Autumn Leaves Analysis and Exercises PDF [PDF]

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Autumn Leaves Analysis and Exercises The scales (or modes) you have been tested on so far are: Dorian, Mixolydian and Ionian (or Major Scale). Our last session around the piano looked at the Minor II V I chord progression and we used "Blue Bossa" as an example… Dmi7(b5), G7(b9), Cmi6 [D Locrian, G Mixolydian b2 b6, C Dorian OR C Melodic Minor] Using the tune “Autumn Leaves” let’s continue with II V Is in the major and minor keys and add a new scale to play – Lydian! Let's approach the harmony of this tune as simply as possible. I reckon there are only 2 really important harmonic ideas to this tune: 1) II V I IV in the key of Bb Major 2) II V I in the key of G Minor That’s it… apart from a sniff of chromatic planing in bars 27 and 28. The form of the tune: 32 bars, AABC. New Chord/Scales to learn: Lydian - 4th Mode of the Major Scale. In jazz it often appears as a “Major 7” chord and is known functionally as the IV chord in the major key. In the tune “Autumn Leaves” it occurs on bars 4, 12, 24 and 29. Exercises for Autumnal Foliage: i) Play the C or Eb Lydian scale (think a major scale with a raised 4th). Singers use a piano. ii) Play the scales of a II V I IV progression in either the keys of G major or Bb major. iii) Play the scales of a II V I progression in either the keys of E minor or G minor. Question: Why am I asking you to play these exercises in 2 different keys? Answer: Because… Harmony: From here on I’m thinking in G Minor – this key works well for brass and saxes. i) Over the A Section think "II V I IV in Bb Major” then "II V I in G Minor” [Repeat]. ii) Over the B Section just reverse the turnarounds so now you'll think "II V I in G Minor” then "II V I IV in Bb Major” iii) At the C Section (which could be classed as the only real tricky part of this tune) observe some of the basic chord/scales below:

Note: Lydian Dominant is a scale you’ll probably be unfamiliar with so I’d like to talk about this later. In the meantime an easy way of navigating your way through bars 27 and 28 is to pick either the 1st, 5th or 7th, or 9th degree of the Gmi7 and descend chromatically every 2 beats – see if you can come up with some groovy rhythms in your descending lines.

The more you practice scales and arpeggios over this tune the more you’ll hear the sound of the harmony in your head. Start off using the lead sheet and play the melody and ALL the chord scales correctly 10 times a day for a week. By the end of the week you won’t need music anymore and your muscle memory will be in a good state of development. More Exercises: Try incorporating some of these devices in your practice. Play these exercises with a metronome – as slow as you want BUT correctly and in time! Use self-analysis and employ the rules of general musicality – time, tone and intonation. If you make a mistake; stop and start again. Always remember: “Practice doesn’t always make perfect” - If you practice with mistakes (and fail to remedy them) you’ll play with mistakes. If you’re feeling confident with the changes go to Moodle (Improv 1) for a medium-up tempo play-along of “Autumn Leaves” or construct your own harmonic backing from band in a box. • • •

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Try playing then singing the bass line - try and get comfy with that tritone leap from Eb to A in bars 4 and 5, 12 and 13, 24 and 25. Play then sing the arpeggios of each chord up to the 7th. Inverting the base triad of each chord is a great way of starting to outline the harmony. E.g., instead of 135 you could try: 153, 351, 315, 531, 513. Singers try 135 and 531 – you’ll probably need to play this on piano 1st. Embellish simple ideas around guide tones. Try inverting the arpeggios of the 7th chords. E.g., 5713, 7135, etc. Singers this will be tough so don’t worry about this one. Solo around the melody (embellish/alter it enough and it won’t sound like the melody anymore!)

Note: The scales that I’ve used in this analysis are not exhaustive. There is always more than one type of scale to play over any given chord but I believe beginning improvisers should start with nailing one of these “correct” scales over a certain chord type and then branch out from there. Listening: There’s a gazillion recordings of this tune out there. As a trombonist some of my favourite versions of “Autumn Leaves” are: • Frank Rosolino - use of lightning fast triplets (from the album Fond Memories). • James Morrison - use of multiphonics (Snappy Doo) • J.J. Johnson - soulful use of dynamics to create a yearning melody that tears at your heart (Live at the Village Vangaurd). But I also love versions by non-trombonists: • Guitarist Bireli Lagrene (Standards) oh the technique! • You’ve gotta check out Jim Hall’s treatment of the melody as an angular chromatic sequence while Ron Carter lays it down with some solid dirty upright playing (Alone Together) • Chet Baker makes the most of the scales we’ve been talking about in today’s lesson with a cool, groovy, and melodically captivating solo that you must listen to (She Was Too Good For Me) • Pianist McCoy Tyner gambols through the changes like a naughty little boy who’s just bunked school after stealing $20 and is off to Time Zone - actually he’s using a whole bunch of super swinging consecutive quavers at a medium-up tempo (Today and Tomorrow). The point I’m making is LISTEN to the masters and get inspired by their ideas… because the masters got inspired from someone else.