Intervalic Improvisation - walt weiskopf.pdf.pdf

INTERVALIC IMPROVISATION

The Modem Sound: A step beyond linear improvisation

A Player's Guide

by

WALT WEISKOPF

www.Jazzbooka.com

© 1995 Jamey Aebersold Jazz, Inc. Published by Jamey Aebersold Jazz, Inc., P.O.Box 1244, New Albany, In 47151-1244 All rights reserved.No part of this book may be reproduced in any form or by

any means without permission in writing from the publisher.

Printed in the United States of America

TABLE OF CONTENTS

Introduction

3

Scales and Triads

4

Triad Pairs

4

derived from Church modes minor chords dominant chords (no alterations) major chords non-harmonic tones Triad pairs and ii- V-I progressions. derived from other modes. . harmonic minor .

5

5

6

6

7

8

9

9

derived from the melodic minor scale.

10

minor-major seven chords altered dominant chords dominant seven-sharp eleven chords dominant seven-sharp nine chords dominant seven-flat nine chords major seven-sharp five chords . derived from the diminished scale.

10

10

11

12

12

diminished seven chords dominant seven-flat nine chords

12

12

11

11

Half-diminished chords .

13

Triad pairs derived from the augmented scale

16

augmented chords major seven-sharp five chords .

16

17

Polychords and chords over foreign bass notes

17

Triad pairs and tritone substitutions

19

Table of Triad Pairs

20

Church mode derivations no. 1 Melodic minor derivations no. 2 ("first cousin") Melodic minor derivations Harmonic minor derivations . Harmonic major derivations . Diminished scale derivations . Inverted diminished scale derivations. Whole tone scale derivations. Augmented scale derivations. Inverted Augmented scale derivations. Exercises 1-7. Church modes 8-14. Melodic minor modes

20

20

20

21

21

21

22

22

22

23

24

24

38

Exercises

24

1-7. Church modes 8-14. Melodic minor modes 15-21. Harmonic minor modes 22-28. Harmonic major modes 29-32. Augmented scale 33-34. Whole tone scale 35-40. Diminished scale Other patterns Etudes

24

38

52

66

80

84

86

92

.

94

with emphasis on triad pairs derived from church modes

1. Expressions (analyzed) 2. Pensive (analyzed) 3. All Yours 4. Dance of the Natives 5. Mr. Happy 6. Bridge Over the River Blues 7. Georgette 8. Bon Voyage

94

96

98

100

102

104

106

108

110

112

9.~anda.

10. Fish Street with emphasiS on triad pairs derived from:

church modes, melodic and hamonic minor modes

11. A Little Night Music (analyzed) .

114

melodic minor

12. Sioux City 13. Blues For All People

116

1I8

harmonic minor 14. Won't You 15. Free As A Bird harmonic major

16. The Urge Within 17. Grand Delusion.

120

122

124

126

dim1nished scale

18. Paradox.

128

church modes, melodic minor and diminished

19. Brazilia .

130

church modes, melodic minor and whole tone

20. Long Story

132

augmented scale

21. Up and Down

134

About the Author

136

Acknowledgements

136

3

Introduction There are many books available to jazz lovers, students of jazz and professional musicians on the subject of improvisation. Many of these books deal mainly with linear improvisation. This book is one that codifies a method of intervalic improvisation. When jazz players learn to "play on changes" they learn linear improvisation. Bebop is the earliest form of true linear improvisation and much of modem jazz is directly related to bebop and therefore, linear improvisation. In very general terms, the basis of learning linear improvisation is learning what scale to play over each particular chord. When players reach a certain competence as jazz improvisers they often feel a large piece of the puzzle is still missing. This is because many modern jazz musicians improvise intervalically and while a good student of jazz hears this in the music, he or she lacks a method for developing this vocabulary. In the pages that follow you'll discover a parellel universe of jazz improvisation. It's a different way of playing changes. Ultimately Intervalic Improvisation will become part of your general knowledge of jazz along with other techniques you have studied.

Intervalic Improvisation is not more complicated than linear improvisation, just different. In fact the principle is the same: The jazz improviser plays material that he or she has chosen to sound good over the underlying harmony. This material is usually based on scales. In Intervalic Improvisation material played over the harmony beneath is based on intervals; specifically triads and pairs of triaos. For any given chord there is one scale or more than one scale that sounds good on that chord. In Intervalic Improvisation certain notes are extracted from that scale (or scales) and organized into a "triad pair" that will also sound good on that chord. For every scale there is a triad pair (or in many cases more than one) that can be derived from that scale. In a nutshell, when you improvise intervalically, you are taking one step beyond choosing to playa certain scale over a particular chord. Combined with linear improvisation, Intervalic Improvisation is a more comprehensive approach to jazz improvisation. In fact, learning Intervalic Improvisation will improve your linear improvisation. The objective of this book is to introduce this other way of approaching improvisation to the jazz player and through the exercises and etudes in the book, teach the player how to incorporate Intervalic Improvisation into his or her playing. The way to achieve this goal is to first read carefully the text that follows (pages 4-19). Learning the exercises/patterns in the second section (pages 24-93) is just as important in Intervalic Improvisation as is learning scales in linear improvisation. It will be impossible to improvise intervalically until you are as familiar with these exercises as your are with scales ~ Finally, the etudes in the third section (pages 94-135) demonstrate how this new material might be applied in an improvisatory setting.

4

Scales and Triads When you see the chord symbol Dmi7, you automatically associate a certain scale (or scales 1 ) with that chord. In this case you probably think of the D dorian scale (D,E,F,G,A,B,C). The most efficient way to begin to think intervalically is to pick two triads that capture a certain tonality. In this case, Fmaj and Gmaj triads played alternately capture the tonality ofDmi7 because they are derived from the D dorian scale. The two triads, in this case Fmaj and Gmaj, are called a "triad pair." Example 1.

,! wWElitU1crfc D

3

~

3

~

3 .

3

3

3

In example 1, the six notes in these two triads contain all the notes in the D dorian scale except one; E. Practice the triads alternately - that is, F, then G. Then, F in first inversion, G in first inversion; Fin second inversion, G in second inversion, then back to root position. Example 2. 3

" (Ed CJ root position

3

fIrst inversion

3

3

second inversion

3

3

root position

Several different intervals are represented by these two triads and their inversions. Example 3.

M3

m3

When you are as familiar with this set of notes as you are with the D dorian scale you can begin to get a sense of improvising intervalically. Although the triad pair is comprised of just two triads; it doesn't mean that the only thing a soloist will play on a Dmi7 are these triads, verbatim. The player will ultimately teach himself many different permutations of the triad pair and perhaps have some of his or her own favolite "licks" based on the triad pair. Example 3a.

'I frCfrrrrl[rEfJjjJIJjJJrtrfl[ruJ

Dm?

1

(triad pair F,G)

Dmi7 could also imply D melodic minor and/or D harmonic minor; these will be dealt with later

5 Triad Pairs

The definition of a triad pair is two triads that do not share any notes. I.e., EG (Fmaj triad and Gmaj triad) is a triad pair because these two triads do not share any of the same notes. F,C (Fmaj triad and Cmaj triad) is not a triad pair because the note "C" is in both triads. 1. Triad Pairs derived from Church Modes

The dorian scale or dorian "mode" is a "church mode". The definition of a church mode is any mode which is based on a major scale. The church modes are Ionian (1st mode, the major scale), Dorian (2nd mode, because it starts on the second degree of the major scale), Phrygian (3rd mode), Lydian (4th mode), Mixolydian (5th mode), Aeolian (6th mode) and Locrian (7th mode). The most basic or "inside"2triad pair for any church mode chord will always be two major triads a whole step apart. For example, Dmi7 is a "church mode chord" because it is derived from the D dorian scale, which is the second mode of the C major scale. (The second mode of the C major scale is the C major scale starting on D, the second degree.) The most inside triad pair on Dmi7 is F,G (Fmaj and Gmaj). ,

The examples that follow will look at some common chords and triad pairs based on the church modes. They are: major chords (ionian), major chords with raised eleventh (lydian), minor chords (dorian) and dominant chords with no alterations (mixolydian). Minor chords

Previously we looked at one chord, Dmi7, and a triad pair (F,G) that when played over Dmi7, captures the tonality of Dmi7. Let's apply this concept to the chord progression from Impressions by John Coltrane. Impressions is a thirty-two bar modal tune with the form AABA. The "An sections are all one chord; Dmi7. The bridge modulates up a half-step to Ebmi7. The triad pair for Dmi7 is F,G (Fmaj and Gmaj). It works because it is derived from the D dorian scale. The triad pair for Ebmi7 is Gb,Ab (Gbmaj and Abmaj). It is derived from the Eb dorian scale. Below are the triad pairs for Dmi7 (dorian) and Ebmi7 (dorian). Example 4. Dmi7 (triad pair F,O)

Fine

E~ m?

(triad pair Ob,Ab)

D.C. al Fine 2

In jazz the tenn "inside" usually refers to material that is more diatonic; the more diatonic, the more "inside".

6

Dominant chords On C7 (or Csus7, both are dominant chords with no alterations; altered dominants will be dealt with later) there are some different scales that work but the most basic scale on this chord is C mixolydian (C,D,E,F,G,A,Bb). There are several different triad pairs that could be played but the most "inside" one that works well on C7 (or Csus7) is C,Bb (Cmaj and Bbmaj) because it is derived from the C mixolydian scale. Example 5a.

Here is an example of some triad pairs applied to dominant chords (and one minor chord; in the second four bars of the bridge) in the context of a chord progression that is familiar to many jazz players. Example 5b. chord progression to Maiden Voyage (by Herbie Hancock)

, , r ,.

*fflehCtftff aper fcEfr 5

Fsus

7

triad pair - Eb,F~

I

9

E~ sus 7

triad pair - Db,Eb

~

~

fIll

I I I

, '­ JJ

rJ Jr·_II Fine

~

~ ~WWEErEEfI~tr:p(rtrrrJCffl' I

I I

, , r

r..

r1 1 , 1 r J'­

I

D.C. al Fine

Major chords On a major chord without a raised eleventh like Cmaj, Cmaj7 or C6/9, one triad pair that works is F,G (Fmaj and Gmaj) because it is derived from the Ionian mode, the C major scale. Depending on the music, the triad pair C,D - derived from the lydian mode (with the raised eleventh, F#) might be as good a choice or even a better choice, especially on Cmaj7 (see ex. 6b). Again, your "ear" will show you the way.

7 Example 6a.

'I f3JC(](ri@EJI(ff£[lCFfftrl

C 619

(triad pair F,G)

On a major chord with a raised eleventh like Cmaj7#11 the scale that first comes to mind is the C lydian scale (C,D,E,F#,G,A,B) because it contains F#, the raised eleventh. The triad pair C,D is the first choice on Cmaj7#11 because it is derived from the C lydian scale. Example 6b. CMaj7(#11)

(triad pair C,D)

,~ Epr r rf Fr IE r Eit r u Ir f [ r#g J ~ J I

Hint: To find the most basic triad pair for any chord based on the church modes (ionian, dorian, phrygian, lydian, mixolydian, aeolian, and locrian), Determine what key the scale that fits that chord is in and build a major triad on the 4th and 5th scale degrees of the key. I.e.: Dmin7 is in the key of C (because the D dorian scale is the second mode of the C major scale) so the triad pair is F,G (because the 4th and 5th scale degrees in the key of Care F and G). Cmaj7#11 is in the key of G 3 (because the C lydian scale is the fourth mode of the G major scale) so the triad pair is C,D (because the 4th and 5th scale degrees in the key of G are C and D).

Non-harmonic tones If you play the triad pair F,G over a C major chord, you know that the note "F" must be treated a little carefully! Although a C major scale works over a C major chord, you must resolve the F's to E's because the F is a non-harmonic tone. A triad pair played over a particular chord will have non-har­ monic tones, suspensions and resolutions just as would a scale played over that chord. Non-harmonic tones need to be resolved to other tones in the triad pair or in the scale from which the triad pair was derived. Example 7. The suspensions and resolutions are enclosed by boxes. On C 6/9 (triad pair F,G) the suspension is F to E.

ex.7a.

'i

j

J Jil r r F r IE f pi r rl

3 In other words, if you were writing out a chart and using key signatures, the key signature for a Crnaj7#1l would be one sharp, the key of G. Many jazz writers simply do not use key signatures (they use accidentals instead) because the actual "key" in jazz changes so often.

8 On Bbmaj7+ 11 (triad pair Bb,C) the sus. is F to E. ex.7b.

On Fmaj7+ 11 (triad pair F,G) the sus. is C to B. ex.7c.

On C7 (triad pair Bb,C) the sus. is F to E.

ex.7d.

On Amin7 (dorian, triad pair C,D) there are no real non-harmonic tones. 3

3

ex.7e.

Triad pairs and ii* V-I ("two-five-one") progressions

Perhaps you have observed by now that the triad pair F,G (Fmaj, Gmaj triads) works on Dmi7, G7 Cmaj and Fmaj7+ 1l . This is because Dmi7, G7, Cmaj and Fmaj7+11 are all in the same key; C. In linear improvisation, the scale that is played over Dmi, G7, Cmaj and Fmaj7+ 11 is the same. The C major scale or a mode of the C major scale works in each case. On Dmi, the D dorian scale (2nd mode of C major) is the best. On G7, the G mixolydian scale (5th mode of C major) is the best. On a C major chord the C major scale is the most basic choice and on Fmaj7+11 the F lydian scale (4th mode of C major) is the most inside choice. This does not mean, however, that on the progression Dmi G7 Cmaj that a good jazz player will simply run the C major scale up and down. The same is true for Intervalic Improvisation. Because the triad pair F,G works over the progression Dmi G7 Cmaj does not mean that a good player will just run the triads up and down. Let's look at a few examples of how triad pairs might be used in a real phrase on a ii-V-I progression. In example 8a the triad pair for each chord; Dmi7, G7 and Cmaj is F,G (Fmaj, Gmaj triads). In example 8b the triad pair for each chord; Fmi7, Bb7 and Ebmaj7 is Ab,Bb (Abmaj, Bbmaj triads). In example 8c the first two chords, Emi7 and A7 are in the same key so the triad pair is the same for each chord, G,A (Gmaj, Amaj triads). The triad pair for the last chord, Dmaj7+ 11 , is D,E (Dmaj, Emaj triads). because Dmaj7+ 11 is in the key of A major! The triad pairs are used in combination with more familiar linear material. Metaphorically sreakmg. the triad pair is woven into the fabric of the phrase.

9 eX.8a.

'i ~ ~ Liff Lt aEf crr:J EF irE f ~ ,! '&j)krla r r G7

Dm?

CMaj

I

ex.8b.

Fmi

I L

B~7

E~Ma?

b.,. ~

~

[J I ~r F0'

t:\

IC~ [ f~

I

ex.8c. Emi

A7

DMaj7(#11)

--

2. Triad pairs derived from other modes

(modes of melodic minor, harmonic minor, harmonic major scales;

and diminished, augmented and whole tone scales)

All of the previous examples are derived from the church modes. The examples that follow are triad pairs derived from other kinds of modes, modes that are not based on the major scale (as church modes are). The following examples are based on modes derived from the harmonic minor, melodic minor, harmonic major, diminished, augmented and whole-tone scales. Harmonic minor - Very often in modem jazz we tend to equate the chord Dmi7 with the D dorian scale. The dorian sound that seems to dominate the way we think about minor chords today became very prevalent during the advent of modal jazz in the early 1960's. In bebop, however, improvisation over a D minor chord often is based on the D harmonic minor scale (D,E,F,G,A,Bb,C#) as in the bebop lick in the example below. eX.9a.

,!brfrUErI#cFrbPPrrflf [F [#Jd JJIF*

10 Just as each chord in the ii-V-I progression Dmi G7 C is in the key of C, the chords in the progression in example 9a., Emi7 b5 , A7 b9 and Dmi are all in the "key" ofD harmonic minor. The triad pair G-,A+ (Gmin and Aaug) will work on this progression because it is derived from the D harmonic minor scale, ex.9b.

'I r ~r rr ~ [ r r rfir rf f~f r rt r~f f f g Dm?

(triad pair G-,A+)

F

I

f

I

I

Triad Pairs derived from the Melodic Minor scale Minor-major seven chords - The name for this chord denotes a minor chord with a major seventh instead of the usual minor seventh. On a Dmilmaj7 chord, the scale that best captures the tonality of the chord is the D melodic minor scale4 . The triad pair that works best over Dmilmaj7 is G,A+ (Gmaj and Aaug) and is derived from the D melodic minor scale. ex.9c. Dmi/maj7

(triad pair G,A+)

Altered dominant chords - The term "altered" generally means that one or more extensions of the chord are altered: i.e., the ninth is raised or lowered (or both), the eleventh is raised, the fifth is lowered (or both), or a combination. There are many different ways of altering dominant chords but the one below we'll call simply C#alt This notation is shorthand for, generally speaking, every standard alteration in the same chord. Usually the "altered" scale (often called the "diminished-whole tone" scale or the "locrian b4" scale) is a very good choice on altered dominants. This is because the altered scale con­ tains all the same alterations as the altered dominant chord (which is why it's called the altered scale). The altered scale is also the seventh mode of the melodic minor scale. On C#alt one triad pair that works very well is Gmaj and Aaug because it is derived from the C# altered scale (C#,D,E,F,G,A,B; which is the seventh mode of the D melodic minor scale). ex.9d.

,

(triad pair G,A+)

C#7(a1t.) -

•

I

I 1..J

1..-....._..

­

-

4 In jazz the term "melodic minor scale" refers to what is commonly recognized in music as the ascending melodic minor scale. The ascending melodic minor seale has a natural sixth degree and a raised seventh degree and the descending melodic minor scale bas a lowered seventh degree and a lowered sixth degree.

11

Another triad pair that works very well over the same chord is closely related to the altered scale triad pair in ex. 9d. Call it the "first cousin" of the first altered scale triad pair. It differs by only one note but the sound is noticeably different. It is also derived from the altered scale (which is the seventh mode of the melodic minor scale) although both triads are major triads. The triad pair is G,A (Gmaj and Amaj).

C ~7("".)

,! fJ

ex. ge.

t ff

(triad pair G,A)

COl it r f £[; r F

JJ EPi Crl

~I

Dominant seven-shaw eleven chords Jazz players that are familiar with the lydian-mixolydian scale may not know that it is also the fourth mode of the melodic minor scale. The term lydian-mixolydian refers to the combination of a raised eleventh and a dominant seventh in the same scale. This scale is perfect for dominant seven-sharp eleven chords which have exactly these alterations. On a C7#11 a triad pair that works very well is C,D+ because it is derived from the C lydian-mixolydian scale (C,D,E,F#,G,A,Bb; which is the fourth mode of the G melodic minor scale).

C 7(#11)

ex. 9f.

,! iJ J

(triad pair C,D+)

3 Jd#J ] I

£J JJ#(r &[ ~ I CFtfPr rtf I

Dominant seven-shaw nine chords There are several ways of approaching this very prevelant chord in jazz. One scale that works well is the altered scale (the seventh mode of the melodic minor scale), because it contains the raised ninth. On a C7+9 one triad pair that works well is the "first cousin" melodic minor scale triad pair which is Gb,Ab. It works because it is derived from the C altered scale (C,Db,Eb,Fb,Gb,Ab,Bb; which is the seventh mode of the Db melodic minor scale). ex.9g.

,

Ebe tpc f t r I hs fb~ bfbe EFI I f ~E ~f ere Pc r I C 7#9

i

(triad pair Gb,Ab)

~

b

b

Dominant seven-flat nine chords Because a "flat nine" chord can imply the same alterations as a sharp nine chord, the altered scale can work just as well. The first melodic minor scale triad pair, Gb,Ab+, works because it derived from the C altered scale(C,Db,Eb,Fb,Gb,Ab,Bb).

,!

ex.9h.

c 7 ,g

(triad pair Gb,Ab+)

b

T

b

&r &r ~eF r9Pr rI [r 9r ~rf fgr I

tE Eb b be

F~

~f E

I

12 Major seven-sharp five chords This chord is a prevalent sound in modern jazz. It may seem difficult at first from an improvisational standpoint The scale that would probably be taught on this chord is the "lydian-augmented scale. " This scale is so-called because of the raised fourth and fifth degrees. It is also the third mode of the melodic minor scale. The "first cousin" melodic minor scale triad pair D,E (Dmaj and Emaj) works well over Cmaj7+5 because it is derived from the lydian-augmented scale (C,D,E,F#,G#,A,B; which is the third mode of the A melodic minor scale). ex. 9L

,! i~J

C Maj7#5 (triad pair D,E)

jJ IJ J] I #cf

rj tr FJ I cF tfPUj I

Triad Pairs derived from the diminished scale Diminished seven chords For full diminished seventh chords the most inside triad pair will always consist of two major triads a tri-tone apart For example, on a D o7 (D diminished seventh) the triad pairs that work best are Bb,E and G,C#. These triad pairs are derived from the D diminished scale (D,E,F,G,Ab,Bb,B,C#). ex. lOa. 0°7 (triad pair E,Bb)

Dominant seven-flat nine chords An informed student of jazz knows that the inverted diminished scale (the eight note half step-whole step scale, beginning with a half step) works well on dominant seven-flat nine chords. For example on Bb7 b9 the scale of choice is the Bb inverted diminished scale (Bb,Cb,Db,D,E,F,G,Ab). Triad pairs derived from the diminished (and inverted diminished) scale work perfectly on dominant seven-flat nine chords for the same reason the diminished (or inverted diminished scale) works: be­ cause "flat nine" chords contain diminished seven chords (or, a diminished seventh chord exists within a dominant seven, flat nine chord). I.e., Bb7 b9 (Bb,D,F,Ab,Cb) contains a D 0 7 (D is the third, F is the fifth, Ab is the seventh and Cb is the flat nine of Bb7 b9). In the following example the triad pair is derived from the Bb inverted diminished scale. ex. lOb.

B~7~9

(triad pair E,Bb)

13

Half-diminished chords If there is such a thing as a controversial chord in jazz it is the minor seven-flat five chord or as it is commonly known today, the half-diminished chord. Some traditional jazzers even refuse to recognize the half-diminished chord as such; they call it a minor six(th) chord in third inversion (which is not wrong, just a bit confusing).

A half-diminished chord often functions as a ii (two) chord but, like any chord, it can exist by itself and constitute a "key" on its own. There are several possible scales that can be played over half-diminished chords. The triad pairs that

work are derived from these different scales.

1. church mode derivation - e,D (emaj and Dmaj) This comes from the" old school" but practical view that the half-diminished chord is the third inversion of a minor six chord. i.e., F#mi7 b5 is the third inversion of Amin6 (6th mode) and therefore in the "key" of G. This does not mean that F#mi7 b5 cannot function as a "two" chord. The triad pair e,D is derived from the F# 10crian scale (which is the 7th mode of the G major scale). This triad pair has the flat nine which can be a little hard to handle on a half diminished chord, particularly if it is in a modal context. This could be more of a bebop option, where the chord happens for a measure or half of a measure. ex.lIa.

~

J

'I ffrr~Ff;lfrCJF~tfEl crErCL~[rlJ]#jJ J

F#'

(triad pair C.D)

• -

2. melodic minor derivation no. 1 - (6th mode) Dmaj and Eaug. This is a very good choice. The triad pair D,E+ is derived from the sixth mode of the A melodic minor scale (F#,G#,A,B,e,D,E,). It is easy to hear this triad pair on F#mi7 b5 in any context. To find this melodic minor derivation find the key (in this case F#mi7 b5 is in the key of A melodic minor; again, this does not limit the function of the chord, it can still function as a "two" chord) and build a major triad on the 4th degree (in this case D) and an augmented triad on the 5th degree (in this case E). ex. lIb.

F#'"

(triad pair D,E+)

3. melodic minor derivation no. 2 ("first cousin") (6th mode) Dmaj and Emaj. This triad pair has a sound very much like the previous example but does not have the flatted fifth (e). The triad pair D,E is (in this case) derived from the sixth mode of the A melodic minor scale. To find this melodic minor derivation, find the key (in this case F#mi7 b5 is in the key of A melodic minor, same as in ex. lOa); and build major triads on the 4th and 5th degrees (in this case D and E).

14 ex. lIc.

'i j ,J F#0

(triad pair D,E)

J ill.J J j J I rIf L f r rIr

fie ~f rif ~ r r i I

4. harmonic minor derivation - (2nd mode) Amin and Gaug. This triad pair is a little more straight forward because it is derived from the second mode of the E harmonic minor scale and F#mi7 b5 is very often in the key of E minor (it is the "two" chord); especially in bebop. To find the harmonic minor derivation, find the key (in this case F#mi7 b5 is in the key of E harmonic minor); build a minor triad on the 4th degree (in this case A) and an augmented triad on the 5th degree (in this case G). ex. 11d. ~fIl

(triad pair A-,G+)

,~ t Etie Gf: t PJ eHi IGEJ CrJ £j 9ii J] I

5. harmonic major derivation (2nd mode) Bmaj and Caug. This triad pair is a great sound in modal situations even though it does not have the minor third (A). To find the harmonic major derivation, find the key (in this case F#mi7 b5 is in the key of E harmonic major); build a major triad on the 5th degree (in this case B) and an augmented triad on the sixth degree (in this case C).

ex. lIe.

~fIl

'f in]] £J3 J. . . . .,f3~ cri C,r E (triad pair B,C+)

I

p#r

erJ r ~ ~ I

6. au~mented scale derivation 5 - Gaug and Abaug. This triad pair is a more "outside" sound partially because it has both the flat nine and natural nine. It is derived from the E augmented scale (E,G,Ab,B,C,D#) which has a sound a bit like the E harmonic major scale. There is only one note that differs between this pair and the harmonic major derivation. ex. I If.

~fIl

(triad pair G+,Ab+)

,~ l r r E%f Erut ( Ef IC~;~C rJ EFJ' i~ 3 I

5 For more infonnation about the augmented scale you may want to check out The Augmented Scale In Jazz by Walt Weiskopf and Ramon Ricker, pub. Jamey Aebersold Publications, New Albany, IN.

15 Example llg. chord progression to Inner Urge (by Joe Henderson). This kind of chord progression is perfect for intervalic material. The tune is a modal composition that is 24 bars long. The first sixteen bars of the tune consist of four chords; four bars each. The first of these chords is F#mi7 b5 (F# half-diminished). Note: In the example are four possible triad pairs that work well on the F#mi7b5.1t is important to point out that you will find it much more effective (and alot easier) to use only one triad pair at a time! In other words, play around with just one triad pair for the four bars of F#mi7 b5 rather than attempting to switch back and forth between all possible triad pairs on the chord. The rest of the tune is almost all maj7#ll chords (except measure 23). Check out some possible triad pairs on this chord progression: ex. llg.

F#a

(harm. maj., triad pair B,C+)

(harm. min., A-,G+)

(mel. min., D,E)

(mel. min., D,E+)

3 FMaj7(#11) (triad pair F,G)

;' cO fiEr U ICr r:f E[ LJ IfJ JJ !JJ]lj]JJ JOJj)1

E~Mi(~ll) (Eb,F)

9

D~M.nlll)

t

l

(Db,Eb)

~.~

~ [~E1 E!r kG IE['fj&Dd UI ~1iJ JDa;J sa I ~r t? ref 13

EMaj7(#11) (E,F#)

___

D~Mi(#ll) (Db,Eb)

DMaj7(~11)

(D,E)

BMaj7(~11)

(B,C#)

~

17

CMi(#l1) (C,D)

AMi(#11)

''feE IT JJ J]iD

21

(A,B)

B~7 (Ab,Bb)

GMaj7(~11'cG,A)

1':\

iJJt!r Ur rqc:&r EPtF~ciltru Cf r£

16 Triad pairs derived from the Augmented scale

Augmented chords An augmented chord generally refers to one that has its fifth raised, for example Bb7+s. This chord very often evokes a "whole-tone" sound; that is, implying the whole-tone scale. The triad pair Bb+,C+

works over Bb7+s because it is derived from the Bb whole-tone scale (Bb,C,D,E,F#,Ab).

ex. 12a. whole tone scale derivation - Bbaug and Caug.

B~7;5 (triad pair Bb+,C+) I

jn; .,

11

-

-

1

­ I

,I

"*

-

The triad pair Bb+,C+ (derived from the Bb whole-tone scale) works over Bb7+s but it is not the only option. On Bb7+s triad pairs derived from the Bb augmented scale (the minor third, half step scale beginning with a minor third i.e. Bb,Db,D,F,Gb,A) and Bb inverted augmented scale (the half step, minor third scale beginning with a half-step i.e. Bb,B,D,Eb,F#,G) work well. s ex. 12b. augmented scale derivation - Bbaug and Dbaug.

B~7#5 (triad pair Bb+,Db+)

ex. 12c. inverted augmented scale derivation Bbaug and Baug.

,., tJ

B~7#5 (triad pair Bb+,B+) jn; .,

11

If­

•

-

T 11

-

II

Jj.

-

.... 1· I

•

-

-

Example 12d. excerpt from One Down, One Up 6 (John Coltrane). This is a modal composition with the form AABA. The chord in the A section is Bb7+s ; the bridge (B section) modulates down a whole step to Ab7+5 . The triad pairs in examples 12a,b,c all work well on Bb7+5. The approach to this chord that sounds perhaps most familiar would be the whole-tone scale derivation. In this solo Coltrane plays material based almost entirely on the inverted augmented scale derivation. (Note that ex. 12d is in tenor saxophone key, a ninth higher than concert pitch.) The melody and entire solo on this tune are based on the inverted augmented scale derivation; triad pair Bb+,B+ on Bb7+5 (in tenor key triad pair C+,Db+ on C7+5 ). 6 The Mastery of John Coltrane, Vol. 2 (To the Beat of a Different Drummer); MCA Impulse 2-4139.

17 ex. 12d (One Down, One Up excerpt).

,! VI f![ -

C 7js (triad pair C+.Db+1--

[J

A

#

-

A

~f

(tf ' VIE¥ [J F ~ VIE [ [J F r

-

A

A

5

­

I

A

-­

8

Major seven-sharp fiye chords (aul:mented scale derivation) In addition to the melodic minor derivation discussed earlier (pg. 12), another option on a major seven­ sharp five chord is a triad pair derived from the augmented scale. On Cmaj7+5 the triad pair C+,Eb+, which is derived from the C augmented scale, is an alternative sound to the melodic minor derivation. ex. 12e.

CMaj7#S (triad pair C+,Eb+) 3

3

3

3

Polychords and chords over foreign bass notes Sometimes in jazz a chord symbol like Cmaj7+5 or F7+9,+1l is not sufficient to communicate the exact harmony the composer has in mind. When a given chord cannot adequately be notated with alterations it may be necessary to resort to other means of notation. The two most common alternatives, short of simply writing in the entire voicing, are "polychords" and chords with foreign bass notes. The term "polychord", meaning literally more than one chord, generally means two chords combined into one tonality. A chord over a "foreign" bass note means exactly that. The "foreign" bass note is seemingly unrelated to the chord above. The difference between polychords and chords over foreign bass notes is that a polychord is a chord played over another chord; a chord over a foreign bass note is the chord played over another bass note, not an entire chord. The criteria for deciding what triad pairs might best fit a polychord or a chord over a foreign bass note is the same as in all the previous examples. With your knowledge of jazz harmony and your ear, decide on a scale that sounds good over the chord and derive a triad pair from the notes in that scale. There are endless varieties of polychords and chords over foreign bass notes. The examples that follow are a few of the more common ones.

18 Polychords

A very common polychord is a triad over the triad a tritone away. An example is G triad over Db triad. This chord is tailor made for a triad pair, G,Db. ex. l3a.

G~

~

I: -e: fi :j3gdJO@~d11 Cfl~c fPc: f;L CP I

(triad pair G,Db)

D 3

3

3

~

3

Another polychord Glat is more disonnant is a triad over the triad a major third below it. For instance, G triad over Eb triad. The G augmented scale derivation works well on this polychord. ex. 13b.

G

(. . Eb +, F# + ) tnad paIr

f i PJ J#j~:J ,pdt IE~rt C·rlPc ft~~rf I

_~

Chords over foreign bass notes

G major over Eb in the bass. This chord is a very popular sound for good reason; It's actually another way of writing Ebmaj7+5. The same rules apply for this chord as for Ebmaj7+5. The third mode of melodic minor (Eb,F,G,A,B,C,D) is the best scale. The"first cousin" melodic minor derivation dis­ cussed on page 12 works well on this chord. ex. 13c.

GIE ~

(triad pair F,G)

f! CErl [ [ fj" IE Fri

t: £f Ell bE PY L f ~

rr

G major over Ab in the bass. This chord may sound familiar to many jazz musicians. The G inverted diminished scale (G,Ab,Bb,B,C#,D,E,F) works very well on this chord. The triad pair G,Db works because it is derived from the diminished scale. ex. l3d.

19 Triad pairs and tritone substitutions Possibly the most common harmonic device in jazz improvisation is the "tritone substitution." Tritone substitution genera11y means subtituting a chord a trHone away from the "V" chord in a given progres­ sion. For example if the progression is Dmi7 G7 C; the improviser will suddenly substitute Db7 for G7. Check out the following linear example: ex. 14a.

'i [f fy Om?

G7

(D~7)

EFEr I kpr ~rtr

~

CMl

ekr Etc IfF r Fn J

In example 14a the rhythm section is playing G7 in the second bar while the soloist is playing on Db7. The same technique can be used in Intervalic Improvisation; as in example 13b. ex. 14b.

Omi (triadpairF,G)

~

o

C[

G7(O~7)

(triadpairB,Db)

f $ I [~[ ~r J #c E'E t

CM/ (triadpairF,G)

I[

r F1

j

In example 14b the rhythm section is still playing G7 in the second bar while the soloist is playing a triad pair on Db7 (triad pair B,Db). Both examples resolve to C major. This technique takes Intervalic Improvisation a step further harmonically, but it is nothing that isn't done in linear improvisation all the time. Any harmonic technique that works in linear improvisation will work in Intervalic lITtle ­

------­

triad pair E,F# (der. from C# dorian

Em!

triad pair G,A (der. from A rnixolydian)

~

-

A7

~

G

7

r F r~r rtF ~ f f ; tr [bE r f r J ~ ~ ~ 1

I [

~

-----.:::

5' j C

£ 7

4*

C~7

--~2lIJ#J #J 'L9j Ii p~n cf rf I#['t~ E~~~ C~7

C7 !

F

¥

1

C ~-------~-7

e~7

e7

~t':\

~ Er~EY 1 FE Ff L~~!r I d r f[ E ~Lf 1 J JJ J Jj ) Based on the chord progression to "Get Happy" by Harold Arlen

aII

Bridge Over the River Blues

\~2j:um-U!, t.::mpo swing

J = 108-120

-

---------

f

4

8

c~

1,~t4frfl _--~--~---------

32

36

F

___

3

-

--=-­ G7

FrrreLl?

40

I

:---< v

V

4

tiURIl{O;) uqof I\q ,,1I0110UJO;)01,. 01 1I0ISStiJlJOJd pJoq;) tiQl lIO PtiSUH

L:)

4

L:)

4

______

9_

tf3 3d4J J J J J 3±$ r Err FE1rlf14 4ll±±d j]Jl]J2!

v :i: d

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106 Swing

Georgette

d= 100

-

5

17

_ - - - -__

C7

'~£DJ tYr

- E

Ami

r FE I pi tr~f EH I r Et :'~Q}

21

Gmi

Gmi

A

3

B~

29

I

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G7

,......

~

'=C3~r~IL ---'

>.­

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C7

~

~ 1* ,- ~ &1 E f f Eft g~

r

,E aE( rflU [J' ~~ f -

-------

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---41

--

B~

Cmi

~

45

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, f f cf r rF r I IJ J] Jl f

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ilfr

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C7

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53

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d Ir Ami

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57

3---­

A~7

­

= d C±

D7

baru f rr~F I-E reft fTtr I

_____

D7 ~

Gmi

B~

~~

3

.... Gml

_ _­

_.... Cml

F

~

PE F I [! Err ~E r riC ~E if f t fool I

G7

61 Based on the chord progression to "Sweet Georgia Brown" (Bernie, Pinkard)

1':\

108

Bon Voyage j

= 126 Even },

d

~ 2

A

Esus 7

p p

II: F'

r

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~ _tLr[;'fUICf(r[~Frrnj~ij]JjBr r * ~l

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fr ,it I

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.--:---... t..:

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a

Fr

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;:rJJJ:~:J J , Hi f H r I fEE .-

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an•

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IT

63 Based on the chord progression to "Maiden Voyage" by Herbie Hancock

-

Esus 7

fr -II,. §

It

9

110

Amanda

Ballad tempo " Double time feel ~ i = 120 (quasi bossa nova) E~

7 Maj/F -:

.

Fmi

'- iJ--'

--

7

8

'--- 3---'

- - - - - - ­_ _~Maj7

>

17 Based on the chord progression to "Naima" by John Coltrane

] 11 Eb Maj / F

Bb Maj 7

20

j

Fmi

AM aj 7

~bMaj7

3

~

EbMajt~_

f~rCJ Ef r cqr rfcqrw fWWfkHf[fiiiu&;1

~

3

~;

_ t!:.

~.

BMaj 7 ... "' - - - - - - - .

-­

'--3--'

6

'-3--'

26

-­

_

-=======

Bb Maj 7

--­

__ 6 D bMa,,7(~11)_

6

30

6

6

C7~

--..

32

-

iJ

6

Db M .7 _ aJ.------ 3 ---.

~

.

_LJ bil S ~E ~ fa cdE 6f rtf ~

34

'-- 3 --'

6

'-- 3--'

a

G mi

__

I Y' Q(t

m ~. )1 ~~

F# Maj 7

~

-

36 Fml.

=----

..

-~~

AM aj 7

Bb Maj 7 ~

_ _ _ _ _ _1":\

~ ! &n (=i=f=r=r=r=r~r=: r=r~f'~r if r E r-9r-~r- -r -Fr-Lr_-br ~ JJ ]j d, ~

40

12

===--____ 12

:

6----!

II

Fish Street

112 Medium-up tempo swing

j = 100

DMaj

DMaj

~-

---------------B7,9

----

5

E~

D;;;;-----

9 Gmi _FMaj

13 DMaj

17

,

i~~

fll-

71

tJ 21

"..

~.

-

-

.....

,

DMaj

e:;

l'

Emi

~

25

*

"t

P*

29

Emi

DMaj

A

...

-.

113

DMaj

,~.

t

y

~

Dmi

pf]5iTIJJ i JJJd

IjJJ3urrlfrrftftEI

33

E~

Eh7

, it rE~nUrJ IbG{ctr£bH b£#r

TI

3

Eml

, t

---------

A'

I

#f[b pu

41

't4: ' v't -

I

t

DM.;

~

lief

C7

A

Po rr #J iJJ JIEf brr if

I

3

,V cf f~acr

G mi

B7~9 ___________

DMaj

f pre Ef l - r I

FMaj

~r ----­ "~A ~ P I iC t; , DU I \J JJ ] j

t

I' i~ Ie ir If A'''

Emi

fl

Dmi

DMaj

=

F' p r

,~ 49

I ~A 'trPU rT Ittr [z fbpC f 7p=Ha DMaj

E~

Ek

B7~9

A

~~ * I bE CoL §! A

53

F#7~9

Emi

,

I g:=:j'"

.-

f ' b- F r tiC #

B7

q

D~7

m IcJlr ['-riC EbEaIJdiM JJa I

i::------A

Emi

, fffJ1 r r r I ~ F mi

B~

A~m?~5

N

~

DMaj

A

~~ E~

[ E A I'E ; I C; ;

r (if l 't I .,'"

61 Based on the chord progression to "On Green Dolphin Street" by Bronislau Kaper

I

This etude employs church mode, melodic minor and harmonic minor derivations

114

j

A Little Night Music = 100 Swing Omi

A

A

3 triad pair O,Ab (derived from 0 inv. dim. scale)

from 0 harm. min. scale

3 triad air O,E (deL from 0 I 'dian)

triad pair G,A (deL from E dorianl

triad pair G,A+ (derr~.~fr~o~m~O~m~e~I.:...m~in!:.b====:f:~rni===:;-~~==~=J52]C==::;----::---_ _ O~ G~

9

triad pair Ab,Bb+ (from 07b9) (deT. from 0 altered scaly, 7th mode of Eb meL min,)

triad pair G-.A+ 'deL from 0 harm. min. Emi

/?­

II

1~

-

11

Eb mixolydian scale (tritone substitution) wi passing tone Gb

Bb7

A

U

17

triad pair Ab,Bb (deT, from Bb mixolydian)

B~7

..

>­

>-­

•,

•

-~

triad pair G,A (der. from A mixolydian)

N

.'1

•

•

~

fL

-

~~ ~

...

2f

~I......,I

I

triad pair G,A (deT. from A mixolydian)

E"

u

25

---

EO

t'I

~

II

~

u

29

-+

L 1

.....

I 1'1

i

triad pair G-,A+ (deL from 0 harm. min.) ~L

G7

Omi I

L j

triad pair Ob,Eb (deT. from Eb mixolydian: tritone sub. on A 7b9)

L

I

triad pair G,A+ (der. from 0 meL min.)

tritc; pair Ab,Bb+ (from 07b9) (der, from 0 altered scale, 7th mode of Eb meL min.)

B~ 7

-.

':>

/'"

triad pair C.O+ (det. from G meL min.)

N

Om! .-,,­

....... triad pair G-,A+ (deT. from 0 harm. min.)

-ir-n

i,..,.J

115

J

33­

.. ~~~ ~

3'7

!\

L J

1"...1

triad pair G,A (der. from E dorian)

Dmi

'*"

," 41

I

I

[)M,,;l(# 11)

~'.

-­ ~~ ~ ~ ~

.u.

~

I J _ triad pair D,E (der. from D lydian)

"1­

TT

tritone sub.

'I

N~g

ED

t=

I

I 'I

triad pair Ab,Bb+ (from D7b9) (der. from D altered scale, 7th mode of Eb mel. min.)

triad pair Db.Eb (der. from Eb7:

-

1"...1

A J

-

:~

~ ~ ~~~lJ, ~

I

triad pair A,Bb+ (der. from D harm. maj.)

N

D7,g

AO

~~ ~~~ ~

lJ,

• triad pair G,A+ (der. from D mel. min.)

Emi ....---~

A7'9

ED

~ ~ ~ ~~ 1

•

"

I

A7

Emi

_

J I I 1 triad pairAb,Bb+ (from D7b9) (der. from D altered scale. 7th mode of Eb mel. min.)

l triad pair G-,A+ (der. from D harm. min.)

I_

Gmi

D7 ,g

A

1

I .....

J

"1

i

­ triad pair C.D+ (der. from G mel. min.)

L-----:..=:~,,::..:.::.::.::...::.:...:=..:=;....:.;.;;:;;.;.;.:.--

A ~

triad pair G,C# (der. from C# pinv. dim. scale)

triad pair G,A (derived from E dorian)

~f 1t

~

1"""'-1

~

~

1

l~-

1

~

I

-

,.

'L­

N

triad pair Ab,Bb (der. from Bb mixolydian)

­

I" triad pair G.A (der. from A mixolydian)

~7

~I

~~

L~

~II..

~~

A7

-

~.

I~

i'I"L

5t ,

triad pair Ab,Bb (derived from Bb mixolydian)

Dmi

----•

"

57

D7bg

ED

A"

Nbg

~. . G -, A + lio.-oOl-~ triad parr I

E"

Nbg ---F1ititPair Db,Eb

@.!

61

(der. from Eb7, tritone sub on A7

I

Dmi

-

~-~u.J triad pair G,A (de~ved from A mixolydian) 3

-

(der. from D harm. min.)

,.,

~-"-

G7

-i • triad pair•F,G... (derived from G mixolydian)

~

Gmi

I ' •

L

~~ ~I~

.

---­

triad pair Ab,Bb+ (from D7b9) (der. from D altered scale. 7th mode of Eb mel. min.)

I----... I

A~7

I 1

--

A

~I

G7~9

-:;=r;

:;;>...

D . ml __ L

"

J

L

.......

r~

triad pair G,A+ (der. from D mel. min.)

Based on the chord progression to "You and the Night and the Music" by Arthur Schwartz

116

This elude employs church mode derivalions and melodic minor mode derivations

Sioux City Gmi

f B~7

t-t:rri err JI[ r F1 j J J3!Tn * FM .

Y

VIff f;

5

..,

D7~

Ami i

ern I

------­

i

9

Dmi

13

FMaj

3

25

3

117

E~

A~'

D~M"

, r=st~rJ I"E rkf r~jddD IJ ~m- I'khid?rl

33

C~

Fi7

BMaJ

11

__

37

AMaJ Bmi

E7

41

Ami

, tltj -

07

I'

~

')I j

45

JIe

E

Oml

G7

r~ I[ [ U Er ri I( [ rJ E§ ~ f I C7

CM.,

,- * r r I f[ 49

~

u j #J JJ I;c r( rr r f FI &Q§!t I

______

Gml

B~7

FM.,

--

--;1

~A ~'§§A

, JfutQ±E ~ di EFf [ r E r I J-t81fiti~ ISf ;8 53

07

57

~A C

Dml

G'

, . r r r rlJJJJjiJ &( #

a=t

61

Based on the chord progression to "Cherokee" by Ray Noble

--:-r~

~

IEFF;=

I

This etude employs church mode derivations and melodic minor derivations

118

J=

Blues For All People 160 Swing

+I

N

Olaf') I fj a r; IE rtF

iF-

, tJ bu= 143

A

j

A

-

J IF J

A

r

/\

r

If

5

t #(03;1' I ~ Fa

10

N

I L¢= U ~]?rJ

__

@I

D7

tl I F r'H

irri Iwrm

:ti::if F IOCr .tf~lE'fi; IcJ etEe F';' t r tr:at I

15

A7

E7~9

¥ e1 eu 20

I

ttt¥En *a, 'if r s

I

rfu

y

tJ

119

~EB ~ IDM-I~

r· tilt p ~ ifcBcFClB ~ ~[fcjjIIJJ#J till IIJ J J JeciJ IE [' FID Irir r n Ffg

50

3

3

3

IT

-

3

D7

3

.N

~t

10 t

--­

~

E7#9

_

~

.

~ ~IIEJ kJ JJ IPiU d IB tJ- 5.zt;B:gc HE -----=:::::::.. ­ E7#9

61

F7#9

(;&tEcr

, tf1ctrt f If ftr r

1-

t

I'

67

rer-Jb

>

72

D'

BJw Il J i1fJro tfr ~r J Ilpf ~1Ji'1 ~ r¥Er r to IWEtr lli Iill J J Jis --J J I J. A

~2D

78

jl

IT

82

__

~

"1

-..

A

A

~ I IEl i] #J qJ I ) J J

E7#9

&)

IJ

86

y mmiJl

95

J

IE #J

------------------~~------

-~

92

Jj

c

--------------------~

r r

Ic

b #f

r

ir

it

r f fit

Based on the chord progression to "All Blues" by Miles Davis

~

120

....... A"

9

.1

F"

13

This etude employs church mode derivations and hannonic minor derivations

;}~dS;mlo AZZ10 Aq

"no.,\ ,U, APOOA\" 01 U01SS;}I15OJd pJOqJ ;}Ql UO P;}SUH

E:

u;

L4!~' {!;~llJJ' ,~I @,' Ji!~JI J J =-:2r',: i 4

~Q:tJ4 JjJ I y

Kg ?JW d J J Jd

61 L8

1J

4]

I Jd

Iv

Ad Jd4J~ i "'v

64 LO

",8

IZI

This etude employs church mode derivations and hannomc minor derivations

122

Free As A Bird j

= 120 Up tempo swing EO ~

-

Cmi

5

13

G#mi

17

~~

C~

¥~.~, if liE IE It rIf If' fiJ;Err ' 1~t2fIY . 21

DO

'-'

3

F13

123

D°

A7 >g

EO ,-.. 33

-

A

F7 ,g

Cmi

3

B~Maj

B~Maj -

F7~9

--------~~"T---

u

37

A7 ,g

EO ,-.,

~

~

D°

G7~9

Cmi I"

3

41

F7 ,g

C #7bg

I

BIl Maj

Cmi _______ 1

~t

i

~1~F· * ~ III IErr f ~E r t r I[ ______

I

_

B~M aI

G#mi

r rYe [ r f IIn #J J,~ ,~ i~ i@

45

r"--I"'"-­

C#7

G#mi

F#Maj

~

r I~ GJ I.,. ¥If ~ 'e j~ il~

>..-

i.

PI

49

F#Maj

Cmi

EO

A7,g

G7~9

Do

,-..

-

1=7

57

B~Maj ,-..

~ ~.

Cmi

p

B~Maj

~

t)

6] Based on the chord progression to "Lady Liberty" by Toshiko Akiyoshi

-------1":\

124

This etude employs church mode derivations and harmonic major mode derivations

j

The Urge Within

100 Swing

-

3

3

~-------------------~--------------

5

9

-[j~

E~Ma?(I11)

~}

i

r

13

J

rf

~

~.

~

b,..-#­

I

.1f.-.

.....

.Il

.1

I "I

A

1

fO ~r

b.-.I

.lJ­

J

-

I I

~

A

21

29

_i _ _ _- ­

~ ~ r [ fit IT FJ 1­

E

Wi

125 E~Ma?(#l1)

p

{fie 161 ~e;a

~

37

F #M .7Ull) aJ

A

,~rt t~ ill

41

E~M aJ.7(#11) _

I'

E

.I

-.j'

Maj

I

ErE AflJri

D~Maj7(#11)

7(#11)

'=0 ~E1 F I' #~ rit~f~j~Ar

B Maj 7(#11) _ _ _ _ _

-

C7

--

~~=-~-:----------------~

G#,,(9)

r¥¥fl

49 GMa?(#l1)

--

53

F"","n'

_

C---­

>

,ft1;rrEFlff[Jc[f77Gu,r5fi'H 57 E~Ma?(#11)

, ,s-n'iQ­

0/

-----,--,~ b ~. r ~I ~ri JJ jJ J il PrF rr

~) ~

.

n

f1rI

61

F#

Maj

7Ul1)

D~Maj7(#11l

E Maj 7(#11)

::-.

65 DMaj7(~11)

«£fir f Ertf

BMa?(ll1)

C 7(:11)

: ,i~---I[ r Er

AMa?(#l1)

&r

ri( ----­ fr

69 Based on the chord progression to "Inner Urge" by Joe Henderson

II

126 This etude employs church mode derivations and harmonic major derviations

Grand Delusion .J

Walt Weiskopf

160 even },

r-r r (1::: I

Gmi

BbO(13)

--------~--------~-

~ 'rr&,JiJ

ill l~cJ'F" ~PI

~. € ~ ~ I

mf

-

6

3

16

t)

24

____

3

------­

--------~-------------

----~---~

39

4

4

4

-

~_

127

---l}~0(13)

4

d7(~11)

Gmi

____Gmi

4

52

~~7 bcBdRJJ t ¥ l l f J A~Maj7

t 57

3

A~Ma?

G 7 (ill)

3

G 7 (IH)

FMaj 7(#11)

~

-

E

67

r * I

-­ A~Maj7(#11)

t1fdr criJ±

-

B~ Maj7(#11)

D~ Maj7(;11)

f~rJfjJ

, r1lJ f

*

333

:-.-......

--

~Maj7(;11)

---== 62

3

=t- ~~

~ 4

72

4

4

B ~0(13)

-77

This etude is based on the solo changes to "Grand Delusion" by Walt Weiskopf, BMI Copyright 1990

1':\



128

Tbis solo employs cburcb mode derivations and diminisbed scale derivations

Paradox *

Walt Weiskopf

f

>

5

------

EMa/(#l1)

9

17

------------------

BMaj7(#11)

21

1

~ 3

>

1-

C#mi

_'~-ftil t Pc C'lrier IiJ.J J J~J

29

37

*Tbis solo transcribed from "A World Away"; Walt Weiskopf Quartet; Copyrigbt 1994 Criss Cross Jazz

129

~3

45

DMaj 9Ul1)

AMaj 7(#11)

B Maj 9(#11)

mr[; t£ *

* I * ~ Jl P ~J---LfP f @I __________________

--

49

A~SUS7

23~~~

E

53

4~ E b>

I

7 -

57

EMaJ (#11) 7

,

i

~A ~rA

:>-

i-l~

et r ,= I fh ff r ~€ EI r I bf~ r r U ~F

t

-

DMaj 7(#11}

7

BMaI (#11)

_

ifEl8, wt Or t I tIT f,'r rtr I #fltfit¥sfer

1

61

AMa?

3

l

GMa?(#1 1 ) ~

C"mi

4' rPL[kF I[ELF cprl¥Pfn5J1c eM,""" ,~A f I ~-r 4 @ J 1 IJ 0 r fir E S; r It L F ( * A

___

69

A

i

A>

A

j

oJ

73

BMaj 7(#11)

---------~-

tJ

77

"Paradox" composed by WaH Weiskopf, BMI Copyright 1992

I

130

This etude employs church mode derivations, melodic minor mode derivations and diminished scale derivations

J

}l

== 160 even Quasi bossa nova

Brazilia*

Walt Weiskopf

y Ami

5

9

c

F#7~9

G Maj 7(#11}

=if. irf t ej %&E- t#f~~· #mi

F#Maj 7(111)

fr b-rr ber

13

17

G#9(~13)

21

G 7.9

(~5)

[l=sTr #CJrTF

29

pJ

-

ff

1

A~Maj*

---f Or ~ ~LF r

~'

, PI[

-----r--

G mi

1*

_____________

131

,gfFrFlr6l[ru~t

33

Ami

:/

37

B~Maj7#5

emi"

~ Cdr i 11i ooj#i EEfYQd Bhr ~tch t7fiIW

3

M

3

3

3

3

~

//

3

~

Clm'

j!:~'"

Fh,

~ ~,b[bFti.mol ~JJIJ'rlr~riEfttr;;Jal ruPcrlr£jhWVd" m

44

GMa?(#ll)

~ 47

3

~

3

'- 3-'

1...3-'

(#9)

B~'3(;11)

E~7~9(~9)

~~

f~ "P~WJ c#cfr I~u Qfliktru:& '6 ([11 Ie E(r be f~trgeEtt E£f Vi A~'3

G'3

54

~7I,(i,).~ ~ j "p E[ I IE EtE

tb r

59

.'1

E7~9(~5)

62

3

3

fir .'1

tfft

8m'

,.tttr~

Cr [1 ij6f Q: I

EPEt I it dff

B~Ma;1(~")

ritard.

7(1,,)

A Mal

3

"Brazilia" composed by Walt Weiskopf, BMT Copyright 1992

*This tune can be heard on "Simplicity" - Walt Weiskopf Sextet; Crisscross Jazz

3

_ r. \



132

This etude employs church mode derivations. melodic minor derivations and whole tone scale derivations

J

Long Story

= 80 Medium tempo swing D7#5

=t=J1¥r ~fmt&bOl~lr * '¥~@rfIFlffElffiE

f

'*

3

3

C#7~9

G#mi ----::-~

I*r r r

f' p ­

~

€j

fiE

z

@

5

tJ

. I

I tr (i!~CiE

I Er

t rrr-u ~

r J R 3I JJ3i3

Ja ~

9

~

~;:;J id J Jd Ji J IF rtr t 13

AMaj7

Et ~f I ~ [

f

________

E

rtt f~f If EiE r pif JJ

133 E7~9

AMaI 7 (f,,)

Bmi

2'~[ r~ AtC r find] ---

r-

~

p3 JiW-""'Ji-jtJ * I,.fA c¥ rid

Dmi

CMal 7

-­

Cmi

---­

Bmi

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

3

37

D715 .-::

GMa?

-------

Ch9

G#mi

I"

45

F#mi

FMaj7

1A±[§ r ¥ f I f if If If [#c1if:4J Bmi

E7~9

$

~-.

q Cd= I E r £$ t f-1

AMaj 7

53

Based on the chord progression to "My Elegy" by Toshiko Akiyoshi

1":'\

This etude employs augmented scale derivations

134

J= 120 Up-tempo swing

Up and Down

e 71s

4d?fiJ * Iff f~ ria I' j?]]IJ Jib r~ ~Ib rtn t-C1) t I r1 Er t j TrTr - ~ WIt I rt riJ ±:eM -----

5

17

3

25

3~

1.2r-"

~~

teg92r ·tW r r rm FE ri}1 37

u

41

--

~

IfITer

--­

135 B~7#5

t~rp'---'-----f{Wr

*

I,Jft£[~rf ,l[¥iFt!lt 1- #®b

J-q1ilt r f f Itetf Ct§fcF Ih [£ rtf rr¢hUfn rI

57

~ --

---A

6~ V[ [ [ r t #r If ~ f[Fl[[ff ~ ,

iT7 #c t I f JJay >

-­

__

..

_ ~~ f!:.

.. "

>

_______

69 A

>

>

>

73

~

B~7#5

..

3

4JJhJSIJ dJDJ

81

__

--­

I'

jiJiVIJD tifF #£0 cftfr '-"

[;.:-;' 3

8S

. ~ ---e'"

4IT r r1 (9rf

89

~

lEE EE I

- I

i

~

!:IDlT rt IE Ff#FEfErj

-

/":\

Based on the chord progression to "One Down, One Up" by John Coltrane