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BY D/\N HAEiHLE
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STU DIO P/R , Inc. , 224 S. Leb ano n St., Leb aho n 'lncf:: , .. -...J,~,:.J
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DAN HAERLE .'>
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Dan Haerle holds a Bac helo r of Music degree from Coe College, Ced ar Rapids, Iowa and a Master of Music degree from Nor th Texas Stat e Uni vers ity, Den ton, Tex as. For thre e year s, he was a part -tim e inst ruct or in the Jazz Dep artm ent at Nor th Texas Stat e teac hing arranging, imp rovi sati on, and dire ctin g vari ous jazz grou ps. From Nor th Tex as Stat e, he mov ed to Mon tere y Pen insu la College, Mon tere y, Cali forn ia and was in char ge of the jazz prog ram dire ctin g the jazz ense mbl e, teac hing imp rovi sati on and arra ngin g, teac hing jazz app reci atio n, and direc· ting jazz pian o wor ksho ps. From Sep t. 1971 to Jun e 197 3, Mr. Haerle was the Ass ista nt Prof esso r of Music at the Uni vers ity of Miami, Coral Gables, Flor ida, assisting Mr. Jerr y Cok er in the inst ruct ion of arranging, jazz hist ory, imp rovi sati on, jazz pian o, and dire ctin g various jazz ense mbl es. He was a staf f mem ber of the Stan Ken ton Jazz Clinic at the University of Red land s, Red land s, Cali forn ia for four year s; a staf f mem ber of the Stan Ken ton Jazz Clinic at Dru ry College in Spri ngfi eld, Missouri for four years; a staf f mem ber of the Fam ous Arra nge rs' Clinic, Uni vers ity of Nevada, Las Vegas, Nevada for thre e year s; and a staf f mem ber of the Nat iona l Stag e Ban d Camps for thre e year s. Mr. Haerle has had exte nsiv e perf orm ing exp erie nce as a stud io orga nist i!nd pian ist, as a pian ist with the Fac ulty Jazz Qua rtet at the University of Miami, and as a sum mer repl acem ent for Stan Ken ton with the Stan Ken ton Orc hest ra.
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, Second Edition
Cop yrig ht @ 197 4 Ly Stud io P/R , Inc. 224 S. LeLanon St., LeLanon, Indiana 460 32 All righl~ reserved. No part of this Look may be repr odu ced in any form, by mimeograph or any othe r means, without permission in writing from the pub lishers.
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Printed in the United States of America.
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TAB LE OF CON TEN TS L
FOR EW ORD L
.... .. .... .... . . .. . ... ..... .. .. . . .. . . . . ... .. .. . .. . . .
INT RO DUC TIO N GEN ERA L NOT ES
.... . .. ..... . .. .. . ... . .. . . . .. .. . . .. . . . .. . .. . . . .. ..... . ... .. ... . .... .. .. . .. . . .. . . . . . . . .... . ..... .
1
FOU R NOT E VOI CIN GS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2
ALT ERE D DO MIN ANT 7TH VOI CIN GS . . . . . . . . . . . . . . . . . . , . . . . . . . . . . ... ..
4
TW O-H AND VOI CIN G PRI NCI PLE S . . . . . . . _ . . . . . . .......... _ . . . . . . . . . . .
7
CHO RDS VOI CED IN FOU RTH S . . • . . . . . • . . . . . . __ . . . . . . . . . . . . . _ ... _ . ..
9
·.. .. ... ... .... .. . . . . .. .. . . .. .. . . ... . . ..
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SUS PEN DED FOU RTH CHO RDS . . . . . . . • . . . . . . . . ......................
14
POL YCH OR DAL VOI CIN GS
APP LIC ATI ONS TO MIN OR KEY S THE FUN CTI ON OF CHO RDS TRI -TO ;\JE SUB STI TUT ION S
......................
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. . .. .. . . . . .
· . . . . . . .. . . .... . .. . . . . . . .. . . .. . .. . . . ... . ·. . . ... . . ... .. . . . . . . . . . . . . . . . . . .. .. .. . . .
APP LIC ATI ON OF THE TRI -TO NE PRI NCI PLE . . . . . . ........... " ME LOD Y HAR MO NIZ ATI ON
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III
....... . ......... ................ . .. ......
THR EE NOT E VOI CIN GS
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. _. _ .. _..
..... _........... _ .................... "
16 18
21 23 25
MO DAL VOI CIN GS . . . . . . . . . . . . . . . . . . . . . _ . . . . . . . . . . . . . . . . . . . . . . . . ..
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CHR OM ATI C PAR ALL EL MO TIO N . . . . . . . . . . . . . . . _ . . . . . . . . . . . . . . . . . . ..
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ELE CTR ONI C KEY BOA RD APP LIC ATI ONS . . . . . . . . . . . . . . . __ . . . . . . . . . . . . _
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BLU ES PRO GRE SSI ONS . . . . . . . . . _ ... _ . . . . . . . . . . . . . . . . . . . . . . . . . . _ . _.
34
TUR NAR OU ND PRO GRE SSI ONS . . . . . . . . • . . . . . . . . . . . . . _ . _ . . . . . . . . . . . _.
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.. .... . . .. . . . .. . .. ... .. . . .. . . .. . . . . .. . . . . .. .
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II-V -I PRO GRE SSI ONS
CHO RD SYM BOL APP END IX
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FOREWORD
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As one who is extr eme ly inte rest ed in the dev elop men t of met hod s and mat erid ls pert aini ng to the stud y of jazz rock mus ic, I am espe ciall y deli ghte d to see the rele ase of this fine boo k by Dan Hae rle. I exp ect that it will soo n bec ome a stan dard met hod at scho oi; with jazz prog ram s, at mus ic cam ps, Jnd in priv ate stud y, with or with out an inst ruct or. I also see the boo k as a valu able aid to stud ents of com posi tion -arr ang ing for lear ning voic ings , voic e·le adin g, cho rd func tion , alte red dom inan ts,
qUJ rtJI
harm ony , poly cho rds, cho rd sub stitu tion , mel ody
harm oniz atio n, chro mat ic para llel mot ion, and in gene ral, the harm onic lang uage of our time .
An outs tand ing pian ist-a rran ger- teac her, Dan Hae rle is cert ainl y the righ t indi vidu al to auth or such a boo k as this. His wid e exp erie nce lend s auth orit y to his use of cate gori es with rega rd to the rela tive com mon ness of spec ific voic ings _ Hav ing taug ht with Dan for the Uni vers ity of Mia mi Jazz prog ram , I kno w that his met hod s are thor oug h, curr ent, and effe ctiv e. I high ly reco mm end this boo k to all pian ists and arra nger s of the jazz -roc k idio m_
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Jerry Coker Big Creek Music Seminary ,
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INTRODUCTION
This book is intended as an intermediate method for jazz and rock keyboard players. Therefore, a basic understanding of the construction of common chord types is necessary for the application of principles outlined in the book. As there are many sources of this information already available, it is the author's desire to provide only that information relating to the handling of chords which it is felt that most students are usually seeking. In addition, principles of .L
chord function and substitution have been included since an understanding of these is essential . The format of the book is based on a categorization of chords according to common uSJUe and basic structure. Although the use of root position block chords is certainly possible, their construction is obvious and, as such, they will not be discussed here. Many voicings are presented in typical harmonic functions since this is an inseparable part of their nature. All examples relate to the key of C (major or minor) to allow for a comparative analysis. An understanding of each voicing, as to the adjacent intervals and the chord members included, will greatly aid the player in adding that voicing to his harmonic language. Naturally, all voicings should be memorized and learned in all keys to achieve the greatest ease in using them.
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The book does not presume to be exhaustive in its inclusion of voicings; to do so would be literally impossible. However, a representative sampling of voicings in common use is shown and these should suggest many slight variations.
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Moreover, principles of polychords, suspended fourth chords, chords voiced mainly in fourths, and electronic keyboard applications are included to help the young keyboard player gain an understanding of current devices of the '70's.
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Any of the three or four note voicings in this book may be used ill the followl11g ways: A B C
As a chord played by the left hand while the right hand creates a melodic improvisation. As a chord played by the left hand to which the right hand adds selected tones for a fuller voicing. As a chord played by the right hand while supplying the root (and 3rd, 5th or 7th) with the left hand in accompanying other soloists.
r
In connecting chords, individual chord tones should move smoothly to iJ tone in the next chord, usua~ly stepwise. Common tones between two successive chords may be retained or moved stepwise if a resolu:ion causes duplication of a tone.
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The 3rd and/or the 7th of the chord should normally be present in every voicing.
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In progressions of a 5th downward (4th upward), the following is always true:
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A
The 3rd of a chord has the same letter name as the 7th of the next but may require a chromatic alteration. The 7th of a chord should normally resolve downward stepwise to the 3rd of the next chord.
4:
In showing the voice-leading from one chord to another, the following method is used in this book:
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B
A I
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B C
A straight line angled upward or downward indicates stepwise motion, usually in the scale of the key. A curved line indicates a skip of a third or more. The absence of either symbol indicates a lack of motion or a tone which is in common with both chords.
Generally speaking, the basic three or four note voicings should be played in the vicinity of middle C on the keyboard. Limits of approximately an octave above or below will assure best results by preventing the voicing from assuming a quality of either thiness or muddiness.
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THREE NOTE VOICINGS (und ll cred)
1 1
The VOI Clr1 gs shown_ber,~ .re1.2~.to the II cho rd whi ch is usu ally min or, the V cho rd whi ch is usu al dom ina nt, and the I cho rd whi ch is ma jor in a maj or key . The cate gor y A and Cat ego ry 8 voi cing s are the me com mo n alth oug h cat ego ry C voi cing s are use d wid ely .
CAT EGO RY A:
9
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7
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G7 (V)
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Voic ings buil t on the 7th of the cho rd.
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7
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In the foll owi ng II- V- I pro gre ssio ns, it is imp orta nt to obs erv e the rela tion shi p of cat ego ry A an cat ego ry 8 voi cin gs in the con nec tion of the cho rds .
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Cate gory : A
I I
II
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B
A
A
v
B
II
A
A
V
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A
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C.7
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CAT EGO RY B:
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7
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Voic ings buil t on the 3rd of the cho rd. o mi (II)
A
7 B
r9 B
7 -0 '_
-C7 A
B
B
1
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...... .....
-c9 C/
A
.
r9 ---(: :r B
A
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CAT EGO RY C: Voicings buil t on othe r than the Jrd or 7th whi ch som etim es omi t eith er the 3rd or the 7th or both . ~.I Omi. (II) 4 -r9G7 (V) C Maj . (I) 7 I"": 1 CJ 7 Gl1 I ") 5 0 ~ -2;
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In tile foll owi ng II- V- I pro gre ssIO ns, cat ego ry C voi cing s Jrc use d exc lusi vely or com bin ed wit h cate gor y' illld B cho rds . -
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FOUR NOTE VOICINGS (Unaltered)
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Voi cing s buil t on the 3rd of the cho rd. mi( ll)
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CAT EGO RY B: Voi cing s buil t on the 7 th of the cho rd. Om i(lI )
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A
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Cate gory :
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CAT EGO RY C: Voicings buil t on tone s othe r than the 3rd or 7th whi ch som etim es omi t eith er the 3rd or the 7th or both . Dmi. (II) 4 G7 (V)
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V
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C
V
C
I
C
II
V
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II
C
--
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C
V
II
II
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V
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A
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B
A
C
V
I
II
V
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FA~___ ___ ---___ ___ ---___ ___ ---___ ___ ---___ ___ ---___ ___ ---___ _ ~-----w-___ ___ ___ --___ --___ --___ --___ --__--~------___ ___ ___ --___ --___ --___----__ n --------------~L1~
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C
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C
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C
3
A
C
C
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1, TEGORY A: Voicings built on the 3rd of the chord. -I., .J
AL TER ED 5th VOI CIN GS:
j
G -5
ALT ERE D 9th VOI CIN GS:
13 G-5 (tl1 1
G7 t5
G7 -5
G7 -9
+
-5
0-
3
3
G7 +9
G7 +9
3
3
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ALT ERE D 5ttl and 9th VOI CIN GS: ; I
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-9 G7 -5
.
-9
+9
G7 +5
+9 G7 +5
G7 -5
.~
-9 G7 -5
rj
l
-'1 . 'I C,j
)
-5 3
V ':/ 0
-'1
+5 3
} r7
(7
+'1
'I? =
-9
+9
G7 +5
+9 G7 +5
G7 -5
-
r
/7
-1 V -$-
+0
,
1"7
'I
,
+~
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t'.
3
t7
t7
'7 -;J
-Q
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+~
7
r;
+c
C.7 ~'7
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0
n
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-CT
+~
c-; I':: 7
+5
C.
3
C7
J t ~ IAT EG OR Y B: Voi cing s bui lt on the 7th of the chord_
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ALT ERE D 5th VOI CIN GS:
G7 - 5
)
~~""
G7+ 5
G9 - 5
ALT ERE D 9th VOI CIN GS:
G9+ 5
-53~'-;"'- +53~r~~
G 13-5 (+1 1)
~
-5 +5 13 0 Ic:~~~--~~~~~~~~--~~~L-~
Gr 9
13 G-9
5 5 13, -&= _ 53 + 3 ~~~--~~~~~~~~~~~~~~~ ~~~~~~
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ALT ERE D 5th and 9th VOI CIN GS: . ,
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============~================================= ===~l 4
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CATEGORY C: Voicin;Js built on notes other than the 3rd or 7th which sometimes omit either the 3rd or 7th or ..J loth. 1~
ALTERED 5th VOICINGS:
~. I
(add 9)
(add 9) G +5
G -5 •j
~ V""
1
,0
1\'
1
-5 93
t..
VO
5
....
93
-rJ
+5
G9 +5
G 13 -5
+5 G7 -5
G9 -5
." L-
>-'I,..
V ,,-
1
+:, 93
+5 rt "1 9 3 ' ..........0
O
A/
v
I
.... D .....,.a_
't
D
(
DA
--'-
-5 "tI-
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,...-"'"'-
Co
.c.
~ ~
_5~c.;;
+5
L"'!..
~
""C. C;
..........,
-"'"
~
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+5
..,
7_
C7
[J
0
+5
-'"I'
I.-
ALTERED 9th VOICINGS:
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G add-9
--I -
G add +9
G7 -9
+9 G7 -9
G7 +9
...
J
I
I(
1
I "
:1
5 3~_7 -9 '~
t.
::I
.....
0
- 9 3k v ..........o
~
Q
7
5
t:7
+9 3
.....
D
0
t:/ &7
::I
(,-:.J
,~
C7
C7
5
+9 3 ,~
A'J
L"'!
+
.L~
..L":!.
....1
....-
_'1
/"!
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~
+9 3
ALTER ED 5th and 9th VOICINGS:
-9
(add -9) G +5
G13- 5
...
-~ ,
\.' V
' ."" -5 ~ _ 3 ...
t.
-
9
--Cl
..,
1
.....
,')
7
"7
-5 _9 3
7
'0
rJt?
+5
b...
0 ~
(;7
_93~'~
+5
_93~ .....
(add +9) G +5
1
L
:J_
~
l6i2
-5 3 +9
+5 +9
'l
_1' Q
..... 100"
+5 3 /17
~~ ' ..d2
+9
...-
I
i
....
-I'
_ Some possibilities for chord connection using dominant 7th voicings with chromatic alterations: (ll-V-l proI gression) I
•
MAJOR:
II
v
1. I" •
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II
v
I
3.
,...,
• ., I
,
B
v
II
2.
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fr,'
A
I
~
A
-
...
A
B
, 'JO":I
A
B
A
--r
.-f-
A
5
-
- .--" -
~.--
....
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C ho rd s vo ic ed in in te rv al s of a fo ur th (2'12 st ep s) have a lig ht , fl oa tin g qu al it y w hi ch co nt ri bu feeling to an y ha rm on ic te xt ur e. te s an- OPE This is pr im ar ily for tw o re as on s: (1) Si nc e th e voicings are ar ra in fo ur th s, th er e is less of a th ic ng ed pr im ar il kn es s, or cl us te ri sh na tu re to th e so no ri ty , an d (2) Si nc e tw o ad of a fo ur th im pl y a su sp en de d ja ce nt in te rv a ha rm on y w ith at le as t th re e re so lu tio ns , th er e is a no nc om m it al mony (see EX A M PL E 1) na tu re to th e hz
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What note is the highest and lowest note in the voicing? A. A major 3rd or major 7th of the chord on top tends to brighten the sound of the voicing. At raised 11 th has the same effect. 1 8. If the bass note is the root of the chord, the voicing has more strength, but if it is absent the t~ quality is considerably lighter.
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In a context of VOIClngs that are primarily built in fourths, voicings which combine perfect fourths andlc augmented fourths will fit in well and tend to sustain the general fourthy quality. This is particularly true of mi-harmonies where a tri·tone (augmented fourth) exists between the 3rd and 6th of the chord, and in dominan:, ,jrmonies where a tri-tone exists between the 3rd and 7th of the chord. This can easily be seen by looking at th~ voicings shown in Example 4.
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A polychord is simply a combination of two or more chords to create an extended or altered harmonic )nority. GencrJlly, most polychords consist of only two chords; the bottom chord is usually a triad 0, :;~venth _nord and the upper chord is almost always a triad. Polychord symbols are written as fractions, thereby giving - graphic picture of the actual chord structure. The bottom chord may be a major or minor triad, or a major, linor or dominant 7th chord. Other 7th chord structures are possible as the foundation of the polychord, but lot common. The following are the polychords which are usually found in conjunction with the three main lord families. :XAMPlE 1
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EXA MPL E 3 Typ ical voic ings :
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A suspended 4th chord is simply a chord that has the tone a 4th above the root in place of the 3rd. A su~ pended triad, therefore, iNould h'ave a root, 4th and 5th; a 7th chord would have the root, 4th, 5th and 7th, an; so on.
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In traditional harmony, these suspensiO(lS always resolved but, in contemporary usage, they may eithe~ I
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1 while example 2 shows a series of unresolved suspended chords. An example of a song which consist 1 exclusively of unresolved suspended 4th chords is Herbie Hancock's Maiden Voyage.
,,
EXAMPLE 1. A
o mi
'.
9
C Maj. 7
<4 13
G 13 sus4
~
I
1\\,'
.....
-;;-
...
1.'
----~
LL
4
J
,I,
" ,. I
/I I)
/
'-u
..... ""'
1L
•
J
I
EXAMPLE 2. F 7sus
J ~"
1/
t1 09'
f..
J
I
,.,... ,..,., [I 'v
I
...
"""' II
1.I
...'''''
t:
"
!
,...
~
1r • ,
..c::
--'tl
~~~ c;-.. .
~
u
~.4
....
~
./
t11.
.
•
/
"
A
U
0
1
-
rLLL
\:"l
v
1/
•
~
-
F 7sus
E 7sus
1:II
\.\
Bb 7sus
A 7sus
/'
'I
..... L
.
I,
/'
~
___
(7,
L
G;"
There are two main ways of conceiving and notating suspended harmonies. The first is to create a
harmoni~,
block and then to replace the 3rd of the chord with the tone a 4th above the root, indicating the resultant sounc) in the manner of example 3. The second way is to conceive of a sort of polychord; that is, a certain chord over! single bass note (pedal). The only considerations then are that the upper chord must have as a chord member~'~ the tone a 4th above the single bass note and that the 3rd above that bass note should normally be absent. Thi,' method is shown in example 4. A third way to notate a suspended chord is to indicate it as an 11 th chord (no;:_ . a sharp·llth), which implies the omission of the third. This way, which is less common usage, is shown in ex:ample 5.
I
I
EXAMPLE 3
G 13
J
rlI
~
.....
~
3
612 ,....
./
I-'
I
FM9/G pedal=G 13sus.4
~
4
~
G 11 (sus.4)
G 11
,
.L
.-
.
F M9
0
"-
I
G 13 susA
1'1
J
EXAMPLE 5
EXAMPLE 4
,.
.L L.
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..
--:;
"::
....
,-
/"f
L"t
I-'
~ I
,...,
......
v ,
14
t'.
susA
11-
At?
v
~ ~
'I"
..........
.L 'I" ..1.
,
......
·sus.4
,
:-0\,
-'~
So m e ty pe s of su sp en de d ch or ds se em to du pl ic at e ea ch ot he r as ca n be se en in ex am st an ce s, th e ve rti ca l so no ri ty pl e 6. In th es e ir is th e sa m e bu t ea ch ch or d ha s a di ff er en t im pl ic at io n re ga rd in g th e ch oi ce of sc al fo rm fo r im pr ov is at io n.
I
.&
1 .... 1
EXAMPLE 6 Cs us A
,-
....,
~
t-
,
Cm i.s us A
..... rJ -'
·0
~
u
&-
Cm i.7 su s.4
.....,
'""'
~:€
......
1/
,.,
r~
e;
r9
•
•
-"
,
C 7 sus A
l7
L/
/'7
t
1
'-
I
~.
Ex am pl e 7 sh ow s a nu m be r of co m m on su sp en de d 4t h ch or d st ru ct ur es w ith bo th ty pe us ed in so m e ca se s. So m e ty pi s of ch or d sy m bo ls ca l vo ic in gs of th os e ba si c st ru ct ur es ar e sh ow n in ex am pl e 8.
I
I
EXAMPLE 7 Basic St ru ct ur es A
I
C9 sU S . C1 3 sus •
If{ "f) b ~ \.' IJ
.~
-"
•
•
'"
'::L
C9 sus •
C13 sus .
add 9
C13 sus .
Csus. I ,
,
-~
'"
~b
I'
b~
7'
~$
"-
7
b~
)'
c.
~
C?
"7
1' 7
~
"7
'7
/7
Sb / Cp ed . G m i.9 /C pe d.
Sb M 9/ Cp ed .
/7
sbr·;17/Cped.
O m i.7 /C pe d.
O m i./ Cp ed .
EXAMPLE 8 Typical voicings
?
~ ~e
" .• "7
15
-
.....
C 7s us; It1
I"
1/ ' " /..;
,.
v
;'
Gm i.7 /C pe d.
.
.....
L-
c;;
I
•
Csus .
-b~~
a
b6~
"7
/L
.
APPLICATIONS TO MINOR KEYS
..Most voi cing prin cip les app ly to a min or key as wel l as mJj or Jnd sev erJI JreJ S inv olv ing min or fJrn ily cho rds have! f ,lilalready bee n disc uss ed. How eve r, the re are som e gen eral ' con side rati ons tha t cou ld be me ntio ned at this poi nd: The II cho rd in a min or key is usu ally a hal f-di min ishe d cho rd and the VII cho rd (rep laci ng V) is a full y dim in- 'Jis hed 7th cho rd. Sin ce the voi cing of the se cho rd typ es has not bee n cov ere d yet , the y will be disc uss ed at this ' .Jei me. .
l.
-
.~ t
will be fou nd tha t mo st of the voic ings sho wn in this boo k for min or 7th fJm ily cho rds may be con ver ted to~ !J,a lf-d imi nish ed voi cing s by sim ply low erin g the 5th of the cho rd. How eve r. it ma yor may not be des irab le to ~ ,~'ower th~ 9th . if it is pre sen t in the voi cing . The low ere d 9th of a II cho rd is inh ere nt to the min or ton alit y (I) but t tis also qUi te dis son ant to the cho rd. .
l
eXA MP LE 1
-
A
/
'j
[La 1'/7 ..cJ II' • lit .~
.
~
~
.....
,JCZLJ_
....
b$ : b' ¢ b-v
,
~e
hal f-di min ishe d 7th bui lt on II is gen eral ly foll owe d by a V cho rd whi ch is alte red . ,This alte rati on is a goo d ,. :Jac tice bec aus e the ton alit y of the min or I cho rd to foll ow imp lies a #5. ~9 and #9 in the dom ina nt 7th cho rd.
~:XAMPlE
2
+9
c pure min or
.
-9
(I )
G7 +5
1,1
I
-. 6'
~
I
C7
..... V
......
T
C?
""'"-
.J
~./
..... ,/
l
J;
-
•
/'?
L""1
!/l
./
.......
1
=r
I. 0 ,t C./
,e?
t Ie dim inis hed 7th cho rd occ urs as a dia ton ic VII cho rd in the har mo nic min or sca le givi ng it a stro ng ten den cy ;I ~vard a min or cho rd a half -ste p ab·ove. The re are two gen eral app roa che s to the voi cing of this typ e of cho rd: -. -It is ofte n con sid ere d an inc om ple te dom ina nt 7th wit h 3 ~9 and . acc ord ing ly. the roo t is add ed a maj or 3rd 1 iow the exi stin g roo t; 2 To avo id a trad itio nal sou ndi ng cho rd, one or mo re not es may be add ed a who le step • ~ve any cho rd me mb er of a dim inis hed 7th cho rd. Exa mp les of the se two me tho ds are sho wn bel ow • .
1
•, ,
JXA MP LE 3a
SO I
lJ1'"
"'
'j
C7 £7
t-
o
1
0
EXA MPL E 3b G7-9
-
8'o
j~
OJ C7
~
CJI
%
C?
t:7 C/
\,
RO ,
Ie. .; "- 7
~
'/ t'7 /7.-
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(7
'Lc.. 7,.,
A
'./
.....,
A
L
It. L::/
17 C7
, I ,
(9)~
,
16
I ,
°
.J
-] .
-1
In a maj or key , a II to V to I pro gre ssio n usu ally involves a min or 7th , foll owe d by a dom ina nt 7th , foll owe d t a maj or 7th . In a min or key , the II-V-I pro gre ssio n is usu ally a hal f-di min ishe d 7th , foll owe d by an alte re dom ina nt 7th , foll owe d by a min or 7th or min or 6th chord_ The last exa mp les in this sec tion sho w voicings fc II-V-I pro gre ssio ns whi ch hav e bee n'a dap ted from a maj or key by low erin g the 5th of the II cho rd, alte ring the \ cho rd, and low erin g the 3rd and /or 7th of the I cho rd. EXAMPLE 4
Som e possible cho rd con nec tion s:
v
II
... fI
...
.,
,-
...
~/
I{':' ;
C7
LI
. c9
~
->,
C7 c;J
I
9
0
I
-b-b "'"' ~
v
I
vr L7 __ ......
-
II
......
v
O
b 6"
r;
z>
......
0 6) ,
II
v
'//7
'"-'"
"""
v 'JO
~~ 27
~
\'1 ....
~~
,
•
1 I
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./
....
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1 1
1 1 ,1
)
l l J
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.1'"'9
17
•
THE FUNCTION OF CHORDS :;fac.h type ~f cI~ord has one or more funcyons: that is, ways in which it normally progresses to other chords. Th.is~ ,~dpaslc function IS unaffected. by the addlt.lOn of higher extenSions of the. chord or by the alteration of certain, ~.:hord members. Such extensIons or alterations tend to only affect the relative dissonance or fullness of the chord .. b
~tajor 7th family chords tend to function as tonic chords, or ones which establish a key (ex., an EbM7 in the key;of Eb). They are relatively stable and do not need to progress to another chord. A series of major 7th chords~ I~reates a rather "soft" progression which lacks strong drive. In selecting chord qualities, it is important to y~emember that a major 7th chord could always suggest at least a temporary key center. ~ ."
~
~~inor 7th family chords are slightly less stable and have more than one primary function. They may serve eithe 1 . as a tonic chord in a minor key (Imil) or as a supertonic chord in a major key (1Imi7). If the minor 7th is longi ;lenou~h in duration an~ is preceded by a d~minant 7th cho~d locat:d a, 5th above, it will, probably assume a toni)afunctlon. In the follOWing example, the Cml7 assumes a tonic function In the key of C minor. : ·11
,-
iXArJlPLE 1 I
V
Cmi.7
G7
."
i?:
"1
/
/
/
/
/ /
DP
Cmi.7 /
/
/
V
II
,-
/
/
,-
,
L
/
f
/
,
L
L
/
L
/
/
1.
Cmi.7
;G7
/
f
/
I
/
/
I'
/
/
/
L
/
/
-
/
i iowever, if the minor 7th is followed by a dominant 7th located a 5th below, it will probably function like a 11:, .hord. The Cmi7 in the next example functions as a II chord in a Sb major. 1..
-
-
)XAMPLE 2 II
V
I
Cmi.'7
F7
BbM7
j):
L
L
/
/
/.
/
L
/ /
/.
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/ /
I
j
,
f\ny minor 7th chord could be assigned the function of a II chord and be followed by a dominant 7th a 5th~'
1;-,
..
~
I
,,
-.
.
7th family chords are still less stable and normally want to progress to the chord located either a half·...Dominant te p below or a perfect 5th below. A notable exception is in a blues progression where a dominant 7th commonly
I
ssumes the function of a tonic chord and may not progress normally. However, a dominant 7th is usually given;' ~he function of either a V chord or a bII chord. Any dominant 7th chord could be assigned the function of a VIhord and be preceded by the minor 7th a 5th above (its II chord). The following example shows the two most ..:ommon resolutions of a dominant 7th. ... '
-
I EXAMPLE 3a
.
V G7
I• j ~
l
EXAMPLE 3b I
CM7
• / /
btl G7
/
I
,/
, I
, -'
I
/ I
I
,
I
/ I
18
/
I
/
I
,
/
,
I
I I
,I
,/
,
Augmli!nted tria ds fun ctio n similarly to a dom ina nt 7th and ma y resolve to the cho rd a 5th bel ow. However , a the nex t exa mp le sho ws, the y may resolve upw ard a hal f-step.
,
1
EXAMPLE 4a V G+
•
i
•
.
., '
I
CM7
-,/
I· ./
EXAMPLE 4b VII G+
,/
/
/
/
/
/
/
/
/
/
/
/
,
/
/
/
/
/
/
~
L .1
1.
/
/
/
,
/
/
/
I
i
Hal f-di min ishe d 7th cho rds ass um e the fun ctio n of a' II cho rd in a min or key bu t may be use d as a II cho rd i maj or as well. Occ asio nal ly, a hal f-di min ishe d cho rd ma y fun ctio n as a VII cho rd and resolve upw ard a half-ste!= In this fun ctio n, it is actu ally a sub stit ute for the V cho rd, a dom ina nt 7th loc ated a ma jor 3rd beloV\
-1 '-
EXAMPLE 5a II V oP G7
EXAMPLE 5b II V 01 G7
Cmi.7
EXAMPLE 5c VII
I
I
oj!
CM7
EbM7
1
~:
,
Diminished 7th cho rds are very ten se and nor mal ly progress step -wi se up or dow n to eith er a ma jor or minor cho rd. The y are oft en con side red inc om ple te dom ina nt 9th cho rds and may have a new roo t add ed to the m c maj or 3rd bel ow the original roo t. The re may be som e con fus ion in the analysis of dim inis hed 7th s since their spellings have several enh arm oni c equ iva len ts. This can gen era lly be resolved by obs erv ing the rela tion shi p of the cho rd to its res olu tion .
,
1
-/
7'
/
Z Z Z
I
7
I I: !
I
7
/-
II
7:; ~
7 1
7 1
I
7
7
~
j
z
II
J
7
7
7
7
1
:
/
7
•
I
7
I
/
1
•7
I
;
An ext rem ely imp ort ant con sid era tion to keep in min d whe n ana lyz ing cho rd pro gre ssio ns is tha t jazz har mo ny i~ con stan tly mo dul atin g or cha ngi ng keys. A maj or or min or cho rd pre ced ed by a dom ina nt 7th loc ate d eith er 2 half-step abo ve or a 5th above is usu ally evidence of the arrival of a new key cen ter. However" the exi sten ce of som e inte rme dia te key s in a pro gre ssio n may be qui te brie f and in cyc ling pro gre ssio ns of 5th s may be deb ata ble . It is very imp ort ant to observe the rela tion ship s of ~he roo t pro gre ssio ns and the qua litie s of successive cho rds . A -, tho rou gh und ers tan din g of the se thinys the n mak es it possibl e to rep rod uce a given cho rd pro gre ssio n in any key desired. This skill is very imp orta nt to any musIcian but esp ecia lly to the pla yer of a cho rd ins trum ent .
1
-, The foll owi ng is a brie f sum ma ry of the app rop riat e cho rd typ es in sc;;-)e: general har mo nic situ atio ns: _ Major key
I -, Minor key
JMajor blues
The ton ic cho rd (I) may be a maj or tria d, M69, M7, M7 b5, M7~ 5, etc. The V cho rd is usually a dom ina nt 7th and the II cho rd cou ld be eith er a min or 7th , hal f-di min ishe d or dom ina nt 7th . The I cho rd cou ld be a min or tria d, mi6 9, mi7 , or a mi~7. The V cho rd is usu ally a dom ina nt 7th (wi th alte rati ons ) and the II cho rd is eith er a hal f-di min ishe d or a dom ina nt 7th (us ual ly wit h alte rati ons ). The I cho rd is generally a dom ina nt 7th cho rd. All oth er fun ctio ns are nor mal for a maj or key .
IBecause of extensive key changes in many jazz tunes, it is often possible to analyze enti re pieces and be able to
acc oun t for eve ry cho rd in the pro gre ssio n as eith er a II, V or I cho rd in som e key . However, mo dul atio ns are - ofte n not com ple ted as in the case of the man y unr eso lve d II to V pro gre ssio ns in tun es of the beb op era. All tha t lis necessary for the esta blis hm ent of a key feeling (no ma tter how brie f) is two cho rds in a prim ary rela tion ship to eac h oth er (such as II-V, V-I, I·IV, IV-I, etc.) .. A cha rt is inc lud ed her e to sho w the nor mal fun ctio ns of the - Ivarious cho rds wit hin a single key . I
-
19
THE FUNCTION OF CHORDS *
·.,, .-
,
•
.:J
"
The Roman numerals in this chart ·indicate the degree of the scale of the key on which the chore! is built. Fexample, a 117 in the key of Eb is built on the second scale step which is F. IM7
Establishes the key center, doesn't need to progress.
V7
Progresses to I (down a 5th)
IImi7
Progresses to V (down a 5th) or to bll (down a 1'2 step)
:·1
-
.a ,
~ ,..
1 !
I
Vlmi7
Substitute for I, progresses to II (down 5th) or to bVI (down 1'2 step)
,:;'.
I
VI7
Progresses to II (down 5th) or to bVI (down ~ step)
-
III mi7
Substitute for I, often follows V7, pr~resses to VI (do·..m 5th) or to bill (down 1'2 step)
I
1117
Progresses to VI (down 5th) or to bll17 (down 1'2 step)
117
Progresses to V(down 5th) or to bll (down 1'2 step)
I I
1
I
17
Progresses to IV (down 5th) for temporary key change for relief
IVM7
Temporary key center for relief from original key
Vmi7
IImi7 of IV,progresses to 17 (down a 5th) and then to IV
-
,1
VII
I I
-
P7
IVmi7
-
Progresses to I, substitute for V Transitional chord between IVM7 and return to I, or between IImi7 and I ,
bVII7
Transitional chord between IVmi7 and I, may progress to. bill (down 5th)
bll17
Substitute for VI7, progresses to II (down 1'2 step) or to bVI (down 5th)
J bVI7
Jb
117
Substitute for 117, progresses to V (down 1'2 step) or to bll (down 5th) Substitute for V7, progresses to I (down 1'2 step)
*7-Dominant 7th, M7-Major 7th, mi7-minor 7th
-
J
I I I
!,
I, . ~
,, I ,
20
-
1
TRI-TONE SUBSTITUTIONS* "Tri·tone equals 3 whole steps
Any two dominant 7th-type chords whose roots are located a tri-tone apart will substitute for each other.
1
In C Major, in the progression Ilmi.7-V7-IM7 (Dmi.7-G7-CM71. a D~7 may replace the G7 (V7) makhe progression IImiJ- b1l7-IM7 (Dmi.7-Db7-CM7). The Db7 and G7 are a tri-tone apart. EXAMPLE 1
~
-1
,
tri-tone substitution j
U
tri·tone
tri·tone
IA
I
,
",
/,
'"
~.
~
v
_~I'~'::~~====~~::==~~~::::::jt::~~::=h~I/~~~~~::::::~::::::1t=t;;~=tLl~~L:~~~~~-~~=::.::::~ e. 0 ~ C? r) 0 6l II ~ v'" Omi.7 G7 M7 Omi.7 0~7 CM7 ~II v II mi.7
1 1
V7
I M7
~117
IImi.7
IM7
In C Major, in the progression IM7-VI7-lImi.7 (CM7-A7-DmiJ), an Eb 7 may replace the A7 (VI7) making the progression IM7- b 1117-lImi.7 (CM7-Eb 7-Dmi.7). The Eb 7 and A7 are a Tri-tone apart. EXAMPLE 2 tri·tone substitution tri·tone
I
tri-tone
.
;
IIIl~~__~~~____~~~~,-____~_~~__~~__~~~____~v~~~____~{_/r-____~-+~~~~.L
-r~;
l
C Maj.:
~
~ ~
CM7
A7
o mi.7
CM7
Eb 7
IM7
VI7
Ilmi.7
IM7
bll17
V
~~
Omi.7
bill
, '
z '//-:/ fL
•
.Ie-
VI
Ilmi.7
l
This is in line with the two most common jazz progressions: down a perfect 5th or down a Y2 step. In either case, the final chord of the progression is reached in one of two ways_ In many cases, the substitution -[hOrd may be an exact duplication of the original chord with only the root changed. However, the analysis of !xtensions and alterations in the chord would, of course, be different when the chord has a different root_
1
EXAMPLE 3
(A)
.
I It{ 1\' I
t.
II. ".
Substitutions with only the root changed.
-I
~7G7 +5+9
( B) 1£1·
V
..L
Z
2-
~
.
oh 13
A 13
ILL
(0)
(e)
1/1
,"2
, •
~
E~7 +5+9
'/ ~
~
B7 +5 +9
v2
•
-
-
21
;,
Bb 13
F13
r
,
~
E7 +5+9
-'-
..1
,
~
~
~
U
•
'/
:2
,
~
7'
v •
~
\
..
USES OF TRI- TONE SUBSTITUTIONS:
j
•
2. 3.
To lJreak a monotonous chain of progressions of 5th's or '11 steps by converting one or more of ther' i (the progressions) to the other type. ~ To add harmonic interest to a simple progression. To provide an opportunity for a sudden wild departure from the key·for temporary relief.
4.
To lead an improvisation into different melodic territory.
1.
I
J
,• , lL
]
EXAMPLE 4
F ormul as for tri-tone su bsti tu tions. (8)
(A)
(0)
( C)
(E)
-
A
~~ A~_
C-;l
~
\.'
..J ~t7~
p
J
b ~'"'"
V
1'1
-7
,
,
i/"Jl.
,"':
bV' 7-
~
rV~
-r
,
~
'1-9-
~
b~7-
•
i
Z
/
V''" '
I/'
V '
7 +5+9= 13 +11
7-5-9
-
7+5-9
triad
-
ILL
,
9
.'
, t
• i
•
I 1 1
:~
t
L
13 ·9
-
~
-
• ~
'A
<
V '
7 +9
7 -9
7 -9
EXAMPLE 5
There are only SIX tri-tone root relationships with enharmonic variations.
I I I J
It' I·
• •
.rJ
~
Ii#'!-
~
-
,
L1~ I
11~
--'I
:
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"l
fii!
\L_~
' I
,.
-i
,
I
II
I
I
8
F
I " ~, • i
I
-.~
ALTERNATE RESOLUTIONS:
I
Both of the chords which serve as tri-tone substitutions for each other resolve commonly to either of t\: -, chords which are a tri-tone apart. tc.·
I I
I
G 7 - - - - - - - C (Any type of 7th) Tri- Tone: I
D~ 7 - - - - - - G~ (Any type of 7th)
L
Therefore, for increased flexibility in using tri-tone substitutions, attention should be given to the reso, . tion of melodic ideas based on dominant 7th's so that they may lead smoothly to the chord a % step below 01: • perfect 5th below.
I
22
•
bil}
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AN APPLICATION OF THE TRI-TONE PRINCIPLE The following examples show the step-by·step evolution of a typical two·bar phrase ending. Through aPI= cation of the tri·tone substitution principle, the space previously occupied by one or two simple chords may filled by twice as many chromatically interesting chords. The examples here show a gradual elaboration on 1 original progression. However, once the principle is understood, the intermediate steps need not exist in om
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thinki ng. Example 1 shows a typical phrase which ends in the key of C and turns around to begin a new phrase in t same key.
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Example 4 shows the actual application of the principle of tri·tone substitution; all four dominant 7L", Ilave been replaced by their tri·tone alternates (B~ replaces E. El, rep!aces A. A~ replaces D. and D~ replacesNotice that in making these substitutions the only thing that has been changed in each case is the root of chord. By reinterpreting the Jilalysis of the voicing which appeJrs Jbove the root, the E7~5~9 becomes a 8l,!; etc. Some enharmonic r~spelling has occured as a result of the new root.
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Example 5 illus~rates a combination (there are many possible) of examples 3 and 4 with additional qU~ changes in the third and fourth chords. By changing the A~ and Db chords to major qualities, the progressiorj gins to sound like bVI to V to I to IV in the key of Ab until the abrupt return of the I chord in C! A quick e:1; ination of the functions of these chords should explain this curious phenomenon; a dominant 7th progreS5.J. down a 5th to a major 7th will alwavs sound like V to I! ! I
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The possibilities available for substitution through the application of the principle are so vast almost escape the imagination. But the important guideline in applying the principle may well be this: IL origin of the substitution can be traced through a harmonic logic such as that presented in examples 1 throui i th en tI Je substitution will probablv be convincing and have harmonic integrity. (j
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MELODY HARMONIZATION
Anyone who has ever tried to harmonize melodies from rather sketchy lead sheets knows that it is often a challenge to supply interesting chords to a simple melody. This is especially true in the case of many old songs .. found in fake books where usually only the barest outline of the harmony is provided. However, applying the principles of chord functions and substitutions, it is relatively easy to produce harmony which satisfies the pro... gression and/or an interesting variation. The first example shows a four-bar melodic phrase with only one C chord indicated for the entire phrase.
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This is a fairly common harmonic situation.
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EXAMPLE 1
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Example 3 is similar to number 2 except that the A minor, 0 minor and C major chords are all preceded by I dominant 7th chord whose root is located a half·step above. Since dominant 7th chords resolve strongly to Jither the chord a 5th below or a half-step below, this is a good way to add a strong harmonic drive to the pro-~ression. Practically any chord can be approached from the chord located either a 5th or a half-step above. \
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In example 4, the progression has departed slightly from the traditional functions and substitutions but thlchromatic alterations are. kept to a minimum. In this way, the harmonic texture is still relatively calm. NoticEi . · :hat the bass line which is created by the roots of the chords is smooth and flowing and that the final resolution~has been changed [0 a substitute for I.
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MELODY HARMONIZATION SO ME PO SS IBIL ITIE S FO R TH E HA RM ON IZA TIO N OF A GIV EN ME LO DY NO TE. , The given note (G) cou ld be ana lyze d as any cho rd mem ber una ltere d or alte red, of a cho rd of prac tica lly any qua lity (ma jor, min o dom inan t, etc. ).
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To add harmonic interest and/or tension to a given chord, chromatic ·parallel motion may be used i: approaching, embellishing or leaving that particular sonority. In the following examples, a C minor voicing is use, at the asterisk points to satisfy the basic harmonization of the phrase. Notice that the chord of longest duratiol in each example is always a voicing which reinforces a C minor tonality; that is, the chord which is called for if the progression.
Examples 1 and 2 show the approach to the C minor harmony from either a half-step below or above. Th, C tonality occurs in a strongly accented position which helps emphasize its arrival. The first of the two measure in these examples might be almost any chord. The voicing which occurs a half-step away from its eventual re~ olution is not objectionable since il is a chromatic anticipation of the tonality of the second measure. Also, th first chord in each case is of short rhythmic duration.
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ELECTRONIC KEYBOARD APPLICATIONS
Since there are a number of electric pianos and organs in wide use today, it seems pertinent to mention
. some considerations relative to those instruments as well as some of their possibilities.
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In general, most voicing principles related to the acoustic piano will apply equally well to electronic keyboards. However, there are two general exceptions:
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1
Thick, closely voiced chords, which sound full on acoustic piano may be too harsh or dissonant when played on electric piano or organ.
2
Two or Three-note voicings, which sound thin or weak on acoustic piano, may sound full and strong on an electric keyboard because of electronic amplification.
-1
Unlike the acoustic piano, which has little sustaining power, an electronic keyboard may be used effectively to play melodic lines in combination with other instruments. Also, various amplifying sources for electric instruments make possible the use of such effects as vibrato, tremelo, reverberation and tone control. In addition, there
1are a number of modifying devices which, when used with an electric keyboard, can produce a rich variety of tone colors. Some of these devices are listed and described below:
l
1 2
VOLUME PEDAL - allows the foot to control volume so both hands are available to the keyboard. WAH-WAH PEDAL - essentially a filter which either allows or greatly reduces the number of high frequencies present in the tone quality of the instrument. This is sometimes combined with either the volume or fuzz-tone pedals.
l
3
FUZZ-TONE - a distortion device which adds a tense quality to the tone. This is generally suited only for melodic use as it tends to distort chords too badly.
4
REVERBERATION UNIT - adds a spacious quality to the tone which simulates the illusion of playing in a large hall.
--
5
RING MODULATOR - a device which combines the sound of the instrument with that of a variable pitch oscillator to create both a difference tone and a combination tone. The oscillator has a range of about six octaves and the degree of modulation is controllable. At one end of the scale, only the key-
-, 6
board tone is heard and at the other end, the original keyboard tone disappears completely! LESLIE SPEAKER - this is a type of speaker-amplifier which has a speaker horn that is conti;,uously turning in a 360 degree circle. The horn may turn at both slow and fast speeds creating a pleasing tremelo effect.
7
-
PHASE SHI FTER - a device which has a pulsating effect similar to a leslie speaker and creates the illusion of a continuous tone quality change.
8
-
ECHO-PLEX - essentially a tape recorder with an extra playback head so that whatever has just been played (recorded) can be played back immediately at any desired interval of delay and as many times as wanted. The volume of the echo in relation to the original is also adjustable. Since the device employs a tape loop of about two minutes duration, this entire loop may be played back while recording other material on top of that which was previously recorded. Therefore, it is possible for one to play duets, trios, even quartets with himsel f! There are also some interesting feed-back possibilities
-
-
which involve increasing the sustain and volume levels past the normal position. Most of the5e devices may be simply patched between the keyboard and the amplifier. However, in the case
)f at least one electric piano with its own built-in amplifier, it may be necessary to interrupt the connection of _the actual pickups inside the instrument before it enters the amplifier stage. In the case of the example in mind, t is only necessary to unplug the connection from the pickups inside the piano and patch in the desired devices .Jefore going into the preamplifier.
'." Undoubtedly, much of the information In this section will either be obsolete or old hat by the time it .appears in print. However, it is hoped that the ideas presented here will be of some use.
33
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BLUES PROGRESSIONS (IN C) VOICED FOR THE LEFT HAND
t POP-ROCK BLUES PROGRESSION F 13 ,,
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PROGRESSION, (VARIATION OF No. 1) F9
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(In the Key of F)
Measure 1 No.
3
4
5
6
7
8
9
10
11
12
1.
F7
F7
F7
F7
Bb 7
Bb]
F7
F7
C7
C7
F7
F7
2.
F7
F7
F7
F7
Bb7
Bb 7
F7
F7
C7
Bb 7
F7
C7
3.
F7
Bb7
F7
F7
Bb7
Bb7
F7
F7
G7
C7
F7
C7
4.
F7
Bb7
F7
F7
Bb7
Bb7
F7
07
G7
C7
F7
C7
5.
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Bb7
F7
F7
Bb7
Bb 7
F7
07
Gmi7
C7
F7
Grrii7
C7
(6.
F7
Bb7
F7
F7
Bb7
E b7
F7
07
Ob7
C7
F7
Ob7
C7
7.
F7
Bb7
F7
Cmi7
F7
Bb7
Eh
F7
Ami7
Gmi7
C7
Ami7
07
Gmi7
C7
8.
F7
Bb7
F7
Cmi7
F7
Bb7
E b7
Ami7
07
Gmi7
C7
Ami7
07
Gmi7
C7
9.
F7
Bb 7
F7
Cmi7
F7
Bb 7
Smi7
C7
B b 7 Ami7
07
Gmi7
C7
10.
F M7
Emi7
Cmi7
F7
sb 7 )
B0 7
Ob m i7
G~7
07
Gmi7
C7
Ami7
Ab mi7 Gmi7
Gb
F M7
Ab mi7 Gmi7
Gb ,
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07
F7
E7
Eb 7
07
Gmi7
Ami7
07
Abmi7
Ob 7
Gmi7
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F M7
Emi7
A7
Omi7
Eb mi7 Omi7
G7
Ob m i7 Cmi7
cb7
.
Bb M7
Bb mi7
Ami7
C7
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Ab m i7
Gmi7
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C7 "", -
Ab mi7
Eb]
Ab M7
Ab m i7
01>7
G~ M7
Gmi7
Sbm i7
E b7
Ami7
Abmi7
Ob7
Gmi7
C7
sb M7
Bmi7
E7
Ami7
Ab mi7
Ob7
Gmi7
C7
BbM7
Bb mi7
Eb 7 Ab M7
Ab mi7
Ob7
GbM7
Gmi7
Smi7
E7
Ami7
07
GM7
GbM7
F M7
SbM7
Ami7
Gmi7 Gbmi7
Cb7
sbM7
SPmi7
13.
F M7
S~M7
Ami7
Gmi7 Gbmi7
clf]
SbM7
Bb mi7
14.
F M7
Emi7
A7
Omi7
G7
Cmi7
F7
sb M7
15.
F M7
Emi7
A7
Omi7
G7
Gbmi7
Cb7
16.
F~mi7
Emi7
A7
Omi7
G7
Cmi7
F7
17.
F M7
F~mi7
B7
EM7
Eb M7 ob M7
B7
BM7 Bb M7
AM7
Gmi7
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Ami7
12.
F7
Gb7 '.
Ami7
07
0~mi7
G'
Ami7
07
Gmi7
C7
Sb7
Ami7
07
Gmi7
C7
C7
Ami7
07
Gmi7
C7
C7
FM7
NOTE: Portions of these progressions could be combined with each other to create hundreds of slight variations of the above. Notice that practically all blues progressions follow a similar basic form, which is as follows: First 4 measures - I chord; Second 4 measures - , IV chord (returning to a I chord or its substitute); Final 4 measures - V chord (or II-V substitute) returning to a I chord.
Ab M7 GM7
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. TURNAROUND PROGRESSIONS A turnaround pro~Jression is uSLlally a .two·!JJr pro(Jlession found ZIt till! end of dll ei~lht·iJdr phrase (Measures 7 'f": Jilt! 8). The turnaround serves scvcrJI purpos(~s; 1 It lelieves the monotony of hearll1~1lhe tonic chord only for d two meJsures, 2 It prepares the IJeuinning of the next JJhrase, .Inti 3 III m,)I1Y cJs'es, it:hclps cl,lrify the form by helping to emphasize the beginning of a new chorus, There are endless possIbilities, of course, but Some common ·~r.:,ll ;r~ turnarounds are shown here. '
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LEADING TO I
LEADING TO II
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CHORD SYMBOL APPENDIX
Major family - C, CG, CG9, CM7, Cmaj.7, C:r,
C6.
Minor family - Cm, CmiG, Cmin7, c-7, Cm h
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....
Dominant family - C7, C9, C9+11, C13
1
Half-diminished - Cmi7-5,
1
Diminished - Cdim7, C07
d
1 Augmented - C+, C+7
1 Suspended - C sus., C sus.4, Chord/C pedal or Chord/C bass
1 •
1
Added notes - Cadd 9, Cadd 4
•
1
Omitted notes - C omit 3
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JAZZ/ROCK VOICINGS FOR THE CO['.;TDIPOR:\RY KEYI30ARD 1': .\ YER hv• Dan Haerle ..................................... S-+.'}5 A :--;EW APPROACH TO EAR
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PENTATONIC SCALES FOR JAZZ I\\PROVISA TION 15v• R:11110n I~ickcr
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. TECHNIQUE DEVELOP~IENT IN FOURTHS FOR JAZZ I~tPROV1SATION bv. Ramon Ricker ..................................... S6.95 ',~"\
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EVOLV!:\G UPWARD - i3:lSS I300k II bv Rufus Reid .............. S7.50 :\0
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bv• .\Iike DJvis ..... S2.95
CO\lPLETEI:\STRUCTION IN JAZZ/E~SE~ll3LE DRU~l\Ilj\;G by JJke JergL'r (formerly titled Complete Instruction in D:lIlce Drumming) .... S3.95 CO\IPREHENSIVE
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TEClI:\IQUES AND THEORY FOR POP KEYI30.-\RD PLAYERS by Presto:} Key.s ................... ........................ .. 53.95
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