jazz Improvisation 1

TONAL AND RHYTHMIC PRINCIPLES Jazz ImprovisationI REVISED AND ENLARGED EDITION

JohnMehegan

Watson-Guptill Publications/New York

~

Amsco Publications New York/London/Sydney

NOTE:

It w.iIlbe noticedthat no secondappears in the-U1verted" diminished chord. Thus, the diminished chord eaunot be inverted. There are twelvediminishedchordsgrouped in three series(Co,EbO, CbO,AoC#o,Eo, Co, Dbo- Do, Fo, Abo,Do).The diminishedchord is always in root position.

LESSON

23. Inversions

Here Is a bassline for "Liza, ~ Transfer the melody to manuscript Since the M, x, m and 4>can be played in four positions,this gives us 192 chords. Adding the 12 diminished chords, this gives us a total of 204 chords - the complete harmonicsystem of jazz.

paper.

I V: / #IIo VIx: / II:#IVo / Vm Ix / IV IV + I / III bIIIx / II bIIx / 1+I

#I/

I V: / #IIo VIx: / II:#IVo / Vm Ix / IV IV + I /

III bIIIx / II blIx / I + I bVlIx / VI + I bW / VII bVIIx / VI bVIo / Vm bV / IV IV+I / IIIbIIIx / II II. / bVIxV / I V: / II:#IVo / Vm Ix / IV IV+" / III bIIIx / II bIIx /1+

#JIoVIx: / 1

/ /

L1ZA-by Gus Kahn, Ira Gershwin, and George Gershwin © 1929 New World Music Gorp. (renewed). All rights reserved. Used by permission.

LESSON

22.

NOTE:

Inversions

The following is a bassline for "No Mono at All.n It is written in D minor, which is the relative minor of F major. The symbols refer to F major. Transfer the melody to manuscript paper.

..

I+e Is also VI', but the functionof the chord is usuallyan adjusted I chord rather than an invertedVI chord.

LESSON

24. Inversions

VI+I/

IIIx: /

va /

VIIm: / VII: / bV.". IIIx"

/ VI+' Ix /

IVxIIIx I VI+' / IIIx: I Vo I VIIm: I VII: I bV4-,IIIx" / VI +' I VI +' I VIx / VIx / IIx I IIx / V / V I I IV I VII bVIIx / VI +' I

•

••

IIIx'1 Vo / VIIm' I VII' I bV,IIIx" I VI+' / VI+' /1 1\0 ~IOON AT AJ..L..-Wordsand Music bv David M~'lIM7~~rs.~~dR~;n10e, C 1947, 1949 Jefferson Music ~., Inc: © '" Inc. International copyright secured. lIJl rights Used by permission. NOTE:

40

..

VI +e is also bV", but the function of the chord is an adjusted VI chord rather than an inverted bV",.

The following is a bass line for "Waltz for Debbie." Transfer the melody to manuscript paper, This tune presents a special problem in that the chord chart for the melody (called the "head chart") is not the same as the chord chart for improvising on the tune (called the "blowing chart"). This problem will be treated more extensively in Volume IV. For now, here are the two charts for "Waltz for Debbie." Note modulation to the key of A and the return to the key of F. The "head" chart appears in 3/4 time with a transition to 4/4 time in the final six measures of the tune; the "blowing" chart appears in 4/4 time with a transition to 3/4 time in the final four measures in preparation for a return to the "head" chart. 41

HEADCHART:Key of F, 3/4 time 3

6

25.

LESSON

6

6

6

•

(Fl 4 J5 I VI I II I VIIx' I IIIXz I VIx' I IIXz I V' I bel I 113 I (Fll II.p3 I (F)l

I~

V

IV I III I

I VI I II I V I

(All II I

V V2

vlre

IIIx~

bV.p3 Vlx3 I IV V

I VIXz I

IIx~

vi

I ViI

i II

I

I V2 I IIIx"S I VI

v12

II

I III I II I I I 12 II (Fll II I V I III I VIx I II I

(F)l IIIx'" I VI I Vm I IV I IIIx I VI I Ilx I bIIIM I bVIM I II I 3 6 6 6 6 • (F)4 V I J5 I VI I II I VIIx5 I IIIXz I VIx5 I IIXz I V' I IX2 I 113I

(F)l II.p3 I

~

V, I III I VIx I bVm I

VIIx~

I

-Isy3 I

Ix I IV I

u

u (F)4 IIIx:5 I VI I bVIx I VI, I VMu I V~3 I V" II (Flj VI, VM~5 I

3

:3

(F)j V., V" I VI, VM:5 I V" V" I J+6 I I +6 II

Inversions

The following is a bass line for "Giant Steps," Unlike the bass lines in this volume, the chords are indicated by letters instead of the usual Roman numerals. The reason for this is that "Giant Steps" has no prevailing key center but, instead, a series of implied key centers. 4

4

4

BM Dx 3 I GM Bbx3 I EbM I Am Dx I GM Bbx" I EbM F::x C~m F~x

BM I Fm Bbx I EbM I Am Dx I GM I EbM I C~m F~x IBM

4 3

'" 3

I

I BM I Fm Bbx I

4 3

4

Dx I GM Bbx I EbM ! Am Dx I GM Bb3 I

4

EbM F~x' I BM I Fm Bbx I EbM I Am Dx I GM I C~m F;:;x I BM I Fm Bbx I EbM I EbM II BLOWING CHART:Key of F, 4/4 time

(Fl~ III VI I II V I lIIx VIx I IIx V I Ix IV+6 I II.p V I III VI I

GIAl\'T STEPS-by John Coltrane © 1974 jowcol Music Used by permission.

(F)4 II V I III VI I II V I IIIx VIx I Ilx V I IIIx VI II (Alj II V II I (Alj I II (F)j II V 11II VIx I II IIIx I VI Vm I IV IIIx I VI IIx I (F)j bIIIm bVIM I II V I III VI I II V I IIIx VI I Ilx V I Ix IV+6 I (F)4 lIt/>V I III VIx I bVm VIIx I III Ix I IV IIIx I VI IIIx

bVo I

The symbol key for the preceding chord chart is as follows: M-major x-dominant m-minor

(F)4 III bIIIo I II V II (F)~ I +6 I bIIIo I II I V 1/ Da Capo to head, WALTZ FOR DEBBY-by Bill Evans and Gene Lees TROC 1964 and 1965 Acorn Music Corp., New York, N.Y. U.K. C 19i¥' Acorn Music Inc. Assigned to Kensington Music Ltd., B5 Gower Street, London, ~Cl for the territory of the world excluding USA and Canada Used by permission.

42

43

SECTION

pidc-up

IV

II I I 1+" I (F) II I blIx I I I 1+" I bW VlIx I nr-: I (G) V" / (G) III bIlIx I II VU I I I 1+" I (F) III blIxI (Eb) bIIx I I VI I (G) 114>V I I II I ill (G) II bllx / 1+" I 1+" II

(G) VP

(Eb) I VI LESSON

26.

Modulation Many of the popular tunes used as jazz material modulate from one key to another in the course of a 32-bar chorus. This modulation is seldom indicated in sheet music although the jazz musician "thinks" in these key changes for Simplicity and order. The following six lessons will deal with tunes of this type. A Simple rule for identifying the presence of a new key is the appearance of a major chord on other than I or IV (i.e.. 111M, bVIM, ete.).

The following is a bass line for "Body and Soul" in Db. The original key of this tune is C major, but since 1930, the year the tune was written, convention has prevailed in favor of Db. Transfer the melody to manuscript paper using the following signatures: bars I - 15, key of Db; bar 16, beats 1,2, key of Db; bar 16, beats 3, 4, key of 0; bars 17 - 20, key of 0; bars21- 23, key ofC; bar 24, beats 1,2, key ofC; bar 24, beats 3,4, key of D~; bars 25 - 32, key of Db. The letters in parentheses indicate the key in which the symbols are to be played. (Db) II U 7 Il:7 I II bflx I I II I III bIlIo I II II, I VII bVIIx I (Db) vi Ii bIIx I I lHo I IIu7

II"7 I II bl lx I I II I III bUIo I

(Db) II II, I VII bVIIx I VI II bIIx I p6

(D) V I p6 II I

(D)

VI3 IVm I III VI II IVo I III bIlIx II blIx II (Cl II V I

(C)

I bUIa I II bIIX I ix vIIx

(Db) I II lUI

(Db) VIx I Ilu7

oUIo I II II 2 I VII bVIIx I

Vi

Ip7 I II bIIx I

II blix I I +6 II

I (Eb) II I blIx I I II I III IVb' I 1/1+ 1 I (Eb) II I IVb' I ill bUIx I

HOW HIGH THE .MooN-hy Morgan Lewis and Nancy Hamilton {j HMOby Chappell & Co., Inc. Cl renewed. Interuanonal copyright secured. All right", reserved. Used by permission.

LESSON

28.

Modulation The following is a bass line for "Laura, ~ in the key of C. Transfer the melody to manuscript paper follOWing the Signatures indicated by the letters.

I I I 1+ 1 / (F) II / bIlx I I / 1+" I (Eb) II I (Eb) bllx I I I VI I (G) IIVb l / Vb l IVo I III I bUIx / II I (G) blIx jI jI + "/ (F) II I b1Ix I I / 1+' / (C) IVm / IVo / III I (C) VI / I1xb l / II VII / 1+" / 1+' /1 (G) II / bIIx

LAURA-by Johnny Mercer and David Raskin e 1945, renewed 1973 Twentieth Century Music Corp. All rights administered and controlled by Robbins Music, a catalogue of CBS Songs. a Division of CBS, Inc. All rights reserved. Used by permission.

As Indicated above, "Laura," in the key of C, does not start In the key of C. However, the tune comes to a final close In the key of C which definitely establishes the key.

BODY AND SOUL-Lyrics by Edward Heyman, Robert Sour. and Frank Eyton, Music by John Green «:>1930 (renewed) Warner Bros. Inc. All rights reserved. Used by permission.

LESSON LESSON

44

29.

27.

Modulation

Modulation

The following is a bass line for "How High the Moon," in the key of G. Transfer the melody to manuscript paper following the signatures indicated by the letters.

The following is a bass line for -111Remember April," in the key of G. Transfer the melody to manuscript paper follOWingthe signatures Indicated by the letters.

45

(G) I / I / IV" / I / 00 /

Im , / VI", / IIx / II / V /

LESSON 32.

(G) III'" / bIIIx / II / bIIx/

I /1+/ (Bb) II / V / I IVa / (Bb) III bUIx / II I V / I / 1+< / (G) II / V / I / IV I

(E) II / bUx I I VI / (G) II bIIx I I / I / IV" / I I Im / (G) Im , / VI", I. IIx / II I V / III", / bIIIx I II / bIIx / (G)I+' / 1+< II I'LL REMEMBER APRIL-Words and Music by Don Haye, Gene De Paul, and

Pat Johnston © 1941, 1942 bv MeA Music. a Division of MCA Inc., New York, N.Y. © renewed and assigned toMCA ~Iusic, a Division of MCA Inc. and PIC Corp., New York, N.Y. All ri,mts reserved. Used by permission.

Transposition-Modulation Fig. 1 is a lead sheet of "In Your Own Sweet Way" by Dave Brubeck. Fig. I represents the composer's view of his composition; Fig. 2 represents a figured bass solution of the same tune. Fig. I. "In Your Own Sweet Way."

t~I\I~~"~~~ Eb

Am

07

Gm

F7

Cm

Bb

Eb

LESSON 30.

Modulation The following is a bassline for -All the Things You Are,~ in the key of Ab.Transfer the melody to manuscript paper following the signatures indicated by the letters. (Ab)

VI/II

/

V /

I /

IV /

(C)

V /

I /

1+-

t~l\ .,I~mr F Ob7

Abm

/

(Eb) VI / II I V / I / IV / (G) V / I / VI/II / (G) V" / I / 1+< / (E) II / bIIx / I / 1+< / (Ab) VI / II / V / I / IV / IVm / ill V" blli / 1+' / 1+' /I

/ billo

"1

/ II /

r"

I\lld Em9

Ell Maj.

Qr U~Tw? 1 A7

0

(Ab)

ALL THE THINGS YOU ARE-by Jerome Kern and Oscar Hammersteln II C 1939 T.B. Harms Co. e renewed % The Welk Music Group. International copyright secured. All rights reserved. Used by permission.

J UJQr A7

LESSON3l.

o

Modulation The following is a bassline for "Autumn in New York," in F, Transfer the melody to manuscript paper following the signatures indicated by the letters.

bIII / II ill I (F) IV V / ill VIx / III", bIlli / II ill / (Ab) II bIIx / (F) II III / IV VP

/ 1+'

(Ab) I II / (Eb) VI VII / P-

I / I II III

4,\1& m Om

I Ab7

r

F=£t" FI*'

e7

Cm

07

Am

~

ttl Gm

bW / (C) II bIIx / I VII /

(F) III bIII / II III / IV VII / 1+- I I I II III IV / (F) Vm VI / (Db) II IIIxf< / VI VI./bWIVxjIII+-VIbf

MorAD

DofAb

PofF

AofF

(Ab) II I V I II I V II (F) III (F)

I

#10 DofAb

Don'

II

MofA.

I

DofAb

MorF

DofF

V I II MofAb

I

D of Eb 0 of Eit

see "ote

(Eb) II / II / bVIIx / DofF

MorF

see note

DorF

MorF

DorF

AofF

MofF

AorF

DofF

(F) III / VI I II I

1I7

DofFMofF

VI I II

V I

100fF

)+6 see note

I

loofF

)+6

II

M of F

MofF

V1I5

10 ofF

I 1+

6

10ofF

I

Ionian

4 • 4

Lydian

I V I Vm / Ix II

10 ofEb 10of Eb

"""noll!

1 • 1

IV

10ofF

II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I

PofF

I

V I 1+6 I

bVIIx I I f I 1/ (F) bVIx I V / DofF

MODE

MofF

V I II

PofF

DofF

VI I II

MofF

(Ab) II I V I II I V II (F) III

(F)

MofF

II I V I II I V I II I V I Vm I Ix II

II

DISPLACEMENT

In determining which of these two modes to choose, the deciding factor must be the relative strength of these two major positions in diatonic harmony. On the basis of this, there can be no doubt of the overwhelming feeling of I when hearing a major chord. For this reason, themajor chord takes theIonian mode (1 • 1) except in cases where the bassline gives a strong feeling of IV, e.g. I n / III IV / V I I (seeFig, 1).

Fig. 5.

(F)

42.

1'6

II

SPEAK LOW-bv Kurt Weill and Ogden Nash Q 1943 by Chappell & Co., Inc. Q renewed, assigned to Chappell & Co., Inc. and Hampshire House Publishing Corp, International copyright secured. All rights reserved. Used by permission. NOTE:

Chords such as II, V or I are considered primary furu:tions,since they belongto the key; chords such as Vm or Ix are considered 8eC0nd4ry junctWm,since the root remains in the original key but the third, fifth or seventh have beenaltered; finally, chords such as bVIIxor bVIxare considered tertiary junctions, since not only has the chord been altered but alsochromatically raised or lowered from the original key.

NOTE:

y;:s is !ctually a major-augmented seventh chord; the symbol would read VM.

Fig. 1.

~ ... • •

i

•

i

I

~

LydJan

• • • ! ••

• IV

•

•U •

•

•

• • •

•

• 7• • • ! • • • V

•

;

i

•

•

!

• •

m

... 1

• • • • • !

;

I

Here the use of the Ionian mode of the scale of F on the IV chord would destroy the feeling of C major running through the entire bass line and the Lydian mode (4 • 4) should be used. Except in cases of this sort, the Ionian mode is employed on all major chords.

=7

80

81

Fig. 2 illustrates the twelve major chords with accompanying Ionian modes, to be played both ascending and descending.

Fig. 3.

1+' VI I II b1Ix I 1+' VI I hVllx I II val 1+' #1 I 1+' VI I II bUx I 1+' VI I bVlli (Eb) II VII / 1+- I (G) II IVo I ill bIlli / II pili / I bIlIx I II blIx I I bVIx (Au) II IVo I ill (Eb) 1+' VI I II hili / 1+' VI I bVIh I II V"

(Eb) (Eb)

Fig. 2.

1+'

(Eb)

eM

DM

VI I

II

I

bV+ ili

I

hili

/

I /

I I I

I /I

MOONLIGHT IN VERMONT~by John Blackburn and Karl Suessdorf C>1944-1945 Michael H. Coldsen, Inc. C>renewed 1972. Used.by perrnission.

I

r

LESSON

l'

43. The Dominant Scale

Thedominantchordin anykeyappearsonV only.

EM

CHORD

D1SPLA~

V

5 • 5

MODE

Mixolydian

Since the dominant chord only occurs at the positionof V, there can be no doubt concerningthe accompanyingmode. The dominant always takes the Mixolydianmode. Dominant chordson other than V (II&, bVh, etc.) are considereda temIJOraryV of some other key. Thus. in the key of c: CHORD

'II BM

RULE: The ma/Of"chord is a I or the temporary1 of a new key and

takes the 8C6kof that keyfrom root to root. Fig. 3 is a bass line for "Moonlightin Vermont." Transfer the melody to manuscriptpaper fonowingthe key signaturesindicated by the letters. Abandonthe melody and play the appropriate mode on each majorchord. Major+-chords follow the same rule as normal major chords.

82

Ix ili IIIx IVx V VIx Vili bIh

SPELUNG

Temporary V TemporaI)' V Temporary V TemporaI)' V Natural V TemporaI)' V Temporary V TemporaryV

SeALSOR KEY

DISPLACEMENT

F

C·c

G

D-D E-E

A

Bb C

D E

Cb

F-F G·G

A-A B-B Db - Db

In jazz harmony, these temporary dominants seldom resolve to their natural majors [i.e., in the key of C-I1I bIlIx II bIIx I is a normal pattern; the bUIx (Ebx) does not go to AbM, the bIlx (Dbx) does not go to GbMJ. However, at the moment they are played, they imply the V of a new key.

83

Fig. 1 illustrates the twelve dominant chords with accompanying Mixolydian modes, to be played both ascending and descending.

Fig. 1.

Fig. 2 is a bass line for "It Could Happen to You" in G major. Transfer the melody to manuscript paper; abandon the melody and play dominant scales on all dominant chords as indicated in Symbolkey. (X 1l3 also employs the normal dominant scale.) Fig. 2. MofA

M ofB

1IsPLAmmNT 2 • 2 3 • 3

6 • 6

MODE

Dorian

Phrygian Aeolian

In a chord series with a strong key feeling.

I· VI - II· V - I (Fig. 1) or II - ill. IV - V - VI - II- V -I (Fig. 2) the three modes are used in their respective positions. There is never a question concerning the II chord since it belongs to a primary function of any key - II - V - lorn - bIIx • L Therefore.n always takes the Dorian mode (2 - 2).

85

III and VI on the other hand, can easily be dislodged from a key center and therefore must be treated with more care. In such cases, III or VI become temporary II's of a new key and take the Dorian mode of that key. Fig. 3 illustrates examples of III or VI becoming the temporary II of a new key.

--

-

-

"" Aeolian of C

~E

Fig.3.

VJ

"

..

Mixolydian of C

:a:

~

..... Ionian of C

-

...

-

-~

-

~

Lydian ofC

..

Mixolydian of E

#:

(temporary II)

.a.

rVIIx

I

I

,Dorian of D

IV

m

v

- .. +

Dorian ofEb

Mixolydian of Eb

Dorian of D

Mixolydian of D

(temporary II)

IVm

Lydian of C

#:

-

Mixolydian of

it

m

n

.. -

~

Aeolian

ole

Dorian of

v

IV

e

.. Mixolydian of

'it: IVI

I

n

v

e

e

" I I

m

Vb:

VI

All other minor chords (IVm. VIIm, hlII) are also treated as a tem-

poraryII of a new key. Thus, in the key of C: SCALE

CHoRD

Im

I

I

86

-

VlIx

Dorian of G (temporary II)

II III III-when keycenter is weakened IVm Vm VI VI-when key center is weakened VUm

bIll bII

SPELLING

Temporary II Natural II Natural III Temporary II

KEY DISPLACEMENT Bb e-c C D-D C E-E D E-E

OR

Temporary II Temporary II Natural VI Temporary II

Eb

F-F

F

G-G A-A A-A

Temporary II Temporary II Temporary II

A Db B

C G

B-B

Eb· Eb

C#- C#

87

Except III and VI which usually take the Phrygian and Aeolianmodes. respectively, all minor chords take the Dorian mode(2 - .2). Where there is a strong diatonic feeling of the prevailing key, as in Fig. I and Fig. 2, the III chord takes the Phrygian mode and the VI chord takes the Aeolian mode. When the prevailing key feeling is dislodged, as in Fig. 3, the III becomes a II of a new key and so also with the VI chord. In jazz harmony, temporary U chords of other keys sometimes resolve to their natural dominants (V), but regardless of their resolution, at the moment they are played, they imply the II of a new key. Actually the responsibility should rest with the student in deciding the particular «status" of the III or VI chord. The following rule, however, is a general guide to the use of the minor scale:

RULE: The minor chord is a II or the temporary II of a new key and takes the scale of that key from root to root. The exceptionsare III and VI, which nornudly take the Phrygian and Aeolian modes, respectively, when preceded by primary functions. If preceded by secondaru or tertiary functions, both the III and VI c1wrdsbecame temporary II chords of another key.

Fig. 4 illustrates the twelve minor chords with their accompanying Dorian modes, to be played ascending and descending,

G#m (Dorfi$>

Gm (DofF)

F#m (lIofE)

-

-

Bbm(Dof.M)

Am (fiofG)

Bm (DotA)

Fig. 5 is a bass line for «Little Girl Blue" in the key of F. Transfer the melody to manuscript paper; abandon the melody and play minor scales on all minor chords. The letters appearing over these chords indicate the signature to be played from root to root of the chord. For example: in bar I, the F over VI means play the F scale from D to D; in bar4, the Bb over Vm means play the Bb scale from C to C.

Fig. 5 F

1+6 VI/II c

F

VI/I!

IIIX1l5

B~

F

Ab

bIIx / 1+6 VI / Vm bV / IV IV+6 / IVm bVIIx / F

F.

IJI

IY :aY4>/ V sv /

Fe lIS

F

F

6

III II bIll( / 1+

b

IlIo

/

F F F F Bo IV+6 / II bUM I 1+6 VI I II bIIx / JTe VI / Vm bY / IV

I~m Fe

Cm (DotBD)

C#m (DotS)

Dm (DotC)

bVIIx / IIIx 1l5 -SI / F

II

IIr F

F

IV+6 i:+IVI/>/ V bV I F

F

i:;I /-f+6 V! bV!" / V I II bIIx / I II / c D D IV / VUm IIIx / VUm bVIIx / VI VI/> I bVq, IVo I

lIS III II bIb / p6 F

III Poi

VP

F

6 bIllo I II blIx I 1+

/

1+6 II

GIRL BLUE-by Richard Rodgers and Lorenz Hart e 1935 T.S·. Hanns Co. C;. renewed % The Welk MUSIC Group. International oopyright secured. All rights reserved. Used by permission.

UTILE

*NOTE:

Ebm (UoIDb)

88

Em (fiofO)

Fm (fiofEb)

The prevailing key (F) has been reinstated despite the preceding secondaryfunction in order to prepare for the final closing.

89

LESSON

45.

chord is 4 VII or the t6mporaty va RULE: TM Iuilf-diminkhed new lcegtmd takBa,he .aUeof that key from rootto root.

of 1&

The Half-diminisbedScale ThehaIf-diminishedchord in any key appears On VII only. QroM

DISPLACEMENT 7 - 7

VII

MODE

Locrian

C~(VUOfD)

DfS (VUofEb)

Since the half-diminished chord occurs only at the position of VII, there can be no doubt concerning the accompanying mode. The halfdiminished chord alwaystakes the Locrian mode (7 - 7). Half-diminishedchords On other than VII (III.bV, etc.) are COnsidered a temporary VU of someother key. Thus, in the key of C: ScALE:

CHoM 14> II.p III4>

IV4> V4> VI VII bIlI.p

SPELLING

ORK'EY

Temporary VII Temporary VII Temporary VII Temporary VII Temporary VII Temporary VII Natural VII Temporary VII

Db Eb

DISPLACEMENT

~(WofE)

Ell (WofF)

D-D

F

E-E

Gb Ab

F-F G-G

Bb C

B-B

E

D

c-c

A-A

D#- D#

Ff,s(VUofG) A

In jazz harmony, the temporary half-diminished chord seldom, if ever, reaches its natural resolution, but at the moment it is played it implies the VII of a new key. Fig. I illustrates the twelve half-diminished chords with accompanying Locrian modes, to be played ascending and descending.

90

~

G~ (VUofAP) I

All (VUofBP)

Gf,s (VnofA)

»_

.#

,

....

A#~ (VUofB)

,._B.

......

-

a,s(VDofC)

91

Fig. 2 is a bass line for "Don't Blame Me." Transfer the melody to manuscript paper. Abandon the melody and play appropriate half-diminished scales for each half-diminished chord.

This is an artificial scalesince the same letter, In any form (Ab • A), C3Jlllolappear twice In an authentic scale,

Fig. 2. "Don't Blame Me."

F ig. 2 illustrates the twe lve dimin ished chords with accompanying ",. lmodes. Suggested fingerings have been added to the diminished seales since they represent an unfamiliar series of whole and half steps.

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DOMINANT CHORD: Xl"

--it-

xl.

x bl

t)

I.

Fig. 5.

dominant scale whole tone scale whole tone scale

(Fig. 5) (Fig. 6) (Fig. 7)

Fig. 6.

Fig. 7.

Bo

LESSON

48. Scale and Arpeggio Alteration

MINOR CHORD: mU T

The arpeggio of an altered chord simply follows the alteration.

Fig. 1.

~

~

...

I

~.

•

.it. ..

mlf

minor scale minor scale with

m+'

minor scale

#7

(Fig. 8) (Fig. 9) (Fig. 10)

The following rule describes the use of scales in altered chords: MAIOR CHORD:

MSl MbS lIS

MS"

major scale with major scale with

#5

b5

major scale with #5

(Fig. 2) (Fig. 3)

Fig. 9.

Fig. 10.

Fig. 11.

(Fig. 4)

Fig. 2.

98

RULE: In inversions. the scale is the same as in root position except that it is played from the bottom note of the inversion (Fig. 11).

99

To avoid this, in Fig. 2, the fourth step is removedand the tone row 1235 Is used (12 S 5 is alwayscounted from the root of the chord).

Fig. 12 is a bass line for "Like Someone in Love" in the key of C. Transfer the melody to manuscript paper. Abandon the melody and play appropriate scales for the inversions. Letters over Roman numerals indicate the signature to be played from root to root (root position) or bass

Fig. 2.

c note to bass note (inversion). Thus in bar I, 12 indicates the scale of C C4

from B to B; in bar 3, VIP indicates the scale of C from F to F. Fig. 12. "Like Someone in Love." (C)

c I I. I

c VI VIz /

c,

ne-

c. VII"

I III blIIx I II

(C) V bIIx I I VI I Vm bV I IV+' A.

A.

(A) I I.

(C) (C)

bIIx I Ell-

lIscalesand the remaining four tones of the diminished scale.

I"

..

Fig. 1 illustratesthe fivequalities on C with the accompanyingscales.

T'

I

L

Fig. 1.

T'

i\

..

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iJo ~

CI

Cm

ex

CM.

: I

A

l'

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-

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-

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...

I~ C~

122

V ..

.......

r

I

_

Co

123

Fig. 2.

The following table indicates the omitted tones in each scale: CM: Db- Eb- Gb - Ab - Bb Cx: Db- Eb - Cb - Ab • B Cm: Db- E - Cb - Ab- B C+: D - E • C • A • B Co: Db- E - G - Bb

4

m

bIDo I II VP I II bIh I (G) I VIIx I bVlIx VIx I VI IIx~$/lI bIIxII II I m bIllo I

(G) VI IIx~' / II bIIx I I II I 4

(G) II VII / II bllx: /1+' #1 / 1+- VI I II IVo I III bUh / 4 (C) II bIIx I I 1+ I (A) II IVo / III VI I II bIIx I (G) II II. VII bVlIx VI IIxb ' I II blli:/ I II / III bIDo /

It is a good rule in jazz improvisation to avoid more than four consecutive chromatic tones. The chromatic scale involves all twelve tones and therefore cannot infer any specific chord.

(G) II

• VI* I

r

II bIlx /

1+-

/

1+-

II

J COVER THE WATERFRONT-Lynes

by Edward Heyman, Music by Johnny Green It 1933 (renewed) Warner Bros. Inc. All rights reserved, Used by permisston.

One of the most effective ways of utilizing the chromatic tones is as follows.

1. Treat the root, third, fifth, seventh and ninth as principal tones. 2. In approaching a chord, choose one of the principal tones as a "target" note.

Fig. 3 illustrates the use of chromatic tones in a scale-arpeggiodnll with no particular rhythmic pattern. Using this figure as a model, write or play an improvised line on the chords of Fig. 2 using chromatic elements.

3. Pass through the chromatic tones a minor second each side of the "target" note, then into the "target" note.

Fig. SCHORD

PRINCIPAL

TONES II

V

I

D F A C E

C#-Eb E -Gb G#-Bb B -Db D#-F

G B D F A

F#-Ab A#-C C#-Eb E -Gb G#-Bb

B -Db E D#-F G F#-Ab B A#-C D q;-Eb ~e ~hromatic tones may move in either direction before resolving to the pnnctpal tone although modern idioms prefer the descending form:

124

into D into F into A

-

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II ..

AIJ

tI

ii""

-I

-

,.

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tI

Db- B into C F -D# into E

Fig. 2 is a bass line for "I Cover the Waterfront," in the key of G. Transfer the melody to manuscript paper using three staves and noting key changes.

-

tI

C

Eb-C# Cb-E Bb-C#

~

AIJ

CHROMATIC TONES

--

~

3

.1.

.~

..

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l.

I

-

-125

ALl.

3

3

11Moft CJ

C

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,

LESSON

56.

..

., The Sensitive Tones We have now studied sufficientjazz material to understand the basic tonal principles of the art form. Jazz employs a sixty chord harmonic system over which is played a twelve-tone melodic line. Fig. 1 illustrates the vertical movement of jazz harmony referred to in Lesson 1, Fig. 2.

•

•

:

•

7

9

11

13

Fig. 1.

...• 1

3

5

..

As part of a weD conceived line, these tones can bring a tonal interest lacking in the root, third, fifth and seventh. By themselves,these tones are of little value; they are to be consideredoccasionaltensionpoints of a twelve-tone line.

Fig. 3 is a bass line for "'Nightand Day," in the key of EO'Fig. 4 is a drill illustratingthe use of the sensitivetones.

1

Transfer the melody to manuscriptpaper using three staves and noting key changes.

We have given careful study to the root, third.fifth and seventh; we will now consider the ninth, eleventh and thirteenth in relation to the five basic qualities (major. dominant, minor, half-diminishedand diminished). CHORDQuALITY Major

SENSITIVE TONES 9 - IU

Dominant

9 - "9 - =9

Minor

Half-diminished

11 ('S) • '11 IS • "13 9 - 11 9 - 11

Diminished

9 - 11

Fig. 3. "Night and Day," pick.....

(Eb) (Eb) (Eb) (Eb)

I //

bVIM

/ V / I / I +- /

IVm / III / bIIIo / II /

bVIM

hili /

/ V / I / VI /

bW /

I / I / bVIM / V / I / bIIIo / II I

1+- I bVIM I V / I / VI I bV4>I IVm I III I

bUx / I / 1+- / (Cb) I II I III I / (Eb) I II / III I I (GD)I II I III I I (Eb) I II I III VI I bW I IVm I III I (Eb) bIII o I II I bIIM I 1+- / 1+- /1 NIGfIT AND DAY-Words and Music by Cole Porter © 1932 (renewed) Warner Bros. Inc. All rights reserved. Used by permission.

See Fig, 2.

Play an improvised line on these chords emplOyingthe sensitivetones using the following Fig. 4 as a model Fig. 4.

Fig. 2. CI

..

• eMS

128

CI

• CM#l1

Cx9

Cx bs cx#9

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er

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Fig. 1.

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:

Foot beat

I.

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.

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do

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Foot beat

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Fig. S is a bass line for ''Easy To Love," in Ab·The sheet music appears in G and must be transposedto Ab.Transfermelody to manuscript paper using three staves. Write or playa line on Fig. a applying syncopation using Fig. 4, which illustrates this process, as a model

Fig. 3.

bIIh / II / bIIx / I I II I III / hUh I II I I I / ~Io / III IVI/>I III I bIlla I II VII I IllbUh I

II VII/III'/>

v,.

II I bIIx / I I II I III I VIx I II III / IVm bVIIx / III I I. ,

bIIIo I II !

,·eJ

EASY TO LO\ 'E-by Cole Perter © 1936 by Chappell &: Co., Inc. © renewed. Assrznedto John F. Wharton, Trustee of the Cole Porter Musical and Literary Property Trusts. International copyright secured. All rights reserved, Used by permtsslon.

Fig. 4.. /I

t

57. WJ

Basic Syncopation

:

A thorough study of jazz syncopation is beyond the scopeof this book. Jazz syncopation appears on many levels. Our concern is with syncopa-

AI

tion in the improvised line. Fig. 1 illustrates a series of even eighth notes played against a quarter-note beat. Notes 1, 3, 5 and 7 are the "strong" points in Fig. 1. Notes 2. 4, 6 and 8 are the "weak" points. By tying the tones in Fig, 1 together, the "strong" points of the series are disrupted (Fig. 2). This is basic syncopation.

132

I 1+' I 1+- /1

,

"

LESSON

bIIx

--. --- ..... ,;-

I....

•

....

..

,

-

I

\,

-

-

--

-.

...

133

A

I ,

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eJ

.' J\

• ... ./IL !: it./IL

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s:-.

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.

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t:=:=

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,

CJ

_. q

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~

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\:. '

I !34

.

..

-

DRILL: Practice the sixty arpeggios in syncopated eighth notes as in Fig. 5.

-

-

•



~~ ..

: It a

:>

Jf.. .fL ..

~

-

... In Fig. 2, the accented tonesfall on 2, 4, 6 and 8 which are struck while the foot is in the air. 'Thestudent will find Fig. 1 easy to play. Fig. 2 will be troublesomein the beginningsince the hand and the foot are in opposition to each other.

k..

a

~ ~.~;

.. \

:-

:>

I. .. ".

:>

:>

:>

~. 1/#-• 11- .. .,.. .. ..

:> ~

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tJ

Fig. 2. lI!J ..;,

:>

:>

Foot beat

136

137

..

...~ :>

~~~

:>

....~

:>

:>

.,. Ii... f=...~ .h.

>.-...

-4t/

-

~JJ,ft

....

C1

..

.

:

~

JJ,

ft

L

- ....

::>

Ada

;:- L

11

ii-

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I.

JJ,

.;.,

JJ,_

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11

~;-1.

~ .. >

... ..

> ~> >

>

>

-===-

"if. ....

1>101-

>

~;-

;:

:>

-

-

..

~

:>

>

DRILL: Practice thesixty arpeggios in accented eighth notes as in Fig. &.

11

-

it'

1

L>

-

-4tJ

:

:> I. ....

M..

.

::>

Fig. 5. > ..

Ad"

:>

:>

~

-

-

>

:>

I.:>

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~

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tJ

...

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:>

:>-

Foot beat I

I

I

1

I

•

I

:> I

Practice the sixty scales in accented eighth notes as in Fig. 6.

--

..

-

_:>

Fig. 6.

:> tJ

Ad»

>

CI

.. 138

.. -

>

::- :>

-

h

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-

~

:>

..

'*;' Foot beat

:>

:>

•

:> :>

:>

.

;.

.

~

BothFigs.5 and 6 shouldbe accompaniedby an uninterrupted quarternote foot beat

139

LESSON

59, Coleman Hawkins' "Sweet Lorraine" in G

In the course of some fifty years of jazz, there are many recorded masterpieces of the improvised line: Book II will deal thoroughly with this aspect of jazz. Since the reproduction of one of these masterpieces can do much to reveal to the student all of the elements studied in this volume, Coleman Hawkins' "Sweet Lorraine" (originally recorded on Signature 90,001.reissued on Brunswick, LP BL54016) has been included

here. This recording involves two improvised choruses by Hawkins. These two chorusesare undoubtedly one of the great moments in the history of jazz improvisation; they also employ every device described in this text. The student is strongly advised to make a thorough study of these two choruses using the following outline as a course of study.

1. Scale and arpeggio analysis. 2. Rhythmicvalues. 3. Rest values. 4. Syncopation. 5. Phrasing: (a) starting points. (b) the bar line. (c) contrast. (d) punctuation. 6. Chromaticistn. 7. Accent. 8. Over-all architecture.

AI! lei

It ....

--

..!.._~

-.' ~

. ='

~

-

,,'-"

-.

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..-..k!.~6

3

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3 ,.;,...,

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L

C

3

3-

:

3

SWEET WRRAINE-bv Parrish. Burwell Q 1928 by Mills Music. Inc. Cl renewed. All rights reserved. Used by permission.

140

141

Ali.

uL..~ "I'

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......

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..........

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AlJ,

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5

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A·1

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-5

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III"!!!

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gliss. glis s . gliS s. gIiSS'glist.glissl

5

IIiii

gtisS.1 gliss.

--...

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l. "

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tJ

---=

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3

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, ........,

If)

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gliss .

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. 3 .,- I.I~

Au.

:

.,.

...

tJ

gZlsS.

/ 1m h bs /

Im IVx: bVIIm bIIb / bVI hili Vm Ix / IVm II/ IVo I III / bIIIx I (F) II / bIh / 1+ 1 I #JoI (Eb) II I V / I I #10 I II I V / (Eb) 1+ 1 I Im IVx I (C) II / bIh I 1+' / VI I bW I IVo / (C) III / billo/ (d) IV IV I / II bIIx/ I+t / VI I II I V / (F) Vm / Ix / IV I (F) 1+' / I+t

bVIIx/ III

/

blIb:I

II I

bIIx/

/I

1+' / I+t I

n

I I

m

IV

V

VI VII

I

Fig. 2 illustrates the same chords in open position: root and Iifth in the left hand, third and seventh in the right hand. This position of the tones is calledthe axisof the seventh (seventh is top voice).

JUST ONE OF THOSE THINGS-Words and music by Cole Porter C 1935 (renewed) Warner Bros. Inc. All rights reserved, Used by permission. A

Fig. 2.

...

In

162

T

...

•

m

IVV

Vlvnl

163

Fig. 3 illustrates the scale-tone chords of C in open position of the seventh.

axis

Inversions, being rearranged scale-tone chords, have no third, 6fth and seventh as such. However, they are treated in the same manner as normal or altered scale-tone chords. The Brst and third notes of the .inversion are played with the left hand and the second and fourth notes of the inversion are played with the right hand. The student should remember that diminished chords cannot be inverted. Fig. 7 illustrates the inversions on the nve qualities, derived from the axis of the seventh. in the key of Eb.

Fig. 3. tJ

....

•

•

. .... n

I

m

IV

v

VI

vn

....

1

Fig.7.

",

C1

Fig. 4 illustrates the scale-tone chords of F in open position of the seventh.

Fig. 4.

tl

•

..

I

T

n

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m

IV

:;:

.... ,

ij

... EbM

•

,

-

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axis of the

E"o

G"o

Ao

Co

Fig. 6.

"

..- .. I

CM

Cx

Cm

Cp

DRILL: Play the scale-tone seventh chords, open position, axis of the seventh in twelve keys. All five qualities on twelve tones with their inversions.

r

I

Co

GM Ox

Om op

Fig. 6 illustrates the five qualities on G, open position -

seventh. 164

,,

I

•

Fig. 5 illustrates the five qualitieson C, open position seventh. Fig.5-

axis

I

Go

axis of the

I

Fig. 8 is a bass line for "When YourLover Has Cone," in the key of G. Transfer the melody to manuscript paper. In ad lib style, play the chords in open position integrating the melody in octaves. (See Fig. 9. Copyright laws prohibit exact reproduction of the melody.) 165

IIxb I bVlIx / bVIIx I I / I VI I IIx/ #IIo I II I IVI/>I III blIIxI II bIIxI I I I / IVx I IV" I IIx bl I IIxb ' I bVIIx I bVIIx I I I I IVm / ill / blI Ix /

I / I I IVx / IVx I IIx b 5

II I

bUM I

I I

/

..

J

~

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I

o

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I

,

+

-flo

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IV,!

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I

I

I

J J

m

--

-

IVx

I

~

:

J

I

-

I

m_

-9-

I

-

-

I

I

--e-

IVx

etc.

IVx

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".

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,.,. . -

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,

:

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-

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I

IVm

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I

Fig. 10 is a bass line for "'When Your Lover Has Gone." Play Fig. 10 integrating melody as in Fig. 9.

IVx I

I I.

-u-

-Q-_-eI

'1-I

::u:

~

JJ"

I

bmx n

U""

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1+'

Fig. 9.

,.,

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"'HEN YOUR LOVER HAS ('.o~E-Words and Music by E.A. Swan U.S. (') 1964 Warner Bros. Inc. All fights reserved. U.K. © 1931 Remick Musk Corp. Sub-published by Francis Day and Hunter Ltd. Used by permission.

tJ

.

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Fig. 8.

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....

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bmx

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"'U"

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Fig. 10.

"1& «J

LESSON

: I ~ «J

.........

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-

-

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JtJ'

-e-

IVx

Open Position-Axis of the Third Fig. 1 illustrates the scale-tone chords in Bh in open position, axis of the third (third is top voice). The root and fifth are played with the left hand. The seventh and the third are played with the right hand.

-e-

~

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110

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Fig, 2 illustratesthe scale-tonechords of of the third. II

,

Ab,open position -

pick""P

II II I bUx ' " I I I #10 I II I bIh:." I I / VI / (Eb) II I IVo I nr I bIIIoI II I bUx·"1 I I #10 I II I bIIx•• I (Eb) I I #10 I II~ I bIIx· " I I I 1+- I (C) II I pIlx·· I (e) I I VI 1/ (Eb) II / brIx/ I I VI/II I IVo z m / bIlIx I (Eb) II I IVo / m blIIx I II V I bY. I IVo / III / bIlla /

axis

(Eb) #10

.

Fig. 2.

(Eb) II I bIIxbl / I VI / Vm I

m

U

rv

V

VI

VB

I

(Eb)

Fig. 5.

Fig. 3 illustratesthe five qualitieson Db, open position- axis of the

mIVm+6 I III I VI I Vo / bVePI IVm+ 6 I III I bUIx I Ilx I II V I

{+6

The following is a figured bass for "Tune-Up" in D major. Note modulations.

(C)

}+6

/1 (C) II I Vh5 I 1 / 1+6 II (Bb) II I V I

II I Vh5 / I / 1+6 II (Bb) II I V / I I VI/I

(D) I 11+ 6

(B)

(Db) II I V / I I I II

II I V I I 1/ (Bb) lIt/> V I III / bIIIx I II I blIx / III I

I 1+6 II

(D) II I bIIx I

TUNE UP-by Miles Davis Courtesy of Prestige Music Co., Inc. Used by permission.

The Shadow of Your Smile The following is a bass line for "The Shadow of Your Smile" in the key ofG. pld.:-up

(Bb) bIIIx / II I bIlx I Vm I bV I IV I bVlIx / blUM I IIx I

bVt/>I VIIm I lIIx I VI1I7VI I IIx / II I V / I / IV I VII / lIIx I

(Bb) bUM 11+ 6 /1

VIU7 VIlI7I VI V~ I bV4>I VIlx I IVx / IIIx bVt/>I VIlm I lIIx / VI#7VI /IIx I III

ONE NOTE SAMBA (SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm, original words by Newton Mendonca C 1961, 1962 by Antonio Carlos Jobim and Mrs. N. Mendonca, Brazil. Sole selling agent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. All rights reserved. Usedby permission.

208

v» / I

//

(Bb) III / bIIIx / II I blix / III / bIIIx: / II I bib / Vm / bV I (Bb) IV I bVIlx I III I blIIx I II blIx 11+ 6/1

1'1+6 II

Tune-Up

(Bb) I I VI II (D) II / bIIIM I bVIM I V I II I

The following is a bass line for "One Note Samba" in the key of Bb, Note key changes in the bridge from Db to B.

I

JUST IN TIME-by Betty Comden, Adolph Green, and jule Styne (\ 1956 Betty Comden, Adolph Green, and jule Styne, Stratford Music Corp owner Chappell & Co., Inc, and G. Schirmer Inc. ~ , International copyright secured. All rights reserved. Used by permission,

(D) II I Vb5 / I I

One Note Samba

VIxl:5

/

III IIII bIIlx I II /

blIx / I I 1+6 /I QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original words and Music by Antonio Carlos Jobim. English words by Gene Lees © 1962, 1964 by Antonio Carolos jobim, Brazil. Sole selling agent Duchess Music Corp. (MCA) New Yolk, N.Y. for all Eng/ish speaking countries. All rights reserved. Used by permission.

II (Gb) II:r:lI7I 1I!:7 I II I bIb I

J+6

(Gb) 1+6 I IVx II (bb) II I bIlx I 1+6 I 1+6 II (Db) II I I14>I (Db) IiI Ii f bvflM I VIx!:SIIIx I II blIx I 10 / I VI III I I14>I (Db) IiI If

f bVilM I VIxllS/ I1x I

II II z /1 (bb) IIx I bilK / I 11+ 6

(bb) bVlImL / bVIIm+5 I I / 1+6 II (Gb) I1U7 I I1!:7 I II / bib I (Gb) 1+6

/

IVx II (Bb) II / bIlx 11+ 6 I

J+6

What Are You Doing the Rest of Your Life

/

/1

NICA'S DREAM-by Horace Silver " 1956 Ecaroh Music, Inc. © 1975 Ecaroh Music, Inc. Used by permission,

Four

The following is a bass line for "What Are You Doing the Rest of Your Life" in (a) minor. The chord chart is scored in C major, although the final cadences occur in the relative minor. Note key changes.

WIIx 1/ VP'7

(C)

IIu7 I1ll7 / II 112 I VII / bVIIx I VIlt7 VI2lt7 I II

(C)

WIIx I Vp:7 VI2!:7 I VI2 bV4>I IV IVlISI IV+6 IV2 I II

(A)

II blIx I I II I III VI I II blIx / I VI I II bIIx / I IV /1

The following is a figured bass for "Four" in Eb major.

blIx II I II I #IIo III 11m!

vr,»

(C)

I VI2 bVq, / IV IVltS I IV+6 IV2 I

IVx / II I III /IVm / (Gb) II blIx / I 1+6 II (F) II bilK I I

r, VI Viz 1/ (C)

(>ide·up

n,

VIz bV4>/ IV lVI'S I IV+6 IVz I

u, I

(C)

IIIx VI II (a) IV IV:z / II blIx / Irn IIVx III I bIlx 11+6

VIIm IIIx ! III hIII / II bIIx! 1. 6 FOUR-by Miles Davis Courtesy of Prestige Music Co., Inc. Used by permission,

/

1+6 /1

1/

/

1I1I7 / II II z / VII I

(C)

I II / :l:IIIoIII 11m! IVx ! II I III ! IVm ! bVIIx / III I bIll bVIx III

n,

VI1l1VI/'

bVIIx I III / bIII bVlx I II liz ! VIIm IIIx I III I bIll bVIx I II / bIIx /

IIllll7

I VII I

/

WHAT ARE YOU DOING THE REST OF YOUR UFE?-by Alan Bergman, Marilyn Bergman, and Michel Legrand © 1969 United Artists Music Co., Inc. All rights administered by CBS Songs, a Division of CBS. Inc. All rights reserved, Used by permission,

J+6 1/

211

Carolina Shout

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