Jazz Improvisation 4
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4 ImprOVisation
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Contemporary Piano Styles' By John Mehegan
Introduction by Bill Evans Preface by Tom Glazer
AMSCO MUSIC PUBLISHING COMPANy
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JAZZ IMPROVlSATION VOLUME IV
Contemporary Piano styles
JAZZ IMPROVISATION VOLUME IV Contemporary Piano Styles
John Mehegan
Watson-Guptill Publications/New York
~ Amsco Publications New York/London/Sydney
To my family: Gay, Tara, Sean, Sophie and Bronson
Copyright © 1965 by Watson-Guptill Publications, a division of Billboard 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 Ply 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.in 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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PREFACE 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 at times I have written popular songs, . composed orchestral scores for films and T.V., played tuba and bass fiddle as a young man in bands and orchestras, sung in church choirs and madrigal groups - and in between, listened hard to music from preGregorian chant to post-Stravinsky.
It behooved me some years ago to take another musical busman's holiday and study jazz piano with Johnny Mehegan. My ears sprang up almost literally; I had been listening to jazz, I discovered, without hearing it. I found out why I really didn't get too moved by its most important element:improvisation. It is one thing to like the singing of, say, Billie Holiday; it 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. It is this 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 awarded by jazz magazines. Johnny Mehegan has built a unique musical monument. History remembers with exceptional honor those 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, at long last, a "habitation and a name." Tom Glazer May, 1965
CONTENTS Preface by Tom Glazer Introduction by Bill Evans
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INTRODUCTION
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Oscar Peterson - "Joy Spring" Bill Evans - "Peri's Scope"
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SECI'lON I
29
OSCAR PETERSON
1. General 2. The @ Form - "Stella By Starlight" 3. The Fonn - "J Don't Stand A Ghost Of A Chance With You" 4. The Combined @ Forms - "I Wish I Were In Love Again," inG 5. Left-Hand Major Voicing - "I'n Take Romance," in F 6. Left-Hand Dominant VOicings - ''I'm In The Mood For Love," in Db 7. Left-Hand Minor Voicings - "I Get A Kick Out Of You," in Eb 8. Left-Hand Half-diminished Voicings - "You'd Be So Nice To Come Home To," in C 9. Left-Hand Diminished Voicings - Inversions - "From This Moment On," in Ab 10. Modulation - @ and @ Forms 11. Alternate @ and @ Forms - "Embraceable You," in G 12. The Altered Dominant @ and @ Forms - The Dominant Form - "By Myself," in F 13. The Suspended Minor, Half-diminished and Diminished @ and @ Forms - "Better Luck Next Time," in F 14. Melodic Adjustment - @ and Forms - "Poor Butterfly," in Db 15. Right-Hand Modes with @ and ® Forms - "Ten Cents A Dance," in Eb 16. @ and Forms Summation - "Right As The Rain," in C
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SECTION II 17. Solo Piano (General) - "But Not For Me," in Eb 18. Root-Voicing Patterns, and ® Forms - "Be My Love," in G 19. Root-Voicing Patterns, ® and Forms - Ballad - "My Ship," inF 20. Root-Voicing Patterns, ® and ® Forms - Bass Fifths "Where Are You?" in G 21. Root-Voicing Patterns, and ® . Forms - Minor tonality "You're My Thrill," in D minor 22. Root-Voicing Patterns, ® and ® Forms - Superimposition "This Is New," in Bb 23. Root-Voicing Patterns, and ® Forms - 8/8 time - -I Fall In Love Too Easily," in Eb 24. Root-Voicing Patterns, and ® Forms - 12/8 time ''Twelve-Bar Blues," in Bb 25. Root-Voicing Patterns, and ® Forms - Bounce Tempo Syncopation - "Rose Room," in Ab 26. Root-Voicing Patterns, ® and Forms - Bounce Tempo Syncopated Swing Bass - "Ain't Misbehavin'," in Eb 27. Root-Voicing Patterns, and Forms - Up-tempo Syncopation - "The Lady Is A Tramp," in C 28. Root-Voicing Patterns, ® and Forms ..... Up-tempo Syncopation (without Roots) - "Limehouse Blues," in Ab 29. Root-Voicing Patterns, ® and Forms - Improvised "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 Lines - "Blue Room," in F 33. "Walking" Bass Lines - ''The Way You Look tonight," in Eb 34. 'Walking" . Bass Lines - "Fine And Dandy," in F 35. Left-Hand Arpeggiation - The Scale-Tone Tenth Chords Eighth-note - 'We'll Be Together Again," in C 36. Left-Hand Arpeggiation (R-5-9-3-7 and reverse) - Eighth-note "Jet," in Eb 37. Left-Hand Arpeggiation - Mixed elements - Eighth-note triplet "Sometimes I'm Happy," in F 38. Left-Hand Arpeggiation - Mixed Elements - Sixteenth-note "It Never Entered My Mind," in F 39. Left-Hand Arpeggiation and Forms and Modes "Ruby," in C
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SECTION ill 40. 41. 42. 43. 44. 45. 46. 47. 48.
'Comping (Accompanying) - "I Love You'," in F Turnarounds - "Down By The River" in Ab Building a Bass Line - "Small Hotel," in Ab Modified @ and ® Forms - Modem "Funky" Piano Harmonic Distortion The Perfect and Augmented Fourth Chord Structures @ and Forms with Shearing Blocks The Modal Fourths - Minor Blues The Modal Fragments
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229 235 238 240 244 246 267 277 282
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INTRODUCTION The aspiring jazz musician - and jazz pianist in particular - has been 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 discouragements that this task entails. Yet, unless one is to be a slave to vogue, and dependent on the questionable rewards of mimicry, one must know in some clearly organized way about the materials which one wishes to use in improvisation. It 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 encompassing can be the generalization - and thus the more true freedom is won (attained). It is my opinion that the presentation of materials to be found in John Mehegan's books on improvisation are the most concise, thorough 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
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INTRODUCTION The history of ·jazz piano from 1950 to the present has beed an intense ·struggle between the forces of the present and those of the past 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 artist's relationship to freedom on the one hand and discipline on the other. The follOwing outline illustrates the major (indicated by·) and minor figures in this turbulent period: THE TRADITIONALISTS Oscar Peterson· Les McCann Gene Harris Barry Harris Eddie Costa THE MODERATES Bill Evans· Wynton Kelly Ahmad Jamal Horace Silver Bobby Timmons Red Garland McCoy Tyner THE AVANT-GARDE Don Friedman Claire Fisher Bob James Herbie Hancock Andrew Hill Cecil Taylor
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THE 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. McCann and Gene Harris are definitely in the "funk" school. Barry Harris is probably the outstanding exponant of the traditions of style and idiom established by Bud Powell. The late Eddie Costa was a successor to the "hard bop" idioms of Horace Silver, expressed through the aggressive mallet technique employed by vibraphonists. 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 of the Fifties and, simultaneously, 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 - this vast amalgam of sound - were added to Peterson's personal geniUS to forge one of the most persuasive keyboard styles of the Fifties and early Sixties. Despite this seemingly eclectic background, Peterson has made im~ 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" than 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 pianist in the entire connotation of that term. An important aspect of Peterson's genius is his ability to play "horn lines" - ideas accessible on the saxophone or trumpet, but generally "unpianistic" when applied to the keyboard. This ability has endowed 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
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finger strokes - something even the most skilled jazz pianist will find difficult. Most jazz pianists content themselves by playing easily accessible lines through manual mechanics rather than attempting "unpianistic horn lines" that are more melodic. Unlike his contemporaries, Peterson possesses the ability to play these inaccessible horn lines - a part of his distinguished sound. Figure 1 illustrates the contrast between a pianistic phrase and a relatively unpianistic phrase by Peterson. Fig. 1.
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This style, as presented in the Peterson trio, was a signal for the return of "vertical" hannony, which had languished through 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 document in the history of jazz piano. THE 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 versions 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 of 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 were either abandoned ·or seriously modified. This stylistiC sound, which is adaptable to the left hand for supporting 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 factor of jazz Simultaneously altered the prevailing harmonic and .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 by a filigree of sixteenths and thirty-seconds, interspersed with highly syncopated clusters of chords. In Evans' work with bass and drums (especially with Paul Motian and the late Scott LaFarro), time values were even more modified to such a point that the underlying 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 influence of Miles Davis and arranger Gil Evans, pianist Bill Evans extracted
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an entirely new body of idiom from the early Twentieth-Century Spanish composers, Albeniz, de Falla, and Granados, as well as the French Impressionists. 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 capable of conveying chord 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 of its basic components (root, third, fifth, seventh) has been reaSSigned to an entirely different register of the keyboard or transferred to another instrument - usually the string bass. 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" tones, also known as the Parker "hinges" (see Vol. I, pp. 127 - 131), were to some extent abandoned in 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 structures, such as unmodified scales and modes (displaced scales), appeared as part of a revolutionary attack upon the traditional, improvised line. THE 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 timeworn concepts. Many pianists have remained within the "funk" school; 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" sections of the jazz audience, the folk musicians. Perhaps jazz is about to go "underground," as it did in 1940, to begin another painful transition. If this is 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. It may very well be that the future of jazz will be decided in tins musical Armageddon. The avant·garde has challenged this sound barrier. armed with the "freedom" of free form, but, at the same time, held captive by the very lack of freedom which, in the past, had made the jazz musician free. In the past, the jazz pianist had evolved an intensely expressive idiom based in part upon a fierce premise of what was to be played joined by an equally fierce premise of what was not to be played. .This privilege of chOOSing the "best of both worlds" no longer exists for the jazz musician. At the same time, an art 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 escape from 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 reminder to the jazzman of the monetary and psychic rewards that await the successful practitioner in a "high" art. There is a double 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 art fom} as a forum to project a variety of personal and social angers. This is an inevitable step since, if the Negro people can rightfully claim an art form, it is certainly jazz. The use of art 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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47
SECTION I LESSON
1. General
The voicings to be considered in this section will be referred to as the @ Form and the ® Form simply to distinguish one from the other. These two forms constitute the basic textural sound of contemporary jazz piano. It 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 presented first, followed by 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 bIIIx I 114> IV4> I III VI I II V I bVlIx VIx I
bVlx
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I +.
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II II I f II II' I II blIx I I + 41 IT I III IV I
VlIx I III blllo I II blIx I I I bIIx I 1114> bIIIx I 114> IV4> I III VI I II bIIx I I + 41 I I + 41 II
I DON'T STAND A GHOST OF A CHANCE - Copyright 1932 by American Academy of Music, Inc. - Copyright renewed 1960 - Used by permission of the copyright owner.
58
LESSON
4.
The Combined
®
@ and
Fonns
The student will notice in playing the ® 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.
®
Form in Lesson 3. the voicings from C to Eb Also in playing the 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:
® ®
Form II-V-I: keys C. Db. 0, Eb, E. F Form II-V-I: keys F#. G. Ab. A, Bb. B
This arrangement of the succeeding chapters.
®
and
®
Forms will be utilized in
®
Form in keys C to F and DRILL: Repeat intensive study of II-V-I II-V-I ® Form in keys F# to B (see Fig. 1). Fig. 1. ,
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Figure 2 is a bass line for "I Wish I Were In Love Again." Fig. 2. pick-up
blIx / / I / IVx / I / IVx / I / IVx / III bIllo / II blix / I / 1/ I
I
IVx / I / IVx / I / IVx / III II / Ix Vm Ix / bV4> IVo / VI ~ bIllo / II blIx / I + 6 IV / VII bVIIx / VI VIx + 5
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/ /
I WISH I WERE IN LOVE AGAIN (Lorenz Hart and Richard Rodgers) - Copyright @ 1937 by Chappell & Co., Inc. - Copyright Renewed. Used by Permission.
LESSON
5.
Leh-Hand Major Voicing
®
Since the immediate purpose of the @ and voicings is to support a right hand "trumpet" line, we will now consider these voicings in the left hand.
®
In dealing with @ and voicings the same temporary or parentkey principles employed in the improvising scales (Vol. I, Section VI) will be used: Major: I or temporary I Dominant: V or temporary V Minor: II or temporary II Half-diminished and diminished chords will be considered separately in relation to a minor-dominant-major (I1-V-I) framework.
61
Since the I chord will employ the voicing of the prevailing key: I I
@
®
Form: keys C to F Form: keys F# to B
the on~y problem is that of IV, which will be treated as a temporary I. Thus in the key of C:
@ IV @ 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 temporary I of a parent key and takes the voicing of that key:
@
Form: keys C to F interval combination 3 5 6 2 (based on the Ionian mode of the chord)
®
Form: keys F# to B interval combination 6 2 3 5 (based on the Ionian mode of the chord) Figure 1 illustrates the 12 major chords in their appropriate voicing to be played in the left hand. Fig. 1.
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DRILL: Study Fig. 1 for automatic left-hand facility with the 12 major vOicings. Figure 2 is 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. VI I II IV0 I III (Db) V I I I (F) II I I VI I #10 I II blIx I (F) 1+ 8 VI I II blIx I 1+ 8 VI I II IVo I III (Vb) V II I (F) ll4» II
(F) I +
8
(F) VI I #10 I II blIx I I + II #1 I I + II VI II (Db) II IVo I III b1IIo I (Db) II bIIM /10 I +8 II (B) II V I I bV4» II (F) VI I #10 I II blIx I (F) 1+' VI I II IVo I III (Db) V I I I (F) 114» II VI I #10 I II blIx I
1+ 8 I 1+ 8 II -rLL TAKE ROMANCE" By: Oscar Hammerstein II and Ben Oakland - ® Copyright 1931 by Bourne, Inc., New York, N. Y. - Used by Permission.
LESSON
6. Left-Hand Dominant Voicing
The dominant voicing is a V or a temporary V. If either a V or a temporary V belongs to keys C to F, use the @ Form; if it belongs to keys F# to B, use the Form.
®
Thus, in the key of C: Ix IIx IIIx IVx V VIx VIIx blIx
-
temporary V temporary V temporary V temporary V natural V of temporary V temporary V temporary V
of of of of C: of of of
F~
G: A: Bb: 0: E: Gb:
Form Form Form Form Form Form Form Form
RULE: The dominant chord is a V or a temporary V of a parent 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 voloings to be played in the left hand.
,
Fig.l. .0.
~
I
2~!
Cx@ (V ofF)
=2:
,: ,:
It!
D bX@ (V of at,)
~ II
Dx@(VofG)
Ii!
~~
#
I
&x® (VofA~)
#I~
e
EX@ (VofA)
FX@ (VofBb)
-e
.n
I~
~
F#x@ (VofB)
Gx@ (Vofe)
#~
Abx@ (V of Db)
-e
9~
I
#J!
Bbx @ (V of E~)
Ax@ (VofD)
II
Bx@ (V of E)
DRILL: Study Fig. 1 for automatic left hand facility with the 12 dominant voicings. Figure 2 is a bass line for "I'm In The Mood For Love" in Db. Fig. 2. I VI/II V / II blIx b 5
/
I II / _III bIIlo / II # #1 II #1
III bIIIx II blIx / I VI/II V / II bIIx b II II # #1 II IT
/
II blIx b 5
/
/
I II / III
II IV0
/
I II / III bIIIo /
I + S VI/II IVo / III bIIIx / II bIIx /
I VI / bV~ IVx / III #1 III II blIx b 1\
/
/
bIllo
I
VI~
IIx / II blIx / I VI
/ II # #1 II IT
/
II bIIx b 1\
/
I 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. - Copyright Renewal 1963 Robbins Music Corporation, New York, N. Y. - Used by Permission.
64
LESSON
7. Left-Hand Minor Voicings
In Vol. I, Lesson 44, the problem of the minor chord was explored. In dealing with modes, any minor chord may imply II, III or VI of some key: II of Bb - III of Ab - VI of Eb
Cm -
However, in building the minor voicing, all minors become II or tem-
porary II of some parent key. Thus in the key of C: 1m II III IVm Vm VI VIIm bVm
-. -
temporary natural II temporary temporary temporary temporary temporary temporary
II of II II II II II II
of C: of of of of of of
Bb:
®
Form A Form D: Form Eb: Form F: Form G: Form A: Form E: Form
All III and VI chords are treated as temporary II chords. See Vol. I, Lesson 44 for rule concerning the use of modes in the right hand.
RULE: The minor chord is a II or a temporary II 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# to B
interval combination 72 3 5 (based on the Dorian mode of the chord). Fig. 1 illustrates the 12 minor chords in their appropriate voicings to be played in the left hand.
65
,M
Fig. 1.
##~
Cm@ (IIofBf.)
I Dm@ (II of C)
C#m@ ,(II of B)
~
#1
? a,m@ (II of Df.)
Em@ (II of D)
,
Fm@ (II of Ef.)
I ~~a.
btl
AJ,m@ (n of Gf.)
Gm@ (II of F)
F#m@ (II of E)
#te I
,~ B~m@ (IIofAJ,)
Am@ (II of G)
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 / II / blIx / I / VI/II / IVo / III / bIIIx /
II / blIx / I +., / VI/II / IV0 VI/II / IVo /
m/
bIlIx / II /
/
III / .bIIIx / II / bIIx / I /
blIx / I + e
/
#IV0 / Vm / Ix I' /
Vm II j IV / 1114> / VIx / 1114> / bIIIx / II + 4' / VII / 1114> bIIIx / II • f II / VI / IIx / II / V / II / IVo /
m /
bIIlx / II / b1Ix /
I / VI/II / V / m4> / VIx / II / bib: / I +., / I +., / / I GET A KICK OUT OF YOU - Copyright 1934 by Harms, Inc. - Used by Permission.
66
II
LESSON
8. Left-Hand Half-Diminished Voicings
In 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, here we are dealing with a fundamental II-V-I (minor-dominant-major) pattern that does not account for the half-diminished and diminished qualities. In seeking a half-diminished voicing within a major-dominant-minor pattern, it seems reasonable to tum to the minor voicing, since it is nearest in structure to the half-diminished:
minor vOlcmg = m3, P5, m7, 9th = II or temporary II half-diminished VOicing = m3, oS, m7, 9th = IIb ft or temporary IIb s If we apply this interval principle to the we derive the follOwing combinations:
." @
,
@ and
®
minor voicings.
Form: 3 b5 7 2 tit ® Form: 7 2 3 (based on the Dorian mode of the root)
b5
Figure 1 illustrates the half-diminished @ Form on D. Figure 2 illustrates the half-diminished ® Form on A. Fig. 2.
Fig. 1.
,i
II
~1
II
'U
A~®
D¢@
®
In playing Fig. 2, the student 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 mannerisms found in nearly all present-day keyboard and orchestral music. In other words, the student should not indulge a conservative attitude in these matters.
Actually. "hearing," as reaction:
oppose~
to "listening," involves two levels ·of
1. Externalized listening dealing with emotion reactions to recordings, sound tracks, etc. 2. Internalized hearing dealing with those reactions to the resources employed by the student in his personal performance.
67
It is apparent that the externalized experience is broader, more indulgent and less arbitrary. The internalized tends to assume the active levels of experience felt by the student, which may be quite circumscribed.
®
Figure 3 illustrates the six half-diminished Form voicings derived by lowering the 5th of the minor @ F~rm (II b & ®). The interval combination in each case is 3 b5 7 2, based on ~e Dorian mode of the root.
Fig. 3.
.
~~-
•
.118 "U
~® (111,5 @ of C)
I1e
E~@(IPS@of ~)
• ·• o
F ¢@ (1It,s@ of E~)
I •
·•
,.0 F#¢ @ (IIt,s@Of E)
68
Fig. 4.
" . ,~
11'-
,. ..,
~11-
G'¢@ (llb5
A!IJ® (1lb5 ® of G)
® of F#)
v~1r
••
B~j1S® (llb5 ®of AJ,)
I
.."
B~® (1lb5@ of A)
.. ~tr
<
••
C~ (1lb5® of 81,)
C#¢@ (IF5® of B)
®
Figure 4 illustrates the six half-diminished Form voicings derived by lowering the 5th of the minor Form (II ,5 ®). The interval combinationin each case is 7 2 3 b5, based ' on the Dorian mode of the root.
®
Thus in the key of C: It/> lit/> IJ.I IV V VIt/> VII bVt/>
-
temporary temporary temporary temporary temporary temporary temporary temporary
II b5 II b5 II b5 II b5 II bG II bG II b5 II bG
of of of of of of of of
®
Form Form D: A Form Form Eb: F: Form G: Form A: B Form E: Form Bb:
c: @
®
69
RULE: The haH-dirninished chord is a Ubi or a temporary Ubi 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 4, playuig the voicings in the right ,hand with the root in the left; also, play the vOicings in the left hand. Figure 5 is a bass line for '"You'd Be So Nice To Come Home To" in C. Note key changes including the A minor sections. Fig. 5. • ick....
/ / I +. VI /
(a) V"
n
V / I +.
/
vn / /
(F)
n/
bIh / I I. /
(F) VI VI. / / (a) U / V /
Ih / U /
(a) V / 1+' VI / II V /
vn / 1m 1m. / VI / 1+' / vn / / (C) Vm / bV /
IV +. IV. /
bVh
/ V. I V /
(C)
n /
#llo / ill / IV +. / IV #lVo / VI. (C) I +.
/ I +. / /
YOU'D BE SO NICE TO COME HOME TO (Cole Porter) - Copyright @) 1942 by Chappell ~ Co., Inc. - Used by Permission.
LESSON
9. Left-Hand Diminished Voicings - Inversions
The diminished voicing has no "status" in the major scale-tone system. However, the minor voicing can easily be altered to diminished by lowering the fifth and the seventh (Symbol: ng~): ' m3, pS, m7, to m3, oS, 07,
9th} 9th
or
{ minor vOicing n or temporary II diminished vOicing IIt~ or temporary
H we apply this interval principal to the we derive the follOwing combinations: o o
70
® ®
@
and
®
nt:
minor voicings
Form = 3 b5 b7 2 Form = b7 2 3 b5 (based on the Dorian mode of the root)
Figure 1 illustrates the diminished @ 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@
L..n.
"7
(Ub5 @ of C)
Again in playing Fig. 2, the student will notice a similar "harshness" noted in the haH-diminished Form. In a later chapter modified versions of the haH-diminished and diminished voicings will be disCU$sed.
®
Fig. 4.
Fig. 3. ~
I
..,
<
I
•
I.~
Do
Fo
Fo
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
'U
Do
Do
Do
Do
Do@
Do@ Bo
71
®
®
These series also function with the and Form voicings, again in the root (Figs. 6 and 8) or the voicings (Figs. 7 and 9).
Fig. 8. opposite form
~
•
"6
I~
,b~
-e
-e
Ao@
I~ ~
AO@ Co
Ao@ ElK>
1.0..
I-G-
...
~
AO@ GIx)
Fig. 9.
"
t ...,
, <
•
~ AO@
72
.Q
CO@ Ao
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 (II~~ or temporary II~~). 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 it appears in the soprano (top voice), 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 opposite form should be employed. See Figs. 10 and 11. In Fig. 10, I: @ forms an impermissible octave. In Fig. II, Ix2 @ also forms an impermissible octave. Fig. 10. ~
I(~~~~~~~~~~ ~ ~ solution opposite form ••
I~
I@
Fig. 11. 1\
..
j,tr
tMI'
solutionopposite form b.o~
e-
Ix@
o
Ix~@
Ix~@
impermissible
Ix2®
Ix2®
73
Figure 12 illustrates the six diminished @ Form voicings derived by lowering the fifth and the seventh of the minor @ Form voicing.
Fig. 12.
I ~
" • .Q
I
Ie
•
v
Do@
\,7 (1l\,5@ of C)
•
e
~7
Eo @ (U\,5@ of D)
74
~e
\,7 &o@ (1l\,5@ of Jl,)
®
Figure 13 illustrates the six diminished Form vOicings derived by lowering the fifth and the seventh of the minor Form vOicing.
®
Fig. 13.
~t
alo@
(1l\,5® of F#)
Ao ®
Bo®
"7
(1l\,5® of a)
~7
(1l\,5®of A)
• •• ~7
~7
Co@ (lIf,5®of J3t,)
Clo@
(WS® of B)
75
®
NOTE: The diminished vOicing of the Form is constructed by lowering the inside voices of the minor voicing; the diminished voicing of the Form is constructed by lowering the outside voices of the minor voicing.
®
In the key of C: 10
110
-
temporary temporary
"" of Bb: ®
I]b 7 ~Ii
JI?7
'
of C:
1110 - temporary IIg~ of D: IVo
-
temporary
Ilg~ of Eb: 1,11
Vo
... temporary I1b 7 of F:
VIo
-
temporary
I1~~
of G:
!,,,
VIIo -
temporary IIb 7 of A: .,~
bVo -
temporary
111,7
of E:
@ @ @ @
Form Form Form Form Form
® ®
Form
@
Form
Form
~r.
,~
RULE: The diminished chord is a IIh7 or a temporary II,1 of a parent key and is treated as follows: In keys C to F: minor Form flat 5 flat 7; interval combination: 3 b5 b7 2 (based on the Dorian mode of the root). In keys F# to B: minor ® Form flat 5 flat seven; interval combination: 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.
I VI I II I V I I II (Ab) VI I Vm I bV / IV I IV + 8 I IV b • I bVllx I I I IV I (f) II I blix / I + , / VI/II I V / I /1 (Ab) VI I Vm I bV I IV I IV + '/ IV" 3/ bVlIx I I / VI I Vm / bV I IV / IV +, I IVm / bVllx I I + I VIIx I 1114>: I Vix I VlIm I III / VI I IIx I V I bV I IVx 1/ (f) V / 1+' / VI/II I V / I / / VI / Vm / bV I IV / IV+' / IVm / bVllx / 1/ Vllx /1114>: /
(f) I + II (Ab) (Ab) (Ab) (Ab) (Ab)
/I
(Ab) Vix / IIx / II bllx / 1+ fI
/
I + II
/ /
FROM THIS MOMENT ON (Cole Porter) - Copyright @ 1950 by Cole Porter - Used by Permission of Buxton Hill Music Corporation.
76
LESSON
10.
Modulation
®
and@ Forms
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'Ig. 1
II
4l
J.I_
<
•
I
(Bb)
1
·•
VI@ (II of F)
I@
Q
Vm @ (II of Eb)
~
cP-
~
Ix@
-6IV@ (1 of Eb)
-6IV@' (I of Eb)
<
I
•• (B~)
(V of Eb)
CHEROKEE - Words and Music by Ray Noble - Copyright MCMXXXVIII by The Peter Maurice Music Co., Ltd., London, England - Assigned to Skidmore Music Co., Inc. for U. S. A. and Canada - Used by Permission of Skidmore Music Co., Inc., 666 Fifth Avenue, New York, N. Y. 10019.
77
L~
,~
•
I ~t I
•
,
(B~)
,
·
~VIIx @ (V of D~)
bVlIx @ (V of Db)
q~
I
I@
q4
~t
·• (Bb)
•
I
-
VI@ (II of F)
P~
IIx@ (V of F)
Jt~
IIx@ (V of F)
-4f
~ I
• (B~)
78
II@
bIIo@
n@
_#~
_bltJl
I
••
I
(Bb)
·•
~IIx @ (V of E)
LI
I@
-&
L.~
-
VI@ (II of F)
.0.
~
~
I
•
• ~
CJ
(B~)
·•
Vm@ (II of Eb)
~
Ix@ (V of Eb)
IV@ (I of E~)
,~
,~
·• ~
(Bb)
IV@ (I of E~)
~VlIx@ (V of Db)
~VlIx
®
(V of Db)
79
·
~~
~~
I
.jl
<
••
I
(B~)
I@
~'*
·•
I
-
VI@ (II of F)
~
IIx@ (V of F)
.Jl
IIx@ (V of F)
.jl
JJ.
,..-
<
·
·
t t ·• I ,
,..-
r;;
(B~)
,
J.l.
I
•
II@
~
J.l.
I@
V@
d!:
I@
-dl
.jl
J.l.
11
~
-LL
J.l.
TI
(B)
80
CJ
II@
V@
I@
I@
· I ·•
~
tL
..B
tL
-$-
II@
(A)
••
I
.~.
V@
I@
~
...B
I@
.B
~
·
I
n@
(G)
·
v@
I@
~~
ft
...
...
-rJ
I@
~~
~
•• (B!,)
... VI@ (n of F)
IIx@ (Vof F)
n@
81
0
~t I,
~u
I
bqJl
0
.., (B~)
~nx@ (V of E)
VI@ (II of F)
I@
e
L.I
~
L.~
.~ ~
I . r;;
-&
Ix@ (V of E~)
Vm @ (II of E~)
(B!,)
.~
,.c P'
I~
o·
IV@ (I of E~)
~
-& IV@ (I of E~)
,~
~VlIx@ (V of D~)
~VIIx
~
I
® (V of D~) ~~
0
t ~
I 0
I (B},)
82
1@
VI@ (II of F)
IIx@ (V of F)
IIx@ (V of F)
.
b4!
~
~
I
.Jl
dl
.
•
fJ
(B~)
II@
LESSON
v@
I@
I@
11. Alternate
®
and
®
Forms
In Vol I, Section IX the various patterns common to all jazz were considered. The importance of these patterns cannot be overestimated in dealin1. with any facet of jazz piano. This is particularly true of the @ and @ Fonn patterns, since they are constantly employed as "temporary" factors in shifting tonalities. 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 alternate in the chromatic patterns. The overlapping of the Fonns in some patterns is to preserve smooth vOice-leading; the C - F, F# - B key segments are for general voicing 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 has become familiar with the son~rity of these voicings, the chords (omitting the roots) should also be played again in the left hand for an automatic facility. Keys C to F V @ - I@ (Note) II@-V@-I@ II @ - blIx I @ (Fig. 1) I @ - VI II @ - V @ - I @ (Fig. 2) III @ - bIUx U @ - bIIx ® - I @ (Fig. 3) VUm lUx @ - VI Ux ® - V @ - 1 @ (Fig. 4)
®-
®®®-
®-
NOTE: The ability to proceed directly to V or temporary V without first passing through the related II is of the utmost importance. 83
Keys F# to B
v
®
-I
®
II®-V@-I® II ® - bIIx @ - I ® (Fig. 5) I ® - VI @ '- II ® - V @ - I (Fig. 6) III ® - bIIIx @ - II ® - bIIx @ - I ® (Fig. 1) VIIm @ - IIIx @ - VI @ - IIx @ - V ® - I @ (Fig. 8)
®
Fig. 1.
·•
I
L.I~
3
"
t \
••
1m
'U
(C)
II@
~IIx®
e I@
qu (O~)
II@
~IIx®
I@
(E~)
II@
~IIx®
1@
·• 'U
n@
(0)
~IIx®
1@
L1
~
I
I,
(E)
84
••
L1
'U'
~u
II@)
~IIx®
e
1@
'"
(F)
II@
.. bIIx@
0
1@
Fig. 2.
..· ·• e
-
"U
· e (D~)
I@ VI@ II@ V@ I@
(C)
"U
e
...
'U
I@ VI@ II@ V@ I@
'U
(E~)
l@ VI@ II@ V@ I@
(0)
.
I@ VI@ II@ V@ I@
.1
•• (E)
.1
I@ VI@ II@ V@ I@
(F)
4.> I@ VI@ II@ V@ I@
Fig. 3.
~
(C)
m@
~IIIx@
"U
II@
I1u ~IIx@
-&
I@ 85
"0-
(O~)
III@
~IIIx®
'U
II@
bIIx@
I@
••
o
(0)
Ill@
~v
~IIIx®
(E)
86
ll@
~IIx@
I
·•
(E~)
1'-&
-
.,-
III@
~IIIx®
III@
o
II@
q& ~IIx@
v I@
~~ e
.
~~ --n
~~
I ~
I
(F)
III@
~IIIX@
...
-
v
~IIx@
II@
I@
Fig. 4.
itU
#~
Jt
I
t "
e
(C)
,
I
'U
VIIm@
IIIx@
q~
q~
VI@
I..~
IIx@
,-Jl
V@ .0 I~
e I@
~
.
~
...
(O~)
(0)
v
VIlm@
VIlm@
IIIx@
IIIx@
'U
V1@
VI@
llx@
e IIx@
V@
1@
'U
V@
I@
B1
~
·•
\
q~
,,~~
-&-
. .,A
L.~
.,!:-
~
I
VIIm@
(E")
· .•
#~
.l
IIIx@
v
VI@
#b~
q~
e
IIx@
V@
~
-&-
l.i~
I@
~
IL
VIlm@
(E)
IIIx@
VI@
#~~
~
,
v
~
e
IIx@
V@
~
~.
I@ e
~
I
~I
I VIIm@
(F)
VI@
IIIx@
IIx@
V@
"
I@
Fig. 5.
~
tl
....
tl
....
.... ~
....
.J.t..
~
J."J:
h..R
t
It
, (FI)
88
II@
.,"IIx@
v
I@
(G)
II@
J,IIx@
-
I@
-J.J
~~t#
\',b.cB
~l~
.JJ
oL
~~
) ~
Ll
I '1
(A~)
II@
blIx@
I@
(A)
~IIx@
I@
(B)
#
..R
...s
U
--
-e-
~IIx@
II@
I@
·· ••
II@
(B~)
~IIx@
II@
I@
Fig.6. .-Q-
Ll
I
~
~
:It
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Figure 9 is a bass line for "Embraceable You" 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.
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EMBRACEABLE YOU - Copyright 1930 by New World Music Corporation Used by Permission.
93
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95
12.
LESSON
® and ® © Form
11te Altered Dominant The Dominant
Fonns -
We learned in Vol. I, Lesson 56, that the dominant chord, in particular, lends itself to alteration. These alterations are easily assessible in the ® and ® Forms; the © Form is a modified ® Form. The basic alterations of the dominant chord are as follows:
®
®
FORM
FORM
xDn,II
X,I'I
omit 13 (modified ® Form forming the Form)
XliII
©
XIl(jI.~)
Xlll
XIII
x omit 9 (® modified) "diminished" 9th
omit 13 (® modified) "diminished" 9th X
(a) The dominant flat nine ® and ® Forms are illustrated in Fig. 1. Flat nine involves lowering the second of the voicing one half-step.
Fig. 1. .0.
b~q;
~b~
~=!?S
~
~"U
"U
Po-
I <
I
.• Cxlt9 @
96
Dbxb9 ®
b9
Dx
®
Ebxb9 ®
.• Il~:~~~~~~~~~~~ u *u " Fx~9®
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b'~J#
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t
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••
A~'X~9 ®
B~~9®
Ax~9®
BX18 ®
®
(b) The dominant flat nine flat thirteen @ and Forms are illustrated in Fig. 2. Flat nine involves a lowered second; flat thirteen involves a lowered sixth. Fig. 2.
~13
Cx~9®
~
~13
Dx~9®
~
~13
Ebx~9®
91
~13
Fx~9®
bL.q~
,
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i~13 F'x~9®
~13
Gx~9®
~13
A~x~9®
~13
Ax~9®
~~
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•
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~13
B~x~9®
Bx~9®
®
(c) The xl' omit 13 (augmented dominant ninth) occurs only in Fonn and is employed on all 12 dominants, including the @ Fonn area. 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 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 be omitted in order to achieve the characteristic "open" sound of the dominant augmented ninth. Fig. 3.
l
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~~
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11&
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-
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GX@
F'x@
A~x@
B~x@
Ax@
Bx@
This voicing, involving the illusion of a chord simultaneously containing a major and minor ..third" (a harmonic cross-relation), is a familiar devi~ and will be recognized as a common harmonic mannerism in the jazz-influenced compositions of George Gershwin. (d) The Xli or "suspend 4," as it often appears in sheet music, represents the suspended dominant chord studied in Vol. I in the primitive form of xla. Figure 4 illustrates the xu, and Forms, for the 12 dominant chords. In each case the ·normal resolution accompanies each XU chord. The student should note that the XU chord is actually a II voicing with a V root.
®
®
Fig. 4.
"U
e-
Cx@
D~xll@ D~x@
eEX@
Fxll@
FX@
Dx@
F#xll@
F#x@
E~xll@
E~x@
Gxll® GX@ 99
A~xll ® A~x@
AxIl ®
Ax@
B~Xl1@ B~x®
Bxll@
BX@
(e) The X#ll (augmented 11th) is a common ornamental dominant, often referred to as the "flatted fifth." Figure 5 illustrates the 12 dominant augmented 11th chords in @ and Forms. Although the X'l1 may be used as an isolated chord, it often appears as a segment of a familiar inner-voice movement on the dominant chord. Figure 5 illustrates this movement from 5 to b5 (.#11) to 4 (#3) and finally to a position of "rest" on 3.
®
Fig. 5.
e-eeCxIIl@ CxIl@ Cx@
'U'
Ox5®
100
'U
'U
Dx.#11 ® Oxll ®
'U
Ox ®
D~x5® D~x#ll® D~xll® D~x®
.• -eEx5 @
0-
0-
Ex#l1@ Ex ll @
-eEX@
Fx5 ®
Fx#l1® Fxll@
FX@
101
(f) The ninth is sometimes omitted from the dominant order to gain clarity. -&
Fig. 6
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2:
modified
-&
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:g
V@
V@
II
(g) The 13th is sometimes omitted in the dominant order to gain clarity.
®
..Jl II
2: 2&&~
modified
Form in
omit 9
(C)
Fig. 7
@
(AI.)
V@
®
Form, also in
8 II
II
omit 13
V@
(h) A unique relationship exists between any dominant chord and the diminished chord one-half step above. In Fig. 8 the superimposed Dbo chord over the e root forms the following intervals:
e - Db: e - E:
flatted 9th major 3rd perfect 5th minor 7th
C - G:
e - Bb: Formation -
ex"':
the series (Fig. 9). Fig. 8.
This relationship also functions in any chord of
,:
:9;
II
-&
Cx~9
Fig. 9. D~o
Eo
Go
B~o
D~o
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102
,,~~
1,0
J,~R
-&
-&
-&
-&
-&
Cx~9
Cx~9
Cx~9
Cx~9
Cx~9
Figure 9: This chord is often erroneously referred to as a "diminished" ninth. Referring to Fig. 10, if the dominant @ Form voicings of the Db, E, G and Bb diminished chords are s~perimposed over the ·C root, a dominant series is created which may be employed as an extension series on any dominant chord - see Lesson 29, Fig. I, bars 18, 20. (This device was first illustrated in Lesson 9, Fig. 7 in the original diminished formation.)
..
#11
Cx b9
This minor third series may also be played in root position (see Fig. 11).
Go@
B~o@
~Jft
l~:~~~~~~~~~~~~ ~o-
v-
E~x#9 Figures 12 and 13 illustrate the identical formations for the
0-
Cx#9
®
Form.
0-
Cx~9® 103
Fig. 13. '\
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~
,
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,,~~
e Cx~9®
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Eo®
t7-&
Ebx~9®
...
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Gbx~9®
Axb9®
Cxb9 ®
Figures 14 and 15 illustrates the identical formations for the dominant Form.
Fig. 14. '\
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-
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104
Ebx@
-
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RULE: Any dominant chord may be extended by superimposing thediminished @ or diminished Form series one haH step above the root (Figs. 10 and 12). A similar series may be built on the root employing the dominant Form (Fig. 14).
® ©
A further interesting relationship of this dominant-diminished superimposition is illustrated in Figs. 16 and 17. Figs. 16. ,
fj
..
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-
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Dbx©
Fig. 17.
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t ..
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-
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0
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Co+6
FX~©
NOTE: Referring. to Fig. 17, the diminished added sixth structure represents a root, seventh, third and the added sixth of the diminished scale of the root (021212121). There is a further implication of an dominant four-three structure in this voicing (Abo+6 or Db x Co+" or F x © ~); however, the 0+ 6 feeling appears stronger and is more practical within the scope of normal jazz mechanics.
©:;
DRILL: Study Figs. 1 through 5 for automatic facility. Explore Figs. 6 through 17 on the 12 dominant positions.
105
Figure 18 is a bass line for "By Myse1f" in F, illustrating the use of the altered dominant chords. Fig. 18.
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BY MYSELF - Copyright @ 1931 by DeSylva, Brown & Henderson, Inc., New York, N. Y. - Copyright Renewed. - Used by Permission.
106
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13.
The Suspended Minor, HaH-diminished and Diminished @ and ® Forms The follOwing table describes the alteration technique of the minor, half-diminished and diminished chords: minor chord half-diminished chord diminished chord
Fig. 1 Fig. 2 Fig. 3
Fig. 2.
Fig. 1.
e
2: I'D Cmtt7
1,1
!:u
Cmt7
Cm7
II':
Fig. 3.
I,~H c~t7
1"1 C~7
The student will note that the suspended half-diminished and diminished chords are identical, although their resolutions are, of course, different. Unlike the suspended dominant chord (Vll), which often passes to the succeeding chord while still suspended (Vll • I), the three chords under consideration here usually resolve as in Figs. 1, 2 and 3 before proceeding to a new chord.
lOB
I
In the @ and @ Fonns, the identical alterations appear. Figure 4 illustrates the @ Form in keys C to F and the ® Fonn in keys F# to B, employing the following patterns: C to F: IIl:r@ II@ bIIx@ I@ IIlI7 @ II@ blIx@ I@ F# to B: Note that in moving from II to I through bIIx, the opposite fonn appears in the dominant. Fig. 4.
.
v (C)
1I~7 @ II @ ~IIx®
& (D)
.
j,v
V
II~ @
&
II@
(D~)
&-
'U
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I@
(Eb)
&
&
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11#7 @ II @
~~
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1@
&
(E)
11#7 @ II @
~IIx@
I@
(F)
109
11
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-
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,
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1I @ II@ MIx@ I@'
(G)
~ I..-i# ~"#~ ".b~
-
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t
It
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, (A~)
n 17 @ II@
~IIx@
I@
11'7 @
(A)
u@ ~IIx ®
Ul
(B~)
11#7 @
II@ ~IIx@
I@
(B)
Figure 5 illustrates the suspended half-diminished chord in the following patterns:
C to F: 114»l!1 @ F# to B: 11,7
®
114» @ II
®
bIIx © I @ V©
I
®
The student will note that the ninth (2) of the suspended half-diminished (Fig. 5) and the suspended diminished (Fig. 6) has been omitted. This is necessary in order to avoid the diffuse sound of the suspension.
110
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.. . ..
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n~17@ n~ @ ~IIx ©
(D)
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J.J.
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Figure 6 illustrates the suspended diminished chord in the following patterns: be
e
to F: blllo##1 @ blllo @ II @ Vb 1H @ I @ F# to B: blllo##1 ® blllo ® II ® V I@
©
Fig.6.
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Figure 7 is a bass line for "Better Luck Next Time" in F, illustrating the use of these various suspensions. In bar 29 the use of the milT chord is illustrated.
115
Fig. 7.
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"'BETIER LUCK NEXT TIME" - Words and Music by Irving Berlin - Copyright 1947 Irving Berlin - Used by Permission of Irving Berlin Music Corporation, 1290 Avenue of the Americas, New York, N. Y. 10019.
116
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118
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-
LESSON
14.
Melodic Adjusbnent -
®
and
®
Forms
®
Although in jazz terms the principle of the @ and Forms is to establish an interesting harmonic underpinning for an improvised line, these forms are often employed to support a straight melody. As a result an occasional conflict will arise between a melodic tone and the voicing. Maior Chord: Conflict seldom arises with the major chord since most melodic tones fall in the appropriate Ionian mode. Dominant Chord: Adjustments on the dominant chord are quite simply made since this chord allows for so many alterations. Fig. 1 illustrates the usual conflicts and their adjustments. In the seventh example of Fig. 1 the C# does not represent a conflict as much as it does a tension, which is permissible.
Fig. 1.
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Simple syncopation employs only accent. Compound syncopation employs notation (tied and rest values) and accent.
In the preceding chapters we have explored non-syncopated rhythms; in this and in the following four lessons, simple and compound syncopa-
tion will be considered.
171
Figure 5 is a bass line for "Rose Room" in the key of Ab. The pedal may be used, provided the improvised line is not smeared; a steady quarternote foot beat (left foot if pedaling with the nght) should be present while playing Fig. 5.
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Fig.S.
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ROSE ROOM (Words by Harry Williams, Music by Art Hickman) - © Copyright 1917, 1918, 1949 Miller Music Corporation, New York, N. Y. - Copyright Renewal 1945, 1946 Miller Music Corporation, New York, N. Y. - Used by Permission.
172
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LESSON
26.
®
Forms Root-Voicing Patterns, @ and Bounce-Tempo Syncopated Swing Bass
Eb.
Figure 1 is a bass line for ..~'t Misbehavin'" in the key of illustrating a syncopated bass. Improvise on this figure. Fig. 1.
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AIN'T MISBEHAVIN' - Copyright 1929 by Mills Music, Inc. - Copyright renewed 1957 - Used by permission of the copyright owner.
174
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27.
LESSON
®
Root-Voicing Patterns, @ and Up-tempo Syncopation
Forms -
We have studied Left-hand syncopation employing tied values; now we will consider the use of the rest value in syncopation. . In Vol. I, Lesson 34 the various rest values employed in the improvised line (right hand) were illustrated. These rest values ranged from the whole rest (4 beats) to the sixteenth rest. In general the rest values employed in the left hand are more restricted, since in some cases (whole rest, dotted half rest, half rest) the chord would completely disappear as a function in time. The essential purpose of the rest value in the left hand is to "kick" the prevailing pulse by anticipating or delaying a chord. Since the improvisor· uses the symetrical pulsation of the chord chart as a point of departure into asymmetrical rhythmic and melodic areas, the disruption of harmonic time is usually slight and of short duration. Figure 1 illustrates the normal eighth-note "kick" unit (tie) used to anticipate a chord. Fig. 1.
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It is apparent in Fig. 1 that any further anticipation of each chord would seriously impair the improvised line which must proceed from an orderly chord chart (Fig. 2).
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In Fig. 3 the delaying unit may be increased (Fig. 4) but again, the improvised line that must proceed to the chord in its normal position will simply be left without support. Undoubtedly the most effective application of these anticiating and delaying elements is to limit them to the eighth-note unit (tie or rest) and to employ them interchangeably (Fig. 5).
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179
Figure 6 illustrates a bass line for "The Lady Is A Tramp" in C. The anticipation and delaying of the chords is mixed with occasional nonsyncopated elements. Constant syncopation can he as dull as no syncopation, since synocpation itself assumes non-syncopation. Bars 33 through 38 illustrate a "double-kick" of a single chord. Rootsbave heen omitted in the syncopated bars to permit the student to give the syncopation problem his undivided attention. Fig. 6.
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-Walking" open-position patterns moving internally against the prevailing chord are derived from the three traditional patterns studied in Vol. I, Lessons 62, 63, 64: 1. Circle of fifths 2. Diatonic
3. Chromatic Diatonic and chromatic patterns rotating around the prevailing chord are the most commonly used· (Fig. 5). Essential to this device is an automatic facility with the axis of the 3rd and 7th (see Vol. I, Section XI) in all scales and modal displacements. These walking .lines are similar to those in Vol. III, Section 2, and Lessons 31 through 34 of Vol. IV. Fig. 5.
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234
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,
LESSON
41.
Turnarounds The problem of "Intros" was discussed in Vol. III, Lesson 28. In a normal jazz performance the following general format prevails: Chorus 1. Statement of melody. harmonic chart, tempo, etc. Chorus 2, etc. Unspecified number of improvised choruses. Final Chorus. Restatement of melody, close. Obviously, these repeated choruses must be joined by some smooth sequence of chords connecting the end of one chorus with the beginning of the next. Most jazz tunes fall into the following structural categories: 1. 2. 3. 4. S.
32-bar 32-har 32-bar 32-bar 64-bar
form, form, form, form, form,
melody melody melody melody melody
closing closing closing closing closing
on on on on on
bar 31 bar 32 bar 31 bar 32 bar 61
on on on on on
MI MI m I mI MI
chord. chord. chord. chord. chord.
This means that in forms 1 and 3 a two-bar (bars 31 and 32) turnaround is required. In forms 2 and 4, a one-bar (32nd bar) turnaround is required. In form 5, a four-bar (bars 61, 62, 63 and 64) turnaround is required. RULE: The final melodic tone indicates the beginning of the turnaround. The problem now remains to determine the chords to be employed. Since in any case the turnaround begins on either the M or m I chord, the question remains to find the most suitable chords to "connect" this I chord to the first chord of the tune (see Vol. III, Lesson 28).
235
The following categories include the principle initial chords (not including pick-up chords): 1. Tunes beginning on I chord 2. Tunes beginning on II chord 3. Tunes beginning on VI chord In functions other than those considered, "cover" the turnaround by using a basic I-VI-II-V pattern; then proceed directly to the initial chord of the tune. RULE: Turn-around patterns are determined harmonically by the initial chord and rhythmically by the closing bar of the melody. A common turnaround device employed to sustain tension while passing from one chorus to the next is that of employing the fifth of the
prevailing key (either major or minor) in the bass, while moving through a turnaround pattern in the right hand. This device is known as an organ-point or pedal-point, and maybe joined with any basic pattern of the prevailing key (Fig. 1).
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236
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to II of E~
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From the preceding the following solutions are suggested: INmAL
CHORD
I I I 1m 1m II II II VI VI VI all other all other
ENDING
TURN-AROUND
2 bars 1 bar 4 bars 2 bars 4 bars 2 bars 1 bar 4 bars 2 bars 1 bar 4 bars 2 bars 4 bars
I VI/II blIx / / I blIx II I / blllx / IIx / bib: 1/ I Vlt/> / lIt/> blIx / / I / VI / lIt/> / blIx 1/ I II / III blllx I I I #10 // I / bVm VlIx / III I VIx // I IV / VII IIIx / / I IIIx: / / I I #10 I II 112 / VII bV1Ix // IVI/IIVII I/VI/I1/V /1
Figure 2 iUustrates a bass line for "Down By The River" in
Ab.
Fig. 2. I VI I IV IV 2 I II / V I I IV VII IIIx / VI IIx Vm Ix / IV III I /I
I
I
II V / I IV VII IIIx I VI VI ~ I IV VII / III VI #Vlo / VII IIIx / VI VI 2 bVt/> VIIx I III VIx / II V / I VI I IV IV 2 I II / V / I IV VII IIIx I VI I1x Vm Ix / IV III .I II V / I IV VII I1Ix / VI VI ~ I bVm VIIx / III VIx I II III I IV V # 3
/
I+e
/
I + ~ 1/
Copyright © 1934 & 1935 by Famous Music Corporation. - Copyright Renewed 1961 & 1962 by Famous Music Corporation. - Used by Permission.
231
LESSON
42.
Bunding a Bass Line In Vol. I, Lesson 76 the problem of converting sheet music to jazz was given some consideration. The problems of conversion vary according to the individual composer; also, the time of the original copyright determines to some extent the accessibility of a lOgical chord chart. Again, some compositions that enjoy a permanent position in the popular literature originally appeared in musical comedies under specific dramatic conditions which may have imposed certain harmonic or rhythmic restrictions no longer applicable. A case in point is ·Small Hotel" from On Y0tW Toe, by Rodgers and Hart. The bass line of the first eight bars that appeared in the original score is as follows:
I VI. I I VI. I I VI. I I Via I II I II V I I VI. I I VI. II
This particular bass line was extremely effective for the dramatic situation prevailing in On Your Toes in 1936; however, for the present-day improvisor this harmonic setting seems inadequate for the "absolute" . problem of improvisation compared with the "relative" problem of dramatic context. The follOwing solutions are offered to help establish a more effective underpinning for improvisation: Solution 1
I I II I III I blllo I II I blix I I VI I II V I I Solution !
I II I III IV I VI I IV I III blllo I II bllo I II blix I I blllo I II blIx II Solution 3
I VI I II V" II V II 238
I I II I III blllo I II III I IV IVc/I I III VI I
Solution 4
I I 2 I VI II~: I VI 2 IV I III blllo I II bllo I II J Vllo I I I VI I IIi>: V I I Solution 5
I II I VI VII I bVi> IVx I III blllo I II V I 1m IVx I III blllM I II blIx II Solution "
I IVx I bVlIx bllIx I bVIx blIx#!l1 bVS! VlIx I III VIx III VI I bVlIx I bVIx V II Solution 7 bV~ IVm
I III blllo I II +. bIlo I II 2 VII bV S 15 I IV III bIll II II
/
VII bVllo I IV:
bVlo I
Solution 8
Vm bV~ I IV +. IVm I III IV I #IVo VI I I bV I IV IVo I III IV +. I #IVx V II Solution 9
I: bV~: I II~: VII I bVm IVx I III #IVo I V IV: I #Vlo VII I I VI I bVIx V II Solution 10
III VI I II V sa I bVm VlIx I
IV~
bVIIM I III VIx I II V I 1m IVx I
bVIIx blllM II There are other solutions, of course, but these represent the conventional patterns usually applied in such a situation. Sections of one solution may also be interchanged with those of another solution. 239
Figure 1 illustrates a bass line for "Small Hotel" in G Major. Note the modulation. Fig. 1. (G) I II / III IV / VI I IV / I: ,bIllo / II bIlo / II blIx / I VI /
bIIx /
(G) II
I II / III IV / VI I IV / I: blllo / II bllo / II V / /
(C) V IV / III II / I VI/II blIx / I IV / VIIm IIIx / VI bV4> /
(C) VII
nix / / (G) n #., (G)
n
II / Uf/J blIx / I
n /
ill IV / VI I IV /
blllo / II bIIo / II blIx / I / I //
THERE'S A SMALL HOTEL (Lorenz Hart and Richard Rodgers) - Copyright ® 1936 by Chappel & Co., Inc. - Copyright Renewed. - Used by Permission.
Convert Fig. 1 to the
LESSON
@ and
®
Forms. Improvise on Fig. 1.
43.
Modem "Funky" Piano - Modified @and
®
Forms
The appearance in the Fifties of a style of piariism rooted in the archaic blues indicated a partial return by jazzmen to the substrata elements of jazz that had existed at the tum of the century. These substrata elements include the follOWing: 1. 2. 3. 4.
Eight-bar and twelve-bar archaic blues Gospel music 8/8 and 12/8 time signatures Country, mountain and western idioms
Some of the leaders in this movement include: Ray Charles, John ~illiams, Horace Silver, Hampton Hawes, Mose Allison, Pete Jolly, Jimmy Guiffre and Les McCann.
240
Figure 3il1ustrates an application of these various idioms to the 12-bar blues in the key of G. The left hand employs the modified @ and ® Forms (Lesson 12). Modified @ and ® .occur on the dominant chord only; modified @ omits the ninth, modified omits the thirteenth.
®
The use of the "off-beat" device in the left hand creates a tension of continually "kicking" each beat; this takes on ·the character of an inverted boogie-woogie (see Figs. 1 and 2).
Fig. 1. Boogie-Woogie left hand
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The unremitting use of .this dev,ice can easily result in monotony unless it is joined with other rhythmic resources. The use of only the dominant quality contributes to the general tension of the idiom. Bars 3 and 5 employ the upper chromatic dominants; bars 11 and 12 employ the same device extended to "cover" the necessary eight beats.
241
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243
LESSON
44.
Harmonic Distortion Occasionally the chord chart of a tune is distorted by substituting an unrelated but familiar pattern (organ point, circle of fifths) for the patterns dictated by the composition (Fig. 1).
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A further device involves the playing of the melody accompanied by a
parallel harmonic structure. This is referred to as "parallel," since the identical intervals appear under each melodic "point." The prevailing chord chart is completely abandoned in this case and each formation is built down from each melodic tone. The descending tone-row is as follows: melody tone perfect fourth minor sixth major seventh ninth (All intervals are figured from the melody down.) See Fig. 2. Fig. 2. Parallel distortion '\
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Thus, in Fig. 2 we have: MELODY
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Again, each formation is created by the melodic tone; the prevailing chord plays no part in the stmcture. Manually this structur.e functions identically with the block chords studied in Vol. III: four voices in the right hand; one in the left. The student will recognize this formation as the @ Form of the diminished chord studied in Lesson 9. The use of this particular interval combination is arbitrary; of course; other combinations can be and are used. The effectiveness of this particular combination illustrated in Fig. 2 probably lies first in the resonance of the voicing itself, as well as in the peculiar relationship of the dominant and the diminished .chords studied in Lesson 12. The over-all effect of such a formation is one of extreme tension caused by both the parallelism itself and the strange "dominant-diminished" content of the voicings. Copyright laws prevent the reproduction of a melody illustrating this medium. It is suggested that the student apply this idea to any melodic line, carefully follOwing the indicated interval combination.
LESSON
45.
Building Chords in Fourths In recent years there has appeared a trend in jazz pianism which, in
terms of the rugged history of jazz piano, represents a rather startling, but musically effective joining of jazz and traditional "cocktail" idioms.
246
The left-hand structures are an extension of the modified @ and Fonns in addition to the dominant Form ·(Lesson 12). The right hand employs a mixture of chords and running lines, heavily pedaled in order to achieve the deliberate vagueness and diffusion of tonal colors similar to the textures found in the Impressionism of the early Twentieth Century. This extensive use of the sostenuto pedal as a basic device of this style has introduced a revolutionary conception of swing in which the time-honored, sharp, marcato touch has been replaced by a blurred, legato attack. The left-hand structures employ chords built in either perfect or augmented (tritone) fourths joined by various root couplings; the right-hand line generally avoids the traditional harmonic "hinges" (see Vol. I, pages 127-128) or chromatic appogiatura tones, raised to great eminence by alto saxophonist Charlie Parker (Fig. 1).
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Instead, this new line concept employs the idea of superimposed thirds piled on top of each other in the manner of tenor saxophonist John Coltrane. In this conception the horizontal relationship of the chords is replaced by an intense vertical exploration of each individual harmonic function without the usual regard for the horizontal relation of any · one vertical structure to the preceding or succeeding structure (Fig. 2).
Fig. 2.
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The keyboard colIatic;m of these various factors is generally attributed to pianist Bill Evans; its intrinsic vitality will be best assessed by the passage of time.
247
The left-hand chords or voicings are derived from twenty-four basic structures - each of the twelve tones of the chromatic scale capable of supporting two formations. Various roots (couplings) may be joined to each of these twenty-four voicings. Fig. 3 illustrates the two voicings on G.
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Voicing 1 consists of the follOwing intervals: G to C - perfect fourth C to F - perfect fourth Voicing 2 consists of the following intervals: C to C#- augmented fourth (tritone) C#to F# ·- perfect · fourth NOTE: Since the root is not present in either vOlcmg 1 or 2, these voicings cannot be treated as a "chord" possessing an internal relationship of interval factors forming a "quality." In other words, the fact that voicing 1 contains· a perfect fourth and a minor "seventh" has no meaning until a root is added to the voicing (see Fig. 4). Voicings 1 and 2 are Simply artificial structures formed by piling various kinds of fourths on top of one another. Figure 4 illustrates the various root couplings of VOicing 1.
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248
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Figure 5 illustrates the various root couplings for voicing 2. Fig. 5.
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The following tables represent an interval analysis of the root couplings illustrated in Fig. 4:
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EbM +6 (Eb major ninth Eb G C F -
chord with added sixth) root third added slxth ninth
II
BbM +6 (Bb major ninth chord wtih added sixth in first inversion) D - third G - added sixth C - ninth F - fifth ~11
(G half-diminished eleventh chord in second inversion)
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EbM -t+e (A half-diminished Locrian mode of Bb) A G C F -
chord with added sixth; sixth tone of the root seventh third added sixth
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AbM+ft (Ab major seventh chord with added sixth) Ab - root G - seventh C - third F - added sixth Here is an analysis of Fig. 5: e
Em+
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