ISBN 978-1-4803-8790-4
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Contents IN.CIN A*out the Au#io A*out the Author 5A66 SIC an# 5A66 SAN.A.S IN 5A66 /IAN ICINS AN. C/IN he III /ro(ress /ro(ression ion Seen-hree Chor# oicin(s 5a Sin( Com&in( h'thms ;Sin( "i(hths< Bossa Noa Com&in( h'thms ;Strai(ht "i(hths< Circle o2 =ths an# Circle o2 4ths eie a>or 7th, inor 7th, an# .ominant 7th Chor#s in All ?e's III /ro(ressions in All ?e's ;Seen-hree oicin(s< III /ro(ressions in All ?e's ;Seen-hree oicin(s ith .ou*lin(< Com&in( throu(h @Autumn Leaes;5a Sin(< Com&in( throu(h @Blue Bossa;Bossa Noa< " 5A66 /IAN ICINS AN. /A"NS Le2t-+an# 5a Sin( /attern @In !, a&&lie# to @Autumn Leaes Le2t-+an# Bossa Noa /attern @In !, a&&lie# to @Blue Bossa Seen-hree "ten#e# Chor# oicin(s Le2t-+an# 5a Sin( /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 III /ro(ressions in All ?e's ;BlocE oicin(s< Com&in( throu(h @5ust Drien#s;5a Sin(< IN 5A66 /IAN "L. "A"N he FSeen-hree Belo elo#'F echniGue he o&-Note oicin( "ercise he FBlocE oicin( Belo elo#' elo#'FF echniGue IN 5A66 /IAN SLIN Soloin( echniGues 2or 5a Stan#ar# Stan#ar#ss Soloin( echniGues 2or 5a-Blues SL" DIL" 1% .uEeHs Seetheart !% Carnial ime 3% Stella *' Can#leli(ht 4% ?itten & a ree =% Cool Co ol Blues B lues
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 'ouHe come to the ri(ht &lace his *ooE (ies 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&roise# solos% ouHll also &la' alon( ith a >a rh'thm section on the au#io, hile &racticin( all the eam&lesJa &er2ect a' to &re&are 2or 'our Kirst ;or net< >a (i(% Die 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 eam&les inclu#e accom&animent, melo#' treatment, an# im&roise# solo &arts% /la'in( alon( ith the rh'thm section on these tunes is a (reat a' to #eelo& 'our >a &iano cho&s% he techniGues in this *ooE ere &ioneere# at the orl#-2amous orl#-2amous roe School o2 usic in Los An(eles, here I ha# the &riile(e o2 teachin( 2or seeral 'ears% .icE roe as one o2 the most im&ortant contem&orar' contem&orar' music e#ucators o2 the late !0th centur', an# his conce&ts hae si(niKicantl' inKluence# the ritin( o2 this Intro to Jazz Piano *ooE% Some o2 m' stu#ents an# customers hae (raciousl' sai# that m' music e#ucation career has *een @Eee&in( the roe Klame alie 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
Aout the Audio n the accom&an'in( au#io, 'ouHll Kin# &la'-alon( tracEs 2or almost all o2 the eam&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 #on the ri(ht channel to eliminate the recor#e# &iano% hen 'ou ant to hear the &iano &art 2or re2erence, turn #on the le2t channel to eliminate the rh'thm section% his is all #esi(ne# to (ie 'ou maimum Klei*ilit' hen &racticin( he rh'thm section tracEs contain *ass an# #rums, &lus a selection o2 other instruments ;>a or(an, (uitar, an# Klute<% Aout 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 on 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 renone# roe School o2 usic 2or si 'ears, instructin( hun#re#s o2 musicians 2rom all aroun# the orl#% +e currentl' runs a *us' &riate 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 oer !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(aines, coerin( a ariet' o2 #i22erent Ee'*oar# st'les an# to&ics% to&ics% Dor 2urther 2urther in2ormati in2ormation on on arEHs arEHs musical musical actiities, actiities, e#ucation e#ucation &ro#ucts, &ro#ucts, an# online online lessons,&lease isit www'harrisonmusi!'!om%
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# .iielan# >a st'les Kirst #eelo&e# in the 1910s an# H!0s an# ere note# 2or *oth their solo an# (rou& im&roisation% his as then 2olloe# *' the Sin( era in the 1930s, hich em&hasie# *i( *an#s an# #ancea*le arran(ements% arran(ements% hen in i n the 1940s man' 'oun(er musicians *roEe aa' 2rom the sin( 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 2olloe# in the 19=0s *' the melloer Cool 5a an# the eten#e# im&roisation o2 the /ost Bo& st'les% hen in the 19O0s an# H70s, the Dusion moement *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< coeist, 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 moement, an# immo#estl' calle# himsel2 the @inentor o2 >a% Art atum an# e##' ilson ere (iants o2 the Sin( era, 2olloe# *' Bu# /oell an# helonius onE, ho ere trail*laers 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 onar#, inclu#in( ChicE Corea, +er*ie +ancocE, 5oe 6ainul, 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' Enon an# &er2orme# *' successie (enerations (enerations o2 >a &ianists, an# the artists mentione# a*oe are Enon 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' shos, or in /an Alle' &o&ular son(s% hese son(s ere ritten 2rom the 19!0s to the 19=0s an# collectiel' maEe u& the reat American Son(*ooE% he' hae 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 shos the melo#' an# chor# s'm*ols% hen rea#in( a lea# sheet, the >a &ianist ill then im&roise a &art *ase# on the chor# s'm*ols an# melo#'% his *ooE (ies 'ou a 2oun#ation 2or ho to #o this, usin( arious lea# sheet eam&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' eer' musician I Eno in Los An(eles has this *ooEJor a &reious 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 @III &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# III 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% III &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 @seenth chor#s< 2rom each #e(ree o2 a C ma>or scale, as 2ollos:
hese are Enon 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 reie a little theor' a*out these 2our-&art chor#s:
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 interals a*oe the root% his interal &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 interals a*oe the root% his interal &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 interals a*oe the root% his interal &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 interals a*oe the root ;eGuialent to Klattin( the =th o2 a minor seenth chor# *' hal2-ste&<% his interal &attern occurs in the Bm7♭= chor#%
Note that oman numerals are shon *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 @to chor#<, the 7 is a ;or @Kie chor#<, an# the C ma>or seenth chor# is a I ;or @one chor#<% Net e ill com*ine these II, , an# I chor#s as 2ollos:
Trac0 1"
e no hae a root note in the *ass cle2 2or each chor# ;., , an# C res&ectiel'<, *elo the 2our-&art chor#s in the tre*le cle2% In the ri(ht han# e are &la'in( each chor# eactl' 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' inole a##in( etensions or alterations to the *asic chor# s'm*ol, su*tractin( notes 2rom the *asic chor# s'm*ol, re#istri*utin( the notes *eteen 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 @seen-three oicin(% his inoles &la'in( >ust the seenth an# thir# o2 each chor# in the ri(ht han#, oer the root o2 the chor# in the le2t han#% his also (ies us er' (oo# @oice lea#in( ;moin( *' common tones or small interals< *eteen successie chor#s in the III &ro(ression, as in the 2olloin( eam&le: eam&le:
Trac0 1'
hen e isolate the seenths an# thir#s o2 the chor#s in this a', each oicin( is er' @#eKinitie, as these chor# tones &recisel' #eKine each chor# Gualit', as 2ollos:
n the .m7 chor#, the 3r# ;D< is a minor 3r# interal a*oe the root ;.<, an# the 7th ;C< is a minor 7th interal a*oe the root ;.<% his com*ination o2 minor 3r# an# minor 7th interals a*oe the root e&licitl' #eKines a minor 7th chor# Gualit'%
n the 7 chor#, the 3r# ;B< is a ma>or 3r# interal a*oe the root ;<, an# the 7th ;D< is a minor 7th interal a*oe the root ;<% his com*ination o2 ma>or 3r# an# minor 7th interals a*oe the root e&licitl' #eKines a #ominant 7th chor# Gualit'% he 3r# is no oice# a*oe the 7th on this chor#, in or#er to oice lea# smoothl' 2rom the &reious chor#% n the Cma>7 chor#, the 3r# ;"< is a ma>or 3r# interal a*oe the root ;C<, an# the 7th ;B< is a ma>or 7th interal a*oe the root ;C<% his com*ination o2 ma>or 3r# an# ma>or 7th interals a*oe the root e&licitl' #eKines a ma>or 7th chor# Gualit'%
In or#er to *uil# seen-three oicin(s oer III &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 eercises in this *ooE ill hel& 'ou learn these as nee#e#% Note that the th e least #eKinitie 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 neer #eKinitie unless it is altere#% ore a*out this later on% LetHs looE at the oice lea#in( *eteen these chor#s in more #etail:
he 7th o2 the .m7 chor# ;C< moes *' 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< moes *' hal2-ste& to the 3r# o2 the Cma>7 chor# ;"<%
his er' @lea#in( soun# *eteen the #eKinitie tones across the III &ro(ression is a er' im&ortant harmonic characteristic o2 mainstream >a st'les% In the net eam&le, e hae Kli&&e# the 7-3 oices, so that the 3r# ;D< is no on to& o2 the Kirst .m7 chor#, as 2ollos:
racE 03
A(ain note that e are oice lea#in( smoothl' 2rom le2t to ri(ht, no ith the *ottom tre*le cle2 line in racE ! ;D-D-"< moe# u& to the to& oice% ItHs im&ortant to *e a*le to oice lea# across the III I II &ro(ression &ro(ression in *oth o2 these a's ;i%e%, startin( ith either the 7th or 3r# on to& o2 the Kirst chor#<, as e ill soon see
#a33 &win+ Com!in+ Rhythms 4&win+ 5i+hths6 No eHll start to rh'thmicall' re&hrase these III &ro(ressions 2or a >a sin( 2eel% ost mainstream >a uses a @sin( ei(hths rh'thmic su*#iision% his means that, instea# o2 ei(hth notes #ii#in( the *eat eactl' in hal2, the *eat is instea# #ii#e# in a to-thir#sMone-thir# ratio% his contrasts ith a @strai(ht ei(hths rh'thmic su*#iision, in hich the ei(hth notes #ii#e the *eat eactl' in hal2% Sin( 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*oe the music in#icatin( that the ei(hth notes are to *e sun(: e can hear this rh'thmic 2eel in the 2olloin( >a sin( inter&retation o2 the III oicin(s use# in racE !:
Trac0 17
As 'ou listen to racE 4, 'ouHll hear that the rh'thm section is on the le2t channel, an# the &iano &art shon a*oe is on the ri(ht channel% Notice that the rh'thmic countin( ;1 P ! P 3 P 4 P< is shon *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 downeats, downeats , an# the @Ps in *eteen 2allin( on the u!eats% u!eats% .onHt 2or(et that ith this sin(-ei(hths eam&le, all the @Ps occur to-thir#s o2 the a' throu(h each *eat, hich (ies 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 eam&le o2 >a sin( rh'thmic @com&in( ;accom&animent<% ;accom&animent<% e oul# call this a @to-measure @to-measure &hrase, *ecause the rh'thm re&eats eer' to measures% ne-, to-, an# 2our-measure rh'thmic &hrases are commonl' use# in >a an# contem&orar' st'les% Note that each measure contains some com*ination o2 rh'thmic eents lan#in( on #on*eats ;on the *eat, i%e%, 1, !, 3, or 4< an# u&*eats ;on the @Ps in *eteen, i%e%, the @P o2 1, @P o2 !, @P o2 3, or @P o2 4<% hen a rh'thmic eent lan#in( on an u&*eat is 2olloe# *' a rest on the 2olloin( #on*eat, #on*eat, or is sustaine# throu(h the 2olloin( #on*eat, #on*eat, this is calle# an antici!ation% antici!ation% ith these &oints in min#, letHs anal'e the rh'thms in racE 4 as 2ollos: easure
he Kirst .m7 oicin( lan#s on the @P o2 1 an# is 2olloe# *' a rest on *eat !% his is there2ore an antici&ation o2 *eat !% he net .m7 oicin( lan#s on *eat 3%
easu easure re !
he Kirst Kirst .m7 .m7 oici oicin( n( lan#s lan#s on on the the @P o2 1 an# is 2oll 2olloe oe# # *' *' a rest rest on *eat *eat !% !% his is there2ore an antici&ation o2 *eat !% he net .m7 oicin( lan#s on *eat 3%
easure 34
Same rh'thm as 2or measures 1!%
hese rh'thmic antici&ations are an im&ortant com&onent o2 the >a sin( @rh'thmic 2eel% ime 2or another >a sin( com&in( eam&le, this time usin( the III oicin(s 2rom racE 3:
Trac0 1/
A(ain note the rh'hmic countin( shon *elo the tre*le cle2% e can anal'e this to-measure rh'thmic &hrase as 2ollos: 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 2olloe# *' 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# # oe oerr to *eat 3% his is there2ore an antici&ation o2 *eat 3%
easure 34
Same rh'thm as 2or measures 1!%
e ill &la' more >a sin( 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 Net eHll rh'thmicall' re&hrase these III &ro(ressions 2or a *ossa noa 2eel% ost Latin st'les ;inclu#in( *ossa noa< use a @strai(ht ei(hths rh'thmic su*#iision, i%e%, the ei(hth notes #ii#e the *eat eactl' in hal2% +ereHs our Kirst *ossa noa com&in( &attern, usin( the III oicin(s 2rom racE !:
Trac0 19
Listen to racE O an# 'ouHll hear the #i22erence *eteen the @strai(ht ei(hths *ossa noa st'le an# the @sin( ei(hths 2eel o2 the &reious >a sin( eam&les% A(ain note that each measure contains oicin(s that lan# on #on*eats an# u&*eats, as anal'e# *elo:
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 2olloe# *' 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 noa rh'thm, *ut there are numerous numerous ariations &ossi*le, inclu#in( the net *ossa noa com&in( eam&le *ase# on the III oicin(s hear# in racE 3:
Trac0 1:
A(ain note the rh'thmic countin( shon *elo the tre*le cle2% e can anal'e this to-measure rh'thmic &hrase as 2ollos:
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 2olloin( *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&ectiel'% Same rh rh'thm as as 2o 2or me measures 1 1!%
Later on, eHll looE at more *ossa noa rh'thmic com&in( ariations an# a&&l' them to chor# &ro(ressions use# in some 2amous *ossa noa son(s% Be2ore e continue, e nee# to taEe care o2 one more music theor' to&ic% Some o2 the eercises in this *ooE moe 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%
Circle o; /ths and Circle o; 7ths Re-iew he Circle o2 =ths ;an# Circle o2 4ths< is o2ten shon as a #ia(ram, liEe this:
"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 moement #irections ;i%e%, clocEise or counter-clocEise< counter-clocEise< aroun# the circle% In m' *ooEs an# classes, I #eKine these #irections on a harmonic *asis% Dor eam&le, i2 e moe 2rom the Ee' o2 C to the Ee' o2 , one clocEise moement 2rom the to& o2 the circle, e can #eKine this as a 2our-to-one ;II< moement ith res&ect to the Ee' o2 here e hae lan#e#% his #irection can then *e terme# Circle o2 4ths% Similarl', i2 e moe 2rom the Ee' o2 C to the Ee' o2 D, one counterclocEise moement 2rom the to& o2 the circle, e can #eKine this as a Kie-to-one ;-I< moement moement ith res&ect to the Ee' o2 D here e hae 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 2ollos: CDB♭"♭A♭.♭♭B"A. ;hinE @C is the o2 D, D is the o2 B ♭, an# so on%< Also ithin this *ooE, Circle o2 4ths re2ers to a seGuence o2 Ee's ;*e(innin( on C< as 2ollos: C.A"B♭.♭A♭"♭B♭D ;hinE @C is the I o2 , is the I o2 ., an# so on%< ou shoul# *e aare that there are #i22erent inter&retations o2 hat is meant *' Circle o2 =ths an# Circle o2 4ths across a i#e ran(e o2 tet*ooEs an# metho#s% Dor 2urther in2ormation in2ormation a*out this to&ic, &lease checE out m' other +al Leonar# &u*lications: ll #out Musi! Theory an# "ontem-orary Musi! Theory* Level .ne%
%a,or :th< %inor :th< and Dominant :th Chords in All =eys As 'ou can see, it ill *e im&ortant to (et these seen-three oicin(s un#er 'our Kin(ers Kin(ers in all Ee's% he Kirst sta(e in this &rocess is to learn an# &la' these oicin(s on each t'&e o2 chor# 2oun# in the III &ro(ression &ro(ression ;minor 7th, #ominant 7th, an# ma>or 7th< in#ii#uall'% his ill then &roi#e a (oo# 2oun#ation hen usin( the oicin(s ithin a &ro(ression, such as III% our a*ilit' to #o this ill #e&en# on ho GuicEl' 'ou can recall the t'&e o2 3r# an# 7th interal &resent in each o2 these chor#s, as #iscusse# in the tet 2olloin( racE !% +ereHs a GuicE summar' o2 these interals:
he ma,or :th chord contains chord contains ma>or 3r# an# ma>or 7th interals u& 2rom the root% Dor eam&le:
he 3r# o2 a Cma>7 chor# is "% ;C u& to " is a ma>or 3r# interal%< he 7th o2 a Cma>7 chor# is B% ;C u& to B is i s a ma>or 7th interal%<
he minor :th chord contains chord contains minor 3r# an# minor 7th interals u& 2rom the root% Dor eam&le:
he 3r# o2 a .m7 chor# is D% ;. u& to D is a minor 3r# interal%< he 7th o2 a .m7 chor# is C% ;. u& to C is a minor 7th interal%<
he dominant :th chord contains chord contains ma>or 3r# an# minor 7th interals u& 2rom the root% Dor eam&le:
he 3r# o2 a 7 chor# is B% ; u& to B is a ma>or 3r# interal%< he 7th o2 a 7 chor# is D% ; u& to D is i s a minor 7th interal%<
Some stu#ents Kin# it hel&2ul to maEe Klashcar#s 2or themseles, 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 seen-three oicin( on the *acE%< Dor 2urther in2ormation a*out #eriin( interals 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 eercises in this section contain *acEin( tracEs in either a >a sin( or *ossa noa 2eel% +oeer, 2or no e are >ust &la'in( the oicin(s as hole notes lastin( 2our *eats each% Dirst u&, e hae all the ma>or 7th chor#s in a Circle o2 =ths seGuence, startin( ith the Cma>7 chor#% his eercise reGuires 'ou to &lace the 7th on to& o2 each seen-three oicin(: ;BacEin( tracE: 5a Sin(<
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Note that lar(er interal sEi&s are reGuire# *eteen the oicin(s, as e are not @oice lea#in( *eteen the chan(es% his &rom&ts 'ou to learn these oicin(s in#ii#uall', hich ill then hel& in com*inin( them to(ether in arious &ro(ressions% &ro(ressions%
Net e hae the same ma>or 7th chor#s, this time ith the 3r# on to& o2 each: ;BacEin( tracE: Bossa Noa<
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Net e hae 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 seen-three oicin(: ;BacEin( tracE: 5a Sin(<
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Net e hae the same minor 7th chor#s, this time ith the 3r# on to& o2 each: ;BacEin( tracE: Bossa Noa<
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Dinall' in this section e hae 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 seen-three oicin(: ;BacEin( tracE: 5a Sin(<
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Net e hae the same #ominant 7th chor#s, this time ith the 3r# on to& o2 each: ;BacEin( tracE: Bossa Noa< 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 Net eHll a&&l' all o2 the &reious 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 eam&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 2ollos: ;BacEin( tracE: 5a Sin(<
racE 14
Note that the Ee's in this eam&le are moin( in a Circle o2 =ths seGuence: e start ith III in C, 2olloe# *' III in D, 2olloe# *' III in B ♭, an# so on% o oice lea# startin( ith the 7th on to& o2 the Kirst .m7 chor#, e ha# the @7-3-7 line on to& 2or the Ee' o2 C ;i%e%, 7th o2 the .m7, 3r# o2 the 7, an# 7th o2 the Cma>7< as Kirst seen in racE !% hen to oice lea# closel' into the III &ro(ression in D, the seen-three lines ere Kli&&e# oer, so that e ha# the @3-7-3 line on to& 2or the Ee' o2 D ;i%e%,
3r# o2 the m7, 7th o2 the C7, an# 3r# o2 the Dma>7<% his alternation o2 the seen-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 seen-three lines oul# hae *een Kli&&e# oer to ensure smooth oice lea#in( *eteen the Ee's, as 2ollos: ;BacEin( tracE: Bossa Noa<
racE 1=
nce 'ou are com2orta*le ith these III eercises, '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 III &ro(ressions throu(h all Ee's in a Circle o2 =ths seGuence, *e(innin( ith an eam&le in a >a sin( st'le% ouHll remem*er 2rom racEs 4 an# = that the >a sin( st'le is *ase# on a sin( ei(hths rh'thmic su*#iision% his eam&le starts ith the 7th on to& o2 the Kirst .m7 chor#, an# 2ollos the seen-three oice lea#in( that e sa in racE 14% .onHt 2or(et to &la' the u&*eats to-thir#s o2 the a' throu(h the *eat ;see comments 2olloin( racE 4<, as nee#e# 2or the >a sin( 2eel:
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his eam&le uses the to-measure >a sin( rh'thmic &hrase 2rom racE 4, re&eate# throu(hout all the Ee's%
ur net eam&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 noa st'le is *ase# on a strai(ht-ei(hths rh'thmic su*#iision% his eam&le starts ith the 3r# on t o& o2 the Kirst .m7 chor#, an# 2ollos the seen-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 eactl' hal2a' throu(h the *eat, as nee#e# 2or the *ossa noa 2eel:
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his eam&le uses the to-measure to-measure *ossa noa 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 Doulin+6 Net eHll a## some im&ortant ariations to stren(then the seen-three oicin( usin( @#ou*lin(, hich means re&eatin( one or more o2 the seen-three oices in #i22erent octaes% e ill #o this as 2ollos: i(ht i(ht han# han#
.ou* .ou*le le the the to& note note one one octa octae e loer loer,, ith ith the thu thum*% m*% I2 I2 the the 7th is is on to& to&,, then then eHll eHll a## another 7th one octae loer, resultin( in 7th-3r#-7th 2rom to& to *ottom% I2 the 3r# is on to&, then eHll a## another 3r# one octae loer, resultin( in 3r#-7th3r# 2rom to& to *ottom%
Le2t e2t han# han#
A## the 7th 7th a*o a*oe the the root in the the le2t e2t han han#, ran( an(e &erm &ermit itti tin( n(%% his ill ill sou soun# ♭ mu##' i2 &la'e# too lo% ou can (et aa' ith this #on to the " at the *ottom o2 the *ass cle2 2or minor 7th interals ;nee#e# 2or minor 7th an# #ominant 7th chor#s< an# #on to the D at the *ottom o2 the *ass cle2 2or ma>or 7th interals ;nee#e# 2or ma>or 7th chor#s<%
I2 the le2t han# is too lo to &la' the root-7th interal, an#Mor the ri(ht han# is too close to the le2t han#, then a##in( the =th a*oe the th e root is another o&tion% he (eneral rule o2 thum* is: ala's a## the root-7th in the le2t han# i2 the ran(e &ermits% his is a st'listic >a soun#% B' contrast, the root-=th is neer necessar' in the le2t han#, *ut use# s&arin(l' can *e use2ul as a tetural thicEenin( o2 the oicin(% So, #onHt #e2ault to root-=th i2 'ou #onHt hae room 2or root-7th in the le2t han#: >ust &la'in( the root, as e ere #oin( *e2ore, ill orE Kine% ;oot-=th in the le2t han# is er' common in &o& an# rocE st'les, *ut is not a #eKinitie or necessar' >a soun#%< e ill see these arious (ui#elines at orE in the 2olloin( eam&les% n to our Kirst seen-three oicin( eam&le usin( #ou*lin(% his is *ase# on the oice lea#in( an# to& notes throu(h all the Ee's in a Circle o2 =ths seGuence that e sa in racE 14, trans&ose# u& an octae% he ri(ht han# is &la'in( either 7th-3r#-7th or 3r#-7th-3r# 3r#-7th-3r# on each chor#, an# the le2t han# is &la'in( root-7th ;an# some root-=th< interals: ;BacEin( tracE: 5a Sin(<
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Note that in this eam&le e ha# room to &la' root-7th interals in the le2t han#, ece&t in the 2olloin( situations: ea eassures res 3=3O 3O
he lo lo ro root-7t t-7th h ;" ;" u& u& to to . ♯< on the "ma>7 chor# oul# hae *een *elo our @ran(e limit o2 D 2or the le2t han# ma>or 7th interals, so e chose the root-=th o&tion% he root-=th coul# hae *een &la'e# hi(her, as here, or an octae loer% Dor *etter oicin( *alance, I hae a mil# &re2erence 2or the hi(her &osition%
easu easures res 4344 4344::
n the .ma> .ma>7 7 chor chor#, #, simi similar lar situa situatio tion n to the "ma>7 "ma>7 chor chor# # a*o a*oe% e%
easure 4O
he lo lo ro root-7th ;. u& u& to to C< C< on on the the .7 .7 ch chor# o oul# ha hae *e *een *e *elo ou our ♭ @ran(e limit o2 " 2or the le2t han# minor 7th interals, so in this case e chose sim&l' to &la' the root%
No eHll (et *acE into a >a sin( rh'thmic st'le, usin( these seen-three oicin(s ith #ou*lin( throu(h all the Ee's, a(ain in a Circle o2 =ths seGuence% his eam&le uses the to-measure >a sin( rh'thmic &hrase 2rom racE =, re&eate# throu(hout all the Ee's:
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Com!in+ throu+h Autumn Lea-esB4#a33 &win+6 No eHll &ut these oicin(s an# rh'thms to orE as e @com& throu(h the chan(es to some ellEnon son(s% Dor no, hen e a&&l' a *asic seen-three oicin( a&&roach to a son(, e ill essentiall' re#uce all chor# s'm*ols to 2our-&art chor#s, hich ill almost ala's *e either the ma>or 7th, minor 7th, or #ominant 7th chor#s use# so 2ar% In other or#s, i2 e see a ma>or 9th chor# s'm*ol, e ill treat it as a ma>or 7th% I2 e see a #ominant 13th chor# s'm*ol, s'm*ol, e ill treat it as a #ominant 7th, an# so on% his still (ies us the *asic @#eKinitie tones o2 the chor#, an# ill *e su2Kicient in man' situations% Later on e ill see ho to a## other chor# tonesMetensions to the *asic seen-three oicin(% eHll start ith the chor# &ro(ression commonl' use# 2or @Autumn Leaes, one o2 the most&er2orme# &er2orme# >a stan#ar#s o2 all time% Dirst e hae the seen-three oicin(s, ith #ou*lin( o2 the 3r#s an#Mor 7ths as shon in the &reious section, usin( hole-note rh'thms: ;BacEin( tracE: 5a Sin(<
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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 sim-li$ied in this e+am-le to re$le!t the seven4three voi!ing a--roa!h #eing used' Later in this #ook we will see how to add the ♭2 and ♭3 to these !hords' In a real4world situation* you !ould still -lay 5ust the seven4three voi!ing on these !hords i/ desired6'
Note that e are oice lea#in( *eteen chor#s ;i%e%, moin( *' close interals<, ith some lar(er interals *ein( use# occasionall'% Net u& is a >a sin( rh'thmic treatment usin( these oicin(s an# oice lea#in(, suita*le 2or com&in( throu(h the chan(es on this son(:
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he rh'thmic com&in( in this eam&le consists o2 2our-measure &hrases, each o2 hich in turn contains to to-measure &hrases% easures easures 1! use the sin( rh'thm Kirst seen in racE 4, an# measures 34 use the sin( rh'thm Kirst seen in racE =% hese measures com*ine to create a 2ourmeasure &hrase, hich is then re&eate# #urin( measures =8, an# so on% his eam&le, liEe the chor# &ro(ressions &ro(ressions 2or man' stan#ar# tunes, contains seeral III &ro(ressions% &ro(ressions% Dor much more in2ormation on ho III &ro(ressions orE in ma>or an# minor Ee's, &lease re2er to m' "ontem-orary Musi! Theory* Level Two *ooE, &u*lishe# *' +al Leonar# Cor&oration%
Com!in+ throu+h 8lue 8ossaB48ossa No-a6 Net u& is the chor# &ro(ression commonl' use# 2or @Blue Bossa, a ell-Enon *ossa noa stan#ar#% A(ain e Kirst hae the seen-three oicin(s ith #ou*lin(, usin( hole-note hole-note rh'thms: ;BacEin( tracE: Bossa noa<
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7I/ you are /amiliar with this song* you may know that the 8m1 and 91 !hord sym#ols in this e+am-le are o/ten shown on /ake #ook !harts as 8m1 ♭2 and 91 ♭3 res-e!tively' These !hord sym#ols have #een sim-li$ied in this e+am-le to re$le!t the seven4three voi!ing a--roa!h #eing used' Later in this #ook we will see how to add the ♭2 and ♭3 to these !hords' In a real4world situation* you !ould still -lay 5ust the seven4three voi!ing on these !hords i/ desired6'
ur Kinal eam&le in this cha&ter is a *ossa noa rh'thmic treatment usin( these oicin(s an# oice lea#in(, suita*le 2or com&in( throu(h the chan(es on this son(:
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Note that the Kirst hal2 o2 this eam&le ;measures 18< uses the rh'thm &attern 2rom racE O, an# the secon# hal2 ;measures 91O< uses the rh'thm &attern 2rom racE 7% he *usier rh'thm in the secon# hal2 o2 this eam&le hel&s to *uil# the ener(' o2 the arran(ement%
Cha!ter @
%OR5 #A$$ PIANO (OICIN)& AND PATT5RN& Le;t2Hand #a33 &win+ Pattern In 'a com&in(% So 2ar our oicin(s hae *een @concerte#, @concerte#, that is to sa' the le2t an# ri(ht han#s hae *een &la'in( the same rh'thms% As an alternatie to this, the le2t-han# &art can &la' more o2 a @*ass line role% his is normall' #one either @in ! ;*ase# on to hal2-notes &er measure, lan#in( on *eats 1 an# 3< or @in 4 ;*ase# on 2our Guarter-notes Guarter-notes &er measure, lan#in( on *eats 1, !, 3, an# 4<% ur Kirst eam&le is *ase# on the seen-three oicin(s ith #ou*lin(, #ou*lin(, use# 2or the @Autumn Leaes chor# &ro(ression &ro(ression in racE !0% +ere eHe taEen measures 11O o2 these chan(es an# a&&lie# a le2t han# >a sin( &attern @in !, as 2ollos:
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Note that the seen-three oicin(s ith #ou*lin( in the ri(ht han# are the same as use# 2or measures 11O o2 racE !0% he le2t han# is no &la'in( the root an# =th o2 each chor#, on *eats 1 an# 3 o2 each measure res&ectiel'% Dor eam&le, in the Kirst measure in the *ass cle2 e hae an A ;the root o2 the Am7 chor#< lan#in( on *eat 1, an# an " ;the =th o2 the Am7 chor#< lan#in( on *eat 3% hen in the th e secon# measure e hae a . ;the root o2 the .7 chor#< lan#in( on *eat 1, an# an A ;the =th o2 the .7 chor#< lan#in( on *eat 3, an# so on% In the le2t han# e also hae some ei(hth-note &icEu&s lea#in( into *eat 3% hese a##e# notes re&eat the root o2 the chor# on the @P o2 !, *e2ore &la'in( the =th o2 the chor# on *eat 3% his hel&s a## 2orar# motion to the >a sin( 2eel% Also, in measures 914 another ei(hth-note &icEu& is a##e#, lan#in( on the @P o2 4 an# lea#in( into *eat 1 o2 the 2olloin( measure% measure% his etra note o2ten lea#s into the net chor# root *' a hal2-ste& interal% Dor eam&le, in measure 9 a2ter &la'in( the =th o2 the Am7 chor# ;"< on *eat 3 in the le2t han#, e then &la' " ♭ on the @P o2 4, lea#in( into the 2olloin( chor# root ;.< *' hal2 ste&% Note also that e are no shoin( the D ♯m7♭= chor# s'm*ol 2or measures = an# 13, com&are# to the more *asic D♯m7 s'm*ol use# in racE !0% he D ♯m7♭= is the correct chor# s'm*ol 2or this son(, althou(h e can (et aa' ith &la'in( >ust the seen-three oices as &reiousl' note#% +oeer, i2 e are (oin( to &la' the =th on this chor#, hich e are no a##in( in the le2t han# on *eat 3, then e nee# to ensure that the =th is Klatte#% he C natural lan#in( on *eat 3 o2 measures = an# 13 is the ♭=th o2 the D♯m7♭= chor#% Net eHll a## some >a sin( rh'thms to the ri(ht-han# &art, hile Eee&in( the le2t-han# &attern @in ! 2rom the &reious eam&le:
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.e&en#in( on 'our e&erience leel, 'ou ma' Kin# some #i2Kicult' in rh'thmicall' coor#inatin( the han#s 2or this eam&le% ou can &ractice han#s se&aratel' as nee#e#, *e2ore &la'in( han#s to(ether% he Ee' here is to (et the le2t-han# &attern on auto&ilot as much as &ossi*le, so 'ou can then 2ocus on the rh'thmic ariations an# antici&ations in the ri(ht-han# &art%
Le;t Le;t2H 2Han and d 8o 8oss ssa a No-a No-a Pa Patt tter ern n In In '
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he le2t han# is a(ain &la'in( the root an# =th o2 each chor#, on *eats 1 an# 3 o2 each measure res&ectiel'% Dor eam&le, in measures 1! in the *ass cle2 e hae a C ;the root o2 the Cm7 chor#< ch or#< lan#in( on *eat 1, an# a ;the =th o2 the Cm7 chor#< lan#in( on *eat 3% hen in measures 34 e hae an D ;the root o2 the Dm7 chor#< lan#in( on *eat 1, an# a C ;the =th o2 the Dm7 chor#< lan#in( on *eat 3, an# so on% his is all er' similar to the >a sin( le2t-han# &attern @in ! e use# on the @Autumn
Leaes &ro(ression, &ro(ression, ece&t that e are no usin( a strai(ht-ei(hths, rather than sin(-ei(hths, rh'thmic su*#iision% e are also &la'in( ei(hth-note &icEu&s in the le2t han#: the root o2 each chor# lan#in( on the @P o2 ! in each measure ;lea#in( into the =th o2 each chor# on *eat 3<, an# either a chor# tone or hal2 ste& connectin( tone lan#in( on the @P o2 4 in measures 91= ;lea#in( into the root o2 the net chor# on *eat 1<% Note also that e are no shoin( the .m7♭= chor# s'm*ol 2or measures =, 13, an# 1O, com&are# to the more *asic .m7 s'm*ol use# in racE !!% he .m7 ♭= is the correct chor# s'm*ol 2or this son(, althou(h e can (et aa' ith &la'in( >ust the seen-three oices as &reiousl' note#% +oeer, i2 e are (oin( to &la' the =th on this chor#, hich e are no a##in( in the le2t han# on *eat 3, then e nee# to ensure that the =th is Klatte#% he A ♭ lan#in( on *eat 3 o2 measures = an# 13, an# on the @P o2 ! o2 measure 1O, is the ♭=th o2 the .m7♭= chor#% Net eHll a## some *ossa noa rh'thms to the ri(ht-han# &art, hile Eee&in( the le2t han# &attern @in ! 2rom the &reious eam&le:
Trac0 ':
A(ain i2 'ou Kin# some #i2Kicult' in rh'thmicall' coor#inatin( the han#s 2or this eam&le, 'ou can &ractice han#s se&aratel' as nee#e#, *e2ore &la'in( han#s to(ether% As ith the &rece#in( >a sin( eam&le @in !, the Ee' here is to (et the le2t-han# &attern on auto&ilot as much as &ossi*le%
&e-en2Three 5tended Chord (oicin+s No itHs time to 2urther #eelo& our seen-three chor# chor# oicin(s *' a##in( some etra chor# tones in the ri(ht han# hen accom&an'in(% e ma' #o this in res&onse to a &articular chor# s'm*ol, or i2 e are u!+radin+ ;a##in( u!+radin+ ;a##in( unaltere# u&&er etensions such as the 9th or 13th< or alterin+ a alterin+ a *asic chor# s'm*ol in some a'% hese a##e# chor# tones 2all into i nto to (eneral cate(ories: Chor# Chor# tonesM tonesMet etens ension ionss
hese hese are the =th, 9th, an# 13th 13th o2 the chor#% chor#% nalter naltere# e# =ths an# 9ths are normall' sa2e to a## to ma>or 7th, minor 7th, an# #ominant 7th chor#s in most contets ;unless the chor# s'm*ol in#icates that one or more o2 these is altere#, i%e%, shar&e# or Klatte#<% naltere# 13ths are also o2ten a##e# to #ominant 7th chor#s ;unless the chor# s'm*ol in#icates that the 13th is altere#, i%e%, Klatte#<%
Alterations
hese are the ♭=th an# ♯=th, an# ;on #ominant #ominant chor#s onl'< onl'< the ♭9th an# ♯9th% hese are a##e# either in res&onse to an altere# chor# s'm*ol ;e%(%, ;e%(%, .m7♭=<, or are a##e# *' the >a musician to alter the chor# #e&en#in( on st'le an# contet% 7Note that the ♭2th is e:uivalent to the ♯ ;; and the ♯2th is e:uivalent to the ♭;< on the !hord'6
Seen-three oicin(s can *e eten#e# in #i22erent a's, #e&en#in( on hether the 3r# or 7th o2 the oicin( is on to&% he most common com*inations com*inations are as 2ollos: I2 the @rd is on to! o2 to! o2 the seen-three oicin(, then e can a## another chor# tone a*oe the 3r# in in the ri(ht han#, #e&en#in( on the chor# s'm*ol an# t'&e:
e can a## the =th on ma>or 7th, minor 7th, or #ominant 7th chor#s% e can a## the ♭=th on minor 7th; ♭=< chor#s, or to alter minor 7th chor#s% e can a## the ♯=th ;♭13th< on #ominant 7th;♯=< or ; ♭13< chor#s, or to alter #ominant 7th chor#s% e can a## the 13th on #ominant 13th chor#s, or to u&(ra#e #ominant 7th or 9th chor#s%
I2 the :th is on to! o2 to! o2 the seen-three oicin(, then e can a## another chor# tone a*oe the 7th in the ri(ht han#, #e&en#in( on the chor# s'm*ol an# t'&e:
e can a## the 9th on ma>or 9th, minor 9th, or #ominant 9th chor#s, or to u&(ra#e ma>or 7th, minor 7th, or #ominant 7th chor#s res&ectiel'% e can a## the ♭9th or ♯9th on #ominant 7th; ♭9< or ; ♯9< chor#s res&ectiel', or to alter #ominant 7th chor#s%
Net eHll see some o2 these rules at orE on III &ro(ressions in the Ee's o2 C ma>or an# C minor% he ri(ht han# is no &la'in( three-note oicin(s ;seen-three &lus one etra note on to&< on each chor#% +ereHs the III &ro(ression in C ma>or:
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e can anal'e these seen-three eten#e# oicin(s as 2ollos: easu easure re 1
he =th o2 the the .m7 .m7 chor chor# # ;A< ;A< has has *een *een a## a##e# e# on on to& to& o2 the 3r# ;D< ;D<%%
easur asure e!
he 9th 9th o2 the the 7 cho chor# ;A< has has *een een a## a##e# on to& to& o2 the the 7th ;D< ;D<, tec technic hnical all' l' u&(ra#in( this chor# to a 9% e hae also a##e# a root-7th interal in the le2t han#%
easu easure re 3
he =th o2 the Cma>7 Cma>7 chor chor# # ;< ;< has has *een *een a##e# a##e# on to& o2 the 3r# ;"< ;"<%%
ithout these a##e# to& notes in the ri(ht han#, this eam&le oul# *een liEe the III oicin(s shon in racE 3 ;seen-three oicin(s startin( ith the 3r# on to&<, *ut trans&ose# #on *' one octae% Note that the seen-three eten#e# oicin(s soun# soun# 2uller an# #enser than the *asic seen-three oicin(s% Net u& is the corres&on#in( corres&on#in( III &ro(ression in C minor:
Trac0 '?
e can anal'e these seen-three eten#e# oicin(s as 2ollos: e easure 1
he ♭=th o2 the .m7♭= chor# ;A ♭< has *een a##e# on to& o2 the 3r# ;D<%
easure !
he ♭9th o2 the 7 ♭9 chor# ;A ♭< has *een a##e# on to& o2 the 7th ;D<% A(ain e hae a##e# a root-7th interal in the le2t han#%
eas easur ure e3
he he =th =th o2 the the Cm7 Cm7 chor# chor# ;< ;< has has *ee *een n a## a##e# e# on to& to& o2 o2 the the 3r# 3r# ;" ;" ♭<%
In minor Ee's, e o2ten see the minor 7th; ♭=< 2unctionin( as a II chor#, an# the #ominant 7th; ♭9< 2unctionin( as a chor#, res&ectiel'% he I chor# ill either *e a minor 7th chor#, as shon here, or a minor ma>or 7th or minor Oth chor#% Dor much more in2ormation on III &ro(ressions &ro(ressions in ma>or an# minor Ee's, &lease re2er to m' "ontem-orary Musi! Theory* Level Two *ooE, &u*lishe# *' +al Leonar# Cor&oration% Dor much more in2ormation on u&&er etensions an# alterations o2 all commonl' use# chor#s, &lease re2er to m' "ontem-orary Musi! Theory* Level Three *ooE, &u*lishe# *' +al Leonar# Cor&oration%
Net e ill use these seen-three eten#e# oicin(s on the chor# &ro(ression 2or @Autumn Leaes% his eam&le uses the same ri(ht-han# rh'thms an# le2t-han# &attern @in ! that e sa in racE !=, no ith eten#e# three-note ri(ht-han# oicin(s:
Trac0 @1
e can anal'e the seen-three eten#e# oicin(s in this eam&le as 2ollos: ea easure 1
he =t =th o2 o2 th the Am Am7 ch chor# ;" ;"< ha has *e *een a# a##e# on on to to& o2 o2 th the 3r 3r# ;C ;C<%
easure !
he 9t 9th o2 o2 th the .7 .7 ch chor# ;" ;"< ha has *e *een a# a##e# on on to to& o2 o2 th the 7t 7th ;C ;C<,u&(ra#in( in( this chor# to a .9%
easure 3
he =t =th o2 o2 th the m ma>7 ch chor# ;. ;.< ha has *e *een a# a##e# on on to to& o2 o2 th the 3r 3r# ;B ;B<%
easure 4
he 9th o2 the Cma>7 chor# ;.< has *een a##e# on to& o2 the 7th ;B<,u&(ra#in( this chor# to a Cma>9%
easure =
he ♭=th o2 the D ♯m7♭= chor# ;C< has *een a##e# on to& o2 the 3r# ;A<%
easure O
he ♭9th o2 the B7 chor# ;C< has *een a##e# on to& o2 the 7th ;A<, alterin( this chor# to a B7 ♭9%
eas easur ures es 78 78
he he =th =th o2 the the " "m7 m7 chor chor# # ;B< ;B< has has *ee *een n a## a##e# e# on to& to& o2 o2 the the 3r# 3r# ;<% ;<%
easures 9 91O
Same as as 2o 2or me measures 1 18%
No letHs see some o2 these seen-three eten#e# oicin(s at orE on the chor# &ro(ression 2or @Blue Bossa% his eam&le uses the same ri(ht-han# rh'thms an# le2t-han# &attern @in ! that e sa in racE !7, no ith eten#e# three-note ri(ht-han# oicin(s:
Trac0 @"
e can anal'e the seen-three eten#e# oicin(s in this eam&le as 2ollos: ea easu sure ress 1!, 1!, 78, 78, 1= easures 34 easures =, 13, 1O easures O, 14, 1O easure 9 easure 10 easures 111!
he he =th o2 the the Cm7 chor# chor# ;< has *een *een a##e a##e# # on to& to& o2 the 3r# 3r# ♭ ;" <% he 9th o2 the Dm7 chor# ;< has *een a##e# on to& o2 the 7th ;" ;" ♭<, u&(ra#in( this chor# to an Dm9% he ♭=th o2 the .m7♭= chor# ;A ♭< has *een a##e# on to& o2 the 3r# ;D<% he ♭9th o2 the 7 chor# ;A ♭< has *een a##e# on to& o2 the 7th ;D<, alterin( this chor# to a 7 ♭9% he =th o2 the " ♭m7 chor# ;B ♭< has *een a##e# on to& o2 the 3r# ;♭<% he 9th o2 the A ♭7 chor# ;B ♭< has *een a##e# on to& o2 the 7th ;♭<, u&(ra#in( this chor# to an A ♭9% he =th o2 the . ♭ma>7 chor# ;A♭< has *een a##e# on to& o2 the 3r# ;D<%
Le;t2Hand #a33 &win+ Pattern In 7a circles% ur Kirst eam&le o2 a le2t han# &attern @in 4 uses the chor# &ro(ression 2or @All the hin(s ou Are, another 2amous >a stan#ar#% he ri(ht han# is &la'in( seen-three oicin(s ith #ou*lin(, as 2ollos:
Trac0 @'
In a##ition to lan#in( on all the #on*eats in each measure, the le2t-han# &art is also &la'in( an etra ei(hth note on the @P o2 4 in some measures% his creates 2orar# motion into *eat 1 o2 the 2olloin( measure% alEin( *ass lines are t'&icall' constructe# 2rom some com*ination o2 chor# tonesMar&e((ios, tonesMar&e((ios, scale tones, an# hal2-ste& connectin( lines% +ere are some (eneral (ui#elines 2or creatin( this t'&e o2 le2t han#-*ass &attern:
he root o2 the chor# is almost ala's &la'e# on *eat 1 o2 each measure, ece&t hen a chor# chan(e is continuin( into a secon# measure% In this case, other *asic chor# tones ;i%e%, 3r#, =th, or 7th< can *e use# on *eat 1 o2 the secon# measure% nce 'ou Eno the re(ister ;hi(h or lo< in hich 'ou ant to &la' the root o2 the net chor#, 'ou can then #esi(n an ascen#in( or #escen#in( line #urin( the &rece#in( measure, to lea# into that root note% hese lines o2ten use scalewise mo-ement mo-ement ;ma>or, ;ma>or, minor, or ar!e++ios ;tria#s or 2our-&art mo#al scales< or chordal ar!e++ios ;tria#s 2our-&art chor#s<% inter-als are o2ten use#, &articularl' at the en# o2 a Ascen#in( or #escen#in( hal;2ste! inter-als are measure to connect into the root o2 the net chor#%
ith these &oints in min#, letHs taEe a closer looE at ho the alEin( *ass line in the &rece#in( eam&le as constructe#: ea eassure 1
n the the Dm7 cho chor# e e as ascen# cen# scal caleis eise e ;D ;D, , , A ♭< ithin the ma>or scale o2 the Ee' si(nature ;A♭ ma>or<% hen e sEi& 2rom A ♭ to C, hich is a &artial ar&e((io o2 the Dm7 chor#, moin( 2rom the 3r# to the =th% his lea#s into the root o2 the net chor# ;B♭< *' hole ste&%
easure !
n the B♭m7 chor# e #escen# scaleise ;B ♭, A♭, , D<, a(ain ithin an A ♭ ma>or scale% scale% hen e a## a hal2-ste& hal2-ste& connectin( connectin( tone ;D ♭, or "< on the @P o2 4, hich lea#s into the root o2 the net chor# ;" ♭< *' hal2 ste&%
easure 3
n the "♭7 chor# e ascen# scaleise ;" ♭, D, <, a(ain ithin an A ♭ ma>or scale% hen e sEi& 2rom to B ♭, hich is a &artial ar&e((io o2 the " ♭7 chor#, moin( 2rom the 3r# to the =th% his lea#s into the root o2 the net chor# ;A ♭< *' hole ste&%
easure 4
n the A♭ma>7 chor# e ascen# scaleise ;A ♭, B♭, C<, a(ain ithin an A ♭ ma>or scale% hen e sEi& 2rom C to " ♭, hich is a &artial ar&e((io o2 the A ♭ma>7 chor#, moin( 2rom the 3r# to the =th% hen e Kinall' moe *acE to the 3r# o2 the chor# ;C< on the @P o2 4, lea#in( into the root o2 the net chor# ;. ♭< *' hal2 ste&%
easure =
n the .♭ma>7 chor# e #escen# #escen# scaleise scaleise ;.♭, C, B♭, A♭<, a(ain ithin an A♭ ma>or scale% he A ♭ lea#s into the root o2 the net chor# ;< *' hal2 ste&%
eas easur ure eO
n the the 7 7 chor chor# # e asc ascen en# # scal scale eis ise e ;, ;, A, B<, B<, thi thiss time time it ithi hin n a C ma>o ma>orr scal scale% e% his his is *ecaus *ecause e the 7Cma 7Cma>7 >7 chor# chor# &ro(r &ro(ress ession ion si(niK si(niKies ies a momen momentar tar' ' Ee' chan(e to C ma>or% hen e sEi& 2rom B to ., hich is a &artial ar&e((io o2 the 7 chor#, moin( 2rom the 3r# to the =th% hen e Kinall' a## a hal2-ste& connectin( tone ;.♭< on the @P o2 4, hich lea#s into the root o2 the net chor# ;C< *' hal2 ste&%
eas easur ure e7
n the the Cma Cma>7 >7 chor chor# # e e #esc #escen en# # sca scale lei ise se ;C, ;C, B, A, <, <, con conti tinu nuin in( ( ith ithin in a C ma>o ma>orr scale%
easur asure e8
Con Continu tinuin in( ( on the Cma Cma>7 >7 cho chorr#, e sEi& sEi& 2r 2rom C #o #on to ", hic hich h is a &art &artia iall ar&e((io ;moin( 2rom the root to the 3r#<, *e2ore ascen#in( ithin the C ma>or scale ;", D, <%
eas easur ure e9
n the the Cm7 Cm7 cho chor# r# e e #esc #escen en# # usin usin( ( a &art &artia iall 2our 2our-& -&ar artt chor chor# # ar&e ar&e(( ((io io:: C ;roo ;root< t<,, ♭ ♭ B ;7th<, ;=th<% hen e a## a hal2-ste& connectin( tone ; < on *eat 4, hich lea#s into the root o2 the net chor# ;D< *' hal2-ste&%
eas easur ure e 10 10
n the the Dm7 Dm7 cho chor# r# e e asce ascen# n# usi usin( n( a 2ou 2ourr-&a &art rt cho chor# r# ar& ar&e( e((i (io: o: D ;ro ;root ot<, <, A ♭ ;3r#<, C ;=th<, an# " ♭ ;7th<% hen e moe *acE to the =th o2 the chor# ;C< on the @P o2 4, lea#in( into the root o2 the net chor# ;B ♭< *' hole ste&%
easure 11
n the B♭7 chor# e #escen# usin( a &artial 2our-&art chor# ar&e((io: B ♭ ;root<, A♭ ;7th<, D ;=th<% hen e a## a hal2-ste& connectin( tone ;D ♭, or "< on *eat 4, hich lea#s into the root o2 the net chor# ;" ♭< *' hal2 ste&%
easure 1!
n th the "♭ma>7 chor# e ascen# usin( a 2our-&art chor# ar&e((io: " ♭ ;root<,
;3r#<, B♭ ;=th<, an# C ;Oth<% hen e moe *acE to the =th o2 the chor# ;B ♭< on the @P o2 4, lea#in( into the root o2 the net chor# ;A ♭< *' hole ste&% eas easur ure e 13
n the the A*ma A*ma>7 >7 chor# chor# e ascen ascen# # usin usin( ( a &art &artia iall 2our 2our-& -&ar artt chor chor# # ar&e ar&e(( ((io io:: A ♭ ;root<, C ;3r#<, " ♭ ;=th<, an# *acE to C ;3r#<% hen e a## a hal2-ste& connectin( tone ;.♭< on the @P o2 4, hich lea#s into the root o2 the net chor# ;.< *' hal2 ste&%
easu easure re 14
n the the .7 .7 chor chor# # e #escen #escen# # usin( usin( a 2our 2our-&a -&art rt chor chor# # ar&e( ar&e((io (io:: . ;roo ;root<, t<, C ;7th<, ;7th<, A ♯ ;=th<, an# D ;3r#<, hich lea#s into the root o2 the net chor# ;< *' hal2 ste&%
easu easure re 1=
n the the ma> ma>7 7 chor chor# # e ascen# ascen# scale scaleise ise ;, A, B<, B<, this this time time ithin ithin a ma>o ma>orr scale scale%% his his is *ecaus *ecause e the .7ma .7ma>7 >7 chor# chor# &ro(r &ro(ress ession ion si(niK si(niKies ies a momen momentar tar' ' Ee' chan(e to ma>or%hen e sEi& 2rom B to ., hich is a &artial ar&e((io o2 the ma>7 chor#, moin( 2rom the 3r# to the =th% hen e Kinall' return to the 3r# ;B< on the @P o2 4%
eas easur ure e 1O
Cont Contin inui uin( n( on on the ma ma>7 >7 cho chor# r#,, e moe moe 2ro 2rom m the roo roott ;< #o #on n to the the 7th 7th ;D ♯< an# *acE a(ain to the root ;< on *eat 3%
heor' note: his son( is in the oerall Ee' o2 A ♭, *ut (oes throu(h #i22erent momentar' Ee's #urin( the son(: e hae a I &ro(ression in C ma>or ;measures O8<, a IIIII &ro(ression in " ♭ ma>or ;measures 913<, an# a I &ro(ression in ma>or ;measures 141O<% his is t'&ical o2 >a stan#ar#s% Dor much more in2ormation on anal'in( momentar' momentar' Ee' chan(es in son(s, &lease re2er to m' "ontem-orary Musi! Theory* Level Two *ooE, &u*lishe# *' +al Leonar# Cor&oration% Net e ill a## some >a sin( rh'thmic com&in( in the ri(ht han#, a*oe this alEin( *ass &art in the le2t han#, as 2ollos:
Trac0 @@
Note the >a sin( rh'thmic ariations in the ri(ht han#, a(ain a t'&ical mi o2 #on*eats an# u&*eats, 2unctionin( as rh'thmic antici&ations% As ith the earlier >a sin( eam&les @in !, 'ouHll ant to (et the le2t-han# &attern on auto&ilot as much as &ossi*le, in or#er to 2ocus on the rh'thmic ariations in the ri(ht-han# &art%
The #a3328lues Pro+ression in E No eHll learn ho to com*ine the seen-three eten#e# oicin(s e sa earlier, ith a le2t-han# alEin( *ass &art% he ehicle eHll use 2or this is a 1!-*ar *lues &ro(ression in the Ee' o2 D, a commonl' use# Ee' 2or &iano-*ase# *lues tunes% he *asic *lues 2orm consists o2 #ominant chor#s *uilt 2rom the I, I, an# o2 the Ee' ;hence2orth re2erre# re2erre# to as the I7, I7, an# 7 res&ectiel'<, as in the 2olloin( eam&le:
Trac0 @7
his is a 1!-*ar *lues seGuence, ith an etra measure a##e# at the en# ;measure 13< to return to the tonic chor# o2 D7% he t'&ical 1!-*ar *lues 2orm *reaEs #on into three sections o2 2our *ars or measures each:
he Kirst 2our measures normall' use the I7 ;D7 in this case<, 2reGuentl' moin( to the I7 ;B♭7 in this case< in the secon# measure% he secon# 2our measures ;i%e%, 2rom measure = o2 the 2orm< *e(in ith the I7, normall' returnin( to the I7 a2ter to measures ;i%e%, on measure 7<% he thir# 2our measures ;i%e%, 2rom measure 9 o2 the 2orm< *e(in ith the 7 ;C7 in this case<, t'&icall' 2olloe# *' the I7 ;in measure 10<, an# then returnin( to the I7 in measure 11% easures 11 an# 1! are a @turnaroun# @turnaroun# section lea#in( *acE to the th e *e(innin( o2 the 2orm, an# &resent man' chor# &ro(ression &ro(ression &ossi*ilities% he sim&lest o&tions are to sta' on the I7, or to moe to the 7 in measure 1!Jhich e #o in this eam&le%
here are man' ariations on this *lues chor# &ro(ression, &articularl' in >a *lues here more su*stitutions an# com&le chor#s can *e use#% e sa earlier that alEin( *ass lines are normall' create# 2rom scale tones, ar&e((ios, ar&e((ios, an# hal2-ste& connectin( lines% n #ominant chor#s in the *lues, the scale source most commonl' use# is the %iolydian mode, mode, *uilt 2rom the root o2 each chor#% his mo#e is eGuialent to a ma>or scale ith the 7th #e(ree Klatte# *' hal2-ste&% Dor eam&le, on the D7 chor# the *ass line can use D iol'#ian, hich contains the notes D--A-B♭-C-.-" ♭ ;same as the D ma>or scale ece&t that " is Klatte# to *ecome " ♭<% Similarl', on the B♭7 chor# the *ass line can use B ♭ iol'#ian, hich contains the notes B ♭-C-.-" ♭D--A♭ ;same as the B ♭ ma>or scale ece&t that A is Klatte# to *ecome A ♭<, an# so on% ith this in min#, letHs taEe a closer looE at the alEin( *ass &art in racE 34: ea easu sure re 1
n the the D7 D7 cho chor# r# e asce ascen# n# usin usin( ( a &ar &arti tial al 2ou 2ourr-&a &art rt cho chor# r# ar&e ar&e(( ((io io:: D ;ro ;roo ot<, t<, A ♭ ;3r#<, an# C ;=th<% hen e a## a hal2-ste& connectin( tone ;C , or B< on *eat 4, hich lea#s into the root o2 the net chor# ;B ♭< *' hal2 ste&%
easure !
n the B♭7 chor# e #escen# scaleise ;B ♭, A♭, < ithin the B♭ iol'#ian mo#e% hen e a## a hal2-ste& connectin( tone ; ♭< on *eat 4, hich lea#s into the root o2 the net chor# ;D< *' hal2 ste&%
eas easur ure e3
n the the D7 D7 cho chor# r# e asce ascen# n# usin usin( ( a 2our 2our-& -&ar artt cho chor# r# ar&e ar&e(( ((io io:: D ;ro ;root<, ot<, A ;3r ;3r#< #<,, C ;=th<, an# . ;Oth<%
easure 4
Continuin( on on th the D7 D7 ch chor#, e e *e *e(in i ith th the 7t 7th ;" ;" ♭< an# then #escen# #on the ar&e((io use# in the &reious measure% ;All the notes in measures 3 an# 4 are also containe# in the D iol'#ian mo#e<%
easure =
n the B♭7 chor# e #escen# scaleise ;B ♭, A ♭, , D< ithin the B♭ iol'#ian mo#e%
easure O
Continuin( on on th the B ♭7 chor#, e sEi& 2rom B ♭ u& to ., hich is a &artial ar&e((io ;moin( 2rom the root to the 3r#< *e2ore a series o2 ascen#in( hal2 ste&s ;., "♭, "< lea#in( into the root o2 the net chor# ;D< *' hal2 ste&%
easure 7
n th the D7 D7 ch chor# e e #e #escen# sc scaleise ;;D D, " ♭, ., C< ithin the D iol'#ian mo#e% hen #urin( *eat 4 e hae a &artial ar&e((io, moin( 2rom C to A ;the =th to the 3r# o2 the th e D7 chor#<%
easure 8
Continuin( on on the the D7 D7 cho chor#, e as ascen# sca scaleise ;D, ;D, , A, A, B ♭< ithin the D iol'#ian mo#e, mo#e, lea#in( into the root o2 the net chor# ;C< *' hole ste&%
eas easur ure e9
n the the C7 C7 cho chor# r# e are are usi usin( n( a 2ou 2ourr-&a &art rt chor chor# # ar& ar&e( e((i (io: o: C ;ro ;root ot<< #es #esce cen# n#in in( ( to to " ;3r#<, then ascen#in( to ;=th< an# A ;Oth<, lea#in( into the root o2 the net chor# ;B♭< *' hal2 ste&%
eas easur ures es 10 1011 11
Same Same as as 2or 2or meas measur ures es !3 !3%%
eas easur ure e 1! 1!
n the the C7 C7 cho chor# r# e #es #esce cen# n# usin usin( ( a 2ou 2ourr-&a &art rt cho chor# ar&e ar&e(( ((io io:: C ;ro ;root ot<, <, B ♭ ;7th<, ;=th<, an# " ;3r#<, lea#in( into the root o2 the net chor# ;D< *' hal2 ste&%
Net eHll taEe a closer looE at the seen-three eten#e# oicin(s use# in the ri(ht han#, i n this eam&le:
easures 1, 3, 7, 11
he 13th o2 the D7 chor# ;.< has *een a##e# a*oe the 3r# ;A<% his u&(ra#es the chor# to an D13%
easures !, =O, 10
he 9th o2 the B ♭7 chor# ;C< has *een a##e# a*oe the 7th ;A ♭<% his u&(ra#es the chor# to a B ♭9%
eas easur ures es 4, 8, 13
he he =th =th o2 the the D D7 7 cho chor# r# ;C< ;C< has has *een *een a##e a##e# # a*o a*oe e the the 3r# 3r# ;A< ;A<%%
easures 9, 1!
he 9 th th o2 t he he C 7 ch chor# ; .< .< h as as * ee een a ## ##e# a *o *oe t he he 7 th th ; B ♭<% his u&(ra#es the chor# to a C9%
Dor the >a &ianist, these oul# *e routine u&(ra#es u&(ra#es to the #ominant chor#s in this t'&e o2 >a-*lues &ro(ression% &ro(ression% ost o2ten the chor# s'm*ols are &resente# as *asic #ominant 7th chor#s, an# the u&(ra#es are a&&lie# at the &la'erHs #iscretion% Notice that there are no alterations ;Klatte#Mshar&e# ;Klatte#Mshar&e# =ths or 9ths< in this thi s eam&le, >ust unaltere# u&&er etensions ;9ths an# 13ths<% Net e ill a&&l' some >a sin( com&in( rh'thms to the ri(ht-han# seen-three eten#e# oicin(s, as 2ollos: @here is au#io content at this location that is not currentl' su&&orte# su&&orte# 2or 'our #eice% he ca&tion 2or this content is #is&la'e# *elo% racE 3=
he ri(ht-han# oicin(s are the same as use# 2or racE 34, no ith >a sin( com&in( rh'thms a##e#% /ractice the le2t-han# &art se&aratel' as nee#e#, to hel& (et it on auto&ilot so that 'ou can a(ain 2ocus on the rh'thms an# antici&ations use# in the ri(ht han#%
8loc0 4Eour2Part6 Chord (oicin+s Net eHll (et into a ne oicin( techniGue Enon as loc0 -oicin+% -oicin+% A *locE oicin( or @sha&e results hen e use 2our #i22erent &itches ithin a one-octae ran(e% B' this #eKinition, all the 2our-&art chor#s e sa at the *e(innin( o2 Cha&ter ! Guali2' as *locE oicin(s% In racE 1 e create# a III &ro(ression &ro(ression in the Ee' o2 C, usin( sim&le root-&osition 2our-&art *locE oicin(s% In the net eam&le, e ill oice lea# ;moe to the closest inersion< *eteen these *locE oicin(s, as 2ollos:
Trac0 @9
In com&arison to racE 1, notice that the th e Kirst an# last measures are the same, *ut the secon# measure no has the 7 chor# in secon# inersion, in or#er to oice lea# smoothl' *eteen the successie chor#s% he to& notes moe 2rom the 7th on the .m7 chor#, to the 3r# on the 7 chor#, an# to the 7th on the Cma>7 chor#% his is the same as the seen-three to& note oicelea#in( e Kirst sa in racE !% Net e ill start ith the Kirst .m7 chor# in secon# inersion, &lacin( the 3r# o2 the chor# on to&, oice lea#in( 2rom there as 2ollos:
Trac0 @:
No the to& notes moe 2rom the 3r# on the .m7 chor#, to the 7th on the 7 chor#, an# to the 3r# on the Cma>7 chor#, the same as the seen-three to& note oicelea#in( in racE 3% hese sim&le root-3r#-=th-7th root-3r#-=th-7th *locE oicin(s ill orE ? in man' >a contets as lon( as e oice lea# a&&ro&riatel'% +oeer, +oeer, e (et a more interestin( an# so&histicate# result *' re!lacin+ the root in the *locE oicin( with the ?th o2 ?th o2 the chor#% In other or#s, in the ri(ht han# e can &la' the 3r#=th-7th-9th o2 each chor# instea# o2 the root-3r#-=th-7th% his is sometimes re2erre# to as a ? ;or "B sustitution in sustitution in the *locE oicin(% LetHs see this at orE on the same III &ro(ression in C ma>or, no &lacin( the 9th on to& o2 the Kirst .m9 chor#, an# oice lea#in( 2rom there as 2ollos:
Trac0 @>
Note that the chor# s'm*ols hae no *een u&(ra#e# to reKlect the a##ition o2 the 9th to each chor#% +oeer, >a musicians ill routinel' a&&l' these oicin(s to s&ontaneousl' s&ontaneousl' u&(ra#e more *asic II I chor# s'm*ols ;i%e%, .m7-7-Cma>7<% he to& notes on these oicin(s no moe 2rom the 9th on the .m9 chor#, to the =th on the 9 chor#, an# to the 9th on the Cma>9 chor#% In each case, the ri(hthan# *locE oicin( contains the 3r#-=th-7th-9th o2 each chor#% It is also use2ul to consi#er these ne 3r#-=th-7th-9th 3r#-=th-7th-9th oicin(s 2rom an u&&er structure &oint o2 ie% his is #one *' looEin( at the ri(ht-han# *locE oicin( as a 2our-&art 2our-&art chor# in its on ri(ht, ith a s&eciKic relationshi& to the root o2 the oerall chor# ;as #eKine# *' the chor# s'm*ol<% LetHs anal'e each o2 the oicin(s in racE 38 2rom this &oint o2 ie: easu easure re 1
he ri(htri(ht-han han# # oicin oicin( ( on the .m9 .m9 chor chor# # is an an Dma>7 Dma>7 *locE *locE sha& sha&e, e, *uil *uiltt 2r 2rom om the the 3r# 3r# ;D< o2 the .m9 chor#% his Dma>7 *locE sha&e is in root &osition%
easur asure e!
he ri( ri(ht ht-h -han an# # o oicin icin( ( on on the the 9 9 cho chor# is a Bm7 Bm7♭= *locE sha&e, *uilt 2rom the 3r# ;B< o2 the 9 chor#% his Bm7 ♭= *locE sha&e is in secon# inersion, oice lea#in( 2rom the &reious measure%
eas easur ure e3
he he ri(h ri(htt-ha han# n# oi oici cin( n( on on the Cma Cma>9 >9 cho chor# r# is is an "m7 "m7 *lo *locE cE sha& sha&e, e, *ui *uilt lt 2ro 2rom m the 3r# 3r# ;"< o2 the Cma>9 chor#% his "m7 *locE sha&e is in root &osition, oice lea#in( 2rom the &reious measure%
Another a' to looE at these *locE oicin(s is as a 2urther etension o2 @seen-three eten#e# eten#e# oicin(s, hich, as e hae seen, t'&icall' a## the =th or 9th to the seen-three o2 the chor#% +ere e are a##in( *oth the =th an# the 9th to the #eKinitie seen-three oicin( 2or each chor#%
Net e ill start ith the u&&er Dma>7 *locE sha&e ;on the .m9 chor#< in secon# inersion ;&lacin( the =th o2 the .m9 chor# on to&<, oice lea#in( 2rom there as 2ollos:
Trac0 @?
he to& notes on these oicin(s no moe 2rom the =th on the .m9 chor#, to the 9th on the 9 chor#, an# to the =th on the Cma>9 chor#% he *locE oicin(s are the same as 2or racE 38, no ith the u&&er Dma>7 sha&e ;on the .m9 chor# in measure 1< in secon# inersion, the u&&er Bm7 ♭= sha&e ;on the 9 chor# in measure !< in i n root &osition, an# the u&&er "m7 sha&e ;on the Cma>9 chor# in measure 3< in secon# inersion% i nersion% Net eHll e&lore ho to use these ne oicin(s i n >a sin( an# *ossa noa com&in( st'les, ith a##e# root-7th interals in the le2t han#% eHll *e(in ith a >a sin( rh'thmic treatment o2 the oicin(s in racE 38 ;to& notes are the 9th, =th, an# 9th on the .m9, 9, an# Cma>9 chor#s res&ectiel'<:
Trac0 71
his >a sin( rh'thm uses a ne le2t-han# techniGue o2 @s&littin( the root-7th interals% he &inE' is &la'in( the root o2 the chor# on *eat 1 o2 each measure, sustainin( it throu(hout the measure% eanhile the thum* is &la'in( the 7th o2 the chor# ith the same rh'thm as the ri(ht-han# *locE oicin(s% his le2t-han# @s&lit can *e a use2ul a' o2 a##in( rh'thmic interest to the sin( &attern% Net u& is a >a sin( rh'thmic treatment o2 the *locE oicin(s in racE 39, trans&ose# u& an octae ;to& notes are the =th, 9th, an# =th on the .m9, 9 an# Cma>9 chor#s res&ectiel'<:
Trac0 7" his is a *usier >a sin( rh'thmic Ki(ure com&are# to racE 40, a(ain usin( the le2t-han# @s&lit o2 the root-7th interals%
No eHll a&&l' some strai(ht-ei(hths *ossa noa com&in( rh'thms to these *locE oicin(s, *e(innin( ith a *ossa noa rh'thmic treatment o2 the oicin(s an# inersions use# in racE 38:
Trac0 7'
his is a more s'nco&ate# *ossa noa rh'thmic Ki(ure com&are# to earlier eam&les, eam&les, ith a succession o2 u&*eats ;the @P o2 !, @P o2 3, an# @P o2 4< *ein( use# in measures 1 an# 3% Net u& is a *ossa noa rh'thmic treatment o2 the *locE oicin(s an# i nersions use# in racE 39, a(ain trans&ose# u& an octae:
Trac0 7@
his *usier *ossa noa &attern uses successie ei(hth-note chor#s on the @P o2 !, *eat 3, an# the @P o2 3 in measures 1 an# 3, an# antici&ates *eat 3 in measures ! an# 4%
II*(*I Pro+ressions in All =eys 48loc0 (oicin+s6 No eHll a&&l' these 3r#-=th-7th-9th 3r#-=th-7th-9th ;or @9 2or 1 su*stitution< *locE oicin(s hen &la'in( III &ro(ressions &ro(ressions in all Ee's% eHll *e oice lea#in( closel' throu(h the chan(es, as e Kirst sa in racEs 38 an# 39% ur Kirst eam&le in this section starts ith the 9th on to& o2 the .m9 chor# in the Ee' o2 C ;as in racE 38<, an# then oice lea#s throu(h all o2 the remainin( Ee's in a Circle o2 =ths seGuence as 2ollos: BacEin( tracE: ;5a Sin(<
Trac0 77
Note that the le2t han# is &la'in( a root-7th interal here the ran(e &ermits, an# otherise is &la'in( the root or root-=th o2 the chor#% ch or#% eie the tet *e2ore racE 18 as nee#e#, concernin( these le2than# techniGues% n the Kirst III &ro(ression in the Ee' o2 C, the to& notes moe 2rom the 9th on the .m9 chor# to the =th on the 9 chor#, an# to the 9r# on the Cma>9 chor# ;as in racE 38<% hen to oice lea# closel' into the III &ro(ression in the net Ee' o2 D, the to& notes moe 2rom the =th on the m9 chor# to the 9th on the C9 chor#, an# to the =th on the Dma>9 chor# ;similar to racE 39, *ut in the Ee' o2 D<% he to& note lines ;i%e%, 9th-=th-9th an# =th-9th-=th< then alternate aroun# the Circle o2 =ths seGuence 2or the remainin( Ee's% I2 instea# e ere to &la' the Kirst III &ro(ression in C ma>or ith the =th-9th-=th line on to& ;as in racE 39<, then to oice lea# &ro&erl', the 2olloin( III &ro(ression &ro(ression in the net Ee' o2 D oul# sitch to hain( the 9th-=th-9th line on to&% his seGuence oul# then alternate throu(hout the remainin( Ee's as 2ollos: ;BacEin( tracE: Bossa Noa<
Trac0 7/
As ith the earlier seen-three oicin( eercises, once 'ou are com2orta*le com2orta*le ith these III *locE oicin( eercises in all Ee's, '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#% Net eHll a&&l' com&in( rh'thms to these III *locE oicin( &ro(ressions throu(h all Ee's, *e(innin( ith an eam&le in a ,a33 swin+ st'le% swin+ st'le% his eam&le starts ith the 9th on to& o2 the Kirst .m9 chor#, an# is *ase# on the *locE oicin(s an# oice lea#in( that e use# in racE 44:
Trac0 79
his eam&le uses the le2t-han# techniGue o2 rh'thmicall' @s&littin( the root-7th ;an# root-=th< interals that e Kirst sa in racE 40% ur net *locE oicin( eam&le usin( III &ro(ressions &ro(ressions throu(h all the Ee's is in a ossa no-a st'le% no-a st'le% his eam&le starts ith the =th on to& o2 the Kirst .m9 chor#, an# is *ase# on the oicin(s an# oice lea#in( use# in racE 4=:
Trac0 7:
his eam&le uses the to-measure to-measure *ossa noa rh'thmic &hrases 2rom racEs 4! an# 43, re&eate# throu(hout throu(hout all the Ee's%
Com!in+ throu+h #ust EriendsB 4#a33 &win+6 No eHll &ut these *locE oicin(s to orE as e @com& throu(h the chan(es 2or the Kirst 1O measures o2 the ell-Enon >a stan#ar# @5ust Drien#s% All the chor# s'm*ols in this eam&le are either ma>or 9ths, minor 9ths, or #ominant 9ths, reKlectin( the Kie-&art chor# Gualities create# hen these 3r#-=th-7th-9th *locE oicin(s are use#% +oeer, as &reiousl' note#, >a &ianists o2ten u&(ra#e *asic 2our-&art chor# s'm*ols ith these t'&es o2 oicin(s:
Trac0 7>
All these *locE oicin(s are containe# in the III eercises in racEs 44 an# 4=% he' can also *e structure &oint o2 ie, as in the tet 2olloin( racE 38, as 2ollos: consi#ere# 2rom an u!!er structure &oint 2ollos:
he ri(ht-han# oicin(s on the ma>or 9th chor#s are all minor 7th *locE sha&es, *uilt 2rom the 3r# o2 each chor#: "m7 is *uilt 2rom the 3r# o2 Cma>9 ;measures 1! an# 17<, an# Bm7 is *uilt 2rom the 3r# o2 ma>9 ;measures =O an# 11<% he ri(ht-han# oicin(s on the minor 9th chor#s are all ma>or 7th *locE sha&es, *uilt 2rom the 3r# o2 each chor#: " ♭ma>7 is *uilt 2rom the 3r# o2 Cm9 ;measure 3<, . ♭ma>7 is *uilt 2rom the 3r# o2 B ♭m9 ;measure 7<, Cma>7 is *uilt 2rom the 3r# o2 Am9 ;measures 9 an# 1=<, an# ma>7 is *uilt 2rom the 3r# o2 "m9 ;measure 1!<% he ri(ht-han# oicin(s on the #ominant 9th chor#s are all minor 7 ♭=th *locE sha&es, *uilt 2rom the 3r# o2 each chor#: Am7 ♭= is *uilt 2rom the 3r# o2 D9 ;measure 4<, m7 ♭= is *uilt 2rom the 3r# o2 " ♭9 ;measure 8<, D ♯m7♭= is *uilt 2rom the 3r# o2 .9 ;measures 10 an# 1O<, C ♯m7♭= is *uilt 2rom the 3r# o2 A9 ;measure 13<, an# Bm7 ♭= is *uilt 2rom the 3r# o2 9 ;measure 1O<%
Cha!ter 7
INTRO TO #A$$ PIANO %5LOD TR5AT%5NT The F&e-en2Three 8elow %elodyF TechniGue So 2ar, e hae e&lore# #i22erent #i22erent techniGues 2or @com&in( ;accom&animent< ;accom&animent< on >a tunes% No itHs time to turn our attention to @melo#' treatment, i%e%, &la'in( the melo#' o2 the son( in a##ition to the chor# chan(es% his is t'&icall' reGuire# in solo &iano settin(s, hen th ere is no other instrument or ocal% he @seen-three *elo melo#' techniGue (ies 'ou a #eKinitie an# st'listicall' correct a' o2 &la'in( the melo#ies o2 >a stan#ar#s% his metho# can *e summarie# as 2ollos: 2ollos:
he ri(ht han# &la's the melo#' an# the seen-three oicin( o2 the chor# *elo the melo#' at the &oint o2 chor# chan(e% elo#' notes occurin( *eteen chor# chan(es are normall' &la'e# as sin(le notes, ithout oicin(s *elo% he le2t han# &la's the root-7th interal ;ran(e &ermittin(<, root-=th, or root o2 each chor#%
e ill Kirst see this &rocess at orE ith no rh'thmic re&hrasin( o2 the melo#' or su&&ortin( seenthree oicin(s, >ust to *ecome 2amiliar ith the oerall conce&t% A2terar#, e ill e&lore #i22erent #i22erent rh'thmic treatments an# &hrasin(% he >a &ianist t'&icall' ill a&&l' these techniGues in res&onse to a lea# sheet or 2aEe *ooE chart o2 a son(% his shos >ust the melo#' an# chor# s'm*ols, liEe the 2olloin( ei(ht-measure ei(ht-measure eam&le in the st'le o2 the classic stan#ar# @Autumn Leaes:
Note that, in or#er to &la' the seen-three oicin(s *elo the melo#' in the ri(ht han#, eHll nee# to Eno these oicin(s on all the ma>or 7th, minor 7th, an# #ominant 7th chor#s, ith either the 3r# or the 7th on to&% his is *ecause eHll nee# to Kit the seen-three closel' *elo the melo#', as these notes are all *ein( &la'e# *' one han#% "ither the 3r# or the 7th ill *e the closest note to the melo#'%
his is one reason h' the the eercises in racEs 813 shoe# all the seen-three oicin(s, ith *oth 3r#s an# 7ths on to&% I2 'ou hae these eercises un#er 'our Kin(ers, this @seen-three *elo melo#' techniGue ill *e much easier to &la' Net u& is a sim&le @seen-three *elo melo#' treatment treatment o2 the &rece#in( lea# sheet eam&le:
Trac0 7?
e can maEe the 2olloin( o*serations o*serations a*out the a*oe eam&le:
he ri(ht han# is &la'in( the seen-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 78<, the seen-three oicin( is &la'e# a(ain on *eat 1 o2 the 2olloin( 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 @seen-three ith #ou*lin( that e Kirst sa in racE 18% +oeer, #onHt 2or(et that e are >ust &lacin( the seen-three *elo the melo#', een i2 the melo#' is alrea#' a 7th or a 3r#% In measure 1 on the Am7 chor#, the closest seen-three *elo the C ;3r#< in the melo#' ha# the 7th on to& ;<% hen in measure ! on the .7 chor#, the closest seen-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 Enoin( 'our seen-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# hae *een a &ossi*le, *ut not necessar', o&tion in these measures%<
LetHs GuicEl' reie the le2t-han# ran(e limits 2or the root-7th interals: Ma5or 1th intervals ;&la ;&la'e 'e# # on ma>or 7th chor#s<
Loe Loest st root root note note oul oul# # *e D at the the *ott *ottom om o2 the *ass *ass cle2,creatin( the D-" interal%
Minor 1th intervals 7-layed on minor Loest root note oul# *e " ♭ at the *ottom o2 the *ass
1th and dominant 1th !hords6
cle2,creatin( the " ♭-.♭ interal%
No eHll *e(in to rh'thmicall' re&hrase this melo#' treatment% A sim&le startin( &oint is to antici&ate certain melo#' notes *' moin( 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 net eam&le, e hae 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 seen-three oicin(s *elo melo#', on *eat 1 o2 each measure:
Trac0 /1
hen &la'in( this eam&le, tr' to (et the su&&ortin( seen-three oicin(s as automatic as &ossi*le, so 'ou can 2ocus on the rh'thmic ariations occurrin( in the melo#'% he net ersion o2 this eam&le inclu#es rh'thmic ariations in *oth the melo#' an# seen-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 hae some rh'thmic re&hrasin( @in the s&aces *eteen the melo#'% hese oicin( &atterns are similar to the >a sin( com&in( rh'thms in Cha&ters ! an# 3, as 2ollos:
Trac0 /"
In this eam&le e can see arious rh'thmic com*inations o2 the melo#' an# su&&ortin( seen-three oicin(s, aroun# *eat 1 o2 each measure as 2ollos: easu easures res 1 an# an# =
Both Bo th the the melo# melo#' ' an# the see seen-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 seen seen-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 &reio ious us measure, an# the seen-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 &reio ious us measure, an# the seen-three oicin(s are lan#in( on *eat !%
Also note that the ri(ht-han# seen-three oicin(s are usin( the same rh'thms as the le2t-han# &art% his creates an e22ectie 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 eecute 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 eam&le in the st'le o2 the 2amous stan#ar# @All the hin(s ou Are:
+ereHs the sim&le @seen-three *elo melo#' treatment o2 this eam&le:
Trac0 /'
Net e hae a rh'thmic re&hrasin( o2 this melo#', antici&atin( the melo#' notes lan#in( on *eat 1 o2 the een-num*ere# measures, ith the seen-three oicin(s still lan#in( on the #on*eats ;similar st'le to racE =0<:
Trac0 /@
Net e hae a more a#ance# treatment, ith multi&le antici&ations in the melo#' an# rh'thmic re&hrasin( in the su&&ortin( oicin(s, similar st'le to racE =1:
Trac0 /7
his re&hrase# eam&le inclu#es some ne rh'thmic techniGues, as 2ollos:
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 etension 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 78: once the melo#' an# root note hae *een &la'e#, e hae room 2or a 2ull tomeasure 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 interals, ece&t on *eat 3 o2 measure =, here e *rieKl' hae a root-Oth ;. ♭-B♭< interal *elo the root ;. ♭< in the melo#'% his situation is an ece&tion to our normal @seen-three *elo melo#' rules% ore ore a*out this in i n the net section%
The To!2Note (oicin+ 5ercise In this section e hae an eercise that ill 2amiliarie 'ou ith man' o2 the @seen-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 III &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 eercise, eHll see a 2ull' oice# ersion to hel& 'ou checE 'our &la'in( an# oicin(s% Be2ore e (et into the eercise, there are some im&ortant ece!tion conditions an# conditions an# -ariations to -ariations to *e aare o2 hen a&&l'in( the @seen-three *elo melo#' techniGue% eHll no &resent each o2 these, ith corres&on#in( music eam&les taEen 2rom the to&-note eercise that 2ollos%
5ce!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 seen-three< oicin( *elo the melo#'% his is to aoi# the clash occurrin( *eteen 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< interal in this situation:
In the a*oe eam&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 seen-three ; an# C<% In the le2t han#, this is su&&orte# *' a root-Oth interal ;A ♭-D<% Sometimes this ece&tion con#ition is in#icate# *' the use o2 the A ♭O chor# s'm*ol, instea# o2 A♭ma>7% +oeer, 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 seen-three oicin( *elo the melo#'%
5ce!tion Condition ' I2 the 4th or 11th is in the melo#' on a #ominant 7th chor#, then the ri(ht han# shoul# &la' a seen2our ;instea# o2 seen-three< oicin( *elo the melo#'% his is to aoi# the clash occurrin( *eteen 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%<
In the a*oe eam&le, the melo#' note is i s the 4thM11th ;A< on the th e "7 chor#, so e &lace the seen-2our *elo the melo#' ;. an# A< instea# o2 the seen-three ;. an# ♯<% In the le2t han#, this is su&&orte# *' a root-7th interal ;"-.<% Sometimes this ece&tion con#ition is in#icate# *' the use o2 a sus&en#e# #ominant chor# s'm*ol ;e%(%, "7sus, "9sus, or "11<% +oeer, i2 the "7 chor# s'm*ol is use#, e nee# to see ahea# o2 time that the melo#' is the 4thM11th o2 the chor#, an# a#>ust the oicin( accor#in(l'%
Net eHll (et into some -ariations that -ariations that can occur usin( the seen-three *elo melo#' techniGue% hese are #i22erent oicin( alternaties 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 loer &art o2 the tre*le sta22, an# i2 the 3r# o2 the chor# is nearest to the melo#', then it is sometimes conenient 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 seen-three oicin( *eteen the han#s, rather than &la'in( the seenthree entirel' in the ri(ht han#%
In the a*oe eam&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*oe the root A<% his ariation is use2ul in certain oice lea#in( situations, here it ma' re#uce the han# &osition moement *eteen successie chor# oicin(s, 2or eam&le ithin a III &ro(ression%
(ariation 8 I2 the melo#' is at the *ottom o2 the tre*le sta22 ;on or *elo the " a*oe 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' hicheer 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 seen-three *elo melo#' in the ri(ht han#<%
In the a*oe eam&le, the melo#' note is the 7th ;. ♯< on the "ma>7 chor#, an# is at the *ottom o2 the tre*le sta22, so e >ust &lace the thir# ; ♯< *elo the melo#' instea# o2 the seen-three *elo, to aoi# #ou*lin( the 7th too lo in the *ass re(ister% In the le2t han#, this is su&&orte# *' a root-=th interal
;"-B<% A##in( the =th here is i s entirel' o&tionalQ sim&l' &la'in( the root in the le2t han# oul# hae *een Kine also% his ariation oerla&s ith "ce&tion Con#ition !, in that e ill sometimes hae #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 2ollos:
In the a*oe eam&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 seenth ;A< *elo the melo#' instea# o2 the seen-2our *elo, *elo, to aoi# #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 loer than a*oe mi##le C, then there ma' *e to choices o2 here to &la' the seen-three *elo melo#' in the ri(ht han#, #e&en#in( on the &la'erHs ri(ht-han# s&an or stretchin( a*ilit':
In the a*oe eam&le, the melo#' note is i s the 11th ;A< on the "m7 chor#, an# in *oth measures the seen-three is &la'e# *elo the melo#' in the ri(ht han#% he Kirst measure has a 9th interal stretch in the ri(ht han#, ith the 7th &lace# *elo the melo#', an# the 3r# &lace# *elo the 7th% he secon# measure has a more com&act ri(ht-han# oicin(, ith the 3r# &lace# ri(ht *elo the 4thM11th in the melo#'% he *rea#th an# *alance o2 the Kirst oicin( is #esira*le i2 'ou are a*le to reach the 9th interal nee#e#% +oeer, the secon# oicin( ;ith the 3r# a hole-ste& *elo melo#'< melo#'< is ? to use i2 the Kirst oicin( is not &ractical%
(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 interal% his &ro#uces a similar o&en oicin( soun# to ariation A, in that the seen-three oicin( is s&lit *eteen the thum*s ;le2t han# thum* &la's the 7th, ri(ht han# thum* &la's the 3r#<:
I2 #esire#, e coul# still hae &la'e# seen-three *elo melo#' in the ri(ht han#, in hich case the 7th ;A< oul# hae *een &lace# ri(ht *elo the root in the melo#'% Althou(h the resultin( hole-ste& interal at the to& is acce&ta*le, the a*oe 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 to &ossi*le a's to Kit the seen-three *elo the melo#'% he 9th interal 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 eercise in lea# sheet 2orm% hen &la'in( alon( ith the tracE, 'ou shoul# tr' to &lace seen-three oicin(s *elo the melo#' in the ri(ht han#, su*>ect to the ece&tion con#itions an# ariations >ust outline#% In the le2t han#, 'ou shoul# (o 2or root-7th interals i2 the ran(e &ermits ;reie tet 2olloin( racE 49 as nee#e#<, otherise '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 sin( com&in( rh'thms to this eercise as #esire#%
o&-Note oicin( Lea# Sheet ersion
Net u& is the 2ull' oice# ersion o2 this lea# sheet eam&le, shoin( all the @seen-three *elo melo#' oicin(s use#% A2ter seein( these oicin(s, eHll also comment on here the ece&tion con#itions an# ariations occurre#% occurre#%
o&-Note oicin( Dull' oice# ersion
Trac0 //
In each measure, e hae &la'e# seen-three oicin(s *elo the melo#' in the ri(ht han#, an# root7th or root-=th interals ;or >ust the root< in the le2t han#, su*>ect to the 2olloin( ece!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 seen-three o oices s& s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net D7 oicin(%
easure 14
"ce&tion Con#ition ! occurre# on on th the B ♭7 chor#: the 4thM11th ;" ♭< is in the melo#'% melo#'% he seen-2o seen-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 hae room to &la' the seen-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#%
eas easur ures es 3=3 3=3O O
ari ariat atio ion n B occu occurr rre# e# on the the " "ma ma>7 >7 chor chor#, #, ith ith >ust >ust the the 3r# 3r# ; ♯< *ein( &lace# *elo the 7th ;.♯< in the ri(ht han#, instea# o2 the 2ull seen-three oicin(% he melo#' is too lo 2or the 7th to *e #ou*le# an octae loer%
eas easur ures es 394 3940 0
"ce "ce&t &tio ion n Con# Con#it itio ion n 1 occu occurr rre# e# on on the the Ama> Ama>7 7 chor chor#: #: the the roo roott ;A< ;A< is in in the 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 41
ariation C oc occurre# on on th the "m "m7 ch chor#, i ith a 9t 9th in interal st stretch in in th the ri(ht han#% he 7th ;.< as &lace# *elo the melo#', then the 3r# ;< as &lace# *elo the 7th% I2 this stretch is not &ractical, 'ou can sim&l' &lace the 3r# ;< ri(ht *elo the melo#'%
easure 4=
ariation A oc occurre# on on th the Am Am7 ch chor#, i ith th the se seen-three o oices s& s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net .7 oicin(%
easures O3 O3O4
"ce&tion Co Con#ition ion 1 oc occurre# on on the the " ♭ma>7 chor#: the root ;" ♭< is in the melo#'% he si-three oicin( ;C an# < as &la'e# *elo the melo#' in the ri(ht han#, an# the root-Oth ;" ♭ an# C< as &la'e# in the le2t han#%
easure O=
ariation C occurre# on the B ♭m7 chor#, ith a 9th interal stretch in the ri(ht han#% he 7th ;A ♭< as &lace# *elo the melo#', then the 3r# ;. ♭< as &lace# *elo the 7th% I2 this stretch is not &ractical, 'ou can sim&l' &lace the 3r# ;. ♭< ri(ht *elo the melo#'%
easure 74
"ce&tion Con#ition ! occurre# on on th the . ♭7 chor#: the 4thM11th ; ♭< is in the melo#'% melo#'% he seen-2o seen-2our ur oicin( oicin( ;C ♭ an# ♭< as &la'e# *elo the melo#' in the ri(ht han#%
easure 81
ariation A occurre# on the D ♯m7 chor#, ith the seen-three oices s&lit
*eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net 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 919 919! !
"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 interal 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 interal 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#'%
easure 10!
"ce&tion Co Con#iti ition ! oc occurre# on on th the C7 C7 ch chor#: th the 4t 4thM11th ;D ;D< is is in in th the ♭ melo#'% he seen-2our oicin( ;B an# D< as &la'e# *elo the melo#' in the ri(ht han#%
easure 110
ariation A oc occurre# on on th the B ♭7 chor#, ith the seen-three oices s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net "♭ma>7 oicin(%
easure 113
ariation A occurre# on the B ♭m7 chor#, ith the seen-three oices s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net "♭7 oicin(%
easure 1!1
ariation A occurre# on the A ♭m7 chor#, ith the seen-three oices s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net .♭7 oicin(%
eas easur ures es 1!3 1!31! 1!4 4
"ce "ce&t &tio ion n Con Con#i #itio tion n 1 occu occurr rre# e# on the the ♭ma>7 chor#: the 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#% ariation A oc occurre# on on th the Bm Bm7 cho chorr#, i ith th the se seen-three o oices s& s&lit *eteen the han#s% his ena*les the ri(ht han# to moe more smoothl' to the net "7 oicin(%
easure 133
easure 137
ariation . oc occurre# on on th the "m "m7 ch chor#, i ith >u >ust th the 3r 3r# ; ;< *e *ein( &l &lace# *elo the root ;"< 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##in( the 7th ri(ht *elo the melo#' oul# also *e ?%
easure 138
"ce&tion Co Con#ition ! oc occurre# on on th the A7 A7 ch chor#: th the 4t 4thM1 hM11th ;. ;.< is is in in th the melo#'% he seen-2our oicin( ; an# .< as &la'e# *elo the melo#' in
the ri(ht han#% eas easur ures es 143 14314 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 eercise is a (reat &re&aration 2or &la'in( melo#ies o2 >a stan#ar#s ith the @seen-three *elo melo#' techniGue% ra* that 2aEe *ooE an# start &la'in(
The F8loc0 (oicin+ 8elow %elodyF TechniGue ur net 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-octae 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 e22ectie, 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 octae 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( le2than# *locE oicin(s to su&&ort the melo#'% e ill Kirst see this @*locE oicin( *elo melo#' techniGue ith no rh'thmic re&hrasin( o2 the melo#' or su&&ortin( *locE oicin(s, >ust to *ecome 2amiliar ith the oerall conce&t% A2terar#, e ill e&lore #i22erent rh'thmic treatments an# &hrasin(% As ith the &rece#in( seen-three *elo melo#' melo#' techniGue, the >a &ianist ill t'&icall' a&&l' this *locE oicin( techniGue in res&onse to a lea# sheet or 2aEe *ooE chart o2 a son(% his ill sho >ust the melo#' an# chor# s'm*ols, liEe the 2olloin( 1O-measure 1O-measure eam&le in the st'le o2 the classic stan#ar# @5ust Drien#s:
Dirst o2 all, eHll &lace the *locE oicin(s i n the le2t han#, *elo the melo#' shon here in the ri(ht han#, ithout rh'thmic re&hrasin( or em*ellishment% he le2t han# is i s &la'in( 3r#-=th-7th-9th *locE
oicin(s on each chor# aroun# the mi##le C area, an# oice lea#in( ;moin( *' close interals< 2rom one measure to the net:
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he roots o2 the chor# are not *ein( &la'e# in this eam&le% he term @rootless oicin( is sometimes use# to #escri*e this techniGue% In a >a *an# situation, the root is normall' &roi#e# *' the *ass &la'er, as 'ou can hear on racE =O% +oeer, the a*oe eam&le still orEs as a solo &iano oicin( techniGue, *ecause mainstream >a st'les #onHt reGuire the root o2 the chor# in or#er to *e @#eKinitie, unliEe &o& or rocE st'les% he 3r# an# 7th o2 each chor#, &resent in all the a*oe *locE oicin(s, are su2Kicient to #eKine each chor# to our ear% hese *locE oicin(s can also *e consi#ere# 2rom an u&&er structure &oint o2 ie, as 2ollos:
he le2t-han# oicin(s on the ma>or 9th chor#s are all minor 7th *locE sha&es, *uilt 2rom the 3r# o2 each chor#: "m7 is *uilt 2rom the 3r# o2 Cma>9 ;measures 1! an# 17<, an# Bm7 is *uilt 2rom the 3r# o2 ma>9 ;measures =O an# 11<% he le2t-han# oicin(s on the minor 9th chor#s are all ma>or 7th *locE sha&es, *uilt 2rom the 3r# o2 each chor#: " ♭ma>7 is *uilt 2rom the 3r# o2 Cm9 ;measure 3<, . ♭ma>7 is *uilt 2rom the 3r# o2 B ♭m9 ;measure 7<, Cma>7 is *uilt 2rom the 3r# o2 Am9 ;measures 9 an# 1=<, an# ma>7 is *uilt 2rom the 3r# o2 "m9 ;measure 1!<% he le2t-han# oicin(s on the #ominant 9th chor#s ch or#s are all minor 7 ♭=th *locE sha&es, *uilt 2rom the 3r# o2 each chor#: Am7 ♭= is *uilt 2rom the 3r# o2 D9 ;measure 4<, m7 ♭= is *uilt 2rom the 3r# o2 " ♭9 ;measure 8<, D ♯m7♭= is *uilt 2rom the 3r# o2 .9 ;measures 10 an# 1O<, C♯m7♭= is *uilt 2rom the 3r# o2 A9 ;measure 13<, an# Bm7 ♭= is *uilt 2rom the 3r# o2 9 ;measure 1O<%
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 loer re(ister, an# usin( #i22erent inersions 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 &reious @seen-three *elo melo#' eam&les, eam&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 #on*eats% In the net eam&le, e hae >ust a cou&le o2 melo#' antici&ations in measures 18, an# then a *usier series o2 antici&ations in measures 91O:
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Note ho the ri(ht-han# rh'thmic re&hrasin( is *uil#in( #urin( this eam&le% In the Kirst hal2 ;measures 18<, e hae onl' antici&ations o2 *eat 1 in measures 3 an# 7% Startin( in measure 9, e then *uil# u& ith antici&ations o2 *eat 1 ;measures 10, 1!, 1=, an# 1O<, *eat 3 ;measures 1!, 13, an# 1O<, an# *eat 4 ;measures 9, 11, an# 14<% his *usier rh'thmic re&hrasin( is t'&ical o2 mainstream >a an# sin( st'les% ur Kinal eam&le in this cha&ter com*ines some more intense rh'thmic re&hrasin( in the ri(ht-han# melo#' ith re&hrase# rh'thms in the le2t-han# *locE oicin(s% Sometimes the le2t-han# rh'thms ill
*e @in the s&aces *eteen the melo#', an# sometimes the &hrases ill *e @concerte#, ith *oth han#s &la'in( to(ether:
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he ri(ht-han# re&hrasin( no inclu#es some @#ela'e# as ell as @antici&ate# melo#' notes, in com&arison to the melo#' lea# sheet &rior to racE =O% Dor eam&le, letHs looE at the melo#' treatment in measure ! in more #etail:
he melo#' note . on *eat ! o2 the ori(inal lea# sheet is no #ela'e# until *eat 3%
he melo#' note C on *eat 3 o2 the ori(inal lea# sheet is no #ela'e# until the @P o2 3%
he melo#' note B on *eat 4 o2 the ori(inal lea# sheet sta's on *eat 4%
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 sGueee# into the last hal2 o2 measure !, ith 2our consecutie 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 sin( re&hrasin(% "lsehere, 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 sin( com&in( rh'thms #urin( sustaine# notes in the melo#' ;measures 1O<, or &la'in( @concerte# rh'thms ith the ri(ht han# ;measures 78 an# 1! 13<, or some com*ination o2 these% +ae 2un tr'in( out 'our on 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 Net eHll intro#uce some techniGues 2or soloin(Jim&roisin( 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, 2olloe# *' 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 solo at the &iano, 'ouHll usuall' *e 2olloin( the 2orm o2 the son(, *ut im&roisin( 'our on sin(lenote ri(ht-han# &art @oer the chan(es% ouHll also ant to &la' some le2t-han# oicin(s to su&&ort ;or @com& *elo< 'our ri(ht-han# soloin(% +ere eHll use the le2t-han# *locE oicin(s intro#uce# in the last cha&ter to su&&ort our ri(ht-han# solos% hen soloin( on a >a stan#ar#, a (oo# startin( &oint is to ar' the melo#' o2 the son(% his can *e thou(ht o2 as a continuation o2 the melo#' re&hrasin( &rocess &rocess e *e(an in the th e last cha&ter% Dolloin( this, eHll maEe use o2 techniGues such as nei+hor tones, tones , ar!e++ios, ar!e++ios, an# tar+et notes to notes to 2urther eten# an# &ersonalie 'our &iano solos% As ith the melo#' treatment techniGues in the last cha&ter, the >a &ianist ill t'&icall' *e soloin( in res&onse to a lea# sheet or 2aEe *ooE chart o2 a son(% +ereHs a lea# sheet eam&le in the st'le o2 the th e 2amous stan#ar# @A Do((' .a':
eHll start out *' sim&l' &lacin( le2t-han# *locE oicin(s *elo the ri(ht-han# melo#', as 2ollos:
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Note that in most cases the le2t-han# *locE sha&es hae u&(ra#e# the a*oe chor#s to 9th chor#s *' usin( the 3r#-=th-7th-9th o2 the chor#% +oeer, the chor# s'm*ols are still shon in their *asic 7th or 2our-&art 2orm% his is all t'&ical in mainstream >a st'les% he a*oe eam&le also contains a 2e le2t-han# *locE oicin(s e haenHt seen 'et: e easure !
e are &la'in( a 3r#-=th-7th- ♭9th oicin( on the .7; ♭9< chor#% he le2t-han# sha&e is an D♯#im7, *uilt 2rom the 3r# o2 the oerall .7; ♭9< chor#%
eas easur ures es =, 13
e are are &la' &la'in in( ( a root root-3 -3r# r#-= -=th th-O -Oth th oic oicin in( ( on the the DO chor chor#% #% his his aoi aoi#s #s the the tension o2 &lacin( the 7th o2 the chor# ;e%(%, in a 3r#-=th-7th-9th oicin(< *elo the root ;D< in the melo#'%
easure O
e are &la'in( a root-3r#-=th-7th oicin( on the .m7; ♭=< chor#%
ur net 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 2ollos:
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Note that seeral o2 the Guarter-note Guarter-note melo#' &hrases 2rom the lea# sheet hae *een sGueee# into ei(hth-note &hrases, usin( antici&ations an# #ela'e# notes% Dor eam&le, in measure 1 on the lea# sheet e hae the melo#' notes A, C, an# . 2allin( on *eats !, 3, an# 4 res&ectiel'% hese hae *een sGueee# into one an# a hal2 *eats on the re&hrase# ersion, ith the A *ein( #ela'e# until the @P o2 !, an# the . moe# earlier on to the @P o2 3, antici&atin( *eat 4%
Beat 1 o2 measure ! is then also antici&ate#, ith the " ♭ *ein( moe# earlier on to the @P o2 4 in measure 1% e also no hae some re&eate# notes: this " ♭ is then re&eate# later in measure !, the C antici&atin( *eat 1 o2 measure 3 is re&eate# later in measure 3, an# so on% hese are all t'&ical >a re&hrasin(s that can *e &art o2 a melo#' inter&retation, inter&retation, or a s&rin(*oar# 2or an im&roise# solo% Net, eHll 2urther #eelo& the solo *' a##in( nei+hor tones aroun# tones aroun# the re&hrase# melo#'% nei+hor< or *elo Nei(h*or tones are notes that are a#>acent to the melo#', either a*oe ;u!!er ; u!!er nei+hor< ;lower nei+hor<% nei+hor <% Nei(h*or tones are normall' chosen either 2rom the scale corres&on#in( to the Ee' si(nature ;D ma>or in this case<, or 2rom a momentar' scale i2 the tune is mo#ulatin( throu(h #i22erent #i22erent Ee's, or *' sim&l' moin( a hal2-ste& interal a*oe or *elo the melo#'% ;he hal2-ste& 2rom *elo is much more common%< e can normall' (et aa' ith a hal2-ste& loer nei(h*or, nei(h*or, een i2 i 2 that note is chromatic ;#oes chromatic ;#oes not *elon(< to the Ee' or scale, hereas u&&er nei(h*ors nei(h*ors that are diatonic ;*elon(< diatonic ;*elon(< to the Ee' or scale are (enerall' sa2er to use in mainstream >a an# sin( st'les% ith this in min#, letHs looE at the net eam&le, hich a##s u&&er an# loer nei(h*or tones in the ri(ht han#, to(ether ith some rh'thmic re&hrasin( in the le2t-han# oicin(s:
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Note that some o2 the ri(ht-han# &hrases 2rom racE O0 hae no *een em*ellishe# ith u&&er an# loer nei(h*or tones% Dor eam&le, a2ter the " ♭ that antici&ates *eat 1 o2 measure !, e moe u& to D ;u&&er nei(h*or<, nei(h*or<, #on to . ;loer nei(h*or<, nei(h*or<, an# then *acE to " ♭ 2or the antici&ation o2 *eat 3% Similarl', a2ter the C that antici&ates *eat 1 o2 measure 3, e moe #on to B ♭ ;loer nei(h*or<, u& to . ;u&&er nei(h*or<, an# then *acE to C 2or the antici&ation o2 *eat 3, an# so on% he le2t-han# *locE oicin(s are no 2reGuentl' antici&atin( *eat 1, to(ether ith the re&hrase# rh'thms in the ri(ht han#% "lsehere, the le2t han# uses t'&ical >a sin( rh'thms in the s&aces *eteen the ri(ht-han# lines, 2or eam&le in measures 4 an# 8% No eHll EicE the solo u& another notch *' usin( ar!e++ios an# ar!e++ios an# tar+et notes% notes % A tar(et note is a note ithin a chor# that is a #esira*le lan#in( &oint #urin( the solo, hen &la'e# oer the chor#% A series o2 tar(et notes there2ore (ies us a 2rameorE aroun# hich a solo can *e #eelo&e#% In >a st'les, e can use chor# tones an# etensions 2or tar(et notes, i%e%, the root, 3r#, =th, 7th, 9th, 11th, an#Mor 13th o2 the chor#% .e&en#in( on the chor# s'm*ol an# contet, e ma' also hae an altere# =th ; ♭= or ♯=< on ma>or, minor, or #ominant chor#s, an# an altere# 9th ; ♭9 or ♯9< on #ominant chor#s% hese altere# =thsM9ths maEe &articularl' (oo# tar(et notes, as the' hae a lot o2 color an# character% ne tar(et note &er measure is a (oo# startin( &oint 2or this a&&roach, an# this ma' *e arie# #e&en#in( on the chor# rh'thms an#Mor tem&o o2 the son(%% In or#er to Klesh out the solo, *e'on# >ust hain( the tar(et notes, e can a## connectin( tones in *eteen% A common a' o2 #oin( this in mainstream >a st'les is to use ar&e((ios ithin each chor#, i%e%, &la'in( in#ii#ual chor# tones in a @*roEen chor# st'le% In the 2olloin( eam&le, e hae chosen a tar(et note on each chor#, then connecte# *eteen these successie tar(et notes usin( ar&e((ios ithin each chor#:
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he &rece#in( eam&le contains a le2t-han# *locE oicin( ariation e haenRt seen 'et: eas easur ure e7
e are are &la'i &la'in( n( a 7th-9 7th-9th th-3 -3r# r#-1 -13t 3th h oici oicin( n( on the the 7 chor# chor#,, u&(ra u&(ra#i #in( n( it to a 13 ♭ chor#% he le2t-han# sha&e is an Dma>7 =, *uilt 2rom the 7th o2 the oerall 7 chor#%
he tar(et notes on each chor# are in#icate# *elo the tre*le sta22 in racE O!% Dor eam&le, in the Kirst measure the tar(et note on *eat 1 is ", the th e 7th o2 the Dma>7 chor#% hen in the secon# measure, ♭ the tar(et note on the .7 9 chor# is antici&ate#, lan#in( on the @P o2 4 in measure 1 an# tie# oer to *eat 1 o2 measure !% his tar(et note is " ♭, the ♭9th o2 the .7♭9 chor#% Similarl', the tar(et note on the m7 chor# is antici&ate#, lan#in( on the @P o2 4 in measure ! an# tie# oer to *eat 1 o2 measure 3% his tar(et note is ., the =th o2 the m7 chor#, an# so on% here are man' choices 2or tar(et notes o2 course% o start ith, 'ouHll ant to moe *eteen tar(et notes *' smaller interals, mostl' !n#s an# 3r#s, to (ie the resultin( tar(et line a more melo#ic character% Deel 2ree to e&eriment
In *eteen each tar(et note, e hae use# ar&e((ios on each chor#% Dor eam&le, a2ter the tar(et note " ;7th< on the Dma>7 chor# in measure 1, e then &la' the 9th ;<, 3r# ;A<, an# =th ;C< o2 the chor#% hese notes collectiel' 2orm a 3r#-=th-7th-9th *locE sha&e on the Dma>7 chor#, eGuialent to *uil#in( an Am7 2our-&art u&&er structure structure 2rom the 3r# o2 the chor#% Similarl', a2ter the tar(et note "* ♭ ♭ ; 9th< on the .7 9 chor# antici&atin( *eat 1 o2 measure !, e then &la' the 3r# ;D ♯<, =th ;A<, an# 7th ;C< o2 the chor#% hese notes collectiel' 2orm a 3r#-=th-7th-♭9th *locE sha&e on the .7 ♭9 chor#, eGuialent to *uil#in( an D ♯#im7 2our-&art u&&er structure 2rom the 3r# o2 the chor#% ost o2 the remainin( measures use a similar ar&e((io techniGue on each chor#, ece&t 2or measure 11, hich uses a scaleise connectin( run ;D--A-B♭< #erie# 2rom the ma>or scale o2 the Ee' si(nature ;D ma>or<%
&oloin+ TechniGues ;or #a3328lues racE O! is a er' (oo# eam&le o2 !layin+ throu+h the chan+es, chan+es , here e are choosin( ch oosin( tar(et notes an# ar&e((ios on a chor#-*'-chor# *asis hen soloin(% +oeer, +oeer, >a an# >a-*lues solos can also *e create# *' !layin+ o-er the chan+es% chan+es % his is #one *' sta'in( ithin a @scale source relate# to the Ee' o2 the son(, instea# o2 hittin( #i22erent tar(et notes relatin( to each chor#% he most common scale use# 2or this &ur&ose in mainstream >a an# >a-*lues st'les is the *lues scale% LetHs start out *' reiein( the notes in a C *lues scale, as 2ollos:
he interals *eteen successie scale #e(rees are shon *elo the sta22: minor 3r#, hole ste&, hal2 ste&, hal2 ste&, minor 3r#, an# hole ste&% Also the interals *eteen each note an# the tonic o2 the scale ;C< are shon a*oe the sta22: minor 3r#, &er2ect 4th, au(mente# 4thM#iminishe# =th, &er2ect =th, an# minor 7th% Dor 2urther in2ormation on interals an# #eKinitions o2 all interal relationshi&s, &lease re2er to m' "ontem-orary Musi! Theory* Level .ne or ll #out Musi! Theory *ooEs, *ooEs, &u*lishe# *' +al Leonar# Cor&oration% Dor 2urther in2ormation on *uil#in( *lues an# &entatonic scales, &lease re2er to m' "ontem-orary Musi! Theory* Level Two or ll #out Musi! Theory *ooEs, *ooEs, &u*lishe# *' +al Leonar# Cor&oration%
he easiest a' to *e(in usin( a *lues scale 2or soloin( oer the chan(es is to orE ith a 1!-*ar *lues chor# &ro(ression% &ro(ression% +ereHs a *asic 1!-*ar *lues @chor# chart in th e Ee' o2 C:
In this case, e hae 2olloe# the 1!-*ar *lues 2orm ith a sin(le en#in( measure o2 C7 ;measure 13<% eie the tet 2olloin( racE 34 as nee#e#, re(ar#in( ho the 1!-*ar *lues 2orm is constructe#% n to our net soloin( eam&le, hich uses the C *lues scale oer the a*oe 1!-*ar *lues &ro(ression in C% his eam&le also intru#uces some some ne @seen-three eten#e# oicin(s, no &la'e# in the le2t han#:
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Note that the solo uses onl' notes ithin the C *lues scale oer the #i22erent chor#s, an# that the solo essentiall' consists o2 three 2our-measure 2our-measure &hrases, consistent ith ho the *lues 2orm is constructe#%
he @seen-three eten#e# oicin(s that e Kirst sa as a ri(ht-han# com&in( #eice in Cha&ter 3 ;an# in &articular on the >a-*lues &ro(ression in racE 34< are no *ein( use# in the le2t han# to su&&ort the ri(ht-han# solo% In or#er 2or this to orE, the le2t han# has to &la' aroun# the mi##le C areaJtoo lo an# these oicin(s ill soun# mu##', too hi(h an# the' ill lacE #eKinition an# (et in the a' o2 the ri(ht-han# solo% BacE in racE 34, the seen-three eten#e# oicin(s ere a##in( unaltere# chor# tonesMetensions tonesMetensions to the #ominant chor#s: either the =th, 9th, or 13th as a##e#% his is also ha&&enin( in racE O3: 2or eam&le, the 13th o2 the D7 chor# ;.< has *een a##e# a*oe the 3r# ;A< in measures !, =O, an# 10, an# the 9th o2 the C7 chor# ;.< has *een a##e# a*oe the 7th ;B ♭< in measure 13% +oeer, e are no also a##in( alterations to some o2 the #ominant chor#s, as 2ollos: e easures 1, 3 34, 7 78, 11 11
he ♯9th o2 the C7 chor# ;. ♯ or "♭< has *een a##e# a*oe the 7th ;B♭<% his u&(ra#es the chor# to a C7;♯9<%
easures 9 an# 1!
he ♯=th o2 the 7 chor# ;. ♯ or "♭< has *een a##e# a*oe the 3r# ;B<% his u&(ra#es the chor# to a 7 ♯= or 7♭13%
hese #ominant alterations orE, in &art *ecause the a##e# note ;" ♭< is a &rominent @*lue note ithin the C *lues scale, so these alterations rein2orce the @*lues 2eelin( o2 this eam&le% A(ain note that the chor# s'm*ols are still shon as *asic #ominant 7th chor#s, ith the alterations *ein( a&&lie# at the &la'erHs #iscretion% Note that hile the shar&e# 9th o2 the C7 chor# oul# technicall' *e #escri*e# as . ♯, it is shon in this eam&le as "♭ 2or consistenc' ith the C *lues scale% he shar&e# =th o2 the 7 chor#, also technicall' #escri*e# as .♯, is shon as " ♭ 2or the same reason% he shar&e# =th is eGuialent to the Klatte# 13th on the #ominant chor#Ji%e%, the chor# s'm*ols 7 ♯= an# 7 ♭13 are eGuialent an# mean the same thin(% lues scale oer the same C *lues &ro(ression% ur net soloin( eam&le uses the relati-e minor lues scale eHll nee# to reie a *it o2 theor' here: the minor Ee' that th at shares the same Ee' si(nature as a ma>or Ee' is Enon as the relatie minor o2 that ma>or Ee'% he relatie minor ala's starts on the Oth #e(ree o2 the corres&on#in( ma>or scale% he Ee' si(nature o2 the &reious eam&le ;racE O3< ha# no shar&s an# no Klats% his Ee' si(nature orEs 2or *oth C ma>or an# its relatie minor, A minor ;A is the Oth #e(ree o2 a C ma>or scale%< Dor 2urther in2ormation on Ee' si(natures an# relatie minor conce&ts, &lease re2er to m' "ontem-orary Musi! Theory* Level .ne or ll #out Musi! Theory *ooEs, *ooEs, &u*lishe# *' +al Leonar# Cor&oration% he most common *lues scales to use hen soloin( o-er the chan+es are chan+es are as 2ollos:
he *lues scale *uilt 2rom the tonic o2 the ma>or Ee' ;i%e%, usin( a C *lues scale oer the C *lues &ro(ression, as in racE O3< he *lues scale *uilt 2rom the relatie minor o2 the ma>or Ee' ;i%e%, usin( an A *lues scale oer the C *lues &ro(ression, as in racE O4, hich eHll see shortl'<
Be2ore e (et to the net eam&le, letHs *rieKl' reie the notes in an A *lues scale, as 2ollos:
A(ain, the interals *eteen successie notes in the scale, an# *eteen the tonic ;A< an# the other notes in the scale, are shon *elo an# a*oe the sta22 res&ectiel'% +ere then is the net eam&le, soloin( ith the A *lues scale oer the same C *lues &ro(ression, an# intro#ucin( some (race note em*ellishments in the ri(ht han#:
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his solo uses notes ithin the A *lues scale oer the #i22erent chor#s an# consists o2 three 2ourmeasure &hrases% race notes are use# to connect the hal2 ste&s ithin the A *lues scale ;i%e%, *eteen . an# .♯M"♭, an# *eteen .♯M"♭ an# "< in measures 34, 7, an# 9% A##itionall', a hole-ste& (race note connects the an# A in measure 11% his eam&le a(ain uses seen-three eten#e# oicin(s in the le2t han#Ja##in( no alterations this time, >ust some unaltere# u&&er etensions: the 13th o2 the D7 chor# ;.< an# the 9th o2 the C7 ;.< hae *een a##e# as in racE O3, an# the 13th o2 the 7 chor# ;"< has *een a##e# a*oe the 3r# ;B< in
measures 9 an# 1!% A(ain, the le2t-han# rh'thmic &hrasin( use# to su&&ort the ri(ht-han# solo is t'&ical o2 >a sin( an# >a-*lues st'les% ur last solo eam&le com*ines &hrases 2rom *oth the C *lues an# A *lues scales oer the same C *lues &ro(ression, &ro(ression, this time a##in( ei(hth-note tri&let Ki(ures 2or a *usier, more intense e22ect:
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Note the mi o2 C *lues scale an# A *lues scale &hrases use# in this solo% Dor eam&le, in measure 1 on the C7 chor#, the solo &hrase comes 2rom the C *lues scale, an# then in measures !4 the solo &hrases come 2rom the A *lues scale% Similar *lues scale @sitchin( occurs 2rom measure = to measures O8, an# 2rom measure 9 to measures 101!% his is a (reat a' to a## so&histication an# interest to 'our >a-*lues solos Also, the A *lues scale &hrases in measures 3, 7, an# 11 inclu#e an ei(hth-note tri&let su*#iision #urin( *eat 3, hich hel&s to *uil# the ener(' o2 the solo% he le2t han# uses a mi o2 seen-three eten#e# oicin(s, as 2ollos:
A##in( the ♯9th to the C7 in measures 1 an# 11%
A##in( the 13th to the D7 in measures !, =O, an# 10%
A##in( the ;unaltere#< 9th to the C7 in measures 34, 78, an# 13%
A##in( the ♭13th ;eGuialent o2 the ♯=th< to the 7 in measure 9 an# on the @P o2 3 in measure 1!% A##in( the ;unaltere#< 13th to the 7 in measure 1!%
+ae 2un &la'in( alon( ith all the au#io tracEs in this soloin( cha&ter% An# #onHt 2or(et to e&eriment ith some im&roisation i#eas o2 'our on Dor more in2ormation on usin( *lues scales hen im&roisin(, &lease see m' com&anion olumes in the +al Leonar# ?e'*oar# St'le Series, )lues Piano= The "om-lete 9uide with audio an# Jazz4)lues Piano= The "om-lete 9uide with audio%
Cha!ter 9
&TL5 EIL5 In this cha&ter e hae Kie tunes *ase# on classic >a stan#ar#s% he &iano &arts 2or these tunes contain a miture o2 @com&in( @com&in( or accom&animent, accom&animent, melo#' treatment, an# im&roise# solo sections% In the com&in( sections, the ri(ht han# is &la'in( either seen-three, seen-three eten#e#, or 2our-&art 2our-&art *locE oicin(s% hese com&in( oicin(s are shon Kirst as hal2 notes or hole notes, then later in the &iece the' are &la'e# ith suita*le rh'thms 2or the st'le% In the melo#' treatment sections, e are usin( ei ther the @seen-three *elo melo#' techniGue in the ri(ht han# or &la'in( a sin(le-note melo#' in the ri(ht han# a*oe *locE oicin(s in the le2t han#% In the solo section in tune =, the le2t han# is &la'in( seen-three eten#e# oicin(s *elo the ri(ht-han# solo% hen the &iano &art is com&in(, either a (uitar or Klute is &la'in( the melo#'Jece&t melo#'Jece&t 2or tune =, hich has >ust &iano com&in( an# soloin( sections% e ill also anal'e the 2orm o2 each tune% A common 2orm use# in >a stan#ar#s is @A A B A, here each o2 the letters A an# B re&resent ei(ht-measure sections o2 the son(% In this 2orm, the Kirst to @A sections are su*stantiall' similar, 2olloe# *' a #i22erent @B section, 2olloe# *' the last @A section hich is similar to the Kirst to sections% unes 1 an# 4 in this section are *ase# on stan#ar#s ith an @A A B A 2orm% Another common 2orm 2orm use# in >a stan#ar#s is @A B C ., here each o2 the letters A, B, C, an# . re&resent su*stantiall' #i22erent #i22erent ei(ht-measure sections o2 the son(% unes ! an# 3 in this section are *ase# on stan#ar#s ith an @A B C . 2orm% B' contrast, most *lues an# >a-*lues tunes use a @1!*ar *lues 2orm, as seen earlier in racEs 34 an# O3O=% une = is *ase# on a 1!-*ar *lues 2orm% Dor in2ormation &ur&oses, &ur&oses, the chor# s'm*ols in these th ese tunes hae *een u&(ra#e# to reKlect an' etensions a##e# ;i%e%, 9ths or 13ths< *' usin( seen-three eten#e# or *locE oicin( techniGues% In &ractice, hoeer, e&erience# &la'ers t'&icall' ill a&&l' these u&(ra#es to *asic chor# s'm*ols ;i%e%, @seenth chor#s< at their #iscretion% hese tunes are recor#e# ith a *an# ;*ass, #rums, an# com&in(Mmelo#' instruments< as ell as &iano% n the au#io tracEs, the *an# ;minus the &iano< is on the le2t channel, an# the &iano is on the ri(ht channel% o &la' alon( ith the *an# on these tunes, >ust turn #on the ri(ht channel% Slo an# Dull S&ee# tracEs are &roi#e# on the au#io 2or each son( ;ece&t 2or tune 4, a slo *alla#<%
". Du0es &weetheart he Kirst tune is ritten in the st'le o2 @Satin .oll, a classic >a sin( tune *' .uEe "llin(ton *ase# on an @A A B A 2orm% In the Kirst A section ;measures 18< the &iano is com&in( ith *asic seen-three oicin(s as hal2 notes, su&&ortin( the (uitar melo#'% In the secon# A section ;measures 91O<, the ri(ht han# #ou*les the to& note o2 the seen-three oicin(s one octae loer, an# *oth han#s are &la'in( >a sin( rh'thms ith antici&ations% hen i n the Kirst B section ;measures 17!4<, the ri(ht han# uses some seen-three eten#e# oicin(s ;a##in( =ths an# 9ths to the chor#s<, hile the le2t han# is a##in( some root-7th interals% In the net A section ;measures !=3!<, !=3!<, the &iano returns to hal2-note rh'thms, this time ith *locE oicin(s in the ri(ht han# oer root notes in the le2t han#% All these *locE oicin(s contain the 3r#-=th7th-9th o2 each chor#, eGuialent to *uil#in( a 2our-&art u&&er sha&e 2rom the 3r# o2 each chor#% Althou(h e are no at the en# o2 the re(ular @A A B A 2orm, in this arran(ement e a##e# an etra A section ;measures 3340< so that the &iano can &la' these *locE oicin(s ith some >a sin( rh'thms, an# ith some root-7th interals a##e# in the le2t han#% Dinall', e hae a Co#a section ;measures 4147<, 4147<, hich is essentiall' a @ta(, re&eatin( the last 2our measures o2 the A section to more times 2or a Kinal en#in(% In the >a sin( com&in( sections, maEe sure that 'ou @sin( the ei(hths correctl' an# o*sere the rests% Also use the sustain &e#al s&arin(l' ;i2 at all< in these sections, as it can #etract 2rom the sin( 2eel nee#e#% hen 'ou are com2orta*le ith all the oicin(s, (o ahea# an# im&roise 'our on com&in( rh'thms oer these classic chan(es
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'. Carni-al Time Net e hae a tune ritten in the st'le o2 @BlacE r&heus, a classic *ossa noa tune *' Louis BonKi *ase# on an @A B C . 2orm% In the Kirst A an# B sections ;measures 11O<, the &iano com&in( uses seen-three oicin(s ith octae #ou*lin(, su&&ortin( su&&ortin( the Klute melo#' ith hal2-note an# hole-note rh'thms% In the Kirst C an# . sections ;measures 173!<, *oth han#s are no a&&l'in( *ossa noa com&in( rh'thms to the same seen-three oicin(s% hen in the secon# A an# B sections ;measures 3348<, the &iano &art returns to hal2-note an# hole-note rh'thms, su&&ortin( the or(an solo ith 2our-&art *locE sha&es in the ri(ht han# ;ece&t 2or the .m @octae #ou*le# tria# *uilt 2rom the 3r# o2 the Bm7♭= chor# in measures 34 an# 3O< oer some root-7th an# root-=th interals in th e le2t han#% Dinall', in the last C an# . sections ;measures 49O=<, *oth han#s are no a&&l'in( *usier *ossa noa com&in( rh'thms to the same *locE oicin(s% aEe sure 'ou are @in the &ocEet ith the strai(ht-ei(hths rh'thmic su*#iisions an# antici&ations in the C an# . sections% As ith the >a sin( st'les, o*sere the rests an# use the sustain &e#al s&arin(l' ;i2 at all< in these th ese sections, 2or a cleaner an# more st'listic e22ect%
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Trac0 9? Eull2&!eed
@. &tella y Candleli+ht ur net tune is ritten in the st'le o2 @Stella *' Starli(ht, one o2 the most &er2orme# an# recor#e# >a stan#ar#s o2 all time% his classic son( as ritten *' ictor oun(, usin( an @A B C . 2orm% In this eam&le, e are &la'in( a melo#' treatment, usin( the @seen-three *elo melo#' techniGue techniGue in the ri(ht han#% +ere is a lea# sheet, shoin( the melo#' an# chor# s'm*ols, the *asis 2or the melo#' treatment that 2ollos:
Note that this 3!-measure 3!-measure melo#' is #ii#e# into 2our ei(ht-measure sections that are su*stantiall' #i22erent 2rom one another, hence the @A B C . 2orm as in#icate# on the chart% he 2olloin( melo#' treatment (oes throu(h throu(h this 3!-measure 2orm tice in total% In the Kirst A, B, C, an# . sections ;measures 13!<, e a&&l' a strai(ht2orar# @seen-three *elo melo#' treatment,
ith no rh'thmic re&hrasin( o2 the melo#' or su&&ortin( oicin(s, in a st'le similar to racE 49% hen in the secon# A, B, C, an# . sections ;measures 33O3<, e rh'thmicall' re&hrase *oth the melo#' an# the su&&ortin( oicin(s, in a st'le similar to racE =1% "nsure that the melo#' &art, &la'e# *' the u&&er Kin(ers o2 the ri(ht han#, &ro>ects oer the seenthree oicin(s *elo% Dor the rh'thmic treatment in measures 33O3, 33O3, tr' to &la' the melo#' as legato ;smooth an# connecte#< as 'ou can% his creates a (oo# contrast ith the sin( rh'thmic &hrases in the su&&ortin( oicin(s% hen 'ouHre rea#', e&eriment e&eriment ith 'our on rh'thmic treatment o2 this melo#' hile &la'in( alon( to the au#io tracE
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Trac0 :" Eull2&!eed
7. =itten U! a Tree Net u& is a tune is ritten in the th e st'le o2 @ist', another en#urin(l' &o&ular >a stan#ar#% his classic *alla# as ritten *' "rroll arner, usin( an @A A B A 2orm% In this eam&le, e com*ine com&in( an# melo#' treatments in the &iano &art% he &iano com&s *elo the (uitar melo#' in the Kirst to A sections, then taEes oer the melo#' on the B section an# the last A section o2 the 2orm% his @A A B A 2orm is shon in the lea# sheet *elo% +oeer, in the arran(ement that 2ollos, e hae a##e# a 2urther B section an# A section, alloin( the &iano to reert *acE to a com&in( role *elo the (uitar melo#'% +ere is the lea# sheet, shoin( the melo#' an# chor# s'm*ols, the *asis 2or the com&in( an# melo#' treatment that 2ollos:
In the 2olloin( arran(ement, #urin( the Kirst A section ;measures 18<, the &iano is com&in( ith 2our-&art *locE sha&es in the ri(ht han#, oer a mi o2 root, root-7th, an# root-=th oicin(s in the le2t han#% hese hal2-note an# hole-note oicin(s are use# to su&&ort the (uitar melo#'% In the secon# A section ;measures 91O<, the ri(ht han# sitches to a Guarter-note &attern, ith the le2t han# &la'in( the roots an# =ths o2 the chor#s, ith some ei(hth-note @&icEu&s lea#in( into *eat 3% hen in the Kirst B section ;measures 17!4<, the ri(ht han# &la's the melo#' as sin(le notes, su&&orte# *' le2t-han# *locE oicin(s aroun# the mi##le C area ;in the st'le o2 racE =O<% he ri(ht-han# melo#' continues into the net A section ;measures !=3!<, !=3!<, no ith the le2t han# &la'in( the su&&ortin( *locE oicin(s as Guarter notes%
As mentione# earlier, an etra B section ;measures 3340< is then a##e# a2ter the *asic @A A B A 2orm shon in the lea# sheet, ith the &iano reertin( to a com&in( role *ehin# the (uitar melo#'% +ere the Guarter-note Guarter-note *locE oicin(s in the ri(ht han# are similar to the &iano &art in the secon# A section ;measures 91O<% hen a Kinal A section ;measures 4148< is a##e# at the en#, ith the &iano &art no @s&littin( the ri(ht-han# *locE sha&es #urin( *eat !, an# the le2t han# &la'in( some octae an# root-7th &atterns, lan#in( on the @P o2 1 an# creatin( a rh'thmic &icEu& into the ri(ht-han# oicin(s on *eat !% All this hel&s create more momentum an# intensit' #urin( this Kinal section o2 the tune% aEe sure 'our Guarter-note *locE oicin(s are stea#' an# consistent% his is a use2ul >a *alla# com&in( #eiceJ*orroe# #eiceJ*orroe# 2rom >a (uitarists Also maEe sure the ri(ht-han# melo#' &ro>ects oer the su&&ortin( oicin(s in measures 173!%
Trac0 :' Eull2&!eed
/. Cool 8lues ur last eam&le uses a 1!-*ar *lues 2orm in the st'le o2 @Dre##ie Dreeloa#er Dreeloa#er an# arious other >a*lues classics% eie the tet 2olloin( racE 34 as nee#e#, re(ar#in( the elements o2 the 1!-*ar *lues 2orm% his eam&le contains 2our re&eats o2 the 1!-*ar *lues 2orm in total% he &iano &art is com&in( on the Kirst to re&eats, then soloin( oer the last to re&eats% In the Kirst re&eat o2 the *lues 2orm ;measures 11!<, the ri(ht han# is &la'in( hole-note *locE oicin(s oer root-7th interals in the le2t han#% In the secon# re&eat ;measures 13!4<, these same oicin(s are no &la'e# ith >a sin( rh'thms an# antici&ations, also usin( some @hel# root notes &la'e# *' the &inE' o2 the le2t han#, in the st'le o2 racE 48% hen in the thir# re&eat ;measures !=3O<, !=3O<, the ri(ht han# is &la'in( a solo usin( the D *lues scale, *uilt 2rom the tonic o2 the Ee' ;as e are in D<% his is su&&orte# in the le2t han# *' arious seenthree eten#e# oicin(s, &la'e# as hole notes% In the 2ourth re&eat ;measures 3749< 3749< the solo continues, no usin( the . *lues scale *uilt 2rom the relatie minor o2 the Ee'% ;. is the relatie minor o2 D% eie tet *e2ore racE O4 as nee#e#%< he le2t-han# seen-three eten#e# eten#e# oicin(s are no &la'e# ith t'&ical >a sin( rh'thmic &hrasin( an# antici&ations, o2ten in a rh'thmic @conersation or alternation ith the ri(ht-han# solo% his tracE is #eKinitel' a (reat s&rin(*oar# 2or 'our on com&in( an# im&roisation im&roisation i#eas, once 'ou are com2orta*le ith the *asics% et the D an# . *lues scales un#er 'our Kin(ers, then hae 2un soloin( oer these classic *lues chan(es
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