in the major scale. When compared with a major scale,a ivhole step is found to be equal to the distance from the first to the second note, giving us yet anolhernarnefor it: the major second. It should be committed to rtremorythat any rnajor scalecontainshalf steps(h) between scaledegrees3_4 and 7-8, and rvhole steps(W) betu,eenall other pairs of notes.The half stepsin any scale can be indicatedwith a wedgeshapedmark. or caret symbol (^). Here's the rnajor scale in the key of C.

..----\--)+

-

r As

The distance tiom the root to the various pitches in the rnajor scale tbrr.nthe basic intervals againstwhich all others are measured.Theseeight intervals are divided into twtt basic types, perfect or major. . .

Perfect: unisons.:lths. -5ths.octaves Nlajor: Znds,3rds.6ths, Tths

Major lth

Perf-ect QC taV e

CFIAPTER 1

Minor, Diminished, and Augmented Intervals A ch ro m at ic half s t e p i s a h a l l ' s te pw ri tte n a s th c samenote tw i ce w i th di fl -erentacci dental s(i .e..6-6i 1. w hile a diatonic half step is a half step that usestwo dil'ferentnote names(i.e.. Gf-A). The appearallceon the staff rnay be dil rent. but the interval is the sarne.

chromatichalf sten

diatonic half step

Major and pert'ectintervalsmay be augmented (increasedin size) or diminished (reduceclin size) by either type of half step to changetheir qualities. Major and perfect intervals become augmented when the upper note is raised by a half step. or the lower note is Iowered by a half step. The process may be referred to as augmentation.

{--*-__J G

Major 6rh

b o c o rrre s Augnrented6th

J €' Perfect 5th

*-__J

becomes Au-smented-5th

++, lntervalscan be made lurger by pllcing ir r+Deloretne upper nL)te()r ir b befi,re the lou'er notc.

An augmentedintervalbeconres doubly augmentedwhen the uppernoteis raiseclby a half srep,or the lower noteis lor.l,ercd bv a half step.

t--- *---J + Augmentecl 6tlr

t-

---__J

b e c o n rc sD o u b l y Au-gnrented 6tlr

Wh e n a m ajor int er v a li s d i n ri n i s h e db y a h a l f s re pi t becomesmi nor.

Major 6tlr

becornes Minor 6th

Major 3rd

becomes Minor 3rd

Intervalscanbe madesrnallerby placinua b beforethe uppernoteor ?'lf, befbrethe lowerrrote.

.lA7.Z()LOGY

Through diminution, minor and perfect intervals become diminished.

,-"r

-}

t----'---J becomes Diminished 5th

becomes Diminished 6th

A diminished interval becomes doubly dirninished when the upper note is lowered by a half step or the lower n ot e is r ais edhy a h a l f s te p .

Diminished lth

becomes Doubly Dirninished 7th

Diminished

5rh

becomesDoubly Diminished5th

This illustration will help you remember the order of changing interval qualities. Notice that perfect intervals jump directly to dirninished;there is no such ir.rtervalas a minor 5thl

DoublyAugmented

AA

t-r-\

t'T\ II II II

II

Augmented

i ,4,5, 8 P erf' ect

Diminished

rl tl

** DoublyDiminishecl

CIIAPTER 1

It is possiblefbl notes and intervals to have clift'erentnames in spite of containing the sane number of half steps and producing thc santesound.For instance.iin auginented2nd aboveC is ill. and a minor 3rclabor,eC is Eb. Both intervalscontain three half steps,but occur in diffcrent situations.Theseintervals (as well as the notes Df and Ebl are referred to as enharmonic equivalents. When an interval is inverted (the orderof the notcs is changed,i.e. C to D becornesD to C) you'll find its complementarvpartncr.For instance.an inverted major-2nd is equal to a minor 7th, an inverted malor 3rd is a minor 6th, and so on. Notice that inverted major intervals are minor (and vice versa) while inverteclperfect intervalsare still perfect.These interval pairs should also be nrcrnorized,to facilitate further study. Inversionsof Major Scale Intervals

Pert-ect 5rh

Minor 3rd

Minor 2nd

lnterval Abbreviations lntervals are used so often in describingchorclsand scalesthaitthey are sometimesnamed in an extremell,abbreviated way. Leafll to recognizethesevariations in inten,al names. . . . . ' .

Pert'ectand rrajor intervalsare implieclbv no rner.rtion of their qualitl'at al1:5 for P-5(pelt-ect-itlt). 7 ftrr M7 (rna.ior7th). etc. The word "sharp," or the shtrp sy,mbol(') is often used insteadof '"aLrgmented" (or its abbreviations. "aug" tlr "+"). The worcl "flat" or the flat symbol (b.yis o1'tcnused insteadof ''min" or ''m." When a perl'ectinterval (1. 11.5,or 8) becornesdiniinished. it mav be wriiten u'ith one flat 1b1 i ns t eadof dim o r d . o r th e d i n ti n i s h e csl y n tb o l (' ' ' " ). When a r-najorinterval (2, 3, 6, 7) becomc'sminor. it too is often rr rittc-nrvith a b insteaclof min or m. ior instance. b2 insteadof m2. When a tna.jorinterval becornesdirninished.it can be r.i,rittenrvith tr.'u'o tlats 1bu;instead of dim or d. fbr instance!b7 insteadof dim7 or d7.

This all boils ckrun to exclusiveuse of the l'. i. or no symbol to accor.nplish shorthancl(though precise)narring of any inten'al. You should, however. still knor,r'that a r3 is minor. 'uvhilea b5 is diminished. When naming intcrvals,place the s.vmbcllbefirrethc number. not after':11. 7. ete. tWhen naming notes. place the s yrn b o la f t er : F i. B b. ) The augrnentcd-lth/diminished5th intervals are lilso called the tritone, abbreviatedTT. A tritone eqr-rals three rvhole steps. The clrartsbelou list all the intervalsup to the I 3th. as they are most conlmonly named tn the jazz idiorl. (Not all possibleaugmentedand diminished names are listerl.) Intervalssrnallerthan an octave are cailed simple intervals.

JAZZOI-OC]\'

Semitones

Interval

0

Unison Min 2nd Maj 2nd Min 3rd/Aug2nd Maj 3rd Perfect4th Dim 5th /Aug 4th Perfect-5th Min 6th/Aug 5th Maj 6th/Dim 7th Min 7th Maj 7th Octave

I 2 3 4 o 1 8 o

10 lt 1 ''

Abbreviations n2,b2 M2,2 m3,r3, q2,+2 M3,3 P4.4

bs.t+.++ p55

+5 m6,b6,X-5, M6, 6, bbJ,d' 7," 7 ml-,a

l-

/

M],7 P8,8

Intervals larger than an octave are calleclcompound intervals. They may be analyzed as a simple interval raised by an octave.

Semitones l3 l4 15

r6 t1 r8 19 20 2T

Interval Min 9th Maj 9th Aug gth/Min lOrh Maj 10th PerfectI I th Aug 1lth Perfectl2th Min l3th Maj 13th

Abbreviations rn9,b9 N49,9 fq. bto t\{10, 10 Pl r. 11 *t1,+tl pt )

r)

nr13,b13 N,I13. 13

Simple Equivalent b2 + octave 2 + octave b3 + octave 3 + octave 4 + octave f.4 + octave -5+ octave b6 + octave 6th + octave

Consonant Intefvals and Dissonant Intervals A harmonic interval results if the notes are played at the same tirne, while a melodic intervai occurs when the notes are played successively.The rnethod of measuring intervals is the same tor both harmonic and melodic intervals. N4elodic Intervals

Harmonic intervals may be either consonant or dissonant. '

Consonant intervals occur when tu'o pitches that are sounded together produce an agreeablesound. Consonancegives the impressionof unity, cohesion,and stability.

'

Dissonantintervals,on the other hand, occur when two pitchesthat are soundedtogetherproducea sound that seemsto require modification or resolution.Dissonancegives the impressionof instability,tension, and the need to resolve to a consoltance.

CFIAPTER 1

Dissonance Tension

Iendency to resolveto

Consonantintervals are subdil.idedinto threc tvoes:

PerfectOctave: P8 Perfect Fifth: P5

Major Third: M3 Minor Third: m3 M aj or S i xth: M6 N'linorSixth: rn6

Perf'ectFourth:P4

A l l th c tttheri nterval sare di ssonant.

Ertharnonically equivalent intervals usuallv iippear in different contcxts and thus should not be cor1siclerecl the sarneas their counterparts.i.e. while arrninor lrcl is consonaut.an .rusnteltted2nd is dissonant. The consottanceor dissonanceof the perfectJth interval also dependson the context in which it occurs.If it stands alone on the root of a key center,it is dissonanl.It mal' be consonantif it occurs over other notesas part of a chorcl. This is a simplification of the traditional rulr's of consonancenncl clissonancethat vr'ereestablisheclcluring the RenaissanceAlthough the dcscriptionsrnav not apply to the ',vayrnotlernears hear these inten als. the plinciples still fbrnt thc basis for Western hanronic praciice. including jazz hanuon1,.

TAZ7.OLOGY

Chapter 1 Exercises 1. Identify the following intervals.

2. Provide the following intervals above thc given pitch.

btz

bt

M6

p1l

+4

3. Write the following intervals(from any pitch). mz

bz

+5

dimT

M9

bn

+4

+9

CHAPTER 1

4. Write the fbllowing intervalsabove the gir,'entrote

5. Identify each interval as either consonant or clissonantby writing "con" or "diss" below.

JAZZOLOGY

ri

CHAYTER ::.... . . j ' ; ' -: : ; l r5 :

.i

JAZZ HARMOITYBASICS Two or morenotesplayedsimultaneouslyform a chord. chords are traditionallyconstructedby stacking3rds on top of eachother'This methodof building chordsis calledtertianharmony.The note at the bottomof the stack of 3rdsis cailedthe root of the chord.The next note, a 3rd higher,is calledt-he3rd, and the next higher,a 5th above the root, is calledthe 5th, andso on. A conipletelist of choidswould include7th, 9th, I lth, and l3th chords.They are so namedbecauseof the intervalbetweenthe root and the highestnote in the stackof 3rds.

Triads As the nameimplies,a triad consistsof threenotes,or two superimposed 3rds:

+:t:

Tonic

3rd

5rh

The triad typedependson the quality of the 3rdsthat areincluded in the chord.The mostconvenientway to build or analyzetriadsis to startwith a major triad, by taking the lst, 3rd, and 5th notesof the malor scale.The other forms can be seenas alterationsof the major tnad, as shown belou,. Hereare triadsbuilt from the root c, and their commonly-used names. Major Triad(1-3-5): C. CM, Cmai

Minor Triad(1-b3--5): C-, Cm, Cmin

AugmenredTriad ( 1-3-f5): C+, Caus

Major 3rd Major 3rd

Diminished Triad (l-b3-b5): C., Cdim

CFIAPTER2

(andthe mles In the suspendedtriad,thc zlthreplacesthe 3rd.Despitethe in-rplications ol the wori-l"suspension" and dissonance). the 4th doesnot needto resolveto the 3rd (althoughit ma1,).Inlazz, unlikeclasof consonance sicalmusic.the suspendecl triad (usuallycalleda "sus chord") is a fixedandstableharmonicstructureuntoitself. Triad (l-4-5): C.l, Csusor Csus4 Suspended

Major 2nd Perfect 4th

All the previoustriadsare said to be in root position: the root of the chord lies at the bottom of the triad.

Triad Inversion Inverting a triad reaffanges the notes so that the 3rd or the 5th is placed at the bottom of the triad structure. The lowest note is called the bass, which is not to be confused with the root. The bass is the lowest note in any chord inversion. The root is the note on which the chord is built and cannot change. Root Positiort N{ajor Triad

Minor Triacl

AugmentedTriad

Diminished Triad

Suspencled T'riad

10

.IA/,ZOLOGy

First Int'ersion

SecondInversion

Play the triad qualitiesdiscussedso ftir in all twelvekeys,in all possibleinversions.Includethemin your practice routineuntil you canplay them without using the book or writing them down. Wind playersshouldpractrcetriad arpeggios(chordsplayedone note at a time) in all keys and inversions.

7th Chords 7th chords provide the building blocks of jazz harmony. Unlike classical music, which relies upon the triad as the fundamental structure,jazz uses triads infrequently. Instead, mosI"jazz styles employ 7th chords as the basic harmonic unit. A 7th chord is built by stacking three 3rds on top of one another so that the total distance from the root to the uppermost note forms the interval of a 7th. There are seven commonly-used types of 7th chords. While the content of these chords is specific and unchanging, the symbols used to designatethese chords can vary substantially, as can be seen below. . . . ' . . .

The Major 7th Chord, writren: M7, maj7, or L The MinorA4ajor 7th Chord, writen: -M7, -maj7, m(maj7), mM7, or -A The Minor 7th Chord, written: -j, min7, or mj The Half-Diminished 7th or m7b5 chord, written: mlb5, mi.f. (b5), m7(b5), or , The Diminished 7th Chord, written: "7 or dim7 The Dominant 7th Chord, written: 7 The SuspendedDominant 7th Chord, written: Tsus or 7sus4

Cmaj7

Cm(maj7)

Cm7

Cm7b5

Coj

Ci

C7sus4

Herearethe correctintervallicspellingsof thesechordswith examplesbuilt on C.

Major 7th

Minor 7th Half-Diminished 7th Diminished 7th

c-Eb-c-Bb

c-Bb-cb-eb c-Eb-cb-nbb1a;

t-bs-s-bt r-bt-bs-b't

t-bz-bs-bbt

7th or Dominant Maior/Minor 7th Suspended Dominant

t-b3-5-1 C_F_G_BD

t-4-s-b7

As with triads,7th chordsshouldbe practicedin all keys,in all inversions,withoutreadingthem.Wind (andindeed all) playersshouldpracticethem as arpeggiatedlines in all keys and inversions.

CHAPTER2

TL

Chord Extensions A chord is generallyexterldeclby adding notes that increaseits richnessand dissonancewithogt lltering its fu'ction. Thesenotesare called extensions.tensions,or upper structures; the resultsare calleclextended chords, and in sornecasespolychords or polytonaVpolymodal chords. Extensionsbeyond the 7th tollow the santc pattem of constructionas 7th chorclswith a general rule being that if a chord tone of the triad is altered(raisedor lowered).the quality is also altered,while alterationof extensionsdoes not changethe quality of the chord. Here are some examplesof 7th chords with natural and alteredextensions.

Cmaj9

Cmajg#tt

Cmajl3f,11

Cm9

tu

Cm11

\-,

U

(\

lf)

Cmgbs

Cm11b5

Cm13b5

CmlD5D9

a ,b^

L^

b

bcr

G

b.-

v tt

V \)

b.-

L^

cz#c#rr

o

rvn

b.-

tz

.JAZZOI,OGY

++rl b.t

H' L^

h

cmttbsbq cmttbsbsbr3Cmnb5bs

clbs

ctbgfrrb:

t ml J

VV

b.-

b.-

ctbs#fi

cr:fis#u

cttlgfrnbfi

{'t''|.-'

++ll

L^

h.-

Not all possibleextensionsand alterationsafe usedin jazz harmony.The ones that work with a specificchord type are said to be "available." The ear is one's best guide. The following suggestionsfbr available extensionsare intended to apply to bebop or'6straight-ahead" (as opposed to free, avant garde, or modern) jazz harmony, and are sanctionedby more than fifty years of nearly total consensusamong jazz musicians. Major triad: . add 6th and 9th, . add M7 and 13, . add f I I to either of the above for extra dissonance. Minor 7th (functioning as ii): (See Chapter 3 for more on chord function.) . add 9, . add 1 I and/or 13 above the gth for extra dissonance. Minor triad (functioning as i): . add 6 and 9, . add M7, . add 9 and/or 13 above for extra dissonance. 7sus4: . add 9 and/or 13. Dom-rnant7th (functioning as V7): . add 9 and possibly 13, . add b9 and possibly b13, add f,I I to either of the above for extra dissonance.In short, V7 can take all extensions except 1 1 and M7. ' Diminished 7th: . may add the note a whole step abor,e any chord tone. . diminished chord extensionsdo not usuallv receive numbers. Half-Diininished 7th: . add M9, . add 11, . add M13 for extra dissonance. There are many common chord types. Keep in mind that a little dissonancecan go a long way, and that diminished 7th or m7b5 chords may be dissonantenoush in context without extensions.

Upper Structures In commonpractice,uppel structuresare triadsplayedin the right hand that have a differentroot from the lefthand chord.The upperstructureis usuallya major or r minor triad. The resultis an extendedchordthat can be specificallyreferredto as a polychord. Upperstructuresarevery commonover dominant7th chords,but can also occurover otherchordqualities.

G:.:bg

CFIAPTER 2

13

'l'he top

threc notesttI'the Lrltperstnlcture.IJ E-Gf,. ftrrm an E malcrrtriad. tr,hereasG, is leullr the b9 and E is the l 3 th of t he G 7 c h o rd . T h e i n d i v i d u a ln o te s re ta i n thei rharmoni c functi on rvi thi n G7 arrdare heardas a unit . The resulting soutrclis really in tu'o keys at oncr-;E and G rnajor, thus nraking a polytonality. To builc lanupper s tru c tu rc .p l a -v th el .-l .a n d i 7 ( the5thi susual l yaroi ded)vri thrhel efthand.andformanytriacl u'ith the light hand. obserrins u'hat note rs played on the top of thc chord or in the melodr'. Guitaristswill likely play only the root and rT a\ the louel'pal-t of the polychord, to fl'ee up tingers to play the Lrppersrructure. Triads that contiiin the P4 (Pl I ) or N'I7in rclation to the left-hand chord lthe only tvu'oextensionsnot allowed on a doniinant chord) shor.rldbc avoided. The 3rd should not be placeclin the left hand if it occurs in the right hand. (Oc c as ionallyt.he 3 rd w i l l n o t a p p e a ra t a l l .)H ere are some exampl eson G7.

G7DgD13

O 06E-

ct:firr

^_t+ ^ G /+r9

nf*

iu

crfiqbr:

ctbgfrn

u/fvi ,fl l

b"t

Gl3b9

G13

the ent ir e Be c aus eof t he lal g e u u n rb el o f e x te n s i o n su ra i l abl e on a don-i i nantehord.i t i s possi bl eto bui l d rterrrl y' throu,uhuppcr'\tructureson the satnechorcl. chror.naticscalc by asc:circling

Gl3

G7sus,tr(b9)

^-++,.++,.

l t / tt9 fr L l

l4

I_.\Z_Z()L()GY

G9sus-1

Gibt3

Itl trv

G]DgD13

cr :b qrfr

G l l susrl

jazz pianistsantlarrangers In practice, prefersiurplifyingupper-strucrure notarionso as to make tl.rechords easv to readandplay.Accordin-ely. anotherwa\ to notatethepreceding examplesis to indicatea lefi-handchord under a right-handtriadandpiacea horizontalline in between: Abm

Bb

Bbm

Dm

Eb

Em

G7

G7

G7

Db

G7

t-

Q r l"

x

Em G7 IU

-lJ

Bbm G1

Fm -(rl

CI'

e

<>

Abm * Lr/

Gm ;:

t

U/

Am \'/ '1

-l

t3D

B+

Dbm

Dur

G7

G7

G7

G]

a)

Eb

u

_ U/

E = \I/

Am (_r /

b--o-

qu

+

Eb'l G]

E6 ;t.I /

Ab G]

(,HAPTER 2

ri

Abnr

The follo\ring upper structures are the nr()st common examples used in jazz comping (accompaniment)and arranginr. They should be practicedin all nielve keys. Chor ds f unelionin g a s i i m T o r i i m7 b 5 :

Dm9

Dmll

Dml3

Dm9D5

Dnrllb5

Chordsfunctioningas V7 (theG7 chordis plavedby the lefi hancl.ri hile the right hand plirls possibletriads): Gl-t

c7bl3 Glbt3

ct-rfiv

GTart

2C

ct:f,rt

Gl3sus4

G l 3 s u s -l D 9

GTal t

(i Tnl t

I i/ -l.r-

D<>

( i 7a1t

ct3be

o

G l-ib e f i r l

IVY

2< >

clfr,)

Gzf,snt t

Cmajg#tt

Cmajl3

Chords firnctionin-sas ImajT Cmaj9

1(;

Cmaj13

.1,\zz()L()(;\-

Cmajgiltl

Cmajl3 fl t t

Hybrid Chords Also known as slash chords, these chords are usually written as C/Ii, rvhere C is the chcird and B is the bass note. Notice horv this symbol differs from that of the polychord.With a horizontalline, the letter narnesaboveand below each ref'er to independent chords. With a diagonal line, the symbol above refers to a chord while the one belou refers to a bassnote only. Here are some examples.

G I 3sus4

FmajT/G

FmajT

G

Dml lG

DniT

G

Glt

BbniajT

G

Gm9

fmaj /tf)

G

G 1 3 f1, 1

Fm7/G

Fm7

G

l3 G7sus4b9b

Fm6/G

Fm6

G

G7sus4b9

Bbm(maj7)

G

Gmgbs

Bbml/G

BbrrT

(i

Bbm6/G

Bbm6

G

BbmajT/G

rma;z#slc

BbmtmajT)/G

ebma.;;#src

Bbmalzfi5

GmlD5D9

cmzb5

U

Gm(maj9)

DbnajTlG

DbmajT

G

Gm1lb5D9

l. +trn//(J

Ff,rn7

\J

cmaig#t t

ADmajT/G

AbmajT

ADmajTD5/G

ADmajTD5

G

G Phryg

G

G Phryg

CFL\PTER 2

t,'

Chapter 2 Exercises 1. Identifl'the followingchords.labehnginversionsas Ist inv., 21d inv.. or 3rd inv.

2. Build thetbllou,ingchorclsin r O O tpos lt lon A *-6 nlltg

Bm7

18

FmajT

Ebm(maj7) Cilmttbs

JLTZOLOG\

cTbs

D13

AbTsus4

Bmaje

Amgbs

D7F9

Emajgb5 G#m(maj9) p'ft3sus+

Ebm?,/lt BmalTbsTAb

Bo7

Bm7b5

Arnl3

Dm6

F+7

abmal9#tt CmTsus4

Flalt

cef,11 F#m(maj7)

Bnajl3

Erl9

Fo'7

3. Write the tritoneinterval(s)found in each of the following chords.

ch

Em8

Es#rt

p,bsfs

Gml1b5

Bbmajtbs r.bmtbs

Bibs#fi

Fmaj13

D13

p'bt

abmqbs

C7sus4b9

P#mB

GTaIt

4. Write the 3rd and the 7th of the followinc chords. (Dominirnt I 1thor sus4chordshaveu P Jth i n' terrdof I . 1r d.r Am7

D7

sh#g

Am(maj7b5)

G9sus4

ErnajT

BDmlD5

co7

DTalt

Dbmajl3

Fm7

Bm -/t-p:

F#m1l

Bbm(maj7)

wbsfls

Abma19

G13b9

cbt

EbTsus4

CFIAI'TER 2

l9

5. Identif,veacl.rchord and specify whether.it is best understood as iln upper strllcture(US). hybricl(H1,b),or slash chord (Sl). Some structuresare subject to multiple interpretation s.

L) ti

(-'

bt+

ri tf

f,c +

f;5

b*

6' ldentif;'each chord. All crhordsare in root position.If it containswrong notes or inappropliateupper struetures, place an ''x" beneaththe chord.

4"4

V\)

a,

qo

rraJ

{1''"

_1ft-}-

+

a) e

l0

a\

JA7.7.OLOGY

1,, Lt-

(\

C'

-(-

U-

o _-

+

t

CHAPTER

SCALESANDMODES A scale is a stepwiseaffangementof notes/pitchescontainedwithin an octave. ivlajor and minor scalescontain sevennotesor scale degrees.A scaledegrecis designatedby an arabic numeral rndicatingthe position of the note

withinthescale.

Major Scale In additionto recallingthat there are half steps(h) betweenscaledegrees3-4 and 7-8, with whole steps(W) betweenall otherpairsof notes,noticethat a major scalecontainsa cerlainamountof symmetryin that it contains two identicalfour-noteunits (called tetrachords), separatedby a whole step.Each tetrachordconsistsof two wholestepsanda haif step. J4 ---^---,

-/il --l\--

-

Minor Scales There are three forms of niinor scales:natural, harmonic, and melodic. Each starts with the sanreminor tetrachord (l-2-b3 {), with valiartionson degrc.-s6 and 7 in the r-rppertetrachord. Natural Minor A natural minor scale is a scalethat containshalf stepsbetweenscaledegrees2 3 and 5-6. |

,l

2--'-------3

5---'----

6

j

o

w

w

Think of the natr,rralminor scale as the notes of a mujor scale starting on its 6th degree Accordingl,v.the C nrinor scaleshown above is an Et rnajor scale startingon C. Harmonic Minor A harmonic niinor scale is a form of a minur scale rvitlr half stepsbetween2-3, 5-6, and 7-8. The characteristic 6-7, a wholcsteppltrrrr hrll' step sound of this scaleresults froni the unexpectedinterval betweenscaledegrees (or augniented2nd). ^ L

wh\\'

. --tt---'-

-'t

-- f o--zt---'-

.

/b-tt-^-----

-

^

WhW+hh

The harltonic ntinor scalecan be thought rrl'as a natural minor scaler'vitha rarsed7th scaledegrec.The Tth scalc in orclerto provide a leading tone that r.villrnakethe V-i chorti tttor c (also degreeis typicaliy raiseclrn minor ke-v-s called a cadence) sound conclusive.The narne''harr"uonicminor" derives fiorl the fact that the Tth scltledegree of the V-i cadence. has beer.raltercdto fit the hamonic lecruircntents (.HAP-|ER.i 21

Melodic Minor Scale This tvpeol ninor scaleis called"melotlic"because is it easierto sin-ethanharmonicminor;thereis no :2 interval bettveenthe 6th and 7th degrees.A classicalmelodicminor scalehastwo forms:ascending and descending. The ascendirtg fbrntis a naturalminor sculevrith the6th and7th scaledegrees raised,with half stepsbetu'een2-3 and 7-8. Compareit with the major scale:the only differenceis the minor 3rd. The classicaldescending form is simpfy the naturalminor scale.ln jazz practice,the 6th and 7th are typicallyraisedin both the ascendingand descendinglersions of the scale.This is sometimesref'erredto as the "jazz minor" or "real" melodicminor, and is a vital scaleto learnfor usein jazz improvisation. This fonn appearsbelow. ^J---_-----Z

"

-/6 -----^-----

^

ScaleRelationships Major and minor scalesmay be relative or parallel. Relativemajor and minor scalessharethe samekey signature but starton differentnotes(i.e., C major and A minor.) Parallelmajor and minor scaieshavethe samestarting notebut differentkey signatures(i.e., C major and C minor). Major and Minor Scale Diatonic Harmony A tonal centerconsistsof a scaie(a parent scale)and a seriesof diatonic (scale-based) 7th chordscreatedby harmonizingthe parentscale:buildingchordson eachstep,by stacking3rdsof only scalenotes. Romannumeralsareusedfor describingchordprogressions chordfunctionsindependently andunderstanding of specifickevs.This svslemdesignates hori eachchordbelongsto a key. Generally,minor chordlunctions(minor, diminishedandhalf-diminished chords)arcindicatedby lor,'u'ercase Romannurnerals, whereasmajoranddominant chordfuncti()ns areindicatedby uppercase Addcdr.narkings indicatemodificationof the chord Romannunterals. tiom its originalform.The cliatonic7th chorclsof the rna.jor scaleureshownbelow. Cmaj7

Dm7

I Scale Degree: Roman Numeral: ImajT

EnrT

FmajT

Gl

l

V7

Am7

BmZbS

CmajT

618 vim7

viimTb5

ImajT

Major Scale Modes As u'ith chords.a scalemiry be invefted b1 keeping the same range of notes but placing a different starting pitch at the bottonr:the resulting inversion is known as a mode. The conceptof modes is crucial to jazz irnprovisation.A mode containsthe same sevennotes of the parent scale, but adopts a rliff-erenttonal center around ii'hich all the other notes revolve. The notes are equivalent to a lnajor scale:only'the startingnote has changed.\lodal melodiesand chold progressionsrvill emphasizethis note as the tonal ceuter.A melody basedon a mode ntay be written li ith the same ke1,'signatureas the parent scale.or as a rnajor or n.rinorkey center r"'ith accidentals inserted to produce the notes of the mode.

22

.IAZZOI,OGY

The follor.i,ingtable, adaptedfrom John Mehegan. shows each mode in the key of C as a displacedscalefrom root to root.

Phrygian Lydian Mixoiydian

Minor (b5)

The fbllowing illustration outlines the modes discussedabove l st mode C lonian (C major)

2nd mode D Dorian

3rcl mode E Phrygizrn

4th mode F Lydian

5t h m ode G Mixolydian

6th mode A Aeoliun (Natufal Minolr

CFIAPTER 3

)1

Modal Characteristics and Colors niot lc) or i t l l -orttei ther the natLrl l rlnri nor'(,A .col i art E ac h nr ot lclt as o n c c h a rl tete ri s ti cs c a l cs tep th at cl i sti n!Iui shes to the pl ttal l e lr t llt it lr m aior ( lt lt t iannto d c ) s c a l c .T h c ti l l l o ri i rl :: ta b le shou s cacl t rn< l dc' sstructurel n ccl r.npari son u'here appl i cahl c-. rttoclrtl tones. arid rr tonal s tc p . l ts e l l a s its sc aleanc lit s c ha ra c te ri s ti sec a l e

1.1.3.+,-s.6.7

Ionian

ret-erence

r.+&5

). 3 , 6 & 1

Dorian

l. 2. b3,1,5.6. 11

6

1.4&5

2 . 3 . 6 &1

Phrygian

+..r.b o .r; r. b z.b -r.

6z

r ,.1&5

2.3.6&1

2t

1,4&5

2.,3.6 & 1

(b6) reference

r. 4 & 5

t.3.6&7

t.2 .3 .fr+.S .S .t

Lydian

1.2,3,4,5.6.b]

Mrxolydiirn Aeolian

fi4 t-

I-

2-)

Locrian

notes are collstilnts' Notice that there are tive tonal modcs: all contain the same lst,.lth, and 5th degrees.These select the propc'r jazz easily improviser nrir\ Becauseall fil'e morles are relatecithrtrugh these primarY tones. a rnodeb1' changingthe other. r ariable.tiotes. tlesir'cilivill dictatc ntot.lechoice. ln order of dccleasingtcttsiott.the nttldes Sometinres.thc degreeof clissonance may ellectirelv be art'angedas lillltiu s.

DARK

Locrlian

Phlvgtatt

Acolnin

I\Ii xol vdi an

BRIGHT Ioni uti

Lvdian

2J

.lAzz()l-()G\

Melodic Minor ScaleMocles The various scalesthat result from the rnotlesof the melodic minor scale are of fundanrentalirnportancein jazz improvisation.The seventnodes that derirc from the C melodic minor scale are shown below r.vithlheir resoective formulae.

Melodic Minor

w

h

w

Dorianb2

h

w

w

LydianAugmented

w

w

w

Lydian Dominant

w

w

Mixolydianb13

w

Locrianil2 Altered

w

w

w

h

w

h

w

w

h

w

h

w

h

w

w

h

w

n

w

h

w

h

h

w

n

w

w

II

w

w

w

\I

w

w

w

/

w

The applicationsof thesemodes will be discussedin detail in the context of the appropriateharmonic situationsas we encounterthem in later chapters.

Minor Scale Diatonic Harmony N{inor tonalitiesare somer.r"hat more conrplex than niajor tonalities.A minor tonality may drau, from fbur parent sciilesas a sourceof melodiesand harmonies. w'hile the major scalc (lonian) just r"rses one parentscale.In minor. the four parent scalesare natural minor (Aeolian. also known as ''pure" minor), Dorian, harrnonic minor. ancl nteiodic ntinor. Dorian and melodic minor rire the most lrequent choicesfor static minor chords,wrth natural and harmonic rninor otten being employed ovei rninor-key chord progresslolts. Pr-rreMinor or Natur:rl Minor (Acolian)

Harmonic Minor

crilPTEl{ -3

25

Each of thesethree parent scalesgeneratesits orvn family of diatolic chorcls Pure Minor or Natural Minor (Aeolian) Harmony

DrnTb-5

Cm1

AbnajT

Harmonic Minor Harmony Cm(naj7)

Dm7b5

Fm7

Melodic Minor Harmonv .- l+

-l

h,zmaj/+t)

Cm(maj7)

Amlb5

Bm7b5

Diatonie Herrnony,of Modes of Harntor.ricMinor Scale

1. C Harmonic Nlinor Cnr{1113j11 DnrZb-;

.-*

-i L,Pmul /tr)-

Fm7

..

t---tl V 9

AbnajT

Bo7

l_o_

2. D Locrian (#6)

Dn7b5

26

nbmajzfrs

IAZZOT,OGY

Fm7

AbmajT

Cm(maj7)

3. Bblonian( f5) .-* -r /it) -E.Pma.l

Fm7

Cm(maj7) +

4 .FDo r ia n ( f4) Fm7

al

a

G7

AbmajT

Bol

Cm(maj7)

omlb5

_t --++E D mi dJ/++J

e

hcr

a

+F

\

5. G Mixolydian ( bS, btS) Gl

AbmajT

Bo'7

Cm(maj7)

Dm7D5

Ebmaj7fr5

Fm7

a h ^ + S l-A

6.ebryaiantfiz) AbmajT

Cm(maj7)

Dm7b5

_t

.- +1

b,Pmal/if)-

Fm7

7. B Diministred( f6, without 8) Cm(maj7)

Dm7b,r

Fm7

The eight-notediminishedscaLevvilLbe di.sttrssedlater in this clmpter CIdPTER

J

21

Diatonic Har-rnonyof Motlcs
DrnT

Cm ( m aj7 )

Ebma.;:#5

2.DDorian(b2) Dm7

.- I+

HPmaj /+tj -l

Amib5

Bm7b5

Am7b5

Bmzb5

Lmtmal /.r

AmZb-s

Brn7b5

Crn(maj7)

Bm7b.5

Cm(ma17)

Cm(maj7)

3. EbAugrnentedLydian EbmajzfrS

4 . F L1' c lian( b7 )* F1

Fj

DrnT

t 5.Giltixolrdian(bl3)

28

.JAZZOI,OG}'

_!

._ 4

bPrna-l/li)

-l

.-*

BPrnil.l/ +li-

6. A Locrian(#2) ArnTb-5

^-tHm / P- )

Cm(rnr.17 )

Dm7

EbrriajT#5

F]

G7

'+!

7. B Altered(B7al0*x Brn7b5

*Lydian(b7)= Mixotydian 1111 1 x*Alterecl= Sttper-Locrinrt (.seepage32: The

.^*

tjPmaJ /+,f)-l

m -t/D J-

AlteredScale)

Pentatonic Scales Pentatorlicscalesconsistof fh'e notes(fiont the Greek,penta, five). Notice that no half stepsoccur ir any o1these scales.Pentatonicscalesare used in tolk music throughoutthe r.vorld.They hare also appearedin Western classical music. particularlyin the rvorks of DebLrssyand Ravel. Although irnv scaleconsistin-qof llre notes ntay theoreticalil' be callcd "pentatonic,"the rnost cornmon forns are the follou'ing. Maior Pentatonic Scale In C, the ntajor pentatonicscale is spelled:C-D-E-G-A tatonic scalefrom Gb to Gl,.

( 1-2 3-5-6). On a keyboarcl.r['reblirck kcl s tirr't a pen-

C N{ajor Penratonic

Minor Pentatonic Scale From C, this is: C_Eb_F6_gb 11_t,:_4_5,7). On a keyboard, this correspondsto a black-key scale fiom Eb to pb. C N,linorPentatonic

CHAP'I'EIi J

29

Blues Scales The minor blues scale (or-sirnply the ',blues scale'') is sintilar to the rninor pentatonic scale,with the addition of a #4. Frortr ihe root of the relative major, ir nay also be viewed as a major pentatonic scale.with a raised2nd ({2; added,resulting in the major blues scale.The acldednotes are called blue notes, which are used fbr tensior-rr.vhen improvising. The minor blues scale fits well with 7. m7 and-possibly-rn7b5 chords, whereasthe major blues scalefits with majT chords. C M inor B lues

EuMajor Blues

Bebop Scales There are two tvpes of bebop scales.the major bebop scale and the bebop dominant scale.The rnajor bebop scale is identical to the major scale with the aclclitionof a #-5or b6. C m.rjor bebop is spelled C-D-E-F-G-G$iadded note)-A B-C. This scale nray be used over a Cmaj7 or a C8 chorcl. C Mqor Bebop

The bebop dominant scaleis identical to a lr{ixolydian mode with the addition of a ma.;or7tl-r.For exarnple, the G bebop dominant is spelied G-A-B-C-D-E F F*(actdednore)-G-B. This scale is effective over G7. Drn7. and aiso Bm7b5 chords. G Bebop Dominant

These tr'vclscales.major bebop and bebop clominant.rnost often appear in descendingfonn. which placesessential tones on downbeats'"viththe added note\ on offbeats.(More erarrples r,r'illbe discussecilater.)

IAZZOLOGY

Symmetrical Scales Dirninished Diminished scalesare comprisedentirely ol'alternatin-swhole stepsand half steps.As a result of this symmetrical fbrmation. there are only tu'o possibiediniinished scale modes.One begins with a whole step. and the other with a half step. The dininished scale beginning with a whole step is called diminished whole-half (or simply "diminished"). It will be useful in improvisation to rememberthat this scaleconsistsof two minor tetrachords(1-2-b34) spaceda tritone apart.The dirninishedwhole-half scaleis useddirectly over a diminishedchord. For instance,play C diminished whole-half over Co7. C Diminished Whole-Half

The diminished scale beginning with a half step (called diminished half-whole or dominant diminished) may be used over a dominant chord. for instanceCiv9 or C13b9. C Diminished Half-Whole

Becausethe two modes are constructedwith the same intervals,just startingon different notes,)'ou can seethat ldirninishedu'hole-half is erlr-rivalent to B dirlinished halt--w.hole. The synnietrical nature of tlie diminished scale rleans that any of its notes rnay be consideredas a root. alw'ays one of the two dinrinishedmodes. resultingin the same patternof intervalsbetrveenthe notes,and alu'ays-v-ielding Becauscits interval patternrepeatse\rerythree l'ralfsteps.\\'e can sa) there are really only three dirninishedscales: C, Db, anclD. A diminisheclscale startingor) any other note is equal to one of thesethree. .

C diminished whole-half is equivalc:ntto diminished whole-hali scalesstarting on Eb. Gb, and A. and is also equivalentto hirlf-whole scalesstarting on B, D, F, and Ab.

.

Db diminished whole-half is equal to E, G, and Bb diminished whole-half, and ro gb, cl,. A, and C diminished half-whole.

.

D climinishedwhole-half is equal to F, Ab and B diminished rvhole-halfand to E, G, B', and Db diminished half-r,l'holescales.

and dominant chords. Knowledge of theseequivalencieswill easethe task of improvising over dirninishedcl-tclrds

CFLAPTER3

l1

Whole Tone The wl-tole-ttlnescale has six note:iseparatcdfrorn one anotherby whole steps.Becausethe structureis syrnrletric al, t her ear e o n l y tw o u h o l e -to n es c a l e s . . .

C Whole-Tone Scale:C-D-E F{-GI-A{ Db Whole-Tone Scale:Db-Eb-p-C;,'{ g

Becausethe scale is entirel-vsymmetriciil. lill notesrepresentpossibleroots. The whole-tone scale is closely associated with French Impressionisrn,and marly examplescan be found in the works of Ciaude Debussy. C Whole Tone

Db Whole Tone

Generally,whole tone scalesare used in jazz in a simiiar mannerto dominant diminished scales,i.e. as substitute scalesfor use over dominant chords, particLllarly when mclving up ii 4th.

The Altered Scale The seventhmode of the nrelodic minor scale is called the altered scale becauseit contair.rs severalaltered tones: b g. ilg. t ll, andbt 3 .tti s a c tu a l l v a ma j o rs c a l e rvi ththerootrai sedahal f step,thus: l ,} bj b| (= M3)b,5 1=t - 1; b 6bl. t n C r nelo d i crrri n o r.w e s a \\' th a ttl i r' e h orc' l bui l ton the 7th tl egree(B ) i s a hal f-cl i mi ni shcdchord. tt m ight also be consideredan alteredclonrinantTth chord. dependingirpon rvhich note is considererlthe 3rd of the chord: D ( b3)ot B r ( M 3 o r b 4 ). In o th e r w o rd s , i l ' D i s consi deredthe 3rcl .the resul tantchord i s B rl 7t,5; i i E b ( - pll is consideredthe 3rd. the resultantchord is B7,-5(ofien written as BTelt). B AltereclScale rvith BmTr-5Chord

^FJnr-{ /P)-

B Altered Scale with BTalt Chord (preferrcclin jazz practice) BTalt

.JAZZOLOGY

Altered Dorninant Chords "altered" could mean any change to a basic chord type. ancl any chord that has a nore that In is altered -eeneral, from its notmal position could be called an altered chord. In common jazz practice,however, the term ''altercc-l'' 'r "alt" refers only to dominant chords and specifically means "derived tiom the iiltered scale." This scale is aiso known as the Super-Locrianscale,the dinrinishedwhole-tonescale.and (rarely) the Pomeroy scalc.The most fundamental way to view it is as the 7th mode of melodic minor. That is. the B altered scale equals C melodic minoi starting on B. An "altered dominant 7th" can only designate a dominant chord whose 5th and 9th have been raised or lowered

by a halfstep,resulting in anycombination of b9or #9withb5lfi11 or bStbtZ. Thus,whenrhetenn"alt" is usecl. i.e. B7alt, it generally implies a combinatirn of both an altered -5thand an alteretl 9th. B elowis aB T alt c h o rd th a ti n c l u d e s a l l th e a l rerednores: l ,i l tt,b' t,bg,Z,bl 3,

l ,{ 9.

BTait

This chord shows all the possibilities fbr an altered dominant chord and thus has a few more notes than are normally used. lf just one (but at least one) 5th and one 9th are included, there are four possible cornbinationstbr which the chord suffix "alt" would be appiopriate.They're listed here r,vithsome enharn-ionicspellings. . . . .

b5,b9 = b g ,l 1 1 05,: t ; - $ 9 ,!; *- s .b9 = b 9 .b 1 3 15.{ 9 = i 9 , b 1 3

Dominant chorclswith b9, i9 and i5/b13 ,,r.'deriveclfion"rthe alterctlscale.while dominant chorclswith combina tions of a b9 or $9 with P5 or b5lt1 l, and/or N'll3 corne from the dirninishedhalf'-wholescale.Since not all rhe noter are alwavs present,part of the decision about'uvhento use the altered scale versusdominant diminished is basccl on context:the chordsthat precedeand follirn' tl.reactualdorninantcliord. This will be discusseclin Chirpter4 when we cover ii-V-I progressions.The signifieant observationat this point is that there is no natural 9th or natural -5th/13thin the;rlteredchord or scale,which accountsfor the unique sounclof alteredchorcls. In s hor t , a T alt c h o rd w o u l d d e s c ri b ea n y ()rl eof the fol l ow i ng chords:l IS tg,l tS bg,l bS bg. zb5$9.A ny of r hese chords may be played when the Tait symboi is encountered,though it's important to be arvareof the melodic note. (SeeChapters6 and 8 on jazz piano voicins\ and voice leading,chorclsubstitution.and tritone substitutior.r for specific voicings.)

CFTAPTEI{ .]

1l

Other Scales Here are someexotic scalesthat may be usedin jazz improvisation. Aeolian: C-D-Eb-F-c-Ab-Bt-C Algerian: C-D-Eb-Ff -c-Ab-B-C-D-Eb-F Arabian: C-D-E-F-Gb-4b-gb-6 _Ab_C Balinese:c_Db_Eb_G Byzantine:C-Db-E-F-G-Ab-B-C Chinese:F-G-A-C-D-F or C-E-F$-C-B-C Double Harmonic: C-Db-E-F-G-Ab-B-C Egyptian:C-D-F-G-Bb{ Enigmatic: C-Db-E-F{-C*-efi -g-C Ethiopian: G-A-Bb-C-D-Eb-F-G (B and E may be naturals.F may UeF$) Hawaiian: C-D-Eb-F-G-A-B-C Hindu: C-D-E-F-G-Ab-Bb-C Hirajoshi: A-B-C-E-F-A HungarianGypsy: C-D-Eb-Fil-c-Ab-Bb-C HungarianMajor: C-D$-E-F{-G-A-Bb-C HungarianMinor: C-D-Eb-F$-G-Ab-B-C In Sen: C-Db-F-G-Bb{ Iwato: B-C-E-F-A-B Japanese:C-Db-F-G-Ab-C : C-Db-Eb-F-G-A-Bb-C Javanese Jewish:E-F-G*-A-B-C-D-E Kumoi: C-D-Eb-G-A-C Leading Whole Tone: C-D-E-n'fi -Cil-e*-g-C LocrianMajor: C-D*E-F-Gb-4b-gb-6 Lydian Minor: C-D-E-Fil-G-Ab-Bb-C Mohammedan:C-D-EI-F-G-Ab-B-C (= harmonic minor) Mongolian: C-D-E-G-A-C NeapolitanMajor: C-DI-Eb-F-G-A-B-C NeapolitanMinor: C Db-Eb-F-G-Ab-B-C Oriental: C-Db-E-F-cb-R-eb-c overrone:C-D-E-F{-G-A-Bb-C (Lydian b'7= G melodicminor) Pelog: C-Db-Eb-G-Bb-C Persian:C-Db-E-F-cb-Rb-e-c PhrygianMajor: C-Db-E-F-G-Ab-Bb-C ( = F harmonic minor) Spanish:C-Db-E-F-G-Ab-Bb-C (= F harmonicminor) Spanish8 Tones:C-Db-Eb-E-F-G-Ab-Bb-C

34

JAZZOLOGY

Chapter 3 Exercises 1. Write thetbllowingmalorscales.Write rhe namebelow.

2. Write the followins scales

B Dorian

D Harmonic Minor

\{ajor Blues

Lydian

Db Natural Minor

G Lydi an ( b7)

F Melodic Minor

Bb Malor Pentatonic

CHAPTER.]

35

E \\rhole-Half Dimini shed

,\ Minor Pentatonic

EDDorian

F# Mixolvdian

G Harmonic

EbLocrtan( #z)

B Mixolydi.rn 1bu.bt3 r

Db Mixolydian

C Bebop Dominant

Bb Minor Blues

3. Write the follorving scalcswith the appropriatekey signature.In the spacebelow. indicate the rclative rnaior or mlnor

D Ma-ior

36

IAZZOLOGY

4. Add f'latsor shatpsto fbi'rn the correct scale t'

Fil Mixoly'dian

Phrl,gran

E Harmonic

E Dorian

F Locrian

B Melodic Minor

B Lyciian

Halrnonic Minor

5. Writc rn appropriatescule fbl the follou ing chords.Give the cotrecl natne ^l

lJPrn(nraJ/ )

C+7

F:]

vfrt

el2rn!

Drn7b5

A7sus4

-r

Gm7

* .. LD - {1i l9

(.1{,\P'fI1It.i -1

ADnajTD5

ETalt

Cm9b5

Db+9

B 13 b e

6. On a separatesheetof staff paper,write the modesof the follou'ing major scalesand identify the characreristic tones(CT) as well as rhe tonal and modal tones(TT)/(MT).

7. Harnii.rnizcthe scalesand provide Ronlrn nLrnieralanalysesfbr exerci sesl , 2, and 3 8. What ar:ethe functions rtf eirchof thesc chords in the fbllou,ing given scales? A N'linor

,tb Ma1or

Ll Lydian -bi++ 'f n t-/tP :-

GniajT

F Mixolydian

_D]

ab N{ixolydian(bltr

cbr:firr l8

JA7,7.OLOGY

__81

B Hannonic Minor

BDm7D5

D+rlaj7 --

^--#bmd

f i i /al l

9. Identify the key in which the following chordswill havethe functionindicated. Bm7 is vimT in the key of: ,t

A bm-T is iiim T i n th e k e y o f:

.-

^r -t -l - is iim7P5 in thekey of: G{mJv5

Avmajl is PVImajTin the key of: Dm7b5is iim7b5in rhe key of: DnmajTis rIIImajT in the key of: AbmT is vimT in the key of: -ll FrmajT is IVmajTin the key of:

Db7maji is IVmajT in the key of: Cm7 is vimT in the key of:

10. Notate the following. The two majT chords in Cm.

The three rn7 chords in Eb.

The three m7 chords in Ab.

The two majT chords in Ct.

The two majT chords in Gfm.

The three m7 chords in Cb.

The three m7 chords in B.

The two majT chords in Ab.

The two majT chords in Db.

The two maj7 chords in Bm.

The three m7 chords in Ff .

The three m7 chords in A.

The two majT chords in E.

The two majT chords in Gb.

The three m7 chords in D.

The three m7 chords in Bb.

The two maj7 chords in Em.

The two maj7 chords in F$m.

The three m7 chords in F.

The two majT chords in Abm.

The two maj7 chords in C[m.

The three m7 chords in Db.

CI{APTER 3

ll. wlite the fbllowing scales,with their nodes on anothersheetof staff paper.

F Melodic Minor

B M c l o d i . Mi nor

G Hannonic Minor

Ab Melodic Minor

Eb MeloclrcMinor

Db HarmonicMinor

A N{elodicMinor

12. Write the chord-scale relationship (in other words, harmonize the scale with 7th chords) for these scales and modes. Show harmonic functions.

G Ionian (Major)

Ff, Phrygian Ff, Phrygian

F Lydian

G N{elodic Minor

F Aeolian(Minor)

C Mixolydian(b9,b1.1)

40

IAZZOLOGY

B Dorian

B Locrian

B Major

eb Lydian

E HarmonicMinor

B Altered

13. write the major pentatonicand minor pentatonicscalesin all twelvekeys. 14. Write the bebopdominantand bebopmajor scalesin all twelve keys. 15. Write the Kumoi and the In Senscalesin all twelvekeys.

CI{APTER 3

4l

CFIAPTER

THE II-V-I CADENCE Chord Familics The sevendiatonicchordsin major keys are divided into threefamiliesin termsof their harmonicfunction.basecl on sharednotesthatproducethe sameemotionaleffects. . . .

Tonie: l, iii. vi Subdominant: ii. IV Dominant:V. vii

In minor keys, the VI chord is usually considered a member of the subdominant family. . . .

Tonic: i. III Subdominant:ii, ir,'.VI Dominant: v (or V), VII

Depending on the context of a progression.the VI chord in major or minor has the possibility of being perceived as either a tonic or subdominant.becauseit sharestwo notes with either family. For instance.w.henfbllowing V7, vimT tendsto sound like a chord of the tonic family. In the reverseorder (e.g. vimT-V7-Imaj7). r'im7 f'eelsmore like a subdominantchord. Movement betvr'eenthe tl-rreefamilies of clrords is the basis fbr traditional Western music. Typically a hiirnronic sequencer.r'illstartin a place of stability (the tonic), move to a place that is definitely aual' froni it (one of the subdominant chords).then to a place of tension (a dominant), befbre finally providing the emotional release.or resolution, of rcturning to the tonic chrtrd.

C-F-G-C I-IV-V-I

Cadences From the Llttin r:odere. to fail, a cadence is the movement of cholds from one famill' (ol function) 1o anothcr. Cadencesestablishkey centers,and thcir plucementdeterminessong structure,delineatingenclsand beginningsof song s ec t ions . The authentic cadence is the movement frorn dominant to tonic (V-I), consideredthe strongestand most impurtant chorclmovement in Westernharmony. The plagal cadence(IV-I) is also very powerful. A deceptive cadence oc c ur s whenaV c h o rd resolves to a chorcl other than the tonic. for instance V-vi. The ii-Y-I The ii-V-l cadencehas a certain level of sophistication,in that it startson a subdominantinsteadof the tonic, making the key less immediatelv clear. The rool rnotion is still upward by perfect 4th or downward by pert-ect-5th,the strongestpossiblein both lazz and classicalmusic. The ii-V-I provides the cornerstoneof jazz harrnony.In addition, the voice leading (melodic lines fornrcd by the harmony notesas the chordschange.also discussedin Chapter 6) suggestedby the ii V I c-adence furnishcs hi-ehlyrecognizablecontours. It is essentialthat .;azzmusiciansbe able t() spot ii-V-I cadencesinstantlv, as they are ubicluitousin jazz harlnony and central to the processof inrprovising over changes.Familiarity with thrs very comnon chord proglession will allorv one to look at a set of chord changesand perceive the overall tonal structure.This r,villgir,e a better idea

12

IAZZ()L()(}Y

of how the tune is put together,and how gloups of chords relate to one another.insteaclo1'sipply looking at ancl trying to remember a seriesof indivrdual chords. In addition to provirJingthe basic units of tonal organizationin jazz music, ii-v-I's (and ii-V's) help us discern (and memorize) the "big picture." The ii- V - l in C M a i o r

Dm7 iimT tm

G7

Cmaj7 ImaiT maJ

v1

or or

C6 16 I6

tu D Dorian

G Mixr.tlydiun

C Major

The 3rds and the Tths of the chords are called guide tones. Their tendency to resolve from a point of tension to a point of rest or resolution is characteristicof jazz cadential harmony. The voice leading that results ti'om guide tone resolution produces smooth inner lines: F to E and C to B. It is suggestedthat the above progression be practicecl with only the 3rds and the Tths in the right hand, resulting in a what is sometimes called a shell voicing. The root is already in the bass, and the 5th can be freely omitted when it is not a determinant of the quality of the chord like the 3rd or 7th.

Dm7

CmajT

or

C6

tu

Generally,the 3rd and the 7th should be eurphasizedwhen noving lrom one chord to another.Conversely,the 4th should be avoided on I and V chords.and the 6th shouid nol be emphasizedon the ii chord. To do so would prematurely anticipatethe arrival of thesenotcs and dissipatethe effectivenessof the progressron. Generally,a ii-V-l

cadencervill span eithcr.tw'c'lor tour meilsures: l D mT G7 l C na.j T I OT

I Dm7 l G7 l C maj 7 |

|

The ii-V-i cadencein a minor key is used in much the same way as rt is in a major key. lt establishesthe key center in similar fashion. The ii- V - i in C M i n o r

Dm7b5

GibL)Dl3x

.. -t i[rll l m /P- )-

Cm(maj7)

or

Cm6

vlbqbB*

Iim(maj7) mtmal//

orr o

im6 r

a


D Locrian

NIiroLt'tlian ( D9DI 3 )*

-{J-

C H armoni c Mi rter' ' ,r C Melodic Minor

'NG1DgD 13 alsoref'ers to GTalt CFIAPTER 4

1+3

The Circle of Fifths Continued Irotic'rt.t up a .lth or dou'n a 5th. as in a ii-V-I. results in a circle of 5ths (or circle of 4ths) since the root u'ill eveniually comr-fiiil circle and rcturn to the startingpitch. The term cycle of 5ths (or -tths) is used interchangeablywith "circle'' to describethe same phenomenon. The circle cif -5thsor circle of 4ths is a graphic way to visualize all possiblekeys in either major or minor. It is a useful way to understandchord motion, particularly cadences,and also provides an organizedmannerin which to practicemusical skilis in all keys. AlthoLrghthe circle generally shows increasingsharpsin a clockwise direction, nomal harmonic progressionswill follorv a counter-clockwise lnotion. Thus, repeatedly descending by a fifth or ascending by a fourth, one arrives back at the starting point, having covered all the tones in ihe chromatic scale. The sequence C-G-D-A-E-B-Ft/Gb-pb-4b-5b Bb-F-C should be learned thoroughly in both directions for ready ref'erence.

Orderof SharpKeys Circleo1-5ths

of Flat Keys Orc'ler Circle:of .{ths

)

cbnfr

44

IAT.ZOL()GY

Star-rdardN,lajorand Minor ii V-l Exarnplcs and Key Relationship

Cm7

F7

tsbmaj7

B b : iirnT

v1

lmajT

trbmaj7

Am7b5

D7

Gm6

..

v7

im6

-t IVmajTGm: um/2J

I

Am7

Am7 | s-zhs E7

Bm7b5 E7 ..-l-

Am: im7

r lm / P)

v1

lm /

EbmajzI nmzbs

..

-t

l l m/P -)

GTalt

Cm7

Eb: LnajTCm:iim7b-5 VTalt

im7

Ffim7 Em: iimT

BTalt

Em7

A7

VTalt

irlT

lYl

-

CmajT

v7

im7 C: iimT V]

ImajT

A b : iirnT

ED7

AbmajT

Y1

irnaiT

Am7

D7

GmajT

Cma.i7

G: iimT

v1

ImajT

IVmqT

Am7

D7

Gma.j7 | Cm7

I'7

G: hnajT

iimT

Y1

ImajTBb:iim7

V1

F:

Dm7 G7

BDmT

GmajT

FmajT

Am7

I

Em7b5ATalt

Bm7 ETalt

Am7

: iimT VTalt G: iimT

Dm7 G7

ImqT Dm: iinrTb5VTalt C: iimT

D7

GmajT ImajT

Cm7 F7

Bb:iinT V7 CHAP]-ER 4

+)

Incomplete ii-V-I's Scimetimesthe ii-V-l caclenceworks as an incomplete or unresoh.edii-V which is repealedseveraltimes. This kind of sequenceis cloself itssociatedwith Brazilian and Afro-Cuban music styles, often pla_veci as an ostinato* (for exarnple.a piano montuno. or repeatcclpattern).The harmonic rhythm may vary. as is shown in the following patterns.

I Dm7 G7 | Dm7 G7 l...etc. of

D m7 | G7 | D m7 | G7 l ...etc. ii-V Chains ii-V sequences(or ii-V-l sequences)necd not remain in the sarne key. Through a process cailed chaining. sequencesmay progress bv either upward or downward root motion, creating a series of quick modulations (key changes,also discussedin Chapter 7) in parallel motion. The ii-V's are said to be chained ancl will either ascend or descend through keys that are separateclby an equal distance. Here are some typical modulations used when chainins ii-V's.

. . . .

Up by M2 or Dou'n by M2 Up by m2 (chromatically up) or Down by m2 (chromatically down) Up by M3rd or Down by M3rd Up by m3rd or Down by m3rd

M2nd

DrnT

1.Em7 A1

2.C m1

3. EDnT ADl

4. DbmT Gbl

5 . F # m7 B 1

6. tsDm7 F.D7

7 . F m1 s b l

8. Bm7 E]

F]

G]

m3r'cl

When the patternis a seriesof ii-V's, the lirst V7 cloesnot resolveto the chord that follor,ls it, rvhich is really the relaiive ii of the next dcii'tiinatrt chorcl.The lcsult is a deceptil'ecadcncc,since the V7 does n()t fcsolve to the chorcl a P-5or half step dorvn as crpectecl. Notice the distanceby which the keir chan-ee s in the tbllor,vingexarnplesof ii-V chains

I

Dm7 G7

Dm7 G7

Em7 A7

Em7 A7

Gmz cj

Fm7 sbl

EbmajT

Am7b5 D7

' i.\ n o s t i n a t o i s a m u sica l icle atlta t is r e p e a te dp cfsi\t.n tl \J i n n tune It l encl shanroni c conti nui ty ancl provi des an establ i shedmo dal i tl '

16

.1,\7,7.OLOGY

Bm7 E7

BbmT Ebj

Bm7 E'l

Fm7 BD7

EbmajT

BDmajT

I

o*t D7

AbmT obt

Fm7 Bbl

|

wbt BbmT

.*t

ab-":z

C#m7r#t

GmajT

GbmajT

rlbl

I

I

Em7 A7

eU,lrzolz

I

BmajT

DmajT

AbmT nbt

AbmTnUz Fm7 Bbl I

The same etfect can be createdby a series of non-functioningdominant chords only. Contiguous V's or ii-V's without resolution give a senseof anticipation or expectation to a chord progression. They are often used to delay the final resolution, thus strengtheningthe feeling of closure when the tor.ricis finaliy reached.

C,}IAP.fER1

!T7

Ma;'or and Minor ii_!'_I,s in All Keys The lollou'ing table sl,rovl,s all ritajor a,rcimi,r,,, ii_V_l cadences in every kt' y Thel shoLl l 6 board rvith both haricls.u,ithout hc prur.l i t.ctl trn thc kc- rr."f."r.n.. to ntuslc or to the chart. Onee Ihts 1r 1111111gtc..I. ra n d or nin v ar iousr n u j o ra n c ln ti n o r th., hc shorrl J pl .rrt 't l lr t k e r,s .

ffi:

'l

Dn7

Ebml Em7 FrnT r lt m / -++

GniT ,{ prn7

.\m7

.

^i

B p n tT

;..

BnrT

s'.

CrnT

G7

p'bt A]

C1 DD] n7

I'.2 I

F1

itl':::'

CmajT

DmTb-:

DbmajT

EDm7b5

DmajT

nbt B7

;; j

--l_ E tn / 2)

xlu rg ;f-:i

\J/l rl t

,;,:'ffi$ C m7

Abtatt

DbmT

^\ /alt

Dm7

Ebmaj7

Frn7b5

tJDTulr

EbnT

EmajT

P'#rntbr

BTalr

Eml

FmajT

GnrTb-:

C Tal t

Fnt

GbmajT

Z: a b rn b

DbTalr

GmajT

AnrTb-:

D Tal t

GrtiT

GonT

.-\bm.U7

tsbrn7b-j

EbTatt

\2nr7

AntajT

LJrr / P-)

tri irlf

A rnT

BbmajT

Cm7b.-:

.,r . F f / qtt -

IJtuli

r- n tt- i alt

IJNI/

r-,i

;::

t

L fiNI/

l-# r/ -

BmajT

+ -t L^+itnl / 2-)

Turnarounds A turnaround is a set cif chorclsthat occurs at the.,nd of a section.In its sinrplest fbrnt, it corrtai's I-vl-ii-v' (Thts also ktt.'uvnas the ''l Got foLrrTtlichorcls. Rhrthrri'' progression.or.just "rhythm changes.,,; togetherto retun) back to the fir-stbar, rhese crrortrs*.ork leaclingr. thc firsr chord of rhe sccri'n. a ,rrnr.oi,^], ,ll:::,:1lj:,]:::l nromentum

f'nr thee'd of .te cho.rsrorhebcgi''ingof rhe nexr.Herearerwobasic;::I.iilJltfiiftilill:.I Cnur1A7n rTI Dm7G 7 I of I Enr I { 1 p 7 | D m 7 G 7 |

+B

)1.(X;\JAZ.Z(

In c om m onjaz z p ra c ti c eA n rT i s u s u a l l yre p l u cedw i th A 7al t. I C maj T A Tal t I D m7 G7 | or EnrT A Tal t I D m7 G7 | I The Em7 may be also playcd as Em7b5. I Em7l,-5A7alt I Dm7 G7 | Here are the basic turnaroundsiri C minor: I C n 7 A n7b5 | D m7r5 GTal t I or ('rn6 Am7b5 | Dm7b5 GTelr I | Below is a basic l2-bar blucs fblloived by lr l2-bar blues with a tumaround inserted in measuresll and 12. The turnaround createstension and preparesfbl a strong resolution back to the flrst meiisure.

Bluesin C

F7

C7

G7

l2

ti

l0

c.7

L-.7

F7

'll

:'].,\l

rri'i:

Blues in C ( * ' i th o' l ' urtrcLro urtd)

I

t l c7 ltll :

$*$$$

F7

'.i$$$$

i

789

C7

C7 ATalt

.ri{l ::$

(.ilAP-I'ER -r

+t)

The ii-V-I Cadence and the Circle of Fifths in Classical Music Diatonic progressionsthrough the cycle of 5ths are fbund throughout the classicallirerarure.1-heii-V*I cadence in particularappearsfrequently in music of the baroqueand romuntic eras.Here are some examplesthat use both the clcle of -5thsand the ii-V-I cadence.

Chopin.ErLrde l, Op. I() meas.37-14 .=176 D]

G7sus4

G]

CmajT

loco

FmajT

Bm7b5

8va- - - - - l loc o

Dm7

c 9 r ' a -- - - -

G7

Cmaj7

I to co 8i 'a- - -

meas.67-69 Dm7

50

Am7 8y'a----l ptco

JAZZOT,OG\

- - - ,ftr ttt

FmajT

Bach. Prelude irt C Major

meas. lrl Allegro C

Dm/C

.)

++J pJ t+'-J

\

ltegato Jt - 1' - +\

I

G7/B

C

tullt--]-J-Jtt-,1

t

|_ -a:-\

|

|

*;

1--

t _a_. \-

-a-

-

I

_a_

meas.ll-20 Dm7

u

G]

i ' i+

-+ + ++

14

--+ +

i

|

\

I

l.

I

,i - + + l--i-: JJ /tt/\l

,/+i

+i

Ji

I

C]

L

u

/+-

- -++

-

,,

--++

-+ J

/ bt+-

t+-

,/

lr+ -

t+-

I

7

\

|

| |)

I

(,I{APTEIT1 'I

Chapter 4 Exercises 1. Write rnajorand minor ii-V-l cadences rn the followingkeys Exarnple Dm7

G7

CmajT

2. Cornpletethe fbllowing ii-V-l

G7b9

BbrnT

AniT

IAZ-ZOLOGY

BmTD_5 Elbg

Am7

cadences

BmTb-s

DTalt

F7

EbilT

Am7b5

81fr9

Gbg

Db mT

Abm6

Fm7

nbnbs

Gm(maj7) Bm7

Bm7

C1b5b9

Dm7b5

A::}s

E13

Fmaj13

Bbl

3. Write turnarounds in the following keys. Answers may vary. Example CmajT Am7

Dm7

G7

B N{inor

eb Major

CFIAPTER 4

53

t

I i

i'

'i

4. Create ii-V chains ntoving upward by a M3rd, then downward by a M3rd from the original Example

Am7

Di

cfim7 Cfim7

ph

Fm7

r;bt

Fm7

ebt

BbmT nbt

AbmT Db7

F#m7

B7

5. Createii-V chainsmoi'ing upwarclby a M2ncl,thendownwardby a M2nd from the original. Example Am7

D]

Dm7

G]

BbmT

Bbt

ADml

DDl

Bm7

E]

Gm7

C]

Fm7

li

>1

JAZZALOGY

Fttm/

Bb7

6. Create ii-V chains moving up and down chromatically. Example

Am7

BbmT

Dl

Eb7

AbmT obt

Bbml

r;bt

Abrr.i

obt

Fm7

ebl

En'"l

Aj

Gm7

C7

Ff;m7

B7

CHAPTER 4

55

CHAPTER5:

HARMONIC ANALYSIS Harmonic analysis helps us to understanda musical work's hannonic and rnelodic structure.A workilg knowledge of the harmonic principles that gor ern chord motion is of great value in creating chord progressionsthat sound smooth and logical. This not onlr, tacilitatesthe processof composition, but also assistsin reharmonizing existing melodies in order to create fresh or more colorful sounds. Reharmonization. also knou,n as chord substitution, is extremely cotnmon in jazz x\ a way of personalizingan existing chord progression.

Analltical Markings Besides using Roman numerals to indicate how chords function in key centers. some other conventions are helof ul in har m on i ca n a l y s i s . Draw an arrow if any dominant 7th chord (including altered dominant chords) goes down by perfect 5th to any kind of chord. The arrow indicates a functioning dominant chord: one that moves to its expected resolution (down by a 5th). Those that do not are called non-functioning dominants and receive no rurow.

CrnajT (V7lI motion)

Gtbe

Crn6

Draw a dotted arrow i1'anydon'rinant7ih (including altereddomiirants)goes clown b1'a niinor 2nd to any kincl of chord.

{

obt

)o

JAZZOL.OGY

-2+

clb s

Draw a bracket beneaih if any m7 or urTb-rchord goes up bv perf'ect4th to any clonrinant7th iincluciing alterecl dominant chords).

(ii-V7 motion) Dm7b5

GTbe

CompleteII-V-I

Dm7

CmajT

CompletelI-V-i

DmTb-l

Cm7

(,HAI'TER '

i7

Structural Divisions jazz tunes generally incorporatean easily recognizablefbrnral design. Typically, Stanclarcl an overall thirty-tr.vobar structureis subdividedinto four eight-bar secfions.These sectionsare somervhatinclependent of one another and usually either parallel or contrast strongly with other sections.This design aff-ectsmelody as well as chord changes.Comnlon structuralschemesinclucleAABA anclABAC, where l.tt., representsan erght-barsec"u.h tion. The strr-rctural divisions betweensectionsare significantpoints of clemarcation and strongly influence the wav harntonic moticln is perceived,as can be seen below.

\

Bb7

Am7

D7

Gm7

C7

I

FmajT

D7

Gm7

.qm7bs Dibs

Gm7

C7

Doniinant functions are not affected whcn they cross a structural clivision. Resctlutionby clescending5th still occurs. Hor.l'ever.structuraldivisions disrirpt ii-V7 motion. As shrlr.vnin the above examples,if the ii V7 mcltion occtll'sacrossii strllcturaldivision. it is no longer perceivedas ii V7 motion. Thus, i1 both erarnples,Ap7 will sor-rnd like an extensionof FmajT becauseit servesas i,rc'liatonicchord with tonic function. Therefbre.it shoulcln11r be anall'zedu ith a bracket,which r.l'ehavc crossedout in the diagram. Cencralli'. to qLralifyas a ii-V7 progt'ession.the rninor 7th chofd ireedsto occrlr on the strong beat or measureof the prevailing harntonic ntotion. For exanrple,when chords occlrr one to a neasure. ii chords rvoulclmost likely fall on the odd-numberedlneasuresrvith the V7s on even numbers.If the harmonic ntotion is cleflnetlby the lialf note. ii clrotclstrsuallytall on the flrst hali'of the rneasure . Nlinor 7th chords occurrir1go1 the secondhall of the measurearc plobably not part of ii-V7 pr.oeressrons.

SecondaryDominants Secondary dominant chords are dominant chords that, when functioning, resolve to a diatonic chord other than the tonic. The dominant chord that does resolve to the tonic-V7-may be thought of as the primary dorninant chord. A given keY containsonly one priniary dominant chord-the chord built on the 5th scaledegree,which contains only diatonic notes. Dominant chorclsthat are built on other scale degreescontain one or more nondiatonic chord tones; ' ' '

5fl

the raised 3rd reqLriredto change rr lninor 7th chord (ii, iii. or vi) to a dominant chord, thc flatted 7th required to change a major 7th chord (l or IV) to a dominant chord. or the raised -ird and 5th requireclto changethe rnTb-5 chorclrvii) to a dominant chotcl.

.IAZZ()LO(;Y

Secondarydontinantsgenerallyresolve to the diatonic chord a perfect 5th belou,. For instance.an A7 chord that occurs in tl'rekey of C tendsto resolveto Dm7, the ii chord. Although it is possibleto arralyzethe A7 as VI7. showfrom vr7, the chord's function is betfer understoodby labeiiing itYTlii ("five of ing that the chord qualiti'di1'1'ers two" ) . Diatonic Clhordsin C Maior

CmajT

Dm7

FmajT

Em7

G]

Am7

emzb5

Cmaj7

Motion of SecondaryDominantsin C Maior

vrlTiiii 87

V]/1r A7

IVmajT FmajT

V7lvi E7

vlN D7

v7 G7

r'im7 \m7

Any of these extra cloninant chords creitlcs the momentary ieeling that the cliatonic chorcl lorvarciswhich it resolvesis the tonic chorclin a ner.r'key.This chord is said to be tonicized. The tonicization eftect is temporary: in most cesesthe overall key' does not change.One diatonic chord, r iirni7b5,cannot functiot.tas a tonic even temporariiy, so its secondarydominant ("V7lvii") is not used in ma;or keys. The term "secondary dominant" still applies even in caseswhere the ciominant chord is non-functioning (it does not resolve to its expected target). For instance, in the key of C, A7 is still called V7lii even if it is not followed by Dm7 but by another chord in the key. Finally, not every dominant chorcl that can occur in a given key other than V is necessarilya secondary dominant. For exar-nple,IV7 (F7) in the key of C is not a secondary dominant chord, becauseits resolution by a descending 5th would lead ro bvII (gbrnaj7), which is not a diatonic chord in C major. There are other possible analysesfor IV7 that we'll see in Chapters7 and 8. ts Secondarydominantscan also occur in minor keys. As we saw in Chapter 3, the 7th degreetlf the minor scale degree this usually riiisedu,hen builclingthe chord on step V in minor harmonl . resulting in a dominant cliord on for a sironger resolutiop to t. This, the V chord, is consideredthe dotr-iinantchorclin the minor key' although another chord of dontinantquality occurs diatonically on step VII.

C,HAPTER5

t()

DiatonicChordsin A X,{inor(with V7 replacingvm7)

Smlb5

Cmaj7

Motion of Secondary Dominants in A I\4tnor

VI F

VTNII D7

VII G7

Again. V7lii is not used in the minor mocle, since ii is a m7b5 chord, which cannot be tonicized. Dirninished Chords Functioning as Dominants Diminished 7th chords, as we leamed rn Chapter 3, may function as rootless 7b9 chords. The diminished 7th chord occurs naturally on the seventh step of harmonic minor tonality, with the label vii'7. The same label is used when diminished chords funciion as secondan dominants. An imporlant difference in the analysis of a diminished 7th chord is that in order to be considered a functioning secondary dominant, it must be fblloived by one of its intended targets: a diatonic chord a half step above any of its tones. (Remember that any tone in a dlm7 chord may be thought of as its root-see page 1021.)

Motion of Diminished Chords with Secondary Dominant Function in C Major

iiimT Em7

vii"TAV 8"7

vii"7/vi

c#"2 JLZZOLOGY

G7

Motion of Diminished Chords with SecontiaryDon'rinantFunction in A minor

IllmajT CmajT

VlmajT FmajT

vii'7lVI E"7

vii'7lVII

p#'z

Backcycling Dominants These are two or more dominant chords that follow the circle of -5thsuntil they reach the target chord-usually I. The final point of resolution of this series of secondary dominrrnts may be delayed for qurte some time. The example below shows a typical "rhythm changes"bridge in Bb. The targetchord after this sectionis BbmaiT.which is lm aj7 in t he k e y o f B b .

Backcycling or SequentialDominants

(v7lvlv/v) D7

(v]lYtv) G7

Secondary Dominant

Dominant

lmajT BbmajT

ll for these cycles of dominant seventh chords, and is usually reserved Roman numeral analysis does not work r,r'e for diatonic and secondary dominant chords. If used for backcycling dominants, functions should be enclosed in parentheses.Backcycling dominants are sometimes called sequential dominants or extended dominant chords. though this last term is potentially confusing and should be avoided. as it is already used to rnean chords with addedtensionnotes.

CII.\PTER 5

61

Relatedii's Any dorninantchord ma1 be precededbr its related minor 7th chord (iirn7), which is tound a perfect ,lth below. Roman numeral analysis is not necessarr. but brackets are needed to show that the pair belongs together.The example below is an anangementrvhererclated iimT chords are applied.

v1

v7lv Am7

D7

Dm7

G7

Gm7

C7

Cm7

F7

ImajT BbmajT

was commonduring the bebopera. This kind of reharmonization

Contiguous Dominants Contiguous dominants corrsistof a seriesot' non-functional dominant chords or ii-V's. They generally occur in one of the following patterns: ascendingby hali step, whole step, minor 3rd. or major 3rd; or, desc:endingby minor 3rd or major 3rd. When the pattern is a seriesof ii-V's, the first V7 does not resolveto the chord that fbllows it, which is really the relative ii of the next dominant chord. The result is a deceptivecadence,since the V7 does not resolve to the chord a perfect -5thor half step do\\ n as expected. Contiguous dominants actually outline a series of brief modulations. Suggestingor implying a neu, key without actually nroving to and establishingthe ne"v key is called tonicization. The techniqueactually datcsback to the Romantic period and was comnron rvith Schumann.Chopin. and Brahms. In manl' works of this pcriod. modulations tended to become more flequent iind shorter. resulting in passages where the music had little chanceto settle or corne to rest in the neu key. Ol course,the best \\'ay to irnply'a new key u'ithout going there is to use the ke1's dominant chord. or, better. a dominant precededb1'a strbdominant chord. To irdd stnrctureanil logic to slrch passages,conposers u,ould ti'equentlymove through suggestedkeys in a predictableway, such as moving through the scale degreesor movirrg b1,a fixed interval. The procedurehas becorncmuch more cotlifiedrn jazz theory, gcnerally'manif'estingitself in a seriesof V's or ii-V's that move through keys at a fixed interval. Becausecontiguollsclominantslack imtnediateresoluticln,they instil a senseof anticipationol expectationto a chord progression. They are often used to delay the tinal resolution. thus strengtheningthc f'eelingof closurewhen the tonic is finally reached.Exarnplesof contiguousdominants are shown on the next page.

62

IAZZOLOGY

D7

F#m7

D1

Bbml

Bm7

Am7

Dj

D1

E]

Cm7

L fi nl /

II

plt

I

C]ILdP-|ER1

t]-)

Chapter 5 Exercises l' a' Showrnajorand relativeminor II-V-I cadences usingthe following key signaturesand analyzeusing brackets and arrows. b. List all possibresecondarydominantsin thesekeys on anothersheet. c. Identify the harmonicfunctionof eachsecondarydominant. Example Gm7

,-/ C7

JAZZOLOGY

FmajT EmjbS ll

,.-> A7

Dm7

2. a. Completethe followingand fill in the blanks. b. Whatknd of dominantchordsarethese? c. Find all possiblesecondary dominantsin thesekeys Example G7 3 €::--cr l< r . -

1 e rr

3. Complete the following chord progressions and add harmonic analyses. ,,->

,',_l

Bbmaj7

FmajT

EbmajTCmT Fml Bbl

Gmi Ci

Bbrr;nh

tbmtobt

Gmt Gbl

Fm7 ci

F'7 sbt

,t>

' - > "> ,- :' a

Dm7-

B1

Bbg

EmTb:-

Dm7-

Bbl

4. Identify the key in which the tbllowing chords will have the function indicated.Use enharmonicequivalents where convenient. G7 is V7lV in the key of: Db7 is vl lIv in rhe key of: F$7 is V7lii in the key of: E7 is V7llV in the key of: B'7 is vri"lIY in the key' of: C{l is V;fV in the key of: Bb7 is V7lr'i in the key of: lr r i i n th e k e 1 ' o f: Df " 7 is v 11' 1 F1t"7is vii'7/iii in the ke-vof:

Er7is V7lV rn thekeyof: D7 is V7lvi in the key of: CIIAPTER 5

o)

5' Analyze the following progressionsintlicating chord function, consrdering harmonic structure.

a. ll Dm7 G7

lDmT G7

| Em7 A7

lEmT Aj

I

I Dm7 G1

|,\bm7Dbz

IC

lE mT

I

lAt

I

lDm

I

I Am7

lD7

I

lG7

lC

A m7 lD7

G7

c. l l Ab

lFmT

IBb7

E7

tiD /

d. ll Gf,m7C$7

lFfm7 87

lEmT Al

I Dm7 G7

e. l l 8 7

lEmT A7

I Dm7 G7

lc

f. li 87

I Em7

lA 7

I A7

I Am7 D1

I Dm7 G1

lE mT

lA 7

I Dm7 Gl

II B7

I

lE mT

lA 7

l lc

lF'

I F-m7 Bbl

l4 7

b . l lc I Dm7

c. ll 87

Eml

h . ll 87

i

k. ll c

IE lr

Fm7 lB bT

D7

I

lBb:,

ll

tl

lG 7

il

II

lA 7

6. Locatethe following tunesin a reliablesource.Study, analyze,and play them.It is recommended that thev be learnedthoroughlyand ultimatelymemorized. . . . . . . . . .

"Blue Bossa" "Autumn Leaves" ,,TuneUp" "Confirmation" "Caravan" "GiantSteps" "Body and Soul" ''Manhado Carnaval" "Countdown"

JAZZOLOGY

. . . . . ' . .

"Ail the Things You Are" "Blues for Alice" "I Got Rhythm" "Nardis" "Biuesette" "Waltz for Debby" "Joy Spring" "Song for My Father"

CFIAPTER

[-V-I

PIAh{OVOICINGS AND

VOICE LEADING The voicing of a chord is the exact verticiil :rffangementof its toncs. -fhe term is commonly uscd by pianists and guitarists to indicate how chord tones are clistributedwhen compin_cfor improvisers. Kel,board voicings may be played b;,'eitherone or both hands. Why study voicings? In jazz practice, a lar-eereperloireof voicin-csis necessary;comping instruments(such as piano, guitar, vibes, or organ) rarely play chords in ascending order (1-3-5-7-9, etc). This is for various reasons: '

Using only root position chords u'ill result in excessiveparallel -5ths,which can sound like a monotonous drone.Simply put, a relentlessstring of root-positionchords tends to sound boring. The result will be perceived as unrefined and decidedlv "'uncool."

'

Successiveroot-position chords force the hands to move too much, becausethe roots of chords often move by 5ths rather than linearly.

'

Using only root pr-rsition chords resultsin poor voice leadin-g.Inner voices do not resolve in a smooth and logical fashion.(Voice leading will be discussedlater in this chapter.)

As a basic example of chord voicing. a mrrjor seventhchord will otten be played as l-7-3-5, where the 3rcl and 5th are raisedan octave frorn their original positions.This is.just trne of a vast number of possibiiitiesfor voicing this chord. Jazzpittnov'oicingsare dirided into trvo birsictirpes,rooted I'oicings and rootless voicings.

Rooted Voicings Sornetirnescalled "Bud Powell r'oicings." ihe'selefi-hand piano voicinos place the root deep in the bassand prclvide a soliclhannonic foundation.obviating the need for ii bassplal t'r. You nray play,rooted voicings as: l-3--5-_7. l- 3- 7 ( k nor v na s a s h e l l l o i c i n g ), o r j r.rs tl -7 (or even l -3). deperrcl i ns upon the chorrl ' squal i t1,.H ere are Cnilr jT root edv oic ings. Shell Voicitrcs

CmajT

CmajT

RootlessVoicings As the name implies, rootlessvoicin-9shar e the root omitted. Thcr ate the pret'erredvoicing techniquewhen.jarrming or comping il'ith a rhythm section. and most otien used u'hcn a bassistis present.They uork equally u,ell r r ilh nt r n- { olul /rrro d unltu \i c . The 5th is often omitted. If included, it will generaily be on rop of the voicing.

(,HAPTER (I

(r-

Rootlessanclcspeciallylcl't-handpiano r.oicin_es are commonly employed as three- or fbur-note voieinss Three-Note Voicings Chords can be voiced u'ith three notes as fbllows. N{ajor ii-V-I

Dm7

cadence

G]

Dm7

Minor ii-V-i cadence

Cmaj7

Dm7b5

CmajT

Dm7b5

Gtbg

cm7

Glbs

G7 (\

Four-Note One-Hand Voicings Four-note voicings are the most cot.nmonlcti-hand piano chord voicings becauseof their richness.They are also known as "Bill Evans" r,'oicings.They nriir be classifiedinto two categories:type A and type B. Both are fburnote close voicings and each is the inversion of the other. They rvere maclepopular by Bill E,vals and Wynton Kelly. and cati be ttseclas buildine blocks for manv other voicings. The following configuratiousmust he lelrnecl thoroushlr,,

Type A: 3-5-1-9 Type B: 1-9-3-5 Major RootlessV o i c i n g s CmajT

Cnaj7

=#'1 Type A

Type B

OtherComnon RootlessVoicingsfor Ma.jorChords Type A: 3-5-6-9 or 3-6*1-9 Type B: 6-9-3*5 M inor Root le' s V rri c i n o s Cm7 -5

b-r bt

T) pe 68

JAZZ()LOGY

Type B

Voicingsfor MinorChords OtherCommonRootless TypeA: 4_s-6-'t TypeB: 6-9-4-5 D om inant Rootl e s sVo i c i n g s C7

C]

9 t-

7l

6 3

Type B

Type A

Altered Dominant RootlessVoicinss CTalt

CTalt b t .

-Tl-rta t

-Tl

1,. tr a

I

tl

frg_ >1

Type A

Type B

C'lalt .

CTalt

&[

rl

I

:l

:r: " V-(J

- P9

s-

Type B

Type A

The altered dominant is most often encounteredin the minor ii-V

Dmzbs

|

..

-t llm / P- )

i cadence.

Cm7 or Cm6

"r"n VTalt

iml

or

im6

It is especiallyprominentas a secondaryclominantin the major ii-V-I cadence.

l.*u:,

Dm7G7 I A?art I

Imaj7 VITalt

iim7

V7

CHAPTER 6

Half-din'rinished(m7b-5)voicings are less often extendedthan the other tvpes, and the root is more often included Haif-Diminished Voicings

Dm7b5

#ri

--t-

Dm/05 1-

p.)

-

D'

bl

I tDI

Type A

Type B

OtherCommonVoicingsfbr Half-DiminishedChords Type A: b3-b5-rl-9 or Type A: $*15-b7-b9 Type B: b7-9-b3J5 or Type B: b7-b9*\J5

Voice Leading and the ii-V-I Cadence Voice leading refers to the creation of smooth motion between inner voices by maintaining adjacent tones when moving from one chord to another. In other words, each inner voice is connectedto the next through common tones or stepwlse movement. Voice leading allows us to hear the chord resolutions we expect, but with very little movement between adjacent chord tones. With good voice leading, harmony notes form lines that progress smoothly and s t r engt he nL h eh a rm r' n i cc o n ti n u i ty . The ibllou'ing examples rvill help you to visualize and memorize voice leading rules bv using just guide tones arounclthe circle of fifths. You rnay plav either 3-7 or (inverted) 7-3. Pal,particular attention to how the guicle tones switch when mo'ing tiom one chord to anotheraround the circle. Dominant Chords arounrlthe Circle

ci

Fl

sbt

eh

eh

oh

cbt

Bi

Et

Ai

Dl

Gj

Major Chords around the Circle

CmajTFmajT Bbmaj7Ebmaj7Abmaj7DbmajTGbmajTBmajT

70

.TAZZOLOGY

Emaj7Amaj7 Dmaj7 Gmaj7 Cmaj7

Minor Chords around the Circle

Cm7 Fm7

BbnrTEbniT

AbmTDbmT GbmT Bm7

Em7 Am7

One-HandVoicings In jazz practice, extra tension notes are often added in the ii-V-I Major Key Extended ii-V

cadence

I Voicings

is preferable to

Notice hou't1'pe A follor.r'stype B and hon type B follows type A in the tollo"ving exarriples. One-Hand Voicinss

{---

* ----1

raig Cmaj9

Type A

Ti'pe B

CB

TypeA

9

________->

l3

-.----_-------.,

9

7

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

3

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

1

-5

*---------->

9

-------------)

5

.5

3

----------------+

1

--------------)

3

.l

9 or6

CH,\PT[R 6

71

Inverted One-Hand Voicinss i---------;;----

v"' * cir3

Cmajg

Cg

€,a Type B

.€

Type A

Type B

55 -n --..----------3 _____+ 7 _-_____________+. 3 9

_________+

-/

___________+, 3

13

____-_}

9

-____+

7

3 9 or

6

We may summarizethe voice-leadingrules as follows. (Arrows representinner-voiceexchange.) Ith

3rd

5th

9th

9rh

13th

Gl3b9 may be substitutedfor G13. This producesa morepoignanteffect.(The dominantdiminishedscalemay be usedoverthe G13F9chord.)

f c13b9

Type A

*--__J

Cmaj9

1'ypeB

Type A

Inversion

{ Dm9

Gi3be

or-_l

Cmajg

Cg

D

.€

€

Type B

Type A

Type B

Other lnversion

{ G]rbg

Type A 72

JAZZOLOGY

Type B

*--f

Cmajg

Cg

Type A

Minor Key Extendedii-V-i Voicinss

GTalt €-

TvpeB

CmB (\

Type A

Type B

lnversion

-l

f-Dm7b5

m9

Type B

Type A

CmB

Type B

{-

---l

GTalt _e

TvpeA

um6 ()

Type B

Type A

TypeB

Other Inversion

*-l

{c13b9

Type A

Type B

{ Giatt

*--]{

Cm(maj9)

*-_l Cm9

CmB

Type A

CI{APTER 6

73

Alternative Voicings for Minor Kevs You canalternatebetueenthe b3rdantllhc'-lthwhen voic-ing tht ii in a minor ii-V-i cadence. This is,,,eryci'fective for iim7b5.Followingaresix optionsfor voicingir half-diminished chord. Insteadof:

you muv play:

b1,_b 5_b1_l

+-b S-bI * t sy 4-b 5_.b 1-9 1b9

b5-b7-1-b3

bS-bI - t -+ s1 b5-b7-9 1b9q

l_b3_ b 5 _ b 7

t1-b5-bj or 94-bS-b'l

omzb5 GTatt

Cm6

Dmttb5 Gzatt Cm(mai7)

Dm11b5G7alr

dr:{J------l

5b

On iv of a minor key, a m7b5 chord ma1' be substituted for the diatonic min7 chord. The b5 of the substitute chord is equivalent to the M7 of the overall ke1. implying harmonic minor. A m7b5 chord may be also be inserted on VI in a minor key, implying the Dorian mocle. On bVt. bVII and bUI of a minor key, you rnight play a majT#5chorclor amajTbl chord insreadof the diatonic maj7 chord. Points to Remember: . Type A voicings have a more opcn sounclfor major and rlinor chords. .

Type B voicings have a more olcn sound for dominant chords. Some dominant voicings are duplLcatesof other r,'oicings.In the following examples.illtrstratedin the ke1 of F major. the voicing of a donrinantchord rvill be the srure as: 1) an alteredclominanthavin-uir root l tritonc away. Both type A and type B voicings fol ClS are llsc'r r , o i c i n -qfo s r a n a l te re dd o n ri rrantchord a tri tone u\\i r\ { F77al t). 2) a m 7 t5 c h o rd a M 3 rd a b o v c Botl -rtype A and ty' peB voi ci ngsfor C 13 are al so i .oi ci ngstbr Enr llr '- 5. 3 ) a suspended-phry'gianchrrnl a m3rd belou . Both t1 pe A and type B voicin-ustirr C l-l are also loicir r g sfo r A 7 :rrs J b 9 . 4) a minor chold a 4th belou'. li oth t1,peA and type B r oicings tbr C l3 are voicings for Gnts.

C7 (Cl3) = F#lalt = E m7 b 5= A 7 s u s 4 b 9 =G mf V 7 (vl3) = iib v T a lt= v iimT b 5= lll7 s u s 4 b 9 =iimS ts ubV Tal t/l )

$ ri

Notice that thesevoicinss belons to G melodic minor

il aa

Left-Hand Voicing Rules . lf the root movenlent is lineaf-try N{2nd or by m2nd-keep the same voicing. !.

.

If the root movernentis by 4th or -5th.the voicing should be srvitchedfrom type A to t)'pe B rlr vice r e-rsa.

.

If the root movetnent is by l\{3rtl or b.n-m3rd. the l't'ricingis either retained or suitched. irt the plavcr's dis c r e ti o n .

i i

: i

!i

I

14

IAZZOL.OGY

Comping Ranges for Rootless Voicings A too-dark or "muddy" sound resultsif a roicing is played too lou'. a thin or "tinny" sound resultsif a voicing is played too high. Generally. good voicing practice dictatesthat the lowest note (the bass) shoukl be one ocrave below middle C and the highest note one ocrave above. Keep the left pinky (lowest note) no lower than Db below midclle C. In particular. clo not place the 3rd or 7th of the chord below the Dp below mjddle C in the left hand (this applies to letl-hand and open forms). Type A voici n gs ar e s uit edt o th i s s i tu a ti o n . Keep the left thumb (highest note) no highel than B above middle C. Do not place the 3rd or 7th of the chord too high. This can result in a thin sound and will restrict the soloing range. Thus, there is a one-and-one-half octave range in which to play rootless voicings. Below this, the voicings may sound muddy, and above, tinny.

Left-Handed Rootless Voicing - Preferred Range

The comping range for the right hand can be just about anywhere, but you have to gauge the appropriatenessby good taste. In general, voicings should probably be played with the lowest note within an octave of either side of middle C on the piano. In other words, the range of chord voicings should fall bet."veenthe C below middle C and the C on the second ledger line above the treble clef. There are exceptions, however, so let the ear be the final judge. (See Chapter 9 tbr rhythmic patterns to be used when cornping with the left hand, right hand, and both hands.)

RootlessVoicings for the Blues An interestingmodel that ref-lectsroot movernentby 4th or ,5this the l2-bar bluesprogression.The lbllowing illustration shows rootlessvoicings in a standartlblues in F. The chord qualitiesthroughoutare dominant chords. Key centersarc F. Bb and C. Chord functions arc 17.IV7. and V7. Bl ues in F Startingwith Type A Voicing

ebt

F7

b€

b€

b.g

b .g

4

€-

4

€-

CIIAPTER 6

75

B lues in F Startinq ri'ith Type B Voicing

F1

sbt

(l

C] ()

Now look at the following examplesvu'herethe basic blues progressionis embellisheclwith ii-V's in measures4 and 9, a diminished passing chord in measure 6, and a turnaround starting in measure I 1, creating a standardjazztrlues progression. Notice how voicines flow from one to another, illustrating how proper voice leading u.orks. These are excellent rootless voicings for playing \Z-bar blues. Transpose the model into att twelve keys and play. Blues in F Voiced Starting with Type A

sbr:

F13

F13

DTait

Cm9

F13

Am9

L-IJ

DTalt

Gm9

C7a1t

B lues in F Voiced Starting with Type B

ebr-l

F13 (\

DTalt

b

i r' ()

.IAZZOLOGY

Cm9

Gm9

F13

Am9

ebr:

DTalt

Gn'r9

CTalt

TWo-HandVoicings Four-Note Voicings or by droppingone or more Two-handvoicingscreatea full soundof unduplicatednotesby increasingspacing is calleddrop 2' The secnotesfrom closevoicing to a positionone octavebelow.The most commontechnique ond voice from the top is repositionedan octavebelow'

Type I Dm9 e

Type2 Dm9 _o

Dm9 5

€

a

9

9 7 J

Drop 2 Type3 Dm9

Dm9

7 3 9 5

7 5 3 9

Drop 2 Type 4 Dm9 (\

Drop2

Maior ii-Vi

with TWo-Hand Drop-2 Voicings

TyPe I Cmaj9

G13

Dm9

Type 7 Dm9 C}

a

5 I 7 l

G13 (\ +

9 t2 _l

't

5 9 '7 J

CHAPTER6

77

Type3 Dm9

G13

Dm9

G13

Cmaj9

Type4

#j

Cmaj9 7 3 9 l3

Minor ii-V-i with TWo-Hand Drop-2 Voicings Type I Dm7b5

-i_-+_-

@ a ;::: *;;

G7alt

brr

r-,----- -

v 5 bt

io "i

l-

DI

T-v-pe2

Dnr7b5 .- b-;

GTalt () bs + br:

) 9

3 bt

?l t^

71

Type 3

Dmzb5bg

GTalt

Cm9 3

b: bg bs

-e-

bt

bt btz bs

bz 9 -5

T1'pe zl

DrnTD-5D9

GTalt

Cm9 b7 3 bs 013

,,tJ

JAZT.OT,OGY

bz !-

?/

5 9

and Range Characteristics r'oicings Drop-2 sound both full and transparent.especiallyin the inidrange,r.l'liichextendsf}om aboLrtthe F-one octave plus a -5thbelou' mtddle C to the G one octave plus a 5th above rniddle C. Chords that har.,eF as the lorvest note include Fmaj7. F7. Fm7, Ab6. F6 iDmT) and Fnr6 (Dm7bS;.Chords with G as the highesrnore inclucle: G6 (Em7). Ebl ,E"'7. and ErlTb-5(Gm6). Thc tbllowing erample shorvsone possiblechord at eachend of the ran-re. FmajT

Eml

Drop-2 as well as drop 2-4 voicingsare usedwhen accompanyinga soloistor a singer,as well as when solorng. becausetheir open structureproducesa rich sound.Here are examplesof major and minor ii-V-l progressions with drop 2-4 voicings,wherethe secondand fourth notesfrom the top aredroppedby an octave. Type 1 Dm9

Gl3

Cmaj9

5

I

5

ta)

+ 5).r-e

-'

0',7

OJ

-€-

6,

Dm7D5D9

b7

Glalt

b,t bs

t

3

il3

be

+ bl

'c7

3 bt

b3

r3

Type 2 Cmaj9

nmlbsbq

Cm9

GTalt b9

br: D3 l-

o/

bt l

arrangingtechniques,but may also be ttsedrr hctt L(rlllpirls, Drop 3 and drop 2-3 are usually colrsiclercdbi-e-banct (,HAPTI,R 6 -9

Modal Voicings Nlodal voicings w'ererrade popular bi' NIcCoy Tyner'.a .jazzpianist who used modal harmony or quartal harm ony ex t ens i v e l yi n h i s c o rn p i n g ,a s rv c l l a s i n hi s cornposi ti ons. P i ani stJoanneB rackeendi spl al i sa si milar st ylc. Both players incorporatca sreat deal o1'quartalharmonv in their r,,oicin-us. resulting in a preponderanceo1'.itlis. This createsa distinctlv rlrodal sound. The use of rnoclalhannonies is y'et iinolher arr-angingtechnique,found in modal tunes such as "So What." "Moaning." "Milestones." "Impressions.""Maiclen Voyage," "Footprints." "My Favorite Things." "Blue in Green," and ''Littie Sunflower," to nalre a l-erv.All of thesetunes are characterizedby tlie inclusion of 'lths in the structure of the chords. Modal tuncs are also characterizedby static. non-functional harmonl'. Quartal Voicings Also called fourth voicings, thesevoicings are built by stackingperf-ect4ths or au-emented 4ths basedon the different degrees of the kev center, played over the sane root. They make most sense in motlal music, as they can establish a tonal center '"r'ithoutreference to function. Stacked 4ths result in open chords that are less dense than harmonic structuresbuilt on 3rds. D7sus4 CT

€-

Modal voicings nay be lefi-hand voicings or trvo-handvt'ricings.The1,are most often employed in the Dorian tnode. q'ith rninor chords. or i.r,ithsuspendedchrlrds.One way' to reinttlrce a particular chitrd or scale is to sliclc Voicingsup or do"'u'n in plLrallelmotion u'hile inten'allic relationshipsbetr.veen notesremain constantreiative to the rnelodic line. This creatcs a senseof motion bctll'een comping lLndvoicings rvhile the hu'monl, remains static. Knor'vni.'ariouslyas planing. side-stepping, or parallelism. this technicluecan be appiied to either chromatic or diat onicm ot io n .

Here is an exarnpleof e hi'oniaticplaning in a salsabreak.

C7sus4

I (

Qr-rartalvoicittgs such as the fbllowing ar-equite etfbctive,especiallywhen supportinga pentatonicmelodic line. *

CmTsus4

' j' K e) ' s ignat ured e n o te sC ' D o ri a n 80

IAZZOI,O(;Y

Belorv is a descendingline harmonizedwith quartalsin convincing rnodal fashion

"So What" Voicings This type of voicing, m7sus.l, consists of a series of three P4ths with a 3rd on top. These chords itre often played " S o W hat" by Mi l es D rrvi s. as an alternative to quartal voicings. An authentic example occurs in

DmTsus4

a

+

"So What" voicings may use both diatonic and chromatic planing.

DmTsus4

"SoLrl['1'es. The follolving exermplemight proviclean eltective eight-bar introductionto Mal Waldron's

CmTsus4

Tonal Quartal Voicings for ii-V-I Cadences i|r a series of Most gften, quartal voicings derive from pentatonic scales. (Any pentatonic scale can be arrarlged should others l\'hilc acceptable avaiiableon a given chord, some will sound fourlhs.) Olthe many quartal r,,c-ricings as long L)Lcur voicings tllit\ quurtul be avoidedbecausethey conflict r.viththe harmony or the melociy.Incomplcte modal in ttred ottlv are as the basicchord sould is clearly implied. When piaying quartal t'oicings.avoid tones that bgth intervals are generally avoided in contexts and rvoulclnot likely occur in a tonal frameivork. For example, tonal quartal voicings. since they havc ntl clear tonal inplications g1 .llAp.f'lt 6

Left-hand quartal voicings are often 3-note voicings consistingof either perfect or augmentect-lths. Tonal Quartal Voicings for the ii-\'-I Cadence ImajT: 2-5-1,3-6-9. 6-9-5, 7 3-6, or f4_7_3 (rare) tim'/: 71-bl, 2--5-1, b3-6-9 (cft'ectivein modal contexts but avoideciin tonal conrexts becauseof irs a mb i g u i tl t.4 -n -b 3 ,.s -t -+ . o r 6-9-5 v iibl4 -6 CmajT

Dm7

Taken from C Major Pentaton

f

'1cl

G1

Taken from D Dorian

Takenfrom D NlaiorPentatonic

Hereis an exampleof left-handquartalvolclngs in a major ii-V-I" Dm7

G7

CmajT

'e' -.?7.

Minor

Key Quartal Voicings imBor m7. b3,6-9. b7-b3-6 (rarc and aroided), ,+_bj_b3 iim 7b 5 : t-b -5 -b 7b. -S _ t_ +b. 1 _ b 3 -.,13 (rare),or b3_bl 3_b9(rare) VTalr: b7_j_b; : l. , 1. 1_b7_19

cmB

Here is an example of leli-hand quartal r.oicings in a rninor ii-V Dm7

i.

(i7alr

Cmo

a. -l

Two-Hand Quartal Voicings A common approachto two-hand quartal voicings consistsof plaf ing guide tones or 3-note rootlessvoicings r.r,ith the left hand while the right hand stacksJths. Sometines when both hands are connected,the lelt hand may stack 4ths too, especiallywhen voicing Imaj7. irn!. or im7, and V7. The use of both hands in quartal r,oicingsis encountered in the rnodal comping of Mccoy Tr ner, Bill Evans, and Randy weston. 82

JAZZOLOGY

Right-Hand Quartal Voicings in Major Keys ImajT:2-5*1,3-6-9, 6-9--5.7-3- 6. or t4-7-3 iinl

14-bl, 2--5-1,4-b1-b3.-5-l_:1.or 6 9_-5

V7: 13-9-5,9-5-1, or -5-13-9(samequarrals asfor iim7) CmajT

Taken from C Major Pentatonic

Taken fiom G Maior Pentatonic

Taken from D Maior Pentatonic

These are examples of two-hand quartal voicings over major ii-v-I

Dm7

G1

CmajT

Dm7

G7

cadences.

CmajT

Dm7

Cmaj7

----q-

a e

-

-

('/

a)

a)

''l a e P?T

*g

e

/')

Right-Hand Quartal Yoicings in Minor Keys imi or m7: 2-5-1. 5-1-4, or 6-9-.s iirnTr5:l_ _bj. 1_l_4, o1b7 bj_, 13 VTalt:b7_3_t, 13,f 9,b13_b9. or bI I t9_{I I L nr i

Dm7b5

Taken from F Major Pentatoiric

Taken from Db Nla.iorPentatonic

Takenfrom Eb Major Penraronic Hereis an exampleof two-handquartalvoicingsovera minorii-V i cadence.

omzb5

GTalr

CmB

Dm7'n:

()

t2)

e

ho

GTalt

i

l

e

'€ WT

Lm,r

CFIAPTER6

83

Somc other permutationscoLrldbe

onrzb-5GTatt

b

CrnS

-_

.

t - _U m-/2) Lr/al t

G

Cm9

Dm7b.5G7a1t

L.mi

b

When playing 3-note type B voicings over an altered dominant, make sure to include the b9 in the left hand G-b7-b\ and never Q-bl-9). Over ImajT the left hand may alternatebetweenthe -5thanclthe 6th: 7-3-5 or 7-3-6. The foliowing chart shows some eff'ective voicings that have been used by many jazz pianists. They are useful in all two-handedcomping situations.They rnay be enlargedinto five- or six-note voicings.

3-6.7,3 6

lVlaj7 NIajT

9-3-j . 9-13-9

N'Iaj7

3-6. 3-6-9

nl/

b: s bz.bt b.r.;

Ilt

9 - st . # t t t - z

/

nl/

9--5-1,5 I l l .6

t)--s

b: o. b:-o-q

9 -5 1.6 9 -5

l,: bt s

5 i-l t. -5-9-11

t--+,b1

ml

L)-fr181.69 5. 1,3_.6 9--5-7,

b:-s. t,:--s-e.t3-6 e

m7D5

r-bs -bz .b: r ll

lr:-br:-1,e.t t-b't b:. b:-b.tbt :

nt 7b5

t-05,01, D5 l-t I

9-11 013

m7D5

t1-05-07

e- li. b3 br :. br : bq- lr :

bz-: r-r

7 .|

9 -s-1.9-5 e. 9-l.l-9

a- a I

9 5-1.3-r3-9. 13 9-5

7

3-b;-r)

3-5 l. 3- 1-l-I

7

D]-3-13,07 i-il.1

bs- :- r :.bq- #n- bj . Hqbr:- r:

7

t-bt

3-13 i. l*13-9

^t-

(0t1t. ------+

fi+

lAzz()r.o(iY

q f ir r - r : .f it t - i: - q

t-b t, t-t-b t,z-b t,rt

9 il-13, 11-13-9,r3-9 l l 9-5-1,5 l-4, l3-9 .s,J l3-q

:-br:-r,:-br:-bs,:-br:-f,q D7-3-D13

bg-#tFbto, #q-br:-r

D]-3-0t3

#g-brz-bg,brz-bg-frrt

t-bt-bg. z-bt*fr9

s s-h-#g,h-#g

z-bt-bg.t-h,frs

frs-h-frg,frrrh -frg,fi -#s-frt r

t-bt-bs,z_-h_frs

bt:- bq- filr h_[s_.bt:,

ClusterVoicings In classicalrnusicthis conceptis referredfo as secundal harmony. Clusters, also called tone clusters. consistof collectionsof pitchesthat are ciosely arrangcdby stackingmajor or minor 2nds insteadof 3rds or larger intervals. proAny ver-ticalaggregationof notes containing more than two adjacenttones can be callcd a ch-rstcr.Clr-rsters cottlvide maximum densityanclcan representeither dissonancesor more tonal consonances.provrdinga tight erucl pact arrangementof the notes.\In jazz these notes will almost always be mernbersof a particular scale.cl.tord.or mocle.In classicalmusic they need not be.)Clusters usually sound best r'vhenplayed at soft to rnediLtrnvolunle. Bill Evans and TheloniousN4onkwere pioneersin using clustersas chord r"oicings. Clustersare not uonnally usedin ii-V I caticucesand are not conventionalpiano voicings. Nevertheless.they can be very effective in some contextsand can spice up some melodic lines. By inverting the notes in a cluster (or b1'' dispersingthern into differcnt octaves).thc voicing can be openeclup to create some interestingresuits (such as quartal harmonies),but at tl"reexpenseof losing the characteristictight sonority of the cluster. Some ii-V-I cadencesin C rniiior with cltrstervoicings are shclwnbelow-

Dmll GTalt Cmajl3 DmTsus4Cliltt Cmajl3

Dml1

GTalt

Cmajl3 Dm7sus4

GTalt

Cmajl3

There are endlesspcrmutations.The best approachis to pack the cl"rordtonesplus opticlnaltones as closely as possible and experinent at the piano to find srnoothresolutions.Dissonancesneither have nor require rules, except: not s l) never have a rn2 on the top of the voiciirg-this makes a poor cluster sound; 2) low ransc lirnits shorrld below E! belor.l,micldle C lor a N{2nclclLrster(Eb-n and E for a nl2nd cluster (E-F) (]HAP'|I]R 6

[J5

Below areexamplesstudiecl previousl\in this book thatinclucleclusters.Noticethe cluster voicingsplayedover Gl3, Gi3b9andoverC3. Clustersin Major ii-V-I

t--*--l G 13

Type A

Gt3 G l3 b e

Type B

Cmaj9

Type A

Clusterssound particularly effective in minor contexts.especially over iim7b5 Clusters in Minor ii-V-i

Dmlbs

-€+

GTalt

umq

other common cluster voicings occur in the Phrygian mode. Below is an E phrygian or Esus4bgvoicing, and an inversion of an E7sus4 chord.

EPhryg

E7sus4

a

f

Observetl'ratthe cluster voicing played over iimTb-5in the previousminor ii-V-i cadenceG-b5-rj-I) is the same cluste'rI'oicing for an E Phrygitin.which played liom the root becomes l-bz4_5. This may imply the soupd of an E Phn'-qianrnode.Thus the voicing is called "E Phr1,g,"often r,r'rirren as Esus4b9.It also irnplies a cluster for thc tbllowing chords: G13. Dmg, Fnuj7b5, and DbTalt. ',oicing The suspendedcluster ioicin-s slructuretbr E7sus4 (.1-5-b7-l) may imply orher sonorities.such as the f-ollowinq chords. DBor Dm8, Fmaj71b5,6), G(add:t, Asus4(add9),BmTsus-l.nDiU'. Fragment Voicings Also knorvn as partial voicings, these incomplete constructions consist of just three notes, inclucling a half step (or lessoften, a whole step)on the bottoni. Becauseof their weak and ambiguoussound, they work especiallywell over 3/4 meter tunes,rvhich lack the strong metrical pulse of 2 and zl associatedwith common time. Fragmeni voicings cierivefiom early twentieth-centurl' French composers,especially Eric Satie, Claude Debussy, Maurice Ravel, and Gabriel Faur6' In essence,the hannony is suggestedrather than defined. This is accomplisheclby omitting some chord tones to achieve a desired nrusical effect. This concept has influenced many jazz pianists,including Bill E'vans' Keith Jarrett, Chick Corea. Thelonious Monk, Clae Fischer, and Herbie Hancock. The technique deriveslrorn the playing style of the greatjazz pianist and innovator Bill Evans, whose original harmonic approach (dominated by rootless and cluster l,oicings) had an inportant ir.npact on the playing of moctem.jazz iianistr. Examples of fragment r,oicingscan be heerrdon many of his recordrnss.

86

,IAZZOLOGY

The follorving are typical fragment voicings

Cmaj7

G13orG9

-]+ -t F itm /P)

Fmajz#tt

Am7

BTalt

BPhryg (Bsus4b9)

Notice how several chords share the same simple voicing. Consequently, a limited number of voicings can have many applications. Here is an excerpt from an original composition

In Three Days CmajT

FmajT

Bbmajl

Elalt

Gm7

Am7

C7 Fmajl

EF lr -g

&

.B

l, -8:

O 1998Nor EddineBahha

" Another example of thesei-note voicings may be found in Stuart Isacoff's tune, "Justice Fragment Chord Summary

M7-1-3 or 2-3-5 or f,4-5-N'lz bt t-bt or z b3-5 4-05-D ]

q-b:-b: or 4-b5-13 b1,l-3 or l3-b1*9 or l3-Dl-D9

bt_l-zor #g-:-bt:

two fiagYou may noticethat Bill Evans type B voicings combine portionso1'two three-notegroupings'inciuding ments in one voicins.

CHAPTER6

87

Chapter 6 Exercises 1' V olc e t he fb l l o w i n -uc h o rd s u s i n g -3 n la ncl7th gui ci etones r.ri th3-note voi ci ngs.4 note \orerngs. dr op Z. and drop 2-'1. For the purllosesof theser'\ercisessuggestedran.tc limits rnay be exceedecl. Example Cm 7

r-m?

Dbj

^

GbmajT

BmB

L,

F7sus4

a

\

EDmlD5

^ ^l ('m/P -l

-

ATalt

2. Voice the following three turnarounriswith 3rd ancl7th guide lones, then again on separalestaif;laper ivith 3, note r.,oicings.4-note I'oicirrgs.drop l. and drop 2-4 . Llse both inversions,types A anclB. Fmaj7

Dm7

Gm7

C7

BbmajT Bbt

bT (

EIJ

IAZZOLOGY

An-r7

Am7b5

D1b9

(inr7

GrnT

C7

Bbmaj7

Dbmaj7

Gbmaj7

Cbmajl

BbmajT

F7sus4

a) I VV

e

voic3. Select severaljazz tunes of your choice and apply some of the voicings discussedin this chapter- See the options. ing examples in the appendix for more

CFL{PTER 6

89

CHAPTER

MODTJIATIONSAND MODAL INTERCHANGE Modulations are change'sof key. They may be as subtle as the brief suggestionof a new' tonal center,or as significant as the permanentestablishmentof a new key. Modulations occur frequently in most jazz standardsand can be as shorl as one rneasllreor less. To be considered a true modulation, the new key has to be veritled by a cadence, typically involving V-I chord motion. Sometimes chords other than the tonic (I) chord are briefly emphasized in a chord progression, without the existence of a confirming cadence.This is ref'erredto as tonicization, implying that a new tonic has been suggested without a true modulation to that key. Any ii*V creates an instance of tonicization, as shown in the following example, which tonicizes the key, of A. V-I Tonicization

l l t tcmajT tr I

C:

|

lmaj7

ot

I

"t

I

Y7lvi

Y7/1i

Y7

I1

A:

t

lmz vimT

I

nmz G7

cmajz

|

Vl

iimT

lmaj7

Tonicizctriotto.fA

ii-V Tonicizations

FmajT I Enrz F:

i'iim7

Imai7

D: iiniT

{7 | n-z IllT

G7 I arnzbs Dj

r'irn7 lll

V7 C: iimT

Gm7

iiimTb5 VI7

FmajT

CmajT

InrajT

iimT

V7 Gm: iim7b5 V7

Attl A A

Tonic'i:trrionof _ Toniciz.ationoJ | Tonicizrt.tion of D Gm T

If another key becomesfirmly establishedand actually replacesthe original key by meansof a confirmingcadence. a true modulation has occurred.The follot'ins shows a modulation from C to A.

cmajT C:

90

Imaj7

|

.t V7llV

.IAZZOLOG\'

I

nm";z

|

"t

IVmajT A:

V7

I

o-u:t Imaj7

I

Bm7

I E7 |

iirn7

V7

I

AmajT Lnaj7

TYpesof Modulations Modulationsoccurin man)'ways,but most may be categorizedinto one of thesefour types. . Direct . Prepared . Pivot Chord . Transitional In direct (alsocalledunprepared or atlrupt) modulation, the key changesfrom chordto chordwithout preparation, giving the impressionthat the musicis suddenlyin a new key. Major Key to Major Key Direct Modulation

F:

FmajT

cl t

FmajT

LbmajT

ImajT

Vll

ImajT

Ab: ImajT

Minor Key to Minor Key Direct Modulation

Fm:

Fm7

c11

Fm7

im7

vl 1

im7

AbmT Abm:

im7

The modulation may also occur after the V7. Major Key to Major Key

F:

AbmajT

FmajT

c11

FmajT

c11

ImajT

v1l

ImajT

v l1

Fm7

c11

Fm7

c11

im7

v1l

im7

vlt

AD:

LnajT

Minor Key to Minor Key

Fm:

AbmT Abm:

im7

A good example of direct modulation is fbund in John Coltrane's "Giant Steps," which tvill be discussedin greater detail later. In prepared modulation , a Yl , a ii-V, or a vii"7 sets up the arrival of the new key. Major Key to Major Key PreparedModulation Using ii-V FmajT

F:

Imaj7

cll vl1

|

BbmT r,bt

**"it

ImajT Ab: iim7

V7

AbmajT ImajT

Minor Key to Minor Key PreparedModuiation Using ii-v I

Fm:

lnbmzbsr:bt I

Fm7

c11

Fm7

im7

Vi I

im7 Abm:iim7bS v]

ADmT im7 CTIAPTER 7

91

Each tone of a diminished 7th chord may resolve to the chord one half step above. However, the symmetrical structure of a diminished chord results in four enharmonic equivalents for any given chord'. roJ =br1t"7 = $ivo7 = vio7 (i.e. F'7 = Ab"1=B"J = D"7). This resultsin four possiblekey-arearesolurions:bti, IIt, V, bVII (Gb,A, C, and Eo, or Gbm, Am, Cm, and Ebm).

PreparedModulations Using the '7 Chord

Fma jT I lmajT

Gb:

u"r

lc l- ' . iz

viioT

lmaiT

(% step*oaltotron above)

I F:

FmajT ImajT

Am:

nb*l

Am7

viioT

im7

(M3rd above) ^ohro,,on Fm7

I

B%

CmajT

C:

vii"7

imaiT

I

Fm:

iml

(Pith moAafion above) Fm7 Fm: iml

CTalt

Fm7

Y'7alt

tn J Ebm: viioT

EDmT im7

+

(whole step modulation below) In pivot chord modulation a common chord that is diatonic to both the old ancl new keys serves as a link or "pivot" between the two adjacent tonal areas.It is not necessaryto change the key signature when a piece modulates, aithough this can happen sometimes to facilitate easier reading of a melody. In the progression beiow, the entire Cm7-F7 unit has a dual ftrnction, acting as v1m7-II7 in Eb, ancl acting as iim7-V7 in Bb.

Fm7

E b : iimT

BD7 V]

Cm7

F7

vimT

IIl

Bb:ltm7

Vl

Ebmaj7 Abmaj7 Imajl

IVmajT

I | I

BbmajT

lmajT

Similarly, in the following example, the Am7-D7 is functioning both as iiimT-VI7 in F and iimT-V7 in G.

92

Gm7

C7

FmajT BbmajT

Am7

D7

iimT

Y1

ImajT

iiimT

YN

G : lim7

v7

IAZZOLOGY

IVmajT

I l I

GmajT

ImajT

Pivot chordmodulationworks the sameway in minor keys.

Fm7b5 sbt

Ebm6 Ebm:

im6

iimTbs

I

ol*

sbm/DbCm7b5

F7

B b m7

im

(im)

vim7b5

In

vm7

B b m:i vm

(i vm)

iimzb5

Y7

im7

vj

Some modulations employ only the V7 instead of the entire ii-V7 cadencebetween keys

Dm7

G7

C: iim7

B7

Cmaj

|

Yl

Y]/111

Imaj7

Em:

Em7

bvtmaj7

iiimT

v1

iml

The Cmaj7 chord is diatonicto both C major and E minor. The progressionbeginswith ii-V-i in C major, but thenthe Cmaj7 becomesthe bVImajTin E rninor,resultingin a bVImajT-Y7-,iml progressionin E minor. A transitional modulation occurs when. following a cycle of chromaticii-V's or sequentialdominants(or sequentialdominantsubstitutes), the musicwinds up in a differentkey from whereit started.A seriesof progressive sequences, maintainingfixed horizontalrelationshipsbetweenchords,arrivesat a destinationdift'erentfrom the startingpoint.

Fm7 sbt Eb: iimT

I

Vi

nbma:z ImajT

Em7

A7

D : iirnT

EbmT Abl Yi

V7 D b:1im7

Dnl.7

G7

CmajT

C : iimT

Y7

Ima.j7

The changes go chromatically through thrt'e key areas, each suggestedby a ii-V pair. The tonicizec'lrueas are D major, descending by half step to Db majr;r. then down another half step to the final destination in C major. An example of transitional modulation is for-rndin Coltrane's "Moment's Notice."

Fm7 Bb7

Em7 A7

LbmT Db7

EbmajT

D: iimT Y'7 Eb: iimT V7

IM7

Gb: tim7 Y]

Dm7 G7

DbmajT

F;bmT Ab7

C: iimT V7 Db : iimT V1

LnajT

of "Along CameBetty" provideanotherexampleof transitionalmodulation.(It alsoconThe lirst eight measures tainsa tritonesubstitute,ri,'hichwe'll cover in Chapter8.)

BbmT | AD:

.. ttm/

BDmT

Bm7 A:

iimT

A D:

rrm /

Bm7 Ej A : iim7

V7

AmajT Imaj7

G:

Ab7

GmajT

SV7/l

h'naj7

Ffr7 F:

SV7/I

CFIAPTEIT7

93

H E F

$.

3

3 :':

Nftrst tuncs do nclt contatn actuiil modulltions. Thcy may,appeaj to change key. but i t' s usual l v bestto analvzer n t ends,"i n the originll key. A g o o d e x a m p l ei s " .l L i s Fri G maj or.

,l' r

,li'

CmajT

Cm7

b-7

: IVmajT

i v mT

bvttz

B b: iimT

GmajT

BbmT L... vl1lm /

haj;

v7

A b : iimT

Eb7

Am7

bvn

iim;

D7

v1

The chord f-unctionsbegin with IVma;7, then ivmT (it's possible to remain on the same chord quality. IVmajT), moving to its related v7, producing bvttZ from the perspectiveof the original key. This is called the back-door cadence (bVII7-Imaj7) ieading to G niajor: ivmz-bvll-Imaj7 or IVmajT-bVII7_'Imajz, and analyzecl as a subdominant cadence. In other words, the tonic chord is preceded. not by the V7 a 5th higher. but by a 7th chord (bVII7) a whole step lower. Some exanples of this sequenceare found in Miles Davis's "Half Nelson." Charle Parker's "Yardbird Suite," Tadd Dameron's "Lady Bird," anclErrol Garner's ..Misty."

Othertvpesof modulationare parallel V-I anttii-V chains modulation,as mentionedin Chapter4. Any consecutive setof severalparallelV-I's or parallelii-V's creates"moclulation"to many foreign keyi, eventhough the chordmay be heardonly briefly or not at all. "GiantSteps" V-I ChainsModulation Bmaj7

D7

B : ImajT G: V7

Grnaj7

EbmajT

Bbll

InrajT Eb: V7

ImajT

I

Am7

D7

G: iimT

V7

" B lues et t e" ii-V C'hainsMoclulatiorr

BbnrajT

Bb : lnrdT

Arn7b5

D7

Gm: iirnTb.:

v1

F:

Gm7

C7

i i nrT

v1

Eb:

F'm7

nbt

iimT

v1

Modal Interchange Modal interchange (sometimesref-errcrlto as borrolyed harmonies. mode mixture, or just mixture) is the use of a chorcl from a parallel (having the slune root) mode or scale. Chords are "borrortu'ed"tiom the parallel hey and directlt' insertedinto the original ke1'.rcplacing expectedfunctions. Chords that occur naturally in the natural or harmonic minor scalearc commonlv useclin the parallel major. Borror.vedchords have "alt.erecl"tones that do not belong tcl the original kcy signature,bul that occur naturally in tl"reparallel mode. By borrou,ing chorrisliorn parallel nlinor. the major scale expandsits r.csources by adding the three variant notes of the natr-rral rninor scale 1bl, b6, and b7). Arrangersand cotnposersu\c modal interchangein orclerto create,to adr-l,and to ernphasizeneu,colors in a cor.nposition, as r'vellas to srmplily'modulationsto certain foreign keys (specil-ically.to those kc1,sthat are closelv relatedtcl the parallel urinclror nurjor of the kev in which the llsqs or section startecl).

91

IAZZOI,OC}Y

chords that includeb6-vii"7' iim7b5,ivm, and vim6-are very commonlyborrowedin major key progressions.

I D m 7B'7 l C ma j IT

G7b9lCmajT I DmTbS | (,,NightandDay,,) I Dm7Fm lCmajTI I Dm7Fm6lCmajTI lDmTFm/GlCmajTI lDmT Fm6/GlCmajTI Chordsthatcontainb3arealsocommonlyborrowed:im7, bVImajT,and bIIImajT. lCmaj7Cm7 lCmajTI

lCmajT AbmajTlCmajT I lCmajT Ebmajj lCmaj7 | A half-diminished7th chord can function as iim7b5in a major key. lCmajT lDmTbs/ClCmajT I A very common borrowing situation (classically-though not exactly accurately-termed the phrygian cadence)occurswhen a pajor or dominant v chord is apprJachedvia ivm6 in first inversion. lCmaj7 lFm6/AbG7 lCmajTI or lCmaj7 lFmf/RbG7 lCmajTI Common Chord Borowing Examples Theseexamplesillustratehow commonma.ior-keycadencesmay be creativelymodified with

modal interchanse.

Picardy Third Cadence

Gm7

c7 I

FmajT

iimT

v7

ImajT

ll o".o*",' limtb'

v7

FmajT

BbmajT

FmajT

lf o""o-",,FmajT

ImajT

IVmajT

ImajT

ImajT

Dm7

fl ,""o,n".,FmajT

FmajT n*zUs I

A7

ImajT Dm: iim7b5

v7

im7

lmajT

ImajT

Bbm6

FmajT

| I

ivm6

F,bmT

Db: iimT

ImajT

tbt

I

V7

or*";z ImajT

Back-Door Cadence

FmajT Imaj7

t.

lBbmajT EmTbs I IVmajT viimTb5

FmajT ImajT

ll ,."o-.,,

FmajT Imaj7 Ab:

1im7

V7

F:

Imaj7

CHAPTERT

95

lie virtually endlesspossible parallel nrode functions. Here is a Beyond these relatively contmonpiacec-ran-rples chart of those availableto maior kevs.

Harmonic NIinor

im(maj7)

llm /P- )

Melodic Minor

im(maj7)

irrnT

Natural Minor

inJ

Dorian

..-t-

brttmalzl#sy

ivmT

vtbg

btttmal;1f,5; I V 7 (f1l 1 ;

..- t-

bvtmajT

..

-

V9

V l m -/t ? .- )

vl1oJ ^t

vi l m /3 )-

bvrrz

llrn / 2-)

btttmajT

ivmT

vmJ

bVhnajT

im7

iimT

bntmajT

IV7

vm7

v l m -t/ 2 --)

Phrygian

im7

bltrnajT

bttn

ivmT

vm -t/ 2-)

bvtmajT

Lydian

ImajT

TI7

iiimT

+frvm / 2)

VmajT

vimT

viimT

Mixolydian

n

iimT

r l 1 m- /t P )-

IVmajT

vm7

vimT

VIImajT

Locrian

r m -1/ P-- )

bllmajT

Dvmal I

bvn

.

t...

Prlrm/

ivmT

t--

.

bvttmajT t..

Pvr l m /

t.,

Pvl r m /

in Nlinor Keys Modal Interchange Chortls may also be borrorvcdfrom thc ltarallel rrajor rvlien in a minor key, though this is less coll'lllloll than the oppositesituation.The nrostcornrnonlyborrowecichord in minor keys is I or Imaj7, called the Picardl' 3rd. (This chord often occurs in the l-inzrlcadenceof a sons.) Picordt'3rtl

ll Cm:

cm7 intT

EbrnajT

AbmajT

Dm7D5 G7alt

I-..

bvlmajT

iimTb-5 v7 C:

2 lltiltill

/

CmajT

tl ll ll

Inaj T

Other diatonic functions can be borrou'ed from maior to tninor as well. Here the diationic iimT chord is borrou'ed from E maior. iThe Shadow of Yo ur Snrile"

F#m7 E: i i mT

96

.JAZZOLOG\

B7

Em7

Y7

im7

Chapter 7 Exercises 1. Identifytonicization andmodulation in thefollowing. a. lCmaj7| Am7lC7lFmajTlEmTA7 | Dm7G7 | dbmajT I ll b. l D m ajTl EmTlpfmTI Gmi C7lF$m7 b857 lE mTs b ZI n b mTI 4 7 ll c. lEbmajTI cfim7Fh I BmajT1Bb7sus4 | Am7 I BbTsus4 | A7sus4| D7sus4| GmajTll d. I Cmaj7lBl lc7 | FmajTI Ar't lDbmaj:-| CTaltI Fm7| Dm7b5obl lcmajT ll 2. Provide four examplesof direct modulation. 3. Provide four examplesof preparedmodulation. 4. Provide four examplesof pivot chord modulation. 5. Provide four examplesof transitionalmodulation. 6. Look for tunesthat usedirect, prepared,pivot chord, and transitionalmodulation.Extracl the examplesand provide harmonicanalvses. 7. Name the parallel major and minor keys that contain the respectivechord functions shown below. Assume enharmonicequivalentswhen necessary. Example ^ Ab:

Cm7 iiimT

Abm:

EmajT rVImajT

C$m7

FmajT

Df,m7

Gm7

CmajT

(J!lm

CmajT

EbmajT

DbmajT

Cm7

Cm7

Bm7

GmajT

BbmajT

Em7

AbmajT

Fm7

GbmT

BbmT

Bm7

BmajT

DmajT

BbmT

DmajT

Am7

BbmT

Dm7

GbmajT

Ebmaj7

GbmajT

G*m7

CmajT

ri m/

Gm7

C$m7

Dm7

AbmajT

BmajT

Cm7

CfmT

/

CIIAPTER 7

97

l)bnra.j7

Enra.jT

Ama.17

F md T

Ama.i7

C mq T

Ama17

Fm7

Gm7

BnajT

DmajT

CmajT

DmajT

EmajT

8. Find five tunes in arrv style that use rnodal interchange and extract the examples. Provide harmonic analysis for each.

c)8

lA7.Z()L()C'\'.

nn

c

RTHARMONIZATION Chord substitution is a procedure for increasing the harmonic interest of a tune. While the word "substitution implies a one-for-one exchangeof chords, this is not always the case.Since chord substitutiotl may resuit in a totally new harmonic rhythm, rvith either more or fewer chords than the original, some theorists feel that reharmonization is a better description of the process.In any case, nearly alljazz standardsincorporate substitutechords. Some affect the underlying harmonic structure very little, and may be utilized by the soloist without the support of the rhythm section. Others result in a more significant restructuring of the harmonic progressionof the tune and require the support of the rhythm section. Following are some basic but effective chord substitutions that are commonly used by most jazz composers, accompanistsand arrangers.

Diatonic Substitution in Tonal Contexts iiimT and vimT may freely substitutefor lmaj7; these three functions may interchange becausethey all act as tonic chords, which define the key area. Moving between tonic chords adds color and variety without a real change in harmonic function.

CmajT

CmajT

ImajT

ImajT

b e c o n re s:

cmajz o-t I Imaj7

CmajT

Em7

Ima37

i i i mT

vimT

Similariir, iimT may substirurefor IVrnajT. Both iimT anct IVmajT contain the stable tonic of the key along r'vith the unstable 4th, functioning as subdominant chords, and may be interchanged.

FmajT

G7

CmajT

IVmajT

Vl

lnrajT

becomes:

CmajT

Dm7 iim7

Vi

lmajT

Finally, V7 and viimTb-5c6nrainboth the unsrable4th degreeand the major 7th (or leading tone). Thesetwo notes are a trltone apart, causipg these chorclst9 be highlir unstable. Accordingly, they function as the dominant chtlrds of the key, and may be substitutedfor one another.

CmajT

Dm7 iimT

Vl

becomes:

ImajT

Dm7

Bmzb5

CmajT

iimT

viimTb5

ImajT

Diatonicsubstitutionfollorvssimilarpracticein minor keys,with chordsin the samefamiliessubstitutingfor each other.

Substitutionsin Modal Contexts ways. This is priIn functional harmony, chords are categorizedaccordingto their tendencyto resolve in certain within the overmarily basedupon the presenceor absenceof specific notes that signal voice-leaclingexpectations despite their different qualtall key, Thus Cmaj7 ancl Am7 are substirLrtestor one another in the key of C major, ties and associatedchord scales. 99 CFLA.PTERI]

Modaljazz reliesupon a completelydiffbrentmethodof organizingharmony.N,{odal chord "progressions" are chosenfbr theirindividualcolorsor sotit.tds, not fbr theirtendencyto moveto otherchordswithin the overallkey. Thusa "diatonic"substitution fbr a speeitic chordin rrodai jazzts not chosenbaseduponany tendencvro resolve in any specificr.vay.Instead,modal substitutions mustproducethe samesoundas the original.This is generally achievedby choosinga chordthatutilizesthe samescale. For example.if a tuneor sectionof a trrneis basedon F Lydian and the chordis Bm7b5,a possiblesubstitution {ir rn7b5standsin for VmajTin anyfunctionalsensein a Lydiancontext.but woulclbe Cmaj7.This is not because simplybecause they sharethe samechord scale.Otherpossibilities would be Dm7, Em7, Fmaj7,G7, and Am7. In short,any chord built on a note in the mode,and containingonly the notesof that mode, is a possible substitution. A seriousconsideration when using substitutechordsin modal harmonyis to avoid chordsthat will suggestfunctional harmonyanddestroythe modal quality.For example,if a modal areawerein the key of B Locrian,the substitutionof CmajTfor Bm7b5would ahnostcertainlyvitiateany senseof modality,effectivelyforcing the ke;rinto C major.

Tritone Substitution b5 sub), this deviceis usedexrensivelyin reharmonization. Also referredto asflat five substitution (abbreviated In it, a dominantchord is replacedor followed with anotherone whoseroot is a tritone away.The tritone sub is one of the basiccadencesof jazz, both as a two-chordstructure,and as a variationof the ii-V-I cadence,which thenbecomesiiJII-L The interchangeis possiblebecauseV7 andbIU sharethe sametritone:the 3rd of one is the bTthof the other.(Thesenotesare also the unstable7th and 4th clegrees of the parentkey.) The b5sr-rb tbr G7-V in the key of C-is Db7.Eitherchordresolveseasilvto Cmai7.

Db:.

The tritone substitutechord is often prec.'.ledby its relative iirl7. u,hich here is a minor 7th chord built on the u6th degreeof the kcv.

Dm7

Cnra.jT |

iimT

becomes:

Dm7

G7

AbmT Db7

iimT

Yl

bviml

CmajT

"t

v1

Imu y T

btll

lmajT

A betteranalyticalsymbolfor bIITis Sub\'7ll (orjust SV7/I tor short),indicatingthattheV of I is thechordbeinq replaced.

''SV7/

Dm7

G7

AbmT

Db7

CmajT

iimT

\'7

bvimT SV7/I

ImajT

mav also be followed by any diat()nicchord natmefor which secondarvdominantsare used,giving us sYInbols such as SV7/ii. Sv7/iii, SV7/IV. erc.. indicating tritone subs fbr all the secondarydominar-rttunctions. ln C nrajor.SV7/ii is the tritone sub for Yilii r \7). which is Eb7. SV7/iii is the tritone sLrbtor V7/iii (87). which is F7, and scron lbr SubVl/lY. /V . and /vi.

100

.lAzzoLoGY

chromerticallyby half step. ntaking a very strong motion to the tonic chord. Whe n diatonic substiSV7/[ resolr,'es tutes stand in tor either the ii7 or the Imaj7. the result is descendingmotion b,v rnajor 3rd.

vbz I CmajT

Dm7

BbmT

Am7

FmajT

iim7

SVTA

vimT

IVmajT

Imaj7

SV7/I

FmajT

obt

Am7

IV mqT

SVTiI

vimT

A corlmon use of tritone sLrbstitutionis dernonstratedby the follou ing chord progression, u'hich empioys a chromatrcally descendingbassline. I

Dm7 BbmT : iinT

SV7/l

CmajT

Bm7

lmajT Am: iimT

sbt I tmt I SV7/i

Gm7

im7

Gm:iim7

Cbt

FmajT

SV7/l

ImajT

^b7 F: nmJ

SV7/i

im7

Unaltered SubVT chords (or those witn bslt 11 as their only alteration) always take the Lydian b7 scale,the fburth mode of the melodic minor scale.This scaie is also known as Lydian Dominant, and occasionally as Mixolydian *11. Lydian b7 is enharmonic to the altered scale of the V7 a tritone away. In other words, the same notes are played over GTalt or Db7 when resolving to C. Ab Melodic Minor. Modes I and 4 I-^

Db Lydian P /

G Altered Scale

Scate

l-

D+

a'r

Any voicing that r'vorksor er V7 will also u,ork over its SubV7. Each chord voicing on thcrleft (1-6) in the following diagratn maf interchange r,viththe correspondingone on the right (a-t), in alternationol as a substitute.

Gr3

€-

G13be csbt:

,e

b .*

G7att

h=- b*

-e:C':

, -ei('

b* -O

s- ,ie- b= oo-

1234- iba b c d e f Becausethe notes are the same in the respective G7 and Db7 chorclsin the diagram, a scale that fits the extensions or alterations of one chord will also fit those in the other. .

Ol.er Gl3 or DbTalt.you can play G Lyclian b7, which equiilsDb aitered (or D rnelodic nrinor). The 13th of G ( E ) i s th e [9 o f D u .

.

dominant diminished over both chords. O\,er Gl3b9 or D"7*9, play the Ab climinishedscale,prodr-rcing

.

t'Slil t and natural Over G9bi3 or Db9b13,play the u'hole tone scale.Both chords will receive the correct 9. t'7. Again. this also fits if a Over G7alt or Db9. play Ab rneloclicminor to produceG alteredor Db Lydian b5lf,I 1 is presenton Db9. O r c r G l .l t9 o r D I 1 !9 . p l a y A b tl i rn i ni shed. , b Lycl i anb7. O v er G 7 l g b l 3 o r D l ,1 3 ,p l a y A b m e l odi c mi norto producc-G al tereclorD C,FL\PTERf]

10i

Tritone substitutionalso providesa ntethodfor improvisingoutside of the harmony,by outhninga melodicline that is a tritoneaway from the expecteddiatonicdominant vice versa). ior

oblatt

or the opposite: GTbe

CmajT

1-e-) l i

) John Coltrane often substituted the ii-V a tritone away for the original ii-V cadence.For example, the progression

Dm7 G7 iimT

CmajT

vl

Imaj7 wouldbecome:

tbmt nb7

I t-":'

Gb: iimT V7 C:

ImajT

Mixture of the sub ii-V with the original often occurs, as in Duke Ellineton's "Satin Doll."

Am7 D7 G: iim7 Y]

Abmtobt Gb:1im7 V] C: SV7/I

toz

JAZZOLOGY

cmaiT Imaj7

I

The SubvT chord may serveas a pivot chord in a moclulationto a ibreign key.

nzut Am7 ln*zbs

Am7 Am:

im7

iim7b5 VTalt

tbl

im"/

Gm7 F:iim7 im7

Gm: S V 7/i

Changing Chord Qualiry A dominant 7th chord may substitute for ermajT or a m7 chord on the same root, provitling more harmonic possibilities when comping and improvising. Here is chord quality change applied to a diatonic turnaround in C major. Minor to Dominant Chord Quality Change

I

CmajT Am7 | Dm7 G7 Imaj7 vimT

becomes: I Cmaj7 A7 I

D7

Imaj7 YIl

ilM

iimT Vl

G7

Taking this procedure a step further, replacing the expected YI7 .lll , and V7 chords with their appropriare tritone subs results in the Tad Dameron turnaround.

|

.-";t Imaj7

nbz SV7/ii

l^bt

n''l

SV7,^/ SV7/I

A connion rnoclification ol this progression occurs when majT chords are substitutecifor the ciominants

|

.-o.it

trbnrajT lebmajz DbmajT

IinajT

blttmajT bvtmajT btlmajT

Numerous instances of chord quality substitr-rtionappear in the jazz and standard song literature. Here are some notableexamples. . "Just Friends" first four bars . "Sophisticated Lady" last two bars of the bridge . '''Round Midnight" last two bars of the bridge . "Wave" between the first two A sections . "Chega de Saudade" the bridge. where Dm7 becomes Dmaj7 Substituting a m6 or m(mai7) Chord for a m7 Chord This technique resembleschord quality substitution. Following a ii-V cadenceto a minor 7th chord, the minor 7th may be changed to a m6 or m(maj7) in the fbllowing measure, melody permitting. The effect is to continue the harrnonic rhythm, giving the impression that the chord progression changes regularly on each measure, while, in fact, only the cluality has changed.The last four bars of the A section of "Autumn Leaves" turnishes an example.

Am7h5 ..

t r lm /-P5

DTalt

Gm(ma.i7)

Gm6

VTalt

im(maj7)

im6 C}IAPTER8

103

PassingChords Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a third in order to create more movement.

lCmaj7

I Dm7

lE mT

lG 7

A diatonicpassingchordmay be insertedbetweenI and iii. lCmaj7Dm7

I Dm7

lEmT

lcl

I

The easiestpassing chords to recognize move chromatically, with the passing chord quality usually matching that of the chord above or below. Here is the same progression with a chromatic passing chord between iiimT and iim7.

lCmaj7

lE mTE bmT lDmT

lG 7

I

Adding Extra Chords WheneverImajT movesto vI7, two additionalchordsmay be insertedto strengthen the progression. Below we,ll examinesomepossiblemodificationsof a simple turnaroundin c maior. I

CmajT B7 | sbt I

A7

ImajT Y7/11i SV7/vi Y7/i1

Dm7

G7

iimT

v7

Replacing the IIIT with its tritone sub results in smooth bass movement and parallel dominant double passing chords: two passing chords in a row-B 1 and.Bbl-between CmajT and A7. gi is a secondary dominant of Em.

CmajT 87 ImajT Y7llii

sbt

A7

SV7/vi Vl/1i

Dm7 iiml

l"'

v7

Notice that each chord receives the same metric placement and time duration. The turnaround to the flrst section of "Satin Doll" (measures7 and 8) furnishes an example of the progression shown directly above (parallel dominant double passing chords). Another example is found in the Latin jazz standard"Aquarela di Brazil.', The same turnaround may also result from a modification of the following chord progression.

ll lCmajTFmajTl Em7 A7 rt Imaj7 IVmajl l1im7 vr7

Dm7

G7

iimT

v7

also becomes

l.-":t IrnajT

ro4

JAZZOLOGY

B7 Vi llll

nbz

A7

Dm7

G7

SV7/VI VI7

iirnT

Y7

As noted before, the qualitiesof the chorcismay be altered. ParallelMajor Double PassingChords

l.-":t

Bmajz nl-u:zaz I

Dm7

G7

Dm7

G7

ParallelMinor DoublePassinsChords

Bm7

BbmT A7

Diminished Chord Functions As noted in Chapter 5, any functioning dominarrtlth chord may be replaced by its related vii"7. When resolving to their intended targets, these are technically not passing chords, as they perform the dominant function in a cadence.In practice, whenever a diminished chord is built on a non-diatonic step and also leads to a diatonic chord, it may be called a passing chord. These are the most common placesto put diminished passingchords in a major key: , l. L^ . on the f,1 or bl scaledegreeleading to iim7, . on the b3 scale degree leading to iirnT or to iiirnT, . on the {4 scaledegreeleadin-sto \,'7, . on the f 5 scaledecreeleadrnsto r im7. All diminished chords usually sound best il,ith the diminishedwhole-half scale as the sourcefor urelodic notesor Diminisheclchords functioning as r''ii'7 may also take the harmonic minor scalebasedon extendedarrangements. the root of their target chord as an impror isational choice if that chord imrnediately fbllorvs ancl is nrinor. If the targetchord is a major or clominantchorcl"tire diminished sczrieis usually best. though any scaleder ised with the intent to tonicize the targetchord and that includesthe notes of the diminished chord rnal' be explored. In the lollowing turnaround,notice the chromatic bassline betweenImaj7 and iirn7.

CmajT A7b9

Dm7

G7

Imaj7 Yl7b9

iirn7

V7

becomes:

CmajTC#"2

Dm7

G7

ImajTvii"7/ii

iimT

V7

Dm7

G7

iirn7

V7

A chord may change to a diminished chord on the same root as an embellishmen

Cmaj7 C"7

Dm7

G7

imajT I"J

iimT

Y]

Em7

Eb"7

i'7 is an embellishingchord of Imaj7. biii ; has a similar function as io7 since both are a n3rd apart.Notice hotv ''Body' and eachone moves smooihly'to iim7. Ret-erto lneasuresi3-15 of "Chega de Saudade"and measure22 o1 Soul" for two of the many examplesof enrbellishingdiminished chords found in the literature. CHAP'T'ER8

loi

Diminished Substitution The equivalencies of the diminished scales we examined in Chapter 3 also apply to the related chords. Each of the tweive possiblediminished chords and the twelve possibledoniinant 7b9 chords are equivalentin some inversion to one of three diminrshed7th chords: C"J , Db"j, or Do7. .

C" 7 = Eb " J = Gb " J = Ao 7 = D 7 b 9 = F7b9 = 6b7b9= g7b9

.

Db" J = E" .l = G" J = Bb " j = p ,b 7 b 9= pl 7b9 = 37b9= g7bg

.

D" 7 = F " J = Ab o J= B " l = E j b g = Gl bg = gbl bg = gl 7b9

Here are dorninant chords obtained by the diminished substitution method.

Gm7

C7

FmajT

iimT

v'7

ImajT

may become:

Gm7 ED7

FmajT

iimT bvill

ImajT

Gm7

FmajT

Cbl

iimT SVTA

ImajT

Gm7

A7

FmajT

iimT

IIIT

lmajT

Anv vii'7 chord may rcsolve to three other minor (or major) key' areasother than its related one. For example B'7, D"7 , F"J. or A'0"7ma\. resolve to any of the following: .

Cm6 or CrlajT

.

E)m6 or Ebm.U7

.

Firn6 or F$n-ra.i7

.

Am6 or Arnaj7

By the same token, the relateclV7b9 can work the same way.

G7D9

Cm6

Cmajl

sbtbg

(D"7)

-.l

E?mal

I

obtbt)

(F"7)

f fmaj

/

Deceptiv,eResolution

ExpectedResoLution

ETbs

AmajT

Like the G7b9chord,Bb7b9,Dblb9,andE7b9 couldalsoresolvedeceptivelyto one of the ke1'son the right. 106

IAZZOLOGY

We have seen that if we add the related ii tti a V7, new harmonies may be created. Thus new deceptit'e cadences may occur as new rehanlonizationsfcrrthe previousdiminished chords.

Dmlb5 G'7b9 as reharmonization for B"7 pn7b5 gb7b9 as reharmonization for Do7 ADmTb5Dblbgas reharmonization for F'7 Bmlv5 E7v9 as reharmonization for G!o7 All the above minor ii-V cadences may resolve authentically or deceptively to one of four key areas: Cm6 or Cmaj7, Ebm6 or EbmajT.Fim6 or FimajT. and Am6 or Amaj7. Wbg of iirnTt a Leading Chord A straightforward example of dirninished substitution, a secondarydominant chord may be inserted before iimT in any lengthy ii-V-I cadence,thus creating a renewed tension toward iim7.

Dm7

G7

CmajT

Iim7

v7

ImajT

I becomes:lDmT A7b9 Dm7 G7 I iimT v7bgtil limi V'7

CmajT ImajT

This technique is mostly used when comping; it allows a new confirmation of the ii. "Body and Soul" is a very good example, as is Spencer William's "I've Found a New Baby," excerpted here.

cTbs

Cm7 G7b9 Cm: im7 V1b9

rm7

Fm:

I

VlD9

Side-Stepping Also calledside-slipping.this techniclue As it is mostcommonly canbe appliedto any lengthyii-V-l cadence. used,a chrornatic ii-V progression a half stepaboveor belowis inserted,rvhichthenmovesbackto the first key area.This effectintensitles harmonicintelc'standis oftenusedon repeated ii-V's.

C:

Dm7

G7

CmajT

iim T

Yl

l ma j T

becomes:

EbmT Ab7 Dm7 G7

Db:iim7 V7 C: iimT V7

Side-steppingis not necessarilya chromiitic phenomenon.Sometimes the ii-V-I anotherii-V that side-stepsb1'a M3rd below'or m3rd above.

CmajT

InraiT

cadence ural''be replaced by

Side-Steppingby Major 3rd Below: "'Rouud Midnight" in D Minor, Meas. 3-5

Dm7 C: iirnT

G7

BbmT r,bz

V7 Ab: iimT

Am7 D7

Gm7

V7 G: iimT V7 Gm: irnT

by Minor 3rd Above Side-Stepping Dm7 G7

Fm7 Bb7

o-t

G7

CmajT

| : iimT V7 E b: iimT Vl

C: iimT V]

ImajT

through the use of dissois alsouseclin nodal tunesas a devicefor creatingtensionand release, Side-stepping nance.Miles Davis's"So What" providesa goodmodelfor this technique. (,HAPTER t]

IO7

Added ii-V's Any chord may be preceded by a pair of ii-V's. They may be chained together in series and may be mixed with tritone subs.

Dm7

G7

CmajT

iimT

v7

Imaj7

becomes

Em7

A7

Dm7

iiimT

YU

lim|/

G7

CmajT ImajT

or chained:

t#ffibs stbg

nmtbsntbs Dmzbs GTbs I

Em:iim7D5 V7b9 Dm :iim7b5 v7b9 Cm:limib5

Yibg

CmajT ImajT

(Charlie)"Parker'sBlues" containsmany chainedii-V7,s. FmajT F:

ImajT

Em7 D: i i m7

A7

Dm7 G7

Cm7

F7

BbmajT

v1 Bb:iimT

v1

ImajT

,I Dm7 Db7 | Cm7 87

BbmajT

v7 C: iimT

Here is the same progression with tritone subs added.

FmajT F:

ImajT

Em7 F,b7

I

D: iimT SV7/I C: iimT SV7/I Bb: iimT SVTiI

ImajT

CESH This acronym stands for chromatic enrbellishment of static harmony or contrapuntal elatroration of static harmony. Sometimes the technique is simply called line clich6. A moving chromatic line is introduced in what would normally be a static progression. Following is an example with a descending chromatic line over two measures of a static Dm7 chord.

Dm

a) I

o

108

JAZZOLOGY

Dm(maj7)

Dm7

F,e

qed

M7

bt6

c

Dm6

The sarneseriesof chrontaticallymoving notes works well on a II-V sequence

Dnr

Dm(nraj7)

G7sus4

CESHmay ascendaswell as descend.

om#s a)

-*

Dm6

t

frd l+-

e

5

DmDl3

bd

bo

6

+l-)

Drn$5or Drn!'l3 are the sarrrechordas Drnb6or even Bb/D.Arrangers.composers, anclinrprovisers frequently resortto thisdevicewhenr rninorchordencompasses two or four bars."'RoundMidni-tht"is an examplewhere thissubstitutiou occuls.

liDm

E bm:inr

EDm(maj7) EbmT im(ma.i7;

im7

Ebm6

AbmT

irn6 Gb: iimT

Obt V]

In Latin rnusic.the chromaticdescendingbassline is mostly encounteredas a reharmonizationof a lengthy minor (or rnajor) chord. as in the first 4 bars of thc Latin standard"Besame Mucho." Sometimesthe bass retttainswhile the chromatic descendingline occurs in both the interrtrediatevoice and the upper voice. Here is a typical Latin montuno pattern where CESH is doubled.

Cm(maj7)

Cml

Cm6

CHAP'I'ER I]

109

Or in u II-V sequence Cn(maj7)

F7sus4

This cleviceis often used in improvisation,especiallyin bebop. Dm7

''Summer of Forty-Two." "My Funny Vllentine.,' "lt Don't N4cann Thing," "ln a SentimentalN,{oocl."and ''In Watked Bucl" are good erarlples ot'CESH. SomerinresC E S H i s uti l i zed as a 4- or 8-bar introcluction to a tune. K os nr a." N{ an h aD o C a r-n i v a l "(" B l a c k ()rp heus" ) Anr

Am(maj7)

An7

Anr6

Anl

.-,

/

Ant(mal i )

#+fi

Am

Am(maj7)

Am7

+

tug

qt

'at

fri

'4

Am6

Anr

' 4,

)=

a

\

|

>

\

I >

110

.IAZZOI,OGY

Am(maj7)

-{

fr!:*

n b r :#n

Bmzb5

=:

1

J

Z- - _ E

.e_e >

\l >

\l

>

_e

Coltrane Substitutions inlazz harmonv.Variouslyknolvn as "frane changes'Giant Theseare amongthe rnostcomplexsubstitutions of key centersmovingthrougha cvcle a process incotporates * 'Trune substitutes,this technique Stepschan-u.r, and it techniqueof harmonization' of majoroi,ninor thirds.JohnColtraneu'rLsthe innovatorof this challenging including"GiantSteps"and"Countdo\\'n' upp.oi, in severalof his lamouscompositions, very usetul of the flrst 4 barsof coltrane's"countdown"in c revealshow coitraneemployeda An exantination formulato replacea standardfour-barii-V-I'

l'l l-' c*u5z G7 | rmaji7 87 Eb7 lAbmajT | tltlllltlt up % step downP5 up b3rO downP5 up b3td downP5

Dm7

The basic four measures. The ,,countdown,, formula may be appliedwhenevera ii-v-l cadenceencompasses applying in lies difficulty the is simple, concept rhe while thirds. ideais ro modulareby major thirds or uy progression the which in key -inor the determining the formula effectivelyto a progression.It is helpful to begin by going up or down a seriesof thirds from that point, it is possineedsto end,thenwork backwardsfrom there.By -cottrun" would also frequentlyreversethe process,alteringthe ble to determinewhich keys will fit the melody. melodyto fit the progressionhe had chosen. centersmodulatingdown by major Let,s breakdown the processof modifyingthe ii-V-l to includea seriesof key 3rds.Begin with a simpleii-V-I cadence. Cma.i7

G7

Dm7

hnajT

iimT

figm C to C into three equalll, sized Parts Determinethe keys that lie a major 3rd au av. These divide the octlve

A b:

ImajT

C:

ImajT

CmajT

Ema.i7

AbmajT

CmajT

E:

lrnalT

C:

ImajT

EachI chorclis thenprecededby its V

Cmaj7

,t

Eb7

Imaj7 Eb: V7

|

Abma.iz Imaj7

B7 E: V7

G7

CmajT

| "*u:t ImajT

v1

ImajT

Emaj7

Dm7 G7

CmajT

Imaj7 C: iirnT V7

InrajT

We can put the iimT of C back at the begirtning'

DnrT

BbmTEblla,bma;z FtimT87

C: iirnT Ab: iinrT V7

ImajT E: iimT V7

CHAPTER 8

1ll

Extending the idea by prececlingeach V w ith its relative ii we get:

Dm7

BDllnT ED1 Abma.l7 Film7 87

C: iin i T Ab : i i n rT V 7

Lru.17 E: iimT V7

Dm7 G7

CmajT

ImajT C: iimT V7

Imaj7

EmajT

It's also possibleto apply tritone substitLrtionand/or modal interchangeto Coltrane changes. l D m T l ' 5 A7 | A brnaj 7F7 l E maj T D b7 l C maj T I All of these techniques may be applied to minor keys as well. It takes practice to become fluent at improvising and comping over Coltrane changes,becausethey go by fast. There aren't many choices of good lines to go with them. "Giant Steps" and "Countdown" provide good models. Effective improvisational strategies include arpeggios, symmetric lines, pentatonicscales,and similar constructions. A W May Resolve to Any Chord: More Deceptive Cadences Through a combination of the principles discussed in this chapter, a dominant chord can move to practically any other chord. It can be fascinating to hear a V7 resolve unexpectedly in a tune, leaving the listener convinced that the progression sounds right, but lacking an immediate explanation as to why. Obviously. it is a simple task to assign Roman numerals to any progression, but that does little to explain why an unusual progression is effective and convincing. For the purpose of applying what one has learned it is lar better to have an understanding of the theory that controls the motion of dominant chords. Then one is able to understand both the "how" and the "why." Many musicians learn how progressionswork, but fail to reach the deeper level of understanding that comes with comprehending why chords move as they do. "How" may be viewed as the Roman ntimeral fbrmula for analyzing chord progressions.All one needsto remember is what goes where. "Whl"'requires an abstractunderstandingof the sourceof a given chord progression.An understanding of l./z,t'chords rrove as they do will facilitate remembering how'they move. While differences of opinion are bounil to occur, harmonic n-rotioncan only be understoodb.v explaining that motion in clear and logical tenr-rs. A V7 can resolve to tonic farlily chorcls(1, iii. ii in mljor. or i. bIII in minor) by . . . .

P-5thdorvn to I or i. the dcitninantfunction. as a back-door cadence,in r.r,hichcasethe proper designawhole step up to virn7, or possibiy to Vlrr-rii-i7 !-v l t7 n . r ion rro u l d b e half step dorvn to I or i as Sub\'7ll or SubVT/i. m 3r d d o w n to i i i mT o r ma i 3 rd tl o w n to bIl l rnaj T.

family (ii or IV in major, iimTt-5,iv, or bVI in nrinor) by A V7 can also move to a chord of the sr-rbc'lominant . . .

P4th down to iimT or iim7r5. whole step down to IVmajT or ir.'m7. half step up to rVhnaj7.

A V7 can moye to anv other chord in the dominant family or any of their substitutesderived by diminished substitution . . . .

tr2

to to to to

a dominant chotd up or dot'rn a ninor 3rd. a dominant chord up or don It a tritone. a rnin7b5up a major 3rd. a u7 chord up a half step. ttp a maj 3rd. up a 5th' or up a h7th.

JNZZOLOGY

A V7 may resolvewith theseotherpossibleharmonicmotions: . . . .

to a major or minor chord up a minor 3rd. io a major or minor chordup a major 3rd. to a major or minor chord up or down a tritone. by a wholestepup to vim7.

involving dominantchords.It is quite simple to employ them,but why do Below are someunusualprogressions they work? Why do they soundboth convincingand deceptive? Half StepUp, Usuallyto im6 or im7

B7

Cm6

VIIT

im6

It soundsunusualto hear VIIT resolveto Cm6 ratherthan to its usualtargetchord (Em7, Em6, or Emaj7).One possibilityfor explainingwhy 87 may resolveto Cm6 is to considerit a variationof a plagal(IV-I) cadencerather than an authentic(V-I) cadence.

Fe#1r

Cm6

rve#l I

im6

im6

By replacing the F7 with its tritone substitute,B7, we get the folloiving cadence,characterizedby ascending halfstep motion in the bass.

87

Cm6

SIVT

im6

Up or Down a Tritone amongtheoristsasto why it works.It sirnplysounds usedrnjazz,thcreis no agreement While this is occasionally convincing,or as Debussymight say,follows the "rule of hearing."Somehearit as a "nearn-riss"to the expected targetdown a 5th, while othershear it as an incompletetritone sr,rb,making it essentiailythe samechord as the original dominant7th, exceptthat the tendencyfor resolutionhasbeenlost. Up a Minor 3rd or Major Jrd Dominantchordresolutionupwardsby eitherminor or rnajor3rd is not common,but it doesoccur.The logic of canbe understoodby fbllowing the stepsbelou'. theseprogressions In this examplewe'll analyzea dominantchordresolvingup by a minor 3rd.

G7 v7lI

|

nu-z bvltnrz

BbmTcouldalsobe BbmajTif thereis chordqualitysubstitution.

8 CITAPTER

113

;E BI

!1

ii ii!

ii,

Consider this major ii-V-I

cadence in Gb.

I nr-z

Db7

GDmajT

iml

v1

ImajT

AbmT

Db7

BbmT

iimT

v7

iiimT

G7

BbmT

SV7/I

iiimT

We'11insertiiimT as a diatonicsubstitutefor Imaj7.

I I I

Now replace the V7 with its tritone sub.

I rmz 1im7

Now we'll examinea dominantchordresolvingup by a major 3rd. G7

Bm7

Yln

VIlmT

Bm7 could also be Bmaj7 if we have a chord quality change

Consider a plagal cadence in B minor.

Bm6

E7

Bm6

iur6

M

im6

We learneclthat the E7 chordmay act as a diminishedsubstitutionfor G7 and vice versa.If E7 is IV7, then G7 is

bvn.

Bm6 im6

rr4

JAZZOLOGX

G7

brv:,

Bm6 im6

Chapter 8 Exercises 1. Eachpair ofchordsbelowderivesfrom the chordscaleindicated.Showone applicablesubstitutechordfor each chord irsted.Rememberthat functiondoesnot apply in modal contexts. Fm7 and Bb7€ Dorian) GmajTand D7 (G Ionian) Am7b5and EbmajT(Er Lydian) (A Major) C{m7 andGfim7b5 Cm7 and BbmajT(D Phrygian) Fm7b5and AbmS(Ab Mel. Min.) GmajTand A7 (D Major) Cm(maj7)and Bo7 (C Harm. Min.) (B Altered) B7a1tandF131$11) F$m7b5and Cmaj7(b5)(Ff Locrian) Fm7b5andEb71ObLyaianbZ; Em7 and Am7 (E Minor) GPmajTand AP7(Br Minor) Fmaj7 and G7 (F Lydian) for the fbllowing dominantchords. 2. Providetritonesubstitutes Abi

Dt

Bi

bb7

Gl

c*i

Fi

Bbi

A1

ci

Ej

for the following chordprogression.Show harmonicanalysis. 3. Providetritonesubstitutions I cm7 | .qm7b5DTaltI Gml Cl lFn7 Bll lEbmajTlBm7b5ATalr I lDm7bsG7altI Cm7G1>9lC7F] lBbl A1 | Abl D7a1tI Gm(maj7)ll 4. a. Provide chord quality changesubstitutionsfor the above chord progression(exercise3) with harmonic analysis. b. Composea chordprogressionfor F minor bluesthat includesthesechord quality changes:major for minor, dominantfor major. c. Anaiyzeeachnew chordprogression. from the aboveby usingdiatonicand tritonesubstitutions. d. Make new chordprogressions givenin exercise3. 5. Apply diminished7th chordsoverthe progression over the progressiongiven in exercise3. 6. Make dimimshedsubstitutions 8 CFIAPTER

115

7. Add ii-V's to thefollowingchordprosre5sions andprovideharmonicanalyses. a. lG m 7

|

|

|

|

l9bmajT

I

lCmT

I

t

lFi

I A1

| D7alr

I Gmaj7

ll

b.lFmajT lBbmajT

c. lGmaj7

I ^L Avma.l

/

lFmaj7

lEbmajT

lBmajT

I Abm6

I

lFm6

I Dm6

I

lBbmaj7

I Gm6

il

8. Create CESH over the above chord progressions given in exercise 7. (New chords maybe insefted freely.) 9. Provide six examples of John Coltrane substitutions: three from tunes that already incorporate the progression, and three that do not but are suitable for Coltrane changes.(Do not include Coltrane's own works.) 10. Reharmonize the diminished 7th chords you applied to the progression in exercise 5.

116

IAZZOLOGY

CHAPTER

IAZZ PIANO COMPING The Rhythm Section rhythmsectionconsistsof piano,bass,anddrums.TherearealsomanyrhythmsectionsthatuseguiThe standard tar or vibes.Eachof theseinstrumentshasa specificrole to play in providingsupportfor the soloists.Additionally', themselvestheyfunctionequallywell as soloinstruments

Comping for soloists(cornping)is a primary functionof the rhythm section.Compingprovides Providingaccompaniment This connectionof rhythm and voican improvisedbackgroundinvolvingboth chordalandrhythmiccomponents. ings may be referredto as rhythmic voicings.When comping,a niusicianmust support,complement,and give energyto the soloistwhile providingrhythmic variety. and guitaristsfor inspiration.The best In termsof chordaltextures,one shouldlook to jazz pianists,vibraphonists, pianistsand guitarists. way to leam to comp is to listento experienced Whencomping,musiciansmustrememberto: . . . . . . .

keepa steadytempo, listento the rhythrnsection, maintainsimplicityandclarity, vary the rhythmicpattems, voicings. or alternate chirnge sonorities, and, makeuseof space,balance,velocitl'.andsustained utilizechordsubstitutions.

Althoughcompingis improvised.certainnusicalelementsmay bc plannedaheadof time.For iustance,in order discr-rss and agreeuponcerto avclidpotentialharmonicconflicts.the soioistand rhythmsectronwill sometirnes prior to the perfbrnance,Below is un exampleof a harmonicclashthat could have and extensions tain voicin-es Thc D naturalplayedby the saxophone conflictswith the Dr playedby the beenavertedthroughpriol discussion. piano.

GmTsus4

Fm7

Saxophone

Piarrct

CFIAP'|EI{ 9

117

T he c lr t . h is i rro i d e di n th e e .ra rn p l eh .' l o w by sel ecti nga voi ci ng rnorc appropri atcto the i ni provi scdline

GrnTsus-l

FnrT

S t r r oplt orre

Pirtrttt

Similarll, the soloist rright ha'"'echosento play the following line, in order to rnarchan agreed-uponb9 on the C7.

GmTsus.l

C7

Fm7

Sa-rophone

Cornpins is att art forttt its well as u cooperativeeffbrt. Musicians who conrp nlllst r-lsetl.reirears in ordel'to rnake c r eat i\ e elr t ri e c sH . o $ t' re r. \\' h L ' i e t ()n tl )l l t gchords behi nd a sol rl i st,i t i s al so i ntportantto " stav cl ut ()t 't he-r . l'ay'. " I nit iallr ' . 9t h s .l l th s . a n rl l -l th s s h o u l c li .c a voi ded.Lrnti li t be' corrres cl car i n uhi ch cl i r.-cti onthe sokri stis to - coing so. For cretttplc. if thc rht'tlinr scelir)nplays a !9 on lr rlrrniinaurchortl. then thc soloist doesn't harc thc-tieeclor.r.r t o plar a nat t tt' at)i It i s rttl tth e p i a c r.: o l i h e rhythm secti onto l i nri t the sol oi st.A ccortl i ngl _r,. contpi ngsh ot r ldat f ir st be r es t lic t c - r.l to tl tc g tti ti c to n c s l i rd s l i r,l Tths) of the chords.rrnti l the sol oi st rl akes knori n hi s or l r.- rhar nionic pr c f - er enc cs .' l -hrtta i s y i n ro l rc rtto retl rrrr u pper structurcs.A sol oi st mi -9htchooseto pl at' l r r-5thon a dont ir r ant c hot ' il.in r ihi c h c a s eth c c ()n l p L 'nr ri g h i .l " r ooseto pl ay i t too. r.rrt() omi t the -5thi n hi s chord. In surn.c\ pcr t com pin- er c c luir . : cs a rc fr,rl a l ttl a ttc n ti rc l rs tc i ri i i gto the sol cl i stl t al l ti rncs

Voicings: Vhich

Notes 1o Avoid

Major. Nlirilll,dian

Imaj7.V7

Dorian. :\eolian

iim7.r'im7 -t i l l nt /, \'nnt / 2.\-

v dia rrD 7 .A l tc r' .' d .D i rn i n i s h e d H a l f-Di n ri n i s h e c l

u8

I A Z Z O I,(X } \

V7. iirn7b.5

DI

a,

"t

*,b r ,,

72 iDt)\

Comping Examples When cornping' pianists.r'lbraphonists,arrclguitaristsernploy a mvriad of rhythrns.The followilg exar'pies illustrate sorneuseful comping rhythms in both swing and Latin conterts. They should be practicetiut o ,t"idy tempo and combined in various ways. Practice irith a metronome is recommended.In traditionaljazz swing situations (this does not apply to Latin jazz), do not repeatrhythmic patternsas you might r,vhen establishinga groove in rock, R&8, or other styles.Comping shor-rlcl play a supportiverole. adding neededhirrmonrccontent and varied rhythmic accentsin an ongoing interactiveconversation,without unduly drawing attentionaway fiom the soloist. Swing Comping Rhythms r-h

t i.l = I hr \a

a

a

a

,

CFL{PTtsR9

119

9.

i20

I,\ZZOLOG\

Latin Comping Rhythms

r--J

-r

CfL{PTER C)

I21

l1

J azz \Y altz Comping Rhythms

r22

JAZZOI.OG\

Tips for Improving Left-Hand Comping l. Practice cornping along to a tune using rhe left liand only. The Hal Leonord Jazr pLq.-Along series is highlv reconmended. Each volume includes CD audio rvith removablc piano tracks so you can play aiong with the rhythm section. 2. Lett-handvoicings must be 100% securc.Try just playing the changesto a tune you are working on a fer.vtipes with a variety of left-hand voicings before you start trying to pr.ictice solos on it. 3. When comping for yourself, make it a mle that your left hand plays only when your right hand doesn't. This will help to get away from just thumping chords in on the downbeat all the time, and can also help your righthand phrasing. Once you are confident u,ith this. you can stafi to put the left hand in elsewhere. 4. Make sure that you aren't always playing the chord on the beat. Focus on anticipating the beat to give your solos a senseof forward motion. As you get better at this, stafi to look at other rhythmic displacements.(Bill Evans is an excellent model.) 5. Don't feel as if you need to play every chord change with your left hand. The professionals don't. Listen to a variety of styles and players and pay caretul attention to what they are doing. Att the enswers are in your record collection. Remember that the primary role of the lefi hand when soloing is to accompany and punctuate your ideas. Make sure your comping isn't encroaching on what your right hand is doing.

7. When learning how to comp, it is easy to get caught up in voicings and substitutions.The most dazzling ingenious voicings will sound simply ridiculous if not connectedto the context of the music.

8. Pay attention to how the comping fits rhl,.thmically with the rest of the musicians and with the soloist. Siniplicity is often the best approach.

Lead Sheets Jazz musicians,particularll,studentsand young players,often use lead sheetsas ir sourcefbr tunesu,ith rvhich they are not farniiiar. A lead sheettypically containsmelody. chord symbols, ancllyrics. it is intendedro representrhe generalfranework and forrn of a jazz tune. This non-specilic tormatting providesjust enough intormation for the musicians' personalinterpretationsto take precedence.In the improvisationalspirit of the jazz itliom, this notational approachalso lends unbiasedrepresentations of turresthat have had myriad variationsperfbmed and recorcled over the last century. Collections of jazz lead sheets,kr.rorvnas "fake books," typically consisr of the standardlazz repertoire and are used by many musicians and professionals as efficient and useful charts fclr practice, rehearsal.ancl on-stage perfomance. Many fake books are in violation of copyright law, but the RetLlBook (Voluntes I - 111),published by Hal Leonard, presentsa giant collection of fully legal and highly accurate lead sheetsfor an affordable price. Another source for information on jazz tunes is, of course, audio recordings. However, Iearning fiom recordings posessome inherent problems. It can be confusing or disorienting to hear a tune reinterpreteclby vauiousmusicians with divergent styles, particularly when one is not intimately familiar with the tune. Musicians often seek to make a tune their own by finding unique harmonies and playing the melody in a personal way. Indeed, it sometimes requires a bit of research to locate the original version of the tune the way the composer conceived it. Therefore, even with ample recordings available, lead sheetsare very handy, if not essential. to those who study or perform jazz.

CHAPTER 9

I )t

A ilr ir t t eetlp i a n i s { :c i l tt tx )t rtttl \' " i r,k r--"b v kntl ui ng the tune and l i stcni ng^hut een l rl so l l ay sr tllhrlls.l'ht' filllou ine crarttpl,,-(l!'rlronstrates horr a pianist intc-rpretsirnd f irkcs tlie-clrorrl changesfrttr.rru givcr.r leaclsheet.

IAZZOLOGY r -lr

NlediumSrving(jl

= , .* )

AmTb:

DTalt

BbmajT

DblB

Am7

CimT

Cn'r7

Fm7

-l / b,Prniij

sbr:#rr

Dr3#11 Bbml

l l r N OR E DDI NEBAllllA n,i th B( ) B RAWLI NS

F1

n b r:#n

Er3fiil

Bm7

l. Placechortls on beats 1 antl ,1. 2. If a meloclicnote is anticiprrted.anticipatethe chorclas u'ell. 3. W h e n th e rn e l o c l i cl i n c i s l rc ti vcthe accor.ur;ani ment shoul clbe i nacti ve.anrl ri cc versi r Not ic e t he v o i c c -[-a tl i n gi n th e c o n rp ri rgof the l ol l ow i ng erampl e.

{'AZZOLOGY Iledium sling (r\nr7b-s

BbmajT

r 21

.I,\ZZOL(X;\

lH, \ B r N ( )R E t)t ) lNFEl, 1l i r i l h U( ) t i RA\ \ 'i I NS

= . .' ) D7alt

(i m7

t1

_l

i b.2nru.1

Au-r7

Dl3trI

BbnrT

l sbr.rf

Bm7

In the above example,the comping avc'ridsinterf'eringwith the nrelody by playing only thc ncccssarygnide toues (3rds and Tths). It is, however. permissibleto play or double the melody in the upper voicings. The next erample shows more sophisticatedvoicings.

IAZZOLOGY NlediumSwing( j; Amll

^l

BPnriui

Am7

B y N OR E D D IN EBAHHA \\,i thB OB RAWLI NS

r-Jr

=.1.f) DTalt

Gm7 nbsbs

oble

D13sus4b9

-T)V l-- I

BbnrT

pbr-r#rr

Cm1

-l

E D m a J/

F7

. q b lF rt

E13sus4

acl cl col s or w hi l e mai ntai ni ngthc fLrncti onI.n t neasas r\m11. r.' " ' hi ch I n neas ur e I , A m7 b 5 h a s b e e nre h a rn ro n i z e cl 'fhis prodttcc: ures 3 ancl5 the harmonl is ttutlinedb), the nlelody and the biiss'o there is no need to plal clitrt.tls. of hidcienor'lineur harntonv.-Ihe sanie proccssis useclin thc tirst part of measurL's7 thrtlugh 9. the c1-1-ect (H -\P l E R 9 li5

The 1'olloningeramplc rlentr-rnstl'ates htrrv to comp with a bassist.Conrn'ronleft-hand rootlcss r,oicings are quite c f t ec t iv c in t h i s c o n te .\r.

IAZZOLOGY

B ' , \t tR tD D lNt BAHHA IV i thB O B RA\ , VLI NS

Nlediumswing(.1= ]'ti )

em7b5

Dlalt

Cm7

Bbmaj7

Dtrf ll

Am9

a

t.

- , -=e:

BD13D9

Fm7

t

h1Ei

Bbmg

-

,_b. 2

L-)

ir?:

ubr:firr

nbr:f,rr

Er-lf r l

Bm9

t-)l l

I_.1 l

b*

Ebmajg

Fr 3

_i

a"\.*=

1= ' #U

u^

=tr ..+

Notice horv the voicings anticipateand consolidatethe rhythm used within the rneiody. ThoLrghthese examplesare enough to get you well on the w,av to comping appropriately,there is much more to leanr r,"'henit comes to comping in r lrrious substylesof jazz. Numerous books are al'ailable dealing extensively rvith voicing and comping in various eontexts,such as swing, rock, and Latin. offering exanples that have been eniplol,'edby jazz masters.

Chapter 9 Exercises 1. Pl;r1'the rhythrtricpatternsinclLrdecirn this chapterin connecticlnrvith the various kinclsof r,oicingsgiren in the appendir.U s e a me tro n o mc . 2. I l' lr t r r ll po r.i b l e . p t' rrr' l i eee()tl tl i tl ! ,r ith other musicians. t26

1,\ZZOLOGY

CFIAPTER

JAZZTIJNEFORMS A typical performance of a jazz standard fbllows the scheme shown below:

1.An introduction. 2. The head or the main melody, often called the "A" section, 3. The tlridge or "B" section, which usually provides a contrasting melody before returning to the main melody, 4. Open-endedrepetition of the overall form with improvisation, 5. A conclusion or ending consisting of a final statement of the entire tune.

Tonal Tunes 12-B,ar Blues Form The blues is a 12-bar form divided into three sections, each containing four bars. The first part consists of four measuresof a 17 chord. The second consists of two bars of the IV7 chord and two bars of the I7 chord. The third part consists of one bar of the V7 chord, one bar of IV7 and two bars of the 17 chord. The entire form is shown below, with the thematic formula shown above the harmonic framework.

Blues in F I I

I'

sbt

F7

t0 F7

C7

t2 Bb7

F7

'll

Here is a mathernaticalformula for remenrberine standard l2-bar blues form.

IZ-barblues= [4 barsI7) + 12barsIV7 + 2 bars17]+ [l bar V7 +l bar IYl +2 bars17]

CFIAP'TER10

t2i

Thirty'-Tho-Bar Ar\BA Form This is the mostconrmonstandardfbrm in popularmusicas rvellas in jazz. [t consistsof thirty-twobarsdividetl irtto {iru l c ight - m eas r r le s eet ions :

AI . . '

AI

T h e " A" s e c ri o ni s p l a y e d tw i c e (A 1, A 1). The "B" secrionis called the bridge, middle eight, or release. Another "A" section (A2) played as a conclusion, usually with an alternative or optional ending or cocla.

Following is a typical AABA song form. A: ll cmajT I BbmT pfi | nbmajT I Dmzbs GTalt lCm6 lDm7b5 GTalt I Cmaj7 | CmajT Ct3b9 ll

A: ll cmaj7| BbmTEvi I AbmajiI Dm7b5G7alrI Cm6lDm7b5G7alt cmajT cmajTc9{5 I I ll B: ll Frraj7lEbmTabz I obmajTlGmlbs CzarrlFm6| GmTb 5 C.TattlFm6| omTbsG7alrll A: ll cmajTI BbmTprl I tbmajTI DmzbsGTaltI Cm6| Dm7b5GTalt C6 C6 I | ll More examples include "Satin Doll,'' "Take the A Train," "Body and Soul," "'Round Midnight,', ,.septemberin the Rain." "caravan." ''Nardis," "well you Needn't," and countlessorhers.

Rhphm Changes The uniclueAABA fbrrn known as rhvthm changes takesits name fron Gershwin's "I Got Rhythm." publishect in lc)30, the tune quickly became a favorite among jazz rnusicians,ultimately inspir-rnga wealth of new songs basecicln similar hat'rtlonicsequences.In essence.the structurcis characterizecl by a coln1nonmajor tumaround in the A section followed bv a series of secondary dominants in the bridge. This circle of fifths starrs on III of the ker'. rvorking its r,vayaround to V, which preparesfor the return to I. Rhythrl changesin gb (rvith the most co*rmon substitutions)are shown below. Rhlthm

Changes

A : ll B ; m aj 7 G 7 l C n rT F 7 l Bb ma j 7 G7 l C mT F7 l FmT en

l ebmaj l R b; l omz G7 l C mT F7 l l

A: ll BbmajT G7 | Cm7 F7 | BbmajT G7 | cm7 F7 | Fm7 en

lEbmajl a.bt I cmz F7 | Bbma17ll

B: ll Am 7lD7 lDmTlC7 lGmTlC7 lCmTlF 7 ll A: ll BbnajTG7 | cm7 F7 | Bbmaj7 G7 | Cm7F7 | Fm7ebzI Ebmaj7 Ab7| Cnit F7 | BbmajT ll Sorlle contrafact (set to the same chord changes)exarnplesinclude "Oleo," "Salt Peiinuts.""Anthropology," and "Cotton fail." The irnportanceof rhr.thrn changes in jazz history cannot be overstated.Arguably. the torm's importanceas an improvisationalvehicle is secondonly to that of the blues.

128

JAZZOLOG\

AB, AABC, ABAC, ABC, and ABCD Forms schcmes and popular songs.The tablebelow sl'rttus ttther cotttt.tton Man1,othel structuralapproachesappeirrtil .12\zz not allval's clear if a varv. It is fbrm can of in that interpretations each form. Keep ntind based on and some tunes desrvith a ner,u letter lle\\' se'e tiott seciion or a a repeated nroclifieclrecuffence of a ntelocly should bc indicated as ignation. (For example. "Bye Bye Blackbird" could as well be shown irs AA1BA2. whele Al and 42 represent of the main melody.) modified occur-lences

Afro-Centric

GiantSteps I Concentrateon You

Four Mercy, Mercy, Mercy

TuneUp Alone Together

ESP

Black Orpheus (ol Munha do C ar nival)

Solar

BlueBossa Autumn Leaves

Bye Bye Blackbird

SoulEyes SomedayMy PrinceWill Come

Lady Bird

Modal and Polltonal Tunes Modal Tunes and Harrnony Modal 1azz,typicallyutilizes ferv chorcls(sornetirnesjust one chord) u'hich utay be sustainecl1or long periods of time. Chord clurationscif four. six, eight. or sixteen measuresarc common. Despite lintited hartnorlic motion, moclal.jaz,zallows for enhnnceclimprovisrrtionalfreedom. pror,'iclingopportuniticslor thc soloist to clcvelopand In aclditionto its slouel harmonic rh1'thnl (the spectl ilt which the explore yaLioLrstensionsar-rdclissonances. of cholds. includjazz incolpofatesunexpecteclor sucldenshilting anclclispllrcet'ttent chords change).rnuch n.roclai in chclrcl restritirlg lirnction. noi color, govetned b.v is I'raritronic motion Such ing plapin_uancl side-stepprng. to iiilptoviser of the responsibilitY ihe It is thus sequenccsthat sometiuiesltppearuot to lrc relatedto one another. emphasizecontmon tones and ler.cal the Ltrgicbehind chord niotitln in nlodal colite\ts. Cons it lc rt he lo l l o w i n g : I EnTsus-l Ei'rtt7sus4| DmTsus-lI I DmTsLrs:lFn'r7sLrs.l in this nroclalsecluenceit r,r'ouldbe bcttel to emphasizethe notes F or C in orclerto etlstlrc \llh)r)tll eotrltcctiotls between thc harmonies. In sorle rnodlrl tr-utes,a f-er,viclentical chords are secluellceriartd si-rstainetltirr lorlg durations. N{ilesDavis's "So What" consisrsof sixteenbars of Dm7 follor,vedby eiglit bars of F!rl7 url.1tinrtlly nlrotbcrhords(diser eight barsof Dm7. The t'eelingof tensionand releaseis controlledby the relationshipbetweetltcttsLlisten fbr it ha|lrtlt-t1', in traditional as as pronounced is not sonances)anclweak chorcls(consonancest.The effect as the 7susrlchords move to the mai7 chold in the next example. r ir /sus4

,f,IFF

AbTsus4

GbtAb

87sus4

DbmajT

nbTnbt (.tl\P't'F.t{ lo

129

Modal harmonyis oftencharacterized by the useof chordvoicingsthat follow the relatedmodes.Two of the seven modes,however,are not generallyused.Ionian is major, and thus doesnot producethe expectedmodal sound. Locrian containsa diminishedfifth insteadof a perfectfifth and thereforeis not effective in establishingan extended modalarea.Thus,most modaltunesemployDorian,Phrygian,Lydian,Mixolydian, or Aeolian,althoughother nondiatonicscalesare also possible.Examplesof modal tunesinclude"So What," "Footprints,""Impressions," and "Maiden Voyage." Polytonal Tunes Polytonality refersto the procedureof using more than one key centerin a compositionor voicing. Functionalharmony may or may not be present.Some theoristscall the presenceof two or more tonal centersthe multi-tonic system-Jazztunesthat include more than one tonal centergive the impressionof floating through multiple keys. Examplesinclude"Giant Steps,""Ladybird," "Have You Met Miss Jones,"and Chick Corea's"Day Waves."

Chapter 1OExercise Selectseveralstandardtunesfrom a reliable sourceand identifv eachtune's form.

13 0

JAZZOLOGY

crIAptrn

OTHERARRANGING TECHNIQTJES ln recent years, contemporary music composers and arrangershave relied extensively on the following devices. . . . . . . .

Root ed /ro o tl e s s v o i c i n g s Modal and/or tonal quaftal voicings, "So What" voicings, upper structures,polychords, hybrid chords Modulations Modal interchange New options in chord construction, including clusters and tiagment or partial voicings CESH (line clich6) Tritone and other substitutions

It is essential for pianists and non-pianists alike to learn chord voicings on the piano or keyboard. So-called "arranger's piano" is an extremely useful tool for hearing and seeing how chords fit together and how chord-scale relationships are constructed.The examples provided in this book categorize many practical skills under the rubric of "arranging." All chord voicings discussedthus far may be scored for various combinations of instruments and ensembles. In addition to the proceduresmentioned above, we will consider other less-common arranging devices. Often taken for granted. these subtle techniques can do much to enrich and expand a musician's harmonic vocabulary.

Constant Structures Constant structures are chord progressionsthat comprise three or more chords of the same quality. Pioneered by Herbie Hancock and Bill E,vans,constant structures provide a cohesive combination of functional and non-functional sounds that produce the effect of a tl'ee and shifting tonal center.

lt

FmajT

li li

AbmajT

DbmajT

."'z EbmTau*z I

un'"".itDbmajTCbmajT Amaj7

Gbma.iT

DbmT EbmT

cl3sus ll

Fm7G?"lt ll

Abmaj7 Ff,maj7

Fm7 sbt

ll

CFAPTER11

131

Pedal Point P ec lalpoin t i s o rtc o f tl i e e a rl i c s tr-l c iree s tbr creati ngdi ssonanceto be found i n W e stel n rrrLrsi c. It con sist sof a sustained note (ty'picalh in thc bass-hcnce'the relerenceto the pedal notes of the or-sanlthat is helclthrough changing hannoniesin the olher parts.Thc pedal note need not be literally sustained;it nray'apipeur in patternetlor nonpatternedrhvthntic cttnfigurationsthrit can actuallv inch,rdercsts.Nevertheless.the aurtrleff'ectol a sustainedpitch must be clcar. A peclalpoint can also appear in middle or upper parts but in anl, case r.r'illbe on thc tonic or dominant pitch in the rast rnajority of instances.The or,'eralleff'ectof pedal point is to crealetensionand increasehartnonic interest.The lilst four bars of "Green Dolphin Street" orovide an excellent exarlnle.

Ebg I8

Ebmg im9

F/rb END U/01

DtUl

Eb8 I8

The passage beloweft'ectively lendsitselfto pedal-point treatment. Latin EbmajllBb

cntbspb cnbsleb

Clahleb ClattlBb

Fme/B Fme/Bb

p,blatt

These are tunc-sthiit custclntarilyinelrr.lc pedal point: . Ha n k s T rc s s c r" s" A L a N l o d c . J os e fZ a r,' i n u l ' s" Bi rd l a n c l " . Dn k e E ,l l i n g to n ' s" S a ti n D o i i ' ([ ntro) . S t e v i eW< )n c L .r''s' fo o H i g h " r l n tro) . Bill E,vans's"Skicloo" . He rb i e H a n c o ek ' s " D o l p h i n l -)rtnce" . Pat Methcny's "Lakc's" . John Coltran.-'s''Nairna" . Eddie Haris's "Freedom Jazz I)ance"

Ostinato An ostinato is any clcarly defined urt-lrrdicor rhythmic pttlenr that is repeatedpersistentll'.In jazr.. ostinilto patterns may be of various lengths ancl ure genelally fbunci in the bass line. (Do not confuse ostinatr)u.'ith vamp. which refers to a short repeatedchor-clprogression.otien serring as the introduction to a lterfttrtnartce.)Ostinato lras become a lavoritc techniqueof cr)lltemporarJ.lLtzzrvriters.lt appearsfi-equentlf in rnodal ancl Latin.jazz. as as Guar.i rrmusi c-Osti natotnust be crttpkry' edlucliciot r sly. weli as in A fri c a n tra tl i ti o n a ln ru s i c .s L i chas N ,{ onrccan it s oler us e c a n q u i c k l v l e a c lto l l ro n ()to n)-.Ii ranrpl es i ncl udc " S o W hat." " A N i ght i n Tuni si a.-"'Takc Fir . 'e. " - ' Nlaic len V 0 1 ,1 1 ts ." i rn d " C a rtta l o u p eI' l l r nd "

| 32

.IAZZ()I.O(;\

A similnr exarnpleoccurs irr the follorving piano arrangementot "Baniar."a standardpiece in the N'loroccarltraditi onal m us ic ol- G n a w a .(N o ti c e hon' the haimonv "f-loats"while thc lelt-hand bass line miiintainsa steadt'rl-rr''thmic feel.)

Gnarva feel (i. = 120) DmTsus4

7'-----

; - 4' .

a)

-

.__T-..-_\

.--T-\

\

r

r

r

r

/'--_---\-

--1

a) ,'=G--

--a

\

t--

.----\ -;-.---\

rr

Y I

.-\ a

r

Here are trvo exampiesof ostinatofound in traditional Moroccan Gtralla.

Shallaban DmTsus4

B o s s(.n rH u i l to u jI

Bania DmTsus4

Bass(or Hu.jhouj) pedal and ostinatoare particularly suiteclto rnodal harmony. as thcit relentless'repetitivecharletcr help to estah lish and confirm the modal center.

CFIAPTER1I

Il-l

Reharmonizing a Melody Many of the voicings studied thus flLr are appropriateand el'f'ective fbr harmonizing or rehapnonizing meloclies. The discussionthat f,llows examinr-sspecific situationsinvril'ing typ., ui melodic motior. In order ro select chords that eflectively suppor-ta given rnelodic line. it is 'arious tirst necessarl to analvze the t1,peof motion lnvolled' Melodies that are static (consistingof sustainedor repeatecl notes)nill receive clittbrenttreatmentfrom those that incorporatccliatonicor chromatic urotion. Harrnonizing Sustained or Repeated Melody Notes Sustarnedor repeatednotesstronglv suggestthe use of chromatic harmonv. rvhich is attainedby using an ascending or descendingchromatic bass line. Dominant substitutesand chromatic diminishecichords with an oblique or a contrary motlon mav be implied.

ebt

Am7 ( 6x++_a a

pilt#n

Gm11

Fmaj9

# = -_----z

f

T1

at

-

a

??

n, *

*

) x

\

v-\

The above example furnishesa decicledimprovement over the followine

Am7

kb:t-1

D]

Grrrl1

C+7

H

:-

rr

lU

e

**

Fmaj9

?

a

ta

a

S ev er alof Jo b i m ' s tu n c se x e l n p l i i ' vth i : c o ucept,i nc:l uci i ng " One N ote S arnba,"' ' H gq, l l sel si ti ye." ..Desal'inacl'. , , and ''Corcovado"'Houever' rvhenthe itotesare repeaterlor sustained(as in mocialcontexts). cliatonicor chrornatrc planing can strengthenanciconsolidatcthe neloclic line.

Another Time GmTsus4

a!) l ( ) 01 \of

Eddi nc Br thha

Not ic e ho' . h a rrn o n i ca c ti v i ty i n c re a s c :r' hen the nrel ocl yi s l essacti ve 134

.f.\ZZOI_OGY

Harmonizing Chromatic or Diatonically Symrnetric Melodies to chromaticor diatonicallysymmetricmelodiesis for all linesto movein parallelmotion Oneeffectiveapproach In this case,the harmonyshouldchromaticallyfollow the melodic line. An alternativeis to emploi,contraryharblock chords,andconstantstructures sequential dominantsubstitutes, monicmotion.In this instance. ciominants, may be implied.Quartalharmoniesareaisosuitableibr chromaticnrelodies,resultingin an openharmonictextLire devoidof strongdirectionalimplications. DmTsus4

EbmTsus4

DmTsus4 EbmTsus4

+ +-' ---

DbmTsus4

DmTsus4

1

1

I

-v-

t-,-

t-

l,

CmTsus4 Bm7sus4

Cfim7sus4

CmTsus4

This technique is called parallel reharmonization (or planing): all the voices move by the same interval. Notice the constant structuresthat occur, providing a rich and compelling harmonic texture. A specialized form of the constant-structureapproach is known as block-chord style.

D7sus4 W

v-

+++

o

D7sus4

EbTsus.i

J

EbmTsus4

D7sus4

DbTsuszi

+;>;ee ) n-

b r^ -

-

l

C7sus4

a)

-

B7sus4

"fl +

C7sus4

J

L-

L +1/ SUS4

"H-

Dm7

q-l5

h-.

CFLIPTER11

t3i

T hc lir jlt lri ' i n qrn e l o rl i cl i tte . s o r.n c r" h rrt remi ni scentof S tevi e\\,' onder.di spl ar,,s l i desccncl i nc\tr-p\\i\ e llot i( ) n.

,rbr#u

--l t-n- * -ttnt

ozilrr

f:/nl l

ctf,tt ebtfirr

Am7

In the above example a melody basedon the B whole-tonescale is played or,er chords deriveclficlrn the Bb wholetone scnle.Notice that this combination of dominant 7f 11 chords together r.viththe melody notes createsa parallel seriesol hybrid or slash ehords lcbmajT#5/Ab,pmail*slp*, nmajz*slE. erc.). rvhicir cicate a non-functioning harmonic framework o\,er a srnoothiv-descending stepwisebassline. The next example typifies short interludes found in some bossa nova tunes, i.vherea chromatically constructed melodic pattern is repeatedin various permutations over a harmonic texture featuring conslant structures.This particular type of reharmonizationis called independent lead.

Samba (; = 100) EbrnajT

G+7

abr:

(

:. :: :i

c13

i.

Bb13sus4

A13sus.4

1.:.

.'A

Night in Tunisiit" provides a simillr example in that the basic melodic patteril is repeatedand rnoditled slightly ri'hile the uncierh,ir.rg harnronicsupport rentuinscoltsttll.tt.

Harmonizing Melodies That M
I36

IAZZOLO(;\

Some Basic Harmonizations and Reharmonizations The follou'ing examplesarc represelltatire moclelsfor reharmonization of the sameor a sli-shtlvrnrldifieclmelocly.

Dm7

GT a l t

Cmaj7

La)

E

t h*

b-A ol>-

EF

I

e

Dm7

tu t u lll

b

GTalt

-'"J-lE=

4_-i----

e |

CmajT

bfii |

:+

f---r

\---

This exarnplef'eaturesupper structuresri ith foreign bass notes. Again. it is a new hamronization of the same melody.

sbtob

This one is simple but eff'ective

G7sus4

obmtbs

CFL,\I''fER I I

lJ7

It is recclmnrended that the followinc tour exarnplesof reharnonization be learnedin all twelve kevs

t. Am7

Dtbe

GmajT

L

a ,?-€

c)

2

I

Reharmonization:

Am7

DTbe !

a)

GmajT

L!

,€b

2. Cf,m7 Dm7

r

a*

Gr3

Cmaj7

-ft ?

\

Reharmonization:

Cfirl7sus4DmTsus4

138

.JAZZOLO(;\

nbr:cr:

Cmajgftt

3.

a)

Fm7

ebt:

I

7

e 1=-

Ebg

-e

Reharmonization:

a

Ebg

sbttbg

Fm9

I

DJ

*r''* qb'*.-

,+

e

4.

r Reharmonization:

* Eb+ :Trfim

EmTsus4

a

r

"/-f'

Dmaj13

['-

_-e

)7t , -7

*EL+ Fin-ris a simplif ieclnorationfor an Eb7f9{ttbt:, which rnay also be notatecias EbTalt.

(,IJA P TE R1 1

r39

Rules for Harmonizing Melodies . Avoid rn2ndsor b9thsbetwecntwo notesof a voicing.with theexceptionof V7r9 chords.Theseiutervals do work well. however,in rnodalcontexts.(Reviewfr:r examplethe voicin_c for E Phrygianin Chapter6..t . Dominantchords(exceptfor V7sus4chords)shouldLrsually includea tritone. Shellvoicingsaresufficientin themselves sincethey includethe essential guidetones:7th and3rd. ' . Avoid two adjacentthirdswhcn usingquartalvoicings. Avoid smalladjacentintervalsin the lower registerand largeadjacentintervalsin the upperregister. ' . The 5th may generallybe onrittedexceptin m7b5chords. . Avoid doublingthe 7th in thc'bassif it also occursin the melody. . It is commonto leavethe tritoneunresolved.In a V7sus4chord,a suspended 4th is consideredan anticipationof the targetchord(I). . It is corrrnonto substitutethe 9th for the tonic, and the l3th for the 5th. . Thereare endlessways to reharmonizea melody,but this doesnot meanthat every note shouldbe harmonized.When the harmonicrhythm is fast it is very difficult to apply constantchordchanges.Even if it were possibleto achieve,the resultwould soundcluttered. . Harmonizations aremosteffectivewhenthe harmonicrhythmdoesnot appearto forcethe insertionof new harmonies.The judicioususeof pausesand breakscan do much to enhancethe overallharmoniceffect.

r40

JAZZOT.OGY

CHAPTER

APPROACHING IMPROVISATION Some Thoughts on Improvisation In the broadestsense.the rl'ord intpxtt.'i.scttitli desi-tnatescompositionin real tirne. hnproviscd nrusicis created"on the spot" by a musician u'ho assumesthe tlouble role of performer and cornposer.Improvisation in some form or to sonre degree has been associatedwith.iuzz since its rery inception. With the bebop revolntion of the 1940s. improvisationbecamearguably the detlninc elernentof jazz. Jazz irnprovisationbegan with a processol'embellishment or stylized interpretationof the melody. In ensemble jazz. this took the form of group improvisltion. where each instrumentalistexerciseda moderateamount of freedom in fulfilling a prescribedmelodic or harmonicrole. Although occasionalbreaksand short solosexistedin early jazz, the fully developedjazz solo did not rppear until Louis Armstrong's work of the rnid 1920s.The extended solo provided a useful fbrmula for jazz per'lbrmance.Successivesolos over repeatedchorusesor sectionsof the tune allou'ed suitablelength for dancing n ithout all musicianshar ing to play continuously. In the larger ensembles of the swing era, intricate arrangemcntstake the place of continuor.rslyrepeatedsolos, as irnprovisationis reducedto a lesserbut still significantrolc. With the advent of bebop. however, improvisation clearlv emergesas the cc-ntralcomponentof the music. Thc hurrnonic structureof the trnlc i.issLllnes rnote importancetlian the melody. \\'hereas nranv swin,9rnusicianshad heen lrccustomedto faking solos bv ear, the demanding tempos anclchord sequcnce s of bebop macleit necessarvfol nrusiciunsto learn thoroLrghll'the chords to the tunes they improviseel on. This rvas a rrajor paracli-em shift. antl it has held srvav in ppsl jiizz since that tiure. Jazz r-nusicians beforcCharlic Parkc-thad the option of simpll rc-interpretingthe mek)rly ancl making it "hot." Jazz musiciirnsafter Charlic Parke-ru'ere expectedto createsoiir.'thin-g ner.r,andoriginal 1l'or.n the harmclnicstrlrctureol'the tune. 'l'his cllapter r.villof-fcrsrxr-rcllcxiblc ilppr'{),Lthes us to in.rpnrvisr.rtion. j l z z .,rcabul arv or nr c t ll( ) r l.l' he th e ti rr a n c lh a rn ro n i c tl .rl ti rarc bci n accl ui redfronr thi s book ar r t l bLrtuecr]the i mpl ovi scrl l i nc-(ntel o cl1') fo undlr t ionlir l i n i p ro v i s a ti o rt.s i n c c th c r..' i s a conci se' rel ati onshi p ( hur r r r on v ). ri i l l go a l ong u' ay' ttt' ur' ;u' cl T h e a b i l i tv to o u tl i n c c i r,;r'rlon c hor - r ls s one s i ttstrurtreni riir lsilut ot ' lr hich c re a ti v ca n c li n s p i rc c.jl l z z s ol osarc createi l . 1oa clclri'trnclerstanc'ling anclapplcciationof the devic:e ,A.firnr glusp of .jaz.zharrnonl.'lc'acis prr)\ ides llec.ssr}fvt() createpersonal anrl original nteiodic N{orctrver. it also the lesourcr:s lLncl an-angers. llosefs in spccific hlrrnoni. il-anieliorks.lt is br-rta short stcp fiotn this point t() actLralinrprovisalines that arc -qroundecl ti on in r eai t iut e . T h i s e x i ti n g s te p i n i ' o l v e :,te p;l i ngthe arti sti csi tl c of one' s nature:one' s natLrraltal enfs .int agination. and ereative inclinations.N4anyurri:,iciansare intirniclatedbv the conceptof improvislttion.The rnyth perLike other musical skiils. improvisatioucan be lnasteredthrough siststhat it cannot be learned.This is erronr'r)Lls. practiceanclcliligentstucly'. e Jltzz patterns.attd solos that shoulcl This chapteru.ill presenta seriesof improrisirtiunal coucepts,represr-ntati\ encouragedto constnlctoriginal solos basedon the e.ramplesprobe learnedin all twelve keys. The studcntis rrlst'r rided. An atrenpt should be rnadeto basethescconstructionstln ulrat has been studied in this book. At first, stutrsj ut.t" etucl es.' ' bLttassoonaspossi bl estttci etrtsslt ouldot t elllpt d ent s nt al' q, is h to w ti te c l c l u ' n th e i l i u tp ru ri ru ti ons to dcpart fronr the vvrittenmusic and cfeatc their onn icleasspontiiuc'ouslr'.

(.H A P l ' E l t l 2

lil

Listentng is crucial. Jazz is an aural skill, and there is no substitutefor hai'ing a clcar alld accurilteconceptionof the sound that one is tf)'ing to achieve.N4ostjazz musiciilnsbeganby having models and imitating the plaverslvhcr inspired them. There is immense value in transcribing,studying, and learning a jazz solo in oldertoreally understand holv the irrt is practiced.There iire countlessnuancesto be learned, including balance.accents.dynarnics, blue notes.inflections.rnood. and so tbrth, that words simpl), cannot describe.A great solo involves much more than just the notes.It is essentiitlthat studentsof jazz impror,isationlisten re-uularlyto their favorite players and practicewhat thev hear.

Devices for Improvisation Harmonic Generalization Harmonic generalization is the method by which an improviser chooses lines that accommodate two or more chords in succession.'fhe practiceis rvell-establishedand sanctionedby long use in jazz improvisation.Many prebebop musicians with limited knowledge of theory and harmony allowed their ears to dictate note choices, search, ing for figures that had common tones which would span several chords in a row. Here are typical treatments using single scales to play over entire ii-V-I cadencesand turnarounds in both major and minor. The C major scale is used over this entire chord sequence.

Dm7

G7

CmajT

The C harmonic minor scale is used ol'er this entire chord sectuence.

Gibs

Dm7b5

Hei'e the C mqor scaie is useclrivcr bur-sl, 2. and ,1.The D nrajor scale aptly adrlresscsbar 3

Crna17

Am7

G1

Em7

A1

Dm7

ln this erample the C rnelodic minor scale is used in bar 1. The G1b9 in bar 2 suggestsC harmonic minor.

Cm6

Am7D5

Dm7

GTbe

Lmi

Patterning Synrmetrical Symrnetricalpatternirrgref'ersto the eonstructiono1 lines with constantintervallic contcnt and continuing shape. Usually the saurescaleor sane interr rrlsin scriesare usedthroughout,and thc rh-vthmis confined to stcadyeighth or sirteentl-rnotes.The result is a sen\c of perpetualmotion, as if the line could continLleinclefinitely.

142

]AZZC)L(XI\

The C whole-tonepatternnsed in this exartrple(augmented triads rnoving by whole steps)shor.r's the scale's naturally symmetric structure.This line is heard in some Thelonious N{onk works. c+/+'lll

The C diminishedhalf'-wholescaleis the appropriatechoicefor Cl3b9. The sameline would be effectiveover Eb13b9. F*13b9. andA13b9.

c13 b 9

For the chromatic scale, a device as simple as interlocking descending half steps createslinear interest.

Ascending m3rds move up the chromatic scale to create linear interest.

Here is the same pattern 'uvithascending P-iths.

Melodic Templates Melodic templates refer to highly recognizable linear elements in jazz improvisation. They allorv tbr the creation of patterns that sound long familiar on first hearing, not becausethey are quotations but becausethey employ spe cific shapes,contours, note combinations. liagments, or sirnply approachesthat have become well known to those who are familiar with the style. In short, they are conventions sanctionedby historical use. Melodic templates provide sourcesfor idiomatic structuresthat are readily adapted to many contexts, while er,okin-sstrong ties with the jazztradition. They were incorporated in all of the material presentedearlier in this chapter. Following are examples of conunon figures that iviil be instantlir recognized by experiencedjazz improvisers.

Dm7

Dm7

Dm7 ascendingttrpeg gio

Dm7

Dm7

D r r t 9 L l et e et r di n g r rr p e B p it t Dm7 d e st't' ruling arpe g gio

I clent. tt'ith chronurt i c i sttr (,I{APTER 12

l4- 1

Dm7

DrnT

Drn9 ascentling unt! descerulitrgarpeggirt

SrnoothAheratirtn.s:the .stttrtulrentcrinslhe same

Abm arpeggio over G7 = Tension The "shadow of Your Smile" Template

G bebop scale ex. I

G Mi-rolydirut

LJ/

G bebop scale e.r. 5tt

G bebop scale ex. 7

G bebopscalee"r.2

Dm9 Dov;n-Up urpeggio

G bebop scale ex. -J

C bebop scale ex.4

FnctjT tLst'entlingarpeggitt buc'k to 11re'iftl

G7

G bebop scale e.t.5b (slightlt' ttltt'red)

G l r l l t p p 5t'tl e e x' 6

FmajT descending arpeggio bcrckto the 3rd

G]

G btbop scale cttttttn.tttntelttdiL' tetttl)l(tte

144

.fA7-ZOLOGI

CESH In the context of a ii-V cadence.the most common CESH incorporatesa movin-9chror.naticline startingfront the root of iimT dounward to the 3rd of V7 as shown below. DescendinsChromatic Line

DnrT

G7

Dm9 arpeggio follorved by o CESH

Idem with octave displacement oJ CESH

CESH inner line pattern

Dm .smootltarpeggio.s.front the root t() the I I th oJ'G7

G]

Dm7

CESH tine is slightll' ttltered, 117-i'ott-b7-3rd1

Itlem w'ith cLchronurtit: upprouchnote to tlte -ln|

tt'ith o r;hronuttiL'u!)pro(tch rutte to tlle root

DrnT

G]

Dm7

-l Dm arpeggio Jbllort'ed by tr C ESII {;1

Dm7

Khd of ut uscentling CESH, ( 154-b7-17-root)

G7

Idem with unresolved 4th, (root-t7-b71

Dm7

G]

Ascending chrontcLtir:litte ( rarell' n..sed 1

G]

Bebop litte .feanrittg C ESH

Ident u,ith a slight ctlteratiott CFL{PTER t2

1 i)

Pentatonic Scales Pentatonic scales occut in various musical cultures across the and play a significant role in many types of -globe inr pr ov is at i o n .T w o a s p e c ts oth f e p e n ta toni cscal ernakei textremei yversati l eandfl exi bl ernj azzi mp r ovisat ion: 1) it does not sound prosaic or trite when statedor spelleddirectly, and 2) it conveys a clarity of harmonic intention that can hold up under extreme dissonance. Pentatonic scales provide an effective way to make an unambiguous statement.They give the improviser a great deal of control over the degree of dissonance desired in the solo. Following are possible choices of several pentatonic scales over major. minor. subclominant,and dominant chords.

C Pentatonic Major CBor Cm a i T

A PentatonicMinor

G PentatonicMajor C8orCmajT

E Pentatonic Minor

D PentatonicMajor CBorCmaiT

B PentatonicMinor

C Kumoi CrnB

F PentatonicMajor

D In Sen

G P e n ta to n i c\l a j o r t b 6 l Cni(maj9)

116

C PentatonicMinor Cm7

C PentatonicMinor (9th replacing the zlth) Cm7

F Pentatonic Major Cm7

G PentatonicMinor Cm1

.ILZZOLOGy

Bb PentatonicNIajor Cm7 |

F Kumoi

omzb5

Ab PentatonicMajor

D PentatonicMinor Cm7

F PentatonicMinor Dm7b5

omzb5

G In Sen omtb5

Bb PentatonicMajor Dmlb5

Eb PentatonicMajor DfiflD5

G PentatonicMa.ior

G In Sen orG(Phryg) G7sus4b9

Db PentatonicNlajor GTalt

Bh PentatonicMinor GTalt

CHAPTER 12

L47

g I',

Eb Pentatonic Nlajor GTalt

G PentatonicNlajor I b2t

ctibe

N,Iajor( b2) o,|fon"",utonic

NIajor( b2) or?lno"nrutonic

E PentatonicNlajor 1 b2;

cl3be

D PentatonicMinor G7sus4

F PentatonicN'Iajor G7sus4

E PentatonicMinor G13

A PentatonicMinor G7sus4

Here is an exarnpleot pentatonicmelittlic continuit\,. frorn E pcntatonic minor to Eb pentatonicnrinor. to l) pent at onicm ino r. to D h pentaionicnrajor. ihr:n releasin-eto D pentatonic major. Em7

Ebn'fi

GTalt

Cnraj7

This exa.mpleshor.r,s rapiclpassagesol pentatuniu urajor scal es.N oti ce how they tlt lirth Cloltranechanges. CnrajT

EniajT

T.i8

.JAZZOLOGY

s

ebl

AbmajT 3

Dependingon which ttote of the chord r pcntatonicscale is built orr. a player can make a passagesound ''inside." "outside." or anywhere in hetr'veen. This crample usesA rninor pentatonicover CrnajT. G nta.jorpentatonicol'er Arn7, a Dm7 arpeggio,Eb nlrrjorpentittonir.-\ minor pentatonicovcr Em7, Eb major pentitlonlr.orer A7. An ma-jor pentatonicor,'erDmTb-5.then Db ntajor pcrrratonicover G7.

Am7

Dm7

Dm7b5

This example demonstratesoutside improvisation through the use of side-stepping. Eb niinor pentatonic over A13bgcreatesan unexpectedharmonic tension. Db major pentatonicis similarly placedover G7alt.

Ar 3be

Em7

GTalt

Chrornatic Approach Tones Nou-hart.ttonicnotes are sontetimesrefcrretl to as ulchromatic approach tones. As the nlrle irnplies.chrclrlatic approacl.rtones are uotes titat tnctvechlornlLticallyto a r.nemberof the chord. Speciticallr,.their'futrction is to approachor lcad sntoothlvinto the existing targettones.ihus serving to ernbellishor to smooth out rnelodicmotion betrveenor around chord tones.Non-harnronictones are notes rvhieh are not part of the accompanyingharmctnl. The1"rnay be diatonic or chrontatic. A chromatic approachtonc is an Llnpreparcci dissonancethat resolr,esby half step to a chorcltouc. Its function is to delay achord member's anival. tl-rusacldinga senseof expectationand forward momentunl to a rlelodic line. Chromatic approach tones may appear either abol'e or below the chord tone in any metric position, either as upbeatsor downbeats. Non-harmonic tones off-erunlimited possibilitiesfor linear constructions.In a sense,the clegrc-e of flexibility is nearly overwhelming, since there are verv icrv constraints placed upon the improviser. The onlt' rec1r-rirernent is tt'r make sure the chord is irnpHed by placing cssential tones on strong beats. Here non-harmonic notes are placed on clon'nbeatsas chromatic zrpproachtones: C* resolr,'esto D. Ali resolves tcl B. D{ resolr.'es to E.

Dm7

G]

CirnajT

CFIAPTER 12

149

W it hout CA T s th e l i n e i s a c c e p ta b l eh. u t bl and. Dm7

HeretheCATs areon upbeats. Ab resolvesto G, Ebresolvesto D, Db resolvesto C. C over G7 rnakesa suspend_ ed resolution. B is encircledfiom C to A. Dm7

Without CATs. again,the line is acceptable,but bland. Dm7

Here are CATs executedrn chroniatic-runfashion. The final nore B is encircled nicely by C and i\l Dm7

G7

This erantple f'eaturesCAT encirclemcntsover Dm7' over G7. each chord tone: root. 3rd. -jth. ancr7th. is encircled bv half step iiom lbor.e anclbelou . Dn'r7

Diatonic Approach Notes rh-e threeexamplesusediatonicapproachtones.over Dm7b5, Bb leadsdiatonicallyt, Ab. G approachesF, 19xt and Eb leadssmoothll'to D: all are on tiorvnbeats. over G7b9,the diatonicapproachtonesareall on upbeats:C approaches D, EbapprolchesF, and Bb leapsnrcelvto G.

GTbe

r 50

IAZZOLOG\

Cm7 ,^

I n t his ex at lpie d i a to n i ca p p ro a c hto n e se n ti r cl e F over D m7 from G dorvn to E . Ol er Gl i b9. a hal l -rvho leclint inished scaleis phyed. Noticc hclw chrol.natieapproachtones work oi'er this line. (Ofcourse diminishedand clininished half-rihole scalestnrv be viei,"edas.ilready including chromatic approachtones.)

Dm7

G13b9

CnrajT

The straighttbrwarduse of cliatonicapproachtones is quite efTectivein the next example. (Notice the absenceof chromatic approachtones!)

CmajT

Am7

Dm7

C8

G'7

Exploring Triadic Structures in Upper Tensions Some interesting improvisations can be coustructed by looking at certain vertical structruesas cornbinations of triads rather than as a single chord. Close scrutiny often reveals that independent upper-structure triads, not the chords built on the harmonic roots, can provide the driving force behind many improvised lines. Trrads. whether played directly or woven into linear pattenrs.are highly recognizablestructures.since thev provide the basic building blocks for most of the tnusic \\,e enc()Llnierthroughout our lives. Inserting these fundamentalstructuresinto improvised lines can have a powerful eft-cet. Here are two patternsbuilt Lrponthe 5th. 7th. ernd9th of the Dm7 chord. The triadic intplrcirtionslie above the -5th of the basic harmonv.

Dm7

G7

CnrajT

Dm7

G]

GTalt

C m7

b Itlem

This patternis built on an Eb triad iE'-C

GTalt

In tltis cctse,GTolt implies o pattenr built Ltpotttlrc root, bl3th, 3rd, and bgth,producirtg the soLutt!oJ'a G alteretl s<'ule.

$,r). a Db triacl(Db-F-Ab), and an Abm triad 1Ar-B-Eby. C m9

(]H A P ' | E R I2

l5r

Next aret\4'opatternsbuilt uponthe-5th.7th,and9th of CniajT.The triadicirnplications soundlike they rverebuiit on the5th of the basrcharinony. Cmaj7

Cmaig#tt Cma;9#tt

Play a rnajor triad arpeggio up a whole stepfor a coherent Lydian soundover3or majTchords.

C8

The major triad from the 5th of a majT chord produces a major 9th sound. CmajT

T$'o patterns delineating an Am7 b u t \u peri l nposi neni cel y orel D mT. Dm7

Dm7

'fri'o t,"''pical bebop constructionsoutlinc Dm(maj7). creating ii *11 sound on G7. These two patter-nsprovide the internal logic to palliate the unexpectctlshock of the dissonanrnote and Leassurethe ear.

G1

G1

(imaj7

Am7 triaclic pattern ov'erDm7

F+ tritrdic pdttern over G7

Arn trirLtli.cpilttern oyer DntT l5l

IAZZOLOGY

D tricLdicpatternfollowecl by o G triaclic

B+ triott fotlou'etl bt' Eb7

The same Am melodic patternover Dm7 is transposeddown a half step over GTetltto fit thc chord change

GTalt

DrnT

r-.1_-_l

b

up a tritoneto fit GTalt This is anotherexampleof the sameiclea,rvherea patternplayedover Dm7 is transposed Cmaj7 A

GTalt

Dm7

Building Scales from Superirnposed Chords Anotherway to look at scalesand modesis to think of them as two chordsthat are either stacked on top of each other(like an extendedchord)or sideby side (like a bi-tonalchord)'

Major

M]

w

m

C maj T

DrnT

Lydian

M7

w

M

C nqT

DmajT

W

M

L rni.r.l/irf

D1

Ly'dianAugmented

M7fis

Mixolydian

1

w

m

C7

Dm7

[-yclianDoniinant

1

w

N4

(_/

D7

Super Locrian

rn7D5

tr

m

Cni7b5

Do ri a n

mJ

w

I11

CnrT

Dm7

Aeolian

m7

w

m - /l P )-

CrnT

DmTb-s

Melodic Minot

m(maj7)

w

M

Cm(maj7)

Dm7

Harmonic Minor

m(maj7)

m -/tP )-

Cm(niaj7)

Dm7b5

Phrygian

rn7

h

M

CrnT

DbmajT

-\ m/2)

h

M

C mTD -5

^t

Locrian

-t m iP)

w

m /-t-2 - )

Crn7b5

DmTb-5

w

"J

c"7

D"7

h

"J

c'7

Db'l

Locrian#2 Diminrshed Half-Whole Dininished

oJ

Dbm(ma17)

DDmx.l/

CH,\P]'ER 12

153

The approachshown in the ptevittttstablc can also be used as an alternativeway to view extensions.such as l lth and l3th chords.For nany students.u'orking rvith tnads anclseventhchords is less intimidating than dcalilg 'r,ith the hrgher intervallic designationsassociatedwith chorclextensions.Moreover. seeingertended chortls as bitonal structurcsnakes the upper strllcture\ Irore accessibleand removes confusion as to r,i'hicl ert.ensionsare pernissible on a given chord. Finally'.an altcrnativeerpproachto extcnsionsis likely to open up new a\renuesfor inprovisation and lead to new and diffcrent sounds. Chord-Scale Farnilies It is useful to group chords and moclesinto families in order to categorizethem and understandtheir properlies. Within eachfamily, characteristicpitchesdefine the essentialsountlof the chord or mode. Chords and modes within the same family are often interchangeable.

Major

maj 7,6, maj 9

Major, Lydian, Lydian Augmented

as above u,ith f I I

Lydian, Lydian Augmented

maj3 and majT

7 ,s , i-3 t, b g ,t # c ; . la t r Mixolydian, Lydian Dominant,Superlocrian Dominant

Minor

maj3 and D7

t^

D3 and P--

firr

Half-Whole Diminished. Whole Tone

m. m7

Aeolian. Phrveian.Donan

n, m6

Dorian. Melodic N,Iinor

m(maj7)

Melodic Minor. Harmonic N'linor

Hatf-Diminished

b: anob-r

m /-) P)-

Locrian.Locrianfi2

Diminished

D 5a n d b p 7

"J

D i nri ni shed

/fr)

Whole Tone

Whole Tone

, a-

nla.li ano if

For further study on hou'to itnprorr\c on \pecific chords in specific contexts,seeA Sirirpleuncl Dirett Guide to Jct;.:.Intprovisation,bv Robert Rau'lins.

Approaching Improvisation The simplified examplesihat fbllou' demonstratehow specific melodic lines support the relatedchords.The sr-r-9gestedapproachesto various chords rvill prove helptul in studying new tunes and in training the ear to hear various chord progressionsas representedb1,the melodic line. More irnportantly,the studetrtwill becomeaccustolnecl to playing and hearing the jazz.language.The goal is to learn to speakthis languageas f-luently'aspossible. These erercisesshould be practiceclin larious ke1's-all twelve if possible.The r-rseof u lnetronome is stron:ilv recommended.An initial terrpo of l{)0 beirtsper nrinute is rugsested.to be increasedgradually to 180 bpnt r.tr beyond.

I 5r

IAZZOLOG)

MAfORCHORDEXERCTSE G7sus4

CmajT

s

CmajT

o

CmajT

13

t7

G7sus4

Cmaj7

G7sus4

G7sus4

Cmaj7

G7sus4

CrnajT

CmajT

G7sus4

G7sus4

CmaiT --l

G7sus4

Cmaj7

G7sus4

Cmaj7

G7sus4

Cmaj7

G7sus4

Cmaj7

8va---

-------t

CmajT

G7sus4

2e CmajT

rr

G7sus4

CmajT

Cmaj7

CnrajT

G7sus4

G7sus4

---' GTsus-1

CFLdPTER12

155

MINORCHORDEXERCISE C Dorian Cm7

(iisus4

Cm7

CiTsus4

,t Cm7

GTsus-l

Cm7

G7sus4

Cml

G7sus4

Cml

G7sus4

G7sus4

Cml

G7sus4

G7sus4

Cm7

G7sus4

GTsus-1

CrnT

GTsus-i

Cm7

CrnT

G7sus4

Cm7

Crn7

G7sus4

-+. Cm7

.

156

JAZZ()L()G\

G7sus4

e. -_--' Cm7

.===----'

GTsus:l

GTsus:1 ,

D I MINIS HE CHO D R DEXERCIS E Stepwise ttlt

Steptvisedov:n

Chromaticalh'up, ntoving up by ntirLor3rd

Up arpeggios

8vb------ - - J

8va---

loc o

Do*-n t:hromatically b-t minor 3rd

---1

loco

Dov,n arpeggios

Chromatically down, moving up bt minor 3rd

Passing tones otte .stepJrom ctbov,

Reversing Up-dott'n

tones v'ith scal.arnutti.ott Pttssit"tg

Falling

dot+'n

Chromatically trp, tttoving clow'rtltv minor 3rd

b

Chromatic approoclt notes ntov'irtg tLp bt' rninrtr -lrtl

CIIAPTER 12

MINORii-V-i CADENCE EXERCISE Dmzb,5

GTalt

n';rrb5

Dm7b5

GTaIt

GTalt

Dm7b5

l ) m -t/DJ-

GTalt

__t-

Dnr /P:

---t,

Dm / D)

lim -t/ P)-

Dmtbs

Dmzb5

153

IAZZOLO(i\

GTalt

GTalt

GTalt

GTalt

GTalt

Dm7b5

GTalt

Dmlb5

CiTalt

Dm7b5

omlb5

Glalt

Glalt

omlb5

Dm7b5

GTalt

Di ot)

Dm7b5

nm;bs

Glalt

G7alt

GTalt

GTalt

CFL{PTER I2

rt9

MAIORii-V-I CADENCE EXERCISE (Enr7b5

fr DrnT

G]

CmajT

(Ern7b,s

CmajT

Ebtnl

CmajT

i

G1

CmajT

(htu / P-r

CrnajT

CmajT

r60

.JAZZOL()(;\'

( t l r / 2-t)

-

obt

Abm"/

Fm7

Bbi

CmajT

Cmaj7

4s

Dm7

nbt

Ebrr.l

8vo- - -

.loco

b

cr:#u

Cmaj7

:s Bm7b5

ETalt

FmajT

Aml

A'7alt

ATalt

Dm7

OJ

cl 3 b e

em9b5

Cmaj7

Dm7

Em7b5

CmajT

CmajT

CmajT

Cmajl

Cmaj7

77

Dm7

CmajT

ATalt rJ -r

_ .5

Lr/

CHAPTER 12

161

. = 126-210 DrnT

JAZZOL(XI\

MODAL EXERCISE

12 CITAP'TER

163

16+

.IAZZOLOG\

Transcribed Solos Transcribing and learning the solos of thc jazz greats is of inestirnrrblevalue. But a f'eu'caveats are in orclet. ofientimcs our favorite players have techllical skills on their instrlll'nentsthat go u'ell be)ronclthe capabilitiesof the averagestudenl (or averagemortal, sone nright say). Moreorer. thev tend to "push the ent'elcipe''as they experintent.trv nev!,things, and challengr-the traditional nethods of approachingtheir craft. Subsequently.the drdacticlvortl.t.After all, a jazz n-iusicthel producemay be of the greatestertistic value and yet be of cluestionable musician's primary goal is to create,not t.oteach.They are two difierent things. With thosethoughtsiu nind, the fbllowing are some original.lazzsolos specitlcallyconstructedfor the purposeof and chord sequenceshave been selectedthat simulatethose of actuteaching.A variety of styles are representecl. are likely to encounter.Additionallv, analysisand comnentary have been prol'idthat n-rusicians al jazz stiindarcls By thoroughly absorbed to help the stuclentunderstandthe improvisationaldevicesthat have been incorporarted. of thesedevices,as well as the theory behind them, the studentshouid attemptto createsimilar solos ing the sor-rnd is to recreateusing the same on the sarnechord sequences.The imrnediate goal is to imitate, while the ultimate -eoal language.Note that some of the textual analysesfor the transcribed solos are found following their accompanying notations instead of preceding them in order to facilitate convenient page turns. F Blues Analysis Historically,"blues" simply refers to a stateof mind, or, more specifically,music that expressesthat stateof mind. In j.azz, blues usually refers to a twelve-biir structure characterizeclby the occurrence of the tonic, subdominant, and dominant chords in specific places,along with the prominenceof blue notes and conventionalblues patterns. Substitutechords or reharmonizationcan be expectedin most jazz performancesof the blues, but the basic characteristicsclo not chan-ee. The solo shou'n t1'pifiesthe genre.The chord structurecontainscolnmon bebop progressions.and some changerunning clocsoccur. but thc emphasisof thc-linear colnpc)neniclearly points to\'!'ardthe bh-res.The tieedom of the irnprovisedline to rleviatctiom the chord plogressionin biues contcxts cannot be overstatcd.To a certain extent, as long as the in'rproviscris playing blues lines in the tonic key, it does not matter what chord is in the harmony. ihc o.l.2-i.auclb7 at this ;roint. While it u'oultl indeed Nlleasurcs 3 anrl -l ilctuolstt'atethis. The ntciorl-r'entphiisizes i s trot rvhat i s goin- uon . b e pos s ihlet o e rp l a i n tl te s en o te s i n te n n s o f extensi ol l sof the pl crai l i ng hartnoi ' t\'that figr-rlesanctionedby'a hcre. Thc nolcs u,ork becausethey cor.nprisea typical blues pattcrn. a f'ainiliar-souncling hr-rnclrecl l earsof blrteshistofy. i3rds thltt occuf This is not to ilnpl)'that lriLrenotes cannoi inteticl ri'ith the haruronl'to produce colort'ttlt:-tt-ects. srtclttrsthc't5 that ()ucLlrs{)n on the tonic chclrrlu,ill strongly suggestl7,tJ chorcis.while other nlrturalclissoniruces. cl-rorcls carefullv so that extenclecl plac,:s these notes expert expected. Thc improviser 8 can be irt rneasure the DTalt by the line. as dictated tend to rlccur natltralll'', Other f-eaturesof this sctloexemplify corninon blues gesturesand clevices.Notice the basic and ahnost reluctant siart to the solo-an eff'ectivestrategyin ntany jazz contexts.Aiso. each of the fbur chorusesbegins rvith a direct. blues-orientedstaterncnt.flhange-running.rvhen it occurs. is t'eservedfor more harmonically active places in the stnlcture.Blues llar,.oris maintainedby thc ttequent use.,Ib-1.b.5.ancli'7, along i,r'iththentaticdeveloprnent(measures2-5-30).fepetitionof brief figures (rneasure9). and rhirthmic r ariety. Effective blries soios incolp()rateextellin rvhich lines interact and play olf one anothcr in a rnannerrenliniscentof the vocal artists sive inner ciialogr-re, who inventedthe genre.

CIIIAPTER12

l(r5

F BL UES

D:tsbg

cnbg

!:, t:" ii

$j.'

j;

lj' *l'

;.'

ii.

i,..

H E*,

ffi, ffi, ffi,

H. fti €;. E'-

s. &.

or:bs

6i G:

$. ffi,' F' Fi

&.

F;

166

tAZZO|,OG\

Ci3D9 r-J --r

D:rbg

Dl3b9

CB b g

c13be

(]HAPTER I2

167

E

C M I N O RBL UES r-l-

Nledium stting ( j;-Cm6

-t-(rm / 2)

CrnT

GTalt

Dm7b5

Fm7

rJ

BbmT

omzb5

DmTb-;

CrnT

Fm7

FrnT

Ebmaj7

DmTb-5

Abma17

6 r ' a- - - - - -

GTalt

I (),3

IAZZOI,O(;\

CnrT

GTalt

Abma17

Am7b5

GTalt

---l

Abl

Glalt

E

omzb5

Cnr

^ -t (rm/2)

CTalt

, 8r ' r r - --

omlb5

Fm7 --l l oc'

tr

Cm 7

C7alt

_l

AbmajT

Glalt

Cm'l

tjv1---

Glalt

J

Bbm:.

Dmzbs

Cm7

GTalt

1

Amzb5

Dmlb5

GTalt

l oco

Fm7

Fm7

sbt

L,PmaJ/

DmTb-5

GTait

nbt

(,rLAP]'Elt12

169

C Minor Blues Anarll'sis T he c onc ep to f a " tn i n o r" b l u e s u ri g l rta t fi rst seemparadoxi cal A . fter al l , a maj or ker i s gi ren a bl ues f lar , orpr imarily by flatting the jrd and 7th of the scale.One micht think that would be enough to introducea r.ninorcprality as well, but such i: not the case.An exar.ninationof the minor blues prol,ided will detnonstratethat blr-reslines constructedover ntinor chords are distinctly drfferent frorn those applied to ma.loror dominant chords. While a collection of blue notes ma\' \er\/e as a blanket scale in major blues-riding over chord changeswithoi.rt changin-u-such an approachwill not rvork in rninor blues. Generally speaking.minor bluc.siurprtrvisationslrust follow the chorclchangesmore closelr . introducing alteredprtchesthat specificalll''point to the minor key. not jr-rst the blues f-lavor. Note the carefui change-runningof the first lour bars,an example of how nany unexpectedrvaysthere are to make the chords "speak." For instance.on beat 3 of neasure 2 we see a Gb on the downbeat of the G7a1tchord. This unlikely note actuailt' completesthe encirclenlentgesturebegun on the Ab, and any possibleambiguitl, is elimi, nated by the direct statementof the tnrrd that fbllows. In a more conventionalvein. the Cm7 in measure3 receivestwo B naturals. and a Bb does not occur until the anticipationof the nert chord. Odd as it may seem,recordedjazz solos make it clear that the major 7th is seenat least as often as the fllrtted 7th on minor 7th chords.The reasonis either encirclement(of the root), or, as occurs here, a suggestionof tlre chord's V7. In any improvised line \\'e encountera myriad of surfaceharmoniesthat are not reflected in the chord changes to the tune. In this instance, there can be no doubt that a G7 governs the middle part of measure3. Afier the Cm7 has been firmly establishedby the encircling tigure that precededit on beat:1of measure2, the ear is tnore than willing to allow the V7 of Cm7, G7, to stand in for the iictual chord. Foliowing a conventionalbebop figurc in measllre4, the arrival of the Fm7 signalswhat is perhapsthe most characteristicchord of ii nrinor blues. The ,3rd and b7 of the key are going to occur in all blues. whether in major or minor. Br-rtthe l'6 of the key. introducins the rninor 3rd of the iv chord. has a distinctlv rlinor flar.'or. The treatmentof thc FntT in nleasure-i is r.vorthvof close scrutiny. First, notice that a rcdr-rction 1.ostructuraitones leavesa descendingF Ilinor triaclon the strongestbeats.Second,the entire rneasurecan be r,'ieuedas ctnelarge encircling gesture.Thc noose tossedb1,the initial clescending4th on beat I of rneasurc-5 is gradr-rallvtightened until the root of the cirord. F. is reachedon the dorvnbeatof the next lneasure.Finalll'. n()rcthat this large encirc ling ges t u reb re a k sj n to tw o n e a rl l ,s v mmctri calhal ves,one cnci rcl i ng the A 5, and one enci l cl i ng th c F. Sim iliLl encircling gesturesciin be f-oundthroughout this solo. A method fbr finding thenr is to look tbr chord tones -cood on strons beatsancltht-n iclentif_r' the rpproacl'rtones that prececlethose chord tones. lvlany jazz solos at'entarked [r1'distinet anclseparatetexturarlareas.[n other rvords. inrproviserstend to coniinuc one linear approachtirr souretime. rLnrlthen nrove on to another.and so fcirth. Notice horr the relatil'clv angular bebop-likefigures of nrcasuresI throuth 8 giye \,\'avto steadyei-ehthnotes iu ntcasllres9 through 12. \\'ithin thi: s ec t ion.we s e ea th re c fi rl ds e q u c n c eo 1 ' a recosni zabl epatterni n rneasuresI I and 12. S i nri l artcxtr- r r al nr easr . vit h t heir or v n in te rn a ll o g i c c a n b e i d e n ti fi e din thi s sol o (meas.18-21, 2l -21,28-21),3-5--1-l ,t. S uch area sover lapand cannot be precisely dcfinecl.A more frrnclamentalway of viewing this concept is Lester Youn-s'sassertionthat a jazz solo must "tell a stor,v."A gestufc crannotbe introduced for no reason at all. It nrust nrake sensein tenns of what has come before and what will lirllow. There must be a steady flow of ideas that relate to one another ancl reveal a logical structure. "Letter frorn Bob" Analysis This chord sequencet'eaturesii-V pro.uressions in the najor and relative minor key. Fe','.other chords occur. The lVImaiT in neasures-1. 12. and 2-l is not significant and addressingthrs chord in the improvised line is lur option the soloist may chooseto ignore. Sinrileriy, ihe substitr-rtion of AbnrajTfor tl-reanticipatedDrnTb-5in nrcasure19 is t,r tr-,rid thp ...- >r repetitionol'the precediu-9chorclsequence.lt is not absolutelynecessarvthat the sclloist - . - . - l-..act addr es st his c h o rd . s i n c etl re m e m b e rso f the ori ci nrrlD rnT' 05ri re al so l bund i n the A ; rrruj Tchord, ei ther as chor cl m er - nberor s p o s s i b l ec rte n s i o n s .Bo th eh ol ds contai nthe cruci al b6 of the key. ancias nrenrbersof the "subdonr i nant minor" categorvlLrediatonic sub'titutions lbr one another.

170

.IAZZOL()C;\

yet it would be heipful to take a moment to quaiifr u,haru.e ntcan This solo takesa straight-aheadbebop aprpi-oach. is certainly not u'ould This solo one that have been played by Charlie Parker,Dizzy Cillcspie, or anyone by this. eise working in the mid to iate 1940s.The iines and rhythms are too smooth. clean. worked oLrt.and preclictable. Ciearly. this solo incotporiitesa "codified" bebopapproach-a method of playing that developeclin the 1950satier musicianshad distilled the devicesput ibrth by Parkerand Gillespie and reworked them lbr their own use. It is surprisin-gbut true that the improvisirtionsof Charlie Parker r.r,ere far more advanced-in tems of rhythmic manipulation,unpredictability,and deviation from expectednorms-than the hard bop recordit'rgsthat came during the following decade.By the 1950s,"rules" beganto develop.even though they were never written down, and

tacitlyagreedupona "conect"way of playingthestyle.JohnColtrane's musicians Prestige recordings of the 1950srepresentan apotheosisofthe post-bopstyle. His lines are honed to perfection,dissonantenough but faithful to the chord, rhythmically accurate,ancl harmonically justified. Contrast this with Charlie Parker's sometimes reckless abandon, incorporation of rhythr-nsthat defy both notation and the barline, suggestions of substitutions that are neither consistent nor clear, and inclusion of notes that sirlply cannot be explained. Neither approach is better or displays more artistic merit. But the contrast is worth keeping in mind. It is not at ali unusual for a style to develop as an adventurousfree-wheeling processof experimentation that is later codified and refined into something that can be understood, learned, and repeated.This is clearly what happened to bebop. The solo provided is conservative, accurateto the chord changes,and not unlike a typical solo one might encounter on a similar chord sequencein any straight-aheadcontext. An effort has been made to include recognizable bebop gestures,but always with a bit of a "twist." so that there is something new or fresh about thern. For example, the linear construction in bars 5-7 involves standard change- (or mode-) running with guide tones cliirilying the harmonic changes.Yet the repeated eighth notes on the downbeat of measure 5, the altered rhythm on the first two beats of measure 6, and the truncated ending on the 6th of the C minor chord in measure 7 all place a subtle but personalstampon the line. Measure9 involr es a symmetricallypatternedascentof an F melodic minor scale,leading to a possiblequotation from "Fools Rush In" in measure 10. A descendingbebop major scale begins on beat 3 of mearsure11, leading to a classicbebop eesturein rneasure12. N{ore standardchange-runningtbllows, and the first half of the chorus ends with the "Cry N{e a Rit'er" lick in measure15. A patterneddiminished scale begins the bridge" which terminatescleanly by encircling the C minor tonic that occurs in rneasure19. Change-runningis broken brielly in measure22 r.vitha blue note. Since the 1920simprovisershaveexploitedthe fact that the b3rd,t the tonic can servesimultaneoLrsJy as the b l -lth of the clominant.When a slightll' unexpectedsubstitutionoccllrs in 29. the root and 3rd ol'the trizrdare emphasizeclr.rith quarter notes. Generaily'speaking,unexpectedchordssurgest more direct treatmentu"hileconventionalfunctions allow fbr more adventurouslines. The secund chorus receil'es similar tfeaturent,bLrta f-ew devices warraut discussion.Notice the alternationof expansi\:echange-runnin-e tbllorved by tight change-rur.rr.ring in measures33-34 and 37-38. In other words, 1blIorving linear motion in which 3rds prevail, the texture changesto chromatic linear n'rotionlhat docs not cover much distance.Note also the long string ot'eighth notes from measures37-43 as an exarnpleof l.rou'to rveal'ein and out of pattterns and still have the guide tones land on strong beats.Foilorving this iong nrotor-like passageis ii rneasllreof rest,fbllowed by a very strong closing gesturein measures45--48.The passageends on the 6th ol the Cm chord. a gesture that harrksback to meirsure7. rhythm and A brief piece of a dirninished scale starts the phrase beginning in measure49. and the conspicr-rous shapein nreasures51 and -52practically demand a thematic responsein the following measures.The CESH pattern in nreasures57 and 58 is standardfare. but is not often heardon a m7b5chord. The consequentphrasein measures 59 ancl60 is a more firmiliar soundingpattern.Again. the AburajTreceivesvery clirecttreatment.leading to an upward leap of a minor 6th on the G7by. The reststhat follow leave this antecedentphrasel'ery much ';open" in nnticipationof the consequentphrasein rneasures63 and 64. The solo is thus able to close rlefinitir,elybut quietlv as u'ell.

(.IIA P TE R l l

l- l

LETTER FROMBOB r-h

N l e d i u m Su i n g ,=I8o(;=;.it) Fm7

_l

Bbl

r:Dn)al/

AbmajT

Dm7b5

FrnT

Dmzb.5

DmTb-i

Bbl

AbmajT

l- l

JAZZOLO(;\

E PmaJ/

Abmaj7

GTbe

li / D9

F m7

Dmzb-s

_l

F.bn'tajl

^-l^

lt /2 9

G7b9

AbnriqT

-t / EPnlrU

AbmajT

Dm7b5

Ebmaj7

Abmaj7

DmTb-5

Drn7b5

ubq

EbmajT

AbrnajT

AbmajT

CHAPTER 12

"Taking 12" Analysis Thc solo begins u'ith a sirnple gesturc that emphasizesthe nralor triad but strll luanagesto incotporatc-l tisin.u nrinor 6th bv rnoving li'ont the 3rd up to thc root. From here on. straight-aheadchart-te-runningdominates.B natrif beat 2. clespitethe Em7b5 chord. ln this instance.as irt nlost, the r:ral has been chosenover Bb on the clLrrvnbeat ui th the hatntony.Th e cr ucial Cl pr inc ipleo1 ' e n c l o s u rci s mo re i mp o rl l L n tthi i n the actul l chorcltones associ ared clrii,'ethe harmony iciu'ardD n.rinor(the lelative minor. an ilnportaltt t-eatureo1 the harrnonon beat i. u'hich r.vi11 ic schcnteo1'this tune). is set up and prepiired1br during the f-irsttu,o beats of nreasure2. Atier all. the expected t'unctionof a subdorninantchord is to prepare tbr the arrival of the dominant chord. In many jazz conterts, that preperration is a linear one. rvhich catr result in apparcntconflct with the prer,ailingharmon,v.However. rf lines are n'ell constructed.the ear sorts oul and rectilies the discrenancies. in nreasures2 through -5are tight and compact, involvNotice how the lines tltat characterizethe chunge-r-unning ing rnuch chromaticisrn,change of direction, and enclosnre.The point to be macieis that the term "chan-qe-running" does not mean precisely what it says. There are 1ar more possibilitiesopen to the improviser than simply runnin-9up and down arpeggios. "Change-running" really rneans making the harrnony manifest in the improvised line itself. It doesnot lnean literally playing the chords.Jazz critics who fail to understandthis conceptoflen make disparaging comments regarding change-running. as if it were a fornuiaic and automatic process. On the contrary, the possibilitiesare endless. Measure 5 is a bow to Charlie Parker. who sometimes played this figure on measure -5of the blues. It is crucial to understandthat such referencesare deliberate efforts by jazz musicians to root their solos in the jazz tradition. Jazz cannot exist in a vacuum. Its spirit ancl life depend upon referential connections to melodies, figures, and phrases that are stored away in the musical memory. It is appropriate r.vhenplaying a tune associatedwith Charlie Parker that some gesturebe made to acknowledge him and to shorv that we have done our homework by studying his solos. N{easurc6 containsa figure that ma,- be a quote from "When Sunny Gets Blue." Otientimes it is not possibleto say if a mnsical phraseis a quote or not. The irnproviserrliry not knorv. The deterntiningfactor is what tl-relistener hears.rl,hichcaunotalways be predictcd.What is certain.hower,er,is thatjazz sokis must contain (and cannot help but contain) passagesthat will sounclfarniiiar to some listener.s. arpeggio.Although it is 7.8. and 9 are loosely seqLrential arrclail feature thr- descendingnrinclt'seventl-t N4easures it is usr"raliynrore efl'ecpclssiblet() treusposeir figtrre verb;rtirnthrough descendingchord seclLrettces, sontctin-rr-s tivc.to ntttdifl,the figure somewhat.irollowing the third presentationof this tlgLrle.in mcasltre9, the line troves enclosing,qestureirimed at the E of the C7 in measure10. Nert is a classic3-b9 gesturethat irasbebop to a stlrnclarcl o v c r i t. A s i rri l a r o n e fb l l o r.r ' si n thc turnaroLi ndi n rneasure11. N {eastrre12 u' raps up th e f ir st chor us r i, r it t c l all u'itit a nrcmorablcrrcioclic gesturethat listenersu,ilI har.'ehealclbetbre, though fcu n'ill bc pt'eparedto sa1'r'vhere. be a retercnceto '-Salt Peanuts."The conmotil'e that rnar arguably'' The seeond chorus bcgins with a conspiclror-rs toul anclr-irvthmsfounclin measuresi3 through l6 pla1,off one anothcr,establisltingan inlter dialogue that lends ilttefcst ancl cohesion to the passagc.Measure 17 rvill be hcard by many as a qLtotefrom "I Had the Craziest Drcan.r."but the quotc is brief and answeredb,voriginal material in trteasurc18. The line in lneasure l9 does not acknou,'ledgethe F[ irlplied by the D7 chord. There are t$'o rei]sonsfor this. First. the expectecltonic harmony founclirt rneasure7 of-the 12-barbluesforn'ris so firmly establishedthat soloistsalntost alr,''ayshave the optioli of in measure i9 is setting up . Seconcl.the rising scalarpassa-ue returning to it. in spite of prevailing sLrbstitutions. nt ilds ur pr i s e i n n re a s u re 2 0 ,a n d th e s e n seofreposeandgradual bui l di ngofmeasurel 9w oul dbew ea kenecl if t he line lr'creto draw'atter)tionto itself. The use of C Lydian here u'ould clojust that. The figure in neasure 20 is highand clearll' recognizableas a bebop gesture.It has detiberatelybeen placed to draw attention,since it ly icliorr-ratic The follike nothing that has come belirre. is preparedby a sinrple scaie,and appearsin the upper re-qister. sctuncls ernploy its basic contour as a startingpoint lor standardchange-rtlntring.Notice horv the natural louing nteasLlres 9th has been choscnon the C7 in this instance.comparedwith the i'9. which u'as the note of choice in measure10. I t is t he s o l o i s t' sp rc f()s a ti v es. e rv i n gto expandavai l abl echoi cesand keep the l i stcl ' rergl tc\\l ng.

t-i

IAZZOI-(X}\

TA KI N C, ' 1 2 Swing. = l8o (,1= ]':i )

Albs

FmajT

ebt

Cml

Am7

BbmT

AbmT

FmajT

Gm7

Dlbs

.--t-

FmajT

r,bt

Dm7

Em / 2 5

BbmT

Abml

FmajT

ebt

Fn-ra17

(]HAP'IER 12

17'

\?-i Latin Solo Analysis T heV 7- iLati n s o l o i s h i g h l f i n s tru c ti re a sani ntroducti outoi mprori si n-qi nnri norker,s.A rnongother t hings, t he s olo er t t ; lha s i z eth s e l l u i d n a tL rl eo f c l ro rd movemcnt rvi thi n thc toni c key' .Front a harrri oni cvi crrpoint . V7 and i ar-cdilLnretricallyopposed.The donrinlrntchold representsthe nrarin'rt.rrtension anclunrcst.rihilc thc tonic chord f epr c s ent sre s c tl u ti o na n d te p o s e .In i re tu al i ty.ho' ul ever, thc bui l d-up and rel easeof-tensi onoccur r" ' i t hcver v nole t t l t hc nt elo d i c l i n e . T ' h i s i s p a rti c u l a rl r tr ue i n rni nor kevs uhcre the 6th and 7th degrcesof tl rc sca lear e act ive anclchan-eeable. The solo beginswith a descendingG harr.nonicminor scaleand continuesto make use of this constructionthroughout. The harmonic ninor scale ma)' serve as a blanket scale in minor keys. As a pitch collection. it contains the avoiclnote G on the D7b9 ancltl.reavoitl notesC anclEb on the Gn chord. But its real pou'er lies in the strong voice leading that is built into the scale.Thu' leaclingtone, 7. along u'ith b6, exert strong points ol'lttraction toward the root and -5thof the key respectively.Sirnply playing the scaleirrplies a miniature V-i chord progressioneverv time theseactive notes occur. Notc-the chromatic passing tones that are inserted in rneasure-5in order to ensure that the line lands on Bb in the next rneasure.Why gb: at the local ll'el, Bb is the bl3th of the D7b9 chord, and much more compelling than A, the -5th.But more powerful is the role of this note as the 3rd of the key. This note is in a prominent position (emphasized by register, metric placement.,and duration), and represetrtsa brief instant of the tonic vu'ithinthe two bars of donrinantfunction. Beats 3 and 4 of nleasure6 swing the harrnony back to V7, and resolution occurs expectedly on the Gm of the next measure. Sirnilar instances can be found thror.rghoutthis solo where the areas of V7 and i irnplied by the improvised line do not llecessarilycoincide with the indicated chord changes.This entire solo can in tuct be analyzedas an improvisatiorrover a Gm chord, with frequentrandom suggestionsof V7 to add tension t o t he line. A case in point is the C naturiil that is "rvorked" through measures l9-2'+. As the backgrclundhrrnnony moves through tonic and dontinantharrnony'.thc inproviser stubbomlv returnsto this note rrgainanclagain.exploiting its tunusitalcommon-tonestatusas 1 1th o1'the tonic ancl7th of the dominant. As a result.the note'tendsto loorn abol'c the harnrony as a recun-ing-lth of the key. inclcpendentof chordal ulovement. This woulcl obr iously not be an in a major key. o1'rtiirn ol tl .r clinear - cour A s inr ilars t ra te g yi s u s e col n th c E,rra tu l a lthat ()cci l rsi r.rmeasurcs35-37. w herethe preeni i nence p()nellthecontesirrefirttrble.Thc' E,nairrralmight bc'.lLrstified as the 6th clf thc Grn chortl. lrut it is ccltainly not thc9th o1'D7b9.Instead,it is part of a rising chronraticlinc that has chvclledou E firr sonc tinrc-Lrcfirrect'rntinuinsits u p to C , th e l n c l o c l i cIri g h p rr i ntof tl re sol o. i n mea\Lrre41. I or t s r Ls c c t rt

V7_i LATINSOLO Latin/Salsa ., = 125

Dlbe

DTbe

Dlbe

I A Z Z OI-()GY

()i'ai-------

CFIAPTER12

Ii1

"Nor's Bossa" Ana-t-vsis The solo otl "Nor's BossA"displars thc characteristicl'eatLrres of bossanor.'ajazz, sLrbclLrerl rrrcloclicfi-ur:ressct to Iight svncopatiot'ls ovcr a tich harntottiestructure.\\'lrile soloistsare always free to intprint their persolal sty'leson s ongst hev i n tp ro v i s eto . s e n e ra l l t' i t i r b cst to i ne.r' rpe1l 1i e partc-rns of rhythmi c i nteresti n I_ati nntu sic.Ll, . r icism itnd rrelodjc interplar arL'collltllL)l]lcatures.Con\'entionnlbebop figures and steady eighth notcs are appropriate tbr textural contrilst.btlt are cetleritllvnttt approachcsone u,ould expect to see in trtusicof this tvpe. Horveyer.ciiss onanthar n l o n i ci m p l i c a ti tl n sa n d c h l tttg e-runni rrg are verv much a part of the stvl e as 1919as ther. m aint aint he proper nrood. As this solo makeser ident, it is possible to constructfiguies that are melociicallyfresh anclrhl,thnicalli, inventive that emphasize tonesand delineritethe chords.In other words. bebop-stl,lechord-mnning is not the or-rlyu,ay -suide to "rnake the cl-ranges."In nearly evcry rneasureof this improvisation it is possible to hear the chords solely through the improt'ised line. Yet rarelv does an extendedseriesof steadyeighth notes occur. and there are few if any figures that quaiify,as conr,entionll bebop patterns. One characteristic of il-Iatureimproviscrs is that they are not constricted by the tvrannv of the barline. Expert soloists change to the next chord rvhen they are ready, which rnay be prior to the arrival of the next hiirmony, or, less often, after the arrival. N{any eraniples of this occur in the "Nor's Bossa" solo. Notice. for exarnple.the C on the "and" of four in mcasure9. To ob.lcctthat this is the l3th of EbmT is to be oblivious to horvjazz lines work. C is a guide tone of Ab7. and will certainly be heard as belonging to the Ab7 no matter how rnuch the listener must adjust its temporal setting to hear it that way. Guide tones are that important. Measure 15 presentsanotherinstanceof an anticipatedchord. The B and D simply clonot function as the major 7th and 9th of the Cm chcird.no matter horv much they might look like they do on paper.They are in motion, and the B natural in particular.as the leading tone, is aiming tbr the tonic, C. The delay of its amival becar-rse of the unexpectedBrs in lneasurc l6 only incrcasr:santicipation.The Bbs tunction on two levels. On one hanclthey are a half step below the leading tone, as if the "spring-loaded" leadingtone has been stretchedone notch tighter. On another iei'el the Bbs functiotr as the {9 of thL:G7b9 chorci.Ternporaryresolutionto the leaclingtone tlnaily occurs after f our r epeat e d B b s .fo l i o l l e d b ,v -a D .u h i c hcompl etestheenci rcl ementoftheC onthedori nbeatof measur e17. Arlother instanceof anticipatiortoccLil'\on beat 4 of rneasure1,3.Here thcre is no gettine arountl it. E natural clearly ckiesnot belong to the Cnt7. lts cinl..piissible t'uncticlnis to encircle the Ir of the fclllou,'insinclsure. Of course. anot her*av o f i o o k i rrs a t th i s i s to ri c rv the E naturaland G as sug-uesti rrg a surfaceharntonr,.C 7. ilhich t lien r es olv est o Fn i 7 . In e i th e t' c a s cth . e n o rc scl earl l " ' bcl ong" to the fbl l ou,i ng chorcl . S ev er alot he r i n s ta n c c so i c l to rd a ti ti c tl -.x1i s11 occur i n thi s sol o. S ortreof thc n.roreohvi ousrrc fbund in nt easur es 37- - 18, 38- 3 9 ,-5 6 -5 7 -i of the del ayeclan-i valof the appr-oachi ng c lior clar e less . 7 -i 8 .6 1 -6 1 . rrn cl{r3 6.1.E ,xarnpl es nullcrous, hut rneasulc-5-1 offers a clcru-exanrpleof that phenornenon. The trealnrentof rr-r7t-i crhottls\\ru-r-turt\ somc c'lisc'.rssion. 81,rights. this chord shoulcltlikc u natunLl9ih anclnot a b9th. rneaningthat thc chorclscaleof choice should be the Locrian nnturiil 2 (the thircl nroclc: o1'rhe nteloclicrninor scalc).and not the Loclitin mode. \\rhcn voir-ing u nrTo-ichord as a verticitl entit),. l-ocrian natural 2 (sctntetintes called Locrian {2 becrir-rsc its 2nd is raised in relation to the original) will gir,e the proper rroup of notes to select fiom. In a bailad arransementthat incluclesextendedchordsplayed in lon-snotes,this 'uvoulcl stanclout as the proper choice. But Locrian rratural2 is not the proper scaleto play on this chord rvhen irnprovising.The reason is that the natural 9th happensto be the mlijor 3rcl in relation to the minor key. AlthoLrghthis pitch soundsflne as pan of t he aggr ega tei n a c o rrp l e x c h o rd r,o i e i ng.i t shoul d not be gi ven a prorni nentpo.i ti t' n i n an i ntprovisedline. A glanc eat t he D n t7 b -5c l to rd sth a t o c c u i ' i n thi s sol o rvi l l reveal that they i nvari abl y recei r,eE i s i n the int pr ovised line. The santeobsenatittn can be nratieb;'' studying the countiessoccurrencesof this chord that occul in recorcl* ed jtrzz literature.The conclusionis thut indiridual chorclstnust not be thought of as isolated.self-containedentltics that receive specific trcat.nlentbascd on prescribedprocedures.Instead.larger tonal areasand the overall ke1' m Lls tbe t ak e n i n to c o n :i c i e ra ti o nIn . to n a l nrusi c.the pri n' rar1r kcy i s or.nni presenl i i t sorncl erel . conti nuir r gt o t : xer t it s inf luc nc c o n e \e t' \ ru L rs i c aelv e n t i l th c pi cce.

1-8

IAZZOI.OG\

NOR'SBOSSA Latin a = 110 Cm7

Fm7

Dm7b5

Glalt

nbt

ebrnl 1A

DbmajT

(-J

om7b5

GTalt

r--J ---r

tr DmTb-5

F,DmI Sva ---

Dm7b5

-

t-

? ----1

Fm7

Cm

-.l

G7b9 r-J -r

C m7

GTalt

l'bt

Dbmai7 r

GTalt

LOCO

Cm

Glbs

CHAPTER12

179

Fm7 r--)

)4

I I

Dmtb5

Dbmaj7

EbmT

iu

Fm7

Ctr.r

--t-

l)nr / P- )

-l

F,Vnl I

GTait

DbmajT

r-3-a

Dm7b5

tbio

JAZZ()I-()(i\

r---l

----r

tr

Fm7

Cm

G7alt

Dmlb5

Dbmaj7

Ebm:6va- - -

Dmtb5

GTalt

Cml

GTalt

Ioco

,y1

tr

Fm7

Cm

GTalt

Dm7b5

Ebml 8va---------t

Ab:'

Cm7

DbmajT r-Jr

lo to

GTalt

Cm7

G7a1t

(]IL\PTER I2

181

"Across Africa" Analysis This solo incorpot'ate s a seriesof chorclsin rapid successionat a very fast tempo. hnprovising over a hannonic rhvthm that covers tw'tl chords per ncasltre presentsspecialchallenges.Presun-iabl-v. eich chord will receive four eighth notes. How does one detine ii chorclwith fbur notes?At first the possibilitiesrnight seern extremely limited. one can use the dr_gitalpattern l-2-3-5. or its reverse5 j-2-1. But what then? Fortunately,the "rules" of change-ruttningloosen at fast temposinvolving rapicl harmonic rhvthms. For one thing, a dominant chord becouresvir-tuallyequivalentto a major chord. True, tl.rereare a few more optlons inyolving the flatted 7th that are not available on nrajor chords. but. on the other hand, dominant chords do not require special treatmentat this tempo. Playing directly up the chords. in a rlanner that woulci simply nof be cclnvincingat slower tenpos- is perf'ectlyacceptablehere. Examples of this can be seen in measures6, 11 ,21 , and 23. Moreover. every chord need not be clearly delineated,since it will passquickly and the next one. or the next, will give us our bearings.Dominant chords that woultl be somewhat ambiguousout of context are fbund rn measures1,2.g. 11. 18. 28. . r 0 , u n d 3 2 . A basic rule in change-running in this context is to play guide tones and roots wherever possible. There is really no time to deal with extensions,and taboos about playing close to the triad, particularly ondominant chords, 2re mitigated by the rapidly changing chords. Frequent directional changes are helpful. Notice the liirge number of measuresthat contain a clearly archedlinear constructionwithin the measure.(Measures3,6, 12,13, 16, lj, Ig,23,26, and 2l are very lucid examples.) Linear construction in this solo consists mostly of conjunct motion with 3rds. Large skips are not frequent, and are generally followed by rests or scalar passages.This is not an angular solo. It would be helpful to write out possible patterns for practice. There is an abundant but limited supply of figures that will work in contexts such as this. A good strategy is to begin with some five to ten patterns and practice weaving thern into the improvisation.As fluency increasesmore prtterns can be addecl.

182

.IAZZOLOG\'

ACROSS AFRICA Fast Swing( r-l

= --l, ,\

)

BDl

12 C#m]

( +rm/ h

Bbj

_l

ED

sbt

Am7

b*b

CfmT

ui tm /

CFIAPTER12

183

F' Fli

I i,l

Fi:'; . tgii l

1;:1,. fti lii:r. li:i

f*i:

bT

mi FH l{;

l! Sgi::i bi'rl .

&tsi

r.1i' $t;

ill i*, |'

lll

1:'

ir; i;i.'

F ffi:

"Tiflet's \I'ind" Arurlysis T hr c c ' one -c h o rus o i o sa rc p ro ri c l e tll o r " Ti fl ct' s \\/i ncl ."Thc f i rst rvasconcei ved1' orbul i l onc srrrop honc.t he seeonc if r r r s ca t v o c a l . a rtc th l e ti ri rd fo l n i l Lno.E l ch cLspl ar,s a l l i i d-backqual rtv conrrensLl rl i tcri i th thc chr uact erol pattenrs pre-r,ail. the tunc. Diatonic arrguiarlines are intiecluent.anclrestsalternater.l'ithrl'ry'thni ahead bebop fi-uuresare niininral. T hc init ia l s o l o l i n e s n e a k si n r.r,i thti re 1 1th of the A mi nor ehord.Thi s beni gn upper strucl Li rei s qLr it cusel- ulon minor chords,adding a ''sott" tension to the cl'rord,sirrilar in effect to addrng the 9th to a major churd. The internal logic to the contour o1'theline thlLtcovers meilsurcs2 anrl 3 is apparent,and the spacethat tirllor.vsenrphasizes the trancluilmood that this openin.uevokcs. Similar lines fbllow', carefully outlining the chords r.irithsmooth direclional changesand e minimuur of chronaticism. E,r'enthe double-time passageof neasures l1 end l2 does nclt stra\ l}om the scaleof the horne ker . A trh-restlavor is introduced in mensure 17. Notice horv the blue notes serve as a blanket scale. assertingtheir autonomy fiom the changrngharrnonies.(Of course,in a minor key, what wor"rldbe a blue 3rd no'uvbecorncsa blue -5th.The f'latted7th, however,prevailsin both major and minor blues contexts.)As an irnproviser.one rnustallvays that this option exists-to take the line in a direction that is convincing fbr internal reasons,independremer.nber eni ol'the underlying harmony. The blues is by no meansthe only context in which this is possible.Sornetimesthe gestureurll be enough to override the hannony. verv shapeof the linc or a quote of a reco-qnizable The secondchorus presentsan impruvisationalstriitegy that rnight be incorporatedby a jazz vocalist. Notice the i"ide sweep of the linear component of measures33-36, the smoothnessof the directional changes,and the absenceof dissonantleaps.Note also how the dominant (E) gor,ernsthe passage.appearingprominently at the outset. in the descending7th in measure35. and the conclusion in measure36. The plunge to loi.l E in rneasure3-5is a classicgap-fill conliguration.with the ascendingA melodic rninor scalerecoupingthe spacein thc bcatsthat folFollowing by a beat-anc1-a-hall'rest. leap in mr-asures36 ancl37 is nraile inconspicr,rous loli. An ascending-octar,'e is a dcscendingleap fiom the brief ei-rhth-noteE cloun to B a Jth belon'.While theseleapsare large.thel,are quite shifts. pr-orrrinent nntcs of the home ke1,and ar"oidingLrrterpectecl irlrornaticto vocal pcrformance.incorporatir.rg 'l hc fit on the dclu'nLreal r:lfmeasureJ0 uarmnts rliscLrssion. At first the e1'eis surpriseclto sec uhat r,'ould vertic liily ' br -c :o n s tru eads a rn a j o r 7 th o tr:Ld orni nl nl cl rorrl .,\ nrorc real i stl ci nterprctafi ortvi etrs thc C : r r \ ir t l r lr ccllt ec 1c iuont a ti cp a s s i n gto n e c o n i )e c ti n uG anclA . B ui i n uetnal i tr.the coi i ceptof harmoni c gcncl al i zat ionpr ovicles heardthus fal i n thi s chorus l l i tvc b r ct ] t hi ir c s tc rp l a n a ti o ni b r th i s n o te . Ol rs r:rrehou ai l ot' thc r.rrrtes ol -tl i c-6th and 7th cl egreesof thc s cale.lher e has ol' s olt ic -f u rn r o f th e A n ri n o l s c l l e . O ther than thc fl i rctLrati on harnton\' .P ri rnan' chord t t r ot it 'lnir t t his hr t n nt t ch ro m a ti c i s n t.T h e A 7 o f i l tc a surc-10i s bl ri o nrean,.l i stt' uctural -10serr,'cs .\ niinoL or C nrnjor. Thc A7 irt tttc:isttt-e tuitc corlsistsof the alternationof ir V proeressionsin cithr-'r' t cr i tttprori sel has choscu \e t i nstance. the fol l ,.rns. l n tti i s up that t,' r,,t the D rnT r ut l. c l, ras a s e c o n c l a i .\,,1 r.,r' rr'fo A . -10 toni c uote is r t or r -t hi : s c h o rd . [n s te a d .l i n e a r n to l i o n i u url -A sure si mpi ;' ci rci cs i he ' i' lii' ous hrtuth t i s s e c o n dc h o ru se s p r-.i al l !' \\,1, l )ercLric\ a senscoi ' anrbi gLri ty-ri refusalto gri rbi l tl t o chor d t ones anclif t he t hat loc k u s o n to th c h a rm o n t' .T h c i n i prol i sccl l i ne rerv nruci ' ,pl avs ol ' f the back-{roundhatrtto t iies. the i tl p.ovi sct l line. Not e. c hor c lswe re n o t p re s e n ti t u o u l c l b e i mpossi bl eto c\tl ' act thcm i l i th i rnl ' certai ntl " l -roni for-eratnple.the ii-V progressittnsl'oundin rlteasures-+L-12.-+5-+6.-50,52, and -58.Rathel thlrn using guide tones harnronicchanllesof tl-retunc. thesephrasesaddressthe bigger PiLturc.ttsitl.evartrt ride the rneasule-by-nreasure auri alltonornvof the improvised line. achiel'e melodic indcirencience clc-r'ices to ioLrs thal a pianist might create.hence the eristencetlf stlnewhat TIt.: final chorus is ureantto prcseut.rn il)terpretiltior.r rurorcru.igularlines, increaseclchrorrraticisn. and pianistic (xttalnentssttch as trills and trelliolo. N4anyof the clcviccscliscussedthus far in legarclto the previt)ust\\'o chorusesalso occur during this chortrs.N{atchedphrtrses as opposedto gui de-ton clcqt llr el. llent s. ant l inuer d i a l o g u ea re p l o rl i n e n r. L { rn touti s di ctatcdbl ,rrel odi c c:hoi ces pl ay' a l ar-qepart i n tnel otl i cconti nuati otr.Thi s sol o rs hi l h lf inst r uct ir ''e ant l r it y t h u ri ca n d th e ma ti cc l e v e l o p ru enf \' et deci dedl .vnot bebop, it s alt c \ al t.i p l eo f ' ' i n s i d e " p l a i i n g th i tt is trLl ettr the cl .renge\.

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CJIIAPTER12

I85

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Ct{AP'fEli 12

It37

"Maybe Not" Analysis "N{avbe Not" begins ri ith three meir\uresol'CIE.SHover an E'm chord. but the solo line does not ''ride" thc obl ious line Eb-D-D'-C'. Instead.the opcning begtnson Bb anclslori ly works its wa1,dovu'rr to Eb on the dou'nbe;lto1' neasLlre3. Ofientirtresit is rvise trt avoicl the expected,especially at the outset of an irnprovisation.Rising up thror-rghthe Ebni/C in measure3, a Sestureappearsin rneasure:l that may best be unclel'stood as con\rentionclisquised.Carnouflagedbeneaththe dc-scendingchromatic line of r)reasure4 is the ivell-known bebop figLrresometimes called the "Honey-suckle"lick-here. pb-gb-Eb-3b-Af . rvherern eighth rest woulclordinarily occur between the Cl' and the Eb. In any case,the chromatic line continueson until the Gb on the clownbeatof measure-5. The ii-V in measurcs5 and 6 is given a fluid treatment.After providing a guide tone on the downbeatof the measure, beats 3 and 4 clearly delineatean undesignatedsurfaceharrnony (Bb7, the V7lii) befbre returning to a direct spelling of the Ebm7. 3rd through 9th. in measure6. By this time. however, the chord has moved on to Ab7 on the downbeat of measure6. The point to be emphasizedis that an improviser is never tied to the exact chord chan,qes that a ii-V would seem to suggest. \\'hen the ii becomes a V is the soloist's prerogative. This was evident in the very first recordingsof the beboppers,when the ii-V tirst began to assertits preeminentposition in jazz harmony. A ii-V progressionis really a ii-V area.The point of changein the soloist's line is not compelledto coincide with the point of change in the rhythm section. (This is not an excuse tbr imprecision, of course. A player should still strive to gain exact rhythmic control of chord changes in his intprovisations.) Ambiguity plays a hLrgerole in jazz irnprovisation. It is extremely eff'ective to introduce passagesthat clearly function as two things at once. For example, in measure 6 the line directly ascends a GbmajT chord, but the chord is ,qbZ.So, while the ear hears a familiar 7th chord, it also heirrs the 7th, 9th, I lth, and t3th of the Ab7. This is but one of many ways thnt improvisers may think of superimposingchords when reaching fol upper extensions.Two instances of ambiguitl' can be found in measure 16. First, the ear will clearly hear that the line moves through a seconclinversion Eb triad from the first beat into the seconcl.This is reinforceclby the Bb7 harmony that prevails. But, of course.that is not what is really happeningat all. These notes are merely part of an encircling gesturethat is aiming lbr the apploachingF natural.Why F natllral?This is anotherinstanceof anibiguit-v.The F Dorian rnode u,ith thc relatediimT of the Bb7, but works on anotherlevel with the E7 on beats3 and 4 of measure is associateci 16. F ler eit p i c k s u p th e b 9 ,fl 9 ,f t t. a n tl b13. i n addi ti onto the gui de tones.Thi s i s an i nstanceof addi ngdissonance that is grounclcdin the farniliar. Just as dissonantnotesin the harrnonyof a tune are always more compelling u'hen thel,occttr in the tric'lotlv.so are disstrnantnotes in rrnirnpror i:rtirrn nrore compelling ulien they are part of s
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(,FL\P]'ER 12

r89

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(]FL{PTER12

191

"Whcn" Analysis " W hen' " p ro v i d c si i r' le x i u l l p l e o l -i n rp l o vi sati onn' i thi n a nocl al context.I\{ ocl al .j azztl erel opecii n t he 1950sas an altcrnativeto the rallid change-runnincassociatecl liith bebop.With the cien'rands of harnronicrh1'thrnslriu'ecldrasticallr'. tltis stl'le prticittccts an ultltitrriecl.meditatir.'eaestheticand sug-uestsabstract, wanderipq. r-rnpreclictahle rneloclicconstrllctiolls.'vVl-rile the uolci "nocial" rnight seem to confine thc stvle to thc tlrciitional cl'rLrrch modes9f rrVcstertlmusic. strehis not the case. Anv scale.even major or minor. can fi'rrm the busis fbr ntodltl .jazzinpror,isation.Furthemtlre" nroclalirnpror isationsare by' no means confined to the notes prgr.ideclb1,the scaleor mode. On thc contrary. nlodal-jazzallorvs fitr a great deal of departurefrom the harrnonv.and in somc instancesit is clif'ficult to drstinguishrnodaljazz fronr free jazz.. Thc solo begins u'ith a clear indication that there is no hutly to get thin-gsstarted.Tlrc first sixteen-barsection aclheresfairll'closelr.'to the Dorian nrode.but sel'eralchromatic approachtones can bc fbuncl.incluclingencircling gestllresinvolving the raised 7th (rneasr-rres 7.8. and l0). Motivic interplai, is apparentrvith clear relationships betweenrleasures I and 4, 2 and 5. and 3 and 6. The first three measuresare too disjointed to qualifl, as a phrase, however. and the next three measurcs.though they echo the tlrst three,hardly serve as a cousequent.Syrnrnetrical events.closure, and strong points o1'articulationare not typical modal gesturesanclare scarcein this solo. More common are literal repeatsor variationsof short melodic cells or rhythmic motives. The shifi up one half step to EbmTsus-lis anticipatedby two beats.The right-handparallel 4ths in measurel7 serve as a precursor to the textural change that occurs later in lneasures30 through 35. It will be noticed that D naturals donc r t oc c u ra s p a rto fe n c i rc l i n g g e s turesi nei therthi sE bmTsus4secti on(measures l j -24)orthenext ( m easur es 43 through 48). As leading tone of tl.reoverall tonic key, the C# holds a significancethroi-rghoutthe DmTsus4sections that the D does not hltve in the ErmTsus.lsections.The effect of a particular mr-rsicalevent must be calculated in terms of its perceptionn'ithin tl'reoverall key in addition to its position in the local chord or modal area. The secondDm7sus-lsectiorr(rneasures25-.-t0)is rnore chromatic than thc first. An instructiveinstanceof nultrstage variance occurs itt nteasLrres )l-29. As the initial motive Af-B-F is variecl.r,ariatior.rs occur ou the variat iot t s .unt i l th e g e s tu refi n a l l i ' c v o l rr-s i nto somethi ngel se enti rel y.Thi s tl pe of ntoti vi c cl evel opment is cont m on it t I noc lalj a z z . g i r i n g th e i n tp re s s i o itir f l i ncs that endl essl yspi n ont of thentsel vesui th no cl ear i n clicat ionas t o rr,hcretl.tc-t'llregoing or u,'het.e thct ri.ill stop.Yet. all the while. the conlinuatior.rsounclslogical and conr.'incing. PLrfh2rps no one \\'u\ t.n()renlrstct'l'ul;Ltthis approachthan Miles Davis. T hc s c - c ttn d E tn t7 s L ts -l s c c ti o ttl i n c l i u rtl s -11--+ 8)has al readl ' beendi scLrssecl i n tcrrrrsol ' the absen ceof D nat ur ill t Lsat t c t t c i rc l i n gd e r i c c . l tr l ' a c t.th i s l rre :racl l rer-es ver-vcl osel Yto the nrocl .e ,A cci dental ti s clt.rotocc ur unt il m easules - 17at td -1 ,S. In k e e p i n g$ i th th t i c n cl encYl i r| uror-l al areasto becotneautol tonl oi l sterturai arcasin t his st y, le, t t ot e t he p re p o n c l e rtrn cocf tri p l c ts i n (hi s secti trr.r. a gesturethat pl ays a rpri tc i nsi gnj fi ctnt rol c i n t he r est of t he s olo. A iot t g t he s e l i rrc s .ti re fi i ra l D tn T s u :J sccti on (ni easures49 64) contai nsa bl ues tl uvor that i s fi r st hint eciat in nr c A S Llrc -i 0 a n d c o n ti l tu c sIItro L rq hi n c a sure-i 9. N j easures-52through -5-iadhererer\ cl osel l ' to th e blLr esscale. F inalll . t h c s o l o e n c l su i th An i i re atri c r pansi veri si ng i nterval si n i neasurcs6l through 6-1. Modal jazz is less technicalll demantlingthan bebop, but it presentsartistic challengesthat bcbop does not have. In chord sequencesu'ith rapid harnronicmotion. conect playing over the chord changesri ill seeyou through.even n'hen iuspiration faiis. In contrast.nroclalirliprorisation deurandsthat the soloist do something creatil'e. A succ c s s lul s o l o i n tl ' ri sg e n re n ru s t d i s p l l n ' an i nternal l ogi c that i s convi nci ng and abl e to sustai ni nter est .M usical eventsnrttstnot occur at rartdonr.tlut rather shoulcirelate to other eventsin ordcr to folm an erpressiver.vhole .

tr)2

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"Ok or Not" Analysis The improvisation on "Ok or Not" is lyrical and song-like throughout. The opening motive sets the stage firr the measuresto follow. Notice the pairing of phrasesin the first eight measures,with two-measuregl-r)upslrnsu,ering and playing off one another. The last of these, in measures7 and 8. introduces a triplet figure that will characterize and dominate the next eisht measures. In measure 17 the tune shifts to the parallel major, a rarity rn jrzz standards.What kind of gesture would flt this point of demarcation and draw the listener's attention? In this solo it is a double-time figure that is the first bebopsounding device yet heard. In addition to being highly recognizable and familizr to the ear, the frgure holds our attention by soaring into the upper register. covering the distance of two octaves in two measures.Moreover, the line gives us every note in the F major scale at least twice, except tor the avoid tone Bb. which is scrupulously avoided. The phrase provides about as clear an assertion of F major as one can get. The next two measures, 19 and 20, serve as a consequentto the preceding phrase, turning the direction of the line downward and providing an arch-shapedcontour to the first four bars of the bridge. In mirror fashion, measures 2l and22 again provide an ascendingphrase, which is answeredby a descendingone in 23 and 24. Moreover, the content and sound of measures21 through 24 relate directly to measures19 through 22, lending a further senseof inner logic to this section of the tune. Such symmetry is by no means a requirement in this or any other style of jazzimprovisation, but is rather one of many devices at the improviser's disposal for adding coherenceand logic to the improvised structure. The rest of the solo is marked by pairs of antecedent-consequentphrases,rhythmic interplay of answering passages,and manipulation of contour in a manner similar to that of the opening of the solo.

(,FIAPTER12

19J

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Listening should be su:lticious of writers who lvrite more than they read. Substitutethe words It has been suggestedthat r.r,'e "pIay" and "listen" and thc caveat is equalll' trte for jazz musicians. There is no more important activity for a jazz musician than listening to the music. Wher-rLester Young spoke to Buddy Tate about repiacing Herschel Evans it.t the Count Basie Band in l939. the first thing he askedhim was, "Have you been iisteningl"' Practiceand study are essential,but listening is crucial. Jazzis a communal experience.Ideas are expressed,understood.shared,personalized, and passed back and forth. To pafticipate, one must join the community. One must learn the common language. Historically, Iistening has been central to a jazz musician's activities. Musicians have been known to curtail their practice routines after musical maturity. but the best ones never stop listening. Lester Young, Charlie Parker, and Cannonball Adderly were among those known to have practiced ferociously in their early years. but very little in their later years. Yet they never stopped listening. It was said that Lester Young listened to music constantly throughout his life, even going to bed with the radio playing. Charlie Parker was fascinatedby 20th-century classical composers during his later years. Cannonball Adderly continued to listen and search fbr new sounds and idioms throughout his life. in the final anaiysis, your stature as a jazz musician is determined not by how much you have practiced, but by how well you have listened. All jazz musicians shareone common trait: an indissoluble love for the music. Invariably, this is the starting point. Nearly every jazz musician tells a similar story. At some point in their lives, they heard somebody playinglazz and said, "I want to sound like that." The first step in attaining something is to know what you want: not a general idea or a vague notion of what is desired, but a clear and specific picture. Only through listening can a student of jazz really know what is being sought. The principles outlined in this chapter have been distilled from the recordings of accomplishedjazz musicians. Although the material presentedis intendeclfor study and practice, it is also meant to enhanceone's abiiity to listento jazz.lt is only naturaithat we find sornewa1'of categorizing.labelling, and sorting ouf sensoryexperlences. We neeclto unclerstandwhat we are hearin". By classifying the sounds that we hear and codifying the procedures used to attain those sounds.a theory of jazz results. But it must never be forgotten that the music precededthe theory, and not the other way around. The devicesdiscussedin this chaptershould be stuciiecland practicedso that they becomefamiliar to the ear and comfortable unclerthe fingers. Then. similar clevicesshould be listened for tn jazz performances.An excellent approachis to listen with one's instrumen{handy, plal,ing back passagesthat catch the ear, and $riting them dor'vn and memorizing them. The goal is not to collect material as ammunition for firing back in one's orvn solos,but rather to absorb and unclerstandwhat is h.:ard. In order to speak a language, one must first learn the vocabulary' and understandhow phrasesand idioms arc constructed.Diligent study of the princrplesoutlined in this chapter' supportedby attentiveanclactive listening.rvili go a long way tou'ard deveioping fluency in the jazz ianguage.

CFL\PTER 12

IL)5

CFIAPTER

FTJI\TDAMENTALS OF TRADITIONALJAZZ For pr-uposes of convenienceand clarification, it is usefLrlto divide the history of jazz into trvo halr.'es:the period that came befbre bebop and thc pcriod that came after. It'one had to selecta specific year for this point of demarcation, 1944 would be a good cl-roice,since the bebop cxperimentsof the early l9;l0s had produced a coherent result by this time, and that result was capturedon a rnl,riad of recordingsthat appearedin rapid successionfiom 19-l-lonward. The changein the rnusicthat occurredat this time was so significant that the period is often referred to as the "bebop revolution." The upheaval it causedin the jazz community was substantial,evoking a war of words betweenthe traditionalists(the "moldy figs") and the modernists(the "reboppers").Many older jazz musicians either refusedor were unable to make the transitionto the new style: it was that different. As it turned out, nrost of the changes brought about by bebop were pellnanent and have characterized all jaz'z styles that have appearedsince. The paradox is that a significant part of the history ol jazz precedesbebop. Indeed, rvhen bebop appearedit was of Kin-eOliver, not at all clear to some people,ineluding its practitioners.that it was really jazz. Jazz was the rnr"rsic I-ouis Annstrong. JamesP. Johnson.Fats Waller. Fletchcr Henderson,Duke Ellin-eton.Lester Young. and a host to Charlre of giants ra,hose recordin-tsattest to the immense contribution they made to the style. Bebop. accorclin-e P alk e r.s e e me dto b e " s o m e th i n gel sc." h is in e ri ta b l e th a t o c c a s i o n su i l l ari se n' hen j azz rnusi ei ansui l l fi nd themsel vesi n the posi tion of per f or m ilt g rutrsicr.r'ithstrongties to traditionaljazz. How this shoultl bc done is not at all clear. The debatc-over "perioclpertirrrnancepracticc''in classicalntusic l.rasriiged 1or decar[-s.On tlie one hand. to plal historic ntlrsic fl'ottta tuocler nis t i cri e i l p o i trt w i th to ta l d i -s i c s l rdfi tr hor.vi t uoLrl dIi uveori gi nal l y' soundedi s poi ntl ess.Ot t c-has sir nply'bor urigirral t.o$cd tnaterialsfron.rthe pilst tir crelte solllcthing neu todal" ()r.rthe other hand' to attelllpt 1()rL-cl'eittc For a nuutber of rcltsotrs.tlttc rvlruld pcrfirrrnancescrlLctly as thev uoirld have soundedirr thc past is ir-r-rpossible. to t'e11!-('Ll to har,e1ir,'ecl ancirvorkecltlirring thaf periocllo sounrlas the lrusicians of thc tirttc tlicl.lt is ttot 1-rossible enlcr & bYgonccr.asel'eraldecati'': latcr and e \pect to crcitteauthentictltrLsic.

our cclntrol,and peltbrnl Thc onll' r'iablc solution is to irlcrrtil'vthe esscntiall'catulcsof the nrusic that are'ut.tclcr j azz trtusiciat t tsheut selves tradi ti onal i s essenti al l l ' ri hat iu l r n tu rn c rth a t i s c o n s i s te nut ,i tl t rh c ori gi nal styl c.That in the 1920scontiticlid ellcr the bebop revolutiorr.h rs astonishirrgto consider that nranv of the pioneersof 1trz,z. the "conlirronrises" ueclto n'ork protessionall.v*'ell iirto the 1960sand 70s. \{uch can be learnedfrttn sttttly,'ing over lhe years that had occurt'ecl thescrnusiciansuradein recreirtingtheil orvn music. Ther acceptedder.elopnrents that seemedcon-qfuentwith their tnusic. but rcjectedother-sthat they consideredinappropriete. This cliaptet w'ill discussthe basic elementsof jazz as it existed prior to bebop. Cotnnton ttrne structures.chord -fhe concept of collective improl'isaticlnas practicedby seclllences. and approachesto soloing r.r,illbe examined. metttlr-cu,Orlcansjazz musiciansis bcvonclthe scopeof this book. iis are the specific roles played by indir,'iclual to be tor readers l'naterial bers of thc' rhythm section.The uin ot'this chapter is to provicleenclirghtundatnental jttzz tlf the rtlirkea tllockery'out irble to clevelopan intelligent apploach to the music. Totr o{'ten.tbrays into earll' " W hen t he Saint sColne s Lr s ic u n c l c rth c g u i s e o f " D i ri e l l u d ." W eari ng stri ped\csts rl nd pl ayi ng corny l i cks to N,lar-ching In" does not qualif,v as rraditional.lazz.It is hopeclthat the principles oLltline(lin this chapter r.villpreri hen thc occasi ottari ses. pt it r .u )u s i c i a n sto a p p ro a c hth i s ri rusi cui th si ncel i tt' and i rtte-uri ty

l9(,

IAZZOI.()GY

Harmonic Concept not found in music of the 1920s.But assoeiatedr,vithpost bebop tLrz,z.are NIany of the standarduppcr strLrctures this is not to imply that only triadic structllresare present.hnpressionisticint-luenceshad a significant irnpact on jazz during the i920s, especiallyin written arrangements.Normal chord progressionscould be erpected to have the 7th on chords with dominant function (more on that below), and possibly a natural 9th or I 3th. Major chords cor,rldbe triadsor 6th chords,rarely receivin-ra 9th, and almost never a major 7th (unlessin the melody, as in Louis Armstrong's "struttin' with Some Barbeque").A minor chord would most likely be a triad. but might receive atld addecl6th or 9th. Minor Tth chords were rare. Diminished chords were common, both as triads and 7ths. m7b5 chords were not. Augmented chords were used frequently,as were whole tone scales.These suggestionsapply to standardcomping in the rhlrthm section. Soloists were apt to be more adventurous,and anangers of the time were wont to try anything. It is revealing to contrast the bebop reperloire with that of traditional jazz. A significant number of early bebop compositions were basedon blues or rhythrn changes.A few other favorite structures were added to that list, such as "lndiana" changes."Cherokee" changes,or "Honeysuckle" changes,but it is evident that well over half of all bebop tunes utilized only a handful of chord schemes.This was not true in the 1920s. A seemingly endless number of tunes were available to iazz musicians, and very few, other than the blues, shared the same chord progressions. That having been said. most chord sequencesin early jazz are quite predictable. At the top of the list is the circle of 5ths. The prominence of dominant 7th chords resolving downward to other dominant 7th chords in traditional jazz tunes cannot be overstated. Subdominant chords are not frequent in early jazz chord sequences.It is crucial to obsen,e that the hallmark of bebop harmony, the ii-V progression, is rare in traditional jazz. In the vast majority of chord sequences.dominant 7th chords will either stand alone without preparation, or else be preceded by V of V . ''There'11Be Some ChangesMade" (1921) by W. Benton Overstreetand Billy Higgins exemplifiesthe preference fbr dominant Tths in music of this period:

Key:F

l lD 7 I

I

I

l G7

|

|

|

l l A7 I

lD7

|

l G7

I

lc7

|

ll

l lD 7 |

I

I

tG7

I

I

I

ll

ll A7

lD7

I

ltiT

lc l

lF

lDl

lc l

I

lc 7

lF

lF

ll

As can be seen.the progressionlvanclersincessantlythrough the circle of tifths, onlv touchinSupon the tonic nerr the end. where it is taggecland finally returns in the penultimatebar. Typically, a progressionlike this one would be playecl exactly as indicated, il'ith no uppel structuresadded beyond the 7th. contain chord progressionswhose basic structurewill be tarniliar to present-daylazz Many classicjazz standarcls musicians.Below are the chords to "Whispering" (1920) by John Schonberger.Adding the relatediimT to each of the clominant chords woulcl proclucea set of changes that were often used by bebop musicians.

IIC

lB 7

lc

ll D7

lG7

lc'

IC

l87

lc

llD7

I

lG7

I

lA 7

tI

lC C' I Dm7G 7 lD7 G + ll lA 7

lDmA T DmA T lDmF m6lClC

ll

chord Notice that lrore harnorric variety is like l1' to occur at tllrnaroundsor lust prior to tiie rctulrt of the tonic

CHAPTER13

T97

" B lues N { y N a u g h tl ' Srv e e ti eGi re s to Me" (1919) by C harl esN { cC arron.C arev N ,l organ,and Ar t hur Swanst r om provides an exalnple of an earlr i,rzz tune in a minor ke1 (although it ends in major):

ll Gm lGmDTlGm lG7 ll D7

| D7

lcm

lGrrr I Grn lA7

lCmG T lCm lCm

I

lD7

I

ll Gm lGm D7 lGm lG7

lCm

lc m lD7

lDl

ll G7 l G7

lFl

lF l

lB b

lc7

c'7

i!,/

lB b

ll

While there is a distinct blues flavor to this song, it is by no means a blues form (even though the first six bars hint at one). Again, dominant chords prevail wheneverpossible.

Ragtime Ragtime is not jazz, nor is it a precursor to jazz, but rather is a style that coexisted with jazz during the first two decadesof the twentieth century. Nevertheless, the two styles are closely related in significant ways, and many musicians, particularly pianists, were strongly associatedwith both jazz and ragtime. Jelly Roll Morton, for example, was a pioneer jazz pianist with strong ragtime roots. For the most part, ragtime was a composed instrumental genre, but there is strong evidence that in practice much embellishment and improvisation occurred during performance. It was primarily a piano medium, but ragtime bands were also important, some of them lasting well into the 1920s. James Reese Europe. for example, had one of the successful black orchestrasof the t910s. While his music was on the cutting edge of .jazzin rhythmic conception,it is best classifiedas ragtime. Clearly the two genres were intertwined during the early years of the century, and one style cannot be understood without some knowledge of the other. Ragtime is characterizedb1' a \\'ncopated melodic component set against a solid rnarch-like accompaniment. Indeed, the primary structure and harmonic materials of ragtime came directll' frorn the march tradition. Ragtime is generallyplayed strictly-the cighth notesdo not swing. Although srving interpretationsof rags can be heard on earlv recordings,most ragtime c()utposerqclearly wanted their compositionsplal'ed exactly as w'ritten,and most ragtime authoritieswould tiown upon an,vsignificant altering of the rhythm. That being said, authenticrecordings and piano rolls made directly fr-om ragtime practitioners indicate that subtle iilterationsof tempo. touch, note length, and rubalo rvere indeed significant elementsof ragtime perfbrmancc.This u'as bv r.routeans"mechanical" m us lc. like AABRags r.verehighly' structuredin firnn. Although countlessvariationsare possible.ali follou' sontetl-ring BCCAA. Each letter represeutsan cight-bar strain.Strainsare usually repeatedliterally, but single strainscan also much like the trio of a march. occur.The middlc section,represetrted by C here,rvill usually go to the subdonrinar.rt, Belon' are some r,vell-knownrags that musiciansare likelv to encounterin the early jazz repertoire: "Maple l-eaf Rag," Scott .loplin, 1899 "The Entertainer,"Scott Joplin, 1902 "Eccentric," J.RusselRobinson, 1923 "Twelfth StreetRag," Euday L. Bowman 1914

AABBACCDD Intro AA BB A CC Intro2 DD AABBACCDD Intro AAI Intro2A2

R.agtirneexerteda strong influence on early jazz. Although we now view the twct as distinct mr.tsicalstyles, such distinctionswere not at all clear cluringthe first three decadesof the twentieth centur)'.N4anyjazz bands used the term "ragtime" to describetheir rnusic, commonly incorporating the word into titles of tunes that do not fit our presentdefinition of ragtirnelbrnr. The confusion is not surprising."Ra,egirlg"\)!asthe processof addrng syncojust as 'jazz-ing" was a processof adding embellishmentand rhythrnic variation.Moreover, the pation to a n'reloclv structureof manr early jazz tun..i. with their multi-sectionalform. contrastingthemes,and modttlittions,derives directlv fron the rastin.letradition. This r.villbe discusseclin more detail in the tbllou'ing seetioll.

198

JAZZOL()GY

EarlyJazzSongForms Early iazz tunes typically had titles containing lvords that appearto describethe fonn (e.-e..rag. one-step,blues. cakewalk, or stomp). But that is not quite tl.recase.As we shall see,labels for song fonns \\iereverv loose at that time. Just becausea song u.ascalled somethingdoes not mean that the structurewill necessarilyfit into our present conceptionof what that form is supposedto be. A composeris free to chooseany designationfor a composition that he or she deems appropriate.There is no requirement to properly label works according to category. This has resulted in confusion about fbrm and structure throughout the entire history of Western rnusic. Moreover, what a term designatesat one point in history nray not be the same as what it means at another tirne. This is particularly true of the words "rag" and "blues." tenns that had very broad meanings then, but have con-leto have quite spec if ic im plic at io n sn o w .

Blues The word "blues" designateda much broadercollectionof songtypesin the 1910sand 1920sthan it doestoday. Many bluessongsfrom this periodare not twelve-barstructuresat all. Othersthat are twelve-barstructuresdevrate significantly from the basic blues pattern and oftentimesevoke very little blues quality or sentiment. Conventionalwisdomhas it that the blues startedout as a chord sequenceinvolving triadsbuilt on I, IV, and V. As musiciansexperimented with the form. so the story goes,substituteharmonieswere graduallyadded,until. by the end of the bebopera,jazz blueshad evolvedinto a far morecomplexharmonicstructurethan it had beenseveral decadesearlier.In actuality,however.bluesprogressions were likely to be loadedwith extraneouschordsas earlyas the 1910s,ascanbe seenin this tl,picalprogression:

ll Eo

lE bT l.{t

lA'

I Bb

lc i

I F7

lB b T I E b

lt

This chordsequence wasnot at all unusurllor an earliibluesprogression. It would appearthatmany,ofthe reharjazz were availablelrom thc earliestdairsof jazz monizedchordsthat w'c norv associatc\\'ith pclst-bebop recordin-e.

Multi-Part Structures An examination of several classicjazz standardsfiom this period will give some indication of the tbrms that improvisersworked from as well as the pr)tentiallymisleadingnatureof song titles. Belou'is the jazz classic''Jazz Me Blues" (1921) by Tom Delaney.

ll:Eb lEbBb7| Eb

I F7Bb7I Eb

l l Bb 7 l c"

lBbi lBbi li

l l :c 7 l C 7

lF7

lF7

l l :C 7 l ct

lF7

lF7B b7lE b

I Eb

I C. sb I Bb7Et :ll

l B r T lB b T lE b

lE b

: ll

I C*

lc l

lF 7

lc l

lB b T lE b

lE b :l l

Although the multi-part structure follon s no prescriptive form, it clearly derives fronr nrarch and ragtime inflttences.Solos occur on the secondsectiouonlv. and the entire tbrrn is plaved for the final statcn.rent of the tune.

CHAP'|ER I3

199

"RoyalGardenBlues"(1919)by SpencerWilliams and Clarence Williams itctually contains a biues enveloped within the largerstructnre:

ll FCTIF

cTlF CilFi

lB b A T lB b A T le b a z ; n b

lc j

lcl

lF B b I F c j l l

Il F C7JF C7 | F Cl lF7

lBb A7 lBb A'71eb ez 1nb

I cj

lcl

Itr

lF

il

ll F7

lF7

lFl

lB b

lF

lc 7

lcl

lF

tF

ll

llFT

I Bb

I B bm I F7

ll

lB b

lE t

lG 7

lc j

lF7

lBb

lBb

ll:eb lB b

lF7

lB bi

lB b

lF

lE b m lB b

Theoverallstructure is AA B InterludeC, wheretheinterlude carriesoutthemodulation to Bb.thesubdominant. SolosareoversectionC. Noticehow substitutions areinserted intothebasicbluesprogression thatallowfor the prominence of dominant7thchords. An exampleof multi-sectional formin a minorkey is seenin "That'sA Plenty"(1909)by BertA. Williams. ll Dm lD-

lDm

lDm

lA 7

lA t

lD-

ll Dm lDrn

lDm

lDrn

lA 7

lA 7

lDmA T lDm ll

ll c7

lc7

lF

lF

lc l

lc l

lF

lF

ll

uc7

lcl

lF

lF7

lB b

lF DT lG T CT lF

A T ll

ll Dm lDrn

lDm

lDrl

lA l

lA 7

lDm

ll D*

lDn

lDm

lDrn

lA 7

lA 7

lDmA T lDmF T ll

ll B t

lB t

lG7

lG7

lc i

lF 7

lB ,

lF 7

ll

ll B b

lB n

lc7

lcl

lc i

lt ri

lB ,

lB b

ll

ll D

ID

lD

lD

lF

lF

lF

lF

lF l

lA 7

ll

lDm

ll

lF 7

lF l

lFt

ll

Theform requiressomeexplanation. Theoverallscheme is AA BB AA CC D. SectionD functionsas a "break strain" or "dogfight." creating tension in anticipation of the return of the C strain. Solos occur over section C. After the last solo is played, a variant of C is played with repeat, fbllowed by the original C strain with repeat as the out chorus.Thus, the overallplan is actually AA BB AA CC D solos D ClCl CC. There are scores of rnulti-sectional .1azzclassics, and the schematic plans vary wideiy. The above discussion is merely a brief overvier.vof how these structures are put together. Those interested in pursuing the study of early jazz are urged to listen to the rnany recordings of thesejazz standardsthat have been accumulating since the early I 920s .

JAZZOLO(;\'

Improvisational Strategy Certainlr,the original creatorsof classic jl.t.z did not have to think about how to improvise to it. Their"ears.training, and erperienceswere all thev needed.But for musiciansrvho developedto maturity':rfterthe adventof bebop, which is virtually everyonc reading this book, the situation is different. In short, our fingers are programrned to play things that are simply inappropriatein classicjazz. Some musiciansrespondto this bv over'-reacring-trying to play in a sirnple and elementary style rvhen playing traditional jazz, avoiding upper structuresentirely and mechanically running up and down triads. This is to be avoided. By studying the solos of the jttz.zmastersprior to bebop, it is possible to learn how they approachedthe ar1 of improvisation. If it is impossible to ever sound like them, we can at least approach their music with integrity and procluceviable improrrisations of ollr orvn that are true to the style. Listening is essentialwhen studying early .1azz.One cannot exaggeratethe imporlance of learning recorded solos. Stories are legion that describe the dedication with which musicians studied the solos of those they admired. Drummer Ray McKinley once told how he met Tommy Dorsey in a restaurant and they regaled each other by singing Louis Armstrong solos from memory. Benny Goodman claimed to have memorized all of Bix Beiderbecke's ssl6s-sn the cornet! If those who lived during the same era as the early lazz mastersfelt the need to learn their recordings, it must be much more important for us to do the same more than a haif century later. Here is a list of guidelines for playing classic jazz: 1. Use care and economy in the selection of notes. 2. Do not become locked into the chord of the moment. Think of broader harmonic areasand the overall tonic key. 3. Generally, it is best to search for common tones rather than guide tones. The jerky effect of riding the changesis generally not appropriate in early jazz. 4. Referencesto the melody are ah,r'a1's appropriate. Ignore nonessentialharmonies. If a fast harmonic rhythm occurs (such as during a turni,rround)do not try to incorporatethose chords into thc improvised line. o. P ent ut o n i cs c rl e si l rc q u i te l p p rrrp ri u te. 1. Ntelodic repetition.alteration.ancldevelopmentare useful. There should be an inner lo-uicto the line. 8. Plal' with the listener'sexpectations.Surprisesare welcome. 9. Introciuceblue notes where appropliate. 10 Use natural gths and l3ths tieelr on major and dominant chords, eren in conslictt,rtLsplaces and fbr extendeddurations. This lis t is . of co u rs e ,a b ri e f d i s ti L l a troonl ' a col ossalbody of recordedcl assi cj azz.To show ' horvthesepr inciples might play out in actual irnprovisation.a srrnple solo is provided on the follor,vingpage. Readersale encouraged to listen and transcribeori-einaljazz solos from the period. Highly recommended are the Louis Armstrong Hot Five and Hot Ser,enrecordings.as rvell as any of the recordedsolos of Bix Beiderbecke.

(,HAPTER I.]

2OI

TRADIilONALIAZZSOLO -il

NloderateSu'ing ., = 100(.1 = -, ) -\ C7

202

.IAZZOLOGY

CFIAPTER

PRACTICING WT{Y,W&HOS[? Several months before this writing, I asked a colleague how his summer was going, anci he replied, "Oh, just trying to find time to practice." Another said. "I've got so much administrative work to do that I hardly have time to practice." But a more fortunate acquaintancementioned, "I practice in the moming and go to the beach in the afternoon." Lucky him. It seemsyou can't talk to a musician without the word "practice" coming up. it's what w'e do, what r.vethink about. It's what bonds us as few non-musicians would understand. A11of us-music students. teachers,and pertormers alike-recognize and accept the need to practice regularly. Yet we never seem to have the time to practice as much as we want. With such restrictions on our time, we want to make the most of each practice session.How should we invest these precious blocks of time? Veteran musicians generally have worked out a strategy to deal with restricted practice time. Years of experience have taught the seasonedmusician what needsto be practiced in order to keep in shape and to meet upcoming challenges. But studentsneed to give some thought to the subject. To assertthat "my teacher tells ine what to practice" does not sutTice.You won't always have a teacher.Some teacherswork only on specific material at lessonsand assume that studentsare practicing in a well-rounded fashion. Others are there to otfbr help ancl guidance, but they allow studentsto develop according to personalstrengthsand interests.Clearly. it behooves the studentto give some thought to structuringpracticettme. Deciding what to practiceduring a given practicesessior.r is largely influenced by hou' long that sessiont'ri1l be. It is important to understandwhat can ancicannot be ctTectivel)'practiced\4'ithin a gir.'enpertod of time. frying to cram five or si.r activiiies into a thir:ty-rninutesession.for erample, r.vouldbe foolish. On the other hand. spendingthirty nrinuteson a single activity lvill lirnit overall dcvelopmentand progress. A half hor-rrof scalesand arpeggioscould be an eff'ectil'ecomponentin an ertended practicesession.but rt would be a rvastefulway to spenda complete session.A happy medium rnust be struck. Studentsnust leam to pacc themselvesthrough longer practiceperiods. When practicc sessionsbecome extended, it is importantto make sure they don't turn into hours of drudgely. lf- somethingisn't tun, r.vesiniply won't do it, at least not for very long. An hour of tonguing exercisesor tw() hours of scalesout of a pattet'nbook are ttot activities that any hurlan bcing should be subjected to. The longer a practicesessionbecomes,the rnore it shouid resembleactual performance.Drill, isolation,and repetition are essential elements of practice. but you can't do these things all day. Go easy eu such activities. Remember, the ultimate goal is to make music. Charlie Parker is reported to have practiceclfifteen hours a day when he was young- Later in lit'e. Parker owned a farm in Pennsylvaniawherc he would relax when he wasn't working. But he still practiced.I once spoke [o a man who had lived near Parker, and he told me that Parker would improi,ise on songs all day-sometimes playing the same song for hours on encl.Was he working and concentrating?Yes. Was it hard work and drudgery? Not at all. If I played like Charlie Parker, I'd play all day too. So let's get to specifics.Assuming that ne don't have fifteen hor-rrsa day to practice-artd u'e dol.r'tplay like Charlie Parker-what should we do with our practice time?

CHAPTER14

203

A Daily Routine o1'clriilsanclpracfice ittutel'ialthat It's almost intpossiblenclt t.o fall into a daily routine. All of us fincl a seqLlence good thrng.bLrtwe want to be sure a This is rvhat doesn'1. and works for us t'hat time. We leanr us over to appeals want keep them l'lerible enough to We to also habit. rather than through thou-sht rhat otrr claily,routines clevelop practicesessionsof vat'l'ing lengths. acconrmoclate Long Tones This is tbr hom piayers especiali-v.but guitaristsand bassistsshould not overlook the value of rvanling up with long notes as a \vay of making sure they have good tone and a solid connection with the instrumetlt.As a saxophonist, I alwavs begin my pruerrcesessionwith long tones. Some piayers don't dci long tones: others swear by them. I like therl. To me they l'cel like stretchingbefore exercise.It's a way"of easing into things. I never fiet, worry. strain. or become exaspcfatedabout rny tone when doing long tones. Instead.I just try to relax and get a big. unrestrictedsound. I think about breathing, posture, finger position. and all of the physical elements of perfonning. The magic of long tonesis that they afford us an oppofiunity to exarnineour playing habits at close range.It's our chance to have complete control. How many times have we all tried to cotrect a bad habit, such as a faulty finget position or poor posture, only to flnd that we fall back into the same rut when challenged by difficult music? Long tones take the heat off. We can stand in front of a mirror and fine-tune every detail of our performing technique, a big first step torvard establishing permanent good habits. Remember, when you practice. ),ou are reinforcing how you sound and how ytlu f-eelat that moment. lf you don't like how you sound, or if you feel nervous or tense, then stop. Find something else that works for you. How much time should be spenton long tones?It dependson how much time you have. Some days I spenda couple of minutes on thern.Other tlays I spendfive or ten minutes on long tones and then come back to them several hgurs later if I fcel therttension irasenteredinto my playing. Use long tones i1sa tool when you need them. Melodies playing meloclicsis a great wa\ to develop tone, intonation,and interpretaticin.Like long tones,they can be usec to reduce tensionanclfocus on rhe most basic skills involved in playing an inslrurnent.In arddition,they ernbody; central concept. r,vebccome so invoir ed in working on scales.technique,pieces,and lange, thiit rve forget rvhatour pri' Son1etir1es if you can't plity a sirnple melody and make it sound goocl?I'vt orities are. Of uhat use is play'itrgany instrr-rment but soundet kngvyn studerltsg,ho cogld ptai ell their major scales.read well and play dif'ficrrltpiecesaccr,rratel-v-. r'vrong trlrck. on the iire students such t)bviously. terlible plal,ing a siurple song.

I pagseto pla)' u f-ewgielocliesrnanl'tinrescluringpracticesessions,jr-rstfbr tun. I especiallylike slow tttovetneutl l) Playing from memory is impor b1,Bach, Vercliarias,and Billl Srravhonrsolt-ss.(How's that for mixed cornpan"vi tant, as it helps get Llspast tratrsfrrring written notes to sound and puts us closer to utlderstandingthe song as whol e .

Scales and Arpeggios how mant Scales iind arpeggios prepare Lt\ to play patterns we are likely to encollnter in reill music. No miltter piecesyou practice,you will rlcver cover all of the possibilitiesthat can be included in a sirnple scale-and-arpeg gio routine. it's a good ide; Generally,oncc all of the ntqo; rrndminor scalesare learnedalong with their associatedarpeggios, "Finge "Daily Studies," as such titles have to turn to one of the many pattcfrrbooks that are available.Theseotten entiret' in its volut'nes of these Exercises."anclso fbrth. Sincr-it woulcl be nearly irnpossibleto play through one each day, utost llusicians just itick a few flu,oritesor rotate them over the *'eeks and llonths. he u'as u'orking ol It is important to understanclriltv rve practice scalesand atpeggios.I once asked a studentif if hc rvent to battrngprac his scales.and he replied. ''l a1rtad1,know them." That's like asking a baseballpiayer the the reply "l alrclcly know hor,vto bat." We do the same exercisesor'er and orer again because tice anclgettir-rg them' u'ith done and are arvay thetti put can we that are. in 1act,excfcises-Thel,ilic neYer"leaned" in the sense 201,

TAZZOI-OG\

The first step,of course.is to learn the con'tct notes.Then they must be played evenly, at a reasonableternpo,rvith proper articulation. But an il'rportant benefit of scalesand arpeggiosthat we sometimes forget is that they are tone studies.It's one thing to single out a note and play it with a big erpressivetone; it's quite anotherto get that same rone when passingthrough it in a seriesof sixteenthnotes,This is a skill that the best instrumentalistswork on all their lives. Etudes Although 6tude is simply the French word for "study," the designationmeans somethins ntore to a musicjan. Music that fits this description generally goes beyond the "daily exercise" and qualifies as a musical composition. On the other hand, the purpose of such a u'ork is pedagogical. So we might call an etude an exercise whose purpose is to instruct while soundingas rnusicalas possible. Since etudes are intended to instruct, it is important to go back to them once they are learned. Review is important. At some point, most musicians find it rnore advantageousto continue practicing the etudesthey already know, rather than learning new ones. The real value of an etude begins only aftcr the notes have been learned. Then it becomes a valuable instructional tool for future use. It would be folly to work through an entire etude book over a period of several months and then permanently abandon it, placing it on the shelf. Learning should be cumulative. The musician seeks to create a repertoire of music that has been mastered,not a list of pieces that were learned and then forgotten. Pieces Scales, studies, and exercises have one overriding purpose: to teach. Musical pieces, on the other hand, may not have been written for this purpose at all. A musical composition stands as a work of art and is not necessariiy intended to be instructional. This calls for a different practice strategy. Etudes generally include something of eclucationalvalue in every measure.It is expected thiit students will practice such exercisesin their entirety, oilen playing them from starl to finish without stopping. This is rarelv a good approach to learning an extended musical composition. except in the final stagesof preparrrtion. Piecesrequiremuch thought and fine tuning. Passagesneedto be isolatedand carefully worked out. Articr-rlations. dynamics,and countlessnu:incesneed to be considered.Piecesare essentialin the developmentof interpretation ancl musicianship,but these skills won't be acquired through sheer repetition. Patience iLndcotlcentrationare required.

Putting It Nl Tcrgether So what should a typical practicesessionconsist of? This, of course,dependson many factors-the instrumeni, For advancedwind players,practicing betweenone and time available,personalgoals, and level o1'clevelopment. two hours a day and dividing the practicesessioninto thirds is a common strategy. For instance,you might begin a two-honr sessionwith tbrty minutes of basic exercises,incl-rding long tones. tonguing or vibrato studies, scales,and arpeggios. The next forty ntinutes will consist of etudes, with part of that time spent on learning new material and part on review. The final forty-minute segment will be devoted to pieces, orchestralexcelpts, improvisation,and sight-reading.This basic plan leavesroom for tlexibility. includes much variety, and provides a u'orking strategy toward effective use of practice time. Practice Should Be Fun, But It Must Involve the Mastery of Realistic Goals How cloyou get studentsto practice?In an ideal world, every studentwould show up tor lessonsprepared.attentive, ancleager to learn. All the teacher i,r'ouldhave to do is dispense knowledge and expertise. u'hile the student enthusiastically absorbeclthe material, eager to hurry home and practice for next week's lessotl. I may have had one or two studentslike this. I may even have been such a student(otf and on). Unfortunately. it's not the norm' practice Many studentshate to practice.Some do it any,waylsome don't. \Vrthoutquestion,motivating \tudellts to is appropriate this do to teachers help is an essential part of a music teacher's job. One technique that can goal-setting. CFL\P'ITR 14

205

A goal is the end towiird il'l"tichan effort is directec'I. Whcn studentspractice ir.rorder to learn an etude, impro'e lacilitf in the key of Ab. or-rrake their high notes more resonant,they are involr.ed in goal-directedbehavior.Thcy realize tltat a gap exists betw'eenthe present situation ancl the ideal situation. Goal-setting establishesa path betu'een"where studentsare" and "where they rvant to be." Goal-settingimproves perfbrmance in several ways. Firsr. it directs attentiolrto the task. (If I don't practice this etude' I won't learn it.) Second,goals stimulaie the indivicluaito apply elfbrt. (l really w,antto leam the etude,so I'm going to try hard to learn it.)Third, goals encouragepersistence.(I'd really like to do something else today, but I promised m-vselfI'd learn that etude.) Fourth, goals causestudentsto invent personalsrrategiesfor attaining them. (Repeatingthis etude over and over doesn't seemto be working. Maybe I'11try playing through the difficult s ec t ion ss l o w l y .) Goals that are clear and specific, not too difticult, and attainablein the near future tend to be most effective in motivating students-Learning a specific etude is a clear shon-term goal. But what about more complex goals, like improving tone? In this case,the goal must be translatedinto a task that is a proven method of attaining the goal. For example, a student may assign himself the task of practicing long tones for five minutes each day. But the task musl not be confused with the goal. The student must never forget that long tones in themselves will accomplish nothing. If performed conscientiously and carefully, they can serve as an effective tool in developing a fine ione. If they become mindless drudgery, they will not improve one's playing and can actually be harmful. The long-term goal must always be kept in mind. even though it is approachedthrough the application of a daily task. Set goals that can be reached so that the student will experiencea feeling of accomplishment ancl closure. When I studied flute with Harold Bennett. his procedure was to assign a new etude at each lesson. Occasionally, I arrived at my lesson without having fully' prepared the etucle.He never asked me to repeat the assignment. Instead, he worked with me as best he could on the iil-prepared etude, advised me to go back to it when I got a chance, then mor''edon to a nerv etude. Thus the feeling of momentum-the move toward attainment of a series of short-term goals-r.vas not broken. ln recent years, eclucationalpsychologistshave reachedthe conclusion that retention (failing a student for the entire school year) doeslt't r.i'ork.Although this traditional method of ensuring that studentsare adequatelypre, paredfbr the next gradem;ikcs sensefrom the school'sperspective.the etlects on the stuclentrun contrary to everything that motivatesa human being to learn. The sanle is true fbr music students.Having to repeatan assi-gnment for three or fbul consecutivelessons("until )'ou get it right'') itri'iictsa tclrible blow to the student'senthusiasm.The studentllay e\,elltuallylearn the materiai. bLrtconcludetlut practiceis no fun at all. And the musicianwho hatesto practiceuon't be a musician for lon.q. To bctter utrderstandthe concept oi' rnotivation,it is helpfiri to r,'iewits origins as either intrinsic or extrinsic. Intrinsic motit'ation stemsiron'rintcrnai interest,culiosity. or enjoyment.The intrinsically motivated studentdoes t.totneed threatsof punishnteutof promises of rer.l'ards.Such studentsenjoy the activitrr itself and the senseof accon'rplishment that it brings. Extrinsic motivation depends on external factors, such as rewards, pressurcs, punishment. or fear of embarrassment. Studentsdo not seethe activity itself as rewarding,but focus on the gains that will occur becauseof it. There is nothing wrong with extrinsic nrotivation. We use it every time we pay someone for work or give grades. N4aximum perfortnance is likely to occur when both internal and extemzil motivation are involved. Practicingis hard work. Unless thc student finds some satislactionin the activity of practice itself, it is unlikely that external rewardswill be sufficient to sustainthe individual throush lons hours of scaiesald etudes.How do you get studentsto enloy practicing'? Part of the solution is to encouragestudents to become task-invoived rather thait ego-involr,ed.Task-involved learnersare focusedon their ou'n activities and not concernet'lr.l'ithhow thc-vcolnparer.rith others.They are internally competitive lLnddelight in thcir own improvement.They enjoy lneeting challengesand don't ciire how they look to clthers. 206

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Ego-involvecllearnersare preoccupiedr.viththemselves.They want to appearto be accomplishedand succcssful, no matterwhat it takesto convinceothers.Ttt them it's the perfbrmancethat counts.TheY look tor shortcuts(sometimes even deceptions)anclavoid trying anrthing that might make them appeariucorlrpetentin front of others. Acclaimeclflutist Geoffrey Gilbert, teacherof JamesGalway, cautionedagainstpracticing fbr specific eventsand performances.''To progress,practice regularly... with no goal except to improve." he advised.Practicing ts the musician's laboratory.It's where the real rvork is done. Teachersmust not give youns musiciansthe impresston that practicing is a necessaryevil, a painful procedureto be endured for the results it u'ill bring. This rs a prescription for frustration and f'aiiure. it is imporlant that studentsreceive assignnrentsthat are of an appropriate level of ditiiculty. Students should 1'eel challenged,but not frustrated.This range tends to be narrower with beginning studentsthan with more advancedones. Advanceci studentsknow how to assessa piece of music and approach it effectively. if a piece is too difficttlt. they slow it down, remove articulations, or work on smali porlions at a time. If a piece presentsno particular technical difficulties, mature studentscan make it challenging by focusing on attacks, articulation, tone, and pitch. In short, they understand that they are striving for improvement above all else, and they have learned how to adapt the assignmentto their needs. Young studentscannot do this. All they know is that they must learn the music, and they do this using the limited repertoire of strategiesthey know. Once a beginner has mastered a piece that is too easy, the student will iikely keep repeating the piece indefinitely, with no particular purpose in mind. Since the ear has not yet deveioped to the point where the student can critically addressfine points of tone and articulation. the student has derived rnost of the benetit the piece had to offer and is now just putting in time' On the other hand, if the piece is too ditficult, the studentwon't know how to approachit. For sonle reason.young studentsresistplaying passagesvery slori lr,. even if that is the only way they have a chanceof getting the llofes. It seemsthe),want music to sound like iru\ic at all times, which is not a bad thing. For the slttlrereltsoll-the,rresist segmenting music into small chunks that can be masteredone at a time. In short. the techniqiresthat allo\v Thereftire.it is crr:cial varietl of piecesare simply nol availableto be-einners. advancedstudentst9 tackle a r.r'icle that their assignntentslie r.i'ithin,br,rtat thc verge of. their capabilities. nts shoulclincir-rdepopr.rlar practicing shoglclbe tt-rn.Some teachersand publishersthink tiris means that assi-9nnie can also sel'\'els cOltcerts for preparation and activities music and relevant themes.Nlaybe they sirould. Band ncr acctlmplisht-tlentancl of tnitsterv a sense incentivesto practice.But przrcticingtvill bc fun only when it involves rnakirlg is sile he or rvho feels The ctlrdentlvho loves to practice is the one matter rvhat kind of music is p1a1,gd. steadyprogressanclwho enjoys the satisfactionthat comes fiom meeting and overconrinechlllenges. If practice Makes Perfect, Structure Practice Tirne to Deliver Maxirnum Eff'ect When I was a boy. mv parentstook me to Neu'York to experienceareal jazz club. I was il\\'estruckas I sat litlti watched frolr our tiont,ror.v table. It seentcclso strange to see and hear adults playing the saurebanci instrunents that m,v classtnatesand I played, and I urarveied at their elfortless facility. taken backstagewhere I met, among others, the legenclarytrumpeter Bobby Hackett' After the pertormance,I ra,,as He gave me an autographedpicture, rvhich I still have to this day, that contains one rl'ord of adr''ice:Practiccl ,,practice"is the guiding watchli,,oldof music teachersand studentsalike. Ah'nost ant' question inYtrlVing Surely How' can I correction, improvement. or progress r.vill elicit the same reply: Hou' can I get better high notes? improve my tone? How can I improve mv sight-reading? Practicel of rt. But beYotld If there's one aspectof practicethat ali nrLrsiceducatorsagreeon. it's thirt there should bc trlore thel' alreaciy tilr.re tlrc nlost of the merke that students ensure this commol clesire,p"rh,,p, there is more \\e can do to devote to practlce.

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Wl'rilesome studentshar''erestrictiotl5sn when anclr,l'herethey'canpractice,most har..ea varict1,,of options available to them. Should thev practices'ery day? Is it okay to take a clayoff? Two days'l Is it besrro pracricethe same arnounteach day or to designatecr-r'taindays as heavy or light practicedays'? Schedulingtime n'ithin the practicc sessionitself is anotherconcern.How shoulcltirlc be riil ided betu,eenscales. lessonmaterial. pieces.sight-readrnu,band music, and so on'l Shoulcleach practice sessionbe the samc? Should Vou keep playing scalesonce you know them? Should banclrir recital music be practicedto the exclusion of everything else as the perfbmrlanceapproaches?These are all questionsthat do not have a universalanswer.but neverthelessshould be _sivencareful consideration. When you're seriousabout a task, 1ou make a plan. This doesn't rneanthat you have to be restrictedby your plan; plans are meant to be changed. But having one will ensltre that things are not done in a haphazard,offhand manner. Teachersand studentsshould discuss long-term goals. Studentsshould ask themselves,"Where do I want to oe several years from now, and what u'ill it take to get there?" Goals do not have to be lofty or far-reaching. They can be as modest as wanting to pafiicipate in the school band or as ambitious as hoping to become a professional performer. In betu'een are many possibilities. Some students want to be competent performers but have no interest in pursuing a careerin music. Others want to be music teachers.Many simply want to participatein school music activities and have no interest in continuing with their instruments after high school or college. These are all viable goals {br high-schoolmusicrans. Studentsmust understandwhat it ll ill take to reach their goals. and I don't simply mean aclmonitionssuch as "if you expect to be a professionalmusician. you should be practicing three hours a day," and so fbrth. Beyond the itlrount of practicetime spent,the krnd of practice needeciwiil depenclon long-term goals. iUani' high-school studentssimply piay through their banclnusic occasionallyand then pracrice intenselv a t'eu' davs before the concert (rnuch the sarneas thel'prepare for examinationsin other subjects).Others have a weekI,t lcsson.u'hich rna,r-be devoted prirr-rarilyto band rlusic. N'loreserions studentsrvill have significant pieces to pfcparefbr their weekll' lessonsanclupcornins cornpctiti(rnsrrr uuclitions. But truly dedicatedstudentsrnust get past thc "preirrrling-tirr-thc-er.'ent" mentality. Even an intportrnt eompetition ot't'ecitalmust not nrake a significant interruptiorrin a student'spracticehabits. It tnust neye; be tgrsotten that the firnclamentalpurposeof practic:eis to improle. it rnight be possibleto crrul tbr a history test and gct irn A. but ovu'r--practicing one or tri'o picces of r.rrrsictbr a single event to the exclusion of evcrything else is not a wise approachto practice.The prttper attitude should not be ''l'r'e got to learn this by Saturclav."but rather, ''l'm sinrply working to improve. so that I rvill become the best nr us ic ia nI c a n b e .' ' i recirll a conversationwith a student during which we cliscussedwhich etudes ancl pieces he rvas working on. When I asked why his teacherdidn't require scales.he replied. "Well, she thinks I do thern. but she doesn't ask firr them at lessons."This studentu.as obviously caught up in the "prepare-for-the-event"rnentiility-in this case, thc ei'ent being his rveekly lesson. lt this studentwere looking at the big picture. he would not shortchangehiniself this way. I{e shoulcihave been askinghimself, "How much and lvhat krnd of practicemust I engagein over the months and i;earsaheadto become thr- kincl of perfonner I expect to be'.,"

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The.WeeklyPicture Befbre consideringwhat a rvisedistributionof rveekly practicetime rrrightlook like, let rne outlirrean unfortunate studenthas a lessonon Wednesday scenariothat sornestudentstend to fall into. Let's imagine that a h_vpothetical and keeps a practicelog tor the week. It mi-shtlook somethinglike this. Wednesday:I got through my lesson somehow. Now I need to relax and relieve the stress.No practice for me tonight. Thursday: ['ve ceftainly earneda day off from practice afier yesterday'slesson.I'll practicet{Jnrorrow. Friday: I think just a short practice sessionrvill be adequatefor today. After all, my lesson isn't until next week and I want to go out tonight. Now let me see-what did my teacher tell me about these pieces? It's hard to remember.

andSunday: Saturday ff?;|;Jili::j,T:;r."

sowhy I don'tgo to schoolduringtheweekend, overtheweekend.

Monday: My lesson is in two days. I'd better practice. I know my teacher told me things to work on with these pieces, but I can't remember what ihey were. Tuesday:I'm going to practiceall night. I'r'e got to get this lessonpreparedfor totnoruow. So the student comes into the lesson with a sore lip from too much practice the day before and has neglected to apply most of the advice that was given at last week's lesson. Somehow, he gets through the harrowing experience, reaclyto repeat the same mistake the following week. How can this cycle be broken? The first step is to put an end to the ''day-bctbre" syndrome. I think taking one day' a r,veekoff from practice is a granclidea. But I would recommendtaking off the day before a lesson.For one thing. the studentwill conserve strengthand be able to come into the lesson with improved tone anclendurance.For another.taking of[- the day before u'ill climinate any chanceof postponingpractice until the last rninute.Ideally'.practicetime should be distributed evenll' throughoutthe week. Marathon prectiee sessionsare not a goocl idea. But if sone days are to be heavier practicedtrysthan others,those da1,sshould be early in the practiceweek. First, the pressureof harinc to cranr is rern,,ved.Second,there is a psychologicalboost in getting a junlp staft on the week's practice.Pelhapsmost important. it is easierto remenibcr the teacher'saciviceshortly after the lesson. Letting a day or two go br- without consicleringa teacher'scomments and applying thc aciviceis a big mistake. During lnv lnore conscientiousperiods.I recall sitting down outside rny teachcr'sotfice after lessonsand jotting down evc:rythingI could rememberabout the lessonwhile it was still fiesh in mv nlitrd.

The Dailv Routine Daily routi.neswill vary clepenciingupon the instrument. length of the practice session, level of achievement, and a host of other particulars.There is no single specific routine that's right fbr everyone.llut the importanceof having a daily routine cannot be overstressed.Unfortunately,many studentsdo not foliorv a routine, but sirnply work through their practicesessionsin a randonr,disorganizedfashion.This should be discouraged. A reasolable approachis to begin with scales,followed by lesson material. and then band rnusic.Even studerlts with moderateambitions need to fbllou, a plan similar to this one'fo Many high,schogl instrumentalistsplay in the band but do not receive iveekly lessot.ts. think that their practice sessionsshoulclconsistentirely of band mrrsic is folly. A more reasonableapproachwotrld be to begin with some if scales,then play methoclicallythrough sonre previous iesson material. anclthen move on to band music. Evert in instrument the only ten rninutesare spenton scaiesand rer iew, at least some effort should be rnadeto practice a logiciil anil thorough nlanller' .FIA'TER

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Studentswith mtlre ambitious goals should, of course,adopt a more rigorous routine. A sequenceconsistingof studies,then etudes.then pieces,then other music, is a good one. By studies,I refer to scale and chord studiescontainedin method books. Serious studentsshould not simply play scalesand arpeggios off the top of the head, but should choose one of the many method books that are available. To an extent, it doesn't matter which one is used.as long as the studentselectsone and sticks with it. This initial, unchanging part of the daily routinc is perhaps the most irnpor-tant.I know working professionals who have no time to learn new nusic but find it necessaryto practice daily exercises from a favorite method book. There are probably as many opinions on how and what to practice as there are teachers ol music. A healthy responseto this sea of options is to adopt one and see it through. As with various endeavors in many disciplines, any system will work-if you work the system. The one thing that all systems have in common is that they promote organization and avoid chaos. Adopting an organized approach toward practice that fits a student's goals will ensure that time and energy are spent as wisely as possible.

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APPENDIX JazzStandards Jazzmusiciansroutinelytum to fakebooksusa sourcefor jazz standards. Typically,thesecoilectionspresenttunes in a conciseformat including only the melody, chord changes,and sometimesthe lyrics. Uniike collectionsof sheetmusicthat include formulaic,simplified arrangements, fake booksallow for stylisticdiversityand creative freedcrm. High-qualityfake booksfrom reputablepublishers(suchas the Hat LeonardReaIBook) are essentialto anyjazz musician'slibrary. Blue in Green-Davis Blue Monk-Monk Blue Seven-Rollins A Sleepin'Bee-Robin Blue Train-Coltrane Afternoonin Paris-Lewis Blues for Alice-Parker Ah-Leu-Cha-Parker Blues on the Corner-Tyner Ain' t Misbehavin'-Waller/Brooks/Razaf BluesWalk, The-Brown Airegin-Rollins Bluesette-Thieleman Alfie-B acharach./David Body and Soul-GreenAleyman/Sour/Eyton Alice in Wonderland-Hillard/Fain Bolivia-Walton All Blues-Davis Born to Be Blue-Wells/Torme All God's Chillun (Got Rhythm)-Jurmann/Kaper/Kahn Bouncin' with Bud-Powell AII of Me-SimonsAylarks Boy Next Door, The-Blane/lr{artin All of You-Porter But Beautiful-Van Heusen/Burke AII the ThingsYou Are-Kern/Hammerstein But Not for Me-G. Gershwin/I.Gershwin Alone Together-S chwartz/Dietz Bye Bye Blackbird-R. Henderson/Dixon Along CameBetty-Golson Byrdlike-Hubbard Ana Maria-Shorter Angel Eyes-Dennis/Brent Anthropology-Parker April in Paris-Duke/Harburg C JamISlues-Ellington Ask Me Now-Monk Call Me (CorneBack Horne)-Green/Jackson.Jr. Au Privave-Parker CantaloupeIsland-Hancock Autumnin New York-Duke CaptainMarvel-Corea Autumn Leaves-Kosma/lMercer Caravan-El 1ington/Tizol/I,Iills Camival-Evans Ceora-Morgan ChegaDe Saudade-Jobini Bag'sGroove-Jackson ChelseaBrid_ee-Strayhorn Barbados-Parker Cherokee-Noble Baubles.Bangles,and Beads-Wright/Forrest Cheryl-Parker Beatrice-Rivers Child Is Born. A-Jones BeautifulLove-Gillespie/Young/King/VanAlstyne Childrenof the Night-Shofter BemshaSwing-Monk ComeRain or Shine-Arlen/Mercer Bernie'sTune-Miller ComeSunday-Ellington Bessie's B lues-Coltrane Con Ahna-Gillespie BestThing for You, The-Berlin Confimration-Parker Billie' s Bounce-Parker Coral-Jarrett Birk's Works-Gillespie CoralKeys-Bishop, Jr. Black Narcissus-J. Henderson Countdown-Coltrane Black Nile-Shorter CousinMary-Coltrane Black Orpheus/Dayin tlie Life of a Fool-Bonfa Crisis-Hubbard Blamelt on My Mouth-Jarrett CrystalSilence-Corea Blue Bossa-Dorham CTA-Heath Blue Daniei-Rosolino APPENDIX

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Daahoud-Brown Dancing on the Ceiling-Rodgers/l Iart Darn That Dream-Van Heusen_/DcLange Dat Dere-Timmons Day by Day-Cahn/Stordhalnvesr()n Days of Wine and Roses-Mancini/Mercer Dearly B eloved-Kern/Mercer Desatinado-Jobim,Mendonc a Dig-Davis Dindi-GilberVJobim/Oliveria Dolphin Dance-Hancock Don't You Know I Care-Ellington Donna L,ee-Parker Doxy-Rollins

Easy Living-Robin /Rainger Easy to Love-Porler Eighty-One-Davis/Carter Elsa-Zindars EmbraceableYou-G.Gershwin/I. Gershwin Emily-Mercer/N{andel End of a Love Aftair-Redding Epi strophy-C Iarke/Monk Equinox-Coltrane ESP-Davis Eviclence-Monk l:

ii :ll i:; :.1

Fall-Shorter F'allin-gQpncs-g lvxl l0\v FiilIing in Lttve r,,ith Love-Rocigcrs/Hut Fee-Fi-Fo-Furn-Shorter F eel l- ik e M a k i n g L o v e -Mc D a n i e l s Five Hundred Miles High-Corea Fly N{e to the Moon-Howard A Foggy Da1'-G. Gershwin/I. Gershrvin Footprints-Shorter Forest Flower-Llol'd Fortune Smi les-Jarrett Four-Davis Four Brothers-Guiffre F r eddieF r c e l o a tl e r- D a v i s Freedom J277 Pnncg-Harris Funkarello-Evans

Georgia on Nl.vN4ind-Cannictrael/(lorrelI Giant Steps-Coitrane Gingerbread Boy-Heath/Intbel/De I,loraes Girl frorn Ipanema- Jobirn 212

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Gloria's Step-Lalaro God Bless the Child-Holiday/Herzog G olden Earrings-Youn g/Li r,i n,gston/Evans Gone witl"rthe Wind-N{agi dsonAVrubel Good Bait-Danteron Good Moming Heartache-Frshcr/Higginbotham,Drake Grand Central-Coltrarre Green Dolphin Street-KeperAVashington Gregory Is Here-Silver C roor i n' H i gh -C i l l espi e

Hackensack-Monk H:rlf Nelson-Davis H allucinations-Powell Have You Met Miss Jones-Rodgers/Hart Hello Young Lovers-RodgersA{ammerstein Here's That Rainy Day-Van Heusen/Burke Hi-Fly-Weston Hot House-Damerorl How High the Moon-Lewis H ow Insensi ti ve-Jobi m Hummin'-Adderly

TT I

I Can't Get Started Duke/[. Gershwin I Could Write a Book-Roclgers/Hart I Didn't Know What Time lt Was-Hart/Rodgers I'ci Like to Get You on a Slor.r'Boat to China-Loesser I Get a Kick out of You-Porter I Cot It Bad and That Ain't Cood Ellington/Webster I Hear a Rhapsody-Frajos/Baker/Gasparre I l-et a Song Go out of N{v HcaltElIingtonAlIi I I s/Nemo/lledmond I Love Lucy-Daniel/Adarnson I [-ove You-Porter I N,IeanYoLr-Monk/Hau.'kins I RememberCliffbrcl-Golson I RcmernberYor,r-Schertzinger/Mercer I SiroLrldCare-Cahn/Stordahl/Weston I Thought about You-Mercer/Van Heusen I Want to Talk about You-Eckstine I Won't DanceKern/Fields/Hamnrerstein I I/McHugh/Harbach I' ll Remember April-Rai e/Depaul/Johnston I' rn All Smiles-Martin/Leonarcl I'nr GettirrgSentimentalover You-Bassman/Washington I' nr Old Fashioned-KernA4ercer I're Got a Crush on You-G. Gershwin/I. Gershwin I (iot Rhythm-G. Gershrvin/I.Gershrvin ['r e Got the World on a Stling-Arlen/Koehler If I Should Lose You-Robin/Rarnger Ifl W ereaB el l -Loesser If You Could See Me Nolv-Danrerr)n lnpressions-Coltrane In r Mcilow Tonc-Ellington

Mood-Ellington/Mills/Ktrrtz In a Sentin'rental In Love in Vain-Kern/Robirt In WalkedBud-Monk In Your Ou,nQuiet Place-Jarrett In Your Own SweetWay-Brubeck (Back Home Again in) lndiana-Hanley/l\,lacdonald InfantE;,'es-Shorter Inner Urge-J. Henderson Invitation-Kaper/Webster isotope-J. Henderson Israel-Carisi It Could Happento You-Van Heusen/Burke It Had to Be You-Jones/Kahn It Might as Well Be Spring-Rodgers/Flammersrein II It's You or No One-Stvne/Cahn

Jeannine-NewelUConway The JitterbugWaltz-Waller Jordu-Jordan Joshua-Feldman Joy Spring-Brown Juju-Shorter JustFriends-Lewis/Kelmmer Justin Time-Styne/Comden/Green JustOne of ThoseThings-Porter Justthe Way You Are-Joel

KatrinaBallerina-Sharv Killer Joe-Golson Killing Me Sottlywith His Song-Fox/Gimbel

La Fiesta-Corea Oh. Lady Be Good-G. Gershwin/I.Gershwin Ladybird-Darreron Lament-J.J. Johnscx Laura-Raskin/Mercer Lazy Bird-Coltrane Let's Fall in Love-Arlen/Koehler Like Someonein Love-Van Heusen/Burke Limelight-Mulligan Line tor Lyons-Mulligan Little Sunflower-Hubbard Long Ago and Far Away-Kern/I. Gershwin Loop, The-Corea Love For Sale-Porter Gershwin Our Love Is Hereto Stav-G. Gershrvin/I. Lover-Rodgers/Hart Lover ComeBack to Me-Rornberg/Haurmerstein [l herman Lover iVIan-Davis/Ramirez/S Lucky Southern-Jarrett Lullaby of Birdland-Shearing/lVeiss Lush Lit'e-Strayhorn

Mack the Knife-Weil./Brecht Mahjong-Shorter Maiden Vovage-Hancock Man I Love-G. Gershwinfl.Gershwin Manteca-Gillespie/Fuller The MasqueradeIs Over-MagidsonAVrube. Mean to l\{e-Waller Meditation-Jobim Memories of Tomorrow-Jarrett Mercy, Mercy, Mercy-Zawinul Mi dnight Sun-B urke/\4ercer Milestones-Davis Minority-Jarrett Misterioso-Monk Misty-Garner/Burke Molten Glass-Fanell Moment's Notice-Coltrane Monk's Mood-Monk Mood Indigo-Ellington Moon Child-Jarrett Moon Rays-Silver Moon River-Mancini/I{ercer Moonglow-Hudson/Delange/Mills Moonlight in Vermont-Suessdorf/Blackburn Moosethe Mooch-Parker More I SeeYou-Warren/Gordon More than You Know-Youmans/Rose/Eliscu Mr. Clean-Hubbard Mr. P.C.-Coltrane My CherieAmour-CosbyA4oy/Woncler My FavoriteThings-Rodgers/Hamnrerstein II My Foolish Heart-YoungAVashington My Funuy Valentine-Rodger/Hart My Old Flame-Coslow/Johnston My OneandOnly Love-Wood/Nlellin My Romance-Rodgers/Hart My ShiningHour-Arlen/Mercer

Naima-Coltrane Nardis-Evans NatureBoy-Ahbez Neamessof You-Carmichael.fWashinston Nefertiti-Shorter Nica's Dream-Silver Nice Work if You Can Get It-G. Gershwin/LGershwin Night and Day-Porter Night Dreamer-Shorter Night Has a ThousandEyes.TheWei sman/Garrett/Wayne Nightin Tunisia-Gillespie Moraes No More Blues(ChegaDe Saudnde)-Jobim/De Now's the Tirne-Paker Nutvillc-Silver \PPENDIX

213

Old Der,il Moon-Lane/Harburg Old Folks-BreVB lau/Shuman O leo- Ro l l i n s On a Clear Day (You Can See Forel'er)-Layne/Lerner Once I Lor.ed-Jobim Once In a While-Edwards/Green O ne Not e Sa mb a --J o b i m Ornithology-Par ker Our Deli-eht-Dameron Our Love Is Here to Stay-G. Gershwinll Gershwin (You Came from) Out of Nowhere--Green/Heyman Over the Rainbow-Arlen/Harburc

ParisianThoroughtare-Powell PassionDance-Tyner Peace-Silver Pensitiva-Fischer PentUp House-Rollins People-StyneA4enill Perdido-Tizol. Drake/Langsfeller PolkaDots and N{oonbeams-VanHeusen/Burke Preludeto a Kiss-Ellinstor/Gordon/Mills

Quiet Nights (ol) Quiet Stars(Corcovado)-Jobim Quiet Norv-Zeitlin

(No Mc Esqueca)-.I. Hcnclerson Recorclzrme Robbin's Nest-Thornpson/Jaccluet Roorn 608-5ilver ' Rr'rund\{idnight--\{onk/Willi arns Rubl' N{1'Dear-Nlonk Rhythnr-A-Nin g-N'Ionk

r\ \ \_,, Salt Peanuts-Gillespie Sarnba De Ort-eu-Bonfa Sandu-Brown Satin Doli-Mercer/S trayhorn/Ellin-cton Save Your Love for lvle--Johnson Scotch and Soda-Guard Scrapplefrorn the Apple-Parker Searchfor Peace-T1'ner SecretLoi e-Firin/Webster Serenarleto a Bus Sciit-Terry $g1snn13-{nderson/ Parish Serenitr-J. Hender'orr Seven Stepsto Hear en-Feldman 211

.IAZZOLOG\

Shadesof Light-L-eu is Shadou'of Your Snrile. Tlre-lVlandel/Webster Shinl Stockings-Foster/Fitzgerald Sister Sadie-Silr er Skylark-CarrnichaeV Mercer Smoke Gets in Your E1's5-Kern/ Harbach So Nice (Summer Samba)-Valle/Valle So Tender-Jarrett So What-Davis Softy as in a Morning Sunrise-Romberg Solar-Davis Some Other Bluss-fol11ang Some Other Time-Bernstein/Comde nl I Green Someday My Prince Will Come-Churchill/Morey Someone to Watch over Me-G. Gershwin/l. Gershwin Song for My Father-Sih'er Song Is You, The-Kern/Hammerstein II Sonnymoon for Two-Rollins Sophisticated Lady-Ellington/Mills/Parish Soul Eyes-Waldron Spain-Jones/Kahn Speak Low-WeilNash Speak No Evil-Shorter Spring Is Here-Rodgers/Hart St. Thomas-Rollins Stablemates-Golson Star Dust-Carmichael/Parish Star Eyes-Depaul/Raye StarsFell on Alabanra-Perkins/Parish Stella by Starlight-\'oungA!'ashington S ttl mpi n' i l t the S i rrrr-rSanrp sonAV ebb/G o odrl an,lRazaf Strlrmy Weather-Arlen/Koehler StraightLife-Hubbard StraightNo Chaser-N'lonk S tl ol i i n' -S i h' er SLrgar-Pin kard/N4itcliel I S tutrnrerK now s. I l reLegrancl/A.Bergman/i\'l.Bergman Sr-r mmertinre-G. Gershu i n/Heyward SLrnny-Kern/Hamnrerstein Il (On the) Sunny Sidc'of the Street-McHugh/Fields Sr.ieet Dulcinsa-[1 nns Srveet Georgia Brown-Pinkard/Casey rT1 I

T

Take the "A" Train-Strayhorn Tangerine-Schertzi ngerAl ercer Tenderly-Gross/Lawre nce Tenor Madness-Rolhns That' s All-Brandt/Ha1 mes Thcrne for Ernie-Lacr Theme tiom "Gabriela"-Jobim Thc-ure.The-Davis There ls No Greater Lor e-Jones/Symes There Will Never Be Anotlier {ou-\tr'rxngn/Gordon

Things Ain't What They Used to Be-Ellington Think on Me-Cables Three Little Words-Kaimar/Ruby Thrivin' on a Riff-Parker Time after Time-Styne/Cahn Touch of Your Lips-Noble Triste-Jobim Tune Up-Vinson

Unit Seven-Jones Up Jumped Spring-Hubbard Up with the Lark-Kern/Robin Upper Manhattan Medical Group-Strayhorn

Yardbird Suite-Parker Yes or No-Shorter Yesterdays-Kern/Harbach You and the Night and the Music-Dietz/Schwartz You Are the Sunshineof My Life-Wonder You Don't Know What Love Is-Raye/Depaul You Say You Care-Robin/Styne You Steppedout of a Dream-Brown-/Kahn You'd Be So Nice to Come Home To-Porler You're My Everything-Warren/Dixon/Young You' ve Changed-Fischer/Carey

ValseHot-Rollins Very Early-Evans Virgo-Shorter

Wailbait*Jones Walkin'-Carpenter Waltz for Debbie-Evans Watch What Happens-LeGrand/Gimbel Wave-Jobim Way You Look Tonight, The-Kern/Fields We' 1l Be Together Again-Fischer/Laine Weaver of Dreams-Young Well, You Needn't-Monk West Coast Blues-Montgomery What erDifference a Day Made-Grever What Are You Doing the Rest of Your Lif'eLeGrandA. Bergman/M. Bergrnan What [s This Thing Called Love?-Porter What Was-Corea What's New-Haggart When I Fall in Love-Heyman/Young When Lights Are Low-Kahn/ Koehler/Fiorito When Sunny Gets Blue-Fisher/Segal Whisper Not-Golson Who Can I Turn To?-BricusseA.{ewly Wild Flower-S totharyHarbach./Hammerstein II Willow Weep For Me-Ronell Windows-Corea Witch Hunt-Shorter Without a Song-Youmans/Rose/Elisco W oody ' n' Y ou- Gi l l e s p i e Work Sons-Adderlv

.\PPENDIX

215

ii-V-I Piano Voicings

M INO Rii-V _ i3 . NO T EVO I CIN GS FORLEFTHAND T1'peA Dmlb5

B0m7D5

Cm'l

GTalt

gblatt

AbmT

p'f,mzb5

EDmlD5

-t Lm/2 )

-

G+ tm/P )

FTalt

c*lalt

BbmT

t +t m /

-t jb.m /P

tbtalt

obmT

(^* i r m -t/P)

_ t +b +r/alt

a +

Arn7b5

Bm7b5

.- -)l ,nl i D )

^ -t (rm /D)-

|": 2+ JAZZOLOGY

sblalr

EbmT

Type B

Dmlbs

GTalt

Cml

Cmtb5

BDm'/05

r,blatt

Abml

tbmtbs

oblatt

^l

lt?m

/

8r b- - -

P'f,mzbs

Emtb5

B7alt

Alalt

'-locct

-l

HPn r-l/P)-

Rblatt

Am7

Bmlb5

^ -1 (rm /?-)

Dbml

C-7alt

Cfrmlbs

Amzbs

^

F m /-t2 i -

Pfilatt

D7alt

Bm7

Gm7

EbmT

APPENDIX

2\7

MAfORii-V-l 3-NOTEVOICINGS FO RL EF TH AN D Type A Dm7

BbmT

rlim/

Ebnl

^l

CmajT

tizrral /

Abml

EmajT

Dbmal7

BrnajT

L fiITI/

Ama.17

FrnajT

218

JAZZOLOG\

_l

/ h.znra.l

Type B Dm7

CmajT

EDl

FfmT

EDnrT

Abmaj7

BbmajT

Cm7

AbmT

GbmajT

EmajT

ADl

DmajT

pfrt

Dbma17

BmajT

S vb- -'

Bm7

Gm7

E7

AmajT

FmajT

Am7

Fm7

D]

GmajT

-J

}r?maJ/

APPENDIX

2I9

MINORii-V_i 4-NOTEVOICINGS FO RL EF TH AN D I'ype A G7alt

l) nr / P- )

ebflbs

r,btatt

BTalt

Ffim iDS

_l

F-2 m-/tP-- )

em7b5

Gmlb5

220

Cml

AbnT

Eml

AbTalt

ETait

CTalt

JAZZOL()(;\

DbmT

Am7

CmTbs

tbmtbs

Emtb5

FTalt

obtatt

t--- m -t/P5

GbmT

ATalt

c#mzb,s p#tatt

em7b5

Bbml

Bm7

DTalt

Gm7

Bblalr

EbnJ

TypeB Dmlb-s

BbmD5

pfmzbs

_l

F.Am-1 IVJ-

CmTbs

Cm7

Eblatt

Cfimlbs

DDml

.

_t-

Am/P)

Bm7b5

^ -t(rm /2)

CTalt

Bbml

oblatt

(^lr P m l

t +r/alt

Bm7

Em7D5

B7alt

Ablart

ADmlD5

Abrn7

FTalt

Fm7

Fm7b5

DTalt

Gm7

EbmT

APPENDIX

MAfORii-v-t 4-NOTEVOIC|NGS FO RL EF THAN D Type A Bbmaj7

Bbm:-

rfimt

-l

t-Dt7'tI

Abml

EmajT

DbmajT

FnrajT

222

JAZZOLOG\

DmajT

L fi l n/

BmajT

EbmajT

Type B Dm7

BbmT

CmajT

pbt

Abml

BPmaJ/

obt

^I

UPmaJ /

DmajT

EmajT

F fi l T l /

Ebnl

AbmajT

^l

Cm7

l'bt

DbmajT

BmajT

t,i fnl /

3rb--

Brn7

E]

AniajT

FmajT

Am7

Fm7

D]

sbt

GmajT

-l

hpl naj /

.9r'F- - APPENDIX

223

MAfORii-V-t CADENCE tJStNG 3 /7 G U T D E T O NES T-vpeA DnrT

Cm7

BbmT

rfim/

_l

EDfi I

,r hr

^t Lr?m/

Am7

loco

GnrT

2)+

JAZZOI.(Xi\

r#t

BrnajT

Type B CrnajT

Dm7

Abmaj7

EmajT

EDnrT

AD1

DbrnajT

Cm7

BbmajT

AbmT

GbmajT

Em7

Lfrm/

p#t

BmajT

8rl r---

GmajT

Am7

Bm7

8vb-- -

Gm7

FmajT

Fm7

ebt

EbmajT

APPENDIX

MA|ORii-V-l CADENCEUSTNC SHELLS CnajT

BbmT

BbmajT

AbmT

^l / b2mal

r f i t n/

E,bm7 t

Bm7

Lttm

AmajT

FnajT

226

JAZZOLOC,\

/

GmajT

-l

hP l l raj /

Root-3rd Dm7

CmajT

BbmT

I'fim I

Ebml

AbmajT

B7

xbt

QmajT

Abml

GbmajT

Emj

A7

L fi In/

p#t

f,e

DbmajT

BbmajT

Cm7

DmajT

BmajT

8rb- - -

Gm7

Ama;7

Am7

FmajT

Fn-r7

GmajT

_l

E Plnal /

APPENDIX

227

Blues ChangesPiano Voicings

F BLUES USING3/7 GUIDETONES Type A

Ty.peB

228

IAZZOLO(;Y

F BLUES 3-NOTEVOICINGS Type A

ebt Type B

ba <>

F BL UE S 4 . N O T EVO I CI N GS Type A

rl cl

JAZZOLOGY

ANS\T/ERKEY Chapter 1 Exercises l. Identify the foilowing intervals.

ml0

2. Provide the folio"ving intervalsabove the given pitch.

br:

1-

VI

M6

Pll

3. Write the following intervals(from any pitch). m2

bz

+5

dimT

ANSWER KIY

4. Write the foilori ing inten,alsabove the given note t-

p-)

006

5. Identify each interval as either consonant or dissonant by writing "con" or "diss" below.

diss

232

JAZZOLO(iY

Chapter 2 Exercises f. identitythe tbllowingchords,labelinginversionsas lst inv.,2ndinv.. or 3rd inv

nbtbsrobzf rl -

or G7b52nd inv.

Fm(maj7t

Au 3rdinv

Ao T lstinv

stfrgbtt

F+7orF7b13

Ffo lstinv

CmTlstinv

Esusbg

DbrnajTf, lI

Ebmll

2. Build the fbllowing chords in root position.

AmB ()

Bm7

Fmaj7

o*g

D13

Ebm(maj7)C#mttbs

AbTsus4

Bmaj9

Emajgb5 Gfim(rnaj9) Ffit3sus+

ANSWER KEY

ebmSTrr emaitbspb

---l-

Bm iP)

G6

Dm6

Am13

F+7

Abmajg4tt CmTsus4

cs#rr

F#m(maj7)

FTalt

Bmajl3

3. Write the tritone interval(s) found in each of the follorving chords.

cfu

Emg

rc#tt

ebsfis

nbmajlbl

r.bmtbs

GmttbsBzbsfrn

l.bt

Dl3

Fmaj13

P#'ng

nbmsbsC7sus4b9 GTalt

4. Write the 3 rd l n d th e 7 th tl l th t' l o l l o$ i ne chords. (Donrinant l lth or sus-lchords have a P'lth inst eadof a 3r d. ) ArnT

Dl

Erna17

Ehfrcs

Am(maj7b5) ( i9sus4

231

JAZZOT,{)(;\

B bm7b5

Dbmajl-3

Em7b5

Go7

Fm7

Ffinrll

Bbm(rnaj7)

ffibsf'g

Abnrajg

G 13b9

^t-

bD /

EbTsus4

5. Identify each chord and specify whether it is best understoodas an upper structure(tiS), hl,brid (H_vb).or slash chord (Sl). Some structuresare subiectto multiple interpretations.

U

bti

',ti

++ti-

fi+ G

fl+

b+F Dm

Am1l US

BDmaj13 EDmaj9/F BDmajl3 Ebmajg/F Cmaj9fi11 Cmaj9ft11 US

Sl

A Bho Hyb

ozbg#ebl: US

US

w Hyb

Be#u

EmajZAfi

omajgf 1l

US

Sl

US

Am

A+

Eo

G*

D7sus4

Emajl3f,ll

Hvb

US

US

Hyb

^b,:4lBb SI

BbmajT/Eb SI

6. Identify each chord. All chordsare in root position.lf it containswrong notes or inappropliatcupper struetures, olace an "x" beneath the chord.

a"+

o

lo

Abmajg

X

Bm7

czilqbr:

C# m1 1

+

ctbgbtt

DbTsus4

X

G

L^

+

X

G8

Am(maj9) ctbg#fib::

Emll

Bbmaj9il11 FFOT

ANSWER KEY

X

2f5

(.hapter 3 Exercises l. Write the fbllouing majorscales.Write the namebelow,.

FMa.ior

Gb nta.;or

EMajor

DMa.ior

EbMaior

DDMa.ior

GMaior

A \Ia.ior

CMa.ior

ADMa.ior

B N{a.ior

Bb Maior

2. Writethefollou.ingscales. D H a rmo n i c Mi n o r

Fil Locrian

D Maj or B l ues

F Melodic Minor

cfi whole-Tone

Ab l,ta;or Penratonic

) i(r

Eb rulaloL

IAZZOL(X;\'

Db Naturai Nlinor

B Drlrian

C Altered

G Ly'dian( b7;

E Whole-Half Dimrnished

Db ln-Sen

A Minor Pentatonic

E Kumoi

Eb Dorian

G Harmonic Minoi

ob M ixolydianlftt;

eb Locrian( #2)

B Mi xol ydi an r D t).Dl .l )

C BebopDominant

Bb Minor Blues

3. Write the following scaleswith the appropriate key signature.In the spacebelow, indicate the relative major or lnlnor.

Ab Minor

D Malor

G Ila.ior

Rfilaa.lor

Eb Minor

B Major

Dfintinor

E Major

eb ltajor

Cf, Minor

BbMa.lor

cfi uino, -e

E NIa.ior

Gbttta.ior

G#Minor

Eb Minor

B N1inor

Gh NIaior

ANSWITR KEY

,{. Add flats or shiirpsto f-orntthe cttrrect scale

r Phrygian

F# N{ixolydian

Lydian

F Locrian

E Dorian

B Melodic Minor

Harmonic Minor

5. Write an appropriatescale for the follor,r'ingchords.Gir c the correct name. r6

C+ 1

Whole Tone

Dbm(maj7)

Ionian

rn/

Dm7b5

Mixolvdian

Dorian

sh|"g

ATsuszl

Nlirolvdian

238

N{elodic Minor

.J,\ZZOI,OG\

Locrian

Gm7

DiminishedHalf-Whole

Dorian

AbmajTb5

Lvdian

DiminishedWhole-Half

Dorian

Locrian (#2) B]3bg

Diminished Half-Whole

Em8(maj7)

Diminished Half-lVhole

N{elodic Minor

6. [NO ANSWERSPROVTDED]

7. INO ANSWERSPROVIDED]

8. What are the functions of each of thesechords in the followins siven scales?

A Minor Bnr7b,5: Dm7 iirnTb5

Elbg

ivmT

V13

P 4 mz b s I G n ra j7 I s m; ivm7b5

D Major A13 -

vimT viim7b5 iim7

Ebl _

Abg

tl m /

F Mixolydian Cm7 = Gm7: Am7b5 -BbmajT

VImaiT

VIIT

vm7

i i mT

i i i mTD 5 IVm a. iT

B HannonicMinor

Bbmtb5

D+maj7-

vrrb13#r1 iimTbs

III+ma.i7

GD13P11

B b mT :

viimT

Bm7 Cf,m7bS nml

EDnTvm7

Vma.i7

E Minor

AD Mixolydian(D13) t - LL

,+bttajor

Ci Lydian

-

EmsrfXlalt VTalt

Ai\S\\,ER KEY

)aq

9' ldcntify thekef in u'hichthc lbllor.r'ing chordswill har,ethe functioninriicateti Bm7 is vimT in rhekey of:

D Nlajor

AbmTis iiimT in the key of:

F Nlinor

Glm7b5is iimTb-5 in rhekey o1.:

Ff Nlinor

AbmajTis bVImajTin rhekev of:

C Nlinor

DmTb-5 is iim7b5in the key of:

C Nlinor

DbrnajTis blltmajTin rhekey of:

Bb Minor

AbmTis vimT in the key of:

Cb Ntajor

F{maj7 is IVmajT in rhe key of:

Cf Major

n?majl is IVmajT in rhe key of:

Ab Ma;or

Cm7 is vimT in the key of:

Eb Major

10. Notatethe following. The two maj1 chords in Cm. EbmajT, AbmajT

The three m7 chords in Eb.

Fm7, Gm7, Cm7

The three m7 chords in Ab.

The two rnajT chords in Cf .

Cimaj7, Ftmaj7

The two maj7 chords in Gilm. Bmai7, EmajT

The three m7 chords in Ci,.

Dbm7, Ebm7, AbmT

The three m7 chords in B.

C$nr7. D#m7, GbmT

The two majT chords in Ab

AbmajT, DbmajT

The trvo maj7 chords in Db.

DbrnajT, GbmajT

The two maj7 chords in Brn. Dmaj7, GmajT

The three rn7 chorclsin Ff;.

Gtnr7, A{m7, Df m7

The three m7 chords in A.

Bm7, C*m7. FlmT

The trvo rnajT cholrls in E,.

Ema.j7, AmajT

The two majT chords in Gr.

Gbma,i7,CbmajT

The three m7 chorclsin D.

Enr7" Fim7, BnrT

The three m7 chords in Bb.

Cm7, Dm7, GntT

Bbm7, Cm7. Fm7

The tr.vornajT chorclsin Ern. GnrtjT, Cma.i7

The two majT chords in Finr. .\rnaj7. DmajT

The three m7 chords in F.

The two maj7 chords in Afm. CrmajT,Fbmaj7

Gm7. Am7, Dm7

The two majT chords in C{m. Ema.j7, AmajT

The three m7 chords in Db.

Ebm7,Fm7, BbmT

11. write the following scales,vr,,iththeir modes on anothersheetof staff paper F Melodic Minor

A b N l e lo d ic N,lin o r

21,)

TAZZOLOGY

B lUe lt,r iic l v{i nor

lclodi c N ,Ii nor

[i Harmonic Minor

DD Han-nonic Minor

D HarmonicMinor

A Nleloclic lvlinor

12. Write the chord-scale relationship (in other words. harmonizethe scalewith 7th chords) for thesescalesancl modes.Show harmonic functions

G Ionian Gmaj7 Imaj7

Am7 iimT

Bm7 iiim7

CrnajT Dl IVmajT V7

Ff Phrygian FfmT GmajT im7 IImajl

A1 IIIT

BrnT ivmT

C{mZb5 Dmaj7 Em7 ya''| VImajT viimT

FfmT iml

F Lydian FmajT Imaj7

Am7 iiimT

Bm7b5 iiioT

Cmaj7 Dml IVmajT vm7

FmajT Imaj7

G'l II7

G Melodic Minor Gm(maj7)Am7 im(maj7) iim7

BbmajT C1 IIImajT M

Em7 vimT

P{m7b5 vllaJ

Em7 vimT

GmajT ImajT

Dj V7

Em1,b5 pfm7b5 v11o'7 vial

Gm(maj7) im(maj7)

F Aeolian Fm7 iml

Gm7b5 AbmajT BbmT fi47 IIImajT ivmT

Cm1 vmJ

Dbmajj Ebj VImajT VIIT

Fm7 im'Z

B Dorian Bm7 rml

C*m1 iimT

F{m7 vm7

Glm7b5 AmajT vloJ VIImajT

Bm7 im7

Dmaj7 E7 IIImajT IY7

G MixolYdian(rP,r13; G] Abmajl B"J n IImajT ;-jl1"l

Cin(maj7) Dm7b5 EbmajT*SFm7 i v m rrn aj T)vn7 V l maj 7d.5vi i mT

G]

B Locrian Bm7P5 CmajT t"J IImajT

Dm7 iiimT

ErnT ivmT

Fmaj7 Vmaj7

G7 VI7

Am7 viimT

Bm7b5

B Nlajor BmqT hnajT

DfmT iiimT

Enaj7 IVnajT

FIl Yl

( l i 'l T l /

vimT

A { m7P 5 viif'

BmajT ImajT

E Harmonic Minor Em(rnaj7;F$m7b5Gmaj7#5ArnT im(maj7)iioT IIImajTfSivmT

B1 Vl

Cma17 VImajT

D*'7 vii'7

Em(maj7) im(maj7)

BbLydian BbmajT C] IIl Imaj7

FmajT Vmaj7

Gm7 vim7

Am7 viimT

BbmajT ImajT

G7 VI7

A m /t-)

Cflm7 iimT

Dm7 iiim7

B Altered Bm7b5 Cm(maj7)Dm7 iim(maj7) iiim7 tal

b m /p - ' ) ivtt

Ebmaj7f,5F7 IVnrajT{5 V7

.

vlloJ

-l -

n

:n1

Bm7b5 107

13.-15. iNO ANSWERS PROVIDEDI

ANS'WER KEY

)4r

Chapter 4 Exercises l. Write nrajorand ntinorii-V-l eaclences in the followinskevs. Er lrrrple Dm7

Gl

Cmaj7

BnrTb-5Eibg

Amj

Gm7

C7

FmajT

EJ^"rt onbs etb: ry

Cfimzbs r#zbs smt

Fm7

Bb7

U^, nbzobmay crnbsyl|gn!^t

Bm7

E7 AmajT

Eg

A7 DmajT

cl-z

Ffi7 smajz e#mzbs ozbsc#mz

BDnT ED1.lbrnajT Gnr7D5C7D9 Fm7

F#m7 87 EmajT

Am7

Em7b5 A7b9 Dm7

cfmzbschbg F#m7

nfmzbs c#zbscf.mt

D7 GmajT P'#mzbs szbs Em7

2. Conr p l e teth e fo l l o u ' i n g i i -V-l c l d e nces. [)m705 GiD9

CrnT

Bnr7b5 E7b9

Am7

c'.mlbswbg BbnrT Anr7b5DTalt Gm7

ArnT

2+2

D7 GnrajT

IAZZOLOG\'

ryf

G7 Crnaj9

Ebml

r'fmzbs

1'bt Dbmajt

Bifr9 Em7

AbmT nfi

cbg

Cm7

Fl

B_!Ing_?

prn:bsolbg Gm7

DbmT

cbl cbn'ag

sbmtbsg,bzbg l'bma

Fm7 Fbl EDmajT

ctbsbgrmt Gmzbs

Am7b5 D7F9Gm(mai7) Bm7

Alrbg

ebmrbstbtbgDbmT

DmlD5 G7b9 Cm7

C7

Bm7

E13 AmajT

cfmzbsp#fugBn.r7

BD7 EDmajT

Fmaj13

3. Write turnarounds in the following keys. Answers mav vary. Example Cmajl Am7

Dm7

G7 Am7FfimlbSI3mlbSF7altEmajT

Dm7 Gm7

C7 AbmajT Fm7 BbmTEbT

.tb N,,ta;or

Egqq!s? bsC -ZLt r zattnmzc#mrbsclglgC:el, Bj* ri 7W cmzF7

Cm7Am7b5DmTD5GTalt

B Minor

q-q7 E*? ry

D7 Dm7Bm7bse*zbslzattDfg"jtllg]

F,bmTAb7 Amaj7Ff,rn7Bm7 E7

G Major

D Major

B Major

ANS TER KEY

2:+a

4. Cr c at c i i -V c h a i n smo v i n g u p u a rd b5ra M3rd. then dounr,vardby a N {3rd front {he ori gi nal . Exiirnple Am7

fr m / - h - +filr L^ fr

D]

FrnT

Gj

Fm7 eh

4rr1l

DbmT cbt

EbmT Ab7

Gm7

C7

E!n{/

Ab7

Dm7

G7

EbmT

Ab7

b

I

Dm?

Bb'7

Ffim7 B7

BbmT nb't

Dg

ADml D7l

BD-7 nbt

G7

Cm7 F7

Bm7

Gm7

B_m'/ A7

E]

C7

F#m7 B'7

Bm7

E7

BbmT Bbt

5. Creiite ii-V chains rnoving up$,alrl bv a M2nd, then dou'nuard by a I\42ndfrom the ofiginal

Eranrple Am7

D7

BrnT

E]

ClmT

C7

Fm7

ebl

Cm7

F7

Cm7

F'l

ryc7

I

Dm7

BDml

G1

Em7

EDl

A D mT D D l

211

.I.\ZZOL.O(;\

Cm7

A7

F7

LtDnnT Ebj

EbmT Ab7

P'f-z gZ

Gm7

C]

Dm7

Am7

G7

D7

Gf,m7 cf,7

BbmT Ebt

Fm7

Bb7

Em7 ^7

6. Createri-V chainsmor ing up and dor,vnchromatically.

Example Am7

D]

eb-t

AamJ obl

BbmT tbt

DDnT Gbj

Em'l

A7

Fm7 Bb1

EbmT Ab7

Am7

Gm'l

C7

LbmT r,bt

Ffim7 87

Bbn'fl

Fm7 sbl

Ff,m7 B7

ErnT

A7

b

Dm7

G7

BDmi EDl

ADnT DDj

g*?

A-l

E7

D7

w

D7

C7

FfmT B7

q4

c7

ANS\K/ERKEY

2t i

Chapter 5 Exercises l. a. ShowmajorandrelativerninorII-V-I cadences and analyzeusingbrackusingthefollowingkey signatures ets and arro\vs. b. List all possiblesecondary dominantsin thesekeyson anothersheet. c. Identifythe harmonicfunctionof eachsecondary dorninant. Exarnple Gm7

z,.---=> Fmaj7 EmTbS A7 C7 ---> Dm7

Fm7

'-> nh ebmajt Dm7b5 G7 ----z Cmz

t-->

AmajT

/-> c#r'r.bsch F#m7

Bm7

El

BbmT

'^: /--> F7 Abmaj7Gm7b5 Ci Fm7

,'--/ BbmajT Amzb5 Dl Gm7

/-+>

tf__:t

.__> -*

F l tmT

246

B1

ILZZOLO(;\

EbmT

Em7

r,-> l.bt obmaj'l Cm7b5 F7 ---> BbmT

z->

Em7

Cfrfl

A7

DmaiTCfrmlbSP#l

-->

Bm7

/--> pfu Bnrri.17 nilmzbsnfl---'-/G#m7

/_'/ /--> AbmT obt Gbmaj7Fmzbs sbt EbmT

,,,-->

/__z

.- - * - t - ^1EmaiT D { l n r7 F5 G} 17 -

Am7

,-> /---> D7 GmajTr'#mzbs B7

^))

C fi mT

Dm7

Gl

,-> Cmal7 Bra7b5 E7

Am7

2. a. Completethe follorvingandfill in thc blanks. b. What kind of dominantchordsarethese'/ c. Find all possiblesecondary dominantsin thesekeys Example

A7

G7 -------rr , a 7( - - 3

t

Bb7

Eb

3€-Tr TicJ.-

I

D

F7

B7

3rr-e1 -------Tr 7e 3

e-(l3

D7 G

C7F

E t

J <+--r'-!

7rr.-

€.3

sbt

Ab

1

3
7a__€.3 f <-l-r+

7€: < T3

^ 3

Bb

t

3@1 7Ct-€F

3

3. Completethe following chordprogressions and add harmonicanalyses. // Dbz

FmajT

-L tr./n raJ/L mi

Ffl

ebt

Gm7 C1 ll

-_ > I

Em7 .{7

Cl

BDml EDT tl

ADnT DDl tl

./

I

Dm7 Cf,7 IF fim787 ll

ll

Bbmajl

Bb8

a,_'z

Dj

." Gm7 cbl

z^-> -,/ F] Fm7 c7

,,-> ' A7D9 EmTb-5 Dml F7 L__--J-

^/,

,--/

F,bt

.>

-zt RDl

A7

4. Identity the key in which the following chords will have the function indicated. Use enharmonic equivalents where convenient.

G7 is V7lV in the key of; Db7 is VTAV in the key of: P{z is Vzlii in thekey of: E7 is V7/IV in the key of: 8"7 is vi1'lN in the key of: C{l is vzlv in the key of: Bb7is v7lvi in thekey of: Dfi"7 is vrr"l/lli in the key,of: F$'7 is vii"7/iii in the ke1'of: gbt is vllv in the key of: D7 is VTivi in thekey of:

F Major Db Nlajor A Major E Major F Major B Major Gb tt{ajor C Major Eb Nlajor Db Nlajor Bb Nlajor A .\5\\ E R K E \'

) 41

5' Analyze the following pro-Qressions indicating chord function. consideringharmonic structure.

a. ll Dm7G7 DT7 rrrr-t_ j -''"| 'L j ' ci.j

lnlz 9z

lavFto,,t

lA 7 b. llc

|DP T c. llA b

_1.-->{

lE mT lo m

lA mT

lD7

I

| __{ A m7 t Dj Gl

lq7

lc 't 'l

lFmT

lBbT Ebz

lBbi

lEr y7 A7

lDmT G7

--1

sbt

tl

/---:{

lE pT A j

lDmT G j

lC

lE mT

-{ lA7

lc7

I A7

l AmT D7

llll

f. ll 87

| E+7 {il

-l!

|

,---{ --1 C f7 l F # m78 7 l l G{m7 lllt L- - J r l llB T

lErnT A7

tl -{

---{ D7

C

-->{

_s. il 87

EnrT

| Dm7 Gj

lttl

h. ll 87

',_-{

| Em7

II8 7

I

ll c

----1 c7 lF

llc

c]

lF

.IAZZOLOGY

lDrnT G7

tl

I E m7

IA7

il

tl

- -{ lFmT Br7 | z\7

FnrT

6. [NOANSWERS PROVTDED]

218

lA 7

I Bb7

{ lA7

Chapter 6 Exercises 1. Voicc the foilou'ingchordsusing3rd and 7th guidetoneswith 3-notevoicings,.tr-nore v'oicings. drop 2, ancl drop 2--1.For the purposes of theseexcrcises suggested rangelimits may be exceeded. Exampie p'bt Cm7 Em7

ubo

U \'( - '

G

€.

€-

+

F7sus4

(^i m -t/P5

EDmlD5

Alalt

2. Voice the fbllowing three turnaroundsl'ith 3rcl ancl 7th guide tr)nes.then again on scpafatestaff paper r.vith3not e r oic ing s . 4 -n o tev L ri c i n g sd, ro p 2 . and drop 2-4 . Use both inversions.types A anciB. Fma.17

Dm7

Gm7

C]

Am7

Dlbg

GnrT

C7

Gm7

Db7

tstu

BDmajT

EDl

tmlb5

D7alr

ANS\I'ER KEY

3. INO ANSWERS PROVTDED]

250

JAZZOLOGY

Chapter 7 Exercises l.Identify tonicizationand modulationin the following. a. CmajT

Am7

C7

Em7

FmajT

F:V7I

A7

Dm7

G7

Ab: ImajT

DIirnl----\Lz

A

Direct Modulation (Also a deceptive cadenceutilizing the bonowed harmony

I Tonicization of

ToniciT'ationo.f ^F

Abmaj7

D

bvlmajT) b.

DmajT

Em7 |

F#m7

Gm7

C7

F: iimT

I

v7 Em: iim7b5 V7

+

AI

Tonicization of

EDmajT

lc#*r r#z B: iirnT

V]

t

BmajT

I

BbTsus4

Am7

E7 A:V7

AI

C7 F:

V7

+

im7

Tonicization of Abm

BbTsus4 A7sus4

D7sus4

D: V7sus4G: V7sus4

ImaiT

Gmaj7 ll ImajT

PreparedModttlati.on + I Tonicizationof D

Tonicization of B

CmajT

im7 AbzYT

Tonicization of Em

I

A Tll

n#*zlsez u*t Ebt ,rn-z I |

| Fmaj7

d^bzlobmajzlczalrI E-z

ImaiT Db: vz

a^i

Tonicization of | A TonicizationoJ'

Dm7

Db7

c-,i?ll

Imaj7Fq..{dtt_____j!q7_

,tnicization of pb

I Toniciztationof

2.-6. INO ANSWERSPROVTDED]

ANSWTRKEY

251

7. Name the parallel major ancl minor keys tha{ contallt the respectivechord functions shown below,.Assume enharmonicequivalentswhen necessary. Erzunple Ab:

CntT iiimT

EmajT At'm: rVlmajT

A:

C{rn7 iiim7

FmajT Am: i,VImajT

Em:

CrnajT VImajT

Bbm:

Bb:

Dm7 iiimT

uPma.l/ Bbm: VImajT

E:

^[ / ulrm iiim7

E:

Gf,m7 iiim7

CmajT Em: VImajT

DbmajT blttmajT

Bb:

Cm7 iimT

A:

C{m7 iiimT

Dm-7 Am: ivmT

D:

GmajT IVmajT

Bbmajj bVImajT Dm:

Ab:

Cm7 iiim7

Ciml Abm: ivmT

Db:

Fm7 iiim7

Gh7 Dbm: ivmT

Ab:

DbmajT IVmajT

EmajT Abm: VImajT

Ff :

BmajT IVmajT

DmajT F#m: bVImajT

C*m:

AmajT VImajT

FrmajT C$: IVmajT

F:

Am7 iiim7

BbmT Fm: ivmT

E:

AmajT IVmajT

Cmaj7 Em: VImajT

Bb:

Ebnaj'I IVmajT

GbmajT Bbm: bVImajT

C*m:

AmajT VImajT

Cf :

-ll ,t,? n t/

:;i

ili

FrrT iiim7

D:

iiimT

Cm7 Dm: ivmT

Eb:

Gm7 iiim7

BmajT Erm: VImajT

Eb:

ArrnajT IVmajT

Bmaj7 bVImajT Ebm:

A:

DmajT IVmajT

CmajT Am: IIImajT

Bbm:

D;m7 ivrnT

Gm7 Bb: vimT

Bm:

DmajT IIImajT

EmajT IVmajT

G:

CmajT IVmajT

Gm: ,VImajT

Gm:

CnJ ivmT

G:

C:

Em7 iiim7

AbmajT Cm: rVImajT

-l

|rorl]'l-J-.l/

BbmT -) In:

-l *lr :

Bm7 iiim7

Bm7 r{

im :

[tm /

-F

BbnJ

DmajT Flim: VImajT

iltm /

lYmi /

8. INO ANSWERSPROVTDED] '2i'2

^l

IAZZOLOGY

B:

Chapter 8 Exercises 1. Eachpair ofchordsbelowderivesfrom the chordscaleindicated.Showoneapplicablesubstitutechordfor each chord listed. Rememberthat function doesnot apply in modal contexts. Fm7 and Bb7 (F Dorian)

AumajT

Dw7

GmajTand D7 (G Ionian)

Bm7

F$o

Am7b5and EbmajT(EbLydian)

F7

Cm7

CfmT and G*mZb:(A Major)

Amaj7

E7

Cm7 and Bvmai7(D Phrygianl

EhajT

Gm7

nm7b5and Abmf (At Mel. Min.)

GTalt

BbTsusb9

GmajT and A7 (D Major)

Em7

Cla

Cm(maj7)and Bo7 (C Harm. Min.)

EbmajT[S

D"7

BTalt andF13(11; (B Alrered)

Cmf

DTsusbg

dmzb5 and CmajT(b5)(Ff Locrian)

D7

Ami

Fm7b5andEbTpb Lyaian bZ;

Db7

Bbm6

Em7 and Am7 (E Minor)

GmajT

CmajT

GbmajTand Ab76b Minor)

F:bml

co

Fmaj7 and G7 (F Lydian)

Dm7

Bo

2. Provide tritone substitutesfor the following dominant chords. Abz D7

D7 Lb7

B7 F7

Ebz A7

G7 Db7

Cilz c7

F7 87

A7 p,b7

Bbz E7

C7 Ff7

E7 g'b7

3. Provide tritone substitutionsfor the fbllowing chord progression.Show harmonic analysis.

|

I

Gm7

N

rrnT

iP

abtrf,rtll Gm7 cbt

Fm7

F;bmajT

E7

Eo

I

F: iimT SV7 bziimT SV7 SV13fi11

* nbrrrfuilcm7c#1rrr B7 Inf-z |

Cm:iis SV13f11

im7

Bb:iim7 V13/bvi bvim7

SV7 €

ImajT Dm :TP

nbor#rrr l sv13#1r

D7altrrfrrrlc*(*"iDll

+

im(maj7)

Sequential Dominants

ANS$yERKEY

255

4. a. Providechord quality chan-uesubstitutionsfor the above chord progression(exercise3) with harmonic analysis

I I I

cmz

Gm: im7

Dm7 Cm: iimT

Am7

D13b9

Cf

iimT V 13b9F: iio

G13

co

V l3 B b :l(

C7alt

Fz nbz"rtl BbmS

VTaltEb: 1ib vTalt

im8

A13

v13

GTart FmajTl*r^"r, AbmajT nrlbrl l.*"J, ^7

VTalt/ii IImajT Vmaj7 tmaiT G:V71I

DIImajT Vl3b9

csll I8

b. composea chordprogressionfor F minor bluesthat includes thesechord quality changes:major for minor, dominantfor major. c. Analyzeeachnew chordprogression. Original Fm Blues

trl Fm w ll, I

fii

t:

Bhm7

cTbs C7

Fm

Fm7

;j

ca

FTalt

ry

*t,

$;

G4

l*

.'",'ll

Fm7

CTalt

tiE

fr,

$

Fm Blueswith chord qualitl,change:Major for Minor

,1 iai i::,1

ll''*":'

!'i

l'$

Gm7

C7

FmajT

Irnaj7

iimT

V7

ImajT Bb: i11117

BbmajT

Gm7

C7

Am7

D7

ImajT F: iimT

V7

iiimT

vTlii

t,j

CnrT

F7

v1

Gm7

CTalt I FmajT D7

GrnTc?"ft 'll

iimT

VTalt

irmT

Imaj7 VThi

VTalt

Fm Blues with chord quality change:Dominant for Nlajor

ll' F7 l7 251

IAZZOLOG\

Gm7

C7

F7

iimT

\'7

I'I

CrnT

F7

Bb: iimT

V7

sbz 17

*-t

|

c7

F: iimT

Gm7

V7

.rr,

|

DTatt

irp

n,

I

yTalt

iinrT

o"

|

YTatr/ii

Gm.c?"tt 'll

D7

n

VL/ii

d' Make new chordprogressions from the

I

iimT

VTalt

aboveby using diatonicand tritonesubstitutions.

Fm Blues with diatonic and tritone substitutions Chord Progression #l

llr

: nma;z c-z lf I BbmaiT ol-z f

cbt I rmaiz ebt

cb(r)

DbmT

FmajT Gm7

FmajT A.bl

FfmT

B7

Am7

prbz

nbt

cb?'ll

Chord Progression#2

ll'"-"i' Bb7

BbmajT Gb7

\s

D7

AmajT

87

DbmT

f,o

Gm7

F7

Ab7

EmajT

C7

W cb?,ll

Bbs ^b

5' Apply diminished7th chordsoverthe progression givenin exercrse 3. Gm7

p#ot | "-r Cm7 GTbs

c7

| "-,

F7

nat

c#ot

lEbmajT

lnsz A7l*t

I

nzart fcmf-';r,ll

6. Make diminishedsubstitutionsover the progression given in exercise3. Gm7

v

L6

BTbg

Gm7pbtbgl r-t

nbtbgf em";z

ofis c^t nhbgl.rzb DTbsETbs phbgl *z I

| ",

r,bzael

ntrvlc*(maj?ll ANSWER KEY

255

7. Add ii-v's

to the following chord progressions and provide harmonic analyses.

a.

Gm7 Gm:

|

im j

nbrnu:Z I

A6

D7 | cmz

C7 | n'r.tz ebl

;;s

V7 F: iimT

Yi

TY

ImajT Cm: if1

Cm7

B b :iimT

b.

F7

Yj

G7

Cm7

AbmT Db7

v]

nr'l

bvim7 SV7

Em7

A7

DTalt

GmajT

v7 D: iimT

v7

Gm:V7alt

ImajT

FmajT F:

Eb:iim"l

A7 |

Imai-l Dm:. 11s7

BbmajT

BDmT

ImajT Ab: iimT

GmajT I Fm7 G: ImajT F;b:riln7

Ds7

.-t F7 | V7 Bb:iim7 v7

G7

Y] Cm: ii61

sbt I nbmajz Y7

Gm7

ImajT F: iimT

sbt

EbmajT

v'7

LnajT

C#m7 B : liml

C7

FmajT

Y]

ImajT

p#t v1

I

BmajT nboz Eb7 I

|

*,,

C7

Imaj7 ADm:ii67

v1

im6 Fm: IP1

v7

Fm6

Es7

A7

Dm6

Cm7

F7

11" /

v1

im6

Bb: iimT

v7

BbmajT N7 I

D7

Gm6

Imaj7 Gm: iisl

v1

im6

im6 Dm:

8.-10.INO ANSWERSPROVTDED]

256

ADm6

JAZZOLOG\