Intro to Jazz Piano - Mark Harrison (Hal Leonard series)

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ISBN 978-1-4803-8790-4

In Australia Contact: Hal Leonard Australia Pty. Ltd. 4 Lentara Court Cheltenham, ictoria, 319! Australia "mail: ausa#min$halleonar#%com ausa#min$halleonar#%com%au %au Co&'ri(ht ) !011 *' +AL L"NA. C/AIN International Co&'ri(ht Secure# All i(hts esere# No &art o2 this &u*lication ma' *e re&ro#uce# re&ro#uce# in an' 2orm or *' an' means ithout the &rior ritten &ermission o2 the /u*lisher% isit +al Leonar# nline at www.halleonard.com



























Contents IN.CIN A*out the Au#io A*out the Author 5A66 SIC an# 5A66 SAN.A.S IN  5A66 /IAN ICINS AN. C/IN he III /ro(ress /ro(ression ion Seen-hree Chor# oicin(s 5a Sin( Com&in( h'thms ;Sin( "i(hths< Bossa Noa Com&in( h'thms ;Strai(ht "i(hths< Circle o2 =ths an# Circle o2 4ths eie a>or 7th, inor 7th, an# .ominant 7th Chor#s in All ?e's III /ro(ressions in All ?e's ;Seen-hree oicin(s< III /ro(ressions in All ?e's ;Seen-hree oicin(s ith .ou*lin(< Com&in( throu(h @Autumn Leaes;5a Sin(< Com&in( throu(h @Blue Bossa;Bossa Noa< " 5A66 /IAN ICINS AN. /A"NS Le2t-+an# 5a Sin( /attern @In !, a&&lie# to @Autumn Leaes Le2t-+an# Bossa Noa /attern @In !, a&&lie# to @Blue Bossa Seen-hree "ten#e# Chor# oicin(s Le2t-+an# 5a Sin( /attern @In 4, a&&lie# to @All the hin(s ou Are he 5a-Blues /ro(ression in D BlocE ;Dour-/art< Chor# oicin(s III /ro(ressions in All ?e's ;BlocE oicin(s< Com&in( throu(h @5ust Drien#s;5a Sin(< IN  5A66 /IAN "L. "A"N he FSeen-hree Belo elo#'F echniGue he o&-Note oicin( "ercise he FBlocE oicin( Belo elo#' elo#'FF echniGue IN  5A66 /IAN SLIN Soloin( echniGues 2or 5a Stan#ar# Stan#ar#ss Soloin( echniGues 2or 5a-Blues SL" DIL" 1% .uEeHs Seetheart !% Carnial ime



























INTRODUCTION Welcome to Intro to Jazz Piano% I2 'ou ant to learn ho to &la' the en#urin( stan#ar#s that maEe u& the reat American Son(*ooE, then 'ouHe come to the ri(ht &lace his *ooE (ies the *e(innin(-tointerme#iate &ianist a thorou(h intro#uction to the oicin(s an# rh'thms nee#e# to &la' these classic tunes in an authentic a'% ouHll learn ho to accom&an' another sin(er or instrumentalist, ho to &la' the melo#' in a solo &iano settin(, an# ho to *e(in creatin( im&roise# solos% ouHll also &la' alon( ith a >a rh'thm section on the au#io, hile &racticin( all the eam&lesJa &er2ect a' to &re&are 2or 'our Kirst ;or net< >a (i(% Die com&lete son(s *ase# on classic >a stan#ar#s are inclu#e# in the @St'le Dile cha&ter at the en# o2 the *ooE% hese eam&les inclu#e accom&animent, melo#' treatment, an# im&roise# solo &arts% /la'in( alon( ith the rh'thm section on these tunes is a (reat a' to #eelo& 'our >a &iano cho&s% he techniGues in this *ooE ere &ioneere# at the orl#-2amous orl#-2amous roe School o2 usic in Los An(eles, here I ha# the &riile(e o2 teachin( 2or seeral 'ears% .icE roe as one o2 the most im&ortant contem&orar' contem&orar' music e#ucators o2 the late !0th centur', an# his conce&ts hae si(niKicantl' inKluence# the ritin( o2 this Intro to Jazz Piano *ooE% Some o2 m' stu#ents an# customers hae (raciousl' sai# that m' music e#ucation career has *een @Eee&in( the roe Klame alie into the !1st centur', hich I taEe as a com&liment o2 the hi(hest or#er% oo# lucE ith &la'in( 'our 5a /iano –Mark Harrison

Aout the Audio n the accom&an'in( au#io, 'ouHll Kin# &la'-alon( tracEs 2or almost all o2 the eam&les in the *ooE% Dor each tracE, the rh'thm section is on the le2t channel an# the &iano is on the ri(ht channel% hen 'ou ant to &la' alon( ith the *an#, turn #on the ri(ht channel to eliminate the recor#e# &iano% hen 'ou ant to hear the &iano &art 2or re2erence, turn #on the le2t channel to eliminate the rh'thm section% his is all #esi(ne# to (ie 'ou maimum Klei*ilit' hen &racticin( he rh'thm section tracEs contain *ass an# #rums, &lus a selection o2 other instruments ;>a or(an, (uitar, an# Klute<% Aout the Author arE +arrison is a &ro2essional Ee'*oar#ist, Ee'*oar#ist, com&oserMarran(er, an# music e#ucatorMauthor *ase# in Los An(eles% +e has orEe# ith to& musicians such as 5a' ra'#on ;Steel' .an<, 5ohn olo ;Bruce +orns*' *an#<, 5imm' +asli& ;ello>acEets<, an# numerous others% arE currentl' &er2orms ith his on contem&orar' >a *an# ;the arE +arrison uintet< as ell as ith the Steel' .an tri*ute *an# .octor .octor u% +is  music cre#its inclu#e inclu#e Saturday Night Live , The Montel Williams Show , meri!an Justi!e, "ele#rity "ele#rity Pro$iles Pro$iles, meri!a%s Most Wanted , True Hollywood Stories, the British #ocumentar' &ro(ram Panorama, an# man' others% arE tau(ht at the renone# roe School o2 usic 2or si 'ears, instructin( hun#re#s o2 musicians 2rom all aroun# the orl#% +e currentl' runs a *us' &riate teachin( stu#io, caterin( to the nee#s o2 &ro2essional an# as&irin( musicians aliEe% +is stu#ents inclu#e ramm' inners, hit son(riters, mem*ers o2 the Boston /o&s an# L%A% /hilharmonic orchestras, an# Kirst-call tourin( musicians ith ma>or acts% arEHs music instruction *ooEs are use# *' thousan#s o2 musicians in oer !0 countries, an# are recommen#e# *' the BerElee Colle(e o2 usic 2or all their ne stu#ents% +e has also ritten aster Class articles 2or &ey#oard an# an# How to Jam ma(aines, coerin( a ariet' o2 #i22erent Ee'*oar# st'les



























Cha!ter "

#A$$ %U&IC and #A$$ &TANDARD& #a music Kirst emer(e# in the late 19th centur', an# then Klourishe# throu(hout throu(hout the !0th centur' an# *e'on#% Ne rleans an# .iielan# >a st'les Kirst #eelo&e# in the 1910s an# H!0s an# ere note# 2or *oth their solo an# (rou& im&roisation% his as then 2olloe# *' the Sin( era in the 1930s, hich em&hasie# *i( *an#s an# #ancea*le arran(ements% arran(ements% hen in i n the 1940s man' 'oun(er musicians *roEe aa' 2rom the sin( st'les to create Be*o& or Bo&, a less #ancea*le small (rou& st'le ith more a#ance# harmonies an# rh'thms% his as in turn 2olloe# in the 19=0s *' the melloer Cool 5a an# the eten#e# im&roisation o2 the /ost Bo& st'les% hen in the 19O0s an# H70s, the Dusion moement *e(an, com*inin( >a elements ith mo#ern st'les such as rocE an# PB% All the Contem&orar' Contem&orar' 5a st'les o2 the late !0th an# earl' !1st centuries are #escen#e# 2rom this &erio#% o#a', all these >a st'les ;mo#ern an# tra#itional< coeist, an# are &er2orme# an# recor#e# aroun# the orl#% hrou(hout hrou(hout the !0th centur', man' &iano &la'ers emer(e# ho ere hu(el' inKluential in creatin( the arious >a st'les% 5ell' oll orton as in the 2ore2ront o2 the earl' Ne rleans moement, an# immo#estl' calle# himsel2 the @inentor o2 >a% Art atum an# e##' ilson ere (iants o2 the Sin( era, 2olloe# *' Bu# /oell an# helonius onE, ho ere trail*laers in the Be*o& &erio#% he /ost Bo& harmonic st'le o2 Bill "ans as a ma>or inKluence on *oth 2usion an# mainstream >a &ianists 2rom the 1970s onar#, inclu#in( ChicE Corea, +er*ie +ancocE, 5oe 6ainul, an# ?eith 5arrett% his *ooE 2ocuses on the &iano techniGues reGuire# to &la' >a stan#ar#s% hese are son(s that are i#el' Enon an# &er2orme# *' successie (enerations (enerations o2 >a &ianists, an# the artists mentione# a*oe are Enon 2or their inter&retations o2 these classic tunes% Ironicall', man' o2 these son(s ere not ritten *' >a com&osersJmost com&osersJmost o2 them are either 2rom +oll'oo# musicals, Broa#a' shos, or in /an Alle' &o&ular son(s% hese son(s ere ritten 2rom the 19!0s to the 19=0s an# collectiel' maEe u& the reat American Son(*ooE% he' hae classic an# en#urin( melo#ies, o22erin( >a musicians almost limitless &ossi*ilities 2or melo#ic, harmonic, an# rh'thmic inter&retation% 5a tunes an# stan#ar#s are normall' &resente# in lea# sheet 2orm% A lea# sheet is a musical chart that shos the melo#' an# chor# s'm*ols% hen rea#in( a lea# sheet, the >a &ianist ill then im&roise a &art *ase# on the chor# s'm*ols an# melo#'% his *ooE (ies 'ou a 2oun#ation 2or ho to #o this, usin( arious lea# sheet eam&les *ase# on 2amous stan#ar#s% A 2aEe *ooE is a collection o2 lea# sheets, normall' in a &articular music st'le% A (oo# source 2or >a stan#ar#s is The (eal )ook* Si+th ,dition, &u*lishe# *' +al Leonar# Cor&oration% irtuall' eer' musician I Eno in Los An(eles has this *ooEJor a &reious e#ition% ea#in( an# &la'in( these charts is a (reat a' o2 &uttin( into &ractice the techniGues 'ouHll learn in this Intro to Jazz Piano *ooE% In Cha&ter ! eHll (et starte# ith some *asic oicin(s an# rh'thms that 'ou can use in >a stan#ar#s% n ith the sho



























Cha!ter '

INTRO TO #A$$ PIANO (OICIN)& AND CO%PIN) The II*(*I Pro+ression he term @III &ro(ression re2ers to chor#s *uilt 2rom the II ;secon#<,  ;Ki2th<, an# I ;Kirst< #e(rees o2 a Ee'% his &ro(ression &ro(ression is the 2oun#ation 2oun#ation o2 mainstream >a harmon', an# III chor#s are 2oun# in man' >a tunes an# stan#ar#s% 5a st'les normall' maEe use o2 2our-&art ;or lar(er< chor#s, as o&&ose# to the tria#s ;three-&art chor#s< commonl' 2oun# in &o& an# rocE st'les% III &ro(ressions &ro(ressions are 2oun# in ma>or an# minor Ee's% Dor no eHll 2ocus on ma>or Ee's, then later in this *ooE eHll looE at these &ro(ressions in minor Ee's% Dirst eHll *uil# 2our-&art chor#s ;sometimes re2erre# to as @seenth chor#s< 2rom each #e(ree o2 a C ma>or scale, as 2ollos:

hese are Enon as #iatonic 2our-&art chor#s, as the' are all containe# ithin the C ma>or scale% ;.iatonic means @*elon(in( to the scale or Ee'%< eHll no reie a little theor' a*out these 2our-&art chor#s: 

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he s'm*ols ith the @ma>7 su2Ki are ma,or se-enth chords, chords , create# *' *uil#in( ma>or 3r#, &er2ect =th an# ma>or 7th interals a*oe the root% his interal &attern occurs in the Cma>7, an# Dma>7 chor#s% he s'm*ols s'm*ols ith the @m7 su2Ki are minor se-enth chords, chords , create# *' *uil#in( minor 3r#, &er2ect =th an# minor 7th interals a*oe the root% his interal &attern occurs in the .m7, "m7, an# Am7 chor#s% he s'm*ol ith the @7 su2Ki is a dominant se-enth chord, chord , create# *' *uil#in( ma>or 3r#, &er2ect =th an# minor 7th interals a*oe the root% his interal &attern occurs in the 7 chor#% he s'm*ol ith the @m7♭= su2Ki is a minor se-enth with latted /th chord, chord , create# *' *uil#in( minor 3r#, #iminishe# =th, an# minor 7th interals a*oe the root ;eGuialent to Klattin( the =th o2 a minor seenth chor# *' hal2-ste&<% his interal &attern occurs in the Bm7♭= chor#%

Note that oman numerals are shon *elo each chor#, in#icatin( the 2unction o2 each chor# ithin the Ee'% So in the Ee' o2 C, the .m7 is a II ;or @to chor#<, the 7 is a  ;or @Kie chor#<, an# the C





























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e no hae a root note in the *ass cle2 2or each chor# ;., , an# C res&ectiel'<, *elo the 2our-&art chor#s in the tre*le cle2% In the ri(ht han# e are &la'in( each chor# eactl' as it is s&elle#, i%e%, &la'in( the root-3r#-=th-7th o2 each chor#, 2rom *ottom to to&% hile this ma' sometimes *e ?, it is more common 2or >a &ianists to oice these chor#s ch or#s 2or st'listic e22ect% A -oicin+ is -oicin+ is a s&eciKic inter&retation o2 a chor# s'm*ol *' the &ianist% his ma' inole a##in( etensions or alterations to the *asic chor# s'm*ol, su*tractin( notes 2rom the *asic chor# s'm*ol, re#istri*utin( the notes *eteen the han#s, an# so on%

&e-en2Three Chord (oicin+s he Kirst an# most 2un#amental >a &iano oicin( e ill orE on is the @seen-three oicin(% his inoles &la'in( >ust the seenth an# thir# o2 each chor# in the ri(ht han#, oer the root o2 the chor# in the le2t han#% his also (ies us er' (oo# @oice lea#in( ;moin( *' common tones or small interals< *eteen successie chor#s in the III &ro(ression, as in the 2olloin( eam&le: eam&le:

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n the 7 chor#, the 3r# ;B< is a ma>or 3r# interal a*oe the root ;<, an# the 7th ;D< is a minor 7th interal a*oe the root ;<% his com*ination o2 ma>or 3r# an# minor 7th interals a*oe the root e&licitl' #eKines a #ominant 7th chor# Gualit'% he 3r# is no oice# a*oe the 7th on this chor#, in or#er to oice lea# smoothl' 2rom the &reious chor#% n the Cma>7 chor#, the 3r# ;"< is a ma>or 3r# interal a*oe the root ;C<, an# the 7th ;B< is a ma>or 7th interal a*oe the root ;C<% his com*ination o2 ma>or 3r# an# ma>or 7th interals a*oe the root e&licitl' #eKines a ma>or 7th chor# Gualit'%

In or#er to *uil# seen-three oicin(s oer III &ro(ressions, 'ouHll nee# to Eno the 3r#s an# 7ths o2 all the ma>or 7th, minor 7th, an# #ominant 7th chor#s% he eercises in this *ooE ill hel& 'ou learn these as nee#e#% Note that the th e least #eKinitie o2 the chor# tones ;the =th< is omitte# 2rom these oicin(s% All o2 these chor#s inclu#e &er2ect =ths, an# so this #oes not hel& us #eKine each chor# Gualit'% he =th o2 a chor# is neer #eKinitie unless it is altere#% ore a*out this later on% LetHs looE at the oice lea#in( *eteen these chor#s in more #etail:    

he 7th o2 the .m7 chor# ;C< moes *' hal2-ste& to the 3r# o2 the 7 chor# ;B<% he 3r# o2 the .m7 chor# ;D< *ecomes the 7th o2 the 7 chor#% he 3r# o2 the 7 chor# ;B< *ecomes the 7th o2 the Cma>7 chor#% he 7th o2 the 7 chor# ;D< moes *' hal2-ste& to the 3r# o2 the Cma>7 chor# ;"<%

his er' @lea#in( soun# *eteen the #eKinitie tones across the III &ro(ression is a er' im&ortant harmonic characteristic o2 mainstream >a st'les% In the net eam&le, e hae Kli&&e# the 7-3 oices, so that the 3r# ;D< is no on to& o2 the Kirst .m7 chor#, as 2ollos:

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#a33 &win+ Com!in+ Rhythms 4&win+ 5i+hths6 No eHll start to rh'thmicall' re&hrase these III &ro(ressions 2or a >a sin( 2eel% ost mainstream >a uses a @sin( ei(hths rh'thmic su*#iision% his means that, instea# o2 ei(hth notes #ii#in( the *eat eactl' in hal2, the *eat is instea# #ii#e# in a to-thir#sMone-thir# ratio% his contrasts ith a @strai(ht ei(hths rh'thmic su*#iision, in hich the ei(hth notes #ii#e the *eat eactl' in hal2% Sin( ei(hths music is normall' ritten the same a' as strai(ht ei(hths, *ut ith either a ritten

#escri&tion or s'm*ol a*oe the music in#icatin( that the ei(hth notes are to *e sun(: e can hear this rh'thmic 2eel in the 2olloin( >a sin( inter&retation o2 the III oicin(s use# in racE !:

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As 'ou listen to racE 4, 'ouHll hear that the rh'thm section is on the le2t channel, an# the &iano &art shon a*oe is on the ri(ht channel% Notice that the rh'thmic countin( ;1 P ! P 3 P 4 P< is shon *elo the tre*le cle2, 2or each measure% his is the a' e normall' count ei(hth-note rh'thms, ith the 1, !, 3, an# 4 2allin( on the downeats, downeats , an# the @Ps in *eteen 2allin( on the u!eats% u!eats% .onHt 2or(et that ith this sin(-ei(hths eam&le, all the @Ps occur to-thir#s o2 the a' throu(h each *eat, hich (ies the rh'thm a more @lo&in( or @shu2Kle t'&e o2 2eel% r' countin( alon( ith the au#io tracE as nee#e#, to (et com2orta*le ith this rh'thmic i#ea% racE 4 is our Kirst eam&le o2 >a sin( rh'thmic @com&in( ;accom&animent<% ;accom&animent<% e oul# call this a @to-measure @to-measure &hrase, *ecause the rh'thm re&eats eer' to measures% ne-, to-, an# 2our-measure





























easure 34

Same rh'thm as 2or measures 1!%

hese rh'thmic antici&ations are an im&ortant com&onent o2 the >a sin( @rh'thmic 2eel% ime 2or another >a sin( com&in( eam&le, this time usin( the III oicin(s 2rom racE 3:

Trac0 1/

A(ain note the rh'hmic countin( shon *elo the tre*le cle2% e can anal'e this to-measure rh'thmic &hrase as 2ollos: eas easur ure e1

he he .m7 .m7 oi oici cin( n(ss lan# lan# on *ea *eats ts 1, 1, 3, 3, an# an# the the @P o2 3% 3% he he las lastt oic oicin in( ( is is 2olloe# *' a rest on *eat 4% his is there2ore an antici&ation o2 *eat 4%

eas easur ure e!

he he 7 oic oicin in(s (s lan lan# # on on *eat *eat 1 an# an# the the @P o2 !% !% he he las lastt oic oicin in( ( is tie tie# # oe oerr to *eat 3% his is there2ore an antici&ation o2 *eat 3%

easure 34

Same rh'thm as 2or measures 1!%

e ill &la' more >a sin( rh'thmic com&in( ariations as e &ro(ress throu(h this *ooE% Sta' tune#

8ossa No-a Com!in+ Rhythms 4&trai+ht 5i+hths6 Net eHll rh'thmicall' re&hrase these III &ro(ressions 2or a *ossa noa 2eel% ost Latin st'les ;inclu#in( *ossa noa< use a @strai(ht ei(hths rh'thmic su*#iision, i%e%, the ei(hth notes #ii#e the *eat eactl' in hal2% +ereHs our Kirst *ossa noa com&in( &attern, usin( the III oicin(s 2rom racE !:

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easure 1 easure ! easure 33-4

he .m7 oicin(s lan# on *eat 1, the @P o2 !, an# *eat 4% he mi##le oicin( is 2olloe# *' a rest on *eat 3 an# is there2ore an antici&ation o2 *eat 3% he 7 o oicin(s lan lan# on *e *eat ! an# the the @P o2 o2 3% 3% he he las last oi oicin( is sustaine# throu(h *eat 4% his is there2ore an antici&ation o2 *eat 4% Same rh rh'thm as as 2o 2or me measures 1 1!%

his is consi#ere# the stan#ar# or @#e2ault *ossa noa rh'thm, *ut there are numerous numerous ariations &ossi*le, inclu#in( the net *ossa noa com&in( eam&le *ase# on the III oicin(s hear# in racE 3:

Trac0 1:

A(ain note the rh'thmic countin( shon *elo the tre*le cle2% e can anal'e this to-measure rh'thmic &hrase as 2ollos:

easure 1 eas easur ure e! easure 33-4

he .m7 oicin(s lan# on *eats 1, !, an# the @P o2 3, hich antici&ates *eat 4% he 7 oicin( then lan#s on the @P o2 4, hich is an antici&ation o2 the 2olloin( *eat 1% he he rem remai aini nin( n( 7 oic oicin in(s (s lan# lan# on the the @P @P o2 o2 ! ! an# an# the the @P @P o2 o2 3, 3, anti antici ci&a &ati tin( n( *eat *eatss 3 an# 4 res&ectiel'% Same rh rh'thm as as 2o 2or me measures 1 1!%

Later on, eHll looE at more *ossa noa rh'thmic com&in( ariations an# a&&l' them to chor# &ro(ressions use# in some 2amous *ossa noa son(s% Be2ore e continue, e nee# to taEe care o2 one more music theor' to&ic% Some o2 the eercises in this *ooE moe throu(h all the Ee's in either a Circle o2 =ths or Circle o2 4ths seGuence, so e nee# to maEe sure e un#erstan# hat is meant *' these th ese terms%































"ach o2 the entries aroun# the circle ci rcle can re&resent a ma>or Ee'% he terms Circle o2 =ths an# Circle o2 4ths re2er to the th e #i22erent moement #irections ;i%e%, clocEise or counter-clocEise< counter-clocEise< aroun# the circle% In m' *ooEs an# classes, I #eKine these #irections on a harmonic *asis% Dor eam&le, i2 e moe 2rom the Ee' o2 C to the Ee' o2 , one clocEise moement 2rom the to& o2 the circle, e can #eKine this as a 2our-to-one ;II< moement ith res&ect to the Ee' o2  here e hae lan#e#% his #irection can then *e terme# Circle o2 4ths% Similarl', i2 e moe 2rom the Ee' o2 C to the Ee' o2 D, one counterclocEise moement 2rom the to& o2 the circle, e can #eKine this as a Kie-to-one ;-I< moement moement ith res&ect to the Ee' o2 D here e hae lan#e#% his #irection can then *e terme# Circle o2 =ths% So ithin this *ooE, Circle o2 =ths re2ers to a seGuence o2 Ee's ;*e(innin( on C< as 2ollos: ♭

♭

♭

♭

♭

♭































he ma,or :th chord contains chord contains ma>or 3r# an# ma>or 7th interals u& 2rom the root% Dor eam&le:  

he 3r# o2 a Cma>7 chor# is "% ;C u& to " is a ma>or 3r# interal%< he 7th o2 a Cma>7 chor# is B% ;C u& to B is i s a ma>or 7th interal%<

he minor :th chord contains chord contains minor 3r# an# minor 7th interals u& 2rom the root% Dor eam&le:  

he 3r# o2 a .m7 chor# is D% ;. u& to D is a minor 3r# interal%< he 7th o2 a .m7 chor# is C% ;. u& to C is a minor 7th interal%<

he dominant :th chord contains chord contains ma>or 3r# an# minor 7th interals u& 2rom the root% Dor eam&le:  

he 3r# o2 a 7 chor# is B% ; u& to B is a ma>or 3r# interal%< he 7th o2 a 7 chor# is D% ; u& to D is i s a minor 7th interal%<

Some stu#ents Kin# it hel&2ul to maEe Klashcar#s 2or themseles, ith a car# 2or each ma>or 7th, minor 7th, an# #ominant 7th chor#% ;ou can rite the chor# s'm*ol on the 2ront, an# the seen-three oicin( on the *acE%< Dor 2urther in2ormation a*out #eriin( interals an# s&ellin( chor#s, &lease re2er to m' "ontem-orary Musi! Theory* Level .ne *ooE, &u*lishe# *' +al Leonar# Cor&oration% Dor ariet', the eercises in this section contain *acEin( tracEs in either a >a sin( or *ossa noa 2eel% +oeer, 2or no e are >ust &la'in( the oicin(s as hole notes lastin( 2our *eats each% Dirst u&, e hae all the ma>or 7th chor#s in a Circle o2 =ths seGuence, startin( ith the Cma>7 chor#% his eercise reGuires 'ou to &lace the 7th on to& o2 each seen-three oicin(: ;BacEin( tracE: 5a Sin(<

Trac0 1>































Net e hae the same ma>or 7th chor#s, this time ith the 3r# on to& o2 each: ;BacEin( tracE: Bossa Noa<

Trac0 1?

Net e hae all the minor 7th chor#s in a Circle o2 =ths seGuence, startin( ith the Cm7 chor#% A(ain e start *' &lacin( the 7th on to& o2 each seen-three oicin(: ;BacEin( tracE: 5a Sin(<

Trac0 "1































Trac0 ""

Dinall' in this section e hae all the #ominant 7th chor#s in a Circle o2 =ths seGuence, startin( ith the C7 chor#% A(ain e start *' &lacin( the 7th on to& o2 each seen-three oicin(: ;BacEin( tracE: 5a Sin(<

Trac0 "'































nce 'ou are com2orta*le ith all o2 the ma>or 7th, minor 7th, an# #ominant 7th oicin(s in racEs 8 13, 'ou shoul# aim to &la' them 2rom memor' ;i%e%, ithout rea#in( the notes<% ou can #o this *' looEin( at the Circle o2 =ths #ia(ram to &rom&t 'ou 2or the seGuence o2 chor#s reGuire#%

II*(*I Pro+ressions in All =eys 4&e-en2Three (oicin+s6 (oicin+s6 Net eHll a&&l' all o2 the &reious ma>or 7th, minor 7th, an# #ominant 7th oicin(s hen &la'in( II I &ro(ressions in all Ee's% +ere eHll *e oice lea#in( closel' throu(h the chan(es, as e Kirst sa in racEs ! an# 3% ur Kirst eam&le in this section starts ith the 7th on to& o2 the .m7 chor# in the Ee' o2 C ;as in racE !<, an# then oice lea#s throu(h all the remainin( Ee's in a Circle o2 =ths seGuence as 2ollos: ;BacEin( tracE: 5a Sin(<

































































3r# o2 the m7, 7th o2 the C7, an# 3r# o2 the Dma>7<% his alternation o2 the seen-three lines then continue# 2or the remainin( Ee's% here2ore, ha# e starte# ith the 3r# on to& o2 the Kirst .m7 chor# ;as in racE 3<, all the su*seGuent seen-three lines oul# hae *een Kli&&e# oer to ensure smooth oice lea#in( *eteen the Ee's, as 2ollos: ;BacEin( tracE: Bossa Noa<

racE 1=

































nce 'ou are com2orta*le ith these III eercises, 'ou shoul# aim to &la' them 2rom memor' ;i%e%, ithout rea#in( the notes<% A(ain, 'ou can #o this *' looEin( at the Circle o2 =ths #ia(ram to &rom&t 'ou 2or the seGuence o2 Ee's reGuire#% No itHs time to a&&l' com&in( rh'thms to these III &ro(ressions throu(h all Ee's in a Circle o2 =ths seGuence, *e(innin( ith an eam&le in a >a sin( st'le% ouHll remem*er 2rom racEs 4 an# = that the >a sin( st'le is *ase# on a sin( ei(hths rh'thmic su*#iision% his eam&le starts ith the 7th on to& o2 the Kirst .m7 chor#, an# 2ollos the seen-three oice lea#in( that e sa in racE 14% .onHt 2or(et to &la' the u&*eats to-thir#s o2 the a' throu(h the *eat ;see comments 2olloin( racE 4<, as nee#e# 2or the >a sin( 2eel:

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ur net eam&le is in a ossa no-a st'le% no-a st'le% ouHll remem*er 2rom racEs O an# 7 that th e *ossa noa st'le is *ase# on a strai(ht-ei(hths rh'thmic su*#iision% his eam&le starts ith the 3r# on t o& o2 the Kirst .m7 chor#, an# 2ollos the seen-three oice lea#in( that e sa in racE 1=, throu(h all the Ee's in a Circle o2 =ths seGuence% .onHt 2or(et to &la' the u&*eats eactl' hal2a' throu(h the *eat, as nee#e# 2or the *ossa noa 2eel:

Trac0 ":





































































his eam&le uses the to-measure to-measure *ossa noa rh'thmic &hrase 2rom racE 7, re&eate# throu(hout throu(hout all the Ee's%

II*(*I Pro+ressions in All =eys 4&e-en2Three (oicin+s with Doulin+6 Net eHll a## some im&ortant ariations to stren(then the seen-three oicin( usin( @#ou*lin(, hich means re&eatin( one or more o2 the seen-three oices in #i22erent octaes% e ill #o this as 2ollos: i(ht i(ht han# han#

.ou* .ou*le le the the to& note note one one octa octae e loer loer,, ith ith the thu thum*% m*% I2 I2 the the 7th is is on to& to&,, then then eHll eHll



































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Com!in+ throu+h Autumn Lea-esB4#a33 &win+6





































I/ you are /amiliar with this song* you may know that the 0 ♯m1 and )1 !hord sym#ols in this e+am-le are o/ten shown on /ake #ook !harts as 0 ♯m1 ♭2 and )1 ♭3 res-e!tively' These !hord sym#ols have #een









































































Com!in+ throu+h 8lue 8ossaB48ossa No-a6



























































































































































































































































































































































































































































































































































































































































































































































































































his is one reason h' the the eercises in racEs 813 shoe# all the seen-three oicin(s, ith *oth 3r#s an# 7ths on to&% I2 'ou hae these eercises un#er 'our Kin(ers, this @seen-three *elo melo#' techniGue ill *e much easier to &la' Net u& is a sim&le @seen-three *elo melo#' treatment treatment o2 the &rece#in( lea# sheet eam&le:

Trac0 7?

e can maEe the 2olloin( o*serations o*serations a*out the a*oe eam&le: 







he ri(ht han# is &la'in( the seen-three o2 each chor# *elo the melo#' at the &oint o2 chor# chan(e ;in this case, *eat 1 o2 each measure<% here the chor# lasts 2or more than one measure ;measures 78<, the seen-three oicin( is &la'e# a(ain on *eat 1 o2 the 2olloin( measure% Because this melo#' contains a lot o2 3r#s an# 7ths o2 chor#s ;not unusual in stan#ar# tunes<, the ri(ht-han# oicin(s looE liEe the @seen-three ith #ou*lin( that e Kirst sa in racE 18% +oeer, #onHt 2or(et that e are >ust &lacin( the seen-three *elo the melo#', een i2 the melo#' is alrea#' a 7th or a 3r#% In measure 1 on the Am7 chor#, the closest seen-three *elo the C ;3r#< in the melo#' ha# the 7th on to& ;<% hen in measure ! on the .7 chor#, the closest seen-three *elo the C ;7th< in the melo#' ha# the 3r# on to& ;D ♯<, an# so on% his illustrates the &oint ma#e earlier, a*out Enoin( 'our seen-three oicin(s ith either the 3r# or 7th on to&, as 'ouHll nee# to &la' the one closest to the melo#' in the ri(ht han#% he le2t han# is &la'in( the root-7th o2 the chor# here the ran(e &ermits, in measures 1, 3, =, 7 an# 8% In measures !, 4, an# O the le2t han# is &la'in( onl' the root o2 the chor#% ;oot-=th oul# hae *een a &ossi*le, *ut not necessar', o&tion in these measures%<

LetHs GuicEl' reie the le2t-han# ran(e limits 2or the root-7th interals: Ma5or 1th intervals ;&la ;&la'e 'e# # on ma>or 7th chor#s<

Loe Loest st root root note note oul oul# # *e D at the the *ott *ottom om o2 the *ass *ass cle2,creatin( the D-" interal%



























1th and dominant 1th !hords6

cle2,creatin( the " ♭-.♭ interal%

No eHll *e(in to rh'thmicall' re&hrase this melo#' treatment% A sim&le startin( &oint is to antici&ate certain melo#' notes *' moin( them an ei(hth note @to the le2t% he most o*ious can#i#ates 2or this are melo#' notes that lan# on *eat 1 o2 the measure% In the net eam&le, e hae taEen the melo#' notes lan#in( on *eat 1 o2 measures !, 4, O, an# 8, an# antici&ate# them all *' an ei(hth note% Dor no, e ill still &la' the seen-three oicin(s *elo melo#', on *eat 1 o2 each measure:

Trac0 /1

hen &la'in( this eam&le, tr' to (et the su&&ortin( seen-three oicin(s as automatic as &ossi*le, so 'ou can 2ocus on the rh'thmic ariations occurrin( in the melo#'% he net ersion o2 this eam&le inclu#es rh'thmic ariations in *oth the melo#' an# seen-three oicin(s% he melo#' no has multi&le antici&ations, not limite# >ust to *eat 1 o2 the measure% Also, the su&&ortin( oicin(s hae some rh'thmic re&hrasin( @in the s&aces *eteen the melo#'% hese oicin( &atterns are similar to the >a sin( com&in( rh'thms in Cha&ters ! an# 3, as 2ollos:

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In this eam&le e can see arious rh'thmic com*inations o2 the melo#' an# su&&ortin( seen-three oicin(s, aroun# *eat 1 o2 each measure as 2ollos: easu easures res 1 an# an# =

Both Bo th the the melo# melo#' ' an# the see seen-t n-thre hree e oicin oicin(s (s are are lan# lan#in( in( on on *eat *eat 1% 1%

easu easures res 3 an# an# 7

he he melo# melo#' ' is lan#in lan#in( ( on *eat *eat 1, an# an# the seen seen-th -three ree oic oicin( in(ss are lan#i lan#in( n( on the @P o2 1, antici&atin( *eat !%

eas easur ures es ! an# an# O

he he melo melo#' #' is antici antici&a &atin tin( ( *eat *eat 1, lan#in lan#in( ( on the @P o2 4 o2 the &re &reio ious us measure, an# the seen-three oicin(s are lan#in( on the @P o2 1, antici&atin( *eat !%

eas easur ures es 4 an# an# 8

he he melo melo#' #' is antici antici&a &atin tin( ( *eat *eat 1, lan#in lan#in( ( on the @P o2 4 o2 the &re &reio ious us measure, an# the seen-three oicin(s are lan#in( on *eat !%

Also note that the ri(ht-han# seen-three oicin(s are usin( the same rh'thms as the le2t-han# &art% his creates an e22ectie rh'thmic @counter&oint to the re&hrase# melo#' line on to&% his Ein# o2 simultaneous rh'thmic re&hrasin( can *e a little tricE' to eecute at Kirst% As 'ou a&&l' these techniGues to stan#ar#s, tr' re&hrasin( >ust the melo#' Kirst ;as in racE =0< *e2ore simultaneousl' simultaneousl' re&hrasin( the melo#' an# su&&ortin( oicin(s ;as in racE =1<% No eHll (et some more &ractice in a&&l'in( this hole &rocess to a melo#'% +ereHs an ei(ht-measure lea# sheet eam&le in the st'le o2 the 2amous stan#ar# @All the hin(s ou Are:



























+ereHs the sim&le @seen-three *elo melo#' treatment o2 this eam&le:

Trac0 /'

Net e hae a rh'thmic re&hrasin( o2 this melo#', antici&atin( the melo#' notes lan#in( on *eat 1 o2 the een-num*ere# measures, ith the seen-three oicin(s still lan#in( on the #on*eats ;similar st'le to racE =0<:

Trac0 /@

Net e hae a more a#ance# treatment, ith multi&le antici&ations in the melo#' an# rh'thmic



























Trac0 /7

his re&hrase# eam&le inclu#es some ne rh'thmic techniGues, as 2ollos: 



n *eat 1 o2 measures 1, 3, =, an# 7, the melo#' note an# the root o2 the chor# ;&la'e# ith the &inE' in each han#< *oth lan# on *eat 1, an# then the inner oices ;the 7th in the le2t han#, an# the 3r# an# 7th in the ri(ht han#< lan# on the @P o2 1% his can *e thou(ht o2 as an etension o2 the le2t-han# root-7th @s&lit techniGue techniGue that e Kirst sa in racE 40% In measures !, 4, an# O, *oth the melo#' an# su&&ortin( oices antici&ate *eats 1 an# 4 o2 these measures, 2or a more intense s'nco&ate# e22ect%

Note in measures 78: once the melo#' an# root note hae *een &la'e#, e hae room 2or a 2ull tomeasure rh'thmic @com&in( @com&in( &hrase *elo the melo#', similar to the ri(ht-han# rh'thm use# in racE !=% Also, the le2t-han# &art is *ase# entirel' on root-7th interals, ece&t on *eat 3 o2 measure =, here e *rieKl' hae a root-Oth ;. ♭-B♭< interal *elo the root ;. ♭< in the melo#'% his situation is an ece&tion to our normal @seen-three *elo melo#' rules% ore ore a*out this in i n the net section%

The To!2Note (oicin+ 5ercise In this section e hae an eercise that ill 2amiliarie 'ou ith man' o2 the @seen-three *elo melo#' com*inations com*inations nee#e# hen &la'in( the melo#ies on >a stan#ar#s% his ill *e &resente# in lea# sheet 2orm ;melo#' notes an# chor# s'm*ols< an# contains III &ro(ressions &ro(ressions (oin( throu(h all Ee's in a Circle o2 =ths seGuence, re&eate# three times ith #i22erent melo#' note com*inations each time% A2ter the lea# sheet ersion o2 the eercise, eHll see a 2ull' oice# ersion to hel& 'ou checE 'our &la'in( an# oicin(s% Be2ore e (et into the eercise, there are some im&ortant ece!tion conditions an# conditions an# -ariations to -ariations to *e





























5ce!tion Condition " I2 the root is in the melo#' on a ma>or 7th chor#, then the ri(ht han# shoul# &la' a si-three ;instea# o2 seen-three< oicin( *elo the melo#'% his is to aoi# the clash occurrin( *eteen the root in the melo#' an# the 7th o2 the chor#% I2 the ran(e &ermits, the le2t han# can a## a root-Oth ;instea# o2 root7th< interal in this situation:

In the a*oe eam&le, the melo#' note is i s the root ;A ♭< on the A ♭ma>7 chor#, so e &lace the si-three *elo the melo#' ;D an# C< instea# o2 the seen-three ; an# C<% In the le2t han#, this is su&&orte# *' a root-Oth interal ;A ♭-D<% Sometimes this ece&tion con#ition is in#icate# *' the use o2 the A ♭O chor# s'm*ol, instea# o2 A♭ma>7% +oeer, i2 the ma>or Oth chor# s'm*ol is use# hen the melo#' is not the root o2 the chor#, it is still &ossi*le, an# &re2era*le in most >a situations, to &la' the seen-three oicin( *elo the melo#'%

5ce!tion Condition ' I2 the 4th or 11th is in the melo#' on a #ominant 7th chor#, then the ri(ht han# shoul# &la' a seen2our ;instea# o2 seen-three< oicin( *elo the melo#'% his is to aoi# the clash occurrin( *eteen the 4thM11th in the melo#', an# the 3r# o2 the chor#% ;he &resence o2 the 4thM11th si(niKies a sus&en#e# #ominant #ominant chor#, here the 3r# oul# not *e &resent%<





























Net eHll (et into some -ariations that -ariations that can occur usin( the seen-three *elo melo#' techniGue% hese are #i22erent oicin( alternaties an# &re2erences, &re2erences, #e&en#in( on the ran(e an#Mor hich &art o2 the chor# is in the melo#'%

(ariation A I2 the melo#' is in i n the loer &art o2 the tre*le sta22, an# i2 the 3r# o2 the chor# is nearest to the melo#', then it is sometimes conenient to #o a @7-3 s&lit, here the thum* o2 th e ri(ht han# &la's the 3r# *elo the melo#', an# the thum* o2 the le2t han# &la's the 7th *elo% his is not a ne oicin( as such, >ust a re#istri*ution o2 the seen-three oicin( *eteen the han#s, rather than &la'in( the seenthree entirel' in the ri(ht han#%

In the a*oe eam&le, the 3r# ;C< o2 the Am7 chor# is &la'e# *' the ri(ht-han# thum* ;*elo the melo#' note <, an# the 7th ;< is &la'e# *' the le2t-han# thum* ;a*oe the root A<% his ariation is use2ul in certain oice lea#in( situations, here it ma' re#uce the han# &osition moement *eteen successie chor# oicin(s, 2or eam&le ithin a III &ro(ression%

(ariation 8 I2 the melo#' is at the *ottom o2 the tre*le sta22 ;on or *elo the " a*oe mi##le C<, an# i2 the melo#' is alrea#' the 3r# or 7th o2 the chor#, then in the ri(ht han# it is su2Kicient to &la' hicheer o2 the 3r# or 7th is missin(, *elo the melo#' ;i%e%, &lace the 3r# *elo the 7th, or the 7th *elo the 3r#, rather than &lace the com&lete seen-three *elo melo#' in the ri(ht han#<%





























;"-B<% A##in( the =th here is i s entirel' o&tionalQ sim&l' &la'in( the root in the le2t han# oul# hae *een Kine also% his ariation oerla&s ith "ce&tion Con#ition !, in that e ill sometimes hae #ominant chor#s ith the 4thM11th as a lo-re(ister melo#' note% In this case, the ri(ht han# ill >ust &la' the 7th *elo the 4thM11th in the melo#', as 2ollos:

In the a*oe eam&le, the melo#' note is the 11th ;"< on the B7 chor#, an# is at the *ottom o2 the tre*le sta22, so e >ust &lace the seenth ;A< *elo the melo#' instea# o2 the seen-2our *elo, *elo, to aoi# #ou*lin( the 4thM11th too lo in the *ass re(ister%

(ariation C I2 the melo#' is 4thM11th o2 a minor 7th chor# an# is not loer than  a*oe mi##le C, then there ma' *e to choices o2 here to &la' the seen-three *elo melo#' in the ri(ht han#, #e&en#in( on the &la'erHs ri(ht-han# s&an or stretchin( a*ilit':





























(ariation D I2 the melo#' is the root o2 a minor 7th or #ominant 7th chor#, then e ma' choose to &la' >ust the 3r# o2 the chor# *elo the melo#', as lon( as the 7th is *ein( &la'e# in the le2t han#, as &art o2 a root-7th interal% his &ro#uces a similar o&en oicin( soun# to ariation A, in that the seen-three oicin( is s&lit *eteen the thum*s ;le2t han# thum* &la's the 7th, ri(ht han# thum* &la's the 3r#<:

I2 #esire#, e coul# still hae &la'e# seen-three *elo melo#' in the ri(ht han#, in hich case the 7th ;A< oul# hae *een &lace# ri(ht *elo the root in the melo#'% Althou(h the resultin( hole-ste& interal at the to& is acce&ta*le, the a*oe oicin( has a more o&en, trans&arent soun#, an# is o2ten &re2erre#% Also, i2 the root in the melo#' is hi(h enou(h in the re(ister, a similar situation to ariation C can occur, here there are to &ossi*le a's to Kit the seen-three *elo the melo#'% he 9th interal stretch, ith the 3r# closest to the melo#' in the ri(ht han#, ill a(ain soun# more o&en ersus the com&act soun# o2 &lacin( the 7th imme#iatel' *elo the melo#'% No itHs time to looE at the to&-note eercise in lea# sheet 2orm% hen &la'in( alon( ith the tracE, 'ou shoul# tr' to &lace seen-three oicin(s *elo the melo#' in the ri(ht han#, su*>ect to the ece&tion con#itions an# ariations >ust outline#% In the le2t han#, 'ou shoul# (o 2or root-7th interals i2 the ran(e &ermits ;reie tet 2olloin( racE 49 as nee#e#<, otherise 'ou can &la' the root or root-=th% Althou(h the rh'thms are &resente# as hole notes, 2eel 2ree to a&&l' 'our >a sin( com&in( rh'thms to this eercise as #esire#%





























o&-Note oicin(  Lea# Sheet ersion





























































o&-Note oicin(  Dull' oice# ersion

Trac0 //



























































































































In each measure, e hae &la'e# seen-three oicin(s *elo the melo#' in the ri(ht han#, an# root7th or root-=th interals ;or >ust the root< in the le2t han#, su*>ect to the 2olloin( ece!tion conditions an# conditions an# -ariations that -ariations that occurre#: occurre#: easure 9

ariation A oc occurre# on on th the Cm Cm7 ch chor#, i ith th the se seen-three o oices s& s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net D7 oicin(%

easure 14

"ce&tion Con#ition ! occurre# on on th the B ♭7 chor#: the 4thM11th ;" ♭< is in the melo#'% melo#'% he seen-2o seen-2our ur oicin( oicin( ;A♭ an# " ♭< as &la'e# *elo the melo#' in the ri(ht han#%

easures 19 19!0

"ce&tion Co Con#ition ion 1 occurre# on on th the A ♭ma>7 chor#: the root ;A ♭< is in the melo#'% he si-three oicin( ;D an# C< as &la'e# *elo the melo#' in the ri(ht han#, an# the root-Oth ;A ♭ an# D< as &la'e# in the le2t han#%

easure 34

"ce&tion Con#ition ! occurre# on on th the B7 chor#: th the 4thM11th ;" ;"< is is in the melo#'% As the melo#' is lo on the tre*le sta22, the ri(ht han# #oesnHt hae room to &la' the seen-2our *elo the melo#'% here2ore ariation B also a&&lies, ith >ust the 7th *ein( &la'e# *elo the 4thM11th in the ri(ht han#%

































*eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net B7 oicin(% easure 8=

ariation . oc occurre# on on th the Bm Bm7 ch chor#, i ith >u >ust th the 3r 3r# ;. ;.< *e *ein( &l &lace# *elo the root ;B< in the ri(ht han#, 2or a more o&en soun#% his is ? as lon( as the le2t han# thum* is &la'in( the 7th ;A<% A##in( the 7th ri(ht *elo the melo#' oul# also *e ?%

eas easur ures es 919 919! !

"ce "ce&t &tio ion n Con# Con#it itio ion n 1 occu occurr rre# e# on on the the .ma> .ma>7 7 cho chor#: r#: the the root root ;.< ;.< is is in the the ♯ melo#'% he si-three oicin( ;B an# D < as &la'e# *elo the melo#' in the ri(ht han#, an# the root-Oth ;. an# B< as &la'e# in the le2t han#%

easure 93

ariation C oc occurre# on on th the Am Am7 ch chor#, i ith a 9t 9th in interal st stretch in in th the ri(ht han#% he 7th ;< as &lace# *elo the melo#', then the 3r# ;C< as &lace# *elo the 7th% I2 this stretch is not &ractical, 'ou can sim&l' &lace the 3r# ;C< ri(ht *elo the melo#'%

easure 97

ariation C oc occurre# on on th the .m .m7 ch chor#, i ith a 9t 9th in interal st stretch in in th the ri(ht han#% he 7th ;C< as &lace# *elo the melo#', then the 3r# ;D< as &lace# *elo the 7th% I2 this stretch is not &ractical, 'ou can sim&l' &lace the 3r# ;D< ri(ht *elo the melo#'%

































the ri(ht han#% eas easur ures es 143 14314 144 4

"ce "ce&t &tio ion n Con#i Con#iti tion on 1 occu occurr rre# e# on the the ma>7 ma>7 chor chor#: #: the the root root ;< is in the melo#'% he si-three oicin( ;" an# B< as &la'e# *elo the melo#' in the ri(ht han#, an# the root-Oth ; an# "< as &la'e# in the le2t han#%

Damiliarit' ith this eercise is a (reat &re&aration 2or &la'in( melo#ies o2 >a stan#ar#s ith the @seen-three *elo melo#' techniGue% ra* that 2aEe *ooE an# start &la'in(

The F8loc0 (oicin+ 8elow %elodyF TechniGue ur net melo#' treatment techniGue uses *locE oicin(s in the le2t han#, *elo a sin(le-note melo#' in the ri(ht han#% In Cha&ter 3 e sa that *locE oicin(s consiste# o2 2our #i22erent &itches ithin a one-octae ran(e, an# e &la'e# them in the ri(ht han# hen com&in(% No eHll see ho to &la' them in the le2t han#, hile su&&ortin( a ri(ht-han# melo#'% Dor this to *e e22ectie, the le2t-han# oicin(s nee# to *e aroun# the mi##le C area, hich ma' reGuire the ri(ht-han# melo#' to *e trans&ose# u& an octae in some cases% e also sa in Cha&ter 3 that i2 e re&lace# the root o2 the chor# ith the 9th in the *locE oicin(, &la'in( the 3r#-=th-7th-9th o2 the chor#, this resulte# in a more so&histicate# soun# com&are# com&are# to sim&l' usin( the *asic root-3r#-=th-7th o2 the chor#% So e ill e&lore this o&tion hen 2ormin( le2t-

































oicin(s on each chor# aroun# the mi##le C area, an# oice lea#in( ;moin( *' close interals< 2rom one measure to the net:

Trac0 /9

































hese *locE oicin(s an# u&&er structure relationshi&s are the same as 2or the ri(ht-han# &art i n racE 48, no &la'e# in the le2t han# in a loer re(ister, an# usin( #i22erent inersions an# oice lea#in(, an# ith no rh'thmic re&hrasin( as 'et% No eHll looE at rh'thmicall' re&hrasin( this melo#' treatment% As ith the &reious @seen-three *elo melo#' eam&les, eam&les, eHll start ith some melo#' antici&ations in the ri(ht han#, hile still &la'in( the accom&an'in( oicin(s on the #on*eats% In the net eam&le, e hae >ust a cou&le o2 melo#' antici&ations in measures 18, an# then a *usier series o2 antici&ations in measures 91O:

Trac0 /:



































*e @in the s&aces *eteen the melo#', an# sometimes the &hrases ill *e @concerte#, ith *oth han#s &la'in( to(ether:

Trac0 />





































he melo#' note B ♭ on *eat 1 ;measure ;measure 3< o2 the ori(inal ori(inal lea# sheet is no antici&ate# antici&ate# an# lan#s on the @P o2 4 in measure !%

"ssentiall', this &hrase has all *een sGueee# into the last hal2 o2 measure !, ith 2our consecutie ei(hth notes en#in( ith an antici&ation% his also occurs in measures O an# 14, an# a(ain is t'&ical o2 >a sin( re&hrasin(% "lsehere, the ri(ht han# is o2ten antici&atin( *eats 1 an#Mor 3, an# sometimes *eat 4 o2 the measure% Note that the le2t han# is either &la'in( >a sin( com&in( rh'thms #urin( sustaine# notes in the melo#' ;measures 1O<, or &la'in( @concerte# rh'thms ith the ri(ht han# ;measures 78 an# 1! 13<, or some com*ination o2 these% +ae 2un tr'in( out 'our on re&hrase# ersion o2 this melo#' hile &la'in( alon( ith the *an# on racE =8



































Cha!ter /

INTRO TO #A$$ PIANO &OLOIN) &oloin+ TechniGues ;or #a33 &tandards Net eHll intro#uce some techniGues 2or soloin(Jim&roisin( a solo in the ri(ht han#Jon >a stan#ar#s% Normall', hen a >a *an# &la's a stan#ar#, the @hea# ;main melo#' o2 the son(< is &la'e# at least once, 2olloe# *' solos 2rom one or more instrumentalists ;&iano, sa, *ass, etc<, *e2ore returnin( to &la' the @hea# one or more times to Kinish the arran(ement% hen itHs 'our turn to taEe a



































eHll start out *' sim&l' &lacin( le2t-han# *locE oicin(s *elo the ri(ht-han# melo#', as 2ollos:

Trac0 /?



































easure O

e are &la'in( a root-3r#-=th-7th oicin( on the .m7; ♭=< chor#%

ur net sta(e is to *e(in re&hrasin( the melo#' o2 the son(% As ell as the antici&ations an# #ela'e# notes that e sa in i n racE =8, eHll also a## some re&eate# notes, as 2ollos:

Trac0 91





































Beat 1 o2 measure ! is then also antici&ate#, ith the " ♭ *ein( moe# earlier on to the @P o2 4 in measure 1% e also no hae some re&eate# notes: this " ♭ is then re&eate# later in measure !, the C





































Note that some o2 the ri(ht-han# &hrases 2rom racE O0 hae no *een em*ellishe# ith u&&er an#









































































In *eteen each tar(et note, e hae use# ar&e((ios on each chor#% Dor eam&le, a2ter the tar(et note

































































































































































































































































































































































































































































































































































































































































































































































































Intro to Jazz Piano - Mark Harrison (Hal Leonard series)

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