Jazz Improvisation 4 John Mehegan

4 ImprOVisation

Jazz

 

Contemporary Piano Styles Styles   y John Mehegan

Introduction by Bill Evans Preface by om Glazer

AMSCO MUSIC PUBLISHING COMPANy

 

J ZZ IMPROVlS TION

VOLUME IV

ontemporary Piano styles

 

J ZZ

IMPROVIS TION VOLUM

IV

ontemporary Piano Styles

John Mehegan

Watson Watso n Guptill Publications/New Public ations/New

Amsco Publications New York/London/Sydney

ork

 

To my family: Gay Tara

Sean Sophie and Bronson

Copyright © 1965 by Watson-Guptil Watson-Guptilll Publications a division of Billboard Publications. Publications. Inc. 1515 Broadway . New York. N.Y. 10036 ISBN 0-8230-2574-8 Exclusive distributors to the MusiC Trade

Music Sales Corporation 24 E 22 Street New York. N.V. 10010 Music Sales limited 8/9 Frith Street London W1V 5TZ Music Sales ly Limited 27 Clarendon Street Artarmon Sydney NSW 2064

Library of Congress Catalog Card Number: 58-13525 All rights reserved. No part of this publication may be reproduced or used . n any form or by any means-graphic electronic or mechanical. including photocopying. recording. taping. or information storage and retrieval systems-without written permission of the publisher.

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PREF CE For twenty years or more, I have spent most of my working time as a singer of folksongs. But I have never been able to withstand my fascination with all music, so that a t times I have written popular songs, . composed orchestral scores for film fi lmss an and d T.V T.V., ., pl play ayed ed tuba tub a and a nd bass fiddle fiddle as a young man in bands and orchestras, sung in church choirs and madrigal group gro upss - and in betw between een,, listened listened hard to music music fro from m pre pre Gregorian chant to post-Stravinsky. t behooved me some years ago to take another musical bus

man's holiday and study s tudy jazz pia piano no with Johnny Mehegan. My ears sprang u p almost literally; ha had d be been en listening to jaz jazz, z, I discovered, without hearing it. I found out why I really didn't get too moved by its mos mostt important element:improvi element :improvi sation. t is one thing to like the singing of say, Billie Holiday; i t is something else entirely to understand what the musicians behind her are doing with the underlying melodic, hannonic and rhythmic structure, without which there would be no musical Billie Holiday. t is t is structure which is jazz, no matter how pretty Peggy Lee is or how many teeth Louis Annstrong shows when he grins, or how tricky the acrobatics of Gene Krupa or how many prizes award aw arded ed by b y jazz magazines. magazines. Johnny Mehegan with has built a unique honor musicalthose monument. His tory remembers exceptional men gifted enough to sift and winnow the complex variables, of human knowledge into a Code of Law. This Johnny has done with these melodic, hannonic and rhythmic laws of consonant jazz improvisation, and, in four books, has given it, a t long last, a habitation an and d a name. Tom Glazer May, 1965

 

CONTENTS Preface by Tom Glazer Introduction by Bill Evans

5 11

INTRODUCTION

13

Oscarr Pete Osca Peterso rson n - Jo Joy y Spri Spring ng Bill Eva Evans ns - Pe Peri ri's 's Scope

19 29

OSCAR PETERSON SECI lON I 1. General 2. The @ F or or m - Stella By Starlight 3. The Fonn -   J Don't Stand A Ghost Of A Chance With You Forms -   I Wish I Were In Love Again, 4. The Combined @ -

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Romance,, in F 5. Left-Hand Major Voicing -   I'n Take Romance 6. Left-Hand Dominant VOicings - ' ' I ' m In The Mood For Love, in Db Minor Vo Voic icin ings gs - I Get A Ki Kick ck O ut Of You, in Eb 7. Left-Han d Minor Half-diminis nished hed Voi Voici cing ngss - Yo You'd u'd Be Be So Nice 8. Left-H and Half-dimi To Come Home To, in C 9. Left-Hand Dim Dimin inis ished hed Vo Voiici cing ngss - In Inve vers rsio ions ns - From Thi Thiss Moment On, in Ab 10. Modulation - @ and @ Forms Forms ms - Embr Embrace aceabl ablee You, in G 11. Alternate @ and @ For 12. The Altered Dominant @ and @ Forms - The Dominant

13. 14.

15. 16.

50 55 59 61 63

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Form - By Mys Form Myseelf, in F The Suspended Minor, Half-diminished and Diminished @ and @ Forms For ms - Bet Better ter Luc Luck k Nex Nextt Ti Time me,, in F Melodic Adjustment - @ and Forms For ms - Poo Poorr Bu Butt tter erfl fly, y, in Db Right-Hand Modes with @ and ® Fo Form rmss - Ten Cen Cents ts A Dan Dance ce,, in Eb Form rmss Sum Summa mati tion on - Rig Right ht As Th Thee Rain, in C @ and ® Fo

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125 133

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SECTION

II

17. Solo Pia Piano no (G (Gen ener eral al)) 18. Root-Voicing Patterns, 19. Root-Voicing Patterns, in

20. Root-Voicing Patterns,

But Not For Me, Me, in E Eb b and ® Forms - Be My Love, in G ® and Forms - Ballad - My Ship,

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35. Left-Hand Arpeg Arpeggi giati ation on - The Scale Scale-T -Ton onee Tenth Chords Chords Eigh Ei ghth th--no notte - 'We' 'We'll ll Be Toge Together ther Again, in C 36. Left-Hand Arpeggiation (R-5-9-3-7 and re reve vers rse) e) - Ei Eight ghth-n h-note ote   Jet, in Eb 37. Left-Ha Left-Hand nd Arpe Arpegg ggia iati tion on - Mixe xed d elem elemen ents ts - Ei Eight ghthh-not notee triplet triplet   Sometimes I'm Happy, in F 38. Left-Hand Arp Arpeg eggi giat atio ion n - Mixe xed d Eleme Element ntss - Si Sixt xtee eent nthh-no note te   I t Never Entered My Mind, in F 39. Left-Hand Arpeggiation and Forms and Modes   Ruby, in C

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143 147

Forms - Bass Fifths -

Where Are You? in G 21.  Root-Voicing Patterns, and ®   Fo Form rmss - Mi Mino norr ton tonal alit ity y   You're My Thrill, in D minor 22. Root-Voicing Patterns, ® and ® Fo Form rmss - Sup Super erim impos posit itio ion n   This Is New, in Bb 23. Root-Voicing Patterns, and ® Forms - 8/8 time -   I Fall I n Love Too Easily, in Eb 24. Root-Voicing Patterns, and ® Forms - 12 12/8 /8 ti time ''Twelve-Bar Blue Blues, s, in Bb 25. Root-Voicing Patterns, and ® Fo Form rmss - Bo Boun unce ce Te Temp mpo o Syncop Syn copati ation on - Ro Rose se Ro Room om,, in Ab 26. Root-Voicing Patterns, ® and Form Fo rmss - Bou oun nce Te Temp mpo o Syncopated Swing Bass - Ain Ain't 't Mi Misb sbeh ehav avin in', ', in Eb 27. Root-Voicing Patterns, and Form Fo rmss - Up Up--te temp mpo o Syncop Syn copati ation on - The Lady Is A Tramp Tramp,, in C 28. Root-Voicing Patterns, ® and Forms Up-tempo Syncopatio Synco pation n (witho (without ut Ro Root ots) s) - Limeh Limehouse ouse Blu Blues, es, in Ab 29. Root-Voicing Patterns, ® and Form Fo rmss - Im Impr prov ovis ised ed   Peace in Bb 30. Scale-Tone Conversion to and Forms -   I Concentrate On You, in Eb . 31. Walking Bass Lines -   You Stepped Out Of A Dream, in C 32. 'Walking Bass Li Line ness - Bl Blue ue Roo oom m, in F 33. Walking Bass Lines - ''''Th Thee Way Way You Look tonight, in Eb 34. 'Walking . Bass Li Line ness - Fin Finee And And Dandy Dandy,, in F

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149 151

155

157 162

168 174

177 182

184 188 192

195 197 201

202 208

219 222

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SE 40. 41. 42. 43. 44.

TION l l 'Comping 'Compin g (Acc (Accom ompa pany nyin ing) g) - I Love You', in F Turn Tu rnar arou ound ndss - Do Down wn By The River in Ab Building a Bass Lin Linee - Sm Smal alll Ho Hote tel, l, in Ab Modified @ and ® For Forms ms - Modem Funk Funky y Pia Piano no Harmonic Distortion

45. The Perfect and Augment Augmented ed Fourth Chord Structur Structures es 46. @ and Forms with Shearing Blocks 47. The Mo Moda dall Fourths - Min Minor or Bl Blue uess 48. The Modal Fragments

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229 235 238 240 24 0 244 246 246 267 277 27 7 282

 

INTRODU TION The aspiri aspiring ng jaz jazzz mus music icia ian n - and jazz jazz piani pianist st in particular particular - ha hass been long long faced with the dilemma of the lack of any clearly organized field of thought which is true to tradition, comprehensive, and yet presents the materials that he desires without stylistiC constriction. As one of those who was forced to wade into this vast area in order

to select, sort, aIld organize these materials so that I would have the tools to be a developing musician I can testify to the frustrations and discour agements that this task entails. Yet unless one is to be a slave to vogue, and dependent on the ques

tionable rewards of mimicry, one must know in some clearly organized way about the materials which one wishes to use in improvisation. t is only through thorough understanding of these materials and the principles involved in their use that increasing degrees of freedom in performance are gained (or won). The more clearly one understands the fundamentals, the more encom pass pa ssing ing can be the gener generaliz alizatio ation n - and thus the mo more re true fre freed edom om is won (attained). t

is my opinion that the presentation of materials to be found in

John Mehegan s books books on improvisation are ar e the t he most concise, thorou t horough gh and comprehensive, and will offer the talented pianist a priceless saving of time, and the benefit of a concept which will not impose style, and therefore will allow his individual treatment to develop. Bill Evans May, 1965

 

INTRODU

TION

The history of · azz piano from 1950 to the present has beed an intense··struggle between the forces of the present and those of the past intense to create an amalgam of both which can inherit the future. These forces are represented by individuals who fall roughly into the following groups: the traditionalists, the moderates and the avant-garde. This volume will deal mainly with the efforts of the first two groups with some commentary on the avant-garde which at this writing appears to be embattled with the age-old problem of the t he artist arti st s relationship to freedom on the t he one hand and discipline on the other. The follOwing outline illustrates the major (indicated b y · and minor figures

n t is

turbulent period:

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TRADITIONALISTS Oscar Peterson· Les McCann Gene Harris Barry Harris Eddie Costa

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MODERATES Bill Evans· Wynton Kelly Ahmad Horace Jamal Silver Bobby Timmons Red Garland McCoy Tyner

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AVANT-GARDE Don Friedman Claire Fisher Bob James Herbie Hancock Andrew Hill Cecil Taylor

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TRADITIONALISTS The traditionalists are sometimes referred to as the funk school. which is a reference to the presence of blues and gospel idioms in their playing. play ing. McCann and Gene Harris are definitely in the funk sch school. ool. Barry Harris is probably the outstanding exponant of the traditions of style and idiom established by Bud Powell. The late Eddie Costa was a TH

success successor or to th theemallet hard ha rdtechnique bop idiom idioms s of Horac Horace Silver,, expressed through Silver throug h the aggressive employed by evibraphonists. Peterson is the major figure in the present struggle to preserve the vast repository of style and idiom extending back to the Mid-Thirties. In an unheralded Carnegie Hall concert in 1949 this Canadian pianist established himself as the major consolidating figure figure of t he Fifties and, simultane simultaneously, ously, one of the central figures in the contemporary scene. This was indeed fortunate, since in the course of the tumultuous years of the Forties, much had been overlooked, prematurely discarded or overemphasized, to the general detriment of jazz piano. More important, Peterson, almost Single-handedly. rescued jazz piano from the secondary accompaning role it had assumed, and re-established it as a major voice in the noble jazz tradition of Hines, Waller, Wilson and Tatum. Many neglected innovations introduced by such keyboard figures as Art Tatum, Nat Cole, Jimmy Jones, Bud Powell, Erroll Gamer, Nat Jaffe, Lennie Tristano, Thelonious Monk, Horace Silver, Cy Walter, George Shearing, Jess Stacy, Dodo Marmarosa, Tad Dammeron and Ellis Larkins, plus a host of hom men from Benny Carter and Coleman Hawkins through Lester Young, Dizzy Gillespie, Charlie Parker and Miles Davis - th this is vas vastt amal amalgam gam of sou sound nd - wer weree added to Pet Peters erson on's 's person personal al geniUS to forge one of the most persuasive keyboard styles of the Fifties and early Sixties. Despite this seemingly eclectic background, Peterson has made portant innovations in areas equally as vital as those altered by Powell and Silver. First, Peterson, by virtue of his vast technique and knowledge, can swing harder tha n any other pianist in the contemporary jazz scene. He possesses a sense of form and dynamics sadly missing in many present-day pianists. Above all, he displays the ability to communicate his intentions to an audience with the sureness of an experienced concert artist. He is a pi nist in the entire connotation of that term. An important aspect of Peterson's genius is his ability to play play horn lines li nes - ide ideas as acc acces essi sible ble on the saxop saxophon honee or trumpet, but generally unpianistic when applied to the keyboard. keyboard. This ability ability has endowe endowed d Peterson with a melodic quality in his improvised lines generally lacking in jazz pianists. This ability, translated into practical pianistic terms, signifies that Peterson seems to possess the ability to pre-hear any succession of intervals and Simultaneously to translate these steps into

14

 

finger strok finger strokes es - someth something ing even the most skil skilled led jaz jazzz pianist will will find difficult. Most jazz pianists content themselves by playing easily accessible lines lin es through manual mechani mechanics cs rather than attemp attempting ting unpianistic horn lines th that at are more melodic. Unlike his contemporaries, Peterson Peterso n possesse possessess the ability ability to play these inacc inaccess essibl iblee horn lines lines - a part of his distinguished sound. Figure 1 illustrates the contrast between a pianistic phrase and a relatively unpianistic phrase by Peterson. Fig.

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For some years Peterson used a guitar-bass accompaniment. This strong harmonic underpinning has seriously altered the role of the left hand as as a supportin supporting g struct structure ure for the horn line in the right hand. The basis basis of the Peterson sound li lies es in a marvel marvelously ously fluid right hand supported by a modernized version of the Tatum scale-tone tenth chord system ( Jazz Improvisation Vol III, Section II . This sound first appeared in the Nat Cole trio of the early Forties, but was properly mounted as a major keyboard style by Peterson in the early Fifties. This sound was a reaction reaction against the arid shell style of Powel Powelll and Silve Silver. r. 15

 

This style, as presented in the Peterson trio, was a signal for the return of vertical hannony, ha nnony, which had languished throug through h the horizontal period of the Forties. At the same time, it made clear to all jazz pianists that the prevailing shell style was no longer tolerable, and, regardless of hand span, that some other solution must be evolved to meet the growing resurgence of vertical harmony in the emerging keyboard image. Although Peterson, himself, played no active role in the emerging image of the new pianism, his re-statement of the past both in beauty of line and effortless performance will remain a permanent perma nent document do cument in the t he history of jaz jazzz piano. MODERATES The first indications of a general move away from both tenth and shell formations in the left hand appeared in the Mid-Fifties. Initially heard in recordings of ceRed Garland and Wynton Kelly and later in popularized version ver sionss by Ahmad Jamal, the new sound gradually emerged in the form of left-hand vOicings, or ornamental structures employing various componants of ninths, elevenths and thirteenths. However, this style remained in a fallow state until the turn of the decade and the appearance TH

Bill Evans. Much as Peterson had captured the best of the Forties, Evans immediately established himself as a sensitive consolidator of the harmonic explorations of the Fifties and, in addition, brought this incipient style to its fruition through his personal genius. Evans' achievement was multi-faceted in that the previous concepts of rhythm, hannony and melody were subjected to a searching analysis, and many preViously revered · ideas ide as were either abandoned ·or seriously modified. This stylistiC sound, which is adaptable to the left hand for support ing a ccblowing line or to the right-hand for cc 'comping, (accompanying) purposes, will be treated thoroughly in this volume. Since any organization of musical sound derives its final character from the rhythmic crucible which surrounds it, Evans' innovation in the time of

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factor of jazz Simultaneously altered the prevailing harmonic .melodic values. First, the previous tenet of a hard, percussive, unpedaled line was abandoned in favor of a legato, pedaled attack in which the marcato eighth note was replaced repla ced by a filigr filigree ee of sixteenths and thirtythirty-seconds seconds,, interspersed with highly syncopated clusters of chords. In Evans' work with bass and rums (esp (especial ecially ly with Paul Motian and the late Scott LaFarro), time values were even more modified modified to such a point that th at t he underly underlying ing quarter-note pulse was perceptable only to the most acute listener. As in contemporary painting, Evans did much to destroy the photographic image and to create a delicate world of the abstract and the surreal. In the previous period there had been some general exploration of the hannonic idioms of French Impressionism, but under the direct influ ence of Miles Davis and arranger Gil Evans, pianist Bill Evans extracted

16

 

an entirely new body of idiom from the early Twentieth-Century Spanish composers, Albeniz, de Falla, and Granados, as well as the French Im pressionists. In general Twentieth-Century Spanish music is, on the one hand, more introspective than its French counterpart and, on the other hand, is infused with the rhythmic vitality of the Spanish temperament, which is closely akin to our own pulsating energy. The essence of this style, to a large extent, can be described as the use of a highly selective group of textures or voicings which are capab capable le of conveying chor chord d values with great definition, although, in most cases, the tones of the structure have been totally rearranged and the root completely deleted from the total sound. The term voicing is usually applied to a chord in which one or more o f its basic components (root, third, fifth, seventh) has been re aSSigned to an entirely different register of the keyboard or transferred to another instrum instrument ent - usu usuall ally y the string ba bass ss.. The melodic factor in jazz is usually to be found in the improvised line. In this area, Evans introduced many startling innovations. Aside from the previously mentioned introduction of the pedaled, legato touch, the older concept of target tone tones, s, als also o known as the Parke Parkerr hinges (se (seee Vol. I, pp. 127 - 131 , were to some extent abandoned in favor favor of vertical lines moving in long, extended phrases without any particular horizontal connections. Furthermore, previous concepts of the memorable melodic line, as evinced by Peterson, were largely abandoned. Unheard of struc tures, such as unmodified scales and modes (displaced scales), appeared as part of a revolutionary attack upon the traditional, improvised line.

AVANT-GARDE What these various innovations will come to mean to the future of jazz piano is difficult to evaluate at this writing. First, it should be pointed out that a small segment of the jazz-piano Establishment has been slow to accept these innovations, which represent a major assault upon time

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worn concepts. Many pianists have remained within the funk scho school; ol; others have remained loyal to the enduring Powell idiom, which dates back to the early Forties. The innovations of Evans and the avant-garde have raised serious problems regarding both the essence of the jazz art and its future as the music approaches the vanishing point of both tonality and the rhythmic symmetry that sent the image of jazz to the far reaches of the earth. Even at this writing, it is apparent that jazz has already lost the enormous periphery of its audience; jazz clubs are closing or changing their poliCies to the major recipiant of the floater sect sections ions of the jazz audience, the folk musicians. Perhaps jazz is about to go under ground, as it did in 1940, to begin another painful transition. f this s true, the present struggle will be pOSSibly a struggle for actual survival, since the contemporary terms are much more severe than those of the

17

 

Forties; this time the conflict is not between two levels of tonality or two images of the jazz beat, the conflict is between tonality and atonality on the one hand and the classic symmetry of the jazz beat and the free form of serious contemporary music on the other. t may very well be that the future of jazz will be decided in tins musical Armageddon. The avant·garde h s challenged this sound barrier. armed with the freedom of free form form,, but, t the same time, held captive by the very lack of freedom which, in the past, had made the jazz musician free. n the past, the jazz pianist had evolved an intensely expressive idiom based in part upon a fierce premise of what w s to be pl yed joined by an equally fierce premise of what w s not to be pl yed This privilege of chOOSing thee best of bo th both th worlds no longer exi exists sts for the jazz musicia musician. n. At th thee same time, an rt form must go on to its own personal destiny, whatever that destiny may be. There are many factors here: the painful need for acceptance, the desire to escap escapee fro from m the night.club entertainment atmosphere and, above all. the aspiration to transform the art form from a parochial craft into a major art. The freedom and status of the serious musician is a constant tossful the of the andThere psychic thatt awaitreminder tha the succe successf ul jazzman practitioner in amonetary high art. double is rewards burden here for the Negro musician, who sees both himself and his art held in either silent contempt or distant admiration. For this reason, in recent years many leading Negro figures in jazz have increasingly appeared to use the rt fom} as a forum to project variety of personal and social angers. This is an inevitable step since, i f the Negro people can rightfully claim an art form, it is certainly jazz. The use of rt as a social platform is not new; in fact, there .is a compelling argument maintaining that all great art is the result of dramatizing social injustice. There is a strange poetry here, for jazz certainly began as a form of protest against the social injustice of the Reconstruction period in the South. Eventually, it became an important facet of American popular cuI· ture serving as entertainment for those millions of people throughout the world who recognized the charm of the symbol while, at the same time, forgot the pain of the reality that created the symbol. Perhaps jazz must momentarily return to. its womb of protest in order to revitalize the joy and affirmation that has always been its personal testament. John Mehegan May 15 1965 New York City

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SECTION I LESSON

1

General The voicings to be considered in this section will be referred to as the @ Form and the Form simp simply ly to distingu distinguish ish one fro from m the other. These two orms constitute the basic textural sound of contemporary jazz piano. t is important to remind the student that these structures are not chords, since the roots, do not appear, and they are therefore incomplete . structures. The voicings will be present pres ented ed first, followed b y a section dealing with solo piano in which the various devices of integrating roots and voicings will be described. Following this, sections on fragmentation, compini and the improvised line will complete the material on the @and < ID Forms. The history of the @ Form begins begins in in the classic classical al piano literature of the Nineteenth Century. This form first appeared in the piano works of Frederick Chopin and became one of the vernacular sounds of the Nine teenth-Century piano concerto. In this form, the third appear s in the th e bas basss of the minor voicing, the seventh appears in the bass of the dominant voicing, and the third again appears in the bass of the major vOicing This is the older of the two forms and is usually more familiar to the average pianist for that reason. The Form appeare appeared d about one hundr hundred ed years later in the piano compositions of Maurice Ravel. This form clearly reveals the poignant textures characteristic o f the impre impressio ssionist nistic ic music music of the Twenti Twentieth eth century c entury and represents represents the sound of modernity in contemporary orchestrat orchestration. ion. In this form the seventh appears in the bass of the minor voicing, the third appears in the bass of the dominant voicing, and the seventh or dded sixth appears in the bass of the major voicing. As the student willlearn, one form is an inver inversion sion of the other, although the term inver inversion sion is not proper because the root is absent, thus making the structQre incom plete; the more appropriate term is '·permutation. The history of these forms forms in the popular music of America America dates from the Mid-Thirties in the scores of Fletcher Henderson and Duke Ellington. Here the voicings appeared in the part-writing of the saxophone sections, and became the accepted sound for sax-section backgrounds for vocals and hom solos. n the beginning the Form was seldo seldom m used, but by the Mid-Fort Mid-Forties ies,, this fonn had been permanently integrated with t he @ Form. Also durin during g this period, guitarist guitaristss explored these voic voicings ings,, although the appearance of Charlie Christian completely changed the emphasis of the guitar from the vertical concept of Lang and Van Eps to the modem horizontal style.

49

 

Pianists began isolating these vOicings in the Mid-Forties, first the @ Form and later the Form. These vOicings are employed by modern pianists for many purposes. They are used in the left hand to support a melody, an improvised line, or with modified Shearing bloch in the right hand han d to form form the two-handed two-handed concer concerto to sound of the modem period. These same vOicings are employed in the right hand, coupled with roots in the

®

left as a major comping devic device. e. Strangely enough, th thee indisputable master of this 'comping idiom is Horace Silver, who made a major transi tionin his style from the shell style of the previous decade. The student is strongly advised to listen to the more recent recordings of Silver in order to become acquainted with this aspect of the @ and Forms.

®

LESSON

2.

The

@

Form

See the Introduction and Lesson 1 for a general description of the

@

®

and Forms). The general keyboard register of the Fig. 1.

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@

and

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Forms appears in

: Left hand regis ter

t ~ ~ These voicin voicings gs w n be initially studied on the basis o the 11-V-I pattern o

in tw twel elve ve ke key ys - the basic cadence pattern all jazz harmony. For the moment, we will consider these voicings in the right hand while playing the roots in the left hand. This device will enable the student to hear the entire structure before placing these · voicings in the left hand without the roots. Since the entire five-quality system may be easily derived from the II - V - I pattern, the follOWing modal table will be employed: CHORD

QuALrrY

Major Dominant Minor HaH-Diminished Diminished 5

MODE

Ionian Mixolydian Dorian Dorian (modified) Dorian (modif (modified) ied)

 

H the student is not familiar with this material, it is suggested that a thorough study be made of Vol. I, Section VI. The @ Form voicings are as follows: II

(Dorian) 3 5 7 2

V (Mixolydian) 7 2 3 6 I (Ionian) 3 5 6 2 See Fig. 2.)

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In Fig. 2 the formations are as follows:

D-root F-minor third

A-perfect fifth C-minor seventh

Chor Ch ord d - D mi mino norr ni nint nth h

E-ninth

v G-root F -minor seventh A-ninth

Chord - G  dominant nine thirteenth

B-major third E-thirteenth

I C-root E-major third G-perfect fifth A-added sixth D-ninth

Chord - C majo majorr ninth ninth added si sixt xth h

(all intervals based on the prev iling mode of the chord) 51

 

I n the tone row, 2 becomes 9 6 becomes becomes plus 6 in M a nd m, 6 becomes 13 in x (Fig. 3).

Fig. 3.

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C E ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ 9 ~ ~ ~ ~ ~ ~ ~ 3 ~ ~ ~ ~ ~ ~

~ ~ : ~ ~

~ ~ ~ 3 ~ ~ ~ 5 ~ ~ ~ l ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ The explanation of 6 becoming 13 in the dominant chord may be tested by the student. Play C E G A , C Eb G A and C E A Bb s broken arpeggios, striking the A in each chord ' with more intensity in order to hear the relationship of the tone to the chord. Upon striking E A Bb, the student will detect a color value of A not present in the remaining two chords. This value is formed by the specific presence of the major third and minor seventh comprising the dominant chord: this unique value is referred to as Thirteen, Figure 4 illustrates the @ Form voicings for the remaining 11 keys. Figure 5 illustrates the inner-voice movement of each interval in the transition from II to V to I.

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e

7th

3rd

' 0'

0-

3rd

:

e

I

3rd

5th

0-

9th

5th

e U

0-

6th

0-

9th

13th

9th

DRILL: Study and memorize the voicings in Figs. 2 and 4 for automatic facility. Figure 6 is a bass line for Stella by Starlight. Thjs tune was treated in an inversion study in Vol. I, Lesson 24. The present bass line represents a conventional chord chart. ' NOTE: The student is advised not to employ various trick devices of

dealing with these vOicings: i.e., II in @ Form involves a root with a IV scale-tone chord. Such devices can only result in a permanently distorted visual and auditory conception of these important vOicings.

Fig. 6. pick-up

VI J

/ /

bVm / VIIx / II / V / Vm / bV / IV / bVlIx / I VI /

bVcp VlIx / III / VIcp: / III II I I I / I V '

J /

1 0 / VII / IIIx /

/ bVIIx / III / VI VI 2

/

bVt >

V x 11 /

blIIx / I I

'

/

/ VIIx / lIlt(> / Vix /

IIcp / bIIx / I / I / / STELLA BY S TA TA RL RL IG IG HT HT - By Ned Washington and Vi Vict ctor or Yo Youn ung g @ 1946 by Famous Music Corporation.

Copyri Cop yright ght

 

LESSON

3 The

onn

®

We will now consider the Form voicing. For reasons of texture, register regist er and voice voice leading. it would be impossible to build an adequate harmonic system through the use of only one form. The

®

Form voicings are as follows: Dorian) 7 2 3 5 Mixolydian) 3 6 7 2 Ionian) 6 2 3 5

II V I

The voicings are based upon the prevailing mode of the chord. Fig. 1 the formations are as follows: D root C minor seventh E ninth F minor third

n

Chor Ch ord d - D min minor or ni nint nth h

A-perfect fifth V

G root

B-major third E-thirteenth F minor seventh

Chord Cho rd - G domi domina nant nt nin ninee thirtee thirteenth nth

A ninth I

C root

A-major sixth Chord Cho rd - C majo majorr ninth ninth added added six sixth th

D ninth E major third

G-perfect fifth Fig. 1

I

Key of C -

~

~

®

Form

~

~

u~

~

~

~

~

~

~

~

•

C)

13

V9

55

 

® ®

Figure 2 illustrates the Form voicings for the remaining 11 keys. As with the @ Form the Form voicings are illustrated in all keys. t is important for the student to become automatically familiar with both voicings in all keys for future extended studies.

Fig. 2

,

-

t•

,

1\ iIo

U

0

u

4

•

9

rt6

V9

t I ,

,

-

-

t•

U

•

13

'\.. '\

0

0

13

9

V9

rt6

fo_

e

0

u

-

(D)

4

·

0

il

•

 U

13

V9

(E)

,

,

V

iIo

~

a

I

t•

t

o

•

(F)

56

r ~ _

-

e-

-o

•

U

l

13

V9

  ~

(F )

-

.g .

e-

o

u

13

V9

 

\

I

r

J

t

e

-

G

13

y9

13

y9

1\

 \ L

r ••

I

e (At,)

fo

t ..

t

e

JL

•

t

e

r

.•

e

U

13

y9

(A)

e

.•

•

(G)

rte

1r

rP

tr

9

rt6

U

JL

U

li

y9 13

Bb)

• .

y13 9

(B)

Fig. 3.

2: I (G)

,: #

::

e U

::

7th

3rd

6th

e j

U

(G)

3rd

7th,

II

: 9th e

e

0

U

13th e

U

5th

II

9th .0.

II

3rd

:

9th

e

II

5th

Fig. 3 illustrates the horizontal movement of the voices: 7th

9th 3rd

5th

becomes becomes becomes becomes

3rd

13th 7th 9th

V

becomes becomes becomes becomes

6th

9th 3rd

5th

I

57

 

Although they are not strictly speaking inversi inversions ons (the root remains in the bass), Forms represent permutations of the @ Form (see Fig. 4 .

®

Study and memorize the voicings in Figs. 1 and 2 for automatic facility.

DRILL:

Figure 5 is a bass line for Ghost Of A Chance.

Fig. 5. bI Ix

I

1114>

bIIIx

bVlx

V

I

blIx

I

1

I

10

.

bV >

VlIx

III

114>

1114>

II

bl l l o

III VI I

DON T

of

58

STAND A GHOST

OF

f

IV >

III

VI

bllIx

114>

IV > /

II

II

II

blIx

II

bIIx

II

I I

V

II

I

bIIx

1114>

I

VI

III

blIx

1

bVlIx VIx

1

II

IT

bIIIx

blIx

III

IV

114>

IV >

1

A CHANCE CHANCE - Cop Copyri yright ght 193 1932 2 by American Academy

Musi Mu sic, c, In Inc. c. - Cop Copyri yright ght ren renewe ewed d 1960 1960 - Use Used d by permission of

the

copyright owner.

 

LESSON

4.

The Combined

®

@ and

The student will notice in playing the

®

Fonns

Form in Lesson 2 that as

the II-V-I pattern ascends through the keys. the resonance of the voicings becomes thinner in the keys from F to Ab; in A. Bb and B the voicings are too low to convey an easily accessible sound.

®

Also in playing th e Also Form in Lesson 3. the voicings from C to Eb are again too thin to be effective; in the keys of E and F. vOicings are placed too low. To avoid these problems, the octave will be divided into two key areas:

® ®

II-V-I: keys C. Db. 0 , Eb, E. F II-V-I: ke keys ys F . G. Ab. A, Bb. B

Form Form

This arrangement of the succeeding chapters.

®

and

®

Forms will be utilized in

®

DRILL: Repeat intensive study of II-V-I Form in keys C to F and II-V-I ® For Form m in keys keys F to B (see Fig. 1 . Fig. 1. , I

I

eJ

\

. (C)

u II@

8

-

V@

.

e I@

U

tr

II@

V@

e.

 

(Db)

I

I

U

If'

W

t

•

•

e 0)

II@

V@

u

I@

e

0

E ~ )

II@

V@

I@ 59

 

I

a

•

I

r

1r

.

o

0

II@

(E)

I l

II@

F)

I@

V@

IJ 0

·• FI )

j

V@

-

- 

n@

v@

0-

0

U

I@

II@

(G)

,

V@

r

:iP-

r

r

•l

0

.

•

n®

A ~

I

11

o

V@

I@

f

60

(A)

V@

II@

tr

tr

••

'

II@ V@

B)

-e-

.•

LL

U

l

I@

I@

1\

1\

•

BI,)

I@

r

0-

.

-

.Il ~

•

\

I@

rP

fr

.•

11

TI

'

u

11

I j

r

t:f

tt

11

••

~

 

-

  .Il . .

II@

V@

I

r

.D....-

-0

U

I@

(C)

II@

V@

I@

.

 

Figure 2 is a bass line for I Wish I Were In Love Again. Fig. 2. pick--up pick

blIx / / I / IVx / I / IVx / I / IVx / III bIllo / II blix / I / 1

IVx / I / IVx / I / IVx / III II / Ix Vm Ix / bV II blIx / I

+ 6 IV /

VII

bVIIx

/ VI VIx + 5

/

>

IVo IV o / VI

bIl lo /

VI I1x / V blIx / I /

IVx / I / IVx / I II / III VI/III{> bIIx / 1 + 6

/ /

I WISH I WERE IN LOVE AGAI AGAIN N (Lorenz (Lorenz Hart and Richard Rodge Rodgers) rs) - Copyright y Chapp Chappell ell Co. Co.,, In Inc. c. - Copy Copyrig right ht Rene Renewed wed.. Used by Permission.

@ 1937

LESSON

5.

Leh-Hand Major Voicing

®

Since the immediate purpose of the @ and voicings is to support a righ rightt han hand d trump trumpet et line, we will now consider these voic voicings ings in the left hand. In dealing with

@

®

and voicings the same tempor ry or p rentscaless (Vol (Vol.. I, I , Section VI) k y principles employed in the improvising scale will e used: Major: I or temporary I Dominant: V or temporary V Minor: II or temporary II Half-diminished and diminished chords will e considered separately in relation to a minor-dominant-major I1-V-I) framework.

61

 

Since the I chord will employ

@

I I the

o n ~ y

problem is

®

tha t

Thus in the key of C: I

IV

the

voicing of

prevailing key:

Form: keys C to F Form: keys F to B

of IV, which will

@ @

the

be

treated

as

a temporary I.

Form Form (temporary I of F)

However, in the key of Eb: I

IV

@

®

Form Form (temporary I of Ab)

RULE: The major chord is a I or a tempor ry I of a p rent k y the voicing of that key:

and

takes

@

Form: keys C to F interval combination 3 5 6 2 (based on the Ionian mode chord)

®

Form: keys F# to B interval combination 6 2 3 5 (based chord)

on

of the

the Ionian mode of

the

Figure 1 illustrates the 12 major chords in their appropriate voicing be played in the left hand.

to

Fig. 1.

@FORM

It;

0

:

eM

.

~ DbM

e

I ~ DM

@FORM

~

g G\,M

6

GM

~ A ,M

A

bq ; EbM

eJJ

EM

FM

Jl

,#

i

AM

•

mf«

BbM

# ~ l . BM

 

DRILL: Study Fig. 1 for automatic left-hand facility with the 12 major vOicings. Figure 2 s a bass line for I'll Take Romance in F. Here the conversion from 3 4 to 4/4 is effected by removing one beat from each bar. Note the key changes. Fig. 2.

F) I + (F) 1 +

(F) VI I

8 8

VI

II

V

II blIx

10

(Db) II bIIM (F)

1+

VI

V0

III (Db) V

1 + 8 VI

I I blIx /10

I+

I +8

I I IVo

1

I (F) II IVo

I+

VI

(B) I I V

I bV4»

III (Db) V

I (F)

1

VI

II< >

I

10

III (Vb) V

114»

6.

III b1IIo

V

I

10

II blIx

VI

I

10

II blIx

1+ 8

8

- r L L TAKE ROMANCE By: Oscar Hammerstein II and Ben Oakland 1931 by Bourne, Inc., New York, N. Y. - Used by Permission.

LESSON

blIx

I (F) ll4»

(Db) I I IVo (F)

II

® Copyright

Left-Hand Dominant Voicing

The dominant voicing s a V or a temporary V.

temporary V belongs belongs to keys keys C to t o F, use the F to B, use the Form.

®

@

either a V or a Form; i f it belongs to keys f

Thus, in the key of C: Ix IIx IIIx IVx

-

V VIx VIIx blIx -

V V V V

of of G: of A: of Bb:

Form Form Form Form

natur nat ural al V of t em po r ar y V tem emp por orar ary y V tem empo porrar ary y V

C: of 0 : of E: of Gb of Gb:

Form Form Form Form

tem empo porrar ary y t e mp or a r y te m po r a r y temp te mpor orar ary y

RULE: The dominant chord is a V or a tempor ry V of a p rent key and takes the voicing of that key:

@

Form: keys C to F interval combination 7 2 3 6 (based on the Mixolydian mode of the chord).

®

Form: keys F to B interval combinations 3 6 7 2 (based on the Mixolydian mode of the chord). 63

 

Figure 1 illustrates the 12 dominant chords in their appropriate volo ings to be played in the left hand. Fig.l. .0 .

,

2 ~

C x @ (V o fF )

= :

x® (

:

i

I

e

EX@ (VofA)

V o f A ~ )

FX@ (VofBb) .n

-e

# I ~ F x @ (VofB)

:

I tDx@(VofG)

D bX@ (V o f at,)

I ~ Abx@ (V of Db)

Gx @ (Vofe)

~

~

-e

I

#J

Bbx @ (V o f

A x @ (VofD)

Bx@ (V of E)

DRILL: Study Fig. 1 for automatic left hand facility with the 12 domi nant voicings. Figure 2 is a bass line for I'm In The Mood For Love

in

Db.

Fig. 2. I

V I

II

V / II blIx b 5

/

I I I / _ II bIIlo / I I #

III bIIIx II blIx / I V I I I V /

II #

1

I VI /

II

IT

/

/

I +S

b5 /

IVx / III

b V ~

I I blIx b 1\

II blIx

I II / III

VI

III

V I ~

bIllo

/ II #

1

II bIIx b II II

/

1

II

1 /

/

I I I / III bIIIo /

IVo / III bIIIx / I I bI I x /

IIx / I I blIx / I VI 1

II IV0

II

IT /

II bIIx b

1\

/

II V /

I +e

/ /

I'M IN THE MOOD FOR LOVE (Lyric and Melody by Jimmy McHugh and Dorothy Fields) - © Copyright 1935 Robbins Music Corporation, New York, N. Y. - Cop opyr yrii ght ght Renewal 1963 Robbins Music Corporation, New York, N . Y. - Us Used ed by Per Permi miss ssio ion. n.

64

 

LESSON

7.

Left-Hand Minor Voicings In Vol. I, Lesson 44 the problem of the minor chord was explored. In dealing wit with h mod modes, es, any minor chord may imply II II,, or VI of some key: Cm

-

of Bb   of Ab VI of Eb

However, n building the minor voicing, ll minors become porary of some parent key Thus n the key of C: 1m

.

IVm Vm VI VIIm VI Im bVm -

or tem-

®

temporary of Bb Form natu na tura rall of C: A Fo Form rm temp te mpo ora rary ry of D: Form temp te mpor orar ary y of Eb: Eb: Form Fo rm temp te mpor orar ary y of F: of Form Fo rm t em po r ar y of G: of Form temp te mpor oraary of A: Form temp te mpor orar ary y of E: of Form Fo rm

and VI chords are treated as temporary chords. See Vol. I, Lesson 44 for rule concerning the use of modes in the right hand. All

RULE: The minor chord is a

or a temporary

of a parent key and

takes the voicing of that key:

@

Form: keys C to F

interval combination 3 5 7 2 (based on the Dorian mode of the chord).

®

Form: keys , F

interval combination chord).

72

to B

3 5 (based on the Dorian mode of the

Fig. 1 illustrates the 12 minor chords in their appropriate voicings to be

played in the left hand. 65

 

Fig. 1.

M

~

C m @ (IIofBf.)

Dm

C#m@ ,(II of B)

(II of C)

#1

?

,

I

a , m @ (II of Df.)

E m @ (II of D)

F m @ (II of Ef.)

btl

I

~ ~ a

AJ,m@ ( n of Gf.)

Gm@ (II of F

F # m @ (II of E)

~ Am@ (II of G)

te

I

B ~ m @

.

(IIofAJ,)

Bm@(nofA)

DRILL: Study Fig. 1 for automatic left-hand facility with the 12 minor vOicings. Figure 2

is

a bass line for I Get A Kick Out Of You in

Eb.

Fig. 2. II / IVo /

m / bIIIx / I I / blIx / I /

I I / blIx / I +., / V I I I / IV0

Vm

II

II •

f

m/

/ IVo /

V I II

IV /

4>

bIlIx / I I /

/ VIx /

4>

/

VI II

III / .bIIIx / I I / bIIx / I /

blIx / I

VI

II

e /

/ bIIIx / I I

II / VI / IIx / I I / V / II / IVo /

I /

/ IVo / III / bIIIx /

4' /

IV0 / Vm / Ix I / VII /

4>

bIIIx /

m / bIIlx / I I / b1Ix /

/ V / m4> / VIx / I I / bib : / I +., / I +., / /

I GET A KICK OUT OF YOU - Cop Copyri yright ght 193 1934 4 by Ha Harm rms, s, Inc Inc.. - Us Used ed by Permission.

66

 

8.

LESSON

Left-Hand Half-Diminished Voicings Vol. I. Lesson 45 the half-diminished chord was treated as a VII or temporary VII. since that represents its position in any key. However, In

here we are dealing with a fundamental II-V-I (minor-dominant-major) pattern that does not account for the half-diminished and diminished qual ities. In seeking a half-diminished voicing within a major-dominant-minor pattern, it seems reasonable to tum to the m nor voicing since it is nearest in structure to the half-diminished:

= m3, P5, m7, 9th = II or temporary II minor vOlcmg half-diminished VOicing = m3, oS m7, 9th = IIb ft or temporary IIb s we apply this interval principle to the we derive the follOwing combinations: f

.

@

@ and

®

minor voicings.

Form: 3 b 7 2 t t ® Form: 7 2 3 b (based on the Dorian mode of the root)

Figure 1 illustra illustrates tes the half-d half-diminish iminished ed @ Form on D. Figure 2 illustrates the half-diminished ® Form on A. Fig. 1.

Fig.. 2. Fig

i

~

U

D¢

~ ®

I n playing Fig. 2 the stude student nt will notice the harsh sound of the Form; however, it is important that the student be aware that both ® the half-diminished and the diminished voicings represent contemporary man nerisms found in nearly all present-day keyboard and orchestral music. I n other words, the student should not indulge a conservative attitude in these matters.

Actually. hearing, as reaction:

o p p o s

~

to listeni listening, ng, involves two levels ·of

1. Externalized listening dealing with emotion reactions to record ings, sound tracks, etc. 2. Inter Internaliz nalized ed hearing dealing with those reactions to the resources resources

employed by the student in his personal performance. 67

 

s apparent t hat the externalized experien experience ce s broader, more indulg ent and less arbitrary. The internalized tends to assume the active levels of experience felt by the student, which may be quite circumscribed. t

®

Figure 3 illustrates the six half-diminished by lowering the 5th of the minor @ F ~ r m II b bination in each case is 3 b5 7 2, based on

~

Form voicings derived ®). The interval com

Dorian mode of the root.

Fig. 3

.

• 118

~

U

®

(111,5

@ of

C)

I1e E ~ @

I P S @ o f

•

·

o

F¢

I •

·

.0

F ¢@

68

IIt,s@Of E)

1It,s@ of

~

 

Fig. 4.

" ~ 11 -

G ' ¢ @ ( llb5

® of F

A IJ® (1l  ® of G

)

. 11-

..

v ~

r

•• B ~ j

"

S ®

( ll b5 ® o

AJ,)

~ ®

(1l 

@ o f A)

t r

<

••

~

(1l 

® o f 81,)

C ¢@ (IF5® of

®

Figure 4 illustrates the six half-diminished by lowering the 5th of the minor Form (II

B)

® ®). ,5

Form voicings derived The interval com

binationin each case is 7 2 3 b5, based   on the Dorian mode of the root.

Thus in the key of C: II b5 of Bb: I I b5 of c:

VII

-

tempor ary t empo ra r y te mpor a ry te mpo ra ry te mpor a ry temporary te mpo ra ry

bVt/>

-

t e m p o r a r y II

It/>

lit/> IJ I IV V

VIt/>

II

b5 5

II b

of D:

®

@ A

of Eb:

Form Form Form Form

I I bG of F:

Form

I I bG of G:

Form

II

5

b

of A:

B

Form

bG

of E:

®

Form

69

 

RULE: The haH-dirninished chord is a U b i or a temporary U b i of a parent key and is treated as follows: In keys C to F: minor @ Form flat 5; interval combination: 3 b5 7 2 (based on the Dorian mode of the root). In keys F# to B: minor ® Form flat 5; interval combination: 7 2 3 b5 (based on the Dorian mode of the root). DRILL: Study Figs. 3 and playuig in the the left righthand hand with ,hand the root in the left;4,also, play the the voicings vOicings in Figure 5 is a bass line for ' You'd Be So Nice To Come Come Home To in C. Note key changes including the A minor sections. Fig. 5 • ick . . .

// I

(a)

V

(F)

VI

VI.

(a)

V/

1+

(C)

n /

. VI /

n

V / I

/ / (a) U / V / VI

/ II V /

1+

#llo / i l l / IV

.

(C)

I

.

/

vn / /

(F)

n/

vn / 1m 1m. / V I / / vn / / (C) Vm / bV / /

IV

.

/ I

#lVo / .

VI.

//

bV h

bI h / I I . / Ih

/ U /

I V + . IV.

/ V.

/

V /

YOU'D BE SO NICE TO COME HOME TO (C (Col olee Porte Porter) r) - Cop Copyri yright ght @) 1942 by Chappell Chap pell Co Co., ., Inc Inc.. - Use Used d by Permission.

LESSON

9.

Left-Hand Left-Ha nd Dimini Diminishe shed d Voic Voicin ings gs - In Inver versi sions ons The diminished voicing has no status in th thee major scale-tone system. However, the minor voi ing can easily be altered to diminished by lowering the fifth and the seventh (Symbol: n g ~ : m3, pS, m7, to m3, oS, 07,

th} th

or

{ minor vOicing n or temporary II diminished vOicing

we apply this interval principal to the we derive the follOwing combinations: o o

70

® ®

or temporary

@

and

®

nt:

minor voicin voicings gs

Form = 3 b5 b7 2 Form = b 2 3 b5 (based on the Dorian mode of the root)

 

Figure 1 illustrates th e dimini diminished shed @ Form on D. Figure 2 illustrates the diminished ® Form on Ab. In both combinations forming the diminished voicing it is understood that the position of 6 in the Dorian mode actually functions as the 7th of the chord. Fig. 2.

Fig. 1.

• I

U

Do@

7

U 

@ of

L..n.

C)

Again in playing Fig. 2, the student will notice a similar harshness noted in the haH-diminished Form. In a later chapter modified ver sions of the haH-diminished and diminished voicings will be disCU sed.

®

Fig. 3.

I

Fig. 4.

..

<

I

•

I

~

Do

o

o

Bo

Bo

In Vol. I, page 46, we learned that the diminished chord always appears in root position (Fig. 3). However, each diminished chord also

offers three permutations or voicings which may be used interchangeably, provided the root is respected. These permutations may appear in the root (Fig. 4 or in the chord (Fig. 5). (See note.) Fig. 6.

Fig. 5.

opposite form

• U

U

U

Do

Do

Do

U

o

Do@

Do@ Bo 71

 

®

®

These series also function with the and Form voicings, again in the root Fi Figs. gs. 6 and 8) or the voicings voicings Figs Figs.. 7 an and d 9).

Fig. 8. opposite form

•

6

b ~

~ e

Ao@

~

e

AO@ Co

Ao@ ElK

AO@ GIx)

Fig.. 9. Fig

t

...

<

Q 1 .0 ..

•

AO@

72

CO@

Ao

I

EIK @ Ao

opposite form ue;

F o@ Ao

 

We shall return to the series in Figs. 6 7 8 and 9 later. For now, we

shall illustrate the six

®

@ and six

Forms derived from the modified

minor voicings I I ~ ~ or temporary I I ~ ~ . See Figs. 12 and 13. NOTE ON INVERSIONS: In Figs. 4 and 5 the basic rule prevailing in classical harmony of avoiding the doubling of the root, except when i t appears in the soprano top vo voice ice), ), has been respected.

®

The rules regarding doubling in as illustrated in Fig. 6.

and

®

®

Forms vary somewhat,

®

RULE: \Vhen dealing with inversions in and Forms, doubling of the root is permitted except when the root appears in the bass of the voicing; in this case, the opposit orm should be employed. See Figs. 10 and 11. In Fig. 10, I : @ forms an impermissible octave. In Fig. II, Ix   @ also forms an impermissible octave. Fig. 10.

I

~

~

~

~

~

~

~

~

~

~

~

~

solution opposite form

• •

I@

~

Fig. 11. \

j tr

tMI

solutionopposite form b

o

Ix@

I x ~

o ~

impermissible

I x ~

Ix ®

Ix ®

73

 

Figure 12 illustrates the six diminished @ Form voicings derived by lowering the fifth and the seventh of the minor @ Form voicing.

Fig.

I

12

• .Q

I

e

•

v \7 Do@ 1l\,5@ o C)

•

e Eo @

74

U\,5@

o

D)

\7

~ o@

1l\,5@ o Jl,)

 

®

Figure 13 illustrates the six diminished Form vOicings derived by lowering the fifth and the seventh of the minor Form vOicing.

®

Fig. 13.

alo

1l\,5® of F )

C o @ (lIf,5®of J3t,

7

Ao ®

1l\,5® o f a

Bo®

(1l\,5®of A)

Clo@

WS® of B

75

 

®

NOTE: The diminished vOicing of the Form is constructed by lower ing the insi e voices of the minor voicing; voicing; t he diminished voicing of the Form s constructed by lowering the outsi e voices of the minor voicing.

®

In the key of C:

10

-

t e mpo ra ry

I] b 7

of Bb:

110

-

t em p or ar y

JI?7

of C:

1110

-

t e mpor ar y I I g ~ of D:

IVo

-

t em em po por ar ary I l g ~ of Eb: 1 11

Vo

... temporary I1b 7 of F:

VIo

-

t e mp or ar y I ~ ~ of G: ,,,

VIIo -

t e mp or a ry II IIb 7 of A:

bVo -

te mp ora ry

of E:

111,7

®

@ @ @ @

® ®

@

Form Form Form Form Form

Form Form Form

RULE: The diminished chord is a IIh7 or a temporary II,1 of a parent key and s treated as follows: In keys C to F: minor Form flat 5 flat 7; interval combination: 3 b5 b7 2 (based o n the Dorian mode of the root). In keys F# to B: minor Form flat 5 flat seven; interval combination: b7 b7 2 3 b5 (based on the Dorian mode of the root).

®

®

DRILL: Study Figs. 12 and 13 playing the voicings in the right hand with the root in the left; also play the voicings in the left hand. Figure 14 is a bass line for "From This Moment On" in Ab. Note the transitions from f minor to the relative Ab major. Fig. 14. (f) I

+ I I VI I

II I V I I

Ab) VI I Vm I bV / IV I IV

Ab) bVllx I I I IV I (f) II I blix / I Ab) Vm I bV I IV I IV

+

/ IV

+,/

(Ab) III / VI I IIx I V I bV I IVx 1 Ab)

IV+

I

I VIIx I 1114>: I Vix I VlIm I f) V /

1+

/

/ IVm / bVllx /

Vix / IIx / I I bllx / 1 +

FROM THIS MOMENT ONMusic (Cole (Co le Corporation. Porter) Porte r) - Copy Copyrigh rightt Permission of Buxton Hill by

76

I V / I 1 Ab) VI I

3 / bVlIx I I / VI I Vm / bV I

Ab) IV / IV + , I IVm / bVllx I I +

Ab) VI / Vm / bV I IV /

VI/II

+ 8 I IV b • I

I

@

/

VI/II

I V / I //

1 / Vllx

I + II

/1114>: /

/ /

1950 by Co Cole le Por Porte terr - Us Used ed

 

LESSON

10. Modulation

®

Forms

and

Now that we have completed the @ and ® Form vOicings for the sixty chords, we can proceed to apply these voicings to a specific tune. Cherokee in Bb has been chosen as an interesting study in key modulation in a II-V-I pattern. Figure 1 illustrates an Bb. Note the key changes.

@

®

Form bass line for Cherokee

in

In normal group playing the roots would be played by the bassist.

For now we will employ the simple device of playing the chord on the first beat of each bar and the root on the third beat. For a full sound the student is advised to pedal through each bar, thus connecting the chord with its root. DRILL: Build a right hand improvisation on Fig. 1. F

g. 1

J.II_ J.

l

<

•

I

Bb)

1

V I @ (II of F )

I

@

(II of Eb)

 

cP-

·•

Vm

••

I

-6B ~ )

Ix@ (V

of Eb)

IV@

1 of Eb)

-6IV@

(I of Eb)

CHEROKEE - Wor CHEROKEE Words ds and Mus Music ic by by Ray Ray Noble Noble - Copy Copyrig right ht MCMX MCMXXX XXVI VIII II by The Peter Maurice Music Music Co. Co.,, Ltd., London, England - Assi Assigned gned to Skidmore Skidmore Music Music Co., Co., Inc. for U. S. A. and Canada - Used by Permi Permissi ssion on of Skidmo Skidmore re Music Music Co., Co., Inc., 666 Fifth Avenue, New York, N. Y. 10019.

77

 

 

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B ~ )

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V of ~ )

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V o f Db)

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VI@

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II of F)

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t ~

V of F)

IIx

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I

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78

V of F)

II

bIIo@

n

 

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••  Bb)

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V of E

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II of F

VI@

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V of Eb)

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~ V l I x

V of Db)

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V of Db)

79

 

I

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~

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I I x @ (V o f F)

II o f F

VI@

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*

I I x @ (V o f F

jl

JJ

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<

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r;;

II@

B ~ )

,

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t

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V@

d:

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-dl

jl

Jl

11

t

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I

,

-LL

Jl

TI

B)

8

..

CJ

II@

V@

I@

I@

 

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B

tL

tL

- -

II@

  A)

• •

I

I@

V@

~

I@

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B

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n@

G)

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v@

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I@

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t

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(B ,)

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n of F)

IIx@

Vof F)

n@

81

 

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bqJl

0

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..

~ n x @

B ~ )

II o f F

VI@

I@

(V of E)

e

LI

~

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r;;

(B ,)

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@

(II o f E ~ )

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(V of E ~ )

E ~ )

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t

0

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0

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82

~ V l I x @

I

(V o f D ~ )

~ V I I x

~

®

(V of

~ ~

I

1@

VI@

-

II o f F

I I x @ (V of F)

I I x @ (V of F )

 

.

b4

dl

.

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I

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f

B ~ )

II@

LESSON

v@

I@

I@

11.

®

Alternate

and

®

Forms

Vol I, Section IX the various patterns common to all jazz were considered. The importance of these patterns cannot e overestimated in dealin1. with any facet of jazz piano. This is particularly true of the @ and @ Fonn pattern patterns, s, since since they are constantly employed as temporary factors in shifting tonalities. In

The following pattern drill is strongly recommended to insure the automatic facility necessary for employing these voicings. The student will note that the @ and ® Fonns ltern te in the chromatic patterns. The overlapping of the Fonns in some patterns is to preserve smooth vOic vO icee-le lead adin ing; g; the C - F, F - B key segm segments ents are for for general voi voicin cing g and may be occasionally suspended in the borderline keys (F, F#, B and C . These patterns are to be played with the root in the left hand and the chord in the right. When the student st udent has become fami familiar liar with the s o n ~ r i t y of these voicings, the chords (omitting the roots) should also e played again in the left hand for an automatic facility. Keys C to F V

@ -

II@

I@

(Note)

V@

I@

® - I @ (Fig. 1 ® - II @ - V @ - I @ (F (Fig. 2 ® - U @ - bIIx ® I @ (Fig. 3 ®@ - VI ® - Ux ® V @ - 1 @

@ - blIx I @ - VI III @ - bIUx VUm lUx II

(Fig. 4

NOTE:: The ability to proceed directly to V or temporary V without first NOTE passing through the related

II

is of the utmost importance.

83

 

Keys F

v

®

I

I I®

to B

®

V@

I®

® - bIIx @ - I ® Fig. 5) I ® - VI @ - II ® - V @ - I II

®

Fig. 6

II IIII ® - bIIIx II I @ -- V VIIm @ - IIIx @ @- - bIIx IIx @ @ -- VI®

1) ® ® -Fig.I @

(Fig. 8

Fig. 1.

·

I

t \

L . I ~

3

•

•

1m

U

(C)

qu

e

~ I I x ®

II@

I@

O ~ )

II@

E ~ )

II@

~ I I x ®

I@

· U

( 0)

n@

~

1@

x ®

~

x ®

1@

L

I

I,

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L

(E)

84

II@)

e

~

U

~

x ®

1@

'

(F)

II@

bIIx@

0

1@

 

Fig. 2

·.

· (C)

 

VI@

I@

II@

l@

VI@

e

V@

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e

U (0)

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(F)

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4>

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Fig 3

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(C)

m@

~ I I I x

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Fig.

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III

4

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itU

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Jt

t e (C)

VIIm

q ~

I

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q ~

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I . . ~

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U

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V

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llx@

0

U V

e

(0)

VIlm

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Fig. 5. t

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oL

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(A)

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Fig.6. Ll

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of

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d .jl

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( B ~ )

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(B)

VI@

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Fig. 7

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~ I I x

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t

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t

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II@ b L ~

~ I I x

~ b t :

I

b bcB

•• -

( A ~ )

90

III@

j,IIIx@

II@

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I

 

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b L ~ ~

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k ~

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Fig. 8.

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Gb)

0

V I m@

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VI@

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91

 

~

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qq

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Figure 9 is a bass line for Embra Embraceab ceab le Yo You u in G that employs @ and Forms. Improvise on Fig. 9. Figure 9 employs a chord root design in the left hand to add motion to the study. In general, a chord root motion prevails in most modem playing in order to avoid the outmoded swing-bass sound of the traditional root chord.

®

Fig. 9.

••

/'.:

t : : ~

•• (G)

I ~

~ I I I o @

, ·•

\

II

~ ~

~ ~

<

I

· -,J-

(G)

V

- j

-,JII

I I ~

V@

EMBRACEA EMBR ACEABLE BLE YOU YOU - Copyr Copyright ight 1930 1930 by New World Music Corporation Used by Permission.

93

 

·

I

~

e-

Q

~

~

~

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<

·

I (G)

 

t

I@

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~

VIIxb

IV@

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# ~

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bVIIx@

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f

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b ~ J

L.-6~

V@

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VIIm

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bVlIx@

VI@

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~

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IIx@

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9

II@

V@

blIIo@

 

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v@

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9

 

12.

LESSON

® and ® The Dominant © Form

11te Altered Dominant

Fonns -

We learned in Vol. I, Lesson 56, that the dominant chord, in particular, lends itself to alteration. These alterations are easi easily ly assessib assessible le in the and Forms; the Form is a modified Form.

®

©

®

®

The basic alterations of the dominant chord are as follows:

®

®

FORM

FO R M

x II Dn

X,I'I

XliII

omit 13 (modified ® Form forming the Form)

©

X I l ( j I . ~ )

Xlll

XIII

®

x omit 9 modified) diminished 9th

®

omit 13 modified) diminished 9th

X

and ® Forms are illustrated in Fig. 1. Flat nine involves lowering the second of the voicing one half-step. a) The dominant flat nine

®

Fig. 1. b ~ q

0

~ b ~

~ = ? S

I <

I

.• Cx ltlt99 @

9

Dbx b9 ®

Po

U

 

x

®

Ebx  

®

 

.•

I l ~ :

u F x ~ 9 ®

~

.0..

F

GXJ 9

-e-

~ J

~

x ~ 9 ®

®

  ~ ~

L . ~ . . R

I

t

•• A ~

X ~ 9

®

A x ~

B ~ ~

®

®

BX

 

®

b) The dominant flat nine flat thirteen @ and ® Forms are illustrated in ig . 2. Flat nine involves a lowered second; flat thirteen involves a lowered sixth. Fig. 2.

~ ~ 1 3

~ 1 3

C x ~

®

D x ~

~ 1 3

®

E b x ~

®

91

 

,

b L

"' '

i ~ 1 3

~ 1 3 F x ~ 9 ®

F

~ 1 3

A ~ x ~ 9 ®

G x ~ 9 ®

x ~ 9 ®

~ 1 3

A x ~

®

~ ~

q ~

I

•

I

~ 1 3

~ 1 3

B x ~

B ~ x ~ 9 ®

®

®

c) The xl' omit 13 (augmented dominant ninth) occurs only in Fonn and is employed on all 12 dominants, including the @ Fonn are area. a.

Because of the frequent occurrence of this chord and the awkward symbol necessary to identify it, the letter will be used in future studies when referring to any XIII omit 13 (e.g (e.g.. E x © .

©

©

The principle of the dominant Fonn involves raising the ninth one half step and omitting the 13 of any of the 12 dominant Fonns (see Fig. 3). The 13th must must be omitted in order to achieve the charac characteristic teristic

®

open sound of the dominant augmented ninth. Fig. 3.

l

I

·•

~ # R

•

-- & Cx©

98

-

~ : 8

~ ~

~

U

D ~ x ©

U

Dx@

11&

E ~ x @

q-

EX@

FX@

 

 

' ~

•

ri

•

•

-

~ U

GX@

F'x@

LO

A ~ x @

~ q

J. ~

L ~ n

Ax

o

Bx

B ~ x @

This voicing, involving the illusion of a chord simultaneously con taining a major and minor ..third a harmonic cross-relation), is a familiar d e v i ~ and will be recognized as a common harmonic mannerism in the jazz-influenced compositions of George Gershwin. d) The

or suspend 4, as it often appears in sheet music, repre sents the suspended dominant chord studied in Vol. I in the primitive Xli

®

®

form of xla. Figure 4 illustrates the xu, and Forms, for the 12 dominant chords chords.. In each case the ·normal resolution accompanies each XU chord. The student should note that the XU chord is actual actually ly a voicing with a V root. Fig. 4.

e-

Cx@

U

D ~ x l l

D ~ x @

Fxll@

FX@

Dx@

E ~ x l l

E ~ x @

e-

EX@

F#xll@

F#x@

xll®

GX@

99