1955 Deny Music Co. Used by permisslon.
When transposing this tune, number the melody tones according to the prevailing key in the bassline, Transpose to various keys as a transposition problem.
48
Cm
Cx
II V I I II (C) II V I I VIx"s II (Bb) IVm bVIIx I VIx #VIo I
I~
...
• •
I,. ~.......
Co
These notes should he played ascending and descending.
49
Using the chord chart on pages 25 and 26, practice the arpeggios for the sixty scale-tone chords using the fonowing fingering.
C-5qualities 123412345 D-5qualities 123412345 E-5qualities 123412345 F-5qualities 123412345 G-5qualities 123412345 A-5qualities 123412345 B-5qualities 123412345 Db-5 qualities 212341234 Ab-5qualities 212341234 Bb M - x 2 123 4 1 Bb-AJm-+-o 231234123 GbM-x 234123412 Gb-F# m-+-o 2 1 234 1 EbM-x 212341234 Eb m (the only arpeggio with all black notes) 12 34 12 Eb-D# +-0 23 1234
Eighth-note (1') - trumpet or half note (J) - tuba or trombone Quarter-note (J) - drums Technically this is a form of florid counterpoint involving three kinds of time played simultaneously. This is the essence of the jazz beat.
Whole-note (0)
This rhythmic counterpoint is always present in jazz, although these three levels of time can be assigned to various instruments. In a modern group, the rhythmic breakdown is as follows:
23 4
Eighth-note (J) Whole note (D) or half-note (J) Quarter-note (J )
trumpet piano bass
234
345 12 3
These sixty arpeggiosmust be thoroughly mastered, ascending and descending, so that they can be played automatically with correct fingering.
Transferred to the keyboard, the rhythmic assignment is as follows: Eighth-note (J) Whole note ("') or half-note (.J) Quarter-note ( J )
right hand left hand foot beat
This rhythmic composite is occasionally interrupted, but its continuing presence is essential to jazz improvisation. LESSON
84. Arpeggios in Rhythm
Rhythmic problems in jazz will be thoroughly studied in Volumes II, III and IV. The student must first learn "what" to play before learning "how" to play it. For now, the following basic material on rhythm will suffice. The rhythmic division of the front and rear lines of a 1900 New Orleans jazz band was as follows:
50
As soon as the student has become familiar with the chords of a tune, a quarter-note beat should be tapped by the foot in order to create the basis for a jazz beat.
In succeeding chapters, we will explore the three fundamental rhythmic structures used in jazz improvisation - the eighth-cote, the eighthnote triplet and the sixteenth-note. The jazz line can employ rhythmic values up to the thirty-second-note. See Fig. 1. However. for practical purposes we will limit our work to the three above-named values.
51
Fig. I.
Fig. 2.
.
d
fugtt han
"
i
~
IAlft band -(9-
: • 'I I
m
]I
~
~
~
D
m
IV
i
,ft bV"
V
Foot beat
IV
Foot beat
,.,
Right band
,. ~ t: r=t:.,...
" ,Rlgtt band
ii
-
It'
~
v
1Alft.
-,
Lb~ m
IVm
II Foot beat.
Foot beat
I chord eighth notes II chord eighth-note triplets sixteenth notes III chord IV chord sixteenth-note triplets V chord thirty-second notes Rest values of both more and less than an eighth note are equally important in the jazz line. A dot adds half the value to either a note or a rest.
,..,
I and II chord - whole-note rest (four beats) III chord - half-note rest (two beats) V chord - dotted quarter-note rest bVi>chord - quarter-note rest IVm chord - dotted eighth-note rest III chord - eighth-note rest bIU chord - dotted sixteenth-note rest II chord - sixteenth-note rest
-
•
-.
"'. Ii,.. •
Il.~"
bm Foot beat
In Fig.2:
52
-
]I
1+6
.
53
LESSON
-
35. _,'-'-'-
Eighth-note Arpeggios Fig. 1 is a bassline for ~I Could Write a Book," in the key of Db. The sheet music appears in the key of C, so the melody must be transposed. Transfer the melody to manuscript paper using three staves - one for melody, one for an improvised line and the third for the chord symbols. Ai; a starting point for improvisation. abandon the melody and play the arpeggios of the chords in eighth notes. Try to keep an uninterrupted quarter-note beat with the foot - no pedal. Do not "set" the improvised ligures. Use the arpeggios both ascendmg and descending as well as from the various inversion points (third, fifth and seventh). Respect the fingering shown on page 50 at alI times.
-
t A I
-
I
1. All inversion arpeggios beginning on a white note begin with the
•
~t!
"
III II IV III
ill bIUx I II bili / I II / • VI / II III / IV IVo / VI' billo I II V I bV. IV,X/ • #VIo / ill' bVIla / VI bVIx I V IV / III U I I VI I IVo I III billx I II bIIx / I II I III VI / U ill / • IVo / VI' bIIIo I II V I Vm bV / IV IVm / bIIrx I U bili I 1+' I 1+' 1/
-
IVa /
~.
54
l'
".
1
-
I
"""-l.
I..
I..
--
-
•
I
l
-
-..L...J
-
~~
"~I
-
:
AI
...
I
-
~
-
:
Fig. 2 illustratesa drill using the arpeggios of the chords in eighth notes.
AI
- ......,...,-,
it!
I COULD WRITE A BOOK-by Richard Rodgers and Lorenz Hart © 1940 by Chappell & Co., Inc. © renewed. International copyright secured. All rights reserved. Used by permission.
Fig. 2.
-
.
,.....,..1 I ~
A.
plck -e p
III
--
.
!oj•
",..-r
I
--
:
Fig. 1.
bIIx 1/ I VI I II
,-
I
~
The following rules will be helpful in Bngering problems:
2. AlI inversion arpeggios beginning on a black note begin with the index finger (except Ebminor which begins with the thumb) and go to the thumb on the first white note.
~
"""""1 !"""'l-
A I ,
thumb.
r--,I
- -
•
A I
"
I~
"
-
.....,....., r""T'-T-, -
• ...........
-......I 'I'
....,..., • F
.."..
~
...55
",
..
...1:..
-
1«1
-
-
Fig. 2 illustrates a drill using the arpeggios of the chords in eighth-note
.,
-
~~
triplets.
I
"
"
-
1 •
.
-.J
.-.
I--
r~1
- I I
,........,.-
I
-
--
,......,.."
.,-
.
..--""I
-- ..
~
I
.,..-..
LESSON 36.
~.
eI
Ell
Green Dolphin Street
(Eb) 1+6 I I 11m 11m I I~ I bIIM2 II I #10 I II I bIIx II I VI II (Cb) II I bIIx I I #IV II (Eb) II bIIx I 1+6 I I 11m 11m I I~ I /
.....
r'
",,-
,-
I
-
r
r -\
It_
~-
-.r- .....
-
t
"
Gb
M'"M-
l
I
I
"
. I
....
..........
!
I
Ell
,
Fig. I is a bass line for "Green Dolphin Street" in Eb. Transfer the melody to manuscript paper using three staves as in the previous lesson. Note the modulation to Gb major and the return to Eb,
I / #10 / II II2
-
.-..............
"
/
-
L..J.
Ell
DRILL: Study Fig. 2 and explorevarious eighth-note arpeggio lines on the chords of Fig. 1. In the beginning, the student may write out a line as a starting point.
(Eb) bIIM2
I
.....
•Ell
Rhythmic Combinatioos-on
.
.
,.... L
lei
........
r
I
.
"I
"
"I ~
,
I
Ell
t
-
-
«I
¥
•
I
I
~
Eb
VII bVIlx / VI VIz I bV
(Eb) III bIIIx I II blIx I I I 1+6 /I ON GREEN DOLPHIN STREET-Words by Ned Washington. Musk by
56
Bronislau Kaper
C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975. All rights controlled and administered by Leo Feist. Inc. a catalogue of CBS Songs. a Division of CBS, Inc. Used by permission.
57
f'1
.-
I
li
•
E"
3
,
'"
- v_
I
-
3
• Ell
:
1\ ~ ~
E"
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Ell
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--
.J..
r "-.
I
.
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•
Ell
.
... .
,.
-fL
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-
I
-.v
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G"
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.
.~ ~ -~
I
I
..1.
-
,.
I
.....~
I ~~ ~I
VI
~
-
I
I
-
++~
~
I
-
•
4_
l!=_j,.
_tl
-
Ell
,
I
I
h.
-.fL._
...-
.L
-
Eb
.
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'"
\'.
, ."
. E"
-
-
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.,
. .....
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• _~-:a,fll.. ...t::.~.~f'-~
• "f//!:.. .• I
I
Ell
.
58
59
t'i
~.~. ,...~~~:t!: .......-h.
....~J!'f
,.
t'i
-......
[eJ
Eb
fII
,...
•
I
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Eb
I
"a= ~_.t..L
il
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.~ ;I
Eb
,..iIl
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.
11)
& .....
-.A.
L
.il
'""' ~
ill
I..
-
7/"'77
t:~
::j!:. .J!::.b•
Eb
Gb
~ •. 1'-
t'i
~_
--
leJ Gb
.
---• .f'-
:1!iI.f!:.
I
..
~~
t'i
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--
111)
Eb
Eb
.
._--
.
, .1
--
Eb
,.,
.il4U_
•
.....I'
-
.*
•
•
.
~
I
.. . ~
•Gb
·
---
tl . "--
II
.L
.:
I~Eb
L
L!J
.
t'i
•
L
r::lCHORUS
'''''''
Po· ·
I
-
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t'i
""" -;-
-Jltl
..........
..J. ,L
leJ
,.,
- ..,..
.---
Gb
L
-
I
... --.1
.L
I
._L Eb
-
"'"""-
,.
'1
61
--
shake
II
_a~~
I
I-.J ~
I
¥~
~
... b_
-
..L
-
_. to.... II
•
I.
N¥ Eb
I
I
I
f""'I
11
)
I
CD
Eb
· 1\
.11. ...
I
I-.J
~I
Eb
..h.a__
~_•• ,""
,..,...,..,
~
- -
.
Eb
· I
~b
..l..
·
I
ltJ
Eb
· 62
I
-
...
-
i4V
I
,
JJ
I 'I
_"_h,... ~
...
I
Eb
-I
I
I
., I
II
_ M""T"'I
Cb
· II
.
I
"'iT
,.
I
"
-
,J.
. . "
. I
.
..
-.
- ,...,.3
3
~
'v'#
r:;::f-.;,r
lti*'
11
j
or...
I
_--::0.
.....
I
~
I
r """-,
Eb
.
.
.
-
r
-
I
ItT
,
5
...L..
.
"
1\
I
I
I
[t
"'_
...--... •h_
.. -e:.-e:.
r
-e:.
.i!>
L
...
Eb
-
\.¥.
II
~
I'"
I
-..jll:.
.
~
... ...
.- .... -
...
r
Eb
DRILL: Stud)' Fig. 2 and explore the various eighth-note triplet arpeggio lines OIl the chords of Fig. 1. Write out the lines if necessary.
63
LESSON
.. ....
37.
-
Sixteenth-noteArpeggios Nowthat we have investigateda line employingthe eighth note (two notes to a foot beat) and the eighth-note triplet (three notes to a foot beat), we wiD.explore.in this chapter, the sixteenth-noteline (four notes to a foot beat).
I
--
Fig. 1 is a bassline for "At LongLast Love. in C. Transfer the melody to manuscript paper using three staves. OJ
I
....
-
-
•
Fig. 1. pick-up
•
II 1+' I VII I VI I m- I IV I III bIlli I U I U I • • VII' / bU'"I U. I vn I U· I V" I 1+' I bIh:I 1+' I vn / VI I ill' • I h Vm• I JUo ill/ IV+' I IV / bUx
I
bW / U.'
•
/
m /
hUh I U /
bIh: /
1+'
/ 1+'
. ..
.r
I
/I
AT LONG LAST LOVE-by Cole Porter C 1937 by Chappell & Co" Inc, 0 renewed Assigned to John F. Wharton, Trustee of the Cole Porter Musical and Literary Property Trusts. International copyright secured, All rights reserved. Used by permission.
..
-
-
Fig. 2 illustratesa sixteenth-notedrill employingthe arpeggiosof the chordsin Fig. 1. Fig. 2.
-.
64
..
-
..
...
-
A.
..
-
•
......
.. I~
-
-
...
-
65
-
.,
-
-
-
,-
-
-
-
."fIo •
"
...... tI
...
.". ..........
-
-4tJ
•
DRILL; Write out or play a sixteenth-note arpeggio line on Fig. 1.
LESSON
38. Rhythmic Combinations
-
-
-
Since the problem of shifting from one rhythm to another is of the utmost importance in playing a jazz line. we will now consider combining the rhythms in Lessons 35, 36 and 37. Under no circumstances can the shift from one rhythm to another be allowed to disturb the quarter-note
foot beat. Fig. 1 is a bass line for "'Sophisticated Lady," in Ab. Transfer the melody to manuscript paper using three staves. Note key changes. Fig. 1.
- -
J
I
(Ab)
IIllP
(Ab)
~ VIIx I
lIP
(Ab) I1u,
lIl'
II
II
bVIIxI II
.. 66
-~
,
- -
(G)
I VI/II
(G)
I
I
I
bV (Ab)
(Ab)
bVIIx
(Ab)
IIx
I
VIx II
bVIIx
~Ix
I I
Vb:
bVIx V I
I IIx I II blIx I bV1Ix VIx bVIx V
I
I
I
IVx I
/
#10 / IVx I
I
+ 0 I (G) IIbIIx V / III bIIIx / II bIIx I I VI I II V /I I I II III I II VII Ill b1IIx I lIlli' lIl' II bVIx V / I IVx I Ix VIh bVIIx VIx bIIx / 1+ 0 I 1+- II
(Ab) Ix VIIx bVIIx VIx
I
I
IIx / II bIIx / I
SOPHISTICATED LADY-by Ellington, Mills, and Parish o 1933 by Mills Music. Q renewed. All rights reserved, Used by permission.
I I I I
67
Fig. .2 illustrates a drill employing eighth note, eighth-note triplets and sixteenth-note rhythms in various combinations.
Fig. 2.
.........
"
~
~
,.-,
_..3 8 -
..
_
/
~
I
/
.........
/
-
!~
~
-
/
/
... I.... -
--.,
68
/
/
/
..... _ ...
/
/
/
,
I
-
:I
/
/
.....
/
/
/
3
1«1
... ./1.
/
/
.
/
...
I
I
-
~ /
Itl.
,......,
1,.
...
3
-
14tl
/
II
I,...\.
.(I..
All
/
I
1
-
I
• /
-
...........
/
/
.-1._.
I
I.•
• .(1.
-
Rhythmic Composites(ballad)
"'.1
it
/
/
/
39.
/
/
~ •.
b...1
/
-
/
LESSON
-
Now that we have some facility with abandoning the melody and using the arpeggios of the chords. we may consider combining the note and rest values studied in Lesson 34 into four-bar compositeswhich allow us to shift suddenly from one rhythm to another or introduce a rest value without disturbing the foot beat Fig. 1 is a possible four-bar composite for a slow tune:
Fig. 1.
II
I
\rt
A
-
•
-
• /
/
/
I
-
/
nJrJ In
This compositereads as follows: Thefirst line will apply to the first bar of a tune; Thesecond line to the second bar; The third line to the third bar; The fourth line to the fourth bar.
Then we start over again: The first line to the fifth bar; The second line to the sixth bar; and so on until the end of the tune.
70
DRILL: Write or play a line on the chords of Fig. 1 using eighth note. eighth-note triplets and sixteenth note rhythms. Keepan uninterrupted quarter-note foot beat when playing.
71
,
Fig. 2 is a bassline £or~ Got It Bad." in G. Fig. 2-
"
4
I II I III VI IIIx
n,
VP I IVo #IV4> III
VI
_
__
I bVIIx VIx bVIx V I
4
1+6 tIo I II bIh II bVlIx vIx bVIx
_
II / III VI I I1x VI3 IIVo
#IV4> I II
n,
II
I
'-
--..
.,<111,_ l::!'""I
~
•
;;--
IIIi
I
-
c::ii-'
.
I
F6 VI bVi I Vm bV / IV+6 I IV+6 I IVm+6 I 4
bVIIx I I IV I III bIIIx / II I VSl3I I II / III VI I I1x VP / IVo tIV4> I II
n, I bVIIxVix
bvlx
V /1+
6
I 1+6 /I
I GOT IT BAD AND THAT AlNT GOOD-by Paul Francis Webster and Duke Ellington e" 1941, renewed 1960 Robbins Music Corporanon. All rights administered by CBS Songll\ a Division, of CBS, Inc. All rights reserved. Used oy penmssron,
H we apply our composite to the arpeggios of Fig. 2, we derive the
IoDowing drill 1\
.......
II
-
--
1\ II
....
l"-!!l
1\ Il tI
.. ...
~
.fl. ..
..
.fL........
W
-
"
jI
....
I
.. -
t
iiiilIoIl
--
.tI
_.fI'./t-
of'!-.....
~
liiiiIiiiiiIiil
;;;iIiiI
.
,
.v
~
11
---
LJ....
• .ft.
-
.......
-._-
-
-
;::;::;Iii
......,a,.
•
•
-
:
1\ II
t
{ 72
- --liiiiiiiiIi;..
~
-
A
1'*
CiiiiiiiIiiiiii
, 73
1\ u
.v
.
• Iiiil-
.-..-. -
=-
-
Fig. 1.
-l:l.J
1..-=-
I tIa / II V / III bIlla I II V I Vm Ix I IV bVIIx I Illx VIx Ilx V I 1+11 #1 I I #10 I II V / III bIlla / II V / Vm Ix I IV "Vllx I IIIx VIx I1x V / 1+6 bVIlx / YI+6 bYVilx / I1Ix Vix / IIx V I
DRILL: Transfer the melody to manuscript paper using three staves: one for melody; one for the student's improvisation; one for the bass line. Using Fig. 3 as a model, the student should write out, if necessary. an improvisation using the composite and the arpeggios of the bass line in Fig. 2.
I bVIlx / Vj+6 bYvtr,
/
IIIx VIx /IIx
V / III blIIx II Hix /
I #10/ II V I III bIlla III V I Vm Ix / IV "VIIx / Illx Vlx I1x V I 1+6 1/ YOU TOOK ADVANTAGE OF ME-Lyrics by Lorenz Hart, Music by Richard Rodgers © 1928 (renewed) Warner Bros. Inc. All rights reserved. Used by permission.
LESSON
If we apply the compositeto the arpeggiosof Fig. 1. we derive the followingdrill.
Fag.2.
40.
.
RhythmicComposite(up-tempo)
The fonowing is a possible up-tempo composite:
1\
rri-.
74
1\
j>,
n
Fig.! is a bassline for "You Took Advantage of Me," in
~
Eb.
l.v
.
•
:~
rrn
•
J
In the quickertempos in jazz. the composite usually becomes more simple in order to avoid a cluttered sound and to insure a strong pulse.
J....L
I
I
I
-
•
J
. .....
•
.....
•
-
I
"
75
"
.
~,
-tJ
'"
.
11
I
.,
l
·
, ~
. -
...
-
"
'"'--I
.
•
.
-
-
.
~
_11
.
I
....
IlJ
I
· " ~ 76
, f
....-
..-
~
_ .fL
.
-
·
-
"
I
•
-
-
....,
• f
.
-
""""
I
I .
IlJ
"
.
~
·
~
•
. " .,
...... - -
.....
-
,
As in Lesson39.the student shouldthoroughlyanalyzethe useof rest values and arpeggiosin Fig. 2. Simplyto play over these specimensis of little value. When playing these examples,try to keep a steady quarternote foot beat. Aboveall, do not use any pedal
...
DRILL: Transfer themelodyto manuscriptpaper using threestaves:one for melody;one for the student's improvisation;and one for the bassline. Using Fig.2 as a model,the student should write out• if necessary.an improvisationon the bass line in Fig. L
--
_.
77
SECTION LESSON
VI
41.
Modes If we play the scale-tone chords in C and play the C major scale from root to root of each chord (Fig. 1), we are playing the various modes of the scale of C. A mode is a displtu:edscaleplayedfrom root to Tootof
the chorcL
These modes built on the twelve major scales represent one of the most important elements of jazz improvisation. They are highly effective in building a hortsontal "blowing" line so long as the harmonic line moves in the normal scale-tone chords without alteration or chromatic adjustmenl Since the previous lessons have made it evident that even the simplest tune utilizes altered and chromatic chords. this simple modal system must be expanded to meet the requirements of a sixty chord system. The next six lessons will deal with this problem. In preparation for these chapters, the student is strongly advised to play the scale-tone chords in twelve keys with accompanying modes in the right hand as in Figs. S and 4.
LESSON
Fig. 5 is a bass line for "SpeaklDw," in F. Transfer the melody to manuscript paper noting key changes. On the lettered scale-tone chords, abandon the melody and play the required mode of the prevailing key scale. Letters over each chord indicate the mode to be played with each chord.
The Major Scale The major chord in any key appears on I and IV.
Thefollowingchart illustrates the symbolkey for each mode: Ionian -10 Dorian - D
CHOBD
Mixolydian - M Aeolian - A Locrian - LO
Phrygian- P Lydian-LY
~Io
DorF
DofAb
MofF
DofF
MorF
DofF
MorAl>
MorAD
DofAb
PofF
AofF
(Ab) II I V I II I V II (F) III (F)
I
#10 DofAb
Don'
II
MofA.
I
DofAb
MorF
DofF
V I II MofAb
I
D of Eb 0 of Eit
see "ote
(Eb) II / II / bVIIx / DofF
MorF
see note
DorF
MorF
DorF
AofF
MofF
AorF
DofF
(F) III / VI I II I
1I7
DofFMofF
VI I II
V I
100fF
)+6 see note
I
loofF
)+6
II
M of F
MofF
V1I5
10 ofF
I 1+
6
10ofF
I
Ionian
4 • 4
Lydian
I V I Vm / Ix II
10 ofEb 10of Eb
"""noll!
1 • 1
IV
10ofF
II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I
PofF
I
V I 1+6 I
bVIIx I I f I 1/ (F) bVIx I V / DofF
MODE
MofF
V I II
PofF
DofF
VI I II
MofF
(Ab) II I V I II I V II (F) III
(F)
MofF
II I V I II I V I II I V I Vm I Ix II
II
DISPLACEMENT
In determining which of these two modes to choose, the deciding factor must be the relative strength of these two major positions in diatonic harmony. On the basis of this, there can be no doubt of the overwhelming feeling of I when hearing a major chord. For this reason, themajor chord takes theIonian mode (1 • 1) except in cases where the bassline gives a strong feeling of IV, e.g. I n / III IV / V I I (seeFig, 1).
Fig. 5.
(F)
42.
1'6
II
SPEAK LOW-bv Kurt Weill and Ogden Nash Q 1943 by Chappell & Co., Inc. Q renewed, assigned to Chappell & Co., Inc. and Hampshire House Publishing Corp, International copyright secured. All rights reserved. Used by permission. NOTE:
Chords such as II, V or I are considered primary furu:tions,since they belongto the key; chords such as Vm or Ix are considered 8eC0nd4ry junctWm,since the root remains in the original key but the third, fifth or seventh have beenaltered; finally, chords such as bVIIxor bVIxare considered tertiary junctions, since not only has the chord been altered but alsochromatically raised or lowered from the original key.
NOTE:
y;:s is !ctually a major-augmented seventh chord; the symbol would read VM.
Fig. 1.
~ ... • •
i
•
i
I
~
LydJan
• • • ! ••
• IV
•
•U •
•
•
• • •
•
• 7• • • ! • • • V
•
;
i
•
•
!
• •
m
... 1
• • • • • !
;
I
Here the use of the Ionian mode of the scale of F on the IV chord would destroy the feeling of C major running through the entire bass line and the Lydian mode (4 • 4) should be used. Except in cases of this sort, the Ionian mode is employed on all major chords.
=7
80
81
Fig. 2 illustrates the twelve major chords with accompanying Ionian modes, to be played both ascending and descending.
Fig. 3.
1+' VI I II b1Ix I 1+' VI I hVllx I II val 1+' #1 I 1+' VI I II bUx I 1+' VI I bVlli (Eb) II VII / 1+- I (G) II IVo I ill bIlli / II pili / I bIlIx I II blIx I I bVIx (Au) II IVo I ill (Eb) 1+' VI I II hili / 1+' VI I bVIh I II V"
(Eb) (Eb)
Fig. 2.
1+'
(Eb)
eM
DM
VI I
II
I
bV+ ili
I
hili
/
I /
I I I
I /I
MOONLIGHT IN VERMONT~by John Blackburn and Karl Suessdorf C>1944-1945 Michael H. Coldsen, Inc. C>renewed 1972. Used.by perrnission.
I
r
LESSON
l'
43. The Dominant Scale
Thedominantchordin anykeyappearsonV only.
EM
CHORD
D1SPLA~
V
5 • 5
MODE
Mixolydian
Since the dominant chord only occurs at the positionof V, there can be no doubt concerningthe accompanyingmode. The dominant always takes the Mixolydianmode. Dominant chordson other than V (II&, bVh, etc.) are considereda temIJOraryV of some other key. Thus. in the key of c: CHORD
'II BM
RULE: The ma/Of"chord is a I or the temporary1 of a new key and
takes the 8C6kof that keyfrom root to root. Fig. 3 is a bass line for "Moonlightin Vermont." Transfer the melody to manuscriptpaper fonowingthe key signaturesindicated by the letters. Abandonthe melody and play the appropriate mode on each majorchord. Major+-chords follow the same rule as normal major chords.
82
Ix ili IIIx IVx V VIx Vili bIh
SPELUNG
Temporary V TemporaI)' V Temporary V TemporaI)' V Natural V TemporaI)' V Temporary V TemporaryV
SeALSOR KEY
DISPLACEMENT
F
C·c
G
D-D E-E
A
Bb C
D E
Cb
F-F G·G
A-A B-B Db - Db
In jazz harmony, these temporary dominants seldom resolve to their natural majors [i.e., in the key of C-I1I bIlIx II bIIx I is a normal pattern; the bUIx (Ebx) does not go to AbM, the bIlx (Dbx) does not go to GbMJ. However, at the moment they are played, they imply the V of a new key.
83
Fig. 1 illustrates the twelve dominant chords with accompanying Mixolydian modes, to be played both ascending and descending.
Fig. 1.
Fig. 2 is a bass line for "It Could Happen to You" in G major. Transfer the melody to manuscript paper; abandon the melody and play dominant scales on all dominant chords as indicated in Symbolkey. (X 1l3 also employs the normal dominant scale.) Fig. 2. MofA
M ofB
1<1"fE.
(G) I I 1114>VIx / II / bV4>/ VIIx IlII M ofB,
M of A
M ,!f8b
(G) bVIIx / VIx / II I II 2 I VIIm / bVIIx I Cx (Vol F)
Dx{VofG)
Dh(VofG')
(G)
VI bIllo
I
MofB
II
(G) bV4,l VIIK / III MofBb
(G)
III
I
M nfC
~I
IV V I
MofEb
bllIx / II II2 MofF
VIlt7 I
,!fA
I I III4,l Vix I II MofBI>
/
Vp1l7
112 I
I
MolA
bVIIx I Vix I II III I
MorA
MofG
bVIIK I I IVx I III4,l VIx I II III I IVm V I
IVb3
(G) 1+6
I II
bfllx
/
1+6 1/
IT COULD RAPPENTO YOU- by Johnny Burkeand Jimmy Van Heusen © 1944FamousMusicCorp.. New York,N. Y.
Ebx(VolA')
Fx (Vomp)
Ex (VolA)
LESSON
44. The Minor Scale
The minor chordin any key appearson II. III andVI. Ox (VofC)
F#x(vom)
Abx (VoIDP)
ill
I
(,++
VI
-.,..
."
l
Ax (VoID)
84
CHOJID II
Bx (VolE)
RULE: The dominantchordis a V or the temporaryV of a new keyand takes the scaleof that key from root to root.
1>IsPLAmmNT 2 • 2 3 • 3
6 • 6
MODE
Dorian
Phrygian Aeolian
In a chord series with a strong key feeling.
I· VI - II· V - I (Fig. 1) or II - ill. IV - V - VI - II- V -I (Fig. 2) the three modes are used in their respective positions. There is never a question concerning the II chord since it belongs to a primary function of any key - II - V - lorn - bIIx • L Therefore.n always takes the Dorian mode (2 - 2).
85
III and VI on the other hand, can easily be dislodged from a key center and therefore must be treated with more care. In such cases, III or VI become temporary II's of a new key and take the Dorian mode of that key. Fig. 3 illustrates examples of III or VI becoming the temporary II of a new key.
--
-
-
"" Aeolian of C
~E
Fig.3.
VJ
"
..
Mixolydian of C
:a:
~
..... Ionian of C
-
...
-
-~
-
~
Lydian ofC
..
Mixolydian of E
#:
(temporary II)
.a.
rVIIx
I
I
,Dorian of D
IV
m
v
- .. +
Dorian ofEb
Mixolydian of Eb
Dorian of D
Mixolydian of D
(temporary II)
IVm
Lydian of C
#:
-
Mixolydian of
it
m
n
.. -
~
Aeolian
ole
Dorian of
v
IV
e
.. Mixolydian of
'it: IVI
I
n
v
e
e
" I I
m
Vb:
VI
All other minor chords (IVm. VIIm, hlII) are also treated as a tem-
poraryII of a new key. Thus, in the key of C: SCALE
CHoRD
Im
I
I
86
-
VlIx
Dorian of G (temporary II)
II III III-when keycenter is weakened IVm Vm VI VI-when key center is weakened VUm
bIll bII
SPELLING
Temporary II Natural II Natural III Temporary II
KEY DISPLACEMENT Bb e-c C D-D C E-E D E-E
OR
Temporary II Temporary II Natural VI Temporary II
Eb
F-F
F
G-G A-A A-A
Temporary II Temporary II Temporary II
A Db B
C G
B-B
Eb· Eb
C#- C#
87
Except III and VI which usually take the Phrygian and Aeolianmodes. respectively, all minor chords take the Dorian mode(2 - .2). Where there is a strong diatonic feeling of the prevailing key, as in Fig. I and Fig. 2, the III chord takes the Phrygian mode and the VI chord takes the Aeolian mode. When the prevailing key feeling is dislodged, as in Fig. 3, the III becomes a II of a new key and so also with the VI chord. In jazz harmony, temporary U chords of other keys sometimes resolve to their natural dominants (V), but regardless of their resolution, at the moment they are played, they imply the II of a new key. Actually the responsibility should rest with the student in deciding the particular «status" of the III or VI chord. The following rule, however, is a general guide to the use of the minor scale:
RULE: The minor chord is a II or the temporary II of a new key and takes the scale of that key from root to root. The exceptionsare III and VI, which nornudly take the Phrygian and Aeolian modes, respectively, when preceded by primary functions. If preceded by secondaru or tertiary functions, both the III and VI c1wrdsbecame temporary II chords of another key.
Fig. 4 illustrates the twelve minor chords with their accompanying Dorian modes, to be played ascending and descending,
G#m (Dorfi$>
Gm (DofF)
F#m (lIofE)
-
-
Bbm(Dof.M)
Am (fiofG)
Bm (DotA)
Fig. 5 is a bass line for «Little Girl Blue" in the key of F. Transfer the melody to manuscript paper; abandon the melody and play minor scales on all minor chords. The letters appearing over these chords indicate the signature to be played from root to root of the chord. For example: in bar I, the F over VI means play the F scale from D to D; in bar4, the Bb over Vm means play the Bb scale from C to C.
Fig. 5 F
1+6 VI/II c
F
VI/I!
IIIX1l5
B~
F
Ab
bIIx / 1+6 VI / Vm bV / IV IV+6 / IVm bVIIx / F
F.
IJI
IY :aY4>/ V sv /
Fe lIS
F
F
6
III II bIll( / 1+
b
IlIo
/
F F F F Bo IV+6 / II bUM I 1+6 VI I II bIIx / JTe VI / Vm bY / IV
I~m Fe
Cm (DotBD)
C#m (DotS)
Dm (DotC)
bVIIx / IIIx 1l5 -SI / F
II
IIr F
F
IV+6 i:+IVI/>/ V bV I F
F
i:;I /-f+6 V! bV!" / V I II bIIx / I II / c D D IV / VUm IIIx / VUm bVIIx / VI VI/> I bVq, IVo I
lIS III II bIb / p6 F
III Poi
VP
F
6 bIllo I II blIx I 1+
/
1+6 II
GIRL BLUE-by Richard Rodgers and Lorenz Hart e 1935 T.S·. Hanns Co. C;. renewed % The Welk MUSIC Group. International oopyright secured. All rights reserved. Used by permission.
UTILE
*NOTE:
Ebm (UoIDb)
88
Em (fiofO)
Fm (fiofEb)
The prevailing key (F) has been reinstated despite the preceding secondaryfunction in order to prepare for the final closing.
89
LESSON
45.
chord is 4 VII or the t6mporaty va RULE: TM Iuilf-diminkhed new lcegtmd takBa,he .aUeof that key from rootto root.
of 1&
The Half-diminisbedScale ThehaIf-diminishedchord in any key appears On VII only. QroM
DISPLACEMENT 7 - 7
VII
MODE
Locrian
C~(VUOfD)
DfS (VUofEb)
Since the half-diminished chord occurs only at the position of VII, there can be no doubt concerning the accompanying mode. The halfdiminished chord alwaystakes the Locrian mode (7 - 7). Half-diminishedchords On other than VII (III.bV, etc.) are COnsidered a temporary VU of someother key. Thus, in the key of C: ScALE:
CHoM 14> II.p III4>
IV4> V4> VI VII bIlI.p
SPELLING
ORK'EY
Temporary VII Temporary VII Temporary VII Temporary VII Temporary VII Temporary VII Natural VII Temporary VII
Db Eb
DISPLACEMENT
~(WofE)
Ell (WofF)
D-D
F
E-E
Gb Ab
F-F G-G
Bb C
B-B
E
D
c-c
A-A
D#- D#
Ff,s(VUofG) A
In jazz harmony, the temporary half-diminished chord seldom, if ever, reaches its natural resolution, but at the moment it is played it implies the VII of a new key. Fig. I illustrates the twelve half-diminished chords with accompanying Locrian modes, to be played ascending and descending.
90
~
G~ (VUofAP) I
All (VUofBP)
Gf,s (VnofA)
»_
.#
,
....
A#~ (VUofB)
,._B.
......
-
a,s(VDofC)
91
Fig. 2 is a bass line for "Don't Blame Me." Transfer the melody to manuscript paper. Abandon the melody and play appropriate half-diminished scales for each half-diminished chord.
This is an artificial scalesince the same letter, In any form (Ab • A), C3Jlllolappear twice In an authentic scale,
Fig. 2. "Don't Blame Me."
F ig. 2 illustrates the twe lve dimin ished chords with accompanying ",. l
I IVm I III bIII, I II bU, I I VI I II~ bU, I III~ bIll, I bW IW I III bIll, II bIb I I IVm I III bUb I II bIb I I VI I II~ bIb I III~ bIll, I II V" I 1+ ' bV I IV II I vu III, I vu bVII, I VI" VI I Ib #Vo I VI II, I II bIII I U bU, I I IVm I III bUb I II bII, I I VI I II~ bII, I bUb I II V" I }+ ' II
III~
DON'T BLAMEME - Words by Dorothy Fields, Music by Jimmy McHugh . Copyright 1933 Metro-Coldwyn Mayer Ccrp., New York Copyright assigned 1933 to ROBBINS MUSIC CORP" 799 Seventh Ave., New York, N. Y. for United States and Canada
Used by permission.
1 2
3
1 2
31
2 3
Co
2
31
2
31
2
3 41
cjj o
2 31
46,
2 1
2
3
1 2 I 2
3
2
31
2
3
Do
1 2 L ESSON
2
I 2
3 I
2
3
4
1
2 3 4 5
3 4
The Diminished Scale eo The diminished chord has no "natural" positiou in any key, We have learned to employ the diminished chord at any point in a key, but at no point does .it infer any tonality. An arbitrary scale is employed for the diminished chord which utilizes all the tones of the chord in addition to a series of chromatic or auxiliary tones. Fig. 1 iIluslrates the C diminished chord with its diminished scale.
E~o
Eo
2 3 1 2 3 1 2
3
12
34
4
1 2
Fo 3 1 2
3
1
2 3
2 3
1
2 3 1 2 3
4
Fig. 1.
Co
Co scale
Since this scale has no relation to any tonality, we spell it by indicating the intervals as follows: Minor second - 1 Major second - 2 Thus, in Fig. I, the semitone combination is:
c 92
o
D 2
Eb 1
F 2
Gb 1
Ab 2
A 1
B 2
12
312
2 123
2 1 2 3 1 23
12123
4
C
I
or 02 12 12 121
AD
B'o
Bo
93
Fig. 1. Fig. 3 is a bass line for "Birth of the Blues." Transfer the melody to manuscript paper. Abandon the melody and play diminished scaleson aUdiminishedchords.
~
•
Fig. 8.
~
-
I
....
... .,
-..!.no
bo
no
pl<:l<-
bUx II I #10 I II #IIo I III IIIx#· I IV #lVo I V IV III bIll I II bIIx I I +. VI I n bIIx I I #10 I n #flO I III IIIx" I
Cm
tI.
IV #IVo I V IV III bIll I II bIIx I 1+' #1 I 1+' IVx I fiJI: VII I UIx VII I nIx IVx I llIx I III Vh I III Vh I VI IIx I II bIIx I I #10 I n #IIo I III IIIx#1 I IV #lVol V IV III bIII I II b1Ix I I +. I I + I /I
ex
CM
.......
lei ~
·
1";
I~
V"
3
L-e-
I
ObM
Co
TIlE BIRTH OF THE BLUES-Lyrics by B.G. DeSylva and Lew Brown, Music by Ray Henderson Q 1926 (renewed) Warner Bros. Inc. All lights reserved, Used by permission. Reproduced by permission (in the U.K.) of Redwood Music LtdJChappell Music.
"
I
v-
~
·
1
LESSON
.
,
.... n-
."
L~
~
Dbx
A
C#m
..
TI
~
2 3 1
I
2 3 4
I.n
C#o
The SixtyScales
ft
I
94
We have now completed the scales for the sixty chords. The importance of these scales cannot be overstated in building the material for jazz improvisation. Fig. 1 illustrates a highly recommended drill based on the five qualities of each tone. These scales or modes should be practiced ascendingand descendinguntil they are completelyautomatic. The student is alsoadvised to return to the previous chapters and explore these scales in the varioustunes abandoning the melody. The student is advised to follow the general fingering rules for the major scales when playing the M, x, m and 4>modes. Suggested fingerings have been added to the diminished seales since they represent an unfamiliar series of whole and half steps.
I
{
-e-
"
..
.tat-
..hft.
OM
Ox I
i
1
I
I,
I
r
I
I
2 3
I
!
I.
I
1
2 3
1 2
3
..n
O.p I
I
..
I
ldl-
Om
I
I
,.
jl
•
eI
,.
lI*'''
I
·
47.
I
I
ft
lei
•
2 3 1 2 3
1
00 I
I
I
I.
I
!
r
I
I
I
I
I
I, I
eI ~
·
I.A-
EbM
1hbAEbx
hlbaEbm
95
1ft:
1
.2
I
Tl
I
I
•
~
I
I
I
r 11
I
" ..,
I
•
·
kA-
~
I
I
I -, -,
T T
II
"1
I
I
,
. LIi"
ILl?eo-
F4>
Fo
1
f\
.2 3 4 5
•
11
. 96
u
..,
:D:
1
T
TIl
--
~ ,
I
I
11
__
,
M.-_
.-
Am
121231234
~
JJ
Abo
ff G #
I
11-
,
It....
_lJ.a.
l..... t
TIl
~
t
·
F~x
"
l..-b.-
~
£LIf.
II
.
.2 3 1 .2 ~lJ4
-
Abm
Abx
fJ.
.2 3 1
3
I
23123123
I
Fm
l,_b.-
-
I\,t.li"
112
·
1 .2 3 4
I
3 1 .2,3,1
Go
...b-
t
AbM
,
i
G
Fx
FM
2
1
~
1#
I
~bli"
1Jzft:
1..&
..,
1 .2 3 1 .2 3 4 I
\
•
I
fJ. I
Eo
,
I
.
Gm
I
iT'.2
.
I
I
Ilta
.
Em
Ex
•
I
.a-
. dt: I
I
-p
I'
II
I
I
1
GM
Gbx EM
Ebo T
)1
I
.. 'I
h_
L
I
b.~
I
11
I~
h.1dl:
F#o
GbM
·
I
Ao
BbM
Bbx
97
l
~
.b.ba.
I
~ l
Bbm
~,ti.
LI
•
.t
1.1
•
L1
.....
+-f'-
-
IJ.
Bx 121231234
BM _ ... .fI-
1\
11
_
3 2b i1.j11.
Fig. 3.
...
Fig. 4.
u , 1+ • ..,...fIL
..
41
.
123121
Bbo
Af+o
LI
~
2
Bm
11 ...
DOMINANT CHORD: Xl"
--it-
xl.
x bl
t)
I.
Fig. 5.
dominant scale whole tone scale whole tone scale
(Fig. 5) (Fig. 6) (Fig. 7)
Fig. 6.
Fig. 7.
Bo
LESSON
48. Scale and Arpeggio Alteration
MINOR CHORD: mU T
The arpeggio of an altered chord simply follows the alteration.
Fig. 1.
~
~
...
I
~.
•
.it. ..
mlf
minor scale minor scale with
m+'
minor scale
#7
(Fig. 8) (Fig. 9) (Fig. 10)
The following rule describes the use of scales in altered chords: MAIOR CHORD:
MSl MbS lIS
MS"
major scale with major scale with
#5
b5
major scale with #5
(Fig. 2) (Fig. 3)
Fig. 9.
Fig. 10.
Fig. 11.
(Fig. 4)
Fig. 2.
98
RULE: In inversions. the scale is the same as in root position except that it is played from the bottom note of the inversion (Fig. 11).
99
To avoid this, in Fig. 2, the fourth step is removedand the tone row 1235 Is used (12 S 5 is alwayscounted from the root of the chord).
Fig. 12 is a bass line for "Like Someone in Love" in the key of C. Transfer the melody to manuscript paper. Abandon the melody and play appropriate scales for the inversions. Letters over Roman numerals indicate the signature to be played from root to root (root position) or bass
Fig. 2.
c note to bass note (inversion). Thus in bar I, 12 indicates the scale of C C4
from B to B; in bar 3, VIP indicates the scale of C from F to F. Fig. 12. "Like Someone in Love." (C)
c I I. I
c VI VIz /
c,
ne-
c. VII"
I III blIIx I II
(C) V bIIx I I VI I Vm bV I IV+' A.
A.
(A) I I.
(C) (C)
bIIx I Ell-
lI
II A
G:f
VI VI. I (C) VI VP1. c c c. I I. / VI VI. I IIx"
/
/
F
A
IV. I (A) II. G
c_
VIP
/
III
V bIIx I I VI / Vm bV / IV+·
VIla I I bV I (C) IIx #lIo / III bIIIx / II
(A) II.
(C) 1+'
I 1+'
Fig. 3 illustratesthe scale fragmentson 5 4 31 (reverse of 1 2 S 5).
E.II I 3
Fig. S.
VIIo I
bIll o I
I VI.
v
II
VI
I
II I
bIIIx I F
IV.
I
b1Ix
/
Fig. .( illustratesthe scale fragmentson 3 4 5 7. Fig. 4.
II
1m
UKE SOMEONE IN LOVE-by Burke and Van Heusen © 1944 by Burke & Van Heusen, Inc, © renewed and assigned to Bourne Co. & Dorsev Bros. Music, Inc. Used by permission.
IIx
v
Fig. 5 illustrates the scale fragmentson 7 6 5 S. Fig. 50
LESSON
49. Eighth-noleSca1es-ScaleFragments Fig. 6 illustratesthe scale fragmentson 5 6 7 2.
In Lesson33, we movedto the primary step in improvisingby abandoning the melody and playing eighth-note arpeggioson the chords. We will now repeat this primarystep with eighth-notescales.
Fig. 1 illustrates the use of an eighth-notescale line. In playing Fig. I, the student will notice the harshsound (particularly on the M and x) of the scale fragment ending on the fourthnote of the scale or the mode.
Fig. 6.
~ ~
•
v
mgmeut
~ ligures for the diminished scale are not the same since the diminlshed scale consists of eight tones rather than the usual seven. The fragment ligures fca:the
Fig. 1.
diminisbed scaleare
100
no
~o
v
lllI
follows:
1 JIll 5 -
S 4 II 1
( ..... ne)
8457 S071
'1653 18'13
11.--<1
-
(t.,,,,,,.)
101
Fig. 9 illustrates a drill on Fig. 8 using the various fragments.
Fig. 7 illustrates the scale fragments on 2 1 7 5; and 1 8 7 5 (diminished).
FRAGMENTCHART RE\'ERSE
FRAGMENT
~~ lIS
no(18'15)
V1o( 18'15)
Fig. 9.
V
.,
Vllm~
VIlm~
Dorian fAY
L ditan
Aeolian
"",,,JJ#
" .. ,It
•
""",,It
...-
-
-
-
1+ 8
#1 I
(E) I VI / II II.p / III VI / II
VII
/
(E) II bIIx / 1+' VI/II
1+'
VI I (G) II bIb
bIIx /
hili / VI I
/
•
-
1.... 1.
.1
-
I VI / /
I VI / II hili I I H / I +" /1
BLUE MOON-by Lorenz Hart and Richard Rodgers 10 1934, renewed 1962 Metro-Coldwyn-Mayer Inc. All rights administered and controlled by Robbins Music, a catalogue of CBS Songs, a Division of CBS, Inc. All rights reserved. Used by permission.
..
-
:
bIIx I I VI I II IIp I III VI I bIlla / II bIIx / I VI/II bIIx /
(G) I VI / (E) VIIm III VI I1x:/ II (E) I VI / II I1.p I III VI/II
102
II.
Aeolian
.,
e}
1+ 8
-
~T
Phrygian
:
Fig.8.
/
-
-
--.....
«J
of the chords.
II V S I
-
of A
of A
~I
-
VIlm2 Ionian
Fig. 8 is a bass line for "Blue Moon," in the key of E. Transfer the melody to manuscript paper noting key changes, using three staves as in previous lessons. Playor write out a line using eighth-note scale fragments
(E)
-
«J
VIlm Dorian of A
I VI/II
-
1
;
~3B
(E)"bili //
-
ii\O »Ie ~
VIlm
of A
-1
-
«J
Inversions take the scale of the root position chord from bass note to bass note of the inversion. See below.
o
5 6 7 2
"".~ .It
All of these fragments are of the utmost importance in using scale lines; the ability to pick up any scale fragment for any chord is an absolute prerequisite for improvising facility.
~
543 1 765 3 2 1 1 5
1 235 3 457
Fig. 1.
"" Ii
e}
.
~
--
- -
-
-
Phrygian
103
-
A .. ~
.
tI
-
-
•
I
•
-
-
-
LESSON
-
.,
r-
I
- -
-
..
L
-
-
I
.<
I
Eighth-note Triplet Scale Fragments
"1
:
II .. il-
50.
Fig. 1 is a bassline for fiCabin in the Sky," in the key of G. The eighth-note triplet line should be considered here. This means three notes to a heat or six notes to each half-note chord. Transfer the melody to manuscript paper using three staves. Note key change. Write out or play a line using eighth-note triplet scale fragments on the bass line in Fig. 1 with a quarter-note footbeat.
Fig. L
..
A ..
.1
I"""""
-
-
eJ
I
- I
.. It
r--r
-- -
-
Aeolian
(G)
I #II
(G)
II
IVo /
(G) IIII
.. .
- -
---
....
-
..
"JJ~
I
-
II
,
-
I
-
-
-
-.
hIIh
/
IIuf
IIs'
hUh I II hIh II
U ,
Us' / II
/ I #1+ I II #110 bili / 1+· #1/ I +. IV
/ / /
I VI+' bV",/ (E) II bIlx I I I (G) VIIS1 VIs 1 I
(G ) VI Ih
I V IV I III II I I #1+ I II #llo I III /
(G) bUh I
UUf
n« I
II bIlx I 1+' / 1+' /1
Fig. 2 illustrates a drill using scale fragments in eighth-note triplets.
-.
Phrygian
-
III I
CABIN IN THE SKY-by John Latouche and Vernon Duke C 1940, renewed 1968 Miller Music Corp. All rights administered by CBS Songs, a Division of CBS, Inc. All rights reserved . Used by permission,
- ....
:
104
Itt-
#IIo I
I
-
.. -
t
-
..
-
-
-
~llo it
•
•
I
III
bIIIxI
(G) VItm bVIh 1tJJ. it
II
-
DRILL: Explore the various scale fragments on the bass line in Fig. 8. Keep a steady quarter-note foot beat.
105
,
-
-
-
-
-
.. 4V
-
....-
_
..
.............
---....
-
.f/L ....
-
-iJ
Pbrygian
•
-
..
....
......
.f/L....
Lydian
-
Phrygian
I.
..
..
I
--
•
-
-I
L
•
b...-•
1._ I
I
-
•
-
.
-
-
-
--
_
-
.
I
...... Lydian
106
107
...
-
•
~
-
..
-
-
-
Aeolian
-
..
-~ Dorian
LESSONSl. •
Sixteenth-noteScaleFragments
l
J
.1.
.Ii
I
-
Fig. 1 is a bass line lor "Dancingon the Ceiling." in the key of F. Transferthemelodyto manuscriptpaper using three staves.
-
Phryglan
-
..
l.• .f
•
--
Fig. 1.
I U I III IV+'
• IIIx"
VI'
bIIIx I
I IV+' I +.
II blIx /
VIIx J III pUI I
VlIx I III bIU I II IVo I #1 /
II lVo /
bVlIx /
I +- VI I II III I IV+'
II /
I III
VI'
b1IIxI
I II /- III
•
IIIx I
-
I
II
bIIx I
VI I
bW,I
(~"
..
I
I
l J".
•
~.
.b.
-
•
DU'
II='
/
II bUx I 1+'
- - -
I 1+0 /I
DAl'\CING ON THE CEILH\'G-Lyrics by Lorenz Hart, Music by Richard Rodgers () 1930 (renewed) Warner Bros. Inc. All rights reserved. Used by permissicn,
Fig. 2 illustratesa drill using scale fragmentsin sixteenthnotes. Since a hall-notechord permits the use of eight sixteenthnotes in the right hand, it is possible to play the entire scale.
1\
._.~
LydIan
108
DRILL: Write or playa sixteenth-notescaleline on the chords in Fig. 1. keepinga steady quarter-noteloot beat
t
-
IV + - IVm I III bIIIx / U bIIx / I II / VI' IIIx I- I IV +. VIIx / UI bIIIx /
.1
......
•1
•
f
I
..
-
....
-
Dorian
--
109
-
Phrygian
,
,
L
\'.
..
h.
,., I
• __
......
....
.....
..
,.,
-
--
-
.... Lydian
~
I
Dorian
,.
.. .fl.....
. ...... ,....
-
ltI
Lydian
..
...
-
.
-
, t!J
Phrygian
-
.
-~
Aeolian
-
-
I
-
-
-
Ionian
LESSON
52. Rhythmic Combinations
II
110
I
I
-
-
- -
As in Lesson 38, when treating arpeggios, we will now proceed to combine the rhythm values using the scales as a framework. Fig. I is a bass line for "Round Midnight," in the key of E p minor. Transfer the melody to manuscript paper using three staves and noting key changes.
1Il
Fig. I
-
(Cb) VI Viz / bVo ViI bVIIx / VI Ilx / IVm bVllx IiI Vix / (Cb) II V / I Ilx' s / bV¢ VIIx / (Cb) bVo
vn bvIIx
(Eb) VIlix (Cb) II
Vll 3
112 vn
(Cb) bvilm (Cb) IVm
-
bVIIx / VI VIz /
.
-;,
/ VI IIx / rVm bVIIx III vIx / II V / I IIxb5 II
blIx /1+
6 /
VI¢; IIx / V bflx / VI¢; IIx / V Ix II
IiIx / bV¢; VIIx
bIlIx VII bVIIx I vi
svn, III
IIIx
IiI vix
I
Ii V
1m
IVx I II
vii! / bVa vII bvIlx I VI I1x I
vi«
VIx I II V I I IIxb5 II (Eb)
Iix
V::3 bIrx
I
.
...
•
/
(Eb) 1+6 II "ROUND MIDNIGHT-Lyrics Thelonious Monk
-
-
/
/
/
/
by Bernie Hanighen, Music by Cootie Williams and
C 1944 (renewed) Warner Bros. Inc. All rights reserved Used by permisslon.
Fig. 2 illustrates a drill employing eighth-note, eighth-note triplet and sixteenth-note values. Fig. 2-
-
AI
IlV
-
-
/
/
II
-
-
/
/
I
IllV
A I
~.
AI
/
A
I.
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l.
...
112
.....
...
-
/
/
/
.......
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...
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• .... -IL
-
/
'.
/
/
...
l.
•
A ,
...
1-.... •
---z-/
/
/
3
/ 113
A
-..
h ..
I
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-.r
-
I •
-
-
II
·il
Itl
1:- .fL
AI
•
101.
-
1...
/
/
J
/
/
/
-.
DRILL: Write out or playa scale line On Fig. 1 using eighth-note, eighthnote triplet and sixteenth-note values. .. ~
/
J
-:I
3
/
4J
/
-
I
-
-~ J
.fI- .... ...
-
LESSON
53.
y
"
"
I •
----
/
~ /
/
-
-
-.
,. /
/
/
.,.
Rhythmic Composite (ballad)
"' .,.,.
/
/
Justas we abandoned the melodyin Lessons 30 and 40 and applied the arpeggios to a rhythmic composite, we will now apply the scales of the chords using the same process. Fig. 1 is a rhythmic composite £ora ballad.
/
AI
I
tI
3
/
/
/
3
/
114
---
Fig. 1.
I
/
/
/
115
Fig. 2 is a bass line for "Have You Met Miss Jones?" in the key of F. Transfer the melody to manuscript paper using three staves. Note key changes.
t
.... .
-
-
A
-
-
Fig. 2. (F) I / #10 / II / IVa / III VI / IIx"a
I
II
I
bUx / I
I
.#10/
I W VI / IIx'" I II V I (Bb) II bili I I VI I (Cb) II blIx I I VI / (D) II bIIxI I VI I (Cb) n bIu I I I (F) IT bUx / 1/ .#10I II / V / bVmbWo / II bIu /1+ 1/1+' /I
11
•
-
11
(F) II / IVa
HAVE YOU MET MISS JONES-by Richard Rodgers and Lorenz Hart Ii:) 1937 by Chappell & Co.• Inc. (') renewed. International copyright secured. All rights reserved. Used by permission,
A
I
,
Fig. 3 is a drill applying the scaIes of the bass line in Fig. 2 to the composite in Fig. 1. In each case the required mode has been followed,although the starting point of each phrase has not necessarily beenthe root of the a possible starting or ending point. chord. Each note of the mode becomes
.......11-.....
..
.
11
1
..,
-v-
116
-
-
.
-
A
"
I
-
:
...
~
J.l
..
-J
Using Fig. 3 as a model, play or write out an improvisationusing the composite and the scales of the bass line m Fig. 2.
"
e!!I'"""I
-
..,
Fig. S.
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.....
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-
117
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itJ
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....
,,t
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AJ!
....
I.
I
.. ...... 1e:
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-
-itJ
LESSON
54. Rhythmic Composite (up-tempo)
"
,
-I'- .....
I •
;::::-.-
tI
J
As in the arpeggio study, the composite is simplified in up-tempo tunes to insure a strongerfeeling of swing. Fig. 1 is a possiblecomposite for an up-tempo tune.
~
3-
t
Fig. 1.
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.
I
-
I
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..
n
rnri , j)
•
:(!;. ........ 3
~··looooiil
-
I
Fig. 2.is a bass line for "Lullaby of Birdland,"in the key of B. Transfer the melodyto manuscriptpaper using three staves. Fig. 2VI+8 bV", I VIIx. nIx. I VIS' VI I u lVo / ill VI I II V / I IV / vn llb: I VI+8 bV I VIIx llb: I VI S r VI / II IVo I
UI VI/II V / I bIIx I 1+ 8 / III.,. bll h I II / IIbIIx. I 8 I / IIIop bIIIx I II 11141blli I I IV VII Illi I VI+ bV I 8 VIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+ /1
1I8
LULLABY OF BIRDLAND-by George David Weiss and George Shearing © 1944-1945 Michael H. Coldsen, Inc. © renewed lIJ72. Used by pennission.
119
Fig. 3 is a drill based on Figs. 1 and 2. The student will notice the extensive use of rest values in Fig. 1. Silence also swings.The beginner will tend to play too many notes but should strive for the "punctuation" that characterizes a good line.
Fig. 8.
.
lot.
L
-
-
-
'0 ,.
-
.
-
-
I
-
-
-
3
t
..
,.
120
"
121
--
3
SECTION
..
LESSON
VII
55.
-,...
The Chromatic Tones In the previous chapters we have studied the following elementsof the twelve tones in the octave:
..
1. Arpeggio- four tones of the octave 2. Scale - seven tones of the octave except diminished ~~ ~
1._
...
*k. ;J
CI
~-
_. I
Now we must consider the remaining five tones of the r
M.Som and
4>scalesand the remaining four tones of the diminished scale.
I"
..
Fig. 1 illustratesthe fivequalities on C with the accompanyingscales.
T'
I
L
Fig. 1.
T'
i\
..
* •
iJo ~
CI
Cm
ex
CM.
: I
A
l'
J
-
.......
-
• .r
...
I~ C~
122
V ..
.......
r
I
_
Co
123
Fig. 2.
The following table indicates the omitted tones in each scale: CM: Db- Eb- Gb - Ab - Bb Cx: Db- Eb - Cb - Ab • B Cm: Db- E - Cb - Ab- B C+: D - E • C • A • B Co: Db- E - G - Bb
4
m
bIDo I II VP I II bIh I (G) I VIIx I bVlIx VIx I VI IIx~$/lI bIIxII II I m bIllo I
(G) VI IIx~' / II bIIx I I II I 4
(G) II VII / II bllx: /1+' #1 / 1+- VI I II IVo I III bUh / 4 (C) II bIIx I I 1+ I (A) II IVo / III VI I II bIIx I (G) II II. VII bVlIx VI IIxb ' I II blli:/ I II / III bIDo /
It is a good rule in jazz improvisation to avoid more than four consecutive chromatic tones. The chromatic scale involves all twelve tones and therefore cannot infer any specific chord.
(G) II
• VI* I
r
II bIlx /
1+-
/
1+-
II
J COVER THE WATERFRONT-Lynes
by Edward Heyman, Music by Johnny Green It 1933 (renewed) Warner Bros. Inc. All rights reserved, Used by permisston.
One of the most effective ways of utilizing the chromatic tones is as follows.
1. Treat the root, third, fifth, seventh and ninth as principal tones. 2. In approaching a chord, choose one of the principal tones as a "target" note.
Fig. 3 illustrates the use of chromatic tones in a scale-arpeggiodnll with no particular rhythmic pattern. Using this figure as a model, write or play an improvised line on the chords of Fig. 2 using chromatic elements.
3. Pass through the chromatic tones a minor second each side of the "target" note, then into the "target" note.
Fig. SCHORD
PRINCIPAL
TONES II
V
I
D F A C E
C#-Eb E -Gb G#-Bb B -Db D#-F
G B D F A
F#-Ab A#-C C#-Eb E -Gb G#-Bb
B -Db E D#-F G F#-Ab B A#-C D q;-Eb ~e ~hromatic tones may move in either direction before resolving to the pnnctpal tone although modern idioms prefer the descending form:
124
into D into F into A
-
~
II~
l.
~~.
tI
II ..
AIJ
tI
ii""
-I
-
,.
_, ...,
• r
tI
Db- B into C F -D# into E
Fig. 2 is a bass line for "I Cover the Waterfront," in the key of G. Transfer the melody to manuscript paper using three staves and noting key changes.
-
tI
C
Eb-C# Cb-E Bb-C#
~
AIJ
CHROMATIC TONES
--
~
3
.1.
.~
..
I
-
l.
I
-
-125
ALl.
3
3
11Moft CJ
C
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f
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., &...-.1.
.-
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.
-
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a...
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/
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/
.fl..
-
I
-
,
LESSON
56.
..
., The Sensitive Tones We have now studied sufficientjazz material to understand the basic tonal principles of the art form. Jazz employs a sixty chord harmonic system over which is played a twelve-tone melodic line. Fig. 1 illustrates the vertical movement of jazz harmony referred to in Lesson 1, Fig. 2.
•
•
:
•
7
9
11
13
Fig. 1.
...• 1
3
5
..
As part of a weD conceived line, these tones can bring a tonal interest lacking in the root, third, fifth and seventh. By themselves,these tones are of little value; they are to be consideredoccasionaltensionpoints of a twelve-tone line.
Fig. 3 is a bass line for "'Nightand Day," in the key of EO'Fig. 4 is a drill illustratingthe use of the sensitivetones.
1
Transfer the melody to manuscriptpaper using three staves and noting key changes.
We have given careful study to the root, third.fifth and seventh; we will now consider the ninth, eleventh and thirteenth in relation to the five basic qualities (major. dominant, minor, half-diminishedand diminished). CHORDQuALITY Major
SENSITIVE TONES 9 - IU
Dominant
9 - "9 - =9
Minor
Half-diminished
11 ('S) • '11 IS • "13 9 - 11 9 - 11
Diminished
9 - 11
Fig. 3. "Night and Day," pick.....
(Eb) (Eb) (Eb) (Eb)
I //
bVIM
/ V / I / I +- /
IVm / III / bIIIo / II /
bVIM
hili /
/ V / I / VI /
bW /
I / I / bVIM / V / I / bIIIo / II I
1+- I bVIM I V / I / VI I bV4>I IVm I III I
bUx / I / 1+- / (Cb) I II I III I / (Eb) I II / III I I (GD)I II I III I I (Eb) I II I III VI I bW I IVm I III I (Eb) bIII o I II I bIIM I 1+- / 1+- /1 NIGfIT AND DAY-Words and Music by Cole Porter © 1932 (renewed) Warner Bros. Inc. All rights reserved. Used by permission.
See Fig, 2.
Play an improvised line on these chords emplOyingthe sensitivetones using the following Fig. 4 as a model Fig. 4.
Fig. 2. CI
..
• eMS
128
CI
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Cx9
Cx bs cx#9
Clt l1 (# 3)Cx# 1l
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Fig. 1.
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Foot beat
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do
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Fig. S is a bass line for ''Easy To Love," in Ab·The sheet music appears in G and must be transposedto Ab.Transfermelody to manuscript paper using three staves. Write or playa line on Fig. a applying syncopation using Fig. 4, which illustrates this process, as a model
Fig. 3.
bIIh / II / bIIx / I I II I III / hUh I II I I I / ~Io / III IVI/>I III I bIlla I II VII I IllbUh I
II VII/III'/>
v,.
II I bIIx / I I II I III I VIx I II III / IVm bVIIx / III I I. ,
bIIIo I II !
,·eJ
EASY TO LO\ 'E-by Cole Perter © 1936 by Chappell &: Co., Inc. © renewed. Assrznedto John F. Wharton, Trustee of the Cole Porter Musical and Literary Property Trusts. International copyright secured. All rights reserved, Used by permtsslon.
Fig. 4.. /I
t
57. WJ
Basic Syncopation
:
A thorough study of jazz syncopation is beyond the scopeof this book. Jazz syncopation appears on many levels. Our concern is with syncopa-
AI
tion in the improvised line. Fig. 1 illustrates a series of even eighth notes played against a quarter-note beat. Notes 1, 3, 5 and 7 are the "strong" points in Fig. 1. Notes 2. 4, 6 and 8 are the "weak" points. By tying the tones in Fig, 1 together, the "strong" points of the series are disrupted (Fig. 2). This is basic syncopation.
132
I 1+' I 1+- /1
,
"
LESSON
bIIx
--. --- ..... ,;-
I....
•
....
..
,
-
I
\,
-
-
--
-.
...
133
A
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.......".;; 1"",..=
.
-
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-
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rooo-
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,
CJ
_. q
-
-....;;;
~
-
:
!.."''''-
\:. '
I !34
.
..
-
DRILL: Practice the sixty arpeggios in syncopated eighth notes as in Fig. 5.
-
-
•
<1-
•
•
•
Fig. 5. CJ
...
~.
Foot beat I
I
I
I
I
I
I
I
etc.
135
The use of accent in an eighth-noteseries,as in Fig. 2, is of theutmost importancein creating rhythmic interest in a jazz line and should be carefully studied by the pupil
Practicethe sixtyscales in syncopatedeighth notes (Fig. 6). Fig. 6.
Fig. 3 is a bass line for "Makin' Whoopee," in the key of A! Fig. 4 illustrates a drill on Fig. 3 employing the use of accent. Wedges over the tones indicate the accent points of the line.
,~ I
I
I
I
I
Transferthe melody to manuscript paper using three staves. Write or play a line on.Fig. 3 usingFig. 4 as a model,
I
etc.
Fig. 3.
pIdc-
blIxII I #10/ II V / Vm Ix I IVm bV1Ix/ III vr z jm ~VIx I VI' billa I II pili I I jIo I II V / Vm Ix I IVm bVIh I DI VI I bIll bVIx I 1+" II I ;tllo VI· I Vm Ix I IV +. I IVm bVDxI I II #fio III I Vm Ix I IV+' I IVm bVIb: I III bIIIx II bIlx I I #10 / n V I Vm Ix I IVm pVIIx / III VI I
The study of both Figs. 5 and 6 should be accompanied by an uninterrupted quarter-note foot beat.
LESSON 58.
pIll pVh I 1+'
Accent In addition to syncopation,the device of accent is valuable in creating rhythmic interest in a jazz line. Fig. 1 illustrates the scale of C in eighth notes played with a quarternote foot beat. Here, the accented tones fall on I, 3, 5 and 7 which are also the accent points of the foot beat.
/
II
1+'
MAKIN'WHOOPEE-Lyrics by Gus Kahn, Musk by Walter Donaldson U.S.C 1940(renewed) Warner Bros. Music Com.All rights reserved. U.K.C 1928Bregman,Voceo,and Conn Inc. Sub-published by Keith Prowse Music PublishingCo. Ud Used by permission.
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139
LESSON
59, Coleman Hawkins' "Sweet Lorraine" in G
In the course of some fifty years of jazz, there are many recorded masterpieces of the improvised line: Book II will deal thoroughly with this aspect of jazz. Since the reproduction of one of these masterpieces can do much to reveal to the student all of the elements studied in this volume, Coleman Hawkins' "Sweet Lorraine" (originally recorded on Signature 90,001.reissued on Brunswick, LP BL54016) has been included
here. This recording involves two improvised choruses by Hawkins. These two chorusesare undoubtedly one of the great moments in the history of jazz improvisation; they also employ every device described in this text. The student is strongly advised to make a thorough study of these two choruses using the following outline as a course of study.
1. Scale and arpeggio analysis. 2. Rhythmicvalues. 3. Rest values. 4. Syncopation. 5. Phrasing: (a) starting points. (b) the bar line. (c) contrast. (d) punctuation. 6. Chromaticistn. 7. Accent. 8. Over-all architecture.
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SWEET WRRAINE-bv Parrish. Burwell Q 1928 by Mills Music. Inc. Cl renewed. All rights reserved. Used by permission.
140
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The following is a left hand stride solution to "Sweet Lorraine" with a new chord appearing on every beat of the tune. This is a paraphrase of a stride treatment of this tune by Art Tatum (originally recorded 2/22/40 on Decca Label 8715). The following table explains the code used in this treatment: 100Root, 7th, 10th (5-2-1 fingering) 7-Root, 3rd. 7th (4-2-1 fingering) 3rd Inversion ~-7th, 3rd, 5th, Root (5-3-2-1 fingering) 2nd Inversion 3-Sth, Root 3rd. 7th (5-3-2-1 fingering) This treatment employs all three spans (see Volume 3, page 18), and quick "rolling" may be essential for smaller hands. Each tenth is individually pedaled. On a first reading, the student will notice several tension points in relation to the melody and harmony, but as the forward motion begins to take place, these tension points will disappear.
pick-up
10
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bIlx I I bVIlx VIx #10 / II II2 VII bVIIx I VI I1x Vm Ix I 10
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Ix bV I 145
SECTION
LESSON
VIII
60.
LESSON
61.
The Blues (melodic) The melodic aspect of the blues is of much greater signiflcance than
The Blues (harmonic) To a jazz musician, the blues means a fairly fixed set of chords or "changes." These chords have evolved from the archaic folk music of America and can be heard in the recordings of Blind Lemon Jefferson, Big Bill Broonzy and LeadbeDy (Huddie Ledbetter). All jazz blues involve the 1, IV and V chords in a 12·bar form. From this prehistory of the archaic blues hasslowly evolved a conventional set of chords which most musicians accept as representative. These chords are as follows: Fig. 1.
Ix I IVx I Ix I Vm Ix I IVx I IVx I I II I III bIIIx I II V / II V 1/ 6 (1)1+ bIIIo / II V t
(2)1+ 6
IJ rv
:+1\10/ VIi! bIIx Ix ~ 1/
the isolated chord charts studied in Lesson 60. A strong feeling of the blues has characterized all great melodic improvisation. In this sense the blues represent, along with ragtime. the basic substrata of anjazz. The basic idea of melodic blues lies in the "twang" of the sliding and crushedtones present in all archaic guitar. These inHected tones have been simulated on all jazz instruments including the piano. Of all the instruments, the piano is in many ways the least effective in creating a blues feeling since once a tone is struck it cannot be changed or even sustained for any length of time. On the piano, "blue" tones are usually achieved by crushing one tone into another (Fig. I). Because of the physical structure of the keyboard, the most effective positions are those in which a black note can be crushed into a white note [ (b) and (c) in Fig. 1 }. The reason for this is that the same finger can be used for both tones by applying an arm stroke to the tones. This is called falsefingering. This is impossible in (a) of Fig. 1 which requires two Bngers to execute.
Fig. 1.
(2) represents the final close ending the blues and is traditionally called a seoen-beater(seven beats to the end - the last beat is not played). Otherwise the first ending (1) is taken and the twelve bars are repeated over and over. In the second ending the rhythmic pattern of the £nal bars
isasfoDows: J J J/JnJIII A more modern fonn of the blues evolved by Charlie Parker in the forties and. while respecting the main "pivot" chords, this new form contains many harmonic sequences not found in the traditional form:
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was
~ ,@ I~ (a)
(b)
(c)
This principle can be extended to two or more tones played simultaneously. Fig. 2.
Fig. 2.
1+ • IV I VIIm nIx b' I VI IIx II' J Vm Ix b' I 1m IVx I IVm bVIIx / m I VIx;' I n V / IT v II (1) 1+' bIllM I bVIM V.I/ (I) 1+. bIIx I Ix II' II
In any interval.one tone (usually the lower) can be crushed while the second is held (Fig. 3).
There is no "melody" for the blues. Many tunes using the term or
title of blues are not "blues" in the sense referred to in this chapter; these tunes evoke a mood sometimes referred to as "blue" - this is a poetic
46
reference, not a musicological one. Transfer Figs. 1 and 2 to manuscript paper and write or play an improvisation on the chord changes. Explore Figs. 1 and 2 in twelve keys.
Fig. S.
147
The most familiar sound associated with these crushed tones is that of the augmented ninth crushed into the major third when playing a dominant chord. Fig. 4.
Fig. 6.
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These devices can become tiresome if not supported by an otherwise interesting line; used occasionally they can be effective in bringing a blues feeling to a jazz. improvisation.
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IVx /1+'
IVx / I II / III VI Vm
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WILLOW WEEP FOR ME-by Ann Honel!
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Fig. S.is a bass line for "'WiDow Weep for Me." Fig. 6 illustrates an improvised line on Fig. 5 employing "blues" devices. Transfer the melody to manuseript paper using three staves. Write or play an improvised line using Fig. 6 as a model.
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151
SECTION
LESSON
If we place a number over each letter relating to the key of C. we derive the following:
IX
Fig. 2. Jazz circle.
62.
Patterns-Circle of Fifths It is apparent to the student from even a casual examination of the bass lines in the previouslessonsthat each tune uses patterns which are commonto all other tunes. These patterns occur in several designs:
1. Circle of Fifths. 2. Diatonic. 3. Chromatic. Fig. 1 illustrates the twelve keys in the natural order of their signatures (C - no 1:; no b ; G - 1 S ; D - 2 J; etc.).
Fig. 1. Jm circle.
F""'-
C
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In practical terms, this means:
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V normally moves to I;
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Circle of Fifths
Ab
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The circle can move clockwise through the sharps into the flats or counterclockwise through the flats into the sharps. The jazz circle moves counterclockwise.
152
II normallymoves to V; VI normallymoves to II; III normally moves to VI; etc.
The followingpatterns employ the circle of .fifths: Il- V-I I1I-VI-n-V-I
III41-VIx- II • V• I VIIm - IIIx- VI - IIx· V - I I-IV· VIIm-III- VI- II- V-I bW· VIIx-IIIq;- VIx- IIt/l- V-I
These patterns should be practiced in twelve keys with both hands.
153
Fig. 3 is a bass line for "Pick Yourself Up," in the key of F. Note the key changes. This is an example of a tune employing the circle of fifths in a key series. Using the transposition method described in Lesson 32, transpose Fig. 3 into twelve keys. The key series in Fig. 3 is as follows: I - II - III - I. Improvise on Fig. 3. Fig. 3.
(F) II V / I IV / VII IIIx / VI IIx I V IV / III hIlh / (F) II hili / 1+" / (G) II V I I IV / VII II1x I VI ili / (G) V IV I III bUb: / II bili / 1+- I (Ab) I II / III VI I
•
•
(Ab) bVIx V / I I (F) III. bVcp' I lIP VI / V IV I (F) III bIIh I II V I I IV / VII IIIx I VI lIlt / V IV / (F) III bIIh / II bili / 1+· /I PICK YOURSELF UP-hy Jerome Kern and Dorothy Fields (;) 1936 T.B. Harms Co. e renewed % The Welk Musk Croup. International copyright secured. All rights reserved. Used by permission.
Fig. 2.
(Ab) II III / IV V It· / I II / UI bIlIo / II III / IV Vb" (Ab) I II / III IV / (C) II III / IV Vb" / I II / III bIlIo (C) II III / IV Vb. / I IlIo / (Ab) V IV III bIlb: / II III (Ab) IV Vb o / I II / III bIllo / II III / IV Vito I III;. (Ab) bUb: / II III", I bVIb: VIx / #10 II / III IVm+·
•
/
I /
I /
(Ab) VI- bIll o / II bili / 1+· / 1+" /1 TEA FOR TWO-Lyrics by Irving Caesar. Music by Vincent Youmans (;) 1924 (renewed) Warner Bros. Inc. All rights reserved. Used by permission.
LESSON
64.
Patterns-ebromatic Chromatic patterns also appear in short fragments. Common chromatic patterns are:
n - blli- I III - bUIx-II - bIIx- I I - #10- II - #IIo -III m- bIIlo -II - bIIM - I bW-IVo-III. bIIIo-II- hlli-I
LESSON6S.
Patterns-Diatonic The term diatonic refers to the normal major scale. Diatonic patterns move through the steps of the scale both ascending and descending. Diatonic patterns usually appear in short fragments and are often
Practice these patterns in twelve keys using both hands. Fig. 1 is a bass line for '"Jeepers Creepers,"in the key of Bb. Transfer the melody to manuscript paper noting key changes. Transpose to twelve keys using the foUowingkey series chart: I - IV - V - L Improvise on Fig. 1.
combined with chromatic or circle patterns (see Fig. 1). Fig. 1. Fig. 1.
I - n - III - bIIl- II I- VII - VI- bVI- Vm Il - III- IV - #IVx- V IV - III - II - bili - I IV - V· VI- bVh- V VI- V-IV -II1-II- V· I
bV IVo
/ III bIIIo I II bIIx / 1+· IIIo (Bb) III b I n bIb: I 1+1l VI I bV;. (Bb) II blIx I 1+" VI / bVlVo.j III (Bb) I+1l #IVo / (Eb) II IVo / III bIIIxI (Bb)
(F) II IVo I nr bIIIx / II bIIx I (Bb) v'* V I bVIVo I III.; bIIIxI
•
(Bb) II IVo / VI- bIIIx / Practice these patterns in twelve keys using both hands. Fig. .2is a bass line for "Tea for Two," in the key of Ab. As in the previous lesson, transpose Fig. .2into twelve keys; the key series is I • III • I.
.54
VI I bVcjlIVo I IVo I III billa I hIIIo j II blIx j II blIx / I VI I
n
bIb: / 1+1l /I
JEEPERS CREEPERS-by Johnny Mercer and Harold Warren Cl 1938 M. Witmark & Sons (renewed) Warner Bros. Inc. All rights reserved. Used by permission.
155
SECTION
X
To avoid this, minor jazz harmony has evolved as follows:
Bass line - ascendingmelodic; Inner voices- harmonicminor.
LESSON65.
Combining these two elements. we derive the following minor scaletone chords in C minor (see Fig. 4).
,
Fig. 4.
Minor Scale-toneChords
t)
Jazz is almost exclusively a major scale music. There are probably only five or six "authentic" (begin and end in minor) minor tunes in all jazz repertoire. However, the minor scale-tone chords are used a great deal in smallfragments and are, for this reason, very important. The jazzmusician approaches the minor tonality in the same practical manner he approaches all musical problems.
lIt)
1. Harmonic minor - combination: 02 122 1 3 1 (Fig. 1). 2. Natural minor - combination: 0 2 1 2 2 1 2 2 (Fig. 2). 3. Melodic minor - ascending combination: 0 2 1 2 2 2 2 1 (Fig. S); descending combination: 0 2 2 1 2 2 1 2 (Fig. 3).
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156
SYMBOL
mL t/I M+
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theminor scale-tone chords in G minor.
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Of course, the most effective "vertical" sounds are derived from the harmonic minor. However. the use of the b6in the bass line destroys familiar patterns such as I· VI •
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CBOBD minor large haIf-diminished
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The minor scale-tone quality values are as follows.
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Fig. 5 illustrates
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The following minor scales are the frame for most "classical"music:
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inner-voice scale
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157
Fig. 6 illustrates the minor scale-tone chords in D minor.
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Fig. 7 illustrates the minor scale-tone chords in the remaining keys. Fig.7.
Eb minor scale-tone chords. #.
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B minor scale-tone chords. Ii
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159
C# minor scale-tone chords.
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I mx I VIx I IIx' II pIIx I I VI , (d) II I bIIx I 1+' VI I II bIIx I I + I VI , II bIb: , (d) VI I IIx / (Bb) VIIxt
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(Bb) II bIb: II The minor scale-tonechords can be inverted in the same manner as the major chords. Fig. 8 illustrates the inversions of the scale-tonechords in D minor.
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DRILL: Practice the minor scale-tonechords in twelve keys using both hands.
66.
Minor Scale-toneArpeggios
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:
VI , IIx
YESTERDAYS-hv Otto Harbach and Jerome Kern © 1933 T'B, Harms Co. (J renewed % The Welk Music Group. International copyright secured. All rights reserved. Used by permission.
LESSON
•
VI
l
The minor scale-tone chords involve two new qualities: I which is mL and m which is M+. The minor large chord has appeared before as a suspended minor. The major augmented hasappeared as a suspended major.
Arpeggiosfor these chords follow the tones as they appear in the chords. Fig. 1 is a bass line for "My Funny Valentine," in C minor. This is not an authentic minor tune since its final resolution occurs in major. This is characteristic of many tunes in the jazz repertoire. Transfer the melody to manuscript paper and play the appropriate arpeggiosof the chord changes. Note the key change. NOTE:
The diminishedchord is always in root position.
Fig.l. I
Fig. 9 is a bass line for "Yesterdays,·in D minor. Transfer the melody to manuscript paper noting key change to Bbmajor and the return to D minor. Since "Yesterdays"is written in half-time, the time values of each melodic tone must be doubled in order to create the necessaryrhythmic framework for a jazz improvisation. Thus:
160
J. becomes J. J becomes J
J becomes D J becomes J
(c) 1+ 1 / I. / Im , I VI I 1V" Vm I IV IV. I II , hIIx / (c) I + I I I I / 1m I I VI I (Eb) IV I m blIIx I IT I bIb: I
I IV IVI m bV1Ix I VI bVIx Vm bV I (Eb) IV II / (c) II bIb: / 1+" / I. / 1m. I VI / IV: , IT: V I (c) Im VIlx I (Eb) Vm bV , IV m , II bIb: I 1+" / 1+ 1 /1 (Eb) I / IT I ill
MY FUNNY VALENTINE-bv Richard Rodgers and Lorenz Hart () 1937 by Chappell & Co:, Inc. @ renewed. International copyright secured. All rights reserved. Used by permission.
161
LESSON
67.
SECTION
MinorScale-toneScales
LESSON
The minor scale-tone scales follow the rules described for the major chords. Scales for the mL and M+ chords appear in Lesson48.
XI
68. Open Position-Axis of the Seventh
The following is a bass line for "Just One of Those Things." in the key of D minor. This alsois not an authentic minor tune. Many "minor"
The problems of style are beyond the scopeof this book. However, some primary studies in tonal organizationare necessaryas a preparation for future work in keyboard conception. These primarystudies are derived from the major scale-tonechords and involve a Simplerearrangement of the tones. Fig. 1 illustratesthe normal scale-tonechords in the key of C in what is called closedposition.
tunes such as this and "My Funny Valentine"start on the VI of the final major key which is often referred to as the relative minor. It is more practical to think of it as VL
Transferthe melody to manuscriptpaper noting keychanges.Abandon the melody and play appropriatesca1eswith the chord changes. Improvise on the bass lines in Lessons 65, 66 and
rn.
Fig. 1.
(trbIh 1/ 1+ 1 I VI I II I V I (F) Vm I Ix I bW I (F) III I blIb:/ II I bIIx/ 1+- / #10/ II II. / (d) II
IVo I pIIx / 1 (d) 1+ / VI / II I V I (F) Vm I Ix / bV4>/ IVo I III / bIIIx I (F) II / bIh / 1+ 1 I #JoI (Eb) II I V / I I #10 I II I V / (Eb) 1+ 1 I Im IVx I (C) II / bIh I 1+' / VI I bW I IVo / (C) III / billo/ (d) IV IV I / II bIIx/ I+t / VI I II I V / (F) Vm / Ix / IV I (F) 1+' / I+t
bVIIx/ III
/
blIb:I
II I
bIIx/
/I
1+' / I+t I
n
I I
m
IV
V
VI VII
I
Fig. 2 illustrates the same chords in open position: root and Iifth in the left hand, third and seventh in the right hand. This position of the tones is calledthe axisof the seventh (seventh is top voice).
JUST ONE OF THOSE THINGS-Words and music by Cole Porter C 1935 (renewed) Warner Bros. Inc. All rights reserved, Used by permission. A
Fig. 2.
...
In
162
T
...
•
m
IVV
Vlvnl
163
Fig. 3 illustrates the scale-tone chords of C in open position of the seventh.
axis
Inversions, being rearranged scale-tone chords, have no third, 6fth and seventh as such. However, they are treated in the same manner as normal or altered scale-tone chords. The Brst and third notes of the .inversion are played with the left hand and the second and fourth notes of the inversion are played with the right hand. The student should remember that diminished chords cannot be inverted. Fig. 7 illustrates the inversions on the nve qualities, derived from the axis of the seventh. in the key of Eb.
Fig. 3. tJ
....
•
•
. .... n
I
m
IV
v
VI
vn
....
1
Fig.7.
",
C1
Fig. 4 illustrates the scale-tone chords of F in open position of the seventh.
Fig. 4.
tl
•
..
I
T
n
..
m
IV
:;:
.... ,
ij
... EbM
•
,
-
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.... Eh
I
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Eb4
.1
V
VI
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.
....
vn
I
axis of the
E"o
G"o
Ao
Co
Fig. 6.
"
..- .. I
CM
Cx
Cm
Cp
DRILL: Play the scale-tone seventh chords, open position, axis of the seventh in twelve keys. All five qualities on twelve tones with their inversions.
r
I
Co
GM Ox
Om op
Fig. 6 illustrates the five qualities on G, open position -
seventh. 164
,,
I
•
Fig. 5 illustrates the five qualitieson C, open position seventh. Fig.5-
axis
I
Go
axis of the
I
Fig. 8 is a bass line for "When YourLover Has Cone," in the key of G. Transfer the melody to manuscript paper. In ad lib style, play the chords in open position integrating the melody in octaves. (See Fig. 9. Copyright laws prohibit exact reproduction of the melody.) 165
IIxb I bVlIx / bVIIx I I / I VI I IIx/ #IIo I II I IVI/>I III blIIxI II bIIxI I I I / IVx I IV" I IIx bl I IIxb ' I bVIIx I bVIIx I I I I IVm / ill / blI Ix /
I / I I IVx / IVx I IIx b 5
II I
bUM I
I I
/
..
J
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o
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,
+
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I
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etc.
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,.,. . -
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,
:
-
-
,
I
IVm
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I
Fig. 10 is a bass line for "'When Your Lover Has Gone." Play Fig. 10 integrating melody as in Fig. 9.
IVx I
I I.
-u-
-Q-_-eI
'1-I
::u:
~
JJ"
I
bmx n
U""
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Fig. 9.
,.,
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I
"'HEN YOUR LOVER HAS ('.o~E-Words and Music by E.A. Swan U.S. (') 1964 Warner Bros. Inc. All fights reserved. U.K. © 1931 Remick Musk Corp. Sub-published by Francis Day and Hunter Ltd. Used by permission.
tJ
.
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Fig. 8.
«J
....
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m
bmx
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-e-
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"U""
: n
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Fig. 10.
"1& «J
LESSON
: I ~ «J
.........
'1l::J';
-
-
~-e-
"'"3:1:
JtJ'
-e-
IVx
Open Position-Axis of the Third Fig. 1 illustrates the scale-tone chords in Bh in open position, axis of the third (third is top voice). The root and fifth are played with the left hand. The seventh and the third are played with the right hand.
-e-
~
I
IVx
110
-e.:,
-eo
"U""
-u
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---
Fig.l. ~-e-
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.............. ....
4
bvnx 166
v~
69.
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I
VI
n
I
n
m
IV
V
VI
vn
I
167
Fig, 2 illustratesthe scale-tonechords of of the third. II
,
Ab,open position -
pick""P
II II I bUx ' " I I I #10 I II I bIh:." I I / VI / (Eb) II I IVo I nr I bIIIoI II I bUx·"1 I I #10 I II I bIIx•• I (Eb) I I #10 I II~ I bIIx· " I I I 1+- I (C) II I pIlx·· I (e) I I VI 1/ (Eb) II / brIx/ I I VI/II I IVo z m / bIlIx I (Eb) II I IVo / m blIIx I II V I bY. I IVo / III / bIlla /
axis
(Eb) #10
.
Fig. 2.
(Eb) II I bIIxbl / I VI / Vm I
m
U
rv
V
VI
VB
I
(Eb)
Fig. 5.
Fig. 3 illustratesthe five qualitieson Db, open position- axis of the
m
/
bV I
IV / IVo / In
VI /
III blli I 1+" / I+t II
1\ I
third.
#*
~
Fig. So
•
: L
I
#10 1\
DPMDPxe#me#1i e#o Fig. 4 illustrates the inversionsof the five qualities on from the axis of the third.
Abderived
-e-
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....
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I
#10
n
D
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~
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Fig. 4. 1
VI
n
.... ....
.....
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....
......
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m
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--
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.
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n
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. Gj&s
168
G#pl
G#,s:
0#.6 2
G#O
50
Do
Fig. 5 is a bassline for "I've Got YouUnder My Skin,"in Eb. Transfer the melody to manuscriptpaper noting key changes. As in the previous lesson,play the chords in ad lib style in open position,axis of the third. integrating the melody in octaves.
Fo
-~
-~
......
......
bIIxPS
I
......
-~
......
~
..-
..... ......
-Q-
.....
I
I'VE GOT YOU UNDER MY SKIN-by Cole Porter CJ 1936 by Chappell & Co., Inc. 0 renewed, assigned to John F. Wharton. Trustee of the Cole Porter Musk,t1 & Literary Property Trusts. International copyright secured. All rights reserved. Used by permission.
169
" pe-
-9-
Cl
.......
-9"U'"
"U'"
-e--
:
-. "
.......
DRILL: Play the scale-tone chords in open position, axis of the third, in twel ve keys; all JIve qualities and their inversions on twelve tones•
.....
NOTE:
I
Inlx~5
n
101 .....
n
Both these chords and those illustrated in Lesson 68 are among the basic devices used by jazz pianists when "camping" (accompanying another instrument within a group).
I
Cl
-
'1D'"
-e-
:
n
VI
A
I
I
I
.0..
0-
IVa
m
I~.o..
LESSON
n
IVa
I
I
Open Position-Mixed Axis
.0..
-9-
ImIx
70.
By combining the two axis positions, it is possible to achieve a smoother VOice-leadingthan is possible when only a Single axis is used. Fig. 1 illustrates the circle of fifths described in Lesson 62.
Cl
.p...
:
m A
I~ bDh
-e-
~
n
V
l:!!:
~ .....
-e-
,-9-
:
iT
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n
m
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I
~
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m
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VI
I Vm
m;
V
,~
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GV",
~
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( \
\ )
Eb
A VI
Ab
1
bv
IV
E III
'"
Db
.......
~,(l.
o
-e-
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I
f.t
:
v,#
I
VI
I
e
170
IVo
n I
·Cl
0-
I
Cl
A
..0..
-e-
,e-
~Cb~
/
B VII
F#
...... If we playa descending chromatic scale beginning on the major third with the circle described above, we derive Fig. 2 (the jazz circle, like the circle in all tonal music. moves counterclockwise).
171
Fig. 2. It
S
I .,
.,
3
3
.,
3
.,
Fig. 5. 3
.,
.
..
3
,.
.,
(F) VI 11K/ VI IIx / II V / II V / Ix / IVK / bV~
,
(F) I IV VIlm IIIx / VI Ilx / VI IlK / II V / II V / Ix I IVx /
(F)
l
I
""
bVIx
(F) II It'
,
IIx
I
blIxI
I / (G) IIa,
II" / II
bIlx11
"
,
,
.. Fig.4.
"
.,
.,
3
3
'I
.,
'I
~
~ ~
-u
I
..
~
~ •
I
: L
I /I
"
Fig. S. 3
/
Fig. 5.
H we play the circle a secondtime with a descendingchromaticscale beginning on the minor seventh, we derive the following (Fig. 3): 'I
III III II /
WI' / II bIlK I I IV / VII II1K I VI Ilx I VI IIx /
(F) IT V / II V / Ix I IVx I bVIx 11K bili
'I
lli b1h I
7
-u
7}
I
I ~
"1
y
'i:r
~
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I
-u :!l
-u
'7
3
.,
....
I
3
'I
3
H we combine Figs. 2 and 3, we derive the following (Fig. 4): I
..
•
it. l
.,,...
,..
T
Vir"
I
.,
'I
'7
3
3
.,
3
'I
II
172
'Ihe major third and the minor seventh have been chosenbecause the dominantcircle formed by these intervals is the primary circle in jazz harmony. Fig. 4 above illustrates a basic principle of antonal harmony which is evident in any Bach Invention: In a circle of fifths,the third becomesthe seventh and the seventh becomes the third. Fig. 5 is a bass line for "Lover Man," in the key of F. Transfer the melody to manuscript paper noting key changes. As in Lessons 68 and 69, play the chords in ad lib style in open position integrating the melody in octaves. Numbersover the Romannumeralsindicate axis to be played on each chord to insure smooth VOice-leading.
~
'U
V-
-eo
~
t,
I
I :
"1
V6"
3
.... 'I
qv I
I
3
3
'I
L? ....
-e-
I
-
....
'I
'1
LOVER,MAN (Oh Where Can You Be?l-by Jimmy Davis, Roger "Ram" Ramirez, and Jtmmy Sherman © 1941, 1942 by MeA Music, A Division of MeA Inc., New York, N.Y. © renewed. All rights reserved. Used by permisslon.
173
,,~
t.I
~
-6-
I
I
:
.
LESSON
t
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.,
16-
'1
'1
7J
I
I
~h
'1
~
I
'1
3
<,;
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'1
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3
3
'1
'';'
7T
BasicProfessionalPiano (melodic)
J
We now have in our grasp sufficient material to play what might be called basic professional piano. III other words, most professional players seem able to reproduce a simple but effective sound which fulfills minimal requirements. This sound does not demand a Horid technique and, above all, doesnot sound like sheet music. It is based on one primary factor that is usedin whole or in part by every professional pianist playing today. This basicidea is open position - axis of the third and axis of the seventh. However. the use of the octave melody in Lessons 68, 69 and 70 is awkward in that the phrasing of the melodic line must be constantly interrupted in order that the chords be played at their appointed positions. This device was used only to introduce the mechanics of this type of keyboard orchestration.
~7
~4l'7
'1
71.
The professional usesthe axis technique but, instead of playing the melody in octaves. he simply adds the melody to the right hand in a single voice above the third or the seventh (see Fig. 1).
3
3
Fig. L
"
.,
:
7J
-it
~
'7
P
3
'" '1
3
IfF
p'"
,
,
I
-
-
3
'1
'1
l
I
I
:
"'eo
-&
.....
., The Simple rule for this procedure is as follows: Play the root and fifth in the left hand. Play the melody in the right hand, adding the nearest third andseventh immediately below the melody.
174
175
preferable
For example, in Fig. 2, the melody note is D, the chord is I in the key of C. The root (C) and fifth (G) are played in the left hand; the melody (D) is playedin the right hand; the two nearest axis points below the melodyare the seventh (B) and the third (E).
Fig.2.
Fig. 6.
Fig. 7.
-
WID.
Wm
Fig. S.
ex
cp
em.
Co
em.
Fig. 3 illustratesthe D melody note with the Cx, Ct/>and Co chords. In each case, the axis formed by the D with the C chords is that of the seventh.
Generally,the axis of the seventh is the stronger and should be used whenever it is pnysicallypossible. In Fig. 7, the second voicing is prefer. able to the first for harmonic depth. However, this is a corollary of the basic rule of the third and the seventh immediatelybelow.
!
I
Fig. 8 illustrates the application of this technique to the melody in Lesson7, Fig. 1. Fig. 8.
In Fig. 4, the melodynote is G, the chord is I in the key of F. Here, the two nearest axis points below the melody are E (seventh) and A (third).
"1
Ii
I
r
4ItI
.
I
I
I
I
I
I
..--
..
"
I
I
3
'1
'1
-
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Fm.
Fp
Fo 4t)
Fig. 5 illustrates the G melody note with the Fx, Fm, FcfIand Fo chords. Here the axis (top voice) is the seventh. When the melody note faDs on the third or the seventh (seeFig. 6), double the voice an octave below in order to maintain three voWel in the right hand.
.
r
- -If
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p'
rr I
'1
3
:
Fx
.76
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Fig.4.
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becomes
:
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'l
tI
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/ I I VI I III V I
I I I IVx I 1m / IVx I II I bVIIxI 1 I VI I III VI1m bVIIx I VI I IIx #110 I III bIIIx I II bIIx I I +- I 1+' /1
/~ :
IIof>/ Vilm bV1Ix / VI I IIx I II III I IV V"
1be numbers over the symbolsin Fig. 10 indicate the axis in each case which is determined by the melody Dote position.
~~
3
:
t
~~ q~
/+
r
t
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"
:I
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. f.iI
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f
.,
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All
~~bej§omes~ / / I / IYx / 1m / IVx I II I
f!~
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J ~~r=~§·§~§~~ pia-lip
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.
=l==3
180
~
'1
II
·iV
Fig. 10 is a bass line for "Tenderly," in D. Transfer the melody to manuscript paper. "Tenderly" appears as a waltz in the sheet music version and must be converted to 4/4 time by the simple device of adding one beat to the first note of each bar, as in Fig. 9.
-
q~
I
:
Fig. 9.
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.
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Fig. 10.
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II
lIi
TENDERLY-Lyrics by Jack Lawrence, Music by Walter Gross © 1946, 1947 Edwin H. Morris & Company, a Division of MPL Communications Inc. © renewed, 1974, 1975 Edwin H. Morris & Company, a Division of MPL • Communications, Inc. International copyright secured. All rights reserved. Used by permission,
181
LESSON
72. Basic Professional Piano (improvised)
Jazz piano until 1940 was dominated by the concept of sWing bass which was evolved from the early ragtime period. The four masters of swing bass piano were Earl Hines, Fats Waller, Teddy Wilson and Art Tatum. One of Tatum's most spectacular devices in the left hand was a circle
of .fifthspattern of alternating full tenths and sevenths (see Fig. 1). Fig. 1.
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:
This was not a swing-bass design as such although it did give the feeling of the quarter-note pulse basic to swing-bass piano. The student will notice that Fig. 1 is almost identical with Fig. 4, Lesson 70, except that the bass design has been inverted. The student will also notice that he probably is unable to play many of the tenths (Db involves the widest stretch). After 1940 the problem facing the jazz pianist was to evolve a left hand style that would no longer contain the rigid synunetry of swing bass, but at the same time would fulBUbasic harmonic requirements. In other words, the rhythmic responsibility of jazz piano was taken from the left hand and placed in the right. Although many pianists were involved in this revolutionary step. the master figure is Earl "Bud" Powell. Powell's solution to this problem was magnificently simple (Fig. 2). This is Fig. 2 of Lesson 70 reduced. to one
hand.
These thirds (fingering 2-1) and sevenths (fingering 5-1) are usually referred to as "shells't-s-the term refers to the more common seventh shell employment of the outer elements of the chord.
182
-e-
H we compare the first two steps of the series in Figs. 1 and 2, we nnd the fonowing (Fig. 3):
These left hand shells are indicated by a point system as follows:
(Key of F)
III -
vlx- Ii
-
~ - I which reads:
III - point of seven VIx - point of three II - point of seven
Fig. 3.
V -
point of three
I - point of seven (See Fig. 5.) In the top stave of Fig. 3, both chords are dominant since both contain a major third and a minor seventh (whether the omitted fifth were perfect, diminished or augmented, the chord would remain dominant). In the bottom stave of Fig. 3, the shell C-E could represent the fullowing chord fragments: SHELL
Fig. 5. 3rd 5th .JJ.
"
-
CI
QUALITY FRACMEl\'T
C-E
CM (C - E G - B) Cx (C E G Bb)
C E
~
Again, in the bottom stave of Fig. 3, the interval F-Eb could represent the following chord fragments: SHELL
QUALITY FRAGMENT
F - Eo F - Eo F - Eb
Fx (F - A - C - Eo) Fm (F - Ab - C - Eb) Fo (F . Ab - Cb - Eb)
m
Fig. 4-
1
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n
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:I V
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....
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Fig. 6.
.
184
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5tb
Inversions are indicated by playing the outside voicesof the particular inversion and are always played at the point of six (in all inversions the distance between the top voice is either a major or minor sixth - so too with +6) (Fig. 6).
This means that the series in Fig. 2 only "implies" certain qualities-the missing tones (3rd, 5th or 7th) must appear in the right hand improvisation (Fig. 4). A
:lrd
5th
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7th
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7th 5th
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185
~
Fig. 7 is a bass line for "Gone with the Wind." in Eb· Transfer the melody to manuscript paper noting key changes. Numbers over Roman numerals indicate interval point of chord in left hand.
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Fig. 8 illustrates an improvised line of Fig. 7 employing all the elements studied in this book. The over-all sound of Fig. 8 represents in microcosm mainstream jazz piano as it is played today.
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GONE WITH THE WlND-by Magtdson and Wrubel (:) 1007 by Bourne Co. 0 renewed. Used by permission.
Fig. 8.
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S"'.' I I VI#f VI I II V I III VIx I
bVIIx =Sf
(Eb)
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(Eb)
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Fig. 7. "Cone with theWind" (Eb) II IVa I III VIx I
- ...
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187
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189
DRILL: Write or play an improvisation on Fig. 7. Apply this style technique to previous assignments in the book using the following simple rules: 1. In diatonic progressions (Fig. 9). use sevenths only.
Fig. 9
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2. In chromatic progressions (Fig. 10). use sevenths only.
Fig. 10.
3. In circles of fifths progressions (Fig. Ll ], use point of seven on all major, minor. half-diminished and diminished chords; on aU dominant chords. use point of three. Dominants in Rules 1 and 2 always take point of seven. Alternate consecutive dominants with three and seven when in circle of £fths.
Fig. 11 illustrates the basic circle of fifths series from the twelve positions. All thirds to be fingered 2-1; all sevenths 5-1. In a schematic such as Fig. 11, all accidentals terminate where they originally appeared. The student is strongly advised to study and memorize Fig. 11 in order to create the automatic facility necessary to jazz performing.
190
I
Fig. 12 illustratesa stylizedbass line on Fig. 2 in Lesson60. Fig. 12. .fl.
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In general.the fifthfingerof the left hand shouldappear in the second octave below middle C, which means that the hand is shifted down one octave from the scale-tonechord position (see Fig. 13).
XII
73. Standard .Procedure
I
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3
LESSON
I
3
,
,
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SECTION
I
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The fonowingrules can be helpful in tracing the necessary stepstoward a professionaljazzperformance. 1. Explore melody and chords in several keys. (The fonowingstepsrefer to written key.) 2. Explorearpeggiosfor each chord. S. Explorescalesfor each chord. 4. Memorizemelodyand chords. 5. Memorizechordsalone- no melody. In the beginning the student may not be able to accomplishsteps 4 and 5; if 50, they should be skipped. However, at SDIDe later time. these stepsshouldbe learnedin their natural order. The following rules should be accompanied by a quarter-note foot beat - abandonthe melody: 6. Play chordsin the left hand, eighth-note arpeggiosin theright hand. 1. Play chords in the left hand, eighth-notescalesin the right hand. 8. Play chords in the left hand, eighth-note triplet arpeggios in the right hand. 9. Play chords in the left hand, eighth-note triplet scalesin the right
hand. Fig. 13.
192
10. Play chords in theleft hand, sixteenth-notearpeggiosin the right hand. 11. Play chordsin the left hand, sixteenth-notescalesin the right hand. 12. Play chords in the left hand, apply rhythm combinations to arpeggios. (Lesson 38) 13. Play chords in the left hand, apply rhythm combinationsto scales. {Lesson 52} 14. Play chordsin the left hand, apply rhythmiccompositeto arpeggios. (Lessons 39, 40) 15, Play chords in the left hand, apply rhythmic compositeto scales. (Lessons 53, 54) 16. Play chords in the left hand, combine previous elements into an improvisation. 17. Stylizeleft hand as in Lesson72. 18. Do not use the sostenutoor "loud" pedalwhen improvising.
193
LESSON
LESSON74.
75. Memorization
Ear Training The problemof developing the ear for what is called prehearing is of major importance in performing jazz. It goeswithout saying that the hearing demands in jazz are extremely high and no effort should be spared in the development of the ear. The following outline indicates the hearing levelswhich occur simultaneously in the performance of a mature jazz musician:
Improvisation Melody Lyric Chord progression pulseor beat To hear these five levels simultaneously is a basic prerequisite for superior jazz playing. The followingroles can be of great value in building a secure relation-
shipbetweenthe ear, the eye and the hand. L Flay any scale.Sing any tone of the scale and check at the keyboard. 2. Strike any tone on the keyboard and sing any of the remaining eleventones. S. Flay any tone and sing the third, fifth and seventh of the five qualities. 4. Flay and singthe scale-tonechordsin twelve keys. 5, Play any scale and sing the various altered chords on each tone. 6. Flay anyscale and sing the various chromatic chords on each tone. 1. Flay any scale and sing the various altered chromatic chords on each tone. 8. Repeat the previoussteps with inversions. 9. Play the bass Dotes(omit the SId, 5th and 7th) in a two-part fonn and sing the melody. 10. Repeatstep 9 and sing the bass line. H. Repeatstep 9 and sing the qualitiesof the bass line. 12. Use tenor saxophone (closest instrument to human voice) recordings to sing the saxophone"line" simultaneouslywith the recording. 13. Identify bass lines on recordings. Indicate bass lines in Roman numerals. 14. Flay the fifteen two-part Inventions of J. S. Bach - nrst singing the right hand voice. then the left hand voice.
194
To say that memorizationis important to the playing of jazz is equivalent to saying that a' knowledge of hannony and rhythm is important to the playing of jazz. Memorizing the elements that go to make up an improvisation is concentrated in one factor - the processionof the chords in their rhythmic frame. This chord procession includes aD the elements described in the previous chapter on Ear Training. Of course, the problems of memory and hearing are closely related. although memory can operate on three levels: (l) Mental; (.2) Muscular; (3) Auditory. Method 1 (mental) is the least preferred and involves thinking of the Romannumeralscomprisinga bassline (I. VI. IIi>.V, etc. ), Method 2 (muscular) involves automatic playing (memorized hand positions) which can be found in aDprofessional playing. particularly in the classical field. In topflightjazz piano. automatic playing should be at a minimum in order to give the perfonner the highest degree of spontaneous rhythmic and tonal freedom. However, the muscular method can be helpful as a starting point for the student. This involves learning the various hand positions of the chords until they can be played without hesitation. When applying the outline of procedure in Lesson 73. the student will find that mastering step 4 will not necessarilymean the same for step 5. The hands will not be able to function independently in the beginning.although hand independencemust eventually be achieved for good jazz playing. Method 3 (prehearing) means a memorized hearing - heard in anticipation of the moment of playing. This is the ideal we anseek and is the reason why fine jazz playing is a eballenge both to play and appreciate. Apply the rules of procedure to aD the bass lines in this bookstarting on whateverpractical levelnecessaryfor the student.
LESSON
76. Sheet Music Conversion
The problem in converting sheet music is one of simplification;sheet music is much too complicated to provide a simple harmonic structure for improvisation.However, sheet music is the only practical means of determining the intention of a composer. Unfortunately the aspect of most 195
importance to the improviser - the bass line - is of comparatively minor importance to the composer. The following steps are suggested as a means of isolating the fabric of a tune from the melody and orchestration of the sheet music. 1. Convert guitar symbols to Roman numerals. Guitar symbolsappear in letters; these letters must be given a numerical position in the key. The followingtable on C indicates the values of the letters and their conversion. All letters will function in the same manner.
C C Maj. C Maj. 9
C Major:
C· C' C·
C Dominant:
cn
C+ C Dominant
P:
C Dominant
bl
C' susp.4 :
Cm'
C Minor:
em" C min.'
C Half-diminished:
em - •
emb l
E!>m'· C Diminished:
Cdim. Co
RULE; On aU m' symbols, build a half-diminished chord a minor third
below. 2. Convert notation in bass and treble clefs to Roman numerals. In many cases this step can be extremely difficult; however. if the student starts with the lowest note in the bass and searches out the third, Bfth and seventh, the quality of the chord should emerge. If one or more of these tones cannot be found there is a fairly clear indication of the presence of
3. Compare the two results (letters and notation) for the best solution. This step involves the problem of removing many of the faults common to most sheet music: ( a) Unprepared dominant chords; (b) incomplete patterns; ( c) interrupted patterns; (d) key changes not indicated; ( e) additional chords for melodic adjustment; (f) misspelled inversions. Thesolutions are as follows: 1. When a dominant chord appears on the nrst beat of a bar and is held through four beats. prepare the dominant by playing a minor or halfdiminished chord a perfect fifth above for the first two beats. 2. If a chord series such as I / II V / appears in sheet music. this is an incomplete pattern. It should be I VI/II V /. If III VI I V I appears. this too is an incomplete pattern. It should read III VI I II V /. 3. Interrupted patterns: Sheet music:
Pattern:
nr
~I1Ix / II V I I I1IVI/IPlIx! I VI VI +- I VII lUx / VI
III bIIIx / II bIIx / I III VI III V / I VI bV+ I VII IIIx! VI 4. Key changes: The presence of a major chord on other than I or IV is a clear indication of a new key. If, in converting to Roman numerals. the student Bods. for example. VM. II Maj. '. VIM, an immediateadjustment should be made in the signature no matter how fragmentaty. 5. Many sheet music bars contain three or more chords: one or two lor he basic harmony and the remaining chord or chords to cover isolated melody tones which clutter the frame for an improvisation. Omit this "cover" chord. 6. Often, an inversion will appear in the notation but is spelled in the guitar symbol as a root position chord. In cases of this sort. the notation should be followed indicating the inversion position.
In concluding this lesson, the fonowing rules are wen to keep in mind: The major chord can move anywhere. The dominant. minor and half-diminished chords usually move down a P5 or down a m2. The diminished chord moves up a m2 or moves down a m2. The conversion of 3/4 time to 4/4 time is discussed in Lesson 71.
an inversion. ~m6
196
IS
the
lirstInversion of a e;. chordwhich shouldbe played in root po$ition.
197
LESSON
77.
Touch-Technique The technical demands of modern jazz playing are in many ways comparable to those required by serious music. On some jazz instruments (notably the trumpet). levels of virtuosity have often exceeded those obtaining m the concert field. In jazz piano. Teddy Wilson and Art Tatum established the modern levels of virtuosity although their styles utilized a great deal of legato playing which hasin recent yearsundergone vital changes. The major figure after Wilson and Tatum is Bud Powell who, despite his revolutionary contribution to modern jazz piano (abandonment of swing bass, etc.), retained much of the finger legato playing of the earlier period. George Shearing in general continued the legato sound with an emphasis on block chords skillfully pedalled to resemble the sound of a saxophone section. Shearing's "single line" was classicaIly conceived along the lines of a Mozart rondo. Along with the virtuoso Powell school. there appeared the beginnings of a primitive school of pianism led by Thelonius Monk. This styIe remained in a relatively undeveloped stage until 1951 and the appearance of Horace Silver, who founded the modern articulation approach to jazz piano. This was a revolutionary movement away from the flnger legato and toward what might be described as a "wrist" legato. This means the use of a quick wrist stroke on practically every note which is cushioned and connected by the finger clinging to the key. On fast sixteenth- and thirty-second note passages, this wrist stroke is abandoned in favor of the finger. but the essential eighth.note strokes nearly all start at the wrist. This is an attempt of the pianist to simulate the hard, sharp attack of the various jazz horns. In the last seven years this style of articulation has become the vernacular sound of modern jazz piano. Oscar Peterson has furthered the articulation style by enhancing it with a virtuoso technique reminiscent of Art Tatum's. There is little of the classical legato in Peterson, who is undoubtedly the outstanding jazz pianist today. Hampton Hawes has effected a fusion of the Powell architecture and Silver's touch. Hawes has brought the Charlie Parker "line" concept to the keyboard with a definite emphasis upon the articulated stroke. This wrist stroke is not a staccato or half-staccato. Classically trained pianists immediately apply a staccato technique to jazz playing with disastrous results. In classical terms, the stroke is more related to a marcato attack, but never a staccato.
198
General knowledge and playing experience with the literature of the keyboard are essential to jazz performing, although some composers are of more value than others. Bach, Mozart, Chopin, Brahms and Debussy are the major inBuences prevalent in jazz piano. although familiarity with all composers of all periods can nourish the student in his work. Jazz hommen are an important inlluence on all jazz pianists. with emphasis on the tenor and alto saxophone. Hanon studies in twelve keys are valuable in building key facility and the diatonic feeling of jazz harmony. In conclusion, a jazz musician can be only as good as his degree of exposure to alI music regardless of the instrument or the period and. of course, as his degree of mastery of his instrument.
Recordings Unlike the literature of classical music, jazz literature does not and cannot by its very nature appear as written or notated music. Recordings are the only permanent document of jazz literature and the responsibility of becoming familiar with this literature rests heavily upon the student. It is important for the serious jazz student to study the basic diseography of jazz from 1925 to the present day. This study should be approached on two levels - general, and spedfic instrument Study in the first category should be sufficient to identify general stylistic features of each period with a knowledge of the major figures (regardless of instrument) of each period. Study in the second category should have reference to the specific instrument chosen by the student. Here, the research should be more intense, with serious study of each period, its stylistiC patterns, the compositions played, the techniques employed, etc. The follOWingoutline indicates some of the major figures on each of the important jazz instruments: Arranger: Fletcher Henderson Duke Ellington Don Redman Sy Oliver Gerry Mulligan Bill Holman Nelson Riddle
Bands: Fletcher Henderson Benny Goodman Duke Ellington Jimmie Lunceford Count Basie Woody Herman Gerry Mulligan Tentet Stan Kenton
199
Bass:
Pops Foster Jimmy Blanton Oscar Pettiford Ray Brown Charles Mingus Clarinet: Johnny Dodds Pee Wee Russell Artie Shaw Benny Goodman Stan Hasselgard Drums: Baby Dodds Chick Webb Gene Krupa Kenny Clarke Jo Jones Max Roach Guitar: Eddie Lang George van Epps Charlie Christian Django Reinhardt Tal Farlow Joe Pass
Piano: Jelly Roll Morton Earl "Fatha" Hines Fats Waller Teddy Wilson Art Tatum Earl "Bud" Powell George Shearing Horace Silver Oscar Peterson Hampton Hawes Wynton Kelly Herbie Hancock McCoy Tyner Bill Evans Alto Saxophone:
Benny Carter Johnny Hodges Charlie Parker Lee Kanitz Tenor Saxophone:
Bud Freeman Coleman Hawkins Lester Young Stan Getz John Coltrane Miscellaneous Instruments: Milt Jackson-vibraphone Jean (Toots) Thielemans-harmonica Serge Chaloff-baritone saxophone Jimmy Smith-organ Red Norvo-xylophone
Trumpet: Buddy Bolden Louis Armstrong Bix Beiderbecke Roy Eldridge Bunny Berigan Dizzy Gillespie Miles Davis Chet Baker Clifford Brown Trombone: Kid Dry Jack Teagarden Tommy Dorsey J.J.Johnson Vocalists: Louis Armstrong Bessie Smith Jack Teagarden Bing Crosby Joe Turner Billie Holiday Eddie Jefferson Frank Sinatra Ella Fitzgerald Anita O'Day Four Freshmen Hi-Lo's Lambert-Hendricks-Ross
The following is a brief chronology of the history of jazz piano. Barrelhouse Morton
1900
~
Fusion
] 1925
Waller
Hagtime Joplin
:: Hines
I
I
Tatum Fusion
Wilson
I
1940
I Earl "Bud" Powell Dissidents
I Hhythrnlc
I
I
Thelonious Monk Lennie Tristano Errol] Garner Dave Brubeck Cy Walter
Horace Silver Hampton Hawes
Harmonic
1 George Shearing Wynton Kelly Oscar Peterson Herbie Hancock Bill Evans McCoy Tyner
This list is by no means exhaustive. It is a general guide to the vast jazz literature. It is important to remember that many of the most important advances have occurred on the trumpet and saxophone and were later transposed to other instruments; i.e., Armstrong to Hines, Parker to Powell. The point is that the "lines of influence" in serious music are fairly direct; in jazz, these lines crisscross in many ways from instrument to instrument and from period to period. Full knowledge of these transitions is essential to the development of a thorough background.
200
201
SECTION
XIII
For Further Study In this section, a number of additional figured bass lines are provided to enable the student to expand his knowledge of the preceding lessons. Follow the previously suggested procedure of writing the tune out on two or three staves, depending on which lesson is being expanded. The song "Carolina Shout" is included here as a lesson in the style of Thomas "Fats" Waller. It is, in the opinion of the author, an ideal example of Waller's stylistic contributions.
Dolphin Dance The following is a bass line for "Dolphin Dance" in changes.
(Eb) I I (G)
Ixll3
Eo.Note key
I I I VIIx WIIx I VI VI2 I IV's I VI VI2 II
II bflx I I II (Eb) IVm IVm2 II I V #Vo I VI I VI2 II omit 5
omit 5
(G) II I bIIx I I I IX1l3 I Ix ll 1l3 I IX1l3 Ix I WIIX1l3 I bVIlxllll 3 I (G)
bVIlxll3 I VI I1x I bVlx I V I III I Vlx V4J I DVm I VIIx I 6
6
(G) VIx1l3I IV5 I VIx1l3I IV5 II DOLPHIN DANCE-by Heroic Hancock Courtesy of Hancock Music Co. Used by permission.
203
Invitation
The Summer Knows
The following is a bass line for "Invitation." This tune presents a unique problem due to the absence of major chords (the normal cadence chord) with the exception of the final chord. Note key changes.
(C)
Ipll7 / II:<1I II I V I II I V I Vm I Ix II (Eb)
Ulm
I
n 1l1 I
(Eb) II I V I II I V I Vm I Ix II (Db) II I V II (B) II llIl 7 I IF'1 I (B)
II I V II (A) II::::I1I Ip7 I II I V II (C) VI I VIz I IVXb5 I
(C)
IVxb5 I IIIx 1l5 I blIIx I IIu7 I II'l7 I II I V I II I V I Vm I Ix II
(Eb) II I II,2 I bvnMb.5 I bVIIMI>5I II¢ I
Vll5
Ilm
L
The following is a bass line for 'The Summer Knows" in (f) minor. Note key changes.
(F)
VII3V I I I
II~
I I I Vm Ixll3 I IV II (A) lIef>V I I V I I II
(Ab) V I I V I I II (G) V / 112 I II (F) lIef>bIIx I I I IIef>2I I I
(F)
IItJl2 II (f) 1m I IV 11+ 6 I 1+6 II
SUMMER OF '42-THE SUMMER KNOWS-by Michel Legrand and Alan and Marilyn Bergman Cl ]97] Warner Bros. Music Corp. All rights reserved. Used by permission.
I ImL II
Time After Time INVITATION-by Paul Francis Weber and Bronislau Kaper l!:) 1952, 1956 Metro-Goldwyn-Mayer Inc. l!:) renewed 1980. All rights controlled by Robbins Music, a catalogue of CBS Songs, a Division of CBS Inc. International copyright secured. All rights reserved. Used by permission.
The following is a bass line for "Time After Time" in Bb.
I VI / II V1l3I III VI I II Vll3 I I I IV I VIIm I IIIx I VI VI2
bVef>VIIx / IIIu1 IIIll7 / III¢ VIx IIIlf#1 n ll7 / II bVIx I V1l3I V I
West Coast Blues The following are a head chart and a blowing chart for "West Coast Blues" in Bb. Note 3/4 time signature.
I VI I II I
~
Illil
v» I III ..
VI I II V1l3IT
~ Ix / Yo I bVIIx / v.; / Ix I Yo I blI I bII bVIx I IVx I Yo I :.'-/ Yo I
IIcf>3I VIz bV IIVm bVIIx I III bIllo I II blIx 11+ 6 I
TIME AFfER TIME-Lyrics by Jule Styne, Music by Sammy Cabn 1947 (renewed) Sands Music Corp. All rights reserved. Used by permission.
@
~ Ix I Yo I Yo I Yo I V / Yo I IVx I Yo I Ix I bUb I bVIM / DIIx II
204
vt bVlo I Vm bY I IV I bVIIx I
..
1+6 1/
HEAD CHART
~ Ix I Yo I bVllx I Yo I Ix I Yo I bII I
/
bh
bVix~/ IVx I
Yo I Yo I Yo /
For ADWe Know The following is a bass line for "For All We Know" in the key ofF.
~ Ix I v. I Yo/ v. I V I Yo / IVx / v. / Ix I bUIx I bVIM I bl lx 1/
piclc-up
BLOWING CHART
II #110 I III / bIIIo I II II 2 I VIIm bVlIx / VI::"#7VI1l3I VI bIllo I
~ Ix I Yol bVllx 1::.
II I V#3 I I VI /I1x b5 I V I II bIIx I I II I IIItJl blIIx I IIllll7 11117
~ III I VIx I bIll I bVIx I II I III / IV I V I Ix I bIlIx /
II #110 I III VI I bVm VIIx / II1x bVIIxb5/ VIxll3VIx I II bVIxb5I
~bVIM I bllx 1/
V1l3V 11+6 11+6 II
WEST COAST BLUES-by John L. eWes) Montgomery Cl ]960 Taggie Music Co., a Division of Gopam Enterprises, Inc. Used by permission.
FOR ALL WE KNOW-Words by Robb Wilson and James Griffin, Music by Fred Karlin. © 1970 by Music Corporation of America, Ine., New York, N.Y. Rights administered by MCA Music, a Division of MCA Inc., New York, N.Y. All rights reserved. Used by permission.
blIx / / I VI /
fub5
/
V I II bIIx I I II I III¢ bUIx I IIU7 11117 I
/
205
The Preacher
Our Love Is Here to Stay
The following is a figured bass for "The Preacher" in F.
The following is a bass line for "Our Love Is Here to Stay" in the key of F.
VIl3 II I bVIo I Vm OV I IVx OVIlx I 1 V:::aI plclc."p piclc·up
j IV Vilm IIIx I VP117VI:t7 I VI I1x I II Vl13I I OVlo I Vm Ix /
1m IVx I VIIm II1x I IV+6 1+6 VIl3 III
srve I Viz VI
bVIo / Vm bV I IVx WIIx II
I II v:;a I 1+6 VIl3 /
I II 112 I bVIIx
vr,
I
I1x tlIIa I III VIx I II V I I IV I VII IIIx I VP=7 Vp7 I VI
n,
I
II bVIx I V VI I I1x'S I II Vl13I 1+6 II I III VI I I1x'S I II
n, /
VI II I1x"5 I II V:3 I
p6
II I III VI I
IIx"'~
V:l3 I I IV Vilm Illx I
VP:1l7VJll7 I VI IIx / II VIl3/1 bVlo I Vm Ix I 1m IVx I VIIm IIIx I
bVIIx VIx / Ilx tlIIo I III
vr,
I II V I Vm Ix /IV+6 tllVo I VIz VI I
II Vl:3 I 1+6 I 1+6 1/
IV+6 tlIVo I Viz VI I II Vila I 1+6 VIl3 I 1+6 II
OUR LOVE IS HERE TO STAY-by Ceorge and Ira Cershwin ID 1938 by Chappell & Co., Inc. to renewed. International copyright secured. All rights reserved, Used by permission.
mE PREACHER-by Horace Silver C 1956 by Silhouette Music Corp. Used by permission.
Desifinado
Here's That Rainy Day
The following is a figured bass for "Desifinado." Note key changes.
The following is a bass line for "Here's That Rainy Day" in Bb. Note key changes.
(F) I / Yo I IIxbS I y. I II I V I III
(Bb) I VlIxl:5 /1 (Cb) III z blIx I I I IV II
(F) y. / II / V I III
(Bb) II III I IV V I I VI I Vm
(A) II
(Db) 1I::ll7 II::7 I II bIIx II
(F) VIlm I I1Ix"s / VI/11K
I V I I / VI I II I V II
/ II I bIlIx / 11KI bIlx / I /
Yo
I
(Bb) 11"=7 11::7
/
sv II
sv I
IV IV2
II V / bVllx VIx /I:NIx
(F) IIxl>sI Yo I II I V / III
(Cb) III z bIIx I I I IV II
(F) IIx / bV
(Bb) II III I IV V / Ix I Vm OV IIV I
DESIFINADO-Woros by Newton Mendonca, Music by Antonio Carlos Jobim Q 1959 and 1962 Editora Musical Arapua, Sao Paulo. Brazil. TRO-Hollis Music, Inc. New York, controls all publication rights tor the USA and Canada. Ci 1962, Bendig Music Corp. assigned to TRO essex Music Ltd, 85 Gower Street. London, WCi for the territories of the British Empire and Commonwealth of Nations (excluding Canada) and the Republics of Ireland and South Africa. Used by permission.
..
11 112 II
V I I VIIx"5 1/
(Bb) VIP IVo I III VI I IIx I II III I IV V 11+6
/
p6 /1
HERE'S THAT RAINY DAY-hy Burke and Van Heusen iO 1953 by Burke & Van Heusen. Inc. iO assigned to Bourne Co. & Dorsey Bros. Musicblnc. Q renewed Used y permission.
2f17
The Girl from Ipanema
Just in Time The following is a bass line for "Just in Time" in Bb.
The following is a bass line for "The Girl from Ipanema" in F. Note key changes.
I I IV / VUm I IIIx I III I VIx I VI
tv» I
(F)
I / I I Ilx b5 I Ilx b5 I II /
(F)
IIxb5 I II I blIx I I II II
(F)
VIx I VIx I II / II I bVIIx I bVIIx I III I VIxh5I II I Vb5 I
(F)
I I I / IIxb5 I Ilxb5 / II / blix I I I bllx I I I bllx I I / I II
III bUb / II bIlx I I / I I UXb5 I
(F~)
I I I I IVx IIVx
11m 11m II
THE GIRL FROM IPANEMA (CAROTA DE IPANEMA)-Music by Antonio Carlos Iobun, English words by Norman Gimbel, original WOlds by Vinicius De Moraes Cl 1963 by Antonio Carlos Jobim and Vinicius De Moraes, Brazil. Sole selling agent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. All rights reserved. USedby permission.
I
I1x / II I V I I I Ix I Im+6
IVx / VII I lUx / VI I V~::7 / Vl 2 I bV4>IVm+6 I III I VI I Vo / bVePI IVm+ 6 I III I bUIx I Ilx I II V I
{+6
The following is a figured bass for "Tune-Up" in D major. Note modulations.
(C)
}+6
/1 (C) II I Vh5 I 1 / 1+6 II (Bb) II I V I
II I Vh5 / I / 1+6 II (Bb) II I V / I I VI/I
(D) I 11+ 6
(B)
(Db) II I V / I I I II
II I V I I 1/ (Bb) lIt/> V I III / bIIIx I II I blIx / III I
I 1+6 II
(D) II I bIIx I
TUNE UP-by Miles Davis Courtesy of Prestige Music Co., Inc. Used by permission.
The Shadow of Your Smile The following is a bass line for "The Shadow of Your Smile" in the key ofG. pld.:-up
(Bb) bIIIx / II I bIlx I Vm I bV I IV I bVlIx / blUM I IIx I
bVt/>I VIIm I lIIx I VI1I7VI I IIx / II I V / I / IV I VII / lIIx I
(Bb) bUM 11+ 6 /1
VIU7 VIlI7I VI V~ I bV4>I VIlx I IVx / IIIx bVt/>I VIlm I lIIx / VI#7VI /IIx I III
ONE NOTE SAMBA (SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm, original words by Newton Mendonca C 1961, 1962 by Antonio Carlos Jobim and Mrs. N. Mendonca, Brazil. Sole selling agent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. All rights reserved. Usedby permission.
208
v» / I
//
(Bb) III / bIIIx / II I blix / III / bIIIx: / II I bib / Vm / bV I (Bb) IV I bVIlx I III I blIIx I II blIx 11+ 6/1
1'1+6 II
Tune-Up
(Bb) I I VI II (D) II / bIIIM I bVIM I V I II I
The following is a bass line for "One Note Samba" in the key of Bb, Note key changes in the bridge from Db to B.
I
JUST IN TIME-by Betty Comden, Adolph Green, and jule Styne (\ 1956 Betty Comden, Adolph Green, and jule Styne, Stratford Music Corp owner Chappell & Co., Inc, and G. Schirmer Inc. ~ , International copyright secured. All rights reserved. Used by permission,
(D) II I Vb5 / I I
One Note Samba
VIxl:5
/
III III
VIx1l3
3
Vll3
IVo I III
blIIx IIIx / II V::3 11+ 6 I 1+6 1/
THE SHADOWOF YOUR SMILE-by John Mandel and Paul Francis Webster Courtesy ofR.C. Burkett, Howard-Burkett Music Used by permission.
209
Quiet Nights and Quiet Stars
Nica's Dream The following is a bass line for "Nica's Dream" in bb minor. The key series is as follows: Bars 1- 6: bb minor Bars 7-12: Gb major Bars 13-22: bb minor Bars 23-28: Gb major Bars 29-32: bb minor Bars 33-46: Db major Bars 47-54: bb minor Bars 55-60: Gb major Bars 61-64: bb minor pH·up
(bb) bIlx II 1 I p6 I bVIImL I bVIIm+6 I 1 I }+6 II (Gb) IIU7 I
(Gb)
IIJ;7
I II I blIx 11+ 6
/
IVx II (bb) II I bIlx 11+ 6 I 1+6 I 1/1+
(hb) bVIlmL / bVIIm+6 I I I
6
I
TIle following is a bass line for "Quiet Nights and Quiet Stars" in the key of C. ~
~
IV! I % I bIIx3
/
% / Vm / Ix,"3 / IV / IV I IVm / bVIIx I IIIx:::>/ 4
VIxl:S I VI / I1x / II II¥. / VII bVIIx /
II",1
/
x
4
I bIIXl I % I Vm I
Ix:::!I IV I IV IIVm I bVIIxl>SI III I VI I II I V,"3I III4>I bIIlx I II /
blIx / I I 1+6 /I QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original words and Music by Antonio Carlos Jobim. English words by Gene Lees © 1962, 1964 by Antonio Carolos jobim, Brazil. Sole selling agent Duchess Music Corp. (MCA) New Yolk, N.Y. for all Eng/ish speaking countries. All rights reserved. Used by permission.
II (Gb) II:r:lI7I 1I!:7 I II I bIb I
J+6
(Gb) 1+6 I IVx II (bb) II I bIlx I 1+6 I 1+6 II (Db) II I I14>I (Db) IiI Ii f bvflM I VIx!:SIIIx I II blIx I 10 / I VI III I I14>I (Db) IiI If
f bVilM I VIxllS/ I1x I
II II z /1 (bb) IIx I bilK / I 11+ 6
(bb) bVlImL / bVIIm+5 I I / 1+6 II (Gb) I1U7 I I1!:7 I II / bib I (Gb) 1+6
/
IVx II (Bb) II / bIlx 11+ 6 I
J+6
What Are You Doing the Rest of Your Life
/
/1
NICA'S DREAM-by Horace Silver " 1956 Ecaroh Music, Inc. © 1975 Ecaroh Music, Inc. Used by permission,
Four
The following is a bass line for "What Are You Doing the Rest of Your Life" in (a) minor. The chord chart is scored in C major, although the final cadences occur in the relative minor. Note key changes.
WIIx 1/ VP'7
(C)
IIu7 I1ll7 / II 112 I VII / bVIIx I VIlt7 VI2lt7 I II
(C)
WIIx I Vp:7 VI2!:7 I VI2 bV4>I IV IVlISI IV+6 IV2 I II
(A)
II blIx I I II I III VI I II blIx / I VI I II bIIx / I IV /1
The following is a figured bass for "Four" in Eb major.
blIx II I II I #IIo III 11m!
vr,»
(C)
I VI2 bVq, / IV IVltS I IV+6 IV2 I
IVx / II I III /IVm / (Gb) II blIx / I 1+6 II (F) II bilK I I
r, VI Viz 1/ (C)
(>ide·up
n,
VIz bV4>/ IV lVI'S I IV+6 IVz I
u, I
(C)
IIIx VI II (a) IV IV:z / II blIx / Irn IIVx III I bIlx 11+6
VIIm IIIx ! III hIII / II bIIx! 1. 6 FOUR-by Miles Davis Courtesy of Prestige Music Co., Inc. Used by permission,
/
1+6 /1
1/
/
1I1I7 / II II z / VII I
(C)
I II / :l:IIIoIII 11m! IVx ! II I III ! IVm ! bVIIx / III I bIll bVIx III
n,
VI1l1VI/'
bVIIx I III / bIII bVlx I II liz ! VIIm IIIx I III I bIll bVIx I II / bIIx /
IIllll7
I VII I
/
WHAT ARE YOU DOING THE REST OF YOUR UFE?-by Alan Bergman, Marilyn Bergman, and Michel Legrand © 1969 United Artists Music Co., Inc. All rights administered by CBS Songs, a Division of CBS. Inc. All rights reserved, Used by permission,
J+6 1/
211
Carolina Shout
-1
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:::AROLINASHOUT-by James P. Johnson CJ1926 by MCA Music, a Division of MCA Inc., New York, N.Y. @ renewed. All rights reserved. Used by permisston.
"'-&
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219
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