Jazzology
Short Description
Jazzology textbook used in MI and other music degree courses...
Description
PREFACE Jelly Roll N{orlon once clairnedto have inr cnted lazz r,n 1902.Aside from being one of the most brazen remarks ever made b1'a musician' the statementapploximatesthe truth iii tlio regards:Jelly Roll certainly was one of the significant pioneersof jazz- and 1902 seenr\ as good a year as any for identifyingitre birth of the genre.perhaps a reasonableconclusion is il'ratiazz is just over one hundred vears old anctJelly Roll was one of its most colorful characters. The first century of iazz has been a tremencblrslyactive one. Spawning a host of substylesand a plethoraof creative grants,.jazzmoved through many high points in terms of geographicor regionai activity. A brief chronological list would include Storyville in the l9l0s. Chicago in the 1920s,the "Golclen Age" of jazz recording in the late 1920s.KausasCity in the 1930s,52nd streetin the 1940s,and rhe cllssic jazzLPs of the 1950sand 60s. But if I were to choosethe optimum time to be a jazz musician.that time would be now. For just as popular culture began to lose interest irt jazz, the larger musical and educationalestabiishmentbegan to embraceit. During the past severaldecadesthousandsofdedicatedjazz scholarsand n'rusicianshave been hard at work creating,preserving, str'rdying,and exploring the music. Jazz is now a viable course of study in most universities,and more young musicians are being trained in this style than ever before. Interest in jazz is greater and more widespreacl today than at any time in its history. This is borne out by the coliaborative effort that resulted in Jazzologt: that of an American college professor and an African jazz musician, united by our deep dedication to this great art form. The jazz age is here. Fifiy years ago, l.loone would har.'ethoughl ot "jazz theory" as a separateentity. Certainly there were devicesand proceduresin ,itrzzth:rt were not easily explainedby traditional theorv, but no separlte discipline had been devised to accountfor the diff'erences.Gradually.orer the years,the creativeactivitiesof lazz musiciansbegan to receive labelsanclexplanations.Slowly but surely.a separaterealm of jazz theory beganto develop.In recentyearsa myriad of methods.cletails,dev'ices.procedures.and explanationshave appearedin print, in lectures.or sornetimes or-rlyin converstltion,to add to the disciplint-:.This book is an attenrptto assimilate.organize,and explain those phenomenaas understoodby the authors. This book cliftels l}om othersof its type in sevelal l'',avs.First of all. the authorsthemselveshave completely diff'erentbacksrttLrncls that are likely to ref'lectthe diverse audiencestor which this book is intended.One is a ke1,board player ar.rdcomposer.self'-taught,rvith a deep knclwledgeof jaz.zIiteratureand vast experiencewith several genresof non-Westem music. The other is a saxophonist.coilegc professor,with a Ph.D. in musicology, and extensiveexperieuceas a jazz and theaternrusicianin the United Sttrtes.Or.rrbackgroundsare as clifferentas can be. Our understandingof the music is as one. This book also differs fiom others in its pedagogicalviei.v.The authorshave presenteclthe material in the order that seernedbest fbr assimilation.While erplunationsare given in encyclopedicfashion tor use as ready ref'erence, it has been borne in rnind that many rvill wish to work through the book methodically.Moreover, a classroomsetting rvas allr'lr1'serrvisioned.Thus ample erercisesare provided that lvill not only give studentspracticewith the materiill, bLrtaiso provide teacherswith a ri,ay of judging students'understandingand progress. Finally. u'hereverpossible.theoreticalexplanationsare given tbr the conceptspresented.In our view, it is not enough to ptovicle practical instructionsfor the working musician. Describing what jazz musicians do without irttemptinuto understandwhy those procedureswork can lead to a tbrmulaic approachto jazz. The studentwili have no alternativeexceptto extract and insert devicesexactly as he or she learnedthem. without alterationor creative input. On the other hand,understandingthe theoreticalreasonsbehind musical decisionsopensup vast realms fbr experinrentationand creativity. Insteadof "copping that lick" from a far,'oritemusician, a studentwill be able to invent an original one that works the sane way. And that is what .iazzis all about. The autl.rorsu'elcome any discussion or colnments pertairriug to this book. They can be reached at: jazzology'@grnail.com.
111
CONTENTS 1: INTERVALS . . CHAPTER Maior anci Perf'ect Intervals Minor. Diminished, and Atigmented Inten'als Int c n' al A bhr c r ia ti o n s Consonant lnterr.;rls ancl [)issonant Intervals
CFIAPTER 2. JLZZ FIAR.,\IONY BASICS Triacls. Triatllnrcrsion. Tthchorcls ChorclExtcnsions Llpperstrlrctures HybridCl-rords
CHAPTER3: SCALESAND MODES M ajor S c ; t lc . Minor Scales. Scale Relationships N{ajor Scale Modes Meloclic Nlinor Scale Mocles. . Minor Scale Diatonic Hirrmonr Pentatonic Scales. Blues S c ales . . . .. Bebop Scalcs Svmmetrical Scales The Altercd Scale Other Scales
CFL\PTER'i:THEII-V-I
CIADENCE . . .
4 5
9 o
.......1C) ......11 ll ...... ...13 .....17
27 21 2l 22 22 )\ )\
29 30 30 31
a2 ^4
42 12 42
Ch ord F:rrttilie s Ca dcnces The (lircle of Fifths
+4 48
TuLneronrtcls
5: FIARMONIC ANALYSIS CFL{.PTER Analvtical Markings S t nr t ' t r r r ll Dir is i o n s . . . Seconclan'Dominants . Backcl'cling Dominauts Relat ec lii' s . . . Contiguotrs Dominauts
CHAPTER(r: II-V-I
1 I
PIANO VOICINGS AND VOICE LEADING
Rooted \bicings . RootlcssVoir'ing,s. Voice Leading and the ii-V-I Cadence One- HandV oic i n g s . RootlessVoicings for the lllues . Two-Iland !bicings Modal \roicings. . . Clllster Voicings , .
:: MODULATIONS AND N,IODALINTERCFIANGE CT{APTER T1'pesof Nloclulzrtions . Nlorl:rlltttcrt'lr:tnge.
56 )o 58 58 61 62 (t2
67 oi o/ . . . . 70 . -.. " 71 . - .75 11
80 85
90 .91 .91
C F IA P T E RRBE: H A R MON IZATION.
.....99
Diatonic Substitution in'lbnal Contexts Substitutions in Modal (.ontexts Tri to n e S u b s ti tu ti o n C h a n g i n g C h o rd Q u a l i n ' P a s s i n g C h o rd s . D i mi n i s h e d C h o rd F u n c ti o n s l )i m i n i s h e c l s u b s ti tu ti o n S i d e -Ste p p i n 9 .. . Ad d e d i i -V ' s . C E SH . C o l tra n e Su b s ti tu ti o n s . . . . .
. . .9g . . .99 . . . . . . . 1O 0 . . . 103 . . . . 1O 4 . . , . . 105 . . . 106 . . 107 . . . . . . 108 . . . . . 108 . . . . . . 111
C TIA P TE R9JA ZZP IA NOCOMP I NG . . .
.II7
C o mp i n g L e a d Sl re e ts
. . . 117 . . . . . . . 123
. . 127
CHAPTER ro. JAZZTUNE FORMS To n a l T u n e s Rhythm Changes M o d a l a n c l P o l l to n a l T u n e s
- . . . . . . 127 .. .128 . . . . . . . L29
c r L {P rE R1 1 :OT H E R A R RANGINGTECHNIQUES. ConstantStructures PedalPoint Osrinaro Relrarmor-rizingaMelod)' . .
....l 3l .......13I . .132 ....132 ....134
. I4T
CFIAPTER 12:APPROACFIING IMPROVISATION
. . L42 . . . . .154
Devices ftrr Improvisation Approaching Improvisation. . Transcribed Solos I-istening
CFTAPTER1]: FUNDAMENTALS HarmonicCo n c e p t
r65 19i
r96
OF TRADITIONAL TAZZ
197 198
.. . ..
Ragtime
r99 r99 r99 201
EarlyJazzSongForms Blues Mtrlti-Part \tructrrres Improvisational Strategl'
CFIr\PTER 1-1:PRACTICING-\7HY\7IIAI
203
& HO\f?
205 209 209
Putting It All Together
The Weeklv Picture The Dailv Routine
.2l l
A P P E N D IX .. .
. . 21I . . 216
J a z z Sta n d ,a rd s ... i i -V -I P i a n o V o i c i n g s .... Blues Changes Piano Voicings A NS \T ER KE Y.
228 .....
) 71 'JL
GENERALBIBLIOGRAPFry
257
ABOTITTHEAUTHORS
264
'I
!:
CHAPTER !{
INTER\ALS To understandany melodic or harmonic discussion,one must understandintervals.An interval measuresthe space between two pitches.The smallest interval in Western music is the semitoneor half step (either name may be used).This is the distancellom one key to the next on the piano, for instanceliom C to Cf;. The next-to-smallest interl'al is the tone. or whole step. This is the clistancebetween notes that are two keys apart on the piano. For instance,fiom C to D is a whole step. The semitone and tone form the basis for measurementof larger intervals. Interval measurementshave two pafis: quantity and quality. The quantity, or numeric value, is determined by the m us ic alalphabe t:C D E F G A B.F o re x a rn p l e ,thei nterval formedbythenotesC andGw i l l al w aysbesome type of 5th, regardlessof the quality of C or G (flat or sharp).
+ I
a type of 6th DEF G
Y A
@
BCDE
f.J1pFG
"f
,t d 1
Maior and Perfect Intervals The qualitt of an interval is determinedb1' comparisonwith the intervals found in the major scale. When compared with a major scale,a ivhole step is found to be equal to the distance from the first to the second note, giving us yet anolhernarnefor it: the major second. It should be committed to rtremorythat any rnajor scalecontainshalf steps(h) between scaledegrees3_4 and 7-8, and rvhole steps(W) betu,eenall other pairs of notes.The half stepsin any scale can be indicatedwith a wedgeshapedmark. or caret symbol (^). Here's the rnajor scale in the key of C.
..----\--)+
-
r As
The distance tiom the root to the various pitches in the rnajor scale tbrr.nthe basic intervals againstwhich all others are measured.Theseeight intervals are divided into twtt basic types, perfect or major. . .
Perfect: unisons.:lths. -5ths.octaves Nlajor: Znds,3rds.6ths, Tths
Major lth
Perf-ect QC taV e
CFIAPTER 1
Minor, Diminished, and Augmented Intervals A ch ro m at ic half s t e p i s a h a l l ' s te pw ri tte n a s th c samenote tw i ce w i th di fl -erentacci dental s(i .e..6-6i 1. w hile a diatonic half step is a half step that usestwo dil'ferentnote names(i.e.. Gf-A). The appearallceon the staff rnay be dil rent. but the interval is the sarne.
chromatichalf sten
diatonic half step
Major and pert'ectintervalsmay be augmented (increasedin size) or diminished (reduceclin size) by either type of half step to changetheir qualities. Major and perfect intervals become augmented when the upper note is raised by a half step. or the lower note is Iowered by a half step. The process may be referred to as augmentation.
{--*-__J G
Major 6rh
b o c o rrre s Augnrented6th
J €' Perfect 5th
*-__J
becomes Au-smented-5th
++, lntervalscan be made lurger by pllcing ir r+Deloretne upper nL)te()r ir b befi,re the lou'er notc.
An augmentedintervalbeconres doubly augmentedwhen the uppernoteis raiseclby a half srep,or the lower noteis lor.l,ercd bv a half step.
t--- *---J + Augmentecl 6tlr
t-
---__J
b e c o n rc sD o u b l y Au-gnrented 6tlr
Wh e n a m ajor int er v a li s d i n ri n i s h e db y a h a l f s re pi t becomesmi nor.
Major 6tlr
becornes Minor 6th
Major 3rd
becomes Minor 3rd
Intervalscanbe madesrnallerby placinua b beforethe uppernoteor ?'lf, befbrethe lowerrrote.
.lA7.Z()LOGY
Through diminution, minor and perfect intervals become diminished.
,-"r
-}
t----'---J becomes Diminished 5th
becomes Diminished 6th
A diminished interval becomes doubly dirninished when the upper note is lowered by a half step or the lower n ot e is r ais edhy a h a l f s te p .
Diminished lth
becomes Doubly Dirninished 7th
Diminished
5rh
becomesDoubly Diminished5th
This illustration will help you remember the order of changing interval qualities. Notice that perfect intervals jump directly to dirninished;there is no such ir.rtervalas a minor 5thl
DoublyAugmented
AA
t-r-\
t'T\ II II II
II
Augmented
i ,4,5, 8 P erf' ect
Diminished
rl tl
** DoublyDiminishecl
CIIAPTER 1
It is possiblefbl notes and intervals to have clift'erentnames in spite of containing the sane number of half steps and producing thc santesound.For instance.iin auginented2nd aboveC is ill. and a minor 3rclabor,eC is Eb. Both intervalscontain three half steps,but occur in diffcrent situations.Theseintervals (as well as the notes Df and Ebl are referred to as enharmonic equivalents. When an interval is inverted (the orderof the notcs is changed,i.e. C to D becornesD to C) you'll find its complementarvpartncr.For instance.an inverted major-2nd is equal to a minor 7th, an inverted malor 3rd is a minor 6th, and so on. Notice that inverted major intervals are minor (and vice versa) while inverteclperfect intervalsare still perfect.These interval pairs should also be nrcrnorized,to facilitate further study. Inversionsof Major Scale Intervals
Pert-ect 5rh
Minor 3rd
Minor 2nd
lnterval Abbreviations lntervals are used so often in describingchorclsand scalesthaitthey are sometimesnamed in an extremell,abbreviated way. Leafll to recognizethesevariations in inten,al names. . . . . ' .
Pert'ectand rrajor intervalsare implieclbv no rner.rtion of their qualitl'at al1:5 for P-5(pelt-ect-itlt). 7 ftrr M7 (rna.ior7th). etc. The word "sharp," or the shtrp sy,mbol(') is often used insteadof '"aLrgmented" (or its abbreviations. "aug" tlr "+"). The worcl "flat" or the flat symbol (b.yis o1'tcnused insteadof ''min" or ''m." When a perl'ectinterval (1. 11.5,or 8) becornesdiniinished. it mav be wriiten u'ith one flat 1b1 i ns t eadof dim o r d . o r th e d i n ti n i s h e csl y n tb o l (' ' ' " ). When a r-najorinterval (2, 3, 6, 7) becomc'sminor. it too is often rr rittc-nrvith a b insteaclof min or m. ior instance. b2 insteadof m2. When a tna.jorinterval becornesdirninished.it can be r.i,rittenrvith tr.'u'o tlats 1bu;instead of dim or d. fbr instance!b7 insteadof dim7 or d7.
This all boils ckrun to exclusiveuse of the l'. i. or no symbol to accor.nplish shorthancl(though precise)narring of any inten'al. You should, however. still knor,r'that a r3 is minor. 'uvhilea b5 is diminished. When naming intcrvals,place the s.vmbcllbefirrethc number. not after':11. 7. ete. tWhen naming notes. place the s yrn b o la f t er : F i. B b. ) The augrnentcd-lth/diminished5th intervals are lilso called the tritone, abbreviatedTT. A tritone eqr-rals three rvhole steps. The clrartsbelou list all the intervalsup to the I 3th. as they are most conlmonly named tn the jazz idiorl. (Not all possibleaugmentedand diminished names are listerl.) Intervalssrnallerthan an octave are cailed simple intervals.
JAZZOI-OC]\'
Semitones
Interval
0
Unison Min 2nd Maj 2nd Min 3rd/Aug2nd Maj 3rd Perfect4th Dim 5th /Aug 4th Perfect-5th Min 6th/Aug 5th Maj 6th/Dim 7th Min 7th Maj 7th Octave
I 2 3 4 o 1 8 o
10 lt 1 ''
Abbreviations n2,b2 M2,2 m3,r3, q2,+2 M3,3 P4.4
bs.t+.++ p55
+5 m6,b6,X-5, M6, 6, bbJ,d' 7," 7 ml-,a
l-
/
M],7 P8,8
Intervals larger than an octave are calleclcompound intervals. They may be analyzed as a simple interval raised by an octave.
Semitones l3 l4 15
r6 t1 r8 19 20 2T
Interval Min 9th Maj 9th Aug gth/Min lOrh Maj 10th PerfectI I th Aug 1lth Perfectl2th Min l3th Maj 13th
Abbreviations rn9,b9 N49,9 fq. bto t\{10, 10 Pl r. 11 *t1,+tl pt )
r)
nr13,b13 N,I13. 13
Simple Equivalent b2 + octave 2 + octave b3 + octave 3 + octave 4 + octave f.4 + octave -5+ octave b6 + octave 6th + octave
Consonant Intefvals and Dissonant Intervals A harmonic interval results if the notes are played at the same tirne, while a melodic intervai occurs when the notes are played successively.The rnethod of measuring intervals is the same tor both harmonic and melodic intervals. N4elodic Intervals
Harmonic intervals may be either consonant or dissonant. '
Consonant intervals occur when tu'o pitches that are sounded together produce an agreeablesound. Consonancegives the impressionof unity, cohesion,and stability.
'
Dissonantintervals,on the other hand, occur when two pitchesthat are soundedtogetherproducea sound that seemsto require modification or resolution.Dissonancegives the impressionof instability,tension, and the need to resolve to a consoltance.
CFIAPTER 1
Dissonance Tension
Iendency to resolveto
Consonantintervals are subdil.idedinto threc tvoes:
PerfectOctave: P8 Perfect Fifth: P5
Major Third: M3 Minor Third: m3 M aj or S i xth: M6 N'linorSixth: rn6
Perf'ectFourth:P4
A l l th c tttheri nterval sare di ssonant.
Ertharnonically equivalent intervals usuallv iippear in different contcxts and thus should not be cor1siclerecl the sarneas their counterparts.i.e. while arrninor lrcl is consonaut.an .rusnteltted2nd is dissonant. The consottanceor dissonanceof the perfectJth interval also dependson the context in which it occurs.If it stands alone on the root of a key center,it is dissonanl.It mal' be consonantif it occurs over other notesas part of a chorcl. This is a simplification of the traditional rulr's of consonancenncl clissonancethat vr'ereestablisheclcluring the RenaissanceAlthough the dcscriptionsrnav not apply to the ',vayrnotlernears hear these inten als. the plinciples still fbrnt thc basis for Western hanronic praciice. including jazz hanuon1,.
TAZ7.OLOGY
Chapter 1 Exercises 1. Identify the following intervals.
2. Provide the following intervals above thc given pitch.
btz
bt
M6
p1l
+4
3. Write the following intervals(from any pitch). mz
bz
+5
dimT
M9
bn
+4
+9
CHAPTER 1
4. Write the fbllowing intervalsabove the gir,'entrote
5. Identify each interval as either consonant or clissonantby writing "con" or "diss" below.
JAZZOLOGY
ri
CHAYTER ::.... . . j ' ; ' -: : ; l r5 :
.i
JAZZ HARMOITYBASICS Two or morenotesplayedsimultaneouslyform a chord. chords are traditionallyconstructedby stacking3rds on top of eachother'This methodof building chordsis calledtertianharmony.The note at the bottomof the stack of 3rdsis cailedthe root of the chord.The next note, a 3rd higher,is calledt-he3rd, and the next higher,a 5th above the root, is calledthe 5th, andso on. A conipletelist of choidswould include7th, 9th, I lth, and l3th chords.They are so namedbecauseof the intervalbetweenthe root and the highestnote in the stackof 3rds.
Triads As the nameimplies,a triad consistsof threenotes,or two superimposed 3rds:
+:t:
Tonic
3rd
5rh
The triad typedependson the quality of the 3rdsthat areincluded in the chord.The mostconvenientway to build or analyzetriadsis to startwith a major triad, by taking the lst, 3rd, and 5th notesof the malor scale.The other forms can be seenas alterationsof the major tnad, as shown belou,. Hereare triadsbuilt from the root c, and their commonly-used names. Major Triad(1-3-5): C. CM, Cmai
Minor Triad(1-b3--5): C-, Cm, Cmin
AugmenredTriad ( 1-3-f5): C+, Caus
Major 3rd Major 3rd
Diminished Triad (l-b3-b5): C., Cdim
CFIAPTER2
(andthe mles In the suspendedtriad,thc zlthreplacesthe 3rd.Despitethe in-rplications ol the wori-l"suspension" and dissonance). the 4th doesnot needto resolveto the 3rd (althoughit ma1,).Inlazz, unlikeclasof consonance sicalmusic.the suspendecl triad (usuallycalleda "sus chord") is a fixedandstableharmonicstructureuntoitself. Triad (l-4-5): C.l, Csusor Csus4 Suspended
Major 2nd Perfect 4th
All the previoustriadsare said to be in root position: the root of the chord lies at the bottom of the triad.
Triad Inversion Inverting a triad reaffanges the notes so that the 3rd or the 5th is placed at the bottom of the triad structure. The lowest note is called the bass, which is not to be confused with the root. The bass is the lowest note in any chord inversion. The root is the note on which the chord is built and cannot change. Root Positiort N{ajor Triad
Minor Triacl
AugmentedTriad
Diminished Triad
Suspencled T'riad
10
.IA/,ZOLOGy
First Int'ersion
SecondInversion
Play the triad qualitiesdiscussedso ftir in all twelvekeys,in all possibleinversions.Includethemin your practice routineuntil you canplay them without using the book or writing them down. Wind playersshouldpractrcetriad arpeggios(chordsplayedone note at a time) in all keys and inversions.
7th Chords 7th chords provide the building blocks of jazz harmony. Unlike classical music, which relies upon the triad as the fundamental structure,jazz uses triads infrequently. Instead, mosI"jazz styles employ 7th chords as the basic harmonic unit. A 7th chord is built by stacking three 3rds on top of one another so that the total distance from the root to the uppermost note forms the interval of a 7th. There are seven commonly-used types of 7th chords. While the content of these chords is specific and unchanging, the symbols used to designatethese chords can vary substantially, as can be seen below. . . . ' . . .
The Major 7th Chord, writren: M7, maj7, or L The MinorA4ajor 7th Chord, writen: -M7, -maj7, m(maj7), mM7, or -A The Minor 7th Chord, written: -j, min7, or mj The Half-Diminished 7th or m7b5 chord, written: mlb5, mi.f. (b5), m7(b5), or , The Diminished 7th Chord, written: "7 or dim7 The Dominant 7th Chord, written: 7 The SuspendedDominant 7th Chord, written: Tsus or 7sus4
Cmaj7
Cm(maj7)
Cm7
Cm7b5
Coj
Ci
C7sus4
Herearethe correctintervallicspellingsof thesechordswith examplesbuilt on C.
Major 7th
Minor 7th Half-Diminished 7th Diminished 7th
c-Eb-c-Bb
c-Bb-cb-eb c-Eb-cb-nbb1a;
t-bs-s-bt r-bt-bs-b't
t-bz-bs-bbt
7th or Dominant Maior/Minor 7th Suspended Dominant
t-b3-5-1 C_F_G_BD
t-4-s-b7
As with triads,7th chordsshouldbe practicedin all keys,in all inversions,withoutreadingthem.Wind (andindeed all) playersshouldpracticethem as arpeggiatedlines in all keys and inversions.
CHAPTER2
TL
Chord Extensions A chord is generallyexterldeclby adding notes that increaseits richnessand dissonancewithogt lltering its fu'ction. Thesenotesare called extensions.tensions,or upper structures; the resultsare calleclextended chords, and in sornecasespolychords or polytonaVpolymodal chords. Extensionsbeyond the 7th tollow the santc pattem of constructionas 7th chorclswith a general rule being that if a chord tone of the triad is altered(raisedor lowered).the quality is also altered,while alterationof extensionsdoes not changethe quality of the chord. Here are some examplesof 7th chords with natural and alteredextensions.
Cmaj9
Cmajg#tt
Cmajl3f,11
Cm9
tu
Cm11
\-,
U
(\
lf)
Cmgbs
Cm11b5
Cm13b5
CmlD5D9
a ,b^
L^
b
bcr
G
b.-
v tt
V \)
b.-
L^
cz#c#rr
o
rvn
b.-
tz
.JAZZOI,OGY
++rl b.t
H' L^
h
cmttbsbq cmttbsbsbr3Cmnb5bs
clbs
ctbgfrrb:
t ml J
VV
b.-
b.-
ctbs#fi
cr:fis#u
cttlgfrnbfi
{'t''|.-'
++ll
L^
h.-
Not all possibleextensionsand alterationsafe usedin jazz harmony.The ones that work with a specificchord type are said to be "available." The ear is one's best guide. The following suggestionsfbr available extensionsare intended to apply to bebop or'6straight-ahead" (as opposed to free, avant garde, or modern) jazz harmony, and are sanctionedby more than fifty years of nearly total consensusamong jazz musicians. Major triad: . add 6th and 9th, . add M7 and 13, . add f I I to either of the above for extra dissonance. Minor 7th (functioning as ii): (See Chapter 3 for more on chord function.) . add 9, . add 1 I and/or 13 above the gth for extra dissonance. Minor triad (functioning as i): . add 6 and 9, . add M7, . add 9 and/or 13 above for extra dissonance. 7sus4: . add 9 and/or 13. Dom-rnant7th (functioning as V7): . add 9 and possibly 13, . add b9 and possibly b13, add f,I I to either of the above for extra dissonance.In short, V7 can take all extensions except 1 1 and M7. ' Diminished 7th: . may add the note a whole step abor,e any chord tone. . diminished chord extensionsdo not usuallv receive numbers. Half-Diininished 7th: . add M9, . add 11, . add M13 for extra dissonance. There are many common chord types. Keep in mind that a little dissonancecan go a long way, and that diminished 7th or m7b5 chords may be dissonantenoush in context without extensions.
Upper Structures In commonpractice,uppel structuresare triadsplayedin the right hand that have a differentroot from the lefthand chord.The upperstructureis usuallya major or r minor triad. The resultis an extendedchordthat can be specificallyreferredto as a polychord. Upperstructuresarevery commonover dominant7th chords,but can also occurover otherchordqualities.
G:.:bg
CFIAPTER 2
13
'l'he top
threc notesttI'the Lrltperstnlcture.IJ E-Gf,. ftrrm an E malcrrtriad. tr,hereasG, is leullr the b9 and E is the l 3 th of t he G 7 c h o rd . T h e i n d i v i d u a ln o te s re ta i n thei rharmoni c functi on rvi thi n G7 arrdare heardas a unit . The resulting soutrclis really in tu'o keys at oncr-;E and G rnajor, thus nraking a polytonality. To builc lanupper s tru c tu rc .p l a -v th el .-l .a n d i 7 ( the5thi susual l yaroi ded)vri thrhel efthand.andformanytriacl u'ith the light hand. obserrins u'hat note rs played on the top of thc chord or in the melodr'. Guitaristswill likely play only the root and rT a\ the louel'pal-t of the polychord, to fl'ee up tingers to play the Lrppersrructure. Triads that contiiin the P4 (Pl I ) or N'I7in rclation to the left-hand chord lthe only tvu'oextensionsnot allowed on a doniinant chord) shor.rldbc avoided. The 3rd should not be placeclin the left hand if it occurs in the right hand. (Oc c as ionallyt.he 3 rd w i l l n o t a p p e a ra t a l l .)H ere are some exampl eson G7.
G7DgD13
O 06E-
ct:firr
^_t+ ^ G /+r9
nf*
iu
crfiqbr:
ctbgfrn
u/fvi ,fl l
b"t
Gl3b9
G13
the ent ir e Be c aus eof t he lal g e u u n rb el o f e x te n s i o n su ra i l abl e on a don-i i nantehord.i t i s possi bl eto bui l d rterrrl y' throu,uhuppcr'\tructureson the satnechorcl. chror.naticscalc by asc:circling
Gl3
G7sus,tr(b9)
^-++,.++,.
l t / tt9 fr L l
l4
I_.\Z_Z()L()GY
G9sus-1
Gibt3
Itl trv
G]DgD13
cr :b qrfr
G l l susrl
jazz pianistsantlarrangers In practice, prefersiurplifyingupper-strucrure notarionso as to make tl.rechords easv to readandplay.Accordin-ely. anotherwa\ to notatethepreceding examplesis to indicatea lefi-handchord under a right-handtriadandpiacea horizontalline in between: Abm
Bb
Bbm
Dm
Eb
Em
G7
G7
G7
Db
G7
t-
Q r l"
x
Em G7 IU
-lJ
Bbm G1
Fm -(rl
CI'
e
Abm * Lr/
Gm ;:
t
U/
Am \'/ '1
-l
t3D
B+
Dbm
Dur
G7
G7
G7
G]
a)
Eb
u
_ U/
E = \I/
Am (_r /
b--o-
qu
+
Eb'l G]
E6 ;t.I /
Ab G]
(,HAPTER 2
ri
Abnr
The follo\ring upper structures are the nr()st common examples used in jazz comping (accompaniment)and arranginr. They should be practicedin all nielve keys. Chor ds f unelionin g a s i i m T o r i i m7 b 5 :
Dm9
Dmll
Dml3
Dm9D5
Dnrllb5
Chordsfunctioningas V7 (theG7 chordis plavedby the lefi hancl.ri hile the right hand plirls possibletriads): Gl-t
c7bl3 Glbt3
ct-rfiv
GTart
2C
ct:f,rt
Gl3sus4
G l 3 s u s -l D 9
GTal t
(i Tnl t
I i/ -l.r-
D
( i 7a1t
ct3be
o
G l-ib e f i r l
IVY
2< >
clfr,)
Gzf,snt t
Cmajg#tt
Cmajl3
Chords firnctionin-sas ImajT Cmaj9
1(;
Cmaj13
.1,\zz()L()(;\-
Cmajgiltl
Cmajl3 fl t t
Hybrid Chords Also known as slash chords, these chords are usually written as C/Ii, rvhere C is the chcird and B is the bass note. Notice horv this symbol differs from that of the polychord.With a horizontalline, the letter narnesaboveand below each ref'er to independent chords. With a diagonal line, the symbol above refers to a chord while the one belou refers to a bassnote only. Here are some examples.
G I 3sus4
FmajT/G
FmajT
G
Dml lG
DniT
G
Glt
BbniajT
G
Gm9
fmaj /tf)
G
G 1 3 f1, 1
Fm7/G
Fm7
G
l3 G7sus4b9b
Fm6/G
Fm6
G
G7sus4b9
Bbm(maj7)
G
Gmgbs
Bbml/G
BbrrT
(i
Bbm6/G
Bbm6
G
BbmajT/G
rma;z#slc
BbmtmajT)/G
ebma.;;#src
Bbmalzfi5
GmlD5D9
cmzb5
U
Gm(maj9)
DbnajTlG
DbmajT
G
Gm1lb5D9
l. +trn//(J
Ff,rn7
\J
cmaig#t t
ADmajT/G
AbmajT
ADmajTD5/G
ADmajTD5
G
G Phryg
G
G Phryg
CFL\PTER 2
t,'
Chapter 2 Exercises 1. Identifl'the followingchords.labehnginversionsas Ist inv., 21d inv.. or 3rd inv.
2. Build thetbllou,ingchorclsin r O O tpos lt lon A *-6 nlltg
Bm7
18
FmajT
Ebm(maj7) Cilmttbs
JLTZOLOG\
cTbs
D13
AbTsus4
Bmaje
Amgbs
D7F9
Emajgb5 G#m(maj9) p'ft3sus+
Ebm?,/lt BmalTbsTAb
Bo7
Bm7b5
Arnl3
Dm6
F+7
abmal9#tt CmTsus4
Flalt
cef,11 F#m(maj7)
Bnajl3
Erl9
Fo'7
3. Write the tritoneinterval(s)found in each of the following chords.
ch
Em8
Es#rt
p,bsfs
Gml1b5
Bbmajtbs r.bmtbs
Bibs#fi
Fmaj13
D13
p'bt
abmqbs
C7sus4b9
P#mB
GTaIt
4. Write the 3rd and the 7th of the followinc chords. (Dominirnt I 1thor sus4chordshaveu P Jth i n' terrdof I . 1r d.r Am7
D7
sh#g
Am(maj7b5)
G9sus4
ErnajT
BDmlD5
co7
DTalt
Dbmajl3
Fm7
Bm -/t-p:
F#m1l
Bbm(maj7)
wbsfls
Abma19
G13b9
cbt
EbTsus4
CFIAI'TER 2
l9
5. Identif,veacl.rchord and specify whether.it is best understood as iln upper strllcture(US). hybricl(H1,b),or slash chord (Sl). Some structuresare subject to multiple interpretation s.
L) ti
(-'
bt+
ri tf
f,c +
f;5
b*
6' ldentif;'each chord. All crhordsare in root position.If it containswrong notes or inappropliateupper struetures, place an ''x" beneaththe chord.
4"4
V\)
a,
qo
rraJ
{1''"
_1ft-}-
+
a) e
l0
a\
JA7.7.OLOGY
1,, Lt-
(\
C'
-(-
U-
o _-
+
t
CHAPTER
SCALESANDMODES A scale is a stepwiseaffangementof notes/pitchescontainedwithin an octave. ivlajor and minor scalescontain sevennotesor scale degrees.A scaledegrecis designatedby an arabic numeral rndicatingthe position of the note
withinthescale.
Major Scale In additionto recallingthat there are half steps(h) betweenscaledegrees3-4 and 7-8, with whole steps(W) betweenall otherpairsof notes,noticethat a major scalecontainsa cerlainamountof symmetryin that it contains two identicalfour-noteunits (called tetrachords), separatedby a whole step.Each tetrachordconsistsof two wholestepsanda haif step. J4 ---^---,
-/il --l\--
-
Minor Scales There are three forms of niinor scales:natural, harmonic, and melodic. Each starts with the sanreminor tetrachord (l-2-b3 {), with valiartionson degrc.-s6 and 7 in the r-rppertetrachord. Natural Minor A natural minor scale is a scalethat containshalf stepsbetweenscaledegrees2 3 and 5-6. |
,l
2--'-------3
5---'----
6
j
o
w
w
Think of the natr,rralminor scale as the notes of a mujor scale starting on its 6th degree Accordingl,v.the C nrinor scaleshown above is an Et rnajor scale startingon C. Harmonic Minor A harmonic niinor scale is a form of a minur scale rvitlr half stepsbetween2-3, 5-6, and 7-8. The characteristic 6-7, a wholcsteppltrrrr hrll' step sound of this scaleresults froni the unexpectedinterval betweenscaledegrees (or augniented2nd). ^ L
wh\\'
. --tt---'-
-'t
-- f o--zt---'-
.
/b-tt-^-----
-
^
WhW+hh
The harltonic ntinor scalecan be thought rrl'as a natural minor scaler'vitha rarsed7th scaledegrec.The Tth scalc in orclerto provide a leading tone that r.villrnakethe V-i chorti tttor c (also degreeis typicaliy raiseclrn minor ke-v-s called a cadence) sound conclusive.The narne''harr"uonicminor" derives fiorl the fact that the Tth scltledegree of the V-i cadence. has beer.raltercdto fit the hamonic lecruircntents (.HAP-|ER.i 21
Melodic Minor Scale This tvpeol ninor scaleis called"melotlic"because is it easierto sin-ethanharmonicminor;thereis no :2 interval bettveenthe 6th and 7th degrees.A classicalmelodicminor scalehastwo forms:ascending and descending. The ascendirtg fbrntis a naturalminor sculevrith the6th and7th scaledegrees raised,with half stepsbetu'een2-3 and 7-8. Compareit with the major scale:the only differenceis the minor 3rd. The classicaldescending form is simpfy the naturalminor scale.ln jazz practice,the 6th and 7th are typicallyraisedin both the ascendingand descendinglersions of the scale.This is sometimesref'erredto as the "jazz minor" or "real" melodicminor, and is a vital scaleto learnfor usein jazz improvisation. This fonn appearsbelow. ^J---_-----Z
"
-/6 -----^-----
^
ScaleRelationships Major and minor scalesmay be relative or parallel. Relativemajor and minor scalessharethe samekey signature but starton differentnotes(i.e., C major and A minor.) Parallelmajor and minor scaieshavethe samestarting notebut differentkey signatures(i.e., C major and C minor). Major and Minor Scale Diatonic Harmony A tonal centerconsistsof a scaie(a parent scale)and a seriesof diatonic (scale-based) 7th chordscreatedby harmonizingthe parentscale:buildingchordson eachstep,by stacking3rdsof only scalenotes. Romannumeralsareusedfor describingchordprogressions chordfunctionsindependently andunderstanding of specifickevs.This svslemdesignates hori eachchordbelongsto a key. Generally,minor chordlunctions(minor, diminishedandhalf-diminished chords)arcindicatedby lor,'u'ercase Romannurnerals, whereasmajoranddominant chordfuncti()ns areindicatedby uppercase Addcdr.narkings indicatemodificationof the chord Romannunterals. tiom its originalform.The cliatonic7th chorclsof the rna.jor scaleureshownbelow. Cmaj7
Dm7
I Scale Degree: Roman Numeral: ImajT
EnrT
FmajT
Gl
l
V7
Am7
BmZbS
CmajT
618 vim7
viimTb5
ImajT
Major Scale Modes As u'ith chords.a scalemiry be invefted b1 keeping the same range of notes but placing a different starting pitch at the bottonr:the resulting inversion is known as a mode. The conceptof modes is crucial to jazz irnprovisation.A mode containsthe same sevennotes of the parent scale, but adopts a rliff-erenttonal center around ii'hich all the other notes revolve. The notes are equivalent to a lnajor scale:only'the startingnote has changed.\lodal melodiesand chold progressionsrvill emphasizethis note as the tonal ceuter.A melody basedon a mode ntay be written li ith the same ke1,'signatureas the parent scale.or as a rnajor or n.rinorkey center r"'ith accidentals inserted to produce the notes of the mode.
22
.IAZZOI,OGY
The follor.i,ingtable, adaptedfrom John Mehegan. shows each mode in the key of C as a displacedscalefrom root to root.
Phrygian Lydian Mixoiydian
Minor (b5)
The fbllowing illustration outlines the modes discussedabove l st mode C lonian (C major)
2nd mode D Dorian
3rcl mode E Phrygizrn
4th mode F Lydian
5t h m ode G Mixolydian
6th mode A Aeoliun (Natufal Minolr
CFIAPTER 3
)1
Modal Characteristics and Colors niot lc) or i t l l -orttei ther the natLrl l rlnri nor'(,A .col i art E ac h nr ot lclt as o n c c h a rl tete ri s ti cs c a l cs tep th at cl i sti n!Iui shes to the pl ttal l e lr t llt it lr m aior ( lt lt t iannto d c ) s c a l c .T h c ti l l l o ri i rl :: ta b le shou s cacl t rn< l dc' sstructurel n ccl r.npari son u'here appl i cahl c-. rttoclrtl tones. arid rr tonal s tc p . l ts e l l a s its sc aleanc lit s c ha ra c te ri s ti sec a l e
1.1.3.+,-s.6.7
Ionian
ret-erence
r.+&5
). 3 , 6 & 1
Dorian
l. 2. b3,1,5.6. 11
6
1.4&5
2 . 3 . 6 &1
Phrygian
+..r.b o .r; r. b z.b -r.
6z
r ,.1&5
2.3.6&1
2t
1,4&5
2.,3.6 & 1
(b6) reference
r. 4 & 5
t.3.6&7
t.2 .3 .fr+.S .S .t
Lydian
1.2,3,4,5.6.b]
Mrxolydiirn Aeolian
fi4 t-
I-
2-)
Locrian
notes are collstilnts' Notice that there are tive tonal modcs: all contain the same lst,.lth, and 5th degrees.These select the propc'r jazz easily improviser nrir\ Becauseall fil'e morles are relatecithrtrugh these primarY tones. a rnodeb1' changingthe other. r ariable.tiotes. tlesir'cilivill dictatc ntot.lechoice. ln order of dccleasingtcttsiott.the nttldes Sometinres.thc degreeof clissonance may ellectirelv be art'angedas lillltiu s.
DARK
Locrlian
Phlvgtatt
Acolnin
I\Ii xol vdi an
BRIGHT Ioni uti
Lvdian
2J
.lAzz()l-()G\
Melodic Minor ScaleMocles The various scalesthat result from the rnotlesof the melodic minor scale are of fundanrentalirnportancein jazz improvisation.The seventnodes that derirc from the C melodic minor scale are shown below r.vithlheir resoective formulae.
Melodic Minor
w
h
w
Dorianb2
h
w
w
LydianAugmented
w
w
w
Lydian Dominant
w
w
Mixolydianb13
w
Locrianil2 Altered
w
w
w
h
w
h
w
w
h
w
h
w
h
w
w
h
w
n
w
h
w
h
h
w
n
w
w
II
w
w
w
\I
w
w
w
/
w
The applicationsof thesemodes will be discussedin detail in the context of the appropriateharmonic situationsas we encounterthem in later chapters.
Minor Scale Diatonic Harmony N{inor tonalitiesare somer.r"hat more conrplex than niajor tonalities.A minor tonality may drau, from fbur parent sciilesas a sourceof melodiesand harmonies. w'hile the major scalc (lonian) just r"rses one parentscale.In minor. the four parent scalesare natural minor (Aeolian. also known as ''pure" minor), Dorian, harrnonic minor. ancl nteiodic ntinor. Dorian and melodic minor rire the most lrequent choicesfor static minor chords,wrth natural and harmonic rninor otten being employed ovei rninor-key chord progresslolts. Pr-rreMinor or Natur:rl Minor (Acolian)
Harmonic Minor
crilPTEl{ -3
25
Each of thesethree parent scalesgeneratesits orvn family of diatolic chorcls Pure Minor or Natural Minor (Aeolian) Harmony
DrnTb-5
Cm1
AbnajT
Harmonic Minor Harmony Cm(naj7)
Dm7b5
Fm7
Melodic Minor Harmonv .- l+
-l
h,zmaj/+t)
Cm(maj7)
Amlb5
Bm7b5
Diatonie Herrnony,of Modes of Harntor.ricMinor Scale
1. C Harmonic Nlinor Cnr{1113j11 DnrZb-;
.-*
-i L,Pmul /tr)-
Fm7
..
t---tl V 9
AbnajT
Bo7
l_o_
2. D Locrian (#6)
Dn7b5
26
nbmajzfrs
IAZZOT,OGY
Fm7
AbmajT
Cm(maj7)
3. Bblonian( f5) .-* -r /it) -E.Pma.l
Fm7
Cm(maj7) +
4 .FDo r ia n ( f4) Fm7
al
a
G7
AbmajT
Bol
Cm(maj7)
omlb5
_t --++E D mi dJ/++J
e
hcr
a
+F
\
5. G Mixolydian ( bS, btS) Gl
AbmajT
Bo'7
Cm(maj7)
Dm7D5
Ebmaj7fr5
Fm7
a h ^ + S l-A
6.ebryaiantfiz) AbmajT
Cm(maj7)
Dm7b5
_t
.- +1
b,Pmal/if)-
Fm7
7. B Diministred( f6, without 8) Cm(maj7)
Dm7b,r
Fm7
The eight-notediminishedscaLevvilLbe di.sttrssedlater in this clmpter CIdPTER
J
21
Diatonic Har-rnonyof Motlcs "> ,- :' a
Dm7-
B1
Bbg
EmTb:-
Dm7-
Bbl
4. Identify the key in which the tbllowing chords will have the function indicated.Use enharmonicequivalents where convenient. G7 is V7lV in the key of: Db7 is vl lIv in rhe key of: F$7 is V7lii in the key of: E7 is V7llV in the key of: B'7 is vri"lIY in the key' of: C{l is V;fV in the key of: Bb7 is V7lr'i in the key of: lr r i i n th e k e 1 ' o f: Df " 7 is v 11' 1 F1t"7is vii'7/iii in the ke-vof:
Er7is V7lV rn thekeyof: D7 is V7lvi in the key of: CIIAPTER 5
o)
5' Analyze the following progressionsintlicating chord function, consrdering harmonic structure.
a. ll Dm7 G7
lDmT G7
| Em7 A7
lEmT Aj
I
I Dm7 G1
|,\bm7Dbz
IC
lE mT
I
lAt
I
lDm
I
I Am7
lD7
I
lG7
lC
A m7 lD7
G7
c. l l Ab
lFmT
IBb7
E7
tiD /
d. ll Gf,m7C$7
lFfm7 87
lEmT Al
I Dm7 G7
e. l l 8 7
lEmT A7
I Dm7 G7
lc
f. li 87
I Em7
lA 7
I A7
I Am7 D1
I Dm7 G1
lE mT
lA 7
I Dm7 Gl
II B7
I
lE mT
lA 7
l lc
lF'
I F-m7 Bbl
l4 7
b . l lc I Dm7
c. ll 87
Eml
h . ll 87
i
k. ll c
IE lr
Fm7 lB bT
D7
I
lBb:,
ll
tl
lG 7
il
II
lA 7
6. Locatethe following tunesin a reliablesource.Study, analyze,and play them.It is recommended that thev be learnedthoroughlyand ultimatelymemorized. . . . . . . . . .
"Blue Bossa" "Autumn Leaves" ,,TuneUp" "Confirmation" "Caravan" "GiantSteps" "Body and Soul" ''Manhado Carnaval" "Countdown"
JAZZOLOGY
. . . . . ' . .
"Ail the Things You Are" "Blues for Alice" "I Got Rhythm" "Nardis" "Biuesette" "Waltz for Debby" "Joy Spring" "Song for My Father"
CFIAPTER
[-V-I
PIAh{OVOICINGS AND
VOICE LEADING The voicing of a chord is the exact verticiil :rffangementof its toncs. -fhe term is commonly uscd by pianists and guitarists to indicate how chord tones are clistributedwhen compin_cfor improvisers. Kel,board voicings may be played b;,'eitherone or both hands. Why study voicings? In jazz practice, a lar-eereperloireof voicin-csis necessary;comping instruments(such as piano, guitar, vibes, or organ) rarely play chords in ascending order (1-3-5-7-9, etc). This is for various reasons: '
Using only root position chords u'ill result in excessiveparallel -5ths,which can sound like a monotonous drone.Simply put, a relentlessstring of root-positionchords tends to sound boring. The result will be perceived as unrefined and decidedlv "'uncool."
'
Successiveroot-position chords force the hands to move too much, becausethe roots of chords often move by 5ths rather than linearly.
'
Using only root pr-rsition chords resultsin poor voice leadin-g.Inner voices do not resolve in a smooth and logical fashion.(Voice leading will be discussedlater in this chapter.)
As a basic example of chord voicing. a mrrjor seventhchord will otten be played as l-7-3-5, where the 3rcl and 5th are raisedan octave frorn their original positions.This is.just trne of a vast number of possibiiitiesfor voicing this chord. Jazzpittnov'oicingsare dirided into trvo birsictirpes,rooted I'oicings and rootless voicings.
Rooted Voicings Sornetirnescalled "Bud Powell r'oicings." ihe'selefi-hand piano voicinos place the root deep in the bassand prclvide a soliclhannonic foundation.obviating the need for ii bassplal t'r. You nray play,rooted voicings as: l-3--5-_7. l- 3- 7 ( k nor v na s a s h e l l l o i c i n g ), o r j r.rs tl -7 (or even l -3). deperrcl i ns upon the chorrl ' squal i t1,.H ere are Cnilr jT root edv oic ings. Shell Voicitrcs
CmajT
CmajT
RootlessVoicings As the name implies, rootlessvoicin-9shar e the root omitted. Thcr ate the pret'erredvoicing techniquewhen.jarrming or comping il'ith a rhythm section. and most otien used u'hcn a bassistis present.They uork equally u,ell r r ilh nt r n- { olul /rrro d unltu \i c . The 5th is often omitted. If included, it will generaily be on rop of the voicing.
(,HAPTER (I
(r-
Rootlessanclcspeciallylcl't-handpiano r.oicin_es are commonly employed as three- or fbur-note voieinss Three-Note Voicings Chords can be voiced u'ith three notes as fbllows. N{ajor ii-V-I
Dm7
cadence
G]
Dm7
Minor ii-V-i cadence
Cmaj7
Dm7b5
CmajT
Dm7b5
Gtbg
cm7
Glbs
G7 (\
Four-Note One-Hand Voicings Four-note voicings are the most cot.nmonlcti-hand piano chord voicings becauseof their richness.They are also known as "Bill Evans" r,'oicings.They nriir be classifiedinto two categories:type A and type B. Both are fburnote close voicings and each is the inversion of the other. They rvere maclepopular by Bill E,vals and Wynton Kelly. and cati be ttseclas buildine blocks for manv other voicings. The following configuratiousmust he lelrnecl thoroushlr,,
Type A: 3-5-1-9 Type B: 1-9-3-5 Major RootlessV o i c i n g s CmajT
Cnaj7
=#'1 Type A
Type B
OtherComnon RootlessVoicingsfor Ma.jorChords Type A: 3-5-6-9 or 3-6*1-9 Type B: 6-9-3*5 M inor Root le' s V rri c i n o s Cm7 -5
b-r bt
T) pe 68
JAZZ()LOGY
Type B
Voicingsfor MinorChords OtherCommonRootless TypeA: 4_s-6-'t TypeB: 6-9-4-5 D om inant Rootl e s sVo i c i n g s C7
C]
9 t-
7l
6 3
Type B
Type A
Altered Dominant RootlessVoicinss CTalt
CTalt b t .
-Tl-rta t
-Tl
1,. tr a
I
tl
frg_ >1
Type A
Type B
C'lalt .
CTalt
&[
rl
I
:l
:r: " V-(J
- P9
s-
Type B
Type A
The altered dominant is most often encounteredin the minor ii-V
Dmzbs
|
..
-t llm / P- )
i cadence.
Cm7 or Cm6
"r"n VTalt
iml
or
im6
It is especiallyprominentas a secondaryclominantin the major ii-V-I cadence.
l.*u:,
Dm7G7 I A?art I
Imaj7 VITalt
iim7
V7
CHAPTER 6
Half-din'rinished(m7b-5)voicings are less often extendedthan the other tvpes, and the root is more often included Haif-Diminished Voicings
Dm7b5
#ri
--t-
Dm/05 1-
p.)
-
D'
bl
I tDI
Type A
Type B
OtherCommonVoicingsfbr Half-DiminishedChords Type A: b3-b5-rl-9 or Type A: $*15-b7-b9 Type B: b7-9-b3J5 or Type B: b7-b9*\J5
Voice Leading and the ii-V-I Cadence Voice leading refers to the creation of smooth motion between inner voices by maintaining adjacent tones when moving from one chord to another. In other words, each inner voice is connectedto the next through common tones or stepwlse movement. Voice leading allows us to hear the chord resolutions we expect, but with very little movement between adjacent chord tones. With good voice leading, harmony notes form lines that progress smoothly and s t r engt he nL h eh a rm r' n i cc o n ti n u i ty . The ibllou'ing examples rvill help you to visualize and memorize voice leading rules bv using just guide tones arounclthe circle of fifths. You rnay plav either 3-7 or (inverted) 7-3. Pal,particular attention to how the guicle tones switch when mo'ing tiom one chord to anotheraround the circle. Dominant Chords arounrlthe Circle
ci
Fl
sbt
eh
eh
oh
cbt
Bi
Et
Ai
Dl
Gj
Major Chords around the Circle
CmajTFmajT Bbmaj7Ebmaj7Abmaj7DbmajTGbmajTBmajT
70
.TAZZOLOGY
Emaj7Amaj7 Dmaj7 Gmaj7 Cmaj7
Minor Chords around the Circle
Cm7 Fm7
BbnrTEbniT
AbmTDbmT GbmT Bm7
Em7 Am7
One-HandVoicings In jazz practice, extra tension notes are often added in the ii-V-I Major Key Extended ii-V
cadence
I Voicings
is preferable to
Notice hou't1'pe A follor.r'stype B and hon type B follows type A in the tollo"ving exarriples. One-Hand Voicinss
{---
* ----1
raig Cmaj9
Type A
Ti'pe B
CB
TypeA
9
________->
l3
-.----_-------.,
9
7
----------------
3
-..-----------..
1
-5
*---------->
9
-------------)
5
.5
3
----------------+
1
--------------)
3
.l
9 or6
CH,\PT[R 6
71
Inverted One-Hand Voicinss i---------;;----
v"' * cir3
Cmajg
Cg
€,a Type B
.€
Type A
Type B
55 -n --..----------3 _____+ 7 _-_____________+. 3 9
_________+
-/
___________+, 3
13
____-_}
9
-____+
7
3 9 or
6
We may summarizethe voice-leadingrules as follows. (Arrows representinner-voiceexchange.) Ith
3rd
5th
9th
9rh
13th
Gl3b9 may be substitutedfor G13. This producesa morepoignanteffect.(The dominantdiminishedscalemay be usedoverthe G13F9chord.)
f c13b9
Type A
*--__J
Cmaj9
1'ypeB
Type A
Inversion
{ Dm9
Gi3be
or-_l
Cmajg
Cg
D
.€
€
Type B
Type A
Type B
Other lnversion
{ G]rbg
Type A 72
JAZZOLOGY
Type B
*--f
Cmajg
Cg
Type A
Minor Key Extendedii-V-i Voicinss
GTalt €-
TvpeB
CmB (\
Type A
Type B
lnversion
-l
f-Dm7b5
m9
Type B
Type A
CmB
Type B
{-
---l
GTalt _e
TvpeA
um6 ()
Type B
Type A
TypeB
Other Inversion
*-l
{c13b9
Type A
Type B
{ Giatt
*--]{
Cm(maj9)
*-_l Cm9
CmB
Type A
CI{APTER 6
73
Alternative Voicings for Minor Kevs You canalternatebetueenthe b3rdantllhc'-lthwhen voic-ing tht ii in a minor ii-V-i cadence. This is,,,eryci'fective for iim7b5.Followingaresix optionsfor voicingir half-diminished chord. Insteadof:
you muv play:
b1,_b 5_b1_l
+-b S-bI * t sy 4-b 5_.b 1-9 1b9
b5-b7-1-b3
bS-bI - t -+ s1 b5-b7-9 1b9q
l_b3_ b 5 _ b 7
t1-b5-bj or 94-bS-b'l
omzb5 GTatt
Cm6
Dmttb5 Gzatt Cm(mai7)
Dm11b5G7alr
dr:{J------l
5b
On iv of a minor key, a m7b5 chord ma1' be substituted for the diatonic min7 chord. The b5 of the substitute chord is equivalent to the M7 of the overall ke1. implying harmonic minor. A m7b5 chord may be also be inserted on VI in a minor key, implying the Dorian mocle. On bVt. bVII and bUI of a minor key, you rnight play a majT#5chorclor amajTbl chord insreadof the diatonic maj7 chord. Points to Remember: . Type A voicings have a more opcn sounclfor major and rlinor chords. .
Type B voicings have a more olcn sound for dominant chords. Some dominant voicings are duplLcatesof other r,'oicings.In the following examples.illtrstratedin the ke1 of F major. the voicing of a donrinantchord rvill be the srure as: 1) an alteredclominanthavin-uir root l tritonc away. Both type A and type B voicings fol ClS are llsc'r r , o i c i n -qfo s r a n a l te re dd o n ri rrantchord a tri tone u\\i r\ { F77al t). 2) a m 7 t5 c h o rd a M 3 rd a b o v c Botl -rtype A and ty' peB voi ci ngsfor C 13 are al so i .oi ci ngstbr Enr llr '- 5. 3 ) a suspended-phry'gianchrrnl a m3rd belou . Both t1 pe A and type B voicin-ustirr C l-l are also loicir r g sfo r A 7 :rrs J b 9 . 4) a minor chold a 4th belou'. li oth t1,peA and type B r oicings tbr C l3 are voicings for Gnts.
C7 (Cl3) = F#lalt = E m7 b 5= A 7 s u s 4 b 9 =G mf V 7 (vl3) = iib v T a lt= v iimT b 5= lll7 s u s 4 b 9 =iimS ts ubV Tal t/l )
$ ri
Notice that thesevoicinss belons to G melodic minor
il aa
Left-Hand Voicing Rules . lf the root movenlent is lineaf-try N{2nd or by m2nd-keep the same voicing. !.
.
If the root movernentis by 4th or -5th.the voicing should be srvitchedfrom type A to t)'pe B rlr vice r e-rsa.
.
If the root movetnent is by l\{3rtl or b.n-m3rd. the l't'ricingis either retained or suitched. irt the plavcr's dis c r e ti o n .
i i
: i
!i
I
14
IAZZOL.OGY
Comping Ranges for Rootless Voicings A too-dark or "muddy" sound resultsif a roicing is played too lou'. a thin or "tinny" sound resultsif a voicing is played too high. Generally. good voicing practice dictatesthat the lowest note (the bass) shoukl be one ocrave below middle C and the highest note one ocrave above. Keep the left pinky (lowest note) no lower than Db below midclle C. In particular. clo not place the 3rd or 7th of the chord below the Dp below mjddle C in the left hand (this applies to letl-hand and open forms). Type A voici n gs ar e s uit edt o th i s s i tu a ti o n . Keep the left thumb (highest note) no highel than B above middle C. Do not place the 3rd or 7th of the chord too high. This can result in a thin sound and will restrict the soloing range. Thus, there is a one-and-one-half octave range in which to play rootless voicings. Below this, the voicings may sound muddy, and above, tinny.
Left-Handed Rootless Voicing - Preferred Range
The comping range for the right hand can be just about anywhere, but you have to gauge the appropriatenessby good taste. In general, voicings should probably be played with the lowest note within an octave of either side of middle C on the piano. In other words, the range of chord voicings should fall bet."veenthe C below middle C and the C on the second ledger line above the treble clef. There are exceptions, however, so let the ear be the final judge. (See Chapter 9 tbr rhythmic patterns to be used when cornping with the left hand, right hand, and both hands.)
RootlessVoicings for the Blues An interestingmodel that ref-lectsroot movernentby 4th or ,5this the l2-bar bluesprogression.The lbllowing illustration shows rootlessvoicings in a standartlblues in F. The chord qualitiesthroughoutare dominant chords. Key centersarc F. Bb and C. Chord functions arc 17.IV7. and V7. Bl ues in F Startingwith Type A Voicing
ebt
F7
b€
b€
b.g
b .g
4
€-
4
€-
CIIAPTER 6
75
B lues in F Startinq ri'ith Type B Voicing
F1
sbt
(l
C] ()
Now look at the following examplesvu'herethe basic blues progressionis embellisheclwith ii-V's in measures4 and 9, a diminished passing chord in measure 6, and a turnaround starting in measure I 1, creating a standardjazztrlues progression. Notice how voicines flow from one to another, illustrating how proper voice leading u.orks. These are excellent rootless voicings for playing \Z-bar blues. Transpose the model into att twelve keys and play. Blues in F Voiced Starting with Type A
sbr:
F13
F13
DTait
Cm9
F13
Am9
L-IJ
DTalt
Gm9
C7a1t
B lues in F Voiced Starting with Type B
ebr-l
F13 (\
DTalt
b
i r' ()
.IAZZOLOGY
Cm9
Gm9
F13
Am9
ebr:
DTalt
Gn'r9
CTalt
TWo-HandVoicings Four-Note Voicings or by droppingone or more Two-handvoicingscreatea full soundof unduplicatednotesby increasingspacing is calleddrop 2' The secnotesfrom closevoicing to a positionone octavebelow.The most commontechnique ond voice from the top is repositionedan octavebelow'
Type I Dm9 e
Type2 Dm9 _o
Dm9 5
€
a
9
9 7 J
Drop 2 Type3 Dm9
Dm9
7 3 9 5
7 5 3 9
Drop 2 Type 4 Dm9 (\
Drop2
Maior ii-Vi
with TWo-Hand Drop-2 Voicings
TyPe I Cmaj9
G13
Dm9
Type 7 Dm9 C}
a
5 I 7 l
G13 (\ +
9 t2 _l
't
5 9 '7 J
CHAPTER6
77
Type3 Dm9
G13
Dm9
G13
Cmaj9
Type4
#j
Cmaj9 7 3 9 l3
Minor ii-V-i with TWo-Hand Drop-2 Voicings Type I Dm7b5
-i_-+_-
@ a ;::: *;;
G7alt
brr
r-,----- -
v 5 bt
io "i
l-
DI
T-v-pe2
Dnr7b5 .- b-;
GTalt () bs + br:
) 9
3 bt
?l t^
71
Type 3
Dmzb5bg
GTalt
Cm9 3
b: bg bs
-e-
bt
bt btz bs
bz 9 -5
T1'pe zl
DrnTD-5D9
GTalt
Cm9 b7 3 bs 013
,,tJ
JAZT.OT,OGY
bz !-
?/
5 9
and Range Characteristics r'oicings Drop-2 sound both full and transparent.especiallyin the inidrange,r.l'liichextendsf}om aboLrtthe F-one octave plus a -5thbelou' mtddle C to the G one octave plus a 5th above rniddle C. Chords that har.,eF as the lorvest note include Fmaj7. F7. Fm7, Ab6. F6 iDmT) and Fnr6 (Dm7bS;.Chords with G as the highesrnore inclucle: G6 (Em7). Ebl ,E"'7. and ErlTb-5(Gm6). Thc tbllowing erample shorvsone possiblechord at eachend of the ran-re. FmajT
Eml
Drop-2 as well as drop 2-4 voicingsare usedwhen accompanyinga soloistor a singer,as well as when solorng. becausetheir open structureproducesa rich sound.Here are examplesof major and minor ii-V-l progressions with drop 2-4 voicings,wherethe secondand fourth notesfrom the top aredroppedby an octave. Type 1 Dm9
Gl3
Cmaj9
5
I
5
ta)
+ 5).r-e
-'
0',7
OJ
-€-
6,
Dm7D5D9
b7
Glalt
b,t bs
t
3
il3
be
+ bl
'c7
3 bt
b3
r3
Type 2 Cmaj9
nmlbsbq
Cm9
GTalt b9
br: D3 l-
o/
bt l
arrangingtechniques,but may also be ttsedrr hctt L(rlllpirls, Drop 3 and drop 2-3 are usually colrsiclercdbi-e-banct (,HAPTI,R 6 -9
Modal Voicings Nlodal voicings w'ererrade popular bi' NIcCoy Tyner'.a .jazzpianist who used modal harmony or quartal harm ony ex t ens i v e l yi n h i s c o rn p i n g ,a s rv c l l a s i n hi s cornposi ti ons. P i ani stJoanneB rackeendi spl al i sa si milar st ylc. Both players incorporatca sreat deal o1'quartalharmonv in their r,,oicin-us. resulting in a preponderanceo1'.itlis. This createsa distinctlv rlrodal sound. The use of rnoclalhannonies is y'et iinolher arr-angingtechnique,found in modal tunes such as "So What." "Moaning." "Milestones." "Impressions.""Maiclen Voyage," "Footprints." "My Favorite Things." "Blue in Green," and ''Littie Sunflower," to nalre a l-erv.All of thesetunes are characterizedby tlie inclusion of 'lths in the structure of the chords. Modal tuncs are also characterizedby static. non-functional harmonl'. Quartal Voicings Also called fourth voicings, thesevoicings are built by stackingperf-ect4ths or au-emented 4ths basedon the different degrees of the kev center, played over the sane root. They make most sense in motlal music, as they can establish a tonal center '"r'ithoutreference to function. Stacked 4ths result in open chords that are less dense than harmonic structuresbuilt on 3rds. D7sus4 CT
€-
Modal voicings nay be lefi-hand voicings or trvo-handvt'ricings.The1,are most often employed in the Dorian tnode. q'ith rninor chords. or i.r,ithsuspendedchrlrds.One way' to reinttlrce a particular chitrd or scale is to sliclc Voicingsup or do"'u'n in plLrallelmotion u'hile inten'allic relationshipsbetr.veen notesremain constantreiative to the rnelodic line. This creatcs a senseof motion bctll'een comping lLndvoicings rvhile the hu'monl, remains static. Knor'vni.'ariouslyas planing. side-stepping, or parallelism. this technicluecan be appiied to either chromatic or diat onicm ot io n .
Here is an exarnpleof e hi'oniaticplaning in a salsabreak.
C7sus4
I (
Qr-rartalvoicittgs such as the fbllowing ar-equite etfbctive,especiallywhen supportinga pentatonicmelodic line. *
CmTsus4
' j' K e) ' s ignat ured e n o te sC ' D o ri a n 80
IAZZOI,O(;Y
Belorv is a descendingline harmonizedwith quartalsin convincing rnodal fashion
"So What" Voicings This type of voicing, m7sus.l, consists of a series of three P4ths with a 3rd on top. These chords itre often played " S o W hat" by Mi l es D rrvi s. as an alternative to quartal voicings. An authentic example occurs in
DmTsus4
a
+
"So What" voicings may use both diatonic and chromatic planing.
DmTsus4
"SoLrl['1'es. The follolving exermplemight proviclean eltective eight-bar introductionto Mal Waldron's
CmTsus4
Tonal Quartal Voicings for ii-V-I Cadences i|r a series of Most gften, quartal voicings derive from pentatonic scales. (Any pentatonic scale can be arrarlged should others l\'hilc acceptable avaiiableon a given chord, some will sound fourlhs.) Olthe many quartal r,,c-ricings as long L)Lcur voicings tllit\ quurtul be avoidedbecausethey conflict r.viththe harmony or the melociy.Incomplcte modal in ttred ottlv are as the basicchord sould is clearly implied. When piaying quartal t'oicings.avoid tones that bgth intervals are generally avoided in contexts and rvoulclnot likely occur in a tonal frameivork. For example, tonal quartal voicings. since they havc ntl clear tonal inplications g1 .llAp.f'lt 6
Left-hand quartal voicings are often 3-note voicings consistingof either perfect or augmentect-lths. Tonal Quartal Voicings for the ii-\'-I Cadence ImajT: 2-5-1,3-6-9. 6-9-5, 7 3-6, or f4_7_3 (rare) tim'/: 71-bl, 2--5-1, b3-6-9 (cft'ectivein modal contexts but avoideciin tonal conrexts becauseof irs a mb i g u i tl t.4 -n -b 3 ,.s -t -+ . o r 6-9-5 v iibl4 -6 CmajT
Dm7
Taken from C Major Pentaton
f
'1cl
G1
Taken from D Dorian
Takenfrom D NlaiorPentatonic
Hereis an exampleof left-handquartalvolclngs in a major ii-V-I" Dm7
G7
CmajT
'e' -.?7.
Minor
Key Quartal Voicings imBor m7. b3,6-9. b7-b3-6 (rarc and aroided), ,+_bj_b3 iim 7b 5 : t-b -5 -b 7b. -S _ t_ +b. 1 _ b 3 -.,13 (rare),or b3_bl 3_b9(rare) VTalr: b7_j_b; : l. , 1. 1_b7_19
cmB
Here is an example of leli-hand quartal r.oicings in a rninor ii-V Dm7
i.
(i7alr
Cmo
a. -l
Two-Hand Quartal Voicings A common approachto two-hand quartal voicings consistsof plaf ing guide tones or 3-note rootlessvoicings r.r,ith the left hand while the right hand stacksJths. Sometines when both hands are connected,the lelt hand may stack 4ths too, especiallywhen voicing Imaj7. irn!. or im7, and V7. The use of both hands in quartal r,oicingsis encountered in the rnodal comping of Mccoy Tr ner, Bill Evans, and Randy weston. 82
JAZZOLOGY
Right-Hand Quartal Voicings in Major Keys ImajT:2-5*1,3-6-9, 6-9--5.7-3- 6. or t4-7-3 iinl
14-bl, 2--5-1,4-b1-b3.-5-l_:1.or 6 9_-5
V7: 13-9-5,9-5-1, or -5-13-9(samequarrals asfor iim7) CmajT
Taken from C Major Pentatonic
Taken fiom G Maior Pentatonic
Taken from D Maior Pentatonic
These are examples of two-hand quartal voicings over major ii-v-I
Dm7
G1
CmajT
Dm7
G7
cadences.
CmajT
Dm7
Cmaj7
----q-
a e
-
-
('/
a)
a)
''l a e P?T
*g
e
/')
Right-Hand Quartal Yoicings in Minor Keys imi or m7: 2-5-1. 5-1-4, or 6-9-.s iirnTr5:l_ _bj. 1_l_4, o1b7 bj_, 13 VTalt:b7_3_t, 13,f 9,b13_b9. or bI I t9_{I I L nr i
Dm7b5
Taken from F Major Pentatoiric
Taken from Db Nla.iorPentatonic
Takenfrom Eb Major Penraronic Hereis an exampleof two-handquartalvoicingsovera minorii-V i cadence.
omzb5
GTalr
CmB
Dm7'n:
()
t2)
e
ho
GTalt
i
l
e
'€ WT
Lm,r
CFIAPTER6
83
Somc other permutationscoLrldbe
onrzb-5GTatt
b
CrnS
-_
.
t - _U m-/2) Lr/al t
G
Cm9
Dm7b.5G7a1t
L.mi
b
When playing 3-note type B voicings over an altered dominant, make sure to include the b9 in the left hand G-b7-b\ and never Q-bl-9). Over ImajT the left hand may alternatebetweenthe -5thanclthe 6th: 7-3-5 or 7-3-6. The foliowing chart shows some eff'ective voicings that have been used by many jazz pianists. They are useful in all two-handedcomping situations.They rnay be enlargedinto five- or six-note voicings.
3-6.7,3 6
lVlaj7 NIajT
9-3-j . 9-13-9
N'Iaj7
3-6. 3-6-9
nl/
b: s bz.bt b.r.;
Ilt
9 - st . # t t t - z
/
nl/
9--5-1,5 I l l .6
t)--s
b: o. b:-o-q
9 -5 1.6 9 -5
l,: bt s
5 i-l t. -5-9-11
t--+,b1
ml
L)-fr181.69 5. 1,3_.6 9--5-7,
b:-s. t,:--s-e.t3-6 e
m7D5
r-bs -bz .b: r ll
lr:-br:-1,e.t t-b't b:. b:-b.tbt :
nt 7b5
t-05,01, D5 l-t I
9-11 013
m7D5
t1-05-07
e- li. b3 br :. br : bq- lr :
bz-: r-r
7 .|
9 -s-1.9-5 e. 9-l.l-9
a- a I
9 5-1.3-r3-9. 13 9-5
7
3-b;-r)
3-5 l. 3- 1-l-I
7
D]-3-13,07 i-il.1
bs- :- r :.bq- #n- bj . Hqbr:- r:
7
t-bt
3-13 i. l*13-9
^t-
(0t1t. ------+
fi+
lAzz()r.o(iY
q f ir r - r : .f it t - i: - q
t-b t, t-t-b t,z-b t,rt
9 il-13, 11-13-9,r3-9 l l 9-5-1,5 l-4, l3-9 .s,J l3-q
:-br:-r,:-br:-bs,:-br:-f,q D7-3-D13
bg-#tFbto, #q-br:-r
D]-3-0t3
#g-brz-bg,brz-bg-frrt
t-bt-bg. z-bt*fr9
s s-h-#g,h-#g
z-bt-bg.t-h,frs
frs-h-frg,frrrh -frg,fi -#s-frt r
t-bt-bs,z_-h_frs
bt:- bq- filr h_[s_.bt:,
ClusterVoicings In classicalrnusicthis conceptis referredfo as secundal harmony. Clusters, also called tone clusters. consistof collectionsof pitchesthat are ciosely arrangcdby stackingmajor or minor 2nds insteadof 3rds or larger intervals. proAny ver-ticalaggregationof notes containing more than two adjacenttones can be callcd a ch-rstcr.Clr-rsters cottlvide maximum densityanclcan representeither dissonancesor more tonal consonances.provrdinga tight erucl pact arrangementof the notes.\In jazz these notes will almost always be mernbersof a particular scale.cl.tord.or mocle.In classicalmusic they need not be.)Clusters usually sound best r'vhenplayed at soft to rnediLtrnvolunle. Bill Evans and TheloniousN4onkwere pioneersin using clustersas chord r"oicings. Clustersare not uonnally usedin ii-V I caticucesand are not conventionalpiano voicings. Nevertheless.they can be very effective in some contextsand can spice up some melodic lines. By inverting the notes in a cluster (or b1'' dispersingthern into differcnt octaves).thc voicing can be openeclup to create some interestingresuits (such as quartal harmonies),but at tl"reexpenseof losing the characteristictight sonority of the cluster. Some ii-V-I cadencesin C rniiior with cltrstervoicings are shclwnbelow-
Dmll GTalt Cmajl3 DmTsus4Cliltt Cmajl3
Dml1
GTalt
Cmajl3 Dm7sus4
GTalt
Cmajl3
There are endlesspcrmutations.The best approachis to pack the cl"rordtonesplus opticlnaltones as closely as possible and experinent at the piano to find srnoothresolutions.Dissonancesneither have nor require rules, except: not s l) never have a rn2 on the top of the voiciirg-this makes a poor cluster sound; 2) low ransc lirnits shorrld below E! belor.l,micldle C lor a N{2nclclLrster(Eb-n and E for a nl2nd cluster (E-F) (]HAP'|I]R 6
[J5
Below areexamplesstudiecl previousl\in this book thatinclucleclusters.Noticethe cluster voicingsplayedover Gl3, Gi3b9andoverC3. Clustersin Major ii-V-I
t--*--l G 13
Type A
Gt3 G l3 b e
Type B
Cmaj9
Type A
Clusterssound particularly effective in minor contexts.especially over iim7b5 Clusters in Minor ii-V-i
Dmlbs
-€+
GTalt
umq
other common cluster voicings occur in the Phrygian mode. Below is an E phrygian or Esus4bgvoicing, and an inversion of an E7sus4 chord.
EPhryg
E7sus4
a
f
Observetl'ratthe cluster voicing played over iimTb-5in the previousminor ii-V-i cadenceG-b5-rj-I) is the same cluste'rI'oicing for an E Phrygitin.which played liom the root becomes l-bz4_5. This may imply the soupd of an E Phn'-qianrnode.Thus the voicing is called "E Phr1,g,"often r,r'rirren as Esus4b9.It also irnplies a cluster for thc tbllowing chords: G13. Dmg, Fnuj7b5, and DbTalt. ',oicing The suspendedcluster ioicin-s slructuretbr E7sus4 (.1-5-b7-l) may imply orher sonorities.such as the f-ollowinq chords. DBor Dm8, Fmaj71b5,6), G(add:t, Asus4(add9),BmTsus-l.nDiU'. Fragment Voicings Also knorvn as partial voicings, these incomplete constructions consist of just three notes, inclucling a half step (or lessoften, a whole step)on the bottoni. Becauseof their weak and ambiguoussound, they work especiallywell over 3/4 meter tunes,rvhich lack the strong metrical pulse of 2 and zl associatedwith common time. Fragmeni voicings cierivefiom early twentieth-centurl' French composers,especially Eric Satie, Claude Debussy, Maurice Ravel, and Gabriel Faur6' In essence,the hannony is suggestedrather than defined. This is accomplisheclby omitting some chord tones to achieve a desired nrusical effect. This concept has influenced many jazz pianists,including Bill E'vans' Keith Jarrett, Chick Corea. Thelonious Monk, Clae Fischer, and Herbie Hancock. The technique deriveslrorn the playing style of the greatjazz pianist and innovator Bill Evans, whose original harmonic approach (dominated by rootless and cluster l,oicings) had an inportant ir.npact on the playing of moctem.jazz iianistr. Examples of fragment r,oicingscan be heerrdon many of his recordrnss.
86
,IAZZOLOGY
The follorving are typical fragment voicings
Cmaj7
G13orG9
-]+ -t F itm /P)
Fmajz#tt
Am7
BTalt
BPhryg (Bsus4b9)
Notice how several chords share the same simple voicing. Consequently, a limited number of voicings can have many applications. Here is an excerpt from an original composition
In Three Days CmajT
FmajT
Bbmajl
Elalt
Gm7
Am7
C7 Fmajl
EF lr -g
&
.B
l, -8:
O 1998Nor EddineBahha
" Another example of thesei-note voicings may be found in Stuart Isacoff's tune, "Justice Fragment Chord Summary
M7-1-3 or 2-3-5 or f,4-5-N'lz bt t-bt or z b3-5 4-05-D ]
q-b:-b: or 4-b5-13 b1,l-3 or l3-b1*9 or l3-Dl-D9
bt_l-zor #g-:-bt:
two fiagYou may noticethat Bill Evans type B voicings combine portionso1'two three-notegroupings'inciuding ments in one voicins.
CHAPTER6
87
Chapter 6 Exercises 1' V olc e t he fb l l o w i n -uc h o rd s u s i n g -3 n la ncl7th gui ci etones r.ri th3-note voi ci ngs.4 note \orerngs. dr op Z. and drop 2-'1. For the purllosesof theser'\ercisessuggestedran.tc limits rnay be exceedecl. Example Cm 7
r-m?
Dbj
^
GbmajT
BmB
L,
F7sus4
a
\
EDmlD5
^ ^l ('m/P -l
-
ATalt
2. Voice the following three turnarounriswith 3rd ancl7th guide lones, then again on separalestaif;laper ivith 3, note r.,oicings.4-note I'oicirrgs.drop l. and drop 2-4 . Llse both inversions,types A anclB. Fmaj7
Dm7
Gm7
C7
BbmajT Bbt
bT (
EIJ
IAZZOLOGY
An-r7
Am7b5
D1b9
(inr7
GrnT
C7
Bbmaj7
Dbmaj7
Gbmaj7
Cbmajl
BbmajT
F7sus4
a) I VV
e
voic3. Select severaljazz tunes of your choice and apply some of the voicings discussedin this chapter- See the options. ing examples in the appendix for more
CFL{PTER 6
89
CHAPTER
MODTJIATIONSAND MODAL INTERCHANGE Modulations are change'sof key. They may be as subtle as the brief suggestionof a new' tonal center,or as significant as the permanentestablishmentof a new key. Modulations occur frequently in most jazz standardsand can be as shorl as one rneasllreor less. To be considered a true modulation, the new key has to be veritled by a cadence, typically involving V-I chord motion. Sometimes chords other than the tonic (I) chord are briefly emphasized in a chord progression, without the existence of a confirming cadence.This is ref'erredto as tonicization, implying that a new tonic has been suggested without a true modulation to that key. Any ii*V creates an instance of tonicization, as shown in the following example, which tonicizes the key, of A. V-I Tonicization
l l t tcmajT tr I
C:
|
lmaj7
ot
I
"t
I
Y7lvi
Y7/1i
Y7
I1
A:
t
lmz vimT
I
nmz G7
cmajz
|
Vl
iimT
lmaj7
Tonicizctriotto.fA
ii-V Tonicizations
FmajT I Enrz F:
i'iim7
Imai7
D: iiniT
{7 | n-z IllT
G7 I arnzbs Dj
r'irn7 lll
V7 C: iimT
Gm7
iiimTb5 VI7
FmajT
CmajT
InrajT
iimT
V7 Gm: iim7b5 V7
Attl A A
Tonic'i:trrionof _ Toniciz.ationoJ | Tonicizrt.tion of D Gm T
If another key becomesfirmly establishedand actually replacesthe original key by meansof a confirmingcadence. a true modulation has occurred.The follot'ins shows a modulation from C to A.
cmajT C:
90
Imaj7
|
.t V7llV
.IAZZOLOG\'
I
nm";z
|
"t
IVmajT A:
V7
I
o-u:t Imaj7
I
Bm7
I E7 |
iirn7
V7
I
AmajT Lnaj7
TYpesof Modulations Modulationsoccurin man)'ways,but most may be categorizedinto one of thesefour types. . Direct . Prepared . Pivot Chord . Transitional In direct (alsocalledunprepared or atlrupt) modulation, the key changesfrom chordto chordwithout preparation, giving the impressionthat the musicis suddenlyin a new key. Major Key to Major Key Direct Modulation
F:
FmajT
cl t
FmajT
LbmajT
ImajT
Vll
ImajT
Ab: ImajT
Minor Key to Minor Key Direct Modulation
Fm:
Fm7
c11
Fm7
im7
vl 1
im7
AbmT Abm:
im7
The modulation may also occur after the V7. Major Key to Major Key
F:
AbmajT
FmajT
c11
FmajT
c11
ImajT
v1l
ImajT
v l1
Fm7
c11
Fm7
c11
im7
v1l
im7
vlt
AD:
LnajT
Minor Key to Minor Key
Fm:
AbmT Abm:
im7
A good example of direct modulation is fbund in John Coltrane's "Giant Steps," which tvill be discussedin greater detail later. In prepared modulation , a Yl , a ii-V, or a vii"7 sets up the arrival of the new key. Major Key to Major Key PreparedModulation Using ii-V FmajT
F:
Imaj7
cll vl1
|
BbmT r,bt
**"it
ImajT Ab: iim7
V7
AbmajT ImajT
Minor Key to Minor Key PreparedModuiation Using ii-v I
Fm:
lnbmzbsr:bt I
Fm7
c11
Fm7
im7
Vi I
im7 Abm:iim7bS v]
ADmT im7 CTIAPTER 7
91
Each tone of a diminished 7th chord may resolve to the chord one half step above. However, the symmetrical structure of a diminished chord results in four enharmonic equivalents for any given chord'. roJ =br1t"7 = $ivo7 = vio7 (i.e. F'7 = Ab"1=B"J = D"7). This resultsin four possiblekey-arearesolurions:bti, IIt, V, bVII (Gb,A, C, and Eo, or Gbm, Am, Cm, and Ebm).
PreparedModulations Using the '7 Chord
Fma jT I lmajT
Gb:
u"r
lc l- ' . iz
viioT
lmaiT
(% step*oaltotron above)
I F:
FmajT ImajT
Am:
nb*l
Am7
viioT
im7
(M3rd above) ^ohro,,on Fm7
I
B%
CmajT
C:
vii"7
imaiT
I
Fm:
iml
(Pith moAafion above) Fm7 Fm: iml
CTalt
Fm7
Y'7alt
tn J Ebm: viioT
EDmT im7
+
(whole step modulation below) In pivot chord modulation a common chord that is diatonic to both the old ancl new keys serves as a link or "pivot" between the two adjacent tonal areas.It is not necessaryto change the key signature when a piece modulates, aithough this can happen sometimes to facilitate easier reading of a melody. In the progression beiow, the entire Cm7-F7 unit has a dual ftrnction, acting as v1m7-II7 in Eb, ancl acting as iim7-V7 in Bb.
Fm7
E b : iimT
BD7 V]
Cm7
F7
vimT
IIl
Bb:ltm7
Vl
Ebmaj7 Abmaj7 Imajl
IVmajT
I | I
BbmajT
lmajT
Similarly, in the following example, the Am7-D7 is functioning both as iiimT-VI7 in F and iimT-V7 in G.
92
Gm7
C7
FmajT BbmajT
Am7
D7
iimT
Y1
ImajT
iiimT
YN
G : lim7
v7
IAZZOLOGY
IVmajT
I l I
GmajT
ImajT
Pivot chordmodulationworks the sameway in minor keys.
Fm7b5 sbt
Ebm6 Ebm:
im6
iimTbs
I
ol*
sbm/DbCm7b5
F7
B b m7
im
(im)
vim7b5
In
vm7
B b m:i vm
(i vm)
iimzb5
Y7
im7
vj
Some modulations employ only the V7 instead of the entire ii-V7 cadencebetween keys
Dm7
G7
C: iim7
B7
Cmaj
|
Yl
Y]/111
Imaj7
Em:
Em7
bvtmaj7
iiimT
v1
iml
The Cmaj7 chord is diatonicto both C major and E minor. The progressionbeginswith ii-V-i in C major, but thenthe Cmaj7 becomesthe bVImajTin E rninor,resultingin a bVImajT-Y7-,iml progressionin E minor. A transitional modulation occurs when. following a cycle of chromaticii-V's or sequentialdominants(or sequentialdominantsubstitutes), the musicwinds up in a differentkey from whereit started.A seriesof progressive sequences, maintainingfixed horizontalrelationshipsbetweenchords,arrivesat a destinationdift'erentfrom the startingpoint.
Fm7 sbt Eb: iimT
I
Vi
nbma:z ImajT
Em7
A7
D : iirnT
EbmT Abl Yi
V7 D b:1im7
Dnl.7
G7
CmajT
C : iimT
Y7
Ima.j7
The changes go chromatically through thrt'e key areas, each suggestedby a ii-V pair. The tonicizec'lrueas are D major, descending by half step to Db majr;r. then down another half step to the final destination in C major. An example of transitional modulation is for-rndin Coltrane's "Moment's Notice."
Fm7 Bb7
Em7 A7
LbmT Db7
EbmajT
D: iimT Y'7 Eb: iimT V7
IM7
Gb: tim7 Y]
Dm7 G7
DbmajT
F;bmT Ab7
C: iimT V7 Db : iimT V1
LnajT
of "Along CameBetty" provideanotherexampleof transitionalmodulation.(It alsoconThe lirst eight measures tainsa tritonesubstitute,ri,'hichwe'll cover in Chapter8.)
BbmT | AD:
.. ttm/
BDmT
Bm7 A:
iimT
A D:
rrm /
Bm7 Ej A : iim7
V7
AmajT Imaj7
G:
Ab7
GmajT
SV7/l
h'naj7
Ffr7 F:
SV7/I
CFIAPTEIT7
93
H E F
$.
3
3 :':
Nftrst tuncs do nclt contatn actuiil modulltions. Thcy may,appeaj to change key. but i t' s usual l v bestto analvzer n t ends,"i n the originll key. A g o o d e x a m p l ei s " .l L i s Fri G maj or.
,l' r
,li'
CmajT
Cm7
b-7
: IVmajT
i v mT
bvttz
B b: iimT
GmajT
BbmT L... vl1lm /
haj;
v7
A b : iimT
Eb7
Am7
bvn
iim;
D7
v1
The chord f-unctionsbegin with IVma;7, then ivmT (it's possible to remain on the same chord quality. IVmajT), moving to its related v7, producing bvttZ from the perspectiveof the original key. This is called the back-door cadence (bVII7-Imaj7) ieading to G niajor: ivmz-bvll-Imaj7 or IVmajT-bVII7_'Imajz, and analyzecl as a subdominant cadence. In other words, the tonic chord is preceded. not by the V7 a 5th higher. but by a 7th chord (bVII7) a whole step lower. Some exanples of this sequenceare found in Miles Davis's "Half Nelson." Charle Parker's "Yardbird Suite," Tadd Dameron's "Lady Bird," anclErrol Garner's ..Misty."
Othertvpesof modulationare parallel V-I anttii-V chains modulation,as mentionedin Chapter4. Any consecutive setof severalparallelV-I's or parallelii-V's creates"moclulation"to many foreign keyi, eventhough the chordmay be heardonly briefly or not at all. "GiantSteps" V-I ChainsModulation Bmaj7
D7
B : ImajT G: V7
Grnaj7
EbmajT
Bbll
InrajT Eb: V7
ImajT
I
Am7
D7
G: iimT
V7
" B lues et t e" ii-V C'hainsMoclulatiorr
BbnrajT
Bb : lnrdT
Arn7b5
D7
Gm: iirnTb.:
v1
F:
Gm7
C7
i i nrT
v1
Eb:
F'm7
nbt
iimT
v1
Modal Interchange Modal interchange (sometimesref-errcrlto as borrolyed harmonies. mode mixture, or just mixture) is the use of a chorcl from a parallel (having the slune root) mode or scale. Chords are "borrortu'ed"tiom the parallel hey and directlt' insertedinto the original ke1'.rcplacing expectedfunctions. Chords that occur naturally in the natural or harmonic minor scalearc commonlv useclin the parallel major. Borror.vedchords have "alt.erecl"tones that do not belong tcl the original kcy signature,bul that occur naturally in tl"reparallel mode. By borrou,ing chorrisliorn parallel nlinor. the major scale expandsits r.csources by adding the three variant notes of the natr-rral rninor scale 1bl, b6, and b7). Arrangersand cotnposersu\c modal interchangein orclerto create,to adr-l,and to ernphasizeneu,colors in a cor.nposition, as r'vellas to srmplily'modulationsto certain foreign keys (specil-ically.to those kc1,sthat are closelv relatedtcl the parallel urinclror nurjor of the kev in which the llsqs or section startecl).
91
IAZZOI,OC}Y
chords that includeb6-vii"7' iim7b5,ivm, and vim6-are very commonlyborrowedin major key progressions.
I D m 7B'7 l C ma j IT
G7b9lCmajT I DmTbS | (,,NightandDay,,) I Dm7Fm lCmajTI I Dm7Fm6lCmajTI lDmTFm/GlCmajTI lDmT Fm6/GlCmajTI Chordsthatcontainb3arealsocommonlyborrowed:im7, bVImajT,and bIIImajT. lCmaj7Cm7 lCmajTI
lCmajT AbmajTlCmajT I lCmajT Ebmajj lCmaj7 | A half-diminished7th chord can function as iim7b5in a major key. lCmajT lDmTbs/ClCmajT I A very common borrowing situation (classically-though not exactly accurately-termed the phrygian cadence)occurswhen a pajor or dominant v chord is apprJachedvia ivm6 in first inversion. lCmaj7 lFm6/AbG7 lCmajTI or lCmaj7 lFmf/RbG7 lCmajTI Common Chord Borowing Examples Theseexamplesillustratehow commonma.ior-keycadencesmay be creativelymodified with
modal interchanse.
Picardy Third Cadence
Gm7
c7 I
FmajT
iimT
v7
ImajT
ll o".o*",' limtb'
v7
FmajT
BbmajT
FmajT
lf o""o-",,FmajT
ImajT
IVmajT
ImajT
ImajT
Dm7
fl ,""o,n".,FmajT
FmajT n*zUs I
A7
ImajT Dm: iim7b5
v7
im7
lmajT
ImajT
Bbm6
FmajT
| I
ivm6
F,bmT
Db: iimT
ImajT
tbt
I
V7
or*";z ImajT
Back-Door Cadence
FmajT Imaj7
t.
lBbmajT EmTbs I IVmajT viimTb5
FmajT ImajT
ll ,."o-.,,
FmajT Imaj7 Ab:
1im7
V7
F:
Imaj7
CHAPTERT
95
lie virtually endlesspossible parallel nrode functions. Here is a Beyond these relatively contmonpiacec-ran-rples chart of those availableto maior kevs.
Harmonic NIinor
im(maj7)
llm /P- )
Melodic Minor
im(maj7)
irrnT
Natural Minor
inJ
Dorian
..-t-
brttmalzl#sy
ivmT
vtbg
btttmal;1f,5; I V 7 (f1l 1 ;
..- t-
bvtmajT
..
-
V9
V l m -/t ? .- )
vl1oJ ^t
vi l m /3 )-
bvrrz
llrn / 2-)
btttmajT
ivmT
vmJ
bVhnajT
im7
iimT
bntmajT
IV7
vm7
v l m -t/ 2 --)
Phrygian
im7
bltrnajT
bttn
ivmT
vm -t/ 2-)
bvtmajT
Lydian
ImajT
TI7
iiimT
+frvm / 2)
VmajT
vimT
viimT
Mixolydian
n
iimT
r l 1 m- /t P )-
IVmajT
vm7
vimT
VIImajT
Locrian
r m -1/ P-- )
bllmajT
Dvmal I
bvn
.
t...
Prlrm/
ivmT
t--
.
bvttmajT t..
Pvr l m /
t.,
Pvl r m /
in Nlinor Keys Modal Interchange Chortls may also be borrorvcdfrom thc ltarallel rrajor rvlien in a minor key, though this is less coll'lllloll than the oppositesituation.The nrostcornrnonlyborrowecichord in minor keys is I or Imaj7, called the Picardl' 3rd. (This chord often occurs in the l-inzrlcadenceof a sons.) Picordt'3rtl
ll Cm:
cm7 intT
EbrnajT
AbmajT
Dm7D5 G7alt
I-..
bvlmajT
iimTb-5 v7 C:
2 lltiltill
/
CmajT
tl ll ll
Inaj T
Other diatonic functions can be borrou'ed from maior to tninor as well. Here the diationic iimT chord is borrou'ed from E maior. iThe Shadow of Yo ur Snrile"
F#m7 E: i i mT
96
.JAZZOLOG\
B7
Em7
Y7
im7
Chapter 7 Exercises 1. Identifytonicization andmodulation in thefollowing. a. lCmaj7| Am7lC7lFmajTlEmTA7 | Dm7G7 | dbmajT I ll b. l D m ajTl EmTlpfmTI Gmi C7lF$m7 b857 lE mTs b ZI n b mTI 4 7 ll c. lEbmajTI cfim7Fh I BmajT1Bb7sus4 | Am7 I BbTsus4 | A7sus4| D7sus4| GmajTll d. I Cmaj7lBl lc7 | FmajTI Ar't lDbmaj:-| CTaltI Fm7| Dm7b5obl lcmajT ll 2. Provide four examplesof direct modulation. 3. Provide four examplesof preparedmodulation. 4. Provide four examplesof pivot chord modulation. 5. Provide four examplesof transitionalmodulation. 6. Look for tunesthat usedirect, prepared,pivot chord, and transitionalmodulation.Extracl the examplesand provide harmonicanalvses. 7. Name the parallel major and minor keys that contain the respectivechord functions shown below. Assume enharmonicequivalentswhen necessary. Example ^ Ab:
Cm7 iiimT
Abm:
EmajT rVImajT
C$m7
FmajT
Df,m7
Gm7
CmajT
(J!lm
CmajT
EbmajT
DbmajT
Cm7
Cm7
Bm7
GmajT
BbmajT
Em7
AbmajT
Fm7
GbmT
BbmT
Bm7
BmajT
DmajT
BbmT
DmajT
Am7
BbmT
Dm7
GbmajT
Ebmaj7
GbmajT
G*m7
CmajT
ri m/
Gm7
C$m7
Dm7
AbmajT
BmajT
Cm7
CfmT
/
CIIAPTER 7
97
l)bnra.j7
Enra.jT
Ama.17
F md T
Ama.i7
C mq T
Ama17
Fm7
Gm7
BnajT
DmajT
CmajT
DmajT
EmajT
8. Find five tunes in arrv style that use rnodal interchange and extract the examples. Provide harmonic analysis for each.
c)8
lA7.Z()L()C'\'.
nn
c
RTHARMONIZATION Chord substitution is a procedure for increasing the harmonic interest of a tune. While the word "substitution implies a one-for-one exchangeof chords, this is not always the case.Since chord substitutiotl may resuit in a totally new harmonic rhythm, rvith either more or fewer chords than the original, some theorists feel that reharmonization is a better description of the process.In any case, nearly alljazz standardsincorporate substitutechords. Some affect the underlying harmonic structure very little, and may be utilized by the soloist without the support of the rhythm section. Others result in a more significant restructuring of the harmonic progressionof the tune and require the support of the rhythm section. Following are some basic but effective chord substitutions that are commonly used by most jazz composers, accompanistsand arrangers.
Diatonic Substitution in Tonal Contexts iiimT and vimT may freely substitutefor lmaj7; these three functions may interchange becausethey all act as tonic chords, which define the key area. Moving between tonic chords adds color and variety without a real change in harmonic function.
CmajT
CmajT
ImajT
ImajT
b e c o n re s:
cmajz o-t I Imaj7
CmajT
Em7
Ima37
i i i mT
vimT
Similariir, iimT may substirurefor IVrnajT. Both iimT anct IVmajT contain the stable tonic of the key along r'vith the unstable 4th, functioning as subdominant chords, and may be interchanged.
FmajT
G7
CmajT
IVmajT
Vl
lnrajT
becomes:
CmajT
Dm7 iim7
Vi
lmajT
Finally, V7 and viimTb-5c6nrainboth the unsrable4th degreeand the major 7th (or leading tone). Thesetwo notes are a trltone apart, causipg these chorclst9 be highlir unstable. Accordingly, they function as the dominant chtlrds of the key, and may be substitutedfor one another.
CmajT
Dm7 iimT
Vl
becomes:
ImajT
Dm7
Bmzb5
CmajT
iimT
viimTb5
ImajT
Diatonicsubstitutionfollorvssimilarpracticein minor keys,with chordsin the samefamiliessubstitutingfor each other.
Substitutionsin Modal Contexts ways. This is priIn functional harmony, chords are categorizedaccordingto their tendencyto resolve in certain within the overmarily basedupon the presenceor absenceof specific notes that signal voice-leaclingexpectations despite their different qualtall key, Thus Cmaj7 ancl Am7 are substirLrtestor one another in the key of C major, ties and associatedchord scales. 99 CFLA.PTERI]
Modaljazz reliesupon a completelydiffbrentmethodof organizingharmony.N,{odal chord "progressions" are chosenfbr theirindividualcolorsor sotit.tds, not fbr theirtendencyto moveto otherchordswithin the overallkey. Thusa "diatonic"substitution fbr a speeitic chordin rrodai jazzts not chosenbaseduponany tendencvro resolve in any specificr.vay.Instead,modal substitutions mustproducethe samesoundas the original.This is generally achievedby choosinga chordthatutilizesthe samescale. For example.if a tuneor sectionof a trrneis basedon F Lydian and the chordis Bm7b5,a possiblesubstitution {ir rn7b5standsin for VmajTin anyfunctionalsensein a Lydiancontext.but woulclbe Cmaj7.This is not because simplybecause they sharethe samechord scale.Otherpossibilities would be Dm7, Em7, Fmaj7,G7, and Am7. In short,any chord built on a note in the mode,and containingonly the notesof that mode, is a possible substitution. A seriousconsideration when using substitutechordsin modal harmonyis to avoid chordsthat will suggestfunctional harmonyanddestroythe modal quality.For example,if a modal areawerein the key of B Locrian,the substitutionof CmajTfor Bm7b5would ahnostcertainlyvitiateany senseof modality,effectivelyforcing the ke;rinto C major.
Tritone Substitution b5 sub), this deviceis usedexrensivelyin reharmonization. Also referredto asflat five substitution (abbreviated In it, a dominantchord is replacedor followed with anotherone whoseroot is a tritone away.The tritone sub is one of the basiccadencesof jazz, both as a two-chordstructure,and as a variationof the ii-V-I cadence,which thenbecomesiiJII-L The interchangeis possiblebecauseV7 andbIU sharethe sametritone:the 3rd of one is the bTthof the other.(Thesenotesare also the unstable7th and 4th clegrees of the parentkey.) The b5sr-rb tbr G7-V in the key of C-is Db7.Eitherchordresolveseasilvto Cmai7.
Db:.
The tritone substitutechord is often prec.'.ledby its relative iirl7. u,hich here is a minor 7th chord built on the u6th degreeof the kcv.
Dm7
Cnra.jT |
iimT
becomes:
Dm7
G7
AbmT Db7
iimT
Yl
bviml
CmajT
"t
v1
Imu y T
btll
lmajT
A betteranalyticalsymbolfor bIITis Sub\'7ll (orjust SV7/I tor short),indicatingthattheV of I is thechordbeinq replaced.
''SV7/
Dm7
G7
AbmT
Db7
CmajT
iimT
\'7
bvimT SV7/I
ImajT
mav also be followed by any diat()nicchord natmefor which secondarvdominantsare used,giving us sYInbols such as SV7/ii. Sv7/iii, SV7/IV. erc.. indicating tritone subs fbr all the secondarydominar-rttunctions. ln C nrajor.SV7/ii is the tritone sub for Yilii r \7). which is Eb7. SV7/iii is the tritone sLrbtor V7/iii (87). which is F7, and scron lbr SubVl/lY. /V . and /vi.
100
.lAzzoLoGY
chromerticallyby half step. ntaking a very strong motion to the tonic chord. Whe n diatonic substiSV7/[ resolr,'es tutes stand in tor either the ii7 or the Imaj7. the result is descendingmotion b,v rnajor 3rd.
vbz I CmajT
Dm7
BbmT
Am7
FmajT
iim7
SVTA
vimT
IVmajT
Imaj7
SV7/I
FmajT
obt
Am7
IV mqT
SVTiI
vimT
A corlmon use of tritone sLrbstitutionis dernonstratedby the follou ing chord progression, u'hich empioys a chromatrcally descendingbassline. I
Dm7 BbmT : iinT
SV7/l
CmajT
Bm7
lmajT Am: iimT
sbt I tmt I SV7/i
Gm7
im7
Gm:iim7
Cbt
FmajT
SV7/l
ImajT
^b7 F: nmJ
SV7/i
im7
Unaltered SubVT chords (or those witn bslt 11 as their only alteration) always take the Lydian b7 scale,the fburth mode of the melodic minor scale.This scaie is also known as Lydian Dominant, and occasionally as Mixolydian *11. Lydian b7 is enharmonic to the altered scale of the V7 a tritone away. In other words, the same notes are played over GTalt or Db7 when resolving to C. Ab Melodic Minor. Modes I and 4 I-^
Db Lydian P /
G Altered Scale
Scate
l-
D+
a'r
Any voicing that r'vorksor er V7 will also u,ork over its SubV7. Each chord voicing on thcrleft (1-6) in the following diagratn maf interchange r,viththe correspondingone on the right (a-t), in alternationol as a substitute.
Gr3
€-
G13be csbt:
,e
b .*
G7att
h=- b*
-e:C':
, -ei('
b* -O
s- ,ie- b= oo-
1234- iba b c d e f Becausethe notes are the same in the respective G7 and Db7 chorclsin the diagram, a scale that fits the extensions or alterations of one chord will also fit those in the other. .
Ol.er Gl3 or DbTalt.you can play G Lyclian b7, which equiilsDb aitered (or D rnelodic nrinor). The 13th of G ( E ) i s th e [9 o f D u .
.
dominant diminished over both chords. O\,er Gl3b9 or D"7*9, play the Ab climinishedscale,prodr-rcing
.
t'Slil t and natural Over G9bi3 or Db9b13,play the u'hole tone scale.Both chords will receive the correct 9. t'7. Again. this also fits if a Over G7alt or Db9. play Ab rneloclicminor to produceG alteredor Db Lydian b5lf,I 1 is presenton Db9. O r c r G l .l t9 o r D I 1 !9 . p l a y A b tl i rn i ni shed. , b Lycl i anb7. O v er G 7 l g b l 3 o r D l ,1 3 ,p l a y A b m e l odi c mi norto producc-G al tereclorD C,FL\PTERf]
10i
Tritone substitutionalso providesa ntethodfor improvisingoutside of the harmony,by outhninga melodicline that is a tritoneaway from the expecteddiatonicdominant vice versa). ior
oblatt
or the opposite: GTbe
CmajT
1-e-) l i
) John Coltrane often substituted the ii-V a tritone away for the original ii-V cadence.For example, the progression
Dm7 G7 iimT
CmajT
vl
Imaj7 wouldbecome:
tbmt nb7
I t-":'
Gb: iimT V7 C:
ImajT
Mixture of the sub ii-V with the original often occurs, as in Duke Ellineton's "Satin Doll."
Am7 D7 G: iim7 Y]
Abmtobt Gb:1im7 V] C: SV7/I
toz
JAZZOLOGY
cmaiT Imaj7
I
The SubvT chord may serveas a pivot chord in a moclulationto a ibreign key.
nzut Am7 ln*zbs
Am7 Am:
im7
iim7b5 VTalt
tbl
im"/
Gm7 F:iim7 im7
Gm: S V 7/i
Changing Chord Qualiry A dominant 7th chord may substitute for ermajT or a m7 chord on the same root, provitling more harmonic possibilities when comping and improvising. Here is chord quality change applied to a diatonic turnaround in C major. Minor to Dominant Chord Quality Change
I
CmajT Am7 | Dm7 G7 Imaj7 vimT
becomes: I Cmaj7 A7 I
D7
Imaj7 YIl
ilM
iimT Vl
G7
Taking this procedure a step further, replacing the expected YI7 .lll , and V7 chords with their appropriare tritone subs results in the Tad Dameron turnaround.
|
.-";t Imaj7
nbz SV7/ii
l^bt
n''l
SV7,^/ SV7/I
A connion rnoclification ol this progression occurs when majT chords are substitutecifor the ciominants
|
.-o.it
trbnrajT lebmajz DbmajT
IinajT
blttmajT bvtmajT btlmajT
Numerous instances of chord quality substitr-rtionappear in the jazz and standard song literature. Here are some notableexamples. . "Just Friends" first four bars . "Sophisticated Lady" last two bars of the bridge . '''Round Midnight" last two bars of the bridge . "Wave" between the first two A sections . "Chega de Saudade" the bridge. where Dm7 becomes Dmaj7 Substituting a m6 or m(mai7) Chord for a m7 Chord This technique resembleschord quality substitution. Following a ii-V cadenceto a minor 7th chord, the minor 7th may be changed to a m6 or m(maj7) in the fbllowing measure, melody permitting. The effect is to continue the harrnonic rhythm, giving the impression that the chord progression changes regularly on each measure, while, in fact, only the cluality has changed.The last four bars of the A section of "Autumn Leaves" turnishes an example.
Am7h5 ..
t r lm /-P5
DTalt
Gm(ma.i7)
Gm6
VTalt
im(maj7)
im6 C}IAPTER8
103
PassingChords Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a third in order to create more movement.
lCmaj7
I Dm7
lE mT
lG 7
A diatonicpassingchordmay be insertedbetweenI and iii. lCmaj7Dm7
I Dm7
lEmT
lcl
I
The easiestpassing chords to recognize move chromatically, with the passing chord quality usually matching that of the chord above or below. Here is the same progression with a chromatic passing chord between iiimT and iim7.
lCmaj7
lE mTE bmT lDmT
lG 7
I
Adding Extra Chords WheneverImajT movesto vI7, two additionalchordsmay be insertedto strengthen the progression. Below we,ll examinesomepossiblemodificationsof a simple turnaroundin c maior. I
CmajT B7 | sbt I
A7
ImajT Y7/11i SV7/vi Y7/i1
Dm7
G7
iimT
v7
Replacing the IIIT with its tritone sub results in smooth bass movement and parallel dominant double passing chords: two passing chords in a row-B 1 and.Bbl-between CmajT and A7. gi is a secondary dominant of Em.
CmajT 87 ImajT Y7llii
sbt
A7
SV7/vi Vl/1i
Dm7 iiml
l"'
v7
Notice that each chord receives the same metric placement and time duration. The turnaround to the flrst section of "Satin Doll" (measures7 and 8) furnishes an example of the progression shown directly above (parallel dominant double passing chords). Another example is found in the Latin jazz standard"Aquarela di Brazil.', The same turnaround may also result from a modification of the following chord progression.
ll lCmajTFmajTl Em7 A7 rt Imaj7 IVmajl l1im7 vr7
Dm7
G7
iimT
v7
also becomes
l.-":t IrnajT
ro4
JAZZOLOGY
B7 Vi llll
nbz
A7
Dm7
G7
SV7/VI VI7
iirnT
Y7
As noted before, the qualitiesof the chorcismay be altered. ParallelMajor Double PassingChords
l.-":t
Bmajz nl-u:zaz I
Dm7
G7
Dm7
G7
ParallelMinor DoublePassinsChords
Bm7
BbmT A7
Diminished Chord Functions As noted in Chapter 5, any functioning dominarrtlth chord may be replaced by its related vii"7. When resolving to their intended targets, these are technically not passing chords, as they perform the dominant function in a cadence.In practice, whenever a diminished chord is built on a non-diatonic step and also leads to a diatonic chord, it may be called a passing chord. These are the most common placesto put diminished passingchords in a major key: , l. L^ . on the f,1 or bl scaledegreeleading to iim7, . on the b3 scale degree leading to iirnT or to iiirnT, . on the {4 scaledegreeleadin-sto \,'7, . on the f 5 scaledecreeleadrnsto r im7. All diminished chords usually sound best il,ith the diminishedwhole-half scale as the sourcefor urelodic notesor Diminisheclchords functioning as r''ii'7 may also take the harmonic minor scalebasedon extendedarrangements. the root of their target chord as an impror isational choice if that chord imrnediately fbllorvs ancl is nrinor. If the targetchord is a major or clominantchorcl"tire diminished sczrieis usually best. though any scaleder ised with the intent to tonicize the targetchord and that includesthe notes of the diminished chord rnal' be explored. In the lollowing turnaround,notice the chromatic bassline betweenImaj7 and iirn7.
CmajT A7b9
Dm7
G7
Imaj7 Yl7b9
iirn7
V7
becomes:
CmajTC#"2
Dm7
G7
ImajTvii"7/ii
iimT
V7
Dm7
G7
iirn7
V7
A chord may change to a diminished chord on the same root as an embellishmen
Cmaj7 C"7
Dm7
G7
imajT I"J
iimT
Y]
Em7
Eb"7
i'7 is an embellishingchord of Imaj7. biii ; has a similar function as io7 since both are a n3rd apart.Notice hotv ''Body' and eachone moves smooihly'to iim7. Ret-erto lneasuresi3-15 of "Chega de Saudade"and measure22 o1 Soul" for two of the many examplesof enrbellishingdiminished chords found in the literature. CHAP'T'ER8
loi
Diminished Substitution The equivalencies of the diminished scales we examined in Chapter 3 also apply to the related chords. Each of the tweive possiblediminished chords and the twelve possibledoniinant 7b9 chords are equivalentin some inversion to one of three diminrshed7th chords: C"J , Db"j, or Do7. .
C" 7 = Eb " J = Gb " J = Ao 7 = D 7 b 9 = F7b9 = 6b7b9= g7b9
.
Db" J = E" .l = G" J = Bb " j = p ,b 7 b 9= pl 7b9 = 37b9= g7bg
.
D" 7 = F " J = Ab o J= B " l = E j b g = Gl bg = gbl bg = gl 7b9
Here are dorninant chords obtained by the diminished substitution method.
Gm7
C7
FmajT
iimT
v'7
ImajT
may become:
Gm7 ED7
FmajT
iimT bvill
ImajT
Gm7
FmajT
Cbl
iimT SVTA
ImajT
Gm7
A7
FmajT
iimT
IIIT
lmajT
Anv vii'7 chord may rcsolve to three other minor (or major) key' areasother than its related one. For example B'7, D"7 , F"J. or A'0"7ma\. resolve to any of the following: .
Cm6 or CrlajT
.
E)m6 or Ebm.U7
.
Firn6 or F$n-ra.i7
.
Am6 or Arnaj7
By the same token, the relateclV7b9 can work the same way.
G7D9
Cm6
Cmajl
sbtbg
(D"7)
-.l
E?mal
I
obtbt)
(F"7)
f fmaj
/
Deceptiv,eResolution
ExpectedResoLution
ETbs
AmajT
Like the G7b9chord,Bb7b9,Dblb9,andE7b9 couldalsoresolvedeceptivelyto one of the ke1'son the right. 106
IAZZOLOGY
We have seen that if we add the related ii tti a V7, new harmonies may be created. Thus new deceptit'e cadences may occur as new rehanlonizationsfcrrthe previousdiminished chords.
Dmlb5 G'7b9 as reharmonization for B"7 pn7b5 gb7b9 as reharmonization for Do7 ADmTb5Dblbgas reharmonization for F'7 Bmlv5 E7v9 as reharmonization for G!o7 All the above minor ii-V cadences may resolve authentically or deceptively to one of four key areas: Cm6 or Cmaj7, Ebm6 or EbmajT.Fim6 or FimajT. and Am6 or Amaj7. Wbg of iirnTt a Leading Chord A straightforward example of dirninished substitution, a secondarydominant chord may be inserted before iimT in any lengthy ii-V-I cadence,thus creating a renewed tension toward iim7.
Dm7
G7
CmajT
Iim7
v7
ImajT
I becomes:lDmT A7b9 Dm7 G7 I iimT v7bgtil limi V'7
CmajT ImajT
This technique is mostly used when comping; it allows a new confirmation of the ii. "Body and Soul" is a very good example, as is Spencer William's "I've Found a New Baby," excerpted here.
cTbs
Cm7 G7b9 Cm: im7 V1b9
rm7
Fm:
I
VlD9
Side-Stepping Also calledside-slipping.this techniclue As it is mostcommonly canbe appliedto any lengthyii-V-l cadence. used,a chrornatic ii-V progression a half stepaboveor belowis inserted,rvhichthenmovesbackto the first key area.This effectintensitles harmonicintelc'standis oftenusedon repeated ii-V's.
C:
Dm7
G7
CmajT
iim T
Yl
l ma j T
becomes:
EbmT Ab7 Dm7 G7
Db:iim7 V7 C: iimT V7
Side-steppingis not necessarilya chromiitic phenomenon.Sometimes the ii-V-I anotherii-V that side-stepsb1'a M3rd below'or m3rd above.
CmajT
InraiT
cadence ural''be replaced by
Side-Steppingby Major 3rd Below: "'Rouud Midnight" in D Minor, Meas. 3-5
Dm7 C: iirnT
G7
BbmT r,bz
V7 Ab: iimT
Am7 D7
Gm7
V7 G: iimT V7 Gm: irnT
by Minor 3rd Above Side-Stepping Dm7 G7
Fm7 Bb7
o-t
G7
CmajT
| : iimT V7 E b: iimT Vl
C: iimT V]
ImajT
through the use of dissois alsouseclin nodal tunesas a devicefor creatingtensionand release, Side-stepping nance.Miles Davis's"So What" providesa goodmodelfor this technique. (,HAPTER t]
IO7
Added ii-V's Any chord may be preceded by a pair of ii-V's. They may be chained together in series and may be mixed with tritone subs.
Dm7
G7
CmajT
iimT
v7
Imaj7
becomes
Em7
A7
Dm7
iiimT
YU
lim|/
G7
CmajT ImajT
or chained:
t#ffibs stbg
nmtbsntbs Dmzbs GTbs I
Em:iim7D5 V7b9 Dm :iim7b5 v7b9 Cm:limib5
Yibg
CmajT ImajT
(Charlie)"Parker'sBlues" containsmany chainedii-V7,s. FmajT F:
ImajT
Em7 D: i i m7
A7
Dm7 G7
Cm7
F7
BbmajT
v1 Bb:iimT
v1
ImajT
,I Dm7 Db7 | Cm7 87
BbmajT
v7 C: iimT
Here is the same progression with tritone subs added.
FmajT F:
ImajT
Em7 F,b7
I
D: iimT SV7/I C: iimT SV7/I Bb: iimT SVTiI
ImajT
CESH This acronym stands for chromatic enrbellishment of static harmony or contrapuntal elatroration of static harmony. Sometimes the technique is simply called line clich6. A moving chromatic line is introduced in what would normally be a static progression. Following is an example with a descending chromatic line over two measures of a static Dm7 chord.
Dm
a) I
o
108
JAZZOLOGY
Dm(maj7)
Dm7
F,e
qed
M7
bt6
c
Dm6
The sarneseriesof chrontaticallymoving notes works well on a II-V sequence
Dnr
Dm(nraj7)
G7sus4
CESHmay ascendaswell as descend.
om#s a)
-*
Dm6
t
frd l+-
e
5
DmDl3
bd
bo
6
+l-)
Drn$5or Drn!'l3 are the sarrrechordas Drnb6or even Bb/D.Arrangers.composers, anclinrprovisers frequently resortto thisdevicewhenr rninorchordencompasses two or four bars."'RoundMidni-tht"is an examplewhere thissubstitutiou occuls.
liDm
E bm:inr
EDm(maj7) EbmT im(ma.i7;
im7
Ebm6
AbmT
irn6 Gb: iimT
Obt V]
In Latin rnusic.the chromaticdescendingbassline is mostly encounteredas a reharmonizationof a lengthy minor (or rnajor) chord. as in the first 4 bars of thc Latin standard"Besame Mucho." Sometimesthe bass retttainswhile the chromatic descendingline occurs in both the interrtrediatevoice and the upper voice. Here is a typical Latin montuno pattern where CESH is doubled.
Cm(maj7)
Cml
Cm6
CHAP'I'ER I]
109
Or in u II-V sequence Cn(maj7)
F7sus4
This cleviceis often used in improvisation,especiallyin bebop. Dm7
''Summer of Forty-Two." "My Funny Vllentine.,' "lt Don't N4cann Thing," "ln a SentimentalN,{oocl."and ''In Watked Bucl" are good erarlples ot'CESH. SomerinresC E S H i s uti l i zed as a 4- or 8-bar introcluction to a tune. K os nr a." N{ an h aD o C a r-n i v a l "(" B l a c k ()rp heus" ) Anr
Am(maj7)
An7
Anr6
Anl
.-,
/
Ant(mal i )
#+fi
Am
Am(maj7)
Am7
+
tug
qt
'at
fri
'4
Am6
Anr
' 4,
)=
a
\
|
>
\
I >
110
.IAZZOI,OGY
Am(maj7)
-{
fr!:*
n b r :#n
Bmzb5
=:
1
J
Z- - _ E
.e_e >
\l >
\l
>
_e
Coltrane Substitutions inlazz harmonv.Variouslyknolvn as "frane changes'Giant Theseare amongthe rnostcomplexsubstitutions of key centersmovingthrougha cvcle a process incotporates * 'Trune substitutes,this technique Stepschan-u.r, and it techniqueof harmonization' of majoroi,ninor thirds.JohnColtraneu'rLsthe innovatorof this challenging including"GiantSteps"and"Countdo\\'n' upp.oi, in severalof his lamouscompositions, very usetul of the flrst 4 barsof coltrane's"countdown"in c revealshow coitraneemployeda An exantination formulato replacea standardfour-barii-V-I'
l'l l-' c*u5z G7 | rmaji7 87 Eb7 lAbmajT | tltlllltlt up % step downP5 up b3rO downP5 up b3td downP5
Dm7
The basic four measures. The ,,countdown,, formula may be appliedwhenevera ii-v-l cadenceencompasses applying in lies difficulty the is simple, concept rhe while thirds. ideais ro modulareby major thirds or uy progression the which in key -inor the determining the formula effectivelyto a progression.It is helpful to begin by going up or down a seriesof thirds from that point, it is possineedsto end,thenwork backwardsfrom there.By -cottrun" would also frequentlyreversethe process,alteringthe ble to determinewhich keys will fit the melody. melodyto fit the progressionhe had chosen. centersmodulatingdown by major Let,s breakdown the processof modifyingthe ii-V-l to includea seriesof key 3rds.Begin with a simpleii-V-I cadence. Cma.i7
G7
Dm7
hnajT
iimT
figm C to C into three equalll, sized Parts Determinethe keys that lie a major 3rd au av. These divide the octlve
A b:
ImajT
C:
ImajT
CmajT
Ema.i7
AbmajT
CmajT
E:
lrnalT
C:
ImajT
EachI chorclis thenprecededby its V
Cmaj7
,t
Eb7
Imaj7 Eb: V7
|
Abma.iz Imaj7
B7 E: V7
G7
CmajT
| "*u:t ImajT
v1
ImajT
Emaj7
Dm7 G7
CmajT
Imaj7 C: iirnT V7
InrajT
We can put the iimT of C back at the begirtning'
DnrT
BbmTEblla,bma;z FtimT87
C: iirnT Ab: iinrT V7
ImajT E: iimT V7
CHAPTER 8
1ll
Extending the idea by prececlingeach V w ith its relative ii we get:
Dm7
BDllnT ED1 Abma.l7 Film7 87
C: iin i T Ab : i i n rT V 7
Lru.17 E: iimT V7
Dm7 G7
CmajT
ImajT C: iimT V7
Imaj7
EmajT
It's also possibleto apply tritone substitLrtionand/or modal interchangeto Coltrane changes. l D m T l ' 5 A7 | A brnaj 7F7 l E maj T D b7 l C maj T I All of these techniques may be applied to minor keys as well. It takes practice to become fluent at improvising and comping over Coltrane changes,becausethey go by fast. There aren't many choices of good lines to go with them. "Giant Steps" and "Countdown" provide good models. Effective improvisational strategies include arpeggios, symmetric lines, pentatonicscales,and similar constructions. A W May Resolve to Any Chord: More Deceptive Cadences Through a combination of the principles discussed in this chapter, a dominant chord can move to practically any other chord. It can be fascinating to hear a V7 resolve unexpectedly in a tune, leaving the listener convinced that the progression sounds right, but lacking an immediate explanation as to why. Obviously. it is a simple task to assign Roman numerals to any progression, but that does little to explain why an unusual progression is effective and convincing. For the purpose of applying what one has learned it is lar better to have an understanding of the theory that controls the motion of dominant chords. Then one is able to understand both the "how" and the "why." Many musicians learn how progressionswork, but fail to reach the deeper level of understanding that comes with comprehending why chords move as they do. "How" may be viewed as the Roman ntimeral fbrmula for analyzing chord progressions.All one needsto remember is what goes where. "Whl"'requires an abstractunderstandingof the sourceof a given chord progression.An understanding of l./z,t'chords rrove as they do will facilitate remembering how'they move. While differences of opinion are bounil to occur, harmonic n-rotioncan only be understoodb.v explaining that motion in clear and logical tenr-rs. A V7 can resolve to tonic farlily chorcls(1, iii. ii in mljor. or i. bIII in minor) by . . . .
P-5thdorvn to I or i. the dcitninantfunction. as a back-door cadence,in r.r,hichcasethe proper designawhole step up to virn7, or possibiy to Vlrr-rii-i7 !-v l t7 n . r ion rro u l d b e half step dorvn to I or i as Sub\'7ll or SubVT/i. m 3r d d o w n to i i i mT o r ma i 3 rd tl o w n to bIl l rnaj T.
family (ii or IV in major, iimTt-5,iv, or bVI in nrinor) by A V7 can also move to a chord of the sr-rbc'lominant . . .
P4th down to iimT or iim7r5. whole step down to IVmajT or ir.'m7. half step up to rVhnaj7.
A V7 can moye to anv other chord in the dominant family or any of their substitutesderived by diminished substitution . . . .
tr2
to to to to
a dominant chotd up or dot'rn a ninor 3rd. a dominant chord up or don It a tritone. a rnin7b5up a major 3rd. a u7 chord up a half step. ttp a maj 3rd. up a 5th' or up a h7th.
JNZZOLOGY
A V7 may resolvewith theseotherpossibleharmonicmotions: . . . .
to a major or minor chord up a minor 3rd. io a major or minor chordup a major 3rd. to a major or minor chord up or down a tritone. by a wholestepup to vim7.
involving dominantchords.It is quite simple to employ them,but why do Below are someunusualprogressions they work? Why do they soundboth convincingand deceptive? Half StepUp, Usuallyto im6 or im7
B7
Cm6
VIIT
im6
It soundsunusualto hear VIIT resolveto Cm6 ratherthan to its usualtargetchord (Em7, Em6, or Emaj7).One possibilityfor explainingwhy 87 may resolveto Cm6 is to considerit a variationof a plagal(IV-I) cadencerather than an authentic(V-I) cadence.
Fe#1r
Cm6
rve#l I
im6
im6
By replacing the F7 with its tritone substitute,B7, we get the folloiving cadence,characterizedby ascending halfstep motion in the bass.
87
Cm6
SIVT
im6
Up or Down a Tritone amongtheoristsasto why it works.It sirnplysounds usedrnjazz,thcreis no agreement While this is occasionally convincing,or as Debussymight say,follows the "rule of hearing."Somehearit as a "nearn-riss"to the expected targetdown a 5th, while othershear it as an incompletetritone sr,rb,making it essentiailythe samechord as the original dominant7th, exceptthat the tendencyfor resolutionhasbeenlost. Up a Minor 3rd or Major Jrd Dominantchordresolutionupwardsby eitherminor or rnajor3rd is not common,but it doesoccur.The logic of canbe understoodby fbllowing the stepsbelou'. theseprogressions In this examplewe'll analyzea dominantchordresolvingup by a minor 3rd.
G7 v7lI
|
nu-z bvltnrz
BbmTcouldalsobe BbmajTif thereis chordqualitysubstitution.
8 CITAPTER
113
;E BI
!1
ii ii!
ii,
Consider this major ii-V-I
cadence in Gb.
I nr-z
Db7
GDmajT
iml
v1
ImajT
AbmT
Db7
BbmT
iimT
v7
iiimT
G7
BbmT
SV7/I
iiimT
We'11insertiiimT as a diatonicsubstitutefor Imaj7.
I I I
Now replace the V7 with its tritone sub.
I rmz 1im7
Now we'll examinea dominantchordresolvingup by a major 3rd. G7
Bm7
Yln
VIlmT
Bm7 could also be Bmaj7 if we have a chord quality change
Consider a plagal cadence in B minor.
Bm6
E7
Bm6
iur6
M
im6
We learneclthat the E7 chordmay act as a diminishedsubstitutionfor G7 and vice versa.If E7 is IV7, then G7 is
bvn.
Bm6 im6
rr4
JAZZOLOGX
G7
brv:,
Bm6 im6
Chapter 8 Exercises 1. Eachpair ofchordsbelowderivesfrom the chordscaleindicated.Showone applicablesubstitutechordfor each chord irsted.Rememberthat functiondoesnot apply in modal contexts. Fm7 and Bb7€ Dorian) GmajTand D7 (G Ionian) Am7b5and EbmajT(Er Lydian) (A Major) C{m7 andGfim7b5 Cm7 and BbmajT(D Phrygian) Fm7b5and AbmS(Ab Mel. Min.) GmajTand A7 (D Major) Cm(maj7)and Bo7 (C Harm. Min.) (B Altered) B7a1tandF131$11) F$m7b5and Cmaj7(b5)(Ff Locrian) Fm7b5andEb71ObLyaianbZ; Em7 and Am7 (E Minor) GPmajTand AP7(Br Minor) Fmaj7 and G7 (F Lydian) for the fbllowing dominantchords. 2. Providetritonesubstitutes Abi
Dt
Bi
bb7
Gl
c*i
Fi
Bbi
A1
ci
Ej
for the following chordprogression.Show harmonicanalysis. 3. Providetritonesubstitutions I cm7 | .qm7b5DTaltI Gml Cl lFn7 Bll lEbmajTlBm7b5ATalr I lDm7bsG7altI Cm7G1>9lC7F] lBbl A1 | Abl D7a1tI Gm(maj7)ll 4. a. Provide chord quality changesubstitutionsfor the above chord progression(exercise3) with harmonic analysis. b. Composea chordprogressionfor F minor bluesthat includesthesechord quality changes:major for minor, dominantfor major. c. Anaiyzeeachnew chordprogression. from the aboveby usingdiatonicand tritonesubstitutions. d. Make new chordprogressions givenin exercise3. 5. Apply diminished7th chordsoverthe progression over the progressiongiven in exercise3. 6. Make dimimshedsubstitutions 8 CFIAPTER
115
7. Add ii-V's to thefollowingchordprosre5sions andprovideharmonicanalyses. a. lG m 7
|
|
|
|
l9bmajT
I
lCmT
I
t
lFi
I A1
| D7alr
I Gmaj7
ll
b.lFmajT lBbmajT
c. lGmaj7
I ^L Avma.l
/
lFmaj7
lEbmajT
lBmajT
I Abm6
I
lFm6
I Dm6
I
lBbmaj7
I Gm6
il
8. Create CESH over the above chord progressions given in exercise 7. (New chords maybe insefted freely.) 9. Provide six examples of John Coltrane substitutions: three from tunes that already incorporate the progression, and three that do not but are suitable for Coltrane changes.(Do not include Coltrane's own works.) 10. Reharmonize the diminished 7th chords you applied to the progression in exercise 5.
116
IAZZOLOGY
CHAPTER
IAZZ PIANO COMPING The Rhythm Section rhythmsectionconsistsof piano,bass,anddrums.TherearealsomanyrhythmsectionsthatuseguiThe standard tar or vibes.Eachof theseinstrumentshasa specificrole to play in providingsupportfor the soloists.Additionally', themselvestheyfunctionequallywell as soloinstruments
Comping for soloists(cornping)is a primary functionof the rhythm section.Compingprovides Providingaccompaniment This connectionof rhythm and voican improvisedbackgroundinvolvingboth chordalandrhythmiccomponents. ings may be referredto as rhythmic voicings.When comping,a niusicianmust support,complement,and give energyto the soloistwhile providingrhythmic variety. and guitaristsfor inspiration.The best In termsof chordaltextures,one shouldlook to jazz pianists,vibraphonists, pianistsand guitarists. way to leam to comp is to listento experienced Whencomping,musiciansmustrememberto: . . . . . . .
keepa steadytempo, listento the rhythrnsection, maintainsimplicityandclarity, vary the rhythmicpattems, voicings. or alternate chirnge sonorities, and, makeuseof space,balance,velocitl'.andsustained utilizechordsubstitutions.
Althoughcompingis improvised.certainnusicalelementsmay bc plannedaheadof time.For iustance,in order discr-rss and agreeuponcerto avclidpotentialharmonicconflicts.the soioistand rhythmsectronwill sometirnes prior to the perfbrnance,Below is un exampleof a harmonicclashthat could have and extensions tain voicin-es Thc D naturalplayedby the saxophone conflictswith the Dr playedby the beenavertedthroughpriol discussion. piano.
GmTsus4
Fm7
Saxophone
Piarrct
CFIAP'|EI{ 9
117
T he c lr t . h is i rro i d e di n th e e .ra rn p l eh .' l o w by sel ecti nga voi ci ng rnorc appropri atcto the i ni provi scdline
GrnTsus-l
FnrT
S t r r oplt orre
Pirtrttt
Similarll, the soloist rright ha'"'echosento play the following line, in order to rnarchan agreed-uponb9 on the C7.
GmTsus.l
C7
Fm7
Sa-rophone
Cornpins is att art forttt its well as u cooperativeeffbrt. Musicians who conrp nlllst r-lsetl.reirears in ordel'to rnake c r eat i\ e elr t ri e c sH . o $ t' re r. \\' h L ' i e t ()n tl )l l t gchords behi nd a sol rl i st,i t i s al so i ntportantto " stav cl ut ()t 't he-r . l'ay'. " I nit iallr ' . 9t h s .l l th s . a n rl l -l th s s h o u l c li .c a voi ded.Lrnti li t be' corrres cl car i n uhi ch cl i r.-cti onthe sokri stis to - coing so. For cretttplc. if thc rht'tlinr scelir)nplays a !9 on lr rlrrniinaurchortl. then thc soloist doesn't harc thc-tieeclor.r.r t o plar a nat t tt' at)i It i s rttl tth e p i a c r.: o l i h e rhythm secti onto l i nri t the sol oi st.A ccortl i ngl _r,. contpi ngsh ot r ldat f ir st be r es t lic t c - r.l to tl tc g tti ti c to n c s l i rd s l i r,l Tths) of the chords.rrnti l the sol oi st rl akes knori n hi s or l r.- rhar nionic pr c f - er enc cs .' l -hrtta i s y i n ro l rc rtto retl rrrr u pper structurcs.A sol oi st mi -9htchooseto pl at' l r r-5thon a dont ir r ant c hot ' il.in r ihi c h c a s eth c c ()n l p L 'nr ri g h i .l " r ooseto pl ay i t too. r.rrt() omi t the -5thi n hi s chord. In surn.c\ pcr t com pin- er c c luir . : cs a rc fr,rl a l ttl a ttc n ti rc l rs tc i ri i i gto the sol cl i stl t al l ti rncs
Voicings: Vhich
Notes 1o Avoid
Major. Nlirilll,dian
Imaj7.V7
Dorian. :\eolian
iim7.r'im7 -t i l l nt /, \'nnt / 2.\-
v dia rrD 7 .A l tc r' .' d .D i rn i n i s h e d H a l f-Di n ri n i s h e c l
u8
I A Z Z O I,(X } \
V7. iirn7b.5
DI
a,
"t
*,b r ,,
72 iDt)\
Comping Examples When cornping' pianists.r'lbraphonists,arrclguitaristsernploy a mvriad of rhythrns.The followilg exar'pies illustrate sorneuseful comping rhythms in both swing and Latin conterts. They should be practicetiut o ,t"idy tempo and combined in various ways. Practice irith a metronome is recommended.In traditionaljazz swing situations (this does not apply to Latin jazz), do not repeatrhythmic patternsas you might r,vhen establishinga groove in rock, R&8, or other styles.Comping shor-rlcl play a supportiverole. adding neededhirrmonrccontent and varied rhythmic accentsin an ongoing interactiveconversation,without unduly drawing attentionaway fiom the soloist. Swing Comping Rhythms r-h
t i.l = I hr \a
a
a
a
,
CFL{PTtsR9
119
9.
i20
I,\ZZOLOG\
Latin Comping Rhythms
r--J
-r
CfL{PTER C)
I21
l1
J azz \Y altz Comping Rhythms
r22
JAZZOI.OG\
Tips for Improving Left-Hand Comping l. Practice cornping along to a tune using rhe left liand only. The Hal Leonord Jazr pLq.-Along series is highlv reconmended. Each volume includes CD audio rvith removablc piano tracks so you can play aiong with the rhythm section. 2. Lett-handvoicings must be 100% securc.Try just playing the changesto a tune you are working on a fer.vtipes with a variety of left-hand voicings before you start trying to pr.ictice solos on it. 3. When comping for yourself, make it a mle that your left hand plays only when your right hand doesn't. This will help to get away from just thumping chords in on the downbeat all the time, and can also help your righthand phrasing. Once you are confident u,ith this. you can stafi to put the left hand in elsewhere. 4. Make sure that you aren't always playing the chord on the beat. Focus on anticipating the beat to give your solos a senseof forward motion. As you get better at this, stafi to look at other rhythmic displacements.(Bill Evans is an excellent model.) 5. Don't feel as if you need to play every chord change with your left hand. The professionals don't. Listen to a variety of styles and players and pay caretul attention to what they are doing. Att the enswers are in your record collection. Remember that the primary role of the lefi hand when soloing is to accompany and punctuate your ideas. Make sure your comping isn't encroaching on what your right hand is doing.
7. When learning how to comp, it is easy to get caught up in voicings and substitutions.The most dazzling ingenious voicings will sound simply ridiculous if not connectedto the context of the music.
8. Pay attention to how the comping fits rhl,.thmically with the rest of the musicians and with the soloist. Siniplicity is often the best approach.
Lead Sheets Jazz musicians,particularll,studentsand young players,often use lead sheetsas ir sourcefbr tunesu,ith rvhich they are not farniiiar. A lead sheettypically containsmelody. chord symbols, ancllyrics. it is intendedro representrhe generalfranework and forrn of a jazz tune. This non-specilic tormatting providesjust enough intormation for the musicians' personalinterpretationsto take precedence.In the improvisationalspirit of the jazz itliom, this notational approachalso lends unbiasedrepresentations of turresthat have had myriad variationsperfbmed and recorcled over the last century. Collections of jazz lead sheets,kr.rorvnas "fake books," typically consisr of the standardlazz repertoire and are used by many musicians and professionals as efficient and useful charts fclr practice, rehearsal.ancl on-stage perfomance. Many fake books are in violation of copyright law, but the RetLlBook (Voluntes I - 111),published by Hal Leonard, presentsa giant collection of fully legal and highly accurate lead sheetsfor an affordable price. Another source for information on jazz tunes is, of course, audio recordings. However, Iearning fiom recordings posessome inherent problems. It can be confusing or disorienting to hear a tune reinterpreteclby vauiousmusicians with divergent styles, particularly when one is not intimately familiar with the tune. Musicians often seek to make a tune their own by finding unique harmonies and playing the melody in a personal way. Indeed, it sometimes requires a bit of research to locate the original version of the tune the way the composer conceived it. Therefore, even with ample recordings available, lead sheetsare very handy, if not essential. to those who study or perform jazz.
CHAPTER 9
I )t
A ilr ir t t eetlp i a n i s { :c i l tt tx )t rtttl \' " i r,k r--"b v kntl ui ng the tune and l i stcni ng^hut een l rl so l l ay sr tllhrlls.l'ht' filllou ine crarttpl,,-(l!'rlronstrates horr a pianist intc-rpretsirnd f irkcs tlie-clrorrl changesfrttr.rru givcr.r leaclsheet.
IAZZOLOGY r -lr
NlediumSrving(jl
= , .* )
AmTb:
DTalt
BbmajT
DblB
Am7
CimT
Cn'r7
Fm7
-l / b,Prniij
sbr:#rr
Dr3#11 Bbml
l l r N OR E DDI NEBAllllA n,i th B( ) B RAWLI NS
F1
n b r:#n
Er3fiil
Bm7
l. Placechortls on beats 1 antl ,1. 2. If a meloclicnote is anticiprrted.anticipatethe chorclas u'ell. 3. W h e n th e rn e l o c l i cl i n c i s l rc ti vcthe accor.ur;ani ment shoul clbe i nacti ve.anrl ri cc versi r Not ic e t he v o i c c -[-a tl i n gi n th e c o n rp ri rgof the l ol l ow i ng erampl e.
{'AZZOLOGY Iledium sling (r\nr7b-s
BbmajT
r 21
.I,\ZZOL(X;\
lH, \ B r N ( )R E t)t ) lNFEl, 1l i r i l h U( ) t i RA\ \ 'i I NS
= . .' ) D7alt
(i m7
t1
_l
i b.2nru.1
Au-r7
Dl3trI
BbnrT
l sbr.rf
Bm7
In the above example,the comping avc'ridsinterf'eringwith the nrelody by playing only thc ncccssarygnide toues (3rds and Tths). It is, however. permissibleto play or double the melody in the upper voicings. The next erample shows more sophisticatedvoicings.
IAZZOLOGY NlediumSwing( j; Amll
^l
BPnriui
Am7
B y N OR E D D IN EBAHHA \\,i thB OB RAWLI NS
r-Jr
=.1.f) DTalt
Gm7 nbsbs
oble
D13sus4b9
-T)V l-- I
BbnrT
pbr-r#rr
Cm1
-l
E D m a J/
F7
. q b lF rt
E13sus4
acl cl col s or w hi l e mai ntai ni ngthc fLrncti onI.n t neasas r\m11. r.' " ' hi ch I n neas ur e I , A m7 b 5 h a s b e e nre h a rn ro n i z e cl 'fhis prodttcc: ures 3 ancl5 the harmonl is ttutlinedb), the nlelody and the biiss'o there is no need to plal clitrt.tls. of hidcienor'lineur harntonv.-Ihe sanie proccssis useclin thc tirst part of measurL's7 thrtlugh 9. the c1-1-ect (H -\P l E R 9 li5
The 1'olloningeramplc rlentr-rnstl'ates htrrv to comp with a bassist.Conrn'ronleft-hand rootlcss r,oicings are quite c f t ec t iv c in t h i s c o n te .\r.
IAZZOLOGY
B ' , \t tR tD D lNt BAHHA IV i thB O B RA\ , VLI NS
Nlediumswing(.1= ]'ti )
em7b5
Dlalt
Cm7
Bbmaj7
Dtrf ll
Am9
a
t.
- , -=e:
BD13D9
Fm7
t
h1Ei
Bbmg
-
,_b. 2
L-)
ir?:
ubr:firr
nbr:f,rr
Er-lf r l
Bm9
t-)l l
I_.1 l
b*
Ebmajg
Fr 3
_i
a"\.*=
1= ' #U
u^
=tr ..+
Notice horv the voicings anticipateand consolidatethe rhythm used within the rneiody. ThoLrghthese examplesare enough to get you well on the w,av to comping appropriately,there is much more to leanr r,"'henit comes to comping in r lrrious substylesof jazz. Numerous books are al'ailable dealing extensively rvith voicing and comping in various eontexts,such as swing, rock, and Latin. offering exanples that have been eniplol,'edby jazz masters.
Chapter 9 Exercises 1. Pl;r1'the rhythrtricpatternsinclLrdecirn this chapterin connecticlnrvith the various kinclsof r,oicingsgiren in the appendir.U s e a me tro n o mc . 2. I l' lr t r r ll po r.i b l e . p t' rrr' l i eee()tl tl i tl ! ,r ith other musicians. t26
1,\ZZOLOGY
CFIAPTER
JAZZTIJNEFORMS A typical performance of a jazz standard fbllows the scheme shown below:
1.An introduction. 2. The head or the main melody, often called the "A" section, 3. The tlridge or "B" section, which usually provides a contrasting melody before returning to the main melody, 4. Open-endedrepetition of the overall form with improvisation, 5. A conclusion or ending consisting of a final statement of the entire tune.
Tonal Tunes 12-B,ar Blues Form The blues is a 12-bar form divided into three sections, each containing four bars. The first part consists of four measuresof a 17 chord. The second consists of two bars of the IV7 chord and two bars of the I7 chord. The third part consists of one bar of the V7 chord, one bar of IV7 and two bars of the 17 chord. The entire form is shown below, with the thematic formula shown above the harmonic framework.
Blues in F I I
I'
sbt
F7
t0 F7
C7
t2 Bb7
F7
'll
Here is a mathernaticalformula for remenrberine standard l2-bar blues form.
IZ-barblues= [4 barsI7) + 12barsIV7 + 2 bars17]+ [l bar V7 +l bar IYl +2 bars17]
CFIAP'TER10
t2i
Thirty'-Tho-Bar Ar\BA Form This is the mostconrmonstandardfbrm in popularmusicas rvellas in jazz. [t consistsof thirty-twobarsdividetl irtto {iru l c ight - m eas r r le s eet ions :
AI . . '
AI
T h e " A" s e c ri o ni s p l a y e d tw i c e (A 1, A 1). The "B" secrionis called the bridge, middle eight, or release. Another "A" section (A2) played as a conclusion, usually with an alternative or optional ending or cocla.
Following is a typical AABA song form. A: ll cmajT I BbmT pfi | nbmajT I Dmzbs GTalt lCm6 lDm7b5 GTalt I Cmaj7 | CmajT Ct3b9 ll
A: ll cmaj7| BbmTEvi I AbmajiI Dm7b5G7alrI Cm6lDm7b5G7alt cmajT cmajTc9{5 I I ll B: ll Frraj7lEbmTabz I obmajTlGmlbs CzarrlFm6| GmTb 5 C.TattlFm6| omTbsG7alrll A: ll cmajTI BbmTprl I tbmajTI DmzbsGTaltI Cm6| Dm7b5GTalt C6 C6 I | ll More examples include "Satin Doll,'' "Take the A Train," "Body and Soul," "'Round Midnight,', ,.septemberin the Rain." "caravan." ''Nardis," "well you Needn't," and countlessorhers.
Rhphm Changes The uniclueAABA fbrrn known as rhvthm changes takesits name fron Gershwin's "I Got Rhythm." publishect in lc)30, the tune quickly became a favorite among jazz rnusicians,ultimately inspir-rnga wealth of new songs basecicln similar hat'rtlonicsequences.In essence.the structurcis characterizecl by a coln1nonmajor tumaround in the A section followed bv a series of secondary dominants in the bridge. This circle of fifths starrs on III of the ker'. rvorking its r,vayaround to V, which preparesfor the return to I. Rhythrl changesin gb (rvith the most co*rmon substitutions)are shown below. Rhlthm
Changes
A : ll B ; m aj 7 G 7 l C n rT F 7 l Bb ma j 7 G7 l C mT F7 l FmT en
l ebmaj l R b; l omz G7 l C mT F7 l l
A: ll BbmajT G7 | Cm7 F7 | BbmajT G7 | cm7 F7 | Fm7 en
lEbmajl a.bt I cmz F7 | Bbma17ll
B: ll Am 7lD7 lDmTlC7 lGmTlC7 lCmTlF 7 ll A: ll BbnajTG7 | cm7 F7 | Bbmaj7 G7 | Cm7F7 | Fm7ebzI Ebmaj7 Ab7| Cnit F7 | BbmajT ll Sorlle contrafact (set to the same chord changes)exarnplesinclude "Oleo," "Salt Peiinuts.""Anthropology," and "Cotton fail." The irnportanceof rhr.thrn changes in jazz history cannot be overstated.Arguably. the torm's importanceas an improvisationalvehicle is secondonly to that of the blues.
128
JAZZOLOG\
AB, AABC, ABAC, ABC, and ABCD Forms schcmes and popular songs.The tablebelow sl'rttus ttther cotttt.tton Man1,othel structuralapproachesappeirrtil .12\zz not allval's clear if a varv. It is fbrm can of in that interpretations each form. Keep ntind based on and some tunes desrvith a ner,u letter lle\\' se'e tiott seciion or a a repeated nroclifieclrecuffence of a ntelocly should bc indicated as ignation. (For example. "Bye Bye Blackbird" could as well be shown irs AA1BA2. whele Al and 42 represent of the main melody.) modified occur-lences
Afro-Centric
GiantSteps I Concentrateon You
Four Mercy, Mercy, Mercy
TuneUp Alone Together
ESP
Black Orpheus (ol Munha do C ar nival)
Solar
BlueBossa Autumn Leaves
Bye Bye Blackbird
SoulEyes SomedayMy PrinceWill Come
Lady Bird
Modal and Polltonal Tunes Modal Tunes and Harrnony Modal 1azz,typicallyutilizes ferv chorcls(sornetirnesjust one chord) u'hich utay be sustainecl1or long periods of time. Chord clurationscif four. six, eight. or sixteen measuresarc common. Despite lintited hartnorlic motion, moclal.jaz,zallows for enhnnceclimprovisrrtionalfreedom. pror,'iclingopportuniticslor thc soloist to clcvelopand In aclditionto its slouel harmonic rh1'thnl (the spectl ilt which the explore yaLioLrstensionsar-rdclissonances. of cholds. includjazz incolpofatesunexpecteclor sucldenshilting anclclispllrcet'ttent chords change).rnuch n.roclai in chclrcl restritirlg lirnction. noi color, govetned b.v is I'raritronic motion Such ing plapin_uancl side-stepprng. to iiilptoviser of the responsibilitY ihe It is thus sequenccsthat sometiuiesltppearuot to lrc relatedto one another. emphasizecontmon tones and ler.cal the Ltrgicbehind chord niotitln in nlodal colite\ts. Cons it lc rt he lo l l o w i n g : I EnTsus-l Ei'rtt7sus4| DmTsus-lI I DmTsLrs:lFn'r7sLrs.l in this nroclalsecluenceit r,r'ouldbe bcttel to emphasizethe notes F or C in orclerto etlstlrc \llh)r)tll eotrltcctiotls between thc harmonies. In sorle rnodlrl tr-utes,a f-er,viclentical chords are secluellceriartd si-rstainetltirr lorlg durations. N{ilesDavis's "So What" consisrsof sixteenbars of Dm7 follor,vedby eiglit bars of F!rl7 url.1tinrtlly nlrotbcrhords(diser eight barsof Dm7. The t'eelingof tensionand releaseis controlledby the relationshipbetweetltcttsLlisten fbr it ha|lrtlt-t1', in traditional as as pronounced is not sonances)anclweak chorcls(consonancest.The effect as the 7susrlchords move to the mai7 chold in the next example. r ir /sus4
,f,IFF
AbTsus4
GbtAb
87sus4
DbmajT
nbTnbt (.tl\P't'F.t{ lo
129
Modal harmonyis oftencharacterized by the useof chordvoicingsthat follow the relatedmodes.Two of the seven modes,however,are not generallyused.Ionian is major, and thus doesnot producethe expectedmodal sound. Locrian containsa diminishedfifth insteadof a perfectfifth and thereforeis not effective in establishingan extended modalarea.Thus,most modaltunesemployDorian,Phrygian,Lydian,Mixolydian, or Aeolian,althoughother nondiatonicscalesare also possible.Examplesof modal tunesinclude"So What," "Footprints,""Impressions," and "Maiden Voyage." Polytonal Tunes Polytonality refersto the procedureof using more than one key centerin a compositionor voicing. Functionalharmony may or may not be present.Some theoristscall the presenceof two or more tonal centersthe multi-tonic system-Jazztunesthat include more than one tonal centergive the impressionof floating through multiple keys. Examplesinclude"Giant Steps,""Ladybird," "Have You Met Miss Jones,"and Chick Corea's"Day Waves."
Chapter 1OExercise Selectseveralstandardtunesfrom a reliable sourceand identifv eachtune's form.
13 0
JAZZOLOGY
crIAptrn
OTHERARRANGING TECHNIQTJES ln recent years, contemporary music composers and arrangershave relied extensively on the following devices. . . . . . . .
Root ed /ro o tl e s s v o i c i n g s Modal and/or tonal quaftal voicings, "So What" voicings, upper structures,polychords, hybrid chords Modulations Modal interchange New options in chord construction, including clusters and tiagment or partial voicings CESH (line clich6) Tritone and other substitutions
It is essential for pianists and non-pianists alike to learn chord voicings on the piano or keyboard. So-called "arranger's piano" is an extremely useful tool for hearing and seeing how chords fit together and how chord-scale relationships are constructed.The examples provided in this book categorize many practical skills under the rubric of "arranging." All chord voicings discussedthus far may be scored for various combinations of instruments and ensembles. In addition to the proceduresmentioned above, we will consider other less-common arranging devices. Often taken for granted. these subtle techniques can do much to enrich and expand a musician's harmonic vocabulary.
Constant Structures Constant structures are chord progressionsthat comprise three or more chords of the same quality. Pioneered by Herbie Hancock and Bill E,vans,constant structures provide a cohesive combination of functional and non-functional sounds that produce the effect of a tl'ee and shifting tonal center.
lt
FmajT
li li
AbmajT
DbmajT
."'z EbmTau*z I
un'"".itDbmajTCbmajT Amaj7
Gbma.iT
DbmT EbmT
cl3sus ll
Fm7G?"lt ll
Abmaj7 Ff,maj7
Fm7 sbt
ll
CFAPTER11
131
Pedal Point P ec lalpoin t i s o rtc o f tl i e e a rl i c s tr-l c iree s tbr creati ngdi ssonanceto be found i n W e stel n rrrLrsi c. It con sist sof a sustained note (ty'picalh in thc bass-hcnce'the relerenceto the pedal notes of the or-sanlthat is helclthrough changing hannoniesin the olher parts.Thc pedal note need not be literally sustained;it nray'apipeur in patternetlor nonpatternedrhvthntic cttnfigurationsthrit can actuallv inch,rdercsts.Nevertheless.the aurtrleff'ectol a sustainedpitch must be clcar. A peclalpoint can also appear in middle or upper parts but in anl, case r.r'illbe on thc tonic or dominant pitch in the rast rnajority of instances.The or,'eralleff'ectof pedal point is to crealetensionand increasehartnonic interest.The lilst four bars of "Green Dolphin Street" orovide an excellent exarlnle.
Ebg I8
Ebmg im9
F/rb END U/01
DtUl
Eb8 I8
The passage beloweft'ectively lendsitselfto pedal-point treatment. Latin EbmajllBb
cntbspb cnbsleb
Clahleb ClattlBb
Fme/B Fme/Bb
p,blatt
These are tunc-sthiit custclntarilyinelrr.lc pedal point: . Ha n k s T rc s s c r" s" A L a N l o d c . J os e fZ a r,' i n u l ' s" Bi rd l a n c l " . Dn k e E ,l l i n g to n ' s" S a ti n D o i i ' ([ ntro) . S t e v i eW< )n c L .r''s' fo o H i g h " r l n tro) . Bill E,vans's"Skicloo" . He rb i e H a n c o ek ' s " D o l p h i n l -)rtnce" . Pat Methcny's "Lakc's" . John Coltran.-'s''Nairna" . Eddie Haris's "Freedom Jazz I)ance"
Ostinato An ostinato is any clcarly defined urt-lrrdicor rhythmic pttlenr that is repeatedpersistentll'.In jazr.. ostinilto patterns may be of various lengths ancl ure genelally fbunci in the bass line. (Do not confuse ostinatr)u.'ith vamp. which refers to a short repeatedchor-clprogression.otien serring as the introduction to a lterfttrtnartce.)Ostinato lras become a lavoritc techniqueof cr)lltemporarJ.lLtzzrvriters.lt appearsfi-equentlf in rnodal ancl Latin.jazz. as as Guar.i rrmusi c-Osti natotnust be crttpkry' edlucliciot r sly. weli as in A fri c a n tra tl i ti o n a ln ru s i c .s L i chas N ,{ onrccan it s oler us e c a n q u i c k l v l e a c lto l l ro n ()to n)-.Ii ranrpl es i ncl udc " S o W hat." " A N i ght i n Tuni si a.-"'Takc Fir . 'e. " - ' Nlaic len V 0 1 ,1 1 ts ." i rn d " C a rtta l o u p eI' l l r nd "
| 32
.IAZZ()I.O(;\
A similnr exarnpleoccurs irr the follorving piano arrangementot "Baniar."a standardpiece in the N'loroccarltraditi onal m us ic ol- G n a w a .(N o ti c e hon' the haimonv "f-loats"while thc lelt-hand bass line miiintainsa steadt'rl-rr''thmic feel.)
Gnarva feel (i. = 120) DmTsus4
7'-----
; - 4' .
a)
-
.__T-..-_\
.--T-\
\
r
r
r
r
/'--_---\-
--1
a) ,'=G--
--a
\
t--
.----\ -;-.---\
rr
Y I
.-\ a
r
Here are trvo exampiesof ostinatofound in traditional Moroccan Gtralla.
Shallaban DmTsus4
B o s s(.n rH u i l to u jI
Bania DmTsus4
Bass(or Hu.jhouj) pedal and ostinatoare particularly suiteclto rnodal harmony. as thcit relentless'repetitivecharletcr help to estah lish and confirm the modal center.
CFIAPTER1I
Il-l
Reharmonizing a Melody Many of the voicings studied thus flLr are appropriateand el'f'ective fbr harmonizing or rehapnonizing meloclies. The discussionthat f,llows examinr-sspecific situationsinvril'ing typ., ui melodic motior. In order ro select chords that eflectively suppor-ta given rnelodic line. it is 'arious tirst necessarl to analvze the t1,peof motion lnvolled' Melodies that are static (consistingof sustainedor repeatecl notes)nill receive clittbrenttreatmentfrom those that incorporatccliatonicor chromatic urotion. Harrnonizing Sustained or Repeated Melody Notes Sustarnedor repeatednotesstronglv suggestthe use of chromatic harmonv. rvhich is attainedby using an ascending or descendingchromatic bass line. Dominant substitutesand chromatic diminishecichords with an oblique or a contrary motlon mav be implied.
ebt
Am7 ( 6x++_a a
pilt#n
Gm11
Fmaj9
# = -_----z
f
T1
at
-
a
??
n, *
*
) x
\
v-\
The above example furnishesa decicledimprovement over the followine
Am7
kb:t-1
D]
Grrrl1
C+7
H
:-
rr
lU
e
**
Fmaj9
?
a
ta
a
S ev er alof Jo b i m ' s tu n c se x e l n p l i i ' vth i : c o ucept,i nc:l uci i ng " One N ote S arnba,"' ' H gq, l l sel si ti ye." ..Desal'inacl'. , , and ''Corcovado"'Houever' rvhenthe itotesare repeaterlor sustained(as in mocialcontexts). cliatonicor chrornatrc planing can strengthenanciconsolidatcthe neloclic line.
Another Time GmTsus4
a!) l ( ) 01 \of
Eddi nc Br thha
Not ic e ho' . h a rrn o n i ca c ti v i ty i n c re a s c :r' hen the nrel ocl yi s l essacti ve 134
.f.\ZZOI_OGY
Harmonizing Chromatic or Diatonically Symrnetric Melodies to chromaticor diatonicallysymmetricmelodiesis for all linesto movein parallelmotion Oneeffectiveapproach In this case,the harmonyshouldchromaticallyfollow the melodic line. An alternativeis to emploi,contraryharblock chords,andconstantstructures sequential dominantsubstitutes, monicmotion.In this instance. ciominants, may be implied.Quartalharmoniesareaisosuitableibr chromaticnrelodies,resultingin an openharmonictextLire devoidof strongdirectionalimplications. DmTsus4
EbmTsus4
DmTsus4 EbmTsus4
+ +-' ---
DbmTsus4
DmTsus4
1
1
I
-v-
t-,-
t-
l,
CmTsus4 Bm7sus4
Cfim7sus4
CmTsus4
This technique is called parallel reharmonization (or planing): all the voices move by the same interval. Notice the constant structuresthat occur, providing a rich and compelling harmonic texture. A specialized form of the constant-structureapproach is known as block-chord style.
D7sus4 W
v-
+++
o
D7sus4
EbTsus.i
J
EbmTsus4
D7sus4
DbTsuszi
+;>;ee ) n-
b r^ -
-
l
C7sus4
a)
-
B7sus4
"fl +
C7sus4
J
L-
L +1/ SUS4
"H-
Dm7
q-l5
h-.
CFLIPTER11
t3i
T hc lir jlt lri ' i n qrn e l o rl i cl i tte . s o r.n c r" h rrt remi ni scentof S tevi e\\,' onder.di spl ar,,s l i desccncl i nc\tr-p\\i\ e llot i( ) n.
,rbr#u
--l t-n- * -ttnt
ozilrr
f:/nl l
ctf,tt ebtfirr
Am7
In the above example a melody basedon the B whole-tonescale is played or,er chords deriveclficlrn the Bb wholetone scnle.Notice that this combination of dominant 7f 11 chords together r.viththe melody notes createsa parallel seriesol hybrid or slash ehords lcbmajT#5/Ab,pmail*slp*, nmajz*slE. erc.). rvhicir cicate a non-functioning harmonic framework o\,er a srnoothiv-descending stepwisebassline. The next example typifies short interludes found in some bossa nova tunes, i.vherea chromatically constructed melodic pattern is repeatedin various permutations over a harmonic texture featuring conslant structures.This particular type of reharmonizationis called independent lead.
Samba (; = 100) EbrnajT
G+7
abr:
(
:. :: :i
c13
i.
Bb13sus4
A13sus.4
1.:.
.'A
Night in Tunisiit" provides a simillr example in that the basic melodic patteril is repeatedand rnoditled slightly ri'hile the uncierh,ir.rg harnronicsupport rentuinscoltsttll.tt.
Harmonizing Melodies That M-
EF
I
e
Dm7
tu t u lll
b
GTalt
-'"J-lE=
4_-i----
e |
CmajT
bfii |
:+
f---r
\---
This exarnplef'eaturesupper structuresri ith foreign bass notes. Again. it is a new hamronization of the same melody.
sbtob
This one is simple but eff'ective
G7sus4
obmtbs
CFL,\I''fER I I
lJ7
It is recclmnrended that the followinc tour exarnplesof reharnonization be learnedin all twelve kevs
t. Am7
Dtbe
GmajT
L
a ,?-€
c)
2
I
Reharmonization:
Am7
DTbe !
a)
GmajT
L!
,€b
2. Cf,m7 Dm7
r
a*
Gr3
Cmaj7
-ft ?
\
Reharmonization:
Cfirl7sus4DmTsus4
138
.JAZZOLO(;\
nbr:cr:
Cmajgftt
3.
a)
Fm7
ebt:
I
7
e 1=-
Ebg
-e
Reharmonization:
a
Ebg
sbttbg
Fm9
I
DJ
*r''* qb'*.-
,+
e
4.
r Reharmonization:
* Eb+ :Trfim
EmTsus4
a
r
"/-f'
Dmaj13
['-
_-e
)7t , -7
*EL+ Fin-ris a simplif ieclnorationfor an Eb7f9{ttbt:, which rnay also be notatecias EbTalt.
(,IJA P TE R1 1
r39
Rules for Harmonizing Melodies . Avoid rn2ndsor b9thsbetwecntwo notesof a voicing.with theexceptionof V7r9 chords.Theseiutervals do work well. however,in rnodalcontexts.(Reviewfr:r examplethe voicin_c for E Phrygianin Chapter6..t . Dominantchords(exceptfor V7sus4chords)shouldLrsually includea tritone. Shellvoicingsaresufficientin themselves sincethey includethe essential guidetones:7th and3rd. ' . Avoid two adjacentthirdswhcn usingquartalvoicings. Avoid smalladjacentintervalsin the lower registerand largeadjacentintervalsin the upperregister. ' . The 5th may generallybe onrittedexceptin m7b5chords. . Avoid doublingthe 7th in thc'bassif it also occursin the melody. . It is commonto leavethe tritoneunresolved.In a V7sus4chord,a suspended 4th is consideredan anticipationof the targetchord(I). . It is corrrnonto substitutethe 9th for the tonic, and the l3th for the 5th. . Thereare endlessways to reharmonizea melody,but this doesnot meanthat every note shouldbe harmonized.When the harmonicrhythm is fast it is very difficult to apply constantchordchanges.Even if it were possibleto achieve,the resultwould soundcluttered. . Harmonizations aremosteffectivewhenthe harmonicrhythmdoesnot appearto forcethe insertionof new harmonies.The judicioususeof pausesand breakscan do much to enhancethe overallharmoniceffect.
r40
JAZZOT.OGY
CHAPTER
APPROACHING IMPROVISATION Some Thoughts on Improvisation In the broadestsense.the rl'ord intpxtt.'i.scttitli desi-tnatescompositionin real tirne. hnproviscd nrusicis created"on the spot" by a musician u'ho assumesthe tlouble role of performer and cornposer.Improvisation in some form or to sonre degree has been associatedwith.iuzz since its rery inception. With the bebop revolntion of the 1940s. improvisationbecamearguably the detlninc elernentof jazz. Jazz irnprovisationbegan with a processol'embellishment or stylized interpretationof the melody. In ensemble jazz. this took the form of group improvisltion. where each instrumentalistexerciseda moderateamount of freedom in fulfilling a prescribedmelodic or harmonicrole. Although occasionalbreaksand short solosexistedin early jazz, the fully developedjazz solo did not rppear until Louis Armstrong's work of the rnid 1920s.The extended solo provided a useful fbrmula for jazz per'lbrmance.Successivesolos over repeatedchorusesor sectionsof the tune allou'ed suitablelength for dancing n ithout all musicianshar ing to play continuously. In the larger ensembles of the swing era, intricate arrangemcntstake the place of continuor.rslyrepeatedsolos, as irnprovisationis reducedto a lesserbut still significantrolc. With the advent of bebop. however, improvisation clearlv emergesas the cc-ntralcomponentof the music. Thc hurrnonic structureof the trnlc i.issLllnes rnote importancetlian the melody. \\'hereas nranv swin,9rnusicianshad heen lrccustomedto faking solos bv ear, the demanding tempos anclchord sequcnce s of bebop macleit necessarvfol nrusiciunsto learn thoroLrghll'the chords to the tunes they improviseel on. This rvas a rrajor paracli-em shift. antl it has held srvav in ppsl jiizz since that tiure. Jazz r-nusicians beforcCharlic Parkc-thad the option of simpll rc-interpretingthe mek)rly ancl making it "hot." Jazz musiciirnsafter Charlic Parke-ru'ere expectedto createsoiir.'thin-g ner.r,andoriginal 1l'or.n the harmclnicstrlrctureol'the tune. 'l'his cllapter r.villof-fcrsrxr-rcllcxiblc ilppr'{),Lthes us to in.rpnrvisr.rtion. j l z z .,rcabul arv or nr c t ll( ) r l.l' he th e ti rr a n c lh a rn ro n i c tl .rl ti rarc bci n accl ui redfronr thi s book ar r t l bLrtuecr]the i mpl ovi scrl l i nc-(ntel o cl1') fo undlr t ionlir l i n i p ro v i s a ti o rt.s i n c c th c r..' i s a conci se' rel ati onshi p ( hur r r r on v ). ri i l l go a l ong u' ay' ttt' ur' ;u' cl T h e a b i l i tv to o u tl i n c c i r,;r'rlon c hor - r ls s one s i ttstrurtreni riir lsilut ot ' lr hich c re a ti v ca n c li n s p i rc c.jl l z z s ol osarc createi l . 1oa clclri'trnclerstanc'ling anclapplcciationof the devic:e ,A.firnr glusp of .jaz.zharrnonl.'lc'acis prr)\ ides llec.ssr}fvt() createpersonal anrl original nteiodic N{orctrver. it also the lesourcr:s lLncl an-angers. llosefs in spccific hlrrnoni. il-anieliorks.lt is br-rta short stcp fiotn this point t() actLralinrprovisalines that arc -qroundecl ti on in r eai t iut e . T h i s e x i ti n g s te p i n i ' o l v e :,te p;l i ngthe arti sti csi tl c of one' s nature:one' s natLrraltal enfs .int agination. and ereative inclinations.N4anyurri:,iciansare intirniclatedbv the conceptof improvislttion.The rnyth perLike other musical skiils. improvisatioucan be lnasteredthrough siststhat it cannot be learned.This is erronr'r)Lls. practiceanclcliligentstucly'. e Jltzz patterns.attd solos that shoulcl This chapteru.ill presenta seriesof improrisirtiunal coucepts,represr-ntati\ encouragedto constnlctoriginal solos basedon the e.ramplesprobe learnedin all twelve keys. The studcntis rrlst'r rided. An atrenpt should be rnadeto basethescconstructionstln ulrat has been studied in this book. At first, stutrsj ut.t" etucl es.' ' bLttassoonaspossi bl estttci etrtsslt ouldot t elllpt d ent s nt al' q, is h to w ti te c l c l u ' n th e i l i u tp ru ri ru ti ons to dcpart fronr the vvrittenmusic and cfeatc their onn icleasspontiiuc'ouslr'.
(.H A P l ' E l t l 2
lil
Listentng is crucial. Jazz is an aural skill, and there is no substitutefor hai'ing a clcar alld accurilteconceptionof the sound that one is tf)'ing to achieve.N4ostjazz musiciilnsbeganby having models and imitating the plaverslvhcr inspired them. There is immense value in transcribing,studying, and learning a jazz solo in oldertoreally understand holv the irrt is practiced.There iire countlessnuancesto be learned, including balance.accents.dynarnics, blue notes.inflections.rnood. and so tbrth, that words simpl), cannot describe.A great solo involves much more than just the notes.It is essentiitlthat studentsof jazz impror,isationlisten re-uularlyto their favorite players and practicewhat thev hear.
Devices for Improvisation Harmonic Generalization Harmonic generalization is the method by which an improviser chooses lines that accommodate two or more chords in succession.'fhe practiceis rvell-establishedand sanctionedby long use in jazz improvisation.Many prebebop musicians with limited knowledge of theory and harmony allowed their ears to dictate note choices, search, ing for figures that had common tones which would span several chords in a row. Here are typical treatments using single scales to play over entire ii-V-I cadencesand turnarounds in both major and minor. The C major scale is used over this entire chord sequence.
Dm7
G7
CmajT
The C harmonic minor scale is used ol'er this entire chord sectuence.
Gibs
Dm7b5
Hei'e the C mqor scaie is useclrivcr bur-sl, 2. and ,1.The D nrajor scale aptly adrlresscsbar 3
Crna17
Am7
G1
Em7
A1
Dm7
ln this erample the C rnelodic minor scale is used in bar 1. The G1b9 in bar 2 suggestsC harmonic minor.
Cm6
Am7D5
Dm7
GTbe
Lmi
Patterning Synrmetrical Symrnetricalpatternirrgref'ersto the eonstructiono1 lines with constantintervallic contcnt and continuing shape. Usually the saurescaleor sane interr rrlsin scriesare usedthroughout,and thc rh-vthmis confined to stcadyeighth or sirteentl-rnotes.The result is a sen\c of perpetualmotion, as if the line could continLleinclefinitely.
142
]AZZC)L(XI\
The C whole-tonepatternnsed in this exartrple(augmented triads rnoving by whole steps)shor.r's the scale's naturally symmetric structure.This line is heard in some Thelonious N{onk works. c+/+'lll
The C diminishedhalf'-wholescaleis the appropriatechoicefor Cl3b9. The sameline would be effectiveover Eb13b9. F*13b9. andA13b9.
c13 b 9
For the chromatic scale, a device as simple as interlocking descending half steps createslinear interest.
Ascending m3rds move up the chromatic scale to create linear interest.
Here is the same pattern 'uvithascending P-iths.
Melodic Templates Melodic templates refer to highly recognizable linear elements in jazz improvisation. They allorv tbr the creation of patterns that sound long familiar on first hearing, not becausethey are quotations but becausethey employ spe cific shapes,contours, note combinations. liagments, or sirnply approachesthat have become well known to those who are familiar with the style. In short, they are conventions sanctionedby historical use. Melodic templates provide sourcesfor idiomatic structuresthat are readily adapted to many contexts, while er,okin-sstrong ties with the jazztradition. They were incorporated in all of the material presentedearlier in this chapter. Following are examples of conunon figures that iviil be instantlir recognized by experiencedjazz improvisers.
Dm7
Dm7
Dm7 ascendingttrpeg gio
Dm7
Dm7
D r r t 9 L l et e et r di n g r rr p e B p it t Dm7 d e st't' ruling arpe g gio
I clent. tt'ith chronurt i c i sttr (,I{APTER 12
l4- 1
Dm7
DrnT
Drn9 ascentling unt! descerulitrgarpeggirt
SrnoothAheratirtn.s:the .stttrtulrentcrinslhe same
Abm arpeggio over G7 = Tension The "shadow of Your Smile" Template
G bebop scale ex. I
G Mi-rolydirut
LJ/
G bebop scale e.r. 5tt
G bebop scale ex. 7
G bebopscalee"r.2
Dm9 Dov;n-Up urpeggio
G bebop scale ex. -J
C bebop scale ex.4
FnctjT tLst'entlingarpeggitt buc'k to 11re'iftl
G7
G bebop scale e.t.5b (slightlt' ttltt'red)
G l r l l t p p 5t'tl e e x' 6
FmajT descending arpeggio bcrckto the 3rd
G]
G btbop scale cttttttn.tttntelttdiL' tetttl)l(tte
144
.fA7-ZOLOGI
CESH In the context of a ii-V cadence.the most common CESH incorporatesa movin-9chror.naticline startingfront the root of iimT dounward to the 3rd of V7 as shown below. DescendinsChromatic Line
DnrT
G7
Dm9 arpeggio follorved by o CESH
Idem with octave displacement oJ CESH
CESH inner line pattern
Dm .smootltarpeggio.s.front the root t() the I I th oJ'G7
G]
Dm7
CESH tine is slightll' ttltered, 117-i'ott-b7-3rd1
Itlem w'ith cLchronurtit: upprouchnote to tlte -ln|
tt'ith o r;hronuttiL'u!)pro(tch rutte to tlle root
DrnT
G]
Dm7
-l Dm arpeggio Jbllort'ed by tr C ESII {;1
Dm7
Khd of ut uscentling CESH, ( 154-b7-17-root)
G7
Idem with unresolved 4th, (root-t7-b71
Dm7
G]
Ascending chrontcLtir:litte ( rarell' n..sed 1
G]
Bebop litte .feanrittg C ESH
Ident u,ith a slight ctlteratiott CFL{PTER t2
1 i)
Pentatonic Scales Pentatonic scales occut in various musical cultures across the and play a significant role in many types of -globe inr pr ov is at i o n .T w o a s p e c ts oth f e p e n ta toni cscal ernakei textremei yversati l eandfl exi bl ernj azzi mp r ovisat ion: 1) it does not sound prosaic or trite when statedor spelleddirectly, and 2) it conveys a clarity of harmonic intention that can hold up under extreme dissonance. Pentatonic scales provide an effective way to make an unambiguous statement.They give the improviser a great deal of control over the degree of dissonance desired in the solo. Following are possible choices of several pentatonic scales over major. minor. subclominant,and dominant chords.
C Pentatonic Major CBor Cm a i T
A PentatonicMinor
G PentatonicMajor C8orCmajT
E Pentatonic Minor
D PentatonicMajor CBorCmaiT
B PentatonicMinor
C Kumoi CrnB
F PentatonicMajor
D In Sen
G P e n ta to n i c\l a j o r t b 6 l Cni(maj9)
116
C PentatonicMinor Cm7
C PentatonicMinor (9th replacing the zlth) Cm7
F Pentatonic Major Cm7
G PentatonicMinor Cm1
.ILZZOLOGy
Bb PentatonicNIajor Cm7 |
F Kumoi
omzb5
Ab PentatonicMajor
D PentatonicMinor Cm7
F PentatonicMinor Dm7b5
omzb5
G In Sen omtb5
Bb PentatonicMajor Dmlb5
Eb PentatonicMajor DfiflD5
G PentatonicMa.ior
G In Sen orG(Phryg) G7sus4b9
Db PentatonicNlajor GTalt
Bh PentatonicMinor GTalt
CHAPTER 12
L47
g I',
Eb Pentatonic Nlajor GTalt
G PentatonicNlajor I b2t
ctibe
N,Iajor( b2) o,|fon"",utonic
NIajor( b2) or?lno"nrutonic
E PentatonicNlajor 1 b2;
cl3be
D PentatonicMinor G7sus4
F PentatonicN'Iajor G7sus4
E PentatonicMinor G13
A PentatonicMinor G7sus4
Here is an exarnpleot pentatonicmelittlic continuit\,. frorn E pcntatonic minor to Eb pentatonicnrinor. to l) pent at onicm ino r. to D h pentaionicnrajor. ihr:n releasin-eto D pentatonic major. Em7
Ebn'fi
GTalt
Cnraj7
This exa.mpleshor.r,s rapiclpassagesol pentatuniu urajor scal es.N oti ce how they tlt lirth Cloltranechanges. CnrajT
EniajT
T.i8
.JAZZOLOGY
s
ebl
AbmajT 3
Dependingon which ttote of the chord r pcntatonicscale is built orr. a player can make a passagesound ''inside." "outside." or anywhere in hetr'veen. This crample usesA rninor pentatonicover CrnajT. G nta.jorpentatonicol'er Arn7, a Dm7 arpeggio,Eb nlrrjorpentittonir.-\ minor pentatonicovcr Em7, Eb major pentitlonlr.orer A7. An ma-jor pentatonicor,'erDmTb-5.then Db ntajor pcrrratonicover G7.
Am7
Dm7
Dm7b5
This example demonstratesoutside improvisation through the use of side-stepping. Eb niinor pentatonic over A13bgcreatesan unexpectedharmonic tension. Db major pentatonicis similarly placedover G7alt.
Ar 3be
Em7
GTalt
Chrornatic Approach Tones Nou-hart.ttonicnotes are sontetimesrefcrretl to as ulchromatic approach tones. As the nlrle irnplies.chrclrlatic approacl.rtones are uotes titat tnctvechlornlLticallyto a r.nemberof the chord. Speciticallr,.their'futrction is to approachor lcad sntoothlvinto the existing targettones.ihus serving to ernbellishor to smooth out rnelodicmotion betrveenor around chord tones.Non-harnronictones are notes rvhieh are not part of the accompanyingharmctnl. The1"rnay be diatonic or chrontatic. A chromatic approachtonc is an Llnpreparcci dissonancethat resolr,esby half step to a chorcltouc. Its function is to delay achord member's anival. tl-rusacldinga senseof expectationand forward momentunl to a rlelodic line. Chromatic approach tones may appear either abol'e or below the chord tone in any metric position, either as upbeatsor downbeats. Non-harmonic tones off-erunlimited possibilitiesfor linear constructions.In a sense,the clegrc-e of flexibility is nearly overwhelming, since there are verv icrv constraints placed upon the improviser. The onlt' rec1r-rirernent is tt'r make sure the chord is irnpHed by placing cssential tones on strong beats. Here non-harmonic notes are placed on clon'nbeatsas chromatic zrpproachtones: C* resolr,'esto D. Ali resolves tcl B. D{ resolr.'es to E.
Dm7
G]
CirnajT
CFIAPTER 12
149
W it hout CA T s th e l i n e i s a c c e p ta b l eh. u t bl and. Dm7
HeretheCATs areon upbeats. Ab resolvesto G, Ebresolvesto D, Db resolvesto C. C over G7 rnakesa suspend_ ed resolution. B is encircledfiom C to A. Dm7
Without CATs. again,the line is acceptable,but bland. Dm7
Here are CATs executedrn chroniatic-runfashion. The final nore B is encircled nicely by C and i\l Dm7
G7
This erantple f'eaturesCAT encirclemcntsover Dm7' over G7. each chord tone: root. 3rd. -jth. ancr7th. is encircled bv half step iiom lbor.e anclbelou . Dn'r7
Diatonic Approach Notes rh-e threeexamplesusediatonicapproachtones.over Dm7b5, Bb leadsdiatonicallyt, Ab. G approachesF, 19xt and Eb leadssmoothll'to D: all are on tiorvnbeats. over G7b9,the diatonicapproachtonesareall on upbeats:C approaches D, EbapprolchesF, and Bb leapsnrcelvto G.
GTbe
r 50
IAZZOLOG\
Cm7 ,^
I n t his ex at lpie d i a to n i ca p p ro a c hto n e se n ti r cl e F over D m7 from G dorvn to E . Ol er Gl i b9. a hal l -rvho leclint inished scaleis phyed. Noticc hclw chrol.natieapproachtones work oi'er this line. (Ofcourse diminishedand clininished half-rihole scalestnrv be viei,"edas.ilready including chromatic approachtones.)
Dm7
G13b9
CnrajT
The straighttbrwarduse of cliatonicapproachtones is quite efTectivein the next example. (Notice the absenceof chromatic approachtones!)
CmajT
Am7
Dm7
C8
G'7
Exploring Triadic Structures in Upper Tensions Some interesting improvisations can be coustructed by looking at certain vertical structruesas cornbinations of triads rather than as a single chord. Close scrutiny often reveals that independent upper-structure triads, not the chords built on the harmonic roots, can provide the driving force behind many improvised lines. Trrads. whether played directly or woven into linear pattenrs.are highly recognizablestructures.since thev provide the basic building blocks for most of the tnusic \\,e enc()Llnierthroughout our lives. Inserting these fundamentalstructuresinto improvised lines can have a powerful eft-cet. Here are two patternsbuilt Lrponthe 5th. 7th. ernd9th of the Dm7 chord. The triadic intplrcirtionslie above the -5th of the basic harmonv.
Dm7
G7
CnrajT
Dm7
G]
GTalt
C m7
b Itlem
This patternis built on an Eb triad iE'-C
GTalt
In tltis cctse,GTolt implies o pattenr built Ltpotttlrc root, bl3th, 3rd, and bgth,producirtg the soLutt!oJ'a G alteretl sr repetitionol'the precediu-9chorclsequence.lt is not absolutelynecessarvthat the sclloist - . - . - l-..act addr es st his c h o rd . s i n c etl re m e m b e rso f the ori ci nrrlD rnT' 05ri re al so l bund i n the A ; rrruj Tchord, ei ther as chor cl m er - nberor s p o s s i b l ec rte n s i o n s .Bo th eh ol ds contai nthe cruci al b6 of the key. ancias nrenrbersof the "subdonr i nant minor" categorvlLrediatonic sub'titutions lbr one another.
170
.IAZZOL()C;\
yet it would be heipful to take a moment to quaiifr u,haru.e ntcan This solo takesa straight-aheadbebop aprpi-oach. is certainly not u'ould This solo one that have been played by Charlie Parker,Dizzy Cillcspie, or anyone by this. eise working in the mid to iate 1940s.The iines and rhythms are too smooth. clean. worked oLrt.and preclictable. Ciearly. this solo incotporiitesa "codified" bebopapproach-a method of playing that developeclin the 1950satier musicianshad distilled the devicesput ibrth by Parkerand Gillespie and reworked them lbr their own use. It is surprisin-gbut true that the improvisirtionsof Charlie Parker r.r,ere far more advanced-in tems of rhythmic manipulation,unpredictability,and deviation from expectednorms-than the hard bop recordit'rgsthat came during the following decade.By the 1950s,"rules" beganto develop.even though they were never written down, and
tacitlyagreedupona "conect"way of playingthestyle.JohnColtrane's musicians Prestige recordings of the 1950srepresentan apotheosisofthe post-bopstyle. His lines are honed to perfection,dissonantenough but faithful to the chord, rhythmically accurate,ancl harmonically justified. Contrast this with Charlie Parker's sometimes reckless abandon, incorporation of rhythr-nsthat defy both notation and the barline, suggestions of substitutions that are neither consistent nor clear, and inclusion of notes that sirlply cannot be explained. Neither approach is better or displays more artistic merit. But the contrast is worth keeping in mind. It is not at ali unusual for a style to develop as an adventurousfree-wheeling processof experimentation that is later codified and refined into something that can be understood, learned, and repeated.This is clearly what happened to bebop. The solo provided is conservative, accurateto the chord changes,and not unlike a typical solo one might encounter on a similar chord sequencein any straight-aheadcontext. An effort has been made to include recognizable bebop gestures,but always with a bit of a "twist." so that there is something new or fresh about thern. For example, the linear construction in bars 5-7 involves standard change- (or mode-) running with guide tones cliirilying the harmonic changes.Yet the repeated eighth notes on the downbeat of measure 5, the altered rhythm on the first two beats of measure 6, and the truncated ending on the 6th of the C minor chord in measure 7 all place a subtle but personalstampon the line. Measure9 involr es a symmetricallypatternedascentof an F melodic minor scale,leading to a possiblequotation from "Fools Rush In" in measure 10. A descendingbebop major scale begins on beat 3 of mearsure11, leading to a classicbebop eesturein rneasure12. N{ore standardchange-runningtbllows, and the first half of the chorus ends with the "Cry N{e a Rit'er" lick in measure15. A patterneddiminished scale begins the bridge" which terminatescleanly by encircling the C minor tonic that occurs in rneasure19. Change-runningis broken brielly in measure22 r.vitha blue note. Since the 1920simprovisershaveexploitedthe fact that the b3rd,t the tonic can servesimultaneoLrsJy as the b l -lth of the clominant.When a slightll' unexpectedsubstitutionoccllrs in 29. the root and 3rd ol'the trizrdare emphasizeclr.rith quarter notes. Generaily'speaking,unexpectedchordssurgest more direct treatmentu"hileconventionalfunctions allow fbr more adventurouslines. The secund chorus receil'es similar tfeaturent,bLrta f-ew devices warraut discussion.Notice the alternationof expansi\:echange-runnin-e tbllorved by tight change-rur.rr.ring in measures33-34 and 37-38. In other words, 1blIorving linear motion in which 3rds prevail, the texture changesto chromatic linear n'rotionlhat docs not cover much distance.Note also the long string ot'eighth notes from measures37-43 as an exarnpleof l.rou'to rveal'ein and out of pattterns and still have the guide tones land on strong beats.Foilorving this iong nrotor-like passageis ii rneasllreof rest,fbllowed by a very strong closing gesturein measures45--48.The passageends on the 6th ol the Cm chord. a gesture that harrksback to meirsure7. rhythm and A brief piece of a dirninished scale starts the phrase beginning in measure49. and the conspicr-rous shapein nreasures51 and -52practically demand a thematic responsein the following measures.The CESH pattern in nreasures57 and 58 is standardfare. but is not often heardon a m7b5chord. The consequentphrasein measures 59 ancl60 is a more firmiliar soundingpattern.Again. the AburajTreceivesvery clirecttreatment.leading to an upward leap of a minor 6th on the G7by. The reststhat follow leave this antecedentphrasel'ery much ';open" in nnticipationof the consequentphrasein rneasures63 and 64. The solo is thus able to close rlefinitir,elybut quietlv as u'ell.
(.IIA P TE R l l
l- l
LETTER FROMBOB r-h
N l e d i u m Su i n g ,=I8o(;=;.it) Fm7
_l
Bbl
r:Dn)al/
AbmajT
Dm7b5
FrnT
Dmzb.5
DmTb-i
Bbl
AbmajT
l- l
JAZZOLO(;\
E PmaJ/
Abmaj7
GTbe
li / D9
F m7
Dmzb-s
_l
F.bn'tajl
^-l^
lt /2 9
G7b9
AbnriqT
-t / EPnlrU
AbmajT
Dm7b5
Ebmaj7
Abmaj7
DmTb-5
Drn7b5
ubq
EbmajT
AbrnajT
AbmajT
CHAPTER 12
"Taking 12" Analysis Thc solo begins u'ith a sirnple gesturc that emphasizesthe nralor triad but strll luanagesto incotporatc-l tisin.u nrinor 6th bv rnoving li'ont the 3rd up to thc root. From here on. straight-aheadchart-te-runningdominates.B natrif beat 2. clespitethe Em7b5 chord. ln this instance.as irt nlost, the r:ral has been chosenover Bb on the clLrrvnbeat ui th the hatntony.Th e cr ucial Cl pr inc ipleo1 ' e n c l o s u rci s mo re i mp o rl l L n tthi i n the actul l chorcltones associ ared clrii,'ethe harmony iciu'ardD n.rinor(the lelative minor. an ilnportaltt t-eatureo1 the harrnonon beat i. u'hich r.vi11 ic schcnteo1'this tune). is set up and prepiired1br during the f-irsttu,o beats of nreasure2. Atier all. the expected t'unctionof a subdorninantchord is to prepare tbr the arrival of the dominant chord. In many jazz conterts, that preperration is a linear one. rvhich catr result in apparcntconflct with the prer,ailingharmon,v.However. rf lines are n'ell constructed.the ear sorts oul and rectilies the discrenancies. in nreasures2 through -5are tight and compact, involvNotice how the lines tltat characterizethe chunge-r-unning ing rnuch chromaticisrn,change of direction, and enclosnre.The point to be macieis that the term "chan-qe-running" does not mean precisely what it says. There are 1ar more possibilitiesopen to the improviser than simply runnin-9up and down arpeggios. "Change-running" really rneans making the harrnony manifest in the improvised line itself. It doesnot lnean literally playing the chords.Jazz critics who fail to understandthis conceptoflen make disparaging comments regarding change-running. as if it were a fornuiaic and automatic process. On the contrary, the possibilitiesare endless. Measure 5 is a bow to Charlie Parker. who sometimes played this figure on measure -5of the blues. It is crucial to understandthat such referencesare deliberate efforts by jazz musicians to root their solos in the jazz tradition. Jazz cannot exist in a vacuum. Its spirit ancl life depend upon referential connections to melodies, figures, and phrases that are stored away in the musical memory. It is appropriate r.vhenplaying a tune associatedwith Charlie Parker that some gesturebe made to acknowledge him and to shorv that we have done our homework by studying his solos. N{easurc6 containsa figure that ma,- be a quote from "When Sunny Gets Blue." Otientimes it is not possibleto say if a mnsical phraseis a quote or not. The irnproviserrliry not knorv. The deterntiningfactor is what tl-relistener hears.rl,hichcaunotalways be predictcd.What is certain.hower,er,is thatjazz sokis must contain (and cannot help but contain) passagesthat will sounclfarniiiar to some listener.s. arpeggio.Although it is 7.8. and 9 are loosely seqLrential arrclail feature thr- descendingnrinclt'seventl-t N4easures it is usr"raliynrore efl'ecpclssiblet() treusposeir figtrre verb;rtirnthrough descendingchord seclLrettces, sontctin-rr-s tivc.to ntttdifl,the figure somewhat.irollowing the third presentationof this tlgLrle.in mcasltre9, the line troves enclosing,qestureirimed at the E of the C7 in measure10. Nert is a classic3-b9 gesturethat irasbebop to a stlrnclarcl o v c r i t. A s i rri l a r o n e fb l l o r.r ' si n thc turnaroLi ndi n rneasure11. N {eastrre12 u' raps up th e f ir st chor us r i, r it t c l all u'itit a nrcmorablcrrcioclic gesturethat listenersu,ilI har.'ehealclbetbre, though fcu n'ill bc pt'eparedto sa1'r'vhere. be a retercnceto '-Salt Peanuts."The conmotil'e that rnar arguably'' The seeond chorus bcgins with a conspiclror-rs toul anclr-irvthmsfounclin measuresi3 through l6 pla1,off one anothcr,establisltingan inlter dialogue that lends ilttefcst ancl cohesion to the passagc.Measure 17 rvill be hcard by many as a qLtotefrom "I Had the Craziest Drcan.r."but the quotc is brief and answeredb,voriginal material in trteasurc18. The line in lneasure l9 does not acknou,'ledgethe F[ irlplied by the D7 chord. There are t$'o rei]sonsfor this. First. the expectecltonic harmony founclirt rneasure7 of-the 12-barbluesforn'ris so firmly establishedthat soloistsalntost alr,''ayshave the optioli of in measure i9 is setting up . Seconcl.the rising scalarpassa-ue returning to it. in spite of prevailing sLrbstitutions. nt ilds ur pr i s e i n n re a s u re 2 0 ,a n d th e s e n seofreposeandgradual bui l di ngofmeasurel 9w oul dbew ea kenecl if t he line lr'creto draw'atter)tionto itself. The use of C Lydian here u'ould clojust that. The figure in neasure 20 is highand clearll' recognizableas a bebop gesture.It has detiberatelybeen placed to draw attention,since it ly icliorr-ratic The follike nothing that has come belirre. is preparedby a sinrple scaie,and appearsin the upper re-qister. sctuncls ernploy its basic contour as a startingpoint lor standardchange-rtlntring.Notice horv the natural louing nteasLlres 9th has been choscnon the C7 in this instance.comparedwith the i'9. which u'as the note of choice in measure10. I t is t he s o l o i s t' sp rc f()s a ti v es. e rv i n gto expandavai l abl echoi cesand keep the l i stcl ' rergl tc\\l ng.
t-i
IAZZOI-(X}\
TA KI N C, ' 1 2 Swing. = l8o (,1= ]':i )
Albs
FmajT
ebt
Cml
Am7
BbmT
AbmT
FmajT
Gm7
Dlbs
.--t-
FmajT
r,bt
Dm7
Em / 2 5
BbmT
Abml
FmajT
ebt
Fn-ra17
(]HAP'IER 12
17'
\?-i Latin Solo Analysis T heV 7- iLati n s o l o i s h i g h l f i n s tru c ti re a sani ntroducti outoi mprori si n-qi nnri norker,s.A rnongother t hings, t he s olo er t t ; lha s i z eth s e l l u i d n a tL rl eo f c l ro rd movemcnt rvi thi n thc toni c key' .Front a harrri oni cvi crrpoint . V7 and i ar-cdilLnretricallyopposed.The donrinlrntchold representsthe nrarin'rt.rrtension anclunrcst.rihilc thc tonic chord f epr c s ent sre s c tl u ti o na n d te p o s e .In i re tu al i ty.ho' ul ever, thc bui l d-up and rel easeof-tensi onoccur r" ' i t hcver v nole t t l t hc nt elo d i c l i n e . T ' h i s i s p a rti c u l a rl r tr ue i n rni nor kevs uhcre the 6th and 7th degrcesof tl rc sca lear e act ive anclchan-eeable. The solo beginswith a descendingG harr.nonicminor scaleand continuesto make use of this constructionthroughout. The harmonic ninor scale ma)' serve as a blanket scale in minor keys. As a pitch collection. it contains the avoiclnote G on the D7b9 ancltl.reavoitl notesC anclEb on the Gn chord. But its real pou'er lies in the strong voice leading that is built into the scale.Thu' leaclingtone, 7. along u'ith b6, exert strong points ol'lttraction toward the root and -5thof the key respectively.Sirnply playing the scaleirrplies a miniature V-i chord progressioneverv time theseactive notes occur. Notc-the chromatic passing tones that are inserted in rneasure-5in order to ensure that the line lands on Bb in the next rneasure.Why gb: at the local ll'el, Bb is the bl3th of the D7b9 chord, and much more compelling than A, the -5th.But more powerful is the role of this note as the 3rd of the key. This note is in a prominent position (emphasized by register, metric placement.,and duration), and represetrtsa brief instant of the tonic vu'ithinthe two bars of donrinantfunction. Beats 3 and 4 of nleasure6 swing the harrnony back to V7, and resolution occurs expectedly on the Gm of the next measure. Sirnilar instances can be found thror.rghoutthis solo where the areas of V7 and i irnplied by the improvised line do not llecessarilycoincide with the indicated chord changes.This entire solo can in tuct be analyzedas an improvisatiorrover a Gm chord, with frequentrandom suggestionsof V7 to add tension t o t he line. A case in point is the C naturiil that is "rvorked" through measures l9-2'+. As the backgrclundhrrnnony moves through tonic and dontinantharrnony'.thc inproviser stubbomlv returnsto this note rrgainanclagain.exploiting its tunusitalcommon-tonestatusas 1 1th o1'the tonic ancl7th of the dominant. As a result.the note'tendsto loorn abol'c the harnrony as a recun-ing-lth of the key. inclcpendentof chordal ulovement. This woulcl obr iously not be an in a major key. o1'rtiirn ol tl .r clinear - cour A s inr ilars t ra te g yi s u s e col n th c E,rra tu l a lthat ()cci l rsi r.rmeasurcs35-37. w herethe preeni i nence p()nellthecontesirrefirttrble.Thc' E,nairrralmight bc'.lLrstified as the 6th clf thc Grn chortl. lrut it is ccltainly not thc9th o1'D7b9.Instead,it is part of a rising chronraticlinc that has chvclledou E firr sonc tinrc-Lrcfirrect'rntinuinsits u p to C , th e l n c l o c l i cIri g h p rr i ntof tl re sol o. i n mea\Lrre41. I or t s r Ls c c t rt
V7_i LATINSOLO Latin/Salsa ., = 125
Dlbe
DTbe
Dlbe
I A Z Z OI-()GY
()i'ai-------
CFIAPTER12
Ii1
"Nor's Bossa" Ana-t-vsis The solo otl "Nor's BossA"displars thc characteristicl'eatLrres of bossanor.'ajazz, sLrbclLrerl rrrcloclicfi-ur:ressct to Iight svncopatiot'ls ovcr a tich harntottiestructure.\\'lrile soloistsare always free to intprint their persolal sty'leson s ongst hev i n tp ro v i s eto . s e n e ra l l t' i t i r b cst to i ne.r' rpe1l 1i e partc-rns of rhythmi c i nteresti n I_ati nntu sic.Ll, . r icism itnd rrelodjc interplar arL'collltllL)l]lcatures.Con\'entionnlbebop figures and steady eighth notcs are appropriate tbr textural contrilst.btlt are cetleritllvnttt approachcsone u,ould expect to see in trtusicof this tvpe. Horveyer.ciiss onanthar n l o n i ci m p l i c a ti tl n sa n d c h l tttg e-runni rrg are verv much a part of the stvl e as 1919as ther. m aint aint he proper nrood. As this solo makeser ident, it is possible to constructfiguies that are melociicallyfresh anclrhl,thnicalli, inventive that emphasize tonesand delineritethe chords.In other words. bebop-stl,lechord-mnning is not the or-rlyu,ay -suide to "rnake the cl-ranges."In nearly evcry rneasureof this improvisation it is possible to hear the chords solely through the improt'ised line. Yet rarelv does an extendedseriesof steadyeighth notes occur. and there are few if any figures that quaiify,as conr,entionll bebop patterns. One characteristic of il-Iatureimproviscrs is that they are not constricted by the tvrannv of the barline. Expert soloists change to the next chord rvhen they are ready, which rnay be prior to the arrival of the next hiirmony, or, less often, after the arrival. N{any eraniples of this occur in the "Nor's Bossa" solo. Notice. for exarnple.the C on the "and" of four in mcasure9. To ob.lcctthat this is the l3th of EbmT is to be oblivious to horvjazz lines work. C is a guide tone of Ab7. and will certainly be heard as belonging to the Ab7 no matter how rnuch the listener must adjust its temporal setting to hear it that way. Guide tones are that important. Measure 15 presentsanotherinstanceof an anticipatedchord. The B and D simply clonot function as the major 7th and 9th of the Cm chcird.no matter horv much they might look like they do on paper.They are in motion, and the B natural in particular.as the leading tone, is aiming tbr the tonic, C. The delay of its amival becar-rse of the unexpectedBrs in lneasurc l6 only incrcasr:santicipation.The Bbs tunction on two levels. On one hanclthey are a half step below the leading tone, as if the "spring-loaded" leadingtone has been stretchedone notch tighter. On another iei'el the Bbs functiotr as the {9 of thL:G7b9 chorci.Ternporaryresolutionto the leaclingtone tlnaily occurs after f our r epeat e d B b s .fo l i o l l e d b ,v -a D .u h i c hcompl etestheenci rcl ementoftheC onthedori nbeatof measur e17. Arlother instanceof anticipatiortoccLil'\on beat 4 of rneasure1,3.Here thcre is no gettine arountl it. E natural clearly ckiesnot belong to the Cnt7. lts cinl..piissible t'uncticlnis to encircle the Ir of the fclllou,'insinclsure. Of course. anot her*av o f i o o k i rrs a t th i s i s to ri c rv the E naturaland G as sug-uesti rrg a surfaceharntonr,.C 7. ilhich t lien r es olv est o Fn i 7 . In e i th e t' c a s cth . e n o rc scl earl l " ' bcl ong" to the fbl l ou,i ng chorcl . S ev er alot he r i n s ta n c c so i c l to rd a ti ti c tl -.x1i s11 occur i n thi s sol o. S ortreof thc n.roreohvi ousrrc fbund in nt easur es 37- - 18, 38- 3 9 ,-5 6 -5 7 -i of the del ayeclan-i valof the appr-oachi ng c lior clar e less . 7 -i 8 .6 1 -6 1 . rrn cl{r3 6.1.E ,xarnpl es nullcrous, hut rneasulc-5-1 offers a clcru-exanrpleof that phenornenon. The trealnrentof rr-r7t-i crhottls\\ru-r-turt\ somc c'lisc'.rssion. 81,rights. this chord shoulcltlikc u natunLl9ih anclnot a b9th. rneaningthat thc chorclscaleof choice should be the Locrian nnturiil 2 (the thircl nroclc: o1'rhe nteloclicrninor scalc).and not the Loclitin mode. \\rhcn voir-ing u nrTo-ichord as a verticitl entit),. l-ocrian natural 2 (sctntetintes called Locrian {2 becrir-rsc its 2nd is raised in relation to the original) will gir,e the proper rroup of notes to select fiom. In a bailad arransementthat incluclesextendedchordsplayed in lon-snotes,this 'uvoulcl stanclout as the proper choice. But Locrian rratural2 is not the proper scaleto play on this chord rvhen irnprovising.The reason is that the natural 9th happensto be the mlijor 3rcl in relation to the minor key. AlthoLrghthis pitch soundsflne as pan of t he aggr ega tei n a c o rrp l e x c h o rd r,o i e i ng.i t shoul d not be gi ven a prorni nentpo.i ti t' n i n an i ntprovisedline. A glanc eat t he D n t7 b -5c l to rd sth a t o c c u i ' i n thi s sol o rvi l l reveal that they i nvari abl y recei r,eE i s i n the int pr ovised line. The santeobsenatittn can be nratieb;'' studying the countiessoccurrencesof this chord that occul in recorcl* ed jtrzz literature.The conclusionis thut indiridual chorclstnust not be thought of as isolated.self-containedentltics that receive specific trcat.nlentbascd on prescribedprocedures.Instead.larger tonal areasand the overall ke1' m Lls tbe t ak e n i n to c o n :i c i e ra ti o nIn . to n a l nrusi c.the pri n' rar1r kcy i s or.nni presenl i i t sorncl erel . conti nuir r gt o t : xer t it s inf luc nc c o n e \e t' \ ru L rs i c aelv e n t i l th c pi cce.
1-8
IAZZOI.OG\
NOR'SBOSSA Latin a = 110 Cm7
Fm7
Dm7b5
Glalt
nbt
ebrnl 1A
DbmajT
(-J
om7b5
GTalt
r--J ---r
tr DmTb-5
F,DmI Sva ---
Dm7b5
-
t-
? ----1
Fm7
Cm
-.l
G7b9 r-J -r
C m7
GTalt
l'bt
Dbmai7 r
GTalt
LOCO
Cm
Glbs
CHAPTER12
179
Fm7 r--)
)4
I I
Dmtb5
Dbmaj7
EbmT
iu
Fm7
Ctr.r
--t-
l)nr / P- )
-l
F,Vnl I
GTait
DbmajT
r-3-a
Dm7b5
tbio
JAZZ()I-()(i\
r---l
----r
tr
Fm7
Cm
G7alt
Dmlb5
Dbmaj7
Ebm:6va- - -
Dmtb5
GTalt
Cml
GTalt
Ioco
,y1
tr
Fm7
Cm
GTalt
Dm7b5
Ebml 8va---------t
Ab:'
Cm7
DbmajT r-Jr
lo to
GTalt
Cm7
G7a1t
(]IL\PTER I2
181
"Across Africa" Analysis This solo incorpot'ate s a seriesof chorclsin rapid successionat a very fast tempo. hnprovising over a hannonic rhvthm that covers tw'tl chords per ncasltre presentsspecialchallenges.Presun-iabl-v. eich chord will receive four eighth notes. How does one detine ii chorclwith fbur notes?At first the possibilitiesrnight seern extremely limited. one can use the dr_gitalpattern l-2-3-5. or its reverse5 j-2-1. But what then? Fortunately,the "rules" of change-ruttningloosen at fast temposinvolving rapicl harmonic rhvthms. For one thing, a dominant chord becouresvir-tuallyequivalentto a major chord. True, tl.rereare a few more optlons inyolving the flatted 7th that are not available on nrajor chords. but. on the other hand, dominant chords do not require special treatmentat this tempo. Playing directly up the chords. in a rlanner that woulci simply nof be cclnvincingat slower tenpos- is perf'ectlyacceptablehere. Examples of this can be seen in measures6, 11 ,21 , and 23. Moreover. every chord need not be clearly delineated,since it will passquickly and the next one. or the next, will give us our bearings.Dominant chords that woultl be somewhat ambiguousout of context are fbund rn measures1,2.g. 11. 18. 28. . r 0 , u n d 3 2 . A basic rule in change-running in this context is to play guide tones and roots wherever possible. There is really no time to deal with extensions,and taboos about playing close to the triad, particularly ondominant chords, 2re mitigated by the rapidly changing chords. Frequent directional changes are helpful. Notice the liirge number of measuresthat contain a clearly archedlinear constructionwithin the measure.(Measures3,6, 12,13, 16, lj, Ig,23,26, and 2l are very lucid examples.) Linear construction in this solo consists mostly of conjunct motion with 3rds. Large skips are not frequent, and are generally followed by rests or scalar passages.This is not an angular solo. It would be helpful to write out possible patterns for practice. There is an abundant but limited supply of figures that will work in contexts such as this. A good strategy is to begin with some five to ten patterns and practice weaving thern into the improvisation.As fluency increasesmore prtterns can be addecl.
182
.IAZZOLOG\'
ACROSS AFRICA Fast Swing( r-l
= --l, ,\
)
BDl
12 C#m]
( +rm/ h
Bbj
_l
ED
sbt
Am7
b*b
CfmT
ui tm /
CFIAPTER12
183
F' Fli
I i,l
Fi:'; . tgii l
1;:1,. fti lii:r. li:i
f*i:
bT
mi FH l{;
l! Sgi::i bi'rl .
&tsi
r.1i' $t;
ill i*, |'
lll
1:'
ir; i;i.'
F ffi:
"Tiflet's \I'ind" Arurlysis T hr c c ' one -c h o rus o i o sa rc p ro ri c l e tll o r " Ti fl ct' s \\/i ncl ."Thc f i rst rvasconcei ved1' orbul i l onc srrrop honc.t he seeonc if r r r s ca t v o c a l . a rtc th l e ti ri rd fo l n i l Lno.E l ch cLspl ar,s a l l i i d-backqual rtv conrrensLl rl i tcri i th thc chr uact erol pattenrs pre-r,ail. the tunc. Diatonic arrguiarlines are intiecluent.anclrestsalternater.l'ithrl'ry'thni ahead bebop fi-uuresare niininral. T hc init ia l s o l o l i n e s n e a k si n r.r,i thti re 1 1th of the A mi nor ehord.Thi s beni gn upper strucl Li rei s qLr it cusel- ulon minor chords,adding a ''sott" tension to the cl'rord,sirrilar in effect to addrng the 9th to a major churd. The internal logic to the contour o1'theline thlLtcovers meilsurcs2 anrl 3 is apparent,and the spacethat tirllor.vsenrphasizes the trancluilmood that this openin.uevokcs. Similar lines fbllow', carefully outlining the chords r.irithsmooth direclional changesand e minimuur of chronaticism. E,r'enthe double-time passageof neasures l1 end l2 does nclt stra\ l}om the scaleof the horne ker . A trh-restlavor is introduced in mensure 17. Notice horv the blue notes serve as a blanket scale. assertingtheir autonomy fiom the changrngharrnonies.(Of course,in a minor key, what wor"rldbe a blue 3rd no'uvbecorncsa blue -5th.The f'latted7th, however,prevailsin both major and minor blues contexts.)As an irnproviser.one rnustallvays that this option exists-to take the line in a direction that is convincing fbr internal reasons,independremer.nber eni ol'the underlying harmony. The blues is by no meansthe only context in which this is possible.Sornetimesthe gestureurll be enough to override the hannony. verv shapeof the linc or a quote of a reco-qnizable The secondchorus presentsan impruvisationalstriitegy that rnight be incorporatedby a jazz vocalist. Notice the i"ide sweep of the linear component of measures33-36, the smoothnessof the directional changes,and the absenceof dissonantleaps.Note also how the dominant (E) gor,ernsthe passage.appearingprominently at the outset. in the descending7th in measure35. and the conclusion in measure36. The plunge to loi.l E in rneasure3-5is a classicgap-fill conliguration.with the ascendingA melodic rninor scalerecoupingthe spacein thc bcatsthat folFollowing by a beat-anc1-a-hall'rest. leap in mr-asures36 ancl37 is nraile inconspicr,rous loli. An ascending-octar,'e is a dcscendingleap fiom the brief ei-rhth-noteE cloun to B a Jth belon'.While theseleapsare large.thel,are quite shifts. pr-orrrinent nntcs of the home ke1,and ar"oidingLrrterpectecl irlrornaticto vocal pcrformance.incorporatir.rg 'l hc fit on the dclu'nLreal r:lfmeasureJ0 uarmnts rliscLrssion. At first the e1'eis surpriseclto sec uhat r,'ould vertic liily ' br -c :o n s tru eads a rn a j o r 7 th o tr:Ld orni nl nl cl rorrl .,\ nrorc real i stl ci nterprctafi ortvi etrs thc C : r r \ ir t l r lr ccllt ec 1c iuont a ti cp a s s i n gto n e c o n i )e c ti n uG anclA . B ui i n uetnal i tr.the coi i ceptof harmoni c gcncl al i zat ionpr ovicles heardthus fal i n thi s chorus l l i tvc b r ct ] t hi ir c s tc rp l a n a ti o ni b r th i s n o te . Ol rs r:rrehou ai l ot' thc r.rrrtes ol -tl i c-6th and 7th cl egreesof thc s cale.lher e has ol' s olt ic -f u rn r o f th e A n ri n o l s c l l e . O ther than thc fl i rctLrati on harnton\' .P ri rnan' chord t t r ot it 'lnir t t his hr t n nt t ch ro m a ti c i s n t.T h e A 7 o f i l tc a surc-10i s bl ri o nrean,.l i stt' uctural -10serr,'cs .\ niinoL or C nrnjor. Thc A7 irt tttc:isttt-e tuitc corlsistsof the alternationof ir V proeressionsin cithr-'r' t cr i tttprori sel has choscu \e t i nstance. the fol l ,.rns. l n tti i s up that t,' r,,t the D rnT r ut l. c l, ras a s e c o n c l a i .\,,1 r.,r' rr'fo A . -10 toni c uote is r t or r -t hi : s c h o rd . [n s te a d .l i n e a r n to l i o n i u url -A sure si mpi ;' ci rci cs i he ' i' lii' ous hrtuth t i s s e c o n dc h o ru se s p r-.i al l !' \\,1, l )ercLric\ a senscoi ' anrbi gLri ty-ri refusalto gri rbi l tl t o chor d t ones anclif t he t hat loc k u s o n to th c h a rm o n t' .T h c i n i prol i sccl l i ne rerv nruci ' ,pl avs ol ' f the back-{roundhatrtto t iies. the i tl p.ovi sct l line. Not e. c hor c lswe re n o t p re s e n ti t u o u l c l b e i mpossi bl eto c\tl ' act thcm i l i th i rnl ' certai ntl " l -roni for-eratnple.the ii-V progressittnsl'oundin rlteasures-+L-12.-+5-+6.-50,52, and -58.Rathel thlrn using guide tones harnronicchanllesof tl-retunc. thesephrasesaddressthe bigger PiLturc.ttsitl.evartrt ride the rneasule-by-nreasure auri alltonornvof the improvised line. achiel'e melodic indcirencience clc-r'ices to ioLrs thal a pianist might create.hence the eristencetlf stlnewhat TIt.: final chorus is ureantto prcseut.rn il)terpretiltior.r rurorcru.igularlines, increaseclchrorrraticisn. and pianistic (xttalnentssttch as trills and trelliolo. N4anyof the clcviccscliscussedthus far in legarclto the previt)ust\\'o chorusesalso occur during this chortrs.N{atchedphrtrses as opposedto gui de-ton clcqt llr el. llent s. ant l inuer d i a l o g u ea re p l o rl i n e n r. L { rn touti s di ctatcdbl ,rrel odi c c:hoi ces pl ay' a l ar-qepart i n tnel otl i cconti nuati otr.Thi s sol o rs hi l h lf inst r uct ir ''e ant l r it y t h u ri ca n d th e ma ti cc l e v e l o p ru enf \' et deci dedl .vnot bebop, it s alt c \ al t.i p l eo f ' ' i n s i d e " p l a i i n g th i tt is trLl ettr the cl .renge\.
I r-+
J,\ZZ()I-()(i\-
TIFLET'S WIND
E
Medium Swing . = 140 (; ! = ^-t-
f'm /DJ
Elalt
r-l:
nl l l
BaritoneSax
Bm7b5
t
Cmaj7
13 Bmlbl
16
Ej
ETalt
Bm7
Bm7
Bm7b5
ETalt
^
Bm -/t-2)
Albs
BmTbs
27
Am
Elalt
l' ir m /P -)
t Played as even eighth notes
CJIIAPTER12
I85
tr
V ocalS cat
to
E7
Bm7b5
Elalt
AM t =- l - . +t
14 emzbs
Bmzb5
-T
,tr
+t
Am
CmajT
Dm7
Cmaj7
FmajT
Am7
o, Bm7sus4
^-t-
Bmlb-i
F Jm /P j
t-r
nmbo
p'709
F;nlb1
^
I t m -/t-2 )
ETalt
++ l- +rmi D-1 tr()
Arn9
em7b5
ETalt
BmTsus4
tr
Am
^-t-
FJm/ 2)
l-ll
186
JAZZOLOG\
Bm7b5
cil.tbs
r-l ' Cmaj7
G'/
Bm7b5
82 Bm7b5
ETalt
em;b5
76 Fmaj7
E]
ETalt
BmTbs
Am
E7
D.*
-
A1b9
s; Em7b5
Bm7b5
ombo
Am/G
-l'] i'f + nl ^t / P)-
ETalt
FTalt
E]
Ct{AP'fEli 12
It37
"Maybe Not" Analysis "N{avbe Not" begins ri ith three meir\uresol'CIE.SHover an E'm chord. but the solo line does not ''ride" thc obl ious line Eb-D-D'-C'. Instead.the opcning begtnson Bb anclslori ly works its wa1,dovu'rr to Eb on the dou'nbe;lto1' neasLlre3. Ofientirtresit is rvise trt avoicl the expected,especially at the outset of an irnprovisation.Rising up thror-rghthe Ebni/C in measure3, a Sestureappearsin rneasure:l that may best be unclel'stood as con\rentionclisquised.Carnouflagedbeneaththe dc-scendingchromatic line of r)reasure4 is the ivell-known bebop figLrresometimes called the "Honey-suckle"lick-here. pb-gb-Eb-3b-Af . rvherern eighth rest woulclordinarily occur between the Cl' and the Eb. In any case,the chromatic line continueson until the Gb on the clownbeatof measure-5. The ii-V in measurcs5 and 6 is given a fluid treatment.After providing a guide tone on the downbeatof the measure, beats 3 and 4 clearly delineatean undesignatedsurfaceharrnony (Bb7, the V7lii) befbre returning to a direct spelling of the Ebm7. 3rd through 9th. in measure6. By this time. however, the chord has moved on to Ab7 on the downbeat of measure6. The point to be emphasizedis that an improviser is never tied to the exact chord chan,qes that a ii-V would seem to suggest. \\'hen the ii becomes a V is the soloist's prerogative. This was evident in the very first recordingsof the beboppers,when the ii-V tirst began to assertits preeminentposition in jazz harmony. A ii-V progressionis really a ii-V area.The point of changein the soloist's line is not compelledto coincide with the point of change in the rhythm section. (This is not an excuse tbr imprecision, of course. A player should still strive to gain exact rhythmic control of chord changes in his intprovisations.) Ambiguity plays a hLrgerole in jazz irnprovisation. It is extremely eff'ective to introduce passagesthat clearly function as two things at once. For example, in measure 6 the line directly ascends a GbmajT chord, but the chord is ,qbZ.So, while the ear hears a familiar 7th chord, it also heirrs the 7th, 9th, I lth, and t3th of the Ab7. This is but one of many ways thnt improvisers may think of superimposingchords when reaching fol upper extensions.Two instances of ambiguitl' can be found in measure 16. First, the ear will clearly hear that the line moves through a seconclinversion Eb triad from the first beat into the seconcl.This is reinforceclby the Bb7 harmony that prevails. But, of course.that is not what is really happeningat all. These notes are merely part of an encircling gesturethat is aiming lbr the apploachingF natural.Why F natllral?This is anotherinstanceof anibiguit-v.The F Dorian rnode u,ith thc relatediimT of the Bb7, but works on anotherlevel with the E7 on beats3 and 4 of measure is associateci 16. F ler eit p i c k s u p th e b 9 ,fl 9 ,f t t. a n tl b13. i n addi ti onto the gui de tones.Thi s i s an i nstanceof addi ngdissonance that is grounclcdin the farniliar. Just as dissonantnotesin the harrnonyof a tune are always more compelling u'hen thel,occttr in the tric'lotlv.so are disstrnantnotes in rrnirnpror i:rtirrn nrore compelling ulien they are part of s-)
ffi,,
Clalt
FmajT
Gn7b57E
Sl .
H,i. &r j $,i,'
$ii,, $i:. F;:,. . Bti
FniajT
$i' i...
F13sus-l
BrrnajT
BrirTp5
i.,
E;,
ETalt
AilrijT 'f- ) )-l
t-
--t^
t'.t29
l--r
-r-
rj-r
Ft!.;,
AmajT -J-
fJ.
F,
F.D1D9
fi.
AbrnajT
o-tbg
ED7D9
F:r F:i p;i si,,: id.:, Frli
Fi'r
ffi'
Fi, F., [.:
GmajT
t91
,TAZZOLOG\
Gmzbs
(;m7b-i7C
ctbs
Listening should be su:lticious of writers who lvrite more than they read. Substitutethe words It has been suggestedthat r.r,'e "pIay" and "listen" and thc caveat is equalll' trte for jazz musicians. There is no more important activity for a jazz musician than listening to the music. Wher-rLester Young spoke to Buddy Tate about repiacing Herschel Evans it.t the Count Basie Band in l939. the first thing he askedhim was, "Have you been iisteningl"' Practiceand study are essential,but listening is crucial. Jazzis a communal experience.Ideas are expressed,understood.shared,personalized, and passed back and forth. To pafticipate, one must join the community. One must learn the common language. Historically, Iistening has been central to a jazz musician's activities. Musicians have been known to curtail their practice routines after musical maturity. but the best ones never stop listening. Lester Young, Charlie Parker, and Cannonball Adderly were among those known to have practiced ferociously in their early years. but very little in their later years. Yet they never stopped listening. It was said that Lester Young listened to music constantly throughout his life, even going to bed with the radio playing. Charlie Parker was fascinatedby 20th-century classical composers during his later years. Cannonball Adderly continued to listen and search fbr new sounds and idioms throughout his life. in the final anaiysis, your stature as a jazz musician is determined not by how much you have practiced, but by how well you have listened. All jazz musicians shareone common trait: an indissoluble love for the music. Invariably, this is the starting point. Nearly every jazz musician tells a similar story. At some point in their lives, they heard somebody playinglazz and said, "I want to sound like that." The first step in attaining something is to know what you want: not a general idea or a vague notion of what is desired, but a clear and specific picture. Only through listening can a student of jazz really know what is being sought. The principles outlined in this chapter have been distilled from the recordings of accomplishedjazz musicians. Although the material presentedis intendeclfor study and practice, it is also meant to enhanceone's abiiity to listento jazz.lt is only naturaithat we find sornewa1'of categorizing.labelling, and sorting ouf sensoryexperlences. We neeclto unclerstandwhat we are hearin". By classifying the sounds that we hear and codifying the procedures used to attain those sounds.a theory of jazz results. But it must never be forgotten that the music precededthe theory, and not the other way around. The devicesdiscussedin this chaptershould be stuciiecland practicedso that they becomefamiliar to the ear and comfortable unclerthe fingers. Then. similar clevicesshould be listened for tn jazz performances.An excellent approachis to listen with one's instrumen{handy, plal,ing back passagesthat catch the ear, and $riting them dor'vn and memorizing them. The goal is not to collect material as ammunition for firing back in one's orvn solos,but rather to absorb and unclerstandwhat is h.:ard. In order to speak a language, one must first learn the vocabulary' and understandhow phrasesand idioms arc constructed.Diligent study of the princrplesoutlined in this chapter' supportedby attentiveanclactive listening.rvili go a long way tou'ard deveioping fluency in the jazz ianguage.
CFL\PTER 12
IL)5
CFIAPTER
FTJI\TDAMENTALS OF TRADITIONALJAZZ For pr-uposes of convenienceand clarification, it is usefLrlto divide the history of jazz into trvo halr.'es:the period that came befbre bebop and thc pcriod that came after. It'one had to selecta specific year for this point of demarcation, 1944 would be a good cl-roice,since the bebop cxperimentsof the early l9;l0s had produced a coherent result by this time, and that result was capturedon a rnl,riad of recordingsthat appearedin rapid successionfiom 19-l-lonward. The changein the rnusicthat occurredat this time was so significant that the period is often referred to as the "bebop revolution." The upheaval it causedin the jazz community was substantial,evoking a war of words betweenthe traditionalists(the "moldy figs") and the modernists(the "reboppers").Many older jazz musicians either refusedor were unable to make the transitionto the new style: it was that different. As it turned out, nrost of the changes brought about by bebop were pellnanent and have characterized all jaz'z styles that have appearedsince. The paradox is that a significant part of the history ol jazz precedesbebop. Indeed, rvhen bebop appearedit was of Kin-eOliver, not at all clear to some people,ineluding its practitioners.that it was really jazz. Jazz was the rnr"rsic I-ouis Annstrong. JamesP. Johnson.Fats Waller. Fletchcr Henderson,Duke Ellin-eton.Lester Young. and a host to Charlre of giants ra,hose recordin-tsattest to the immense contribution they made to the style. Bebop. accorclin-e P alk e r.s e e me dto b e " s o m e th i n gel sc." h is in e ri ta b l e th a t o c c a s i o n su i l l ari se n' hen j azz rnusi ei ansui l l fi nd themsel vesi n the posi tion of per f or m ilt g rutrsicr.r'ithstrongties to traditionaljazz. How this shoultl bc done is not at all clear. The debatc-over "perioclpertirrrnancepracticc''in classicalntusic l.rasriiged 1or decar[-s.On tlie one hand. to plal historic ntlrsic fl'ottta tuocler nis t i cri e i l p o i trt w i th to ta l d i -s i c s l rdfi tr hor.vi t uoLrl dIi uveori gi nal l y' soundedi s poi ntl ess.Ot t c-has sir nply'bor urigirral t.o$cd tnaterialsfron.rthe pilst tir crelte solllcthing neu todal" ()r.rthe other hand' to attelllpt 1()rL-cl'eittc For a nuutber of rcltsotrs.tlttc rvlruld pcrfirrrnancescrlLctly as thev uoirld have soundedirr thc past is ir-r-rpossible. to t'e11!-('Ll to har,e1ir,'ecl ancirvorkecltlirring thaf periocllo sounrlas the lrusicians of thc tirttc tlicl.lt is ttot 1-rossible enlcr & bYgonccr.asel'eraldecati'': latcr and e \pect to crcitteauthentictltrLsic.
our cclntrol,and peltbrnl Thc onll' r'iablc solution is to irlcrrtil'vthe esscntiall'catulcsof the nrusic that are'ut.tclcr j azz trtusiciat t tsheut selves tradi ti onal i s essenti al l l ' ri hat iu l r n tu rn c rth a t i s c o n s i s te nut ,i tl t rh c ori gi nal styl c.That in the 1920scontiticlid ellcr the bebop revolutiorr.h rs astonishirrgto consider that nranv of the pioneersof 1trz,z. the "conlirronrises" ueclto n'ork protessionall.v*'ell iirto the 1960sand 70s. \{uch can be learnedfrttn sttttly,'ing over lhe years that had occurt'ecl thescrnusiciansuradein recreirtingtheil orvn music. Ther acceptedder.elopnrents that seemedcon-qfuentwith their tnusic. but rcjectedother-sthat they consideredinappropriete. This cliaptet w'ill discussthe basic elementsof jazz as it existed prior to bebop. Cotnnton ttrne structures.chord -fhe concept of collective improl'isaticlnas practicedby seclllences. and approachesto soloing r.r,illbe examined. metttlr-cu,Orlcansjazz musiciansis bcvonclthe scopeof this book. iis are the specific roles played by indir,'iclual to be tor readers l'naterial bers of thc' rhythm section.The uin ot'this chapter is to provicleenclirghtundatnental jttzz tlf the rtlirkea tllockery'out irble to clevelopan intelligent apploach to the music. Totr o{'ten.tbrays into earll' " W hen t he Saint sColne s Lr s ic u n c l c rth c g u i s e o f " D i ri e l l u d ." W eari ng stri ped\csts rl nd pl ayi ng corny l i cks to N,lar-ching In" does not qualif,v as rraditional.lazz.It is hopeclthat the principles oLltline(lin this chapter r.villpreri hen thc occasi ottari ses. pt it r .u )u s i c i a n sto a p p ro a c hth i s ri rusi cui th si ncel i tt' and i rtte-uri ty
l9(,
IAZZOI.()GY
Harmonic Concept not found in music of the 1920s.But assoeiatedr,vithpost bebop tLrz,z.are NIany of the standarduppcr strLrctures this is not to imply that only triadic structllresare present.hnpressionisticint-luenceshad a significant irnpact on jazz during the i920s, especiallyin written arrangements.Normal chord progressionscould be erpected to have the 7th on chords with dominant function (more on that below), and possibly a natural 9th or I 3th. Major chords cor,rldbe triadsor 6th chords,rarely receivin-ra 9th, and almost never a major 7th (unlessin the melody, as in Louis Armstrong's "struttin' with Some Barbeque").A minor chord would most likely be a triad. but might receive atld addecl6th or 9th. Minor Tth chords were rare. Diminished chords were common, both as triads and 7ths. m7b5 chords were not. Augmented chords were used frequently,as were whole tone scales.These suggestionsapply to standardcomping in the rhlrthm section. Soloists were apt to be more adventurous,and anangers of the time were wont to try anything. It is revealing to contrast the bebop reperloire with that of traditional jazz. A significant number of early bebop compositions were basedon blues or rhythrn changes.A few other favorite structures were added to that list, such as "lndiana" changes."Cherokee" changes,or "Honeysuckle" changes,but it is evident that well over half of all bebop tunes utilized only a handful of chord schemes.This was not true in the 1920s. A seemingly endless number of tunes were available to iazz musicians, and very few, other than the blues, shared the same chord progressions. That having been said. most chord sequencesin early jazz are quite predictable. At the top of the list is the circle of 5ths. The prominence of dominant 7th chords resolving downward to other dominant 7th chords in traditional jazz tunes cannot be overstated. Subdominant chords are not frequent in early jazz chord sequences.It is crucial to obsen,e that the hallmark of bebop harmony, the ii-V progression, is rare in traditional jazz. In the vast majority of chord sequences.dominant 7th chords will either stand alone without preparation, or else be preceded by V of V . ''There'11Be Some ChangesMade" (1921) by W. Benton Overstreetand Billy Higgins exemplifiesthe preference fbr dominant Tths in music of this period:
Key:F
l lD 7 I
I
I
l G7
|
|
|
l l A7 I
lD7
|
l G7
I
lc7
|
ll
l lD 7 |
I
I
tG7
I
I
I
ll
ll A7
lD7
I
ltiT
lc l
lF
lDl
lc l
I
lc 7
lF
lF
ll
As can be seen.the progressionlvanclersincessantlythrough the circle of tifths, onlv touchinSupon the tonic nerr the end. where it is taggecland finally returns in the penultimatebar. Typically, a progressionlike this one would be playecl exactly as indicated, il'ith no uppel structuresadded beyond the 7th. contain chord progressionswhose basic structurewill be tarniliar to present-daylazz Many classicjazz standarcls musicians.Below are the chords to "Whispering" (1920) by John Schonberger.Adding the relatediimT to each of the clominant chords woulcl proclucea set of changes that were often used by bebop musicians.
IIC
lB 7
lc
ll D7
lG7
lc'
IC
l87
lc
llD7
I
lG7
I
lA 7
tI
lC C' I Dm7G 7 lD7 G + ll lA 7
lDmA T DmA T lDmF m6lClC
ll
chord Notice that lrore harnorric variety is like l1' to occur at tllrnaroundsor lust prior to tiie rctulrt of the tonic
CHAPTER13
T97
" B lues N { y N a u g h tl ' Srv e e ti eGi re s to Me" (1919) by C harl esN { cC arron.C arev N ,l organ,and Ar t hur Swanst r om provides an exalnple of an earlr i,rzz tune in a minor ke1 (although it ends in major):
ll Gm lGmDTlGm lG7 ll D7
| D7
lcm
lGrrr I Grn lA7
lCmG T lCm lCm
I
lD7
I
ll Gm lGm D7 lGm lG7
lCm
lc m lD7
lDl
ll G7 l G7
lFl
lF l
lB b
lc7
c'7
i!,/
lB b
ll
While there is a distinct blues flavor to this song, it is by no means a blues form (even though the first six bars hint at one). Again, dominant chords prevail wheneverpossible.
Ragtime Ragtime is not jazz, nor is it a precursor to jazz, but rather is a style that coexisted with jazz during the first two decadesof the twentieth century. Nevertheless, the two styles are closely related in significant ways, and many musicians, particularly pianists, were strongly associatedwith both jazz and ragtime. Jelly Roll Morton, for example, was a pioneer jazz pianist with strong ragtime roots. For the most part, ragtime was a composed instrumental genre, but there is strong evidence that in practice much embellishment and improvisation occurred during performance. It was primarily a piano medium, but ragtime bands were also important, some of them lasting well into the 1920s. James Reese Europe. for example, had one of the successful black orchestrasof the t910s. While his music was on the cutting edge of .jazzin rhythmic conception,it is best classifiedas ragtime. Clearly the two genres were intertwined during the early years of the century, and one style cannot be understood without some knowledge of the other. Ragtime is characterizedb1' a \\'ncopated melodic component set against a solid rnarch-like accompaniment. Indeed, the primary structure and harmonic materials of ragtime came directll' frorn the march tradition. Ragtime is generallyplayed strictly-the cighth notesdo not swing. Although srving interpretationsof rags can be heard on earlv recordings,most ragtime c()utposerqclearly wanted their compositionsplal'ed exactly as w'ritten,and most ragtime authoritieswould tiown upon an,vsignificant altering of the rhythm. That being said, authenticrecordings and piano rolls made directly fr-om ragtime practitioners indicate that subtle iilterationsof tempo. touch, note length, and rubalo rvere indeed significant elementsof ragtime perfbrmancc.This u'as bv r.routeans"mechanical" m us lc. like AABRags r.verehighly' structuredin firnn. Although countlessvariationsare possible.ali follou' sontetl-ring BCCAA. Each letter represeutsan cight-bar strain.Strainsare usually repeatedliterally, but single strainscan also much like the trio of a march. occur.The middlc section,represetrted by C here,rvill usually go to the subdonrinar.rt, Belon' are some r,vell-knownrags that musiciansare likelv to encounterin the early jazz repertoire: "Maple l-eaf Rag," Scott .loplin, 1899 "The Entertainer,"Scott Joplin, 1902 "Eccentric," J.RusselRobinson, 1923 "Twelfth StreetRag," Euday L. Bowman 1914
AABBACCDD Intro AA BB A CC Intro2 DD AABBACCDD Intro AAI Intro2A2
R.agtirneexerteda strong influence on early jazz. Although we now view the twct as distinct mr.tsicalstyles, such distinctionswere not at all clear cluringthe first three decadesof the twentieth centur)'.N4anyjazz bands used the term "ragtime" to describetheir rnusic, commonly incorporating the word into titles of tunes that do not fit our presentdefinition of ragtirnelbrnr. The confusion is not surprising."Ra,egirlg"\)!asthe processof addrng syncojust as 'jazz-ing" was a processof adding embellishmentand rhythrnic variation.Moreover, the pation to a n'reloclv structureof manr early jazz tun..i. with their multi-sectionalform. contrastingthemes,and modttlittions,derives directlv fron the rastin.letradition. This r.villbe discusseclin more detail in the tbllou'ing seetioll.
198
JAZZOL()GY
EarlyJazzSongForms Early iazz tunes typically had titles containing lvords that appearto describethe fonn (e.-e..rag. one-step,blues. cakewalk, or stomp). But that is not quite tl.recase.As we shall see,labels for song fonns \\iereverv loose at that time. Just becausea song u.ascalled somethingdoes not mean that the structurewill necessarilyfit into our present conceptionof what that form is supposedto be. A composeris free to chooseany designationfor a composition that he or she deems appropriate.There is no requirement to properly label works according to category. This has resulted in confusion about fbrm and structure throughout the entire history of Western rnusic. Moreover, what a term designatesat one point in history nray not be the same as what it means at another tirne. This is particularly true of the words "rag" and "blues." tenns that had very broad meanings then, but have con-leto have quite spec if ic im plic at io n sn o w .
Blues The word "blues" designateda much broadercollectionof songtypesin the 1910sand 1920sthan it doestoday. Many bluessongsfrom this periodare not twelve-barstructuresat all. Othersthat are twelve-barstructuresdevrate significantly from the basic blues pattern and oftentimesevoke very little blues quality or sentiment. Conventionalwisdomhas it that the blues startedout as a chord sequenceinvolving triadsbuilt on I, IV, and V. As musiciansexperimented with the form. so the story goes,substituteharmonieswere graduallyadded,until. by the end of the bebopera,jazz blueshad evolvedinto a far morecomplexharmonicstructurethan it had beenseveral decadesearlier.In actuality,however.bluesprogressions were likely to be loadedwith extraneouschordsas earlyas the 1910s,ascanbe seenin this tl,picalprogression:
ll Eo
lE bT l.{t
lA'
I Bb
lc i
I F7
lB b T I E b
lt
This chordsequence wasnot at all unusurllor an earliibluesprogression. It would appearthatmany,ofthe reharjazz were availablelrom thc earliestdairsof jazz monizedchordsthat w'c norv associatc\\'ith pclst-bebop recordin-e.
Multi-Part Structures An examination of several classicjazz standardsfiom this period will give some indication of the tbrms that improvisersworked from as well as the pr)tentiallymisleadingnatureof song titles. Belou'is the jazz classic''Jazz Me Blues" (1921) by Tom Delaney.
ll:Eb lEbBb7| Eb
I F7Bb7I Eb
l l Bb 7 l c"
lBbi lBbi li
l l :c 7 l C 7
lF7
lF7
l l :C 7 l ct
lF7
lF7B b7lE b
I Eb
I C. sb I Bb7Et :ll
l B r T lB b T lE b
lE b
: ll
I C*
lc l
lF 7
lc l
lB b T lE b
lE b :l l
Although the multi-part structure follon s no prescriptive form, it clearly derives fronr nrarch and ragtime inflttences.Solos occur on the secondsectiouonlv. and the entire tbrrn is plaved for the final statcn.rent of the tune.
CHAP'|ER I3
199
"RoyalGardenBlues"(1919)by SpencerWilliams and Clarence Williams itctually contains a biues enveloped within the largerstructnre:
ll FCTIF
cTlF CilFi
lB b A T lB b A T le b a z ; n b
lc j
lcl
lF B b I F c j l l
Il F C7JF C7 | F Cl lF7
lBb A7 lBb A'71eb ez 1nb
I cj
lcl
Itr
lF
il
ll F7
lF7
lFl
lB b
lF
lc 7
lcl
lF
tF
ll
llFT
I Bb
I B bm I F7
ll
lB b
lE t
lG 7
lc j
lF7
lBb
lBb
ll:eb lB b
lF7
lB bi
lB b
lF
lE b m lB b
Theoverallstructure is AA B InterludeC, wheretheinterlude carriesoutthemodulation to Bb.thesubdominant. SolosareoversectionC. Noticehow substitutions areinserted intothebasicbluesprogression thatallowfor the prominence of dominant7thchords. An exampleof multi-sectional formin a minorkey is seenin "That'sA Plenty"(1909)by BertA. Williams. ll Dm lD-
lDm
lDm
lA 7
lA t
lD-
ll Dm lDrn
lDm
lDrn
lA 7
lA 7
lDmA T lDm ll
ll c7
lc7
lF
lF
lc l
lc l
lF
lF
ll
uc7
lcl
lF
lF7
lB b
lF DT lG T CT lF
A T ll
ll Dm lDrn
lDm
lDrl
lA l
lA 7
lDm
ll D*
lDn
lDm
lDrn
lA 7
lA 7
lDmA T lDmF T ll
ll B t
lB t
lG7
lG7
lc i
lF 7
lB ,
lF 7
ll
ll B b
lB n
lc7
lcl
lc i
lt ri
lB ,
lB b
ll
ll D
ID
lD
lD
lF
lF
lF
lF
lF l
lA 7
ll
lDm
ll
lF 7
lF l
lFt
ll
Theform requiressomeexplanation. Theoverallscheme is AA BB AA CC D. SectionD functionsas a "break strain" or "dogfight." creating tension in anticipation of the return of the C strain. Solos occur over section C. After the last solo is played, a variant of C is played with repeat, fbllowed by the original C strain with repeat as the out chorus.Thus, the overallplan is actually AA BB AA CC D solos D ClCl CC. There are scores of rnulti-sectional .1azzclassics, and the schematic plans vary wideiy. The above discussion is merely a brief overvier.vof how these structures are put together. Those interested in pursuing the study of early jazz are urged to listen to the rnany recordings of thesejazz standardsthat have been accumulating since the early I 920s .
JAZZOLO(;\'
Improvisational Strategy Certainlr,the original creatorsof classic jl.t.z did not have to think about how to improvise to it. Their"ears.training, and erperienceswere all thev needed.But for musiciansrvho developedto maturity':rfterthe adventof bebop, which is virtually everyonc reading this book, the situation is different. In short, our fingers are programrned to play things that are simply inappropriatein classicjazz. Some musiciansrespondto this bv over'-reacring-trying to play in a sirnple and elementary style rvhen playing traditional jazz, avoiding upper structuresentirely and mechanically running up and down triads. This is to be avoided. By studying the solos of the jttz.zmastersprior to bebop, it is possible to learn how they approachedthe ar1 of improvisation. If it is impossible to ever sound like them, we can at least approach their music with integrity and procluceviable improrrisations of ollr orvn that are true to the style. Listening is essentialwhen studying early .1azz.One cannot exaggeratethe imporlance of learning recorded solos. Stories are legion that describe the dedication with which musicians studied the solos of those they admired. Drummer Ray McKinley once told how he met Tommy Dorsey in a restaurant and they regaled each other by singing Louis Armstrong solos from memory. Benny Goodman claimed to have memorized all of Bix Beiderbecke's ssl6s-sn the cornet! If those who lived during the same era as the early lazz mastersfelt the need to learn their recordings, it must be much more important for us to do the same more than a haif century later. Here is a list of guidelines for playing classic jazz: 1. Use care and economy in the selection of notes. 2. Do not become locked into the chord of the moment. Think of broader harmonic areasand the overall tonic key. 3. Generally, it is best to search for common tones rather than guide tones. The jerky effect of riding the changesis generally not appropriate in early jazz. 4. Referencesto the melody are ah,r'a1's appropriate. Ignore nonessentialharmonies. If a fast harmonic rhythm occurs (such as during a turni,rround)do not try to incorporatethose chords into thc improvised line. o. P ent ut o n i cs c rl e si l rc q u i te l p p rrrp ri u te. 1. Ntelodic repetition.alteration.ancldevelopmentare useful. There should be an inner lo-uicto the line. 8. Plal' with the listener'sexpectations.Surprisesare welcome. 9. Introciuceblue notes where appropliate. 10 Use natural gths and l3ths tieelr on major and dominant chords, eren in conslictt,rtLsplaces and fbr extendeddurations. This lis t is . of co u rs e ,a b ri e f d i s ti L l a troonl ' a col ossalbody of recordedcl assi cj azz.To show ' horvthesepr inciples might play out in actual irnprovisation.a srrnple solo is provided on the follor,vingpage. Readersale encouraged to listen and transcribeori-einaljazz solos from the period. Highly recommended are the Louis Armstrong Hot Five and Hot Ser,enrecordings.as rvell as any of the recordedsolos of Bix Beiderbecke.
(,HAPTER I.]
2OI
TRADIilONALIAZZSOLO -il
NloderateSu'ing ., = 100(.1 = -, ) -\ C7
202
.IAZZOLOGY
CFIAPTER
PRACTICING WT{Y,W&HOS[? Several months before this writing, I asked a colleague how his summer was going, anci he replied, "Oh, just trying to find time to practice." Another said. "I've got so much administrative work to do that I hardly have time to practice." But a more fortunate acquaintancementioned, "I practice in the moming and go to the beach in the afternoon." Lucky him. It seemsyou can't talk to a musician without the word "practice" coming up. it's what w'e do, what r.vethink about. It's what bonds us as few non-musicians would understand. A11of us-music students. teachers,and pertormers alike-recognize and accept the need to practice regularly. Yet we never seem to have the time to practice as much as we want. With such restrictions on our time, we want to make the most of each practice session.How should we invest these precious blocks of time? Veteran musicians generally have worked out a strategy to deal with restricted practice time. Years of experience have taught the seasonedmusician what needsto be practiced in order to keep in shape and to meet upcoming challenges. But studentsneed to give some thought to the subject. To assertthat "my teacher tells ine what to practice" does not sutTice.You won't always have a teacher.Some teacherswork only on specific material at lessonsand assume that studentsare practicing in a well-rounded fashion. Others are there to otfbr help ancl guidance, but they allow studentsto develop according to personalstrengthsand interests.Clearly. it behooves the studentto give some thought to structuringpracticettme. Deciding what to practiceduring a given practicesessior.r is largely influenced by hou' long that sessiont'ri1l be. It is important to understandwhat can ancicannot be ctTectivel)'practiced\4'ithin a gir.'enpertod of time. frying to cram five or si.r activiiies into a thir:ty-rninutesession.for erample, r.vouldbe foolish. On the other hand. spendingthirty nrinuteson a single activity lvill lirnit overall dcvelopmentand progress. A half hor-rrof scalesand arpeggioscould be an eff'ectil'ecomponentin an ertended practicesession.but rt would be a rvastefulway to spenda complete session.A happy medium rnust be struck. Studentsnust leam to pacc themselvesthrough longer practiceperiods. When practicc sessionsbecome extended, it is importantto make sure they don't turn into hours of drudgely. lf- somethingisn't tun, r.vesiniply won't do it, at least not for very long. An hour of tonguing exercisesor tw() hours of scalesout of a pattet'nbook are ttot activities that any hurlan bcing should be subjected to. The longer a practicesessionbecomes,the rnore it shouid resembleactual performance.Drill, isolation,and repetition are essential elements of practice. but you can't do these things all day. Go easy eu such activities. Remember, the ultimate goal is to make music. Charlie Parker is reported to have practiceclfifteen hours a day when he was young- Later in lit'e. Parker owned a farm in Pennsylvaniawherc he would relax when he wasn't working. But he still practiced.I once spoke [o a man who had lived near Parker, and he told me that Parker would improi,ise on songs all day-sometimes playing the same song for hours on encl.Was he working and concentrating?Yes. Was it hard work and drudgery? Not at all. If I played like Charlie Parker, I'd play all day too. So let's get to specifics.Assuming that ne don't have fifteen hor-rrsa day to practice-artd u'e dol.r'tplay like Charlie Parker-what should we do with our practice time?
CHAPTER14
203
A Daily Routine o1'clriilsanclpracfice ittutel'ialthat It's almost intpossiblenclt t.o fall into a daily routine. All of us fincl a seqLlence good thrng.bLrtwe want to be sure a This is rvhat doesn'1. and works for us t'hat time. We leanr us over to appeals want keep them l'lerible enough to We to also habit. rather than through thou-sht rhat otrr claily,routines clevelop practicesessionsof vat'l'ing lengths. acconrmoclate Long Tones This is tbr hom piayers especiali-v.but guitaristsand bassistsshould not overlook the value of rvanling up with long notes as a \vay of making sure they have good tone and a solid connection with the instrumetlt.As a saxophonist, I alwavs begin my pruerrcesessionwith long tones. Some piayers don't dci long tones: others swear by them. I like therl. To me they l'cel like stretchingbefore exercise.It's a way"of easing into things. I never fiet, worry. strain. or become exaspcfatedabout rny tone when doing long tones. Instead.I just try to relax and get a big. unrestrictedsound. I think about breathing, posture, finger position. and all of the physical elements of perfonning. The magic of long tonesis that they afford us an oppofiunity to exarnineour playing habits at close range.It's our chance to have complete control. How many times have we all tried to cotrect a bad habit, such as a faulty finget position or poor posture, only to flnd that we fall back into the same rut when challenged by difficult music? Long tones take the heat off. We can stand in front of a mirror and fine-tune every detail of our performing technique, a big first step torvard establishing permanent good habits. Remember, when you practice. ),ou are reinforcing how you sound and how ytlu f-eelat that moment. lf you don't like how you sound, or if you feel nervous or tense, then stop. Find something else that works for you. How much time should be spenton long tones?It dependson how much time you have. Some days I spenda couple of minutes on thern.Other tlays I spendfive or ten minutes on long tones and then come back to them several hgurs later if I fcel therttension irasenteredinto my playing. Use long tones i1sa tool when you need them. Melodies playing meloclicsis a great wa\ to develop tone, intonation,and interpretaticin.Like long tones,they can be usec to reduce tensionanclfocus on rhe most basic skills involved in playing an inslrurnent.In arddition,they ernbody; central concept. r,vebccome so invoir ed in working on scales.technique,pieces,and lange, thiit rve forget rvhatour pri' Son1etir1es if you can't plity a sirnple melody and make it sound goocl?I'vt orities are. Of uhat use is play'itrgany instrr-rment but soundet kngvyn studerltsg,ho cogld ptai ell their major scales.read well and play dif'ficrrltpiecesaccr,rratel-v-. r'vrong trlrck. on the iire students such t)bviously. terlible plal,ing a siurple song.
I pagseto pla)' u f-ewgielocliesrnanl'tinrescluringpracticesessions,jr-rstfbr tun. I especiallylike slow tttovetneutl l) Playing from memory is impor b1,Bach, Vercliarias,and Billl Srravhonrsolt-ss.(How's that for mixed cornpan"vi tant, as it helps get Llspast tratrsfrrring written notes to sound and puts us closer to utlderstandingthe song as whol e .
Scales and Arpeggios how mant Scales iind arpeggios prepare Lt\ to play patterns we are likely to encollnter in reill music. No miltter piecesyou practice,you will rlcver cover all of the possibilitiesthat can be included in a sirnple scale-and-arpeg gio routine. it's a good ide; Generally,oncc all of the ntqo; rrndminor scalesare learnedalong with their associatedarpeggios, "Finge "Daily Studies," as such titles have to turn to one of the many pattcfrrbooks that are available.Theseotten entiret' in its volut'nes of these Exercises."anclso fbrth. Sincr-it woulcl be nearly irnpossibleto play through one each day, utost llusicians just itick a few flu,oritesor rotate them over the *'eeks and llonths. he u'as u'orking ol It is important to understanclriltv rve practice scalesand atpeggios.I once asked a studentif if hc rvent to battrngprac his scales.and he replied. ''l a1rtad1,know them." That's like asking a baseballpiayer the the reply "l alrclcly know hor,vto bat." We do the same exercisesor'er and orer again because tice anclgettir-rg them' u'ith done and are arvay thetti put can we that are. in 1act,excfcises-Thel,ilic neYer"leaned" in the sense 201,
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The first step,of course.is to learn the con'tct notes.Then they must be played evenly, at a reasonableternpo,rvith proper articulation. But an il'rportant benefit of scalesand arpeggiosthat we sometimes forget is that they are tone studies.It's one thing to single out a note and play it with a big erpressivetone; it's quite anotherto get that same rone when passingthrough it in a seriesof sixteenthnotes,This is a skill that the best instrumentalistswork on all their lives. Etudes Although 6tude is simply the French word for "study," the designationmeans somethins ntore to a musicjan. Music that fits this description generally goes beyond the "daily exercise" and qualifies as a musical composition. On the other hand, the purpose of such a u'ork is pedagogical. So we might call an etude an exercise whose purpose is to instruct while soundingas rnusicalas possible. Since etudes are intended to instruct, it is important to go back to them once they are learned. Review is important. At some point, most musicians find it rnore advantageousto continue practicing the etudesthey already know, rather than learning new ones. The real value of an etude begins only aftcr the notes have been learned. Then it becomes a valuable instructional tool for future use. It would be folly to work through an entire etude book over a period of several months and then permanently abandon it, placing it on the shelf. Learning should be cumulative. The musician seeks to create a repertoire of music that has been mastered,not a list of pieces that were learned and then forgotten. Pieces Scales, studies, and exercises have one overriding purpose: to teach. Musical pieces, on the other hand, may not have been written for this purpose at all. A musical composition stands as a work of art and is not necessariiy intended to be instructional. This calls for a different practice strategy. Etudes generally include something of eclucationalvalue in every measure.It is expected thiit students will practice such exercisesin their entirety, oilen playing them from starl to finish without stopping. This is rarelv a good approach to learning an extended musical composition. except in the final stagesof preparrrtion. Piecesrequiremuch thought and fine tuning. Passagesneedto be isolatedand carefully worked out. Articr-rlations. dynamics,and countlessnu:incesneed to be considered.Piecesare essentialin the developmentof interpretation ancl musicianship,but these skills won't be acquired through sheer repetition. Patience iLndcotlcentrationare required.
Putting It Nl Tcrgether So what should a typical practicesessionconsist of? This, of course,dependson many factors-the instrumeni, For advancedwind players,practicing betweenone and time available,personalgoals, and level o1'clevelopment. two hours a day and dividing the practicesessioninto thirds is a common strategy. For instance,you might begin a two-honr sessionwith tbrty minutes of basic exercises,incl-rding long tones. tonguing or vibrato studies, scales,and arpeggios. The next forty ntinutes will consist of etudes, with part of that time spent on learning new material and part on review. The final forty-minute segment will be devoted to pieces, orchestralexcelpts, improvisation,and sight-reading.This basic plan leavesroom for tlexibility. includes much variety, and provides a u'orking strategy toward effective use of practice time. Practice Should Be Fun, But It Must Involve the Mastery of Realistic Goals How cloyou get studentsto practice?In an ideal world, every studentwould show up tor lessonsprepared.attentive, ancleager to learn. All the teacher i,r'ouldhave to do is dispense knowledge and expertise. u'hile the student enthusiastically absorbeclthe material, eager to hurry home and practice for next week's lessotl. I may have had one or two studentslike this. I may even have been such a student(otf and on). Unfortunately. it's not the norm' practice Many studentshate to practice.Some do it any,waylsome don't. \Vrthoutquestion,motivating \tudellts to is appropriate this do to teachers help is an essential part of a music teacher's job. One technique that can goal-setting. CFL\P'ITR 14
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A goal is the end towiird il'l"tichan effort is directec'I. Whcn studentspractice ir.rorder to learn an etude, impro'e lacilitf in the key of Ab. or-rrake their high notes more resonant,they are involr.ed in goal-directedbehavior.Thcy realize tltat a gap exists betw'eenthe present situation ancl the ideal situation. Goal-setting establishesa path betu'een"where studentsare" and "where they rvant to be." Goal-settingimproves perfbrmance in several ways. Firsr. it directs attentiolrto the task. (If I don't practice this etude' I won't learn it.) Second,goals stimulaie the indivicluaito apply elfbrt. (l really w,antto leam the etude,so I'm going to try hard to learn it.)Third, goals encouragepersistence.(I'd really like to do something else today, but I promised m-vselfI'd learn that etude.) Fourth, goals causestudentsto invent personalsrrategiesfor attaining them. (Repeatingthis etude over and over doesn't seemto be working. Maybe I'11try playing through the difficult s ec t ion ss l o w l y .) Goals that are clear and specific, not too difticult, and attainablein the near future tend to be most effective in motivating students-Learning a specific etude is a clear shon-term goal. But what about more complex goals, like improving tone? In this case,the goal must be translatedinto a task that is a proven method of attaining the goal. For example, a student may assign himself the task of practicing long tones for five minutes each day. But the task musl not be confused with the goal. The student must never forget that long tones in themselves will accomplish nothing. If performed conscientiously and carefully, they can serve as an effective tool in developing a fine ione. If they become mindless drudgery, they will not improve one's playing and can actually be harmful. The long-term goal must always be kept in mind. even though it is approachedthrough the application of a daily task. Set goals that can be reached so that the student will experiencea feeling of accomplishment ancl closure. When I studied flute with Harold Bennett. his procedure was to assign a new etude at each lesson. Occasionally, I arrived at my lesson without having fully' prepared the etucle.He never asked me to repeat the assignment. Instead, he worked with me as best he could on the iil-prepared etude, advised me to go back to it when I got a chance, then mor''edon to a nerv etude. Thus the feeling of momentum-the move toward attainment of a series of short-term goals-r.vas not broken. ln recent years, eclucationalpsychologistshave reachedthe conclusion that retention (failing a student for the entire school year) doeslt't r.i'ork.Although this traditional method of ensuring that studentsare adequatelypre, paredfbr the next gradem;ikcs sensefrom the school'sperspective.the etlects on the stuclentrun contrary to everything that motivatesa human being to learn. The sanle is true fbr music students.Having to repeatan assi-gnment for three or fbul consecutivelessons("until )'ou get it right'') itri'iictsa tclrible blow to the student'senthusiasm.The studentllay e\,elltuallylearn the materiai. bLrtconcludetlut practiceis no fun at all. And the musicianwho hatesto practiceuon't be a musician for lon.q. To bctter utrderstandthe concept oi' rnotivation,it is helpfiri to r,'iewits origins as either intrinsic or extrinsic. Intrinsic motit'ation stemsiron'rintcrnai interest,culiosity. or enjoyment.The intrinsically motivated studentdoes t.totneed threatsof punishnteutof promises of rer.l'ards.Such studentsenjoy the activitrr itself and the senseof accon'rplishment that it brings. Extrinsic motivation depends on external factors, such as rewards, pressurcs, punishment. or fear of embarrassment. Studentsdo not seethe activity itself as rewarding,but focus on the gains that will occur becauseof it. There is nothing wrong with extrinsic nrotivation. We use it every time we pay someone for work or give grades. N4aximum perfortnance is likely to occur when both internal and extemzil motivation are involved. Practicingis hard work. Unless thc student finds some satislactionin the activity of practice itself, it is unlikely that external rewardswill be sufficient to sustainthe individual throush lons hours of scaiesald etudes.How do you get studentsto enloy practicing'? Part of the solution is to encouragestudents to become task-invoived rather thait ego-involr,ed.Task-involved learnersare focusedon their ou'n activities and not concernet'lr.l'ithhow thc-vcolnparer.rith others.They are internally competitive lLnddelight in thcir own improvement.They enjoy lneeting challengesand don't ciire how they look to clthers. 206
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Ego-involvecllearnersare preoccupiedr.viththemselves.They want to appearto be accomplishedand succcssful, no matterwhat it takesto convinceothers.Ttt them it's the perfbrmancethat counts.TheY look tor shortcuts(sometimes even deceptions)anclavoid trying anrthing that might make them appeariucorlrpetentin front of others. Acclaimeclflutist Geoffrey Gilbert, teacherof JamesGalway, cautionedagainstpracticing fbr specific eventsand performances.''To progress,practice regularly... with no goal except to improve." he advised.Practicing ts the musician's laboratory.It's where the real rvork is done. Teachersmust not give youns musiciansthe impresston that practicing is a necessaryevil, a painful procedureto be endured for the results it u'ill bring. This rs a prescription for frustration and f'aiiure. it is imporlant that studentsreceive assignnrentsthat are of an appropriate level of ditiiculty. Students should 1'eel challenged,but not frustrated.This range tends to be narrower with beginning studentsthan with more advancedones. Advanceci studentsknow how to assessa piece of music and approach it effectively. if a piece is too difficttlt. they slow it down, remove articulations, or work on smali porlions at a time. If a piece presentsno particular technical difficulties, mature studentscan make it challenging by focusing on attacks, articulation, tone, and pitch. In short, they understand that they are striving for improvement above all else, and they have learned how to adapt the assignmentto their needs. Young studentscannot do this. All they know is that they must learn the music, and they do this using the limited repertoire of strategiesthey know. Once a beginner has mastered a piece that is too easy, the student will iikely keep repeating the piece indefinitely, with no particular purpose in mind. Since the ear has not yet deveioped to the point where the student can critically addressfine points of tone and articulation. the student has derived rnost of the benetit the piece had to offer and is now just putting in time' On the other hand, if the piece is too ditficult, the studentwon't know how to approachit. For sonle reason.young studentsresistplaying passagesvery slori lr,. even if that is the only way they have a chanceof getting the llofes. It seemsthe),want music to sound like iru\ic at all times, which is not a bad thing. For the slttlrereltsoll-the,rresist segmenting music into small chunks that can be masteredone at a time. In short. the techniqiresthat allo\v Thereftire.it is crr:cial varietl of piecesare simply nol availableto be-einners. advancedstudentst9 tackle a r.r'icle that their assignntentslie r.i'ithin,br,rtat thc verge of. their capabilities. nts shoulclincir-rdepopr.rlar practicing shoglclbe tt-rn.Some teachersand publishersthink tiris means that assi-9nnie can also sel'\'els cOltcerts for preparation and activities music and relevant themes.Nlaybe they sirould. Band ncr acctlmplisht-tlentancl of tnitsterv a sense incentivesto practice.But przrcticingtvill bc fun only when it involves rnakirlg is sile he or rvho feels The ctlrdentlvho loves to practice is the one matter rvhat kind of music is p1a1,gd. steadyprogressanclwho enjoys the satisfactionthat comes fiom meeting and overconrinechlllenges. If practice Makes Perfect, Structure Practice Tirne to Deliver Maxirnum Eff'ect When I was a boy. mv parentstook me to Neu'York to experienceareal jazz club. I was il\\'estruckas I sat litlti watched frolr our tiont,ror.v table. It seentcclso strange to see and hear adults playing the saurebanci instrunents that m,v classtnatesand I played, and I urarveied at their elfortless facility. taken backstagewhere I met, among others, the legenclarytrumpeter Bobby Hackett' After the pertormance,I ra,,as He gave me an autographedpicture, rvhich I still have to this day, that contains one rl'ord of adr''ice:Practiccl ,,practice"is the guiding watchli,,oldof music teachersand studentsalike. Ah'nost ant' question inYtrlVing Surely How' can I correction, improvement. or progress r.vill elicit the same reply: Hou' can I get better high notes? improve my tone? How can I improve mv sight-reading? Practicel of rt. But beYotld If there's one aspectof practicethat ali nrLrsiceducatorsagreeon. it's thirt there should bc trlore thel' alreaciy tilr.re tlrc nlost of the merke that students ensure this commol clesire,p"rh,,p, there is more \\e can do to devote to practlce.
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Wl'rilesome studentshar''erestrictiotl5sn when anclr,l'herethey'canpractice,most har..ea varict1,,of options available to them. Should thev practices'ery day? Is it okay to take a clayoff? Two days'l Is it besrro pracricethe same arnounteach day or to designatecr-r'taindays as heavy or light practicedays'? Schedulingtime n'ithin the practicc sessionitself is anotherconcern.How shoulcltirlc be riil ided betu,eenscales. lessonmaterial. pieces.sight-readrnu,band music, and so on'l Shoulcleach practice sessionbe the samc? Should Vou keep playing scalesonce you know them? Should banclrir recital music be practicedto the exclusion of everything else as the perfbmrlanceapproaches?These are all questionsthat do not have a universalanswer.but neverthelessshould be _sivencareful consideration. When you're seriousabout a task, 1ou make a plan. This doesn't rneanthat you have to be restrictedby your plan; plans are meant to be changed. But having one will ensltre that things are not done in a haphazard,offhand manner. Teachersand studentsshould discuss long-term goals. Studentsshould ask themselves,"Where do I want to oe several years from now, and what u'ill it take to get there?" Goals do not have to be lofty or far-reaching. They can be as modest as wanting to pafiicipate in the school band or as ambitious as hoping to become a professional performer. In betu'een are many possibilities. Some students want to be competent performers but have no interest in pursuing a careerin music. Others want to be music teachers.Many simply want to participatein school music activities and have no interest in continuing with their instruments after high school or college. These are all viable goals {br high-schoolmusicrans. Studentsmust understandwhat it ll ill take to reach their goals. and I don't simply mean aclmonitionssuch as "if you expect to be a professionalmusician. you should be practicing three hours a day," and so fbrth. Beyond the itlrount of practicetime spent,the krnd of practice needeciwiil depenclon long-term goals. iUani' high-school studentssimply piay through their banclnusic occasionallyand then pracrice intenselv a t'eu' davs before the concert (rnuch the sarneas thel'prepare for examinationsin other subjects).Others have a weekI,t lcsson.u'hich rna,r-be devoted prirr-rarilyto band rlusic. N'loreserions studentsrvill have significant pieces to pfcparefbr their weekll' lessonsanclupcornins cornpctiti(rnsrrr uuclitions. But truly dedicatedstudentsrnust get past thc "preirrrling-tirr-thc-er.'ent" mentality. Even an intportrnt eompetition ot't'ecitalmust not nrake a significant interruptiorrin a student'spracticehabits. It tnust neye; be tgrsotten that the firnclamentalpurposeof practic:eis to improle. it rnight be possibleto crrul tbr a history test and gct irn A. but ovu'r--practicing one or tri'o picces of r.rrrsictbr a single event to the exclusion of evcrything else is not a wise approachto practice.The prttper attitude should not be ''l'r'e got to learn this by Saturclav."but rather, ''l'm sinrply working to improve. so that I rvill become the best nr us ic ia nI c a n b e .' ' i recirll a conversationwith a student during which we cliscussedwhich etudes ancl pieces he rvas working on. When I asked why his teacherdidn't require scales.he replied. "Well, she thinks I do thern. but she doesn't ask firr them at lessons."This studentu.as obviously caught up in the "prepare-for-the-event"rnentiility-in this case, thc ei'ent being his rveekly lesson. lt this studentwere looking at the big picture. he would not shortchangehiniself this way. I{e shoulcihave been askinghimself, "How much and lvhat krnd of practicemust I engagein over the months and i;earsaheadto become thr- kincl of perfonner I expect to be'.,"
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The.WeeklyPicture Befbre consideringwhat a rvisedistributionof rveekly practicetime rrrightlook like, let rne outlirrean unfortunate studenthas a lessonon Wednesday scenariothat sornestudentstend to fall into. Let's imagine that a h_vpothetical and keeps a practicelog tor the week. It mi-shtlook somethinglike this. Wednesday:I got through my lesson somehow. Now I need to relax and relieve the stress.No practice for me tonight. Thursday: ['ve ceftainly earneda day off from practice afier yesterday'slesson.I'll practicet{Jnrorrow. Friday: I think just a short practice sessionrvill be adequatefor today. After all, my lesson isn't until next week and I want to go out tonight. Now let me see-what did my teacher tell me about these pieces? It's hard to remember.
andSunday: Saturday ff?;|;Jili::j,T:;r."
sowhy I don'tgo to schoolduringtheweekend, overtheweekend.
Monday: My lesson is in two days. I'd better practice. I know my teacher told me things to work on with these pieces, but I can't remember what ihey were. Tuesday:I'm going to practiceall night. I'r'e got to get this lessonpreparedfor totnoruow. So the student comes into the lesson with a sore lip from too much practice the day before and has neglected to apply most of the advice that was given at last week's lesson. Somehow, he gets through the harrowing experience, reaclyto repeat the same mistake the following week. How can this cycle be broken? The first step is to put an end to the ''day-bctbre" syndrome. I think taking one day' a r,veekoff from practice is a granclidea. But I would recommendtaking off the day before a lesson.For one thing. the studentwill conserve strengthand be able to come into the lesson with improved tone anclendurance.For another.taking of[- the day before u'ill climinate any chanceof postponingpractice until the last rninute.Ideally'.practicetime should be distributed evenll' throughoutthe week. Marathon prectiee sessionsare not a goocl idea. But if sone days are to be heavier practicedtrysthan others,those da1,sshould be early in the practiceweek. First, the pressureof harinc to cranr is rern,,ved.Second,there is a psychologicalboost in getting a junlp staft on the week's practice.Pelhapsmost important. it is easierto remenibcr the teacher'saciviceshortly after the lesson. Letting a day or two go br- without consicleringa teacher'scomments and applying thc aciviceis a big mistake. During lnv lnore conscientiousperiods.I recall sitting down outside rny teachcr'sotfice after lessonsand jotting down evc:rythingI could rememberabout the lessonwhile it was still fiesh in mv nlitrd.
The Dailv Routine Daily routi.neswill vary clepenciingupon the instrument. length of the practice session, level of achievement, and a host of other particulars.There is no single specific routine that's right fbr everyone.llut the importanceof having a daily routine cannot be overstressed.Unfortunately,many studentsdo not foliorv a routine, but sirnply work through their practicesessionsin a randonr,disorganizedfashion.This should be discouraged. A reasolable approachis to begin with scales,followed by lesson material. and then band rnusic.Even studerlts with moderateambitions need to fbllou, a plan similar to this one'fo Many high,schogl instrumentalistsplay in the band but do not receive iveekly lessot.ts. think that their practice sessionsshoulclconsistentirely of band mrrsic is folly. A more reasonableapproachwotrld be to begin with some if scales,then play methoclicallythrough sonre previous iesson material. anclthen move on to band music. Evert in instrument the only ten rninutesare spenton scaiesand rer iew, at least some effort should be rnadeto practice a logiciil anil thorough nlanller' .FIA'TER
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Studentswith mtlre ambitious goals should, of course,adopt a more rigorous routine. A sequenceconsistingof studies,then etudes.then pieces,then other music, is a good one. By studies,I refer to scale and chord studiescontainedin method books. Serious studentsshould not simply play scalesand arpeggios off the top of the head, but should choose one of the many method books that are available. To an extent, it doesn't matter which one is used.as long as the studentselectsone and sticks with it. This initial, unchanging part of the daily routinc is perhaps the most irnpor-tant.I know working professionals who have no time to learn new nusic but find it necessaryto practice daily exercises from a favorite method book. There are probably as many opinions on how and what to practice as there are teachers ol music. A healthy responseto this sea of options is to adopt one and see it through. As with various endeavors in many disciplines, any system will work-if you work the system. The one thing that all systems have in common is that they promote organization and avoid chaos. Adopting an organized approach toward practice that fits a student's goals will ensure that time and energy are spent as wisely as possible.
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APPENDIX JazzStandards Jazzmusiciansroutinelytum to fakebooksusa sourcefor jazz standards. Typically,thesecoilectionspresenttunes in a conciseformat including only the melody, chord changes,and sometimesthe lyrics. Uniike collectionsof sheetmusicthat include formulaic,simplified arrangements, fake booksallow for stylisticdiversityand creative freedcrm. High-qualityfake booksfrom reputablepublishers(suchas the Hat LeonardReaIBook) are essentialto anyjazz musician'slibrary. Blue in Green-Davis Blue Monk-Monk Blue Seven-Rollins A Sleepin'Bee-Robin Blue Train-Coltrane Afternoonin Paris-Lewis Blues for Alice-Parker Ah-Leu-Cha-Parker Blues on the Corner-Tyner Ain' t Misbehavin'-Waller/Brooks/Razaf BluesWalk, The-Brown Airegin-Rollins Bluesette-Thieleman Alfie-B acharach./David Body and Soul-GreenAleyman/Sour/Eyton Alice in Wonderland-Hillard/Fain Bolivia-Walton All Blues-Davis Born to Be Blue-Wells/Torme All God's Chillun (Got Rhythm)-Jurmann/Kaper/Kahn Bouncin' with Bud-Powell AII of Me-SimonsAylarks Boy Next Door, The-Blane/lr{artin All of You-Porter But Beautiful-Van Heusen/Burke AII the ThingsYou Are-Kern/Hammerstein But Not for Me-G. Gershwin/I.Gershwin Alone Together-S chwartz/Dietz Bye Bye Blackbird-R. Henderson/Dixon Along CameBetty-Golson Byrdlike-Hubbard Ana Maria-Shorter Angel Eyes-Dennis/Brent Anthropology-Parker April in Paris-Duke/Harburg C JamISlues-Ellington Ask Me Now-Monk Call Me (CorneBack Horne)-Green/Jackson.Jr. Au Privave-Parker CantaloupeIsland-Hancock Autumnin New York-Duke CaptainMarvel-Corea Autumn Leaves-Kosma/lMercer Caravan-El 1ington/Tizol/I,Iills Camival-Evans Ceora-Morgan ChegaDe Saudade-Jobini Bag'sGroove-Jackson ChelseaBrid_ee-Strayhorn Barbados-Parker Cherokee-Noble Baubles.Bangles,and Beads-Wright/Forrest Cheryl-Parker Beatrice-Rivers Child Is Born. A-Jones BeautifulLove-Gillespie/Young/King/VanAlstyne Childrenof the Night-Shofter BemshaSwing-Monk ComeRain or Shine-Arlen/Mercer Bernie'sTune-Miller ComeSunday-Ellington Bessie's B lues-Coltrane Con Ahna-Gillespie BestThing for You, The-Berlin Confimration-Parker Billie' s Bounce-Parker Coral-Jarrett Birk's Works-Gillespie CoralKeys-Bishop, Jr. Black Narcissus-J. Henderson Countdown-Coltrane Black Nile-Shorter CousinMary-Coltrane Black Orpheus/Dayin tlie Life of a Fool-Bonfa Crisis-Hubbard Blamelt on My Mouth-Jarrett CrystalSilence-Corea Blue Bossa-Dorham CTA-Heath Blue Daniei-Rosolino APPENDIX
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Daahoud-Brown Dancing on the Ceiling-Rodgers/l Iart Darn That Dream-Van Heusen_/DcLange Dat Dere-Timmons Day by Day-Cahn/Stordhalnvesr()n Days of Wine and Roses-Mancini/Mercer Dearly B eloved-Kern/Mercer Desatinado-Jobim,Mendonc a Dig-Davis Dindi-GilberVJobim/Oliveria Dolphin Dance-Hancock Don't You Know I Care-Ellington Donna L,ee-Parker Doxy-Rollins
Easy Living-Robin /Rainger Easy to Love-Porler Eighty-One-Davis/Carter Elsa-Zindars EmbraceableYou-G.Gershwin/I. Gershwin Emily-Mercer/N{andel End of a Love Aftair-Redding Epi strophy-C Iarke/Monk Equinox-Coltrane ESP-Davis Eviclence-Monk l:
ii :ll i:; :.1
Fall-Shorter F'allin-gQpncs-g lvxl l0\v FiilIing in Lttve r,,ith Love-Rocigcrs/Hut Fee-Fi-Fo-Furn-Shorter F eel l- ik e M a k i n g L o v e -Mc D a n i e l s Five Hundred Miles High-Corea Fly N{e to the Moon-Howard A Foggy Da1'-G. Gershwin/I. Gershrvin Footprints-Shorter Forest Flower-Llol'd Fortune Smi les-Jarrett Four-Davis Four Brothers-Guiffre F r eddieF r c e l o a tl e r- D a v i s Freedom J277 Pnncg-Harris Funkarello-Evans
Georgia on Nl.vN4ind-Cannictrael/(lorrelI Giant Steps-Coitrane Gingerbread Boy-Heath/Intbel/De I,loraes Girl frorn Ipanema- Jobirn 212
JAZZOLOC,\'
Gloria's Step-Lalaro God Bless the Child-Holiday/Herzog G olden Earrings-Youn g/Li r,i n,gston/Evans Gone witl"rthe Wind-N{agi dsonAVrubel Good Bait-Danteron Good Moming Heartache-Frshcr/Higginbotham,Drake Grand Central-Coltrarre Green Dolphin Street-KeperAVashington Gregory Is Here-Silver C roor i n' H i gh -C i l l espi e
Hackensack-Monk H:rlf Nelson-Davis H allucinations-Powell Have You Met Miss Jones-Rodgers/Hart Hello Young Lovers-RodgersA{ammerstein Here's That Rainy Day-Van Heusen/Burke Hi-Fly-Weston Hot House-Damerorl How High the Moon-Lewis H ow Insensi ti ve-Jobi m Hummin'-Adderly
TT I
I Can't Get Started Duke/[. Gershwin I Could Write a Book-Roclgers/Hart I Didn't Know What Time lt Was-Hart/Rodgers I'ci Like to Get You on a Slor.r'Boat to China-Loesser I Get a Kick out of You-Porter I Cot It Bad and That Ain't Cood Ellington/Webster I Hear a Rhapsody-Frajos/Baker/Gasparre I l-et a Song Go out of N{v HcaltElIingtonAlIi I I s/Nemo/lledmond I Love Lucy-Daniel/Adarnson I [-ove You-Porter I N,IeanYoLr-Monk/Hau.'kins I RememberCliffbrcl-Golson I RcmernberYor,r-Schertzinger/Mercer I SiroLrldCare-Cahn/Stordahl/Weston I Thought about You-Mercer/Van Heusen I Want to Talk about You-Eckstine I Won't DanceKern/Fields/Hamnrerstein I I/McHugh/Harbach I' ll Remember April-Rai e/Depaul/Johnston I' rn All Smiles-Martin/Leonarcl I'nr GettirrgSentimentalover You-Bassman/Washington I' nr Old Fashioned-KernA4ercer I're Got a Crush on You-G. Gershwin/I. Gershwin I (iot Rhythm-G. Gershrvin/I.Gershrvin ['r e Got the World on a Stling-Arlen/Koehler If I Should Lose You-Robin/Rarnger Ifl W ereaB el l -Loesser If You Could See Me Nolv-Danrerr)n lnpressions-Coltrane In r Mcilow Tonc-Ellington
Mood-Ellington/Mills/Ktrrtz In a Sentin'rental In Love in Vain-Kern/Robirt In WalkedBud-Monk In Your Ou,nQuiet Place-Jarrett In Your Own SweetWay-Brubeck (Back Home Again in) lndiana-Hanley/l\,lacdonald InfantE;,'es-Shorter Inner Urge-J. Henderson Invitation-Kaper/Webster isotope-J. Henderson Israel-Carisi It Could Happento You-Van Heusen/Burke It Had to Be You-Jones/Kahn It Might as Well Be Spring-Rodgers/Flammersrein II It's You or No One-Stvne/Cahn
Jeannine-NewelUConway The JitterbugWaltz-Waller Jordu-Jordan Joshua-Feldman Joy Spring-Brown Juju-Shorter JustFriends-Lewis/Kelmmer Justin Time-Styne/Comden/Green JustOne of ThoseThings-Porter Justthe Way You Are-Joel
KatrinaBallerina-Sharv Killer Joe-Golson Killing Me Sottlywith His Song-Fox/Gimbel
La Fiesta-Corea Oh. Lady Be Good-G. Gershwin/I.Gershwin Ladybird-Darreron Lament-J.J. Johnscx Laura-Raskin/Mercer Lazy Bird-Coltrane Let's Fall in Love-Arlen/Koehler Like Someonein Love-Van Heusen/Burke Limelight-Mulligan Line tor Lyons-Mulligan Little Sunflower-Hubbard Long Ago and Far Away-Kern/I. Gershwin Loop, The-Corea Love For Sale-Porter Gershwin Our Love Is Hereto Stav-G. Gershrvin/I. Lover-Rodgers/Hart Lover ComeBack to Me-Rornberg/Haurmerstein [l herman Lover iVIan-Davis/Ramirez/S Lucky Southern-Jarrett Lullaby of Birdland-Shearing/lVeiss Lush Lit'e-Strayhorn
Mack the Knife-Weil./Brecht Mahjong-Shorter Maiden Vovage-Hancock Man I Love-G. Gershwinfl.Gershwin Manteca-Gillespie/Fuller The MasqueradeIs Over-MagidsonAVrube. Mean to l\{e-Waller Meditation-Jobim Memories of Tomorrow-Jarrett Mercy, Mercy, Mercy-Zawinul Mi dnight Sun-B urke/\4ercer Milestones-Davis Minority-Jarrett Misterioso-Monk Misty-Garner/Burke Molten Glass-Fanell Moment's Notice-Coltrane Monk's Mood-Monk Mood Indigo-Ellington Moon Child-Jarrett Moon Rays-Silver Moon River-Mancini/I{ercer Moonglow-Hudson/Delange/Mills Moonlight in Vermont-Suessdorf/Blackburn Moosethe Mooch-Parker More I SeeYou-Warren/Gordon More than You Know-Youmans/Rose/Eliscu Mr. Clean-Hubbard Mr. P.C.-Coltrane My CherieAmour-CosbyA4oy/Woncler My FavoriteThings-Rodgers/Hamnrerstein II My Foolish Heart-YoungAVashington My Funuy Valentine-Rodger/Hart My Old Flame-Coslow/Johnston My OneandOnly Love-Wood/Nlellin My Romance-Rodgers/Hart My ShiningHour-Arlen/Mercer
Naima-Coltrane Nardis-Evans NatureBoy-Ahbez Neamessof You-Carmichael.fWashinston Nefertiti-Shorter Nica's Dream-Silver Nice Work if You Can Get It-G. Gershwin/LGershwin Night and Day-Porter Night Dreamer-Shorter Night Has a ThousandEyes.TheWei sman/Garrett/Wayne Nightin Tunisia-Gillespie Moraes No More Blues(ChegaDe Saudnde)-Jobim/De Now's the Tirne-Paker Nutvillc-Silver \PPENDIX
213
Old Der,il Moon-Lane/Harburg Old Folks-BreVB lau/Shuman O leo- Ro l l i n s On a Clear Day (You Can See Forel'er)-Layne/Lerner Once I Lor.ed-Jobim Once In a While-Edwards/Green O ne Not e Sa mb a --J o b i m Ornithology-Par ker Our Deli-eht-Dameron Our Love Is Here to Stay-G. Gershwinll Gershwin (You Came from) Out of Nowhere--Green/Heyman Over the Rainbow-Arlen/Harburc
ParisianThoroughtare-Powell PassionDance-Tyner Peace-Silver Pensitiva-Fischer PentUp House-Rollins People-StyneA4enill Perdido-Tizol. Drake/Langsfeller PolkaDots and N{oonbeams-VanHeusen/Burke Preludeto a Kiss-Ellinstor/Gordon/Mills
Quiet Nights (ol) Quiet Stars(Corcovado)-Jobim Quiet Norv-Zeitlin
(No Mc Esqueca)-.I. Hcnclerson Recorclzrme Robbin's Nest-Thornpson/Jaccluet Roorn 608-5ilver ' Rr'rund\{idnight--\{onk/Willi arns Rubl' N{1'Dear-Nlonk Rhythnr-A-Nin g-N'Ionk
r\ \ \_,, Salt Peanuts-Gillespie Sarnba De Ort-eu-Bonfa Sandu-Brown Satin Doli-Mercer/S trayhorn/Ellin-cton Save Your Love for lvle--Johnson Scotch and Soda-Guard Scrapplefrorn the Apple-Parker Searchfor Peace-T1'ner SecretLoi e-Firin/Webster Serenarleto a Bus Sciit-Terry $g1snn13-{nderson/ Parish Serenitr-J. Hender'orr Seven Stepsto Hear en-Feldman 211
.IAZZOLOG\
Shadesof Light-L-eu is Shadou'of Your Snrile. Tlre-lVlandel/Webster Shinl Stockings-Foster/Fitzgerald Sister Sadie-Silr er Skylark-CarrnichaeV Mercer Smoke Gets in Your E1's5-Kern/ Harbach So Nice (Summer Samba)-Valle/Valle So Tender-Jarrett So What-Davis Softy as in a Morning Sunrise-Romberg Solar-Davis Some Other Bluss-fol11ang Some Other Time-Bernstein/Comde nl I Green Someday My Prince Will Come-Churchill/Morey Someone to Watch over Me-G. Gershwin/l. Gershwin Song for My Father-Sih'er Song Is You, The-Kern/Hammerstein II Sonnymoon for Two-Rollins Sophisticated Lady-Ellington/Mills/Parish Soul Eyes-Waldron Spain-Jones/Kahn Speak Low-WeilNash Speak No Evil-Shorter Spring Is Here-Rodgers/Hart St. Thomas-Rollins Stablemates-Golson Star Dust-Carmichael/Parish Star Eyes-Depaul/Raye StarsFell on Alabanra-Perkins/Parish Stella by Starlight-\'oungA!'ashington S ttl mpi n' i l t the S i rrrr-rSanrp sonAV ebb/G o odrl an,lRazaf Strlrmy Weather-Arlen/Koehler StraightLife-Hubbard StraightNo Chaser-N'lonk S tl ol i i n' -S i h' er SLrgar-Pin kard/N4itcliel I S tutrnrerK now s. I l reLegrancl/A.Bergman/i\'l.Bergman Sr-r mmertinre-G. Gershu i n/Heyward SLrnny-Kern/Hamnrerstein Il (On the) Sunny Sidc'of the Street-McHugh/Fields Sr.ieet Dulcinsa-[1 nns Srveet Georgia Brown-Pinkard/Casey rT1 I
T
Take the "A" Train-Strayhorn Tangerine-Schertzi ngerAl ercer Tenderly-Gross/Lawre nce Tenor Madness-Rolhns That' s All-Brandt/Ha1 mes Thcrne for Ernie-Lacr Theme tiom "Gabriela"-Jobim Thc-ure.The-Davis There ls No Greater Lor e-Jones/Symes There Will Never Be Anotlier {ou-\tr'rxngn/Gordon
Things Ain't What They Used to Be-Ellington Think on Me-Cables Three Little Words-Kaimar/Ruby Thrivin' on a Riff-Parker Time after Time-Styne/Cahn Touch of Your Lips-Noble Triste-Jobim Tune Up-Vinson
Unit Seven-Jones Up Jumped Spring-Hubbard Up with the Lark-Kern/Robin Upper Manhattan Medical Group-Strayhorn
Yardbird Suite-Parker Yes or No-Shorter Yesterdays-Kern/Harbach You and the Night and the Music-Dietz/Schwartz You Are the Sunshineof My Life-Wonder You Don't Know What Love Is-Raye/Depaul You Say You Care-Robin/Styne You Steppedout of a Dream-Brown-/Kahn You'd Be So Nice to Come Home To-Porler You're My Everything-Warren/Dixon/Young You' ve Changed-Fischer/Carey
ValseHot-Rollins Very Early-Evans Virgo-Shorter
Wailbait*Jones Walkin'-Carpenter Waltz for Debbie-Evans Watch What Happens-LeGrand/Gimbel Wave-Jobim Way You Look Tonight, The-Kern/Fields We' 1l Be Together Again-Fischer/Laine Weaver of Dreams-Young Well, You Needn't-Monk West Coast Blues-Montgomery What erDifference a Day Made-Grever What Are You Doing the Rest of Your Lif'eLeGrandA. Bergman/M. Bergrnan What [s This Thing Called Love?-Porter What Was-Corea What's New-Haggart When I Fall in Love-Heyman/Young When Lights Are Low-Kahn/ Koehler/Fiorito When Sunny Gets Blue-Fisher/Segal Whisper Not-Golson Who Can I Turn To?-BricusseA.{ewly Wild Flower-S totharyHarbach./Hammerstein II Willow Weep For Me-Ronell Windows-Corea Witch Hunt-Shorter Without a Song-Youmans/Rose/Elisco W oody ' n' Y ou- Gi l l e s p i e Work Sons-Adderlv
.\PPENDIX
215
ii-V-I Piano Voicings
M INO Rii-V _ i3 . NO T EVO I CIN GS FORLEFTHAND T1'peA Dmlb5
B0m7D5
Cm'l
GTalt
gblatt
AbmT
p'f,mzb5
EDmlD5
-t Lm/2 )
-
G+ tm/P )
FTalt
c*lalt
BbmT
t +t m /
-t jb.m /P
tbtalt
obmT
(^* i r m -t/P)
_ t +b +r/alt
a +
Arn7b5
Bm7b5
.- -)l ,nl i D )
^ -t (rm /D)-
|": 2+ JAZZOLOGY
sblalr
EbmT
Type B
Dmlbs
GTalt
Cml
Cmtb5
BDm'/05
r,blatt
Abml
tbmtbs
oblatt
^l
lt?m
/
8r b- - -
P'f,mzbs
Emtb5
B7alt
Alalt
'-locct
-l
HPn r-l/P)-
Rblatt
Am7
Bmlb5
^ -1 (rm /?-)
Dbml
C-7alt
Cfrmlbs
Amzbs
^
F m /-t2 i -
Pfilatt
D7alt
Bm7
Gm7
EbmT
APPENDIX
2\7
MAfORii-V-l 3-NOTEVOICINGS FO RL EF TH AN D Type A Dm7
BbmT
rlim/
Ebnl
^l
CmajT
tizrral /
Abml
EmajT
Dbmal7
BrnajT
L fiITI/
Ama.17
FrnajT
218
JAZZOLOG\
_l
/ h.znra.l
Type B Dm7
CmajT
EDl
FfmT
EDnrT
Abmaj7
BbmajT
Cm7
AbmT
GbmajT
EmajT
ADl
DmajT
pfrt
Dbma17
BmajT
S vb- -'
Bm7
Gm7
E7
AmajT
FmajT
Am7
Fm7
D]
GmajT
-J
}r?maJ/
APPENDIX
2I9
MINORii-V_i 4-NOTEVOICINGS FO RL EF TH AN D I'ype A G7alt
l) nr / P- )
ebflbs
r,btatt
BTalt
Ffim iDS
_l
F-2 m-/tP-- )
em7b5
Gmlb5
220
Cml
AbnT
Eml
AbTalt
ETait
CTalt
JAZZOL()(;\
DbmT
Am7
CmTbs
tbmtbs
Emtb5
FTalt
obtatt
t--- m -t/P5
GbmT
ATalt
c#mzb,s p#tatt
em7b5
Bbml
Bm7
DTalt
Gm7
Bblalr
EbnJ
TypeB Dmlb-s
BbmD5
pfmzbs
_l
F.Am-1 IVJ-
CmTbs
Cm7
Eblatt
Cfimlbs
DDml
.
_t-
Am/P)
Bm7b5
^ -t(rm /2)
CTalt
Bbml
oblatt
(^lr P m l
t +r/alt
Bm7
Em7D5
B7alt
Ablart
ADmlD5
Abrn7
FTalt
Fm7
Fm7b5
DTalt
Gm7
EbmT
APPENDIX
MAfORii-v-t 4-NOTEVOIC|NGS FO RL EF THAN D Type A Bbmaj7
Bbm:-
rfimt
-l
t-Dt7'tI
Abml
EmajT
DbmajT
FnrajT
222
JAZZOLOG\
DmajT
L fi l n/
BmajT
EbmajT
Type B Dm7
BbmT
CmajT
pbt
Abml
BPmaJ/
obt
^I
UPmaJ /
DmajT
EmajT
F fi l T l /
Ebnl
AbmajT
^l
Cm7
l'bt
DbmajT
BmajT
t,i fnl /
3rb--
Brn7
E]
AniajT
FmajT
Am7
Fm7
D]
sbt
GmajT
-l
hpl naj /
.9r'F- - APPENDIX
223
MAfORii-V-t CADENCE tJStNG 3 /7 G U T D E T O NES T-vpeA DnrT
Cm7
BbmT
rfim/
_l
EDfi I
,r hr
^t Lr?m/
Am7
loco
GnrT
2)+
JAZZOI.(Xi\
r#t
BrnajT
Type B CrnajT
Dm7
Abmaj7
EmajT
EDnrT
AD1
DbrnajT
Cm7
BbmajT
AbmT
GbmajT
Em7
Lfrm/
p#t
BmajT
8rl r---
GmajT
Am7
Bm7
8vb-- -
Gm7
FmajT
Fm7
ebt
EbmajT
APPENDIX
MA|ORii-V-l CADENCEUSTNC SHELLS CnajT
BbmT
BbmajT
AbmT
^l / b2mal
r f i t n/
E,bm7 t
Bm7
Lttm
AmajT
FnajT
226
JAZZOLOC,\
/
GmajT
-l
hP l l raj /
Root-3rd Dm7
CmajT
BbmT
I'fim I
Ebml
AbmajT
B7
xbt
QmajT
Abml
GbmajT
Emj
A7
L fi In/
p#t
f,e
DbmajT
BbmajT
Cm7
DmajT
BmajT
8rb- - -
Gm7
Ama;7
Am7
FmajT
Fn-r7
GmajT
_l
E Plnal /
APPENDIX
227
Blues ChangesPiano Voicings
F BLUES USING3/7 GUIDETONES Type A
Ty.peB
228
IAZZOLO(;Y
F BLUES 3-NOTEVOICINGS Type A
ebt Type B
ba
F BL UE S 4 . N O T EVO I CI N GS Type A
rl cl
JAZZOLOGY
ANS\T/ERKEY Chapter 1 Exercises l. Identify the foilowing intervals.
ml0
2. Provide the folio"ving intervalsabove the given pitch.
br:
1-
VI
M6
Pll
3. Write the following intervals(from any pitch). m2
bz
+5
dimT
ANSWER KIY
4. Write the foilori ing inten,alsabove the given note t-
p-)
006
5. Identify each interval as either consonant or dissonant by writing "con" or "diss" below.
diss
232
JAZZOLO(iY
Chapter 2 Exercises f. identitythe tbllowingchords,labelinginversionsas lst inv.,2ndinv.. or 3rd inv
nbtbsrobzf rl -
or G7b52nd inv.
Fm(maj7t
Au 3rdinv
Ao T lstinv
stfrgbtt
F+7orF7b13
Ffo lstinv
CmTlstinv
Esusbg
DbrnajTf, lI
Ebmll
2. Build the fbllowing chords in root position.
AmB ()
Bm7
Fmaj7
o*g
D13
Ebm(maj7)C#mttbs
AbTsus4
Bmaj9
Emajgb5 Gfim(rnaj9) Ffit3sus+
ANSWER KEY
ebmSTrr emaitbspb
---l-
Bm iP)
G6
Dm6
Am13
F+7
Abmajg4tt CmTsus4
cs#rr
F#m(maj7)
FTalt
Bmajl3
3. Write the tritone interval(s) found in each of the follorving chords.
cfu
Emg
rc#tt
ebsfis
nbmajlbl
r.bmtbs
GmttbsBzbsfrn
l.bt
Dl3
Fmaj13
P#'ng
nbmsbsC7sus4b9 GTalt
4. Write the 3 rd l n d th e 7 th tl l th t' l o l l o$ i ne chords. (Donrinant l lth or sus-lchords have a P'lth inst eadof a 3r d. ) ArnT
Dl
Erna17
Ehfrcs
Am(maj7b5) ( i9sus4
231
JAZZOT,{)(;\
B bm7b5
Dbmajl-3
Em7b5
Go7
Fm7
Ffinrll
Bbm(rnaj7)
ffibsf'g
Abnrajg
G 13b9
^t-
bD /
EbTsus4
5. Identify each chord and specify whether it is best understoodas an upper structure(tiS), hl,brid (H_vb).or slash chord (Sl). Some structuresare subiectto multiple interpretations.
U
bti
',ti
++ti-
fi+ G
fl+
b+F Dm
Am1l US
BDmaj13 EDmaj9/F BDmajl3 Ebmajg/F Cmaj9fi11 Cmaj9ft11 US
Sl
A Bho Hyb
ozbg#ebl: US
US
w Hyb
Be#u
EmajZAfi
omajgf 1l
US
Sl
US
Am
A+
Eo
G*
D7sus4
Emajl3f,ll
Hvb
US
US
Hyb
^b,:4lBb SI
BbmajT/Eb SI
6. Identify each chord. All chordsare in root position.lf it containswrong notes or inappropliatcupper struetures, olace an "x" beneath the chord.
a"+
o
lo
Abmajg
X
Bm7
czilqbr:
C# m1 1
+
ctbgbtt
DbTsus4
X
G
L^
+
X
G8
Am(maj9) ctbg#fib::
Emll
Bbmaj9il11 FFOT
ANSWER KEY
X
2f5
(.hapter 3 Exercises l. Write the fbllouing majorscales.Write the namebelow,.
FMa.ior
Gb nta.;or
EMajor
DMa.ior
EbMaior
DDMa.ior
GMaior
A \Ia.ior
CMa.ior
ADMa.ior
B N{a.ior
Bb Maior
2. Writethefollou.ingscales. D H a rmo n i c Mi n o r
Fil Locrian
D Maj or B l ues
F Melodic Minor
cfi whole-Tone
Ab l,ta;or Penratonic
) i(r
Eb rulaloL
IAZZOL(X;\'
Db Naturai Nlinor
B Drlrian
C Altered
G Ly'dian( b7;
E Whole-Half Dimrnished
Db ln-Sen
A Minor Pentatonic
E Kumoi
Eb Dorian
G Harmonic Minoi
ob M ixolydianlftt;
eb Locrian( #2)
B Mi xol ydi an r D t).Dl .l )
C BebopDominant
Bb Minor Blues
3. Write the following scaleswith the appropriate key signature.In the spacebelow, indicate the relative major or lnlnor.
Ab Minor
D Malor
G Ila.ior
Rfilaa.lor
Eb Minor
B Major
Dfintinor
E Major
eb ltajor
Cf, Minor
BbMa.lor
cfi uino, -e
E NIa.ior
Gbttta.ior
G#Minor
Eb Minor
B N1inor
Gh NIaior
ANSWITR KEY
,{. Add flats or shiirpsto f-orntthe cttrrect scale
r Phrygian
F# N{ixolydian
Lydian
F Locrian
E Dorian
B Melodic Minor
Harmonic Minor
5. Write an appropriatescale for the follor,r'ingchords.Gir c the correct name. r6
C+ 1
Whole Tone
Dbm(maj7)
Ionian
rn/
Dm7b5
Mixolvdian
Dorian
sh|"g
ATsuszl
Nlirolvdian
238
N{elodic Minor
.J,\ZZOI,OG\
Locrian
Gm7
DiminishedHalf-Whole
Dorian
AbmajTb5
Lvdian
DiminishedWhole-Half
Dorian
Locrian (#2) B]3bg
Diminished Half-Whole
Em8(maj7)
Diminished Half-lVhole
N{elodic Minor
6. [NO ANSWERSPROVTDED]
7. INO ANSWERSPROVIDED]
8. What are the functions of each of thesechords in the followins siven scales?
A Minor Bnr7b,5: Dm7 iirnTb5
Elbg
ivmT
V13
P 4 mz b s I G n ra j7 I s m; ivm7b5
D Major A13 -
vimT viim7b5 iim7
Ebl _
Abg
tl m /
F Mixolydian Cm7 = Gm7: Am7b5 -BbmajT
VImaiT
VIIT
vm7
i i mT
i i i mTD 5 IVm a. iT
B HannonicMinor
Bbmtb5
D+maj7-
vrrb13#r1 iimTbs
III+ma.i7
GD13P11
B b mT :
viimT
Bm7 Cf,m7bS nml
EDnTvm7
Vma.i7
E Minor
AD Mixolydian(D13) t - LL
,+bttajor
Ci Lydian
-
EmsrfXlalt VTalt
Ai\S\\,ER KEY
)aq
9' ldcntify thekef in u'hichthc lbllor.r'ing chordswill har,ethe functioninriicateti Bm7 is vimT in rhekey of:
D Nlajor
AbmTis iiimT in the key of:
F Nlinor
Glm7b5is iimTb-5 in rhekey o1.:
Ff Nlinor
AbmajTis bVImajTin rhekev of:
C Nlinor
DmTb-5 is iim7b5in the key of:
C Nlinor
DbrnajTis blltmajTin rhekey of:
Bb Minor
AbmTis vimT in the key of:
Cb Ntajor
F{maj7 is IVmajT in rhe key of:
Cf Major
n?majl is IVmajT in rhe key of:
Ab Ma;or
Cm7 is vimT in the key of:
Eb Major
10. Notatethe following. The two maj1 chords in Cm. EbmajT, AbmajT
The three m7 chords in Eb.
Fm7, Gm7, Cm7
The three m7 chords in Ab.
The two rnajT chords in Cf .
Cimaj7, Ftmaj7
The two maj7 chords in Gilm. Bmai7, EmajT
The three m7 chords in Ci,.
Dbm7, Ebm7, AbmT
The three m7 chords in B.
C$nr7. D#m7, GbmT
The two majT chords in Ab
AbmajT, DbmajT
The trvo maj7 chords in Db.
DbrnajT, GbmajT
The two maj7 chords in Brn. Dmaj7, GmajT
The three rn7 chorclsin Ff;.
Gtnr7, A{m7, Df m7
The three m7 chords in A.
Bm7, C*m7. FlmT
The trvo rnajT cholrls in E,.
Ema.j7, AmajT
The two majT chords in Gr.
Gbma,i7,CbmajT
The three m7 chorclsin D.
Enr7" Fim7, BnrT
The three m7 chords in Bb.
Cm7, Dm7, GntT
Bbm7, Cm7. Fm7
The tr.vornajT chorclsin Ern. GnrtjT, Cma.i7
The two majT chords in Finr. .\rnaj7. DmajT
The three m7 chords in F.
The two maj7 chords in Afm. CrmajT,Fbmaj7
Gm7. Am7, Dm7
The two majT chords in C{m. Ema.j7, AmajT
The three m7 chords in Db.
Ebm7,Fm7, BbmT
11. write the following scales,vr,,iththeir modes on anothersheetof staff paper F Melodic Minor
A b N l e lo d ic N,lin o r
21,)
TAZZOLOGY
B lUe lt,r iic l v{i nor
lclodi c N ,Ii nor
[i Harmonic Minor
DD Han-nonic Minor
D HarmonicMinor
A Nleloclic lvlinor
12. Write the chord-scale relationship (in other words. harmonizethe scalewith 7th chords) for thesescalesancl modes.Show harmonic functions
G Ionian Gmaj7 Imaj7
Am7 iimT
Bm7 iiim7
CrnajT Dl IVmajT V7
Ff Phrygian FfmT GmajT im7 IImajl
A1 IIIT
BrnT ivmT
C{mZb5 Dmaj7 Em7 ya''| VImajT viimT
FfmT iml
F Lydian FmajT Imaj7
Am7 iiimT
Bm7b5 iiioT
Cmaj7 Dml IVmajT vm7
FmajT Imaj7
G'l II7
G Melodic Minor Gm(maj7)Am7 im(maj7) iim7
BbmajT C1 IIImajT M
Em7 vimT
P{m7b5 vllaJ
Em7 vimT
GmajT ImajT
Dj V7
Em1,b5 pfm7b5 v11o'7 vial
Gm(maj7) im(maj7)
F Aeolian Fm7 iml
Gm7b5 AbmajT BbmT fi47 IIImajT ivmT
Cm1 vmJ
Dbmajj Ebj VImajT VIIT
Fm7 im'Z
B Dorian Bm7 rml
C*m1 iimT
F{m7 vm7
Glm7b5 AmajT vloJ VIImajT
Bm7 im7
Dmaj7 E7 IIImajT IY7
G MixolYdian(rP,r13; G] Abmajl B"J n IImajT ;-jl1"l
Cin(maj7) Dm7b5 EbmajT*SFm7 i v m rrn aj T)vn7 V l maj 7d.5vi i mT
G]
B Locrian Bm7P5 CmajT t"J IImajT
Dm7 iiimT
ErnT ivmT
Fmaj7 Vmaj7
G7 VI7
Am7 viimT
Bm7b5
B Nlajor BmqT hnajT
DfmT iiimT
Enaj7 IVnajT
FIl Yl
( l i 'l T l /
vimT
A { m7P 5 viif'
BmajT ImajT
E Harmonic Minor Em(rnaj7;F$m7b5Gmaj7#5ArnT im(maj7)iioT IIImajTfSivmT
B1 Vl
Cma17 VImajT
D*'7 vii'7
Em(maj7) im(maj7)
BbLydian BbmajT C] IIl Imaj7
FmajT Vmaj7
Gm7 vim7
Am7 viimT
BbmajT ImajT
G7 VI7
A m /t-)
Cflm7 iimT
Dm7 iiim7
B Altered Bm7b5 Cm(maj7)Dm7 iim(maj7) iiim7 tal
b m /p - ' ) ivtt
Ebmaj7f,5F7 IVnrajT{5 V7
.
vlloJ
-l -
n
:n1
Bm7b5 107
13.-15. iNO ANSWERS PROVIDEDI
ANS'WER KEY
)4r
Chapter 4 Exercises l. Write nrajorand ntinorii-V-l eaclences in the followinskevs. Er lrrrple Dm7
Gl
Cmaj7
BnrTb-5Eibg
Amj
Gm7
C7
FmajT
EJ^"rt onbs etb: ry
Cfimzbs r#zbs smt
Fm7
Bb7
U^, nbzobmay crnbsyl|gn!^t
Bm7
E7 AmajT
Eg
A7 DmajT
cl-z
Ffi7 smajz e#mzbs ozbsc#mz
BDnT ED1.lbrnajT Gnr7D5C7D9 Fm7
F#m7 87 EmajT
Am7
Em7b5 A7b9 Dm7
cfmzbschbg F#m7
nfmzbs c#zbscf.mt
D7 GmajT P'#mzbs szbs Em7
2. Conr p l e teth e fo l l o u ' i n g i i -V-l c l d e nces. [)m705 GiD9
CrnT
Bnr7b5 E7b9
Am7
c'.mlbswbg BbnrT Anr7b5DTalt Gm7
ArnT
2+2
D7 GnrajT
IAZZOLOG\'
ryf
G7 Crnaj9
Ebml
r'fmzbs
1'bt Dbmajt
Bifr9 Em7
AbmT nfi
cbg
Cm7
Fl
B_!Ing_?
prn:bsolbg Gm7
DbmT
cbl cbn'ag
sbmtbsg,bzbg l'bma
Fm7 Fbl EDmajT
ctbsbgrmt Gmzbs
Am7b5 D7F9Gm(mai7) Bm7
Alrbg
ebmrbstbtbgDbmT
DmlD5 G7b9 Cm7
C7
Bm7
E13 AmajT
cfmzbsp#fugBn.r7
BD7 EDmajT
Fmaj13
3. Write turnarounds in the following keys. Answers mav vary. Example Cmajl Am7
Dm7
G7 Am7FfimlbSI3mlbSF7altEmajT
Dm7 Gm7
C7 AbmajT Fm7 BbmTEbT
.tb N,,ta;or
Egqq!s? bsC -ZLt r zattnmzc#mrbsclglgC:el, Bj* ri 7W cmzF7
Cm7Am7b5DmTD5GTalt
B Minor
q-q7 E*? ry
D7 Dm7Bm7bse*zbslzattDfg"jtllg]
F,bmTAb7 Amaj7Ff,rn7Bm7 E7
G Major
D Major
B Major
ANS TER KEY
2:+a
4. Cr c at c i i -V c h a i n smo v i n g u p u a rd b5ra M3rd. then dounr,vardby a N {3rd front {he ori gi nal . Exiirnple Am7
fr m / - h - +filr L^ fr
D]
FrnT
Gj
Fm7 eh
4rr1l
DbmT cbt
EbmT Ab7
Gm7
C7
E!n{/
Ab7
Dm7
G7
EbmT
Ab7
b
I
Dm?
Bb'7
Ffim7 B7
BbmT nb't
Dg
ADml D7l
BD-7 nbt
G7
Cm7 F7
Bm7
Gm7
B_m'/ A7
E]
C7
F#m7 B'7
Bm7
E7
BbmT Bbt
5. Creiite ii-V chains rnoving up$,alrl bv a M2nd, then dou'nuard by a I\42ndfrom the ofiginal
Eranrple Am7
D7
BrnT
E]
ClmT
C7
Fm7
ebl
Cm7
F7
Cm7
F'l
ryc7
I
Dm7
BDml
G1
Em7
EDl
A D mT D D l
211
.I.\ZZOL.O(;\
Cm7
A7
F7
LtDnnT Ebj
EbmT Ab7
P'f-z gZ
Gm7
C]
Dm7
Am7
G7
D7
Gf,m7 cf,7
BbmT Ebt
Fm7
Bb7
Em7 ^7
6. Createri-V chainsmor ing up and dor,vnchromatically.
Example Am7
D]
eb-t
AamJ obl
BbmT tbt
DDnT Gbj
Em'l
A7
Fm7 Bb1
EbmT Ab7
Am7
Gm'l
C7
LbmT r,bt
Ffim7 87
Bbn'fl
Fm7 sbl
Ff,m7 B7
ErnT
A7
b
Dm7
G7
BDmi EDl
ADnT DDj
g*?
A-l
E7
D7
w
D7
C7
FfmT B7
q4
c7
ANS\K/ERKEY
2t i
Chapter 5 Exercises l. a. ShowmajorandrelativerninorII-V-I cadences and analyzeusingbrackusingthefollowingkey signatures ets and arro\vs. b. List all possiblesecondary dominantsin thesekeyson anothersheet. c. Identifythe harmonicfunctionof eachsecondary dorninant. Exarnple Gm7
z,.---=> Fmaj7 EmTbS A7 C7 ---> Dm7
Fm7
'-> nh ebmajt Dm7b5 G7 ----z Cmz
t-->
AmajT
/-> c#r'r.bsch F#m7
Bm7
El
BbmT
'^: /--> F7 Abmaj7Gm7b5 Ci Fm7
,'--/ BbmajT Amzb5 Dl Gm7
/-+>
tf__:t
.__> -*
F l tmT
246
B1
ILZZOLO(;\
EbmT
Em7
r,-> l.bt obmaj'l Cm7b5 F7 ---> BbmT
z->
Em7
Cfrfl
A7
DmaiTCfrmlbSP#l
-->
Bm7
/--> pfu Bnrri.17 nilmzbsnfl---'-/G#m7
/_'/ /--> AbmT obt Gbmaj7Fmzbs sbt EbmT
,,,-->
/__z
.- - * - t - ^1EmaiT D { l n r7 F5 G} 17 -
Am7
,-> /---> D7 GmajTr'#mzbs B7
^))
C fi mT
Dm7
Gl
,-> Cmal7 Bra7b5 E7
Am7
2. a. Completethe follorvingandfill in thc blanks. b. What kind of dominantchordsarethese'/ c. Find all possiblesecondary dominantsin thesekeys Example
A7
G7 -------rr , a 7( - - 3
t
Bb7
Eb
3€-Tr TicJ.-
I
D
F7
B7
3rr-e1 -------Tr 7e 3
e-(l3
D7 G
C7F
E t
J {
lE mT lo m
lA mT
lD7
I
| __{ A m7 t Dj Gl
lq7
lc 't 'l
lFmT
lBbT Ebz
lBbi
lEr y7 A7
lDmT G7
--1
sbt
tl
/---:{
lE pT A j
lDmT G j
lC
lE mT
-{ lA7
lc7
I A7
l AmT D7
llll
f. ll 87
| E+7 {il
-l!
|
,---{ --1 C f7 l F # m78 7 l l G{m7 lllt L- - J r l llB T
lErnT A7
tl -{
---{ D7
C
-->{
_s. il 87
EnrT
| Dm7 Gj
lttl
h. ll 87
',_-{
| Em7
II8 7
I
ll c
----1 c7 lF
llc
c]
lF
.IAZZOLOGY
lDrnT G7
tl
I E m7
IA7
il
tl
- -{ lFmT Br7 | z\7
FnrT
6. [NOANSWERS PROVTDED]
218
lA 7
I Bb7
{ lA7
Chapter 6 Exercises 1. Voicc the foilou'ingchordsusing3rd and 7th guidetoneswith 3-notevoicings,.tr-nore v'oicings. drop 2, ancl drop 2--1.For the purposes of theseexcrcises suggested rangelimits may be exceeded. Exampie p'bt Cm7 Em7
ubo
U \'( - '
G
€.
€-
+
F7sus4
(^i m -t/P5
EDmlD5
Alalt
2. Voice the fbllowing three turnaroundsl'ith 3rcl ancl 7th guide tr)nes.then again on scpafatestaff paper r.vith3not e r oic ing s . 4 -n o tev L ri c i n g sd, ro p 2 . and drop 2-4 . Use both inversions.types A anciB. Fma.17
Dm7
Gm7
C]
Am7
Dlbg
GnrT
C7
Gm7
Db7
tstu
BDmajT
EDl
tmlb5
D7alr
ANS\I'ER KEY
3. INO ANSWERS PROVTDED]
250
JAZZOLOGY
Chapter 7 Exercises l.Identify tonicizationand modulationin the following. a. CmajT
Am7
C7
Em7
FmajT
F:V7I
A7
Dm7
G7
Ab: ImajT
DIirnl----\Lz
A
Direct Modulation (Also a deceptive cadenceutilizing the bonowed harmony
I Tonicization of
ToniciT'ationo.f ^F
Abmaj7
D
bvlmajT) b.
DmajT
Em7 |
F#m7
Gm7
C7
F: iimT
I
v7 Em: iim7b5 V7
+
AI
Tonicization of
EDmajT
lc#*r r#z B: iirnT
V]
t
BmajT
I
BbTsus4
Am7
E7 A:V7
AI
C7 F:
V7
+
im7
Tonicization of Abm
BbTsus4 A7sus4
D7sus4
D: V7sus4G: V7sus4
ImaiT
Gmaj7 ll ImajT
PreparedModttlati.on + I Tonicizationof D
Tonicization of B
CmajT
im7 AbzYT
Tonicization of Em
I
A Tll
n#*zlsez u*t Ebt ,rn-z I |
| Fmaj7
d^bzlobmajzlczalrI E-z
ImaiT Db: vz
a^i
Tonicization of | A TonicizationoJ'
Dm7
Db7
c-,i?ll
Imaj7Fq..{dtt_____j!q7_
,tnicization of pb
I Toniciztationof
2.-6. INO ANSWERSPROVTDED]
ANSWTRKEY
251
7. Name the parallel major ancl minor keys tha{ contallt the respectivechord functions shown below,.Assume enharmonicequivalentswhen necessary. Erzunple Ab:
CntT iiimT
EmajT At'm: rVlmajT
A:
C{rn7 iiim7
FmajT Am: i,VImajT
Em:
CrnajT VImajT
Bbm:
Bb:
Dm7 iiimT
uPma.l/ Bbm: VImajT
E:
^[ / ulrm iiim7
E:
Gf,m7 iiim7
CmajT Em: VImajT
DbmajT blttmajT
Bb:
Cm7 iimT
A:
C{m7 iiimT
Dm-7 Am: ivmT
D:
GmajT IVmajT
Bbmajj bVImajT Dm:
Ab:
Cm7 iiim7
Ciml Abm: ivmT
Db:
Fm7 iiim7
Gh7 Dbm: ivmT
Ab:
DbmajT IVmajT
EmajT Abm: VImajT
Ff :
BmajT IVmajT
DmajT F#m: bVImajT
C*m:
AmajT VImajT
FrmajT C$: IVmajT
F:
Am7 iiim7
BbmT Fm: ivmT
E:
AmajT IVmajT
Cmaj7 Em: VImajT
Bb:
Ebnaj'I IVmajT
GbmajT Bbm: bVImajT
C*m:
AmajT VImajT
Cf :
-ll ,t,? n t/
:;i
ili
FrrT iiim7
D:
iiimT
Cm7 Dm: ivmT
Eb:
Gm7 iiim7
BmajT Erm: VImajT
Eb:
ArrnajT IVmajT
Bmaj7 bVImajT Ebm:
A:
DmajT IVmajT
CmajT Am: IIImajT
Bbm:
D;m7 ivrnT
Gm7 Bb: vimT
Bm:
DmajT IIImajT
EmajT IVmajT
G:
CmajT IVmajT
Gm: ,VImajT
Gm:
CnJ ivmT
G:
C:
Em7 iiim7
AbmajT Cm: rVImajT
-l
|rorl]'l-J-.l/
BbmT -) In:
-l *lr :
Bm7 iiim7
Bm7 r{
im :
[tm /
-F
BbnJ
DmajT Flim: VImajT
iltm /
lYmi /
8. INO ANSWERSPROVTDED] '2i'2
^l
IAZZOLOGY
B:
Chapter 8 Exercises 1. Eachpair ofchordsbelowderivesfrom the chordscaleindicated.Showoneapplicablesubstitutechordfor each chord listed. Rememberthat function doesnot apply in modal contexts. Fm7 and Bb7 (F Dorian)
AumajT
Dw7
GmajTand D7 (G Ionian)
Bm7
F$o
Am7b5and EbmajT(EbLydian)
F7
Cm7
CfmT and G*mZb:(A Major)
Amaj7
E7
Cm7 and Bvmai7(D Phrygianl
EhajT
Gm7
nm7b5and Abmf (At Mel. Min.)
GTalt
BbTsusb9
GmajT and A7 (D Major)
Em7
Cla
Cm(maj7)and Bo7 (C Harm. Min.)
EbmajT[S
D"7
BTalt andF13(11; (B Alrered)
Cmf
DTsusbg
dmzb5 and CmajT(b5)(Ff Locrian)
D7
Ami
Fm7b5andEbTpb Lyaian bZ;
Db7
Bbm6
Em7 and Am7 (E Minor)
GmajT
CmajT
GbmajTand Ab76b Minor)
F:bml
co
Fmaj7 and G7 (F Lydian)
Dm7
Bo
2. Provide tritone substitutesfor the following dominant chords. Abz D7
D7 Lb7
B7 F7
Ebz A7
G7 Db7
Cilz c7
F7 87
A7 p,b7
Bbz E7
C7 Ff7
E7 g'b7
3. Provide tritone substitutionsfor the fbllowing chord progression.Show harmonic analysis.
|
I
Gm7
N
rrnT
iP
abtrf,rtll Gm7 cbt
Fm7
F;bmajT
E7
Eo
I
F: iimT SV7 bziimT SV7 SV13fi11
* nbrrrfuilcm7c#1rrr B7 Inf-z |
Cm:iis SV13f11
im7
Bb:iim7 V13/bvi bvim7
SV7 €
ImajT Dm :TP
nbor#rrr l sv13#1r
D7altrrfrrrlc*(*"iDll
+
im(maj7)
Sequential Dominants
ANS$yERKEY
255
4. a. Providechord quality chan-uesubstitutionsfor the above chord progression(exercise3) with harmonic analysis
I I I
cmz
Gm: im7
Dm7 Cm: iimT
Am7
D13b9
Cf
iimT V 13b9F: iio
G13
co
V l3 B b :l(
C7alt
Fz nbz"rtl BbmS
VTaltEb: 1ib vTalt
im8
A13
v13
GTart FmajTl*r^"r, AbmajT nrlbrl l.*"J, ^7
VTalt/ii IImajT Vmaj7 tmaiT G:V71I
DIImajT Vl3b9
csll I8
b. composea chordprogressionfor F minor bluesthat includes thesechord quality changes:major for minor, dominantfor major. c. Analyzeeachnew chordprogression. Original Fm Blues
trl Fm w ll, I
fii
t:
Bhm7
cTbs C7
Fm
Fm7
;j
ca
FTalt
ry
*t,
$;
G4
l*
.'",'ll
Fm7
CTalt
tiE
fr,
$
Fm Blueswith chord qualitl,change:Major for Minor
,1 iai i::,1
ll''*":'
!'i
l'$
Gm7
C7
FmajT
Irnaj7
iimT
V7
ImajT Bb: i11117
BbmajT
Gm7
C7
Am7
D7
ImajT F: iimT
V7
iiimT
vTlii
t,j
CnrT
F7
v1
Gm7
CTalt I FmajT D7
GrnTc?"ft 'll
iimT
VTalt
irmT
Imaj7 VThi
VTalt
Fm Blues with chord quality change:Dominant for Nlajor
ll' F7 l7 251
IAZZOLOG\
Gm7
C7
F7
iimT
\'7
I'I
CrnT
F7
Bb: iimT
V7
sbz 17
*-t
|
c7
F: iimT
Gm7
V7
.rr,
|
DTatt
irp
n,
I
yTalt
iinrT
o"
|
YTatr/ii
Gm.c?"tt 'll
D7
n
VL/ii
d' Make new chordprogressions from the
I
iimT
VTalt
aboveby using diatonicand tritonesubstitutions.
Fm Blues with diatonic and tritone substitutions Chord Progression #l
llr
: nma;z c-z lf I BbmaiT ol-z f
cbt I rmaiz ebt
cb(r)
DbmT
FmajT Gm7
FmajT A.bl
FfmT
B7
Am7
prbz
nbt
cb?'ll
Chord Progression#2
ll'"-"i' Bb7
BbmajT Gb7
\s
D7
AmajT
87
DbmT
f,o
Gm7
F7
Ab7
EmajT
C7
W cb?,ll
Bbs ^b
5' Apply diminished7th chordsoverthe progression givenin exercrse 3. Gm7
p#ot | "-r Cm7 GTbs
c7
| "-,
F7
nat
c#ot
lEbmajT
lnsz A7l*t
I
nzart fcmf-';r,ll
6. Make diminishedsubstitutionsover the progression given in exercise3. Gm7
v
L6
BTbg
Gm7pbtbgl r-t
nbtbgf em";z
ofis c^t nhbgl.rzb DTbsETbs phbgl *z I
| ",
r,bzael
ntrvlc*(maj?ll ANSWER KEY
255
7. Add ii-v's
to the following chord progressions and provide harmonic analyses.
a.
Gm7 Gm:
|
im j
nbrnu:Z I
A6
D7 | cmz
C7 | n'r.tz ebl
;;s
V7 F: iimT
Yi
TY
ImajT Cm: if1
Cm7
B b :iimT
b.
F7
Yj
G7
Cm7
AbmT Db7
v]
nr'l
bvim7 SV7
Em7
A7
DTalt
GmajT
v7 D: iimT
v7
Gm:V7alt
ImajT
FmajT F:
Eb:iim"l
A7 |
Imai-l Dm:. 11s7
BbmajT
BDmT
ImajT Ab: iimT
GmajT I Fm7 G: ImajT F;b:riln7
Ds7
.-t F7 | V7 Bb:iim7 v7
G7
Y] Cm: ii61
sbt I nbmajz Y7
Gm7
ImajT F: iimT
sbt
EbmajT
v'7
LnajT
C#m7 B : liml
C7
FmajT
Y]
ImajT
p#t v1
I
BmajT nboz Eb7 I
|
*,,
C7
Imaj7 ADm:ii67
v1
im6 Fm: IP1
v7
Fm6
Es7
A7
Dm6
Cm7
F7
11" /
v1
im6
Bb: iimT
v7
BbmajT N7 I
D7
Gm6
Imaj7 Gm: iisl
v1
im6
im6 Dm:
8.-10.INO ANSWERSPROVTDED]
256
ADm6
JAZZOLOG\
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