Jazz Hanon

JazzHanon by Leo Alfassy

JazzHanon by Leo Alfassy

Amsco Publications . 'ew York / L ondon 'Sydney

Edited by Brenda Murphy Covei illustration by Tom De Jong Cover design by Wemer Jurgeleit Copyright © 1980 by Amsco Music Publishing Company, A Division ofMusic Sales Corporation, New York, NY. A li rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the publisher except by a reviewer who may quote brief passages in a review. Order No . AM 27418 International Standard Book Number: 0.8256.2223 .9 Exclusive Distributors: Music Sales Corporation 257 Park Avenue South, New York, NY 10010 USA Music Sales Limited 8/9 Frith Street, London W 1V 5TZ England Music Sales Pty. Limited 120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia Printed in the United States of America by Vicks Lithograph and Printing Corporation

Contents Preface Introduction Elements of Jazz Harmony Intervals and Triads Sevenths Seventh Chords Simplified Seventh Chords Walking Bass Inversions Circles of Fifths Chromatic Alterations Derivations of the Seventh Chord The Ninth Chord Eleventh and Thirteenth Chords Substitution Chords 11-V-I Progressions Harmonic Patterns Scales and Modes Swing Piano Style Bass Tenth System Bebop Piano Style Block Chords Piano Style Modem Voicing Chord Symbol Appendix

7 8

9 9 10 11 19 24 28 32 36 41 41 46 49 52 56 58 63 65 70 73 76 78

Preface Although there are many jazz piano books already available , the author feels that there is a pressing need for a manual which covers both the theorietical and the practical aspects of jazz piano in one comprehensive volume. Many young aspiring pianists, aware of the importance of basic theory for acquiring a good technique of improvisation, seek the essential information in theoretical books, but are soon turned off by the way the material is presented. Likewise, studies devoted exclusively to the development of a keyboard dexterity tend to be boring and discouraging. This book does not pretend to cover all aspects which are necessary for a creative musical performance exhaustively. But each chapter deals with a specific technical problem thoroughly, followed by special exercises devoted to this problem. ln addition, the idiomatic language and the stylistic features of the different schools of thought, from the end of ragtime to the beginning of "progressive" jazz, are discussed here. The author hopes to enhance the awareness of the student that a rewarding musical experience depends greatly on the mastering of both the theoretical part and the basic techniques of playing jazz piano.

Introduction azz

e mos important contribution made by the American black to the art of a d_-namic art fo rm which has never remained stagnant-its history reveals a · g rocess of evolution in which its personality has been steadily changing. At a ~ .· :as- ace, in less than a hundred years, jazz underwent a similar evolution as music : ::.. e Yestern world in about a thousand years-from the monophonic primitivism of Di..xieland, to the homophonic texture of the big band era, and finally to the atonal and twelve-tone technique of the avant-garde. And in the sarne way, jazz is built on the four basic elements: melody, harmony, rhythm, and colar. The basic difference between the so-called "serious" music and jazz lies in the two _most characteristic features of jazz: 1. Unlike western concert music, it is not an exact reproduction of a written score; the performer plays melodie variations on a given harmonic sequence, thus becoming a composer in his own right. ln other words, there is no clear distinction between composer and interpreter. 2. Jazz owes its idiosyncratic nature to the subtleties of its performing practicesthe attack, the rhythmic pulse, the inflection, the vibrato, and all other expressive
· . 1-

The history of jazz is intrinsically connected with a process of continuous harmonic exploration. Basically, its harmony is built on the sarne major and minar tonal system established during the baroque period (1600-1750). It is absolutely essential for every jazz musician to familiarize himself with the rudiments of traditional harmony in arder to be able to accompany a singer or another musician, to harmonize a melody, or to improvise.

s of Jazz Harmony ntervals and Triads Melody and harmony are two aspects of the sarne building material, the interval. Intervals represent the distance in pitch between two tones. A melody is a horizontal succession of intervals, while harmony is a vertical superposition of intervals. The name of each interval indicates the total number of tones between the lowest note ( the root) and the highest note. 1

' '

1

-e - - -&

umson

1

2

-e- -

0

-e-

second

1

6

-& ;;:::-"'"

-&-----

fourth

z

......- o

fifth

8

z ....

;;:?"

5

1

... ( j

º 1

7

1

4

1

third

(j

-e;::;-

3

1

1

Q

z:z , ,. .

9 o

-&

sixth

seventh

octave

ninth

The simplest chords are the triads built of two superposed thirds.

Each of the seven degrees of the major and minar scales can be the root of a triad. scale degrees 1

'

l

II

III

IV

V

VI

VII

§

§

§

§

§

§

root/

The triads on the 1, IV, and V degrees, the "tonal" degrees, are the most important in each scale and occur more frequently than the other four degrees (II, III, VI, VII). Any tone of any chord can be sharped or flatted, i. e. it can be raised or lowered by a half step (semitone). Thus, a major triad can be transformed into a minar one by flatting the third , or vice versa. If we also flat the fifth, the minar chord becomes a diminished triad. If the fifth of a major chord is raised it becomes an augmented triad.

'

l

maJOr

&:§ mmor

~

diminished

#§ augmented

9

euia o -e · o the triads on the II, III, anà 1: de=ees are or is diminished because it consists of two superposed minar

e)

'

tM

II

III

IV

V

VI

§

§

§

§

§

§

m

m

M

M

m

o

11

Sevenths Simple triads are used sparingly in jazz. To add calor and excitement to the music, more complicated chordal structures are utilized, such as seventh chords and triads with added note(s). Seventh chords are triads with still another third superposed.

triad

seventh chord

The most common triad with an added note in jazz is the triad with an added sixth.

IV

V

Each of the seven degrees of the major and minar scales can be the root of a seventh chord. Here are the scale-tone seventh chords in C major.

i I7

117

ill7

IV7

V7

VI7

VII7

The seventh chords built on the 1 and IV degrees are major seventh chords (M7) because they consist of a major triad and a major seventh ( thc major seventh is located a half step below the octave).

IV

~majo
CM7 10

FM7

oreis b il o e II. III, an ' 1 e ees are minor se emb cbords - _se - ey consist of a minor triad and a minar seventh (the minar seventh is \-bole step below the octave). II '

m;"º' triad

rm

m;nm seventh

Dm7

III

VI

1

D

Em7

Am7

The seventh chord on V is called the dominant seventh chord (7) because the V degree of the scale is the " dominant." It consists of a major triad and a minor seventh. The seventh chord on VII is a halfdiminisbed seventh chord ( fb) because it consists of a diminished triad and a minor seventh. By lowering the seventh of a half-diminished chord (in this case from A to Ab ) we obtain a diminished seventh chord (o ), which consists of three superposed minar thirds. VII

V

~

diminished.minor ria d event

major.mlminor triadseventh

B91

G7 (dominant 7)

VII

b Bo

Seventh Chords The first exercises explore seventh chords and triads with added sixth in both hands; in the left hand they are arranged vertically (harmonic), in the right hand horizontally (melodie). As y ou will notice, the first exercise is provided with chord symbols below the staff and figured bass above it. Thefigured bass, one of the major contributions of the baroque period to the development of our musical language, is by far more precise than chord letters. It is regrettable t hat it is still not adopted by jazz musicians and music publishers , although some jazz theorists made an attempt to popularize it some twenty years ago. For that reason, this book will utilize chord symbols. These first exercises also introduce the student to the three basic rhythmic unit s in jazz: the eighth note , the eighth-note triplet, and the sixteenth note. When playing the exercises carefully note that the common performance practice in jazz is to play the 3 or the rhythm a s m . The strongly sy ncopated figure )>

n

what softened by interpr?ting it as

f JJ J 3

J )';J .,__.,

n

11

Triads and Seventh Chords

1 /

1

• ~

.

... •

... -- --

-

II

III

-

,.......-

_,

-

1

1

l""""'"""l

- - .. - -- -- -'

' 1 \

-··..... ~

.,,

r,

'.J

",J

-..

IV

_,1

J

VI

V

-- - --

...- ...-

1

1

1

~

~

~

"l "J

---

1

- - - -- • r-

r-

1 ___.

1

--

,,,,

Em7

Dm7

G7

Am7

VII

CM7

V

IV

III

II

Am7

G7

FM7

Em7

Dm7

V

IV

III

Dm7

FM7

Em7

VII

II

G7

IV

VI

V

FM7

Am7

G7

II

III

Dm7

CM7

VII

V

VI

IV

V

III

B

Gí

A í

F \í

G'/

E -

,

"' ~

-.,, ~

~

C6

III

CM7

CM7

Am7

.

CM7

VI

VII

CM7

IV

Emí

VI

VII

Dm7

CM7

Em7

...

1

VI

II

._ n

1

rJ JTJ

""

FM7

- ...- .-

,...

~

.._. ~

CM7

1

VII

II

Amí

--

~

l.I I

-

1

.,

.•

--

--

l t,

- -

-

-

~

- - - -...

1

,_

-

~

-.. /

'U

CM7

....

1

..

.

à.

I

~

4·

,.

'• /

'

.,,.,,

-

", ,,..

l ,,,

-

u

" FM7

-'•

1

I

,.,, "

FM7

Em7

Dm7

B ;15

.....

-

--

.

-

'-

~

'

'-.' V

1

-

,

r-\ I

'.

- -- •- -• •

CM7

C6

Em7

....

11 _,,

~

u

-

CM7

Dm7

~

•

...,.

---

~ , ,

.,., .,,,,,

-,_

-.,.,

Em7

FM7

Em7

Am7

Dm7

G7

-

--

- - - _,

~

/

,

--

_,

-

1

-

_,

-

- --

•

.,

---

, ,

C6

,..~

FM7

-

"' -"'"' B ;15

.,, ,, ,, "')

CM7

~

-

- - - -- - r-

1

~

r•

.

1

- -_,

-

1

r-- .'l-

...

1

- - --

1

~ ....

.,,,

()

C6

-

... -- --

:3.,.,,

/

LJ

Am7

.

-

~

'

•"

,

J,...,

~

- r•

'

Em7

--

1

1/

.,.,,"'

l

..--

_,

-

a-.,,.,,

B9'

--

-

Em

_,

~

Dm7

..-..

/

r

-

..

-_, .

n

,.,,

- -- -...

.... "'

--

-

•

.,

Bill

-·

I

-

..f

~

""

*'

1

~

1

:

--

- ...

-

•

~ ....

r

Am7

1(

- -

r

,

- -

...

_,

1

FM7

Em7

_,

-,...."'-

--

.,,

~

r.

1

:3.,,

Dm7

_,

-:t-J

i..---

~ ,.., "'

.,,.,, ',, "')

1 . l til

1

....

1

1

-

-

1

.'

n•

1.....

2.

~

F6

- --

... -.... •

Dm7

B~

--

.,,

.., .....,.,.

CM7 13

3

-..

-1

iA

I

LI

,,, "' .u

1

_,

no

-

-'

--

,...-

-

,..

-

-

-

,..

r-

...

• - .- •

.L

...

-

•

- --

--

--

-----

'!

1

,....

..,.... ,....

/

-""'-

~

'. ,.. "

CM7

..,

l.J

,..-

,..-

/

L

1

- -- -- - -

1

··~

1

...

·-··

1

- .,.

- ,...-

,..

.-

1

1

FM7

--

,..1

---

•

;.

"'

"'" \.'V -.!

..

"'. /

1

i............_ 1

!r

1

,..

1

1

_,1

-,, ·~

Em7 14

-6

....~

i-

--

FM7

Dm7

F6

1

r-

r-

,.."""

-

-

C6

-

--

i!r

.L

F

- -~

r-

1

1

_,

1

-'""

' ..... .....

B.0

CM7

~

r•

-

- - -- - --

1

-~

Dm7

1

1

1

-

-

-

•

--

~

~

·~

~

~

~

~

Em

CM7

'

1

q.

-,,,

_,

1

-9-

- -- - ~

- - ...-

1

I

-

--

Dm

- - - - - - - - - - - - - - - -- - ,....

,..-

.... ....

- -

- -

r-

r-

~

G7

CM7

B.0

~

#.

1

Am7

"""

Dm7

1

G7

'.J

/

'

Dm7

a

-

',,

l

. ~.

1

•

1

..

~

Em7

~

B.0

1

'

...

-"'

Em

1

.

...

-

F

-

rl

""

~

~

CM7

....."

~

--

-

1

-

--

1

--

- -.. - • _,

-

!#;

,_, ""' 1

Dm

---

."'

._1 _, ,

1

-....

'4

/

r-

"

--

•

--

..... "

Am7

FM7

......

--

--

1

......

1

-

..,,

FM7

Dm7

Em7

~

•.,

.. "

- -

1

~

- -- 1

- -

1

r-

1

~

_, """ ......

-

....-

' ti

' ,

...

~

1

-

-•

- -

1

&Y

Em7

1

-•

- --- - ,..- -~

1

1

Dm7

CM7

,....

1

- -

r-

-

1

-

s

,..

1

1

-

~

FM7

1

1

,..

1

-s:_

-

~

"""' C6

......

,....

1

1

1

-

,_

1

1

~

1

1

1

• - --

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

1

~y

Em7

...-

1

-

1

...,,

,,,

~

G7

-

..- -- - - - -1

1

1

~

- -

-

1

~

~

,_

·1

~

1

-

- - - -- - -

,....

~

....

1

Em7

G7

~

1

:ft

-

&Y

Dm7

~

1

- -1

,_

~

~

-

.

a.

G7

,....

~.

~

FM7

~ ·-··

/

r-

~

-""

1

Dm7

-- - -

-J

- ,...-

""

r-

r-

..=t,,

- - - -• - -

,. "

-

-

r-

,,,

~

CM7

_,

.....

~ ,,,

~

-

~

~ ""'

,

,

.

.,,

.,

-

".J'

,

_,

-

......

n

~

<#.

-

,_,...

\

•

- - - - -

,..

-

1

1

t

-

- -

""'

- -- - -

~

,. t

•

--

Am7

G7

J

-

_,

..,,,, ...,,

. ..."' "'

,.

L'o

....

.....

1

1

1

B.<õ

1

1

1

~

-

~

-

·~ ·~ ·~

-

e :;

CM7

Dm7

FM7

G7

Em7

Dm7

Em7

FM7

CM7

F. 7

L

Dm7

Em7 16

G7

Am

Em7

Am7

Dm7

G

FM7

o -

B!21

B~

FM7

FM7

CM7

B~

Am7

G7

Am7

B 95

Dm7

G

CM7

Am7

B!ZS

G7

FM7

e

Em

B~

Dm7

Dm7

Em7

Dm7

FM7

Em7

Emí

D, í

01í

5

G7

18

Am7

B,0

C6

Am7

Dm7

G7

Em7

Am7

FM7

B.0

G7

C6

FM7

B ,0

Em7

Am7

Dm7

C6

G7

Simplified Seventh Chords Modern pianists create interesting sonorities by selecting and rearranging certain notes of a chord and omitting qthers. This
'

be -e

bi C7

or

~i Cm7

or

bt1 C795

19

6 ~

•

-- ~

"

1 '

1

3--

.. •

- --

1

-

'!

~

-

-'

-

,...-

.... -.....

-....

....-

- -,,.1

1

-

_i

-1

-

.., • - --

-

-

--

- -

-

.,

j

/

,,

,,

....." 9-

-

--

~

Dm7

-

-

~

,,1

FM7

CM7

G7

-....

1

"'

1\

.,~

'CV

t)

--

B 9f

Em7

-

/\ I

~

...

-... --

.....

-•

.... ..,

•

--

-

--

-

·,1

,_

-.....

1

~

-

- 1

........ -

1

- _,

1

/

..

,, .,,

h,,

-

-

~

~

-----------

Am7

r•

-~

--

~

~-

-

Dm7

C7

G7

F7

Ab7

e

G

20

FM7

F6

Gm7

Gm6

--- -

\"~-

,_.

- r • /

r

- - - --

,, ""'

1

~

1

'

I ,.

r-;

1

1

r,,

.

~

-.. -

1

-'

'

,

.... ' T.

.

~.

..... t.-'\ •

r-

1

Am7

07

C7

G7

Dm7

-·

-

BbM7

~

FM7

Am7

~

F

Am7

Dm7

lõ\

1

- - -

-- -

:;::...

-- . -- . G7

•

-- --

:;::...

-

77· lõ\ r,_, • r

""'. 1

CM7 21

7

.

~

1

....-

~

... ,,.. ._,'

/

- -

-

,....

~

- . .."" /

. - ... ~

/ 1

;

~

..,.

- - -- -

..

1

~* •

~

Gm7

1

-

1 ll -

1

-

/

\

-

...

ll

!•

-

1

- --

- - - -- - - -

_,

..

-

- , ..

!>'-

\.'V

I

...

- - _,

-

.....

-:

- ..... 1

/

...

\

--

----

Dm7

G7

_,

-'-----

l~

1

- --

~

1

•

.

.,,

.--

.,,

Am7

Em7

_,

....

v--------'

?}

*

-...

Cm7

-------

~

CM7

-

1

1

1

--

'111

...

•

--

Dm7

Em7

FM7

G7

..,,.

_,

--

Dm7

G7

--

-

_,

--

_,

..

...

* -

-

'111

FM7

Am7

":i-

---

r.

--- - -

-----

~-

-9

.,,

- -_, _, -_, -

~ ~

-

.,,

,,

.'l

~

22

1

-

_,_ ~

2

DM7

n

~

"'

l1

....

,....:....

1

1

..

J

.....

-3

(

/

1

-

~

\

1

_,

-

1

Em7

-1!

-

:1

-6

FM7

'

- ,.,

--

r

~-!>'-

c#m7

1

--

1

--

--

L.,...-1

1

11

~

Bm7

AM7

-

!?

......

1

C7

-

-

-

u

Em7

~

... _ ..

_,

1

.

Dm7

l1

BJt

~,....

.......__

-

Ili

-

- ·- - -.- - -

-

1

-

bn

--

_, .. _, - -- -

. . .

L..

VI"""

--

1

'.

-

....

....

-

1

r

~

V

. - ·--

i......_

-6i

FM7

.. _

""

--

--

r

CM7

-

Am7

1

~

1

.,,

/

...

.

.

\

-

-- -

. -

n

-

~

....-

-

~

-

G7

-

-

~

~

--

Dm7

-- ---

•

--

--

--

IL" •

-

,....

~

..

-

Am7

--

•

-

--

..--

B~

Dm7

-

.1 ~ ~

a. .,,

EbM7

6/) ,..,, Cm7

,

-

r,. .lf't~

- -

--

'.~'V

-··.

1

-

·-,, ,, --- - - - - -

-

_,

~j v

1

-

u-

...-

-

h....

9-

,

-

--

",J

G7

- - - -- • - - - - -• -- --

- ....-

.....

.....

r-

r-

r-

r-

r

1

r1

r-

r-

r

~

~

.,,

-

CM7

Dm7

Em7

FM7

e

V

r-

1

-

-~ ~

,_

Dm7

3 -.:: _,

-- -

~

1

~

,

l.....iiõ

li -

-

Cm7

BbM7

i9-

~

...1

,_ ,_

G7

-

.. ,_

~

~

f

n

L•.

..

-

r-

...-

_,

--

"' Fm7

,

r:..

V

'

.....

vr-

#

_,..

~

V-

1 Jr.

,...

~

-

•

h

,

Ai> 'M7

I

_.

,,

/

'··

.. ...

--

~

-- -- - - _.

1

~

V-

- --

•

GbM7

__., _, .,-- - - - -- ~

-

1

-

-

• ---

.- - - -

_,

4

/

... --

n

D'6

---

EbM7

G7

CM7

,.,

,.... 1

·~

t)

1 /

--

, . '""

.,,

-

.. . .. .

--

r

~

Am7

,_

r ",J

Dm7

_,

-

-

"'

~

--

sJZ)'

Em7

-6

FM7

.. ...

,_

....

~ ~ ~

tJ

-

---

•

...

"111

--

G7

FM7

Em7

Dm7

CM7

-

-

-

23

Wa kingBass One of the oldest bass pattems in j azz pian o is the walking bass. This is a bass line thar " walks" up and down a scale or in broken chords. This left-hand partem was taken m·er from the bass player whose assignment in the band is to sustain the basic metric unit in jazz-the quarter note. The monotony of the walking bass can be avoided by replacing figure-a
n

8

C7

C6

24

e

F7

C6

F7

G/

G7

'

'~.. i

-

·~-

C

,

-

~

-- .

----

--

•

~

e

Fm

C7

..

-.

".,-

•

~

G7

1

'

•

~

·-

(b 5)

-

...-

-

y-

~

VJ

3

-_.

'

· ~. ,_ /

....

~

....

C7

-, . ~.

•

~·

F7

------

..,

-

__; ~

"

...

C6

~

~

/

_.

F7

C6

...

-

-

-

~ ~~

'-----"

-:;J.

_,-

.,;-.

... •·ff•

_.

-

1

-

-•

-

r-

_.

-

e

F7

-

- ,..- -

,..,-

ia

•

~

~

1

1

-

_,

3

-

~

1

...

- J.

.....

G7

e

C7

F

Ab7

e

ob7 C7 25

9

. .. ~I .. ... -

l.f

j~

,.

~ ~

'-'V

-.i

~

1

·~

-·

-~·

-

-

~

·~

~.

_,1

-

-.

r~

G6

D7

Eb 7

G

ri_, ... _. .

1

t

l

....---

1

-·.. -"" /

-

- -.. --

1

1

Am7

Em

B7

..

1

"' -.:-v

-.i

' /

....

.... - --

-

-

....

w

-

1

-

-

_,

-

r-

AM7

-

1

DM7

-

".....

E7

-

_,1

-

~ ~

.. _

-

...

""' .,

~V

-

-

-

r

ç.

_,

GM7

-

1

-_,

.,.

1

-

1

3 r-

1

r

--

,...

1

Bm7

_..

w

--

Em7

"" -..- v"" ·----=

-

-·

~

D7

Bm

. .. " ..

ur r

A

26

F# 7

l.f

"

r-

E7

e#~

LI 1\

-

11

..

Ti-

-_,

.1

1

1

-

-

CM7

j

FM7

a.,

.~

I ..,

··-

1

t.

,

..

--

I L" •

/

B7

-

1

-

1

.....

r

-

-

-

Jrtl

"'

_,

.....

G

r

-

.. _,

-

' u

·~· li

t.

~

\

/

"

-

,_.. f .

.w

_,

-

G6

I"'\

-

11

..

..,....

--

-

-

,_

1

;;;

1.. V-

r.

LJ.

-

~

.-

- ..

1

-

"~

.~

....

-

....

v-

~

-

~

1'-í

--

.-

~-

~r

-

~

Eb

'

"'1 ...

-·

~-

Am7

A7

-

1

'

- - - -

....

1

1

,

H
Em7

...

1- ••

'--r

"

tt-

~

1

,,,

,

D

~

D7

1

_,

,,

l

DM7

A7

Em7

..,,.

_, -

D7

G6

. ..

D7

~

-

..., J

- -~' 1

~

- ....

,.1

A

...." 1

--- -

.. .... ,. ~

,.....----....

1. -

-::

r,

~.

.

4<•

' " t)

-

"..

.

----- - -

-

- --

"7

~

..·..-

-

.. .. --·~

1

1

- ----

.. - -

C°"t,,..~

_,

1

"

...-

-

IA

U

u

..

• '

-.J

........... ""' - I•""' /

-

1

Am7

E7

-

~r

-

1

....-

-

'e;

~

~

-

- -

-

....

;

~

-6

~

"" "O"

G

e

1

1

_,

1

'-

--

,..-

-

....

V-

1

1

Am7

.

..,.

..,,.

~

~

G6

D7

Inversions The preceding exercises dealt mainly with triads and seventh chords in root position. Any chord is said to be in root position as longas the root remains the lowest note, regardless of the position of the other notes.

'-*

root

~ ~

e

1_91

bs

b§

--e-

--e-

C7

C7

C7

e

If we move the root one octave higher so that the third (in this example the E) lies in the bass, then the chord is said to be in first inversion.

'

:§:;:;-z 2!

i

li

se

~

e

b('

b?

C7

C7

b~ C7

If the fifth (the G in a C major chord) is in the bass, the chord is in second inversion. If the seventh of a seventh chord is in the bass, it is in third inversion.

2nd inversion

b-'l.

-&

28

'

szz zr § e

li §

:

e

e

.-

1

.

D7

1

- -- - --

-,..

1

-

·-

~

,

-

-

-

1

1 _J

-

-.

1 ~

li bté C7

§ C7

3rd inversion -&

li

b§il

b!

C7

C7

.

.1

1

......

,.

r

#

\~

,,..

~

( ~'., ....

-9

-

---

-

4

-

r

-

~

.....

r.-

1

1

-

~

~

-

r.-

-

(j

1

,.

-

19-

,_

1

-

,_

n

.....

r.,._ -·-

--f.:-

~

e..

1 (/

(j

H' "'

... ,__

. ,__

-

r,,,

I'

"-!

....... - ,. /

.,,

-

~

1

~

r~

1

r

ll)

UI

C7 _ _ _ _

CM7

~

"

v -

r~

1

e

..,.

--

.....

.,,,

1

"

./

1

',/

L -

--

r,,

-

r-

1

1

co

D#O

~

..-,

.. -

1

1

1

~

G7

-r

-

""

.,...

r~

-

r

~

~

-r-

~

r

r r

r

e;..

t

r~

""

-6

1,,

\

-,. /

1

-

1

r,,

r-

-

-

r~

r.-

1

1

*C6 (or Am7) - - - - - - - - - - Dm6

--

r• ~

(or B9S)

~

I

.., r,

~

"

"

r. r

r

r

e.

-6i

- r • /

\

r~

t

,_

-

r.-

1

1

-

_,

~

t:

-

r1

V-

.~

"

"

r. r

11-6

...

"''" /

~

r r

-

""

---

---

~

--'

--~

(or F6)

1

r

r~

,_

u

-

_,1

r.r.-

Am6

-

""""

-6

1

_.

-

..... ""'

1 r~

r•

1

Dm7

1

Em7 (or G6)

,.,,.,

77

(j

,

-

r

r

~

r.

""

r:;

n

,_

-

~

--

1

CM7

F6 (or Dm7)

29

I' ~

..

1

..

,_ ,

,,

_,

r-A r.J

r,1

r,,

-

1

t)

':,/

l

Dm6 (or B0')

~

'?;

V

,_

-

4" ·~

-

G7

1

·-

#:

>J

Lf

•V

-

-

--

.....-

..,-

_.

rJ

Dm7 (or F6)

"' ,......

-

-

1

1

-

~

-

~

~

1

J

---

----

--

'-

r.

"'

(.;

'

~

e;.

---

..1

'"'

-

~

(

1 ~

,

.

1

_,

r,1

-e-= V

C6

-

C7

,., F6

" r,

Fm6

-.....

e

·~

V

F6

CM7

*Notice that this chord can be interpreted as a C6 oras the first inversion of an Am7 chord. Rule: Any triad with an added sixth is the sarne as the first inversion of a seventh chord with the root a minar third below. C6 = first inversion of Am7 Dm6 = first inversion of B ~ G6 = first inversion of Em 7, etc. Only the diminished seventh chord is said to be always in root position because it consists of three superposed thirds which divide the octave into four equal intervals. Thus, each member of a diminished seventh chord can become the root.

equal intervals: minar third

30

~

-

--

- --

- --

--

- -

-''

'

1

1

' --

---

, • Ili

"

'/

-

1

1

- -- -1

_,

1

CM7

--

1

1

- - -

I 1

t.

: '.

/

\

~

FM7

B $ll

~

"')

".J

-

-

-

....

li

- ,...1 ~

V

t)

-

,-..

~

11

-

1

-

-

1

1

_,

-

-

~

- -

-

,_

1

1

-

1

1

-1

/

- --

li

"'

I

li

r~

-- -

u

1

. -,,

-' . /

~

FM7

--

--

C6

Cm6

G7

1

~

1

1

-

,

1

...- -

_,

-

-

1

_,

- -- -- -.:..

1

<#.

".J

--

--

B s6

Em7

,

1

1

~

-

-

~

r

Am7

-

-- - ,...-

~

- -

~

1

lrJ

,,.,,

-

")

1

1

G7

-

,_

-Dm

-

r

--

----

-

_,

-

-

_,

-

-

'

.. ---

-

' ,,

r,, ,_ ,_ ""'

_,

,.

-

DO

- -

--

E7

1

"

Dm7

1

BJ1J"

_,

~

•- - -

.fL

-

. ,,..~

~

Am6

...-

--r-

""

~

1

....-

...

---

CM7

~

1

1 ---"

,_

,

..,.

~

u

.

Em7

....

E7

.,

-

/

----

,. - - - • -

,

- .-- - -

".J

-

~

Am7

Em7

G7

~

--

a-

~.

-

.-

-

~

. ,.

I

--

,_

...:~

" t)

,

-

1

--~

•

li

-

Dm7

Am7

-·

1

.,,,, .

,

Am7

----

-

-~

.. _ - v,... -

r-

1

n

hn

.,,

.,,

CM7

C7

-

---

1

1

--

1

-....

n

Dm7

G7

~

-

u-

--

~

-

....

~

31

-.

I

. •

1

--

, ..

1

•

1

h .....

~

..........

- ... --

-

,..

-

h,,

.....-

--

.

,1

-

~

11

,_

, .J

,..-

-

1

v -

'.J

/

• b.

- -~ 1

.-

~

.. -

---

B~

1

-

4l)

co

FM7

C7

.

" "' ~

'~

B95

F

'

1

1

..,,.

•

-,;

"

Am7

07

G7

Fí

C7

-

-

'

•

·-

1

E7

-=e

-

~

1

...J

- '-

-

... ,,_

1

... -- - - - - -

...,

1

...

Bo

3

..

-

-

.,

r, ~

~

C7

-- -

-

-

- - -

r-

~

1

1

-1

--

1

.

,_,. /

1

---·-

.'1""'-

G#o

G7

tf-

I ;

-

.

·-·· /

..J

n

-

.....

-

•

1

-

--

... .. n

'··~

,

,

-

n

-

---

-

1

...J

'l

-

..J

....

Om

G7

!l

- -

•'

tf ....

"

- -

hn .,,..

,_

C7

F6

-

--

Lv ..... ,_

-

-

'-

1

'

~

---,.. ,_

1

Fm6

1

~

--

--

-- ,. -

07

A7

~

:--..

. -·-.....

-

-~

'_]

~

... .

•

........,

r.1.

.,

G#o

~

~ 1

'

-

1

CM7

32

1

.. --

',

.~

/

,......,,_

,'

C7

...... ..

Am7

1

~ ~-

-

1

- - -

r.1.

--

""

.

e

r"""'"......1

~

. " .• " •

.,

r, r•

G7

-1

1

.H...

~

•g• ...

-- - . - .. u

~·-

-

~

'

-:;-:;

"

1

-,..

-

-.

-

1

,_

'.J

1

07

G7

C6

11

s The • e s always has played a prepon 'eran- .• e Jazz arrnony. This 'e ·:o not new; ir was first describ ed in 1728 in a German theoretical book, but had alread: been applied in seventeenth-century compositions. The circle of fifths is a circular arrangement of the twelve keys in such a way that the number of sharps in the key signature increases clockwise, and the number of flats counterclockwise. After twelve steps the initial key is reached again. The sarne principle is valid for the minor keys, but the starting point is from A instead of from C.

sharps

Every musical composition consists of harmonic progressions arranged in a certain way. J azz uses primarily patterns based on the circle of fifths in a counterclockwise direction. ln other words, the C chord is followed by t he F chord situated a fifth lower ( or a fourth higher) , followed by B~ , etc. The next example shows this design.

bo

etc.

The sarne design can be arranged in a more practical way, i.e. moving from the C a fifth down to F, then a fourth up to B~ , then down again, etc.

bo o

u (1

...

,

ln this way the design is sgueezed within a narrow are a of the keyboard easily reached by the left hand . But it becomes almost impossible to play when chords are added to each root. Parallel dominant seventh chords built on the circle of fifths look like this.

bi ~: C7

1 F7

~tt b~ b~ Bb 7

Eb 7

Ab 7

bbl ~

etc.j

D~ 7

33

By playing alterna e :y tne root an - e se-.·e - o- o third of the following chord this progression is simpli-ec.. seventh on C7, the circle of fifths can be played this way.

5: bü C7

s F7

t:

!JB Eb7

Bb7

t;:: Ab7

bS Db 7

t: Gb7

ijo

#s

#8

-&

B7

qo

8

"O'

E7

G7

D7

A7

If we begin with a third instead of a seventh, then we arrive at the following design.

~:

# C7

l>eo F7

bft

b.c.

"''

Eb 7

Bb7

b-S

b-e-

Ab7

Db7

~o

bbs Gb7

:

#B

B7

E7

qü #s

ij:

D7

G7

A7

Note that in both examples the top voice moves downward chromatically, i.e. by half steps. It is of the utmost importance to memorize these patterns which appear frequently in jazz tunes.

12

C7

Ab7

34

F7

Db7

C7

G7

F7

C7

Bb7

FM7

Eb7

D7

A7

..,

..

1

--

.. .... v-

u.

-'"

-

- - .,-_. _,

_,

-

- --_,

*bY. •

~

/

__,:

h")

-,,

J

-

-

...,

e

Gm7

...,

Eb7

-- - _,

--

--

o

•

-

~

TJ

-

'1

Am6

Bb7

F7

C7

G6

,•

GM7

D7

... "'

""

V

!"'

1

Am7

BbM7

3 ~

•

1.

" _.

I-

.. hô

""

V

-

~

-

J

•

6

\

,1'-

- .. I1.,. /

-

-

--1

•

b

!".) ',J

v

.•

- -.... - -" tt• . Ci

Cº

L

~·

T1

LV

-

-

...,

.... -

1

q....

•

-

- . -....." ~---·

GM7

G6

. .... - -7J"'* 3

1

,_

a

,_

---

--

';

.,...,

-

í

D7

...

7J

1-1 --

~

Bbo

--

-....

--

h .,...,

co

-

H-61J

_,

" C7

-

-

'.,J

--

1

....

L_

-

Cm7

., '

1

-

1

-----------

cio.. J

u

_,1

';

"'".1

Bbo

Am7

D7

35

J

...

~

..,

..

--

_,

- • - - ,, •

....

·-

•

19-

1 ,_

:

7

,_ ,...

-

~

...

b..

-

::

~

,,

---

rv'-"'

"*

1

L_ /

1

r,,

-

~ ,_,:

v ....

V.

-

-

-

-- - ----~

-

-

.

,

"'

G7

C7

F7

--

;:

Dm7

.,,

-

--

V

... r

"')

Ab7

..

#~ ~ ~ ~ ~

..

./

-,J-#--,J-#•

1

.:&

~

~

#~

• -; ~~ ~i

,,.. ...... -

.....-

rJ .

B7

E7

1

-~·

Gb7

-

.. - - - ---

~

_,1

,

-6

A7

1

_,

-

·-

'-'

..

o

-..-

(';

.. ""

07

G7

CM7

.C6

>j .....

'

- W*..,, 1

~

Db7

1

\J

'

-

-

r-

~ ~

' p-.. ..,.

... -

.....

1

Eb 7

Bb 7

D7

"*D-61-

1

-

•

h,,

-..

r!T

CM7 Dm7 Em7 E1' 7

G7

- - --

~

t.

1

..

- --


Dm7

---

~

--

... _,

Chromatic Alterations Each scale tone can be altered chromatically by raising or lowering it by a semitone (half step) . A note preceded by a sharp ora flat is an indication that this part icular note has been altered. For instance, the symbol ( ~ 5) under a chord means that the fifth of the chord has been flatted ; the symbol ( 5) means that the fifth has been sharped.

#

' 36

§

~ii

e

•ii

C(b5)

C(# 5)

1 1

1

!

o:=:

:e-

e no.:e i preceriecf :· a ~...p or .: a- . a .: at ninth is indicated this way.

C~

5( b9) or C+( b9)

Sometimes a note is momentarily suspended or replaced by another note. The 4-3 suspension is the one most frequently found in scores; it is marked as "sus 4 ."

&

"° ·t

~

e sus 4

e

By sharping or flatting one or more notes of a chord we obtain altered chords. The most common altered chords are those built on the II, IV, V, and VI degrees of the scale. Thus, through various alterations of one or more constituents, we obtain the following chords built on these degrees.

' ' ' '

u Ilm7

117

H

"H

117(b 5)

117(# 5)

IVm7

bª"

#fi

bl

~bm

V7+

Vm7

IV7

,,~

Il 0

IIM7

&~

"H

IVm(M7)

IVM7

##9

##H

#&H

#H

1,b~

IV 9f

IV7(b 5)

ttm

~

bB

V7

V7(~

íl

#B

b

#b§

tt# íl

R#B

VIm7

VI7

VI0

VI( b5)

VI( +5)

VIM7

5)

íl

V9f

VM7

The altered domin ant seventh chord and its derivations (the ninth, eleventh , and thirteenth ch ords discussed in the next chapter) are most commonly used in jazz. Sometimes all the notes of a chord are raised or lowered chromatically, so that the whole chord is virtually transposed a semitone higher or lower.

'

#~

&t~

117

#117

gª'"

117

li or

tt b&i Vllfi

bVII515

37

Chromatic notes are not only essenria.i m crea " g interesting armo =e s: ? . · -- : can also enrich the melodie invention considerably. It is obvious that the mono-o;:i: o : a melody moving up and down the scale or in broken chords can be avoided by the use of chromatic tones. Here is the simplest way of doing it: Before playing the notes of a triad ora seventh chord, first substitute these notes with their neighboring note below or above, and then play the essential notes. For instance, the essential notes of the C major triad are C E G. Before playing the E (or the E and the G), we can play the notes immediately below or above. Instead of . ..

play

or

or

Chromatic notes can also be used to fill in the space between two notes:

13 ,, I .

•

..

rr.,.

Ili

-

...

'\LI

~ ,- 1 • ~

IMll ~

-· "" -

Instead of ...

play

Instead of ...

play

...-

-

'......

--

.....

_,_,_,,.,

.....

T

Tl

-

.....

-

-

...-

-

38

G7

...-

-

-- - -.....

1

,., '.J

-.-

CM7

FM7

·~

1

Dm

-' ..

~

~

1

...-

-

.

...

,. ~

•

~

'

,

...

L

..

..

~

- --

~

-- -

h ".J, ,

C7

-

·-

1

·li

BbM7

- -

_.,_.

·- ,....- - - ·-

-_.

r-

,

~

...,

._,

,"'

"

c#o

Dm7

G7

~

.. n

._,

- -- -- - - ,...- - .. -..., -,

--

,_

~-~

.....

1

-

.

~

, , ,

1

B~7

G7

--

C7

Bbm7

CM7

FM7

AbM7

Ab6

F7

Eb 6

Ab7

Ab7

Ab6

Ab

G7

G6

G 39

~

" . .,

u

li

'

-

-

.- - ·-

- - ·-

i

"

li

,.

n

-

•

-"

-- --

-

-

-

- ---

. -_

--..

~

.~a.

,., ' ,_

""1.-

/

.

',I

~

~

- - - --..J1

,

·~

_J

-

,

~

-.!

- "- _J

-

1

~·

"'. /

~

-

!'=.

-

""' -

...

FM7

.~

-- --

,--.__

~

:::::--

,..-

~

~

'

.

~~.

- ... "~

I

/

.-

/

-

~

t.

,L"l.o

- '.

BbM7

/

,

;J-

~

b--

-

........-

--

-

•....,...-

... _ ......

-

,.. -

:u ,_

- 1

1

.

-

---

:u

1

---

1

~

1

1

•

.,..

1

-

lo-

~

- -- .. -

1

l~~

.. ~~

#-6ª

~

~

G f6

Gm7

...

Bb mó

- _,

~

1

V

Bb m7

,__.,ii

.

~~

FM7

b~

-

-...-

~.

1

, IJ'

G 9l

D7

F# y6

.

Am7

Amó

,_

1

-

IL

•

.....

n.

Dm7

Em7

Dm7

CM7

-

.

..

1

...-

1

CM7 40

-

.. -- ..

...

-

Gm7

I~

,._

~

~

G7(b 5)

Ir<"

~

-

r9-

h~.

,, "'

-

Gm7

.. ·- ·- -- ......_

'.

~

B7

n

t.

,

:u

l

Cí

D7

1

,. ""

...

.. ....- ..

-

-

Ir ,J

'

,

-

-

ir,J

-'

D7

~. -

l,,..,

'7

~

/

- ......

""' G7

1

1

li

:::>-

_,

rJ

A7

E7

- - --- --

..

-...,.

1

1

B7

" "

... b19-""'-

r,J

',J

.......

- , •

--.

~

'

-

-

-

-

.

·~ r •"

.

.

•

e e

e

o so

e

ord

T e Ninth Chord ln the preceding chapters we explored the fundamental harmonic system of western music, namely the so-called tertian harmony. ln this system, chords are built by superposition of thirds: a triad consists of two superposed thirds, a seventh chord consists of three. To achieve more variety and calor, more complicated harmonies can be created by superposing additional thirds on the seventh chord. A chord that consists of a third, fifth, seventh, and ninth above the root is called a ninth chord (9) . seventh chord

triad

'

!

ninth chord

i

l

17

19

The ninth can be superposed on the five types of seventh chords we already know: the major, the dominant, the minar, the half-diminished, and the diminished seventh chords.

'

i M7

bi ~

b~i

m7

0'

7

bbfi o

By adding the major or minor ( flat) ninth to the root of these seventh chords, we can obtain the following ninth chords.

CM9

C9

Cm9

Cm(b 9)

Cí69

Cº( b9)

C9(~ 5)

Cb 9(# 5)

The most frequently-used ninth chords are those built on the dominant seventh chord, i.e. the dominant ninth and the dominant fiat ninth chord. A chord often found in sheet music is the major triad with added sixth and ninth which sounds best in the following two positions. I

,.,"'"

--

'~

e.J

-' .. /

\

.Q..

~

~

1

.., &•

e~

(~)

-&

or &•

"'-"

e~

41

Ano- er cno ninth chord. This chord g· ·es -· ~ :..... simultaneously. Actually, the augme appoggiatura of a flat ninth chord.

appoggiatura

augmented

~

resolution

~r,J)

9th

bll C(~9)

C(b9)

F

This chord is always used in root position and without the fifth, G. It is extremely difficult to play a complete ninth chord with one hand. For that reason, one or two of its constituents are omitted, usually the root and/or the fifth.

root omitted root and Sth omitted

Sth omitted

Note that the ninth with the root omitted sounds exactly like a half-diminished seventh chord. It can be interpreted as the seventh chord of the seventh degree of the scale (VII t> ). ln traditional harmony, the ninth chord was used sparingly and only in root position-the ninth had to be in the upper voice, and the two upper voices were not allowed to form a second. Jazz musicians are not preoccupied with these outdated rules. On the contrary, the history of jazz is intrinsically connected with the search for a richer h armonic vocabulary. The avant-garde musicians of today went beyond the realm of tertian harmony, exploring quartal harmony, atonality, and dodecaphonism. Inversions of the ninth chord are obtained in the sarne way as triads and seventh chords-by moving each constituent an octave higher consecutively. 1st inversion

2nd inversion 3rd inversion

4th inversion

~b~ z

42

Gm9

G9

,.,

..

~

-

1\ 1

tJ

btf -

·- '.

-~

/

:;;

-

~

--

1

.....

-

1

1

.....

.....

-

"# -

1

-

~

1.

-

-

~

.....

V_.

1

- .....

.....

-1

1

.....

- --

1

-

.....

-

-.

1

'

1

1

F9

Gm6

C9

~

_ _ .. :S:

,..

~~

~

~

IL'°' •

-

-

~-

~-

.........

.,

%~

W:§

;

-1

,_ '.

- - ·- - - 1

'

/

•

-

1

,_ --' .,_

L..

v-

1

F( b9)

Eb 9

D(# 9)

Gm9

DY

.....

-

... - -_,

-J

b ..

-

=

b"I

'

1 n-

- - ·- ..,_

L.. .....

1

1

Gfi9

E9 43

.

,, I'

I

~

1

..

1

_,

1

....

--

-

-

- - - - --

1

r' • /

:s

~~

-

if ...

_,

- - - ....____.,,1

_,

....

E( b9)

.."

btf-

-

~·

t

n

,,

..

1

1

_,

-

A9

_,

t~

-

~

...... v-

-- - -- -- 1

1

_,

C9

~

., '""'

-

bvt:J

tJ

OV

-

#

-&

#-e-

1

-

..

--

L'o /

...-

-J

....... V

-

_,

_,

-

....

....

-

B9

!

~

-

--

'-

--

_,

-

-....

- --- --....

"111

D9

C(~ 9)

l'i

,_

V

-~

1

.. •

F9

-

....

1

- - - - .....

r' •

-

bi

#H~

~

/

-

1

Ab9

.. ... _

,.

V

_,

Eb (b 9)

C(b9)

/

o..

-

1

~

- -

1

-

~

1

- ..,

-

-,;

- -

-

-

,.... 1

DM9

Eb(b9) 44

-

-,

- - - .., --..__.....

Dm9

FM9

~

l

1

. br-

- '' .. /

--

1

-

-

- vr- -- - - - - br _,

1

Gm9

Gm9

Bb(b9)

Bb9

~

. •"

,.

~

1

,_,.

~.

/

---

L.I

ttr

t

..'

....

,_,-

1

EM9

r,_ ,_.

r

n

r•

_,

-

-

r

V-

e;.;

q~r

......... r.

AM9

Ar/J9

-

vf~

-

F(b9)

DM9

--

---

bf 1

~

r

V

e;.

FM9

Ab (b9)

~

-

"'_,, ~

1

V-

Ab9

-- ~r-

r.

Gb9

Eb 9

-_,

-·

TI

L-

--

--

-

-

1

......

r.

D(b9)

D9

-

..........

G9

9

A9

E9

'~

1

c6

G9

r~ r~

-

1

-

Dvf ~

~

-

"""" -,_ 1

1

45

,. ~

... .., -

r

-..

-

~

,

r

"

- r

._,

.-

.,

1-.

CM9

r.;

·~

,,

,,

-

.,

••

n

1

-

~·

l ~

-

,. ,

ILI'

_,

- .. ..

~

/

,~

..

li

~

...

_

,_

.-.1

"í r.1 1

E9

Em9

G9

C9

'

vr •r.1

"'

l -

-

-

-ri-- -

1

1 1

r~

n 1

1

J J

~

1

Eb(#9)

Dm9

G(b9)

e$

By superposing another minor or major third on the ninth chord we obtain the eleventh

and the augmented eleventh chord.

46

1(#11)

' '

G( b9)

G9

Eleventh and Thirteenth Chords

I 11

.

,_

,_ "'

F(b9)

l.

-

,~

--

~

'.I

1

-

""""

~

A(#9)

.-

-

.,

r

'

...

~ -

--

FM9

1

-

-~-9-

L_

~

3 rr-,

'

1

!./

Bm9

D9

C9

..•

-~

-~

L-

--

~

-

r

l l·

-

n

....

.::-

.,..

-

'

=1

s§

CM(~ 11)

Cll

-&

bb~

~ bbij C~ll

Cmll

Coll

Thirteenth chords are created by the superposition of another major or minor third on the eleventh chord.

1 13

I(b13)

It is obvous that the more notes we add to a chord structure, the more cumbersome and unplayable it becomes. The inversions become also more and more dissonant because of the closeness of major and minor seconds. For that reason and in order to gain clarity, the unessential notes of the chord are often omitted. The next example shows various types of eleventh and thirteenth chords with omitted notes.

Cll

C(# 11)

Cll

C(~ 11)

Cl3

C(b 13)

Cl3

C13

C(b9)13 C(b9)b13 C(b13)

C13

15

C9

-" .' 1

1 1#

~ .;

-

/,_- ,

--

l'I~

-

~""'"

G13

Bb9

F13

r--,

---

-

-..... -- -

~-

~V-

~ LY"

.. h....I

Cm9

.., ~

'"f

"~ -~

.'--- L-9'"

•v~

1. ..

1

..,

Ili

..

u ..

C09

... '

.., ~

".J

·~

47

..

'.

/

'7

r

.,

·-

~'-../

.,

r

D•

... -e·.,

•

141

-

.....'. '-

'

/

,..,-

.

J

...

_.

1

" F13

C7

r

t F( b 13)

t Fm9

B(b9)

.:

l

,..-

-

'- -

LI- • 1

~

1

,-6

-

Cm9

..-, l~

-1!

-

r

t

E( b13)

C( ~11)

G(#9)

C9

•.....

,_

C13

D(b13)

A(b9)b13

,

r

.

,.,

C(# 9)

L-6 ,_

-

~

-

...

""

-

1

b~

~

-

h.....

Db (b1 3)

..

1

-"

1

~

E9(b5)

V,_

-

t

48

..

-

,..

,,, . 1~

'

-

""

Gl3

D(#9)

A13

1

...,

Fmll

F6 9

.,. " - •

..

i

Gll

e..

F( b13)

J

-r

r

....

,

~

"'

-

---,

.- . .- - ---'- - - 'r

,,. ,,,,,

/

~

~

r

M

l

D

Eb6

F#13

r

-,. t -

Db (b9)

F1 3

b

í

.•.-

~'

"'

- -

·r --

t)

1

--

./

ifi

:!7 1

.. ...L--.,.,--

-

_,..

.-- ---

- -

~

"'[!

1 1

.

..

-

r

..

1

1

1

1

1

L.

....

,,

n

' J

1

•

-

...

=

-_,

-.

.-1

1

--

r-

l.1-

_,

~

1

-

-

._,_

- l' r

_,

-

-'"'

rJ

1

1

... . ....1

1

CM(ij 11)

D13

1

u

Amll

F(#ll)

,.,

-

,...

1

1

Eb(#ll)

1

1

_,

r

• ...

,_ '"'

ºf

-·-

,_ ,_

rJ

-

L

......

--

u u

•

.,

1

~

-

,_-

.. ....,...-

-- - 1

"""

~

'""'

--

- --

--

r

LI ~

n., n.,

~

1

.-1

--·-

..... ,

-••

í, .

"

-

h.

-

1

... .... ,. "' v -

1

_..

~-

./

1

-

-

--

1 ~I

-'"'-

:

F(# 11)

G(#ll) Gb(Pl) F(#ll) E(#ll)

~

1

--..•

~,_ -

Gb(# 11)

I

---

Cl3

r ,A

h.

L~•

./

.-. - -/

r r.

--

;

r

1

V

~

r

~

Amll

' ~ ...

.. --

"J "J

-

~'--1

--

-

_,

--

.àZ.

-&

--V

1

L• L•

....

1

Dmll

Substitution Chords Every triad containing two notes in common with another triad can be used as its substitution. substitute

'

§J e

substitute

li

[§ Em

:§J

E:§:

e

Am

As we can see from the above example, the root of the substitution chord lies a third above or below that of the original chord . The sarne rule can be applied to seventh chords, in which case the two chords must have three notes in common. substitute

'

JJ CM7

[I Em7

substitute

li

iJ

[!

CM7

Am7

substitute

li

iJ Am7

[i FM7

49

in erpre e as a o i - o - a o:: E::r: - ::iC 9 i - o - mo - . A frequently-used substitution chord for an; do inant se..-enth chol' minant seventh chord wh ose root lies an augmented fourth (or diminished fifth b e o Thus, Db 7 can be substituted fo r G7, al though in their unaltered form t hey h a,·e only two notes in common.

G7

Db7

If we flat the fifth of both chords, then we obtain two identical chords, although with different spellings. ~

i

"

"~

' ,

~

"D"

..

~

~

-

~

~

'~~

-

~

G7(b 5)

Db 7(b 5)

16

Em7

GM7

...·~ 1

.. ,

i.

....

ici...

1

-

50

""

~

r-

e.

- --

<..

-

-=

~

1'

........

1

....

-

1

--- -

&•

.

""",

.

""",

Am7

Af>

ª'

CM7

~

-1

1

;:;...

-- ....

1

-

-

.

" ,e, -.-.:

1. :::--

1 ;::;... n -

'

~

r-

~

r-

....-

- u=.:-

GM7

D7 ( b 5)

.. - .. . .

, .....' ,

J;

1

11

.,_- ' ,

1

.

.. •·...- .

-

-

,.,

1

r

~ ...... r

J

'

. .--· _. -

-· 1

,ga.

..~,_,_

G7

n

B7(b5)

DM7

Em7

Dm7

1

D7

b'.fl-· L..

-

v ... I

"

•• •-

;:::...

.. -. ".. ,

D6

.

-',

IJ

qa.

e

.. --

,_-

Ari

Dm7

G7

C7

·~

E9f

E7

B .0

Bm7

Db7

b~

"~

CM7

Esus4

7

E

Eb7

Dm7

CM7

C6

ba...

Am7

Am9

D7

F(# 11)

'i 1

D(b9)13

'"

1

·r~

1

-

...

~

...

-

1 •

.w

., '.J

/

1

e

Ab9

G7

3

3

,.

~ ~

B.r6

B(b9)13

1

- H•

1

1

_, L

1 ~

-

v-

"

•

1

_,

-

1

--

1

1

-tt•

-.....-

:

- CM7

-

3 1

-

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

-- ,.

1

1

1

·-

'"

r-

LI'

1

1

E7

A7

Eb7

.

J

D7

,

;

T.J

Ab7

GM7

11-V-1 Progressions All compositions contain certain harmonic progressions called cadences which occur at the end of a section or a phrase. A cadence conveys more or less the impression of momentary conclusion, depending on the kind of cadence and where it occurs. Before 1600, the most common cadential formula in music, especially in Gregorian chant, was the descending motion II-1, which was then replaced after the seventeenth century by the II-V-I progression. The frequent use of this formula in classical and in popular music is due to the fact that the roots of these chords are a fifth apart, which results in very strong harmonic progressions. (See the chapter on the circle of fifths.) Jazz musicians achieved an amplification and embellishment of this simple design by introducing all kinds of ninth, eleventh, and thirteenth chords in the 11-V-I progression. The examples below show first the simplest II-V-I progressions followed by more complicated harmonic structures. Play the examples as written, then transpose them into the remaining eleven keys. 52

1

.-., .

3 1

B.r6

E7(b5)

..... -

TJ

!-.

C6

_,.

-

..... .

G6

"

......

~

"

ll"Y ~

-u

u

....,_

.u

..,,

. .,, .u. ,,

-

, .. Dm7

G7

,.,

"

. ~~

.

,. -

'~'. /

.,

"""'

o

o

~

-

n

-

-e-

-

~

/

..u....,_

Dm9

..,,

C

Dm7 G7

.,

--

..,,

-

-

....,

,.,

G13 CM7

D ilJ

C

G7

..

CM7

Dm7 G(b9) CM7

., ....,

L~

-~

...,,

~

"'""

Dm9 G13 CM7

.,

...., .

Dm9 G( b9)13 CM7

"""

"'

~

"

Dm9 G13 CM7(9)

e minor

D95

G( b9 )

Cm6

Dfi'J

G(b13 )

Cm6

016

G( b 13) Cm6 9

53

17

Gm7

,,

I 1

-..

....

LI

,

'1 1

'•

- r •

\

/

-

·- qH H 'r· ..

"

~

"-

-· ,_.

.

1

V-

DM7

rJ

- ....

-

Bb 9

Bb m7

Eb(b 9)13

'V

r

'1

-' . k

-

.,~

~

r ~

•

--

~

1

Db(#ll)

AbM7

V

··...

- ,.

-2-

-

1

-

.

1

- -'

l l

-

~

~,

.

:3-

,_

h

/

,

~

..

,_ '

V

F7

Bb

-

- - --

~

1

1

~

1

- .. -·· /

L_ .... ,_ vi-

-

Bbm7

54

r-

,.,-

~

Cm7

1

~

1

--

k

r,1

..--

1

3 1

~

~

~

1

-

1

&,

FM7

- - -· 1

-

-

1

"'

-

1

-'

~ v -

1

n

.,

Gb7

1

'-V

- -

-&

... _,

•

=

~

k

1

Gm7

•

-

- ,_ r-

1

- ·-

~

... _, v-.-,

~

;

-

-

11

.__-

1

~

_.

,_

'J

#.

I

- ºt

~

'r'J

-

~

-.. ' ·r ... -....,

r

-

,....,

-

_.

rJ

·-

r-

~

1

,

A(b9)

l....,

L-~ ,_

V

-- _

Dr-

'

r,1

~

r-

,_

~

E 91

BbM7

FM7

C9

---

-

Cm7

- ·k

v ..

"'* --

---

-

-

1

AbM7

·--· - ,k_

~

-....

-

-_. -

J

-

••

BbM7

Bb 6

_.,

_. . -.... - -

T

rJ

-

1

v-

B7

k

tt•

1

..

~

l

1

~

1

V

Eb7

-

....----...

TI

,,,,,

1

1

" 11

1

-

0-

1

- '-

r -

~

-

-....

- ---, "J

~

Gm7

1

C7

•

...

.....

FM7

,.

~ h

r

' " t)

\

,.

/

_,

h

-

_,

.··- ·-bf

- ·v-. ,,

_,

ll.. _,

í

1

-

e;.

".

-

1

3 h

'

t)

,.

\

B7

r

. h

~

u

vr

_.

...

-

i

. .,. C9

Eb

C(b9)

A~

- r-... ·-_,r_ r "

A7

_.

... -

-

-

1

r.

1

D

Dm7

G7

Ab7

Gm7

3

1

- -- -

-

C(b 9)

1

....--

A7

Em7

~

~'.

/

F# m 7

Db 7

1

_,

1

Eb

Ab m 7

~-

-

·~

1

F9

1

·~

G9

D(#9)

r,,

--

-

h

...~r

r,,

_,

r

'

Eb (# 9)

E(# 9)

Bb(#ll)

D7

(b 5)

Gm

-

- --

-

ºj

-.J.,.

LJ

F

Fo/C

Eb

V

•

- --

r ~

-

r,, 1

Gm6

Gm7

C7

C9

-- - 1

•

~ V-

i

•

--

--

'r,,

F7(b 5)

F6

FM7 55

Harmonic Patterns We have already discovered that the progressions following the cirde o s counterclockwise are the strongest. Thus, the harmonic progressions from one chord to another whose root is a fifth lower is a strong one and one which is most commonly used in classical and jazz music. N ext strongest is the progression to a chord with root a third lower. ] azz musicians also often use another harmonic pattern-descending or ascending scale progressions. The pattern 1-II-111-IV is a diatonic ascending pattern because the roots of these chords succeed each other on the scale. If the chords move up or down by half steps, then we obtain a chromatic pattern. Frequently-used chromatic pattems are: III-b III-11-b 11-1 II-~ II-1 I-# 1-11-# 11-111 A diatonic pattern can sometimes be interrupted by a chromatic progression, resulting in a mixed pattern. 1-11-b III-III or 111-11- b 11-I

18

e

Dm7

Em7

FM7

b G9

F#9

C6

56

Cm7

Fm7

Em7

E7

Ebm7

Ebm7

Dm7

07

C#m7

Db7

C7

i>

_.

"·.

1

--

.-

-- - -

,1

-

e)

-

.,

_,1

·--

~

~

4 ' ~·

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

,

i... _, V-

~

..,

1

..

bro

1 r,1

.,

FM7

Cm7

~

~

~

. ..

~

..

1

. 1-

\..

-

-

'

..

..,,,_1

1

v,...

--

/

1

&,

,....

____.

1

b_o_ Ebm7

~

~

\

,..- V,....~

.. --

·~~.

9

~

..,

.., I

- -

~

-

- - ·-

-

.... ......

e.-

v.-

-

1

bi9' ...... " ""

--

_,

H*

1

hn

.

1-.

.....

.-

-.

.-

-

-

"

--

-~

Eb7

E7

.. - -

_,

-

-- -_,

-

_, -

....-

n

....

Bb 6

C7 sus4

~·

L -· ,,..,..

,,

·-

r-

Bbo

A6

C7

Ao

r1

F6

Ab6

rrrrrrrr G6

G9

e

Dm7

v,..._ •

....

1

1

D7

.•

1

ba

,. a

- -

~

-

1 ::::>--

-

-

1

F+(# 11)

,_

--

...... ,_

1

H,._

-

&~

. ··.

r

D+(# 11)

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

~.

-

~

1

F6

-

T

.-

u

I

~

r ., .. '"..·I

~

,

."""-

' L7

Abo

li

- ,..., ~ í "

1

"t)

, '. /

'

r r r r r r ... .. 1

-

ho

·-

- -- - - .- - ·- --

~

-

1

J',J

07

e

Ab7

' 1

-

•r~

_,

~ ~

1

V

... ,,. --

1

Am7

Am7

1

~

1

e

1

... -....

r ,J

Em7

,~

--

~ w

-

-

~

-

--

GM7

G(b9)b13

ob (# 11)

Có

Scales and Modes Modem jazz musicians try more and more to expand their harmonic vocabulary by exploring unusual scales and modes. This chapter deals with three of them: the whole tone, pentatonic, and blues scales. The whole -tone scale consists of six whole tones equally spaced. ln can be derived in the following way: by superposing an augmented tr~ad over another augmented triad with the root a whole step above, we create a tone cluster containing the six notes of the whole-tone scale.

$

Üf

ij#§

C(# S)

D(~

11

nnl11§

J J J #1• ,J i;J

S)

This scale can also be derived from an augmented dominant eleventh chord wit h augmented fifth, whose constituents succeed each other in stepwise motion.

' 58

&li C+(# 11)

J J J nJ nJ br

o:e--o e

on

- o-

es.

e

'

e -

e ::

o

- e o::.. ers ..re o

on C#

J J

J #J ttj ~J

li

J

j

#J #J wJ

r

Because of the lack of semitones, any one of its notes can be considered the tonic of a new scale. The notes can be arranged vertically in different ways, thus creating interesting harmonies.

These evanescent harmonies convey the atmosphere of vagueness, enchantment, haziness, but their prolonged use can also create monotony. The pentatonic scale is another scale used both in modern music and in jazz, although a considerable number of Gregorian chants are pentatonic, as well as many melodies of ancient cultures (China, J apan, Africa, etc.). The pentatonic scale is sometimes called a "gapped" scale because it contains only five tones to the octave, creating gaps in the se ale. There are two basic pentatonic scales: with or without semitones. The scale which does not contain semitones is called tonal pentatonic scale. We can derive two varieties from this type of scale: one built on the major, the other built on the minar scale. major

'

mmor

-&

o

:

t;

õ

(ô) -&

gap

gap

,,

bb

~

(o)

gap

gap

By starting each time from a different note on the scale we obtain the following five modes. major tonal pentatonic scale ' mode 1 mode 2

ºª

-eºº

mo de 3 o

"

o

li

e e

mode 4

"

"

e

li

e

o

mode 5

"

e

'' li "

"

o

41

o

minar tonal pentatonic scale

' m::: ., ee11:: b

mode 4

mode 3 2 .,

0

be

o

li

D

0

ba

"

b"

li e~ª

o

bo

o

mode 5

be li

"

bo

e

o

59

The semi o :i.. pen· -oníc sc.Le co sem ·-o,.es _ ~~~-~ sixth (a), or the second and the fiftb degrees of the scaie (a)

'

semi tone

;

-e

semnone

;;

z

e

(aj

(b)

semi tone

li

~

-&

serru one

z

"

(2')

Five modes can be derived from these two scales in the sarne way as from the tonal pentatonic scale. (a) mode 1

mode 2

li

(b) mode 1

'

e

"

e

e

li "

"

mo de 2

.,ell

mode 4

mode 3 e e

mode 3

(1

" li

e

mode 5 e

" "

e

li

e

""

e

mode 5

mode 4

.,.,.,

p

e "

The blues contains a very characteristic feature, namely the so-called "blue" notes. These are notes (particularly the third, fifth, and seventh degrees of the scale) whose intonation lies between the major and the minor pitches. Our notational system is not apt to notate correctly these subtle intonations; in the score they are indicated by flatting the respective pitches. Thus, in the key of C, the E, G, and B would be replaced by E b , G b , and B b . Sometimes the E q and the blue note (Eb ) are struck simultaneously on the piano, creating the characteristic sound of blues. From the combination of blue notes and the scale notes of C major an artificial blues scale can be created.

"

be

qe

"

By omitting one note of this scale, we derive a second version of the blues scale. Q

This scale consists of six notes and has only one more note (Gb ) than the minor tonal pentatonic scale. It is frequently used in blues performances, especially in descendíng from the hígh e to the low e. The next exercise deals with these specíal scales: the whole tone, the pentatoníc, and the blues scales.

60

o

At/l

A6

~

I

~

~

-·H

·-

.. -

~

~

---

-

~

... .-_

"

-~

- - ....· .__- ,_ - -- - -- ~

-

..........

•

.... b.-..-

~

~

.. .W l lf

-

.. ·~

~

,..

"

""

• r-

r-

-t

b-1

..

~

C7(b 5)

B7(b5)

b Db7(b 5)

D7

D7

G

C7

F7

E7

~

~~

3 L

C.....•

-

-....._;/

--·· . /

3

l.I

G7

Eb7

C7

1

07

A7 pentatonic - - -

Bm

07

E7

A

.,

3

... 1

~'

. - ..... •

u !t

.... ,.. '

/

. ""' •

,,

. , ,l f

-- -1

1

1

1

,,

~

r

--

1

"

11

,., ,

r,J

1

--r-

1

62

Bm

1

'

"1

-

~

-

3

- - -- - r 1

1

"

•1

1

... - l

-r

1

C#m7

OM7

E7

A6

A<;lJ

Eb7

E~

Bb7

_,

•

..

,,, ..... ,._

-

~

~

.. _

-

._.,.

- ~·

itJ

•

.-"

-

J • /

"

.... . TI

-

--

------ - .. _'f

-~

- ~

_,

1

--·. - --- - - ... • ~

-

-

~

,

-

'~ ---

r

3

3

""

,,,

~

..

-

3

(,2.

-.

.,

____ ..,._.,...

,......--......""

-~

-. ~

Q

AM7

Bm7

Fttm7

E7

pentatonic- - - - - - - - - - - - .

A6

,.,

J.j

D7

-

H

.....

'~ 1

- - -

-

r-

11

V

~

~

._;________.;

lt

B~7

C7

-

- ......-

'

1,....... -

,,

1-1·

'

"

-til

-'--~,

-

-----.-11

b~

·~

1

AM7

A6

...

D7

1

- -- M

-

--

.....-e--

I~

h- r-

--

1 1.-

k-

Bb 7

~'

AM7

Swing Piano Style The swing era of the 30s and 40s is considered by many as the golden age of jazz pianism. It grew from the ashes of the dying ragtime of the 20s and faded out in the late 40s with the dawn of the modem bebop movement. Among the hundreds of piano soloists of the swing era we must mention the names of the great innovators who forged the style of jazz piano: Teddy Wilson, Art Tatum, "Fats" Waller, Earl Hines, Bud Powell, and George Shearing. The left-hand technique of the so-called "stride" piano consists of a deep bass single note struck with the fifth finger, and a chord situated around the middle C of the piano, played with four fingers. The following two exercises are devoted to this left-hand technique exclusively. ln the first exercise, the fifth finger strikes a single note on the first and third beats of the measure; in the second exercise this single note is replaced by a tenth or a chord. The second and fourth beats ( the afterbeats) consist of chords. Inversions of chords are preferable to root positions. It is recommended to place the third or the fifth of the chord on the top. The latter voicing is especially suitable for minor sevenths and half-diminished seventh chords. The diminished chord can be used in any invers1on. 63

'

~

El
b~

C'~

f f,e

C6

Crn6

C7

Crn7

e )ef

~

:1e

~ :i'

o

"

c o

The sarne chord on the afterbeats can be used with different bass notes played with the fifth finger on the first and third beats of the rneasure. sarne chord

5'$

J

t

J

t

1

J note

The above rules are not absolute . The student should use his judgment in deterrnining which inversion is the rnost suitable and sounds best in the given context.

20

J C6

~:

Ti J

Bb 7 sus4

;>=

~

D# 0

b1 bf ~ J la J Eb 6

Bb 7

D6

J9ü' J1

F#7

64

Drn7

Eb 7

E7

lbg

F6

~1

Ali 9

bf bJ

F#6

B7

1

:J

G(b 13)

E6

EM7

J Jf G7

14 Crn7

F7

1f

Frn7

#f ºf d 4

1

Db6

~, ttf n! if I; 1 1 lg ~J J J J

DM7

5:

C #o

A9

1

~J

Arn7

~ttf

f

C#7

ri 1 13 ~

Crn6

n:J

F9

Jf

J

ít) :

Bt>6

qJ

Bt>7

~1

D7

;>=

J

.

lg

J! E7

C-*

f

1

bd

l

71

-!

b1f

Ab9

~

1~1 lg

f

I;

f J#~

C#m7

A7

A7 sus4

1

b~ bil

tt"ft #J . FR 7

, g f IJ , 1

I; Dm7

A7

..,,

Eb o

C6

ttf 1 f 1 J 'J ! 1;;

Em7

~>

Db6

Eº

C6

Em7

{ .f"~

1

C6

Db7

Bm7

-: f

f

, rr f lg J ~

btr 1 J &J #f

·!

Eb 6

(b 5)

Dm7

~:

J:*

T

'5W"

5:

-!

CM7(9)

G7

li

C6

Bass Tenth System Another important left-hand technique used during the swing era was the bass tenth system. The characteristic feature of this system is the replacement of the single bass note by a tenth. This interval can be easy , diffi cult, or impossible to play, depending on the reach of the student's hand and on the position of the tenth on the keyboard.

~):

bo

~º

-e-

-e-

easy

difficult

o

biT very difficult or impossible

The bass tenth has a twofold function: as a substitute for a single note, or as a substitute for a whole chord. The following example shows the substitution of a tenth for all kinds of chords.

~:

n1 ~ IPI ~ GM7

G7

li~- b~ Gm7

1

1133

1 º~ ll~il b~

Gi

Go

1 ~~ h~ Gm6 65

o:::i - r: -

e

;

~

-·aor.::t-::i

of the choreis o . .,e seco- ~ o -:s ing and varied bass line. Here are some consecu ··e -enmatic, or mixed motion .

diatonic

chromatic

mixed

~= d3 J3 J3 J3 3;3 JbJ 1

li

li

JâJbf IH] iJ g3

The left-hand swing system can be enriched by the addition of whole chords. Many of these chords will be beyond the reach of the student, but the use of only a few will considerably vary the bass line. To create even more diversity, the tenths and seventh chords could alternate with simple triads and short melodie phrases.

be-

!)=

5 ? :

b! bl e:

C7

co

DIZ)

21

C7

Ôj e

~= j Dm

ºº

Dm7

C7

C7

D#º

Fm

e

e

F

tJ 16p D7

Gm

Ebº

J B~

Em

F

A7

Dm

C7

-e-

:#

~ D(b9)

ü:

ft~

Qs

D7

D7

D9

C7

~s

b.

&F

1

C~

l jl ~f

JI

bJ

F6

Fm6

1

G7

Bb 6

C6

l'ti

"f

C6

nf

Eº

A7

f 1P f ~

E7

F6

G7

~ I~ "f ~Ô f

:J d iJ j d Ô 1Ô f j

J bJ C7

D# º

-e-

!

F F J J 13 d d 1 JbÜf Am

66

Dm

b-

b-

1

C6

;J=

..Q.

ª f J:J Jbf F

fJ:j:

5'

Cm7

-e-

-e-

lg

bbe-

f

Am

E7

Am

E7

IÔ

b,

13

f

D#o

G7

• !:

, ,

•

...

-,... ...•

•

.., -....

-

F9

Cm6

G

B~

Am

•

~

F

&

E7

..

J 1E ~:

•

A7

A7

Dm6

...:;_

-7-

?'6

V

B~

D~

Dm

t df dbf f f dJdJ1Jf J:J dbf f ~P

5' bF Gm7

C7

F

F

C7 Ebo G7

C6

Dm D# °

C7

C (IS

li F6

Fm6

C6

22 ~

'

~

... 'IJ

'

•

,

-

...J •

~

,..

_..;:.

-

1

.. --

,_

"

'""

1

~·

I

e

C6 G7

.. .. . •

.... -.. -· 1

.......

F6

C6

G7

l

1

1

I L' • 1 -

'. j

f 11• ~

•

-

1ii

11ii

C6

hH.. S

-

."11

Dm

-

--

.-

.

....

•

"11

-6

,..-

---

- --

l"""-oo.

....

9 'j

Em7

Am7

67

/

,.

....

~

rm '

. - - L-t-' ,J /

•

.~

,.

'

...."

-

·~

.-~

·~

-· -·

/

G7

C7

Bbm

Eb 11

E7 sus4

Am

68

--

- ,..-

D9

E7

Am

E7

,,.

~

J'

-

-_.

-

-- --

1

::=>-

..r-:.

.:;.

I

...--

..... ::=>-

-

1,...,,..,

- .

- - --

n

,_

(b 5)

Db 7(# 5)

G#í6

Gm

.

,

C7

C(~ 11 )

C7

Am7

Am

D7

B7

.

.,

,,, .,,

....

J

Dm7

Fb7

Gm

..__

_..

ba

~

-

- ,.

.L

.-

~·

~e

.--

--.--

-

·• . ---

#

.

.-•

,....

-.

- . - ·--

- -

.a. ,~

19-

9'

""

....

r

3

,.,

1

"'

~

- --- -

11 1 LJ'

'

....

.,,

/

r

'

u

07

9-

11

~

H -•· "

---.

..,

I L'- •

- '.

I

1/

'.J

,.,

--

r~ ~V

t)

I

'.

/

-1

-

-...

1

-

.....

G

Gii°

1

-

C7

Bb 7

r-

H. -

-

"r-

••

""

/

,..

--

-

19"

-

/

~

lll.

-

'-v-

Bb 6

-

1

1

--

--

~

•

-

.

- -

:;; C6

h ..

- --

-

.

_...

h.

F

-

-

-

- -

-

~

-

-

I=

1

--

1

--

.,_

1

,_

.,

1

h~ .... l

..

\,.

C7 L.-

1

1

....

-

-• li

--

1

-...

n

-

,'·

~

F

C7

1

V-

1

7

.. t

1

--

1

A~

- --

...... . -"',

1

....

1

~

F6

,-

., r-

,,.,,,

..

[} -

-

-

'-

1

--

1

19"

' 1

-- -

1

-3

----

1

-

-

.

/

~

F7

L••

~

... -C7(b 5)

u•

-

~-

O

L-

~~

/

..

V

07

~

- :.

1

bo

- . I "· ---

~

-

r-

..V,_ --

1

I'

+i.

-

r-

.,,

--

'

/

- -

--

1~

~

hn

-

""

..rr-

~

'

\ ~'

_J

-

--

-

~

.. *'

G7

~

~

'-

- - --

-

,_

-

. r:r-

A7

,.....

" -

- -- -

... _

n

·~

A7

- --

.....,_

1

Em7

.-

n

-

·.;

-

--

~-

3

... ,

-

,.

- -

•

-

,_

G7

-

-

-1

--

"111

...

..

G7

C6

F6

.. -!

li.

....

-1

E7

..,

-

.. -

'

-~

.-

- -

1./

..,

li • 1./

..,

.-.. ./

A7

69

'

1

·-

-

...1\

,...

I<

-

V

"' L '

/

-.

-

-

,....-

.....

1

,. o

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

.,

~

,.

\

..

..ir-

-..·v

"'. - ,. /

'

-•

1

3

-o

F

1

3

~ ~

..

•-

..

•-,

.,

--

•

3

--

3

-• 3

-

n

~

,-,J

'.J •.J

'r.J

1

CM7

G7

r-

-•

---

I

07

~

- ·• --

•

-. -

r-

~

,.-

· 1

.,

3

~

--

G7

- - .... 1

1

1

~

~

3

C6

1

-

1

1

~

-

1

,

•

1

1

·- .,-V

C6

.,, '.J

1

- - -..... 1

n

... 1111

r

b9-

~

r-

.,,

• .J

'.J

1

V

Ab7

Bebop Piano Style The mid-forties can be considered a turning point in the history of jazz, one which has had a profound influence on all succeeding generations of jazz musicians. Four great innovators can be credited for this new revolutionary movement : Charlie Parker, Dizzy Gillespie, Miles Davis, and Art Tatum. The name bebop is probably derived from the nonsensical syllables "rebop" and "bebop " which were sometimes sung over short rhythmical phrases. The new music contained so many harmonic, melodie, and rhythmic innovations that it created enormous breaches not only among musicians themselves, but also between the musicians and t heir audiences. It is not within the scope of this book to analyze in detail all the features of bebop. Suffice it to mention some of its prominent characteristics, t he most important of which is the harmonic language. Whereas the harmony of traditional jazz is diatonic, much of the new vocabulary was based on chromaticicm. Bebop made extensive use of altered notes (especially the flatted fift h), passing notes, substitute chords, eleventh and thirteenth chords, modal and whole-tone scales, etc. The main rhythmic innovation consisted of the replacing of the steady four-beats-tothe-bar with rhythmic punctuations and syncopations occurring at irregular time intervals, on any subdivision of the meter. The feeling of rhythmic security was further disturbed by the increased use of double time, in which irregular accents on eighth and sixteenth notes gave the impression of twice as many bars as actually played. Jazz composers before the bebop era usually strove for smooth melodie lines built of regular 2- and 4-bar phrases, which created the sensation of predictability and inevitability . The bop melodie line is irregular, consisting of snatches of phrases, discontinued melodies, large skips, and unusual intervals. This lack of tunefulness, as well as the dissonant harmonies and the rhythmic complexity, created the gap between the bop musician and his listener, which was further widened by the protagonists of "progressive" jazz.

70

-·

1

2

F(b9)bS

G bll

C(# 11)

~

1

,, ...

..

r~

'

•

V

.'""' I

1

~

1

..

~·· /

-

....

-

~ ~

...___,_

'~

.,

~1r:

.,

--

I L..-'

,_J,V...,.

-

~

-

--

---

-- -

1

v,... .. ,. .

k ~

D7 sus4

. - PI

-

-,,

-

r-

-,_

-

-

~

....

......

--

~

1

::::>-

--

;;::...

1

-·- · ::::>-

::::>-

.., ,_ r.

,,~.

,,~.

.1

1

B(ll9)

Fm7

Gb(#9)

::::>-

.. --·•·. 1

BbM7

A9

C(b9)b5

.....

.....

~

::::>-

G(U9)13 C(#9)

F9

-

-- .

t; li

B9

E~7

F( b9) bS

1

"

C(#9)

E(#9)

Ab 9 G9

F9

Cm7

.,

b·t .. :

-·

...

F7

J:

-·

EbM7

Gb(# 11)

E

71

...

1

"

-·

::>

J...

-'

..

- - -•

::>

·

-

,..

. "

- - - - -- -

1

1

1

1

J.

~=

Dm9

G9

Eb13

Do?( bS)

AbM7

Ab6

E(#9)

Bb9

Fm9

Cm9

G7

C(#9)

Eb7

72

,...

Bbm(M7)

F9

Bbm7

Bb m7

Gb9

Eb 7

'---

F+(#9)

F(b9)b5

C(#ll)

B9

D7 sus4

Gbll

F(b9)b5

G(#9)13 B(b13) Bb13

o

·ano S

e

_-e is intrinsically connected with the name of George Shearing, who develope
rrJJ would be played in _five-note chords, the right hand playing the top voice and the three inner voices, the left hand playing the bottom octave note of the melody.

r---3--,

3--...J

As you can see from the above example, the essential notes of the C-major triad (C E G) are present in each chord, plus the added sixth or seventh. lt is important to remember that the essential quality of each chord should be retained,i.e. the notes which determine the quality of the chord should appear in the block chords. It is also possible to add a bass note to the block chords, playing it with the fifth finger of the left hand.

bass

73

24

C6

CM7

C6

C6

Dm7

co

3

Bb9

Bb(b9)

Eo6

n 013 74

B7

E7

Am7

A9

Gm6

GM7

C11

1 • I

~

..

'

3 ~ J~ J ""

-

'

- ' .. ~.

l.. ~ .v

v i.,~

·~

Bb 11

- - -- - -

1

~-

4

.

',. /

n jl,

Cm6

-

~

1 r-1

1

1

• ... "'

-

"


~

j

bJ -

-

,. .....

--

n

~

_J

~

~

,.

~

JhJ

-

--

~ v-

D -F9

- ~

1 r-1

.

•

,.

~.,,

~

~

J LJ -· -. . 1

V -

1

J L~ b) V-

Ab7

G7

--- - - - .. V

--

1

Ab9

Ab 11

I'---

"'

'-

i .,, ~- ' l...... " -

l~----IJJ --

hd--J) J d

F9

3

V

/

r

Fl 1

-

3

j

\

Cm7

C9

,.

,.

-

"", CM7

C6

-

.,,

:i

l.. V

n•

b111

J. r

,, .1

G7

- 1

1

-~

1

Cm7

. r -• ,q~ ~

1

"",

c69 75

Modern Voicing "Voicing" means an arrangement of the notes of a chord in a speciai ~ay so as to create an unusual sound. This is achieved by omitting certain chord components (usually the root) and emphasizing other chord members. There are no simple rules for doing this. The student is advised to experiment with the unlimited possibilities of chord inversions and alterations. It is obvious that the essential notes should not be omitted. For instance, the seventh in a seventh chord should always be present as well as the third , which determines if the chord is major or minor. As explained before, the missing notes can be supplied by the right hand for a fuller voicing. When accompanying a singer ("comping") or another musician, the chords can be played with both hands. Modem pianists avoid playing them on the beat ; a syncopated chordal accompaniment is essential for creating the unusual contemporary sound heard in recent jazz and rock recordings. A left-hand voicing can consist of only two notes and still give the impression of a full chord. Playing only the F and B can suggest the dominant seventh chord of C major.

.a.

;l;

"1Y

instead of G7

G7

More complicated chord structures require more notes, but here also good taste and the melodie line will determine the voicing. We have familiarized ourselves with the most common progression in music, the II-V-! progression. A great number of voicings can be applied to this progression because it contains all kinds of seventh chords, especially the dominant seventh chord with its numerous alterations and substitutions. Here are some voicings for the 1, II, and V chords in C major and minor.

I chords

:t;:

~:

" e

-e.ll:

;>=

C6

C6

~

c6 9

CM7(9)

[,tf? Cm6 9

76

!

o

..o..

B=

J

1! Cm(M7)9

.'1.

~

;§

e~

CM7(9)

~ o

J.':!..

i,g

6 Cm9

CM7

eB Cm7(9)

CM7(9)

J

$

c6 9

!

..il

~

e~

CM7

~~

b"Se

Cm7(9)

cm6 9

o

b~ o0

Cm 6 9

Ilc

s

..a.

..e..

-e-

;?=

o

b-s-

67!

Dm7

D .0

D f6

Dm9

s

-e-

e

:;

Dm9

Dm7 sus4

Dsb( b9)

,.,

Dm7 sus4

Df6

D~

Dm13

Dm9

.Q.

-e-

D>69

D\219

V chords

G7

5: b~ G 7( b5)

#~

..a.

b:S:

n-

.iJ.'f"

l"f

G7(# 5)

G9

G9

G(b9)

b~

G(b 9)

tt

G(b9)

~

~

be-

-e-

G13

G(b 13)

G13

-&

b'tS

.Q.

b..o. g

~

!

G (# 9 )

be-

-g

~

G( b13)

G9(b 5)

1

G9

b-e8

G9

G(b9)

G(b9)

b~

b -e-

bb-e~

1

G( b9)13

bj

G7(b5)

G7

G7

:S:

~

5: ~

5:

G7(b 5)

G7

~

1

G(b 9)

li

1

1

G(b9)13

#~

G(b9)b13

~ -e-

~

..a.

~

-eS: o

1

G9(# S)

G9(b S)

G9(# 5)

G9(13)

G 9 (13)

77

Chord Symbol Appe e major with added sixth C major seventh C major with added sixth and ninth e minar e minar seventh C minar with added sixth C minar with added major seventh e dominant seventh e dominant ninth e dominant flat ninth e eleventh e augmented eleventh e thirteenth e flat thirteenth e half-diminished seventh e diminished seventh e augmented triad C dominant seventh with flat fifth C dominant seventh with augmented fifth e suspended fourth C major with F bass e ninth without the third

C6 CM7, or Cmaj 7, or C t::. e~ Cm Cm7 Cm6 Cm(M7) C7 C9 C(

b9)

C11 C(

#11)

C13 C( ~ 13) C 11 , or Cm7( b 5) C 0 , or Cdim, or Cdim7 C+, or C+5, or C 5 C7( ~ 5) C+7, or C7( 5) Csus, or C(sus4) C/F C9 omit3

#

#

ISBN

11

0-8256-2223- ~

1

9 780825 62223 6