1959-84 Tonal And Rhythmic Principles - Mehegan.pdf

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TON L

ND

RHYTHMIPRIN IPLES

azz mprovisation

REVISED AND ENLARGED EDITION

JohnMehegan

Watson Guptill Publications New York

Amsco Publications

New York London Sydney



40

NOTE: It w.iIlbe noticedthat no secondppearsin the-U1verted diminished

chord. Thus, the diminishedchord eaunot be inverted. There are

twelvediminishedchordsgroupedin threeseries(Co,EbO,CbO,Ao

C o, o,Co,Dbo- Do, Fo, Abo,Do).The diminishedchord isalwaysin root position.

Since the M, x, m and 4>can be played in fourpositions,thisgivesus

192 chords. Addingthe 12 diminishedchords,this givesus a totalof

204chords- thecomplete harmonicystem of jazz.

LESSON 22.

Inversions

The following is a bassline for No Mono at All.n It is written in D

minor, which is the relative minor of F major. The symbols refer to Fmajor. Transfer themelody to manuscript paper.

VI+I/ IIIx: / va/ VIIm: / VII: / bV. . IIIx / VI+' Ix /

IVxIIIx VI+' / IIIx: Vo VIIm: VII: bV4-,IIIx / VI+' VI+' VIx / VIx / IIx IIx / V / V I IV VII bVIIx/ VI+'

• ••IIIx 1 Vo / VIIm I VII I bV</>,IIx I VI+' / VI+' /1

1\0 ~ O O ATAJ..L..-Wordsand Musicbv David M ~ l I M 7 ~ ~ r s . ~ ~ d R ~ ; n 1 0 eC 1947, 1949Jefferson Music Inc: © ' Inc.International copyright secured. lIJl rightsUsed by permission.

..NOTE: VI+e is alsobV</> ,ut the functionof the chord is an adjustedVI

chordrather thanan inverted bV ,.

LESSON 23.

Inversions

Here Is a bassline for Liza, Transfer the melody to 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 / VmIx / IVIV + I /

III bIIIx / II blIx / I + I bVlIx / VI + I bW / VII bVIIx / VI bVIo/

VmbV/ IV IV+I / III</>IIIx / II II. / bVIxV / I V: / JIoVIx: /

II</>: IVo / VmIx / IV IV+ / III bII Ix / I I bIIx /1+ 1/ /

L1ZA-by Gus Kahn,Ira Gershwin, andGeorge Gershwin© 1929NewWorldMusicGorp. (renewed).All rights reserved.Used by permission.

..NOTE: I+eIsalsoVI', but thefunctionof the chordis usuallyan adjustedI

chordrather than an invertedVIchord.

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 tothe key ofA and the

return to the key of F. The head char t appear s i n 3/4 time with a

transition to 4/4 time in the final sixmeasures ofthe tune; the blowing

chart appears in 4/4 t ime with a transit ion to3/4 t ime in the final fourmeasures in preparation for a return to the head chart.

41



42

HEADCHART:Key of F, 3/4 time

3 6 6 6 6 •(Fl4 J5 I VI I II I VIIx' I IIIXz I VIx' I IIXz I V' I bel I 113 I

(Fl l II.p3 I IV I III I vlre bV.p3 Vlx3 I IV V vi I ViI i II I

(F)l I VI I II I V I I VIXzI I V2I IIIx S I VI v1

2II

(Al l I I I VV I III I II I I I 12 II (Fll II I V I III I VIx I II I

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

3 6 6 6 6 •(F)4 V I J5 I VI I II I VIIx5 I IIIXz I VIx5 I IIXz I V I IX

2I 113I

(F)l II.p3 I V, I III I VIx I bVm I V I I x ~ I Isy3 I Ix I IV I

3 u u(F)4 IIIx:5 I VI I bVIx I VI, I VMu I I V II (Flj VI , V M ~ I

:3

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

BLOWINGCHART:Key of F, 4/4 time

III VI I II V I l IIx VIx I IIx V I Ix IV+6 I II.p V I III VI I

(F)4 II V I III VI I II V I IIIx VIx I Ilx V I IIIx VI II (Alj II V II I

(Alj I II (F)j II V II VIx I I I I IIx I VI Vm I IV IIIx I VI IIx I

(F)j bIIIm bVIM I II V I III VI I II V I IIIx VI I Ilx V I Ix IV+6 I

(F)4 lIt/>V I I II VIx I bVm VIIx I III Ix I IV IIIx I VI IIIx bVo I

(F)4 III bIIIo I II V II I +6 I bIIIo I II I V

Da Capo to head ,

WALTZ FOR DEBBY-by Bill Evans and Gene LeesTROC 1964and 1965Acorn Music Corp., New York,N.Y.U.K. C 19i¥'Acorn Music Inc. Assigned to Kensington Music Ltd., B5Gower Street,London, forthe territoryof the world excluding USAand CanadaUsed by permission.

LESSON 25.

Inversions

The following isa bass line for Giant Steps, Unlike the bass lines

in this volume, the chords are indicated by let ters instead ofthe 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 Bbx3 I EbM I Am Dx I GM Bbx I EbM F::x 3 I

BM I Fm Bbx I EbM I Am Dx I GM I I BM I Fm Bbx I

4 4 4

EbM I IBM Dx3 I GM Bbx3 I EbM Am Dx I GM Bb3 I

4

EbM F ~ x I BM I Fm Bbx I EbM I Am Dx I GM I F;:;x I

BM I Fm Bbx I EbM I EbM II

GIAl\'T STEPS-by John Coltrane© 1974 jowcol Music sedby permission

The symbol key for the preceding chord chart is as follows:

M-major

x-dominant

m-minor

43



44

SECTION IV

LESSON 26.Modulation

Many of the popular tunes used as jazz material modulate from one

keyto another in thecourse of a 32-barchorus. This modulation is seldom

indicated in sheet music although the jazz musician thinks in these key

changes for Simplicityand order. The following sixlessons will deal with

tunes of this type. A Simplerule for identifying the presence of a new

key is the appearance of a majorchord on other than I or IV ( i.e .. 111M,

bVIM, ete.).

The following is a bass line for Body and Soul in Db. The origi

nal key of t hi s tune i sC majo r, but since 1930, the year the tune was

written, convention has prevailed in favorof Db. Transfer the melody to

manuscript paper using the followingsignatures: bars I - 15, key ofDb;

bar 16, beats 1,2, key ofDb; bar 16, beats 3,4 , key of0 ; bars 17- 20,

keyof 0; bars21- 23, key ofC; bar 24, beats 1,2, key ofC; bar 24, beats

3,4, key of bar s 25 - 32, key of Db. The le tte rs i n pa renthe ses

indicate the key in which the symbols are tobe played.

(Db) IIU 7 Il:7 II bflx I II III bIlIo II II, VII bVIIx (Db) vi Ii bIIx I lHo IIu7 II 7 II bllx I II III bUIo (Db) II II, VII bVIIx VI II bIIx p6 (D) V p6 II (D) VI3 IVm III VI II IVo III bIlIx II blIx (Cl II V (C) I bUIa I I b IIX ix vIIx (Db) VIx Ilu7 Ip7 II bIIx (Db) I II lUI oUIo II II 2 VII bVIIx Vi I I b li x I +6 BODYAND SOUL-Lyrics by Edward Heyman, Rober t Sour. and Frank Eyton, Musicby John Green

«:>930(renewed) Warner Bros. Inc. Allrights reserved.Used by permission.

LESSON 27.

Modulation

The following is a bas s l ine f or How High the Moon, in the key

of G. Transfer the melody to manuscript paper following the signatures

indicated by the letters.

pidc-up

(G) VP I 1+ (F) II blIx I 1+ (Eb) II blIx (Eb) I VI bW VlIx nr-: (G) V / I II III IVb

(G) III bIlIx II VU I 1+ (F) blIxI 1/1+1 (Eb) II

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

HOW HIGH THE .MooN-hy Morgan Lewis and Nancy Hamilton{j HMOby Chappell Co., Inc. Clrenewed.Interuanonal copyright secured. All right , reserved.Used by permission.

LESSON 28.

Modulation

The following is a bass line for Laura, in the k ey of C. Transfer

the melody to manuscript paper follOWingthe Signatures indicated by

the letters.

(G) II / bIIx I 1+ 1/ (F) II / bIlx I / 1+ (Eb) II

(Eb) bllx I VI (G) II</>Vb l/ Vb

lIVo III bUIx / II

(G) blIx jI jI + / (F) II b1Ix I / 1+ / (C) IVm / IVo / III (C) VI / I1xbl

/ II VII / 1+ / 1+

LAURA-by Johnny Mercer and David Raskine 1945, renewed 1973Twentieth Century Music Corp. Allrights administered andcontrolled by Robbins Music, a catalogue ofCBS Songs. a Division ofCBS,Inc. Allrights reserved.Used by permission.

As I nd icated above , Laura , in the key of C, does not s ta rt I n the key

of C. However, the tune comes to a final close In the key of C which

definitely establishes the key.

LESSON 29.

Modulation

The following is a bass line for -111Remember April, in the key ofG. Transfer the melody to manuscr ipt paper follOWingthe signatures

Indicated by the letters. 45



(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 / bUx I I VI / (G) II bIIx I I / I / IV / I I Im /

(G) Im , / VI , I. IIx / II I V / III , / bIIIx I II / bIIx /

(G)I+' / 1+< II

I 'LL REMEMBER APRIL-Words and Music by Don Haye,Gene De Paul, andPat Johnston

© 1941, 1942 bv MeA Music . a Div ision of MCA Inc., New York, N.Y. © renewedand assigned toMCA ~ I u s i c a Division of MCA Inc. and PIC Corp. , New York,N.Y.All ri,mts reserved.Usedby permission.

LESSON32.

Transposition-Modulation

Fig . 1 i sa l ead shee t o f In YourOwn Sweet Way byDave 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 YourOwn Sweet Way.t ~ \ ~ ~ ~ ~ ~Eb Am 07 Gm Cm F7 Bb Eb

1r I\lld Qr U ~ w 1Ell Maj. Em9

A7

0

o

J UJQrA7

t ~ l \ I ~ m r FAbm Ob7

ModulationLESSON 30.

The following is a bassine for -All the ThingsYou in the key

of Ab.Transfer the melody to manuscript paper following the signaturesindicated by the 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+' /IALL THE THINGS YOU ARE-by Jerome Kern and Oscar Hammersteln II

C 1939T.B. Harms Co. e renewed The Welk Music Group.International copyright secured. All rights reserved.Used by permission.

LESSON3l.

4,\1m Ir F=£t FI* ttlOm Ab7 e7 Cm Am 0 7 Gm

46

Modulation

The following is a bassinefor Autumnin New York, in F, Transfer

the melody to manuscript paper following the signatures indicated by theletters.

(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 Ix /

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) I I III xf< / VI VI./bWIVxjI II+-VIbf</

(Db) III bII I I I bIlx j I bIIx / I vn VI Vm / (F) II III j

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

AUTUMN IN NEW YORK-Words and music by Vernon DukeC 193 4(renewed) Warner Bros, Inc.All rights reserved.Used by permission.

Cm Bb Eb Abm

Ebm

Gb Cb

47



Both Fig. 1and Fig. 2 present the essential facts ofthe composi

tion; Fig. 1 represents the composer's original conception ofthe 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 ofkeychanges which socialconsen

sus has established as part of the fabric ofthe tune.

The key series for transposition will be:

l -bVI- I -bVI -I - II I- II -I -bVI- I.

The following isa bass line for In YourOwn Sweet Way in Bb.

The key order isas 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 a bove.

SECTION V

LESSON 33.

Arpeggios

The basic problem of jazz improvisationis to abandon the melody

and build an improvisedline on the elementsof the chords in a tune.

Thus,we willcombinethe vertical (left hand) with the horizontal (right

hand). The chord elementsare as follows: (1) Arpeggios;(2) Scales;

(3) Chromatictones.Thus,jazz improvisationemploysa twelve-toneline(twelve chromatictones in the octave) superimposedon the sixtychord

system.

An arpeggiOis a broken chord movingin alternate steps. The Iol

lOWingllustratesthe arpeggiosof thefivequalities on C for two octaves.

These notes should he played ascending and descending.

r .•

Cm

I .•

Co

....•

Cx

CM

· · · · · · ·picl< up

(Bb) IV VIIm IIIx VI IIx II V I IV (Cb) II V I IV (Bb) II<p bIlx I IV VIlm IIIx VI IIx II V I IV (Cb) II V I IV (Bb) II<p Mix I VI (D) II V I VI (D) II V I (C) II V I VIx s (Bb) IVm bVIIx VIx VIo (Bb) VIlm IIIx VI IIx II V I IV (Cb) II V I IV (Bb) II<pblIx I

Fig.2 . In YourOwn Sweet Way.

IN YOUROWNSWEET WAY-by Dave BrubeckC>1955Deny MusicCo.Used by permisslon.

When transposing this tune, number the melodytones according to

the prevailing keyin the bassine, Transpose to various keys as a transposition problem.

849



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

This rhythmic counterpoint isalways present injazz, 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 half note J - tuba or trombone

Quarter-note J) - drumsTechnically this is a form of floridcounterpoint involving three kinds

of time played simultaneously. This is the essence of the jazz beat.

Using the chord charton pages 25 and 26,practice the arpeggiosfor

the sixty scale-tonehordsusing 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

BbM - 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 that theycan be 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 .JQuarter-note ( J )

trumpet

piano

bass

right hand

left hand

foot beat

50

LESSON 84.

Arpeggios in Rhythm

Rhythmic problems in jazz will be thoroughly studied in Volumes

II, I II and IV. The student must f ir st learn what to play before learn

ing how to play it. For now, the following basic mater ial on rhythm

will suffice.

The rhythmic div is ion of the front and rear l ines of a 1900 New

Orleans jazz band was as follows:

This rhythmic composite is occasionally interrupted, but its continu

ing presence is essential to jazz improvisation.

As soonas 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 rhyth

mic structures used in jazz improvisation - the eighth-cote, the eighth

note t riplet and the sixteenth-note. The jazz line can employ rhythmicvalues 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

i f t(9-

:

• ID m IV V bV

Foot beatIVI

Foot beat

, ., R ig ht band

It

v

Foot beat

,. t: r=t: ,Rlgtt band

ii - -,

- 1Alft.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 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.

In Fig.2:

.., bm

Foot beat

,- -• . Ii,.. •

.

I l ~]I

- .

1+6

I and I I chord - whole -note res t (fou r beats )

III chord - half-note rest ( two beats)

V chord - dot ted quarter-note rest

bVi>chord - quarter-note rest

IVm chord - dotted eighth-note rest

III chord - e ighth-note rest

bIU chord - dotted sixteenth-note rest

52 II chord - sixteenth-note rest 53

LESSON 35. - r--,- - - - - I



Eighth-note Arpeggios

Fig. 1 is a bassline for Could Write a Book, in the key of Db.The sheet music appears in the key of C, so the melodymust be transposed. Transfer the melody to manuscript paper using three staves- one

for melody,one foran improvised line and the third forthe 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 ascend

mg and descending as well as from the various inversion points (third,

fifth and seventh). Respect the fingering shownon page 50 at alI times.

The following rules will be helpful in Bngering problems:

1. All inversion arpeggios beginning on a white note begin with thethumb.

2. AlI inversion arpeggios beginning on a black note begin with the

index finger (except Ebminor which begins with the thumb) andgo to the thumb on the first white note.

,'-'-'- I

,- oj .

- 'l- - ......,...,-,I , 1 ,..-r I

t -l. I

-- I.. I.. • - lI I .

• - - - -..L...J -:

Fig. 2 illustratesa drillusingthe arpeggiosof the chordsin eighthnotes.

Fig. 1.

plck-ep

bIIx 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' bVIla / VI bVIx 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+'

I COULD WRITE A BOOK-by Richard Rodgers and Lorenz Hart© 1940by Chappell & Co., Inc. © renewed.International copyright secured. All rights reserved.Used by permission.

Fig. 2.

AI

54

l'

- . 1

--

- -

-

-. ,.....,..1

it -:

AI I ... - -

:

A I •.....,.....,

r T'-T-, - ....,..., •

- ........... -......I 'I' F .. .. ...-

55



, .. ...1:.. -1«1 - - - .,

1 •- • t

«I - - -.J I-- .-. I-.

I - - ........ ,......,.. .-.......-......I I , .. .. .. .. ,. - I ..-- I - .,- . .,... -- ..

DRILL: Study Fig. 2 and explorevarious eighth-notearpeggiolineson

the chordsof Fig. 1. In the beginning,the student maywriteout a lineas a startingpoint.

LESSON 36.

RhythmicCombinatioos-on Green DolphinStreet

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 11m m bIIM2 II #10 II bIIx II VI

(Cb) II bIIx I #IV (Eb) II bIIx 1+ I m m

(Eb) bIIM2 / I / #10 / II II2 / VII bVIlx / VI VIz bV<bIVx

(Eb) I II bII Ix II blIx I 1+6

Fig.2 illustrates a drill using the arpeggios of the chords in eighth-note

triplets.

II

¥ 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 ....

e .......... I Ellll Gb

,

Eb

56

ON GREEN DOLPHIN STREET-Words by Ned Washington. Musk byBronislauKaper

C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975.All rights controlled and administered by Leo Feist. Inc. a catalogue ofCBS Songs.a Division ofCBS, Inc.Used by permission.

57



• _ ~ - : a f l l . . : : . ~ . ~ f - ~I • f// :..•

I I:JEll

.

-'- 11 .M... h lI b

' .,

\ -. -. E

..

.L ...-.fL._

- 'j-Eb

.

-4_ _tl l =_j,. fL I

' I

-. Ell.vG

,-

• Ell

33 -'1 I .-li

',• I - v_

E:

I I

'I IIi VI - - ~ ~

Ell

.

- . ,. l\ • .J..

r . I -E.

..1. I I I

.....~ ,. -~ -Ell

5859



t'i I • ,... . . . ~ ~ ~ : t : .......-h. ,. ....

e -......Eb

t'i I - .--- -JltlL L A ....L

.il

..,..Eb

r::lCHORUS

L J ' 't'i .......... ill I..

Po· 7/ 77 -

·

a= ..J. ,LfII I il • ~

leJ ;I -;-b

,., .iIl• . I

:1: - •Gb.

t'i ::j :. .J ::.b• t ~.

11) .Eb

t'i •. 1'- • .f - I :1 iIf :

leJ -- ---b Eb

.,

t'i ~ ~ .. ::j : .fL - .

111) -- . ._--Eb

.1 .L II tl . -- --- I

.: -- Gbb

,.,.il4U_ .....- .* • • I

• I' - .. .Eb

. L ... --.1.L I

._L ' -

• - - ,.Gb Eb

·'1

61



II •_. to.. . - I. 11 f I

N¥)

I I

EbCD

shake--I I ~ ~ ~ ¥ ~ ...b_ ..L -I-.J I I

Eb

·

1\ I

.11. ... ••,

..h.a__ ,..,...,..,

I-.J I,.

Eb

·

I

. _ M T I , JJ _ _h,...

- iT I I I

...I I I

CbEb

.,

II I . - ... - . . ..i4V - .

- -. ,

Eb

·

. I - _--::0. I I

ItTI ..... r -,

Eb

.

II I ..l.. ...L.. 5. . .

- ,J. I r -·

\I

I _ ...-... •h_ e: e: -e:.L .i >

[t I r ...Eb

II I-..jll:. ... ... .- .... - ...

.I

r

Eb

33 I I - ,...,.- -ltJ v r:;::f-.;,r 11

jor..

Eb lti*\.¥.

·

62

DRILL: Stud) Fig. 2 and explorethe various eighth-note triplet arpeggio

lines OIl the chords of Fig. 1. Write out the lines if necessary. 63



I I ....

LESSON 37.

Sixteenth-noteArpeggios

Nowthat wehave investigateda line employinghe eighthnote (two

notes to a foot beat ) and the eighth-notetriplet (three notes to a foot

beat), wewiD.explore.in this chapter, the sixteenth-noteline (four notes

to a foot beat).

Fig.1 is a bassline for At LongLastLove.J in C. Transfer the

melody to manuscript paper using three staves.

-

-•

.. ....

Fig. 1.

pick up •

bUx II 1+ I VII I VI I m- I IV I III blli 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 VmI I JUo ill</>/ IV+ I IV /

•bW / U. / m / hUh U / bIh:/ 1+ / 1+

.r . ..

ATLONG LASTLOVE-by Cole Por terC 1937by Chappell Co Inc, 0 renewed Assigned to John F. Wharton,Trustee ofthe Cole Porter Musical and Literary Property Trusts.International copyright secured, All rights reserved.Usedby permission.

Fig.2 illustratesa sixteenth-notedrill employingthearpeggiosof the

chordsin Fig. 1.

..

Fig. 2.

. ..

A. ..

•

64

..

- ... -65

., - ... ,-



- - - --

-

-4tJ - fIo •

tI •

DRILL; Write out or play a sixteenth-note arpeggio line on Fig. 1.

LESSON 38.

Rhythmic Combinations

- -

Since the problem of shift ing f rom 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 allowedto 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 II

Ab IIllP lIP II I bVIIx Vb: bVIxV I I IVx I

(Ab) VIIx I bVIIx 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 II I /I I I II

(G) I bV (Ab) III I II VII Ill</> b1IIx I lIlli' lIl II I

(Ab) bVIIx 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 Parisho 1933by Mills Music. Q renewed. All rights reserved,Usedby permission.

67

Fig. .2 illustrates a drill employing eighth note eighth note triplets _..3 . 1 ......



and sixteenth note rhythms in various combinations.

Itl. _

8 -..

/ / / /

.....

/

--./ /

I

/

-

/ /

Fig. 2.

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 rest valuesstudied in Lesson34 into four-bar compositeswhich allow

us to shiftsuddenlyfromone rhythm to another or introduce a rest value

without disturbing the foot beat Fig. 1 is a possible four-bar composite

for a slowtune:

Fig. 1.

n r In

A I

This compositereads as follows:

Thefirst line will apply to the f irstbar ofa 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 fi rst l ine to the fifth bar;

The secondline to the sixth bar; and so on until the end of the tune.

DRILL: Wri te orplay a l ineon the chords of Fig. 1 using eighth note.

eighth-note triplets and sixteenth note rhythms. Keepan unin

70 terrupted quarter-note f oot beat when playing. 71

Fig.2 is a bassline£or Got ItBad. in G. I .,<111,_ l:: ' I • I



\ II

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 VI3 IIVo IV4> I II n, I

bVlIx vIx bVIx V 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 VSl I 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 BADANDTHAT AlNT GOOD-by Paul Francis Webster andDuke Ellington

e 1941,renewed 1960 Robbins MusicCorporanon. All rights administered by CBSSongll\ a Division, ofCBS, Inc. All rights reserved.Used oy penmssron,

we apply our composite to the arpeggios of Fig. 2, we derive the

IoDowingrill

.......

II .,;;

IIIi - c::ii-'

.

{

\ Il l - l .... .. ... .fl... .fL....... ..WI - ;;;iIiiI

.

,jI .... I - _.fI ./t of -.....

t .. iiiilIoIl -:

\ II .. - - - A

t liiiiiiiiIi; - - 1'* CiiiiiiiIiiiiii,

72

\ II • .ft. LJ.... ---.v liiiiIiiiiiIiil - ....... •

11-._- - ......,a,. •

.tI - ;::;::;Iii -

73

1\ u • . .-..-. Fig. 1.



.v Iiiil = 1 = l:l J

DRILL: Transfer themelody to manuscript paper using threestaves: 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 arpeggiosof the bass line in Fig. 2.

LESSON 40.Fag.2.

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

I bVIlx / Vj+6 bY</>vtr, / IIIx VIx /IIx V / III blIIx II Hix /

I #10/ II V III bIl la V Vm Ix / IV V IIx / Illx Vlx I1xV

1 6 1/

YOUTOOK ADVANTAGEOF ME-Lyrics by Lorenz Hart, Music by Richard Rodgers© 1928 (renewed) Warner Bros. Inc. Allrights reserved.Used by permission.

If we apply the compositeto the arpeggiosof Fig. 1. we derive thefollowingdrill.

RhythmicComposite(up-tempo)

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

. I

•

74

The fonowing is a possible up-tempo composite:

rri-.

rrn j> n

Fig. is a bassline for YouTook Advantageof Me, in Eb.

\ • .J....L I I - • J

\ • . ..... I

l.v ..... •

75

. . . ...... - -



--ItJ , •

11 . l ... • .I

-,

-·

. - ., - . ,.

·

-.

...IlJ -·

I _ I .-.... I --lJ

·

, _ f _.

.... -76

.,I - ....,

• - •

If

..... -As in Lesson39.the studentshouldthoroughlyanalyzetheuseof rest

valuesand arpeggiosin Fig. 2. Simplyto play over these specimenss of

little value. When playing these examples,try to keep a steady quarternote foot beat. Aboveall, do not use any pedal

DRILL: Transferthemelodytomanuscriptpaperusing threestaves:oneformelody;onefor the studen simprovisation;and onefor the

bassine. UsingFig.2 as a model,thestudent shouldwrite out•if necessary.an improvisationonthe bassline in Fig. L

77

SECTION VI These modes built on the twelve major scales represent one of themost important elements of jazz improvisation. They are highly effective



LESSON 41.Modes

If we play the scale-tonechords in C and play the C major scale from

root to root ofeach chord Fig . 1), we are playing the various modes of

the scale of C. A mode is a displtu eds lepl yedfrom root to Tootofthe chorc

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 i t evident that even thesimplest tune utilizes altered and chromatic chords. this simple modal

systemmust be expanded to meet the requirements of a sixtychord 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 chordsintwelve keys with accompanying modes in the right handas in Figs. S

and

Fig. 5 is a bass line for SpeaklDw, in F. Transfer the melody toLESSON 42.



manuscript paper noting key changes. On the lettered scale-tone chords,

abandon the melody and play the required mode of the prevail ing key

scal e. Lett ers over each chord indicate the mode t o be played with

each chord.

Thefollowingchart illustrates the symbolkeyfor each mode:

Ionian -10 Mixolydian - M

Dorian - D Aeolian - A

Phrygian- P Locrian - LOLydian-LY

TheMajor Scale

Ionian

Lydian1 • 14 • 4

I

IV

The major chord in any key appears on I and IV.

CHOBD DISPLACEMENT MODE

In determining which of these two modes to choose, the deciding

factor must bethe relative strength of these two major positions in diatonic

harmony. On the basis of this, there can be no doubt ofthe overwhelming

feeling of I when hearing a major chord. For thisreason, themajor chordtakes theIonian mode (1 • 1) except in cases where the bassine gives a

strong feeling of IV, e.g. I n / III IV / V I I see Fig, 1).orF MofF DofF MorF DofF MofF seenote

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)Don' MorF DofF MofF DorF MofF

10 I II I V I II I V I II I V 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

D of Eb 0 of Eit see ote 10ofEb 10of Eb see note M of 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 KurtWeill andOgden NashQ 1943by Chappell Co., Inc. Q renewed, assigned to Chappell Co., Inc. andHampshire House Publishing Corp,International copyright secured. All rights reserved.Used by permission.

Fig. 1.

i • • • • •i i

I U m

LydJan

7 • ; I• • •• • • •..IV V 1

PofF AorF DofF noll 10ofF 10ofF1I7

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

NOTE: Chords such as II, V or I are considered primaryfuru:tions ince they

belongto the key; chords suchas Vmor 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.

Here the use of the Ionian mode of the scaleof F on the IV chord

would destroy the feeling of C major running through the entirebassline

and the Lydian mode (4 • 4) should be used. Except in cases of thissort, the Ionian mode is employed on all major chords.

80

=7NOTE: y;:s is ctually a major-augmented seventh chord; the symbol would

read VM. 81

Fig. 2 illustrates the twelve major chords with accompanying IonianFig. 3.



modes, to be played both ascending and descending.

Fig. 2. 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 bVlli /

II VII / 1+- I (G) II IVo I ill bIlli / II pili / I I

II IVo I ill bIlIx I II b Ix I I bVIx I

1+' VI I II hili / 1+' VI I bVIh I II V III I I

1+' VI I bV+ili hili / I /I

eM DMMOONLIGHT IN V R O N T ~ b y John Blackburn and Karl Suessdorf

C>1944-1945 Michael H. Coldsen, Inc. C>renewed 1972.Used.by perrnission.

I

r l'LESSON 43.

The Dominant Scale

EMThedominantchord in anykeyappearsonVonly.

CHORD

V

D S P L ~5 • 5

MODE

Mixolydian

Sincethe dominantchord only occursat the positionof V,there can

be no doubt concerningthe accompanyingmode. Thedominant always

takes the Mixolydianmode.Dominantchordsonother than V II , bVh, etc.) are considereda

temIJOraryV of someother key.Thus. in the keyof c:

RULE: The ma/Ofchord is a I or the temporary1 of a new keyandtakes the 8C kof that key from root to root

83

CHORD SPELUNG SeALSOR KEY DISPLACEMENT

Ix TemporaryV F C·c

ili TemporaI)'V G D-D

IIIx TemporaryV A E-E

IVx TemporaI)'V Bb F-F

V NaturalV CG·G

VIx TemporaI)'V D A-A

Vili TemporaryV E B-B

bIh TemporaryV 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 toAbM, 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 is a bass line for Moonlightin Vermont. Transferthe melody

to manuscriptpaper fonowingthe key signaturesindicatedby the letters.

Abandonthemelodyand play the appropriatemode on eachmajorchord.

Major+-chords follow the samerule as normalmajorchords.

'II

82

Fig. 1 illustrates the twelve dominant chords with accompanying

Mixolydian modes, to be played both ascending and descending.Fig. 2 is a bass l ine for It Could Happen to You in G major.

Transfer the melody to manuscript paper; abandon the melody and play



Fig. 1.dominant scales on all dominant chords as indicated in Symbolkey. (X 1l3

also employs the normal dominant scale.)

Cx (VolF)

Ebx(VolA')

Dh(VofG')

Ex (VolA)

Dx{VofG)

Fx (Vomp)

Fig. 2.

MofA M ofB 1<1fE.(G) I 1114>VIx / II / bV4>/ VIIx IlII bfllx II 11

MofB, MofA M , f8b(G) bVIIx / VIx / II II

2 VIIm / bVIIx Vp1l7 VIlt7

M nfC , fA

(G) VI bIllo II III IV V I III4,l Vix II

MofB MofEb MofBI> MolA G) bV4,l VIIK / III bllIx / II II

2 / bVIIx Vix II III

MofBb MofF MorA MofG G) IVb3 bVIIK I IVx III4,l VIx II III IVm V

(G) 1+6 / 1+6 1

IT COULDRAPPENTOYOU- by JohnnyBurkeand JimmyVanHeusen© 1944FamousMusicCorp..NewYork,N.Y.

LESSON 44.

The Minor Scale

Theminorchordn any keyappearson II. III andVI.

F#x(vom) Ox (VofC)

-

Abx VoIDP) CHOJIDIIill

VI

1>IsPLAmmNT2 • 23 • 36 • 6

MODE

Dorian

PhrygianAeolian

RULE: Thedominantchordisa V or the tempor ryV ofa new keyandtakesthe sc leof that keyfrom 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 neveraquestion concerning the II chord since it belongs to a primary function

of any key- II - V - lorn - bIIx • L Therefore.n always takes theDorian mode 2 - 2).

85

III and VI on the o ther hand, can easily be dislodged froma key

center and therefore must be treated with more care. In such cases, III



-

- Aeolianof C

VJ

-ixolydian of C

:a:

v

..

orVI become temporary II' s ofa new key and take the Dorian mode ofthat key.

Fig. 3 illustrates examples ofIII orVI becoming the temporary II ofa new key.

Fig.3.

-

-

..,-

Ionian of C Lydian ofC Mixolydian of EDorian of D

(temporary II)

... : .a.

I rI IV VIIx m

- -

Dorian ofEb Mixolydian of Eb Dorian of D Mixolydian of D Dorian of G

(temporary II) (temporary II)

86

I

n

Aeolian ole

IVI

I

m

.. -Dorian of e

I

n

ydian of C

:

IV

..Mixolydian of e

'it:

v

-Mixolydian of e

it

v

I

I

IVm VlIx m Vb: VI

All other minor chords (IVm. VIIm, hlII) are alsotreated as a tem-

poraryII of a new key. Thus, in the key of C:

SCALECHoRD SPELLING ORKEY DISPLACEMENTIm Temporary II Bb e-cII Natural II C D-DIII Natural III C E-EIII-when keycenter Temporary II D E-E

is weakenedIVm Temporary II F-FVm Temporary II F G-GVI Natural VI C A-AVI-when keycenter Temporary II G A-A

is weakenedVUm Temporary II A B-BbIll Temporary II Db Eb· Ebb I Temporary II B C -C

87

Except III and VI which usually take the Phrygianand Aeolianmodes.



respectively, all minor chords take the Dorianmode(2 - .2).

Where there is a strong diatonic feeling of the prevail ing key, as in

Fig. I and Fig. 2, the III chord takes the Phrygian mode and t he VI

chord takes the Aeolian mode.

When the prevai ling key feeli ng i s dislodged, as in Fi g. 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 re

solve to their natural dominants (V),but regardless oftheir resolution, at

the moment they are played, they imply the II of a new key.

Actually the responsibil ity should rest with the student in deciding

the particular «status of the III or VI chord. The fol lowing rule, how

ever, i s a general gui de to the use of the minor scale:

F m (lIofE)

-

Gm (DofF)

-

G m (Dorfi >

-

Fig. 5 is a bass line for «Litt le 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 tobe 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; in bar4,

the Bb over Vm means play the Bb scale from C to C.

RULE: The minor chord is a II or the temporary II of a new key and

takes the scaleof thatkey from root to root. The exceptionsare

III and VI which nornudly take the Phrygian and Aeolian

modes respectively when preceded by primaryfunctions If

preceded by secondaru or tertiary functions both the III and

VI c wrdsbecame temporary II chordsof another key

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 II blIx 1+6

/ 1+6 oi

VP bIllo

Fe F F

lIS III IIFIII IV /

F F F Ab1+6 VI/II bIIx / 1+ 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 1+6 VI II bIIx / JTe VI / Vm bY / IV

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

F F F

V bV / V II bIIx / I II /

cbVIIx / VI VI/> bVq, IVo

Dm (DotC) m (DotS)m (DotBD)

88

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

UTILE GIRL BLUE-by Richard Rodgers and Lorenz Harte 1935 T.S·.Hanns Co. C;.renewed % The Welk MUSIC Group.International oopyright secured. All rights reserved.Used by permission.

*NOTE: The prevailing key (F) has been reinstated despite the preceding sec-

ondaryunction in order to prepare for the final closing. 89

LESSON 45. RULE: TM Iuilf diminkhedhord is 4 VII or the t6mporaty va of1new lcegmd takBa he.aUeof that keyfrom rootto root.



TheHalf-diminisbedScale

ThehaIf-diminishedchord in any key appears OnVII only.

QroM

VIIDISPLACEMENT

7 - 7

MODE

Locrian

C ~ V U O f D ) DfSVUofEb

Since the half-diminishedhord occursonly at the position of VII,there can be no doubt concerning the accompanyingmode. The halfdiminishedchord alwaystakes the Locrianmode (7 - 7).

Half-diminishedchordsOnother than VII (III</>.V</>,tc.) are COnsidereda temporaryVUof someother key. Thus, in the key of C:

ScALE:CHoM SPELLING ORK EY DISPLACEMENT14> TemporaryVII Db c-cII.p TemporaryVII Eb D-DIII4> TemporaryVII

F E-EIV4> TemporaryVII b F-FV4> TemporaryVII Ab G-GVI</> TemporaryVII Bb A-AVII Natural VII C B-BbIlI.p TemporaryVII E D - D

D ~ W o f E Ell WofF

90

In jazz harmony, the temporary half-diminished chord seldom, if

ever , reaches i ts natural resolution, but at the moment i t is played it

implies the VII of a new key. Fig. I i llus trates the twelve half-diminished chords with accompanying Locrian modes, to be played ascendingand descending.

Ff,sVUofG VUofAP Gf,s VnofA

A I »_ ,._B. -

- ....

-

,All VUofBP VUofB a,s VDofC

91

This is an artificialscalesince the same letter, In any form (Ab • A),

C3Jlllolappear twice In an authentic scale,

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.



LESSON 46,

Fig. 2. Don't Blame Me.

93

2 1 2 3 1 23 4

o

2 123 12123

B'o

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 illustrates the twe lve dimin ished chords with accompanying

,. l<s, to he p layed ascending and desce nding. The fingerings are a

i g g l for the student

Co cjj o 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

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

ADr 02 12 12 121

C

I

Co scale

Ab A B

2 1 2

Co

F Gb2 1

D Eb2 1

Since this scale has no relation to any tonality, we spell it by indicat

ing the intervals as follows:

Minor second - 1

Major second - 2Thus, in Fig. I, the semitone combination is:

The Diminished Scae

DONT BLAMEME- Words by Dorothy Fields, Musicby JimmyMcHugh. Copyright 1933 Metro-Coldwyn MayerCcrp., New YokCopyrigh assigned 1933to ROBBNSMUSIC CORP 799Seven h Ave, NewYok, N. Y

for United States and CanadaUsed bypermission.

I IVm III bIII, II bU, I VI bU, bIll, bW IW III bIll, II bIb I IVm III bUb II bIb I VI bIb I I I ~ bIll, II V 1+ ' bV IV II vu III, vu bVII, VI VI Ib Vo VI II, II bIII U bU, I IVm III bUb II bII, I VI bII,

bUb II V }+ '

co

Fig. 1.

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.

n 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.

92

Fig. 3 is a bass line for Birth of the Blues. Transfer the melody tomanuscript paper. Abandon the melody and play diminishedscaleson

Fig. 1.



I

- ... ., •

.noo bo

tI.

lei ....... 1 ; V •

3 1 2 3 1 2 3 I L-e-

·

aUdiminishedchords.

Fig. 8.

pl<:l<-

bUx I #10 II #IIo III IIIx#· IV #lVo V IV III bIll

II bIIx I +. VI n bIIx I #10 n #flO III IIIx

IV #IVo V IV III bIll II bIIx 1+' #1 1+' IVx fiJI: VII UIx VII nIx IVx llIx III Vh III Vh

VI IIx I II bIIx I I #10 I n #IIo I III IIIx#1 I IV lVol

V IV III bIII II b1Ix I +. I + I

CM ex Cm

I 1 I I

v- . n,. lI ,.

A

·

TIlE BIRTH OF THE BLUES-Lyr ics byB.G. DeSylva and Lew Brown, Music byRayHenderson

Q 1926 (renewed) Warner Bros. Inc. All lights reserved,Used by permission.Reproduced by permission (in the U.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

95Ebm

00.p

Ebx

Om

EbM

ft I

jlI 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-·

{e have now completed the scalesfor the sixty chords. The im

portanceof thesescalescannot be overstatedin building the material forjazz improvisation.Fig. 1 illustratesa highly recommendeddrill based

on the fivequalitiesof each tone. These scalesor modesshould be prac

ticed ascendingand descendinguntil they are completelyautomatic.

The student is alsoadvised to return to the previous chapters andexplorethesescalesin the varioustunes abandoningthe melody.

The student is advised to followthe 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

94

I

I L h_



Bbx

Abm

Go

)1 1 I

Ilta

23123123

GM

1ft:

121231234

Gbx

fJ. u 11 __

, .-...,

Am

I 11- It.... , _lJ a ~t I

I

·Ao BbM

fJ. t ...b- l _b.- l..-b.-

.., I

·AbM Abx

£LIf. JJ M.-_

- I t

•

·ffG Abo

. •

I 2 3 1 .2,3,1112

3. -.., I

• 1.. 1Jzft: ~ l i·Gm G

Fo

Fx

EM

3 1

F4>

FM

Em

Ebo

.2 1..

Fm

Eo

Ex

11.2 .2 3 1 .2 ~ l J , l....

i TIl 1 T TIl I I 11

:D: ~ h.1dl:.

\ , ,1 .2 3 4 1 .2 3 4 5

, II

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

9697

Fig. 3..b.ba. ~ t i 2 123121 2b 3l I

LI 11 _ ... i1.j11.



Bbof obm

l

•I .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

xxbl

Fig. 5.

Bx Bm

121231234

BM

1\ _ ... .fI 1 1 . .. it

t)

I.

LESSON 48.

Bo

99

Fig. 11.

(Fig. 8

(Fig. 9

(Fig. 10

minor scale

minor scale with 7minor scale

Fig. 10.

MINOR CHORD:

m U T

mlf

m+'

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

that it is playedfrom the bottom note of the inversion Fig. 11 .

Fig. 9.(Fig. 2)

(Fig. 3)

(Fig. 4)

major scale with 5major scale with b5

major scale with 5

Scale and Arpeggio Alteration

The following rule describes the use of scales in altered chords:

MAIOR CHORD:

MS

MbS

lISMS

Fig. 2.

The arpeggio of an altered chord simply follows the alteration.

Fig. 1. t ..~ I •

...

98

To avoid this, in Fig. 2, the fourthstep is removedand the tone row

1235 Is used (12 S 5 is alwayscounted fromthe root of the chord).Fig. 12 is a bass l ine 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 indi

cate the signature to be played from root to root (root position) or bassc

note to bass note (inversion).Thus in bar I, 12 indicates the scale of CC4

from B to B; in bar 3, VIP indicates the scale of C from F to F.

Fig. 2.

I VI II v

vIxm

Fig. 3 illustratesthe scalefragmentson 5 4 31 (reverseof 1 2 S 5 ).

Fig. S.

Fig. 5 illustratesthe scalefragmentson 7 6 5 S.

Fig. 50

Fig. .( illustratesthe scale fragmentson 3 4 5 7.

Fig. 4.

F

bIIx I VI / Vm bV / IV+· IV. bV (C) IIx lIo / III bIIIx / II b1Ix /(A) II. VIla I

(C) 1+' 1+'

Ell-(C) II lI<I. / V

A. f

(A) I I. / VI VI. (C) VI VP1. VI. bll o II

UKE SOMEONE IN LOVE-by Burke and Van Heusen© 1944by Burke Van Heusen, Inc, © renewed and assigned to Bourne Co. Dorsev Bros. Music, Inc.Used by permission.

c c c. c_(C) bIIx I I. / VI VI. IIx VIP / III bIIx

c c c, c . E.-(C) I I. VI VIz / ne- VII III blIIx II II</> F A

(C) V bIIx I VI Vm bV IV+' IV. (A) II. VIIo

Fig. 12. Like Someonein Love.

LESSON 49.

Eighth-noleSca1es-ScaleFragments

100

In Lesson33, wemovedto the primary step in improvisingby aban

doningthe melody and playingeighth-notearpeggioson the chords. We

willnowrepeat this primarystepwith eighth-notescales.

Fig. 1 illustratesthe use of an eighth-notescaleline. In playingFig.

I, the studentwill notice the harshsound (particularly on theM and x)

of the scalefragmentending on thefourthnote of the scale or the mode.

Fig. 1.

v

Fig. 6 illustratesthe scalefragmentson 5 6 7 2.

Fig. 6. • no v mgmeutiguresfor the diminished scale are not the same since the diminlshed

scaleconsistsof eight tones rather than the usual seven. The fragment ligures fca:thediminisbed scaleare lllI follows:

1 JIll 5 - S 4 II 1 ..... ne)8457 - '1653 11.--<1S071 - 18'13 t.,,,,,,. 101

Fig. 7 illustrates thescale fragments on 2 1 7 5; and 18 7 5 dimin

ished).

Fig. 9 illustrates a drill on Fig. 8 using the various fragments.

FRAGMENTCHART



.It-1

«J - - 1

-,;

RE\'ERSE

543 1

765 32 1 1 5

Fig. 1. IS V1o(18'15) no(18'15) V

All of these f ragments are of the utmost impor tance in using scale

lines; theability to pick up any scale fragment for any chord is an absolute

prerequisite for improvising facility.

Fig. 9.

FRAGMENT

1 2353 4575 6 7 2

102

Inversions take the scale ofthe root position chord from bass note to

bass note of the inversion. See below.~ ii\O»Ie

VIlm V I l m ~ VIlm2

Dorian L di Aeolian IonianfAY tan

o of A of A of A~ VIlmDorian of A

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

of the chords.

Fig.8.

E) bili / / I VI/II bIIx I VI II IIp III VI (E) II VS I / 1+ 8 bIlla / II bIIx / I VI/II bIIx /

(E) I VI / II II.p / III VI / II VII / 1+8 1 I VI /

(E) II bIIx / 1+' VI/II bIIx / 1+' VI (G) II bIb /

(G) I VI / (E) VIIm III VI I1x:/ II hili / I VI / II hili (E) I VI / II I1.p I III VI/II V I I / I H / I +

BLUE MOON-by Lorenz Hart and Richard Rodgers101934, renewed 1962Metro-Coldwyn-Mayer Inc. All rightsadministered and controlled by Robbins Music, a catalogue of CBS Songs , a Div is ion ofCBS, Inc. Allrights reserved.Used by permission.

,,,JJ - -«J - - Phrygian Aeolian

.. ,It

--

II.

... -T

«J --..... - -.,

:

,,It • • 1.... 1. .1

e} - - - .. -:

Ii - -

e} - - - -hrygian

.

103

- - - -.. I • •

tI . - - 1

LESSON 50.

Eighth-note Triplet Scale Fragments



:

II.. il- I -r- I L ..., I -- - -

<

A .. .1 - - .. It. I I I r--r

eJ - - -- -Aeolian

1tJJ. it I • .. , tt

.. - - - - ----.....

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 s ix 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

G) I I</>I II IIo I III</>I hIIh / IIuf IIs' /

(G) II IVo / III hUh I II hIh / I 1+ I II 110 /

(G) III</>I bIIIxI II U , s / II bili / 1+· 1/ I +. IV /

(G) VItm bVIh 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+'

CABIN IN THE SKY-by John Latouche and Vernon DukeC 1940,renewed 1968Miller MusicCorp. All rights administered by CBS Songs, aDivis ion of CBS, Inc . All rights reserved .Used by permission,

Fig.2 illustratesa drillusingscale fragmentsin eighth-note triplets.- - - it II I

• - I I- Phrygian.. -.

104

- - -.

JJ .. -- -- -:

DRILL: Explore the various scale fragments on the bass line in Fig. 8.

Keep a steady quarter-note foot beat.

-

105

..

4V _



..

iJ

.

I •

brygian

.... .f/L .... •

..

f L

ydian

.. Phrygian

I. ..

..I L • b... 1 _ I I

•

I

.

_

Lydian

106 107

..-...



-

Dorian

-eolian

-

..- -

LESSONSl.

Sixteenth-noteScaleFragments

Fig. 1 is a bass line lor Dancingon the Ceiling. in thekey of F.Transferthemelodyto manuscriptpaper usingthree staves.

-• l J I .Ii l • .f •

- - --hryglan

.. I I

..

.b. .1 t

• 1 I

-

-

-

l J •

-

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,

•III bIIIx II blIx / I . 1 / I II / VI' IIIx -

IV+' VIIx J III pUI II lVo / III b1IIx II bIIx

I +- VI II III IV+' bVlIx / I II /- III VI bW,

•I U VI' IIIx IV+' VlIx III b U II IVo

Fig. 1.

•IV -IVm III bIIIx/ U bIIx / I II / VI' IIIx IV .VIIx /

UI bIIIx / DU' II=' / II bUx 1+' 1+0

Fig. 2 illustratesa drill usingscalefragmentsin sixteenthnotes.Since

a hall-notechordpermitsthe useof eight sixteenthnotesin the righthand,it is possibleto play the entire scale.

1\ ....

LydIan -orian --

• f

-

108

DRILL:Writeor playa sixteenth-notescaleline on the chords in Fig. 1.keepinga steadyquarter-noteloot beat

109



Phrygian

L \ . h ..

-

-

Lydian Dorian

. I

. • __ ...... .... ..... .. .. .fl.....

I ltI

Lydian . . ..........

, t J

Phrygian

..

Aeolian

.

... -

-- I

-onian - LESSON 52.

II

110

I I - - -

Rhythmic Combinations

As in Lesson 38, when treating arpeggios, we will now proceed to

combine the rhythm values using the scales as a framework.

Fig. I a bass line for Round Midnight, in the key of Epminor.

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 bVll x IiI Vix /

s --

. ;



(Cb) II V / I Ilx / bV¢ VIIx / IIIx bVIIx / VI VIz /

(Cb) bVo vn bvIIx / VI IIx / rVm bVIIx III vIx / II V / I IIxb5 (Eb) VI</> ix Vl3 blIx /1+ 6

/ VI¢; IIx / V bflx / VI¢; IIx / V Ix (Cb) II 11 vn IiIx / bV¢; VIIx IiI vix Ii V 1m IVx

(Cb) bvilm bIlIx VII bVIIx

vi vii / bVa vII bvIlx

VI I1x

(Cb) IVm svn, III VIx II V I IIxb5 (Eb) « Iix V:: bI rx /

II I • ... .

- -(Eb) 1+6 ROUND MIDNIGHT-Lyrics by Bernie Hanighen, Music by Cootie Williams and

Thelonious MonkC 1944 renewed) Warner Bros.Inc. All rights reservedUsed by permisslon.

/ / / /

Fig. 2 illustrates a drill employing eighth-note, eighth-note triplet andsixteenth-note values.

II I •

Fig. 2

AI

IlV - - - - -IllV

/ / / /

/ / / /

A I ..... ... - ... ..........AI

/ /

l. l. .

/ /

..

112

A I. I.. ... ...-

• IL A , 1 •

/ / /

---z-- 3

/

...

113

A I h ..

-.r - - - I • -.. -

-



Itl ·il J

II I

- 3 :I

/ / /

J

/

-

,. .,./ /

AI : fL .fI- .... ... • 101. - 1...

4J..

/ / / /

y

I •

- - ---- .-/ / / /

-

J

- .,.,./

DRILL: Write out orplaya scale line On Fig. 1 using eighth-note, eighth

note triplet and sixteenth-note values.

LESSON 53.

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

/

-

/

-

---

I

Fig. 1.

114

/ / / /

115

A - - .ig. 2 is a bass l ine for Have YouMet Miss Jones? in the key of

F. Transfer the melody to manuscript paper using three staves. Note tey changes. - -



Fig. 2.

(F) I / 10 / II / IVa / III VI / IIx a II bUx / I . 10/11 • 11 -

(F) II / IVa W VI / IIx' II V (Bb) II bili I VI

(Cb) II b Ix I VI / (D) II x I VI (Cb) n bIu eI 'f' r

(F) IT bUx/ 1/ . 10 II / V / bVmbWo / II bIu /1+1/1+'

HAVEYOU MET MISSJONES-by Richard Rodgers and Lorenz HartIi:) 1937 by Chappell & Co. • Inc. (') renewed.International copyright secured. All rightsreserved.Used by permission,

A I , e I' I

.., -

Fig.3 isa drill applying the scaIesf the bass line in Fig. 2 to the com

posite in Fig. 1. In eachcase the required mode hasbeen followed,although

the starting point of each phrase has not necessarilybeenthe root of the

chord. Each note of the mode becomespossible starting or ending point.

Using Fig. 3 as a model,playor write out an improvisationusing the

composite and the scalesof the bass linemFig. 2.

11 l

..

11 . I • 'I' • I ..., - - .. ;: ; j , .o,, ;; ;I

:

-

Fig. S.

-v-

116

...

..

-

1

- . -

A I

- -..... ...

117

I • ..- . .. .

_3 • ....itJ .,

:I - -.r::::i- -.r ,,-



t

AJ _ .... I. I • e: ...-itJ

- LESSON 54.

Rhythmic Composite (up-tempo)

I •-I'- ..... , As in the arpeggiostudy, the compositeis simplified in up-tempo

tI ;::::-.- J tunesto insurea strongerfeelingof swing. Fig. 1 is a possiblecomposite

3-for an up-tempo tune.

Fig. 1. t

..

II L.l-..

: ;. ........ •

-itJ - 3 ~ · · o o o o - I.

1I8

n rnri , j)

Fig. 2.is a basslinefor LullabyofBirdland, in the key ofB. Trans

fer the melodyto manuscriptpaper usingthree staves

Fig. 2-

VI+8 bV , I VIIx. nIx. I VIS' VI I u lVo / ill VI I II V /

I IV / vn llb: I VI+8 bV</> VIIx llb: I VI S r VI / II IVo I

UI VI/II V / I bIIxI 1+ 8/ III.,. bll h I II / II</>bIIx. I

I / IIIop b IIIx I II blli I I IV VII Illi I VI+8 bV</> I

VIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+8

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 drillbased on Figs. 1 and 2. Thestudent willnotice the ex

tensive useof rest values in Fig. 1. Silence also swings.Thebeginner willtend to play too ny notes but should strive for the punctuation that

L ot



Fig. 8.

characterizes a good line.

.

0

-

-

I

,.

120

-

t

..

,.

- 3

-.

121

3

--

SECTION VII



..

-,...

..

LESSON 55.

TheChromatic Tones

In the previouschapters we have studied the followingelementsofthe twelvetones in the octave:

1. Arpeggio- four tones of the octave2. Scale- seventones of the octave except diminished

1._ k. ... I

CI ;J

_.r I

..

T

Nowwe must consider the remainingfive tones of the M.Som and

4>scalesand the remainingfour tones of the diminished scale.

Fig. 1 illustratesthe fivequalitieson C with the accompanyingscales.

I L

Fig. 1.

i\ iJo • ..CI

:l

122

T

J - .......

-

-

CM. ex Cm

AI

•.r ... r.......

I _

Co

123

The following table indicates the omitted tones in each scale:

CM: Db-Eb- Gb - Ab - BbCx: Db- Eb - Cb - Ab • B

Cm: Db- E - Cb- b- B

C+: D - E • C • A • B

Fig. 2.4

(G) VI I I x ~ / II bIIx I II m bIDo II VP II bIh (G) I VIIx bVlIx VIx VI I I x ~ l I bIIx II m bIllo

4

(G) II VII / II bllx: /1+' 1 / 1+- VI II IVo III bUh /4



Co: Db- E - G - Bb

It is a goodrule in jazz improvisation to avoid more than four con

secutive chromatic tones. The chromatic scale involves all twelve tones

and therefore cannot infer any specific chord.

One of the most effective ways of uti lizing the chromatic tones is asfollows.

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 targetnote.

3. Pass through the chromatic tones a minor second each side of the

target note, then into the target note.

(C) II bIIx I 1+ (A) II IVo / III VI II bIIx (G) II II. VII bVlIx r VI IIxb ' II blli:/ I II / III bIDo /

•(G) II VI* II bIlx / 1+- / 1+- J COVER THE WATERFRONT-Lynes by Edward Heyman, Music by Johnny Green

It 1933(renewed) Warner Bros. Inc. All rights reserved,Used by permisston.

Fig. 3 illustrates the use of chromatic tones in a scale-arpeggiodnll

with no particular rhythmic pattern. Using this figureas a model, write or

play an improvised lineon the chords of Fig. 2 using chromatic elements.

124

Fig.S-

CHORDAIJ

PRINCIPAL CHROMATIC

TONES TONEStI - -I D C -Eb

F E -GbA G -BbC B -Db

E D -F l.

V G F -AbtI ii

-I . -A -C

D C -EbF E -GbA G -Bb

I C B -Db _E D -F

II.. • ... I l.

G F -AbtI r

B A -C - - 3 - -q;-Eb

~ h r o m t itones may move in either direction before resolving to thepnnctpal tone although modern idioms prefer the descending form:

Eb-C into D Db- B into CAIJ .1. .. I -b-E into F F -D in to E

Bb-C into AtI - -

Fig. 2 is a bass l ine for I Cover the Waterfront, in the key of G.

Transfer the melody to manuscript paper using three staves and notingkey changes.

125

Ll 3 3 Moft L•

CJ

f

----II



. ...-.1.l

IIJL a... Ll

3-CJ

3I - 4..

/ / / /

.

--

flI

LESSON 56.

The SensitiveTones., .. ..



SeeFig, 2.

We have now studied sufficientjazz material to understand the basictonal principlesof the art form.

Jazz employs a sixtychord harmonic system over which is played atwelve-tonemelodicline. Fig. 1 illustrates the verticalmovement of jazzharmony referred to in Lesson 1, Fig. 2.

Fig. 3. Night and Day,

pick.....

Eb I / / bVIM / V / I / I +- / bVIM / V / I / VI / bW /

(Eb) IVm / III / bIIIo / II / hili / I / I / bVIM / V / I /

(Eb) 1+- I bVIM I V / I / VI I bV4>I IVm I III I bIIIo / II I

Eb 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) bIIIo I II I bIIM I 1+- / 1+- /1

As part of a weDconceived line, these tones can bring a tonal in

terest lacking in the root, third, fifth and seventh. By themselves,thesetones are oflittle value; they areto be consideredoccasionaltensionpoints

of a twelve-tone line.

Fig. 3 isa basslinefor 'Nightand Day, in the key of OFig. 4 is a

drillillustratingthe useof the sensitivetones.

Transferthe melodyto manuscriptpaper using threestavesand noting

key changes.

NIGfIT AND DAY-Words and Music by Cole Porter© 1932(renewed) Warner Bros. Inc. All rights reserved.Used by permission.

13

•

11

:9

7

5 3

...

Minor

Half-diminishedDiminished

We have given carefulstudy to the root, third.fifth and seventh;we

willnow consider the ninth, eleventh and thirteenth in relationto the five

basic qualities (major.dominant, minor, half-diminishedand diminished).

CHORDQuALITY SENSITIVEONES

Major 9 - IUDominant 9 - 9 - =9

11 ('S) • '11IS • 13

9 - 11

9 - 119 - 11

Fig. 1.

Play an improvisedline on these chordsemplOyingthe sensitivetones

using the following Fig. 4 as a model

Fig. 2. Fig. 4.

II I 1Y. , ,

CI I - I ..... .......

:

• •

CI ..

eMS CM l1 Cx9 Cxbs cx 9 Cltl1 ( 3)Cx 1l

128 129

AI 1... .. I .........-

·

I-

·4 I' ..... I ......



1

·

AI

I - .......

:

A I -:0- .....,

I ,

·

A I

. • • ........ r

·

AI.....

-4/ ......

.

:

AI - -r -- --

III •I

C.. P

:..

Al • f 1t. b t a ~ bI • I

·

AI

.I

r

.

AI • .. f 4,....,

I -........

0

130

A I • - I • ...

rw ..... ...... .........

:

131

AI - 1 . ..1 .

er ...... .....

Fig. 1.Fig. 2-

A >- >-A :> :> :> :>

«S



:WJ - --

Foot beat IFoot beat

.

I. I h. . do • 1 '\

WJ

--- -

.

1.1

I.

·eJ

LESSON 57.

Basic Syncopation

~.

-

Fig. S is a bass line for ''EasyTo Love, in Ab·The sheet musicap

pears in G andmustbe transposedto Ab.Transfermelodyto manuscript

paper using three staves. Write or playa line on Fig. a applying syncopation using Fig. 4, which illustratesthisprocess, as a model

Fig. 3.

II VII/III'/> bIIh / II / bIIx / I II III / hUh II

v,. I / / II</> IVI/> III bIlla II VII Ill</>bUh

II bIIx / I II III VIx II III / IVm bVIIx / III

bIIIo I II bIIx I 1+' I 1+-

EASYTO LO\ 'E-by Cole Perter© 1936by Chappell &:Co., Inc.© renewed.Assrznedto John F. Wharton,Trustee ofthe Cole Porter Musical and Literary Property Trusts.International copyright secured. Allrights reserved,Used by permtsslon.

Fig. 4..

/I t • -- I.... ; ... .. --- -

WJ - ---:

132

A thorough study of jazzsyncopationis beyondthe scopeof this book.

Jazz syncopation appearson many levels. Our concern is with syncopa

tion in the improvisedline. 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 . Notes2. 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.

AI .... ..-

I

-....

133

A I , s:-. • /IL : it /IL .. _

- --.'

I ..-. =:1-1 • ....-eJ - ..... ,

- rooo- -...ol t:=i-'



J\ 1 ... . --- . ......... .;;1 ,..=

-t:=:= --...:; .

DRILL: Practice the sixty arpeggios in syncopated eighth notes as in

Fig. 5.

, . ~ 1 : f L , -.. , _....q

CJ -....;;; - -:

- ..

- .. ''''-

etc.

I II

-J ... Foot beat

I I

Fig. 5.

\:. - • <1- • • •

-.

I

34135

Fig. 6.

Practicethesixtyscales in syncopatedeighth notes (Fig. 6). Theuseof accent in an eighth-noteseries,asin Fig.2, is of theutmost

importancein creatingrhythmicinterest in a jazz line and shouldbe care

fully studied by the pupil



I I I I I I

etc.

Fig. 3 is a bass line for Makin'Whoopee, in the key of A Fig. 4

illustratesa drill on Fig. 3 employingthe use of accent. Wedgesover the

tonesindicate the accentpoints of the line.

Transferthemelodyto manuscriptpaper using three staves. Write or

play a lineon.Fig. 3 usingFig. 4 asa model,

Accent

LESSON58.

The study ofboth Figs. 5 and 6 shouldbe accompaniedby an un

interrupted quarter-note foot beat.

In Fig.2, the accentedtonesfallon 2,4,6 and 8 whicharestruck while

the foot is in the air. 'Thestudent willfindFig.1 easy to play. Fig.2 will

be troublesomein the beginningsincethe hand and the footare in opposition to each other.

:>

:>

:>>

pIdc-

blIx I #10 II V / Vm Ix IVm bV1Ix/ III vr z jm ~ V I x <I

VI' billa II pili I I jIo I II V / Vm Ix IVm bVIh <I

DI VI bIll bVIx 1+ II ; tl lo VI· Vm Ix IV+.

IVm bVDx I II #fio III Vm Ix IV+' IVm bVIb:

III bIIIx II bIlx I 10 / n V Vm Ix IVm pVIIx / III VI

pIll pVh 1+' / 1+'

MAKIN'WHOOPEE-Lyrics by Gus Kahn,Musk by WalterDonaldsonU.S.C 1940(renewed)WarnerBros. MusicCom.All rights reserved.U.K.C 1928Bregman,Voceo,and Conn Inc. Sub-published by Keith ProwseMusicPublishingCo.UdUsed by permission.

a ~ . ~ ; .. \ :- :> :> :> :> I. . . . 1/#-• 11- . . .,.. .. .. 1f-k. >L

tJ

.(1.., '.fLk... ... .. k.. Jf.. fL ..

... -a

:

Fig. 4.

Fig. 3.

1li 1f :> > > > :> :>

., - I f - - I'

::>

:>

:>

l I J ..; , :>

Foot beat

., :>>

Foot beat

Fig. 2.

In addition to syncopation,the deviceof accent is valuable in creating

rhythmicinterest in a jazz line.Fig. 1 illustrates the scaleof C in eighthnotes playedwith a quarter

note foot beat. Here, the accented tones fall on I, 3, 5 and 7 which are

also theaccent points of the foot beat.

Fig. 1.

136 137

:>-.... ::> - .... M. I. .... L> > > > ... .. >

C1 - ===.

:>:> ... ..> :> .... .,. Ii... f= h >-.-...

-4t/



.:

JJ, ft L if .... > 1>101- :> ;: :> >

-4tJ

- -..:

DRILL: Practice thesixty arpeggiosin accentedeighth notesas in Fig. .da ;:- L 11 -i=t._ d ii I. JJ, .;., __ JJ, ::1.1 .. > ~ ; 1 11

it -.

1Fig. 5.

::> ::>

::>. 4L t:. ji .. :> -

:>>

• I

tJ :> :>-

Foot beatI I I

>Ad .. :> :> - I.:> :> > > I r T:0-

~ - > >. j • :....; r - - ...

Practicethe sixtyscales in accentedeighthnotes as in Fig. 6.

:> :>ig. 6.-:> ..

tJ ; :> :> :>

Foot beat • . .:> ;.

Ad» > .. > ::- :> h ::> :> ..CI - - - -

..

138

BothFigs.5 and6 shouldbe accompaniedby an uninterruptedquarter

note foot beat 139

Coleman Hawkins' Sweet Lorraine in G

In the course of some fifty years of jazz, there are many recorded

LESSON 59,



6

I -- . . . . _ ~ - 3 ..-..k .L I::::Po..

-- .lei -.' -. ,,'-3

C

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 Sig

nature 90,001.reissued on Brunswick, LP BL54016) hasbeen included

here.

This recording involves two improvised choruses by Hawkins. Thesetwo chorusesare undoubtedly one of the great moments in the history of

jazz improvisation; they also employevery 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) startingpoints.

(b) the bar line.

(c) contrast.

(d) punctuation.

6. Chromaticistn.

7. Accent.

8. Over-all architecture.

3I t . .. . .. - L

,.;,..., -= -r ,'-' .

3-

:

3

SWEETWRRAINE-bv Parrish. BurwellQ 1928 by Mills Music.Inc. Clrenewed. All rights reserved.Used by permission.

140 141

Ali. u ~ l. '

tJ

I' , ...... .......... I --...

Au -tJ I .. gliss glis s gliS s gIiSS glist glissl

---=



A·1 --III •• I - -

tJ

I ....,- ..... =::t:1

3

:

5AlJ, - 5

CI ' • gtisS 1 gliss IIiii r-5

:

Au I. . If) , ........ gliss

. .,

.

A :@§1. . r:=-'I • -«I 1 3

' ,

:

3Au. .,- ~ . . I - Uss

tJ ... ., - ., I I <D

gZlsS - 3 3

:

Au. 3 ..5- .s,.......r il

tJ 'r -r ' 3·v

:

AlJo . -. -tJ c::=::;iiiiil lo.....t;;l ' stus

3Au - -1..1- .. Jl.•• -

CI iiiiilooooI iiiiiiiiiiiiiii , -:

142143

10 7 III 7 10 , W 7 10 7 10 7

IV OVIIM III VIx / II V 1m IVx / IV bVIIM III Vlx HI . 10 7 10 7 10 7 10 7 10 7

II V 1m IVx / Ivm bVlIx III VIx / bIlI bVlx II V 10 10 10 7 10 7 III 7 10 10 10 III

IVm bVlIx III VIx bIlI bVlx II V / I bVIIx VIx #10

L-_ l I



10 III 10 10 7 W 7 W . IH 7

II III VII bVIIx / VI Ilx Vm Ix 1m IVx VII lUx /

10 W 7 10 HI III 7 10 10 10

III Vlx bIlI¢ bVIx / II III IV V / I Iil bV¢ IVm 10 1(1 III

III II I

3 a 3 . .. ..-ol S - - - l ' l '- l _

tI .., ., ., === •

:

The following is a lef t hand stride solution to Sweet Lorra ine

with a new chord appearing on every beat of the tune. This isa para

phrase of a stride trea tment of this tune by Art Tatum (original ly re

corded 2 22 4 on Decca Label 8715).

The following table explains the code used in this treatment:

100Root, 7th, 10th (5-2-1fingering)

7-Root, 3rd. 7th (4-2-1fingering)

3rd Inversion ~ 7 t h 3rd, 5th, Root (5-3-2-1fingering)

2nd Inversion 3-Sth, Root 3rd. 7th (5-3-2-1fingering)

This treatment employs all three spans (see Volume 3, page 18),andquick 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 10 10 10 10 10 4 10 10 10 7 10 7

bIlx I bVIlx VIx #10 / II II2 VII bVIIx VI I1x Vm Ix 10 7 10 7 10 7 10 7 10 10 10 10

1m IVx VII IIIx III VIx bIII¢ bVIx II III IV IVo w 7 7 10 1<I 7 7 III 10 10 10 to

III bVIIx VIx bUh

II bVIx V blIx

I bVIIx VIx #10

lO 4 10 10 10 7 10 7 10 7 10 7

II IJ2 VII bVIIx VI I1x Vm Ix 1m IVx VII lib lU 7 10 7 10 io 10 7 10

II VIx bIII¢ bVIx II III IV V I F VI bVI Vm bib Ix bV

144 145

SECTION VIII

LESSON 60.The Blues (harmonic)

LESSON 61.The Blues(melodic)

The melodic aspect of the blues is of much greater signiflcance than

the isolated chord charts studied in Lesson 60. A strong feeling of the



46

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 in

volve the 1,IV and V chords in a 12·bar form.

From this prehistory of the archaic blues hasslowly evolved a con

ventional 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/

(1)1+ bIIIo / II V t 2)1+6 IJ rv :+1\10/ VIi bIIx Ix 1/

(2) represents thefinalcloseending the blues and is traditionally calleda seoen beaterseven 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 JnJA more modern fonn of the blueswasvolved 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:

Fig. 2.

1+ • IV I VIIm nIx b I VI IIx II J VmIx b I 1mIVx I IVm bVIIx /

m I VIx;' I n V / IT v II (1) 1+' bIllM I bVIM V.I/

(I) 1+. bIx I Ix II II

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 thischapter; these

tunes evoke a mood sometimes referred to as blue - this i s a poetic

reference, not a musicological one.

Transfer Figs. 1 and 2 to manuscript paper and write or play an im-

provisat ion on the chord changes . Explore Figs. 1 and 2 in twelve keys.

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 crushedones 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 ablues 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 key

board, the most effec tive 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 usedfor 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. ,@ (a) b) c

This principle can be extended to two or more tones played si

multaneously.

Fig. 2.

In any interval.one tone (usua lly the lower) can be crushed while

the second isheld (Fig. 3).

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 adominant chord.

Fig. 4.b..

Fig.6.

......

- ...



Itl

I

- _.../-

---These devices can become tiresome if not supported by an otherwise

interesting line; used occasionally they can beeffective in bringing a blues

feeling to a jazz. improvisation.

Fig. S.i s a bass l ine for 'WiDowWeep for Me. Fig. 6 i llus trates an

improvised line on Fig. 5 employing blues devices. Transfer the melody

to manuseript paper using three staves. Write or play an improvised lineusing Fig. 6 as a model.

fI-_

-lJI ..--:. ..-. ... • • •

til= -00...1 - J......I

.

jl Jl

... .-... :'.. .. ..

. .---..

........

. .i. ..... - ...... -

.

Fig 5.

WILLOWWEEP FOR ME-by Ann Honel© 1932 by Bourne Co. 10renewed.Used by permisslon.

1+' IVx /1+' IVx / I II / III VI Vm b IVx bVbl / IVx IVm /

III hIIh / II bIIx: / 1+' IVx / 1+' IVx / I II / III VI Vm bV /

IVx bVP/IVx Vb l/ 1+ bVIx: / Vm bV / IVm lIt/>/ 1m h bs /

Im IVx: bVIImbIIb / bVI hili Vm Ix / IVm II<fl/ 1m IxbS /

Im IVx bVUIll bI h / bVI blIx: IT blIx: / 1+' IVx / I + I IVx / I II /

III VI Vm b / IVx bVb s IVx Vb S/ 1+' / I+s I

JI.» . '.1. . ..101. .ft. . .f:r.*' A •

v -a .,. iJf-- -

/ / /:

148149

A .... - - _..

- -/

-T' ,

/ /

, -1.. I

/

..,-



.. - ...

1 iiIiiii.. k..bA..

··tIl - -, . . ,. / /

0 do .. ....... AI

eI I WI '-I I ,;---.1, '-+-J l o.ol I

0 .... L ....1-. , ... 1.- •.

I . . .. .. .. .- ................ 1...... - 1,..1._b -

el II'

-.r til oJ IT

/ I

/ ----- , - ., ., / // / /

I - ?

0 .... .. ,L II I

lI.I, • I' -I ,..

/ /r ...........

/ /

Oil I

. ....

,. .J: ' :l .

.. rr I liiiiiii -

150

I

151

SECTION IX

LESSON 62.

If we place a numberover each letter relating to the key of C. we

derive the following:

Fig. 2. Jazz circle.



152

Patterns-Circle of Fifths

It is apparent to the student fromeven a casualexamination of the

bass lines in the previouslessonsthat each tune usespatternswhich are

commonto all other tunes. Thesepatterns occur in severaldesigns:

1. Circle of Fifths.2. Diatonic.

3. Chromatic.

Fig. 1 illustratesthe twelve keys in the natural order of their signa

tures (C - no1:; nob ; G - 1S ; D - 2 J; etc.).

Fig. 1. Jm circle.C

F '- -- G

B \( \Ep Circle of Fifths A

\ )Ab E

<,F

' '--Gb--

The circle canmove clockwise through the sharps into the flats or

counterclockwise through the flats into the sharps.

The jazz circle moves counterclockwise.

In practical terms, this means:

V normallymoves to I;

II normallymovesto V;

VI normallymoves to II;

III normallymoves 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- II-IV· VIIm-III- VI- II- V-I

bW· VIIx-IIIq;- VIx- IIt/l-V-I

These patterns should be practiced in twelve keyswith both hands.

153

Fig. 3 is a bass line for Pick YourselfUp, in the key of F. Notethe key changes. This is an example of a tune employing the circle of

fifths in a key series. Usingthe transposition method described in Lesson

32, transpose Fig. 3 into twelve keys. The key series in Fig. 3 is as fol

lows: I - II - III - I. Improvise on Fig. 3.

Fig. 3.

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 I

(C) II III / IV Vb. / I IlIo / (Ab) V IV III bIlb: / II III /

Ab IV Vbo / I II / III bIllo / II III / IV Vito I III;. I

(Ab) I



.54

(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.

LESSON6S.

Patterns-Diatonic

The term diatonic refers to the normal major scale. Diatonic patternsmove through the steps of the scale both ascending and descending.

Diatonic patterns usually appear in short fragments and are often

combined with chromatic or circle patterns see Fig. 1).

Fig. 1.

I -n - III - bIIl-III- VII-VI- bVI- Vm

Il - III- IV- IVx-V

IV-III - II - bili - IIV -V· VI- bVh- V

VI-V-IV-II1-II- V· I

Practice these patterns in twelve keys using both hands.

Fig. .2is a bass line for Tea for Two, in the key ofAb.As in the pre

vious lesson, transpose Fig. .2into twelve keys; the key series is I • III • I.

• Ab VI- bIllo / 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 chro-

matic patterns are:

n -blli- IIII -bUIx-II - bIIx- II - 10 -II - IIo -III

m-bIIlo -II - b IIM - I

bW-IVo-III. bIIIo-II- hlli-I

Practice these patterns in twelve keys using both hands.Fig. 1 is a bass line for ' JeepersCreepers, in the key of Bb. Trans

fer the melody to manuscr ipt paper noting key changes . Transpose to

twelve keys using the foUowingkey serieschart: I - IV - V - L Improviseon Fig. 1.

Fig. 1.

(Bb) bV</> IVo / III bIIIo I II bIIx / 1+· VI I bVcjlIVo I

(Bb) III bIIIo I n bIb: I 1+1l VI I bV;. IVo I II I bil la I

(Bb) II blIx I 1+ VI / bV</>Vo.j III hIIIo j II blIx j

(Bb) I+1l IVo / (Eb) II IVo / III bIIIxI II blIx/ I VI I

(F) II IVo I nr bIIIx / II bIx I (Bb) v'* V I bV</llVo I(Bb) III b ll o / II bIb: I 1+' VI I bV</>Vo I III.; bIIIxI

•(Bb) II IVo / VI- bIIIx / n bIb: / 1+1l I

JEEPERS CREEPERS-by Johnny Mercer and Harold WarrenCl1938 M. Witmark Sons (renewed) Warner Bros. Inc. All rights reserved.Used by permission.

155

SECTION X

LESSON65.

To avoid this, minor jazz harmony has evolvedas follows:

Bassline - ascendingmelodic;Inner voices- harmonicminor.

Combining these two elements. we derive the following minor scale

tone chords in C minor s Fig. 4).

,



MinorScale-toneChords

Jazz is almost exclusively a major scale music. There are probably

only five or six authentic (begin and endin minor) minor tunes in alljazz repertoire. However, the minor scale-tone chords are used a greatdeal in smallfragments and are, for this reason, very important.

The jazzmusician approaches the minor tonality in the same practi

cal manner he approaches all musical problems.

Fig. 4.

t) r+ • J II m

lIt) ....

inner-voice scale

IV v VI VII J

SYMBOL

mL

t

M+

mx

t

o

T ....

Bass-tine scale

e; ... •

Bass-line scale

,.I t1

t) rl: .. . - TO

I U m IV V VI VII J

.. ... ...• .......Inner-voice scale

-

.. Vr ... •

The minor scale-tone quality values are as follows.

Posrnos CBOBD

I minorlargen haIf-diminished

In major augmented

IV V dominantVI hal£-diminished

vn diminished

Fig. 5 illustrates theminor scale-tone chords in G minor.

Fig. 5.

The following minor scales are the frame for most classicalmusic:

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. Melodicminor - ascending combination: 0 2 1 2 2 2 2 1 (Fig.

S); descending combination: 0 2 2 1 2 2 1 2

(Fig. 3).

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 • n-v .

Fig.l. t II ..-

Fig. 2.

t I,. . I .....

Fig. 3.

4. b. I :i• ... ...

156157

Fig. 6 illustrates the minor scale-tone chords in D minor. A minor scale-tone chords.

Ii

Fig.6. II • ... .. ... .... .. - ,.

tl ..I D m IV V VI VII I

Ii



tl ..Inner-voice scale E minor scale-tone chords.

It i

•.>HP-

...... -ass-line scale 141.1 -

Fig. 7 illustrates the minor scale-tone chords in the remaining keys.

Fig.7. Eb minorscale-tonechords.

. I II I . ~ ' B minor scale-tone chords.

Ii

I...

ill .., r

.., ....,.. .. -

Bbminor scale-tone chords.

w

I

...

IADminor scale-tone chords.

Ii I I • L

F minor seale-tcne chords.

158

F minor scale-tone chords.

•

159

C minor scale-tonechords. Fig. 9.

(d ) I + I VI I II b1Ix I I + I VI I II hili I I +. I. m I

(d) VI I IIx / (Bb) VIIxt l 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) 1+ 1 I. m I VI , IIx I (Bb) VlIxl1 ,IIIx I VIx IIIx I



Fig. 8.

The minor scale-tonechords can be inverted in the same manner as

the major chords. Fig. 8 illustratesthe inversions of the scale-tonechords

in D minor.

(Bb) II bIb: II VI I (d) II , b1Ix I 1+ I 1+ II

YESTERDAYS-hv Otto Harbach and Jerome Kern© 1933T'B, Harms Co. (J renewed % The Welk MusicGroup.International copyright secured. Allrights reserved.Used by permission.

DRILL: Practice the minor scale-tonechords in twelve keys using bothhands.

LESSON 66.

Ii

I.. • C -..:

tI ... -:

NOTE: The diminishedchord is always in root position.

Fig. 9 is a basslinefor Yesterdays,·in D minor.Transfer themelodyto manuscript paper noting key change to Bbmajor and the return to Dminor. Since Yesterdays is written in half-time,the time valuesof each

melodictone must be doubled in order to create the necessaryrhythmic

frameworkfor a jazz improvisation. Thus:

MinorScale-toneArpeggios

The minor scale-tone chords involve two new qualities: I which is

mL andm which is M+. Theminorlarge chord has appeared beforeas

a suspended minor. The major augmentedhasappeared as a suspendedmajor.

Arpeggiosfor these chords followthe tones as they appear in thechords.

Fig. 1 is a bass line for MyFunny 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.

Fig.l.I

(c) 1+1

/ I. / Im , I VI I 1V Vm I IV IV. I II , hIIx /

(c) I + II I I / 1mI

I VI I (Eb) IV I m blIIx I IT I bIb: I(Eb) I / IT I ill I IV IV</> 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

160

J. becomes J.J becomes J

J becomes D

J becomesJ

MYFUNNYVALENTINE-bv Richard Rodgers and Lorenz Hart( ) 1937by Chappell Co:, Inc. @ renewed.International copyright secured. All rights reserved.Used by permission.

161

LESSON 67.

MinorScale-toneScales

The minor scale-tonescalesfollow the rules describedfor the major

chords. Scalesor the mL and M+ chords appear in Lesson48.

SECTION XI

LESSON 68.

Open Position-Axis of theSeventh



The followingis a bass line for Just One of Those Things. in the

keyof D minor. This alsois not an authentic minor tune. Many minor

tunes such as this and MyFunny Valentine start on the VI of the final

major keywhich is often referred to as the relative minor. It is morepracticalto think of it asVL

Transferthemelody to manuscriptpapernotingkeychanges.Abandon

the melodyand play appropriatesca1eswith the chordchanges.Improviseon the bass lines in Lessons65,66 and rn.

(trbIh 1+ 1 I VI I II I V I (F) Vm I Ix I bW I IVo I

F) III I blIb:/ II I bIIx/ 1+- / 10/ II II. / (d) II pIIx /

(d) 1+ 1/ VI / II I V I (F) Vm I Ix / bV4> IVo I III / bIIx I

(F) II / bIh / 1+ 1 I Jo (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 bVIIx III / blIb:I II I bIIx/ 1+' / I+t I

(F) 1+' / I+t I

JUST ONE OF THOSE THINGS-Words and music by Cole PorterC 1935 renewed) Warner Bros.Inc. All rights reserved,Used by permission.

II

The problemsof styleare beyond thescopeof thisbook. However,

someprimarystudies in tonal organizationare necessaryas a preparation

for future work in keyboardconception. These primarystudies are de

rived from the majorscale-tonechords and involve a Simplerearrangement of the tones.

Fig. 1 illustratesthe normalscale-tonechords in the keyof C in what

is called closedposition

Fig. 1.

n m IV V VI VII I

Fig. 2 illustratesthe same chords in openposition:root and Iifth in

the left hand, third and seventh in the right hand. This position of the

tones is calledtheaxisof theseventh(seventhis topvoice).

A

Fig. 2.

162

... T ... •

In m IVV Vlvnl

163

Fig. 3 illustrates the scale-tonechords of C in open position - axisof the seventh.

Fig. 3.tJ .... • •

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 .in

version are played with the left hand and the second and fourth notes ofthe inversion are played with the right hand. The student should remem

ber that diminished chords cannot be inverted. Fig. 7 illustrates the in

versions on the nve qualities, derived from the axis of the seventh. in the



. .... ....key of Eb.

Fig. 5 illustrates the five qu liti son C, open position - axis of theseventh.

Fig. 4 illustrates the scale-tone chords of F in open position - axisof the seventh.

tl • T .. •

E o G o Ao Co

Fig.7.

I I

C1 :;: .... • it

I I

I ... - I .... I

EbM EbMi E M EPM2 Eh Ehg Eb4 Ebx:a.1I

I

. ....

VI vn 1

VI vn

v

IV V

m IV

n m

I

I..

Fig. 4.

Fig.5

Fig. 6.

Fig. 6 illustrates the five qualities on G, open position - axis of theseventh.

164

CM Cx

..- ..

I

Cm Cp

r

I

Co GM Ox Om op Go

I

DRILL: Play the scale-tone seventh chords, openposition, axis of the

seventh in twelve keys. All five qualities on twelve tones with

their inversions.

Fig. 8 is a bass line for When YourLoverHasCone, in the key ofG. Transfer the melody to manuscript paper. In ad lib style, play the

chords in open position integrating the melody in octaves. eeFig. 9 .

Copyright laws prohibit exact reproduction of the melody.)

165

.tJ ..-

..,+ -flo U: JJ ::u:

-u-

I I ,I I..

-

I / I I IVx / IVx I IIx b 5 / IIxb I I bVlIx / bVIIx I I / I VI I

IIx/ #IIo I II I IVI/> 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 / bI Ix /

II I bUM I I I 1+'

Fig. 8.



IVm

-Q-_-e

IVx IVx

I

I

I

nmx

bmx nV,

m

-- Ji I

... ~ e : : -e- .:A:. U

,.,. . --e-:

,:

1-- - - ,

«J .... -e- -e- 'U U

:

II

I

IVx

-9- -

IVx

Fig. 10 is a bass line for 'When Your Lover Has Gone. Play Fig. 10

integrating melody as in Fig. 9.

'HEN YOURLOVER HAS . o ~ E - W o r d s and Music by E.A.SwanU.S. (') 1964 Warner Bros. Inc. All fights reserved.U.K.© 1931Remick Musk Corp. Sub-published by Francis Day and Hunter Ltd.Used by permission.

I

,., J .J -e- I I I I J J

tJ U - U

I I J I I. I I_

:

- - - - etc.-e-

Fig. 9.

Fig. 10.

Open Position-Axis of the Third

Fig. 1 illustrates the scale-tone chords in Bhin open position, axis

of the third (third is top voice). The root and fifth are played with the

left hand. The seventh and the thi rd are played with the right hand.

LESSON 69.

-e-

IVx IVx

1&

«J '1l::J'; ......... v ~ 3:1: ~ - e - -e-JtJ'

:

- -110

«J-e.:, -eo U -u :;:

1:

I I U _- ---166

bvnx I I VI n

1Fig.l.

tJ .:;: T ...................• ....

I n m IV V VI vn I

167

Fig. 2.

Fig, 2 illustratesthe scale-tonechords of Ab,open position- axisof the third.

II , .

pick P

(Eb) 10 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 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 /



1\ I

* ..... • -e- ...... .... -e-

:Fig. So

I U m rv V VI VB I

Fig. 3 illustratesthe fivequalitiesonDb,openposition- axisof thethird.

Fig. 5.

(Eb) II bIIxbl / I VI / Vm bV IV / IVo / In VI /

(Eb) m</JIIx / III blli I 1+ / I+t

L I 10 D I 10 n

Fig. 4.

DPMDPxe me 1ie o

Fig. 4 illustratesthe inversionsof the five qualitieson Abderivedfrom the axis of the third.

1\ I

-0-

...... .... -e- ..0.. ..0..0-- '--

1\ I

tJ -- .... ..... J

-e- -& .... .... ...... -e-.

bmo

1

n

VI n

I

IVo m

D

1\ I

...... ..... -Q-

...... ...... ...... ..- ...... .....

I 'VEGOT YOU UNDER MYSKIN-by Cole Por terCJ 1936 by Chappell & Co., Inc. 0 renewed, assigned to John F. Wharton. Trustee oftheCole Porter Musk,t1 & Literary Property Trusts.International copyright secured. All rights reserved.Used by permission.

168

Gj&s G pl G ,s: 0 .62 G O 50 Do Fo

Fig. 5 is a basslinefor I'veGot YouUnderMySkin, n Eb. Transferthe melodyto manuscriptpapernoting key changes. Asin the previous

lesson,play the chordsin ad lib style in openposition,axisof the third.integratingthe melodyin octaves.

bIIxPS I I

169

NOTE: Both these chords and those illustrated in Lesson68 are among the

basic devices used by jazz pianists when camping (accompanying

another instrument within a group).

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•

nnlx

I

Cl -9- pe- U -9- ....... ....... U

-e-- 101.... .....:

-.



I

Cl -1D'

-e- .0.. 0- I ~ . o . . -9- .0..

:

VI n IVa m ImIx n IVa

LESSON 70.

Open Position-Mixed Axis

By combining the two axis positions, it is possible to achieve a

smoother VOice-leadingthan is possible when only a Single axis is used.

A I I I I I

Cl

.p... I ~ -e- l: : ..0.. 0-

:

Fig. 1 illustrates the circle of fifths described in Lesson 62.

~ C I/F GV ,

Dll

( \Eb A VI

Ab E III

' /b B VII~ ~F#

If we playa descending chromatic scale beginning on the major third with

the circle described above, we derive Fig. 2 (the jazzcircle, like the circle

in all tonal music. moves counterclockwise).

m

IV

IVo

Vm bv

n

VI

m;

n V

VI

n

bDh

m

bmo

IVo

m

A I I I

·Cl

e f.t ....... -e- ,e-

o -e. .. ......:

I

A I

Cl <if iT v, -e-V

,-9- -e- ..... n I

:

I I 1

170 171

., 3 ., 3

Fig. 5.

(F) VI 11K/ VI IIx / II V / II V / Ix / IVK/ lli b1h I

(F) I IV VIlm IIIx / VI Ilx / VI IlK / II V / II V / Ix I IVx / , I

(F) bVIx IIx blIxI I / (G) IIa, II / II bIlx III III II /

(F) II It WI / II bIlK I I IV / VII II1K I VI Ilx I VI IIx / , ,

. ,. ,

3 ., 3 .,.,

Il

3

Fig. 2.

It S I .,

..



Hweplay the circlea secondtimewith a descendingchromaticscale

beginningon theminor seventh,we derive the following (Fig. 3):

(F) IT V / II V / Ix I IVx I bVIx 11Kbili / I /I

Fig. 5.

~ ~ -u 7} u i:r

y e-

I • I I:

u -u I I ....7 : l 1 7 3 .,

3 I 3

.,I I.,

I

3,

L

3 II

..

Fig. S.

H we combineFigs. 2 and 3, we derive the following(Fig. 4):

I •

Fig.4.

.. l I

it ,.. T Vir

., I '7 3 3 .,

3 I

II

'U V- -eo V6 L -e-

I t, I I

I .... I - .... 1 3 I 3 3 I I '1:

172

he majorthird and theminorseventhhave been chosenbecausethe

dominantcircleformedby theseintervals is the primarycircle in jazzharmony.

Fig. 4 above illustratesa basic principle of anonal harmonywhich

isevidentin anyBachInvention:In a circleof fifths,the thirdbecomestheseventh and the seventh becomes the third.

Fig. 5 is a bass line for Lover Man, in the key of F. Transfer the

melodyto manuscript paper noting key changes. As in Lessons68 and

69, play the chords in ad lib style in open position integratingthe melody

in octaves.Numbersoverthe Romannumeralsindicateaxisto be playedon each

chord to insure smoothVOice-leading.

LOVER,MAN (Oh Where Can You Be?l-by Jimmy Davis, Roger Ram Ramirez, andJtmmy Sherman

© 1941,1942by MeA Music, A Division of MeA Inc., New York, N.Y.© renewed.All rights reserved.Used by permisslon.

173

t

t.I -6- 16- 7J tr <,; 7T ;

I I I I I I I I J:

LESSON 71.

BasicProfessionalPiano (melodic)

We now have in our grasp sufficientmaterial to play what might be



~ I t 7 1 1 1 1 1 1.

., 1 1 3 1 3 1 3 '1 3 3

called basic professional piano. III other words, most professional players

seem able to reproduce a simple but effective sound which fulfills mini

mal requirements. This sound does not demand a Horid technique and,

above all, doesnot sound l ike sheet music. It is based on one primary

factor that is usedn whole or in part by every professionalpianist 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 con

stantly interrupted in order that the chords be played at their appointed

positions. This device was used only to introduce the mechanics of thistype of keyboard orchestration.

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 seeFig. 1).

Fig. L

.,

7J it eo P<r f p -

I l , ,:

' I - - .....

'7 3 1 3 3 '1 '1.,

:

174

The Simple rule for this procedure is as fol lows: Play the root and

fifth in the left hand. Play the melody in the r ight hand, adding the

nearest third andseventhimmediately below the melody.

175

ID

preferable

Wm

Fig. 7.Fig. 6.

Fig. S.

For example,in Fig. 2, the melodynote is D, thechord is I in the

key of C. The root (C) and fifth (G) are played in the left hand; the

melody (D) is playedn the right hand; the two nearest axispoints below

the melodyare the seventh (B) and the third (E).

Fig.2.



Fig. 8 illustrates the applicationof this technique to the melody in

Lesson7, Fig. 1.

Generally,the axis of the seventh is the strongerand should beusedwhenever it is pnysicallypossible. In Fig.7, the secondvoicingis prefer.able to the first for harmonic depth. However,this is a corollaryof the

basic ruleof the third and the seventh immediatelybelow.

Iex em. cp Co

Fig. 3 illustratesthe D melody note with theCx, em.Ct/>and Co

chords. In eachcase, the axisformed by theD with the C chords is thatof the seventh.

Fig. 8.

Fig.4.

In Fig. 4, themelodynote 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).

Fig. 5.

.

Fx Fm. Fp Fo

Fig. 5 illustratesthe G melodynote with the Fx, Fm, FcfIand Fo

chords. Here the axis (top voice) is the seventh.

NOTE: When the melodynote faDsonthe third or the seventh(seeFig. 6),

double the voicean octavebelow in order to maintain three voWel

in the right hand.

Ii 1 I I I I '-I I I I I ..--

-

4ItI

r I r I .. p' rr -If-t9- I I I I I.

t -.,

3 '1 3 '1 '1 '1 .,:

Ii - I r-, r--, ..

4t)

rIi j: '\ f: I<'j;: :

rIp.. . 6-.

• • ... V 'V- I

I '1 '1 'I' '1 s s

.76 177

,.....,--, ,....,-

j:I r ..

-e- -e-

8- I:

I

V- VV

II 'i I ....... .

r f...

f rI I

: .. • I 4



' I 7 1 '7.

. I t I I I I

r ' I I I .-- I

r If r P -r 11FI

..,.J) I I , I

:

I I.

'7 1 S ., 1 1 1

-I rI r--,

«.I r pf I :: v ;: r• , a: . . .

:

.. .. ... 11 v- I

I '7 1 7 1 '1 3 3.

It,.....,,...., ,...,-

1«.1 s- - ..

r..

• 0 I.V PV

3 3 3 7 7 1

178

'1 3 3 I 7 I:

It

- .J ,J. j I JJ. J J I

C1

7 r r- l I ..e-

,I

3 7 .,:

. Ai J. 1 I r l I

C1 r ~ ;:Vfr t- .-fi-.

... -.J- PT'I 3 3 S 'I '1 '1 '1:

'I , I I I r--, r -, - -

r r I r p .. p...I

n

, I I ,

II

7 S '1 3 7 7 'I '1:

179

1

A - \ r-'l r--, .

...f

'lJ T, . .(J.. -

Fig. 10

·ltJ. '. -e- ~ q ~ ..... I7-J::r U '

I U

: .



' ' .fi- t'... -V-. •

.. 'fl

'0 ' -e- ~ :0=0'

'1 II '1 '1 II ., ., 3 .,.

A ,....,....., 1 '1 I I-I

,I

... r -r r.,:;;. tt L

:-\

1I '7 3 6

:

·iV -e-..........t): ~ ~ ,..........

:; 0

-. .:

-e- r fI -6- c;

:I 3 3., 1 ., 3 :I 1 .,

:

-All

tI ~ ~ ~ /+ ~ '.. ,v d :0:: :u:

r

0 _ _ 8-

.:

3 t t I f iI '1{;' -6- P. 0' _'0

:I :I :I 1 ., I

., 6 II

:lIi

...

... Ti v -e- '\T- --Ir.n: U

I \ 0

.

U -e- ~ v- ..... V

'1 3 l l 3 1.,

:I l

:J

pia-lip

V / / I / IYx / 1m / IVx I II I bVllx / I I VI I II</> V I

IIof> Vilm bV1Ix / VI I IIx I II III I IV V I I I IVx I

1m / IVx I II I bVIIx 1 I VI I II</>I VI1m bVIIx I VI I

IIx 110 I III bIIIx I II bIIx I I +- I 1+' /1

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 firstnote of eachbar, as in Fig. 9.

=l==3 e o ~ becomes~ ~ ~ § · § §~ ~ b e j § o m e s ~

Fig. 9.

1be numbers over the symbolsin Fig. 10 indicate the axis in each

case which is determined by the melody Dote position.

180

TENDERLY-Lyrics by Jack Lawrence, Music byWalter Gross© 1946, 1947Edwin H. Morris Company, a Division of MPL CommunicationsInc . © renewed, 1974, 1975Edwin H. Morris Compa ny, 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 1940was dominated by the concept of sWing bass

which was evolved from the early ragtime period. The four masters of



swing bass piano were Ear l 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 s Fig. 1).

Fig. 1.

I ilL I L • f I I:

T I 1 : . T -e-

:

This was not a swing-bass design as such although i t 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 not ice that he probably is unable to play many of the tenths

(Db involves the widest stretch).

After 1940 the problem facing the jazz pian ist was to evolve a lef t

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 wasmagnificently simple (Fig. 2). This i s 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 e lements of the chord.

182

H we compare the first two steps of the series in Figs. 1 and 2, wennd the fonowing (Fig. 3):

These lef t hand she ll s a re indicated by a point sys tem as fol lows:

(Key of F) III - vlx- Ii - - I which reads:

Fig. 3.III - point of seven

VIx - point of three

II - point of seven

V - point of three

I - point of seven



See Fig. 5.)

QUALITY FRACMEl\'T

CM (C - E G - B)

Cx (C E G Bb)

5tbththth 3rd .JJ. 7th 5th :lrd 5th :lrd

CI - 1.0- -J L- -- -I

·I 1 ...

Fig. 5.n the top s tave of Fig. 3, both chords are dominant since both con

tain a major third and a minor seventh (whether the omitted fifth were

perfect, diminished or augmented, the chord would remain dominant).In the bot tom stave ofFig. 3, the she ll C-E could represent the ful low

ing chord fragments:

SHELL

C-E

C E

This means that the series in Fig. 2 only implies certain

qua li ti es-the missing tones (3rd, 5th or 7th) must appear in the r ight

hand improvisation (Fig. 4).

Again, in the bottom stave of Fig. 3, the interval F-Eb could repre-

sent the following chord fragments:

SHELL QUALITY FRAGMENT

F - Eo Fx (F - A - C - EoF - Eo Fm (F - Ab - C - Eb)

F - Eb Fo (F . Ab - Cb - Eb)

I' T I

___ I 1

............. I I I I.I I it

Inversions are indicated by playing the outside voicesof the partic

ular 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).

1I

:IV

1n

IVIx

1m

Fig. 6.

I _I

Fig. 4

A

II

1

VI

185I

A . . -It- ..

..-

' I ..........

I, I I •·

4 06- v .... -r =if6 1 6 '1

I... ...h Fm

A I I

CI--..;;;

-184

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.

Fig. 7. Cone withtheWind

T' 1 1 f. 1 . f f 1.

I - Ii - -, Cl r ...

=====1iiiiI:i:I:::j _., I

I ...,

-6i - I I I I I

'1 '1 '1 '1 3



(Eb) II IVa III VIx n V I II (G) bV4>Va III VIx

-I

tJ£ _I ,.....-;;--'l .L

1tJ looo..J., ......,; . ., ., e v

. I I

.

I I

'7 :II ? 6 1:

I=Sf Sf f f f 1

(Eb) nil lIP I II bIIx I I I 1+ 1

S '.' I

(Eb) II II. VII bVIIx VI#f VI II V III VIx

GONE WITH THE WlND-by Magtdson and Wrubel(:)1007 by BourneCo. 0 renewed.Used by permission.

f. f f 1 f

(Eb) I I, (G) bV+IVo III bUIx II b1Ix / I Vilo

T. r 1ft f' t'

(Eb) Ill;. VIx II V bV' IVa III bIIIx II pili

t. ,. ,r f. 11

(G) II V I 1+ / (Eb) III pIIIo n / V / I VlIx

Fig. 8 illustrates an improvised line of Fig. 7 employing all the elements studied in this book. The over-all sound of F ig. 8 represents in

microcosmmainstream jazz piano as it is played today. 1

Fig. 8. t I - I : 'I a

Cl J . l I -...,...... .. --I I

:

-(J- -u I

3 1 1 '7 3:

1\ • - • -

Cl.. r '\' y .. \

1 I I I I

:

c.; Iv

1 '7 '1 3 1 3..I186

187

It I

4tJ ., If J .......I I

.... 1

1, 7 1

:

/I ,

. ..

- - -3

.... - -, .. .. .. lot 1-.

., • I I I I

I II 1 7 .



1

A. .11. .... -.t-... -- --.-;J =::::t:=,..

I I I t :

v 4 I

1., 1 7 II

A .. .

I

1

-

I

1

I

.,

.f

L

I

7

/II

- - - -.... r ,.. ,.. 1*

I , I I

....I c:;-.. -

1 S 1 S j7

/I 1 .--.--. .-. .... .......,I

I I.....

r -e-

1 ., 1 II:

It ... I

.-- .. ... -,;,.

4tJ -I I I

I Iv

1 1 I 1

188189

Fig. 9

DRILL: Write or play animprovisation onFig. 7.Apply this style technique

to previous assignments in thebook using the following simple

rules:1. In diatonic progressions (Fig. 9). usesevenths only.

I I I I



190

Fig. 10.

I I 1 1 1 7 1

2. In chromatic progressions (Fig. 10). use sevenths only.

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 fifthsseries 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 tojazz performing.

Fig. 12illustratesa stylizedbassline on Fig.2 in Lesson60.

Fig. 12.

.fl. f9- .;;;. hI> l. I. za: -e- I

I I I I I

I SECTION XII

LESSON 73.

Standard .Procedure



I 3 1 3 1 3 1 3 I 3 1

I I , I I , , I I

i · i· 6- ....'l

1 3 '1 3 I 3 ? 3 6 '1 1 '1

In general.thefifthfingerofthe left hand shouldappear in the second

octave belowmiddle C, which means that the hand is shifted down one

octavefrom the scale-tonechordposition seeFig. 13).

Fig. 13.

192

The fonowingrulescan be helpful in tracing thenecessarytepstoward

a professionaljazzperformance.1. Exploremelodyand chordsin severalkeys.

(The fonowingstepsrefertowrittenkey.)2. Explorearpeggiosforeach chord.

S. Explorescalesoreachchord.4. Memorizemelodyandchords.

5. Memorizechordsalone- nomelody.In the beginningthe student maynot be able to accomplishsteps 4

and 5; if 5 they shouldbe skipped. However, at SDIDe later time.thesestepsshouldbe learnedin theirnaturalorder.

The followingrules should be accompanied by a quarter-note foot

beat- abandonthemelody:6. Playchordsinthe lefthand,eighth-notearpeggiosin theright hand.1. Play chordsin the lefthand, eighth-notescalesin the right hand.

8. Play chords in the left hand, eighth-notetriplet arpeggios in the

right hand.9. Play chords in theleft hand, eighth-notetriplet scalesin theright

hand.10.Play chordsin 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 chordsin the left hand, apply rhythmcombinationsto scales.

{Lesson52}14. Playchordsin the lefthand,apply rhythmiccompositetoarpeggios.

(Lessons 39, 40)15, Play chordsin the left hand, apply rhythmiccompositeto scales.

(Lessons 53, 54)16. Play chords in the left hand, combine previous elements into an

improvisation.

17. Stylizelefthand asin Lesson72.18. Do notusethe sostenutoor loud pedalwhen improvising.

193

LESSON74.

Ear Training

Theproblemofdevelopingthe ear forwhat is called prehearing is of

major importance in performingjazz. It goeswithout sayingthat the hear

ing demandsin jazzare extremelyhigh and no effort should be spared in

the developmentof the ear. The following outline indicates the hearing

LESSON 75.

Memorization

To saythat memorizationis important to the playingof jazz is equiva

lent to saying that a knowledgeof hannony and rhythm is important to

the playing of jazz.

Memorizing the elements that go to make up an improvisa tion is



194

levelswhich occur simultaneouslyin the performanceof a mature jazz

musician:

ImprovisationMelody

LyricChord progression

pulseor beat

To hear these five levels simultaneously is a basic prerequisite for

superior jazz playing.

The followingrolescan be of great value in building a secure relation

shipbetweenthe ear,the eyeand thehand.L Flay anyscale.Singany tone of thescaleand 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 f ive

qualities.4. Flayand singthe scale-tonechordsin twelvekeys.5, Play any scale and sing the variousaltered chords on each tone.

6. Flayanyscaleand sing the variouschromaticchords on each tone.

1. Flay any scale and sing the variousaltered chromatic chords on

each tone.8. Repeatthe previousstepswithinversions.9. Play the bassDotes(omit the SId,5th and 7th) in a two-partfonn

andsingthe melody.

10. Repeatstep9 andsingthe bassline.

H. Repeatstep9 andsingthequalitiesof thebassline.

12. Use tenor saxophone (closest instrument to human voice) recordingsto singthe 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 sing ing

the right hand voice.then the left hand voice.

concentrated in onefactor- the processionof the chords in theirrhythmic

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 involvesthinkingof theRomannumeralscomprisinga bassline (I.VI. IIi>.V,etc.

Method 2 (muscular) involves automatic playing (memorized hand

positions) which can be found in aDprofessionalplaying. particularly in

the classicalfield.In topflightjazzpiano.automatic playingshouldbe at a

minimumin order to givethe perfonner the highest degree of spontaneous

rhythmic and tonal freedom. However,the muscularmethod can be help-ful as a starting point for the student. This involves learning the various

hand positionsof the chordsuntil theycan be played without hesitation.

When applying the outlineof procedurein Lesson73. the student will find

that mastering st 4 will not necessarilymean the same for step 5. The

hands willnot beableto function independently in the beginning.although

hand independencemust eventuallybe achievedfor goodjazzplaying.

Method 3 (prehearing) meansa memorizedhearing - heard in antic

ipation of the moment of playing. This is the ideal weanseekand is the

reasonwhy finejazz playing isa eballengeboth to play and appreciate.

Apply the rules of procedureto aDthe bass lines in this bookstartingonwhateverpracticallevelnecessaryfor the student.

LESSON 76.

Sheet Music Conversion

The problem in convertingsheet music is one of simplification;sheet

music is much too complicated to provide a simpleharmonic structure for

improvisation.However,sheet music is the only practical means of deter

mining the intention of a composer. Unfortunately the aspectof most

195

3. Compare the two results (letters and notation) for the best solution.

This s tep 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) keychanges not indicated;

(e) additional chords for melodic adjustment;

(f) misspelled inversions.

importance to the improviser - the bass l ine - 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 sheetmusic.

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 thevalues of the letters and their conversion.

All letters will function in the same manner.



C Half-dimini shed: em - •

emb l

E >m'·

Thesolutions areas 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 sheetmusic. 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 / II V I I III bIIIx / II bIIx / I

I1IVI/IPlIx I III VI III V / IVI VI - I VII lUx / VI VI bV+I VII IIIx VI

Keychanges: The presence of a major chord on other thanI or IV

is a clear indication ofa new key. If, in converting to Roman numerals. the

student Bods. for example. VM. II Maj. '. VIM, an immediateadjustmentshould be made in the signature no matter how fragmentaty.

5. Many sheet music bars contain three or more chords: one ortwo lor

he bas ic harmony and the remain ing chord or chords to cover isolated

melody tones which clut ter the f rame for an improvisation. Omit this

cover chord.

6. Often, an inversion will appear in the notation but is spelled in the

gui tar symbol as a root pos it ion 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.

C' susp.4

Cm'

emC min.'

C'C·cnC+

C

C Maj.

C Maj. 9

C·

C Diminished:

C Minor:

C Dominant b :

C Dominant P:

C Dominant:

C Major:

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 studentstarts with the lowest note in the bass and searches out the third, Bfth andseventh, 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

an inversion.

~ IS the lirstInversionof a e;. chordwhichshouldbe played in root po$ition.

196 197

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 familiaritywith all composers of allperiods can nourish the student in hiswork.

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 bui lding key faci li ty

LESSON 77.

Touch-Technique

The technical demands ofmodern jazz playing are in many ways com

parable to those required by serious music. On some jazz instruments



Recordings

and the diatonic feeling of jazz harmony.

n conclusion, a jazz musician can be only as good as his degree of

exposure to al music regardless of the instrument or the period and . of

course, as his degree of mastery of his instrument.

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 thisliterature rests heavily upon the student.

It is important for the serious jazz student to study the basic diseog

raphy of jazz from 1925 to the present day. This study should be ap

proached ontwo levels- general, and spedfic instrument

Study in the first category should besufficient to identify general stylistic features ofeach period with a knowledge of the major figures (regardless

of instrument) ofeach 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 com

positionsplayed, the techniques employed, etc.

The follOWingoutline indicates some of the major figures on each of

the important jazz instruments:

198

(notably the trumpet). levels of virtuosity have often exceeded those ob

taining m the concert field.

n jazz piano. Teddy Wilson andArt Tatum established the modern

levels of virtuosity although their styles utilized a great deal of legato play

ing whichhasin recent y rsundergone 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 cont inued 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 themodern articulation approach to jazz piano. This

was a revolutionary movement away from the flnger legato and toward whatmight 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, thiswrist stroke is abandoned in favor of the finger. but the es

sential 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 jazzhorns.

n the last seven y rs this style of articulation has become the ver

nacular sound of modern jazz piano. Oscar Peterson has furthered the artic

ulation style by enhancing it with a virtuoso technique reminiscent of rt

Tatum s . There is little of the classical legato in Peterson, who is un

doubtedly the outstanding jazzpianist today.

Hampton Hawes has effected a fusion of the Powell architecture and

Silver s touch. Hawes has brought the Charlie Parker line concept to thekeyboard 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 disas

trous results. In classical terms, the stroke is more related to a marcato

attack, but never a staccato.

Arranger:

Fletcher Henderson

Duke Ellington

Don RedmanSy Oliver

Gerry Mulligan

Bill Holman

Nelson Riddle

Bands:

Fletcher Henderson

Benny Goodman

Duke EllingtonJimmie Lunceford

Count Basie

Woody Herman

Gerry Mulligan Tentet

Stan Kenton

199

The following is a brief chronology of the history ofjazz piano.ass:

Pops Foster

Jimmy Blanton

Oscar Pettiford

Ray Brown

Charles Mingus

Clarinet:

Johnny Dodds

Pee Wee Russell

Piano:

Jelly Roll Morton

Earl Fatha Hines

Fats Waller

Teddy Wilson

Art Tatum

Earl Bud Powell

George Shearing

Horace Silver

Trumpet:

Buddy Bolden

Louis Armstrong

Bix Beiderbecke

Roy Eldridge

Bunny Berigan

Dizzy Gillespie

Miles Davis

Chet Baker

Barrelhouse

Morton

Waller

1900

Fusion

]1925

Hagtime

Joplin

Hines



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 ReinhardtTal Farlow

Joe Pass

Oscar Peterson

Hampton Hawes

Wynton Kelly

Herbie HancockMcCoy Tyner

Bill Evans

Alto Saxophone:

Benny Carter

Johnny Hodges

Charlie Parker

Lee Kanitz

Tenor Saxophone:

Bud Freeman

Coleman Hawkins

Lester YoungStan Getz

John Coltrane

Miscellaneous Instruments:

Milt Jackson-vibraphone

Jean (Toots) Thielemans-harmonica

Serge Chaloff-baritone saxophone

Jimmy Smith-organ

Red Norvo-xylophone

Clifford Brown

Trombone:

Kid DryJack 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

ITatum

Dissidents

IThelonious Monk

Lennie Tristano

Errol] Garner

Dave Brubeck

Cy Walter

Fusion

I1940

IEarl Bud Powell

IHhythrnlc

IHorace Silver

Hampton Hawes

IWilson

Harmonic

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 i s impor tant to remember that many of the most impor tant ad

vances have occurred on the trumpet and saxophone and were later

t ransposed 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; injazz, these lines crisscross in many ways from instrument

to instrument and from period to period. Full knowledge of these transi

tions 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 pro

vided to enable the student to expand his knowledge ofthe preceding

lessons. Follow the previously suggested procedure ofwriting the tuneout on two or three staves, depending on which lesson is being ex

panded.

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 Eo.Note key

changes.

(Eb) I Ixll3 I VIIx WIIx VI VI2 IV's VI VI2

(G) II bflx I (Eb) IVm IVm2 II V Vo VI VI2

omit 5 omit 5

(G) II bIIx I IX1l3 Ixll

1l3 IX1l3 Ix WIIX1l3 bVIlxl ll l 3

(G) bVIlxll3 VI I1x bVlx V III Vlx V4J DVm VIIx 6 6

(G) VIx1l3 IV5 VIx1l3 IV5 DOLPHIN DANCE-by Heroic Hancock

Courtesy of Hancock Music Co.Used by permission. 3

Invitation

The following is a bass line for Invitation. This tune presents a

unique problem due to the absence ofmajor 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 n1l1 I

(Eb) II I V I II I V I Vm I Ix II (Db) II I V II (B) II l lI l 7 I IF'1 I

The Summer Knows

The following isa bass line for 'The Summer Knows in (f) minor.

Note key changes.

(F) VII3V I I I 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>2 I I



204

(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>5 II¢ I Vll5 Ilm L I ImL II

INVITATION-by Paul Francis Weber and Bronislau Kaperl :) 1952, 1956 Metro-Goldwyn-Mayer Inc. l :) renewed 1980. All rights controlled byRobbins Music , a catalogue of CBS Songs, a Divis ion of CBS Inc.International copyright secured. All rights reserved.Used by permission.

West Coast Blues

The following are a head chart and a blowing chart for West Coast

Blues in Bb. Note 3/4 time signature.

HEAD CHART

Ix / Yo I bVIIx / v.; / Ix I Yo I blI I bII bVIx I IVx I Yo I :. -/ Yo I

Ix I Yo I Yo I YoI V / Yo I IVx I Yo I Ix I bUb I bVIM / DIIx II

Ix I Yo I bVllx I Yo I Ix I Yo I bII I bh bVix IVx I YoI Yo I Yo /

Ix I v. I Yo/ v. I V I Yo / IVx / v. / Ix I bUIx I bVIM I bllx 1/

BLOWING CHART

Ix I Yol bVllx 1::.</Ix /Yo I bII I bVIx IIVx IY; I IVm / bVIIx I

III I VIx I bIll I bVIx I II I III / IV I V I Ix I bIlIx /

~ b V I bllx 1/

WEST COAST BLUES-by John L. eWes)MontgomeryCl]960 Taggie Music Co. , a Divis ion ofGopam Enterpr ises , Inc.Used by permission.

(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 BergmanCl]97] Warner Bros. Music Corp. All rights reserved.Used by permission.

Time After Time

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

I VI I II v» I III VI I II V1l3IT vt bVlo I Vm bY I IV I bVIIx I

.. ..

I

Illil I Icf>3 VIz bVIIVm bVIIx I III bIllo I II blIx 11

6

I

1+6 1/

TIME AFfER TIME-Lyrics by Jule Styne,Music by Sammy Cabn@ 1947 (renewed) Sands Music Corp. All rights reserved.Used by permission.

For ADWe Know

The following isa bass line for For All WeKnow in the key ofF.

piclc-up

blIx / / I VI / fub5 / V I II bIIx I I II I II I¢ bUIx I IIU7 1117 I

II 110 I III / bIIIo I II II2I VIIm bVlIx / VI:: 7VI1l3I VI bIllo I

II I V 3 I I VI /I1x b5 I V I II bIIx I I II I IIItJl blIIx I IIllll7 11117 /

II 110 I III VI I bVmVIIx / II1x bVIIxb5/ VIxll3VIx I II bVIxb5I

V1l3V 11 6 11 6 II

FOR ALL WE KNOW-Words by Robb Wilson and James Gri ff in, Music by Fred Kar lin.© 1970 by Music Corporation of America, Ine., New York,N.Y.Rights administeredby MCA Music, a Division of MCA Inc., New York, N.Y.All rights reserved.Used by permission.

205

The Preacher

The following is a figured bass for The Preacher in F.

VIl3 I bVIo Vm OV IVx OVIlx 1 V:::a

piclc·up

j IV Vilm IIIx VP117VI:t7 VI I1x II Vl13 I OVlo Vm Ix /

Our Love Is Here to Stay

The following is a bass line for Our Love Is Here to Stay in the

key of F.

plclc. p

VI I1x 5 II V:3 p6 II III VI I I x ~ II 11 bVIIx vr,

I1x tlIIa III VIx II V I IV VII IIIx VP=7 Vp7 VI n,



1m IVx VIIm II1x IV+6 srve Viz VI II v:;a 1+6 VIl3/

1 6 VIl3 bVIo / Vm bV IVx WIIx V:l3 I IV Vilm Illx

VP:1l7VJll7 VI IIx / II VIl3/1 bVlo Vm Ix 1m IVx VIIm IIIx

IV+6 tlIVo Viz VI II Vila 1 6 VIl3 1 6

mE PREACHER-by Horace SilverC 1956 by Silhouette Music Corp.Used by permission.

Desifinado

The following is a figured bass for Desifinado. Note key changes.

(F) I / YoI IIxbS I y. I II I V I III<f> VIx I II Il,2II

(D) II<f>V I Ix (F) VI<f> Ilx / bllM Yo / I Yo I1xb5

(F) y / II / V I III<f>I VIx I II III I IVm WIIx I I VI II

(A) II<f>IlK I I I VI I II I V / III / VI/II I V I I / VI I II I V II

(F) VIlm I1Ix s / VI/11K / II bIlIx / 11K bIlx / I / Yo

(F) IIxl>s Yo II V / III<f> VIx / II III IVm bVlIx I VI

(F) IIx / bV<f> IVm I IIIxll5 I bUIx I I1x I bUM I I 11 6 II

DESIFINADO-Woros by Newton Mendonca, Music by Antonio Carlos JobimQ 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. ass igned to TRO essex Music Ltd, 85 Gower Street.London, WCi for the territories of the British Empire and Commonwealth ofNations(excluding Canada) and the Republics of Ireland and South Africa.Used by permission.

II bVIx V VI I1x'S II Vl13 1+6 II III VI I1x'S II n, /

bVIIx VIx / Ilx tlIIo III vr, II V Vm Ix /IV+6 tllVo VIz VI

II Vl:3 1 6 1 6 1

OUR LOVE IS HERE TO STAY-by Ceorge and Ira CershwinID1938by Chappell Co., Inc. to renewed.International copyright secured. All rights reserved,Used by permission.

Here's That Rainy Day

The following is a bass line for Here's That Rainy Day in Bb.

Note key changes.

(Bb) I VlIxl:5 1 (Cb) III z blIx I I I IV II

(Bb) II III IV V I VI Vm sv

(Db) 1I: :l l7 II::7 II bIIx sv IV IV2 11 112

(Bb) 11 =711:: / II V / bVllx VIx /I:NIx V I I VIIx 5 1

(Cb) IIIz

bIIx I IV

(Bb) II III I IV V / Ix I Vm OVIIV I

..(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 HeuseniO1953 by Burke Van Heusen. Inc. iOassigned to Bourne Co. Dorsey Bros.Musicblnc. Q renewedUsed y permiss ion.

2f17

The Girl from Ipanema

The following isa bass line for The Girl from Ipanema in F. Note

key changes.

(F) I / I I Ilxb5 I Ilxb5 I II / tv» I III bUb / II bIlx I I / I I UXb5 I

(F) IIxb5I II I blIx I I II II I I I I IVx IIVx 11m 11m II

(F) VIx I VIx I II / II I bVIIx I bVIIx I III I VIxh5I II I Vb5I

Just in Time

The fol lowing is a bass l ine for Just in Time in Bb.

I I IV / VUm I IIIx I III I VIx I VI I I1x / II I V I I I Ix I Im+6 /

IVx / VII I lUx / VI I V ~ : : / Vl2 I bV4>IVm+6 I III I VI I VIxl:5 I

Vo / bVePI IVm+6 I III I bUIx I Ilx I II V I {+6 1 1+ II

JUST IN TIME-by Betty Comden, Adolph Green, and jule Styne( \ 1956Betty Comden, Adolph Green, and jule Styne, Stratford Music Corp owner



208

(F) I I I / IIxb5I Ilxb5 / II / blix I I I bllx I I I bllx I I / I II

THE GIRL FROM IPANEMA CAROTA DE IPANEMA)-Music by Antonio CarlosIobun, English words by Norman Gimbel, original WOldsby Vinicius De Moraes

Cl1963 by Antonio CarlosJobim and Vinicius De Moraes, Brazil. Sole selling agentDuchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. Allrights reserved.USedby permission.

One Note Samba

The following is a bass line for One Note Samba inthe key ofBb,

Note key changes in the bridge from Db to B.

(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 (Db) II I V / I I I II

(B) II I V I I 1/ (Bb) lIt/>V I III / bIIIx I II I blIx / III I

(Bb) bIIIx / II I bIlx I Vm I bV I IV I bVlIx / blUM I IIx I

(Bb) bUM 11+ 6 /1

ONE NOTE SAMBA SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm,original words by Newton Mendonca

C 1961, 1962by Antonio Carlos Jobim andMrs. N. Mendonca, Brazil. Sole sellingagent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries.All rights reserved.Usedby permission.

Chappell Co., Inc, and G. Schirmer Inc. ,International copyright secured. All rights reserved.Used by permission,

Tune-Up

The following is a figured bass for Tune-Up in D major. Note

modulations.

(D) II I Vb5 / I I }+6 1 (C) II I Vh5 I 1 / 1+6 II (Bb) II I V I

(Bb) I I VI II (D) II / bIIIM I bVIM I V I II I v» / I I 1+6 II

(C) II I Vh5 / I / 1+6 II (Bb) II I V / I I VI/I (D) II I bIIx I

(D) I 11 6 //

TUNE UP by MilesDavisCourtesy 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 thekey ofG.

pld.:-up

bVt/> VIIm I lIIx I VI1I7VI I IIx / II I V / I / IV I VII / lIIx I

VIU7 VIlI7I VI I bV4> VIlx I IVx/ IIIx bVt/> VIlm I lIIx /

3VI 7VI /IIx I III Vll3 IVo I III<fJ vr, I II II III / IVm bVIIx/

III III<fJI VIx1l3 blIIx IIIx / II V::3 11+ 6 I 1+6 1/

THE SHADOWOF YOURSMILE-by John Mandeland Paul Francis WebsterCourtesy ofR.C. Burkett,Howard-BurkettMusicUsed by permission.

209

Nica's Dream

The following is a bass line for Nica's Dream in bbminor. 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


Bars33-46: Db major

Quiet Nights and Quiet Stars

TIle following is a bass l ine for Quie t Nights and Quie t Stars in

the key of C.

IV I % I bIIx3 / % / Vm / Ix, 3/ IV / IV I IVm / bVIIx I IIIx:::>/

4 4

VIxl:S I VI / I1x / II II¥. / VII bVIIx / II ,1 / x I bIIXl I % I Vm I

Ix::: I IV I I bVIIxl>S III I VI I II I V, 3I III4>I bIIlx I II /




Bars 55-60: Gb major


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+ 6 I

(hb) bVIlmL / bVIIm+6 I I I J+6 II (Gb) II:r:lI7I 1I :7 I II I bIb I

(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) Ii I If f bVilM I VIxllS/ I1x I II IIz /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 I J+6 /1

NICA'S DREAM-by Horace Silver 1956 Ecaroh Music, Inc. © 1975 Ecaroh Music, Inc.Used by permission,

Four

The following is a figured bass for Four in Eb major.

blIx II I II I #IIo III 11m IVx / II I III /IVm /

(>ide·up

bVIIx I III / bIII bVlx I II liz VIIm IIIx I III I bIl l bVIx I II / bIIx /

I I I / : l: II IoIII 11m IVx II I III IVm bVIIx / III I bIll bVIxIII u, I

VIIm IIIx I II hIII / II bIIx 1. 6 / 1+6 /1

FOUR-by Miles DavisCourtesy of Prestige Music Co., Inc.Used by permission,

blIx / I I 1+6 /I

QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original words and Music byAntonio Carlos Jobim. English words by Gene Lees

© 1962, 1964by Antonio Carolos jobim, Brazil. Sole selling agent Duchess MusicCorp. (MCA) New Yolk, N.Y. for all Eng/ish speaking countries. All rights reserved.Used by permission.

What Are You Doing the Rest of Your Life

The following is a bass l ine for What Are You Doing the Rest of

YourLife in (a) minor. The chord chart is scored in C major, although

the final cadences occur in the relative minor. Note key changes.

C WIIx 1/ VP'7 vr,» I VI2 bVq, / IV IVl tSI IV+6 IV2

I

C I Iu7 I1l l7 / II 112

I VII / bVIIx I VIlt7 VI2lt7

I II n, I VII I

C WIIx I Vp:7 VI2 :7 I VI2 bV4>I IV IVlISI IV+6 IV2 I II n, 1/

(A) II blIx I I II I III VI I II blIx / I VI I II bIIx / I IV /1

(Gb) II blIx / I 1+6 II (F) II bilK I I r, VI Viz 1/ (C) VI1l1VI/' /

(C) VIz bV4>/ IV lVI'S I IV+6 IVz I IIllll7 1I1I7 / II IIz / VII I

(C) IIIx VI II a IV IV:z / II blIx / Irn IIVx III I bIlx 11 J+61/

WHAT ARE YOU DOING THE REST OF YOUR UFE?-by Al an Be rgman,Marilyn Bergman, and Michel Legrand

© 1969 United Artists Music Co., Inc. All rights administered by CBS Songs, aDivision of CBS. Inc. All rights reserved,Used by permission, 211

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:::AROLINASHOUT-by JamesP. JohnsonCJ1926by MCA Music, a Divis ion ofMCAInc. , New York, N.Y. @ renewed. Allrights reserved.Used by permisston.

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1959-84 Tonal And Rhythmic Principles - Mehegan.pdf

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