32 bar aabc form please note that the melody is written in a simplified form, and is a guide only, embellishments & syncopation are expected
Autumn Leaves
this indicates that the feel is swung not straight 8ths
medium A1
major ii v i in b flat
b w b c Œ œ & œœ Ó b b & wÓ — . —>j œ œ nœ # œ b w œ j b & Ó —. — œ œ œ C m7
comping rhythm 1 for A sections minor ii v i in g only ! 6
A2 10
14
B 18
>j —. —
A m7 ( ( ) 5)
c dorian D 7 ( # # 5 # 9 )
a locrian #2
d superlocrian
major ii v i in b flat
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C m7
F 7
> minor ii v i in g A m7 ( ( ! ) 5) b b & wÓ — . —>j minor ii v i in g
D 7 ( # 5 # 9 )
A m7 ( ( ! ) 5)
D 7 ( # 5 # 9 )
œ œ œ œ ˙Ó ˙— . —j œ œ œ œ > B !maj7
F 7
E !maj7
f mixolydian b flat major e flat lydian G m ( maj7 maj7 )
wÓ — . ˙Ó ˙— .
g jazz minor B !maj7
—>j j— >
Œœœœ œœœœ Ó # œ œ E !maj7
œ œ œ œ w Ó — . —>j b b œœœœ & œœ˙ œœœœ w . œ b œ w ˙ œ w œ # œ b & J œ b œ œ œ ˙ ˙ ˙ ˙ œ œ b ˙ . & b b & ˙. œ ˙ œ œ w œ ( œ œ œ) G m ( maj7 maj7 ) )
G m( maj7 maj7 ) )
major ii v i in b flat
C m7
B !maj7
F 7
E !maj7
22
minor ii v i in g
C
26
A m7 ( ( ! ) 5)
G m7
major ii v in e flat
C7
g dorian e.g.
minor ii v i in g
A m7 ( ( ! ) 5)
30
D 7 ( # 5 # 9 )
major ii v in F
D 7 ( # # 5 # 9 )
Gm ( maj7 maj7 )
F m7
f dorian e.g.
B ! 7
Modes for Autumn Leaves
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scales & modes are a group of notes, a pool if you like from which you can draw your ideas
34
36
38
b b &
Cm7
œ œ œ œ F7 b &b œ œ œ œ !maj7 B b b & œ œ œ œ !‹ E b b & œ œ œ œ ! 5) ( Am7 b b & œ nœ œ œ ( # 5 # 9 ) D7 b b & œ œ œ bœ Gm( maj7 ) b &b œ œ œ œ Gm7 œ œ b n œ œ œ &b œ œ œ Fm7 œ b œ œ œ & b œ œ bœ œ
40
œ œ œ œ œ œ œ œ
c dorian mode (2nd mode of B flat major scale, or c major scale with lowered 3rd and 7th)
f mixolydian mode (5th mode of B flat major scale, or f major scale with lowered 7th)
b flat major scale
œ œ œ œ œ œ œ œ
e flat lydian mode (4th mode of B flat major scale, or E flat major scale with raised 4th)
42
œ œ œ œ bœ œ œ œ œ nœ # œ œ
a locrian #2 mode (6th mode of c jazz minor scale, or natural minor scale with lowered 5th)
44
46
48
50
d superlocrian mode (7th mode of E flat jazz minor, also called altered and half whole scale)
g jazz minor scale (melodic minor ascending)
g dorian mode, or c mixolydian mode (same notes)
f dorian mode, or b flat mixolydian mode (same notes)
C7
œ œ œ œ œ œ nœ œ B ! 7 œ b œ œ œ œ œœœ
Jazz Swing Quavers
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play this scale and articulation
52
b b & œœœœœœœœ œœœœœœœœ w
128
now play this in 12/8 time
55
b b & 128
j j j j œ j œ œ j œ œ j œ œ œ œ œ œ J œ œ w. œ œœ
c
Now add an accent to the off-beat note
58
b b & c œ >œ œ >œ œ >œ œ œ> œ >œ œ >œ œ >œ œ >œ w b b & œ >œ }œk >œ }œk >œ }œk œ> }œk >œ }œk >œ }œk >œ }œk >œ w
Now play the slurred notes at full value (don't shorten) but with less emphasis
61
This is an exaggerated rough guide to jazz swing feel and phrasing note length, weight of accent etc are all open to personal interpretation the shape of the melody and use of different rhythms will also determine the articulation used The only real way to get an idea of jazz swing is by listening to recordings made by great players
Voicings For Autumn Leaves
b b &
Cm7
F7
b b &
B !maj7
E !maj7
64
66
www
68
b b & nwww b b & ˙˙˙ b b & b˙˙ ˙ Gm7
71
Fm7
72
www
www
Am7 ( ! 5)
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ww D7 ( # 5 # 9 )
Gm( maj7 )
n n# www
w# ww C7
note: you may want to play this chord using f natural instead of f sharp, try it out!
˙ n˙˙ B ! 7
˙˙˙
Chords can be divided into 3 groups, major, minor, and dominant Learn to recognise a major ii v i progression & the qualities of the chords involved (m7, 7, Maj7) Learn to recognise a minor ii v i progression & the qualities of the chords involved (m7 b5, 7(alt), Min7 Your chord must contain at least the 3rd and 7th (guide tones) Build your chord from either the 3rd or the 7th upwards (there are usually 2 voicings per chord) Avoid playing the root in your voicings Keep movement between chords to a minimum (just like J.S. Bach!!) Extend the m7 and maj7 chord to the 9th with the 5th Extend the dominant chord to the 13th using the 9th (omit 5th) Use alterations on the dominant chord especially in a minor ii v i
Nomenclature of jazz chords
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There are 3 types of chord group, major, minor, and dominant. When you are reading chord charts you will need to be able to recognise which symbol belongs to which group. Often beginning improvisers get confused between a dominant chord and a major chord, whilst only a semitone different, the function of the chord is ENTIRELY different. Here are common ways major chords are written 73
b b &
B !
B !maj7
B !J
B !M 7
Cmin7
C-7
Cm7
Here are common ways minor chords are written
b b &
77
C-
Here are common ways dominant 7 chords are written 81
b b & b b &
F7
F9
F13
Here are the 2 ways a half diminished chord is written
84
Am7 ( ! 5)
Aº
Please note that jazz use extensions such as 9th, and 13th rather than 2nd and 6th to imply that the interval is ADDED to the existing chord and doesnt replace a note. e.g. C9 means a C7 plus a 2nd, Csus2 would imply that the 3rd is replaced by the 2. A C6 chord is just a c triad with the 6 added, however a C13 is a dominant chord. Jazz musicians will usually play a C7 with either a 9th or 13th anyway, so C7, C9, & C13 are the same practically.
Blues scales for Autumn Leaves
b b & œ œ œ # œ b b & œ bœ œ nœ
œ œ ˙
G blues - This is a good blanket scale to use when your brain aches from thinking too much!
86
B flat blues - you may wish to try this scale over autumn leaves, see what you think!
88
œ bœ ˙
Change running exercises
b b & œ >œ œ >œ œ >œ œ >œ œ b œ œ œ b œ & œœœ b b & œœœœœœœœ Cm7
90
F7
94
B !maj7
98
œœœœ œœœœ œœœœ œœœœ
etc.
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œœœœœœœœ œœœœœœœœ
œ œ œ œ œ œ œ œ œœœœœœœœ
Digital pattern exercises 1
b b & b b & b b &
œ œ œ œœœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ
b b & b b &
Cm
102
105
108
2
110
112
Cm7 1
F7
2
E !maj7
3
5
3
2
1
1
2
Am7 ( ! 5)
3
5
3
2
Gm( maj7 )
1 etc.
B !maj7
œ œ œ œœœ œ œ b œ œ œ œœœ œ œ D7 ( # 5 # 9 )
!
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ 3
F7
4
B !maj7
5
7
5
4
3 etc.
E !maj7
Jazz lines (ideas)
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œ b œ b & œ œ nœ œ bœ œ œ œ œ œ bœ bœ œ œ ˙ Ó b œ œ œ œ nœ œ bœ bœ ˙ Ó b œ & œ œ œ œ œ œ œœ Cm7
F7
B !maj7
114
Cm7
3
F7
B !maj7
117
What makes a solo interesting?
Repetition, Sequence, Dynamics, Range (high, low etc), Accents, Rest and Silence, Rhythmic Variation Variety (but not too much), Blues scale, Tension and Release, Motifs Knowing where the guide tones are (3 and 7) Trills, Glissandos, Swoops, Staccato etc Emphasise pretty sounding notes, 7ths, 9ths, #4ths Always try to buiid your solo, tell a story and make it go somewhere Above all of this, the main thing you need to do is LISTEN, it helps swing feel, improvisation, style and generally helps you build a solid jazz vocabulary!
What do I do now?
Practise Swing rhythms over familiar scales Practice major 251 in both hands through cycle of 4ths, best choice Practice major 251 in left hands through cycle of 4ths, play 251 exercise in right hand practising swing rhythms Seperate Chords types and practise through cycle, chromatically and randomly until you know the chords quickly Practise minor 251 in left hand , best choice Practise minor 251 in left hand, play 251 exercise using Locrian #2, Superlocrian, and Jazz Minor scales Buy a real book and play chords from any tune making yourself fluent with your new jazz voicings Buy Jamey Aebersold backing tracks and play along either with chords & tune or try soloing over the changes too! Just play, be creative, listen and have fun playing jazz! There is a huge recourse of jazz tutorial material available to buy and study, or book a series of private lessons from a tutor, study at one of the jazz courses available in both Auckland based universities.
