Randy Halberstadt - Metaphors for the musician.pdf

�

=

tOR 1«( MUS{({Atv Per5pective5 fr(l� A-JA-ZZ piA-ni5t

MtlAP�ORS

! �1JbJI JiJ3 AA F 3 3

! > �

I 1

=j

r=±j

Remember: as soon as you learn to play a particu l a r pattern, p ractice i n teg ra t i n g it with free i m p rovising. Only w h e n you ca n m a ke the tra nsition smoothly w i l l that pattern beg i n to show up in you r so l os. After yo u h ave fa m i l ia rized you rse lf with severa l of the ava i l a b l e rhyth m ic g ro u p i ngs, you ca n beg i n to i nteg rate them w i th each other. This w i l l create a fasc i n a t i n g sense of ra n d o m n ess in you r rhyth m ic g rou ps. H e re is a n excerpt of a so lo over Tad d D a me ron's "Lady B i rd" that i l l ustrates th is ra n d o m n ess by m ix i n g p itch g ro u p i n gs, m ostly i n twos, th rees, a n d fou rs.

D1

$ ttJffi�;P3.J&JlgJljdd�rljJjg d J�J I b 4 Jjdlt1 JJJJ j Jgldj J j J3dd3 � j J �d l AM�

DM�

G1

3

II

71

72

Chapter 19 Not o n ly d o t h ese rhyt h ms a d d i nterest to you r i m p rovised l i ne, but they ca n a lso be used for p layi ng chords, w h ether d u ri n g you r solo or someone else's. Ex. ]

H) D 1(

3

3

3 Ex. 2

G M?

@ �fi '

3

C 13 (' '1)

3

3

II

Worki ng on these exercises ca n h ave a deepen i ng effect o n you r basic sense of t i m e. As you sensitize you rself to each subd ivisi o n i n the m easu re, you ' l l be l ess l i kely to rush t h ro u g h rests. You ' l l be l ess tethe red to the first beat of each m easu re. You won't d rag eig hth-note tri p l ets w h e n yo u fi rst enter after a rest. Also, yo u r dyn a m i c contro l -spe­ cifi ca l ly, you r a b i l i ty to shape a l i n e by va ryi ng the vol u m e of the i n d ivi d u a l n otes-w i l l b e e n h a n ced by the accent-g rou p i n g exercises. Use a m etronome, ta ke it sl ow, a nd be patien t !

Chapter 2 0

Notes That Work Yo u're a n asp i r i n g jazz stud ent. Recently you lea rned how to select g ood sca l es for i m provisi ng over chords. It fasci nates you how the two sets of stru ctu res fi t togeth er. You've rea l ly had fu n working on yo u r i m p rovisi ng i n t h is way, a n d you fee l as if yo u 've been m a k i n g g reat prog ress. Th en you go out to see a g reat ba nd at yo u r l oca l jazz c l u b, a n d on the brea k you ta l k to the p i a n o pl ayer. "Oh, you ' re studyi ng jazz, h u h ?" he says. "What a re yo u work i n g o n ?" Yo u te l l h i m that you 've been worki ng with sca les over chords, a n d a pained expression comes over his face. "Wow, I'd watch out fo r that, m a n . I m e a n , d o you rea l l y want to so u n d l i ke you ' re p l aying sca les a l l the t i m e?" "We l l , u h ... " " Listen," he says, " Let me te l l you so meth i n g . You need to be worki ng on chord-to ne outl i n es. I t's all about chord-to nes a n d u pper a n d lower n e i g h bors. That's what the rea l cats a re d o i n g . That's how I g ot it tog ethe r. Sca l es a re a d e a d e n d ." "Gee, tha n ks," you m u m b l e a n d wa l k away co nfused. A month later you 've made the sw itch. Yo u're l og g i ng t h ree h o u rs a day, i m provising over chord changes by outl i n i n g them a nd e l a borating them w ith neigh bors. And it's worki ng ! You're beg i n n i ng to ma ke some rea l strid es. But then you ta ke a lesson from a local legend. "Chord -tones? Sca l es?" he says, scratch i n g h is head. "What d o yo u t h i n k t h is is? N u clear physi cs? Ca l c u l us? Why d o n 't yo u j ust g o to the sou rce, m a n ? N o o n e lea rns to play worth a d i me except by i m i ta t i n g the masters. Yo u l e a rn t h i s m usic by mode l i n g you r playi ng o n those who have gone before. Show them some respect, m a n . I ' m ta l ki n g about tra nscri b i n g l i cks a n d so los a n d learn i n g t h e m i n twelve keys. That's the o n l y way you b u i l d a voca b u l a ry. You ca n't get a sou nd togeth er usi ng that a n a lytica l stuff." Two months later, after you 've lea rned severa l so los a nd a re sta rti n g to see the resu lts show u p on you r g i gs, you meet a tou r i n g , b i g - n a m e m usicia n w h o te l l s yo u , " H ey, m a n , tra nscri b i n g is h i g h ly overrated. I t ma kes eve ryon e sou nd t h e sa m e beca use t h ey're a l l tra nscri b i n g the sa me basic l a n g u a g e. I m provisi ng i s a l l a bout i ntu i ti o n . J ust base yo u r i m provisi ng o n t h e m e l ody, a n d play off o f that b y usi n g you r ear. Or m a ke u p new melod ies, but j ust focus on playi ng d i rectly what you h e a r." A yea r l ater yo u've made a l l the ro u nds, i n c l u d i n g ma crobiotics, rea d i ng script u res, tak­ ing conga l essons, and l iste n i ng to jazz m usicians who have the sa m e bl ood type as you . A n d by t h e way, h o w a re yo u playi n g , a n d a re you enj oy i n g it? Each of those g reat m usici a ns fo u n d so meth i ng that wo rked fo r them and stuck with it

73

74

Chapter 2 0 u nti l i t bore fru it. Each of them gave you a g reat i d ea fo r d eve l o p i n g you r i m p rovis i n g , a n d e a c h spoke log ica l ly a n d co nvi n c i n g ly. And who a re y o u to a rg u e ? These g u ys have paid t h e i r d u es. Yet each of them steered you w rong w h e n h e to l d you that t h e oth er a p p roaches were useless. As you work t h ro u g h the maze of strateg i es for i m p rovi n g yo u r playi n g , you w i l l a l m ost certa i n ly encou nter severa l g u rus a lo n g yo u r path-eve n a teacher who m ista ken ly bases a whole cu rricu l u m on o n ly o n e method beca use it wo rked fo r h i m . Don't be obl ivious to their advice. They a l l have someth i n g va l u a b l e to offer. But keep yo u r head on stra i g h t a n d d o n 't su ccu m b to d isco u ra g e m ent. Pick a n a p p roach that wo rks fo r you a n d stick with it. As l o n g as you ' re work i n g h a rd at what yo u ' re d o i n g , you ' l l get resu l ts. Wo rk with that a p p roach u nt i l you h ave a sense of havi ng g o n e t h ro u g h it a n d come out the othe r side. At this poi nt you ' l l be a bit bored a n d you ' l l be ready fo r somet h i ng new. Then move o n . I d o n ' t mean t o i m ply t h a t you s h o u l d j ust use one a p proach at a t i m e. You m a y w a n t t o try t o develop yo u r i m provisi ng a l ong seve ra l l i nes si m u lta neously. That's fi ne. Too ofte n, thoug h , a n aspiring m usici a n gives u p on a n a p proach way too soon , before he rea l ly g ives it a cha nce to work. He g ives u p either beca use someone steers h i m i n a d i fferent d i rection o r beca use he d oesn't q u ickly get the res u l ts he was h o p i n g for. Remem ber, som e th i ngs ta ke a l i ttle t i m e. If yo u r i m p rovis i n g d oesn't show i m m ed i ate i m proveme nt, that d oesn't necessa rily mean you 're on the w rong track. Fo r exa m p le, the use of sca les for i m p rovisation is a potentia l ly very powerfu l a pp roach, but at fi rst most p layers fi nd it especia l ly d i fficu l t to g et a g ood sou n d w i th it. A m usi­ cian who te l l s you that i t's an i nva l id a pp roach p roba bly tried it e arl i e r in h is ca reer but gave up on it after a couple of weeks because it was too hard. For you, it might just be the key to the whole thing. If you conti nua l ly fl it from one approach to the next, you'll l i kely be so busy searching for the right thi ng to work on that you'll get very l ittle real work done at a l l. We' l l soon look i n deta i l at these i m p rovisationa l strateg i es. Fi rst, t h o u g h , I w a n t to stress that none of th ese a p proaches w i l l work u n l ess yo u l iste n to a lot of m usic. Th i n k of i t a s n u trition. You h ave to eat a va riety of d i ffe rent foods seve ra l t i m es a d ay. You r body rej ects w h a t it ca n't use. M uch o f t h e n utritious food w i l l eve n tu a l ly b e conve rted i nto energy, but i t may ta ke a w h i le. S i m i la rly, you have to l isten to a va ri ety of m usic, not j ust j azz pl ayed on yo u r i nstru me nt. Listen to s i n g e rs, p i a n ists, horn playe rs, etc., a n d l isten to jazz, pop, rock, classica l-whatever. Yo u won't use it a l l in you r i m provis i n g , but ta ke i t a l l i n . I t w i l l ta ke a w h i l e before it w i l l m a n i fest i tself i n you r playi n g . T h e B i l l Eva ns a l b u m that you l i sten t o tod ay may not affect you r styl e for th ree yea rs. Liste n i n g is a long-ra n g e i nvestment. There's no wrong way to l isten . I f you want to sit a nd l iste n to a CD w i th a l l you r atte n ­ t i o n , fi ne. If you want t o p u t i t on as ba ckg ro u n d m usic w h i l e you work, that's g reat too. Or go to sleep to it. J ust beca use yo u ' re not consci ously focused on the m usic doesn't mean that yo u ' re not ta k i n g i t in. In fact, it may wel l be that yo u r subconscious m i n d w i l l o n ly beg i n to a bsorb t h e m usic w h e n you r conscious m i n d is p reoccu p ied with someth i n g e lse-a nd i t's from you r su bconsci ous m i n d that the m usic w i l l fl ow.

Chapter 2 0 Scales over chords 1 . Lea rn yo u r sca les u p a n d down t h ro u g h the ra n g e of yo u r i nstr u m e n t. Pay attention to fi n g e r i n g , accu ra cy, a rticulation, tem po, a nd tone. Lea r n to play them without l ooki ng at the keyboa rd . When you have them w e l l u n der contro l , work up you r speed. Spend some t i m e i m p rovisi ng freely with each sca l e ( n o chords). I t's i m por­ ta nt that you learn each sca l e as a n i m p rovisatio n a l territory in wh ich yo u ca n j u m p a ro u n d with l a rg e i n terva ls, not j ust a s a smooth ru n u p a n d down you r i nstru m ent. For a l ist of sca l es worth you r attention, see Com mon Sca l es, M ajor Sca l e M od es, a n d M e l o d i c M i nor M od es in the a ppend ix (pp. 3 1 0-3 1 3). 2 . You need t o learn the theoreti ca l co n n ections between sca l es a nd ch ords. You ' l l fi nd a thoro u g h treatment of t h i s materi a l i n the next section of t h is book (page 1 05). 3 . You need t o b e a b l e to m a n ifest that theoretica l i n formation o n yo u r i nstru me nt. Let's break t h is task down i n to two pa rts. a . I m provisi ng i n o n e sca l e ove r a va m p (such as a I I -V- I). H e re you need t o work on the specifi cs of i m provisi n g : g ood t i m e a nd fl ow, coh e re n t i d eas, g ood tone, right notes, etc. Exp lore the l a rg e i nterva ls with i n that sca le, a nd fi nd out what the j u iciest notes a re with i n i t. b. M a k i n g the tra nsition from one sca l e to the n ext. Yo u shou l d use both the ra ndom I I -V- I cha rts in the a ppend ix (pp. 303 -306) and actu a l t u n es. Focus on the sea m s between the sca les. You need to be a b l e to play as smoothly at those tra nsition poi nts as you do with i n each sca l e , as "The U n i nvi ted Fa n " (page 44) ma kes clear.

4. Lea rn the sou n d of each sca l e/chord com b i nation. You play the notes yo u play beca use you hear them, not beca use they fit with i n t h e a p p ropriate sca le. But you fi nd those notes more efficiently beca use yo u reco g n ize w h ich sca l e the notes belong to. I ma g i ne that you ' re sitt i n g at an e l ectro n i c keyboa rd , i m p rovisi ng over a G7 chord a n d wea r i n g a very o d d look i n g ca p. I t's eq u i p ped w i t h e lectrodes t h a t ca n read you r m i n d . A ca b l e runs from the top of the ca p i nto the back of you r keyboa rd . Yo u know that there a re m a ny d ifferent sca l es that ca n be used over a G7, but r i g h t now you a re o n ly ,con ­ cerned with playi n g what yo u hear. The e l ectrodes sca n you r bra i n a nd send t h e data to the keyboa rd . I nsta nta neously the notes of a n Ab m e l o d i c m i nor sca l e l ig ht u p . Howeve r, the com pute r doesn't do a l l the work fo r you. Yo u sti l l have to sel ect the specifi c notes from that sca l e to play the l i ne in you r head accu rately, but you r c h a n ces a re better now that the fi e l d is sma l l e r. The next t i m e you e n co u n te r the G 7 , the notes of a G a ux­ i l ia ry d i m i n ished sca l e l i g h t u p , so you choose from that set.

75

76

Chapter 20 H e re's a n exercise to h e l p d eve l o p yo u r a b i l i ty to d iscri m i n ate between the va rious chord/sca l e com b i nations. Wh i le playing a si m p l e G 7 (root, 3 rd , a nd 7th) sing each sca l e and sa m pl e i m provisat i o n . The n play both on you r i nstru ment. Fi n a l ly, i m provise freely with the sca le over the G7. For r i g h t now, concentrate on th'e sou nd of these sca l es, not the theory. Later you ca n learn more a bo u t t h e i r structu res-th ey' re i n the a ppen d i x on pag e 3 1 0.

� J J r r r E r tir r II

G dominant bebop

'

1 �l J j J J I J J J 9 9 II ,

� J �J �rqr r r �rr r II @\jji iJd�J I J �;�J "---"

C minor bebop (from G to G)

't

II

A� melodic minor (G altered)

D melodic minor (G Mixolydian #4)

� J J r r r "r r r II

C melodic minor (G Mixolydian �6)

't

J J � J �j J J

I

J J J�J II

� J"J �r qr ftr rr rr II JJ3J�DjJI J jJ d jJ JJ II

G auxil i ary diminished

� J J r �r �c r E II �EEJ [ �r t fiE tr �U *II � J �r C ftC r r r II l�t¢t [ r rfTctt E �f , - II � oJ "C �r "c r r II r r r r "rE E �r I �r �[jJ II

G whole tone

�

G blues

't

D� pentatonic

b

b

b

Chapter 2 0 All of these sca l es a re eq u a l ly va l i d cho i ces fo r G7. You n eed to work w i th each o n e u nt i l you ca n m a ke good m usic with i t a n d remember i ts so u n d ove r t h e ch ord. Then w h e n you hear a l i n e over a G 7 the notes o f that sca l e w i l l l i g h t u p . This ta kes a w h i le. J ust beca use yo u m a ke som e u g ly sou n d s at fi rst doesn 't m e a n that the sca l e a p p roach is not va l id . Don't g ive u p on it. I t h a rd ly seems fa i r, but si m ply stay i n g with i n t h e sca l e is no g u a ra ntee that you ' l l so u n d good. You have to learn t h e perso n a l i ty of each note and treat i t accord i n g ly. N o n e of the othe r a pp roaches to i m p rovis i n g com pa res i n co m p l ex­ ity to the sca l e a pp roach , but there a re m a ny g reat sou nds that you won't fi n d as easily using a ny other strategy.

Chord tones and neighbors H e re the basic i d ea is to use the notes of the chords (the roots, 3 rds, 5ths, a nd 7ths) as the basis for you r i m p rovisi ng. It's a m u ch simpler method to u ndersta nd than sca l e theory a n d you ca n g et some good sou nds from it q u ickly. A t fi rst you m a y p lay som e­ t h i n g l i ke this:

R 3

5 7

R 3

5 7

R 3

5 7

R

3 5 7

Altho u g h it sou nds bori n g to a rpegg iate the chords, i t's a g ood fi rst ste p. Then yo u ca n m a ke it more i nteresti n g by usi ng l a rg e r i nte rva ls, sta rti n g o n som eth i n g othe r t h a n the root and va ryi n g you r rhythms:

��

P * OJ J J J

G M? 'I

3

R 5 7 5

I J] 1 [r: [fJ) iJ J J31 �J N[j * II C1

3 R

F MA1

3 5 7 3

of F

7 R

D1

3

7 of D

3

3

5

The meta phor of the l i g hted keys a p p l i es h e re as wel l . W h e n the chord is G m i 7 , eve ry G, Bb, 0, a n d F on t h e keyboa rd s h o u l d l i g ht u p fo r you . The chord is not a structu re that sta rts on G and fits w i th i n o n e octave. It's a series of notes t h a t you ca n p l a y in a ny order t h ro u g h the fu l l ra n g e of you r i nstru ment.

Now p ractice i m p rovis i n g over the a bove chord p rog ression usi n g o n ly t h e fou r tones of each chord .

77

78

Chapter 20 There a re certa i n ly more layers of com pl ex i ty to t h i s a pp roach, but before you co nfront them you should spend som e t i m e i m provisi n g over severa l tu n es w i th s i m p l e chord tones. I f you r t i m e fee l is sol id a n d you r sha pes a re i nterest i n g you ca n g et a su rprisi n g ly good sou n d with th is si m pl e tech n i q ue.

There is a particu l a r melodic reso l ution that you should know a bout. I t's a way of g et­ ting a smooth l i ne as you go fro m chord to ch ord. So meti m es I d escribe t h is reso l u ­ tion a s " m e l o d i c g l ue" beca use i t's s o effective i n bo n d i n g o n e chord 's l i n e t o t h e next. Specifi ca l ly, it i n vo lves reso lvi ng the 7th of a chord down a sca l e step to the 3 rd of the next chord :

4 � n l r C f+ I E G M?

Ci

7

f t

r

3

7

II

-

3

Th is w i l l work as long as the root movement is a d esce n d i n g 5th, such as G to C or C to F. The D7 i n the previ ous prog ression wou l d typ ica l ly reso lve down a 5th to G m i 7 , pro­ v i d i n g a nother o pportu n ity for the 7-3 reso l ution :

4 � r If rliP d r r I � Ci

GM?

7

F MAi

7

3

3

r

7

II

3

I n fact, it ca n h e l p to g ro u n d a l i n e more fi r m ly i n the h a rmony by playi n g the 3 rd of each chord fi rst, w h ether or not you a c h i eve i t w i th a 7-3 reso l ution o r w h ether the root movement is down a 5th.

4 � B 1 r J I j J J J t I). D I J] I �) J G M?

Ci

3

3

7

F MAi

Di

3

3

ft r II

Add that reso l u tion to you r re pertoi re. Practice i m p rovis i n g over the a bove chord p rogression a n d over t u n es usi ng j ust chord to nes a n d 7-3 reso l utions.

7

Chapter 2 0 Li ke sca l e tones, each chord tone has its own person a l ity. But yo u won't e n co u n ter tense i nd ivid uals here : j ust a bu nch of safe, sta b l e ones. At fi rst yo u m i g h t enj oy th is fri e n d ly terra i n , but eve n tu a l ly yo u ' l l proba bly want more tensi on a n d re lease i n you r l i ne. Th is is where u p per and l ower neig h bori n g tones co m e i n . They ca n tra n sfo rm an i n itia lly sac­ cha rine, si ngson g l i n e i nto so meth i n g that sou nds rema rkably l i ke bebop. H e re's a p u re chord -ton e l i ne.

� �� r

BbMA7

5

3

I L f If r f i r r

G± f 3

G7

e M?

3

R

R

5

7

3

R

r

J I J qj. A7

5

R

5

II

BbMA7

J) ,

5

5

Here's the same l i n e e n h a nced with u pper (N) a n d lower (n) n e i g h bors.

G7

BbMA7

eM?

A7

B bMA7

� �. fE�E [rEF IdnRirlrrfl Prr�rrl�I13)�J �I 3 N �N 5 3 1 7

N nR

3 5 7

3 n R n 5 5 n R

NR

n Rn

5 5

A l ower neig h bor is a l ways a h a l f step below its ta rg et n ote. I n t h e a bove exa m p le, lower n e i g h bors i n c l u d e the F# resolvi ng up to G in the second m easu re, the B-C, F#-G, and G# -A pa i rs in the th i rd m easu re, and the G # -A and Eb- E pa i rs in the l ast m easu re. An u pper n e i g h bor is either a half ste p or whole step a bove i ts ta rget. In g e n e ra l , ch oose the note that fits i n to the preva i l i ng l oca l key. If t h is resu lts i n a w h o l e ste p, howeve r, you ca n often fl at it to a h a l f ste p. Yo u ca n a lso i nse rt a h a l f-step pass i n g tone between the whole-step n e i g h bor a n d i ts ta rget. In the a bove exa m p l e, the u pper n e i g h bors i n ­ c l u d e G-Gb-F i n the fi rst measu re, Ab-G (with the F# lower n e i g hbor i n between) i n the seco nd measu re, and Bb-A i n the l ast m easu re.

Pick a short chord prog ression l i ke the one a bove and p ra ctice i m p rovis i n g with j ust chord tones u n t i l you 've g ot the sou n d you wa nt. N ext a d d i n as m a n y 7-3 resol utions as you ca n. Then pick a specifi c u pper or l ower n e i g h bo r, such as t h e lower n e i g hbor to the root of each chord , and i n c l u d e that in you r p l ayi n g :

� �b ) r ) � J. I 'ijHqJ f r flTF q� r ti� If �r f± II BbMA1'

n

R

G 1'

n

R

5

e M?

n

R

3

R

5

7

3

A7

n

R

3

BbMA1'

n

R

5

79

80

Chapter 2 0 Isolate each of the u pper a n d lower n e i g h bors i n t h is way. This i s i m porta nt for two reasons: fi rst, for theoretica l contro l . You n eed to know exa ctly what yo u ' re playi ng a n d how it relates t o t h e chord rather t h a n j ust t h ro w i n g i n a l o t o f h a l f-step reso l utions a n d h o p i n g that they' re the r i g h t o n es. Seco nd a nd most i m portant, for ea r-tra i n i ng . Fo r exa m ple, if you concentrate fo r twenty m i n u tes on the u p per n e i g hbor to the 3 rd a nd noth i n g else you ' l l beg i n to d eve l o p a very specifi c sense of how that resol ution sou n ds. Then w h e n you h e a r that sou nd w h i l e you ' re i m p rovis i n g yo u ' l l know wh ere to fi nd it. Remember: u lti mately yo u won't p l ay a note beca use i t's a chord tone. You ' l l p l ay it beca use you hear i t, but you ' l l fi n d it more effi c i ently beca use you recog n ize w h a t chord tone or n e i g h bo r i t is.

After you 've isolated each u pper a nd lower n e i g h bor, do the sa m e with each u p pe r-lower pa i r. For exa m ple, use o n ly the u p per and lower n e i g h bo rs to t h e 5th of each ch ord.

� � r E![[ frlJfic£iJJJu n 3#3 n a I 'Jp Jj3JJII BbMA1

G1

5 N n 5 3 R R

A1

e M?

n N 5

3 R 7

3

5 N 5

n 5 7

n

5 N 5 7 R 7

Notice the va rious ways i n wh ich I p resented these pa i rs. I n the fi rst m easu re, I used a n u p pe r-lower-5th com b i nation. I n t h e seco nd m easu re I reversed t h e o rd e r (Iower- u p­ per-5th). I n the th i rd m easu re I p l ayed 5th -u pper-5th- lower-5th. I n t h e last m easu re I pl ayed l ower-5t h - u p per-5th. Th i n k of these n e i g hboring tones as seaso n i n g . The basic flavo r of t h e m usica l ste a k is to be fou nd i n the chord tones themselves. The stro n g e r yo u r control over th ese n otes, the better the taste. But once that's in p l a ce, the ch romatic spices (the n e i g h bors) w i l l g ive the meal a m u c h more i n te rest i n g a n d soph isticated flavo r.

Licks Lea rn i n g l icks w i l l e n a b l e you to play w h a t yo u hear spo nta n eo usly without stru g g l i n g for t h e r i g h t notes or fu m b l i n g for t h e r i g h t fi n g e r i n g . So m e m usici a ns a re u ncomfort­ a b l e with the co ncept of usi n g l icks beca use they fea r i t w i l l i n h i b i t t h e i r sponta n e i ty. But used correctly l icks ca n e n h a nce you r i m p rovisi n g a n d m a ke i t smoother. The pre m ­ ise is n o t t o d e l i be rately i n se rt them i nto yo u r so l os but t o u s e them to exp ress so me­ th i n g you ' re a l ready h e a r i n g . And what yo u ' re h e a r i n g w i l l be r i g h t u nd e r you r fi n g e rs ! Th i n k o f t h e p rocess as " i m p rovisi n g by mosa ic." Each l i c k i s a fa i rly short p i ece o f m usic that yo u've practiced u n t i l it feels l i ke a si n g l e u n it. You 've worked o u t t h e n otes a nd

Chapter 2 0 the fi ngering, a n d you play the w h o l e shape. Th en you si m ply lay down th ese l i c ks-or t i l es-one after a n other to create you r d esi g n . Of cou rse, t h i s w i l l be a m u ch more pow­ erfu l too l if yo u l ea rn each l ick in twelve keys.

Yo u ca n m i n e you r own m e l od ic content a nd create you r own l icks. Sti ck a ta pe i n yo u r ta pe recorder. F i n d a short prog ression t o p l a y at a m ed i u m slow tem po. I t cou l d b e a s s i m p l e a s a I I -V or it co u l d b e a n e i g ht-bar section o f a tu n e. Play it (or perha ps have someone e lse play i t) with the tape rol l i n g , va m p i n g ove r a n d ove r. W h e n you ' re ready, sta rt scatt i n g over the chords. Ta pe at l east two or t h ree m i n u tes of yo u r s i n g i n g . Re­ w i n d the tape a n d l isten to what you sa ng (th is may be pai nfu l ) . After you 've beco m e q u ite fa m i l ia r w i t h w h a t you sa n g , w ri te d o w n severa l exce rpts. I n p a rticu l a r, tra nscribe patte rns that you especi a l ly l i ked but a lso patterns that yo u sa n g re peated ly. These l ittle p ieces of melody rep resent who yo u rea l ly a re m usica l ly. When you fi rst try t h is exercise you may decide that you rea l ly d o n 't l i ke a nyt h i n g that yo u sa n g . My a dvice is to not let that sto p yo u. J ust fi nd patterns that you h ate t h e l east a nd p roceed.

Where else ca n you fi nd l i cks? You ca n tra nscribe l icks d i rectly fro m record i n gs. S i m ply extract a few choice morsels fro m a ny one of you r favorite record ed so los a n d w ri te them down. Yo u ca n get l i cks fro m a tea cher or a peer. J ust stop h i m a n d ask, "What d i d you j ust p lay?" There a re severa l p r i n t sou rces: Je rry Coker's Patterns For Jazz a n d N i co­ las S i o n i msky's Thesaurus o f Scales and Melodic Patterns a re both fi n e books.

Once yo u've fou nd a l i ck that you l i ke, how s h o u l d you p rocess it? Fi rst, work o u t the best possi ble fi n g e r i n g and p ractice it u nt i l it sou n ds and feels l i ke a s i n g l e u n i t, not a bunch of separate notes. Ana lyze the s h a pe of the l ick (What i n te rva ls a re you p l ayi n g ? What sca l e d eg rees a re you usi n g ?) N o w l ea rn t h e l i c k i n twe lve keys w i t h g ood fi nger­ i n g . Practice p l ayi ng it i n a l l the keys with l ittle or no h esitation i n betwee n. You ca n use the ra ndom note c h a rt (pag e 301 i n t h e a p pend ix), or yo u ca n play t h e l i c k th ro u g h the cycle of 5ths, c h romatica l ly, etc.

As an exa m ple, learn t h is l ick i n every key:

II

The next ste p is to decide how the l ick ca n best be used ove r chords. H ere a re a few good con n ections fo r t h i s l ick:

81

82

Chapter 2 0 For a I I -V, sta rt o n the 5th degree of the sca l e : C major scale

�j JJjj £ OM?

4J JJj3 4J JJjJ

-

*

F MAi (stal1 on the 9th of the chord)

JJj

J

II J

*

OM? (start on the 1 1th)

II

B bMAi(m ) (start on the 6th)

JJj

J

*

J

G M? (start on the root)

�j JJjj£

II

G i (start on the root)

*

j JJjj£ O bi(:� ) (start on the b5th)

4 j J J j J (n)' II j

b B MIi( S ) (start on the b6th)

Ai( iS ) (start on the 7th)

'I

II II

II

II

II

H e re's how a l l those con nections work for the va rious C ch ords:

4

J

CM?

�j

J J

�r n

J

j7J

�j

CM? (start on the 1 1 th)

J

J J

Fi -

j J #J ] *

C MAi( i W (start on the 6th)

*

II

*

II r

C MAi (start on th 9th of the chord)

4J

*

(start on the 5th degree of the scale)

J

�n

£J

C M? (start on the root)

II

II

* II

� r �n 0 a C1

( start on the root)

Chapter 2 0 C 1(!S'I) •

4 �r &9 j 3 (1)'1 II I,J ) C 1(iS

( start on the 7th)

II

( start on the b5th)

) CMI1(bS

II

( start on the b6th)

I fou nd these co n necti ons usi ng a co mbi nation of theory a nd my ear. If you h ave a m i n i ma l co m m a n d of theory, j ust use yo u r ear when yo u look fo r con nections. I t's es­ sentia l ly trial a n d error. It's pretty stu n n i ng how ve rsa t i l e o n e l ick ca n be, isn't it? I t's as if you fi rst lea rned the word "mean" as a synonym for "cru e l " and then d iscove red that it ca n a lso sta nd for "si g n ify" a n d "ave rag e." J ust as that word fu nctions d iffe rently i n each context, the l ick sou nds d iffe rent ove r each chord . Yo u may have o n l y lea rned o n e lick b u t you 've l earned many d i ffe re nt so u n d s. For t h i s reason you ' l l fi nd that yo u ca n beg i n to sou nd good after learn i ng o n ly a very few l icks.

Once you have the connections down, practice playing the lick over every chord in a tune. Here a re the fi rst e i g ht measu res of " I t Cou ld H a ppen To You " with the l ick placed a ppro priately.

4 �I,. r U U t i r #J fj�l' I r #J fj a I J �fJ n a I EbMA1

(on 9th)

) C7(iS

(on 7th)

FM?

(on l lth)

D 1(:�)

(on b5th)

� �.� J lJ n a I J lJ n a I j v�n a I�J�j(.)J�j Q J II EbMA7

(on 9th)

AbMA1("0 (on 6th) G 1

(on root)

C 1(:;)

(on b5th)

Then try p layi ng freely over the t u n e , period i ca l ly i nterspers i n g t h e l i ck w i th free i m ­ provisation.

At t h is poi nt it's safe to say that you 've made th is lick a part of yo u r voca b u l a ry. Don't be surprised if i t shows up sponta neously in you r so l o i n g . O n t h e o n e hand t h i s may seem l i ke a l ot of work to p rocess o n e t i ny l i ck. But a g a i n , rem e m ber that you ' re learn­ i n g a l ittle pi ece of m usic that w i l l prove to be very versat i l e. Also, t h i s p rocess ca n be a lot of fu n. Once you 've processed t h ree or fou r l i cks you ' l l fi nd that you ca n d o i t m u c h faster a n d w i t h l ess strugg l e.

83

84

Chapter 2 0 I f we ca n l i ken the process so fa r to l ea r n i ng voca b u l a ry, the n a t u ra l n ext step i s g ra m ­ m a r. H o w ca n you go smoot h l y fro m o n e l i c k t o the next? Let's say that yo u've thor­ o u g h ly processed these two l i cks:

DM?

II r

EJ·

You co u l d com b i n e these l icks i n to a longer o n e :

, J J J J D r pG 11' U §i * DM?

You m i g ht want to t h row i n a pass i n g ton e :

II

II

DM?

J :l �J) j :

O r you m i g ht try reve rs i n g the order of the l ic ks:

'C

J i J J1 DM?

r

II

Th is is j ust a way of g a i n i n g so me fl ex i b i l i ty with you r l i cks. You may n ever actua l l y use these particu l a r pa i ri ngs in a solo but it's sti l l usefu l to practice possi b l e com b i nations.

Written-out solos If you ' re l iste n i n g to, say, a M i l es Davis solo a n d t h i n k i n g , " O h , I 'd l ove to be a b l e to play a solo l i ke that," someti mes it pays to ta ke the most d i rect a pp roach : tra nscribe the solo and learn to play i t. I t's a si m p l e matter of mod e l i n g you rself after one of the masters. Some m usicians say you should n't w ri te the so lo down as you tra nscribe it-j ust tra n sfe r it d i rectly to yo u r i nstru ment, mem orizi ng it as yo u go. The rat i o n a l e is that yo u ' l l tra i n you r ear better. Try i t both ways. Howeve r yo u l ea rn i t, learn i t wel l . Work o u t the fi n ­ g e r i n g a n d p l ay i t smooth ly. Try t o g et i t u p t o speed s o that yo u ca n p l a y it a l o n g with the reco rd i n g . As d a u n t i n g as t h is may seem , try learn i n g t h e so lo ( or at least part of it) i n severa I keys. I t's a lso a g ood idea to a n a lyze t h e solo to see w h a t struct u ra l i n formation you ca n g l ean from i t. What sca les d i d the so loist use a n d how d i d he use t h e m ? How a n d w h e n does he outl i n e the chord tones? Does the so lo featu re a ny recu rri ng l i cks o r is there a short excerpt that you'd l i ke to process as a l ick of you r o w n ? W h a t ro l e d oes rhyt h m p l a y i n the solo? I f y o u ca n extract a g e n e ra l co ncept or t w o from the so lo y o u ca n t h e n practice a p plying those conce pts t o yo u r i m p rovisi n g .

Chapter 2 0 You m ig h t wonder if there is a hazard of sou nd i n g j ust l i ke the m usicia n you tra nscri bed and not d eve l o p i n g a styl e of you r own. There is a sm a l l short-term risk of that, but my advice is to forge a head with energy if t h is a p proach works w e l l fo r yo u . I f yo u par­ ticu la rly l i ke Son ny Ro l l i ns, for exa m p le, tra nscribe e i g h t or ten of h i s so l os. I m itate h is notes, a rticu lation, tone, everyt h i n g . Kee p d o i n g it as l o n g as i t feels p roductive, then move on. You ' l l eventua l ly shed Ro l l i ns' i nfl u e n ce l i ke a n o l d ski n. But even i f yo u d o n 't, it's o n ly a tem pora ry problem beca use you ' l l a lso tra nscribe Coltra ne, Co l e m a n Hawki ns, Lester You n g , Joe Lova no, a n d othe rs. You r particu l a r mix of i n fl u e n ces w i l l be d i ffere n t than a nyon e else's a n d you ' l l be i nfl uenced b y d ifferent e l e m e n ts. J ust re m e m be r t h a t l ea r n i n g a tra nscribed sol o is a m ea ns t o a n e n d a n d not the e n d itself. T h e e n d is s i m ply to m a ke g ood m usic. Let others decide whether you r ve rsion of g ood is u n usual e n o u g h t o b e t h o u g h t o f as ori g i n a l .

Here's a g reat idea : tra nscribe yo u r o w n solo. Scat over a chord prog ression for sev­ era l choruses, on ta pe. Then tra nscribe the e n t i re solo a n d l ea rn to p l ay it. Fo r better or worse, th is so lo is a rep resentation of the m usic you natu ra l ly h e a r. If you were to treat t h is sol o as se riously as a Son ny Rol l i ns sol o (work out t h e fi n g e ri n g , get it u p to speed, etc.) you 'd learn to play what you hear more com petently. Th is, after a l l , is the essence of heartfelt i m provisat i o n .

Melody paraphrase Of a l l the m ethods fo r d eve l o p i n g i m p.rovisation a l a b i l i ty, t h is is the o n e that seems to be taken the most l i g htly; but I reco m m e n d that you spe n d som e serious t i m e with it.

Pick a t u n e a n d learn to play the melody. I n fact, memo rize it. Play it seve ra l t i mes, ex­ actly as written. N ext, play it w i th a more relaxed rhyt h m , w i th a few a ntici pations a n d d e lays. Th is won't sou n d l i ke typical i m p rovisi ng yet b u t j ust a n a t u ra l ly p h rased ver­ sion of the melody. Do t h i s a few t i m es, va ryi ng you r rhyt h ms each t i me. N ext, i nse rt a n occasional passi n g tone o r ornament. Sti l l t h i n k of i t a s the m e l ody b u t w i th a few (not too ma ny) twists. Try t h is a few ti mes, a d d i ng more a nd more of you r notes to the ori g i ­ n a l mel ody. N ext, try rep l a c i n g so me o f t h e m e l ody ( i n stead o f m ere ly a d d i n g t o it) w i th i m provised ph rases. Sta rt co nse rvatively, b u t ta ke more l i berties each t i m e a ro u n d . Don't th i n k of th is as i m p rovisi n g yet. Yo u ' re sti l l j ust playi ng t h e mel ody. Fi n a l ly, try i m p rovis­ i n g free ly over the chord p rog ression w h i l e h e ari n g t h e m el ody fi rm ly in you r head the enti re ti me. Practice j u m pi n g smoothly back and fo rth between the m e lody a nd i m p ro­ visation. Of cou rse, you ca n use t h e other concrete i m p rovisa t i o n a l a p p roaches (sca les, chord tones, etc.) to g u id e you as you d e pa rt from the m el ody. But i n i ts pu rest form, th is a pp roach is one in wh ich the o n ly structu ra l element is the m e l ody itself; d u ri n g you r d e p a rtu res from i t , s i m ply p l ay by ear.

85

86

Chapter 2 0 I m a g i n e the melody a s a l i fe raft. At fi rst you safe ly n avigate a ro u n d the l a ke, occa ­ siona l ly d ragg i n g a h a n d or foot i n the water. Then yo u j u m p i nto the l a ke b u t keep a hold on the raft. You beg i n to m a ke short swi ms away from the raft, a l ways kee p i n g it i n sig ht. Eventu a l ly yo u sw i m a l l the way to shore, l eavi n g t h e raft bobb i n g in the la ke, secu re in know i n g that yo u ca n swi m back to get it later. I ' m not o n e who b e l i eves that a g ood solo w i l l necessa rily reta i n particu l a r e l e m ents of the ori g i n a l melody. As you sponta n eously com pose a new m e l ody it ca n be terri bly d istracti n g to try to i n corporate so me of the com poser's actua l motifs. Nevertheless, it's vita l that you a l ways know wh ere you a re in the tu ne a n d i n the m e l ody as you i m ­ provise. By slowly " m orph i n g " fro m t h e written melody t o free i m provisation a nd back a g a i n , yo u can d evelop you r i m provising and you r se nse of form in a very natura l way.

Directly playing what you hear No matter how m u ch l iste n i n g you 've done, you won't be a b l e to i m provise wel l over a pa rti cu l a r t u n e u n t i l yo u have i m pri nted its va rious so u nds on you r m i n d . I ' m spea k i n g o f the melody, yes, but a lso the roots, t h e chords, the modes or sca l es, etc. T h i s i m pri nt­ ing process is so met h i n g that ha ppens natura l ly as you h e a r a n d p l ay the tu n e over a n d over, b u t you ca n a lso d evelop i t i n a n acce l e rated fas h i o n b y p l ayi ng a n d si n g i n g the isolated elements. Read " M a ri na d e Fo r You r Ea rs" (page 90) to see how t h is is done. If you 've l istened to a l ot of jazz and you ' re hea ring the va rious l aye rs of a t u n e, you won't need to go g et an i m provised l i ne. It w i l l come a n d g et you ! I t's l i ke si n g i n g in the shower. The i m provised l i n e w i l l sim ply form on i ts own. And t h i s l i n e is the best t h i n g you co u l d possibly p lay. Not o n ly w i l l i t a d h e re l a rgely t o t h e theoretica l ru les, b u t it w i l l a lso conta i n t h e o n e e le m ent that t h e theory ca n't prov i d e you with : yo u. Theory w i l l o n ly show you t h e options, not wh ich ones you prefe r. B u t t h i s "shower l i ne" a l ready reflects th ose preferences. J ust trust i t and p l ay it. Th i n k of it as scatt i n g on you r i n stru ment. A good scat s i n g e r d oesn 't consciously t h i n k when he or she scats. It's j ust a matter o f " pu l l i n ' i t back a n d l etti n ' it go." I n that se nse, i m provising is as passive as ta k i n g d ictation. Yo u s i m ply type out the l i n e that co m es to you without conscio usly editing i t. But fi rst yo u need to learn to type. You 've got so me g reat sou n ds i n you r head now, but w h ich buttons shou l d yo u press on you r i nstru ment to m a ke those so u n ds come out? Playi ng what you hear may be d iffi c u l t at fi rst, but t h e l e a rn i ng p rocess is easy to exp l a i n . To learn how to play what yo u hear, pick som et h i n g that you h e a r- a n d p l ay it. Choose a m e l ody that you ca n sing accu rately from memory a nd p ra ctice pl ayi ng it i n every key. As yo u r accu racy i m proves you ' l l a lso get better at tra nsferring to you r i n ­ stru ment the so u n d s that you hear i n you r head w h e n you i m provise.

Chapter 2 0 When you fi rst pick out a melody by ear, yo u shou l d use w h a t I ca l l the "d u m b" ap­ proach. J ust sta rt playing it w i thout ta k i n g i n to accou nt a ny theoretica l i nfo rmation, in­ cluding what key you ' re i n . S i m ply n avig ate fro m one note to the next by try i n g to hear the i nterva l a n d then respond i n rea l ti me. Yo u ' l l p robably m iss severa l notes at fi rst, especi a l ly w h e n the i n terva ls a re l a rge. J ust do the best you ca n. If you m i ss a note j ust fix it a n d go on. Or d o n 't fix it-j ust play the tu ne i n rea l t i m e as if yo u were perfo rm i n g it. Both a p p roa ches have m erit. Don't p ractice t h e tu ne t o perfection. J ust g o th rou g h i t once or twice, then move on t o t h e next key. Eventu a l ly you shou l d shift to the "sma rt" a p p roach i n wh ich yo u exa m i n e the t u n e for c l u es t h a t w i l l e n a b l e you t o get t h e r i g h t notes w i th m i n i m a l g u esswork. F i n d t h e a nswers t o these q u esti ons:

1 . What sca le d e g ree does the m e l ody sta rt o n ? 2 . Does the g e nera l key o f the t u n e c h a n g e ? H o w does t h e n e w key re late t o t h e ori g i n a l key? 3 . Where a re t h e non-diaton i c notes (the notes not i n t h e key) a nd what a ltered sca l e deg rees d o they re prese nt? 4. Where a re the l a rg e i n terva ls a n d what sca l e d e g rees d o t h ey re present? There a re a su rprisi ng n u m be r of sta n d a rd melod ies that a re d i aton i c except for a very few chromatic notes. I f you know what key you ' re p l ayi ng the tu ne i n a n d you know where the non-diato n i c notes a re, you r g u esswork w i l l be l i m ited to the seven notes of the key. And if you ca n navigate the l a rger i nte rva ls by knowing what sca l e d e g rees they represent, then you may very w e l l be a b l e to play t h e e n t i re m e lody e rror-free.

Let's see how you ca n a pply the smart a pproach to the m el ody " I t Cou l d H a ppen To You." First, learn the me lody o n you r i nstru ment a n d p ractice si n g i ng i t from memory. Then fi nd the a nswer to the fi rst q u esti on : what sca l e deg ree d oes the m e l ody sta rt o n ? T h e fi rst melody note is C , a n d the key is F major-so the m e l ody sta rts on the 5 t h sca l e degree. If you p l a y th is m e l ody i n Ab, yo u s h o u l d beg i n on Eb. Next, does the g e n e ra l key change? The a nswer is n o : i t's i n F major t h ro u g h o u t, d espite the p resen ce of some non-d iato n ic chords. Where a re the no n-d iaton i c notes? There a re two on the fi rst l i n e : Eb a n d B. These a re the b7 a n d the #4, respective ly. The sa m e two ch romatic ton es occu r on t h e 5th l i ne. Otherw ise, every note i n the m e l ody is in the key of F major. F i n a l ly, where a re the l a rg e i n te rva l s? I t's u p to you to decide exactly what l a rg e m ea ns, but l et's use the term now to mean a ny i n terva l l a rger t h a n a 5th. I n that case, there a re two of them a n d they' re back to back: fro m the C at the e n d of t h e 7th l i n e down to the C at the beg i n n i n g of the last l i ne, then back up to Bb. The fifth sca l e d e g ree g oes down a n octave to the fifth sca l e d e g ree, then back up a m i nor 7th to the fou rth sca l e d e g ree.

87

88

Chapter 2 0 It Could Happen To You

� � e j.

J I �j J J

FMA7

�� r

D7

FMA7

�� J

GM?

�� J

DMI

� � j.

FMA7

�� r

B bMA7

r

J

IJ j J j Ij

�� J

�� j

DMI6

J I �j J J �

Ir r

D7

J I Ie

GM?

GM?

I d.

I),

4

FMA7

D7

IJ'

A7

Ij r J j IJ

B bMA7

E7

I d.

B bMI6

DMI(MA 7) DM?

j I J j qr

G M?

J

FMA7

G MI7

Ir r

BurkeNan Heusen

E MI7(bS ) A 7

C7

ill

Id

j I J j qr

C7

GM?

j

I r ill

II

E7

A7

J I Ie

j Ij r J j Ij J J J I B bMI6

ill

FMA7

F MA7 ( D 7

IJ'

D7

AMI7(bS) D 7 n

j I I�'

GM?

C7 ,

�1 944 (renewed 1 9 71 ) by Famous Music Corp. I nternatio n a l Copyright Secured. All Rig hts Reserved. Used by Permission. (From the Para mont pictrure "And the Angels Si ng")

II

Chapter 2 0 Now play the t u n e i n F without the m usic. Sta rt o n C a n d j ust p l ay i t by e a r, b u t be ready fo r the b7 a nd #4 c h romatic notes as w e l l as the l a rg e i nterva ls n e a r the e n d . T h e n play the m e l ody i n Ab. But befo re y o u beg i n , fi nd the sta rti n g note (Eb), the b7 a n d #4 notes (Gb a nd D), and the "5-5-4" l a rg e i n te rva ls (Eb down to Eb up to Db). Now play it in severa l other keys, a rmed in each case with the sa m e rel eva nt i nformation.

Th is smart a p p roach may see m a l m ost l i ke cheat i n g at fi rst. I t e n a b l es you to get the right notes without eve n hear ing them. That's why I reco m m e n d that yo u sta rt w i th the d u m b a p proach. You need to practice p i c k i n g out each note p u rely from a n i n ter­ va l l ic sta n d poi nt, without a ny crutches to g et you t h ro u g h t h e d i ffi c u l t a reas. But yo u a lso need to learn to d isti n g u ish between d iato n i c a nd c h romatic tones a n d you need to become sensitized to the sca le deg rees that you're playi n g . Then, when you hear a l i ne of i m p rovisation i n you r head, you ' l l be able to tra nsfer that l i ne to you r i nstru ment. You can navigate interva l by interva l or you ca n recogn ize the sca l e deg rees of the notes.

89

90

Chapter 2 1

Marinade for Your Ears Treat this whole chapter a s a practice box. Don't j ust read it-do i t !

I 've a l ready stressed t h e i m porta nce o f hea r i n g the va rious layers o f a tu ne accu rately and now I want to show you those l ayers. To rea l ly g et them i nside yo u , you need to sing them. Don't worry if you d o n 't h ave a g reat voice ; j ust s i n g the pitches as wel l i n t u n e a s you ca n. Alth o u g h I 've warned a g a i nst si n g i ng w h i l e you play, i n t h i s exercise you s h o u l d s i n g a l ong with the p i a n o at fi rst, then on you r own. I 've sel ected Co le Po rter's " Everyt h i ng I Love" as o u r veh i cle. A l m ost a ny t u n e wou l d do, espec i a l l y fro m the repertoi re known col l ectively as the G reat American Song book (Rod­ gers and H a rt, J ero me Kern, H a ro l d Arle n , Cole Porter, I rv i n g Berl i n , J o h n n y Mercer, etc.). You ' l l fi nd a wea lth of such t u n es in Sher M usic's The Standards Real Book. First, l e a rn to s i n g the melody from memory. Ta ke it fo u r ba rs at a t i m e, fi ne t u n i n g each l i n e before yo u move on to the n ext. I t wou l d be a g reat i d ea to l e a rn the lyrics as we l l , b u t a t th is point it's fi ne if you j u st s i n g the m e l ody with a syl l a b l e l i ke " I a . " N ext s i n g the roots o f the chords. Ag a i n , ta ke the t i m e t o get e a c h note i n t u n e. Next sing the two i n ner l i n es, known i n choruses as the tenor a n d a l to pa rts. Play th rou g h them and i d entify w h ich chord part I 've written fo r each chord . In both cases you ' l l see that I ' m usi ng exclusively 3 rds a n d 7ths (except in bar 9) a n d that t h e l i n es move smooth ly fro m note to note. Next up are the arpeggios. In order to ma intain the harmonic rhyth m of the prog ression, I wrote the four-beat chords ascending and descending and the 2-beat chords j ust ascending. You may prefer to si ng them all up and down. Sing these very slowly and zero in on each pitch. The modes a re certa i n ly the most d i fficu lt. Ta ke them in sm a l l d oses a n d get them r i g h t. I use the term " m od es" loose ly here to mean i m provisi ng sca l es s u n g fro m t h e roots of the chords. I n so me cases that res u l ts i n sta n d a rd mod es w h i l e i n othe rs i t yields me­ lod i c m i nor modes, h a r m o n i c m i nor modes, and d i m i n ished sca l es. As yo u kn ow, there a re severa l poss i b l e sca l es or m od es for each chord . I si m ply se l ected o n e that I thou g h t worked w e l l , but fee l free t o replace it if you p refer. Beyond these six items (melody, roots, te nor a n d a lto pa rts, a rpegg ios, a n d modes) , there a re severa l othe r worko u ts you cou l d try. Some a re fu n , others d i ffi c u l t b u t worth w h i le. Try the sa mple wa l ki n g bass l i ne a n d sa m p l e solo. You 've a l ready sung the m ixed 3 rds and 7ths i n the tenor a nd a l to pa rts, but now sing the u n m ixed 3 rds, 5ths, a n d 7ths. These w i l l b e more difficult beca use you ' l l have to j u m p aro u n d i n pa ra l lel with t h e root movement.

Chapter 2 1 Everyth ing I Love

@

�I'I, c

@ ��� @,h

J

J I l J J J I J. Ai

E �MAi

l

--=--

are

You

My

�

G�oi

'ry - thin g

ev

r r I l r r I r·

@ ��b l �r A�M?

fair

J

E �MAi

@ �bb l

be _

to

Each

tn

FM?

sleep

my

I )'

ap - pear,

__

g7to

J I l J J J I J.

JJ

of

deep

blue

A�MAi

-=--

time

our

You are my

Gi

for

fay - 'rite

you

so

ev - 'ry

-

J ; ] lo

thing

E �M/

I

love.

__

a - gatn

ha - yen in

B�i

are

� �

much

star_ my

II

B L"i

ap - pear __

a - gatn

touch

lips_

r r I l gJ r r I r · yearn

F MIi

G�MAi

Ai

FM?

You

__

r I l �r r I �r·

skies

A�MAi

B�i

�

you

D�i

Di

I

�

__

J J2IQ

E �6

?"""""'""'-

l i fe

When

@ �b& l

J J

':------" 'ry - thtn g

-

ev

r r I [J� I � . l

l

l

me _

to

B�i

FM?

E�MA"

A�MAi

Cole Porter

__

hea - yen a - bove

( FM? B�i )

10

II

_ _ _ _ _ _ _

�1 941 Chappell & Co. Copyright renewed, assigned to John F. Wharton, Trustee of the Cole Porter M usica l & Literary Property Trust. Chappell & Co., owner of publ ication and a l l ied rights throughout the World. Al l R i ghts Reserved. Used by Permissio n .

91

92

Chapter

, ��b

' �bb , �bb , �bb

21

FM?

B b1

E bG

0

0

(�o E bMA1

I

�

0

A bM?

G bo1

, �bb , �bb

FM?

I

0

I (q)6

I qJ

GM? C 1

I

d

I (�)J

FM?

B b1

j

qJ

II

j

GMI1(�5) C 1

I (Q)C)

B bMI1 E b1

&d

I

FM?

G1

#0

0

IJ

AbMA1

D1

CM?

0

0

0

(�O

A bMA1

0

0

#6

0

qJ

B b1

G bMA1

A1

j

GMI1(�5 ) C 1

FM?

D b1

�o

I

A bMA1

#6

0

, �bb j

I (q)6

A1

E bMA1

E bMA1

, �I'b

Tenor part

B b1

d

0

A bMA1 C 1

qJ

J

E bMA1 0

I

F1

(�J

( FM?

IJ

F #o1

J

B b1

j

,

II

Chapter

Alto part

� �bb

E bMA1

A1

0

0

� �bb

FM?

B b1

E b6

n

n

0

�

�b&

� ��b � �bl, � �bb

� �b& � ��b

0

!,II

&11

E bMA1

A1

0

0

FM?

D1

I J

(�o

r

I

C1

r

I j

FM?

II

B b1 II

I j

G bMA1

FM?

0

I r

0

G1

qo

j

j

B b1

I j

0

II

r

qo

A bMA1 C 1

E bMA1

j

B b1

G MI1(,5) C 1

A bMA1

B bMI1 E b1

CM?

A bMA1

(i'll'

II

II

r

FM?

D b1

A bM?

GM?

0

G bo1

21

GM?(,5) C 1

A bMA1

gil

1:;

EbMA7

I r

93

r

I

gj

F1

( FM?

I j

J

F #o1

j

B b1

)

II

94

Chapter 2 1

Arpeggios

Chapter 2 1

Modes

A mixolydian �4

E� major

� �I'b J J J J r E r £ I gE qc #r "p qr �p r f �

Ai

E bMAi

F harmonic minor/G

A� lydian

F harmonic minor/C

•

� �b& E c Ef r P f B I iJ J 3 �C gr r£ b r EX � t � IT I A bMAi

� �bb j J J F dorian

FM?

GM?(bS)

J F

B� mixolydian

r E E lr E r r B�

G phrygian

EbMAi

ci j J 13

� �bb j J J F dorian

FM?

A� dorian

J [ E J F

r · b i d J qJ qJ G� diminished

G boi

r E P

B� mixolydian

I[

B bi

G� major

r r r

r F

�

F dorian

I

r [

e r r

I

r rrr E t

I

D� mixolydian

D bi

r

C

E r r

� �bb E C I'E ; E E f B I �r IT A bM?

C1

�

B� mixolydian

b

b�

� �b& d ] J bJ �L E r ! I ;3 � J b r Fr C E Fi r r r C II G bMAi

FM?

B bi

95

96

Chapter 2 1 A mixolydian #4

E� major

A� lydian

F harmonic minor/G

A bMA1

F dorian

� �b& j J FM?

F harmonic minor/C

C1

GM?'b5'

J J E C

J --'J r gJ""'-q--r� ��� j"'G mixolydian

G1

r

j �r -

G harmonic minorlD

r 0 Ir

D1

qr r

r

Ur

·

r E f -

J r r

C harmonic minor/G

r I J J iJ

r F

I :

I

bE CI 0� E r r r E F E 0 E E r r E I E r r �r F �b� E C IT E � C aeolian

B� dorian

E� mixolydian

eM?

B�MI1

E �1

A� maj or

F harmonic minor/C

F harmonic minor/C

F mixolydian

F# diminished

F dorian

� �b� nH brr1 b�rgrrErrrl nJj bfEI,crirEEEI G phrygian

GM?

E � major

C1

B� mixolydian

Sb1

FM?

F dorian

B � mixolydian

� ��� J J J J r r r f I ;J j j b r E; r r ri r E E E II E bMA1

( FMI1

Sb1 )

�

Chapter

Sample bass line

97

21

I co m posed th is bass l i n e usi ng the roots of the chords a n d con nect i n g material (sca l es, passing tones and n e i g h bori ng to nes). You ca n try to com pose you r own, but first tra nscribe a few bass l i nes and g et so m e g u i d a n ce fro m a g ood bass playe r.

9: ��b c J 3 E bMA1

j J I gJ qj #J J I (i»J j (�j J I j �F J �j I A1

GM?(�5) C 1

A bMA1

9: �bb 3

j J gJ I j qj J F i r F J j

9: �&& 3

j d gJ I �r d j J I d J j j I 3 bJ j qJ II

B b1

FM?

9: �&& J 3

A1

9: �&& 3 3 J r I F

9: �&b

IJ

Jj

J

A bMA1

I

B b1

FM?

j J I gJ qj #J J I (i»J j (�j J I j �F J d I

FM?

9: �b�

GbMA1

D b1

A bM?

E bMA1

E bG

D1

GMI1(05) C 1

A bMA1

J j g3 I j g3 qj r I E G1

J j J bJ I j qJ J j I J j J qJ I 3

CM?

B bM?

E b1

A bMA1 C 1

F1

r r F I 3 #3 J i

j �F J d I J d j qJ I(�)J J j d I J d j qJ II

GM? C 1

FM? B b1

E bMA1

FM?

B b1

F #01

E bG (�&

II

98

Chapter 2 1

� �I,�

i 'J j1 d'l 'J

E bMAi C

Sample solo

pi qr-er qrr rT' Ai

AbMAi

JJJ) S bi

� �'.

�rr "Ef I r�[ crgc COrI cE err - I

AbM? -

Dbi

GbMAi

I ' E tI [ F AbMAi

rFI

p rJ r E rqr II

FM? �

GM?(bS)

S bi

Ci

g[ r rSf J�JgJ-bJa

Chapter 2 1

3rds

� ��& � ��b

� �bb

� �b&

111)

e

/(;

A bMli

l,n

� �b&

E bMAi

� �b&

FM?

� �b& � �b�

I

FM?

EbMA1

e

n

GM? C i

r gr

B bi

e

I(1)n

I

e

I

Ai

G bMAi

e

I (g)n

Di

Gi

�e

qe

j

j

I r gr

A bMAi C i

B bM? E bi

FM?

e

I

A bMAi

#n

I �r

B bi

FM?

D bi

B bi

r

I

E bMAi

e

n

A bMAi

e

I gn

gr

GMIi(bS ) C i

E b6

Gboi

n

CM?

A bMAi

�n

e

Ir

I (g)n

Ai

E bMAi

I

J

B bi

Ir

gr

FM?

II

r

G MIi(bS ) C i

I qe I gj

Fi

( FM?

Ij

j

F #oi

B bi

r

)

II

99

1 00

Chapter 2 1

, �bb , ��b , �b� , �b�

qo

u

EbMA1 /.� G U

FM?

-e-

-e-

0

, �& d J

GMli C i

I

II

Di

j

I

A bMAi 0

B bi

&0

IJ j

II

B bi

FM?

I &d J

GMIi(bS ) C i

Gi

gil

I

GbMAi

A bMAi

qo

I &d J

G MIi(bS ) C i

II

I (�)o

Ai

u

CM?

u

Gboi

0

-e-

E b6

D bi

A bM?

, �b�

(�o

II

-e-

FM?

A bMAi

B bi

FM?

, �bb

I

Ai

E bM/

E bM/

, ���

5ths

0

B bM? E bi

J

J j FM?

IJ J

A bM/ C i

B bi

E bMAi u

0

Fi

F #oi

J J

( FM?

)

I J J II B bi

Chapter

lths

� ��� � ��b � �� � ��b

0

I

/(;

0

� ��b

FM?

G boi

I

0

I

I j

GM? C i

r

j

Id

0

FM?

r

Gi

I

B bM? E bi

j

B bi

j

(I

A bMAi C i

r

E bM/ 0

II

G MIi(bS) C i

(I

bd

J

Ij

B bi

FM?

A bMAi

II

0

II

0

Di

CM?

B bi

FM?

(I

0

r

0

G bMAi

Ai

0

J

I

0

I &(1

�o

A bMAi

0

D bi

A bM?

J

21

G MIi(bS) C i

E b6

II

0

� �b�

� �bb

0

0

B bi

EbMAi

I

A bMAi

Ai

FMIi

E bMAi

� �bb

I

E bMAi

1 01

Fi

J

( FM?

Ij

F #oi

J

j

B bi

)

II

1 02

Chapter 2 1 I f you ca n sing a l l these layers, i t's safe to say that you 've mari n ated you r e a rs i n the sou n d of the tune. I f you're sti l l loo k i n g for more p u n ishment, here a re som e sug gestions:

1 . Scat over the c h a n g es, l i m i t i n g you rse lf to t h e fo u r basic chord tones.

, r ' � J E I �r

gr F gr r I J. � cJ E I �r J \l r" II

A1

5

3

R

R

AbMA1

3

5

3

R

7

R

7

GM?('S) C 1

R

3

5

5

7

R

3

2 . Scat over the changes, l i m it i n g you rself t o the notes o f e a c h mode. A mixolydian #4

F harmonic minor

4 �"" JJ OJ J)J\tL�j�Jl%E#fIErl E EO r" I�f" � � J II A1

3 . Sing severa l o f these layers with "theory syl l a b l es" i nstead o f " I a ." Th e re a re fou r basic types. I ' l l use the melody to i l l ustrate them. a. Sca l e d eg rees i n the key of Eb major

4 �bb I

J

E bMA1

3

J

4 �b"

3

c.

II

I J.

JJ I;

II

3

J J

3

3

II J J

J

A1

E bMA1

3

JJ I;

AbMA1

�

b. Chord tones

I

I I J J J I J. A1

A bMA1

�

3

7

7

7

GMt1(,5) C 1

6

�

6

GMt1(,5) C 1

�

3

4

R

I nterva ls fro m o n e m e l ody note to the n ext

J

E bMA1

4 �bb I

I I J J J I J.

J

unison

A bMA1

A1

�

_

_

_

_

_

_

_

_

_

_

_

_

_

_

_

_

_

_

_

.

JJ I;

perfect 5th

GM?('S) C 1

�

UnIson

II

----..

Chapter 2 1 d. Note na m es i n other keys

I£

4� r r

C #7

GMA7

£

B

B

I

E1 F -=--

B

B

r·

CMA7

JJ

IJ

II

BMI7(bS) E 7

'------'"

E

B

E

Yo u cou ld a pply these syl l a b l es to other e l e ments such as the roots.

4 �'"

Scale #:

Chord #:

z z z z z z z Z 7 Z Z Z Z Z 7 7 7

Root

Interval : New key:

G

7

7

7

7

GM?(bS) C 7

AbMA7

A7

E bMA7

7

7

7

7

7

7

7

7

7

7

#4

4

3

6

Root

Root

Root

Root

tritone

half

half

5 th

C#

C

B

E

7

II

Obvi ously, i t wou l d be si l ly to s i n g the roots with chord-to ne syl l a b l es ("root-root-root," etc.) , but the othe r a p proaches co u ld be usefu l . I ' m p r i m a r i l y concerned t h a t you sensitize yo u r e a r t o the va rious layers t h a t com p rise a tu ne. You ca n acco m p l ish that by j ust usi ng " Ia." The p o i n t of th ese new syl l a b l es is to co n n ect you r ear to yo u r bra i n, i .e., to a pply theoreti ca l l a bels to the sou nds that you 've tra i ned you rse lf to hear. U lt i m a tely, theory is a usel ess tool to a jazz m usici a n if he ca n't m a ke the co n n ecti ons between theoreti ca l structu res a nd rea l a u ra l expe riences. But if you use these exercises to learn what a perfect 5th so u n d s l i ke, or what the 3 rd of a m i nor 7th chord sou nds l i ke, or what the 4th d e g ree of a h a rm o n i c m i n o r sca l e sou n ds l i ke, then theory w i l l ta ke o n a more a uthentic rea l ity fo r you i n yo u r m usica l e n deavors. Here is a chart that shows a l l the layers that yo u ca n s i n g as wel l as my reco m m e n d a ­ t i o n s for w h i ch syl l a b l es t o use.

' 03

1 04

Chapter 2 1

Ear-training Exercises for Tunes Practice these exercises : 1 . with j ust the p i a n o 2. w i th p i a n o a n d vo ice 3 . with j ust the voi ce 4. with the p i a n o on the roots a n d the vo i ce on t h e task

" La "

Sca l e d e g ree

Chord to n e

I n te rva l

N ote- n a m e (va r i o u s keys)

Melody

*

*

Root

*

*

Tenor pa rt

*

*

Alto pa rt

*

*

*

*

*

*

*

.

Arpegg io

*

Sa m ple bass l i ne

*

Written solo

*

Mode

*

3 rd

*

5th

*

7th

*

Chord -tone scatting

*

Mode scatt i ng

*

*

especia l ly re leva nt

*

*

*

*

*

1 05

Part V Theory Demystified Th is section co nta i ns very specifi c i n formation on how sca l es work with chords a n d how chords work with each other. You ' l l learn a bout the b l u es ( sca l es, p h rasi n g , a n d chord prog ressions) , d i m i n ished a n d pentato n i c sca l es, a n d eve n n ew p i a n o fi ngeri n g . Theory is usefu l o n ly to the extent that you m a n ifest it as rea l m usic. So l ea rn to play the t u n es you 've a n a lyzed a n d explore t h e va rious pathways on the p i a n o or yo u r own i nstru m ent.

1 06

Chapter 22

Harmonic Astronomy What is theory for? Jazz is best lea rned a u ra l ly. Yo u i m i tate, tra nscribe, and play with m usici a ns w h o a re bette r than yo u, a n d yo u ta ke i t a l l i n by ear a n d p rocess it. What rol e d oes theory play i n t h i s sce nario? Strictly spea k i n g , theory is sim ply a n after-the-fact d escription of the sou nds that you ca n l ea rn d i rectly by ear, so is it rea l l y of a ny use? Th i n k of theory as scaffo l d i n g , as a struct u ra l fou ndation a ro u n d wh ich you r ear ca n d eve l op. I t p rese nts yo u with severa l pathways from wh ich to choose, not w i th i ronclad rules. I t ca n i n trod u ce you to so u n d s earl ier t h a n t h ro u g h t h e use of a p u rely ea r-based a p p roach. I 've occasi ona l ly heard a you n g m usici a n express d istrust of theoretica l knowledge, fea ring that it w i l l d estroy the mystery a n d the m a g i c of m usic for h i m . N o o n e who has learned his theory feels this way. Read what B i l l Eva ns had to say about this on page 285.

Questions " H ow d o chords fit together?" "Which sca les work over chords for i m p rovi s i n g ?" "What's the best way to memo rize a tun e?" "What's the best way to tra nspose a t u n e?" I hear th ese fo u r q u estions a l l the t i m e, a n d I ' d l i ke to a nswer them by u s i n g a cel estia l meta phor. But fi rst l et m e stro n g ly reco m m e n d that you sit at a p i a n o as yo u n avigate th is cha pter. You won't need a ny adva nced p i a n o ski l ls, j ust a knowledge of basic chords. It w i l l m a ke the going easier if you ca n see a n d hea r the structu res on the piano as you go.

The Planets Look at the d i a g ra m on the next page. Yo u ' re looki n g down on a so l a r syste m . I n the center of the system yo u ' l l fi nd the s u n , CMa7. I t's the I chord in the key of C major, a nd it's surrou nded on a l l sides by p l a n ets (the med i u m -sized d isks). Sta rti n g at "twe lve-o­ clock" a n d g o i n g cl ockwise, the p l a n ets a re D m i 7 (1 1), E m i 7 ( 1 1 1), FMa7 (IV) , G7 (V) , Am i 7 (VI), a n d B m i 7 (b5) (VI I).

Play these ch ords (both the s u n a n d the six p l a nets) on t h e p i a no. You ' l l n eed o n l y wh ite notes. These a re the seventh ch ords that fit with i n the C major sca le.

-----

Chapter 22

C major "cosmic" II of II E m i 7(b5) Dmi

V of I I A7 Dmi

VI I o f I I C# dim7 Dmi

b l l of I I Eb7 X

I I of I I I F # m i 7(b5) . Emi Vl lof I I I D # d i m7 Emi

I

r--

I Cma7 C

I I of VI B m i 7(b5) Ami

V of VI E7 Am i

Vl lof VI G# d i m 7 Am i

bll Db7 X

I I o f IV Gmi7 F

b l lof VI Bb7 X

V of lV C7 F

I I of V Ami7 G M od u lation to A M i nor (relative)

b l l of I I I F7 X

V of V D7 G

b l l of V Ab7 X

b l l of IV Gb7 X

1 07

1 08

Chapter 22 Just as in a rea l sol a r syste m in wh ich the p l a n ets a re p u l led towa rd t h e su n , the p l a n ­ eta ry chords w i l l w a n t t o reso lve t o the I chord (i.e. the t u n e w i l l probably e n d on a CMa7). Notice that the VI I chord ( B m i 7 (b5)) is crossed o u t on t h e d ia g ra m . Now look j u st below it and yo u ' l l see a nother B m i 7 (b5) fu nctio n i n g as II of VI. M i n o r 7 (b5) ch ords a l m ost a l ways fu nction as I I chords, so i t's safe to d iscou nt the VI I chord a ltog ethe r.

The Moons Every pla net except the VI I is surrou nded by a system of moons. Th ese moons behave j ust l i ke rea l o n es: they g ravitate towa rd t h e i r respective p l a n ets. Notice that i n each case one moon is fa rther fro m its p l a n et than the othe r moons (for exa m p le, II of I I , E m i 7 (b5)). This moon w i l l a l so g ravitate to its p l a net but w i l l crash i n to o n e o f the closer moons fi rst (such as V of I I , A7). The Moons of the Minor Planets ( I I, I I I, and VI)

Play the fo u r moons surro u n d i n g the I I chord ( D m i 7). Notice that yo u ' l l n eed so me black notes i n every case. I n othe r words, n o n e of th ese chords fits with i n the C major sca le. Then play the fol lo w i n g chord prog ressions:

I

I I of I I

II

,

V of II

CMA1

EM?('S)

A1

OM?

I

I I of I I

,

VII ofII

II

CMA1

E MI1(.5)

C f'1

OM?

I

I I of I I

� I I of I I

,

II

CMA1

E MI1(.5)

E b1

OM?

II

II II

Did you experience the reso l ution as each cl ose moon p roceeded to t h e D m i 7 ? There is a g ood expla nation fo r th is. Al l t h ree chords conta i n t h e sa me tritone i n te rva l (C#-G). Th is is a tense i n te rva l that dema nds resol ution. The C# resolves u p a h a lf step to the root of the D m i 7 , w h i le the G resolves down a w h o l e step to t h e t h i rd of t h e Dmi7 (F).

-..

Chapter 22 EXERCISE 22.2 Play the A7, C#d i m 7, and Eb7 chords a g a i n a n d fi n d the C#-G trito n es w i th i n t h e m . Play the C#-G tritone and resolve it to D-F.

II

8

Now play the p rogressions i n Exe rcise 22. 1 a g a i n a nd l iste n fo r that reso l ution.

Now play t h i s 0 m i nor bebop sca l e (we' l l d iscuss its theoretica l struct u re soo n ) : D m i nor bebo p : 0 E F G A Bb C C # D Two of the cl ose m oons, A7 a nd C#d i m 7 , fit n eatly i n to t h i s 0 m i n o r sca l e ; so d oes the d ista nt m oon E m i 7 (bS). The Eb7 d oesn 't (h ence t h e "X"-more o n that later as w e l l ) . Confi rm th ese relationsh i ps on the p i a no.

Now exa m i ne the moon systems surro u n d i n g t h e I I I p l a net (Em i 7) a nd t h e VI p l a n et (Am i 7). They a re of the exact sa m e typ e ; i n oth e r words, a l l t h ree m i no r p l a n ets a re sur­ rou n ded by fou r-moon systems. Explore the I I I a nd VI systems on the p i a n o by playi n g p rog ress i o ns si m i l a r to those i n Exercise 22. 1 , a rra ng i n g t h e ch ords i n a su n/d ista nt moon/close moon/p l a n et seq u en ce. H e re's a n exa m p l e :

�

sun

distant moon

c lose moon

p lanet

I

I I of I I I

V of III

III

CMA1

F #M?(bS )

S1

E M?

I n a l l of these systems the d ista nt moons a re optio n a l . The fi rst fou r m easu res of " I t Co u l d H a ppen To Yo u " ca n b e written with or without them.

II

1 09

1 10

Chapter 22 It Could Happen To You - without distant moons

c lose moon

sun I

4 J.

CMA1

JI

V

of I I

A1

�r

J r

I

planet

close moon

II

V

J.

OM?

r

I r

of I I I

81

r MIT

II

It Could Happen To You - with distant moons

sun

distant moon

I

II

4 J.

CMA1

of I I

close moon V

J I �r J r E MI1(�5)

of I I

p lanet

distant moon

II

II

I J.

of I I I

F #MI1(�5 )

r Ir

r

close moon V

of III

II

The Modulation Tun nel

The VI p l a n et a lso featu res a t u n n e l to the key of A m i no r. Play t h i s I VI I I V chord p ro­ g ression :

L�XERCISE �2

II

The Am i 7 is clearly a VI chord i n C major. Now play th is p rog ressi on :

[ExERCISE 22.4b

C MA1

II

Now that you 've p receded the Am i 7 with a I I of VI a n d V of VI, you may h e a r it more as a I chord in the new key of A m i n or, the relative m i nor key of C major. I t's ve ry com m o n for a t u n e t o modu late fro m a major key t o its relative m i n or, s o it's very poss i b l e that you ' l l hear the note A as more sta b l e than C.

Chapter 22 The Moons o f t h e Major Planets ( IV a n d V)

Now exa m i n e the moons that revolve a ro u n d the IV p l a net (FMa7). There a re o n ly two nea rby moons: C7 (V of IV) a n d Gb7 (b l l of IV). There is no VI I of IV. This chord wou l d be E m i 7 (b5). J ust as the VI I pla net is crossed out beca use it d oesn 't exist in a major key, so a lso the VI I moon of a major p l a net doesn 't exist. The C7 fits i n to the key of F major, but the Gb7 d oesn't (hence the X) . Ag a i n we have a s i n g l e d ista nt moon, the G m i 7 (I I of IV) . a nd a g a i n i t w i l l crash i n to a nea rby moon on i ts way to the FMa7 p l a net (resu l t i n g i n the p rog ressions G m i 7 C7 FMa7 a n d G m i 7 G b7 FMa7). Notice that t h is chord is a m i nor 7, not a m i n or 7 (b5) chord (as i t was for the m i nor p l a n ets) . The V pla net (G7) is esse n t i a l l y a syste m. Notice that the I I of V is on t h e actu a l context, we m i g ht chord fu nctions as a VI , we hear hear it i n the key of G major.

major p l a net l i ke the IV, so it has t h e sa m e t h ree-moon Ami7, the exa ct sa m e chord as the VI p l a n et. Depe n d i n g experience t h e chord either as a V I o r a I I o f V. I f the it in the key of C major. I f i t fu nctions as a II of V, we

F i n a l ly, exa m i ne the s u n (CMa7). Beca use i t's a major chord , yo u sho u l d co nsider it to have the sa m e th ree-moon system as the IV a n d t h e V. I chose not to w ri te i n the I I ( D m i 7) a n d the V (G7) a s moons, beca use they've a l ready a p pea red a s p l a n ets, but yo u w i l l fi nd the b l l chord (Db7). The rel eva n t chord p rog ressions h e re w o u l d be D m i 7 G 7 C M a 7 a n d D m i 7 Db7 CMa7.

Explore the IV, V, a n d I systems on the piano by p l ayi ng prog ressions si m i l a r to those i n Exercise 22. 1 , arra n g i ng the ch ords i n a sun/d ista nt moon/cl ose moon/pla net seq ue nce. H e re's an exa m p l e : EXERCISE 22.5 ,,,, ,,,, ,, '-' ,,,= = � � "'" =" • • , ,, , , " , ,,

@

� """'" = "

sun

distant moon

close moon

planet

I

II of I V

V of l V

IV

C MA1

G M?

C1

F MA1

II

111

, '2

Chapter 22 Now exp lore the e n t i re C major cosmic. Beg i n w i th the sun, CMa7. Fro m there yo u may go to a ny p l a n et or moon. Also, fro m a ny p l a net you may g o to a ny oth e r p l a net or moo n . I f you g o to a d ista nt moon (such as II of I I) , p roceed next to a cl ose moon of the same pla net (such as V of I I) . Fro m a ny cl ose moon, p roceed either to t h e p l a net or to a n other chord b u i lt on the sa me root as that p l a net (a moon of a noth er p l a n et). For exa m p le, A7 (V of I I ) m ust either g o to D m i 7 ( I I ) or to D 7 (V of V). B7 (V of I I I) m ust either go to E m i 7 ( I I I), E7 (V of VI), or E m i 7 (b5) (I I of I I). H e re's a sa m pl e exploration. Play t h ro u g h it, then m a ke up you r own p rog ressi o ns. ----

4

4 4 4

4

4

I

CMA1

V I I of I I

C #o1

II

OM?

VII of I I I

III

O r1

E M?

V of lV

C1

IV

� I 1 of I I l

F MA1

F1 ----

III

m of II

E M?

E b1

VI

AM?

IV

FMA1

�II

II

O b1

OM?

I I of I I I

F #M?(bS)

I I of Y l

8MI1(bS)

I

CMA1

� I I of V

I I of IV

G M?

.

V ofVI

E1

G1

Ab1

V of I I I

81

V

VI

�II ofV

AM?

Ab1

VII of VI

G r1

�II onv

G b1

I I of I V

V of l V

G M?

C1

--..

--..

V o fI I

V of V

II

V

OMI1

G1

IV

I I of I I

EMI1(bS)

A1

01

I

m of VI

V of I I

II

� I I of V

V

8b1

A1

OM?

Ab1

G1

FMA1

CM/

II

----.

Chapter 22 You m a y have noticed one d eviation fro m the ru l es i n my sa m p l e exp l o ration : the 07 (V of V) on l i n e 5 proceeded to O m i 7 (I I) before it resolved to G 7 (V) . This specifi c del ayed resolution is very co m m o n .

Analyzing a tune in a major key Now you ' re rea dy to a n a lyze the chord p rog ression to the tu n e " I S h o u l d Ca re" (page 1 1 4). Write i n the Rom a n - n u mera l fu ncti ons fo r each chord and the co rrespo n d i n g key centers. Afterwards, refer to the a ppendix on page 3 1 4 to check you r a nswers. You sho u l d have o n ly th ree d ifficu lties:

1 . Fm i7 Bb7 does not a ppea r on the C major cosmic. I t may look l i ke a I I -V i n Eb, but it's actua l ly fu ncti o n i n g i n a different way (refer to " N ew Pathways Home," page 1 3 5). 2 . B m i 7(b5) E 7 a ppea rs on t h e C major cosm ic a s a I I o f V I a n d V of VI , b u t t h e fi rst time they a ppear i n this tune they go to G m i 7 ( I I of IV) instead of VI (Am i 7). Su rprise ! 3 . H o w a b o u t the two A m i 7 's i n bars 1 4 a n d 1 5? We've a l ready d i scussed how a m b i g uous this chord ca n be. Is it a VI in C? Is it a I in A m i nor? O r is it a II of V? The fi rst Am i 7 is p roba bly a VI or a I, but a strong case cou l d be made for ca l l i n g the second one a I I of V. The next chord (07) is a V of V. You ' l l fi nd that you ca n a n a lyze m a ny tu nes w i th th ese cos m i c cha rts, particu l a rly o n es that belong to the so-ca l led G reat America n So ng book. I 've i nc l u ded a b l a n k cos m i c on pag e 308 i n the a p pe n d ix. I reco m m e n d that you m a ke e l even cop i es a n d fi l l them out i n each of the other e l even keys. The n look t h ro u g h a fa ke book (such as the Standards Real Book or the All-Jazz Real Book, both by Sher M usic) a n d a na lyze severa l t u n es. Oon't g et d iscou raged if there a re some tu nes that d o n 't behave as t h e cosmics p red ict that they sho u l d . Almost eve ry t u n e w i l l fea t u re a few surprises. Yo u ' l l fi n d a l m ost noth i n g but surprises i n the compositions of Wayne Shorter, H e rbie H a n cock, a n d oth e r more modern composers. M a ny o f th ese com positions ca n be viewed i n part as reactions a g a i nst the trad itiona l use of h a rmony, so i t sho u ld be no surp rise that a cos m i c a n a lysis of them wi l l revea l very l ittle. One more q u a l ifi cation : m a ny tu nes, even o l d e r ones, w i l l s i m ply modu late to a new key. If you try to m a ke sense of th ose chords with the ori g i na l cos m i c, you ' l l r u n i n to tro u b le. Col e Po rter's " I Love You " sta rts in F major but mod u l ates to A major in ba r 1 2. J ero me Kern's "Al l The Thi ngs You Are" m o d u l a tes from Ab major to C maj o r to Eb major to G major to E major a n d fi n a l ly back to Ab maj o r ! I n such cases, si m ply refe r to the cos m i c t h a t represe nts e a c h new key. O n e of the most fu nda menta l problems that a ny a rtist i n a ny d isci pl i ne m ust confro n t is the confl ict between u n ity a n d va ri ety. When a com poser writes a p i ece o f m usic, he wants it to be u n ified, but he a lso wants i t to be i n terest i n g . A tu n e w i th o n e chord (CMa7) has a tremendous a m o u n t of u n ity but no va ri ety. A tu ne usi n g a l l six p l a n ets

1 13

1 14

Chapter 22

* C r·

DM?

* br·

E MI

G7

7(,5)

f I

J I

I Should Care E M? A

7

0

A

7

£

I

II

EM?('S)

* br·

r

aI

I

o

A

7

I

n

*

r·

7(,5)

a Ia J BMI

DM?

r----

F

i

a

3 ----,

I J ;j. FM?

7

Bb

7

( S)

,- 3 -----,

* ro

J J J

DM?

E A MI7 ! BM? ' � D a J J a I J J. F #M?('S) B 7

Sammy Cahn Axel Stordahl Paul We ton

G7

j I r·

7 n G7

D Mi

*

£

H

DM? F

i

E7

r r r---

J

J I r Bj

J5J I

C6 II

( fine)

( F7

ro

C MA

a J a IJ r--- 3 �

AMI

7

J Ir

3 ----:-J

FM?

J.

J I r·

D7

-

7

Bb

I

be

II

�1 944 Dorsey Brothers Music, a division of Music Sales Corp. Copyright renewed and Assigned to Ca h n Music Co., Ha nover Music Corp. and Stordahl M usic Publishing Co. All Rig hts on behalf of Cahn Music Co. Ad m i n istered by WB Music Corp. All R i g h ts Reserved. Used by Permission.

Chapter 22 (CM a7, D m i 7, E m i 7 , F M a 7 , G 7 , a n d Am i 7) wou ld sti l l h ave a l o t of u n ity, a n d i t w o u l d have m u ch more va ri ety, but perhaps not e n o u g h . S o w h a t is a com pose r t o do? S h o u l d he ra n d o m ly i n se rt so me extra chords t h a t a re n o t i n the key o f C ? Sti ck a B b M a 7 i n here, a n Abm 7(b5) th ere? Th is w i l l u n d o u bted ly i ncrease the va ri ety i n the t u n e but a t the cost o f u n ity. T h e t u n e w i l l n o t m a ke as m u ch se nse. Co m posers have reso lved t h i s problem in the sa m e way fro m befo re Bach's t i m e. The so l ution is to i n se rt chords that, w h i l e not in the key of C, w i l l lead back i n to the key of C (to one of the chords that fit i nto C)- i n other words, moons ! Now the t u n e has more va riety but just as much u n i ty. Since the sol ution is so elegant, com posers of a l m ost every style have used it with g reat reg ula rity. It shows u p i n classical, fol k, rock, cou ntry, and jazz.

Improvising Scales Now I want to be more specific about the sca l es themse lves. W h e n I say that t h e CMa7 chord is a I chord i n C major, i t means that yo u ca n i m p rovise usi ng the notes of the C major sca le. But i t wou ld be bette r for you to t h i n k i n terms of t h e C major bebop sca le, w h i ch i n c l u des a n add itiona l #5 sca le deg ree. C major sca le C 0 E F G A B C C major bebop sca le C D E F G G # A B C =

=

The add itional G# is a tension tone, typica l ly used as a h a l f-step con n ector between G a n d A. I t's not a note that you wou l d ca m p out on for a ny l e n gth of t i m e. Play both the C major a n d the C major bebop sca l e on t h e p i a n o to hear how they sou n d . Then play them a g a i n a nd s i n g a long. The n try si n g i ng them without the p i a no. F i n a l ly, i m provise with a C major bebop sca l e over a CMa7 and ove r a I I -V- I in C major ( D m i 7 G 7 CMa7) When I say that E7 (V of VI) is i n the key of A m i n or, i t means that you ca n i m p rovise usi ng the notes of an A h a r m o n i c m i nor sca le. But it wou l d be better fo r you to t h i n k i n terms of the A m i n o r bebop sca le, wh ich i n c l u d es a n a d d i t i o n a l b 7 sca l e d e g ree. A ha rmonic m i nor sca l e = A B C D E F G# A A m i nor bebop sca le A B C D E F G G# A =

The add itional G natura l is a pe rfectly g ood note. I t sou nds good ove r t h e B m i 7b5 (I I of VI) a n d over the E7 (V of VI). Play both t h e A h a r m o n i c m i nor and the A m i nor bebop sca l e on the p i a no, t h e n try si n g i ng them without the p i a no. F i n a l ly, i m p rovise with a n A m i n o r bebop sca l e ove r A m i a n d over a I I -V-I i n A m i ( B m i 7 (b5) E7 Ami).

115

1 16

Chapter 22 Remember the ea rlier d iscussion of Am i 7 (is it a VI in C major or a I in A m i nor) ? If you decide that it's a VI chord in C major, yo u ' l l i m p rovise w i th the notes of the C major bebop sca le. If yo u decide that i t's a I i n A m i n or, you ' l l i m p rovise with t h e notes of an A m i nor bebop sca le. The two sca l es have exactly the sa m e notes! Conse q u e ntly, t h e d i scussion o f whether the chord is a VI or a I becomes p u rely aca d e m i c. You m ust be wonderi ng what sca l es to use for the b l l chords; as you ca n see, they're a l l ma rked with "X"s. These chords a re not i n a key, strictly spea k i n g . Neverthel ess, there is a perfectly good sca l e to use for i m p rovisi n g . Fo r every b l l ch ord , use a m e l o d i c m i nor sca le on the 5th of the chord . Fo r Db7 (b l l) use a n Ab melodic m i nor sca le. For Eb7 (b l l of I I) use B b melodic m i n or. Fo r F7 (b l l of I I I ), use C me lod i c m i n or-a n d so o n . I ' m u s i n g the t e r m "melodic m i n o r" here i n the jazz se nse, as a major sca l e with a b3 both ascen d ­ i n g a n d d esce n d i ng . Don't fl at the 6th a n d 7 t h d e g rees on the way d o w n as i n classica l m usic theory. C melodic m i nor sca l e

=

C D Eb F G A B C

Play this sca l e on the p i a n o a n d s i n g it. Then play i t over a n F7 a n d i m provise with it.

The Minor Cosmic Wa it a m i n ute, there's som et h i n g m issi ng : what if the tu ne is i n a m i nor key? I n o rd e r t o pre pa re for such a situation, yo u need t o k n o w what a m i nor cosmic looks l i ke. Let me wa rn you i n adva n ce, i t's a m u ch messier system t h a n t h e maj o r cosm i c. There a re stra n g e occu rren ces on the "so l a r," " p l a neta ry" a n d " l u n a r" l evels, a n d som e of the sca l e choices a re fro m M a rs ! Ta ke a few m i n u tes here to exa m i ne t h e C m i n o r cos m i c on p a g e 1 1 7 . F i n d t h e surprises, then rea d o n . Ea rl ier i n t h is cha pte r I i n trod u ced the C m i nor bebop sca le. Now h e re's a new sca l e of my own concoction : e com posite m i nor

=

e D Eb F G Ab A Bb B e

With the a d d ition of the A n a t u ra l to the m i n o r bebop sca le, every member of the chromatic sca l e fro m G up to C is i n c l u d ed . You ca n view t h i s sca l e as t h e com b i nation of the C m i nor bebop sca le with the C melodic m i nor sca le. A tune that is in the key of C m i nor may h ave so me chords with Ab's, so me with A's, so m e w i th Bb's a n d so m e with B's. H e re's a ve ry co m m on exa m p l e : Cmi

Cm i (M a 7 )

em i 7

Cm i 6

Chapter 22

C minor "cosmic"

b l l of I I Eb7 X II F m i7 Eb V Bb7 Eb

bll E7 X

bll Db7 X

II of IV G m i 7(b5) F mi

II of VI Bbmi7 Ab V of VI Eb7 Ab

b l l of VI A7 X

V of lV C7 F mi I I of V A m i 7(b5) C b l ues V of V D7 C b l ues

b l l of V Ab7 X

Vl lof IV E dim7 F mi

b l l of IV Gb7 X

1 17

1 18

Chapter 22 I 've l i sted Cmi (C m i nor triad) as the I chord (the sun) on the C m i n o r cosm ic, but a l l of the chords in the above p rog ression may be conside red as I chords. This te n d e n cy to use a l l the c h romatic possi b i l i ti es is j ust one of the m essy aspects of the m i n o r key. Let's beg i n by looki ng at the norma l aspects of the cosm ic. The IV pla net is Fm i 7 a nd is in the key of C m i n or. I m provise with the C m i nor bebop sca le. The moon system sur­ rou n d i ng the IV chord is j ust what we wou l d expect with a m i nor p l a n et. The VI p l a net is Ab M a 7 a n d is i n the key of C m i n o r. The moon system su rrou n d i n g the VI chord is j ust what we wou l d expect with a major p l a n et.

Exp lore the IV a n d VI systems on the p i a n o by p l ayi ng p rogessions si m i l a r to those i n Exe rcise 22 . 1 , using the sun/d i stant m oon/cl ose moon/p l a n et seq u e n ce. H e re a re som e Exa m p les: EXERCISE

� �

22.7 sun

distant 11100n

close 11100n

planet

I

II of IV

V of I V

IV

CMI

GM?(bS)

C7

FM?

sun

distant 11100n

close 11100n

planet

I

I I of VI

V of V I

VI

CMI

BbM?

E b7

AbMA7

II II

Minor cosmic oddities

Now l et's look at the surprises. Fi rst, notice that the VI I chord (Bd i m 7) is not crossed out. We've a l ready observed d i m i n ished 7th chords fu ncti o n i n g as VI I 's of m i nor p l a nets. Consiste n cy req u i res that we a lso a l low for B d i m 7 (VI I) to reso lve to Cm i (I). Now look at the I I I p l a net (EbMa7). I t's a major p l a net a n d it has exactly the three-moon system that we wou l d expect. Wh at's odd here is that you ' l l neve r h e a r the EbMa7 as a I I I ch ord. You ' l l hear it as the I chord in the key of Eb major (the relative major key of C m i nor) . T h i s is t h e reverse s i d e o f the p h enomenon we observed e a r l i e r w h e n we s a w h o w easy it was to mod u l ate fro m C major to i ts relative m i nor key (A m i nor) . H e re, t h o u g h , the situation is more extreme. In the key of C major, you m i g ht or m i g h t not h e a r the move to the Am i 7 chord as a cha nge of key (it co u ld j ust be t h e VI). But i n the key of C m i no r, a n EbMa7 a l ways s i g n a l s a move to the relative major key.

Chapter 22 All of the other od d i ti es on the C m i nor cosmic seem to have o n e so u rce : a n aversion to the note E natura l . The most d isti nctive note in the key of C m i nor is Eb. I t's t h e note that g ives the key i ts m i no r so u n d . There a re ce rta i n ch ords a n d sca l es w h ich we wou l d expect t o see on a m i nor cosm i c, based on the w a y the major cos m i c w a s b u i lt, b u t these items d o n ' t a ppea r on the m i nor cosmic beca use they h ave E n a t u ra ls i n them. There's som et h i n g about the E n a t u ra l that seems to t h reaten the i nteg rity of the basic key. Fra n kly, th is is j ust my o p i n ion (re m e m ber-th is is jazz theory). I don't rea l ly know why these chords a n d sca l es a re a bse nt i n m i nor t u n es-th ey j ust a re. Let's ta ke them one at a time (a nd rem e m ber, play them on the p i a no) :

1 . There is no I I of I I (Em i 7 b5) . Play th is prog ressio n : I C m i G 7 I C m i E m i 7 (bS) A 7 I D m i 7 (bS) G 7 I C m i I Does the E m i 7 (b5) sou n d terri ble? I d o n 't t h i n k so. B u t I ca n 't t h i n k of a si n g l e t u n e i n a m i no r key that h a s t h is chord other t h a n Ben ny Golson 's "Wh isper Not"-and in that case the tu n e has a l ready c h a n g ed keys to 0 m i n o r. 2 . There is no VI I of I I (C#07). Replace the A7 i n the p revious p rog ressi o n with C#07. Ag a i n , i t d oesn't sou nd terri ble, but i t's too fa r out of the o rd i n a ry to wa rra nt i n clusion on the cosmic. 3 . There i s a V of I I (A7), d espite the fact that there i s a n E i n the chord (it's t h e 5th, wh ich is o m i tted in m ost voi c i n gs). Play this p rog ressi o n : I C m i A 7 I D m i 7 (bS)

G7

I Cmi I

The A7 on the C major cosmic is i n the key of 0 m i n o r. I n the p rogression I CMa7 A7 I D m i 7 G7 I CMa7 I it sou n ds fi ne when you i m p rovise with the 0 m i n or bebop sca l e over the A7 (Use the C major sca l e for a l l the othe r chords.) B u t now try usi n g t h e 0 m i nor bebop sca l e for the A7 in the fi rst prog ressi on (Use C m i n o r bebop for a l l the other chords.) Does it sou nd terri ble? I wou l d n 't g o that fa r; i t's j ust not what I wou l d natura l ly hear. Now play the sa me prog ression a g a i n . This t i m e use a C b l u es sca l e over the A7. C b l ues sca le

=

C Eb F F# G Bb C

Th is colors the A7 i n a way that b l ends i t i nto the C m i nor key more n a t u ra l ly. Fo r that matter, you cou l d play a C bl ues sca l e over the e n t i re p rog ression. Yo u ' l l fi n d that you ca n a l most g et away w i th "sla m m i ng " a C m i n o r bebop sca l e over t h e w h o l e p rog ression, b u t C b l u es is proba bly a b i t smoother over t h e A7. 4. There is a V of V (07), but the G major sca l e (w h i c h was reco m m e n d ed fo r the 07 on the C major cosm i c) sou nds q u i te bad. Treat t h i s in t h e sa m e way we treated t h e A7 : color it with a C b l u es sca le. Th is w i l l sou n d m uch better. And a g a i n , C m i nor bebop works pretty well too.

1 19

1 20

Chapter 22 5 . There is a I I o f V, but i t's n o t a n Am i 7 l i ke it w a s on the C major cosm i c. Why not? Beca use t h e 5th of Am i 7 is E natura l ! The 5th is fl atted to bend t h e chord i nto C m i nor. Play t h is p rog ression : I Cmi Am i 7 (b 5) I 07 G 7 I Cm i On the Ami 7(b5), try i m p rovisi ng with C m e l o d i c m i n o r or C b l u es. That's about it. Pretty m essy, isn't it? M usic is very mathematica l -except w h e n it isn 't. Now explore the enti re m i nor cos m i c chart as you d id the major cos m i c, p roceed i ng from the s u n th ro u g h d ista nt moons to closer moons to p l a n ets.

Analyzing a tune in a minor key Now a n a lyze "My Fu n ny Va lenti ne" o n page 1 2 2. The o n l y tro u b l e m a ke r is t h e Abm i 6 chord i n b a r 1 5. The notes o f t h is chord a re A b C b E b F. With t h e F down a n octave ( F Ab C b Eb) i t's s i m ply a n Fm i 7 (b5). N otice that t h e next chord i s a Bb7, w h ich is t h e V chord that sends you to the relative major key of Eb. Retroactive ly, we ca n now view the Fm i 7b5 as an a l tered I I chord in that key (Fm i 7 (b5) i nstead of Fm i 7) . Spe l l ed as a n Ab m i 6, w e m i g ht ca l l i t a n a l te red I V chord i n Eb. The rest of t h e t u n e s h o u l d b e easy. Check you r a n swers i n the a ppendix on page 3 1 6.

I 've i ncl uded a b l a n k m i nor cos m i c i n the a p pendix on page 309. M a ke severa l cop i es a n d fi l l them out i n other keys.

Back to the beginning.... H e re a re the fou r q u estions that beg a n this cha pte r : " H o w do ch ords fit together?" "Which sca les work over chords for i m p rovisi n g ?" "What's the best way to memorize a tu ne?" "What's the best way to tra nspose a t u ne?" W h i l e there's m uch more to it than what we've d i scussed h e re, I hope that you have a sense of how to dea l with the fi rst two q u estions. As for t h e last two? O n ce you u n d er­ sta nd the cosmic structu re of a t u n e, you ca n m em orize a n d tra n spose it easi ly. By way of exp lanation, here's a nother m eta p h o r :

Chapter 22 You b u i l d a ho use usi n g a d eta i l ed set of b l u e p r i n ts. W i th i n a week a fi e rce torn ado destroys both t h e house a nd t h e p l a ns. W h i l e yo u ' re n ot t h r i l led by t h ese m isfortu n es, yo u fi nd that yo u d o n 't n eed t h e b l u e pr i n ts beca use yo u now h ave a d eta i l ed u n d e r­ sta n d i ng of how t h e va rious pa rts of the house fit together. You ca n easi ly reb u i l d the ho use on the sa m e site. I f yo u decide not to rebu i l d t h e h o use in tornado co u ntry, yo u ca n easi ly re b u i l d so mewhere e lse. The site may be d iffe rent, b u t the esse n ti a l struct u re is the same. I t's the sa me with a t u n e. O n ce you u n d e rsta nd i ts structu re, yo u ca n easi ly re-create it in the sa me key or a ny othe r. The term "tra nsposi n g " is a m isnomer here, beca use it suggests that you a re movi ng the t u n e from o n e key to a n othe r. Yo u d o n 't move the ho use, p l a n k-by- p l a n k, brick-by-bri ck, to a n other site. You d o n 't m ove the tune, chord­ by-chord, ph rase-by- p h rase, to a n other key; yo u s i m ply re-create i t.

1 21

1 22

Chapter 22 Ballad

My Funny Valentine C MI(MAT)

Rodgers/Hart

DMI7(.5)

C MI(MAT)

CMI(MAT)

DMI7(,5)

) G 7M

B bMI7

A 7(Jt1 )

© 1 9 3 7 (Renewed) Chappell & Co. R i g hts for Extended Renewal Term in U.s. controlled by WB M usic Corp o/b/o The Estate of Lorenz Hart and The Fa mily Trust U/W Richard Rodgers and The Fa m i ly Trust U/W Dorothy F. Rodgers (Ad m i n istered by W i l l iamson Music) All Rights Reserved. Used by Permission.

Chapter 23

Cop-out Scales Play t h is chord p rog ression : EXERCISE 23. 1

I CMa7 I FMa7 I D m i 7 G 7 CMa 7 I

What key is the FMa7 i n ? Of cou rse it's i n C major, l i ke t h e rest of the prog ression. I f you i m p rovised w i th a n F major sca le, the note Bb wou l d n 't sou nd very g ood , w o u l d it? Now p l ay t h is p rog ression : I CMa7 G m i 7 C7 I FMa7 I D m i 7 I G 7 I C M a 7 I Now what key is the FMa7 i n ? Is it sti l l i n C major? After a l l , the G m i 7 C7 was i n se rted sim ply to lead us to the same IV chord we had before. Or is i t in F major? Were the two new chords so effective in lead i n g us to the FMa7 that we now hear it as the I chord ? Here's what I t h i n k : it's both. We si mu lta neously hear the FMa 7 a s the I V i n C a nd the I i n F. Try i m provising over the chord with the C major sca l e, m a ki n g sure to i n cl ud e t h e note B. Now try usi n g the F major sca le, making su re to i nclude the note Bb (idea l ly as a passing tone between A a nd C). Do you have a preference? Does either one sou nd bad? If you don't l i ke the Bb, does it sou nd as bad as it d i d over the FMa7 i n the fi rst chord prog ression?

When I i m provise, I sim ply try to p l ay the sou n ds that I hear in my head. I f sca l e/chord theory h e l ps me to do that, g reat. If it contradicts what I hear, I ' l l go with my ea r instead (a nd later attem pt to fi ne-tu ne my theoretica l views so that they more accu rately describe what I hear). To expla i n what I rea l ly hear over the FMa7 in exe rcise 23.2, I ' l l n eed to tem­ pora ri ly p rofess to havi ng m u l t i p l e persona l i ti es ( I 've been accused of worse !). One of my perso n a l ities hears the FMa7 as a IV chord in C major a nd d oesn't l i ke the sou n d of the note Bb. My other perso n a l i ty hears it as a I chord in F major and doesn't l i ke the sou n d of the note B natura l . Neither of my perso n a l it i es has a ny p ro b l e m with the six notes that a re co m m on to the key of C a nd the key of F (C, 0, E , F, G , a nd A) . Both my persona l ities a re co ncerned o n ly with playi n g w h a t I h e a r, not with the need to i m p rovise with i n a recog n iza b l e sca le. So here's what ha p pens: my ear g ravitates to the path of least resista nce, na mely those six common notes. Does the note Bb sou n d terri ble to me? No, of cou rse not. After a l l , o n e o f m y perso n a l ities l oves it. Si m i l a rly, I have no b i g pro b l e ms with the B natura l . But the sca l e that d escri bes the notes that I natura l ly hear is neither the C major sca le nor the F major sca le, precisely: it's the C "hexaton ic" sca l e ! Ca l l it the C "cop-out" sca le if you want. I t's as if I ca n't fig u re out whether the chord is a IV i n C or a I i n F so I use the six safe notes. But--a nd this is i m porta nt--it's not my m i nd that's cop p i n g out, it's my ea r.

1 23

1 24

Chapter 23 I t's rea l ly a si m p l e matter o f proba b i l ities. Ove r a ny chord , a l l twelve notes of the chro­ matic sca le a re va l i d ca n d i dates for i m p rovisation, but you r ear w i l l n a t u ra l ly g ravitate to so me notes more than others. In the case of the FMa7 in exa m p l e 23.2, most p laye rs w i l l first g ravitate to the six notes of the C h exato n i c sca l e (C 0 E F G A). The notes B a n d Bb a re so mewhat l ess l i kely ca n d i dates, a n d , of co u rse, the least proba b l e notes a re the fou r other outsi d e ones (Db, Eb, G b, a n d Ab). Situations often a rise where a chord is b e i n g p u l led in two d iffe rent d i rect ions, fu nc­ tion i n g i n o n e way with respect to the p reced i n g p rog ression a n d i n a noth er way with respect to the prog ression that fo l lows. There's even a name for such an eve n t : " pivot chord." I n these situati ons, you don't need to co m e u p with a trad i t i o n a l sca l e to de­ scribe what yo u ' re h ea r i n g . If the two sca l es u nder consi d eration d iffer o n ly by o n e or two notes, yo u r ear may very well g ravitate to the co m m o n to nes between those sca l es. Don't force a seve n- note sca l e over a chord in t h e n a m e of theoretica l neatness if you r ea r o n ly h e a rs five o r six. N ever fo rget that i n jazz, th eory is a n after-th e-fact d isci p l i n e that w e use to d escribe m usic that sou n ds good t o us. If we need t o co i n a n e w term o r create a n e w sca l e i n order t o do that, then s o be i t.

Chapter 24

Most Consonant Scales Treat this whole chapter a s a practice box. Don't j ust rea d i t - d o i t !

Here's a nothe r way o f ch oosi n g sca l es t o use ove r chords. Not o n ly w i l l it g ive you so me new uses fo r the major sca le, but i t w i l l a lso g e n e rate a l m ost a l l the uses fo r the m e l o d i c m i nor, d i m i n ished, a n d whole to ne sca les. Yo u ' l l have at least o n e good sol ution fo r each chord that is not i n a key, a nd you ' l l have a lternative sou nds for each chord that is i n a key.

Most consonant scales for minor 7ths Co nsi d e r the chord C m i 7 . B u i l d a sca l e fo r t h is chord usi ng th ese i nstructions: Sta rt on a ny chord tone. Go up a w h o l e ste p (W) or to the n ext chord tone, wh ichever comes fi rst. Proceed from a ny non-chord to n e up to the next chord tone. H e re's how it l ooks :

,

eM?

��i

II

�J J j J �J j J w

w

w

w

J II

These are the notes of the Bb major sca l e. Played from C to C, i t's ca l l ed the C dorian mode (see page 3 1 2 in the a p pe n d ix). Someti mes a Bb major sca l e is used ove r a C m i 7 beca use it's fu ncti o n i n g as a II chord . Yo u w o u l d have to consi der the context of the chord in the prog ression to m a ke that choice. H e re we d i d n 't co nsider a context. We j ust a l lowed t h e s h a p e o f the chord i tself to d i ctate the sca l e b y a d d i n g w h o l e ste ps a bove e a c h chord tone. So i t sta nds to reaso n that we wou l d get t h e sa m e res u l t for a ny chord that h a d t h e sa m e s h a p e ( a n y m i nor 7 t h ch ord). B u i l d the sca l e for Am i 7 u s i n g the sa m e p rocess.

,

H II t E

AM?

w

f F w

r

w

Ur r r w

II

This is the A dorian mode (the G major sca l e from A to A) . I n both cases t h e resu l t is a major sca l e b u i lt on the 7th of t h e chord . Th is is w h a t I refe r to as the m ost conso n a n t sca l e fo r the chord . The most consonant sca l e for a chord consists of the chord tones a n d the notes a whole step a bove the chord tones.

1 25

1 26

Chapter 24 Most consonant scales for major 7ths Let's a pply the sa me process to fi n d the most co nso n a n t sca l e for C M a 7 .

@

C M/

i

II

J J J #3 w

w

j

i

w

J J

J II

Th is is a G major sca l e from C to C (C Lyd i a n mode). I t's a major sca l e bu i lt o n the 5th of the chord . Usi n g that re lationsh i p , it's easy to fi g u re out that the most conso n a n t sca l e for EbMa7 is Bb major. Fo r B M a 7 i t's F # major. The most conso n a n t sca le is a p r i m itively si m p l e structu re. W h e n you choose t h is sca l e for i m provisi n g , yo u ' re merely usi ng the chord ton es p l u s oth e r n otes that won't clash with the chord tones. In each case the actu a l shape of the chord itself, not the context of the chord i n the prog ression, determ i n es the sca le. For exa m p le, the most conso n a n t sca le for a major 7 t h chord is a major sca l e b u i lt on the 5 t h , rega rd less o f w h ether t h e chord is a I or a I V i n the key.

Most consonant scales for diminished 7ths Now l et's a p ply the sa me process to a d i m i n ished 7th ch ord. (For conve n i e nce I ' l l spe l l t h e 7th as a n A i nstead o f a Bbb.)

@

d �1tJ II J J d J cor

w

w

�J gd r

w

w

r II

Th is is a C d i m i n ished sca le. I t may seem a l m ost too n i ce a nd neat that the m ost con­ so nant sca l e for a d i m i n ished 7th chord is a d i m i n ished sca l e b u i lt on the root. But in a sense there was no d i m i n ished sca l e u nti l t h is co nce pt created it. S i n ce t h is is the sca le that matches the shape of a d i m i n ished 7th chord , i t's o n ly logical to ca l l i t a d i m i n ished sca le. Al l we're d o i n g here is a p p lying the p rocess that created the d i m i n i shed sca l e to a l l the other chord types as we l l .

The blanket metaphor You m i g ht fi nd t h i s meta phor usefu l in u n d ersta nd i n g most conso n a n t sca l es. D ra pe a bla n ket over you r tel evision set. Now d ra pe i t over a l a m p, a p i a no, a toaster, you rself, whatever. The b l a n ket w i l l ass u m e a n e n d l ess n u m ber of sha pes, b u t it's j ust o n e b l a n ket. Now d ra pe the chord-tone-pl us-w hol e-step sca l e ove r a m i n o r 7th chord . It w i l l ass u m e t h e shape o f a doria n mode. D ra pe it over a major 7 t h chord a nd i t ta kes on a Iyd i a n shape. D ra pe it ove r a d i m i n ished 7th chord a n d it looks l i ke a d i m i n ished sca le. It's j ust

Chapter 24 one b l a n ket-the chord-tone-pl us-wh o le-ste p (most consona nt) sca le-but it cha nges i ts shape accord i n g to the chord u n d erneath. U n l i ke the rea l b l a n ket, however, the sca le is g iven a d i ffere nt n a m e fo r each shape i t ass u m es. Here's a n exa m p l e to i l l ustrate my poi nt. As we saw, the most conso n a n t sca l e fo r CMa7 is the G major sca l e (C Iyd i a n m ode).

1 II

J J J �]

� � � �

II

J J J �J

� � &� �

�

C MA1

�

C1

II

I f you bend the chord i nto a C d o m i n a nt 7th by flatti ng t h e B, yo u ' l l bend the m ost conso n a n t sca le i n the sa m e way. This w i l l yield a G me l o di c m i nor sca l e (C Iyd ia n d o m i ­ na nt, or C m ixolyd i a n #4-see p a g e 3 1 3 i n the a p pe n d ix). wh ich is precise ly the most consonant sca le for C7.

&1

II

I t shou ld be clear fro m th is exa m p l e that the most conso n a n t sca l e fo r a chord is p u rely dependent on the shape of the chord i tself.

Building most consonant scales for other chords The next page is a worksh eet. I 've s u p p l ied you w i th the ton es for each chord type. You should add the whole steps a n d try to i d entify the sca le. If a p propriate, fi nd the tra d i ­ tional n a m e as wel l as t h e m od a l n a m e (as a C mode). For exa m p l e, t h e most conso n a n t sca le for C m i 7 is Bb major (tra d itional) o r C d o r i a n ( m o d a l ) . After yo u 've fi n ished, check you r a n swers on the fo l lo w i n g page.

1 27

1 28

Chapter 24

� �

CMA7

I

C M?

��I

II J

j

J

J

J

J

&J J

J &J

�§> II J -e-

j

J

� b�f> C '3 ( b'7) � �l'Q II �

�j

�j

J

II J

4 SUS

�j

J

� �&�Q(bI3� ) II

C

�j

�j

C (3)

C

j

II J

� ��07�i II C � ��t(MAit) )II CMI � �I7 II C � �I'3 II C � �I)7 II CMI7(b5 )

j

J

j

j

j j J

j

�r

II

II

J

II II

r

j

j

II

�r

�j

j

r

bJ I,J

j

J

�r

�r

�r J

�r

�r

�r

II

II

II II

II

II

Chapter 24

� i CM? � ��i CM?('S) � ���i0 C1 � ��tt) C MI � �i C1 � �i CMA1

(MA 7 )

�

C I3

�I)

� �b��13 C Q( ' ) � G��

C 1(3)

C 13 (0'7 )

� �1'Q C � �§i

4 sus

-e-

J �J J J r F II

II J

J

II J

J �J

G maj or (major on the 5th) C lydian

II J

-

J

J �J

J J �r F II

B� maj or (major on the 7th) C dorian -

J �J GJ

�r

F

E� melodic minor (melodic minor on the 3rd) - C l ocrian #2

II

II J J �J J �J IJJ gJ r F II C diminished - (diminished on the root)

II J

J �J

II J

J

J J r F II

J

C melodic minor (melodic minor on the root)

II J

J

J �J J J �r F II

G melodic minor (melodic minor on the 5th) C mixolydian #4 -

J �J J J �r

F

II

F

II

G melodic minor (melodic minor on the 5th) C mixolydian #4 -

II J &J �J qJ �J IJJ

D� melodic minor (melodic minor on the �2) C altered

II J

J

II J

J

-

�r

J �J GJ �r

C whole tone (whole tone on the root)

II J &J �J qJ

�J J

J

F F

D� diminished (diminished on the �2) C auxiliary diminished

J

-

J

J

J

F maj or (maj or on the 4th) C mixolydian -

�r

�r

F

II

II

II

1 29

1 30

Chapter 24 I need to state clea rly that the term "most conso n a n t sca le" is not to be e q uated with "best sca le." I n fact, i n most cases the best sca l e for a chord is the key sca le, wh ich may be very d ifferent i n d eed. Later I ' l l d iscuss how to choose between key a n d most conso­ n a nt sca les. But be aware that the m ost conso n a n t sca l e rep rese nts j ust one g ood sou nd over a chord , a n d often not the best. Neverthe l ess, look at the va l u e of what we've d o n e here. You now h ave sca l es to use ove r a l l the chords fo r wh ich the to n a l (key) syste m offers no clear sol utions. And you know a l most a l l the possi ble uses fo r melodic m i n or, d i m i n ished, a n d w h o l e tone sca l es (as wel l as so me new uses fo r the major sca l e) .

The major 7#5 chord I say "a l most" beca use there is o n e use fo r a m e l o d i c m i nor sca l e that is not strictly of the most conso n a n t sca le type. Look what h a p pens w h e n we a d d w h o l e steps to t h e notes o f a CMa7(#5) :

w

w

w

Th is is a stra n g e sca l e i ndeed, one with no esta bl ished n a m e. I t's te m pt i n g to ca l l i t a C whole tone sca l e with a n added B, b u t that wou l d sugg est that the B is fu ncti o n i n g as a pass i n g tone (wh ich is certa i n ly not the case, as B is the 7th of the chord). N everthel ess, th is sca le d oesn't work very we l l ove r the CMa7(#5) chord . The A# d oesn 't so u n d good, despite the fact that i t's a whole step above a chord tone. I ro n ica l ly, it works m u ch better if we re p l a ce the A# with an A, even t h o u g h A l i es a h a l f ste p a bove the G # i n the chord . You ca n't l a n d on the A. You have to fi nesse the h a l f-step clash by usi n g i t a s a pass i n g tone between G# a n d B (the 5th a n d the 7th). N ow, however, the sca l e i s a fa m i l i a r o n e : A m elodic m i nor.

4

C MA7(i5)

Ii

II J

J

#J IJ J r r

A melodic m inor (melodic minor on the 6th) C lydian augmented

w

J

-

w

H

II

Most consonant scales for dominant 7ths and the effect of context I 've e m p hasized the fact that most conso n a n t sca l es a re sha pe-based structu res, not context-based. W h i l e t h is is true, yo u have to be especia l ly ca refu l when yo u use m ost conso n a n t sca l es w i th d o m i n a n t 7th chords. N otice that I i nc l uded six d o m i n a n t chords on the worksheet. The C7 a n d the C 1 3 share the sa m e most conso n a n t sca l e (G melodic m i nor), but the other fou r each have a d i ffe rent so l u tion. Now exa m i n e t h i s chord p ro­ g ressio n :

Chapter 24

�

G MI7(,5)

C7

7 r

7 r

7 r

II

FMI 7 r

7 r

7 r

7 r

7 r

Th is is a I I -V- I p rog ression i n the key of F m i nor. The C7 w i l l usu a l ly be played with so me combi nation of these a lterations: b9, #9, and #5. These notes (Db, Eb, and Ab, respec­ tively) a re a l l members of the F m i nor sca le. Even if you d o n 't actua l ly add these notes to you r voicing, the l i stener w i l l sti l l hear the chord as being colored by the sou n d of the F m i nor sca l e. These a l terations w i l l often be i ncluded i n the written n a m e of the chord (e.g., C7(#5b9)), but eve n if it's written as a s i m p l e C7 you s h o u l d th i n k of it as an a ltered ch ord . Th is wi l l affect you r most conso n a n t sca l e cho i ce : i t's Db m e l o d i c m i n or, not G melod i c m i n or. To g e n e ra l ize: the most co nso n a n t sca l e fo r a V chord i n a m i nor key is a melodic m i nor sca le on the b2. I f yo u build it fro m the root of the ch ord, it's ca l led an a l tered sca le.

�

C7

GM? 7

z

7

z

7

7

FMA7 7

Z

7

Z

7

Z

7

Z

7

Z

II

We hear th is C7 as bei ng co lored by the notes of the F major sca le, so it's a n esse n t i a l l y u na ltered chord . Yo u m i g h t add a 9 t h ( D ) a n d/or a 1 3th (A) to t h e voi c i n g , but the most conso n a n t sca l e wou l d be G m e lodi c m i nor with or without t h e m . The i m porta nt t h i n g to rea l ize about th is chord , however, is t h a t you ca n exercise tre m e n dous freedo m i n you r choice of extensio ns. You d o n 't need t o a lter the chord , but you ca n, a n d i n va ri­ ous ways. You ca n play it as a C7(#5b9) with a Db melodic m i nor sca le, as a C9(#5) with a C whole ton e sca le, as a C 1 3 (b9) with a C auxi l i a ry d i m i n ished sca le, o r as a C9sus4 with a n F major sca le. Of co u rse, you ca n l eave it u n a ltered a nd use t h e G m e l o d i c m i nor sca le or the key sca le, F major.

�

C #M? 7

z

C7 7

z

7

z

BMA7 7

z

7

z

7

z

7

Z

7

7

II

I n a strict sense, the C7 is not i n a key. I t doesn 't fit with i n the B major sca le, a n d it's not fu nction i n g as a V i n F. Si nce there is no key sca le, t h is is a classic case for the use of a most conso n a n t sca le. When i t fu nctions as a b l l ch ord, a d o m i n a n t 7th seems to resist most a l te rations. I t ca n be a lte red , but the u n a l tered form is g e n e ra l ly a m u ch more natura l sou n d . The most conso n a n t sca le, then, wou l d be G m e l o d i c m i n or. So it a ppea rs that yo u d o h ave to consider a d o m i n a nt 7th's fu n ction before you choose its most conso n a n t sca le. The shape sti l l d ete rm i n es the sca le, but yo u won't know the specific shape of the d o m i n a n t 7th u n t i l yo u co nsider its re lationsh i p to the othe r chords i n the prog ression.

131

1 32

Chapter 24 H e re's a su m m a ry of d o m i n a n t 7th fu nctions sta rti n g with the m ost com m o n . I 've i n ­ c l u d ed t h e key sca l es, suggested a lteratio ns, m ost co nso n a n t sca l es, a nd sa m p l e l i n es. V in F maj or: unaltered ( Gmm) �9 #5 (D�mm) 9 #5 (C whole tone) 13 �9 (C aux. dim) 9 sus4 (F major)

r

V in F minor: �9 #5 ( D� mm) r--

� �£ Ci

� �

Ci ,

Ci ,

� �j

Ci

�J

Ci

r

-e­ �

.�2Et1 .kl E j �3'-'J II

� I I in B major (but no key) : unaltered (Gmm)

j J a J

't

B MAi

#JJ \

r-::= 3 -----I

J #J

j

BMI

�E F F S

�VI I in D major (but no key): unaltered (Gmm)

�t l'� � br �F

V I I in D� maj or (but no key) : �9 #5 ( D� mm)

,----.:: 3 -----I

r F

I V in G major (but no key) : unaltered (Gmm)

r

IiF

d d

D bMAi

GMAi

mr=tr

j

J

J

j

'----'"

sfUl l J b� d ��r-

I I I in A� major (but no key ) : �9 #5 ( D� m m) ( F minor bebop)

�J d &{

.e

I J I,j � a

( F minor bebop)

�

J J F

'=:-3 =:---,

J � d 1#3 � �J�J �JDMAi

� I I in B minor (but no key): unaltered (Gmm)

� J �J Ci

3�

J d J tiC

II

J]g

i A_bM_A.... .. --r -,

II

II II II II

Chapter 24 Fee l free to re p l a ce a ny b9 with a #9 i n these voi c i n gs. You ' l l notice that I used the p h rase "but no key" to d escri be a l l but the fi rst two C7 fu n ctions. Fo r exa m p l e , I de­ scribed the C7 as a b l l i n B major (but no key) . This means that even thou g h the C7 relates to the key of B major as a b l l chord , i t's not officia l ly in that key. Don't i m p rovise with a B major sca l e ove r the chord .

Most consonant scales vs. key scales So when shou l d you use most conso n a n t sca l es? Ca n you use the m ost conso n a n t sca l e for every chord i n a t u n e, rega rd less o f whether it's i n a key? Yo u s h o u l d experiment with all the possi b i l ities a n d see what you t h i n k. I know what wo rks fo r me, but yo u ' l l need t o str i ke you r o w n ba l a n ce between key sca l es a n d most conso n a n t sca l es. H e re a re the chord chan ges to the tu ne "The Nearness of You . " I m p rovise ove r the e n t i re t u n e usi n g key sca l es, then go back a n d use o n l y most conso n a n t sca l es. Listen a n d co mpare them. key scaJe most consonant scale c h o rd

C

F

F

C

Emi

Emi

G

F

G mm

C

A mm

C mm

C7

FMA7

CMA7 7

7

GM?

7

7

7

C

Dmi

D

Bp mm

EM?

A7

7

7

7

7

7

7

7

7

7

7

7

7

C

C

D mm

OM?

G7

I7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

C

7

C

7

7

7

7

7

7

7

7

I

F #M?(bS ) B 7

7

7 1. C

7

7

Dm Bp mm

EM?

A7

7

7

7

7

7

7

7

D

7

II

7

7

7

7

C

7

7

I

7

7

C

C

Ap mm

OM?

G7

7

7

7

7

7

G7 7

7

7

7

7

7

C

OM? 7

7

7

7

7

7

7

7

7

F F

F

C

Dmi

Dmi

G

G mm

C

G mm

Bp mm

CMA7

GM?

C7

FMA7

4/ / / /

7

7

7

7

7

7

G

C

A mm

G whole tone

07

G7

7

7

�4��7�7�7�7��7�7�7�7��7�7��/��7�7�7�7�11

7

7

D.C.

EM?(bS ) 7

7

7

7

7

7

1

7

7

G aux dim

7

7

C

C

7

7

7

7

7

al fine (take 2nd endin9'

7

7

A7 7 7

7

7

1 33

1 34

Chapter 24 Sca les a re a usefu l way of d escri b i n g what I natura l ly h e a r. W h a t I 've d i scove red is that my ear usua lly g ravitates to the key sca l es in most situations rather than the m ost co n ­ so nant sca l es, w i t h a few nota b l e exce ptions:

1 . Certa i n ly I hear most conso n a n t sca les for chords that a re not i n a key. The most com mon exa m p l e of th is is a d o m i n a nt 7th chord fu ncti o n i n g as a b l l . I usu a l ly consider th is chord to be u n a ltered a n d use a m e l o d i c m i n o r on the 5th. 2. I prefe r the most conso n a n t sca le to the key sca l e for a d o m i n a n t 7th fu n ctio n i n g as a V of V. The 07 in the 7th bar of the bridge in "The Nearness of You " is a V of V. I l i ke the G # fro m the A m e l od ic m i nor sca l e ove r t h is chord . I t's the # l 1 th of the 07, a n d it's the one note that d isti n g u ishes the most conso n a n t sca l e (A m m ) from the key sca l e (G major). 3 . I ta ke fu l l adva ntage o f the va rious o ptions o n a d o m i n a nt 7th that fu ncti ons a s V i n a major key. I especi a l ly l i ke t h e a u x i l i a ry d i m i n ished sca l e (with a b9th a n d reg u l a r 1 3th i n the vo icing) a n d t h e m e l o d i c m i nor on t h e b 2 (with a b9th a n d #5th), b u t I a lso use the whole tone sca le (with a reg u l a r 9th a n d #5th). 4. I often use most co nso n a n t sca l es on I I -V- I 's in m i nor keys : F mm ( D locrian #2)

DMI 7

7

A� mm (G altered)

G (m

7

7

7

7

C mm

eMI

7

7(,5)

7

7

/ / / /

II

Read more a bout t h is i n "Th e M i nor I I -V- I Prog ression" (pa ge 2 1 1 ). 5. I ' l l so meti mes hear a Iyd i a n mode (a major sca le on the 5th) for a major 7th chord fu nction i n g as a I chord . I t's ve ry co m m o n to fi n ish off a tu n e with a Iyd ia n ru n on the last chord .

Chapter 25

New Pathways Home Cred it fo r the esse n t i a l ideas i n t h i s chapter belongs to the g reat m usici a n G a ry Peacock. I 've sim ply added a l ittle a ro u n d the edges.

Traditional resolutions: the V-I and the bll-I Tension -re l ease mechan isms surro u n d us i n every part of o u r l ives. Yo u ca n't move a m uscle (l i tera l ly) without experi e n c i n g o n e. They a re to be fou nd i n p hysics, politics, per­ son a l relationsh i ps, visu a l a rt, a n d certa i n ly i n m usic. The V- I chord p rog ression is by fa r the most com m o n exa m p l e of m usica l tension a n d re l ease. I t plays a pro m i n e nt ro l e i n every style of Western m usic a s wel l as i n m usic from m a ny oth er cu l t u res. But d i d you ever wonder why it wo rks? Why exactly d oes V reso lve to I so convi nci n g ly? The a nswer to t h is q u estion sta rts with these two i n te rva ls. Play them on the p i a n o :

II Listen to how tense the first i n te rva l is a n d how " u n -tense" t h e secon d o n e is. The fi rst i n te rva l (B-F) is a d i m i n ished 5th (known more g e n e rica l ly as a tritone). I t resolves smoot h ly to the second i n te rva l (C- E) , wh ich is a major 3 rd . This is p recisely t h e mecha­ n ism that ca uses G 7 (V) to resolve smooth ly to C ( I ) :

�D

Gi

II

C # u

There a re m a ny other chords that conta i n the B-F (or Cb-F) tritone. Al l of them reso lve smooth ly to a C chord. Play them on the p i a n o :

BM?(bS) C

@j j

II

Bai

C

i j

II

g ���� g� F MIi(bS ) C

II

&�� g� D bi

C

II

The last p rog ression (Db7 to C) is of particu l a r i n te rest beca use it p rovid es us with a second d o m i n a n t 7th chord that reso lves to C. I t's a b l l chord , a n d it resolves to C be­ ca use it has the sa m e B-F tritone (Cb-F) as the V chord (G7). As t h is is the trito n e that is responsible for the reso l u tion, I ' l l ca l l it the "reso lvi ng tritone."

1 35

1 36

Chapter 25 Now co nsider the i n terva l between the roots of these two d o m i n a n t chords, D b a n d G. I t's a nother trito n e ! The G 7 and the Db7 a re a tritone away fro m each oth e r. It d oesn 't matter whether you go up or down a tritone from G . Yo u ' l l sti l l end up on D b, beca use a tritone is exactly h a l f a n octave. I n the G 7 the reso lvi n g tritone is com p rised of the 3 rd (B) a n d the 7th (F) . I n the Db7 the resolving trito n e is co m p rised of the 7th (B) a n d the 3 rd (F). Not o n ly d o these ch ords share the sa me reso lvi n g tritone, b u t in both cases that trito n e co nsists of the 3 rd and the 7th of the chord . There is a s i g n ifi ca nt d ifference between G 7 a nd D b 7 , howeve r. The notes o f G 7 fit neatly i nto a C major sca le. I n t h e G 7 to C p rogression, t h e n , you ca n i m provise w i th the notes of a C major sca le. The notes of a Db7 (specifi c a l ly, t h e n on-trito n e notes-the root and the 5th) d o n 't fit i nto the key of C major. Even t h o u g h Db7 leads to a C chord , don't i m p rovise w i t h a C major sca le. Use t h e most conso n a n t sca le, A b m e l o d i c m i n o r, over the Db7, then use C major over the C chord. Let's review what we've l ea rned so fa r a bo u t these two dom i n a nt 7ths: The V chord a nd b l l chord (a trito n e a way from each other) reso lve to I beca use t h e i r 3 rds a n d 7 t h s form the sa me reso lvi n g tritone. The V chord is i n the key, but the b l l chord i s not. ( I m p rovise with a m e l o d i c m i no r sca l e b u i l t on the 5th of t h e chord .) Beca use both of these chords resolve to I , they ca n often be used i n tercha ngea bly. I n other words, you ca n su bstitute a Db7 for a G 7 i n a chord p rog ressio n :

$

II

G7

OM? 7

7

I

V

7

7

7

Z

CMA7 7

7

27 77 77 77

II

m

II

7

CMA7

O b7

OM? 7

I

7

7

7

7

7

7

7

7

7

7

7

7

Z7

II

Th is process is ca l l ed tritone substitution. I t refers specifi ca l ly to the re p l acement of o n e dom i n a n t 7 t h with a nother o n e b u i lt a tritone away. N otice the smooth root move m e n t i n the I I -b l l - I p rog ression. You may a l ready be fa m i l ia r with t h i s wel l -trodden th eoreti ca l i n formation. So now I want to exa m i n e som e newer ways to reso lve to a I ch ord. Th is i n formation w i l l have i m p l i cations fo r a n a lyz i n g , compos i n g , reh a r m o n i z i n g , a n d i m p rovising over chord pro­ g ressions.

Chapter 25 Newer resolutions: the III-I, IV-I, b VII-I, and VII-I Let's ta ke a nothe r look at the resolving trito n e :

II

The notes C a n d E a re the two most sta b l e notes i n the C major chord . The B-F trito n e is wra pped tig htly a ro u n d those notes. T h e F resolves down a h a lf ste p t o E, w h i l e the B reso lves up a h a l f ste p to C. In other words, the tritone contracts to the root a n d the 3 rd of the chord . But consider what wou ld h a p pen if we w ra p ped a trito n e a ro u n d the 3 rd a n d the 5th i nstead. This i n terva l (E-G) is a m i no r 3 rd , sma l ler tha n the C-E major 3 rd. Co nseq uently the tritone wra p w i l l not be as tig ht. One of the notes w i l l resolve by a half step, but the other w i l l reso lve by a w h o l e ste p. Beca use it's a l ooser fit, there a re two d i ffere n t tritones that reso lve i n w a rd to the 3 rd a n d t h e 5th :

Play these i n terva ls on the p i a n o so yo u ca n hear the reso l utio ns.

II

8

��

II

8

Now re member two poi nts that we d iscussed befo re : 1 . The 3 rd a n d the 7th of a d o m i n a n t 7th form a tritone. 2. Two dominant 7ths a trito n e away fro m each oth er will share t h e sa me 3-7 tritone.

The D-Ab tritone is formed by the 3 rd and 7th of Bb7. I t's a lso the 7th a n d the 3 rd of E7, the tritone su bstitute fo r Bb7. The D#-A tritone is fo rmed by the 3 rd a nd 7th of B7. It's also the 7th and 3 rd of F7, the tritone su bstitute for B7. So there a re fou r new d o m i ­ nant 7ths t h a t resolve smooth ly to C.

Play these on the p i a no. WII

I

III

I

S b1

C

E1

C

�� I

II

nJ II

VII

II

S1

I

IV

C

F1

�� I

II

\

I

C

4 ql

II

1 37

1 38

Chapter 25 Altogether, there a re now six d o m i n a nt 7ths that reso lve to I : bll, I I I , IV, V, bVI I , a nd VI I . N otice that t h e last th ree a re a tritone away from t h e fi rst t h ree. This i nfo rmation has profo u n d i m pl i cations for substitution. I nstead of rep l a ci n g a G 7 (V) with a Db7 ( b l l ) , you c a n n o w consi der a B7 (VI I), a Bb7 (bVI I), a n E7 ( I I I), or a n F 7 (IV) i nstead.

Applications of this theory Here a re fou r ways i n w h i ch you ca n use t h is new substitution theory :

1 . As a com pose r : you ca n create more i n te rest i n g chord prog ressions. 2. As a re-ha rmon izer: sa me as a bove-yo u ' re j ust m ess i n g with so meone e l se's chord p rog ression i nstead of you r own. At fi rst yo u wo u l d do t h i s very d e l i be r­ ately with pencil a n d paper, b u t eventua lly you co u ld learn to i m provise new chord progressions on the fly. 3 . As a n i m p rovise r: Th is i s a particu l a rly exciting a p p l ication of the theory. S i m ply put, it i nvolves i m provisi n g ove r o n e chord p rog ression as if i t were a noth e r to ach ieve a more outside, i n teresti ng sou n d . For exa m p le, i m p rovise ove r a V- I as if it were a bVI I - 1 or a VI I - I : (

as

(

BbT )

G1

CM/

as

BT )

G1

CM/

4 �er r r [ eu I J iJJ II 'Ji:bJiJF r r ptJ Und OJ II Play the fi rst exa m p l e with a Bb7 i n the fi rst ba r. The l i ne matches the chord . Now play it with a G 7 i nstead . Now you r two h a n d s d o n 't a g ree with each othe r, but each hand is pl ayi ng a d o m i n a n t 7th that reso lves to C. The confl icti n g sou n ds converge in the next measu re, creating tension a n d re l ease. Do the sa m e fo r the second exa m ple. Play the fi rst l i n e with a B7, then with a G7. The note F# is s u p posed ly forbidden over a G7, but it works fi ne as part of a B7 o u t l i n e . 4. As an a n a lyzer : you ' l l be a b l e to m a ke se nse of m a ny chord p rog ressions that have p reviously confused you. For exa m p le, h e re's a section of the t u n e " M y Roma nce" i n B b :

4 �' J.

E bMA1

Ab1

r I J.

B bMA1

J I J.

B b1

E bMA1

Ab1

r

I

BbMA1 II

The Bb7 is a V of IV resolving down a 5th to a IV chord (Eb maj 7). But w h a t about the Ab7? I t doesn't reso lve down a 5th or a h a l f step. That's beca use it isn't a V o r a b l l : i t's a bV1 1 reso lvi ng to I . Th is is the act u a l reso l ution m ech a n ism :

II

Chapter 25

@

E bMA7 7

7

B bMA7 B b7

Ab7

�

7

7

J

77 77

II

Expanding V's to 1/- V's H e re's a natura l expa nsion of the theory that yields so m e more i n terest i n g chord pro­ g ressio ns. It's sta n d a rd practice to rep l a ce a V chord with a I I -V p rog ressi on : original progression

77 77 77 77

c

77 77 77 77

II

new progression

G7

OM?

77 77 77 77

c / / / /

II

You ca n do the sa m e with each of the six d o m i n a n t 7ths that reso lve to I . For exa m p l e :

@

@

original progression

B b7

C

77 77 77 77

77 77 77 77

original progression

O b7 7

7

C 7

7

7

7

7

7

7

7

7

7

7

7

7

7

II

II

new progression

F M?

B b7

C

77 77 77 77

77 77 77 77

new progression

AbM? O b7 7

7

7

7

7

7

C 7

7

77 77 77 77

II

II

Dominant 7th overview Now let's exa m i n e each of the six d o m i n a nt 7ths i n more d eta i l .

1 . G 7 C (V- I ) : Th is is t h e o n ly d o m i n a nt 7th t h a t is actua l ly i n t h e key. You ca n i m p rovise with the C major sca le. You a lso have a lot of freedom with t h is ch ord. You ca n a lter i t in m a ny ways a n d use a pp ropriate m ost conso n a n t sca l es (b9, # 5 with A b melodic m i nor; b 9 , natura l 1 3 w i t h G a uxi l i a ry d i m i n ished ; n a t u ra l 9, #5 with G whole tone). You ca n p recede the G 7 with a D m i 7 , but yo u co u ld a lso use a D m i 7b5. 2. Db7 C (bl l - I ) : The Db7 is not i n a key. You ca n a lter i t, but i t's typ i ca l l y p l ayed as a n u na l te red ch ord. The a p pro priate sca l e is Ab m e l o d i c m i n or. You ca n p recede the Db7 with a n Abm i 7 .

1 39

1 40

Chapter 25 As soon as we pass beyond the V a n d the bll chord , i t's very i m porta nt to rea l ize that the re ma i n i n g fou r p rog ressions ( I I I - I , IV- I , bVI I - I , a nd VI I - I ) a re m u ch less com m o n . Each of those d o m i n a n t 7ths a lso occu rs i n trad i t i o n a l cos m i c h a rmony but fu nctions in a d ifferent way: cosmic V of V I

new

� �

1II

1

E7

C

7

7

7

7

7

7

7

7

B b7 7

7

7

7

7

7

I

cosmic bn of V I

C

B b7

new

bvn

7

7

7

7

7

7

7

7

VI

AM?

E7

IV

I

cosmic b n of I I I

F7

C

F7

new

7

7

7

7

II

7

7

7

7

7

7

7

7

AMI7 7

Z7 7

7

7

II

I

VII

B7 7

7

7

7

7

B7

C 7

E M? 7

7

7

7

cosmic III V of I I I

new

VI

7

7

III

7

7

7

7

7

7

E M? 7

7

Z7 77

II II

S i n ce yo u r ear is m uch more fa m i l ia r with each of th ese dom i n a nt 7ths i n its cosmic fu nction, you ' l l te nd to hear it i n that way eve n w h e n i t's fu ncti o n i ng i n t h e new way. Th is will affect the way you i m p rovise ove r the chord , the way you voice it, and how you precede i t with a nothe r chord . 3.

E 7 C ( I I I - I ) : Th is i s t h e l east com m o n o f t h e six d o m i n a n t 7ths that reso lve t o C , but it's a ve ry com m o n chord as a V of VI. Fu nctio n i n g in that way, it wou l d be in t h e loca l key of A m i nor. Beca use i t is V i n a m i n o r key, it shou l d be a ltered ( b 9 or #9 a n d a #5). I m provise with the key sca le, A m i nor bebop, or the m ost conso n a n t sca l e ( w h i c h , d u e t o the a l terati ons, is F m e l o d i c m i n o r). I f yo u d e c i d e t o p recede the E7 with a II chord , it sho u ld be B m i 7 b5, not B m i 7 , beca use the prog ression is i n A m i n or. All of these considerations a re sti l l re leva n t when the E7 resolves d i rectly to C. Yo u ' l l j ust g et a more n a t u ra l so u n d if you treat the chord as if it were reso lvi ng to VI .

4.

F7 C (IV-I) : This should sou n d fa m i l i a r to you. It's the old gospel IV chord ! I t's a lso pa rt of sta ndard bl ues harmony. On a C major cosm ic, thoug h, the F7 fu ncti ons as a b l l of I I I . It's not i n a key, so i m provise with the most consonant sca le (wh ich, be ca use the chord is u n a ltered, is C melodic m i n or). Precede the F7 with a C m i 7 if you l i ke.

5.

Bb7 C (bVI l - If : This is the m ost co m m o n of the fo u r new dom i n a nt 7ths that reso lve to I . More trad itional ly, it fu nctions as a b l l of VI. I t's not in a key, so i m p ro­ vise with the most conso n a n t sca l e (wh ich, beca use the chord is u n a l tered, is F melodic m i nor). Yo u ca n precede the Bb7 w i th a n Fm i 7 .

Chapter 25 6.

B7 C (VI I - I ) : Th is chord fu n ctions more tra d itio n a l ly as a V of I I I . I t's i n t h e loca l key of E m i nor. Beca use it is V i n a m i nor key, it sho u l d be a l te red (b9 or #9 a n d a #5). I m p rovise with the key sca le, E m i nor bebop, or the m ost conso n a n t sca l e (w h i ch, d u e t o t h e a l te rations, is C melod ic m i no r) . If y o u d e c i d e to preced e the B 7 w i t h a I I ch ord, it shou l d be F# m i 7b5, n o t F# m i 7, beca use the p rog ression is i n E m i n or. Al l of these consi d erations a re sti l l rel eva nt w h e n t h e B7 reso lves to C.

Here, t h e n , a re the p rog ressions, sca l es, a nd sa m p l e i m p rovisations. Play them a n d m a ke u p you r own i m p rovisations:

J

� 1Jr �t �E ��

V: C maj or, Ab melodic minor, G aux dim, G whole tone

r---

� � �

}

BMI7(,5) j

Jd

3

j

J.

IT

m

Jl I>

r

F

I

C

....-...

()

III ( V of V I ): A minor bebop, F melodic minor

t

E

J �

&J

B b7

II

J Ir

II

F

J J

C

�J

3

--=--

bV I I ( bI I of V I ) : F melodic minor

B 7(m

II

JJJ J i] r I

C

I V ( bII of I I I ) : C melodic minor

F #M?(,5)

�F

� IT r

J �j J t

FM?

II

OEh

C

bII: Ab melodic minor

E 7(:�)

F7

CMI7

r IT r D b7

A bM?

�

n

J

-==-

C u

V I I ( V of III ) : E minor bebop, C melodic minor

II

1 41

1 42

Chapter 25 Other chords using t h e same resolutions

Here a re two other chord prog ressions in wh ich the sa m e resolving trito n es a re at work:

4

FMI6

1'$

II ��lt) 0 C1

C

tl

II

C

tl

The Fmi6 chord has the sa me D-Ab tritone as Bb7 (bVI I ) a n d E7 ( I I I). The trito n e con ­ tracts to t h e 3 rd a n d t h e 5th o f t h e C chord, E a n d G . H e re's a n excerpt from " Em brace­ able You " that featu res th is reso l u t io n :

4£

J

D M?

J

J Il

J

F MI6

J

J

I J Ji j j I C

BM?(bS) E 1

& "-----'

II

The Cd i m 7 chord has the sa m e Eb-A tritone as B7 (VI I) a nd F7 ( IV). The tritone once a g a i n resolves to the 3 rd a n d the 5th of the C ch ord. H e re's a n excerpt from "Ste l la By Sta r l i g ht" that featu res t h i s reso l ution :

4

co

B �1

D r ,----....

I C r

------

C r

0 C 1 .-=

e

o r T

CMAq

C II

Resolutions to a minor chord From the fi rst page of th is cha pter I 've d i scussed va rious ways of reso lvi n g to a C major chord . Now it's time to i nvesti gate new path ways to a C m i n or ch ord. We' l l u se the sa m e a pproach, looki n g for tritones that contract t o e i t h e r the root a n d 3 rd o r t o the 3 rd a nd 5th of the chord . Now the i n terva ls i n the triad a re reversed. The m i nor 3 rd is on the botto m, between the root a n d the 3 rd . We' l l fi n d two trito n es to w ra p a ro u n d that i n ­ te rva l . T h e major 3 rd is now on top, between t h e 3 rd a n d t h e 5th . O n ly o n e trito n e w i l l wra p a rou n d that i nterva I .

Play these i n te rva ls on t h e p i a n o so you ca n h e a r t h e reso l u tions:

n U

II

II

II

Chapter 25 As befo re, each of these reso lvi ng tritones rep resents the 3 rds a nd 7ths of two d om i na nt 7ths spaced a tritone away from each othe r. Play th ese o n the p i a n o : v

I

I

I

I

I

�VI l

I

III

� a i 1��41 qi 1I&&�a qi 1 4 i II � 4 I n' ��j II G 1 CMI

Ob1

G b1

CMI

CMI

C 1 CMI

B b1

E1

CMI

CMI

When you com p a re these six d o m i n a n t 7ths to the o n es that reso lve to a C major chord, you ' l l see that fou r of them a re the sa m e : the two most trad i t i o n a l o n es, G 7 (V) a nd Db7 ( b l l ) , as w e l l as E7 (I I I) a nd Bb7 (bVI I). The other two, F7 (IV) a nd B7 (VI I ) , have been replaced by d o m i n a n t 7ths a h a lf ste p h i g her: Gb7 (bV) and C7 (I). In " H a r m o n i c As­ tronomy" I d i scussed the fact that E natura l is a problematic note i n a C m i nor environ­ ment. The E7 to Cmi progression is a bit odd sou nd i n g for that reaso n. Both G b7 and C7 i n c l u d e a n E i n t h e i r resolving tritones, so they a lso d o n 't reso lve convi nci n g ly to C m i nor. I n the case of the C7 resolvi ng to C m i nor, there is not even a ny root m ovement. For t h is reaso n , th is is the wea kest reso l u tion of a l l . The othe r th ree chords (G7, Db7, a n d Bb7) resolve stro n g ly t o C m i nor. Other chords using the same resolutions

There a re two other chord p rog ressions in w h ich the sa me reso lvi n g tritones a re at work :

�

I

�UO of I I

II

C MA1

E b01

OM?

7

7

27 77 77

7

7

7

7

7

7

7

7

II

�V I I of I I I

V I I of I I I

III

01

0 f'1

E M?

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

II

The Ebd i m 7 i n the fi rst progression is fu ncti o n i n g as a b l l d i m of I I . I t leads to the D m i 7 ( I I) for two reasons. Fi rst, t h e h a l f-step root move m e n t i s stro n g . Seco n d , a lthoug h the chord doesn't have the G-Db resolvi ng tritone that is fo u n d in the more trad itio n a l Eb7 (b l l of I I), it has a nother resolving triton e : G b-C. The Gb reso lves down a half step to the 3 rd of the Dmi7 chord (F), w h i le the C reso lves up a w h o l e step to t h e root (D). In the seco nd prog ression the D7 is a bV1 1 of I I I . I t is fo l l owed by VI I of I I I (D#d i m7) and then I I I (Em i7). Both the D 7 a n d the D # d i m 7 co nta i n the sa m e reso l v i n g tritone, F#-C, wh ich contracts to G a n d B, the 3 rd a n d 5th of E m i 7 . The D # d i m 7 actua l ly has a nothe r resolvi n g trito n e (D#-A) t h a t contracts t o E a n d G, the root a nd 3 rd of E m i 7 . Of cou rse, D7 is m u ch more com m o n l y a V of V in C. F u n ctio n i ng i n t h is way, it wou l d be i n the lo­ ca l key of G major a n d i ts most conso n a n t sca le wou l d be A m e l o d i c m i no r. Beca use t h i s is s o m uch more fa m i l ia r t o you r ear, you ' l l p robably hear those sa m e sca l es eve n when the chord is fu n ction i n g as a bV1 1 of I I I .

1 43

1 44

Chapter 25 D i d you notice that these last two exa m pl es i n trod u ced a n oth e r major expa nsion of the e n t i re tritone theory? Up u nti l then I had o n l y spoken about new path ways to a I ch ord. But b l l d i m of II leads to I I ; bV1 1 of I I I l eads to I I I . So, spea k i n g in cosmic terms, we've suddenly created seve ra l new moons a ro u n d each p l a n et. N ow, i nstead of j ust V of x a n d b l l o f x, there's a lso I I I o f x , bV1 1 o f x , etc. For exa m p l e , "Ste l l a B y Sta r l i g ht" featu res a bV1 1 of V: I

I I of I I I

8 1(6) E MI1 V of I I I

III

MI1

GMA1

IV of Y W n of Y Ymaj

�J I J. ltJJfJ · C

J I � F J � II

You ca n use a two-ste p process fo r a n a lyzi n g m ost sta n d a rd t u n es. Fi rst, use t h e cosmic sheets. Yo u ' l l usua l ly fi nd that at l east 90% of the chords fu nction as sta n d a rd moons or p l a n ets. Then go back and deal with the re ma i n i n g chords. Such a chord w i l l usua l ly conta i n a tritone that reso lves smooth ly to the root a n d t h e 3 rd or the 3 rd and the 5th of the next chord . I t m i g h t be a d o m i n a nt 7th fu ncti o n i n g as a bVI I , or a m i n o r 6th chord fu ncti o n i ng as a IVm i6, or a d i m i n ished 7th fu ncti o n i n g as a b l l d i m of I I . If you ca n fi nd the tritone in the chord a n d track its reso l u tion to the next ch ord , you ' l l u n d er­ sta nd how that chord is fu ncti o n i n g i n the p rog ressi o n .

Ana lyze the chord progression t o Gers h w i n 's "Em bracea b l e Yo u " ( p a g e 1 45), a n d t h e n check the so l utions on pag e 3 2 6 i n the a ppend ix. You ' l l fi nd m a ny trad itiona l moons a n d p l a n ets, as we l l as some of these new resolving-tritone chords. I f you fee l that yo u u n dersta nd the materia l i n th is cha pte r a n d i n " H a rm o n i c Astro nomy" (page 1 06) g o on to the fi n a l i nsta l l m ent i n my p resentation of h a r m o n i c a na lysis: " Proba ble Chord F u n c­ tions" (pa g e 1 46).

Embraceable You

,� C ! W a W l ! W a W F MAi

A bOi

-