jazz Improvisation 1

TONAL

AND

RHYTHMIC

PRINCIPLES

Jazz ImprovisationI

REVISED AND ENLARGED EDITION

John

Mehegan

Watson-Guptill Publications/New York

~

Amsco Publications

New York/London/Sydney

40

NOTE:Itw.iIlbenoticedthatnosecondappearsinthe-U1verted" diminished chord.Thus,thediminished chord eaunotbe inverted. There are twelvediminishedchordsgroupedinthree series(Co,EbO,CbO,

Ao-C#o,

Eo,Co,Dbo- Do, Fo,Abo,Do).Thediminishedchordisalways in rootposition.

SincetheM,x,mand4>canbeplayedinfour positions,this givesus 192chords. Adding the12diminished chords, this givesus atotal of 204 chords - thecompleteharmonicsystemof jazz.

LESSON 22.

Inversions

The followingisabasslinefor "No MonoatAll.n Itiswritten in D

minor,whichistherelative minor ofF major. Thesymbolsrefer to F major. Transferthemelodytomanuscript paper.

VI+I/ IIIx: /

va /

VIIm: / VII: / bV.".IIIx" / VI+' Ix /

IVxIIIxI VI+' / IIIx:I VoI VIIm: I VII: I bV4-,IIIx" / VI +' I VI +' I VIx / VIx / IIxI IIx / V / VI I IVI VII bVIIx / VI +' I

•

••

IIIx'1 Vo / VIIm' I VII' I bV</>,IIIx" IVI+' / VI+' /1

1\0~IOONAT AJ..L..-Wordsand Music bv DavidM~'lIM7~~rs.~~dR~;n10e, C 1947, 1949 Jefferson Music~.,Inc:© '" Inc. International copyright secured. lIJlrights

Usedby permission.

..

NOTE: VI +eisalso bV</>",but the function of the chordisan adjusted VI

chord ratherthananinvertedbV",.

LESSON 23.

Inversions

Here Isa bassline for"Liza,~ Transfer the melodyto manuscript paper.

I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV+ I / III bIIIx / II bIIx / 1+I

#I/

I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV+ I / III bIIIx / II blIx / I + I bVlIx / VI + I bW / VII bVIIx / VI bVIo / Vm bV / IVIV+I / III</>bIIIx / II II. / bVIxV / I V: /

#JIo

VIx: / II</>:#IVo / Vm Ix / IV IV+" / III bIIIx / II bIIx /1+ 1

/ / L1ZA-by Gus Kahn, Ira Gershwin, and George Gershwin

©1929New World MusicGorp.(renewed). Allrightsreserved. Usedby permission.

..

NOTE: I+e IsalsoVI', but the functionofthe chordisusuallyanadjustedI

chord rather than an invertedVI chord.

LESSON 24.

Inversions

The following is a bass line for "Waltz for Debbie." Transfer the melody to manuscript paper,

This tune presents a special problem in that the chord chart for the melody (called the "head chart") is not the same as the chord chart for improvising on the tune (called the "blowing chart"). This problem will be treated more extensively in Volume IV. For now, here are the two charts for "Waltz for Debbie." Note modulation to the key of A and the return tothe key of F. The "head" chart appears in 3/4 time with a transitionto4/4 time in the final six measures of the tune; the "blowing" chart appears in 4/4 time with a transition to 3/4 time in the final four measures in preparation for a return to the "head" chart.

42

HEADCHART:Key of F,3/4 time

3 6 6 6 6 •

(Fl4 J5I VI I II I VIIx' I IIIXzI VIx' I IIXzI V' I bel I 113I (Fll II.p3I

V

IV I III I

vlre

bV.p3Vlx

3

I IV V

vi

I ViI i II I (F)l

I~

I VII II I V I

IIIx~

I VIXzI

IIx~

I V₂ I IIIx"S I VI

v1

2II

(All II I

V V

2 I III I II I I I 12II (Fll II I VI III I VIxI II I

(F)l IIIx'" I VI I Vm I IV I IIIx I VI I Ilx I bIIIM I bVIMI II I

3 6 6 6 6 •

(F)4 VI J5I VI I II I VIIx5I IIIXzI VIx5I IIXzI V' I IX₂ I 113I (F)l II.p3I

~

V, I III I VIxI bVmI

VIIx~

I

-Is

y3

I IxI IV I

3 u u

(F)4 IIIx:5 I VI I bVIxI VI, I VMu I V~3I V" II (Flj VI, VM~5I

:3

(F)j V., V" I VI, VM:5I V" V" I J+6I I +6II

BLOWINGCHART:Key of F,4/4 time

(Fl~ III VII II VI lIIx VIx I IIx VI Ix IV+6I II.p VI III VI I (F)4 II VIIII VII II VI IIIx VIxIIlx VI IIIx VIII (Alj II VII I

(Alj I II (F)j II V11II VIxI II IIIx I VI VmI IV IIIx I VI IIx I

(F)j bIIIm bVIMI II VI III VII II VI IIIx VI I Ilx VI Ix IV+6I (F)4 lIt/>VI III VIxI bVm VIIxI III IxI IV IIIx I VI IIIx bVoI (F)4 III bIIIo I II VII (F)~ I +6I bIIIo I II I V 1/

Da Capo to head,

WALTZ FOR DEBBY-by Bill Evans and Gene Lees

TROC 1964 and 1965 Acorn Music Corp., New York, N.Y.

U.K. C 19i¥' Acorn Music Inc. Assigned to Kensington Music Ltd., B5 Gower Street, London,~Clfor the territory of the world excluding USA and Canada

Usedby permission.

LESSON

25.

Inversions

The following is a bass line for "Giant Steps," Unlike the bass lines in this volume, the chords are indicated by letters instead of the usual Roman numerals. The reason for this is that "Giant Steps" has no pre-vailing key center but, instead, a series of implied key centers.

4 4 4 '"

BM Dx3 _{I GM Bbx}3 _{I EbM I Am Dx I GM Bbx"I EbM F::x}3_I

BMI Fm BbxI EbM IAm DxI GMI C~m F~xI BMIFm BbxI

4 4 4

EbM IC~m F~xIBM Dx3_{IGM Bbx}3_{I EbM ! Am DxIGM Bb}3_I

4

EbM F~x' I BM I Fm BbxI EbM I Am Dx I GM I C~m F;:;xI BM I Fm BbxI EbM I EbM II

GIAl\'T STEPS-by John Coltrane

©1974 jowcol Music Usedbypermission.

The symbol key for the preceding chord chart isasfollows:

M-major x-dominant m-minor

44

SECTION IV

LESSON26.

Modulation

Manyofthe popular tunes used as jazz material modulate from one key to another inthecourse of a 32-bar chorus. This modulationisseldom indicated in sheet music although the jazz musician"thinks" in these key changes for Simplicity and order. The following six lessons willdealwith tunesofthistype. A Simple rule for identifying the presence of a new keyisthe appearance of a major chord on other thanI or IV (i.e.. 111M, bVIM,ete.).

The following is a bass line for "Body and Soul" in Db. The origi-nal key of this tune is C major, butsince 1930, the year the tune was written, convention has prevailed in favor of Db. Transfer the melody to manuscript paper using the following signatures: bars I - 15, key of Db; bar 16,beats 1,2, key of Db; bar 16, beats 3, 4, key of 0; bars 17 - 20, key of 0; bars21- 23,key ofC; bar 24, beats 1,2, key ofC; bar 24, beats 3,4, key ofD~;bars 25 - 32, key of Db. The letters in parentheses indicate the key in which the symbols are to be played.

(Db) II U 7 Il:7 I II bflx I I II I III bIlIo I II II, I VII bVIIxI (Db) vi Ii bIIx I I lHo I IIu7 II"7 I II bllxI I II I III bUIo I (Db) II II, I VII bVIIx I VI II bIIx I p6 (D) V I p6 II I (D) VI3 IVm I III VI II IVo I III bIlIx II blIx II (Cl II V I (C) I bUIa I II bIIXI ix vIIx (Db) VIxI Ilu7 Ip7 I II bIIx I (Db) I II lUI oUIoI II II2I VII bVIIxI Vi II blix I I+6 II

BODY ANDSOUL-Lyrics byEdward Heyman, Robert Sour. and FrankEyton,Music

by John Green

«:>1930 (renewed) Warner Bros. Inc. All rights reserved.

Used by permission.

LESSON27.

Modulation

The followingisa bass line for "How High the Moon,"inthe key of G. Transfer the melody to manuscript paper following the signatures indicated by the letters.

pidc-up

(G) VP II I I 1+" I (F) III blIx I I I 1+"I (Eb) II I blIx I (Eb) I VI I bW VlIx I

nr-:

I (G) V" / I II I III IVb' I (G) IIIbIlIxI II VU I II1+" I (F) III blIxI 1/1+ 1_I

(Eb) III (Eb) bIIx I I VI I (G) 114>V I I II I ill IVb' I ill bUIx I (G) II bllx / 1+" I 1+" II

HOW HIGH THE .MooN-hy Morgan Lewis andNancy Hamilton

{j HMOby Chappell &Co.,Inc. Cl renewed.

Interuanonal copyright secured. Allright",reserved.

Used by permission.

LESSON28.

Modulation

The followingisa bass line for "Laura,~in the keyofC. Transfer the melody to manuscript paper follOWing the Signatures indicated by the letters.

(G) II / bIIx I I I 1+1_{/ (F) II / bIlx I I / 1+" I (Eb) II I}

(Eb) bllx I I I VI I (G) II</>Vbl

/ Vbl IVoI III I bUIx / II I

(G) blIxjI jI + "/ (F) III b1IxI I / 1+' / (C) IVm / IVo / IIII (C) VI / I1xbl _{/ II VII / 1+" / 1+'} /1

LAURA-by Johnny Mercer and David Raskin

e1945, renewed 1973 Twentieth Century MusicCorp.All rights administered and

controlledby Robbins Music, a catalogue of CBS Songs. a Division of CBS, Inc.All

rights reserved.

Usedby permission.

AsIndicated above, "Laura," in the key of C, does not start In the key of C. However, the tune comes to afinal close In the keyofC which definitely establishes the key.

LESSON

29.

Modulation

The followingisa bass line for-111Remember April," in the key of G. Transfer the melody to manuscript paper follOWingthe signatures

(G) I / I / IV" / I / 00 / Im , / VI", / IIx / II / V / (G) III'" / bIIIx / II / bIIx/ I /1+- / (Bb) II / V / I IVa /

(Bb) III bUIx / II I V / I / 1+< / (G) II / V / I / IV I

(E) II / bUxI I VI / (G) II bIIx I I / I / IV" / I I Im / (G) Im , / VI",

I.

IIx / II I V / III", / bIIIxI II / bIIx / (G)I+' / 1+< II

I'LL REMEMBER APRIL-Words and Music by Don Haye, Gene DePaul, and

Pat Johnston

©1941, 1942 bvMeAMusic. a Division of MCA Inc., New York,N.Y. ©renewed

and assigned toMCA ~Iusic, a DivisionofMCA Inc. and PIC Corp.,New York, N.Y. All ri,mts reserved.

Usedbypermission.

LESSON32.

Transposition-Modulation

Fig. 1 is a lead sheet of "In Your Own Sweet Way" by Dave Bru-beck. Fig. I represents the composer's view of his composition; Fig. 2 represents a figured bass solution of the same tune.

Fig.I."In Your Own Sweet Way."

t~I\I~~"~~~

Eb Am 0 7 Gm Cm F7 Bb Eb

"1

r"

I\lld

Qr

U~Tw?

1

Ell Maj. Em9 A7 0

o

J UJ

Qr

A7

t~l\ .,I~mr

F

Abm Ob7 Modulation LESSON 30.

The followingisabassline for-Allthe ThingsYouAre,~in thekey of

Ab.

Transfer the melodytomanuscript paper following the signatures indicated bythe letters.

(Ab) VI/II / V / I / IV / (C) V / I / 1+- / (Eb) VI / II I V / I / IV / (G) V / I / VI/II / (G) V" / I / 1+< / (E) II / bIIx / I / 1+< / (Ab) VI / II / V / I / IV / IVm / ill / billo / II / (Ab) V" blli / 1+' / 1+' /I

ALLTHE THINGSYOUARE-by JeromeKernand Oscar Hammersteln II C 1939 T.B.HarmsCo.erenewed %The Welk Music Group.

International copyright secured. All rights reserved.

Used bypermission. LESSON3l.

4,\1&

m

I

r

F=£t"

_FI*'

_~

ttl

Om Ab7

e7

Cm Am 0 7 Gm 46 Modulation

The followingisabassline for "Autumn in New York," in F, Transfer the melodytomanuscript paper following the signatures indicated by the letters.

(F) II III / IV VP / 1+' I / I II III

bIII /

II ill

I

(F) IV V / ill VIx / III", bIlli / II ill / (Ab) II

b

IIx / (Ab)I II / (Eb) VI VII / P- bW / (C) II bIIx / I VII / (F) III

bIII /

II III / IV VII / 1+- I

I

I II III IV / (F) Vm VI / (Db) II IIIxf< / VI VI./bWIVxjIII+-VIbf</ (Db) III bIII II bIlx j I bIIx / I

vn

VI Vm / (F) II III j

(F) IVm V" / 00+- I 00+< /I

AUTUMN INNEW YORK-Words and music byVernon Duke

C 1934(renewed) Warner Bros, Inc. All rights reserved.

Used bypermission.

Cm Bb Eb Abm

Ebm

Gb Cb

Both Fig. 1 and Fig. 2 present the essential"facts"of the composi-tion; Fig. 1 represents the composer's original conception of the piece, and Fig. 2 represents the author's view of the essential structure of the tune seen through twenty-five years of social usage.

Note the appearance in Fig. 2 of key changes which social consen-sus has established as part ofthefabric of the tune.

The key series for transposition will be: l-bVI-I -bVI -I -III-II-I-bVI-I.

Thefollowing is a bass line for "In YourOwnSweet Way" in Bb. The key order is as follows:

Bb-Cb-Bb-Cb-Bb-D-C-Bb-Cb-Bb. In Roman numerals this reads:

l-bVI-I-bVI-I-III-II-I-bVI-I as above.

SECTION V

LESSON33.

Arpeggios

The basic problem of jazz improvisationisto abandon the melody and build an improvised line on the elements of the chordsin a tune. Thus, we will combine the vertical (left hand) with the horizontal (right hand). The chord elements are as follows: (1) Arpeggios; (2) Scales;

(3) Chromatictones. Thus, jazz improvisationemploys a twelve-tone line (twelve chromatic tonesinthe octave) superimposed on the sixty chord system.

An arpeggiOisa "broken"chord moving in alternate steps. The Iol-lOWingillustrates the arpeggiosof the five qualities on C for two octaves.

These notes should he played ascending and descending.

~

...

r,.-•

Cm

I,.

~

...

•

•

Co .~

....

~

•

•

...

Cx

....

CM

c···~

I~

picl<.up

(Bb) IVII VIIm IIIx I VI IIxI II VI I IVII (Cb) II VI I IV II (Bb) II<p bIlx I I IV I VIlm IIIx I VI IIx I II V I I IV II (Cb) II V I I IV II (Bb) II<pMix I I VI II (D) II V I I VI I (D) II VI III (C) II VI I VIx"sII (Bb) IVm bVIIxIVIx #VIo I (Bb) VIlm IIIx I VI IIx I II V I I IV II (Cb) II V I I IV II (Bb) II<p blIx I III

Fig. 2. "In Your Own Sweet Way."

IN YOUR OWN SWEET WAY-by Dave Brubeck C>1955 Deny Music Co.

Used by permisslon.

When transposingthis tune, number the melody tones according to the prevailing key in thebassline, Transpose to various keys as a trans-position problem.

Transferred tothe keyboard, the rhythmic assignment is as follows: 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:

Eighth-note (1') - trumpet

Whole-note(0) or halfnote (J) - tuba or trombone Quarter-note

(J ) -

drums

Technically thisisa form of florid counterpoint involving three kinds of time played simultaneously. Thisisthe essence of thejazzbeat. Usingthe chordchartonpages 25and26, practicethearpeggios for

the sixtyscale-tonechordsusing 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 1 2 3 4 1 2 3 4 Bb-AJm-+-o 231234123 GbM-x 234123412 Gb-F# m-+-o 2 1 234 1 2 3 4 EbM-x 212341234

Eb m(the onlyarpeggiowith

all black notes) 1 2 3 4 1 2 3 4 5 Eb-D#

+-0

2 3 1 2 3 4 12 3

These sixty arpeggiosmust be thoroughly mastered, ascending and descending,so thattheycanbe played automatically with correct fingering.

Eighth-note (J) Whole note (D) or half-note (J) Quarter-note (J )

Eighth-note (J) Whole note ("') or half-note (.J)

Quarter-note (J ) trumpet piano bass right hand left hand foot beat 50 LESSON84. Arpeggios in

Rhythm

Rhythmic problems injazz will be thoroughly studied in Volumes II, III and IV. The student must first learn "what" to play before learn-ing "how" to play it. For now, the followlearn-ing 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:

This rhythmic composite is occasionally interrupted, but its continu-ing presenceisessential tojazzimprovisation.

Assoon 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 ajazzbeat.

In succeeding chapters, we will explore the three fundamental rhyth-mic structures used in jazz improvisation - the cote, the eighth-note triplet and the sixteenth-note.The jazzlinecan employ rhythmic values up to the thirty-second-note. See Fig. 1. However. for practical purposes wewilllimit our work to the three above-named values.

Fig. I. Fig. 2. d " fugtt han

.

i

~ IAlftband ~

~

i

,ft

-(9- ~ : • 'I _D

_m

_{IV V} bV" Footbeat IV m ]I I Foot beat ,., Right band It'

v

Foot beat

,.

~

t:

r=

t:.,...

" ,Rlgtt band

ii

_-

-,

-

_1Alft.

~

Lb~

II IVm

m

Foot beat.

I chord eighth notes

II chord eighth-note triplets III chord sixteenth notes IV chord sixteenth-note triplets V chord thirty-second notes

Rest values of both moreandlessthananeighth note are equally important in the jazzline.

Adot addshalfthe value to eitheranote or a rest. In Fig.2: .., bm Footbeat

,

-• "'. Ii,.. •

.

Il.~"

]I

-

.

1+6

I and II chord - whole-note rest (four beats) III chord - half-noterest (two beats) V chord - dotted quarter-note rest

b

Vi>chord - quarter-note rest IVm chord - dotted eighth-note rest III chord - eighth-note rest bIU chord - dotted sixteenth-note rest

LESSON

35.

Eighth-note Arpeggios

Fig. 1 isa 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

trans-posed. 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.

Donot "set" the improvised ligures. Use the arpeggios both ascend-mg and descending as well as from the various inversion points (third,

fifthand seventh). Respect the fingeringshownonpage50at alItimes. The following rules will be helpful in Bngering problems:

1. Allinversion arpeggios beginning ona white note begin with the

thumb.

2. AlIinversion arpeggios beginning ona black note begin with the index finger (except

Eb

minor which begins with the thumb)

and

go to

the

thumb on the firstwhite

note.

-

r--,-

-

-

-

-_,'-'-'- I ~ I

,-

!oj•

.

-

!"""'l-

-

...,...,-,

A I ,

"""""1

_I ",..-r I

t

~ """-l. I "~I

--

I..

I..

_•

_-

l A I I

.

~t!

•

-

- -

_-..L...J

-:

"

Fig. 2 illustratesa drill using the arpeggios of the chords in eighth notes. Fig. 1.

plck-ep

b

IIx

_1/

_{I VI}

_I

_II

_{IVa /}

_ill

_bIUx

_I

_II

_{bili /}

_I

_II

_/

•

III VI / II III / IV IVo / VI'

billo

I

II V

I

bV. IV,X/

•

III #VIo /

ill' b

VIla / VI

b

VIx

I

V IV / III U

I

I VI

I

II IVo

I

III

billx

I

II

bIIx /

I II

I

III VI / U

ill /

•

IV IVo /

VI'

bIIIo

I

II

V

I

Vm bV /

IV IVm /

III

bIIrx

I

U

bili

I

1+'

I

1+'

1/

I COULD WRITE A BOOK-by Richard Rodgers and LorenzHart

©1940 byChappell &Co., Inc.© renewed. International copyright secured. All rights reserved. Used by permission.

Fig. 2.

AI

54

~. l'

-". 1

--

-

-

"

-

~

~~

-A.

,...,..1

I it!

-: AI I

...

~

_-

-:

A I

_•

•

...,...,

r""T'-T-, -

....,...,

•

I~

-

...

-...I 'I' F _~

..

"

..

...-" 55

",

..

...1:..

-1«1

-

-

_~~

_-

.,

" 1 •

-

I

•

t «I

_-

--.J

I--

.-.

"I

-.

"I

r~1

-

I I ,...,.-

-

I

...

--

,...,.." _..--""I

.-...-

...

-~

.,-

.

.,

..

-

..

--

..

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.

LESSON

36.

Rhythmic Combinatioos-on

Green

Dolphin

Street

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,

(Eb) 1+

6_I

I 11m

11m I I~ I

bIIM

2

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

(Eb) bIIM

2 /

I / #10 / II II

2 /

VII bVIlx / VI VIz

I

bV<bIVx

I

(Eb) III bIIIx I II blIx I I I 1+6 _/I

Fig.

2 illustrates a drill using the arpeggiosofthe chords ineighth-note triplets. " I I

¥

I , I r . . _I Ell

.

" L

,....

...

lei I L..J.

-

-...",,-

r'

~ _Ell

~.

r

_-

_{It_}

r -\

~-

.

•

,-

-.r- ...

I Ell " I

-t

M'"M-

_{l I I "}

....

! eI

_"

...

I

Ell Ell Gb

,

~

Eb 56

ON GREEN DOLPHIN STREET-Words byNed Washington. Musk by Bronislau Kaper

C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975. Allrightscontrolledand admin-istered byLeoFeist.Inc. a catalogue of CBS Songs. a Division of CBS, Inc. Used by permission.

•

_~-:a,fll..

...

t::.~.~f'-~

I • "f//!:...• I I :J Ell

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.,

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,

."

-

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.

.

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h.

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.

-4_ _tl

l!=_j,.

-fL I '" I

--

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Ell

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_VI

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--

++~

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~~~I ~ Ell

.

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58

59

t'i I

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~.~. ,...~~~:t!:

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...-h.

,.

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[eJ

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-Jltl L L -.A.

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Eb r::lCHORUS

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Po·

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''''''' 7/"'77

-"a=

~_.t..L

..J. ,L fII I _il

•

.~

_"""

leJ

;I

-;-Eb

,.,

,..iIl

•

.

~

I

:1:

-

•

Gb

.

t'i

.

::j!:.

.J!::.

b•

t:~

11)

.

Eb

~

t'i

•. 1'-

~_ • .f'- I

:1!iI

.f!:.

leJ

--

---

-Gb _Eb

.

,

t'i

~~

..

::j!:.fL -

.

111)

--

.

._--Eb .1 .L II tl . "--

---

I .:

--Gb Eb

,.,

_{.il4U_}

...-.*

•

•

I

I~

•

I'

-

..

.

Eb ~

.

L ...--.1 .L I

._L

"'"""-•

-

-

,.

~ Gb Eb

·

'1

61

II • _. to....

-

I. 11 f""'I

N¥

I I I

)

Eb CD shake

--II I

_a~~

~

¥~

...

b_

..L

-I-.J I I ~ Eb

·

1\ I

_{.11. ...}

~_

_{•• ,""}

..h.a__

,..,...,..,

~ I-.J _~I

I

,.

Eb

··

" I

.

_ M""T"'I

,

JJ

_"_h,...

~

-"'iT

I 'I I

...

I I I Cb Eb

.,

II I

.

-

...

-

. .

.

.

i4V

-

-

_"

-.

.

,

Eb

·

"

.

I

-

_--::0. I ~ I

ItT

I

...

r """-, Eb

.

II I

..l..

...L..

5

~b

-

,J.

I _r

.

-

.

.

·

1\ I I "'_ ...--... •h_

.. -e:.-e:.

-e:. L .i!> [t I r

...

Eb II I -..jll:. ~

...

...

.-

....

-

...

.

I'" r ~ Eb 3 3 I I I ~

-

,...,.-

-ltJ

'v'#

r:;::f-.;,r 11

j

_or... Eb

lti*'

\.¥.

·

62

DRILL: Stud)' Fig. 2 and explore the various eighth-note triplet arpeggio

I I ....

LESSON

37.

Sixteenth-noteArpeggios

Nowthat we have investigated

a

line

employing

the eighth

note (two

notesto a foot beat) and the eighth-note

triplet

(three notesto a foot

beat), we

wiD.

explore.in

this

chapter,thesixteenth-noteline (four notes

to a foot

beat).

Fig.

1 is

a

bass

line

for

"At

LongLast

Love.

OJin C. Transfer the

melody

to manuscript paper usingthree staves.

--

-

•

..

....

Fig. 1.

pick-up •

bUx

II

1+'

I

VII

I

VI

I

m-

I

IV

I

III

b

Illi

_I

U

I

U

I

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

I

JUo

ill</>/

IV+'

I

IV /

•

bW /

U.'

/

m /

hUh

I

U /

bIh: /

1+'

/

1+'

/I

.r

.

..

AT LONG LAST LOVE-by Cole Porter

C 1937byChappell&Co" Inc, 0 renewed AssignedtoJohn F. Wharton, Trustee of theCole Porter Musical and Literary Property Trusts.

International copyright secured, All rights reserved. Used bypermission.

Fig. 2 illustratesa sixteenth-notedrill employingthearpeggiosof the

chords

in Fig.

1.

..

-

-Fig. 2.

-.

..

-

-A. ..

-

-

•

64

-..

...

..

I~

-

-

...

-...

-65

.,

-

-

--

...

-

-

-

,-...

"

-4tJ

-."fIo • .". ... tI •

DRILL; Write out orplay asixteenth-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 willnowconsider combining

therhythms 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," inAb. Transfer the melody to manuscript paper using three staves. Note key changes. Fig. 1.

J I II

(Ab)

IIllP lIP II

I

bVIIx Vb:

bVIx

V

I

I

IVx

I

(Ab) ~ VIIx I

bVIIx

I ~Ix

I

IIx

I

II blIx

I

I / #10 /

(Ab)

I1u, lIl' II

I

bV1Ix VIx bVIx V

I

I IVx

I

(Ab) Ix VIIx bVIIx VIx

I

IIx / II bIIx / I

+

0

I

(G) II</>bIIx

I

(G) I VI/II V / III bIIIx / II bIIx

I

I VI

I

II V

I

I I /I I I II

(G) I bV (Ab) III

I

II VII Ill</> b1IIx

I

lIlli' lIl' II

I

(Ab)

b

VIIx VIx bVIx V / I IVx

I

Ix VIh bVIIx VIx

I

(Ab)

IIx

I

II bIIx / 1+ 0

_I

_1+-

_II

-I ,

--~

..

-66

SOPHISTICATED LADY-by Ellington, Mills,and Parish o 1933 by Mills Music. Qrenewed. All rights reserved, Used bypermission.

Fig. .2illustrates a drill employing eighth note, eighth-note triplets and sixteenth-note rhythms in various combinations.

Itl. _ _..3

,.-,

1,.

,...,

"

...

~

~ 8 -

..

~

-/ /

/

/

...

/

--

.,

.

/

/

I

/

-...

/

/

/

/

Fig.

2. ~ I I !~

-~

...

- :I

... I....

... _ ... I

-

,

3 3 1«1 ... ./1. ...

68

/

/

/

/

/

/

/

/

All .(I..

I,...\.

1 _I I

•

• .(1.

I.•

14tl

-

-

_...

-

-/

/

/

/

/

/

/

/

II I II I •

\rt

_-

•

-.-1._.

/

b...1

~

•.

- it

/

/

/

/

"'.1

-/

/

/

LESSON

39.

Rhythmic Composites(ballad)

Now

that

we have some facility with abandoning the melody and

using the arpeggios of the chords. we may consider combining the note

and restvalues studied in Lesson 34 into four-bar compositeswhich allow

us to shift suddenly from one rhythm toanother or introduce a rest value

without disturbing the foot

beat

Fig. 1isa possible four-bar composite

for a slow tune:

Fig. 1.

nJrJ

In

A I

-Thiscompositereads as follows:

The

firstlinewill applyto the first bar of a tune;

The

second line to the second bar;

The third

line

to the third bar;

Thefourth line to the fourth bar.

Then we start over again:

The first line to the fifth bar;

The second linetothe sixth bar; and so on until the end of the tune.

DRILL: Write or play a line on the chords of Fig. 1 using eighth note.

eighth-note triplets and sixteenth note rhythms. Keepan

1\ II

Fig. 2

is

a bassline£or

~Got

It Bad."

in

G.

Fig.

2- _{4 _ _ __}

I II I III VI IIIx VP I IVo #IV4>III

n,

I bVIIx VIx bVIx V I 4

1+6 tIo I II bIh II II / III VI I I1x VI3IIVo #IV4> I II

n,

I

bVlIx vIx bVIx

V

I F6 VI bVi I Vm bV / IV+6I IV+6I IVm+6I 4

bVIIx I I IV I III bIIIx / II I VSl3 I I II / III VI I I1x VP / IVo tIV4> I II

n,

I

bVIIx

Vix bvlx

V

/1+ 6 _{I 1+}6 _/I

I GOT IT BAD AND THATAlNT GOOD-by Paul Francis Websterand Duke Ellington

e"1941, renewed 1960 Robbins Music Corporanon. Allrights administered by CBS Songll\aDivision,of CBS, Inc. All rights reserved.

Usedoy penmssron,

Hwe apply our compositeto the arpeggios of Fig. 2, we derive the

IoDowing

drill

...

--

-" II I '- .,<111,_ l::!'""I

---

..

• I

,

~

;;--IIIi - c::ii-'

.

{

1\ Il l"-!!l

....

..

...

.fl. .. .fL...

..

W

tI ~ - ;;;iIiiI

.

,

jI .... I

-

_.fI'./t-

of'!-...

~ ~ t

..

-

iiiilIoIl

-:

1\ II

..

-

--

~ A t

-liiiiiiiiIi;-

-

-

_1'*

CiiiiiiiIiiiiii

,

72

1\ II • .ft.

LJ....

---.v

liiiiIiiiiiIiil

-

...

_•

" 11

-

._-

-

...,a,.

•

.tI _{- ;::;::;Iii}

-73

1\ u

_•

.

.-..-.

-

-.v Iiiil-

=-

1..-=-

-l:l.J

DRILL: Transfer

the

melodytomanuscriptpaperusing

three

staves: one for melody; one for the student's improvisation; one for the bass

line. Using Fig. 3asamodel, the student should write out, if

necessary.an improvisation using the composite and the

ar-peggiosofthe basslinein Fig.2.

LESSON

40.

Fag.

2.

Fig. 1.

I tIa / II V / III bIlla I II VI Vm IxI IV bVIIxI Illx VIx Ilx VI

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 bY</>Vilx / I1Ix Vix / IIx V I}

I bVIlx / Vj+6 bY</>

vtr, /

IIIx VIx /IIx V / III blIIx II Hix / I #10/ II VIIII bIlla III VIVm 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.

If weapplythe compositeto thearpeggiosof Fig.

1.

we derivethe

followingdrill.

RhythmicComposite(up-tempo)

In the

quicker

temposin jazz.

the

composite usually becomes more simple in order to avoid a cluttered sound and to insure a strong pulse.

J

.

I

•

74

The fonowingisapossible up-tempo composite:

rri-.

rrn

j>,

n

Fig.! isa bass line for"You Took AdvantageofMe," in

Eb.

1\ •

.

:~

J....L I I

-

•

J 1\ •

.

...

I l.v

...

•

-

_"

~ 75

"

.

~

_'"'--I -tJ

'"

,

•

11

.

l

...

•

.

I

-.,

-·

~

. -

.

,

_-

.

,

.

·

"

""""

-

.

...

IlJ

-~

·

"

I

-

_11 I

.

....

I

--IlJ

~

·

"

,

..

-

~ _ .fL _.

~

f

....

-

-76

"

.

.

...

_-

-.,

I

-

....,

~

"

•

-

_•

I

f

...

-.

AsinLesson39.the student shouldthoroughlyanalyzethe

useof

rest

values and arpeggiosinFig.2. Simplytoplay overthese specimensisof

little value. When playing these examples,try to keep a steady

quarter-note footbeat. Aboveall,donot use any pedal

DRILL: Transferthemelodyto manuscript

paper

using

three

staves:one

for melody;one for the student's improvisation;and one for the

bass

line. Using

Fig.

2 as a model, the student shouldwriteout•

if necessary.an improvisationon the bass lineinFig.L

SECTION

VI

LESSON

41.

Modes

Ifwe play the scale-tone chords in C and play the C major scale from root to root of each chord (Fig. 1), we are playingthevarious modes of the scale of C. A

mode

is

a

displtu:edscaleplayed

from 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 highlyeffective in building a hortsontal "blowing" line so long as the harmonic line moves in

the

normal scale-tone chords without alteration or chromatic adjust-menl Since the previous lessons have made it evident that even

the

simplest tune utilizes altered and chromatic chords. thissimple modal system must be expanded to meet the requirements

of

a sixty chord system. The next six lessons will deal with thisproblem. In preparation forthese chapters, the student isstrongly advised to play the scale-tone

chords

in

twelve keys with accompanying modes in the right handas in Figs. S and 4.

Fig. 5isa bass line for

"Speak

lDw," inF. 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 beplayed with each

chord.

Thefollowingchart illustratesthe

symbolkey

for each mode: Ionian -10 Mixolydian - M

Dorian - D Aeolian - A

Phrygian-

P

Locrian - LO

Lydian-LY

LESSON

42.

The

Major

Scale

Ionian

Lydian

1 • 1

4 • 4

I

IV

The major chord in any key appears on Iand IV.

CHOBD DISPLACEMENT MODE

In determining which of these two modes to choose, the deciding factor mustbethe relative strength ofthese two major positionsindiatonic 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,

the

major

chord

takes

the

Ionian mode (1 • 1) exceptin cases where the bassline gives a strong feeling of IV, e.g. I

n /

III IV / V I

I

(seeFig, 1).

DorF MofF DofF MorF DofF MofF seenote

~Io II II I V I II I V I II I V I Vm I Ix II Fig. 5.

(F)

DofAb MorAl> DofAb MorAD PofF AofF DofF MofF 10ofF

(Ab) II I V I II I V II (F) III VI I II V I 1+6 _I

(F) #10 I Don'II I MorFV I DofFII I MofFV I DorFII I MofFV I Vm / Ix II

DofF MorF DorF MorF DofF MofF

(F) II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I

DofEb 0ofEit see "ote 10 ofEb 10ofEb see note Mof F

(Eb) II / II / bVIIx / bVIIx

I

I f I

1/

(F) bVIx

I

V /

DofAb MofA. DofAb MofAb PofF AofF DofFMofF 100fF loofF

(Ab) II I V I II I V II (F) III VI I II V I )+6 I )+6 II

SPEAK LOW-bv Kurt WeillandOgden Nash

Q1943 by Chappell &Co., Inc.Q renewed, assigned to Chappell &Co.,Inc. and Hampshire House Publishing Corp,

International copyrightsecured.All rights reserved. Usedbypermission. Fig.

1.

~

_i

_•

i

•

_•

_•

•

•

_;

_i

_•

•

!

•

•

•

•

•

•

...

•

•

•

I U

m

~

LydJan

_•

•

7

•

•

;

I

•

•

!

•

_!

•

!

•

•

•

•

•

...

_•

_•

_•

•

•

IV V 1

PofF AorF DofF """noll! 10ofF 10ofF

1I7

III / VI I II I V1I5 I 1+6 I 1'6 II

(F)

NOTE: Chords such asII, V or I are consideredprimary

furu:tions,

since they

belongtothekey; chords such as Vm or Ixare considered 8eC0nd4ry

junctWm,

since the root remains in the original key but the third, fifth or seventh havebeenaltered; finally, chords such as bVIIxor bVIxare considered tertiary

junctions,

since not only has the chord been

al-tered butalsochromatically raised or lowered from the original key.

Here the use of the Ionian mode ofthe

scale

ofF on the IV chord would destroy the feeling of C major running through the entire

bass

line and the Lydian mode (4 • 4) should beused. Except in casesof this

sort,the Ionian mode is employed on allmajor chords.

80

=7

NOTE: y;:s is !ctually a major-augmented seventh chord; the symbol would

Fig. 2 illustrates the twelve major chords with accompanying Ionian modes, to be played both ascending and descending.

Fig. 2. Fig. 3. (Eb) (Eb) (Eb) (Au) (Eb) (Eb)

1+'

VI

I

II

b1Ix

I

1+'

VI

I

hVllx

I

II

val

I

1+'

#1

I

1+'

VI

I

II

bUx

I

1+'

VI

I

b

Vlli /

II

VII /

1+-

I

(G) II IVo

I

ill

bIlli / II

pili /

I

I

II

IVo

I

ill

bIlIx

I

II

b

lIx

I

I

b

VIx

I

1+'

VI

I

II

hili /

1+'

VI

I

bVIh

I

II V"

I

II I I

1+'

VI

I

bV+

ili hili /

I

/I

eM DM MOONLIGHTC>1944-1945 Michael H. Coldsen, Inc.INVERMONT~by John Blackburn and Karl SuessdorfC>renewed 1972. Used.byperrnission.

I

r _l' LESSON

43.

The Dominant

Scale

EM The dominantchordinanykeyappearson V only.

CHORD V D1SPLA~

5 • 5

MODE Mixolydian Since the dominant chord only occurs at the position of V, there can

beno doubt concerningthe accompanyingmode. Thedominant always

takes the Mixolydianmode.

Dominant

chords

on other than V(II&,

b

Vh, etc.) are considereda

temIJOraryV

of

some other

key.

Thus.in the

key

of

c:

RULE:

The

ma/Of"

chord

is

a

I or

the

temporary1

of a new

key

and

takes the

8C6kof that

key

from root to root.

83

CHORD SPELUNG SeALSOR KEY DISPLACEMENT

Ix

Temporary V

F

C·c

ili TemporaI)' V G D-D

IIIx

Temporary V

A

E-E

IVx

TemporaI)' V

Bb

F-F

V

Natural

V

C

G·G

VIx

TemporaI)' V D

A-A

Vili Temporary V E B-B

bIh

Temporary V

Cb

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.

BM

Fig. 3 isa bass line for "Moonlightin Vermont." Transfer the melody

tomanuscriptpaper fonowing the key signatures indicated by the letters.

Abandonthe melody and play the appropriate mode on each major chord.

Major+-chords

follow

the same rule

as

normal major chords.

'II

Fig. 1.

Fig. 1 illustrates the twelve dominant chords with accompanying

Mixolydian modes, tobeplayed both ascending and descending. _{Transfer the}Fig. 2 is a bass_{melodyto manuscript paper; abandon the melody and play}line for "It Could Happen to You" in G major. dominant scalesonall dominant chordsasindicated inSymbolkey.(X 1l3

also employs the normal dominant scale.)

Cx (Vol F)

Ebx

(VolA') Dh(VofG') Ex (VolA) Dx{VofG) Fx(Vomp) Fig. 2.

MofA M ofB 1<1"fE.

(G)

I

I

1114>

VIx /

II / bV4>/

VIIx IlII bfllx I II

11

2 I

M ofB, M of A M ,!f8b

(G) bVIIx / VIx / II I II2 I VIIm / bVIIx I Vp1l7 VIlt7_I

M nfC ~I,!fA

(G) VI bIllo I II III I IV V I

I

I III4,l Vix I II I

MofB MofEb MofBI> MolA

(G) bV4,l VIIK / III bllIx / II II₂ / bVIIx I Vix I II III I

MofBb MofF MorA MofG

(G) IVb3 bVIIK I I IVx I III4,l VIx I II III I IVm V I

(G) 1+6 _{/ 1+}6 1/

IT COULD RAPPENTO YOU-by JohnnyBurkeandJimmyVan Heusen ©1944FamousMusicCorp..New York,N. Y.

LESSON

44.

The Minor Scale

The minor

chord

in

any key appearson

II.

III

and

VI.

F#x(vom) Ox(VofC)

-Abx (VoIDP)

CHOJID

II

ill

VI

1>IsPLAmmNT

2 • 2

3 • 3

6 • 6

MODE Dorian

Phrygian

Aeolian

RULE:

The dominantchordis a V or the

temporary

V of a new

key

and

takes the

scale

of

that

key

from

root to

root.

Bx (VolE) 84 I

-Ax(VoID)

(,++

."

l

-.,..

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 sinceit belongs to a primaryfunction

of any key - II - V - lorn

-

bIIx • L Therefore.n

always takes

the

Dorianmode

(2 - 2).

--

"" AeolianofC

~E

VJ

-Mixolydian of C

:a:

v

--..

III and VI on the other hand, can easily bedislodged from a key center and therefore must betreated 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.

Fig.3.

"

-~

-~

...

-

_~

..

,-IonianofC Lydian ofC MixolydianofE Dorian of D

(temporary II)

...

#:

.a.

I

r

I IV VIIx

m

-

-.. +

_{Dorian ofEb MixolydianofEb Dorian of D Mixolydian of D Dorian of G}

(temporary II) (temporary II)

86 I

n

~ Aeolian ole

I

VI I

m

..

-Dorian of

e

I

n

-LydianofC

#:

IV

..

Mixolydian of

e

'it:

v

-Mixolydian of

e

it

v

"

I I IVm VlIx

m

Vb: VI

Allotherminor chords (IVm. VIIm,hlII) are also treated as a

tem-porary

II ofa new

key.

Thus,in the key of C:

SCALE

CHoRD SPELLING ORKEY DISPLACEMENT

Im

Temporary II _Bb

_e-c

II Natural II _{C D-D}

III Natural III _{C E-E}

III-when

key

center Temporary II _D

_E-E

isweakened

IVm Temporary II

_Eb

_F-F

Vm _{Temporary II}

_F

_G-G

VI _{Natural VI C A-A}

VI-when key center Temporary II _{G A-A}

isweakened

VUm Temporary II A B-B

bIll

Temporary II _Db

_{Eb· Eb}

b

II Temporary II B

_C#-

_C#

Except III and VI which usually take the Phrygianand

Aeolian

modes. respectively, allminor chords take the Dorian

mode

(2 - .2).

Where there isastrong 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 VIchord.

In jazz harmony, temporary Uchords ofother keys sometimes

re-solve to their natural dominants (V),but regardless of their resolution, at the moment they are played, they imply the II ofa new key.

Actually the responsibility should rest with thestudent in deciding the particular «status" of the III or VI chord. The following rule, how-ever, is a general guide to the use of the minor scale:

F#m (lIofE)

-Gm(DofF)

-G#m (Dorfi$>

-Fig. 5 isabass 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 indi-cate the signature to

be

played from root to root of the chord.For

exam-ple: in bar I,the F over VI means play the F scale from D to D; inbar4, the Bbover Vm means play the Bbscale from CtoC.

RULE: The minor chord is a II

or

the temporary II of a

new

key and

takes

the

scale

of

that key

from

root

toroot.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

c1wrds

became

temporary

II

chords

of anotherkey.

Am (fiofG)

Bbm

(Dof.M) Bm(DotA)

Fig.

4

illustrates the twelve minor chords with their accompanying

Dorian modes, to

be

played ascending and descending, Fig. 5

bIb /

p6

i:;I /-f+6

D D

VUm IIIx / VUm F I

II

blIx I 1+6 / 1+6 II Poi VP

bIllo

Fe F F lIS

III II

F III IV / F F F B~ Ab

1+6VI/II bIIx / 1+6 _{VI / Vm bV / IV IV+6 / IVm bVIIx /}

c F F. Fe F F 6

b

/

IIIX1l5 VI/I! IJI

IY :aY4>/

V

sv /

lIS III II bIll( / 1+ IlIo

F F F F Bo IV+6 /

II

bUM I 1+6 VI I

II

bIIx / JTe VI / Vm

bY /

IV

I~m

bVIIx / IIIx1l5 _{-SI / II IIr IV+6 i:+IVI/>/ V bV I}

F F F

V! bV!" / V I II bIIx / I II /

c

bVIIx / VI VI/>I bVq, IVo I

Dm (DotC) C#m (DotS)

Cm (DotBD)

88

Ebm (UoIDb) Em (fiofO) Fm (fiofEb)

UTILE GIRLBLUE-by Richard Rodgers and Lorenz Hart

e

1935 T.S·. Hanns Co.C;.renewed %The WelkMUSIC Group.

International oopyright secured. Allrights reserved. Used by permission.

*NOTE: The prevailing key (F) has been reinstated despitethe preceding

LESSON

45.

The

Half-diminisbed

Scale

The

haIf-diminished

chordin any

key

appears On

VII

only.

RULE: TM

Iuilf-diminkhed

chord

is

4 VII or

the

t6mporaty

va

of

1&

new

lceg

tmd

takBa

,he

.aUe

of

that

key

from

rootto

root.

QroM

VII

DISPLACEMENT

7 - 7

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

half-diminished chord

alwaystakes

theLocrianmode (7 - 7).

Half-diminished

chords On other

than VII (III</>.bV</>,

etc.) are

COn-sidered

a

temporary

VU

ofsomeother

key.

Thus,in the

key

of C:

ScALE:

CHoM SPELLING ORK'EY

DISPLACEMENT

14>

Temporary

VII

_Db

_c-c

II.p

_{Temporary VII}

_Eb

_D-D

III4>

Temporary

VII

F

_E-E

IV4>

Temporary

VII

_Gb

F-F

V4>

Temporary

VII

_Ab

_G-G

VI</>

Temporary

VII

Bb

A-A

VII

Natural

VII

C B-B

bIlI.p

Temporary VII

E

_D#-

_D#

D ~(WofE) Ell (WofF)

90

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-dimin-ished chords with accompanying Locrian modes, to be played ascending and descending.

Ff,s

(VUofG) G~(VUofAP) Gf,s (VnofA)

A I .#

»_

,._B.

-~

-

....

...

-,

All (VUofBP) A#~(VUofB)

a,s

(VDofC)

LESSON

46

,

Fig.2. "Don'tBlameMe."

93

2 1 2 3 1 23 4

Bo

2 123 12123

B'o

Thisisan

artifi

cial

scale

sincethesame letter,Inanyform (Ab• A),

C3Jlllolappear twiceInan authentic scale,

1 2 3 1 2 31 2 3 2 31 2 31 2 3 41 2 31 2 31 2 3

12 12 312 34

Fig.2 illustrate sthe twelvediminished chords with accompanying

",.l<s, to he played ascending and descending. The fingerin gs are a

~i1ggl.-'StiOll forthe stude nt

Co cjjo Do 1 2 3 4 1 2 3 4 5 2 1 2 3 1 2 I 2 3 2 I 2 3 I 2 3 4

eo

E~o Eo Fo 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3 1 2 3 2 3 1 2 3 1 2 3 4 AD or 02 12 12 121 C I Coscale Ab A B 2 1 2 Co F

Gb

2 1

D

Eb

2

1

Sincethis scalehasnorelationto any tonality,we spellitby indica t-ing the intervals as follows:

Minor second- 1

Major second-

2

Thus, in Fig. I, the semitone combination is:

Fig. 2is a bassline for "Don't Blame Me."Transfer the melody to

manuscript paper. Abandon the melody and play appropriate h

alf-dimin-ished scalesforeach half-diminished chord.

Th

e

D

iminished Sca

le

DON'T BLAMEME- WordsbyDorothy Fields,MusicbyJimmy McHugh

. Copyright1933Metro-ColdwynMayerCcrp.,NewYork

Copyrightassigned1933 to ROBBINSMUSIC CORP" 799 SeventhAve.,New York,N.Y. forUnitedStatesand Canada

Used by permission.

I

IVm

I

III

b

III,

I

II

bU,

I

I

V

I

I

II~

bU

,

I

III~

b

Ill,

I

bW IW

I

III b

Ill, 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

I

V II

I

v

u

III,

I

vu

b

V

II

,

I

VI

"

V

I

I

I

b #Vo

I

VI II,

I

II

b

III

I

U bU,

I

I

I

Vm

I

III

b

Ub

I

II

bII,

I

I

V

I

I

II~

bII,

I

III~

bUb

I

II V

"

I

}+ '

I

I

c

o

Fig. 1.

Thediminished chord hasno"natural" positiouinany key, We have

learnedto employ the diminishedchord atany pointinakey, but atno point does.it infer any tonality.

Anarbitraryscaleis employed forthediminished chord which utilizes

allthe tones of the chord inaddition to a series of chromaticorauxiliary

tones. Fig.1 iIluslratestheC diminished chord with its diminished scale.

~ I

~

-

...

.,

....

-..-•

!.no

no bo tI. lei

...

_1";

V" • ~ 3 1 2 3 1 2 3 I~ I

L-e-·

Fig. 3isabass line for"Birth

of

the Blues." Transfer the melody to

manuscript paper. Abandon the melody and play diminishedscaleson

aU

diminished

chords.

Fig. 8.

pl<:l<-b

Ux

_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

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

Fig. 1. CM

ex

Cm

"

I 1 I I ~ v- ."

_{.... n-}

,

.

_lI*'''

,.

L~

~

A

··

TIlE BIRTH OF THE BLUES-Lyrics by B.G. DeSylva and LewBrown, Music by RayHenderson

Q1926 (renewed) Warner Bros. Inc. All lightsreserved, Used by permission.

Reproduced by permission (intheU.K.) of Redwood Music LtdJChappell Music.

Co ObM Dbx C#m LESSON

47.

ft I I I I I I I

lei

_~

TI

..

,.

..

..

I 2 3 1 2 3 4 I.n

.tat-

..hft.

·

C#o OM Ox 95 Ebm 00 O.p Ebx Om EbM ft I

jl

I I I ! I. I eI

•

_i

2 3 1 2 3 1 2 3 -e- ldl- ..n

"

I 1 I I, I

r

I I I I. I !

r

I I I I I I, I eI

hlba-~ I.A-

1hbA-·

{

We havenow completed the scales for the sixty chords. The

im-portance of these scales cannot be overstated in building the materialfor

jazz improvisation. Fig. 1 illustrates a highly recommendeddrill based

on the fivequalitiesof each tone. These scalesor modesshould be

prac-ticed ascendingand descendinguntil they arecompletelyautomatic.

The studentis

also

advisedtoreturn to the previous chapters and

explore thesescalesinthe varioustunes abandoning themelody.

The student is advised to follow the general fingering rules for the

major scales when playing the M, x, m and

4>

modes. Suggested

finger-ings have been added to the diminished seales since they represent an unfamiliar series of whole and half steps.

The SixtyScales

Bbx Abm Go )1 1 I

Ilta

23123123 I GM

1ft:

I L h_ 121231234 Gbx fJ. u

--11 __

,

.-.

..,

~

Am ~ I 11- It....

,

_lJ.a.

b.~

t I I

·

Ao BbM fJ. t

...b-

l,_b.-

l..-b.-..,

I

·

AbM Abx f\ £LIf.

~

JJ M.-_ -

~

II t

•

·

ff_G# Abo

"

.

.

•

I 2 3 1 .2,3,1 112 3

-..,

I

•

_1..&

_1Jzft:

~bli"

·

Gm G Fo Fx EM 3 1 F~x

F4>

FM Em Ebo .2 1

..

Fm Eo Ex

"

11 .2 .2 3 1 .2~lJ4

,

l...

i

TIl 1 T TIl I I 11

:D:

I~

h.1dl:

.

\

,

,

1 .2 3 4 1 .2 3 4 5

,

I I

LIi"

I\,t.li"

ILl?eo-.

'I T I I

Tl

I I I I I I I I I I I r

11

I

II I' -p

dt:

.a-

kA-.

•

I I I I I I -, -,

~

iT'

.2 1 .2 3 1 .2 3 4 I II T T I I "1 1

•

_~

_1#

~

.

F#o GbM

96

97

Fig. 3. Bbo Af+o Bbm

.b.ba.

~,ti. 2 123121 2b 3 l I LI 11 _ ... i1.j11.

~

~ l

•

LI .t 1.1

_•

_{L1 ... +-f'- u , 1+• ..,...fIL} 41 ~ IJ.

-

..

.

Fig. 4. Fig.

7.

(Fig. 5) (Fig. 6) (Fig.

7)

dominant scale whole tone scale whole tone scale

Fig. 6. DOMINANT CHORD: Xl" xl.

x

bl Fig. 5. Bx Bm 121231234 BM 1\ _ ... .fI- 11 ...

--it-t) I. LESSON

48.

Bo 99 Fig. 11. (Fig. 8) (Fig. 9) (Fig. 10) minor scale

minor scale with

#7

minor scale

Fig. 10. MINOR CHORD: mU T mlf

m+'

RULE: In inversions. the scale is the same as in root position except

thatit isplayed from the bottom note of the inversion (Fig. 11).

Fig. 9. (Fig. 2)

(Fig. 3) (Fig. 4)

major scale with

#5

major scale with

b5

major scale with #5

Scale

and

Arpeggio Alteration

The

followingrule describes theuseofscalesinaltered chords:

MAIOR CHORD:

MS

l

Mb

S lIS

MS"

Fig. 2.

The arpeggio ofan altered chord simply follows the alteration.

Fig.

1.

.it. ..

~

I •

~.

~

...