Piano Theory

Theory1 FromFundamentalsofJazzImprovisation:

WhatEverybodyThinksYouAlreadyKnow  Dr.MarkWatkins DirectorofJazzStudies BrighamYoungUniversity–Idaho

©2010byMarkWatkins Materialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithout writtenpermissionfromtheauthor.

JazzTheory Thistextisdesignedforstud Thistextisdesignedforstudentswhohave entswhohavehadatlea hadatleastoneyear stoneyearofcollegelevel ofcollegelevelmusictheoryand musictheoryand eartraining.Principles eartraining.Principlesuniquetoorof uniquetoorofmoreemphasi moreemphasisinjazza sinjazzareexpound reexpoundedupon.Top edupon.Topics ics include: PartI ModesoftheMajorScale Major Dorian Dominant Intervals Chromaticism TheiiV7Iprogression Piano: MajorVoicing MinorVoicing DominantVoicing iiV7IVoicing1,2,3 BluesVoicing1,2 Tune:StudentChoice Worksheets: Major: Scale,Arpeggio,Chord,Patte Scale,Arpeggio,Chord,Pattern rn Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,C Dominant:Scale,Arpeggio,Chord,Pattern hord,Pattern Intervals ChordSymbolChart Chormaticism:DominantBe‐b Chormaticism:DominantBe‐bop,MinorBe op,MinorBe‐bop,Major ‐bop,MajorBe‐bop,Pick Be‐bop,Pick‐upandP ‐upandPassingNotes, assingNotes, DiatonicEnclosure,ChromaticEnclosure DiatonicEnclosure,ChromaticEnclosure,InclusivePatt ,InclusivePattern ern iiV7I:VoicingI,Voicing iiV7I:VoicingI,VoicingII,OneMea II,OneMeasurePattern, surePattern,TwoMeasure TwoMeasurePattern Pattern Theorycoveredinothersections: ChordProgression ChordSubstitutionandTurnaround IntroandTag FormandStructure Blues RhythmChanges

JazzTheory Thistextisdesignedforstud Thistextisdesignedforstudentswhohave entswhohavehadatlea hadatleastoneyear stoneyearofcollegelevel ofcollegelevelmusictheoryand musictheoryand eartraining.Principles eartraining.Principlesuniquetoorof uniquetoorofmoreemphasi moreemphasisinjazza sinjazzareexpound reexpoundedupon.Top edupon.Topics ics include: PartI ModesoftheMajorScale Major Dorian Dominant Intervals Chromaticism TheiiV7Iprogression Piano: MajorVoicing MinorVoicing DominantVoicing iiV7IVoicing1,2,3 BluesVoicing1,2 Tune:StudentChoice Worksheets: Major: Scale,Arpeggio,Chord,Patte Scale,Arpeggio,Chord,Pattern rn Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,C Dominant:Scale,Arpeggio,Chord,Pattern hord,Pattern Intervals ChordSymbolChart Chormaticism:DominantBe‐b Chormaticism:DominantBe‐bop,MinorBe op,MinorBe‐bop,Major ‐bop,MajorBe‐bop,Pick Be‐bop,Pick‐upandP ‐upandPassingNotes, assingNotes, DiatonicEnclosure,ChromaticEnclosure DiatonicEnclosure,ChromaticEnclosure,InclusivePatt ,InclusivePattern ern iiV7I:VoicingI,Voicing iiV7I:VoicingI,VoicingII,OneMea II,OneMeasurePattern, surePattern,TwoMeasure TwoMeasurePattern Pattern Theorycoveredinothersections: ChordProgression ChordSubstitutionandTurnaround IntroandTag FormandStructure Blues RhythmChanges

EarTrainingConcepts Practicallyeveryprinciple Practicallyeveryprincipleandexer andexercisetaughtinj cisetaughtinjazzimprovi azzimprovisationhelpsto sationhelpstodevelopthe developtheear. ear. Hereareafewthingstoco Hereareafewthingstoconsider: nsider:  forsomethingfocusestheearaccord ActiveListening:Listening for somethingfocusestheearaccordingtotheele ingtotheelementof mentof concentration:bassline,instr concentration:bassline,instrumentation,ha umentation,harmony(consonant/ rmony(consonant/dissonant;simp dissonant;simple/complex), le/complex), articulation,subdivision,dyna articulation,subdivision,dynamic,inflection,e mic,inflection,etc. tc.

PracticeTechniques:Eachte PracticeTechniques:Eachtechniquefocuseson chniquefocusesonsomethingspeci somethingspecific. fic. PT1: Practicingcircularpatternstu Practicingcircularpatternstunetheear netheeartotheparticula totheparticularchord/scalesp rchord/scalespectrum.Itcan ectrum.Itcan helptoplaythecompanion helptoplaythecompanionchordonthep chordonthepianowhilep ianowhilepracticingcircular racticingcircularpatterns. patterns. PT2: Samemodesequencessatura Samemodesequencessaturateoneina teoneinaparticularm particularmode.Shifting ode.Shiftingtherootwhile therootwhile maintainingthemodehe maintainingthemodehelpstofocusontheq lpstofocusonthequalityofthem ualityofthemodeversesthe odeversesthememorization memorization,, physicaloraural,ofspecificpitch. PT3: Takingapatternthrough1 Takingapatternthrough12keyshe 2keyshelpsonetocompre lpsonetocomprehendthecha hendthecharacterofthe racterofthepattern pattern bothauralandrhythmic.Iti bothauralandrhythmic.Itiswisetoinclude swisetoincluderhythmasan rhythmasanelementof elementofeartraining eartraining.Like .Like PT1,itisvaluabletopla PT1,itisvaluabletoplaytherequisit ytherequisitechordonthe echordonthepianothen pianothenplaythepa playthepattern.Italso ttern.Italso helpstosingthepatternwi helpstosingthepatternwiththepiano ththepianochordthrough12 chordthrough12keys. keys. PT4: Applicationofmanyconcept Applicationofmanyconceptsismadein sismadeinthisexercise. thisexercise.Theyarea Theyareappliedtoa ppliedtoarecorded recorded accompanimentthatremain accompanimentthatremainsinasingle sinasinglemode.Sustain mode.Sustainingeachchord ingeachchordtoneandli toneandlistening stening tothequalityofsoundisava tothequalityofsoundisavaluableear luableeartrainingexe trainingexercise.Apply rcise.Applyingthevarious ingthevarious techniquesoverasinglechord techniquesoverasinglechordhelpsfamilia helpsfamiliarizeoneto rizeonetothatquality. thatquality. PT5: Chordprogressionlearningte Chordprogressionlearningtechniquesapp chniquesapplytoeartra lytoeartrainingasab iningasabove.Usethe ove.Usetherecorded recorded accompanimentwithopene accompanimentwithopenearsbutnotas arsbutnotasacrutch.Singth acrutch.Singtheexercisesa eexercisesasmuchas smuchas possible. PT6: Allprinciplesofindepen Allprinciplesofindependenceap denceapplytoeartra plytoeartraining.Kee ining.Keepinmind pinmindthatoneshouldb thatoneshouldbe e abletosingwhatoneplay abletosingwhatoneplays.Theprincip s.Theprinciplesofindep lesofindependencea endenceareagrea reagreatpractice tpractice techniquetostrengthenthisa techniquetostrengthenthisability.Don’tb bility.Don’tbeafraidto eafraidtotry.Ofcourse,sin try.Ofcourse,singingan gingan improvisedsolowithanaccomp improvisedsolowithanaccompaniment,recor animent,recordedorlive dedorlive,isadditiona ,isadditionallyinvaluable llyinvaluable.. Piano:Practicingjazzch Piano:Practicingjazzchordvoicingsont ordvoicingsonthepianohe hepianohelpsustobecome lpsustobecomefamiliarwith familiarwithhowchordsare howchordsare realizedinajazz realizedinajazzsetting.Itisa setting.Itisagoodwayto goodwaytobecomefamilia becomefamiliarwiththeja rwiththejazzidiomha zzidiomharmonic rmonic sound. Theory:Itisimportanttolea Theory:Itisimportanttolearnwhatone rnwhatoneisattempting isattemptingtohear.This tohear.Thisintellectualkn intellectualknowledgewill owledgewill transfertoappliedknow transfertoappliedknowledge;itmu ledge;itmust,oronecannot st,oronecannotplayjazz. playjazz.Alargep Alargepartofhaving artofhavingagood agood earcomesfromknowledgeof earcomesfromknowledgeofwhattoexpe whattoexpect.Certainchor ct.Certainchordprogressions,f dprogressions,forexample,h orexample,have ave distinctivesoundssuchasiiV7 distinctivesoundssuchasiiV7I.Knowing I.Knowingthetheoryinvol thetheoryinvolvedhelpsusi vedhelpsusidentifywha dentifywhatweare tweare hearingand,consequently, hearingand,consequently,expandsour expandsourears. ears. TuneLearning:Singing TuneLearning:Singingthemelodiest themelodiestotunes,playin otunes,playingharmoniesin gharmoniesin12keys,li 12keys,listening;lear stening;learning ning jazztunescanincludea jazztunescanincludealltechniques,p lltechniques,principles,and rinciples,andmethodsknow methodsknowntoenhance ntoenhanceauraland auraland physicalskillneededfor physicalskillneededforjazzimprov jazzimprovisation.Overt isation.Overtime,thesetechn ime,thesetechniqueswillde iqueswilldeveloptheea veloptheear r eveniftheworkisn’tlab eveniftheworkisn’tlabeled“ea eled“eartraining.” rtraining.”

Transcription:Liftingasoloof Transcription:Liftingasolooffarecording farecordingisfundamen isfundamentalinthep talintheprogressofone’sa rogressofone’sauraland uraland rhythmicability.Somemaysta rhythmicability.Somemaystartby“henp rtby“henpecking”in ecking”individualnote dividualnotesbuteventua sbuteventuallyoneshould llyoneshould workwithlargerunits.Sing workwithlargerunits.Singthemfirst,and themfirst,andthenplayth thenplaythemotifs.Lear emotifs.Learnthewholesolob nthewholesoloby y memory.Also,payattention memory.Also,payattentiontothemethodout tothemethodoutlinedfortra linedfortranscribingchords. nscribingchords.Listeningfor Listeningforone one elementatatimehelps elementatatimehelpstofocustheear. tofocustheear. EarTrainingClass:Althoughp EarTrainingClass:Althoughprimarilyclassica rimarilyclassicalinorigin,a linorigin,anyear‐trai nyear‐trainingcoursereg ningcourseregardlessof ardlessof idiomisinvaluabletothej idiomisinvaluabletothejazzmusician azzmusician.. TunesforEarTraining:Th TunesforEarTraining:Thisisacharton isisachartontunesthatcan tunesthatcanhelpstuden helpstudentsrecognizein tsrecognizeintervals.Itis tervals.Itis designedtorecognizein designedtorecognizeintervalsthrougha tervalsthroughalreadyfami lreadyfamiliarmeans. liarmeans.Theycanev Theycaneventuallybecome entuallybecome independentofthereferencetunes.

TunesforEarTraining Thefollowingchartliststunesthat Thefollowingchartliststunesthathavepromine haveprominentmotivesutili ntmotivesutilizingtheinte zingtheintervalindicat rvalindicatedtothe edtothe left;theyarenotalwaysth left;theyarenotalwaysthefirstnotes.F efirstnotes.Findtunestha indtunesthatarealrea tarealreadyfamiliar. dyfamiliar.Onewillbe Onewillbeginto ginto realizethatmanyintervalsarealreadyknownandrecognizable. ‐2

M2

‐3

Ascending Cou CountY ntYou our rBl Bles essi sing ngs s DidYouThinkToPray? FatherinHeaven,WeDoBelieve(do) HowInsensitive IAmaChildofGod(achild) ILeftMyHeartInSanFrancisco IRememberYou I’llRememberApril I’mGettingSentimentaloverYou JosephSmith’sFirstPrayer LordIsMyShepherd,The(Iknow) NiceWorkIfYouCanGetIt What’sNew Ain’ Ain’t tMi Misb sbeh ehav avin in’ ’ AreYouSleeping(FrereJaques) AutumnLeaves BecauseIHaveBeenGivenMuch(beengiven) BlueMonk BodyandSoul BridgeofAvignon,The Bye,ByeBlackbird(onBye,Bye) ChoosetheRight Come,ComeYeSaints Desifinado Far,FarAwayonJudea’sPlains GodLovedUs,SoHeSentHisSon God,OurFather,HearUsPray HappyBirthday HeIsRisen! I’veGotYouUnderMySkin InHumility,OurSavior InMemoryoftheCrucified Israel,Israel,GodIsCalling It’sAllRightwithMe JesusofNazareth,SaviorandKing Kookaburra LoveOneAnother MajorScale(ascending) MyCountry,‘TisofThee MyFunnyValentine MyHat NiceWorkIfYouCanGetIt(NiceWork) NowtheDayIsOver(Night) Onward,Christiansoldiers(soldiers) PolkaDotsandMoonbeams RedeemerofIsrael RudolphtheRedNosedReindeer Sakura SilentNight ThereWillNeverBeAnotherYou ThisLandIsYourland UpontheCrossofCalvary WeAreAllEnlisted WeThankThee,OGod,foraProphet Woody‘nYou You’dBeSoNicetoComeHomeTo Abid Abide ewi with thM Me; e;‘ ‘Ti Tis sEv Even enti tide de AngelsWeHaveHeardonHigh BlueTrane BluesbyFive

Descending Birdland Bye,ByeBlackbird(onBlackbird) Come,YeChildrenoftheLord FlyMetotheMoon FortheBeautyoftheEarth JoytotheWorld LadyIsATramp,The MajorScale(descending) OLittleTownofBethlehem(town) Solar(MilesDavis) SophisticatedLady StellabyStarlight Theme,The(MilesDavis) Welcome,Welcome,SabbathMorning ‘TisSweettoSingtheMatchlessLove AbidewithMe BeStillMySoul BeThouHumble Corcovado(QuietNights) DoWhatIsright Don’tGetAroundMuchAnymore Fever HotCrossBuns Jesus,theVeryThoughofThee Jesus,theVeryThoughtofThee(thever‐) JollyOldSaintNicholas Lord,DismissUswithThyBlessing Lord,IWouldFollowThee MaryHadaLittleLamb Mercy,Mercy,Mercy NowLetUsRejoice PoorWayfaringManofGrief,A PreciousSavior,DearRedeemer SatinDoll SoWhat SunnymoonforTwo TheFirstNoel ThemefromM*A*S*H ThreeblindMice TuneUp WeThreeKingsofOrientAre

500MilesHigh AmericatheBeautiful AprilinParis CaissonSong,The(OverHill,OverDale)

M3

P4

TT

Boplicity Brahms’Lullaby Confirmation FoggyDay,A GeorgiaonMyMind GoTellItontheMountain GodBeWithYouTillWeMeetAgain Greensleeves I’llGoWhereYouWantMetoGo(notbe) ImpossibleDream,The InRemembranceofThySuffering MinorChord SpringCanReallyHangYouUptheMost Stompin’attheSavoy WeThreeKings(Oh) WhileofTheseEmblemsWePartake Worksong Come,ListentoaProphet’sVoice ICan’tGetStarted IHeardtheBellsonChristmasDay INeedTheeEveryHour Kumbaya LittleTomTinker(goyburned) MajorTriad Marines’Hymn,The Michael,RowtheBoatAshore OhWhentheSaints OnTopofOldSmoky PraisetotheMan SweetHourofPrayer ‘Round Mi dni ght AlltheThingsYouAre AuldLangSyne AwayinaManger(HymnBookversion) BeholdtheGreatRedeemerDie Bingo CJamBlues Come,LetUsAnew DownintheValley Doxy Hark!theHeraldangelsSing HaveIDoneanyGood? HereComestheBride HighOnaMountainTop HowFirmaFoundation HowHightheMoon ISawThreeShips IStandAllAmazed ImprovetheShiningMoments LoveMeTender(auraLee) MaidenVoyage MoreHolinessGiveMe Now’stheTime OhChristmasTree Ornithology Rejoice,theLordIsKing Reveille ShadowofYourSmile,The Shenandoah SomedayMyPrinceWillCome SongforMyFather StraightNoChaser Taps TheDayDawnIsBreaking TheSpiritofGod TwelveDaysofChristmas,The WeWishYouaMerryChristmas WeWishYouaMerryChristmas WhenIFallinLove YeeldersofIsrael Angel Eyes (1st to3rd notes)

CamptownRaces ForAlltheSaints FrostytheSnowMan GirlfromIpanema,The GlorytoGodonHigh HeyJude HowGreatThouArt IronRod,The(holdto) Jesus,OnceofHumbleBirth Kookaburra(oldgumtree) Misty OGod,theEternalFather OnTopofOldSmoky(smoky) Short’nin’Bread StarSpangleBanner,The ThisOldMan WhatisThisthingCalledLove AbidewithMe(2ndand4thnotes) ComeRainorComeShine Come,FollowMe DownintheValley(valley) GiantSteps HeIsRisen!(risen) HowGentleGod’sCommands Lord,DismissUswithThyBlessing(2ndand4thnotes) Nearer,DearSavior,toThee Shoo,fly,Don’tBotherMe SkiptoMyLou Summertime SwingLow,SweetChariot TenorMadness(SonnyRollins) AllCreaturesofOurGodandKing(thouBurningSun) AllofMe Bluesforalice Clementine GoodKingWenceslaus(lookedout) GreatIstheLord HopeofIsrael(Irael) IDidn’tKnowWhatTimeItWas I’veBeenWorkin’OntheRailroad LittleTomTinker(Ma) MightyfortressIsOurGod,A OhComeAllYeFaithful OldMacDonaldHadaFarm SoftlyAsaMorningSunrise ValseHot Walkin’(afterintro) WhatisThisThingCalledLove? WhenJohnnyComesMarchingHome YardbirdSuite

Blue Seven (Sonny Rollins)

P5

+5,‐6

M6

‐7

M7 P8

Maria ThemefromTheSimpson’s AllGlory,Laud,andHonor AllthePrettyLittleHorses Angeleyes Baa,Baa,BlackSheep Bag’sGroove GodRestYeMerryGentlemen IronRod,The LetUsOftSpeakKindWords MyFavoriteThings Nica’sDream PraisetotheLord,theAlmighty PressForward,Saints ScarboroughFair Twinkle,TwinkleLittleStar Twinkle,TwinkleLittleStar WayfaringStranger WhileShepherdsWatchedTheirFlocks YouCanMakethePathwayBright(2Xs) HomeontheRange(buffaloroam) Lor,IWouldFollowThee(Ilearn)

AmericatheBeautiful(America) DaysofWineandRoses HowGreattheWisdomandtheLove Hush,LittleBaby IBelieveInChrist(HeIs) InchWorm ItCameuponaMidnightClear JingleBells(dashing) LordIsMyShepherd,The LoveatHome MyBonnieLiesOvertheOcean NBC OhSay,WhatIsTruth? PutYourShouldertothewheel Short’nin’Bread(chorus) SpeakLow Takethe“A”Train We’llSingAllHailtoJesus’sName WhenSunnyGetsblue AsNowWeTaketheSacrament LordIsMyShepherd,The(Ifeed) ThemefromStarTrek Ceora Called to Serve ChristmasSong,The LetItSnow OldFolksatHome(Swanee) SingaSongofsixpence(sixpence) SomewhereOvertheRainbow

Sakura(12thand14thnotes,gi‐riofkagiriorthesky) BringaTorch,Jeannette,Isabella BuffaloGals Feelings HaveYouMetMissJones ItDon’tMeanaThing

JustFriends(5thand6thnotes) LetUsAllPressOn(presson) Misty(1st to3rdnote) PleaseDon’tTalkAboutMeWhenI’mgone Takethe“A”Train(5thand6thnotes) You’reEverything(ChickCorea) Indiana LoveOneanother(haveloved) NobodyKnowstheTroubleI’veSeen ThereIsSunshineinMySoulToday(sunshine)

HuneysuckleRose(1st and3rdnotes) WatermelonMan I Love You WillowWeepforMe

ScaleSyllabus Scalesarechordswithextensions.Forexample,CEGBiseveryothernoteoftheCMajorscale:C DEFBABC.Ifonecontinueswiththiseveryothernoteconcept,aCMaj.13chordresults:CEGB DFA.Onmajorchordsthe11th(Finthiscase)isusuallyomittedbuttheprincipleremainsintact. Thus,playingthenotesofascalehorizontallyinanyorder(asinamelodyorimprovisation), whilestayingtruetothecollectionofpitches,isthesameasplayingtherelatedchord harmonically.Granted,thenotesarenotsoundedsimultaneouslysonottechnicallyachordbut thenoteswillfitandtheprogressionwillbeheard.Allofthenotesinthescalesontheleftinthis chart,withthedisputedfourthnoteofthemajorscale,willworkasnotechoices,againinany order,forthechordsindicatedtotherightofthechart. Major

Minor(Dorian)

Dominant(Mixolydian)

DominantBebop

MinorBebop

MajorBebop

Blues

HarmonicMinor

DominantSharp‐5(WholeTone)

DominantFlat‐9(Diminished½step1st )

Dominant Altered(Superlocrein,DiminishedWholeTone,Altered)

Half‐diminished(Locrian)

Half‐diminishedMajor9(Locrian#2)

Diminished

MajorSharp11(Lydian)

DominantSharp11(LydianDominant)

MajorPentatonic

MinorPentatonic

Sus4

ChordSymbolChart  Manymorechordqualitiesexistthanareincludedinthischart.UseofM formajorandmfor minorisnotrecommended.Onemayalsosee+forsharpand–forflat.The prefix ofachordisits rootletternamesuchasAforA7.Thesuffix ofachordiswhatfollowstoindicatequality, extension,and/oralteration. PossibleChord Tones

Quality

Extensions

1 3 5 7 9 13

MajmajM ma∆

7913

1356

MajmajMma∆(or none)

6

13569

MajmajMma∆(or none)

69

1 b35 b791113

Minminm mi–

791113

1 b356

Minminm mi–

6

Minor6/9

1 b3569

Minminm mi–

69

Dominant

135 b7913

none

7 9 13

1 b35∆79

Minminm mi–

DominantFlat9

135 b7 b913

none

7 9 13

Half‐diminished

1 b3 b5 b7

Minminmim– ø(aloneorwith7)

7( b5)

Half‐dim.Major9

1 b3 b5 b7∆9

Minminmmi– ø(aloneorwithext)

9( b5)11( b5)

DominantSharp5

13# 5 b79

none or+(with7or9)

7(# 5)9(# 5)

DominantAltered

13 b5# 5 b7 b9# 9

none

7altor specific

MajorSharp11

13579# 11

MajmajM ma∆

7(# 11)9(# 11)

DominantSharp11

135 b79# 11

none

7(# 11)9(# 11)

Sus4

1 4 5 7 9 13

sus

7 9 13

 b1 b3 b5 b b7

Dimdimº

 b b7

Quality

Major Major 6 Major 6/9 Minor/Dorian Minor6

Minor/Major

Diminished

Examples (Root and Suffix)

 













∆791113



 



Intervals D b E b

G b A b B b

#  # 

F G A

C D E F

G A

C D

# 

#  # 

B C

D b E b

G b A b B b

#  # 

F G A

# 

C D

D E

F

#  # 

G A

B C

D b E b

#  # 

C D

D E

Half‐Step:thedistancefromonekeytothenextclosestkey,upordown. Whole‐Step:twohalf‐steps,twonotesonthekeyboardwithoneinbetween. MelodicIntervals Scale:apatternofwhole‐stepsandhalf‐steps

MajorScaleIntervals:majorandperfect(distancefromthefirstnoteofthescaletothenotein question)

NaturalMinorScaleIntervals:minorandperfect(exceptsecondandninth)

HarmonicIntervals

Intervalscanbemeasuredascendingordescending.Whendeterminingintervals,bothmelodic andharmonic,maketheassessmentbasedonthelowestnote.

Quality Firstconsiderthenumericdistance(2nd,3rd,4th,etc.).Thisiscalculatedbyassociatingthe number(scaledegree)tothealphabeticname(ifCis1,Eis3).Donotuseenharmonics:F‐flatis notE,C‐flatisnotB,etc. Next,determinethequalityoftheinterval(perfect,minor,major,diminished,augmented).Start withtheknownqualitiesofthemajorscale:allintervalsaremajorexcepttheunison,octave,4th and5th,whichareperfect.Inreducingintervals,majorcanbemademinor;minorcanbemade diminished.Inenlargingintervals,majorcanbemadeaugmented.Perfectintervalscanbe diminishedoraugmented.Thereductionorincreaseisbyhalf‐step. ° mM +

° P+

Practicalapplicationinjazzisasfollows: Unison:remainsunison,nodiminishedoraugmentedusage. Second:amajorsecondcanbecomeminororaugmented;augmentedisuncommon. Third:majorandminorthirdsarecommon;theaugmentedthirdisnot,itbecomesaperfect forth. Fourth:augmentedfourthsarecommon;diminishedfourthsarenot,theybecomemajor thirds. Fifth:boththediminishedandaugmentedfifthiscommon. Sixth:aremajororminor;augmentedsixthsbecomeminorsevenths. Seventh:major,minor,anddiminishedseventhsarecommon;augmentedbecomestheoctave. Diminished: flat asin flatfive, flatnine,or flatthirteen. Augmented:sharpasinsharpfour ,sharpfive,sharpnine,orsharpeleven;or plusasin plusfour,  plusfive. AtoD‐sharpisafourthbecausefourlettersofthealphabetareinvolved.Dnaturalisthenote foundinthemajorscale(allintervalsaremajorexcepttheunison,octave,4thand5th,whichare perfect);itisaperfectfourth.Perfectintervalscanbediminishedoraugmented.AtoD‐sharpis augmented,oftencalledsharpfour or plusfour . AtoE‐flatisafifthbecausefivelettersofthealphabetareinvolved.Enaturalisthenotefoundin themajorscale;itisaperfectfifth.AtoE‐flatisdiminishedoftencalledaloweredfifthorflatfive.

ModesoftheMajorScale Themodesofthemajorscalearescalesderivedfromstartingonagivenscaledegreeand retainingthekeysignature.Forexample,thekeyofCMajorhasnosharpandnoflats.Ifwestart onD,retaintheCMajorkeysignature,andplayastep‐wisemotion,weareintheDorianmode.

IfwestartonGandusethosenotesintactasagroupwiththeCMajorkeysignature,itisthe mixolydianmode.

Adistinguishingelementisthechordthesescalesrepresent.Dorianisaminorscaleappropriate toaminorchordfromasimpletriadthroughextensions9,11,and13.Mixolydianisadominant scaleappropriatetoadominantchordfromthetriadthroughextensions9and13.Noticethatthe minorchordintheexamplebelowisamm7andthedominantisaMm7chord.Whenapplying extensions,includethe7thandkeepstackingthirds.Thenumbersarederivedfromscaledegrees beginningontherootofthechord(Ddorian:D=1,E=3,F=3,etc)ratherthantherelativemajor orthekeysignatureofthecomposition.

Thenamesofthemodesofthemajorscaleare:

Thedorian,mixolydian,andionian(Major)modesaremostsignificantduetotheirplaceinaiiV7 Ichordprogression.Thesequenceisderivedfromachordthatstartsonthesecondscaledegree ofthemajor,ortonic,scalethenmovestoachordstartingonthefifthscaledegreeandresolving totonic,orI.Thesechordsallsharethesamekeysignature.

Asamatterofhistoricalperspective,oneshouldnotethatthejazzmodesdorian,mixolydianand thelikearescalesandnotcompositionalmodesasinMedieval,Renaissance,orotherclassical musicdefinitionsorusages. ThefirstoccurrenceofthesenameswasintheancientGreekperiod.Constructsofmusicwere derivedfromcombiningfour‐noteunitscalledtetrachordsasusedinkitharaplaying(aharp‐like instrument).Tetrachordswerecombinedtoformwhatwemightcallscalesandmusicwas composedwithinthesegroupsofnotes.Someofthe“scales”thusderivedparallelthejazzmodes innameandintervallicrelationship,suchasdorian,butothersdonot;someincorporatequarter tonesorhaveotherintervalrelationshipsverydissimilartotheabovejazzscales. Greekmusictheoryprinciplesprogressedthroughandweremixedwithothercultures,suchas HebrewandByzantine,totheWesternEuropemedievalmodesandcodifiedbythe9 thcentury. Therewereeightmedievalmodes:dorian,hypodorian,phrygian,hypophrygian,lydian, hypolydian,mixolydian,andhypomixolydian.Onecanseethenamerelationstothejazzmodes. Thepitchrelationshipsofdorian,phrygian,lydian,andmixolydianrelatetothejazzmodesofthe samenames;however,usagewasnotthesame.Ionian,aeolian,andlocrianaremuchlater additions. Modalmusic,asitwasintheMedievalthroughtheRenaissanceeras,bydefinitionismusicthat usesaspecificgroupofnotessomewhatexclusivelywithoutattentiontochordprogression,with tonalcenterbutnotasinthemajor/minortonalsystemordiatonicmusic(whichbeganc.1600, codifiedinTraitédel'harmonie,1722byJean‐PhilippeRameau).Medievalandespecially Renaissancetheoryismelodicwithconcernforintervallicharmony.ModaljazzsuchasSoWhat  orImpressionsstayonasinglechordforalongperiodoftimeand,eventhoughtheyhavemore thanonetonalcenter,areclosesttobeingtrulymodalandaptlynamed. Thus,thejazzmodesarethoughtofasmode=aspectI ,referringtoitsrelationtomajorasaboveor otherknownscalebasisincludingascendingmelodicminor andharmonicminor .Thejazz“modes” arenotmodal intheclassicalorhistoricalsensebutarescales.

Worksheets Worksheetsareorganizedintopackets: 1. 2. 3. 4.

Major:Scale,Arpeggio,Chord,Pattern Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,Chord,Pattern Chormaticism:DominantBe‐bop,MinorBe‐bop,MajorBe‐bop,Pick‐upandPassingNotes, DiatonicEnclosure,ChromaticEnclosure,InclusivePattern 5. iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern Additionalworksheetsinclude: Intervals ChordSymbolChart ImprovSoloComposition:SoWhat ,SatinDoll ,Blues ScalesandArpeggios Writeallscalesandarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenforeachquality. Thechordmostappropriatetothepatternincluded. Findtwopatternsforeachpatternworksheetthatarespecifictothequalityindicted.Sources mightincludeatranscription,ajazzimprovisationtextbook,Aebersoldplay‐a‐longseries,a bookonjazzpatternssuchasJerryCoker’sPatternforJazz ,areputableprofessional(i.e.Aaron Miller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen). Addpatternstothelogtoincreasevocabulary. Chromaticism Be‐bopScales:Dominant,Minor,Major;Be‐bopscalesuseachromaticpassingtonetokeepchord tonesinlinewithbeatemphasis.Thedominantandminorbe‐bopscalesusethesamepitches, asislogicalforuseiniiV7Ipatterns.

Pick‐upandPassingNotes DiatonicEnclosure ChromaticEnclosure iiV7I ChordVoicingsI,II,III One‐measurePatterns Two‐measurePatterns

WorksheetPacket#1:Major Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerry Coker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.

Scale Example:

Arpeggio Example:

Chord

Patterns(treble) Examples:

Patterns(bass) Examples:

WorksheetPacket#2:Minor Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(minor).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerry Coker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.

Scale Example:

Arpeggio Example:

Chord

Patterns(treble) Examples:

Patterns(bass) Examples:

WorksheetPacket#3:Dominant Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(dominant).Sourcesmightincludea transcription,ajazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazz patternssuchasJerryCoker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,Ryan Nielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.

Scale Example:

Arpeggio Example:

Chord

Patterns(treble) Examples:

Patterns(bass) Examples:

WorksheetPacket#4:Chromaticism Pick‐upandPassingNotes ChromaticPickupNote:Anydesirednoteofemphasis,usuallyachordtone,canbeapproachedby 1/2stepeitheraboveorbelow. PassingTone:1/2stepscanconnectchordtoneswithinachord,asinthebebopscales,or betweenchordsasbelow. Transposepatternexamplein12keys. Includechordsymbols. Donotuseenharmonics. Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. DiatonicEnclosure Precedechordtonebythediatonicscaletoneaboveand1/2stepbelow. Transposepatternexamplein12keys. ChromaticEnclosure Precedechordtoneby1/2aboveand1/2stepbelow,orvisaversa. Transposepatternexamplein12keys. InclusivePattern Noticeintheexamplethatthiscontrivedpatternincludesbothchromaticpassingtonesand enclosures. Transposepatternexamplein12keys.

Pick‐upandPassingNotes Example:

Be‐bopScale:Dominant  Example:

Be‐bopScale:Major Example:

Be‐bopScale:Minor Examples:

Enclosure:Diatonic Examples:

Enclosure:Chromatic Example:

InclusivePattern Example:

WorksheetPacket#5:iiV7I iiV7IVoicings Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Followthesequenceindicated. Playallchordsonthepiano,listen,becomefamiliarwiththesoundoftheiiV7I. Voicingoptionsareprovidedfor: Shell 3‐note 4‐note Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerry Coker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary. WorksheetsforoneandtwomeasureiiV7Ipatternsareprovided.

iiV7I:shellvoicing

iiV7I:3‐note

iiV7I:4‐note

Patterns:1‐measure(treble) Examples:

Patterns:1‐measure(bass) Examples:

Patterns:2‐measure(treble) Examples: