COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to...
Transcript of COMPANION BOOKLET - Jamey Aebersold Jazz: jazzbooks.com · 2017-08-25 · Syllabus! Listen to...
COMPANION BOOKLET
NOTE: This DVD contains
much information!
Don’t feel you have to grasp and understand everything
in the first viewing. Take your time in digesting the
various concepts and ideas. You may want to view it in
sections. If there are things you don’t understand please
feel free to contact me.
NO
MEN
CLA
TUR
ELE
GEN
D: +
or ß
= ra
ise
1/2
step
; — o
r ∫ =
low
er 1
/2 s
tep;
H =
Hal
f Ste
p; W
= W
hole
Ste
pBe
caus
e ja
zz p
laye
rs, c
ompo
sers
, edu
cato
rs a
nd a
utho
rs h
aven
’t ag
reed
on
a co
mm
on n
omen
clat
ure
for w
ritin
g ch
ord
and
scal
e sy
mbo
ls, t
he n
ovic
e w
ill ha
ve to
bec
ome
fam
iliar w
ith s
ever
al d
iffer
ent w
ays
of w
ritin
g th
e sa
me
scal
e so
und.
List
ed b
elow
are
the
mos
t com
mon
sym
bols
in o
rder
of u
sage
- m
ost-u
sed
to le
ast-u
sed.
The
sym
bol t
hat i
s bo
ldfa
ce is
the
one
I use
mos
t ofte
n. N
otic
e th
at
thro
ugho
ut th
is b
ook
you
will
see
C∆
and
C to
des
igna
te a
maj
or c
hord
/sca
le s
ound
. I a
m d
oing
this
so
you
can
begi
n to
get
bet
ter a
cqua
inte
d w
ith v
ario
us
nom
encl
atur
e.∆
= M
ajor
sca
le/c
hord
or m
ajor
sev
enth
(C∆)
. A (7
) afte
r a le
tter m
eans
to lo
wer
the
7th
note
of t
he s
cale
, mak
ing
it a
Dom
inan
t 7th
qua
lity
(C7)
. A d
ash
(—) w
hen
loca
ted
besi
de a
lette
r mea
ns to
low
er th
e th
ird a
nd s
even
th o
f the
sca
le 1
/2 s
tep,
thus
mak
ing
it a
min
or to
nalit
y (D
oria
n m
inor
) (C
—).
Ø m
eans
ha
lf-di
min
ishe
d (C
Ø).
C—
∆ m
eans
a m
inor
sca
le/c
hord
with
a m
ajor
7th
. —3
mea
ns 3
hal
f-ste
ps (a
min
or 3
rd).
A ° b
esid
e a
lette
r mea
ns d
imin
ishe
d (C
° =
dim
inis
hed
scal
e/ch
ord)
.
CH
OR
D/S
CA
LE T
YPE
AB
BR
EVIA
TED
CH
OR
D/S
CA
LE S
YMB
OL
*M
AJOR
(Ion
ian) (
WW
HWW
WH)
C D
E F
G A
B C
C C∆
C
maj,
Cm
a, C
ma7
, Cm
aj7, C
M, C
M7,
Cm
aj9, C
maj1
3
*DO
MIN
ANT
SEVE
NTH
(Mixo
lydian
) (W
WHW
WHW
)5t
h M
ode
of M
ajor:
C D
E F
G A
B∫
CC7
C
9, C
11, C
13
*M
INOR
SEV
ENTH
(Dor
ian) (
WHW
WW
HW)
2nd
Mod
e of
Majo
r: C
D E
∫ F
G A
B∫ C
C—
C—
7, C
mi, C
mi7,
Cm
7, C
min,
Cm
in7, C
m9,
Cm
11, C
m13
LYDI
AN (M
ajor S
cale
with
ß4) (
WW
WHW
WH)
4th
Mod
e of
Majo
r: C
D E
Fß G
A B
CC∆
+4
Cm
aj+4,
CM
+4, C
∆+11
, C∆∫
5, C
maj∫
5
*HA
LF-D
IMIN
ISHE
D (L
ocria
n) (H
WW
HWW
W)
7th
Mod
e of
Majo
r: C
D∫
E∫ F
G∫ A
∫ B∫
CCØ
C
mi7(
∫5),
C—7∫
5
HALF
-DIM
INIS
HED
#2 (L
ocria
n #2
) (W
HWHW
WW
)6t
h M
ode
of M
elodic
Mino
r: C
D E
∫ F
G∫ A
∫ B∫
CCØ
ß2
CØ+
2, C
Ø9
DIM
INIS
HED
(WHW
HWHW
H) C
D E
∫ F
G∫ A
∫ A B
CC °
C
dim, C
°7, C
dim7,
C°9
LYDI
AN D
OMIN
ANT
(Dom
. 7th
with
ß4) (
WW
WHW
HW)
4th
Mod
e of
Melo
dic M
inor:
C D
E F
ß G A
B∫
CC7
+4
C7+
11, C
7∫5,
C9+
11, C
13+1
1
WHO
LE-T
ONE
(WW
WW
WW
W) C
D E
F#
G# B
b C
+
4C7
+
C7a
ug, C
7+5,
C7+
5DO
MIN
ANT
SEVE
NTH
(Usin
g a
Dim
. Sca
le) (H
WHW
HWHW
)C
D∫ E
∫ E
Fß G
A B
∫ C
+
9
+
9C7
∫9
C7∫
9+4,
C13
∫9+1
1DI
MIN
ISHE
D W
HOLE
-TON
E (A
ltere
d Sc
ale) (
HWHW
WW
W)
7th
Mod
e of
Melo
dic M
inor:
C D
∫ E∫
E F
ß Gß B
∫ C
+
9+5
+
9∫13
C7+9
C
7alt,
C7∫9
+4, C
7∫9+
11LY
DIAN
AUG
MEN
TED
(Majo
r with
ß4 &
ß5) (
WW
WW
HWH)
3rd
Mod
e of
Melo
dic M
inor:
C D
E F
ß Gß A
B C
+
5C∆
+4
C∆+
5M
ELOD
IC M
INOR
(Asc
endin
g On
ly) (W
HWW
WW
H)C
D E∫
F G
A B
CC—
∆
Cm
in(m
aj7),
Cmi∆
, C—
∆ (M
elodic
), Cm
6
HARM
ONIC
MIN
OR (W
HWW
H—3H
) C D
E∫
F G
A∫ B
CC—
∆
Cm
i∆, C
—∆
(Har
), C—
∆∫6
SUSP
ENDE
D 4t
h (W
—3W
WHW
) or (
WW
HWW
HW)
C D
F G
A B∫
C o
r C D
E F
G A
B∫
CG—
G
—7,
C7s
us4,
C7s
us, C
4, C
11 C
C
*BL
UES
SCAL
E (U
se a
t play
er’s
discr
etion
)(—
3WHH
—3W
) (1,
∫3,
4, ß
4, 5
, ∫7,
1) C
E∫
F Fß
G B
∫ C
(The
re is
no
chor
d sy
mbo
l for t
he B
lues S
cale)
Used
mos
tly w
ith d
omina
nt a
nd m
inor c
hord
s)
* The
se a
re th
e m
ost c
omm
on c
hord
/sca
les
in W
este
rn M
usic
.
I bel
ieve
in a
redu
ced
chor
d/sc
ale
nota
tion
that
allo
ws
our c
reat
ive
side
, our
nat
ural
sid
e (ri
ght b
rain
func
tion)
to h
ave
dire
ctio
n an
d gu
idan
ce w
ithou
t fee
ling
inhi
bite
d or
lim
ited.
Whe
n w
e sp
eak
of “
qual
ity”
we
mea
n w
heth
er it
is M
ajor
, Min
or, D
im.,
or w
hate
ver.
I hav
e tri
ed to
sta
ndar
dize
the
chor
d/sc
ale
sym
bol n
otat
ion
in m
y bo
oks.
Sin
ce s
ome
have
bee
n ou
t man
y ye
ars
ther
e ar
e in
stan
ces
whe
re I
may
hav
e us
ed a
diff
eren
t cho
rd s
ymbo
l in
one
book
than
I u
sed
in th
is o
ne.
I fee
l the
impr
ovis
or n
eeds
as
little
not
atio
n as
pos
sibl
e in
ord
er to
tran
scen
d th
e ac
tual
nom
encl
atur
e on
the
page
. The
mor
e nu
mbe
rs, l
ette
rs a
nd a
ltera
tions
th
at a
ppea
r on
the
page
, the
less
cha
nce
they
will
have
to re
mov
e th
eir t
houg
hts
from
the
writ
ten
page
and
exp
ress
wha
t is
bein
g he
ard
in th
eir m
ind.
Tha
t is
why
I pr
efer
C, C
7, C
—, C
Ø, C
7+9,
C7∫
9. R
emem
ber,
we
are
play
ing
a m
usic
cal
led
jazz
, and
it c
onta
ins
man
y al
tere
d to
nes.
Onc
e w
e le
arn
the
vario
us
alte
ratio
ns a
nd th
eir c
orre
spon
ding
abb
revi
ated
cho
rd s
ymbo
l, w
hy k
eep
writ
ing
all t
he a
ltera
tions
bes
ide
the
chor
d sy
mbo
l? C
heck
out
car
eful
ly th
e Sc
ale
Sylla
bus!
Lis
ten
to V
olum
e 26
“The
Sca
le S
ylla
bus.
”R
emem
ber:
2nd’
s ar
e th
e sa
me
as 9
th’s
, 4th
’s a
re th
e sa
me
as 1
1th’
s, 1
3th’
s ar
e th
e sa
me
as 6
th’s
. Exa
mpl
e: K
ey o
f C ..
. the
2nd
, D, i
s th
e sa
me
as th
e 9t
h,
D. O
ften
a co
mpo
ser w
ill si
mpl
y w
rite
thei
r pre
ferre
d na
me
of th
e sc
ale
besi
de th
e ch
ord
sym
bol,
such
as
E∫—
∆ (m
elod
ic m
inor
), F—
(phr
ygia
n), F
— (p
hry)
.2
NO
MEN
CLA
TUR
ELE
GEN
D: +
or ß
= ra
ise
1/2
step
; — o
r ∫ =
low
er 1
/2 s
tep;
H =
Hal
f Ste
p; W
= W
hole
Ste
pBe
caus
e ja
zz p
laye
rs, c
ompo
sers
, edu
cato
rs a
nd a
utho
rs h
aven
’t ag
reed
on
a co
mm
on n
omen
clat
ure
for w
ritin
g ch
ord
and
scal
e sy
mbo
ls, t
he n
ovic
e w
ill ha
ve to
bec
ome
fam
iliar w
ith s
ever
al d
iffer
ent w
ays
of w
ritin
g th
e sa
me
scal
e so
und.
List
ed b
elow
are
the
mos
t com
mon
sym
bols
in o
rder
of u
sage
- m
ost-u
sed
to le
ast-u
sed.
The
sym
bol t
hat i
s bo
ldfa
ce is
the
one
I use
mos
t ofte
n. N
otic
e th
at
thro
ugho
ut th
is b
ook
you
will
see
C∆
and
C to
des
igna
te a
maj
or c
hord
/sca
le s
ound
. I a
m d
oing
this
so
you
can
begi
n to
get
bet
ter a
cqua
inte
d w
ith v
ario
us
nom
encl
atur
e.∆
= M
ajor
sca
le/c
hord
or m
ajor
sev
enth
(C∆)
. A (7
) afte
r a le
tter m
eans
to lo
wer
the
7th
note
of t
he s
cale
, mak
ing
it a
Dom
inan
t 7th
qua
lity
(C7)
. A d
ash
(—) w
hen
loca
ted
besi
de a
lette
r mea
ns to
low
er th
e th
ird a
nd s
even
th o
f the
sca
le 1
/2 s
tep,
thus
mak
ing
it a
min
or to
nalit
y (D
oria
n m
inor
) (C
—).
Ø m
eans
ha
lf-di
min
ishe
d (C
Ø).
C—
∆ m
eans
a m
inor
sca
le/c
hord
with
a m
ajor
7th
. —3
mea
ns 3
hal
f-ste
ps (a
min
or 3
rd).
A ° b
esid
e a
lette
r mea
ns d
imin
ishe
d (C
° =
dim
inis
hed
scal
e/ch
ord)
.
CH
OR
D/S
CA
LE T
YPE
AB
BR
EVIA
TED
CH
OR
D/S
CA
LE S
YMB
OL
*M
AJOR
(Ion
ian) (
WW
HWW
WH)
C D
E F
G A
B C
C C∆
C
maj,
Cm
a, C
ma7
, Cm
aj7, C
M, C
M7,
Cm
aj9, C
maj1
3
*DO
MIN
ANT
SEVE
NTH
(Mixo
lydian
) (W
WHW
WHW
)5t
h M
ode
of M
ajor:
C D
E F
G A
B∫
CC7
C
9, C
11, C
13
*M
INOR
SEV
ENTH
(Dor
ian) (
WHW
WW
HW)
2nd
Mod
e of
Majo
r: C
D E
∫ F
G A
B∫ C
C—
C—
7, C
mi, C
mi7,
Cm
7, C
min,
Cm
in7, C
m9,
Cm
11, C
m13
LYDI
AN (M
ajor S
cale
with
ß4) (
WW
WHW
WH)
4th
Mod
e of
Majo
r: C
D E
Fß G
A B
CC∆
+4
Cm
aj+4,
CM
+4, C
∆+11
, C∆∫
5, C
maj∫
5
*HA
LF-D
IMIN
ISHE
D (L
ocria
n) (H
WW
HWW
W)
7th
Mod
e of
Majo
r: C
D∫
E∫ F
G∫ A
∫ B∫
CCØ
C
mi7(
∫5),
C—7∫
5
HALF
-DIM
INIS
HED
#2 (L
ocria
n #2
) (W
HWHW
WW
)6t
h M
ode
of M
elodic
Mino
r: C
D E
∫ F
G∫ A
∫ B∫
CCØ
ß2
CØ+
2, C
Ø9
DIM
INIS
HED
(WHW
HWHW
H) C
D E
∫ F
G∫ A
∫ A B
CC °
C
dim, C
°7, C
dim7,
C°9
LYDI
AN D
OMIN
ANT
(Dom
. 7th
with
ß4) (
WW
WHW
HW)
4th
Mod
e of
Melo
dic M
inor:
C D
E F
ß G A
B∫
CC7
+4
C7+
11, C
7∫5,
C9+
11, C
13+1
1
WHO
LE-T
ONE
(WW
WW
WW
W) C
D E
F#
G# B
b C
+
4C7
+
C7a
ug, C
7+5,
C7+
5DO
MIN
ANT
SEVE
NTH
(Usin
g a
Dim
. Sca
le) (H
WHW
HWHW
)C
D∫ E
∫ E
Fß G
A B
∫ C
+
9
+
9C7
∫9
C7∫
9+4,
C13
∫9+1
1DI
MIN
ISHE
D W
HOLE
-TON
E (A
ltere
d Sc
ale) (
HWHW
WW
W)
7th
Mod
e of
Melo
dic M
inor:
C D
∫ E∫
E F
ß Gß B
∫ C
+
9+5
+
9∫13
C7+9
C
7alt,
C7∫9
+4, C
7∫9+
11LY
DIAN
AUG
MEN
TED
(Majo
r with
ß4 &
ß5) (
WW
WW
HWH)
3rd
Mod
e of
Melo
dic M
inor:
C D
E F
ß Gß A
B C
+
5C∆
+4
C∆+
5M
ELOD
IC M
INOR
(Asc
endin
g On
ly) (W
HWW
WW
H)C
D E∫
F G
A B
CC—
∆
Cm
in(m
aj7),
Cmi∆
, C—
∆ (M
elodic
), Cm
6
HARM
ONIC
MIN
OR (W
HWW
H—3H
) C D
E∫
F G
A∫ B
CC—
∆
Cm
i∆, C
—∆
(Har
), C—
∆∫6
SUSP
ENDE
D 4t
h (W
—3W
WHW
) or (
WW
HWW
HW)
C D
F G
A B∫
C o
r C D
E F
G A
B∫
CG—
G
—7,
C7s
us4,
C7s
us, C
4, C
11 C
C
*BL
UES
SCAL
E (U
se a
t play
er’s
discr
etion
)(—
3WHH
—3W
) (1,
∫3,
4, ß
4, 5
, ∫7,
1) C
E∫
F Fß
G B
∫ C
(The
re is
no
chor
d sy
mbo
l for t
he B
lues S
cale)
Used
mos
tly w
ith d
omina
nt a
nd m
inor c
hord
s)
* The
se a
re th
e m
ost c
omm
on c
hord
/sca
les
in W
este
rn M
usic
.
I bel
ieve
in a
redu
ced
chor
d/sc
ale
nota
tion
that
allo
ws
our c
reat
ive
side
, our
nat
ural
sid
e (ri
ght b
rain
func
tion)
to h
ave
dire
ctio
n an
d gu
idan
ce w
ithou
t fee
ling
inhi
bite
d or
lim
ited.
Whe
n w
e sp
eak
of “
qual
ity”
we
mea
n w
heth
er it
is M
ajor
, Min
or, D
im.,
or w
hate
ver.
I hav
e tri
ed to
sta
ndar
dize
the
chor
d/sc
ale
sym
bol n
otat
ion
in m
y bo
oks.
Sin
ce s
ome
have
bee
n ou
t man
y ye
ars
ther
e ar
e in
stan
ces
whe
re I
may
hav
e us
ed a
diff
eren
t cho
rd s
ymbo
l in
one
book
than
I u
sed
in th
is o
ne.
I fee
l the
impr
ovis
or n
eeds
as
little
not
atio
n as
pos
sibl
e in
ord
er to
tran
scen
d th
e ac
tual
nom
encl
atur
e on
the
page
. The
mor
e nu
mbe
rs, l
ette
rs a
nd a
ltera
tions
th
at a
ppea
r on
the
page
, the
less
cha
nce
they
will
have
to re
mov
e th
eir t
houg
hts
from
the
writ
ten
page
and
exp
ress
wha
t is
bein
g he
ard
in th
eir m
ind.
Tha
t is
why
I pr
efer
C, C
7, C
—, C
Ø, C
7+9,
C7∫
9. R
emem
ber,
we
are
play
ing
a m
usic
cal
led
jazz
, and
it c
onta
ins
man
y al
tere
d to
nes.
Onc
e w
e le
arn
the
vario
us
alte
ratio
ns a
nd th
eir c
orre
spon
ding
abb
revi
ated
cho
rd s
ymbo
l, w
hy k
eep
writ
ing
all t
he a
ltera
tions
bes
ide
the
chor
d sy
mbo
l? C
heck
out
car
eful
ly th
e Sc
ale
Sylla
bus!
Lis
ten
to V
olum
e 26
“The
Sca
le S
ylla
bus.
”R
emem
ber:
2nd’
s ar
e th
e sa
me
as 9
th’s
, 4th
’s a
re th
e sa
me
as 1
1th’
s, 1
3th’
s ar
e th
e sa
me
as 6
th’s
. Exa
mpl
e: K
ey o
f C ..
. the
2nd
, D, i
s th
e sa
me
as th
e 9t
h,
D. O
ften
a co
mpo
ser w
ill si
mpl
y w
rite
thei
r pre
ferre
d na
me
of th
e sc
ale
besi
de th
e ch
ord
sym
bol,
such
as
E∫—
∆ (m
elod
ic m
inor
), F—
(phr
ygia
n), F
— (p
hry)
. 3
Impr
ovis
ing,
pla
ying
jazz
, is
the
mos
t nat
ural
way
to m
ake
mus
ic.
Long
bef
ore
the
prin
ting
pres
s w
as in
vent
ed p
eopl
e pl
ayed
mus
ic
on v
ario
us in
stru
men
ts a
nd a
ll w
ere
thou
ght t
o be
cre
ativ
e m
usic
ians
. Thr
ough
the
ages
the
art o
f im
prov
isin
g on
a m
usic
al in
stru
men
t gr
adua
lly lo
st fa
vor t
o th
e pr
inte
d pa
ge.
In th
e tw
entie
th c
entu
ry th
e ar
t of i
mpr
ovis
ing
has
been
kep
t aliv
e by
the
jazz
mus
icia
n.
Toda
y’s
jazz
er is
not
the
sam
e as
the
mus
icia
n of
the
thirt
ies,
forti
es o
r fif
ties.
Th
e in
fluen
ce o
f jaz
z ed
ucat
ion,
sou
nd r
ecor
ding
s,
vide
os a
nd ja
zz fe
stiv
als
has
allo
wed
the
mus
ic to
reac
h m
any
mor
e pe
ople
and
to b
e ex
perie
nced
by
alm
ost a
nyon
e w
ho is
will
ing
to g
ive
it a
try.
For y
ears
the
myt
h “y
ou e
ither
hav
e it
or y
ou d
on’t”
was
pre
vale
nt in
mus
ic c
ircle
s ar
ound
the
wor
ld.
If yo
u w
ante
d to
pla
y ja
zz y
ou
had
bette
r get
ado
pted
into
a m
usic
al fa
mily
or b
y th
e “lu
ck o
f the
dra
w” fi
nd th
e rig
ht e
nviro
nmen
t for
you
r ear
ly y
ears
so
by o
smos
is
you
coul
d pi
ck u
p on
the
hot l
icks
and
at t
he s
ame
time
deve
lop
a gr
eat j
azz
ear s
o th
at w
hen
you
play
ed y
our i
nstru
men
t, yo
u w
ould
so
und
like
a ja
zzer
.
Tim
e ha
s pr
oven
that
thes
e id
eas
whi
ch w
ere
very
pop
ular
are
not
true
. Th
ey n
ever
wer
e tru
e bu
t man
y m
usic
ians
thou
ght t
hey
wer
e an
d th
at’s
wha
t giv
es a
n id
ea it
’s lo
ngev
ity.
Onc
e pe
ople
from
non
-mus
ical
bac
kgro
unds
in n
on-ja
zzy
envi
ronm
ents
beg
an p
layi
ng th
e m
usic
and
pla
ying
it w
ell,
ever
yone
had
to ta
ke a
noth
er lo
ok a
t wha
t goe
s on
whe
n so
meo
ne s
tand
s up
and
impr
ovis
es a
goo
d so
lo
over
a s
tand
ard
chor
d pr
ogre
ssio
n su
ch a
s G
reen
Dol
phin
Stre
et, C
onfir
mat
ion,
or t
he b
lues
.
Her
e ar
e se
vera
l ing
redi
ents
that
go
into
mak
ing
a go
od ja
zz s
oloi
st/im
prov
isor
:
1. D
esire
to im
prov
ise
2.
Ser
ious
list
enin
g to
jazz
via
reco
rdin
gs a
nd li
ve p
erfo
rman
ces
3.
A m
etho
d of
pra
ctic
e - w
hat a
nd h
ow to
pra
ctic
e!
4. A
rhyt
hm s
ectio
n w
ith w
hich
to p
ract
ice
and
impr
ovis
e (v
ia li
ve g
roup
or p
lay-
a-lo
ng re
cord
ings
)
5. S
elf-e
stee
m, d
isci
plin
e, a
nd d
eter
min
atio
n.
Whe
n I w
as a
teen
ager
, I w
onde
red
if I’d
eve
r be
able
to p
lay
on m
y in
stru
men
t the
mel
odie
s I w
as h
earin
g in
my
head
. I d
idn’
t hav
e a
jazz
teac
her s
o I w
ould
list
en to
the
radi
o or
reco
rds
and
try to
take
off
the
idea
s of
the
jazz
gre
ats
such
as
Col
eman
Haw
kins
, Cha
rlie
Par
ker,
Diz
zy G
illes
pie,
Son
ny S
titt,
Son
ny R
ollin
s an
d m
any
othe
rs.
If I w
ere
to s
tart
agai
n he
re’s
how
I w
ould
do
it:
JAZZ
: TH
E N
ATU
RA
L M
USI
Cby
Jam
ey A
eber
sold
4
I wou
ld b
egin
by
play
ing
on m
y in
stru
men
t sim
ple
little
mel
odie
s su
ch a
s H
appy
Birt
hday
, Tw
inkl
e, T
win
kle
Littl
e S
tar,
and
Row
, Row
, R
ow Y
our
Boa
t. I
wou
ld p
ick
a no
te in
my
mid
dle
regi
ster
say
, G#,
and
beg
in p
layi
ng o
ne o
f the
se s
ongs
. W
hen
I fina
lly p
laye
d it
corr
ectly
ON
E ti
me,
I w
ould
pic
k a
new
sta
rting
not
e sa
y, E
b an
d pl
ay th
e sa
me
song
beg
inni
ng o
n th
at n
ote.
Do
this
ove
r and
ove
r be
ginn
ing
on d
iffer
ent t
ones
unt
il yo
u ca
n pl
ay th
e so
ng s
tarti
ng o
n di
ffere
nt n
otes
with
out m
ista
kes.
The
n try
a d
iffer
ent s
ong
and
get
so y
ou c
an p
lay
it st
artin
g on
any
of t
he tw
elve
not
es o
f the
chr
omat
ic s
cale
. Th
is is
an
exce
llent
way
of c
ondi
tioni
ng y
our fi
nger
s an
d m
ind
to w
ork
toge
ther
to p
rodu
ce th
e so
unds
you
are
hea
ring
in y
our h
ead.
It s
horte
ns th
e di
stan
ce fr
om m
ind
to fi
nger
s.
Jazz
mus
icia
ns h
ave
alw
ays
play
ed th
e m
usic
of t
heir
min
d—w
hat t
hey
hear
in th
eir
head
. Th
ey a
ren’
t spe
cial
, gift
ed p
eopl
e w
ho
wer
e bo
rn w
ith m
ore
tale
nt th
an o
ther
s. T
hey
just
had
mor
e de
sire
and
dis
cipl
ine
than
oth
ers.
The
ir ab
ility
to m
enta
lly h
ear a
n id
ea
and
then
pla
y it
com
es fr
om p
ract
ice.
Whe
n yo
u ru
n ou
t of i
deas
to p
ract
ice
you
liste
n to
oth
er m
usic
ians
. Th
e jo
y of
list
enin
g to
oth
ers,
cou
pled
with
you
r im
agin
atio
n, w
ill
lead
to fr
esh
mus
ical
idea
s. T
he a
nsw
er to
eve
ry m
usic
al q
uest
ion
may
be
foun
d on
reco
rdin
gs.
That
is w
hy li
sten
ing
is s
o im
porta
nt
for t
he b
egin
ning
impr
ovis
or.
Usu
ally,
we
begi
n im
prov
isin
g on
son
gs lik
e bl
ues
in B
b or
F, S
atin
Dol
l, M
aide
n Vo
yage
, or S
umm
ertim
e. S
ongs
like
thes
e do
n’t c
onta
in
trick
y rh
ythm
s or
diffi
cult
harm
ony
(sca
les
and
chor
ds).
Thi
s m
akes
it e
asie
r to
mak
e se
nse
of th
e so
ng a
nd fe
el re
lativ
ely
good
abo
ut
impr
ovis
ing
over
the
harm
ony.
The
se s
ongs
(and
man
y m
ore)
are
on
the
Vol.
54 “M
aide
n Vo
yage
” pla
y-a-
long
.
Her
e ar
e se
vera
l exe
rcis
es e
very
pro
fess
iona
l jaz
z m
usic
ian
has
prob
ably
pla
yed
at o
ne ti
me
or a
noth
er. P
lay
thes
e ov
er th
e ha
rmon
y (c
hang
es, c
hord
/sca
les)
to w
hate
ver s
ong
you
are
wor
king
on.
Do
this
bef
ore
you
try to
impr
ovis
e.
1. P
lay
the
first
five
not
es to
eac
h ch
ord/
scal
e.
2. P
lay
the
triad
(not
es 1
,3, a
nd 5
of t
he s
cale
).
3. P
lay
the
entir
e sc
ale
from
the
root
(firs
t not
e) to
the
9th
and
back
dow
n.
4. P
lay
the
7th
chor
d up
and
dow
n (1
,3,5
,7,5
,3,1
).
5. P
lay
the
9th
chor
d up
and
dow
n (1
,3,5
,7,9
,7,5
,3,1
).
6. P
lay
the
scal
e up
to th
e 9t
h an
d th
en c
ome
back
dow
n th
e ch
ord.
7.
Pla
y th
e ch
ord
up to
the
9th
and
then
com
e ba
ck d
own
the
scal
e.
8. P
lay
the
scal
e in
third
s up
and
dow
n.
5
If yo
u w
ere
to ta
ke n
umbe
rs 1
, 2, a
nd 3
from
abo
ve a
nd a
pply
them
to th
e fir
st fo
ur b
ars
of a
n F
blue
s, it
wou
ld lo
ok li
ke th
is:
I onc
e he
ard
trum
pete
r Woo
dy S
haw
war
min
g up
bef
ore
a co
ncer
t in
the
abov
e m
anne
r. It
impr
esse
d m
e be
caus
e I t
houg
ht o
nly
begi
n-ne
rs u
sed
this
type
war
m-u
p. A
fter t
hink
ing
abou
t it,
I rea
lized
it w
as th
e m
ost p
ract
ical
way
to a
ppro
ach
any
new
son
g. W
hen
you
do
this
you
are
con
ditio
ning
you
r min
d an
d fin
gers
to th
e sc
ales
and
cho
rds
whi
ch y
ou w
ill in
turn
impr
ovis
e ov
er.
It m
akes
goo
d se
nse!
You
shou
ld b
e ab
le to
do
this
to th
e ch
ord/
scal
e pr
ogre
ssio
n to
any
son
g yo
u ar
e go
ing
to im
prov
ise
over
. Th
is is
sta
ndar
d pr
actic
e an
d ha
s be
en fo
r som
e tim
e ...
kno
w y
our s
cale
s an
d ch
ords
bef
ore
you
play
. Mem
oriz
e th
em, t
oo! M
emor
izin
g m
elod
ies,
sca
les
and
chor
ds g
ives
cou
rage
to y
our i
mag
inat
ion.
Now
, som
e w
ill fe
el th
at to
pla
y ja
zz, y
ou d
on’t
stud
y or
pra
ctic
e sc
ales
and
exe
rcis
es,”y
ou ju
st p
lay.
” I a
sk, w
hat d
oes
that
mea
n? W
ho
can
“just
pla
y” o
ver G
iant
Ste
ps, T
une
Up,
Con
firm
atio
n, S
tar E
yes,
the
blue
s or
a th
ousa
nd o
ther
tune
s w
ith in
tere
stin
g ch
ord
prog
res-
sion
s? T
he fa
mou
s al
to s
axop
honi
st C
harli
e P
arke
r in
his
own
wor
ds s
aid
ther
e w
as a
per
iod
of 3
to 4
yea
rs w
here
he
prac
ticed
11
to
15 h
ours
a d
ay.
If C
harli
e P
arke
r was
, as
man
y sa
y, a
gen
ius,
he
got t
hat w
ay b
y pr
actic
ing.
I ha
ve a
reco
rdin
g of
him
say
ing
this
in a
n in
terv
iew
with
Pau
l Des
mon
d. I
als
o ha
ve a
reco
rdin
g of
him
say
ing
at a
ge 1
6 (a
fter h
avin
g go
tten
laug
hed
off t
he b
ands
tand
for n
ot
know
ing
you’
re s
uppo
se to
pla
y th
e sa
me
song
the
band
is p
layi
ng!),
“I n
ever
sto
pped
to th
ink
abou
t the
re b
eing
oth
er k
eys
or n
othi
n’
like
that
.” S
o, h
e be
gan
like
mos
t of u
s bu
t eve
ntua
lly d
isco
vere
d th
at H
E w
as m
aste
r of h
is o
wn
ship
. H
e to
ok th
e bu
ll by
the
horn
s an
d do
ve in
to th
e m
arve
lous
wor
ld o
f jaz
z—th
e w
orld
of i
mpr
ovis
atio
n, h
arm
ony,
rhyt
hm, m
elod
y, c
reat
ivity
, im
agin
atio
n an
d lif
e.
6
If yo
u’ve
eve
r won
dere
d w
hy te
ache
rs b
egin
stu
dent
s w
ith fi
nger
ings
, ton
e pr
oduc
tion
(win
d in
stru
men
ts) a
nd s
cale
s, I
feel
it’s
to fo
rm
a st
rong
foun
datio
n fo
r the
stu
dent
s’ c
reat
ivity
. You
r ins
trum
ent r
eflec
ts y
our m
usic
al p
erso
nalit
y.
Tran
scrib
ing
solo
s or
por
tions
of s
olos
off
reco
rdin
gs is
one
of t
he b
est w
ays
to fi
nd o
ut w
hat t
he p
rofe
ssio
nal i
s do
ing
to m
ake
thin
gs
soun
d so
goo
d. B
y an
alyz
ing
a so
lo y
ou c
an fi
nd im
porta
nt fa
cts:
1.
Wha
t not
e of
the
scal
e do
they
beg
in p
hras
es w
ith?
2.
Wha
t not
e of
the
scal
e do
they
end
thei
r phr
ases
with
?
3. D
o th
ey u
se a
wid
e or
nar
row
rang
e, (t
essi
tura
)?
4. D
o th
ey u
se c
hord
tone
s in
thei
r phr
ases
?
5. D
o th
ey u
se s
cale
s or
bits
and
pie
ces
of s
cale
s?
6. D
o th
ey h
ave
favo
rite
licks
that
pop
up
over
and
ove
r?
7. D
o th
ey u
se c
hrom
atic
s (n
otes
out
side
the
basi
c ch
ord/
scal
e)?
8.
Do
they
use
pas
sing
tone
s?
9. R
epet
ition
: do
they
use
it a
nd h
ow ..
. rhy
thm
ical
ly, m
elod
ical
ly, h
arm
onic
ally
?
10.D
o th
ey u
se s
pace
, res
ts, s
ilenc
e? H
ow o
ften?
Is
ther
e a
patte
rn?
11
.Do
they
bui
ld th
eir s
olo?
Doe
s th
e so
lo s
eem
to te
ll a
stor
y or
go
som
ewhe
re?
12
.Do
they
tend
to p
lace
cho
rd to
nes
(1,3
,5) o
n be
ats
1 an
d 3
(in 4
/4 ti
me)
.
13.D
o th
ey in
corp
orat
e su
bstit
ute
scal
es o
ver t
he b
asic
cho
rd/s
cale
s?
14.D
o th
ey d
oubl
e-tim
e an
y ph
rase
s (th
is u
sual
ly m
eans
pla
ying
in 1
6th
note
s)?
15
.Do
they
use
the
blue
s sc
ale?
How
ofte
n?
16.D
o th
ey u
se s
eque
nces
in th
eir p
layi
ng?
Hav
ing
spen
t ove
r 50
year
s w
orki
ng w
ith m
usic
ians
of a
ll le
vels
, I fi
nd th
at o
ne o
f the
fund
amen
tal n
eeds
is to
exp
ress
them
selv
es
in a
n im
prov
isat
ory
man
ner o
n th
eir i
nstru
men
t. P
layi
ng ja
zz h
as b
een
the
rout
e th
ose
mus
icia
ns h
ave
take
n. C
reat
ivity
and
use
of
imag
inat
ion
is e
ssen
tial t
o ou
r wel
l-bei
ng a
s hu
man
s on
the
plan
et E
arth
. We
are
crea
tive
bein
gs. W
ith a
littl
e gu
idan
ce e
very
one
can
lear
n to
impr
ovis
e an
d en
joy
the
fruits
of s
elf-e
xpre
ssio
n in
mus
ic. T
here
’s re
ally
not
hing
to b
e af
raid
of.
Life
is e
xact
ly w
hat y
ou m
ake
it to
be.
Feel
free
to w
rite
if yo
u ha
ve q
uest
ions
. My
addr
ess
is:
Jam
ey A
eber
sold
, P.O
.Box
124
4, N
ew A
lban
y, IN
47l
51 U
SA
• F
AX
812
-949
-200
6 •
ww
w.ja
zzbo
oks.
com
7
PRA
CTI
CE
PR
OC
EDU
RE
FO
R M
EMO
RIZ
ING
SC
ALE
S A
ND
CH
OR
DS
TO
AN
Y S
ON
G
The
eigh
t exe
rcis
es li
sted
bel
ow re
pres
ent t
he ty
pica
l jaz
z ap
proa
ch to
lear
ning
the
basi
c ha
rmon
y fo
r the
blu
es in
Bb.
You
’ll w
ant t
o va
ry th
e rh
ythm
s to
add
var
iety
and
mak
e th
em s
ound
mor
e im
prov
ised
. You
can
use
this
app
roac
h fo
r lea
rnin
g AN
Y sc
ale
or c
hord
to A
NY
song
. Thi
s Bb
blu
es p
rogr
essi
on is
take
n fro
m th
e Vo
l. 42
“BLU
ES” I
N A
LL K
EYS
play
-a-lo
ng b
ook/
reco
rdin
g se
t.
As
you
pla
y, m
emor
ize
the
chor
d/sc
ale
prog
ress
ion
as w
ell a
s th
e ch
ord
and
scal
e to
nes.
Afte
r pla
ying
thro
ugh
thes
e ei
ght
chor
uses
, I th
ink
you’
ll be
sur
pris
ed h
ow e
asy
it is
to m
emor
ize.
Con
cent
rate
on
the
SOU
ND
of e
ach
note
.
Thin
k of
the
blue
s pr
ogre
ssio
n as
bei
ng th
ree
4-ba
r sec
tions
. It h
as a
beg
inni
ng (4
-bar
s), a
mid
dle
sect
ion
(4-b
ars)
, and
an
end
ing
(4-b
ars)
. Afte
r you
bec
ome
fam
iliar w
ith v
ario
us s
cale
s an
d ch
ords
, you
won
’t ne
ed to
go
thro
ugh
this
pra
ctic
e pr
oced
ure
whe
n w
orki
ng o
n a
new
tune
. You
’ll al
read
y ha
ve th
e ne
eded
sca
les
and
chor
ds m
emor
ized
. Thi
s is
wha
t the
pr
ofes
sion
al ja
zz m
usic
ian
has
done
. Com
mit
to m
emor
y an
d en
joy
mak
ing
mus
ic. R
emem
ber,
the
purp
ose
of a
ny e
xerc
ise
is to
hel
p yo
u tru
ly M
AKE
MU
SIC
.
8
9
10
11©
199
2 Ja
mey
Aeb
erso
ld. A
ll R
ight
s R
eser
ved.
INTR
OD
UC
TIO
N T
O T
HE
SCA
LE S
YLLA
BU
S
Eac
h ch
ord/
scal
e sy
mbo
l (C
7, C
—, C
∆+4,
etc
.) re
pres
ents
a s
erie
s of
tone
s w
hich
the
impr
ovis
or c
an u
se w
hen
impr
ovis
ing
or s
oloi
ng. T
hese
ser
ies
of to
nes
have
trad
ition
ally
bee
n ca
lled
scal
es. T
he s
cale
s lis
ted
here
are
the
ones
I m
ost o
ften
hear
mus
icia
ns p
lay.
I ha
ve li
sted
the
Sca
le S
ylla
bus
in th
e ke
y of
C C
once
rt so
you
can
hav
e a
fram
e of
refe
renc
e an
d ca
n co
mpa
re th
e si
mila
ritie
s an
d di
ffere
nces
bet
wee
n th
e va
rious
cho
rds/
scal
es.
This
SC
ALE
SY
LLA
BU
S is
inte
nded
to g
ive
the
impr
ovis
or a
var
iety
of s
cale
cho
ices
whi
ch m
ay b
e us
ed o
ver a
ny
chor
d - m
ajor
, min
or, d
omin
ant 7
th, h
alf-d
imin
ishe
d, d
imin
ishe
d an
d su
spen
ded
4. W
este
rn m
usic
, esp
ecia
lly ja
zz a
nd
pop,
use
s m
ajor
, dom
inan
t 7th
, Dor
ian
min
or a
nd B
lues
sca
les
and
chor
ds m
ore
than
any
oth
er. S
cale
s an
d ch
ords
us
ed le
ss o
ften
are
the
half-
dim
inis
hed,
dim
inis
hed
and
susp
ende
d 4.
If w
e ag
ree
on th
ese
five
chor
d/sc
ale
fam
ilies
as
bei
ng th
e m
ost p
redo
min
ant,
then
we
can
set u
p ca
tego
ries
and
list s
ubst
itute
sca
les
bene
ath
each
hea
ding
... s
ee
the
Scal
e Sy
llabu
s pa
ge. Y
ou s
houl
d al
so c
heck
out
Vol
ume
26 "
The
Scal
e Sy
llabu
s" fo
r mor
e he
lp w
ith s
cale
s.
Eac
h ca
tego
ry b
egin
s w
ith th
e sc
ale
mos
t clo
sely
rese
mbl
ing
the
chor
d/sc
ale
sym
bol g
iven
to th
e le
ft. T
he s
cale
s ar
e ar
rang
ed a
ccor
ding
to th
e de
gree
of d
isso
nanc
e th
ey p
rodu
ce in
rela
tion
to th
e ba
sic
chor
d/sc
ale
soun
d. S
cale
s ne
ar
the
top
of e
ach
cate
gory
will
sou
nd m
ild o
r con
sona
nt. S
cale
cho
ices
furth
er d
own
the
list w
ill b
ecom
e in
crea
sing
ly
tens
e or
dis
sona
nt. E
ach
play
er is
urg
ed to
sta
rt w
ith th
e sc
ales
at t
he to
p an
d w
ith p
ract
ice
and
expe
rimen
tatio
n gr
adua
lly w
ork
his
way
dow
n th
e lis
t to
the
mor
e di
sson
ant o
r ten
sion
-pro
duci
ng s
cale
s. Y
ou s
houl
d w
ork
with
a n
ew
scal
e so
und
on y
our i
nstru
men
t unt
il yo
ur e
ars
and
finge
rs b
ecom
e co
mfo
rtabl
e w
ith a
ll th
e to
nes
in th
e sc
ale.
Als
o try
sin
ging
the
scal
e w
ith y
our v
oice
. Im
prov
ise
with
you
r voi
ce o
ver t
he s
cale
you
are
lear
ning
and
then
repr
oduc
e on
you
r ins
trum
ent w
hat y
our v
oice
has
cre
ated
.
Mus
ic is
mad
e of
tens
ion
and
rele
ase.
Sca
le to
nes
prod
uce
eith
er te
nsio
n or
rela
xatio
n. T
he im
prov
isor
's a
bilit
y to
co
ntro
l the
am
ount
and
freq
uenc
y of
tens
ion
and
rele
ase
will
, in
larg
e m
easu
re, d
eter
min
e w
heth
er h
e is
suc
cess
ful
in c
omm
unic
atin
g to
the
liste
ner.
Rem
embe
r - y
ou, t
he p
laye
r, ar
e al
so a
list
ener
! Rea
d Vo
lum
e 1
JAZZ
: How
To 12
Play
And
Impr
ovis
e fo
r a m
ore
deta
iled
expl
anat
ion
of te
nsio
n an
d re
leas
e in
mel
odic
dev
elop
men
t.
Any
of t
he v
ario
us p
ract
ice
proc
edur
es a
nd p
atte
rns
liste
d in
Vol
umes
1, 2
, 3, 2
1, 2
4 or
84
can
be a
pplie
d to
any
of
the
scal
e ch
oice
s lis
ted
in th
is S
cale
Syl
labu
s. N
eedl
ess
to s
ay, a
ny s
cale
you
wan
t to
lear
n sh
ould
be
trans
pose
d an
d pr
actic
ed in
all
twel
ve k
eys.
The
col
umn
on w
hole
and
hal
f ste
p co
nstru
ctio
n I h
ave
liste
d fo
r eac
h sc
ale
on th
e sy
llabu
s sh
ould
pro
ve h
elpf
ul w
hen
trans
posi
ng a
sca
le to
any
of t
he tw
elve
key
s.
For a
dditi
onal
info
rmat
ion
on s
cale
sub
stitu
tion,
I re
com
men
d Sc
ales
for J
azz
Impr
ovis
atio
n by
Dan
Hae
rle, J
azz
Impr
ovis
atio
n by
Dav
id B
aker
, Pa
ttern
s fo
r Ja
zz (
Treb
le-C
lef
or B
ass
Cle
f) an
d C
ompl
ete
Met
hod
for
Jazz
Im
prov
isat
ion
by J
erry
Cok
er, a
nd R
epos
itory
of S
cale
s &
Mel
odic
Pat
tern
s by
Yus
ef L
atee
f. Th
ese
book
s ar
e av
aila
ble
from
you
r fav
orite
mus
ic s
ourc
e or
vis
it w
ww
.jazz
book
s.co
m fo
r mor
e in
form
atio
n.
Sev
eral
Pla
y-A
-Lon
g se
ts o
ffer y
ou a
n op
portu
nity
to p
ract
ice
the
vario
us s
cale
s in
all
twel
ve k
eys.
The
y ar
e: V
ol. 2
4 M
ajor
& M
inor
; Vol
. 84
Dom
inan
t 7th
Wor
kout
; Vol
.21
Get
tin’ I
t Tog
ethe
r; an
d Vo
l.16
Turn
arou
nds,
Cyc
les
&
II/V7
’s. Y
ou m
ight
als
o ch
eck
out t
he P
lay-
A-L
ongs
whi
ch h
ave
tune
s in
all
keys
: Vol
. 42
Blu
es In
All
Key
s; V
ol. 4
7 R
hyth
m In
All
Key
s; V
ol. 5
7 M
inor
Blu
es In
All
Key
s; a
nd tw
o m
ore
volu
mes
, Vol
. 67
Tune
Up
and
Vol.
68 G
iant
St
eps
- eac
h ha
s se
vera
l cla
ssic
tune
s in
all
twel
ve k
eys.
Sca
les
and
chor
ds a
re th
e ba
ckbo
ne o
f our
mus
ic a
nd th
e be
tter
you
equi
p yo
urse
lf, th
e m
ore
fun
you
will
hav
e pl
ayin
g m
usic
.
13
14
CHO
RD/S
CALE
SYM
BOL
SCAL
E NA
ME
WH
OLE
& H
ALF
STEP
SC
ALE
IN K
EY O
F C
BASI
C CH
ORD
CONS
TRUC
TIO
N
IN K
EY O
F C
C
Majo
r W
W H
W W
W H
C
D E
F G
A B
C C
E G
B D
C7
Dom
inan
t 7th
(Mix
olyd
ian)
W W
H W
W H
W
C D
E F
G A
B∫ C
C
E G
B∫ D
C—
Min
or (D
orian
) W
H W
W W
H W
C
D E∫
F G
A B
∫ C
C E∫
G B
∫ D
CØ
Half
Dim
inish
ed (L
ocria
n)
H W
W H
W W
W
C D∫
E∫
F G∫
A∫
B∫ C
C
E∫ G
∫ B∫
C °
Dim
inish
ed (8
tone
scale
) W
H W
H W
H W
H
C D
E∫ F
G∫ A
∫ A B
C
C E∫
G∫ A
(B∫∫
)
2. D
OM
INAN
T 7t
h SC
ALE
NAM
E W
& H
CO
NSTR
UCTI
ON
SCAL
E IN
KEY
OF
C BA
SIC
CHO
RD
SCA
LE C
HO
ICES
IN K
EY O
F C
C7
Do
min
ant 7
th
W W
H W
W H
W
C D
E F
G A
B∫ C
C
E G
B∫ D
C7
Majo
r Pen
taton
ic W
W —
3 W
—3
C D
E G
A C
C E
G B∫
DC7
Be
bop
(Dom
inan
t) W
W H
W W
H H
H
C D
E F
G A
B∫ B
C
C E
G B∫
DC7
∫9
Span
ish o
r Jew
ish sc
ale
H —
3 H
W H
W W
C
D∫ E
F G
A∫
B∫ C
C
E G
B∫ (D
∫)C7
+4
Lydi
an D
omin
ant
W W
W H
W H
W
C D
E F ß
G A
B∫
C C
E G
B∫ D
C7∫6
Hi
ndu
W W
H W
H W
W
C D
E F
G A∫
B∫
C C
E G
B∫ D
C7+
(has
ß4 &
ß5)
Who
le To
ne (6
tone
scale
) W
W W
W W
W
C D
E Fß
Gß B
∫ C
C E
Gß B
∫ D
C7∫9
(also
has
ß9 &
ß4)
Dim
inish
ed (b
egin
with
H ste
p)
H W
H W
H W
H W
C
D∫ D
ß E F
ß G A
B∫
C C
E G
B∫ D
∫ (D
ß)C7
+9 (a
lso h
as ∫
9, ß4
, ß5)
Di
min
ished
Who
le To
ne
H W
H W
W W
W
C D∫
Dß E
Fß G
ß B∫
C C
E Gß
B∫
Dß (D
∫)C7
Bl
ues S
cale
—3
W H
H —
3 W
C
E∫ F
Fß G
B∫
C C
E G
B∫ D
(Dß)
DOM
INAN
T 7t
hSU
SPEN
DED
4th
C7 su
s 4
Dom.
7th s
cale b
ut don’
t empha
size th
e third
W
W H
W W
H W
C
D E
F G
A B∫
C
C F
G B∫
DC7
sus 4
M
ajor P
entat
onic
built
on
∫7
W W
—3
W —
3 B∫
C D
F G
B∫
C F
G B∫
DC7
sus 4
Be
bop
Scale
W
W H
W W
H H
H
C D
E F
G A
B∫ B
C
C F
G B∫
D
1. M
AJO
R SC
ALE
SCAL
E NA
ME
W &
H C
ONS
TRUC
TIO
N SC
ALE
IN K
EY O
F C
BASI
C CH
ORD
C
HO
ICES
IN K
EY O
F C
C∆ (C
an b
e writ
ten C
) M
ajor (
don’
t em
phas
ize th
e 4th
) W
W H
W W
W H
C
D E
F G
A B
C C
E G
B D
C M
ajor P
entat
onic
W W
—3
W —
3 C
D E
G A
C C
E G
BC∆
+4
Lydi
an (m
ajor s
cale
with
+4)
W
W W
H W
W H
C
D E
Fß G
A B
C
C E
G B
DC∆
Bebo
p (M
ajor)
W W
H W
H H
W H
C
D E
F G
Gß A
B C
C
E G
B D
C∆∫6
Ha
rmon
ic M
ajor
W W
H W
H —
3 H
C D
E F
G A∫
B C
C
E G
B D
C∆+5
, +4
Lydi
an A
ugm
ented
W
W W
W H
W H
C
D E
Fß G
ß A B
C
C E
Gß B
DC
Augm
ented
—
3 H
—3
H —
3 H
C Dß
E G
A∫
B C
C E
G B
DC
6th
Mod
e of H
arm
onic
Min
or
—3
H W
H W
W H
C
Dß E
Fß G
A B
C
C E
G B
DC
Dim
inish
ed (b
egin
with
H st
ep)
H W
H W
H W
H W
C
D∫ D
ß E F
ß G A
B∫
C C
E G
B D
C Bl
ues S
cale
—3
W H
H —
3 W
C
E∫ F
Fß G
B∫
C C
E G
B D
LEGE
ND:
H =
Half
Step
, W =
Who
le S
tep.
; ∆ =
Maj
or 7
th; +
or ß
= ra
ise H
; ∫ o
r - =
lowe
r H; Ø
= H
alf-d
imin
ished
; —3
= 3H
(Min
or T
hird
)TH
E SC
ALE
SYL
LAB
US
FIV
E B
ASI
CC
ATEG
OR
IES
MAY
BE
WR
ITT
EN
G-/C
15
5. D
IMIN
ISH
ED S
CALE
SC
ALE
NAM
E W
& H
CO
NSTR
UCTI
ON
SCAL
E IN
KEY
OF
C BA
SIC
CHO
RD
CH
OIC
ES
IN
KEY
OF
C
C °
Dim
inish
ed (8
tone
scale
) W
H W
H W
H W
H
C D
E∫ F
G∫ A
∫ A B
C
C E∫
G∫ A
4. H
ALF
DIM
INIS
HED
SC
ALE
NAM
E W
& H
CO
NSTR
UCTI
ON
SCAL
E IN
KEY
OF
C BA
SIC
CHO
RD
SCA
LE C
HO
ICES
IN K
EY O
F C
CØ
Ha
lf Di
min
ished
(Loc
rian)
H
W W
H W
W W
C
D∫ E
∫ F
G∫ A
∫ B∫
C
C E∫
G∫
B∫CØ
ß2 (C
Ø9)
Ha
lf Di
min
ished
#2
(Loc
rian
#2)
W H
W H
W W
W
C D
E∫ F
G∫ A
∫ B∫
C
C E∫
G∫
B∫ D
CØ (w
ith o
r with
out ß
2)
Bebo
p Sc
ale
H W
W H
H H
W W
C
D∫ E
∫ F
G∫ G
A∫
B∫ C
C E
∫ G∫
B∫
3. M
INO
R SC
ALE
SCAL
E NA
ME
W &
H C
ONS
TRUC
TIO
N SC
ALE
IN K
EY O
F C
BASI
C CH
ORD
C
HO
ICES
*
IN K
EY O
f C
C—
or C
—7
Min
or (D
orian
) W
H W
W W
H W
C
D E∫
F G
A B
∫ C
C E∫
G B
∫ D
C— o
r C—
7 Pe
ntato
nic (
Min
or P
entat
onic)
—
3 W
W —
3 W
C
E∫ F
G B
∫ C
C E∫
G B
∫ D
C— o
r C—
7 Be
bop
(Min
or)
W H
H H
W W
H W
C
D E∫
E F
G A
B∫
C C
E∫ G
B∫
DC—
∆ (m
aj. 7
th)
Melo
dic M
inor
(asc
endi
ng)
W H
W W
W W
H
C D
E∫ F
G A
B C
C
E∫ G
B D
C— o
r C—
6 or
C—
Be
bop
Min
or N
o. 2
W
H W
W H
H W
H
C D
E∫ F
G G
ß A B
C
C E∫
G B
DC—
or C
—7
Blue
s Sca
le —
3 W
H H
—3
W
C E∫
F F
ß G B
∫ C
C E∫
G B
∫ D
C—∆
(∫6
& m
aj. 7
th)
Harm
onic
Min
or
W H
W W
H —
3 H
C D
E∫ F
G A
∫ B
C C
E∫ G
B D
C— o
r C—
7 Di
min
ished
(beg
in w
ith W
step
) W
H W
H W
H W
H
C D
E∫ F
Fß G
ß A B
C
C E∫
G B
DC—
or C
—∫9
∫6
Phry
gian
H
W W
W H
W W
C
D∫ E
∫ F
G A∫
B∫
C C
E∫ G
B∫
C— o
r C—
∫6
Pure
or N
atura
l Min
or, A
eolia
n W
H W
W H
W W
C
D E∫
F G
A∫
B∫ C
C
E∫ G
B∫
D
NO
TES:
1) T
he a
bove
cho
rd s
ymbo
l gui
de is
my
syst
em o
f not
atio
n. I
feel
it b
est r
epre
sent
s th
e so
unds
I he
ar in
jazz
. P
laye
rs s
houl
d be
aw
are
that
eac
h ch
ord
sym
bol r
epre
sent
s a
serie
s of
tone
s ca
lled
a sc
ale.
2) E
ven
thou
gh a
C7+
9 w
ould
app
ear
to h
ave
only
a ra
ised
9th
, it a
lso
has
a ∫9
, +4
and
+5. T
he e
ntire
C7+
9 sc
ale
look
s lik
e: R
oot,
∫9, +
9, 3
rd, +
4, +
5, ∫
7 &
root
(C, D
∫,
Dß,
E, F
ß, G
ß, B
∫, C
). M
y ch
ord
sym
bol C
7+9
is th
eref
ore
an a
bbre
viat
ion,
whi
le th
e co
mpl
ete
nam
e of
this
sca
le is
Dim
inis
hed
Who
le T
one
(som
etim
es c
alle
d S
uper
Loc
rian
or A
ltere
d S
cale
). S
imila
rly, C
7∫9
also
app
ears
to h
ave
only
one
alte
red
tone
(∫9)
but
it
actu
ally
has
thre
e: ∫
9, +
9 an
d +4
. The
ent
ire s
cale
look
s lik
e: R
oot,
∫9, +
9, 3
rd, +
4, 5
th, 6
th, ∫
7 &
root
(C, D
∫, D
ß, E
, Fß,
G, A
, B∫,
C
). Th
is is
cal
led
a D
imin
ishe
d sc
ale
and
my
chor
d sy
mbo
l abb
revi
atio
n is
C7∫
9. 3
) All
scal
es u
nder
the
Dom
inan
t 7th
cat
egor
y ar
e sc
ales
that
em
belli
sh th
e ba
sic
Dom
inan
t 7th
sou
nd. S
ome
scal
es p
rovi
de m
uch
mor
e te
nsio
n th
an th
e ba
sic
dom
inan
t 7th
sou
nd
and
requ
ire p
ract
ice
and
patie
nce
to g
rasp
the
esse
nce
of th
eir m
eani
ng. I
enc
oura
ge y
ou to
wor
k w
ith V
olum
e 3
“The
11-
V7-1
Pr
ogre
ssio
n” s
ince
it e
mph
asiz
es D
imin
ishe
d an
d D
imin
ishe
d W
hole
Ton
e sc
ales
and
cho
rds.
4) I
n ca
tego
ry #
3, M
INO
R S
CA
LE
CH
OIC
ES, t
he P
UR
E M
INO
R s
cale
cho
ice
is n
ot u
sed
very
ofte
n. I
have
foun
d th
e or
der o
f pre
fere
nce
to b
e D
oria
n, B
ebop
, Mel
odic
, B
lues
, Pen
tato
nic,
and
then
any
of t
he re
mai
ning
Min
or s
cale
cho
ices
.
ONLY JAMEY AEBERSOLD DELIVERS THE TOOLS NEEDED TO PLAY JAZZ AND IMPROVISE!
VOLUME 21GETTIN’ IT TOGETHERCovers major, minor, dom. 7ths, half-dimished, lydian & sus. 4th’s. 31 CD tracks. Ear training, nomenclature, cycles, fourths, comments and more!
VOLUME 26THE SCALE SYLLABUSHear David Liebman solo over every scale in the Scale Syllabus. Two versions of each scale: the first is slow and simple, and the second is more complex and fast.
VOLUME 16TURNAROUNDS,CYCLES, & II/V7sIf you have been working on playing scales, chords, and harmony, this set is the next step towards getting your ears and fingers coordinated!
BOOK & 2-CDs
BOOK & 2-CDs
BOOK & 2-CDs
VOLUME 84DOMINANT 7th WORKOUTLearn how jazz masters use the Dom. 7th! Written patterns over extended tracks on 2 CDs will open your ears and allow you to practice licks and patterns. Navigate Dominant 7ths with confidence.
VOLUME 116MILES OF MODESStudy modal jazz! Covers the basics and progresses systematically to advanced techniques. Workout with the CD - novice or pro.
BOOK & 2-CDs
BOOK & 2-CDs
Available from your favorite music source or visit www.jazzbooks.com for more information.
VOLUME 24MAJOR & MINORFor all instrumentalists and vocalists. Learn skills in major and minor keys. Advanced players will want to work on “double-timing”, playing “outside” and “side-slipping” in all keys at comfortable tempos. Special tracks have Jamey Aebersold playing exercises and soloing on his sax with cuts from Vol. 24 so you can “hear and see” everything! Exercises and sax solos on the demo tracks are transcribed in the book!
VOLUME 1JAZZ:HOW TO PLAY & IMPROVISENow in its sixth revision and translated into seven languages, Jamey’s Volume 1 “How To Play Jazz and Improvise” is the world’s best-selling method for learning jazz improvisation. In thousands of practice rooms, schools and universities, it continues to be the “Gold Standard” by which all other methods are measured.
INCLUDES: Blues/Bebop/Pentatonic Scales, time & feel, ii/V7s, exercises, patterns, licks, Dom. 7ths, nomenclature, chromaticism, and more!
BOOK/CD
BOOK/2-CDs
VOLUME 1 AND VOLUME 24 WORK FOR A STRONG FOUNDATION
THEN TRY: VOLUME 21, 116, 2, 54, 3, 70, 5, 84 ...
JAMEY AEBERSOLD'SJAZZ EAR TRAININGA no-nonsense approach consisting of two hours of recorded ear training exercises with aural instructions before each. Beginning to advanced. Starts very simply, with intervals gradually increases in difficulty until you are hearing chord changes and progressions. All answers are listed in book. Book contains transposed parts for C, Bb and Eb instruments to allow playing along.
BOOK & 2-CDs
VOLUME 54MAIDEN VOYAGEStandards and “workouts” for making the transition from playing scales & chords. Slower tempos, easy changes. Scales written for every chord change.
Summertime • Bb Shuffle Blues • Impressions • Maiden Voyage • Watermelon Man • Doxy • Autumn Leaves • Solar Flair • Song For My Father • Cantaloupe Island • Satin Doll • Blues In F • Footprints
BOOK/CD VOLUME 70KILLER JOESimilar to the Vol. 54, this set gets you improvising on real standard chord changes. Selections feature slower tempos and easier changes.
Killer Joe • Blue Moon • Sweet Georgia Brown • Sugar • Misty • Stop-Time Blues • Girl From Ipanema • Bb New Orleans Blues • Mr. PC • You Stepped Out Of A Dream • Ladybird • Afternoon In Paris • 3/4 Blues
BOOK/CD
Now that you’ve worked with this DVD, where do you go from here?These other Aebersold publications dig deeper into jazz improvisation!
GREAT STARTING PLACES
JAZZFOR