Monk Jazz Fundamentals 2012 - Small PDF [PDF]

Zitiervorschau

JAZZ FUNDAMENTALS Jazz Piano, Theory, and More

Dr. JB Dyas

310-284-8200 • [email protected]

2

Dr. JB Dyas Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Director of Jazz Studies at New World School of the Arts and Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and widereaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" throughout the nation with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his MM in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education.

3

Jazz Fundamentals

Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I.

Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C

D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II. The Major Scale (all whole steps except between the 3rd & 4th and 7th & 8th notes) 1

W

2

W

3H4

W

5

W

6

W

7H8

C

D

E

F

G

A

B

C

(C major scale)

A

B

C#

D

E

F#

G# A

(A major scale)

Eb

F

G

Ab

Bb

C

D

Eb (Eb major scale)

note: all major scales go in alphabetical order; the first and last note are always the same (one octave apart) ___________________________________________________________________________________________________________ III. Key Signatures

C no sharps or flats (Order of Flats: B E A D G C F)

(Order of Sharps: F C G D A E B)

Mnemonic: “BEAD Greatest Common Factor”

Mnemonic: “Fat Cats Go Down Alleys Eating Bananas”

KEY F Bb Eb Ab Db Gb Cb

KEY G D A E B F# C#

1 flat (Bb) 2 flats (Bb, Eb) 3 flats (Bb, Eb, Ab) 4 flats (Bb, Eb, Ab, Db) 5 flats (Bb, Eb, Ab, Db, Gb) 6 flats (Bb, Eb, Ab, Db, Gb, Cb) 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)

1 sharp (F#) 2 sharps (F# C#) 3 sharps (F# C# G#) 4 sharps (F# C# G# D#) 5 sharps (F# C# G# D# A#) 6 sharps (F# C# G# D# A# E#) 7 sharps (F# C# G# D# A# E# B#)

4

IV. Major Scale Piano Fingerings (right hand) “C” Fingering (1 2 3 1 2 3 4 5) -- Keys: C, G, D, A, E, B (right side of circle) “Two-Black/Three-Black” Fingering -- Keys: F, Bb, Eb, Ab, Db, Gb (left side of circle) note: The Key of B represents both fingerings. ___________________________________________________________________________________________________________ V.

The Five Main Chord Qualities

Chord

Chord Symbol

Formula

Notes in C

Notes in A

Notes in Eb

Major 7

C∆

1357

CEGB

A C# E G#

Eb G Bb D

Dominant 7

C7

1 3 5 b7

C E G Bb

A C# E G

Eb G Bb Db

Minor 7

C-

1 b3 5 b7

C Eb G Bb

ACEG

Eb Gb Bb Db

Half Diminished

CØ

1 b3 b5 b7

C Eb Gb Bb

A C Eb G

Eb Gb A* Db

Diminished

Co

1 b3 b5 6

C Eb Gb A

A C Eb Gb

Eb Gb A* C

* technically, the b5th in the key of Eb is Bbb (B double flat) Left Hand Chord Fingering: 5 3 2 1 Right Hand Chord Fingering: 1 2 3 5 ___________________________________________________________________________________________________________ VI. The Ten Most Common Chord/Scale Relationships Chord

Scale Name

Formula

Scale Beginning On C*

C∆

Major

major scale

C D E (F) G A B C

C7

Mixolydian

major scale with a b7

C D E (F) G A Bb C

C-

Dorian

major scale with a b3 and b7

C D Eb F G A Bb C

CØ

Locrian

notes from major scale ½ step higher

C (Db) Eb F Gb Ab Bb C

Co

Diminished (W/H)

W H W H W H W H

C D Eb F Gb Ab A B C

C-∆

Melodic Minor

major scale with a b3

C D Eb F G A B C

C7alt

Super Locrian

notes from melodic minor scale ½ step higher

C Db Eb Fb Gb Ab Bb C

C7b9

Diminished (H/W)

H W H W H W H W

C Db Eb E F# G A Bb C

C7#5

Whole Tone

all whole steps

C D E F# G# Bb C

C7 or C-

Blues Scale

1 b3 4 b5 5 b7 1

C Eb F Gb G Bb C

* Three of these scales have “avoid tones” (indicated in parenthesis above), meaning they should not be included in the related chord. That is, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.

5

Common Piano Voicings Basic chord symbols are merely abbreviations for particular scales (the general horizontal sounds of the symbols) from which the player may select notes to construct chords and/or improvise. These scales are by no means the only ones that can be used for improvisation, however, they are the symbols’ most representative sounds. The most common basic symbols are C, C7, C-, CØ, Co, C7b9, and C7alt, representing the general sounds of major, dominant, dorian minor, half-diminished, diminished, dominant 7 flat 9, and dominant 7 altered, respectively. The 3rd and 7th are the most representative notes of any chord or scale and “should” be included in every voicing (except for a “sus” chord where the 4th is substituted for the 3rd). Common voicings usually contain at least one other chord tone, extension, and/or alteration as well. Moreover, any or all notes from the related scale (except for avoid tones*) may be used in the pianist’s chord voicing, depending on the player and the musical situation. A typical C7 piano voicing, for instance, might be constructed Bb E A D G (b7 3 6 9 5) if the player is looking for a relatively evenly spread two-handed chord or, perhaps, E A Bb D (3 6 b7 9) if looking for a left-handed close voicing. Notice that all these notes come from C mixolydian, C7’s related chord scale. Also notice that the root is not included. As the root is primarily the bassist’s responsibility, pianists and guitarists often omit the root when comping to avoid redundancy. For unaccompanied solo piano playing, however, the root is included much more often and generally voiced as the lowest note of the chord. “Alt,” short for altered, refers to the raised and/or lowered 5th and 9th. In other words, the dominant 7 altered chord contains no regular 5th and no regular 9th, but instead, a flat and/or sharp 5th and a flat and/or sharp 9th. The difference between the dominant 7 flat 9 sound and the dominant 7 altered sound is that the former includes the natural 5th and 6th while the latter does not. Thus, the related scale for C7b9 (half-whole diminished) is comprised of the root, b9, #9, 3 #4, 5, 6, and b7: C Db D# E F# G A Bb C; the related scale for C7alt (super-locrian) is comprised of the root, b9, #9, 3 #4, #5, and b7: C Db D# E F# G# Bb C (this scale is often enharmonically spelled C Db Eb Fb Gb Ab Bb C, using the note names from its parent scale, Db melodic minor, of which C super-locrian is the seventh mode). A C7b9 might be voiced Bb E G Db (b7 3 5 b9) while its C7alt counterpart would be voiced Bb E G# Db (b7 3 #5 b9). Again, exactly which notes to use from these scales when constructing the chord is left up to the player.

* Certain scales have “avoid tones,” meaning they should not be included in the related chord. For example, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.

Piano Voicing Mnemonics I.

6

One-Handed Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords A. Category A (3rd in the lowest voice)

Chord Quality Voicing C∆

3 7 9

C7

3 b7 9

C-

b3 b7 9

Voicing in C

&E wwwB

Mnemonic

D

ww &E bBb w

Look at root at the top and “spread out” (up a whole, down a half); 3rd in lowest voice

D

ww &Ebb bBb w

Look at root at the top and “spread out” (up a whole, down a whole); 3rd in lowest voice

D

Look at root at the top and “spread out” (up a whole, down a whole); b3rd in lowest voice

B. Category B (7th in the lowest voice) Chord Quality Voicing C∆

7 3 5

C7

b7 3 6

C-

b7 b3 5

Voicing in C

&B wwE w

Mnemonic

G

&Bb wwE bw

Look at triad and lower root a half step

A

&Bb bEb w b ww

Look at triad and “spread out” outer voices a whole step

G

Look at minor triad and lower root a whole step

Common LH Chord Fingering: 5 2 1 II.

Common RH Chord Fingering: 1 3 5

(exception -- category B dominant 7 voicing: 1 2 5)

II V I Progression in Major A. Chord Qualities 1. II chord is minor 7 (II-) 2. V chord is dominant 7 (V7) 3. I chord is major 7 (I∆) B. Example in the key of C

C & œ œ œ œ œ œ œ 1 2œ 3 4 5 6 7 1 1

D

2

3

4

1.

C major scale: C

2.

II V I in the Key of C: D- G7 C∆

E

5

6

F G A B

7

1

note: any 3 chords in a row progressing counterclockwise around the circle is a II V I in the key of the 3rd chord, e.g., C- F7 Bb∆ is a II V I in Bb; F- Bb7 Eb∆ is a II V I in Eb; etc.

C. Good voice-leading: 3rd to 7th and 7th to 3rd 1. the 7th moves down a half step to become the 3rd of the next chord 2. the 3rd stays on the same note to become the 7th of the next chord Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves down a half step to become the 3rd of the V7); the other two notes remain the same

Example 1: Category A to B to A II-

V7

9 b7 b3

6 3 b7

H

I∆ W H

7

KEY OF C

9 7 3

w &Eww C

ww w EB

DD-

F

G 7G7 H

H

F

± ww W W w H C

H

KEY OF F II-

V7

I∆

G-G -

D B E

± F∆ ww G w E

7 CC7

& ww bw

C∆

F

ww bw

WW 9 6 W 9 A A H b7 H 3 7 F H E H b3 b7 H 3 Bb Bb H A ___________________________________________________________________________________________________________

KEY OF Bb II-

V7

9 b7 b3

6 3 b7

H

I∆ W H

9 7 3

w &Db b ww

C- C Bb Eb

w bDAww

F7 F7

H

H

Eb

W

W

± ww w

B b Bb∆

H

H

C A D

___________________________________________________________________________________________________________ Example 2: Category B to A to B II-

V7

KEY OF C I∆

DD-

± ww w

G 7G7

& ww w

ww w

C

b ww w

F

C∆

5 9 W 5 A A WW G H b3 b7 H 3 F F HH E b7 H 3 7 C H B B ___________________________________________________________________________________________________________ KEY OF F II-

V7

I∆

w & b ww

G-G -

7 CC7 W

± F∆ ww C w

HW 5 9 W 5 D D H b3 b7 H 3 Bb Bb H A b7 H 3 7 F H E E ___________________________________________________________________________________________________________

KEY OF Bb II-

V7

5 b3 b7

9 b7 3

H

I∆ W H

5 3 7

C- C -

&G b ww bw Eb Bb

F7 F7

H

H

bEbGww w A

WW HH

± ww w

B b Bb∆ F D A

IV.

One-Handed Jazz Voicings for Half Diminished and Dominant 7 Altered Chords

8

A. Category A (3rd in the lowest voice) Chord Quality

Voicing

Voicing in C

Mnemonic

CØ

b3 b5 b7 R

w C Eb & Gb b b wwBb

m7b5 chord in first inversion (b3 on bottom, root on top)

C7alt

3 #5 b7 b9

& # ww

think category A dominant 7 voicing, lower 9th (and add #5 which is a whole step below the b7)

bw

ww Db E G# b bBb

B. Category B (7th in the lowest voice) Chord Quality

Voicing

Voicing in C

Mnemonic

CØ

b7 R b3 b5

Bb & bC b Eb ww Gb

m7b5 chord in third inversion (b7 on bottom, “point” to root)

C7alt

b7 b9 3 #5

b ww

Bb & Db# wEw G#

b b ww

Common LH Chord Fingering: 5 3 2 1

note: for Category B half diminished chord, use 5 4 2 1

V.

think category B dominant 7 voicing, lower 6th (and add b9 which is a half step above the root) Common RH Chord Fingering: 1 2 3 5

II V I Progression in Minor A.

Chord Qualities 1. II chord is half diminished (IIØ) 2. V chord is dominant 7 altered (V7alt) 3. I chord is minor (I-)

B.

Example in the key of C minor: DØ G7alt C-

C.

Good voice-leading: 3rd to 7th and 7th to 3rd 1. from the IIØ, find the whole step interval in your voicing and “spread out,” i.e., the higher note moves up a half step and the lower note moves down a half step (the other two notes remain the same), then you’re automatically on the V7 alt chord 2. from the V7alt, the b7 moves down a whole step; all other voices move down a half step

Example 1: Category A to B to A IIØ R b7 b5 b3

V7alt H H

b5 3 b9 b7

KEY OF C MINOR I-

H H H W

ø

9

9 b7 5 b3

w & b Dwww DDØ C Ab F

ø

H H

H H

b # wwwD#w

G 7G7alt alt B Ab F

H H HH WH

H W

b wwwD b wBb CC-

G Eb

KEY OF G MINOR IIØ R b7 b5 b3

V7alt H H

b5 3 b9 b7

IH H H W

9 b7 5 b3

Example 2: Category B to A to B IIØ

V7alt

b5 b3 R b7

b9 b7 #5 3

H H

& b Awww w G Eb C

ø

GG-

7alt DD7alt

H

HH H

www # b #A# w F# Eb C

H H H H H W

H W

wwA b wwF

D Bb

KEY OF C MINOR I-

H W H H

AAØ

5 b3 9 b7

DDØ

ww & b Ab ww F D C

ø b w

CC-

G 7G7alt alt

H H

H H

bw # wwwAb F D# B

H WH HW H

H H

wG b b wwEbw D Bb

KEY OF G MINOR

IIØ

V7alt

b5 b3 R b7

b9 b7 #5 3

H H

IH W H H

5 b3 9 b7

& Eb www A AØ

C A G

bw # #Ebwww

7alt D D7alt

H H

H H

C A# F#

H W HH H

W H H

b wwwDw GG-

Bb A F

5 10

Common Two-Handed Piano Voicings (two notes in the LH, three notes in the RH)** Symbol

Scale Name

C

Major

Symbol

Scale Name

C

Major

Scale

Two-Hand Voicings*

& 5 www 9 Two-Hand Voicings* A 3 6 9w ? 63 w5 7 (E A D G B) A 3 6 9 5 R (E A D G C) A

Two-Handed Piano C D E(F)G ACommon BC A 3 6 9 5 R (E A D GVoicings C) (two notes in the LH, three notes in the RH)** œ œ R &avoid tone:œ4thœ(F)œ œ œ œ

( )

avoid tone: 4th (F) Scale

C D E(F)G A B C Common avoid tone: 4th (F)

B 7 3 6 9 5 (B E A D Voicings G) Two-Handed Piano

(two notes in the LH, A three notes in the RH)**

& www ? 6 ww Piano Voicings Two-Handed

5

RH pinky on the root, come down in 4ths in both hands Mnemonic same as above - just lower top note � step5 RH pinky on the root, come down in 4ths RH pinky on the 5th, come down in 4ths in in both both hands hands

same as above - just lower top note � step Mnemonic RH pinky on the root, come down in 4ths5 RH pinky on the 5th, come down in 4ths RH pinky in RH; 3 &onb7the in root, LH come down in 4ths in both hands 3 in both hands b7 3three 6 9 5notes (Bb EinAthe D G) RH pinky on the 5th, come down in 4ths (two notes in theBLH, RH)** in RH;asb7 & 3 in LHlower top note � step A 3B6 9 5 7 (E A D G B) same above - just 7 C Mixolydian C D E(F)G A Bb C A 3 b7 9 5 Voicings* R (E Bb D G C) RH pinky on the root, come down in 4ths5 Symbol Scale Name Scale Two-Hand Mnemonic 5 5th mode of maj avoid tone: 4th (F) in 3 &onb7the in 5th, LH come down in 4ths B 7 3 966 9 5 (B E A D Voicings G) RHRH; pinky Common Two-Handed CDorian Eb F GAABBb RPiano (Eb D G C) C Major C D E(F)G CC A 3b36b7 9 59R5 (E A DBbG C) RH pinky on the root, come down in 4ths in both hands (two RH)** b7 3three 6 9 5notes (Bb EinAthe D G) RH pinky on the 5th, come down in 4ths 2nd mode of maj avoid tone: 4th (F)notes in theBLH, 3 RH ; hands b3 & b7 in LH in both 7 in RH; b7 & 3 in LH Symbol Scale Name Scale Two-Hand Voicings* Mnemonic 7 B b7 b3 5 R 4 (Bb Eb G C F) “point” R inthe and go up anote 4thinand A 3 6b799557R(E(EABb DG same as to above -RH just lower top �4ths step C Mixolydian C D E(F)G A Bb C D B) G C) RH pinky on root, come down down a 4th; b7 & b3 in LH 5th mode of maj avoid tone: 4th (F) in RH; 3 &onb7the in root, LH come down in 4ths C Major C D E(F)G CC A 3b36b7 9 59R5 (E A DBbG C) RH pinky CDorian Eb F GA ABBb R (Eb D G C) B 7 3 6 9 5 (B E A D G) RH pinky on the 5th, come down in 4ths 5 avoid tone: 4th (F) 2nd mode of maj both; hands hands in RH b3on & the b7 in LHcome down in 4ths in B b7 3 6 9 5 (Bb E A D G) RHboth pinky 5th, ø in RH; b7 & 3 in LH C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b3 b6 (C Gb Bb Eb Ab) think A voicing of dominant 7 chord up a Common Two-Handed Piano A 9 557R(E A DEb GVoicings B) same as to above justand lower topanote � step B 3b76A b3 4 (Bb G C F) “point” R in go up 4th and ø -RH 7th mode of maj avoid tone: b9th (Db) raised 5th (C = Ab7) (two notes in the LH, three notes in the RH)** down a 4th; b7 & b3 in LH 7 C Mixolydian A Bb C A 3 b7R 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths œ bœ œ &Cœ D œE(F)G B 7 3b7 6 9 55(B E ABb D G) RH pinky on the 5th, come inin4ths œF G( œ4th )A œBb C CDorian C D Eb A R(Gb (Eb DG C) RH pinky comedown down 4thsa5 5th mode of maj avoid tone: (F) in RH; &onb7the inofroot, LH b5 b3 R 459b79b3 C F Bb Eb) think B3hands voicing dominant 7 chord up Symbol Scale Name Scale Two-Hand Voicings* Mnemonic in both avoid tone: 4th (F) ø 2nd mode of maj raised 5th (C = Ab7) in RH ; b3 & b7 in LH ø Common C Locrian C(Db)Eb F Gb Ab Bb C Two-Handed R b7b7b3 b6Piano (C Gb BbVoicings Eb Ab) think A voicing of5th, dominantdown 7 chord up a B b5 (Bb C Major C D E(F)G A B C A 3b76339659R5(E A ED A GD C)G) RH pinky onøthe root,come come downinin4ths 4ths (two notes in the LH, three notes in the RH)** 7th mode of maj avoid tone: b9th (Db) raised 5th (C = Ab7) in RH; b7 & 3 in LH B b7 b3 5 R 4 (Bb Eb G C F) “point” to R in RH and go up a 4th and avoid tone: 4th (F) 7 in both hands C Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths down a 4th; chord b7 & b3 in on LHthe bottom; o C Diminished C D Eb F Gb aTwo-Hand in b3 each hand a start on tone 5th mode of maj avoid tone: 4thAb(F)A B C in RH; & b7 inofLH Symbol Scale Name Scale Voicings* Mnemonic b5tritone R B 4 b7 (Gb C Fwith Bb Eb) think B3any voicing dominant 7 chord up a A 3 6 3rd 9 5between 7 (E A D G B) same above - just it, lower note � step øabove (whole-half) minor hands play aas tritone thentop skip a minor raised 5th (C the = Ab7) CDorian C D Eb F G A Bb C A b3 b7 RH pinky on root, come down in 4ths 5 9 5 R (Eb Bb D G C) (e.g., C399Gb A Eb) 3rd between hands; then play a tritone in B b7 6 9 5 (Bb E A D G) 5th, come down in 4ths Cø Major C D E(F)G A B C A 3 6 5 R (E A D G C) RH pinky on the root, come down in 4ths 2nd mode of maj 66b3 in RH ;b7 b3 &3the b7inof in LHcome down C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b6 (C Gb Bb Eb Ab) think A voicing dominant 7 chord up a B 7 3 9 5 (B E A D G) RH pinky on 5th, in 4ths the RH in RH; & LH avoid tone: 4th (F) in both hands ø in both5th hands 7th mode of maj avoid tone: b9th (Db) raised (C = Ab7) 3 B b7 b3 R 4 (Bb G Ca F) “point” in RHtone and on go the up abottom; 4th and b7 in5 each Co Diminished C D Eb F Gb Ab A B C a tritone handEbwith start on to anyR chord A 3 6 3rd 9 5between 7 (E A D G B) same as above -&just lower top note � step down a 4th; b7 b3 in LH (whole-half) minor hands play a tritone above it, then skip a minor b5 R CBb Bb Eb) think B dominant 7 chord a CDorian CD Eb FGGAABb BbCC A 5 R(Gb DG C) RH on theof come down in aup 4ths C7sus4 Mixolydian D(E)F b7 b3 4 64b79b759b3 (Bb F(Eb A DF G) thinkpinky A voicing voicing ofroot, minor 7 chord up 5th ø (e.g., C Gb A Eb) 3rd between hands; then play a tritone in 7 raised 5th (C = Ab7) 2nd modeof ofmaj maj C Mixolydian C D E(F)G A 3 b7 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths 5th mode avoid tone: A 3rdBb(E)C sus4 in RH ; b3 & the b7 in LHcome down in 4ths B 7 3 6 9 5 (B E A D G) RH pinky 5th, (C7 = on G-) the RH 5th mode of maj avoid tone: 4th (F) in both RH; 3hands & b7 in LH ø in C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b3 b6 (C Gb Bb Eb Ab) think A voicing of dominant 7 chord up a B b79b35 R5 (F R 4Bb (BbDEb G C F) “point” R in and go7 up a 4th 4 b7 G C) think B to voicing of minor chord upand a 5th ø RH 7th mode of maj avoid tone: b9th (Db) raised (C =&Ab7) o B b7 3 6 9 5 (Bb E A D G) RH pinky onchord the 5th, come down in 4ths down 4th; b7 b3 in LHthe C7sus4 Diminished C D Eb F Gb Ab A B C a tritone in each hand with a startsus4 ona5th any tone on bottom; (C7 = G-) C7 Mixolydian C D(E)F G A Bb C b7 4 63rd 9 5between (Bb F Ahands D G) think voicing minor 7 chord a 5th in RH; b7 & 3above inofLH (whole-half) minor play aAtritone it, come then skip aup minor C Mixolydian C D E(F)G A 3R b7 9 5b3R (Gb (E Bb DBb G C) RH pinky on theofroot, down in up 4ths 5th mode of maj avoid tone: A 3rdBb(E)C sus4 b5 4 b7 C F Eb) think B voicing dominant 7 chord (C7 = G-) (e.g., C A Gb A Eb) 3rd between hands; then play a tritone ina ø 5th mode of maj avoid tone: 4th (F) in RH; 3 & b7 in LH ø raised 5th (C = Ab7) the RH C Locrian C(Db)Eb GbGAb Bb R b5“diminished” b7 b3 b6 (C Gb Bb Eb Ab) think A any voicing of tone dominant 7 chord up a C7b9 Diminished C EbFEFGF# any voicing start on but the rootin(i.e., b œ CCœ CDorian C Db D Eb A œBbAœCBb A b39b7 9 (F 5 RBb (Eb Bb D from G C) RH pinky onchord root, come down R5 R & øtheof 4B b7 D G C) think B voicing minor 7 chord up a4ths 5th œ b œ œ b7 3 6 9 5 (Bb E A D G) RH pinky on the 5th, come down in 4ths 7th mode of maj avoid tone: b9th (Db) raised 5th (C = Ab7) (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, œ 5 2nd mode of maj sus4 9 in RH ;b7 b3 & LHbetween hands; then (C7 =a& G-) in RH; 3b7ininLH e.g., 3 b7 b9 5 (E Bb Db G) then skip minor 3rd Co7sus4 Diminished CD Eb FGGb ab5 in each a start any chord Mixolydian D(E)F A Ab Bb A CBC b7tritone 4 64b7 9b7 5 b3 (Bb Fhand A G) Atritone minor chord up aup5th R (Gb C DFwith Bb Eb) think voicing dominant 7 bottom; chord a play on aB in of thetone RHon7the B b7 b3 R 4 (Bbhands Eb G C F) “point” to R in RH and go up a 4th and øabove (whole-half) minor 3rd play a tritone it, then skip a minor b3 5between 5th mode of maj avoid tone: 3rd (E) sus4 raised 5th= (C = Ab7) (C7 G-) down b7 b3 income LH (e.g., Cb7Gb9 5AREb) 3rd hands; then play aroot tritone in C7b9 Diminished DbEb EbFEGF# anyb3 “diminished” voicing startbetween ona 4th; anyonchord tone but the CDorian CD AG BbACBb C A (Eb Bb D from G C) RH pinky the&root, down in(i.e., 4ths the RH (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above 2nd mode of maj 4A b7 9 5#9R #5 (F b9 Bb(EDBb G C) B; b3 voicing up it, aand 5th in RHA & b7of in minor LH 7 chord C7alt Super Locrian C Db Eb Fb Gb Ab Bb C 3 b7 D# G# Db) think dominant 7 chord B b9 5 (E Bb Db G) e.g., 3 b7 thensus4 skip a minor 3rd between hands; then o 7th mode of mel min C D Eb F Gb Ab A B C ����� RHany � steptone on the bottom; ø C Diminished aRtritone in each hand with a start on chord (C7 =up G-) play aAtritone inRH thedominant RH go up7achord C Locrian C(Db)Eb F Gb Ab Bb C b5 b7 think voicing of up a 4 b3 b6 (C Gb Bb Eb Ab) B b7 b3 5between R 4 (Bbhands Eb G C F) “point” to R in and 4th and R (whole-half) minor 3rd play a tritone øabove it, then skip a minor 7sus4 7th mode of maj avoid tone: b9th (Db) raised 5th (C = Ab7) C Mixolydian C D(E)F G A Bb C b7 4 6 5 (Bb F A D G) think A voicing of minor 7 chord up a 59#5 down a 4th; b7 & b3 in LH B b7 3 b9 b5 (Bb E G# Db Gb) think B voicing of dominant 7 chord and (e.g., C Gb A Eb) 3rd between hands; then play a tritone 5th in 5th mode of maj avoid tone: 3rd (E) sus4 ����� � tone step but the root (i.e., (C7 = down G-) b3 the RH C7b9 Diminished C Db Eb E F# G A Bb C any “diminished” voicing from start onRH any chord 7alt 4b7b7 b3 C Bb F Bb think B of dominant 7 chord up C Super Locrian C Db Gb Ab Bb C C7+9b5 A b7 #9tone #5 (Gb b9 D# Eb) G# Db) A voicing anda Note: In the Jamey Aebersold books andEb in Fb ������ �������, = 3R C7alt (half-whole) any chord but(Ethe root 3, 5, b7, or b9); ø play a tritone above it, ø raised 5th (C = Ab7) 7th mode of mel min ����� RH up � step 4 b7 9 5 R (F Bb D G C) think B voicing of minor 7 chord up a 5th C Locrian C(Db)Eb F Gb Ab Bb C R b53b7b7b3b9b65(C A a minor 3rd dominant 7 hands; chord up a e.g., (E Gb Bb Bb DbEb G)Ab) then skip between then ø sus4 7sus4 play a tritone in the RH (C7 = G-) 7th mode of maj avoid tone: b9th (Db) raised 5th (C = Ab7) C Mixolydian C D(E)F G A Bb C b7 4 6 9 5 (Bb F A D G) think A voicing of minor 7 chord up a 5th B B” b7 chords 3 #5 b9have b5 (Bb think B voicing of dominant 7 chord and * “Category A” chords have the 3rd in the lowest voice; “Category the E 7thG#inDb theGb) lowest voice. 5th mode of maj avoid tone: 3rd (E) sus4 (C7 = down G-) ����� RH � step **o All voicings have five notes withC the exception diminished and dominant 7b9 voicings which have fouron notes each C Diminished D Eb F Gb AbofAthe BC ab5tritone in each hand with a start any chord onhand) the7 bottom; R 4 b7 b3 (Gb C F Bb Eb) think B(two voicing ofintone dominant chord up a Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt ø 7alt (whole-half) minor 3rd between hands play a tritone above it, then skip a minor C7b9 Diminished C Db Eb E F# G A Bb C any “diminished” voicing from start on any chord tone but root raised (C = of Ab7) C Super Locrian Fb Gb Ab Bb C 3 b7 D# G# Db) think B A5th voicing of dominant 7 chord 4A b7 9 5#9R #5 (F b9 Bb(EDBb G C) think voicing minor 7 the chord up(i.e., aand 5th (e.g., C Gbtone A Eb) 3rd between hands; play aabove tritone (half-whole) any chord but the root 3, 5,sus4 b7, playthen a tritone it, in 7th mode of mel min ����� RHorupb9); � step (C7RH the e.g., 3 b7 b9 5 (E Bb Db G) then skip=aG-) minor 3rd between hands; then * “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. play aBtritone in of thedominant RH o B b7 3 #5 b9 b5 (Bb E G# Db Gb) think voicing chord and ** All voicings have five notes withC the exception diminished and dominant fouron(two intone each C Diminished D Eb F Gb AbofAthe BC a tritone in each 7b9 handvoicings with a which have start any notes chord onhand) the7 bottom; ����� RH down � step Symbol C7 C

Scale Name Mixolydian Major 5th mode of maj

Scale C D E(F)G A Bb C C D E(F)G C avoid tone: A 4thB(F) Common avoid tone: 4th (F)

A 3 6 79 5 7Voicings* (E A D G B) Two-Hand 5 A 3 b79 9 5 R (E Bb D G C) B A 73 36 69 95 5R (B (E E AA DD G G) C)

Mnemonic

ww & w w ? w

ww w b ? ww &

ww w w ? bw &

ww w b ? b ww &

ww w bw ? bw &

RH pinky on the root, come down in 4ths5 Mnemonic “point” to on R intheRH andcome go updown a 4thinand RH pinky root, 4ths in both RH pinky onb7 the come in 4ths down a3hands 4th; b7 &5th, b3 in LH down in RH; & in LH CRH pinky on the root, come down in 4ths C RH pinky on RH; b7 & 3the in root, LH come down in 4ths in both hands 5 in b3 & b7- just in LH same as; hands above lower top note � step in RH both RH pinky on the 5th, come down 11 in 4ths ø in RH;Ab7 & 3 in LH C Locrian think voicing of5th, dominant 7achord up a “point” R in and go up 4thininand Symbol Scale Name Mnemonic come down CDorian RH on root, come down 4ths samepinky as to above -RH just note step øthe C7 Mixolydian RH pinky on the root,lower cometop down in�4ths 4ths 7th mode of maj raised 5th (C = Ab7) down a hands 4th; b7 & b3 in LH in both 2nd mode of maj RH ;3b3&& LH 5th mode of maj in RH; b7b7ininLH C Major RH pinky the 5th, root,come comedown downinin4ths 4ths RH pinky on on CDorian RH on the theofroot, come down in up 4thsa Symbol Scale Name Mnemonic thinkpinky B voicing dominant 7 chord in both hands “point” to R&in RH and go up a 4thinand øthe RH pinky on 5th, come down 4ths 2nd mode of maj ø in RH ; b3 b7 in LH raised 5th (C = Ab7) C7 Locrian think A voicing dominant 7 chord Mixolydian RH pinky on in up 4thsa down ab7 4th; &ofroot, b3 income LH down in RH; &b7 3the in LH C Major RH pinky on the ø root, come down in 4ths same - Ab7) just 7th raised 5th 5th mode of maj in RH;as 3above &(Cb7 =in LHlower top note � step to R in RH and go up a 4th and in“point” both hands C7o Mixolydian RH pinky onb7 the&root, down a 4th; b3 income LH down in 4ths ø 5th, come down inin4ths C Diminished start on any chord tone on the think B dominant 77bottom; chord up CDorian RH pinky the root, come down 4ths 5th mode of maj in RH; 3voicing &onb7 inof LH C Locrian think A voicing of dominant chord up aa ø - just lower top note � step same as above in both hands (whole-half) play a tritone it, then skip a minor ø3above RH; b7 & in LH raised 5th (C = Ab7) 2nd mode of maj in RH 5th ; b3(C & b7 in LH 7th mode of maj raised = Ab7) 3rd play a tritone in ø RH between pinky onhands; the 5th,then come down in 4ths C Locrian think A voicing of dominant 7 chord up a RH pinky on the 5th, come down in 4ths the RH in RH; b7 & 3 in LH “point” to R in and go up7achord 4th and ø RH B5th voicing dominant up a inthink both hands 7th mode of maj raised (C = of Ab7) 7 CDorian RH pinky onb7 root, in øthe C Mixolydian RH the root, come down in 4ths 4ths down 4th; b3 income LHthedown Co Diminished startpinky ona5th anyon tone on bottom; raised (Cchord =&Ab7) 2nd modeof ofmaj maj 5th mode in RH; b7b7 ininLH RHa tritone ;3b3&& LH (whole-half) play above it, then skip a minor think B dominant 7 chord a C-7sus4 Dorian RH pinky onøhands; theof come down in aup 4ths C Mixolydian think A voicing voicing ofroot, minor 7 chord up 5th 3rd between then play a tritone in raised 5th (C = Ab7) C7ø Mixolydian RH pinky on the root, come down in 4ths 2ndmode modeof ofmaj maj RH pinky 5th, come down 4ths 5th sus4 “point” to R and go up 4thinand in RH ; b3 &inthe b7RH in LH the RH (C7 = on G-) C Locrian A voicing dominant 7achord up a Co Diminished start on any tone 5th mode of maj inthink RH; && b7chord in&of LH in RH; LH down a3b7 4th; b7 b3 in on LHthe bottom; ø3 in 7th mode of maj raiseda 5th (C above = Ab7)it, then skip a minor (whole-half) play tritone “point” R in RH and go7 up a 4th think B to voicing of minor chord upand a 5th 3rd between hands; then play abottom; tritone o RH pinky on chord the 5th, come down in 4thsin C Diminished start on any tone the down a 4th; b7 & b3 in on LH sus4 C7sus4 Mixolydian A minor 7 chord up a 5th (C7 = G-) think B voicing of dominant 7 chord a RH inthe RH; b7 &on3 the in LH ø CDorian RH pinky root, down in up 4ths (whole-half) play aA tritone it, come then skip a minor øabove C Locrian think voicing of dominant 7 chord up a 5th mode of maj sus4 raised 5th (C = Ab7) (C7 = G-) 2nd mode of maj 3rd between then play a tritone in in RH ; b3(C &øhands; b7 in LH 7th mode of maj raised 5th = Ab7) ø the RH C7sus4 Locrian C(Db)Eb GbGAb Bb C R b5“diminished” b7 b3 (F b6 (C Gb BbD Ab) think A voicing of tone dominant 7 chord a C7b9 Diminished EF F# voicing start on but root CDorian CC EbEb FG A C Aany b3 R Bb (Eb Bb Gfrom C) RH pinky on chord the root, come down in (i.e., 4ths 4 b7 D G C)Eb B any voicing of minor 7 the chord up aup 5th C Mixolydian CDDb D(E)F G A Bb Bb A C Bb C b7 4 b7 69b395 95R55(Bb F(Bb A D G) think A ø RH B b7 R 4(Gb Eb GC F) “point” to Rb9); in and go up7above achord 4th and b5 Rchord 4 b7 tone b3 Cthe Froot Bb Eb) think B5th voicing of dominant up a (half-whole) any but 3, 5, b7, or play a tritone it, 7th mode of maj avoid tone: b9th (Db) raised (C = Ab7) o 2nd mode of maj sus4 5th mode of maj avoid tone: 3rd instart RHsus4 ;ab3 b7 in b3 LH C Diminished C D Eb F Gb Ab(E) ABC a tritone in each hand with a on any chord tone on ø & (C7 =& G-) down 4th; b7 LHthe bottom; (C7 = G-) raisedskip 5th = Ab7) e.g., 3 b7 5 (E Bb Db G) then a(C minor 3rdinbetween hands; then 5 b9 (whole-half) minor 3rd between hands play aAtritone above it, then skip aup minor œ b œ C7sus4 Mixolydian C D(E)F G A Bb C b7 4 6 9 5 (Bb F A D G) think voicing of minor 7 chord aup5th œ 9 b3 (Gb C F Bb Eb) play a tritone in the RH & œ œ (œ) œ œ b5 R 4 b7 think B voicing of dominant 7 chord a B b7 b3 5 R 4 (Bb Eb G C F) “point” to R in RH and go up a 4th and (e.g., C Gb A Eb) 3rd between hands; then play a tritone in 6 ø of minor 7 chord up 4 b7 9 5 R (F Bb D G C) think B voicing a 5th 5th mode of maj avoid tone: 3rd (E) sus4 raised (C7 5th = (C G-) = Ab7) ø down a 4th; b7 & b3 in LH avoid tone: 3rd (E) the RH C7b9 Diminished C Db Eb E F# GAb A Bb Bb C any voicing from start on chord but the root (i.e., sus4 C Locrian C(Db)Eb GbAb R b5“diminished” b74b3 b6 (Chand Gb Bb Eb Ab) think A any voicing of tone dominant chord up a (C7 = G-) Co Diminished C D Eb F FGb A B CC a tritone intone each start chord tone on the7above bottom; (half-whole) any chord but thewith root a 3, 5, on b7,any or b9); a tritone it, ø play b7 7alt 7th mode of maj avoid tone: (Db) raised 5th (C above = of Ab7) 4A b7 93rd 5#9Rbetween (F b9 Bb(EDhands G C) think B voicing minor 7 chord up aand 5th C Super Locrian C Db Eb Fbb9th Gb Ab Bb C 3 b7 #5 Bb D# G# Db) A dominant 7 chord (whole-half) minor play a tritone it, then skip a minor e.g., 3 b7 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then sus4 o ø 7th mode of mel min ����� RH up � step (e.g., C Gb A Eb) 3rd between hands; then play a tritone in (C7 = G-) 7sus4 play aAtritone inofof thetone RHon7the C Diminished C D(E)F D Eb F Gb A BC a b5 tritone inb6 each aAb) start A on any chord bottom; CC Locrian C(Db)Eb Ab Bb Rb7 b7 (C Gb Bb Ebfrom think voicing 77chord up aa Mixolydian C A Ab Bb C 4R“diminished” 64 9b3 (Bb Fhand A DFwith G) think voicing minor chord up(i.e., aup5th C7b9 Diminished C Db EbFG EGb F# GA BbCC any voicing start on any chord tone but the root b5 b75between b3 (Gb Chands Bb Eb) think Btritone voicing ofdominant dominant chord the RH ø above (whole-half) minor 3rd play a it, then skip a minor ø= Ab7) 5th modeofofmaj maj avoidtone: tone:b9th 3rd (E) sus4 7th mode avoid (Db) raised 5th (C (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, (C7 = G-) raised (Chands; = of Ab7) B b7 C 3 #5 think B5th voicing dominant (e.g., Gbb9 A b5 Eb)(Bb E G# Db Gb) 3rd between then play7achord tritoneand in e.g., 3 b7 b9 5 (E voicing Bb Db G) then skip adown minor hands; then ����� RH �3rd stepbetween C7b9 Diminished C Db Eb E F# G A Bb C any “diminished” from start on any chord tone but the root (i.e., 7alt the RH C Super Locrian C Db Eb Fb Gb Ab Bb C A 3 b7 #9 #5 b9 (E Bb D# G# Db) think A voicing of dominant 7 chord and b5 R 4 b7 b3 (Gb C F Bb Eb) think B voicing of dominant 7 chord up a play a tritone in the RH b7chord 9 5R Rtone (F Bb DtheG root C) think B voicing of minor 7 chord up it, a 5th Note: Aebersold books and in G ������ C7+94any (half-whole) 3, 5, b7, or b9); play a tritone above ø C7sus4In the Jamey Mixolydian C D(E)F A Bb�������, C b7= 4C7alt 6 95 5 (Bb but F A D G) think A voicing of minor 7 chord up a 5th 7th mode of mel min ����� RH up � step raised 5th (C = Ab7) sus4 9 b9 5 (E Bb Db G) (C7 =aG-) e.g., 3 b7 then skipany minor hands; then Co Diminished C D Eb F Gb Ab(E) ABC a tritone in each hand with a start on chord 3rd tonebetween on the bottom; 5th mode of maj avoid tone: 3rd (C7sus4 = G-) play a tritone in the RH 7sus4 (whole-half) minor 3rd between hands play a tritone above it, then skip aup minor b7 B G# Db Gb) think B 7 chord C7alt Mixolydian C D(E)F G A Bb C b7 b7 4 63 9#5 5 b9 (Bbb5F (Bb A DEG) A voicing of dominant minor 7 chord aand 5th 4#9 C Locrian C Db Eblowest Fb Gbvoice; Ab Bb“Category C A 3 b7 #5 b9 (E think A voicing of dominant 7achord and * “Category Super A” chords have the 3rd in the B” chords have theBb 7thD# in G# the Db) lowest voice. (e.g., C Gb A Eb) 3rd between hands; then play tritone in ����� RH down � step 5th mode of maj avoid tone: 3rd (E) sus4 4 b7 9 5 R (F Bb D G C) think B voicing of minor 7 chord up a 5th o (C7 = G-) 7thhave mode of notes mel min ����� RH upchord � step ** All voicings five with and dominant 7b9 voicings (two notes intone each Diminished Db Eb E F# C “diminished” voicing start on any chord buthand) thebottom; root (i.e., CC7b9 Diminished CCDthe Ebexception F Gb AbGof AAthe BBb Cdiminished aany tritone in each hand with afromwhich have start on any tone on the thefour RH Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt sus4 (C75,ab7, = G-) (half-whole) any tone but(E the 3, or b9); play tritone it,and (whole-half) minor 3rd#9between hands play above it,athen skip a minor C7alt Super Locrian C Db Eb Fb Gb Ab Bb C A 3chord b7 #5 b9 Bbroot D# G# Db) think tritone A voicing of dominant 7above chord 4e.g., b7 93b7 5#5Rb9 (F5Eb) Bb DG C) think B voicing of3rd minor 7 chord up aand 5th B b7 b9 b5 (Bb E G# Db Gb) dominant 7 chord (e.g., C Gb A 3rd between hands; then play a tritone in 3 (E Bb Db G) then skip a minor between hands; then 7th mode of mel min �����sus4 RH up � step ����� RH down � step play the (C7RHa tritone = G-)in the RH 7sus4 *C “Category Mixolydian A” chords have the 3rd the lowest B” chords have the lowest voice. D(E)F G A Bb CœBb 4C7alt 6 9 5 (Bb F the A D7th G)infrom think A any voicing of tone minor chord up(i.e., a 5th b œ“Category C7b9 Diminished C in Db E F# Gvoice; A C œ C7+9b7 any “diminished” voicing start on chord but7 the root Note: In the Jamey Aebersold books andEb in ������ = b7 œ�������, &C # œ b œ n œ B 3 #5 b9 b5 (Bb E G# Db Gb) think B voicing ofindominant 7 chord and b œ ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notesplay each hand) 5th mode of maj avoid tone: 3rd (E) sus4 œ 5 tone but the root (C7 = G-) (half-whole) any chord 3, 5, b7, or b9); a tritone above it, b9 ����� RH down � step e.g., b9 Bb Db G) then skip a minor 3rd between then 7alt In theMixolydian Diminished Db A Bb any “diminished” voicing start on any chord tone but the root C7sus4 Super Locrian CD(E)F Db Eb Fb Gb Bb C C C7+9 A=43C7alt #9 #55b9 (E D#from G# Db) thinkA Avoicing voicing dominant 7 hands; chord CC7b9 CC AF# BbGAb C b7 63b79b7 5 (Bb F(EA DBbG) think ofofminor 7 chord up (i.e., a and 5th Note: Jamey Aebersold books andEb inGE ������ �������, b7 4 b7 9 5 R (F Bb D G C) think Btritone voicing of minor 7 chord up it, a 5th play a in the RH * “Category5th A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above sus4 7thmode modeofofmaj mel minavoid tone: 3rd (E) ����� RH � step 3 (C7 = up G-) sus4 ** All voicings have five notes with the exception of the diminished and3 dominant 7b9 four (two notes in hand)hands; then e.g., b7 b9 5 (E Bbvoicings Db G) which have then skip minor 3rdeach between (C7 =aG-) play a tritone in the RH b79chords 35 #5 b9have b5 (Bb G#inDb thinkBBvoicing voicingofofminor dominant 7 chord * “Category A” chords have the 3rd in the lowest voice; “Category B” theGE 7th theGb) lowest voice. 4Bb7 R (F Bb D C) think 7 chord up a and 5th 7alt C Super Db exception Eb Fb Gb of Abthe Bbdiminished C A and 3 b7dominant #9 #5 b97b9 (E Bb D# G#which Db) have think A voicing 7 chord and ����� RH down �indominant step ** All voicings haveLocrian five notes withC the voicings four (two notesof each hand) sus4 (C7 = G-) A C7b9 In the Jamey Diminished C Db F# G �������, A Bb C C7+9any “diminished” voicing from start 7th mode of mel min �����on RHany up chord � steptone but the root (i.e., Note: Aebersold books andEb in E ������ = C7alt (half-whole) any but(Ethe 3, 5, b7, or b9); play a tritone7above C7alt Super Locrian C&Db Eb Fb Gb bAb Bbb œC œ A 3chord b7 b9 #9tone #5 b9 Bbroot D# G# Db) think A voicing of dominant chordit,and b œ œ e.g., Bb EDb then aupminor between hands;and then œ bœ bœ bœ B b733b7 #5 b95b5(E(Bb G#G) Db Gb) thinkskip B voicing of3rd dominant 7 chord #5 b9 7th mode of mel min ����� RH � step #9 C7b9 C Db Eb E F# G voice; A Bb C anyB” “diminished” start on anydown chord play a RH tritone in the RHbut the root (i.e., ����� �tone step * “CategoryDiminished A” chords have the 3rd in the lowest “Category chords havevoicing the 7th from in the lowest voice. any=and chord tone but thevoicings root 3, 5, b7,(two or b9); play aeach tritone above it, Note: the(half-whole) Jamey andexception in ������of�������, C7+9 C7alt b7 b9 b57b9 ** All In voicings haveAebersold five notesbooks with the the diminished four notes hand) B b7 3dominant #5 (Bb E G# Dbwhich Gb) have think B voicing ofindominant 7 chord and e.g., 3 b73 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then ����� RH down � step play a tritone in the RH 7alt In the Jamey Note: Aebersold books andEb in Fb ������ �������, C Super Locrian C Db Gb Ab Bb C C7+9A= 3C7alt b7 #9 #5 b9 (E Bb D# G# Db) think A voicing of dominant 7 chord and * “Category 7th A” chords mode ofhave melthe min3rd in the lowest voice; “Category B”Bchords have the 7th in the lowest voice. ����� RH up � step b5 ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand) b9 C*7alt Locrian C Db Eb Fb Gb Ab Bb “Category C AB 3B” b7chords #5 b9 BbE D# think “CategorySuper A” chords have the 3rd in the lowest voice; the 7th theDb) lowest voice. b7 3#9 #5 b5(E (Bb G#inG# Db Gb) thinkABvoicing voicingofofdominant dominant77chord chordand and #5 b9have 7th have modefive of mel min ����� RH updown � step ** All voicings notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes each hand) ����� RH �instep 3 Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt b7 B b7 3 #5 b9 b5 (Bb E G# Db Gb) think B voicing of dominant 7 chord and ����� RH down � step Note: In the Jamey Aebersold books in ������ �������, C7+9 = B” C7alt * “Category A” chords have the 3rdand in the lowest voice; “Category chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand) C Symbol C7

MajorName Scale Mixolydian 5th mode of maj Dorian Major 2nd mode of maj

C D E(F)G A B C A 3 6 9 5 RVoicings* (E A D G C) Scale Two-Hand B 3b7b7b3955RR4(E(Bb C F) C D E(F)G A BbEbD G C) avoid tone: A 4thBb (F)C b7 3 6 9 5 (Bb A G) D G) B 7 3 6 9 5 (B E EA D avoid tone: 4th (F) C D Eb F G A Bb C A b3 b7 9 5 R (Eb Bb D Two-Handed Piano C D E(F)G ACommon BC A 3 6 9 5 R (E A D GVoicings C)G C) avoid tone: 4th (F)notes in theALH, (two notes 3 6 three 9 5 7 (E A DinGthe B) RH)** B b7 3 6 9 5 (Bb E A D G) Piano Voicings F Common Gbb œAbb œBb C œTwo-Handed R b5 b7 b3 Gb Bb B b7 b3 5 b6 R 4(C (Bb Eb GEbG C Ab) F) Scale Two-Hand Voicings* &C(Db)Eb 733 3b7 69b6 EBb A D C ABb BbCC b œ A R D 6b7 (E A DBb G B) b œF Gœ(two C D( b œEb E(F)G A A b3 99595575R(B (E(Eb D G) G C)C) )tone: œD notes in the LH, three avoid b9th (Db) b3 notes in the RH)** avoid tone: b9th (Db) avoid tone: 4th (F) C D E(F)G A B C A 37 63 96b759 R (E E AA DD G G) C) B 55(B C D Eb F G A Bb C A b3 9Voicings* R(Gb (EbC Bb DG C) Scale Two-Hand b5 R 4b7b7 F Bb Eb) b5 b3 avoid tone: 4th (F) (BbE Eb G G) C F) B b7 3b3R659R5 4(Bb AD C(Db)Eb FA Gb AbCBb C R b5 b7 b3 b6 (E (C Gb Bb E(F)G GEbC)Ab) CCDDE(F)G A BBb C AA 336b79 59 R5 R (E A Bb D GDC) A 3 6 9 5 7 (E A D G B) avoid tone: b9th (Db) 4th (F) avoid tone: 4th (F) B b7 b3 5 R 4 (Bb Eb G C F) C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) b3 7b7 999b3 5each Ehand D G) Gb B CC aBtritone a C) 36b7 6in (Bb EABb A D b5 R 3b7 4b7 C Fwith Bb Eb) C D Eb F FG AAb Bb A b3 55(B R(Gb (Eb D G) G avoid tone: 4th (F)ACBb b7 C(Db)Eb Gb Ab b5 b3 b6 AR 3 6 9 (E (C A Gb Dhands GBb B)Eb Ab) 45 7between minor 3rd avoid tone: b9th (Db) (e.g., Gb Eb) E A D G) B b7C3 R 6 9A 5 (Bb C(Db)Eb F Gb Ab Bb C BR 7b53 b7 6 b5 9b35 b6 (B (C E Gb A DBb G)Eb Ab) B R 4(Gb (BbCEb GC F) b5 b7 R 4b3b75b3 F Bb Eb) avoid tone: b9th (Db) C D Eb F G A Bb C A b3 b7 9 5 R (Eb Bb D C) G C) C A Ab Bb A CBC A 3 b7 9in5each R (Ehand Bb D G CD D E(F)G Eb F Gb a tritone with a avoid tone: 4th (F) minor 3rd between b5 R 4b7 Chands Bb Eb) D Eb FGGAABb BbCC A b3 5AR(Gb Bb DG C) C D(E)F b7 4 6C 9b7 59b3 (Bb F(Eb A DF G) (e.g., Gb Eb) Cavoid D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) B b7 3 6 9 5 (Bb E A D G) tone: 3rd (E) b3 5 R 4 (Bb Eb G C F) C(Db)Eb GbAb R b5 b7 b3 b6 (Chand Gb Bb Eba Ab) C D Eb F FGb B œCC œ a tritone in each with tone: 4th bAb œ An œBb b œ (F) &avoid b œ œ b9th avoid (Db) œ œ tone: minor 3rd between hands b79b35 R5 (F R 4Bb (BbDEb G C F) 4B b7 G C) A(Bb Eb) B(e.g., b7 3C 6Gb 9 5each E Awith D G)a C Eb FGGb ab7tritone in CD D(E)F A Ab Bb A CBC 4 64 9b7 5 b3 (Bb(Gb Fhand A DF G) b5 R C Bb Eb) C D Eb F FGGb A Bb CBb C A b3b7 b7 5 R(C (Eb Bb C) minor 3rd hands C(Db)Eb R b5 b39between b6 Gb BbDEbGAb) avoid tone: 3rd Ab (E) (e.g., C Gb A Eb) avoid tone: b9th (Db)

& b b ww bw ? b ww bw & b ww w ? bw & bw w ? b ww

ww & w w b ? w ww w ? b ww &

& b ww ? b ww

bw & # # ww ? b ww &

?

b b ww #w b ww

* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)

12

Jazz Piano Pedagogy Voicings Teaching/Learning Sequence* I. Major A. One-Hand Voicings 1. Category A: LH root / RH chord 2. Category B: LH root / RH chord 3. Alternate A-B beginning with A: LH root / RH chord 4. Alternate B-A beginning with B: LH root / RH chord 5. All of the above: chord in LH (RH tacit) B. Two-Hand Voicings 1. Category A 2. Category B 3. Alternate A-B beginning with A 4. Alternate B-A beginning with B II. Dominant 7 A. Repeat I with dominant chords B. Play Bb Blues (first alone, then with play-along recording) 1. LH root / RH chord (start with both A and B; use best voice leading) 2. Chords in LH (RH tacit) 3. Chords in LH / head in RH 4. Two-Handed Voicings (start with both A and B; use best voice leading) 5. Chords in LH / related chord scales in RH (not in tempo) 6. Chords in LH / improvise in RH C. Play Watermelon Man: follow steps II B 1-6 above III. Minor A. Repeat I with minor chords B. Play Song for My Father: follow steps II B 1-6 above C. Play Impressions: follow steps II B 1-6 above (also learn “So What” voicing) D. Play Maiden Voyage: follow steps II B 1-6 above E. Play Cantaloupe Island: follow steps II B 1-6 above (also learn two-handed “Cantaloupe Island” accompaniment figure) IV. II V I in Major (II- V7 I) A. Alternate A-B-A beginning with A: LH root / RH chord B. Alternate B-A-B beginning with B: LH root / RH chord C. A and B above: chord in LH (RH tacit) D. A and B above: two-handed voicings E. Play Satin Doll: follow steps II B 1-6 above V. Half-Diminished - Repeat I with half-diminished chords VI. Dominant 7 Altered - Repeat I with dominant 7 altered chords VII. II V I in Minor ( IIø V7alt I-) A. repeat IV A-D with minor II V I B. Play Blue Bossa: follow steps II B 1-6 above C. Play Summertime: follow steps II B 1-6 above D. Play Footprints: follow steps II B 1-6 above E. Play Autumn Leaves: follow steps II B 1-6 above VIII. Diminished A. Repeat I with diminished chords B. Play Doxy: follow steps II B 1-6 above IX. Dominant 7b9 A. Repeat I with dominant 7b9 chords B. Repeat VII A, substituting V7b9 for V7alt (IIø V7b9 I-) C. Play F Blues: follow steps II B 1-6 above * All tunes above can be found in Jamey Aebersold’s Play-Along Volume 54: “Maiden Voyage” and can be ordered from www.jazzbooks.com

13

14

15

Tune Learning Order of Events (Do in the following order for each new tune) 1. listen to the definitive recording numerous times 2. memorize the form 3. memorize root movement, play roots with definitive or play-along recording 4. memorize chord qualities, play chords (arpeggios in quarter notes) with play-along recording as follows: • 1 3 5 7 9 for chords lasting two bars (have the 9th sustain for the second bar) • 1 3 5 7 for chords lasting one bar • 1 3 for chords lasting two beats for II V I’s in major, play*

for II V I’s in minor, play*

5. play related scales in eighth notes (for chords lasting two bars, have the 9th sustain for the second bar; for chords lasting two beats, just play 1 2 3 4 6. memorize head, play with play-along recording 7. improvise with play-along recording 8. transcribe phrases from definitive recording 9. improvise with play-along recording, incorporating phrases transcribed from definitive recording * You may also have the final 7th in the penultimate measure resolve to the 6th in the last measure (i.e., practice ending the line on both the 9th and 6th)

16

Elements of Jazz 1. Syncopation

the accenting of beats that are not naturally accented; the accenting of "upbeats"

2. Jazz Sounds

1. “jazz” instruments 2. the way each instrument is played

3. Improvisation spontaneous composition; composing the music as you are playing; extemporaneous soloing; “musical conversing” 4. Rhythm

steady beat; swing

5. Form

the repeated and contrasting sections in the design of a composition; the tune’s harmonic (chordal) “blueprint” 12-Bar Blues

I Bb7

I Eb7

I Bb7

I

I

I Eb7

I

I Bb7

I G7alt

I

I C-

I F7

I Bb7 G7alt I C-

F7

I

"Song for My Father" Form: A A B (24-Bar Tune) A: I F-

I

I Eb7

I

I Db7

I C7sus

I F-

I

I

A: I F-

I

I Eb7

I

I Db7

I C7sus

I F-

I

I

B: I Eb7

I

I F-

I

I Eb7 Db7 I C7sus

I F-

I

I

Other Terms: 1. Chord

two or more notes played at the same time; the music that accompanies the melody, setting the mood (AKA "change," i.e., the "changes" of a song are the chords that accompany the song)

2 Head

the (written) melody

3. Chorus

one time through the chords of a song; one time through the song’s form

4. Intro

optional introductory music that comes before the first chorus

5. Coda

optional ending music that comes after the last chorus

6. Vamp

one chord (or a brief chord progression) which is played over and over Thelonious Monk Institute of Jazz Phone: (310) 284-8200 • E-mail: [email protected] • Website: www.monkinstitute.org

17

Common Forms AABA e.g., Take the A Train A: I C A: I C B: I F A: I C

I I I I

I D7#5 I D7#5 I I D7#5

I I I I

I I I I

DDD7 D-

I G7 I G7 I I G7

I I I I

C

I I I I

Eb

C DC

I I I I

D- G7 I

I I I I

Eb C7alt I

G- C7 I

I D- G7 I G7

ABAC e.g., On Green Dolphin Street A: I Eb B: I FA: I Eb C: I F- F-/Eb

I I EbI IF IE I Bb7 I Eb I Bb- Eb7 I AbI Db7 I I EbI IF IE I Dø G7alt I C- C-/BbI Aø D7alt I G- C7altI F- Bb7

Gb Eb Eb

F- Bb7 I Eb C7alt I (F- Bb7) I

16-Bar Tune e.g., Blue Bossa I CI Eb-

I I Ab7

I FI Db

I I

I Dø I Dø

I G7alt I G7alt

I CI C-

I I I Dø G7alt I

12-Bar Blues e.g., Billie’s Bounce, Now’s the Time, Straight No Chaser, etc. I F7 I Bb7 I G-

I Bb7 I (Bo) I C7

I F7 I C- F7 I I F7 I (D7alt) I I F7 D7alt I G- C7 I

18

Uncommon Forms Song for My Father Form: A A B (24-Bar Tune) A: I FA: I FB: I Eb7

I I I

I Eb7 I Eb7 I F-

I I I

I Db7 I C7sus I Db7 I C7sus I Eb7 Db7 I C7sus

I FI FI F-

I I I

I I I

Peace Form: 10-Bar Tune

I Aø D7b9I G- C7 I B CøF7b9I Bb I C7alt B7#4I Bb I

I B- E7 I A F#- I Ebø Ab7b9I Db

I

Stablemates Form: A B A (14 bars--8 bars--14 bars) A: I E- A7 I Eb- Ab7 I Db

I B: I A: I I

I Bb7 FI Gb7 E- A7 I Eb- Ab7 FI Bb7 F-

I I I I

EbG7alt Db Eb-

I I I I I

I Ab7b9 I C7 I C7alt I Ab7b9 I

I Gb II I A7 I Gb II

I Gø C7altI

Ab- Db7 I D- G7 I Eb- Ab7 I Db

I Dø G7b9 I I F- Bb7 I I Dø G7b9 I

C7alt

AbDb B7 AbDb

I Db7 I I Bb7 I Db7 I

I Ab7 I I Gø C7altI

Moments Notice Form: A B A B´(6 bars) 8-bar Vamp A: I E- A7 I F- Bb7 I Eb B: I C-

I A: I E- A7 I B ´: I CI V: I Eb I

Bb- Eb7 I Ab F- Bb7 I Eb Bb- Eb7 I Ab F-

I G-

I I I I I

I Ab- Db7 I Db7 I FI Db7

I D- G7 I G- C7 I Eb F- I G-

Ab- Db7 I Gb Eb- Ab7 I Db F- Bb7 II G- F- I Eb

Bb Pedal------------------------------------------------------------------

I

I

19

Jazz History – Evolution of Styles Style

Dates*

Basic Performance Practices

Representative Figures

Ragtime

1896-1917

solo piano style, steady left hand/syncopated right hand

Scott Joplin, piano

Early Jazz

1900-1928

collective improvisation, use of banjo and tuba

Louis Armstrong, trumpet; Jelly Roll Morton, piano

Swing

1930-1945

big band, written arrangements, dance music

Count Basie, piano; Duke Ellington, piano, Benny Goodman, clarinet; Coleman Hawkins, tenor sax; Lester Young, tenor sax

Bebop

1940-1955

virtuosic, complex, rangy, jazz as art, small group, focus on the soloist

Dizzy Gillespie, trumpet; JJ Johnson, trombone Thelonious Monk, piano; Charlie Parker, alto sax; Bud Powell, piano;

Cool

1949-1955

relaxed feel, soft, incorporation of classical music elements

Chet Baker, trumpet; Dave Brubeck, piano, Miles Davis, trumpet; Paul Desmond, alto sax; Gerry Mulligan, baritone sax

Hard Bop

1951-1958

return to Afro-centric elements, complex and simple sub-styles

Art Blakey, drums; John Coltrane, tenor sax; Miles Davis, trumpet; Sonny Rollins, tenor sax; Horace Silver, piano

Free Jazz

1959-1970

avant-garde, no pre-determined chord progressions, atonal

Ornette Coleman, sax; Cecil Taylor, piano

Fusion

1969-1990

blending of jazz and rock elements, electronic instruments

Chick Corea, keyboards; Miles Davis, trumpet; Herbie Hancock, keyboards; John McLaughlin, guitar; “Weather Report”

Smooth Jazz

1980-Today

simpler, more commercial and accessible style of Fusion

Chris Botti, trumpet; Kenny G, soprano sax; Dave Koz, saxophones; Najee, saxophones; David Sanborn, alto sax

Contemporary

Today

blending of jazz with classical and world musics, hard bop sensibilities, and various pop and folk musics

Ambrose Akinmusire, trumpet; Brian Blade, drums; Dave Douglas, trumpet; Kenny Garrett, alto sax; Robert Glasper, piano/keyboards; Roy Hargrove, trumpet; Dave Holland, bass; Keith Jarrett, piano; Branford Marsalis, tenor sax; Christian McBride, bass; Brad Mehldau, piano; Pat Metheny, guitar; Jason Moran, piano; Chris Potter, tenor sax; Joshua Redman, tenor sax; Kurt Rosenwinkel, guitar

* all styles of jazz from Early Jazz to Contemporary are still being performed and recorded today; all style dates given are approximations of when each respective style came to the forefront of jazz and experienced its most concentrated development; of course, styles and dates overlap

For a complete course in Jazz History and further information on the elements and evolution of jazz styles, log onto the Jazz in America website at

www.jazzinamerica.org

20

FIFTY-TWO ESSENTIAL JAZZ RECORDINGS ARTIST(S)

ALBUM

LABEL/NUMBER

DATE

Various Various Various Louis Armstrong Bix Beiderbecke Sidney Bechet Billie Holiday Count Basie Benny Goodman Duke Ellington Coleman Hawkins Roy Eldridge Dizzy Gillespie Charlie Parker Bud Powell Thelonious Monk Woody Herman Miles Davis Lee Konitz Stan Getz Stan Kenton Charlie Parker Dave Brubeck Jay Jay Johnson Art Blakey Miles Davis Sonny Rollins Ella Fitzgerald Horace Silver John Coltrane Miles Davis Charles Mingus Ornette Coleman Miles Davis John Coltrane Wes Montgomery Bill Evans John Coltrane Wayne Shorter Herbie Hancock Miles Davis Miles Davis Chick Corea Cecil Taylor Keith Jarrett Weather Report Pat Metheny Michael Brecker Kenny Garrett Brad Mehldau Maria Schneider Wayne Shorter Vijay Iyer

Jazz – The Smithsonian Anthology (6 CD Set) Ken Burns Jazz: Story of America's Music (5 CD Set) Jazz Classics 3 CD Set for Jazz Styles: History and Analysis The Complete Hot Fives & Hot Sevens (4 CD Set) Vol. 1: Singing the Blues The Legendary Sidney Bechet Strange Fruit: 1937-39 The Complete Decca Recordings (3 CD Set) Live at Carnegie Hall - 1938 Complete (2 CD Set) The Blanton-Webster Band (3 CD Set) Body and Soul Little Jazz The Complete RCA Victor Recordings (2 CD Set) The Complete Savoy & Dial Master Takes (3 CD Set) Jazz Giant The Best of Thelonious Monk: The Blue Note Years Thundering Herds 1945-1947 The Complete Birth of the Cool Subconscious Lee The Roost Quartets New Concepts of Artistry in Rhythm Jazz at Massey Hall The Essential Dave Brubeck (2 CD Set) The Eminent Jay Jay Johnson Vols. 1 & 2 (2 CDs) A Night at Birdland Vols. 1 & 2 (2 CDs) Round About Midnight Saxophone Colossus The Complete Ella in Berlin: Mack the Knife The Best of Horace Silver Vols 1 & 2 (2 CDs) Blue Train Milestones Mingus Ah Um The Shape of Jazz to Come Kind of Blue Giant Steps Incredible Jazz Guitar Sunday at the Village Vanguard Live at Birdland The Best of Wayne Shorter: The Blue Note Years The Best of Herbie Hancock: The Blue Note Years Miles Smiles Bitches Brew (4 CD Set) Now He Sings, Now He Sobs Silent Tongues Staircase (2 CD Set) Heavy Weather Bright Size Life Michael Brecker Songbook Art of the Trio Volume 4 – Back at the Vanguard Allegresse Footprints Live Accelerando

Smithsonian/Folkways SI-146-2011 Legacy/61432 ISBN-13: 978-0-13-600561-2 Sony 63527 Columbia/CK 45450 RCA Bluebird/6590-2-RB Jazztory/102423 Decca Jazz-GRP/GRD3-611 Columbia/Legacy 65143 RCA Bluebird/ 5691-2-RB Victor Jazz/09026-68515-2 Columbia/CK 45275 RCA Bluebird/07863-66528-2 Savoy Jazz/17149 Verve/829 937-2 Blue Note/95636 Sony 44108 Capitol/94550 Fantasy/OJCCD-186-2 Roulette/96052 Capitol/92865 OJC/044 Columbia/Legacy C2K 86993 Blue Note/81505 & 81506 Blue Note/46519/46520 Columbia/40610 Prestige OJCCD-291-2 Verve/519 564 Blue Note/91143 & 93206 Blue Note/46095 Columbia/40837 Columbia/CK 40648 Atlantic/1317-2 Columbia/CK 64935 Atlantic/1311-2 OJC/036 Fantasy/OJCCD-140-2 Impulse!-GRP/GRD-198 Blue Note/91141 Blue Note/91142 Columbia/CK 48849 Columbia/C4K 65570 Blue Note/90055 Freedom/FCD-741005 ECM/78118-21090-2 Columbia/CK 65108 ECM 1073 MCA-Impulse MCAD-5980 Warner Bros. 46551 Warner Bros. 47463 Enja ENJ 9393/2 Verve 314 589 679-2 Act Music & Vision 9524-2

1899-2003 1917-99 1917-2000 1925-29 1927-28 1932-41 1937-39 1937-39 1938 1940-42 1939-56 1935-40 1937-49 1945-54 1949-50 1947-51 1945-47 1948-50 1949 1950-51 1952 1953 1949-2002 1953-55 1954 1956 1956 1960 1964-72 1957 1958 1959 1959 1959 1959 1960 1961 1963 1964-69 1962-68 1966 1969-70 1968 1974 1976 1977 1975 1987 1997 1999 2000 2002 2012

21

Glossary Axe Synonym for instrument Basic Chord Symbol Symbol indicating the fundamental vertical (chordal) sound of its related scale; any note from the related scale (except for any “avoid” tones) may be used in the pianist’s or guitarist’s chord voicing; the most common basic chord symbols are C (major), C7 (dominant 7 AKA mixolydian), C- (dorian), CØ (half diminished AKA locrian), Co (wholehalf diminished), C7b9 (half-whole diminished), C7+5 (whole tone), and C7alt (diminished whole tone AKA super locrian); (please note that C7alt is written as C7+9 in the Aebersold Play-Along and Pocket Changes books) Bossa (Bossa Nova) Straight-eighth, medium tempo Latin groove that usually incorporates the underlying two-measure repeated rhythmic pattern:

or variation thereof (e.g., Solar Flair/Blue Bossa, Song for My Father) Change Synonym for chord (e.g., the changes of a tune = the chords of a tune) Chops Synonym for technique Chord Two or more notes played at the same time; the music that accompanies the melody, setting the mood (AKA "change," i.e., the "changes" of a song are the chords that accompany the song); harmony Chorus One time through the chords of a song; one time through the song’s form Coda Optional ending music that comes after the last chorus (see Ending) Comp To play chords in a rhythmically interesting fashion, accompanying a melody (comes from the words accompany and complement) Contrafact a jazz tune based on an extant chord progression, usually of a standard; common examples include Oleo (based on I Got Rhythm), Donna Lee (based on Back Home Again in Indiana), Groovin’ High (based on Whispering), Ornithology (based on How High the Moon), Hot House (based on What Is This Thing Called Love), and Dig (based on Sweet Georgia Brown) Ending Optional music that comes after the last chorus of a jazz performance providing a sense of finality (endings are either written by the tune’s composer or decided upon and inserted by the performers) Fakebook Book containing lead sheets of numerous tunes (see Lead Sheet) Form The repeated and contrasting sections in the design of a composition; the tune’s harmonic (chordal) “blueprint;” common forms include: 12-bar blues, e.g., Shuffle Time, Tootsie, Footprints; 16-bar tune, e.g., Watermelon Man, Cantaloupe Island, Solar Flair/Blue Bossa, Summertime, Doxy; and AABA, e.g., Impressions, Maiden Voyage, Satin Doll; uncommon forms include AAB, e.g., Song For My Father, and AABC, e.g., Autumn Leaves Funk Straight-eighth, medium tempo rock groove incorporating syncopated sixteenth notes against a steady, underlying pulse Gig Synonym for job Head The written melody of a tune (previously composed, not improvised), usually played as the first and last chorus in a jazz performance Homonym A chord that has different names and functions depending on its root (e.g., the notes E Bb D G comprise a 3 b7 9 5 voicing of a C7 chord, a b7 3 #5 b9 voicing of a Gb7alt chord, a R b5 b7 b3 voicing of an Eø chord, and a 6 b3 5 R voicing of a G-6 chord; therefore C7, Gb7alt, Eø, and G-6 are considered homonyms of each other) Improvisation Spontaneous composition; composing the music as you are playing; extemporaneous soloing; “musical conversing”

22

Intro Optional introductory music that comes before the first chorus (intros are either written by the tune’s composer or decided upon and inserted by the performers) Jazz Waltz Medium to up tempo swing groove in 3/4 time, i.e., a feeling of three beats to the bar (please note that a tune does not necessarily have to be written in 3/4 to be played as a jazz waltz; for example, Footprints is written in 6/4 but is generally played with a jazz waltz feel, i.e., each 6/4 bar feels like two bars of 3/4); tunes in the jazz repertoire usually played as a jazz waltz include All Blues, Black Narcissus, Bluesette, A Child is Born, Emily, Footprints, How My Heart Sings, My Favorite Things, Someday My Prince Will Come, Up Jumped Spring, Valse Hot, West Coast Blues, and Windows Latin Catchall term used by jazz musicians denoting any straight-eighth groove that incorporates bossa and/or samba rhythms (or other Latin dance rhythms including Afro-Cuban, baion, beguine, calypso, cha-cha, conga, guaguanco, mambo, merengue, paso doble, rumba, salsa, and songo) Lead Sheet Sheet of music indicating the basic melody and chord symbols (i.e., head and changes) of an entire tune (e.g., the way each tune is written in the Aebersold play-along books - or any fakebook - is considered a lead sheet) Modal Tune Type of tune that is harmonically based on a small number of modes (scales), each lasting a long time (four or more bars) rather than a progression of rapidly changing chords; examples of modal tunes include Impressions, Maiden Voyage, and Cantaloupe Island Real Book Fakebook (see Fakebook) Rhythm Changes The chord progression (i.e., the “changes”) that accompanies the tune I Got Rhythm by George Gershwin; the chords (including their many substitutions and variations) that accompany the tune I Got Rhythm and its many contrafacts Shuffle Medium tempo swing groove incorporating a repeated pattern of dotted eighth/sixteenth notes on every beat (in jazz, the dotted eighth/sixteenth note rhythm is interpreted with more of a triplet feel, i.e., a repeated pattern of triplet quarter note /triplet eighth note on every beat) Specific Chord Symbol Symbol indicating the specific notes to be included in a chord, e.g., Cmaj9 indicates that the chord contains C E G B D, Cmi11 indicates C Eb G Bb D F, etc. (although a specific chord symbol is able to indicate the notes that should be included in a particular chord, it does not indicate any particular voicing) Straight-ahead Term used by jazz musicians to denote the style of jazz that is mainstream, i.e., bebop, hard bop, and cool jazz; tonal, acoustic jazz with a repertoire of standards and jazz classics; (an example of one of the greatest straight-ahead jazz groups of all time is the Miles Davis Quintet of the mid-1950s) Straight-eighth Groove in which the underlying beat is comprised of non-swung eighth notes, i.e., eighth notes are even in length (eighth notes played on downbeats or upbeats each receive exactly 1/2 of the beat), e.g., Cantaloupe Island, Maiden Voyage, Solar Flair/Blue Bossa, Song for My Father, Watermelon Man Swung-eighth Interpretation of eighth notes in which notes played on downbeats and upbeats receive 2/3 and 1/3 of the beat, respectively, providing a rhythmic lilt (swing) to the music Syncopation The accenting of beats that are not naturally accented; the accenting of "upbeats" Tag Type of ending in which a III- VI7 II- V7 progression (or variation thereof) is substituted for the last chorus’ final I chord, elongating or repeating the last phrase before culminating on the ultimate I chord Tune Any song or composition that is part of the jazz repertoire Turnaround A short melodic or harmonic passage usually comprised of a I VI II V progression (or variation thereof) that returns (“turns around”) to the beginning of a section or top of the form (e.g., last two bars of Tootsie) Vamp One chord (or a brief chord progression) which is played over and over (e.g., ending of Cantaloupe Island, Song for My Father, and Summertime); a numerously repeated section of music, usually two or four bars in length (e.g., Track 15 of Aebersold Play Along Volume 54) Voicing The particular order of notes in a chord (e.g., E Bb D G is a 3 b7 9 5 voicing of a C7 chord)